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.
607/664 page 589
![Grotefend p. 36.] Helen, bronze statue, the hair flowing down to the hips, Nioetas de Stat. 9., in the thin chiton of Aphrodite, with fluttering upper garment on the Hall of Thessalonica, Stuart iii, 9, 7. ELINA in old-Etruscan style, winged, Eckhel P. gr. 40. Toilette of Helen (in Polyg- notus) on vases, R. Rochette M. I. pi. 49 A. The Trojan old men gazing with admiration on Helen, II. iii, 154, relief in Munich, see Thiersch, Jahresber. der Akad. ii. s. 60. Hecuba, statue, M. Cap. iii, 62., according to Winck. and R. Rochette p. 312. [perhaps a lamenting Barbarian princess; there is a similar figure on the Amandola sarcophagus in the Capitol.] Bust in 'Villa Albani pi. 57 A. Agrigentine vase, ibid., Hecu- ba led into captivity. Comp. Bartoli Pitt. 27. 416. The character of Odysseus was developed in a parti- 1 cularly delicate manner by ancient art,—in the form however in which we know him, probably not until the time of Alex- ander; the conic cap and the high-girded chiton, which be- longed to the dress of seamen, as well as the more powerful than elastic structure of his limbs, give him a look of decided energy and alertness; natural intelligence and mature ex- perience are expressed in every feature of his countenance. Orestes, who was undoubtedly characterized with precision, 2 in the chief works of ancient art, by the sombre look of the fugitive murderer, is recognised in the artistic representations which we possess, only by the external attributes of the blood- stained culprit imploring protection. 1. The dress of Odysseus, R. Rochette M. I. iii. Odysseide, especially the 7r<A<'oi/ (§. 388. R. 2. Cato in Polyb. xxxv, 6.) is said to have been first given him by Nicomachus (§. 139.) about 01. 110. Plin. xxxv, 36, 22.; other accounts (Eustath. and Schol. ad II. x, 265.) mention Apollodorus, 01. 93., as the inventor of the hat of Odysseus; certain it is that on the whole it is not known in vase-paintings. An exception in R. Rochette pi. 64. On the other hand Odysseus is seen with at least a similar hat on the rather ancient Etruscan gem, Inghir. G. Omer. 176. Odysseus in his usual costume with the dog Argos on denarii of the gens Mamilia, Eckhel D. N. v. p. 242. Morelli Mam. 1. 2. Fine bust in Lord Bristol's, Tischb. ii, 1. On a cameo, Millin M. I. i, 22. On coins of Ithaca, in the possession of Bosset (G. M. 639*.), and Cumse, in R. Rochette p. 253.— The scenes of the Odyssey tolerably complete, Tischb. ii. iv. vi. viii. G. M. 627-42. Fragment of a tablet, like the tab. Iliaca (Od. with Circe), G. M. 635.—Odysseus' affected madness, Lucian De domo 30. Od.'s ad- ventures at sea, mosaic in the braccio nuovo of the Vatican, Beschr. Roms ii, ii. s. 89. Polyphemus with a comrade of Odysseus under his feet, group in the Capitol, [Clarac pi. 835. no. 2091.] similar bronze in Count Pourtalfes' coll., R. Rochette pi. 62, 2. Od. handing the cup to Polyphe- mus, Mich. Arditi Ulisse che—si studia d'imbriacar Polifemo, illustr. d'un bassor. in marmo del M. Borbonico. N. 1817. The same, subject L. 451. Clarac pi. 223. [833 A. no. 2087 A. Od. under the ram, statues in V. Pamfili and V. Albani 833 A. no. 2087 B. 833 C. no. 2027 C. Statues of rU. in Vienna pi. 832, in Venice, the one going to meet Rhesus in the «ark pi. 831. no. 2088.] Etr. urn, R. Rochette pi. 62, 1. Impr. d. I. iii, tS. The blinding of Polyphemus, old vase-painting, M. I. d. Inst. 7, 1.](https://iiif.wellcomecollection.org/image/b2178016x_0607.jp2/full/800%2C/0/default.jpg)
