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.

    84/664
    pi. 13. Fragment from the Elgin Collection in the Brit. M. R. xv. 103; from Capri in Hadrava, tv. 4. As a firieze ornament in terracotta, Brit. M. no. 18.—Apollo in the same costume singing a pjean to the cithern, •whose cords he grasps with the left (^//aXAs/), and strikes at the same time with the plectron in the right (kqUu) Men. du M. Napol. iv. pi. 8; quite like the Samian bronze statue of Bathyllus in the costume of Apollo. Appul. Florid, p. 128. Bip. Anacreont. 29, 43.—Comp. Welcker, Ann. d. Inst. V. p. 147. [§. 361, 4.] 24. Sacrifice for a victory to Athena-Polias, who is clearly recognised by the guardian-serpent, oUov^o; d(pig, in several reliefs, which—with a not unfrequent extension of the original signification—were placed on the cippi of warriors. Mon. du M. Napol. iv. pi. 11. Amalthea iii. s. 48. Comp. R. Rochette, Mon. In. i. p. 288, 426. Welcker, Ann. d. Inst. v. p. 162. This representation also on a marble discus M. Borbon. x. 11. The stele has the aphlaston. [Avellino Casa di Pompeji 1840. tav. 4. p. 57—80 whore the Salaminian victory of Ajax is indicated. Comp. Annali d. Inst. v. p. 162. R. Rochette Mon. Ined. p. 228. 426.] The following reliefs in particular may serve to present more clearly to view the transition from the old-Greek style to the improved style of the following period. 25. Hercules kneeling on the hind {vot-vra, viv^ahn). Combe, Marbles of the Brit. M. ii. pi. 7. Specimens, pi. 11. The posture also remained nearly the same in later art. See Anthol, Pal, ii. p. 653. Plan. 96. [The fine group found in Pomp, published by Gaet. d'Ancora, N. 1805. 4to. and in the M. d. I. iv, 6. with a similar one in marble, Annali xvi. p. 175 by H, Keil.] 26. Castor as horse-tamer with the Castorian dog from the Tibur- tine Villa of Hadrian. Combe ii. pi. 6. Specimens, pi. 14. 27. Festal procession of a Satyr and three Maenads, in the ancient solemnity of style. Inscription : YLetXhti^a,y,Q; Ittoiu. M. Cap. iv. tb. 43. 28. Cippus with the figure of the deceased (as a ^u?) leaning upon a staff, giving a grasshopper to a dog, near Orchomenos. Clarke, Travels iii. p. 148. Dodwell, Tour i. p. 243. The figure in a relief at Naples from the grave of a Campanian named Meddix (according to the inscription) [The inscription does not belong to the stele, and is now even separated from it] is very similar, only it is clad in a shorter dress, and has an oil- vessel (X'^xt^So?) suspended from the wrist as a symbol of gymnastics. R. Rochette, Mon. Ined. i. pi. 63. p. 251. Odysseus with the dog Argos ac- cording to Welcker (as well as R. Rochette and the Catal. del Mus. Bor- bon.) Rhein. Mus. iii, 4. s. 611 [which is however an error. Mus. Borbon. xiv, 10]. Works of the hieratic style also in terracotta are much more common, and are undoubtedly genuine works of this period. 29 Those reUef-figures are genuine antiques which were found at Melos, without a ground, probably from a votive shield, i-eprescntmg Perseus as slayer of the Gorgon, and Bellerophon as vanquisher of the