Ancient Art and Its Remains: Or, A Manual of the Archaeology of ArtB. Quaritch, 1852 - 636 pagine |
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Altre edizioni - Visualizza tutto
Ancient Art and Its Remains: Or, A Manual of the Archaeology of Art Karl Otfried Müller Visualizzazione completa - 1852 |
Ancient Art and Its Remains: Or, A Manual of the Archaeology of Art Karl Otfried Müller Visualizzazione completa - 1852 |
Ancient Art and Its Remains; Or, a Manual of the Archaeology of Art Karl Otfried Müller Visualizzazione completa - 1852 |
Parole e frasi comuni
according Ægina Amalthea ancient Annali antique Aphrodite Apollo Archäol architecture Artemis artists Athenian Athens Augustus beautiful Bildw Borb Böttiger Bouill brass-caster Brit bronze Bull busts Clarac Clarac pl coins colossal colours columns comp deities Descr Dionysus Doric drapery Eckhel Egyptian engraved especially Etruscan feet figures frieze gems Gerhard Gesch gods Grecian Greece Greek head Hephæstus Hera Hercules Hermes Hirt ibid images Inscr inscription Inst Ionic Kunstbl Lysippus manner marble Mém Micali Millin Millingen monuments Museum Olympia ornaments painting palace Pallas Paus Pausanias period Phidias Philostr PioCl plastic art Plin Pliny Plut Polyclitus Polygnotus Pompeii portico Praxiteles probably Ptolemy Racc reliefs representation Rhein Rochette Roman Rome satyr scholar Scopas sculptures Sicyon Sillig statues stone style temple thermæ tion tomb toreutes vase-paintings vases viii Villa Visconti Volci walls Welcker Winck Winckelm xxxiv xxxv Zeus Zoëga καὶ τὸ
Brani popolari
Pagina 213 - Recherches pour servir à l'histoire de l'Egypte pendant la domination des Grecs et des Romains...
Pagina 217 - Voyage à l'oasis de Thèbes et dans les déserts situés à l'orient et à l'occident de la Thébaïde, fait pendant les années 1815, 1816, 1817 et 1818 par M. Frédéric CAILLIAUD (de Nantes) ; rédigé et publié par M. Jomard ; contenant : 1° le Voyage à l'oasis du Dakel, par M.
Pagina 77 - The Erechtheion at Athens. Fragments of Athenian Architecture and a few remains in Attica, Megara, and Epirus...
Pagina 53 - Effigies hominum non solebant exprimi , nisi aliqua illustri causa perpetuitatem merentium , primo sacrorum certaminum Victoria, maximeque Olympiae : ubi omnium qui vicissent statuas dicari mos erat. Eorum vero , qui ter ibi superavissent , ex membris ipsorum similitudine expressa, quas iconicas vocant.
Pagina 496 - Dionysian cycle, by the unrestrained rudeness with which animal nature-life manifests itself in them; and the part likewise which they play in heroic mythology, is especially assigned to them through their love of wine. In earlier times they were 2 represented in front entirely as men, with the body of a horse growing on to them behind ; but afterwards, perhaps from the time of Phidias, the forms were blended much more happily, by the joining of the belly and breast of a horse to the upper part of...
Pagina 108 - Hominis autem imaginem gypso e facie ipsa primus omnium expressit ceraque in earn formam gypsi infusa emendare instituit Lysistratus Sicyonius frater Lysippi, de quo diximus.
Pagina 462 - Ultor (who recovered them) ; victories, trophies, and the olive7 branch the Victor and Pacifer. Scopas sculptured a sitting Ares ; he was doubtless conceived as reposing in a mild mood, which seems also to be the meaning of one of the chief statues extant, in which a copy after Scopas is perhaps preserved to us. 3. 4. Beautiful head of Ares on the gem, Millin P. gr. 20. Lipp. i, 32.
Pagina 425 - ... sometimes degenerate in his sons (Neptuni filii) into insolence and rage. Art however, from its dependence on 4 the religious worship, must necessarily revert to the common fundamental character of all gods, and soften and moderate the poetical conception accordingly: in earlier times especially, Poseidon was for the most part represented in lofty repose, and carefully draped even in combat; although, however, he was even at that time also sculptured entirely naked, and in violent action. The...
Pagina 466 - ... the bath, covering her bosom with a piece of the drapery which hangs round behind her; there was a celebrated one of this kind in Alexandria Troas which was often copied in 2 antiquity. Forms intentionally over delicate and flowing are observable in the meretricious statue of Aphrodite Callipygos. 3 On the other hand, ancient art felt itself challenged to the observance of the purest proportions, the most faultless representation of beautiful forms, when the goddess appeared completely unveiled....
Pagina 469 - Trojan mythus; the competition for the prize of beauty gave to artists of different kinds occasion for manifold representations, seldom however to any of a lascivious nature. A very excellent work of sculpture, Aphrodite persuading Helen to fulfil her promise to Paris, forms the basis of numerous reliefs still preserved. The goddess is frequently 5 seen aiding lovers, for instance Peleus in the obtainment of Thetis, especially in vase-paintings, either enthroned or standing, but always completely...