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.
642/664 page 624
![neath was to be seen in 1822 in the cellars of the British Museum. On a sepulchral monument from Pompeii a relief with a skeleton adorn- ing a woman with ribbons, Mazzois Pomp, i, 29. Cippus at Naples with a skeleton, from whose mouth a butterfly is floating away, Neapels Ant. s. 61. A skeleton escaping from the urn (on skeletons in amphorae, comp. Steinbiichel Alterth. s. 67.), while Eros sends light into it, Impr. d. Inst, ii, 58. A skeleton dancing to Silenus' flute, Wicar iii, 28. See also Gori Inscr. i. p. 455. and the gems in Christie, Painted Vases 4. 6. (skeletons with lanterns). On the skeletons of Cuma (§. 260. R. l.)j works by Jorio, Sickler, Blumenbach, Gott. G. A. 1823, s. 1243. Gothe Werke xliv. s. 194, Olfers, Schriften der Berl. Akad. 1830. s. 1. Tf. 1 4. [Stackelb. Graber s. 16, no dancing skeletons, but dry haggard human bodies? The shades leave the graves larvali habitu, nudis ossibus cohaerente, Seneca Ep, 24. ossea forma, Ovid lb. 146. So the two figures on a vase, Mus. Chiusino ii. tv. 168.] List of the skeletons in ancient art, ibid. s. 30 ff, Tf. 6. A bronze larva, consisting of skin and bones, was said to have been consecrated by Hippocrates at Delphi, Paus. x, 2, 4. 2. The larva argentea in Petron. 34., sic apta ut articuli ejus verte- brseque laxatae in omnem partem flecterentur, was accordingly a regular skeleton. A skeleton at a feast also on the relief in the Louvre 25. Appul. de magia p. 68. Bip. III. SUBJECTS FROM THE EEST OF NATURE. 1. ANIMALS AND PLANTS. 1 433. The mastery of the ancients in the representation of the NOBLER kinds of animals arose from their fine sense of characteristic forms. The horse was immediately connected with the human form in Greek statues of victors and Roman' statuae equestres; although seldom slender and high, the horses of Greek works of art, however, are very fiery and spirited, those of Roman execution more clumsy and massive; their pace is frequently an artificial one which they were taught— 2 ambling (tolutim). According to Pliny the tutelarii were re- sponsible with their lives for a dog licking his wounds, in the Capitol, because it was of inestimable value; there are ani- mals of this class of distinguished beauty; as well as wolves, bulls, rams, boars, lions and panthers, in which sometimes the forms of these animals are as grandly developed as the 3 human forms in gods and heroes. To represent powerfully- designed wild animals, especially fighting with one another, was one of the first efibrts of early Greek art. 1. Winok. Werke iv. s. 236. 2, Iconic horses, J51ian V. H, ix, 32. Calamis' horses §. 112. 2. Mar- cel de Serres Ueber die Thiere der alten Kunst, Bibl. Univ. 1834. Mars](https://iiif.wellcomecollection.org/image/b2178016x_0642.jp2/full/800%2C/0/default.jpg)
