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.

    87/664
    imitated in barbarian workmanship (with a centaur instead of the satyr), Mionnet, Descr. pi. 40, 44, 50. Suppl. ii. p. 545. iii. pi. 6, 8. Cadalv^ne Reciieil de M6d. p. 76. Cousinery, Voy. dans la Maced, T. i. pi. 6, 7. Comp. Gott. G. A. 1833, s. 1270.—^The figures of animals and moiistra especially are also often very antique on the old gold staters of Asia Minor, of Phocaea, Clazomense, Samos, Lampsacus, Cyzicus. (The combination of lion and bull on the Samian staters reminds one of oriental conjunc- tions.) See Sestini, Descr. degli Stateri antichi. Firenze 1817, and in particular Mionnet, Suppl. v. pi. 2, 3. Comp. besides Stieglitz, Versuch einer Einrichtung antiker Munzsammlungen zur Erlauterung der Ge- schichte der Kunst. Leipz. 1809. D, A. K. Tf. 16, 17. 4. PAINTING. 99. At this period tlie art of painting, by means of Cimon 1 of Cleonae and others, made such progress, especially in the perspective treatment of subjects, as enabled it to appear in great perfection at the very beginning of the next period. Vase-painting, which had been introduced into Italy and 2 Sicily from its two metropolises Corinth and Athens, remained more restricted in its resources, so that the works especially of the Chalcidian Greeks in Lower Italy took Attic models as their ground-work both in subjects and forms. In the now 3 prevailing species Avith black figures on reddish-yellow clay were exhibited all the peculiarities of the old style: excessive prominence of the chief muscles and joints, stiffly adhering or regularly folded drapery, constrained postures or abrupt movements of the body;—but at the same time, owing to the facility of exercising this art, there -Were a great variety of manners belonging to particular places of manufacture, often with an intentional striving at the bizarre. 1. Cimon of Cleonse, PUn. xxxv, 34. Ml. V. H. viii, 8 (on the con- trary we must read MUau, [who improved on the invention of Eumarus §. 74] in Simonides, Anthol. Pal. ix. 758, also perhaps App. T. ii. p. 648), invented catagrapha, obUquce imagims, i. e. oblique views of figures, from the side, from above, from below; and stimulated to more exact details in the body and drapery. That was a great picture which was dedicated by the architect Mandrocles in the Herajum—the bridge over the Bos- porus and the passage of Darius (Herod, iv. 88). Pictures in Phocjea about the 60th 01. Herod, i. 164. Mimnes mentioned by Hipponax 01. 60, painted triremes [Aglaophon in Thasos, father and master of Polyg- nolus and Aristophon.] 2. It is proper to refer here to the question as to whether the great mass of the vases of Volci (respecting their discovery §. 267), which probably belong to the time between the 65th and 95th 01., and by their subjects and inscriptions decidedly refer to Athens, were manufactured at Volci by Attic colonists or metoeci, or whether they came by means of commerce from Athens or a Chalcidian colony of Athens. Comp. Millin-