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.
632/664 page 614
![Tragic scene, Gell N. Pomp. 75. Lower Italian farcei, §. 390. R. 7.; Ger- hard Ant, Bildw. 73. [Players Clarac pi. 873-874 D.] Comic actors it statues, PCI. iii, 28. 29., in Etruscan bronzes, Gori M. Etr. i, 186., on sepulchral lamps, Bartoli 34 sq. Passeri iii, 21. Impr. d. I. iv, 59. 60, 61.? A Xanthias before Hercules, after the Frogs of Aristophanes, Etruscan [Oscan], M. Pourtal^s pi. 9. Scenes of later comedy, Pitt. Ere. iv, 33. 34. M. Borb. iv, 33. vii, 21. Gell N. Pomp. pi. 76. From Terence §. 212, 3. Zahu wall-painting 31. M. Borb. iv, 18., perhaps Terence's Eunuch iii, 2. [A collection is expected from Wieseler.] Ficoroni De larvia scenicis et figuris comicis. R. 1754. ed. 2, Scenes of the tragic, comic and satyric drama as decorations of rooms §. 160, R. 2, 209. R. 4. Costuming of players for a comic and satyric agon, under the superin- tendence of an old didaskalos, mosaic from Pompeii, M. Borb. ii, 56. [Dressing for a satyr-drama, vase in the Mus. Borbonico of the first class, M. d. I. iii, 31, Ann. xiii. p. 303. Bull. 1837. p. 97, 0. Jahn Archaol. Aufs. 8. 143 if.] Gell N. Pomp. 45., comp. Bull. d. Inst. 1833. p. 21, Bacchus suiTounded by his thiasotes, among whom Comoedia is costumed in mask and sock, M. Borb. iii, 4. The relief Buonarr. Medagl. p. 447. exhibits a tragic actor sitting on the stage in Dionysian garb, a little flute-player and a Victory, as it seems, beside him, M. Poiirtal^s pi. 38, Roman sculpture, according to Panofka a dramatic poet and xo^ohtldta- r.ctXof, comp. Visoonti M. PioCl. i. tv. 6. Dramatic poets are often repre- septed looking at masks, in reliefs, Winck. M. I. 192., and gems M. Flor. j, 44,,8. Comic poet with mask, pedum, scrinium, Thalia beside him, Gell N. Pomp. 17. A tragic poet, forming the plan of his piece, protagonistes, Pitt. Ere, iy, 41. Philosopher before the sun-dial, Impr, d. I. iv, 81. Mathematico-musical instruction, Tischb, iv, 69, A school of mathe- matical philosophers, mosaic in Winck. M, I. 185, Representations of artists at work §. 305. R. 7. 310. R. 1. 319. R. 4. 3. WAR. 1 '426. Representations of war were naturally most con- uected with historical events, especially in the productions of art at the Roman period, although scenes in particular which related to the fortunes of war, were often represented in_ gene- ral reference, rather as matters of prophecy than of history. But there can scarcely be a more important source than tri- umphal monuments for obtaining a vivid knowledge of the Roman legions, Prjetorian and auxiliary cohorts, in dress, ac- 2 coutrements and standards. From that principle of the an- cients, which led them to give prominence to the human figures, and to assign a subordinate rank to the lifeless masses as mere accessories, even sea-battles could be treated in small 3 space in an attractive manner. Statues of combatants in in- teresting postures may have also for the most part origmally fulfilled°their destination in larger historical groups, and after- 4 wards been erected as separate ))erformances. It is otherwise](https://iiif.wellcomecollection.org/image/b2178016x_0632.jp2/full/800%2C/0/default.jpg)
