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.
622/664 page 604
![of his pupils as hunters at his country-seats, Philostr. V. Soph, ii, 1, 10. —Arminius or Decebalus Spec. ii. 49. [according to Qottling Thusnelda and Thumelicus, Jena 184.3. fol. The son of Arminius and his wife the col. statue in the loggia de' lanzi at Florence.] For the literature of Iconographies. The earliest were that of Varro, §. 322, 7. (it consisted of 100 weekly parts, an epigram seems to have accompanied each statue), and that of Atticus which was on a similar plan, Plin. Nepos Att. 18. Ulustrium imagines ex ant. marmoribus e bibliotheca Fulvii Ursini, 1569. 70. lUustr. virorum ut extant in urbe expressi vultus caelo Augustini Veueti. R. 1569. Illustr. imag. del Tho. Gallseus. 1598. (Enlargement of the first work). Commentary on it by Jo. Faber. 1606. Iconografia—da G. A. Canini, ed. M. A. Canini. R. 1669. (very uncritical). Illustr. vet. philosophorum, poetarum, etc. imagines cum expl. I. P. Bellori. R. 1685. Gronov's Thes. Ant. Gr. T. i. ii. iii. (of little use). E. Q. Visconti Iconographie Grecque. P. 1811. 2 vols. 4to. Icon. Romaine. P. 1817. T. i., continued by Mongez T. ii. 1821. iii. 1826. iv. 1829. Gurlitt's Versuch iiber die Biistenkunde (1800.), Archaol. Schr. 6. 189. (the catalogue of portraits preserved is now very much to be thin- ned). Hirt ueber das Bildniss der Alten, Schr. der Berl. Akad. 1814. s. 1. [Griechenlands Schriftsteller und a. merkw. Manner nach Antiken gezeichnet 1—4. Lief. Leipz. 1828. 29. 4. unscientific] Scenes from Hfe, with significant names, on vases, M. d. I. ii, 44. E. Braun Ann. ix. p. 189. B. REPRESENTATIONS OF A GENERAL KIND. 1. RELIGIOUS TRANSACTIONS. 422. Among sculptures taken from ordinary life, but considered general, by far tbe greatest number, for reasons which lie in the history of art, refer to the service of the gods and to the ceremonies and games connected therewith.—-Re- ligious solemnities are represented simply and compendiously on Greek reliefs, on Roman sculptures with greater fullness and more attention to details. Libations especially, offerings of every kind and the enwreathing and adorning of the images of the gods, are exhibited in vase-paintings, but always with Greek freedom in the treatment of the actual transaction. Here are to be found with especial frequency sacrifices to THE DEAD (which have been for the most part misunder- stood); inasmuch as cippi (§• 286.),—often inscribed with names ornamented with helmets, vases, also columns or en- tire temple-like heroa (§. 294. 8.), in which armour hung, vases stood, branches were stuck, and the form of the departed was often also bodily present,—were carefully honoured, espe- cially by the women of the family, by entwining with hllets, anointing with oil, pouring wine from phialoe and kardiesna (§. 298. 299.), and offerings from baskets {nam J}. ana](https://iiif.wellcomecollection.org/image/b2178016x_0622.jp2/full/800%2C/0/default.jpg)
