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.
600/664 page 582
![and names inscribed beside them, presented a kind of primer of antique sculpture. The Cycllan ])oets, who formed the in- troduction and continuation to the Iliad, were thereju as much drawn upon as Homer himself Ancient art characterized every leading hero, inasmuch as it condensed the ieatures fur- nished by the epic into a personal shape, with that freedom and precision which were peculiar to it; besides Achilles we can still recognise, from such characteristic traits, especially the Telamonian Ajax; and yet even the lion-like, fiercely-raging Ajax might be easily confounded with the incomparably softer and feebler Menelaus in a principal group which was often repeated in antiquity, and is in the highest degree deserving of admiration. In Diomed we have to expect fresh, but not highly ennobled, heroic energy, in Agamemnon a dignified, kingly character. Among the Trojans Hector and Priam are less known by their plastic development than Paris, to whose effeminate conformation a richly ornamented Phrygian dress was found suitable, whilst otherwise only subordinate figures wear this Asiatic costume, the leading heroes on the contrary being always provided with the general heroic drapery. Of the women belonging to this cycle of myths, Helen, the Aphrodite among heroines, and Hecuba became the principal subjects of the formative art; the countenance of the latter, although deeply furrowed by grief, does.not however conceal the innate vehemence and passionateness of her nature. 1. See on the mosaic in Hiero's ship §. 163. R. 6. Scyphi Homerici Sueton. Nero 47., to the same class belong those of Bernay §. 311. R. 5. Theodorus' (about 01. 120.) bellum Iliacum pluribus tabulis Plin. Corre- sponding picture from the so-called temple of Venus in Pompeii, Stein- biichel Atlas Tf. viii. B. C. D. [The house of the tragic poet, more apt- ly, the Homeric house, see Ternite zweite Reihe heft 3. Tf. 22.] Trojan war. Tischbein's Homer with designs from the antique; six numbers with commentary by Heyne, three by Schorn. Fr. Inghirami G. Omerica. 1827. 2 xoh.—Antehomerica. Paris shepherd life, Millingen Div. 43. Paris and (Enone, Terrac. in MilUngen Un. Mon. ii, 18. Paris' battle with the brothers and recognition by Cassandra (after Sophocles and Ennius' Alexander) on Etr. sarcoph. Uhden, Schr. der Berl. Acad. 1828. 8. 237. R. Rochette M. I. pi. 51. p. 256. [0. Jahn Telephus und Troilus 1841. Mus. Gregor. i, 95, 4.] Hermes with Paris, mirror-design (in Berlin), G. M. 535. The three goddesses before Paris §. 378. R. 4. Menelaus woos Helena, mirror-drawing, Inghir. ii, 47. [Gerh. Etr. Sp. ii, 197 1 Agamemnon and Menelaus taking leave of Helen, in whose house Paris is arrived as a guest, Etr. mirror, M. I. d. Inst, ii, 6. [Ann. vi. p. 183. 241. Gerh. Etr. Sp. ii, 181. N. Rhein. Mus. i. s. 416-420. Pans hospitable reception in Helen's, and Paris bringing her home to the house of Priam Rv. The simultaneous combat of the Dioscuri with the Apha- retiad^e, M. Blacas pi. 30. 31. Gotting. Anz. 1835. s. 1754 [As the bnde is received by the king followed by two lancers, so the bridegroom, follow-](https://iiif.wellcomecollection.org/image/b2178016x_0600.jp2/full/800%2C/0/default.jpg)
