Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.

  • Karl Otfried Müller
Date:
1852
Catalogue details

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.

    70/664
    HISTORY OF GREEK ART. [Pee. 11. Heoias (Ilegcsias) of Athens, brass-caster at the same time. Glaucus of Argos, brass-caster, 77. Dionysius of Argos, brass-caster, 77. Simon of ^gina, brass-caster, 77. PtoHchus of iEgina, son and scholar of Synnoon, brass-caster, 78. Onatas of ^gina, brass-caster, 78—83. also painter, Rathgeber on Onatas, in Ersch and Gruber's Encycl. correct on the whole, the Hercules of Onatas on coins not worthy of credit. Calynthns of ^gina, brass-caster, 80. CaUiteles of ^gina, scholar of Onatas, brass-caster, 83. For the history of the artists I refer generally to Franc. Junius' earlier and J. Sillig's far more perfect Catalogus artih- cum. Dresden 1827, to which Welcker (Kunstblatt 1827. p. 321, 333 sq. 1828 p. 36), J. M. Schulz (Jahns Jahrb. 1829. iii. 1), Osann (Kunstbl. 1830' p 330. 1832. p. 293), and R. Rochette (Lettre k M. Schorn. p. 1832), [enlarged as Supplement au Catal. des Artistes 1845. Count Clarac Catal. des arts de I'antiq. 1844. Emeric David Essai sur le classement chronol. des sculpteurs Grecs les plus c61ebres, p. 1807. 8. According to the views of Giraud the sculptor as Count Clarac proves, H. Brunn arti- ficum liberae Greci^ tempora. Bonnae 1843.] have made many addi- tions Where any deviation from these authorities seemed necessary, the grounds may be partly gathered from the general context, and partly from what follows. B. BBLIGIOXTS STATUES (fllyaXjitssTa). 1 83. As it was not tlie religious statues from wMcli a freer cultivation of art emanated, so also in this period and later Aey were very often withdrawn from this cultivation by the 2 S with which the ancient form was maintained. In co o- Ses the form of the images in the metropolis was faithfully 3 S'rolced; and where I new image was needed, they not unfrequently made an exact imitation of the old one. 2. Such statues were called ^^p.l^i^.r. (Wesseling ad Diodor. xv, 49) «nd thev ereatly abounded especiaUy in the case of Artemis Ephesia ^TOn.vf ii 22 comp. viii, 56). In Massalia (01. 45 or 60) and its colo- ^ P^tilishT f^m of the ancient carved image was preserved, Strab 'v p The ^ of the temples, as in the story of He- Uc Olymp. 101, 4, in Diodc^- ibid. Strab. viii. p. 385, mclude the xmita- tion of the religious statue. _ Onatas foUowing the tradition, imitated in brass the ancient A nf Dpmeter Metena of Phigalia which was burnt, with priestess at Sparta, Pans, lu, 16. ^ i , 1 «4< Even in regard to the material, the artists only dc- ^ W decrees from the wood formerly in use. On the ^wi! ^ Ir Pven Sded bodies of wood were placed heads, arms , t^^^^^i > ivory ^so was Joined to the wood, 3 or it was entirely overlaid with gold. l! [Apollo of clchus at Thebe., of cedar, an athlete of fig-tree, §.