Such a vague index of excellence could not have survived for centuries had it not commanded general consent, and for this very reason it is fundamental to any understanding of European culture in this period. Progress in taste involved a return to the Antique. It was widely believed that such qualities should be revived, should inspire and (no less important) should control the productions of the modern artist. It was used to appeal to qualities and standards common, or thought to be common, to the art of that period. Term used between the 15th and the 18th century to refer in a general way to the civilizations of ancient Greece and Rome. In the 12th and 13th centuries these prospecting rights were in the hands of-perhaps monopolized by-a few families in which marble-working came to be an inherited skill. Since the 8th century AD the pope had had the right to grant licences for the exploitation of ancient buildings as marble quarries. Such yards, together with limekilns, were the only real industry in medieval Rome. Antique marble was the city’s sole mineral resource, and it was plundered and reworked by licensed building yards. The renewal of post-Classical Rome was therefore largely synonymous with the successive destruction of the remains of ancient Rome. in S Maria in Cosmedin or S Nicola in Carcere), or the removal of material from ancient ruins for use in a new building, a process that applied to sections in both marble and brick. the Pantheon became S Maria ad Martyres in AD 609, the curia in the Forum Romanum became S Adriano, and one of the Sessorian halls became Santa Croce in Gerusalemme), sometimes the incorporation of ancient parts into a new church building (e.g. This sometimes involved the rededication of an ancient building as a church (e.g. Until the late Middle Ages the actual substance from which medieval Roman buildings were constructed was almost exclusively reused antique material. In that context, Antiphilos contributed a picture of a man called. The Egyptian city of Alexandria was an artistic centre famous for the depiction of comic figures and grotesques in several media. He also painted genre pictures: A Boy Blowing a Fire, a painting much admired for the reflections cast about the room and on the boy’s face, and Women Spinning Wool. Pliny ( Natural History XXXV.114, 138) listed many of his pictures, which included portraits ( Philip II and Alexander the Great with the Goddess Athena, in Rome in Pliny’s day Alexander the Great as a Boy, also taken to Rome and Ptolemy I of Egypt Hunting) and mythological subjects ( Hesione Dionysos Hippolytos Terrified of the Bull and Cadmus and Europa), all of which were in Rome in Pliny’s day. Although none of his works survives, he painted both large and small pictures and was famous for the facility of his technique (Quintilian: Principles of Oratory XII.x.6).
Born in Egypt, Antiphilos was a pupil of Ktesidemos.
Art of the Middle East/North Africa (117).Public Art, Land Art, and Environmental Art Installation Art, Mixed-Media, and Assemblage Collecting, Patronage, and Display of Art
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