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.

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    loco centro constituto, ad lineas ratione natural! respondere. This matter falls in with the last days of ^schylus (about 01. 80), hence Aristotle, Poet. 4,16, ascribes scenography or perspective scene-painting to Sopho- cles first. Scenography thenceforward figured as a separate art; about the 90th Olympiad we find in Eretria an architect and scenographer called Cleisthenes (Diog. Laert. ii, 125); afterwards there were various others, as Eudorus, Serapion in Plin. Aristot. Poet. 4, 16. Also a pictor scsenarius in Gori Inscr. Etr. i. p. 390. Comp. §. 324. 108. With regard to tlie columnar ordinances, the Doric 1 was at this period cultivated to a higher degree of grace without however losing its predominant character of majesty. The Ionic existed at Athens in a peculiar ornate form, and in 2 Ionia itself in that which was afterwards retained as the regular canonical form. Beside these appeared about the 85th 3 Olympiad the Corinthian capital, which was unfolded by an ingenious combination of the volute forms of the Ionic with freer and richer vegetable ornaments, but only attained gra- dually its canonic form. Accordingly it is found single at 4 •first, then multiplied, but only in subordinate portions of the building. As a leading order it was first employed in small honorary monuments. 3. See the story of Callimachus' invention in Vitruv. iv, 1. 4. See §. 109. No. 5, 12, 13, 15. We find it employed throughout for the first time in the Choregic monument of Lysicrates, which, though elegant, is by no means to be regarded as a perfect model, 01. Ill, 2. Stuart i. ch. 4. 109. Whilst the temples of Athens at this period bore the character of the purest proportion, the choicest forms, and the most perfect harmony, and a similar spirit was exhibited in the Peloponnesus, elegance and magnificence were the quali- ties most aimed at in Ionia where the art was later of coming into full bloom, and the Ionic style was almost exclusively employed (with striking, indeed, but not so careful execution in detail). The Sicilian temples on the other hand adhered to the old Doric forms, and imposed by their gigantic size and boldness of plan. I. ATTICA. 1. [Comparison of the dimensions of 17 temples in Serradifalco, Ant, di Sicilia ii. p. 80, and a collocation of 21 Sicilian temples in ground plan, v. tv. 43]. The Theseion, from 01. 77, 4. (§. 101. rem. 2) till later than 80 (§. 118). Peript. hexast. in the Doric order, 104 X 45 f. of Pentelic marble. The height of the columns more than 11, the intercolumnia 3 mod. Well preserved, even the beautiful lacunaria. Stuart, Antiq. of Athens iii. ch. 1. Supplem. ch. 8. pi. 1. [L. Ross to Omthu kccI 6 v»6g Toil A^eos iv 'A.^55i/«</j 1838. 8vo. Archilol. Zeit. 1844. S. 245, In oppo- sition to this Ulrichs Annali d. Inst. xiii. p. 75. E. Curtius in Gerhard's Archaol. Zeit. i. S. 97].