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.

    83/664
    Rhcin. Mus. iv. s. 4. Tf. 1, SchoU MittheU. Tf. 1. In Scholl. Tf. 2, 4. there is also the large relief on the acropolis of a female figure ascending a chariot, in which grace is remarkably combined with antiquencss. The bas-relief Despuiges §. 364. R. 8 is far more antique. 20. Theft of the Tripod—a subject early cultivated (§. 89. Rem. 3), probably much employed at the consecration of tripods, which very often occurred at Delphi, Thebes and Athens. The base at Dresden, n. 99 (August. 5—7), can be best explained as the stand of a tripod which was won as a prize in an dyuv Xa^TctSoiJxo?- The reliefs in Paciaudi, Mon. Pelop. i. p., 114 (from Laconia), carry us back to the same original. Mon. du. M. Napol. ii. pi. 35 (in the Louvre, n. 168. Clarac, pi. 119), Zo- ega ii. tv. 66 (Villa Albani). The subject was already treated in ancient vase-pictures in a more free and lively manner. Comp. especially Fr. Passow in Bottiger's Archaol. und Kunst, i. s. 125. [In one only; only in one relief also on a sarcophagus at Cologne, Verein der Alterthums- freunde. Bonn 1845. vii. s. 94. where 46 monuments are collected, to which others also will be added.] 21. Reconciliation of Hercules, before whom advances Athena, and whom Alcmena (1) follows, with the deities of Delphi, who are followed by Hermes and the Charites as the deities of peace and friendship, from the well of a Corinthian temple {Trs^taroi^iov, puteal sigillatum) in the possession of Lord Guilford. DodweU, Alcuni Bassir. 2—4. Tour ii. p. 201. comp. Leake, Morea iii. p. 246. Gerhard, Ant. Bildwerke i. Tf. 14 —16 (Procession of the new-born Aphrodite to Olympus, also Welcker, Ann. d. Inst. ii. p. 328). Panofka, Ann. ii. tv. P. p. 145 (Marriage of Hercules and Hebe).—This Corintliian relief treated in greatest detail by K. W. Bouterweck in Schorn's Kunstblatt, 1833, Nos. 96—99, who also endeavours to prove that it represents the introduction of Hercules to Olympus and his marriage with Hebe. [The author repeats the above explanation in the Dorians i. 431 and D. A. K. xi, 42, Gerhard his in the text to the Ant. Bildw. 2 Lief. 1844. s. 194—207. E. Braun also takes the representation to be a marriage scene, but as Her. and Hebe, in his Tages s. 10, and 0. Jahn agrees with him. Archaol. Aufs. s. 108.110—113.] 22. Altar of the Twelve Gods from the Villa Borghese in the Louvre, No. 378, an excellent work nobly conceived, and executed with extreme care and industry. Beneath the twelve deities are the Charites, Horse, and Moerae. Perhaps an imitation of the (iafiog luhacot ^sZv of the Pisis- tratidae about the 64th Olympiad. Visconti, Mon. Gabini, tv. agg. a. b. c. Winckelm. W. iii. Tf. 7, 8. M. BouiU. iii, 66. Clarac, pi. 173, 174. Similar groupings: the Capitolian puteal with twelve deities, Winck- elm. Mon. In. no. 5. M. Cap. iv. tb. 22. Winckel. W. iii. Tf. 4; the ara tonda of the Capitol with ApoUo, Artemis, Hermes, M. Cap. iv. tb. 56. Winckelm. W. iii. Tf. 5 ; another from the Mus. of Cavaceppi with Zeus, Athena, Hera, Welcker's Zeitschrift i, ii. Tf. 3. n. 11. Comp. Zoega, Bassir. ii. tv. 100, 101. 23. Anathemata for victories in musical games in the most ornate hieratic style. Apollo, frequently accompanied by Leto and Artemis, as Pythian singers to the cithern, making libation after the victory; a god- dess of victory pouring out. Zoega, Bassir. ii. tv. 99; Mon, du M. Na- pol. iv. pi. 7, 9, 10 (Clarac, pi. 120, 122); Marbles of the Brit. Mus. ii.