Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.

  • Karl Otfried Müller
Date:
1852
Catalogue details

Licence: Public Domain Mark

Credit: Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller. Source: Wellcome Collection.

    59/664
    Thargelion (nf«^/£gy/5«/). Kallynteria the ' festival of the cleansing of the statue, on the 19th (comp. Bekker's Anecd. i. p. 270, where KfltXAuvT^f/* is to be inserted). On these occasions were employed the ?\.ot/TgiSef and tt^uvt^/Bsj (comp. Alberti ad Hesych. ii. p. 498), and the Kxrcti/lTrrns, Etym. M. Aovr^a. of Pallas at Argos only with oil without anointiTig and the mirror (Callim. Hymnus 13 sqq. with Spanheim, and du Theil Mem. de TAc. des Inscr. xxxix. p. 327). The ' Hgsir/Ssf were the ■Kovrqo(p6^oi of Hera at Argos (Etym. M., Heysch.), her draping festival was called 'EfSu^«T/« (Plut. De Mus. 9), the drapery Trarof, Hesych. The Samian Hera is an example of a completely draped statue, repre- sented as the bride of Zeus mibentis habitu (Varro in Lactantius Inst, i, 17), verua under the hands, on coins (D, A. K. 2, 8), and in a terracotta in the possession of a private gentleman at Cambridge. Probably the work of Smilis §. 70. Other religious statues (D. A. K. 10—14) : Hera as goddess of marriage on the frieze of Phigalia, the goddess Chryse of Lemnos in MiUingen Peint. de Div. CoU. 50. 51, Artemis Lusia ibid. pi. 52, Artemis Alpheioa Maisonneuve Introduction k I'etude des Vases pi. 30. comp. §. 414, 3, . the Lydo-Grecian Artemis images of Ephesus (on the kind of wood Vitruv. ii, 9. Plin. xvi, 79), Magnesia and other cities, with the rods under the hands (Holstenius Epist. de Fulcris s. Verubus Dianse Ephesiae). Comp. §. 365,2. A stone copy of the Xoanon of Nemesis found at Rhamnus, in the British Museum (xv, 307. 1821). Uned. Antiq. of Att. ch. 7. pi. 2. : 70. The carvers in wood exercised their art, as most others 1 were carried on in early antiquity, in families and races, after the manner of their fathers, and in a plain and unpre- tending spirit: hence very few names of individuals come into view. The name of Daedalus denotes the activity of the Attic 2 and Cretan, and Smilis that of the -2Eginetan artists. The 3 name of the Telchines is still more mythical and obscure. 4 2. AiJt/S«Ao? (§. 50. 64. 68), the mythic ancestor of the race of Daeda- lidse (comp. the Hephsestiadse) at Athens, to which Socrates also be- belonged. Son of Mur/^ji/, EiiTraAa^of, n«Aof^c£<yj/. At the same the father of Cretan art. On his wooden images, especially Pans, ix, 40, 2 ; Schol. Eurip. Hec. 838 (821) there were several in Crete (K^^r/xa ^o'«wsc, Pans, i, 18, 5). Reputed works of Daedalus in Libya (Scylax, p. 53 Huds.). His inventions, according to tradition, were chiefly instruments for working in wood (comp. §. 56, 2): Serra, ascia, perpendiculum, terebra, ichthyocoUa, as well as mains antennaeque in navibus, Plin. vii, 57. D^BALiDiE: (besides Talus and Perdix) Endcbos of Athens, maker of a sitting image in wood, of Athena at Erythrae, of another consecrated by Callias at Athens, of an ivory one at Tegea, probably only about the 55th Olympiad. Comp. Welcker Kunstblatt 1830. St. 49. Inscription with EvSo/of Itto/Vev found at Athens, Bullett. 1835. p. 212. [R. Rochette Supplement au Catal. des Artistes, p. 203.] Learchtjs of Rhegium (therefore after 01. 14), whose brazen Zeus at Sparta was of hammered pieces rivetted together, Pans, iii, 17. Dipoenus and ScyUis §. 82. 3. liMT^t? (from afilT^Yi) appears to have wrought under Procles (140 years after the Trojan war) in Samos, about 01. 4(. in Lemnos at the