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.

    61/664
    Hirt Gesch. der. Bild. Kunst bei den Alten, S. 92, Four painted clay figures of Gaea Olympia in a sarcophagus at Athens. Stackelb. Graber Taf. 8. Similar ones, Kuntsbl. 1836^ No. 24. Gerhard Ant. Bildw. 95—99. [The shapeless clay figures from Athens and Samos with which may be compared rude little figures of marble from Paros, los, Naxos and Thera, may have come down from the Carians and other anti-Hellenic in- habitants, and partly, judging from their resemblance to the Sardic idols, such as those in Walpole, from the Phoenicians, to whom also point the animal figures of the finer tt/So/ in the tombs of Thera, Melos, &c. Comp. L. Ross on Anaphe in the Schr. der Bair. Akad. Philos. Kl. ii, 2. §. 408.] 2. Tradition of the first clay relief (ti/tto?) by Dibutades, Plin. xxxv, 43. Protypa, [prostjrpa] ectypa bas- and haut-reUefs. Chalcosthenes made unburnt statuary (cruda opera, Plin. 45) in the Cerameicus of Athens; and Pausanias saw there on the roof of the king's hall dyothfiur^ oW^ff y^f. i, 3, 1. comp. 2, 4. 5. BEGINNINGS OF PAINTING. 73. Painting was still later than sculpture in becoming 1 an independent art in Greece, partly because the Grecian worship stood in little need of it. Although Homer several 2 times mentions garments inwoven with figures, he does not 3 however speak of any kind of paintings but the red-cheeked ships and an ivory horse-ornament, which is painted purple by a Mffionian or Carian damsel. For a long time all painting 4 consisted in colouring statues and reliefs of wood and clay. 1. In opposition to Ansaldus, De Sacro ap. Ethnicos Pictar. Tabular. Cultu. Yen. 1753, see Bottiger Archaeol. der Mahlerei, S. 119. Empedo- Cles of Aphrodite, p. 309. t'^v oiy ilai^kimtv dyukftaoriv i'hd.ax.ovrss, y^ct-Trrois Tt '(aolm. Comp. Bockh 0. I. ii. p. 663.—Illuxx.£g were hung on statues of the gods as votive tablets, ^schyl.' Ikst. 466, in like manner on sacred trees, Ovid Met. viii, 744. Comp. Tischbein's Vaseng. i, 42. Millin Mon. Ined. i, 29. [on wells M. d. I. iv, tv. 18.] Painters of these mvxKiu. Isocr. de antid. 2. 2. The diplax of Helen with the combats of the Trojans and Achse- ans around it, II. iii, 126. The Chlasna of Odysseus with a dog and a roe (these, however, are rather to be conceived as ornaments of the ■srsgoV*)), Od. xix, 225. 3. The (pii-KccQM, of Agesilaus painted at Ephesus, Xen. Hell, iii, 4, 17. iv, 1, 39. correspond to the /Vttoi/ -TrccQriiov described in the Iliad iv, 141. Ephesus was always half Lydian. Aristoph. Clouds 600. 74. The first advances in painting are ascribed by the Greek artistic traditions to the Corinthians and Sicyonians • and they even mention by name, without much credibility however, the individual inventors of outline drawing and monochrome painting.