UNIVERSITY OF CALIFORNIA 
 LOS ANGELES
 
 CHARLES W. PEPPLER, 
 
 DUKE UNIVERSITY 
 
 BURHAM, N. C. 
 
 NOV 1 1926
 
 GREEK SCULPTURE
 
 SELECT 
 PASSAGES FROM ANCIENT WRITERS 
 
 ILLUSTRATIVE OF THE HISTORY OF 
 
 GREEK SCULPTURE 
 
 EDITED 
 
 WITH A TRANSLATION AND NOTES 
 
 BY 
 
 H. STUART JONES, M.A. 
 
 FELLOW OF TRINITY COLLEGE, OXFORD ; LATE CRAVEN UNIVERSITY FELLOW 
 FORMERLY STUDENT OF THE BRITISH SCHOOL AT ATHENS 
 
 London 
 
 MACMILLAN AND CO. 
 AND NEW YORK 
 
 1895
 
 Ojforb 
 
 HORACE HART, PRINTER TO THE UNIVERSITY
 
 J7/ 
 
 TO 
 PROFESSOR PERCY GARDNER 
 
 476859 
 
 i ."
 
 PREFACE 
 
 THE History of Greek Sculpture, 60x3-323 B.C., 
 forms one of the subjects of examination in the 
 classical school at Oxford. The only collection 
 of ancient authorities on this subject available for 
 study is that of Overbeck (Die antiken Schrift- 
 quellen zur Geschichte der bildenden Kunste bei 
 den Griechen, Leipzig, 1868). Since this work 
 aims at completeness, it contains some thousands 
 of passages which are not necessary for such 
 study of Greek sculpture as is required of Uni- 
 versity students, while, on the other hand, it 
 provides neither translation nor commentary. 
 I have, therefore, at the request of Professor 
 Gardner, selected such passages as appeared 
 from their intrinsic interest or difficulty to re- 
 quire special study by those offering the subject 
 for examination, adding some few to which atten- 
 tion has been called since the publication of 
 Overbeck's work. As a rule, the inscriptions 
 of artists (which may be read in Lowy's In- 
 schriften griechischer Bildhawr] have not been 
 included, except in a few cases where the matter
 
 x PREFACE 
 
 or form of the inscription seemed to make this 
 desirable ; to those which are merely signatures 
 reference is made in the discussions of date 
 which follow each heading where necessary. In 
 order to save space many passages have been 
 omitted in which the text presents m> difficulty 
 of translation and has no descriptive interest : 
 a list of the works mentioned in such passages is 
 appended to the account of each sculptor. 
 
 Since this book is not intended to fill the place 
 of systematic histories of sculpture, such as those 
 of Overbeck and Collignon, notes are not given 
 where a reference to those works can be supplied, 
 and references to periodical and current literature 
 are in general not given except where the book 
 or article quoted has appeared within the last two 
 years, or where it seems worthy of consultation 
 in addition to the text-books. It has not been 
 thought necessary to devote much space to ques- 
 tions of textual criticism ; the passages are quoted 
 from the standard texts of each author with but 
 few divergences. 
 
 The author desires to express his sincere thanks 
 to Professor Gardner for his constant help and 
 encouragement, and for the thorough revision to 
 which the proof-sheets were submitted by him as 
 they issued from the press.
 
 CONTENTS 
 
 PREFACE ix 
 
 INTRODUCTION xvii 
 
 1. Historical Sketch xvii 
 
 2. The Criticisms of the Great Bronze-Casters . . xxix 
 
 3. The Canon of Sculptors xxxii 
 
 4. Pliny's Chronological Table . . . . . xxxv 
 
 LIST OF ABBREVIATIONS xxxix 
 
 PART I. 
 
 THE BEGINNINGS OF GREEK SCULPTURE. 
 
 NOB. 1-41. 
 
 i. THE DAIDALIDAI, 1-24 3 
 
 1. Daidalos, 1-6 3 
 
 2. Endoios, 7-10 7 
 
 3. Dipoinos and Skyllis, 11-14 8 
 
 4. The Spartan Sculptors at Olympia, 15-18 . . II 
 
 5. Tektaios and Angelion, 19, 20 . . . . 13 
 
 6. Klearchos, 21 14 
 
 7. Smilis, 22, 23 15 
 
 8. Cheirisophos, 24 16 
 
 2. THE SCULPTORS OF CHIOS, 25-28 . . . . 16
 
 xii CONTENTS 
 
 PACE 
 
 3. EARLY WORK IN METAL, 29-38 .... 20 
 
 1. Glaukos of Chios, 29-31 20 
 
 2. The Sculptors of Samos, 32-35 .... 22 
 
 3. Gitiadas of Sparta, 36, 37 25 
 
 4. Bathykles of Magnesia, 38 27 
 
 4. THE EARLIEST PORTRAITS OF ATHLETES, 3941 27 
 
 PART II. 
 
 ARCHAIC AND TRANSITIONAL SCULPTURE. 
 
 Noa. 42-95. 
 
 i. THE ARCHAIC SCHOOLS, 42-71 33 
 
 1. Argos, 42-51 33 
 
 (a) Ageladas, 42-46 33 
 
 (b) Glaukos and Dionysios (Simon), 47, 48 . 36 
 
 2. Sikyon, 49-51 38 
 
 Kanachos, 49-51 38 
 
 3. Aegina, 52-63 40 
 
 (a) Kallon, 52, 53 40 
 
 (b) Onatas, 54-60 41 
 
 (c) Glaukias, 61, 62 48 
 
 (d) Anaxagoras, 63 49 
 
 4. Athens, 64-68 50 
 
 (a) Antenor, 64 50 
 
 (b) Kritios and Nesiotes, 65-67 . . . . 51 
 
 (c) Hegias (Hegesias), 68 52 
 
 5. Elis, 69, 70 53 
 
 Kallon, 69, 70 53 
 
 6. Naupaktos, 71 54 
 
 Menaichmos and Soidas, 71 .... 54 
 
 2. THE SCULPTORS OF THE TRANSITIONAL PERIOD, 
 
 72-95 55 
 
 1. Pythagoras, 72-77 55 
 
 2. Kalamis, 78-87 59 
 
 3. Myron, 88-95 64
 
 CONTENTS xui 
 
 PART III. 
 
 THE AGE OF PHEIDIAS AND POLYKLEITOS. 
 Nos. 96-181. 
 
 i. THE ATTIC SCHOOL, 96-159 73 
 
 1. Pheidias, 96-125 73 
 
 (a) Life, 96-99 73 
 
 (b) Works, 100-125 77 
 
 i. In Athens, 100-110 .... 77 
 
 ii. In Elis, 111-116 84 
 
 iii. Miscellaneous, 117-125 .... 94 
 
 2. The Pupils of Pheidias, 126-141 .... 99 
 
 (a) Alkamenes, 126-135 99 
 
 (b) Agorakritos, 136-138 104 
 
 (c) Kolotes, 139-140 108 
 
 (d) The Sculptures of the Parthenon, 141 . . 109 
 
 3. Praxias and Androsthenes, 142, 143 . . .no 
 
 4. Lykios, 144-147 112 
 
 5. Kresilas, 148 115 
 
 6. Strongylion, 149-152 117 
 
 7. Kallimachos, 153-155 118 
 
 8. Sokrates, 156 120 
 
 9. Pyrrhos, 157 121 
 
 lo. Styppax, 158 121 
 
 n. The Sculptures of the Erechtheion, 159 . . 122 
 
 2. THE ARGIVE SCHOOL, 160-174 124 
 
 1. Polykleitos, 160-166 124 
 
 2. The Family and School of Polykleitos, 167-174 . 131 
 
 (a) The Family of Patrokles, 167-171 . . 131 
 
 (b) The School of Polykleitos, 172, 173 . . 134 
 
 (c) The Sculptures of the Heraion at Argos, 174 137
 
 xiv CONTENTS 
 
 PACE 
 
 3. OTHER ARTISTS, 175-181 . .... 138 
 
 1. Paionios of Mende, 175-177 138 
 
 2. Theokosmos of Megara, 178 142 
 
 3. Nikodamos of Mainalos, 179 143 
 
 4. Telephanes of Phokis, 180 144 
 
 5. The Metopes of Olympia, 181 . . . 145 
 
 PART IV. 
 
 SCULPTURE IN THE FOURTH CENTURY. 
 
 NOB. 182-260. 
 
 i. THE ATTIC SCHOOL, 182-234 ... 149 
 
 1. The Family of Kephisodotos, 182-205 . . .149 
 
 (a) Kephisodotos the Elder, 182-185 . . .149 
 
 (b) Praxiteles, 186-202 151 
 
 (c) The Sons of Praxiteles, 203-205 . . . 164 
 
 2. Skopasand the Sculptors of the Mausoleion, 206-222 166 
 
 (a) Skopas, 206-212 166 
 
 (b) Leochares, 213-216 172 
 
 (c) Bryaxis, 217, 218 175 
 
 (d) Timotheos, 219-221 176 
 
 (e) The Mausoleion, 222 177 
 
 3. Other Artists, 223-234 1 80 
 
 (a) Silanion, 223-225 180 
 
 (b) Sthennis of Olynthos, 226, 227 . . .182 
 
 (c) Euphranor of the Isthmos, 228-230 . . 183 
 
 (d) Thrasymedes of Paros, 231. 232 . . .186 
 
 (e) Polyeuktos, 233 188 
 
 (f) Demetrios, 234, 235 188 
 
 2. THE SCHOOL OF SIKYON, 236-256 . . .190 
 
 1. The Younger Sons of Patrokles, 236-240 . . 190 
 
 (a) Daidalos, 236-239 190 
 
 (b) Polykleitos the Younger, 240 . . .192 
 
 2. Lysippos, 241-251 193 
 
 3. Lysistratos, 252 206
 
 CONTENTS xv 
 
 PAGE 
 
 4. The Family and School of Lysippos, 253-256 . 207 
 
 (a) Daippos,Boedas, Euthykrates, Tisikrates,253 207 
 
 (b) Eutychides, 254, 255 209 
 
 (c) Chares of Lindos, 256 210 
 
 3. OTHER ARTISTS, 257-260 212 
 
 1. Hypatodoros and Aristogeiton of Thebes, 257 . 212 
 
 2. Boethos of Carthage, 258, 259 .... 213 
 
 3. Aristodemos, 260 214 
 
 APPENDIX I. 
 
 THE SCHOOLS OF PERGAMON AND RHODES. 
 NOB. 261-267. 
 
 1. The School of Pergamon, 261-264 . . . 217 
 
 2. The School of Rhodes, 265-267 . . . .221 
 
 (a) The Sculptors of the Laokoon, 265 . . 221 
 
 (b) The Sculptors of the Farnese Bull, 266 . 222 
 
 (c) Aristonidas, 267 223 
 
 APPENDIX II. 
 
 DAMOPHON OF MESSENE. 
 
 NOB. 268-271 .... 235
 
 INTRODUCTION 
 
 1. HISTORICAL SKETCH. 
 
 THE earliest works of Greek literature dealing with 
 the subject of Sculpture were the practical treatises of 
 artists whose aim was to lay down a canon of proportions 
 applicable to the human figure. Of these the first was 
 the ' Canon ' of POLYKLEITOS (mentioned by Galen, 
 No. 163), which dates from the latter half of the fifth 
 century, and took the form of a commentary on the 
 ' doryphoros ' of the same master. If we may judge by 
 the only quotation preserved (v. No. 163 note), it 
 attempted a mathematical demonstration of the pro- 
 portions which produce beauty in the human frame. 
 Polykleitos had many followers in the branch of lite- 
 rature which he founded l , amongst whom we may select 
 for remark EUPHRANOR (No. 230), and MENAICHMOS, 
 an artist briefly referred to by Plin. N. H. xxxiv. 80 in 
 the words ' Menaechmi uitulus genu premitur replicata 
 ccruice ; ipse Menaechmus scripsit de sua arte.' His 
 date cannot be fixed with certainty, but he may probably 
 be assigned to the fourth century B. c. 
 
 The history and criticism of sculpture became objects 
 of a new interest in the days of the early Peripatetics and 
 their many-sided literary activity. ARISTOTLE himself 
 
 1 Vitruu. VII. Praef. 14, gives a list of writers who 'praecepta 
 symmetriarum conscripserunt.' 
 
 b
 
 xviii INTRODUCTION 
 
 is the author of some interesting criticisms of painting l , 
 and in Eth. vi. 1141 a, 10, mentions Pheidias and Poly- 
 kleitos as the masters of their respective crafts sculpture 
 in marble in the first case, bronze-casting in the second. 
 His successors in the Peripatetic school seem to have 
 collected biographical material for the history of sculp- 
 ture. Quasi-genealogical tables showing the succession 
 in schools of philosophy were drawn up, and it would 
 seem that artistic pedigrees were traced in the same 
 manner. It is probable that DuRIS of Samos, a pupil 
 of Theophrastos, was among the first to take up these 
 studies ; we find him quoted by Pliny as the authority 
 for an anecdote told of Lysippos. The collection of 
 anecdotes and a-no^O^y^ara was a favourite occupation 
 with the Peripatetics ; it has left marked traces in the 
 conventional history of Painting as seen in Pliny's thirty- 
 fifth book. No doubt, too, the numerous writers nepl 
 evpr)ij.dT<av to whom this period of learned activity gave 
 birth, contributed somewhat to the history of Art. 
 
 The most important works, however, for our purpose 
 were still those of men who were themselves sculptors. 
 XENOKRATES, a member of the school of Lysippos 
 (v. Part IV, 2 ad fin.}, is mentioned by Pliny as an 
 authority both on sculpture and painting, and may with 
 much probability be identified with the artist of the 
 same name known to us from inscriptions found at 
 Oropos and Elateia (Lowy 135 #<:). If this be correct, 
 he was an Athenian by birth, the son of Ergophilos ; his 
 ' floruit ' must be placed about the middle of the third 
 century B.C. Pliny couples with his name that of 
 ANTIGONOS, one of the sculptors employed by Attalos I 
 of Pergamon on the memorials of his victories over the 
 
 1 Poet. 1448 a, 5, 1450 a, 26; Pol. v (viii). 1340 a, 35.
 
 INTRODUCTION xix 
 
 Gauls (No. 261). From a notice relating to the Nemesis 
 of Agorakritos at Rhamnus (No. 137 note) we learn that 
 he was a native of Karystos ; and Wilamowitz therefore 
 identifies him with Antigonos of Karystos, the author of 
 lives of the philosophers and of a Trapab6a>v crvvaytayri. 
 We may with much probability attribute to one or other 
 of these writers the series of criticisms tabulated in 2, 
 which clearly proceed from an admirer of Lysippos, and 
 take no account of early sculpture. Beside criticism of 
 style, however, these writers certainly gave a statistical 
 account of the works of the great artists ; they wrote of 
 painting as well as of sculpture, and Diogenes Laertios 
 (vii. 1 88) speaks of a picture whose existence is unknown 
 to Xenokrates and even to Antigonos. 
 
 The work of Antigonos called forth a reply from the 
 pen of POLEMON of Ilion, a widely-travelled man, who 
 wrote numerous guide-books to the places which he 
 visited. He flourished in the reign of Ptolemy Epiphanes 
 (204-181 B.C.), and is probably to be identified with the 
 person of the same name and origin who obtained 
 Trpo(i'ia from the Delphians in 176 B.C. (Dittenberger, 
 Syll. 198). The title of one of his works is given as ra 
 Trpbs 'AScuov KOI 'Avriyovov, the first named author being 
 a Mitylenaean by birth, who wrote Trept dyaA/zaroTrotaii;. 
 We seem to hear an echo of the controversy in the 
 passage of Zenobius (O- S. 836) referred to above, where 
 the statement of Antigonos as to the inscription on 
 the Nemesis of Rhamnus is met by a counter argument 
 introduced by the w r ords ov davfj-acrrov 8e *. To each of 
 the great artistic centres of Greece Olympia 2 , Delphi, 
 
 1 For other possible cases cf. Urlichs, Ueber griechische Kunst- 
 schriftsteller, pp. 34 ff. 
 
 2 This is assumed by Preller, who assigns Fr. 21-23 to the work. 
 
 ba
 
 XX INTRODUCTION 
 
 the Athenian Akropolis Polemon devoted a special 
 work. He busied himself with the collection of in- 
 scriptions bearing on the subjects of his study, and 
 hence earned the sobriquet of 6 (mjAoKOTras. Other 
 Tepa/yrjrcu were HELIODOROS of Athens, whose work 
 de AtJieniensium anatJiematis is mentioned by Pliny, and 
 HEGESANDROS of Delphi, from whom the notice preserved 
 in No. 31 is quoted by Athenaios. ALKETAS also wrote 
 an account of the offerings at Delphi (v. No. 196 note). 
 
 The next phenomenon of importance in the history of 
 art-criticism is that of the comparative method employed 
 by the literary critics. It would seem that especially 
 at Pergamon, where the royal house accumulated art- 
 treasures of all periods it became the fashion to draw 
 up chronological tables of the great authors, to each of 
 whom a brief criticism often a catchword was assigned ; 
 and we find unmistakable traces of an arrangement of 
 sculptors and painters in parallel series 1 . Robert has 
 endeavoured to show that the Canon of ten sculptors 
 given by Quintilian ( 4) was drawn up at Pergamon as 
 the counterpart of the famous Canon of the Ten Orators, 
 but it seems clear that that Canon is itself of later origin 
 than was formerly supposed 2 . and that we are only 
 justified in attributing to the Pergamenes the formation 
 of a list or Canon of sculptors of indefinite number 
 arranged chronologically, with a fixed scale of apprecia- 
 tions. The great importance of their work lies in the fact 
 rightly pointed out by Robert, that they put an end to 
 
 1 See 4, Nos. 87, 125, and the collection of passages in Brzoska, 
 De Canone decem oratorum, pp. 8 1 ff. 
 
 " See the authors quoted by Susemihl, Geschichte dergriechisJien 
 Litteratur in der Alexandrinerzeit, ii. 485, note no, and 675, 
 additional note on chap, xx, pp. 521-523.
 
 INTRODUCTION xxi 
 
 the exclusive primacy of Lysippos, and brought earlier 
 sculpture and with it Pheidias in to the place of honour 
 which they merited. To this school of critics belong 
 CICERO (106-43 B.C.), DIONYSIOS of HALIKARXASSOS 
 (temp. Augustus), and above all QUINTILIAN (35- 
 V5 A.D.). 
 
 The last century before Christ produced one more 
 book written by an artist which was of importance. 
 This was the work in five volumes by PASITELES 
 dealing with ' nobilia ' or mirabilia opera in toto orbe,' 
 as the title is given by Pliny. The author was a Greek 
 sculptor born in Magna Graecia, who became a Roman 
 citizen in 87 B.C., and is twice spoken of by Pliny as 
 a contemporary of Pompey the Great (106-48 B.C.). 
 
 With Pasiteles closes the series of professional writers 
 on art ; henceforward we have to deal with the encyclo- 
 paedic writers of the Roman period, who draw their 
 information from the copious stores of Greek learning. 
 The first of these is VARRO (116-27 B.C.), quoted by 
 Pliny as a cardinal authority, in the sphere of whose all- 
 embracing activity art was naturally included, although 
 we have no direct testimony to the existence of a special 
 * History of Art ' amongst his works. No doubt bio- 
 graphies of the great sculptors found a place in the 
 gallery of ' Imagines ' which he formed. 
 
 We may pass rapidly over the Augustan period, 
 briefly mentioning the geographical work of STRABO 
 and the treatise of VITRUVIUS on architecture, both of 
 which furnish information relating to our subject, and. 
 after noticing the work of C. Licinius MuciANUS 'ter 
 consul' (for the last time in 72 A.D.), who was relegated 
 by Nero to an honourable banishment as proconsul of 
 Asia, and wrote a popular account of his province and
 
 xxn INTRODUCTION 
 
 its sights which seems to have been tinged by a taste 
 for the marvellous, proceed at once to deal with the elder 
 PLINY (23-79 A.D.), our capital authority for the history 
 of sculpture and sculptors. It is characteristic of his 
 great work 1 , the Natural History in thirty-seven books, 
 published in 77 A. D. and dedicated to Titus, the Imperator 
 and co-regent, that sculpture and painting find a place 
 as branches of mineralogy since the last five books treat 
 of metals, minerals, rocks and precious stones, with their 
 uses in medicine, daily life, and art. 
 
 The sections important for our purpose are the follow- 
 ing : 
 
 (1) xxxiv. 15-48. On the art of bronze-casting, portrait 
 statues, famous colossi, &c. 
 
 (2) xxxiv. 49-93- A history of bronze-casters. Pliny 
 opens with a chronological table of the masters of the 
 art (v. infr. 4), followed by special notices of Pheidias, 
 Polykleitos, Myron, Pythagoras. Lysippos and his school, 
 with a series of criticisms collected infr. 2 to which 
 are appended short notes on Telephanes, Praxiteles, and 
 Kalamis. This takes us to 71, after which we have an 
 alphabetical list of artists and their works extending from 
 72-83, followed by notes on the Pergamene artists and 
 Boethos ( 84). Pliny then gives three short alphabetical 
 lists, comprising 
 
 (a) Aequalitate celebrati artifices sed nullis operum 
 suorum praecipui ( 85). 
 
 (b) Qui eiusdem generis opera fecerunt ( 86-90). 
 Amongst the subjects enumerated the term ' philosophi ' 
 frequently appears ; this seems to refer not to statues 
 of famous philosophers, but to portraits of civilians in 
 the garb of daily life. 
 
 1 His History of his own Times in thirty-one books is lost.
 
 INTRODUCTION xxili 
 
 (c) (Oui fecerunt) athletas et armatos et uenatores 
 sacrificantesque ( 91). 
 
 Miscellaneous notes ( 92, 93) complete the account 
 of bronze-casting. 
 
 (3) xxxiv. 140, 141. On the use of iron in sculpture. 
 
 (4) xxxvi. 9-43. On sculpture in marble. After a 
 historical section, beginning with the earliest sculptors, and 
 dealing chiefly with Pheidias and his pupils, Praxiteles, 
 Skopas, and their contemporaries ( 9-31) and some 
 miscellaneous notes ( 32), Pliny enumerates briefly 
 some of the most famous works of sculpture preserved 
 at Rome, notably in the ' monumenta ' of Asinius Pollio, 
 the ' porticus Octauiae,' the ' horti Seruiliani,' and the 
 Palace of the Caesars on the Palatine ( 33-38). A 
 group of miscellaneous notes ( 39-43) brings the section 
 to a close. 
 
 The question as to the sources whence Pliny drew his 
 information is a difficult one to answer. He tells us in 
 his Preface ( 17) that the Natural History embodies the 
 results of a reading which extended to 2000 volumes, 
 and that 100 ' exquisiti auctores ' were employed in its 
 composition. The Preface is followed by a series of 
 Indices, giving for each book a table of contents and 
 a list of ' auctores,' in which Latin authors are first 
 enumerated, then Greek. Two facts seem to be clearly 
 established by the study which Brunn and others have 
 devoted to these Indices : 
 
 (i.) The Roman authors are mentioned in the order in 
 which they were used. 
 
 (ii.) The Greek authors are often grouped according 
 to their subjects ; in such cases only one was (generally 
 speaking) directly or at least constantly used by Pliny, 
 who places his name either first or last on the list.
 
 xxiv INTRODUCTION 
 
 The second principle has an important application in 
 the present case. In the Index to Book XXXIV we 
 find a list of Greek authorities on sculpture 1 terminating 
 with the name of Pasiteles the others are Menaichmos, 
 Xenokrate , Antigonos, Duris, and Heliodoros while in 
 those of Books XXXIII and XXXV the name of 
 Pasiteles heads the list of Greek writers on art and in 
 the Index to Book XXXVI the same author figures 
 early in the list and seems to be the only source of 
 information on sculpture. We are therefore entitled 
 to assume that Pasiteles was the chief authority the 
 'exquisitus auctor' among the Greeks consulted by 
 Pliny in these sections. But it does not follow that he 
 did not also consult the other authors above-named ; 
 Duris is quoted by name in No. 241, and the criticisms 
 which seem to proceed from Xenokrates or Antigonos 
 may be immediately derived from those authors. Among 
 the Roman authors the name of Varro, which appears in 
 the Indices of Books XXXIII-XXXVII, may clearly be 
 recognized as that of the chief authority on art. Indeed, 
 Mucianus is the only other writer named in the Indices 
 who can have contributed much information on the 
 subject of sculpture. But there can be no doubt that 
 a large element in the sections under discussion consists 
 of information drawn from miscellaneous sources and 
 from Pliny's own observation. This is especially true 
 of the notices of works preserved at Rome, with regard 
 to which Pliny notices any changes in the place of 
 exhibition made by the Emperors down to Vespasian. 
 There is no adequate ground for the supposition that 
 catalogues of the principal collections in Rome were 
 
 ' Sculpture is rendered by 'toreutice,' on which use see Nos. 119, 
 1 60 and notes.
 
 INTRODUCTION xxv 
 
 made by Vespasian's order and were among the authorities 
 used by Pliny. 
 
 The younger Pliny has left us an amusing account of 
 his father's studious habits (Ep. iii. 5). From sunrise to 
 sunset he amassed notes and filled commonplace books 
 'nihil enim legit quod non excerperet.' Even in his 
 bath ' audiebat aliquid aut dictabat ' ; and on his jour- 
 neys he was constantly accompanied by a shorthand 
 writer. The question has been debated whether in the 
 sections on sculpture we have a collection of such scat- 
 tered notes as the younger Pliny describes, arranged as 
 far as possible under heads or whether Pliny copies as 
 far as possible from a single source with occasional 
 insertions. The latter view is maintained by Oeh- 
 michen. who tries to show from the construction of 
 the alphabetical lists and other signs that Pliny copied 
 from an alphabetic dictionary of artists, written by Pasi- 
 teles and translated by Varro, making numerous additions 
 referring to his own times. But this is more than doubt- 
 ful, since Pliny himself tells us that the title of Pasiteles' 
 work was ' quinque uolumina nobilium operum in toto 
 orbe,' which cannot have been a dictionary of artists, 
 nor is the rule that the order KX, n<J>, 0T is preserved 
 in the Latin lists without exceptions. Analogies to 
 both the methods of composition mentioned above may 
 be drawn from other parts of Pliny's work, and it is 
 probably safer to assume that the chronological table 
 and alphabetical lists are both the handiwork of Pliny, 
 while the notices of individual artists are to be referred 
 to his miscellaneous sources, of whom Varro and Pasi- 
 teles are no doubt the chief. On the criticisms of the 
 great bronze-casters see 2. 
 
 Among the Greek writers of the following generation
 
 xxvi INTRODUCTION 
 
 the names of PLUTARCH (circ. 46-120 A. D.) and his 
 somewhat younger contemporary, the rhetorician DION 
 CHRYSOSTOMOS of Prusa, deserve mention, since both 
 display an interest in art and furnish information of 
 value, although the accuracy of the last-named is 
 doubtful. 
 
 The second century A. D. supplies one authority of 
 capital importance. This is PAUSANIAS, a native of 
 Asia Minor, who wrote a 7j-e/n?jyTj<ns 'EAAdSos in ten 
 books, of which the fifth at least was completed in 
 173 A. D. The honesty of Pausanias is a matter of hot 
 dispute, and his detractors seek to prove that, although 
 he speaks as an eye-witness, his work is in fact a com- 
 pilation from earlier sources, amongst which the work of 
 Polemon (v. supr.) is supposed to hold the chief place as 
 an authority on works of art. This view is not, however, 
 confirmed by a comparison of the fragments of Polemon 
 with the work of Pausanias, and the tendency of recent 
 criticism 1 has been to absolve Pausanias from the charge 
 of dishonesty, and to regard his account of his travels 
 as generally credible, though not to exclude the use 
 of literary sources in the work of composition. It is 
 specially noticeable that the objects of interest which he 
 describes belong either to the period previous to 150 B.C. 
 or to his own time. Whatever conclusions may be 
 drawn from this fact, there can be no question as to 
 the value of Pausanias' descriptions so far as they go, 
 although the affectations and archaisms of the language 
 in which they are clothed render them unattractive. 
 The style and tone of Herodotos are imitated throughout. 
 Pausanias is the latest author who deals professedly with 
 
 1 See especially Gurlitt, Ueber Pausanias (1890) ; Heberdey, Die 
 Reisen des Pausanias (1894).
 
 INTRODUCTION xxvil 
 
 art-criticism, but much valuable information is to be 
 gleaned from the litterateurs and compilers of his 
 generation and that which succeeded it. LUCIAN (born 
 125 A.D.) was keenly interested in sculpture of all periods, 
 and has left us some just and striking criticisms, of which 
 No. 67 is a good specimen. Two of his numerous writings 
 may be singled out for mention. The first is the Ei/coW, 
 in which an ideal beauty (' Panthea ') is constructed by 
 a synthetic process, four masterpieces of sculpture and 
 a like number of pictures being called into requisition. 
 The first-named are the Knidian Aphrodite of Praxi- 
 teles, the Aphrodite ; KTJTTOI? of Alkamenes, the ' So- 
 sandra ' of Kalamis, and the Lemnian Athene of Pheidias, 
 and the special points of beauty in each are noted. In 
 the 3>i.\o\l/evbys, a satire on the appetite for the marvellous, 
 the scenery of the ghost-story is laid in a house filled with 
 works by the great masters the diskobolos of Myron, 
 the Harmodios and Aristogeiton of Kritios and Nesiotes, 
 the diadumenos of Polykleitos, and a realistic portrait by 
 Demetrios. 
 
 Before we leave the writers of the Second Sophistic, 
 we must mention among other sources ATHENAIOS, 
 whose Aenn>ocro(io-r7/s seems to have been published later 
 than the death of Commodus (192 A. D.); DIOGENES 
 LAERTIUS, whose lives of the philosophers contain 
 biographical details of some importance ; and KALLI- 
 STRATOS, who took up a branch of literature of which 
 the two Philostrati were the masters, the application of 
 rhetoric to the description of works of art ; whether real 
 or imaginary, may be and has been disputed. Reference 
 is made to his descriptions of statues on pp. 161, 172. 
 
 To the period of the Second Sophistic belong also the 
 writings of those among the early fathers of the Christian
 
 xxvm INTRODUCTION 
 
 Church, who for apologetic or controversial purposes 
 touch on the subject of Greek art. Their statements 
 must, however, be received with caution, as neither 
 TATIAN, who devotes a section of some length in his 
 treatise ' contra Graecos ' to the enumeration of criminal 
 or disreputable characters to whom statues had been 
 raised ; nor ATHENAGORAS, who in his ' Libellus pro 
 Christianis ' deals with the principal ' idols ' and their 
 makers, were critical as to their sources of information. 
 Nor is the testimony of CLEMENT of Alexandria above 
 suspicion. 
 
 The classical literature of Greece expired with the 
 ancient religion, and among the last writers of declin- 
 ing Paganism we may briefly mention the rhetoricians 
 LlBANIOS and HlMERlOS, who occasionally notice works 
 of art. Meanwhile lexicographers were storing the 
 mutilated remains of ancient learning, derived ulti- 
 mately from the Alexandrine cities, and recast by 
 such commentators as Didymos in the Augustan age 
 and Symmachos somewhat later. Some fragments of 
 these compilations have reached us in the annotated 
 texts of the poets, and notably in the Scholia Vetera 
 on Aristophanes. 
 
 In the voluminous literature of Byzantium only one 
 name need detain us that of NlKETAS AKOMINATOS 
 of Chonai in Phrygia, who seems to have been genuinely 
 interested in the art-treasures removed from Greece to 
 Constantinople. Both in his historical writings and in 
 his special treatise ' On the Statues at Constantinople/ 
 he has left us descriptions turgid in style and possibly 
 not too accurate, but yet of distinct value. He lived 
 circ. 1150-1210 A.D. His somewhat older contem- 
 porary, John TZETZES, was a thoroughly uncritical and
 
 INTRODUCTION xxix 
 
 inaccurate writer, whose interest is merely in anecdote ; 
 no passage from his writings is included in this selection. 
 No mention has been made in this summary of the 
 Anthology as a source of information on sculpture. 
 Among the epigrams of all periods which find a place 
 in it many have reference to works of art, but few of 
 these are of any value, since the greater number are not 
 descriptive but purely ' epideictic ' in character. Two 
 epigrammatists alone deserve to be named, and both 
 belong to the Hellenistic period. These are POSEI- 
 DIPPOS (not to be identified with the comedian), whose 
 'floruit' may be placed circ. 2506.0.. and ANTIPATER 
 of Sidon, of whom Cicero (De Or. iii. 194) speaks as 
 recently deceased in 91 B.C. 
 
 2. THE CRITICISMS OF THE GREAT 
 BRONZE-CASTERS. 
 
 Plin. N. H. xxxiv. 54 sqq. (PHIDIAS) primus artem 
 toreuticen aperuisse atque demonstrasse merito iudicatur. 
 (POLYCLITUS) consummasse hanc scientiam iudicatur et 
 toreuticen sic erudisse ut Phidias aperuisse ; proprium 
 eius est uno crure ut insistere ut signa excogitasse, quad- 
 rata tamen esse ea ait Uarro et paene ad exemplum. 
 (MYRON) primus multiplicasse ueritatem uidetur. nume- 
 rosior in arte quam Polyclitus et in symmetria dili- 
 gentior ; et ipse tamen corporum tenus curiosus animi 
 sensus non expressisse, capillum quoque et pubem non 
 emendatius fecisse quam rudis antiquitas instituisset. 
 (PYTHAGORAS) primus neruos et uenas expressit capil- 
 lumque diligentius. (LYSIPPUS) statuariae arti pluri- 
 mum traditur contulisse capillum exprimendo. capita 
 minora faciendo quam antiqui, corpora graciliora sic-
 
 xxx INTRODUCTION 
 
 cioraque, per quae proceritas signorum maior uideretur. 
 Non habet Latinum nomen symmetria quam diligen- 
 tissime custodiuit noua intactaque ratione quadratas 
 ueterum staturas permutando. 
 
 Diog. Laert. viii. 46 TlvOayopav, Trp&rov boKovvra pvdpov 
 nal (TvufJifTpias f<TTO\d(T0ai. 
 
 The above criticisms, abstracted from Pliny's account 
 of the great bronze-casters, and from Diogenes Laertius, 
 unmistakably form a connected series. They corre- 
 spond to a parallel series of criticisms on the great 
 painters especially Apollodoros, Zeuxis, Parrhasios, 
 Euphranor, Aristeides. Apelles (v. O. S. 1641, 1647, 
 1724, 1802, 1779, 1900) which are couched in the 
 same technical language. Catchwords of criticism 
 such as the use ' hie primus . . .' (borrowed, no doubt, 
 from the literature irepi cuprjfjidTOiv of the Hellenistic and 
 later periods), and the phrase ' plurimum arti contulit ' 
 recur in both series, and the technical and professional 
 character of the criticisms themselves shows them to 
 proceed from an artist or a school. The mention of 
 Varro seems to show that Pliny derived them directly 
 from him 1 . But we must go beyond Varro in the 
 search for their origin. Furtwangler notes that the 
 critic had two main points in view : 
 
 (i) pvOpos and o-u/x/xerpia. Both are mentioned in the 
 fragmentary note on Pythagoras preserved only by 
 Diogenes. ' Symmetria ' which ' non habet Latinum 
 nomen' is prominent in Pliny, and 'numerosior' seems 
 to be a translation 
 
 1 That Varro is quoted, as it were, incidentally does not prove 
 that he was the authority only for the sentence containing his 
 name. Furtwangler compares a similar quotation from Cato in 
 
 xvii. 86.
 
 INTRODUCTION xxxi 
 
 (2) Naturalism in details, such as sinews, veins, and 
 especially hair. 
 
 These are precisely what we should expect from an 
 artist of the school of Lysippos ; and accordingly it 
 is not surprising to find that the series leads up to 
 Lysippos as the goal of progress in sculpture. From 
 this standpoint Pheidias was the first to ' reveal ' the 
 art (cp. ' artis fores apertas/ xxxv. 6 1 of the painter 
 Apollodoros) ; Polykleitos expounded it more fully, but 
 left somewhat to be desired in the proportions of his 
 squarely built figures ; Myron is placed above Poly- 
 kleitos, because there was more variety in his attitudes 
 and therefore in his proportions ; Pythagoras succeeded 
 where Myron had failed, in the treatment of hair and 
 similar details, while Lysippos surpassed his predecessors 
 in all points. A Greek artist, then, subsequent to Lysip- 
 pos but influenced by his school, must be the author of 
 the criticisms. Robert held that Xenokrates (v. supr.) 
 fulfilled the conditions ; but some indications appear to 
 point rather to Antigonos of Karystos. It is to be 
 noted that Pliny and Diogenes Laertius, both of whom 
 preserve portions of the criticism on Pythagoras, also 
 distinguish two artists of the name. Now Diogenes 
 certainly read the work of Antigonos, which he quotes, 
 ii. 15 ( = O. S. 435), and ix. 49 (= O. S. 466). Moreover, 
 it may perhaps be inferred from the fact that Pausanias 
 knows only one Pythagoras, that Polemon corrected the 
 error in his polemic against Antigonos. In xxxv. 68 
 Pliny quotes ' Antigonus et Xenocrates qui de pictura 
 scripsere ' for a statement regarding Parrhasios a form 
 of expression which in such a writer as Pliny might well 
 be the equivalent of 'Antigonos, quoting Xenokrates.' 
 It seems highly probable that the same pair of authors
 
 XXX11 
 
 INTRODUCTION 
 
 are to be recognized in the 'artifices qui compositis 
 uoluminibus condidere haec ' of No. iHo. 'Alii/ in the 
 same passage, may perhaps refer to Polemon. 
 
 3. THE CANON OF SCULPTORS. 
 
 Quint, xii. 10. 7 Similis 
 in statuariis differentia. 
 Nam duriora et Tuscanicis 
 proxima GALLON atque 
 HEGESIAS, iam minus ri- 
 gida CALAMIS, molliora 
 adhuc supra dictis MYRON 
 fecit. Diligentia ac decor 
 in POLYCLITO supra cete- 
 ros, cui quamquam a pleris- 
 que tribuitur palma, tamen, 
 ne nihil detrahatur, deesse 
 pondus putant. Nam ut 
 humanae formae decorem 
 addiderit supra uerum, ita 
 non expleuisse deorum auc- 
 toritatem uidetur. Quin 
 aetatem quoque grauiorem 
 dicitur refugisse nihil ausus 
 ultra leues genas. At quae 
 POLYCLITO defuerunt, PHI- 
 DIAE atque ALCAMENI 
 dantur. PHIDIAS tamen 
 dis quam hominibus effin- 
 gendis melior artifex cre- 
 ditur, in ebore uere longe 
 citra aemulum, uel si nihil 
 
 The same variety reigns 
 among sculptors. For the 
 works of KALLON and 
 HEGESIAS are stiff, and 
 closely resemble Etruscan 
 sculptures, those of KALA- 
 MIS are less rigid, and those 
 of MYRON yet more supple. 
 In accurate workmanship 
 and in grace POLYKLEITOS 
 is unsurpassed ; although, 
 however, many authorities 
 award him the palm, yet 
 lest he should be accounted 
 perfect it is thought that 
 he lacks dignity. For while 
 he imparted to the human 
 form a grace beyond nature, 
 he failed, as it seems, to 
 express adequately the 
 majesty of the gods. More- 
 over it is said that he shrank 
 from the treatment of 
 mature age and attempted 
 nothing save beardless 
 cheeks. But the qualities 
 lacking in POLYKLEITOS
 
 INTRODUCTION 
 
 XXXlll 
 
 nisi Mineruam Athenis aut 
 Olympium in Elide louem 
 fecisset, cuius pulchritude 
 adiecisse aliquid etiam re- 
 ceptae religion! uidetur : 
 adeo maiestas operis deum 
 aequauit. Ad ueritatem 
 LYSIPPUM ac PRAXITELEN 
 accessisse optime adfir- 
 mant : nam DEMETRIUS 
 tanquam nimius in ea repre- 
 henditur et fuit similitu- 
 dinis quam pulchritudinis 
 amantior. 
 
 Cic. Brut. 1 8. 70 Quis 
 enim eorum qui haec minora 
 animaduertunt, non intel- 
 ligit CANACHI signa rigi- 
 diora esse quam ut imiten- 
 tur ueritatem ; CALAMIDIS 
 dura ilia quidem, sed tamen 
 molliora quam CANACHI ; 
 nondum MYRONIS satis ad 
 
 are assigned to PHEIDIAS 
 and ALKAMENES. PHKI- 
 DIAS, however, is thought 
 to have displayed higher 
 art in his statues of gods 
 than in those of mortals : in 
 ivory indeed he would be 
 without a rival, had he only 
 made the Athena at Athens 
 or the Olympian Zeus in 
 El is, whose beauty seems 
 to have added somewhat 
 to the received religion ; 
 so adequate to the divine 
 nature is the grandeur of 
 his work. It is asserted 
 that LVSIPPOS and PRAXI- 
 TELES most successfully 
 aimed at truth to nature, 
 while DEMETRIOS is blamed 
 for excess in this respect ; he 
 attached more value to pre- 
 cise resemblance than to 
 beauty. 
 
 Who is there among 
 those who pay attention to 
 these minor arts who does 
 not feel that the statues of 
 KANACHOS are too rigid to 
 be true to nature? Those 
 of KALAMIS are stiff, it is 
 true, but more supple than 
 those of KANACHOS; those
 
 INTRODUCTION 
 
 ueritatem adducta, iam of MYRON have not attained 
 tamen quae non dubites complete fidelity to nature, 
 pulchra dicere: pulchriora but they may without 
 etiam POLYCLITI et iam hesitation be pronounced 
 plane perfecta, ut mihi qui- beautiful : while those of 
 dem uideri solent ? POLYKLEITOS are yet more 
 
 beautiful and indeed, in my 
 own opinion, quite perfect ? 
 
 Strab. viii. 372 ra Ho\v- The statues of Polyklei- 
 /cAeirou goava rfj ^\v T^i'H tos are artistically speaking 
 KaAAtora rS>v tiavrav, TroAure- the most beautiful of all, but 
 Aem 5e xat ^eyetfet T&V 4>et- in magnificence and sub- 
 biov AetTro'/xeva. limity they are surpassed 
 
 by those of Pheidias. 
 
 On the school from which these criticisms proceed 
 v. supr. i. Although Quintilian selects ten names, 
 which form a parallel series to that of the Ten Orators 
 (he enumerates eleven painters in 3), we are not to 
 suppose that a classical Canon of Ten Sculptors had 
 been formed. Cicero adds Kanachos, Dionysios of Hali- 
 karnassos (No. 87), Kallimachos, Lucian (No. 67), Kritios 
 and Nesiotes, all in passages which betray the influence 
 of the same school of criticism. For the parallel series 
 of painters see Quint, xii. 10. 3. A comparison of the 
 two series will show that the criticisms are of a wholly 
 different order to those tabulated in 2. They do not 
 bear on technical points, but embody a broad appreciation 
 of style, and are often illustrated by a catchword ('pondus' 
 ' decor,' ' diligentia,' ' ueritas,' ' ^e'yetfo?,' in the Canon of 
 Sculptors ; ' cura,' ' ratio,' ' facilitas,' ' gratia,' in that of 
 painters may be mentioned). Pheidias and Polykleitos 
 take the place of Lysippos as the masters of their art,
 
 INTRODUCTION xxxv 
 
 while even earlier sculptors, who are passed over in 
 silence by the professional critics, obtain due recog- 
 nition. 
 
 4. PLINY'S CHRONOLOGICAL TABLE 
 
 (xxxiv. 49 sqq.). 
 
 B.C. 
 
 448 PHIDIAS Atheniensis . . . floruit . . . Olympiade LXXXIII, cir- 
 citer CCC urbis nostrae annum, quo eodem tempore aemuli 
 eius fuere ALCAMENES, CRITIAS, NESIOTES, HEGIAS, 
 
 432 et deinde Olympiade LXXXVII HAGELADES, CALLOX, GOR- 
 GIAS Lacon, 
 
 420 rursus LXXXX POLYCLITUS, PHRADMON, MYRON, PYTHA- 
 GORAS, SCOPAS, PERELLUS. Ex his POLYCLITUS disci- 
 pulos habuit Argium AsoPODORUM, ALEXIM, ARISTIDEM, 
 PHRYNONEM, ATHENODORUM, DEMEAN Clitorium, MY- 
 RON LYCIUM. 
 
 400 LXXXXV Olympiade floruere NAUCYDES, DINOMENES, CANA- 
 CHUS, PATROCLUS, 
 
 372 en POLYCLES, CEPHISODOTUS, LEOCHARES, HYPATODORUS, 
 
 364 cini PRAXITELES, EUPHRANOR, 
 
 352 cvn AETION, THERIMACHUS. 
 
 328 cxill LYSIPPUS fuit, cum et Alexander Magnus, item LYSIS- 
 TRATUS frater eius, STHENNIS, EUPHROX, EUCLES, Sos- 
 TRATUS, ION, SILANION in hoc mirabile quod nullo 
 doctore nobilis fuit, ipse discipulum habuit ZEUXIADEN 
 
 296 CXXI EUTYCHIDES, EUTHYCRATES, LAIPPUS, CEPHISODO- 
 TUS, TIMARCHOS, PYROMACHUS. 
 1 56 Cessauit deinde ars, ac rursus Olympiade CLVI reuixit, c. 
 
 The above list is printed as Pliny gives it, although 
 it is not free from mistakes in orthography. Kritios 
 appears as Critias, Patrokles as Patroclus, Daippos as 
 Laippus (owing to a confusion of A and A in the Greek 
 source). The table is set forth by Pliny in fulfilment of 
 a promise made by him in xxxiv. 7. He desires to 
 confute those who speak of bronzes of the best period as 
 ' Corinthia ' and proceeds ' Corinthus capta est Olym- 
 
 c 2
 
 xxxvi INTRODUCTION 
 
 piadis CLVIII anno tertio, nostrac urbis DCVIII, cum 
 ante saecula fictores nobiles esse dcsissent, quorum isti 
 omnia signa hodie Corinthia appellant. Quapropter ad 
 coarguendos eos ponemus artificum aetates. Nam urbis 
 nostrae annos ex supra dicta comparatione Olympiadum 
 colligere facile erit.' ' Nam ' in the last sentence is 
 elliptical, and implies ' I give Olympiads only, for . . .' We 
 may therefore be prepared to find that Pliny's table is 
 his own construction, but also that it is derived ultimately 
 from Greek sources. A parallel series of dates forms the 
 skeleton of Pliny's account of painting in xxxv. 60 sqq. 
 indeed the note '(Ol.) CVII. Action Therimachus' appears 
 to have been erroneously transferred from xxxv. 78 where 
 it recurs in the history of painting, to which it properly 
 belongs and we are justified in inferring that the Greek 
 authority followed by Pliny placed the earliest bronze- 
 casters of importance in Ol 83, the earliest painters in 
 Ol. 90, since in xxxv. 54 Pliny prefaces the history of 
 painting by the words ' Non constat sibi in hac parte 
 Graecorum diligentia multas post Olympiadas celebrando 
 pictores quam statuaries ac toreutas. primumque Olym- 
 piade LXXX, cum et Phidiam ipsum initio pictorem fuisse 
 tradatur,' &c., while in xxxvi. 15 he says (of sculpture 
 in marble) ' non omittendum hanc artem tanto uetus- 
 tiorem fuisse quam picturam aut statuariam, quarum 
 utraque cum Phidia coepit octogensima tertia Olym- 
 piade ' (the words refer to No. 25, q. v.). The words with 
 which Pliny closes the list ('cessauit deinde ars,' &c.) 
 imply nothing as to period to which his authority for 
 the dates belonged, although they may be held to prove 
 the importance of the works of Antigonos and Xeno- 
 krates, which would no doubt carry the history of 
 sculpture down to the point at which Pliny marks its
 
 INTRODUCTION xxxvn 
 
 decline. It is possible that Apollodoros of Pergamon 
 was the chronological authority, but perhaps unlikely 
 that he would have entirely passed over Pergamene art, 
 while he gave the dates of his own contemporaries, many 
 of whom are mentioned under Ol. 156. But the list is 
 full of serious errors, and the most rational explanation 
 of its origin appears to be that Pliny excerpted the dates 
 of a few important artists and grouped their ' aemuli ' 
 and ' discipuli ' with them. Thus we have the fixed 
 date Ol. 83 PHEIDIAS determined perhaps by the 
 ; floruit ' of Perikles or the completion of the Olympian 
 Zeus with whom are grouped on the one hand his 
 teacher Hegias, and the contemporaries of the latter, 
 Kritios and Nesiotes, on the other his pupil and rival, 
 Alkamenes. Again Ol. 87=AGELADAS a date fixed 
 by the erroneous impression as to the plague com- 
 memorated by No. 43. Kallon follows him as his 
 contemporary. The next date, Ol. 90, is clearly that of 
 POLYKLEITOS, fixed by the burning of the Heraion 
 Ol. 89. 2, with whom were grouped amongst others 
 Myron and Pythagoras, because they followed him in 
 the series of criticisms discussed in i, and no inde- 
 pendent date could be found for them. We cannot in 
 all cases trace the origin of the dates and combinations, 
 but Pliny himself tells us that that of LYSIPPOS was fixed 
 by the ' floruit ' of Alexander, and the equation Ol. 121 = 
 EUTYCHIDES is doubtless based on the foundation of 
 Antioch (Ol. i 20). (Cp. No. 254.) It is therefore safer 
 to regard one date only in each group as due to Pliny's 
 source, while the rest must be received with caution as the 
 result (in most cases) of his own uncritical combinations.
 
 LIST OF ABBREVIATIONS 
 
 C. I. A. = Corpus Inscriptionum Atticarum (Berlin, 1873 ). 
 
 /. G. S. Inscriptiones Graeciae Septentrionalis (Berlin, 1892 ). 
 
 Lowy = Lowy, Inschriften griechischer Bildhauer (Leipzig, 1885). 
 
 Dittenberger, Syll. = Dittenberger, Sylloge Inscriptionum Grae- 
 carum (Leipzig, 1883). 
 
 Brunn, K. G. 2 = Brunn, Geschichte der griechischen Kiinstler 
 (ed. ii, Stuttgart, 1889). 
 
 Brunn-Bruckmann = Brunn-Bruckmann, Denkmaler griechi- 
 scher und romischer Sculptur (Munich, 1888 ). 
 
 Coll. = Collignon, Histoire de la Sculpture Grecque (vol. i, Paris, 
 1892). 
 
 f. W. = Friedrichs-Wolters, Bausteine zur Geschichte der grie- 
 chischen Plastik (Berlin, 1885). 
 
 Furtw., Meisterwerke = Furtwangler, Meisterwerke der griechi- 
 schen Plastik (Berlin, 1894). 
 
 Num. Comm. = Imhoof-Blumer and Gardner, A Numismatic 
 Commentary on Pausanias (London, 1887). 
 
 Gerhard, A. V. = Gerhard, Auserlesene griechische Vasenbilder 
 (Berlin, 1840-1858). 
 
 Helbig, FUhrer = Helbig, Fiihrer durch die offentlichen Samm- 
 lungen klassischer Alterthiimer Roms (Leipzig, 1891). 
 
 Ov* = Overbeck, Geschichte der griechischen Plastik (ed. iv, 
 vol. i, Leipzig, 1892; vol. ii, Leipzig, 1893). 
 
 Overbeck, Kunstmyth. = Overbeck, Griechische Kunstmytho- 
 logie (Leipzig, 1871). 
 
 O. S. = Overbeck, Schriftquellen zur Geschichte der bildenden 
 Kiinste bei den Griechen (Leipzig, 1868). 
 
 J.H. S. = Journal of Hellenic Studies (London, 1880 ). 
 
 Class. Rev. = Classical Review (London, 1887 ). 
 
 M. d. I. = Monumenti inediti pubblicati dall' Institute di Corri- 
 spondenza Archeologica (Rome, 1829-1885). 
 
 A. d. I. = Annali dell' Instituto di Corrispondenza Archeologica 
 (Rome, 1829-1885).
 
 x LIST OF ABBREVIATIONS 
 
 Jahrb. = Jahrbuch des kaiserlich deutschen archaologischen 
 Instituts (Berlin, 1886). 
 
 Ath. Mitth. = Mittheilungen des deutschen archaologischen 
 Instituts in Athen (Athens, 1876). 
 
 Rom. Mitth. Mittheilungen des kaiserlich deutschen archao- 
 logischen Instituts, romische Abtheilung (Rome, 1886 ). 
 
 Antike Denkmaler = Antike Denkmiiler, herausgegeben vom 
 kaiserlich deutschen archaologischen Institut (Berlin, 1887 ). 
 
 A. Z. = Archaologische Zeitung (Berlin, 1843-1885). 
 
 Rev. Arch. = Revue Archeologique (Paris, 1860 ). 
 
 Gaz. Arch. = Gazette Archeologique (Paris, 1875). 
 
 'E<. 'Apx. = ^E<prjfjifp\s 'ApxaioXoyLKr) (Athens, 1 883 ). 
 . 'A-PX> = AeXn'oi' 'Ap^atoXoyiKoi/ (Athens, 1885 )
 
 PART I 
 
 THE BEGINNINGS OF GREEK 
 SCULPTURE 
 
 Noa. 1-41.
 
 i. THE DAIDALIDAI. 
 
 Daidalos 
 
 Endoios 
 
 1 
 Dipoinos and Skyllis 
 
 1 
 
 
 1 
 Hegylos, Theokles, 
 Medon, Dorykleidas 
 
 I 
 Tektaios and Angelion 
 
 Kallon 
 
 1 
 Klearchos 
 
 1 
 Pythagoras. 
 
 The above scheme is presupposed by a group of notices in 
 Pausanias relating to the several artists (v. infr. Nos. 1-21). It 
 was in all probability framed in order to claim the honour of the 
 cradle of sculpture for Athens, as represented by Daidalos, a myth- 
 ical figure of Attic legend. He was the ('nawnos of the deme Am?a- 
 Xifim, and the yevos of the same name (to which Sokrates belonged), 
 and was inserted in the royal pedigree as grandson of Erechtheus. 
 He is also connected by legend with Crete and Sicily, but it is 
 unlikely that there was an historical Cretan artist of the name, as 
 Kuhnert supposes. 
 
 1. DAIDALOS. 
 
 1. Diod. iv. 76 Acu'gaAo? 
 fjifv Tjv TO ytvos 
 els T&V 'Epe)(0i8(3z> ot 
 fj.vos' ?]V yap wos M 
 TOV EvTraAa/iou TOV ' 
 . . . Kara 8e Trjv rS>v ayaA- 
 
 V KaTa(TKfVr]V TOCTOVTO 
 
 aTiavT&v av6ptoTT<jL>v bnj- 
 alore rous 
 
 Daidalos was an Athenian 
 by birth and was called 
 one of the Erechtheidai : 
 for he was the son of Metion 
 the son of Eupalamos the 
 son of Erechtheus. . .And in 
 the sculptor's art he so far 
 excelled all other men that 
 in after times the fable was 
 
 B 2
 
 GREEK SCULPTURE 
 
 s p-ufloAoyTjcrai Trept OVTOV 
 TO, KaTacrKeva^o/jtera T&V 
 ayaAp.aTa>i> 6/xoiorara rois 
 
 re yap aura KOI TrepiTrareu;, 
 KOI Ka$oAov Trjpelv TT\V TOV 
 oAou a&jp.aro? 8id0e<rtz;, wore 
 flvai TO Kara<rKei>ao-$ei> 
 oz>. TrpoSro? 8e 
 ai 8ia/3e/3rjKo'ra 
 ra crKfr 7701770-0?, eri 8e ray 
 
 told of him that the statues 
 which he made were like 
 living beings ; for they saw 
 and walked, and, in a 
 word, exercised every 
 bodily function, so that 
 his handiwork seemed to 
 be a living being. And 
 being the first to give them 
 open eyes, and parted legs, 
 and outstretched arms, he 
 justly won the admiration 
 of men : for before his time 
 artists made statues with 
 closed eyes and hands 
 hanging down and cleav- 
 ing to their sides. 
 
 The foregoing account of Daidalos is repeated with slight 
 variations by many ancient authors. The name seems to cover 
 the transition from the primitive t>avoi>, with limbs imperfectly, 
 if at all, indicated, to the type seen in the so-called early ' Apollo ' 
 figures. 
 
 Trapa TOIJ 
 ol yap Trpo rovrou 
 KaTecr/cevaoi> ra 
 aydA/xara rois 
 , ra? 
 
 xai rau TrAeupai? 
 
 2. Paus. ix. 40. 3 Aat- 
 e rStv epycov bvo p.ey 
 earn; tv Boicoria, 
 re ei> 0T7/3ai? Kat 
 Trapa Ae/3a8evcriy 6 Tpo(/>w- 
 vios' TorraCra 8* erepa 6ava 
 (v KprjTy, Bpirop.apri? fv 
 KOI 'A.dr)va Trapa 
 Trapa rovrois 8e KOI 
 
 Of the works of Daidalos 
 two are in Boeotia, namely 
 Herakles at Thebes and 
 Trophonios at Lebadeia, 
 and there are also two 
 statues of wood in Crete, 
 Britomartis at Olus and 
 Athena at Knossos. The 
 Knossians also possess the
 
 THE DAIDALIDAI 
 
 l *Op.r]pos tv 'IAid8i \wr\- 
 
 \LT\V 
 
 farlv eTri ACUKOU Ai'0ou. KCU 
 uHS 'A(/>po8iY7js early ov 
 6avov, 
 
 /care 10- 1 Se avri 
 irobuiv (s TfTpdyuivov 
 TOVTO 
 d Acu5aAou, >cat 
 
 ro ayaA/ua e/r 
 
 dance of Ariadne, which 
 is mentioned by Homer in 
 the Iliad, a relief in white 
 marble. And the Delians 
 have a small wooden image 
 of Aphrodite, which has lost 
 its right hand through lapse 
 of time, and terminates 
 below in a square block 
 instead of feet. I believe 
 that Ariadne received it 
 from Daidalos, and that 
 when she followed Theseus 
 she carried away the image 
 from her home : and the 
 Delians relate that when 
 Theseus was parted from 
 her he dedicated the image 
 of the goddess to the 
 Delian Apollo. 
 
 The above listcomprisesvarious images of high antiquity, regarded 
 with great reverence from their long association with the cults to 
 which they belonged, and linked by tradition with Daidalos as the 
 earliest of known sculptors. It is possible that the first-named is 
 represented on silver coins of Thebes of the fifth century (B. M. 
 Cat. xii. i-8, Xitm. Comm. p. in). The coin represents Herakles 
 advancing with dub and bow ; the artist has, however, translated 
 the figure into the style of his own time. The ' dance of Ariadne ' 
 is mentioned in 2 590 ff. : 
 
 OIKO- 
 TOV 
 
 07y<rea ovrco ^avlv ol A/yAioi 
 TO ^oa^oy T7/9 
 
 ir(plK\lTOS 
 
 [TW "iKf\ov, olov TTOT' tv\ 
 tvpfirj 
 
 fjvKTja'tv Ka\\iTT\OKtipa> 
 \\pid8vT].] 
 
 There too did the famous 
 halting god fashion a dance, 
 [like unto that which once in 
 broad Knossos Daidalos de- 
 vised for Ariadne of the lovely 
 locks.]
 
 GREEK SCULPTURE 
 
 The last two lines are an interpolation, probably of the sixth 
 century (Kuhnert, Dadalos, pp. 205 if.). The work was a plastic 
 representation of a dance in honour of the Cretan goddess Ariadne, 
 for which we may compare the votive bronzes found at Olympia 
 (P'urtw., Bronzefnndt, p. 24 f. ; cp. Helbig, Das Homerische Epos, 
 fig. 67). Note that with this exception the works of Daidalos 
 enumerated by Paus. are all oa/a, i.e. wooden images. 
 
 3. Paus. ii. 4. 5 ro 8e iepbv 
 JJS 'A0r]vas TT/S 
 
 AcudoAou 8e avro 
 Aaia- 
 
 Aos 8e oTTOcra 
 
 oi/av, CTTtTrpeTret 8e ojacos n 
 *cal ZvOtov royrois. 
 
 At Corinth. 
 
 4. Skylax, p. 39, 4 Fabr. 
 
 eicr 
 
 /3co- 
 
 Aai'SaAoi; 8< 
 At Soloeis in Sicily. 
 
 5. Paus. i. 
 
 KCtTttl 
 
 27. 
 
 TTJf 
 
 . . . 5i(ppos oxAaSias, AatSaAou 
 
 The temple of Athena 
 Chalinitis is beside the 
 theatre, and near it is a 
 nude wooden image of 
 Herakles, which they assert 
 to be a work of Daidalos. 
 But the works of Daidalos 
 are stranger still to look 
 upon, although there is a 
 kind of divinity resting even 
 upon them. 
 
 On the edge of the pro- 
 montory stands a magnifi- 
 cent altar of Poseidon. On 
 the altar are carved figures 
 of men, women, lions, and 
 dolphins. It is said to be 
 the work of Daidalos. 
 
 In the temple of Athena 
 Polias is treasured a folding 
 seat, the work of Daidalos. 
 
 At Athens ; the temple is the Erechtheion.
 
 THE DAIDALIDAI 7 
 
 6. Plat. Hipp. mai. 282 As the sculptors say that 
 A uHTTrep Kal TOV Ao&oA<fa Daidalos, were he now to 
 ij>a.(rtv ot ai-bpiavTOTToioL, vvv be born and to make 
 d yevopevos TOLO.VT epydoi.To statues such as those by 
 ota ?/y d</)' 5>v Tovvop ecrxe, which he won his fame, 
 Karaye'Aao-roj; av flvai. . would be laughed to scorn. 
 
 Other plastic works ascribed to Daidalos : 
 HERAKLES at Pisa (Apollod. ii. 6, 3). 
 
 HERAKLES on the borders of Messenia and Arkadia (Paus. 
 viii. 35, 2). 
 
 ARTEMIS at Monogissa in Karia (Steph. Byz. s. v.). 
 Offerings of the Argives in the Heraion (Paus. ix. 40. 4). 
 A figure brought from Omphake to Gela in Sicily (id. /.). 
 
 2. EISTDOIOS. 
 
 7. Paus. i. 26. 4 "Evboios Endoios was an Athenian 
 jx> 771; yevos pev 'A.drjvalos, by birth, and a pupil of 
 Acu5dAou 8e /jtatfr/TTjs, 6? Kat Daidalos, whom he followed 
 fytvyovn Aat6a\u) 8ia TOV to Crete when he was exiled 
 TaAco Qavarov ^TTTj/coAov- on account of the murder 
 
 Kpi]Tr]v' TOVTOV of Talos ; by him is a 
 
 COTIV 'AOqvas seated statue of Athena, 
 
 ypa^a \ov, ws with an inscription to the 
 
 KoAAtas /nev avaOeir], TiotJ/o-eie effect that Kallias dedicated 
 
 8e "EvboLos. and Endoios made it. 
 
 Although tradition claimed Endoios as a native of Athens, it 
 is probable that he was really an Ionian, since we find him at work 
 at Ephesos and Erythrai, at a time when the stream of influence 
 ran from East to West, and he uses the Ionic alphabet in an inscrip- 
 tion found on the Akropolis (AeXr. "Apx- I 888, f. 208). The statue 
 here mentioned may with some probability be identified with the 
 seated figure of Athena from the Akropolis, published in Lebas- 
 Reinach, Voyage Archeologique, PI. II, I and elsewhere (v. op. cit. 
 p. 51 ). Kallias, the dedicator, was the son of Phainippos, and one 
 of the richest men in Athens. He was a violent opponent of the 
 Peisistratids, and was victorious at Olympia in Ol. 57 = 552 B.C.
 
 8 GREEK SCULPTURE 
 
 8. Athenag. Libell. pro For the image of Artemis 
 Christ. 17, p. 19, 8 Schw. TO at Ephesos was the work 
 l*.v yap (v 'E<eV<j) rrjs \\prt- of Endoios, a pupil of 
 fuSos (ei8o>Aoj;) . . . "Evboios Daidalos. 
 
 eipyacraTO, /JUz07]T7Js AeuSaAou. 
 
 Pliny (JV. H. xvi. 214) informs us that this statue was commonly 
 held to be of ebony, but that Mucianus, who was proconsul of Asia 
 and published an account of its sights, found it to be of vine-wood. 
 
 9. Paus. viii. 46. 4 TTJS The image of Athena 
 .s TO ayaAjua TTJS 'AA^as Alea, made entirely of 
 fXe^avTos bia Travrbs ivory, the work of Endoios. 
 
 This work stood in the temple of Athena Alea at Tegea, until it 
 was brought by Augustus to Rome and dedicated in his Forum. 
 
 10. Paus. vii. 5- 9 ^" ri At Erythrai there is also 
 be fv 'EpvOpais Kal 'AOrjvas a temple of Athena Polias, 
 FToAiaSo? vabs Kal ayaX^a v- and a colossal wooden 
 A.OU jueye^et /ieya Kadr']fj.(v6v image, seated upon a throne, 
 Te em Opovov Kal r}\aK.o.TTf]v fi> holding in each hand a 
 eKOTepa T&v'\tip&v fX fL > Ka ' spindle, and having a circu- 
 (TTI rrjs Kf(f)a\fjs TTO\OV. TOVTO lar crown on its head. This 
 'Evbotov Ttyvt)v Kal aAAois I conjectured to be a work 
 TKjzaipojue#a eivai . . . Kal of Endoios from various 
 ovx TJKIOTCI CTTI TaTs Xapio-i Te tokens, notably its resem- 
 Kal "Qpais, at vplv <re\0elv blance to the Graces and 
 t<TTr)K.a<riv (v viraiOpw XiQov Seasons which stand before 
 XfVKov. the entrance in the open air 
 
 and are of white marble. 
 
 3. DIPOINOS AND SKYLLIS. 
 
 11. Plin. N. H. xxxvi. 9 The first to win fame as 
 Marmore sculpendo primi sculptors in marble were
 
 THE DAIDALIDAI 
 
 omnium inclaruerunt Di- 
 poenus et Scyllis geniti 
 in Creta insula etiamnum 
 Medis imperantibus prius- 
 que quam Cyrus in Persis 
 regnare inciperet, hoc est 
 Olympiade circiter L. Hi 
 Sicyonem se contulere, 
 quae diu fuit officinarum 
 omnium talium patria. Deo- 
 rum simulacra publice loca- 
 uerunt iis Sicyonii, quae 
 prius quam absoluerentur 
 artifices iniuriam questi 
 abiere in Aetolos. Protinus 
 Sicyonem fames inuasit 
 ac sterilitas moerorque 
 dirus. Remediumpetentibus 
 Apollo Pythius respondit, 
 ' si Dipoenus et Scyllis deo- 
 rum simulacra perfecissent/ 
 quod magnis mercedibus 
 obsequiisque impetratum 
 est. Fuere autem simulacra 
 ea Apollinis Dianae Her- 
 culis Mineruae (quod e 
 caelo postea tactum est). 
 
 Dipoinos and Skyllis, who 
 were born in Crete while the 
 empire of the Medes still 
 lasted, and before Cyrus 
 became king in Persia, i.e. 
 about the fiftieth Olym- 
 piad (=580 B.C.). They 
 repaired to Sikyon, which 
 long remained the home of 
 all such crafts. The Sikyo- 
 nians contracted with them 
 for statues of the gods, but 
 before they were completed 
 the artists complained that 
 they were ill used and 
 departed to Aetolia. Im- 
 mediately Sikyon was at- 
 tacked by famine, barren- 
 ness and dire calamity. 
 When they asked relief, the 
 Pythian Apollo answered 
 that it should come ' when 
 Dipoinos and Skyllis should 
 finish the statues of the 
 gods,' a favour which cost 
 them dearly in rewards and 
 attentions. These statues 
 represented Apollo, Arte- 
 mis, Herakles, and Athena 
 (which last was afterwards 
 struck by lightning). 
 
 The date is only approximate, since Cyrus became king in 560 
 B.C. The calculation may be based on a fact recorded by the
 
 10 
 
 GREEK SCULPTURE 
 
 Armenian historian Moses of Chorene, who states that Ardashir 
 ( = Cyrus) captured from Croesus (in 546 B.C.) three statues of gilt 
 bronze representing Artemis, Herakles, and Apollo, of which the 
 Herakles at least was a work of Dipoinos and Skyllis. The four 
 statues named by Pliny have been supposed to have formed a group 
 representing the capture of the Delphic tripod by Herakles, but 
 were more probably temple-statues. Pliny states that Ambrakia, 
 Argos, and Kleonai were 'full of the works of Dipoinos,' and that 
 Parian marble (Av^iV^s) was the material employed. 
 
 (At Kleonai) there is 
 a temple of Athena, and 
 the image is the work 
 of Skyllis and Dipoinos. 
 Some hold them to have 
 been pupils of Daidalos, 
 while others will have it 
 that Daidalos married a 
 woman of Gortyn, and that 
 Dipoinos and Skyllis were 
 his sons by this wife. 
 
 12. Paus. ii. 15. I (At 
 Kleonai) <TTIV i 
 vas, TO 8e ayaX/ia 
 rs\vrj Kal Amoivov' p-adr/ras 
 be elvai AaiSaAou crtyas, ol 
 be Kal yvvaiK.a eK Yoprvi-os 
 eOl\ov(ri Xafielv Aai'8aAoi>, Kal 
 TOV &ITTOIVOV Kal SxvAAiy eK 
 TT)S ywaiKOS 01 TCHTTTJ? -yeve- 
 (r9ai. 
 
 tvai] I /itv is understood, as in No. 26. 
 
 13. Paus. ii. 22. 5 (At 
 Argos) Atoo-Kovpooy vaos, 
 aydXp-ara bf avroi re KCU 
 01 Tralbes dcriv, *Avat,s Kal 
 
 (At Argos) is a temple of 
 the Dioskouroi, and statues 
 of themselves and their 
 sons, Anaxis and Mnasi- 
 <rvv be cr<{>i(Tiv al nous, as well as the mothers 
 of these, Hilaeira and 
 Phoibe, the work of Di- 
 
 , v\ov be e(3evov' rots poinos and Skyllis, made 
 be ITTTTOI? TO, p.ev Tj-oAAa e/3e- of ebony. Their horses 
 vov Kal TOVTOIS, oAiya be Kal too are sculptured mainly 
 TreTrotTjTat. in ebony, but partly also 
 
 in ivory.
 
 THE DAIDALIDAI 
 
 ii 
 
 14. Clem. Al. Protr. iv. 
 42 2/cuAAts 
 
 /ecu 
 
 Skyllis and Dipoinos 
 made the statue of Hera- 
 kles at Tiryns, and the 
 ev TtpvvOi. 'HpaK\fovs av- wooden image of Artemis 
 
 TOV 
 
 not TO TTJS 
 6avov ev 
 
 Munichia at Sikyon. 
 
 4. THE SPARTAN SCULPTORS AT OLYMPIA. 
 
 (HEGYLOS, THEOKLES, MEDON, DORYKLEIDAS.) 
 
 15. Paus. v. 17. 2 ras 
 8e 'EcrTre/jtSas TreVre apt.QiJ.bv 
 
 OK\f]S CTTOUJO-e, ActKeSai- 
 
 /xo'vios p.v Kal OVTOS, Trarpos 
 *llyv\ov' c^oirrjcrai 8e KOI 
 Trapa 2/cvAAiy Kat 
 
 16. Paus. vi. 19. 8 (The 
 treasury of the Epidam- 
 nians) exe 
 VTTO 
 
 ea Kal btvbpov TO irapa. 
 TTJV jUTjAeav, Kat 
 
 rj fJ.T]\a TOV 
 bpCLKOVTO.' KtbpOV fJLV KOL TO.VTO., 
 
 0eoA.e'ovs 8e epya TOV 'Hyv- 
 
 7rat8t 
 
 p.ov TW 
 ra eiti TOV Tro'Aou 
 
 17. Paus. vi. 19. 12 Me- 
 
 ya/ocis 8e 01 TT/SOS rf} 'ArrtK?7 
 6ii<ravpov re (ri 
 
 The Hesperids (in the 
 Heraion at Olympia), five 
 in number, were made by 
 Theokles. also a Spartan, 
 the son of Hegylos : he too 
 is said to have been a pupil 
 of Dipoinos and Skyllis. 
 
 (The treasury of the 
 Epidamnians) contains the 
 heavenly sphere supported 
 by Atlas, and also Herakles 
 and the apple-tree of the 
 Hesperids, with the serpent 
 coiled about it. These too 
 are of cedar-wood, the work 
 of Theokles, the son of 
 Hegylos, who is stated by 
 the inscription on the sphere 
 to have assisted his son in 
 the making. 
 
 The Megarians who live 
 on the border of Attica 
 built themselves a treasury,
 
 12 
 
 GREEK SCULPTURE 
 
 TJ 
 
 avedevav es 
 TOV Qrjvavpov, Ktbpov 
 
 8l7jy0t(7jUW, TrjV 
 
 'HpaKAe'ou? 
 
 Zevs 8e fvravda KOL 
 ArjtaWipa KOI 'A^eAwos Kal 
 
 (OTiv, "Aprjs re ra> 
 fiorjOwv, eiorTjKet Se 
 KOI 'Adrjvas ayaA/xa, are owa 
 ra> 'HpaxAet (rv/x/iaxos' avnj 
 Trapa ra? 'EcrTrept'Sa? dra/ceirat 
 in5y ras fv rw 'Hpaiw. 13. roC 
 drja-avpov 8e eTreipyao-rat rw 
 aerw 
 
 gold, 
 fieht of 
 
 and dedicated offerings 
 therein, figures of cedar- 
 wood inlaid with 
 representing the 
 Herakles against Acheloos. 
 There is Zeusand Deianeira 
 and Acheloos and Herakles, 
 and Ares assisting Ache- 
 loos. There was also at 
 one time a statue of 
 Athena as the ally of 
 Herakles ; but it now 
 stands beside the Hespe- 
 rids in the temple of Hera. 
 On the pediment of the 
 treasury is wrought the 
 battle of the gods and 
 giants. The Megarians 
 would seem to have pos- 
 sessed these offerings from 
 great antiquity, since they 
 were made for them by 
 Medon, the Spartan, a pupil 
 of Dipoinos and Skyllis. 
 
 The language of Pausanias is not explicit as to the inclusion of 
 the pediment-sculptures among the works of Medon. Fragments 
 of them were discovered at Olympia (see F. W. 294, 5). 
 
 MfSiov aurois] MSS. AoWar. The name seems an impossible one, 
 and should no doubt be corrected in accordance with the next 
 No. Brunn makes the contrary change, reading piv Adira for Me'Sov- 
 TOS in No. 18. 
 
 ?. . . . ra ?j 
 eK TraAaioO (r<|)a? 
 etxo's, a ye 6 
 Me'Scov aurot? AITTOIVOU *cal 
 
 18. Paus. v. 17. i TT?S 
 Hpas 8e . . fv r<5 ra<5 . . 
 are /xrjrpos raw ' 
 
 In the temple of Hera 
 there stands an image of 
 Themis as mother of the
 
 THE DAIDALIDAI 
 
 ayaA/ma eorTj/ce 
 yeVo? // 
 
 , y.ad-i]Tov Se AITTOIVOU 
 cat 2vAAt8os . . . r?)y be 
 'A6r]i'av upavos 
 KCU oopv Kal d(T7u8a 
 
 Aeyownv Hpyov 
 Me'Soyro?, roSTOj/ 8e 
 w re ami Aopv/cAeidou, 
 
 Seasons. It is the work 
 of Dorykleidas, a Spartan 
 by birth, and a pupil of 
 Dipoinos and Skyllis. The 
 Athena wearing a helmet 
 and holding spear and 
 shield, is said to be the 
 work of Medon. who, as 
 is alleged, was the brother 
 of Dorykleidas, and was 
 a pupil of the same masters. 
 The above-named works 
 are of gold and ivory. 
 
 The Heraion, which was the oldest temple at Olympia, con- 
 tained other works of archaic sculpture besides those above men- 
 tioned. The Seasons, to which allusion is made in the above 
 passage, were the work of Smilis (v. infr. No. 23). The Athena of 
 Medon is that mentioned in No. 17. On the disposition of these 
 works in the Heraion, see Wernicke, Jahrb., 1894, p. 105 ff., 
 who believes that the temple was converted into a kind of museum 
 at the time of Nero's visit to Olympia. 
 
 roi? 
 KaretAey/jteVa 
 
 5. TEKTAIOS AND AWGELION. 
 
 19. Paus. ii. 32. 5 \j.a- 
 8e 6 KdAAcov fjv TCK- 
 TCUOU Kal 'AyyeAicoros, ot A;- 
 Aiot? fTTOLrjcrav TO ayaA/ia TOV 
 ATToAAcoros* 6 8e 
 KCU TCKTO.IOS TTapa 
 
 fbiba.\dr](ra.v. 
 
 20. 
 
 i) fv 
 O.VTOV 
 
 Plut. de Mus. 14 
 TOV ayaA/xaroj 
 
 Kallon was a pupil of 
 Tektaios and Angelion, 
 who made the image of 
 Apollo for the Delians, 
 and Angelion and Tektaios 
 learnt their art from Dipoi- 
 nos and Skyllis. 
 
 The image of him which 
 is set up at Delos holds in 
 its right hand a bow and
 
 GREEK SCULPTURE 
 
 rr? 
 
 cv 
 
 TT/ 
 
 in its left the Graces, each 
 
 repa Xdpira?, TU>V TIJS p,ov- of whom has a musical 
 
 rrinrjs opydvwv eKdrrr^v TI instrument : one holds the 
 (^ovaav' 77 p.fv yap Xvpav lyre, another the flutes, 
 /cparet, rj 8e uv\ovs, f) 8e fv while she that is in the 
 
 TO) midst presses a pipe to 
 her lips. 
 
 TrpoKei/xerju 
 OTO/U.OTI (rvpiyya. 
 
 This statue of the Delian Apollo is represented on several coins 
 of Athens, Num. Comm. CC. xi-xiv. 
 
 Athenagoras mentions an Artemis (apparently also at Delos) by 
 the same artists. Their date may be fixed by that of their pupil 
 Kallon (v. infr. No. 52), and the style of the Apollo at about 540 B.C. 
 
 6. KLEARCHOS. 
 
 21. Paus. iii. 17. 6 
 
 AIDS ayaA/ia 'Tirdrov 
 Tjrat, TraAatoraTOp TravTcw 6- 
 Troo-a eori 
 yap OVK loriy 
 fXrjXafJifvov 5e i5ta rStv 
 p.ep>v K.Q.Q' avrb ^KCLCTTOV 
 crvjrripfj.o(TTai re Trpos aAArjAa, 
 xal ^Aoi (rvviyovariv avra /LI^ 
 
 TO ayaA/xa 
 \4yovcriv, ov AtTrotfou /cat 
 SxvAAigo?, ol 8e avrou AaiSa- 
 Aou (fracrlv ftvai 
 
 On the right hand of the 
 goddess of the Brasen 
 House there is an image 
 of Zeus the Highest, the 
 oldest of all w'orks in 
 bronze ; for it is not 
 wrought all of one piece, 
 but each part is separately 
 beaten out, and all are held 
 together by rivets that they 
 may not fall asunder. They 
 say that the image was made 
 by Klearchos of Rhegion, 
 who (according to some) 
 was a pupil of Dipoinos and 
 Skyllis, but according to 
 others of Daidalos himself. 
 
 The technique here described was known as ' cr<pvpr)\aTov.' The 
 best-known example was the golden colossus of Zeus, dedicated by
 
 THE DAIDALIDAI 15 
 
 Periander at Olympia. A divergent tradition as to Klearchos is 
 preserved by Paus. vi. 4, 4, who states that Klearchos was the pupil 
 of Eucheir, and Eucheir of Syadras and Chartas, the Spartans. 
 He also states that Klearchos was the master of Pythagoras of 
 Rhegion (Part II. 2. l), which would fix his date approximately 
 at 520 B.C. 
 
 With the Daidalidai we may class the two artists whose names 
 follow. 
 
 7. SMILIS. 
 
 22. Paus. vii. 4. 4 TO 8' The temple of Hera at 
 
 iepbv TO tv 2a/xo> rrjs "Hpas Samos may be reasonably 
 
 . . . tv rots /laAiora apxaiov thought one of the oldest in 
 
 oi>x TJKKTTO, av TIS *at CTU TG> existence, notably because 
 
 dyoAfKm reK/^aipoiro' eru of the statue ; for it is the 
 
 yap 8?j avbpos epyov Aiyiwj- work of an Aeginetan, 
 
 TOV, 2//i'Ai8os TOU EvKXftiov. Smilis the son of Eukleides. 
 
 6 2/xi'Ai? eorty ijXtKiav This Smilis was a contem- 
 
 Aai'8aA.or, go'^Tjs 5e OVK porary of Daidalos, but 
 
 6s TO to-oi' a(f)iKTo. never attained the same 
 
 height of fame. 
 
 The statue is represented on coins of Samos (Gardner, Samos 
 and Samian Coins, PL v, 1-9) ; it was richly draped, and held 
 fillets in each hand. Smilis was perhaps a Samian by birth, as is 
 indicated by the statement of Pliny, N. H. xxxvi. 90, that the 
 ' labyrinth of Lemnos,' i. e. the Heraion of Samos, was the work 
 of ' Smilis et Rhoecus et Theodorus indigenae ' (v. infr. No. 32 note). 
 
 23. Paus. v. 17. I (TT^S (In the temple of Hera) 
 pas 8e ev Tai raw) KaOrj- are the Seasons seated 
 firl 6p6i'(t)v"lpas eiroiTj- on thrones, the work of 
 Smilis. 
 
 At Olympia, v. supr. No. 18.
 
 i6 
 
 GREEK SCULPTURE 
 
 8. CHEIRISOPHOS. 
 
 24. Paus. viii. 53. 7 (At 
 Tegea) 'ATroAAwyos vaos /ecu 
 ayaA/xa tTri^pvo-ov' Xetpicro^o? 
 bf CTroujfre, Kprjs /xev yeros, 
 f]\iKiav 8e auroC Kat roy 81- 
 
 Staira 77 ey Kraxrw 
 Trapa Mu>&> avp.fta.a-a firl 
 jj.aKpoTfpov bvav rots Kpt]al 
 Kol CTTI odv(av 7roi?](ret Trape- 
 crKevacre. trapa be r<5 'ATro'A- 
 Acovi 6 Xeiptao^o? 
 
 (At Tegea) there is a 
 temple of Apollo and a 
 gilded image, made by 
 Cheirisophos, a Cretan by 
 birth, whose date and 
 teacher I do not know. 
 But the residence of Dai- 
 dalos at the court of Minos 
 made the Cretans long 
 famous for the making of 
 wooden images. Beside the 
 Apollo stands a portrait of 
 Cheirisophos in marble. 
 
 2. THE SCULPTORS OF CHIOS. 
 
 (Melas) 
 Mikkiades 
 
 Archermos 
 I 
 
 Bupalos 
 
 25. Plin. N. H. xxxvi. 1 1 
 
 Cum hi essent, iam fuerat 
 in Chio insula Melas 
 sculptor, dein films eius 
 Micciades, ac deinde nepos 
 Archermus, cuius filii Bu- 
 palus et Athenis uel claris- 
 simi in ea scientia fuerc 
 
 I 
 Athenis. 
 
 Before their time the 
 sculptor Melas had already 
 lived on the island of Chios, 
 and after him his son Mik- 
 kiades and his grandson 
 Archermos, whose sons 
 Bupalos and Athenis were 
 the most famous masters
 
 THE SCULPTORS OF CHIOS 
 
 Hipponactis poetae aetate, 
 quern certum est LX. Olym- 
 piade fuisse. Quodsi quis 
 horum familiam ad pro- 
 auom usque retro agat, 
 inueniat artis eius originem 
 cum Olympiadum initio 
 coepisse. 12. Hipponacti 
 notabilis foeditas uoltus 
 erat,quamobrem imaginem 
 eius lasciuia iocorum hi pro- 
 posuere ridentium circulis, 
 quod Hipponax indigna- 
 tusdestrinxitamaritudinem 
 carminum in tantum, ut 
 credatur aliquis ad laqueum 
 eos compulisse. Quod fal- 
 . sum est. Complura enim in 
 finitimis insulis simulacra 
 postea fecere, sicut in Delo. 
 quibus subiecerunt carmen, 
 non uitibus tantum censeri 
 Chion, sed et operibus 
 Archermi filiorum. 13. Os- 
 tendunt et Lasii Dianam 
 manibus eorum factam : in 
 ipsa Chio narrata est operis 
 eorum Dianae facies in sub- 
 limi posita, cuius uoltum 
 intrantes tristem, exeuntes 
 hilarem putant. Romae 
 signa eorum sunt in Pala- 
 tina aede Apollinis in fas- 
 
 of their craft in the time of 
 the poet Hipponax, who is 
 known to have lived in 
 the 6cth Olympiad (540 
 B.C.). If their line is traced 
 back to the great-grand- 
 father, it will be found that 
 the art took its rise at the 
 beginning of the Olympiads. 
 Hipponax was remarkable 
 for the ugliness of his face, 
 for which reason they 
 exposed his portrait in 
 wanton mockery to jesting 
 crowds, until Hipponax 
 in indignation turned the 
 weapons of his bitterest 
 satire against them with 
 such effect that as some 
 believe he drove them to 
 hang themselves. This is 
 not the case : for they after- 
 wards made many statues 
 in the neighbouring islands, 
 as for example in Delos, 
 where their work bore a 
 metrical inscription, stating 
 that Chios was famed not 
 only for its vines but also 
 for the works of the sons 
 of Archermos. The people 
 of Lasos display an Artemis 
 fashioned by their hands :
 
 i8 
 
 GREEK SCULPTURE 
 
 tigio et omnibus fere quae 
 fecit diuos Augustus. Patris 
 quoque eorum et Deli fuere 
 opera et in Lesbo insula. 
 
 and it is stated that in 
 Chios itself there is a 
 figure of Artemis, made 
 by them and set on a high 
 pedestal, whose expression 
 seems gloomy as one enters 
 her shrine, and cheerful as 
 one departs. At Rome 
 their statues stand on the 
 gable of the temple of 
 Apollo on the Palatine, and 
 on almost all the temples 
 built by Augustus the 
 Divine. Their father's 
 works, too, were to be seen 
 both in Delos and on the 
 island of Lesbos. 
 
 hi] Dipoinos and Skyllis. The words follow No. 1 1. 
 
 Melas] In all probability the local hero of Chios, son of Oino- 
 pion. The confusion may have arisen from the misunderstanding 
 of a phrase in a metrical inscription, perhaps of ' MtXavos Trarpwiop 
 aorv' in the inscription quoted below (No. 26 note). 
 
 Olympiadum initio] Pliny erroneously reckons 60 years (a full 
 life) to a generation. 
 
 Lasii | A variant is ' lasii.' lasos is in Caria, Lasos in Crete. 
 
 in fastigio] Either (i) 'on the gable.' The figures would then 
 be njcpcoTijpta such as those from the temple of Aegina, F. W. 84, 85. 
 Or (2) ' in the pediment.' Petersen conjectures that a fragmentary 
 kneeling Amazon from the Villa Ludovisi (Rom. Mitth. iv. 86 f.) 
 formed part of the group. 
 
 26. Schol. Ar. Av. 573 The representation of 
 
 calroi; Victory and Love with 
 
 "Apxtp- wings is of recent origin : 
 
 [LOV ydp <J>a.(n TOV BovndiAov for according to some it
 
 THE SCULPTORS OF CHIOS 
 
 KCU 'Adijvibos Trarepa, ot 8e was Archermos, the father 
 'AyAaocpwvra TOV Qacriov u>- of Bupalos and Athenis, 
 ypatyov, vn/iv^v epydcracrflcu according to others, Aglao- 
 r-qv NiKTjy. phon the Thasian painter, 
 
 who represented Victory 
 
 winged. 
 
 It is natural to combine with this notice the so-called ' Nike of 
 Delos,' now in the Central Museum at Athens (Brunn-Bruckmann, 
 36). The plinth, which almost certainly belongs to it, bears an 
 inscription variously restored (Lowy i). Lolling's restoration 
 reads : 
 
 Oi Xtot Mf'[X]n[i/]o? TrnTpcoYof OO-[TV Vtftomg], 
 
 But Mr. Ernest Gardner (Class. Rev. 1893, p. 140) has shown 
 cause for regarding the readings [<iya\]fia in 1. I and JVU'Xnvor 1. 3 
 (for which he reads /^ydXco?) as impossible. An inscription from 
 the Akropolis (AeXr. 'Ap^. 1889, p. 119) reads "Apxtppos tnoirjaev 6 
 Xtos | 'I0i8i'/c77 p avtdrjKfv 'Adrjvaiq TroXtov^oj. Both inscriptions date 
 from the second half of the sixth century B.C. 
 
 *Apxpn.ov] A certain correction for^'Ap^i/i/ov MSS. 
 
 <j>acrt] For the omission of ot ptv cf. No. 21 ad fin. 
 
 The father of Polygnotos. See Brunn, K. G. II 3 . 10. 
 
 Bupalos, a celebrated 
 temple-architect and sculp- 
 tor, in making a statue of 
 Fortune for the people of 
 Smyrna, was the first, so 
 far as I know, to represent 
 her with a circular crown 
 on her head and that which 
 the Greeks call 'Amalthea's 
 horn' in cne hand. 
 Jwa . . . irXAcrai] Of sculpture generally, as fwa ypdfaiv, later 
 ftoypn^fij/, of painting. om = ' figures ' in art generally, so of 
 a statue in No. 35, where see note. 
 
 C 2 
 
 27. Paus. iv. 30. 6 Bov- 
 TroAos 8e, vaovs re otKoSo/zrj- 
 aaaQai K.O.\ ^<Sa dinjp ay ados 
 TrAdo-at, 2ju.upyatois ayaA/za 
 
 OV 
 
 re f-^ovcrav 
 rtj ere'pa 
 
 ri 
 
 vr.b C EA-
 
 20 
 
 GREEK SCULPTURE 
 
 28. Paus. ix. 35. 6 OO-TLS 
 8e 77^ av6p(aTra>v 6 
 TiyxSros Xdpiras ?/roi 
 T) ypatpp nip-rjcrd^vos, ofy 
 oloV re eyeWro 7iv6f<r9ai /xe' 
 eTrel rd ye dpxato'repa e^ovcras 
 ((rdiJTa 01 re TrAdorat /cat Kara 
 
 ravra (i:oovv o 
 /cai Suvpvaiois . . . ey r< 
 iepw rcSf NejueVecor VTrep rwr 
 dyaA./xara)y x^^ " ^ Xapires 
 BovTrdAou 
 
 (V rai 'ArrdXou 6aXd/i&), Bou- 
 irdAou /cai avrai. 
 
 I could not discover who 
 was the first man to repre- 
 sent the Graces nude, either 
 in sculpture or in paint- 
 ing. For in old times 
 both sculptors and painters 
 represented them draped. 
 And at Smyrna in the 
 temple of the Nemeseis 
 stand dedicated 
 Graces above the 
 the work of Bu- 
 There are also 
 of the Graces by 
 
 there 
 golden 
 images 
 pal os. 
 statues 
 
 Bupalos in the chamber of 
 Attalos at Pergamon. 
 
 A base with the fragmentary inscription . . . [(lpy]da-(a-)aTo Xlos 
 found at Pergamon (Frankel, Die Inschriften i>on Pergamon^ 
 No. 46) may have belonged to the latter group. 
 
 3. EARLY WORK IN METAL. 
 
 1. GLAUKOS OF CHIOS. 
 
 29. Hdt. i. 25 
 5e (6 'A Avdrrtj?) es Ae\(poi>s 
 KprjrT/pd re dpyvpeov pfyav KCU 
 
 VTTOKprjTtJpiblOV (Tlbl'lpfOV KOA- 
 
 Ar/roj;, flerjs aiov 8td 
 
 (Alyattes) dedicated at 
 Delphi a large silver bowl 
 and a stand of soldered iron, 
 one of the most remark- 
 able offerings to be seen at 
 Delphi, the work of Glaukos
 
 EARLY WORK IN METAL 
 
 21 
 
 TOV Xiov 7rotT//xa, os 
 
 <rtbripov 
 
 of Chios, who was the sole 
 inventor of the soldering of 
 iron. 
 
 Alyattes reigned 617-560 B.C. The date given by the chrono- 
 logers for Glaukos (Ol. 22=672 B.c) is consequently too high. 
 
 3O. Paus. x. 1 6. i ro)y 8e 
 ai'aOr]fj.dT(i)r, a ol /3a<rtAeis 
 dire'o-TfiAap ol Avb&v, ovbev en 
 771; O.VT&V el p.r) crtbr^povv p.6vov 
 
 TO VTTodrjfJLO. TOV ' A\VO.TTOV 
 KpCLTTJpOS. TOVTO FAaVKOU p.(V 
 
 fcmv tpyov TOV Xiov, crtS^- 
 pov KoAArjcriv avbpbs evpovros' 
 H\a(T[j.a bf fKavTov TOV imo- 
 (Xda-fjuiTi aAAw Trpocr- 
 ov 7re/30fcu9 fcrrlv f/ 
 KtvTpoi.$, povr] 5e rj Ko'AAa 
 ' re KCU tcrTiv ami] TOJ 
 os' a~\fjfJM bf TOV 
 Kara iruayov fxa- 
 Aiora (s fj.vovpov CLVIOVTO. &i>b 
 
 VpVTpOV TOV KO.TU)' knaffTTf} bf 
 
 n\fvpa TOV vTtodi'iiJiaTos ov bia 
 jrdaTjs Tre^pa/CTat, aAAa zicnv 
 at TrAdyiai TOV (ribi'ipov 5>vai 
 (V KAt/xaKt ol ava- 
 ' TO. bf fAao-^ara TOV 
 (rtbijpov TO. 6pOa aviaTpaiiTai 
 Kara TO. aKpa es TO CKTOS* Kat 
 I8pa rotJro ^v ra5 KpaTrjpt. 
 
 Of the offerings sent by 
 the kings of Lydia none 
 remained but the iron 
 stand of the bowl of 
 Alyattes. This is the work 
 of Glaukos of Chios, the 
 inventor of the soldering of 
 iron ; and each plate of the 
 stand is joined to the next, 
 not with pins or rivets, but 
 with solder alone, which 
 holds them together and 
 acts as a binding material 
 to the iron : and the form 
 of the stand is like that of 
 a tower in the shape of 
 a truncated cone resting on 
 the broader base : the sides 
 of the stand are not entirely 
 closed, but there are cross- 
 bars of iron like the rungs 
 of a ladder, while the up- 
 right plates are bent out- 
 wards at the top. and thus 
 form a support, on which 
 the bowl rests.
 
 22 GREEK SCULPTURE 
 
 3L Ath. v. 2ioC T\av- The stand of Glaukos of 
 
 KOV . . TOV Xi'ov TO fv AeA^ois Chios at Delphi is really 
 
 . us dAr^ais fleas remarkable, by reason of 
 
 8id ra ez; avra> ei/reTo- the small figures carved 
 
 bdpLa KOI d\Aa upon it as well as other 
 
 TWO. o>u(/Ha Kai (pvrdpia, tirtri- animal and vegetable forms, 
 
 0e<r0cu TT' avT<5 Swd/xera KOI while bowls and other 
 
 Kai aAAa o-Kevrj. vessels can be placed on it. 
 
 Instances of similar forms are found in early pottery and bronze ; 
 cp. the representation on a Phoenician silver bowl (M. d. I. ix. 31. i). 
 The decoration (friezes of animals, plant-forms, c.) is in the style 
 of Phoenician metal-work and Corinthian vases (cp. Brunn, 
 Griechische Kunstgeschichte, I. chap. 3). 
 
 2. THE SCULPTORS OP SAMOS. 
 
 (RHOIKOS, THEODOROS, TELEKLES.) 
 
 32. Paus. viii. 14. 8 The first to cast statues 
 
 5ie'xu> 8e yj}.\K.ov Trpwroi KCU in molten bronze were the 
 
 dydA/nara f^veucravro 'Pot- Samians Rhoikos, the son 
 
 KO'S re <I>iXe'ov KCU 0o'5a)pos of Phileas, and Theodores, 
 
 Sdfcioi. the son of Telekles. 
 
 Rhoikos and Theodores were architects as well as sculptors. 
 Hdt. iii. 60 states that Rhoikos built the Heraion at Samos, while 
 Plin. N. H. xxxvi. 90 attributes what is probably the same building 
 under the name of the ' labyrinth of Lemnos ' to Rhoikos, Theo- 
 doros, and Smilis. Theodores made a silver bowl for Croesus 
 (conquered 546 B.C.), and the famous ring of Polykrates (died 
 circ. 520 B.C.) ; and this date accords with an inscription found on 
 the Akropolis of Athens ('E$. 'Ap^. 1886, PI. vi. 5, Coll. I, Fig. 72), 
 which reads Qf6[8up]os ay{aXfia eiroirjatv] in Ionic characters. 
 
 33. Paus. x. 38. 6 eo- I can find no trace of 
 
 butpov fjifv bi] ovbtv cri oi8a any work by Theodores, at 
 
 a ye x ^* " least in bronze ; but in 
 
 ' Iv Se 'Aprc'/iiSos the temple of Artemis at
 
 EARLY WORK IN METAL 
 
 TTJS 'Ei(f)eo~[a<i Ttpbs TO 
 
 f(TTLV 
 
 TOV 
 
 \idoV 
 
 /3a>/ioD TTJS 
 KaXoviJifvrjs 'ApT^Lbos' dydA- 
 ftara 5e aAAa re evri rou 0pty- 
 KOV KOI yiwatKOS eiKa>y Trpos 
 TO! Trepan eonj/ce, 
 'Poifcou, Nw/cra Se ol ' 
 
 34. Plin. A". //. xxxiv. 
 83 Theodorus, qui labyrin- 
 thum fecit, Sami ipse se 
 ex acre fudit, praeter simi- 
 litudinis mirabilem famam 
 magna subtilitate celebra- 
 tus ; dextra limam tenet, 
 laeua tribus digitis quad- 
 rigulam tenuit translatam 
 Praeneste, tantae paucitatis 
 ut miraculo fictam earn 
 currumque et aurigam in- 
 tegeret alis simul facta 
 musca. 
 
 Ephesos, at the approach 
 to the chamber containing 
 the paintings, there is a 
 marble cornice above the al- 
 tar of Artemis Protothronia, 
 as she is called, and among 
 other statues on the cornice 
 there is a figure of a woman, 
 standing close to the end, 
 which the Ephesians call 
 Night. This is the work of 
 Rhoikos. 
 
 Theodores, the builder 
 of the labyrinth, cast his 
 own portrait in bronze at 
 Samos. This is famous, not 
 only because of the marvel- 
 lous likeness, but also be- 
 cause of the minuteness of 
 the work ; in the right hand 
 is a file, while the left held 
 in three fingers a tiny four- 
 horse chariot, now removed 
 to Praeneste, so minute and 
 marvellously wrought that 
 a fly, made with it, covered 
 team, car, and driver with 
 its wings. 
 
 The rationalistic explanation of this story is that the statue held 
 the symbols of Theodores' cunning as goldsmith and gem-engraver 
 
 the latter being a scarab engraved with the design of a chariot. 
 As, however, a precisely similar object is attributed to one Myr- 
 mekides, an artist of unknown date, whose skill in minute
 
 GREEK SCULPTURE 
 
 35. Diod. i. 98 
 KOI obu)pov TOV? 
 pier viovs, KaracrKfvacravTas 8e 
 TOIS SdfUbts TO TOV 'ATTo'AAoo- 
 yos TOV HvOtov 6avov. TOV yap 
 ayaA/xaros (v Sd^M pfv VTTO 
 
 workmanship was proverbial (cp. vii. 85 Myrmecides . . . incla- 
 ruit quadriga . . . quam musca integeret alis. xxxvi. 43 M. cuius 
 quadrigam cum agitatore operuit alis musca), and (doubtfully) to 
 Pheidias himself by Julian, Epist. 8, p. 377 A, the story is in all 
 probability entirely apocryphal. 
 
 miraculo fictam] Sillig's correction of 'miraculo pictam ' of 
 the best MS. The rest have ' totam.' For 'miraculo' cp. ix. 93 
 reliquiae . . . miraculo pependere pondo DCC. 
 
 Telekles and Theodores 
 the sons of Rhoikos, who 
 made the statue of the 
 Pythian Apollo for the 
 Samians. The story runs 
 that one half of the image 
 was made at Samos by 
 Telekles, while the other 
 half was fashioned at Ephe- 
 sos by his brother Theo- 
 doros. and that when the 
 parts were joined together 
 they fitted so exactly that 
 the whole figure appeared 
 to be the work of one 
 artist. This method of 
 working was never practised 
 by the Greeks, but was in 
 common use among the 
 Egyptians. And the statue 
 at Samos, being made in 
 accordance with the Egyp- 
 tian system, is bisected by 
 a line which runs from the 
 crown of the head through 
 the centre of the figure to 
 
 br]fj.Lovpyri6T]vai, Kara be Tr\v 
 
 *E<f)(TOV VTTO TOV dbf\<pOV 
 &fobu>pOV TO TfpOl> fJLfpOf 
 
 )6s aAArjAa TO. p.ff 
 
 OUTOJS coore boKtiv vtp 
 fvos TO Ttav <ra>/xa KaTe<TKU- 
 d(T0ai. TOVTO bf TO -yfvos TTJS 
 cpycwnas Trapa p.fv TOIS 
 EAA?j<n jAT/8a/u<2s (TriTr}bev- 
 (crdai, Trapa 8e rois AtyuTmcus 
 /xaAtora <rui>TeAeur0ai . . . TO 
 
 V(t)S TTJ Toiy AlyVTITLWV (j)t\0- 
 
 Tf^via Kara Trjv Kopvffrriv 
 biopi(fi.v TOV 
 TO p.fcrov fJ-f\pi T&V 
 alboitov, l(rdov O/AO^OJS cauraJ 
 <>. flvat b'avTo \tyovcri
 
 EARLY WORK IN METAL 
 
 TO 
 
 TOIS Ai 
 
 \tlpas 
 
 the groin, and divides it 
 fj.fv into precisely equal and 
 , TO similar halves. They say 
 that it resembled Egyptian 
 works as closely as possible, 
 with its arms hanging by 
 its sides and its legs parted. 
 
 6avov] The word is used not in the restricted sense of a wooden 
 image found in Pausanias, but with the general meaning ' statue.' 
 Cp. No. 112. 
 
 <|Sov] Like a>8iov, a ' figure,' here ' statue.' Thus the figures in 
 the frieze of the Erechtheum are called fwa CIA. I. 322, C8ia CIA. 
 I. 324C. 
 
 3. GITIADAS OF SPARTA. 
 
 36. Paus. iii. 17. 
 fvravda ' AOrjvas lepov 
 
 TTOirjTCU, TioXl 
 
 fj.fvrjs KO! \a\KtoiKOV rrjs 
 avrfjs . . . Aa/ceScujAo'iuoi . . . 
 TOV re vaov o/Lioicos KOL TO 
 ayaA/xa (TTOir](ravTO 'Adrjvas 
 \a\Kovv' FirtaSas 
 
 yaorai 5e rw xaA/cw TroAAo /lev 
 Tc5y a^Acov 'HpaKAe'ous, iroAAa 
 
 0a>cre, Tuyfidpeaj re 
 
 &AAa re xat ^ TWI; 
 
 TTOU 6vya.Tp(av apirayfi' nal 
 
 " T^J; firjrepa 
 
 8' y Aifivrjv KOI 
 
 Here there is a temple of 
 Athena, who iscalled Ward- 
 ress of the city and also 
 Goddess of the Brasen 
 House. The Spartans 
 caused both the temple 
 and the image of Athena 
 to be made of bronze. 
 The work was done by 
 Gitiadas. a native of Sparta. 
 On the bronze there are 
 wrought in relief many of 
 the labours of Herakles, 
 and of the exploits which 
 he performed of his free 
 will, and the deeds of the 
 sons of Tyndareos, amongst 
 others the rape of the 
 daughters of Leukippos :
 
 26 
 
 GREEK SCULPTURE 
 
 8<Spd euri Kvvyv nal 
 
 TO. 
 
 8td TO> de'pos 
 (TTfipyaa-Tcu be KOL ra es TIJV 
 ytveo'iv, KOL 'A/x(pi- 
 at IToo-eiSaJr, & 8rj 
 /zeyicrra /cal //aAiara TJV 
 aia. 
 
 and there is Hephaistos 
 releasing his mother from 
 her bonds. Perseus is bound 
 for Libya to fight with 
 Medusa, and the Nymphs 
 are giving him gifts a hel- 
 met, and the sandals which 
 were to bear him through 
 the air. The story of the 
 birth of Athena is also re- 
 presented, and Amphitrite 
 and Poseidon. These are 
 the most prominent, and, 
 to my thinking, the most 
 remarkable of the reliefs. 
 
 vrovOa] On the Akropolis of Sparta. The statue is represented 
 on coins of Sparta and Melos {Num. Comm. N. xiii-xv). The 
 body is in the form of a column divided into horizontal bands. It 
 is uncertain whether the reliefs decorated these bands represent- 
 ing woven patterns or the walls of the temple. 
 
 "H^awrros] Hera hurled Hephaistos down from heaven, and in 
 revenge he presented her with a chair from which she could not 
 rise. Dionysos made him drunk, and brought him back to heaven 
 to release her. 
 
 37. Paus. iii. 18. 7 TO be 
 
 8iTTjs ayaAfxa eoTr/Kef/ 
 
 8e VTTO TO> Seurepa)' FiridSa 
 
 KCU auroi T^\vf] fcal ra 
 
 eTreipyaoyxe'i/a. 
 
 Among the notable 
 sights of Amyklai are 
 certain bronze tripods. The 
 first tripod is supported by 
 an image of Aphrodite, the 
 second by one of Artemis. 
 Both the tripods and the 
 sculptures which adorn 
 them are the work of 
 Gitiadas.
 
 THE EARLIEST PORTRAITS OF ATHLETES 27 
 
 Paus. mentions a story that these tripods were dedicated from 
 the spoil taken in the first Messenian war (in the eighth or seventh 
 century B.C.), but this is clearly impossible. There was a third 
 tripod, the work of Kallon of Aegina (v. infr. No. 53) ; but we 
 cannot be certain that it was dedicated at the same time. 
 
 4. BATHYKLES OF MAGNESIA. 
 
 38. Paus. iii. 18. 9 By the hand of Bathy- 
 BadvK\e'ovs be M&yvrjTos o? kles the Magnesian, who 
 TOV Qpovov e-TrotTjo-e TOU 'A/xu- made the throne of Apollo 
 K\aiov,ava6rifj.aTa eTrefeipyacr- at Amyklae, are certain 
 /neVa T(5 Opouy Xdpirts KOI votive offerings made after 
 a.ya\fj.a 8e Aeu/co^pwTjs 1 eorif the completion of the 
 'Apre^i5os. throne Graces and an 
 
 image of Artemis Leuko- 
 
 phryne. 
 
 The throne is described at length by Pausanias in the following 
 sections (see the reconstruction by Furtw., Meisterwerke, p. 706). 
 Bathykles was employed to utilize the present of gold sent by 
 Croesus to Sparta in the decoration of the temple of Apollo at 
 Amyklai. 
 
 AVKo4>piivT]s] Artemis Leukophryne (or Leukophryene) had 
 a famous temple at Magnesia on the Maeander, the home of 
 Bathykles (Dittenberger, Syll. 171, 84, Tac. Ann. iii. 62). 
 
 4. THE EARLIEST PORTRAITS 
 OF ATHLETES. 
 
 39. Plin. N. H. xxxiv. 16 It was not the custom to 
 
 Effigies hominum non sole- represent the features of 
 
 bant exprimi nisi aliqua individuals unless they had 
 
 illustri causa perpetuitatem earned immortality by 
 
 merentium, primo sacrorum some special distinction.
 
 28 
 
 GREEK SCULPTURE 
 
 certaminum uictoria maxu- 
 meque Olympiae, ubi om- 
 nium qui uicissent statuas 
 dicari mos erat, eorum uero 
 qui ter ibi superauissent ex 
 membris ipsorum simili- 
 tudine expressa, quas ico- 
 nicas uocant. 
 
 40. Paus. vi. 1 8. 7 irpomu 
 fs 
 
 The first of such was a 
 victory in the sacred games, 
 and especially at Olympia, 
 where it was the custom to 
 dedicate statues of all vic- 
 tors, while in the case of 
 those thrice victorious the 
 actual features were por- 
 trayed. Such statues are 
 called ' iconic.' 
 
 The first portraits of 
 athletes dedicated at Olym- 
 pia were those of Praxida- 
 mas of Aegina, victorious 
 in boxing in the 59th 
 Olympiad (544 B.C.) and 
 Rhcxibios of Opus, victo- 
 rious in the pankration in 
 the 6 ist Olympiad (5368.0.). 
 These figures stand not far 
 from the pillar of Oinomaos, 
 and are made of wood. The 
 portrait of Rhexibios is of 
 fig-wood, while that of the 
 Aeginetan is of cypress, 
 and has suffered less than 
 the other. 
 
 TTJS OtvofxAov KtovosJ A wooden column at Olympia, carefully 
 preserved as a relic of the palace of Oinomaos (Paus. v. 20. 6). 
 
 /xarro's re Aiyiwjro{>2HK7J0-cu>ro* 
 Tvy/Afj TTJV fvarrjv 
 CTrt rdis -ncvTrfKovra, 
 'Oirowriov 'Pr;i/3un; 
 TiarrTas Karaya>i>i<ra/iez;oi;, jiua 
 
 ai/Tai /ceirrat 
 
 TTp6(TU) T1JS 
 
 exoes ov 
 
 v a~VKrs, j e TOV 
 
 KVTTap{<T(TOV, KO.I 
 
 rjo-arov rrjs erepas 
 
 41. Paus. viii. 40. 
 
 o-i 6e avbpids eony 
 ayopas 
 
 In the market-place at 
 Phigaleia stands a portrait 
 of Arrhachion, the pankra-
 
 THE EARLIEST PORTRAITS OF ATHLETES 29 
 
 , rd re aAAa 
 ap\alos KOL ov\ T/KIOTCI evrt 
 TOJ o-^Tj/xaTf ov Sieo-racrt /iei> 
 TTO\V 01 ?ro8S, Ka0eu>rai 8e 
 Trapa Tr\(vpa al \ e 'P 6? "XP 1 
 T>V y\ovTG>v' 77770i7jrat /^tei 1 
 8^ fj elKtov Xidov, Ae'youo-i 8e 
 Kdi CTTiypa/ijoia e::' avrr) ypa- 
 (pfjvai' Kal TOVTO fj.(v ri(pdvio-Ta.i 
 
 V770 TOU XPO^OU. TO) 8 
 
 toi/t tyevovro 'OAv/xTTtKat 
 
 TT/5 TfTapTrjs Ka 
 
 tiast, which is archaic in 
 style, and especially in 
 attitude. The feet are not 
 far apart, and the hands 
 hang down by the sides as 
 far as the buttocks. The 
 portrait is made of marble, 
 and it is alleged that there 
 was an inscription painted 
 upon it ; but this has dis- 
 appeared through lapse of 
 time. Arrhachion gained 
 two Olympic victories in 
 the Olympiads which pre- 
 ceded the 54th (564 B.C.). 
 
 Paus. (vi. 15. 8) also mentions a portrait of the Spartan Eutelidas, 
 victorious as a boy in wrestling and the five contests in the 38th 
 Olympiad (628 B.C.). But the date rests on his own inference, and 
 is inconsistent with the statement of No. 40. The statue was, how- 
 ever, archaic, and the inscription no longer legible.
 
 PART II 
 
 ARCHAIC AND TRANSITIONAL 
 SCULPTURE 
 
 NOB. 42-95.
 
 i. THE ARCHAIC SCHOOLS. 
 
 1. ARGOS. 
 
 (a) AGELADAS. 
 
 Date. Determined by (i) his statues of Olympic victors 
 Anochos 520, Kleosthenes 516, Timasitheos executed in 507 
 (Hdt. v. 72) ; (2) the inscription of his son (or slave) Argeiadas on 
 the base of a chariot-group dedicated at Olympia by Praxiteles, 
 SupnKocrioj . . . KOI Kapapivaios (Lowy 30). Kamarina was destroyed 
 and its inhabitants removed to Syracuse in 484 B. C. Pliny states 
 that he was the teacher of Myron and Polykleitos, but this is impro- 
 bable in the first case, and impossible in the second. The statement 
 that he was the teacher of Pheidias (No. 43) has no early authority. 
 
 42. Paus. iv. 33. a. (At (At Ithome.) The image 
 Ithome.) TO be ayaXp-a TOV of Zeus is the work of 
 Aids 'AyeAdSa /xe'y e<my cpyov, Ageladas, and was origin- 
 77017/07?. 8e e apxns TOLS ally made for the Mes- 
 QiK.j\<Ta(nv cv NauTra/cTO) Metr- senians who settled at Nau- 
 
 paktos. 
 
 The Messenians were probably transferred to Naupaktos about 
 46 J (whether we read nrdprta er in Thuc. i. 103. I or adopt the 
 earlier date (46^) for the revolt of the Helots, as is done by Wila- 
 mowitz, Aristoteles und Athen, ii. 295), so that we must not take 
 the words of Pausanias as a note of chronology. The statue is 
 represented on the coins of Messene, Num. Comnt. PP. iv, v. 
 
 43. Schol. Ar. Ran. 504 Melite is a deme of 
 77 MeXirrj STJIJLOS rrjs 'AmfcT/s Attica, where there is a 
 . . . eon Se KCU e/cei 'Hpa- celebrated temple of Hera- 
 
 D
 
 34 
 
 GREEK SCULPTURE 
 
 (TTL(f)avf<rTaTov Ifpov 
 'AAeiKCi/cou' TO 8e TOT; 'Hpa- 
 xAe'ou? ayaAjua epyov 'AyeAa- 
 8ou TOV 'Apyeiou TOU StSaovcd- 
 Aou 4>ei8iou. 57 8e tSpixrts 
 eyivero Kara Tor jue'yay Aot- 
 
 kles, the Averter of 111. 
 The image of Herakles is 
 the work of Ageladas of 
 Argos, the teacher of 
 Pheidias, and it was set up 
 at the time of the great 
 plague. 
 
 44. Anth. Plan. iv. 220. 
 
 The Scholiast refers to the plague of 4f , but this would give far 
 too late a date. A plague about 500 B. c. is attested by the epitaph 
 Xot]/i6> 6avov(rijs flp.1 [triyj/xa Mvp(p)ii>r]s {CIA. I. 475)- 
 
 ANTIPATER OF SIDON. 
 
 Here stand we Muses 
 three ; one bears in her 
 hand the flutes, one the bar- 
 bitos, one the lyre. The 
 Muse of Aristokles holds 
 the lyre, that of Ageladas 
 the barbitos, that of Kan- 
 achos the reeds that make 
 music. 
 
 al MoCo-ai Tab' eora- 
 ' a ju,ia Acorovs, 
 
 fidp- 
 , a bf 
 
 8' 
 
 On Kanachos and Aristokles of Sicyon v. infr. Nos. 49 ff. The 
 Xfhvs may be illustrated by the ' School' vase of Duris (J/. d. I. ix. 
 54) ; the /3dpj3tTo? by Benndorf, Griech. und siril.Vasenbilder, xli. 2. 
 
 45. Paus. x. 10. 6 Tapav- The bronze horses of the 
 rivaiv 8e ol iTnroi ol x a ^ KO ? Tarentines and the captive 
 KOI aJx/^dXcoroi yviaues 0770 women are offerings from 
 Me<r<rcnr&M> elcriv, opopaiv ry 
 TapavTivav /3ap/3dpo)r, 'Aye- 
 Xd8a 8e epya TOU 'Apyctov. 
 
 At Delphi. 
 
 the spoils of the Messa- 
 pians, who are barbarous 
 neighbours of Tarentum ; 
 they are the work of Age- 
 ladas of Argos.
 
 THE ARCHAIC SCHOOLS 
 
 35 
 
 46. Paus. vi. 10. 6 e?ri 
 TO> Tlai'TapK 
 
 avbpbs ' 
 viov. TOVTO epyov . . . eorlf 
 'AyeAaSa . . . ert/ca ^.ev STJ 
 TT)Z> fKTrjv 'O\vfj.Tridba /ecu 
 rjv 6 K\3(rdei-r]S, av- 
 6/xou rots 
 
 re cuoVa Kat Toy y 
 8e KOI 
 ra ro/xara, ^ot^t^ /cat 
 
 o 
 
 TO C u yX KOTO /jiey Ta eia 
 Ki'a/a'as, er 8e T^ apiorepa 
 s* KOI 
 
 TIOS 
 
 ITTTTOIS /caAor ayS>va 
 
 Ato'?. 
 
 Next to Pantarkes is the 
 chariot of Kleosthenes the 
 Epidamnian. This is the 
 work of Ageladas. Kleos- 
 thenes was victorious in the 
 66th Olympiad (516 B.C.), 
 and dedicated portraits of 
 himself and his charioteer 
 along with his team. The 
 names of the horses also 
 are inscribed, Phoinix and 
 Korax, and the trace-horses 
 on either side, Knakias on 
 the right and Samos on the 
 left. And on the chariot is 
 the following couplet : 
 
 Kleosthenes of Pontos 
 from Epidamnos dedicated 
 me, when his team won the 
 victory in the noble games 
 of Zeus. 
 
 Other works : 
 
 ZEUS as a child and HERAKLES as a beardless youth, in bronze, 
 at Aigion (Paus. vii. 24. 4). 
 
 Athlete-statues at Olympia : 
 
 Anochos of Tarentum, victorious in the foot-race, Ol. 65 (520 B.C.) 
 (Paus. vi. 14. n). 
 
 Timasitheos of Delphi, twice victorious in the pankration, 
 executed at Athens in 507 B.C. for participation in the treason of 
 Isagoras (Paus. vi. 8. 6). 
 
 D
 
 GREEK SCULPTURE 
 
 (b) GLAUKOS AND DIONYSIOS (SIMON). 
 Date. See notes on Nos. 47, 48. 
 
 47. Paus. v. 26. 2 TO Se 
 avaQruiara MIKV#OU TroAXd re 
 api9fj.ov KOL OVK e<pe7J? ovra 
 , dAXa 'Icptrou \ikv . . . 
 ro<rd8e avadrmara T&V 
 vdov, 'A/zcpirpir^ re KOL 
 ITo(reia>i/ Kal 'Eorta, FAaC/cos 
 8e 6 7roi?]o-as eariy ' 
 Trapa 8e rou raou TOV 
 r^y ev dptorepa TrAeupau dve- 
 0r)K(v aXAa, Koprjy rrji' ATJ- 
 
 *cai 
 e Kat 
 
 8e "Optjpov nal 'HcrtoSor, fcai 
 #eoi>s av^ty 'Ao-KXr/Triov KOI 
 'Tyieiay. 3. 'Aycov re ey rois 
 eori TOI? MIKV^OU 
 aXrrjpas . . . irapa 8e 
 TOU 'Aywyoy T^y ciKwa Ato- 
 wcros KOI 6 0pa^ kcrrlv 'Op- 
 al ayaAp.a Aio's . . . 
 epya firrlv 'Apyciou 
 , re0?]i;ai be VTTO TOV 
 Kal aAAa 6fj.ov TOV- 
 TOIS X^yotxri, Nepooya 8e d^e- 
 Xecr^at (pacrt K<U raura. rots 
 8e fpyacrap.fvoi^ avrd, yeVo? 
 ovo-ii; 'Apyeiots, Aiowviut re 
 KCU FAavKO), 6t8do-KaXo'y o-^>i- 
 aiv ovbeva eTriAe'youo-ii'' r/\i- 
 
 The offerings of Mikythos 
 I discovered to be many in 
 number and separated from 
 each other. Close to the 
 statue of Iphitos stand the 
 following offerings of Miky- 
 thos Amphitrite,Poseidon, 
 and Hestia. They are the 
 work of Glaukos of Argos. 
 On the left-hand side of the 
 great temple he dedicated 
 another group of figures 
 Kore the daughter of De- 
 meter and Aphrodite and 
 Ganymede and Artemis, the 
 poets Homer and Hesiod, 
 and again the gods Askle- 
 pios and Hygieia. Among 
 the offerings of Mikythos 
 is a figure of Agon bear- 
 ing leaping-weights. And 
 beside this figure are 
 Dionysos and Orpheus the 
 Thracian and an image of 
 Zeus. These are the work 
 of Dionysios of Argos. It 
 is said that other statues 
 were dedicated by Mikythos 
 at the same time, but that 
 they (like others) were
 
 THE ARCHAIC SCHOOLS 
 
 37 
 
 K.iav be CLVTUV 6 TO. Ipya ts carried away by Nero. No- 
 'OAu/xTuay avaOels eTrtSeu- thing is recorded as to the 
 vvaiv 6 MiKvOos. teacher of the artists Dio- 
 
 nysios and Glaukos, who 
 were Argives by birth ; but 
 their date is shown by the 
 fact that Mikythos dedi- 
 cated their works at 
 Olympia. 
 
 Mikythos reigned at Rhegion as guardian of the sons of Anaxilas 
 478-467 B. C., and then retired to Tegea. Fragments of the inscrip- 
 tion have been found (Lowy 31) ; it appears that the statues were 
 erected about 460 B. C. 
 
 'AY<OV] A personification of ' Contest.' 
 
 dX-rfjpas] The leaping-weights used by the Greeks resembled 
 dumb-bells. They are frequently represented on vases, e.g. Gerhard, 
 A. V. 260. 
 
 a-yaXpi Atos Beardless (Paus. v. 24. 6). 
 
 48. Paus. v. 27. i fv 8e 
 avrols /cat TO. avaTtOfVTa ecrrlv 
 
 VTTO TOV ^Opp-lOOS, OS (K Mat- 
 
 vd\ov 8ia/3a? e? SixeAiay Trapa 
 FeAcora TOV Atiyo/x.ei'ous, Kat 
 exetya) T avrw KOI 'le 
 varepov aSfX^xij roO 
 es ras orpareias aitooeiKvv- 
 Hfvos Aa/i7rpa epya, e? roo-oCro 
 TtpofjkOfv fvoaip-ovias, a>? ava- 
 Oelvai jjiev ravra cs ' 
 avaOelvat. 8e Kat ' 
 aAAa e? AeA^ovs. 2. ra 8e 
 ej 'OAu^TTiav 8vo re eio-iy 
 ITTTTOI KOI r]vio\oi ovo, e/carepa) 
 TWP ITTTTWZ; TrapeoTws 
 
 Among them are the 
 offerings dedicated by 
 Phormis, who crossed over 
 from Mainalos to Sicily 
 and joined Gelon the son 
 of Deinomenes, in whose 
 service and afterwards in 
 that of his brother Gelon 
 he performed remarkable 
 exploits in war and raised 
 his fortunes to such a height 
 that he was enabled to 
 dedicate these offerings at 
 Olympia, and others to 
 Apollo at Delphi. His offer- 
 ings at Olympia consist
 
 GREEK SCULPTURE 
 
 [J.V 
 T&V ITTTTCOr KO.I 6 (Zi'TJp 
 
 (TLOV TOV 'Apyei'ou, ra btvrfpa 
 8e fpya fcrrlv Aiyinjroi; 2i- 
 r<3 irpoT<!pti) rwy 
 CTriypaju/xa eTrecrriy CTTI 
 
 T7/ 
 
 8e 
 
 Ae'yei yap 8?) OVTCO 
 is aveOrjKf 
 'A/3/cas MairaAtoy, rur 
 
 in two horses and t\vo 
 charioteers, one of whom 
 stands beside each horse. 
 The first of the two horses 
 with its groom is the work 
 of Dionysios of Argos, while 
 the second pair are by 
 Simon of Aegina. The 
 first of the two horses has 
 an inscription on its side, 
 of which the former part 
 is unmetrical, running as 
 follows : 
 
 Phormis dedicated me, 
 once an Arkadian of Mai- 
 nalos, but now a Syracusan. 
 
 Gelon reigned 485-476 B.C., Hieron 476-467 B.C. 
 
 2. SIKYON. 
 KANACHOS. 
 
 Date He is coupled with Ageladas in No. 44, and with Kallon 
 of Aegina by Paus. vii. 18. 10 ; cp. Cicero's criticism, quoted 
 Introd. 3. The temple of Apollo at Branchidai (v. No. 49) 
 was destroyed by Darius in 493 B.C. (Hdt. vi. 19). His brother 
 Aristokles (Paus. vi. 9. i) was the founder of a school which Paus. 
 traces to the seventh generation. 
 
 49. Plin. N. H. xxxiv. 
 75 Canachus (fecit) Apol- 
 linem nudum qui Philesius 
 cognominatur in Didymaeo 
 Aeginetica aeris tempera- 
 tura, ceruomque una ita 
 uestigiis suspendit ut linum 
 
 Kanachos made a nude 
 Apollo, which bears the 
 name of Philesios and 
 stands in the Didymaion, 
 in bronze of Acginetan 
 composition, and with it 
 a stag, supported on its
 
 THE ARCHAIC SCHOOLS 39 
 
 subter pedes tfahatur, al- feet in such a way that 
 terno morsu cake digitis- a string can be passed be- 
 que retinentibus solum, ita neath them, while heel and 
 uertebrato dente utrisque toe alternately retain their 
 in partibus ut a repulsu per grip. The teeth of the 
 uices resiliat. Idem et K A?;- mechanism are jointed in 
 TI&VTO.S pueros. such a manner that each 
 
 recoils in turn when driven 
 home. He also made statues 
 of boys riding on race- 
 horses. 
 
 The statue is represented on coins of Miletos (Overbeck, Kunst- 
 myth., Apollon, Miinztafel i. 22 ff.) holding stag in r., bow in 
 1., and there is a small copy (without the bow) in the Brit. Mus- 
 Bronze Room. 
 
 suspendit] Used in the less common sense ' supported from 
 below,' not ' dependent from above.' Cp. xxxiii. 69 tellus ligneis 
 columnis suspenditur (in mines). 
 
 solum] solum ' only ' and solum ' the surface of the hand ' (lit. 
 ground), are both possible. 
 
 repulsu] For this use cp. xi. 164 (of a snake) dentium repulsu 
 uirus fundit in morsus (quoted by Petersen, A. Z. 1880, p. 23). 
 The principle of the mechanism described seems to be that 
 'heel and toe' were provided with 'teeth' which fitted a semi- 
 circular groove in the hollow of the hand. Thus, while the foot 
 could not be dislodged, ' heel ' and ' toe ' could be alternately set 
 free, and the string passed from end to end. The temple of Apollo 
 Philesios was at Branchidai, near Miletos. The statue was 
 removed by Darius (not Xerxes, as stated by Paus. viii. 46. 3, 
 cp. Hdt. vi. 19), but restored by Seleukos Nikator (312-281 B.C.). 
 
 50. Paus. ix. 10. 2 (At (At Thebes) there is a 
 
 Thebes) eort Se A.o'<o? ez> hill on the right of the gate, 
 
 8em TUV irvX&v iepds 'Airo'A- sacred to Apollo : both the 
 
 \(avos' KoAetrai 8e o re A.o'<os hill and the god are called 
 
 /ecu 6 0eoj 'lo-p.ijvi.os, irapappc- Ismenian, because the river
 
 4 o 
 
 GREEK SCULPTURE 
 
 OVTOS TOV TTOTO.IJ.OV TCLVTr) TOV 
 
 . . . TO bf ayaA/xa 
 re la-ov TU> fv Bpay- 
 \ibcus eori /cat TO flbos oiibev 
 xov OOTIS 8e rwi; 
 rovrcof TO erepov 
 xal TOZ; flpyao-ptvov e/rv- 
 0eTO, ov /zeyaArj ol <ro(/>ia /cat 
 TO erepov 0eao-a/xeVa) Kafaxt> 
 (TticTTacrOai. bia- 
 TOcroVSe' 6 iey 
 yap ' 
 
 (At 
 
 Ismenos passes by it. The 
 image is equal in size to 
 that at Branchidai and 
 exactly similar in appear- 
 ance ; and whoever has seen 
 one of the images and learnt 
 the artist's name needs no 
 great skill to discern that 
 the other is the work of 
 Kanachos, when he sees it ; 
 there is this difference, that 
 the statue at Branchidai 
 is of bronze, while the Is- 
 menian Apollo is of cedar- 
 wood. 
 
 51. Paus. ii. 10. 4 
 Sikyon) aAAos CO-TIJ; ' 
 8tT7js lepds ... 5- T0 
 
 7T6- 
 
 8e ex 
 
 TWV 
 
 bf \ci 
 
 p.cv 
 \ov. 
 
 bf 
 
 (At Sikyon) there is 
 another shrine of Aphro- 
 dite. . . . The seated image 
 was made by Kanachos of 
 Sikyon. It is wrought of 
 gold and ivory, and wears 
 a circular crown on its 
 head, while it holds in the 
 one hand a poppy and in 
 the other an apple. 
 For the MUSES of Kanachos and Aristokles, v. No. 44. 
 
 3. AEGINA. 
 (a) KALLON. 
 
 Date. An inscription found on the Akropolis of Athens (Lo'wy 27) 
 reads Kd\<at> fVoi'qo-c Aifyti^T/js], and may be assigned to the opening 
 years of the fifth century B.C. He is coupled with Kanachos by 
 Paus. vii. 18. 10 and with Hegesias by Quintilian (v. Introd. 3).
 
 THE ARCHAIC SCHOOLS 
 
 52. Paus. ii. 32. 5 (At 
 Troizen) ev be rfj a/cpoTro'Aei 
 TTJS SOeviabos KaAou/xe'i'rjs vaos 
 CCTTIV 'AQrjvas. avrb 8e eip- 
 yao-aro TT/? Qtov TO 6avov 
 KaAAcov AlyivriTrjs. fj.a.dj]Tr]S 
 8e 6 KaAAooy r\v Te/craiou /cat 
 
 V. supr. No. 19. 
 
 53. Paus. iii. 18. 7 
 
 /co? 
 
 TpiTos 
 KciAAcoros* 
 8e ayaA/ua Koprjs 
 
 (At Troizen) on the 
 Akropolis is a temple of 
 Athena, called Sthenias. 
 The wooden image of the 
 goddess was made by 
 Kallon of Aegina, who was 
 a pupil of Tektaios and 
 Angelion. 
 
 At Amyklai are tripods 
 of bronze ; the third is by 
 Kallon of Aegina, and be- 
 neath it stands an image 
 of Kore the daughter of 
 Demeter. 
 
 The others were by Gitiadas, v. supr. No. 37 note. 
 
 (b) ONATAS. 
 
 Date. (i) An inscription found on the Akropolis of Athens 
 (CIA. iv. 2. 373, 399 ; cp.Jahrb. 1888, p. 271) reads 'Owmi? cVoi'qo-ec, 
 and is earlier than the Persian destruction in 480 B.C. (2) The 
 base of No. 59 lies partly under the foundations of the temple of 
 Zeus at Olympia, begun circ. 460 B. C. (3) No. 58 was dedicated 
 after the death of Hieron in 467 B. C. (4) O. is coupled with Hegias 
 and Ageladas by Paus., and dated in the generation succeeding the 
 Persian wars (Nos. 54, 58). 
 
 54. Paus. viii. 42. I TO 
 5e Tpov T&V op&v, TO 'EAcuoy, 
 4>tyaAias ovov Tf 
 TpidKovra eo-Ti, A^- 
 8e avTpov avTodi ifpbv 
 
 The other mountain, 
 Elaion by name, is about 
 thirty stades further re- 
 moved from Phigalia, and 
 there is a cave there sacred to
 
 4 2 
 
 GREEK SCULPTURE 
 
 . . TTfTTOLrjcrOai 8e ovrco OX/HCTI 
 ro aya\fj.a. 4. Ka0e'eo-0at \jikv 
 e77i TteTpq, yuram 8e e 
 raAAa 
 A?jy 8e KCU 
 
 KO.I bpCLKOVTOlV T KOLt 
 
 vav rr\ 
 
 KCLI f$ aKpovs rovs 
 8e (iri rfjs 
 
 Demeter, who is called 'the 
 Black.' They describe the 
 original image as follows. 
 The goddess was seated on 
 a rock, and was in form like 
 a woman except for her 
 head : she had the head 
 and mane of a horse, and 
 forms of serpents and other 
 creatures sprang from her 
 head ; she was dressed in 
 a tunic which reached to 
 her feet ; in one hand was 
 a dolphin, while the bird in 
 the other was a dove. They 
 say that she got the name 
 ' Black ' because the god- 
 dess herself wore black 
 raiment. 
 
 The statue was destroyed by fire, and the worship neglected by 
 the Phigaleans, who were visited with famine, and commanded by 
 the Pythian Apollo to renew the cult. Paus. continues : 
 
 f] opvi.s 7Tt T// trepa . . . 
 MeAatvaf 5e eTro^o^ao-at (pa- 
 crlv avrr\v, on KOI 17 6fds /xe- 
 \aivav TT 
 
 Toy MIKCOVO? At- 
 
 u) Tioiijcrat (Ttpicriv ayaA/xa 
 . Tore 8^ 6 atTj/3 
 ovroy avevpuv ypacprjv r) /xt- 
 rou ap^aiov oavov, TO. 
 8e, a>s Ae'yercu, xai Kara 
 av/^ty, CTroujo-e X a ^" 
 o-iv aya\fj.a,yfvea 
 jxaAiora va-repov TTJS e-Tri TTJJ; 
 
 They persuaded Onatas, 
 the son of M ikon of Aegina, 
 to make them an image of 
 Demeter for a certain sum 
 of money. Then this man 
 discovered a painting or 
 copy of the old wooden 
 image, and partly with the 
 aid of this, but chiefly, as 
 the story goes, by visions
 
 THE ARCHAIC SCHOOLS 
 
 43 
 
 'EAAaSa 
 
 revealed to him, made a 
 bronze image for the Phi- 
 galeans, about a genera- 
 tion later than the Persian 
 invasion of Greece. 
 
 Brunn thinks that the visions were designed to cover an adapt- 
 ation of the statue to more advanced artistic canons. 
 
 The cult of the Black Demeter was a relic of primitive horse- 
 worship, v. /. H. S. xiv. pp. 138 ff. (Cook). The statue was 
 destroyed by the falling in of part of the cave's roof before Pausa- 
 nias' time. 
 
 55. Paus. viii. 42. 7 rou 
 Se Qvara TOVTOV Yifpyafj,r]vols 
 
 6avfj.a ey rots /xaAtcrra 
 dovs re eVeKa KCU e~l 
 
 The Pergamenes possess 
 a bronze Apollo by this 
 Onatas, which is very re- 
 markable both for its size 
 and its artistic excellence. 
 
 This work may be referred to in an Epigram of Antipater (Anth. 
 Pal. ix. 238), who addresses it as ' fiovnms ' = ' hulking lad.' A base 
 from Pergamon (Frankel, Inschriften von Pergamon, 48) appears 
 to have belonged to this statue, which was no doubt acquired by 
 Attalos I, who bought Aegina in 210 B.C. for thirty tal. (Polyb. xxii. 
 18). The inscription may be restored ["OraTay] S^'KOJ 
 (2.p.iiav is a bye-form of MtM*r, cp. O>UK/JOS-, 
 
 56. Paus. v. 27. 8 6 8e 
 
 6 TOV KplOV <f)(p(l)V VTTO 
 
 KO. 
 TT Kt(pak KVVTJV, KO. 
 
 re Kai \\ap.vba e 
 WTTO . . . 'ApxaSajy ex 
 8e'5orat ru) 6fu>. 'Ovdrav 
 TOV Alyiv^Trjv, crvv 8e 
 KaAA.ire'A?7z> epydaacr^ai Ae'yet 
 
 The Hermes, who carries 
 the ram under his arm, and 
 has a leathern cap on his 
 head, and wears a tunic and 
 cloak, was given to the god 
 by the Arcadians of Phe- 
 neos. The inscription states 
 that Onatas of Aegina made 
 it, assisted by Kalliteles. I
 
 44 
 
 GREEK SCULPTURE 
 
 TO 
 
 TOU 'O^dra 
 
 KaAAireATjs rjv. 
 
 At Olympia. 
 
 8oKeu> 8e /lot 
 T) Trais 6 
 
 57. Paus. v. 25. 12 0ao-ioi 
 8e . . . 
 
 \a\KOVv O/AOUOS T(3 d 
 fjLeyfdos \itv 87) TOU dyoAjuaro? 
 ei<ri Tracts Sexa, po-naXov b 
 fv Trj bfiq, rfj 8e dpio-repa 
 
 suppose that Kalliteles was 
 a pupil or son of Onatas. 
 
 The Thasians dedicated 
 at Olympia a statue of 
 Herakles : both the figure 
 and the base were of 
 bronze. The statue is ten 
 cubits in height, and holds 
 a club in its right hand and 
 a bow in its left. On the 
 offering is inscribed the fol- 
 lowing couplet : 
 
 Onatas, son of Mikon, 
 fashioned me, himself a 
 dweller in Aegina. 
 
 This Onatas, though the 
 style of his sculpture is 
 that of Aegina, I should 
 place second to none of 
 Daidalos' successors and 
 the Attic school. 
 
 The distinction between the Aeginetan and Attic schools is pre- 
 supposed by several passages of Pausanias, collected by Overbeck, 
 Schriftquellen, pp. 81 f. Klein thinks that ol OTTO AatfiaXou are 
 a third school, that of Argos and Sikyon ; the words re icai, how- 
 ever, are clearly not disjunctive, but serve to identify the descend- 
 ants of Daidalos with the tpyaarripiov ' 
 
 8e ava.6riiJ.aTi eTr 
 tor 
 vlo? fxeV ye MiKa>vos'Oi>aras 
 
 efcreAecro-ei' 
 avros ei> Alyivrj btit 
 
 TOV bf 'OvCLTttV TOVTOV OjLKOS, 
 
 fS TO. dydA/xara 
 
 atv OTTO Aai8ci- 
 Aou T Kal fp-yaarripiov TOV 
 
 58. 
 
 Paus. viii. 42. 
 8e avodavovTos T 
 
 8 
 
 Hieron died before dedi- 
 cating the offerings, which
 
 THE ARCHAIC SCHOOLS 
 
 45 
 
 TepOV TTplv 1] TO) 'OAvp-TTUi) Alt 
 
 TO. ava.6rnj.aTa a 
 771 rG>v ImTutv rats 
 o{/ra> Afivofj.evr]S 6 
 a7reSa)icei> imep TOV 
 'Ordra /cat ravra 
 77otT}p.aTa. KOI eTrtypa/x/xara 
 a, TO ju,e 
 
 OV Trore *HK?;cras, ZeC 'OAv/x- 
 
 Trie, crffj.vbv ay&va 
 Tfdpiinrip fj.fv a-na^ iJ.ovvoK.i- 
 
 Ar;n 8 e 8 is, 
 
 wp' 'Icpcoi' rd8e <TOI f^apicr- 
 craTo' irats 8' ave 
 Trarpbs 
 
 he vowed to Olympian 
 Zeus in return for the 
 victories of his horses, and 
 Deinomenes his son fulfilled 
 his father's vow : these 
 offerings are also works of 
 Onatas. At Olympia there 
 are two inscriptions, one 
 above the offering, running 
 as follows : 
 
 Hieron, erstwhile victo- 
 rious at thy solemn games, 
 Olympian Zeus, once with 
 the chariot, twice with 
 the single horse, bestowed 
 these gifts on thee, and 
 Deinomenes his son set 
 them up to be a memorial 
 of his father, the Syracusan. 
 
 And the other reads 
 thus : 
 
 Onatas, son of Mikon, 
 fashioned me, having his 
 dwelling in the island of 
 Aegina. 
 
 It would follow that 
 Onatas was contemporary 
 with Hegias of Athens and 
 Ageladas of Argos. 
 
 Hieron died 467 B.C. He was victorious with the single horse, 
 Ol. 73 and 77 (488 and 472 B. C.), with the chariot, Ol. 78 = 468 B. C. 
 The chariot only was by Onatas, the other figures by Kalamis 
 (v. No. 85). 
 
 TO 8e fTfpov Aeyet T<Si> eTTt- 
 
 ypa\j.^j.6.T(Dv 
 
 uto? /ie'y ye MI'KO>I>O? 'Oya 
 
 e^Te'Ae(ro-ev 
 ydo-w cv Alyivy Sw/ 
 
 ^ 8e ^AtKta TOU 'OraT 
 
 Toy 'AOrjvalov 'Hyiay /cat 
 
 'AyeAdSar av a"v\j.fiaivoi TOV
 
 GREEK SCULPTURE 
 
 59. Paus. v. 25. 8 IO-TI 
 b( KCU avaOrj^ara ey /coiya> rof 
 edvovs, OCTOL TrpoKctAe- 
 fvov TOV 'EicTopo? es p.oyo- 
 ar8pa "EAA^ya Toy 
 oy CTTI TO) ay&vi Vtiy&UWP. 
 OVTOL /zey by eorrjKCKri TOV vaov 
 TOV pryaXov TtXr]crtov, 8opam 
 L' CLTT- 
 
 be fTrl eTepov (Bddpov 
 Ne'ora)/) 
 
 K\fjpov eo-j3 
 
 Kur^r. T>V 
 
 K\rjpovfj.fvu>v a 
 
 OKTW, TOV yap fvarov O.VT>V, 
 
 riv TOV 'O5ucro-eW ei/cora, 
 
 , 9. TaJy 8e OKTOJ 
 
 TO ovop. cort yeypap.- 
 . y^ypaTTTai 5e Kat TOUTO 
 7rt TO Aata ex 8e^t5y. OTOU 
 8e 6 dXeKTpvcoy early ^TrWrjp.a 
 T?) do-7r^8i, '18o/xeyei;s ecrTiy 6 
 aTro'yoyos Mivco' TO> be 'I8o- 
 yo? OTTO TO 'HAiou TOU 
 
 lepoy (pacriv fivai TOV opviQa 
 Kal dyye'AAeiy dyie'yai p;AAoy- 
 TOS TOU T]\iov. IO. yeypairTai 
 oe KOI C7riypap.fia CTTI TOJ (Sd6pu 
 TO) Ait Taxaioi TayaA/xaTa 
 
 There are also offer- 
 ings dedicated in common 
 by the whole Achaean 
 race : they represent the 
 warriors who accepted 
 Hector's challenge to meet 
 a Greek in single combat 
 and faced the drawing of 
 lots. They stand near the 
 great temple, armed with 
 spear and shield : and op- 
 posite them on another 
 base is set Nestor, who 
 has cast each man's lot 
 into the helmet. Those 
 for whom lots are being 
 drawn are eight in number, 
 for the ninth, viz. Odys- 
 seus, is said to have been 
 removed by Nero to Rome. 
 Of these eight, Agamem- 
 non's name only is in- 
 scribed : and that is written 
 from right to left. The 
 warrior, who bears a cock 
 as the device on his shield, 
 is Idomeneus, the descend- 
 ant of Minos. Idomeneus 
 traced his descent to Helios, 
 the father of Pasiphae : and 
 the bird is said to be sacred 
 to Helios, and to give warn- 
 ing when the sun is about
 
 THE ARCHAIC SCHOOLS 
 
 47 
 
 fyyovoL avTideov TavraXiba 
 
 TOVTO fjiev br] evravda ecrri ye- 
 ypap.fj.4vov } 6 bf dyaA/iaroTrotos 
 
 0(TTt? ?]l', 6771 TOV 
 
 yeypcnrrai TT/ 
 
 TroAAa jjifv aAAa cro<pov TTOIT;- 
 
 epyor, ov Aiyivr] yeiVaro 
 
 to rise. There is an in- 
 scription, too, on the base 
 which runs as follows : 
 
 To Zeus the Achaeans 
 dedicated these statues, 
 descendants of Pelops the 
 godlike, son of Tantalos. 
 
 Such is the inscription 
 on the base, and the artist's 
 name may be read on the 
 shield of Idomeneus : 
 
 Many are the works of 
 Onatas, the cunning crafts- 
 man, whom Mikon begat 
 in Aegina, and this is 
 among them. 
 
 At Olympia. Fragments of the bases have been found, v. A. Z. 
 1879, p. 44. The nine heroes stood on a semicircular base, 
 Nestor on a round one. 
 
 60. Paus. x. 13. 10 Ta.pa.v- 
 Tlvoi be Kol a\\r]v 
 es 
 
 H\v TO. ava.QriiLa.Ta. 'Orara TOV 
 AlyivrjTov, Kal * KaAAire'Aow 
 rov (rvvepyov *' (iKoves 8e 
 Kai Tre^aJi; KOI iTTTrecoi/, /3a<n- 
 Aeuy 'Io7n;ya)i''O7rtsi7K(uv rot? 
 IleuKertot? avfj.p.a^os, OVTOS 
 p.ev br] etxaorai re0yeam ey 
 TT) p.a\rj, ol be avrw KetjueVa) 
 6 TJfpcos Tdpa? 
 
 The Tarentines also de- 
 dicated at Delphi a tithe of 
 the spoil taken from the 
 barbarous Peuketians : the 
 offerings are the work of 
 Onatas of Aegina and his 
 assistant Kalliteles. There 
 are figures of horsemen and 
 footmen, and of Opis, king 
 of the lapygians. who came 
 to the aid of the Peuke- 
 tians. He is represented 
 as having been killed in
 
 48 GREEK SCULPTURE 
 
 not $>d\av6os 6 en Aa/ce- the fight, and over his dead 
 ovos, Kal ov Troppco rov body stand the hero Taras 
 3>aXavQov 8eA$is. and Phalanthos of Lake- 
 
 daimon, and not far from 
 Phalanthos is a dolphin. 
 
 *K. TOV owepYOu*] MSS. K.a\vv6ov re eVroccoo-i tpyov. The text is 
 suggested by No. 56. Phalanthos, the founder of Tarentum, was 
 shipwrecked and carried ashore by a dolphin, which he rides on 
 the coins of Tarentum. 
 
 (c) GLAUKIAS. 
 
 Date. See notes on his works, all of which were at Olympia. 
 The alphabet of the Theagenes inscription would date it circ. 
 450 B.C. 
 
 61. Paus. vi. 9. 4 TO apfj.a The chariot of Gelon 
 
 TOV FeAcovos . . cTrtypa/ut/ia bears an inscription, stating 
 
 /xev 877 ecTTLv aura) Fe'Aa>i;a that Gelon, the son of Dei- 
 
 &ivofj.4vovsava9flva.i.rcX<pov' nomenes, of Gela, dedicated 
 
 Kal 6 xpo'vos TOUT&) rw ttXvvi it : and the date of this 
 
 eori TTJS viK-qs Tpirt] irpbs TO.S Gelon's victory is the 73rd 
 
 (fiboiujKovTa 'OAu/x7rta8as. Olympiad (488 B.C.). Glau- 
 
 5. . . FAauKta? 8e Aiycvrjrrjs kias of Aegina made both 
 
 ro re apfj-a KOI at/ro) TO> the chariot and the portrait 
 
 eTroirjo-e TT]V eiKova. of Gelon himself. 
 
 Gelon became tyrant of Syracuse and ceased to be TtXaJor in 
 485 B.C. Paus., believing that this took place in 491 B.C., argues 
 that this must be a private person. 
 
 The inscription, found at Olympia, reads lYAcov Afu/o^tWof 
 iVXtoli/of dvf6r)K(i> \r\avicias Atyivdras IjffO&fOrc. (Lowy 28 gives the 
 second line only.) Paus. therefore misread the third word. The 
 tyrant's chariot was victorious, Ol. 73=488 B. C. 
 
 62. Paus. vi. 10. I evri 8e Next to those above- 
 rots KareiAey/uteW? ^orrjxei' mentioned stands Glaukos
 
 THE ARCHAIC SCHOOLS 
 
 49 
 
 6 Kapvcrnos r\avKos . 
 
 8e rr)v 
 
 6 irals avrov, 
 FAaim'as 8e Atytyi/rrj? eTrot- 
 Tjcre' o-/ctajua)(oG^TOs 8e 6 av- 
 8pias Trape'xerat 
 6 FAauKos T?I> 
 T&V /car' avrov 
 
 of Karystos. His portrait 
 was dedicated by his son 
 and made by Glaukias of 
 Aegina; the figure presents 
 the appearance of a man 
 boxing for practice, since 
 Glaukos was the most con- 
 summate boxer of his time 
 in the art of using his arms. 
 
 Other athlete-statues by Glaukias were those of 
 
 THEAGENES of Thasos, victorious in the pankration, Ol. 75 and 
 76 (480 and 476 B. c.) (Paus. v. n. 2). A fragment of the base was 
 found at Olympia (Lowy 29). 
 
 PHILON of Korkyra, victorious in boxing twice (epitaph by 
 Simonides, who died 467 B.C.) (Paus. vi. 9. 9). 
 
 (d) ANAXAGORAS. 
 
 63. Paus. v. 23. I (At 
 Olympia) 7rapetoi/Ti 8e irapa 
 Ti]v es TO j3ov\vrripi,ov Ha-obov, 
 Zeus re eVrrj/cez; e7rtypa/ix/x,a 
 ov&ev, KCU avOis ws Trpos 
 
 ecrrt Ato's. rouro 
 fxey Trpos avicr^ovTa rjXiov, 
 ave6rav 8e 'BUXX^Z'MV oo-ot 
 ITA.araia<ny e/xa^e'cravro fvav- 
 ria Map8o^iou re KOI M?;8coz>. 
 fieri 8e Kal eyyeypajuip.e'i'at 
 Kara rou J3d6pov ra Sefta ai 
 fjifTaa^ova-at Tro'Aets rou epyou 
 . . . 3. . . ro 8e ayaApia ef 
 
 (At Olympia) Passing by 
 the entrance to the council- 
 chamber, one may see a 
 statue of Zeus, bearing no 
 inscription, and turning to 
 the north, another statue 
 of Zeus, which faces the 
 east, and was dedicated by 
 the Greeks who fought at 
 Plataea against Mardonios 
 and the Persians. On the 
 right hand of the base are 
 inscribed the names of the 
 cities which took part in 
 the battle. The image
 
 GREEK SCULPTURE 
 
 'OAvjxiria TO avareOev VTTO TUIV 
 'EAATJvcoy firoirfa-fv 'Apaayo- 
 pas AlyivrfTrj^. 
 
 After 479 B. c. 
 
 dedicated by the Greeks 
 at Olympia was made by 
 Anaxagoras of Aegina. 
 
 4. ATHENS. 
 
 (a) ANTENOR. 
 
 Date. (i) An inscription from the Akropolis of Athens 
 'A-PX- 1886, PL vi. 4, cp.Jahrb. 1887, p. 146) reads N/ap^os av\i6r]<tv 
 6 icepajie] \ vs ? (py<ov oTrap^ijr. ( Avrr^vatp fir[oir)O'ev\ \ 6 Eu^uipou? TO 
 [aya\p.a], and probabl/ dates from the close of the sixth century. 
 On Eumares the painter, see O. S. 377. It cannot be proved that 
 the statue published with this base in Antike Dcnkmiiler, i. 53. was 
 originally connected with it. (2) No. 64 must have been erected 
 after 510 B.C. 
 
 64. Paus. i. 8. 5 ov 
 
 06 kcTTOLfTLV 'ApfJ.6bl.OS KO.I 
 
 ol KTcivavres 
 . . . T&V oe avbpidv- 
 Tu>v ol fJ.V dtrl KpiTiov 
 TOVS 8e ap\aiovs (ir 
 'Avryvtop. E4pov bf, u 
 'Adrjvas (K\nr6vT<i>v TO acrrv 
 'A6r)vai(DV, eTrayayojuera KOI 
 TOVTOVS are Xafyvpa, Kare- 
 vcrrtpov 'AOrjvaiois 
 
 Not far off are the statues 
 of Harmodios and Aristo- 
 geiton, who slew Hip- 
 parchos. The one pair 
 are the work of Kritios. 
 while the older ones were 
 made by Antenor. When 
 Xerxes captured Athens 
 after the Athenians had 
 deserted the city, he carried 
 them away as spoils, and 
 Antiochos afterwards re- 
 stored them to the Athe- 
 nians. 
 
 Antiochos Soter, 281-261 B.C. According to others Seleukos 
 (Val. Max.) or Alexander himself (Pliny, Arrian) restored the 
 statues, which stood in the upper part of the Kerameikos on the 
 ascent to the Akropolis.
 
 (b) KRITIOS AND NESIOTES. 
 
 Date. Three inscriptions have been found on the Akropolis 
 (Lowy 38-40), of which the first is from the base of No. 66. From 
 these we recover the true form of the name Kritios (Kritias in the 
 MSS. of Plin., Paus., and Lucian). Their date is 460 B.C. or earlier. 
 No. 65 is dated 477 B. c. by the Parian marble. 
 
 65. Lucian, Philops. 18 Pass by the statues on 
 dAAa TOVS juez> eiri ra 8eta the right as you enter, 
 dviovT&v d(pes, ev ots /cat TO. amongst which stand the 
 Kpmou KCU Nrjo-twrou 7rAd<r- slayers of the tyrant, the 
 jj.ara e<rnj/cei>, ol rvpavvo- handiwork of Kritios and 
 KTOVOI. Nesiotes. 
 
 Paus. mentions Kritios only in No. 64. On the date v. supr. 
 They replaced the portraits removed by Xerxes. Restored copies 
 exist at Naples and elsewhere, and the group is depicted on 
 Athenian coins and on Panathenaic amphora. See Ov. I 4 , Figs. 
 26-28. 
 
 66. Paus. i. 23. 9 avbpiav- Among the portrait- 
 T(DV 8e oo-oi /uera TOV ITTTTOV statues which stand next to 
 kcrrr\K.a(nv 'E,Tn\apLvov fj.v the horse is that of Epi- 
 
 ; 0.0-K.ricravTos TIJV charinos, who practised the 
 -ou](T KpcVto?. race in armour, by Kritios. 
 
 The inscription (v. supr.) gives both names. The nature of the 
 contest must have been inferred from the attitude and costume of 
 the figure, since the inscription does not read (as was formerly 
 supposed) 'Em^apti'of oTrXiroSpd/ios. The second word gave the 
 father's name. 
 
 67. Lucian, Rhet. Prae- Then he will bid you 
 cept. 9 etra <re KeAevo-ei imitate those ancient ora- 
 fr\ovv tKfivovs TOVS dpxcu'ovs tors, setting before you 
 avbpas, ecoAa 7rapa8eiy/iara stale models of speeches 
 77apcm0eis TUIV Aoycoj; ov pa5ia hard to imitate, like the 
 
 E 2
 
 5 2 
 
 GREEK SCULPTURE 
 
 i, ola TO. TTJS TraAaias works of archaic art, by 
 
 iaTiv, 'Hy?jo-iou Hegesias and the school 
 
 T&V a^l Kpirtov KOI of Kritios and Nesiotes, 
 
 Treox/Hy/ieVa xal closely knit and sinewy 
 
 Kal <TK\r)pa KOL d/cpi- and stiff, and severe in 
 
 /3<3s aTroreTajueVa rats ypa/A- outline. 
 pals. 
 
 On Hegesias, v. infr. 
 
 dicp. O.TTOT. rats ypaKH 10 " 5 ] refers to the prominent use of straight 
 lines and surfaces, imparting severity of outline to the figure. Cf. 
 Lucian, Zeuxis 5 TO diroTflvai ras ypa/z^taj e'r TO fldurarov (in painting). 
 
 (c) HEGIAS (HEGESIAS). 
 
 Date. An inscription from the Acropolis (AeXr. 'Ap^. 1889, 
 p. 37 f.) reads 'Hyias iroir](Tfi>, and appears to be of the same period 
 as Lowy 38 (Kritios and Nesiotes). The stone was damaged by 
 fire, probably in the Persian destruction (480 B. C.). The artist is 
 coupled with Kritios and Nesiotes by Lucian in No. 67, and with 
 Kallon by Quintilian, and was the teacher of Pheidias according to 
 a certain emendation by Otfried Miiller of the text of Dion Chrys. 
 55, p. 169, 4 Dind. (HFIOY for HHOY). The form Hegesias is 
 found in Lucian, Quintilian, and Pliny. 
 
 68. Plin.Af. H. xxxiv. 78 
 Hegiae Minerua Pyrrhusque 
 rex laudatur, et /ceA.Tju'Coi'Tes 
 pueri, et Castor et Pollux 
 ante aedem Jouis Tonantis ; 
 Hegesiae in Pario colonia 
 Hercules. 
 
 The Athena and King 
 Pyrrhosof Hegias are noted 
 works, also his boys riding 
 race-horses, and his Kastor 
 and Polydeukes, which 
 stand before the temple of 
 Jupiter the Thunderer; 
 by Hegesias is a Heraklcs 
 in the colony of Parium. 
 
 Hegesiae] Hagesiae MSS. Pliny has derived notes from 
 different sources referring to the artist under two names. ' Pyrrhus
 
 THE ARCHAIC SCHOOLS 53 
 
 rex' must be a mistake of Pliny, and refers to Neoptolemos, the 
 son of Achilles, by his second name. 
 
 Ke\T]TiovTes pueri] Overbeck suggests a comparison with 
 funeral monuments, such as the 'rider of Vari' (Ath. Mitth. 1879, 
 PI. iii), but Olympic victors are equally probable. Cp. Nos. 85, 
 
 239- 
 
 in Pario colonia] Augustus founded a military colony at Parium 
 on the Propontis. 
 
 5. ELIS. 
 
 KALLON. 
 
 Date. The inscription of No. 70 from Olympia (Lowy 33) is 
 posterior to 496 B. c., showing the influence of the Samian immi- 
 grants at Rhegion in its Ionic dialect. 
 
 69. Paus. v. 25. 4 ol The Messenians dedi- 
 
 . . . eiKoWs es cated statues of bronze at 
 
 avedecrav x a ^ K <*s } Olympia, representing the 
 
 avv 8e avTols TOV bibda-KoAov chorus, the trainer and the 
 
 roi> \opov /ecu TOV av\j]Tr]v. flute-player. The original 
 
 TO p.(v 8rj eTTtypa/xfia eS?;Aov inscription indicated that 
 
 rd apxalov avaOrnj-ara elvai they were offerings of the 
 
 T&V fv TropOfj.<f Me(nnpr(toir Messenians dwelling on the 
 
 8e vvTfpov 'I7777ta? 6 strait : afterwards Hip- 
 
 vos VTTO 'EA.A.7ji>coz> pias, called by the Greeks 
 
 tyos TO. eAeyeia eii the Wise, composed the 
 
 avrols firoi^arfv. epya 5e eicrtr elegiac lines inscribed on 
 
 'HAeiou KaAAcoyo? at et/coVes. the monument. Thestatues 
 
 are the work of Kallon of 
 Elis. 
 
 The chorus was lost by the foundering of the ship which carried 
 it across the straits of Rhegion. Zankle became Messene in 
 494 B.C. 
 
 70. Paus. v. 27. 8 (At Not far from the offering 
 Olympia) ov Troppco 8e TOV of the people of Pheneos is
 
 54 
 
 GREEK SCULPTURE 
 
 ava.Ornia.Tos ciAAo 
 ayaA/xa, 
 
 T\avKiav avadelvcu 
 yevos 'Prjylvov, 
 KdAAcora 'HXetoi'. 
 
 another statue representing 
 Hermes holding the herald's 
 wand. The inscription 
 upon it states that Glaukias 
 of Rhegion dedicated it, 
 and Kallon of Elis made it. 
 
 The inscription reads [rXaim'Jat /xe KaXcov yevf[a f]aXei[o]y 
 
 (TTOlfl I 
 
 6. NAUPAKTOS. 
 
 MENAICHMOS AND SOIDAS. 
 
 71. Paus. vii. 18. 9 Oa- 
 EWI of 6 Avyovoros aXXa re 
 
 KaAuSaJyos 
 
 Kol br] KOL TT/S Aatypias 
 TO ayaXna, 6 8?) KCU es e^e ert 
 fV TT) dxpoTroAet TT/ Rarpecoy 
 t/id?. . .IO. TO /xev 
 TOV aya.Xfj.aTos 0?jpev- 
 oua'd f(mv, eAe'</>ayro? 8e *cai 
 Xpucrou 
 
 Augustus bestowed on 
 the people of Patrai, 
 amongst other treasures 
 from the spoil of Kalydon, 
 the image of Artemis 
 Laphria. which was held 
 in honour on the Akropolis 
 of Patrai down to my own 
 time. The goddess is 
 represented as a huntress, 
 and the statue was made in 
 gold and ivory by Menaich- 
 mos and Soidas of Nau- 
 paktos : it is inferred that 
 they were slightly later in 
 time than Kanachos of 
 Sikyon and Kallon of 
 Aegina. 
 
 Studniczka (Rom. Mitth. 1886, p. 277 ff.) maintains that the 
 Artemis of Naples (F. W. 442) is a copy of this work, and that it is 
 
 8e 
 
 KCU TOV AlyLVT^Tov KdAAcovos 
 ov TroAAa) yereV^at rtyt 
 vaTepovs.
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 55 
 
 represented on coins of Augustus (loc. cit. PI. x. infr.). But there 
 seems no doubt that the true type is given by the coins of Patrai 
 (Num. Comm. Q. vi-x). For Artemis represented as an Amazon at 
 this early period, cp. the relief from Asopos, A. Z. 1882, PI. vi. 
 
 2. THE SCULPTORS OF THE 
 TRANSITIONAL PERIOD. 
 
 1. PYTHAGORAS. 
 
 Date. (i) The inscription on the base of the portrait of Euthy- 
 mos (v. infr.) (Lowy 23) reads Ilvdayopus 2d/iioy. This shows that 
 Pliny and Diogenes Laertius are wrong in distinguishing two 
 sculptors of the name, one from Rhegion and the other from 
 Samos. Pythagoras was doubtless one of the Samians who emi- 
 grated to Zankle on the fall of Samos in 496 B.C., and became 
 subject to Anaxilas of Rhegion. (2) Astylos (v. infr.) was victorious 
 Ol- 73-75 (488-480 B. C.) ; as he described himself as a Syracusan 
 in Ol. 74-75, and Paus. says that the statue was of Astylos K/jorw- 
 vidrrff, it must have commemorated the first victory. (3; Euthymos 
 (v. infr.) was victorious Ol. 74, 76, 77 (484, 476, 472 B. C.). On his 
 supposed teacher Klearchos, v. supr. No. 21 note. 
 
 72. Plin. N. H. xxxiv. 59 Pythagoras of Rhegion 
 
 Uicit eum(Myronem)Pyth- surpassed him (Myron) with 
 
 agoras Rheginus ex Italia his pankratiast dedicated at 
 
 pancratiaste Delphis posito, Delphi, with which he out- 
 
 eodem uicit et Leontiscum ; did Leontiskos also ; he 
 
 fecit et arabi.6bpofj.ov As- also represented the runner 
 
 tylon, qui Olympiae osten- Astylos, a work which is 
 
 ditur,et Libyn (et)puerum shown at Olympia, also a 
 
 tenentem flagellum eodem Libyan and a boy holding 
 
 loco, et mala ferentem a whip, likewise at Olympia,
 
 GREEK SCULPTURE 
 
 nudum, Syracusis autem 
 claudicantem, cuius ulceris 
 dolorem sentire etiam spec- 
 tantes uidentur, item Apol- 
 linem serpentemque eius 
 sagittis configi, citharoe- 
 dum qui AIKCUOS appellatus 
 est, quod, cum Thebae ab 
 Alexandro caperentur, au- 
 rum a fugiente conditum 
 sinu eius celatum esset. 
 Hie primus neruos et uenas 
 expressit capillumque dili- 
 gentius. 60. Fuit et alius 
 Pythagoras, Samius, initio 
 pictor, cuius signa ad aedem 
 Fortunae huiusce diei sep- 
 tem nuda et senis unum 
 laudata sunt ; hie supra 
 dicto facie quoque indis- 
 creta similis fuisse tradi- 
 tur. 
 
 and a nude figure bearing 
 apples, a lame man at 
 Syracuse, the pain of whose 
 wound seems to be felt by 
 the spectator.also an Apollo 
 transfixing the serpent with 
 his arrows, and a musician 
 with his lyre, which was 
 called 'the Just,' because, 
 when Thebes was taken by 
 Alexander, a fugitive hid his 
 gold in its bosom, where it 
 remained concealed. He 
 was the first to represent 
 sinews and veins, and to 
 bestow attention on the 
 treatment of hair. There 
 was another Pythagoras, 
 a Samian, who began life 
 as a painter. His works, 
 seven nude figures and one 
 old man, stand by the 
 temple of Fortune to this 
 day and are famous ; the 
 story runs that his counte- 
 nance too precisely re- 
 sembled that of the other 
 Pythagoras. 
 
 Leontiscum] Pliny seems to regard Leontiskos as an artist. 
 He was really a native of Messina, victorious in wrestling at 
 Olympia, whose portrait was made by Pythagoras (Paus. vi. 4. 3). 
 
 Astylon] A Krotoniate runner, thrice victorious in the single 
 and double course. On the two latter occasions he proclaimed 
 himself a Syracusan as a compliment to Hieron (Paus. vi. 13. i).
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 57 
 
 Libyn . . . flagellum] Two alterations are here made in the 
 text et inserted, and flagellum for MSS. tabellam. Furtwangler 
 suggested similar but somewhat more violent changes. ' Libys ' 
 must be Mnaseas ' the Libyan ' of Kyrene, a victor in the race in 
 armour, whose portrait by Pythagoras stood at Olympia (Paus. 
 vi. 13. 7) ; 'puer tenens flagellum,' his son Kratisthenes, on whom 
 v. infr. No. 73. Pliny translated jralda in his Greek authority by 
 ' puerum,' instead of ' filium.' 
 
 claudicantem] Generally supposed (after Lessing, Laokoon c. 2) 
 to mean Philoktetes. The participle in Pliny's use often covers 
 a proper name, and probably points to a Greek source. Cf. 
 catagusa ( = Kara^owra) in No. 189, which may mean Hekate. 
 
 citharoedum] The Kidapu>86s both played and sang to the lyre. 
 This was a portrait of one Kleon of Thebes (Ath. i. 19 B). 
 
 hie primus] v. Introduction, 2. 
 
 alius] Probably identical with the first. See the explanation 
 given above. 
 
 73. Paus. vi. 18. I em 8e There is also the bronze 
 /cat TOV KvprjvaLov KpaTiaOt- chariot of Kratisthenes the 
 vovs \a\Kovv a-ppa, KOL NI/CTJ Kyrenian; both Victory and 
 T c77ij3e'/37jKe TOV apfxaros /cat Kratisthenes himself are 
 avTos 6 Kpario-fle'injs. bij\a p.ev mounted on the car. It is 
 8?j ort ITTTTMV yeyovfv avro) plain that his team has won 
 vita]' Ae'yerai e KOI a>s Mm- a victory ; and it is said 
 o-e'ov TOV Spo/^e'cos, 7riK\rj- that Kratisthenes was the 
 6evTosbin;6'EX\riv<i)vA.ipvos, son of the runner Mnaseas, 
 etrj irats 6 KpaTi.<r6evr)<i. TO. 8e to whom the Greeks gave 
 
 a{iro> TO es 'OAv/i- the surname of 'the Libyan.' 
 eo-rt TOV 'PjjytVou UvOa- His offerings at Olympia 
 yopov Ttxvri. are the work of Pythagoras 
 
 of Rhegion. 
 
 V. supra note on No. 72, Libyn . . . flagellum. 
 
 74. Dion Chrys. 37. 10 But these all remain in 
 
 fieVrot ovrot Trdrres their position and place,
 
 GREEK SCULPTURE 
 
 Kara 
 
 being for their own part of 
 bronze immoveable, even 
 though they have wings, 
 like the Perseus of Pytha- 
 goras. 
 
 OVTOI] = statues (ol dv^piuvrts). 
 
 rTvOayopov] It is possible that the name is merely a slip, and that 
 Dion was really thinking of the Perseus of Myron (No. 88, note). 
 
 KCLI Kara 
 TO ye 677' avrois 
 $ abpaaros, av /cat Trrepa 
 6 TOV Hvdayopov 
 
 75. Tatian, c. Grace. 54 
 
 yap ov \a\T 
 KTOviav Trap' ifuv 
 ot YIoXvvcLKQVs nal 'Ereo- 
 K\OVS op&vTts TO. 
 [fcai] fjirj (rvv T(j) 
 YlvOayopa Ka 
 crvva.TT6\\vT rfjs KOKtas ra 
 
 76. Varro, Z. Z. v. 31 
 Europa . . . quam ex 
 Phoenice Mallius scribit 
 taurum exportasse, quorum 
 egregiam imaginem ex acre 
 Pythagoras Tarenti fecit. 
 
 77. Diog. Laert. viii. 46 
 ol 8e Kal aXAov avbpiavTOTroiov 
 'Prjylvov ytyovfvai $a<r! Ylvda- 
 yopav, irp&rov boKovvra pvO- 
 fj.ov Kal (ru/u/xerp^ay eoro^acr- 
 6ai, Kal aAAoy, avbpiavro-noiov 
 
 Is it not shameful that 
 ye honour among yourselves 
 the shedding of brothers' 
 blood, when ye look upon 
 the figures of Eteokles and 
 Polyneikes, and do not 
 bury them and Pythagoras 
 who made them and destroy 
 therewith the memorial of 
 their crime ? 
 
 Europa, who, as Mallius 
 says, was carried away from 
 Phoenicia by a bull ; both 
 were represented by Pytha- 
 goras in a magnificent 
 bronze group at Tarentum. 
 
 Some say that there 
 was another Pythagoras, a 
 sculptor, of Rhegion, who 
 is thought to have been the 
 first to aim at rhythm and 
 proportion, and yet another, 
 a sculptor of Samos.
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 59 
 
 Kal av(A|AtTpias] The latter is the system of proportions 
 observable in the human frame at rest, the former the system of 
 changes producing a constant harmony of the parts of the body 
 when in motion. The knowledge of the one is the static, of the 
 other the dynamic, of sculpture. See Introduction, 2. 
 
 Other portraits of Olympic victors by Pythagoras : 
 EuTHYMOS of Lokroi Epizephyroi, victorious in boxing, Ol. 74, 76, 
 
 77 (484, 476, 472 B.C.) (Paus. vi. 6. 4). The inscription (Lowy 23) 
 
 reads : 
 
 Evdvpos AoKpos 'AoTV/cXeor rp\s 'OXvfuri iviiatr, 
 
 (IKOva &' fffTJ](TfV TT)l>8f ftpOTUlS (<TOpUV. 
 
 Evdvpos Aoxpbs ano Zpvpiov avt6r)K.f. 
 Tlvdnyopns Za/uos iiroirftnv, 
 
 DROMEUS oTStymphalos in Arkadia, victorious in the long foot- 
 race (Paus. vi. 7. 10). 
 
 PROTOLAOS of Mantineia, victorious in the boys' boxing match 
 (Paus. vi. 6. i). 
 
 2. KALAMIS. 
 
 Date. (i) He was employed with Onatas on the offerings of 
 Hieron dedicated byDeinomenes after 467 B.C. (2) He was employed 
 by Pindar, who died at a great age in 441 B.C. (3) His place is 
 next to Kanachos and Kallon in the Canon of Sculptors (v. Introd. 
 3). See notes on Nos. 78 and 83. 
 
 78. Paus. i. 3. 4 71736 8e Before the temple is an 
 rot) ve<a ov . . . KaXovaiv image of Apollo who is 
 'AAe^t/caKo^ KaXa/^is 67701770-6. called the Averter of 111, 
 ro Se ovopa TO) flew yez>e<r0cu made by Kalamis. They 
 Ktyovtnv, 6Yi TTjy Xot/xojSrj say that this name was 
 o-^to-t vovov opov 7-w IleXoTro^- given to the god because 
 TroAe'/jto) Tut(jov<Tav Kara he put an end to the plague 
 Travo-cv e/c AeA^dii'. which afflicted them at the 
 time of the Peloponnesian 
 war by means of an oracle 
 from Delphi. 
 
 TOO vu>] The temple of Apollo Patroos in the Kerameikos at
 
 6o 
 
 GREEK SCULPTURE 
 
 Athens. Paus. reproduces a common error founded on the vivid 
 impression left by the great plague of 4, which effaced all others 
 from the popular memory. V. note on No. 43. 
 
 79. Strab. vii. 319 'A-77oA- 
 . . e^ovcra kv fTjcruo 
 Tivl lepbv TOV 'A7ro'AAa>i>o?, ef 
 ov Ma/>Kos AevfcoAAo? TOV 
 KoAo<nroj' ijpe KCU aveOrjuev fv 
 TU KaTTercoAuo TOV ro 
 X(0vos, KaAdjiiSos epyov. 
 
 Apollonia possessed a 
 shrine of Apollo on a small 
 island from which M. 
 Lucullus carried away the 
 colossal statue of Apollo, 
 the work of Kalamis, and 
 dedicated it on the Capitol. 
 
 Apollonia] On the Black Sea, a colony of Miletos. 
 TOV KoAoo-o-ov] According to Pliny, N. H. xxxiv. 39, it was 30 
 cubits in height, and cost 500 talents (^125,000). 
 
 8O. Paus. ix. 22. i ts be 
 
 TOV 'EpfJLOV . . . TOV KplO(j)6pOV 
 
 rr\v (7riK\rjo-LV \fyovcriv, <as 6 
 'EpjUT/s o-(f>i(nv a-noTptyai vo- 
 crov AotjutwSTj Trept TO Tfl\os 
 Kpibv TrepifvryKtoV, /cat CTTI 
 rovrti) KaAa/^i? fTroirjcrev a- 
 ya\p.a ' 
 
 As to the surname of 
 Hermes ' the Bearer of the 
 Ram ' their story is that 
 Hermes averted a plague 
 from them by carrying a 
 ram round the city wall : to 
 commemorate this, Kalamis 
 made an image of Hermes 
 
 carrying a 
 shoulders. 
 
 ram on his 
 
 At Tanagra, where the ceremony was repeated yearly by a youth 
 re resenting Hermes. 
 
 On monuments supposed to represent this statue, v. F. W. 418, 
 419, and Ov. I*. 280 (figs. 75, 76). 
 
 81. Paus. ii. 10. 3 etreA- At the entrance is a 
 
 6ov(Ti be b 6 eos eoTiv OVK ex (av statue of the god, beard- 
 
 TTOO ytveia, yjpv<rov KCII eAe- less, in gold and ivory, by 
 
 s, KaAd/xiSos de epyov Kalamis: he holds a sceptre
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 61 
 
 /cat <TKT)TTTPOV, /cat em 
 x a P s TCITVOS /cap- 
 rrjs ?//iepou. 
 
 in one hand, and in the 
 other a cone of the culti- 
 vated pine. 
 
 In the temple of Asklepios at Sikyon. 
 
 82. Paus. v. 26. 6 Tiapa 
 
 Beside the Athena stands 
 a statue of Victory, dedi- 
 cated by the Mantineans. 
 It is said that Kalamis 
 represented her without 
 wings in imitation of the 
 old image of the so-called 
 ' Wingless Victory ' at 
 Athens. 
 
 At Olympia. 
 
 TTJS 'AwTpov] Really Athena Nike, popularly called 'Nuci; 
 A-irrepos.' Her temple stands on the south-west bastion of the 
 Akropolis. 
 
 NIK?]' To.\)Tf]v Mavrivfls ai't- 
 detrav . . . KaAapa? 8e OVK 
 ^(ovaav Trrcpa Trot^crai Ae'yt rat 
 'jjo-t r?/? 
 s 6avov. 
 
 83. Lucian, Et/coVes 6 
 f] 2u>cra.vbpa 8e /cat KaAajut? 
 aiSot Koa-pLTJcrovcriv aimjv, /cat 
 TO fj.fLbiafj.aa-ffj.vbv KOL \f\T]6bs 
 
 a>o"77p TO 
 TO 
 
 eo~Tat, Kat 
 
 Kalamis and the Saviour 
 of Men shall adorn her with 
 shamefacedness, and she 
 shall have the noble, un- 
 conscious smile of the god- 
 dess, and shall borrow the 
 trim and modest folds of 
 her garment from the 
 Saviour of Men ; only she 
 shall not, like her, have 
 her head covered. 
 
 From Lucian's picture of an ideal beauty, ' Panthea.' This 
 so-called 'Sosandra' is generally identified with a statue of Aphro- 
 dite, which, according to Paus. i. 23. 2, was dedicated by Kallias 
 
 az>a/3oA.77? Trapa T^S S 
 ri' OTI aKOTa/caXu-TOs 
 
 ea-Tat
 
 62 
 
 GREEK SCULPTURE 
 
 (possibly the wealthy Athenian of that name known as 6 
 TrXovrof, who flourished circ. 480 B. C.) at the entrance to the 
 Akropolis ; since Lucian speaks of the ' Sosandra ' as seen by all 
 who ascended the Akropolis. In Dial. Meretr. iii. 2 he speaks of 
 a dancer, praised for the beauty of her ankles and her rhythmical 
 motions, as though she were the Sosandra of Kalamis. 
 
 The Agrigentines having 
 gone to war with the bar- 
 barians of Motya, and taken 
 much booty and spoil from 
 them, dedicated at Olympia 
 the bronze boys, who are 
 extending their right hands, 
 and seem to be addressing 
 prayer to the god. I con- 
 jectured them to be the 
 work of Kalamis, and such 
 was the tradition concern- 
 ing- them. 
 
 84. Paus. V. 25. 5 
 tv MoTvp fiapfidpois 'Acpa- 
 yavrlvoi Karacrraires e? TroAe- 
 fj.ov Kol A.etaz> re /cat \d(f>vpa 
 aii avT&v \a/3oVres ai>fdf<rav 
 row? Ttalbas fs'O\vp.iriav rovs 
 TrpoTeivovrds re ray 
 
 ra> 6fti> .... KaAa- 
 juiSos 5e flvai crc^as Ipya eyw re 
 fiKaov } Kal cs avrovy Kara ra 
 avra e*\*v 6 Xoyoy. 
 
 In a previous section ( 2) Paus. ascribes to Motya (the later 
 Lilybaeum) the geographical situation of Motyca (the modern 
 Modica, in the S.E. corner of Sicily) ; but the first named must 
 be the town here referred to. It is, however, suggested that Motya 
 was misread by Paus. for Motyon, a fort in Agrigentine territory 
 recaptured from Duketios in 451 B.C. (Diod. xi. 92). 
 
 85. Paus.vi. 12. I 
 
 di>a/3e/377/ca>s eir' avro, 
 8e ITTTTOI irapa TO apfia 
 els fKarepwdev eicrrrj/ce, KOI 
 
 771 T&V ITTTTWy Ka0eoVTO.l 
 
 VLKO.IS 
 
 (<TTIV 
 
 TOV 
 
 Hard by is a chariot of 
 bronze, and a man mounted 
 upon it, and beside the 
 chariot stand race-horses on 
 either hand, and boys are 
 seated upon the horses. 
 These commemorate the 
 Olympic victoriesofHieron, 
 the son of Deinomenes.
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 63 
 
 TVpavvrfcravTos 
 . . TO. 6e ava.6riiJ.aTa 
 'j dAA' 6 
 
 e, ro 
 TOV Alyivi^Tov TO 
 
 8e ot ITTTTOI re ol 
 
 ol iralbes. 
 
 tyrant of Syracuse. The 
 offerings were not sent by 
 Hieron himself, but the 
 debt was paid to the god 
 by Deinomenes, the son of 
 Hieron. The chariot is 
 the work of Onatas of 
 Aegina, while the horses 
 on either side and the boys 
 seated on them are by 
 Kalamis. 
 
 Cp. No. 58 note. 
 
 86. Plin.TV.//. xxxiv. 71 
 Habet simulacrum et be- 
 nignitas eius. Calamidis 
 enim quadrigae aurigam 
 suum imposuit, ne melior in 
 equorum effigie defecisse in 
 homine crederetur. 
 
 There is also a statue 
 which bears witness to his 
 kindness. For he placed 
 a charioteer of his own on 
 a four - horse chariot of 
 Kalamis, lest the artist who 
 excelled in representing 
 horses should be thought 
 to have failed in his treat- 
 ment of the human figure. 
 
 Praxiteles (perhaps the elder of that name, v. infr. No. 189 note) 
 is referred to. Kalamis was specially renowned for his horses, Plin. 
 N. H. xxxiv. 71 Equis semper sine aemulo expressis, Prop. iii. 9. 10 
 Exactis Calamis se mihi iactat equis. 
 
 87. Dion. Hal. de Isocr. 
 p. 5 22 R- o"oKt 8e /AOI /AT) 
 
 OTTO O-KOTTOtJ TL*i CLV eiKatrat T1]V 
 p.V 'Io"OKpdrOUS pJ]TOp(.K.l]V T7/ 
 
 re /cat 
 
 I think that it would not 
 be wide of the mark to 
 compare the oratory of 
 Isokrates to the art of 
 Polykleitos and Pheidias,
 
 GREEK SCULPTURE 
 
 rt\vr\, Kara TO crepvbv /cat 
 
 TT]V 8e Aixriou rry KaAa/xi8os 
 Kat KaAAi/iaxou TTJS AeTrrcm;- 
 roj HvfKa KOL rrjs \dpiTo$. 
 
 On Kallimachos, v. No. 153. 
 
 with its grandeur and 
 breadth of style and sub- 
 limity, and that of Lysias 
 to the art of Kalamis and 
 Kallimachos, with its de- 
 licacy and grace. 
 
 Other works by Kalamis : 
 
 ZEUS AMMON at Thebes, executed for Pindar (Paus. ix. 16. i). 
 
 DIONYSOS at Tanagra, of Parian marble (Paus. ix. 20. 4). 
 
 An ERINNYS at Athens, v. infr. No. 208. 
 
 ALKMENE (Plin. N. H. xxxiv. 71). 
 
 HERMIONE, dedicated by the Spartans at Delphi (Paus. x. 16. 4). 
 
 3. MYRON. 
 
 Date. According to Pliny he was the pupil of Ageladas and rival 
 of Pythagoras, on whom v. supra. His son Lykios seems to have 
 been employed on work of importance in 446 B.C. (infr. No. 147). 
 
 88. Plin. N. H. xxxiv. 57 
 Myronem Eleutherisnatum, 
 Ageladae et ipsum discipu- 
 lum, bucula maxime nobili- 
 tauit celebratis uersibus 
 laudata (quando alieno 
 plerique ingenio magis 
 quam suo commendantur). 
 Fecit et canem et discobo- 
 lum et Perseum et pristas 
 et satyrum admirantem 
 tibias et Mineruam, Del- 
 phicos pentathlos, pancrati- 
 astas, Herculem qui est 
 
 Myron, born at Eleu- 
 therai, also a pupil of Age- 
 ladas, was made famous 
 chiefly by his cow, whose 
 praises are sung in well- 
 known lines for there are 
 many whose fame rests 
 not on their own genius, 
 but on that of others. He 
 also made a dog and a 
 quoit-thrower, and Perseus 
 and sawyers, and a satyr 
 gazing in wonderment at 
 the flutes and Athena,
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 65 
 
 winners in the five contests 
 at Delphi, pankratiasts, a 
 Herakles which stands by 
 the great Circus in the 
 temple of Pompey the 
 Great. Erinna too mentions 
 in her poems that he made 
 the gravestone of a cicada 
 and a locust. He also made 
 an Apollo, which was 
 carried away by Antony 
 the triumvir and restored 
 to the Ephesians by Augus- 
 tus, after a warning con- 
 veyed in a dream. He is ! 
 thought to have been the ' 
 first to extend the province j 
 of lifelike representation 
 in art ; his art was more 
 rhythmical than that of ] 
 Polykleitos, and his propor- 
 tions more carefully studied, 
 yet he too expended his 
 care on the bodily frame, 
 and did not represent the 
 emotions of the mind. His 
 treatment too of the hair 
 of the head and body 
 showed no advance on the 
 rude attempts of early art. 
 
 Ageladae . . . discipulum] Possible, but not very probable, since 
 the similar statement in regard to Polykleitos (No. 160) cannot be 
 true. 
 
 F 
 
 apud Circum maximum in 
 aede Pompei Magni. Fe- 
 cisse et cicadae monu- 
 mentum ac lucustae carmi- 
 nibus suis Erinna significat. 
 58. fecit et Apollinem quern 
 ab triumuiro Antonio sub- 
 latum restituit Ephesiis 
 diuos Augustus admonitus 
 in quiete. Primus hie 
 multiplicasse ueritatem 
 uidetur. nujnerpsior in 
 arte quam Polyclitus et in 
 symmetria diligentior, et 
 ipse tamen corporum tenus 
 curiosus animi sensus non 
 expressisse, capillum quo- 
 que et pubem non emen- 
 datius fecisse quam rudis 
 antiquitas instituisset.
 
 66 GREEK SCULPTURE 
 
 bucula] The cow stood on the Akropolis of Athens, but was 
 afterwards removed to the Forum Pacis at Rome. Thirty-six 
 epigrams upon it are preserved in the Anthology, but they give no 
 information of any value. 
 
 canem] Benndorf corrects this to ' Ladam,' thinking the mention 
 of an important work called for in this place. V. infr. No. 92. 
 
 discobolum] V. infr. No. 93. 
 
 Perseum] Paus. i. 23.7 mentions Mvp&vos Ufpaea TO ts Mcdotwan 
 tpyov (ipyaapevov in describing the Akropolis of Athens. From the 
 use of the perfect participle (' P. after his exploit') we learn that this 
 was a single figure. For another explanation v. the following note. 
 
 pristas] Some editors translate ' sea-monsters,' which would be 
 'pristes.' If the reading is right we may (l) connect the word with 
 ' Perseum,' the carpenters forming part of a group representing the 
 enclosure of Danae and Perseus in the chest (Mayer, Ath. Mitth. 
 1891, p. 246), or (2) interpret with reference to the game of see-saw 
 (Murray, Class. Rev. 1887, p. 3). Loschcke corrects 'pyctas,' 'boxers.' 
 
 satyrum . . . Mineruam] The words of Pliny leave it an open 
 question whether 'Mineruam' is governed by 'admirantem' or by 
 ' fecit.' In the latter case it is still possible to combine both figures 
 in a group. Paus. i. 24. I describes a group on the Akropolis of 
 Athens as follows : 
 
 fvravda . . . 'Adrjva TrenoirjTai Here Athena is represented 
 TOV SiXrjvov Mapo-vav iraiovaa, OTI in the act of striking the Satyr 
 817 TOVS avXovs ai/eXoiTO, tpptydcu Marsyas, because he took up 
 <r<f>as TTJ? Qeov jSovXo/ie'yTjs. the flutes when the goddess 
 
 wished them to be thrown aside. 
 
 Brunn would read emoro-a 'advancing upon' for jratovera, whicli 
 might however have an inceptive sense ( = 'on the point of strik- 
 ing '). A group of monuments figured in Ov. I *, Fig. 73 (p. 269) 
 seems to represent the group alluded to by Pausanias and Pliny. 
 
 cicadae monumentum] An epigram in Anth. Pal. vii. 190 by 
 Anyte mentions a tomb erected to a locust and cicada by a girl 
 named Myro, whom Pliny has confused with the sculptor. 
 
 multiplicasse ueritatem] This seems to mean that M. increased 
 the number of situations in which the human figure could be 
 represented with truth to nature beyond those current in his time. 
 And this interpretation is certainly borne out by what we know of 
 his works. It is also held to mean that he, as it were, ' raised 
 nature to a higher power' i.e. seized the moments when nature
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 67 
 
 displays an abnormal activity. This might pass as a fair criticism 
 of his works, but is hardly contained in the words of Pliny. 
 
 numerosior in arte] Probably to be explained with Overbeck 
 as a translation of (vpvdfjuartpos TI]V Tf.\vr]v. On the sense of pvdp.6s 
 in sculpture, see No. 77 note. It could also mean (i) that there 
 was more variety in his subjects than in those of P. (cp. Quint. 
 v. 10. 10 numerosum opus), though this seems to be already 
 implied in the previous words, or (2) that he was more prolific (cp. 
 Plin. N. H. xxxv. 130 (Antidotus) diligentior quam numerosior). 
 
 et . . . diligentior] These words have created much difficulty 
 since the ' canon ' of Polykleitos was renowned as a model of pro- 
 portions. Several alterations of the text have been proposed, of 
 which the simplest is the omission of ' et ' ; the words will then 
 mean ' his mastery of rhythm was greater than Polykleitos' accuracy 
 in proportion ' ; but it seems doubtful whether this expression is 
 good Latin ; it would be improved by the further omission of 
 ' Polykleitos.' (Substitute ' his ' for ' Polykleitos ' in the translation 
 given above.) But the true solution of the difficulty seems to be 
 that the series of criticisms which Pliny borrows (v. Introduction, 
 2), proceeds from a pupil or admirer of Lysippos, and places 
 Myron higher than Polykleitos, whose proportions are disapproved 
 (v. infr. No. 241). 
 
 89. Paus. ii. 30. 2 dwv The Aeginetans honour 
 5e Ar/u'7/rai THJ.SHTIV l E/<ar?;z; Hekate above all deities. 
 
 . . . 6avov 5e Zpyov Their image is the work of 
 o/xoioos ei> Trpoo-covroV Myron ; it has but one face, 
 re /cat TO Xourov <r<3/za. and the rest of the body is 
 
 likewise one. 
 
 Alkamenes (v. infr. No. 129) was said to be the first to represent 
 Hekate in threefold form. 
 
 90. Strab. xiv. 637 rpia There were three colos- 
 
 epya KoXoaaiKo. i$pv- sal statues by Myron ; stand- 
 em /uias /3ao-ea>?, & ing on one base, which 
 fat jjifv 'Ai>rowo5 5 aveOriKe 8e Antony removed. Augus- 
 7raA.ii; 6 Se/Saoros Kaurap ets tus, however, restored two 
 
 F 2
 
 68 
 
 GREEK SCULPTURE 
 
 pao-iv TO. bvo, TTjy 
 'AOrjvav KOL TOV 'HpaxAeV TOV 
 8e Atia eis TO 
 
 aur<> 
 
 VOiCTKOV. 
 
 Originally at Samos. 
 
 91. Paus. ix. 30. I TO 
 e ayaA/za aveOrjKt 2vAAas 
 TOV Aiovvcrov TO opOov, Hpycav 
 T&V Mvputvos das 
 aiov fj.cTa ye TOV 
 'Epex^e'a' ai-edrjue b(oi>K OIKO- 
 9cv, 
 
 TOI/S 
 
 of them, the Athena and the 
 Herakles, and set them up 
 on the same base, but re- 
 moved the Zeus to the 
 Capitol, where he had built 
 a shrine for it. 
 
 The standing image of 
 Dionysos. which is the 
 most remarkable of the 
 works of Myron after the 
 Erechtheus at Athens, was 
 dedicated by Sulla. It was 
 not his own property, but 
 was taken by him from the 
 Minyai of Orchomenos. 
 
 On Mount Helikon. The Erechtheus here referred to is sup- 
 posed to have formed part of a group on the Akropolis described 
 
 by Paus. i. 27. 4 as 'aydXfjuirn p.tyn\a \n\Ka, Sifcrrwrej <7j/8pfr ftr pdxyv 
 
 large statues of bronze, representing men facing each other in single 
 combat.' The combatants were Erechtheus and Eumolpos. 
 
 92. Anth. Plan. iv. 54. 
 (a) olos CTJ? </>evycoz> TOV vnr\- 
 vepov, 
 
 Vfvpa Tadcls O 
 Tolov (\d\Kevcrev (re 
 
 fal TTCLVTl 
 
 (b) 
 
 <ru>iJ.aTL ITco-atou -npocr- 
 
 <TT(f)a,VOV. 
 
 eA.7n'8os 
 
 As once thou wast, O 
 Ladas, instinct with life, 
 when thou didst fly from 
 Thymos swift as the wind, 
 on tiptoe, with every muscle 
 at full strain even so did 
 Myron fashion thee in 
 bronze, and stamp on thy 
 whole frame eager yearning 
 for the crown that Pisa 
 gives.
 
 SCULPTORS OF THE TRANSITIONAL PERIOD 69 
 
 CLKpOlS 5' fTtl 
 
 cnv 50-0/xa 
 
 KOL\(i)V 
 
 He is full of hope, and 
 on his lips is seen the 
 breath that comes from 
 the hollow flanks ; anon the 
 bronze will leap to seize 
 the crown, and the base 
 will hold it no longer ; see 
 how art is swifter than the 
 wind ! 
 
 Ladas was probably an Argive (since Paus. saw his statue in the 
 temple of Apollo Lykios at Argos), and was victorious in the long 
 foot-race at Olympia. 
 
 ovbt 
 
 -nvtv- 
 
 93. Lucian, Philops. 18 
 TOV biaKfvovTa, TJV 8' eyw, 
 TOV 7n/ce/cu</>o'ra Kara ro 
 J$ a^e'crew?, aTrecrrpa/x- 
 IJLCVOV ets rrji' bi<TKO(j)6pov, 
 
 eoi/co'ra vvavaarr](roiJ.ei>u> 
 
 TO, TTJS (3o\fjs ; OVK 
 
 ?] 8' os 
 
 Surely, said I, you do 
 not speak of the quoit- 
 thrower who stoops in the 
 attitude of one who is mak- 
 ing his cast, turning round 
 toward the hand that holds 
 the quoit, and bending the 
 other knee gently beneath 
 him, like one who will rise 
 erect as he hurls the quoit ? 
 No, said he, for that quoit- 
 thrower of whom you speak 
 is one of the works of 
 Myron. 
 
 Reproduced in many copies, of which the best is in the Palazzo 
 Lancelotti, Rome (Coll. I, PL xi). 
 
 Quintilian (ii. 13. 8) says of it, ' Quid tarn distortum et elabora- 
 tum, quam est ille discobolus Myronis ' ' What can be more 
 strained and artificial in its attitude than the famous quoit-thrower 
 of Myron ? ' 
 
 i-pyiav fv /cai TOVTO fariv 6 
 8io-Ko/3o'Aos of crv Ae'yets.
 
 70 GREEK SCULPTURE 
 
 94. Prop. ii. 31. 7 And about the altar 
 Atque aram circum stete- stood Myron's herd, four 
 
 rant armenta Myronis kine from the master's 
 Quattuor artifices, uiuida hand, statues full of life. 
 signa, boues. 
 
 aram] In the colonnade of the temple of Apollo on the Palatine. 
 
 95. Petron. H8 Myron, Myron, who could almost 
 qui paene hominum ani- catch the souls of men and 
 mas ferarumque acre com- beasts and enchain them in 
 prehenderat, non inuenit bronze, found no heir. 
 heredem. 
 
 animas] The principle of animal life, not the mind ; hence there 
 is no contradiction with Pliny's ' animi sensus non expressisse.' Cp. 
 the epithets ' Znnvof,' No. 92, ' uiuida,' No. 94. 
 
 Other works by Myron : 
 
 APOLLO at Agrigentum, carried away by Verres (Cic. Verr. iv. 
 
 43- 93)- 
 
 HERAKLES, taken from Heius the Mamertine by Verres (Cic. 
 Verr. iv. 3. 5). 
 
 Olympic victors : 
 
 LYKINOS of Sparta, victorious in the chariot-race. 
 
 TlMANTHES of Kleonai, victorious in the pankration. 
 
 PHILIPPOS of Pellana in Arkadia, victorious in the boys' boxing- 
 match. 
 
 CHIONIS of Sparta, victorious in the foot-race, Ol. 29-31 (664- 
 656). 
 
 [The ' drunken old woman ' attributed to Myron by Plin. N. H. 
 xxxvi. 32 belongs to a later artist of the same name ; see Weiss- 
 haupl, 'E<. 'A.p\. 1891, p. 143.]
 
 PART III 
 
 THE AGE OF PHEIDIAS 
 AND POLYKLEITOS 
 
 NOB. 96-181.
 
 I i. THE ATTIC SCHOOL. 
 
 1. PHEIDIAS. 
 
 (a) LIFE. 
 
 The statements that he was the pupil of Hegias (Part I. 1.4 (c)) 
 and Ageladas (No. 43) rest on the authority of Dion Chrysostom (as 
 emended) and the Scholia on Aristophanes respectively. Pliny's 
 'floruit' (Ol. 83=448 B.C.) may be based (i) on that of Perikles, 
 (2) on the completion of the Olympian Zeus. 
 
 96. Plin. A 7 ". H. xxxv. For tradition tells that 
 
 54 Cum et Phidiam ipsum Pheidias himself began life 
 
 initio pictorem fuisse tra- as a painter, and that there 
 
 datur clipeumque Athenis is a shield at Athens painted 
 
 ab eo pictum. by him. 
 
 clipeum] It is suggested by Urlichs that this refers to the inner 
 surface of the shield of Parthenos. This is, however, in contradic- 
 tion to the words of Pliny in No. 106. Panainos, the brother of 
 Pheidias, painted the inner surface of the shield carried by the 
 Athena of Kolotes at Elis. 
 
 07. Plut. Perikl. 13 As the buildings rose, 
 
 ' Avafiaivovruiv 8e rStv epywv, stately in size and unsur- 
 
 vTTpri<f)a.v(av p.ev ^eye#ei, passed in form and grace, 
 
 jiop<i7 8' d/jti^TjToji; Kal \dpiTi, the workmen vied with each 
 
 T&V brjfjuovpy&v d/xtXAco/jte'vcoj; other that the quality of 
 
 virfpjBd\\f<r6at rr]v br]fj.Lovp- their work might be en- 
 
 yiav TTJ KaAAirex" 1 '?, juaAtora hanced by its artistic beauty. 
 
 fy TO ra^os . . . Most wonderful of all was
 
 74 
 
 GREEK SCULPTURE 
 
 TIO.VTO. 8e 
 
 the rapidity of construction. 
 Pheidias managed every- 
 thing, and was his (Perikles') 
 overseer in all the work. 
 
 Plut. refers to the architectural and artistic works carried out 
 under Perikles. 
 
 98. Plut. Perikl. 31 
 4>i8tas 6 TrAdorij? epyoAd/Sos 
 fjifv TIV TOV dydA/xaros . . . 
 <u'A.o? 8e T< 
 
 os KOI /ueyicrTor Trap avrw 
 is TOVS IMCV bi avrbv 
 f-^dpovs (f>6ovovfjifvos, ol 
 row 8 
 
 fV (KflVto TTOOS TLS (TOITO 
 
 s, MeVa)yd rtra 
 iou cruvtpy&v 7reurcu>- 
 res, iKtTt]v (V ayopq Ka6{ov- 
 <riv, alrovfjLcvov aSetav eiri 
 \if]v\)(Tf.i Kat KaTTjyopta TOU 
 
 TOU STJJUOU TOV avdpwnov KOL 
 
 yap xpvcr 
 
 dpx^s rw dydX/xan 
 
 ydVaTO Kat TrepLtOrjKfv 6 
 
 4>ei8i'as, yvu>iJ.r) TOV ITept- 
 
 K\OUS, cocrre Trdru 
 
 ctrai Trepie 
 
 Tor <rra0p.6v' o Kai TOTC TOI/S 
 
 (K(\fV(T TTOKW 6 
 
 Pheidias the sculptor 
 accepted the contract for 
 the statue ; and being a 
 friend of Perikles, with 
 considerable influence over 
 him, he became an object 
 of jealousy and acquired 
 many enemies, while the 
 democratic party made his 
 case a test of the probable 
 disposition of the jurors 
 towards Perikles. They 
 suborned one Menon, an 
 assistant of Pheidias, and 
 caused him to sit as a sup- 
 pliant in the market-place 
 and demand assurance of 
 pardon, in order that he 
 might accuse Pheidias or 
 give evidence against him. 
 The people listened to the 
 man's charges, and there 
 was a trial in the assembly ; 
 but the charge of theft was 
 not proved ; for Pheidias 
 had by Perikles' advice 
 originally fitted the gold
 
 THE ATTIC SCHOOL 
 
 75 
 
 pytav 
 
 d(T7ri8t TTOL&V dVTOV TIVO. 
 
 fj.op<prjv evervTiuxre, TrpecrfivTov 
 (fraXcLKpov, irtrpov e7r?jpju,ez>oi; 
 8Y a/A$OTe'po)y Twy x et /^ i; ) 
 KOI rou ITeptKAeou? etKoVa 
 
 av/^ecos rot 1 Dept- 
 
 yo)?, otor fTTiKpVTiTfLv /SovAerat 
 TTJI; 6/xoto'r7jra 7rapa<^aiyojue- 
 rrjy Ka.Tepa)9ev. 6 jj.fv ovv 
 4>et8ias ets TO 
 
 a>5 5e fyacriv e^tot, 
 eTTt 8ta/3oAi7 TOU 
 
 TTapacrKva<rdvT(tiv 
 
 to the statue, and fastened 
 it upon it in such a manner 
 that it was quite possible 
 to take it off and deter- 
 mine its weight, which 
 Perikles ordered the ac- 
 cusers to do. But the 
 fame of his works caused 
 Pheidias to be the victim 
 of jealousy, notably be- 
 cause, in representing the 
 battle of the Amazons on 
 the shield, he had intro- 
 duced a figure of himself 
 as a bald old man lifting 
 up a stone in both hands, 
 and a very fine portrait of 
 Perikles fighting with an 
 Amazon. The attitude of 
 the arm, however, which is 
 levelling a spear across the 
 face of Perikles, is in- 
 geniously contrived with 
 the intention, as it were, of 
 concealing the likeness of 
 which a glimpse is shown 
 on either side. Pheidias 
 then was cast into prison, 
 where he fell sick and died 
 or, as some say, was 
 poisoned by his enemies, 
 in order to bring discredit 
 upon Perikles.
 
 GREEK SCULPTURE 
 
 The Parthenos. 
 
 avrov Tivd |Aop<f>T|v] Clearly seen on the so-called ' Strangford 
 shield ' in the British Museum (Brit. Mus. Catalogue of Greek 
 Sculpture, p. 99), where, however, the figure holds an axe. Aris- 
 totle, jrspt ovpavov 399 b , tells a story to the effect that the shield 
 contained a hidden mechanism by which, if the head were removed, 
 the whole statue would fall to pieces. 
 
 99. Schol. Ar. Pax 605 
 
 %OVTOS TaVTO. <prj(TL' KOL TO 
 
 aya\fj.a TO -^pva-ovv Trjs' 
 
 ets TOV veav 
 . . . KCU 4>et5ias 6 
 
 f\f(pavTa TOV 
 KO.L 
 
 TOV 
 ras </>oAt8as 
 
 fpyo\a/3rjcrai. TO ayaA/xa TOV 
 Aios TOV fv 'OAu/rTTi'a Ae'ycrai, 
 TOVTO 5e e^epyao-d/xefos O.TTO- 
 davtlv VTTO 'HAe&oy e:rt HvOo- 
 
 Philochoros, writing of 
 the archonship of Theo- 
 doros, says : ' The golden 
 image of Athena was placed 
 in the great temple. The 
 artist, Pheidias,was thought 
 to have been guilty of pecu- 
 lation in respect of the ivory 
 used for the serpent's scales, 
 and was put on his trial. 
 He fled to Elis, where he 
 is said to have accepted the 
 contract for the image of 
 Zeus at Olympia, and, after 
 completing it, to have been 
 put to death by the Eleans 
 in the archonship of Pytho- 
 doros.' 
 
 Theodores was archon 438 B. C., Pythodoros 432 B. c. Both 
 names are corrupt in the text. It is impossible to reconcile this 
 story with that given by Plutarch. From the words of Ar. Pax 605 
 Trpeora p,ei> yap rjp^tv arrjs <&eidias irpdgas KaxSts, which relate to the 
 outbreak of the Peloponnesian war, we may infer that the later 
 date (432 B. c.) for the trial of Pheidias is the correct one. The 
 question, however, still remains whether the Olympian Zeus is 
 earlier (456-448 B. c.) or later (438-432 B. C.) than the Parthenos. 
 On the one hand, (i) it seems improbable that the temple at 
 Olympia, completed in 456 B. C., should have remained for eighteen 
 years without a statue ; (2) Pliny dates Panainos, the brother of
 
 THE ATTIC SCHOOL 
 
 77 
 
 Pheidias, Ol. 83=448 B.C., possibly by the completion of the 
 statue, in the construction of which he took part; on the other, 
 (i) Dorpfeld (Olympia, Textband ii. pp. 16, 20) considers that 
 some architectural peculiarities of the base are imitated from that 
 of the Parthenos; (2) Pliny may simply date Panainos by his 
 brother. 
 
 (b) WORKS. 
 
 I. IN ATHENS. 
 
 100. Paus. i. 28. 2 
 \ i] oira 
 
 Beside those which I 
 have enumerated, the Athe- 
 nians have two offerings 
 from the tithes of spoil 
 taken in war ; one is a 
 bronze image of Athena 
 from the spoils of the Per- 
 sians who landed at Mara- 
 thon, the work of Pheidias ; 
 the battle of the Lapithai 
 and Centaurs on the shield, 
 and the other reliefs are 
 said to be the work of the 
 engraver Mys ; and both 
 these and his other works 
 are said to have been de- 
 signed for him by Parrha- 
 sios. the son of Evenor. 
 The point of the spear and 
 crest of the helmet of this 
 Athena are visible even to 
 mariners, as they approach 
 from the side of Sunion. 
 
 This statue is usually called the Athena Promachos, a name 
 directly applied to it only by the Scholiast on Dem. Androt. 597 R, 
 and in CIA. iii. I. 638 (circ. 410 A. D.). The epithet is inap- 
 
 'A0T]ratoi? fieri beKarai TroAe- 
 fArjcrao-ty, ayaX/^a 'Adrjvas X a ^~ 
 
 KOVV CLTfO M?]8coy T&V S MapO- 
 
 Q&va a.TTo(3(ivT(tiv, T\vr] 4>ei- 
 8ioi* fcai 01 TTJZ; eTrl r% dcrTTt- 
 8os AaitiOwv Trpos Keiravpou? 
 orra aAAa cortj; 
 e'youo-t ropeu- 
 trai Mw* rcjj 8e Mvt rauTci re 
 Kat ra AotTra T&V epywi' riap- 
 pacnov Karaypci\^at roy Ei/Tjt-o- 
 po?. ravTTj? TTJS 'A^r/yas ^ TOU 
 So'paros <UXM^ Ka ^ o Ao'(pos 
 TOU Kpauous aTTO Souyiov irpocr- 
 T:\tovcriv e
 
 GREEK SCULPTURE 
 
 propriate to the pose of the statue, which is represented on coins 
 of Athens (Num. Comm. Z. iii-vii) standing between the Propylaia 
 and Erechtheion. 
 
 \'-yov<ri TopsCcrcu MOv] Mys and Parrhasios both belonged to the 
 generation following Pheidias, and contemporary with the Pelo- 
 ponnesian war. The designs on the shield were therefore a later 
 addition. The Scholiast on Aristid. Panath. p. 320 attributes it to 
 Praxiteles, which Furtwangler accepts as the true tradition, referring 
 to the elder Praxiteles. 
 
 airo 2owiov . . . crvvoirra] The Akropolis being invisible from 
 Sunium, we must not connect f/ftr) with the words an-6 Sovvt'ou, which 
 give the direction of approach only, but take it closely with npoa-- 
 Tr\fov(nv. It merely emphasises the idea that the statue could be 
 seen before landing. 
 
 101. Niket. Chon. Isaac. 
 Ang. et Alex. F. p. 738 B 
 dAAd KCU T&V a-yopaCutv ol 
 
 (j)lXoiVOTpOl TO eOTOS CTTt 
 
 tv rw KtoixrTai'Tii'fLU) 
 )S 'Adr]vas ayaAjoia fls 
 TrAeicrra bielXov 
 av^jSaive fj.v TTJV 
 opQiov a>? es TptaxaSa Tr 
 
 flfJ.(f)L(TTO be (TTO\1]V ff OTTOl'aS 
 
 vXrjs o\ov TO IvbaXXop-fvov 
 Kf^a\Kovp-yr]TO. Trobriprjy 8' 571; 
 
 ? TV fj.tp<>v. 
 
 KO.VS avTrjv 
 
 8e KOTTI rots 
 
 opQoTirdov ov TtoiKiXov atyt- 
 8c58es (TTcvbvua, T&V WJLICOZ; 81- 
 fiKvoi>iJ.evov } Tr)v Trjs Fopydi'Tjs 
 TVTTOVV Kf(paXr)v. 6 be ye av\r)v 
 
 But the more drunken 
 among the crowd also 
 dashed in pieces the image 
 of Athena, which stood on 
 a column in the forum of 
 Constantine. In stature it 
 rose to the height of about 
 30 feet, and was clothed 
 in garments of the same 
 material as the whole 
 statue, namely, of bronze. 
 The robe reached to the 
 feet, and was gathered up 
 in several places. A war- 
 rior's baldric passed round 
 her waist and clasped it 
 tightly. Over her pro- 
 minent breasts she wore 
 a cunningly-wrought gar- 
 ment, like an aegis, sus- 
 pended from her shoulders,
 
 THE ATTIC SCHOOL 
 
 79 
 
 CL\ITU>V 0)I> KOL 7T/30? TO 8oAt- 
 
 \6bft,fjov avaTfivopfvos a/JLa- 
 )(ov eis fjbovrjv 6eajj.a TJV. . . . 
 Kdl <f)\e[3ti>v be 8ieKTao-ets VTTC- 
 KpwovTO, Kai a)? vypov o\ov 
 TO 0-tofj.a kv ol? e8et Trepie/cAaro. 
 
 . . . ITTTTOUptS 8' (TTLKeLfJifVr] TT] 
 
 K(f)a\f} beivov KaOvTrepOev 
 evevev. fj 8e KO'/^TJ ets TrAe'yjua 
 ei'7j /cat bfcrij.ovp.fvr] 
 
 and representing the Gor- 
 gon's head. Her neck, 
 which was undraped and 
 of great length, was a sight 
 to cause unrestrained de- 
 light. Her veins stood out 
 prominently, and her whole 
 frame was supple and, where 
 need was, well -jointed. 
 Upon her head a crest of 
 horse-hair ' nodded fear- 
 fully from above.' Her 
 hair was twisted in a plait 
 and fastened at the back, 
 while that which streamed 
 from her forehead was a 
 feast for the eyes : for it 
 was not altogether con- 
 cealed by the helmet, 
 which allowed a glimpse of 
 her tresses to be seen. Her 
 left hand held up the folds 
 of her dress, while the right 
 was extended towards the 
 south and supported her 
 head, slightly inclined in 
 the same direction, with 
 the gaze of both eyes fixed 
 on that quarter. 
 
 Gurlitt (Analecta Graecicnsia, Graz, 1893, p. 99 ff.) has shown 
 that a note by Arethas (archbishop of Caesarea 907 A.D.) on Aristid. 
 Or. 50, p. 408, 1 5 J (quoted by Overbeck, Schriftquellen 690, cp. 
 640) refers to the ' bronze Athena ' of Pheidias, then in the Forum of 
 
 ocrj] Kexvro K 
 770) r, rpo^)rj Tt? Tjf 6(f>0a\p.(av, 
 
 fJL1) (TTLTTdV TU> Kpdvfl (TVVt- 
 
 j, aXAa /cat ri Trapffj.- 
 TOV TT\O\IJ.OV. TU>V 
 be \fipu>v f) fj-tv Aata ra (rvr- 
 tinvy\j.va TTJS tcrOrJTos av- 
 e, are/aa 8' eKTetro^errj 
 
 TO VOTIOV fl\ TTfV 
 
 Kf(f)a\rjv ripffj-a TTCOS e 
 Hevr]v e/cet Kai ras raiv ( 
 \j.G>v C
 
 8o GREEK SCULPTURE 
 
 Constantine. Niketas describes the destruction of the same statue 
 by rioters in 1203 A. D. The description seems to be accurate, with 
 the exception of the closing words ; the right hand originally held 
 a lance. 
 
 102. Paus. i. 28. 2 r<2y ep- The most remarkable of 
 yo)v rutv <l>ei8iou 6ta.s /loAiora the works of Pheidias, an 
 atov, 'Atfqyas ayaAjua, and image of Athena, called the 
 avadevTuv KOAou/xeVqs Lemnian, after the dedica- 
 
 tors. 
 
 On the Akropolis. The dedicators were no doubt the Athenian 
 colonists sent to Lemnos between 451 and 448 B.C. A statue at 
 Dresden, combined with a head at Bologna, seems to represent the 
 type (Furtwangler, Meisterwerke, PL I, II. pp. 4-36). 
 
 103. Lucian, Ei/coVes 4 Lyk. Which of the 
 ATK. T&V Se 4>ei8tou epycov ri works of Pheidias do you 
 /xaAiora (Trrjvea-as ; HO A. TI praise most highly? Pol. 
 8' aAAo T) TT\V Arjfjiviav, f/ KOL Which but the goddess of 
 
 rovvo^a *et8^ay Lemnos, whereon Pheidias 
 . . 6. ri]v 8e TOV deigned to inscribe his 
 iravrbs 7rpoo-w77ou -ncpiypa^v name? . . . Pheidias and 
 /cat irapciav TO airaAoy Kol the Lemnian goddess shall 
 plva (rvp[j.fTpov fi Arjfjivia vapt- bestow on her the outline 
 ei *ca! *i8ias. of her countenance, her 
 
 delicate cheeks and finely 
 proportioned nose. 
 
 References to this statue have been found in the words of Pliny 
 (v. infr., No. 119) as to an Athena called 'the Beautiful,' and in 
 a passage of Himerios to the effect that Pheidias did not always 
 represent Athena armed, but also without a helmet. 
 
 104. Plin. N. H. xxxiv. Pheidias, beside the un- 
 54 Phidias praeter louem rivalled Zeus of Olympia, 
 Olympium quern nemo made also of ivory the
 
 THE ATTIC SCHOOL 
 
 81 
 
 aemulatur fecit ex ebore Athena which is at Athens, 
 
 aeque Mineruam Athenis and stands erect in the 
 
 quae est in Parthenone Parthenon, 
 stans. 
 
 On the Athena Parthenos (the name is applied by Paus. v. 
 ii. 10), see Ov. I 4 . 350 ff., Coll. I. 538 ff., where references are 
 given to the earlier literature of the subject. 
 
 105. Paus. i. 24. 5 aiiro 
 8e IK re eAe'<ai>To? TO ayaA/za 
 Kat xpvcrov TreTroiTjrai. 
 jifv ovv eTrtKeirat ol TO> 
 
 repov 8e TOV Kpavovs 
 
 TO 8e ayaA/xa TT/S ' 
 
 opdov fcrnv fv \irw 
 
 KOI ot Kara TO (rrtpvov f) 
 
 KOI NUTJ 
 
 O(TOV Te Tetrcra/acoi' 
 
 oe TJ) {Ire'pa 
 
 Ka ^ 01 7r/)0s" TOIS TTOCTIV 
 
 Te /ceiTat, Kal TrATjaiov 
 
 TOU bdpdTOS bpCLKUtV <TTW' CtTJ 
 
 8' ay 'Epix.^ ' 17105 OUTOJ 6 
 
 bpditwv' ecTTt oe TCO 
 
 TOV 
 
 Havb<apas 
 
 The statue itself is made 
 of gold and ivory. On the 
 middle of the helmet rests 
 the figure of a Sphinx ; 
 and on either side of the 
 helmet griffins are repre- 
 sented. The image ofAthena 
 stands erect, and wears a 
 tunic reaching to the feet. 
 On its breast is represented 
 in ivory the head of Me- 
 dusa, and a Victory about 
 4 cubits in height stands on 
 one of its hands, while in 
 the other it holds a spear : 
 at its feet rests a shield, and 
 close to the shield is a 
 serpent, which no doubt 
 represents Erichthonios ; on 
 the base of the statue 
 the birth of Pandora is 
 wrought in relief. 
 
 106. Plin. N. H. xxxvi. No one doubts that 
 1 8 Phidiam clarissimum Pheidias' renown extends 
 esse per omnis gentes, quae through all lands where 
 
 G
 
 82 
 
 GREEK SCULPTURE 
 
 louis Olympii famam in- 
 tellegunt, nemo dubitat, 
 sed ut laudari merito sciant 
 etiam qui opera, eius non 
 uidere proferemus argu- 
 menta parua et ingeni 
 tantum. Neque ad hoc 
 louis Olympii pulchritu- 
 dine utemur, non Miner- 
 uae Athenis factae ampli- 
 tudine, cum sit ea cubi- 
 torum uiginti sex, ebore 
 haec et auro constat, sed 
 in scuto eius Amazonum 
 proelium caelauit intumes- 
 cente ambitu parmae, eius- 
 dem concaua parte deorum 
 et Gigantum dimicationes, 
 in soleis uero Lapitharum 
 et Centaurorum, adeo mo- 
 menta omnia capacia artis 
 illi fuere. In basi autem 
 quod caelatum est Ylavbu- 
 pas yevtcriv appellant ; di 
 sunt nasce(nti adsta)ntes 
 xx numero. Uictoria prae- 
 cipue mirabili, periti mi- 
 rantur et serpentem sub 
 ipsa cuspide aureum ac 
 sphingem. 
 
 the fame of his Olympian 
 Zeus is heard ; but in order 
 that those too who have 
 not seen his works may 
 know that his praises are 
 merited, I \vill bring for- 
 ward some minor proofs 
 which establish only the 
 fertility of his invention. 
 And to this end I shall em- 
 ploy, not the beauty of the 
 Olympian Zeus, nor the 
 grandeur of the Athena 
 which he made at Athens, 
 though she is 26 cubits in 
 height, all of ivory and 
 gold but the fact that on 
 her shield he wrought in 
 relief the battle of the 
 Amazons on the convex 
 surface, and the combats of 
 gods and giants on the 
 concave side, while on her 
 sandals he represented 
 those of the Lapithai and 
 Centaurs ; so true was it 
 that every spot furnished 
 a field for his art to fill. 
 The subject of the reliefs 
 on the base they call ' Pan- 
 dora's birth ' ; Gods, twenty 
 in number, are present at 
 the scene. The Victory is
 
 THE ATTIC SCHOOL 83 
 
 specially marvellous, but 
 connoisseurs admire also 
 the golden serpent at the 
 foot of the spear, and the 
 sphinx. 
 
 intumescente ambitu parmae] If the sense of ' ambitus ' = 
 ' circumference ' be pressed, this will mean that a band of relief 
 ran round the edge of the shield ; but Pliny may have strained 
 language in order to obtain an antithesis to ' concava parte ' in 
 different words, and used ' ambitus ' like the Greek >///$, possibly 
 even as a translation of that word, which is used both of the tyre of 
 a wheel and of a closed circle like the sun's orb. The Strangford 
 shield represents the whole surface as covered with reliefs. See 
 A. H. Smith, Brit. Mus. Catalogue of Greek Sculpture, p. 99. 
 
 dimicationes] The plural seems to point to single duel-scenes, 
 and it is a priori probable that only the inner edge was decorated. 
 The same will apply to the groups of Lapithai and Centaurs. 
 
 momenta] Lit. a particle sufficient to turn the scale, and so 
 a mathematical particle or point ; cp. xviii. 333 sol cotidie ex 
 alio caeli momento oritur. Then, in the language of literary cri- 
 ticism, a division of a subject. Quint, v. 10. 71 ordo rerum tribus 
 momentis consertus est. Hence its use in art-criticism, as here. 
 
 nasce(nti adsta)ntes] MSS. nascentes. Al. corr. (ad)sunt 
 nascenti. 
 
 sub ipsa . . . sphingem] MSS. ac sub ipsa cuspide aeream 
 sphingem. 
 
 107. Plut. Perikl. 13 6 ofc Pheidias made the golden 
 
 4>ei5ias eipydero \&v rijs 0eoi) image of the goddess, and 
 
 rd \pva~ovv ebos, Kal TOVTOU his name is inscribed as the 
 
 brifj-iovpyos tv TT/ orr/Ar/ ye- artist's on the slab. 
 ypaTrrai. 
 
 v Tf) 0-rqXfl] The words have been supposed to show that the 
 column which supports the right hand of the ' Varvakeion ' statuette 
 (Ov. I 4 , Fig. 94), and appears on other monuments (op. tit. p. 352), 
 represents an original support. But this would be expressed by 
 
 KIM!', nOt <TT1]\T). 
 
 G 2
 
 GREEK SCULPTURE 
 
 He (Pericles) pointed out 
 that the image bore 40 
 KOVTCI TaXavTa orafl/xoy \P V ~ talents' weight of refined 
 o-ov air<p6ov nal TrepiaipeTov gold, which was all re- 
 
 108. Thuc. ii. 13 a.Tre<paive 
 8' f\ov TO ayaXjj.a 
 
 civai airav. 
 
 moveable. 
 
 Thucydides, as a contemporary authority, is no doubt right as 
 to the weight (later authorities give 44-50 tal.). 
 
 Lit. ' boiled down.' 
 
 Hard by is a temple of 
 Aphrodite Urania. Even 
 in my time it contained an 
 image of Parian marble, 
 the work of Pheidias. 
 
 In the deme of Melite. The temple was built by Perikles 
 (Curtius, Stadtgeschichte von A then, p. 177). 
 
 109. Paus. i. 14. 7 irXi]a-Lov 
 be lepov ecTTLv 'Ac/jpo8tT7js 
 Ovpavias . . . TO 8e ec|>' ^/xwy 
 en a-yaX/jia XiQov Tlapiov KCU 
 
 110. Paus. i. 24 
 vaov eori ircpav 
 
 TOV 
 
 TIapvoTnov 
 K.aXov(Tiv, OTL cr<pi<ri Ttapvd- 
 Trjv yrfv 
 6 0fbs etTrey (K 
 
 rjs 
 
 II. IN ELIS. 
 
 III. Paus. v. 10. 
 
 be 6 vabs Kal TO ayaAjua T<JJ 
 Ait OTTO Xa<pvpu)v, ffViKa flicrav 
 01 'HAeioi Kal ocrov T&V Trepi- 
 
 Beyond the temple is 
 an Apollo of bronze : the 
 statue is said to be the 
 work of Pheidias ; it is 
 called the Apollo of the 
 Locusts, because, when the 
 land of Attica was ravaged 
 by locusts, the god pro- 
 mised to drive them away. 
 
 The temple and image of 
 Zeus were erected from the 
 spoil taken by the Eleans, 
 when they reduced Pisa and
 
 THE ATTIC SCHOOL 
 
 8e 
 
 roi> f pya(rd[j.fvov TO ayaAp.a 
 et^ai /cat e7rtypap.p;d earir es 
 fiaprvpiav vno TOV Aids ye- 
 ypap.p;eVoi> rots Trotn, 
 ^eiStaj Xap/jii8ou IHOS 'A0TJ- 
 
 vato's /x' eTroiTjtre. 
 ... II. I /ca0e'erat fj.ev 877 6 
 
 i ol TTJ K(f)aXfi 
 (j.fj.ilj.rifj.vos 
 ey /if r 7) r?7 8 
 
 e^ t\f(j)avTos KOI ravrriv Kal 
 XpucroC, TOLivlav re ej(ouo-ai' /cat 
 eTrt TT) KetyaXfj crreffravov' rfj 
 8e apLcmpa TOV Oeov x et P' 
 erecrrt a~K.i]TiTpov fxeraAAots 
 ro?? Tracrt btrivOicr^vov. 6 8e 
 
 eTTi TO) o-/c7j7rrpft) 
 s ecrriv 6 aero'?. 
 
 /cat l/iartoy axravTtos ecrri. T<a 
 a)8td re /cat TUV 
 TO, Kpiva earii; e/i77e- 
 e'va. 2. 6 8e 6povos 
 Trot/ct'Ao? fxer XP U(T< ? Ka ' At^ot?, 
 770t/ctAos 8e /cat e/3x> re /cat 
 eAe'cpayrt etrrt /cat wa re e?r' 
 auroD ypac^Tj p.fp.ifj.r]p.^va, /cat 
 aydA/xard eo'rti' etpyacr/xera. 
 Nt/cai /uev 8^ reWapes, xP* v ~ 
 
 the other dependent cities 
 which joined in revolt 
 against them. That Phei- 
 dias was the sculptor of the 
 image is proved by the in- 
 scription graven beneath 
 the feet of Zeus : 
 Pheidias, son of Charmides, 
 the Athenian, made me. 
 Now the god is seated 
 on his throne, and is made 
 of gold and ivory : on his 
 head rests a garland which 
 imitates sprays of olive. 
 In his right hand he bears 
 a Victory, also of ivory and 
 gold, which holds a fillet 
 and has a garland on its 
 head ; and in his left there 
 is a sceptre inlaid with 
 every kind of metal ; the 
 bird which is perched on 
 the sceptre is the eagle. 
 The sandals of the god 
 and likewise his robe are 
 of gold. On the robe are 
 wrought figures and flowers; 
 these latter are lilies. The 
 throne is diversified with 
 gold and precious stones 
 and ebony and ivory ; and 
 there are figures upon it. 
 painted and sculptured.
 
 86 
 
 GREEK SCULPTURE 
 
 Kara CKCHTTOV TOV Opovov iroba' 
 dvo bf fl(T\v aAAai Trpos l/cdcr- 
 
 TOV TTffy TToboS. TtitV 
 
 8e cuarfpu) rGtv 
 Ttalbts re fa&civrai 07;/3aia>z> 
 into 2$iyy<2i; fjpiraa'iJ.fi'Oi, xai 
 VTTO TO.S 2$tyyas Nio/37js TOV? 
 
 owri Kai 
 
 8e rou 6povov 
 
 Tfacrapfs navovcs (l<riv, CK 
 
 irobb* (S 7ro'8a (Tfpov SI 
 
 Imurrof. TO) /xev 8rj /car' 
 
 r^s fcroSou KO.VOVI, CTTTO eoru; 
 
 dyaA/xara e::' airu). TO yap 
 
 oy8ooy c^ avToii' OVK "icraai 
 
 rpoirov ovTiva eytvero a 
 CIT/ 8' av dycoricr/idrcoi; ap\ai(av 
 TO.VTO. fj.iij.T/iij.aTa' ov yap TTCO 
 ra es TOVS TratSas firl T]\iK.ias 
 
 TOV 8e avTor raivia ryv Ke<pa- 
 \yv ava.boviJ.fvov coiKtVat TO 
 
 be 'HAeiov TOV Hav- 
 TapKr]v TraibiKO. flvai TOV <I>et- 
 
 Siou. dfei'AeTo 8e Kat e 
 6 YlavTapKrjs TraArj? 
 
 CKT7J TTp^ 
 
 4. em 8e TWV 
 Kavovcav Tols AOITTOIJ 6 Ao')(os 
 6(JTtj; 6 avv 'H/jaxAei 
 
 There are four Victories in 
 the attitudes of the dance 
 on each leg of the throne ; 
 and two others at the foot 
 of each leg. On each of 
 the front legs rest Theban 
 youths in the clutches of 
 Sphinxes, and beneath the 
 Sphinxes are the children 
 of Xiobe, whom Apollo and 
 Artemis are shooting with 
 arrows. Between the legs 
 of the throne are four bars, 
 each of which extends from 
 one leg to the next. On 
 the bar which faces the 
 entry are wrought seven 
 figures. For the eighth 
 disappeared in some mys- 
 terious way. These must 
 be representations of the 
 old contests ; for the 
 contests for boys had not 
 been instituted in Pheidias' 
 time. They say that the 
 boy who is binding his 
 hair with a fillet is like 
 Pantarkes in countenance, 
 and that Pantarkes was a 
 youth of Elis who was be- 
 loved by Pheidias. Pan- 
 tarkes won the victory in 
 the boys' wrestling-match
 
 THE ATTIC SCHOOL 
 
 87 
 
 jj.ei>os irps /a 
 
 fj.fv or] o~vi'a[j.(poTp(i)v 
 
 earl KOI fiKocn' TeYa/cTai 5e 
 
 TOIS 
 
 TO 'HpaxAet. di/e'xowt 8e ovx. 
 
 Ot TTo'SeS fJLOl'Ol TOV OpOVOV, 
 
 dAAd xat Ktoyes leroi TOIS 
 
 TtoV 
 
 toi' re 
 
 VTTO TOV dpovov, uxnrep ye 
 es TO 
 
 dpovov Trapfp\6^.e9a' fv ' 
 irta 8e epvp.ara rpoTrov 
 
 5- TOVTOJI; T&V 
 
 6vp<av 
 fo-rlv a\r]\iTTTai Kvavtp povov, 
 
 TO. AoiTTO OVTUtV TTapf^fTai 
 
 HavaLi-ov ypa<^d?. ... 7. e^ri 
 8e TOIS di/coTara) TOU dpovov 
 6 
 
 rjv TOV ayd\p.a.Tos TOVTO 
 ev XdpiTas TOUTO 8e "llpa?, 
 e/caTepas. ... TO WTTO'- 
 8e TO VTTO TOU Atdj TOI? 
 7TO(ny, VTTO Tciiv ev TT) ATTIKT; 
 
 dpaviov, 
 Cs Kat Tjcrecos tT 
 
 , TO 
 
 avbpayddrjiJLa es ov^ o/xo- 
 8. 7Tt 5e ToiJ (Badpov 
 TOV TOV Opovov TC dye' 
 
 in the 86th Olympiad (436 
 B.C.) On the remainingbars 
 are represented Herakles 
 and his troop engaging the 
 Amazons in battle. The 
 number of both parties 
 amounts to twenty-nine ; 
 and Theseus has a place 
 among the allies of Hera- 
 kles. The throne is sup- 
 ported not only by the legs, 
 but also by pillars standing 
 between the legs and equal 
 to them in number. It is 
 not possible to enter be- 
 neath the throne, as one 
 goes into the interior of the 
 throne at Amyklai ; for at 
 Olympia there are screens 
 like walls which bar the 
 ingress. Of these screens 
 that which is opposite the 
 door is covered with plain 
 blue enamel ; but the rest 
 of them are decorated with 
 paintings by Panainos. On 
 the uppermost part of the 
 throne Pheidias has repre- 
 sented above the head of 
 the image the Graces and 
 the Seasons each three in 
 number. The stool upon 
 which the feet of Zeus rest
 
 GREEK SCULPTURE 
 
 Kat 00-05 aAAos KO'O^OJ 
 TOV Ata, e77t TOVTOV Tov fiddpov 
 Xputra TroiTj/iara, dya/Se/STj/coi)? 
 CTTI apjua "HAtos, KOI Zevs re" 
 ecrrt Kai^Hpa^ar 
 Trapa 5e CLVTOV Xapts' 
 8e 'Epp.?/? l^erat, roC 
 8e 'Etrria' /lerade rT/y' 
 "Epcos early ex 
 ' A(f)pobirrjv aviovcrav inr 
 p.evos' ri]v be. 'A^poStrTjj; ore- 
 (fravol Tleidto. eTreipyaorai 8e 
 Kat 'ATToAAwy crvv 'Aprep.ioi, 
 'AOrjva T Kal c HpaKA?}s, KOI 
 ^8rj rou fiaOpov Trpo? rw Trepan 
 'A[JL(f)LTpirr] KOI riofreiS&uj, 2e- 
 re tTTTroj; ejuoi 8oxety 
 . rots 8e tcrriv flr- 
 
 OI ovx t^Trou, KOI 
 Aoyof ye riya em TW ^/xtoVa) 
 Ae'youo-ty (vrjOrj. 9. /ieVpa 8e 
 TOU ef 'OAv/xTua Atos es dv/^os 
 re /cat eupos eTrtara/ie^oy 
 yeypa/i/ieVa OVK ev eTraiva) 
 
 KOI ra 
 /ieVpa TroAv ri 
 
 avros 
 
 7; rots t8oOo-i TTaptoTqKfv e? ro 
 ayaA/xa 8o'^a, OTTOU ye *cat av- 
 TOI; rov ^eoy /naprupa es rou 
 
 Ae'youo-tj;. is yap STJ 
 
 (which in the Attic dialect 
 is called 'thranion') is deco- 
 rated in relief with golden 
 lions and the battle of 
 Theseus and the Amazons, 
 the first deed of valour per- 
 formed by the Athenians 
 against an alien race. On 
 the base which supports the 
 throne of Zeus and all its 
 adornments, are figures of 
 gold Helios mounted on 
 his chariot, Zeus, Hera, 
 Hephaistos and beside him 
 Charis : next to her is Her- 
 mes, and next to Hermes, 
 Hestia ; after Hestia comes 
 Eros, who is receiving 
 Aphrodite as she rises from 
 the sea ; and Persuasion is 
 crowning her. Apollo, too, 
 is represented on the base 
 with Artemis, and Athena 
 and Herakles, and at the 
 end of the base are Am- 
 phitrite and Poseidon and 
 Selene, riding on a horse, 
 as I hold. Some, however, 
 have said that the goddess 
 is mounted on a mule, 
 not a horse, and they tell 
 a foolish tale about the 
 mule. The measurements
 
 THE ATTIC SCHOOL 
 
 89 
 
 7)8/7 T0 ayo.Xfj.ci 
 
 TUV Oeov, d TO epyov 
 vTw /cara yv<afj.r]v' av- 
 
 8' fS TOVTO TOV fbd(f)OVS 
 
 KaTCKT/cT/v/mt Kfpavvov (framv, 
 Hvda vbpia /cat es e/xe e7ri0r;/xa 
 TJV fj xaA/CT). IO. ocroz; 8e TOV 
 fba(f)ovs fcrTiv ffj-Trpocrdev TOV 
 dyaA/xaroj, TOUTO ov 
 
 l 8e e 
 
 \C6ov Tlapiov 
 etfai TW eAaiw rw 
 efoj. eAaioy ya/> TW 
 dyaA/xart earn; ey 'OAu/xTrta 
 (rv^^fpov, KO.L eAato'y eort TO 
 airdpyov /x?) yivtvOai TOJ eAe- 
 bia TO 
 
 TIapOevov OVK. lAatov, 
 TO es TOZ; fXe 
 
 a.T yap 
 d/cp07roAea)s ovcrrjs 8td TO ayay 
 v^rjXov, TO ayaA/xa eAe^avTO? 
 TreTroiTj/ieVov i;8cop KCU bpovov 
 
 TTJV CLTTO TOV vSdTOS TTO^Ct. 6V 
 
 /ca^' rjvTiva aiTiav oi;Te {!8a)p 
 T<3 'Aa-KATjiTiai (Tffricriv OVTC 
 -Tty eyxfop-fvov, ebi- 
 ov jue ol Trept TO icpoV, a>s 
 
 of the Olympian Zeus in 
 height and breadth are, as 
 I am aware, recorded, but 
 I will not praise those who 
 measured them ; for the 
 measurements which they 
 give fall far short of the im- 
 pression which the statue 
 makes on a spectator. For 
 they say that the god him- 
 self bore witness to the con- 
 summate art of Pheidias ; 
 when the statue was com- 
 pleted, Pheidias prayed the 
 god to give a sign, if the 
 work was well-pleasing to 
 him ; and immediately (they 
 say) a thunderbolt fell on 
 the very spot, on the floor, 
 where the bronze urn stood 
 in my own day. The whole 
 of the floor in front of 
 the image is paved not 
 with white but with black 
 marble. This black pave- 
 ment is surrounded by a 
 border of Parian marble, 
 which keeps in the oil which 
 streams from the statue. 
 For it is oil which is best 
 fitted to preserve the statue 
 at Olympia, and protects 
 the ivory against damage
 
 90 GREEK SCULPTURE 
 
 K.a.1 TO ayaX/zct rou Oeov /cat 6 from the marshy atmo- 
 ej TTCTTOI?;- sphere of the Altis. But in 
 the case of the so-called 
 Parthenos on the Akropolis 
 of Athens it is not oil but 
 water which keeps the ivory 
 sound. For since the Akro- 
 polis is dry owing to its 
 great height, the statue, be- 
 ing made of ivory, requires 
 water and the moisture 
 which water gives. At Epi- 
 dauros, when I inquired as 
 to the reason why they 
 pour neither water nor oil 
 into the Asklepios, the 
 attendants of the temple 
 told me that both the 
 image of the god and his 
 throne stood over a w r ell. 
 
 On the Olympian Zeus and the monument representing it see Ov. 
 I*. 356 ff., Coll. I. 528 ff. and references there given. 
 
 -iroiT)Orj 8 6 vaos] The victory over Pisa took place circ. 472 B. C., 
 and the temple was completed in 456 B.C. (Purgold, A. Z. 1882, 
 p. 184). 
 
 (icrdAAois rots -rracri 8w]v0i.<rp.vov] Cp. No. 17 XP V(T <? Sir)vdi(rp.eva of 
 
 wood inlaid with gold. Others suggest decorative knobs. 
 
 NiKai . . . Kal 'AprejAis] The lower section of the leg was de- 
 corated with two Victories, probably back to back, above which 
 were four others, no doubt in relief, with joined hands. The 
 Sphinxes supported the side-rails and the Niobids decorated the 
 side-surfaces of the seat. 
 
 dyuvuriiATtov] Robert suggests ayu>vta-rS)v, since there were never 
 eight ' ancient ' contests. 
 
 ov -yip irco . . . *i8iou] The words are quite meaningless in the 
 context, and the statement is entirely incorrect. Robert transfers
 
 THE ATTIC SCHOOL 
 
 the words to the end of the section and reads OVK Spa, regarding 
 them as part of (Polemon's) argument against the identification of 
 Pantarkes with the figure on the bar : ' P. was victorious as a boy 
 in 436 B. c., he could not therefore have been a boy when Pheidias 
 was at Olympia (sc. in 448 B. C.).' Late authorities repeat a story 
 that Pheidias inscribed ' navrdpKrjs ied\ot ' (after the fashion of the 
 vase-painters and others) on the finger of Zeus. 
 
 v 'AjivKXais] v. No. 38 note, and see Furtwangler's reconstruc- 
 tion, Meisteriverke, p. 706. 
 
 i'pvuara] Murray, followed by the German excavators, interprets 
 this of the barriers enclosing the section of the 'cella' in which the 
 statue stood (see Olympia, Plates, I. xi, xii). It is supposed that 
 the paintings were on the inner surfaces. But Mr. Ernest Gardner 
 (/. H. S. xiv. 2) shows that the screens enclosed the space between 
 the legs of the throne. 
 
 *Epo>s ccrTiv . . . vi7ro8x6(Avos] Possibly copied on the silver-gilt 
 relief from Galaxidi, Gas. Arch. 1879, PI- x i x - 
 
 TO 'Ao-K\Tjm<S] By Thrasymedes of Paros, v. No. 231. 
 
 112. Strab. viii. 353 //<'- 
 yicrrov Se TovTatv V7r%>fe TO 
 TOV Atos 6avov o 
 
 Xap/n'8ot> 'Adrjvalos 
 
 a>s 
 
 OVTOS TOV Vfto oKtv OL(TTO- 
 
 TT/S (TVju^eTjotas TOV 
 Ka.6riiJi.fvov itoiri- 
 aavTa, aTTTofufvov 8e <T\eoov TL 
 rr) Kopvfpfi Trjs dpo(f)i]$, 
 
 TO.L, btavacTTas aTrooreyacreii; 
 TOV V(av. 354 avf-ypa^rav 8e 
 TLVCS TO. jueVpa TOV oavov 
 Kal KaAAt/xaxo? ev la^a) nv\ 
 e^eiTre. TroAAa 8e 
 rw 4>eiSta Yldvaivos 6 
 
 The greatest of these 
 offerings was the statue of 
 Zeus, made of ivory by 
 Pheidias the son of Char- 
 mides the Athenian ; this is 
 of such colossal size that, 
 although the temple is a 
 very large one, the artist 
 seems to have failed to 
 observe proportion, and 
 has represented the god 
 seated, but almost touching 
 the roof with his head, thus 
 creatingthe impression that 
 should he rise and stand 
 upright he would unroof 
 the temple. Some writers 
 have recorded the measure-
 
 GREEK SCULPTURE 
 
 v O.VTOV KOL 
 s, Trpbs TT)I> TOV 
 odvov bia T&V \pu>y.a,Tu>v 
 Koa-fjirjcriv KOI jiaAiora rijs 
 fcrOfJTos. bfiKWVTai Se fcai 
 ypa(f>al TroAAai re *cai 6avp.a- 
 (TTal -ncpl TO ifpbv (Kfivovf-pyo.. 
 
 O.TTOIJ.V11fJ.OVVOV(Tl bf TOV ^1- 
 btoV, blOTl TTpOS TOV TlaVCUVOV 
 flTTf TTVvOaVOfJLfVOV, 77/30? Tl 
 
 ments of the statue, and 
 Kallimachos mentioned 
 them in an iambic poem. 
 Pheidias received much 
 assistance from his nephew 
 and fellow contractor, the 
 painter Panainos, in the 
 decoration of the statue and 
 especially of the drapery in 
 colours. Several remark- 
 able paintings by him are 
 to be seen in the temple. 
 An anecdote is told of 
 Pheidias to the effect that 
 he replied to Panainos (who 
 inquired of him after what 
 pattern he intended to re- 
 present Zeus), 'by the 
 pattern exhibited by Homer 
 in the following lines : 
 
 So spake the son of 
 Kronos and nodded his 
 dark brow, and the am- 
 brosial locks waved from 
 the king's undying head ; 
 and he made great Olympos 
 to quake.' 
 
 |6avov] In the general sense ' statue,' not necessarily of wood. 
 Cp. No. 35. 
 
 jitrpa] Calculated by Adler (Olympia, Textband ii. p. 13, note i) 
 at seven times life-size. The base measures 6-55 metres in breadth 
 and 9-93 metres in length. 
 
 Ildvaivos] Paus. and Plin. agree that he was the brother of 
 Pheidias See Brunn, K. G. II 2 . 33. 
 
 TT\V eiKova TOV AID'S, on Tipbs 
 TTJV 'O/iTypou bC f-n&v CKTC- 
 Oelcrav TovTO)v' 
 rj Kal Kvavcyo-iv TT' 6<f)pvo-i 
 
 vfvcre Kpovia>v 
 
 afj.j3pocr[cu S' apa \alTai e?re/)- 
 ptoa-airro CLVCIKTOS 
 os air' aOavaToio, y.t
 
 THE ATTIC SCHOOL 
 
 93 
 
 113. Quint, x. 10. 9 
 Phidias tamen dis quam 
 hominibusefficiendis melior 
 artifex creditur, in ebore 
 uero longe citra aemulum, 
 uel si nihil nisi Mineruam 
 Athenis aut Olympium in 
 Elide louem fecisset, cuius 
 pulchritude adiecisse ali- 
 quid etiam receptae re- 
 ligioni uidetur ; adeo maie- 
 stas operis deum aequauit. 
 
 Pheidias, however, is 
 thought to have displayed 
 higher art in his statues of 
 gods than in those of 
 mortals: in ivory indeed 
 he would be without a rival, 
 had he only made the 
 Athena at Athens or the 
 Olympian Zeus in Elis, 
 whose beauty seems to have 
 added somewhat to the 
 received religion ; so ade- 
 quate to the divine nature 
 is the grandeur of his \vork. 
 
 114. Dion Chrys. xii. 14 
 6 8e f)iJ.Tepos (Zeus) dpyviKos 
 KOL Travra^ov Trpao?, otos 
 dorao-iacrrou KOL opovoovcrris 
 TT;? 'EAAdSos eTuir/coiro?. 
 
 But our Zeus is peaceful 
 and mild in every way, as 
 it were the guardian of 
 Hellas when she is of one 
 mind and not distraught 
 with faction. 
 
 115. Paus. vi. 4. 5 6 8e TTOIS 
 6 ava^ovp,vos Taiviq rrjv Kf<f>a- 
 XT/I; e7mcr77)(0a> /xoi KCU OVTOS 
 fs TOV \6yov ^eiSiou re e^e/ca 
 KOL TTJS es ra dyaA/xara TOV 
 4>et8tou tro^ia?, CTTCI aAAcos 
 
 ye OVK 1<T)JLV OTOV TT]V fLKOVO. 
 
 6 
 
 Let us also mention the 
 youth binding his hair with 
 a fillet for the sake of 
 Pheidias and his skill in 
 sculpture, since we have 
 no means of knowing whose 
 portrait it was that Pheidias 
 here represented. 
 
 Identified by Loschcke and others with Pantarkes (v. No. in).
 
 94 
 
 GREEK SCULPTURE 
 
 116. Paus. vi. 25. i COTI 5e 
 
 Trjs OTOaj O77Ura> T7/S CLTTO T&V 
 
 \a<j>vp<av T&V ex Kop/cvpas 
 
 paviav' 
 
 raj va<p 
 
 Behind the colonnade 
 erected from the spoils of 
 Korkyra there is a temple of 
 Aphrodite; and the goddess 
 in the temple is called Ura- 
 nia and is made of ivory and 
 gold, the work of Pheidias. 
 
 77081 (Trl xt^vvris /3e- With one foot she is tread- 
 fir)Ke. ing on a tortoise. 
 
 At Elis. 
 
 Plut. Coni. Praec. 32 explains the tortoise as a symbol of silence 
 in the wife. 
 
 Ov- 
 
 8e eon KOI 
 
 III. MISCELLANEOUS. 
 
 117. Plin. N. H, xxxiv. 
 53 Uenere autem in certa- 
 men laudatissimi quanquam 
 diuersis aetatibus geniti, 
 quoniam fecerant Ama- 
 zonas, quae cum in templo 
 Dianae Ephesiaedicarentur, 
 placuit eligi probatissimum 
 ipsorum artificum (qui 
 praesentes erant) iudicio, 
 cum apparuit, earn esse 
 quam omnes secundam a 
 sua quisque iudicassent ; 
 haec est Polycliti, proxuma 
 ab ea Phidiae, tertia Cre- 
 silae, [quarta Cydonis], 
 quinta Phradmonis. 
 
 Sculptors of the highest 
 fame, though of different 
 ages, were brought into 
 rivalry, since all had made 
 statues of Amazons, which 
 werededicated in the temple 
 of Artemis at Ephesus. It was 
 determined therefore that 
 the most highly approved 
 should be selected by the 
 derision of the artists them- 
 selves, who were present. 
 It then appeared that it 
 was the one which each 
 placed second to his own, 
 namely that of Polykleitos. 
 That of Pheidias came next, 
 that of Kresilas third, [that 
 of Kydon fourth], and that 
 of Phradmon fifth.
 
 THE ATTIC SCHOOL 
 
 95 
 
 The anecdote is valueless ; but statues of Amazons would be 
 natural offerings to the temple which they were said to have 
 founded, and Amazons by the artists named may well have stood 
 there ; possibly the four in question may have formed a single 
 existing offering. On the types traceable to these statues see 
 Michaelis, Jahrb. 1886, p. 14 ff., PI. i-iv. and Furtwangler, 
 Meistei wttrke, p. 286 ff. 
 
 quarta Cydonis] Kresilas (No. 148) was a native of Kydonia in 
 Crete, and hence might be called KuSwj/. Pliny misinterpreted the 
 term as the name of an artist. 
 
 Phradjnonis] Dated Ol. 90=420 B.C. by Pliny. His other 
 works were : (l) Portrait of Amertas of Elis, victorious in the 
 boys' wrestling-match at Olympia (Paus. vi. 8. i) ; (2) a group of 
 twelve kine, dedicated by the Thessalians to Athena Itonia from 
 the spoils of the Illyrians, in bronze (Anth.Pal. ix. 743). He was 
 a native of Argos. 
 
 118. Lucian, EuoVes 4 TI]V 
 'AfAafom rjji> e-epeiSop.eVrjz' rw 
 8opan'a> ... 6. In K<H oro'/iaros 
 6 avrbs ^eiSta? *al 
 
 TOV av^fva. 
 
 Cp. Nos. 83, 103, 127. 
 
 119. Plin. N. H. xxxiv. 
 54 Phidias . . . fecit ... ex 
 aere uero praeter Amazonem 
 supra dictam Mineruam 
 tarn eximiae pulchritudinis 
 ut formae cognomen ac- 
 ceperit ; fecit et cliduchum 
 et aliam Mineruam quam 
 Romae Paulus Aemilius ad 
 aedem Fortunae huiusce 
 diei dicauit, item duo signa 
 quae Catulus in eadem aede 
 
 The Amazon who is lean- 
 ing on her spear . . . Pheidias 
 too shall borrow from his 
 Amazon the setting of her 
 mouth and her neck and 
 bestow them on her. 
 
 Beside the Amazon men- 
 tioned above, Pheidias made 
 in bronze an Athena of 
 such surpassing beauty that 
 she received the surname 
 of ' the Beautiful ' ; he also 
 made the Keeper of the 
 Keys and another Athena 
 which Aemilius Paulus 
 dedicated at Rome close to 
 the temple of Fortune, 
 where it stands to this day,
 
 GREEK SCULPTURE 
 
 palliataetalterumcolossicon two draped statues which 
 nudum, primusque artem Catulus dedicated in the 
 toreuticen aperuisse atque same temple and a colossal 
 demonstrasse merito iudi- nude figure. He is justly 
 catur. held to have been the first 
 
 to reveal the art of sculpture 
 and to point out the path to 
 his successors. 
 
 This Athena is commonly identified with the Lemnia, No. 102. 
 
 formae] It is not necessary to emend ' formosae,' since ' cogno- 
 men formae,' ' the appellation of Beauty,' could mean ' the name 
 Beautiful,' or 'forma' might mean ' Beauty itself ; cp. iracundiam, 
 No. 223. Jahn suggests that Pliny is translating ' Mop<o>.' 
 
 cliduchum] K\i8ov^ov. Two interpretations are possible : (i) 
 a priestess. The temple-key was the symbol of the priestess, and 
 the adjective n\ei8ovxs is thus applied. Cp. No. 228, and for the use 
 of the word in poetry Aesch. Supp. 291, Eur. /. T. 132. (2) The 
 Athena Promachos. The work is mentioned in a list of Athena 
 statues, and Ar. Thesm. 1140 speaks of Athena v TO\IV ^fripnv ?x 
 . . K\T)8ovxos T( Ka\(irai. The name might be applied to the 
 Promachos as ' keeper of the keys ' of the Akropolis. 
 
 primusque . . . iudicatur] On the series of criticisms to 
 which this belongs, v. Introduction, 2. 
 
 toreuticen] TopevriKiji/, sc. rexvrjv. Pliny takes the word from 
 Greek sources in which it has the general sense of sculpture, not 
 the special sense of repousse-work in metal. Thus in his list of 
 authorities he mentions ' Antigonus qui de toreutice scripsit,' and 
 cp. xxxv. 77 neque in hac (pictura) neque in toreutice ullius qui 
 seruierit opera celebrantur. 
 
 120. Paus. x. 10. i r<j> 
 8e T(5 VTTO TOV ITTTTOV 
 TOV ftovpfiov CTiYypa/z/za /ue'v 
 eoriz> OTTO Se/caTT/s TOU Mapa- 
 dtaviov epyou Tfdijvai ras 
 fieri 8 'A6r]va re KCU 
 , Kal avrjp T&V <rrpa- 
 
 On the base of the wooden 
 horse there is an inscription 
 which states that the statues 
 were set up from the tithe 
 of the spoils of Marathon ; 
 they represent Athena and 
 Apollo, and one human
 
 THE ATTIC SCHOOL 
 
 97 
 
 e/c 8e 
 
 KaXovfUvtov 'Epe- 
 re *ai Ke'/cpox//- /ecu 
 /cat Aecos re /cat 
 'Avrio)(os 6 ex MrjSas'Hpa/cAet 
 yevdpevos rfjs 4>vAayro?, en 5e 
 Atyevs re KCU 7rcu5a>v T&V 
 Qr)<reu>s 'A/cd/xas' ovroi fxei> 
 /ecu cpuAcus 'A07/yjj(riz; ovo^ara 
 Kara //azrrev/xa fboaav TO ex 
 AeAc^wv. 6 6e 
 Ko'Spos Kai 0Tj(revs Kat 
 
 OVTOt 8e OVKtTL T&V fTI (i)VV fJ.lt)V 
 
 fieri. 2. TOVS /xey 8^ KareiAey- 
 
 Ao'yw 5e/ccm; /cat ovrot 
 
 r?/? 
 
 figure, that of Miltiades 
 the general, besides the so- 
 called heroes Erechtheus, 
 Kekrops, Pandion, Leos. 
 Antiochos (the son of 
 Herakles, by Meda the 
 daughter of Phylas), also 
 Aigeus and Akamas, one of 
 the sons of Theseus ; these 
 gave their names to the 
 Attic tribes as the oracle of 
 Delphi prescribed ; there 
 are also Kodros the son of 
 Melanthos and Theseus and 
 Phileas, who are not among 
 those by whose names the 
 tribes were called. The 
 above-mentioned were made 
 by Pheidias,and are genuine- 
 ly part of the offering from 
 the spoils of Marathon. 
 At Delphi. 
 
 Kara jxavreujxa] Kleisthenes submitted 100 names, from which the 
 oracle selected ten (Aristotle, 'A0. IIoA. c. 21, 6). 
 
 *i\os] So Curtius for 3>vAf i's of MSS. 
 
 d\T]ei \6y<a] Statues of the eponymi of the three new tribes 
 'Ayrtyonr, A^/iijTpiur, riroXf/W?, were afterwards added. These 
 were Antigonos I and his son Demetrios Poliorketes (added 307 
 B. C.) and Ptolemy Philadelphos (285-247 B. c.). (So Paus. ; Beloch 
 believes that we should substitute the name of Ptolemy Euergetes 
 (247-221 B.C.). 
 
 121. Paus. vii. 27. 2 /card By the road to the town 
 8e r?V 6bbv e? avrfji; TT\V TTO\IV itself is a temple of Athena 
 etrrij; 'A^Tjvas At'tfou n\v ein- built of the local stone, and 
 
 H
 
 GREEK SCULPTURE 
 
 vaos, e\e<t>ai'Tos be TO the image is of ivory and 
 
 KOI xpwoi!' 4>et8iaz' gold : they say that Pheidias 
 
 be etpoi TOV eipyaoyxeVor cpacri, made it before he made 
 
 TrpoTepov In r) ev TT; aKpoiro- the statues of Athena on 
 
 Aei re avToy TTJ 'AdrjvaMv KOL the Akropolis of Athens 
 
 ev OAaTaiaiy TTOIT/O-OI TT}? and at Plataea. 
 TO ayaA/xara. 
 
 nqv iroXiv] Pellene in Achaia. 
 
 *v ITXaTauvis] V. next No. 
 
 122. Paus. ix. 4. i rFAarai- 
 
 be 'A0Tji;as 67 
 'Apet'as eorir iepov' ta 
 
 cr(j)L(n.v 'Adrjvaioi rfjs tv Mapa- 
 05>vi aTTfvfL^av. TO pfv 5rj 
 ayaA/xa 6avov (<mv CTTI- 
 \pv<rov. Trp6<T(mrov be ol KOL 
 \fipes a/cpai xat 7r 
 TOV YlevTeXrja-Cov el(ri' pe- 
 fjiev ov 7roAv 8?j TI aTroSet TT)S 
 ev dxpOTToAei x a ^ K ^ ? ^ v K " 
 avTrjv'Adrjvaloi. TOV Mapa.6G>vi 
 a-y>vos aveOrjKav. 
 e cai OAaTaieCo-iy 
 771; 6 T^S 'A^Tjyay TO ayaAp.a 
 
 The Plataeans have a 
 temple of Athena, sur- 
 named Areia, which was 
 built from the share of the 
 spoils of Marathon assigned 
 to them by the Athenians. 
 The image is of wood gilt, 
 and the face, hands and 
 feet are of Pentelic marble : 
 in size it is not much smaller 
 than the image of bronze 
 on the Akropolis, which 
 was also dedicated by the 
 Athenians as the firstfruits 
 of their victory at Mara- 
 thon. It was Pheidias. too, 
 who made the image of 
 Athena for the Plataeans. 
 
 123. Paus. ix. 10. 2 TrpcSra 
 fj.ev 8rj \idov Kara TTJV Zaobov 
 eariv 'Adyva nal 'Ep/iTjs ovo- 
 
 First of all there stand 
 at the entrance of the tem- 
 ple statues of Athena and
 
 THE ATTIC SCHOOL 
 
 99 
 
 Hpovaoc Trot^o-at Hermes, called the ' Gods 
 5e avTov <f>et8tas . . . Aeyerai. before the Shrine ' : the 
 
 Hermes is said to be the 
 work of Pheidias. 
 
 At Thebes. The temple is the Ismenion. 
 
 124. Plin. N. H. xxxvi. Tradition tells that Phei- 
 15 Et ipsum Phidian tra- dias himself also worked in 
 dunt sculpsisse marmorea marble, and that there is 
 Ueneremque eius esse Ro- an Aphrodite by his hand 
 mae in Octauiae operibus of surpassing beauty in the 
 eximiae pulchritudinis. gallery of Octavia at Rome. 
 
 Octauiae operibus] Built by Augustus in the name of his sister 
 Octavia. A colonnade (Porticus Octauiae) enclosed two temples 
 (of Jupiter and Juno) and a public library (Curia Octauiae). It was 
 destroyed by fire under Titus. 
 
 125. Demetr. de Eloc. 14 The oratory of the school 
 77 Sc T&V ftera ravra cpfjLrjvfia which followed them is like 
 TOIS <I>ei8iou e/syots T/OTJ eoiKeu, the works of Pheidias ; it 
 
 TL Kal p.eya.\fiov KOL is at once sublime and 
 apa. precise. 
 
 Cp. No. 87. 
 
 2. THE PUPILS OF PHEIDIAS. 
 
 (a) ALKAMENES. 
 
 Date. He is represented as a rival of Pheidias in Pliny's 
 chronological table under Ol. 88 (448 B. c.), by Paus. in his account 
 of the west pediment of Olympia (No. 134), and by Tzetzes, but 
 (more probably) as \ns> pupil by Pliny in the alphabetical list (v. No. 
 1351 and in Bk. xxxvi. Putting aside the sculptures at Olympia, 
 the only certain date is that of No. 133 (403 B.C.), which accords 
 with the latter version. Suidas calls him a Lemnian, Tzetzes an 
 islander ; but their authority is of little value. 
 
 H 2
 
 100 
 
 GREEK SCULPTURE 
 
 126. Plin. N. H. xxxvi. 
 
 16 Alcamenen Athenien- 
 sem, quod certum est, 
 docuit (Phidias) in primis 
 nobilem, cuius sunt opera 
 Athcnis complura in aedi- 
 bus sacris, praeclarumque 
 Ueneris extra muros, quae 
 appellatur ' A.(j>pobirri ev K?j- 
 TTOIS. Huic summam ma- 
 num ipse Phidias imposuisse 
 dicitur. 
 
 It is certain that Pheidias 
 was the teacher of Alka- 
 menes the Athenian, an 
 artist of the first rank, 
 whose works are to be found 
 in many of the temples at 
 Athens : by him is also the 
 famous statue of Aphro- 
 dite without the walls, 
 called the 'Aphrodite in 
 the Gardens.' Pheidias 
 himself is said to have put 
 the finishing touches to 
 this work. 
 
 quod certum est] Should be taken with 'docuit,' not (as by 
 Robert, who is disposed to favour the Lemnian origin of A.) with 
 ' Atheniensem.' 
 
 \ K-qwois] The gardens on the banks of the Ilissos, to the south- 
 east of the Akropolis. 
 
 The type is generally recognized in the so-called Venus Genitrix 
 (F. W. 1208). See Ov. I 4 . 437. 
 
 The cheeks and promin- 
 ent parts of the face he 
 shall borrow from Alka- 
 menes and the Goddess in 
 the Garden, and further- 
 more the hands and the 
 symmetry of the wrists 
 and the delicacy of the 
 
 127. Lucian, Etafeci 6 TO. 
 
 bf /cat o(TO. rfjs otyecos 
 dzmoTra Trap' 'AX/ca/uteVou? /cal 
 TT/S tv KT/TTOIS A^erat /cat 
 TrpocreVt xeip<Sy a/cpa /cat /cap- 
 
 TtG>l> TO (Vpv6fJ.OV KOI ba,KTV\0)V 
 
 TO fvdyaiyov es \(TTTOV airo- 
 \iiyov Trapa TT/S (v KTJTTOIS /cat 
 TauTa. 
 
 Cp. Nos. 83, 103, 1 1 8. 
 
 128. Plin. N. H. xxxvi. 
 17 Certauere autem inter 
 
 taper fingers he shall take 
 from the same goddess. 
 
 Both pupils competed in 
 representing Aphrodite, and
 
 THE ATTIC SCHOOL 
 
 101 
 
 se ambo discipuli Uenere 
 facienda uicitque Alca- 
 menes non opere sed ciui- 
 tatis suffrages contra pere- 
 grinum suo fauentes. 
 
 Alkamenes bore the palm, 
 not by the merit of his 
 work, but by the votes of 
 his city, whose people sup- 
 ported their townsman 
 against an alien. 
 
 ambo discipuli] The other was Agorakritos of Paros (No. 136). 
 Both were pupils of Pheidias. There is no reason to identify this 
 Aphrodite with 17 ev KTJTTOIS. 
 
 Alkamenes was in my 
 opinion the first to repre- 
 sent Hekate by three figures 
 joined to each other. The 
 Athenians call his statue 
 Hekate on the Bastion ' : 
 it stands beside the temple 
 of Wingless Victory. 
 
 129. Paus. ii. 30. 2 ' 
 
 de, fJ.ol boKflv, TTp&TOS 
 
 dyaA/xara 'E/carr/s rpi'a eTrot- 
 TJCTC 7Tpo(Txo[Jiva dXATjAot?, fjv 
 \\6rjvaioi KaXovcriv 'E7ri77up- 
 yibiav eorTj/ce 8e Trapa TTJS 
 
 TOV vaov. 
 
 dXAr)Xois] Leaning against a pillar, back to back. 
 See Miss Harrison, Mythology and Monuments, p. 378. 
 NIKTJS] Athena Nike, v. No. 82. 
 
 130. Paus. i. 20. 3 TOV 
 5c eari wpos TU> 
 TO apxaioTaTov iepov' 
 
 OVO 6c flfTiV CITOS TOV TTpl- 
 
 /So'Aou vaol KOI Aiovwoi,, o re 
 
 no \pv- 
 
 <rov. 
 
 Close to the theatre is 
 the most ancient precinct 
 of Dionysos : within its 
 walls are two temples and 
 two images of Dionysos 
 one the Dionysos of 
 Eleutherai, the other that 
 which Alkamenes made of 
 ivory and gold. 
 
 Represented on coins of Athens, Num. Comm. CC. 1-3.
 
 IO2 
 
 GREEK SCULPTURE 
 
 131. Cic. N. D. i. 30 
 Athenis laudamus Uulca- 
 num eum. quern fecit Alca- 
 menes, in quo stante atquc 
 uestito leuiter apparet clau- 
 dicatio non deformis. 
 
 We admire the Hephai- 
 stos made by Alkamenes 
 at Athens, in whom, though 
 he is standing upright and 
 clothed, lameness is slightly 
 indicated in a manner not 
 unpleasing to the eye. 
 
 132. Paus. i. I. 5 eo-rt oe 
 Kara rfjv obdv rrjv cs 'A07juas 
 e 4>aA.77pou vabs "Upas ovre 
 Ovpas f\(av ovTf opocpov' Map- 
 <pa<nv avrbv 
 
 TOV r<o/3pvov. TO 5e ayaA/uia TO 
 vvv 8?;, Ka^a \yov(TLV, 'AA/ca- 
 Hfvovs ((rrlv (pyov' OVK av 
 TOVTO ye 6 M^Sos eirj 
 
 MapBowov] In 479 B. C. 
 
 On the way from Pha- 
 leron to Athens is a temple 
 of Hera which has neither 
 door nor roof: they say 
 that it was burnt by Mar- 
 donios, the son of Gobryas. 
 The image which now 
 stands there is said to be 
 the work of Alkamenes : in 
 that case it certainly could 
 not have been damaged by 
 the Persians. 
 
 Petersen identifies the type with that of Overbeck, Kitnstmyth. 
 PI. xv. 20. 
 
 133. Paus. ix. n. 6 
 0pacn;/3ouAos oe 6 AVKOV KOL 
 'A0r)vai(ov oi <rvv CLVTM rupav- 
 rt8a rrjv ru>v TpiaKOvra KCLTO.- 
 yap (r<pt.- 
 
 doboy, 'A6i]vav KOL 'HpaxAca 
 Ko\ocrcrovs (ill TVTTOV, \idov TOV 
 
 Thrasybulos, the son of 
 Lykos, and the Athenians 
 who joined him in putting 
 an end to the tyranny of the 
 Thirty, having madeThebes 
 the starting-point of their 
 return, dedicated a colossal 
 relief representing Athena
 
 THE ATTIC SCHOOL 
 
 103 
 
 and Herakles in Pentelic 
 marble, by Alkamenes, in 
 the shrine of Herakles. 
 
 TvpawiSo. -rfjv TWV TpiaxovTa] 404-403 B. C. 
 
 KoXoo-o-ovs . . . Xi0ou] The simplest alteration of the corrupt text 
 KoXofftroG eVt \i6ov TLTTOU. m TU-ITOV is a technical expression = ' in 
 relief.' Cp. ix. II. 3 tnl rimov yvvai<a>v fiKuvc. 
 
 134. Paus. v. 10. 8 rd /ia- 
 8r) ffjiTTpocrdfv fv rots derois 
 errrt ITaicoytou . . . ra e OTTI- 
 adtv avrcoy ' A.\na.fJLtvovs av- 
 6pos f}\iK.lav re Kara 
 Kat Sevrepcta 
 
 ra 8e 
 
 rois derois 
 
 The pediment sculptures 
 of the front are by Paionios ; 
 those of the back are by 
 Alkamenes, a contemporary 
 of Pheidias,and second only 
 to him in the sculptor's art. 
 His pediment - sculptures 
 represent the battle of the 
 Lapithai and Centaurs at 
 the marriage of Peirithous. 
 In the centre of the pedi- 
 ment is Peirithous : on one 
 side of him is Euiytion, 
 who has seized the wife of 
 Peirithous, and Kaineus, 
 who is helping Peirithous, 
 on the other is Theseus 
 defending himself against 
 the Centaurs with an axe. 
 There are two Centaurs, 
 one of whom has seized 
 a maiden, the other a beau- 
 tiful boy. 
 
 On the pediment sculptures of Oiympia and their restoration 
 v. Ov. 1 4 . 349 ff., Coll. I. 436 ff. and references there quoted. The 
 style of the west pediment forbids us to assign it to the pupil of 
 
 ya/^ia) TT/JOS Keyravpouj ^ 
 xard ^ev 5r/ roC deroS 
 Ileipi'flous ccrri' Trapa 8e avrbv 
 TTJ ju.ev Evpuri'cov ^pTraKais r^y 
 yvvaiKa ecrri rou ITeipt^ou Kal 
 afj.vva>v Kaivevs rai 
 r?} 8e Tj 
 TreAeKei rovs Kevravpous. KeV- 
 raupos 5e 6 /xei> irapdevov, 6 
 6e 7rai5a ^pTr
 
 IO4 
 
 GREEK SCULPTURE 
 
 Pheidias and artist of No. 132 ; we should have to assume an earlier 
 Alkamenes (perhaps the Lemnian of Suidas). But Paus. may have 
 been misled by a baseless tradition. See No. 175 note. 
 
 rieiptflovs] The figure is on a larger scale than the rest, and must 
 represent a god, probably Apollo. 
 TYJV YwaiKa] Deidamia. 
 
 135. Plin. N. H. xxxiv. Alkamenes the pupil of 
 
 72. Alcamenes Phidiae dis- Pheidias made statues in 
 
 cipulus et marmorea fecit marble, and a victor in the 
 
 et aeneum pentathlum, qui five contests in bronze, call- 
 
 uocatur 
 
 ed ' the Chosen Athlete.' 
 
 Klein would correct fyxpu'-y-tvos ('anointing himself), and con- 
 nect with the statue at Munich, M. d. I. xi. 7, but this is not probable. 
 
 Other works by Alkamenes : 
 ARES at Athens (Paus. i. 8. 4). 
 ASKLEPIOS at Mantineia (Paus. viii. 9. i). 
 
 (b) AGORAKRITOS. 
 
 136. Plin. N. H. xxxvi. 
 1 6 Eiusdem (Phidiae) dis- 
 cipulus fuit Agoracritus 
 Parius et aetate gratus, ita- 
 que e suis operibus pleraque 
 nomine eius donasse fertur. 
 Certauere autem inter se 
 ambo discipuli Uenere fa- 
 cienda uicitque Alcamenes 
 . . . Agoracritus ea lege 
 signum suum uendidisse 
 traditur, ne Athenis csset, 
 et appellasse Nemesin ; id 
 positum est Rhamnunte 
 pago Atticae, quod Uarro 
 
 Agorakritos of Paros was 
 also a pupil of Pheidias. 
 who was attracted by his 
 youthful beauty, and so is 
 said to have allowed his 
 name to appear on several 
 of his own works. Both 
 pupils however entered into 
 competition with repre- 
 sentations of Aphrodite, 
 and Alkamenes bore the 
 palm ; Agorakritos accord- 
 ingly sold his statue, as the 
 story goes, on the condition 
 that it should not remain
 
 THE ATTIC SCHOOL 
 
 omnibus signis praetulit. 
 Est et in Matris magnae 
 delubro eadem ciuitate 
 Agoracriti opus. 
 
 certauere] V. No. 128. 
 Nemesin] V. infr. No. 137. 
 Matris magnae] Paus. i. 3. 5 
 himself. 
 
 137. Paus. i. 33. 2 (At 
 Rhamnus) Ne/ie'<rews eortv 
 lepoV, fj Oewv judAiora av6p<a- 
 v/Sptorats earlv a-napai- 
 
 a-jravTcrai 
 (K T7J9 dfov TavTrjs' Kara- 
 (j>povri(Ta.vTes yap (r<piaiv ept- 
 TToScby eirat ray 'Adrjvas e 
 
 7/yor es rpoTraov TTOL- 
 
 TOVTOV 4>l8iaS TOI> 
 
 XLdov flpya.o-a.TO, ayaA/xa /iev 
 Ne/xe'crecos, 717 
 
 ov ^eyaAa' rais 8e 
 
 at Athens, and called it 
 Nemesis ; it was set up at 
 Rhamnus, a deme of Attica, 
 and was preferred by Varro 
 to all statues. There is 
 also a work of Agorakritos 
 in the temple of the Mother 
 of the Gods in the same 
 city. 
 
 ascribes this statue to Pheidias 
 
 (At Rhamnus) there is 
 a temple of Nemesis, who 
 is of all deities the most 
 implacable enemy of in- 
 solent men. It would seem 
 that the barbarians who 
 landed at Marathon in- 
 curred the wrath of the 
 goddess : for thinking in 
 their pride that Athens lay 
 as a prize at their feet, 
 they brought Parian marble 
 for the erection of a trophy 
 as though they had accom- 
 plished their end. This 
 marble was wrought by 
 Pheidias into a statue of 
 Nemesis. On the head of 
 the goddess rests a crown 
 bearing stags and small
 
 io6 
 
 GREEK SCULPTURE 
 
 be CTT'L rij <pid\rj 
 
 ... 7- TTTfpa 8' f\OV OVTf 
 
 TOVTO TO ayaA/za Ne/ie'(rea>s 
 aAAo TTCTroiT/rai T&V dp- 
 . . . . vvv bf 7/817 dictjuu 
 oTioVa tTTi raj ySa^pft) ro{S dyaA- 
 os earir eipyao-jueW, TO- 
 
 croVSe es TO craves TrpoSrjAw 
 
 'EAeVr/ N^fiCOW /^Tjre'pa etrat 
 6e 
 
 avr>i /cat 
 
 epa 8e /cai OVTOI xat Tra 
 Kara ravra "EAATjyes Aia nai 
 ov Twbdpftav flvai POfi^ 
 8. raOra OKJ/KOWS 
 
 V7TO 
 
 A?;8as ayo/xeV'Tji; Trapa r^y Ne- 
 
 re *ai roi;? 7raI8aj KOI avbpa 
 <rvv fTnro) Trapeo-rjjKora, 
 ovofjia' IOTI 8e ' 
 KOI MereAaos *at 
 6 'AxiAAcws, irpcoro? ouros 
 r^v 'EAe'fT/s yv- 
 
 T<j) flaOpv KOI 
 fJLevos KO.I vcavias fcrrlv erepos. 
 ts rovrco aAAo juci^ 7/KOUcra 
 ovbev, abehQovs bf fivai (r^a? 
 d</>' r}s ecrrt ro wo/ma 
 
 images of Victory ; in her 
 left hand she holds an apple- 
 branch, in her right a bowl, 
 on which Ethiopians are 
 represented. Neither this 
 nor any other ancient statue 
 of Nemesis is represented 
 with wings. Next I will 
 describe in order all the 
 reliefs on the base of the 
 statue, premising for the 
 sake of clearness what fol- 
 lows. They say that Helen 
 was the mother of Neme- 
 sis, but that Leda suckled 
 and reared her ; and the 
 people of Rhamnus agree 
 with all the Greeks that 
 Zeus and not Tyndareos 
 was her father. Pheidias. 
 having heard this account, 
 has represented Helen being 
 brought by Leda to Neme- 
 sis, and also Tyndareos and 
 his sons and a man standing 
 by with a horse, Hippeus 
 by name. Agamemnon also 
 is there and Menelaos and 
 Pyrrhos, the son of Achilles, 
 who was the first to take 
 Hermione, the daughter of 
 Helen, to wife. Next in 
 order on the base comes
 
 THE ATTIC SCHOOL 107 
 
 a youth named Epochos 
 and another youth ; of 
 these I could learn nothing 
 except that they were 
 the brothers of Oinoe, 
 after whom the deme is 
 called. 
 
 KaTo4povf|o-avTes] A Herodotean use. Cp. Hdt. i. 66 <car0po>ij- 
 iTavres 'A.pKafta>v Kpf&croixs (out. 
 
 *i8Cas] Antigonos of Karystos (Introduction, i) mentioned 
 a tablet suspended from the statue with the inscription 'A-yopuxpiros 
 ndpios (7roit](T(i>. Others (probably Polemon, cp. Wilamowitz, 
 Antigonos von Karystos, p. 10) retorted that Pheidias had allowed 
 his favourite to inscribe his name on the work which was really 
 his own. 
 
 ayoXno] Ten cubits in height, according to the Lexicographers. 
 Fragments have been found at Rhamnus, and are published in 
 Ath. Mitth. 1890, PL xv (Rossbach). 
 
 e\d<}>ovs x a)V Kai NIICTJS dYaA^aTa] Probably this means that the 
 early type of the winged Artemis holding a stag in each hand (often 
 called the 'Persian' Artemis) was used in the decoration of the 
 circlet. Cp. Diimmler ap. Studniczka, Kyrene, p. 106, n. 102. 
 
 TO> |3d0po>] Several fragments have been discovered, and are pub- 
 lished mjahrb. 1894, PL i-vii (Pallat). 
 
 IIvppos] Neoptolemos. 
 
 138. Paus. ix. 34. i irplv Before arriving at Koro- 
 
 'A\aA/co- nea from Alalkomenai, the 
 
 TTJS 'iTwvias traveller comes to the 
 
 'A0Tji>as fo-rl TO ifpov KoAeirai temple of Athena Itonia : it 
 
 6e CLTTO 'ITOWOV rou 'AJUK^IKTV- derives its title from Itonos, 
 
 ovos, not e? TOV K.OIVOV ovviatTLv the son of Amphiktyon, 
 
 fvravda oi Boicorol <n>kkoyov. and it is there that the 
 
 tv 8e TW vau ^O\KOV -CTTOITJ- federal assembly of Boeotia 
 
 07jyas'lTa>inasKcu Aio's meets. In the temple are 
 
 ayd^ara- rtyyri 5e the statues of Athena
 
 io8 
 
 GREEK SCULPTURE 
 
 7, iwdi]Tov 8e Kal Itonia and Zeus, made of 
 bronze, the work of Agora- 
 kritos, a pupil and favourite 
 of Pheidias. 
 
 Perhaps represented on a gem, Miiller-Wieseler, Denkmaler, 
 ii. 226. v 
 
 (c) KOLOTES. 
 
 139. Plin. N. H. xxxv. 
 54 Panaenum, qui clipeum 
 intus pinxit Elide Mineruae, 
 quam fecerat Colotes disci- 
 pulus Phidiae et ei in faci- 
 endo loue Olympio adiutor. 
 
 Panainos, who painted 
 the inner surface of the 
 shield of an Athena at 
 Elis made by Kolotes, the 
 pupil of Pheidias. and his 
 assistant in the construction 
 of the Olympian Zeus. 
 
 Mineruae] Pans. vi. 26. 3 says that the statue was attributed to 
 Pheidias, and that the goddess bore the device of a cock on her 
 shield. It was of gold and ivory. 
 
 140. Paus. v. 20. i tori 
 8e fvravOa . . . rpaire^a, ((/>' 
 rjs TrporiOevTai rois VLK&O-IV ol 
 i. . . . 2. f] rpaTittja 8e 
 iev Tre-jroiTjrai Kal 
 \pva~ov, KooAwrou 8e e<mp 
 (pyov. flvai 8e fyacnv f^Hpa- 
 /cAetas TOV KwXwTTy ol 8e 
 
 rats TOVS TrXacrrds Tldpiov fmo- 
 OVTO. avrov, 
 
 avrov 8iba\dfjvaL. . . . ( e/x 77/200-- 
 dev p.tv) . . . Kai"Hpa re KOL 
 
 Here there is a table, 
 upon which the garlands 
 are set out for the victors. 
 The table is made of ivory 
 and gold, and is the work 
 of Kolotes. Kolotes is 
 said to have been a native 
 of Herakleia, but those who 
 have made a special study 
 of sculptors show him to 
 be of Parian origin, a pupil 
 of Pasiteles, who in his turn 
 was taught by ... (on the 
 front) are represented. . . . 
 and Hera and Zeus and
 
 THE ATTIC SCHOOL 
 
 109 
 
 'ATroAAcoz; /xera 'Apre'fu8os 
 oTrurde be f] bia- 
 
 ff TOV ay&vos. 3. 
 
 Kara 8e e/care'pay 
 TT) /xev 'AfTKATjTrto? xai r<Sy 
 vyartputv 'Tyteia 
 , en Se /cat "Ap?j? *al 
 cov Trap avror, rrj 8e ITXov- 
 rcoy Kai AIOJ;U<TOS 
 re KOI iri>fj.(pai, crfyalpav 
 <pfpovcra' (irl 8e 
 
 yap 8r) 6 
 Xtyovviv e?r' CVTT/ rov 
 
 the Mother of the Gods 
 and Hermes and Apollo 
 together with Artemis. On 
 the back is the ordering of 
 the contest ; on one of the 
 sidesAsklepios andHygieia, 
 one of the daughters of 
 Asklepios, as well as Ares 
 and beside him Agon, on 
 theother side Pluto, Diony- 
 sos, Persephone and the 
 Nymphs, one of whom 
 carries a ball ; as to the key 
 which is held by Pluto, 
 they tell the story that the 
 abode called Hades is kept 
 locked by Pluto and that 
 no one will ever return 
 from it. 
 
 In the onurdoSofios of the Heraion at Olympia. 
 
 ol 8 iroXvrrpaY(xovTi(ravTs] Perhaps Antigonos or Polemon (Intro- 
 duction, i). 
 
 avrrov 8iSax0r}vai . . .] The name of the master is omitted (avrodi- 
 8ax&fivai is suggested). The lacuna may have contained the names of 
 another pair of deities, possibly Athena and Herakles. Cp. No. 1 10. 
 
 'Aywv] Cp. No. 47 note. 
 
 Other works by Kolotes : 
 
 ASKLEPIOS at Kyllene (of ivory) (Strab. viii. 334). 
 
 Portraits of ' philosophers ' (Plin. N. H. xxxiv. 87). 
 
 aTro 
 
 ov8ets avOis e^ avrou. 
 
 (d) THE SCULPTURES OF THE PARTHENON. 
 
 141. Paus. i. 24. 5 es 
 ror vaov, 
 
 The sculptures in the 
 pediment, as it is called,
 
 GREEK SCULPTURE 
 
 ts TOVTOV 
 fv TGI? 
 
 aeroi? Ktircu, n-apra es rrjv 
 lx ei yfVf<riv t ra 
 f] rioo-eiSaii'os 
 e/ns 
 
 5' 
 
 over the entrance to the 
 temple known as the Par- 
 thenon, are all concerned 
 with the birth of Athena, 
 while at the back of the 
 temple is represented the 
 y^s. strife of Athena with Po- 
 
 seidon for the land. 
 
 See Ov. I*. 400 ff. and references there given ; also Furtwangler, 
 Meisterwerke, pp. 223-260, and A. H. Smith, Brit. Mus. Catalogue 
 of Greek Sculpture, pp. 101-132. 
 
 3. PRAXIAS AND AUDROSTHENES. 
 
 142. Paus. x. 19. 4 TO 8e 
 fv TOIS aerots earir "Apre/uis 
 xal ATJTO) KCU 'ATroAAwr; KCU 
 Moucrai, 8wts re 'HA^ou KOL 
 
 re KCU a 
 al 0uid8es' ra jotev STJ Trpaira 
 
 KaA.afu8os tfrrij; (6) 
 
 In the pediment are re- 
 presented Artemis, Leto. 
 Apollo and the Muses, the 
 setting Sun, Dionysos and 
 the Thyiades ; the earliest 
 of the figures were made by 
 Praxias of Athens, a pupil 
 of Kalamis ; but as a con- 
 siderable time elapsed 
 during the construction of 
 the temple, Praxias, as his 
 destiny was, succumbed to 
 fate, and the remainder of 
 the pediment - sculptures 
 were executed by Andro- 
 sthenes, also an Athenian 
 by birth, but a pupil of 
 Eukadmos. 
 
 From the temple of Apollo at Delphi, built in the early years of 
 the fifth century B. c. No fragments of the temple-sculptures have 
 been recovered by the French excavators. 
 
 Tlpa^iav p.(v 
 
 TO \pav, ra 
 
 rov cj; rots aero?? K6<rp,ov CTTOI- 
 
 rjo-er 'Ai'Spoo-^e'yrjs, ye'vos fiev 
 
 KCU ovros '
 
 THE ATTIC SCHOOL 
 
 in 
 
 143. Eur. Ion 190 ff. 
 
 190 Ibov rdvb' &dpr](Tov, 
 
 Aepvalov vbpav eraipei 
 Xpi>0"e'cus apTrats 6 Atos 
 
 TTO.IS' 
 (pi'Aa, Ttpocnb' ocrcrois. 
 
 OLVT. 6pa>. KOI Tre'Aas SAAos av- 
 
 195 TOV TTOIVOV 
 
 cu- 
 
 pei TIS' ap s 
 Oeverai. Trapa 
 ao-Trtords 'loAaos, os 
 
 KOU'OVS alp6p.fVOS TTOVOWi 
 
 KOI /^lav Tat'8' adprjaov 
 
 TTTfpOVVTOS H(f)CbpOV ITT- 
 TTOU' 
 
 ray Trup TTVfovcrav evaipei 
 
 O.\KO.V. 
 
 205 Tranra roi j3\(f)a.pov 8iw- 
 KO). (rKe'\^ai KAovoi' ev rv- 
 
 p-e^', aj <pt'Aat. 
 ovy CTT' 'Ey/ce- 
 Ad5<i) 
 aio yopySt-niv TtdXXovcrav IT- 
 
 w; 
 Aev(rcrco IlaAAdS' 
 
 See ! behold yon mon- 
 ster ! 'Tis the hydra of 
 Lerna, whom the son of 
 Zeus is slaying with his 
 golden scythe. Look, friend, 
 look! 
 
 I see. And beside him 
 stands another who uplifts 
 a blazing torch ; can it be 
 he whose tale is told beside 
 my loom, the spearman 
 lolaos. who shares with the 
 son of Zeus his toils and 
 drains the bitter cup at his 
 side? 
 
 And oh ! behold yon 
 knight bestriding his winged 
 steed ; he is slaying the 
 mighty three-bodied form 
 that breathes fire. 
 
 My eye turns every way. 
 Behold the rout of Giants 
 carved on the marble wall. 
 
 We see it all.good friends. 
 
 Dost thou then note her 
 who shakes o'er Enkelados 
 her Gorgon shield ? 
 
 I see Pallas, mine own 
 Goddess.
 
 112 
 
 GREEK SCULPTURE 
 
 yap, nepavvov 
 
 o/3pi/xoz> 
 Aio? 
 
 ytpvv 
 TOV baiov 
 
 Kai Bpo/xios aAAoz> 
 
 fvaipi Fa? TfKvaiv 6 Bax- 
 
 What? Seest thou the 
 massy bolt breathing flame 
 from either point in the far- 
 darting hands of Zeus? 
 
 Aye ; 'tis consuming with 
 its flame Mimas, his deadly 
 foe. 
 
 Bromios too with his ivy- 
 wand, no warrior's weapon, 
 is slaying another child of 
 Earth. 
 
 For Tfi^fa-i of the MSS. Hermann emended TVIUIUTI, 
 which is accepted by most editors. The word does not exist. 
 
 The chorus approaches the temple of Apollo at Delphi and 
 describes the metopes. The following are the groups : (i) 
 Herakles, the Hydra, and lolaos (vv. 190-200); (2) Bellerophon 
 and the Chimaira (vv. 201-204) ; (3) Athena and Enkelados (vv. 
 209-211); (4) Zeus and Mimas (vv. 212-216) ; (5) Dionysos and 
 a Giant (vv. 217-219). 
 
 4. LYKIOS. 
 
 Date. (i) L. was the son of Myron, and is called by Polemon 
 ap. Ath. xi. 486 D a Boeotian of Eleutherai. Eleutherai became 
 Attic in 460 B. C. or a little later. (2) No. 147 seems to be posterior 
 to 446 B. C. (3) No. 146 may have commemorated a victory gained 
 circ. 431 B.C., v. note. (4) Autolykos was victorious in the pan- 
 cration in 421 B. C 
 
 144. Plin. N. H. xxxiv. 
 79 Lycius Myronis disci- 
 pulus fuit, qui fecit dignum 
 praeceptore puerum suf- 
 flantem languidos ignes, et 
 Argonautas, (et) Autoly- 
 cum pancratii uictorem, 
 
 Lykios was the pupil of 
 Myron and made a figure 
 of a boy blowing the dying 
 embers of a fire worthy of 
 his teacher, and statues of 
 the Argonauts and a por- 
 trait of Autolykos the victor
 
 THE ATTIC SCHOOL 
 
 propter quem Xenophon 
 symposium scripsit . . . 
 Lycius et ipse puerum suffi- 
 torem. 
 
 in the pankration, who is 
 the hero of Xenophon's 
 ' Banquet.' Lykios also 
 represented a boy offering 
 incense. 
 
 discipulus] Really his son, v. the following Nos. 
 
 puerum sufflantem . . . puerum suffitorem] 
 ^a^fkapsvjae ^derrtieaiy Pliny's notes being derived from different 
 sources. Both must be distinguished from No. 145. 
 
 Autolycum] The notice is out of its place in the text of Pliny, 
 who attributes the statue to Leochares. 
 
 145. Paus. i. 23. 7 Kal 
 a\\a kv TTJ 'Adyvalcav a/cpo- 
 TTo'Aet dfaa-dpevos ot8a, Av/a'ou 
 TOV Mvputvos x^* ^ iralba, 
 os TO TTtpippavrripiov 
 
 Other works too I re- 
 member to have seen on 
 the Akropolis of Athens, 
 such as the bronze boy of 
 Lykios, the son of Myron, 
 holding the sprinkler of 
 lustral water. 
 
 The basin stood in front of the temple of the Brauronian Artemis, 
 the water being used to sprinkle worshippers. 
 
 146. Paus. v. 22. 2 (At 
 Olympia) irapa b( TO 'ITTTTO- 
 ba.IJ.iov KaXovpevor \idov re 
 
 KO.I dyoA/^iara eTT avrw Zei/s 
 Kal erts re Kal 'Hju,epa vnep 
 T<av TfKv<av iKerevou<rai. TO.VTO. 
 
 7Tl jMCCTta) TW (Sddpto, 01 bf Tjbr] 
 
 avTiT(TayiJ.fV(av o Tf 
 v9 Trape'xcrat xai 6 
 M^AIKOP CTTI exarepw roi; fiddpov 
 raj Trepan exarepos. dvOea-Ttj- 
 Kacri be Kal aA.Aos aAAo) Kara 
 
 (At Olympia) beside the 
 so-called Hippodamion is 
 a semicircular marble base 
 upon which stand figures 
 of Zeus with Thetis and 
 Dawn who are praying for 
 their children. These are 
 in the centre of the base, 
 while Achilles and Memnon, 
 standing one at each end 
 of the base, are already 
 drawn up in the attitude 
 of warriors about to fi^ht.
 
 GREEK SCULPTURE 
 
 TO. aiird, dvrjp /3ap/3a/3os avbpl 
 
 on ovroi [laXicrra eirl crofyLq 
 (j> orparev- 
 ', Mez/eAaa> 8e 
 Kara TO e\0os TO e 
 
 aas, /cat TO> TtAaptwros 
 Ar]i<f)o(Bos. 3. raura 
 Ipya fj,ev AUKIOU TOU 
 'ATroAAajyiarat 8e avtdriKav ol 
 (v rw 'loptii). Kat T) xat eAf- 
 ytiov "ypdnp-acriv ecrnv ap- 
 
 VTTO TOV At05 TOIS 
 
 There are other pairs drawn 
 up in the same manner, 
 a barbarian being pitted 
 against a Greek in each 
 case. There are Odysseus 
 and Helenos the chiefs 
 most renowned for their 
 cunning in each army, Me- 
 nelaos and his old enemy 
 Paris, Diomedes and Ai- 
 neias, Deiphobos and Tela- 
 monian Ajax. These are 
 the work of Lykios, the son 
 of Myron, and were dedi- 
 cated by the people of 
 Apollonia on the Ionian 
 sea. There is also an 
 elegiac inscription en- 
 graved in antique characters 
 under the feet of Zeus : 
 
 Here we stand as memo- 
 rials of Apollonia, founded 
 by Phoibos of the unshorn 
 locks on the Ionian sea, 
 whose people conquered the 
 borders of the Abantes' 
 land, and here by god's 
 grace set up these offerings 
 from the tithe of the spoils 
 of Thronion. 
 
 A. was a colony of Corinth on the coast of Epiros, 
 almost opposite Korkyra. The victory over the Abantes of Kuboia 
 and capture of Thronion probably took place about 431 B. c. 
 
 ' 'AiroAAcoi'ias avanti- 
 
 , rav evl 
 'lovi<j> 4*01)309 W 
 
 ot ya? 
 
 ' ehovrcs' 
 
 bos 
 ecrrao-av 
 
 ravra 
 
 0eots ex @po-
 
 THE ATTIC SCHOOL 115 
 
 . . . dpxaiois) i. e. in the Attic alphabet, replaced by the 
 Ionic in the archonship of Eukleides (403 B. c.). 
 
 147. AeAr. 'Apx- 1889, Dedicated by the knights 
 p. 179 ol ITTTTTJS cntb T&V from the spoils of the enemy. 
 jroAe/xicoy, lTnrapx^ovvT(v AaKf- The cavalry was com- 
 bcufj.ovLov E(vo(f)u>vros Hpovd- manded by Lakcdaimonios, 
 nov. | A.VKIOS fTroirjcrfv 'EAev- Xenophon and Pronapos. 
 0epevs Mvpcovos. Lykios of Eleutherai the 
 
 son of Myron, made the 
 
 statues. 
 
 From the base of a group of two horsemen which stood at the 
 entrance to the Propylaia, referred to by Paus. i. 22. 4. He seems 
 to have misinterpreted the inscription, as he writes, ' I cannot tell 
 whether the statues of horsemen represent the sons of Xenophon, 
 or are merely decorative.' Lakedaimonios may be identified with 
 the son of Kimon (Thuc. i. 45). The monument seems to have 
 commemorated the reduction of Euboia after its revolt in 446 B.C. 
 
 5. KHESILAS. 
 
 Date. Four inscriptions exist, of which three were found on the 
 Akropolis of Athens: (i) Lowy 46'Ep/x<JXuKo? | AirpoOr \airapxrjv. \ 
 \ (noirjffev. Dated circ. 450 B.C. See No. 148 note. (2) 
 x- 1889, p. 36 [nfp]iK\fo(v)s | KpT)<r]t\as trroid. Date 
 440-430. See No. 148 note. (3) Lowy 47 
 IIo\vp.v!]<TTOv (pi\o[s vior] ev^dfjuvos 8(KaTTjv 
 Kv8a>viT)Tas K.prjaf\as flpyaaaa-ro. Repeated in Anth. Pal. xiii. 13. 
 Somewhat later than (2). Besides these (4) Lowy 45, found at 
 Hermione, 'AAec'ar \va>vos ave'$j[K<] | ra Aa/iarpi ra [X]0oWa[t] i 
 Epptvvfvs. | KprjatXas fnoir](r( K.v8a>viaT[as]. Probably rather later 
 than the Athenian inscriptions. 
 
 148. Plin. N. //. xxxiv. 74 The works of Kresilas 
 Cresilas (fecit) uolneratum are a man wounded and 
 deficientem in quo possit dying, in whom the spec- 
 
 I 2
 
 ii6 GREEK SCULPTURE 
 
 intelligi quantum restet tator can feel how little 
 
 animae et Amazonem uol- life is left, and a wounded 
 
 neratam et Olympium Pe- Amazon, and Perikles the 
 
 riclen dignum cognomine. ' Olympian,' worthy of his 
 
 mirumque in hac arte est name. The marvel of this 
 
 quodnobilesuirosnobiliores art is, that it has made 
 
 fecit. men of renown yet more 
 
 renowned. 
 
 uolneratum] Paus. i. 23. 3, in describing the Akropolis of 
 Athens, mentions Arpe^>of? ^O\KOVS dvbpias OKTTOIS /3e/3X;//e /<>$, 
 'a bronze portrait of Diitrephes shot with arrows.' Paus. iden- 
 tifies the subject of the portrait with the Athenian general mentioned 
 in Thuc. vii. 29 (414 B. c.) and viii. 64 (411 B.C.). Ross conjectured 
 that the inscription (i) quoted above belonged to the statue men- 
 tioned by Paus., and that this was identical with Pliny's wounded 
 man. The character of the lettering, however, compels us to date 
 the inscription (v. supr.) too early for the Diitrephes of Paus., so 
 that Furtwangler (Meisterwerke, p. 278) is probably right in 
 referring it to an elder Diitrephes, father of Nikostratos (Thuc. 
 iii. 75, iv. 119, 129). Possibly the statue is represented on a b. f. 
 lekythos figured in Furtw. op. cit. p. 280. 
 
 quantum restet animae] For ' quantum ' = ' how little,' cp. Cic. 
 Q. Fr. i. 2. 8 sed haec tibi praecipiens quantum profecerim non 
 ignore, Hor. Sat. ii. 9, 81 in scobe quantus i consistit sumptus? 
 
 Amazonem] V. No. ill note. 
 
 Periclen] The busts in the British Museum (F. W. 481), in the 
 Vatican, and at Munich are copies of this work. The inscription 
 (supr. No. 2) was found on the Akropolis in 1889. 
 
 nobiles] Either 'famous' (the usual sense of the word in Pliny) 
 or, as Prof. Gardner suggests, a translation of ytwalos, perhaps 
 from an epigram. 
 
 Other works : Inscription (4) belongs to an offering to Demeter 
 Chthonia. Anth. Pal. xiii. 13 preserves an inscription from an 
 offering to Pallas Tritogeneia. A ' doryphoros,' ascribed by Pliny 
 to Ktesilaos (best MSS.), probably belongs to Kresilas, since 
 a ' wounded Amazon ' is ascribed to the same artist.
 
 THE ATTIC SCHOOL 
 
 6. STRONQYLION. 
 
 Date. The inscription of No. 149 (Lb'wy 52) reads 
 
 EvoyyeXfou C]K Koi'A^? nvfdi]K(v. \ 2rpoyyt;Xia)i' (noiijrrfv, and must have 
 
 been recently erected when the work was mentioned by Ar. Ai>. 
 1128 (acted 414 B. C.). 
 
 149. Paus. i. 23. 8 LTTTTOS 
 8e 6 /caAov'jtxeyos bovpios &vd- 
 \aXi<ovs . . . Ae'yerat 
 TOV ITITTOV, a>s 
 tvbov 
 
 Another offering consists 
 in a bronze figure of the 
 so-called Wooden Horse. 
 The story of that horse is 
 that it contained the bravest 
 of the Greeks, and the 
 bronze horse is in accord- 
 ance therewith, for Mene- 
 stheus and Teukros are 
 leaning out of it, and the 
 sons of Theseus also. 
 
 On the Akropolis of Athens. 
 
 Schol. Ar. Av. 1128 preserves the first five words of the inscrip- 
 tion. The whole, including the artist's name, was discovered in 
 1840 (v. supr.). 
 
 api<TTOVs, Kat 
 
 TO (7^^a eort /cara ravra, Kat 
 
 Me^eo-^evs xai Tei;/cpos virfp- 
 
 KVTTTOVO-LV f aiirov, 
 
 8e KOI ot 77at8es ol 
 
 150. Paus. i. 40. 2 (At 
 Megara) rijs oe xp^vrjs oi> 
 
 -TTOppO) TCLVTrjS O.p\O.l6v ((TTIV 
 
 icpov . . . ayoA/^ia re 
 
 (At Megara) not far from 
 this spring is an ancient 
 temple ; and in it there is 
 an image of Artemis called 
 'the Saviour.' This Artemis 
 was made by Strongylion. 
 
 Represented on coins of Megara (Num. Comm. A. i). 
 
 Artemis ' the Saviour ' was so called by the Megarians, because 
 in 479 B. c. she deceived a party of Persians by night and caused 
 them to shoot all their arrows at a rock, so that they fell an easy 
 prey in the morning. 
 
 Scareipas . . . TT\V be "Apre/iu;
 
 n8 
 
 GREEK SCULPTURE 
 
 161. Paus. ix. 30. i reus 
 Movfrous 8e dydAftard . . . cart 
 . . . rpels pev flcnv . . . K?7</>t- 
 (roSoTou, SrpoyyvAuovos 8c 
 Irtpa rotraSra, avbpbs fiovs <al 
 ITTTTOVS &pi(rra 
 
 On Mount Helikon. 
 
 152. Plin. A'. //. xxxiv. 
 82 Strongylion (fecit) Ama- 
 zonem quam ab excellentia 
 crurum EVKVTUJLOV appellant, 
 ob id in comitatu Neronis 
 circumlatam. Idem fecit 
 puerum quern amando 
 Brutus Philippensis cog- 
 nomine suo illustrauit. 
 
 There is a group of statues 
 of the Muses. Three are 
 by Kephisodotos, and as 
 many more by Strongylion, 
 an artist whose oxen and 
 horses are of remarkable 
 excellence. 
 
 Strongylion made an 
 Amazon called ' EVK^TJ^O* ' 
 from the beauty of the legs, 
 and for that reason carried 
 from place to place in Nero's 
 train. By the same artist 
 is the boy on which Brutus, 
 the hero of Philippi, by his 
 admiration shed the lustre 
 of his name. 
 
 oognomine suo] The statue is thrice referred to by Martial as 
 ' Bruti puer.' 
 
 7. KALLIMACHOS 
 
 Date. The Erechtheion (v. No. 154) was completed in 408 B.C. 
 Vitruvius (iv. i. 10) makes K. the inventor of the Corinthian 
 Capital. On the inscription KaXXi/xa^os (Vote* on an archaistic 
 relief ( Lowy 500), see Furtwangler, Meisterwerke, p. 202 ff. 
 
 153. Plin. N. H. xxxiv. 
 92 Kx omnibus autem 
 maxume cognomine insig- 
 nis est Callimachus semper 
 
 Of all artists Kallimachos 
 is the most remarkable for 
 the epithet applied to him. 
 He continually subjected
 
 THE ATTIC SCHOOL 119 
 
 calumniator sui ncc finem his own work to the severest 
 habentis diligentiae, ob id criticism and bestowed end- 
 catatexitechnus ' appella- less labour upon it, for 
 tus, memorabili exemplo which reason he was called 
 adhibendi et curae modum; 'the man who put his art 
 huius sunt saltantes Lacae- into the crucible,' a mem- 
 nae. emendatum opus, sed orable warning that even 
 in quo gratiam omnem dili- diligence must have its 
 gentia abstulerit. limit : his dancing maidens 
 
 of Sparta is a work of flawless 
 precision, but one robbed 
 of all its charm by the ex- 
 cessive labour spent on it. 
 
 calumniator sui] Calumnia = ' pedantic self-criticism,' in the 
 writers of the Silver Age (cp. however Cic. Fam. ix. 2. 3). See 
 Quint, x. I. 115 (Caluum) nimia contra se calumnia uerum san- 
 guinem perdidisse ; also Quint, x. 3. 6, viii. Prooem. 3. 
 
 catatexitechnus] The significance of the epithet is well illus- 
 trated by Dion. Hal. de ui Demosth. 51, who says that sculptors 
 and painters do not fritter away their labour on the representation 
 of tiny veins, feathers, down. c., nor Karm!]ntiv (lit. melt down) tls 
 TCIVT i TIIS Tt \vns. 
 
 saltantes Lacaenae] Probably Karyatides (cp. No. 184), i.e. 
 maidens of Karyae in Laconia, who danced at festivals of Artemis. 
 Perhaps the group of ' Neo-Attic ' reliefs treated by Winter (50. 
 Winckelmannsprogramm, p. 97 ff.) may serve to illustrate this 
 work. 
 
 gratiam] In No. 87 \firTuTijs and x^P lt are mentioned as 
 characteristic of Kallimachos. The contrast, however, in that 
 passage is with a ' broad treatment.' 
 
 154. Paus. i. 26. 6 \v\roi- Kallimachos made a 
 
 6e rr/ 0<t> xpv&ovv KaXAi/LtX os golden lamp for the 
 
 . . . 6 5e KoAAi/xaxos goddess. This Kallimachos, 
 
 T&V TrpwroH 1 e? though in art he fell short
 
 120 
 
 GREEK SCULPTURE 
 
 ' TTJJ; 
 
 ovrta 
 
 Xidovs TTputros 
 
 of the first rank, so far 
 excelled his rivals in in- 
 genuity that he was the 
 first to bore marble, and 
 gave to himself or caused 
 others to give him the 
 name of' the man who put 
 his art into the crucible ' 
 
 TQ 8t<] Athena Polias. The lamp hung in the Erechtheion. 
 A golden palm served as a chimney. 
 
 -rrpwros tTptnnjcr*] i.e. he introduced the use of the 'running 
 borer.' This was not used in the Parthenon sculptures, according 
 to Puchstein (Arch. Anz. 1890, p. no). 
 
 155. Paus. ix. 2. / 
 tv<ri 8e i>aos eoriv "Upas . . . 
 (iravda . . . "Hpas 
 Ka.0riiJ.fvov KaAAi//ax 
 
 ' 8e TT\V 
 
 The Plataeans have a 
 temple of Hera. Here there 
 is a seated image of Hera 
 by Kallimachos. They 
 call the goddess 'the Bride.' 
 
 8. SOKRATES. 
 
 156. Paus. i. 22. 8 Kara 
 5e TIJV fcrobov avrrfv ?/5r; TIJV s 
 
 \aiov 6vop.dovcri, KOI Xapiras 
 
 TOV 
 
 V[(TKOV 
 
 At the very entrance to 
 the Akropolis stand Hermes 
 called Hermes of the 
 Gateway and the Graces, 
 both said to be works of 
 Sokrates the son of So- 
 phroniskos. 
 
 The philosopher (468-399 B.C.).
 
 121 
 
 From Paus. ix. 36. 3 we learn that they were draped, and from 
 Schol. Ar. Nub. 773 that they were in relief (iyyty\\>p\j.ivn TO> TOI^W). 
 But the work cannot be identified with the original of the archaistic 
 relief in the Vatican (A. Z. 1869, xxii). 
 
 9. PYRRHOS. 
 
 157. Plin. N. H. xxxiv. Pyrrhos represented Hy- 
 80 Pyrrhus (fecit) Hygiam gieia [and] Athena, 
 [et] Mineruam. 
 
 A statue of Athena Hygieia is mentioned by Paus. on the Akro- 
 polis near the portrait of Diitrephes (No. 148 note). The inscrip- 
 tion, found in 1839 (L6wy 53), reads \\6r\vdiai TJ? 'Adijvaiq rfj 'Yyifi'a. | 
 Ilvppos fxoiricrfv 'AApaiof] and may be dated circ. 420 B.C. Plutarch 
 (Perikl. 13) states that Perikles erected the statue (which was of 
 bronze) to commemorate the healing of his favourite slave, who had 
 fallen from the roof of the Propylaia, by a remedy prescribed by 
 Athena in a dream. (V. next No.) The inscription appears to be 
 some years later than the building of the Propylaia (437-433 B. C.). 
 
 10. STYPPAX. 
 
 158. Plin. N.H. xxxiv. Styppax of Kypros owes 
 
 81 Styppax Cyprius uno his fame to a single statue, 
 
 celebratur signo, splan- the ' roaster of entrails ' : 
 
 chnopte ; Periclis Olympii this represented a slave of 
 
 uernula hie fuit exta torrens Perikles the Olympian, 
 
 ignemque oris pleni spiritu roasting entrails and kind- 
 
 accendens. ling a fire with a blast 
 
 from his swollen cheeks. 
 
 From Plin. N. H. xxii. 44 we learn that the slave was identical 
 with the one mentioned in the note to the last No., and that his 
 statue was of bronze.
 
 GREEK SCULPTURE 
 
 TOV 
 Trapa TOV 6u>pa.Ka ....... 
 
 Ilpax|[0"ias] tp- MeXiTTj oin&v TOV '|i7T7ro]v 
 ical TOV oT>i(r6o^)avij T\[bv 7ra]pa- 
 upovovra .......... 
 
 'Ai'Ti<f)a.v\[r]s (ti\ Kepa/xe'cor ro ap/xa KOI T|[OV 
 
 TO) 
 
 11. THE SCULPTURES OP THE ERECHTHEION. 
 
 159. C.I. A. i. 324 cd = Lowy 526. 
 
 . . . TOV TO 8]o'pu fyovTa ..... PA 
 
 s TOV veavi<rKo[y TO]V 
 
 PA 
 
 HA A 
 
 HHAAAA 
 PA 
 
 HAAPHH 
 PA 
 
 \TO\V ^3cop.oV ......... PA 
 
 KoAAvrf|[i;s] T^y yvi/aiKa, ^ 17 irais 
 
 PAAA 
 iKoi) .... XXXHHHAP 
 
 ^]a ..... XXX(X)HHHhH 
 
 araAco/xa ro a|[6T]oz'. 
 
 H | [A A] 
 
 PAAA 
 
 os Krj]^)t(rtevs TOV &-yovra TOV 
 favor ........... 
 
 Mvvviw 'AypuA^|[(ri] OIKCOJ- TOV linrov /cal 
 TOV I [a]v8paroy t-niKpovovra. nai \ \ri]\v 
 <TTT]\.i]v va-Tfpov irpocreOriKf . . . . 
 
 K\OV 'AAco-jrec^|[(j-i] otKcar rdv TOV x. a ^ ivov 
 f\[\o]vTa .......... 
 
 <bvp6p.a\os K7j(/>to-ic|[i;s] TOV Hvbpa TOV (irl 
 
 i<r]Kov \ [KOI TOV irp]o- 
 a uv[r]w ....... 
 
 . . . cv Ko\AvT(p olic[(av . . . K]CU TT\V a 
 
 TTApjV | TOIV TliJ.l6v]oLV 
 
 'Aya0av|[a>/> 'AXa)7reK^(ri] O\K.U>V TO yvva\- 
 
 [tov TO irp6s TT) ap/jdt^Vf cal T|[W 57/zio'rto] HPAAA
 
 THE ATTIC SCHOOL 133 
 
 Dr. 
 
 To . . . for the man holding a spear 60 
 
 To Phyromachos of Kephisia for the youth beside 
 
 the breastplate 60 
 
 To Praxias, resident at Melite, for the horse and the 
 
 man seen behind it who is turning it . . . . 1 20 
 To Antiphanes of Kerameis, for the chariot and the 
 
 youth and the pair of horses being yoked . . 240 
 To Phyromachos of Kephisia, for the man leading 
 
 the horse 60 
 
 To Mynnion, resident at Agryle, for the horse and 
 
 the man striking it. He afterwards added the 
 
 pillar 127 
 
 To Soklos, resident at Alopeke, for the man holding 
 
 the bridle 60 
 
 To Phyromachos of Kephisia, for the man leaning 
 
 upon his staff beside the altar 60 
 
 To lason of Kollytos, for the woman at whose feet 
 
 the child has fallen 80 
 
 Total expenditure on sculpture . .3315 
 Received, 4302 dr. i ob. 
 Disbursed, the same sum. 
 To . . . for the young man writing and the man who 
 
 is standing beside him 120 
 
 To . . . resident at Kollytos, for ... and the chariot 
 
 (but not the pair of mules) 80 
 
 To Agathanor, resident at Alopeke, for the woman 
 
 beside the chariot and the pair of mules . . .180
 
 i2 4 GREEK SCULPTURE 
 
 X (xi'Atoi) = 1000, H (HfKarov) = TOO, A (Sexa) = JO, P 
 = 5, P (5 x 10) = 50, \- = i drachma, I = i obol. 
 
 From the accounts of expenditure on the building of the Erech- 
 theion (407 B. C.). The names are those of the workmen, who 
 executed the individual figures at sixty drachmas each. The 
 composition was no doubt the work of a first-class artist, who 
 furnished models (TUTTOI), and was paid at a higher rate. See No. 
 221. One drachma = about \o<L or a franc. Artists whose name 
 is followed by that of their deme are Attic citizens, those described 
 as ' resident at ..." are aliens. Attempts to reconstruct the scene, 
 and to identify some of the figures with existing fragments (Brunn- 
 Bruckmann 31-33) have been made by Bergk, Zeitschrift fur 
 Alterthumswissenschaft, 1845, p. 987 ff., and Stephani, A.d.I. 1843, 
 p. 286 ff. On the fragments see F. W. 812-820. 
 
 [ira]pa.KpotiovTa] Since dvaKpov(w = to ' pull up ' a horse with the 
 bridle (Xen. de Eg. H. 33) nnpaKpoi/tLv may mean to 'turn' the 
 animal. 
 
 2. THE ARG1VE SCHOOL. 
 
 1. POLYKLEITOS. 
 
 Date. (i) The inscription from the base of the portrait of 
 Kyniskos (v. infr.) (Lowy 50) may be dated circ. 440 B. c., and the 
 Amazon (No. 117), if really contemporary with that of Pheidias, 
 would belong to the same time. The inscriptions from the portraits 
 of Pythokles (Lowy 91) and Xenokles (Lowy 90), whose alphabet 
 shows increasing Ionic influence, are generally attributed to the 
 younger P., but Furtw. thinks that they may date from the Pelo- 
 ponnesian war (Meisterwerke, p. 415). (2) Plat. Protag. 3110 
 makes Polykleitos a contemporary of Pheidias, and in the same 
 dialogue, 328 C, represents his sons as contemporary with those of 
 Perikles. (3) The Hera at Argos (No. 161) is posterior to 423 B. C., 
 when the temple was built ; hence Pliny's date, Ol. 90=420 B. c. 
 (4) The memorials of the Spartan victory at Aigospotamoi (405 
 B. c.) were for the most part executed by the pupils of Polykleitos ;
 
 THE ARGIVE SCHOOL 
 
 125 
 
 but the tripod at Amyklai (No. 160) was his own work, unless we 
 assign it to the younger P. (The works assigned with probability 
 to the latter artist are placed last, Nos. 165, 166.) 
 
 160. Plin. N. H. xxxiv. 
 55 Polyclitus Sicyonius 
 Ageladae discipulus dia- 
 dumenum fecit molliter 
 iuuenem centum talentis 
 nobilitatum ; idem et dory- 
 phorum uiriliter puerum 
 fecit, quern Kavova artifices 
 uocant lineamenta artis ex 
 eo petentes ueluti a lege 
 quadam, solusque hominum 
 artem ipsam fecisse artis 
 opere iudicatur. Fecit et 
 destringentem se et nudum 
 telo incessentem, duosque 
 pueros item nudos talis 
 ludentes quiuocanturaorpa- 
 ya\[ovret et sunt inTiti Im- 
 peratoris atrio hoc opere 
 nullum absolutius plerique 
 indicant item Mercurium 
 qui fuit Lysimacheae, Her- 
 culem qui Romae, ayqrT/pa 
 arma sumentem, Artemona 
 qui Tre/aic^opTjTo's appellatus 
 est. Hie consummasse 
 hanc scientiam iudicatur et 
 toreuticen sic erudisse ut 
 Phidias aperuisse. Pro- 
 prium eius est uno crure ut 
 
 Polykleitos ofSikyonwas 
 a pupil of Ageladas ; his 
 works were : a youth with 
 boyish forms binding his 
 hair, famous for its price, 
 100 talents ; also a boy of 
 manly form bearing a lance, 
 called 'the Canon' by 
 artists, who draw from it 
 the rudiments of art as 
 from a code (so that Poly- 
 kleitos is held to be the 
 only man who has embodied 
 art itself in a work of art) ; 
 also a man scraping himself 
 and a nude figure hurling 
 a javelin, and two boys, 
 also nude, playing with 
 knucklebones, which are 
 called ' the Dice-players ' 
 and stand in the hall of 
 the Imperator Titus, con- 
 sidered by many to be 
 the most faultless work of 
 sculpture also a Hermes 
 which was at Lysimacheia, 
 a Herakles at Rome, a 
 captain putting on his 
 armour, and a portrait of 
 Artemon called 'the Man
 
 126 GREEK SCULPTURE 
 
 insisterent signa cxcogi- in the Litter.' He is held 
 tasse, quadrata tamen esse to have brought the bronze- 
 ea tradit Uarro et paenc ad caster's art to perfection 
 exemplum. and to have expounded 
 
 sculpture, as Pheidias re- 
 vealed it. Peculiar to him 
 is the device by which his 
 statues step forward with 
 one leg. Varro, however, 
 states that they are squarely 
 built and seem almost to be 
 made on a uniform pattern. 
 
 Sicyonius] P. describes himself as 'Apyc'ios on the base of the 
 portrait of Pythokles, and this is corroborated by Plato and Pau- 
 sanias. Naukydes (v. infr.) was also an Argive. Daidalos, 
 Kanachos, and Alypos (v. infr.) show that the school afterwards 
 transferred itself to Sikyon, which was the home of Lysippos. 
 Possibly therefore Pliny's version is a kind of anachronism (Furtw. 
 Meistenverke, p. 416 f.), unless P. was a Sikyonian by birth who 
 gained the citizenship of Argos. 
 
 .Ageladae discipulus] Chronologically impossible, v. supr. 
 
 P- 33- 
 
 diadumenum] A copy found at Vaison is in the British Museum 
 (Catalogue of Greek Sculpture, p. 266). See F. W. 508. 
 
 molliter iuuenem . . . uiriliter puerum] The antithesis may 
 be Pliny's own, or borrowed from an epigram. 
 
 doryphorum . . . quern icavova uocant] MSS. insert et before 
 quern, but it has been omitted in accordance with No. 163 note. 
 The best copy (from Pompeii) is at Naples (F. W. 503). 
 
 destringentem se] A translation of dirov6n(vov an athlete 
 scraping himself with the strigil after anointing. 
 
 telo incessentem] The MSS. read 'talo,' but this can only be 
 retained if with Benndorf we regard the phrase as a mistranslation 
 of dor/jayaXo) hruulfittns, supposing that Pliny rendered firiKfifitvos 
 ' standing upon ' by ' incessens,' ' pursuing.' A large basis in the form 
 of a knucklebone was found at Olympia, and Benndorf believes 
 that it supported a statue of Kntpo? ('Opportunity') here referred
 
 THE ARGIVE SCHOOL 127 
 
 to. But it is better to accept Benndorf's alternative suggestion 
 ' telo ' ; on the meaning see Wolfflin, Archiv fur lateinische Lexi- 
 kographie, 1894, p. 105 ff., who quotes Ov. Met. xiv. 402 saeuisque 
 parant incessere telis and Plin. N. H. xxxvii. in fundis e longinquo 
 incessunt. 
 
 Titi Imperatoris] Titus received the title Imperator in 
 72 A. D. 
 
 d-yTiTtjpa] A Dorian title (cp. ir(vrr)KovTt'ip, dp^oaTijp at Sparta). 
 The word is not to be regarded as an attribute of Herakles (Urlichs, 
 Wochenschrift fur klassische Philologie, 1894, Sp. 1299). 
 
 Artemona] An engineer employed by Perikles at the siege of 
 Samos (440 B.C.}. Being lame he was carried about (n-fpicpoprp-ds) 
 in a litter. 
 
 hanc scientiam] The art of bronze-casting. 
 
 uno crure] The typical attitude of Polykleitan statues is that 
 in which the figure is coming to rest on one leg (uno crure, not uni 
 crnri ' resting its weight on one leg '). 
 
 quadrata] As compared with the more slender figures of Lysip- 
 pos. V. Introduction, 2. 
 
 ad exemplum] 'unum' is inserted in the inferior MSS. But the 
 same sense may be obtained by laying stress on 'exemplum,' 
 almost = a lay figure (Gk. Kara TO 
 
 161. Paus. ii. 17. 4 (At (At Argos) the image 
 
 Argos) TO 8e ayaA/xa TTJS of Hera is colossal in size, 
 
 "Upas eTTi Qpovov /cd^rai seated upon a throne : it is 
 
 /ueyeflei fie'ya, xpv<rou v*v *ai made of gold and ivory, 
 
 eAe<paz>Tos, noAuxAeirou 8e and is the work of Poly- 
 
 Ipyoy* lireort 8^ 01 aTf^avos kleitos ; on her head is a 
 
 Xapiras f-^cav Kal"^lpas fTretp- crown adorned with Graces 
 
 , Kal TU>V \fLpcav rfj and Seasons ; in one hand 
 
 Kdp-nov poias, Trf bf she holds the fruit of the 
 
 . . . . KOKKvya 8e pomegranate, in the other 
 
 firl raj o-KTJTrrp'j) KaOfja-Oai a sceptre. They say that 
 
 <t>a<n, Xtyovres rdv Ata, ore a cuckoo is perched on the 
 
 ^pa napdevov rijs "Hpas, ts sceptre, and tell the story 
 
 TOVTOV TOV opvtOa dAAay^- that Zeus, when he loved
 
 128 GREEK SCULPTURE 
 
 vai, ri]v 8e are iialyviov drjp- the maiden Hera, took the 
 ao-at. form of that bird, and was 
 
 pursued and taken by her 
 as a plaything. 
 
 The base was laid bare by the American excavators in 1892. 
 
 The statue is represented on coins of Argos (Overbeck, Kunst- 
 myth. iii, Miinztafel iii. 1, 2). A passage of Tertullian (de Cor. Mil. 7), 
 of doubtful authority, seems to imply that Hera wore a garland of 
 vine-leaves, and that a tiger's skin was spread over her footstool, 
 in allusion to Dionysos and Herakles. 
 
 162. Paus. iii. 18. 7 h- At Amyklai there are 
 
 'Ap.vK\ais . . . TptTroSes x a ^ KO <- bronze tripods. (Tosupport 
 
 ... 8. ... 'Apio-ravbpos 8e these) Aristandros of Paros 
 
 Hdpios Kal rToA.vK\eiro? 'A/>- made a figure of a woman 
 
 yeios, 6 }ikv yvvalna TTOITJ- holding a lyre, which is 
 
 o-fv fx V(rav hvpav, STraprjji' called ' Sparta,' and Poly- 
 
 brjOev, IloA.vKAeiros 5e ' A(ppo- kleitos of Argos an Aphro- 
 
 Trapa 'Afj.vK\aiu> KCL\OV- dite called ' the Aphrodite 
 
 . OVTOI 8e ol Tpfaobes of Amyklai.' These tripods 
 
 re vTrep TOVS aAAou? are larger than the others 
 
 fla-l KOL &TTO TTJS vinris TTJS kv and were dedicated from 
 
 Ai'yos Trora/xoi? ai'frf0r](rav. the spoils of the victory at 
 
 Aigospotamoi. 
 
 The earlier and smaller tripods were used by Gitiadas 
 (No. 37) and Kallon of Aegina (No. 53). Aristandros may have 
 been the father of Skopas (infr. Part II. I. 2 (a)). 
 
 TTJS VIKTJS TTJS V A. IT.] 405 B. C. 
 
 168. Galen, deplac. Hipp. Chrysippos holds beauty 
 
 et Plat. 5 r6 be KaAAos OVK to consist in the proportions 
 
 iv rfj T&V oroixeieor, dAA' tv not of the elements but of 
 
 TT) T&V fj.opi(t)v (rvfjLfj.fTp[q crvv- the parts, that is to say, of 
 
 i(TTa<r6ai po/uuct (Xpvo-iirTros), finger to finger and of all
 
 THE ARGIVE SCHOOL 
 
 129 
 
 baKTV\ov Ttpos baKTV\ov 817X0- 
 
 VOTl KCU Q-VfJI.T7dl'T(i)V ailT&V 
 
 Trpos re p.eTaKa.piriov Kal Kap- 
 nov, Kal Tovrutv 77/36? 
 
 Trpos fipayjiova 
 77p6s TrdvTa 
 
 the fingers to the palm and 
 wrist, and of these to the 
 forearm, and of the fore- 
 arm to the upper arm. and 
 of all the parts to each 
 other, as they are set forth 
 in the Canon of Polykleitos. 
 For Polykleitos, when he 
 had taught us all the pro- 
 portions of the human 
 figure by means of that 
 treatise, confirmed his the- 
 ory by a practical illus- 
 tration and made a statue 
 according to the dictates 
 of the theory, and called 
 the statue, like the treatise, 
 his ' Canon.' 
 
 The identity of this ' Canon ' with the doryphoros is shown by the 
 anecdote told of Lysippos, who used to say that the doryphoros of 
 Polykleitos was his master (Cic. Brut. 86. 296) and by Quint, (v. 12. 
 21) who states that sculptors took it as their model. An expression 
 is quoted from the theoretical treatise by Philon mpl @f\oirniii<5>v 
 iv. 2 TO yap (v irapa fiiKpov 8ia no\\<av dpidfiuiv e0j yiyvf<rdai- 
 ' Beauty, he said, was produced from a small unit through a long 
 chain of numbers.' The system given by Vitruv. iii. I does not 
 agree with the statues of Polykleitos. Kalkmann (53. Winckelmanns- 
 programm) connects it with the canon of Euphranor (No. 230) on 
 very slight grounds. 
 
 yeypaTTTCU. Traas yap 
 as f]iJ.as fv e/ceini) rw cruy- 
 ypa/x/jicm TO.S (Tvufjierpias TOV 
 o-w/jtaros 6 FIoAvfcAeiros, epyw 
 ror Aoyoy fe/3e/3auo0-e, Srj/xt- 
 oupyr/o-as dySpiarra /cara TO 
 TOV Xoyov TrpocrTay/^ara, Kal 
 /caAeVas 8^ *cai avrov TOV av~ 
 bpidi-Ta, Kaddirtp Kal TO (ruy- 
 navova. 
 
 164. Plut. Quaest. Conu. 
 ii. 3. 2 FIoAwKAeiros 6 TTACZOTTJS 
 
 6*776 X a ^ e7r ^ 7 " ar 1 ' fiVO.1. TO 
 
 epyov, OTav fv ow\i o 7777X69 
 yttnjTOL 
 
 Polykleitos the sculptor 
 said that the work was most 
 difficult, when the clay came 
 under the nail.
 
 130 GREEK SCULPTURE 
 
 K.T.X.] If these words are to be taken literally they 
 may be interpreted, (l) of the nail of the artist, with which he works 
 over the surface of the finished model ; (2) of the nail of the model 
 itself, which is the last detail to be finished. But this would require 
 tv rots owi. It is possible that the phrase (which was a proverbial 
 one, cp. the use of i ovv X' L flv Ar. ^ r - 2 3 Bgk. and Dion. Hal. de 
 tti Demosth. 13 6 TOV &r)ij.ocrdfvavs \6yos . . . TOV AvariaKov \apaKTrjpa 
 (Is ow^a) is used without any literal implication. 
 
 Other works by Polykleitos : 
 The AMAZON (v. No. 117). 
 HERAKLES and the Hydra (Cic. de Or. ii. 16. 70). 
 The KANEPHOROI (Cic. Verr. iii. 4. 5). 
 Portraits of Olympic victors : 
 
 KYNISKOS of Mantineia, victor in the boys' boxing-match (Paus. 
 vi. 4. ii) ; the inscription Lowy 50. 
 
 Works ascribed to the younger Polykleitos (v. infr. p. 192) : 
 
 165. Paus. ii. 20. i (At (At Argos) there is a 
 
 Argos) ayaA/^ta eari naQri- seated image of Zeus the 
 
 Aids MeiAixfou, \i9ov Merciful in white marble, 
 
 u, IIoAu/cAeiTou 8e tpyov. the work of Polykleitos. 
 
 Stated by Paus. to have been set up in expiation of a massacre 
 in 418 B. c., in which case it would be a work of the elder P. But 
 the material (marble) is not that employed by him, and the mas- 
 sacre may have been the ' o-KVTa\icrp.6s ' in 370 B. c. (Diod. xv. 58). 
 
 166. Paus. ii. 24. 5 w/co8o- On the summit of the 
 
 5e firl Kopv^y TOV opovs mountain stands a temple 
 
 'Op6ias itpov, /cal of Artemis Orthia, in which 
 
 i ' ATTO\\(I>VOS Kal are images of Apollo, Leto 
 
 Kal 'Apre'/ziSos Treiroi- and Artemis of white 
 
 TJTCU A.ev/cou Xidov. Uo\v- marble. These are said to 
 
 K\firov 5e tyaa-iv fivai. epya. be the work of Polykleitos. 
 
 TOV opovs] Mount Lykone in Arkadia. Ascribed to the younger 
 P. on the ground of the material.
 
 THE ARGIVE SCHOOL 131 
 
 Portraits of Olympic victors : 
 
 ARISTION of Epidauros, victor in the boys' boxing-match (Paus. 
 vi. 13. 6). Inscription Lowy 92. 
 
 THERSILOCHOS of Korkyra, victor in the boxing-match (Paus. 
 vi. 13. 6). Coupled by Paus. with the last. 
 
 ANTIPATROS of Miletos, victorious in the boys' boxing-match in 
 the time of Dionysios I (probably 388 B.C.) (Paus. vi. 2. 6). 
 
 (PYTHOKLES of Elis, victor in the five contests (Paus. vi. 7. 10). 
 Inscription Lowy 91.) 
 
 (XENOKLES of Mainalos, victor in the boys' wrestling-match 
 (Paus. vi. 9. 2). Inscription Lowy 90.) 
 
 The case of the two last-named is doubtful. V. supr. ad init. ; 
 and Furtwangler, loc. cit. 
 
 . THE FAMILY AND SCHOOL OF POLYKLEITOS. 
 
 (a) THE FAMILY OF PATROKLES. 
 Patrokles 
 
 Naukydes Daidalos Polykleitos II 
 
 Alypos. 
 
 Naukydes and Daidalos describe themselves as sons of Patrokles 
 in their inscriptions (Lowy 86, 88). A Polykleitos, brother of Nau- 
 kydes, is mentioned by Pausanias (No. 173), who (though Robert 
 believes him to be the elder P.), must be in reality the younger 
 artist of the name ; on whom see Part iv. 2. 1 (b). The relationship 
 of the elder Polykleitos to the other members of the family must 
 remain uncertain. He may have been the brother of Patrokles. 
 
 Date. Patrokles was employed (v. No. 172) on the Spartan 
 memorial of Aigospotamoi (405 B. C.). Pliny dates him 400 B. C. 
 Naukydes seems to have worked with the elder Polykleitos at Argos 
 (No. 170), and his inscriptions (Lowy 86, 87, see especially note on 
 the latter inscription) show that he was at work in the early years 
 of the fourth century. His younger brothers belong to the next 
 period. His pupil Alypos, however, was employed on the memo- 
 rial of Aigospotamoi (No. 172). 
 
 K 'I
 
 132 GREEK SCULPTURE 
 
 167. Plin. N. H. xxxiv. Patrokles made statues 
 91 Athletas autem et arma- of athletes, warriors, hunters, 
 tos et uenatores sacrifican- and sacrificers. 
 
 tesque (fecit) . . . Patrocles. 
 
 P.'s place is with the artists of the second grade, who are classi- 
 fied according to their subjects (Introduction, i). 
 
 168. Plin. N. H. xxxiv. The fame of Naukydes 
 80 Naucydes Mercuric et rests on his Hermes, his 
 discobolo et immolante quoit - thrower, and his 
 ariem censetur. figure sacrificing a ram. 
 
 The last named is usually identified with a figure standing in the 
 precinct of Athena Ergane on the Akropolis of Athens, described 
 by Paus. in the following No. 
 
 169. Paus. i. 24. 2 /ceirai There stands also Phrixos, 
 bf KOI $>pios 6 'AOdpavTos the son of Athamas, who 
 fvr]VyiJLvos fs K6\x ov s v was borne to Kolchis by 
 TOV KPLOV. 6v(ras Se avrbv the ram. He has sacrificed 
 oro) br] #eo>, o>s 8e ei/cdo-ai TO> the animal to some god, 
 Aa<f)v<rriu> KoAoujueW, Trapa probably to him who is 
 'OpxofJicvtois, TOVS wpovs Kara called Laphystios at Orcho- 
 v6fj.ov (KTffj.tov TOV 'EAATjwoi/, menos, and having cut out 
 es CLVTOVS Kaio/i^rous 6pa. the thigh-pieces after the 
 
 Greek fashion, is watching 
 them as they are consumed 
 by the flames. 
 
 Zeus Laphystios was worshipped on Mount Laphystion in Boeotia 
 and at Halos in Achaia Phthiotis, where human sacrifices, of which 
 that of Phrixos and Helle (for whom the ram with the golden fleece 
 was substituted) was the prototype, were offered in historical times 
 (Hdt. vii. 197).
 
 THE ARGIVE SCHOOL 133 
 
 170. Paus. ii. 17. 5 Aeyi-cu It is said that beside the 
 be TrapeoTTjKeWi TT) "Hpa Ttyj>r] Hera there stands an image 
 NauKvSous ayaAju.a*H/3?7?, t\4- of Hebe, the work of Nau- 
 (fravTos Kal TOVTO Kal yjpvaov. kydes. This is also of ivory 
 
 and gold. 
 
 The Hera is that of Polykleitos at Argos (No. 161). Both figures 
 are represented on bronze coins of Argos (Overbeck, Kunstmyth. 
 iii, Miinztafel iii. i). 
 
 171. Paus. ii. 22. 7 (At (At Argos) beyond the 
 Argos) TOV bf iepov rfjs EiAet- temple of Eileithuia is a 
 6vias TTfpav kcnlv 'Ear7]s temple of Hekate, and the 
 
 Ko'ira 8e TO ayaA/xa image is the work of Skopas. 
 TOVTO p.ev XiQov, TO. 8' This is of marble, and the 
 a-no.vTi.Kpv x.a\Ka, 'E/ccm/s KOL bronze figures which stand 
 TO.VTO. ayd\p.aTa, TO /xey IloAv- opposite to it also represent 
 KAetros eTrotrja-e, TO 8e dfieA^os Hekate. One was made by 
 rioAu/cAetVou NauKvSrjs* Mo- Polykleitos, the other by 
 6u>vos*. Naukydes, the brother of 
 
 Polykleitos*, and son of 
 Mothon*. 
 
 MoOuvos] The text is corrupt, since the inscription quoted above 
 shows that Naukydes was the son of Patrokles. Klein suggests 
 but this would involve a lacuna for the teacher's name. 
 
 Other works : 
 
 A portrait of the poetess Erinna (Tatian, c. Grace. 52). 
 
 Athlete statues : 
 
 BAUKIS of Troizen, victorious in wrestling (Paus. vi. 8. 4). 
 
 CHElMON, victorious in wrestling (Paus. vi. 9. 3). 
 
 EUKLES of Rhodes, grandson of Diagoras, victorious in wrestling 
 (Paus. vi. 6. 2). Inscription Lowy 86. 
 
 Portraits by Alypos, pupil of Naukydes : 
 
 SYMMACHOS of Elis, victorious in boxing (Paus. vi. I. 3). 
 
 NEOLAIDAS of Pheneos in Arkadia, victorious in the boys' 
 boxing-match (id. #.).
 
 134 
 
 GREEK SCULPTURE 
 
 ARCHIDAMOS of Elis, victorious in the boys' boxing-match 
 (Paus. vi. i. 3). 
 
 EUTHYMENES of Mainalos in Arkadia, victorious in the boys' 
 wrestling-match (Paus. vi. 8. 5). 
 
 (b) THE SCHOOL OF POLYKLEITOS. 
 Polykleitos 
 
 
 
 1 
 
 1 1 
 
 1 
 
 
 
 
 
 ] 
 
 .-^- 
 
 *^-* 
 
 H 
 
 oj r^~j- o\ 
 
 I. Asopodoro 
 of Argos 
 
 Aristeides 
 
 V f- 
 
 3 o> 
 
 3 ii ^ 
 
 O 5^ fT> 
 
 3 2 o 
 II 
 
 5. Dameas 
 of Kleitor 
 
 Periklytos 
 
 7. Kanachos 
 of Sikyon 
 
 
 C/) 
 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 B. Ant 
 
 iphanes 
 
 of Argos 
 
 I 
 
 9. Kleon 
 
 of Sikyon. 
 
 The first five names are from Pliny's list in the chronological 
 table ; Alexis, a pupil of the younger Polykleitos, and Dinon (want- 
 ing in best MS.) have been omitted. The rest are from Pausanias. 
 
 Date. Nos. 4, 5, 7, 8 were engaged on the memorial of 
 Aigospotamoi (405 B. C.), No. 8 also on a memorial of an Argive 
 success against Sparta in 414 B. C. (No. 173). 
 
 172. Paus. x. 9. 7 Aa/ce- 
 ba.ip.ovMv 8e . . . avaQri^ara 
 t(TTiv &TT' ' A6rjvai<t)v Atoa-- 
 Kovpoi. Kal Zcvs KOL 'ATToAAcov 
 Tf Kal "Apre/us, CTU 8e avrois 
 Ylocrtib&v re KO.I Avo-avbpos 6 
 
 ' ApiO-TOKplTOV OT((pa.VOVp.(l'OS 
 
 vTrd TOV nocreiScSvo?, v A/3as 
 Tf, 6y TW Avo-dvbpu Tore (p,av- 
 
 TCVTO, KO.I "EipfJUtiV 6 TT]V VCLVV 
 
 The offerings of the Spar- 
 tans from the spoils of the 
 Athenians consist of figures 
 of the Dioskouroi, Zeus, 
 Apollo and Artemis, beside 
 Poseidon and Lysander, the 
 son of Aristokritos,on whose 
 head Poseidon is placing 
 a garland, and Abas who 
 acted as diviner to Lysander
 
 THE ARGIVE SCHOOL 
 
 '35 
 
 TT)V Avcrdvbpov TT]V 
 Kvfitpv&v. 8. TOVTOV p.fv br) 
 TOV "EpfJLcava eo'/cocr^os TTOIT;- 
 a-fiv fp.e\\fv 6 Meyapevs are 
 VTTO T&V Meyape'coi 1 (yypcKpeiTa 
 fs Tr)v TToAtretaz;' ol Se Ato'tr- 
 
 KOVpOL 'AvTKpCLVOVS flfflv ' Ap- 
 
 yeiov, /cat 6 fj.dirns 
 YlC(T(Dvos fK KaAaupeia? 
 
 KOI Aa/zeas, 6 pifi> r?/ 
 re *at nocretS&ii'a ctpyao-aro, 
 en 8e TOV Ava-avbpov, 'A6r]vo- 
 Swpos 8e TOV ' ATTo'AAawa CTTOI- 
 TJO-C KOI TOV Aia' ovroi 8e 
 'Ap/cd8e$ etcrtz; ex KAetropos. 
 9. avdzfivTai be Kal o~Lo~6ev 
 T&V KareiA.ey/xe'ra>z> ouoi cruy- 
 Kareipyao-aiTo TW Avcrdvbpu 
 
 TO, V AlyOS TTOTdfJ-O^S 7J aV 
 
 S-napTiaTfav ij CTTO T&V 
 fj.a^rj(rdvT(t)v' fieri 8e ot<5e, 
 'ApaKos fj.ev /cat 'Epidy^r/s, 6 
 juei' avTaiy CK AaKefiat/xovos, 6 
 8e 'Eptd^Ts Botwrto? * * * 
 roO 
 
 S, Xioi 8e KT 
 O-OKAT/S xai 'EppocfxivTos re /cat 
 'I/ceVtos, Tifj.ap\os 8e /cat Aia- 
 yopas 'Fo'Stot, K^t'Stoj 8e 0eo- 
 
 /cat MtA^crtos AtavriSTjs. IO. 
 rourous /^tev rj e-TrotTjcre Tta- 
 
 on the occasion of the vic- 
 tory, and Hermon who was 
 the helmsman of Lysander's 
 flag-ship. This Hermon 
 was destined to be por- 
 trayed by Theokosmos of 
 Megara, because he had 
 been enrolled as a citizen 
 of Megara, the Dioskouroi 
 are byAntiphanes of Argos, 
 and the diviner is the work 
 of Pison of Kalaureia, a 
 possession of Troizen. Da- 
 meas made the Artemis 
 and the Poseidon, besides 
 the portrait of Lysander, 
 while Athenodoros made 
 the Apollo and the Zeus : 
 both Athenodoros and Da- 
 meas were Arkadians from 
 Kleitor. Behind the figures 
 already enumerated are 
 other offerings, the por- 
 traits of all who assisted 
 Lysander at the victory 
 of Aigospotamoi, whether 
 Spartans or allies. These 
 are the following : Arakos, 
 a Spartan, and Erianthes, 
 a Boeotian * * * beyond 
 Mimas, next is Astykrates 
 and Kephisokles, Hermo- 
 phantos and Hikesios of
 
 136 
 
 GREEK SCULPTURE 
 
 arbpo$,Tovs 8e e^e^TJ 
 
 S, eOTTO/ATTOi' MvvblOV 
 
 dfjiiov Kal c 
 Evfiotas 'ApurroKAe'a re Kapv- 
 
 (TTIOV Kttl AvTOVOfJiOV 'EpeTple'd 
 
 KOI 'Apioro$ai>Toy KopivOiov 
 
 KOI e'ETnbavpov AtWa T^S ev 
 TT) 'ApyoAi8i. eyjo\ji.<-voi 8e TOV- 
 rtav 'A^iwiKos fcrTLV ' A\aibs 
 
 KOI >a)Kev? re 
 ptas /cai Kw/icoy Meyapevs KOI 
 
 SCKUCUVIOS, e/c 8e 
 'A/ji/3paKias KOI KopivOov re 
 KCU AevKaSos TTjAufcparTjs /cai 
 Kopu/010? xat 'A/m- 
 Eva/TtSas' reAeu- 
 8e 'E7ri/cupi8as KOI 'Ereo- 
 ot AaKe8atp.o^tot. Oarpo- 
 /cAe'ous 8e Kal Ka^dxou (pacrlv 
 epya. 
 
 Chios, Timarchos and Dia- 
 goras of Rhodes, Theoda- 
 mos of Knidos, Kimmerios 
 of Ephesos and Aiantides 
 of Miletos. These figures 
 were made by Tisandros, 
 and those which follow by 
 Alypos of Sikyon. These 
 are Theopompos of Myndos 
 and Kleomedes of Samos 
 and two Euboeans Aris- 
 tokles of Karystos and 
 Autonomos of Eretria, and 
 Aristophantos of Corinth 
 and Apollodoros of Troizen 
 and Dion of Epidauros in 
 Argolis. Next to these 
 come Axionikos an Achaean 
 of Pellene and Theseus of 
 Hermione and Pyrrhias the 
 Phokian and Komon the 
 Megarian and Agasimenes 
 the Sikyonian, while Am- 
 bracia, Corinth and Leukas 
 are represented by Tely- 
 krates and Pythodotos the 
 Corinthian and Euantidas 
 of Ambrakia. Last of all 
 come the Spartans, Epi- 
 kyridas and Eteonikos : 
 these are said to be the 
 work of Patrokles and Ka- 
 nachos.
 
 THE ARGIVE SCHOOL 137 
 
 0OKocrp.os] v. No. 178. 
 
 viTp TOO MijiavTos] The lacuna which precedes these words may 
 perhaps have contained ( (6 df'iva) e| 'Epvdpw TOJV). Erythrai 
 'beyond Cape Mimas' (i.e. in Ionia) is to be distinguished from the 
 town of the same name in Boeotia. 
 
 173. Pans. x. 9. 12 TOV The Sibyl also foretold 
 
 oe vTtep Trjs KaXov/xevTjs vpe'as that in the battle fought 
 
 AaKfocufjioviuv ay&va KOI 'Ap- between the Spartans and 
 
 yft<av, 2t/3uAAa p.> KCH TOVTOV Argivesfor the possession of 
 
 7rpofdfcnTi.<Tfv, a>5 (ru/x/STjo-oiTo the district called Thyrea, 
 
 ef Icrov rat? Tr6\f<rtv. 'Ap- neither side should gain the 
 
 yetot Se a&oi'i'Tts eo-^TjKeWi victory. The Argives how- 
 
 TT\COV cv TW epycp \a\Kovv ever claimed the advantage 
 
 J-', TOV bovpeiov bijdfv, cnTf- in the fight and sent to 
 
 fs Ae\(f)ovs' TO be Delphi a bronze horse re- 
 
 ep-yov ' AvTKfrdvovs I<TT\V 'Ap- presenting the Wooden 
 
 yetou. Horse of Troy : this was 
 
 the work of Antiphanes of 
 Argos. 
 
 The battle was fought in 414 B.C. (Thuc. vi. 95). This favours 
 the earlier date for No. 238, on which Antiphanes was engaged 
 (q. v.). 
 
 Other works by pupils of Polykleitos : 
 ARISTIDES, chariot-groups (Plin. N. H. xxxiv. 72). 
 KANACHOS, portrait of Bykelos of Sikyon, victorious in boxing 
 at Olympia (Paus. vi. 13. 7). 
 
 (c) THE SCULPTURES OF THE HERAION AT ARGOS. 
 
 174. Paus. ii. 17. 3 apx 1 ' Eupolemos of Argos is 
 
 TETOVO, fjiev 8rj yevfo-Ocu TOV said to have been the archi- 
 
 vaov Ae'yovcrij/ EinroAe/iov 'Ap- tect . . . The subjects which 
 
 yelov . . . oTToVa 6e virfp TOVS fill the spaces above the
 
 138 
 
 GREEK SCULPTURE 
 
 etpyao-jueVa, TO 
 es TT]V Aios 
 Kal YiyavTuv 
 rd bf cs TOV Ttpbs 
 Tpoiav TroAe/xoy KOI 'lAiou TTJV 
 
 columns are taken partly 
 from the legends of the 
 birth of Zeus and the battle 
 of the Gods and Giants, 
 partly from the story of 
 the Trojan war and the fall 
 of I lion. 
 
 The temple was restored after its destruction by fire in 423 B. c. 
 The site has been recently excavated by the American School at 
 Athens, and fragments of the metopes discovered. See Waldstein, 
 Excavations at the Heraion of Argos, 1892, who however (p. 18) 
 appears to take Paus.' words to be a description of the pediment- 
 sculptures. This would be TO. tv rols aerols in the language of Paus., 
 while ra vrrfp TOVS Kiovas unmistakably refers to metopes. 
 
 3. OTHER ARTISTS. 
 
 1. PAIONIOS OF MENDE. 
 
 Date. Dependent on that assigned to the Nike at Olympia 
 (Nos. 175, 176), on which see commentary. 
 
 The Dorian Messenians 
 who formerly received Nau- 
 paktos from the Athenians 
 dedicated at Olympia a 
 statue of Victory on a pillar. 
 This was the work of Pai- 
 onios of Mende, and was 
 set up from spoils taken from 
 the enemy when the Mes- 
 senians were at war with 
 the Akarnanians and the 
 
 175. Paus. v. 26. i Me<r- 
 be ru>v Aa>pua>y oi 
 TTOTC -napa 'A0r r 
 vaia>v Aa/3ovres ayaA^ia fv 
 'OAu/xTria NI'KTJS CTTI T(5 KIOVL 
 avtOecrav. TOUTO IO-TIV epyov 
 fjifv Mevbaiov Danoviou irciroC- 
 Tjrai b( a7ro dvbp&v iroAe/j.iaji; 
 5re 'AKapvacri Kal Olvidbais, 
 TO\f^.rjcrav. Mr- 
 8e avrot Ae'youo-i, TO
 
 OTHER ARTISTS 
 
 139 
 
 a <r<pi(nv OTTO TOV epyov 
 TOV fv Tr) 2</>aK7Tjpta 
 juera 'A07jycuW', KCU OVK 
 ypd\l/ai. TO ovop.a T>V 
 jj.ia)v <r(pas TO) OTTO 
 fjioviaiv 8et/xaTi, eTret 
 ye KCU Anapvavtov ovbeva 
 (popov. 
 
 people of Oiniadai. Such 
 at least is my view : but 
 the Messenians themselves 
 assert that the statue is 
 a memorial of the engage- 
 ment on the island of Sphak- 
 teria in which they fought 
 beside the Athenians, and 
 that they did not inscribe 
 the name of the enemy on 
 the monument for fear of 
 the Spartans, while they 
 had no fear of the Akar- 
 nanians or the people of 
 Oiniadai. 
 
 wore] Probably in 460 B.C. V. note on No. 42. 
 
 tjioi 8oKiv] Paus.' view is improbable, because the Messenians 
 were forced to beat a retreat by night from Oiniadai, which they 
 left empty-handed (Paus. iv. 25. 9, 10). The expedition took place 
 in 452 B.C. 
 
 T$ diro AaKs8<up.ovuov Stipcm.] This would be operative so long as 
 Elis remained the ally of Sparta. The engagement at Sphakteria 
 took place in 424 B. c., the rupture between Elis and Sparta in 420 
 B. c. The date of the Victory therefore probably lies between these 
 years. 
 
 176. Lowy, /. G. B, 49 
 Meo-0-cu'ioi 
 avtdtv Au 
 euro T<Si> 
 CTroiTjo-e Mej-'Scuo? 
 
 TTIpia TtOlUtV (Til TOV VO.OV Ci'l/ca. 
 
 The Messenians and 
 Naupaktians dedicated to 
 Olympian Zeus as a tithe of 
 the spoil of their enemies. 
 Paionios of Mende made 
 the statue and was a suc- 
 cessful competitor in the 
 construction of the gable- 
 figures for the temple.
 
 140 
 
 GREEK SCULPTURE 
 
 From the original of No. 175, preserved in the Museum at Olym- 
 pia. See F. W, 496, 497. The later of the dates given on No. 175 
 is supported by the style. 
 
 raKpuTTipia] Figures of Victory in gilded bronze, which stood on 
 the extremities of the gable (Paus. v. 10. 4). It is impossible to give 
 to this word the sense of ' pediment-sculptures,' i. e. tvaena (C. l.A. 
 iv. 297 b , Kavvadias, Fouilles d 1 Epidaure, 241, 98, &c.). See 
 next No. 
 
 177. Paus. v. IO. 6 ra 
 kv TOIS derois, ZCTTLV 
 
 77 TTpos Olvop.aov 
 a/ziAAa eri /xe'AAoucra, 
 KOI TO Hpyov TOV bpopov irapa 
 d/x(porepa)i> tv TTa.pacrK.cvfj. Atos 
 oe dydAp-aros Kara /zeVoy Tre- 
 TroiTj/ieyou fxaAiora TOV atrov 
 (crTiv Olv6fj.aos kv btiq TOV 
 
 AtOS (TTLKfL^fVOS KpaVOS TT/ 
 
 7/, Ttapa bf CLVTOV yvvr] 
 7, dvyaTfpcav KCU afar] 
 T&V "ArAairos. MupriAos 8e, 
 6s 7/Aaf^e TO) Qlvofjia<p TO 
 ap/xa, Ka^Tjrai Trpo rcSy tTTTrcoy 
 ot 8e f.l(Tiv apLOpov ol lirnoi 
 . /xera 8e avroy etcriy 
 bvo. ov 
 eriz; OVK (<TTI, 
 apa TOVS ITTTTOVS /cat 
 jrpocrereraKTo VTTO TOV Olvo- 
 pdov. 7. Trpos avTw 8e 
 Keirat TOJ Tre'part KAdSeos' 
 5e KOI cs rd aAAa Trap' ' 
 ri/xa? TioTa\iS>v /xaAtora ftera 
 ye 'AAcpaoV. ra 8e es dpi<r- 
 
 The sculptures of the 
 front pediment representthe 
 moment before the chariot- 
 race of Pelops with Oino- 
 maos, and the preparations 
 for the contest on both 
 sides. Just in the centre of 
 the pediment is ari image 
 of Zeus, and on the right of 
 Zeus is Oinomaos with a 
 helmet on his head, and 
 beside him stands his wife 
 Sterope, who was also one 
 of the daughters of Atlas. 
 And Myrtilos who drove 
 the chariot of Oinomaos is 
 seated in front of the team ; 
 this consists of four horses. 
 After him come two men ; 
 they have no names, but 
 were doubtless also told 
 off by Oinomaos to tend 
 the horses. Close to the 
 end of the pediment reclines 
 Kladeos, who in various 
 ways enjoys higher honours
 
 OTHER ARTISTS 
 
 141 
 
 a OTTO ro(5 Aios 6 ITeAoi//- 
 Kal 'l7T7rod/j,eia KCU o re ^ino- 
 Xo? eori ToS FleAoTTos KCU 
 ITTTTOI, 8vo re fo^pes, iTnroKo/xoi 
 or) KCU OVTOI. TO) DeAoTri. Kal 
 av6is 6 aeros /careio-ty c? 
 oreyoV, KCU Kara rouro 'AA- 
 (pfios CTT' avroi; TreTrotTjrat. TO> 
 8e d^8pi os 
 Aoyo) /iey TO) 
 ovop.a 2<^atpo?, 6 
 2<f)aa-KV 6 fv 'OAv/iTria 
 8. ra 
 
 in Elis than any river except 
 Alpheios. On the left of 
 Zeus are Pelops and Hippo- 
 dameia and the charioteer 
 of Pelops and his team, 
 and two men, doubtless 
 also grooms employed by 
 Pelops. Here again the 
 lines of the pediment con- 
 verge, and at this point 
 Alpheios is represented. 
 The charioteer of Pelops is 
 called Sphairos in the Troi- 
 zenian account, but the 
 guide at Olympia asserted 
 that his name was Killas. 
 The sculptures of the front 
 pediment are the work of 
 Paionios, a native of Mende 
 in Thrace. 
 
 On the east pediment of Olympia, v. Ov. I 4 . 309 ff., Coll. I. 
 436 ff. 
 
 TOIS aerois eori 
 
 e/c Met-Srjj rrjs paxta?. 
 
 os] Paus. seems to think that the figure of Zeus in the 
 centre represents a statue. This may have been due to the fact 
 that Zeus takes no part in the action, and has no attention directed 
 to him by the other figures. 
 
 cv 8i$ TOV Aios] The two last words are absent from many 
 MSS. Paus. refers in all such cases to the spectators right or 
 left. 
 
 tlvSpes 8tio] A mistake of Pausanias. The figures are those of 
 an old man and a maiden. 
 
 KAASeos] Furtwangler and others reject this explanation (as well 
 as Alpheios) on the ground that personifications of rivers are a pro- 
 duct of the Hellenistic age, and regard the figures as those of 
 spectators, but Treu justly points out that the river-gods Selinus
 
 142 GREEK SCULPTURE 
 
 and Hypsas appear in human form on contemporary coins of 
 Selinus (Head, Historia Numorum, Fig. 91, Gardner, Types of 
 Greek Coins, PL ii. 16). 
 
 ILuwviou] If the attribution of the west pediment to Alkamenes 
 (No. 134) is improbable, that of the east pediment to Paionios is 
 impossible, owing to the difference of style between the pediment- 
 sculptures and the Victory. The account given to Pausanias by 
 his guides may have arisen from a misinterpretation of the inscription 
 of the Victory (No. 175), dxpwr^pta being translated ' pediment- 
 sculptures.' An unsuccessful competitor was invented in the 
 person of Alkamenes. 
 
 2. THEOKOSMOS OF MEGARA. 
 
 Date. His statue of Zeus at Megara (No. 178) was incomplete 
 on the outbreak of the Peloponnesian war (432 B. c.). He was 
 employed in the construction of the Spartan memorial of Aigos- 
 potamoi (405 B.C.) (No. 172). His son Kallikles made a portrait 
 of Diagoras of Rhodes, the famous ir(pio8oviKr}s, and his grandson 
 ApeUas (Paus. vi. i. 6, cp. Plin. N. H. xxxiv. 56), a portrait of 
 Kyniska, daughter of Archidamos, king of Sparta (inscription 
 Lowy 99, dated circ. 370 B. C.). 
 
 178. Paus. i. 40. 4 (At (At Megara) at the 
 
 Megara) ts TO TOV Aids re- entrance to the precinct of 
 
 KaXovfjicvov Zeus called the Olympieion 
 
 vaos tori Ocas is a remarkable temple : the 
 
 agios' TO b ayaA/xa OVK ceip- image of Zeus however was 
 
 ya<r0T) TOV Aio's, eTriXa/Sopros never completed, because 
 
 TOU TlfhoTTovvrjaitov iroXe'/zou the war between the Pelo- 
 
 Trpos 'A0?ji;aiovs, cv o> KOI ponncsians and Athenians, 
 
 vavcrlv ava irav CTOS /cat in the course of which the 
 
 o-Tpa.T<*<f>OeipovTfsMeyapev<nv latter devastated the terri- 
 
 'Adr]valoirqvx^P a vfK<iK(t)(rav tory of Megara every year 
 
 . . . TO) 8e dyoAfiari TOV Aios with their fleet and army, 
 
 irp6<T(i)Trov (\(<t>avros KOI xpv- interrupted its construction. 
 
 TOV, TO. be XOLTTO, TTTjAou re This image of Zeus has a
 
 OTHER ARTISTS 
 
 142 
 
 yv\l/ov' 
 
 avro &eoKO(r^iov Xtyov&Lv (TTL- 
 (rvvep-yaa-aa-dai 8e ol 
 v-nep 8e rrjs K((j)a\ijs 
 TOV Ato? flaiv *lpai /ecu 
 Moipaf . . . oTTtcrtfe 8e TOV 
 vaov /ceircu vAa 
 raCra 
 
 TO ayaAjua 
 Ato?. 
 
 face of ivory and gold, but 
 the other parts are of clay 
 and plaster ; they say that 
 it was the work of Theo- 
 kosmos, a native of Megara, 
 and that Pheidias assisted 
 him in its construction. 
 Above the head of Zeus are 
 figuresof Seasons and Fates ; 
 and behind the temple 
 lie half-wrought blocks of 
 wood. These Theokosmos 
 was about to adorn with 
 ivory and gold in order to 
 complete the image of 
 Zeus. 
 
 3. NIKODAMOS OF MAINALOS. 
 
 Date. Androsthenes (v. infr.) was victorious in Ol. 90 ( = 420 
 B. c.). The inscription from the portrait of Damoxenidas (v. infr.) 
 belongs to the fourth century. 
 
 179. Paus. v. 25. 7 
 TOV avTov Tcovs . . 
 
 TOV 
 
 bvo (Ivlv avbpi- 
 i, Traloes ?/AtKtcu>. 
 V Ne^ea ro- 
 Home Xfovra TOVTOV 
 [j,cv bij TOV Tf 'Hpa/cAe'a KOI 
 6pov TO) 'HpaxAet TOV AeotTa 
 TapavTivos av^OrjKfv 'ITTTTO- 
 , NiKoba.fj.ov bf eon Maiv- 
 
 On the same wall are 
 two nude figures represent- 
 ing Herakles as a boy. One 
 of these appears to be shoot- 
 ing with arrows the lion of 
 Nemea. This group both 
 the Herakles and the lion 
 was dedicated by Hippotion 
 of Tarentum, and is the 
 work of Nikodamos of 
 Mainalos.
 
 i 4 4 
 
 GREEK SCULPTURE 
 
 Other works (all at Olympia) : 
 
 ATHENA, wearing aegis and helmet (Paus. v. 26. 6). 
 
 Athlete statues : 
 
 Androsthenes of Mainalos, victor in the pankration, Ol. 90 ( = 420 
 B.C.) (Paus. vi. 6. i). 
 
 Damoxenidas of Mainalos, victor in boxing (Paus. vi. 6. 3). 
 Inscription Lowy 98. 
 
 Antiochos of Lepreon, victor in the pankration (Paus. vi. 3. 9). 
 
 4. TELEPHANES OF PHOKIS. 
 
 The artists who have 
 composed set treatises on 
 this subject bestow extra- 
 ordinary praise on Tele- 
 phanes the Phokian, who is 
 otherwise unknown, since 
 he lived in Thessaly and 
 his works remained un- 
 noticed in that country, but 
 is placed by their own 
 testimony on a footing of 
 equality with Polykleitos, 
 Myron and Pythagoras. 
 They praise his Larisa, his 
 portrait of Spintharos, 
 a victor in the five contests, 
 and his Apollo. Others 
 assert that this was not the 
 cause of his lack of fame, 
 but rather the fact that 
 he devoted his talents to 
 the service of Xerxes and 
 Darius. 
 
 Phocaeum] Probably ' of Phokis,' possibly ' of Phokaia.' 
 
 180. Plin. N. H. xxxiv. 
 68 Artifices qui compositis 
 uoluminibus condidere haec 
 miris laudibus celebrant 
 Telephanen Phocaeum ig- 
 notum alias, quoniam Thes- 
 saliae habitauerit et ibi 
 opera eius latuerint, alioqui 
 suffragiis ipsorum aequatur 
 Polyclito Myroni Pytha- 
 gorae. Laudant eius Lari- 
 sam et Spintharum pent- 
 athlum et Apollinem ; alii 
 non hanc ignobilitatis fuisse 
 causam, sed quod se regum 
 Xerxis atque Darii officinis 
 dediderit existimant.
 
 OTHER ARTISTS 
 
 145 
 
 artifices] Perhaps Xenokrates and Antigonos (v. Introduction, 
 l). The selection of the names Polykleitos, Myron, and Pytha- 
 goras seems to suggest that he had a place in the series of bronze- 
 casters of whom Pliny quotes criticisms (Introduction, 2). 
 
 The names of Persian kings are given at random (Xerxes 485- 
 465 B. c., Darius 424-405 B. c.). 
 
 5. THE METOPES OF OLYMPIA. 
 
 181. Paus. v. 10. 9 eori oe 
 fv 'OAu/iTTia KOL 'Hpa/cAe'ous 
 TO. TroAAa Ttav Hpyatv. 
 p.V TOV vaov 7re77o irjra 
 QvpSiv f) f ' ApKabias ay pa 
 TOV v6f, Kal ra Tipbs Ato/^ujSrjp 
 TOV QpaKa Kal lv 'Epu0eia 
 irpos r-ripvovrjv, Kal "ArXarros 
 rf ro <pop-qfj.a eKSe'xecr^ai 
 Trjs KOTTpov Ka- 
 ecrrlv 'HAeiots. 
 
 inrep 8e TOV O7rto-^o8o/xou T&V 
 6vpG>v TOV faa-Tijpos TI]V 'A/xa- 
 
 Most of the labours of 
 Herakles are represented at 
 Olympia. Above the door 
 of the temple is the hunt of 
 the Arkadian boar and the 
 fight with Diomedes the 
 Thracian and with Geryon 
 at Erytheia, and Herakles 
 about to receive Atlas' 
 
 
 
 burden^ and the same hero 
 clearing the land of dung 
 for the Eleans. Over the 
 back door of the temple is 
 Herakles stripping the 
 Amazon of her belt and 
 the hunting of the stag and 
 of the bull of Knossos, and 
 the birds of Stymphalos, 
 and the hydra, and the lion 
 in the land of Argos. 
 
 Fragments of all these metopes, and of a twelfth belonging to 
 the west front, and representing Kerberos, have been discovered at 
 Olympia (Ov. I 4 . 332 ff., Coll. I. 429 ff.). 
 
 "ArXavTov' . . . fxtXXwv] Paus. ha inverted/ the onder of the 
 names/ Herakles is in reality represented as upholding yftie 
 heav^niy globe, while Atlas a'pproaches/with tfye apples of the 
 Hesperides. ' 
 
 ra e? TJ]V e\a(f>ov /cat TOV ev 
 Kj'cofTO) Tavpov, Kal opvidas 
 ra? CTTI 2rt;/a<^^Aa) Kal fs 
 vbpav TC Kal TOV ev TTJ yy 
 'Apyeia \fOVTa.
 
 PART IV. 
 
 SCULPTURE IN 
 THE FOURTH CENTURY. 
 
 NOB. 182-260. 
 
 L 2
 
 i. THE ATTIC SCHOOL. 
 
 1. THE FAMILY OF KEPHISODOTOS. 
 
 (a) KEPHISODOTOS THE ELDER. 
 
 Date. Since the younger K. was the son of Praxiteles, it is 
 inferred that the elder was his father. He may however have 
 been his elder brother, since Pliny dates him Ol. 102 = 372 B. C., 
 and the cult of Eirene (No. 184) was introduced at Athens in 375 
 B. c. His sister was the wife of Phokion (402-317 B. C.). 
 
 182. Plin. N. H. xxxiv. 
 87 Cephisodoti duo fuere ; 
 prioris est Mercurius Libe- 
 rum patrem in infantia 
 nutriens; fecit ct contio- 
 nantem manu elata, persona 
 in incerto est. 
 
 183. Plin. N. H. xxxiv. 
 74 Cephisodotus (fecit) 
 Mineruam mirabilem in 
 portu Atheniensium et 
 aram ad templum louis 
 Seruatoris in eodem portu, 
 cui pauca comparantur. 
 
 There were two sculptors 
 named Kcphisodotos ; by 
 the earlier is a Hermes 
 nursing the infant Dionysos. 
 He also represented an 
 orator addressing his au- 
 dience with uplifted arm ; 
 the name however is un- 
 certain. 
 
 Kephisodotos was the 
 sculptor of a remarkable 
 statue of Athena in the 
 harbour of Athens, and an 
 altar in the temple of Zeus 
 the Saviour in the same 
 harbour, which has few 
 rivals.
 
 GREEK SCULPTURE 
 
 Paus. i. I. 3 describes the precinct of Zeus (Soter) and Athena 
 (Soteira) at the Piraeus, and mentions two statues of bronze, one of 
 Zeus, with sceptre and Victory, the other of Athena, with spear. 
 These are generally identified with the works referred to by Pliny. 
 
 184. Paus. ix. 16. i 17- 
 
 At Thebes there is a 
 sanctuary of Fortune: and 
 the goddess bears in her 
 arms the child Wealth. 
 The Thebans allege that the 
 hands and face of the statue 
 were made by Xenophon 
 of Athens, and the rest of 
 the figure by Kallistonikos, 
 a native of Thebes. It was 
 an ingenious device of 
 theirs to place Wealth in 
 the arms of Fortune, as his 
 mother or nurse ; and no 
 less ingenious was that of 
 Kephisodotos, for he made 
 for the Athenians an image 
 of Peace bearing the child 
 Wealth in her arms. 
 
 From Paus. i. 8. 2 we learn that the statue of Peace and Wealth 
 stood beside the statue of the Eponymi on the Areopagus. It is 
 reproduced on coins of Athens, Num. Comm. DD. ix, x, and the 
 so-called Leukothea in the Glyptothek at Munich (F. W. 1210) is 
 a copy. 
 
 185. Paus. ix. 30. i rais 
 Mowcrais be dydAjnara fj.ev 
 Trpoora eon KijcpttroSorou re^vrj 
 Trdcrats. irpoeAfloWi be ov 
 
 UpoV' </>e'pei n\v brj YlXovrov 
 ~alba' <y? be 0rj/3atot Aeyoucn, 
 Xeipa? fj.ev TOV dydA/iaros KCU 
 irpocrunrov zevotytav flpya.cra.TO 
 'A^T/fatos, KaAAiororiKos be 
 TO. Aonra eTTi.\topios. crocpov 
 Hev br) /cat rovrois TO /3ovAeup.a 
 ecrdelvat. YlXovrov es ras \fl- 
 pas fire wrpl 77 rpo0(3 T?"/ 
 T^x??' crocpov 8e o^x ^o-croy 
 K?j(pto-o8orou' Kat yap OVTOS 
 rijs EipTjrrjs TO ayaAjua 'Adrj- 
 OAoCToj; eouaai' TTC- 
 
 rpeiy fj.fv elcriv avdis 
 
 The first group of statues 
 of the Muses are all the 
 work of Kephisodotos. A 
 little farther on is another 
 group, of which three again 
 are by Kephisodotos.
 
 THE ATTIC SCHOOL 
 
 On Mount Helikon. The remaining Muses of the second group 
 were by Strongylion (No. 151) and Olympiosthenes. 
 
 (b) PRAXITELES. 
 
 Date. Plin. gives Ol. 104 (364 B. C.), and this is the only recorded 
 date, except for the doubtful statements of Vitruvius (vii. Praef. 12), 
 that he was employed on the Mausoleion (353 B.C.) and of Strabo 
 (xiv. 641) that he made an altar for the temple of Artemis at 
 Ephesos (after the fire of 356 B.C.). As the date of his sons in 
 Pliny's table (Ol. 121 = 296 B.C.) seems to be too late (v. infr. (c)), 
 his career may perhaps be placed circ. 370-330 B.C. The only 
 inscription (Lowy 76 from Leuktra) falls towards the close of this 
 period, and belongs to a portrait. On the various dates assigned 
 to the Hermes of Olympia see No. 193 note. 
 
 186. Plin. A 7 . H. xxxvi. 
 20 Praxitelis aetatem inter 
 statuaries diximus, qui 
 marmoris gloria superauit 
 etiam semet. Opera eius 
 sunt Athenis in Ceramico, 
 sed ante omnia est non 
 solum Praxitelis uerum in 
 toto orbe terrarum Uenus 
 quam ut uiderent multi na- 
 uigauerunt Cnidum. Duas 
 fecerat simulque uendebat, 
 alteram uelata specie, quam 
 ob id praetulerunt quorum 
 condicio erat Coi, cum 
 eodem pretio detulisset, 
 seuerum id ac pudicum ar- 
 bitrantes ; reiectam Cnidii 
 emerunt immensa differ- 
 entia famae. 21. Uoluit earn 
 a Cnidiis postea emercari 
 
 In my account of the 
 bronze-casters I have men- 
 tioned the date of Praxiteles, 
 who surpassed even himself 
 by the fame of his work in 
 marble. His works may 
 be seen at Athens in the 
 Potter's Quarter, but the 
 Aphrodite, to see which 
 many have sailed to Knidos, 
 is the finest statue not only 
 by Praxiteles, but in the 
 whole world. He had made 
 and was offering for sale 
 two figures of Aphrodite, 
 one whose form was 
 draped, and which was 
 therefore preferred by the 
 people of Kos, to whom the 
 choice of either figure was 
 offered at the same price, as
 
 152 
 
 GREEK SCULPTURE 
 
 rex Nicomedes, totum aes 
 alienum, quod erat ingens, 
 ciuitatis dissoluturum se 
 promittens ; omnia perpeti 
 maluere. nee immerito ; 
 illo enim signo Praxiteles 
 nobilitauit Cnidum. Aedi- 
 cula eius tota aperitur, ut 
 conspici possit undique 
 effigies dea fauente ipsa, ut 
 creditur, facta ; nee minor 
 ex quacumque parte ad- 
 miratioest. ... 22. Sunt in 
 Cnidoet aliasignamarmorea 
 illustrium artificum, Liber 
 Pater Bryaxidis et alter 
 Scopae et Minerua nee 
 maius aliud Ueneris Praxi- 
 teliae specimen, quam quod 
 inter haec sola memoratur. 
 Eiusdem est et Cupido 
 objectus a Cicerone Verri, 
 ille propter quern Thespiae 
 uisebantur, nunc in Octauiae 
 scholis positus. 23. Eius- 
 dem et alter nudus in Pario 
 colonia Propontidis, par 
 Ueneri Cnidiae nobilitate. 
 . . . Romae Praxitelis 
 opera sunt Flora Tripto- 
 lemus Ceres in hortis Serui- 
 lianis, Boni Euentus et 
 Bonae Fortunae simulacra 
 
 the more chaste and severe, 
 while the other which they 
 rejected was bought by the 
 Knidians, and became im- 
 ( measurably more celeb rated. 
 King Nikomedes wished to 
 buy it from the Knidians, 
 and offered to discharge the 
 whole debt of the city, 
 which was enormous : but 
 they preferred to undergo 
 the worst, and justly so, for 
 by that statue Praxiteles 
 made Knidos famous. The 
 shrine which contains it is 
 quite open, so that the image, 
 made, as is believed, under 
 the direct inspiration of the 
 goddess, can be seen from 
 all sides: and from all sides 
 it is equally admired. There 
 are in Knidos other statues 
 by artists of the first rank 
 a Dionysos of Bryaxis, 
 another Dionysos and an 
 Athena by Skopas and 
 there is no greater testimony 
 to the Aphrodite of Praxi- 
 teles than the fact that 
 amongst all these it is the 
 only one thought worthy 
 of mention. By Praxiteles 
 also is the Eros which
 
 THE ATTIC SCHOOL 
 
 in Capitolio, item Maena- 
 des et quas Thyiadas 
 uocant et Caryatides et 
 Sileni, in Pollionis Asinii 
 monumentis et Apollo et 
 Neptunus. 
 
 Cicero cast in the teeth of 
 Verres, which formerly drew 
 travellers to Thespiai, and 
 now stands in the gallery 
 of Octavia, also another 
 nude Eros in the colony of 
 Parion on the Propontis, 
 whose fame equals that of 
 the Knidian Aphrodite. 
 The works of Praxiteles 
 preserved at Rome are : 
 Flora, Triptolemos and 
 Demeter in the gardens of 
 Servilius, figures of Good 
 Luck and Good Fortune on 
 the Capitol, where are also 
 Maenads and Thyiades, as 
 they are called, Karyatids, 
 and Sileni ; lastly Apollo 
 and Poseidon in the gallery 
 of Asinius Pollio. 
 
 inter statuaries] See No. 189. 
 
 Uenus] See Nos. 187, 188. Athenaios says that Phryne (No. 
 196) served as a model, while Clement of Alexandria tells the same 
 story of Kratina. The statue is represented on coins of Knidos 
 (Ov. II 4 . Fig. 156). On the existing copies v. F. W. 1215. A fine 
 head is published in Antike Denkmalcr i. 41. 
 
 Nicomedes] N. Ill, king of Bithynia. 90-74 B.C. The debt was 
 due to the forced contribution levied by Sulla in 84 B. c. 
 
 Bryaxidis . . . Scopae] See No. 2 (a), (b). 
 
 Cupido] Paus. ix. 27. 3 tells us that it was of Pentelic marble. 
 It was transferred to Rome by Gaius, restored to Thespiai by 
 Claudius, and finally transported to Rome by Nero, where it was 
 destroyed by fire in 80 A. D. Cicero mentions it in Verr. iv. 2. 4 and 
 iv. 60. 135, while inveighing against Verres for robbing Heius of 
 Messana of another Eros by Praxiteles. The statue was presented
 
 154 
 
 GREEK SCULPTURE 
 
 by P. to Phryne, and dedicated by her in her native town (Ath. 
 xiii. 591 B). Thespiai was dismantled by the Thebans in 373 B.C., 
 and (apparently) not restored until after Chaironeia, so that Phryne 
 must have been born before the former year, and must have 
 dedicated the Eros while the town was still subject to Thebes. 
 
 alter nudus in Pario] Represented on coins of Parion (Ov. II 4 . 
 Fig. 152). 
 
 Flora] The figure doubtless represented Kore (Persephone), and 
 was mistaken for Flora because holding a garland to crown Trip- 
 tolemos, whose departure was represented by the group. 
 
 Boni Euentus et Bonae Fortunae] 'Ayados daipuv and 
 
 Thyiadas] Attic maidens, who joined in the orgies of Dionysos 
 on Parnassos. 
 
 Caryatides] Spartan maidens of Karyai in Lakonia, who danced 
 at festivals of Artemis. See No. 153 note. 
 
 187. Lucian, Eluoves 6 
 l }j.r)v T]br] aoi opav Trapt^et 
 rr)i> et/coVa cS8e 
 fav, Trjs (K Kvibov 
 rrjy 
 
 Kal jueYcoTTOv ofypvav re 
 TO fvypaiJ.iJ.ov eao-ei \(w uxr- 
 itp 6 ITpa^iTeArjj eTrotrjcre, 
 xai Tutv 6(f)6a\iJ.(av bf TO vypov 
 a/aa rw (/>at8po) Kat 
 /u.fO), KCU TOVTO 
 KOTO TO ITpaiTeA.e6 OOKOVV. 
 
 Cp. Nos. 83, 103, 118. 
 
 188. Lucian, "Epcorcs 13 
 i] p.ev ovv Otbs fi> jueVo) Kadi- 
 
 Now he will allow you 
 to see the growth of the 
 figure as he constructs it 
 piece by piece, taking the 
 head only from the goddess 
 of Knidos. The hair and 
 forehead and the finely- 
 pencilled eyebrows he will 
 allow her to keep as Praxi- 
 teles made them, and in the 
 melting gaze of the eyes 
 with their bright and joy- 
 ous expression he will also 
 preserve the spirit of Praxi- 
 teles. 
 
 The goddess stands in 
 the midst of her shrine, and
 
 THE ATTIC SCHOOL 
 
 SpVTat 
 
 /ca! a disdainful smile plays 
 ye'Aom p.iKpbv VTTO- gently over her parted lips. 
 
 From a description of the shrine at Knidos mentioned in No. 
 1 86. 
 
 o-eo-qpo-n] The word is properly applied to the grin of a dog, and 
 hence to a smile in which the lips are parted and the teeth appear. 
 Cp. Theokr. vii. 19 <rf a-apis | 
 
 189. Plin. N. H. xxxiv. 
 69 Praxiteles quoque mar- 
 more felicior, ideo et clarior 
 fuit. fecit tamen et ex acre 
 pulcherrima opera, Proser- 
 pinae raptum, item cata- 
 gusam, et Liberum patrem 
 ebriolatum nobilemque una 
 
 Praxiteles too, though 
 he was more prolific and 
 therefore more famous as 
 a sculptor in marble, pro- 
 duced works of great beauty 
 in bronze the rape of Per- 
 sephone and also her restor- 
 ation, as well as Dionysos 
 
 Satyrum quern Graeci Trepi- merry with wine, and with 
 /3o?jroVcognominant,et signa him the celebrated Satyr 
 
 quae ante Felicitatis aedem 
 fuere Ueneremque quae et 
 ipsa aedis incendio cremata 
 est Claudii principatu mar- 
 moreae illi suae per terras 
 inclutae parem item stepha- 
 nusam, pseliumenen, cane- 
 phoram, 70. Harmodium 
 et Aristogitonem tyranni- 
 cidas, quos a Xerxe Per- 
 sarum rege captos uicta 
 Perside Atheniensibus re- 
 misit Magnus Alexander. 
 Fecit et puberem Apol- 
 linem subrepenti lacertae 
 
 called by the Greeks 'the 
 World - famed,' and the 
 statues which stood before 
 the temple of Good Fortune, 
 and the Aphrodite which, 
 like them, was destroyed 
 by fire when the temple 
 was burnt in the reign of 
 Claudius, a statue as fine 
 as her world-famous peer 
 in marble ; also a woman 
 with a garland, another 
 putting on her bracelets, 
 and a third bearing a 
 basket, and Harmodios and 
 
 cominus sagitta insidian- Aristogiton the slayers of
 
 GREEK SCULPTURE 
 
 tern, quem a-avpoKrovov uo- 
 cant. Spectantur et duo 
 signa eius diuersos adfectus 
 exprimentia, flentis ma- 
 tronae et meretricis gau- 
 dentis ; hanc putant Phry- 
 nen fuisse deprehenduntque 
 in ea amorem artificis et 
 mercedem in uoltu mere- 
 tricis. Habet simulacrum 
 et benignitas eius. Cala- 
 midis enim quadrigae auri- 
 gam suum imposuit, ne 
 melior in equorum effigie 
 defecisse in homine crede- 
 retur. 
 
 the tyrant, which were 
 captured by Xerxes, king 
 of Persia, and restored to 
 the Athenians by Alex- 
 ander the Great after the 
 conquest of Persia. He 
 also represented Apollo as 
 a boy lying in wait for the 
 lizard which steals up to 
 him and ready to strike with 
 his arrow at close quarters 
 (known as the Lizard - 
 slayer). Two of his statues 
 also which portray opposite 
 emotions are notable sights ; 
 they are the Weeping Ma- 
 tron and the Rejoicing 
 Harlot ; the latter is sup- 
 posed to represent Phryne, 
 and one may detect in it 
 the passion of the artist 
 and his reward depicted in 
 the countenance of the har- 
 lot. There is also a statue 
 which bears witness to his 
 kindness. For he placed 
 a charioteer of his own 
 on a four-horse chariot of 
 Kalamis, lest the artist who 
 excelled in representing 
 horses, should be thought 
 to have failed in his treat- 
 ment of the human frame.
 
 THE ATTIC SCHOOL 157 
 
 catagusam] Karayovcrav. Either (i) Hekate 'bringing back' 
 Persephone from Hades ; or (2) 'the spinning-girl.' 
 ebriolatum] Suggested by Milani for 'Ebrietatem' of MSS. 
 
 signa . . . fuere] Cic. Verr. iv. 2. 4 and Plin. N. H. xxxvi. 39 
 call these ' Thespiades,' and the first-named writer mentions that 
 they were brought by L. Mummius from Thespiai. Probably they 
 represented the Muses. Cp. Varro, L. L. vi. 2 Thespiades deae, 
 Musae, a Thespiis Boeotiae oppido. 
 
 stepharmsam] (nefyavovaav. Possibly Nike holding a garland. 
 
 pseliumenen] ^fXiovfuvrfv. ^(Xtov = bracelet. 
 
 canephoram] So Urlichs for ' ephoram ' of the best MS. 
 Another MS. reads 'oporam' = 6na>pav (Autumn). 
 
 Harmodium et Aristogitonem] Erroneously ascribed to Praxi- 
 teles by Pliny. See No. 64 note. 
 
 Apollinem] On existing copies see F. W, 1214. 
 
 duo signa] Not necessarily grouped. The description may 
 have been borrowed by Pliny from an epigram. 
 
 Phrynen] See No. 196. 
 
 Habet simulacrum, &c.] See No. 88. Attributed, but not with 
 certainty, to the elder Praxiteles. 
 
 190. Paus. viii. 9. i TO Se The other is a temple of 
 Arjrous eorh> lepov /ecu Leto and her children ; 
 aibtoV FIpafireA.?;? 8e Praxiteles made their sta- 
 
 TCL dydA/zara eipydrraro rpirrj tues in the third gener- 
 wrepor ye- ation after Alkamenes. On 
 fcrrlv the base which supports 
 fTrl raj (3d6p<p MoCo-ai Kal them are represented the 
 Mapoijas ai>\u>v. Muses and Marsyas playing 
 
 the flute. 
 
 At Mantineia. Three slabs from the base were discovered in 
 1887, and published in Bull. Corr. Hell. 1888, i-iii. See Ov. II 4 . 
 61 f. Figs. 1 60, 161. As all the Muses were (probably) represented, 
 we must read MoOo-m for Moi5<ra in the text of Paus. 
 
 191. Paus. i. 23. 7 Kai 'Ap- There is also a temple 
 U/>oV COTI Bpaupcori'as, of Artemis Brauronia ; the
 
 Hpai.Te\ovs 
 
 GREEK SCULPTURE 
 
 T\vrj TO image is the work of Praxi- 
 teles. 
 
 The inscriptions with inventories of treasure from the Akropolis 
 mention two statues in the temple (i) TO e8os TO apxalov : (2) TO 
 uyaX/xa TO 6p06v. The latter must be that of Praxiteles, and since 
 the first is also called TO \idivov eSoy, it seems to follow that the 
 latter was of bronze or some other material, not marble. Robert 
 supposes, but without sufficient reason, that it was of gold and 
 ivory, and the work of the elder Praxiteles. Studniczka identifies 
 it with the original of the ' Artemis of Gabii ' in the Louvre (Brunn- 
 Bruckmann 59). It was clothed in actual garments. 
 
 192. Paus. x. 37. I rfjs 
 TToXecos be ev beiq, bvo p.d- 
 Xiora TTpoe\06vTi a-n CLVTTJS 
 (TTabiovs, irtTpa re ecmv ii^r- 
 rjA.77, nolpa opovs fj nerpa, Kal 
 lepbv CTT' avrijs TT(TToirjfj.tvov 
 ' Aprepibos' tpyav TU>V 
 , baba 
 
 irapa 
 
 tv apiorepa, 
 ri]V 
 ayaA/za. 
 
 avrr\v KVUIV 
 be virep 
 yvvalna TO 
 
 On the right of the city, 
 and about two stades dis- 
 tant from it, stands a high 
 rock, a fragment of a moun- 
 tain, and upon it is built 
 a temple of Artemis : the 
 statue is the work of Praxi- 
 teles ; it holds a torch in 
 the right hand and a quiver 
 hangs from the shoulder; 
 beside it, on the left, is 
 a dog ; and it is taller than 
 the tallest woman. 
 
 At Antikyra, on the coins of which city the statue is represented, 
 Num. Comrn. A, xiv. 
 
 193. Paus. v. 17. 3 
 oe v(TTpov KOL aXAa a 
 (S TO 'Hpator, 'Epp.ijv \idov, 
 AioVuow be (frepei vqmov, 
 
 In later times other offer- 
 ings were dedicated in the 
 Heraion. Amongst these 
 was a Hermes of marble, 
 bearing the infant Dionysos, 
 the work of Praxiteles.
 
 THE ATTIC SCHOOL 
 
 159 
 
 At Olympia ; discovered May 8, 1877. See F.W. 1212. 
 
 S. Reinach (Rev. Arch. 1888. p. I ff.) conjectures that the work 
 was symbolic of a peace concluded in 363 B. c. between Elis (repre- 
 sented by Dionysos, Paus. vi. 26. i) and Arkadia (represented by 
 Hermes), while Furtw. Meisterwerke, p. 531, refers it to an alliance 
 between the oligarchs of Elis and Arkadia in 343 B.C. (Diod. 
 xvi. 63). 
 
 194. Paus. ii. 31. 8 (At 
 Argos) TO 8e iepov TT/S ATJTOUS 
 eori fjifv ov ^aKpav TOV Tpo- 
 TTCUOV, T^xvi] 8e TO dyaApia 
 IIpa^iTcAovs. 9. TTJI> 8e ei- 
 xoVa Trapa TT/ 0ea) TTJS TrapOevov 
 
 (At Argos) the temple 
 of Leto is not far from the 
 trophy; the image is the 
 work of Praxiteles, and the 
 figure of a maiden standing 
 by the goddess they call 
 Chloris, asserting that . she 
 was the daughter of Niobe, 
 originally called Meliboia. 
 
 Represented on coins of Argos, Num. Comm. K. xxxvi-xxxviii. 
 
 pen 6vya.Tf.pa etrat 
 MeAi/3oiav 8 
 
 195. Paus. i. 20. i IO-TI 
 686s awo TOU Ylpvravfiov 
 
 There is a street leading 
 from the Prytaneion called 
 Tpnro5es' d</>' ov the Street of Tripods ; the 
 KaXovcri TO \capLov, vaol ocrov place takes its name from 
 
 the shrines large enough 
 to support tripods, which 
 stand upon them. These 
 2d- are of bronze, but they 
 Tvpos yap kcniv, t<f>' <a IIpai- contain very remarkable 
 
 TOUTO jueyaAoi KOI o- 
 
 AeyeTai (ppovijvai 
 
 works of art, amongst which 
 is a Satyr, of which Praxi- 
 teles is said to have been 
 extremely proud. 
 
 oaov] Robert's correction for MSS. 6t>v.
 
 i6o GREEK SCULPTURE 
 
 The story ran that Phryne exacted from Praxiteles a promise to 
 give her his most beautiful work, and entrapped him into declaring 
 his own preference by a false report that most of the works in his 
 studio had been destroyed by fire. He coupled this Satyr in his 
 inquiries with the Eros, which she chose and dedicated at Thespiai. 
 
 196. Paus. x. 15. i <bpvvT]s A gilded portrait statue 
 8e eiKoVa eTri'xpucroi; ITpai- of Phryne was made by 
 TCA.TJS fj.ev flpydo-aro epa0r?)s Praxiteles, who was also 
 Kal OVTOS' dvddrifj.a 5e avrijs her lover ; and the portrait 
 4>pvy7js ftrrlv ff ei/ccov. was dedicated by Phryne 
 
 herself. 
 
 At Delphi. Athenaios (xiii. 591 B) tells us on the authority of 
 Alketas, who wrote a guide to Delphi, that this statue stood between 
 those of Archidamos, king of Sparta, and Philip of Macedon, and 
 bore the inscription <$pvvr) 'EnixXtovs 
 
 197. Paus. i. 43. 6 (At (At Megara) Next to the 
 Megara) fiera 8e TOV Aiovvorov shrine of Dionysos is a 
 TO lepov (<m.v 'A<po8iTTj? vaos. temple of Aphrodite. In 
 . . . Il6i0a> 8e Kal tTcpa 0eos, rjv it are Persuasion, and 
 
 6vop.d(ov(nv, Ipya another divinity, whom they 
 2K07ra be "Epco? call Consolation, works of 
 KOI "Ipepos Kal rioflos' (ibrj Praxiteles, and Eros, Yearn- 
 btd<f)opa e cm Kara ravra roty ing and Desire by Skopas. 
 6v6p.a(n KOI TO. epya cr^icri. The forms of the three differ 
 
 as their names, and also 
 their functions, differ. 
 
 8T)] Overbeck's correction for MSS. tl 8^, l if indeed their func- 
 tions differ as their names do.' 
 
 198. Diod. xxvi. Fr. ad Praxiteles, who with con- 
 init. Flpa^irtATjs, 6 xara/iifa? summate art informed his 
 
 rot? Ai^ivots epyots ra marble figures with the pas- 
 l' sions of the soul.
 
 THE ATTIC SCHOOL 161 
 
 Other works : 
 
 APOLLO, LETO, and ARTEMIS at Megara (Paus. i. 44. 2). Repre- 
 sented on coins of Megara, Num. Comm. A. x. 
 
 HERA, ATHENA, and HEBE at Mantineia (Paus. viii. 9. 3). 
 
 The TWELVE GODS in the temple of Artemis the Saviour, at 
 Megara (Paus. i. 40. 3). Cp. No. 150. Sometimes attributed to 
 the elder Praxiteles on account of the association with Strongylion. 
 
 DIONYSOS at Elis (Paus. vi. 26. i). Represented on coins of 
 Elis, Num. Comm. p. 74. 
 
 TYCHE at Megara (Paus. i. 43. 6). Represented on coins of 
 Megara, Num. Comm. A. xiv. 
 
 TROPHONIOS at Lebadeia, similar in type to Asklepios (Paus. ix. 
 39- 4)- 
 
 SATYR in the temple of Dionysos at Megara (Paus. i. 43. 5). 
 
 APHRODITE and PHRYNE at Thespiai (Paus. ix. 27. 5). 
 
 APHRODITE at Alexandria in Karia (Steph. Byz. s. v. 'AAt^ai/8/m'n) 
 
 WARRIOR with HORSE on a tomb at Athens (Paus. i. 2. 3). 
 
 DANAE, the Nymphs, and Pan (Anth. Pal. vi. 317, Plan. iv. 262). 
 
 Strabo (xiv. 641) mentions P. as the artist of the altar in the 
 temple of Artemis at Ephesos, while Vitruvius (vii. Praef. 121 
 enumerates him amongst the sculptors of the Mausoleion. Kalli- 
 stratos describes an Eros (Stat. 3), a Dionysos (Stat. 8), and 
 a Diadumenos (Stat. 11), professedly by Praxiteles, in rhetorical 
 style. 
 
 \Yorks of doubtful origin : 
 
 199. Plin. N. H. xxxvi. The same doubt arises as 
 
 28 Par haesitatio est in to whether Skopas or Praxi- 
 
 templo Apollinis Sosiani, teles made the group of 
 
 Niobae liberos morientis Niobe's children meeting 
 
 Scopas an Praxiteles fecerit, their death in the temple 
 
 item Janus pater in suo of Apollo Sosianus ; and 
 
 templo dicatus ab Augusto again, to which of these 
 
 ex Aegypto aduectus utrius artists is to be attributed 
 
 manus sit, iam quidcm et the Janus brought from 
 
 auro occultatus. Similiterin Egypt, and dedicated by 
 
 curia Octauia quaeritur de Augustus in his own temple, 
 
 M
 
 1 62 
 
 GREEK SCULPTURE 
 
 Cupidine fulmen tenente ; 
 id demum affirmatur. Al- 
 cibiaden esse, principem 
 forma in ea aetate. 
 
 which is now coated with 
 gold. The same question 
 is debated with reference to 
 the Eros holding a thunder- 
 bolt in the Council-chamber 
 of Octavia ; all that is posi- 
 tively asserted is that the 
 figure represents Alkibia- 
 des, the reigning beauty of 
 that time. 
 
 Apollinis Sosiani] C. Sosius, a legatus of Antony, commanded 
 in Syria 38 B. C., and was pardoned by Augustus after Actium. He 
 built a temple to Apollo on the Palatine. 
 
 Niobae liberos morientis] On the existing copies of this 
 group see Ov. II 4 . Book iii. ch. 4, and F. W. 1247-1259. 
 
 Janus pater] This was no doubt a double-faced bust of Hermes 
 which served as the Roman Janus. 
 
 Alcibiaden] The popular tradition, involving a chronological 
 error of half a century. 
 
 Works attributed to the elder Praxiteles : 
 
 At the entrance of the 
 city is a building where the 
 processions are arranged, 
 and near it is a temple of 
 Demeter ; in this are statues 
 of Demeter herself and her 
 daughter, and lacchos hold- 
 ing a torch ; and on the 
 wall is an inscription in the 
 Attic alphabet stating that 
 they are the work of Praxi- 
 teles. 
 
 20O. Paus. i. 2. 4 
 
 5e fs rrjv ir6\iv OLKO- 
 es -napacrKevriv 
 
 TTOjUTTaij/ . . . KCU 
 
 vaos OTI ATJ/XTJTPOS' 
 bf afari re Kat ^ Trais KCU 8a8a 
 f\u>v "\aK\os" ye'ypaTrrai 8t 
 eirt TW Tot'xw ypdp.fj.acnv 'Arrt- 
 Kols (pya (ivai 
 
 o-A66vTv] By the Dipylon gate of Athens.
 
 THE ATTIC SCHOOL 
 
 163 
 
 'ATTVKOIS] Superseded by the Ionic alphabet in 403 
 B. C. Unless we attribute the work to the elder Praxiteles we must 
 suppose with Kohler that the inscription was re-engraved in the 
 Attic alphabet under Hadrian, when such antiquarian revivals 
 were not uncommon, or with Loschcke, that as the inscription was 
 on the wall it had no real connection with the group. 
 
 The Plataeans have a 
 temple of Hera, remarkable 
 both for its size and for the 
 statues which adorn it. At 
 the entrance is Rhea, bear- 
 ing to Kronos the rock 
 rolled up in swaddling 
 clothes, as though it were 
 the child which she bore. 
 Hera they call ' the God- 
 dess of Wedlock'; she is 
 represented by a colossal 
 standing figure. Both are 
 of Pentelic marble and are 
 the work of Praxiteles. 
 
 201. Paus. ix. 2. 7 
 ateCo-i 8e vaos tony "Upas, 
 eas afios /xeye'0ei re KCU fs 
 aya\p.a.T(av TOV KO 
 
 .tv 'Pea TOV Tre' 
 KaTt,\ijfj,vov cnrap-ydvots, ola 
 by TOV 7rcu8a ov eYejce, Kpoixo 
 a ecrrf rrjv 8e "Hpav 
 
 8e opQov /xcye'^et aya\p.a fxe'ya' 
 \idov 8e ap.(p6Tpa TOV Tlevre- 
 
 pya. 
 
 The temple of Hera was erected 42^ B. C. (Thuc. iii. 68). 
 
 202. Paus. ix. ii. 6 77- 
 
 /3cuois be TO, (V rols aerots 
 ITpa^ireATj? eTroirjo-e ra iroAAa 
 T&V butbtna KaAov/xe'ycoi* aflAcoi;' 
 cai (T<^rt ra ey ras opvidas 
 
 &>s 
 
 l ray eiri STU^T/AO), >cat 
 'HpajcAT/s rr/r 
 \u>pav &VT\ TOVTOW 8^ 
 ^ irpos 'AvTalov TTaXrj 
 Tjrat. 
 
 The pediment-sculptures 
 were made for the Thebans 
 by Praxiteles, and represent 
 most of the Twelve Labours 
 of Herakles, as they are 
 called ; the hunting of the 
 birds of Stymphalos, and 
 the cleansing of the land 
 of El is are wanting, and in 
 their place is the wrestling- 
 match of Antaios. 
 
 M 2
 
 i6 4 
 
 GREEK SCULPTURE 
 
 Without a parallel among the works of the great Praxiteles, and 
 possibly to be connected with the Athena and Herakles of Alka- 
 menes, dedicated in the same temple 403 B.C. (No. 133). 
 
 For the connexion of Praxiteles (perhaps the elder) and Kalamis 
 see No. 189 ad fin. 
 
 (c) THE SONS OF PRAXITELES. 
 (Kephisodotos the younger and Timarchos.) 
 
 Date. Three inscriptions (Lowy 108-110), one from the portrait 
 of Menander (L. 108), one from that of a priestess of Athena 
 Polias (L. 109), and one from a pair of portraits at Megara (L. no), 
 may be dated at the close of the fourth century. Lycurgos (No. 
 205) died 323 B.C., Menander in 291 B.C., Myro flourished circ. 
 284 B. C. Two further inscriptions (Lowy in, 112, from portraits) 
 of Kephisodotos only seem rather earlier, showing K. to be the 
 elder brother. 
 
 203. Plin. N. H. xxxvi. 
 24 Praxitelis filius Cephiso- 
 dotus et artis heres fuit. 
 Cuius laudatum est Pergami 
 symplegma nobile digitis 
 corpori uerius quam mar- 
 mori impressis. Romae 
 eius opera sunt Latona in 
 Palatii delubro, Uenus in 
 Pollionis Asinii monumentis 
 ct intra Octauiae porticus 
 in lunonisaede Aesculapius 
 ac Diana. 
 
 Kephisodotos was the 
 son of Praxiteles and the 
 heir of his talent. Much 
 praise has been bestowed 
 on his famous group of 
 interlaced figures at Per- 
 gamon, where the pressure 
 of the fingers seems to be 
 exerted on flesh rather than 
 marble. His works pre- 
 served at Rome are a Leto 
 in the temple on the Pala- 
 tine, an Aphrodite in the 
 gallery of Asinius Pollio, 
 and an Asklepios and Ar- 
 temis in the temple of Juno 
 within the colonnade of 
 Octavia.
 
 THE ATTIC SCHOOL 
 
 symplegma] Formerly supposed to mean a group of wrestlers, 
 but almost certainly of an erotic character. 
 
 204. Paus. viii. 30. 10 
 TavTi)$ TT/S oroa? ea~Tiv fyyv- 
 Ta.T(t) a;? irpos TjfAiof avlcryovTa 
 ifpov ScorTjpos 7riK\7j(nj; AioV 
 
 Close to the portico on 
 the Eastern side is a temple 
 of Zeus called the Saviour, 
 which is surrounded by a 
 colonnade. Zeus is seated 
 on a throne, and beside him 
 stand on the right Megalo- 
 polis, and on the left an 
 image of Artemis the 
 Saviour. These are of Pen- 
 telic marble, and are the 
 work of the Athenians Ke- 
 phisodotos and Xenophon. 
 
 At Megalopolis. The precinct of Zeus Soter, discovered by the 
 English excavators, is dated by Dorpfeld considerably later than 
 the foundation of the city i371_BC.)* The work must therefore 
 belong to the younger K. The statue is represented on coins of 
 Megalopolis, Num. Comm. V. \. 
 
 K.IOCTI. 
 
 8e ro) Au tv dpovtp 
 eyaA?; 
 
 FToAty, fv dpiorepa 8e 'Apre- 
 p.t8os Score ipas ayaA/ia* raCra 
 
 205. Plut. Uita x. Or. 
 Lycurg. 38 KCU ei/coVcs i>Aiwu 
 TOV re AvKOUpyou KOI T>V viStv 
 avrov "A/Spcovos Avitovpyov, 
 
 There are wooden por- 
 trait statues of Lykurgos 
 and his sons, Habron, 
 Lykurgos and Lykophron, 
 made by Kephisodotos and 
 Timarchos, the sons of 
 Praxiteles. 
 
 Other works (l) by Kephisodotos only : 
 
 Portraits of the poetesses MYRO and ANYTE (Tatian c. Graec. 52). 
 
 'philosophers' (Plin. A'. H. xxxiv. 87). 
 
 (2) By Kephisodotos and Timarchos : 
 ENYO in the temple of Ares at Athens (Paus. i. 8. 4). 
 KADMOS of Thebes (Paus. ix. 12. 4).
 
 i66 
 
 GREEK SCULPTURE 
 
 Portrait of Menander (Lowy 108). 
 
 Not to be identified with the statue of Menander in the Vatican 
 (jp. W. 1622), which must have matched that of Poseidippos, 
 (whose plays were not performed in M.'s lifetime), and is moreover 
 too large for the inscribed base. 
 
 2. SKOPAS AND THE SCULPTORS OF 
 THE MAUSOLEION. 
 
 (a) SKOPAS. 
 
 Date. S. may have been the son of Aristandros of Paros (v. No. 
 162), employed on a memorial of Aigospotamoi (405 B. c.). He was 
 employed on the restoration of the temple of Athena Alea at Tegea 
 (destroyed by fire 394 B. C.) and on the Mausoleion (begun 
 about 353 B.C.). 
 
 2O6. Plin. N. H. xxxvi. 
 25 Scopae laus cum his 
 certat. Is fecit Uenerem 
 et Pothon qui Samothrace 
 sanctissimis caerimoniis co- 
 luntur, item Apollinem 
 Palatinum, Uestam seden- 
 tem laudatam in Seruili- 
 anis hortis duosque camp- 
 teras circa earn, quorum 
 pares in Asinii monu mentis 
 sunt, ubi et canephoros 
 eiusdem. Sed in maxuma 
 dignatione delubro Cn. 
 Domitii in Circo Flaminio 
 Neptunus ipse et Thetis 
 atque Achilles, Nereides 
 supra delphinos et cete aut 
 hippocampos sedcntes, item 
 
 The fame of Skopas rivals 
 that of these artists. His 
 works are Aphrodite and 
 Desire at Samothrace, to 
 which the most reverent 
 worship is paid, the Apollo of 
 the Palatine, and the famous 
 seated Hestia in the gardens 
 of Servilius between two 
 pillars : a precisely similar 
 pair may be seen in the 
 gallery of Asinius Pollio, 
 where is also the basket- 
 bearer of Skopas. But the 
 highest reputation is en- 
 joyed by his group in the 
 temple of Cn. Domitius in 
 the Flaminian Circus, re- 
 presenting Poseidon him-
 
 THE ATTIC SCHOOL 
 
 167 
 
 Tritones chorusque Phorci 
 et pistrices ac multa alia 
 marina, omnia eiusdem 
 manu, praeclarum opus, 
 etiam si totius uitae fuisset. 
 Nunc uero praeter supra 
 dicta quaeque nescimus 
 Mars etiamnum est sedens 
 colossiaeus eiusdem manu 
 in templo Bruti Gallacci 
 apud circum eundem, prae- 
 terea Uenus in eodem loco 
 nuda Praxiteliam illam ante- 
 cedens et quemcunque alium 
 locum nobilitatura. 
 
 self,Thetis,Achilles. Nereids 
 seated on dolphins, huge fish 
 or sea-horses, also Tritons 
 and the rout of Phorkys 
 and sea monsters and many 
 other creatures of the sea, 
 all by the same hand ; a 
 group which would have 
 been remarkable had it 
 been the work of a lifetime. 
 As it is, beside those above 
 mentioned and others of 
 which we know not, there 
 is by the hand of the same 
 artist a colossal seated figure 
 of Ares in the temple of 
 Brutus Gallaecus close to 
 the same circus, besides 
 a nude Aphrodite in the 
 same place which surpasses 
 the famous Aphrodite of 
 Praxiteles and would make 
 any other spot famous. 
 
 his] Praxiteles and the younger Kephisodotos. 
 
 Apollinem Palatinum] The great temple of Apollo on the 
 Palatine was built by Augustus 36-28 B.C, to commemorate the 
 victory of Actium. In the Curiosum Urbis Romae it is called 
 ' Aedes Apollinis Rhamnusii,' which shows that the Apollo was 
 brought from Rhamnus in Attica. The statue is represented on 
 coins of Nero (Overbeck, Kunstmyth., Apollon, Miinztafel v. 47, 48, 
 50, 51 ) ; there is a copy in the Vatican (Helbig, Ftihrer 267). Cp. 
 Prop. ii. 31. 6 Pythius in longa carmina ueste sonat. 
 
 campteras] KapirTripas, Lat. metae, the pillars at the turning- 
 points in the race-course. Von Jan corrects 'lampteras,' 'can- 
 delabra.'
 
 i68 
 
 GREEK SCULPTURE 
 
 Neptunus ipse] Cn. Domitius Ahenobarbus built a temple to 
 Neptune in the Circus Flaminius circ. 35-32 B.C. As he held the 
 post of legatus pr. pr. in Bithynia 40-35 B. c. he may have 
 brought the work from his province, where there was a famous 
 temple of Poseidon at Astakos L Ibia). The subject of the work 
 described by Pliny is the progress of Achilles to the Isles of the 
 Blest. 
 
 Bruti] D. Junius Brutus Gallaecus erected a temple to Mars 
 after his triumph over the Gallaeci and Lusitani in 132 B.C. 
 
 207. Paus. viii. 45. 4 
 TeyedYats 8e 'Adrjvas TTJS 
 TO lepbv TO 
 
 AAeof 
 
 vcrTfpov Karecr/ceuacraiTo ot Te- 
 yearat 717 0ea> vaov /ueyav TC 
 /cat 0as aioi>. 
 
 s, AtocpaWou Trap' ' 
 VO.LOIS apyjovTos, 
 Irei T^S eKrr;? /cat 
 'OAvpi7rta5oj. . . . 5. 6 
 e<' TJIJ.&V 7roAi 87; rt TU>V va&v, 
 ocrot lleh.o'novvri&iois el<riv, es 
 KaTaa-Kfvriv Trpoe'xet TTJV a\\r]v 
 Kal es /xeye^os. 6 fj.fv 8r) 
 Trpwroj COTIJ; avrw /cocr/u,os rwy 
 Kiovcav Awptos', 6 8e eiri rovra) 
 KoptV^toy ecrTTj/cao-t 8e /cat 
 CKTOS roi; raou /ctovts cpyatnas 
 T^S 'Icorcov. dp^LTfKTova be 
 
 y(vt(r0ai TOV Yldpiov, os Kal 
 dyd\p.aTa TroAAaxou TJJS ap- 
 'EAAd8oy, TO 8f /cat irept 
 
 The old temple of Athena 
 A lea at Tegea was built by 
 Aleos ; in later times the 
 Tegeans caused a large and 
 remarkable temple to be 
 erected to the goddess. 
 The previous building was 
 suddenly attacked by fire 
 and destroyed in the ar- 
 chonship of Diophantos at 
 Athens and the second year 
 of the ninety-sixth Olym- 
 piad (395 B.C.). The temple 
 which is standing at the 
 present day is far superior 
 to the other temples in the 
 Pcloponnese in size and 
 magnificence. The first 
 order of columns is Doric, 
 the next Corinthian ; and 
 outside the temple stand 
 columns of the Ionic order. 
 I was told that the architect 
 was Skopas of Pares, who 
 was the sculptor of many
 
 THE ATTIC SCHOOL 
 
 169 
 
 '[<aviav re /cat Kapiav titoirjcrf. 
 rd 8e fv rots derots fcrrlv e/n- 
 TrpoaOev f] drfpa TOV vbs TOV 
 KaAv8a>inoir TreTrotr/puWv be 
 /card /ue'croy /jiaAiora TOU vo? 
 7-77 /ieV eariy 'AraAaWrj /cat 
 MeAe'aypos /cat rjo-ews 1 TeAa- 
 re /cat Df/Acus Kat IToAi;- 
 /cat 'lo'Aaos 09 ra 
 TrAetcrra Hpa/cAct <rvvKap.v 
 T&i" Hpyuiv, /cat ecrrtou 77at8e?, 
 d8eAc/>oi 8e 'AA&u'as, Ylp60ovs 
 /cat Ko/x^rrjs. 7. /cara 8e ror) 
 voj ra erepa 'AyKaioy f \ovra 
 7/8); rpavfj.ara /cai d 
 
 Trapd 8e avrbv Kaorcop /cat 
 6 'Ot/cAe'ous CTTI 8c 
 
 avrots 
 row 
 
 <f)Tj\ov' reAturatos 
 etpyao-^eVos Iletpi^ous. ra 8e 
 oiri(rd(u 7rc77ot7jp;c't'a ey rots 
 derot? Tr/Ae^ou -Trpos 'AxtAAt a 
 earii; tr Kat/cou 7re8t<i) f/dx 7 ?' 
 . . . 47. I. rai 8e dyaAp.an 
 TTJ? 'Adrjvas rrj ftcj; 'Ao-xATyTTto's, 
 rr} 8e 'Tyteta 7;apeoT<2(ra 6<rri 
 
 8c cpya TTa/n'ou. 
 
 statues in different parts of 
 Greece proper, and also in 
 Ionia and Karia. In the 
 front pediment is repre- 
 sented thechaseof theKaly- 
 donian boar ; the boar is 
 placed almost exactly in the 
 centre, and on the one side 
 are Atalanta, Meleagros. 
 Theseus, Telamon, Peleus, 
 Polydeukes and lolaos, who 
 assisted Herakles in most 
 of his labours, and the sons 
 of Thestios and brothers of 
 Althaia, Prothous and Ko- 
 metes. On the other side 
 of the boar is Epochos sup- 
 porting Ankaios, who is 
 already wounded and has 
 dropped his axe, and beside 
 him are Kastor and Amphi- 
 araos, the son of Oi'kles, and 
 beyond them Hippothous 
 the son of Kerkyon the son 
 of Agamedes the son of 
 Stymphalos ; while Peiri- 
 thous comes last of all. 
 The sculptures of the back 
 pediment represent the 
 battle of Telephos against 
 Achilles in the plain of the 
 Kaifkos. . . . Beside the 
 image of Athena stands on
 
 170 GREEK SCULPTURE 
 
 the one side Asklepios, on 
 the other Hygieia. Both 
 are of Pentelic marble, and 
 are the work of Skopas of 
 Paros. 
 
 *AXos] An Arkadian hero, the mythical founder of Tegea. 
 
 TO. 8i cv TOIS derois] Fragments of these sculptures were dis- 
 covered in 1879, of which the most important are two male heads 
 and the ead of the boar. See Ov. II 4 . p. 28, and references there 
 
 given. 
 
 208. Schol. Aeschin. Ti- These were the three 
 march. 747 R rpels riaav avrai, deities called 'the Awful 
 at Aeyo'/xevai Sexual eat 17 Goddesses' or the Eurnen- 
 Ev^fvibfs TI 'Epivves' &v ras ides or the Erinyes : two 
 p.ev bvo fKdTepwdfv SKOTTCLS 6 of them (one at each side) 
 Tldpios oroiTjcrei; e TOV Au^ri- were made by Skopas of 
 TOU \i6ov, TT\V 8e fjLf<rr)v KaX- Paros of Parian marble, 
 a/mi?. while the central figure was 
 
 by Kalamis. 
 
 Paus. i. 28. 6 says that these figures had no attributes such as the 
 snakes, &c. described by Aischylos. 
 
 XVXVITOU XCOov] Plin. N. H. xxxvi. 14 informs us, on the authority 
 of Varro, that the name Xuxvirrj: was given to Parian marble 
 because it was hewn by lamp-light in the quarries of Paros. Lepsius 
 thinks that the name is derived from the transparency of the lower 
 and finer strata. 
 
 209. Strab. xiii. 604 ev In this town of Chryse 
 5e 777 Xpvcrrj ravrr] KOI TO TOV is the temple of Apollo 
 2/uui/0&us 'ATroAAftwo's <mv Sminthcus, and the symbol 
 Ifpov, KOI TO crvfjif-loXov TO rfv which preserves the deriva- 
 (TVfjiOTrjTa TOV 6v6iJ.aTos <rG>ov, tion of his name, i. e. the
 
 THE ATTIC SCHOOL 
 
 171 
 
 6 p.vs, vTTOKfiTdi. r<J irobt. TOV mouse, lies at the foot of 
 odvov Sico'ira 8' forlv epya the statue. They are the 
 TOV Ylapiov. work of Skopas of Paros. 
 
 Afterwards known as Alexandria Troas, on certain coins 
 of which city the statue appears to be represented (Baumeister, 
 Denkmaler, Fig. 1742). 
 
 210. Strab. xiv. 640 ovr<av 
 
 8' V TO) TOTTO) TT\fl6v(i)V VCL&V. 
 
 >V 8e i/crre- 
 
 pov yevop.fvw, tv fj.(v 
 
 tern 6ava, 
 
 *v 8e rols vcrrepov 2/coTra 
 f) jjLfv Arjro) (TuiJTrTpov l 
 r; 8' 'Oprvyia TrapearTjKci' e/ca- 
 Tfpa rr) Xfipl TratSiW <?\ov(Ta. 
 
 There are several temples 
 in the place, some of earlier 
 and some of later date. In 
 the earlier temples arc early 
 statues, in those of later date 
 works of Skopas. There is 
 Leto holding a sceptre, and 
 beside her stands Ortygia 
 with a child on each arm. 
 
 T6iro>] The grove Ortygia near Ephesos. 
 
 The nurse of Apollo and Artemis, here represented as 
 infants. 
 
 Within the precinct is 
 a base, and on the base 
 a bronze figure of Aphro- 
 dite seated on a bronze goat. 
 This is the work of Skopas, 
 and is called Aphrodite 
 Pandemos. 
 
 TOV T(XVOVS] The precinct of Aphrodite at Elis, which contained 
 the Aphrodite Urania of Pheidias (No. 1 16). The statue is perhaps 
 represented on coins of Elis (Ov. II 4 . Fig. 137). 
 
 211. Paus. vi. 25. I 
 
 8e fVTOS TOV TffJifVOVS TlfTTOL- 
 
 rjTat, K.a.1 f-nl nj /cpTjTTtSi a 
 
 \a\K(a. SKOTTO TOUTO 
 
 212. Plin. N. H. xxxiv. 
 95 Uniuerso templo longi- 
 
 The length of the whole 
 temple is 425 ft., and the
 
 172 GREEK SCULPTURE 
 
 tudo est ccccxxv pedum, breadth 225 ft. It contains 
 
 latitude ccxxv, columnae 1 27 columns, each furnished 
 
 cxxvii a singulis regibus by a king, 60 ft. in height : 
 
 factae Ix pedum altitudine of these 36 are decorated 
 
 ex iis xxxvi caelatae, una with reliefs, which in one 
 
 a Scopa. case are the work of Skopas. 
 
 templo] That of Artemis at Ephesos, restored after the destruc- 
 tion by fire of the old temple in 356 B. c. See Newton, Essays on 
 Art and Archaeology, p. 210 ff. 
 
 caelatae, una a Scopa] The reliefs in most cases decorated the 
 lowest drum only, above which was an Ionic shaft of the usual 
 type. Hence Curtius and others read 'imo scapo' = 'on the lowest 
 drum.' The date of the building, however, and the style of the 
 existing fragments (F. W. 1242, 1243) make it quite possible to 
 retain the MS. reading. 
 
 Other works : 
 
 ASKLEPIOS (beardless) and HYGIEIA at Gortys in Arkadia (Paus. 
 viii. 28. i). 
 
 HEKATE at Argos (No. 171). 
 
 HERAKLES at Sikyon (Paus. ii. 10. i). Possibly represented on 
 coins of Sikyon (Num. Comm. H. xi.) 
 
 ATHENE Pronaia at Thebes (cf. No. 123). 
 
 ARTEMIS Eukleia at Thebes (Paus. ix. 17. i). 
 
 DIONYSOS and ATHENA at Knidos (No. 186). 
 
 EROS, HIMEROS and POTHOS at Megara (No. 197). 
 
 A BACCHANTE, described at length by Kallistr. Stat. 2 ; cp. 
 Anth. Pal. ix. 774. 
 
 (b) LEOCHARES. 
 
 Date. Six inscriptions (Lowy 77-82) mostly fragmentary, and 
 in some cases possibly the work of a much later Leochares (Lowy 
 320, 321), have been found at Athens. The most complete may be 
 dated circ. 350 B. C. Another inscription from a series of portraits 
 executed by Leochares and Sthennis (v. 3 (b)) in common (Lowy 
 83) is somewhat later (temp. Alexander).
 
 THE ATTIC SCHOOL 
 
 213. Plin. A r . H. xxxiv. 
 79 Leochares (fecit) aquilam 
 sentientem quid rapiat in 
 Ganymede et cui ferat par- 
 centemque unguibus etiam 
 per uestem puero, louemque 
 ilium Tonantem in Capi- 
 tolio ante cuncta laudabi- 
 lem Apollinem diadematum, 
 [Lyciscum mangonem, pu- 
 erum subdolae et fucatae 
 uernilitatis]. 
 
 Leochares represented 
 the eagle which feels what 
 a treasure it is stealing in 
 Ganymede, and to whom 
 it is bearing him, and using 
 its talons gently, though 
 the boy's garment protects 
 him. He also made the 
 famous statue of Zeus the 
 Thunderer on the Capitol, 
 a work of unequalled ex- 
 cellence, and Apollo wearing 
 a fillet, [and Lykiskos the 
 slave-dealer, and a boy in 
 whom all the craft and 
 cunning of the slave are 
 embodied.] 
 
 aquilam . . . Ganymede] Probably reproduced in a group in the 
 Vatican, F. W. 1246. 
 
 Lyciscum mangonem] This is the reading of the best MS., 
 but as the passage occurs in the alphabetical list of the sculptors, it 
 is very probable that we should accept the reading of other MSS. 
 ' Lyciscus Langonem.' Lyciscus will then be another artist (iden- 
 tified by Klein with Lykios, Part II. 1.4), and Lango the name 
 of the boy. Martial (ix. 51.5) couples a statue of that name (' Lan- 
 gona uiuum ') with the ' boy of Brutus ' (No. 152). 
 
 214. Paus. v. 20. 9 
 8e en-os TOV "AArecos . . 
 
 eon TOV 
 
 \a\Kij <rvi/8eo-fios TOIS bonols. 
 
 IO. TOUTO TO OlK7]/iO 60TI fJ.V 
 
 Kara Trjv Hobov TTJI- Kara TO 
 
 Within the Altis is a cir- 
 cular building called the 
 Philippeion. On the sum- 
 mit of the Philippeion is a 
 bronze poppy-head which 
 holds the rafters together. 
 This building stands close 
 to the egress by the Pry-
 
 174 
 
 GREEK SCULPTURE 
 
 ev dpiorepa, 
 
 KLOVCS 
 
 avro eoTTj/cacri. 
 
 (V Xaipajm'a TTJV 
 
 TO 
 'EAAd8a 
 
 re *cai 
 avrots 
 
 "narfip. 
 
 Tai5ra 
 
 cpya 
 
 e 
 
 Ka6a 
 
 KCU TT/S 'OAu/x7rta5o5 
 
 taneion on the left hand. It 
 is made of baked bricks, and 
 is surrounded by columns. 
 It was built for Philip after 
 the ruin of Greece at Chai- 
 roneia. In it stand portraits 
 of Philip and Alexander, 
 together with Amyntas the 
 father of Philip. These are 
 of ivory and gold and are 
 the work of Leochares, as 
 are also the portraits of 
 Olympias and Eurydike. 
 
 The foundations of this building have been discovered at Olym- 
 pia, and show that all the figures were standing (A. Z. 1882, 
 67 sqq.). 
 
 215. Plut. Uita x. Or. 
 Isocr. 27 ava.KiTai 8' avrov 
 
 TOV TTpOCTTtoOV, VTTO 
 
 TOV Kov<avos, KOL 
 
 re \apiv, 
 
 rfV Tf 
 l<TOKpO.TOVS 
 
 216. Uitruu. ii. 8. 1 1 (At 
 Halikarnassos) In sum ma 
 arce media Martis fanum 
 habensstatuam colossi quam 
 
 A bronze portrait of him 
 stands at Eleusis in front 
 of the porch ; it was dedi- 
 cated by Timotheos the 
 son of Konon, and bears 
 the following inscription : 
 
 Timotheos, for friend- 
 ship's sake and in honour 
 of hospitality, dedicated 
 this portrait of Isokrates 
 to the Goddesses. 
 
 The work of Leochares. 
 
 (At Halikarnassos) in 
 the centre of the summit of 
 the citadel stands a temple 
 of Ares, containing a colossal
 
 THE ATTIC SCHOOL 
 
 175 
 
 a.K.poKi.dov dicunt, nobili 
 manu Leocharis factam. 
 Hanc autem statuam alii 
 Leocharis, alii Timothei pu- 
 tant esse. 
 
 statue of the kind termed an 
 'acrolith/ the handiwork of 
 the famous Leochares. This 
 statue, however, is supposed 
 by some to be the work of 
 Leochares, by others to be 
 that of Timotheos. 
 
 A statue of which the head and extremities only were 
 of marble, the rest being of wood, gilded or otherwise decorated. 
 Cp. No. 122. On Timotheos see (d). 
 
 Other works : 
 
 ZEUS on the Akropolis of Athens (Paus. i. 24. 4). 
 represented on coins of Athens (O-v. II \ Fig. 165). 
 ZEUS and DEMOS at the Piraeus (Paus. i. I. 3). 
 
 Possibly 
 
 (c) BRYAXIS. 
 
 Date. An inscription found at Athens (AeXr. 'Ap^. 1891, 34 ff., 
 55 ff.) from a base with figures of horsemen in low relief (Bull. 
 Corr. Hell. 1892, PI. vii) reads Bpvais (norjaev, and may be dated 
 circ. 353 B.C. Seleukos Nikator (No. 217) became king of Syria 
 in 312 B.C., but the portrait may be of earlier date. 
 
 217. Plin. N. H. xxxiv. 
 73 Bryaxis Aesculapium et 
 Seleucum fecit. 
 
 218. Liban. Orat. 61 KCU 
 fxot irpo rStv o^arcav l(TTr\(riv 
 6 \oyL<rp.os TOV TVTTOV . . . TTJV 
 (f)id\r]v, TT)I> Kidapiv, TOV TTO- 
 817/377 \LTuva . . . a 
 
 beppris kv \iOu>, fa<rrfjpa 
 
 TO) <mj#i, crvvayovTa \i.T(ava 
 
 \pv(rovv, MS ai/Tov TO. pev e<^)t- 
 
 Bryaxis represented As- 
 klepios and Seleukos. 
 
 Imagination brings before 
 my eyes that form, the bowl, 
 the lyre, the tunic reaching 
 to the feet, the delicacy of the 
 neck in the marble, the gir- 
 dle about the bosom which 
 holds the golden tunic to- 
 gether, so that some parts fit
 
 176 GREEK SCULPTURE 
 
 TO. be vTravivTao-dai . . . closelyand others hang loose. 
 o)Ket abovri fie'Aos. He seemed as one that sang. 
 
 Fromadescriptionof the Apollo at Daphne nearAntioch, described 
 as a work of Bryaxis by Cedren., Hist. Comp. 306 B ; from Theodoret, 
 Hist. Eccl. iii. n, we learn that it was of wood, gilt. It is repre- 
 sented on coins of Antiochos Epiphanes (Ov. II*. Fig. 167). See 
 Biittner-Wobst, Historische Studien Forstemann gewidmet. 1894. 
 
 Other works : 
 
 ASKLEPIOS and HYGIEIA at Megara (Paus. i. 40. 6). 
 
 DIONYSOS at Knidos (No. 186). 
 
 ZEUS and APOLLO with lions at Patara (Clem. Al. Protr. iv. 47). 
 Clement also gives the name of Pheidias as the reputed artist of 
 these figures. 
 
 Five colossal statues of Gods at Rhodes (Plin. N. H. xxxiv. 42 . 
 
 PASIPHAE (Tatian, c. Graec. 54). 
 
 Clem. Al. (Protr. iv. 48) quotes Athenodoros to the effect that 
 the statue of Sarapis in the Sarapeion at Alexandria (perhaps 
 set up by Ptolemy Soter) was the work of ' another Bryaxis, not 
 the Athenian.' See Michaelis, /. H. S., 1885, 289 ff. 
 
 (d) Ti MOTH EOS. 
 
 Date. Kavvadias places the inscription of Epidauros (No. 221) 
 in the earliest years of the fourth century on account of the incon- 
 sistencies in the use of the Ionic alphabet ; but Foucart and Gurlitt 
 have shown that 375 B.C. is the more probable date. Timotheos 
 was at work on the Mausoleion 353 K. c., and must have been 
 a well-known sculptor when the temple at Epidauros was built. 
 
 219. Plin N. H. xxxvi. The Artemis in the 
 
 32 Timothei manu Diana temple of Apollo on the 
 
 Romae est in Palatio Apol- Palatine at Rome is the 
 
 linis delubro, cui signo work of Timotheos ; the 
 
 caput reposuit Auianius head of this statue was re- 
 
 Euander. stored byAvianiusEvander. 
 
 C. Auianius Euander] A Greek sculptor brought by Antonius 
 to Alexandria and by Augustus to Rome after Actium. Cp. Cic. 
 Fam. vii. 23. I, xiii. 2. i.
 
 THE ATTIC SCHOOL 177 
 
 220. Paus. ii. 32. 4 TOV 8e The image of Asklepios 
 'Ao-KAr;7rio5 TO ayoA/ia eTroiTjo-e was made by Timotheos ; 
 likv Tt/io'0eos, T/MM^moi 8e the Troizenians, however, 
 OVK 'Ao-K\7j7rioV, dAAa ei/coW assert that it represents not 
 'lirnoXvTov ^aalv elvai. Asklepios but Hippolytos. 
 
 At Troizen. Plin. N. H. xxxiv. 91 also classes Timotheos among 
 the artists who made statues of 'athletes, warriors, hunters, and 
 sacrificers.' (Cp. No. 167.) 
 
 221. Kawadias, Fouilles Timotheos contracted to 
 d'pidaure, 241 . 36 Ti/io0eo? construct and furnish models 
 eA.ero TVTT.OS epyao-a[o-]0cu /ecu for 900 drachmae ; his se- 
 iraptxev BBBBBBBBB tvyvos curity was Pythokles. . . He 
 Hv6oK\rjs. . . 1. 90 Ttpodeos also contracted to furnish 
 c\e[ro aKpco]T[^p]ia (Til TOV akroteria for one of the 
 
 aitTov [X]XBB== gables for 2240 dr. His 
 Uv6oK\i]s. security was Pythokles. 
 
 From the inscription recording the expenses incurred in building 
 the temple of Asklepios at Epidauros, discovered in 1885. On the 
 symbols v. No. 159 note. stands for ten drachmae, B for H. 
 
 fXero, iraptx^v] = elAero, nap(\fiv '. Timos = Tvnovs. 
 
 TVTT-OS] Models, no doubt, for the pediment sculptures. The 
 extant remains of these are published by Kawadias, op. at. PI. viii. 
 and xi. 
 
 dicpa>TT|pia] The figures which stood upon the two gable-ends and 
 the four corners of the temple. Those of the other gable were the 
 work of one Theotimos, who received the same sum (1. 97). The 
 mounted Nereides, Kavv. op. cit. PL xi. 16, 17, probably represent 
 the two side a/tpwn^pia of the west pediment. Winter (At/i. Mitth. 
 1894, 1 60) points out the close resemblance of one to the group of 
 Leda and the Swan in the Capitol (Helbig, Fiihrer 454) which he 
 attributes to Timotheos. 
 
 (e) THE MAUSOLEION. 
 
 222. Plin. N. H. xxxvi. The rivals and contem- 
 30 Scopas habuit aemulos poraries of Skopas were 
 
 N
 
 GREEK SCULPTURE 
 
 eadem aetate Bryaxim et 
 Timotheum et Leocharen, 
 de quibus simul dicendum 
 est quoniam pariter cae- 
 lauere Mausoleum. Sepul- 
 crum hoc est ab uxore 
 Artemisia factum Mausolo 
 Cariae regulo, qui obiit 
 Olympiadis CVII anno se- 
 cundo. Opus id ut esset 
 inter septem miracula hi 
 maxime fecere artifices. 
 Patet ab austro et septen- 
 trione (centenos) sexagenos 
 ternos pedes, breuius a fron- 
 tibus, tota circumitu pedes 
 CCCCXXXX, attollitur in 
 altitudinem XXV cubitis, 
 cingitur columnis XXXVI. 
 Urepov uocauere circum- 
 itum. Ab oriente caelauit 
 Scopas, a septentrione Bry- 
 axis, a meridie Timotheus, 
 ab occasu Leochares, prius- 
 que quam peragerent regina 
 obiit. Non tamen reces- 
 serunt nisi absolute iam, id 
 gloriae ipsorum artisque 
 monumentum iudicantes, 
 hodieque certant manus. 
 Accessit et quintus artifex. 
 Namque supra irrcpov pyra- 
 mis altitudine inferiorcm 
 
 Bryaxis, Timotheos, and 
 Leochares, who must be 
 treated in a group since they 
 were jointly employed on 
 the sculptures of the Mau- 
 soleion. This building is 
 the tomb erected by Arte- 
 misia, his widow, for Mau- 
 solos, prince of Karia, who 
 died in the second year of 
 the io;th Olympiad (351 
 B.C.). That this work is 
 among the Seven Wonders 
 is due mainly to the above- 
 named artists. Its frontage 
 on the north and south sides 
 measures 163 feet, while the 
 fagades are shorter ; the 
 total circumference is 440 
 feet, the height twenty-five 
 cubits ; it is surrounded by 
 thirty-six columns. This 
 colonnade is called the 
 ' Pteron.' The sculptures 
 of the east side are by 
 Skopas, those of the north 
 by Bryaxis, those of the 
 south by Timotheos, and 
 those of the west by Leo- 
 chares. The queen died 
 before the building was 
 complete ; but the artists 
 did not abandon the work
 
 THE ATTIC SCHOOL 
 
 179 
 
 aequat, uiginti quattuor 
 gradibus in metae cacumen 
 se contrahens. In summo est 
 quadriga marmorea quam 
 fecit Pythis. Haec adiecta 
 CXXXX pedum altitudine 
 totum opus includit. 
 
 until it was finished, con- 
 sidering that it would re- 
 dound to their own glory, 
 and be a standing proof 
 of their genius ; and to 
 this day they vie with one 
 another in their handiwork. 
 They were joined by a fifth 
 artist. For above the colon- 
 nade is a pyramid equal to 
 the lower structure in height, 
 with a flight of twenty-four 
 steps tapering to a point. 
 On the apex stands a four- 
 horse chariot in marble, the 
 work of Pythis. This ad- 
 dition completes the build- 
 ing, which rises to the height 
 of 140 feet. 
 
 On the Mausoleion see Ov. II *. 100 ff., F. W. 1221-1239. 
 
 eaelauere] Not ' worked in relief,' but in the broad sense ' sculp- 
 tural,' a Latin equivalent for TopwriKt] in the broad sense (Nos. 119, 
 160). 
 
 Mausolo] The date of his death, according to Diod. xvi. 36, was 
 353 B. C. He reigned twenty-four years. 
 
 (centenos)] Omitted in MSS., but necessary if the total of 
 440 ft. be correct. 
 
 xxv cubitis] So best MSS. Various alterations have been 
 made in order to account for the total height of 140 ft. Trendelen- 
 burg thinks that Pliny's total is incorrect, and that the height was 
 in reality only fifty cubits = 75 ft. No architectural remains of 
 a high substructure have been discovered. 
 
 ab oriente . . . Leochares] Brunn (Sitzungsberichte der bayr. 
 Akad. 1882, p. 114 ff.) has endeavoured to assign to each sculptor his 
 share in the reliefs preserved. But it is doubtful whether the work 
 
 N 2
 
 i8o GREEK SCULPTURE 
 
 of four hands can be distinguished, and the slabs which B. attri- 
 butes to Bryaxis appear to belong to the east front, and therefore 
 to Skopas. 
 
 inferiorem] Sc. altitudinem, which should perhaps be read. It 
 would be more natural to supply 'pyramidem' ; and it is suggested 
 that the ' pteron ' may have rested on a pyramidal substructure. 
 
 quadriga mannorea] Supposed to have contained the colossal 
 portraits of Mausolos and Artemisia in the British Museum. But 
 see P. Gardner,/. H. S. xiii. p. 188 ff. 
 
 3. OTHER ARTISTS. 
 
 (a) SlLANION. 
 
 Date. (i) His portrait of Plato (No. 224) was dedicated by 
 Mithradates, who died 363 B. c. (ii) Apollodoros (No. 223) was a 
 pupil of Sokrates (died 399 B. C.), and according to Plat. Symp. 137 C 
 was a boy in 416 B. C. On the other hand, Pliny's date (Ol. 113 = 328 
 B. c,) is supported by the fact that (iii) Satyros (v. infr.) seems to be 
 identical with the athlete victorious at the Amphiaraia at Oropos 
 (I. G. S. 414), which were reorganized 32$ (Delamarre, Revue de 
 Philologie, 1894, 162 ff.). Plin. TV. H. xxxiv. 51 mentions that he 
 had no teacher, but one pupil, Zeuxiades. Z. made a portrait of 
 the orator Hypereides, who died 322 B. C (Lowy 483). 
 
 223. Plin. N. H. xxxiv. Silanion cast in bronze 
 51 Silanion Apollodorum a portrait of Apollodoros, 
 fudit, fictorem et ipsum, sed who was also a sculptor 
 inter cunctos diligentissi- and the most painstaking 
 mum artis et iniquom sui of his craft, as well as a 
 iudicem, crebro perfecta severe critic of his own work, 
 signa frangentem, dum who often broke in pieces 
 satiari cupiditate artis non finished statues, in his in- 
 quit, ideoque Insanum cog- satiable longing for ideal 
 nominatum ; hoc in eo ex- perfection, and was there- 
 pressit nee hominem ex fore called * the Madman ' : 
 acre fecit sed iracundiam ; this trait Silanion depicted
 
 THE ATTIC SCHOOL 
 
 181 
 
 et Achillem nobilem idem 
 epistaten exercentem ath- 
 letas. 
 
 in his portrait, and cast in 
 bronze not a man but Rage 
 personified. He also made 
 a famous statue of Achilles 
 and a trainer exercising his 
 athletes. 
 
 fictorem] Plin. N. H. xxxiv. 86 enumerates him amongst the 
 sculptors who executed portraits of ' philosophers.' 
 
 sed] Not adversative, but intensive. Cp. Juv. v. 147 boletus 
 domino, sed qualem Claudius edit, with Mayor's note. 
 
 nee hominem . . . sed iracundiam] Not necessarily borrowed, 
 as Jahn supposed, from an epigram, since the turn of expression is 
 a common one in Latin. Cp. Cic. Aft. vii. 136 non hominem sed 
 scopas solutas, Petron. 43 discordia non homo, and (in the lan- 
 guage of criticism) Quint, x. I. 112 (Cicero) non iam hominis 
 nomen sed eloquentiae habeatur, i. e. Cicero was called ' non 
 homo sed eloquentia.' 
 
 224. Diog. Laert. iii. 25 
 
 6 TO) TTUtTUt TU)V 
 
 In the first book of the 
 Anecdotes of Favorinus it 
 is recorded that Mithra- 
 dates the Persian dedicated 
 a portrait of Plato in the 
 Academy with the follow- 
 ing inscription : Mithra- 
 dates the Persian, the son 
 of Rhodobates, dedicated 
 to the Muses a portrait of 
 Plato, made by Silanion. 
 
 Probably reproduced by the bust in the Vatican, Jahrb. 1886, 
 PI. vi. 2. 
 
 rai, on Mi9pa.ba.Tris 6 
 
 avbpidvTa, rTAarcoyos 
 
 fls rrjv ' AKabr]fjiiav Kai 7rt- 
 
 ypa\}f' Midpaba.TT]s 6 'PoSo- 
 
 PCLTOV ITepo-Tjs Moucraij euo'ra 
 
 aveOfTO flAarawos, f)v 2iAa- 
 
 viutv 
 
 225. Plut. Quaest. Conu. 
 v. J. 2 T7ji> 
 
 We look with pleasure 
 and admiration on the statue
 
 1 82 GREEK SCULPTURE 
 
 179 <$>a.<r\v fls TO of lokaste, in whose counten- 
 
 TTp6(ro)TTov apyvpov n <rv/A|uTai ance the artist is said to have 
 
 TOV Tfx.vir^v, OTTO)? cjcAiTToVros mixed some silver, in order 
 
 avOptoiTov Kol fjiapa.ivoij.4vov that the bronze might re- 
 
 Ao/Sr; Tr(pi.(}>a.vfiav 6 x.a\nos, ceive the appearance of a 
 
 7)b6p.0a KOI 0aviJ.dofj.v. human being passing away 
 
 in death. 
 
 From Plut. de aud. poet. iii. 30 we learn that this was a work 
 of Silanion. 
 
 Other works : 
 
 THESEUS at Athens (Plut. Thes. 4). 
 
 SAPPHO taken from the Prytaneion at Syracuse by Verres (Cic. 
 Verr. iv. 57. 126). Probably reproduced by the bust in the Villa 
 Albani (Jahrb. 1890, PL iii). 
 
 KORINNA (Tatian, c. Graec. 54). 
 
 Athlete-statues at Olympia : 
 
 SATYROS of Elis (v. supr.), twice victorious in boxing (Paus. 
 vi. 4. 5). 
 
 TELESTAS the Messenian, victorious in the boys' boxing-match 
 (Paus. vi. 14. 4). 
 
 DAMARETAS the Messenian, victorious in the boys' boxing-match 
 (Paus. vi. 14. n). 
 
 Silanion was also the author of a work on proportions (Vitruv. 
 vii. Praef. 12). 
 
 (b) STHENNIS OF OLYNTHOS. 
 
 Date. Olynthos was destroyed 348 B. C., after which date he 
 may have received Athenian citizenship. He was employed with 
 Leochares on the portrait-group already mentioned (2 (b)) (Lowy 
 83), and dated circ. 320 B. c. In an inscription from Oropos (Lowy 
 103 a) he describes himself as 'Afyvalos, which points to a date 
 later than 318 B.C., when Oropos became independent of Athens. 
 (Before this date Attic artists use their demotic names.) Pliny 
 dates him Ol. 113 (328 B.C.). 
 
 226. Plin. N. H. xxxiv. Sthennis made statues of 
 90 Sthennis Cererem, lo- Demeter, Zeus, and Athena
 
 THE ATTIC SCHOOL 183 
 
 uem, Mineruam fecit, qui which stand in the temple 
 
 sunt Romae in Concordiae of Concord at Rome ; also 
 
 templo, idem flentis matro- weeping matrons, and figures 
 
 nas et adorantis sacrifican- engaged in prayer and sacri- 
 
 tisque. fice. 
 
 227. Strab. xii. 5. 46 bis Sinope was twice cap- 
 . . . eaAto (Su'win;) . . . wore- turcd, the second time by 
 pov . . . VTTO AeuKoAAou . . . Lucullus, who carried off a 
 Kal ... 6 Aev/coAAos . . . 77/3* statue by Sthennis repre- 
 . . . TOV AVTO\VKOV, 20eWt8os scnting Autolykos, whom 
 tpyov, ov (KflvoL olK.i(TTT]v (vo- the inhabitants regarded as 
 Hiov KOI (Tifjiaiv <i>s Oeov. the founder of the city and 
 
 revered as a god. 
 
 Lucullus captured Sinope in the Second Mithridatic war 
 (72 B.C.). 
 
 Athlete-statues at Olympia : 
 
 PYTTALOS of Elis, victorious in the boys' boxing-match (Paus. 
 vi. 16. 8). 
 
 CHOIRILOS of Elis, victorious in the boys' boxing-match (Paus. 
 vi. 17. 5). 
 
 (c) EUPHRANOR OF THE ISTHMOS. 
 
 Date. Pliny dates him Ol. 104 = 364 B.C. His portraits of 
 Alexander and Philip (No. 228) must be dated previous to the 
 death of the latter (336 B. C.). The inscriptions of his son Sostratos 
 (Lowy 105, 106) (whom Plin. N. H. xxxiv. 51 dates OL 113 = 328 
 B. c.) belong to the end of the fourth or beginning of the third 
 century. 
 
 228. Plin. N. H. xxxiv. By Euphranor is a 
 77 Euphranoris Alexander statue of Alexander (Paris). 
 Paris est in quo laudatur This work is specially ad- 
 quod omnia simul intelli- mired, because the eye can
 
 184 
 
 GREEK SCULPTURE 
 
 detect in it at once the judge 
 of the Goddesses, the lover 
 of Helen, and at the same 
 time the slayer of Achilles. 
 By the same artist is the 
 Athena at Rome called 
 ' the Minerva of Catulus,' 
 dedicated by Q. Lutatius 
 below the Capitol, and a 
 figure of Good Luck hold- 
 ing a bowl in the right hand 
 and an ear of corn and a 
 poppy in the left, also Leto 
 holding in her arms the new- 
 born infants Apollo and 
 Artemis (in the temple of 
 Concord). He also repre- 
 sented chariots with four 
 and two horses, and a 
 priestess of surpassing 
 beauty, and Valour and 
 Hellas, both of colossal 
 size, a woman in an atti- 
 tude of wonder and adora- 
 tion, also Alexander and 
 Philip in four-horse chariots. 
 
 in quo laudatur] Probably borrowed by Pliny from an epigram. 
 Q. Lutatio] Q. Lutatius Catulus dedicated the temple of Jupiter 
 Capitolinus (restored after its destruction by fire in 83 B. c.) in 
 78 B.C. 
 
 Boni EuentuB] To judge by the attributes, this statue originally 
 represented Triptolemos, not 'Ayadbs Aaip.a>v, as the ' Bonus Euentus ' 
 of Praxiteles (No. 186). It may be represented on various imperial 
 coins and gems. See Furtwangler, Meisterwerke, p. 281, Fig. iii, 
 note 2. 
 
 guntur, iudex dearum, 
 amator Helenae et tamen 
 Achillis interfector. Huius 
 est Minerua Romae quae 
 dicitur Catuliana, infra Capi- 
 tolium a Q. Lutatio dicata, 
 et simulacrum Boni Euen- 
 tus, dextra pateram, sinistra 
 spicam ac papauera tenens, 
 item Latona puerpera Apol- 
 linem et Dianam infantis 
 sustinens in aede Con- 
 cord iae. Fecit et quadrigas 
 bigasque et cliduchon exi- 
 mia forma, et Uirtutem et 
 Graeciam, utrasque colos- 
 saeas, mulierem admirantem 
 et adorantem, item Alexan- 
 drum et Philippum in 
 quadrigis.
 
 THE ATTIC SCHOOL 
 
 '85 
 
 Latona puerpera] Commonly identified with a group appear- 
 ing on several coins of Ephesos and other cities in Asia Minor, and 
 reproduced in a statue in the Torlonia gallery at Rome (Ov. II 4 . 
 Fig. 172) ; but see Reisch, Festgruss aus Innsbruck an die Phi- 
 lologenversammlung in Wien, 1893. 
 
 cliduchon] K\fiSov\ov. The temple-key was the mark of the 
 priestess. Cp. No. 119 note. 
 
 229. Dion Chrys. 37. 43 
 TI yap eKwAue (Mfyav flvai TOV 
 ri yap apri-ow, 
 TOV 
 
 What was there to pre- 
 vent the portrait from being 
 tall? What was there to 
 prevent it from being firm 
 O-TOV ; on its feet, like the Hephai- 
 
 stos of Euphranor ? 
 
 TOV dvSpidvra] A portrait of Agesilaos, king of Sparta. 
 
 It is possible that Dion Chrysostom has substituted the name of 
 Euphranor for that of Alkamenes (v. No. 131). 
 
 230. Plin. N. H. xxxv. 
 128 Eminuit longe ante om- 
 nis Euphranor Isthmius 
 Olympiade CIIII, idem qui 
 inter fictores dictus est nobis. 
 Fecit etcolossoset marmorea 
 et typos sculpsit, docilis ac 
 laboriosus ante omnis et in 
 quocunque genere excellens 
 ac sibi aequalis. Hie primus 
 uidetur expressisse digni- 
 tates heroum et usurpasse 
 symmetriam, sed fuit in 
 uniuersitate corporum exi- 
 lior et capitibus articulisque 
 grandior. 129 Uolumina 
 
 In the 1 04th Olympiad 
 (364 B.C.) Euphranor of the 
 Isthmos far outshone his 
 rivals. He has already been 
 mentioned amongst the 
 sculptors, and made colossal 
 statues, works in marble, 
 and reliefs. He was an 
 eager and painstaking stu- 
 dent, who maintained a 
 constant level of excellence 
 in every department. He 
 is considered to have been 
 the first to represent heroes 
 in their full majesty, and to 
 master the science of pro-
 
 i86 GREEK SCULPTURE 
 
 quoque composuit de sym- portion ; his bodies, how- 
 mctria et coloribus. ever, were too slender, and 
 
 his heads and limbs too 
 large. He also wrote works 
 on proportions and colour- 
 ing. 
 
 This account refers primarily to Euphranor as a painter, but the 
 criticisms may no doubt be regarded as applicable to his sculp- 
 tures. 
 
 expresbisse dignitates heroum] The reference may be to his 
 painting of Theseus, of which he said that ' the Theseus of Par- 
 rhasius was fed on roses, but his own on beef (Plin. N. H. xxxv. 
 129). 
 
 Other works : 
 
 APOLLO Patroos at the Piraeus (Paus. i. 3. 3). 
 DIONYSOS, of which a copy stood on the Aventine at Rome 
 (Lowy 495). 
 
 (d) THRASYMEDES OF PAROS. 
 
 Date. The inscription of Epidauros (No. 232) may be dated 
 circ. 375 B. c. See note on Timotheos (2 (d)). 
 
 231. Paus. ii. 27. 2 (At (At Epidauros) the image 
 
 Epidauros) TOV 8e 'Ao-xArj- of Asklepios is smaller by 
 
 TTtov TO ayaA/xa /ueyeflei /xev one half than the Olympian 
 
 TOV 'A07jinj(rii> 'OAufATTiou Aio? Zeus at Athens, and is made 
 
 aTtobel, ireTroiTjrai oc of ivory and gold ; the in- 
 
 Kal xpvcrov' nrjvvfi scription states that it is the 
 
 TOV flpyacr^vov work of Thrasymedes the 
 
 elvai Qpa(Tv^r\br]v 'ApiyvutTov son of Arignotos of Faros. 
 
 ll&piov. KddrjTaL 5e CTTI dpovov The God is seated upon a 
 
 paKTr\pia.v Kparwv, Trjv 8e ere- throne and holds a staff in 
 
 pav T&V xf-P&v vntp Kf<pa\rj$ one hand, while he extends 
 
 TOV bpdnovTos, nut ol Kal the other above the scr-
 
 THE ATTIC SCHOOL 
 
 187 
 
 KVCOV TrapaKara/cei/ieyo? TTC- 
 
 epya, 
 
 carv 
 
 BeAAepo^oVrou TO fs TT)I> 
 xai Hepo-ei)? d(peA&)i> 
 K<f>a\riv. 
 
 pent's head. A dog is also 
 represented lying at his feet. 
 On the throne are repre- 
 sented in relief the exploits 
 of Argive heroes,viz.the con- 
 test of Bellerophon with the 
 Chimaira, and Perseus, who 
 has decapitated Medusa. 
 
 TOV 'A0T|VT]OT.v 'OXvjimou AIDS] Dedicated by Hadrian. 
 
 The statue is represented on coins of Epidauros (Num. Comm. 
 liii). According to Cic. N. D. iii. 34. 83 Dionysios I of Syracuse 
 ordered the golden beard to be removed on the ground that it 
 was unseemly that Asklepios should be bearded while his father 
 Apollo was beardless. The reliefs published by Kavvadias, 'E0. 
 'Apx. 1894, PI. i (the first also Brunn-Bruckmann 3), though not 
 direct copies, may serve to give an impression of the style of the 
 original. 
 
 232. Kavvadias, Fouilles 
 d'Epidaure 241. 45 0pa<ru|- 
 7 s eAero rav opofyav TOLV 
 Kal TO dvpiapa TO 
 l | 8ia orwAa)z> fpya- 
 XXXXXXXXXBBB 
 BBBBB (vyvos Uv9oK\rj[i\\ 
 
 Thrasymedes contracted 
 to execute the roof above 
 and the inner doorway as 
 well as that between the 
 columns for 9800 drachmae. 
 His securities were Pytho- 
 kles, Theopheides, and 
 Agemon. 
 
 On the inscription see No. 221. 
 
 TO Ovpujxa TO v8oi] The door of the cella, also called p*ya 
 In its construction ivory was used of the value of 3070 dr. (1. 65), 
 and (apparently) golden nails of considerable value (1. 105 ff.). 
 
 8id o-TvXojv] i. e. TO dia o-TtXcov Bi'paifjLa. The outer door between 
 the columns of the 7rpd8o/*oy. See Kavvadias, PI. i A. 
 
 The wood employed in the construction of the doors was that of 
 the pine, box, and lotus (1. 45).
 
 i88 GREEK SCULPTURE 
 
 (f) POLYEUKTOS. 
 
 233. Plut. Uit. x. Or. (Demosthenes) asked for 
 Dem. 44 ahija-as re ypa/xjua- a tablet and wrote the ele- 
 relov (Arj/^oo-fleVrjs) eypatyev giac couplet, which the 
 ... TO 67Ti rrjs cluovos avTov Athenians afterwards in- 
 
 eTriyey/act/x/xeVoy VTTO scribed upon his portrait. 
 
 vo-repov It runs as follows : 
 enrep i(rrjy /Sw/xTjy ypw/xTj, Hadst thou, Demosthe- 
 
 Ajj/*o'o-0ez>es, eo^es nes, had might as strong 
 
 OVTTOT &v c EAA?7ya>j> riptv as thy resolve, the war-god 
 
 *Apr]s MaKf8a>y. of Macedon had never 
 
 45. KeTrcu 8e 17 eijcwv irXr]crLov subdued the Greeks. 
 TOU 7repi<r>(oii;io-/zaros KCU rou The portrait stands near 
 
 Pufj-ov T&V AcoSexa 0eo5v, the enclosure and the altar 
 
 {mo IToAuevKrou TreTrotTj/i^Tj. of the Twelve Gods, and is 
 
 the work of Polyeuktos. 
 
 We learn from Plut. Dem. 31 that the statue had clasped hands 
 (ecmjKe TOVS 8anTv\ovs crwe^tav fit* dXXyXwv). It cannot, therefore, be 
 directly reproduced by the statues at Knole (Michaelis, Ancient 
 Marbles, p. 417) and in the Vatican (F. W. 1312) which hold a roll 
 in their hands. They may, however, be mediately derived from 
 the original of Polyeuktos. 
 
 (g) DEMETRIOS. 
 
 Date. Two inscriptions from the Akropolis (Lowy 62, 63) belong 
 to the first half of the fourth century (the first about 380 B. C.). On 
 a third v. No. 234 note. 
 
 234. Plin. N. H. xxxiv. The works of Demetrius 
 76 Demetrius Lysimachen are a portrait of Lysimache, 
 (fecit) quae sacerd os Miner- who was for 64 years 
 uae fuit Ixiiii annis, idem priestess of Athena, an 
 et Mineruam quae musica Athena called 'the Musical,'
 
 THE ATTIC SCHOOL 
 
 189 
 
 appellatur dracones in 
 Gorgone eius ad ictus 
 citharae tinnitu resonant 
 idem equitem Simonem qui 
 primus de equitate scripsit. 
 
 because the snakes of her 
 aegis tinkle in response 
 to the notes of a lyre, and 
 a portrait of the knight 
 Simon, who was the first 
 to write a treatise on horse- 
 manship. 
 
 Lyaimachen] According to Paus. i. 27. 4 the statue stood close 
 to the Erechtheion, and was about a cubit in height. An inscrip- 
 tion from the Akropolis (Lowy 64) has been held to belong to this 
 work, since the second line reads [? erj\novTa 6' (TTJ [K]<U Tnrap[a] 
 \6dva : but the breadth of the foot-print (20 cm.) is too great for 
 a height of one cubit. 
 
 musica] So inferior MSS. ; the best has ' myetica.' 
 Simonem] An Athenian cavalry officer, mentioned in Ar. Eg. 
 242. 
 
 235. Lucian, Philops. 18 
 ovx ewpajcas, l^rj, dviuv fv 
 TTJ avXr) loTTjKora TrayjcaXoy 
 avftpiavra, ATJ/ITJTPIOU Ipyor 
 TOV avOpiDtroTioiov ; . . . ft 
 TWO. iiapa TO vSoop TO f 
 -Trpoyaaropa, 
 
 TOV Trwycopos raj 
 (vtas, $v6nffMM) ras 
 
 , avToavdptoTtfp o/xoior, 
 ineivov X^yco, ITeAXixos 6 
 KopivOios orparTjyos flvai 
 
 Have you not seen, said 
 he, as you came in a beauti- 
 ful portrait-statue standing 
 in the court, the work of 
 Demetrios the maker of 
 men? If you have seen 
 beside the running water 
 a figure with a fat paunch 
 and a bald head, wearing 
 a cloak which leaves him 
 half exposed, with some of 
 the hairs of his head flowing 
 in the wind, and prominent 
 veins, like the very man 
 himself, that is the one I 
 mean. It is supposed to 
 represent Pellichos the Co- 
 rinthian general.
 
 igo GREEK SCULPTURE 
 
 On the context v. Introduction, i. In 20 Lucian calls the 
 artist Demetrios of Alopeke, a deme of Attika, and speaks of him 
 as oil dfonoios TIS, aAV avdpanonoios ' a maker not of gods but 
 of men.' 
 
 A Corinthian of this name is mentioned by Thuc. 
 i. 29. 
 
 2. THE SCHOOL OF SIKYON. 
 
 1. THE YOUNGER SONS OP FATROKT.F.S. 
 
 (a) DAIDALOS. 
 
 Date. Two inscriptions (Lowy 88, 89) exist. The original of 
 the first is lost, but the second (from Olympia) must be dated early 
 in the fourth century. The victory commemorated by No. 239 was 
 won in 400 B. C. Eupolemos (v. infr.) was victorious in 396, 
 Aristodemos (v. infr.) in 388. The victory commemorated by No. 
 238 was probably won in 369 B. c., unless the reference was to 
 mythical times, when the monument might be as early as 392 B. c. 
 
 236. Plin. N. H. xxxiv. Daidalos, who is also 
 76 Daedalus et ipse inter mentioned with praise 
 fictores laudatus duo pueros among the sculptors in 
 destringentes se fecit. marble, represented two 
 
 boys scraping themselves. 
 
 fictores] Here used in the narrower sense of ' sculptor in marble,' 
 opp. statuarius, ' worker in bronze.' 
 
 destringentes se] a7rouo/*<?j/ouf, athletes scraping the ointment 
 from their bodies with the strigil. See Lysippos, No. 241. 
 
 237. Plin. N. H. xxxvi. Daidalos represented 
 35 Uenerem lauantem se Aphrodite in the bath. 
 Daedalus (fecit). 
 
 In the temple of Juppiter in the ' porticus Octauiae ' ; perhaps the 
 original of the numerous statues of Aphrodite crouching in the 
 bath. But see F. W. 1467, who attributes the work to a later 
 Daidalos, a Bithynian artist of the third century.
 
 THE SCHOOL OF SIKYON 
 
 191 
 
 238. Paus. x. 8. 5 c$e/s 
 8e TeyearcUy avad^ara OTTO 
 AaK$aifjLovL(tiv 'ATroAAcoy cort 
 xat NIKTJ, /cat ol CTrtx^P'ot 
 ra>z> Tjptotov, KaAAiorctf re ^ 
 Au/cdoz>os xat 'Axds 6 e7rft>- 
 
 rs yrs, na o TOV 
 'Ap/cdSos 7rai8es, "EAaros 
 KCU 'A<pei'8a? /cat 'Afefor, 
 eTTi 8e avToi? Tpt^uAo? . . . 
 
 ^ KCH v Epa(ro? 6 
 Trals. 6. ol 8 eip- 
 ra dyaA/xara Dau- 
 
 ovros juej; Toy re 
 
 KO.I KaAAiarw, Trjy 8e 
 
 Aat8aAos' ' 
 
 s, ovros/iei; r6f TptyvXov 
 "EAaroy 8e Kal 
 T Kat "Epao-oy 6 
 'Apyeios. TO.VTO. fjifv br) ol Te- 
 yearcu fTre^^av ( 
 AaKe8ai/xoi;iouj, ore (irl 
 
 Next in order come the 
 offerings dedicated by 
 Tegeans from the spoils of 
 the Spartans. These con- 
 sist in figures of Apollo, 
 Victory and the native 
 heroes of Arkadia, Kallisto 
 the daughter of Lykaon, and 
 Arkas who gave his name to 
 the country, and the sons of 
 Arkas, Elatos and Aphei- 
 das and Azan, and after 
 them Triphylos. There is 
 also a statue of Erases the 
 son of Triphylos. The 
 figures were the work of 
 (i) Pausanias of Apollonia, 
 who made the Apollo and 
 Kallisto, (2) Daidalos of 
 Sikyon, who made the 
 Victory and the figure of 
 Arkas, (3) Antiphanes of 
 Argos, and (4) Samolas the 
 Arkadian, the latter of whom 
 made the figures of Tri- 
 phylos and Azan, and the 
 former those of Elatos and 
 Apheidas and Erases. 
 These offerings were sent 
 by the Tegeans to Delphi, 
 when they had made pri- 
 soners of the Spartans who 
 invaded them.
 
 192 
 
 GREEK SCULPTURE 
 
 At Delphi. Referred by Brunn to 369 B. C., when Sparta suffered 
 severe reverses at the hands of the Arkadians (Diod. xv. 62). But 
 the closing words appear to refer to the legend recorded by Hdt. i. 
 65, which falls in the mythical period. 
 
 Pausanias and Samolas are otherwise unknown, on Antiphanes 
 v. Nos. 172, 173 note. His pupil Kleon was the artist of several 
 athlete-statues at Olympia, amongst which were two of the earliest 
 ' Zaves ' or small bronze statues of Zeus set up from the proceeds of 
 fines. Paus. dates them Ol. 96 = 388 B. c. One of the bases exists 
 (Lovvy 95). The base of another portrait (Kritodamos, Paus. vi. 
 8. 5) (Lowy 96) may be dated circ. 350 B. C. 
 
 In the Altis, beside the 
 statueofTimosthenes. stand 
 portraits of Timon and his 
 son Aisypos, represented as 
 a boy mounted on a horse. 
 The reason is that the 
 son's victory was won with 
 a race-horse, while Timon 
 was proclaimed victor with 
 his chariot. The portraits 
 of Timon and his son were 
 the work of Daidalos of 
 Sikyon, who also made the 
 trophy set up by the Eleans 
 in the Altis to comme- 
 morate their victory over 
 Sparta. 
 
 The victory took place in 400 B. C. when Agis invaded Elis, but 
 was dislodged from Olympia, which he had occupied (Paus. v. 
 4.8). 
 
 (b) POLYKLEITOS THE YOUNGER. 
 
 Date. (i) He was a pupil of his elder brother Naukydes (No. 171 
 and Paus. vi. 6. 2), who (Part III. 2. 2 (a)) worked at the close of the 
 
 239. Paus. vi. 2. 8 tv 8e 
 T[\ "AArei irapa rbv TOV Tifio- 
 (rdfvovs avbpiavTd cb-'a/ceirai 
 
 Tip.U>V K(H 6 TTals TOV TfytMVOS 
 
 TtatblOV Trl ITTTTO) 
 
 (crTi -yap br) KCU f) 
 
 T(j> TTCubl fa-OV Kf\r]TOS' 
 
 8' Trl ap^ari avrjyo- 
 ra> 8e Ti/^uopi eipya- 
 <raro Kal rw Ttcubl ra? eixoVas 
 Aat'SaAos 2iKUwrtoy os Kal 
 fTTt rfj AaKMLKfj VLKTJ TO ev 
 TT\ "AXrei Tpo-naiov 
 'HAeiois.
 
 THE SCHOOL OF SIKYON 193 
 
 fifth and beginning of the fourth century. (2) The inscription from the 
 portrait of Aristion (Part II. 2. 1 ad fin.) (Lowy 92) dates from the 
 first half of the fourth century. Another inscription (Lowy 93) from 
 Thebes is inscribed on the same block and in the same characters 
 as an inscription of Lysippos. It belonged to a portrait of Timokles, 
 victorious in the chariot-race at the Herakleia, and also at the 
 BatrtXeia of Lebadeia (instituted 371 B.C.), while that of Lysippos 
 belonged to a portrait of Konidas, victorious in the pankration 
 at the Pythia. Dittenberger (/. G. S. 2532, 2533) pronounces both 
 posterior to 316 B. C., and the inscriptions are therefore probably 
 restorations ; the portraits may have had no original connexion. 
 (3) Antipatros (Part II. 2. I ad fin.) was probably victorious in 
 Ol. 98 = 388 B. c. ; No. 240 is posterior to 371 B. C. ; and No. 165, 
 if a work of the younger P., is posterior to 370 B. C. 
 
 240. Paus. viii. 31. 4 rov Within the enclosure is 
 
 Trept^o'Aou 8^ eoriz> &TOS <t>t- a temple of Zeus, the God 
 
 Aiou Atos vaos, IIoAuKAciTou of Friendship. The image 
 
 pev TOV 'Apyeiou TO ayaA/xa, is the work of Polykleitos of 
 
 Atorvo-a) 8e (pipes' KoOopvni Argos and resembles Dio- 
 
 re yap ra V77o8^)u.ard e<rrti> nysos in type ; for it is shod 
 
 ai TO). Kt7i ex et rfj x i P l * K7ra) M a j with buskins, and holds in 
 
 TT/ 8e erepa Ovpirov' KaOrjTai one hand a cup and in the 
 
 8e deros firl ru dvpau. other a thyrsus, upon which 
 
 is perched an eagle. 
 
 TOV irpi.p6Aov] That of Demeter and Kore at Megalopolis. 
 
 Other works : See Nos. 165, 166, to which may be added : 
 
 HEK.ATE at Argos (No. 171). 
 
 Athlete-statue at Olympia : 
 
 AGENOR of Thebes, victorious in the boys' wrestling-match 
 (Paus. vi. 6. 2). Dedicated by the Phokians, since A.'s father was 
 npogfvos of Phokis at Thebes. 
 
 2. LYSIPPOS. 
 
 Date. The inscription (Lowy 94) from the portrait of Troilos 
 (v. infr.) mentions his second victory (probably 368 B. c.), and the 
 statue may not have been erected immediately. On the inscription 
 
 O
 
 GREEK SCULPTURE 
 
 from Thebes (Lowy 93) see under Polykleitos the younger (i (b)). 
 Athenaios tells an anecdote of Lysippos connected with the 
 foundation of Kassandreia (316 B.C.). An inscription (Lowy 487) 
 copied from an older original reads 2e\fu*or ftaoiXtvs. A.v<n.nnos 
 (noifi : but the portrait may have been executed before Seleukos 
 assumed the royal title in 312 B.C. Pliny's date is Ol. 113 = 328 
 B. c., determined by that of Alexander. 
 
 241. Plin. N. H. xxxiv. 
 6 1 Lysippum Sicyonium 
 Duris negat ullius fuisse 
 discipulum, sed primo ae- 
 rarium fabrum audendi 
 rationem cepisse Eupompi 
 response. Eum enim in- 
 terrogatum. quern sequere- 
 tur antecedentium, dixisse 
 monstrata hominum mul- 
 titudine, naturam ipsam 
 imitandam esse, non arti- 
 ficem. Plurima ex omnibus 
 signa fecit, ut diximus, 
 fecundissimae artis, inter 
 quae destringentem se, 
 quern Marcus Agrippa ante 
 Thermas suas dicauit mire 
 gratum Tiberio principi. 
 Non quiuit temperare sibi 
 in eo, quanquam imperiosus 
 sui inter initia principatus, 
 transtulitque in cubiculum 
 alio signo substitute, cum 
 quidem tanta populi 
 Romani contumacia fuit ut 
 theatri clamoribus reponi 
 
 Duris asserts that Lysip- 
 pos ofSikyon had no master, 
 but originally worked as a 
 bronze-caster, and was in- 
 spired to attempt higher 
 things by an answer of 
 Eupompos. That artist, 
 when asked which of his 
 predecessors he followed, 
 pointed to a crowd of men, 
 and replied that Nature 
 herself and no artist w r as 
 the true model. Lysippos 
 produced more works than 
 any other artist, being, as 
 was mentioned above, 
 extraordinarily prolific. 
 Among them is the youth 
 scraping himself, which 
 M. Agrippa dedicated in 
 front of his baths. The 
 Emperor! iberius conceived 
 a wonderful passion for this 
 statue, and was unable to 
 restrain his desire, although 
 in the early years of his 
 reign he practised self-
 
 THE SCHOOL OF SIKYOX 
 
 195 
 
 apoxyomenon flagitaucrit 
 princepsque quanquam 
 adamatum reposuerit. No- 
 bilitatur Lysippus et temu- 
 lenta tibicina, et canibus 
 ac uenatione, in primis 
 uero quadriga cum Sole 
 Rhodiorum ; fecit et Alex- 
 andrum Magnum multis 
 operibus, a pucritia eius 
 orsus. Guam statuam in- 
 aurari iussit Nero princeps 
 delectatus admodum ilia, 
 dein, cum pretio perisset 
 gratia artis, detractum est 
 aurum pretiosiorque talis 
 existimabatur etiam cica- 
 tricibus operis atque con- 
 cisuris in quibus aurum 
 fuerat remanentibus. Idem 
 fecit Hephaestionem Alex- 
 andri Magni amicum, 
 quern quidam Polyclito 
 adscribunt, cum is centum 
 prope annis ante fuerit, 
 item Alexandri uenatio- 
 nem, quae Delphis sacrata 
 est, Athenis satyrum, tur- 
 mam Alexandri, inquaami- 
 corum eius imagines sum- 
 ma omnium similitudine 
 expressit ; hanc Metellus 
 Macedonia subacta transtu- 
 
 control. He transferred it 
 to his bedchamber and set 
 another statue in its place, 
 but the populace of Rome 
 showed such displeasure 
 that the Emperor restored it 
 in response to the clamour 
 of the theatre in spite of his 
 passion for it. The fame of 
 Ly^ippos rests also on his 
 drunken flute-player and 
 on his dogs and hunters, 
 but especially on the four- 
 horse chariot, with the Sun 
 executed for Rhodes. He 
 also made many portraits 
 of Alexander the Great, 
 beginning from his boyhood. 
 The last-named statue the 
 Emperor Nero, who ad- 
 mired it extremely, ordered 
 to be gilded. Afterwards, 
 since the charm of the work 
 had vanished, though its 
 value had increased, the 
 gold was removed, and it 
 was esteemed more valuable 
 in this state even though 
 scars and incisions which 
 had contained the gold still 
 remained. Lysippos also 
 made a portrait of Hephai- 
 stion, the friend of Alex- 
 
 O 2
 
 196 
 
 GREEK SCULPTURE 
 
 lit Romam. Fecit et quad- 
 rigas multorum generum. 
 Statuariae arti plurimum 
 traditur contulisse capillum 
 exprimendo, capita minora 
 faciendo quam antiqui, 
 corpora graciliora sicciora- 
 que, per quae proceritas 
 signorum maior uideretur. 
 Non habet Latinum nomen 
 symmetria quam diligen- 
 tissime custodiuit noua 
 intactaque ratione quad- 
 ratas ueterum Staturas 
 permutando, uolgoque 
 dicebat ab illis factos quales 
 essent homines, a se quales 
 uiderentur esse. Propriae 
 huius uidentur esse argutiae 
 operum custoditae in mini- 
 mis quoque rebus. 
 
 ander the Great, which 
 some ascribe to Polykleitos, 
 although he lived about a 
 century earlier, also Alex- 
 ander's hunt, dedicated at 
 Delphi, a satyr at Athens, a 
 troop of Alexander's horse, 
 in which he introduced por- 
 traits of his friends which 
 displayed a marvellous 
 likeness : this work was re- 
 moved to Rome by Metellus 
 after the conquest of Mace- 
 donia. He also represented 
 four - horse chariots of 
 several kinds. He is said 
 to have done much to 
 advance the art of sculpture 
 in bronze by his careful 
 treatment of the hair, and 
 by making the head smaller 
 and the body more slender 
 and firmly knit than earlier 
 sculptors, thus imparting to 
 his figures an appearance 
 of greater height. There 
 is no Latin name for the 
 ' canon of proportions ' 
 which he carefully observed, 
 exchanging the squarely- 
 built figure of the older 
 artists for a new and un- 
 tried system. He was in
 
 THE SCHOOL OF SIKYOX 197 
 
 the habit of saying that they 
 had represented men as they 
 were, while he represented 
 them as they appeared to 
 the eye. The extreme deli- 
 cacy of his work even in the 
 smallest details, would seem 
 to be its most individual 
 feature. 
 
 Duris] V. Introduction, i. 
 
 Eupompi response] E. was a painter of Sikyon, whose date 
 appears to fall at the close of the fifth and beginning of the 
 fourth century (Plin. N. H. xxxv. 64, 75), so that if the saying is 
 rightly ascribed to him, it cannot have been addressed directly to 
 Lysippos. 
 
 ut diximus] V. No. 242. 
 
 destringentem se] Reproduced by the Apoxyomenos in the 
 Vatican, F. W. 1264. 
 
 Alexandrum Magnum] V. No. 243. 
 
 quam statuam] Almost certainly to be taken, with Urlichs, of 
 a statue of Alexander as a boy. Others suppose the words 'fecit 
 . . . orsus ' to be misplaced, and refer ' quam statuam ' to the chariot 
 of the Sun ; but though there is some probability that this was 
 removed to Rome, Pliny would scarcely describe it by the term 
 ' statua,' which is properly applicable to a portrait in bronze. 
 
 Alexandri uenationem] V. No. 244. 
 
 turmam Alexandri] V. No. 245. 
 
 Metellus] Q. Caecilius Metellus subdued the pretender Andriskos 
 in Macedonia (146 B.C.), and hence received the name Mace- 
 donicus. 
 
 Statuariae arti] Clearly used in the narrow sense of ' sculpture 
 in bronze,' exclusively practised by Lysippos. In this use the term 
 is opposed to ' sculptura ' = sculpture in marble. Cp. xxxv. 156 
 plasticen matrem . . . statuariae sculpturaeque dixit Pasiteles. 
 xxxvi. 15 non omittendum hanc artem (marmoris sculpendi) tanto 
 uetustiorem fuisse quam picturam aut statuariam. 
 
 sicciora] The word is used of the trained athlete, whose body is 
 free from unhealthy humours and superfluous fat. Cp. Yarr.
 
 198 GREEK SCULPTURE 
 
 Logist. Fr. 27 R. Persae propter exercitationes puerilis modicas 
 earn sunt consecuti corporis siccitatem ut neque spuerent neque 
 emungerentur sufflatoue corpore essent. 
 
 quadratas ueterum staturas] With special reference to the 
 canon of Polykleitos. Cf. No. 160 ad fin. 
 
 quales essent . . . quales uiderentur esse] Assuming that the 
 natural sense of the words is the true one, we must interpret them 
 to mean that while Polykleitos and his school had represented the 
 human body in its actual proportions, Lysippos employed such pro- 
 portions as to produce the impression received by the eye (quales 
 esse uiderentur = otot 6pn-ai). Many authorities, however, (after 
 Otfried Miiller) suppose 'quales uiderentur esse' to be a mis- 
 translation by Pliny of otovs emicev elvm = as they ought to be ; 
 the meaning will then be that Polykleitos was a realist, Lysippos an 
 idealist. The conception was familiar in art-criticism. Cp. Arist. 
 Poet. 1448 a 5 noXuyvcoTO? p.iv KpfiTTOvs, Hfiva&v 8t geipovf, Aiovucnoy 
 8f opoiovs t*Kafv. 
 
 argutiae] Cf. xxxv. 37 Parrhasius . . . picturae dedit primus 
 argutias uultus, elegantiam capilli. argutus = clear to the senses, 
 and so clearly defined, clearly cut. Cp. Verg. G. iii. 80 argutum 
 caput (of a horse). Hence ' argutiae operum ' here refers to clearly 
 cut, delicate outlines. 
 
 242. Plin. N. H. xxxiv. Let it be our pleasure 
 
 37 Insignia maximeetaliqua to touch on works of 
 
 de causa notata uoluptarium special excellence or with 
 
 sit attigisse artificesque cele- special cause for remark and 
 
 bratos nominauisse singu- to record the names of 
 
 lorum quoque inexplicabili famous artists, since the 
 
 multitudine, cum Lysippus multitude of single works 
 
 MD opera fecisse prodatur, is innumerable. Lysippos 
 
 tantae omnia artis, ut clari- alone is said to have pro- 
 
 tatem possent dare uel sin- duced 1500 works, all of 
 
 gula, numerum apparuisse such artistic value that each 
 
 defuncto eo, cum thesaurum would have sufficed by it- 
 
 cffrcgisset heres, solitum self to make him famous, 
 
 enim ex manipretio cuius- The number became known
 
 THE SCHOOL OF SIKYON 
 
 199 
 
 que signi denarios seponere 
 aureos singulos. 
 
 after his death, when his 
 heir broke open his strong- 
 box, since it had been his 
 custom to set aside a piece 
 of gold from the price of 
 each statue. 
 
 From the preface to Pliny's account of sculpture in bronze. 
 
 denarios] Pliny no doubt refers to the gold stater, worth twenty 
 drachmae. The Roman gold denarius (xx\iii.47) was worth twenty- 
 five silver denarii, the silver denarius being considered equivalent 
 to an Attic drachma. 
 
 243. Plut.de Alex. Magno 
 ii. 2 Ava-iir-ov be TO irp&Tov 
 'A\(avbpov irAacraiTOs ava- 
 
 fl\e-OVTO. T(J> TTpOatoTTto TTpOS 
 
 TOV ovpavov, uxmep aiiTos 
 
 TOV Tp- 
 OVK O.TTI- 
 
 avdacrovvri. 8' (OIKCV 6 
 
 xeos cts Aia Afvcro-wv, 
 yav v-' ffj.ol Tidtiiai, Zev, 
 
 <rv 8' 
 
 816 KOI fjiovov ' 
 Aeue Avfrnniov etKoVay avrov 
 ' fj.6vos yap ovros, 
 
 a>TOV KO. 
 
 TT]V O.TTO(TTpO(f)1]V TOV 
 
 ov Kal T&V o/i/uarcor Ti]v 
 
 When Lysippos first 
 made a portrait of Alex- 
 ander with his countenance 
 uplifted to heaven, just as 
 Alexander was wont to gaze 
 with his neck gently inclined 
 to one side, some one wrote 
 the following not inappro- 
 priate epigram : 
 
 The man of bronze is as 
 one that looks on Zeus and 
 will address him thus : O 
 Zeus, I place earth beneath 
 my feet, do thou rule Olym- 
 pos. 
 
 For this reason Alexander 
 gave orders that Lysippos 
 only should make portraits 
 of him ; since Lysippos 
 only, as it would seem, 
 truly revealed his nature in
 
 GREEK SCULPTURE 
 
 bi.dxy(Ti.v Kal vypoTTjTa 
 
 a-Oai. 6&ovTcs ov bie(f>v\aTTov 
 
 aiiTov TO appevM-nbv Kal Aeor- 
 
 bronze, and portrayed his 
 courage in visible form, 
 while others in their anxiety 
 to reproduce the bend of 
 the neck and the melting 
 look of the eyes failed to 
 preserve his masculine and 
 leonine aspect. 
 
 On the portraits of Alexander, see F. W. 1318 and K6pp, 52. 
 Winckelmannsprogramm (1892). From Plut. de Is. et Osir. 24 we 
 learn that the statue here referred to held a spear. 
 
 244. Plut. Alex. 40 TOVTO 
 TO Kvvriyiov Kparepos eis AeA- 
 (frovs ave6r]KfV, euoVas ^aA/cas 
 TTOir](rdfji.vos TOV XZOVTOS Kal 
 TU>V KVV>V, Kal TOV /3ci(TiAe'a)? 
 
 TO) \COVTl <TVV<TT<it>TO$, Kal 
 
 5>V 
 
 ra 
 
 TO. fj.fv AVVLITITOS 
 be 
 
 Krateros erected a me- 
 morial of this hunt at 
 Delphi. He caused figures 
 of bronze to be made, repre- 
 senting the lion, the dogs, 
 the king in combat with the 
 lion, and himself coming to 
 the rescue ; some of these 
 were made by Lysippos, 
 the rest by Leochares. 
 
 KpaTp6s] A general of Alexander, afterwards allied with Anti- 
 pater, killed in battle 321 B.C. 
 V. I. 2 (b). 
 
 Of the Macedonians there 
 fell about twenty-five of the 
 king's guard in the first 
 onslaught. Bronze por- 
 traits of these stood at 
 Dion, made by Lysippos 
 by order of Alexander. 
 
 245. Arrian, Anab. i. 16.7 
 be TU>V j.v erat- 
 
 po)v 
 fv TTJ 
 Qavov, KOI 
 
 (IKOVtS (V 
 
 rows 
 
 7rpo<r/3oA?7 
 
 At(i 
 
 Av-
 
 THE SCHOOL OF SIKYON 
 
 201 
 
 'v TTJ irpuTT] -rrpoo-poXfi] At the battle of Granikos (334 B.C.). 
 Since the dead were buried on the field of battle (Arr. i. 16. 5) 
 Pliny's story as to the resemblances can hardly be correct. Ac- 
 cording to Veil. Pat. i. u. 3 a portrait of Alexander himself 
 formed part of the group. 
 
 246. Plin. N. H. xxxiv. 
 40 Talis et Tarenti (lup- 
 piter) factus a Lysippo XL 
 cubitorum. Mirum in eo, 
 quod manu, ut ferunt, mo- 
 bilis ea ratio libramenti 
 est nullis conuellatur pro- 
 cellis. Id quidem prouidisse 
 et artifex dicitur modico 
 interuallo, unde maxima 
 flatum opus erat frangi, 
 opposita columna. Itaque 
 magnitudinem propter diffi- 
 cultatemque moliendi non 
 attigit cum Fabius Verru- 
 cosus, cum Herculem, qui 
 est in Capitolio, inde trans- 
 ferret. 
 
 Such too is the Zeus of 
 Tarentum made by Lysip- 
 pos, which is forty cubits 
 in height. It is remark- 
 able from the fact that 
 although, it is said, a touch 
 of the hand will turn it 
 so cunningly is it balanced 
 no storm can overturn it. 
 The artist is said to have 
 provided against this by 
 interposing a pillar at a 
 short distance on the side 
 from which it was most 
 necessary to break the force 
 of the wind. And so on 
 account of the huge size of 
 the figure and the difficulty 
 of attacking it, Fabius Ver- 
 rucosus did not lay hands 
 on it when he removed from 
 Tarentum the Herakles 
 which stands on the Capitol. 
 
 Talis] Colossal in size. 
 
 Fabius Verrucosus] Q. Fabius Maximus, the opponent of 
 Hannibal, took Tarentum 209 B.C.
 
 202 
 
 GREEK SCULPTURE 
 
 l's TToOfV 6 -TrAdoTTJ? J 
 
 vios. o\ivo\j.a 8r; ri? ; 
 
 AVO-ITTTTO?. (TV 8e TIS J K<U- 
 
 pbs 6 7rar8a/x.ara)p. 
 iTjre 8' CTT' a/cpa /3e'/3rjKa? ; del 
 cuo. TL 8e rapcrov? 
 8K/>uei? ; ITT- 
 
 t 8e 8etrep7j ri ^e' 
 
 upo'f ; avbpdcri 
 toy O.KIJI.TJS 
 
 247. Anth. Pal. App. 66 POSEIDIPPOS. 
 
 Who and whence was 
 thy sculptor? From Si- 
 kyon. His name? Lysip- 
 pos. And who art thou ? 
 Occasion, the all-subduer. 
 Why dost thou tread on 
 tiptoe ? I am ever running. 
 Why hast thou wings twy- 
 natured on thy feet? I 
 fleet on the wings of the 
 wind. Why dost thou bear 
 a razor in thy right hand ? 
 To show to men that I am 
 keener than the keenest 
 edge. And thy hair, why 
 grows it in front ? For him 
 that meets me to seize, by 
 Zeus. And why is the back 
 of thy head bald ? Because 
 none may clutch me from 
 behind, howsoe'er he desire 
 it, when once my winged 
 feet have darted past him. 
 Why did the sculptor 
 fashion thee? For thy 
 sake, stranger, and set me up 
 for a warning in the entry. 
 
 From Kallistr. Stat. 3, who describes the statue at length, we 
 learn that it originally stood at Sikyon (whence it was afterwards 
 removed to Constantinople). K. also states that it stood on a globe, 
 as do Ausonius and Tzetzes. Himerios (E,cl. xiv. i) mentions 
 that in the left hand it held a balance. But these late authorities 
 seem to have added characteristics and attributes to the original 
 
 ?y 8e Kopr], r( /car' ov/ai; ; virav- 
 
 8' cis rt 
 
 irTrjvolcn Trapa- 
 
 iy 
 Spci^erat 
 
 y^ Aia. 
 
 </> 
 z> yap 
 
 6p 
 ovrts 
 
 ere 
 
 /cat ey TrpoOvpois
 
 THE SCHOOL OF SIKYOX 
 
 203 
 
 type. See the monuments published by Curtius, A. Z. 1875, PI- 
 i, ii, who shows that the personified K.aip<'>s was a figure specially 
 connected with athletic contests. 
 
 (At Tarentum) Some 
 works were destroyed by 
 the Carthaginians when 
 they captured the city, and 
 others carried awayas spoils 
 
 248. Strab. vi. 278 (At 
 Tarentum) TO. p.fv Karetydfi- 
 
 ~o\iv, TO. 8 f.\o.^)Vpo.yu>yi](rav 
 Pco/jiatot /cparrjo-arres /3iaia)s' 
 5>v CO-TI KOI 6 'HpafcAT/? tv TW by the Romans, who took 
 XaA/coC? KoAoo-- forcible possession of them ; 
 AV<TLTTTTOV fpyov, avd- among the latter was the 
 Maip.ov 4>a/3i'ou TOU colossal bronze Herakles 
 TTJV TTo'Atr. on the Capitol, the work 
 
 of Lysippos, dedicated by 
 Fabius Maximus, who cap- 
 tured the city. 
 
 $77/10, 
 
 v 4'ipCov] V. No. 246 note. The statue was removed to 
 Constantinople ' in the consulship of Julian,' probably 322 A. D. 
 (Suid.), and placed in the Hippodrome. It is described in the fol- 
 lowing No. 
 
 249. Niket. Chon. de 
 
 Sign. Constant. 5 
 
 Toivvv 'Hpa.K\i)s 6 
 
 /jieyaAtoor! Kotyivv fvi- 
 os, TTJS Aeojm/s v~((rrp(a- 
 avuidfi'. . . fKddrjTo bf 
 
 /XT) -/(apvrov e^/i/xc'ros, fir) 
 
 TO^OV Taiv XfpOLV QfpCiV, /Xj) 
 
 TO poiraXov 
 
 aAAa TTJV fjiev b(iav 
 
 TTTfp KO.I TTJV O.VTT]V 
 
 eis oaov fijv, rov bf 
 
 The great Herakles then 
 begotten of three nights 
 lies mighty and mightily 
 fallen, he who was seated 
 on a basket, whereon was 
 strewn the lion's skin. 
 There he sat with no 
 quiver hung about him, 
 with no bow in his hand 
 and no club to defend him, 
 but extending his right leg 
 and right arm as far as he
 
 20J 
 
 GREEK SCULPTURE 
 
 TToba Ka/X7JTCOI> (IS TO 
 
 yovv KCU TTjf \aiav X 'P a * 7r ' 
 ayK<ros tpeib&v, etra TO Aot- 
 Troy TTJS \cipos avaTfiv&v, KCU 
 TO) TrAarei ravrrjs advp-ias 
 77X77/377? 
 
 could, and with his left leg 
 bent at the knee. His left 
 arm was supported at the 
 elbow and the forearm 
 raised, and on the palm of 
 the left hand he was rest- 
 TTJV KctyaXriv . . . yv be TO .ing his head gently, full of 
 crTtpvov fvpvs, TOVS &p.ovs 7r\a- despondency. His breast 
 TVS, TT]V Tpi\a ov\os, TO.S 
 TTvyas TTicav, fipiapbs TOVS 
 fipa^iovas Kal ds TOCTOV Ttpo- 
 peyedos fls ocrov, otjixai, 
 TOV ap-^fTVTTOV 'HpaKXijv 
 av avabpafj-eiv 6 Auut- 
 6 TipG>Tov ct/jta Kal 
 
 VCTTUTOV T&V kaVTOV 
 TtavdpLCTTOV (pl\OTf-)(V 
 
 Tovl \a\Kovpyi] a as, Kal OVTU> 
 
 i 
 
 /xeyioroi' d>s 
 
 TOV avTov a 
 
 flS ai'bpCiOV (D(TTTJpa CKTfi- 
 
 Vfcr6ai., i 
 7To66s els 
 
 in 1 202 A. D. 
 
 and shoulders were broad, 
 his hair thick, his buttocks 
 fat, and his arms brawny. 
 and his height was such 
 as Lysi machos might have 
 supposed the original He- 
 rakles to reach, when he 
 fashioned of bronze this, 
 TOV- the choicest jewel of his 
 art, first and last, of such 
 colossal bulk that the string 
 which enclosed its thumb 
 might serve as a man's 
 girdle and the shin of its 
 leg was tall as a man. 
 
 TOIVUV] In the sack of Constantinople by the Franks 
 A mistake of Niketas for Ai'awTior. 
 
 250. Mart. ix. 44 
 Hie, qui dura sedens por- 
 
 recto saxa leone 
 mitigat exiguo magnus 
 
 in acre deus, 
 
 quaeque tulit spectat resu- 
 pino sidera uultu 
 
 He who sits here temper- 
 ing the hardness of the rock 
 with the outstretched lion's 
 skin, a mighty god im- 
 prisoned in the tiny bronze, 
 and gazes with upturned 
 eyes at the stars which once
 
 THE SCHOOL OF SIKYON 
 
 205 
 
 cuius laeua calct robore, 
 
 dextra mero, 
 non est fama recens, nee 
 
 nostri gloria caeli : 
 nobile Lysippi munns 
 opusque uides. 
 
 he bore, whose left hand is 
 hot with the club, and his 
 right with the wine-cup, 
 enjoys no upstart fame, nor 
 is his fame that of a Roman 
 chisel. 'Tis a famous work 
 and offering of Lysippos 
 which thou seest. 
 
 This statue was known as ' Herakles Epitrapezios,' i. e. it 
 served as a table-decoration. According to Stat. St7v. iv. 2. 35, 6 
 it was less than a foot in height. Martial states that it belonged 
 successively to Alexander, Hannibal, Sulla and Novius Vindex. 
 It appears to be more or less faithfully reproduced in various works 
 enumerated by Weizsacker, Jahrb. 1889, p. 109. 
 
 tulit] While Atlas fetched the apples of the Hesperides, Hera- 
 kles supported the heavens. 
 
 j\ 
 
 251. Strab. x. 459 
 a . . . Ka.6' r\v 
 'HpcucAlovs lepos KOI 
 ov TOVS 'HpaK\e'ou? 
 Awfcnrow, jxer- 
 w/xTjf T&V 7/yc/xo- 
 V(ov TIS, Tiafia TOTTOV 
 8ia TJ\V 
 
 ad\ovs, 
 
 ets 
 
 Alyzia, in whose territory 
 is a harbour sacred to He- 
 rakles and a precinct from 
 which a Roman commander 
 removed to Rome the 
 labours of Herakles, the 
 work of Lysippos, which 
 had become displaced 
 through the desolation of 
 the district. 
 
 In Akarnania. 
 
 On monuments which appear to reproduce these groups see Oir. 
 II *. 144 and references. 
 
 Other works : 
 
 ZEUS at Sikyon (Paus. ii. 9. 6). 
 
 ZEUS Nemeios at Argos (Paus. ii. 20. 3).
 
 206 GREEK SCULPTURE 
 
 ZEUS and the MUSES at Megara (Paus. i. 43. 6). The inscription 
 from Megara published in Ath. Mitth. 1885, p. 150, may have be- 
 longed to this work. 
 
 POSEIDON at Corinth (Lucian, Jup. Trag. 9). 
 
 DIONYSOS on Mount Helikon (Paus. ix. 30. i). 
 
 EROS at Thespiai (Paus. ix. 27. 3). 
 
 HERAKLES at Sikyon (Paus. ii. 9. 8). 
 
 SOKRATES (Diog. Laert. ii. 43). 
 
 PRAXILLA (Tatian, c. Grace, 52). 
 
 AESOP and the Seven Sages (Anth. Plan. iv. 332). 
 
 PYTHES of Abdera (Paus. vi. 14. 12). 
 
 Athlete-statues at Olympia : 
 
 POLYDAMAS at Skotussa, victorious in the pankration, Ol. 93 = 
 408 B.C. (Paus. vi. 5. i). 
 
 TROILOS of Elis, victorious with the two-horse chariot, and with 
 a team of four colts, Ol. 102 = 372 B.C. (Paus. vii. 4. i). Inscrip- 
 tion Lowy 94. 
 
 CHEILON of Patrai, twice victorious in wrestling (Paus. vi. 4. 6). 
 
 KALLLIKRATES of Magnesia, twice victorious in the race in 
 armour (Paus. vi. 17. 3). 
 
 XENARKES of Stratos, victorious in the pankration (Paus. vi. 2. i). 
 
 3. LYSISTRATOS. 
 
 252. Plin. N. H, xxxv. The first artist who took 
 
 153 Hominis autem ima- plaster casts of the human 
 
 ginem gypso e facie ipsa face from the original, and 
 
 primus omnium expressit introduced the practice of 
 
 ceraque in earn formam working over a wax model 
 
 gypsi infusaemendare insti- taken from the plaster, was 
 
 tuit Lysistratos Sicyonius Lysistratos of Sikyon, the 
 
 frater Lysippi, de quo dixi- brother of Lysippos, who 
 
 mus. Hie et similitudines has already been mentioned, 
 
 reddere instituit ; ante eum He also instituted the 
 
 quam pulchcrrimas facere practice of rendering por- 
 
 studebant. Idem et de traits with lifelike precision,
 
 THE SCHOOL OF SIKYOX 
 
 207 
 
 signis effigies exprimere while previous artists had 
 inuenit. striven to make them as 
 
 beautiful as possible. He 
 also discovered how to take 
 casts of statues. 
 
 4. THE FAMILY AND SCHOOL OF LYSIPPOS. 
 (a) DAIPPOS, BOEDAS, EUTHYKRATES, TISIKRATES. 
 
 253. Plin. N. H. xxxiv. 
 66 Filios et discipulos 
 reliquit (Lysippus) laudatos 
 artifices Daippum et Boe- 
 dan, sed ante omnis Euthy- 
 craten, quanquam is con- 
 stantiam potius imitatus 
 patris quam elegantiam 
 austero maluit genere quam 
 iucundo placere. Itaque 
 optime expressit Herculem 
 Delphis et Alexandrum 
 Thespiis uenatorem, et 
 proelium equestre, simula- 
 crum ipsum Trophonii ad 
 oraculum, quadrigas com- 
 pluris. equum cum fuscinis, 
 canes uenantium. Huius 
 porro discipulus fuit Tisi- 
 crates et ipse Sicyonius, sed 
 Lysippi sectae propior, ut 
 uix dccernantur complura 
 signa ceu senex Thebanus 
 et Demetrius Rex, Peuccs- 
 
 The sons and pupils (of 
 Lysippos) who survived 
 him were Daippos and 
 Boedas, artists of recog- 
 nized merit, but above all 
 Euthykrates, although he 
 followed his father's un- 
 flinching conscientiousness 
 rather than his refinement 
 of taste and rested his claim 
 to popular favour on a 
 severe rather than an effec- 
 tive style. He was thus 
 eminently successful in 
 representing Herakles (at 
 Delphi) and Alexander as 
 a hunter (at Thespiai), and 
 a cavalry engagement, and 
 the image of Trophonios 
 which adorns his own ora- 
 cular seat, many four-horse 
 chariots, a horse with forked 
 poles, and a group of 
 hounds. His pupil again
 
 208 GREEK SCULPTURE 
 
 tes Alexandri Magni serua- wasTisikrates also a native 
 tor, dignus tanta gloria. of Sikyon, but in closer 
 
 contact with the school of 
 Lysippos, so much so, that 
 many of his works can 
 barely be distinguished from 
 those of that artist. Such 
 are the sage of Thebes, King 
 Demetrios, and Peukestes, 
 who saved the life of Alex- 
 ander the Great, and richly 
 deserved to be immor- 
 talized. 
 
 Daippum] Dated by Pliny Ol. 121 = 296 B.C. Works: 
 
 ' Perixyomenos,' i.e. an athlete scraping himself (= apoxyomenos), 
 Plin. N. H. xxxiv. 87. 
 
 Athlete-statues at Olympia : 
 
 Kallon of Elis, victorious in the boys' boxing-match (Paus. vi. 
 12.6). 
 
 Nikandros of Elis, twice victorious in the double foot-race (Paus. 
 vi. 16. 5). 
 
 Boedan] Pliny, N. H. xxxiv. 73, attributes to him a 'praying 
 figure' (adorans). The so-called ' Praying Boy ' at Berlin (Brunn- 
 Bruckmann 283), if it is not a reproduction of this work, may serve 
 as an illustration of the type. 
 
 Euthycraten] Besides the works here mentioned, Tatian (c. 
 Graec. 52, 53) mentions four female subjects Anyte of Tegea 
 (floruit circ. 300 B.C.), Mnesarchis of Ephesos, Thaliarchis of 
 Argos, and Uavwxis (so Jahn for Tlavrevxis, an impossible name). 
 
 constantiam] Urlichs and Brunn translate ' boldness,' an idea 
 hardly conveyed by the word and inappropriate to the ' austerum 
 genus.' Bliimner translates 'perseverance,' i.e. in details. Cp. 
 No. 241 (of Lysippos) argutiae . . . custoditae in minimis quoque 
 rebus, and this is probably nearly right, though the paraphrase 
 given in the text may represent the meaning more exactly. 
 
 uenatorem] Kekule would place a comma before this word, and 
 seek the original in that of the Meleager of the Vatican. But it is
 
 THE SCHOOL OF SIKYON 209 
 
 more probable that it should be taken closely with ' Alexandrian.' In 
 this case we may interpret d) a single figure in hunting costume, 
 or (2) a group of hunters. Urlichs, taking the latter interpretation, 
 connects with this 'equum cum fuscinis,' a horse carrying either 
 (l) forked sticks for the support of the hunting-nets, or (2) three- 
 pronged hunting-spears- the word is applied to Poseidon's trident 
 and ' canes uenantium.' 
 
 proelium equestre] No doubt from the wars of Alexander. 
 The mounted Alexander in bronze from Herculaneum (Ov. II 4 , 
 Fig. 183) has been referred to this group. 
 
 equum cum fuscinis] See above note on ' uenatorem.' Jahn 
 corrects ' coquum cum fiscinis,' a cook with baskets. ' Genre ' 
 figures of this nature exist (Clarac, 879, 2244, 2245). 
 
 Tisicrates] Pliny, N. H. xxxiv. 89 attributes to him a chariot 
 and pair, to which another sculptor, Piston, added a female driver. 
 
 senex Thebanus] Possibly Pindar. 
 
 Demetrius Rex] Demetrios Poliorketes became king 307 B. c., 
 and died 283 B. c. 
 
 Peucestes] A member of Alexander's body-guard, who saved 
 his life in the attack on the city of the Malli. 
 
 (b) EUTYCHIDES. 
 
 Date. Antioch (v. No. 254) was founded by Seleukos Nikator 
 in 300 B. c. 
 
 254. Paus. vi. 2. 6 Euru- Eutychides of Sikyon. 
 Xi8rjy 2tKi>(tfi>ios irapa \vcriir- a pupil of Lysippos, made 
 TIM 8e8i8ay/xeros . . . Supois a statue of Fortune for the 
 TOIS eTri 'Opoirnj Tv\rjs firoi- Syrians who live on the 
 rja-fv ayaXfjia, /xeydAas irapa Orontes, at whose hands it 
 T&V tiri\(api(av c\ov ri/ias. receives great honour. 
 
 From John Malalas, pp. 201 and 276 Bonn, we learn that the 
 figure (representing the Fortune of Antioch) was seated ' above 
 the river Orontes ' (firavta rov 'Opovrov norapov). It is reproduced 
 by the statuette in the Vatican, F. W. 1396. 
 
 255. Plin. N . H. xxxiv. Eutychides represented 
 78 Eutychides (fecit) Eu- the river Eurotas. Of this 
 
 p
 
 210 
 
 GREEK SCULPTURE 
 
 rotam, in quo artem ipso 
 amne liquidiorem plurimi 
 dixere. 
 
 figure it has often been 
 said that art has made it 
 more liquid than the river 
 itself. 
 
 An epigram of Philippos (Anth. Pal. ix. 709) on this statue speaks 
 of the bronze as vdaros vypi'ntpov more liquid than water. Pliny 
 seems to derive his notice from a similar epigram probably 
 terminating with the phrase rt^vriv vdaros vypoTfpav (cp. No. 
 92$). 
 
 Other works : 
 
 DlONYSOS in the collection of Asinius Pollio (Pliny, N. H. 
 xxxvi. 34). 
 
 Athlete-statue at Olympia : 
 
 TlMOSTHENES of Elis, victorious in the boys' foot-race (Paus. 
 vi. 2. 6). 
 
 (c) CHARES OF LINDOS. 
 
 256. PI in. N. H. xxxiv. 
 41 Ante omnes autem in 
 admiratione fuit Solis co- 
 lossus Rhodi, quern fecerat 
 Chares Lindius Lysippi 
 supra dicti discipulus ; LXX 
 cubitorum altitudinis fuit. 
 hoc simulacrum, LVI post 
 annum terrae motu pros- 
 tratum, sed iacens quoque 
 miraculoest. Fauci pollicen 
 eius amplectuntur, maiores 
 sunt digiti quam pleraeque 
 statuac, uasti specus hiant 
 defractis membris, spect- 
 antur intus magnae molis 
 
 The greatest marvel of 
 all. however, was the colos- 
 sal figure of the Sun at 
 Rhodes, made by Chares 
 of Lindos, a pupil of Ly- 
 sippos mentioned above. 
 This figure was 70 cubits 
 in height, and after standing 
 56 years was overthrown 
 by an earthquake; but 
 even as it lies prostrate it 
 is a marvel. Few men can 
 embrace its thumb : its 
 fingers are larger than most 
 statues, there are huge 
 yawning caverns where the
 
 THE SCHOOL OF SIKYOX 
 
 211 
 
 saxa, quorum pondere sta- 
 biliuerat eum constituens. 
 Duodecim annos tradunt 
 effectual MCCC talentis, 
 quae contigerant ex ap- 
 paratu regis Demetrii 
 relicto morae taedio ob- 
 sessae Rhodo. 
 
 limbs have been broken, 
 and within them may be 
 seen great masses of rock, 
 by whose weight the artist 
 gave it a firm footing when 
 he erected it. The story 
 runs that twelve years were 
 occupied in its construction, 
 for which the artist received 
 1,300 talents, produced by 
 the sale of Demetrios' siege- 
 train, which the king aban- 
 doned when he raised the 
 siege of Rhodes through 
 disgust at its protraction. 
 
 The siege of Rhodes was raised by Demetrios Poliorketes in 
 303 B. C., while the recorded dates of the earthquake range from 
 227 B. c. to 222 B. C. The colossus was therefore erected circ. 280 
 B. c. There is no foundation for the common belief that it bestrode 
 the entrance to the harbour of Rhodes. 
 
 Pliny, N. H. xxxiv. 44 also mentions a colossal head by Chares, 
 dedicated by P. Lentulus Spinther cos. 57 B.C. on the Capitol. 
 
 Other members of the school of Lysippos were : 
 
 PHANIS, a pupil of Lysippos, to whom Pliny, N. H. xxxiv. 80 attri- 
 butes one work 'epithyusan' = (mOvovaav, a woman sacrificing. 
 
 XtNOK RATES, pupil of Tisikrates, or, according to other accounts, 
 of Euthykrates. See Introduction, i. 
 
 KANTHAROS of Sikyon, pupil of Eutychides and father of Alexis, 
 enumerated by Pliny, N. H. xxxiv. 50 amongst the pupils of Poly- 
 kleitos, by whom we must in this case understand the younger. 
 According to Pliny (N. H. xxxiv. 85; he was an artist of merit, but 
 not of special distinction. 
 
 Athlete-statues at Olympia : 
 
 Kratinos of Aigeira, victorious in the boys' wrestling-match (Paus. 
 vi. 3. 6). 
 
 P 2
 
 212 
 
 GREEK SCULPTURE 
 
 Alexinikos of Elis, victorious in the boys' wrestling-match (Paus. 
 vi. 17. 7). 
 
 OTHER ARTISTS. 
 
 1. HYPATODOROS AND ARISTOGEITON OF THEBES. 
 
 Date. Pliny's date (Ol. 102 = 372 B. C.) is probably somewhat 
 late, since an inscription from Delphi (Lowy 101) uses the Boeotian 
 alphabet, and must therefore be dated early in the fourth century, 
 and this is confirmed by the probable date of No. 257 (v. note). 
 
 Near to the horse are 
 other offerings of the Ar- 
 gives, consisting in statues 
 of the leaders of the ex- 
 pedition which accompa- 
 nied Polyneikes to Thebes, 
 Adrastosthe son ofTalaos, 
 and Tydeus the son of 
 Oineus,and the descendants 
 of Proitos, Kapaneus the 
 son of Hipponous and 
 Eteoklos the son of Iphis, 
 and Polyneikes and Hippo- 
 medon. Adrastos' sister's 
 son ; and hard by is re- 
 presented the chariot of 
 Amphiaraos and Baton, 
 who has mounted the chariot 
 and drives the horses.besides 
 being otherwise intimately 
 /cat fiToirja-av o-^as, &>s avroi associated with Amphi- 
 'Apyetot Aeyouo-tr, cnro rijs araos : last of all comes 
 
 257. Paus. x. 10. 3 
 
 (TLOV Oe TOV 17T7TOU KOI CtAAd 
 
 avaQi']^.ara ecrriz/ 'Apyeuor, 
 ot Tjye'fiore'? T&V e? 0fj/3a? 
 Aweuet orpareuoV- 
 , *A8pa(rros re TaAao? KOI 
 tye'&j? Kal ol airo-yovoi 
 Ylpoirov Kcnravcvs 'I-mrovov 
 Kal 'EreoKAoy 6 *I$ioy, IloAv- 
 
 ' <\fj.(f)ia.paov 8e KOI ap[j.a tyyvs 
 
 7re7rot?/rat K 
 
 Bartoy eirl ra> 
 
 re rcSj; limutv Kal ra) ' 
 
 apaa> KOI aAAcos 
 
 Kara oiKetor^ra" reAevratos- 
 
 8e 'AAi^^po-Tjs eoriy 
 
 4. OVTOI /xef 87; '
 
 OTHER ARTISTS 
 
 213 
 
 ' OTTO Se TOV avTov, ffj.ol 
 , Hpyov /cat TOVS 'ETrtyo- 
 vovs VTTO E,\\rjV(i)v /caAov/xe- 
 vovs avf6fcrav ol 'Apyftoi' 
 Ketimu yap 8j; et/cores xat 
 
 TOVT(DV, 2,6eV\OS KOi 'AAK- 
 
 fj.a.L(t>v y . . . eirt 5e avrols TIpo- 
 fj-a^os Kai Qfpaavbpos /cat 
 AtytaAtvs T KOL Ato/xrjS^s' (V 
 /xeVw ce Ato/u.?/8ou? /cat TOV 
 AiyiaAe'cos eora' EvpvaAos. 
 
 , rjvTwa (v Oii-or) rrj Alitherses. These arc 
 eta avrot re /cat 'A$nvaUu> works of Hypatodoros and 
 
 Aristogeiton, and were 
 made, according to the Ar- 
 gives, from the spoils of the 
 victory which they and 
 their Athenian allies gained 
 at Oinoe over the Spartans. 
 It was, in my opinion, in 
 memory of the same victory 
 that the Argives dedicated 
 statues of the chieftains 
 whom the Greeks call the 
 Epigonoi. For their statues 
 too stand there. Sthenelos 
 and Alkmaion and after 
 them Promachos and Ther- 
 sandros and Aigialeus and 
 Diomedes ; and between 
 Diomedes and Aigialeus 
 stands Euryalos. 
 
 At Delphi. TOV Imrov refers to the ' wooden horse ' of Antiphanes, 
 No. 173. The victory referred to is obscure, but must have been 
 gained in the course of the ' Corinthian war : of 392-387 B. C. 
 
 Paus. (viii. 26. 7) attributes to Hypatodoros a colossal bronze 
 Athena at Aliphera in Arkadia. Polyb. iv. 78 couples with the 
 name of H. that of Sostratos, whom Pliny in the chronological table 
 dates Ol. 113 = 328 B.C. 
 
 2. BOETHOS OF CARTHAGE. 
 
 Date. The original of the group representing a boy strangling 
 a goose (No. 258) appears to date from the early Hellenistic period. 
 
 258. Plin. N. H. xxxiv. 
 84 Boethi quanquam ar- 
 
 Though Boethos is more 
 famous for his work in silver,
 
 2i 4 GREEK SCULPTURE 
 
 gento melioris infans *ui he is the artist of the boy 
 summa*anseremstrangulat. strangling a goose with all 
 
 his might. 
 
 argento] Boethos was a ' caelator ' or ropfvrf]s in the narrow 
 sense of the word, a worker in repousse in precious metal. 
 
 infans . . . anserem strangulat] On copies of this group see 
 F. W. 1587, who places it in the Hellenistic period. 
 
 ui summa] The best MS. has sex anno (corr. annis), inferior 
 MSS. eximiae. Biicheler detected the fact that ' sex ' concealed ' ui.' 
 
 259. Paus. v. 17. 4 Ilai- A gilt figure of a nude 
 
 biov 8e 7ri'xpuo-oi> Ka#7jrai boy is seated before the 
 
 yvpvbv irpb TTJS 'A^poSiTTjs' Aphrodite ; it is the work 
 
 Bo7)06s 8e fTopfvcrev CLVTO. of Boethos' chisel. 
 
 \Vieseler corr. firtKvprov ' bent,' and brought this work into con- 
 nexion with the existing figures of a boy removing a thorn from 
 his foot. See reft", given by Ov. II*. 184. But the evidence for the 
 change is slender. 
 
 A statue of Asklepios as a child is ascribed to Boethos in two 
 epigrams (Anth. Pal. App. 55, 56). 
 
 3. ARISTODEMOS. 
 
 260. Plin. N. H. xxxiv. The works of Aristo- 
 
 86 Aristodemus (fecit) et demos are : wrestlers, a 
 
 luctatores bigasque cum two-horse chariot with its 
 
 auriga, anus, Seleucum driver, old women, king 
 
 rcgem, habet gratiam suam Seleukos ; his warrior with 
 
 huius quoque doryphorus. the spear too has a charm 
 
 of its own. 
 
 anus] Since the best MS. spells the word 'annus,' Urlichs 
 wishes to construct another artist's name, but without much 
 probability. 
 
 Seleucum regem] Seleukos Nikator, king of Syria 312-281. 
 Tatian, c. Graec. 55 attributes to A. a portrait of Aesop, to which 
 original Brunn would trace the existing portraits. See F. W. 1324.
 
 APPENDICES 
 
 Nos. 261-271.
 
 APPENDIX I. 
 
 THE SCHOOLS OF PERGAMON 
 AND RHODES. 
 
 1. THE SCHOOL OF PERGAMON. 
 
 Date. The following table shows the succession in the Per- 
 gamene dynasty : 
 
 I I I 
 
 Philetairos Eumenes Attalos 
 
 Eumenes I Attalos 1 
 
 (^241 B.C.) (241-197 B.C.) 
 
 I 
 
 Eumenes II 
 (196-1596.0.). 
 
 Of the four artists mentioned by Pliny in No. 261, ( i) Phyromachos 
 was the maker of a statue taken by Prusias of Bithynia in u war 
 with Attalos I ; (2) Antigonos was the object of a controversial 
 work of Polemon (v. Introduction, i), who flourished 220-170 
 B.C.: (3) the name of . . . yovoy (whether Antigonos or Isigonos 
 [Epigonos] is uncertain) appears on inscriptions from monuments 
 commemorating the victory of Attalos I over the Gauls (Frankel, 
 Inschriften von Pergamon 22 b , 29). Hence the group of artists 
 named by Pliny evidently belongs to the reign of Attalos I. The 
 same is true of Epigonos (Frankel, Nos. 19, [22 b ? 29?] 31, 32) if 
 indeed he is to be distinguished from ' Isigonos.' 
 
 261. Plin. N. H. xxxiv. The battles of Attalos 
 84 Plures artifices fecere and Eumenes with the 
 Attali ct Eumenis adversus Gauls were represented by
 
 2i8 GREEK SCULPTURE 
 
 Gallos proelia, Isigonus, agroup of artists Isigonos, 
 Phyromachus, Stratonicus, Phyromachos, Stratonikos 
 Antigonus qui uolumina and Antigonos (who was 
 condidit de sua arte. the author of works treating 
 
 of his art). 
 
 Attali et Eumenis] A. is certainly Attalos I, but it is disputed 
 whether E. is the first or second of that name. It seems clear that 
 the latter must be meant, although his successes in war do not 
 appear to have been important, and the inscriptions (Lowy 154) of 
 Pergamon all refer to the victories of Attalos I over the Gauls and 
 Antiochos Hierax (the first apparently 241 B.C.; the chronology 
 is obscure). 
 
 Isigonus] As this name is not otherwise known, and Pergamene 
 inscriptions (v. supr.) mention 'ETriyovos (No. 263), it is possible that 
 this name should be here restored. See note on No. 263. 
 
 Phyromachus] Plin. N. H. xxxiv. 80 mentions a four-horse 
 chariot driven by Alkibiades as the work of Phyromachos ; while in 
 xxxiv. 88 he states that one Nikeratos represented ' Alkibiades 
 and his mother Demarate sacrificing at the kindling of the lamps.' 
 It was formerly supposed that these artists worked in the fifth 
 century; but 
 
 (1) Phyromachos is shown to have worked at Pergamon by No. 
 261, and by Polyb. xxxvii. 27, Diod. xxxi. 46, who mention an Askle- 
 pios taken from the Nikephorion at Pergamon by Prusias I of 
 Bithynia. 
 
 (2) Nikeratos made a statue dedicated at Delos by one Sosi- 
 krates to commemorate the victories of Philetairos, brother of 
 Eumenes II (Lowy 147), and a Pergamene inscription (Frankel 
 132) of the reign of Eumenes II is restored [Nt/ojparor] EUKTI^IOPOJ 
 'AtffTji/jmos firoirjoev, on the authority of Tatian, c. Craec. 53, while 
 in a collection of inscriptions published in 1543 is one from 
 a portrait of Eumenes at Pergamon by N. (Lowy 496). 
 
 (3) An inscription from Delos (Lowy 118) reads NiKijpaToy 
 < t>i'ii6fj.[a\os '.\6rjvti\ioi (rroirfcrav. 
 
 It is therefore quite possible that the two works mentioned above 
 are to be attributed to these artists, and had reference to Alkibiades' 
 victory at Olympia. (See Bursian, Sitzungsbei ichte der bayr. 
 Akad. 1874, 139 ff.) Other works of Nikeratos were: Portraits 
 of the Argive poetess Telesilla and of Glaukippe (Tatian, loc. tit.),
 
 THE SCHOOLS OF PERGAMON AND RHODES 219 
 
 Asklepios and Hygieia in the temple of Concord at Rome (Plin. 
 N. H. xxxiv. So), portraits of athletes, c. i id. ib. xxxiv. 88). 
 
 Stratonicus] Probably to be identified with a famous silver- 
 smith (caelator) mentioned by Plin. N. H. xxxiii. 156, and stated 
 by the same author (xxxiv. 90) to have represented ' philosophers ' 
 and ' scopas' apparently = o-KUTrar, satyrs or 'grotesques.' 
 
 Antigonus] Identified by v. \Vilamowitz with A. of Karyslos 
 (Introduction, i). 
 
 262. Paus. i. 25. 2 irpos Close to the southern 
 oe T(S Tffyfi T<> VOTL<O Ttydv- wall is to be seen the 'war 
 TOW en iTfpl QpqKTjv TTOTf not of the Giants,' as it is called 
 TOV 'Ivdpov TT/S naA\7jrrjs (they at one time inhabited 
 
 vTtov TOV \c-y6jj.vov Thrace and the isthmus of 
 Kal pd-xnv Trpos Pallene), and the battle of 
 ' A JAO Covers 'AOijvafav, KOI TO the Athenians against the 
 iipos Mr/Sou? Ipyor. Amazons, and the battle 
 TTJV fv Mucna with the Persians at Mara- 
 <f)0opav avedriKfv "ArroAos, thon, and the destruction 
 ovov ye bvo in]\u>v fKacrrov. of the Gauls in Mysia. All 
 
 these were dedicated by 
 Attalos, and each figure is 
 about two cubits in height. 
 
 T< Tixi] Of the Akropolis at Athens. 
 
 On existing figures from these groups see Ov. II*. 234 ff., F. II'. 
 1403-1411. The question whether these are originals (so the 
 authorities quoted above) or copies from bronze (so Milchhofer 
 and S. Reinach i AV?-. Arch. 1889, 18) is a very doubtful one. 
 Plutarch (Anton. 60) records that a figure of Dionysos from the 
 Gi^antomachia was blown down by a storm and fell over the south 
 wall of the Akropolis. This seems more likely in the case of 
 a bronze. 
 
 263. Plin. N. H. xxxiv. Epigonos followed his 
 88 Epigonus omnia fere predecessors in most of the 
 praedicta imitatuspraecessit subjects which I have named, 
 in tubicinc et matri inter- and surpassed them with
 
 220 GREEK SCULPTURE 
 
 fectae infante miserabiliter his trumpeter and his infant 
 blandiente. pitiably engaged in caress- 
 
 ing its murdered mother. 
 
 praedicta] The passage comes from the list of those ' qui 
 eiusclem generis opera fecerunt ' usually portraits of athletes, 
 ' philosophers,' &c. 
 
 tubicine ... blandiente] Ulrichs conjectured that 'tubicine' 
 referred to the Dying Gaul of the Capitol (F. W, 1412), beside 
 whom lies a horn (' liticen ' would have been a more correct 
 translation of o-<i\Tn-yKTi')s (Urlichs) or KepavXijs (Reinach) ). Michaelis 
 (Jahrb. 1893, p. 119 ff.) identified the group of mother and child 
 with the Amazon (from the group described in No. 262) at Naples 
 (F. W. 1411), which is grouped with an infant in early descriptions 
 and a sixteenth-century drawing. Petersen has shown, however 
 (Rom. Mitth. 1893. p. 261 ff.), that the child was the work of an 
 early restorer, afterwards removed. Moreover, Amazons are never 
 represented as mothers. S. Reinach (Revue ties Etudes Grecques, 
 1894, p. 37 ff.) suggests that a group of a Gaulish mother and child 
 formed part of the series represented by the Dying Gaul and the 
 so-called ' Arria and Paetus' (/'. W. 1413). 
 
 The inscriptions of Epigonos (v. supr.) all point to the reign of 
 Attalos I. 
 
 264. Ampel.Lib.Memor. At Pergamon there is a 
 
 viii. 14 Pergamo ara mar- great altar of marble 40 ft. 
 
 morea magna, alta pedes in height, with colossal 
 
 quadraginta cum maxim is sculptures ; it contains the 
 
 sculpturis ; continet autem battle of the Giants, 
 gigantomachiam. 
 
 Discovered by the German excavators 1878-1883. The inscrip- 
 tions (Frankel 70-84) give the artists' names Qfupprjros ['O/jJe'orr?? 
 [Ato]>iwi[dr;r] (?) [M(v(Kp]<irr)s (?), and point to the reign of 
 Eumenes II, the greatest builder among the kings of Pergamon. 
 On the reliefs, (i) Gigantomachy, on the outer face of the sub- 
 structure, (2) story of Telephos, inside the colonnade, the frag- 
 ments of which are now at Berlin, see Ov. II 1 . 261 ff. and references 
 (especially Brunn, Jahrbuch der preuss. Kunstsammlungen, 1884).
 
 THE SCHOOLS OF PERGAMOX AND RHODES 221 
 
 2. THE SCHOOL OP RHODES. 
 
 A number of artists' signatures (L6\vy 159-205; have been found 
 on the island of Rhodes. Hillerv. Gartringen (Jahrb. 1894, p. 23 
 ff.) has shown that these fall into two groups, (i) belonging to the 
 latter part of the third and earlier part of the second century B. C. 
 This period closes with the political decline of Rhodes after 168 
 B. c. ; (2) belonging to the first quarter of the first century B. c. 
 The literary notices of Rhodian art are scanty. 
 
 (a) THE SCULPTORS OF THE LAOK< 
 
 265. Plin. N. H. xxxvi. 
 37 Nee deinde multo plu- 
 rium fama est, quorundam 
 claritati in operibus eximiis 
 obstante numero artificum, 
 quoniam nee unus occupat 
 gloriam nee plures pariter 
 nuncupari possunt, sicut in 
 Laocoonte qui est in Titi 
 imperatoris domo, opus 
 omnibus etpicturaeet statu- 
 ariae artis praeferendum. 
 Ex uno lapide eum ac li- 
 beros draconumque mira- 
 biles nexus de consilii 
 sententia fecere summi 
 artifices Agesander et Poly- 
 dorus et Athenodorus 
 Rhodii. 
 
 There are many more 
 whose fame is not preserved. 
 In some cases the glory of 
 the finest works is obscured 
 by the number of theartists, 
 since no one of them can 
 monopolise the credit nor 
 can the names of more than 
 one be handed down. This is 
 the case with the Laokoon, 
 which stands in the palace 
 of the Imperator Titus, a 
 work to be preferred to all 
 that the arts of painting and 
 sculpture have produced. 
 Out of one block of stone 
 the consummate artists 
 Hagesandros.Polydorosand 
 Athenodoros of Rhodes 
 fashioned Laokoon, his sons, 
 and snakes marvel lously en- 
 twined about them, after 
 deliberation among them- 
 selves.
 
 222 GREEK SCULPTURE 
 
 On the Laokoon v. Ov. II 4 . 296 ff. and reff., F. W. 1422. 
 
 in Titi imperatoris . . . domo] The Laokoon was discovered in 
 1506 A.D., not in the spot which tradition points out (in the Thermae 
 of Titus), but in the ' Sette Sale,' corresponding to the. Palace of 
 Titus. 
 
 ex uno lapide] The Laokoon is constructed of six blocks, but 
 the joins are so carefully concealed that even Michael Angelo 
 could only detect three, and Pliny's account was no doubt popularly 
 current in his time. Cp. No. 266. 
 
 de consilii sententia] Those who uphold a late date for the 
 Laokoon maintain that these words mean ' by a decree of the 
 Emperor's cabinet,' although no historical ground or occasion can be 
 alleged. The phrase is however a common one, especially with writers 
 of the Silver Age, in applied uses (cp. Sen. Ep. vii. 5. 1 1 quidquid 
 honeste fit, una uirtus facit, sed ex consilii sententia ; quod autem ab 
 omnibus uirtutibus comprobatur . . . optabile est) and would be 
 quite appropriate in a rhetorical passage such as the present. There 
 is therefore no necessity to seek an explanation in 'the @ou\fi of 
 Rhodes' (Jahn) or 'the friends of the artists' (Mommsen). 
 
 Agesander et Polydorus et Athenodorus] The inscriptions of 
 Athenodoros are published in facsimile by Forster, Jahrb. 1891, 
 p. 191 ff., and treated by Hiller v. Gartringen (loc. cit.), who shows 
 that they are contemporaneous with an inscription in which 
 L. Licinius Murena Imp. (82 B.C.) and (possibly) Sulla are men- 
 tioned. They therefore belong to group (2). The three artists 
 may have been brothers, or Hagesandros may be the father of the 
 others. Plin. TV. H. xxxiv. 86 attributes to him portraits of 
 'feminae nobiles.' 
 
 (b) THE SCULPTORS OF THE FARNESE BULL. 
 
 Date. Hiller v. Gartringen (Ath. Mitth. 1894, 37 ff.) publishes 
 an inscription from Magnesia on the Maeander which reads 
 'ArroAX&woy | TavpitrKov |TpaXXiai>or j f trait t, and dates from the early 
 imperial period. If the father of the artist be identified with 
 the sculptor of the bull, that work must be dated somewhat later 
 than the Laokoon. 
 
 266. Plin. N. H. xxxii. Asinius Pollio with char- 
 33 Pollio Asinius, ut fuit acteristic keenness and de- 
 acris uehementiae, sic quo- termination resolved that his
 
 THE SCHOOLS OF PERGAMON AND RHODES 223 
 
 gallery should be an object 
 of general interest. In it stand 
 the Hermerotcs of Tauris- 
 kos, not the silversmith but 
 the sculptor of Tralles. also 
 Zethos, Amphion, Dirke, 
 the bull and the rope all 
 made from one block of 
 marble, and transported 
 from Rhodes, the work of 
 Apollonios and Tauriskos. 
 These artists occasioned a 
 rivalry of parents, for they 
 declared that Menekrates 
 was nominally, but Artemi- 
 doros really, their father. 
 
 On this group, discovered in 1456 in the Thermae of Caracalla 
 see O?>. II 4 . Bk. v. c. 3 and reff., F. W. 1402. 
 
 Hermerotes] Busts with double heads Hermes on the one 
 face, Eros on the other. Cp. Hermathena. 
 
 Taurisci] On Tauriskos as a painter v. Brunn, K. G. IP 193, 
 
 I 2 33. 
 
 parentum hi certamenj This is merely a rhetorical way of 
 expressing the fact that their adoptive father's name was Mene- 
 krates. The signature would run : ' A.no\\a>vios Km Tavpia-nos 
 'ApTf//i8a>pov, KaG 1 vodfcriav 8 Mewicparovf. T/jaXXtavoi 
 
 que spectari monumenta 
 sua uoluit. In his sunt . . . 
 Hermerotes Taurisci. non 
 caelatoris illius sed Tral- 
 liani ... 34 Zethus et 
 Amphion ac Dirce ct taurus 
 uinculumque ex eodem 
 lapide, a Rhodo aduecta 
 opera Apollonii et Taurisci. 
 Parentum hi certamen de se 
 fecere, Menecraten uideri 
 professi, sed esse naturalem 
 Artemidorum. 
 
 Date. The inscription of his son Mnasitimos (Lowy 197) 
 belongs to the earlier group mentioned above. 
 
 267. Plin. N. H. xxxiv. The artist Aristonidas, 
 140 Aristonidas artifex desiring to represent the 
 cum exprimere uellet Atha- madness of Athamas giving
 
 224 
 
 GREEK SCULPTURE 
 
 mantis furorem Learcho 
 filio praecipitato residentem 
 paenitentia, aes fcrrumque 
 miscuit ut robigine eius per 
 nitorem aeris reluccntc cx- 
 primeretur uerecundiae 
 rubor. Hoc signum exstat 
 hodic Rhodi. 
 
 way to remorse after he had 
 hurled his son Learchos 
 from the rocks, mixed iron 
 with copper, in order that 
 the iron rust might suffuse 
 the brightness of the copper 
 and portray the blush of 
 shame. This statue is still 
 to be seen at Rhodes. 
 
 Athamantis furorem] A. was visited by Hera with madness 
 and murdered his son Learchos. 
 
 aes ferrumque miscuit] The story can scarcely be true, as the 
 amalgamation of the metals would be a matter of great difficulty, 
 nor would it produce the desired effect. Cp. No. 225 for a similar 
 story.
 
 APPENDIX II. 
 
 DAMOPHON OF MESSENE. 
 
 Date. Since D. worked mainly at Messene and Megalopolis, it 
 was formerly supposed that he lived in the fourth century B.C., 
 when the first-named city was restored and the second founded by 
 Epameinondas (371 B.C.). Fragments of the works described in 
 No. 271 were, however, discovered at Lykosura in Arkadia in 1889 
 (see Kavvadias, Fouilles de Lycosura, 1893, Part I). Dorpfeld (Alh. 
 Mitth., 1893, 219 ff.) considers that the temple to which they 
 belonged was erected not earlier than cent. II-I B.C., and others 
 (especially Robert) attribute the sculptures on grounds of style to 
 the Roman period. Kavvadias defends the earlier date. 
 
 268. Paus. iv. 31.6 Meo-- 
 
 8e ev TTJ dyopa . . 
 . . ov /xaXiora aiov 
 fj.vrjfJ.T]v, ayaA/ia 
 
 Mrjrpos 0ea>y, Ai'0ov Flapiov, 
 
 Aa/xo</><Si>ros 8e fpyov, 6? KCU 
 
 rov Aia &v '0X17x7710, 
 
 KOTOS 7)817 ro 
 
 avv- 
 
 es TO 
 
 TOVTOV Kal 77 /\a(/>pi'a 
 Trapa 
 
 10. 
 
 a^ia rot) ' 
 
 The most remarkable 
 work in the market-place 
 of Messene is an image of 
 the Mother of the Gods, 
 of Parian marble, the work 
 of Damophon. who restored 
 the Zeus at Olympia with 
 the greatest possible pre- 
 cision when the seams of 
 the ivory opened. This 
 Damophon also made the 
 statue of Artemis, called 
 Laphria, for the Messeni- 
 ans. The most numerous
 
 226 
 
 GREEK SCULPTURE 
 
 epov. 
 
 yap TOV Oeov Kal T&V 77ai'8coy 
 dyaAjuara, x^P^ 8e 
 Kal Moinrwi' /cat 
 tou?, Ilo'Ais re 77 0?j- 
 KOI 'Ejrafieii'coi'Sas 6 
 Ylo\vfj.vibos, Ty^ 7 ? TC Kal "Ap- 
 
 TC//IS <t>UXT(f)OpOS. TO, fJLfV $T] 
 
 TOV XiQov Aafj.o(f)S>vTos bs 
 flpydcraro' Mea-<T7}rtcoy 8e ori 
 Hy TOVTOV a\\ov ye ovSe'ra 
 Ao'you TTOtrja-avTa a^icos olba 
 ' ?/ 8e eixcoz/ TOV 
 ex (ribrjpov T 
 eon. Kal tpyov aAAou, ov 
 TOVTOV. 
 
 f| Aa4>pta 
 Num. Contm. P. iii. 
 cp. No. 71. 
 
 and remarkable of their 
 works of art arc to be found 
 in the Sanctuary of Askle- 
 pios. In one part stand 
 images of the god and his 
 children, in another those 
 of Apollo the Muses, and 
 Herakles,thecity of Thebes, 
 and Epameinondas, the son 
 of Polymnis, besides For- 
 tune and Artemis of the 
 Dawn. The marble statues 
 are the work of Damophon 
 who, so far as I know, was 
 the only Messenian sculptor 
 of repute while the por- 
 trait of Epameinondas is of 
 iron, and is the work of a 
 different artist. 
 
 Probably represented on coins of Messene, 
 For the scheme associated with this title 
 
 269. Paus. vii. 23. 5 AZ- 
 5e 
 
 Icpov 
 fcal ?; EtAet- 
 
 TOVS 77o8as 
 rai AeTJTO), fdaf or TrAvjy Tipocr- 
 Tf Kal \tipS> axptav Kal 
 6. raCra 8e TOU 
 XiQov 
 
 At Aigion there is an 
 ancient precinct of Eilei- 
 thuia ; the image of the 
 goddess is clothed from 
 head to foot in a fine woven 
 garment, and is made of 
 wood, except the face, 
 hands, and feet, which are 
 of Pentelic marble ; one 
 hand is extended, while the
 
 DAMOPHON OF MESSENE 
 
 227 
 
 re'rarat, 717 8e ave\fi Sagas. . . 
 epyov oe TOV Meo-o-Tjznou Aa- 
 fjLOffr&vTos eaT6 ro ayaA/xa 
 7. TT/S Ei'Aeiflina? ov fj.aKpav 
 'Acr/cXrjTrtoG re eWi re'/xevos 
 xat dyaAjuara 'Tyietas Kat 
 
 other holds torches. The 
 image is the work of Damo- 
 phon of Messene. Not far 
 from this Eileithuia is a 
 precinct of Asklepios, con- 
 taining images of Hygieia 
 and Asklepios. On the 
 base is inscribed an iambic 
 verse, which states that 
 Damophon of Messene 
 wrought them. 
 
 88as] MSS. read 8aSa, but the plural is used in the mythological 
 explanation which follows in the text of Paus., and on the coins of 
 Aigion, which seem to reproduce this work (Num. Comni. R. vi, 
 vii), the goddess holds two torches. 
 
 "f-yieias Kal 'AcncXTjmoO] Perhaps represented on the coins of 
 Aigion, Num. Comm. R. ix-xi. 
 
 * /3a0pa) rov Mecrcn/t'ioi; Aa- 
 (avTa fli-ai TOV tlpyaa pevov 
 
 27O. Paus. viii. 31. i TO 
 
 crepov Tre'pay TTJS oroa? 
 TO irpos rj\Cov bvcr- 
 7rept/3oAoj; ewy iepov 
 pteyaAa>i> . . . fi 
 
 77 1 TVTKaV TTpO T7JS 
 
 TTJ 
 
 xat 'Tyicta. 2. eat 
 8e ai /leyaAai ATJ/XTJTTJP /lev 
 \idov 8ia Trdcr/js, f] 8e (o 
 Ta ecr0?7Tos f^o^fv 
 TTfiroiTjTaL' /ute'ye^os oe exa- 
 Te'pas TTCVTC TTOV Kal oe'xa eio-t 
 iroSes. Ta 8e dyd A/iaTa ^ Ao/xo- 
 <pa>i> 6 Meo-o-^fios) KOI Trpo 
 
 ' ou xe- 
 
 At the opposite or west- 
 ern end of the colonnade is 
 an enclosure sacred to the 
 great Goddesses. Before 
 the entry are represented 
 in relief on the one side 
 Artemis, on the other As- 
 klepios and Hygieia. Of 
 the great Goddesses, De- 
 meter is made entirely of 
 marble, while the Saviour, 
 so far as her garments arc 
 concerned, is of wood : each 
 figure is, I suppose, about 
 fifteen feet in height. Da- 
 mophon of Messene made 
 
 Q 2
 
 228 
 
 GREEK SCULPTURE 
 
 ydAas, tv \i-rGxri re KaOrJ 
 es cr<pvpd, KOI avd&v avd 
 eKarepa raXapov irl rr) 
 ipe'per flvat, 8e $uyare'pes rov 
 Aap-oc/xSyro? Aeyoimu' rols 
 8e eTraydyoimi; es TO deiorepov 
 boKel cr<as 'AOrjvav re eu>ai 
 Kai "Aprfp-iV ra av^rj juera 
 
 3. eon 8e KOI 'HpaKA^s irapa 
 777 A?/jnrjTpi fj,ey 
 TT^UJ;' Tourov TOV ' 
 0)1; 'ISauoy 
 
 cv TOIS 
 
 Ketrai 8e Td- 
 
 re CTT' avr?/ 8vo re eio-ty P 12pai, 
 /cat e'x'oi' Hay trvptyya KOI 
 pifav. ecrri 8e 
 e;:' airois, el^ai 
 Trpu>T<av. 4. 
 8e em r?7 rpaTre'^7? 
 KOI Nvju^ai* Ne'8a /xej; Ata 
 (frepova-a en ^^Trtov waiSa, 'Av- 
 6pa.KLa 8e vv^ri rwy 'Ap<a- 
 xat awry 8a8a exouo-d 
 , 'Ayi>a> 8e r^ /xer vbptav, 
 tv 8e rrj ere'pa 
 'ApxippoTjs 8e Kai 
 eiViy vbpiat ra <|)op^ara, xal 
 u8a>p 8^ev air' avrwr Karet- 
 o-tz>. . . 5. eart 8e evros roi) 
 7rept^3o'Aou raiy p-eydAcoy eajy 
 
 the statues, as well as the 
 small female figures which 
 stand before them, clothed 
 in tunics reaching to the 
 ankles, and bear each a 
 basket full of flowers on 
 her head. They are said 
 to be the daughters of Da- 
 mophon ; but those who 
 refer them to a divine origin 
 believe that they repre- 
 sent Athena and Artemis 
 gathering flowers with Per- 
 sephone. Beside Demeter 
 stands Herakles, about a 
 cubit in height ; this He- 
 rakles is stated by Onoma- 
 kritos, in his poems, to be 
 one of the so-called Idaian 
 Daktyloi. Before them 
 stands a table, on which 
 are wrought in relief two 
 Seasons, Pan holding a pipe, 
 and Apollo playing the 
 lyre. There is an inscrip- 
 tion relating to them, which 
 states that they are amongst 
 the first of the gods. 
 Nymphs are also repre- 
 sented on the table ; there 
 is Neda carrying the infant 
 Zeus, and Anthrakia, also 
 an Arkadian nymph, hold-
 
 DAMOPHON OF MESSEXE 
 
 229 
 
 KOI 'A^)po8iT7js tepoV . . 6. 
 dydA/uara 8e (v rai mai Aajuo- 
 
 T Kttt 
 
 At'0ov /cat 
 
 7To'8e$. 
 
 717 0ea> 
 
 ing a torch, and Hagno 
 with a pitcher in one hand 
 and a bowl in the other ; 
 there is Archirroe, too, and 
 Myrtoessa, each of whom 
 bears a pitcher, from which 
 water } no doubt, is supposed 
 to be flowing. There is 
 also a sanctuary of Aphro- 
 dite within the precinct of 
 the great Goddesses. Da- 
 mophon made the images 
 in the temple ; there is a 
 Hermes of wood, and a 
 wooden image of Aphro- 
 dite, which also has hands, 
 face, and feet of marble. 
 The goddess received the 
 surname of Machanitis. 
 
 At Megalopolis. For akrolithic sculpture in the fourth century, 
 cp. No. 216. 
 
 The Arkadian appellation of Persephone. 
 
 The sanctuary of De- 
 spoina is four stades distant 
 from Akakesion. The 
 images of the goddesses 
 themselves, Despoina and 
 Demeter, and the throne 
 whereon they are seated, 
 and the footstool beneath 
 their feet, are all of one 
 block ; and no part of the 
 
 271. Paus. viii. 37. I OTTO 
 8e 'A/cdKTjcrt'ou Ttacrapas orct- 
 Si'ous cnre'^ei TO lepov Trjs 
 Aeo-TTour/s ... 3. 6e<av bf 
 avra TO dyaA/^iara, AecrTroira 
 KOI f) AT/PITJTTJP re KOI 6 Opovos 
 fv a> /ca^e'forrai, Kat TO VTTO'- 
 drjfj.a TO into rots vooiv (<TTIV 
 2 r 6> 6/xota)9 \idov Kat ovre 
 T&V e~l TT/ ((rdiJTi. ovrt OTro'aa
 
 230 
 
 CREEK SCULPTURE 
 
 etpyaorcu i>fpl rov Qpovov ov- 
 8e'f crrij> erepou \iOov irpocr- 
 X*S (Tibi'ipy KO.I Ko'AAT/, dAAa 
 rd TTCLvra ecrrlv e!s Aiflos. 
 
 OVTOS OVK f(TKOp.i<r6r^ <T(f>l(nv 
 
 6 \i$o$, dAAa Kara o\f/t.v dvfi- 
 paros Xtyovcrw avrov ftvpflv 
 h'Tos rov TTfpij36\ov rrjv yr\v 
 dpv^avres. T&vbe ayaX^drcav 
 fo-rlv fKarepov [JLt-yfdos Kara 
 ro ' A.Qrivr\cnv ayaA/ia /xdAtara 
 Trjs Mryrpos' 4. Aa/xo^wyro? 
 8e KOI raura epya. f) fj.ev ovv 
 
 8a8a ev 
 trtpav 
 CTTI r^y 
 
 cr^-nrpov re KOI 
 j; KiVrrjp e7rt rois 
 
 rou Qpovov 
 
 ^V A?//u.rjrpa 
 
 TU>V 
 
 fv 8e rais 
 
 7T<l8a exft, rr; 8e Spa 
 8vo' Trapa 8e r^v " 
 KVCOJ;, olai Orj 
 
 ri. 5- ^po? 8e 
 Aeo-Trotyrjs ra dydA/xari 
 *AvvTos,(rxfiij.a WTrAto-- 
 Aci/of. ^atrt 8e 
 ol Trepi ro Upoi' rpa<^r/j;ai rrjv 
 
 decoration, either of their 
 garments, or of the throne 
 itself, is made of a separate 
 block, or fastened with 
 clamp or solder, but the 
 whole is one block. This 
 block was not imported, 
 but (as they say) they found 
 it by digging a hole within 
 the precinct at a spot indi- 
 cated by a vision. Each of 
 the images is about equal in 
 size to that of the Great 
 Mother at Athens ; they 
 also are the work of Damo- 
 phon. Demeter bears a 
 torch in her right hand, 
 while she has laid the left on 
 Despoina ; Despoina bears 
 a sceptre and ' cista,' as it is 
 called, in her lap; with one 
 hand the right she holds 
 the ' cista.' On each side 
 of the throne is a figure ; 
 beside Demeter stands Ar- 
 temis, clad in a deer-skin, 
 with a quiver on her 
 shoulder ; in one hand she 
 holds a torch, in the other 
 two snakes; beside Artemis 
 lies a bitch, like those used 
 in hunting. Close to the 
 image of Despoina stands
 
 DAMOPHON OF MESSENE 
 
 231 
 
 IITTO TOV ' AVVTOV, 
 /cat clvai T>V Tcrdvcav /caXou- 
 //eVcov /cat TOV " AVVTOV . . . 
 6. ... TO, be e? Kovprjras, 
 OVTOL -yap {mo T>V dyaA/zarooz; 
 TTfTToirjvTai., KCU TO. es Kopy- 
 /3arra? eTreipyacr/xerou? CTTI TOU 
 
 (3d6pOV . . . TO. fS TOVTOVS 
 fTTL(TTa.[J.VOS. 
 
 Anytos, attired as a warrior 
 in full armour ; the attend- 
 ants of the temple say that 
 Despoina was reared by 
 Anytos, and that he is of 
 the number of the Titans, 
 as they are called. The 
 legends of the Kouretes, 
 who are represented be- 
 neath the images, and of 
 the Korybantes, who are 
 wrought in relief on the 
 base, I omit, although I 
 know them. 
 
 rfjs MrjTpos] By Agorakritos, No. 136 ad fin. 
 
 The temple described was discovered (at Lykosura in Arkadia) 
 in 1889. The sculptures preserved, including the heads of Demeter, 
 Artemis, and Anytos, are published by Kavvadias (Foitilles de 
 Lycosura, Athens, 1893). See also Ov. II 4 . 487 ff. 
 
 THE END.
 
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