UC-NRLF 
 
 $B 3b in 
 
LIBRARY 
 
 University of California. 
 
 RECEIVED BY EXCHANGE 
 
 Class 
 
THE ARTISTS OF PERGAMUM 
 
 BY 
 
 HENRIETTA JOSEPHINE MEETEER 
 
 THESIS 
 
 Presented to the Faculty of the Department of Philos 
 
 ophy of the university of pennsylvania in partial 
 
 Fulfilment of the Eequirements for the 
 
 Degree of Doctor of Philosophy 
 
 May, 1904 
 
THE ARTISTS OF PERGAMUM 
 
 BY 
 
 HENRIETTA JOSEPHINE MEETEER 
 
 THESIS 
 
 Presented to the Faculty of the Department of Philos- 
 ophy OF THE University of Pennsylvania in Partial 
 Fulfilment of the Requirements for the 
 Degree of Doctor of Philosophy 
 
 May, 1904 
 
tJ 
 
 s.^^ 
 
 ^\ 
 
 6 
 
 Press of 
 NEW Era Printing Company 
 Lancaster, Pa. 
 
^iNJiVERSITY 
 
 THE ARTISTS OF PERGAMUM. 
 
 Amid the struggles that marked the dismemberment 
 of Alexander's empire, when unity was replaced by 
 varjdng and multiplied divisions, when the fiat of 
 almost unknown Greek soldiers was accepted as the 
 destiny of peoples and nations long crushed under 
 the stifling influence of Eastern despotism, there grad- 
 ually arose beside the great Greek powers of Syria 
 and Egypt several independent lesser states, of which 
 Pergamum was, perhaps, the most fortunate and suc- 
 cessful. The ancient city was situated on a lofty iso- 
 lated hill in the broad and fertile valley of the Caicus, 
 about twenty miles from its mouth. Its inhabitants 
 claimed descent from Arcadian colonists who crossed to 
 Asia with Telephus, son of Heracles ; but this Greek city 
 on barbarian soil does not appear in history until the 
 time of Alexander's generals. Small and insignificant 
 in its origin, it gradually grew, thanks to the military 
 talents and astuteness of its princes, who had the wis- 
 dom to always recognize the winning side, into a power 
 and importance that give it a place alike in history 
 and in ai*t. 
 
 The craggy summit of the ancient acropolis, which 
 for more than a century was to guard the brilliant 
 capital of a great kingdom, furnished an impregnable 
 fortress, chosen by Lysimachus as the depository of 
 his treasure ; but both treasure and fortress passed into 
 the hands of his officer Philetaerus, a native of Teium, 
 a small town in the northern part of Asia Minor; and 
 this comparatively obscure soldier, in the year 280 
 B. c, became the founder of a dynasty which was one 
 of the most capable and attractive of the age. Public 
 
 1 
 
 -4 r* rTc\*Tr^ 
 
2 THE ARTISTS OF PERGAMUM. 
 
 and private virtues distinguished this house, whose 
 succession, though generally indirect, was marked by 
 no murders and no jealousies,— a record almost un- 
 paralleled in the history of the time. 
 
 The successor of Philetaerus was his nephew Eu- 
 menes (263-241 b. c), of whom little is known; but 
 to the wise policy and sound statesmanship of the third 
 ruler of this house. Attains, first king of Pergamum 
 (241-197 B. c), was virtually due the establishment 
 of the kingdom. An important part of this policy was 
 his friendship and alliance with Rome. But Attains 's 
 great achievement was his complete victory over the 
 Gauls, that great barbaric horde, which, after invading 
 southern Greece and even threatening Delphi, were 
 now swarming over Asia Minor, where they had 
 already effected a settlement— a victory that, vital to 
 Pergamum, relieved the terror of Greece. 
 
 The encouragement of art and literature dates from 
 this reign ; for Attains was a generous patron of learn- 
 ing, and Pergamum soon became a center of art, as well 
 as a city of regal magnificence, and one of the leading 
 exponents of Hellenism. It reached the height of its 
 prosperity in the reign of Eumenes II (197-159 b. c), 
 whose dominion embraced a considerable portion of 
 Asia Minor, but declined under his brother and suc- 
 cessor, Attains II (159-138 b. c), largely because of 
 the increasing strength of Rome, under whose earlier 
 patronage it had prospered so greatly. The last king, 
 Attains III, died 133 b. c, bequeathing his kingdom 
 to the Roman people, by whom the last scion of this 
 illustrious line, Aristonicus, was put to death in prison. 
 
 Though Pergamum did not equal Alexandria in its 
 influence on the civilization of the world, it became, 
 through its great library and famous school of writers, 
 her most formidable rival in the field of literature and 
 
INTRODUCTION. O 
 
 science; while as a center of artistic activity it far 
 surpassed the great first city of the Hellenistic world, 
 and was, for almost a century, until absorbed in the 
 Roman Empire, one of the main channels of culture and 
 civilization. Its princes, who were far more truly 
 Hellenic than other Hellenistic sovereigns, were, more- 
 over, Greek rulers of a Greek people, a happy union 
 which did not exist in the other empires of the day, 
 and which was, no doubt, an important factor in pro- 
 curing for Pergamum its leading position in artj for 
 art in the period following Alexander the Great had 
 its center, not in Alexandria, but in Rhodes and at the 
 court of the Attalids. 
 
 Those Celtic hordes whose incursions into Greece and 
 Asia Minor had filled men's hearts with terror were, 
 after the wars of the Seleucid brothers, in which they 
 had fought as mercenaries on almost all sides, let loose 
 upon their neighbors. The savage cruelty of these 
 barbarians, their aimless rapine and plunder, brought 
 dismay and ruin, while threatening the overthrow of 
 all civilization. Other sovereigns of Asia purchased im- 
 munity from their depredations, but Attains I of Per- 
 gamum enforced it at the point of the sword. Thus 
 the victories won by him and his successor Eumenes, 
 had, in the eyes of their contemporaries, a significance 
 equal to those of Marathon and Salamis, and were fol- 
 lowed at the capital of Attains by one of those great 
 outbursts of intellectual artistic activity which succeed 
 any deep stirring of national existence. Memorials 
 of these victories, erected not only at the court of the 
 Attalids but also at the most famous shrines of Greece, 
 testify to the enthusiasm which inspired a splendid 
 revival of sculpture.^ 
 
 1 M. H. E. Meier, Pergamenisches Reich; A. G. van Cappelle, Com- 
 mentatio de Regibus et Antiquitatibus Pergamenis (Amsterdam, 1862) ; 
 
4 THE ARTISTS OF PERGAMUM. 
 
 Works of art in Pergamum, however, were naturally 
 not confined to such contemporaneous productions. 
 The testimony of literature and inscriptions proves 
 that Pergamum was a storehouse of such works 
 gathered from all parts of Greece, and it is very prob- 
 able that this collection included a generous share of 
 the spoils of Corinth. 
 
 The list of works which can be gathered from the 
 scanty records of Pergamene art must be divided into 
 two classes : 
 
 1. Works of contemporaneous artists made for and 
 in Pergamum ; 
 
 2. Those procured by its kings, who were liberal pa- 
 trons of art, either by purchase or from the spoils of 
 conquest. 
 
 From late Greek and Roman writers can be gathered 
 a brief list of names of artists who worked in Perga- 
 mum and works of art found there. A number of 
 artists' subscriptions excavated at Pergamum, many 
 of which are, unfortunately, very fragmentary, have 
 added to this list. Moreover, some of these names 
 have been identified with those of artists known from 
 other sources, and works of art mentioned by ancient 
 writers have not only been ascribed to some of them, 
 but it is also generally conceded that copies of Perga- 
 mene works of art are still in existence. 
 
 A number of the names, however, which have been 
 found in inscriptions must be assigned to works of the 
 second class. One such name has been discovered, and 
 possibly three, in three inscriptions (Alterthuemer von 
 Pergamon, VHP, 48-50), whose contents and rather 
 ornamental character have led Fraenkel to group them 
 
 M. Collignon, Pergame. Restauration et Description des Monuments 
 de I'Acropole (Paris, 1900) ; J. L. Ussing, Pergamos. Seine Geschichite 
 und seine Monumente (Berlin, 1899). 
 
ART COLLECTION OF THE ATTALIDS. 5 
 
 together; for there can be no doubt that the marble 
 pedestals on whose fragments these inscriptions have 
 been found supported works of art of an earlier time, 
 which were carried off to Pergamum as trophies.^ 
 No. 48, as restored by Fraenkel, reads : 
 
 'Omra?] ^fiUcovo^i AlyLVi]Trj<i [eTroMycrci/. 
 
 In ^fiL/ca)vo<: Schuchhardt recognized the archaic form 
 of Micon, the father of the Aeginetan Onatas, an artist 
 of the fifth century b. c. 
 
 There is an epigram by an Antipater in the Greek 
 Anthology (Palat., IX, 238) in praise of a bronze 
 statue of Apollo by Onatas : the scholiast thinks this is 
 the Apollo mentioned by Pausanias (VIII, 42, 7). It 
 has been conjectured^ that the pedestal which bore the 
 above inscription supported this colossal bronze statue 
 of Apollo; if so, it was brought to Pergamum shortly 
 after King Attains came into possession of the island 
 of Aegina, not long after the year 210 b. c.^ 
 
 No. 49. 
 
 On one side of the block is the inscription : 
 
 and on an adjoining side, 
 
 'Ef At7tVi79. 
 
 Marks on the upper surface of the pedestal show 
 that the statue was of bronze. 
 
 There have been different theories in regard to the 
 date of this artist,* but his identity with the Boeotian 
 
 ^ Alterthuemer von Pergamon VIII, Die Inschriften von Pergamon, M. 
 Fraenkel, Fabricius, und Schuchhardt (Berlin, 1890-1895), p. 42. 
 
 « lUd. 
 
 » Polyb., XXIII, 8, 10. 
 
 ♦Lolling, Die Ergebnisse der Ausgrabungen zu Pergamon (Berlin, 
 1880), p. 112; E. Loewy, Inschriften griechischer Bildhauer (Leipzig, 
 1885), p. 126; Fraenkel, Alt. v. Perg., VIII, p. 42. 
 
6 THE ARTISTS OF PERGAMUM. 
 
 artist of the fourth century b. c, mentioned by Pau- 
 sanias (VI, 14, 11), can scarcely be questioned. The 
 work of art referred to in this inscription was probably 
 brought to Pergamum by Attains I about the same 
 time as the one by Onatas. 
 No. 50. 
 
 a. ^Lkavl(o\y ^Adrjvalo^ eTroirjaev, 
 
 'Ef . . . 
 h. 'E^ D^peov. 
 
 h bears the marks of having supported a statuette. 
 
 There can be no doubt that Silanion is the famous 
 worker in bronze of the fourth century b. c. As the 
 blocks on which a and h have been found agree exactly 
 in form, material, etc., Fraenkel thinks it is probable 
 that the statuette of h also was the work of Silanion. 
 These works of art must have been brought from Oreus 
 to Pergamum in the time of Attains I, as the captured 
 city was handed over to him by the Romans in 200 b. c.^ 
 
 There is no reason to assume the existence of three 
 earlier artists of the same name, as there is sufficient 
 evidence in literature to prove that there was a collec- 
 tion of earlier works of art at Pergamum. 
 
 Another inscription found in Pergamum may be in- 
 cluded with these: 
 
 . . . €6/57] ao-((r)aTO Xt09. 
 
 Alt. V. Perg., VIIIS 46. 
 
 FraenkePs conjecture that this artist was Bupalus 
 of Chios, who flourished in the sixth century b. c, 
 has been accepted by others. He suggests also that 
 this may be a copy of the original inscription which be- 
 longed to the base of the ^ * Draped Graces ' ' of Bupalus, 
 mentioned by Pausanias (IX, 35, 6), and that this 
 work of art was brought to Pergamum in the time of 
 
 * Liv., XXXI, 46, 16. 
 
ART COLLECTION OF THE ATTALIDS. / 
 
 the Attalids, just as the works of the preceding artists 
 were. 
 
 The conjecture of a second and later artist of this 
 name, founded on an inscription on the base of a statue 
 of Aphrodite excavated at Rome in 1760, has been 
 disproved.^ 
 
 Six inscriptions found in Pergamum (Alt. v. Perg., 
 VIIIS 135-140) on slabs of a great marble base con- 
 tain the names of two famous Athenian artists. The 
 slabs originally contained four names at least, but 
 only three are preserved— Praxiteles, Myron, and Xen- 
 ocrates. The flat upper surface of the pedestal bears 
 the marks of having supported bronze figures. The 
 epigraphy of these inscriptions, according to Fraenkel, 
 places them in the time of Eumenes 11.^ Various 
 theories have been advanced to account for the occur- 
 rence of these names in inscriptions of this date.^ The 
 natural explanation seems to be that the works of art 
 which this base supported were also older than the 
 inscriptions and had been procured by the Pergamene 
 kings by purchase or some other means; or, possibly, 
 they were copies of works of earlier artists, who 
 were, very probably, the artist and art critic Xen- 
 ocrates of the third century b. c. and two contem- 
 porary artists. A Myron of this century is known from 
 a reference in Pausanias (VI, 8, 5), and an inscrip- 
 tion found at Olympia,* and there is some evidence for 
 a Praxiteles also of the same century. '^ 
 
 Though the birthplace of the great Myron was 
 Eleutherae and there is good reason to believe that 
 
 1 Loewy, I. G. B., pp. 328-329. 
 ''Alt. V. Perg., VIII, p. 71. 
 
 ^ Ibid., pp. 70-73, and Zusatz. u. Berecht., p. xii ; L. v. Uriichs, Perga- 
 menische Inschriften (Wuerzburg, 1883), p. 25; Loewy, I. G. B., p. 121. 
 * Arch. Zeit., 1878, p. 84; Loewy, I. G. B., 126. 
 " Schol. Theocr., V, 105. 
 
8 THE ARTISTS OF PERGAMUM. 
 
 Eleutlierae was still part of Boeotia in the time of Myron, 
 the supremacy of Thebes was never of such a nature 
 as to make it probable that a native of another Boeotian 
 town would be called a Theban. It can, moreover, be 
 pretty safely assumed that the works of art to which 
 these inscriptions belonged were not executed for Perga- 
 mum, but formed part of the royal collection. 
 
 The Praxiteles of another inscription found in Per- 
 gamum (Alt. v. Perg., VHP, 141) is, no doubt, the 
 great Athenian artist of that name. 
 
 The art collection of the Attalids contained also a 
 masterpiece of Cephisodotus, the son of Praxiteles;^ 
 and probably a work of his contemporary, the Athenian 
 Demetrius, for a fragmentary inscription found in 
 Pergamum seems to contain his name: 
 
 A [7;] ft?; [T/3t09 . . . 
 iiro [iTjaev, 
 
 Alt. V. Perg., Vlir, 142. 
 
 This Demetrius might be a contemporary of the two 
 Rhodian artists of this name,^ or he might possibly 
 be identified with one of them f but it is more probable 
 that he was the artist of the fourth century b. c. 
 
 (Alt. V. Perg., VHP, 144) 
 
 was discovered at Pergamum on a fragment of a marble 
 pedestal. Marks on the upper surface of the pedestal 
 show that the statue was of bronze. 
 
 Two inscriptions which contain the signature of this 
 artist have been found in Athens,* and one at Olympia, 
 
 ' Plin., N. H., XXXVI, 24. 
 2 Loewy, I. G. B., 187 and 193. 
 » Alt. V. Perg., VIII, p. 73. 
 * Loewy, I. G. B., 70 and 71. 
 
ART COLLECTION OF THE ATTALIDS. ^ 
 
 in which Athens is mentioned as his home.^ These in- 
 scriptions date from the fourth century b. c. 
 
 There is not sufficient evidence on which to hase any 
 positive conclusion as to whether the Polymnestus of 
 the Pergamene inscription was the Athenian artist of 
 the fourth century, one of whose works the Pergamene 
 kings were fortunate enough to secure, or a later artist 
 of the same name and family at work in Pergamum; 
 but the probabilities are in favor of the former .2 
 
 There are only a few references in literature to paint- 
 ings at Pergamum, but there can be no doubt that this 
 branch of art was well represented in the collection of 
 the Pergamene kings,^ for Pausanias (VII, 16, 8) 
 says, when Corinth was captured and despoiled of all 
 its art treasures, Mummius carried to Rome only what 
 he considered the most valuable : the rest were handed 
 over to Philopoemen, the leader of the auxiliary forces 
 sent by Attains from Pergamum. This collection in- 
 cluded paintings ; for Pliny and Strabo say that Phil- 
 opoemen offered Mummius six hundred thousand 
 denarii for the * ^ Dionysus ' ' of Aristides, when he found 
 the soldiers were using it as a dice-board.** Since Vel- 
 leius Paterculus (1, 13, 4) says that Mummius was so ig- 
 norant of art as to give orders to those who had charge 
 of the transportation of the statues and paintings to 
 Rome that if any were lost they were to be replaced 
 by new ones, it is quite certain that some of the most 
 valuable works of art carried off from Corinth must 
 have found their way to Pergamum, where Pausanias 
 says they were still to be seen in his day.'^ 
 
 » Loewy, I. G. B., 72. 
 
 'Fraenkel, Alt. v. Perg., VIII, p. 74, and Zusatz. u. Berecht., p. xii; 
 Collignon, Pergame, p. 202; Ussing, Pergamos, p. 48. 
 
 « Fraenkel, Jahrb. d. Arch. Inst., 1891, p. 49 sq. 
 
 *Plin., N. H., XXXV, 24; Strab., VIII, 381. Cf. Plin., VII, 126; 
 XXXV, 100 and 132. 
 
 » Cf. Tac, Ann. XVI, 23. 
 
10 THE ARTISTS OF PERGAMUM. 
 
 Another story told by Pliny, of the refusal of the 
 painter Nicias to sell one of his pictures to Attains 
 for sixty talents, is, with greater probability, referred 
 by Plutarch (Non posse suav. vivi sec. Epic, XI, 2) 
 to Ptolemy Soter (306-284 b. c), as the dates of At- 
 tains and Nicias are irreconcilable. Still the fact that 
 Pliny found this story connected with the name of At- 
 tains is another proof that paintings, as well as other 
 works of art, were eagerly sought for by the Perga- 
 mene kings and procured by purchase as well as other 
 means. 
 
 The collection of paintings at Pergamum included 
 an Ajax struck by lightning, the work of Apollodorus 
 of Athens, an artist of the fifth century b. c. ; and pos- 
 sibly a second work of this same artist, mentioned by 
 Pliny, a priest in prayer;^ also the *^ Draped Graces'' 
 of Pythagoras of Paros,^ who is otherwise unknown. 
 When it was not possible to obtain originals, copies of 
 famous paintings were, no doubt, substituted; for, ac- 
 cording to an inscription found at Delphi^ and published 
 with new restorations by Fraenkel,^ three artists were 
 sent by a king of Pergamum, probably Attains II, to 
 copy paintings at Delphi. Fraenkel thinks these paint- 
 ings were those of Polygnotus in the Lesche. 
 
 It has been plausibly conjectured that these works 
 of art collected by the Attalids formed part of a royal 
 museum, whose contents were distributed through the 
 royal palace, the library, and the halls of the great 
 porticoes which flanked the sacred enclosure of the 
 temple of Athena on two sides. '^ 
 
 » Plin., N. H., XXXV, 60. 
 » Paus., IX, 35, 7. 
 * Bull. d. Corr. Hell., V, p. 388 sq. 
 ^Jahrh. d. Arch. Inst., 1891, p. 53. 
 
 "Fraenkel, Jalirh. d. Arch. Inst., 1891, p. 54; Alt. v. Perg., VIII, p. 
 42; Conze, Sitzl). d. Berl. Akad., 1893, p. 217. 
 
artists under the dynasty op the attalids. 11 
 
 Epigonus. 
 
 One great figure stands out preeminent among the 
 artists of Pergamum: Epigonus, an artist of the third 
 century b. c, who worked in bronze. Three inscrip- 
 tions found in Pergamum bear his name, and two 
 others may be assigned to him : a striking testimony to 
 his activity, as compared with the scanty records of 
 other Pergamene artists. 
 
 The native place of Epigonus is unknown, and in- 
 scriptions furnish the only clue to his date. Since, 
 according to inscription 12, Alt. v. Perg., VHP, he 
 executed a quadriga for Attains, the father of Attains 
 I, he must have been established at Pergamum during 
 the lifetime of Philetaerus, i. e., before 263 b. c. ; for 
 there is every reason to believe that Philetaerus out- 
 lived his two younger brothers, Eumenes and Attains, 
 as their sons, Eumenes I and Attains I, succeeded 
 him.^ The period of Epigonus 's activity seems to have 
 covered about forty years, for there are very good 
 reasons for assigning his name to the great monument 
 erected by Attains I after the final defeat of the Gauls 
 about 228 b. c.^ 
 
 Pliny (N. H., XXXIV, 88), in enumerating the art- 
 ists who made bronze statues, mentions Epigonus and 
 several of his works : Epigonus omnia fere praedicta im- 
 itatus praecessit in tuhicine et matri interfectae infante 
 miserabiliter hlandiente. This is the only reference to 
 Epigonus in Greek or Latin literature ; but the five in- 
 scriptions discovered at Pergamum have not only re- 
 vealed the scene of his labors and several important 
 works, but also, in the opinion of some scholars, led to 
 the discovery that copies of others are still in existence. 
 These inscriptions, moreover, furnish the only guide 
 
 » Meier, Pergam. Reich, p. 11. 
 ^ The exact date is uncertain. 
 
12 THE ARTISTS OF PERGAMUM. 
 
 to a chronological arrangement of the works which may 
 be ascribed to him. 
 
 The earliest of these was executed during the life- 
 time of Philetaerus, and bore the inscription : 'ETrtVoi/o? 
 eiroCriaev (Alt. V. Perg., VHP, 12; Loewy, I. G. B., 
 157^), which was found on one of three top slabs of a 
 great base. This base supported a quadriga executed 
 for Attains, the father of Attains I, in commemoration 
 of an Olympic victory. 
 
 Two other inscriptions read: 
 
 Alt. V. Perg., VHP, 31, 32 ; Loewy, I. G. B., 157, 157*. 
 One was found on the top slab of a marble base, and 
 the other on a block of marble which also formed part 
 of the base of a statue. These are assigned by Colli- 
 gnon^ and Michaelis^ to two of the portrait statues re- 
 ferred to by Pliny (N. H., XXXIV, 88). 
 
 There are very strong arguments in favor of assign- 
 ing to Epigonus a monument erected by the general 
 Epigenes and his fellow officers to commemorate the 
 victory of Attains I over the Gauls and Antiochus 
 Hierax. The date of this monument is somewhat un- 
 certain; it was probably erected after 228 b. c. Part 
 of an inscription (Alt. v. Perg., VIIIS 29) belonging 
 to this was found in Pergamum in 1880 on two pieces 
 of a great marble base. Conze^ combined with this 
 the five lines of PeysonnePs fragment (C. I. G., 3535), 
 and read the inscription as follows : 
 
 BaciXea ^'A.ttoXov 
 
 'E7r^7«'[»;]9 koX ol '^ye/Jiove^ teal <7T/)aT [t] wrat 
 
 ol avvaycovKrdfievoi ra^ irpiy; tov^ FaXaToi? 
 
 1 Pergame, p. 127. 
 
 ^Jahrb. d. Arch. Inst., 1893, p. 130. 
 
 « Monatsb. d. Berl. Akad., 1881, p. 872. 
 
SCULPTORS. 13 
 
 Koi ^AvTiO'X^op fJ'd^a<; ;j^a/3i<r [t] rjpLa 
 
 ea-T^^jjaav] Atl ^AOrjva, 
 *l(n — or ^AvTtjyovov epya. 
 
 But FraenkeP objects to the insertion of an earrjaav 
 in line 5, as he thinks it mars the symmetry of the in- 
 scription. On Conze's authority he makes the state- 
 ment that Peysonnel did not take this inscription from 
 the stone, but copied it at third, if not fourth, hand. 
 So Fraenkel places the i<TT of line 5 in Peysonnel *s frag- 
 ment to correspond with line 6 of inscription 29, where 
 he thinks it has resulted from a misreading of EIII 
 rather than 121. 
 
 Att, ^A0r)vai. 
 *E(7r)i7oVoi; epya. 
 
 Alt. V. Perg., VIII, p. 30. 
 
 The great base which bore this inscription very prob- 
 ably supported a group, of which King Attains was 
 the central figure. From the plurals, xa/jto-TT^/jm and 
 epya, in lines 4 and 6, it may be inferred that this group 
 was one of two companion pieces, which were the work 
 of the same artist. FraenkeP calls attention to the 
 unusual form and exact agreement of the artists' sig- 
 natures in this inscription and number 22 of the Alter- 
 thuemer {''E7ny]6vov €[pya), and also to the fact that 
 the two bases on which these inscriptions have been 
 found are exactly alike. He suggests that they are 
 companion pieces, one erected by the king and one 
 by the army at the close of the war. For similar com- 
 panion pieces he refers to those of Eumenes II and 
 his army.^ 
 
 ' Alt. V. Perg., VIII, p. 29. 
 
 ' PhiloL, 1895, p. 8. 
 
 •Alt. V. Perg., VIII, 60 and 61, 62 and 63; of. p. 30. 
 
14 THE ARTISTS OF PERGAMUM. 
 
 It is generally conceded that the masterpiece of 
 Epigonus was a great votive offering of Attains I, and 
 also that the base which supported this has been found at 
 Pergamum. The blocks which formed this pedestal 
 contain a series of inscriptions which commemorate 
 the victories of Attalus over the Gauls/ and the cen- 
 tral block bears the signature of the artist : 
 
 Alt. V. Perg., YIW, 22^ 
 
 'I<7i7 — or ^AvTiy'^ovov e^^pya] 
 
 Loewy, I. G. B., 154^ 
 
 Marks on the flat upper surface of the pedestal show 
 that the statues which it supported were of bronze. 
 
 As the war with Antiochus and the Gauls, which 
 this group of statues commemorated, came to an end 
 about 228 b. c.,^ these works of art were probably exe- 
 cuted not long after this date. 
 
 Since Pliny (N. H., XXXIV, 84) mentions two art- 
 ists whose names end in -ovo^; among those who commem- 
 orated the victories of Attalus and Eumenes over the 
 Gauls, when this inscription was discovered it was 
 naturally assigned to the Isigonus or Antigonus of 
 Pliny; but it is much more probable that this great 
 work was entrusted to the artist whose signature has 
 been found on several pedestals in Pergamum, rather 
 than the art critic Antigonus or the otherwise unknown 
 Isigonus. 
 
 Since Brunn's article in 1870 (Ann. d. Inst., p. 292 
 sq.) it is generally admitted that there exist partial 
 replicas of the two groups of statues set up by the 
 kings of Pergamum in honor of their victory over the 
 Gauls. The first group consists of dying or fighting 
 
 1 Ibid., 21-28; Loe\vy, I. G. B., 154 a-h. 
 ^Fraenkel, Philol., 1895, pp. 1-10. 
 
SCULPTORS. 16 
 
 Gauls, amazons, giants, and Persians from the groups 
 dedicated on the Athenian acropolis.^ They were found 
 in Rome early in the sixteenth century. The second is 
 a series of large statues which were grouped on the 
 acropolis of Pergamum; to these belong the statue of 
 a Gaul in the Capitoline Museum at Rome, called the 
 Dying Gladiator, and the so-called Arria and Paetus 
 of the Ludovisi Villa. 
 
 Urlichs^ suggested that the tubicen of Pliny, N. H., 
 XXXIV, 88, was a translation of (TaXwunif; (= aaXTny- 
 tcrrfi), Michael is^ accepts this and identifies the Dying 
 Gaul of the Capitol, who is represented as reclining 
 with his trumpet under him, with the trumpeter of Epi- 
 gonus; but Petersen^ thinks the characteristics of the 
 trumpeter in the statue are far too inconspicuous to 
 make this identification tenable. Michaelis, however, 
 considers the Dying Gaul and the group of the Ludo- 
 visi Villa more or less free copies of the bronze originals 
 which Epigonus executed for the great triumphal monu- 
 ment of Attains at Pergamum; to these he adds the 
 infant caressing its slain mother, and he finds a muti- 
 lated copy of this group in the Dead Amazon of the 
 Naples Museum. A sixteenth century drawing of this 
 was found by him in the library at Basel. This shows 
 that the statue had, at the date of its discovery in 1514, 
 the figure of an infant clinging to its right breast. This 
 group was changed, he thinks, by a sixteenth century re- 
 storer, who removed the child; indeed, he claims that 
 traces of its attachment can still be seen on the right 
 side of the statue. Petersen* disputes this also : he thinks 
 the torso of the child found lq the same excavations was 
 
 ^ Paus., I, 25, 2. 
 
 * Perg. Inschr., p. 24. 
 
 *Jahrh. d. Arch. Inst., 1893, p. 132. 
 
 * Roem. llitth., 1893, p. 253. 
 « Ibid. 
 
16 THE ARTISTS OF PERGAMUM. * 
 
 later incorrectly joined to the Amazon. He claims that 
 a careful examination of the statue with a magnifjdng 
 glass has proved that all retouchings and alterations 
 which can be referred to the torso of the child visible 
 in the drawing of Basel absolutely forbid the supposi- 
 tion that there was original contact between the two 
 figures, for the body of the child would be in an im- 
 possible position if it followed the so-called evidences 
 of contact. If the results of Petersen's observations, 
 as stated by him, are correct, they furnish a very strong 
 argument against the theory of Michaelis, Ussing^ 
 takes the same view: he thinks the passage in Pliny 
 may have been responsible for the infant, which was 
 added later by a restorer. Sauer,^ however, disagrees 
 with this. He claims that the Amazon originally was 
 not a single figure, and, moreover, that inextricable 
 contradictions are involved in the hypothesis that the 
 child, which was removed later, was joined to the Ama- 
 zon by a modern hand. The view of Michaelis and 
 Sauer is the one generally accepted by scholars, most 
 of whom are willing to concede that the Dead Amazon 
 at Naples is at least a free copy of the work of Epi- 
 gonus, the motif of which the artist of the Athenian 
 ex-voto applied to an amazon, as there was no place 
 in his composition for a Gallic woman. ^ 
 
 If the originals of these groups were once grouped 
 on the acropolis of Pergamum, they were probably ar- 
 ranged on a long base after the manner of a pediment. 
 According to Keinach's restoration, in the center of 
 the gable stood the suicide scene, the Ludovisi group, on 
 the right the Dying Gaul of the Capitol, and on the left 
 
 1 Pergamos, p. 26. 
 
 2 Milth. d. Arch. Inst., 1894, pp. 246-248. 
 
 *Collignon, Pergame, p. 131; Reinach, Rev. Etud. Grec, 1894, pp. 37- 
 44; cf. G. Habich, Die Amazonengruppe des Attalischen Weihgeschencks 
 (dissert., Berlin, 1896), pp. 14-20. 
 
SCULPTORS. 17 
 
 the dead mother with her infant. To these Collignon 
 thinks another figure may have been added. He con- 
 siders the ancient torso of a restored statue in the 
 Dresden Museum a second statue of a wounded Gaul, 
 and also, very probably, the work of Epigonus; this 
 statue, he says, may be assigned a place on the great 
 pedestal where these figures were grouped by Epi- 
 gonus, if the symmetry of the composition demanded a 
 figure in the same attitude to correspond to the Tuhicen, 
 
 Brunn^ thought it very probable that the groups dedi- 
 cated by Attains at Athens were copies of similar 
 groups on a larger scale set up at Pergamum. He be- 
 lieved that the existing specimens of these Athenian 
 groups bear marks of being reduced copies of larger 
 originals, and Michaelis^ thinks that Epigonus took 
 some part in the execution of the ex-voto at Athens ; this 
 view, however, is not generally accepted. 
 
 Michaelis proposes also to alter the Isigonus of Pliny, 
 XXXIV, 84, to Epigonus. Plures artifices fecere At- 
 tali et Eumenis adversus Gallos proelia, Isigonus, 
 PhyromachuSy Stratonicus, Antigonus qui volumina 
 condidit de sua arte. The change would be quite a sim- 
 ple one paleographically, as the corruption of EIII 
 to EI2I would be very easy; and much can be said in 
 favor of the emendation, which is adopted by Reinach, 
 Collignon, and others. It is a strange coincidence that 
 the name which heads this list is the only one which 
 is otherwise unknown and to which Pliny does not again 
 refer, while the name of the artist Epigonus, whose 
 signature has been found in Pergamum attached to 
 bases which supported works of imposing proportions, 
 is omitted ; and it may be assumed with some degree of 
 certainty that the artist Epigonus, whose position at 
 
 ' Ann. d. Inst., 1870, p. 314 sq. 
 
 « Jahrb. d. Arch. Inst., 1893, pp. 132-133. 
 
18 THE ARTISTS OF PERGAMUM. 
 
 the court of Attains was probably similar to that of 
 Lysippus at the court of Alexander, headed the brief 
 list of Pergamene artists in Pliny's enumeration. 
 
 ISIGONUS. 
 
 If Michaelis's emendation of Pliny, N. H., XXXIV, 
 84, is accepted, the artist Isigonus owes his fictitious 
 existence to the mistake of a scribe. Even if his name 
 is retained in the passage of Pliny, the reasons for 
 assigning numbers 22 and 29 of the Alterthuemer to 
 Epigonus are sufficiently strong to counterbalance this 
 single mention in Pliny, and Isigonus must be included 
 with other Pergamene artists whose names only have 
 survived. 
 
 Antigonus. 
 
 Antigonus must have been born in the early part of 
 the third century b. c, probably between 295 and 290, 
 since there is evidence that he went to Athens about 
 270 B. c, and that he was then a man.^ His native 
 place was Carystus in Euboea.^ 
 
 Antigonus was a man of great versatility and broad 
 culture, an artist and art critic, a biographer and au- 
 thor of a book of marvels. His familiarity with Greek 
 literature is shown by the authors cited in his works; 
 and that his reputation as an art critic was established 
 during his lifetime is proved by Polemon of Troas, the 
 learned traveler and antiquary, who either dedicated 
 a work to, or wrote a controversial work against him, 
 entitled : II/oo? ^ABalov koI ''A.vtI^ovov.^ 
 
 ^Diog. Laert., IV, 22; Wilamowitz, Phil. Unters., 1881, p. 127. 
 ^Diog. Laert., II, 136; 143; IV, 17; VII, 12; IX, 62, etc.; Athen., 
 X, 419 E; XII, 547 D; XIII, 563 E, etc.; Zenob., V, 82. 
 3 Athen., XI, 484 B; 462 A; 210 A, etc. 
 
SCULPTORS. 19 
 
 He was probably a pupil of the philosopher Mene- 
 demus of Eretria,^ and was something of a traveler, 
 He visited Elis,^ Delphi,^ and Cos;* also Pitane in 
 Aeolis, according to Wilamowitz/ He came to Athens 
 —certainly before 270, for he found Polemon, Grantor, 
 and Crates all three of them living there^— and probably 
 stayed there for some time. At Pergamum we find him 
 among the artists employed by the court. ^ Here or 
 near here, in his old age probably, he wrote the biog- 
 raphies, of which large fragments are preserved in the 
 works of Diogenes and Athenaeus.^ His reputation as 
 a writer was undoubtedly greater than as an artist. 
 
 His literary works included: (1) a book of marvels 
 preserved in the Palatine manuscript 398, where it 
 
 bears the title : *AuTty6vov la-ropicov 7rapaS6^(ov avvaywyi]. 
 
 It consists largely of extracts from the works of other 
 writers; the * * Auscultationes ' ' attributed to Aristotle, 
 and similar works of Callimachus, Timaeus, Ctesias, 
 and others. Stephanus of Byzantium {s. v. Tvapo<;) cites 
 a passage from it. It was probably written about 240 
 B. c, as Antigonus repeats a remark which he heard 
 Timon, the pupil of Aristocles, make. ^ This Aristocles 
 was ip(Ofi€vo^ of King Antigonus about 290, according to 
 Diogenes Laertius (VII, 13). It has been edited by 
 Guil. Xylander (Basel, 1568), J. Meursius (Leyden, 
 1619 and 1622), J. Beckmann (Leipzig, 1791), Wester- 
 
 * Diog. Laert., II, 132; Wilamowitz, op. cit., p. 91. 
 = Diog. Laert., IX, 02. 
 
 ^'AiTtydvov ioTopicjv TrapaSd^uv ovvayuy^j ch. 141, ed. Beckmann. 
 
 « Ibid., ch. 177 and note. 
 
 ' Ihid., cli. 187, note; Diog. Laert., IV, 38; Wilamowitz, op. cit., p. 57. 
 
 • Diog. Laert., IV, 22. 
 
 ' Plin., N. H., XXXIV, 84. 
 
 8 Wilamowitz, op. cit., pp. 27-129 ; Koepke, De Antigono Carystio 
 (dissert., Berlin, 18G2), pp. 34-48. 
 9'I<Tr. Trap., ch. 185. 
 
20 THE AKTISTS OP PERGAMUM. 
 
 mann (1839, in De paradoxogr. graec, 61 sq.), and 
 Keller (Rer. Nat. Scr., I, p. 8 sq.). 
 
 (2) A work or works on art. Pliny, N. H., XXXIV, 
 84; Antigonus, qui volumina condidit de sua arte, 
 
 (a) On statuary. Pliny, indices to books XXXIII 
 and XXXIV: ex auctoribus . . . externis . . . Anti- 
 gono qui de toreutice scripsit. Cf . Diog. Laert., II, 15 ; 
 Zenob., V, 82. 
 
 (h) On painting. Pliny, N. H., XXXV, 68; Anti- 
 gonus et Xenocrates qui de pictura scripsere. Cf . Diog. 
 Laert., VII, 188. 
 
 Wilamowitz^ thinks this book was not simply a his- 
 tory of painting, but also a statistical work on pictures. 
 
 (3) Biographies. Diog. Laert., IV, 17: <E>77<rl Be 
 *AvTiyovo<; 6 Kapva-Tio^ iv rot? /9to£9. Cf . IX, 62 ; Athen., 
 X, 419 E; IV, 162 E, etc. 
 
 The identity of Antigonus the biographer and Anti- 
 gonus the artist and writer on art, which Susemihl,^ 
 Muenzer,^ and Miss Sellers* accept as proved by Wil- 
 amowitz in his essay,^ is questioned by Diels^ and 
 Voigt,"^ and disputed by Urlichs.^ 
 
 Another work mentioned by Athenaeus (III, 88 A; 
 VII, 297 E; 303 B) Uepl Xefeo)?, cannot, with any de- 
 gree of certainty, be ascribed to the Antigonus of 
 Pergamum.^ 
 
 1 Op. cit., p. 8. 
 
 « Geschichte der griechischen Litteratur in der Alexandrinerzeit 
 (Leipzig, 1891), I, pp. 519 sq. 
 
 9 Herm., 1895, p. 521. 
 
 < The Elder Pliny's Chapters on the History of Art (London, 1896), 
 Introd., p. xxxvii. 
 
 6 Op. cit., pp. 1-177. 
 
 6 Deut. Lit. Zeit., 1882, p. 604. 
 
 ' De Fontibus . . . Naturalis Historiae Plinianae . . . (dissert., 
 1887), p. 24. 
 
 8 Griechische Kunstschriftsteller, p. 34. 
 
 « Wilamowitz, op cit., p. 174 sq.; Koepke, pp. 18-19. 
 
SCULPTOES. 21 
 
 The only reference to his work as an artist is the 
 passage in Pliny (N. H., XXXIV, 84), and his name 
 has not been found in inscriptions. There can be no 
 doubt that it was Antigonus the writer, rather than 
 Antigonus the artist, who was invited to Pergamum by 
 King Attains, at whose court he must have been a dis- 
 tinguished figure. 
 
 Stratonicus. 
 
 Stratonicus was a native of Cyzicus. Pliny, N. H., 
 XXXIII, 156: Stratonicus mox Cyzicenus. His name 
 has not been found in inscriptions, and the only guide 
 to his date is the passage in Pliny quoted above.^ He 
 probably flourished in the second or latter part of the 
 third century b. c. 
 
 According to Pliny he was both a bronze statuary 
 and a silver-chaser. N. H., XXXIV, 85: Praeterea 
 sunt aequalitate celebrati artifices, sed nullis operum 
 suorum praecipui . . . , item e caelatoribus Straton- 
 icus. Cf . N. H., XXXIII, 156 ; XXXIV, 84 and 90. His 
 fame as a silver-chaser is established by Athenaeus (XI, 
 782 B), who mentions him among the evho^oL TopevraL 
 
 His works included: (1) Statues of philosophers. 
 Pliny, N. H., XXXIV, 90 : Simon canem et sagittarium 
 fecit, Stratonicus caelator ille philosophos Scopas 
 uterque . . . Whether another work of Stratonicus 
 is referred to in this passage is uncertain. The reading 
 Scopas uterque is a difficult one and has been variously 
 interpreted: it is the unanimous reading of the manu- 
 scripts. Klein^ assumes a lacuna after uterque and 
 reads Skopas; Urlichs^ and Habich* suggest that scopas 
 
 ' N. H., XXXIV, 84. 
 » * Arch. Ep. Mitth., IV, p. 22 sq.f 
 
 t References marked * have been taken second-hand, as these works 
 were not accessible to me. 
 
 ' Chrestomathia Pliniana (Berlin, 1857), p. 331, note. 
 
 * Op. cit., p. 66, note 2; cf. Petersen, Arch. Zeit., 1854, p. 187. 
 
22 THE ARTISTS OF PERGAMUM. 
 
 is the accusative plural of a-Kco-^jr and refers to dancing 
 satyrs, the work of both Simon and Stratonicus. Ha- 
 bich supports his theory by appeal to a Munich vase, on 
 which SKOrA is inscribed above a satyr ;^ but Miss 
 Sellers^ thinks the fact that the next satyr bears the 
 inscription TBPI2 shows that this is no generic term, 
 but merely an epithet applied to one particular satyr. 
 She regards uterque as a very ancient corruption which 
 conceals the name of a work of art by Scopas. Ger- 
 hard^ would read copas, and Preller^ agrees with this. 
 Urlichs^ suggests scyphos. It is impossible to say 
 whether or not some sort of dancing figure or figures 
 are to be ascribed to Stratonicus, as these emendations 
 suggest. 
 
 (2) Some work or works in honor of the victories of 
 the kings of Pergamum over the Gauls, or some part 
 in such work or works. Pliny, N. H., XXXIV, 84. 
 
 (3) Brunn^ thinks the ivory bas-reliefs representing 
 the death of the children of Niobe and the defeat of 
 the Gauls before Delphi, which decorated the doors 
 of the temple of the Palatine Apollo in the time of 
 Augustus,^ were, very probably, the work of Stra- 
 tonicus. 
 
 Phyromachus and Niceratus. 
 
 With the artist Phyromachus and the problems con- 
 nected with his name the Athenian artist Niceratus is 
 
 ^ * Munich, Jahn Cat. 384 = Mow. d. Inst., IV, pi. 41. 
 
 2 Op. cit., p. 76, note. 
 
 'Rh. Mus., IX (1853), p. 147. 
 
 4 Arch. Zeit., 1856, p. 189. 
 
 6 Perg. Inschr., p. 23. 
 
 ^Geschichte der griechischen Kuenstler (Stuttgart, 1857 and 1889), 
 I, p. 444. 
 
 ^ Propert,, II, 31, 11 sq. ; cf. Gardthausen, Augustus und seine Zeit 
 (Leipzig, 1891), I, p. 963. 
 
SCULPTORS. 23 
 
 SO closely associated as to make it impossible to discuss 
 the two separately. Their names have been found to- 
 gether in an inscription of Delos : 
 
 ^LKrjpaTO^ ^vp6fxa[^o<; ^Adtjvalloi, iTrorjcrav 
 
 (Loewy, I. G. B., 118) 
 
 and are probably to be supplied on the top slabs of a 
 large pedestal found in Pergamum.^ We have the 
 direct testimony of Pliny (N. N., XXXIV, 84) that an 
 artist Phyromachus was at work in Pergamum in the 
 second or third century b. c, and there is documentary 
 evidence for a Niceratus at work in Pergamum under 
 Eumenes II in the epigram of a dedicatory offering 
 which a certain Sosicrates set up at Delos to commem- 
 orate the victory of Philetaerus, the brother of the 
 king, over the Gauls: 
 
 *X1 /jLcucap 3) ^tXeraipe, av koX 0€ioL(nv . . . 
 
 0)1/ evcKcv TaSe a-oi NLKrjpaTOv eKKpLra epya 
 ^axTi/cpdrrj'; AtjXo) OrjKev iv afKfupvrrjy 
 
 Homolle, Mon. Grec, 1879, p. 46; Loewy, I. G. B., 147. 
 
 Homolle places the victory here referred to about 
 171 B. c.f but Thraemer,^ Collignon,* and Wolters^ 
 give 183 as a more probable date. 
 
 As there was also a Phyromachus who worked on the 
 frieze of the Erechtheum in Athens in the XCIII Olym- 
 piad« and Pliny (N. H., XXXIV, 51) mentions an 
 artist of the same name of the CXXI Olympiad, there 
 can be no doubt that there were at least two artists 
 
 ^Alt. V. Perg., VHP, 132-134. 
 
 ^ Liv., XLII, 55, 7. 
 
 3 Pergamos, pp. 249-253. 
 
 « Pergame, p. 202, 
 
 s Miith. d. Arch. Inst., 1890, p. 196. 
 
 9 C. I. G., 160. 
 
24 THE ARTISTS OF PERGAMUM. 
 
 who bore this name. Loewy makes the epigraphy of 
 inscriptions 118 and 147 I. G. B. the basis of the as- 
 sumption that there were also two artists of the name 
 of Niceratus, one employed by Eumenes II of Perga- 
 mmn in the second century b. c, and the other at work 
 with the elder Phyromachus in Delos in the third cen- 
 tury B. c.;^ and, since two passages in Pliny (N. H., 
 XXXIV, 51 and 84) seem to prove the existence of two 
 artists of the name of Phyromachus of the same two 
 centuries, Loewy suggests, as a possible explanation, 
 that both Phyromachus and Niceratus belonged to a 
 family of artists in which the names were repeated. It 
 is not impossible that the grandsons of the pair of 
 artists who worked together at Delos should have borne 
 the same names and also worked together in Pergamum, 
 but, as Fraenkel remarks, the only reason for accepting 
 this theory would be very strong arguments against 
 the identity of the two pair of artists. 
 
 The two names are associated by Fraenkel in his 
 restoration of two inscriptions found in Pergamum on 
 the top slabs of a marble pedestal (Alt. v. Perg., VHP, 
 132-134). Fragments of three inscriptions were 
 found, but No. 134 is too fragmentary for conjecture. 
 
 No. 132. 
 
 Nt/C77/oaT09] ]SiVKTi]/JLOpo<; *A6[i]va]lof: 
 
 eirovqaev. 
 
 No. 133. 
 
 ^vp6/ia'x^o<; (?) Tov Belvof; 'A] 6rjvalo<i 
 [eTTOirjaev. 
 
 Fraenkel claims that after a comparison of Loewy 's 
 facsimile of the Delian inscription (I. G. B., 118) 
 with the stone of No. 132 (Alt. v. Perg., VIII) he finds 
 no strong epigraphical evidence against the identity of 
 
 1 Cf . Thraemer, Pergamos, p. 248 sq. ; Loewy, Untersuchungen zur 
 griechischen Kuenstlergeschichte (Vienna, 1883), p. 20. 
 
SCULPTORS. 25 
 
 the artists mentioned in each. He says the difference, 
 at all events, is much less than that between the Per- 
 gamene pedestal (Loewy, I. G. B., 496) and the Delian 
 inscription (I. G. B., 147), which Loewy accepts as 
 referring to the same Niceratus; and adds, ** der sub- 
 jective Schrifteindruck ist ein aeusserst truegerisches 
 chronologisches Kriterion.'' Fraenkel thinks there 
 is further proof of the common activity of a Niceratus 
 and a Phyromachus in Pliny, N. H., XXXIV, 80: 
 Phyromachi quadriga ah Alcibiade regitur— and 
 XXXIV, 88: Nee minus Niceratus omnia quae ceteri 
 adgressus repraesentavit Alcihiaden lampadumque ac- 
 censu matrem eius Demaraten sacrificantem. These, 
 he thinks, clearly refer to companion pieces, undoubt- 
 edly reliefs, which represented the famous victory of 
 Alcibiades in the Olympian chariot race and the thank- 
 offering presented for it. 
 
 As the personality of Alcibiades would, undoubtedly, 
 have been acceptable material for artistic treatment 
 in the Hellenistic age, there is no reason for assigning 
 these works of art to artists of an earlier period. The 
 evidence at present in our possession seems to favor 
 the assumption that there was one Niceratus, who 
 worked at Delos and Pergamum, perhaps with Phyro- 
 machus in both places and certainly so at Delos, in the 
 second century b. c. ; and two artists, possibly three, 
 of the name of Phyromachus, the younger of whom 
 also worked at Delos and Pergamum and at the same 
 time as Niceratus. 
 
 Phyromachus. 
 
 Pyromachus is the spelling of this name in the best 
 manuscripts of Pliny, but Phyromachus is the more 
 usual form.^ 
 
 * Keil, Analecta Epigraphica et Onomatologica, p. 209. 
 
26 THE ARTISTS OF PERGAMUM. 
 
 The date of Phyromachus was probably the second 
 century b. c, though there is considerable difference 
 of opinion among scholars. Loewy^ places the Phyro- 
 machus of Pliny, XXXIV, 84 in the second century b. 
 c. He considers this passage of Pliny a supplementary 
 one, since Pliny has stated there were no artists be- 
 tween Olympiads CXXI and CLVI, and Loewy thinks 
 the works mentioned by Pliny, N. H., XXXIV, 80, 
 are to be assigned to the artist of the CXXI Olympiad,^ 
 whom he identifies with the artist of the Delian inscrip- 
 tion.^ Miss Sellers*, thinks cessavit deinde ars (N. H., 
 XXXIV, 52) marks the end, not of a period of art, but 
 of Pliny's main Greek authority, and she calls atten- 
 tion to a similar break in the account of the painters.^ 
 Urlichs^ thinks the Phyromachus mentioned by Pliny, 
 N. H., XXXIV, 80, is the same as tlie one who worked on 
 the frieze of the Erechtheum.in Olympiad XCIII, 3. 
 He thinks the clause, Phyromachi quadriga ah Alcibiade 
 regitur, was a note added later on the margin. This 
 group he places before 407 b. c. Pliny, XXXIV, 51 
 and 84, and XXXV, 146, he thinks refer to the Perga- 
 mene Phyromachus whose date is Olympiad CXXI. 
 Overbeck^ thinks the Phyromachus of Pliny, XXXIV, 
 80, might be the one who worked on the frieze of the 
 Erechtheum, but not the one of Olympiad CXXI men- 
 tioned in Pliny, XXXIV, 51, nor the one who repre- 
 sented the battles of Attains and Eumenes against the 
 Gauls.® He distinguishes three artists of this name. 
 
 *Unters. z. Kstlgesch., pp. 19-21. 
 =^Plin., N. H., XXXIV, 51. 
 3 Loewy, I. G. B., 118. 
 * Op. cit. 
 
 ^N. H., XXXV, 135. 
 » direst. Plin., p. 328. 
 
 ■f Die antiken Schriftquellen zur Geschichte der bildenden Kuenste bei 
 den Grieehen (Leipzig, 1868). 
 « Plin., N. H., XXXIV, 84. 
 
SCULPTORS. 27 
 
 Brunn^ suggests that the statement of Pliny, XXXIV, 
 51, is probably a mistake in chronology; so, according 
 to him, it is necessary to suppose that there were only 
 two artists of this name, the Athenian one of the XCIII 
 Olympiad and his possible descendant who worked for 
 Eumenes in Pergamum. 
 
 There can be no doubt that the kings referred to 
 in Pliny, XXXIV, 84, are Attains I and Eumenes II.^ 
 
 The native place of Phyromachus was probably 
 Athens/ He must have been a skilful painter as well 
 as sculptor, as Pliny (N. H., XXXV, 146) says Milon 
 of Soli, an artist of repute, was a pupil of his.* 
 
 The works of Phyromachus included: (1) an image 
 of Asclepius which Prusias later carried off from Per- 
 gamum. Polyb., XXXII, 25: Ilpoi/o-ta? fiera to viKrjaaL 
 TOP *'ATTa\ov KoX TO TTapcXdelv 7rpo9 to UepyafjLov TrapaaKeva- 
 <Tdfi€vo<; dvaiav ttoXutcX^ irpoatffa'ye tt^o? to T€fjL€vo<: tov 
 ^AaKXrjTriov . . , to Be TcXevTalov koI to tov "* KaKXryjnov dyaXfia 
 fiaaTcia-af;, Tre/JATTW? inro ^vXofidxov (^^vpofid^ov) KaTeaKeva- 
 fffievov aTrrjveyKev, . . . Cf . Suidas, S. V, TlpovaCa^,^ Diod. 
 SicuL, Exc. Lib. XXXI, 508 : "Ot* lipovala'^ 6 BiBwoiv 
 ^aaiXeis airoTVX<*iv tt)? iTnfioXri^ tt}? Trepl tov "ATTaXov to irpo 
 
 T7J<! TTO'XCQ)? T^/t€V09 TO KaXoV/JL€VOV ^ LK7](f>6pLOV 8L€(f>0eip€y Kol TOV 
 
 veoDV iXvfirjvaTO. '^avXrjae Be fcal tois avBpLdvTa<;y Koi tcl tSav 
 deoiv ^oava, Kal to Trepi^orjTOv dyaX/na tov ^ AaKXrjTrioVy Bokovv 
 epyov elvat ^vpofid^ov, 7repiTT(a<; KaTeaKevaa-fievov, 
 
 Pergamene coins have preserved the type, and to 
 judge from these we may believe that the chryselephan- 
 tine statue of Epidaurus, a work of Thrasymedes, in- 
 
 ^Gesch. d. gr, Kuenst., I, p. 443. 
 
 «Conze, Monatsh. d. Berl. Akad., 1881, p. 869 sq.; Ergebnis. d. Aus- 
 grab. z. Perg., 1880, p. 83; Loe^vy, I. G. B., p. 117 sq., and references 
 same page. 
 
 sLoewy, I. G. B., 118. 
 
 * According to Miss Seller's reading {op. cit., p. 170), Heraclides of 
 Macedon also was a pupil of Phyromachus. 
 
28 THE ARTISTS OF PERGAMUM. 
 
 spired Phyromachus.^ This statue was, no doubt, 
 placed in the Asclepieum. 
 
 (2) A Priapus dedicated by Anaxagoras, to which 
 an epigram of Apollonidas refers. Anthol. Gr., II, 
 698 (Planud., IV, 239). 
 
 "KvOer' ^Ava^ayopr)^! /i€, rbv ovk iirl iroaal UpirjiroVf 
 
 iv 'xOovi Ei'afJL<f>OT€pa) yovvari KCKXifievov, 
 
 Teuf € Be ^vXofia'x^o^ (^vpofia^off), 'Kaphmv Be fiOL ayxpSi kuXtjv 
 
 adpTjaa^y Bt^ev firjKen Tra? hreaov, 
 
 SchoelP thinks Anaxagoras might be the well-known 
 philosopher, who spent the last years of his life in 
 Lampsacus, where Priapus was specially honored. If 
 so, this votive offering, he thinks, would be the work 
 of the Phyromachus who was employed on the frieze 
 of the Erechtheum about Olympiad XCIII. Brunn 
 says this is impossible, as Anaxagoras died Olympiad 
 LXXXVIII, 1, twenty years earlier, when this artist 
 would scarcely have been in a position to create such 
 a work. 
 
 (3) A four-horse chariot driven by Alcibiades, 
 Pliny, N. H., XXXIV, 80, a companion piece to a 
 work of Niceratus.^ 
 
 (4) Two works in common with Niceratus, the 
 pedestals for which have been found in Delos and at 
 Pergamum. Loewy, I. G. B., 118, and Alt. v. Perg., 
 Vlir, 133. 
 
 * * Brit. Mus. Cat. Gr. coins, Mysia, pi. XXV, 9; XXIX, 11; * Wroth, 
 Numismatic Chronicle, 1882, p. 15; * Imhoof-Blumer, Die Muenzen 
 der Dynastie von Pergamon (Berlin, 1884), pi. Ill, fig. 10. 
 
 ^ See Brunn, Gesch. d. gr. Kuenst., I, p. 443. 
 
 « Fraenkel, Alt. v. Perg., VIII, p. 69. 
 
SCULPTORS. 29 
 
 NiCERATUS. 
 
 Niceratns was an artist of the second century b. c.^ 
 There is little reason to question this date, though 
 other views have been held.* His native place was 
 Athens, and his father 's name was Euctemon. Tatian, 
 Orat. ad Graec, 53 : . . . '^iKripdrov tov EvKTrjfiovo^ 'ABtj- 
 valov . . . 
 
 Fraenkel thinks the Delian inscription^ and the Per- 
 gamene one* prove that the inscription of a statue in 
 Pergamum, given in Apian,^ was composed on the 
 basis of a genuine ancient inscription: 
 
 Opus NiceratL 
 
 Fertur autem imaginem fuisse Eumenestis regis. 
 
 Loewy, I. G. B., 496. 
 
 Bursian® thought the inscription was not in its 
 ancient form, but Apian 's authority (probably Cyriac 
 of Ancona) had added the drawing of the statue and 
 pedestal, and that his sources were an ancient inscrip- 
 tion, ^Ltcriparo^ iiroirjaev^ and Oral tradition of the per- 
 son represented, who, Bursian thought, might be 
 Eumenes I. Leowy considers this improbable ; he sees 
 no reason for supposing that the name Eumenes came 
 from any other source than an inscription, but says 
 it is questionable whether any more of the memorial 
 than this was extant. 
 
 Since there are good reasons for believing that there 
 was only one artist of this name, the Eumenes of this 
 inscription must have been Eumenes II. 
 
 » Homolle, Mon. Grec, 1879, p. 46; Loewy, L G. B., 147; Fraenkel, 
 Alt. V. Perg., VIII, p. 69. 
 
 « Loewy, I. G. B., p. 93; Overbeck, S. Q., p. 164, 
 
 3 Loewy, I. G. B., 147 ; HomoUe, Mon. Grec, 1879, p. 46. 
 
 *Alt. V. Perg., Vlir, 132. 
 
 'Apianus et Amantius, Inscriptiones Sacrosanctae Vetustatis (In- 
 golstadt, 1543), p. 507. 
 
 6 Sitzb. Bay. Akad., 1874, p. 152 sq. 
 
30 THE ARTISTS OF PERGAMUM. 
 
 The works of Niceratus included: (1) An Asclepius 
 and Hygiea which Pliny says were in the Temple of 
 Concord at Rome. N. H., XXXIV, 80: Niceratus 
 Aesculapium et Hygiam qui sunt in Concordiae templo 
 Romae. If this group was originally made for the 
 Asclepieum at Pergamum, it was, presumably, trans- 
 ferred to Rome when the Romans inherited the Perga- 
 mene treasures by bequest of Attains III, 133 b. c. 
 
 (2) Alcibiades and his mother Demarate sacri- 
 ficing by torchlight. Pliny, N. H., XXXIV, 88: Nee 
 minus Niceratus omnia quae ceteri adgressus reprae- 
 sentavit Alcibiaden lampadumque accensu matrem eius 
 Damaraten sacrificantem. The name of Alcibiades 's 
 mother was Aeivo/j^axv*^ The name Demarate may have 
 crept into Pliny's authority through an error in tran- 
 scribing the inscription on the group. ^ 
 
 (3) Portraits of athletes, philosophers, etc. Pliny, 
 N. H., XXXIV, 88. 
 
 (4 ) A statue of Telesilla. Tatian, Orat. ad Graec, 52 : 
 TeXeo-tXX779 . . . ^tKijpaTO^ [ia-rlv 6 BijfjiLOvpyo^). Brunn^ 
 thinks it probable that Telesilla was the heroine and 
 celebrated lyric poetess of Argos, who flourished about 
 510 B. c. She led a band of her countrymen in the 
 war with the Spartans and took part in their victory. 
 Her statue was erected in the temple of Aphrodite 
 at Argos, where Pausanias* saw her figure in relief. 
 
 ( 5 ) Glaucippe. Tatian, Orat. ad Graec, 53 : Tiyap vfilv 
 
 7} TXavKLTTTTTj (Te^Lvov elarj^TjaaTO iraihiov ; rj rt repdcTTLOV iyev- 
 vrjaCj KaSoufi heiKwa-LV avrri^ r/ elKcoVy l^LKr^pdrov rov FiVKTtj/jlovo^; 
 ^A6r)vaiov TO yevo^ ')(aXKeva-avTO'^ ; el yap i/cvr)o-ev iXecfyavra^ rl 
 TO OLTLOV rov 87)/jLO<ria<i ctTToXava-ai TLfirj<; rrjv TXav/ciTTTrrjv ; It 
 
 ^ Plat., Ale, 105 d, etc. 
 
 2 Sellers, op. cit., Urlich's note, p. 75. 
 
 ' Geseli. d. gr, Kuenst., I, p. 272. 
 
 *II, 20, 8; cf. Clinton, Fasti Hellenici (Oxford, 1834), II, p. 19. 
 
SCULPTORS. 31 
 
 has been conjectured^ that this Glaucippe is the same 
 as the Alcippe of Pliny, N. H., VII, 34, of whom the 
 same marvel is related. 
 
 (6) A statue in Pergamum which Bursian^ thought 
 was a portrait statue, probably of Eumenes I, Loewy^ 
 of Eumenes II. Collignon's^ conjecture that this fig- 
 ure was a Nike is more probable, as a similar repre- 
 sentation of this goddess is seen engraved on a stone 
 in the antiquarium of Berlin.* 
 
 Loewy thinks this work was executed in the last 
 decade of the reign of Eumenes II; Bursian placed it 
 in the second half of the third century b. c. 
 
 (7) An ex-voto at Delos dedicated by Sosicrates to 
 celebrate a victory over the Gauls gained by Phile- 
 taerus, brother of Eumenes II. Loewy, I. G. B., 147; 
 Homolle, Mon. Grec, 1879, p. 46. Homolle thought 
 this group was of bronze, but Wolters^ thinks that 
 Homolle has not sufficient reason for this assumption. 
 The large pedestal and the eKKpna epya seem to prove 
 that the ex-voto consisted of at least two figures; and 
 one of these figures, a warrior in combat fallen on one 
 knee and who is possibly a Gaul, may have been dis- 
 covered in a statue excavated at Delos in 1882 and 
 now in the museum at Athens.^ The style of the work 
 would assign it to the second century b. c.^ (Reinach, 
 however, who conjectured that the second figure was 
 
 ^Kalkmann, Rh. Mus., XLII (1887), p. 498. 
 
 2 Sitzb. d. Bay. Akad., 1874, p. 153. 
 
 » I. G. B., 496; Unters. z. Kstlgesch., pp. 19-20. 
 
 * Pergame, p. 202. 
 
 " * Furtwaengler, Beschr. d. geschn. Steine im Antiquarium, No. 2816, 
 pi. 24 ; cf . * Studniczka, Die Siegesgottin, p. 20, note. 
 
 « Mitth. d. Arch. Inst., 1890. 
 
 'Collignon, Histoire de la Sculpture Grecque (Paris, 1892-1897), II, 
 fig. 264; Wolters, Mitth. d. Arch. Inst., 1890, pp. 186-198. 
 
 "Reinach, Bull. d. Corr. Hell, 1884, p. 180; Collignon, H. S. Gr., II, 
 p. 512. 
 
32 THE ARTISTS OF PERGAMUM. 
 
 on horseback/ thought there could be no doubt that 
 this statue was the work of Agasias, son of Menophi- 
 lus, whose name also was found in an inscription from 
 the same place). This work was executed after 183 
 B. c, and perhaps later. Loewy^ places it in the last 
 decade of the reign of Eumenes II. 
 
 (8) Two unknown works whose pedestals have been 
 found at Delos and in Pergamum, and which were exe- 
 cuted in common with Phyromachus. Loewy, I. G. B., 
 118, and Alt. v. Perg., VHP, 132. 
 
 The Artists Who Worked on the Frieze of the 
 Great Altar. 
 
 The names of the artists who worked on the sculp- 
 tured frieze of the great altar were cut on the base 
 below the reliefs and lower than the names of the 
 giants; where the base was lacking they were cut 
 on the cornice. In the excavations at Pergamum one 
 complete name and fragments of fifteen others have 
 been found (Alt. v. Perg., VHP, 70-85), but most of 
 these are so fragmentary as to be beyond restoration. 
 
 Theorretus. 
 
 The name Seopprjro^ was found on a complete block 
 of the top cornice (Alt. v. Perg., VIII, 83). Schuch- 
 hardt says it is possible that No. 84 is a continuation of 
 No. 83. If so, Theorretus would be a native of Per- 
 gamum, and the inscription would read : 
 
 @€o/3/37;to9 [lie/?] 7a [ft77i/o9 CTroTjaev, 
 
 » Bull d. Corr. Hell, 1889, pp. 117 and 120. 
 * Unters. z. Kstlgesch., p. 19. 
 
SCULPTORS. 33 
 
 DiONYSIADES (?) AND MeNECRATES. 
 
 No. 70 is made by the combination of three pieces, 
 two of which were fomid in fragments. The height 
 of the lines and the spacing of the letters are the same 
 in all three pieces, and the relative position of two of 
 them is made certain by the mason's place-marks (Ver- 
 satzmarken). As restored by Fraenkel, the inscription 
 reads : 
 
 At[o]in;<7t[a57/9 ToO Setz/09 /cat M€V€Kp]dTr)<; [Me] i/e/cparo [u?] 
 €7r6rj(Tav, 
 
 As Fraenkel 's combination of the fragments is based 
 on a careful study of the inscriptions, the conjecture 
 of Conze^ need not be considered, and there is no reason 
 for associating this Menecrates with the one men- 
 tioned by Pliny (XXXVI, 34) except as a possible 
 member of the same family. Collignon^ thinks it prob- 
 able that Menecrates was an artist of Tralles. 
 
 Melanippus (?). 
 In No. 71 five pieces are combined by Fraenkel, as 
 the height of the lines and the spacing of the letters 
 are the same in all. A certain restoration is impos- 
 sible, but he suggests : 
 
 Me] \a [wTTTTo? Me] Xao- [t] [u . . ]o9 i7r6[r)a€v, 
 
 Athenaeus. 
 In No. 74 three pieces are combined for the same 
 reasons as those given under 70. Schuchhardt ^ says it 
 is possible to combine these fragments in two different 
 ways. One combination would give one artist subscrip- 
 tion, and the other, two. 
 
 1 Goett. gelehrt. Anz., 1882, p. 904. 
 
 « Pergame, p. 87. 
 
 » Alt. V. Perg., VIII, p. 58. 
 
34 THE ABTISTS OF PEKGAMUM. 
 
 1. . . . o" . . . [^AO^rfvaiov [IltTa? *A^7/ ?] i/ato? cttot; [o-ej/. 
 
 2. . . . valo^ iTTOTj^^arev • • • ] rjvaiov. 
 
 In No. 2 the space between iiror} — and — rjvalov would 
 have contained, not only the — arev ending of the verb, 
 but also the artist's name and the first letters of his 
 father's. In this case the o- of No. 1 would have been 
 part of another inscription. 
 
 Urlichs^ thinks this artist is the son of an Athenaeus, 
 who, he says, may possibly be the Athenaeus of the dis- 
 puted passage in Pliny— N. H., XXXIV, 52: Cessavit 
 deinde ars, ac rursus olympiade CLVI revixit, cum 
 fuere longe quidem infra praedictos, probati tamen, 
 Antaeus, Callistratus, Polycles,^;^) Athenaeus , Callix- 
 enus, etc— and he includes this same Athenaeus among 
 the artists employed in Pergamum during the reign of 
 Attalus I. But, since Conze^ places the building of the 
 great altar at Pergamum in the time of Eumenes II 
 (197-159 B. c), it is chronologically impossible to take 
 the artist referred to in this inscription as the son of 
 an Athenaeus of the CLVI Olympiad, even if an artist 
 of this name is to be assumed from this passage in 
 Pliny. 
 
 Oeestes. 
 
 Inscription No. 75 is made by the combination of 
 two pieces on which the spacing of the letters and the 
 height of the lines are the same. The inscription, as 
 restored by Fraenkel, reads : 
 
 '0]/)©JT779 '0/3 [e] CTTO [if n€/>7] a/A [171/09 iirorja-ev. 
 
 Eleven of the sixteen inscriptions (Nos. 72, 73, 76-82, 
 84, 85) are too fragmentary to admit of any attempt 
 at restoration, but it has been conjectured that the v 
 
 » Perg. Inschr., p. 24. 
 
 *Monat8h, d. Berl. Akad.y 1881, p. 869; cf. Alt. v. Perg., VIII, p. 54. 
 
SCULPTORS. 
 
 35 
 
 of No. 72 formed part of the word Il€pyafiT)v6<i ; so of the 
 five, or possibly six, artists whose names have been 
 recovered, three were, very probably, natives of Per- 
 gamum. 
 
 Nothing further is known of these artists or their 
 work, but the fact that they formed part of the group 
 entrusted by Eumenes II with the great artistic under- 
 taking of his reign assures them a place among the 
 most celebrated artists of the second century b. c. 
 
 Hermocreon. 
 
 The native place of Hermocreon is unknown, but the 
 combined testimony of Livy and Strabo furnish evi- 
 dence for including him among the artists of the second 
 century b. c. who were employed by Eumenes II of 
 Pergamum. 
 
 The victory over Antiochus in 190 b. c. greatly ex- 
 tended the dominions of the king of Pergamum and 
 gave to Eumenes the provinces of Phrygia, Mysia, 
 Lydia, etc.^ It was, no doubt, Eumenes II who, after he 
 came into possession of this territory, caused a great 
 altar to be erected at Parium on the Propontis, and 
 the artist selected by him for this work was Hermoc- 
 reon. Strabo, X, 487 : ^Ttto Be Uapicov i/crurOrj %dao^ koI 
 Tldptov iv Trj UpoTrovTLSi TroXi?* iv ravry fiev ovv 6 ^co/jLo<i Xeycrat 
 ^ea? d^toffy (TTahiala^ ^X^^ '^^^ ifKevpd'^. XIII, 588 : *H ftez/ 
 ovv ttoXl^ fteraf u TlpidTrov teal Hapiov exovaa VTroKeifJievov ttcBlov 
 ofKovvfiov, iv ^ Kal fiavrelov tjV 'AttoXXwi/o? *AfCTaiov koX ^Ap- 
 T€iJLiSo<; Kara rrjv ** Hv/cdrrjv' eZ? Be Ildpiov ficTTjvexOv Traa-a rf 
 KaracTKevrj Kal XiOeCa KaTaa-iraaOevro^ rod lepov^ real oyKoSofirjOrj 
 iv T(p UapLO) ^(Ofi6<iy 'Ftp/jLOKpeovTO^; epyov, ttoXXt}? fivrjfjLrjf; d^cov 
 KaT^ TO fieyedo^; real /cdWo<;. 
 
 This is the only work of Hermocreon mentioned in 
 
 ' Liv., XXXVIII, 39, 14^17. 
 
36 THE AETISTS OF PERGAMUM. 
 
 literature, and his name has not appeared in inscrip- 
 tions found in or near Pergamum. 
 
 Menophanes (?) OR Menophantus (?). 
 
 A fragmentary inscription found on a block of 
 marble in Pergamum, as restored in the Alterthuemer, 
 
 reads: 
 
 'O Selva] MTjvo(j)\^dvov or dvrov 
 
 Alt. V. Perg., VHP, 221. 
 
 Both the names suggested by Fraenkel are found in 
 Pergamum: Menophanes on a coin of Caligula,^ and 
 Menophantus in inscriptions.^ There was an artist 
 Menophantus in the time of the Roman empire, whose 
 name is found on a statue of Aphrodite now in the 
 Chigi Palace at Rome.^ The artist of the Pergamene 
 inscription, who belongs to the time of the kings, is 
 otherwise unknown. 
 
 DiOSCURIDES. 
 
 A fragmentary inscription from Pergamum ( *Lebas- 
 Waddington, III, 1723^) probably contains the name 
 Dioscurides. The transcriptions of Loewy and Fraenkel 
 disagree as to the existing letters : 
 
 [AtO(r/c] ovpiBrj<} 
 [eTTotT/] (rev, 
 
 I. G. B., 284. 
 
 Aioa/c ^ovplBTj'; 
 
 Alt. V. Perg., VIII, p. 514. 
 
 »»Mionnet, II, p. 596, No. 550. 
 
 «C. I. G., 3554; Alt. v. Perg., VHP, 171 sq. 
 
 a C. I. G., 6165; Loewy, I. G. B., 377. 
 
SCULPTOBS. 37 
 
 There was a later artist of this name who was a 
 gem-cutter in the time of Augustus/ and there was 
 also a Dioseurides of Samos, who is known through 
 two mosaics found in Pompeii. ^ The Pergamene artist 
 is otherwise unknown. 
 
 Five more inscriptions which contained the names of 
 artists have been recovered in too fragmentary a con- 
 dition to admit of any attempt at restoration. Alt. v. 
 Perg., VHP, 3, 143, 145, 146, 197. One, at least, was 
 a native of Pergamum (No. 143). 
 
 Attalus III. 
 
 The work of Attains III, king of Pergamum, would 
 probably not entitle him to a place among the artists 
 of that city; his only claim to such a position is a 
 passage in Justin, where it is said that he worked in 
 wax and bronze, and of the latter material, probably, 
 began the construction of a tomb for his mother. Justin, 
 XXXVI, 4, 4-5: Ab hoc studio aerariae artis fahricae 
 se tradit, cerisque fingendis et aere fundendo procuden- 
 deque oblectabatur, Matri deinde sepulchrum facere 
 instituit ... 
 
 Several artists, for various reasons, have been in- 
 cluded among those of Pergamum, although there is 
 no direct testimony in literature or inscriptions which 
 connects their names with that country. The sugges- 
 tion of Collignon* that Athenion, whose name has been 
 found on cameos of the second century b. c, is to be 
 included among Pergamene artists, is quite plausible, 
 as his work is closely related in style to that of the 
 sculptors contemporaneous with Eumenes II. Colli- 
 gnon thinks it is probable that Boethus of Chalcedon also 
 worked at Pergamum, and Urlichs* includes among the 
 
 ^Plin., N. H., XXXVII, 8; Suet., Aug., 50. 
 « C. I. G., 5866 B. 
 » Pergarae, p. 227. 
 * Perg. Inschr., p. 31. 
 
38 THE ARTISTS OF PERGAMUM. 
 
 artists of this country Callistratus mentioned by Pliny 
 (N. H., XXXIV, 52) as an artist of Olympiad CLVI. 
 
 Sosus. 
 
 The date of Sosus is uncertain: he may have been 
 one of the artists of the third century b. c. Accord- 
 ing to Pliny (N. H., XXXVI, 184) he was the most 
 famous artist in mosaic of antiquity, and he is the only 
 one whose name is recorded in literature. Whether he 
 belonged to Pergamum, or was one of the many artists 
 from other countries who worked at the court of the 
 Attalids, is uncertain: the phraseology of Pliny might 
 imply the latter. 
 
 The only works of Sosus mentioned by Pliny are 
 the famous floors in Pergamum. N. H., XXXVI, 184 : 
 Celeberrimus fuit in hoc genere Sosus qui Pergami 
 stravit quern vocant asaroton oecon, quoniam purga- 
 menta cenae in pavimentis quaeque everri solent velut 
 relicta fecerat parvis e tessellis tinctisque in varios 
 color es. Mirabilis ihi columha bib ens et aquam um- 
 bra capitis infuscans apricantur aliae scabentes sese in 
 canthari labro. The popularity of this work is proved 
 by existing imitations as well as references in Koman 
 writers.^ Of existing imitations the best known, called 
 the Capitoline Doves, was found in 1737 in Hadrian's 
 villa near Tivoli.^ Several mosaics of the unswept 
 floor type also have been found.^ 
 
 It is possible that Sosus may have been one of the 
 artists who made the mosaics for the magnificent ship 
 of Hiero II of Syracuse, about 232 b. c.^ 
 
 »Stat. Silv., I, 3, 56; Apollinar. Sidon., Carm., XXIII, 55. 
 ^Helbig, Fuehrer durch die oeffentlichen Sammlungen klassischer 
 Alterthuemer in Rom (Leipzig, 1891 and 1899), 450. 
 ^lUd., 694; Brunn, Geseh. d. gr. Kuenst., II, p. 312. 
 * Athen., V, 206 D. 
 
paintebs. 39 
 
 Hephaestion. 
 
 The name of one other artist in mosaic has been dis- 
 covered in Pergamum: one of the fragments of a 
 mosaic floor^ found in the ruins of what was probably 
 the royal palace bears his signature: 
 
 hroCeu 
 
 Alt. V. Perg., VIII, 46% p. 504. 
 
 These fragments, according to Ussing,^ are far su- 
 perior to the best Pompeian mosaics. 
 
 An Hephaestion of Athens, son of Myron, an artist 
 of the first century b. c, is known from four inscrip- 
 tions found in Delos.^ 
 
 Among the literary records of painters and paint- 
 ings in Pergamum only three, at most, refer to con- 
 temporary artists. One of these is a painting at Per- 
 gamum mentioned by Pausanias (X, 25, 10), which 
 depicted the slaying of Polyxena on the tomb of Achil- 
 les. As Pausanias is speaking of a series of connected 
 paintings, he very probably refers to fresco-paintings 
 on the wall of some public building. 
 
 MiLON (!). 
 The second reference also is found in Pausanias. 1, 4, 
 
 6 : TlepyafjLTjvol^ Be ean fiev aKvka airo TaXarSyv eari he ypa<l)rj 
 TO epyov TO 7r/)09 FaXctTa? exovara. This battle with the 
 
 Gauls Urlichs* has conjectured was the work of Milon 
 of Soli, the pupil of Phyromachus the statuary. 
 
 ^ Vol. V^ of the Alterthuemer, which contains an account of these 
 mosaics, has not yet been published. 
 2 Pergamos, p. 69. 
 
 » C. I. G., 2284, 2293; Loewy, I. G. B., 252-255. 
 * Perg. Inschr., p. 30. 
 »Plin., N. H., XXXV, 146. 
 
40 the artists of peegamum. 
 
 Pytheas. 
 
 Pytheas was probably an artist of the second century 
 B. c. ; his native place was Bura in Achaea.^ 
 
 There was an elephant in Pergamum, which was the 
 work of Pytheas, who seems to have excelled in mural 
 paintings. Steph. Byz. : BoO/ja, TroXt? 'A;j^ata? . . . e/c 
 ravTT}^ rjv Tlv6€a<; ^(oypd(f)0^^ ot eartv epyov 6 iv Hepydfitp €Xe</)a9, 
 airo TOL')(pypa<f>la^ (av o)? ^CXuyv. 
 
 In the third century b. c. Antiochus, who had won a 
 complete victory over the Tectosages in Phrygia 
 through the havoc made by his sixteen elephants, com- 
 manded that nothing but the figure of an elephant 
 should be inscribed on the trophy.^ It is probable that 
 the elephants of the Greek princes played as important 
 a part in the wars with the Gauls which followed, and 
 there can be little doubt that this elephant of Pytheas 
 was connected with the victories of Attains and Eu- 
 menes: it may have been assigned a place on the 
 acropolis with the other monuments erected in honor 
 of the victories of these kings.^ 
 
 The names of several artists have been found in in- 
 scriptions of Pergamum, which must be assigned to the 
 period of Roman supremacy. 
 
 Menophilus. 
 A Pergamene artist of this name is known from only 
 one inscription: 
 
 'O 5?} [/a] 0? [ertft^crei/] 
 
 AevKiov 'Ai^Tw [i^] lov M [adpKov vlov, ai^t-] 
 
 TajxCav KoX avTLaTpdTr)\jyov tov TrarpG)-] 
 
 * Steph. Byz., s. v. fiovpa. 
 'Lucian, Zeux., 11. 
 
 « S. Reinach and E. Pettier, La Necropole de Myrina (Paris, 1888), 
 pp. 168-169, 322-323. 
 
ABTISTS UNDER THE ROMAN EMPIRE. 41 
 
 i'irap')(eCav KadapSy; Koi h [rjfiiOTLKSyi /cat] 
 M7/j/o<^t\o9 Mr]voy€Vov iiroei. 
 
 Alt. V. Perg., VIIP, 410; cf. Loewy, I. G. B., 283. 
 
 As Lucius Antonius, the brother of the triumvir 
 Marcus Antonius, was quaestor in Asia in 50 b. c. and 
 proquaestor with praetorian rank in 49 b. c.,^ Meno- 
 philus was an artist of the first century b. c. His 
 native place is unknown. 
 
 Lolling^ is inclined to think that the Menogenes of 
 Pliny, XXXIV, 88, is the father of this artist; he 
 thinks it probable also that this Menophilus is a kins- 
 man of the Agasias of Ephesus, son of Menophilus, 
 whose name is found in an inscription of Delos and 
 whose date is probably 100 b. c.^ On the basis of this 
 conjecture he gives the following family tree : 
 
 Menophilus 
 
 Agasias Menogenes 
 
 (about 100 B. C.) | 
 
 Menophilus (about 49 B. C.) 
 
 But there are four inscriptions from Delos containing 
 the name of this Agasias, son of Menophilus ;* one that 
 of Menophilus, son of Agasias,^ also from Ephesus ; and 
 one also that of an Agasias, son of Dositheus, of 
 Ephesus:® Loewy ^ gives the following family tree, in 
 which he does not include the artist of Pergamum : 
 
 ' * Waddington, Fast. Prov. Asiat., Nos. 33 and 34. 
 
 'Ergebnis. d. Ausgrab. z. Perg., 1880, p. 110. 
 
 9 C. I. G., 2285 B. 
 
 « Loewy, I. G. B., 287-290. 
 
 e Ibid.y 291. 
 
 « Ibid., 292. 
 
 T Ibid., p. 205. 
 
42 THE ABTI6TS OF PERGAMUM. 
 
 Agasias 
 
 ! 
 
 Menophilus Dositheus 
 
 Agasias (Nos. 287-290) Agasias (No. 292) 
 
 Menophilus (No. 291) 
 
 Since the home of the Pergamene Menophilus is not 
 mentioned, there is too little on which to base such a 
 conjecture as that of Lolling. 
 
 DiODORUS. 
 
 The name of this artist has been found in an in- 
 scription on a marble pedestal at Karaman-Mesar : 
 
 Mitth. Arch. Inst., 1899, p. 224. 
 
 A Diodorus who painted a portrait of Menodotus is 
 ridiculed in the Greek Anthology (Palat., XI, 213).^ 
 The Pergamene artist is otherwise unknown, and the 
 only clue to his date is the epigraphy of the inscrip- 
 tion, which places him in the time of the Roman Empire, 
 perhaps as late as the early part of the second cen- 
 tury A. D. 
 
 Glycon. 
 
 An inscription on a marble base found in Pergamum 
 contains this name: 
 
 V€p'\^avLKov\jcalaapa Tiffepiov ^epacrrov vlov 
 
 TOP e] u€ [p] 7 [er?;!/ koI aayTrjpa t?)9 Trar/atSo?.] 
 
 TXvKa)[^v . . . i7roL€t]. 
 
 Alt. V. Perg., VHP, 391. 
 
 The terminus post quern for this stone is 18 a. d. 
 Germanicus, who was put in charge of affairs in the 
 
 ^ = Meineke, Leonidae Alexandrini Carmina, V. 
 
ARTISTS UNDER THE ROMAN EMPIRE. 43 
 
 east in that year/ traveled along the coast from Ilium 
 to Colophon^ and probably stopped in Pergamum: he 
 died in Syria the following year.^ This inscription, no 
 doubt, belonged to one of the statues erected in his 
 honor which are mentioned by Tacitus.^ 
 
 The Athenian artist of the first century b. c. who 
 executed the famous Farnese Heracles, now in Naples, 
 was a Glycon. It is, of course, possible that the later 
 artist may have been a member of the same family, 
 but identity of name does not of necessity lead to any 
 such conclusion. 
 
 NiCODEMUS OR NiCON. 
 
 One more name must be added to this list, for, though 
 he who bore it cannot be included among the artists of 
 Pergamum in the strict sense of that term, he was too 
 famous in his particular line to be passed over without 
 comment. An architect, I. Nicodemus, also called Nicon 
 the Younger, restored and decorated, at his own expense, 
 a colonnade of the agora in Pergamum : 
 
 ^ Apxi'TeKTcov 
 
 dioL^ at reyyehaL^ UpoU 
 
 'I. Nct/co^T/^o? aya6(k, a/ia Btj 6 xal 
 
 r)a(f>a\iaaTO Kal Koa/Mrjtre atraai 
 ayopavo/XLOV TreptTraTov I8{rj (fnXoreLfiLrj, 
 iv fficp Be KoKJov epyov ev fwvov exmoua. 
 
 C. I. G., 3545; Alt. v. Perg., VIIP, 333. 
 
 And a Nicon of Pergamum, probably the same, drew 
 up a mathematical composition: 
 
 ^ Tac, Ann., II, 43. 
 *IUd., 54. 
 lUd., 72. 
 ^Ihid., 83; Fraenkel, Alt. v. Perg., VIII, p. 279. 
 
44 THE ARTISTS OF PERGAMUM. 
 
 evTrcLpoL^ at Trj<; /ivtjfi'qf; ')(^cipLV. 
 
 C. I. G., 3546. 
 
 The architect of this restored building Doerpfeld^ 
 places in the second century a. d. Nicon, the father 
 of Galen, lived in the first half of the second century a. 
 D. ; he was a geometrician and an architect, and came 
 from Pergamum. Suidas, Ta\rjv(k . . . Tl€pyafjLrjv6<;, 
 yeyovw^i iirl MdpKov koI Ko/xoBov koI Ile/JTtVa/fo? tmv Kaia-d- 
 payv iv *P«/i.j7, vlo^ NtWi/o? yecD/JLerpov Koi a/3;^tT€/CT0i/09 . . . 
 Galen, Tlcpl evxv^i, koI /caKoxv^i., I (VI, p. 755, Kuehn) : 
 
 'Eftol yap TraTrjp iyepero yeayp^jpia^ fiev Kal apxi'T€KTOVLa<; Kal \o- 
 yKrTLKYjf; aped /jLTjTLKrjf; re fcal aarpovofiUf; ek aKpov ijkcov.^ It is 
 very probable that Nicon the father of Galen and Nico- 
 demus the architect are one and the same person.^ 
 
 There has also been found in Pergamum an inscrip- 
 tion on a stone raised in his honor after his death or 
 placed over his tomb : 
 
 'I. ^iKoBrjfio^ 6 Kal N//cft)i/ 
 aya06<; elev al rjpoy;, 
 
 Alt. V. Perg., VHP, 587. 
 
 Since inscriptions found in Pergamum prove that 
 artists of many nationalities worked there, the exis- 
 tence of a Pergamene school of art has been questioned 
 and even rejected. * It must be admitted that, in the 
 true sense, a school of art cannot be created by the lav- 
 
 1 Mitth. d. Arch. Inst., 1902, p. 30. 
 
 » Cf. Tzetzes, Chiliades, XII, 9 sq. 
 
 "Alt. V. Perg., VIII, p. 372; *H. Schoene, Schedae philologae Her- 
 manno Usenero . . . oblatae (Bonn, 1891), p. 91. 
 
 *Urlich8, Perg. Inschr., p. 27; Conze, Qoett. gelehrt. Anz., 1882, p. 
 911 sq. 
 
PERGAMENE SCHOOL OF ART. 45 
 
 ish patronage of princes, cannot, save in the most ele- 
 mentary degree, be formed by a gathering of painters 
 and sculptors, as the world has slowly recognized in 
 the decadence of Italian art in the past two centuries. 
 There was no Pergamene school in the sense of ^^a 
 body of native sculptors showing in their work the im- 
 press of local character and influence,'' but, since **a 
 certain spirit and style appear throughout the mass of 
 sculpture discovered on the site of Pergamum, which 
 no earlier work of sculpture displays so conspicuously 
 or so consistently,'' a Pergamene style or epoch may 
 be maintained.^ This was probably part of a great 
 Graeco-Asiatic school, of which Pergamum, in the 
 second century b. c, was the most brilliant and active 
 center. These post- Alexandrian sculptors and painters, 
 Greeks though they were, were influenced by the great 
 East which they had conquered; but it was against 
 this East, which was slowly but steadily engulfing them, 
 that their works were a protest in grace and in beauty. 
 For inspiration they turned to Athens, the ancient seat 
 of Hellenic glory, though her surroundings, beliefs, and 
 associations were fading away. 
 
 * Farnell, Jour. Hell. Stud., XI, p. 181 sq. 
 
14 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 
 LOAN DEPT. 
 
 RENEWALS ONLY— TEL NO. 642-3405 
 
 This book is due on the last date stamped below, or 
 
 on the date to which renewed. 
 
 Renewed books are subject to immediate recall. 
 
 RECg fvgp 
 
 ^?/lfil0^69-jiAM 
 
 tOAN DEPT. 
 
 OEPSISW*^ 
 
 : 
 
 ij.1 1 I '. . .. . i .<i <>■ ». «-»e 
 
 ^BUf,^. y 
 
 ''""'^/^car'-'^'^ 
 
 ^^tQr^ 
 
 hi 
 
 MIL 
 
 R£(rD Li JUU7 /I .4PM2 7 
 
 
 LD 21A-40m-2,'69 
 (J6057sl0)476 — A-32 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
 "-^T^im 
 
 l^gC^*-^ 
 
 §^^%n 
 
 WRR181969 28 
 
 LD 21-50?«.-8.'32 
 
V n n ■ 
 
^