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.
631/664 page 613
![p. 14. hard workmanship.—Combats at sepulchral monuments on Etrus- can urns are likewise to be understood as denoting ludi funebres. They probably occur also on Greek vases, according to Campauian custom, for example Maisonn. 23. 425. The near relation in which the art of dancing stood 1 to sculpture (§. 77, 2.), has been yet but little indicated with certainty in particular cases; many ancient modes of dancing, however, can be pretty well recognised in vase-paintings! Neither musical contests nor theatrical representations en- 2 couraged to imitation in the good times of art, their costume being in general as ample and gorgeous as the plastic art re- quired it simple and natural (§. 336, 3.). Only those branches of art which, neglecting severe principles, imitate life in greater extension, as vase-painting, miniatures, mosaics, fur- nish theatrical scenes in considerable number. 1. Of the dances in Athenaeus we recognise pretty well on vases the x,SQ»6(poqoc, oiu5iifict, KotKot^iaf^og, xstQ atf^'^ (Laborde i, 78.), aicu-^^ or ckqts-o; (§. 385. R. 4 h.), ;co^§s6| (Laborde i, 68. §. 386. R. 3.). The Ki^.ocpo^o; also on wall-paintings, according to the Ed. of the Pitt. Ere. iii. p. 154. Kt/- (itarii^es in bronzes, Micali tv. 56, 2—5. earlier ed.; female K. on vases, Tischb. i. at the end. The so-called Horse, L. 20. V. Borgh. i 14! BouiU. ii, 95. Clarac pi. 163., are Dorian dancing girls, with unhooked chiton, §. 339, 1. A chorus-dance wherein a temple is adorned, L. 21, Clarac pi. 163. A young maiden dancing in light dress with castagnettes, vase-paint. Gerh. Ant. Bildw. 66. A female dancer OPXHCIC from the Vatican Manuscript of Cosmas in Winck. W. vii. Tf. 8 C. [Female dancers in terracotta Clarac pi. 776.]—Dancing Galli (Chinese-looking), striking small cymbals and tympana, mosaic by Dioscurides, M. Borb' iv. 34. 2. Victorious citharoedi often on vases, for ex. Gerh. Ant. Bildw 58 comp. §. 96. No. 23., also 99. No. 1. Splendid figure of a maiden playin^ on the cithern, on the gem by Onesas, Wicar ii, 43. Citharcedus before a tomb, Impr. d. I. iv, 80. Caricature of an infibulated citharcedus, bronze, Wmck. M. I. 188. A musical virtuosa playing at the same time on a standmg and lying stringed instrument, M. Borb. i, 30. Fine vase- picture of a concert of female players on the flute, the cithern and the trigonon, together with female singers, Maisonn. 43. A female flute- player and a female cithern-player, before an athlothete, Laborde i, 11. The very mteresting picture from the necropolis of Gyrene, Pacho pi. 49. 50., exhibits a double agon of auletae and citharoedi in full costume The three figures on vases with high stephane (o'y^cos ?) seem to be statues ih the stage costume of Hercules, Hermes and a third. Comp. therewith Pitt. Ere. iv, 42. M. Borb. i, 31. especially the faithfuUy represented flute- player. The Panfili reUef in Winck. M. I. 189. aUudes to the theatvical games given by Valerianus Paterculus at a celebration for the dead among other things by a Hercules in the stage costume. ' The vase found at Aulis, MiUin ii, 55. 66. represents a scene of the Attic theatre with the theatre itself. We best acquire a knowledge of the tragic costume therefore from the mosaic referred to §. 322. R, 4. No. 7](https://iiif.wellcomecollection.org/image/b2178016x_0631.jp2/full/800%2C/0/default.jpg)
