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.
646/664 page 628
![rous figures, is everywhere preferred, in the Herculanean pic- 8 tures,^ to the impressiveness of solitary scenes of nature. Their paintings of nature also gave occupation to a scientific atten- tion, from their map-like survey of extensive tracts of country, and turnished a pictorial chorography and ethnography. ; 1. The age of Arabesques in Homer, afterwards caUed <pvr<iotcc iL-hd ^i^U^iet) IS proved especially by the vases; pretty nearly the same ara- besques in vase-paintings, as M. Blacas pi. 25.,—sports of humour, where every interpretation is questionable^and in terracottas of the Brit. Mus. tv. 14, 22. 18, 31. their rich development in after times through Roman inural paintings, §. 210 sqq., candelabra, §. 302. R. 3., and other vessels. For the history of Arabesques H. Hase Palaeologus s. 90. [Gruber De- scription of the plates of fresco decorations and stuccos in—Italy, with &n essay on the Arabesques of the Ancients as compared with those of Raphael and his school, by Hittorff L. 1844.] 2. See §. 209, 4. Of the nature of landscape was the Vetus pictum Nymphafeum exhibens ed. L. Holstenius (ex sed. Barberinis). R. 1676. Harbours, §. 296. R. 6. Labyrinthus, Maeander, Fest. Non. Villas in the aea, Gell. N. Pomp. vign. 9. The picture, Winck. M. I. 208., is an exam- ple of how much the ancients required human life and the works of man in landscape. Yet they sometimes succeeded in producing in a small relief a truly rural and solitary impression by means of a couple of merely in- dicated trees and rocks, and a few clambering goats, for ex, L. 387. Bouill. iii, 57, 9. Clarac pi. 144. Comp. the Athenian relief tablet, Walpole Trav. last pi.; such little scenes recal the ancient rhopografhy §. 163. R. 5. Re- presentation of an habitual mood of the mind (sense) by the imitation of a corresponding mood of nature (truth), the main problem of the art of landscape painting, Carus Briefe ueber Landschaftmahlerei Lpz. 1835. 2. Aufl. Br. 3. s. 41. 3. See in Philostratus the paintings of the marshy country i, 9., the very ingeniously conceived one of the Bosporus i, 12.13, of the Islands ii, 17., among which could be recognised the Cyclades Ceos, Tenos, Delos and Rheneia, Melos, Siphnos and Naxos, comp. §. 384. R. 4. These had certainly a great resemblance to the mosaic of Palestrina §. 322. R. 4. Another but more mythological representation of Egypt, on the Egyptian goblet, §. 315. R. 5. Visconti PGl. iii. tv. c. Others more comic, Brit. Mus. Terrac. 36. Egyptian landscapes were in much favour at R.ome, especially in mosaic, somewhat like the Chinese pictures at the present day, PCI. i. p. 14. n. Gardens of Alcinous on coins of Corcyra. Treatise by GeL Cavedoni. According t6 Eustath. ad l)ion. p. 87. painters were wont to give hills the form of lions and other animals. At Antioch there was a so- called Gharonian head hewn out of the rock, Malalas p. 205. Tretz. ChiL ii, 920.](https://iiif.wellcomecollection.org/image/b2178016x_0646.jp2/full/800%2C/0/default.jpg)
