Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.
- Karl Otfried Müller
- Date:
- 1852
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.
594/664 page 576
![IX. pi. at p. 24. Orpheus in Phrygian garb with Muses, vase Neap^h Ant. Bildw. s. 379. no. 2004.; Gerhard's Mysterienvasen. 0. ahnost naked, playing on the lute, on each side a Thracian with mantle and spiked cap, listening in kingly dignity, vase in the possession of Barone JSfaples in 1845. 0. similarly draped M. Blacas pi. 7., where he holds Cer- berus in the infernal world.] Later, with the same style of handling in Phrygian costume with anaxyrides, in the Vatican Virgil and Catacomb pictures, comp. Caylus iii, 13, 1. iv, 48, 1. As tamer of Cerberus, un- draped, gem in Agostini ii, 8., in the himation on the vase with Hip- polytus, above. Killed by a Maenad, vase-painting M. I. d. Inst. 5, 2. Relief in the collection of the king of Sardinia, published in Shelstrate's Virgil ed. 1750. tb. 18. ad G. iv, 522. [comp. 0. Jahn Pentheus s. 19. Or- pheus young, only with a chlamys on his arm, overpowered by three Thracian women in long garments, two casting stones, one on horseback with lance, he, sunk upon one knee, raises merely his lyre as a defence. Amphora in B. Braun. Bull. 1846. p. 86. On a vase Mus. Gregor. ii, 60, 1. a woman in long drapery, not a Baccha, strikes with an axe at Orpheus with his lute, who catches her by the arm. M. d. 1. i, 6, 2. the woman is tatooed on the arms and has a sword, on other vases otherwise, 0. Jahn Archaol. Beitr. s. 101.] Thamyras M. d. I. ii, 23. Ann. vii. p. 231. viii. p. 326. [Bull. 1834. p. 202. Mus. Gregor. ii, 13.; Millingen Coghill pL 42. the Muse winged pursues Thamyras who flies holding the lute over his head, for defence, not in order to dash it in pieces (Feuerbach Vatic. Apollo s. 272.), as if after the statue, on Mount Helicon and Polygnotus' picture, and like the Orpheus M. d. I. i, 5, 2. The winged floating figure pursuing Thamyras M. d. I. i, 5, 3. is called by Millingen Ann. i. p. 270. Nemesis. Why not also a muse ? Zoega explained so the similar scene d'HancarviUe iv, 61.] Supposed Thamyras of an Etr. mirror M. d. I. ii, 28. Ann. viii. p. 282. AIN02 Levezow's Verz. no. 855. 0 AIN02 M. Etr. de Luc. Bonap. no. 1434. \_Musce^^s, the Athenian, as scholar of Terp- sichore and Meledosa, very fine vase-painting, Bull. 1845. p. 219—22.3, now in the British Mus. And this perhaps rather to be understood as Thamyris Bull. 1840. p. 54, Rv. Apollo. It is uncertain whether the Thracian minstrel with listening Muses in the museum at Naples is Or- pheus, or according to Ann. vii. p. 232. Thamyras, as the painting with the names M. d. I. ii, 23. still remains very dark.] 1 414. We know Bellerophon, among the Peloponnesian 2 heroes, by his connexion with Pegasus and Chimgera. The Danaids of Argos are represented by art, in perfect conformity with the original intention of the mythus, as a kind of nymphs 3 with water-vessels. Peeseus appears very like Hermes in configuration and costume; a later Asiatic art sought to claim 4 him for its home by a inore oriental drapery. Pelops has a Lydo-Phrygian costume and the effeminate forms which are 5 usually combined therewith. To the Dioscuri, who always retained very much of their divine nature, belong a perfectly unblemished youthful beauty, an equally slender and power- ful shape, and, as an almost never-failing attribute, the half- oval form of the hat, or at least hair lying close at the back of the head, but projecting in thick curls around the forehead](https://iiif.wellcomecollection.org/image/b2178016x_0594.jp2/full/800%2C/0/default.jpg)
