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.
617/664 page 599
![men down to tlieir very finger-ends. There are likewise pre- 6 served many authentic busts of the distinguished men of Athena; on the other hand, as to the princes who were so often sculptured in antiquity and represented in every stage of idealized and ordinary human form (§. 158. 199.), very few remain, with the exception of Alexander the Great, chiefly because no collections of them were made in the Roman times. Coins, on the contrary, from Alexander downwards, aiford a 7 rich survey of the dynasties sprung from the Greek race, as well as of the oriental, which sought to approach the former in their customs. 1. It is worthy of remark that, according to Hyginua f. 104. Laoda- mia makes religion a pretext, in order to have in her possession a portrait of Protesilaus, comp. Ovid Her. 1.3,152. Portraits as a compensation for absent lovers are ascribed by the tragic poets to the heroic times, Msch. Ag. 405. Eur. Ale. 349. [Dicaeogenes in the Cyprians, Aristot. Poet. 16. Welcker Griech, Trag. s. 204.], comp. Visconti i. p. 2. Lobeck Aglaoph. 1002. and 1007. (That the ''E^fAot.<p^6lnot, Theoph. Char. 16., were majo- rum utriusque sexus eflSgies cubiculares sub specie Hermarum biformium consecratse, is not very probable).—At Athens, according to Demosthenes, Conon was the first erected, after the slayers of the tyrants, §. 88.; then Chabrias (besides Nepos Chabr. 1. see Aristot. Rhet. iii, 10.), Timotheus and many others. The oration of Iphicrates against Harmodius, a de- scendant of the tyrant-killer, (Aristot. Rhet. ii, 23, 6. 8.) seems to have been occasioned by. the latter disputing the other's right to the honour of the statue which only belonged to his family, comp. Demosth. ag. Lept. p. 462. Besides A. Westermann De publ. Ath. honor, p. 14 sqq. effSg<ct>To9^«e6/, 0.1, no. 2749. 2. Hence d.<j\ixvTO'7roio\, statuarii stands for brass-casters. What we have in marble are mostly Roman copies. Of busts §. 346, 3., shield- figures §. 311. R. 3. 345*, 4. Portrait-paintings as honorary figures, especially in Asia Minor, for instance that of the citharoedus Anaxenor in the purple mantle of Zeus Sosipolis at Magnesia, Strab. xiv, 648 Comp. §. 208, 3. 3. The famous edict, that the statues of athletes should not be larger than life (see among others Lucian pro imag. 11.), must have established a thorough distinction between them and those of heroes which were usually made larger. The ea^y^er^wTo; tiv\tu.uri; in the oath of the Attic archons are also connected therewith. But from these are to be clearly distinguished the st. iconicaj, accurate portrait statues, which were rais- ed, of course not till after Lysistratus, to those who had been three times victors, [§. 87. R. 2.] 4. Pariunt desideria non traditi [traditos] mdtus, sicut in Homero evcnit, PUn. xxxv, 2. The splendid Farnesian head of Homer (Tischb. Homer i, 1.) shows the y\vKv yiiQx;, Christod. 322.; the Capitoline heads in Vise, i, 1. are less worthy of the heroic Homer. However, the coins of Amastris (M. SClem. tb. G, 9.) and los, and the contorniati also give different heads. The Homeric monuments above §. 311, 6. 393. R. 2. G. M. 643—649. Some doubtful sculptures, R. Rochette M. I. pi. 70 (thanks-](https://iiif.wellcomecollection.org/image/b2178016x_0617.jp2/full/800%2C/0/default.jpg)
