Chapter 388

1352See Chapter5of this Book.

1353An Argive, mentioned by Pausanias.

1354See Chapter5of this Book.

1355Again mentioned by Pliny, as a native of Rhegium in Italy.

1356A native of Paros, mentioned also by Pausanias and Strabo.

1357Probably “Perillus,” the artist who made the brazen bull for Phalaris, the tyrant of Agrigentum. The old reading is “Parelius.”

1358This and the following word probably mean one person—“Asopodorus the Argive.”

1359Perhaps the same person that is mentioned by Pausanias, B. vi. c. 20, as having improved the form of the starting-place at the Olympic Games.

1360Mentioned by Pausanias as an Arcadian, and son of Clitor.

1361A native of Clitorium in Arcadia, and mentioned also by Pausanias.

1362He is said by Pausanias and Athenæus to have been the son, also, of Myron.

1363Son of Motho, and a native of Argos. He was brother and instructor of the younger Polycletus, of Argos. He is mentioned also by Pausanias and Tatian.

1364He is once mentioned by Pausanias, and there is still extant the basis of one of his works, with his name inscribed.

1365It is supposed that there were two artists of this name, both natives of Sicyon, the one grandson of the other. They are both named by Pausanias.

1366Probably a Sicyonian; he is mentioned also by Pausanias.

1367As Pliny mentions two artists of this name, it is impossible to say to which of them Pausanias refers as being an Athenian, in B. vi. c. 4.

1368The elder artist of this name. He was an Athenian, and his sister was the wife of Phocion. He is also mentioned by Plutarch and Pausanias.

1369An Athenian; he is mentioned also by Vitruvius, Pausanias, and Tatian. Winckelmann mentions an inscription relative to him, which, however, appears to be spurious.

1370He is mentioned also by Pausanias, and is supposed by Sillig to have been a Theban.

1371Praxiteles held a high rank among the ancient sculptors, and may be considered as second to Phidias alone; he is frequently mentioned by Pausanias and various other classical writers. Pliny gives a further account of the works of Praxiteles in the two following Books.—B.

1372He was also an eminent painter, and is also mentioned by Quintilian, Dio Chrysostom, and Plutarch.

1373Another reading is “Echion.”

1374See B. xxxv. cc.32,36.

1375This great artist, a native of Sicyon, has been already mentioned in B. vii. c. 39, and in the two preceding Chapters of the present Book; he is again mentioned in B. xxxv. c.39.—B. See note1344above.

1376Also a native of Sicyon. He is mentioned by Tatian.

1377Mentioned also by Pausanias, Plutarch, Strabo, and Appian. The next two names in former editions stand as one, “Euphronides.”

1378Supposed to have been an architect, and builder of the Pharos near Alexandria: see B. xxxvi. c.18. The same person is mentioned also by Strabo, Lucian, and Suidas.

1379An Athenian. He is mentioned also by Pausanias, Plutarch, Diogenes Laertius, and Tatian.

1380See B. xxxv. c.36.

1381A Sicyonian, pupil of Lysippus. He is also mentioned by Pausanias; see also B. xxxvi. c.4.

1382Son and pupil of Lysippus. He is mentioned also by Tatian, and by some writers as the instructor of Xenocrates.

1383Sillig thinks that this is a mistake made by Pliny for “Daïppus,” a statuary mentioned by Pausanias.

1384Son of Praxiteles, and mentioned by Tatian in conjunction with Euthycrates. The elder Cephisodotus has been already mentioned. See Note1368.

1385Another son of Praxiteles. He is also alluded to by Pausanias, though not by name.

1386His country is uncertain, but he was preceptor of Mygdon of Soli. See B. xxxv. c.40.

1387Mentioned also by Tatian; his country is unknown.

1388It is doubtful whether Pausanias alludes, in B. vi. c. 4, to this artist, or to the one of the same name mentioned under Olymp. 102. See Note1367.

1389Sillig suggests that this word is an adjective, denoting the country of Polycles, in order to distinguish him from the elder Polycles.

1390We learn from Pausanias that he worked in conjunction with Timarchides. The other artists here mentioned are quite unknown.

1391Sillig, in his “Dictionary of Ancient Artists,” observes that “this passage contains many foolish statements.” Also that there is “an obvious intermixture in it of truth and falsehood.”

1392This is universally admitted to have been one of the most splendid works of art. It is celebrated by various writers; Pausanias speaks of it in B. i. See also B. xxxvi. c.4.—B.

1393As being made for the Temple of Diana at Ephesus.

1394Probably “Callimorphos,” or “Calliste.” We learn from Pausanias that it was placed in the Citadel of Athens. Lucian prefers it to every other work of Phidias.

1395A figure of a female “holding keys.” The key was one of the attributes of Proserpina, as also of Janus; but the latter was an Italian divinity.

1396“Ædem Fortunæ hujusce diei.” This reading, about which there has been some doubt, is supported by an ancient inscription in Orellius.

1397“Artem toreuticen.” See Note at theendof B. xxxiii.

1398Pliny has here confounded two artists of the same name; the Polycletus who was the successor of Phidias, and was not much inferior to him in merit, and Polycletus of Argos, who lived 160 years later, and who also executed many capital works, some of which are here mentioned. It appears that Cicero, Vitruvius, Strabo, Quintilian, Plutarch, and Lucian have also confounded these two artists; but Pausanias, who is very correct in the account which he gives us of all subjects connected with works of art, was aware of the distinction; and it is from his observations that we have been enabled to correct the error into which so many eminent writers had fallen.—B.

1399Derived from the head-dress of the statue, which had the “head ornamented with a fillet.” Lucian mentions it.

1400The “Spear-bearer.”

1401“Canon.” This no doubt wasthe samestatue as the Doryphoros. See Cicero, Brut. 86, 296.

1402Or “strigil.” Visconti says that this was a statue of Tydeus purifying himself from the murder of his brother. It is represented on gems still in existence.

1403“Talo incessentem.” “Gesner (Chrestom. Plin.) has strangely explained these words as intimating a personin the act of kicking another. He seems to confound the wordstalusandcalx.”—Sillig, Dict. Ancient Artists.

1404“The players at dice.” This is the subject of a painting found at Herculaneum.—B.

1405The “Leader.” A name given also to Mercury, in Pausanias, B. viii. c. 31. See Sillig, Dict. Ancient Artists.

1406“Carried about.” It has been supposed by some commentators, that Artemon acquired this surname from his being carried about in a litter, in consequence of his lameness; a very different derivation has been assigned by others to the word, on the authority of Anacreon, as quoted by Heraclides Ponticus, that it was applied to Artemon in consequence of his excessively luxurious and effeminate habits of life.—B. It was evidently a recumbent figure. Ajasson compares this voluptuous person to “le gentleman Anglais aux Indes”—“The English Gentleman in India!”

1407See Note1397above.

1408“Quadrata.” Brotero quotes a passage from Celsus, B. ii c. 1, which serves to explain the use of this term as applied to the form of a statue; “Corpus autem habilissimum quadratum est, neque gracile, neque obesum.”—B. “The body best adapted for activity is square-built, and neither slender nor obese.”

1409“Ad unum exemplum.” Having a sort of family likeness, similarly to our pictures by Francia the Goldsmith, and Angelica Kaufmann.

1410Myron was born at Eleutheræ, in Bœotia; but having been presented by the Athenians with the freedom of their city, he afterwards resided there, and was always designated an Athenian.—B.

1411This figure is referred to by Ovid, De Ponto, B. iv. Ep. 1, l. 34, as also by a host of Epigrammatic writers in the Greek Anthology.

1412See the Greek Anthology, B. vi. Ep. 2.

1413“Player with the Discus.” It is mentioned by Quintilian and Lucian. There is a copy of it in marble in the British Museum, and one in the Palazzo Massimi at Home. The Heifer of Myron is mentioned by Procopius, as being at Rome in the sixth century. No copy of it is known to exist.

1414Seen by Pausanias in the Acropolis at Athens.

1415Or “Sawyers.”

1416In reference to the story of the Satyr Marsyas and Minerva, told by Ovid, Fasti, B. vi. l. 697,et seq.

1417Persons engaged in the five contests of quoiting, running, leaping, wrestling, and hurling the javelin.

1418Competitors in boxing and wrestling.

1419Mentioned by Cicero In Verrem, Or. 4. This Circus was in the Eleventh Region of the city.

1420See the Anthology, B. iii. Ep. 14, where an epigram on this subject is ascribed to Anytes or Leonides; but the Myro mentioned is a female. See Sillig, Dict. Ancient Artists.

1421She was a poetess of Teios or Lesbos, and a contemporary of Sappho.

1422“Multiplicasse veritatem.” Sillig has commented at some length on this passage, Dict. Ancient Artists.

1423See Note1418above.

1424There is a painter of this name mentioned in B. xxxv. c.43. The reading is extremely doubtful.

1425Mentioned by Plato, De Legibus, B. viii. and by Pausanias, B. vi. c. 13. He was thrice victorious at the Olympic Games.

1426Python.

1427From the Greek wordΔικαιὸς, “just,” or “trustworthy.”—B.

1428Diogenes Laertius mentions a Pythagoras, a statuary, in his life of his celebrated namesake, the founder of the great school of philosophy.—B. Pausanias, B. ix. c. 33, speaks of a Parian statuary of this name.

1429See Note1395above.

1430See end of B. vii.

1431Cicero remarks, Brut. 86, 296, “that Lysippus used to say that the Doryphoros of Polycletus was his master,” implying that he considered himself indebted for his skill to having studied the above-mentioned work of Polycletus.—B.

1432In Chapter17of this Book.—B.

1433The same subject, which, as mentioned above, had been treated by Polycletus.—B.

1434In the Eighth Region of the City.

1435Ἀποξυόμενος, the Greek name of the statue, signifying one “scraping himself.”

1436The head encircled with rays.

1437The lines of Horace are well known, in which he says, that Alexander would allow his portrait to be painted by no one except Apelles, nor his statue to be made by any one except Lysippus, Epist. B. ii. Ep. 1, l. 237.—B.

1438This expression would seem to indicate that the gold was attached to the bronze by some mechanical process, and not that the statue was covered with thin leaves of the metal.—B.

1439This story is adopted by Apuleius, in the “Florida,” B. i., who says that Polycletus was the only artist who made a statue of Alexander.

1440A large group of equestrian statues, representing those of Alexander’s body-guard, who had fallen at the battle of the Granicus.

1441A.U.C.606.

1442See the Greek Anthology, B. iv. Ep. 14, where this subject is treated of in the epigram upon his statue of Opportunity, represented with the forelock.

1443Which is a word of Greek origin, somewhat similar to our word “proportion.”

1444At Lebadæa in Bœotia.

1445Hardouin seems to think that “fiscina” here means a “muzzle.” The Epigram in the Greek Anthology, B. iv. c. 7, attributed to King Philip, is supposed by Hardouin to bear reference to this figure.

1446The circumstance here referred to is related by Q. Curtius, B. ix. c. 5, as having occurred at the siege of the city of the Oxydracæ; according to other historians, however, it is said to have taken place at a city of the Malli.—B.

1447See Note1417, above.

1448Κατάγουσα; a figure of Ceres, probably, “leading back” Proserpine from the domains of Pluto. Sillig, however, dissents from this interpretation; Dict. Ancient Artists.

1449Or Bacchus.

1450See Pausanias, B. i. c. 20. Sillig says, “Pliny seems to have confounded two Satyrs made by Praxiteles, for that here named stood alone in the ‘Via Tripodum’ at Athens, and was quite different from the one which was associated with the figure of Intoxication, and that of Bacchus.”—Dict. Ancient Artists.

1451“Much-famed.” Visconti is of opinion that the Reposing Satyr, formerly in the Napoleon Museum at Paris, was a copy of this statue. Winckelmann is also of the same opinion.

1452In the Second Region of the city. According to Cicero, in Verrem. vi., they were brought from Achaia by L. Mummius, who took them from Thespiæ,A.U.C.608.

1453See B. xxxvi. c.4.

1454A woman plaiting garlands.

1455A soubriquet for an old hag, it is thought.

1456A female carrying wine.

1457According to Valerius Maximus, B. ii. s. 10, these statues were restored, not by Alexander, but by his successor Seleucus.—B. Sillig makes the following remark upon this passage—“Pliny here strangely confounds the statues of Harmodius and Aristogiton, made by Praxiteles, with other figures of those heroes of a much more ancient date, made by Antenor.”

1458Fromσαυρὸςa “lizard,” andκτείνω, “to kill.” This statue is described by Martial, B. xiv. Ep. 172, entitled “Sauroctonos Corinthius.”—B. Many fine copies of it are still in existence, and Winckelmann is of opinion that the bronze at the Villa Albani is the original. There are others at the Villa Borghese and in the Vatican.

1459In her worthless favours, probably. Praxiteles was a great admirer of Phryne, and inscribed on the base of this statue an Epigram of Simonides, preserved in the Greek Anthology, B. iv. Ep. 12. She was also said to have been the model of his Cnidian Venus.

1460This artist is mentioned also by Cicero, Pausanias, Propertius, and Ovid, the two latter especially remarking the excellence of his horses.—B. See B. xxxiii. c.55.

1461The mother of Hercules.—B.

1462See B. xxxvi. c.4. Having now given an account of the artists most distinguished for their genius, Pliny proceeds to make some remarks upon those who were less famous, in alphabetical order.—B.

1463The “highly approved.”

1464Or “Lioness.” See B. vii. c. 23.

1465The reading is doubtful here. “Iphicrates” and “Tisicrates” are other readings.

1466The same story is related by Athenæus, B. xiii., and by Pausanias.—B.

1467Pisistratus and his sons, Hippias and Hipparchus.

1468A lioness.

1469She having bitten off her tongue, that she might not confess.

1470Hardouin has offered a plausible conjecture, that for the word “Seleucum,” we should read “Salutem,” as implying that the two statues executed by Bryaxis were those of Æsculapius and the Goddess of Health.—B.

1471Already mentioned as a son of Lysippus.

1472In the Eighth Region of the City.

1473This reading appears preferable to “Cresilas,” though the latter is supported by the Bamberg MS.

1474Ajasson quotes here the beautiful words of Virgil—“Et dulces moriens reminiscitur Argos”—“Remembers his lov’d Argos, as he dies.”

1475Dalechamps supposes that Pericles was here represented in the act of addressing the people; Hardouin conceives that this statue received its title from the thunder of his eloquence in debate, or else from the mighty power which he wielded both in peace and war, or some of the other reasons which Plutarch mentions in the Life of Pericles.—B.

1476It is doubtful to which of the artists of this name he alludes, the elder or the younger Cephisodotus, the son of Praxiteles. Sillig inclines to think the former—Dict. Ancient Artists.

1477The “Deliverer.”

1478The elder Canachus, probably.

1479The “Lovely.” Brotero says that this is believed to be the Florentine Apollo of the present day. It stood in the Temple at Didymi, near Miletus, until the return of Xerxes from his expedition against Greece, when it was removed to Ecbatana, but was afterwards restored by Seleucus Nicator.

1480See B. v. c. 31.

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