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.

    71/664
    87, 1, the Sosianic Apollo of cedar, Plin. xiii, 11, Ilocate of Myron at ^gina, the first victors at Olympia 01. 59. 61. Paus. vi, 18, 5.] 'AK^oT^i^oi Paus. ii, 4, 1. vi, 25, 4. vii, 21, 4. 23, 5. viii, 25, 4. 31, 1, 3. ix, 4, 1. The statue of Apollo at Phigalia is an instance, Stackelberg, Apol- lotempel, p. 98. 2. The Dioscuri with wives, children and horses at Argos, by Dipoenua and ScyUis, of ebony; in the horses some portions ivory, Paus. ii, 22, 6. 3. X^viTsau ^oimv rv-Troi Eurip. Troad. 1081. 85. From these were developed those images of the gods, 1 very prevalent at this period, in which a kernel of wood was overlaid with ivory and gold. This species of work, which 2 had been earlier employed on vessels in the same way (§. 56), is reckoned as a branch of toreutics, by which is meant sculp- 3 ture in metals (the art of the ciseleur) and also this combina- tion of metal with other materials. Brass-casting, however, 4 was now also more frequently applied to the representation of the deities in their temples. 1. There were x^^^^'^^9^'''^'a, a.ya.'Kfji.u.rtx, of this description by Dory- cleides, Theocles, Medon (in the Herseum at Olympia), by Canachus (Aphrodite at Sicyon), Mensechmus and Soidas. 2. Probably the throne of the Amyclsean ApoUo was also a work of the toreutic art. It was built by Bathycles the Magnesian, perhaps in the time of Croesus, when the Spartans seem to have first turned their attention to costly dvcc^iifActTa,, comp. §. 69. 82. Reliefs in 32 panels adorned the throne, at the feet were supporting statues, two Charites, two Horse, Echidna and Typhoeus, Tritons. Paus. iii, 18, 19. Heyne An- tiquar. Aufs. St. 1. S. 1. Quatr.-de-Quincy Jup. 01. p. 196, where however there is given an incorrect notion of K»Sisl^cti and ev^vxc^^i'cci, Welcker Zeitschrift I, ii. s. 280 fi. 3. On the toreutic art, Heyne Antiquar. Aufs. St. 2. S. 127. Schneider Lex. s. V. ro^svuv. Quatr.-de-Quincy, ibid. S. 75 fi. [When we confound the toreutic art, as it is rightly explained §. 173. 311, and which works with more or less delicacy and minuteness on the surface, with the build- ing up of colossi and thrones, we do so in consequence of a deduction of Quatrem^re de Quincy, which although it scarcely yields in inaccuracy to his Attic demos, has nevertheless found acceptation to a surpris- ing degree. Thus here also and §.120, 2. 312. R. 1. &c. Among artists therefore the designation of toreutes hovers between ca3lator or enchaser and artist in gold and ivory, master of colossi, as for example in the lists §. 112. 124. 196. We do not wish to unite under the same name, statues in marble and brass (sculptura and statuaria) or both of them and the glyptic art (in precious stones) or anaglypha and cameos, and why then should we confound the toreutic art and working in gold and ivory in contradiction to the universal practice of the ancients ?] 4. Brazen religious images—for example the Apollo Philesius of Can- achus in the Didymseon, the Demeter of Onatas mentioned §. 83, 3. &c. 86. The representation of the gods themselves during this x