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.
634/664 page 616
![Judicial proceedings at the close (as on the shield of Achilles) are hardly to be met with; the challenge is alluded to on coins of the gena Portia, Stieglitz N. fara. p. 107. 4. THE CHASE, COUNTRY LIFE, ECONOMICAL OCCUPATIONS. 1 427. Scenes of the chase were pretty frequently represented in ancient works of art, especially the boar-hunt, which in point of danger made an approach to war, and hunting the 2 hare, which required particular swiftness and dexterity. The occupations of rural life were rarely represented by immediate imitation of reality, as so diversified a mythical expression for them was afforded in the cycles of Demeter and Dionysus; at least art loved to mingle satyrs, erotes and other mythical 3 figures, as personages actively participating therein. Rural simplicity and bluntness did not lie beyond the sphere of an- cient art; accordingly the short stature and thickset form which were given to the earlier figures of the kind, were re- 4 quisite in the representation of a homely rustic nature. In youthful forms this rustic character assumes the expression of 5 guileless innocence and naivete. ■ An old fisherman also, grown haggard and weatherbeaten by long-continued toiling at sea, waTa subject which plastic artists as well as poets in anti- 6 quity carried out with great truth to nature. Reliefs and paintings which were intended to announce tlie profession of the occupiers of the houses, gave occasion for manifold repre- sentations of handicrafts and trades. 1, Montfaucon iii, 165 sqq. Philostratus describes i, 28. one picture, '2,vo^flooti, Phil, the yr. another, Kvunyirxi. Statue of a hunter in coat and chlamys of skins, with fowls and hares taken, M. Borb. vii, 10. Sleeping huntsman, very fine relief in the M. Cap. iv, 53. On vases of the old style boar-hunts frequently occur, sometimes in reference to dark mythic stories, §. 75. R. 2. 99. No. 4., comp. Paus. i, 27, 7. Welcker, Jahn's Jahrb. 1829. i. s. 254. A wild-boar brought back, Millin Vases i, 18. Gerh. Ant. Bildw. 70. Hunting the hare, fine in vase-paint. Millingen Un. Mon. 18. The lion-hunting in the reliefs: G. Giust. ii, 136.; Mon. Matth. iii, 40,1.2.; Caylus iv, 119.; Guattani Mem. enc. vii. p. 12.; L. 423. Bouill. iii, 64, 4. [Lion-, stag- and boar-hunt, sarcophagus, Neapels A. Bildw. no. 185.] venders of killed fowls, Tmpr. d. Inst. Hi, 49. Clarac pi. 151., introduces a Roma among historical figures, as in triumphal processions. Comp. §. 412. R. 2. Lion-hunts often on later imperial coins and gems, comp. §. 207. R. 7. Hunters chasing away their young from tigers, Bartoli Nasou. 16 Ludi funebres, tigers, lions with persons appointed to engage with them, Mazois Pompei. 31. 32. Bartoli Nason. 27. Luc. 31. Montf. iii, 165. Herodes Atticus erected in woods and fields, statues of his foster-sons m all sorts of hunting attitudes, Philostr. v. §. 2, 1, 10. [This class of sub- jects must have been extremely popular and widely encouraged in later](https://iiif.wellcomecollection.org/image/b2178016x_0634.jp2/full/800%2C/0/default.jpg)
