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THE 
 
 ELDER PLINY^S CHAPTERS 
 
 ON THE 
 
 HISTORY OF ART 
 
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 COD. BAMB. M. V. lo. FOL. 59. 
 
 [Original size of page = 26 x 21'gcin.] 
 
THE 
 
 ELDER PLINY'S CHAPTERS 
 
 ON THE 
 
 HISTORY OF ART 
 
 TRANSLATED BY 
 
 K. JEX-BLAKE 
 
 CLASSICAL LECTURER AT GIRTON COLLEHE, CAMBRIDGE 
 
 WITH COMMENTARY AND HISTORICAL INTRODUCTION 
 
 BY 
 
 E. SELLERS 
 
 FORMER STUDENT OF GIRTON COLLEGE, CAMBRIDGE, 
 AND OF THE BRITISH SCHOOL AT ATHENS 
 
 AND 
 
 ADDITIONAL NOTES CONTRIBUTED BY DR. HEINRICH LUDWIG URLICHS 
 
 HonOon 
 MACMILLAN AND CO., Ltd. 
 
 NEW YORK : THE MACMILLAN CO. 
 1896 
 
 \^All rights reserved'] 
 S 
 
 ^ 
 
PREFACE 
 
 The text printed in the following pages is based upon 
 that of Detlefsen, but free use has been made of both earlier 
 and later critical auxiliaries. We differ from Detlefsen 
 mainly in adhering more closely to the Codex Bambergensis, 
 whose superiority in respect of those parts of the Historia 
 now reproduced must be regarded as incontestable. Our 
 short critical apparatus is limited to notices of our devia- 
 tions from Detlefsen, or of readings offering special interest 
 or difficulty. For brevity's sake the name of Detlefsen 
 stands in our apparatus not only for his own readings but 
 also for those of the scholars whose views he adopts. In 
 none but a few important cases do we print Detlefsen's 
 sources. I have to thank Mr. Fischer of Bamberg for kindly 
 verifying a number of readings in the Bambergensis, and 
 Dr. Leitschuh, Chief Librarian at Bamberg, for permis- 
 sion to reproduce in facsimile a page of the famous codex. 
 The present text has been prepared under the guidance 
 of Dr. Ludwig Traube, who, moreover, has generously 
 placed at our disposal a number of his own readings or 
 conjectures. 
 
 Out of the many problems which even this short selection 
 from the Historia Naturalis offers, the Introduction pro- 
 fesses to deal only with the question of Pliny's Greek 
 sources for the history of art ; it touches upon his Roman 
 authorities only in so far as these were the channel through 
 which the Greek authors reached him. The question is 
 
viii PREFACE 
 
 one which, so far from being, as was supposed, either 
 exhausted or incapable of solution, is still in its infancy. 
 Where an earlier school was content to trace back Pliny's 
 debt to his Roman predecessors, a newer method of 
 inquiry enables the student to work backwards not only 
 from the Roman to the Greek authors, but from one Greek 
 author to another. So it is that, returning to the Introduc- 
 tion after an interval, it became clear to me (see footnotes 
 on p. xliii f.) that in matters of anecdote and biography 
 Antigonos of Karystos was seldom, if ever, to be regarded 
 as an ultimate source, and was to a far greater extent than 
 I had at first supposed the debtor of Duris. Nay, I be- 
 lieve that we may in time recover (to some extent) the 
 authorities which Duris himself had at his command. I am 
 profoundly indebted to Dr. F. Munzer for reading and 
 criticizing the proofs of the Introduction up to p. Ixxiii, 
 and for allowing me to publish as footnotes and Addenda 
 the suggestive remarks made to me in the course of a 
 detailed correspondence. 
 
 I have endeavoured to make the notes printed below 
 the text a real commentary to the author's meaning, not 
 a bundle of bibliography. Modern commentators might 
 still lay to heart the criticism passed by Scaliger on the 
 Pliny of his friend Dalecampius : le bon homme est docte, 
 mats il farcit trap ses annotations deje ne sais quelle fatraille 
 d'autezirs . . . But wherever further revision showed that 
 I had done but scant justice to important though dissentient 
 views I have tried to remedy the omission in the Addenda. 
 There too a few notes are printed the necessity for which 
 occurred to me later, and reference given to quite recent 
 literature. 
 
 One group of contributions has been made to this book 
 calling for special notice. When my work was already ad- 
 vancing towards completion, I learnt that Dr. H. L. Urlichs 
 was himself engaged upon an edition of the same parts of 
 
PREFACE ix 
 
 Pliny. With ready generosity, however, Dr. Urlichs offered 
 me at once for my own book a number of his notes, 
 which we agreed should be printed in square brackets and 
 marked with his initials H. L. U. Subsequently, however, 
 Dr. Urlichs informed me, to my regret and surprise, that 
 the present edition would block the way for his own ; 
 accordingly, since he had given us notes, whose value 
 is undeniable, we acceded to his request that his name 
 should be placed as a third on our title-page. In fairness 
 to Dr. Urlichs, I should add that his contributions and his 
 responsibility begin and end with the notes that bear his 
 initials. 
 
 Besides those scholars who have given me constant and 
 special help, I have to thank Mr. A. S. Murray, M. S. 
 Reinack, and Professor Wilhelm Klein for many friendly 
 hints, Mr. Bernhard Berenson for helping me to a better 
 understanding of passages concerned with the technique of 
 art, and Director G. von Lanbmann for the singular privi- 
 leges accorded to me as a reader in the Royal Library 
 at Munich. Above all am I beholden to my friend Miss 
 K. Jex-Blake, not only for undertaking the translation, but 
 for her liberality in allowing certain readings to be printed, 
 of whose soundness she was not fully convinced. She has 
 also found time, amid the arduous tasks imposed by 
 College lecturing, to compile both Indices, and to assist 
 in the revision of the book throughout. 
 
 EUGENIE SELLERS. 
 ScHWABiNG, Munich. 
 Jnly, 1896. 
 
CONTENTS 
 
 PAGE 
 
 Facsimile of Cod. Bamb. M. V. lo. f. 59 . . • facing title 
 
 Preface vii 
 
 Introduction xiii 
 
 1. Xenokrates of Sikyon xvi 
 
 2. Antigonos of Karystos xxxvi 
 
 3. DurisofSamos xlvi 
 
 4. Literary epigrams Ixviii 
 
 5. Heliodoros of Athens baciv 
 
 6. Pasiteles of Naples Ixxvii 
 
 7. Varro, Cornelius Nepos, and Fabius Vestalis . . Ixxxii 
 
 8. Mucianus Ixxxv 
 
 9. Pliny's own Additions — Roman Museography — 
 
 Retrospect xci 
 
 Bibliography xcv 
 
 Manuscripts c 
 
 Silver-chasing 2 
 
 Bronze Statuary 6 
 
 Painting 84 
 
 Table, showing — A. The Thebano-Attic School 1 
 
 { . . to face p. 118 
 B. The Sikyonian School . ) 
 
 Table, showing — A. The Family of Polykles . 
 B. The Family of Athanodoros 
 
 I . . to face p. 208 
 
 Modelling 174 
 
 Sculpture in Marble 184 
 
 Appendix 217 
 
 Addenda 229 
 
 Index I, of Names of Artists 243 
 
 Index II, Museographic 247 
 
PLINY THE ELDER 
 
 and this too was why he rode in a litter in Rome. I can remember his blaming 
 me for walking ; I need not, he said, have lost those hours, for he thought all 
 time lost that was not given to study. 
 
INTRODUCTION 
 
 The Historia Natiiralis of Pliny was intended not only to 
 embrace the whole of the Natural Sciences, but to consider them 
 in their application to the Arts and Crafts of Civilized Life. 
 Hence it is that in a work, whose title would least suggest it, 
 a short yet complete History of Art finds a logical place within 
 the scheme. To Pliny the arts of chasing in silver and of casting 
 in bronze are simply the indispensable complement of the 
 chapters on metals, while, in the same way, the arts of sculpture, 
 of painting, and of gem-engraving come under the head of kinds 
 of earth and precious stones. Pliny's larger and compacted 
 purpose might thus, on the face of it, seem to condemn this 
 present detachment of the History of Art for separate treatment. 
 But that general commentary on Pliny in the light of modern 
 research, to which the texts of Sillig and L. von Jan were but to 
 serve as preliminaries ^, seems likely, owing to the multifarious 
 contents of the Historia, to remain in the region of unachieved 
 possibilities, if not further away still — in Utopia : il faut plus 
 d'un homtne pour ecrire sur le grand Fline '^. Meanwhile, from 
 the nature of the subject, the Plinian account of Ancient Art 
 and Artists forms an episode sufificiently complete in itself to be 
 made, without further apology, the subject of a special inquiry. 
 
 In the Dedicatory Letter addressed with the Historia to the 
 co-Emperor Titus, Pliny has himself announced that the ' twenty 
 thousand matters worthy of attention ' contained in the thirty-six 
 volumes of his work were 'gathered from some two thousand 
 books ' ^ ; we must therefore regard his work as nothing more 
 than a compilation from other records, in which personal obser- 
 vation plays no part outside the range of contemporary events. 
 
 ' The gigantic scheme had been Kunst, p. 264. 
 conceived by Lorenz Okens (1779- ^ Scaligerana (ed. l657), p. 189. 
 
 1859) ; see Stark, Archdologie der ' Praef. § 17. 
 
xiv INTRODUCTION 
 
 An irreparable accident, however — the total loss of the art- 
 literature which preceded Phny — has given to the books with 
 which we are here concerned an unique value. It so happens 
 that from his pages only can we now obtain something hke 
 a connected impression of the art-literature of the Greeks, as 
 it lay open, if no longer actually to him, at any rate to some 
 of his immediate predecessors. For although Pliny in his Preface 
 makes a great show of acknowledgement to his authorities, and 
 announces his intention, which he duly carried out, of compiling 
 Indices of their names ', a very slight acquaintance with his work 
 is sufficient to show that for no part of it did he ever read 
 a Greek author systematically through ^ while for the history of 
 the artists we are safe in asserting that not one of these authors 
 was directly consulted. If the names of Apelles, of Melanthios, 
 of the Sikyonian Xenokrates, of biographers such as Antigonos 
 
 ' These lists are suffixed in the 
 MSS. to the table of contents of each 
 book, with which they together make 
 up the first book of the Historia, and 
 are also given singly before each book; 
 they contain the names of 146 Roman 
 and 327 foreign authors. For the con- 
 venience of the reader I print here the 
 Indices to Bks. xxxiv-xxxvi, italicizing 
 the names of the writers upon art : 
 
 Libro xxxiv continentur (here fol- 
 low the contents) . . . Ex atuto- 
 ribus : L. Pisone, Antiate, Verrio, M. 
 Varrone, Cornelio Nepote, Messala 
 Rufo, Marso poeta, Boccho, lulio 
 Easso qui de medicina Graece scripsit, 
 Sextio Nigro qui item, Fabio Vestale. 
 Extemis : Democrito, Metrodoro 
 Scepsio, Menaechmo qui de toreutice 
 scripsit, Xenocrate qui item, Antigono 
 qui item, Duride qui item, Heliodoro 
 qui de Atheniensium anathematis 
 scripsit, Pasitth qui de mirabilibus 
 operibus scripsit, Timaeo qui de me- 
 dicina metallica scripsit, Nympho- 
 doro, loUa, Apollodoro, Andrea, 
 Heraclide, Diagora, Botrye, Arche- 
 d&io, Dionysio, Aristogene, Democle, 
 Mneside, Xenocrate Zenonis, Theo- 
 mnesto. 
 
 Lib. XXXV continentur . . . Ex auc- 
 
 toribus: Messala oratore, Messala 
 sene, Fenestella, Attico, M. Varrone, 
 Verrio, Nepote Cornelio, Deculone, 
 Muciano, Melisso, Vitruvio, Cassio 
 Severe, Longulano, Fabio Vestale qui 
 depictura scripsit. Extemis: Pasitele, 
 Apelle, Melanthio, Asclepiodoro, Eu- 
 phranore, Parrhasio, Heliodoro qui 
 de anathematis Atheniensium scripsit, 
 Metrodoro qui de architectonice scrip- 
 sit, Democrito, Theophrasto, Apione 
 grammatico, Timaeo qui de metallica 
 medicina scripsit, Nymphodoro, loUa, 
 Apollodoro, Andrea, Heraclide, Dia- 
 gora, Botrye, Archedemo, Dionysio, 
 Aristogene, Democle, Mneside, Xeno- 
 crate Zenonis, Theomnesto. 
 
 Lib. xxxvi continentur . . . Ex auc- 
 toribus: M. Varroru, C.Galba,Cincio, 
 Muciano, Nepote Cornelio, L. Pisone, 
 Q. Tuberone, Fabio Vestale, Annio 
 Fetiale, Fabiano, Seneca, Catone 
 censorio, Vitruvio. Extemis: Taea- 
 phmsto, Pcuitele, lubarege, Nicandro, 
 Sotaco, Sudine, Alexandre polyhis- 
 tore, Apione Plistonico, Duride, 
 Herodoto, Euhemero, Aristagora, 
 Dionysio, Artemidoro, Butorida 
 Antisthene, Demetrio, Demotele 
 Lycea. 
 
 ' See Teuffel, p. 761. 
 
MODERN AUTHORITIES xv 
 
 of Karystos, or Duris of Samos, figure in the Indices, rousing 
 the curiosity and ambition of the modern scholar, they are there 
 simply because Pliny had found them quoted by the Roman 
 authors from whom he habitually drew — in this case by Varro, 
 who, in turn, had presumably taken his own information on the 
 subject from a single writer in whose pages the others were 
 already cited. /Thus, although the Plinian Indices might mislead 
 us into believing that his work was a mosaic, a piecing together 
 of the several statements of all the authors, Greek or Roman, 
 whose names he quotes, we shall find, on the contrary, that it 
 resembles a stratification of which the superimposed layers can 
 still be distinguished at many points, even though at a number 
 of others they have so run together as to baffle analysis. 
 
 The result of such an analysis, if complete, would be nothing 
 less than to isolate and restore to each writer his own contri- 
 bution; nothing proves so well the difficulty of the task as 
 the great amount of labour already expended in this direction. 
 And this brings me to record the debt which every student of 
 the Plinian art-books owes to the scholars by whose undaunted 
 industry Pliny and his authors have gradually been brought into 
 right relation : to Otto Jahn, who by detecting the homogeneous 
 character of a number of scattered art-criticisms, and pointing 
 out their immediate Varronian authorship and ultimate Greek 
 origin, laid a solid basis for all future research in this field ' ; to 
 A. Brieger, who made the first attempt to determine the names 
 of the Greek writers whose views Varro had latinized'; to 
 Heinrich Brunn, who first tried to restore Pliny's system of quota- 
 tion from his authors ' ; to the scholars — among them Theodor 
 Schreiber'^, Adolf Furiwangkr" , Gustav Oehmichen^, Xarl Roberf , 
 
 ' O. Jahn: Ueber die Kunsturtheile Hist. Lib. relatis Specimen. Dissert. 
 
 des Plinius in Berichte der Sachs. Leipzig, 1872. 
 
 Gesellschaft d. Wissenschaften, 1 850, ° A. Furtwangler : Plinius u. seine 
 
 pp. 105-142. Qttellen iiberdie Bildenden Kiinste in 
 
 ^ A. Brieger: De Fontibus Libra- Supplebd.ix der Jalirbb.f. Klass. Phil. 
 
 rum, xxxiii-xxxvi, Nat. Hist. Plin. Leipzig, 1877. 
 
 quatenus ad artem plasticam pertinent. ' G. Oehmichen : Plinianische 
 
 Dissert. Greifswald, 1856. Studien zur geographischen und 
 
 ^ H. Brimn : De Auctorum Indi- kunsthistorischen Literatur. Erlan- 
 
 cibus Plinianis. Disp. Inaug. Bonn, gen, 1880. 
 
 1856. ' C. Robert: Archdologische Mar- 
 
 * Th. Schreiber: Quaestionum de chen aus alter u. neuer Zeit, Berlin, 
 
 Artificum Aetatibus in Plin. Nat. 1886 (ch. i-iv and vi-viii). 
 
XVI INTRODUCTION 
 
 L. von Vrlichs^, and his son H. L. Urlichs"^, — who, following 
 in the steps of these pioneers, developed or corrected their views ; 
 and last, but not least, to F. Munzer, who only the other day ', 
 when the question had begun to show signs of exhaustion, gave 
 it a new stimulus through his vigorous attempt to ascertain the 
 Greek element in Pliny by a minute comparison of those parts 
 suspected to be Greek with the extant fragments of certain 
 authors mentioned in the Indues. In what follows, I propose 
 to bring together, in a survey of the gradual growth of the Plinian 
 history of the artists, such results as have been attained, carrying 
 forward by the way the task of identifying and disengaging the 
 Greek writers upon art mentioned by Pliny. 
 
 § I. Xenokrates of Sikyon [fl. about 280 B.C.). 
 
 In the criticisms or verdicts upon celebrated artists, now dis- 
 jointedly scattered throughout the Plinian narrative, but recognized 
 by Otto Jahn {op. cit.) as vitally interdependent, we touch at 
 once upon the original groundwork. These criticisms have it in 
 common that they all culminate in a broad statement of the 
 special services rendered to art by the artist in question; they are 
 presented for the most part as the effect produced by the artist's 
 works upon the critic ; and they are all consistently free from 
 anecdote or epigram, in contrast to the phraseological character 
 of so much of the ancient art-criticism. Their principle is most 
 readily grasped in the judgements passed upon the iive most 
 famous statuaries — Pheidias, Myron, Polykleitos, Pythagoras, 
 and Lysippos — in xxxiv, 54-65. It is inslructive minutely to 
 analyze these criticisms when freed so far as may be from the 
 additions made to them by later writers*. In the following 
 scheme I have indicated, within square brackets, the nature of 
 these additions. 
 
 1 L. Urlichs : Die Quellmregister Plinius in Artijicum Historia usus 
 
 2« Plinius ht%tcn Biichern. Progr. sit, Metz, 1885 ; and H. Voigt De 
 
 "Wurzburg, 1878. ^ Pontibus earum quae ad artes perti- 
 
 ^ H. L. Urlichs : tjber Griechische nent partium Nat. Hist. Plin. quaes-- 
 
 Kunstschriftsteller. Dissert. WUrz- Hones. Halle, 1887. 
 
 bnrg, 1887. = F. Miinzer: Zur Kunsigeschichte 
 
 Besides the works cited as of lead- des Plinius in Hermes, vol. xxx i8qs 
 
 ing importance, mention may also be ' In doing this I have been guided 
 
 made of the two following disserta- almost entirely by the analysis of 
 
 tions : J. Dalstein, Quihus Fontibus Miinzer, op. cit. p. 502 ff. 
 
XENOKRATES OF SIKYON 
 
 I. Pheidias. 
 
 Phidias praeter lovem Olympium . . . fecit ex ebore . . . Minervam Athenis, quae 
 est in Parthenone stans, exaere vexo (^follows allusion to 'Amazon' in % 53) . . . 
 Minervam tam eximiae pulchritudinis ut formae cognomen acceperit. fecit 
 et cliduclium \JoUows mention of an Athena in Rome, of two draped figures 
 and a nude colossos, all frotn Rom. Museogr. p. xci] primusque artem 
 toreuticen aperuisse atque demonstrasse merito iudicatur. 
 
 II. Polykleitos. 
 
 Polyclitns Sicyonius Hageladae discipulus diadnmenum fecit {follows epi- 
 grammatic qualification, p. Ixviii, and price paid for the Diadumenos, p. Ixxxiv], 
 idem et doryphorum \_follows epigrammatic qualification ; second mention under 
 the name 'canon'' of the doryphoros, p. xli] fecit et destringentem se et nudum 
 telo incessentem [follows mention of knucklebone players, at Rome, in Hall 
 of Titus, p. xcii ; of a Hermes at Lysimacheia, on authority of Mucianus, 
 p. xc ; of a Herakles at Rome] hagetera arma sumentem [follows from an 
 anecdotic source, the mention of Artemon suma?ned ' periphoretos' — Add. 
 p. 235] hie consummasse hanc scientiam iudicatur et toreuticen 
 sic erudisse ut Phidias aperuisse. proprium eius est uno crure 
 ut insisterent signa excogitasse, quadrata tamen esse ea ait 
 Varro et paene ad exemplum. 
 
 III. Myron. 
 
 Myronem Eleutheris natum Hageladae et ipsum discipulum bucnla maxime 
 nobilitavit [follows allusion to epigrams upon the heifer'], fecit et canem et 
 discobolon et Perseum et pristas et Satyrum admirantem tibias et Minervam, 
 Delphicos pentathlos, pancratiastas [follows mention (a) of a Herakles in 
 Rome, (b) of the grave of a grasshopper and locust, see Comm. p. 46, 1. 4, (c) of 
 an Apollo restored to Ephesos by Augustus, p. Ixxxix] . primushicmultipli- 
 casse veritatem videtur, numerosior in arte quam Polyclitus et 
 in symmetria diligentior, et ipse tamen corporum tenus curiosus 
 animi sensus non expressisse, capillum quoque et pubem non 
 emendatius fecisse quam rudis antiquitas instituisset. 
 
 IV. Pythagoras. 
 
 Vicit eum Pythagoras Reginus ex Italia pancratiaste Delphis posito ; eodem 
 vicit et Leontiscum ; fecit et stadiodromon Astylon qui Olympiae ostenditur et 
 Libyn puerum tenentem tabellam eodem loco et mala ferentem nudum [follows 
 mention, from an epigram, of the Philokietes at Syracuse, p. Ixix] , item Apollinem 
 serpentemque eius sagittis configi [follows mention, from an anecdotic source, 
 of the ' Citharoedus' at Thebes, Miinzer »/. cit. p. 525], hie primus nervos 
 et venas expressit capillumque diligentius. (irputTov SoKovfra UvOa- 
 ydpav pvS/iov Kal avu/ieTpias iaroxoaBai — Diogenes Laertios, viii, 46. J 
 
 V. Lysippos. 
 
 [The account of Lysippos opens with an anecdote given on the authority of 
 Duris, p. xlvi.] 
 (Lysippus) fecit . . . destringentem se [follows its dedication at Rome; 
 
 b 
 
xviii INTRODUCTION 
 
 anecdote of Tiberius' s fassion for the statue], nobilitatur Lysippus et temulenta 
 tibicina et canibus ac venatione {mention, on authority ofMucianus (p. Ixxxvii;, 
 of the chariot of the Sun at Rhodes'], fecit et Alexandrum Magnum maltis 
 operibus a pueritia eius orsus {follows Nero's maltreatment of the statue], idem 
 fecit Hephaestionem Alexandri Magni amicum \its ascription by other authori- 
 ties to Polykleitos ; Pliny's own comment, p. xciii], item Alexandri venationem 
 quae Delphis sacrata est, Athenis Satyrum, turmam Alexandri in qua amicorum 
 eius imagines summa omnium similitudine expressit {mention of removal of 
 the group to Home], fecit et quadrigas multorum generum. statuariae arti 
 plurimum traditur contulisse capillum exprimendo, capita mi- 
 nora faciendo quam antiqni, corpora graciliora siccioraque, 
 per quae proceritas signorum maior videretur. non habet Lati- 
 num nomen symmetria quam diligentissime custodit nova iu- 
 tactaque ratione quadratas veterum staturas permutando 
 [follows apothegm quoted from Duris, p. Ixiif]. propriae huius videntur 
 esse argutiae operum custoditae in minimis quoque rebus. 
 
 To which may be added : 
 
 VI. Pupils of Lysippos, and Telephanes of Phokaia. 
 
 Filios et discipulos reliquit laudatos artifices Laippum, Boedan, sed ante 
 omnes Euthrycraten, quamquam is constantiam potius imitatus patris quam 
 elegantiam austero maluit genere quam iucundo placere. itaque optume ex- 
 pressit Herculem Delpiiis et Alexandrum Thespis venatorem et Thespiadas, 
 proelium equestre, simulacrum ipsum Trophonii ad oraculum, quadrigas com- 
 plures, equum cum fuscinis, canes Tenantium. huius porro discipulus fuit 
 Tisicrates et ipse Sicyonius, sed Lysippi sectae propior, ut vix discemantnr 
 complura signa, ecu senex Thebanus et Demetrius rex, Peucestes Alexandri 
 Magni servator, dignus tanta gloria, artifices qui compositis voluminibus 
 condidere haec miris laudibus celebrant Telephanen Phocaeum ignotum alias, 
 quoniam in Thessalia habitaverit, et ibi opera eius latuerint, alioqui suifragiis 
 ipsonim aequatur Polyclito, Myroni, Pythagorae. laudant eius 
 Larisam et Spintharum pentathlum et Apollinem {follows, from a different 
 source, a variant explanation of the obscurity of Telephanes\ 
 
 It is now a commonplace of archaeology that these closely 
 connected criticisms were designed to establish a comparison 
 of the five principal artists {insignes), based upon their gradual 
 conquest of the problems of symmetry and proportion, and of 
 certain minor technical details such as the rendering of the hair, 
 of the sinews, or the veins : Pheidias discovers the possibilities 
 of statuary; Polykleitos perfects it and makes his statues 
 rest their weight on one leg, yet he fails because his figures 
 are too square and monotonous ; Myron surpasses him by 
 ^attaining not only to symmetry but to variety, yet he fails in the 
 rendering of the hair ; Pythagoras is more successful with hair and 
 
 moreover learns how to express the sinews and the muscles • at 
 
 this point we are brought up short by finding that, in Pliny 
 
XENOKRATES OF SIKYON xix 
 
 nothing is said of the relation of Pythagoras to symmetry. This 
 is however an omission for which the Roman author, Phny or 
 Varro, is responsible ; for the record of that artist's contribution to 
 symmetry is preserved in the passage quoted above from Diogenes 
 Laertios' (cf. Comm. p. 48). There we learn that Pythagoras 
 was considered the first artist to aim not only at symmetry but 
 also at rhythm — in other words at the correct rendering of pro- 
 portion, not only in figures at rest, but also in figures in motion. 
 Lysippos, finally, achieves the perfect proportion, by modifying in 
 a manner peculiar to himself the ancient canons, and solves by 
 the way the minor technical difficulties in the rendering of the 
 hair. The guiding thought is analogous to that which prompted 
 Dionysios to classify the orators into inventors of their art — 
 
 evperai, and its perfectors — TeXeiaTcd ^. 
 
 The mention of Varro in § 56 certainly proves, as Jahn saw, 
 that he was Pliny's immediate authority for the whole series of 
 the criticisms j but it is equally certain that they did not 
 originate with him. So rigid a scheme of artistic development 
 would be a most unlikely product of the varied and miscellaneous 
 literary activity of that compiler. It is moreover strongly coloured 
 by the partisanship of a school and obviously devised to the 
 honour of the Sikyonian Lysippos, the greatest artists falling into 
 place as his precursors. Besides, the words non habet latinum 
 nomen symmetria ... in § 65 show sufficiently that Varro had 
 only been translating from the Greek. He appears here as the 
 intermediary between Pliny and the Greeks precisely as, in the 
 earlier books of the Historia, Trogus or Nigidius Figulus are 
 named as authorities for facts or observations drawn by these 
 writers from Aristotle '- 
 
 The Greek author whose views on the gradual development of 
 art passed, through Varro, into the pages of Pliny was not only 
 a warm admirer of the Sikyonians, but, to judge from the exclusive 
 
 ^ Furtwangler, Plinius u. seine tuv A.ia)(iv7iv, teal 'tTrepeiSTjv ^/zcfs Kpi- 
 
 Qtielkn, p. 70. vojiiv. 
 
 2 Dionysios Halik. De JDinarcho ^ Nigidius is quoted for Aristotle 
 
 iud.: Uepl Aftvapxov tov frjTopos in ix, 185, Trogus in xi, 275, 276; 
 
 ovdlv ciprjKibs kv roh mpX twv apxcituv see F. Aly, Zur QuelUnkritik des 
 
 ypaipfiaiv, Sia to /«7t£ evpfT^v ISiov dlteren Plinius, p. 10 f.; Montigny, 
 
 •^^•^ovivaL xapaicT^pos tov avSpa, &airep Quaestiones in Plin, Nat. Hist de 
 
 Tdv Avcriav, Kal tov 'laoKpaTrjv, xal Animalibus Libros. Bonu,l844; Teuf- 
 
 Tbv^lffaiov HT]Te TWV evprjfievojv ^Tepois fel, p. 761. 
 Te\(uaTriv, &air(p toi/ Arjiioaffivtjv, Kal 
 
 b a 
 
XX INTRODUCTION 
 
 stress which he lays upon certain sides of technical progress, an 
 artist judging from the standpoints which he had himself been 
 trained to esteem most highly. We have not far to go to fix upon 
 his name. He must be, as Robert first definitely pointed out ', 
 that Xenokrates, himself a pupil of two distinguished Sikyonians, 
 Teisikrates and Euthykrates, who is cited in the Index to Bk. 
 xxxiv and in § 83 as having written on bronze statuary, and in xxxv, 
 68 upon painting'- In the latter passage he is named con- 
 jointly with Antigonos, another art-writer, who, as we shall 
 presently see, is in great measure responsible for the additions of 
 epigrammatic or anecdotic character made to the earlier history 
 by Xenokrates. 
 ^ But the scheme of development propounded in the famous 
 five criticisms involves a curious anachronism : Myron is made 
 posterior to Polykleitos, Pythagoras posterior to both. That this 
 anachronism cannot be due to mere negligence appears from the 
 carefully thought-out nature of the context. I think it is clear 
 from the remark preserved in Diogenes, concerning the rhythm 
 contributed to statuary by Pythagoras, that, alongside considera- 
 tions of symmetry and proportion, the idea of an evolution from 
 figures at rest to figures in motion influenced the chronological 
 order adopted by the author of the criticisms. After the stately 
 seated or standing gods, goddesses, and temple-attendants of 
 Pheidias come first the quiet athletes of Polykleitos, just shifting 
 the weight of the body to one leg as in the act of walking, then 
 
 ' Archdologische Marchen aus alter 135 a, b, are from Oropos, a region 
 
 und mtter Zeit, pp. 28 ff. A. Brieger, for which both Teisikrates, the master 
 
 De Fontibus, p. 46, had first pointed of Xenokrates, and Thoinias, son 
 
 cat that the verdicts on the bronze of Teisikrates, were at one time 
 
 statuaries could be traced beyond active (/. G. B. 120-122 a). But it 
 
 Varro back to Antigonos and Xeno- Is strange that an Athenian, who in 
 
 krates ; cf also Th. Schreiber, Quaes- inscribing his name was careful in 
 
 tionum de Ariif. Aetat., p. 27!!., and at least two cases (/. G. B. 135 a, 
 
 Furtwangler, 0/. «V. p. 68 ; but it was and the new inscription -also from 
 
 Robert who first disentangled the Oropos— '£07;^. apx- 1892, 51, cf. 
 
 special contribution of Xenokrates. Diels, Anzeiger, 1893, p. 138 f.) to 
 
 ^ His identification with the Athe- record the country of his birth, should 
 
 nian Xenokrates, son of Ergophilos, have come so completely to identify 
 
 of the inscriptions from Oropos and himself with the Sikyonians as did 
 
 .Elateia (Loewy, Inschrifien der Crie- the Plinian writer, or have so often 
 
 chischen Bildhauer, 135 a, b, c) ap- entirely passed over, or dismissed 
 
 pears to me, on the other hand, with only a passing allusion, the 
 
 doubtful (see Coram.). The strongest famous artists of his own country, 
 argument in its favour is that Loewy, 
 
XENOKRATES OF SIKYON xxi 
 
 the works — athletes also for the greater part — of Myron and 
 Pythagoras. Now, if we place the Myronian ' Diskobolos ' with 
 its audacious movement next to the Polykleitan ' Diadumenos ' or 
 ' Doryphoros,' and adopt the recent conjecture ', which attributes 
 to Pythagoras the fine boxer in the Louvre''', and the athlete in 
 violent motion of the Boboli gardens ' — two statues which surpass 
 even the Diskobolos in movement and animation — we shall at 
 least understand how, at a time when art-criticism in our modern 
 sense was scarcely existent, such statues would give rise to the 
 perverse chronology of §§ 55-59. 
 
 The account of the pupils of Lysippos is obviously inseparable 
 from the account of Lysippos himself. To Telephanes we shall 
 return presently. Before we proceed to track out Xenokrates 
 further, we should, however, note the significant fact that wherever, 
 in the passages just discussed, the locality of a work of art is 
 either given or can be recovered from other sources, it lies 
 within a restricted geographical beat, comprised by Olympia 
 (§§ 54, S9)> Delphoi (§§ 57, 59, 64, 66), Lebadeia, Thespiai, and 
 Thebes (§§ 66, 67), and finally Athens (§§ 54, 64)*- From this 
 we may gather that Xenokrates (who probably had little oppor- 
 tunity for distant travel) confined himself to the mention of 
 monuments of which he had personal knowledge. 
 
 A glance at the chronological tables of §§ 49-52 shows them 
 to be by the author of the criticisms ; in the one as in the other 
 Pheidias opens the series — Lysippos with the brilliant attendance 
 of sons and pupils closes it. If the Xenokratic authorship of 
 the chronology needed confirmation, we should find it in the 
 fact that Polykleitos, Myron, Pythagoras, are placed in the same 
 curious order as in the verdicts. The activity of Xenokrates 
 cannot have extended much beyond 01. 121, the date he assigns 
 to the pupils of Lysippos, and it is noteworthy that, although 
 his treatise was extensively enlarged by later writers, yet the 
 period with which it closed was adopted as representing the 
 close of art in Greece. Cessavit deinde (after 01. 121) ars, writes 
 Pliny, ac rursus Ofytnpiade CL VI revixit, the revixit not so much 
 
 ^'Fmt«'a.-a^er,Masterpieces0f Greek * Cf. Miinzer, <?/. cit. p. 505. Of 
 
 Sculpture, p. 171 f; cf. E. Reisch, the works whose locality is not indi- 
 
 Weihgeschenke, p. 44. cated, the Athena tam eximiae pulchri- 
 
 ' Phot. Girandon, 1207. iudinis of Pheidias (see Comm. to 
 
 ' Phot. Amdt-Bruckmann {Einzel- xxxiv, 54, 1. 2), the cow of Myron, and 
 
 verkauf), 96. his Perseus were at Athens. 
 
xxii INTRODUCTION 
 
 marking a real revival as affording a convenient formula to 
 introduce the Greek artists who decorated at Rome the famous 
 monuments erected by Q. Metellus Macedonicus '. 
 
 It is evident that the chronological and narrative parts of the 
 Xenokratic treatise had originally formed one consistent whole, 
 which some later writer afterwards subdivided into a chronology 
 and alphabetical lists (cf. p. Ixxx). The five most famous artists, 
 however, and the pupils of Lysippos were left, owing to their 
 great reputation, in the original Greek order, though sundered 
 from the chronology. Moreover, Telephanes of Phokaia (§ 68) 
 and Praxiteles (§§ 69-71) were assigned places— in no sort 
 of chronological order— between the pupils of Lysippos and 
 the first alphabetical list. The reasons for the exception made 
 in their favour are sufficiently instructive. The Xenokratic 
 character of the account of Telephanes comes out in the com- 
 parison instituted to Polykleitos, Myron, and Pythagoras, whose 
 names are given in the same order as in the verdicts ; since, 
 however, Xenokrates had not deemed Telephanes worthy of 
 comparison with the two greatest names — with either Pheidias, 
 the founder, or Lysippos the perfecter of the art — he had also not 
 accredited him with any distinct contribution to the progress of 
 statuary. Now the comparison of Telephanes to Polykleitos, 
 Myron, and Pythagoras on the one hand, and the absence of any 
 precise estimate of his merits on the other, were explained by some 
 later Greek writer in a rationalizing anecdotic manner, alien to 
 Xenokratic practice : Telephanes was excellent, the reasoning 
 seems to be, or he could not be compared to great names, but he 
 must have been obscure or we should hear more about him ; and 
 as Xenokrates had given a list of works, some, or all, of which were 
 in Thessaly ■', their remoteness was made the reason for the artist's 
 want of fame : quoniam in Thessalia habitaverit et ibi opera eius 
 latuerint. These additions are so nicely welded into the Xenokratic 
 account that they must have been made at a quite early date, as we 
 shall see by Antigonos (p. xxxvi). Puzzled by the mention of this 
 excellent yet unknown artist, the Roman authors next introduced 
 him under cover of their Greek authorities : artifices qui haec 
 condidere (i.e. Xenokrates and Antigonos) miris laudibus celebrant 
 
 ' • The cessavit and revixit first ex- " A region to which Xenokrates 
 
 plained by Brunn, K. G. i. p. 504 f. might easily have extended his re- 
 
 Cf H. L. Urlichs, Griechische Kunst- searches northwards from Phokis and 
 
 schriftsteller, p. 31 f. Boeotia. 
 
XENOKRATES OF SIKYON xxiii 
 
 Telephanem Phocaeum, and placed him outside the insignes, but 
 yet in a more distinguished place than the alphabetical lists. 
 Practically the same happened in the case of Praxiteles (§§ 69-71). 
 This artist appears to have been only summarily discussed by 
 Xenokrates ^, who, like the rest of his school and Lysippos 
 himself, was exclusively a worker in bronze, and therefore only 
 wrote concerning works in bronze, entirely ignoring the marble 
 sculpture wherein lay the chief strength of Praxiteles and the new 
 Attic school. Yet Praxiteles was much too great a favourite of 
 the Romans for a Roman writer to be content with assigning to 
 him a place among the artists of the alphabetical lists, so he linked 
 him on to Telephanes with a quoque, adducing as an apology 
 for not placing Praxiteles among the insignes that he was marmore 
 felicior ideo et darior. The argument practically comes to : 
 Praxiteles also, like Telephanes, has an excuse for the place 
 assigned to him — in his case not want of fame, but the fact that 
 he is better known as a worker in marble than as a worker in 
 bronze '\ 
 
 An analysis of the first alphabetical list (§§ 74-83) will reveal 
 further traces of Xenokrates. In the subjoined tables I have 
 marked with an X those artists the account of whom seems 
 Xenokratic, and placed within square brackets the names of 
 artists or works manifestly introduced from other sources. 
 
 X. Alcamenes: encrinomenos^. 
 
 X. Arisiides : quadrigae higaeque. 
 
 \_Amphicrates : Leaena, periegetic, see Comm. and p. Ixxxvi.] 
 
 X. Biyaxis: Aesculapius, Seleucus. 
 
 X. Boedas: adorans. 
 
 [Baton: Apollo, luno, Roman museography, cf. p. xci f.] 
 
 \Cresilas : volneratus, Pericles, both from epigrams, see Comm. and p. Ixix.] 
 
 [Cephisodotus : ara, on authority of Heliodoros, p. Ixxv.] 
 
 X. Canachus : {Apollo, anecdotic, see Comm. and p. Ixxxviii] celeiizontes pueri. 
 
 X. Chaereas : Alexander, Philippus. 
 
 X. Ctesilaus: doryphorus, Amazon. 
 
 {Demetrius : Lysimache (inscrip., p. Ixxxvi), Minerva nius. (periegetic), 
 Simon (literary source, p. Ixv, note l).] 
 
 ' Miinzer, op. cit. p. 507, considers Oporan (where M. wrongly retains 
 
 the Xenokratic material to be some- canephoram). 
 
 what as follows: Praxiteles. ..fecit ^ I am indebted to Dr. H. L. 
 
 ex aere. . . . Proserpinae raptum Uriichs for giving me what I believe 
 
 item catagusam, et Liherum patremet to be the correct explanation of the 
 Ebrietatem nobilemque una Satyrum, 
 
 qium Graeci periboeton cognominanl ' The list is based on that of Oeh- 
 
 item stephanusam, pseliumenen, michen, Plin. Studien, p. 163 f. 
 
xxiv INTRODUCTION 
 
 X. Daedalus : desiringentes se. 
 X. Dittomenes : Protesilaus, Pythodemus. 
 
 X. Euphranor: [Alexander Paris {ep\gT. TpA:id^), Minerva, La/ena (Roma.n 
 museogr.)], quadrigae bigaeque, cliduchus. ^ Virtus et 
 Graecia; mulier adm. et ador.; Alex, et Philippus. 
 
 [Eufychides : Eurotas (epigr. p. Ixix f.).] 
 X. Hegias : Minerva, Pyrrhus, celetiaontes. 
 
 [ffagesias : Hercules in Pario colonia (Mucianus, p. xc).] 
 X. Isidotus : buthytes. 
 
 [Zycius ; puer sufflans (epigr. p. Ixx)], Argonautae. 
 
 ILeochares: Ganymedes (epigr. p. Ixx), Autolycus (literary source, p. 
 xlv, note i), Jupiter, Apollo (Rom. museogr.), Lyciscus 
 (epigr. p. Ixxiii, note z).] 
 X. Lycius : puer suffitor. 
 
 \Menaechmus : vitulus (epigr. p. Ixxiii, note 2).] 
 X. Naucydes : Mercurtus, discobolus, immolans arietem. 
 X. Naucerus : luctator anhelans. 
 
 {Niceralus : Aesculapius et Hygia (Roman museogr.).] 
 X. Pyromachus : quadriga cum Alcibiade. 
 X. Polycles : Hermaphroditus. 
 X. Pyrrhus : Hygia et Minerva. 
 X. Phanis : epithyusa. 
 
 [Styppax: splanchnoptes (periegetic and epigr. p. Ixx).] 
 
 [Silanion: Apollodorus, Achilles, epistates (epigr. p. Ixx).] 
 
 \Strongylion : Amazon (Roman anecdote, cf. p. xcii).] 
 
 [ Theodorus : se ipsefudit (anecdotic).] 
 
 \_Xetiocrates : copia signorum (Antigonos).] 
 
 Reference to the text of Pliny will show that the works of the 
 nineteen artists marked X are enumerated with a simple direct- 
 ness which contrasts as forcibly as possible with the literary 
 allusions, anecdotic tags, and epigrammatic descriptions attaching 
 to the notices of the names placed in brackets. This same 
 directness characterized the lists of works of the insignes, and 
 is a clear mark of Xenokratic authorship. Ten of these names, 
 moreover, still retain their place in the Xenokratic chronology 
 (Alcamenes, Aristides, Canachus, Daedalus, Dinomenes, Euphranor, 
 Hegias, Naucydes, Pyromachus, Polycles). 
 
 An attentive study shows how a second, a third, and perhaps 
 even a fourth hand worked over or added to the Xenokratic 
 material, sometimes to its suppression. Cephisodotus, Eutychides, 
 Leochares, all appear in the Xenokratic chronology, but, if any of 
 thfir works were mentioned, these have been omitted to make 
 way for others which brought the added interest of anecdote or 
 epigram; in the case of Euphranor (§ 77) the mention of the 
 ' Paris,' derived from an epigram, was prefixed to the arid Xeno- 
 
XENOKRATES OF SIKYON xxv 
 
 kratic lists. This method of introducing new material from other 
 sources has led to the double mention of Lycius (§ 79) and of 
 Hegias (§ 78), the latter of whom appears the second time, under 
 the alternative form of his name, Hagesias. As to the mention 
 of Xenokrates himself (§ 83), it is probable that if it had come 
 from him its wording would be at once more modest and less 
 vague. I therefore adopt Miinzer's suggestion (pp. cit. p. 509) 
 that it is due to the reverence ('Pietat') of the later writer, who 
 worked the Xenokratic treatise into his own, namely Antigonos. 
 A number of other additions, made from evident Roman sources, 
 or concerning works to be seen at Rome, in Varro's or Pliny's 
 day, need no comment here. In the same way certain additions 
 came to be made also to the chronology. The most obvious is 
 the notice of Seilanion (see p. xlix, note 2, and Add. to Comm. on 
 xxxiv, 51), who is tacked on to the artists of 01. 113. 
 
 The Plinian account of the bronze-workers from § 49 to § 83 
 represents roughly, then, the original compass of that portion of 
 the treatise of Xenokrates which treated of the period from the 
 great revival after the Persian wars down to the sons and pupils of 
 Lysippos, in Olympiads CXIII and CXXI. But it would be an 
 error to suppose that this history of statuary took no notice of 
 the earlier phases of the art. Through some accident which we 
 are now no longer in a position to determine, the whole earlier 
 part seems however to have been suppressed, with the exception 
 of one unmistakable fragment, which oddly enough has found its 
 way to the beginning of Pliny's account of the sculptors in 
 marble (xxxvi, 9-10). The passage, as it now stands, is a little 
 mosaic of most diverse materials, but the original Xenokratic 
 conception is still evident from the stress laid upon the early 
 fame of the Sikyonian workshops, from the fact that Dipoinos 
 and Skyllis, the scene of whose labours lay chiefly in Sikyon and 
 adjacent or dependent regions, are chosen among all archaic 
 craftsmen to represent the beginnings of their art '. Their works 
 had been of wood (note on xxxvi, 10) and could thus fall within 
 the range of a writer upon bronze statuary, describing the gradual 
 evolution from wood or wood gilt to metal. To the Xenokratic 
 
 1 The Xenokratic kernel of the ing the view that Xenokrates left the 
 
 passage has been rightly detected by whole of the archaic period unnoticed 
 
 Miinzer [op. cit. p. 523), whom it is {ib. p. 505). 
 therefore surprising to find support- 
 
xxvi INTRODUCTION 
 
 contention that the art of sculpture in bronze was elaborated by 
 Daidalid artists on the mainland of Greece, a later writer — 
 presumably Antigonos (p. xliii f)— adjusted the account of the rise 
 of sculpture in marble in the islands of the Aegean, under the 
 auspices of Chian sculptors. Thus it was that the Xenokratic 
 account of Dipoinos and Skyllis came in time to be placed at the 
 opening of a history of sculpture in marble, where it has long 
 proved a crux to archaeologists '. We have learnt, then, that 
 Xenokrates, in treating of the bronze-workers, began with 
 the earliest beginnings. The current notion that he took no 
 account of archaic bronze statuary is as false as it is arbitrary ''. 
 It is not improbable that, if the Xenokratic account of the 
 statuaries, as we have it in Pliny's thirty-fourth book, opens with 
 Pheidias, this is somehow due to a very ancient misunderstanding 
 of the statement that ' Pheidias first revealed the capabilities of 
 sculpture and indicated its methods." We shall immediately see 
 how a similar expression, in the case of the painter ApoUodoros, 
 misled both ancient and modern critics into the erroneous sup- 
 position that the Greek writers— Xenokrates in primis — had 
 ignored the early painters. 
 
 The Xenokratic history of the painters, preserved in Pliny's 
 thirty-fifth book, can be recovered far more completely than that 
 of the bronze-workers. Since in xxxv the alphabetical principle 
 does not make its appearance till § 138, where it is employed to 
 group together artists of comparatively minor importance, the 
 original scheme is, in parts at least, still suflSciently clear. 
 
 Xenokrates is quoted by name, along with Antigonos, as the 
 authority for the verdict upon Parrhasios (§ 68). The judgement 
 in its essence is so indubitably his, as a comparison with the 
 judgement passed upon Lysippos and his son Euthykrates (xxxiv, 
 66) proves, that if the later writer's name appears it can only 
 
 ■ Miinzer, loc. cit. known to him. I take it rather that 
 
 ' Cf. among others Robert, Arch. Xenokrates, having but very few dates 
 
 Mdrchen, pp. 36, 41, where the at his command (see Comm. on xxxiv, 
 
 post-dating of Kritios and Nesiotes 49), grouped about Pheidias, as their 
 
 (§ 49) is explained by supposing that representative, a number of other 
 
 the fame of their 'Tyrant-Slayers' artists who had been engaged upon the 
 
 would attract the attention of the restoration of Athenian monuments 
 
 compiler of the chronology, who, after the Persian sack. The anachron- 
 
 since he ignored the archaic period, ism at any rate affords no proof 
 
 made them into contemporaries of that Xenokrates had neglected the 
 
 Pheidias, the earliest bronze-worker archaic period. 
 
XENOKRATES OF SIKYON xxvii 
 
 be in his character of compiler, or ' editor,' of the Xenokratic 
 history. 
 
 (Lysippus) statnariae arti plurimum Parrhasius Ephesi natus et ipse 
 
 traditur contulisse capillum expri- multa contulit. primus symmetrian 
 
 mendo, capita minora faciendo qnam picturae dedit, primus argutias voltus, 
 
 antiqui, corpora graciliora siccioraque, elegantiam capilli, venustatem oris, 
 
 per quae proceritas signorum maior coufessione artificum in lineis extremis 
 
 videretur. non habet Latinum nomen palmam adeptus. haec est picturae 
 
 symmetria quam diligentissime custo- summa suptilitas. corpora enim 
 
 dit nova intactaque ratione quadratas pingere et media rerum est quidem 
 
 veternm staturas permutando, vulgo- magni operis sed in quo multi gloriam 
 
 que dicebat ab illis factos quales essent tulerint, extrema corporum facere et 
 
 homines, a se quales viderentur esse. desinentis picturae modum includere 
 
 propriae huius videntur esse argutiae rarum in successu aitis invenitur. 
 
 opemm custoditae in minimis quoque ambire enim se ipsa debet extremitas 
 
 rebus, filios et discipulos reliquit et sic desinere ut promittat alias pone 
 
 laudatos artifices Laippum, Boedan, se ostendatque etiam quae occultat. 
 
 sed ante omnes Euthrycraten, quam- banc ei gloriam concessere Antigonus 
 
 quam is constantiam potius imitatus et Xenocrates qui de pictura scripsere, 
 
 patris quam elegantiam austero maluit praedicantes quoque, non solum con- 
 
 genere quam iucnndo placere. fitentes'. 
 
 But the criticism of Parrhasios is closely linked with a row of 
 similar criticisms, not only interconnected, but dictated by the 
 same spirit as the judgements passed upon the statuaries ^ Robert 
 has pointed out that identical standards were set up in each case, 
 while the final appreciations were similarly formulated ; as 
 Pheidias (xxxiv, 54) discloses the possibilities of statuary, so 
 ApoUodoros (xxxv, 60) discloses those of painting. The initiative 
 of either master was carried further in the one art by Polykleitos 
 (xxxiv, 56), by Zeuxis (xxxv, 64) in the other. Both these artists, 
 however, fail in the rendering of proportion, a point in which 
 Myron (xxxiv, 57) and Parrhasios (xxxv, 68) surpass them. The 
 former is symmetria diligentior than Polykleitos ; of the other it is 
 said that primus symmetrian picturae dedit. Pythagoras (xxxiv, 
 59) and Euphranor (xxxv, 128) each progress towards the 
 attainment of symmetry j of the one the critics said irpHnov . . . 
 (TviifiiTpias SoKovvTa i(TT0)(atT6ai, of the Other primus videtur . . . usur- 
 
 ' I have chosen these two passages ' Robert, Arch. March, p. 67 ff., 
 
 for comparison, becanse of the marked conveniently prints the passages side 
 
 verbal similarities, but of course the by side. After the detailed analysis 
 
 real counterpart, among the painters, of the verdicts upon the bronze- 
 
 of Lysippos, among the statuaries, workers, it seems sufficient to refer 
 
 was Apelles. to the text. 
 
xxviii INTRODUCTION 
 
 passe symmeirian. The highest mastery, finally, is embodied in 
 Lysippos (xxxiv, 65) and in Apelles (xxxv, 79). 
 
 We may now proceed to recover traces of Xenokrates in the 
 earlier sections of xxxv. It has been noted above that the con- 
 tribution to symmetry, made respectively by Pythagoras and 
 Euphranor, was couched in almost identical terms. But the 
 statement that Pythagoras was the first to mark the sinews and 
 the muscles, primus nervos et venas expressit, recalls the improve- 
 ments attributed in an early part of the History of the Painters 
 to Kimon of Kleonai : articulis i}iembra distinxit, venas protulit 
 (§ 56) ^ That both are from the same hand is indubitable. 
 
 Again, the criticism of Kimon is inseparable from a whole 
 series of similar passages, in which the earlier stages of painting 
 were discussed. These began at § 16, and, after sundry excursus 
 on paintings in Rome and on colours (§ 18 ff.), were resumed 
 again at § 56. When exhibited together, the original coherence 
 of the passages is self-evident ^ 
 
 § 16. Inventam liniarem a Philocle Aegyptio vel Cleanthe Corinthio primi 
 exercuere Aridices Corinthius et Telephaiies Sicyonius, sine uUo etiamnum hi 
 colore, iam tamen spargentes linias iiitns. ideo et quos pingerent adscribere 
 institutum. primus invenit eas colore testae, ut ferunt, tiitae, Ecphantus 
 Corinthius. 
 
 § 56. . . . eosqne qui monochromatis pinxerint, quorum aetas non traditur, 
 . . . fuisse, Hygiaenontem, Dinian, Charmadan et qui primus in pictura marem 
 a femina discreverit Eumarum Atheniensem figuras omnis imitari ausum, quique 
 inventa eius excoluerit Cimonem Cleonaeum. hie catagrapha invenit, hoc est 
 obliquas imagines, et varie formare voltus, respicientes suspicientesve vel despi- 
 cientes. articulis membra distinxit, venas protulit, praeterque in vestibus rugas 
 et sinus invenit. 
 
 § S7- Panaenus quidem frater Phidiae etiam proelium Atheniensium adversus 
 Persas apud Marathona factum pinxit. adeo iam colorum usus increbruerat, 
 adeoque ars perfecta erat ut in eo proelio iconicos duces pinxisse tradatur, 
 Atheniensium Miltiaden, Callimachum, Cynaegirum, barbarorum Datim, Arta- 
 phernen. 
 
 § 58. . . . Polygnotus Thasius qui primus mulieres tralucida veste pinxit, 
 capita earum mitris versicoloribus operuit plurimumque picturae primus con- 
 tulit, siquidem instituit os adaperire, dentes ostendere, voltum ab antiquo rigore 
 variare. [follows 7nention of a picture in Rome'\ hie Delphis aedem pinxit, hie 
 et Athenis porticum quae Poecile vocatur . . . cum partem eius Micon . 
 pingeret. 
 
 ^ These primitives are represented as not yet sufficiently ad- 
 
 ■ The parallelism of the two pas- » I here follow Munzer entirely 
 
 sages is noted— but in a different ("/"V. p. 514), who gives the passages 
 
 context— by Hartwig, Meisterschahn, freed, so far as possible, from later 
 
 p. 165. additions. 
 
XENOKRATES OF SIKYON xxix 
 
 vanced to grapple with problems of harmony and symmetry ; it 
 is sufificient for them to attempt to conquer step by step, first 
 a knowledge of their materials, then by slow degrees the correct 
 presentment of objects. Philokles, Kleanthes, and the earliest 
 painters, are scarcely painters at all ; they practise mere outline. 
 Then Ekphantos fills up this outline with red colour. Hygiainon 
 and his fellows (§ 56) continue to use only one colour till it 
 occurs to Eumaros to distinguish in painting between the sexes ; 
 this he doubtless does by introducing white for the flesh of 
 the women ^ and thus marks the first stage in the progress from 
 monochrome to polychrome painting. So far, however^ figures 
 have only been drawn in full face or in profile (though Pliny 
 nowhere states this, it can be supplied from what follows) ; but now 
 Kimon of Kleonai invents foreshortening, Kardypaipa "- He further 
 correctly marks the articulations and the muscles, and ' discovers 
 the wrinkles and the windings of drapery.' Artists, having now 
 learnt to distinguish between the sexes, to articulate their figures, 
 and to present them in various attitudes, are able to turn their 
 attention to distinguishing between individuals. Panainos, accord- 
 ingly, in his Battle of Marathon, introduces portraiture. But 
 mere draughtsmanship — outline simply filled in with colour — was 
 susceptible of still further improvements. Thus Polygnotos of 
 Thasos first permits the draperies to reveal the bodies beneath 
 them, and shows at the same time how to give movement not 
 only to the body, as Kimon had done, but also to the face. Then, 
 the capacities of this limited technique being exhausted, there 
 appeared on the scenes the great painter Apollodoros (§ 90 above, 
 p. xxvii), who by discovering ' the fusion and management of 
 shade '' ' — we should rather say of light— first gave to objects their 
 real semblance {primus species instituit) : thus he contributed to 
 painting its most important factor, and thereby, as an epigrammatist 
 pointedly said, he ' opened the gates of art ' to the great masters 
 of Greek painting — to Zeuxis and Parrhasios and their illustrious 
 contemporaries. The coherence of the whole history of the 
 development and perfection of painting — the consistent logic 
 which underlies it, of an evolution from the simpler to the more 
 complex — is so patent that it is incomprehensible how so many 
 
 ' Eumaros's innovation is generally accurately grasped, 
 so explained, but I am not aware ^ See note on xxxv, 56. 
 
 that the significance of the introduc- * i^tvpoiv ipOopav ical &-ir6xp<^'riy 
 
 tion of this white colour has ever been (r«ios, Plutarch, De Glor. Athen. 2. 
 
XXX INTRODUCTION 
 
 scholars — at least in the period between Jahn's Essay and 
 Miinzer's— entirely failed to apprehend it. 
 
 It remains, however, to ask how in face of this consecutive 
 Treatise by a Greek writer there could ever arise the complaint in 
 XXXV, 54 : non constat sibi in hac parte (sc. historia pidorum) 
 Graecorum diligentia multas post olympiadas cekbrando pidores 
 quam statuarios ac toreutas, primumque olympiade LXXXX. The 
 question involves a difficult problem. One can only imagine that 
 the complaint, in its present form, is the result of a misunder- 
 standing ; it is not impossible that some later writer, intermediate 
 between the earlier Greek art-writers and the Roman, had found 
 fault with the Greeks for failing to appreciate the naive charm and 
 simple methods of the painters who lived previous to the innova- 
 tions of ApoUodoros. Such a criticism, combined with the words 
 used by Xenokrates of ApoUodoros, hie primus spedes instituit, 
 might lead in time to the supposition that the Greek art-writers 
 had completely failed even to mention pre-ApoUodorian painters. 
 The Roman compilers, drawing from books (Pasiteles ? p. Ixxix) 
 where the names of Xenokrates and Antigonos as authorities for 
 the history of the early painters had long dropped out, piled up 
 as proofs of the supposed inaccuracy of these writers ^ a number 
 of facts" for which their Treatises were in reality the chief sources. 
 Theophrastos, also, had been misrepresented in precisely the 
 same manner. According to Pliny (vii, 205) he had attributed 
 the invention of painting to Polygnotos, whereas Theophrastos 
 can have intended nothing more than that Polygnotos was the 
 first painter who could be properly so called ; writing doubtless 
 under the influence of Aristotle's admiration for the ethical quali- 
 ties of this artist {Poet. 1450a). Theophrastos had assigned to him 
 the place which the PKnian authors, intent rather upon technical 
 progress, gave to ApoUodoros. In truth Pliny's statement as 
 regards Theophrastos, and his or Varro's complaint of the Greek 
 inaccuracy, are, I believe, but the distorted reflection of the old 
 controversy whether draughtsmanship or colouring was the more 
 powerful means of expression. The opinion of Aristotle may be 
 
 » It is universally acknowledged Panainos as painters- (cf. p. li) ; the 
 that the Greeks alluded to in the whole list of painters and their works 
 words Graecorum diligentia are the from the early monochromatics down 
 main authorities, i.e. Xenokrates and to Polygnotos. The account of Boul- 
 Antigonos (perhaps also Duris) ; cf. archos (§55) may have been derived by 
 Robert, Arch. Mdrcken, p. 25. Varro (cf.p.Ixxxivand Comm. on xxxv 
 
 ^ E.g. the activity of Pheidias and 55) from some independent source. ' 
 
XENOKRATES OF SIKYON xxxi 
 
 guessed from his predilection for the pre-Apollodorian 
 Polygnotos ^. The testimony of Dionysios to the value which 
 a school of criticism, practically unrepresented in Pliny, attached 
 to the pre-Apollodorian paintings is of importance : 
 
 ' In ancient paintings the scheme of colouring was simple and presented no 
 variety in the tones ; but the line was rendered with exquisite perfection, thus 
 lending to these early works a singular grace. This purity of draughtsmanship 
 was gradually lost ; its place was taken by a learned technique, by the differen- 
 tiation of light and shade, by the full resources of the rich colouring to which 
 the works of the later artists owe their strength ^' 
 
 We learn from this passage that the methods of the later 
 painters were practically looked upon as hostile to those of the 
 earlier, and Xenokrates, a hot partisan of the post-Apollodorians, 
 may well have expressed himself in language which would 
 eventually lead to the erroneous supposition that he had ignored 
 all earlier paintings, from Polygnotos and Panainos up to the 
 early monochromatics. 
 
 As we have it in Pliny, the argument against the Greeks is 
 presented with skill and vigour (Comm. on xxxv, 54) ; the theme 
 was evidently congenial to the Roman authors, who doubtless 
 felt for the archaic the enthusiasm — common to all decadent 
 periods — which was to rouse the subtle satire of Quinctilian '- 
 
 After § 70 it becomes more difficult to follow Xenokrates (cf. 
 Miinzer, op. cit. p. 516), and scarcely any sentence can be picked 
 out as bearing the indubitable signs of his method. Later writers, 
 as shown by the Plinian indices, had, when it came to the artists 
 
 ^ Bertrand, £tudes sur la Peinture, rols i^iyimcnv ix"^""^ noMXiav, anpi^ets 
 
 p. 1 7, singularly misapprehends Aris- Sc rais ypa/j./jLais, Kal iroKh rd yapiiv 
 
 totle when he assumes that A. kv ravrais ixP^^°-^' °-^ ^^ pifT^iKeivas, 
 
 definitely stated his preference for eiypan/wi fiiv ^ttov, l^eipyaapihai Si 
 
 drawing over painting, and translates fidXXoVj aKia re Kai tpajrl iT0LKtW6fievatj 
 
 Poet. 1450b, 'en etalant les plus koX iv t£ TrX^flti tSiv pnyimraiv t^v 
 
 belles couleurs on ne fera pas le meme layyv ex""'''". 
 
 plaisir que par le simple trait d'une * Primi, quorum, quidem opera non 
 
 figure.' What A. says is that colours vetustatis modo gratia visenda sunt, 
 
 laid on confusedly or indiscriminately clari pictores fuisse dicuntur Poly- 
 
 will not produce as much pleasure as gnotus atque Aglaophon, quorutn 
 
 simple outline : A yap ris iva\e'u//tie simplex color tam sui studiosos adhuc 
 
 Tofs KaWiarois <papiiiicois x'^^Vi o"" habet, ut ilia props rudia ac velut 
 
 hv Spioias €i(ppa,v€tiv Kal \ivicoypaipriaas futurae mox artis primordia maxi- 
 
 tlic6va. mis, qui post eosexstiterunt, auctoribus 
 
 '^ Dionys. Halik. de Isaeo iudic. 4 praeferant, propria quodam intelli- 
 
 AaX U) TiKs apxo-iai ypa<pal, x/KuMaff' gendi, ut mea opinio fert, ambitu. 
 
 ]j.\v (Xpyac jiivoi anKas, Kal ovSepiiav kv Quiuct. xii, 10. 
 
xxxii INTRODUCTION 
 
 of the fourth century, a large mass of literature to draw from. 
 Moreover popular anecdotes concerning the painters now take in 
 great measure the place of more serious criticism. 
 
 The next clear trace of Xenokrates is in the special emphasis 
 laid (§ 76) upon the fame of the Sikyonian painters. Sikyon, 
 the cradle of art-painting (§ 16), is now shown to be the home 
 also of its splendid maturity ; as she had produced Lysippos, the 
 greatest master of statuary, so she produces Apelles, the greatest 
 master of the rival art of painting, whose contributions to his art 
 are appraised (§ 79) according to the canons applied to Lysippos 
 in xxxiv, 65. Though Apelles was probably already an artist of 
 established renown when he left his native Ephesos to study in 
 the schools of Sikyon, the claims of his obscurer early masters 
 must fade entirely before the glorious reputation of Eupompos 
 and Pamphilos. 
 
 The Theban-Attic school, which branched off from the 
 Sikyonian, with Aristeides I — brother-pupil of Eupompos — also 
 claimed the attention of Xenokrates. We must recognize with 
 Robert ^ that the account of Aristeides II in § 98 originates with 
 him; we note the Xenokratic intent to connect the name of 
 a great artist with some definite progress or contribution. In 
 this case the progress accomplished is of ethical rather than of 
 technical import; Aristeides discovers how to render not only 
 character but transient emotions^, and in this there is a vague 
 reminiscence of the criticism passed upon Myron, that he had 
 failed to express ' the sensations of the mind.' 
 
 Between the two Aristeides must naturally have intervened the 
 account of Nikomachos, son of Aristeides I, and his pupils, 
 which in Pliny appears in §§ 108-110, away from its original 
 context. 
 
 After a long digression in §§ 11 2-1 21, due, as we shall see, in 
 part toVarro (p. Ixxxiv), in part to Pliny himself (cf. p.xcii), we again 
 come upon clear traces of Xenokrates in the History of the Painters 
 in Encaustic '- In § 122 we find it stated first that, according to 
 certain authorities, Aristeides was the inventor of encaustic; 
 
 1 Archdologische Mdrchen, p. 69 ; ably due to Vnrro. It affords one of 
 
 cf; Munzer, p. 5T6. the many proofs of the passage of the 
 
 i.e.ferturbationes: Fnrtwangler, Greek Treatises upon Art throu<rh 
 
 Phnius u. s. Quellen, p. 65 f., points Varro's hands. " 
 
 out that this Ciceronian translation of ' Miinzer, op. cit. p. Ki7ff 
 
 the Greek ird^Tj (see Comm.) is presum- 
 
XENOKRATES OF SIKYON xxxiii 
 
 immediately after it is asserted that there existed pictures in this 
 technique older than the time of Aristeides, namely those by 
 Polygnotos, by the Parians Nikanor and Mnasilaos, and by Ela- 
 sippos. In a word, the claims of the island-schools to priority 
 of invention are opposed to the claims of the artists of the main- 
 land, precisely as in xxxvi, 9-12 the Xenokratic contention that 
 statuary was invented by the Daidalids Dipoinos and Skyllis was 
 confronted by Antigonos with the assertion that long before their 
 time sculpture in marble had flourished in the islands of the 
 Aegean (p. xxvi) \ Thus it seems safe to conclude that the 
 tradition attaching the invention of Encaustic to the name of 
 Aristeides goes back to Xenokrates, and that Antigonos, faithful 
 to his programme of exhibiting the various sources at his com- 
 mand, appended to it the account now represented in Pliny by 
 the words aliquanto vetustiores encaustae pidurae extitere . . . nisi 
 encaustica inventa. 
 
 The school partisanship of Xenokrates at once betrays itself in 
 § 123 in the preeminence assigned to the Sikyonian Pausias, pupil 
 of the Sikyonian Pamphilos (§ 75), and accordingly brother-pupil 
 of Apelles. Pausias is not only praised as "Caz first to achieve fame 
 in the wax technique, but is also credited in true Xenokratic fashion 
 with two distinct contributions : he is Xhe^ first to paint the panels 
 of ceilings, the first also to decorate the vaults of roofs. It may 
 be noted at this point that the Plinian division into painters in the 
 ordinary tempera and painters in encaustic was probably no part 
 of the original Greek treatise. Pausias must have been discussed 
 in connexion with Pamphilos and the artists of § 75, while the 
 discussion of Euphranor must have followed upon that of his 
 master Aristeides I. That the pupils of Pausias, Aristolaos 
 (§ 137) and Nikophanes, had also originally been discussed by 
 Xenokrates is almost certain '^ ; but the criticism passed upon 
 Euphranor in § 130 is to my mind the last passage in the Plinian 
 narrative of the painters where Xenokratic authorship can be 
 pointed to with certainty. Students, however, will read with 
 interest Miinzer's attempts {^op. cit. p. 518) to disengage further 
 Xenokratic threads. 
 
 ' The parallelism has been kindly Nikophanes in xxxv, iii, recalls the 
 
 pointed out to me by MUnzer in elegantia attributed to Lysippos, 
 
 a private letter ; see note 3 on p. xxxiv, 66, the elegantia in render- 
 
 xliv. ing of hair attributed to Parrhasios, 
 
 ^ The epithet elegans applied to xxxv, 67. 
 
xxxiv INTRODUCTION 
 
 Before dismissing the history of the painters we still have to note 
 a few scattered passages which afford proof that Xenokrates had 
 not only summed up but analyzed the problems which the great 
 artists in turn had set themselves to solve. The appreciation of 
 Parrhasios (xxxv, 67), with the appended analysis of his special 
 artistic achievement, contained in the words haec est pidurae 
 summa suptilitas . . . occultat, is a striking instance. That highest 
 and hardest aim of the painter to produce about his figures the 
 illusion of ambient space, of enveloping light and air, could not 
 be more vigorously or happily expressed than in the phrase : 
 corpora enim ptngere et media rerum est quidem magni operis sed in 
 quo multi gloriam tulerint, extrema corporum facere et desinentis 
 picturae modum includere rarum in successu artis invenitur. 
 Ambire enim se ipsa debet extremitas, et sic desinere ut promittat 
 alia post se ostendatque etiam quae occultat (see Comm.). Again we 
 can, I think, trace the hand of Xenokrates in xxxv, 29, in the 
 analysis of the various effects attempted by painting ; with subtle 
 understanding of artistic procedure it is told how painting after 
 shaking off its early monotony discovered first light and shade, 
 then the effects attainable by the juxtaposition of colours ; finally, 
 how it discovered glow and the passage from the more lit-up to 
 the less lit-up parts of a picture, in a word what the moderns call 
 ' values ' (see Comm.) Such observations had doubtless formed 
 part of the history of the development of painting from the early 
 monochromatics to the successors of ApoUodoros, and became 
 detached from their original context, perhaps at the time when 
 the Xenokratic Treatise was schematized as noted on p. xxii. 
 Furthermore it is possible that the Treatise had originally included, 
 besides statements of the personal contribution made to the pro- 
 gress of art by the principal artists, and aesthetic analysis of special 
 problems, a discussion of the materials employed. Perhaps there- 
 fore we should follow Mlinzer (pp. cit. p. 512; p. 499 ff.) in 
 crediting Xenokrates with the chapters on colours (xxxv, 29 ff.)^ and 
 consequently also with the notice of the various kinds of bronze 
 (xxxiv, 9 ff.) employed by the statuaries. 
 
 The short account of modelling^ in clay in xxxv, 151-153, con- 
 
 ' After considerable hesitation, we and actual works of art. 
 decided on omitting these chapters " MUnzer, op. cit. p. 509 f. ; cf. 
 
 from the present edition, which is Furtwangler, Plinius u. o. Quellen, 
 
 concerned only with those portions p. 59 f. 
 of the Historia that treat of artists 
 
XENOKRATES OF SIKYON xxxv 
 
 tains the last marked traces of Xenokrates that we come across 
 in Pliny. Boutades, a potter {figulus), and of course a Sikyonian, 
 invents the fashioning of portraits in clay {fingere ex argilla 
 similitudines). To this statement is now attached from another 
 source an anecdote which represented this Sikyonian workman 
 as active in Corinth (p. xxxvii). In § 152 a variant version of 
 the discovery of modelling is given. Then with the words 
 Butadis inventum we get back to our Sikyonian potter, who, 
 having learnt to fashion a face in clay, is now the first {primus) 
 to adapt faces to tile ends, whence arose in time the whole 
 decoration of the eaves of temples. Further, he invents {invenit) 
 how to take moulds off the clay models for statues [de signis 
 effigies exprimere), and is thus the discoverer of the preliminary 
 indispensable process of casting statues in bronze. Hundreds 
 of years later another Sikyonian, Lysistratos, the brother of Xeno- 
 krates's special hero Lysippos, first discovers {primus . . . instituif) 
 how to take a mould off the living face. Hence the last and 
 crowning progress of art, the advent of realistic portraiture. 
 Miinzer is certainly right in his conjecture that the account of 
 modelling was originally prefixed to the history of bronze-statuary, 
 since bronze-casting presupposed the clay model (see Comm. on 
 xxxiv, 35, and xxxv, 153), and therefore modelling passed as the 
 older art : etenim prior quam statuaria fuii {y.^-id\, 2,^)- The place 
 which Pliny assigns to modelling in his History is an obvious 
 necessity of his scheme; clay being the material of modelling, 
 he is forced to bring the discussion of this art under ' kinds of 
 earth.' 
 
 This closes the list of passages that can be traced back with 
 any certainty to Xenokrates. It is a proof of the vigour of his 
 conceptions that they could so impose themselves upon subsequent 
 writers as never entirely to lose their original character, which 
 still asserts itself throughout the whole of the Plinian account 
 of the bronze statuaries and the painters. Nowhere do we grasp 
 so readily what Pliny's history of art owed to Xenokrates as in the 
 account of sculpture, given in Bk. xxxvi, where, failing the strong 
 thread which bound together — at least in considerable parts — 
 the narrative of the preceding books, we get little more than 
 a loose patch-work of facts brought together without guiding 
 thought or dominating interest. Meagre as are the fragments 
 that we have disengaged, they point back to a critic of other 
 calibre than the mere maker of anecdote and epigram — to 
 
 c a 
 
xxxvi INTRODUCTION 
 
 a critic who, conscientiously endeavouring to judge of works of 
 art on their own merits, fails, not from garrulous digression or 
 the desire to make a witty point, but rather from preconceived 
 theory and love of schematizing. Xenokrates allows nothing 
 for the fantastic freaks of artistic growth; in his rigidly con- 
 structed system monochrome is made to precede colour, artists 
 may not attack the problems of drapery till they have solved 
 the rendering of muscle, and the gracious advent of perfect 
 harmony and proportion is presented as the inevitable sum 
 to which each of five artists had contributed his measured 
 share. Besides, in common with most artists who have also 
 been art-critics, he insists upon fixing the measure of artistic 
 achievement in the successful solution of the problems which 
 chiefly interested the school of which he showed himself the 
 jealous partisan. Yet, crude as the scheme must appear to 
 our modern world with its deeper sense of the complexity of 
 things, it should win respect and sympathy as a first genuine 
 attempt to tell the still unfinished tale of the rise and growth 
 of art. And there is even to be traced, at a distance great 
 enough from the modern method of comparison, that same 
 purpose which distinguishes the modern critic— to let the actual 
 monuments tell the tale. 
 
 § 2. Antigonos of Karystos {born about 295 b. c). 
 
 When a writer aims, like Xenokrates, at formulating his criticism 
 of an artist as the unbiassed impression received from a series of 
 that artist's works, he will be anxious not to impair the strength 
 of this impression by digressive criticism of single works ; above 
 all, he will jealously guard the integrity of his judgement against 
 anything that might look like borrowed appreciation. A writer 
 who appraises an artist in the words applied by Xenokrates to 
 Polykleitos will be the last to introduce material so foreign to 
 the final judgement as that which describes how the boy binding 
 a fillet about his head was ' a boy yet a man,' or his companion 
 athlete ' a man yet a boy ' — words written, moreover, with a 
 view to rhetorical antithesis rather than to criticism of artistic 
 qualities. 
 
 Yet little epigrammatic or anecdotic tags are plentiful even in 
 those parts of the Phnian account which have been shown to be 
 essentially Xenokratic. Such, for instance, are the legends inter- 
 
ANTIGONOS OF KARYSTOS xxxvli 
 
 woven in xxxv, 9 with the account of the early Sikyonian artists 
 Dipoinos and Skyllis (see Comm.); the rationalizing statements in 
 xxxv, 16 and 151, intended to reconcile the conflicting claims to 
 greater antiquity of the art centres of Sikyon and Corinth ; the 
 additions made in xxxv, 59 to the Xenokratic account of Poly- 
 gnotos and Mikon, to the effect that the former took no payment 
 for his paintings in the Stoa Poikile, while the latter did; the 
 anecdotic flavour given to the account of Telephanes of Phokaia 
 (xxxiv, 68), the epigrammatic touch added in xxxv, 61 to express 
 the connexion between Apollodoros and Zeuxis. These additions 
 are generally so closely compacted with the original fabric that 
 it is only recent criticism, the growing recognition of the whole 
 tendency of the Xenokratic methods, which has detected them as 
 extraneous. They differ totally, in this respect, from the loose 
 and not unfrequently awkward additions to the Greek Treatises 
 made at a later date by Varro or Pliny himself in order to 
 introduce the mention of works in Rome or allusions to contem- 
 porary events. 
 
 It becomes evident that the Xenokratic treatise was minutely 
 worked over by a writer, who used it not simply to quote from, 
 but as a solid framework into which to fit new material of his 
 own. This writer, who appears almost as close collaborator of 
 Xenokrates, must be one of the writers included in xxxiv, 68 in 
 the words Artifices qui compositis voluminibus condidere haec, where 
 the haec refers (see p. xxii) to the previous account of the insignes, 
 which, as we have seen, is Xenokratic in the main. Now in xxxv, 
 67, in the discussion of Parrhasios, writers upon art are referred 
 to in similar manner : confessione artificum in liniis extremis 
 palmam adeptus {Farrhasius). Immediately below, the names of 
 these artifices are given ; the one is, as we expected, Xenocrates, 
 the other is Antigonus. 
 
 Antigonos is no longer a mere name. The brilliant essay in 
 which Wilamowitz proved his identity with the Antigonos of 
 Karystos ', author of a book of Marvels or 'laropiav irapaS6^a>v 
 
 ' V. Wilamowitz-Moellendorff, An- his review of Wilamowitz's book, 
 
 tigonos von Karystos, in Philologische Deutsche Lit.-Zeitung, 1882, p. 604 
 
 Untersuchungen, iv, Berlin, 1881 ; {cf. sisoY o\^, DeFontibus Plinianis 
 
 see Susemihl, Geschichte der Griechi- p. 24), and disputed by H. L. Urlichs, 
 
 schen Literatur in der Alexandriner Griechische Kunstschriftsteller, p. 34. 
 
 Zeit, i. p. sigff. I consider it super- Since then it has been accepted with- 
 
 fluous to discuss the question of iden- out reserve by Susemihl, and quite 
 
 tity. It was questioned by Diels in lately by Miinzer, of. cit. p. 52T ff. 
 
xxxviii INTRODUCTION 
 
 mivayayft, and of certain Biographies of the Philosophers, from which 
 Diogenes Laertios drew extensively ', has made almost familiar 
 the artist who was likewise pupil of the philosopher Menedemos 
 of Eretria, who contributed to the revival of Attic sculpture 
 under Attalos and Eumenes of Pergamon, and was at the same 
 time a versatile litterateur, equally at home in the poems of 
 Euripides or Philoxenos and in the technical treatises of the 
 painters. Scarcely a strong individuality, perhaps, but a highly 
 finished type of his age in its wide culture and many-sided 
 curiosities. In addition to the passages already referred to (xxxiv, 
 68 ; XXXV, 66-68), Antigonos is quoted by Pliny in the Indices of 
 Books xxxiii and xxxiv as a writer de toreutice, and in xxxiv, 84 
 as one of the sculptors in the service of the Court of Pergamon. 
 Diogenes mentions the sculptors Anaxagoras (ii, 45) and 
 Demokritos (ix, 49) on his authority, and recounts (vii, 7, 187) of 
 a namesake of the philosopher Chrysippos, the physician 
 Chrysippos of Knidos, that he had invented concerning Zeus and 
 Hera certain intolerable obscenities not described by the writers 
 upon painting : ' they are found neither in Polemon, nor in 
 Xenokrates, nor yet in Antigonos ".' 
 
 It further appears from the two following passages that, in his 
 Lives of the Philosophers, Antigonos had allusions to the history 
 and literature of art : 
 
 Diogenes ix, 11, 62 : Antigonos of Karystos says in his account of Pyrrhon 
 that he began life in obscurity and poverty, and was at first a painter, and that 
 a picture by him — of very moderate execution — representing torch-bearers, 
 is in the Gymnasium of Elis '. 
 
 Diogenes iv, 3, 4 ; On the whole he (Polemon) was the sort of man described 
 by Melanthios in his Book upon Painting, who says that a certain self-reliance 
 and austerity should make itself felt in portraiture, precisely as in character '. 
 
 ' The fragments of Diogenes re- on tip, ipx^v aSofos t ^v koX irivr/s 
 
 ferable to Antigonos will be found koI ^aripi.<por aii\faem r airov iv 
 
 conveniently put together by Wilamo- 'BXiSi iv t& yvpvaaiai XapL^naSiaTois 
 
 witz, op. cit. nfTfiws fxovTa^. 
 
 " Diog. vii, 7, 187: oiS\ napA roh ' Kai g^ais ^jv toiovtos oUv (p^ffi 
 
 irepl mva/aav yp&ipaai Karaicexwpia- Me\<ii/flios i (aypiipos iv tois wepi 
 
 lilvriv (sc. historiamy piin yip irapA ^aiypa^MTir <f>r,(Tl yap Setv aieddciav 
 
 lioXipavi p.i]Ti mpa BfvoKp&rei (Wi- nva xai aK\rip6r7,ra tot's ipyots im- 
 
 h.m. op. at. p. 8; K6pke,De AKdgoMo rplx^iv, dpolais Si xai (so Wilam. 
 
 Caig/stio, p. 25 note; the MSS. have p. 64; the MSS. have Si k&v) toTs 
 
 mp "t^l/mpara), aWi. p.riSi mp' 'Avti- ^S(atv. I am not able to apprehend 
 
 yovif) thai. the precise meaning which the words 
 
 ' 'AvTiyovos 8e <pij<Tiv 6 Kapianos opoiws . . . TJOiaiv are intended to 
 
 Iv tS tiipt nippavos riSe ^(pl avrov, convey. The sense of the rest of the 
 
ANTIGONOS OF KARYSTOS xxxix 
 
 Lastly, the learned traveller and antiquary, Polemon of Ilion 
 (contemporary of Ptolemaios V. Epiphanes, 202-131 B.C.), who 
 wrote against Antigonos a controversial work in at least six 
 books \ gives, in order to combat it, a verbatim quotation from 
 Antigonos. The Polemonic fragment, which is of incomparable 
 interest as affording an insight into the methods of these 
 ancient controversialists, has found its way into the collection of 
 Proverbs of the sophist Zenobios (age of Hadrian) ; it runs as 
 follows : — 
 
 Zen. V. 82 : At Rhamnous is an image of Nemesis ten cubits high, made 
 wholly of marble, the work of Pheidias, holding an apple branch in her hand. 
 From this branch, according to Antigonos of Karystos, hangs a little tablet 
 bearing the inscription ' Agorakritos the Parian made me. ' But this is no 
 proof (ou Bavjiaarhv Sc), for many also have inscribed another's name upon their 
 own works, a complacency which Pheidias probably showed to Agorakritos, 
 whom he loved . . ." 
 
 These accredited fragments prove the varied experience of 
 Antigonos in the province of art-history : we find him appealing 
 to the testimony of inscriptions as carefully as his rival Polemon, 
 whose industry in this respect won for him the nickname of 
 o o-ri/XoKOTTaf ' ; he is ready to apply a phrase in a Treatise upon 
 Portraiture to his characterization of a philosopher ; he had him- 
 self written a statistical book upon pictures, containing minute 
 descriptions of their subjects ' ; nor had he neglected to note the 
 apocryphal tale which connected a certain mediocre picture at 
 Elis with the name of the philosopher Pyrrhon. 
 
 The miscellaneous character of his information, and the 
 
 passage is finely indicated by Wilamo- Kciiiaews 'iSpvrm afaKua Se/ca-ntixv, 
 
 witz, p. 147 ; cf. also H. L. Urlichs, 6\6\i.6ov, epyov iaSiov, cx«' Si kv rfj 
 
 Griech. Kunstschrift. p. 18 ff. X"P^ ^tjXms k\6Sov. If o5 (p^aiv 'AvtC- 
 
 ^ The work bore the title vfhi -yovos 6 Kaptio-Tios vrvxiiv ti luicpbv 
 
 ^k&aiov KOI 'Avnyovov; of Adaios of ilripTij<reaiT^veTnypatl)fiviX'>''"'f^1/opa- 
 
 Mitylene, who appears to have written xpno^ liapios k-nohjatv." oi BavimaTov 
 
 upon sculptors, Tripl dyaXimTonoiSiv S4- ical aKKoi yAp iroWoi inl tSiv 
 
 (Athenaios, xiii, 606 a), very little is oUiUav Ipyav irfpov knyeypd(paaiv 
 
 known, cf. Susemihl, i^S. «V. i, p. 518; oyo/to- i'mbs oZv ml tov ^eiBiav tS 
 
 forPolemon, seeSusemihlji, p. 665ff. ; 'AyopaicpiTai avy«ex<^priicevai, ^v yd.p 
 
 for the fragments of his treatise against airov ipii/ifvos, koX dWas iirTS-qTo irepl 
 
 Antigonos, Preller, PoUmonis ferie- T-A-ncuSiKi. It was first conjectured by 
 
 getae/ragmenta,Leipzig,iSiS,-p. 97ff.; Wilamowitz, 0/. cit. p. 13 f., that the 
 
 MuUer, P. H. G. iii, p. 132, fr. 56-69 ; whole passage goes back to Polemon ; 
 
 for the nature of the controversy, see the view has been accepted without 
 
 especially H. L. Urlichs, op. cit. reserve by H. L. Urlichs loc. cit. 
 p_ 33 ff. ' Herodikos, af. Athen. vi, 234 d. 
 
 2 'Faiivovaia Neneais : iv "PanvovvTt ' Cf. Wilamowitz, op. cit. p. 8. 
 
xl INTRODUCTION 
 
 varying trustworthiness of the quarters whence he obtained it, 
 prove at once that Antigonos, unhke Xenokrates, belonged to the 
 class of people who are curious of facts rather than critical of 
 their significance. 
 
 Xenokrates had been guided in his selection of material by 
 a strongly marked principle, whence the comparative ease in 
 recovering and closing up the dissevered members of his treatise. 
 The treatise of Antigonos on the other hand, with its looser 
 method of synthesis, is more difficult to retrace. We cannot 
 point to this or that fragment of the Plinian history as bearing his 
 individual stamp. But we can distinguish certain elements in 
 Pliny which go back to those general sources— art-historical, 
 epigrammatic, anecdotic, &c. — whence we know Antigonos to 
 have drawn, and, on examining these, we shall find the majority 
 of cases to afford such strong proof of his handling that, failing 
 contrary evidence, it will not be unfair to assume the remainder 
 also to have come into Pliny through his medium. 
 
 From the fact that Antigonos incorporated the Treatise of Xeno- 
 krates into his own work, and from his allusion in his life of 
 Polemon (above, p. xxxviii) to a Treatise upon Portraiture by the 
 pamter Melanthios, we may infer that it was he who introduced 
 references to a number of artists as having also written upon their 
 art. These are the bronze-worker Menaichmos (xxxiv, Index 
 and § 80)', the painter Apelles (xxxv, Ind. and § 79, § in), 
 Melanthios, AsklepiodorosandParrhasios {ib. Ind.),andEuphranor 
 {ib. Ind. and § 128). Apelles as a writer upon art is fortunately 
 more than a mere name. One trace of the work or works in 
 which he expounded — presumably for the use of his pupils (cf. 
 xxxv, § in) — the theories of his art has survived, as Robert 
 justly points out', in § 107 in the words Asdepiodorus, quern in 
 symmetria mirabatur Apelles, which at the close of § 80 had been 
 rendered by Asdepiodoro de mensuris {cedebat Ap.). If the con- 
 jecture be correct for Asklepiodoros it follows that Apelles's 
 appreciation of Melanthios in the grouping of figures was also 
 expressed in the same work. There, likewise, it must have been 
 that he discussed the art of Protogenes (§ 80) and criticized his 
 laborious finish. In fact, from the words quorum opera cum admi- 
 raretih- omnibus conlaudatis, it is fair to assume that besides 
 original theories the Apellian treatise contained criticisms — for the 
 
 ^ He is otherwise unknown either p. 520, note i ; cf. Susemihl, i, p. 113, 
 as artist or writer; see Miinzer, op. cit. note 2. '^ Arch. Mdrchen, p. 70. 
 
ANTIGONOS OF KARYSTOS 
 
 xli 
 
 most part favourable — of contemporary artists '. The statement 
 as to his own venustas, like the quod nianum de tabula scirei tollere, 
 is the later concrete expression, practically thrown into proverbial 
 formula, of the aims and theories expounded by Apelles as 
 being those of himself and his school. 
 
 Antigonos, too, may be responsible for a few more Plinian 
 passages which are faintly coloured by reminiscences of other 
 technical treatises by artists, though these are not definitely 
 alluded to. I have already indicated in the notes that in the 
 words solusque hominum artem ipsam fecisse artis qpere {Polyclitus) 
 iudicatur in xxxiv, 55, there appears to lurk an allusion to the 
 book, the KaKcov ^, in which, as we learn more fully from Galenos, 
 Polykleitos had laid down his theories on the proportions of the 
 human body ' ; we have accordingly translated the passage ' he is 
 the only man who is held to have embodied his theory of art in 
 a work of art,' the work being the famous Spear-Bearer, which is 
 here introduced, quite irrespectively of its first mention in § 55, 
 as a separate work under its alternative name of the Canon '. 
 
 ' Schubert, FleckeiserCs Jahrbb., 
 Supplementband ix, p. 716, detects 
 a reference to the work of Apelles in 
 Pint. Dem. 22 icai iprjaiv 6 'AweWris 
 ovTus eKTr\ay^vai Oeaffd/ievos rb epyov 
 cuffTC Kot <paiv-^v kKXiTTiLv avT6v. dipk 
 S^ fiireiVj fieya^ 5 novos /fat Oavfiaffrdv 
 TO epyov, oil ^iijv ex^tv x*ipiTas, St' as 
 ovpavov if/aiuetu ra vtt avrov ypatpS/ifva^ 
 
 ^ The passage was first so explained 
 by Otto Jahn, Jihein. Mus. ix, 1854, 
 P' 3'5 f- ('Das Kunstwerk war ein 
 Inbegriff der Regeln der Sj'mmetrie, 
 ein Compendinm derselben'), who 
 argued that here ars = the theories 
 of art, 11 compendium of the rules of 
 art, by extension of the meaning 
 common in the rhetors and gram- 
 marians ; Cic. Brut. 1 2, 46 Aristoteles 
 ait . . . artem et praecepta Siculos Cor- 
 acem et Tisiam conscripsisse. 12, 48, 
 similiter Isocratem . . . orationes aliis 
 destitisse scribere, totumque se ad artis 
 componendas transtulisse. Cf. Quinct. 
 X. I, 15 (where see Spalding's note); 
 Servius on Aen. vii, 787, legitur in 
 arte. The Greek t^x"^ ^^s commonly 
 used in the same manner, Life of 
 
 Ten Orators, Isokrates, ii, p. 838 ( = 
 Bernardakis, v, p. 164), flat S' ot xal 
 Te-^yas avrhv (sc. Isocr.') \eyovaiavyye- 
 ypcupivai. At a later period Jahn 
 abandoned his earlier opinion and 
 saw a latent epigram in the words 
 solus hominum . . . iudicatur i^Kunst- 
 urtheile, p. 120); he is followed by 
 MUnzer, op. cit. 530, note i. 
 
 ' The few extant fragments of this 
 incomparably interesting work, in 
 which Polykleitos reveals himself as 
 an ancient Leonardo or Albrecht 
 DUrer, have been carefully collected 
 and commented on by H. L. Urlichs, 
 Griechiscke Kunstschriftsteller, p. i ff. 
 See also Diels, in Arch. Anz., 1889, 
 p. 10. 
 
 * It is quite possible that Antigonos, 
 who had added to the Xenokratic 
 mention of Doryphoros and Dia- 
 dumenos the epigrammatic description 
 which placed the two statues in 
 pointed relation to one another 
 (above, p. xxxvi), now introduced from 
 his acquaintance with the literature 
 of art a second account of the statue 
 in its relation, not to the other works 
 
xlii- INTRODUCTION 
 
 If the proposed interpretation of the words artem ipsamfecisse 
 artis opere iudicatur be correct, it follows that we have traces in 
 XXXV, 74 of another such compendium of art by the painter 
 Timanthes : pinxit et heroa absolufissimi operis artem ipsam com- 
 plexus viros pingendi ; i. e., like the Doryphoros of Polykleitos, the 
 ' hero ' of Timanthes was to serve as a ' Canon,' as the embodi- 
 ment of theories which had been expounded in an ars or re'x"";. 
 
 Finally in § 76 it is said of Pamphilos that he was especially 
 learned in arithmetic and geometry, without which sciences, he 
 used to declare, art could make no progress. H. L. Urlichs ^ 
 has pointed out that these words are distinguished from the 
 ordinary floating apothegm by a precise character such as we 
 should expect from an opinion recorded in a written Treatise ; 
 and indeed an opinion emanating doubtless from the whole artistic 
 personality of Pamphilos could nowhere have been preserved 
 intact so well as in a technical treatise, written, like the work of 
 Apelles, for the guidance of his pupils. 
 
 The Zenobian gloss showed that Antigonos had maintained 
 the Agorakritan authorship of the Nemesis at Rhamnous on the 
 ground of the inscription, — an argument against which Polemon, 
 supporting the current attribution to pheidias, retorts that Phei- 
 dias had doubtless permitted his own work to be inscribed with 
 the name of the pupil he loved. Now, since Pliny ascribed the 
 Nemesis quite simply to Agorakritos, without any reference to 
 its attribution to Pheidias by other authorities, or to the Pole- 
 monic compromise, there can be little doubt that his ultimate 
 source was Antigonos. Pliny gives the statement, however, in 
 close connexion with the story of a competition between Agora- 
 
 of the master, bnt to his theories. effected by the Greek authors. It is 
 
 This second mention, made with no possible, of course, though scarcely 
 
 precise reference to the first, was after- probable, that a Greek writer had 
 
 wards understood by the Roman an- already been guilty of assuming the 
 
 thors to concern a distinct work. In canon and doryphorus to be separate 
 
 the commentary I have given Furt- works. 
 
 wangler's explanation that the Canon ^ Op. cit. p. 1 4 ff., where it is shown 
 
 appears in Pliny as a separate work that the Pamphilos who wrote a work 
 
 to the doryphorus, owing to the intro- TUfii ypa<piicijs xal iarfp&<pav (vS6(av 
 
 duction of a fresh authority at the is a distinct person to the painter, 
 
 words /((ii et quern. I would differ and is presumably identical with the 
 
 only in so far that, while F. supposes Alexandrian grammarian, first century 
 
 Pliny to have been the first to combine B. c. ; see Urlichs, Rhein. Mas. xvi, 
 
 the two notices, my own opinion is 1861, pp. 247-258, and Susemihl, i, 
 
 that the combination was already p. 903 f. 
 
ANTIGONOS OF KARYSTOS xliii 
 
 kritos and Alkamenes, and this again follows in natural sequence 
 upon the mention of these artists in their common relation, 
 as pupils, to Pheidias. The various episodes are so indis- 
 solubly linked^ that the passage as a whole must be referred 
 to Antigonos. Indeed, that he is Pliny's ultimate authority for 
 the information concerning Agorakritos is confirmed by the 
 closing attribution (§ i8, s.f.) to Agorakritos of the 'Mother of 
 the Gods ' at Athens : another vindication for that artist — doubt- 
 less, this time also, on the evidence of the inscription — of a work 
 popularly ascribed to 'P]:\Q\6.ias{Schriffgu. 83 1-833), of which popular 
 ascription Polemon, whose version is represented in Pausanias, 
 would not be slow to avail himself. It is noteworthy that by 
 retailing, though quite generally and in no relation to any one 
 work, the scandal about Pheidias and Agorakritos {eiusdem — sc. 
 Phidiae — discipulus fuit Ag. Parius et aetate grains, Hague e suis 
 operibus pkraque nomini eius donasse fertur) Antigonos may have 
 supplied to Polemon, as Miinzer acutely suggests (pp. cit. p. 522), 
 the weapon wherewith to combat the Agorakritan authorship of 
 the Nemesis ^- 
 
 We have seen how the Xenokratic accounts of the beginning 
 of painting in encaustic (xxxv, 121; see above, p. xxxii) and of the 
 beginning of statuary (xxxvij 9 ; above, p. xxv f.) were combined 
 by a later writer, surmised to be Antigonos, with variant tradi- 
 tions that proclaimed the priority of invention of the island-schools 
 over the schools of the mainland. The theory that these combi- 
 nations or contrasts of traditions were effected at an early date 
 by Antigonos is now confirmed by the fact that in both cases 
 appeal is made to the testimony of inscriptions in xxxv, 121; 
 the iveKQcv in an artist's signature is quoted in proof of the 
 antiquity of encaustic, while in xxxvi, 11- 13, the genealogy of 
 the Chian sculptors ' Melas,' Mikkiades, and Archermos, and the 
 
 ' See on this point Fnrtwangler, me, since I wrote the above, that 
 
 Plinius u. s. Quellen, p. 72, who how- Antigonos drew from Duris the main 
 
 ever does not trace the passage further part, if not the whole, of his account of 
 
 back than Vano. That Varro was Alkamenes and Agorakritos : the stress 
 
 the intermediary source is obvious laid upon relations of pupilship, 
 
 bam.ih&^o'cA'i quod M. Varro otnni' the supposed competition (p. Ixiv), 
 
 bus signis praetulit ; to the account of the hint thrown out of a scandalous 
 
 the Nemesis which he found in his story (see below, p. Ix) — above all, 
 
 handbook he appended, according to the imaginative element in the tale 
 
 the wont of travellers, remarks of his of how the discomfited Agorakritos 
 
 own. turned his Aphrodite into a Nemesis — 
 
 ' The impression has grown upon are so many Duridian traits. Addenda. 
 
xliv 
 
 INTkODUCTION 
 
 mention of works by Boupalos and Athenis, sons of Archermos ', 
 at Delos, and of works by Archermos at both Delos and Lesbos, 
 are all based upon inscriptional evidence^ (Miinzer, o/.aV.p. 524 f.). 
 Further, as Miinzer indicates {loc. at.), Antigonos went so far in 
 the latter instance as to quarrel with his sources; he corrected 
 the legend according to which Hipponax had driven Boupalos 
 and Athenis to hang themselves in despair ' by adducing proofs 
 
 ' The genealogy of Boupalos and 
 Athenis is mentioned only once again 
 in literature — in the Scholia to Ar. 
 Birds, 574 ; "Apx^pfiov (MSB." Apxcv- 
 vov) yap <pa<TL, t6v ^oviraXov koX 
 'AOrjviSos irarepa, ol 5k 'AyKao^uivra 
 t6v ®6.(riov ^ayypcKpov, ttttiv^v epy&- 
 aaaBai ttjv NiKrjVj d^s of nepi Kapvoriov 
 rbv Hepyai^rjvov (paffi. There is much 
 to commend Miinzer's suggestion {/oc. 
 cii.) that Karystios of Pergamon (end 
 of second century, MUller, Fragm. 
 Hist. Graec. iv, p. 356) appears here 
 by confusion for our Karystian Anti- 
 gonos, sometime resident in Perga- 
 mon. (The words oXZ\ . .. (ojypa<pov 
 are in any case introduced from a 
 source other than that cited for B. 
 and A.) We should thus obtain im- 
 portant confirmation of Antigonos's 
 authorship of the Plinian passage. 
 
 ^ The Zenobian gloss alone shows 
 that Susemihl (i, p. 672) does Anti- 
 gonos an injustice when he credits 
 Polemon with the ' epoch-making ' 
 idea of basing researches in the pro- 
 vince of art-history and periegesis 
 upon a study of inscriptions. In this 
 connexion we may recall as illus- 
 trative of the method employed by 
 Antigonos, without on that account 
 proposing to refer them definitely to 
 him, the notices, derived from the in- 
 scriptionson their bases, of the group of 
 Alkibiades and ' Demarate ' of Niker- 
 atos (xxxiv, 89), and of the trainer of 
 athletes by Apollodoros («'^. 89) ; for 
 the poftrait statue of Lysimache by 
 Demetrius (zff. 76), see below, p. Ixxvi. 
 
 ^ Repeated study of the passage 
 xxxvi, 11-13, convinces me that Anti- 
 
 gonos borrowed from Duris of Samos 
 the genealogy of the Chian sculptors 
 and the whole story of Hipponax ; 
 especially Duridian is the adjustment 
 to a new set of personages of the story 
 of Archilochos and Lycambes (see 
 Comm.). I am glad to receive on this 
 point confirmation from Miinzer, who 
 (in a private letter) explains Antigonos 
 as having corrected Duris somewhat 
 as follows : ' It is true that the Chians 
 were already practising the art of 
 sculpture (i.e. at the time when, 
 according to the Xenokratic theory, 
 the Daidalids were inventing sta- 
 tuary), but it is not true that the 
 verses of Hipponax (as probably 
 maintained by Duris) drove Boupalos 
 and Athenis to death, for works by 
 these artists exist which were created 
 after the portrait of the poet, as, for 
 example, the Delian statue bearing 
 the inscription noK vitibus tantum, 
 &e.' Moreover, in another note, the 
 gist of which he also allows me 
 to publish, Miinzer obsei-ves that 
 Antigonos seems likewise to have 
 borrowed from Duris that notice of 
 the existence of paintings in encaustic 
 older than Aristeides which he con- 
 fronted with the Xenocratic account : 
 'The appeal to the signature of the 
 otherwise totally unknown Elasippos 
 would be characteristic of Duris (cf. 
 below, p. liii). Equally unknown 
 are Nikanor and Mnasilaos, and it is 
 not clear whether the ethnic Fariorum 
 applies also to Polygnotos, and 
 whether this Polygnotos should ac- 
 cordingly be distinguished from the 
 celebrated Thasian artist.' In the 
 
ANTIGONOS OF KARYSTOS xlv 
 
 to the contrary, again borrowed from inscriptions : quod fahuin 
 est, complura enim in finiiimis insulis simulacra posiea fecere sicut 
 tn Delo quibus subiecerunt carmen non vitibus tantum censeri Chion 
 sed et operibus Archer 7ni filiorum. 
 
 It is reasonable to suppose that Antigonos, who diligently 
 studied the inscriptions carved on the actual monuments, did 
 not neglect so fruitful a source as the literary epigram. He is 
 almost certainly to be credited, as we have seen (p. xxxvi), with the 
 epigrammatic qualification attached to the Xenokratic mention 
 of the Diadumenos and the Doryphoros of Polykleitos, while 
 the ascertained fragments of his writings display a wide-ranging 
 familiarity, not only with the greater poets, but also with the 
 poetasters and epigrammatists of his day ^ Since, however, the 
 actual extent of his responsibility for the epigrammatic element 
 in Pliny cannot be precisely determined, it will be best to reserve 
 for separate consideration (p. Ixviii) material which plays a con- 
 siderable part in the Plinian descriptions of works of art. 
 
 The Lives of the Philosophers reveal Antigonos as a lover 
 of personal anecdote and characteristic bans mots ^- Hence 
 we are naturally disposed to credit him with the anecdotic 
 material which forms so large a bulk of the Plinian narrative, 
 and, as a fact, there are frequent proofs of its passage through his 
 hands. The preservation, however, in the case of one highly 
 distinctive anecdote, of the name of Duris of Samos (xxxiv, 6i) 
 enables us to penetrate further — to the very source whence 
 Antigonos drew the larger part of his anecdotes '- 
 
 text I have adopted the reading stress on the learning of Antigonos, 
 
 Mnasilai as beyond dispute, but in searching for traces of his art- 
 
 MUnzer provides me with a satis- treatise in Pliny ; he accordingly in- 
 
 factory proof that the Arcesilai of clines to trace back to him certain 
 
 the inferior codices is impossible; passages which evince literary interest : 
 
 were this reading correct, we should c. g. the allusions to the ' Banquet ' 
 
 expect to find that Antigonos in his of Xenophon (xxxiv, 79) and to his 
 
 biography of the Akademic Arke- Treatise on Horsemanship (ib. 76). 
 silaos had mentioned this namesake '' See on this point Wilamowitz, 
 
 of the philosopher (Antig. Kar. ap. Antigonos, p. 33. 
 Diog. Laert. iv, 45 ; cf. Wilamowitz, ' That Antigonos drew from Duris 
 
 p. 70 ff.) ; but he only notes the for his Treatise upon art, and was 
 
 sculptor Arkesilaos of Paros on the thus the ' first intermediary ' through 
 
 evidence of an epigram of Semonides. which Duridian material found its 
 
 ' Miinzer, of. cit. p. 529. Miinzer, way into Pliny, was first suggested 
 
 I may note here, lays considerable by Susemihl, i, note 325, p. 58S. 
 
xlvi INTRODUCTION 
 
 3. Duris of Samos {born about 340 b. c.) / the anecdotic 
 element in Pliny. 
 
 Duris, historian and tyrant of Samos, is one of the most striking 
 figures among those older Greek writers whom German scholar- 
 ship — the researches of Roesiger' and Schubert^, the brilliant 
 sketch by Wachsmuth '', call for grateful mention — has succeeded 
 in calling back to a new life. The facts we know about his career 
 are few, but the scanty fragments ' of his writings suffice to prove 
 the strength of his literary personality. Together with his brother 
 Lynkeus he had been a pupil of Theophrastos °, and, like the later 
 Peripatetics, he became a curious inquirer into personal anecdote, 
 which he freely used for purposes of history. His imagination 
 was stimulated by his studies of the tragedians ° till he developed 
 into an accomplished master of dramatic anecdote, where heroes 
 and heroines, dressed in appropriate costume, play on a stage 
 whose properties seem inexhaustible. It is to Duris that Plu- 
 tarch owes some of his most picturesque descriptions — such as the 
 gorgeous pageantry of the return of Alkibiades, and the picture of 
 the admiral's galley entering the harbour with purple sails ' as if 
 some maske had come into a man's house after some great banquet 
 made ''.' Yet Plutarch more than once casts severe doubts on the 
 historical trustworthiness of Duris *, and the censure has been 
 confirmed by Grote ". 
 
 From Diogenes, who mentions a painter Thales on the authority 
 of Duris (Diog. i, i, 39 = Duris fragm. 78), we learn that he 
 wrote Lives of the Painters (Trepl fmypd^mi/), and, as we shall 
 
 ' A. F. Roesiger: (i) De Duride ^ Curt Wachsmuth, Einleitung in 
 
 Samio Diodori Siculi et Plutarchi das Studium der alten GeschUhte, 
 
 aiictore Diss., Gottingen, 1874; (2) Leipzig, 1895, pp. 543-546; see also 
 
 Die Bedeutung der Tyche bei den Susemihl, 1, p. 585 ff. 
 
 spdteren Criechischen Historikern, * To the collected fragments in 
 
 Konstanz, 1880. For Duris, see espe- Miiller, K H. G. ii, pp. 466-468, must 
 
 cially p. 20 f. be added the new fragments noted by 
 
 " Rudolf Schubert : (i) Die Quellen Schubert, Pyrrhus, p. 12. 
 
 Plutarchs in d. Lebensheschreibungen * Athen. iv 128 a. 
 
 ' des Eumenes, Demetrios und Pyrrhos, ' Fr. 69, Fr. 70, and the remarks 
 
 inSupplementbandixoftheya;4>-i5«V/5^r of Schubert, Pyrrhus, p. 15. 
 
 fur Philologie, pp. 648-833 ; (2) Ge- ' Akib. xxxii, tr. North, ed. Wynd- 
 
 schichte des Agathokes ,^\&A3.\i,i%%,i ,f. ham, ii, p. 133. 
 
 I3fr. ; and (3) Geschichte des Pyrrhus, « Pint. loc. cit. ; Perikl. 28, &c. 
 
 Konigsberg, 1894, pp. 11-24, give » In reference to the story of 
 
 a full and vivid account of Duris. Alkibiades' return, Hist, vi, p. 368. 
 
DUmS OF SAMOS xlvii 
 
 presently see (cf. p. xlix), that he also wrote Lives of the Sculptors. 
 Pliny mentions him in the Index to Book XXXIV as having written 
 de toreutice. In the same book (§ 6i) he appears as the authority 
 for the statement that Lysippos of Sikyon had no master, but that 
 he was originally a coppersmith and ventured upon a higher 
 profession at a word of the painter Eupompos, who in presence of 
 the young craftsman had enounced the dictum that ' nature and 
 not any artist should be imitated.' The story will repay careful 
 analysis. The meeting between the young Lysippos and 
 Eupompos, though not chronologically impossible, belongs to 
 a class of anecdote devised in order to bring the celebrity of one 
 generation into pointed contact with the rising genius of the next. 
 The story of Lysippos and Eupompos reminds one of nothing so 
 much as of those legends invented by the Italian art-historians, on 
 a hint afforded by two famous lines in Dante ', in order to bring 
 the young Giotto into connexion with Cimabue — legends which 
 represent Giotto neglecting his clothmaker's trade to watch 
 Cimabue at his work, or Cimabue opportunely passing along the 
 road ' da Fiorenza a Vespignano ^ ' precisely at the moment that 
 the boy Giotto, while tending his flock, had drawn a sheep 
 with such surprising fidelity that the delighted Cimabue begged 
 Giotto's father to let him have the boy as pupil. But antiquity 
 was rich in similar examples ; the young Thukydides was said to 
 have burst into tears of emotion on hearing Herodotos recite his 
 History at Olympia, so that the elder historian was moved to 
 congratulate the father of so gifted a son'. The undoubted 
 pupilship of Xenophon to Sokrates was invested, by the later 
 biographers of the philosophers, with the additional interest of that 
 first meeting ' in a narrow lane ' where Sokrates, barring the way 
 with his stick, had refused to let the young man pass till he should 
 have answered the question ' where men were made good and 
 virtuous *.' So, too, an exquisite legend had been spun to connect 
 
 ' Purgat. Tii, ^^-^6 : Geschichtsforschiing, Bd.'x, pp. 244ff.). 
 
 ' Credette Cimabue nella pittura ' Vasari ed. Milanesi, p. 3 70. 
 
 Tener lo campo, ed ora ha Giotto ^ Souidas, s. v. Thuc. 
 
 il grido * Diog. Laert. ii, 6, 2 ; the analogy 
 
 Si che la fama di colui oscura.' to the Lysippos-Eupompos story is 
 
 The entirely apocryphal character of pointed out by H. L. Urlichs, Griech- 
 
 the Cimabue-Giotto legend has been ische Kuntschriftsteller, p. 27. For 
 
 thoroughly exhibited by Franz Wick- further instances of such relation- 
 
 hoff, Ueber die Zeit des Guido von ships cf. Diels, Rhein. Mus. xxxi, 
 
 Sima (Mitth. des Inst. f. Oesterr. p. I3ff. 
 
xlviii INTRODUCTION 
 
 the greatest of the Sokratic disciples with the master already 
 from the hour of birth : not only was Plato born the day after 
 one of Sokrates' birthdays, but on the eve Sokrates had dreamed 
 of a swan flying from the altar of Eros in the Academy, to take 
 refuge in his bosom, and lo ! as the philosopher was recounting 
 the vision Ariston brought in the new-born babe, in whom 
 Sokrates at once divined the swan of his dream '. In the case 
 of Eupompos and Lysippos there was no pupilship to emphasize, 
 nor could pupilship be invented, since they practised different 
 arts; yet there remained the temptation to link the most brilliant 
 of the Sikyonian statuaries, the chosen portraitist of Alexander, 
 to the celebrity of the passing generation, that greatest of 
 Sikyonian painters, whose fame had occasioned, in order to 
 comprise him, a redivision of the schools (xxxv, 75). 
 
 The statement that Lysippos had no master arose in great 
 measure, I take it, out of the good advice put into the mouth of 
 Eupompos ' to imitate nature and not any artist ' — advice which 
 amounted to an aphorism expressing the naturalistic tendencies 
 of the Lysippian school. But from saying that Lysippos followed 
 nature and no special master it was but a step to concluding that 
 he never had a master at all. Then, once the master's name 
 suppressed or forgotten, legend and the art-historians might fill 
 up the gap as they pleased, and the theory of self-taught genius 
 was the readiest to hand. But here was an opportunity for further 
 elaboration : the self-taught boy, the poor coppersmith, is destined 
 to become the leading artist of Sikyon, at that time the 
 acknowledged head of the Greek schools. Not only so, but he 
 achieves great wealth, as we learn from another Duridian fragment 
 preserved in Pliny (xxxiv, 37), but now separated from its original 
 context". So that the information as to the early career of 
 Lysippos, which has been accepted with the utmost gravity by 
 archaeologists and historians of art, is found to resolve itself into 
 three apocryphal stories : (i) the autodidaktia assumed to account 
 for the artist's master being unknown; (2) the meeting with 
 Eupompos, intended to bring into presence Sikyon's greatest 
 painter and her greatest sculptor ; (3) the rise from obscurity to 
 fame and riches. Armed with these observations, we shall have 
 
 1 Apuleius, de Platone I. understand on what grounds it is 
 
 2 The authorship of Duris for this doubted by Snsemihl, i, p. 587, note 
 passage had been pointed out by 325. (See also Munzer, op. cit. 
 Brieger, De Fontibus, p. 61 ; I cannot p. 542.) 
 
DURIS OF SAMOS xlix 
 
 no difficulty in detecting the Duridian authorship of a number of 
 other anecdotes preserved in Pliny. We can at once follow 
 Miinzer ' in attributing to him the story which tells how Proto- 
 genes, whose master, like that of Lysippos, was unknown {quis 
 eum docuerit non putant constare, § loi), began his career in abject 
 poverty [summa paupertas) as a ship-painter, yet lived to decorate 
 the most celebrated spot in the world, even the Gateway of the 
 Athenian Akropolis; the story of Erigonos (xxxv, 145), the slave 
 who rubbed in the colours for the painter Nealkes, who yet lived 
 to be a great master himself, and to leave in Pasias a pupil of 
 distinction; further, the kindred story of how the sculptor 
 Seilanion (xxxiv, 51)^ became famous nulla doctore, and yet, like 
 Erigonos, formed a pupil of his own, Zeuxiades. The kinship of 
 the whole group is self-evident, and even if the name of Duris in 
 xxxiv, 6 1 were not there to reveal the author we should be led to 
 fix upon him, because of the precise parallelism of these stories 
 to that recounted by Plutarch, on the authority of Duris, of how, 
 through the unexpected favour of Philip, Eumenes of Kardia 
 rose from being the son of a poor carrier, who earned a scanty 
 living in the Chersonese, to wealth and position'. Such anecdotes 
 seem in measure prompted by the desire to illustrate the 
 changes of Fortune, of that Tu;^)) whose caprices were so favourite 
 a theme of the Peripatetics *- 
 
 Duris was the author of yet one more anecdote of an artist's 
 rise from obscurity to fame, which has been preserved in two 
 scattered fragments in Pliny and in Diogenes. In Plin. xxxvi, 2 2 
 we read : non postferuntur et Charites in propylo Atheniensium 
 
 ^ Op. cit. p. 534. Kioiv Kal traXaiff^Ta TToiBuy, kv o7s 
 
 ' The Duridian authorship is de- eirjiiepfiffavTa rhv Ei/ievr] Kal (pavivra 
 
 tected by H. L. Urlichs, op. cit. p. 28. avvtrov Koi avdpeiov dpeffai tw ^iXiTTirtu 
 
 The notice of Seilanion appears in Kal dva}^7f(p67jvai. The analogy is 
 
 the chronological table, awkwardly pointed out by Miinzer, 0/. «V. p. 534, 
 
 tacked on to the artists of the 1 13th who also refers to Duris all the stories 
 
 Olympiad, where it is evidently out of discussed above of artists rising to 
 
 place; Add. to Comm. on xxxiv, 51, 1. fame from humble beginnings. The 
 
 ' Plut. £am. I Eiiihri &i t&v Duridian authorship had become evi- 
 
 KapSmvof laropft Aovpts Trarplis /ttv dent to me since analysing the anec- 
 
 apia^ivovTos ev Xeppovrjaai SicL ucviav dotic material in Pliny in the light of 
 
 yfviaSat, Tpacj)rjvai Si (KevSepias (v the hints thrown oat by H. L. Urliclis, 
 
 ypdfifiafft Kal irtpl traKaiffTpav en 5e op. cit. p. 21 ff. Addenda. 
 ■naibbs ovTos avrov ^'iMirirov irapemSTj- * See especially Roesiger, Bedeut- 
 
 fiovvTa Kal axoKrjv ayovra tA, tSiv ung der Tyche, passim. Susemihl, i, 
 
 KapSiavwy BiaaaaSai irayKpaTM fieipa- p. 592. 
 
1 INTRODUCTION 
 
 quas Socrates fecit, alius ille quam pictor, idem ut aliqui putant. 
 In his Life of Sokrates, Diogenes (ii, 5, 4) has the story on the 
 authority of Duris that a Sokrates had begun life in slavery, and 
 as a stone mason '- Now, although Diogenes appUes this story to 
 the philosopher, there is nothing in the fragment as it stands to 
 show that Duris had this Sokrates in his mind. Indeed, since 
 nothing is known of the slavery of the philosopher''', there is every 
 reason to suppose that Duris was speaking of the sculptor, and 
 was recounting of him the same tale of modest beginnings as in 
 the cases of Lysippos, of Protogenes, and of Erigonos. Like 
 Erigonos he had been a slave, and in this capacity had practised an 
 inferior branch of the art in which he was afterwards to excel. 
 Like Protogenes, moreover, this man rose from the humblest 
 circumstances to see his works — the famous Charites — in propylo 
 Atheniensium ! Further, the peculiar use in both passages of 
 propylon for the gateway of the Akropolis, instead of the invariable 
 propylaion or propyiaia, affords satisfactory corroborative evidence 
 of their common origin'. We get an interesting trace of the 
 story's passage through the hands of Antigonos in the words 
 alius ille quam pictor, idem ut aliqui putant. The identity of 
 
 ' Diog. Laeit. ii, 5, 4 AoC/iis koX nothing abont it), it was inevitable 
 
 hovKtvaai airuv (XmicpaTq) koX epya- that it should arise in face of the 
 
 aatrOat \l6ovs. The statement which said Charites by a namesake, com- 
 
 immediately follows, concerning the bined with the fact that the father of 
 
 Charites on the Akropolis, which Sokrates, Sophroniskos, was a scnlp- 
 
 some said (Ji/ioi ipaaiv) to be by tor. That the contaminatio of philo- 
 
 Sokrates, does not concern us ; H, L. sopher and sculptor occurred at an 
 
 Urlichs ( Griechische Kunsischriftst. early period is proved by some Attic 
 
 p. 43) is certainly right in referring coins of Hellenic date bearing the 
 
 it to another source than Duris. name of an official Sokrates who, in 
 
 '^ Duris was quite capable of in- evident allusion to his famous name- 
 venting the story had it suited him ; sake, had the group of the Charites 
 but in the first place there is nothing from the Akropolis stamped on the 
 to show that he wrote concerning the Reverse. (See Furtwangler, ap. 
 philosophic Sokrates or any philoso- Roscher, i, p. 881.) The celebrity 
 phers ; in the second, it is odd that so of the relief, owing to the supposed 
 striking a circumstance as that of the authorship of Sokrates, accounts for its 
 philosopher's slavery, once invented, numerous copies. See note on xxxvi, 
 should not have found its way to any 32, and Furtwangler, Statuenkopien 
 authors besides Diogenes.— As to the im Alterthum, p. 532 f. (where the 
 l«gend that the philosopher had been writer modifies his earlier view as to 
 the sculptor of the Charites (Paus. i, the date of the extant Charites reliefs). 
 2 3, 8; ix, 35, 3; Schol. Aristoph. = Wachsmuth, .Sto/i ^M^k, i, p. 36, 
 vK^iKai, 773 ; Souidas, s. v. Sokrates : note 2 ; cf. also B. Keil in Hermes, 
 Pliny, it should be noted, knows xxx, 1895, p. 227. 
 
DURIS OF SAMOS li 
 
 Sokrates the sculptor with the painter of the same name was 
 maintained against a previous writer who had disputed it. The 
 nature of the controversy recalls at once Antigonos and his hostile 
 critic Polemon\ (See Addenda.) 
 
 We have seen that one factor in these stories is the desire to 
 account for the absence of any record concerning the masters of 
 certain celebrated artists. We may therefore suspect that a 
 second little group of Plinian anecdotes of sculptors who were 
 ifiMo pictores and who exchanged painting for sculpture may be 
 traced back to the same workings ". The case of Pheidias (xxxv, 
 52) is specially deserving of analysis. The ambiguous character 
 of the information concerning the painted shield, upon which his 
 reputation as a painter rests, has been detected by H. L. Urlichs 
 (see Commentary). We may now carry the argument further and 
 recognize in the statement that Pheidias was initio pictor an attempt 
 to solve a problem which greatly exercised the ancient art-historian, 
 namely the problem who was the real master of Pheidias. 
 
 Three answers to this question may be distinguished in ancient 
 criticism. According to one tradition, Pheidias had, like Myron 
 and Polykleitos, been the pupil of Hagelaidas of Argos ', a view 
 which has long been shown — by Klein *, Robert, and others — to be 
 improbable, if not as impossible as it apparently is in the case of 
 Polykleitos '. The tradition has all the apocryphal air of those 
 stories, common to all times and countries, which group great 
 names together without regard to temporal probabilities'. In 
 certain circles, however, the real fact, as recent morphological 
 study reveals it ', that Pheidias was the pupil of Hegias, had 
 
 'So H. L. Urlichs, Gr. Kunst- sound criticism requires us rather to 
 
 schriftsteller, p. 43. lay it aside, if not absolutely to reject 
 
 ^ Cf. Miinzer, of. cit. p. 533. it. The chronological difficulties have 
 
 ' Schol. to Aristoph., Frogs, 504, been hinted at above. Moreover, by 
 
 whence the information was copied exhibiting Hagelaidas as the master 
 
 by Tzetzes and Souidas. of the three most representative artists 
 
 * Klein, Arch. -Ef. Mitth. aus of the fifth century, the tradition be- 
 
 Oesterreich, vii, p. 64 ; cf. Robert, trays that tendency which is, to quote 
 
 Arch. Mdrchen, p. 93 f. ; Furtwangler, a modern writer, ' so easily explained 
 
 pieces, p. 53. pyschologically, but so fatal to criti- 
 
 ° Robert, /. c. cism, of making one great name stand 
 
 " Lately Ernest Gardner, ^a«rt^&a/J for a whole epoch or style.' (Bemhard 
 
 of Greek Sculpt, i, p. 193, has at- Berenson, Lorenzo Lotto, an Essay in 
 
 tempted, by straining the dates to the Constructive Criticism, p. 26.) Add. 
 utmost, to defend the tradition for all ' Furtwangler, loc. cit. The Hegias 
 
 three sculptors. Failing, however, tradition is preserved by Dio Chryso- 
 
 suflicient evidence for its truth, a stom. Or. Iv, ircpi 'O/^. «aj "Zaxp. i. 
 
 da 
 
Hi INTRODUCTION 
 
 either remained unforgotten or, as is more probable, had been 
 recovered from the monuments. Neither tradition, however, can 
 have been widely current, for had it been generally reported that 
 Pheidias was the pupil of either artist some mention of the fact, 
 or at least some argument disputing it, would surely have filtered 
 into Pliny, who mentions Hegias twice (xxxiv, 49, 78) and 
 Hagelaidas three times {ib. 49, 55, 57), noting, moreover, that the 
 latter artist was the master of Myron and of Polykleitos. The 
 Plinian authors were on a totally different track, and their 
 solution of the problem reveals the existence of a third class of 
 critics, who, ignorant of the Hagelaidas and Hegias theories, 
 filled up the gap in tradition by declaring that the early training 
 of Pheidias was that of a painter. To this theory some writer 
 of the stamp of Duris would give more point by the opportune 
 discovery of a shield reputed to be painted by Pheidias, though, 
 strange to say, unable to fix the whereabouts of so weighty 
 a piece of evidence more precisely than by saying it kad been 
 at Athens. 
 
 But if Duris of Samos is to be held responsible for the story 
 that Pheidias had begun life as a painter it follows that we must 
 likewise trace back to him the similar story concerning Pythagoras 
 of Samos, and hence the whole ridiculous splitting into two of 
 an artist who happened to sign sometimes 2a/jios from the home of 
 his birth, sometimes 'Vrj-ftvos from that of his adoption (see Comm.). 
 UvBayopas 'S.diJ.ios would have a triple interest for Duris : as a native 
 of Samos ; as a namesake of the philosopher Pythagoras, also 
 a Samian celebrity, whom Duris had mentioned in his second 
 Book of the History of Samos (fr. 56) ; and as a famous portraitist 
 of athletes, for Duris, who had himself as a boy won a victory 
 at Olympia (Paus. vi, 13, 5 '), appears in later life to have written 
 a book on athletic games, wEpi aywvwv ^, the material for which he 
 would doubtless derive in great measure from the inscriptions on 
 the bases of the athlete statues. It was perhaps thus that, coming 
 upon the alternative ethnic of Pythagoras, he jumped at the con- 
 clusion that there were two artists of the name. Then, having 
 discovered a Tlvdayopas ^dfnos, it became necessary to find out his 
 master. Klearchos — himself a Rhegine— must be left for Pytha- 
 goras of Rhegion (Paus. vi, 4, 3), and so Duris, instead of involving 
 
 ' See the reading proposed by passage seems entirely erroneous. 
 Susemihl, i, p. 586, note 323. Schu- ' SusemiM, i, p. 5875. 
 
 bart's emendation of the corrupt 
 
DURIS OF SAMOS liii 
 
 himself in false school genealogies, simply filled up the gap by 
 declaring the Samian Pythagoras to have, like Pheidias, begun 
 life as a painter. Finally, since a sentimental harping upon 
 family relationships has been acutely detected by Miinzer {op. cit. 
 P- 533) ^s a characteristic of Duridian anecdotes, we may trace 
 back to Duris the mention of Sostratos, the pupil and nephew — 
 filius sororis — of Pythagoras of Rhegion. I have noted in the 
 Commentary that there is nothing to lead us to identify this 
 Sostratos with any of the other sculptors of the name, and Duris 
 was nothing loth to provide his heroes with pupils, with children 
 or other near relations, of whom history has otherwise no record. 
 So the Arimnestos (Duris, fr. 56), son of the philosopher Pythagoras, 
 and himself master of the philosopher Demokritos, appears a pure 
 creation of Duris, as, for the rest, do the pupils of Seilanion and of 
 Erigonos. 
 
 The whole group of stories we have been considering were 
 precisely of the kind to attract Antigonos of Karystos, who in his 
 Life of Pyrrhon (above, p. xxxviii) had especially noted the poverty 
 and obscurity of the philosopher's early days, adding that he had 
 begun as a painter ^ In the case of Pythagoras there is a further 
 interesting little proof that the story was handled by Antigonos. 
 The words in § 61, hie {Pyth. Samius) supra dido {Pyth. Rhegino) 
 facie guogue indiscreta similis fuisse traditur, contain a sharp 
 criticism, which has amusingly escaped Pliny and before him 
 Varro, upon the statement that the Rhegine and Samian Pytha- 
 goras were different persons. The fact of the criticism turning 
 upon a question of identity of artists, no less than the manner in 
 which the criticism is passed, at once betray Polemon of Ilion, 
 the indefatigable assailant of Antigonos, whose error, as regards 
 Pythagoras, Polemon now corrects. 'Your second Pythagoras, 
 my friend Antigonos,' wrote the amused Polemon, 'looks to 
 me suspiciously like your first '.' ' Polemon's whole book was 
 merely the comprehensive criticism, the improvement and en- 
 largement of that of Antigonos' (Miinzer, op. cit. p. 526), and it 
 was characteristic of its controversial parts, as H. L. Urlichs was 
 
 * The analogy between the anec- steller, p. 39 ff., but I owe it to Prof, 
 
 dotes is pointed out by Miinzer, op. W. Klein to have explained to me, 
 
 cit. p. 533. as I believe correctly, the whole 
 
 ^ Polemon's authorship of the criti- satirical force of the words hie supra 
 
 cism was rightly detected by H. L. dicto, &c. . . . 
 Urlichs, Griechische Kunstschrift- 
 
liv INTRODUCTION 
 
 the first correctly to apprehend, that, while Antigonos had 
 inclined to multiply names and attributions, Polemon on the 
 contrary wished to reduce them \ He was wrong in the case of 
 the Agorakritan Nemesis ; in that of Pythagoras of Samos and 
 Rhegion he was — as it happens — quite right. 
 
 Having thus detected in Pliny a number of anecdotes betraying 
 the Peripatetic, and more especially Duridian, delight in dwelling 
 upon unexpected turns of fortune or upon paradoxical changes of 
 profession, we now turn to another class of story, intended 
 primarily to give point to striking traits of character. In xxxiv, 
 71 it is recounted of the painter Parrhasios that he made an 
 insolent use of his success, taking to himself the surname of the 
 ' Lover of Luxury ' (li^poSiatros), boasting moreover of his descent 
 from Apollo, and that he had painted Herakles even as the hero 
 had appeared to him in a dream. Finally the artist's intolerable 
 pride finds its highest expression in the insult flung at his rival 
 Timanthes. The story recurs in an amplified form, though 
 with the Apolline descent omitted, in Athenaios, who has the 
 first part of it on the authority of the Peripatetic Klearchos of 
 Soloi. 
 
 Athen. xii, p. 543 c ' : ' Among the ancients ostentation and extravagance 
 were so great that the painter Parrhasios was clothed in purple and wore 
 a. golden wreath upon his head, as Klearchos says in his Lives. Parrhasios, 
 
 ' Zenobios, v, 82 (above, p. xxxix) ; the ' Mother of the Gods.' 
 
 with Athenagoras, UpeaPfia, 17 = The alternative account in Athe- 
 
 ( = onr App. XI), of. Pans. ii. 27, 2 ; uaios (xv, 687 b) should be compared 
 
 see also Pans, i, 24, 8 and the remarks (lack of space compels omission of 
 
 of Furtwangler, Masterpieces, p. 412, the Greek): — 
 
 on the artist of the Apollo Parnopios. • Though Parrhasios the painter 
 
 With the statement preserved in was vain beyond the measure of his 
 
 Pliny XXXV, 54, to the effect that the art, and had, as the saying goes, drunk 
 
 gold-ivory Athena at Elis was the deep of the cup of liberty that his 
 
 work of Kolotes, it is interesting to pencil gave, yet he had pretensions to 
 
 compare Pans, vi, 26, 3, where the virtue, writing on all his paintings at 
 
 words itvat fiiv Si) *ei5i'ou ipaalv airriv Lindos, 
 
 (i. e. the Eleian Athena) seem to " One who lived in luxury ... (djSpo- 
 
 imply, as Miinzer kindly points out Siairos)." 
 
 to me in an unpublished note, that But a wit, who was, I imagine, angry 
 
 the authorship of the statue was with him for defiling the delicacy and 
 
 a controverted point — in other words, beauty of virtue by diverting to vulgar 
 
 the phrase of Pausanias is the echo luxury the fortune given to him by 
 
 of a' Polemonic criticism such as chance, wrote at the side, 
 
 that surviving in the Zenobian gloss, " One worthy of the stick . . . (Ja0So- 
 
 and that which doubtless attached to Simros)." 
 
 the question of the authorship of In spite of all, however, he must be 
 
DURIS OF SAMOS Iv 
 
 while arrogant beyond what his art warranted, yet laid claim to virtne, and 
 would write on his paintings 
 
 One who lived in luxury {d0poSimTos) and honoured virtue painted this. 
 
 ' And some person who was stung by the words wrote at the side : — 
 
 One worthy of the stick (/5ai8SoSiaiTos), &c. 
 
 ' He further wrote these lines on many of his works : — 
 
 A man who lived in luxury and honoured virtue painted this, Parrhasios 
 bom in famous Ephesos. Nor have I forgotten my father Evenor, who begat 
 me as his lawful son, first in my art among all Greeks '- 
 
 ' And he spoke a vaunt with no offence in the lines : — 
 
 Though they that hear believe not, I say this. For I aver that now have 
 the clear limits of this art been discovered by my hand, and a bound is set that 
 none may overpass. Yet is nothing faultless among mortals '. 
 
 ' Once at Samos, when competing with his Aias against an inferior picture, 
 he was defeated j and when his friends condoled with him he said that, for 
 himself, he cared little, but he was grieved for Aias, who was worsted a second 
 time. 
 
 ' As signs of his luxurious living he wore a purple cloak and Iiad a white 
 fillet upon his head, and leaned upon a staff with golden coils about it, and 
 fastened the strings of his shoes with golden latchets. 
 
 ' Nor was the practice of his art toilsome to him, but light, so that he would 
 sing at his work, as Theophrastos in his treatise on Happiness tells us. And 
 he uttered marvels when he was painting the Herakles at Lindos, saying that 
 the god appeared to him in a dream and posed himself (rd. airov) as was fitting 
 for the picture. Hence he wrote upon the painting : — 
 
 As many a time in nightly visits he appeared unto Parrhasios, such is he 
 here to look upon ^' 
 
 Jahn has pointed out, in his discussion of the passage *, that 
 Klearchos had only the story of the artist's effeminacy. That 
 Athenaios derived the rest of his information concerning Parrhasios 
 from another source is manifest from the clumsy repetition of the 
 
 pardoned, because he said that he tc'xitjs evpijaSai repimra rijaSe 
 
 loved virtue. This is the story of aa<prj 
 
 Klearchos. X*'/"^' "^' 4/«fep»)s' dvvircpBKrjTos 
 
 ^ afipoSiaiTOS avrjp apniiv t( ai0a>y SI Treirrjycv 
 
 t65' eypaipa ovpos' &fi6jfj.rjTov S* ouSec eyevTO 
 
 Xlappcunos, ic\eivrjs irarpiSos e( fiporots. 
 
 'E<^6ffow. ^ Otos 8' iw^x^^^ tpavrd^cTO -noWaici 
 
 ov8i TTaTp6s \a06p.7]v Evrivopos, 5s (ponaiv 
 
 pa pt 6(pvff€ Ilappaaiq/ Bi' ijiryov, toTos o5 
 
 ypriaiov, 'EWrivav TrpSira tpipov- iarh dpav. 
 
 ra TEX""?'- ' Kleins Beitrdge 2. Geschichte d. 
 
 ^ el KoX ainaTa xKvovai, \(fa T&ie alien Literatur (in Sdchsische Berichte 
 
 <^r)pi y&p ijdj) for 1857), p. 285, note i. 
 
Ivi INTRODUCTION 
 
 epigram a^pobiairos avf]p, as also from the variant details respecting 
 the artist's headgear — a gold crown in the first passage, a white 
 fillet in the second. If we analyze the stories in Pliny and in 
 Athenaios we obtain the following elements : 
 
 (i) The story of the artist's effeminacy and luxury, given in 
 Athenaios, first on the authority of Klearchos, and repeated from 
 an unnamed author; in Pliny it occurs combined with that of 
 the artist's arrogance : fecundus artifex, sed quo nemo insolentius 
 usus sit gloria artis habrodiaetum se appellando. 
 
 (2) The boast recorded both in Athenaios and Pliny that 
 Herakles often appeared to the artist in dreams w^hile he was 
 engaged upon the hero's picture. 
 
 (3) The story, given also by both writers, of the competition 
 at Samos, and the insult to Timanthes. 
 
 (4) The story, preserved only in Pliny, of the artist's boasted 
 descent from Apollo. 
 
 It is evident that these membra disieda must all have been 
 found united in some older writer, from whom they found their 
 way through different channels into Pliny and Athenaios re- 
 spectively. Now Klearchos of Soloi was himself a pupil of 
 Aristotle ' ; and, although Athenaios does not name his authority 
 for the rest of the story, it is evident from its character, and from 
 the mention moreover of Theophrastos for the parenthetical 
 anecdote that Parrhasios was in the habit of singing at his 
 work, that we are full among the Peripatetics. Therefore, as 
 H. L. Urlichs has pointed out, the original authority must be 
 a Peripatetic who had written upon the painters; in a word, it 
 must be Duris of Samos ". This conjecture finds confirmation 
 in the comments respectively made by Schubert ' and Miinzer * 
 on the especial delight which Duris takes in describing details of 
 dress (above, p. xlvi). It is significant that out of eighty-four 
 fragments in Miiller no less than ten ^ are concerned with elabo- 
 rate descriptions of costume. Parrhasios the effeminate, with 
 his purple robe and his golden crown, is reminiscent of the 
 effeminate Demetrios, with his yellow hair and painted face, of 
 frag. 27; of the regal Demetrios, with the gold-embroidered robes 
 and the hair-band shot with gold (/iiVpa ;i(/)uo-o'7ra(r7-or), of frag. 31. 
 
 • 
 
 ' Athen. xv, p. 701 c. * Op. cit. p. 536. 
 
 ^ Griechische KanstschriftsteUer, ■' Fr. 14, 20, 22, 24, 27, 29, 31, 47, 
 
 P- 25- 50, and 64. 
 ' Pyrrhus, p. 15. 
 
DURIS OF SAMOS Ivii 
 
 But Parrhasios was not the only painter who delighted in 
 gorgeous apparel. According to Pliny (xxxv, 62), his rival Zeuxis 
 carried the same taste so far as to make his appearance at Olympia 
 displaying his own name woven in letters of gold into the em- 
 broideries of his garments — aureis litteris in palliorum tesseris 
 intextum nomen — a detail which recalls the description of the 
 chlamys of Demetrios, into which was inwoven the vault of 
 heaven with its golden stars and twelve signs of the zodiac ^ 
 Robert ^ had already pointed out that the similarity of the stories 
 narrated by Athenaios of the costume of Parrhasios, and by Pliny 
 of that of Zeuxis, showed them to be derived from the same 
 author. Since in the case of Parrhasios this author was Duris of 
 Samos, it follows that it is to him also we must refer the Plinian 
 anecdote of the luxury of Zeuxis ^. 
 
 A word remains to be said about the epigrams out of 
 which the stories concerning Parrhasios are in great measure 
 elaborated. It was the opinion of Jahn that all the epigrams 
 purporting to have been written by Parrhasios upon himself, and 
 inscribed upon his pictures — with the exception perhaps of the one 
 celebrating the nocturnal apparitions of Herakles — were apocry- 
 phal *- Jahn included in the same category the self-laudatory 
 epigrams placed in the mouth of the painter Apollodoros by one 
 Nikomachos °, and the epigram which, according to the orator 
 Aristeides (Or. xlix, vol. ii, p. 521 Dindorf), had been elicited 
 from Zeuxis in answer to the boasts of Parrhasios. 
 
 ' Listen now,' writes Aristeides, ' to another swaggering painter,' 
 and quotes the following epigram of Zeuxis : 
 
 ' Herakleia my Fatherland, Zeuxis my name ; if any among men pretend to 
 have attained the limits of my art, let him come forward and be proclaimed 
 conqueror. . . . Yet methinlis that mine is not the second place °.' 
 
 ^ Duris «/. Athen. xii, 535 f ( = fr- hung in front of pictures which he 
 
 31) ; al Si x^^A^^fs outou ^(roj" exhibited at Olympia (see Arch. Ep. 
 
 if^vivov ixovaai rb (peyyos rijs )(p6as, Mitth. aus Oeslerreich, xii, 1888, p. 
 
 TO i\ Ttav [verba suspecta, Keil] 1 06 f., and the article /Vir/«?-o in Smith's 
 
 TTcJ^os eviJ<))avTo -xpvaom dffrepas ex""' Du/. of Ant. vol. ii, p. 410). 
 
 KoX ToL SiiSeKa (wSia. Cf. Plut. De- * Kleine Beitrdge, p. 286 ff. 
 
 metrios, ^\. ° ApudYLs^aisXiointiplyiirpav koX 
 
 ^ Arch. Mdrchen, p. 80. -noaiix. iv, 7 : 
 
 ^ The remarks made above will OStos S^ aoi 6 KKftvbs &v' 'EWiSa 
 
 show sufficiently why I have thought irdaav 'AiroWS- 
 
 it unnecessary to refer either here or Soupos' yiyvdufftcets Tovvo/ja tovto 
 
 in the Comm. to the witty explanation aKvav. 
 
 of the pallia of Zeuxis as the curtains ' 'HpaK\na Trarpis, ZeCfis 8' broji'- 
 
Iviii INTRODUCTION 
 
 These poetical criticisms, passed in similar vocabulary by three 
 great contemporary painters upon their own or one another's 
 achievements, seemed suspicious to Jahn. Bergk, however, 
 saw no reason to dispute their authenticity', and in the case of 
 Zeuxis at least it has lately been pointed out that his epigram has 
 a parallel in the acrostic inscribed upon the grave of the rhetor 
 and sophist Thrasymachos of Chalkedon, a younger contem- 
 porary of Sokrates : ToiVo/ia e^ra 'P£ "AX^a %av 'Y Mu "AX^o Xci Oi 
 Sax, I TTarph XoKKriSmv- ^ 8c rex"'] <TO<f>lr] (Athen. X, 454 {=Anih. App. 
 
 359)^- We may gather from the observation that Zeuxis stood;, 
 as probably also Polykleitos, in close relation to the Sophists *. 
 And the same is possibly true also of Parrhasios. 
 
 But to return to Duris. We have seen that those episodes 
 of the Zeuxis-Parrhasios legends, designed to point the ethical 
 qualities of the artists, might with certainty be referred to him. 
 Now it has been finely discerned by Robert that the amiable 
 Apelles and Protogenes are conceived as a pendant, so to speak, 
 to the haughty and arrogant Zeuxis and Parrhasios, ' the faults of 
 the older couple serving as a foil to the virtues of the younger. 
 As a contrast to the productive and luxurious Parrhasios, we get 
 Protogenes, struggling with the bitterest poverty, working with 
 the most painstaking care, and accordingly producing but little : 
 summa paupertas initio artisque summa intentio et ideo minor fer- 
 tilitas. The portrait of Apelles is drawn with an even more 
 loving hand; his simplicitas, which manifests itself in his un- 
 grudging recognition of the superiority of masters who surpassed 
 him in special points ; his comitas, to which he owed the intimacy 
 of Alexander ; his benignitas displayed towards Protogenes — are 
 dwelt upon with admiration, and instances are adduced in their 
 support *.' 
 
 The intercoherence of the two sets of anecdotes is so patent 
 
 (1 Se Tis avlfSiv ^/icrepi;? rtx^n^ duces himself to the reader as : ifioX 
 
 TTCipara ip-qaiv ix^iv Sei^as viKcnai- 'AyaBias niv ovojm, Mvptva Si irarpU 
 
 SokSi Se, (ptjaiv, fiixas oixl tcL Sevrep' (VLeiivovios Si TtaTqp), Tcx^ij SI rd 
 
 cX""- 'PaiMiav vdiu/M ko! oi Tfiy Sixaarripianr 
 
 The resemblance to the second epi- aySii'es. See Reitzenstein, Hermes, 
 
 gram of Parrhasios, quoted by Athe- xxiv, 1894, p. 238. 
 
 naips, is striking. a Roijgrt, VoHvgemalde eines Apo- 
 
 1 ZyW«Cra««,ed.4,vol.ii,p.3i6f. baten,-p. 20; Diels, Deutsche Liter.- 
 
 ''■ Imitated as late as the second half Ztg. May 29, 1886, p. 784, and Arch. 
 
 of the sixth cent. A. D. by Agathias Anz. 18S9, p. 10. 
 
 (pp. 8, 18, ed. Niebuhr), who intro- » Arch. Mdrchen, p. 81. 
 
DURIS OF SAMOS lix 
 
 as of itself to justify us in assuming Duris, to whom we owe the 
 one set, to be the author also of the other. This assumption is 
 confirmed when we look more clearly into the details. 
 
 Most of the anecdotes recounted of Apelles and Protogenes 
 are intended, as Robert has already remarked, to give concrete 
 expression, above all, to the moral qualities of the artists, and at 
 times also to their technical excellencies. The famous story of 
 the 'splitting of the line' (xxxv, 80-82), like that of the circle 
 traced by Giotto in presence of the Pope's envoy', is merely 
 a comment on the delicate draughtsmanship of Apelles. Proto- 
 genes is made to split the line which Apelles divides once more, 
 that the latter's superiority may be only the more triumphantly 
 established by a great rival's acknowledged discomfiture. The 
 setting of this particular anecdote moreover — the description 
 of the studio with the solitary old woman (see Comm.) 
 guarding in the master's absence the large easel with the panel 
 ready to be worked upon — is specially Duridian in its picturesque 
 detail. 
 
 The two proverbs attributed to Apelles, 'No day without a 
 stroke ' (§ 84), and ' Cobbler, stick to thy last ' (§ 85), were intended 
 to bring out his industry, and his respect for the opinion of 
 others, though naturally only in so far as they speak of what 
 they understand. The moralizing tone of the Peripatetic is heard 
 in both the anecdotes elaborated out of the proverbs ; nor is it 
 superfluous to note that Duris seems to have had a strong 
 leaning to proverbial sayings, possibly actually to have collected 
 them \ 
 
 The anecdote recounted in §§ 85, 86 of Alexander the Great's 
 visit to Apelles illustrates another of the artist's qualities, his 
 comitas or amiability. The kindly snub administered by Apelles 
 to the king is evidently apocryphal, belonging to that class of 
 anecdotes which, as Freeman would say, ' go about the world with 
 blanks for the names V for Ailianos (see Comm.) has it of Zeuxis 
 and a Megabyzos or Priest of Kybele. The story of Pankaspe, 
 which, on the other hand, is a comment on the monarch's 
 generosity and self-control, is not only practically inseparable 
 from the first, but Alexander's detection of his artist friend's 
 trouble, and the magnanimous self-denial with which he gives up 
 
 ' Vasari, ed. Milanesi, vol. i, p. id. 11,28; b. ^s^^VhA. Lysander, \%. 
 383. " Freeman, Methods of Historical 
 
 ^ See fr. 49 = Zenob. v, 64; fr. 68= Study, p. 134. 
 
Ix INTRODUCTION 
 
 to him the most beloved of his mistresses, bear an extraordinary 
 resemblance to the tale recounted by Plutarch (Demetr. xxxviii) 
 of how King Seleukos gave up his wife Stratonike to his sick son 
 Antiochos, whose love to his step-mother had been discovered 
 by the physician Erasistratos as the cause of the young man's 
 disease. The Plutarchian story has been traced back to Duris ', 
 whose partiality for erotic subjects, moreover, is abundantly 
 proved by the extant fragments'*. 
 
 The story told in § 87 emphasizes the benignitas of Apelles 
 towards all rivals, by singling out for our admiration his conduct 
 in the case of Protogenes. The episode was evidently originally 
 of a piece with the visit recounted in §§ 81, 82. To the story of 
 the horses in § 95 we shall return later (p. Ixiv) ; it may, how- 
 ever, be noted here that it shows the amiable and good-tempered 
 artist losing patience, as in the case of the cobbler, with people 
 pretending to know more about art than himself. 
 
 The Duridian character of the story of the rise of Protogenes 
 from poverty to fame (§ loi) has already been noted in another 
 connexion. His homely fare of soaked lupins gives point to his 
 poverty and sobriety. The story in § 103, telling how the froth 
 at the dog's mouth in the picture of 'lalysos' was rendered 
 by a lucky accident, when all the artist's efforts had failed, is 
 eminently Peripatetic and Duridian in its delighted insistence upon 
 the miracle of chance {canis . . . quem pariter et casus pinxerit ; 
 fecitque in pictura fortuna naturani) ^^ It is almost the anecdotic 
 
 ' Schubert, Pyrrhus, p. 21. xiii, p. 605 E), who not impossibly had 
 
 ^ Cf. fragm. 2, 3, 19, 27, 35, 37, himself got it from Duris, the statue in 
 
 42,43,58,63. Thus he might possibly question having been at Samos. We 
 
 be responsible for the story of Pausias learn, moreover, from Athenaios (xiii, 
 
 and Glykera (xxxv, 125), and for the p. 606 A), on the authority of Adaios 
 
 anecdote recounted in xxxv, 140, of ofMitylene,thatitwasthework ofone 
 
 a Queen Stratonike, who may be Ktesikles (cf. Brunn, K. G. i, p. 424) : 
 
 identical with the Stratonike men- he is otherwise unknown, and the 
 
 tioned above. Perhaps too he had name happens to be identical with 
 
 the stories of the lovers of the Knidian that of the painter of ' Stratonike and 
 
 Aphrodite (xxxvi, 2i) and of the Eros the Fisherman.' 
 
 at Parion (ib. § 22) ; the stories, it is ' The similar story recounted of 
 
 true, were derived by Pliny from Nealkes (xxxv, 104) is probably a 
 
 Mucianus (p. xc), but the latter may mere doublette of that of Protogenes; 
 
 quite well have had access to Duris but there is nothing in the date of 
 
 (cf. p. xci) or to art-literature based Nealkes, as now established by Miin- 
 
 upon Duris ; at any rate we find a zer (see Comm.), to prevent its having 
 
 similar anecdote recounted by Klear- originated with Duris. 
 chos of Soloi (fragm. 46 ap. Athen. 
 
DURIS OF SAMOS Ixi 
 
 illustration of a line of Agathon quoted by Aristotle : rfx^i Tvxnv 
 
 fo-rep^e, koX Tvxr) Tex"'!'' '■' (Addenda.) 
 
 The story of the protection accorded by Demetrios (who by 
 the way is a favourite hero of Duris) to Protogenes '■', and of the 
 friendly intercourse between the warrior and the artist (§§ 104, 
 loc), recalls the intercourse of Alexander and Apelles. Moreover, 
 the scenic setting, the description of the artist living in hortulo 
 suo (see Comm.), must be by the hand which had described the 
 anus una keeping watch in the empty studio. Of the Satyr 
 upon which Protogenes was at work when Demetrios besieged 
 Rhodes, Strabo (xiv, p. 652) tells an anecdote characteristic of 
 Duris. The Satyr was represented leaning against a column 
 upon which perched a partridge ; now so greatly was the painting 
 of the bird admired that it detracted from the attention due to 
 the central figure ; the painter, accordingly, vexed because his 
 main theme had become subsidiary (to tpyov irapepyov •yeyoi'dr), 
 erased the bird. The story is identical in spirit and intention 
 with that of the boy and grapes painted by Zeuxis, and recounted 
 by Pliny (xxxv, 66) and Seneca Rhetor (see Comm.\ I incline 
 to credit the Samian historian with the authorship of both. Lastly, 
 the story of Aristotle's advice to Protogenes to paint the feats of 
 Alexander is obviously more likely to proceed from the Peripatetic 
 Duris than from any other of the Plinian authors. 
 
 We have thus recovered considerable fragments of as many as 
 four of Duris's Lives of the Painters. There still remain scat- 
 tered up and down the Plinian narrative a number of Duridian 
 passages, which I propose to examine in conclusion. 
 
 Closely connected with the anecdotes illustrative of character 
 comes another series, designed to give concrete form to certain 
 art-problems which had at different times exercised different 
 schools. A striking instance is the story told in xxxv, 64, of how 
 Zeuxis combined the beauty of his Helen painted for Kroton 
 (the Agrigentum of Pliny is a mistake, see Comm.) from the best 
 features of the five fairest maidens of that city. The anecdote 
 embodies the axiom that since ' there is no excellent Beauty, that 
 hath not some strangenesse in the proportions,' the artist, striving 
 for the ideal perfection, must needs ' take the best Parts out of 
 Divers Faces to make one Excellent '.' Both the problem and 
 
 "■ Ethics, vi. 4. lSbc Addenda. Demetrios, for which Duris is one of 
 
 ^ The story is also told with only the main sources, 
 slight discrepancies by Plutarch in the ^ Bacon, Essays, xliii. 
 
Ixii INTRODUCTION 
 
 its solution had been discussed by Sokrates in the studio of 
 Parrhasios\ Cicero, recounting the story of Zeuxis and the 
 maidens as an illustration of the method he had himself followed 
 in his study of rhetoric, had naturally combined it with the axiom 
 it was originally intended to illustrate. The long passage {de 
 Invent. Rhet. ii, i, i) is too well known to need full quotation, 
 but the closing words are significant for our purpose, as showing 
 how the anecdote had its rise in philosophic speculations : — 
 
 '. . . he (Zeuxis) did not believe that all the excellencies he needed for his 
 beauteous image could be found in one body, for this reason, that nature never 
 puts the perfect finishing touch to all the parts of any one object. Therefore, 
 precisely as though by bestowing everything on the one she would have nothing 
 left for the rest, she confers some benefit, now here now there, which is always 
 inseparable from some defect ^' 
 
 Dionysios irav apx- KplcTLs I), by using the anecdote to prove that 
 we may, out of a varied erudition (ffoXu^d^fia), combine and 
 inform the indestructible image of Art, shows his thorough 
 appreciation of the philosophic lesson it was intended to convey. 
 To a genial inventor like Duris, trained moreover in philosophic 
 doctrine, may well be attributed the shaping of a story so much 
 more apt to clothe an aesthetic problem than to convey an actual 
 artistic practice. The fable of the five maidens of Kroton is of 
 perennial interest ; it haunted the imagination of Raphael, who, 
 writing of his Galatea to Baldassare Castiglione, says that 'per 
 dipingere una bella, mi bisognerei veder piii belle,' and at a later 
 date we find it astutely criticized by Bernini ' (see Add.). 
 
 Duris may also be credited, I think, with the expression of 
 another problem of kindred nature, conveyed this time, how- 
 ever, not as an anecdote but as an apothegm. The judgement 
 which Lysippos had passed upon his predecessors (xxxiv, 6r), 
 saying that, while iAey represented men as they are, Ae strove 
 to represent them as they appeared to be, expresses, as I have 
 pointed out in the notes, a dominant problem of art, the 
 
 ' Xenophon, Memorah. iii, lo, i : simpliciin genere omnibus ex partibus 
 
 . . . IjreiS^ ov fiaSiov kvl avepimai iripi- perfectum natura expolivit. Itaque, 
 
 TVxeTv diieinrra irivra ex""", l« toK- tanquam ceteris non sit habitura 
 
 Xav amayovTis rd ef kiciaTov icaWia-- quod largiatur, si uni euncta conces- 
 
 TatovTOJs oKa to, aii/mra aaXA troiarf serit, aliud alii commodi, aliquo 
 
 tpalveaSai ; iroioviiiv yap, itprj, ovrms. adiuncto incommodo muneratur. 
 
 ' Ncque enim putavit omnia, quae ' See Baldinucci, Notizie del' Pro- 
 
 quaereret ad venustatem, una se in fessori del Disegno da Cimabue in 
 
 corpore reperire posse idea, quod nihil qua (Firenze, ed. 1847), p. 661. 
 
DURIS OF SAMOS Ixiii 
 
 problem of impressionism versus realism. Miinzer' has lately 
 referred the passage to Antigonos, who records a somewhat similar 
 judgement passed by the philosopher Menedemos upon his prede- 
 cessors '\ This, however, only proves the later hand of Antigonos. 
 So illuminating an aphorism could only have arisen in the brain 
 of a far more powerful writer. The Lysippian judgement recalls, 
 as has often been noticed ', that which Aristotle makes Sophokles 
 pass on himself and Euripides (Arist. Poetics, 1460 b*) — is, in 
 fact, but the application to a new problem of a phrase traditional 
 in Aristotelian circles °. It is evident that Duris, who moreover is 
 expressly named by Pliny as the authority for the early career of 
 Lysippos, is far the likeliest of the Plinian authors to be responsible 
 for the Lysippian apothegm'- The attribution is corroborated, 
 moreover, by his partiality for such sayings, which he possibly 
 collected systematically in emulation of the dno(j)deynaTa or 
 anoiivTuioveifiaTa of his brother Lynkeus '. 
 
 He was an adept at deducing apothegms out of well-known 
 lines of the poets and dramatists, even at the cost of occasional 
 misapplication (Plutarch, Demetr. 14, 35, 45, 46 ; with Athen. vi, 
 249 c, cf. Odyss. xi, 122- Schubert, Pyrrhus, p. 20 f.) ; and I 
 would therefore likewise refer to him the apothegm of Euphranor 
 to the effect that 'his Theseus was fed on meat, but that of 
 Parrhasios on roses' (xxxv, 128). Miinzer has detected in the 
 words the latent reminiscence of an Aristophanic line preserved 
 in Diogenes on the authority of Antigonos ' (see Comm.), but this 
 
 ^ Op. cit. p. 527. p. 95 (for Greek, see Comm.). 
 
 ^ Antig. Kar. ap Diog. ii, 1 34 ( = ^ To say this, however, is far from 
 
 Wilam. p. 98); ^av h\ StSaaxaKaiv admittingthe theory of OttfriedMuUer 
 
 Ttuj' irept HX&Twva KoX BiVoKparqv iri {Kunst-Archdol. IVerie, ll.p. 165 ff.), 
 
 8^ Hapm^aTrjv rbv Kvptivawv icare- lately revived by K^kule {Arch. 
 
 <j>p6vu, 'SriXTToiva 8' iTiBavpaKa' xai Jahrb. viii, 1893, p. 39 ff.), that the 
 
 TTore kptoTijBels Trepi aitrov dWo p.'iv original Greek of the Lysippian say- 
 
 ovS\v (lire irXiiv on (\ev9ipios. The ing was a slavish imitation of the 
 
 resemblance to the Lysippian phrase Sophoklean (Kekule, p. 45) — and the 
 
 is little more than formal and verbal. guales viderentur esse of Pliny a 
 
 ' Among others by Vahlen in the clumsy misunderstanding of something 
 
 notes to his ed. of the /farfzVj (Leipzig, like oi'ous Ioikcv dvai. On the con- 
 
 1885), p. 265. trary, the viderentur is the very pith 
 
 * ' Further, if it be objected that of the apothegm, which conveys a 
 
 the description is not true to fact, the problem totally different to the Sopho- 
 
 poet may perhaps reply, — " But the klean. 
 
 objects are as they ought to be ": just ° Duridian authorship seems hinted 
 
 as Sophokles said that he drew men at by Diels, Arch. Anz. 1893, p. II. 
 
 as they ought to be drawn ; Euripides ' Ath. vi, 245 ; viii, 337. 
 
 as they are.' Tr. S. H. Butcher, ' I trust I am not misapprehending 
 
Ixiv INTRODUCTION 
 
 is no proof that Antigonos is also responsible for the new turn 
 given to the phrase in the mouth of Euphranor. 
 
 There remains to note, with H. L. Urlichs^ and Miinzer'-*, that 
 Duris was presumably the source for sundry stories of art-com- 
 petitions preserved in Pliny. Their authenticity is suspicious, as 
 Jahn long ago maintained ^ because in all of them the competition 
 itself offered no interest whatsoever to the writer, but was merely 
 used — we may at once say invented — in order to bring great artists 
 of the same or adjoining epochs into presence, and often to point 
 some saying supposed to have been uttered on the occasion. 
 The animating idea is the same as in the story which represented 
 the young Lysippos venturing upon the higher paths of art at the 
 bidding of Eupompos. Such is the contest between Parrhasios 
 and Timanthes, already discussed in another connexion (above, 
 p. liv), where we are not even told the subject of the picture by 
 the latter artist ; the competition between Zeuxis and Parrhasios 
 with the curtain and the grapes {ib. 65) ; and the kindred anecdote 
 of Apelles' appeal from the verdict of human judges to that of 
 beasts (ib. 95). 
 
 The story of the four statues of Amazons made in competition 
 by four great artists for the Temple of Ephesos belongs to the 
 same series. The garb it borrows from the legend of the award of 
 the prize of valour after Salamis (see Comm.) sufiSciently betrays its 
 apocryphal character, even though it have a groundwork of truth. 
 There is the undoubted existence of four distinct types of Amazons, 
 similar in size and pose; and Furtwangler has lately made the 
 acute suggestion that the anecdote of the evaluation grew out of 
 the order in which four statues of Amazons by the said four 
 masters were exhibited in the Ephesian Artemision (see Comm.). 
 Certainly such an order of exhibition *, could it be proved, would 
 
 the rapprochements attempted on it from Greek art-writers : Aug., De 
 
 p. 5275. of Miinzer's article. Doctrina Christiana, ii, 8 : Non enim 
 
 ^ Griechische Kunstschriftsteller, audiendi sunt err ores gentilium super- 
 
 p.aSf. stitionum qui novem Musas Icniis 
 
 ' Op. cit. p. 534. et Memoriae filias essefinxerunt. Re- 
 
 ' Kleine Beitrdge, p. 289 f. fellit eos Varro, quo nescio titrum 
 
 ' It may be worth pointing out apud eos quisquam talium rerum 
 
 here that the story of the Four Ama- doctior vel curiosior esse possit. Di- 
 
 4pns has a curious parallel, not, I be- cit enim civitatem nescio quam, non 
 
 lieve, observed before, in Augustine's enim nomen recolo, locasse apud tres 
 
 explanation of the origin of the num- artifices terna simulachra musarum, 
 
 ber of the Muses ; it is quoted on the quae in templo Apollinis dona poneret, 
 
 authority of Varro, who of course had et quisquis artificum pulchriora for- 
 
DURIS OF SAMOS Ixv 
 
 be a fine opportunity for imagining the rivalry of the four artists, 
 precisely as a joint inscription of (the Elder) Praxiteles and 
 Kalamis had given rise to some popular explanation, afterwards 
 elaborated by Duris or a writer of his stamp into the anecdote 
 recorded in xxxiv, 71, of the kind consideration of Praxiteles for 
 the artistic reputation of Kalamis— an anecdote, by the way, that 
 recalls the kindness of Apelles to Protogenes. Finally, the 
 competition between Panainos and a totally unknown Timagoras 
 (xxxv, 58), on the testimony of a carmen vetustum, of whose 
 content, however, no hint is given, looks suspiciously like fiction. 
 
 There is still one passage in conclusion where Miinzer (p. 535) 
 detects, I believe rightly, the influence or authorship of Duris. 
 This is the account of the women painters in xxxv, 147, ' woman ' 
 being one of the most favourite Duridian themes '. Miinzer further 
 remarks that the painter Olympias is a namesake of the mother 
 of Alexander the Great, for whom Duris evinced a lively interest,' 
 as for every one connected with Alexander ; that Aristarete is the 
 daughter of Nearchos, who, as the namesake of one of Alexander's 
 generals ", would likewise interest Duris ; and that the three women 
 Timarete (xxxv, 59), Irene, and Aristarete, at once daughters 
 and pupils of their respective fathers, Mikon, Kratinos, and 
 Nearchos, are conceived too manifestly on the same pattern to be 
 above suspicion. Finally, the dancer Alkisthenes and the juggler 
 Theodoros, painted by Kalypso, are evident Duridian personages ; 
 they recall the BaviiaTovowi, Xenophon and Nymphodoros, of fragm. 
 44 ( = Ath. i, p. 19, f), where the clever tricks of Xenophon's 
 pupil Kratisthenes of Phlious are described. The analogous 
 formation of the names Alkisthenes — Kratisthenes, Theodoros — 
 Nymphodoros, is certainly significant. 
 
 This closes the list of passages that may be attributed with any 
 certainty to Duris. It is most improbable that either Varro or 
 Pliny had direct access to his writings ; he seems so certainly the 
 authority of Antigonos for the statement concerning Pythagoras of 
 Samos (above, p. liii), and so many of the passages traced back to 
 
 masset ab illo fotissimum electa emeret. posuisse vocabula. Non ergo lupiter 
 
 Itaque contigisse ut opera sua quoque novem Musas genuit, sed tres fabri 
 
 illi artifices aeque pulchra explica- ternas creaverunt. 
 
 rent, et placuisse civitati omnes novem ' Cf. fragm. 2, 3, 19, 24, 35, 42, 
 
 atque omnes emplas esse, ut in Apol- 58, 63. 
 
 linis templo dcdicarentur. Quibus ' Ft. 24. 
 
 postea dicit Hesiodum poetam im- * Plut. Alex. 66, 73 and often. 
 
Ixvi INTRODUCTION 
 
 Duris were likely to interest Antigonos from their purely anecdotic 
 character, that it is not unreasonable to assume that all the 
 Duridian stories we meet with in Pliny were brought in by Anti- 
 gonos, who had drawn largely from Duris for his Book of Marvels 
 (Miinzer, op. cit. p. 531). Antigonos presumably did not always give 
 the name of his authority; like Pliny and most ancient writers, he 
 would be willing enough to assume the credit of the greater part 
 of his information, and would only mention his authorities by name 
 in cases where the statements seemed to him to outpass belief. 
 So, too, Varro quoted the artifices qui condidere haec, in xxxiv, 68, 
 and again in xxxv, 68 (giving them here a second mention by 
 name), in cases where he felt he needed an excuse for a weak 
 explanation, or a warrant for an over-bold criticism. Thus it was 
 that, after passing through many different hands, the name of 
 Duris of Samos, preserved in xxxiv, 61 in testimony of the 
 incredible story that the great Lysippos of Sikyon had been wholly 
 a self-taught artist, has given us a clue leading us to assign, as I 
 believe, to their right author no inconsiderable portion of the 
 Plinian anecdotes. 
 
 At the same time the vindication of these tales for the Samian 
 historian throws considerable light on the nature of his art-writings. 
 They reveal him as above all a biographer in spirit and not only 
 in form. He seeks to bring before his readers the individuality of 
 the man rather than the technical or aesthetic quality of his work. 
 For this purpose he employs popular traditions, giving to these 
 voces populi the literary form which was to secure them from 
 oblivion. In the attention he bestowed upon character-drawing, 
 real and fictitious, he was a true product of his age in its newly 
 awakened desire to ascertain the features of great men present or 
 past. The words of Pliny were as true of the third century as of 
 his own : pariunt . . . desideria non traditos vultus, sicut in Homero 
 evenit: sculptors were not content to portray contemporaries — 
 a Menander or a Poseidippos — but must needs discover and 
 fix for a late posterity the likeness of Aisop, Archilochos, Epimeni- 
 des, nay of Homer himself ^ In many cases the monuments 
 are still there to show how nearly a deep intuition of the genius 
 peculiar to each personage portrayed might help to restore the 
 •image which no contemporary hand had traced. The same 
 occurred in literature : the Peripatetics, Chamaileon of Herakleia, 
 
 ' See the remarks of Wilamowitz, Antigonos -von Karystos, p. 149 ff. 
 
DURIS OF SAMOS Ixvii 
 
 or Dikaiarchos of Messana— to quote two out of a host — had 
 attempted to reconstruct the Hves of Alkman, of Alkaios, or of 
 Semonides. Duris himself had written a biography of Euripides ', 
 of which recent criticism has recovered at least one characteristic 
 fragment, which tells how Sophokles on receiving the news of the 
 death of Euripides clad himself in robes of mourning. When 
 Duris wrote his biographies of the artists he determined they 
 should be ' Lives ' in the most realistic sense of the word, refusing 
 to discuss the works divorced from the artists' personalities. It is 
 little wonder if in essaying to breathe back life into the persons of 
 Lysippos, of Apelles, or Protogenes, his vivid imagination and 
 strong powers of presentment led him, when historic facts failed, 
 to offer telling anecdote in their place. 
 
 We may feel impelled from the side of historical verity to echo 
 the complaint of Plutarch that Duris shows, even where not 
 misled by interest, an habitual disregard of truth'', but we are 
 none the less indebted to him for what is perhaps the most 
 enduring charm in the history of the ancient artists. The stories 
 we have been studying, like those countless others which enliven 
 the pages of Greek history, have their rise in a profoundly popular 
 instinct, in the desire to find expression, at once simple and 
 striking, for distinguishing qualities of temperament or of workman- 
 ship. And in their graphic force, that ' power,' if we may borrow 
 from the words which Dionysios applies to the oratory of Lysias, 
 of ' driving home to the senses the subject of discourse ^' they 
 have entered into the very substance of our thought. While 
 every schoolboy is familiar with the tale of Zeuxis and the 
 grapes, a scholar such as August Boeckh could express his ideal 
 of the learned life in the words dies diem docet ut perdideris quant 
 sine linea transmiseris, or the orator Burke sum up the qualities of 
 that masterly state-paper, ' whose every stroke had been justified 
 by historic fact,' in the telling phrase Thus painters sign their 
 names at Co.*^ 
 
 ' Printed at the commencement of one allusion to Duris {Att. vi, i, i8) 
 
 Kirclihoff's ed. Berlin, 1867, vol. i, judges him more leniently. 
 p. viii. Cf. Schubert, ij/^r^aj, p. 16. 'Dion. Hal. de Lys. vii 8t;Va/«'s 
 
 ^ Pericl, xxviii : Aovpt^ i^^v ovv ovb' tis vtt6 rds aitjOrjffds dyovffa toL Ktyo- 
 
 birov liTjilv avT^ rrp6ai(Tnv iSiOV iraSos /j-fva. 
 
 fiaSais Kpwruv t^i' diTifr]aiv iirl t^s * Burke, ^fl?-Ai(ed. 1823), vol. viii, 
 
 &\Tj9eias. . . . Cicero, however, in his p. 129 (Letters on a Regicide Peace). 
 
 e 2, 
 
Ixviii INTRODUCTION 
 
 IV. Literary Epigrams. 
 
 The literary epigram, at once descriptive of a work of art and 
 embodying its criticism or eulogy, was among the most fruitful 
 sources of information at the disposal of ancient writers upon art '. 
 It plays accordingly, as Otto Jahn first perceived ^, a considerable 
 part in Pliny's descriptions of pictures or statues, where it 
 becomes of the highest importance to the critic to detect it : for, 
 as it strongly coloured the Plinian narrative, so it has gone on to 
 this day, colouring our appreciation of ancient works of art, nay, 
 predisposing us in many cases to read into them intentions, which 
 are within the expressive range of poetry rather than of the plastic 
 arts. Pliny's own phrase describing what the Apellian Aphrodite 
 owed to the verses written in her praise remains true in greater or 
 less degree of all works extolled in epigrams : versibus Graecis tali 
 opere, dum laudatur, victo sed illustrato. 
 
 A first list of the Plinian passages based upon epigrams was 
 drawn up by Otto Jahn [loc. cit.), and afterwards supplemented by 
 Benndorf '- The subjoined list is compiled from theirs, but with 
 some few additions indicated by an asterisk. 
 
 1. — xxxiii, 156 Antipater (sc. Diodoros, see note) — qui Satyrum in phiala 
 gravatum somno conlocavisse verius quam caelasse dictus est. 
 Cf Anth. Plan. 248 : 
 
 Tov ^arvpov AiSSwpos eKoif^ifffv, oiiK eropevtrep' 
 fiv vv^rj^, kyepiis' apyvpos virvov ^x** *- 
 
 2. — xxxiv, 55 Polyclitus . . . diadumenum fecit molliter iuvenem . . . et dory- 
 phorum viriliter puerum. 
 
 (The epigrammatic qualification is so finely knitted to the 
 mention of the works that it must have been brought in at a very 
 early date^) 
 
 3. — xxxiv, 59 Pythagoras — fecit — claiidicantem, cuius ulceris dolorem sentire 
 etiam spectantes videntur. 
 
 1 See in connexion witli the epi- = De AniAologiae Graecae Epigram- 
 
 grams of the Anthology which deal matis quae ad artes spectant; diss, 
 
 with works of art the admirable essay Leipzig, 1862. 
 
 of J. W. Mackail, Select Epigrams * ' This Satyr Diodorus engraved 
 
 from the Greek Anthology, p. 47 ff. ; not, but laid to rest ; your touch will 
 
 ^cf. P. Vitry, &tude sur les Elpigr. wake him ; the silver is asleep.' Tr. 
 
 de PAnthol. Pal. qui contiennent la J. W. Mackail, op. cit. p. 179. 
 description d'une auvre d'Art, in = Munzer, o>. «V. p. 529. Dilthey, 
 
 Rev. Arch. xxiv. 1894, p. 315 ff. Rhein. Mus. xxvi, 290, first pointed 
 
 ^ Kunsturtheile des Flinius, p. out the epigrammatic juxtaposition of 
 
 118 ff. the two works. 
 
LITERARY EPIGRAMS Ixix 
 
 Cf. Antk. Flan, iv, 113; 11. 1-2 : 
 
 o7Ba ^iKotcrqrrjV dp6aiv, Srt Traffi (paeivei 
 0X705 l^(/ /caJ Tots Trj\60i SepKOfiivOiS '. 
 
 *4. — xxxiv, 1^0 (Praxiteles) fecit et puberem Apollinem subrepenti lacertae corn- 
 minus sagitta insidiantem quem sauroctonon vocant. 
 
 Cf. the same or perhaps identical epigram as adopted by 
 Martial, xiv, 172 : 
 
 Ad te reptanti, picer insidiose, lacertae 
 Farce ; cupit digitis ilia perire tuts ^ 
 
 5.' — ^xxxiv, 70 (Praxitelis) spectantnr et duo signa eius diversos adfectus expri- 
 mentia, flentis matronae et meretricis gaudentis. hanc putant 
 Phrynen fuisse deprehenduntque in ea amorem artijicis et mer- 
 cedem in voltu. meretricis. 
 
 The juxtaposition of the statues is purely epigrammatic ; in the 
 description of Phryne's portrait lurks perhaps a reminiscence of 
 Anth. Plan, iv, 204 (see Comm.). 
 
 *6. — xxxiv, 71 Ipse Calamis et alias guadrigas bigasque fecit se impari, equis 
 sine aemulo expressis. 
 
 The rhetorical point betrays the underlying epigram; the 
 Propertian Exadis Calamis se mihi iactat equis (Prop, iii, 9, 10) 
 is doubtless from the same source, for where should Kalamis 
 boast of his horses so well as in some epigram purporting to be 
 written by the artist himself? 
 
 7. — xxxiv, 74 Cresilas volneralum deficientem, in quo possit intellegi quantum 
 restet anim^e, 
 et Olympium Periclen dignum cognomine, mirumque in hac arte est 
 quod nobiles viros nobiliores fecit. 
 
 8. — ib. 11 Euphranoris Alexander Paris est, in quo laudatur quod omnia 
 simul intelleganlur, iudex dearum, amator Helenae et tamen 
 Achillis interfector. 
 
 9. — ib. 78 Eutychides Eurotam, in quo artem ipso amne liquidiorem plurimi 
 dixere. 
 
 ^ ' I behold Philoktetes. His agony hatefulthan the Greeks was my maker, 
 
 is made manifest, even to those who a second Odysseus, who brought back 
 
 look on from afar.' The analogy tothe to me my woeful dire disease. The 
 
 Flinian description is pointed out by rock, my rags and blood and wound 
 
 Miinzer, /. c. In the notes I have fol- and grief, were not enough, but he has 
 
 lowed Brunn in quoting Anth. Plan. even wrought my pain in bronze.' 
 112 {where the omission of the name ' Pointed out by Miinzer op. cit. 
 
 of Philoktetes is perhaps the cause of p. 527, note i. 
 its unusual omission in Pliny) : ' More 
 
Ixx INTRODUCTION 
 
 Cf. Antk. Pal. ix, 709 : 
 
 Eipiirav oii apn Sii,0poxov, iv tc fieeSpois 
 
 a\icv(j^ & rext'tTTjs iv irvpl \ova6,p.evov' 
 iraai ycip kv K&iKois vbaroi^ivos &fi(ptV€vevK€y 
 
 e« Kopv(pTJs Is aKpovs vypoparwv ovvxct^ 
 a 5i rkxvo. Trora^ai avv^-n-iipuc^v a ris 6 irciffas 
 
 XaXxdy aajp^^etv vSaros vypSrepov ^ ; 
 
 *10. — xxxiv, 79 Lycius . . . fecit dignum praeceptore puerum sufflantem 
 languidos ignes. 
 
 The description of the 'dying fire,' which was of course not 
 
 represented in bronze, betrays the epigram. 
 
 11. — xxxiv, 79 Leochares aquilam sentimlem quid rapiat in Ganymede et cut 
 ferat parcentemque unguibus etiam per vestem puero. 
 
 Cf. Anth. Pal. xii, 221 : 
 
 STcfxc Trpos oXQkpa. Siov, avipxto Trai^a KO/u^ajv 
 
 aiere, ras 5i<pvits k/cinT&ffas irrepvyas' 
 trreixe Toy a^phv exaiv TavvfirjSea, f^rjde fif9eir]S 
 
 ritv Atbs ^Siaroy olvox^ov kvKikojv 
 (peiSeo 5* atpd^at Kovpov yap^ijvvxt rapffa, 
 
 fjiil Zei;s dhyrjari^ tovto ^apvv6fievos^. 
 
 12. — xxxiv, 80 Naucerus (censetur) luctatore anhelante. 
 
 The analogy to xxxv, 71, makes it probable that the anhelante 
 
 is from an epigram ; cf Benndorf, op. cit. 
 
 xxxiv, 81 Styppax uno celebratur signo, splanclinopte — Periclis Olympi vernula 
 hie fuit exta torrens ignemque 07'is pleni spiritu accendens. 
 
 The last words, the insistence on the swelling cheeks of the 
 boy as he blows the fire, clearly point to an epigram. How far 
 removed the real 'Entrail Roaster' would be from the Plinian 
 description may be seen at a glance by studying the boy's statue 
 from the Olympieion at Athens, which has lately been brought, 
 with much probability, into relation with the statue by Styppax 
 (see Comm. on passage). 
 
 13.— xxxiv, 81 Silanion ApoUodoram fudit . . . nee hominem ex aere feeit, sed 
 iraeundiam. 
 
 (See Add. to the Comm. on the passage.) 
 
 ^ 'Dragged by the artist through flowing than the Hoods ? ' 
 
 a bath of fire, the Eurotas seems fresh ^ ' Speed on to the heaven divine, 
 
 from the water and amidst his streams. go thy way, eagle, with the boy. 
 
 He bends to either side while water spreading either pinion wide. Speed 
 
 pours from all his limbs, and the drops on with beauteous Ganymedes, nor 
 
 fall from his head even to his feet. suffer the boy to fall who poureth 
 
 Art too hath joined in contest with sweetest cups for Zeus. Yet spare to 
 
 the river ; ah, who hath taught the wound the boy with thy crooked talon, 
 
 bronze to burst into waves more lest Zeus sorrow in grief thereat.' 
 
LITERARY EPIGRAMS Ixxi 
 
 14. — xxxiv, 88 Epigonus . . . praecessit in ... matri interfectae infante 
 miserabiliter blandiente. 
 (From an epigram similar to the one on the ' dying mother ' by 
 Aristeides in xxxv, 98.) 
 
 15. — xxxiv, 141 Ferreus Hercules, qnem fecit Alcon laborum dei fatientia 
 
 inducius. 
 16. — xxxv, 59 (Zeuxis) fecit et Penelopen, in qua pinxisse mores videtur. 
 17. — a. 69 (Parrhasius) pinxit demon Atheniensium argumento quoque in- 
 
 genioso. ostendebat namque varium, iracundum iniustum incon- 
 
 stantem, eundem exorabilem clementcm misericordem, gloriosum, 
 
 excelsum humilem, ferocem fugacemque et omnia pariter. 
 18. — ih. 70 (Parrhasius) fueros duos, in quibus spectatur securitas et aetatis 
 
 simplicitas. 
 19. — ib. 71 (Parrhasi) duae picturae nobilissimae, hoplites in certamine ita de- 
 
 currens ut sudare videatur, alter arma deponens tit anhelare 
 
 sentiatur. 
 
 20. — ib. 94 (Apelles) pinxit et heroa nudum, eaquepictura naiuram ipsampro- 
 
 vocavit. 
 21. — ib. 98 (Aristidis) oppido capto ad matris morientis ex volnere mammam 
 
 adrepens infans, intellegiturque sentire mater et timere ne 
 
 emortuo lacte sanguinem lambat. 
 
 Cf. Anth. Pal. vii, 623 : 
 
 "EXxe, TaKav, napd fxijTpbs bv oiiKeri fiaffrov d/icAfeis, 
 
 f\Kv(Xov varcLTLOV vdfia KaTa(pOifiivtjs' 
 tJStj yap ^t<pee(f(ri \i-rr6jryoos' d\Ad tcL fjiT]Tp6s 
 fpiKrpa Kal ftv 'Ai'Sjj iratdofcofxiiv efJiaSev^. 
 22. — xxxv, 99 (Aristides pinxit) supplicantem paene cum voce. 
 *23. — ib. 99 (Aristides pinxit) anapauomenen propter fratris amorem. 
 
 (Cf. Anth. Pal. vii, 183, 184, and see H. L. Urlichs' note in 
 the Comm. on the passage.) 
 
 24. — xxxv, 106 (Protogenis) Satyrus — ^est, qnem anapauomenon vocant, ne quid 
 
 desit temporis eius securitati, tenentem tibias. 
 (Cf. Anth. Plan. 244.) 
 *25. — xxxv, 138 Antiphilus ^Kew ignem conflante laudatur ac pulchra alias 
 
 domo splendescente ipsiusque pueri ore. 
 
 I suspect an epigram from the forced point made in the de- 
 scription of the room ' which is in itself beautiful.' 
 
 26. — xxxvi, 21 (Praxitelis Veneris) eSSgies deafavente ipsa, ut creditur, facta. 
 
 (Cf. Anth. Plan, r 59-1 70.) 
 27. — xxxvi, 24 Cephisodotus . . . cuius laudatum est Pergami symplegma nobile 
 digitis corpori verius quam marmori inpressis. 
 
 ' ' Drink, poor bahe, from thy taken her life, yet a mother's love 
 
 mother, whose breast thou shalt suck knows, even in Hades, how to care 
 
 no more ; drink thy last draught from for her child.' 
 her in death. Now has the sword 
 
Ixxii INTRODUCTION 
 
 Cf. Herondas iv, 59 f. ^ quoted in the Comm. on the passage. 
 
 Besides the epigrams descriptive of works of art, we may note, 
 for the sake of completeness, the allusion to the epigrams on 
 Myron's cow (xxxiv, 57) and on the Anadyomene of Apelles (xxxv, 
 92) ; the epigram upon Zeuxis which lurks in the words ab hoc 
 {ApoUodord) artis fores apertas, Z£uxis . . . intravit in xxxv, 6 1 
 (see Comm.) ; the epigram in which Apollodoros reproached 
 Zeuxis with having not learnt — but stolen the art of his masters 
 (ib. § 62) J finally the reference to the laudatory verses composed 
 by Parrhasios upon himself, discussed above (p. liv f.). In all 
 these descriptive passages it is evident that the writer has been 
 concerned to outstrip rather than to explain the artistic aim. We 
 are confronted by a series of pointed sayings, inspired indeed, or 
 they would miss their effect, by some quality actually existent in 
 the work of art, but using this quality as a theme to be expanded 
 freely into the fluidity of language, whereas the artist had been 
 forced to compress his conceptions within the limits imposed by 
 visible form. Whatever Euphranor's ethical conception of the 
 separate or conflicting traits in the character of Paris, he must 
 perforce combine and fuse them in the portrayal of one single 
 personage. The versifier, on the other hand, remains within the 
 limits of his art if he picks out the qualities suggested rather than 
 definitely indicated by the Paris of Euphranor, and embodies 
 these in a series of consecutive images : thus the Paris of the 
 sculptor will be converted by the epigrammatist from a unit into 
 a triad ; the compacted whole is resolved into the judge of the 
 goddesses, the lover of Helen, the murderer of Achilles— each 
 trait calling up in the mind of the reader a distinct sensuous 
 image, whereas the statue, however complex, called up only one. 
 Or, again, the epigram may catch at a purely accidental detail — 
 accidental so far as regards any ethical import — such as the 
 drapery which Leochares gave as a background to his Ganymede, 
 and interpret it to mean what it lay entirely outside the power of 
 the formative arts to express, — the eagle's care to avoid wounding 
 the boy. The achievement of artist and of epigrammatist is bound 
 to be different, because of the dissimilarity of the material with 
 which each clothes his thought. The question touches one of the 
 
 ' ' Pray look at this naked child ; flesh palpitates in the picture like 
 if I pinch him can you not fancy I a warm spring'— (a< f antes calidi, 
 shall really hurt him Kynno? For the v. Crusius, orf /<;;:.). 
 
LITERARY EPIGRAMS Ixxiii 
 
 most difficult of all the problems suggested by the study of art, 
 the problem how far the language of form can be translated into 
 that of words, and vice versa. It could only be adequately treated 
 in context with the written Greek epigrams of the same class as 
 those we have been considering, and with the various descriptions 
 in ancient literature, outside Phny, based upon such epigrams; 
 and this, after all, would be only one chapter of a vast discussion 
 that should embrace the literature, whether ancient or modern, 
 that aims at the analysis of works of art. But I have touched 
 upon it here only as a passing protest against the practice, still 
 too common, of searching in what were often but plays of fancy 
 for definite evidence concerning the intention to be conveyed by 
 a work of art. The modern scholar shows himself scarcely less 
 credulous in this respect than Pliny himself, who introduced 
 most of his epigrammatic descriptions by the intelligere, which, as 
 we learn from Cicero, was the special term used of the insight and 
 criticism of the man who knows \ 
 
 These descriptive epigrams were doubtless interwoven with the 
 original Xenokratic fabric that underlies the Plinian account at 
 different times. We have seen that some — perhaps even a large 
 number — were certainly due to Antigonos of Karystos. Others may 
 be due to the Greek artist and writer upon art, Pasiteles of Naples 
 (p. Ixxviiff.); Varro or Mucianus may have brought in others; 
 nor need we decide whether Varro, or Pliny, or another Roman, 
 was first guilty of the comic blunder arising from the attribution 
 in xxxiv, 57 to the sculptor Myron of the little monument, sung 
 by two poets of the Anthology, which the girl Myro had raised 
 to her pets, a cricket and a grasshopper '. 
 
 ' Brutus, 184 etenim necesse est, wily craft of the servile character.' 
 
 qtii ita dicat, ut a multitudine pro- Possibly the notice in xxxiv, 88 of 
 
 betur, eundem doctis probari ; nam Nikeratos' group of Alkibiades and 
 
 quid in dicendo rectum sit aut pravum, his mother ' Demarate sacrificing by 
 
 ego iudicabo, si modo is sum, qui id torchlight' belongs to the same class 
 
 possim aut sciam iudicare : qualis (cf. note 2 on p. xliv). The descrip- 
 
 vero sit orator ex eo, quod is dicendo tion in xxxiv, 93 of the Hercules 
 
 efficiet poterit intelligi. See O. Jahn, 'wearing the tunic,' considered by 
 
 loc. cit. p. 120. Benndorf (p. 55) as epigrammatic, 
 
 ^ The list of works whose descrip- seems inseparable from the notice 
 
 tion is based upon literary epigrams of the three tituli on the statue, 
 
 should further include the notice in and is presumably an observation of 
 
 xxxiv, 79 of the group by Leochares Pliny's own, not borrowed from any 
 
 of the slave-dealer Lykiskos and a special source, 
 boy ' on whose face may be read the 
 
Ixxiv INTRODUCTION 
 
 V. Heliodoros of Athens {fl. igo B.C.). 
 
 Heliodorus qui de Atheniensium anathematis scripsit is cited in 
 the Indices of authors to Books xxxiv and xxxv ; the mention of 
 his name in the Index to Book xxxiii, which contains no material 
 that could be derived from him, must be looked upon as an 
 interpolation. Till recently the literary personality of Heliodoros 
 remained so shadowy ' that all attempts to recover traces of him 
 in Pliny had proved ineffectual I Now, however, that Bruno KeiP 
 has succeeded in proving Heliodoros to be the source for the 
 periegetic portions in the Pseudo-Plutarchian Lives of the Ten 
 Orators, it has become possible to ascertain also the extent of 
 Pliny's debt — and it remains very small — to the Athenian 
 periegete. 
 
 The interest of the results attained by Keil lies almost entirely 
 outside Pliny ; it will suffice to indicate them briefly. The passage 
 in the Life of Hypereides (849 c) concerning the burial-place of 
 
 the orator itpo tmk 'lititahav ■nvKav, &s 0r;crii» 'HXtoSmpor iv Ta rpira 
 
 wept Mvrjfidrav forms the basis of the inquiry. The reading of the 
 MSS. 'HXid8(Bpor, which Ruhnken had unnecessarily altered to 
 AidSfopor, has been rightly retained in this place by both Keil (I.c) 
 and by Bernadakis in the new edition of the Moralia (vol. v, 
 p. 193). For not only does the date of Heliodoros* accord 
 precisely with the date required by certain other statements of 
 periegetic nature contained in the Lives (cf. in particular 
 Lyk. 842e=fr. 5* KeiP), but the information conveyed in these 
 dateable fragments and in the remaining periegetic passages 
 scattered through the Lives is of a strictly homogeneous 
 character, which Keil defines as follows (op. cit. p. 237, cf. p. 201) : 
 'The first interest of Heliodoros is for extant monuments; he gives 
 details concerning the nature of the monument, its material, its 
 locality and present condition ; then follow in natural sequence 
 statements of an historical character, such as the original con- 
 dition, change of locality, occasional details concerning cost, 
 
 ' Seven fragments are collected by ' Hermes, xxx, 1895, pp. 199-240. 
 
 Miiller, F. H. G. iv, p. 435. See * After Antlochos Epiphanes (b. C. 
 
 also Susemihl, Geschichte d. Al. Lit. 175-164), cf. Athen. II, p. 45 c. 
 
 i, p. 692 f. ' KaJ iartti avTav (Lyknrg. and his 
 
 ' E. g. the attempts of Wachsmuth, children) tA lairiiiaTa avrixpii T^i 
 
 Stadt Athen, i, p. 36, note 2 ; on the IlaiajKtas 'Afli/i/as iv ry tlLi\av6iov toS 
 
 difficulty of the Heliodoran question <pi\o(T6tl>ov xfjua (date of Melanthios 
 
 see Brieger, De Fontibus, p. 33. circ. B.C. 150, Keil, /. c). 
 
HELIODOROS OF ATHENS Ixxv 
 
 artists, or donors. These statements are corroborated by the 
 epigrams and inscriptions . . . relative to the monument de- 
 scribed \' 
 
 Now if we turn to Pliny we shall find some four passages 
 which bear this peculiar Heliodoran stamp. Three occur in 
 Book xxxiv, in the first alphabetical list of the bronze-workers ; 
 one in Book xxxv, towards the close of the main account of the 
 painters. In xxxiv, § 74, the passage Cephisodorus Minervam 
 mirabilem in portu Atheniensium et aram ad femplum lovis Serva- 
 toris in eodem portu, cui pauca comparantur (sc. fecit) has long 
 been admitted by a number of authorities ■', though on different 
 grounds, to be from a source other than that of the main account. 
 It will repay careful analysis. We know from Pausanias (i, i, 3) 
 that the 'Minerva' and the 'Jupiter' belonged to the same 
 temple, namely to the Aio-cor/ypioi', where Zeus and Athena were 
 worshipped respectively as Smrijp and SmTcipa". Now, if we 
 examine the Plinian passage we note at once a certain looseness 
 of construction, a certain hesitancy in the wording ; it is as if 
 Pliny, or the author from whom he quotes, were not fully 
 conscious — or at least fully persuaded — that the 'wondrous 
 Athena ' which was to be seen ' in the harbour of Athens ' were 
 really in the same place as the altar, which was in the same city, 
 ' in the temple of Zeus the Saviour.' I accordingly believe that 
 we have here the juxtaposition of two statements derived from 
 separate sources. The words Cephisodorus Minervam mirabilem 
 in portu Atheniensium would belong to the main account — the 
 mention of the Athena, which was bronze {^oKkov fiev afxcpoTepa ra 
 ayaXfjiaTa), being in place in a history of bronze-sculpture — while a 
 later hand introduced from another source the mention of the ara, 
 another work by Kephisodoros. Now this altar, which would 
 naturally be marble and be decorated with reliefs, is obviously out 
 of place in a history which was only concerned with works in the 
 round and in bronze ; this discrepancy, however, was unnoticed 
 by the art-writer (Pasiteles (?), p. Ixxx) who made the addition. 
 
 ' Cf., in particular, Isokr. 838'' pieces, p. 145 ; Oehmichen, Plin. 
 
 (= Keil, fr. 4''), the inscription from Studien, p. 151. 
 
 the statue of Isokrates by Leo- ' See Comm. p. 60 ; cf. Liv. xxxi, 
 
 chares, which Timotheos put up at 30, 9. The whole literature on 
 
 Eleusis. the passage, both ancient and modem, 
 
 * Wachsmuth, Stadt Athen, i, p. given by Hitzig and Bliimner, Fau- 
 
 36, note 2; Furtwangler, Master- sanias,^. i2oi. 
 
Ixxvi INTRODUCTION 
 
 The connecting link was afforded by the name of Kephisodoros. 
 Nor was any special attention bestowed upon the fact that the ara 
 which was now mentioned stood not only in eodem portu, but 
 actually in the same temple as the Athena. That the addition 
 itself is Heliodoran seems probable from the precision with which 
 the locality of the altar is noted {ad temflum lovis Servatoris), 
 whereas the Minerva was simply cited as being in portu Atheni- 
 ensium. The altar moreover — doubtless itself an avddriaa — was 
 a likely object to be included in a work de anathematis. 
 
 Close by the notice of Kephisodoros occurs the second passage 
 detected as Heliodoran by Keil. The statement in xxxiv, 76 that 
 ' Demetrios made a statue of Lysimache, who was priestess of 
 Athena for sixty-four years,' has a precision of detail, due to the 
 fact that the years of Lysimache's priesthood were taken from 
 the inscription on her statue (see Comm.), unlike anything that 
 meets us in the main account, where such detail is alien to the 
 nature of the inquiry. 
 
 With these two passages recognized as Heliodoran by both 
 Keil and Miinzer ^ I incline to associate a third, claimed for 
 Heliodoros by Wachsmuth ^, but rejected by Keil (/. c). The 
 passage (xxxiv, 72) concerning the 'Lioness' of Amphikrates, 
 whose name was doubtless taken from the inscribed basis, 
 belongs essentially to a book de anathematis, and accordingly to 
 Heliodoros, one of whose works specially described the monu- 
 ments of the Athenian Akropolis (n-epi Tr\s 'ABrji/rjcnv aKpoTroX^as, fr. I— 
 
 3 Miiller). At the same time, it must be admitted that the 
 story related in connexion with the monument has, in its Plinian 
 form, a more imaginative flavour than we find in any of the accre- 
 dited Heliodoran fragments or in those more recently recovered 
 by Keil. It is possible, therefore, that only the kernel of the 
 passage is Heliodoran, and that the anecdote itself was expanded 
 under the influence of other sources ^ 
 
 ' "/• "'• P- 541- from the same source as Pliny, while 
 
 ' loc. cit. The Heliodoran author- the words of Pausanias (i, 23, 2), 
 
 ship seems admitted by Gurlitt, Pau- ^€701 tk ovk Is avyypacpiiv irpoTipov 
 
 samas, p. 96. ij/covTa, seem to indicate that Pausanias 
 
 = It is noteworthy that the name of had the story merely from hearsay ; 
 
 Amphikrates is preserved only in moreover, he has no allusion to the 
 
 Pliny. As regards the mention of the animal's tonguelessness. The story, 
 
 statue and the anecdote attached without mention of the statue, recurs 
 
 thereto,Plut.,Gff>7-«/. 8, andPolyainos, once again in Pliny (vii, 87), and 
 
 Sirategem. viii, 45, appear to draw is told by Athen., xiii, 596 f. 
 
PASITELES OF NAPLES ixxvii 
 
 We return to safer ground in the passage in Book xxxv, claimed 
 for Heliodoros by Keil. He argues that the sentence (§ 134) 
 pinxit (i. e. Aihenion) in templo Eleusine Phylarchum et Athenis 
 frequentiam quam vocavere syngenicon is marked off from the rest 
 of the account of Athenion's pictures by the careful notice of 
 locality, a special Heliodoran characteristic, while the rest of 
 the enumeration, being resumed with item, points to the juxta- 
 position of different sources. Both the ' Phylarchos ' and the 
 ' syngenicon,' moreover, being votive offerings, fall within the 
 range of the de anathematis. 
 
 As already hinted, it seems probable that these additions from 
 Heliodoros to the older text-books of Xenokrates and Antigonos 
 were made by Pasiteles, the Plinian author whom we pass to 
 consider next. 
 
 VI. Pasiteles of Naples. 
 
 This curiously many-sided man *, at once worker in marble, in 
 ivory, and in bronze, who was a careful student of animal life, 
 who modelled and chiselled, who could raise a chryselephantine 
 statue or make the design for a silver mirror, and who was the 
 master of a considerable school, is known to us only from Pliny 
 and from one mention in Cicero {de Div. i, 36, 79). His date 
 is given by the former (xxxiii, 156) as circa Pompei Magni 
 (b. 108 B.C., murd. 48 B.C.) aetatem. He received the right 
 of Roman citizenship in 88 b. c. (xxxvi, 40, where see Comm.), 
 at a time when he had presumably attained to manhood ^ if not 
 yet to fame. Of his five volumes concerning famous works of 
 art [quinque volumina scripsit nobilium operum in toto orbe, xxxvi, 
 40) we may expect to find traces in Pliny's work, where a 
 distinguished place is assigned to him in the Indices of authors : 
 in the Indices to xxxiii and xxxv he heads the list of Greek 
 writers, in the Index to xxxiv he closes it ; for xxxvi he appears as 
 sole Greek authority. Brunn's researches have proved that a 
 writer appearing in so prominent a position must be a main 
 
 See Jacobi, FleckdserCs Jahrb. 1873, ' The fullest account of Pasiteles 
 
 p. 367 f. ; Gurlitt, he. cit.\ Kalk- is still that of Kekule, ZJze C?-;.!//* (^ej 
 
 mann, Pausanias der Perieget, p. 52, Kiinstlers Menelaos, 1870, p. 11 ff. ; 
 
 note I ; Reisch, Weihgeschenke, p. 13, see also Helbig, Untersuchungen 
 
 note I. Grote {Ilist. iii, p. 332) Uber die campanische Wandtnalereij 
 
 inclined to accept the story of p. 10 f. ; Wickhoff, Wiener Genesis, 
 
 Leaina, but took no notice of the p. 26 f. 
 monument. " Kekule, op. cit., p. 1 1 f. 
 
Ixxviii INTRODUCTION 
 
 authority — yet there is no writer so difficult to lay a definite hold 
 on as Pasiteles, when we come to analyze the Plinian text. The 
 only passage (xxxvi, 40) where he was thought to be cited by 
 name for an expression of opinion has fallen away before 
 Furtwangler's criticism : the reading admiraior et Pasitelis must 
 be restored in place of the unsatisfactory admiratur et Pasiteles 
 of the editions '- The attempt of Brieger ^ to detect Pasitelean 
 authorship in passages betraying periegetic interests or points of 
 view, and that of Otto Jahn ' to detect it wherever a work of art was 
 qualified by the epithet nobilis, have likewise been disposed of 
 by Furtwangler, whose own association of Pasiteles, however, 
 with all the more properly artistic criticism in Pliny is in- 
 adequately based upon the fact that Pasiteles was an artist, since, 
 as we have seen, he only shared that qualification with Xenokrates, 
 Antigonos, and others. Nor are there any accredited fragments 
 of his writings which could serve as clues. We are left, in order 
 to account for his singular position in the Indices, with the sole 
 alternative, already indicated by Brunn *, of accrediting him with 
 a final and wholesale working up of the old Greek Treatises upon 
 art into his own five volumes. That Pasiteles should thus have 
 elected to return to the Treatises of Xenokrates and Antigonos, 
 rather than apply himself to formulate fresh theories and judge- 
 ments, accords admirably with his artistic leanings : he created 
 no style of his own, but turned back to Greek models — at times 
 simply copying them, at others adapting or combining them 
 for the presentment of a new subject ". Even as we doubtless 
 owe to him and his school ° not a few of those copies which 
 have rescued Greek statues from complete oblivion, so we may 
 owe it to his reverence for the art-literature of the Greeks that 
 some part of it has filtered down to us through the subsequent 
 medium of the Roman authors. Thus Varro, and Pliny after 
 him, would quote, as their manner was, the names of Xenokrates, 
 
 ' Furtwangler, Plinius und seine 1890), p. 134 f. ; Hauser, Die neu- 
 
 Quellen, p. 40 f. attischen Reliefs, p. 182 ; cf. the 
 
 ' De Fontibiis, p. 36. interesting summary of Wollers, 
 
 ' Kunsiurtheile,^. 12^. Jahrh. xi, 1896, p. 3 f, and now 
 
 * Sitzungsberichte der Munchener Furtwangler, Staitienkopien im AUer- 
 
 Aiademie (phil.-hist. Classe), 1875, thum, p. S44 f. 
 
 P- 313- " For Stephanos, pupil of Pasi- 
 
 '- On this point see especially teles, and Menelaos.pupilof Stephanos, 
 
 Furtwangler, Eine argivische Bronze see Commentary on xxxvi, 33. 
 
 (50, Winckelmannsprogramm, Berlin, 
 
PASITELES OF NAPLES Ixxix 
 
 of Antigonos, and other Greek writers, at second or third 
 hand^ And that Pasiteles himself should chance not to be 
 quoted in the actual text, for any of the additions which he 
 made, is natural enough if we suppose that he gave merely an 
 uncoloured enumeration of new material, unaccompanied by 
 striking or disputable comment. For it is clear, if we inspect 
 the cases in which authorities are cited in the Plinian text (xxxiv, 
 6i, 68, &c.), that the mention is in no wise determined by the 
 modern conscientiousness in such matters — not even by a senti- 
 ment of honour among thieves — but by the occasional wish to 
 disclaim responsibility (cf. p. Ixvi). Pliny, at any rate, thought it 
 sufficient to acknowledge the debt which he owed indirectly to 
 Pasiteles, whom he found cited as main Greek authority in Varro, 
 by assigning him the leading place in the Indices, a place corre- 
 sponding to that which he doubtless occupied in the Varronian 
 lists of Greek authors ^ Varro seems to have marked his debt to 
 Pasiteles by a general complimentary allusion to his productiveness 
 both as writer and artist (xxxvi, 40). The quae fecisse nominatim 
 non refertur is an addition by Pliny, who, not seizing the precise 
 intention of the passage, expected to find the works of Pasiteles 
 enumerated singly in this particular connexion. He forgets that 
 just above he has mentioned on Varro's authority the gold-ivory 
 Jupiter in the temple of Metellus; Varro himself, who was a 
 contemporary and possibly a friend of Pasiteles ', must have 
 known his works well. 
 
 To Pasiteles, moreover, may be traced almost certainly one 
 important extension of the original Greek treatises. These 
 terminated, as we have seen (p. xxi), with 01. 121, a date which, 
 though purely accidental, was accepted by subsequent writers 
 
 ' That the name of Antigonos naeo — Menandris Prienaeo et Hera- 
 
 reached Pliny only through Pasiteles cleote with the Varronian item Am- 
 
 has been suggested by Wilamowitz, philochus Atheniensis . . . Menandri 
 
 Antigonos von Karystos, p. 7. duo unus Prienaeus alter Heracleotes. 
 
 ^ For Pliny's method of compiling Brunn (de Indicibus, p. 48) coa- 
 
 long lists of authors from Varro see in jectures that the nine Greek writers 
 
 especial the Index to Book viii; it con- vepl fifXtTovpyixd, ladex to Book xi, 
 
 tains the names of twenty-nine Greek were taken straight over by Pliny 
 
 authors, not one of which is cited in from the lost work of Hyginus ; cf. 
 
 the text of the work ; they appear to also Brunn, p. 50, and F. Aly, Zur 
 
 have been taken bodily over from Varro, Quellenkritik des dlteren Plinius, 
 
 Re Rust. i. 1, 8, Pliny even adopt- 1885, p. 7 ff. 
 
 ing for a long stretch the same order ^ Kekule, p. 17. 
 of enumeration ; cp. Amfhilocho Athe- 
 
Ixxx INTRODUCTION 
 
 as the close of a period of art. It was probably Pasiteles who, 
 while preserving this date as the lower chronological limit for 
 Greek art, brought in the mention of the revival in 01. 156 
 (xxxiv, 52)^- This revival seems connected with the works of 
 art and decorations executed for the buildings of Metellus, for 
 which at a later date Pasiteles himself had made a Jupiter in 
 ivory and gold. But if Pasiteles be the author of the additions 
 to the chronology of the statuaries he must also be credited 
 with the similar extension of the history of the painters, to 
 include those who flourished from 01. 156 onwards (xxxv, 135)'' 
 To the actual contents of the five volumes nobilium operum 
 we have no clue, but from their number a certain .vidth of 
 range may reasonably be argued. The design of Pasiteles was, 
 we may conjecture, to give a general survey of all the arts of 
 antiquity, rather than, like Xenokrates, to develop a definite 
 scheme in relation to the department of art in which he was 
 himself engaged, or which came within the sphere of his personal 
 interest. We may therefore tentatively attribute to him — at any 
 rate without violating any ascertained principle upon which he 
 worked — the otherwise unallotted information in the early parts 
 of xxxiv concerning bronze as used {a) for furniture, (b) for 
 temple ornaments, (c) for statues of the gods, [d) for statues of 
 mortals ; each category is linked to the following by the purely 
 artificial conception of progress from the less to the more noble. 
 Under these headings the Roman authors afterwards fitted in, 
 as best they could, fresh material concerning Roman art, com- 
 mitting themselves in the process to singular contradictions" 
 Statuary proper, moreover, was further divided into colossal 
 images and lesser images (§ 49). These artificial categories seem 
 likely enough to have been adopted by Pasiteles as a convenient 
 mode of tabulating his vast material. Thus he would further 
 break up the old Greek Treatises into a chronological table and 
 an alphabetical list (above, p. xxii), into which new names 
 or works of special merit were introduced from Heliodoros ' 
 or other sources, only the insignes being reserved for separate 
 treatment. New lists were appended ; of these it is significant 
 that the first comprises almost solely the names of artists who 
 were also distinguished for their silver-chasing, a branch of 
 
 1 Munzer, op. cit., p. 538; cf. ^a>-£--4. p. 135, note i. 
 Comm. on xxxiv, 52, 1. 4. » Cf. Miinzer, p. 501. 
 
 2 Munzer, I.e.; Robert, Arch. * Cf.B.KeU,^«/-»j«xxx,i895,p.226. 
 
PASITELES OF NAPLES Ixxxi 
 
 art in which Pasiteles himself specially excelled. Indeed, 
 with regard to the account of the silver-chasers themselves in 
 xxxiii, 154-157, failing information concerning the unknown 
 writers Menaichmos ^ and Menander '', who appear as authorities 
 in the Index to Bk. xxxiii, or any clue to guide us here 
 to Antigonos, Pasiteles must, for the present, be accepted 
 as authority for the whole passage, with the sole exception of 
 the subsequent interpolations and additions commented upon 
 in the notes. 
 
 In Bk. XXXV, again, it may be Pasiteles who divided the 
 painters into two classes, according as they painted in tempera 
 (53-111) or in wax by the process called encaustic (122-149), 
 and who elaborated the curiously artificial theories (§ 149) as to its 
 development. The latter recall the conventional notions of 
 artistic progress unfolded at the commencement of Bk. xxxiv; 
 they are equally devoid of that apprehension of a living growth 
 within a living organism which, in spite of all blunderings, never 
 seems to have deserted Xenokrates. In his written works, as in 
 many of the copies of Greek statuary attributed to him, Pasiteles 
 had caught the sense but not the spirit of the masters he so 
 zealously emulated. Lastly, he arranged the painters of second 
 rank (§§ 138-145), those of third rank (§ 146), and the women 
 painters (§ 148) in three closing alphabetical lists. 
 
 That the account of modelling (xxxv, § 151 f.) went through 
 his hands is clear from the exceeding stress he laid upon the 
 indispensable function of modelling in every branch of the 
 plastic arts ; his opinion on this subject, quoted by Varro, was 
 probably the main addition Pasiteles made to the original 
 Greek Treatise. That Pasiteles would leave the account of 
 the modellers prefixed to that of the statuaries in bronze is 
 evident from the connexion he established between the two, 
 Jilasticen matrem caelaturae et statuariae sculpturaeque dixit. It 
 has already been noted (p. xxxv) that the exigencies of his plan 
 compelled Pliny to transfer the account to its present awkward 
 position. 
 
 Pasiteles is the last writer upon art, properly so called, whose 
 name meets us in the pages of Pliny. His comprehensive work 
 proved not only a rich but a convenient store for the Roman 
 encyclopaedists. Above all does he seem to have been excerpted 
 
 ' Above, p. xl, note i. 
 
 '' Only known through Pliny ; cf. Susemihl, i, p. 524, note 47. 
 f 
 
Ixxxii INTRODUCTION 
 
 by Varro, whose extracts from Pasiteles, altered and re-adapted to 
 his own purposes by Pliny, have thus survived down to our own 
 day. 
 
 VII. Varro (116-28 li. c.)— Cornelius IVepos (circ. 99-24 b. c.)— 
 Fabius Vestalis. 
 
 The first step in Plinian criticism went from Pliny back to 
 Varro as authority for the bulk of the history upon art. In the 
 light of a clearer analysis, Varro has fallen again into a subor- 
 dinate place, overshadowed no longer indeed by his debtor 
 Pliny, but by those earlier authorities to whom he was in his turn 
 indebted. By the emergence now into a certain definiteness of 
 the Greek authorities : of Xenokrates and Duris, with their very 
 distinctive histories, the one of art, the other of the artists ; of 
 Antigonos in whom this uncongenial and even antagonistic 
 material was worked up into a singular union ; and of Pasiteles, 
 who yet further manipulated, rearranged, and amplified it, the 
 Roman Varro is reduced from his position as authority to the 
 humbler office of final intermediary. Though he is undoubtedly 
 the author whom Pliny quotes most frequently in his account of 
 the Artists ^, as generally throughout the Historia Naturalis, 
 yet any discussion of his literary or scientific personality would 
 be foreign to the present enquiry^. It is perhaps fortunate for 
 his great reputation that so few of his voluminous writings have 
 survived : the criticism of their comparatively meagre fragments 
 will, for the world at large, always be outmatched by that 
 picture of his learning which we owe to the genius of Cicero 
 {Acad. Post, i, 3, 9), who as a fact neither loved nor admired him, 
 but who, in order to secure by a counter-compliment the 
 gratification of his own vanity, was ready to flatter the ttoKv- 
 ypa(j)ii>Taros homo " Neither in the great list of his works preserved 
 by Jerome, nor outside it, do we come upon traces of any work 
 exclusively devoted to the history of art. The probability is that 
 in the case of Varro, as in that of Pliny, this history formed but 
 
 1 xxxiv, 56; XXXV, 113, 136, 154, sen, vol. Ill, p. 602 ff. On Varro's 
 
 J55 ff- ; xxxvi, 14, 17, 39, 41 ; cf. compilatory methods see the just 
 
 Furtwangler, Flinius, p. 56 ff. estimate of G. Boissier, £tude sur 
 
 ' For Varro, see especially Teuffel, la vie et Us ouvrages de Varron, p. 
 
 Geschichte der Romischen Literatur, 27 ff. 
 5§ 164-169, and the sketch in Momm- * Cic. Ep. ad Att. xiii, 18. 
 
VARRO Ixxxiii 
 
 an episode of a larger work, such for instance as the section on 
 'Human Affairs' in the 'Antiquities.' Further, we know from 
 extant fragments ^ that various notices of artists were scattered up 
 and down a number of Varro's lesser works. 
 
 It only remains to indicate the few and comparatively insigni- 
 ficant passages which we know, in most cases from Pliny's express 
 mention of him, to be in a more special sense Varronian, for 
 which Varro is, so far as we know, the final and sole authority. 
 Even these I shall be content to summarize very briefly, 
 apologizing for a brevity that may seem disproportioned by 
 reminding the reader that till lately the disproportion has been 
 all to the score of Varro, and that as a fact the value of the 
 Plinian sources increases in the order, not of their nearness to 
 Pliny, but of their approach to the distant fountain-head. 
 
 Varro seems occasionally, as in the passage (xxxiv, 6g) on 
 Praxiteles, to have modified and doctored the Greek account 
 (above, p. xxii) so as to suit the Roman taste. Occasionally also 
 he brought in parenthetical scraps of interesting or curious infor- 
 mation; for instance, to the statement in xxxvi, § 14, that the 
 archaic sculptors worked in marble he tacked on the truly 
 Varronian etymology of the word lychnites (see Comm.). For the 
 rest, his additions mostly express his personal opinion, or retail 
 his personal knowledge, in many cases, of contemporaries. Thus 
 from PUny's paraphrase we learn that to the account he borrowed 
 from his Greek authors of the Nemesis at Rhamnous (xxxvi, 1 7) 
 he added a sentence expressive of his own admiration of the 
 statue, which he had doubtless seen during his stay at Athens. 
 Thus too his mention of the lady artist laia of Kj'zikos, a friend 
 of his youth, is adjoined to the lists of women painters (xxxv, 147). 
 In like manner he praises the marvellously naturalistic modelHng 
 of fruits by another acquaintance, Possis (ib. 155); this is followed 
 (}b. 15s) by the laudatory notice of the friend of Lucullus, the 
 Athenian Arkesilaos— who may well have been known to Varro — 
 and of Pasiteles (above, p. Ixxix). Further, it appears from § 154 
 that he had combined the Greek account of modelling, as he took 
 it from Pasiteles, with some account of the art in Rome, and in 
 this same connexion of modelling, though scarcely in its present 
 context, he had given yet another reminiscence of his Athenian 
 
 ■ When the whole of the Varronian siderable traces of lost Greek writings 
 fragments dealing with art-questions are certain to be revealed; see e.g. 
 are collected and analyzed, con- Ling. Lat.'vii,^,\2; ■ib.Sx.,\i. 
 
 fa 
 
Ixxxiv INTRODUCTION 
 
 visit in his explanation of the term Ceramicus. Two statements 
 are still more closely personal : he mentioned that he had once 
 possessed (habuisse) a bronze figure by the silver-chaser Mentor 
 (xxxiii, 154), and a marble group of a Lioness and Cupids by 
 Arkesilaos (xxxvi, 41). From his use of the past tense it has 
 been justly surmised that Varro had lost these treasures at the 
 time of the proscriptions of b. c. 43. 
 
 It is evident that Varro is the authority for both the genre 
 pictures by Peiraikos and the huge pictures by Serapion, as 
 well as for the portraits by Dionysios (xxxv, 113, 114). All three 
 artists are placed antithetically to one another, and moreover, as 
 we learn from § 148, they were evidently all three contemporaries 
 of Varro. Upon these follows the mention of Kalates, a painter 
 only once again mentioned in literature, namely in Varro's Life 
 of the Roman People (fr. i Keil). Lastly, it is at least a signi- 
 ficant coincidence that, while the pictures of Antiphilos mentioned 
 by Pliny {ib. § 1 14) were either inside or in the neighbourhood 
 of the Gallery of Pompeius, the same painter is mentioned in 
 Varro's Treatise on Rustic Affairs (iii, 2, 5), in that part of the 
 dialogue which is supposed to take place b. c. 54, a few months 
 after the dedication of the theatre and the Gallery of Pompeius 
 in the Field of Mars ^- It shows, at any rate, that Varro, writing 
 after his eightieth year, was still interested in the pictures of the 
 Egyptian painter, whom he may have discussed in a previous 
 work. 
 
 To Varro likewise Pliny owes, as appears from xxxv, 136, 
 a number of notices of the high prices paid for works of art — 
 mostly pictures. Varro had apparently collected together from 
 his Greek authors a number of these instances, and had at the 
 same time given, for the benefit of Roman readers, the Roman 
 equivalent of the Greek talent : hence the takntum Atticum ^VI 
 taxat M. Varro {loc. cit.) of Pliny. Three of the works of art 
 which obtained specially high prices are mentioned together in 
 vii, 126 (where, however, there is no reference to Varro's evaluation 
 of the talent), and again separately at different parts of the 
 account of the painters: thus the price paid by Attalos for 
 the ' Dionysos ' of Aristeides of Thebes is given again twice in 
 xxxv, 24 and 100; the price, 'its weight in gold,' of the picture 
 by Boularchos, ib. 55 ; lastly, the price paid by Caesar for the 
 'Aias' and the ' Medeia ' of Timomachos, ib. 136". To these 
 
 ' Miinzer, p. 541. 2 Miinzer, /. c. 
 
MUCIANUS Ixxxv 
 
 undoubted instances of Varronian authorship I incline to add as 
 a fourth the notice of the price paid for the ' Diadumenos ' of 
 Polykleitos (xxxiv, 55). 
 
 Cornelius Nepos, who at one time (e. g. Furtwangler, Plinius, 
 p. 25) was credited with the anecdotic portions in Pliny, which 
 recent criticism has gradually but surely traced back to Duris, 
 is mentioned in xxxv, 16 as Pliny's authority for the existence 
 of an early Greek painter Ekphantos, who accompanied the 
 Corinthian Damaratos in his flight to Italy. Presumably, therefore, 
 Pliny also obtained from him the mention of the Corinthian 
 potters, also companions of Damaratos (ib. 152). These extracts 
 may be from the same work of Nepos, dealing apparently with 
 Roman customs, from which Pliny has citations in other parts of 
 the Historia (ix, 61, 136 ; x, 60, &c.) '. 
 
 For Fabius Vestalis, qui de pidura scripsit (Index, xxxv), 
 and who possibly had also written on statuary and sculpture, 
 since he figures in the Indices to xxxiv and xxxvi, not even the 
 acuteness of Miinzer has been able to recover one single fragment 
 out of the Plinian history. He is entirely unknown^, save for 
 the references in Pliny ' (see Addenda). 
 
 VIII. G. Licinius Mucianus (date of birth unknown ; died before 
 B. c. 77, cf Plin. xxxii, 62). 
 To the History of the Artists which he borrowed from Varro, 
 Pliny made one notable group of additions from the work in 
 which his contemporary G. Licinius Mucianus, ter consul'^, had 
 published the more or less trustworthy observations compiled 
 during a prolonged sojourn in the East. These additions concern 
 the works of art of the coast cities of Asia-Minor and the adjacent 
 islands, a region that had practically lain outside the ken of 
 the Greek art-writers Xenokrates (cf p. xxi) and Antigonos '', and 
 after them of Pasiteles ^ 
 
 ' Miinzer, p. 542 f. ' We must except, of course, the 
 
 ^ Teuffel, § 267, II. traditions derived by Antigonos from 
 
 ' Indices, vii, xxxiv-xxxvi ; cf. vii, Duris concerning the island-schools 
 
 213. of the Aegean. 
 
 * Cited Indices to xxxi, xxxiii, ^ Pasiteles, so far as we can tell, 
 
 xxxv, xxxvi, and repeatedly in the seems not to have enlarged the geogra- 
 body of the Historia (see Detlefsen's phical range of his predecessor, except 
 
 Index). for the notice of the Greek artists in 
 
Ixxxvi INTRODUCTION 
 
 Mucianus, coming from the South ', would first encounter .the 
 civilization of the Aegean in Rhodes (v, 132 ; xix, 12 ; xxxiv, 36) ; 
 of the islands which he visited, Delos (iv, 66), Syros {ib. 67), and 
 Andros (ii, 231) lay furthest to the West, Samothrake (xi, 167) to 
 the North ; along the coast proper he came at least as far as 
 Kyzikos (xxxi, 19). Pliny not unfrequently introduces the notices 
 of works of art extant within this geographical district by such 
 words as hodie or nunc, showing that he is quoting from a con- 
 temporary or recent authority. Finally, we have also to guide 
 us, in our search for the information borrowed by Pliny from 
 Mucianus, our knowledge of the man's superstitious credulousness, 
 of his keen interest for everything marvellous or miraculous". 
 The greater number of the additions to be traced back to 
 Mucianus have been detected by Leopold Brunn in an exhaustive 
 dissertation', and accepted as Mucianian by the later com- 
 mentators of Pliny *. The following list of the passages derived 
 from Mucianus in the art-books follows a geographical order 
 from south to north. 
 
 I. Rhodes. 
 
 LiNDOS. That Mucianus visited its temple of Athena and 
 noted its treasures and curiosities in detail, appears from xix, 12, 
 where Pliny, specially using the word nuperrime, describes on the 
 authority of Mucianus the cuirass of the Egyptian king Amasis, 
 there preserved ; each thread in this cuirass was composed of 
 three hundred and sixty-five strands ; Pliny adds that Mucianus, 
 who had verified the fact, had remarked that ' almost nothing was 
 left of the cuirass owing to these frequent verifications ^' Hence 
 the following descriptions of works of art in the same temple 
 of Lindos have been justly referred to him °- 
 
 I. xxxiii, 81 : a cup, with the strange story attached to it that 
 
 Rome employed on the buildings of ' De C. Licinio Muciano, Diss., 
 
 Metellus. Leipzig, 1870. 
 
 ' Miinzer, op. cit., p. 544. ' Cf. Furtwangler, Plinius und 
 
 '^ E. g. he was in the habit of wearing seine Quellen, pp. 52-56; Oehmichen, 
 
 rotind his neck a fly tied up in a linen Plinianische Studien, pp; 141-149. 
 rag as a remedy against ophthalmia, "... Quod se expertum nuperrime 
 
 Plin. xxviii, 5. I am not concerned prodidit Mucianus ter cos., paruasque 
 
 here to reconcile such statements with iatn, reliquias eius superesse hoc ex- 
 
 the glowing tributes paid to Mucianus perientium iniuria, 
 by Tacitus (Hist, i, 10; ii, 5, &c.). « First by Brieger, de Fontibus, 
 
 For an estimate of Mucianus see p. 59 ff. 
 especially Teuffel, § 314. 
 
MUCIANUS Ixxxvii 
 
 it was dedicated by Helena, who had moulded it on her breasts. 
 (L. Brunn, 43.) 
 
 2. xxxiii, 155: silver cups chased by Boethos, the hodie 
 showing that Pliny was quoting from a contemporary authority. 
 (L. Brunn, 44.) 
 
 Rhodes (city): 3. xxxiii, 155: silver cups chased by Akragas 
 and Mys. (L. Brunn, 44.) 
 
 4. xxxiv, 36 : Rhodi etiamnum LXXIII signorum esse Mucianus 
 ter COS. prodidit. (L. Brunn, 12.) 
 
 5. lb. 41, 42 : the description of the colossus of Rhodes 
 (L. Brunn, 45) ; it evidently rests on the testimony of an eye- 
 witness, and the delighted insistence on the marvellous appearance 
 {miraculo est) of the fallen colossus, and its size and its cost, betrays 
 the special bent of Mucianus '. 
 
 6. lb. § 42 : Sunt alii centum numero in eadem urbe colossi 
 minores (L. Brunn, 45) ; the words are inseparable from the 
 notices of the large colossus, and moreover recall xxxvi, 37. 
 
 7. xxxv, 69 : the picture by Parrhasios of Meleager, Herakles, 
 and Perseus, thrice struck by lightning and yet not effaced — 
 }wc ipso miraculum auget — (L. Brunn, 46), the insistence upon 
 the miracle being thoroughly after the manner of Mucianus. 
 
 8. To the seven passages on Rhodian works of art, which critics 
 agree in tracing back to Mucianus, should be added the mention 
 in xxxiv, 63, of the chariot of the Sun by Lysippos, in primis 
 vero quadriga cum Sole Rhodiorum ^. 
 
 II. Knidos. 
 
 9. xxxvi, 20, 21: description of the Aphrodite of Knidos ; it is 
 that of an eye-witness, who is interested neither in the motive 
 nor technique of the statue, but whose tourist's curiosity was 
 roused by the story of King Nikomedes, by the tradition that 
 the artist had made two rival statues, the one draped, the other 
 not, and finally by the anecdote of the statue's lover '- 
 
 10. lb.: Sunt in Cnido et alia signa marmorea inlustrium 
 artificum — inseparable from the preceding notice of the Aphrodite ; 
 cf. above, 6 and 5 ' 
 
 ' Brieger, I.e. ' The passage first referred to 
 
 ^ Miinzer (p. 504) correctly omits Mucianus by Furtwangler, op. cit., 
 
 it from the original Xenokratic list p. 53 f. ; cf. Oehmichen, of. cit., 
 
 of Lysippian works, but makes no p. 148. 
 
 further suggestion as to its authorship. * Furtwangler, /. c. 
 
Ixxxviii INTRODUCTION 
 
 III. Halikarnassos. 
 
 11. xxxvi, 30, 31 : description of the Mausoleion; it resembles 
 in character that of the Knidian Aphrodite ; the size, the beauty, 
 and the labour expended upon the monument are described, but 
 nothing is said of the subject presented ; the words hodieque 
 certant manus point to a contemporary authority ^- 
 
 IV. Miletos. 
 
 12. xxxiv, 75: Apollo of Kanachos, with the wonderful stag. 
 That this is an addition to the original Greek account of the 
 artist has already been pointed out (above, p. xxii) ; the periegetic 
 character of the description, and the insistence upon trivial pecu- 
 liarities which were perhaps only the result of accident^, are 
 characteristic of Mucianus '. 
 
 V. Samos. 
 
 13. XXXV, 93 : portrait of Habron by Apelles *. 
 
 VI. Ephesos. 
 
 14. xxxvi, 95 : description of Temple of Artemis; it is evidently 
 from the same hand as xvi, 213 (= App. IV), where Mucianus 
 is quoted by name. Besides, the description bears the same 
 character as that of the Mausoleion (No. 11) : the interest of the 
 describer centred in the wonder of the foundations, in the size 
 and number of the columns, and in the apparition of the goddess 
 to the tired artist. 
 
 15. lb. 32 : the Hekate, against whose radiance the guardians 
 of the temple advised visitors to shade their eyes. (L. Brunn, 51.) 
 
 16. XXXV, 92 : the portrait of Alexander by Apelles; the descrip- 
 tion seems by Mucianus; the price of the work is dwelt upon, and 
 the motive of the thunderbolt mentioned only because digiti 
 eminere videntur et fulmen extra tabulatn esse. (L. Brunn, 53.) 
 
 17. XXXV, 93: picture of the procession of a Megabyzos by 
 Apelles. (L. Brunn, 53.) 
 
 1 First attributed to Mucianus by conversation, first suggested to me 
 
 Furtwangler, /. c. that the puzzling Plinian description 
 
 " See note on passage. Ernest of the stag was a periegetic fable In- 
 
 Gardner, Handbook of Greek Sculp- vented out of some trivial failure in 
 
 ture, p. 194, note i, hints at the same the casting. 
 
 possibility. If my memory serves me = Oehmichen, Plin. Studien, p. 
 
 right, it was Mr. A. S. Murray who, 142 f. 
 
 some years ago, in the course of ' Oehmichen, p. 146. 
 
MUCIANUS Ixxxix 
 
 i8. lb. 129 : picture of the Madness of Odysseus by Euphranor ; 
 Mucianus interpreted the action of Palamedes differently to other 
 authorities ^ (see Comm.). 
 
 19. lb. 131 : grave picture of a priest of Artemis by Nikias. 
 (L. Brunn, 54.) 
 
 20. xxxiv, 58 : Apollo by Myron, taken away by Antonius and 
 restored to the Ephesians by Augustus, in obedience to a dream. 
 Miinzer (p. 544) has astutely detected the apocryphal character 
 of a story invented by a jealous priesthood in emulation of their 
 Samian neighbours. (See Comm. on pass.) 
 
 VII. Smyrna. 
 
 21. xxxvi, 32 : the drunken old woman by Myron (for the 
 epithet ebria, see Comm.) ''. 
 
 VIII. lasos. 
 
 22. xxxvi, 12 : Artemis, by the sons of Archermos ° j evidently 
 from the same writer as following fragment ^ 
 
 IX. Chios. 
 
 23. Ib.\T,: mask of Artemis by the same artists ; the Mucianian 
 character patent in the description of the face, which appears sad 
 to those who enter the temple, gay to those who leave it. 
 
 X. Pergamon. 
 
 From xxxvi, 131 we learn that Mucianus was in that region; 
 accordingly we should perhaps refer to him the notices concerning 
 Pergamene art. These are foreign to the original treatises (above, 
 p. xxi) : Xenokrates lived too early to take Pergamon into 
 account ; Antigonos, although himself one of the artists employed 
 by the Pergamene kings (xxxiv, 84), accepted the chronological 
 hmit of the Xenokratic Treatises. Pasiteles did the same, 
 marking his only addition to the chronology as a 'Revival' 
 (above, p. Ixxix f.). It only remains to conjecture that Pliny took 
 from Mucianus his descriptions of Pergamene works '"- 
 
 ' Rightly attributed to Mucianus by ' Oehmichen, p. 147 ; cf. Miinzer, 
 
 Oehmichen,/.c., asagainstFurtwangler of.cit., p. 525, note i. 
 (p. 44), who gave the passage to * That Mucianus visited lasos 
 
 Pasiteles. appears from ix, 33. 
 
 "^ Cf. Furtwangler, op. cit., p. 54. * Cf. Miinzer, op. cit., p. 544. 
 
xc INTRODUCTION 
 
 24. xxxiv, 84 : Plures artifices . . . Aniigonus ; the words ^ui 
 volumina condidit de sua arte may be an addition of Pliny's own. 
 
 25. XXXV, 60 : Aiax fulmine incensus by Apollodoros, the hodie 
 pointing clearly to a contemporary authority'. (Oehmichen, 71.) 
 
 26. xxxvi, 24: the 'symplegma' by Kephisodotos, with the 
 epigram attached thereto. (Oehmichen, 81.) 
 
 XI. Samothrake. 
 From xi, 167 it appears that Mucianus visited this island; 
 hence we may refer to him : 
 
 27. xxxvi, 25 : an Aphrodite and Pothos by Skopas ; the words 
 sandissimis caerimoniis coluntur are characteristic of the pious and 
 superstitious Mucianus. (Oehmichen, 78.) 
 
 XII. Parian. 
 
 28. xxxiv, 78 : Herakles by Hagesias (Oehmichen, 67). That 
 this is an addition to the early Greek account was pointed out 
 above, p. xxiv. Parion, moreover, only became a colonia under 
 Augustus (see Comm.). It was not known as such to Varro, who 
 only refers to it as Parion (cf. vii, 13, in Hellesponto circa Parium, 
 on the authority of Varro) ; thus Mucianus remains the only one 
 of the Plinian authors known to have visited this region at a time 
 when it would be generally described as P. colonia. 
 
 29. xxxvi, 22 : nude Eros by Praxiteles in Pario colonia, with 
 the story of its lover Alketas of Rhodes, closely resembling the 
 story of the lover of the Knidian Aphrodite. (Oehmichen, 68.) 
 
 XIII. Lysimacheia. 
 
 30. xxxiv, 56 : a Hermes by Polykleitos, no longer extant when 
 Mucianus visited the city '. 
 
 This bald list serves to indicate the immediate indebtedness of 
 Pliny to Mucianus, but there arises the further question whence 
 Mucianus derived his own information. That he relied in great 
 measure, perhaps mainly, on the tales of ciceroni, is evident from 
 the nature of what he relates. Yet in some cases, e. g. in the 
 description of the Mausoleion, or of the colossus of Rhodes, he 
 
 1 Furtwangler, Plinius, p. 53. city which lay in the route of Mucianus 
 
 = First attributed to Mucianus by —must be referred to this author : ' it 
 
 Munzer, op. cit., p. 535. In a private has all the characteristic signs : 
 
 note Miinzer further points out to me personal observation and interest in 
 
 that the description of the temple of the miraculous.' 
 
 Erythreia (xi, in, and xxxv, 161) — a 
 
ROMAN MUSEOGRAPHY xci 
 
 doubtless had handbooks which informed him of such details as 
 price and size, or gave the names of the artists employed. To 
 ascertain what these handbooks may have been, and whether 
 fragments of Greek writings other than those of the Xenokrates- 
 Antigonos-Pasiteles group reached Pliny through Mucianus, is 
 a task which lies outside the compass of the present essay. 
 
 IX. Fliny's mvn additions. — Roman Museography. 
 Retrospect. 
 
 Besides the Varronian additions to the material derived from the 
 Greek art-treatises, and besides the material which he derived inde- 
 pendently from Varro, Pliny enriched his account of the artists by 
 notices concerning the locality in Rome of a number of Greek works. 
 It is well known that in the days of Pliny, and already long before 
 his time, Rome displayed within her galleries, her temples, and her 
 public places an unrivalled collection of works of art, gathered 
 together from every part of the Hellenic world. From the day 
 when Marcellus had first induced the Romans to admiration of 
 Greek art by displaying the spoils of Syracuse \ down to that 
 crowning day of a triple triumph when Caesar Augustus cele- 
 brated his victory over the last of the Hellenic powers ", statues 
 and other works of art had come to be as much a part of the 
 pageantry of triumphs as captives or military booty ^ The 
 solemn dedication of these objects in some public building was 
 the natural sequel of the triumphal procession. The great 
 generals of the Republic *, and after them the Emperors '^, had 
 shown themselves zealous for the preservation and arrangement 
 of these collections. Only a short while before Pliny compiled 
 
 ' Liv. XXV, 40 ; see Comm. on cf. Comm. on xxxiv, 54, the statues 
 
 XXXV, 24, 1. 16. dedicated by Catulns in the temple 
 
 ^ In 23 B. c. ; for the works of art of the Fortune of the Day, and on 
 
 brought to Rome from Alexandria, xxxiv, 77, the Minerva dedicated by 
 
 see Wunderer, Manibiae Alexan- Q. Lutatius Catulus below the 
 
 drinae. Capitol. 
 
 ^ So much so that works of art * E. g. Gallery of Octavius, xxxiv, 
 
 were even displayed in triumphs over 13 ; Gallery of Pompeius, xxxv, 114, 
 
 barbaric and Western nations; the 126,132. 
 
 art booty acquired from Macedonia by ° E. g. Gallery of Octavia, xxxiv, 
 
 Aemilius Paullus, for instance, seems 31 ; xxxv, 139 ; xxxvi, 24, 35, &c. ; 
 
 to have formed an inexhaustible mine and consult the Museographic Index 
 
 whence other conquerors could draw ; (ii). 
 
xcii INTRODUCTION 
 
 his history of the artists, his patron Vespasian had opened the 
 great Temple of Peace, destined with its surrounding Forum ^ to 
 receive, alongside the treasures of the Temple of Jerusalem, those 
 Greek masterpieces which the greed of Nero had gathered within 
 the Golden House ^- The pages of Pliny are certainly the richest 
 mine of information concerning the art treasures of Rome. Owing, 
 moreover, to his preference for books over personal observation 
 of actual fact, Pliny not unfrequently records the locality of 
 works of art which had disappeared in his day '. Yet a dis- 
 cussion of the sources whence Pliny obtained his museographic 
 information, though of matchless interest for the study of Roman 
 history and topography, lies entirely outside an inquiry concerned 
 with the Greek element in Pliny. It suffices to point out that 
 Pliny doubtless had straight from Varro (p. Ixxxiii f.) most of the 
 Roman notices relating to events up to the close of the Republic ; 
 that for the Early Empire, up to the reign of Nero, he may have 
 borrowed from authors such as Deculo * or Fenestella ^ ; while his 
 allusions to Nero ", and his eulogies of the Flavian Emperors, and 
 of the works of art in their possession ', were probably part of the 
 material he had himself compiled for his own History of Rome, 
 a work embracing the period from the accession of Nero to the 
 Judaic triumph of Vespasian and Titus *. 
 
 It is little or nothing, then, of intrinsic importance from our 
 point of view, that Pliny added to the Greek Treatises as he 
 found them excerpted in Varro. At most does he bring the 
 information thus derived from the Greeks into consonance with 
 the taste of his day by occasional flashes of rhetoric, such as the 
 repeated lament over the decay of art ' ; his outburst of admira- 
 tion at the power of art, which ' could turn the eyes of the Senate 
 of the Roman people for so many years upon Glaukion and his 
 
 ' xxxiv, 84. evidently from the same source as 
 
 ^ ib- the mention of the ' Archigallus ' 
 
 ' This remark applies to a great loved by Tiberins, in xxxv, 70 ; see 
 
 portion of the Roman statues men- Oehmichen, Plin. Studien, p. 123. 
 
 tioned in the earlier part of xxxiv. * Cf. Oehmichen, op. cit. p. 125. 
 
 Cf. also xxxiv, 69 (statues by Praxi- ° xxxiv, 45, 48, 63, 84; xxxv, 51, 
 
 teles which had stood in front of 91, 120, &c. 
 
 the Temple of Felicity) ; xxxv, 99, ' See especially xxxiv, 84 ; the 
 
 the Dionysos and Ariadne of Aris- appreciation of the astragalhontes 
 
 teides. belonging to Titus in xxxiv, 55, and 
 
 * From whom he had the anecdote of the Laocoon in xxxvi, 37. 
 
 of Tiberius' passion for the Apoxyo- ° Praef. Hist. Nat. 20. 
 
 menos of Lysippos, xxxiv, 62 ; it is « Cf. xxxiv, 5 ff. ; xxxv, 4,39. 
 
PLINY'S ADDITIONS xciii 
 
 son Aristippos, persons otherwise quite obscure ' ; ' his simulated 
 indignation at the cruelty of Phalaris^; and his allusion to the 
 present merited dishonour of that Carthaginian Hercules to whom 
 human victims had once been offered up ^ 
 
 In estimating Pliny's account of the artists we must never 
 forget that it was inserted into the Historia Naturalis as a digres- 
 sion, which was artificially linked to the history of mineralogy on 
 the pretext of the materials employed. In doing this Pliny was 
 responding rather to the curiosity of his time in artistic matters * 
 than following any special inclination of his own. If Pliny cared 
 for art at all, it was only for its most realistic and imitative 
 aspects. He admires the brutal realism of the dog licking her 
 wounds ^ and in the workshop of Zenodoros his enthusiasm is 
 roused by the colossal model which, even when covered with its 
 wax tubings, betrayed an extraordinary likeness to Nero°. 
 Occasionally too — and we may pay this tribute to our author as 
 we take our leave of him — we seem to detect that, if he appears 
 too often as an indiscriminating compiler, this is not so much 
 through total lack of the critical faculty as through lack of time. 
 At least he does not omit to rail at those critics who ascribed 
 to Polykleitos (the elder namesake being the only Polykleitos 
 known to him) the statue of Hephaistion, the friend of Alex- 
 ander, although Hephaistion had lived nearly one hundred years 
 after the artist', while in xxxiv, 79 he expresses by a vigorous 
 turn of phrase his astonishment at finding Daidalos, whom in 
 his hurry he confuses with the old Homeric craftsman, figuring 
 among the artists of the historic age*. Yet the critical note 
 is rare, and, in the larger inquiry concerning the sources whence 
 Pliny drew, his own estimate of these sources appears but as 
 a trivial accident. 
 
 Thus the tendency of modern research is to lessen more 
 and more the importance of Pliny's personal contribution in his 
 account of the artists, as indeed in the whole of his great work. 
 Yet, by a singular irony, the fundamental faults of his work have 
 bestowed upon it a permanent value. He has given us what is 
 better than any original criticism which his century could have 
 produced — a short compilation which is, to borrow the word he 
 
 ' XXXV, 38. in Plutarch treating of art. 
 
 '' xxxiv, 89. ^ xxxvi, 39. « xxxiv, 38. ° ib. 45-46. 
 
 * Cf. Bertrand, £tudes, p. 329 ff., ' ib. 64. 
 
 and his remarks, ib., on the passages * ib. 76. 
 
xciv INTRODUCTION 
 
 applies to the whole Historia, the ' storehouse ' or thesaurus 
 wherein are consigned fragments from the lost text-books of 
 Xenokrates, from the Biographies of Duris and Antigonos, nay, 
 priceless sayings that had filtered through the ages from the very 
 writings of Apelles and Pamphilos \ 
 
 ' A short but admirably just estimate of the precise value of Pliny's work is 
 given by J. W. Mackail, Latin Literature, 1895, P" ^97- 
 
BIBLIOGRAPHY ^ 
 
 Editions. Barbarus, Rome, 1492 ; Dalecampius, Lyons, 1586 ; Gro- 
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 Amelung, Walther : Die Basis des Praxiteles aus Mantinea 
 
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 Arndt-Bruckmann : Photographische Einzelaufnahmen antiker 
 
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 p. XT f. of the Introduction. 
 
xcvi BIBLIOGRAPHY 
 
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BIBLIOGRAPHY xcvii 
 
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BIBLIOGRAPHY xcix 
 
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 MANUSCRIPTS REFERRED TO. 
 
 Bamb. = the Codex Bambergensis M. V. 10, of the ninth to tenth centnry (see 
 our plate) ; in the Royal Library at Bamberg (it contains only the last 
 six books of the Hist. Nat.). 
 
 Rice. = the Codex Riccardianus M. II. ii. 488, written about the year iioo 
 according to Detlefsen, but probably older ; in the Bibliotheca Ric- 
 cardiana at Florence. 
 
 Voss. = the Codex Vossianus Latitvus 61 in folio, of the ninth century (cf. 
 Chatelain, Paliographie des Classiques Latins, pi. cxli); in the University 
 Library at Leiden. 
 
 Lips. = the Codex Lifsii 7 ^see Geel, Cat. n. 465), copied from the Vossianus 
 when this codex was more complete than it is now, and before it had 
 been corrected (cf. Chatelain, pi. cxlii) ; in the University Library at 
 Leiden. 
 
 e corr.=« corredione and refers to the corrections introduced into a MS. by 
 a later hand. 
 
 reliqui=th.e remaining codices save the particular codex or codices anywhere 
 quoted. 
 
 ** = a corrupt readmg which has not yet been satisfactorily restored. 
 
 t printed before an artist's name in the English translation signifies that the 
 artist is so far known only from Pliny. 
 
C. PLINII SECUNDI 
 NATURALIS HISTORIAE 
 
 LIBER XXXm §5 154-157 
 LIBER XXXIV §§ 5-93 ; 140-141 
 
 {CAELATURA ET STATUARIA) 
 
I. CAELATURA. 
 
 Lib. 
 
 xxxm. 
 
 154 MiRUM auro caelando neminem inclaruisse, argento 
 
 multos. maxime tamen laudatus est Mentor de quo supra 
 diximus. quattuor paria ab eo omnino facta sunt, ac iam 
 nullum extare dicitur Ephesiae Dianae templi aut Capitolini 
 incendiis. Varro se at aereum signum eius habuisse scribit. 5 
 
 155 proximi ab eo in admiratione Acragas et Boethus at Mys 
 
 § 154. 2. maxime . . . laudatus : 
 the silver chasers are arranged in 
 order of merit in four groups (a) max. 
 laudatus, {b) proximi ab eo, (c)fost has 
 celebrati, id) item laudantur. Within 
 each of these groups the names are 
 arranged alphabetically, Benndorf, de 
 Anthol. Graec. Epigramm. quae ad 
 artes spectant, p. 52, note i. The 
 main account, derived, through a 
 Roman source, from some Greek 
 writer, is interrupted (i) by the 
 mention of Varro's statue ; (a) by a 
 description {extant . . . habuii) of 
 chased works in Rhodes, drawn pre- 
 sumably from Mucianus (Brieger, de 
 Fontibus Flin. p. 60), Introd. p. Ixxxvi ; 
 (3) by the quotation of an epigram. 
 
 de quo supra diximus : the refer- 
 ence is to vii, 127, where the cups 
 of Mentor are again alluded to as 
 being in the Ephesian and Capitoline 
 temples. The reader, however, would 
 naturally think of (xxxiii, 147) Lucius 
 ' uero Crassus orator duos scyphos Men- 
 toris artificis manu caelatos HS. c (sc. 
 emptos habuit); but this statement 
 being at variance with the present one, 
 they must have been made indepen- 
 
 dently and at different times ; the 
 present passage seems a later addition, 
 taken straight from vii, 127 (Furt- 
 wangler, Plinius u. j. Quellen, p. 57, 
 note i). 
 
 3. quattuor paria : cups are men- 
 tioned in pairs, xxxiii, 147 (quoted 
 above) ; xxxiv, 47 {duopocula Calami- 
 dis manu); below § 156 {in duobus 
 scyphis). It was apparently customary 
 to decorate the pair with one con- 
 tinuous subject, as is expressly stated 
 in the case of the cups by Zopyros (cf. 
 Furtwangler, Dornauszieher, p. 96, 
 note 63) and known from extant in- 
 stances, e.g. the superb pairs of caps 
 from Bemay, Schreiber, Alex. Toreu- 
 tik, 54*, 55* (= Babelon, Cab. des 
 Antiques, pi. 51 and 14, with Ken- 
 taurs and Kentauresses); ib. 6'j*, 68*; 
 id. 63*, 64* (at Naples) = ^aj. Borb. 
 xiii, pi. 49. 
 
 4. lEjpliesiae . . . incendiis : tH, 
 127. The fire, which occurred in B.C. 
 356, gives us a lower limit for the 
 date of Mentor. For the numerous 
 passages in ancient authors referring 
 to this, the most celebrated silver 
 chaser of antiquity, see Overbeck's 
 
I. SILVER CHASING. 
 
 Book 
 XXXIII. 
 Curiously enough, none have become famous as gold chasers, 154 
 many as chasers of silver. Of these the most esteemed is that 
 Mentor, whom I have already mentioned. He made four pairs 
 of cups in all, none of which, it is said, are extant ; they perished 
 when the temples of Artemis at Ephesos and of Jupiter on the 
 Capitol were burnt down. Varro speaks of a bronze statue in his 
 possession also from the hand of Mentor. Next to him -^Akragas, 155 
 Boethos, and Mys were had in great admiration. Works by these 
 
 Schriflquellen,2i6^-2i%i. The Capi- 
 toline fire occurred B. C. 83, during the 
 Civil War, Appian, 'E^k^. i, 83. 
 
 5. Varro : cf.xxxvi,4i, where Varro 
 is likewise cited both as author and 
 owner. — Like a number of other caela- 
 iores (so Kalamis, Ariston, Eunikos) 
 Mentor was also a sculptor in bronze. 
 
 § 155. 6. Acragas : the name, which 
 is that of the eponymous river-god 
 of Agrigentum (Ailian, Horn. lar. ii, 
 33), shows him to have been a native 
 of that city, whose early connexion 
 with Rhodes (cf. T. Reinach, /(ev. 
 Arch, xxiv, 1894, p. 178), would ac- 
 count for the artist seeking a field for 
 his activity in the brilliant and art- 
 loving city of Rhodes (cf. Museogr. 
 Index) founded B.C. 408; at present, 
 however, we have no nearer clue to 
 his date. Against the theory of Th. 
 Reinach, op. cit. pp. 170-180, that a 
 chaser Akragas never existed, but was 
 merely assumed owing to a misunder- 
 standing of the legend AKPAFAS on 
 coins inserted as the umbilici of silver 
 cups, Hans Dragendorff in Terra 
 
 Sigillata, p. 58, maintains that when 
 a coin impression decorates the 
 interior of a cup, it is always the 
 only ornament and therefore inad- 
 missible for cups decorated in relief, 
 like those of Akragas. For names 
 derived from river-gods cf. Atarjiros, 
 as early as the sixth century (see 
 Fick, Gr. Personennamen, p. 347, 
 where a further list of such names 
 is given). That the chaser Akragas 
 appears only in Pliny need not 
 astonish us : to mention only Epi- 
 gonos (xxxiv, 88), this apparently 
 very famous artist was up to the date 
 of the Pergamene finds known from 
 Pliny alone. 
 
 Boethus : xxxiv, 84. Cic. Verr. 
 II, iv, 14, I- 32 . . . hydriam Boethi 
 manu factam. A gem representing the 
 wounded Philoktetes, signed BOHQOT 
 is probably to be referred to him 
 (Furtwangler, Gemmen m. KUnstler- 
 inschriften, Jahrb. iii, pi. VIII, 2 1 and 
 p. 216). 
 
 Mys : he was a contemporary 
 of Parrhasios (xxxv, 65, 68-73), from 
 
 B % 
 
4 C. PLINII SECUNDI NAT. HIST. XXXIII 
 
 fuere. exstant omnium opera hodie in insula Rhodiorum, 
 Boethi apud Lindiam Minervam, Acragantis in templo 
 Liberi patris in ipsa Rhodo Centauros Bacchasque caelati 
 scyphi, Myos in eadem aede Silenos et Cupidines. Acra- 
 gantis et venatio in scyphis magnam famam habuit. post 5 
 
 156 hos celebratus est Calamis. et Antipater quoque Satyrum 
 in phiala gravatum somno conlocavisse verius quam caelasse 
 dictus est. Stratonicus mox Cyzicenus, Tauriscus, item 
 Ariston et Eunicus Mitylenaei laudantur et Hecataeus et 
 circa Pompei Magni aetatem Pasiteles, Posidonius Ephesius, lo 
 *//i?ifj/j *,Thrakides qui proelia armatosque caelavit, Zopyrus 
 qui Areopagitas et iudicium Orestis in duobus scyphis 
 HS [XII] aestimatis. fuit et Pytheas cuius duae unciae 
 5€ X venierunt. Ulixes et Diomedes erant in phialae 
 
 157 emblemate Palladium subripientes. fecit idem et cocos 15 
 magiriscia appellatos parvolis potoriis, e quibus ne exem- 
 
 II. Hedys, Thrakides] Furtwangler, FlecTeeiserC s Jahrb. v, xxii, 1876, 
 /. 507 ; hedystrachides ^a/n^. ; iedis thiaaides re/i^ui ; Hedystracbides .SV//;^, 
 Detlcfsen ; Telesarchides coni. Dilthey ap. Benndorf, de Epigr. p. 53. 
 
 whose designs he executed the Ken- Akragas. in scypMs — the plural as 
 
 tanromachia on the shield of the usual because two cups or perhaps a 
 
 Athena Promachos (Paus. i, 28, 2). set were decorated with one continuous 
 
 The epigram, from a cup at Herakleia subject. 
 
 (Athen. xi, p. 782 B), beginning Vpay.- 6. Calamis : xxxiv, 47, 71. 
 
 /MiJ llappaffioio, rexva- Mi/(Js . . . must § 156. 6. Antipater : the name of 
 
 however, owing to the expression the writer of an epigram has been 
 
 Tfxra riv6s, which does not occur in substituted for Diodoros, the real 
 
 pre-Imperial times, be a later forgery ; name of the artist, and moreover that 
 
 Preger, Inscript. Graec. Metr. p. 142, required by the alphabetical arrange- 
 
 note 185. ment; cf. Anth. Plan. 248 
 
 I. exstant . . . Cupidines : while lov Sarvpov AtSSapos e/coi/uaey, oix 
 
 the introduction of the word hodig eTopfvfffv. 
 
 points to a recent authority, the repeti- ^v "uf i/s, eyepur apyvpos vmiov f x"- 
 
 tion of the artists' names in a different an epigram similar to the one quoted 
 
 order, marks the sentence as an inter- in the words gravatum . . . caelasse. 
 
 polation (Introd. p. Ixxxvii). Introd. p. Ixviii. 
 
 3. Csntauros : for the subject cf. 8. Stratonious : xxxiv, 85 ; he is 
 
 the cups in the Biblioth. Natipnale mentioned Athen. xi, p. 782 B, among 
 
 and in Naples mentioned above. the si'Sofoi Topevrai. 
 
 5. venatio : Dragendorff (Inc. cit.) Tauriscus : in xxxvi, 33 Pliny 
 
 suggests that the hunting scene on the expressly distinguishes him from the 
 
 silvered terra-cotta cups, Ann. d. Inst. sculptor of the same name. 
 
 1871 PI. Q, and kindred compositions 9. Ariston, Eunicus . . . Heca- 
 
 raay be derived from the venatio of taeus : xxxiv, 85. 
 
/. SILVER CHASING 5 
 
 three are still to be seen in the island of Rhodes : by Boethos in 
 the temple of Athena at Lindos, by Akragas cups with figures, 
 of Kentaurs and Bacchantes in the temple of Dionysos in the city 
 of Rhodes, and in the same temple cups by Mys, with figures of 
 Seilenoi and Erotes. Cups decorated round the interior with 
 hunting scenes by Akragas were also well known. Next in merit 
 to these chasers came Kalamis, \Antifater — whose sleeping Satyr 156 
 was said to have been not chased but laid to rest within the cup—, 
 Stratonikos of Kyzikos, and t Tauriskos. Other famous chasers 
 are ■fAriston and ^Eunikos of Mitylene, t Hekataios, Fasiteles, a 
 contemporary of the Great Pompeius, i Foseidonios of Ephesos, 
 ■*Hedys*, t Thrakides, whose favourite subjects were battles and 
 warriors, and t Zopyros, who represented the court of the Areiopagos 
 and the trial of Orestes on a pair of cups valued at 1,200,000 
 sesterces [£10,500 circ.J. -^ Pytheas too made a cup weighing two 
 ounces which sold for 10,000 denarii [£350 circ.]; the design on 
 the interior represented Odysseus and Diomedes stealing the 
 Palladion. He further made small drinking cups in the shape of 157 
 cooks, called \j.ayapujKxa, the delicate chasing of which was so liable 
 
 10. Pasiteles : xxxv, 156; xxxvi, 
 39 f. and above § 1 30. Cic. de Div. 
 i- 36, 79 mentions a toreutic work by 
 him representing the infant Roscius 
 wrapped in the coils of a serpent. 
 Possibly Pasiteles was influenced in 
 the presentation of the subject by the 
 ' infant Herakles strangling the snakes ' 
 of Zeuxis (xxxv, 63). 
 
 Posidonius : xxxiv, 91. 
 
 11. Thxakides: for the name cf. 
 Fick, op. cit. p. 141. The corrupt 
 Hedys conceals a name whose initial 
 letter lies between P — T. 
 
 12. Areopagitas . . . Orestis : 
 i. e. Orestes undergoing his trial 
 before the Areiopagos, the subject 
 being spread over both cups. Cf. 
 Winckelmann, Mon. Ined. pi. 151 for 
 a silver cup in the Corsini coll. re- 
 presenting this subject ; better repro- 
 duced by Michaelis, Das Corsinische 
 Silhergefdss, Leipzig, 1S59. 
 
 13. fuitet: like the ^aiJ««V«^ below, 
 introduces <t new artist who had no 
 place in the canonical lists quoted in 
 
 Pliny's main authority. Pytheas and 
 Teuker, therefore, lived presumably 
 in the period subsequent to Pasiteles. 
 The continuance of silver chasing at 
 least as late as the reign of Nero is 
 proved by the case ofZenodoros (xxxiv, 
 47). The decay of which Pliny com- 
 plains only applies to his own time ; 
 nor need we attach too precise a mean- 
 ing to this, or the similar complaint 
 on the decay of painting in xxxv, 4, 
 both being evidently rhetorical, cf. 
 Oehmichen, PUnianische Siudien, 
 p. i6i f.; Furtw'angler in Berl. Phil. 
 Wochenschr., 1895, p. 814. 
 
 14. mixes et Diomedes : for the 
 subject cf. the celebrated Spada relief, 
 Schreiber, Hell. Reliefbilder, pi. VII, 
 the gem, signed Calpumius Felix, 
 Jahrbuch iii, 1888, Pi. x, 7 ; cf. 
 Furtwangler, ib. p. 312 ; and the relief 
 on the neck of one of the Bemay oino- 
 choai, Babelon, Cab. des Ant. pi. 41. 
 
 §157. 15. cooos; [i.e. silver cups 
 in the shape of figurines. — H. L. U.] 
 
 16. magiriscia : from /iiyeipos, a 
 
Lib. 
 XXXIV. 
 
 6 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 plaria quidem liceret exprimere, tarn opportuna iniuriae 
 subtilitas erat. habuit et Teucer crustarius famam, subito- 
 que ars haec ita exolevit ut sola iam vetustate censeatur, 
 usuque attritis caelaturis, si nee figura discerni possit, aucto- 
 ritas constat. 5 
 
 II. STATU ARIA. 
 
 5 Quondam aes confusum auro argentoque miscebatur, et 
 tamen ars pretiosior erat, nunc incertum est peior haec sit 
 an materia, mirumque, cum ad infinitum operum pretia 
 creverint, auctoritas artis extincta est. quaestus enim causa 
 ut omnia exerceri coepta est quae gloriae solebat — ideo lo 
 autem etiam deorum adscripta operi, cum proceres gentium 
 claritatem et hac via quaererent — adeoque exolevit fundendi 
 aeris pretiosi ratio ut iamdiu ne fortuna quidem in ea re ius 
 
 6 artis habeat. ex ilia autem antiqua gloria Corinthium 
 maxime laudatur. hoc casus miscuit Corintho, cum cape- 15 
 retur, incensa, mireque circa id multorum adfectatio furit, 
 quippe cum tradatur non alia de causa Verrem quem 
 
 A.u.c. 711. M. Cicero damnaverat proscriptum cum eo ab Antonio, 
 quoniam Corinthiis cessurum se ei negavisset. ac mihi 
 maior pars eorum simulare earn scientiam videtur ad segre- 20 
 gandos sese a ceteris magis quam intellegere aliquid ibi 
 
 7 suptilius, et hoc paucis docebo. Corinthus capta est olym- 
 
 4. si nee] UrlicJis in Chresiom. p. 301 ; sine Bamb. ; ne reliqui, Detkfsen. 
 II. autem] om. omncs praeter Bamb., Detkfsen. 
 
 cook. [The subject influenced perhaps now the amount of precious metals 
 
 by the Middle or New Comedy.— yielded by the analysis of ancient 
 
 H. L. U.] bronzes is so small as scarcely to war- 
 
 i. Teucer: possibly identical with rant Pliny's statement that gold and 
 
 the gem engraver Tempos {ct/aArb. silver were regularly employed in 
 
 '"> P- 323)- the most ancient Greek alloys; cf. 
 
 crustarius : this shows him to Blumner, Technol. u. Terminal, vol. 
 
 have been especially a worker of iv, p. 1 78 ff. ; O. MUUer, Handbuch 
 
 e/iPKrifiaTa or crustae, i. e. of figures 306, Daremberg and Saglio, s. v. aes. 
 
 in relief, wrought separately and § 6. 15. hoo casus miscuit: cf. 
 
 sKtached to the object to be decorated; Florus, ii, 16 ; this and several other 
 
 cf. Cic. Verr. II, iv, 22, § 49 duo anecdotes (see in especial Paus. ii, 3, 3, 
 
 focula non magna, verum tamen cum and Plut. De Pyth. Or. 2, p. 395 B) 
 
 emblemate: z\s.o1ms.\.,i(>. Add. were invented to account for the origin 
 
 § 5. 6. auro argentoque : up to of Corinthian bronze when the secret 
 
//. BRONZE STATUARY 7 
 
 to injury that it was impossible to take a cast of them. Teuker 
 also enjoyed some reputation for his embossed work. The whole 
 art then suddenly disappeared so completely that nowadays we 
 only value wrought silver for its age, and reckon its merit estab- 
 lished when the chasing is so worn that the very design can no 
 longer be made out. 
 
 II. BRONZE STATUARY. 
 
 Book 
 XXXIV. 
 Bronze was formerly alloyed with both gold and silver, and yet 5 
 
 the workmanship used to be more valuable than the metal ; now ^"i^y "f 
 
 it is hard to say which is worse. It is extraordinary that when 'Mork. 
 
 the price given for works of art has risen so enormously, art itself 
 
 should have lost its claim to our respect. The truth is that the 
 
 aim of the artist, as of every one else in our times, is to gain money, 
 
 not fame as in the old days, when the noblest of their nation 
 
 thought art one of the paths to glory, and ascribed it even to the 
 
 gods. The process of founding valuable bronze is so completely 
 
 lost that for generations even fortune has not been able to secure 
 
 the results formerly ensured by skill. 
 
 Of the bronzes renowned in antiquity, the Corinthian is the g 
 
 most esteemed. An accident first produced this alloy in the fire Connthan 
 
 which followed on the sack of Corinth and the rage for it is 
 
 marvellously widespread. For instance, there is a story that when 
 
 Antony proscribed Cicero he also proscribed Verres (whose 43 b. c. 
 
 condemnation Cicero had once procured), simply because Verres 
 
 had refused to give up to him his Corinthian bronzes. In my 
 
 own opinion, however, most people affect a knowledge of 
 
 the subject solely to exalt themselves above the common herd, 
 
 without having any real insight into it ; this I can prove in a few 
 
 words. Corinth was taken in the third year of the hundred and 7 
 
 of its mixture liad been lost. Pliny witty satire in Petronius, Sat. 50, on 
 
 sees the impossibility of reconciling Corinthian bronze and its wonderful 
 
 the story of the Corinthian alloy and alloy. 
 
 the dates of famous statues, but instead 18. pToscriptum ab Antonio: 
 
 of questioning the truth of the story, cf Seneca Rhetor, .Jaaj. vi,vii, /««/»». 
 
 he proceeds to deny in toio the exist- For the use to which Augustus put the 
 
 ence of Corinthian bronzes, though it proscriptions, in order to obtain Cor. 
 
 is excellently and repeatedly attested : bronzes, see Suet. Aug. 70 ; cf. Plin. 
 
 e.g. Martial, xiv, 172, 177, and often. xxxvii, 81, where Nonius is proscribed 
 
 The reader will ieA reminded of the by Antonius for the sake of a fine opal. 
 
8 C. PLINIl SECUNDI NAT. HIST. XXXIV 
 
 piadis CLVIII anno tertio, nostrae urbis DCVIII, cum ante 
 saecula fictores nobiles esse desissent, quorum isti omnia 
 signa hodie Corinthia appellant, quapropter ad coar- 
 guendos eos ponemus artificum aetates. nam urbis nostrae 
 annos ex supra dicta comparatione olympiadum colligere 5 
 facile erit. sunt ergo vasa tantum Corinthia quae isti 
 elegantiores modo ad esculenta transferunt, modo in lu- 
 
 8 cernas aut truUeos nullo munditiarum dispectu. eius tria 
 genera: candidum argento nitore quam proxime accedens 
 in quo ilia mixtura praevaluit, alterum in quo auri fulva 10 
 natura, tertium in quo aequalis omnium temperies fuit. 
 praeter haec est cuius ratio non potest reddi, quamquam 
 hominis manu sed ad fortunam temperatur in simulacris 
 signisque, illud suo colore pretiosum ad iocineris imaginem 
 vergens, quod ideo hepatizon appellant, procul a Corinthio, 15 
 longe tamen ante Aegineticum atque Deliacum, quae diu 
 optinuere principatum. 
 
 9 Antiquissima aeris gloria Deliaco fuit mercatus in Delo 
 celebrante toto orbe, et ideo cura officinis. tricliniorum 
 pedibus fulcrisque ibi prima aeris nobilitas, pervenit deinde 20 
 et ad deum simulacra effigiemque hominum et aliorum 
 animalium. 
 
 10 Proxima laus Aeginetico fuit. insula et ipsa est, nee 
 quod ibi gigneretur, sed officinarum temperatura nobilitata. 
 bos aereus inde captus in foro boario est Romae. hoc erit 25 
 exemplar Aeginetici aeris, Deliaci autem luppiter in 
 Capitolio in lovis Tonantis aede. illo acre Myron usus 
 
 §7. 2. fictores: from meaning liter- 8. trulleos: apparently identical 
 
 ally a modeller in clay, the vorAfictor with the felvis, a basin to wash hands 
 
 is extended to workers in bronze ; see or feet. For a pelvis of bronze of. 
 
 note on XXXV, 153. Juy. x, 64; for one of Corinthian 
 
 4. ponemus . . .aetates: in §§ bronze, Orelli, 3838. 
 49~5^- §8. 9. oandidum argento: for 
 
 nam : elliptical ' for of course, as some bronze objects fonnd at Suessula, 
 
 I shall draw from a Greek source, really containing small quantities of 
 
 I shall give them only in Olympiads,' gold and silver, see BlUmner oj>. cit. 
 
 Furtwangler, Plinius, p. 19; for the p. 184, note 5. 
 
 ellipse cf. xxxv, 137 {nam Socrates); § 9. 18. Deliaoo : mentioned three 
 
 xxxvi, 32 {nam Myronis illius), where times, along with Corinthian bronze by 
 
 see note. Cicero, _^;-o Sext. Rose. Am. 46, 133; 
 
 7. luoernas: the familiar oval oil Verr. II, ii, 34, § 83; ib. 72, § 176. 
 lamp with flat top. meroatus in Delo : i.e. the fair 
 
//. BRONZE STATUARY g 
 
 fifty-eighth Olympiad, that is, the year of Rome 608 [146 b.cJ, 
 centuries later than the celebrated workers, whose statues our 
 amateurs still assume to be all of Corinthian bronze. I shall 
 prove that they are wrong by giving the dates of the artists, for 
 it will be easy to turn the Olympiads into years of Rome by 
 referring to the two corresponding dates given above. It follows 
 that the only vessels of Corinthian bronze are those which these 
 connoisseurs use as dishes or lamps or basins, with no regard for 
 their workmanship. 
 
 There were three varieties of Corinthian bronze — a white 8 
 bronze, that shone almost like silver, and contained a very large 
 proportion of that metal; a second, in which a reddish tinge of 
 gold prevailed; and a third, in which the three metals were 
 blended in equal proportions. There is also a fourth alloy, of 
 which no scientific account can be given ; it is employed for 
 images and statues, and though it is produced by the hand of 
 man, yet fortune partly determines the resuk. It is known as 
 TjiraTi^ov from the peculiar tint, verging on liver colour, which is 
 its chief merit. It is inferior to the bronze of Corinth, but 
 superior to those of Aigina and Delos, though these were long 
 thought the best. 
 
 The bronze most celebrated in early times was that of Delos, 9 
 for as all nations resorted to the market of the island, great care f^J^"" 
 was bestowed on the manufacture of bronze. It was first employed 
 there for the feet and framework (Add.) of couches, and afterwards 
 its use was extended to images of the gods, and figures of men 
 and animals. 
 
 Aiginetan bronze was the next to become celebrated. Aigina 10 
 also is an island ; it had no mines, but owed its reputation to ■f'S''"^^'"^ 
 
 ... * oronze. 
 
 the admirable alloys produced in its foundries. A bronze bull, jj^n ^„ 
 
 taken from Aigina, and now in the Cattle Market at Rome, may Cattle 
 
 Market 
 Stand for an example of Aiginetan bronze, and the Jupiter in the „ ' 
 
 temple of Jupiter the Thunderer on the Capitol for an example oi Jupiter the 
 
 Thunderer. 
 
 held in connexion with the quinquen- §10. 23. Aeeinetioo : the alloy was 
 
 nial festival of Apollo and Artemis. renowned because of the famous artists 
 
 21. ad deum simulacra: cf. § 15 who employed it. For a vivid picture 
 
 transit deinde ars vulgo ubique ad of the Aiginetan SchooI,seeCollignon, 
 
 effigies deormii : the imagined pro- Sculpt. Grecque, i, 280-307. 
 
 gress of art from furniture to images 25. in foro boario : Tac. Ann. 
 
 of gods and hence to images of men xii, 24. 
 
 and animals is purely conventional ; 27. lovis Tonantis aede. Cf. 
 
 seeMunzer, ^er/KW XXX, 1895, p. 501. xxxvi, 50. A small temple built (B.C. 
 
lo C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 est, hoc Polycletus, aequales atque condiscipuli, sed aemu- 
 latio et in materia fuit. 
 
 11 Privatim Aegina candelabrorum superficiem dumtaxat 
 elaboravit, sicut Tarentum scapos. in his ergo iuncta com- 
 mendatio officinarumest. nee pudet tribunorum mihtarium 5 
 salariis emere, cum ipsum nomen a candelarum lumine 
 inpositum appareat. accessio candelabri talis fuit Theonis 
 iussu praeconis Clesippus fullo gibber et praeterea et alio 
 
 12 foedus aspectu, emente id Gegania HS L. eadem osten- 
 tante in convivio empta ludibrii causa nudatus atque to 
 inpudentia libidinis receptus in torum, mox in testamentum, 
 praedives numinum vice illud candelabrum coluit et banc 
 Corinthiis fabulam adiecit, vindicatis tamen moribus nobili 
 sepulchre per quod aeterna supra terras Geganiae dedecoris 
 memoria duraret. sed cum esse nulla Corinthia candelabra 15 
 constet, nomen id praecipue in his celebratur, quoniam 
 Mummi victoria Corinthum quidem diruit, sed e compluri- 
 bus Achaiae oppidis simul aera dispersit. 
 
 13 Prisci limina etiam ac valvas in templis ex aere facti- 
 A.u.c. 587. tavere. invenio et a Cn. Octavio qui de Perseo rege nava- 20 
 
 lem triumphum egit factam porticum duplicem ad circum 
 Flaminium quae Corinthia sit appellata a capitulis aereis 
 columnarum, Vestae quoque aedem ipsam Syracusana super- 
 ficie tegi placuisse. Syracusana sunt in Pantheo capita 
 
 22) by Augustus near the great temple delubrum dicunt ; and Macrob. 
 
 of Jupiter Capitolinus to commemorate Satur. iii, 4, 2; cf. Martial, xiv, 43. 
 his miraculpus escape from death by 8. Clesippus : the slave was of 
 
 lightning (,Suet,/ia^. 29); ilf«K.^Kfj/y. course a Greek (KX^o-iTnroj). The 
 
 xix, 4, S ; Mommsen, Res Gestae, story is attested by an inscription (close 
 
 p. 81. The temple appears on coins of Republic) C. I. L. i, 805, Clesippus- 
 
 of Augustus, Cohen, Aug. 178-180; Geganius mag. CapifypTymag. luperc. 
 
 184-186. For the bronze statue by viat. tr. apparently belonging to the 
 
 Leochares, see below § 79. sepulchre mentioned in § 12. 
 
 Myron ... Polycletus, §§55- § 13. 19. limina etiam ao valvas: 
 
 S^- either of massive bronze or plated, 
 
 § 11. 5. tribunorum . . . salariis : Marquardt, Privatleben der Romer, 
 
 cf. Juv. iii, 132. p. 223 ff. 
 
 ^6. a candelarum lumine: the 20. Cn. Ootavio : the portico (built 
 
 etymology is Varronian; cf. Varro, b.c. 167) stood in the Campus 
 
 ap. Servius on Aen. ii, 225 ... a/ in Martius near the Circus Flaminius 
 
 quo figimt candelam candelabrum and the theatre of Pompeius. It was 
 
 appellant, sic in quo deum ponunt burnt down and rebuilt by Augustus 
 
//. BRONZE STATUARY n 
 
 Delian bronze. Aiginetan bronze was employed by Myron, and Bromcs 
 
 Delian by Polykleitos. These two artists were contemporaries ^Myronand 
 
 and fellow-pupils, who carried their rivalry even into their choice Polykleitos. 
 
 of a material. 
 
 At Aigina it was the trays, at Tarentum the stems of cande- ii 
 
 labra which were specially elaborated, so that the efforts of several f '^"'^'«- 
 
 labra. 
 workshops combme to recommend these utensils. They are 
 
 things without even a name except the one which they borrow 
 
 from the light of their own candles, and yet we are not 
 
 ashamed to give as much for them as the year's pay of a military 
 
 tribune. Theon, the auctioneer, once included in the same lot as Story of 
 
 one of these candelabra a slave, a fuller named Clesippus, who and 
 
 was humpbacked and altogether hideous. The lot was bought for Gegania. 
 
 50,000 sesterces (£440 circ.) by Gegania, who displayed her 12 
 
 purchase at a banquet, and exposed Clesippus naked to the 
 
 ridicule of the company, yet afterwards, through sheer wantonness, 
 
 made him her lover, and at last her heir. Thus enriched, he 
 
 worshipped the candelabrum as a deity, providing yet another 
 
 story about Corinthian bronzes. Morality, however, was avenged 
 
 in the magnificent tomb that he built only to keep the 
 
 remembrance of Gegania's infamy alive upon the earth. Although 
 
 none of these candelabra are really Corinthian, yet they are called 
 
 so because Mummius destroyed Corinth ; people forget that his 
 
 victory also scattered the bronzes of various other Greek cities. 
 
 In early times the thresholds and folding-doors in temples 13 
 
 were commonly made of bronze. I find, too, that Gnaeus ^j^" ' 
 
 Octavius, who was granted a triumph for his naval victory over 167 b.c. 
 
 King Perseus, built a gallery with double colonnade by the Circus 
 
 of Flaminius, called the Corinthian Gallery, from the small bronze 
 
 capitals of its columns. A decree was also passed that the temple 
 
 of Vesta should be roofed with plates of Syracusan bronze. 
 
 (Festus, p. 178; Mon. Aiic. xix, 4, Top.der Stadt Rom\\i,-^. 2io,n..2^ 
 
 2-4. Mommsen, Res Gestae, p. 80), 23. Vestae . . . tegi; cf. xxxiii, 57. 
 
 after the Dalmatian Triumph, B. c. 33. 24. plaouisse : probably after the 
 
 It must be distinguished from the great fire of B.C. 241, cf. vii, 141. 
 
 porticus Octaviae, § 31. Invenio in Pantheo : built (B. c. 27) 
 
 shows that Pliny is quoting from an by Agrippa in his third consulate, 
 
 ancient authority; either the building This earlier building was altered to 
 
 no longer existed in his day, or the its present shape in the reign of 
 
 outer colonnade had not been restored Hadiian. For recent discoveries and 
 
 after the fire, so that the remarks as to literature, cf. C. Hulsen in T.J. B. 
 
 the columns apply to the pre-Augustan iv, p. 305 (A'oot. Mitth.im, 1893) and 
 
 building. (See O. Gilbert, Cesch. u. Gardthausen .^^jwrfaj ii, p. 43of. 
 
12 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 columnarum a M. Agrippa posita. quin etiam privata opu- 
 lentia eo modo usurpata est. Camillo inter crimina obiecit 
 A.u.c. 363. Spurius Carvilius quaestor ostia quod aerata haberet in 
 domo. 
 
 14 Nam triclinia aerata abacosque et monopodia Cn. s 
 Manlium Asia devicta primum invexisse triumpho suo quem 
 duxit anno urbis DLXVII L. Piso auctor est, Antias quidem 
 heredes L. Crassi oratoris multa etiam triclinia aerata vendi- 
 disse. ex acre factitavere et cortinas tripodum nomine 
 Delphicas, quoniam donis maxime Apollini Del'phico dica- lo 
 bantur. placuere et lychnuchi pensiles in delubris aut 
 arborum mala ferentium modo lucentes, quale est in templo 
 Apollinis Palatini quod Alexander Magnus Thebarum ex- 
 
 A.u.c. 419. pugnatione captum in Cyme dicaverat eidem deo. 
 
 15 Transiit deinde ars vulgo ubique ad effigies deorum. 15 
 Romae simulacrum ex acre factum Cereri primum reperio 
 
 A.u.c. 270. ex peculio Spuri Cassi quem regnum adfectantem pater 
 ipsius interemerit. transit et a diis ad hominum statuas 
 
 9. nomine] nomine ac Barnb.; nomine a Voss. 
 
 3. Spvirins Carvilius : his part in arise from a copyist's misunderstanding 
 
 the trial is mentioned only by Pliny. of Delfhicas as a separate object. 
 
 ostia quod aerata; koX ^ra Kal ii. lychnuchi; ori^nally lamp- 
 
 eipat Tivh iXiyovTO x"^*"'" "■"/>' stands {Kvxvoiixot), whence the name 
 
 oirS (pavTJvai Toiy aixiMxKiiTav. Plut. was transferred to the whole candela- 
 
 CanUll.YM. brum, Marquardt, op. cit. p. 711; 
 
 §14. 5. abacosque: the use of DarembergetSaglio,s.v.^3«i&Mr«»j. 
 
 a/iaci as sideboards appears really to pensiles; Verg..4««i, 726; Petron. 
 
 date from the conquest of Asia, Mar- Sat. 30 et lucema bUychnis de camera 
 
 qnardt, Privatkben, p. 319. pendebat. 
 
 Cn. Manlium: Liv. xxxix, 6, 7 12. quale: sc. candelabrum, to be 
 
 ii primum lectos aerates . . . et quae supplied from § 12. 
 
 turn magnificae supelleciilis habe- templo Apollinis: dedicated by 
 
 bantur inonapodia et abacos Romam Augustus B.C. 27, cf. xxxvi, 32. 
 
 advexerunt. § I5. ij. Transiit ... ars : note 
 
 6. Asia devicta : cf. xxxiii, 148. on § 9. 
 
 7. L. Piso; Lucius Calpumius 16. simulacrum: restricted as 
 Piso, sumamed Frugi ; cos. B.C. 133; usual to images of the gods, while 
 frequently quoted by Pliny, Teuffel, stcdua is more particularly used for 
 G. R. L. § 132, 4. mortals. The notion that the Cassian 
 . Antias, Valerius, fl. ab. 45 b. c. ; simulacrum was the first of its kind 
 
 _ frequently quoted by Pliny; Teuffel, at Rome is in flagrant contradic- 
 
 § '56> 2. tion to the mention in § 33 of a 
 
 9. nomine ; cf. Diodoros, xvi, 26. Hercules, consecrated by Evander and 
 
 The corrupt ac of the MSS. must of Noma's Janus ; moreover since in 
 
//. BRONZE STATUARY 13 
 
 Syracusan bronze was also employed by Marcus Agrippa for the 
 capitals of the columns in his Pantheon. Wealthy individuals 
 even adopted this fashion for their private houses. The quaestor 
 Spurius Carvilius accused Camillus among other things of having 39' ^c- 
 had bronze plated doors to his house. doors. 
 
 The practice of using bronze for couches, side-boards and 14 
 tables supported on a single foot, was first introduced, according f^y^lt^J^ 
 to Lucius Piso, by Gnaeus Manlius, after the conquest of Asia, 
 when he triumphed in the year of Rome 567 [187 B.C.]. Antias 
 adds that the heirs of Lucius Crassus, the orator, sold a number 
 of bronze coucTies. The cauldrons of tripods were also made of Delphic 
 bronze ; they were called Delphicae, because they were the gift "■^° ^' 
 most frequently dedicated to the Delphic Apollo. Hanging lamps Hanging 
 in shrines were also made of bronze, and lamps with the lights '^'"*^- 
 fixed like apples on trees, as for instance, the lamp now in 
 the temple of Apollo of the Palatine, which Alexander the Great 
 carried off when he took Thebes, and dedicated, also to Apollo, 335 ^.c. 
 at Kyme. 
 
 Later on bronze was universally employed for statues of the 15 
 gods. I find that at Rome the first bronze image was made ^^^j"*/^/ 
 in honour of Ceres out of the confiscated property of Spurius of mortals. 
 Cassius, who was put to death by his father because he aimed 484 b.c. 
 at becoming king. From figures of the gods, bronze came to be 
 used in various ways for statues and images of men. The 
 
 §§ 31, 2g, a whole series of portraits on the other hand, speaks of several 
 
 from the period of the Kings and statues. The story involves a com- 
 
 early Republic are mentioned, it is plicated problem. There is much to 
 
 irreconcilable with the theory that art commend the view of Gilbert, Rom ii, 
 
 progressed from the statues of gods to p. 243, note 2 s.f. that the consecration 
 
 those of men. Pliny is quoting from to Ceres, the special patroness of the 
 
 a variety of sources, without even plebeians, of the private property of 
 
 attempting to harmonize them. Cassius was an extension — more accu- 
 
 Cereri : in her temple near the rately an ironic application ( Verhoh- 
 
 Great Circus, vowed by Aulus Postu- nung) of the lex sacrata for the pro- 
 
 mius the victor at Regillns, B.C. 49.^ ; tection of the Trib. PI. (cf. Liv.iii, 55) 
 
 for its paintings and plastic decora- ut qui trib. fl. nocuisset eius caput 
 
 tions see XXXV, 154. loui sacrum esset , familia ad aedem 
 
 17. pater ipsius: cf. Liv. ii, 41, 10 Cereris Libert Liberaeque vemum iret ; 
 
 sunt, qui pairem auctorem eius sup- Dionys.x, 42 where the Patricians who 
 
 pliciiferant : eum cogitita domi causa offend against the assembly of the 
 
 verberasse ac necasse,peculiumque Jilii people convened under the Tribunes 
 
 Cereri consecravisse ; signum inde fac- are punished by confiscation of their 
 
 turn esse et inscriptum ' ex Cassia property to Ceres (rdr ovfrias avrSiv 
 
 familia datum.' Dionysios (viii, 79), Upas ilvu AqfuiTfoi), 
 
14 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 atque imagines multis modis. bitumine antiqui tinguebant 
 eas, quo magis mirum est placuisse auro integere. hoc 
 nescio an Romanum fuerit inventum, certe etiam Romae 
 
 16 non habet vetustatem. effigies hominum non solebant ex- 
 primi nisi aliqua inlustri causa perpetuitatem merentium, s 
 primo sacrorum certaminum victoria maximeque Olympiae, 
 ubi omnium qui vicissent statuas dicari mos erat, eorum 
 vero qui ter ibi superavissent ex membris ipsorum simili- 
 
 17 tudine expressa, quas iconicas vocant. Athenienses nescio 
 an primis omnium Harmodio et Aristogitoni tyrannicidis lo 
 publice posuerint statuas. hoc actum est eodem anno quo 
 
 A.u.c. 245. et Romae reges pulsi. excepta deinde res est a toto orbe 
 terrarum humanissima ambitione, et in omnium municipiorum 
 foris statuae ornamentum esse coepere prorogarique memoria 
 hominum et honores legendi aevo basibus inscribi, ne in 15 
 sepulcris tantum legerentur. mox forum et in domibus 
 privatis factum atque in atris honos clientium instituit sic 
 colere patronos. 
 
 18 Togatae effigies antiquitus ita dicabantur. placuere et 
 nudae tenentes hastam ab epheborum e gymnasiis exem- 20 
 plaribus, quas Achilleas vocant. Graeca res nihil velare, 
 
 19. ita] ista Riccard., Voss. {e corr) ; sta Voss. 
 
 1. bitumine: in order to give a forboxing, 01. 59( = B.c. 544). Pans, 
 patina to the new bronze. vi, i8, 7. 
 
 2. auro: xxxiii, 61, 82 ; xxxiv, 63. 7. ubi omnium . . . ioonioas 
 Tlie custom of gilding statues was vocant : Lessing has made these 
 known la Greece, cf. the gilt statue words the text for a famous passage 
 of Gorgias of Leontinoi, Pans, x, 18, in the Laokoon (ii, § 13). Visconti 
 7 (Plin. xxxiii, 83, where, however, {Iconograpkie Grecque, Discours pr^- 
 it is stated that the Gorgias was of lim. p. viii, n. 4) arguing from Lucian, 
 solid gold), and the gilt Phryne by v-nip tSiv (iic6vaiv xi, takes iconicas to 
 Praxiteles,Pans. x, 15,1; cf. Eliimner, mean 'grand comme nature'; Prof. 
 Technol. iv, p. 308 ff. Klein, however, in a note which he 
 
 4. non habet vetustatem: the kindly allows me to publish, points 
 
 oldest recorded Roman instance of a out that Pliny's statement bears an 
 
 f/a/«aa«?-atoistoM'.AciIiusGlabrio apocryphal character, which has es- 
 
 (B. c. 131), Liv. xl, 34, 6 quae prima caped every one save perhaps Eliimner 
 
 omnium in Italia est statua aurata. in his Comm. on Lessing's Laokoon, 
 
 § 16. 6. Olympiae : the long p. 503. It is evident that the dis- 
 
 list of athlete statues began with the crepancies between ideal and iconic 
 
 ancient cypress wood statue of Praxi- statues were explained by Pliny, 
 
 damas of Aigina, who won the prize or his author, as the result of an 
 
//. BRONZE STATUARY 15 
 
 ancients tinted the figures with bitumen, which makes the later 
 practice of gilding them the more curious. This may very well 
 be a Roman invention, and certainly even at Rome it is not of 
 great antiquity. The ancients did not make any statues ofie 
 individuals unless they deserved immortality by some distinction^ qI*"^!-"'* 
 originally by a victory at some sacred games, especially those of 
 Olympia, where it was the custom to dedicate statues of all those 
 who had conquered, and portrait statues if they had conquered 
 three times. These are called iconic. (See Addenda.) 
 
 The Athenians were, I believe, introducing a new custom 17 
 when they set up statues at the public expense in honour '^^ ^^^lui-tors 
 Harmodios and Aristogeiton, who killed the tyrants. This 
 occurred in the very year in which the kings were expelled from 509 b.c. 
 Rome. A refined ambition led to the universal adoption of the 
 custom, and statues began to adorn the public places of every 
 town ; the memories of men were immortalized, and their honours 
 were no longer merely graven on their tombstones, but handed 
 down for posterity to read on the pedestals of statues. Later on 
 the rooms and halls of private houses became so many public 
 places, and clients began to honour their patrons in this way. 
 
 Formerly statues were dedicated wearing the toga. Nude 18 
 statues holding a spear were also in favour, modelled after young ^^^'^^^^^ 
 men in the gymnasia ; these were called Achillean. The Greek statues. 
 
 improbable rule, simply because the toni : below § 70. 
 ancients had no habit of applying § 18. 19. tcgatae effigies : such 
 historical criticism to art, and con- as the statues of the kings, § 23. 
 sequently of discriminating between 20. tenentes hastam : statues of 
 the works of a, time when only the athletes in the scheme of the Poly- 
 type was aimed at, from those of kleitan Doryphoros, or leaning on 
 periods when art had advanced to their spear. Achilleas (fiom Achilles, 
 individual portraiture. It is instruc- the typical hero of the ephebes) a 
 tive to compare with Pliny's words a convenient generic term under which 
 passage in Dio Chrysostom, Or. xxi, to group such portraits, Furtwangler, 
 I TicpX KaWovs, where he attempts Plinius, -p. ,\.'j, note 11. The custom of 
 to explain the difference between portraying mortals other than athletes 
 the statues of an earlier and a later in heroic nudity during their lifetime, 
 date by alleging physical degene- seems to have been introduced by 
 ration. The difference observable in Alexander and his successors ; cf. the 
 the Olympic statues generally, dis- bronze portrait of a Hellenistic ruler 
 tinguished pre- from post- Lysippian in the Museo delle Terme (Helbig, 
 portraiture; as it is very well said in Class. Ant. 1052). 
 XXXV, 153 hie (Lysistratos) et simili- 21. Graeoa . . . addere: no pre- 
 tudines reddere instituit, ante eum cise historical information can be 
 quam pukherrimasfaeere studehatur. drawn from these words, which merely 
 § 17. 10. Harmodio et Aristogi- contain a broad comparison between 
 
i6 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 at contra Romana ac militaris thoraces addere. Caesar 
 
 quidem dictator loricatam sibi dicari in foro suo passus est. 
 
 nam Lupercorum habitu tarn noviciae sunt quam quae 
 
 A.u.c. 617. nuper prodiere paenulis indutae. Mancinus eo habitu sibi 
 
 IS statuit quo deditus fuerat. notatum ab auctoribus et 5 
 L. Accium poetam in Camenarum aede maxima forma 
 statuam sibi posuisse, cum brevis admodum fuisset. eques- 
 tres utique statuae Romanam celebrationem habent orto 
 sine dubio a Graecis exemplo, sed illi celetas tantum dica- 
 bant in sacris victores, postea vero et qui bigis vel quadrigis 10 
 vicissent. unde et nostri currus nati in iis qui triumpha- 
 vissent. serum hoc, et in his non nisi a divo Augusto 
 seiuges, aut elephanti. 
 
 20 Non vetus et bigarum celebratio in iis qui praetura 
 functi curru vecti essent per circum, antiquior columnarum, 15 
 sicuti C. Maenio qui devicerat priscos Latinos, quibus ex 
 
 13. aut] E. Sellers; sicnt codii., Detlefsen. 
 
 the typical Greek athlete statues and 
 the numerous Roman portraits of late 
 Republican and Imperial times. 
 
 I. thoraoea: the statue of Augustus 
 in the Vatican, Helbig, Class. Ant. 4, 
 well illustrates the combination of the 
 military element with the nude athletic 
 type. As a reminiscence of the athlete 
 statues the legs are left bare, but the 
 Emperor wears the cuirass, with the 
 mantle rolled round below the waist. 
 
 ■i. loricatam, sc. efflgiem: be- 
 longing to the class of statues just 
 mentioned, of which there are nume- 
 rous examples, see Rohden in Bonner 
 Studien^^-p. 1-80. Very little is known 
 about this particular statue of Caesar 
 or the spot in his Fonim where it 
 stood. Pliny the Younger {Ep. viil, 
 6, 14) says that a decree of the Senate 
 in favour of Pallas, the freedman of 
 Claudius, was put up ad sialuam 
 loricatam divi Julii. 
 • 3. IiupercoTum, i. e. with only a 
 goatskin aboutthe loins, like the priests 
 of Lupercus at the festival of the Lu- 
 percalia (Ov. Fast, v, loi). 
 
 5. quo deditus fuerat: nudus ac 
 
 fast tergum religatis manibus Veil. 
 Paterc. II, i, 5. 
 
 not. ab auetoribus : probably 
 the statue was no longer extant when 
 Pliny wrote. 
 
 § 19. 6. Ii.Aooium: the tragic poet, 
 B.C. 170-103. There is no reliable 
 copy of the statue, EernouUi, Rom. 
 Iconographie, i, p. 289. 
 
 Camenarum = Musarum, in the 
 first region, Porta Cafena. 
 
 10. postea vero : the notion that 
 art progressed from the representations 
 of statues of horsemen to chariot- 
 groups, is in harmony with the for- 
 malizing theories of the growth of art, 
 hinted in § 9 and 515, but it is the in- 
 verse of fact (cf. Miinzer, op. cit. p. 502): 
 the race with four-horsed chariots was 
 introduced at Olympia, Ol. 25 (b. c. 
 680), the race on horseback (iWor 
 KiKrii), 01. 33 (B. c. 648), and the race 
 with two-horsed chariots, 01. 93 (B. c. 
 408). The earliest monument of a 
 victor on his four-horsed chariot was 
 that of Kleosthenes of Epidamnos by 
 Hagelaidas, Ol. 66 (B.C. 516), Pans, 
 vi, 10, 2. 
 
//. BRONZE STATUARY 17 
 
 custom was to leave the body quite nude ; but the Roman and 
 military custom was to add a breastplate, while Caesar, when 
 Dictator, allowed a statue of himself wearing a cuirass to be set 
 up in his forum. Statues in the dress of the Lupercals are as Qg^^ill 
 recent an innovation as those lately introduced wearing short lius Man- 
 cloaks. Mancinus set up a statue in his own honour, wearing ""!^^J^ 
 the dress in which he had been given up to the enemy. I find 19 
 it mentioned by some authors that Lucius Accius the poet set up Lucius 
 in his own honour in the temple of the Camenae a statue, which -Acaus. 
 was of great size, although he was a very small man. 
 
 Equestrian statues, which are so common at Rome, were Equestrian 
 undoubtedly first borrowed from Greece. The Greeks, however, 
 only dedicated equestrian statues of those who had been victors 
 on horseback at the sacred games ; later on we find statues of 
 the victors in the two and four-horse chariot races. From this 
 arose our custom of setting up chariots in honour of those who Chariots. 
 had triumphed. Until recent times this was unknown, and 
 chariots drawn by six horses or by elephants were only introduced 
 by the god Augustus. 
 
 The erection of two-horse chariots in honour of those who as 20 
 praetors have led the procession round the Circus is also of late 
 date. The custom of erecting statues on columns is more ancient. Statues on 
 witness the column in honour of Gaius Maenius, conqueror '"l""^"^- 
 of the Ancient Latins, a people to whom the Romans were G.Mamius. 
 
 II. currus : Juv. viii, 3, mentions it might be inferred tliat triumphal 
 
 the statue of a triumphator standing chariots were drawn by elephants as 
 
 erect in his triumphal car in the early as Augustus, whereas this oc- 
 
 vestibulum. curred for the iirst time in the reign 
 
 13. seiuges: a gilt chariot, drawn of Alexander Severus, cf Aelius Lam- 
 by six horses, had already been dedi- pridius, Vita Al. Sev. 57, 4. The 
 cated to Jupiter Capitolinus in B. C. chariots drawn by elephants on early 
 i69,bytheConsuIP.Comelius(j«««^ej imperial coins refer to the Pompa 
 in CapitoHo auratilj-y.^x-xymtiij^)- circensis, Marquardt, Staatsverw. ii, 
 Pliny's meaning must be that under p. 586, note 7. Addenda. 
 Augustus the team of six horses was § 20. 15. per ciroum, sc. Maxi- 
 first used for other than religious mum, on the occasion of the Ludi 
 purposes. Mommsen, Staatsrecht, i, ^/o/ZiKarM, instituted B. c. 212. For 
 3rd ed. p. 395, n. i, points out that, the praetorial biga, cf. Mommsen, 
 according to Dio Cassius, lix, 7, Staatsrecht, i, 3rd ed., p. 394, note 4 ; 
 Caligula was the first to drive in the pp. 412, 447. 
 
 circus with six horses : tA api^a t6 columnarum : from § 36 it is 
 
 ■nopmiKov . . Ai Umi tX\Kvaav t lOj- evident that the columnaeyttis statues 
 
 viivoTf i-^i'y6vH. placed on high pedestals. 
 
 elephanti : from Pliny's words 16. C. Maenio : cf. vii, 213. He 
 
i8 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 foedere tertias praedae populus R. praestabat, eodemque 
 
 in consulatu in suggestu rostra devictis Antiatibus fixerat 
 
 anno urbis CCCCXVI, item C. Duillio qui primus navalem 
 
 A.u.c. 494. triumphum egit de Poenis, quae est etiam nunc in foro, 
 
 21 item L. Minucio praefecto annonae extra portam Trige- 5 
 A.u.c. 315. minam unciaria stipe conlata — nescio an primo honore tali 
 
 a populo, antea enim a senatu erat — praeclara res, nisi 
 frivolis coepisset initiis. namque et Atti Navi statua fuit 
 A.u.c. 702. ante curiam — basis eius conflagravit curia incensa P. Clodii 
 A.u.c. 304. funere — fuit et Hermodori Ephesii in comitio, legum quas 10 
 
 22 decemviri scribebant interpretis, publice dicata. alia causa, 
 alia auctoritas M. Horati Coclitis statuae, quae durat hodie- 
 
 A.u.c. 246. que, cum hostes a ponte sublicio solus arcuisset. equidem 
 et Sibyllae iuxta rostra esse non miror, tres sint licet : una 
 quam Sextus Pacuius Taurus aed. pi. restituit, duae quas 15 
 M. Messalla. primas putarem has et Atti Navi, positas 
 
 had conquered the Latins with Fnrius 
 Camillus ; additus triumpho honos, 
 ut statuae equestres eis, rara ilia 
 aetate res, in foro ponerentur Liv. 
 viii, 13, 9. The statue of Camillus had 
 stood on the old Rostra (§ 23), and 
 was apparently still extant in the days 
 of Pliny the Younger (see Paneg. 55, 
 6). The exact site of the statue of 
 Maenius is unknovm, of. Jacobi, 
 Museographie, p. 60. 
 
 I. ex foedere, i. c. the treaty con- 
 cluded by Sp. Cassius in B. c. 493, 
 cf. Kom. Forsch. ii, p. 163, note 22. 
 
 ■i. Antiatibus : the orator's plat- 
 form was from that time called the 
 rostra (Liv. viii, 14, 12). For its 
 statues, see Gilbert, .ffoTO, p. 153, note 3. 
 
 3. C. Duillio: a portion of the in- 
 fcribed basis, restored in antiquity, 
 belonging to the columna Duilia, was 
 found in i565(Helbig, Class. Ant. $^1; 
 C./.i. i, 195). 
 
 4. de Poenis. After the battle 
 of Mylae, B. c. 260. 
 
 I 21. 5. L. Minuoio : his column, 
 surmounted by the statue, is shown on 
 the reverse of a denarius of B. c. 129 
 of C. Minucius Augurinus (Babelon, 
 
 Monn. de la Rip. Rom., ii, p. 22S ; 
 Mommsen, Rom. Miinzw. p. 550, no. 
 265). Livy, iv, 16, 2, mentions only 
 a gilt ox erected in honour of Minu- 
 cius. 
 
 praefecto annonae : Liv. iv, 12, 8, 
 cf Hirschfeld, Verwaltungsgeschichte, 
 
 P- 134- 
 
 6. unciaria stipe collata: accord- 
 ing to Mommsen, Staatsrecht, iii, 
 p. 1185, note 3, this possibly means 
 that the expenses were met by volun- 
 tary contributions, whereas they other- 
 wise fell to the Aerarium. 
 
 8. frivolis, because the statue was 
 set up in honour of the supposed 
 miracles of the whet-stone (Liv. i, 36) 
 and of the Ficus ruminalis. For 
 Pliny's scepticism in these matters see 
 XV, 77. 
 
 Atti ITavi : he was represented 
 as under average height, and wearing 
 the priestly fillet (Dionysios iii, 71, 
 S"). The statue stood on the left of 
 the steps leading up to the curia 
 (Livy, loc. cil.). The mention of 
 this statue, in confirmation of the 
 statement antea eniTn a senatu, brings 
 with it a long digression, thoroughly 
 
II. BRONZE STATUARY 19 
 
 bound by treaty to give one third of the spoils taken in war. 
 
 In the same consulship, in the year of Rome 416 [338 B.C.], he 
 
 defeated the people of Antium, and fixed the beaks of The 
 
 their ships upon the platform in the forum. Another column, ' ^o^'^^- 
 
 in honour of Gains Duillius, who enjoyed the first naval triumph c. Duil- 
 
 for his victory over the Carthaginians, is still standing in the forum. ^"" > 
 
 Another was set up outside the Porta Trigemina, in honour of 21 
 
 Lucius Minucius, chief commissioner of the corn supply, and Lucius 
 
 for it a rate of one twelfth of an as was levied. This was, ^^^"""'"^ 
 
 439 BC. 
 I believe, the first time this honour was conferred by the people, 
 
 for previously it had been left in the hands of the Senate. Cer- 
 tainly the distinction were an honourable one save for the 
 slight grounds for which it was first conferred. For instance, 
 there was in front of the Senate House a statue of Attus statue of 
 
 Navius, the base of which was destroyed when the Senate House ^/'"f 
 
 , . Navtus. 
 
 was burnt down at the funeral of Publms Clodius, and in the .^ ^ j, 
 
 comitium there was another, dedicated at the public expense, ol Hermo- 
 
 Hermodoros, the Ephesian, who expounded the laws drawn up ?^^^-^^ 
 
 by the Decemvirs. Very different were the reasons which 22 
 
 entitled Horatius Codes to the statue which is still standing : ^oratius 
 
 single-handed he had held the Sublician bridge against the foe. 508 b.c. 
 
 Nor am I astonished that a statue, or even three statues, of the 755^ three 
 
 Sibyl should stand near the Rostra. One of these was replaced ^^h^^- 
 
 by Sextus Pacuvius Taurus, when plebeian aedile, and the two 
 
 others by Marcus Messala. I should consider these statues and 
 
 that of Attus Navius, which date from the reign of Tarquin the 
 
 Ancient, to be the earliest we have, were it not that on the Capitol 
 
 in Pliny's manner, on ancient statues the area Volcani Aul. Gell. iv, 5, i. 
 
 in Rome ; the subject of the statues Codes was represented full-armed, 
 
 raised on columns is not resumed till with perhaps an indication of his 
 
 § 27. lameness, Dionysios v, 25 ; Plut. Publ. 
 
 fait, i.e. the statue had disappeared xvi. 
 when Pliny wrote. 14. iuxta rostra, i. e. the old ros- 
 
 10. Hermodori : cf. Strabo xir, tra. These new Sibyls are probably 
 
 p. 642; Cic. Tusc. Disp. 1, 36, 105. identical with the rpio <faTa mentioned 
 
 The statue presumably stood in front by Procop. De Bell. Goth, i, 25, p. 122, 
 
 of the old rostra, by the Twelve Tables as standing between the curia and the 
 
 upon which the laws were inscribed. temple of Janus (O. Gilbert, Rom, iii. 
 
 It had been removed in Pliny's day, p. 228, note 2). 
 cf. Jacobi, Museographie, p. 50. 15. Sextus Paouius Taurus, 
 
 § 22. 12. Horati Coolitis : below probably identical with the trib. pi., 
 
 § 29. The statue stood in comitio B.C. 27. 
 Liv. ii, 10, 12 ; afterwards removed to 
 
 c a 
 
20 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 aetate Tarquinii Prisci, ni regum antecedentiutn essent in 
 
 23 CapitoHo. ex his Romuli et Tatii sine tunica, sicut et 
 Camilli in rostris. et ante aedem Castorum fuit Q. Marci 
 Tremuli equestris togata, qui Samnites bis devicerat capta- 
 
 A.u.c. 448. que Anagnia populum stipendio liberaverat. inter anti- 5 
 
 quissimas sunt et Tulli Cloeli, L. Rosci, Spuri Nauti, 
 A.D.C. 316. C. Fulcini in rostris, a Fidenatibus in legatione interfectorum. 
 
 24 hoc a re p. tribui solebat iniuria caesis, sicut aliis et P. lunio, 
 A.u.c. 524. Ti. Coruncanio, qui ab Teuta lUyriorum regina interfecti 
 
 erant. non omittendum videtur quod annales adnotavere 10 
 tripedaneas iis statuas in foro statutas. haec videlicet men- 
 sura honorata tunc erat. non praeteribo et Cn. Octavium 
 ob unum SC. verbum. hie regem Antiochum daturum se 
 responsum dicentem virga quam tenebat forte circum- 
 scripsit priusque quam egrederetur circulo illo responsum 15 
 A.u.c. 592. dare coegit. in qua legatione interfecto senatus statuam 
 poni iussit quam oculatissimo loco, eaque est in rostris. 
 
 25 invenitur statua decreta et Taraciae Gaiae sive Fufetiae 
 virgini Vestali, ut poneretur ubi vellet, quod adiectum 
 non minus honoris habet quam feminae esse decretam. 20 
 meritum eius ipsis ponam annalium verbis : quodcampum 
 Tiberinum gratificata esset ea populo. 
 
 I. regum. Cf. xxxiii, 9, 10, 24. 3. Q. Marci Tremuli: Liv.ix, 43, 
 
 in Capitolio: cf. Appian, 'E/i<^. 22 statua equestris in foro decreta 
 
 i, 16, where Tib. Gracchus is killed est quae ante temflum Castoris posita 
 
 bythe doors ofthe temple of Capitoline est; cf. Cic./I4z7. vi, 5, 13. Forapos- 
 
 Jupiter near the statues of the kings. sible echo of the statue see Mommsen, 
 
 § 23. 2. sine tunica, i.e. wrapped Rom. Miinzw. p. 549, n. 263. 
 in the toga alone, cf. Aul. Gell. vi, gui . . . liberaverat ; these words 
 12; Asconius (on Cic. pro Scaur. 30) appear to come from an inscription 
 says that the younger Cato as praetor in Saturnine verse, qui bis devicit 
 used to lay aside the tunic ex vetere Samni | -leis Anagniamque || cepit 
 consuetudine, secundum quam et populum stipendi | 6 liberavit (Urlichs 
 Romuli et Tatii statuae in Capitolio in Chrestom. p. 307). 
 et in rostris Camilli fuerunt togatae 5. stipendio; according to the 
 sinetunicis. The difference of costume treaty concluded by Sp. Cassius in 
 shows that the statues of the kings were B.C. 486, the Hernicans had been en- 
 put up at different dates. Pliny's in- titled to a third of the war booty ; 
 formation seems derived from Verrius, on this clause see Mommsen, Rom. 
 ci. iL-a-^m, f<i tunica aurea triumphasse J^orsc A. ii, t>. 167. n. 22. 
 Tarquinium Priscum Verrius docet. inter antiquissimas sunt : the 
 et Camilli : see the passage from use of the present shows that 
 Asconius quoted above. Pliny is transcribing direct from his 
 
//. BRONZE STATUARY ai 
 
 we have the statues of Tarquin's predecessors. Among these the 23 
 
 figures of Romulus and Tatius are without the tunic, and so is ^»"««' 
 
 kings* 
 that of Camillus on the Rostra. In front of the temple of Castor 
 
 there also stood an equestrian statue of Quintus Marcius Tremulus q, m. 
 
 wearing the toga. He had conquered the Samnites in two battles, Tremulus. 
 
 and by taking Anagnia had freed Rome from payment of 306 b.c. 
 
 the war tax. The statues on the Rostra to Tullus Cloelius, Roman 
 
 Lucius Roscius, Spurius Nautius, and Gaius Fulcinus, ambassadors '^f^''"f-'fj , 
 
 killed by the people of Fidenae, are also among the earliest, by the 
 
 This honour was usually paid by the state to those who had P'-^^"'^'^^- 
 
 been killed in violation of the law of nations ; it was done in many 24 
 
 cases, notably that of Publius Junius and Tiberius Coruncanius, 23° b-c. 
 
 who were put to death by Teuta, queen of Illyricum. It is '^Q'^^ Junius and 
 
 noticing that according to the annals the statues set up in the Tiberius 
 
 forum on these occasions were three feet high ; apparently this was canills. 
 
 the height in vogue in those days. I shall mention the statue of 
 
 Gnaeus Octavius, on account of one clause in the decree of the Cn. 
 
 Senate. King Antiochos had wished to delay an answer, where- '^'i'^'"""- 
 
 upon Octavius drew a circle round him with a rod which he 
 
 chanced to have in his hand, and compelled the king to give an 
 
 answer before he stepped outside the circle. Octavius was killed 162 b.c. 
 
 while on this embassy, and the Senate ordered a statue to be set 
 
 up in his honour ' in as visible a place as possible ' : the statue 
 
 accordingly stands on the Rostra. I find a decree giving a statue 25 
 
 to Taracia Gaia or Fufetia, a Vestal virgin, ' to be placed where Taraaa 
 
 she pleased,' a clause no less to her honour than the actual 
 
 dedication of a statue to a woman. According to the words of 1 
 
 the annals, which I will quote, she received these honours 
 
 'because she had presented to the people the field by the Tiber.' 
 
 author ; the statues had already dis- the last-mentioned statues, but also to 
 
 appeared in Cicero's time : Lars those of the ambassadors to the 
 
 Tolumnius rex Veientium quattuor Fidenates. 
 
 legates populi Romani Fidenis in- 12. On. Oetavium, § 13, murdered 
 
 teremit, quorum statuae steterunt at Laodicea in B. c. 162 ; cf. Cic. 
 
 usque ad meam memoriam in rostris. Phil, ix, 2, 4 statuam videmus in ros- 
 
 Phil. ix, i, 4. tris. By a confusion Plmy attributes 
 
 § 24. 8. P. luBio, Ti. Corun- to Octavius an act performed by C. 
 
 canio. Polybios, ii, p. 131 (ed. Popilius Laenas, on the occasion of his 
 
 Biittner-Wobst), calls them Titos and embassy to Antiochus IV Epiphanes 
 
 AevKios (KopoyitdviOi). They had been in B. C. 168, Cic. Phil, viii, 8, 23 ; Liv. 
 
 sent to put down piracy on the lUyrian xlv, 12. 
 coast. § 25. 18. Taraciae Gaiae sive 
 
 II. tripedaneas refers not only to Fufetiae . . . populo : this curious 
 
C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 26 Invenio et Pythagorae et Alcibiadi in cornibus comitii 
 A.u.c. 411. positas, cum hello Samniti Apollo Pythius iussisset 
 
 fortissimo Graiae gentis et alteri sapientissimo simulacra 
 A.u.c. 666. celebri loco dicari. eae stetere donee Sulla dictator ibi 
 curiam faceret. mirumque est illos patres Socrati cunctis 5 
 ab eodem deo sapientia praelato Pythagoran praetulisse 
 aut tot aliis virtute Alcibiaden et quemquam utroque 
 
 27 Themistocli. columnarum ratio erat attolli super ceteros 
 mortales, quod et arcus significant novicio invento. primus 
 tamen honos coepit a Graecis, nullique arbitror plures 10 
 statuas dicatas quam Phalereo Demetrio Athenis, siquidem 
 CCCLX statuere nondum anno hunc numerum dierum 
 
 A.u.c. 670. excedente, quas mox laceravere. statuerunt et Romae in 
 
 8. toUi onines praeter Bamb., Detlefsen. 
 
 statement is best examined in the light 
 of a passage from Aulus Gellius, vii, 7, 
 1-4 Accae Lareniiae et Gaiae Taraciae, 
 sive iila Fufetia est, nomina in anli- 
 quis .nnnalibus celebria sunt. eai~um 
 alterae post mortem, Taraciae auiem 
 vivae amplissimi honores a populo 
 Romano habiti. et Taraciam quidem 
 virginem Vestalem fidsse lex Horatia 
 testis est, quae super ea ad populu7?i 
 lata, qua lege ei plurimi ho^iores 
 fiunt, inter quos ius quoque testimonii 
 dicendi tribuitur ' testabilis'^«r? ttna 
 omnium feminarum ut sit datur. id 
 verbum est legis ipsius Horatiae ; con- 
 trarium est in duodecim tabulis scrip- 
 tum : improbns intestabilisque esto. 
 praeterea si quadraginta annos nata 
 sacerdotio abire ac nubere voluisset, 
 ius ei potestasque exaugurandi atque 
 nubendi factaestmunificentiae et bene- 
 ficii gratia, quod campum Tiberinum 
 sive Martium populo condonasset. 
 Though the personality of Taracia is 
 clearly defined in this passage, it cannot 
 be supposed that the region of the 
 Campus Martius had been so late as 
 republican times in the possession of 
 a single person, and that a Vestal 
 virgin ; close examination shows the 
 aitiological nature of the whole story. 
 
 The privileges granted to Taracia are 
 simply the common privileges of all 
 the Vestals ; in order to account for 
 these the story of the gift of the land 
 was adapted from the myth of Acca 
 Larentia. Taracia is in fact a mere 
 double of Larentia ; her name betrays 
 an evident connexion with Tamtius, 
 the Tuscan husband of Acca Larentia, 
 to whom he leaves the Ager Turax, 
 i.e. the Campus Tiberinus (Plut.^wK. 
 v.), which Larentia in turn bequeaths 
 to the Roman people ; a genuine myth 
 which has for kernel the fact that the 
 region of the Campus Martius had 
 once been Etruscan (^see Plut. Publ. 
 viii, where the story of the gift and 
 the privileges is substantially the 
 same, but the name of the heroine is 
 TafKvvia; cf. Liv. ii, 5, 2 ager Tar- 
 quiniorum). A statue was possibly 
 put up to the mythical Vestal, bene- 
 factress of the Romans, but as no 
 statue is mentioned either by Gellius 
 or Plutarch (see Detlefsen, De Art. 
 Rom. Ant. ii, p. 13), and as Pliny does 
 not say he saw the statue, but merely 
 that the armals stated that one was 
 decreed, it is probable that the statue 
 only existed in the anecdote, and that 
 its mention represented what was 
 
11. BRONZE STATUARY 23 
 
 I find that statues of Pythagoras and Alkibiades were erected 26 
 at the corners of the comitium, after an oracJe of the Pythian ^^f^il'^^ 
 Apollo, delivered in the course of the Samnite war, had ordered biades. 
 that a statue in honour of the bravest man of Hellenic birth, ^43 ^.c. 
 and another in honour of the wisest should be dedicated in 
 a much frequented place. These statues remained until the 
 dictator Sulla built the Council Chamber there. It is strange 88 b.c. 
 that the Senate of the day chose Pythagoras in preference to 
 Sokrates, whom Apollo had declared to be wiser than all men, 
 or that they chose Alkibiades before many other brave men, and 
 in fact that they selected any one for either quality in preference 
 to Themistokles. 
 
 The use of the columns was to raise the statues above 27 
 
 ordinary men, and this is also the purpose of the arches which ^''^^" "f 
 
 have been recently introduced. The Greeks, however, were the raised on 
 
 first who conferred statues as a mark of honour, and I imagine '^"^"J""^ 
 
 ' ° and 071 
 
 that no man has had so many statues dedicated to him as arches. 
 Demetrios of Phaleron at Athens, inasmuch as three hundred Demetrios 
 and sixty were set up at a time when the year only contained "fP"^- 
 that number of days. All these statues were afterwards broken Gaiu's 
 up. At Rome too the tribes put up statues in every street in #"7f-f 
 
 dianus. 
 most likely another clause of the lex (§ 21), and rebuilt by Faustus Sulla, '^ ^■''• 
 Horatia, namely, the right of the son of the dictator. 
 Vestals to have their portrait-statues § 27. 8. columnarum : resumes 
 
 erected. O. Gilbert, Rom, ii, p. 112, the subject of § 21. 
 note 3. 9. arcus: on which stood statues and 
 
 The praenomen Gaia was given to chariots. The oldest known instance 
 Taracia in order to latinize her; is the arch or fornix of Q. Fabius 
 cf. Tanaquil, who also bore the Latin Maximus Allobrogicus (B.C. 120) of 
 names of Caia Cecilia. The alter- which remains are to be seen close to 
 native name Fufetia is according to the temple of Faustina. The simpler 
 Gilbert loc. cit. probably Etruscan, fornix developed into the elaborate 
 For the masculine Fufetius cf. the triumphal arches of the Emperors. 
 famousAlban dictator Melius Fufetius, 13. nondum, i. e. before thereform 
 
 Liv. i, 23, 4 &c. ofthe calendar by Julius Caesar. Add. 
 
 § 26. I. Pythagoras et Aloib. 13. laoeravere : on the entrance 
 
 in oornibus, en\ t^s dyopas Plut. of Demetrios Poliorketes into the 
 Num. viii. city, Strabo ix, p. 398 ; Diogenes 
 
 5. curiam : altered and enlarged Laertios v, 5, 75 f. Pliny evidently 
 by Sulla (n. c. 88), who caused many has this statement as to the number 
 of the statues in or in front of the curia of statues put up to Demetrios from 
 to be removed. This new curia was Varro (see Imagines, ap. Nonius, 
 burnt in B.C. 52, on the occasion of p. 528 M.); cf. Wachsmuth, Stadt 
 the riots at the funeral of Clodius Athen, p. 611, note i. Addenda. 
 
24 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 omnibus vicis tribus Mario Gratidiano, ut diximus, easdem- 
 A.u.c. 671. qug subvertere Sullae introitu. 
 
 28 Pedestres sine dubio Romae fuere in auctoritate longo 
 tempore, et equestrium tamen origo perquam vetus est 
 cum feminis etiam honore communicato Cloeliae statua 5 
 equestri, ceu parum esset toga earn cingi, cum Lucretiae 
 ac Bruto, qui expulerant reges propter quos Cloelia inter 
 
 29 obsides fuerat, non decernerentur. hanc primam cum 
 A.U.C.246. Coclitis publice dicatam crediderim — Atto enim ac Sibyllae 
 
 Tarquinium ac reges sibi ipsos posuisse verisimile est — nisi lo 
 Cloeliae quoque Piso traderet ab iis positam qui una opsides 
 fuissent, redditis a Porsina in honorem eius, e diverse Annius 
 Fetialis equestrem, quae fuerit contra lovis Statoris aedem 
 in vestibulo Superbi domus, Valeriae fuisse Publicolae con- 
 sulis filiae, eamque solam refugisse Tiberimque transnata- 15 
 visse ceteris opsidibus qui Porsinae mittebantur interemptis 
 Tarquinii insidiis. 
 
 30 L. Piso prodidit M. Aemilio C. Popilio iterum cos. 
 A.u.c. 69 . ^ censoribus P. Cornelio Scipione M. Popilio statuas circa 
 
 forum eorum qui magistratum gesserant sublatas omnis 20 
 praeter eas quae populi aut senatus sententia statutae essent, 
 eam vero quam apud aedem Telluris statuisset sibi Sp. 
 Cassius qui regnum adfectaverat etiam conflatam a censori- 
 
 I. Mario Gratidiano, ut dixi- Romans awarded the statue ; see 
 
 mus; xxxiii, 132; he introduced '^itz^, Rom. Annalistik,^. c^i. 
 
 a method of testing the i^««fl:ra issued 12. e diverse ... Valeriae: cf. 
 
 by the mint (cf. Cic. de Off. iii, 20, Plutarch, Publ. xix. The doubt as 
 
 80). According to Mommsen {Rom. to the name shows that the statue 
 
 Miinzw. p. 388) this would be insuffi- bore no inscription. Neither Pliny 
 
 cient to account for the almost divine nor Livy could probably have seen 
 
 honours paid to him ; it seems more it, since Dionysios (v, 35) speaks of 
 
 than probable that he also withdrew it as having disappeared in his day. 
 
 the plated coins from circulation. From Seneca {Consol. ad Marciam, 
 
 § 28. 6. Lucretiae ao Bruto : 16) and Plutarch lac. cit., it appears 
 
 of the statue of Lucretia nothing that it was restored at a later date 
 
 more is known. The statue of Brutus (cf. Urlichs, Qaellen-Register, p. 5). 
 
 stood near those of the kings (§23) Annius Fetialis : only known 
 
 oji the Capitol ; see Plut. Brutus, i, from Pliny {Indices to xvi, xxxiii, 
 
 where the statue is described as hold- xxxvi). 
 
 ing a drawn sword. 13. lovis Statoris, ii, 140. The 
 
 §29. II. ab iis qui ... fuissent : temple stood on the Sacred Way, 
 
 Livy {loc. cit.) says simply that the at the commencement of the Clivus 
 
// BRONZE STATUARY 25 
 
 honour of Gaius Marius Gratidianus, as I have said, and over- 
 threw them again when Sulla entered the city. S3 b.c. 
 
 It is certain that standing statues were customary in Rome at 28 
 a very early date. Still the first equestrian statues are extremely ^1'^^'"'''' 
 old, and women shared the honour of them with men when antiquity ,. 
 Cloelia, as if it were not enough that she should be ^^-"(^^""f"^ 
 presented wearing the toga, was granted such a statue, though equestrian 
 none were given to Lucretia and Brutus, and yet they had ^*°■*"■'^■ 
 expelled that royal family for whose interests Cloelia was a "^ ''^' 
 hostage. I should readily believe this statue and that of Codes 29 
 to be the first dedicated by the state (for it is probable that Tar- 5°^ b.c 
 quinius set up those to Attus and the Sibyl, and that the kings 
 each set up their own), were it not for Pise's statement that the 
 statue to Cloelia was raised by her fellow-hostages, who were sent 
 back by Porsenna in honour of her. Annius Fetialis on the other 
 hand says that the equestrian statue which stood opposite the 
 temple of Jupiter the Upholder in the vestibule of the house of 
 Tarquin the Proud was that of Valeria, the daughter of the consul Valeria. 
 Publicola. She alone, he says, escaped and swam across the 
 Tiber, while the other hostages sent to Porsenna were treacherously 
 killed by Tarquinius. Lucius Piso states that in the second con- 30 
 
 sulship of Marcus Aemilius and Gaius Popilius all the statues of If^ ^•'^■, , 
 *^ ^ Kemoval of 
 
 magistrates standing round the forum, except those which had been statues of 
 
 set up in accordance with a decree of the people or of the Senate, ^"■'^p^t'>'<j*^J 
 '^ '^ '^ _ ' not erected 
 
 were removed by the censors Publius Cornelius Scipio and Marcus by a decree 
 
 Popilius. The one near the temple of Earth, set up in his own ^'ff 
 ■^ . . '^ . ' people or 
 
 honour by Spurius Cassius, who aimed at the kingship, was further the Senate. 
 melted down by the censors ; thus even in the matter of a statue 
 
 /'atom«i', near the arch of Titus; the ended at conflatam. For the duties 
 
 house of Tarquin was close to it (Liv. of censors as regards the removing of 
 
 i, 41, 4), cf. Liv. ii, 13, 11 in summa statues, cf. Mommsen, op. cit., p. 443. 
 
 sacra via fuit posita virgo insidens As there were, however, no censors 
 
 equo, without any closer definition of in the days of Spurius Cassius 
 
 the spot. (office created B. c. 445), we must con- 
 
 § 30. 21. praeter eas : the measure elude that Pliny's account is incorrect, 
 
 would be intended to prevent the AccorAingtoMommssa^Rotn.Forsch- 
 
 crowding of public places by statues ungen, ii, p. 167, note 28) Piso, 
 
 put up by private individuals (Joca inreconntingtheeventsof A.u.c. 596, 
 
 iueri) ; Mommsen, Staatsrecht, ii, may have stated that Sp. Cassius had 
 
 p. 437, cf. Liv. xl, 51, 3. set up a statue in his own honour on 
 
 23. conflatam a censoribus : not the spot where at a later date stood 
 
 of course by the censors mentioned the temple of Tellus (vowed B. c. 268 
 
 above, or the sentence would have and ded. B. c. 252 by P. Sempronius 
 
26 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 bus. nimirum in ea quoque re ambitionem providebant 
 
 31 illi viri. exstant Catonis in censura vociferationes mulieribus 
 A.u.c. 570. g^g^^y^g Romanis in provinciis poni. nee tamen potuit in- 
 
 hibere quo minus Romae quoque ponerentur, sicuti Corneliae 
 Gracchorum matri, quae fuit Africani prloris filia. sedens 5 
 huic posita soleisque sine ammento insignis in Metelli publica 
 porticu, quae statua nunc est in Octaviae operibus. 
 
 32 Publice autem ab exteris posita est Romae C. Aelio 
 A.u.c. 469. tr. pi. lege perlata in Sthennium Stallium Lucanum qui 
 
 Thurinos bis infestaverat. ob id Aelium Thurini statua et 10 
 corona aurea donarunt. idem postea Fabricium donavere 
 
 A.u.c. 472. statua liberati obsidione, passimque gentes in clientelas ita 
 receptae, et adeo discrimen orane sublatum ut Hannibalis 
 etiam statuae tribus locis visantur in ea urbe cuius intra 
 
 A.u.c. 543. muros solus hostium emisit hastam. is 
 
 33 Fuisse autem statuariam artem familiarem Italiae quo- 
 que et vetustam indicant Hercules ab Evandro sacratus, 
 ut produnt, in foro boario, qui triumphalis vocatur atque 
 per triumphos vestitur habitu triumphali, praeterea lanus 
 geminus a Numa rege dicatus, qui pacis bellique argumento 20 
 colitur digitis ita figuratis ut CCCLXV dierum nota per 
 
 3. Romanis statuas omnes praeter Bamb., Detlefsen. 
 
 Sophus), and that this statue was on the site of the porticus Octaviae ; 
 
 melted down when he was con- it is inscribed {a) Opus Tisicratis, 
 
 demned — some such statement mis- (i) Cornelia Africani ff^Va) Graccho- 
 
 leading Pliny into the double error of i-um (sc. mater), {b) is the earlier 
 
 supposing (i) that the statue stood in inscription ; it is probable that the 
 
 the temple of Tellus, (2) that the statue of Cornelia was destroyed in 
 
 second measure recounted above was, the great fire of A. D. 80, after which 
 
 like the first, carried out by censors, the basis was used a second time for 
 
 whom he was naturally at a loss to some copy of a work of Teisikrates 
 
 name. (§ 67), Lowy, /. G. B. 493. Cf. 
 
 i. illi viri ; used by Pliny to cover Bernoulli, Rdm. Iconogr. i, p. 72 if. 
 
 his ignorance of the censor's names. From the shape of the basis, Cornelia 
 
 § 31. mulieribus: cf.Cato's speech appears to have been represented 
 
 on the Lex Oppia, as narrated by seated, in the scheme familiar from 
 
 Livy, xxxiv, 2-4 ; for his dislike of the so-called statues of Agrippina. 
 
 statues in general cf. the anecdote 6. MetelU . . . porticu : erected 
 
 told by Plutarch, J>raec. Gerend. Reip. by Q. Metellus Macedonicus after his 
 
 xxvii, B (Bernardakis, v, p. 1 15). triumph B.C. 146. On its site Augustus 
 
 4. Corneliae: vii, 57; Plutarch built in honour of his sister the famous 
 
 C. Gracchus, iv. The rectangular porticus Octaviae. 
 
 basis of this statue was found in 1878 § 32. 9. lege perlata : this measure 
 
//. BRONZE STATUARY 27 
 
 they provided against possible ambition. We know the protests 31 
 
 of Cato, in his censorship, against the statues set up to Roman "84 b.c. 
 
 women in the provinces, and yet he could not prevent their being Cato'the 
 
 set up in Rome itself, for example to Cornelia the mother oi Censor 
 
 the Gracchi and daughter of the elder Africanus. It is a seated ftatml of 
 
 figure, remarkable as having shoes without thongs, which was ■women. 
 
 formerly in the public colonnade of Metellus and is now in 
 
 the galleries of Octavia. 
 
 The first statue set up at Rome at the cost of a foreign S2 
 
 nation was to Gaius Aelius, tribune of the people. He had ^'"'"'^j 
 . . ' I- r erected by 
 
 carried a law against Sthennius Stallius Lucanus, who had on t'^o foreign 
 
 occasions molested the people of Thurii. They in return pre- "*^^^-^ 
 
 sented Aelius with a statue and a golden crown, and later on 
 
 also gave a statue to Fabricius, who had delivered them from 2S2 b.c 
 
 a siege. This method of receiving a people into clientship 
 
 became very general, and all distinction was so completely lost 
 
 that statues of Hannibal can be seen in three places in a city statues of 
 
 within whose walls he, alone among its enemies, has hurled his Hannibal 
 
 m Rome. 
 spear. 211 b.c. 
 
 That there was an ancient art of statuary, native to Italy, 33 
 
 is proved by the tradition which assigns to Evander the con-'lr'J^^^ 
 
 secration of the Hercules in the Cattle Market, which is known statuary. 
 
 as the triumphal Hercules and draped at every triumph in Hercules. 
 
 a triumphal robe. There is moreover the two-headed Janus p""- 
 
 dedicated by King Numa, which is honoured as marking -peace jatius. 
 
 or war; his fingers are bent to form 365, which is the number of 
 
 is mentioned only in this passage ; near the curia at the N.E. end of the 
 
 nothing further is known of this statue Forum. The head ofthe statue appears 
 
 or that of Fabricius. on the oldest Roman libral asses 
 
 1 3. Hanuibalis : brought either (Roscher s. v._/aK«J, Mommsen,/i'^OT. 
 
 from Carthage or from Asia Minor. Munzw. p. 175). One of the faces 
 
 § 33. 16. statuariam: seeon^i?>-e«- looked towards the West and the 
 
 ticen in § 54. Great Forum, the other towards the 
 
 17. Hercules : in the ancient shrine East and the Forum Julium (cf. Pro- 
 
 (Tac. Ann. xv, 41 : magna arafanum- cop. Bell. Goth, i, 25). 
 que, quae praesenti Herculi Areas 20. pacts bellique arg. : indicem 
 
 Evander sacraverat) near to which, facts bellique fecit Liv. i, 19, i. 
 at a later date, was built the roimd 21. digitis ita figuratis : this 
 
 temple of Hercules, which contained curious statement is confirmed by 
 
 the paintings of Pacuvius ; Peter ap. Macrobius, Sat. i, 9, 10, and John 
 
 Roscher, i, 291 1 ff. ; cf. note on xxxv, Lydos, mpl /irjvwv, i, 4. A number of 
 
 19), and below on § 33. ingenious explanations are quoted in 
 
 19. lanus geminus : in his temple Hardouin's note on the passage. 
 
aS C. PLINII SECUNDl NAT. HIST. XXXIV 
 
 significationem anni temporis et aevi esse deum indicent. 
 
 34 signa quoque Tuscanica per terras dispersa quin in Etruria 
 factitata sint non est dubium. deorum tantum putarem ea 
 fuisse, ni Metrodorus Scepsius cui cognomen a Romani 
 
 A.u.c. 489. nominis odio inditum est propter M M statuarum Volsinios 5 
 expugnatos obiceret. mirumque mihi videtur, cum sta- 
 tuarum origo tam vetus Italiae sit, lignea potius aut fictilia 
 deorum simulacra in delubris dicata usque ad devictam 
 
 35 Asiam, unde luxuria. similitudines exprimendi quae prima 
 fuerit origo, in ea quam plasticen Graeci vocant dici con- 10 
 venientius erit, etenim prior quam statuaria fuit. sed haec 
 ad infinitum effloruit multorum voluminum operi, si quis 
 plura persequi velit, omnia enim quis possit ? 
 
 36 M. Scauri aedilitate signorum M M M in scaena tan- 
 A.u.c. 695. ^yjj^ fuere temporario theatro. Mummius Achaia devicta 15 
 A.u.c. 608. replevit urbem non relicturus filiae dotem. cur enim non 
 
 cum excusatione ponatur? multa et Luculli invexere. 
 Rhodi etiamnum LXXIII signorum esse Mucianus ter 
 COS. prodidit, nee pauciora Athenis, Olympiae, Delphis 
 
 37 superesse creduntur. quis ista mortalium persequi possit 20 
 aut quis usus noscendi intellegatur ? insignia maxime et 
 aliqua de causa notata voluptarium sit attigisse artificesque 
 celebratos nominavisse, singulorum quoque inexplicabili 
 multitudine, cum Lysippus MD opera fecisse prodatur, 
 tantae omnia artis ut claritatem possent dare vel singula, 25 
 numerum apparuisse defuncto eo, cum thensaurum effre- 
 gisset hereSj solitum enim ex manipretio cuiusque signi 
 
 12. operi Bamb. ; opere reliqut, Detlefsen. 18. LXXIII] Bamb. Rice. ; 
 
 LXXIII Voss. {teste Detlefsen) ; numerus aferte corruftus. 
 
 I . aevi esse deum : aiad. toC aiwos of olive wood in the Erechtheion at 
 
 naripa, John Lydos, loc. cit. Athens, Pans, i, 26, 6 ; 27, I ; ii, 
 
 §34. 4. Metrodorus Soepsius : 25, j, &c. 
 
 bom about B.C. 145 ; MuUer, F. H. G. fictilia : xxxv, 157. 
 
 iii, pp. 202-205; Susemihl, Griech. §35. 11. prior quam statuaria : 
 
 Lit. in der Alexandr. Z.eit, ii, p. since a bronze statue presupposed 
 
 352 'f- a clay model, note on xxxv, 153. 
 
 7. lignea : in Italy, as in Greece, § 36. 14. M. Scauri aedilitate : 
 
 statuary began with the wooden idols viii, 64, xxxv, 127. For the theatre 
 
 which not unfrequently remained see xxxvi, 5, 50, 113-115, 189; it 
 
 objects of worship even in the greatest was erected in the Campus Martius, 
 
 periods of art, e. g. the Athene Polias but the exact spot is unknown. 
 
//. BRONZE STATUARY 29 
 
 days in the year, and by thus indicating the year they mark him 
 as the god of time and the age. We also find, scattered in 34 
 dififerent countries, statues in the Tuscan style, which must 
 certainly have been made in Etruria. I should incline to think 
 that these were only figures of the gods, did not Metrodoros of 
 Skepsis, whose other name of /uio-opm/iaio? or Roman-Hater was 
 given him from his hatred of Rome, accuse us of having taken 
 Volsinii for the sake of its two thousand statues. To me it seems 365 b.c. 
 strange that, though statuary in Italy has so ancient an origin, ^^'^S^^ "f 
 the images of the gods dedicated in the shrines were by preference term-cotia 
 made of wood or of terra-cotta until the conquest of Asia intro- P^'^fi/^ed 
 
 m the 
 
 duced luxury. It will be better to speak of the origin of the model- temples. 
 ling of portraits when we treat of the art which the Greeks call ^^ 
 TrXao-TiKij, as it is earlier than statuary. The latter art has been 
 infinitely developed; a fuller discussion would require many 
 volumes, an exhaustive treatise is scarcely possible. 
 
 Marcus Scaurus in his aedileship adorned the stage of a mere 36 
 temporary theatre with three thousand statues. Mummius filled ^^ ^/^' . 
 all Rome with sculpture after his conquest of Achaia, and yet Theatre of 
 I must add in his favour that he eventually died too poor to ^'^'''''^ 
 leave his daughter a dowry. The Luculli too brought over a 146 b.c 
 number of statues ; seventy-three thousand are still to be seen at a.d. 67, 70, 
 Rhodes, according to Mucianus, who was three times consul, '^' 
 and it is supposed that at least as many still remain at Athens, 
 Olympia and Delphoi. A detailed knowledge of all these is 37 
 unattainable and would moreover serve no purpose ; still I should 
 like to touch on the most famous, and those which any par- 
 ticular circumstance has made noteworthy, and to name the 
 illustrious artists. Even the works of individual sculptors are 
 too numerous to be catalogued; Lysippos, for example, is said to 1500 
 have made fifteen hundred pieces of statuary, all of such merit /^'"lij'f 
 that any one alone would bring him fame. Their number was 
 
 15. Achaia deviota: xxxiii, 149. ed. Schoene, p. 139: templa Rho- 
 
 16. dotem: cf. Frontinus, Strateg. diorum depopulaius est Cassius, but 
 iv, 3, 15. from Pliny it appears that the 
 
 17. et Luculli: i.e. L. Licinius, plundering cannot have been so 
 the conqueror of Mithridates, cos. B. c. thorough as set forth either by Appian 
 74 (xxxv, 125, 155), and his brother iiitj>vK. iv, 81, Val. Max. i, 5, 8, or 
 Marcus, below §39; cos. B.C. 73; Orosius, vi, 18, 3. 
 
 triumphed B.C. 71. Mucianus : see Introd. p. Ixxxv. 
 
 18. Ehodi etiamnum : Jerome § 37. 24. Lysippus : the anecdote 
 (see Addenda) Chron. 01. 184, 4, of the money-box may be traced 
 
30 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 38 denarios seponere aureos singulos. evecta supra humanam 
 fidem ars est successu, mox et audacia. in argumentum 
 successus unum exemplum adferam, nee deorum hominumve 
 similitudinis expressae. aetas nostra vidit in Capitolio, 
 
 A.u.c. 822. priusquam id novissime conflagraret a Vitellianis incensum, 5 
 in cella lunonis canem ex acre volnus suum lambentem, 
 cuius eximium miraculum et indiscreta veri similitudo non 
 eo solum intellegitur quod ibi dicata fuerat, verum et satis- 
 datione, nam quoniam summa nulla par videbatur, capita 
 tutelarios cavere pro ea institutum publice fuit. 10 
 
 39 Audaciae innumera sunt exempla. moles quippe 
 excogitatas videmus statuarum, quas colossaeas vocant, 
 turribus pares, talis est in Capitolio Apollo tralatus a 
 
 A.u.c. 681. M. LucuUo ex Apollonia Ponti urbe, XXX cubitorum, 
 
 40 D talentis factus, talis in campo Martio luppiter a Claudio 15 
 Caesare dicatus, qui devoratur Pompeiani theatri vicinitate, 
 talis et Tarenti factus a Lysippo XL cubitorum. mirum in 
 eo quod manu, ut ferunt, mobilis — ea ratio libramenti est — 
 nullis convellatur procellis. id quidem providisse et artifex 
 dicitur modico intervallo, unde maxime flatum opus erat 30 
 frangi, opposita columna. itaque magnitudinem propter 
 difficultatemque moliendi non attigit cum Fabius Verru- 
 
 A.u.c. 545. cosus, cum Herculem qui est in Capitolio inde transferret. 
 
 41 ante omnis autem in admiratione fuit Solis colossus Rhodi, 
 
 back to Duris, below § 51 ; Introd. 9. capite: cf. xxxvi, 29 . . . capi- 
 
 p. xlviii. tali satisdatione fama iudicet dignos 
 
 I. denarios : the Roman golden (i. e. two statuary groups), 
 
 denarius was worth about (.1, but the § 39. 13. Apollo: KdKa/uSos epyov. 
 
 reference here must be to the araTrip^ Strab. vii, p. 319. 
 
 16s. nearly. Introd. p. Ixxxiv. | 40. 15. a CI. Caesare. Claudius 
 
 § 38. 4. in Capitolio : after the restored the theatre of Pompeins 
 
 temple had been burnt down in B.C. 83, after a. fire, and probably dedicated 
 
 Sulla undertook its reconstruction, the Jupiter on the same occasion. Tac. 
 
 which was eventually carried out by Q. ^nn. iii, 72. 
 
 Lutatius Catulus, who dedicated the 16. Pompeiani theatri ; near the 
 
 new temple in B. c. 69. It was burnt Great Circus, 
 
 again a Vitellianis, Tac. Hist, in, 71. 17. factus a Lysippo : it repre- 
 
 6. in cella lunouis ; on the sented Zeus, and according to Strabo, 
 
 right of the central cella of Jupiter ; p. 278, was the tallest colossus after 
 
 the cella on the left was dedicated to that of Rhodes. 
 Minerva. 
 
//. BRONZE STATUARY 31 
 
 discovered when his heir broke open his money-box after his 
 death, for it was his custom to lay by a piece of gold out of the 
 price he received for each statue. 
 
 Art has made extraordinary progress, in technique first and 38 
 afterwards in audacity. As an example of successful technique £,^'™"jj 
 I shall mention a figure representing neither god nor man. Be- 
 fore the last fire on the Capitol, caused by the soldiers of Vitellius, a.d. 69. 
 our own generation could see in the temple of Juno a bronze 
 dog licking its wound : the wonderful workmanship and Bronze 
 absolutely life-like treatment are sufficiently proved not only by ''^' 
 the sacred spot where the work was dedicated, but also by the 
 unusual guarantee demanded for it. No sum of money was 
 considered equivalent : it was a public ordinance that the curators 
 should pledge their lives for its safety. 
 
 Of audacity countless instances can be given. For example 39 
 artists have conceived the idea of gigantic statues called colossi, /^w * //(, 
 as tall as towers. Of this class is the Apollo in the Capitol, in the 
 brought from Apollonia in Pontos by Marcus Lucullus ; it is j^^f" 
 forty-five feet high, and cost five hundred talents [;^i 20,000]. {h) Jupiter 
 Another is the Jupiter dedicated in the Field of Mars by Claudius ^-/^f r 
 Caesar, which, however, is dwarfed by its proximity to the theatre Jfew. 
 of Pompeius. Yet another is the Zeus at Tarentum by Lysippos, 40 
 which is 40 cubits [58 ft.] in height and is noteworthy because the ^P ^T^^-'' 
 weight is so nicely balanced that the colossus can, they say, be turned at Taren- 
 round by a touch of the hand, and yet cannot be overthrown by the '""*" 
 wind. The artist is said to have provided against this by placing 
 a column a little way off, on the side where it was most necessary 
 to break the violence of the wind. The size of the statue and the ^ ^ 
 difficulty of transporting it prevented Fabius Verrucosus from (d) Hera- 
 touching it, although he brought the Herakles in the Capitol from c"J//J " 
 Tarentum. The most marvellous of all, however, is the statue 41 
 
 mirum . . . procellis : periegetic Fabiiis himself (Phit. i^ai. ^ajr.xxii), 
 explanation. which he doubtless set up in imitation 
 
 22. non attigit Fabius: cf. Liv. ofCarvilius. 
 
 xxvii, 16, 8. § 41. 24. ante omnis ... in ad- 
 
 23. Herculem : Avai-mrov ijrjov, miratione : cf. hue. /tip. Trag. 11. 
 Strabo, loc. cit. The hero was repre- It was even reckoned among the Seven 
 sented without weapons and seated, Wonders of the world. The notion 
 resting his head on his left hand ; cf. that it stood with one foot on each of 
 Niketas Akominatos de signis Con- the moles which formed the entrance 
 stantinop., p. 859. Near the Hercules to the harbour while ships passed full 
 stood a bronze equestrian statue of sail between its legs was unknown to 
 
32 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 A.u.c. 527. quern fecerat Chares Lindius, Lysippi supra dicti discipulus. 
 LXX cubitorum altitudinls fuit. hoc simulacrum post LVI 
 annum terrae motu prostratum, sed iacens quoque miraculo 
 est. pauci pollicem eius amplectuntur, maiores sunt digiti 
 quam pleraeque statuae. vasti specus hiant defractis mem- 5 
 bris, spectantur intus magnae molis saxa quorum pondere 
 stabiliverat eum constituens. duodecim annis tradunt effec- 
 tum CCC talentis quae contigerant ex apparatu regis 
 
 42 Demetrii relicto morae taedio opsessa Rhodo. sunt alii 
 centum numero in eadem urbe colossi minores hoc, sed lo 
 ubicumque singuli fuissent, nobilitaturi locum, praeterque 
 
 43 hos deorum quinque quos fecit Bryaxis. factitavit colossos 
 et Italia, videmus certe Tuscanicum Apollinem in biblio- 
 theca templi Augusti quinquaginta pedum a pollice, dubium 
 aere mirabiliorem an pulchritudine. fecit et Sp. Carvilius 15 
 
 A.u.c. 461. lovem qui est in Capitolio victis Samnitibus sacrata lege 
 pugnantibus e pectoralibus eorum ocreisque et galeis. ampli- 
 tudo tanta est ut conspiciatur a Latiari love, e reliquiis 
 limae suam statuam fecit quae est ante pedes simulacri eius. 
 
 44 habent in eodem Capitolio admirationem et capita duo quae 20 
 A.u.c. 697. P. Lentulus cos. dicavit, alterum a Charete supra dicto 
 
 factum, alterum fecit . . . dicus conparatione in tantum victus 
 
 45 ut artificum minime probabilis videatur. verum omnem 
 amplitudinem statuarum eius generis vicit aetata nostra 
 Zenodorus Mercurio facto in civitate GalHae Arvernis per 25 
 
 the ancients, and arose in the Middle p. 60. Introd. p. Ixxxvii. 
 
 Ages. See Cecil Torr, Rhodes in 8. ex apparatu : Pint. Demetr. 20. 
 
 Ancient Times, -p. ^6 i. 9. opsessa Rhode; vii, 126; 
 
 2. LXX cub. altitudinis : pre- xxxv, 104, 105. 
 
 sumably from Varro, the measurement 5 42. 12. Bryaxis: below, § 73. 
 
 being practically identical with that § 43. 13. Tuscanicum ApoUinem: 
 
 given by Vibius Sequester {^Colossus from what we know of Etniscan work- 
 
 Rhodi alius pedes CF), who is known manship, Pliny's admiration must be 
 
 to have drawn from Varro, Urlichs, prompted by patriotism. 
 
 Quellen-Reg. p. 11. in bibliotheoa : belonging to 
 
 hoc simulacrum . . . Bryaxis : the temple of Augustus (xii, 94), 
 
 th% picturesque desciiption of the built by Tiberius and Livia in B.C. 
 
 prostrate colossus, and the mention of 14, Die Cassius, Ivi, 46 ; cf. Suet. 
 
 the hundred other colossal statues in Tib. 74 in bibliotheca templi novi. 
 
 Rhodes, have been rightly referred to Gilbert, Rom, iii, p. I2i, n. 3 ; it also 
 
 Mucianus by Brieger, de Font. Plin. contained, besides the customary busts 
 
//. BRONZE STATUARY 33 
 
 of the Sun at Rhodes, made by Chares of Lindos, a pupil of the (e) Colossus 
 Lysippos already mentioned. It was seventy cubits [102 feetl in f^^f^" 
 
 ,■,.,_ T,-„„ ■'by Chares 
 
 height, and after standmg for fifty-six years was overthrown by an of lindos. 
 
 earthquake, but even as it lies on the ground it arouses wonder, b.c 227. 
 
 Few men can clasp their arms about its thumb, its fingers are taller 
 
 than most statues and wide caverns gape within its broken limbs, 
 
 while inside can be seen huge fragments of rock, originally used 
 
 as weights to steady it. According to tradition, its construction 
 
 lasted twelve years, and cost 300 talents [£72,000], contributed 
 
 by the Rhodians out of the siege-train left with them by King 42 
 
 Demetrios when he wearied of the siege of Rhodes. There are Other 
 
 a hundred smaller colossal statues in this city, any one of which "t^f^l at 
 
 would have made famous the place it adorned, besides five Rhodes. 
 
 representing gods, made by Bryaxis. In Italy too colossal ^^y^^^ 
 
 statues have been made ; we have before our eyes the Tuscan 43 
 
 Apollo, in the library of the temple of Augustus, which mea- Tuscan 
 
 sures 50 feet from its toe. It is not easy to say whether the ^^''"''■ 
 
 beauty of the statue or of the bronze is the more worthy ol JJ^^^ ^^ 
 
 wonder. After the victory over the Samnites, who fought Italy- 
 
 bound by a solemn vow, Spurius Carvilius made from their b.c. 293. 
 
 breastplates, greaves, and helmets the Jupiter in the Capitol, /«/«V«?-. 
 
 a statue large enough to be visible from the temple of Jupiter 
 
 Latiaris. From the filings he made a statue of himself, to . . 
 
 stand at the feet of the other. Two heads, also placed on the Colossal 
 
 Capitol, deserve to be admired. They were dedicated by "^'^"■'"• 
 
 Publius Lentulus : one is the work of the Chares mentioned 
 
 above, the other is by . . . dikos, who however suffers by 
 
 the comparison so as to seem a most unattractive artist. In 45 
 
 our own times however Zenodoros exceeded the proportions Zenodoros. 
 
 of all other statues of this class. His Mercury was made in His 
 
 Gaul, in the state of the Arverni; he spent ten years upon ''''"'')'■ 
 
 ofillustrious men, a statue of Minerva, later date, and that Pliny, or his 
 
 Plin. fii, 210. author, confused the first and second 
 
 16. viotis Samnitibus : cf. Liv. consulship of Carvilius. 
 
 X, 38-46. It is at least curious that 18. Xiatiari love : on the Mons 
 
 Livy in his elaborate accoxmt of the Albanus (Monte Cavo). 
 
 triumph of B.C. 293 should only men- 5 44. 21. Charete supra dicto : 
 
 tion the temple of Fors Fortuna (x, in §41. Pliny is the only author who 
 
 46, 14) as erected out of the booty. mentions any worli of Chares besides 
 
 A. Schaeffer (Comm. phil. in hon. the Colossus. 
 
 Momms. p. 7) accordingly supposes § 45. 25. Zenodorus : perhaps an 
 
 the statue to have been set up at a Alexandrian established in Uaul, see S. 
 
34 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 annos decern, HS [CCCC] manipreti, postquam satis artem 
 ibi adprobaverat, Romam accitus a Nerone, ubi destinatum 
 illius principis simulacro colossum fecit CXIXS pedum 
 longitudine, qui dicatus Soli venerationi est damnatis sceleri- 
 48 bus illius principis. mirabamur in officina non modo ex 5 
 argilla similitudinem insignem, verum et de parvis admodum 
 surculis quod primum opens instaurati fuit. ea statua 
 indicavit interisse fundendi aeris scientiam, cum et Nero 
 largiri aurum argentumque paratus asset et Zenodorus 
 scientia fingendi caelandique nulli veterum postponeretur. lo 
 
 47 statuam Arvernorum cum faceret provinciae Dubio Avito 
 praesidente, duo pocula Calamidis manu caelata, quae Cassio 
 Salano avonculo eius praeceptori suo Germanicus Caesar 
 adamata donaverat^ aemulatus est ut vix ulla differentia 
 esset artis. quanto maior Zenodoro praestantia fuit, tanto 15 
 magis deprehenditur aeris obliteratio. 
 
 48 Signis quae vocant Corinthia plerique in tantum capiuntur 
 ut secum circumferant, sicut Hortensius orator sphingem 
 Verri reo ablatam, propter quam Cicero illo iudicio in 
 altercatione neganti ei aenigmata se intellegere respondit 20 
 debere, quoniam sphingem domi haberet. circumtulit et 
 Nero princeps Amazonem, de qua dicemus, et paulo ante 
 
 3. CXIXS] Urlichs in Chrestom. Plin. ; CVIS Detlefsen ; qui nonagiuta 
 
 Bamb. 
 
 Reinach, Bronzes Figuris de la Gaule Hercules, which were afterwards re- 
 
 Romaine, p. 12, who shows that the moved (AeliauLamprid. Ce»2?»0(/. 17, 
 
 name is met with principally in Syria 10). The size of the Neronian colossus 
 
 and Egypt. became proverbial, C. I. L. viii, i, 
 
 Arvernis : where Mercury had a 212, p. 36, 1. 82. Cf in xxxv, 51, 
 
 celebrated ritual in his temple on the the colossal painted portrait of Nero. 
 
 Puy de D8me ; see Addenda. § 46. 5. mirabamur : practically 
 
 3. colossum : in the vestibule of the only instance where Pliny speaks 
 the Golden House, Suet. Nero, 31. from personal observation. 
 
 4. dicatus Soli venerationi : i. c. in officina : sc. aeraria, cf. below, 
 by Vespasian, Suet. Vesp. 18, who set § 134 ; xvi, 23 ; xviii, 89 ; C. I. L. vi, 
 up the colossus on the Sacred Way, 8455, &c. Addenda. 
 DioCassius, 66,15; Marti.il, .S^crf. 2, 6. argilla ; i.e. the irpowKacrna, 
 1,71,6. The basis may still be seen 2« cf. xxxv, 155. 
 
 niu between the temple of Venus and 7. surculis : the surculi must, I 
 
 Rome and the Colosseum. Com- think, be the Tpvn-rniaTo. or wax tubes 
 
 modus replaced the head by a portrait with which the wax model was 
 
 head of himself (Herodian, i, s, 9), covered previous to its being cased 
 
 and gave to the statue attributes of in loam; these tubes were intended 
 
// BRONZE STATUARY 35 
 
 it and received in payment forty million sesterces [£350,000 
 
 circ.J. After he had won his reputation in Gaul, Nero sum- ms colossal 
 
 moned him to Rome, where he made a colossal statue 11 94 feet ^"'''• 
 
 in height. It was originally intended to represent the Emperor, 
 
 but after Nero's crimes had met with their punishment, it 
 
 was dedicated to the worship of the Sun. In his workshop 46 
 
 our wonder was excited not only by the extraordinary likeness 
 
 in the clay model, but by the slender tubing which was the 
 
 first stage towards the completion of the work. This statue 
 
 proved that the secret of the composition of bronze was lost, 
 
 since Nero had been ready to provide the gold and silver, 
 
 and in modelling and chasing Zenodoros was the equal of any 
 
 ancient artist. When he made the statue for the Arverni, during 47 
 
 the governorship of Dubius Avitus, he imitated two cups, chased -^* "P^^^ 
 
 by the hand of Kalamis, which Germanicus Caesar had prized byKalamis. 
 
 very highly, and had given to Cassius Silanus his tutor, the 
 
 uncle of Dubius, with such nicety that scarcely any difference can 
 
 be detected between the original and the copy. Thus the artistic 
 
 cunning of Zenodoros only strengthens the proof that the art of 
 
 alloying bronze was forgotten. 
 
 The figures known as Corinthian are often so much prized that 48 
 
 the owners carry them about with them, as the orator Hortensius ^"ifg„f 
 
 did the figure of a sphinx which he had taken from his cUent Corinthian 
 
 Verres. The image was mentioned in the course of the trial, for sphinx of 
 
 when Hortensius declared that he could not guess riddles, Cicero \Hortensius. 
 
 replied that he should be able to do so since he kept a sphinx in his 
 
 house. Nero when Emperor also took about with him an Amazon /iViroV 
 
 Amazon. 
 
 to produce in the loam-coating holes 12. Calamidis : xxxiii, 156; xxxvi, 
 
 for the pouring in of the bronze, and 36. 
 
 the letting out of the air. The co- 13. praeoeptori : in oratory- Ovid 
 
 lossalwaxcast of ahorse covered with addressed the Pontic Ep. ii, 5, to 
 
 tubings, Clarac, Musie de Sc. i, pi. v, Salanus. 
 
 figs. 5, 6, p. loi ff., exactly illustrates § 48. 18. Hortensius : the cele- 
 
 what I imagine would be the appear- brated orator and art amateur, re- 
 
 ance which the Neronian colossus peatedly mentioned by Pliny, viii, 
 
 presented when Tliny saw it. Oddly 211 ; ix, 170; xxxv, 130, &c. 
 
 enough neither Clarac nor Bliimner 21. sphingem : according to Pint, 
 
 (cf. Technol. iv, p. 325) comment, so Apophthegm. Rom. Cic. ii. it was 
 
 far as I am aware, on this interesting silver, but according to the same 
 
 passage. author, Cic. vii, a, it was of ivory. 
 
 8. indicavit interisse : cf. § 5. See Addenda. 
 
 §47. II. Dubio Avito. Tac. 22. de qua dioemus : below, 
 
 Ann. xiii, 54. § 82. 
 
 D a 
 
36 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 C. Cestius consularis signum, quod secum etiam in proelio 
 habuit. Alexandri quoque Magni tabernaculum sustinere 
 traduntur solitae statuae, ex quibus duae ante Martis Ultoris 
 aedem dicatae sunt, totidem ante regiam. 
 
 49 Minoribus simulacris signisque innumera prope artificum s 
 multitude nobilitata est, ante omnis tamen Phidias Atheni- 
 ensis love Olympio facto ex ebore quidem at auro, sed et 
 ex acre signa fecit, floruit autem olympiade LXXXIII, cir- 
 citer CCC urbis nostrae annum, quo eodem tempore aemuli 
 eius fuere Alcamenes, Critias, Nesiotes, Hegias, et deinde lo 
 olympiade LXXXVII Hagelades, Gallon, Gorgias Lacon, 
 rursus LXXXX Polyclitus, Phradmon, Myron, Pythagoras, 
 
 50 Scopas, Perellus. ex his Polyclitus discipulos habuit 
 
 7. Olympiae omnes praeter Bamb., Detlefsen. 
 
 1. C Cestius. Tac. Hist.y, 10. 
 consularis signum : where Frbh- 
 
 ner {Rhein. Mus., 1892, p. 292) 
 proposes consularis (plans') signum. 
 But Pliny is concerned merely with 
 proving what store was laid by Corin- 
 thian bronzes, and not with their 
 subjects. If he specifies Nero's 
 Amazon, it is only because it had 
 become a familiar object. 
 
 2. tabernaoulum : Pliny has here 
 misunderstood the Greek word aKTjvrj 
 
 = tent or canopy. The description 
 in the original can only have been of 
 the golden Nikai, which according to 
 Diodoros (xviii, 26) supported at 
 each of its comers the canopy of the 
 chariot upon which Alexander's corpse 
 was borne to Alexandria; Urlichs, 
 Chrest. p. 314. 
 
 3. Martis Ultoris: in the forum 
 of Augustus, dedicated B.C. 2. Mon. 
 Anc. (iv) xxi, 21-22 ; Mommsen, Res 
 Gestae, p. 88. 
 
 4. regiam : close to the temple 
 lof Vesta. 
 
 5 49. 5. Minoribus, i.e. colossis 
 supradictis. 
 
 7. love Olympio, § 54; xxxvi, 
 18. 
 
 8. floruit = iJKiia^e. 
 
 olymp. LXXXIII : probably 
 date of commencement of Parthenon. 
 Then about Pheidias as representative 
 are grouped — failing more precise his- 
 torical information — other artists con- 
 nected with the restoration of Athens 
 after the Persian wars and its subse- 
 quent embellishment. The group of 
 the Tyrant-slayers, madeby Kritios and 
 Nesiotes (archonship of Adeimantos 
 B.C. 477, Marm. I'ar.), replaced the 
 older group by Antenor, which had 
 been carried away by Xerxes (5 70). 
 Hegias appears as contemporary of 
 K. and N. (cf. Lucian, A'^ei. Praec. 9) ; 
 Alkamenes worked chiefly for Athens 
 {Schrifiquell. 812-82 2)'. The follow- 
 ing groups likewise, when they can be 
 determined at all, seem the result of 
 similar uncritical combinations. As 
 a rule the given Olympiad strictly 
 refers only to the first artist in each 
 group. 
 
 circiter : i. e. more accurately, 306. 
 
 9. aemuli : the epithet is applied 
 quite loosely, and means little more 
 than ' of rival merit ' : so in xxxvi, 30, 
 the fellow- workers of Skopas on the 
 Mausoleion are called his aemuli; in 
 
//. BRONZE STATUARY 
 
 31 
 
 which will be mentioned later on, and a little earlier Gaius ' 
 Sestius, a consular, had a statue which he even took into 
 battle. It is said too that the tent of Alexander the Great was 7V»/ of 
 always supported by statues, of which two have been dedicated '^¥^'^"'^''- 
 in front of the temple of Mars the Avenger, and two in front of 
 the Regia. 
 
 The number of artists whose reputation rests on images and 49 
 statues of smaller size can hardly be counted. Pheidias of ^"'""'".S?' 
 Athens, however, stands first of all with his Olympian Ztns. principal 
 This was of ivory and gold, but he also worked in bronze. He ''''''"'*• 
 flourished in the eighty-third Olympiad [448-445 B.C. J, about 
 three hundred years after the foundation of Rome. Of the same 
 date were his rivals, Alkamenes, Kritios, Nesiotes, and Hegias. 
 In the eighty-seventh Olympiad [432-429 e.g.] came Hagelaidas, 
 Kallon and the Laconian Gorgias, and in the ninetieth [420-417 
 B.C.] Polykleitos, Fhradmon, Myron, Pythagoras, Skopas, \Perellos. 
 
 xxxT, 64, Illustrious contemporaries 
 of Zeuxis figure as iiis aequales et 
 aemuli; cf. also xxxv, 124. 
 
 II. Hagelades : a contemporary 
 of tlie Elder Kanachos; flourished circ. 
 B. c. 515-485, Robert, Arch. March- 
 pp. 39, 93. He is placed in 01. 87, 
 because his Herakles, 'AKf^'maKos (in 
 Melite, Schol. Aristoph. Barpaxoi, 
 504), like the Apollo Alexikakos of 
 Kalamis, Paus. i, 3, 4 (cf. Brunn, 
 A'. G. i, p. 126), was connected in the 
 popular imagination with the staying 
 of the great Plague in the third year 
 of the Peloponnesian war — the asso- 
 ciation arising of course from the 
 epithet (Brunn, i, p. 68). The real 
 occasion for the dedication of the 
 Herakles remains obscure ; cf. Robert, 
 loc. cit. ; Studniczka, Rom. Mitth. ii, 
 1887, p. 99, note 27 ; Wolters, Ath. 
 Mitth. xvi, 1891, p. 160. The mention 
 of Hagelaidas brings with it that 
 of his contemporaries, Gorgias and 
 Kallon. See Addenda. 
 
 Gallon : it is uncertain whether the 
 Eleian Kallon (Paus. v, 25,4; 27, 
 8 = /. C B. 33), or his more cele- 
 brated Aiginetan namesake (/. G. B. 
 27 ; Paus. ii, 32, 6 ; iii, 18, 8). 
 
 Gorgias : /. G. B. ^6 ==€./. A. iv, 
 
 373 (214)- 
 
 12. Polyclitua : § 55, possibly dated 
 by the gold and ivory Hera, which 
 he made for the new Heraion at 
 Argos, after the fire of E. c. 424. 
 Together with Polykleitos are grouped, 
 besides Phradmon (probably a real 
 contemporary, Paus. vi, 8, i, below, 
 § 53), Myron and Pythagoras, for no 
 other reason, I imagine, than that, 
 all three masters being celebrated for 
 their statues of athletps, they fitted in 
 better with him than with any other 
 fifth-century artist for whom a date 
 could be found. As a fact the best 
 activity of Myron falls within the first 
 half of the century (Fiirtwangler, 
 Masterpieces, p. 182), while Pytha- 
 goras, as we know from his statues of 
 athletes whose victories ranged from 
 B.C. 488-480, was considerably the 
 older artist. 
 
 13. Scopas : he appears here by 
 a singular anachronism : in xxxvi, 30, 
 he is correctly dated from the Mauso- 
 leion at Halikarnasso.'!. The error is 
 however insufficient reason for assum- 
 ing (with Klein and Robert cf. Arch. 
 Marchen, p. 46) an elder Skopas. 
 
38 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 Argium, Asopodorum, Alexim, Aristidem, Phrynonem, Dino- 
 nem, Athenodorum, Demean Clitorium, Myron Lycium. 
 LXXXXV olympiade floruere Naucydes, Dinomenes, 
 Canachus, Patroclus, centesima secunda Polycles, Cephi- 
 sodotus, Leuchares, Hypatodorus, CIIII Praxiteles, Eu- 5 
 51 phranor, centesima septima Aetion, Therimachus. CXIII 
 Lysippus fuit, cum et Alexander Magnus, item Lysistratus 
 frater eius, Sthenis, Euphron, Sofocles, Sostratus, Ion, 
 
 I. Argium Asopodorum Vetle/sen. Phrynonem Dinonem omnes praeter 
 Bamb., [Dinonem] Detlefsen. 8. Sofocles] coni. Loewy in Inschr. Gr. 
 
 Bildh. 102<^J>. 384; fucles Bami.; icles Jlicc, Voss.; Eucles_^», Detlefsen. 
 
 § 50. I. Asopodorum : a later 
 artist than the Asopodoros who worlced 
 on the bathron of Praxiteles of Kama- 
 rina at Olympia {I.G.B. 30). See Add. 
 
 Alexim : if identical with the 
 father of Kantharos of Silsyon in § 85 
 (the pupil of Eutychides; Pans, vi, 
 3, 6), he must have been a pupil of 
 Polykleitos II. His insertion here 
 would be due to an error of Pliny. 
 
 2. AthenodoTum, Demean : men- 
 tioned together, Paus. x, 9, 7, as em- 
 ployed on the Lakedaimonian votive 
 offering set up at Delphoi in comme- 
 moration of Aigospotamoi (b. c. 405). 
 
 Lycium : as his father appears in 
 the same Olympiad with Polykleitos, 
 he is placed in the 01. of the sons of 
 Polykleitos; but he was already a 
 flourishing artist in B.C. 446, if Lolling 
 (AeXTi'oy, 1889, p. i8i ff.) is right in 
 referring the statues ofhorsemen (Paus. 
 i, 22, 4), on whose basis his signature 
 occurs, to the expedition of Perikles 
 to Euboia. 
 
 3. Kaucydes : § 80, son of Patro- 
 kles (/. G. B. 86), and brother of 
 Daidalos of Sikyon, Pans, vi, 34 ; 
 /. G. B. 88-89. On his relation 
 to the older Polykleitos, next to 
 whose statue of Hera at Argos had 
 stood a Hebe by Naukydes, Paus. 
 ii.*i7, 4 (the two statues on coins of 
 Argos.P. Gardner, iV«»«. Comm.l,xv), 
 see Furtwangler, Masterpieces, p. 226, 
 and cf. Robert, Arch. March, p. 104 ff. 
 
 Dinomenes : below, § 76. 
 
 4. Canachus, i.e. the younger: 
 a Sikyonian and a pupil of Polykleitos 
 (Paus. vi, 13, 7). His chronology, 
 like that of Patrokles, is determined 
 by the fact that he worked on the 
 votive offering of Aigospotamoi (Paus. 
 X, 9; ?)• 
 
 Polycles : § 80. 
 
 Cephisodotus ; father of Praxi- 
 teles? (Brunn, ^. G. i. p. 269) or elder 
 brother ? (Furtwangler, Masterpieces, 
 p. 295). His chronology seems de- 
 termined by his Eirene holding the 
 infant Ploutos, which should probably 
 be dated shortly after B. o. 375 ' to 
 correspond with the institution of the 
 annual offering to Eirene consequent 
 on the victories of Timotheus' (Furt- 
 wangler, loc. cit.). 
 
 5. Leuehares = Leochares. Cf. 
 Leutychides = Leotychides in Hero- 
 dotos. For his works, see below, 79 
 and xxxvi, 30. The extant dates for 
 his activity are comprised between 
 (a) a period previous to the banish- 
 ment of Timotheus in B.C. 355, for 
 whom he made a statue of Isokrates 
 (Heliodoros ap. Ps. Plut. Vita X 
 Orat. Isocr. 27), and (b) the year in the 
 reign of Alexander, when, in conjunc- 
 tion with Lysippos, he made Alex- 
 ander's Lion Hunt (below on § 64). 
 
 Hypatodorus : he is possibly 
 identical with the H. who, in con- 
 junction with another artist Sostratos, 
 
//. BRONZE STATUARY 
 
 39 
 
 The following were pupils of Polykleitos, Argeios, Asopodoros, 50 
 Alexis, Aristeides, \Phrynon, \Deinon, Atkenodoros, and Demeas of 
 Kleitor. Myron was the master of Lykios. In the ninety-fifth 
 Olympiad [400-397 b.c.J Naukydes flourished, with Deinomenes, 
 Kanachos, and Patroklos ; in the hundred and second [372-369 
 B.c.J, Polykles, Kephisodotos, Leuchares, Hypatodoros ; in the hun- 
 dred and fourth [364-36 1 b. c], Praxiteles and Euphranor ; in 
 the hundred and seventh [352-349 b.c.J, Action and \Therimachos. 
 Lysippos lived in the hundred and thirteenth [328-325 B.c.J, in 51 
 the days of Alexander the Great ; so also did his brother Lysi- 
 stratos, as well as Sthennis, \Euphron, Sophokles, Sostratos, Hon, 
 
 made for the Arkadian Aliphera (pre- 
 vious to B.C. 372, see Brunn, K. G. ii, 
 p. 295) a bronze Athena, Pans, viii, 26, 
 5; Polyb. iv, 78. He must however be 
 a distinct personality from the Hypato- 
 doros who, with his colleague Aristo- 
 geiton, made for a certain Orcho- 
 menian the monument of which the 
 inscribed basis is still extant (/. G. B. 
 loi). The archaic style of the epi- 
 graphy (Kirchhoff, Studien, 4th ed., 
 p. 142, note l^ compels us to follow 
 Robert {Hermes, xxv, 1890, p. 4i2ff., 
 and Uall. Winckelmannspr. xviii, 
 1895, P- 4^0 ™ referring the artists to 
 the early part of the fifth century. To 
 this date accordingly we must also refer 
 their group set up at Delphoi by the 
 Argives, whatever view we may take 
 of the date of the Attico-Argive 
 victory at Oinoe which the group 
 commemorated, or was supposed to 
 commemorate Paus. i, 10, 3 (see espe- 
 cially Robert, //. cc, and Furtwiingler, 
 Masterpieces, p. 41). 
 
 Praxiteles : dated with reference 
 to his activity in Mantineia (Paus. 
 viii, 9, i), the third year of 01. 104 
 (b. C. 462) being the date of the great 
 battle (Furtwangler, Plinius, p. 21). 
 
 Kuphranor : although he ap- 
 pears here as a sculptor (§ 77), the 
 cine to his date is afforded by his 
 painting, in the Stoa of Zeus Eleutherios 
 at Athens (Paus. i. i, 4), of the cavalry 
 engagement that preceded the battle 
 
 of Mantineia (equeslre proelium, xxxv, 
 129). 
 
 6. Aetion, Ther. : Action being 
 only knovm as a painter (xxxv, 78), 
 and Therimachos being unknown ex- 
 cept for this passage and xxxv, 78, 
 it is reasonable to suppose with 
 Furtwangler {loc. cit.) that the whole 
 passage, centesima . . . Therimachus, 
 has been interpolated from xxxv, 78. 
 
 § 51. 7- Lysippus : his d«;ji7 is 
 determined by the central Olympiad 
 of the reign of Alexander. (Loewy, 
 Uniersuch. p. 64.) 
 
 Lysistratus, xxxv, 153. 
 
 8. Sthenis of Olynthos, inf. § 90. 
 From /. G. B. 83 we learn that he 
 was a fellow-worker of Leochares; and 
 from /. G. B. 103' (cf. on /. G. B. 541, 
 p. 370) that he was still active in the 
 reign of Lysimachos (B. c. 306-281). 
 
 Sofocles : Loewy's reading is 
 made practically certain by BuUe's 
 observation {Olympia, Bd. ii, p. 156) 
 that the bases from the statues of 
 riders by Sophokles at Olympia 
 (/. G. B. 123-125) closely resemble, 
 in form and profile, the basis (/. G. B. 
 103") of Sthennis from the Amphia- 
 reion at Oropos. This near connexion 
 of the two artists explains the place 
 assigned to them in the Plinian chrono- 
 logy. 
 
 Sostratus : probably identical with 
 the Sostratos, son of Euphranor, 
 /. C. B. los. 
 
4° 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 Silanion — in hoc mirabile quod nullo doctore nobilis fuit, 
 ipse discipulum habuit Zeuxiaden — CXXI Eutychides, 
 Euthycrates, Laippus, Cephisodotus.Timarchus, Pyromachus. 
 
 52 cessavit deinde ars, ac rursus olympiade CLVI revixit, cum 
 fuere longe quidem infra praedictos, probati tamen, Antaeus, 5 
 Callistratus, Polycles Athenaeus, Callixenus, Pythocles, 
 
 53 Pythias, Timocles. ita distinctis celeberrimorum aetatibus 
 insignes raptim transcurram rehqua multitudine passim 
 dispersa. venere autem et in certamen laudatissimi, quam- 
 quam diversis aetatibus geniti, quoniam fecerant Amazonas, lo 
 quae cum in templo Dianae Ephesiae dicarentur, placuit 
 eligi probatissimam ipsorum artificum qui praesentes erant 
 iudicio, cum apparuit earn esse quam omnes secundam a sua 
 quisque iudicassent. haec est Polycliti, proxima ab ea Phidiae, 
 
 54 tertia Cresilae, quarta Cydonis, quinta Phradmonis. Phidias i5 
 
 1. Silanion : from Pans, vi, 4, 5 
 we learn that he made a statue of 
 Satyros of Elis, who appears as winner 
 of a double victory in a catalogue of 
 the Amphiaraia (C /. G. S. 414). 
 According to a conjecture of J. Dela- 
 marre (Reo. de Phil, xviii, p. 162 sqq^, 
 this catalogue belongs to the same 
 period as C.I. G.S. 4253 (under arch- 
 onship of Niketas B. c. 332-1), and 
 C. I. G. S. 4254 (archonship of Kephi- 
 sophon B.C. 329-8). It would thus 
 appear that the date assigned by Pliny 
 to Seilanion is correct. For his works, 
 cf below, 581. See Addenda. 
 
 nullo doctore, i. c. his school dia- 
 dochy had been lost ; cf. the similar 
 case of Lysippos. Introd. p. xlvii £f. 
 
 2. Zeuxiaden: known from one 
 of the Mattel inscriptions (/. G. B. 483- 
 485) as sculptor of a statue of Hype- 
 reides (d. B. c. 322). See Addenda. 
 
 Eutychides : below, § 78 ; xxxv, 
 141. The date assigned to him by 
 Pliny coincides approximately with 
 the restoration of Anliocheia by Se- 
 leukos, 01. 1 19, 3 = B. c. 302. For the 
 new city E. made an allegorical figure 
 of Tyche supported on the river-god 
 Orontes — a work of which a copy has 
 
 survived in the exquisite statue in the 
 Vatican, Helbig, Class. Ant. 376. 
 
 3. Euthycrates : § dd. Laippus 
 {ibid.) = the Daippos of Pans, vi, 12, 
 6 ; 16, 5. The name is coiTectly 
 given below, § 87. Either Pliny in 
 transcribing from the Greek mistook 
 A for A, or he is quoting from a Lathi 
 author who had already been guilty 
 of the blunder. 
 
 Cephisodotus, Timarchus : sons 
 of Praxiteles, Vil. X Oral. Lykurg. 
 38. The fact that they made a statue 
 of Menander (Pans, i, 21, i, /. G. B. 
 ioS = C. /. A. ii. 1370), who died 
 B.C. 291, shows that they were 
 older than the sons of Lysippos. 
 After the great masters, their pupils 
 are lumped together without any strict 
 chronological order (cf. Furtwangler, 
 Masterpieces, p. 309). 
 
 Pyromachus : there appear to 
 have been several artists of that name, 
 see below on § 80, § 84 ; xxxv, 146. 
 
 § 52. 4. cessavit deinde ars : 
 marks the end, not of a period of art, 
 but of Pliny's main Greek authority 
 (cf. the similar break in the account 
 of the Painters, xxxv, 135), Brunn, 
 K. G. i, p. 504 f. Between B. c. 296 
 
//. BRONZE STATUARY 4i 
 
 and Seilanion. It is remarkable that Seilanion owed nothing to 
 
 the instruction of any master ; his own pupil was Zeuxiades. In 
 
 the hundred and twenty-first Olympiad [b. c. 296-293] came 
 
 Eulychides, Euihykrates, Laippos, Kephisodotos, Timarchos, and 
 
 Pyromachos. A period of stagnation followed, and again a revival 52 
 
 in the hundred and fifty-sixth Olympiad [b.c. 156-153], the age of 
 
 fAn/aios, Kallistratos, Polykles of Athens, iKallixenos, \Pythokles, 
 
 ^Pythias and Timokles, artists of merit, but still far below those 
 
 already mentioned. 
 
 Having given the dates of the most celebrated artists, I shall ^, . 
 , , , J The five 
 
 touch briefly on the great names, and group the others under most 
 
 various heads. The most famous artists, although born at some/''"'''"* 
 
 distance of time from each other, still came into competition, since Amazons 
 
 each had made a statue of an Amazon, to be dedicated in the/'"'.?.'^'""' 
 
 petition. 
 temple of Artemis at Ephesos, when it was decided that the prize 
 
 should be awarded to the one which the artists themselves, who 
 
 were on the spot, declared to be the best. This proved to be the 
 
 statue which each artist placed second to his own, namely that of 
 
 Polykleitos ; the statue of Pheidias was second, that of Kresilas 
 
 third, Kydon's fourth, and Phradmon's fifth. 
 
 Besides his Olympian Zeus, a work which has no rival, Pheidias 54 
 
 and the 'revival' in B.C. 156 came types, distinct in conception, but vrith 
 
 the great school of Pergamon, which externalresemblancesoftype and dress 
 
 Pliny omits in his chronological table, have been identified (Fnrtwangler, 
 
 but which he mentions below, § 84. Masterpieces, p. 128 ff.), the story of 
 
 The revixit in B. c. 156 appears con- the competition contains a kernel of 
 
 nected with the family of Polykles, truth. Two of the extant statuary 
 
 father of Timokles and Timarchides types can be traced back to Kresilas 
 
 (below, I 92 ; xxxvi, 35), and grand- and Polykleitos respectively, 
 father of Polykles II and of Dionysios, 11. placuit . . . iudicassent : we 
 
 who made the statues for the temples have here in another garb the iden- 
 
 of Juno and Jupiter erected by Q. tical anecdote told by Herodotos, viii, 
 
 Metellus Macedonicns, B.C. 149, cf. 123, Plut. 7%fwzzV^. xvii, of the allot- 
 
 Gyn\\\X,Pausanias,^. 361 ff. ; Loewy, ting of the prize of valour after Salamis. 
 I. C.B.^. IIJ. 15. Cresilae . . . Cydonis. In 
 
 6. Callistratus : perhaps iden- three out of the four extant inscriptions 
 
 tical with the artist mentioned, Tatian of his name, Kresilas calls himself 
 
 p. 36, 14, ed. Schwartz (Brunn, K. G. KvSavtiTtjs (7. G. B. it^-'tJ I for the in- 
 
 i> P- 635)- scription recently foimd at Delphoi cf. 
 
 § 53. 9. quamciuam . . . geniti : Furtwangler, Masterpieces, p. 116) ; it 
 
 by which Pliny attempts to reconcile is evident that Pliny's Latin author 
 
 his chronology (where Polykleitos is in transcribing from the Greek forged 
 
 placed twenty-eight years after Phei- out of a form TLiZav, the name of a 
 
 dias) with the story of the competition. fifth artist (cf. O. Jahn, Sacks. Bet, 
 
 10, Amazouas : since foarAmazon 1850, p. 37). 
 
43 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 praeter lovem Olympium quern nemo aemulatur fecit ex 
 ebore aeque Minervam Athenis, quae est in Parthenone stans, 
 ex acre vero praeter Amazonem supra dictam Minervam 
 tarn eximiae pulchritudinis ut formae cognomen acceperit. 
 fecit et cliduchum et aliam Minervam quam Romae Paulus s 
 Aemilius ad aedem Fortunae Huiusce Diei dicavit, item duo 
 signa quae Catulus in eadem aede palliata et alterum 
 colossicon nudum, primusque artem toreuticen aperuisse 
 55 atque demonstrasse merito iudicatur. Polyclitus Sicy- 
 onius Hageladae discipulus diadumenum fecit molliter lo 
 iuvenem centum talentis nobilitatum, idem et doryphorum 
 viriliter puerum. fecit et quem canona artifices vocant linia- 
 menta artis ex eo petentes veluti a lege quadam, solusque 
 hominum artem ipsam fecisse artis opere iudicatur. fecit 
 
 554. I. lovem Olympium: 
 xxxvi, 18, where the gold-ivory 
 Minerva is also described. 
 
 3. Minervam . . . pulchr. : i.e. 
 the bronze Athena surnamed the 
 ' Lemnia,' Pans, i, 38, 2 ; Lucian, 
 fiic6vei 4 ; for extant copies of the 
 statue, Furtwangler, Masterpieces, pp. 
 4 ff. ; see Add. 
 
 5. oliduohum : votive portrait 
 statue of a priestess, same subject by 
 Euphranor, below § 78. See Add. 
 
 P. Aemilius : probably on the 
 occasion of his triumph after Pydna 
 (b. c. 168). For the magnificent 
 statues and works of art which he 
 brought from Makedonia see Liv. 
 xlv, 33 ; they filled 250 chariots 
 which graced his triumph. Plut. Aem. 
 Fault. 32 ; cf. Veil. Pater, i, 9. 
 
 6. Portunae Huiusce Diei : on 
 the Palatine where was » Vicus 
 huiusce diei (Gilbert, iii, p. 422); 
 there was another temple of Forluna 
 H. D. in campo (see R. Peter ap. 
 Roscher, i, 1514. C. I. L. i, p. 298 f.). 
 
 7. Catulus : i. c. the Elder, who 
 on- the day of the battle against the 
 Cimbri ev^aro . . , dvaffxojv tols x«joas 
 KaOteptjjffciv rffv rvxqv ^fiepas exeivTjs. 
 Plut. Marius, 26: Plin. xvii, 2. Whence 
 Catulus obtained these Pheidian works 
 
 remains uncertain. Cf. Urlichs, Gr. 
 Statuen in Kep. Mom, p. 9 f. 
 
 palliata : i. e. portraits (cf. the pal- 
 liati, XXXV, 136), while the colossus 
 nudus presumably represented a hero 
 or local god; cf. H. L. Urlichs in 
 Woch.f. Ktass. Phitol. 1894, 488. 
 
 alterum : the duo palliata are 
 to be considered as one group, in 
 apposition to alterum, by an extension 
 of the construction of xix, 34 ; xxi, 
 128 ; XX, 9 ; XXXV, 71. H. L. Urlichs 
 loc. cit. See Addenda to p. 38, 5. 
 
 8. primusque aperuisse : this 
 criticism forms, together with the 
 similar criticisms attached to Myron, 
 Polykleitos, Pythagoras and Lysippos, 
 a consecutive canon or series of axioms 
 intended to link with definite great 
 names the successive steps in the 
 development of bronze-casting. After 
 Pheidias, the reputed discoverer of the 
 possibilites of the art, each artist is 
 appraised in his relation to symmetry, 
 the highest award falling to Lysippos, 
 Otto Jahn, Kunsturtheile des Ft. p. 
 128 if.; C. Robert, Arch. March. 
 p. 28 ff. For the author of the verdicts 
 cf below ou § 56. Introd. p. xvi ff. 
 
 toreuticen; a term applied by 
 Pliny to the whole of statuary as 
 opposed to pictura (cf. xxxv, 77), 
 
//. BRONZE STATUARY 
 
 43 
 
 made in ivory the Athena at Athens, which stands erect in the Artists of 
 Parthenon. In bronze, besides the Amazon already mentioned, -^7«S* 
 he made an Athena of such passing beauty that she was sur- 
 named the Fair. He also made a Key-Bearer, or KXfihovxps, 
 another Athena which Aemilius Paullus dedicated at Rome in 
 front of the temple of the Fortune of the Day, two draped 
 statues dedicated by Catulus in the same temple, and a nude 
 colossal statue. He is rightly held to have first revealed the 
 capabilities of sculpture and indicated its methods. 
 
 Polykleitos of Sikyon was a pupil of Hagelaidas. He made 55 
 an athlete binding the diadem about his head, which was famous ^fsik"on 
 for the sum of one hundred talents [£21,000 circ] which it 
 realized. This hia&oijievos has been described as 'a man, yet 
 a boy': the Sopv(j>6pos or spear-bearer as 'a boy, yet a man.' 
 He also made the statue which sculptors call the 'canon,' 
 referring to it as to a standard from which they can learn the 
 first rules of their art. He is the only man who is held to have 
 embodied the principles of his art in a single work. He also made 
 
 while Statuaria ars is, according to 
 Latin usage, reserved for bronze statu- 
 ary; cf. § 35 ; § 65; XXXV, 156; xxxvi, 
 15, 37- 
 
 § 55. 9. Sioyonius : by Plato 
 (JProtag. p. 311 C) Pol. is called 
 'A/)7cfor; cf. also I.G.B. 91; Furt- 
 wangler. Masterpieces, p. 355 ff. It 
 is natural that a confusion as to 
 the exact place of his birth should 
 have arisen, as his family appear to 
 have migrated from Argos to Sikyon 
 (/. G. B. 89). 
 
 10. Hag. discipulus : this is chro- 
 nologically impossible — the activity 
 of Hagelaidas reaching back as far as 
 01. 65 = B.C. 530, that of Polykleitos 
 as low down as 01. 90 = B. c. 420 
 (above, § 49), Robert, Arc/i. Mdrchen, 
 p. 92 ff. By a loose juxtaposition the 
 greatest Argive master in the fifth 
 century is made into the pupil of the 
 greatest Argive master in the sixth. 
 
 diadumenum . . . puerum : 
 the neat antithesis points to an epi- 
 gram as the source of this statement; 
 Dilthey, Rhein. Mas. xxvi, p. 290. 
 
 The Doryphoros represented an 
 athlete carrying his palaistric javelin. 
 Themost complete copy of theDiadou- 
 menos is the Vaison statue {Br. Mus. 
 Cat. i, 500) ; of the Doryphoros the 
 statue in Naples (CoUignon, Sculpture 
 Grecque, i, pi. xii). See Addenda. 
 
 11. oentum taleutis; cf. vii, 126, 
 where the same price is paid by 
 Attalos for a picture by Aristeides of 
 Thebes. Introd. p. Ixxxiv. 
 
 12. et quemcanona: the 'canon' 
 was, however, identical with the 
 Doryphoros (see the passages Schrift- 
 quell. 953 ff.). It erroneously appears 
 here as a separate statue, the comment 
 on the Doryphoros qua canon being, 
 as Furtwangler, Masterpieces, p. 229, 
 note 4, detected, taken from a different 
 source to what precedes ; cf. Miinzer, 
 Hermes, xxx, 1895, p. 530, note i. 
 
 14. artem Ipsam fecisse : ap- 
 parently an allusion to the treatise 
 on art by Polykleitos, called the 
 Canon. What Pliny states in 
 epigrammatic form is told more 
 plainly by Galenos isifX rSiv 'limoKf, 
 
44 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 et destringentem se et nudum telo incessentem duosque 
 pueros item nudos talis ludentes qui vocantur astragali- 
 zontes et sunt in Titi imperatoris atrio — hoc opere nullum 
 
 56 absolutius plerique indicant — item Mercurium qui fuit Lysi- 
 macheae, Herculem qui Romae, hagetera arma sumentem, 5 
 Artemona qui periphoretos appellatus est. hie consummasse 
 hanc scientiam iudicatur et toreuticen sic erudisse ut Phidias 
 aperuisse. proprium eius est uno crura ut insisterent signa 
 excogitasse, quadrata tamen esse ea ait Varro et paene ad 
 
 57 unum exemplum. Myronem Eleutheris natum Hageladae et lo 
 ipsum discipulum bucula maxime nobilitavit celebratis ver- 
 sibus laudata, quando alieno plerique ingenio magis quam 
 suo commendantur. fecit et canem et discobolon et Perseum 
 
 I . telo] Benndoif in Gesammelte Stud, zur Kunstgesch. Festschr. fiir A, 
 Springer, 1885,^0^. 260; taXo codd. Deile/sen. 3. z;«</a Addenda. 
 
 Kai nXttT. Soy fjt. 5 : (pyq) rbv \6yov 
 6/f/3ejSafa;fff, SrjiMovpyqaas avSpt&VTa 
 KarcL rd tou X6yov irpoffrdyfjiaTa Kot 
 KoXeaas 5^ Kai avrov rhv avbptdvTa 
 KaBa-mp teal rb aiyy pap, jjui, icav6va ; 
 cf. XXXV, 74 (Timanthes) pinxit et 
 heroa . . . artem ipsani complexus 
 viros pingendi. Introd. p. xli. 
 
 1 . destringentem se : i. e. an 
 
 telo incessentem : Furtwangler 
 {^Masterpieces, p. 249) compares Ovid, 
 Metam. 14, 402 saevisque parant 
 incessere telis. See also Woelfflin, 
 in ArchivfUr Lat. Lexicogr. ix, 1894, 
 p. 119 ff. Addenda. 
 
 2. astragalizontes : [possibly for 
 a votive or grave monument, Woch. 
 
 f. Klass. Phil. 1895, 548. For a 
 kindred subject on a Roman sarko- 
 phagos, see Helbig, Class. Ant. 97. 
 — H. L. U.] See Add. to p. 42, 5. 
 
 3. et sunt . . . atrio : this addition 
 concerning the Roman locality of the 
 astragalizontes is loosely co-ordinated 
 to the main account ; cf. Oehmichen, 
 Blin.Studien,^. 119. Introd. p. xxxvii. 
 
 § 56. 4. fuit : before the destruc- 
 tion of Lysimachea by the Thracians in 
 01. i45,4=B.c. i97(Liv.xxxiii,38,ii). 
 
 Lysimacheae: built B.C. 309 by 
 
 Lysimachos in the Thracian Cher- 
 sonnese. Where the statue had pre- 
 viously stood is not knovifn. 
 
 5. hagetera : the Doric form 
 points to a metrical epigram which 
 was doubtless inscribed on the basis 
 of the statue ; cf. H. L. Urlichs in 
 Woch.f. Klass. Phil. 1894, p. 1299 ff. 
 
 6. Artemona : according to 
 Ephoros {ap. Plut Per. 27), A. was an 
 engineer who directed the blockading 
 works during the siege of Samos by 
 Perikles. Ovring to his lameness, he 
 was carried about in a litter, whence 
 he received the surname Periphoretos. 
 Plutarch adds, however, that the story 
 was confuted by Herakleides of Pontes, 
 who showed from Anakreon (cf. 
 Bergk, Poetae Lyr. iii, p. 261, Fr. 
 21-46, where see note), that Art. 
 Periphoretos lived long before the 
 Samian war. It is evident that there 
 was contaminatio between the two 
 namesakes, the engineer becoming 
 credited with the surname of the 
 notorious voluptuary, while the story 
 of the lameness was invented to ac- 
 count for it. Addenda. 
 
 7. hano scientiam : harks back 
 to § 54 Phidias . . . primus artem 
 toreuticem aperuisse. 
 
//. BRONZE STATUARY 45 
 
 an athlete scraping himself, a nude figure advancing with a weapon, 
 and two boys, also nude, playing with knucklebones, who are known 
 as the do-T/iayaXt'foiTf £ [dlcc-players], and are now in the Hall of the 
 Emperor Titus. Many people think that the faultless execution 
 of this work has never been surpassed. Other works of his are 56 
 a Hermes, which was at Lysimacheia ; a Herakles at Rome ; 
 a captain or iyirrip putting on his armour j and finally a portrait 
 of Artemon, known by the name of jrepi(j>6i>T]Tos or ' Man in the 
 litter.' He is considered to have brought the scientific knowledge 
 of statuary to perfection, and to have systematized the art of 
 which Pheidias had revealed the possibilities. It was his peculiar 
 characteristic to represent his figures resting their weight on one 
 leg ; Varro however says that they are square and almost exactly 
 after the same type. 
 
 Myron was born at Eleutherai, and was also a pupil of 57 
 Hagelaidas. He is best known by his heifer, thanks to the well- £^^t"frai. 
 known verses written upon it, for people very generally owe 
 their reputation to the talent of others, rather than their own. 
 He also made a dog, and a fiio-xo^oXof, or athlete hurling the 
 disk, a Perseus, sawyers, a Satyr gazing with wonder at the 
 
 8. uno crure ut insisterent: ladae: the pupilship can neither be 
 implies a shifting of the weight from proved nor disproved ; possibly, how- 
 one leg to the other in the act of ever, the tradition only arose from a 
 walking, and therefore accurately general likeness between the early 
 describes the favourite Polykleitan works of Myron and those of Hage- 
 attitude of ' arrested motion.' Had laidas. Furtwangler, Masterpieces, 
 the figure been represented at rest p. 196. Introd. p. li, note 6. 
 
 with its whole weight on one leg, the Sleutheris : on the frontier 
 
 expression used must have been uni between Boeotia and Attica (cf. 
 
 cruri insist., MichaeUs, Ann. d. Inst. I. G. B. 417). 
 
 1878, p. 29 (cf. J. Lange, Frem- 11. bucula: the heifer (doubtless 
 
 stilling, p. 466). a votive offering) had originally stood 
 
 9. quadrata ... ait Varro : the in Athens, Cic. Verr. II, iv, 60, § 135. 
 mention of Varro shows that the Later it was transferred to Rome, 
 criticism of Polykleitos and conse- where Prokopios (5«//. Goth, iv, 21) 
 quently the kindred criticisms of the saw it in the Forum Pads. — No less 
 remaining four artists were derived than thirty-eight of the epigrams 
 from him, though Varro himself was of alluded to are extant (collected in 
 course drawing directly or indirectly Overbeck, Schriftquell. 550-588). 
 from a Greek author, whom we now 1 3. canem : votive-offering, cf. 
 know to have been Xenokrates of Antk.Pal.m, 175; 176. The list of 
 Sikyon (§ 83), Introd. p. xvi ff. works down to Delph. pentathlon is 
 
 quadrata = rerpw^oiva, cf. Plato, alphabetic (Petersen, A. Z. xxxviii, 
 Protag. 344 a. 1S80, p. 25). 
 
 § 57. 10. Myronem . . . Hage- disoobolon : the best copy is 
 
46 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 et pristas et Satyrum admirantem tibias et Minervam, 
 Delphicos pentathlos, pancratiastas, Herculem qui est apud 
 circum maximum in aede Pompei Magni. fecisse et cicadae 
 monumentum ac locustae carminibus suis Erinna significat. 
 
 58 fecit et Apollinem quern ab triumviro Antonio sublatum 5 
 restituit Ephesiis divus Augustus admonitus in quiete. 
 primus hie multiplicasse veritatem videtur, numerosior in 
 arte quam Polyclitus et in symmetria diligentior, et ipse 
 tamen corporum tenus curiosus animi sensus non expressisse, 
 capillum quoque et pubem non emendatius fecisse quam 10 
 
 59 rudis antiquitas instituisset. vicit eum Pythagoras Re- 
 ginus ex Italia pancratiaste Delphis posito ; eodem vicit 
 et Leontiscum ; fecit et stadiodromon Astylon qui Olympiae 
 ostenditur et Libyn, puerum tenentem tabellam eodem loco 
 et mala ferentem nudum, Syracusis autem claudicantem, 15 
 
 14. loco, et Detlefsen. 
 
 in Palazzo Lancellotti (Collignon, 
 Sculpture Grecque, i, pi. xi). 
 
 Peraeum : presumably identical 
 with the Perseus by Myron on the 
 Akropolis (Pans, i, 23, 'j). 
 
 I. pristas : Dalecampius was the 
 first to give the true meaning of the 
 word ; Furtwangler, Dornauszieher, 
 p. 89, note 30, correctly explained 
 the curious subject as a votive offering; 
 cf. H. L. Urlichs in Woch. f. Klass. 
 Phil. 1893, p. 220 f. See Addenda. 
 Satyrum . . . et Minervam = 
 Pans, i, 24, I ; Collignon, Sculpture 
 Grecque, i, p. 465 f. Petersen, loc. 
 cit., showed that the two must be 
 considered as one group owing to the 
 alphabetical enumeration noted above. 
 3. in aede Pompei Magni : 
 this new temple of H. was presum- 
 ably near to the ara maxima in the 
 foro boario, the chief centre of the 
 hero's worship (Gilbert iii, p. 434 ; 
 cf. H. Peter ap. Roscher i, 2918 ; cf. 
 above on § 33 ; xxxv, 19). Pompeius 
 had probably dedicated it on the 
 occasion of his last triumph in B.C. 6t, 
 and brought the Herakles from Asia 
 Minor (cf. Urlichs, Chrest. p. 139). 
 
 Herculis 
 
 Vitr. 3, 2, 5 : aedes 
 Pompeiani. 
 
 4. Srinna: Hardouin (1685) had 
 already detected that this ridiculous 
 statement arose from a confusion be- 
 tween Mvpiiv and the maiden Mvpii, for 
 whom the poetess Erinna must have 
 written an elegy similar to the ex- 
 tant one by Anyte {Ani/t. vii, 190). 
 'AitpiSi ra KaT* apovpav aijdovi adt 
 
 SpvoKoira 
 TGTTiyi ^whv TvfiPov erev^a Mvpccr, 
 
 § 58. 5. sublatum restituit : cf. 
 Man. Anc. (xxiv) iv, 49-5 1 : /« 
 templis omnium civitatium provinciae 
 Asiae victor ornanienta reposui. quae 
 spoliatis templis is cum quo helium 
 gesseram privatimpossederat. Momm- 
 sen. Res Gestae, p. 95 f. MUnzer, 
 op. cit. p. 545, suspects the Ephesian 
 story of being a doublette of Augustus' 
 restoration of Myronian works to 
 Samos, recounted Strabo xiv, i, 14. 
 
 7.. multiplicasse veritatem : ex- 
 plained byBrunn {K. C i, p. 151) to 
 mean that Myron ' widened the range 
 of representation in art, inasmuch as 
 he laid hold on moments disclosed by 
 attentive observation of nature, but not 
 
//. BRONZE STATUARY 
 
 47 
 
 pipes and Athena, winners in the five contests at Delphoi, 
 pankratiasts, and the Herakles which is near the great Circus 
 in the temple of the great Pompeius. A poem by Erinna also tells 
 us that he made the monument of a cicada and a locust ; he also 58 
 made the Apollo which was taken from the Ephesians by the' 
 triumvir Antonius, and restored to them by the god Augustus, in 
 obedience to a dream. He was apparently the first to multiply 
 truth ; he was more productive than Polykleitos, and a more 
 diligent observer of symmetry. Still he too only cared for the 
 physical form, and did not express the sensations of the mind, 
 and his treatment of the hair of the head and of the pubes con- 
 tinued to betray an archaic want of skill. 
 
 Pythagoras of Rhegion in Italy surpassed Myron with the 59 
 pankratiast placed at Delphoi ; with the same statue he also sur- Pp^'^'^,"^ 
 passed Leontiskos. He further made the statues of the runner 
 Astylos and of a Libyan, which are to be seen at Olympia ; for the 
 same place he made the boy holding a tablet, and a nude male 
 figure bearing apples. At Syracuse is a statue by him of a man 
 
 utilized before.' A striking example 
 of course is the Diskobolos, represented 
 in the act of hurling the disk. 
 
 nmnerosior : cf. xxxv, 1 30, dili- 
 gentior quam numerosior ; ibid. § 138 
 numerosaque tabula [numerosus in 
 Pliny always of number; cf. vii, 101, 
 143; A, 176 numerosiora in fetu; 
 XV, 8, and often.— H. L. U.]. 
 
 9. animi sensus : the translation 
 given above is from Pater, Greek 
 Sttidies, p. 301. 
 
 § 59. 12. eodem . . . Xisontiscum : 
 Leontiskos was a winner both in the 
 Pythian and Olympic games, whose 
 portrait was made by Pythagoras 
 (Pans, vi, 4, 3). He figures here 
 as an artist, doubtless through mis- 
 understanding of some Greek sen- 
 tence such as iviKa koX tovtov iroiwv «ai 
 AeovTia/tov, i. e. ' he conquered, both 
 when he made the pankratiast and 
 when he made the Leontiskos' 
 (Urlichs, JiAein. Mus. 1S89, p. 261). 
 
 13. Astylon: Pans, vi, 13, x. 
 
 qui Olympiae ostenditur : 
 belongs to Libyn as well as to 
 
 Astylon. In the following sentence, 
 likewise, eodem loco belongs to both 
 puerum and mala ferentem nudum ; 
 cf. the analogous construction in xxxiii, 
 5 murrina ex eodem tellure et cry- 
 stalina effodimus. (H. L. Urlichs in 
 Gorlitz. Verhandl. p. 330.) 
 
 14. Libyn, i. e. Mnaseas of Kyrene. 
 Pans, vi, 13,7 ; 18, i. 
 
 puerum . . . tabellam: pro- 
 bably an iconic mvaxiov, Reisch, 
 Weihgeschenhe, p. 44. The statue 
 may be identical with that of the boy 
 victor Protolaos, Pans, vi, 6, i ; cf. 
 H. L. Urlichs, loc. cit. See Addenda. 
 
 15. mala ferentem : cf. the statue 
 of Theognetos, who carried mrvos t^s 
 7' ^/j-epov xal /5mSj KapirSv, Pans, vi, 
 
 ■ 9, I. Pythagoras's statue of Euthy- 
 mos (7. G. B. 29, Pans, vi, 6, 4-6) is 
 mentioned in Bk. vii, 152. 
 
 elaudicantem : the identifica- 
 tion of this statue with a wounded 
 Philoktetes is due to Gronovius (Bliim- 
 ner, Comm. to Lessing's Laokoon, 
 p. 508 f). The following words 
 cuius . . , videntur are evidently epi- 
 
48 C. PLINII SECUNDl NAT. HIST. XXXIV 
 
 cuius ulceris dolorem sentire etiam spectantes videntur, item 
 ApoUinem serpentemque eius sagittis configi, citharoedum, 
 qui Dicaeus appellatus est, quod, cum Thebae ab Alexandre 
 caperentur, aurum a fugiente conditum sinu eius celatum 
 asset, hie primus nervos et venas expressit capillumque 5 
 
 60 diligentius. fuit et alius Pythagoras Samius, initio pictor, 
 cuius signa ad aedem Fortunae Huiusce Diei septem 
 nuda et senis unum laudata sunt, hie supra dicto facie 
 quoque indiscreta similis fuisse traditur, Regini autem 
 
 61 discipulus et filius sororis fuisse Sostratus. Lysippum 10 
 Sicyonium Duris negat uUius fuisse discipulum, sed primo 
 aerarium fabrum audendi rationem cepisse pictoris Eupompi 
 response, eum enim interrogatum, quem sequeretur ante- 
 cedentium, dixisse monstrata hominum multitudine naturam 
 
 62 ipsam imitandam esse, non artificem. plurima ex omnibus 15 
 signa fecit, ut diximus, fecundissimae artis, inter quae destrin- 
 gentem se quem M. Agrippa ante Thermas suas dicavit 
 mire gratum Tiberio principi. non quivit temperare sibi in 
 eo, quamquam imperiosus sui inter initia principatus, trans- 
 
 grammatic ; Anth. Plan, iv, II3, of § 60. 6. fuit et alius : in Paus. 
 
 a broDze Philoktetes, seems to refer vi, 4, 3, Pythagoras is called ■p?;7ri'os, 
 
 to the work of Pythagoras, the un- and immediately after (vi, 6, 4) he is 
 
 usual omission of the name of the named as the artist of the statue of 
 
 hero portrayed accounting for its Euthymos. Now on the basis of the 
 
 omission by Pliny (cf. Brunn, K. G. i, Euthymos (/. G. B. 23). Pythagoras 
 
 p. 134). signs himself "SAixios; it is clear 
 
 2. configi : for the construction therefore that the Samius and the 
 
 cf. XXXV, 144 (pinxif) ab Oreste ma- Rheginus were one and the same per- 
 
 trem et Aegisthum interfici. son. He was probably among the 
 
 citharoedum ; a Theban poet Samians who migrated to Italy in Ol. 
 
 named Kleon. The inscription on his 71 (Herod, vi, 23) and became subjects 
 
 statue is quoted by Athenaios, i, of Anaxilas of Rhegion (Loewy on 
 
 p. 19 b, who adds the story of the /. G. B. 23). He evidently signed 
 
 gold on the authority of Polemon ; cf. sometimes with the one sometimes 
 
 Preger, Inscripiiones, 140. with the other ethnic, a fact which 
 
 5. hio primus nervos: his rela- misled some art historian into dividing 
 
 tion to symmetry is not given by him into two persons. A critic cor- 
 
 Pliny. It is preserved however, rected this blunder and stated his belief 
 
 by Diogenes Laertios viii, 46 : 01 h\ (hat the two were identical, a remark 
 
 KoJ . . . dvSpiavTOTTOtbv 'Fr;yTvov ye- which would afford the clue to Pliny's 
 
 yovivai <paai livB. irpHiTOV Soicovvra ridiculous statement about the like- 
 
 fivB/iov xal (Tv/JiaeTpias iaroxaaSai. ness. It is noteworthy that Diogenes 
 
 Koi aWov avSpiavTotroibv 'Saiuov (loc. cit.) is likewise guilty of dividing 
 
 (Furtwangler, Plinius, p. 70). the sculptor into two. 
 
I //. BRONZE STATUARY 49 
 
 limping, the pain of whose ulcer even the spectators seem to feel. 
 He also made an Apollo piercing a serpent with his arrows, and 
 a man with a cithara, which bears the name of SUaws [the Just], 
 because when Thebes was taken by Alexander, a fugitive concealed b.c. 335. 
 some money in its bosom, where it remained safely hidden. He 
 was the first to make the sinews and veins duly prominent, and 
 to bestow greater pains on the hair. A second Pythagoras, 60 
 a Samian, was a painter in early life. Near the temple of the 
 Fortune of the Day are seven nude figures by him, and an 
 old man, which are praised. According to tradition his personal 
 resemblance to the other Pythagoras was so strong that the two 
 could be mistaken ; it was the Rhegine Pythagoras, however, of 
 whom Sostratos was the pupil and nepjiew. ^ „ ^ 
 
 Duris declares that Lysippos of Sikyon was no man's pupil ;'.§i;' 
 that he was originally a coppersmith, and was encouraged to ven- gf stkyon. 
 ture on a higher path by the words of Eupompos. That painter 
 when asked which of the earlier artists he followed, pointed to 
 a crowd of people, and replied that nature should be imitated 
 and not any artist. Lysippos produced more works than any 62 
 other artist, possessing, as I have said, a most prolific genius. 
 Among them is the ii^n sMapingJiimself, which Marcus Agrippa 
 dedicated in front of his baths. In this statue the Emperor 
 Tiberius took a marvellous delight, and though capable of self- ',' 
 
 6. initio piotor: so of Pheidias Sostratus see Munzer, Hermes, 1895, 
 XXXV, 54. p. .i;33. 
 
 7. ad aedem Fortunae H. D. : § 61. 11. negatulliusfuissediaoi- 
 aboTe § 64 ■; it seems to have con- pulum : In other words the name of 
 tained a real Museum; the septem his master was lost, ct Seiknion 
 signa need not have formed a group, above § 6') Protogenes in xxxv, loi. 
 but were seven athlete statues, col- 12. pietoiis Eupompi : xxxv, 75, 
 lected together into one place for the among the aequales et aemuli of 
 first time at Rome. To these was Zeuxis. On chronological grounds 
 added the portrait of an old man by there is nothing to prevent Eupompos 
 the same artist (cf. H. L. Urlichs in as an old man from having known the 
 Woch. f. Klass. Phil. 1894, p. 488, young Lysippos. The anecdote, how- 
 and Sauer, Anfdnge d. Stat. Grupfe, ever, was probably concocted in order 
 p. 20, note 73). to bring into connexion the greatest 
 
 8. facie quoque indisoreta : cf. painter and the greatest sculptor of 
 the similar expressions above § 38 ; Sikyon ; cf. Introd. p. xlvii f. 
 
 vii, 53; xxxv, 88 similitudinis in- 14. naturam . . . non artiflcem : a 
 
 discretae, Sfc. hit at the schools which worked accord- 
 
 10. Sostratus: his identity with ing to a fixed cokcw. Introd. p. xlviii. 
 
 Sostratos, sixth in artistic descent §62. 16. utdiximus : above, § 37. 
 
 from Aristokles of Sikyon (Pans, vi, 17. ttermas: at the back of the 
 
 9, 3), is quite doaibtful. On this Pantheon. See Addenda. 
 
 E 
 
5° 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 tulitque in cubiculum alio signo substitute, cum quidem tanta 
 populi Romani contumacia fuit ut theatri clamoribus reponi 
 apoxyomenon flagitaverit princepsque quamquam adamr.tum 
 
 63 reposuerit. nobilitatur Lysippus et temulenta tibicina et 
 canibus ac venatione, in primis vero quadriga cum Sole 5 
 Rhodiorum. fecit et Alexandrum Magnum multis operibus 
 
 a pueritia eius orsus. quam statuam inaurari iussit Nero 
 princeps delectatus admodum ilia, dein, cum pretio perisset 
 gratia artis, detractum est aurum, pretiosiorque talis existima- 
 batur etiam cicatricibus operis atque concisuris in quibus 10 
 
 64 aurum haeserat remanentibus. idem fecit Hephaestionem 
 Alexandri Magni amicum, quern quidam Polyclito ad- 
 scribunt, cum is centum prope annis ante fuerit, item 
 Alexandri venationem quae Delphis sacrata est, Athenis 
 Satyrum, turmam Alexandri in qua amicorum eius imagines 15 
 
 A.u.c. 608. summa omnium similitudine expressit — banc Metellus Mace- 
 donia subacta transtulit Romam — fecit et quadrigas multo- 
 
 65 rum generum. statuariae arti plurimum traditur contulisse 
 
 § 63. 4. temulenta tibicitia : a 
 votive or grave statue, cf. the anus 
 ebria of Myron, xxxvi, 32 ; the fsal- 
 tria by the painter Leontiskos, xxxv, 
 141, &c. 
 
 5. canibus ao venationo : cf. the 
 Alexandri ven. below, § 64. Large 
 hunting groups came largely into 
 vogue from Alexaniier onwards ; cf. 
 Kuhnert, Statue und Ort, p. 331. Ur- 
 lichs {Skopas, p. 196) believes that the 
 fine fragment of a rider from the 
 Mausoleion (Brit. Mus.) had formed 
 part of such a group. 
 
 Sole Bhodiorum : for a head of 
 Helios with Lysippian characteristics, 
 found in Rh odes, cf Hartwig, ' Testa di 
 Helios,' Rom. Mitlh. ii, pp. 159-166. 
 
 6. Alexandr. Magnum : the most 
 famous was the Alexander with the 
 snear (Plut. itipi t^s 'hK. tix^^ ii, 
 2) ; the motive seems reproduced in 
 the nude bronze portrait in the Terme 
 Mus. (Helbig, Class. Ant. 1052 ; 
 Ant. Denkm. i, 5; Furt dangler, 
 Masterpieces, p. 364, n. :.). For 
 
 portraits of Alexander see Koepp, 
 Winckelmannsprogramm, 1892. The 
 story told in Bk. vii, 125 (cf. Plut. 
 Alex, iv), that Lysippos alone was 
 privileged to make bronze statues of 
 Alexander, must like the similar stories 
 of Apelles (xxxv, 85) and Pyrgoteles 
 (xxxvii, 8) be accepted cum grano. 
 
 % 64. 13. cum is centum prope 
 annis : Pliny's difficulty arises from his 
 only knowing of the Elder and more 
 famous Polykleitos, whereas a younger 
 P. is known from Pans, vi, 6, 3 (also 
 /. G. B. 92). Since the greater artists 
 often become credited with the works 
 of their less illustrious confreres, it is 
 probable that, as Loeschcke {A. Z. 
 1878, p. 10 ff.) has already pointed 
 out, the Hephaistion really was by the 
 younger Polykleitos. So too a number 
 of the works by the pupils of Pheidias 
 cnme to be reckoned as by the master 
 himself. Introd. p. xciii. 
 
 14. venationem . . . Delphis : 
 dedicated by Krateros on the occasion 
 narrated by Plutarch {Alex. 40), who 
 
//. BRONZE STATUARY 51 
 
 control in the first years of his reign, he could not refrain from 
 having the statue removed into his private chamber, substituting 
 another in its place. The populace of Rome resented this so 
 deeply that they raised an outcry in the theatre, demanding the 
 restitution of the mro^vofievos, to which the emperor was fain to 
 
 yield, in spite of the passion he had conceived for the statue. 
 
 Lysippos has also won fame by his drunken flute-player, his dogs es 
 and huntsmen, and above all by the four-horse chariot and the 
 figure of the Sun made for the Rhodians. He also made a number 
 of portraits of Alexander the Great, beginning with one of him as 
 a boy, which the Emperor Nero, who was greatly charmed with the 
 statue, ordered to be gilded. Then, as this costly addition spoiled 
 the beauty of the work, the gold was removed, and the statue was 
 considered more valuable without it, in spite of the scars upon it 
 and the incisions for fixing the gold. Further he made a statue 64 
 of Hephaistion, the friend of Alexander the Great, which some 
 ascribe to Polykleitos, although that artist lived almost a hundred 
 years earlier. We have also from his hand an Alexander in 
 a hunting group, which is consecrated at Delphoi, a Satyr at 
 Athens and a troop of Alexander's bodyguard, in which all his 
 friends' portraits are rendered with great fidelity. This group 
 was transported to Rome by Metellus after the conquest of 146 b.c. 
 Makedonia. By Lysippos also are various four-horse chariots. His 65 
 chief- cantrjbutions^ to -the art of sculpture are said to consist 
 
 states that the work was executed which -would serve Lysippos as guide; 
 
 conjointly with Leochares. According cf. the undoubted portraits on the 
 
 to Loeschcke {Jahrh. iii, 1888, p. 'Alexander' sarkophagos from Sidon, 
 
 139!) an echo of this work has sur- where, however, we can hardly suppose 
 
 vived on a relief from Messene in the the persons represented to have given 
 
 Louvre {loc. cit. pi. vii), cf. also Hans the artist sittings. 
 
 Dragendorff, Terra Sigillata, p. 57. 16. Maoedoniasubaota: thegroup 
 
 15. turmam Alexandri: i.e. the had stood in Dion, probably in the 
 
 twenty-five officers who had fallen in temenos of Zens, where were the statues 
 
 the first attack at the Granikos. A of the Makedonian kings (Heuzey, 
 
 statue of Alexander formed the centre Mont Olymfe, p. 1 1 8). Arrian, writing 
 
 of the group. Veil. Paterc. i, II, 3. A.D. 124, mentions it as still at 
 
 amieorum . . . imagines : this Dion, probably because he is quoting 
 
 assertion has been supposed to clash from some life of Alexander written 
 
 with the statement that the dead -H-ere previous to the Roman conquest, 
 
 buried on the battle-field (Arrian i, 17. Bomam: first in the forticus 
 
 16, 6). But seeing how extensively Melelli, which was afterwards ab- 
 
 portraiture was encouraged in the sorbed into i\ieporticus Oclaviae (Veil, 
 
 circle of Alexander, there doubtless Paterc. loc. ai.). The statues were on 
 
 were extant portraits of the officers, the area (cf. Varro «/. Macrob. iii, 
 
 F. 1 
 
52 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 capillum exprimendo, capita minora faciendo quam antiqui, 
 corpora graciliora siccioraque, per quae proceritas signorum 
 maior videretur. non habet Latinum nomen symmetria 
 quam diligentissime custodit nova intactaque ratione qua- 
 dratas veterum staturas permutando, vulgoque dicebat ab 5 
 illis factos quales essent homines, a se quales viderentur esse, 
 propriae huius videntur esse argutiae operum custoditae in 
 
 66 minimis quoque rebus, filios et discipulos reliquit laudatos 
 artifices Laippum, Boedan, sed ante omnes Euthycraten, 
 quamquam is constantiam potius imitatus patris quam lo 
 elegantiam austere maluit genere quam iucundo placere. 
 itaque optime expressit Herculem Delphis et Alexandrum 
 Thespis venatorem et Thespiadas, proelium equestre, simu- 
 lacrum ipsum Trophonii ad oraculum, quadrigas complures, 
 
 67 equum cum fuscinis, canes venantium. liuius porro 15 
 discipulus fuit Tisicrates et ipse Sicyonius, sed Lysippi 
 sectae propior, ut vix discernantur compLura signa, ceu 
 senex Thebanus et Demetrius rex, Peucestes Alexandri 
 
 13. Thespiadas] om. Bamb., Deiiefsen. 15. fiscinis Bamb., Detlefsen. 
 
 4, 3) in front of the temples — Jupiter 7. argutiae operum : cf. xxxv, 
 
 and Juno (frontem Oedinm speciant 67 Parrhasius . . . dedit primus ar- 
 
 Velleius loc. cit.\ cf. xxxvi, 35, 40. gutias ■aoltus ; Cic. Bruins, 45, 167 
 
 § 65. 3. symmetria: so in xxxv, and O. Jahn's note. 
 
 67, 128 Pliny retains the Greek word, § 66. 8. filios et discipulos: the 
 
 although, as Otto Jahn has pointed notice of the sons of Lysippos is from 
 
 oat {Kunsiurtheile, p. 131) proportio the same author as the preceding five 
 
 or commensus afforded an adequate appreciations. Introd. p. xxi. 
 
 Latin equivalent. For a like reluc- 9. Laippum: above § 51; cf. 
 
 tance to translate a Greek word which § 87. — Boedan : below § 73- — 
 
 had come to have a precise meaning Euthykraten : § 83. 
 
 cf. xxxv, 98 quae vocant Graeci eihe. 10. quamquam.. . . maluit : points 
 
 6. quales viderentur esse ; Pliny, to a reaction within the Lysippian 
 
 or his authority, is here finding a school to the older and severer Argive 
 
 formula for the conflict between the manner. 
 
 desire to represent things as they are constantiam : cf. Petron. 88 Ly- 
 
 known to be, and that of presenting sippum, stattiae unius Uneamentis 
 
 them as they appear to be. The form inhaerentem, inopia extinxit. 
 
 ofthe aphorism seems influenced by the 12. itaque optime: explanatory, 
 
 jfords Aristotle puts into the mouth of not of the preceding quamquam, but 
 
 Sophokles, Poet. 1 460 b : "Ztx^oxKri^ eiprj of the general excellence of E. (Blilm- 
 
 aiiTos fiiv o'iov^ dtiTTOieiv, EvpiwiSrjv Si ner, Rhein. Mus. xxxii, p. 610). 
 
 ofoi flaiv (cf also in Poet. 1448, ff'. the 13. Thespiadas : a Praxitelean 
 
 judgement passed on Polygnotos, Pau- subject, xxxvi, 39 ; so his father made 
 
 son and Dionysios), Introd. p. Ixiif. for the same Thespiai an Eros, as 
 
//. BRONZE STATUARY 53 
 
 in his vivid rendering of the hair, in making the heads smaller 
 than older artists had done, and the bodies slimmer and with \ 
 less flesh, thus increasing the apparent height of his figures. 
 There is no word in Latin for the canon of symmetry [uu/ijucTpio] | 
 which he was so careful to preserve, bringing innovations which / 
 had never been thought of before into the square canon of the / 
 older artists, and he often said that the difference between him- / 
 self and them was that they represented men as they were, and 
 he as they appeared to be. His chief characteristic is extreme 
 delicacy of execution even in the smallest details. 
 
 He left artists of high reputation in his sons and pupils, Laippos, 66 
 t Boedas, and above all Euthykrates; the latter however imitated '^"^^jl^ 
 not so niKch the refinement as the perseverance of his father, 
 choosing to win approval by an austere rather than a lighter style 
 of execution. In this manner he made for Delphoi an admirable 
 statue of Herakles, for Thespiai an Alexander hunting, a group of 
 the Thespiades and a combat between horsemen, a statue of 
 Trophonios within his oracular cave, several chariots with four 
 horses, a horse carrying hunting prongs, and hunting dogs. 
 
 His pupil was Teisikrates, also a native of Sikyon, who 67 
 followed more closely the school of Lysippos, so that many of his Teisikrates 
 works can hardly be distinguished from those of the master : Euthy- 
 witness his portrait of an old man at Thebes, of king Demetrios Urates. 
 and of Peukestes, who saved Alexander's life and well deserves 
 the honour of a statue. 
 
 Praxiteles before him. It may be Mopsos on the cylix by Glaukytes and 
 
 that the Thespians owed to the bounty Archikles in Munich (Klein, Meister- 
 
 of Alexander (whose allies they had sign. p. 77 = Gerhard, Auserksene 
 
 become in B. C. 335) these Lysippian Vasenbilder, iv, 235). Further, on an 
 
 bronzes, rivals of the celebrated Praxi- archaic cylix from Kameiros (men- 
 
 telean marbles. (So Klein, _/a,4?-*. ix, tioned, A. Z. xxiv, 1866, p. 296), 
 
 1S94, p. 166.) Bellerophon, riding Pegasos, is re- 
 
 proelium equestre : a votive offer- presented with a similar pronged fork ; 
 
 ing like the turmam Alexandri, § 64, also in hands of one of the huntsman 
 
 cf. Kuhnert, Statue u. Ort, p. 331. on two amphoras in Berlin (Furt- 
 
 [From simulacrum to canes yte have wangler, Cat. 1705, 1706), otherwise 
 
 an inverted alphabetical list. — H.L.U.] the pronged fork is known only as 
 
 14. ad oraculum : the actual cave a fishing implement. The horse, the 
 as distinct from the temple, which quadrigae just mentioned, and the 
 contained a statue of the god by following canes (cf. note on canem 
 Daidalos (Paus. ix, 39, 8), and another in § 57) all belong to the usual class 
 by Praxiteles (ib. § 4). of votive offerings. 
 
 15. fusoinis : two-pronged spears, J 67. 16. Tisiorates ; § 83. 
 
 such as are used by Meleager and 18. senex Thebartus : not Pindar 
 
54 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 68 Magni servator, dignus tanta gloria, artifices qui com- 
 positis voluminibus condidere haec miris laudibus cele- 
 brant Telephanen Phocaeum ignotum alias, quoniam in 
 Thessalia habitaverit, et ibi opera eius latuerint, alioqui 
 suffragiis ipsorum aequatur Polyclito, Myroni, Pythagorae. 5 
 laudant eius Larisam et Spintharum pentathlum et Apol- 
 linem. alii non banc ignobilitatis fuisse causam, sed quod 
 se regum Xerxis atque Darei officinis dediderit, exfetimant. 
 
 69 Praxiteles quoque marmore felicior, ideb et clarjor fuit. 
 fecit tamen et ex aere pulcherrima opera : Pro^erpinae 'o 
 raptum, item catagusam, et Liberum patrem, et EbJ-ietatem 
 nobilemque una Satyrum quern Graeci periboeton! cogno- 
 minant, et signa quae ante Felicitatis aedem fuere, Venerem- 
 que quae ipsa aedis incendio cremata est Claudii principatu, 
 
 70 marmoreae illi suae per terras inclutae parem, item stepha- 15 
 
 as some have supposed — or the name 
 would almost certainly have been 
 preserved, but merely a portrait. Furt- 
 wangler, Domauszieher, p. 92. 
 
 Demetrius : i. c. Poliorketes, be- 
 came king B.C. 307, died B.C. 283. 
 
 Peuoestes : tribus iaculis con- 
 fossus, non se tamen scuto, sed regem, 
 tuebatur Q. Curtius ix, ch. 5, 21; 
 the episode occurred during a siege in 
 the territory of the Oxydrakai, or ac- 
 cording to Arrian vi, 10, and Plutarch, 
 Alex. Ixiii, in that of the Malloi. 
 
 § 68. I. artifices qui : i.e. Xeno- 
 krates and Antigonos, see Introd. 
 p. xxii. haec, i. e. everything men- 
 tioned §§ 49-68. 
 
 3. Phocaeum : from the Ionian 
 Phokaia, $eu«aros ; cf. Furtwangler, 
 Masterpieces, p. 57. It is unnecessary 
 to look upon the word as a variant 
 for Phocencis. 
 
 6. Iiarisam : it is worth noting in 
 this connexion the beautiful head of 
 the nymph Larissa on the coin, P. 
 Gardner, Types, pi. vii, 1 7 ; Rev. 
 hotse and horseman treated in a style 
 reminiscent of Parthenon frieze. 
 
 7. alii non : see Introd. loc. cit. 
 The names of Xerxes (b. C, 485-465) 
 
 and of Dareios (the First B.C. 521- 
 485, the Second B. c. 425-405) are 
 apparently only introduced to attach 
 the statement to well-known names. 
 The dates are plainly irreconcilable. 
 
 § 69. 10. Proserpinae raptum ; 
 the extant representations of the Rape 
 of Persephone have been carefully col- 
 lected by Fbrster, Raub u. Riickkehr 
 d. Perseph. in Philologus, Supplement- 
 band iv. A number are reproduced by 
 Overbeck, Atlas d. Kunst Myth. Taf. 
 17, 18 ; none however can be referred 
 with any certainty, or even probability, 
 to the group by Praxiteles. Forster 
 hesitatingly suggests that the coin of 
 Kasa (Overb. K. M. Milnztafel, ix, 12) 
 reproduces the group of Praxiteles. 
 The subject of the Rape was treated 
 by the painter Nikomachos, xxxv, 
 108. 
 
 II. item: introduces a new sub- 
 ject, catagusa ; the true meaning was 
 given as early as by Dalecampius, t^i* 
 Karayovaav quae pensa nendo ducet 
 unde et xaTayixa ; so independently 
 Loeschcke, A. Z. 38 (1880), p. 102 f. 
 The meaning of xark-iav is further 
 discussed by Fbrster, loc. cit. p. 719 ; 
 H. L. Urlichs iJVoch. f. Klass. Phil. 
 
//. BRONZE STATUARY 
 
 55 
 
 Those sculptors who have written treatises on the subject give 68 
 
 high praise to Telephanes of Phokaia, who is otherwise unknown, TeUphanes 
 ,,,.,. of Phokma. 
 
 since, they say, he hved in Thessaly, where his works remained 
 
 unnoticed. These writers however adjudge him a place beside 
 
 Polykleitos, Myron and Pythagoras, praising his statues of Larissa, 
 
 of Spintharos, a winner in the five contests, and of Apollo. 
 
 Others give a different reason for his comparative obscurity, 
 
 saying that he passed into the service of king Xerxes and of 
 
 Dareios. 
 
 Praxiteles also, though more successful and consequently 69 
 
 better known as a worker in marble, created admirable works Praxiteles. 
 
 in bronze : a rape of Persephone, the Koraynvira or Girl Spinning, 
 
 a Dionysos, a figure of Intoxication grouped with an admirable 
 
 Satyr known among the Greeks as the irepi^driTos or Renowned, 
 
 and also the statues which stood in front of the temple of 
 
 Felicity, and an Aphrodite which was also destroyed when the 
 
 temple was burned down in the reign of Claudius, the worthy 
 
 peer of his famous marble Aphrodite. Other works of his are 70 
 
 the (TT((l>avovcra, or woman presenting a wreath, the -^eXioviisvr), or 
 
 1894, p. 227 f.) compares for the 
 motive the spinning maiden, Furt- 
 wangler, Samml. Sabouroff, PI. xix ; 
 and the bronze statue, Munich, Glypth. 
 314. I take the Kardyovaa to have 
 been a grave statue ; for spinning and 
 similar motives on graves, see Weiss- 
 hanpl, Gratgedichte der Gr. Anthol. 
 p. 77, note 3. 
 
 Liberum patrem : [it is usual to 
 understand the Dionysos as forming 
 a group with the two following statues, 
 but the fact that up to Veneremque 
 the enumeration of single works is 
 given by et., shows that Pliny, at any 
 rate, understood the Dionysos as a 
 separate statue, and the figure of In- 
 toxication and the Satyr only (their 
 close connexion being indicated by 
 the use of -que) as forming a group 
 together ; the second et is omitted in 
 Cod. Bamb., but in cases of omission 
 of syllables or even words, little faith 
 can be put in this otherwise excellent 
 MS. — H. L. U.]. This observation 
 disposes of a recent conjecture Liberum 
 
 ebriolatum {Mus. Ital. d. Antic A. 
 Class, iii, p. 787) ; not only is it irre- 
 concilable with the evidence of the 
 MSS., but the use of the word ebrio- 
 lare, only known from a fragment 
 ofthe.ffi!^««?'«of Laberius(a/.Nonius, 
 108, 6), is quite unproved for prose 
 writers. 
 
 13. Felicitatis aedem : on the 
 Triumphal Street (Dio Cassius 43, 
 21) built by L. Lucullus, B.C. 151; 
 see note on xxxvi, 39. The signa 
 being bronze are of course distinct 
 from the marble Thespiades of xxxvi, 
 39 ; a number of Praxitelean works had 
 been gathered together in the precinct 
 of Felicitas, just as the temple of the 
 Fortune of The Day contained works 
 by Pheidias and Pythagoras (above, 
 
 §§■ 54. 6o)- 
 
 15. marmoreae illi : xxxvi, 20. 
 
 § 70. stephanusam : probably in 
 a group with an athlete, in which 
 case the GTi'^avov^ifj. would be the 
 personification of the festal city where 
 the athletic victory had been won; 
 
56 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 nusam, pseliumenen, oporan, Harmodium et Aristogitonem 
 tyrannicidas, quos a Xerxe Persarum rege captos victa 
 Perside Atheniensibus remisit Magnus Alexander, fecit 
 et puberem Apollinem subrepenti lacertae comminus sagitta 
 insidiantem quern sauroctonon vocant. spectantur et duo S 
 signa eius diversos adfectus exprimentia, flentis matronae 
 et meretricis gaudentis. hanc putant Phrynen fuisse de- 
 prehenduntque in ea amorem artificis et mercedem in vultu 
 71 meretricis. habet simulacrum et benignitas eius, Cala- 
 midis enim quadrigae aurigam suum inposuit, ne melior in lo 
 equorum effigie defecisse in homine crederetur. ipse Calamis 
 et alias quadrigas bigasque fecit se impari, equis sine aemulo 
 expressis. sed, ne videatur in hominum effigie inferior, 
 
 I. oporan] Rice; operan Voss.; eplioram Bamb.; canephoram Urlichs in 
 Chrest., DetUfsen. 12. sem pari equis Bamb., corr. Trazcbe; equis semper 
 
 reliqui, Detlefsen. 
 
 cf. Athen. xii, 534 D : b yXv (sc. 
 ■triva^ etx^v 'OXvfiTndSa Kal IlvdidSa 
 (rT£cf)avovo'as avTov {^Aktci^idSTjv'). For 
 the artistic motive cf. the relief in the 
 Akrop. Mus., A. Z. 1869, 24 = Friede- 
 richs- Wolters, 1188. [From Stephan. 
 to Harmod. et Arist. we have an 
 inverted alphabetical list (cf. § 66) ; 
 this confirms the MS. reading oporan, 
 — H. L. U.] 
 
 1 . pseliumenen : for an analogous 
 motive see the little bronze, yaA;-i5. ix 
 1894, pi. xi; its connexion vrith Prax- 
 iteles cannot however be pressed 
 further. 
 
 oporan : [for a personification of 
 autumn cf. Ar. Etpiivti 523 ff., where 
 imiipa is brought in to wed Trygaios ; 
 thus the subject, which fits excellently 
 into the Praxitelean series, is also 
 proved to have been a conception 
 familiar in the fifth and fourth cen- 
 turies, H. L. U.]. 
 
 2. quos a Xerxe . . . Alexander: 
 since this statement is true only of the 
 group by Antenor, Pans, i, 8, 5, it 
 seems probable that the mention of 
 Praxitelean Tyrant-Slayers is due 
 to a confusion. Urlichs, A. Z. 1861, 
 
 p. 144, supposes the displacement of a 
 heading Antenor, belonging probably 
 to the alphabetical list which begins 
 in § 72. 
 
 3. Magnus Alexander: so also 
 Arrian, Anab. iii, 7, 8 \ Antiochos 
 according to Pans. loc. cit. ; Seleukos 
 according to Val. Max. ii, 10, ext. i. 
 
 4. subrepenti laoertae : from 
 a descriptive epigram ; cf. Martial, 
 xiv, 172. 
 
 5. sauroctonon: finest replica in 
 Louvre, phot. Giraudon 1200. 
 
 6. flentis . . . gaudentis : epi- 
 grammatic antithesis, cf. the molliter 
 iuvenis and viriliter pusr of § 55. 
 The statues were certainly only jux- 
 taposed in the epigram. The Jlens 
 mairona, like the similar figures by 
 Sthennis (below § 90) was a portrait 
 statue for a grave ; Praxiteles is known 
 to have made at least two grave 
 monuments ; (a) the warrior and his 
 horse, Pans, i, 2, 3 ; {b) the monu- 
 ment to which C, I. G. 1604 belonged J 
 cf Furtwangler, Dornauszieher, p. 91 , 
 note 43 ; above note on catagusa. ¥ox 
 the artistic motive see the fine statue 
 in the Louvre, phot, Giraudon 1 1 74. 
 
II. BRONZE STATUARY 
 
 57 
 
 woman clasping a bracelet on her arm, oircipa or Autumn, and 
 statues of Harmodios and Aristogeiton, the Slayers of the Tyrant. 
 These were carried off by Xerxes, king of the Persians, and i 
 restored to Athens by Alexander the Great after his conquest of : 
 Persia. He also made a young Apollo with an arrow watching 
 a lizard as it creeps up with intent to slay it close at hand ; this 
 is known as the a-avpoKToms or Lizard-slayer. There are two 
 statues by him expressing contrary emotions, a mourning matron 
 and a rejoicing courtesan.. The latter is believed to be Phryne. , 
 The sculptor's love may be read in the whole statue, and 
 Phryne's satisfaction is depicted on her face. 
 
 There is also a statue which testifies to the kindness of 71 ' 
 Praxiteles, for he made a charioteer for a four-horse chariot by ^"^^^"<>f 
 Kalamis, not wishing it to be thought that Kalamis failed in the towards 
 man after succeeding in the horses. Kalamis made other four ■^"^'^wmj. 
 and two-horse chariot-groups with varying success, though un- 
 rivalled in his horses. And yet, for it must not be thought that 
 
 7. putaut Phrynen : doubtless 
 correctly ; it should be noted,, however, 
 that Pliny mentions neither of the 
 celebrated statues of Phryne at Thes- 
 piai and at Delphoi, Furtwangler, loc. 
 cit. 
 
 8. mercedein : the meaning is not 
 altogether clear ; the words may 
 contain an allusion to the yafffiiJs given 
 by Praxiteles to Phryne, in the shape 
 of the Eros which she dedicated at 
 Thespiai, Anth. Plan. 204 (cf. Benn- 
 dorf, Efigr. p. 53). Again the merces 
 may refer to Phryne's reward in the 
 artist's love; or — in the lower sense 
 of payment — it maycontain an allusion 
 to her venality as meretrix. 
 
 % 71. 10. aurigam suum im- 
 posuit : since Kalamis (above § 47 ; 
 xxxiii, 156; xxxvi, 36) flourished in the 
 early part of the fifth century, the auriga 
 must have been by the Elder Praxiteles 
 (Klein, Arch. Ep. Mitth. 1879, p. 8 ; 
 Benndorf, CuUusbild der Athena Nike, 
 p. 47 ; Furtwangler, Masterpieces, 
 p. 102 ff., &c.). A division of labour 
 in the case of important monuments 
 was quite common, e. g. for Hieron, 
 
 Onatas makes the chariot, while 
 Kalamis makes the «eA.7/Tes iVttoi at 
 either side, Paus. vi, 12, i. [In the 
 case of the Younger (?) Praxiteles it 
 is expressly mentioned as noteworthy, 
 that for a grave monument he made 
 both the horse and the horseman : Koi 
 T^v LTrnov Kai rbv arpaTLdn-Tjv Paus. i, 
 2, 3, — H. L. U.] The inscription on 
 the bathron of the chariot gave the 
 names of both artists, and the juxta- 
 position was sufficient to give rise to 
 the story of the benignitas. The 
 chariot was of course a votive offering, 
 a viib^r\}i.a t^s v'mris (cf. in this book 
 §§ 64, 86, 88 ; XXXV, 27, 99, 108, 
 141, &c). Introd. p. Ixv. 
 
 1 2, se imparl, equis sine aemulo 
 expressis ; the reading, while derived 
 straight from Cod. Bamb., further 
 brings out an epigrammatic antithesis; 
 the full meaning is as follows : ' This 
 same K. failed through his inability 
 to do the human figure, in other 
 chariot-groups as a whole, albeit the 
 horses taken alone were unrivalled ' ; 
 cf. Prop, iii, 9, 10 exactis Calamis 
 se mihi iactat equis. Introd. p. Ixix. 
 
58 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 72 Alcman poeta nullius est nobilior. Alcamenes Phidiae 
 discipulus et marmorea fecit et aereum pentathlum qui 
 vocatur encrinomenos, at Polycliti discipulus Aristides 
 quadrigas bigasque. Amphicrates Leaena laudatur. scortum 
 haec lyrae cantu familiaris Harmodio et Aristogitoni con- 1 
 silia eorum de tyrannicidio usque in mortem excruciata 
 a tyrannis non prodidit, quamobrem Athenienses, et honorem 
 habere ei volentes nee tamen scortum celebrasse, animal 
 nominis eius fecere atque, ut intellegeretur causa honoris, 
 
 73 in opere linguam addi ab artifice vetuerunt. Bryaxis 
 Aesculapium et Seleucum fecit, Boedas adorantem, Baton 
 Apollinem et lunonem qui sunt Romae in Concordiae 
 
 74 templo, Cresilas volneratum deficientem in quo possit 
 
 1. Alcman poeta] E. Sellers ; alcamen et Bamb. (alcame et e corr.) ; 
 alchimena reliqui ; Alcmena Dethfsen. 
 
 I. Alcman poeta; it was pointed 
 out by Benndorf {op. cit. p. 47) that 
 the original reading had been cor- 
 rupted by the neighbouring^/^a/«f m^^. 
 The readings Alcmena or Almmena 
 are unsatisfactory, since the subject 
 could hardly be reckoned among homi- 
 num effigies. The reading Alcman 
 poeta now proposed meets this difh- 
 culty, while the subject falls within 
 the range of Kalamis. He is known 
 to have worked for Sparta from Paus. 
 X, 16, 4 (cf. Klein, Arch. Ep. Mitih. 
 1881, p. 84), and might well be called 
 upon to execute a statue of its greatest 
 poet. For a statue of Alkman cf. 
 Anth. Pal. vii, 709, an epigram which 
 W'eisshaupl {Grabgedichte der Gr. 
 Anth. p. 45) suggests may have be- 
 longed to a statue of the poet at 
 Sparta, cf. also Anth. Pal. vii, 18, 
 19. Nobilior — cf. nobilis applied 
 below to the portrait of Perikles by 
 Kresilas. 
 
 § 72. Alcamenes : above § 49, 
 xxxvi, 16. 
 
 3. encrinomenos : encrinomenos 
 vocatur i qui atkletis ad?iumeratur, id 
 est qui in eoi'uvi nuviero recipitur, 
 so Turnebus {Advers. p. 486, cf. the 
 note of Dalecampius) explains the 
 
 term with reference to the eyiepiait 
 clOKtitSiv. Modem commentators, how- 
 ever, generally refer the epithet to the 
 statue, and explain it as approved, 
 chosen^ classical or canonical ('class- 
 isch ' ' mustergiltig,' Urlichs in Chrest. 
 p. 325 ; cf. O. Jahn, Kunsturtheile, 
 p. 125; H. L. Urlichs, Blatter f. d. 
 bayr. Gymnasialsch. 1894, pp. 609- 
 61 jl. But the iyxpiais d9\. (Lucian, 
 virip Tav flxov. 1 1 ; cf. Xen. Hell, iv, I, 
 I o), lit. the 'examination' of the athletes 
 (probatio Cic. Off. i, 144) was too well 
 known as an athletic term for the 
 epithet kyKpivofievos as applied to the 
 portrait of an athlete to be understood 
 in any other sense than the one given 
 to it above. The present participle, 
 instead of the more usual kyxpiSeis (cf. 
 the inscr. Ross. Griech. Konigsreisen, 
 i, p. 96) shows that the athlete was 
 represented in the act of submitting 
 to the eyKptffis. The occurrence of 
 the epithet Encrinomenus as a Roman 
 proper name (C /. Z. v, 1, 4429), by 
 proving its familiarity, suffices to dis- 
 credit the old emendation of Bar- 
 barus encriomenos, which had lately 
 come again into favour. The proposed 
 identification of the encrinomenos 
 with the statue of an athlete holding 
 
//. BRONZE STATUARY 
 
 59 
 
 he was inferior to others in representing the human figure, no 
 artist has better portrayed the poet Alkman. 
 
 Alkamenes, a pupil of Pheidias, produced works in marble as 72 
 well as a winner in the five contests in bronze, called the 
 iyKpivofifvns [undergoing the test]. A pupil of Polykleitos, Aris- 
 teides, made chariots with four horses and with two. ■\Amphikrates Monument 
 is famous for his \iaiva or Lioness : this Leaina was a courtesan, °j ^''■'■''"'■■ 
 intimate through her playing on the lyre with Harmodios and 
 Aristogeiton, whose plot of assassination she refused to betray, 
 although tortured to death by the tyrants. The Athenians were 
 anxious to pay her honour, and yet unwilling to commemorate i 
 a courtesan by a statue ; they accordingly made a figure of the ' 
 animal whose name she bore, and to indicate their reason for 
 honouring her, they forbade the artist to give it a tongue. 
 Bryaxis made an Asklepios and a Seleukos ; \Boedas a praying 73 
 figure, Baton the Apollo and Hera which are in the temple 
 of Concord at Rome, Kresilas, a wounded man at the point 74 
 
 the disc preparatory to the throw (Brit. 
 Mus. and Vatican ; Helbig, Class. Ant. 
 331, where see literature) is, to say 
 the least, open to doubt. 
 
 Aristides : possibly identical with 
 the painter, master of Euphranor, xxxv, 
 75 ; Kroker, Gleichnamige Kunstler, 
 p. 25. 
 
 4. Xjeaena : vii, 87 ; the story, told 
 also Plut. de Garrul. 8 ; Pans, i, 23, 
 1 ; Polyainos, XTparrj-piii. viii, 45 ; cf. 
 Cicero, Glor. ii,fr. 12 (all without men- 
 tion of artist's name), is an obvious 
 invention. Had the ' Lioness ' been 
 originally connected with the Tyrant- 
 Slayers her monument must have stood 
 by theirs kv Kepa/ieiKw (Arrian, Anal). 
 iii, 16, 8), instead of at the entrance 
 to the Akropolis (Pans. he. cit.). 
 Further, since the oldest authorities, 
 Herodotos and Thulcydides, in their 
 account of the murder of the Tyrants, 
 know nothing of this Leaina, it is 
 probable that she was an ordinary 
 votive-offering; the fact that the 
 artist had failed to give the animal 
 a tongue, or that in the course of time 
 the tongue had got broken away, 
 having given rise to the anecdote 
 
 (cf. also Athen. xiii, 596 f.) Introd. 
 p. Ixxvi, note 3. 
 
 § 73. 10. Bryaxis : above § 42 ; 
 xxxvi, 30. 
 
 11. Aesoulapium : for Megara he 
 made an Asklepios grouped with 
 Hygieia, Paus. i, 40, 6. 
 
 Seleuoum: i.e. Nikator, reigned 
 B. c. 312-280 ; cf. below § 86; for his 
 portraits see Wolters, Hiim. Mitth. iv, 
 1889, pp. 32-40. 
 
 Boedas : above % 66. 
 
 adorantem : in the scheme doubt- 
 less of the ' Praying Boy' (Berlin, Cat. 
 2), ci.Jahrb. i, 1886, p. i ff. (Conze) ; 
 for the type of the adorans on coins 
 Jahrb. iii, 1886, p. 286 ff. (Imhoof- 
 Blumer), on a gem ib. I. p. 217 (Furt- 
 wangler). 
 
 Baton : below § 91 ; known from 
 /. G. .5. 61, as a native of Herakleia. 
 
 12. Coneordiae tempi : at the 
 base of the Capitol, vowed B. C. 367 
 by Camillus, and built afler his death 
 by the State; restored by Tiberius 
 (ded. A. D. 9). It was the most usual 
 meeting place of the Senate. 
 
 § 74. 13. Cresilas: above § 53. 
 vulneratum : apparently identical 
 
6o 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 intellegi quantum restet animae et Olympium Periclen 
 dignum cognomine, mirumque in hac arte est quod nobiles 
 viros nobiliores fecit. Cephisodorus Minervam mirabilem 
 in portu Atheniensium et aram ad templum lovis Servatoris 
 75 in eodem portu, cui pauca comparantur, Canachus ApoUinem 5 
 nudum qui Philesius cognominatur in Didymaeo Aeginetica 
 aeris temperatura, cervumque una ita vestigiis suspendit ut 
 *linum* subter pedes trahatur alterno morsu calce digitisque 
 retinentibus solum, ita vertebrate dente utrisque in partibus 
 ut a repulsu per vices resiliat. idem et celetizontas pueros, 10 
 Chaereas Alexandrum Magnum et Philippum patrem eius 
 
 3. Cephisodorus] Bamb. ; 
 
 Cephissidorus reliqui. 
 trahantur Bamb. 
 
 8. inlitum Bamb. 
 
 with the statue of Dieitrephes 
 pierced by arrows, Paus. i, 23, 3 
 (where the artist is not named) ; the 
 extant inscription ('Epit6\vicos Aieirpe- 
 <pos dvapxev Kpiai\as lircSccrec /. G. B, 
 46) should place this beyond a doubt, 
 were it not that the epigraphy is too 
 early for the date of Dieitrephes, who 
 according to Fausanias was identical 
 with the Athenian general mentioned 
 Thuc. vii, 29 (b. c. 414) ; cf. Kirchhoff 
 on C. I. A. i, 402. Furtwangler 
 {^Masterpieces, p. 122) accordingly 
 proposes to identify the Dieitrephes 
 of the statue with an older name- 
 sake, father of the Nikostratos,'who 
 was a general at the commencement 
 of the Peloponnesian war (Thuc. iii, 
 75 ; 'V. 119, 129). For possible re- 
 productions of the statue see Furt- 
 wangler, op. cit. figs. 48, 49, 50 
 (against his views cf. C. Robert, Hall. 
 Winckelmannspr. 1895, p. 21 f.). 
 
 I. Periolen : for the portrait 
 (without name of artist), cf. Paus. i, 
 25, I. Its inscribed basis was dis- 
 covered in 1888, see AiXriov, 1889, 
 p. 36 ff. (Lolling). A terminal por- 
 tr^t of Perikles, extant in several 
 replicas (Br. Mus. Cat. i, 549 ; Helbig, 
 Class. Ant. 281, where see literature) 
 has been identified as a copy of the 
 Kresilaian portrait. Addenda. 
 
 3. Minervam mirabilem . . . et 
 aram : cf Paus. i, i, 3 : flt'as %\ a^iov 
 Twv iv UeipatH pidXiara 'AOtjvcls kffrt 
 Kai Atos Tf/jievos' x^^*^**^ f^^^ ajj^poTipa 
 rd ^70X^x0, ex^* ^^ ^ P-^^ anTjTTTpoi/ 
 Kal viKTiv, ij 5e *ABrivas S6pv. The 
 Tiftfvos has been shown to be probably 
 contemporary with the restoration of 
 the Peiraios by the architect Hippo- 
 damos of Miletos (Arist. Bol. ii, 8, i), 
 under Perikles (so Wachsmuth, Stadt 
 AtAen, ii, p. 141 f.). Thus, if the 
 monuments mentioned by Pliny and 
 Pausanias are, as seems reasonable to 
 suppose, identical, Kephisodoros would 
 be an artist of the Periklean age. — 
 I see no reason for following Furt- 
 wangler {Masterpieces, p. 145 f.) in 
 assuming a displacement of Pliny's 
 notes, and giving the works mentioned 
 to Kresilas (cf. B. Keil in Hermes, xxxi, 
 1895, p. 225). Introd. p. Ixxv ; Add. 
 
 § 75, 5. ApoUinem : it was the 
 exact replica of the same artist's Apollo 
 at Thebes, except that the latter was 
 of wood, cf. Paus. ix, 10, 2 ; ii, 10, 4; 
 the type is reproduced both on the 
 autonomous and Imperial coinage of 
 Miletos, A. Z. 18, ix, pi. vii, and page 
 90 (= CoUignon, Sculpt. Grecque, 
 %• 153) and in the 'Payne-Knight 
 bronze ' (Br. Mus.) ; cf Furtwangler, 
 ap. Roscher i, 451 : the god, nude, 
 
//. BRONZE STATUARY 
 
 6i 
 
 of death, whose face betrays how fast his life is ebbing, and 
 also an Olympian Perikles, worthy of the epithet. The marvel Perikles. 
 of his art is that it made famous men yet more famous. /L- 
 ^Kephisodoros made a wondrous Athena in the harbour of Athens, ' 
 and in the same city, in the temple of Zeus the Saviour, an altar 
 to which few are comparable. Kanachos made the nude Apollo, 75 
 which is named the Lover and is in the temple at Didyma, of 
 Aeginetan bronze, and with it a stag so poised upon its feet, Apollo and 
 that a thread can be drawn beneath them while the heel and toe ''^' 
 alternately catch the ground, both parts working with a jointed 
 mechanism in such a way that the impact suffices to make them 
 spring backwards and forwards. He also made boys on race- 
 horses, t Chaireas made an Alexander the Great and his father 
 
 stands erect, holding a small stag on 
 the palm of his R. hand, and the bow 
 in his L. The work was executed 
 previous to 01. 71, 3 ( = B. c. 494), in 
 which year Dateios (Herod, vi, 19 ; 
 Pans, viii, 46, 3, erroneously says 
 Xerxes) sacked Miletos and took away 
 the statue. The Apollo was restored 
 by Seleukos Nikator, Pans. loc. cit. 
 and i, 16, 3. 
 
 ' 6. Philesius : aitiology sought to 
 explain the epithet by allusion to 
 Apollo's love for Branches (Strabo, 
 xiv, p. 634), so Varro, p. schol. to 
 Statins, Thebais, viii, 198 (ed. Lin- 
 denbrog, p. 282 f.) ; Macrobius {Sat. 
 i, 17, 2) gives a symbolic explanation. 
 Aeginetioa temp. : above § 8. 
 7. suspendit : for the meaning 
 given above cf. xxxvi, 117 iheafra 
 iuxta due fecit amtlissima ligno, 
 cardinum singulorum versatili sus- 
 pensa libramento. From the word 
 solum it is evident that Pliny conceived 
 the stag to have its feet on the ground, 
 an arrangement however which is in 
 irreconcilable contradiction to the 
 testimony of the coins, which show 
 the stag resting on the god's hand. 
 We must suppose, therefore, that the 
 exact place of the stag was not 
 described in the original account, 
 and that Pliny, unacquainted with 
 the statue, assumed, naturally enough, 
 
 either that the animal was on the 
 ground, or, according to a scheme 
 familiar from statues of Artemis (also 
 for Apollo in the gem Cades, Impronte, 
 iv, 19, 20) that its hind feet were on 
 the ground while its front ieet were 
 held in the hand of the god. It is 
 evident that in the inlitum of cod. 
 Banib. we have a corruption, while 
 the linum of the later codices is a 
 mere Interpolation intended to g£t an 
 ordinary Latin word out of the corrupt 
 reading ; the original word must have 
 given the instrument provided with 
 the dens vertebratus. Whether the 
 stag was in reality provided with some 
 curious mechanism, or whether the 
 fact that it had been cast separate and 
 did not accurately fit on to the god's 
 palm had given rise to an explanation 
 which has a flavour of concoction, it 
 is now impossible to tell (cf. however 
 the ingenious article of Petersen, A. Z. 
 xxxviii, 1880, pp. 22, 192). 
 
 10. repulsu: ai. -a., \^j^ pare eodem 
 praegnas veneno impresso dentium 
 repulsu virus fundit in morsus 
 (Petersen) . 
 
 oeletizontas pueros : cf. on the 
 Akropolis the bronze statue of Iso- 
 krates as irafs KiXryrL^w. Lives of 
 Ten Orators, Isokr. 42 ; at Olympia 
 Aisypos, son of Timon, Pans, vi, i, 8 ; 
 cf. id. vi, 12, I. A Kikr(TL^t>>v on the 
 
62 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 76 fecit, Ctesilaus doryphoron et Amazonem volneratam, 
 Demetrius Lysimachen quae sacerdos Minervae fuit LXIIII 
 annis, idem et Minervam quae *musica* appellatur, quoniam 
 dracones in Gorgone eius ad ictus citharae tinnitu resonant, 
 idem equitem Simonem qui primus de equitatu scripsit. 5 
 Daedalus et ipse inter fictores laudatus pueros duos destrin- 
 gentes se fecit, Dinomenes Protesilaum et Pythodemum 
 
 77 luctatorem. Euphranoris Alexander Paris est, in quo 
 laudatur quod omnia simul intellegantur, iudex dearum, 
 amator Helenae et tamen Achillis interfector. huius est 10 
 Minerva Romae quae dicitur Catuliana, infra Capitolium 
 
 A.u.c. 6j5. a Q. Lutatio dicata, et simulacrum Boni Eventus, dextra 
 pateram, sinistra spicam ac papa vera tenens, item Latona 
 
 I. Ctesilaus] Sillig, Detlefsen ; G. tesilaus Bamb. ; desilaus reliqui. 
 3. myetica Bamb. 
 
 coin of Tarentum, Head, Guide, pi. 
 24, 7. Addenda. 
 
 § 76. I. Ctesilaus : the name, 
 though uncommon, is a good Greek 
 formation (cf. the formations ending 
 -Xeois, -Xaos in Fick, Gr. Personen- 
 namen, pp. 186 ff.), so that I see no 
 grounds for altering the reading to 
 Kresilas as proposed by Bergk 
 {Zeitschr. d. Alterth. Wissensch. 1845, 
 p. 962), who is followed by most 
 archaeologists. The argument derived 
 from the Amazon (§ 53), though 
 strong, is scarcely sufficient. 
 
 2. Demetrius : the famous a,v- 
 6pajircyjroi6sj Lucian, T/te Liars, l8. 
 
 Lysimaclien = Paus. i, 27, 4: w/xis 
 S^ vam Tw T^s 'A6T]vas, the follow- 
 ing information is derived from the 
 inscription on the basis of the statue, 
 Tbpffer, Ait. Geneal. 128 ; for a 
 similar inscr. from the Akropolis (but 
 belonging to a larger statue) of a 
 priestess who had served (?) \i^r{\KovTa 
 8' Itt; [k]o! rkaaaf\_a\, see /. G. B. 64 ; 
 Hitgig and Bliimner, Paus. p. 295. 
 
 3. musica : the reading is an 
 obvious interpolation, to make sense 
 out of the corrupt myetica; the epithet 
 is not found of Athena or any other 
 
 god. Frbhner in Rhein. Mus. 1892, 
 p. 292, proposes to read mystica for 
 myetica, adding that ' the mysterious 
 resonance of the aegis recalled the 
 music of the Eleusinian mysteries 
 when the Hierophant struck the 
 ^X"'"'.' Dr. Traube suggests that the 
 reading might possibly be mycetica, i.e. 
 ' the Roarer ' — fmKrjriKlis as an epithet 
 of Poseidon occurs ap. Comutos, Nat. 
 Dear. ch. 22, p. 42, Lang — it is quite 
 possible that an aitiological explana- 
 tion, derived from the resonance of the 
 bronze aegis, had been found for an 
 epithet of which the original meaning 
 had been forgotten. 
 
 5. de equitatu: iiepi limiicrjs Xen. 
 de Re Eg. i, 3. 
 
 6. Daedalus : son of Patrokles 
 (/. G. B. 88, 89 ; Paus. vi, 3, 9, cf. 
 above § 50). D. signs "XiKviuvLos 
 {I. G. B. 89) and seems to be the first 
 member of the family who migrated 
 to Sikyon ; cf. Furtwangler, Master- 
 pieces, p. 225. 
 
 et ipse : marks Pliny's astonish- 
 ment at the appearance of Daidalos 
 among the bronze-workers (rightly ex- 
 plained by Oehmichen, Plin. Studien, 
 p. 192), perhaps because the only 
 
//. BRONZE STATUARY 
 
 63 
 
 Philip. t Ktesilaos made a Sopvtfiopos, or Spear-bearer, and 76 
 a wounded Amazon ; Demetrios a statue of Lysimache, who was 
 priestess of Athena for sixty-four years. He also made the 
 Athena called the Musical because the snakes of her Gorgon 
 resound to the notes of the cithara, and an equestrian statue of 
 Simon, the first writer on horsemanship. Daidaios, who appears 
 here among the famous statuaries, made two boys scraping them- 
 selves, Deinomenes a Protesilaos and a portrait of Pythodemos 
 the wrestler. A statue of Alexander Paris by Euphranor is 77 
 said to display every phase of the Trojan's character: he is Jf'^'"^ ."-^ 
 at once the judge of the goddesses, the lover of Helen, and yet his triple 
 the slayer of Achilles. The Athena at Rome known as the '^^P"^^- 
 Minerva of Catulus, which was dedicated below the Capitol by ■■ 
 Quintus Lutatius, is by Euphranor ; so is the statue of Good b,c. 7S. 
 Luck holding in the right hand a bowl, and in the left an ear 
 of corn and a poppy. He also made a Leto with the new- 
 
 personage of the name with whom he 
 
 is familiar is the mythical Daidaios 
 
 (vii, 198, 209 ; xxxvi, 85, cf. vii, 205). 
 
 destringentes se : for the motive 
 
 cf. §§ 5S. 62- 
 
 7. Dinomenes . above § 50 ; 
 distinct from the artist of the first 
 century who made the statues of lo 
 and Kallisto (Paus. i. 25, J\ I. C, B. 
 233), cf. Gurlitt, Pausanias, p. 267 ff. 
 
 § 77. 8. Euphranoris : above 
 § 50; XXXV, 128. His activity ranges 
 from B.C. 375-330- 
 
 Alexander Paris : the second name 
 is added to distinguish him from the 
 king. The statue has not yet been 
 identified among our copies, Furt- 
 wangler, Masterpieces, p. 357 ff. and 
 Robert, Hall. Winckelmannspragr. 
 xix, 1895, p. 20 ff. arrive at sur- 
 prisingly different results. Addenda. 
 
 11. infra Capitolium : Urlichs 
 {Griechische Staiuen im Rep. Rom, 
 p. 11), suggests on the open space 
 afterwards occupied by the temple of 
 Vespasian. 
 
 12. Q,. Lutatio, i. e. Catulo: after 
 the fire of B.C. 85, the restoration of 
 the Capitoline temple and adjacent 
 buildings was entrusted to him; cf. 
 
 Tacit. Hist, iii, 72 ; Plutarch, Popl. 
 15 ; above xxxiii, 57, &c. It is not 
 known whence he obtained Greek 
 works of art ; possibly from the inex- 
 haustible booty of Aemilius Paulus ; 
 cf. Urlichs, loc. cit. 
 
 Bonl Eventus : from the de- 
 scription it is evident that the statue 
 originally represented the Greek Trip- 
 tolemos (Urlichs, Chresiom. p. 326), 
 and was re-christened as a Roman 
 agrarian divinity. Frbhner (.^Mid. de 
 VEmpire Romain, p. 35) was the 
 first to recognize the type on the 
 obverse of a bronze medal of Hadrian : 
 youth, holding in one hand two ears 
 of corn and two poppies, and in the 
 other a libation cup, is sacrificing at 
 an altar. For a still better reproduc- 
 tion on a gem (5r. Mus. Cat. 929) cf. 
 Furtwangler, op. cit. p. 350, where 
 the gem is made the starting-point for 
 a suggestive reconstruction of the 
 works of Euphranor. 
 
 13. Latona . . . sustinens : the 
 work is still unknown ; cf. E. Reisch, 
 ' Ein vermeintliches Werk des Eu- 
 phranor' in Fesigruss aus Innsbruck 
 an die Phil. Versamml. in Wien, 
 1893. 
 
64 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 puerpera Apollinem et Dianam infantis sustinens in aede 
 
 78 Concordiae. fecit et quadrigas bigasque et cliduchon eximia 
 forma, et Virtutem et Graeciam, utrasque colossaeas, muli- 
 erem admirantem et adorantem, item Alexandrum et 
 Philippum in quadrigis, Eutychides Eurotam, in quo artem 5 
 ipso amne liquidiorem plurimi dixere. Hegiae Minerva 
 Pyrrhusque rex laudatur, et celetizontes pueri, et Castor ac 
 Pollux ante aedem lovis tonantis, Hagesiae in Pario colonia 
 
 79 Hercules, Isodoti buthytes. Lycius Myronis discipulus fuit, 
 qui fecit dignum praeceptore puerum sufflantem languidos 'o 
 ignes et Argonautas, Leochares aquilam sentientem quid 
 rapiat in Ganymede et cui ferat parcentemque unguibu^ 
 etiam per vestem puero, Autolycum pancrati victorem propter 
 quern Xenophon symposium scripsit, lovemque ilium to- 
 nantem in Capitolio ante cuncta laudabilem, item Apollinem '5 
 diadematum, Lyciscum mangonem, puerum subdolae ac 
 
 2. cliduchon] Barbanis ; cliticon Bamb., Detlefsen ; cliticum reliqui. 
 l6. Inciscns langonem reliqui. 
 
 I. aede Concordiae : above § 73. 
 § 78. 2. oliduolion : a subject also 
 treated by Pheidias, § 54. 
 
 4. admirantem et adorantem = 
 a-no^Kinouaav 'looking up with awe 
 at the image of the divinity,' Furt- 
 wangler, Plinius, p. 46, cf. Dornaus- 
 zieher, p. 87, note 19. 
 
 Alexandrum et Philippum : a 
 suitable occasion for these statues 
 would be the battle of Chaironeia, 
 where Al. had distinguished himself 
 by the side of Philip. 
 
 5. Eutychides : above §51; dis- 
 tinct from his two later namesakes 
 {a) I.G.B. 143; {b) I.G.B. 244-249, 
 and recently HomoUe in Bull. Corr. 
 Hell. 1894, p. 336 f. To the pupil 
 of Lysippos, Studniczka {Jahrb. ix, 
 1894, p. 2ii) inclines to attribute the 
 superb sarkophagos ' of Alexander ' 
 from Sidon. 
 
 BuTOtam : cf. the Orontes that 
 supports the city of Antioch by the 
 same artist; above note on § 51. 
 
 6. plurimi ; i. e. the writers of 
 epigrams, Benndorf, Epigr. p. 54 ; cf. 
 
 Anth. Pai. ix, 709 (Introd. p. Ixx). 
 
 Hegiae : for an older namesake, 
 master of Pheidias, see § 49 ; for a 
 Hegias in the reign of Claudius see 
 /. G. B. 332. 
 
 7. Pyrrhusque rex ; for portraits 
 of this king (bom B. C- 319, died 
 2721, see Six, Pom. Mitth.yi, p. 279; 
 Helbig in Melanges d'Arch. et cTHist. 
 xiii, 1893, pi. i, ii, pp. 377 ff. 
 The addition of rex gives such pre- 
 cision to Pliny's statement that it is 
 unnecessary to suppose that we have 
 in the words Hegiae . . . laudatur a 
 confused repetition of the Pyrrhus 
 Hygiam et Minervam of § 80 (cf. 
 Wolters, Alh. Mitth. Kvi, 1891, p. 
 155, note 2). 
 
 8. lovia tonantis : above § 10 ; 
 below § 79. 
 
 Hagesiae : 'Hyrjaias instead of 
 the more familiar diminutive 'H7iar, 
 so Ziv^miros for ZeS^ij Plat. Prat. 
 318 B (cf. Fick, Gr. Penimennamen, 
 
 P- 35)- 
 
 Pario colonia: v, 141, founded 
 by the Parians, Milesians, and Ery- 
 
//. BRONZE STATUARY 6$ 
 
 born Apollo and Artemis in her arms, now in the temple of 
 Concord, and chariots with four and two horses, a KKfihovxos or 78 
 Key-bearer, of great beauty, a statue of Valour, and one of 
 Hellas, both of colossal size, a woman in wonder praying, and 
 Alexander and Philip in four-horse chariots. Eutychides made 
 an image of the Eurotas of which many have said that the 
 artist's skill is clearer than the stream itself. 
 
 The Athena and the king Pyrrhos by Hegias are praised, so 
 are his boys riding on racehorses, the Kastor and Polydeukes which 
 stand in front of the temple of Jupiter the Thunderer, and also 
 the Herakles of Hegesias in the colony of Parion, and the ^ovSirris, 
 or Slayer of the Ox, by Isodotos. Lykios was a pupil of Myron ; in 79 
 the boy blowing a dying fire he created a work worthy of his 
 master ; he also made statues of the Argonauts. The eagle of Eagle 
 Leochares appears to know how precious a burden it is ravishing ^™^"£ 
 in Ganymede and to what master it bears him, and its talons 
 hold the boy tenderly though his dress protects him. He 
 also made a statue of Autolykos, who was victorious in the pan- 
 kration and in whose honour Xenophon wrote the Banquet ; the 
 celebrated Zeus with the thunderbolt in the Capitol, a work of 
 supreme excellence ; an Apollo wearing the diadem ; the slave- 
 dealer Lykiskos and a boy, on whose face may be read the wily 
 
 thraians, Strabo, xiii, p. 588, 14 ; it of this work has been recognized in 
 
 was made into a Roman colony by the statuette, Helbig, Class. Ant. 400. 
 Augustus {Calonia Pariana Julia 13. Autolyoum: winner in the 
 
 Augusta). Pankration at the greater Panathenaia 
 
 §79. 9. Lyoius Myronis : §50. 01.8g, 3 = B.c.422 (the fictitious date 
 
 10. puerum sufBantem: same sub- of the 'Banquet,' Athen. v, p. 216 d), 
 ject treated by the painter Antiphilos murdered B. c. 404 by the Thirty 
 XXXV, 138. The work is of course dis- Tyrants. Since Leochares lived into 
 tinctfrom Hat fuersiiffitorhAorfijTccA the reign of Alexander, there can be 
 from the boy, also by Lykios, holding no question of his having made a por- 
 the holy water basin on the Akropolis, trait of Autolykos, but the latter was 
 Paus.l,23,7,bntthekinshipofthesub- sufficiently celebrated to have — like 
 jects shows where the artistic strength Miltiades and other heroes of Athenian 
 of Lykios lay (cf. Wolters, Ath. history — statues raised to him after 
 Mitth. xvi, 189T, p. 153 ff. and Mayer, death (cf. Klein, Arch. Ep. Mittheil. 
 Arch. Jahrb. viii, 1893, p. 2i8f.). vii, 1883, p. 72). 
 
 11. Leocliares : § 50. [His works 14. lovemque ilium tonaiLteni : 
 are enumerated in two alphabetical the motive of the statue may be re- 
 groups : from aquilam to lovem, and covered from coins ; Cohen, MMailles 
 after item from Apollinem to puerum. Impiriales, 2nd ed. i, p. 88 ; Roscher, 
 — H. L. U.] ii, 748. Above § 10. 
 
 aquilam . . . Ganymede : a copy 16. Lyoisomn mangonem : Ur- 
 
66 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 80 fucatae vernilitatis, Lycius et ipse puerum suffitorem. Me- 
 naechmi vitulus genu premitur replicata cervice. ipse 
 Menaechmus scripsit de sua arte. Naucydes Mercurio et 
 discobolo et immolante arietem censetur, Naucerus lucta- 
 tore anhelante, Niceratus Aesculapium et Hygiam . . . qui 5 
 sunt in Concordiae templo Romae. Pyromachi quadriga 
 ab Alcibiade regitur. Polycles Hermaphroditum nobilem 
 fecit, Pyrrhus Hygiam et Minervam, Phanis Lysippi 
 
 81 discipulus epithyusan. Styppax Cyprius uno celebratur 
 signo, splanchnopte — Periclis Olympii vernula hie fuit exta 10 
 torrens ignemque oris pleni spiritu accendens — Silanion 
 Apollodorum fudit, fictorem et ipsum, sed inter cunctos 
 diligentissimum artis et iniquom sui iudicem, crebro perfecta 
 
 5. Hygiam] Hygiam fecit Detlefsen. 
 
 lichs {Chrestom. p. 328) refers the 
 subject to the influence of the Middle 
 Comedy. Avxtaicos, as title of a play 
 by Alexis, is preserved by Athen. xiii, 
 p. 595 d; the /K«?- must have formed 
 a group with the mango ; but Pliny, 
 who is here giving an asyndetic 
 enumeration of single works, seems 
 to have understood them to be sepa- 
 rate statues, cf. Furtwangler, Dorn- 
 auszieher, p. 91, note 44 (against 
 the reading Lyciscus langonem, which 
 has lately again come into favour, see 
 Friedlander's note to Martial, ix, 50). 
 
 I. sufatorem: presumably holding 
 a censer suspended by chains; cf. 
 Mayer, op. cit. p. 322. 
 
 § 80. 2. replicata cervice : i. e. 
 in the scheme known from the Nike 
 sacrificing an ox on the balustrade of 
 the Temple of Athena Nike, cf. Cecil 
 Smith \nj. H. S. vii, 1886, pp. 375 fif. 
 
 3. scripsit de sua arte : Introd. 
 p. xl. 
 
 Waucydes : above § 50. His im- 
 molans arietem has been identified, 
 but on purely fanciful reasons, with 
 the Phrixos burning the thigh of a ram 
 on the Akropolis, Paus. 1, 24, 2 (cf. 
 Furtwangler, Masterpieces, p. 231). 
 
 4. luctatore anhelante : epigram- 
 
 matic, cf. XXXV, 71, lit ankelare senti- 
 atur ; Reisch, Weihgeschenke, p. 45. 
 
 5. STiceratus : Nim/paros EJktiJ- 
 /joyos 'A6r]vaios, Frankel, Jnschr. aus 
 Perg. 132; also /. G. B. 147, 496; 
 works conjointly with Phyromachos, 
 ib. 118 (from Delos). 
 
 Aesculapium et H. : Frankel (Joe. 
 cit.) suggests that the group was ori- 
 ginally made for the Asklepieion at 
 Pergamon, in which case it was pre- 
 sumably transferred to Rome when 
 the Romans inherited the Pergamene 
 treasures by the will of Attalos II, 133 
 B.C. 
 
 6. Pyromachi : note on Niceratus 
 above ; for an older namesake cf. 
 
 §51- 
 
 quadriga: possibly as a pendant to 
 the group by Nikeratos of Alkibiades 
 and his mother sacrificing, § 88 
 (Frankel, loc. cit.). 
 
 7. Polycles : not identical with 
 the artist of | 50, while his identity 
 with the Polykles of § 52 ( = xxxvi, 35) 
 is uncertain. Nothing is known of his 
 Hermaphrodite ; it cannot of course 
 have been the marble recumbent figure, 
 extant in so many replicas ; it should 
 perhaps be sought for among the 
 standing types of the Hermaphrodite 
 
//. BRONZE STATUARY 
 
 67 
 
 craft of the servile character. Lykios too made a boy burning 
 perfumes. 
 
 By Menaichmos we have a calf on which a man is setting so 
 his knee as he bends its neck back; Menaichmos also wrote 
 a book on his art. The fame of Naukydes rests on his Hermes, 
 his Sio-Ko^oXoi or Disk-thrower, and his man sacrificing a ram ; 
 that of \Naukeros on his panting wrestler. Nikeratos (made) the 
 Asklepios and Hygieia now in the temple of Concord at Rome. 
 By Pyromachos we have a four-horse chariot driven by Alkibiades. 
 Polykks made a famous Hermaphrodite, Pyrrhos a Hygieia and 
 an Athena, ■\Phanis, the pupil of Lysippos, an iniBuovaa, or woman 
 sacrificing. 
 
 \Styppax of Cyprus is known by one statue only, the air\a-^x"(m- si 
 Tijf, or Roaster of Entrails. This was a slave of Perikles the ff ^ j- 
 
 ' ' * Roaster of 
 
 Olympian ; he is roasting entrails and blowing hard on the fire to Entrails: 
 kindle it till his cheeks swell. Seilanion cast a portrait of ApoUo- 
 doros, who was also a statuary, and among the most painstaking, 
 a severe critic of his own work, who often broke up a finished 
 
 (e. g. Berlin Cat. 193 ; see Herrmann 
 ap. Roscher, i, pp. 23245?.). Addenda. 
 
 8. Hygiam et Minervam : from 
 the extant inscription ('ASiyroToi Tjj 
 'ABijvaia rg "tyieia || IIvppos Ittoiijo'ci' 
 'ASi^iaros /. G. B. 53) it appears that 
 Pliny made one work into two. 
 The statue is mentioned Pans, i, 23, 
 4 (without name of artist), Plutarch, 
 Per. 13, who says it was dedicated 
 by Perikles to commemorate the 
 miraculous cure of a favourite work- 
 man employed on the Propylaia (see 
 note on vernula below). Wolters, 
 however, has shown on technical 
 evidence {Ath. Mitth. xvi, 1891, p. 
 153 £f.) that the statue must have been 
 dedicated at a period subsequent to the 
 commencement of the Peloponnesian 
 war, and that Plutarch's narrative must 
 consequently be a mere invention. 
 
 I 81. 9. Styppax Cyprius : I see 
 no reason for the doubts with regard 
 to this name expressed by Loewy 
 Untersuch. p. 30, against which see 
 also Wolters, Ath. Mitth. xvi, 1891, 
 p. 156, note I. 
 
 10. splanchnopte : the motive of 
 the statue and a probable copy are 
 fully discussed by M. Mayer, Jahrb. 
 viii, 1893, p. 224 and pi. iv. 
 
 Periolis Ol. vernula : the story is 
 told fully, xxii, 44; in spite of dis- 
 crepancies it is apparently identical 
 with the one narrated by Plutarch of 
 the Athena Hygieia. The cause for 
 the dedication of a statue by so im- 
 portant a personage as Perikles would 
 naturally be eagerly sought for ; the 
 vicinity of the splanchnoptes to that of 
 Athena in her character of ' Healer ' 
 suggested a connexion between the 
 two, and accounts for the legends told 
 by Pliny and Plutarch. Cf. Wol- 
 ters, loc. cit. ; Kuhnerdt, Stat. u. Ort, 
 p. 274. 
 
 12. Apollodorum: the date proved 
 for Seilanion (§ 51) makes it impossible 
 to identify the ApoUodoros either with 
 the Sokratic philosopher (fl. b. c. 430- 
 360) or with the artist of /. G. B. 55 
 (in Pre-Eukleidan characters). /. G. B. 
 218 records a third of the name. For 
 the painter A. see xxxv, 60. 
 
 F a 
 
68 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 signa frangentem, dum satiari cupiditate artis non quit, 
 
 82 ideoque insanum cognominatum ; hoc in eo expressit, nee 
 hominem ex aere fecit, sed iracundiam, et Achillem nobilem, 
 item epistaten exercentem athletas, Strongylion Amazonem 
 quam ab excellentia crurum eucnemon appellant, ob id in 5 
 comitatu Neronis principis circumlatam. idem fecit puerum 
 quern amando Brutus Philippensis cognomine suo inlustravit. 
 
 83 Theodorus, qui labyrinthum fecit Sami, ipse se ex aere 
 fudit, praeter similitudinis mirabilem famam magna sup- 
 tilitate celebratus. dextra limam tenet, laeva tribus digitis lo 
 quadrigulam tenuit translatam Praeneste, tantae parvitatis 
 ut — mirum dictu — earn currumque et aurigam integeret alis 
 simul facta musca. Xenocrates Tisicratis discipulus, ut alii 
 Euthycratis, vicit utrosque copia signorum. et de sua 
 
 8. fecit Sami, ipse] editores ante Sillig; fecit, Sami ipse Detlefsen. 12. 
 
 mirum dictu] coni. Traube ; miraculo pictam Bamb. ; totam reliqui, DetUfsen. 
 
 § 82. 2. nee hominem . . . sed 
 irao. : O. Jahn {KunsturtheiU, p. 
 113) detected in these words a latent 
 epigram; the phraseology, however, 
 which was originally confined to col- 
 loquial language and used as a rule 
 in a disparaging sense, had become 
 universal in Pliny's day; of. Quinct. 
 X, I, 112 non iam hominis nomen sed 
 eloquentiae habeatur ; H. S. Jones, 
 Class. Rev. 1893, p. 224, cf. Baehrens, 
 Catullus, p. 608. See Addenda. 
 
 4. epistaten . . . athletas : votive 
 statue, put up presumably by the 
 athletes of a gymnasium ; thus the 
 gymnasiarchs Menas and Metodoros 
 at Sestos and Pergamon receive statues 
 for honourable discharge of their 
 duties, likewise the Koo-^T/ri^s Nym- 
 phodotos at Athens receives a statue 
 in the palaistra C. I. A. iii, 1104, see 
 Kuhnerdt, Statue u. Ort, p. 308 [the 
 words exercentem athletas were prob- 
 ably taken from the descriptive 
 epigram on the statue. — H. L. U.] 
 
 Strongylion: /. G.B. 52 gives the 
 inscr. belonging to his Sovpios ittttos 
 (Pans, i, 23, 8), which from the allu- 
 sion in Aiisloph.'OpviSis, 1128, must 
 
 have been erected shortly before that 
 play was produced in B. c. 414. 
 
 Amazonem : we possibly have its 
 copy in the charming equestrian sta- 
 tuette in Naples (Friederichs-Wolters, 
 1781 ; the opinion first expressed by 
 Hoffman in Overbeck's Flastik, ed. 4, 
 i, p. 506, note 14). By representing 
 the Amazon on horseback, S. could 
 not only display her legs, but likewise 
 find scope for his talent as a sculptor 
 of animals (Pans, ix, 30, t). 
 
 6. oiroumlatam : above 1 48 ; we 
 may conclude from this fact that the 
 Amazon was a statuette. 
 
 7- cognomine suo : Bruti puer. 
 Martial, ii, 77 ; ix, 50; xiv, 171. 
 
 § 83. 8. Theodoras : his date 
 may be approximately determined by 
 the fact that he worked for Kroisos 
 (B.C. 560-546), Herod, i, 51, and 
 for Polykrates, Herod, iii, 41 (b. c. 
 532?-52i), cf. xxxvii, 3. That there 
 was only one artist of the name has 
 now been admitted even by Overbeck 
 {Flastik, 4th ed. 1893, p. 78). 
 
 labyrinthum . . . Sami : i. c. the 
 Heraion, of which his father Rhoikos 
 (Herod, iii, 60) was the first archi- 
 
//. BRONZE STATUARY 
 
 6g 
 
 statue, being unable to reach the ideal he aimed at; from this ,' 
 he was called 'the madman.' This characteristic Seilanion ren- 82 
 dered, and made his bronze not a portrait of an individual, but 
 a figure of "Vexation itself. He also made a famous Achilles, 
 and a trainer exercising his athletes. Strongylion made the Ama- 
 zon surnamed the evKi/rjfins from the beauty of her legs ; it was 
 because of this special feature that the Emperor Nero carried 
 the statue about in his train. He also made the boy which 
 Brutus of Philippi loved, and made illustrious by his name. 
 Theodoras, the maker of the labyrinth at Samos, also cast a portrait 83 
 of himself in bronze, famed as a wondrous likeness, and also 
 celebrated for the extreme delicacy of the workmanship. The 
 right hand holds a file, while three fingers of the left hand 
 support a tiny team of four horses, which is now at Praeneste, Tiny 
 
 so small that the team, marvellous to relate, with chariot sxiA '^""-"^ ""^ 
 
 team by 
 charioteer could be covered by the wings of a fly which the artist Theodoras. 
 
 made to accompany it. Xenokrates was a pupil of Teisikrates, or, 
 
 according to some authorities, of Euthykrates ; he outdid both in 
 
 tect ; cf. xxxvi, 90, where the purely 
 mythical labyrinthus Lemnius is a 
 mist.ake of Pliny for lab. Samius 
 (Urlichs, Anfange, 1871, p. 3, cf. 
 Klein in Arch. Ep. Mitth. ix, 1885, 
 p. 184) ; of Rhoikos and Theodores 
 at least we know that they were itp- 
 digenae not of Lemros bat of Samos 
 i^aiiiot. Pans, viii, 14, 8 ; 'Por«os 
 fmx<iipios, sc. of Samos, Herod, loc. cit. 
 
 ipse se : cf. the portrait of the 
 Kretan Cheirisophos, presumably by 
 himself, ne.xt to his gilt statue of 
 Apollo at Tegea, Paus. viii, 53, 7. 
 
 10. laeva . . . quadrigulam : it 
 is generally supposed that the little 
 chariot was engraved on the base of 
 a scarab (see e. g. the scarab, Brit. 
 Mus. Cat. of Gems, pi. D, 254); 
 Benndorf, Zts.fUr Oesterr. Gymnasien, 
 1873, p. 406. Theodores was a 
 famous gem-graver; yet the extant 
 marvels of iuicpoTfx>'ia. accomplished 
 in the goldsmith's art show that the exe- 
 cution in the round of a microscopic 
 chariot was no technical impossibility ; 
 see note on Mymercides, xxxvi, 43. 
 
 11. Praeneste : where the cele- 
 brated temple oiForiuna Primigenia, 
 like so many of the temples in Rome 
 (cf. Friedlander, Darstellmtgen, ii, 
 pp. 154 ff.), must have contained all 
 sorts of curiosities (see R. Peter ap. 
 Roscher, i, 1545). 
 
 12. mirum dlotu: xviii, 160, so 
 facile diciu, xxviii, 20 ; rarum 
 
 didu, xiv, 132 ; incredibile diciu, 
 XXXV, 88. 
 
 earn : i. e. the team proper as dis- 
 tinct from the currus and the auriga, 
 likewise in xxxvi, 36 quadriga cur- 
 rusque. 
 
 13. Xenocrates : his identity with 
 the Xenokrates of Athens, son of 
 Ergophilos of /. G. B. 135 a and b 
 (from Oropos), of /. G. ^. 135 c (from 
 Elateia), and oi 'E(j>i]fi. &px<ii-oK. 1892, 
 52 (from Oropos), though usually 
 accepted, is nothing less than proven. 
 See Introd. p. xx, note 3. 
 
 Tisioratis : /. G. B. 120, from 
 Oropos. 
 
 14. Euthyoratis : above § 67 
 [from the fact that this and the two 
 
70 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 84 arte composuit volumina. plures artifices fecere Attali et 
 Eumenis adversus Gallos proelia, Isigonus, Pyromachus, 
 Stratonicus, Antigonus qui volumina condidit de sua arte. 
 Boethi, quamquam argento melioris, infans amplexando 
 anserem strangulat. atque ex omnibus quae rettuli clarissima 5 
 quaeque iam sunt dicata a Vespasiano principe in templo 
 Pacis aliisque eius operibus, violentia Neronis in urbem con- 
 
 85 vecta et in sellariis domus aureae disposita. praeterea sunt 
 aequalitate celebrati artifices, sed nullis operum suorum 
 praecipui, Ariston qui et argentum caelare solitus est, Cal- 10 
 lides, Ctesias, Cantharus Sicyonius, Dionysodorus Critiae 
 discipulus, Deliades, Euphorion, Eunicus et Hecataeus 
 argenti caelatores, Lesbocles, Prodorus, Pythodicus, Poly- 
 gnotus idem pictor e nobilissimis, item e caelatoribus 
 
 86 Stratonicus, Scymnus Critiae discipulus. nunc percensebo 15 
 
 4. amplexando] Trauhe; sex anno Bamh. (sex annis e «?■?-.) ; eximiae Voss. ; 
 eximie Rice, Detlefsen ; annosum coni. Bvecheler in Herondas, p. 35 ; 
 vi annosnm coni. R. Meister in Mimiamben des Herondas, p. 708. 1 1 . Diony- 
 sius, Diodorus Detlefsen ; Diodorus Bamb. ; dionysiodorus Rice, Voss. 
 
 preceding names contain the common Pyromaclius : above § 80. 
 
 element -KpaTrjs it would appear that 3. volumina ; Introd. p. xxxvi. 
 
 the bearers all belonged to the same 4. Boethi ; of Chalkedon (Paus. 
 
 family, cf. Fick, Griech. Personen- v, 17, 4, where Schnbart, however, 
 
 namen, p. xi. — H. L. U.]. reads Kapx';^''''"") ; identical with the 
 
 1. volumina : Introd. p. xvi. silver-chaser of xxxiii, 155. In the 
 I 84. Attali : i. e. Attalos I, B. C. Heraion of Olympia Pausanias saw 
 
 241-197. the gilt statue of a boy by him. 
 
 2. Eumenis:!. e. II, B.C. 197-159. quamquam elliptical, i. e. 'although 
 Gallos : Atialus cos rex saepefiAdit more renowned as a silver chaser, yet 
 
 fugavitque, Liv. xxxviii, 17, 15, the I may mention . . .' The artist of 
 
 dates however are obscure (see Loewy the portrait of Antiochos Epiphanes 
 
 on /. G. B. 154, pp. 117 f.); the (/. G. B. 210) belongs to a later 
 
 other victories commemorated in the period, while a third Boethos, belong- 
 
 Pergamene inscriptions are those of ing to the first quarter of the first 
 
 Attalos I over Antiochos Hierax in century B.C., is known from Bull. d. 
 
 228 B. c. Corr. Hell, xi, p. 263. 
 
 Isigonus : neither his name nor infans : preserved in a number of 
 
 those of Stratonikos (below § 90) or replicas, Munich, Glypt. 140 ; Capi- 
 
 Antigonos, have turned up among tol, Helbig, Class. Ant. 518. The 
 
 the Fergamene inscriptions ; Michaelis same subject (without the artist's 
 
 (yiiAri.viii, 1893, p. 131) accordingly name) is mentioned Herond. iv, 31 
 
 proposes to alter the Isigonus of Pliny t\v xrpiaXiivtKo. ws to vatSiov irviyet | 
 
 to Efigonus, but on grounds which rpd -rSiv troZSiv fovv tt ri nij XiSos 
 
 are insufficient. roipyoy | epus AoX^ffec (ed. O. Cru- 
 
//. BRONZE STATUARY ^^ 
 
 the number of statues that he produced, and he also wrote books 
 on his art. 
 
 The battles of Attalos and Eumenes against the Gauls were 84 
 represented by several artists, ^Isimnos, Pyromachos, Stratonikos '''"'''^ 
 and Antigonos who also wrote books on his art. rating the 
 
 Bo'ethos, though greater as a worker in silver, made a child '"Iff,*" "^j 
 hugging a goose till he throttles it. Eumenes. 
 
 The best of all the works I have mentioned have now been ■*'"■''^''^■ 
 dedicated at Rome by the emperor Vespasian in the temple of 
 Peace and in his other galleries, Nero having first brought them 
 by the strong hand to Rome, and placed them in the apartments 
 of the Golden House. 
 
 I add a list of artists whose works are of equal excellence, 85 
 though no single one is of supreme merit. Such are Ariston, who !^^"j "■' 
 also worked in silver, ^Kallides, \Ktesias, Kantharos of Sikyon, rank. 
 Dionysodoros the pupil of Kritios, \Deliades, ■\Euphorion, Eunikos 
 and Hekataios, the silver chasers ; \Lesbokles, iFrodoros, ^Pytho- 
 dikos, and Polygnotos, who was also among the most famous 
 painters. Others who were also silver chasers were Stratonikos 
 and \Skymnos the pupil of Kritios. 
 
 sins, who suggests the basis alone to 7. violentia Iferonis ; for hatred 
 
 have been of marble — cf. Anth.Pal. of Nero, ef. above § 45, xxxv, 51, 
 
 ix, 719 — and accordingly assumes 120. Introd. p. xcii. 
 
 identity with the Plinian group, cf. §85. 9. aequalitate : i.e. of merit, 
 
 Untersuchungen zur Mimiamhen des Fnrtwangler, Plinius, p. 11. 
 
 Herondas 1892, p. 82). Identity 10. Ariston: xxxiii, 156; a painter 
 
 likewise assumed by Buecheler and of the name, xxxv, iio-lii; cf. on 
 
 Meister (above text notes). The /. G. B. 275 a. 
 
 action of the child, who is really Callides : a painter of the name 
 
 squeezing the goose in his embrace, in Lucian, Dial. Meretr. viii, 3, cf. 
 
 is exactly described by the word am- Brunn, K. G. ii, p. 311. 
 
 flexando, as now restored from the 11. Cantharus : son of Alexis, 
 
 reading of Cod. Bamb. Addenda. pupil of Eutychides (above § 78), 
 
 5. ex omnibus . . . clarissima : Pans, vi, 3, 6; 17, 7. 
 
 rhetorical ilattery intended to please Dionysodoros : an artist of the 
 
 Pliny's patron Vespasian, cf. xxxvi^ name, /. G. B. 243 (from Delos, B. C. 
 
 102 ; so too Josephus, Bell.Jud. vii, no) ; a painter, xxxv, 146. 
 
 5, 7 (Niese, vol. vi, p. 591) says: Critiae: perhaps identical with the 
 
 ■ulana . . . €is iKiivav rbv viib (sc. Kritios in § 49. 
 
 Tempi. Pac) avv/ixBl "al KartriB-q, Si' 12. Eunious et Heo. : xxxiii, 156. 
 
 Siv rtjv 6iav dvOpanrot Trp6Tepoi/ irepl 13. Polygnotus: xxxv, 58; known 
 
 iraaav tir\avSivTo rtjv oiicov^ivriv. The as a sculptor only from Pliny. 
 
 templum Pads was ded. A. D. 75, after 15. Stratonicus : presumably iden- 
 
 the conquest of Judaea; fall literature tical with the Str. of § 84 and of 
 
 Gilbert, Pom. iii, p. 135, note 3. § 90. 
 
72 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 eos qui eiusdem generis opera fecerunt, ut Apollodorus, 
 Androbulus, Asclepiodorus, Aleuas philosophos, Apellas 
 et adornantes se feminas, Antignotus et luctatores, perixyo- 
 menum tyrannicidasque supra dictos, Antimachus, Athe- 
 nodorus feminas nobiles, Aristodemus et luctatores bigasque 5 
 cum auriga, philosophos, anus, Seleucum regem. habet 
 87 gratiam suam huius quoque doryphorus. Cephisodoti 
 duo fuere : prioris est Mercurius Liberum patrem in infantia 
 nutriens, fecit et contionantem manu elata, persona in 
 incerto est. sequens philosophos fecit. Colotes qui cum 10 
 Phidia lovem Olympium fecerat philosophos, item Cleon et 
 Cenchramis et Callicles et Cepis, Chalcosthenes et comoedos 
 et athletas, Daippus perixyomenon, Daiphron et Damo- 
 
 § 86. I. qui eiusdem generis : 
 for the practice of classifying works 
 of art according to the artistic mo- 
 tive cf. Furtwangler, Dornauszieher, 
 pp. 20 f. 
 
 Apollodorus: above § 81. 
 
 2. Asclepiodorus : a painter of the 
 name, xxxv, 107. 
 
 philosophos : Furtwangler, /?«?-»- 
 auszieher, pp. 24 f., has pointed ont 
 that under this rubric must be under- 
 stood not only philosophers in a re- 
 stricted sense, but in general portraits 
 of distinguished personages. 
 
 Apellas : son of Kallikles, makes 
 for Olympia the chariot of Kyniska 
 (/. G. B. 99 = Pans, vi, i, 6), sister of 
 Agesilaos (died B. c. j6o) of Sparta. 
 Cf. note on Callicles in § 87. Add. 
 
 3. adornantes se ; cf. the pseli- 
 umene in § 70. 
 
 Antignotus : an artist of the name, 
 /. G. B. 314-316 (Augustan). 
 
 4. supra dictos : descriptive of 
 the actual personages portrayed ; un- 
 necessary difficulty has been caused 
 (cf. Loewy on /. G. B. 314) by as- 
 suming that they referred to the group 
 mentioned in § 70. 
 
 Athenodorus : xxxvi, 37. 
 
 5. Aristodemus : according to Ta- 
 tian, p. 36, 9 (ed. Schwartz), makes a 
 statue of Aisop, i.e. a work which 
 
 would fall under the heading of 
 philosopki. 
 
 6. anus : votive portraits of priest- 
 esses, such as that of Lysimache, above 
 § 76. Yxat-m'ixi^tt, Dornauszieher, p.26. 
 
 Seleucum regem: above § 73. 
 
 7. quoque : [i. e. as well as the 
 more celebrated Doryphoros of Poly- 
 kleitos in § 55. — H. L. U.]. 
 
 I 87. Cephisodoti duo: (a) the 
 artist of the Eirene, Pans, ix, 16, 
 1, possibly father or brother of the 
 great Praxiteles (cf. note on § 50) ; ifi) 
 a son of Praxiteles, xxxvi, 24. 
 
 8. Mercurius . . . nutriens : the 
 motive is identical with that of the 
 Praxitelean Hermes. Addenda. 
 
 9. manu elata : the raised hand 
 not being an action of Greek oratory 
 (where even to allow the hand to 
 protrude much from the cloak was 
 thought unseemly, Aischines c. Tim. 
 25), it is probable that the statue be- 
 longed to the class adorantes, and 
 that its gesture was misinterpreted by 
 a Roman writer as being the familiar 
 manus elata of the Roman orators 
 (Milchhbffer, Arch. Studien H. Brunn 
 dargeb. 1892, p. 39). A recent con- 
 jecture manu velata as the equivalent 
 of the ivTbs TTjv x^V*^ ex^^ of Aisch. 
 loc. cit. has met with little favour, c£ 
 S. Reinach in Chron. d' Orient, 1893, 
 
//. BRONZE STATUARY 
 
 73 
 
 I will now enumerate those who made statues of the same 86 
 class, as ApoUodoros, \Androboulos, Askkpiodoros and t^/i?«fl^, who u"'^^. 
 made philosophers ; Apellas, who also made women adorning statues of 
 themselves, Anttgnotos, who also made wrestlers, a nepi^vonevos or " ™'"^ 
 athlete scraping himself, and statues of the tyrant-slayers whom 
 I have mentioned, and ■\Antimachos and Atkenodoros, who made 
 statues of renowned women. Aristodemos also made wrestlers, two- 
 horse chariots with charioteer, and figures of philosophers, of old 
 women, and of king Seleukos ; his Spear-bearer too has a charm 
 of its own. There were two artists of the name of Kephisodotos ; 87 
 by the first we have a Hermes nursing the infant Dionysos. He 
 also made a statue of a man haranguing with uplifted hand; 
 the person represented is not known. The younger Kephisodotos 
 made statues of philosophers, and so did Kolotes, who had 
 worked with Pheidias on his Olympian Zeus, Kkon, Kenchramos, 
 Kallikles, and '\ Kepis ; Chalkosthenes also made statues of comic 
 actors and athletes. Daippos made a iref)t^v6fievos or athlete scraping 
 himself, \ Daiphron, Damokritos, and -[Daimon philosophers 
 W. Gurlitt in Berl. Phil. Woch. of the lovely bronze head of the boy- 
 
 p-9; 
 
 1895, p. 1230. 
 
 persona in ineerto : \\. e. the in- 
 scription was effaced, or no longer 
 extant. — H. L. U.] So Pausanias, vi, 
 15, 7, speaks of the statue of an un- 
 known individual as av^p otrris 5^. 
 
 10. Colotes: xxxv, 54. 
 
 11. Cleon : of Sikyon, pupil of 
 Antiphanes, himself pupil of Poly- 
 kleitos, Pans, v, 1 7, 4, where a bronze 
 Aphrodite by him is mentioned ; ib. 
 21,3 (two bronze Zanes, /. G. B. 95, 
 96) ; the remaining four statues by 
 him (vi, 1,5; 3, 10 ; 8, 5 ; 9, 2 ; 10, 
 9) all belong to the class athletae. 
 For his school cf. Furtwangler, Master- 
 pieces, p. 278. 
 
 12. Cenohramis: /. G. B. 70, 71 
 (both from Athens), where he is named 
 with Pdlymnestos (/. G.B. 72). Add. 
 
 Callioles : son of Theokosmos of 
 Megara, Paus. vi, 7, I (where his 
 statue of the illustrious TTepioSovixTjs 
 Diagoras of Rhodes is mentioned) ; 
 father of Apellas (above § 86). F. 
 Hauser {Horn. Mittheil. x, 1895, pp. 
 97-119) would see in him the artist 
 
 pugilist, Munich, Glypt. 302, and of the 
 original of the basalt statue of an- 
 other pugilist in the Terme Mus. {ib. 
 pi. I). 
 
 Chalcostlienes : apparently an 
 error for Chaecosthenes (Ka'iKoffdivrjs), 
 brother of Dies and son of ApoUonides, 
 /. G.B. 113-117, 220, see note on 
 xxxv, 155. In connexion with the 
 votive-statues of comoedi mentioned 
 here, it is interesting to note that 
 /. G. B. 220 is from the theatre of 
 Dionysos at Athens ; cf. A^Kriov, 
 1891, p. 84, 1. Like Epigonos (| 88) 
 he is known only from Pliny and the 
 inscriptions. 
 
 13. Daippus : above § 51 ; for 
 athlete statues by him cf. Paus. vi, 12, 
 6; 16, 5. 
 
 Damoeritus : From Paus. vi, 3, 5 
 we learn that he was a Sikyonian, 
 a pupil of Pison of Kalaureia (Paus. 
 X, 9, 8), and fifth in school descent 
 from the Attic artist Kritios. His 
 identity with the ArjiiSicpiTos oil. G.B. 
 484 and Diogenes Laertios, ix, 49 is 
 doubtful. 
 
74 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 88 critus et Daemon philosophos. Epigonus omnia fere prae- 
 dicta imitatus praecessit in tubicine et matri interfectae 
 infante miserabiliter blandiente. Eubuli mulier admirans 
 laudatur, Eubulidis digitis computans. Micon athletis specta- 
 tur, Menogenes quadrigis. nee minus Niceratus omnia quae 5 
 ceteri adgressus repraesentavit Alcibiaden lampadumque 
 
 89 accensu matrem eius Demaraten sacrificantem. Tisicratis 
 bigae Piston mulierem inposuit, idem fecit Martem et Mer- 
 curium qui sunt in Concordiae templo Romae. Perillum 
 nemo laudet saeviorem Phalaride tyranno, cui taurum fecit lo 
 mugitus hominis poUicitus igni subdito, et primus expertus 
 cruciatum eum iustiore saevitia. hue a simulaeris deorum 
 
 II. et] Bamb. ; ex reliqui ; exprimere Deilefsen. 
 
 § 88. I. Epigonus : known from 
 a series of Pergamene inscriptions. 
 Frankel, Inschriften aus Pergamon, 
 12; 21-28; 29; 31 ( = /. G.B. 157); 
 32 (= /. G. B. 157 a). The great 
 bathron to which 21-28 belongs com- 
 memorates the close of the war in B. c. 
 228, against Antiochos and the Galatai. 
 
 omnia fere : rhetorical; cf. cla- 
 rissima quaeque in § 84 ; omnibus fere 
 quae fecit, xxxvi, 13. 
 
 2. tubicine : since Epigonos 
 worked for the Pergamene kings, it 
 has been suggested that his tubicen 
 represented a Gaul with his war 
 trumpet such as the famous 'dying 
 Gaul ' of the Capitol (Helbig, Class. 
 Ant. p. 398, where see literature). 
 [The statue, however, may, as Winckel- 
 mann suggested, have been simply the 
 votive-portrait of the winner in the 
 contest of heralds, such as that of 
 Archias of Hybla at Delphoi, cf. Pol- 
 lux, iv, 92, Preger, Inscr. 143, or that 
 of Phorystas at Olympia, /. G. B. 
 J 19. For it tubicen by the painter 
 Antidotes see xxxv, 130.— H. L. U.] 
 Add. 
 
 matri interfectae : for the mo- 
 tive cf. xxxv, 98; S. Reinach {Rev. 
 des £tudes Grecques, 1894, p. 41 ff.) 
 suggests that the group was of a 
 
 Gaulish mother and her child, and 
 belonged to the same series as the 
 ' Dying Gaul ' and the so-called 
 'Arrius and Pacta' of the Villa Ludo- 
 visi, Helbig, Class. Ant. 884. Add. 
 
 3. Hubuli : his name has been 
 suggested in /. G. B. 235. For his 
 mulier admirans cf. above § 78. 
 
 4. Eubulidis : his name alter- 
 nates with that of Eucheiros (below 
 § 91) on a series of inscriptions 
 (/. G. B. 223-229, 544) belonging 
 apparently to one family of artists; 
 dates uncertain. 
 
 digitija computans : [the gesture 
 which is expressive of pondering or 
 meditation might be given to any 
 number of portraits oi fhilosophi ; cf. 
 Lucian, Timon, 122, avveaTrafcibs robs 
 SaKTv\ovs irpos rb eOos rwv \oyifffjL&y ; 
 Plin. £:p. ii, 20, 3 : composuit vultum, 
 intendit oculos, movet labra, agitat 
 digitos, computat. This observation, 
 coupled with the fact that, had the 
 digitis computans been the portrait of 
 a celebrated man, the name would 
 not have been forgotten, disposes of 
 Milchhoffer's theory {Arch. Studien 
 H. Brunn dargebr. pp. 37 ff.) that 
 the personage represented was Chrys- 
 ippos. — H. L. U.] 
 
 Micon : identical with the painter, 
 
//. BRONZE STATUARY 
 
 75 
 
 Epigonos produced examples of almost all the subjects I have 88 
 mentioned, and surpassed them in his trumpeter and his infant J^'^^ ^„^ 
 piteously caressing its dead mother. ■\Euboulos is praised for child by 
 his woman in amazement, and Euboulides for his man reckoning ^P^S""^'- 
 on his fingers. Mikon's athletes are admired, and the four-horse 
 chariots of Menogenes. Nikeratos too attempted the same sub- 
 jects as these artists, and also made statues of Alkibiades and 
 his mother Demarate sacrificing by torchlight. Piston made a 89 
 woman, to be placed in a two-horse chariot by Teisikrates, also 
 the statues of Ares and of Hermes which stand in the temple of 
 Concord at Rome. Perillos it is impossible to praise : he showed Bull of 
 a cruelty greater than that of the tyrant Phalaris, for whom he ■ 
 made a bull, promising that if a fire were lighted under it the 
 cries of the man inside would sound like the animal's bellowing, 
 a torture which cruelty for once righteous made him the first to 
 suffer. From representations of gods' and men he had dragged 
 
 Phalaris. 
 
 XXXV, 59. The fact that he made 
 statues of athletes has beau confirmed 
 by /. G. B. 41, from the statue of 
 the TreptoSoviitris Kallias (Ol. 77 = 
 B. c. 472) ; and /. G. B. 42. 
 
 5. Uioeratus : above § 80, where 
 see note on his Alkibiades. 
 
 6. lampadum acoensu : i. e. she 
 held a torch, possibly in each hand ; 
 the word accensu, however, makes 
 me suspect a latent epigram, Introd. 
 p. xliv, note 2. 
 
 7. Demaraten ; her name was 
 however AeivoiiixV' Plat. ^Ic. 105, 
 d, &c. [The name Demarate may 
 have crept into Pliny's authority 
 through an error in transcribing the 
 inscription on the group. — H. L. U.] 
 
 § 89. Tisioratis : above § 83 ; 
 malierem inposuit, cf. § 71 on 
 Xalamis and the Elder Praxiteles ; 
 the mulier vifas possibly a Nike. 
 
 9. Perilliim : the Latin form. He 
 also appears as Perilaos in Lucian, 
 according to whom {Phal. i, 11) he 
 was a native of Akragas ; for the late 
 notion that he was an Athenian, see 
 Freeman, Bist. of Sicily, ii, p. 75, 
 note 2. 
 
 10. FhaJaride : vli, 200; B.C. 570- 
 
 564 is now generally accepted as the 
 date of his Tupavm, Bentley, Diss, on 
 the Epistles of Phalaris (ed. 1699), 
 pp. 2 7 ff. ; Freeman, Sicily, ii, pp. 
 458 f. 
 
 taurum fecit : the earliest men- 
 tion of the brazen bull is by Pindar, 
 Pyth. i, 184 ; its mechanism is fully 
 described by Polybios, xii, 25. The 
 bull was reputed to have been taken 
 to Carthage on the sack of Akra- 
 gas by the Carthaginians, B. c. 403 ; 
 it was brought back and restored 
 to the Carthaginians by the Younger 
 Scipio, Cic. Verr. II, iv, 34, § 73. 
 See Freeman, op. cit. Appendix, 
 vii, where the story of the bull is 
 fully discussed. It early became 
 a locus communis of rhetoric (cf. 
 Kalkmann in Rhein. Mus. xlii, 
 1887, pp. 513 ff.), which accounts 
 for the high colonring of Pliny's 
 language. Introd. p. xciii. 
 
 II. mugitus hominis : Mugiet, 
 et veri vox erit ilia boms, Ovid, Trist. 
 iii, II, 48. 
 
 primus expertus : cf. Diodoros, 
 ix, 19; Ovid, loc. cit.; and Ars Amat. 
 i, 653 ; Lucian, Phalaris, i, 12. 
 
76 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 hominumque devocaverat humanissimam artem. ideo tot 
 conditores eius laboraverant ut ex ea tormenta fierent! 
 itaque una de causa servantur opera eius, ut quisquis ilia 
 
 90 videat oderit manus. Sthennis Cererem, lovem, Minervam 
 fecit, qui sunt Romae in Concordiae templo, idem flentes 5 
 matronas et adorantes sacrificantesque. Simon canem et 
 sagittarium fecit, Stratonicus caelator ille philosophos, 
 
 91 Scopas *uterque*, athletas 3.utem et armatos et venatores 
 sacrificantesque Baton, Euchir, Glaucides, Heliodorus, 
 Hicanus, *Iophon* Lyson, Leon, Menodorus,Myagrus,Poly- 10 
 crates, Polyidus, Pythocritus, Protogenes idem pictor e 
 clarissimis, ut dicemus, Patrocles, Pollis, Posidonius qui 
 et argentum caelavit nobiliter, natione Ephesius, Pericly- 
 menus, Philon, Symenus, Timotheus, Theomnestus, Ti- 
 marchides, Timon, Tisias, Thrason. ex omnibus autem 15 
 
 8. scopas] codd. ; copas Gerhard, Detlefsen. 
 Chresi. p. 91 ; olophon Bamb. ; lophon reliqui. 
 
 10. lophon] Urlichs in 
 
 § 90. 4. Sthennis : above §51. 
 
 5. flentes matronas : grave por- 
 trait statues, cf. above on § 70. 
 
 6. adorantes sacrificantesque : 
 <^f' §§ 73> 78. On these rubrics see 
 the remarks of Furtwangler, Dom- 
 auszieher, pp. 22 ff. 
 
 Simon : his identity with the Aigi- 
 netan artist of the name (Paus. v, 
 27, 2), employed with Dionysios of 
 Argos on the Olympic votive-offer- 
 ings of Phormis of Mainalos, is 
 uncertain. 
 
 canem et sagittarium : i. e. a 
 votive-portrait of a Kretan or Scythian 
 bowman with his dog ; cf Furtwangler, 
 op. cit., p. 93. 
 
 7. Stratonicus: xxxiii, 156; above 
 §§ 84, 85. 
 
 8. Scopas uterque : although the 
 MSS. are unanimous, no satisfactory 
 sense can be got out of the reading. 
 Skopas, as the name of the artist, is 
 q^te in place in the alphabetical 
 enumeration, but we cannot follow 
 Klein {Arch. Ep. Mitth. iv, p. 22 ff.) 
 in assuming a lacuna after uterque, or 
 in seeing in the uterque a confirma- 
 
 tion of his double Skopas (above note 
 on§49, 1. 13). My own view is that the 
 uterque is a very ancient corruption, 
 and conceals the name of the work of 
 art made by Skopas. It has also been 
 suggested that scopas is the ace. pi. 
 either of <r/nu^ (Satyric dancers, see 
 Urlichs's note in Chrest. p. 331) or 
 ff/tcJiras (Satyr on the • look-out), in 
 which case the uterque would refer 
 back to Simon and Stratonikos. 
 SKOrA* is inscribed above a Satyr 
 on a vase with the Apotheosis of 
 Herakles (Munich, Jahn Cat. 384 = 
 Mon.d. Inst, iv, pi. 41, Ann. xi, Tav. 
 d'Agg. O); but the fact that the 
 next Satyr is inscribed TBPI2 shows 
 that we have here no generic term, 
 but merely an epithet applied to one 
 particular Satyr (cf. the diroaKowevax' 
 of Antiphilos in xxxv, 138). Finally 
 besides the copas ( = castanet dancers), 
 of Gerhard, Urlichs in Pergamen. 
 Inschriften, p. 23, has suggested 
 scyphos. See Addenda. 
 
 § 91. athletas : for this and the 
 following rubrics cf. adorantes sacri- 
 ficantesque above. 
 
//. BRONZE STATUARY 
 
 77 
 
 down the most humanizing of arts to this level, and the early 
 masters had only laboured to the end that instruments of torture 
 should be created by its means. The works of Perillos, in con- 
 sequence, are preserved only that whoever sees them may loathe 
 the hand that made them. Sthennis made statues of Demeter, 90 
 Zeus and Athena, which are at Rome in the temple of Concord ; 
 also matrons weeping, praying, or sacrificing. Simon made a dog 
 and an archer, Stratonikos, known also as a silver chaser, made 
 statues of philosophers, and Skopas . . . 
 
 We have statues of athletes, armed men, hunters, and men 91 
 sacrificing, by Baton, Eucheir, iGlaukides, Heliodoros, \Hikanos, ^^'"^^j 
 ■\Iophon, Lyson, Leon, Menodoros, Myagros, Polykrates, ^Polyeidos, statues of 
 Pythokritos, Protogenes, who was also, as will be said later on, "■tfi-l^*"- 
 a painter of the highest renown, Patrokks, •\Pollis, Poseidonios, an 
 Ephesian by nationality, who is also famous for his silver chasing, 
 Periklymenos, Phi/on, Symenos, Timotheos, Ttieomnestos, Timar- 
 chides, Timon, iTeisias, and Thrason. 
 
 Baton : above § 73. 
 EuoUr : note on Eubulidis above 
 § 88. 
 Heliodorus : xxxvi, 35. 
 
 10. lophon: Vatolophonal Bamh. 
 points to it longer name. Loewy, 
 Untersuch. p. 39, note 31 suggests 
 Herophon (/. G. B. 380, from a 
 basis found at Olympial. 
 
 Iiyson : he made a statue of De- 
 mos whicli stood in the Bouleuterion 
 at Athens, Pans, i, 3, 5. 
 
 Iieou: perhaps =/. G. B. 148, 
 
 Menodoros : an artist of the name 
 made a copy of the Eros of Praxiteles 
 at Thespiai, Paus. ix, 27, 4. 
 
 Myagrus : of Phokaia, Vitrav. iii, 
 Praef. 2. 
 
 Polycrates : for a doubtful in- 
 scription with this name cf. /. G. B* 
 482. 
 
 1 1. Pythooritus : son of Timo- 
 charis of Rhodes, /. G. B. 174-176, 
 Ath. Mitth. xvi, 1891, pp. 120 f. = 
 Jahrb. ix, 1 894, p. 41 . It is interesting 
 to note that /. G. B. 1 74 belonged to 
 the statue of a priest, i. e. to the class 
 sacrificantes (Brunn, K. G. i, p. 461); 
 
 while /. G. B. 176, from the statue ol 
 an Olympic winner, belongs to the 
 class athletae. 
 
 1 2. Patrooles : above § 50. 
 Posidonius ; xxxiii, 156. 
 
 13. Periolymenus : Tatian, p. 35, 
 28 (ed. Schvrartz), ti /ioi Sid toj/ 
 XitfuicKvfiivov -jivawv (Eutychis Plin. 
 vii, 34), Q-rnp kfcvrjffe rpidKovra irdida?, 
 cbs 0aVftaffT&v ^etaOe t5 Karavoeiy 
 TToiijfia ; Brunn, JC G. i, p. 473. 
 
 14. Philon : Tatian, p. 36, 17 
 (ed. Schwartz), mentions a statue of 
 Hephaistion (cf. above § 64) by 
 him ; he vfould thus belong to the age 
 of Alexander. 
 
 Symenus : /. G. B. 84 (latter half 
 of sixth century). 
 
 Timotheus : xxxvi, 35. 
 
 Theomnestus : a painter of the 
 name, xxxv, 107. 
 
 Tiraarchides : xxxvi, 35. 
 
 15. Timon: probably = /. G. B. 
 234 (from Athens). 
 
 Thrason : a figure of Hekate and 
 a fountain, a Penelope and Eurykleia 
 (in a group ?) are mentioned, Strabo, 
 xiv, p. 641 ; cf. Brunn, Jv. G.i, p. 421. 
 
78 
 
 C. PLINII SECUNDI NAT. HIST. XXXIV 
 
 92 maxime cognomine insignis est Callimachus semper calum- 
 niator sui, nee finem habentis diligentiae,ob id catatexitechnus 
 appellatus, memorabili exemplo adhibendi et curae modum. 
 huius sunt saltantes Lacaenae, emendatum opus sed in quo 
 gratiam omnem diligentia abstulerit. hunc quidem et s 
 pictorem fuisse tradunt. non aere captus, nee arte, unam 
 
 A.tT.c. 698. tantum Zenonis statuam Cypria expeditione non vendidit 
 Cato, sed quia philosophi erat, ut obiter hoc quoque noscatur 
 
 93 tarn inane exemplum. in mentione statuarum est et 
 una non praetereunda, quamquam auctoris incerti, iuxta 10 
 rostra, Herculis tunicati, sola eo habitu Romae, torva facie, 
 sentiensque suprema tunicae. in hac tres sunt tituli : L. 
 
 A.u.c. 691. LucuUi imperatoris de manubiis, alter: pupillum Luculli 
 filium ex S. C. dedicasse, tertius : T. Septimium Sabinum 
 aed. cur. ex privato in publicum restituisse. tot certaminum 15 
 tantaeque dignationis simulacrum id fuit. 
 
 12. sentientique re/«y«8. tnnica r«/8^««. 
 
 § 92. I. CaUimachus : his date 
 can be approximately fixed at the 
 close of the fifth century, from the fact 
 that he is credited (Vitr. iv, i, 10) 
 with the ' invention,' i. e. introduction 
 into Greece, of the Corinthian capital, 
 which Skopas (Paus. viii, 45, 5) em- 
 ployed in the temple at Tegea (Ol. 
 96 = 3.0.396). Addenda. 
 
 calumniator sui : cf. Quinct. x, 
 I, 115 : invent qui Calvum prae- 
 ferrent omnibus, inveni qui Ciceroni 
 crederent, eum nimia contra se ca- 
 lumnia verutn sanguinem perdidisse. 
 
 2. catatexitechnus : Fans, i, 26, 
 7 ; Vitmv. ioc. cit. ; Call, qui propter 
 elegantiam ac subtilitatem artis 
 tnarfnoreae ab Atheniensibus catatexi- 
 technus fuerat nominatus ; Brunn, 
 K. G. i, p. 254 aptly compares the 
 use of KaTaT-fjiceLV in Dionys. JI. de vi 
 Dem. 51 : Ou 7a/> 5^ rot, irXao-rat y^v 
 KoX ypatp€ts iv iKr^ <p6apT^ xeipwv fit- 
 GTOvias ivZcitcvv p.ivot roaovTov^ elff- 
 <[)€povTai iTovoiis, uffre koX (p\4l3ta Kal 
 iTTiKa mt x^'ous tcai rd tovtois Sftoia 
 els anpov t^epya^eaSai «al HaraTrjKHv 
 cis ravra ras tcxvols. 
 
 4. saltantes Xiacaenae : Furt- 
 wangler {Afasterpieces, p. 438 ; id. fig. 
 179) inclines to recognize the type in 
 the dancing girls wearing the Kala- 
 thiskos so common on later reliefs 
 and gems. 
 
 5. gratiam . . . abstulerit : this 
 judgement flatly contradicts the words 
 ofVitruviusquotedabove(cf. also Paus. 
 loc.cit.) ; aninterestingevidenceofdiver- 
 gence of opinion among ancient critics. 
 
 et pictorem fuisse : cf. of Pytha- 
 goras, § 60 ; of Fheidias, xxxv, 54. 
 
 7. Zenonis : he was boin at Kition. 
 His features are known from the bust 
 at Naples, Schuster, Ueier die erhal- 
 tenen Porirdts der Gr. Philosophen, 
 pi. iv, I, I a. 
 
 Cypria expeditione : vii, 113, 
 when Cato went to Cyprus as Quaestor 
 cum iure practorio to confiscate the 
 property of Ptolemy, which was put 
 up to auction. 
 
 §93. 10. auctoris incerti : this 
 suffices to discredit the proposed 
 identification of this statue with the 
 Herakles of Polykles, mentioned Cic. 
 ad Alt. vi, I, 17. 
 
//. BRONZE STATUARY 79 
 
 Of all artists, however, Kallimachos has received the most dis- 02 
 tinctive name. He was always too severe a critic of himself, and -^a^'^^*- 
 incessantly laborious; from this he received the surname oi'^mggkr' 
 KaTa-nj^iTexvos, Or the Niggler — a noteworthy warning that even 
 diligence has its limits. By him we have a group of Spartan 
 girls dancing, a work of faultless technique, which has, however, 
 lost all charm through over elaboration. Some authorities say 
 that Kallimachos was also a painter. 
 
 The statue of Zeno was the only one which Cato did not sell 56 b. c. 
 when commissioner in Cyprus ; this, however, was not because 
 he valued the bronze or the workmanship, but because the statue 
 was that of a philosopher, a trivial incident, yet not unworthy of 
 passing notice. 
 
 In speaking of statues there is one which ought not to be 93 
 omitted, although the artist is unknown. It stands close to the -^'"'«*''«^ 
 
 . wearing 
 
 K.ostra, and represents Herakles wearmg the tunic ; it is the only the tunic. 
 one of him in Rome in that dress: the wild expression of the >,^; 
 face shows that he is feeling the last agonies of the tunic. There J^' 
 are three inscriptions upon it : one states that it is part of the 
 plunder taken by Lucius Lucullus, the second that the son of 63 b. c. 
 LucuUus, while still a minor, dedicated it in pursuance of a de- 
 cree of the Senate, the third that Titus Septimius Sabinus when 
 curule aedile made it once more a public monument. These 
 inscriptions show the rivalry occasioned by the statue, and the 
 value set on it. 
 
 II. torva facie: the description 12. tres sunt tituli : showing that 
 
 shows clearly to what school the the statue had changed place three 
 
 Herakles belonged ; the hero trjdng times ; where it stood on its first 
 
 to extricate himself from the burning dedication is unknown. The son of 
 
 robe irresistibly recalls the Laokoon Lucullus re-dedicated it near the (old) 
 
 tearing away the snakes. That the Rostra. Then, owing to the numerous 
 
 tunica was the fatal robe sent by changes which took place in the Fornm 
 
 Deianeira is a suggestion first made it was removed and fell into private 
 
 by Tumebus, Advers. lib. xvi, 487. hands; the restoration by T. Sep- 
 
 Though the reading sentiensque timius Sab. was in virtue of his office 
 
 supremo, tuniccie is not absolutely as aedile, by which he had charge of 
 
 beyond suspicion, I see no reason for public buildings and statues. 
 following Peter [ap. Roscher, i, 2941) 13. de manubiis : on the occasion 
 
 in denying (cf. Urlichs in Chrest. of his triumph B. c. 63. 
 p. 333) the allusion to the poisoned pupiUum : he was the ward of 
 
 tunic. The subject seems to have been Cato {Cic.deFin. iii, 2) and Cicero 
 
 represented in painting by Aristeides {Att. xiii, 6). 
 (Polybios, ap. Strabo, viii, p. 381). 
 
8o C. PLINII SECUNDl NAT. HIST. XXXIV 
 
 14,0 Aristonidas artifex cum exprimere vellet Athamantis 
 furorem Learcho filio praecipitato residentem paenitentia, 
 aes ferrumque miscuit ut robigine eius per nitorem aeris 
 relucente exprimeretur verecundiae rubor, hoc signum 
 
 141 exstat hodie Rhodi. est in eadem urbe et ferreus Hercules, 5 
 quern fecit Alcon laborum dei patientia inductus. vide- 
 mus et Romae scyphos e ferro dicatos in templo Martis 
 Ultoris. 
 
 I. Aristonidas : xxxv, 146, where Athamantis furorem : recalls snch 
 
 his son Mnasitimos is mentioned subjects as Herakles grieving for his 
 
 among the painters KOK j]j»z»3z7«j / cf. madness, xxxv, 141. The Athamas 
 
 /. G. B. 197 (inscr. more completely was perhaps inspired by the Ino of 
 
 given by Hiller von Gaertringen, Euripides, where the murder of Lear- 
 
 /. G. Ins. i, 855), which shows that M. chos occurred, 
 
 was also a sculptor like his father. 4. verecundiae rubor : cf. Plu- 
 
II. BRONZE STATUARY 8i 
 
 The artist Aristonidas in a statue representing Athamas after 14,0 
 the murder of his son sought to depict fury giving place to Yronin 
 repentance, and mixed copper and iron, that the rust might show statms. 
 through the metallic lustre of the copper and express the blush of 
 shame ; this statue exists to this day at Rhodes, where also is 141 
 a Herakles which Alkon bethought himself to cast in iron, in 
 allusion to the fortitude of the god under his labours. We can 
 also see cups of iron at Rome, dedicated in the temple of Mars 
 the Avenger. 
 
 tarch's description of the lokasta of perhaps identical with the chaser 
 
 Seilanion, Su/iTT. V, I, 2, cf. ttSj ScitSi/ Alkon, Athen. xi, p. 469 A, the 
 
 viovuoirj/i. a«. iii, 30 . Pseudo - Virgil, Culex, 66 ; Ovid, 
 
 6. Alcon : according to Brunn, Metam. xiii, 683 ff. 
 K. G. ii, p. 402 (cf i, p. 466) he is 7. Martis ultoris : above § 48. 
 
C. PLINII SECUNDI 
 NATURALIS HISTORIAE 
 
 LIBER XXXV, §§ 15-29; 50-149; 151-158 
 (PICTURA ET PLASTICS) 
 
 G 3 
 
Lib. 
 XXXV, 
 
 /. PICTURA. 
 
 15 De picturae initiis incerta nee instituti operis quaestio est. 
 Aegyptii sex milibus annorum apud ipsos inventam prius- 
 quam in Graeciam transiret adfirmant vana praedicatione, 
 ut palam est, Graeci autem alii Sicyone alii apud Corinthios 
 repertam, omnes umbra hominis lineis circumducta, itaque S 
 primam talem, secundam singulis coloribus et monochro- 
 maton dictam postquam operosior inventa erat, duratque 
 
 16 talis etiam nunc, inventam liniarem a Philocle Aegyptio 
 vel Cleanthe Corinthio primi exercuere Aridices Corinthius 
 et Telephanes Sicyonius, sine uUo etiamnum hi colore, iam '° 
 tamen spargentes linias intus. ideo et quos pingerent ad- 
 
 § 15. 1. incerta: invii, 205 Pliny had 
 already given two different versions. 
 
 2. Aegjrptii ; their contention was 
 obviously a true one ; the vana prae- 
 dicatione is drawn from a Greek 
 writer anxious to claim the invention 
 of painting for Greece. 
 
 4. Sioyone : for its claims to 
 artistic preeminence cf. below, 5 75, 
 xxxvi, 9, and note on xxxiv, 55 ; it is 
 probable that Corinth was the earlier 
 artistic centre, and that priority was 
 claimed for Sikyon, when, in the latter 
 half of the fifth century, it began to 
 assume the leadership of the Pelo- 
 ponnesian schools. The allusion to 
 Sikyon, and the theoretical character 
 of the following genesis of painting 
 
 (Introd. p. xxviii f.) point to Xeno- 
 krates as authority. 
 
 5. umbra . . . circumducta: this 
 theory is purely arbitrary ; it rests on 
 the conventional supposition that the 
 simpler method necessarily precedes 
 the more complex — that pictures in 
 outline precede pictures where the 
 contours are filled in, and mono- 
 chrome painting polychrome. The 
 historical study of the monuments, 
 1. e. of early painted fictile wares, has 
 shown, however, that the operation 
 was rever^ed in both cases ; cf. 
 Robert, Arch. Marchen, p. 121 ff. 
 Studniczka {Jahrb. ii, 1887, p. 148 
 ff.) has made a vigorous attempt to 
 reconcile fact with the Plinian tra- 
 
I. PAINTING. 
 
 Book 
 XXXV. 
 The origin of painting is obscure, and hardly falls within the 15 
 
 scope of this work. The claim of the Egyptians to have dis- ^//(""f.f. 
 
 covered the art six thousand years before it reached Greece is gin. 
 
 obviously an idle boast, while among the Greeks some say that it 
 
 was first discovered at Sikyon, others at Corinth. All, however, 
 
 agree that painting began with the outlining of a man's shadow ; 
 
 this was the first stage, in the second a single colour was employed, 
 
 and after the discovery of more elaborate methods this style, which 
 
 is still in vogue, received the name of monochrome. 
 
 The invention of linear drawing is attributed to t Philokles of 16 
 
 Egypt, or to Kleanthes of Corinth. The first to practise it were gf^iyll 
 
 t Arideikes of Corinth, and t Telephanes of Sikyon, who still used Kleanthes 
 
 no colour, though they had begun to give the inner markings, and %rideikes' 
 
 from this went on to add the names of the personages ih&y of Corinth. 
 
 Telephanes 
 of Sikyon. 
 
 dition ; see also Hollwerda in Jahrb. Philoole Aegyptio : harks back 
 
 V, 1890, p. 256 f. and C. Smith, art. to the Egyptian tradition ; Miinzer, 
 
 PlCTUEAinSmith'sZ'zV/.^«^.p.40of., Hermes, xxx, 1895, p. 512, note i. 
 
 ■who gives a lucid analysis of the 9. Cleanthe : known from Strabo, 
 
 question. viii, p. 343, as the painter of (3) 
 
 § 16. 8. inventam liniarem : the an Ilionpersis, iV) a Birth of Athena 
 
 use of invenio like that ol primus (cf. (cf. Athen. viii, 346 C) ; for the 
 
 note on xxxiv, 54) must not be probable style of these paintings cf. 
 
 pressed; it arises from the determina- Studniczka, op. cit. p. 153. 
 
 tion, already noted in the case of the 1 1 . adsoribere institutum ; the 
 
 bronze statuaries, to connect each names of the personages portrayed 
 
 stage of a progress virith one definite were used ornamentally to fill up 
 
 name. space, as often on black-figured vases. 
 
86 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 scribere institutum. primus invenit eas colore testae, ut 
 ferunt, tritae, Ecphantus Corinthius. hunc eodem nomine 
 alium fuisse quam quem tradit Cornelius Nepos secutum 
 in Italiam Damaratum Tarquinii Prisci regis Romani patrem 
 fugientem a Corintho tyranni iniurias Cypseli mox docebi- 5 
 mus. 
 
 17 lam enim absoluta erat pictura etiam in Italia, exstant 
 certe hodieque antiquiores urbe picturae Ardeae in aedibus 
 sacris, quibus ego quidem nullas aeque miror, tarn longo 
 aevo durantis in orbitate tecti veluti recentis. similiter 10 
 Lanivi, ubi Atalante et Helena comminus pictae sunt nudae 
 ab eodem artifice, utraque excellentissima forma, sed altera 
 
 18 ut virgo, ne ruinis quidem templi concussae. Gains princeps 
 tollere eas conatus est libidine accensus, si tectori natura 
 permisisset. durant et Caere antiquiores et ipsae. fate- 15 
 biturque quisquis eas diligenter aestimaverit nullam artium 
 celerius consummatam, cum Iliacis temporibus non fuisse 
 eam appareat. 
 
 I. invenit] codd. ; inlevit Haupt, Detlefsen. 
 
 I. invenit: the manuscript read- 4. Damaratus: below § 152 ; Tac. 
 
 ing is defended by Holwerda [pp. cit. Ann. xi, 14; Dionysios H. iii, 46 ff., 
 
 p. 259, note 64) who pouits ont that Strabo v, p. 219, viii, p. 378, &c. 
 
 invenire eam colore testae tritae can^- 5. mox dooebimus ; Furtwangler 
 
 spends to picturam invenire singulis {Plinius, p. 25 f. ; of. Robert, /4?-cA. 
 
 coloribus above. '? at primus invenit Mdrchen, p. 123) has shown that the 
 
 cf. below, §§ 151, 152. proof follows immediately: iam 
 
 testae tritae : the process, which enim . . . 
 
 is known only from this passage, § 17. 8. Ardeae : iii, 56 ; for the 
 
 probably died out early, Bliimner, paintings by M. Plautius in its temple 
 
 Technol. iv, p. 478 f. of Juno, below, § 115 ; for paintings 
 
 •z. Eephantus : the name is that in temple of Castor and Pollux see 
 
 of a painter inscribed on the columna Servius on Aen. i, 44 (Thilo i, p. 31) ; 
 
 Naniana [I. G. B. 5) ; the identity nam Ardeae in templo Castoris et 
 
 suggested by Studniczka {pp. cit. p. Pollucis in laeva intrantibus (cf. 
 
 151) is quite uncertain. below, § ic,^ post forem Capaneos 
 
 3. alium fuisse quam : attempts pictus estfulmen per utraque tempora 
 
 to reconcile two variant traditions — traiectus. 
 
 namely the attribution of the invention 11. Lanivi: iii, 64; viii, 221. 
 
 of painting proper to Ekphantos, and 12. altera ut virgo: for the 
 
 thf Italian tradition that painting was ellipse of the first altera cf. below, ' 
 
 perfect in Italy long before the arrival § 71 hoplites in certamine ita 
 
 of the Greeks. Cf. § 152, where the decurrens ut sudare videatur, alter 
 
 fictores who followed Damaratos into arma deponens ut . . . and see note on 
 
 Italy are mentioned. xxxiv, 54, 1. 7. 
 
/. PAINTING 87 
 
 painted. The invention of painting with colour made, it is 
 said, from powdered potsherds, is due to \Ekphantos of Corinth. Ekphantos 
 I shall show presently that this Ekphantos is distinct from that "f^""""'" 
 namesake of his who, according to Cornelius Nepos, followed 
 Damaratos, the father of Tarquin the Ancient, in his flight to 
 Italy from Corinth to escape the insults of the tyrant Kypselos, 
 for by that time painting in Italy also had already reached high 17 
 perfection. To this day we may see in the temples of Ardea ^J'Jaintin" 
 paintings older than the city of Rome, which I admire beyond in Italy. 
 any others, for though unprotected by a roof they remain fresh at^Ardfa 
 after all these years. At Lanuvium again are two nude figures by jn^lanta 
 the same artist, of Atalanta and Helen, painted side by side, and Helen 
 Both are of great beauty, and the one is painted as a virgin ; they '^'- ■^'^""" 
 have sustained no injury though the temple is in ruins. The 18 
 Emperor Caligula, who was fired by a passion for these figures, 
 would undoubtedly have removed them if the composition of the 
 stucco had allowed of it. Caere possesses some still more ancient Paintings 
 paintings. No one can examine these carefully without confess- '^^ ^'^"■ 
 ing that painting reached its full development more rapidly than Rafid de- 
 any other art, since it seems clear that it was not yet in existence ^f/%T^t 
 in Trojan times. 
 
 13. ne ruinis ctuidem oonoussae : baturque rursum pugna, ni Mara- 
 one may conjecture that the Atalanta boduus castra subduxisset. 
 and Helena had once formed part of 15. Caere, iii, 51 ; an interesting 
 a larger composition which was series of paintings from Caere 
 partially destroyed in Pliny's time. (Cervetri) now in the Brit. Mus. has 
 Engelmann {ap. Roscher, i, p. 1964) been published by A. S. Murray, 
 conjectures that the painting had origi- J-H. S. x, 1889, pi. vii, pp. 243-252, 
 nally represented a mortal counter- who justly points out their dependence 
 part of the ' Judgement of Paris ' — on Greek models. In asserting the 
 on the analogy of a bronze Etruscan independent development of painting 
 cista at Berlin (Friederichs, Bronzen, in Italy, Pliny has evidently been 
 542, cf Arch. Am. 1889, p. 42), where misled by his patriotism. A similar, 
 Paris appears in conversation with but somewhat later, series of paint- 
 three nude women Felena (Helen), ings from Caere in the Louvre, Mon. 
 Ateleta (Atalanta) and Alsir (?). Inst, vi, vii, pi. 30. 
 Helen was a favourite subject of the 17. Iliaois temporibus : the state- 
 Etruscan artists ; cf. Gerhard, Etr. ment is based on the Homeric poems, 
 Spiegel, iv, 373-382. where, with the exception of the p^ej 
 
 § 18. 14. libidine aeeensus : for luKToiraprioi, and the 'lirnov irapfiiov 
 
 similar stories cf below, § 70 ; xxxiv, (//. iv, 141) which 'a woman of 
 
 62. Paionia or Maionia dyes with purple,' 
 
 teotori natura : below, § 173. there are no allusions to painting; 
 
 For the elliptical construction of si see O. MUUer, Handbuch, p. 5 r . 
 permisissetci.Tsic.Ann.n, 46 ; spera- 
 
88 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 19 Apud Romanes quoque honos mature huic arti contigit, 
 siquidem cognomina ex ea Pictorum traxerunt Fabii claris- 
 simae gentis, princepsque eius cognominis ipse aedem Salutis 
 pinxit anno urbis conditae CCCCL, quae pictura duravit 
 ad nostram memoriam aede ea Claudi principatu exusta. 5 
 proxime celebrata est in foro boario aede Herculis Pacuvi 
 poetae pictura; Enni sorore genitus hie fuit, clarioremque 
 
 20 artem earn Romae fecit gloria scaenae. postea non est 
 spectata honestis manibus, nisi forte quis Turpilium equitem 
 Romanum e Venetia nostrae aetatis velit referre pulchris 10 
 eius operibus hodieque Veronae exstantibus. laeva is manu 
 pinxit, quod de nuUo ante memoratur. parvis gloriabatur 
 tabellis extinctus nuper in longa senecta Titedius Labeo 
 praetorius, etiam p roconsulatu provinciae Narbonensis functus, 
 
 21 sed ea re in risu etiam contumeliae erat fuit et principum 15 
 virorum non omittendum de pictura celebre consilium. 
 
 A.u.c. 709. cum Q. Pedius nepos Q. Pedii consularis triumphalisque et 
 a Caesare dictatore coheredis Augusto dati natura mutus 
 asset, in eo Messala orator, ex cuius familia pueri avia 
 fuerat, picturam docendum censuit, idque etiam divus 20 
 Augustus comprobavit, puer magni profectus in ea arte 
 
 22 obiit. dignatio autem praecipua Romae increvit, ut existimo, 
 
 § 19. 2. Fabii clariss. gentis : An of these wall-paintings. (Against the 
 
 censemus, siFabio, nohilissimo homini, proposed identification of a wall paint- 
 
 laudi datum esset quod pingeret, non ing from the Esquiline, Bull. Comm. 
 
 multos afud nos futuros Polyclitos et 1889, pi. xi, xii, as ' riproduzione in 
 
 Parrhasios fuisse ? Cic. Tusc. Disput. piccol6 ' of the pictures in the temple 
 
 i, 2, 4. The first Pictor is of course of Salus, see Hiilsen, Rom. Mitth. 
 
 distinct from the historian (b. about 1891, p. ill.) 
 
 B.C. 254; Teuffel, 116). 6. foro boario aeda Herculis: 
 
 3. aedem Salutis : since the this temple, which was called aedes 
 
 temple was dedicated by C. Junius Aemiliana (according to Scaliger's 
 
 Bubulcus, a hero of the second emendation of Festus, p. 243) was 
 
 Samnite war, B.C. 311, and consecra- either founded or restored with great 
 
 ted by him as Dictator, B.C. 302 splendour by Aemilius PauUus the 
 
 (Liv. ix, 43, 25), the pictures probably conqueror of Pydna ; of. H. Peter, ap. 
 
 related to his exploits in Apulia Roscher, i, p. 2909 f. It was natural, 
 
 (Urlichs, Malerei in Rom, p. 7). From as Uilichs (Malerei, p. 1 7) points out, 
 
 Valerius Max. viii, 14, 6 it appears that he should employ to decorate it 
 
 that they were extensive compositions, Pacuvius, who had written in his 
 
 covering perhaps the two long walls of hono\iit)i&PraetextaPaulus{Kibhsck, 
 
 thecella. Dionysios, xvi, 6, praises the Rom. Trag. 326), and whose inti- 
 
 fine drawing, and sharp clean contours macy with Laelius, the bosom friend 
 
/. PAINTING 89 
 
 Among the Romans too this art was early had in honour, see- 19 
 ing indeed that so distinguished a family as the Fabii drew from ;^^^^"f 
 it the name of Pictor [Painter] ; and the first of the name actually Fabius 
 painted the temple of Safety, in the year of Rome 450 [304 b.c.]. "^ '^' 
 These paintings lasted until my day, when the temple was burned 
 down in the reign of Claudius. Soon afterwards the poet Facu- Pacuvius. 
 vius won great renown through his paintings in the temple of 
 Hercules in the Cattle Market. The mother of Pacuvius was 
 a sister of Ennius, whence it came about that the drama lent 
 a new lustre to the art of painting at Rome. Since that time. 20 
 however, the profession of painter has received no honour at the 
 hands of men of good birth, unless we except in our own time 
 Turpilius, a Roman knight from Venetia, whose excellent pictures Turpilius. 
 are still to be seen at Verona. He painted with his left hand, 
 a peculiarity noted of no artist before him. Titedius Labeo, who Titedius 
 died not long ago in extreme old age, was proud of the little 
 pictures that he painted : he was of praetorian rank and had even 
 been governor of Narbonensis, yet his art only brought upon him 
 ridicule and even scorn. Nor must I omit the famous decision 21 
 with regard to painting arrived at by eminent statesmen. Quintus Qumtus 
 Pedius (grandson of that Quintus Pedius who had been consul, 
 had enjoyed a triumph and was named by the dictator Caesar as 45 ^.c. 
 co-heir with Augustus) having been dumb from his birth, it so 
 befell that Messala, the orator, to whose family the boy's grand- 
 mother belonged, advised that he should be taught to paint. The 
 god Augustus approved of the idea, and the boy had made great 
 progress in the art when he died. The esteem which the Romans 22 
 
 of Aemilius' son Scipio, is known to was the grandson of Caesar's elder 
 
 us from Cicero {Laelius, 7, 24). sister; he triumphed Dec. 13,8.0.45, 
 
 § 20. 9. honestis manibus : of. after his Spanish campaign (Appian, 
 
 Cic. Tusc. Disf. loc. cit., and the Bell. Civ. iii, 22, 23, 94-96), was 
 
 ironical words applied to Fabius consul with Augustus in B.C. 43, in 
 
 Pictor by Val. Max. viii, 14, 6. which year he died. 
 
 Turpilium ; possibly a descen- 18. coheredis dati : Suet. Julius, 
 
 dant of the Turpilius who wrote come- 83. 
 
 dies, and was a contemporary of 19. Messala orator : B.C.64-A.D. 
 
 Terence CRibbeck, Com. 2nd ed. 85). 8 (Teuffel, 222), quoted in the indices 
 
 II. Veronae : probably Pliny's to Blis. ix, xxxiii, xxxv ; restores the 
 
 birthplace, since in Praef. i he speaks ancient Sibyls, xxxiv, 22. Cf. also 
 
 of Catullus as his conterraneus. vii, 90, and above, § 8. 
 
 13. Titedius Iiabeo : Tac. Ann. avia: i.e. the wife of Q. Pedius, 
 
 ii, 85. the legatee of Caesar. 
 
 § 21. 17. Q. Pedii oonsularis ; he § 22. 22. dignatio . . . inorevit : 
 
go C. PLINII SECUNDI NAT. HIST. XXXV 
 
 a M'. Valerio Maximo Messala, qui princeps tabulatn pictam 
 proelii quo Carthaginienses et Hieronem in Sicilia vicerat, 
 proposuit in latere curiae Hostiliae anno ab urbe condita 
 CCCCLXXXX. fecit hoc idem et L. Scipio, tabulamque 
 A.u.c. 565. victoriae suae Asiaticae in Capitolio posuit, idque aegre 5 
 tulisse fratrem Africanum tradunt haut inmerito, quando 
 
 23 filius eius illo proelio captus fuerat. non dissimilem 
 ofFensionem et Aemiliani subiit L. Hostilius Mancinus qui 
 primus Carthaginem inruperat situm eius oppugnationesque 
 depictas proponendo in foro et ipse adsistens populo spectanti 10 
 singula enarrando, qua comitate proximis comitiis con- 
 
 A.u.c. 609. sulatum adeptus est. habuit et scaena ludis Claudii Pulchri 
 magnam admirationem picturae, cum ad tegularum simili- 
 tudinem corvi decepti imaginem advolarent. 
 
 24 Tabulis autem externis auctoritatem Romae publice fecit 15 
 primus omnium L. Mummius cui cognomen Achaici victoria 
 
 A.u.c. 608. dedit. namque cum in praeda vendenda rex Attains 
 XrVI] emisset tabulam Aristidis, Liberum patrem, pretium 
 miratus suspicatusque aliquid in ea virtutis quod ipse 
 
 onRoman triumphal picturesgenerally which of the two occasions he exhi- 
 
 see the excellent remarks of Raoul- bited the picture of his exploits (cf. 
 
 Rochette, Peint. Ant. p. 303 f., and Urlichs, op. cit. p. 14). 
 recently Wickhoff, Wiener Genesis, 5. aegre tulisse : the injury felt 
 
 p. 30 f. was far-fetched ; from Val. Max. ii, 10 
 
 I. M'. Valerio Maximo Messala: 2, we learn that Antiochos treated 
 
 COS. B.C. 263; cf vii, 214. the sou with marked courtesy, and 
 
 3. in latere curiae Host. : see- sent him back celeriter. 
 ing the numerous changes undergone § 23. 8. Aemiliani : the offence 
 
 by the Curia between the date of presumably consisted in the omission 
 
 Messala and that of Cicero, the iden- from the picture of any allusion to 
 
 tity of the picture with the tabula the timely help of Scipio, Appian, 
 
 Valeria {Cicero mVat.<j, 21; ad Fam. AiP. 113 ff.; cf. iiiii. 134, where a 
 
 xiv, 2, 2) is improbable (it seems ac- graphic account is given of the en- 
 
 cepted by Becker, J?Sm. Top. p. 326, thnsiasm with which the Romans 
 
 note 99, and recently by Gilbert, Ce- received the news of the fall of 
 
 schichte u. Top. iii, p. 165, note 2 ; Carthage. 
 
 Urlichs, Malerei, p. 9, suggests that 12. scaena : i. e. 'she. scaenae frons 
 
 the exhibition was only temporary). or wall of the stage-buildings, upon 
 
 The date usually assigned to Messala's which the scenic decorations were 
 
 victory is A. u. c. 491 =B.c. 263. hung, cf § 65. 
 
 %. Ii. Scipio : he triumphed on Claudii Pulchri : aedlle B. c. 99 ; 
 
 the last day of the intercalary month on his games see viii, 19 ; Val. 
 
 of B.C. 188, but his splendid games Max. ii, 4, 6 C. Pulcher scenam va- 
 
 were not celebrated till B.C. 186 (cf rieiate colorum adumbravitvacuis ante 
 
 xxxiii, 138). It is not known on pictura tabulis extentam. 
 
I. PAINTING 91 
 
 gave to painting was greatly increased (so it seems to me) by the 
 action of Manius Valerius Maximus Messala. He first caused M\ Val. 
 his victory over the Carthaginians and Hiero in Sicily to be ^f''- ^"' 
 
 J Till ^"■''^ '"'"■' 
 
 pamted on wood, and exhibited the picture at the side of the memorates 
 Curia Hostilia in the year of Rome 490 [264 b c.]. Following ^" '""^."''y 
 his example Lucius Scipio exhibited in the Capitol a picture repre- tun. 
 senting his Asiatic victory, a step which not unnaturally displeased ^ f"?'" 
 his brother ' the African,' whose son had been taken prisoner in 189 b.c. 
 the battle. In the same way Lucius Hostilius Mancinus, who 23 
 had been the first to enter Carthage, incurred the anger of Scipio ^: ^°i'^' 
 Aemilianus by exhibiting in the forum pictures of the site oi dnus. 
 Carthage and the various attempts to storm it, while he himself 
 stood by, telling the whole story to the crowd of spectators with 
 a geniality which at the next elections won him the consulship. 145 e.g. 
 At the games given by Claudius Pulcher, the painting of the 99 ^■^' 
 scenery excited great wonder, the very crows being deceived by 
 the painted tiles and iiying down to settle on them. 
 
 Foreign pictures, however, were first publicly brought into 24 
 vogue at Rome by Lucius Mummius, surnamed the Achaean from 'Mummius 
 his victories. At the auction of the spoils. King Attalos had bid ^fj^^f'^"^ 
 for a picture of Dionysos by Aristeides the sum of 600,000 denarii /«V/««j. 
 [_;^2 1,000 circ], whereupon Mummius, surprised at the price ^"^ ' 
 offered, and suspecting some merit in the picture which escaped 
 
 14. corvi deoepti; cf. below, §§ 65, rex Attains: see vii, 126. As 
 
 66, and 155. a fact Attalos himself was not present 
 
 § 24. 16. Ii. Mummius: in xxxiii, at Corinth (Pans, vii, 16, i); he had 
 
 i49,however,theintroductionofforeign only sent an auxiliary force to the 
 
 pictures into Rome is attributed to Romans, under the command of Philo- 
 
 Scipio's Asiatic victories ; while Liv. poimen. There is a further inaccuracy 
 
 XXV, 40, states that the first enthusiasm in the account of the purchase : ac- 
 
 for Greek pictures at Rome was a cording to Polybios (a/«(/Strabo, viii, 
 
 result of the capture of Syracuse by p. 381), who was an eye-witness, the 
 
 Marcellus : ceterum inde frimum Roman soldiers were already using the 
 
 initium mirandi Graecarum artium ; pictures as dice-boards, when Philo- 
 
 cf. also Cato's speech as given Liv. poimen offered a hundred talents to 
 
 xxxiv, 4 (below note on § 157)1 and Mummius in case he should feel dis- 
 
 Plut. Marcell. xxi. posed to assign the picture to Attalos' 
 
 17. in praeda vendenda : the share of the booty. For the paintings 
 
 notion of an auction is inaccurate : collected by Attalos, see Frankel, 
 
 according to Paus. vii, 16, S, Mum- _ya,4>-i.vi (i89i),pp. 49-60,'Gemalde- 
 
 mius had taken to Rome the most Sammlungen u. Gemalde-Forschung 
 
 valuable works of art, and handed in Pergamon.' 
 
 over to Philopoimen (see next note) 18. Aristidis : below, §§ 98-100. 
 
 the less important objects. Liberum patrem ; below, § 99. 
 
93 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 nesciret, revocavit tabulam Attalo multum querente et in 
 Cereris delubro posuit, quam primam arbitror picturam 
 
 25 externam Romae publicatam. deinde video et in foro 
 positas volgo. hinc enim ille Crassi oratoris lepos agentis 
 sub Veteribus, cum testis compellatus instarct : die ergo, 5 
 Crasse, qualem me noris ? talem, inquit, ostendens in tabula 
 pictum inficetissime Galium exerentem linguam. in foro 
 fuit et ilia pastoris senis cum baculo, de qua Teutonorum 
 legatus respondit interrogatus, quantine eum aestimaret, 
 donari sibi nolle talem vivom verumque. 10 
 
 26 Sed praecipuam auctoritatem publice tabulis fecit Caesar 
 dictator Aiace et Media ante Veneris Genetricis aedem 
 dicatis, post eum M. Agrippa vir rusticitati propior quam 
 deliciis. exstat certe eius oratio magnifica et maximo 
 civium digna de tabulis omnibus signisque publicandis, 15 
 quod fieri satius fuisset quam in villarum exilia pelli. verum 
 eadem ilia torvitas tabulas duas Aiacis et Veneris mercata 
 est a Cyzicenis HS. [XII]. in thermarum quoque cali- 
 dissima parte marmoribus incluserat parvas tabellas paulo 
 ante, cum reficerentur, sublatas. 20 
 
 I. in Cereris delubro : xxxiv, Mariano scuto Cimbrico. The pro- 
 
 15; below, §§ 99, 154. Strabo, loc. trading tongue was probably apotro- 
 
 cit. rdv di Aiivvaov [sc. 'ApiffxeiSou] paic (cf.Urlichsin CA^rfoOT., p. 343) ; 
 
 avaKilufvov hv Ta) A7]iJ.rjTpeiij} rS ev being misunderstood it gave occasion 
 
 'PiifiTi KaKKiarov epyow iaipSifiiv kpi- to the witticisms recorded by Pliny, 
 
 irprjffdevTQS h^ tov veOj ffvvrjcpaviaOTj ical Cicero and others with Quinctilian, 
 
 ^ ipaip^i veaffTi. perhaps also to the remark in Liv. 
 
 § 25. 4. Crassi oratoris : Cicero vii, 10, 5 : (Galium) linguam eiiam 
 
 {de Orat. ii, 66, 266 ; cf. Quinct. vi, 3, ab irrisu exserentem. 
 
 38, where see Spalding's note) attri- § 26. 12. Aiace et Media: vii, 
 
 butes the witticism to the orator, C. i26=App. I; below, §§ 136, 145. 
 
 JuliusCaesarStrabo (Teuffel,i53, 3). ante V. G. aedem: whereas 
 
 5. sub veteribus : sc. tabernis, in § 136 the same pictures are said to 
 cf. § 113; these shops, with a colon- be in V. G. aede ; the latter seems 
 nade in front of them, stood facing the the likeliest ; the first variant is prob- 
 Sacra Via, on the site afterwards oc- ably due to Pliny's carelessness ; cf. 
 cupied by the Basilica Julia. The Miinzer, 'oJ>. cii. p. 542. The temple 
 tribunal, where the scene is imagined, was vowed by Caesar at Pharsalos 
 may, have stood close to the Hegia ; (b.c. 48), ded. with the Forum, Sept. 
 cf. Jordan, Tofi. 1, -i, p. 382, note 92. 24 or 25, B.C. 46 (but see Mon. Ancyr. 
 Cicero, loc. cit. , has sub novis, i. <;. on iv, 1 2 ; Mommsen, Res Gestae, p. 84 f.) . 
 N. side of the Forum. 13. M.Agrippa: B.C. 63-A.D. 12 ; 
 
 6. in tabula : Cic. loc. cit. in Teuffel, 220, jo-14. 
 
/. PAINTING 93 
 
 his own eyes, withdrew it, in spite of the protests of Attalos, and 
 afterwards dedicated it in the temple of Ceres. This was, 
 I believe, the first foreign picture publicly dedicated at Rome. 
 Later on I see that they were constantly put up even in the 25 
 Forum, a custom which gave the orator Crassus an opening for 
 a witticism. He was pleading a case close to the Old Shops, 
 when a witness under examination said to him, 'Pray what do 
 you take me for, Crassus ? ' ' Just such a man as that,' answered 
 Crassus, pointing to a coarse picture of a Gaul with his tongue 
 out. In the Forum too was the picture of an old shepherd with 
 his staff, of which the envoy of the Teutons said, when asked what 
 he thought it was worth, that he would not take such a man at 
 a gift, even if he were alive and real. 
 
 But the highest public tribute to painting was paid by the 26 
 dictator Caesar when he dedicated the Aias and the Medeia in patrona<re 
 front of the temple of Venus the Mother, and after him by Marcus Aias and 
 Agrippa, whose natural tastes inclined to rustic simplicity rather , ^ "^ 
 than to the refinements of luxury ; a magnificent speech of his 
 at least is extant, fully worthy of the first citizen in the state, 
 urging that all pictures and statues should be made public pro- 
 perty — certainly a wiser plan than to consign them to exile in our 
 country houses. Yet the rude Agrippa bought two pictures — an Aias and 
 Aias and an Aphrodite — from the people of Kyzikos for 1,200,000 f^^^'jA,! 
 sesterces [;^i 0,500 circ.J, and further, in the hottest chamber oi ^ikos. 
 his baths were some small pictures, let into the marble, which 
 were removed not long ago in the course of a restoration. 
 
 17. Aiacis et Veneris: nothing inE.c. 33, or to adorn the buildings 
 
 fnrther is known of either picture ; the which several years later were carried 
 
 grounds for identifying either or both out under his direction (the Septa 
 
 with the Ajax and Medea purchased Julia in B. c. 26 ; the Thermae and 
 
 by Caesar (Welcker, Helbig, Urlichs, the Porticus Neptunia in the follow- 
 
 &c.) are purely fanciful. From the ing year ; cf. Brandstatter, loc. cit^. 
 
 pDsteum-we may assume that Agrip- 18. thermarum : immediately be- 
 
 pa's purchases were later than Caesar's, hind the Pantheon: the calidissima 
 
 and the price paid for the pictures pars must be identical with the cal- 
 
 was not the same (cf. § 136 where darium. 
 
 the price paid by Caesar is given). 19. incluserat : according to a 
 The question is fully discussed by custom general in Roman times ; cf. 
 F. Brandslatter, Timomachos, p. 16 if. below the pictures in the Curia Julia 
 The occasion for Agrippa's. pur- (§ 27). The six celebrated mono- 
 chases, and the spot where he exhi- chrome pictures in red on white 
 bited them, are unknown. He may marble slabs (Naples) had been let 
 have bought the pictures as aedile into the wall in a similar manner ; cf. 
 
94 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 27 Super omnis divus Augustus in foro suo celeberrima in 
 parte posuit tabulas duas quae Belli faciem pictam habent 
 et Triumphum, item Castores ac Victoriam. posuit et quas 
 dicemus sub artificum mentione in templo Caesaris patris. 
 
 A.u.c. 725. idem in curia quoque quam in comitio consecrabat duas 5 
 tabulas inpressit parieti. Nemean sedentem supra leonem 
 palmigeram ipsam adstante cum baculo sene cuius supra 
 caput tabella bigae dependet, Nicias scripsit se inussisse, 
 
 28 tali enim usus est verbo. alterius tabulae admiratio est 
 puberem filium seni patri similem esse aetatis salva differentia 10 
 supervolante aquila draconem complexa. Philochares hoc 
 suum opus esse testatus est. inmensam, vel unam si tantum 
 banc tabulam aliquis aestimet, potentiam artis, cum propter 
 Philocharen ignobilissimos alioqui Glaucionem filiumque 
 eius Aristippum senatus populi Romani tot saeculis spectet. 15 
 posuit et Tiberius Caesar minime comis imperator in templo 
 ipsius Augusti quas mox indicabimus. 
 
 29 Hactenus dictum sit de dignitate artis morientis. quibus 
 coloribus singulis primi pinxissent diximus, cum de his pig- 
 mentis traderemus in metallis : monochromata ea genera 20 
 picturae vocantur. qui deinde et quae invenerint et quibus 
 temporibus, dicemus in mentione artificum, quoniam indicare 
 naturas colorum prior causa operis instituti est. tandem 
 
 6. impressit parieti, Nemean usque ad bigae (bige Voss., bigere Bamb., 
 palmigere Bamb. e corr.) dependet. Nicias Detlefsen; interpunctionem corr. 
 Traube. 20. metallis: monochromata . . . vocantur] Littri; metallis. qui 
 
 monochromata — ea genera picturae vocantur — Detlefsen, vid. errata, vol. v 
 peg. 25°- 
 
 Robert, Hall. Winckelm. frogr. xix, Augustus B.C. 29: it had been be- 
 
 1895, P- 6 f. ; Raoul-Rochette, Pein- gun by Caesar to replace the Curia 
 
 tures, p. 162 ; Wickhoff, Wiener Gene- of Sulla. 
 
 sis, p. 70. 6. inpressit parieti : cf. note on 
 
 § 27. I. in foro . . . parte : below, incluserat in § 26. 
 
 \ ^■^,mfori sui celeherrimis fariihus. Nemean . . . Uicias : 5§ 130, 
 
 2. Bellifaoiem . . . et Triumphum 131. The Nemea was the personifi- 
 = below, § 93 Belli imaginem re- cation of the festal city; the senex 
 strictis ad terga manibus, Alexandra with the staff one of the judges in the 
 in curru triumphante ; ib. Castorem games ; the tablet with the chariot 
 et Pollucem cum Victoria. indicated the particular contest of 
 
 3. quas dicemus : i. e. the Anadyo- which the picture was the memorial 
 mene of Apelles in § 91. (Brunn, K. G. ii, p. 194) ; cf. in Pans. 
 
 5. in curia : sc. Julia, ded. by i, 22, 7 the picture commemorating 
 
I. PAINTING 95 
 
 Above all the god Augustus placed in the most frequented part 27 
 of the Forum which bears his name, two pictures, the one containing ^i^^l"l^ 
 figures of War and of Triumph, the other Kastor and his twin, Ms forum. 
 with Victory. He also dedicated in the temple of his father Caesar /« temple 
 certain pictures which I shall mention when I enumerate the artists. °f (^"'""■''■ 
 Furthermore he let into the wall of the Council Chamber which in Curia. 
 he consecrated in the Comitium two pictures. On the one, which ^9 ^f- 
 
 ^ I. Nemea 
 
 represents the nymph Nemea holding a palm and seated on a by Nikias. 
 
 lion, while an old man with a staff stands by, above whose head 
 
 is suspended a tablet with a two-horse chariot, Nikias has written 
 
 that he burned in the painting, using that very word \ivUaiv\. In 28 
 
 the other picture we admire the marked resemblance between ?• ^'J^'"''^ 
 '^ by Philo- 
 
 a young man and his aged father, although the difference of age chares of 
 
 is not lost : an eagle with a snake in its talons is flying over their Glaukwn 
 ' o JO ^„^ Arts- 
 
 heads. Philochares lays claim to the painting as his work, tippos. 
 Marvellous is the power of art, judged by this work alone, since 
 Philochares could turn the eyes of the Senate of the Roman 
 people for so many years upon Glaukion and his son Aristippos, 
 persons otherwise quite obscure. Tiberius Caesar too, rude Tiberius. 
 prince though he was, dedicated in the temple of Augustus 
 pictures which I shall name later on. 
 
 I have said enough concerning the dignity of a decaying art. 29 
 When treating of pigments in my account of metals I named the 
 colours used singly by the early painters ; paintings in that style 
 are called monochromes. Subsequent innovators, together with 
 the character and date of their inventions, I shall treat of in my 
 account of the artists, since the scheme of my work obliges me 
 first to describe the composition of the pigments employed. 
 
 the victory of Alkibiades in the Ne- to the picture of Philochares, Wun- 
 
 mean games : 'iiritav de ot vixrjs Ti7s tv derer {Manubiae Alex:andrinae,y. 23) 
 
 Nef^ea karl arj/ieTa kv ttj ypatpy ; also suggests that it belonged to Augus- 
 
 the pinax wtih biga on the ' Ikaorios ' tus's Egyptian spoils. 
 
 relief (Br. MuB. = Friederichs-Wolters, 11. PMloeliares : perhaps identi- 
 
 1844). cal with the vase-painter, brother of 
 
 8. inussisse i.e. eveieaev : cf. 132. the orator Aischines, mentioned 
 
 § 28. 9. alterius tabulae : since derisively {d.\a0aaTo6fiKas ypi<pm>) by 
 
 placed in the open air, presumably Demosthenes, J^a/s. Leg. p. 415, 237 
 
 likewise in encaustic. The eagle and (01.109,2 = 8.0.343). 
 
 snake, like the tabella bigae, must 17. luox indicabimus : in § 131. 
 
 have referred to the event com- § 29. 19. diximus : in xxxiii, 
 
 memorated by the picture. How the 117. 
 
 work of Nikias came into the hands 20. monochroinata : ibid. ; cf. 
 
 of Augustus is unknown (§ 131); as above, § 15; below, § 56. 
 
96 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 sears ipsa distinxit et invenit lumen atque umbras, differentia 
 colorum alterna vice sese excitante. postea deinde adiectus 
 est splendor, alius hie quam lumen, quod inter haec et 
 umbras esset appellarunt tonon, commissuras vero colorum 
 et transitus harmogen. 5 
 
 50 
 
 Quattuor coloribus solis immortalia ilia opera fecere — ex 
 albis Melino, e silaciis Attico, ex rubris Sinopide Pontica, 
 ex nigris atramento — Apelles, Action, Melanthius, Nico- 
 machus, clarissimi pictores, cum tabulae eorum singulae 
 oppidorum venirent opibus. nunc et purpuris in parietes lo 
 migrantibus et India conferente fluminum suorum limum, 
 draconum elephantorumque saniem nulla nobilis pictura est. 
 omnia ergo meliora tunc fuere, cum minor copia. ita est, 
 quoniam, ut supra diximus, rerum, non animi pretiis ex- 
 cubatur. 15 
 
 51 Et nostrae aetatis insaniam in pictura non omittam. Nero 
 princeps iusserat colosseum se pingi CXX pedum linteo, 
 incognitum ad hoc tempus. ea pictura cum peracta esset 
 
 1. lumen atque umbras : cf. 
 xxxiii, 160; below, § 131. 
 
 2. alterna vice sese excitante : 
 this passage should be studied in 
 connexion with Aristotle's doctrine, in 
 the third book of the Meteorologica, 
 of the juxtaposition of colours ; 
 cf. with relation to the Plinian 
 words : fieXav irapci fxiXav Trout rh 
 Tipijia \€vK&v iravreT^ws ^aiviaOoL 
 XivKov Meteor, p. 375 a, 20. .See on 
 the whole subject, Bertrand, £iudes, 
 pp. 150-160. 
 
 3. splendor : the meaning sug- 
 gested for this word by Bliimner, 
 Technol. iv, p. 438 is 'reflexion ' (for 
 reflected lights cf. § 138). But re- 
 flexion comes simply under the same 
 heading as treatment of light, whereas 
 the words of Pliny, alius hie quam 
 lumtn, expressly show that splendor 
 was a totally different factor to light. 
 In truth it was neither more nor less 
 than the ' glow ' which — as distinct 
 from any treatment of light and shade 
 
 — is so marked a quality of certain 
 Renascence and modem artists (e.g. 
 Titian, Turner). Kiilb rightly trans- 
 lates ' Glanz.' Introd. p. xxxiv. 
 
 4. tonon : what the modern French 
 would call ' values,' i. e. the passages 
 from the more lit up parts in a picture 
 to the less, the ' value ' being the 
 quantity of light in a given colour. 
 
 commissuras . . . colorum : 
 the arrangement of colours, resulting 
 in apfio'fT), or what the modems 
 would call the general ' tone ' of a 
 picture. 
 
 § 50. 6. ftuattuor coloribus : 
 cf Cic. Brutus 18, 70 similis in 
 pictura ratio est, in qua Zeuxin et 
 Polygnotum et Timanthem et eorum 
 qui non sunt usi plus quam quatttior 
 coloribus, formas et lineamenta lau^ 
 damus ; at in Aetione, Nicomacho, 
 Protogene, Apelle iam perfecta sunt 
 omnia. These words do not necessarily 
 contradict the statement of Pliny or 
 prove that the later painters used more 
 
/. PAINTING 97 
 
 Art at last differentiated itself and discovered light and shade, 
 the several hues being so employed as to enhance one another 
 by contrast. Later on glow— a different thing to light — was 
 introduced. The transition between light and shade they called 
 Tovos, but the arrangement of hues and the transition from one 
 colour to another harmonization or apiioyfj. 
 
 Four colours only— white from Melos, Attic yellow, red from 50 
 Sinope on the Black Sea, and the black called 'atramentum'— ^'','"' 
 
 , colours 
 
 were used by Apelles, Action, Melanthios and Nikomachos in used by 
 
 their immortal works : illustrious artists, a single one of whose ^'^''^ 
 
 pictures, the wealth of a city could hardly suffice to buy, while 
 
 now that even purple clothes our walls, and India contributes 
 
 the ooze of her rivers and the blood of dragons and of elephants, 
 
 no famous picture is painted. We must believe that when the 
 
 painter's equipment was less complete, the results were in every 
 
 respect better, for as I have already said, we are alive only to the 
 
 worth of the material and not to the genius of the artist. 
 
 In our own days too painting has known an extravagance which 51 
 
 must not be forgotten : the Emperor Nero ordered a colossal por- £*,J^^^-^ 
 
 trait of himself, 120 feet in length, to be painted on canvas, a thing of Nero 
 
 on canvas. 
 
 than four colours. The perfecta omnia 8. Apelles: below, § 92 legentes 
 need mean no more than that they metninerint omnia ea (sc. openi) 
 had learnt endless combinations of the quattuor coloribus facta. 
 four colours, whereas the older painters 1 1 . India . . . limmn ; i. e. indigo, 
 used them pure or knew but of few cf. xxxiii, 163 ; above, §§ 46, 49. 
 combinations. The colour effects 12. draconum elephantorumque 
 produced by Apelles and his con- saniem : also called cinnabaris^ 
 temporaries being far more elaborate ' dragon's blood ' ; in viii, 34, Pliny 
 than anything attempted in the period gives a wonderful account of its pro- 
 of Polygnotos, it is natural that the duction; cf xxxiii, 116. 
 employment of only four colours 14. ut supra diximus : xxxv, 4 : 
 should, in their case, be dwelt upon honoremnon nisi in pretio ducentes ; 
 with special admiration. As an ex- cf. the similar rhetorical complaint 
 ample of what can be accomplished in xxxiv, 5. 
 
 with only four colours, the student § 51. 17. oolosseum: a counter- 
 will remember the ' Christ crowned part to the colossal statue by Zeno- 
 with thorns ' by Titian in the Munich doros in xxxiv, 45. 
 Pinakothek ( 1 1 14) ; cf Morelli, Gal- 1 8. incognitum : if still unknovm 
 leries of Munich and Dresden, p. 58 in Pliny's day, the practice of painting 
 (Transl. C. J. Ffoulkes). The ' four on canvas soon became general, as is 
 colours ' are elaborately discussed by witnessed by the portraits from the 
 Bertrand,.£^«^dJ, pp. 132-144. [The Fayoum ; cf. Cecil Smith, Pictura, 
 names Apelles — Nicomachus are in p. 329; Berger, Beitrdge, ii, p. 52 f. 
 alphabetical order. H. L. U.] 
 
 H 
 
98 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 in Maianis hortis, accensa fulmine cum optima hortorum 
 
 52 parte conflagravit. libertus eius cum daret Anti munus 
 gladiatorum, publicas porticus occupavit pictura, ut constat, 
 gladiatorum ministrorumque omnium veris imaginibus red- 
 ditis. hie multis iam saecuHs summus animus in pictura, 5 
 pingi autem gladiatoria munera atque in publico exponi 
 coepta a C. Terentio Lucano. is avo suo a quo adoptatus 
 fuerat triginta paria in foro per triduum dedit tabulamque 
 pictam in nemore Dianae posuit. 
 
 53 Nunc celebres in ea arte quam maxima brevitate per- 10 
 curram, neque enim instituti operis est talis executio, itaque 
 quosdam vel in transcursu et in aliorum mentione obiter 
 nominasse satis erit, exceptis operum claritatibus quae et 
 
 54 ipsa conveniet attingi sive exstant sive intercidere. non 
 constat sibi in hac parte Graecorum diligentia multas post '5 
 olympiadas celebrando pictores quam statuaries ac toreutas, 
 primumque olympiade LXXXX, cum et Phidian ipsum 
 initio pictorem fuisse tradatur clipeumque Athenis ab eo 
 pictum, praeterea in confesso sit LXXX tertia fuisse fratrem 
 eius Panaenum, qui clipeum intus pinxit Elide Minervae 20 
 
 I. Maianis hortis: C. I. L. vi, grove of Nemi; cf. xvi, 242 and 
 
 6152, 8668, where they are mentioned Strabo, v, p. 239. 
 along with the horti Lainiuni, § 53. 10. Nunc celebres . . . per- 
 
 which as we learn from Phil. Jud. eurram : cf xxxiv, 53. 
 ir€pj dpfT. Koi irpiaP, 2, p. 597, ed. 13. claritatibus: fxxviii, 87 in 
 
 Mangey (cf. Becker, .A*ow. 7(J^. p. 542, ceteris claritates ani7nalium aut 
 
 note 1 142), were close to the gardens operum seqtiemur = iox the rest, I 
 
 of Maecenas on the Esqniline. shall note remarkable animals . . . 
 
 § 52. 2. Anti : iii, 57 ; it was the H. L. U.] 
 birthplace of Nero (Suet. Nero 6). § 54. 14. non constat sibi . . . 
 
 4. gladiatorum . . . imaginibus : adiutor : the supposed proofs of 
 
 numberless representations of gladia- Greek inaccuracy are skilfully cumu- 
 
 tors have come dovm to us in \2i\.t&, {a) non constat sibi ...{!>)% c^ft 
 
 mosaics ; such as the mosaic from quid quod in confesso • • ■ (^) § 57 
 
 Treves (Baumeister, Denkm. pi. xci) ; quod si recipi necesse est ... , the 
 
 cf. the great mosaic with portraits of argriment culminating in § 58 in the 
 
 athletes in the Lateran (Helbig, words chronicorum errore non dubio. 
 
 Class. Ant. 704'). after which the case of Polygnotos is 
 
 7. C. Terentio Lucano : possibly thrown in as a kind of postscript, 
 
 identical, according to Mommsen, The complaint was, however, unjust 
 
 with the Terentius Lucamis on the and originally based on a misunder- 
 
 coin Rom. Miinziv. p. 554, 164 (and standing, see Introd. p. xxx. 
 note 278). 17. olympiade LXXXX : below, 
 
 9. in nemore Dianae : i. e. the § 60. 
 
/. PAINTING 99 
 
 previously unheard of. When the picture was finished, it was 
 struck by lightning in the gardens of Maius, and burned together 
 with the greater part of the gardens. A freedman of this emperor 52 
 gave a gladiatorial show at Antium, at which the public colonnades 
 were adorned by a picture of all the gladiators and attendants, Portraits of 
 portrayed from the life. Realistic portraiture indeed has fQ^Sl'^^^'^t'"- 
 many generations been the highest ambition of art ; Gaius Teren- 
 tius Lucanus, however, was the first to have a picture of a gladia- 
 torial show painted and to exhibit it in public. He showed thirty 
 pairs of gladiators in the Forum for three days, in honour of his 
 grandfather, who had adopted him : moreover he dedicated 
 a picture of them in the grove of Diana. 
 
 I now propose to mention the most famous painters as briefly 53 
 
 as may be, for a detailed account would be inconsistent with the ^"'"P "^ 
 ■' ' painters. 
 
 scheme of my work. It will therefore be enough if I give some 
 artists only a passing notice, or name them in connexion with 
 others ; though I must still make a separate mention of the 
 most renowned paintings, whether they be still in existence or 
 whether they have perished. On this point the Greeks have 54 
 made a mistake in placing the painters many years later than the chronology 
 bronze workers and metal chasers, and in giving the ninetieth of the 
 Olympiad [420-417 B.C.] as the date of the earliest painter, over- ''" ^' 
 looking the tradition that Pheidias himself was originally a painter, Pheidias. 
 and painted a shield at Athens. It is further acknowledged that 
 Panainos brother of Pheidias, who lived in the eighty-third Panainos. 
 
 iS. initio pietorem : cf. xxxiv, 60 opposed to in confesso sit, i. c. hearsay 
 
 Pythagoras Samius initio fictor and to ascertained fact. 
 
 Introd. p. li. 19. LXXX tertia : the date is 
 
 olipeum : the shield introduced loosely assumed for Panainos, as 
 
 without any further definition has being that of his brother Pheidias, 
 
 an apocryphal air (cf. Miinzer, op. xxxiv, 49 ; Robert, op. cit. p. 25 ; 
 
 cit. p. 563, and Introd. loc. cit.). It Furtwanglex, op. cit. p. 40 f. 
 
 cannot of course be that of the Athena 20. Panaenum : Panainos is again 
 
 Parthenos as Urlichs {Chrest. p. 346), mentioned below, in his proper order 
 
 RoheTt{Jrch.March.ip.2^),andFmt- in the history of the development 
 
 wangler (Masterpieces, p. 45), would of painting, without any reference to 
 
 have it, for so important a fact would this first notice, which is from a 
 
 have been noted ; besides, we have the different source, cf. Introd. p. xxviii f. 
 
 express statement in xxxvi, 18 that and p. 11 f. Pratrem, so also Pa.us. v, 
 
 the inner side of the shield of the 11, 6: dScA(^i5oBs Strabo viii, p. 354. 
 
 Parthenos was carved in relief, H. L. intus piuxit : with the device 
 
 Urlichs, Woch. f. klass. Phil. 1895, of a cock (Paus. vi, 26, 3, where 
 
 p. 548. the Athena is simply attributed to 
 
 tradatur : H. L. Urlichs (foe. cit^ Pheidias). Introd. p. liv, note i . 
 
 points out that the expression is Elide: from xxxvi, 1^7 ( = App. 
 
 H 3 
 
loo C. PLINII SECUNDI NAT. HIST. XXXV 
 
 quam fecerat Colotes discipulus Phidiae et ei in faciendo 
 
 55 love Olympio adiutor. quid quod in confesso perinde est 
 Bularchi pictoris tabulam, in qua erat Magnetum proelium, 
 a Candaule rege Lydiae Heraclidarum novissimo, qui et 
 Myrsilus vocitatus est, repensam auro ? tanta iam dignatio 5 
 picturae erat. circa Romuli id aetatem accident necesse 
 est, etenim duodevicensima olympiade interiit Candaules 
 
 A.u.c. 37. aut, ut quidam tradunt, eodem anno quo Romulus, nisi 
 fallor, manifesta iam tunc claritate artis, adeo absolutione. 
 
 56 quod si recipi necesse est, simul apparet multo vetustiora 10 
 principia eosque qui monochromatis pinxerint, quorum 
 aetas non traditur, aliquanto ante fuisse, Hygiaenontem, 
 Dinian, Charmadan et qui primus in pictura marem 
 
 a femina discreverit Eumarum Atheniensem figuras omnis 
 imitari ausum, quique inventa eius excoluerit Cimonem 15 
 Cleonaeum. hie catagrapha invenit, hoc est obliquas 
 imagines, et varie formare voltus, respicientes suspicientesve 
 vel despicientes. articulis membra distinxit, venas protulit. 
 
 VIII) it appears that Panainos also 
 decorated with paintings the walls of 
 the temple of Athena. 
 
 I. Colotes : xxxiv, 87. love Olym- 
 fio : xxxiv, 54; xxxvi, 18. 
 
 § 55. 3. Magnetum proelium : 
 according to vii, 126, a defeat 
 [excidiuni), but the precise event is 
 unknown. S. Reinach {Rev. des £t. 
 Grecques, 1895, p. 175 ff.), justly 
 comments on the strangeness of the 
 tradition that a Greek painter im- 
 mortalized a Greek defeat, and tries to 
 prove the excidiujn to have crept into 
 Pliny's account by confusion with the 
 celebrated defeat— or rather exter- 
 mination — of the Magnetes by the 
 Treres in B. c. 651 (Strabo xiv, p. 
 647), which gave rise to the pro- 
 verbial TO ^orpi-qTSiv KaKa. R. wishes 
 to refer the picture to some one of 
 the Magnete victories alluded to by 
 Strabo (Joe. cit.) on the testimony of 
 Kallinos (cf also Wilamowitz in 
 Hermes, xxx (1895), p. 177 ff.). But 
 where so much is uncertain, we shall 
 
 hesitate before throwing overboard our 
 only piece of positive information — the 
 excidium of vii, 126 ( = App. I). 
 
 6. circa Homuli aetatem: the 
 synchronism is based on Herod, i, 12, 
 who gives the death year of Kan- 
 daules = accession of Gyges =Jloruii 
 of Archilochos, and must be con- 
 nected with Cicero {Tusc. Disp. i, 
 13), who places Archilochos regnante 
 Romulo ; cf. Miinzer, op. cit. p. 542 ; 
 cf. Introd. p. Ixxxiv. 
 
 § 56. II. mouoohromatis : above, 
 §§ 15. 29- 
 
 14. discreverit : as in black-figured 
 vases, by painting the flesh parts of 
 the women white (Introd. p. xxix). 
 Indeed a conventional difference be- 
 tween the colouring of the sexes seems 
 to have been observed dov/n to the 
 latest time. Thus albeit Alexander was 
 remarkable for his fair skin, Apelles 
 in his portrait of the king ovk e/u- 
 [i'f](7aT0 7^v XP^<^^, aWoi (pcuSrepov Kai 
 imnvaJiiivov etrolTjffev Plut. .At. iv, 120. 
 
 Eumarum : the name is still known 
 
/. PAINTING loi 
 
 Olympiad [448-445 B.C.], painted at Elis the inner surface of the 
 shield belonging to an Athena by Kolotes, a pupil of Pheidias and 
 his assistant in executing the Olympian Zeus. Again, is it not 
 an undisputed fact that a picture of the defeat of the Magnetes 
 by the painter Boularchos was bought by Kandaules, also called Soular- 
 Myrsilos, the last Lydian king of the line of the Heraklids, for its '^^''•'■ 
 weight in gold, a proof of the honour already paid to painting ? 
 This must have taken place in the days of Romulus, for Kandaules 
 died in the eighteenth Olympiad [708-705 b.c], or, according to 
 some authorities, in the same year as Romulus, and already then, b.c 717. 
 unless I am mistaken, the art had attained to greatness, even to 
 perfection. And if we must accept this, it follows that its first origin 58 
 is much older, and that the early painters in monochrome, whose Painters 
 dates have not been handed down to us, lived some time before, ^^^^f' 
 Such, for example, were i Hygiatnon, \Deimas, ^ Charmadas, 
 ■\Eumaros of Athens, who was the first to mark the difference Eumaros 
 between man and woman in painting, and who ventured to "/■^t"''"- 
 imitate every sort of figure, and Kimon of Kleonai, who developed Kimon of 
 the inventions of Eumaros. He devised Kariypa^a, or profile ^"'>"'^'- 
 drawings, and represented the features in different postures, look- 
 ing backwards or upwards or downwards. He marked the 
 attachments of the limbs, gave prominence to the veins, and also 
 
 only from Pliny, for the reading 16. catagrapha ; the word is sus- 
 Eu/^apo9 on the basis from the Akro- ceptible of meaning ' foreshortening ' 
 polis, bearing the signature of An tenor (Tilo\vierA.a, Jahrb. v, 1890, p. 258; 
 {Jahrb. ii, 1887, p. 135 f.) is quite Hartwig, Meisterschakn, p. 156 f., 
 uncertain (cf. Hartwig, Meisterschakn, Lange, Fremstilling, pp. 429,464), and 
 p. 154). Further, the conjecture of this was possibly the meaning intended 
 ViiichSjSumari {Holz. Pferd, p. J 4 n. by the Greek author, for profile figures, 
 i2),for the corrupt^«'ff2«ff«in Varro, which had existed from the earliest 
 Ling. Lat. ix, 6, 12, is impossible; times, could on no theory, however con- 
 see Spengel's critical apparatus, p. 198. ventional, be interpreted as audacious 
 
 figviras = 'position' by a slight inventions. It is clear however that 
 
 extension of one meaning given to the Pliny or his Latin author understood 
 
 wordby Cicero,f«r?-«jII,i, 21, 57,?;«» catagrapha as simply = profile, since 
 
 solum numerum signorum, sed etiam this is the meaning he gives to the 
 
 uniuscuiusque magnitudinem, figu- Greek equivalent obliqua imago in 
 
 ram, statum litteris definiri vidcs, § 90, where see note, 
 upon which see Pseudo-Asconius, 17. [respieientes suspioientesve 
 
 p. 1 74, 7 (ed. Orelli) figura est circa vel despicientes : sudden change 
 
 gestum situmque membrorum (Blum- from asyndeton to disjunctive particle, 
 
 ner, Rhein. Mus. 26, p. 353). cf. xxviii, 63 contra renum aut lum- 
 
 15. Cimon: cf. the improvements borum, vesicae cruciatus, J. Miiller, 
 
 attributed to him by Ailian, iroi«. lar. Stil, p. 69. H. L. U.] 
 viii, 8. 
 
 18. membra . . . protulit: cfL on 
 
I02 C. PLINII SECUNDI NAT. HIST XXXV 
 
 57 praeterque in vestibus rugas et sinus invenit, Panaenus 
 quidem frater Phidiae etiam proelium Atheniensium ad- 
 
 A.u.c. 264. versus Persas apud Marathona factum pinxit. adeo iam 
 colorum usus increbruerat, adeoque ars perfecta erat ut in 
 eo proelio iconicos duces pinxisse tradatur, Atheniensium s 
 Miltiaden, Callimachum, Cynaegirum, barbarorum Datim, 
 Artaphernen. 
 
 58 Quin immo certamen etiam picturae florente eo in- 
 A.u.c. 306. stitutum est Corinthi ac Delphis, primusque omnium certavit 
 
 cum Timagora Chalcidense, superatus ab eo Pythiis, quod 10 
 et ipsius Timagorae carmine vetusto apparet chronicorum 
 errore non dubio. alii quoque post hos clari fuere ante 
 LXXXX olympiadem, sicut Polygnotus Thasius qui primus 
 mulieres tralucida veste pinxit, capita earum mitris versi- 
 coloribus operuit plurimumque picturae primus contulit, 15 
 siquidem instituit os adaperire, dentes ostendere, voltum 
 
 59 ab antiquo rigore variare. huius est tabula in portion 
 Pompei, quae ante curiam eius fuerat, in qua dubitatur an 
 ascendentem cum clupeo pinxerit an descendentem. hie 
 
 1 . vestibus rugas] Trauie ; veste brugas Bamb. ; verrugas reliqui ; veste 
 rugas Detlefsen. 
 
 xxxiv, 59, the improvements attributed tradition of the names attaching to 
 
 to Pythagoras of Rhegion. Introd. each figure would be carefully pre- 
 
 p. xxvii. served ; perhaps too there was an 
 
 57. 3- apud Marathona: on a wall attempt at characterization, so that 
 
 ofthe(r7-od7roiKiA?;(§ 59). The picture in a history of the development of 
 
 was ascribed by other writers to Mikon painting Fanainos might pass as the 
 
 (Arrian, Anai. vii, 1 3, 5 ; Ailian, ittfi first to have essayed portraiture (In- 
 
 fomj' vii, 38 ; Sopatros, Sioip. f^ri;/*. i, trod. p. xxviii f.). 
 8), and may have been the work of both 6. Miltiaden: his name was not 
 
 painters, Wachsmuth, Stadt Athen ii, inscribed, but he was characterized 
 
 p. 503. Others again (see Ailian, loc. by his gesture of exhortation, Ais- 
 
 cit^ gave it to Polygnotos. Pausanias Chinese. Ktesifh. 186, &c., see Wachs- 
 
 in his description of the paintings of muth's fine criticism of the passage, 
 
 the Poikile, i, 15, names no artists. op. cit. p. 506, note 2. For the 
 
 For the latest reconstruction of the motive see the warrior on the gold 
 
 picture see Robert, Hall. Winckel- sheath in the Hermitage, Benndorf, 
 
 mannspr. xviii, 1895. Addenda. Gjolbaschi p. 157 fig. i/^z = ComJ)te 
 
 5. ioonioos duces: the year of .ff«»rf» 1864, pi. v, i. 
 tte battle being B. c. 490, and the Callimachum, Cynaegirum : Ail. 
 
 Stoa dating presumably from Kimon's loc. cit. roiis a/ifl rbv Kvyiycpov 
 
 recall in B.C. 457 (Furtwangler, ml -Emitjf^v re ical KaXXiixaxov, 
 
 Masterpieces, p. 41), there can be no cf. Wachsmuth, op. cit. p. 5iof. The 
 
 question of real portraiture ; but the omission of Epizelos in Pliny is 
 
/. PAINTING 103 
 
 discovered the wrinkles and the windings of drapery. Further- 57 
 
 more Panainos the brother of Pheidias painted the battle between P^nainos. 
 
 J^tctufc of 
 the Athenians and Persians at Marathon. So extensively were battle of 
 
 colours now used, so perfect had technique now become, that he ^'^^'^^'^o"- 
 
 is actually said to have given the real portraits of the commander 
 
 on both sides, of Miltiades, Kallimachos and Kynaigeiros among 
 
 the Athenians, of Datis and Artaphernes among the barbarians. 
 
 Nay more, competitions for painters were instituted at Corinth 58 
 
 and Delphoi in the time of Panainos, when in the first contest he ^'^^'^'^"S 
 '^ ' competi- 
 
 tried for the prize against Timagoras of Chalkis, who conquered tions. 
 
 him, as we know from an old epigram by Timagoras himself, at ^? ^^^■ 
 
 the Pythian games ; an evident proof that the chroniclers are of Chalkis. 
 
 wrong in their dates. Yet other painters became famous before 
 
 the ninetieth Olympiad [420-417 B.C. J, as for example Polygnotos Polygmtos 
 
 of Thasos, who first painted women with transparent garments "^ Thaws. 
 
 and gave them headdresses of various colours. This artist made 
 
 a first serious contribution to the development of painting by 
 
 opening the mouth, showing the teeth, and varying the stiff 
 
 archaic set of the features. He painted the picture now in the 59 
 
 gallery of Pompeius and formerly in front of his Council Chamber, -^^ . , 
 
 ,11 warrior. 
 
 representmg a warrior armed with a shield, about whom people 
 
 argue as to whether he is ascending or descending. He also 
 
 curious. The heroes are mentioned 18. curiam : Gilbert, Rom. iii, 
 
 as an indivisible triad by Plutarch, p. 325 ; numerous works of art 
 
 Glor. Ath. 3, Diogenes Laert. i, 56. were collected by Pompeius in the 
 
 § 58. 9. Corinthi ao Delphis : i.e. complex of buildings about his 
 
 at the Isthmian and Pythian festivals Theatre. 
 
 (JPythiis below) ; for contests be- in qua dubitatur: the warrior 
 
 tween painters cf. §§ 65, 72 and (perhaps Kapaneus, cf Benndorf, op. 
 
 Introd. p. Ixiv. cit. p. 190; pi. xxiv, A. 4 : Anth. Plan. 
 
 13. Polygnotus : son of the first iv, 106) was presumably on a ladder, 
 Aglaophon, and brother of Aristophon and it was difficult to tell whether he 
 (§§ 60, 138). was climbing up orcoming down again. 
 
 qui primus : introduces as usual, Robert, Hall. Winckelmannsprogr. 
 
 the artist's special contribution to the xviii, 1895, p. 67, suggests that 
 
 progress of his art, Introd. p. xxviii f. the tabula was the votive picture of 
 
 14. tralucida veste : Ailian, tioik. an apobates, of whom it was uncertain 
 iffT. iv, 3 i/iOTiW XeTTTc^TiyTas; Lucian, whether he was stepping up to, or 
 fXxlyvfi 7 « ^ii X(TTT6TaTov k^fipyaa- down from, his chariot; for the subject 
 fi4vr]v (of the drapery of Kassandra in see the beautiful monochrome picture 
 the Nekuia). on white marble slab (Naples, Helbig, 
 
 § 59. 17. portiou Pompei: in Wandgemalde 1405''), published by 
 the immediate vicinity of Pompeius's Robert, Hall. Winckelmannsprogr. 
 theatre. xix, 1895. 
 
I04 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 Delphis aedem pinxit, hie et Athenis porticum quae Poecile 
 vocatur gratuito, cum partem eius Micon mercede pingeret. 
 vel maior huic auctoritas, siquidem Amphictyones, quod 
 est publicum Graeciae concilium, hospitia ei gratuita de- 
 crevere. fuit et alius Micon qui minoris cognomine distin- 5 
 guitur, cuius filia Timarete et ipsa pinxit. 
 60 LXXXX autem olympiade fuere Aglaophon, Cephiso- 
 dorus, Erillus, Evenor pater Parrhasi et praeceptor maximi 
 pictoris de quo suis annis dicemus, omnes iam inlustres, non 
 tamen in quibus haerere expositio debeat festinans ad lumina 10 
 artis in quibus primus refulsit Apollodorus Atheniensis 
 LXXXXIII olympiade. hie primus species exprimere 
 instituit primusque gloriam penicillo iure contulit. eius est 
 sacerdos adorans et Aiax fulmine incensus, quae Pergami 
 
 1. Delphis aedem : i. e. the 
 A.eaxv or covered portico where 
 people met to converse. The pictures, 
 which included an llioupersis and a 
 Nekuia are described in Paus. x, 25- 
 31. For modern reconstructions see 
 Robert, ffall. Wincltelmannspr. xvi, 
 1892 and xvii, 1893. 
 
 Poeoile : where next to Mikon's 
 Amazonomachia (below) Polygnotos 
 painted an llioupersis. Next to 
 this again came the Marathon by 
 Mikon and Panainos (above). For 
 the distribution of the pictures see 
 Benndorf, op. cit. p. 156, and the new 
 arrangement proposed by Robert in 
 Hall. Winckelmannspr. xviii, 1895, 
 p. 44. The pictures, as appears 
 from Synnesios, Ep. 135 (= Overb. 
 Schriftquell. 1057), were not mural 
 paintings in the ordinary sense, but 
 were painted on wooden boards or 
 panels ; cf. Wachsmuth, Stadt Athen, 
 ii, p. 504. 
 
 2. gratuito : cf. Melanthios (cf. 
 Wilamowitz, Arist. u. Athen. p. 287, 
 n. 37) ap. Plutarch, Kimon, iv, p. 431 : 
 
 auTou 7(i/) Za.Tikvo.icri Bvtiv vaov"* 
 
 KexpoTriav Kdfffj.tjff' fj^Bioiv 
 aperais. 
 
 (The vaoi here referred to are those of 
 Theseus and the Anakes, Harpokra- 
 tion s. v. VloKv'^vono^^ 
 
 partem eius Mieon: he painted 
 the battle of Theseus and the Ama- 
 zons, Paus. i, 15, 2 ; Arrian vii, 13, 5, 
 where few will agree with Graef {ap. 
 Pauly s. V. Amazonen p. 1778) in 
 defending the old reading Kifiaii' ; cf. 
 Robert, loc. cit. p. 47, note 2. Mikon 
 was also a sculptor, xxxiv, 88, where 
 see note. 
 
 3. Amphictyones : the reward 
 they gave was more probably for the 
 decoration of the l^iaxt ; while for 
 his work at Athens he received the 
 Attic citizenship, Harpokration, /. c. 
 
 6. Timarete : below, § 147. 
 
 5 60. 7. LXXXX autem Olymp. : 
 as in the case of the sculptors (xxxiv, 
 49), the first painter in each Olym- 
 piad is dated from a work brought 
 into connexion with an important 
 historical event; about this central 
 date his contemporaries, whether 
 older or younger, are roughly grouped, 
 cf. Robert, ArcA. March, p. 66 f. 
 
 Aglaophon : son of Aristophon 
 (below, § 138), andaccordinglynephew 
 of Polygnotos (Plato, Gorg. p. 448 B) 
 and grandson of the first Aglaophon. 
 
I. PAINTING 
 
 los 
 
 decorated the temple at Delphoi and at Athens the Painted Portico 
 [o-Toa TToiKi'Xr)], as it is Called. For this he took, no money, while 
 Mikon, to whom part of the work was entrusted, accepted pay- 
 ment. The position he thus won for himself was all the greater, 
 so much so that the Amphyktionic council, or national assembly 
 of Hellas, decreed that he should be a public guest. There was 
 another Mikon, distinguished as ' the younger,' whose daughter 
 Timarete was also an artist. 
 
 In the ninetieth Olympiad [420-417 B.C.] lived Aglaophon, 
 \Kephisodoros, -^Erillos and Evenor, the father and master of 
 the great artist Parrhasios, whom I shall mention in due time. 
 They were all painters of note, yet they need not prevent my 
 hastening on to the true luminaries of art, among whom the 
 first to shine was Apollodoros of Athens in the ninety-third 
 Olympiad [408-405 b.c.J. He was the first to give his figures 
 the appearance of reality, and he first bestowed true glory on 
 the brush. He painted a priest in prayer, and an Aias struck 
 by lightning, which is still to be seen at Pergamon. No picture 
 
 He paints 
 the Lesche 
 at Delphoi, 
 and at 
 Athens 
 the Stoa 
 Poikile. 
 Mikon, 
 Mikon the 
 Younger. 
 
 60 
 
 Great 
 ■masters 
 of the 
 ninetieth 
 Olympiad. 
 
 Apollo- 
 doros of 
 Athens. 
 
 His works 
 
 1. Priest, 
 
 2. Aias. 
 
 His date (Robert, loc. cit.') seems 
 determined by his picture of Olympias 
 and Pythias crowning Allcibiades 
 (Satyros ap. Athen. xii, p. 534 D), 
 painted to commemorate the chariot 
 victories of Ol. 90 (Grote, Greece, v, 
 p. 456 f.) or 01. 91 (Rutgers) ; see 
 G. H. Forster, Die Olympischen 
 Sieger, i, p. 20 f. The companion 
 picture of Alkibiades in the lap of 
 Nemea was by Aristophon, Hut. 
 Alkib. xvi, Pans, i, 22, 6 (artist 
 imnamed). Satyros, loc. cit., attributes 
 it however to the son. 
 
 8. Evenor, pater Parrhasi : Paus. 
 i, 28, i. suis annis below, § 67. 
 
 11. ApollodoTUS : Overb. Schrift- 
 quell. 1641-1646. 
 
 12. primus species . . . primus- 
 que gloriam : belongs to the series 
 of Xenokratic art judgements begun in 
 §§ 15-16; 56-58: cf Introd. p. xxix. 
 
 species : evidently the vague trans- 
 lation of some Greek technical term ; 
 cf. Jahn, Kunsturtheile, p. 138. 
 The discovery attributed to Apollo- 
 doros by Plutarch [Glor. Ath. ii) was 
 
 the <p0opd. Kcd a.Tr6xpoj(TL9 afcias — (an 
 advance also attributed to Zeuxis, 
 Quinct. xii, Jo, 4 prior luminum 
 umbrarumque invenit rationem) i. e. 
 he showed how to render — not the 
 shadow cast, but the graduated 
 passage from light to shadow on 
 curved surfaces (Lange, Fremstilling, 
 p. 465 ; cf. above, tonon and harmogen 
 in § 29). In this connexion may be 
 noted the attempt at expressing by 
 shadow the curving of surfaces, on 
 two interesting polychrome lekythoi 
 of the Berlin Museum {Cat. 26S4, 
 2685 — the latter published in facsimile 
 by Winter, Winckelmannsprogr. 1895, 
 cf id. p. 9). 
 
 14. saoerdos adorans : votive 
 portrait ; cf. the sacerdos adstante 
 puero of Parrhasius (§ 70) the sup- 
 plicans paene cum voce of Aristeides 
 
 (§ 99)- 
 
 Aiax fulmine incensus : Verg. 
 Aen. i, 43 ff. ipsa (sc. Minerva^ 
 lovis rapidum iaculata e nubibus 
 ignem \ disiecitque rates, evertitque 
 aequora ventis \ ilium expirantem 
 
io6 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 spectatur hodie. neque ante eum tabula ullius ostenditur 
 
 61 quae teneat oculos. ab hoc artis fores apertas Zeuxis 
 Heracleotes intravit olympiadis LXXXXV anno quarto, 
 audentemque iam aliquid penicillum — de hoc enim adhuc 
 loquamur — ad magnam gloriam perduxit, a quibusdam falso 
 in LXXXVIIII olympiade positus. confuisse necesse est 
 Demophilum Himeraeum et Nesea Thasium, quoniam 
 
 62 utrius eorum discipulus fuerit ambigitur. in eum Apollo- 
 dorus supra scriptus versum fecit, artem ipsis ablatam 
 Zeuxim ferre secum. opes quoque tantas adquisivit ut in 
 ostentationem earum Olympiae aureis litteris in palliorum 
 tesseris intextum nomen suum ostentaret. postea donare 
 
 6. positus. confuisse] Traube ; positus cum fuisse (faisset omnes f racier 
 Bamb.) codd. \ positus, cum quo fuisse Ritschl, Detlefsen. 
 
 transfixo pectore Jlammas \ turbine 
 corripuit scopuloque infixii acuto ; cf. 
 Odyss. iv, 499 ff. [The fulmine in- 
 census of the subject not (as Furt- 
 wangler, Plinius, p. 53 suggests) of 
 the picture, in which case Pliny would 
 use tabula, cf. below, § 69. — H. L. U.] 
 
 Pergami : Introd. p. xc. 
 
 § 61. 2. fores apertas ; [ii, 31 
 rerum fores aperuisse Anaximander 
 . . . traditur ; the metaphor is common 
 to Silver Latin, cf. Plin. Epist. i, 1 8, 4 
 ilia {actio) iamiam famae {mihi) 
 patefecit. Because a similar expression 
 occurs, Babrios, Proem. 1. 29, there is 
 no need to follow Schneidewin, Rhein. 
 Mus. vii (1850), p. 479, in thinking 
 that Pliny's words go back to a Greek 
 metrical epigram, cf. also Miiller, 
 Stil, p. 126 ff. H. L. U.] At the 
 same time, the words exactly express 
 the position which the Greek writers 
 (Introd. p. xxix) assigned to Apollo- 
 doros at the opening of a series of 
 painters who, masters of their art, 
 each brought towards the final per- 
 fection to be attained by Apelles (§ 79) 
 a definite contribution : ApoUodoros 
 among the painters is the counterpart 
 of Pheidias among the statuaries, 
 Robert, Arch. March, p. 67 f. (Introd. 
 
 p. xxvii) . Therefore the words must 
 represent some closely similar Greek 
 expression ; for an analogous para- 
 phrase cf. Add. to note on xxxiv, 81. 
 
 3. Heracleotes : Plato, Protag. 
 318 B 6 veaviaKos vvv viwoTL i-ntb-qnitiv 
 Z6u£i7r7roso'Hpa«\€ctiT);s(on the identity 
 of Zeuxis and Zeuxippos see Fick, 
 Griech. Personennamen, pp. 35, 132). 
 The dialogue being imagined as taking 
 place in B. c. 424, it is impossible to 
 reconcile this mention of Zeuxis with 
 the tradition that he was bom at 
 Herakleia (founded B.C. 432), except 
 by either holding Plato guilty of an 
 anachronism (and likewise Xenophon, 
 who alludes to Z. in the 'Banquet,' 
 of which the scene is laid in B. c. 422), 
 or supposing with Robert (Hall. 
 Winckelmannsprogr. xix, 1895, p. 18), 
 that the parents of Zeuxis removed as 
 colonists to Herakleia when he was 
 already a boy of nine or ten. The artist 
 was evidently at home in Lower Italy 
 (he paints for Agrigentum, Kroton, 
 &c.) ; it is out of the question to 
 assume that he was bom at the older 
 Pontic Herakleia. Addenda. 
 
 01. 95, anno quarto : the occa- 
 sion for the date assigned to him here 
 is unknown. Since the ' Alkmena,' 
 
/. PAINTING 
 
 107 
 
 by any of his predecessors really rivets the gaze. It was he who 
 opened the gates of art through which Zeuxis of Herakleia 
 passed in the fourth year of the ninety-fifth Olympiad [397 B.C.], 
 giving to the painter's brush (for of the brush alone I speak as 
 yet) the full glory to which it already aspired. Zeuxis is erro- 
 neously placed by some in the eighty-ninth Olympiad [424- 
 421 B.C.] ; it is evident that \ Demophilos of Himera and \Neseus 
 of Thasos were among his contemporaries, seeing that there is a 
 controversy as to which of the two was his master. In an epigram 
 written against him by the Apollodoros whom I mentioned above, 
 it is said that ' Zeuxis bore away with him the art he had stolen 
 from his masters.' He amassed great wealth, and in order to 
 make a parade of it at Olympia he showed his name woven in 
 golden letters into the embroideries of his garments. Later on 
 
 ai 
 
 Zeuxis of 
 Herakleia, 
 
 taught by 
 Demophilos 
 or Neseus. 
 62 
 
 His wealth, 
 luxury, 
 and pride. 
 
 which belongs to his later period (see 
 below Urlichs' note on posiea), was 
 yet painted previous to B.C. 406, in 
 which year Agrigentum was destroyed 
 by the Carthaginians, Zeuxis must 
 have been an artist of note long 
 before B. C. 398 ; cf. also the 
 passage from Plato quoted above. 
 On the other hand the ascription to 
 Z. of the 'Epws ... yeypafjLfjievos 
 eX^^ <XTe(pavov dvB^fioJv, Ar. Acharn. 
 991 (play produced B. C. 425), rests 
 only on the doubtful authority of the 
 scholia. 
 
 4. adhiuo : i. c. in opposition to 
 encaustic painting in | 149. 
 
 5. falso : Quinct. xii, 10, 4, dates 
 Zeuxis, and Parrhasios circa Pelopon- 
 nesia ambo tempera, from the fact 
 that Xenophon {Memorab. iii, 10, i) 
 records a conversation between Par- 
 rhasios and Sokrates. The earlier 
 date was the correct one. 
 
 7. DemopMlum : distinct from 
 the Damophilos (below, § 154, where 
 see note) who decorated the temple of 
 Ceres. 
 
 Himeraeum : 'I/iepo on the N. 
 coast of Sicily. 
 
 Thasium ; the ethnic suggests that 
 Neseus belonged to the circle of 
 Polygnotos (§ 58) of Thasos. Robert, 
 loc. cii., points out that the young 
 
 Zeuxis very possibly placed himself 
 under this master, on his arrival in 
 Athens. 
 
 § 62. 9. ipsis ; sc. Demophilo et 
 Nesea (Traube). Benndorf, Epigr. p. 
 30, and Jahn, Kleine Beitrdge, p. 284, 
 explain it as sibi sociisque, which is 
 impossible. 
 
 10. in ostentationem : the story 
 of the gorgeous robes worn by Zeuxis 
 has its counterpart in the gorgeous 
 robes of his rival Parrhasios (Athen. 
 xii, 643 C — D), Introd. p. Ivii. 
 
 12. tesseris intextum : the best 
 explanation seems that of Urlichs, 
 Chrest. p. 345 ; he takes the tesserae 
 to have been small squares (of stuff) 
 upon which the name was embroidered, 
 and quotes Vopiscus, Carinus 30 
 inscriptum est adhuc in choraulae 
 pallio Tyrianthino Messalae nomen 
 uxoris (ed. H. Peter) ; see in Casau- 
 bon's edition, vol. ii, p. 851 ", Sau- 
 maise's note, who in reference to the 
 Plinian passage explains tesserae = 
 KV0OI, and quotes Hesychius {s.v. 
 Kv^os) ol ^a\aiMVLOL Kiyovffi kv^ov 
 TO Tov t/jLaTtov ffrjfietov, 
 
 postea : [i. e. in his latter period; 
 the Alkmena and the Pan must there- 
 fore be reckoned among the artist's 
 later works.— H. L. U.] 
 
io8 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 opera sua instituit, quod nullo pretio satis digno permutari 
 posse diceret, sicuti Alcmenam Agragentinis, Pana Archelao. 
 
 63 fecit et Penelopen in qua pinxisse mores videtur, et athletam, 
 adeoque in illo sibi placuit ut versum subscriberet celebrem 
 ex CO, invisurum aliquem facilius quam imitaturum. magni- 5 
 ficus est et luppiter eius in throno adstantibus diis et 
 Hercules infans dracones strangulans Alcmena matre coram 
 
 64 pavente et Amphitryone. reprehenditur tamen ceu grandior 
 in capitibus articulisque, alioqui tantus diligentia ut Agra- 
 gentinis facturus tabulam quam in templo lunonis Laciniae 10 
 publice dicarent inspexerit virgines eorum nudas et quinque 
 elegerit, ut quod in quaque laudatissimum esset pictura 
 redderet. pinxit et monochromata ex albo. aequales eius 
 et aemuli fuere Timanthes, Androcydes, Eupompus, Parrha- 
 
 65 sius. descendisse hie in certamen cum Zeuxide traditur, et 15 
 cum ille detulisset uvas pictas tanto successu ut in scaenam 
 
 2. Alcmenam : probably iden- 
 tical with the picture in § 63. 
 
 Archelao : for whom Zeuxis de- 
 corated the palace at Pella, Ailian 
 TTOin. ItTT. xiv, 17. 
 
 3. mores : in the sense given to it 
 by Horace, £p. i, i, 57 est animus 
 tibi, sunt mores. Some commentators 
 however (chief among them Winckel- 
 mann), have understood mores to be 
 a translation of the Greek ^^os, where- 
 by endless difficulties have arisen, 
 seeing that ^flos was precisely the 
 quality in which , according to Aristotle, 
 Poet. 6, II, Zeuxis was deficient. But 
 ^flos in its strictly philosophical sense 
 had no precise Latin equivalent, as 
 we learn from Quinct. vi, 2, 8, and 
 from Pliny himself (below, § 98, 
 where see note) ; cf. Brunn, K. G. 
 ii, p. 86 i. ; Jahn, Kunsturtheile, 
 p. 105 f. 
 
 5. invisurum ; /Min^ireTai tis 
 lioXKov i) fju/jiiiffeTai ; the proverb is 
 attnbuted by Plntarch {Glor. Ath. 2), 
 and Hesychios to Apollodoros. The 
 saying recurs from early times in a 
 variety of forms ; Bergk, Lyr. Graec. 
 ii, p. 318, Benndorf, Efigr. p. 27, n. 3; 
 
 cf. Preger, Inscript. Gr. Metr. 193. 
 Introd. p. Ivii. 
 
 6. luppiter . . . Amphitryone : 
 the whole subject is preserved on a 
 vase-painting in the Brit. Mus. ; A. S . 
 Murray, Class. Rev. 1888, p. 327; id. 
 Handb. of Greek Arch. p. 376. Add. 
 
 §64. 8. reprehenditur tameu: the 
 toz««» presupposes a sentence of praise, 
 which has fallen out. Quinctilian (xii, 
 10, 5) says of Zeuxis plus membris 
 corporis dedit . . . but praises him on 
 the same grounds that Pliny blames 
 him, another instance of conflicting 
 criticisms in antiquity; cf. note on 
 Kallimachos in xxxiv, 92. 
 
 9. articulisque : literally the 
 joints (knuckles, wrists, ankles, &c.) 
 and so by extension the extremities ; 
 see Robert, Arch. March, p. 76, Hall. 
 Winckelmannsprogr. xix, 1895, p. 25. 
 An almost identical criticism is passed 
 upon Euphranor in § 128. Zeuxis is 
 represented in the same relation to 
 Apollodoros as Polykleitos xxxiv, 56 
 to Pheidias (ib. 54). On the Xeno- 
 kratic authorship see Introd. p. xxvii. 
 
 Agragentinis : from Cic. {Invent. 
 ii, I, i) it appears that this picture 
 
/. PAINTING 
 
 109 
 
 he began to make presents of his pictures, saying that they were 
 beyond all price. In this way he gave his Alkmena to the city of 
 Agrigentum and his Pan to Archelaos. He also painted a Pene- 
 lope, in whom he embodied virtue's self, and an athlete with whom 
 he was so well pleased that he wrote beneath it the line thence- 
 forward famous : 'Another may carp more easily than he may copy.' 
 He also painted a superb Zeus enthroned amid the assembled gods, 
 with the infant Herakles strangling the snakes in presence of his 
 trembling mother Alkmena and of Amphitryon. Zeuxis is criti- 
 cized however as having exaggerated the heads and extremities of 
 his figures ; for the rest he bestowed such minute pains upon his 
 work that before painting for the people of Agrigentum a picture 
 to be dedicated in the temple of Hera on the Lakinian pro- 
 montory, he inspected the maidens of the city naked, and chose 
 out five, whose peculiar beauties he proposed to reproduce in his 
 picture. He also painted monochromes in white. Ttmanthes, 
 Androkydes, \Eupompos and Parrhasios were contemporaries 
 and rivals of Zeuxis. The story runs that Parrhasios and Zeuxis 
 
 is identical with the famous Helena 
 (below, § 66). 
 
 10. luuonis Laciniae : Cicero, 
 loc. cit., says the Helena was painted 
 for the Krotoniates ; so too Dionysios 
 H. (^de veter. script, cens. i), and this 
 is doubtless correct, for as Freeman 
 remarks {Sicily, vol. ii, p. 402, note 
 3) ' the Lakinian Hera, at home at 
 Kroton, would have no place at 
 Akragas ' (cf. Roscher, i, p. 2086). 
 
 11. inspexerit virgines : Lange 
 {J^remstilling, p. 354 n.) points out 
 that the anecdote gives concrete ex- 
 pression to the saying that the best 
 parts must be taken ' out of divers 
 Faces, to make one Excellent,' cf. 
 Xenoph. Mem. iii, 10, 2 ; Cicero and 
 Dionysios (//. cc.') incorporate the 
 axiom with the anecdote which 
 illustrates it. See Introd. p. Ixi f. 
 
 13. ex albo : i. e. on a dark ground, 
 perhaps in imitation of marble reliefs 
 (cf Bliimner, Technol. iv, p. 420, note 
 4), whereas monochrome paintings 
 were usually carried out in red {cinna- 
 bar, minium, rubrica, sinopis, Plin. 
 xxxiii, 117), presumably on a white 
 
 ground. Of the latter technique we 
 have imitations in the pictures painted 
 in red colour on the white marble 
 slabs in Naples. Semper's theory 
 {Stil, i, p. 470, ed. i) that these had 
 once been polychrome pictures in 
 encaustic, whose colours were destroyed 
 by the heat of the lava, has been dis- 
 proved by Helbig, Wandgemdlde, 
 170''; ci.'RohtTt,Hall.Winckelmanns- 
 progr. xix, 1895, p. 9 ; on the contrary, 
 the slabs admirably prove the practice 
 of painting in monochrome. 
 
 14. Timanthes : below, | 73. 
 
 Androoydes : of Kyzikos ; ac- 
 cording to Plutarch {Pel. xxv) he 
 painted at the time of the liberation of 
 the Kadmeia (B.C. 379) the picture of 
 a battle in which both Epameinondas 
 and Pelopidas had been engaged ; i. e. 
 probably the battle mentioned Pel. iv 
 (Brunn, X. G. ii, p. 1 24). From Athen. 
 viii, p. 341 A, we learn that he was cele- 
 brated for his accurate painting offish. 
 
 Eupompus : below, § 75. 
 
 § 65. 16. uvas pictas : cf. below, 
 §§66, 15s; above, § 23. 
 
 ut in scaenam : i. e. the pictures 
 
 His gifts 
 
 of the 
 
 ' Alkmena' 
 
 and the 
 
 'Pan: 
 
 63 
 
 64 
 
 For the 
 temple 
 of Hera 
 Lakinia 
 he paints 
 a picture 
 takenfrom 
 the five 
 most 
 beauteous 
 maidens 
 of the city. 
 
 65 
 
 His con- 
 tempora- 
 ries. 
 
no C. PLINII SECUNDI NAT. HIST. XXXV 
 
 aves advolarent, ipse detuHsse linteum pictum ita veritate 
 repraesentata ut Zeuxis alitum iudicio tumens flagitaret 
 tandem remoto linteo ostendi picturam atque intellecto 
 errore concederet palmam ingenuo pudore, quoniam ipse 
 
 66 volucres fefellisset, Parrhasius autem se artificem. fertur et 5 
 postea Zeuxis pinxisse puerum uvas ferentem, ad quas cum 
 advolassent aves, eadem ingenuitate processit iratus operi 
 et dixit : uvas melius pinxi quam puerum, nam si et hoc 
 consummassem, aves timere debuerant. fecit et figlina opera, 
 quae sola in Ambracia relicta sunt, cum inde Musas Fulvius lo 
 Nobilior Romam transferret. Zeuxidis manu Romae Helena 
 est in Philippi porticibus, et in Concordiae delubro Marsyas 
 
 67 religatus. Parrhasius Ephesi natus et ipse multa contulit. 
 primus symmetrian picturae dedit, primus argutias voltus, 
 elegantiam capilli, venustatem oris, confessione artificum in 15 
 lineis extremis palmam adeptus. haec est picturae summa 
 
 were exhibited in the theatre, and 
 hung on the scaenae frons, or front 
 wall of the stage-buildings. 
 
 § 66. 7. pinxisse puerum: a 
 mere douhlette of the preceding anec- 
 dote; the story is also told Senec. 
 Rhet. Controv. li, 5 (34), 27. 
 
 9. flglina opera: Pyrrhus had 
 probably inherited these works as king 
 of Macedonia. Zeuxis, it will be re- 
 membered, had worked for King 
 Archelaos, above, § 62. 
 
 10. sola . . . reliota sunt : doubt- 
 less because these painted terra-cottas 
 were architectural decorations, and 
 could not be removed without injury 
 to the buildings; Liv. xxxviii, 9, 13 
 signa aenea marmoreaque et tabulae 
 pictae, guibus omatior Ambracia quia 
 regia ibi Pyrrhi fiierat . . . sublaia 
 omnia avectaque ; nihil praeterea tac- 
 tum molatumve, cf. Raoul-Rochette, 
 Peiniures, p. 51. 
 
 ^mbraoia: the capital of King 
 Pyrrhus : for its art treasures cf. 
 Polyb. xxii, 13, 9; Liv. loc. cit. 
 
 Musas : these statues, which pro- 
 bably dated from the reign of Pyrrhus, 
 
 were dedicated by Fulvius in the 
 Temple of Hercules Musarum, with 
 a statue of Herakles as Hlovaa- 
 yeTTjs (see in this connexion Eumenius 
 of Autun pro reslaurandis scholis, 
 vii, in Paneg. Lai. ed. Baehrens, 
 p. 121; cf also Ovid, Fasti, vi, 
 804). The Muses are figured on 
 the reverse of the coins of Q. Pom- 
 ponius Musa (reproduced and fully 
 discussed by O. Bie, Die Musen in d. 
 antiken Kunst, pp. 24-44). The 
 tragic Muse is preserved in a statuette 
 of the Vatican (Clarac, 507, 1013), 
 while a head from Frascati in the Brit. 
 Mus.(Friederichs-Wolters, 1445) seems 
 to reproduce the head of another ; 
 cf. Amelung, Basis des Praxiteles, 
 p. 44. For the one extant basis, 
 see Bull. d. Inst. 1869, p. 3 ff. — The 
 temple was surrounded by t\i.eporticus 
 Philippi, and was close to the ^orii- 
 cus Octaviae on the W. side of the 
 Circus Flaminius. 
 
 II. Helena: the mention of the 
 Muses which Fulvius brought to 
 Rome, suggests to Pliny two more 
 works by Zeuxis, noted by him as 
 
'. cur- 
 
 I. PAINTING III 
 
 entered into competition,' Zeuxis exhibiting a picture of some Comfeii- 
 
 grapes, so true to nature that the birds flew up to the wall of the '^^^^' 
 
 stage. Parrhasios then displayed a picture of a linen curtain, Zeuxis and 
 
 realistic to such a degree that Zeuxis, elated by the verdict of the P"'^^''"-- 
 
 birds, cried out that now at last his rival must draw the curtain The i 
 
 and show his picture. On discovering his mistake he surrendered f?*" """i 
 '■ ° the grapes. 
 
 the prize to Parrhasios, admitting candidly that he had deceived 
 the birds, while Parrhasios had deluded^ himself, a painter. After 66 
 this we learn that Zeuxis painted a boy carrying grapes, and when Boy with 
 the birds flew down to settle on them, he was vexed with his own S>''^f'^- 
 work, and came forward saying, with like frankness, ' I have 
 painted the grapes better than the boy, for had I been perfectly 
 successful with the latter, the birds must have been afraid.' He 
 also modelled certain terra-cottas which were the only works of art 
 left in Ambrakia when Fulvius Nobilior brought the statues of the 
 Muses to Rome. The paintings in Rome by the hand of Zeuxis Helen. 
 are : the Helen in the gallery of Philip and the bound Marsyas ^^"^^"^ 
 in the temple of Concord. Parrhasios, a native of Ephesos, also 67 
 made great contributions to the progress of art. He first gave P^^'^'^<^- 
 painting symmetry, and added vivacity to the features, daintiness 
 to the hair and comeliness to the mouth, while by the verdict of 
 artists he is unrivalled in the rendering of outline. This is the 
 
 being also in Rome. In making relief of a marble vase at Naples, 
 
 this addition he forgets that he A. Z. 1869, taf. 18. 
 
 had already mentioned the Helena, §67. 13. Ephesi natus: Strabo 
 
 when quoting from his main authority. xiv, p. 642 ; Anth. App. lix, 2. 
 
 His oversight is, however, the easier 14. primus symmetrian pict. 
 
 to explain as in the previous passage dedit : his achievement as a painter 
 
 the name of the picture had not been marks a similar advance upon that of 
 
 given. Zeuxis (§ 64) to Myron's (xxxiv, 57) 
 
 12. Philippi portioibns ; built by upon that of Polykleitos among the 
 
 L. Marcius Philippus, the step-father statuaries, Introd. p. xxvii. 
 
 of Augustus, round the T. Hercules argutias : note on xxxiv, 65. 
 
 Musarum (above); Suet. Aug. 29; 15. oonfessione artifioum : refers 
 
 Ovid, i^ffirfi, vi, 801 ; cf. Gilbert, iJtfm. to the artists and art-historians Anti- 
 
 iii, p. 248. gonos and Xenokrates (below, § 68) ; 
 
 Concordiae delubro: note on cf. artifices qui condidere haec in 
 
 xxxvi, 73. xxxiv, 68, where the same two writers 
 
 Marsyas religatus : the repre- are meant, Introd. p. xxxvii. 
 
 sentations of Marsyas bound are in lineis ; cf. Quinct. xii, 10, 4 
 
 all cited by Jessen ap. Roscher, ii, examinasse {Parrh.) subtilius lineas 
 
 2450 ff. None, however, can be traced traditur. 
 
 back vrith any certainty to Zeuxis's 16. haeo est pioturae . . . ooou.1- 
 
 picture. A reminiscence of the whole tat : the passage is of unique aesthetic 
 
 composition perchance survives in the interest (Introd. p. xxxiv), it expresses 
 
112 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 suptilitas. corpora enim pingere et media rerum est quidem 
 magni operis sed in quo multi gloriam tulerint, extrema cor- 
 porum facere et desinentis picturae modum includere rarum 
 
 68 in successu artis invenitur. ambire enim se ipsa debet ex- 
 tremitas et sic desinere ut promittat alia post se ostendatque 5 
 etiam quae occultat. hanc ei gloriam concessere Antigonus 
 et Xenocrates qui de pictura scripsere, praedicantes quoque, 
 non solum confitentes. et alia multa graphidis vestigia 
 exstant in tabulis ac membranis eius, ex quibus proficere 
 dicuntur artifices, minor tamen videtur sibi comparatus in 10 
 
 69 mediis corporibus exprimendis. pinxit demon Atheniensium 
 argumento quoque ingenioso. ostendebat namque varium, 
 iracundum iniustum inconstantem, eundem exorabilem 
 clementem misericordem, gloriosum, excelsum humilem, 
 ferocem fugacemque et omnia pariter. idem pinxit et 15 
 Thesea, quae Romae in Capitolio fuit, et navarchum thora- 
 catum, et in una tabula, quae est Rhodi, Meleagrum, Hercu- 
 lem, Persea, haec ibi ter fulmine ambusta neque obliterata 
 
 70 hoc ipso miraculum auget. pinxit et archigallum, quam 
 
 5. alia sponse (sponte e correction^ Bamb. {serif turn erat alias pos se ; an 
 alias post se ? Traube). 
 
 the dominant effort of painting to trand {loc. cii.) translates ' il faut en 
 represent objects not only as relieved effet que les contours senvelopfent 
 from the flat, but as occupying space. eux-mSmes' In other words, the con- 
 It is suggestively discussed by Ber- tours must be so drawn as to appear 
 trand, Etudes, p. 65 ff. to clasp what is behind them. 
 
 1. media rerum : i. e. the model- § 68. 5. ut promittat alia post 
 ling of the particular face chosen for se : the meaning is so clear, the 
 presentation, as it lies between its aesthetic lesson so true, that I have 
 bounding lines, without any necessary decided on keeping Detlefsen's read- 
 suggestion of the parts which are ing. but not without hesitation, for the 
 concealed from view. MSS.are in favour of a/zaj(sc.«.«//-fmj- 
 
 2. extrema . . . modum inclu- tales) post se—a. reading recommended 
 dere: the subtle meaning conveyed by Dr. Traube. The meaning of 
 by these words is more easily felt this alternative reading would be : in 
 than translated. The idea is that the any object, the face which the artist 
 supreme difficulty and consequently chooses for presentation forms, where 
 the supreme achievement of painting it leaves off, a line against the back- 
 cojjsists in bringing the painted out- ground. But another view of the 
 line {modus desinentis picturae) into same object would have afforded a 
 agreement with the contour of the different system of bounding lines, of 
 f^gare. extremitates, and as any object may 
 
 4. ambire . . . extremitas : Ber- be viewed from an endless number 
 
/. PAINTING 
 
 "3 
 
 highest subtlety attainable in painting. Merely to paint a figure 
 in relief is no doubt a great achievement, yet many have succeeded 
 thus far. But where an artist is rarely successful is in finding an 
 outline which shall express the contours of the figure. For the 68 
 contour should appear to fold back, and so enclose the object 
 as to give assurance of the parts behind, thus clearly suggesting 
 even what it conceals. Preeminence in this respect is con- 
 ceded to Parrhasios by Antigonos and Xenokrates, writers on Judgement 
 painting, who indeed not only concede but insist upon it. Many "f ^"'^o- 
 other traces of his draughtmanship remain, both in pictures and Xeno- 
 on parchments, which are said to be instructive to artists. Still, '^™'*^- 
 if tried by his own standard, he fails in modelling. He painted 69 
 an ingenious personification of the Athenian 'Demos,' discovering His works. 
 it as fickle, passionate, unjust, changeable, yet exorable, com- 
 passionate and pitiful, boastful, proud and humble, bold and 
 cowardly, in a word, everything at once. He also painted 
 the Theseus formerly in the Capitol at Rome, an admiral in 
 armour, and Meleager, Herakles and Perseus in a picture at 
 Rhodes, where it has thrice been set on fire by lightning 
 without being destroyed, a miracle which increases our wonder. 
 
 of points, there is no limit to its bound- 
 ing lines. It therefore becomes the 
 business of the great artist, to give 
 assurance, although working on the 
 flat, of these hidden lines. This notion 
 of fugitive, pursuant outlines, though 
 somewhat rhetorical and over-subti- 
 lized, would also convey its peculiar 
 truth. 
 
 9. tabulls : either small tablets, 
 containing the artist's sketches for his 
 large pictures, or, if in the usual sense 
 of easel pictures, we must understand 
 these tabulae to have been left un- 
 finished, with the design merely 
 sketched in. 
 
 J 69. II. demon Atheniensium: 
 cf. the same subject by Euphranor, 
 Pans, i, 3, 3 ; below note on § 129. 
 
 16. Thesea : the picture was ori- 
 ginally in Athens (Plut. Thes. iv), 
 whence it may have beea brought by 
 Sulla. 
 
 fait : i. e. it was destroyed by the fire 
 of B.C. 70; cf. xxxiii, 154; xxxiv, 38. 
 
 17. quae est Bhodi : Mucianus 
 is therefore presumably the authority 
 here followed by Pliny, Introd. p. 
 Ixxxvi f, 
 
 Meleagrum, Heroulem, Persea ; 
 grouped in a 'Santa conversazione,' 
 such as were becoming popular in 
 the period of Parrhasios ; they had 
 little mythological significance, save 
 as presenting, pleasantly grouped to- 
 gether, two or more of the popular 
 national gods or heroes ; cf. the 
 ' Aineias, Kastor and Polydeukes ' 
 in § 71. (Robert, Bild u. Lied, 
 
 P- -IS-) 
 
 18. ter fulmine ambusta : the 
 stress laid on the miraculous circum- 
 stance confirms the authorship of 
 Mucianus, Introd. loc. cit. 
 
 §70. 19. arohigallnm: literally 
 the word would apply to the chief of 
 the priests of Kybele. But the follow- 
 ing anecdote shows that the picture 
 more probably represented the figure 
 of a nude boy, surnamed the archi- 
 
114 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 picturam amavit Tiberius princeps atque, ut auctor est 
 Deculo, HS. [LX] aestimatam cubiculo suo inclusit. pinxit 
 et Thressam nutricem infantemque in manibus eius et Philis- 
 cum et Liberum patrem adstante Virtute, et pueros duos in 
 quibus spectatur securitas et aetatis simplicitas, item sacer- 5 
 
 71 dotem adstante puero cum acerra et corona, sunt et duae 
 picturae eius nobilissimae, hoplites in certamine ita decurrens 
 ut sudare videatur, alter arma deponens ut anhelare sentia- 
 tur. laudantur et Aeneas Castorque ac Pollux in eadem 
 tabula, item Telephus, Achilles, Agamemnon, Ulixes. fecun- 10 
 dus artifex, sed quo nemo insolentius usus sit gloria artis, 
 namque et cognomina usurpavit habrodiaetum se appellando 
 aliisque versibus principem artis et earn ab se consummatam, 
 super omnia Apollinis se radice ortum et Herculem, qui est 
 Lindi, talem a se pictum qualem saepe in quiete vidisset. 15 
 
 72 ergo magnis suffragiis superatus a Timanthe Sami in Aiace 
 armorumque iudicio herois nomine se moleste ferre dicebat 
 quod iterum ab indigno victus esset. pinxit et minoribus 
 tabellis libidines, eo genere petulantis ioci se reficiens. 
 
 gallus, owing to some physical pecu- 
 liarity (cf. Klein, Arch. Ep. Mitth. 
 xii, 1888, p. 123); perhaps therefore 
 the picture should be reckoned among 
 the libidines mentioned below in § 72. 
 
 I. amavit Tiberius : cf. the 
 similar story told of the Apoxyomenos 
 of Lysippos, xxxiv, § 62. 
 
 3. Thressam nutrioem : a votive 
 portrait put up in gratitude for the 
 services of a favourite nurse ; cf. Furt- 
 wangler, Darnauszieher, p. 95, or a 
 grave picture; cf. Anth. Pal. vii, 
 663: 
 
 'O fuxKbs t6S' 6TCi/^c Ta 0petffaq. 
 MijSeios TO livdfi' eirl to oBS, k^ttc- 
 'YpaJpe KKiiras. 
 
 e^€t rav \apiv d yvvci avr exeivojv 
 Siv Tov Koipov t6pi\p^. trvp.' Sjv It: 
 
 XPH2IMA 7-fXEuT?. 
 From pinxit et Thr. nuir. down to et 
 corona we seem to have part of the 
 old account of Parrhasios by Xeno- 
 krates; Miinzer, op. cit. p. 515; cf. 
 Introd. p. xxvii. 
 
 Philiscum ; a poet of the Middle 
 Comedy ; Kock, Fragm. Com. Graec. 
 vol. ii, p. 443. 
 
 5. saoerdotem adstante puero : 
 cf. above, note on | 60. 
 
 § 71. 6. duae pioturae : apparently 
 composed as pehdants; the descrip- 
 tion is epigrammatic, Benndorf, Epi- 
 gramm. p. 55, Introd. p. Ixxi. 
 
 9. Aeneas Castorque ao Pollux: 
 for this group of heroes, who have 
 no mythological connexion with one 
 another, cf. above, note on § 69. 
 
 10. Telephus, Achilles, Aga- 
 memnon, Ulixes : i. c. a picture re- 
 presenting the healing of Telephos by 
 the rust from the sword of Achilles 
 (xxxiv, 152), in presence of Agamem- 
 non and of Odysseus. Robert {_Bild. 
 u. Lied. p. 35) conjectures the picture 
 to have been inspired by the lost play 
 of Euripides ; but Vogel {Scenen 
 Euripid. Trag. in gr. Vasengemdlden, 
 p. 18) rightly points out that Euripi- 
 des had assigned too marked a part 
 
I. PAINTING 115 
 
 He also painted a priest of Kybele : a picture of which the 70 
 Emperor Tiberius was enamoured, and which, according to 
 Deculo, although valued at 6,000,000 sesterces (;!^S 2,500 circ), he 
 placed in his private apartments. Furthermore he painted a 
 Thrakian nurse with an infant in her arms ; a portrait of Philiskos, 
 Dionysos by the side of Virtue, two boys whose features express 
 the confidence and the simplicity of their age, and a priest with 
 a boy at his side holding a censer and a wreath. Two other 71 
 picture(s by him are most famous, a hoplite in a race who seems to 
 sweat as he runs, and a hoplite laying aside his arms, whose 
 labouring breath we seem to hear. His picture of Aineias, Kastor 
 and Polydeukes is praised, so is his Telephos with Achilles, Aga- 
 memnon and Odysseus. He was a prolific artist, but carried his His luxury 
 success with an arrogance that none have equalled ; he called ^^^ 
 himself djipoUaiTos [the luxurious] and said in another epigram \ / 
 that he was the prince of painting, that he had brought it to the -\\ 
 highest point of perfection, and more than all that he was of the / 
 seed of Apollo, and had painted the Herakles at Lindos precisely Herakhsat 
 as he had often seen him in sleep. Hence it was that when he ,^3 
 was defeated by a large majority of votes in a competition with Competi- 
 Timanthes at Samos, the subject of his picture being Aias and ^^-^^^^^^ 
 the award of the arms, he said in the name of the hero that he 
 was grieved at being worsted a second time by an unworthy rival. 
 He also painted small pictures of licentious subjects, seeking 
 
 in the action to Klytaimnestra, for naios. 
 
 her to have been left out in a picture 15. talem . . . pictum : Athen. xii, 
 
 taken straight from his drama. Vogel 543F = ^«/,4. y^//. 61 =Bergk,p. 321, 
 
 therefore points to the Telephos of 636, 3 ; these verses were probably in- 
 
 Aischylos as the source of Parrhasios' scribed on the picture ; cf. the epigram 
 
 inspiration. wliich Parrhasios composed for his 
 
 12. habrodiaetum : from the epi- picture of Hermes, Themistios Orat. 
 gram preserved Ath. xii, p. 543 D, ii, p. 34 (Dindorf). 
 
 -.Anthol. App. 69 = Bergk. L. G. ii, § 72. 16. a Timanthe : the name of 
 
 pp. 320, 635, i; cf. O. Jahn, Kleine Parrhasios' rival is given only by Pliny ; 
 
 Beitrage, p. 286 ff. ; Introd. p. Iv. the story of the competition also 
 
 13. consummatam : from the epi- Athen. xii, 543 E, Ailian, noiidkri lar. 
 gram Athen. xii, p. c,^z'K = Anthol. ix, 11. Introd. p. liv f. 
 
 App. 6o = Bergk, ii, p. 321, 636, 2 ; cf. in Aiaoe armorumque iudicio : 
 
 the epigram composed by Zeuxis upon it is unnecessary to suppose from 
 
 himself, Aristeides, Or. 49, ii, p. 521 these words that 'The award of the 
 
 = Bergk, ii, pp. 318, 634. Arms' was also the subject of the 
 
 14. super omnia . . . ortum : ac- picture by Timanthes. 
 
 cording to Jahn {loc. cit.) these words 19. libidines: one instance on re- 
 
 are from a lost epigram of similar cord is his ' Meleager and Atalanta,' 
 character to those preserved in Athe- Suet. Tib. 44; Polemon (a/. Athen. 
 
 I 2 
 
Ii6 
 
 C. PLINIl SECUNDI NAT. HIST. XXXV 
 
 73 nam Timanthi vel plurimum adfuit ingenii. eius enim est 
 Iphigenia oratorum laudibus celebrata, qua stante ad aras 
 peritura cum maestos pinxisset omnes praecipueque patru- 
 um, et tristitiae omnem imaginem consumpsisset, patris 
 ipsius voltum velavit quern digne non poterat ostendere. 5 
 
 74 sunt et alia ingenii eius exempla, veluti Cyclops dormiens 
 in parvola tabella, cuius et sic magnitudinem exprimere 
 cupiens pinxit iuxta Satyros thyrso pollicem eius metientes. 
 atque in unius huius operibus intellegitur plus semper quam 
 pingitur et, cum sit ars summa, ingenium tamen ultra artem 10 
 est. pinxit et heroa absolutissimi operis artem ipsam com- 
 plexus viros pingendi, quod opus nunc Romae in templo 
 
 75 Pacis est. Euxinidas hac aetate docuit Aristiden praecla- 
 rum artificem, Eupompus Pamphilum Apellis praeceptorem. 
 est Eupompi victor certamine gymnico palmam tenens. ig 
 
 xiii, p. 567 b) makes the same charge 
 of nopvoypcupia against Aristeides, 
 Fansias and Nikophanes; cf. also 
 Euripides, Hippol. 1005. 
 
 § 73. I. Nam : resumes the snbject 
 from victus esset. 
 
 Timanthi : a native of Kythnos, 
 Quinct. ii, 13, 13. Eustathios (on 
 //. p. 1343, 60), whose authorities 
 are rarely trustworthy, calls him 
 'StKvimios. It must be by confusion 
 with a later Timanthes, who painted 
 the battle of Aratos against the 
 Aitolians at Pellene in Arkadia, in 
 B. c. 240 (Plut. Arat. 32), and who 
 was therefore presumably a Sikyonian. 
 
 2. oratorum: cf. Cic. Orator, 22, 
 74 fictor (name not mentioned) ille 
 vidit, cum immolanda Iphigenia iristis 
 Calchas esset, tristior Vlixes, mae- 
 reret Menelaus, obvolvendum caput 
 Agamemnonis esse, quoniam sum- 
 mum ilium luctum penicillo non posset 
 imitari. That the Iphigeneia was a 
 stock rhetorical subject is proved by 
 Quinct. {loc. cit.) and Val. Max. viii, 
 II, ext. 6. A famous Pompeian wall- 
 painting, representing the sacrifice 
 (Helbig, Wandgemalde, 1 304 = phot. 
 Alinari 12027), shows Agamemnon 
 
 with head completely veiled, but since 
 Iph. is being carried, and not stand- 
 ing, we must see in it only a later 
 adaptation of the picture by Timan- 
 thes (cf also Helbig, op. cit. 1305, and 
 the mosaic in A. Z. 1869, taf. xiv). 
 The ancients entertained two distinct 
 views as to the veiling of Agamem- 
 non ; Pliny and Quinctilian arguing 
 that the painter did not show the 
 features of the father, in order to save 
 dignitas, while Cicero and Valerius 
 Maximus argued that he had recourse 
 to this means because the highest 
 pain cannot be expressed in art. 
 Both ancient and modem criticisms 
 are discussed by Bliimner, Comm. to 
 Lessing's Laokoon, p. 506 f. As 
 Bliimner points out, the veiling motive 
 in sorrow is common both in painting 
 and poetry ; c. g. Euripides veils the 
 head of Agamemnon in the description 
 of the identical scene, i^A. Aul. 1550 ; 
 cf. also Brunn, K. G. ii, p. 124. 
 According to Quinctilian, this picture 
 gained for Timanthes the prize over 
 Kolotes of Teos. 
 
 4. constunpsisset : cf. the simi- 
 lar story of Euphranor, Val. Max. 
 viii, II, ext. 5. According to Ensta- 
 
/. PAINTING 117 
 
 relaxation in this wanton humour. To return — Timanthes was a 73 
 painter above all curious in invention, for by him is that Iphigeneia Iphigeneia 
 praised by the orators, whom he depicted standing by the altar ready "t ^'""'"' 
 for death. Having represented all the onlookers and especially 
 her father's brother as plunged in sorrow and having thus exhausted 
 every presentment of grief, he has veiled the face of her father for 
 which he had reserved no adequate expression. There are other 74 
 examples of his inventiveness; for instance, being' desirous to 
 emphasize, even in a small picture, the huge size of a sleeping sleeping 
 Cyclops, he painted some Satyrs at his side, measuring his thumb Cyclops. 
 with a thyrsos. He is the only artist whose works always suggest 
 more than is In the picture, and great as is his dexterity, his 
 power of invention yet exceeds it. He also painted a hero, a pic- Hero in 
 ture in which he touched perfection, having comprehended in it '^f^'°{ 
 the whole art of painting the male figure. The picture is now at Rome. 
 Rome in the temple of Peace. 
 
 In this period ■\Euxeinidas was the master of Aristeides, 75 
 a famous artist, and \Eupompos of Pamphilos, who in turn was the ^?' '^'' 
 master of Apelles. We have by Eupompos a victor in an athletic the schools 
 contest holding a palm. So great was this artist's reputation that ''^ff/J^j^„i^ 
 thios (/. ir.),wliose statement, however, 12. in templo Paois : note oa and Si- 
 
 savours of concoction, Timanthes was xxxiv, 84. kyoman. 
 
 inspired to veil the head of Agamem- 5 75. 13. Aristiden: identical 
 
 non, by the similar device employed with the Aristeides of § iii, the master 
 by Homer in describing the grief of of Euphranor, where Pliny however 
 Priam, //. xxiv, 163. confuses him with his grandson 
 
 § 74. 6. Cyclops dormiens : the Aristeides the Theban. According to 
 presentation of this subject in paint- Kroker [Gleichnamige Gr. Kiinstler, 
 ing was doubtless influenced by the p. 33) and Furtwangler {Masterpieces, 
 A/^/i?/J of Euripides, in which the p. 349) he is further probably identical 
 Satyrs were brought on the stage with with the sculptor of xxxiv, 72, pupil of 
 Polyphemos ; Robert, Bild a. Lied, Polykleitos; the dates favour the 
 p. 35 ; Winter,ya/4?-i. vi, 1891, p. 272, supposition. 
 
 who rightly refuses to refer the pic- 14. Eupompus : xxxiv, § 61 ; 
 
 ture (with Klein) to the younger above, § 64. 
 Timanthes. 15. palmam tenens : a number of 
 
 II. artem ipsam oomplexua : examples of a youth with palm in 
 the similarity of expression with the left hand, and raising the crovm 
 xxxiv, 56, solusque hominum autem to his head with the right, are collected 
 ipsam fecisse artis opere iudicatur, by Milchhbfer, Arch. Stud. Brunn 
 suggests that the ^«?-tfj of Timanthes, dargebracht, 1892, p. 62, ff. ;they 
 like the Doryphoros of Polykleitos, probably go back to the type created 
 was a canonical figure intended to by Eupompos, Furtwangler, Master- 
 illustrate the artist's theories of pro- pieces, p. 256 ; cf. also Reisch, Griech. 
 portion ; cf. Kalkmann, Jahrb. x, Weihgeschenke, p. 41. 
 1895, p. 84, note 147 ; Introd. p. xli. 
 
ii8 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 ipsius auctoritas tanta fuit ut diviserit picturam in genera, 
 quae ante eum duo fuere — Helladicum et Asiaticum appella- 
 bant— propter hunc, qui erat Sicyonius, diviso Helladico 
 
 76 tria facta sunt, lonicum, Sicyonium, Atticum. Pamphili 
 cognatio et proelium ad Phliuntem ac victoria Atheniensium, 5 
 item Ulixes in rate, ipse Macedo natione, sed primus in 
 pictura omnibus litteris eruditus, praecipue arithmetica et 
 geometria, sine quibus negabat artem perfici posse, docuit 
 neminem talento minoris — annuis 5f D — quam mercedem et 
 
 77 Apelles et Melanthius dedere ei. huius auctoritate efifectum 10 
 est Sicyone primum, deinde et in tota Graecia, ut pueri in- 
 genui omnia ante graphicen, hoc est picturam in buxo, 
 docerentur recipereturque ars ea in primum gradum libera- 
 lium. semper quidem honos ei fuit ut ingenui eam exerce- 
 rent, mox ut honesti, perpetuo interdicto ne servitia doce- 15 
 rentur. ideo neque in hac neque in toreutice ullius qui 
 
 78 servierit opera celebrantur. clari et centesima septima 
 olympiade exstitere Action ac Therimachus. Aetionis 
 
 4. tria facta sunt : above note on 
 § 72. 'It is difficult to say wherein 
 this great local superiority consisted, 
 which tempted, moreover, wealthy 
 amateurs, like Ptolemy II and Atta- 
 los, to purchase at enormous prices 
 galleries of old Sikyonian masters. 
 Plutarch uses a special term for it, 
 XpTiaToypacjiia, which is usually ex- 
 plained as indicating the reaction in 
 art against the methods of Zeuxis 
 and his contemporaries.' (C. Smith, 
 art. Pictura, Smith's Diet. Ant. p. 
 
 413-) 
 
 § 76. 5. cognatio : it may have 
 been a grave picture placed upon a 
 family grave, cf in sculpture a similar 
 family gathering on the Eastern pedi- 
 ment of the tomb known as the 
 ' Nereid monument ' (Brit. Mus.), 
 Michaelis, A. Z. 1845, pi. xxxiv, p. 
 145. Or it may have been merely a 
 votive commemorative picture. For 
 similar subjects cf. the cognatio 
 nobilium of Timomachos (136), the 
 frequentia of Athenion (134), the 
 
 syngenicon of Oinias (143), finally 
 the stemmata of Koinos (139). 
 
 proelium ad Phliuntem ac vic- 
 toria := victoria Atheniensium in 
 proelio ad Phliuntem : hendiadys, 
 cf. MUUer, Stil, pp. 109, 15. The 
 picture is generally supposed to have 
 represented the episode narrated by 
 Xenophon, HelUnika, vii, 3, 18-23, 
 when the Fhliasians and Athenians 
 under the command of Chares sur- 
 prised and put to flight the Sikyonian 
 troops (b. c. 367) ; Brunu, K. G. ii, p. 
 133 f. ; Schaefer, Demosthenes, i, p. 
 103 ff. ; cf. Grole, Greece, viii, p. 258. 
 
 6. Macedo : from Amphipolis 
 (Souidas). His birthplace is of im- 
 portance as giving the probable clue 
 to the subsequent connexion of his 
 pupil Apelles — and possibly to that 
 of Lysippos— with the Makedonian 
 court. (Against his identification, on 
 the insufficient testimony of thescholia, 
 with the Pamphilos of Aristoph. Plut. 
 385, see Judeich, Fleckeisen's Jakrb. 
 1890, p. 758.) 
 
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 w 
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 Eh 
 
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 so 
 
 ss> 
 
 "■s "" 
 
 3 " 
 
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 < 
 
 gs: 
 
 
 ^ l-H 
 
 "S -ti 
 
 M 
 
 ■a 
 
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 S 2 
 12 
 
 s5 «» 
 
 Pi 
 
 Hi 
 
 
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 ITS 
 
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 lOK 
 
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 09 
 
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 P4 
 
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 Sh 
 
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 ■c 
 
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 jy e H. 
 
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 3 a\ — oj w 
 
 <o 
 
 
 •s. 
 
/. PAINTING 119 
 
 it occasioned a new division of the schools of painting. Before 
 
 his time there had been two schools, known as the Helladic 
 
 proper and the Asiatic ; but now the Helladic was subdivided 
 
 in his honour, and thus the schools became three, the Ionic, the 
 
 Sikyonian and the Attic, Euporapos himself being a Sikyonian. 
 
 By Pamphilos we have a family group, the victorious engage- 76 
 
 ment of the Athenians at Phlious, and a picture of Odysseus on P<^>"P^'- 
 
 ' '^ ' los, master 
 
 his raft. A Makedonian by birth, Pamphilos was the first painter of A f elks. 
 who was thoroughly trained in every branch of learning, more 3"7 ^■'^• 
 particularly iri arithmetic and geometry; without which, so he 
 held, art could not be perfect. He taught no one for less than 
 a talent \j[^2\o circ] — that is, five hundred denarii [^^17 los. 
 circ] a year — the fee paid him both by Apelles and by Melanthios. 
 It was owing to his influence that first at Sikyon, and after- 77 
 wards throughout Greece drawing, or rather painting, on tablets jj'j^^l"f 
 of boxwood, was the earliest subject taught to freeborn boys, a.-n6.freeborn 
 that this art was accepted as the preliminary step towards a liberal •''■'■ 
 education. It was at any rate had in such honour that at all 
 times the freeborn, and later on persons of distinction practised 
 it, while by a standing prohibition no slaves might ever acquire 
 it, and this is why neither in painting nor in statuary are there 
 any celebrated works by artists who had been slaves. 
 
 In the hundred and seventh Olympiad [352-349 B.C.] lived 78 
 Action and tTherimachos, both painters of note. By Aetion are xherima- 
 
 chos. 
 
 7. praeeipue arithmetioa . . . with other pupils, assisted him in the 
 
 posse : these words are probably votive picture for Aristratos of Sikyon 
 
 derived from a Treatise on Painting (Plut. loc. cit.). 
 
 by Pamphilos; see Introd. p. xliii. § 77. n. pueri ingenui = fA.61;- 
 
 9. quam mercedem . . . Apelles: Oipioi : cf. Aristotle, Polit. v (viii), 3, 
 'KvBei y&p en S6(a rijs :SiKvavias p. 1338 Sokcl di Kai ff>a<piicii X/"}"''" 
 jjLovaris KoX xP^^'^^lP^-^'^'^^i ^ fiovrjs fjLos elvai -nphs rb /cpiveiv to, Tutv rex* 
 ddia(p$opov kx^^^V^ "^^ KaK6Vf liiffTe vnojv epya KiXKiov ovd' aS KaBdirep ^ 
 Kal 'hireWfiv kxetvov ^Si; 6avp.a(6- yv/ivaanur) Trpbs iyleiav xat aXx^v 
 fi€vov d<ptK€ffdai Kal avyyfv^aOai toTs ovScrepov ydp roiTUV Spwfitv yiv6- 
 dvbpdciv kirl raKavTqj, t^s h6^r)s jxaK- iifvov iic rrjs fwvatKQs. XeineTat roivvv 
 \ov fi rrjs rexyv^ SeSjuevov litraKa^fiv. Trpbs t^v iv tJ axo^V Staywy^v, Is 
 Plut. Arat, xiii. o-mp Kal (paivovraL itapAyovTis avTTjv 
 
 10. Melanthius : §§ 50, 80; and ■fjv yAp otovrat hiayojy^v etvai twv 
 Ifidex to this book. From Antigonos k\ev6^pa/Vf ev ravTij rarrovaiv. 
 ofKarystos, ap. Diogenes L. iv, 3, 18 §78. 18. Aetionet Therimaohus: 
 (Introd. p. xxxviii), we learn that he cf note on xxxiv, 50. Therimachos is 
 wrote Tiepl (aiypa<j>i«^s ; Melanthios otherwise unknown, Aetion is a fav- 
 was also a master of Apelles (perhaps ourite artist of Lucian, who has given 
 after the death of Pamphilos), who, a famous description of his Alexander 
 
I20 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 sunt nobiles picturae Liber pater, item Tragoedia et 
 Comoedia, Semiramis ex ancilla regnum apiscens, anus 
 lampadas praeferens et nova nupta verecundia notabilis. 
 
 79 verum et omnes prius genitos futurosque postea superavit 
 Apelles Cous olympiade centesima duodecima. picturae 5 
 plura solus prope quam ceteri omnes contulit, voluminibus 
 etiam editis quae doctrinam earn continent, praecipua eius 
 in arte venustas fuit, cum eadem aetate maximi pictores 
 essent. quorum opera cum admiraretur omnibus conlaudatis, 
 deesse illam suam Venerem dicebat, quam Graeci Charita 10 
 vocant, cetera omnia contigisse, sed hac sola sibi neminem 
 
 80 parem. et aliam gloriam usurpavit, cum Protogenis opus 
 inmensi laboris ac curae supra modum anxiae miraretur, 
 dixit enim omnia sibi cum illo paria esse aut illi meliora, 
 sed uno se praestare, quod manum de tabula sciret tollere, 15 
 memorabili praecepto nocere saepe nimiam diligentiam. fuit 
 autem non minoris simplicitatis quam artis. Melanthio 
 dispositione cedebat, Asclepiodoro de mensuris, hoc est 
 
 81 quanto quid a quoque distare deberet. scitum est inter 
 Protogenen et eum quod accidit. ille Rhodi vivebat, quo 20 
 cum Apelles adnavigasset avidus cognoscendi opera eius 
 
 and Roxana ('H/iiiS. ^ 'Afrlaiv, 4) ; where Hephaistion holds a torch, the 
 
 cf. ('m6vk, 7, irepl tS/v firl luaB. aw. marriage feast of Peirithoos by Hippys 
 
 42 ; cf. Cicero, Brutus, xviii, 70 (Athen. xi, p. 474), which was lit up 
 
 (quoted above, note on § 50). by u. hanging candelabrum. The 
 
 2. Semiramis : Brunn {K. G. ii, enumeration from Tragoedia to anus 
 
 p. 245) points out that the nuptials is asyndetical — et being reserved to 
 
 of S. and Ninos may have been con- link Comoedia to Trag. (both in one 
 
 ceived as a sort of mythical counter- picture) and nova nupta to anus 
 
 part to those of Alexander and Rox- — so that I cannot follow Brunn 
 
 ana. (K, G. ii, p. 245) and Furtwangler 
 
 anus ... nova nupta : of course (Domauszieher, p. 96, n. 57), in 
 
 in one picture. The anus is doubtless understanding the words anus . . . 
 
 the mother of the bride, to whom the notabilis to be descriptive of the 
 
 S^Soux'"') the carrying of the 5a5ts picture of the Nuptials of Semiramis. 
 vvii<j)ticai, usually fell ( Hermann-Blum- § 79. 5. Apelles Cous : Ovid, 
 
 ner, Lehrbuch, p. 275; Furtwangler, ArsAmat. iii, 401, Pont. Epist. iv, i, 
 
 S. Sabouroff, i. 58, 59 ; cf. the at- 29 ; but Strabo (xiv, p. 642), Lncian, 
 
 ten(iant(?) holding torches on the 5io;SoX. 2,andafterhim Tzetzes (C,4j7. 
 
 marriage vases or KouTpo<l>6poi). The viii, 392) call him an Ephesian ; that 
 
 torch was doubtless made the occa- this is correct is proved by Herondas, 
 
 sion for effects of light; cf. the iv, 72 ('E^cffiou 'AmWia) who cer- 
 
 mariiage of Alexander and Roxana, tainly would not have made Apelles 
 
/. PAINTING lai 
 
 the well-known pictures of Dionysos, of Tragedy and Comedy, 
 of Semiramis rising from slavery to royal power, and of an old 
 woman carrying lamps and a bride, whose shamefacedness is very 
 apparent. 
 
 Apelles of Kos, however, in the hundred and twelfth Olympiad 79 
 [332-329 B.C.] excelled all painters who came before or after him. '^f^" 
 He of himself perhaps contributed more to painting than all the. ffis written 
 others together ; he also wrote treatises on his theory of art. The ^''^'"'""■ 
 grace of his genius remained quite unrivalled, although the very 
 greatest painters were living at the time. He would admire their Bis esti- 
 works, praising every beauty and yet observing that they failed ""'■'" of the 
 
 • ^u 1, 1 , ■ ^ , , ■ , •!• ■ • , , ■ worksofhts 
 
 m the grace, called xapis in Greek, which was distinctively his contemfor- 
 
 own ; everything else they had attained, but in this alone none "7" andof 
 
 equalled him. He laid claim to another merit : when admiring so 
 
 a work of Protogenes that betrayed immense industry and the 
 
 most anxious elaboration, he said that, though Protogenes was 
 
 his equal or even his superior in everything, he yet surpassed 
 
 that painter in one point — namely in knowing when to take his 
 
 hand from a picture ; a memorable saying, showing that too much 
 
 care may often be hurtful. His candour was equal to his genius : 
 
 he acknowledged the superiority of Melanthios in the distribution 
 
 of figures, and that of Asklepiodoros in perspective arrangement, 
 
 that is in giving the accurate distances between different objects. 
 
 A neat story is told of him in connexion with Protogenes, who 81 
 was living in Rhodes. Thither Apelles sailed, eager to see the"?"""*"" 
 
 ° i ; D Protogenes. 
 
 into an Ephesian, if he could have 9. quorum opera cum adm. : 
 
 claimed him for his native Kos. The i. e. in his writings. 
 
 tradition that the artist was a Koan § 80. 12. Protogenis : below, 
 
 arose because at Kos were some of his §§ 8i, 101-106. 
 
 most celebrated works, among them opus miraretur ; presumably the 
 
 the Anadyomene. lalysos. 
 
 6. voluminibus editis : cf. §111; 15. manum de tabula :=X"P'"'''° 
 it must be from these writings of rpoMi^-qi ; Petron. j6 postquam coepi 
 Apelles that the judgements he passed plus habere, quam tola men patria 
 upon his contemporaries were origi- ha6et,manum de taSiila; also used of 
 nally derived (Introd. p. xl). school-boys trifling in their master's 
 
 7. praeoipua venustas: Quinct. absence, cf. Cic. ad Fain, vii, 25 
 xii, 10, 6 ingenio et gratia, quam sed heus tu, manu de tabula I (Otto, 
 in se ipso maxime iactat, Ap. est prae- SprichivSrter, p. 210). 
 stantissimus. According to Plutarch 1 7- Melanthio : above, § 76. 
 (fiemetr. xxii), and Ailian (ttoiw. Iot. 18. Asclepiodoro : below, § 107. 
 xii, 41) this judgement on himself was § 81. 19. scitum est: the follow- 
 passed when he saw the lalysos of ing anecdote appears to be elaborated 
 Protogenes (§ 102). out of the admiration which Apelles 
 
122 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 fama tantum sibi cogniti, continuo officinam petiit. aberat 
 ipse, sed tabulam amplae magnitudinis in machina aptatam 
 una custodiebat anus, haec foris esse Protogenen respondit 
 interrogavitque a quo quaesitum diceret. ab hoc, inquit 
 Apelles, adreptoque penicillo lineam ex colore duxit sum- s 
 
 82 mae tenuitatis per tabulam, et reverso Protogeni quae gesta 
 erant anus indicavit. ferunt artificem protinus contempla- 
 tum subtilitatem dixisse Apellen venisse, non cadere in 
 alium tarn absolutum opus, ipsumque alio colore tenuiorem 
 lineam in ipsa ilia duxisse abeuntemque praecepisse, si lo 
 redisset ille, ostenderet adiceretque hunc esse quern quae- 
 reret, atque ita evenit. revertit enim Apelles et vinci 
 erubescens tertio colore lineas secuit nullum relinquens 
 
 83 amplius subtilitati locum, at Protogenes victum se confessus 
 in portum devolavit hospiteni quaerens, placuitque sic eam 15 
 tabulam posteris tradi omnium quidem, sed artificum prae- 
 
 A.u.c. 757. cipuo miraculo. consumptam eam priore incendio Caesaris 
 domus in Palatio audio, spectatam nobis ante spatiose nihil 
 aliud continentem quam lineas visum effugientes inter egregia 
 multorum opera inani similem et eo ipso allicientem omnique 20 
 
 84 opere nobiliorem. Apelli fuit alioqui perpetua consuetudo 
 numquam tam occupatum diem agendi ut non lineam du- 
 cendo exerceret artem, quod ab eo in proverbium venit. 
 idem perfecta opera proponebat in pergula transeuntibus, 
 atque ipse post tabulam latens vitia quae notarentur aus- 25 
 cultabat vulgum diligentiorem iudicem quam se praeferens, 
 
 85 feruntque reprehensum a sutore, quod in crepidis una pauci- 
 ores intus fecisset ansas, eodem poster© die superbo emenda- 
 
 3. aptatam una] Bamb. ; aptatam picturae una reliqui, Detlefsen. 
 
 had professed for Protogenes in his Laert. vii, 7, 185. The motive is 
 
 writings, see Introd. p. xl. Homeric Siavep 6 Aaeprij? . . . ypjjl aiiv 
 
 3. una . . . anus : Leo, Plautinische d^^iTroAoi, Teles, p. 25 (ed. Hense). 
 Forschungen (i 895), p. 65, calls atten- 5. lineam . . . duxit : the anecdote 
 
 tion to the part played in classical belongs to the same category as 
 
 literature by the single ancilla or the Giotto'sO,Vasaried.MilanesiI,p.383. 
 anus. Like the pistrinum she is, so § 83. 17. consumptani ... audio : 
 
 to speak, one of the requisites of the oral tradition. 
 
 contented life. We get the ancilla § 84. 23. in proverbium : i. e. 
 
 in the amusing anecdote, Cic. de Oral. nullus dies sine linea; c{.Otto,SfincA- 
 
 ii, 276, while Chrysippos i)p«tiro viorter, p. 194. 
 7/jai5i'9J, \i.6vm, Demelrios ap. Diog. 24. pergula : cf. Ulpian, Digest. 
 
7. PAINTING 123 
 
 works of a man only known to him by reputation, and on his 
 arrival immediately repaired to the studio. Protogenes was not 
 at home, but a solitary old woman was keeping watch over a large 
 panel placed on the easel. In answer to the questions of Apelles, 
 she said thaf "Protogenes was out, and asked the name of the 
 visitor : ' Here it is,' said Apelles, and snatching up a brush he 
 drew a line of extreme delicacy across the board. On the return 82 
 of Protogenes the old woman told him what had happened. ^ une in 
 When he had considered the delicate precision of the line he at friendly 
 once declared that his visitor had been Apelles, for no one else 
 could have drawn anything so perfect. Then in another colour 
 he drew a second still finer line upon the first, and went away, 
 bidding her show it to Apelles if he came again, and add that this 
 was the man he was seeking. It fell out as he expected ; Apelles 
 did return, and, ashamed to be beaten, drew a third line of 
 another colour cutting the two first down their length and leaving 
 no room for any further refinement. Protogenes owned himself 83 
 beaten and hurried down to the harbour to find his visitor ; they 
 agreed to hand down the painting just as it was to posterity, 
 a marvel to all, but especially to artists. It perished, I am told, a.d. 4. 
 in the first fire of the house of the Caesars on the Palatine. 
 Formerly we might look upon it; its wide surface disclosed 
 nothing save lines which eluded the sight, and among the 
 numerous works by excellent painters it was like a blank, and it 
 was precisely this that lent it surpassing attraction and renown. 
 
 Apelles further made it an unvarying rule never to spend a day, 84 
 however busy, without drawing a line by way of practice ; hence ^^J^' 
 the proverb. It was also his habit to exhibit his finished works 
 to the passers-by in a balcony, and he would lie concealed behind 
 the picture and listen to the faults that were found with it, regard- 
 ing the public as more accurate critics than himself. There is 85 
 a story that when found fault with by a cobbler for putting one ^^^^j^j^l!"'^^ 
 loop too few on the inner side of a sandal, he corrected the 
 mistake. Elated by this the cobbler next day proceeded to find 
 fault with the leg, whereupon Apelles thrust out his head in 
 
 i'^i 3) 5 > § 12 cum fictor in pergula 6, the old reading pergula pictorum 
 
 clipeum vel tabulam exposilam ha- shoald be altered to pergula ficto- 
 
 buisset eaque excidisset, et transeunti rum, which is adopted by Buecheler.) 
 
 damni quid dedisset. (It has been For pergulae at Pompei, see Mau, 
 
 shown by F. Marx in Studia Lucili- Rom. Mitth. ii, 1887, p. 214 ff. 
 ana, 1882, p. 16 f. that in Lucilius xv, 
 
124 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 tione pristinae admonitionis cavillante circa crus, indignatum 
 prospexisse denuntiantem ne supra crepidam sutor iudicaret, 
 quod et ipsum in proverbium abiit. fuit enim et comitas 
 illi, propter quam gratior Alexandro Magno frequenter in 
 officinam ventitanti — nam, ut diximus, ab alio se pingi s 
 vetuerat edicto — sed in officina imperite multa disserenti 
 silentium comiter suadebat rideri eum dicens a pueris qui 
 83 colores tererent. tantum erat auctoritati iuris in regem 
 alioqui iracundum. quamquam Alexander honorem ei 
 clarissimo perhibuit exemplo, namque cum dilectam sibi lo 
 ex pallacis suis praecipue, nomine Pancaspen, nudam pingi 
 ob admirationem formae ab Apelle iussisset eumque, dum 
 paret, captum amore sensisset, dono dedit ei magnus animo, 
 maior imperio sui, nee minor hoc facto quam victoria aliqua. 
 
 87 quippe se vicit, nee torum tantum suum sed etiam adfectum 15 
 donavit artifici, ne dilectae quidem respectu motus, cum 
 modo regis ea fuisset, modo pictoris esset. sunt qui Venerem 
 anadyomenen ab illo pictam exemplari putent. Apelles et 
 in aemulis benignus Protogeni dignationem primus Rhodi 
 
 88 constituit. sordebat suis ut plerumque domestica, percon- 20 
 tantique quanti liceret opera effecta parvum nescio quid 
 dixerat, at ille quinquagenis talentis poposcit famamque 
 dispersit se emere ut pro suis venderet. ea res concitavit 
 Rhodios ad intellegendum artificem, nee nisi augentibus 
 pretium cessit. imagines adeo similitudinis indiscretae 25 
 pinxit ut — incredibile dictu — Apio grammaticus scriptum 
 reliquerit quendam ex facie hominum divinantem, quos 
 metoposcopos vocant, ex iis dixisse aut futurae mortis annos 
 
 § 85. 2. ne supra orepidaiu sutor: 7. qui colores tererent: to nai- 
 
 cf. Valer. Max. viii, 1 3, ext. 3 ; Otto, Bopia rd toS ZeiJf i8os Tiiv lirjAiSa rpi- 
 
 Sprichwdrter, p. 97. Introd. p. lix. ^avra KarcyfAa, Ailian, loc. cit. 
 
 3. enim; corroborates idem prae- §86. 11. Pancaspen: ovo/ra ?pi 
 
 ferens, ignoring the intervening anec- XlayKaavrj, rb Si yifos Aapiacraia, 
 
 dote. Ailian, IlotK. 'lar. xii, 34. Lucian 
 
 5. ut diximus: invii, i25 = App.I; {iMvis, 7) calls her naKdrij. 
 
 cf. note on xxxiv, 63. j 87. 18. anadyomenen : = exeun- 
 
 6, in officina : the following anec- Um e mart, below, § 91. 
 
 dote is told by Plutarch (tie Tranquill. exiemplari : according to Athen. 
 
 Anim. 12), concerning the megabyzos xiii, p. 590 f, the model was Phryne, 
 
 (§ 93). while Ailian, noi«. 'lo-r. ii, j,, while according to Anth. Plan. 179 
 
 tells it of Zeuxis and a megabyzos. Apelles, like Praxiteles (xxxvi, 21), 
 
/. PAINTING 125 
 
 a passion and bade the cobbler ' stick to his last/ a saying which 
 has also passed into a proverb. 
 
 The charm of his manner had won him the regard of Alexander Friendship 
 the Great, who was a frequent visitor to the studio, for, as we have ^^ and"' 
 said, he had issued an edict forbidding any one else to paint his Apelles. 
 portrait. But when the king happened to discourse at length in pankSpe. 
 the studio upon things he knew nothing about, Apelles would 
 pleasantly advise him to be silent, hinting that the assistants who 
 ground the colours were laughing at him ; such power did his 86 
 personality give him over a king habitually so passionate. Yet j 
 Alexander gave him a signal mark of his regard : he commissioned J 
 Apelles to paint a nude figure of his favourite mistress Pankaspe, 1 
 so much did he admire her wondrous form, but perceiving that j 
 Apelles had fallen in love with her, with great magnanimity and \ 
 still greater self-control he gave her to him as a present, winning 
 by the action as great a glory as by any of his victories. He 87 
 conquered himself and sacrificed to the artist not only his mistress 
 but his love, and was not even restrained by consideration for the 
 woman he loved, who, once a king's mistress, was now a painter's. 
 Some believe that she was the model for the Aphrodite rising 
 from the sea. 
 
 Friendly even to his rivals, Apelles was the first to establish in 88 
 Rhodes the reputation of Protogenes, who, as so many in their ^f"A"i\l^ 
 own homes, was neglected by his countrymen. When asked by to Proio- 
 Apelles the prices of his finished works, he mentioned some^''"*''" 
 trifling sum, upon which Apelles offered fifty talents [^^10,500 
 circ] for each, and spread a report that he was buying the pictures 
 to sell as his own. This stirred up the Rhodians to a better 
 appreciation of the artist, but not until they offered a still higher 
 price would Apelles give up the pictures. 
 
 His portraits were such perfect likenesses that, incredible as it His aston- 
 may sound, Apio the grammarian has left it on record that "'^^^ ^ 
 a physiognomist, or ^cruTroo-Kojros as they are called, was able to portrait 
 
 painter. 
 
 was privileged to see the goddess waives the responsibility aad imme- 
 
 herself : avjav ka ttuvtoio tlBtjvtjt^pos diately niimes his authority, 
 'AireWrjs | ray Kvirpiv yv/ivcLv tlSe Apio gTammaticus : Praef. 25, 
 
 Aox'i"';'^'''"'. yixn, 18, and oftea in Pliny; flor. 
 
 § 88. 25. similit. indisoretae : reign of Caligula. Miiller, F. H, G. 
 
 xxxiv, 60 facie quoque indiscreta iii, 506-516. 
 similis, and note. 28. metoposoopoa : cf. Suet. Ti- 
 
 36. incredibile diotu : hence Pliny tus 1, 
 
126 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 89 aut praeteritae vitae. non fuerat ei gratia in comitatu 
 Alexandri cum Ptolemaeo, quo regnante Alexandriam vi 
 tempestatis expulsus subornato fraude aemulorum piano 
 regio invitatus ad cenam venit, indignantique Ptolemaeo at 
 vocatores suos ostendenti, ut diceret a quo eorum invitatus s 
 asset, arrapto carbone axtincto e foculo imaginem in parieta 
 deliniavit, adgnoscante voltum plani rega inchoatum proti- 
 
 90 nus. pinxit at Antigoni regis imaginem altero lumine 
 orbam primus axcogitata rationa vitia condendi, obliquam 
 namqua fecit, ut quod deerat corpori picturae deesse potius lo 
 videretur, tantumque eam partem a facie ostendit quam 
 totam poterat ostendera. sunt inter opera eius at axspi- 
 rantium imagines, quae autem nobilissima sint non est 
 
 9} facile dictu. Venerem axeuntem e mari divus Augustus 
 dicavit in delubro patris Caesaris, quae anadyomene vocatur, 15 
 versibus Graecis tali opere, dum laudatur, victo sed inlus- 
 
 § 89. I. nou fuerat ei gratia : 
 the following is a mutilated and some- 
 what different account of the events 
 narrated at length by Lucian (5ia;8oX. 
 4), for which, according to Lucian, 
 Apelles took vengeance by painting 
 his famous 'Calumny.' Both the 
 versions have an aitiological fla- 
 vour, and probably arose in great 
 measure out of the picture itself (for 
 the historical inaccuracies in Lucian's 
 story see Brunn, K. G. ii, p. 208). For 
 the latest discussion of the Calumny, 
 and especially of the influence of 
 Lucian's description on artists of the 
 Renascence, see R. Forster in Jahrb. 
 d. Preuss. Saniml. 1887, p. 39 ff. 
 
 3. aemulorum : from Lucian, loc. 
 cit.,'^& learn that the Egyptian painter 
 Antiphilos (§§ 114, 138) was among 
 them. 
 
 5. vocatores : i. e. the slaves in 
 charge of the invitations or vocationes, 
 Seneca, Ira iii, 37, 4; Suet Calig. 
 
 39. fee- 
 
 § 90. 8. altero lumine orbam : 
 Ant. was accordingly sumamed )i.ov6- 
 (j>0a\iio5 and KjJ/cAot^, Polyb. v, 67, 6 ; 
 Ailian, Tilout. 'lar. xii, 43. 
 
 9. oblic[uam : Brunn, IC. G. ii, 
 p. 10; Quinct. ii, 13, 12 habet in pic- 
 tura sfeciem tola fades ; Apelles tamen 
 imaginem Antigo7ii latere tantum 
 altero ostendit, ut amissi oculi deformi- 
 tas lateret. These words prove beyond 
 the possibility of doubt that tlie obli- 
 qua imago of Antigonos was a simple 
 portrait in profile. Hartwig, however, 
 {Meisterschalen, p. 157) argues that 
 to disguise a defect a simple profile 
 would be unworthy of the inventiveness 
 of so great an artist as Apelles, and, 
 starting from the meaning which he 
 claims for catagrapha (above, § 56, 
 where see note) , tries to show that the 
 portrait was in | and foreshortened. 
 The portrait of the squinting Tommaso 
 Inghirami by Raphael (original in 
 Pal. Inghirami at Volterra ; the picture 
 in the Pitti is only " copy), which 
 Hartwig quotes in support of his 
 theory, seems as a fact to emphasize 
 rather than conceal the physical de- 
 fect. 
 
 1 2 . exspirantium imagines : 
 acutely explained by Briickiier {Sitz- 
 ungsber. d. Wiener Akademie, vol. 
 116, p. 519, note 4) as grave pictures ' 
 
/. PAINTING 127 
 
 tell from the portraits alone how long the sitter had to live or had A 
 already lived. When in Alexander's train he had been on un- 89 
 friendly terms with Ptolemy, during whose reign he was once 
 driven into Alexandria by a violent storm. On Apelles appearing ! 
 at a banquet, to which his rivals had maliciously induced the ; 
 king's fool to invite him, Ptolemy flew into a passion, and pointing ' 
 to his chamberlains bade him say from which of them he had j 
 received the invitation, whereupon the painter snatching up : 
 a charred stick from the hearth traced on the wall a likeness, in 
 whose first strokes the king at once recognized the face of the 
 fool. 
 
 He also painted a portrait of king Antigonos, who was blind of 9° 
 one eye, being the first to devise a means of concealing the ^y,^ 
 infirmity by presenting his profile, so that the absence of the, eye Antigonos. 
 would be attributed merely to the position of the sitter, not to 1 
 a natural defect, for he gave only the part of the face which could j 
 be shown uninjured. There are among his works some pictures 
 of dying people, though it were difficult to say which are the best, j 
 His Aphrodite rising from the sea was dedicated by the god 91 
 Augustus in the temple of his father Caesar : she is known as the ^j-^-„C/)-o»i 
 am^voiJ.€vri, being, like other works of the kind, at once eclipsed i/ie sea.' 
 yet rendered famous by the Greek epigrams written in her praise. 
 
 representing death - scenes ; cf. the quellen, 1 847-1866) we learn that 
 
 7pairTus TUTTO?, described Anth. vii, the goddess was represented wring- 
 
 730; cf. also «^. vii, 170; Weisshaupl, ing her hair, in a type which 
 
 Die Grabgedichte der Gr. Anthologie, was likewise adapted to statuary 
 
 97ff.; further, Pans, ii, 7, 3 praises the (Helbig, Class. Ant. 254). For the 
 
 excellent painting of a grave picture picture itself see Benndorf, Athen. 
 
 at Sikjon, of Xenodyke, who died in Mitth. 1876, p. 50. 
 
 childbirth; cf. in sculpture the grave 15. in delubro patris Caesaris : 
 
 relief of Malthake from the Peiraieus, the picture was previously in the 
 
 see Friederichs-Wolters, 1043. Praxi- Koan Asklepieion, whence Augustus 
 
 teles(xxxiv,7o),Nikias(below,§ 132), obtained it by remitting 100 talents 
 
 Nikomachos (mon. of Telestes, § 109), of the Koan tribute; Strabo xiv, 
 
 likewise decorate graves ; cf. the p. 657. Since Ovid (exiled A. D. 8) 
 
 iuvenis requiescens of Simos, § 143. mentions the Anadyomene in Trist. 
 
 13. quae autem nobilissima ii, 527 £, the picture must have been in 
 
 sint t [refers not to of era but to Rome previous to the year of his exile. 
 
 imagines ; rapid changes of gender or For further discussion of the dates see 
 
 number are common in Pliny, May- Wunderer, Manibiae Alexandrinae, 
 
 hoff, Lumhr. Plin. (1865) p. 83 ; cf. p. 8. 
 
 J. Miiller, Slil, p. 56. — H. L. U.]. 16. vioto sed inlustrato : ' sur- 
 
 § 91. 14. exeuntem e mari = passed ' inasmuch as the poet can give 
 
 anadyomenen, above, § 87. From expression to more things than the 
 
 numerous descriptions {OYerh. Schrift- painter who is limited to one moment ; 
 
128 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 trato, cuius inferiorem partem corruptam qui reficeret non 
 potuit reperiri, verum ipsa iniuria cessit in gloriam artificis. 
 consenuit haec tabula carie, aliamque pro ea substituit Nero 
 
 92 principatu suo Dorothei manu. Apelles inchoaverat et 
 aliam Venerem Coi superaturus famam illam suam priorem. S 
 invidit mors peracta parte, nee qui succederet operi ad prae- 
 scripta liniamenta inventus est. pinxit et Alexandrum 
 Magnum fulmen tenentem in templo Ephesiae Dianae viginti 
 talentis auri. digiti eminere videntur et fulmen extra 
 tabulam esse — legentes meminerint omnia ea quattuor colo- lo 
 ribus facta — manipretium eius tabulae in nummo aureo 
 
 93 mensura accepit, non numero. pinxit et megabyzi sacer- 
 dotis Dianae Ephesiae pompam, Clitum cum equo ad 
 bellum festinantem, galeam poscenti armigerum porrigentem. 
 Alexandrum et Philippum quotiens pinxerit enumerare i5 
 supervacuum est. mirantur eius Habronem Sami, Menan- 
 
 6. famam] etiam omnes f raster Bamb ., Detlefsen. 
 
 for the idea conveyed by inlustrato 
 cf. xxxiv, 57, of the heifer of Myron, 
 celebratis versibus laudata, quando 
 alieno plerique ingenio magis quam 
 suo commendantur. 
 
 3. substituit : this may be an 
 exaggeration, as the picture of Apelles 
 seems still to have been in exist- 
 ence under Vespasian, when Suetonius 
 (J^esp. 18) speaks of its being again 
 restored : Coae Veneris . . . refectorem 
 insigni congiario magnaque mercede 
 donavit. 
 
 § 92. 4. inclioaverat : Cic Fam. 
 i, 9, 15, and Off. iii, i, 10. 
 
 8. fiolmen tenentem = nepavvo- 
 (p6pov, i. e. deified. Plutarch {irepl 
 TJjr 'A\. rixv^t ^h 2) relates that it was 
 said of this picture that there were 
 two Alexanders, the son of Philip 
 who was invincible, and the Alex- 
 ander of Apelles who was inimitable. 
 It is a fascinating conjecture of King 
 {Anc. Gems i, p. xii), followed by 
 Fnrtwangler, Jahrb. iv (1889% p. 69, 
 that an ancient copy of this famous 
 picture is extant in the carnelian in 
 St. Petersburg {Jahrb. iii, pi. xi, 26). 
 
 The position of the right arm holding 
 the thimderbolt in the gem is specially 
 significant. 
 
 9. eminere videntur : cf. in 
 § 127 quae volunt eminentia videri; 
 § 131 ut eminerent e tahulis picturae. 
 
 10. legentes meminerint : harks 
 back to 5 50. 
 
 § 93. 12. megabyzi: Strabo xiv, 
 p. 641 Itpias 5' ci/vovxovs ei^ov o{}s 
 eicaX(»jv MeyaPv^ovs. 
 
 13. pompam; from Herondas iv, 
 66 fif. we learn that the picture was 
 at Kos, in the iratrriSr (Sanctuary) of 
 theAsklepieion, and that itrepresented 
 a sacrifice of oxen. It is amusingly 
 described by the gossips Kokkale and 
 Kynno (ed. Crusins). 
 KOK. i Pais Si x<" ayojv airov, ^ 9' 
 ofiapTtvaa 
 X^ ypvwds ovTos x^ avaffifws 
 
 dv$pajTroij 
 oixl iiriv PKeirovaiv ^/J-iprjr 
 
 TrdvT€S ; 
 6( /jt^ eSdteevv Ti p.€^ov fj yw^ 
 
 nprjffaeiv, 
 dvi]\d\a^' at/, 1171 /i' 6 Povs ri 
 ■mjiaivri. 
 
/. PAINTING 
 
 ia9 
 
 When the lower portion was damaged no one could be found to 
 restore it, and thus the very injury redounded to the glory of the 
 artist. In course of time the panel of the picture fell into decay, Its resiora- 
 and Nero when Emperor substituted for it another picture by the j^^-otheos. 
 hand of Dorotheos. Apelles had begun another Aphrodite at 92 
 Kos, intending to surpass even the fame of his earlier achieve- 
 ment, but when only a part was finished envious death interposed, 
 and no one was found to finish the outlines already traced. He 'Alexander 
 also painted in the temple of Artemis at Ephesos a portrait of^^„^^^. 
 Alexander holding a thunderbolt for twenty talents [^4,200 bolt.' 
 circ] : the fingers seem to stand out and the thunderbolt to 
 project from the picture ; — the reader should remember that all 
 this was done with four colours. For this picture he was paid in 
 gold coins, reckoned not by number but by measure. He painted 93 
 too the train of a jicya^v^oi, or priest of Artemis of Ephesos, 
 Kleitos on horseback going out to battle, and the picture of 
 a squire handing a helmet to one who asks for it. It were vain 
 to enumerate the number of times he painted Alexander and 
 Philip. At Samos we admire his Habron, at Rhodes his 
 Menander, king of Karia, and his Antaios, at Alexandria Gorgo- 
 
 ovTcy iinXo^oTf Kvvvtj TJ} erepri 
 KOVfrri. 
 KYN. iXijeivai, <t>i\ri, yAp at 'Efeaiov 
 
 Is iravr' 'AireWiio ypaii/uiT' , 
 ou5* epets '* KUyos 
 
 &v$paTros fV /tlv ttSev, %v S' 
 dinjpv-fidTj^' 
 
 dX\' w kirl vovv yiVOlTOf KaX 
 OeStv Tpavetv 
 
 ^TTciyfB' . . . 
 The use of the past tense j/irci^exo 
 shows that Apelles was no longer 
 alive at the time Herondas wrote the 
 Mimiamboi (circ. B. c. 280-37:?). For 
 similar subjects cf. on § 126 (Pansias) 
 and § 137 (Aristolaos). A curious but 
 arbitrary explanation of the Koan 
 picture, as representing the Egyptian 
 bull Apis, is given by R. Meister in 
 his ed. of Kerondas, p. 223. 
 
 Clitum ; sumamed o iti\as (Plu- 
 tarch, Alex. 16), the bosom friend 
 of Alexander, whose life he saved at 
 the Granikos, and by whom he was 
 
 afterwards slain : Arrian. iv, 8, &c. 
 
 14. galeam poscenti : [generally 
 taken as descriptive of the portrait of 
 Kleitos. But the change from the 
 accusative to the dative would be bar- 
 barous,whiletheasyndeticenumeration 
 shows that we have here a fresh sub- 
 ject. It was perhaps a grave picture 
 (expir. imago) ; very similar subjects 
 appear on grave reliefs (i ) in Syracuse, 
 rider with horn of plenty, standing by 
 his horse, to 1. attendant leaning on 
 spear, to 1. boy bringing helmet, snake 
 between boy and horse, unpublished ; 
 (2) the relief from Thyrea in Athens, 
 Frlederichs-Wolters, 1812, cf. Dene- 
 ken, ap. Roscher ii, art. ' Heros,' col. 
 2563. Also on vases, Naples, Heyde- 
 mann 2193, from Canosa. — H. L. U.] 
 
 15. quotiens pinzerit: cf. xxxiv, 
 63, of Alexander's portraits by Lysip- 
 pos. 
 
 16. Habronem : probably the 
 painter mentioned below, § 141. 
 
 Sami: where the Heraion con- 
 
 K 
 
130 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 drum regem Cariae Rhodi, item Antaeum, Alexandreae 
 Gorgosthenen tragoedum, Romae Castorem et Pollucem 
 cum Victoria et Alexandro Magno, item Belli imaginem 
 restrictis ad terga manibus, Alexandro in curru triumphante, 
 94 quas utrasque tabulas divus Augustus in fori sui celeberrimis s 
 partibus dicaverat simplicitate moderata, divus Claudius 
 pluris existimavit utrique excisa Alexandri facie divi 
 Augusti imagines addere. eiusdem arbitrantur manu esse 
 et in Dianae temple Herculem aversum, ut, quod est diflfi- 
 cillimum, faciem eius ostendat verius pictura quam promittat. lo 
 pinxit et heroa nudum, eaque pictura naturam ipsam provo- 
 
 85 cavit. est et equus eius sive fuit pictus in certamine, quo 
 iudicium ad mutas quadripedes provocavit ab hominibus. 
 namque ambitu praevalere aemulos sentiens singulorum 
 picturas inductis equis ostendit, Apellis tantum equo adhin- 15 
 nivere, idque et postea semper evenit, ut experimentum 
 
 86 artis illud ostentaretur. fecit et Neoptolemum ex equo 
 adversus Persas, Archelaum cum uxore et filia, Antigonum 
 thoracatum cum equo incedentem. peritiores artis praefe- 
 runt omnibus eius operibus eundem regem sedentem in equo 20 
 et Dianam sacrificantium virginum choro mixtam, quibus 
 
 tained a collection of pictures (Strabo in § 37 the subject of the picture is 
 
 xiv, p. 637 rh 'Upatov . . . veais fie7as, described as Triumph and War. 
 
 Ss vvv mvaxoBrjicri (Vti). Servius on ^en. i, 294 (ed. Thiloi, p. 
 
 Menandrum : one tSv fTalpay, 109) inforo Augusti introeuntibus ad 
 
 Arrian, Anabasis iii, 6, 8 ; iv, 13, 7 ; sinistram fuit helium fictum et furor 
 
 vii, 24, 1, Diodoros xviii, 59 ; he sedens super anna devincius eo habitu 
 
 was satrap of Lydia, and as no king quo poeta dixit ; it is of course 
 
 of Karia of the name of Menander is possible tliat Pliny forgot to mention 
 
 known, it may be that we have here the Furor, but, as Jacobi {Museogr. 
 
 a confusion on Pliny's part, cf. Brunn, p. 73) has pointed out, it is more likely 
 
 K. G. ii, p. 213. that Servius, in order to give a more 
 
 1. Antaeum : unknown. striking explanation of the Virgilian 
 Alexandreae : above, § 89. lines {Claudentur Belli portae ; Furor 
 
 2. tragoedum : cf. the femulenta itnpius initis \ saeva sedens super 
 tibicina of Lysi|ipos, xxxiv, 63, the arma et centum vitutus aenis {post 
 saltator Alcisthents in § 147, &c. tergum nodis fremet horridus ore 
 
 , Castorem. . .Magno : above, § 37. cruento), split the personification of 
 
 The type of Alexander between the War into two. We may assume from 
 
 Dioskouroi was at a later date adapted Servius, loc. cit., that the first picture 
 
 to triumphal pictures of the Emperors, was on the R. of the spectator entering 
 
 cf. Mon. d. Inst, iii, 10. the Forum. 
 
 4. restrictis ad terga manibus j § 94. 8. arbitrantur : i. e. a judge- 
 
I. PAINTING 131 
 
 sthenes the tragic actor, at Rome Kastor and Polydeukes with Allegorical 
 Victory and Alexander the Great, and also a figure of War with ^]'"J'and{r 
 his hands bound behind his back, and Alexander riding in triumph the Great. 
 in a chariot. These two pictures had been placed in the most 94 
 crowded parts of his forum with the restraint of good taste by the 1 
 god Augustus, but the god Claudius thought fit to cut out in both 1 
 the face of Alexander and substitute that of Augustus. The ' 
 Herakles with averted face, in the temple of Diana, is also 
 attributed to Apelles ; by a triumph of art the picture seems not 
 only to suggest, but actually to give the face. He also painted 
 a nude hero, a picture which challenges comparison with Nature 
 herself. A horse also exists, or did exist, painted for a com- 95 
 petition, in which he appealed from the judgement of men to that ^H^^^f"^'' 
 of dumb beasts. When he saw that his rivals were likely to be The horses 
 placed above him through intrigue, he caused some horses to be "Mt^' f 
 brought in and showed them each picture in turn ; they neighed Apelles. 
 only at the horse of Apelles, and this was invariably the case 
 ever afterwards, so that the test was applied purposely to afford 
 a display of his skill. He also painted Neoptolemos on horse- 96 
 back fighting against the Persians, Archelaos in a group with 
 his wife and daughter, and a portrait of Antigonos in armour 
 advancing with his horse. Skilled judges of painting prefer 
 among all his works his equestrian portrait of Antigonos and his 3"'- 
 Artemis amid a band of maidens offering sacrifice, a painting 
 
 ment of connoisseurs not certified by Alexander, son of Arrhabaios, Arrian 
 
 the artist's signature. i, 20, 10; ii, 27, 6, Diodoros xviii, 
 
 9. Dianas : in the campus Flami- 29. 
 
 nius dedicated by Lepidus B.C. 179; exequo : sc. pugnantem. 
 
 Liv. xl, 52. The reading Annae (sc. 18. Archelaum : two Archelaoi 
 
 Perennae) is defended by Jordan {ap. are known among the soldiers of 
 
 Prellcr, J?om. Mythol. 2nd ed. i, Alexander, (i) the son of Androliles, 
 
 p. 344, note i), but against his view one tSjv traipoivj he was placed in 
 
 see Wissowa ap. Pauly, s. v. Anna command of the garrison left at 
 
 Perenna. Aornos (Arr. iii, 29, i) ; (2) the son 
 
 §95. 12. est et equus : according of Theodoros, who was placed in 
 
 to Ailian,noiK. 'IffT.ii, 3, thestory was command at Susa (Arr. iii, 16, 9). 
 
 told of Alexander and the horse in 21. sacriflcantiuin : since the 
 
 his equestrian portrait. The est . . . words aie at variance with the 
 
 sive fuit show how little im- Homeric description, endless emen- 
 
 portance Pliny himself attaches to dations of the passage have been 
 
 such anecdotes. suggested (see Overbeck, Schriftquell. 
 
 § 96. 17. Weoptolemum : not the 1870). The best explanation seems 
 
 son of Achilles, as Welcker and others that of Dilthey {Rhein. Mus. xxv, p. 
 
 have supposed, but the (ratpos of 327), who supposes that in translating 
 
 K 3 
 
13a 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 vicisse Homeri versus videtur id ipsum describentis. pinxit 
 et quae pingi non possunt, tonitrua, fulgetra, fulgura, quae 
 
 97 Bronten, Astrapen, Ceraunobolian appellant, inventa eius 
 et ceteris profuere in arte, unum imitari nemo potuit, quod 
 absoluta opera atramento inlinebat ita tenui ut id ipsum 5 
 repercussu claritatis colorem album excitaret custodiretque 
 a pulvere et sordibus, ad manum intuenti demum appareret, 
 sed etiam ratione magna, ne claritas colorum aciem offende- 
 ret veluti per lapidem specularem intuentibus et e longin- 
 quo eadem res nimis floridis coloribus austeritatem occulte 10 
 daret. 
 
 98 Aequalis eius fuit Aristides Thebanus. is omnium primus 
 animum pinxit et sensus hominis expressit, quae vocant 
 Graeci ethe, item perturbationes, durior pauIo in coloribus. 
 huius opera : oppido capto ad matris morientis ex volnere 15 
 
 6. album] Traube ; alvum Bamb. ; alium Bamb. e corr., Detlefsen ; cm. 
 reliqui. 8. etiam] Bamb. e corr. ; etium Bamb. ; et cum Voss., Detlefsen. 
 
 15. opera] Bamb. ; pictura reliqui, Detlefsen. 
 
 some Greek epigram beginning for 
 instance : 
 
 'Bvovaavs 8^ x6paifftv 6fjLopp6$os iox^o.ipa 
 e^Apxovffa x°P°^3 ffeveTOi dypoTepij. 
 Pliny or his author mistook 6voi<rais 
 from 6viw for the partic. of Bvoi. 
 
 I. Homeri versus : Od. vi, 102 — 
 0117 6' "Aprepiis flffi uar* ovpea iox^- 
 aipa 
 ***** 
 
 T^ Se fl' a/jia Nifj^t, Kovpat Aibs 
 
 alyt6xoio, 
 dypovbfioi nai^ovffi. 
 
 3. Bronten . . . Ceraunobolian : 
 personifications [^Kfpavvo0o\ta was 
 the personification of xepamSs (Diels, 
 Doxographi Graeci, p. 367 foil, and 
 Aetios Mac. ii, 2, 3, p. 368) ; for Bronte 
 cf. Philostr. the Elder Imag. i, 14 
 BpoVTT] Iv ciSci fffcXrjpSi Kal 'AffTpavTj 
 ffeKas l/e twi' d<p9a\iiwv Ultra Trvp . . . 
 Possibly the three figures were united 
 ia an allegory of a storm and formed 
 a votive offering to Zeus xepavyo- 
 PSKos; cf. C. I. G. 1513; /3/)oyraii' and 
 Kepavvios, C.I. G. 2641, 3446, 3810, 
 and often. — H. L. U.]. 
 
 § 97. 5. atramento : the exact 
 
 composition of Apelles's atramentum 
 still remains obscure ; we can only 
 gather that although some black sub- 
 stance formed its basis, this was so 
 diluted and spread out as to become 
 transparent and practically colourless. 
 6. colorem album excitaret : 
 this passage offers grave difficulties, 
 (i) If we follow the remaining codices 
 in omitting the word album we get 
 pure nonsense, since it is absurd to 
 talk of a glazing that raised the 
 picture's colour as a whole, and yet 
 toned it down. (2) If we follow 
 Detlefsen and adopt the alium which 
 a later hand wrote for the alvum of 
 cod. Bamb. we get worse nonsense, 
 for what is this color alius ? (3) I 
 cannot help suspecting that albus{-a%tA 
 of a dead, opaque white) is a mis- 
 translation of the Greek \fti/c<5j in its 
 sense of ' brilliant ' ; the object of the 
 glazing, then, was to give a brilliant 
 surface to the whole picture ; this 
 brought the colours into unison, and 
 at the same time served the practical 
 purpose of protecting the painting 
 from dust. 
 
/. PAINTING 
 
 133 
 
 thought to have excelled the lines of Homer that describe the 
 same scene. He also painted the unpaintable, thunder, for 
 example, lightning and thunderbolts, /S/joxtij, do-TpaTrij and Kepavi/ofiuKla 
 as they are called. 
 
 All have profited by his innovations, though one of these could 97 
 never be imitated ; he used to give his pictures when finished 
 a black glazing so thin that by sending back the light it could 
 call forth a whitish colour, while at the same time it afforded 
 protection from dust and dirt, only becoming visible itself on 
 the closest inspection. In using this glazing, one main purpose 
 of his was to prevent the brilliance of the colours from offending 
 the eyes, — the effect was as when they are looked at through talc, 
 — and also that when seen at a distance those which were vivid to 
 excess might be imperceptibly toned down. 
 
 Aristeides of Thebes was his contemporary : he was the first 98 
 among all painters to paint the soul, and gave expression to the 'J'^p^^j,"^ 
 affections of man — I mean to what the Greeks call ijdq — and also 
 the emotions. His colouring is rather harsh. His works are : 
 
 9. lapidem specularem: xxxvi, 
 160 ; it was a transparent highly lami- 
 nated substance, used also for windows 
 {specularid), cf. Plin. Ef. ii, 17, 4; 
 Juv. iv, 21, &c. 
 
 §88. 12. Aristides Thebanus : 
 below, § III ; he was the second of 
 the name, son of Nikomachos, § 108, 
 and grandson of the first Aristeides, 
 ib., above, § 75. 
 
 omnium primus : note on § 16. 
 
 13. sensus . . . perturbationes : 
 as O. Jahn points out {Kunsiuriheile, 
 p. 115), Pliny is here giving a closer 
 definition of animus by dividing it 
 into fi9i\ and 170817, for the first of 
 which, according to Quinct. vi, 2, 8, 
 no precise Latin equivalent existed: 
 horum (sc. affectuum) autem, sicut 
 antiquitus traditum accefimus, duae 
 sunt species: alteram Graeci nddos 
 vacant, quod nos vertentes recte ac 
 proprie affectum dicimus, alteram §floi, 
 cuius nomine, ut ego equidem sentio, 
 caret sermo Romanus: mores appel- 
 lantur, atque inde pars quoque ilia 
 philosophiae ifiiieq moralis est dicta 
 (cf. above, note on mores in § 63). 
 
 Pliny, therefore, to avoid misunder- 
 standing, gives the Greek word also 
 for iffli), while for irofl?; he felt himself 
 on safe ground in wsai% perturbationes, 
 the translation introduced by Cicero 
 {Tusc. Disp. iii, 4, 7). Not a few 
 commentators have considered ?i9os, 
 iriBos to be incompatible qualities in 
 one artist, yet Quinct. (vi, 2, 1 2) shows 
 that in a sense iraBos is complementary 
 to ^Sos, while Ailian (IIoi/c, 'lar. iv, 3) 
 especially attributes both qualities to 
 Polygnotos — the dya6is ri6oypd^os. 
 (For a thorough and subtle discussion 
 of the question cf. O. Jahn, op. cit. 
 pp. 105-117.) 
 
 1 5. matris morientis ; the motive 
 was employed in sculpture by Epi- 
 gonos (xxxiv, 88). The picture is 
 described AntA. Pal. vii, 623. The 
 Plinian passage doubtless inspired the 
 group of a dead mother with a young 
 child seeking her breast, on the left 
 of the celebrated ' Morbetto ' or ' Pliry- 
 gian Plague ' engraved by Marc. An- 
 tonio (reproduced Delaborde, M. 
 Antoine Raimondi, to face p. 214) 
 according to general supposition from 
 
134 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 mammam adrepens infans, intellegiturque sentire mater et 
 timere ne emortuo lacte sanguinem lambat, quam tabulam 
 Alexander Magnus transtulerat Pellam in patriam suam. 
 
 99 idem pinxit proelium cum Persis, centum homines tabula ea 
 conplexus pactusque in singulos minas denas a tyranno 5 
 Elatensium Mnasone. pinxit et currentes quadrigas et 
 suppHcantem paene cum voce et venatores cum captura et 
 Leontion Epicuri et anapauomenen propter fratris amorem, 
 item Liberum et Ariadnen spectatos Romae in aede Cereris, 
 
 100 tragoedum et puerum in Apollinis, cuius tabulae gratia 10 
 interiit pictoris inscitia cui tergendam earn mandaverat M. 
 Junius praetor sub die ludorum Apollinarium. spectata est 
 
 a drawing of Raphael. But the draw- 
 ing in sepia wash and white in the 
 Uffizi (comice 265, no. 525) is only, 
 Mr. B. Berenson informs me, a copy 
 after an original, now lost, that may 
 have been by Perino del Vaga. 
 
 3. transtulerat Fellam : after the 
 sack of Thebes in B.C. 335. 
 
 § 99. 4. proelium cum Fersis : 
 since Aristeides is a contemporary of 
 Apelles and Alexander, the picturemust 
 have represented one of the battles of 
 this king. It is tempting to identify 
 the proelium with the battle of Issos 
 and to recognize its copy in the famous 
 mosaic from Pompei in Naples : the 
 powerfully characterized Alexander, 
 the Dareios with his gesture of de- 
 spairing command are conceptions 
 worthy of the great master of ^floi and 
 irdflos, while motives such as the fallen 
 Persian in the foreground recall the 
 mater moriens. It is possible, how- 
 ever, that the Pompeian mosaic should 
 be rather traced back to Aristeides's 
 fellow-pupil Philoxenos (§ log) 
 (Michaelis, y3;4>-*. vii, 1893, p. 134), 
 whose battle-piece is more closely de- 
 fined as proelium cum Dario. It is, at 
 any rate, time to claim the picture for 
 po\^erful artists such as Aristeides or 
 Philoxenos, and to discard the opinion 
 which attributes it to a lady-painter 
 Helena, reputed indeed to have 
 painted a battle of Issos, but only on 
 
 the authority of so notorious a liar as 
 Ptolemaios Chennos. Addenda. 
 
 6. Mnasone : a pupil and friend 
 of Aristotle, circ. B.C. 349 (Timaios 
 apud Athenaios, vi, p. 264 D, Ailian, 
 IIoiK. 'IffT. iii, 19). He was made 
 tyrant of Elateia after the battle of 
 Chaironeia in B.C. 338. 
 
 currentes quadrigas : votive offer- 
 ings for victories in the chariot course, 
 cf. note on xxxiv, 71. 
 
 7. supplicantem : making a ges- 
 ture of entreaty, probably the picture 
 was that of an adorans ; cf. xxxiv, 73, 
 90, &c. Cum voce epigr. cf. Introd. 
 p. Ixxi. 
 
 venatores cum captura : note on 
 xxxiv, 66 ; cf. the hunt of Ptolemaios 
 Soter by Antiphilos in § 138. 
 
 8. Xieontion Epicuri : friend and 
 pupil of Epikouros (B. c. 34 1-2 70), and 
 mistress of his favourite pupil Metro- 
 doros; she was a rival of Glykera 
 (Athen. xiii, p. 585 D), who came to 
 Athens with Harpalos, B. c. 326. 
 Aristeides probably painted her not 
 much later than B.C. 320. Although 
 Epikouros did not reside in Athens 
 before B.C. 306, it is natural that her 
 portrait, whenever painted, should be 
 described as that of the famous 'Leon- 
 tion Epicuri^ Kroker, Gleichnamige 
 Gr. Kiinstler, p. 28 ; Uilichs, Rhein. 
 Mus. XXV, p. 5 u f. Another portrait 
 of her by Theoros below, § 144. 
 
/. PAINTING 
 
 135 
 
 a picture of a mother lying wounded to death in the sack of Wounded 
 a city ; she appears conscious that her babe is creeping towards f "''^ryv"'^ 
 her breast, and afraid lest, now that her milk is dried up, he 
 should suck blood. This picture Alexander the Great carried off 
 to his native Pella. He also painted a battle with the Persians ; 99 
 the picture contains a hundred figures, for each of which Mnason 
 the tyrant of Elateia had agreed to pay him ten minae [;^3S] ; 
 and furthermore a chariot race, and a suppliant whose very accents 
 we seem to hear, huntsmen with their game, Leontion the pupil 
 of Epikouros, a girl dying for love of her brother, the Dionysos 
 and Ariadne now to be seen at Rome in the temple of Ceres, and 
 a tragic actor and a boy in the temple of Apollo. This picture 100 
 was ruined through the ignorance of the painter to whom Marcus 
 Junius as praetor entrusted it to be cleaned before the games of 
 Apollo. In the temple of Faith on the Capitol was to be seen 
 
 anapauomenen . . . amorem : 
 [the subject, which has given rise to 
 much controversy (see especially Dil- 
 they and L. Urlichs in Rhein. Mus. 
 XXV and xxvi) is sufficiently easy to 
 explain by reference to Anth. Pal. vii, 
 517— 
 
 Zvoyikvov BatriXw /cdrBave -nafiOfvfK^ 
 avTox^pi' C^ctv yap dSeXifte^v kv tnpl 
 8daa, 
 
 ovK ir\ri. SiSvfjiov S^ot/cos IffcfSe KaK^v 
 Ttarphs ^ApiffTiiTiroio' Kari]^aiv 5i Ku- 
 
 Pn<'V 
 Tidaa, rhv iVTitcvov xnpov tSoGo'a 
 
 d6pL0V. 
 
 Evidently the anapauomene was a girl 
 who had died in grief at her brother's 
 death. The picture was a grave pic- 
 ture, an expirantis imago (§ 90), and 
 the name anapauomene was doubtless 
 derived from the epigram inscribed 
 upon it : ava-naifaBai, here of rest in 
 death.— H. L. U.] Introd. p. Ixxi. 
 
 9. spectatos : before the fire which 
 took place in the reign of Augustus, 
 Strabo, viii, p. 381 ; see note above on 
 § 24, where the Dionysos alone is 
 mentioned. 
 
 aede Cereris : note on xxxiv, 1 5. 
 
 10. tiagoedum et puerum: has 
 
 sometimes been explained of a tragic 
 actor playing his part with a boy (e. g. 
 Maas, Ann. d. Inst, 1881, p. 142, 
 155, suggests Priam and Troilos), but 
 it more probably simply represented 
 an older actor teaching a boy his part ; 
 for the subject cf. Schreiber, Hell. Rel. 
 pi. 47, 48 ; Helbig, VVandgemiilde, 
 1455 (actor with poet), and the cylixby 
 Douris in Berlin (Furtwangler, Vasen, 
 ii, 2285), also a similar subject below; 
 an old man with a lyre teaching a 
 boy. 
 
 Apollinis : in the temple on the 
 Campus Flaminius, near the porti- 
 cus Octaviae, xxxvi, 34; dedicated 
 B.C. 430, for the removal of a plague 
 (Liv. iv, 25), it remained down to the 
 age of Augustus the only temple to 
 the god in Rome (Asconius on Cic. 
 In toga Candida, p. 91). In B.C. 32, 
 C. Sosius dedicated in it a cedar-wood 
 statue of the god which he brought 
 from Seleukia (xiii, 53) ; hence the 
 temple is sometimes called templum 
 Apollinis Sosiani. 
 
 §100. II. M. Junius: probably 
 Silanus, cos. B.C. 25. 
 
 12. ludorum Apollinarium : held 
 on July 13 ; instituted B.C. 212. 
 
136 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 et in aede Fidei in Capitolio senis cum lyra puenim docentis. 
 pinxit et aegrum sine fine laudatum, tantumque arte valuit 
 ut Attalus rex unam tabulam eius centum talentis emisse 
 
 101 tradatur. simul, ut dictum est, et Protogenes floruit, patria 
 ei Caunus, gentis Rhodiis subiectae. summa paupertas 5 
 initio artisque summa intentio et ideo minor fertilitas. 
 quis eum docuerit non putant constare, quidam et naves 
 pinxisse usque ad quinquagensimum annum, argumentum 
 esse, quod cum Athenis celeberrimo loco Minervae delubri 
 propylon pingeretj ubi fecit nobilem Paralum et Hammoni- 10 
 ada, quam quidam Nausicaan vocant, adiecerit parvolas 
 naves longas in iis quae pictores parergia appellant, ut appa- 
 reret a quibus initiis ad arcem ostentationis opera sua 
 
 102 pervenissent. palmam habet tabularum eius lalysus, qui 
 est Romae dicatus in templo Pacis. cum pingeret eum, 15 
 
 I. asde Fidei: Livy (i, 21), attri- 
 butes its foundation to Numa ; restored 
 B. c. 115 by M. Aemilins Scaunis ; it 
 was on the Capitol, see Gilbert, Rom, 
 iii, p. 399, note 2. 
 
 i. aegrum: votive picture for a 
 recovery ; for the subject Furtwangler 
 (Jahrb. iii, p. 218) compares an excel- 
 lent bronze statuette of a sick man (in 
 the Cook coll. at Richmond). 
 
 3. Attalus rex : vii, 126. = App. I. 
 
 § 101. 4. ut dictum est : in § 81. 
 
 patria Caunus : so also Paus. i, 3, 
 5, Plut. Demelr. 22, while Souidas 
 names Xanthos in Lykia as his birth- 
 place. 
 
 7. quis eum docuerit : cf. Seila- 
 nion xxxiy, 51 ; Lysippos, ibid. 61 ; 
 see Introd. p. xlvi ff. 
 
 naves pinxisse : i. e. he would 
 paint the napaaijfia and eiriarjiia of 
 
 9. Athenis : he was probably 
 twice at Athens ; Curtins conjectures 
 that his picture of the ' Thesmothetai ' 
 (Pans, i, 3, 5), in the Boukiiterion, 
 was connected with the re-organization 
 of the vonofvXoKis by Demetrios of 
 Fhaleron, but that in the days of 
 Pausanias, the origin of the picture 
 
 being forgotten, it was called after 
 the old republican SifffioSirat {Stadt- 
 Geschickte von Athen, p. 2 29). Add. — 
 The second visit was under his special 
 patron Demetrios Poliorketes, on the 
 occasion alluded to here. 
 
 10. propylon: cf. xxxvi, 32 Cha- 
 rlies in propylo Atheniensium quas 
 Socrates fecit; the unusual form 
 propylon for the more familiar propy- 
 laeum or propylaea justifies us in 
 attributing both passages to the same 
 authority; Vi Achsm-ath, Stadt Athen, 
 i, 36, 2 ; Introd. p. 1. 
 
 Faralum et Hammoniada : i.e. 
 the patron-heroes of the two holy 
 triremes. The Ammonias — ^ toO 
 ''Afifjtwvos Upd Tpi-fjp^s — (see Kenyon's 
 note on Aristotle, 'Afliji/. no\. p. 152) 
 replaced the old Salaminia. The choice 
 of the name is characteristic of the 
 Antigonids and their strenuous efforts 
 to keep alive the memory of the 
 deified Alexander (Curtius, op. cii. 
 P- 233); for the holy triremes cf. 
 Boeckh - Frankel, Siaatsalterthiimer, 
 P- 3°S ff- ; Boeckh, Seeurkunden, p. 
 76 ff. 
 
 11. Ifausicaan: both figures were, 
 it seems, united in one picture which 
 
/. PAINTING 
 
 137 
 
 a picture of an old man with a lyre teaching a boy. Aristeides 
 also painted a sick man, a picture never sufficiently praised, and 
 so great was his name that king Attalos, we are told, paid a 
 hundred talents [;^2 1,000 circ] for a single picture by his hand. 
 
 Protogenes, as I have already said, was a painter of the same 
 date. He was a native of Kaunos, a city subject to Rhodes. 
 The great poverty of his early days and his scrupulous devotion 
 to his art were the causes that he produced but few pictures. 
 The name of his master is supposed to be unknown, while some 
 say that he painted ships until his fiftieth year, and adduce in 
 proof thereof that when he was at Athens decorating, in the most 
 celebrated of spots, the gateway to the temple of Athene, for 
 which he painted his famous Paralos and Hammonias, — a figure 
 sometimes called Nausikaa, — he introduced some tiny warships 
 in the part of the picture called the napepyia, purposing to show 
 the humble origin of the painter whose works had risen to such 
 a height of glory. Among his pictures the lalysos, dedicated in 
 the Temple of Peace at Rome, bears off the palm. The story 
 
 101 
 
 Protogenes 
 of Kaunos, 
 Obscurity 
 of his 
 early life. 
 
 102 
 
 The 
 'lalysos! 
 
 lent itself to interpretation as Odysseus 
 and Nausikaa ; but see C. Torr, Class, 
 Rev. iv, 1890, p. 331. 
 
 parvolas naves : perhaps along 
 the edge of the picture ; they were 
 merely ornamental, or, at the most, 
 served to indicate that the hero and 
 heroine depicted were connected with 
 ships. C. Torr {loc. at.) suggests 
 that the little warships were repre- 
 sented in the background out at sea, 
 the figures themselves being in the 
 foreground upon the shore. In this 
 case the ' smallness ' was due simply 
 to the necessities of perspective. 
 The explanation given by Pliny is 
 evidently aitiological, nor is it neces- 
 sary to follow Curtius {loc. cit.) in 
 bracketing the et, and taking these 
 small triremes to indicate ' to what 
 a height of glory — from what 
 small beginnings — ship-building had 
 attained. ' 
 
 12. parergia: diminutive of irap- 
 fpyov. No specific part of the picture 
 is intended, but only a subordinate or 
 incidental detail. The word is best 
 
 explained by reference to Strabo xiv, 
 p. 652, where it is related that Proto- 
 genes was vexed because in his picture 
 of the Satyr (below, § 105) the admira- 
 tion roused by the partridge had caused 
 the work itself — -rii ipyov — to become 
 a ir&pepyov, 
 
 § 102. 14. lalysus : a Rhodian 
 hero, after whom the city of 'laAvaos 
 was named ; son of Kerkaphos and 
 Kydippe, whose other sons were the 
 eponymous heroes Lindos and 
 Kameiros (Pindar, 01. vii, 74). The 
 dog shows that lalysos was represented 
 as a huntsman. Possibly the picture 
 was one of a cycle of Rhodian heroes, 
 likewise including the Kydippe and 
 Tlepolemos (below, § 106). When 
 Strabo wrote {loc. cil.'), the picture 
 was still at Rhodes; it was prob- 
 ably brought away by Vespasian 
 and placed at once in his Temple of 
 Peace. Plutarch {Dem. 22) says it 
 was already burnt in his day. 
 
 15. templo Paoia : note on xxxiv, 
 84. 
 
138 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 traditur madidis lupinis vixisse, quo simul et famem susti- 
 neret et sitim nee sensus nimia dulcedine obstrueret. huic 
 picturae quater colorem induxit contra obsidia iniuriae et 
 vetustatis, ut decedente superiore inferior succederet. est 
 in ea canis mire factus ut quern pariter et casus pinxerit. 5 
 non iudicabat se in eo exprimere spumam anhelantis, cum 
 in reliqua parte omni, quod difficillimum erat, sibi ipse 
 
 103 satisfecisset. displicebat autem ars ipsa nee minui poterat, 
 et videbatur nimia ac longius a veritate diseedere, spumaque 
 ilia pingi, non ex ore nasci ; anxio animi cruciatu, cum in 10 
 pietura verum esse, non verisimile vellet, absterserat saepius 
 mutaveratque penieillum, nullo modo sibi adprobans. post- 
 remo iratus arti, quod intellegeretur, spongeam inpegit 
 inviso loco tabulae, et ilia reposuit ablatos eolores qualiter 
 
 104 eura optaverat, fecitque in pietura fortuna naturam. hoc 15 
 exemplo eius similis et Nealcen successus spumae equi 
 similiter spongea inpacta secutus dum celetem pingit ac 
 poppyzonta retinentem eum. ita Protogenes monstravit et 
 fortunam. propter hunc lalysum, ne cremaret tabulam, 
 Demetrius rex, cum ab ea parte sola posset Rhodum capere, 20 
 non incendit, parcentemque picturae fugit occasio victoriae. 
 
 105 erat tunc Protogenes in suburbano suo hortulo, hoc est 
 Demetrii eastris, neque interpellatus proeliis inchoata opera 
 
 1. quo] Traube; qnoniam, codd., Detlefsen. sDStineret] codd.; sustinerent 
 Detlefsm. 2. obstrueret] ^cot*. ; ohsXiweTenX religui, Dellefsen. 17. dum 
 celetem pingit acj Traube ; disceret cum pingitnr Bamb. ; dicitur, cum 
 pingeret, Detlefsen. 
 
 3. obsidia iniuriae ao vetus- is told also by Plut. TrepJ Hvxi^t P- 
 
 tatis : hendiadys, to avoid the 99 B. ( = Bemardakis I, p. 240) and 
 
 awkward co-ordination of genitives; by Val. Max. viii, 11, ext. 7 (without 
 
 cf. Patron. 84 nondum vetustatis in- naming the artist). Dio Chrysostom 
 
 iuria victus. In spite of the ingenious and Sextus Empiricus (see .5". Q. 1889) 
 
 remarks of Berger {Beitrdge, ii, p. 19), tell the story of Apelles. 
 I think the story of the four coats 17. celetem . . . poppyzonta: 
 
 of colour may still be considered for the subject in sculpture cf. (a) 
 
 apocryphal. Winter ya;4?-*. viii, 1893, p. 142 ; (*) 
 
 § 103. 15. fortuna: the whole anec- Parthenon W. frieze, viii, 15, 22 {Cat. 
 dote is an amusing illustration of the p. 180) &c. ; (c) a gem in the Coll. 
 saying of Agathon (a/. Arist. Nic. Tyskiewiez (Furtwangler Ani. Gem- 
 Ethics, vi, 4), Tf x"); rvxqv earep^e men, pi. ix, J4). 
 Kal Tvxt Tex"'!"- Introd. p. xli f. 20. ab ea parte sola : cf. vii, 126. 
 
 § 104. 16. Nealoen : below, The picture was in the temple of 
 
 §§ 14a, 145. The following anecdote Dionysos just outside the city (Strabo, 
 
/. PAINTING 139 
 
 runs that while he was painting it he lived on lupins steeped in 
 water, that he might thus satisfy at once his hunger and his 
 thirst without blunting his faculties by over-indulgence. He gave 
 this picture four coats of colour to preserve it from the approach 
 of injury and age, so that if the first coat peeled off the one below 
 might take its place. The dog in this picture is the outcome as The foam 
 it were of miracle, since chance, and not art alone, went to the %'^ainted 
 painting of it. The artist felt that he had not perfectly rendered by miracle. 
 the foam of the panting animal, although he had satisfied himself 
 — a difficult task — in the rest of the painting. It was the very 103 
 skill which displeased him and which could not be concealed, but 
 obtruded itself too much, thus making the effect unnatural ; it 
 was foam painted with the brush, not frothing from the mouth. 
 Chafing with anxiety, for he aimed at absolute truth in his paint- 
 ing and not at a makeshift, he had wiped it out again and again, 
 and changed his brush without finding any satisfaction. At last, 
 enraged with the art which was too evident, he threw his sponge 
 at the hateful spot, and the sponge left on the picture the colours 
 it had wiped off, giving the exact effect he had intended, and 
 chance thus became the mirror of nature. Nealkes likewise 104 
 once succeeded in rendering the foam of a horse in the same jialtem^o 
 way, by throwing his sponge at the picture he was painting of a horse in 
 a groom coaxing a race-horse. Thus Protogenes even taught the 1y''^"alkes 
 uses of fortune. It was to preserve this lalysos that king Demetrios 
 refrained from setting fire to the city, which was open to attack 
 on that side only, and by sparing the picture he forfeited his 
 chance of victory. At the time of the siege Protogenes was living 105 
 in his little garden beyond the walls, within the lines of Demetrios. 
 He did not allow the war to interrupt his work, but went on with Generosity 
 the pictures he was painting, except when summoned to the "f P^"'^' 
 
 presence of the king, and when asked what gave him courage to towards 
 
 Protogenes. 
 
 loc. cit.) ; for a fuller accotmt of the story, which recurs in a variety of 
 
 the episode see in especial Plutarch, forms, is suspicious : thus Archimedes 
 
 Dem. 22 ; the story has little historical was found quietly drawing geometric 
 
 credibility, but, as Helbig {Unters. figures when the Romans stormed 
 
 p. 181) points out, serves to emphasize Syracuse (Liv. xxv, 31, 9) ; in modem 
 
 the love of art which characterized times the painter Parmegianino was 
 
 ' the most genial of the Diadochoi.' found calmly painting a Madonna 
 
 Khodum : i. e. the new city when the Spanish and Dutch troops, 
 
 founded in B. c. 408 j for the siege cf. under Constable of Bourbon, stormed 
 
 xxxiv, 41. Rome in 1527, &c. 
 
 § lOS. 22. erat tunc Fiotogenes : 
 
I40 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 intermisit omnino nisi accitus a rege, interrogatusque qua 
 fiducia extra muros ageret respondit scire se cum Rhodiis 
 illi bellum esse, non cum artibus. disposuit rex in tutelam 
 eius stationes, gaudens quod posset manus servare quibus 
 pepercerat, et ne saepius avocaret, ultro ad eum venit hostis 5 
 relictisque victoriae suae votis inter arma et murorum ictus 
 spectavit artificem, sequiturque tabulam illius temporis haec 
 
 106 fama, quod eam Protogenes sub gladio pinxerit. Satyrus 
 hie est quern anapauomenon vocant, ne quid desit temporis 
 eius securitati, tenentem tibias. fecit et Cydippen, Tlepo- 10 
 lemum, Piiiliscum tragoediarum scriptorem meditantem et 
 athletam et Antigonum regem, matrem Aristotelis philo- 
 sophi, qui ei suadebat ut Alexandri Magni opera pingeret 
 propter aeternitatem rerum. impetus animi et quaedam 
 artis libido in haec potius eum tulere. novissime pinxit 15 
 Alexandrum ac Pana. fecit et signa ex aere, ut diximus. 
 
 107 eadem aetate fuit Asclepiodorus, quem in symmetria mira- 
 batur Apelles. huic Mnaso tyrannus pro duodecim diis 
 dedit in singulos mnas tricenas, idemque Theomnesto in 
 
 108 singulos heroas vicenas. his adnumerari debet et Nico- 20 
 machus Aristidi filius ac discipulus. pinxit raptum 
 Proserpinae, quae tabula fuit in Capitolio in Minervae 
 delubro supra aediculam luventatis, et in eodem Capitolio, 
 
 21. Aristidi] Urlichs in Chrestom.; aristiaci Bamb, Detlefsen; aristicheimi 
 Riccard; ariste //// Voss.\ ariateclieimi Z?^f. 
 
 § 106. 9. ne . . . securitati : (Benndorf-Schone,245 = Helbig,C&ri. 
 
 Strabo describes the Satyr as leaning Ant. 663) is a copy of Protogenes' 
 
 on a column, apparently somewhat in picture is quite uncertain, 
 the scheme of the celebrated 'Resting 12. Antigonum regem: painted 
 
 Satyr 'by Praxiteles,Helbig,C/ojj./i»/. by Apelles, above, §§ 90, 96. 
 525. Furtwangler,Afer/«?7tjV«j,p. 329. matrem Aristotelis: her name 
 
 10. Cydippen, Tlepolemum : was Phaestis. Cf. Introd. p. Ixi. 
 above, note on lalystis in § 102. 16. Alexandrum ao Pana : prob- 
 Tlepolemos led the Rhodian contin- ably Alexander was represented as 
 gent to Troy (//. ii, 653). Dionysos, to whom, according to the 
 
 11. Philisoum trag. script.: he legend, Pan acted as shieldbearer 
 was a native of Kerkyra. According during his progress through India, 
 to»Athen. V, 198 c hetookpart in the Lucian, Z'zVjk/j. 2; Helbig, Unter- 
 great iro/iTri} of Ptolemy Philadelphos, suchungen, p. 50. 
 
 B. C. 284, in virtue of his office of ut diximus : xxxiv, % 91. 
 
 priest of Dionysos. The theory that § 107. 17. Asclepiodorus : above, 
 
 the beautiful relief in the Lateran § 80 ; he may be identical with the 
 
/. PAINTING i4t 
 
 remain outside the walls, he replied that he knew the king was 
 making war against Rhodes, not against art. Demetrios placed 
 sentinels to guard him, and took a pride in protecting the artist 
 he had spared. Unwilling to call him from his work, Demetrios, 
 enemy though he was, visited him in person, and in the midst 
 of arms and of assaults neglected his hopes of victory to watch 
 the painter. Hence comes the saying about the picture which 
 Protogenes was engaged on at the time, that he had painted it 
 under the sword. This is the Satyr called the avanavotievos [resting], 106 
 and he is holding the pipes, to emphasize the painter's sense of 
 security at the moment. He also painted a Kydippe, and a Tle- 
 polemos, Philiskos the tragedian in meditation, an athlete, a 
 portrait of king Antigonos, and the mother of Aristotle the philo- 
 sopher, who had tried to persuade him to paint the exploits of 
 Alexander the Great, on the ground that they deserved immor- 
 tality, but the natural turn of his genius, and his artist's caprice 
 drew the painter rather to these other themes. Alexander and 
 Pan were the last subjects he ever painted ; as already noted, he 
 also made bronze statues. 
 
 The Asklepiodoros whose knowledge of symmetry was praised 107 
 by Apelles, belonged to the same epoch ; the tyrant Mnason jly^f"'' 
 gave him thirty minae [loo guineas circ] for each of his twelve 
 gods, and to \Ttieomnestos twenty minae [^70 circ] for each of 
 his heroes. 
 
 We must rank with these artists Nikomachos, the son and pupil 108 
 of Aristeides. He painted the rape of Persephone, which was in ■^^o""'- 
 the temple of Minerva on the Capitol, above the little chapel of Aristeides. 
 
 sculptor xxxiv, 86. He must have held 21. Aristidi: i.e. the Elder, cf. 
 
 a high position, since Plutarch, Glor. above, 5 7.5 ; Urlichs' reading is con- 
 
 Athen. 2, mentions him along with firmed by the fact that whereas in § no 
 
 Apollodoros (above, § 60), Enphranor Ariston appears as brotherand pupil of 
 
 (below, 5 1281; Nikias (§ 132), and Nilcomachos, he appears in § ni as 
 
 Panainos(§ 59), as one of the masters a son and pupil of Aristeides, hence 
 
 who made Athens glorious through Nikomachos too must have been the 
 
 their paintings. son of an Aristeides, Kroker, Gleich- 
 
 18. Mnaso : above, note on § 99. namige Gr. Kilnstler, p. 26. 
 
 § 108. 20. Wioomaohua : the raptum Proserpinae : for the 
 
 mention in Cic. Brutus, 1 8, 70, is subject cf. note on xxxiv, 69. 
 
 alone sufficient to prove his high 22. fuit: before the fire of 69 A. D.; 
 
 reputation, yet his works are known above, note on xxxiv, 38. 
 
 from Pliny only; to the list given 23. aediculam luventatis : in the 
 
 here must be added the unfinished actual cella of Minerva, near the statue 
 
 Tyndaridai, in § 145. of the goddess; the cult of luventas, 
 
14a 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 quam Plancus imperator posuerat, Victoria quadrigam in 
 sublime rapiens. Ulixi primus addidit pilleum. pinxit et 
 
 109 Apollinem ac Dianam, deumque matrem in leone sedentem, 
 item nobiles Bacchas obreptantibus Satyris, Scyllamque 
 quae nunc est Romae in templo Pacis. nee fuit alius in ea 5 
 arte velocior. tradunt namque conduxisse pingendum ab 
 Aristrato Sicyoniorum tyranno quod is faciebat Telesti 
 poetae monimentum praefinito die intra quern perageretur, 
 nee multo ante venisse tyranno in poenam accenso paucisque 
 
 110 diebus absolvisse et celeritate et arte mira. discipulos 10 
 habuit Aristonem fratrem et Aristiden filium et Philo- 
 xenum Eretrium, cuius tabula nullis postferenda Cassandro 
 regi picta continuit Alexandri proelium cum Dario. idem 
 pinxit et lasciviam, in qua tres Sileni comissantur. hie 
 celeritatem praeceptoris secutus breviores etiamnum quas- 15 
 
 111 dam picturae conpendiarias invenit. adnumeratur his et 
 Nicophanes elegans ac concinnus ita ut venustate ei pauci 
 conparentur. cothurnus ei et gravitas artis multum a 
 
 like that of Terminus (in the same 
 temple) was one of the oldest in 
 Rome ; Liv. i, 55, 4 ; v, 54, 7 ; for 
 full literature cf Wissowa, ap. Roscher, 
 ii, pp. 666, 708, s. V. Jupiter ; ib. 
 p. 764, s.v. Juventas. 
 
 I. Flancus imperator : sc. L. 
 Munatius, triumphed B. c. 43 (for his 
 assumption of the title oiimperatorci. 
 Cic. Phil, iii, 38, and the letters of 
 Flancus, ap. Cic. ad Fam. li, 8 ; 24). 
 His brother L. Plautius Plancus 
 (adopted by L. Plautius) struck in B.C. 
 45 a coinage with a type of Nike and 
 horses, wliich is apparently a copy of 
 the picture by Nikomachos (see next 
 note and cf. Helbig, Untersuchungen, 
 p. 154). Furtwangler {Jahrb. iv, 
 1889, p. 62) hence suspects an error on 
 the part of Pliny in naming the more 
 famous Flancus Imp. as dedicator of 
 the statue. 
 
 Victoria ctuadrigam in Bub- 
 lime rapiens : Furtwangler {loc. cit.) 
 emphasizes the opinion already ex- 
 pressed by Panofka (13th Winckel- 
 mannsprogramm) and Schuchardt 
 
 {Nikomachos, p. 20 ff.) that the com- 
 position survives on a beautiful gem 
 signed Fov<j>os {Jahrb. iii, 1888, pi. xi, 
 10), in St. Petersburg, representing 
 Nike with outspread wings, bearing 
 away a team of four horses. This 
 theory is confirmed by the fact that 
 the composition is repeated on the 
 coins of the gens Flautia (Babelon, 
 Monnaies de la Rip. Rom. ii, p. 325). 
 The painting of Nikomachos was of 
 course a votive offering for a victory 
 in the chariot race. ' Instead of the 
 usual traditional type, in which the 
 winner appears in his chariot crowned 
 by victory, or else Nike standing in 
 the chariot guides the horses, Niko- 
 machos ventured on a daring inven- 
 tion ; ignoring the chariot and the 
 earthly chariot course, he painted tlie 
 triumphant horses as they are borne 
 aloft to victory by Nike herself.' 
 
 (F-) 
 
 2. rriixi primus : Servins on 
 .^e«ezcf ii, 44 (Thilo i, p. 2221 huic 
 Ulixi primus Nicomackus pictor pilleo 
 caput texisse fertur, but the Schol. 
 
7. PAINTING 143 
 
 Youth, and a Victory snatching up to Heaven a team of horses ; 
 this was also to be seen in the Capitol, where Plancus had dedi- 
 cated it when general. He was the first to give a cap to Ulysses. 
 He also painted an Apollo and Artemis, a Mother of the Gods 109 
 seated on her lion, a celebrated picture of Mainades with Satyrs 
 stealing upon them, and a Scylla now at Rome in the temple of 
 Peace. No artist surpassed him in rapidity of execution. It His 
 is said, for instance, that Aristratos, tyrant of Sikyon, com- '■'??'^"«0'- 
 missioned him to paint before a fixed day the monument which 
 he was raising to the poet Telestes ; Nikomachos arrived only 
 a little before the appointed time, and the tyrant in his annoyance 
 wished to punish him, but the painter finished the work in a few 
 days with a promptitude as marvellous as his success. His pupils 110 
 were his brother iAriston, his son Aristeides and iPhiloxenos of 
 Eretria, who painted for king Kassander the battle between 
 Alexander and Dareios, a picture second to none ; he also painted 
 a scene of revelry in which three Seilenoi are making merry. He 
 imitated the swiftness of his master, and himself invented some 
 shortened methods of technique. We must include in this list 111 
 Nikophanes, a painter at once graceful and precise, whose delicacy V? 
 few can equal, though he lacks the grandeur and dignity found in 
 
 on Iliad x, 265 attributes the in- of Selinos, who had apparently mi- 
 novation to ApoUodoros. grated to Sikyon (Athen. xiv, p. 616, 
 
 3. Apollinem ao Dianam : agroup. 625). In B.C. 401 he won the first 
 
 deumque matrem : i. c. Kybele prize at Athens. 
 
 sitting on her lion, as for instance §110. 11. Aristidemfllium : i.e. 
 
 on the Pergamene frieze, and on the Aristides Thebanus, above, § 98, cf. 
 
 frieze from the temple at Priene (frag- below, §111. 
 
 ment in Br. Mus.). 12. Cassandro regi : B.C. 306- 
 
 § 109. 4. nobiles Baoohas ob- 296. 
 
 rept. Sat. : for the subject, cf. Wand- 13. proelium cum Dario : at Issos 
 
 gemcilde, 542-556 ; Schreiber, Hell. in B.C. 43.^, or Gaugamela in B.C. 
 
 Reliefs , xxiv. None of these com- 431. See note above oa proelium cum 
 
 positions can, however, be referred Persis, in § 99. 
 
 with certainty to Nikomachos. :6. oompendiarias : what this 
 
 Soyllamque: Schuchardt {Niko- 'shortened method' may have been 
 
 machos, p. 40 ff.) proposes to recog- it is impossible to tell ; cf. Patron. 2 
 
 nize a copy of the picture of Niko- pictura quoque non alium exitum 
 
 machos in the Scylla., Man. d. Inst, fecit, postquam Aegyptiorum audacia 
 
 iii pi. liii, 3 = Helbig, Wandgemdlde, tarn magnae artis compendiariam in- 
 
 1063 ; the same composition recurs venit. See Addenda, 
 
 on coins struck by S. Pompeius. § 111. 17. Wioophanea : below, 
 
 7. Aristrato: tyrant of Sikyon, 01. § 137 ; adnumeratur his, because he 
 
 105 = B.C. 360-357. belongs to approximately the same 
 
 Telesti : a dithyrambic poet, native date. 
 
144 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 Zeuxide et Apelle abest. Apellis discipulus Perseus, ad 
 quern de hac arte scripsit, huius fuerat aetatis. Aristidis 
 Thebani discipuli fuerunt et filii Niceros et Ariston, cuius 
 est Satyrus cum scypho coronatus, discipuli Antorides et 
 Euphranor, de quo mox dicemus. 5 
 
 112 Namque subtexi par est minoris picturae celebres in 
 penicillo, e quibus fuit Piraeicus. arte paucis postferendus 
 proposito nescio an destruxerit se, quoniam humilia quidem 
 secutus humilitatis tamen summam adeptus est gloriam. 
 tonstrinas sutrinasque pinxit et asellos et obsonia ac similia, lo 
 ob haec cognominatus rhyparographos, in iis consummatae 
 voluptatis, quippe eae pluris veniere quam maximae multo- 
 
 118 rum. e diverse Maeniana, inquit Varro, omnia operiebat 
 Serapionis tabula sub Veteribus. hie scaenas optime pinxit, 
 sed hominem pingere non potuit. contra Dionysius nihil 15 
 aliud quam homines pinxit, ob id anthropographos cogno- 
 
 114 minatus. parva et Callicles fecit, item Calates comicis 
 tabellis, utraque Antiphilus. namque et Hesionam nobilem 
 pinxit et Alexandrum ac Philippum cum Minerva, qui sunt 
 in schola in Octaviae porticibus, et in Philippi Liberum ao 
 
 a. de . . . arte scripsit: above, § 113. 13. e diverso : in contra- 
 
 § 79, Introd. p. xl. diction to the small pictures by Peirai- 
 
 Aristidis Thebani: above, §§ 98- kos. 
 
 100, no; he appears here as master Maeniana: maeniana appellata 
 
 of Nikeros-Enphranor, by confusion sunt a Maenio censore qui primus in 
 
 with his grandfather Aristeides I, foro ultra columnas tigna proiecit, quo 
 
 above, note on % 108. ampliarentur superiora spectacula, 
 
 5. Euphranor: he is erroneously Festus, 134. This derivation is prob- 
 
 made into a pupil of Aristeides of ably correct, though the word soon 
 
 Thebes, whereas he was the pupil of became a common appellative, cf. 
 
 the older Aristeides, above, § 75. mox Vitruvius, v, i, i. Jordan (7i/. (/«>- 
 
 dicemus, in § 128. Stadt Rom, vol. i, part 2, p. 383, 
 
 § 112. 7. Piraeicus = ntipoi'mis fr. note 94) believes that Pliny alludes to 
 neipaietjs, Helbig, Untersuch. 366 ff. a temporary exhibition of a picture by 
 This artist is still known only from Serapion, and not to painted decora- 
 Pliny, the Pireicus of Propert. iii, 9, tions of the maeniana. The date of 
 12, which rested on mere interpola- Serapion is unknown, except that it 
 tion, having been abandoned for Par- must have been previous to Varro, 
 rhasius by recent editors : Parrhasius from whom the information as to his 
 parva vindicat arte locum. pictures is derived. 
 
 10. tonstrinas sutrinasque: cf. inquit Varro: from whom §§ i la- 
 the lanificium by Antiphilos in § 138, 114 appear to be almost wholly de- 
 the workshops by Philiskos and Simos rived, Miinzer, op. cit. p. 540 f. 
 in § 143. 14. sub Veteribus : note on § 25. 
 
I. PAINTING 
 
 145 
 
 Zeuxis and Apelles. Perseus, the pupil to whom Apelles dedicated 
 his book on art, also belongs to this period. The pupils of 
 Aristeides of Thebes were his sons \Nikeros and i Arts ton (by the Pufils of 
 second of whom we have a crowned Satyr holding a cup) and also ■^"^'^i'^"- 
 ■\Antorides and Euphranor, of whom I shall speak presently. 
 
 It is well to add an account of the artists who won fame with 112 
 the brush in painting smaller pictures. Amongst them was S^'^^^j 
 ■\Peirdikos. In mastery of his art but few take rank above him, Peiraikos. 
 yet by his choice of a path he has perhaps marred his own success, 
 for he followed a humble line, winning however the highest glory 
 that it had to bring. He painted barbers' shops, cobblers' stalls, 
 asses, eatables and similar subjects, earning for himself the name 
 of pvirapoypdipos [painter of odds and ends]. In these subjects he 
 could give consummate pleasure, selling them for more than other 
 artists received for their large pictures. As a contrast, Varro 113 
 mentions a picture by iSerapi'on which covered the whole of the Serapion. 
 balconies by the Old Shops. This Serapion was an excellent 
 scene-painter, but could not paint the figure. Dionysios on the Dionysios, 
 contrary painted figures only, and was called dvdpanroypcKpos [painter iAe 'painter 
 of men]. «^'»^»-' 
 
 Kallikks also painted small pictures, and so did '^Kalates, who 114 
 chose comic subjects ; while Antiphilos painted in both styles, his ^y^^^'- 
 being a famous Hesione, and the picture of Alexander and Philip Antiphilos. 
 with Athene now to be seen in the ' schools ' of the gallery of 
 Octavia. In the gallery of Philip are his Dionysos, his young 
 
 15. Dionysius : probably identical 
 with the portrait painter named § 148, 
 but not to be confused with the painter 
 Dionysios of Kolophon, a contempo- 
 rary of Polygnotos (Arist. Poet. 2). 
 
 § 114. 17. parva et Callioles: 
 known besides only from the following 
 passage of Varro, neque ille Callicles 
 quaterniim digitum tabellis nobilis 
 cum esset /actus, tamen in pingendo 
 adscendere potuit ad Euphranoris 
 altitudinem, Varro, de Vita P. R. i, 
 ap. Charisius, p. 126, 25. 
 
 comicis: i.e. in subjects borrowed 
 from comedy, cf. § 140. 
 
 18. utraque: i.e. both small and 
 large pictures ; Urlichs, Chrest. p. 367. 
 
 Antiphilua : appears again in 
 
 § 1 38 as n painter in encaustic. He 
 was an Alexandrian and a rival of 
 Apelles (above, note on §89). Quinc- 
 tilian (xii, 10, 6) praises him for his 
 facility {facilitate Antiphilus) ; he is 
 probably one of those who introduced 
 that ars compendiaria (above, § no, 
 cf. on Pausias, in § 124), with the 
 invention of which Petronius charged 
 the Egyptians. 
 
 Hesionam : probably her deliver- 
 ance by Herakles. For the subject cf. 
 the large picture, Helbig, Wandge- 
 mdlde, 11 29. 
 
 19. Alex, ac Phil, cum Minerva: 
 probably on a chariot, with Athena 
 acting as charioteer, Furtwangler, 
 Jahrb, iv, 1889, P- 8^> °°'^ 42- 
 
146 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 patrem, Alexandrum puerum, Hippolytum tauro emisso 
 expavescentem, in Pompeia vero Cadmum et Europen. 
 idem iocosis nomine Gryllum deridiculi habitus pinxit, unde 
 id genus picturae grylli vocantur. ipse in Aegypto natus 
 115 didicit a Ctesidemo. decet non sileri et Ardeatis templi s 
 pictorem, praesertim civitate donatum ibi et carmine quod 
 est in ipsa pictura his versibus : 
 
 Dignis digna. Loco picturis condecoravit 
 reginae lunonis supremi coniugis templum 
 Plautius Marcus, cluet Asia lata esse oriundus, lo 
 
 quem nunc et post semper ob artem hanc Ardea laudat, 
 lie eaque sunt scripta antiquis litteris Latinis ; non fraudando et 
 Studio divi Augusti aetate qui primus instituit amoenissi- 
 mam parietum picturam, villas et portus ac topiaria opera, 
 lucos, nemora, coUes, piscinas, euripos, amnes, litora, qualia 15 
 quis optaret, varias ibi obambulantium species aut navigan- 
 tium terraque villas adeuntium asellis aut vehiculis, iam 
 piscantes aucupantesque aut venantes aut etiam vindemi- 
 117 antes, sunt in eius exemplaribus nobiles palustri accessu 
 villae, succollatis sponsione mulieribus labantes trepidis quae 20 
 feruntur, plurimae praeterea tales argutiae facetissimi salis. 
 
 12. Latinis, non Detlefsen. 
 
 1. Hippolytum tauro emisso; i, p. 1414, are probably influenced 
 under the influence of the Euripidean more or less remotely by the composi- 
 play, Kalkmann, A. Z. 1883 (41), tion of Antiphilos. 
 
 p. 43 ff. 3. Gryllum: the name, which was 
 
 2. in Pompeia; note on § 59. that of the father and of one of the 
 Cf. again Varro, de Re Rust, iii, a, 5, sonsofXenophon.wascommonenough. 
 and Miinzer, loc. cit. ; Introd. p. Ixxxiv. The deridiculus habitus must have 
 
 Cadmum et Europen : its great been in allusion to jpvKXos = a dancer 
 reputation is apparent from Martial of the y[mXiaii6s, in which the per- 
 il. 14> 3j who uses the name of the formers were originally masked as 
 picture as synonymous for the por- pigs, though in time the term seems 
 ticus Pompeia {currit ad Europen). to have come to include every kind of 
 The picture, which was doubtless ori- wanton dancing (see Phrynichos, ed. 
 ginally in Alexandria, may, as Helbig Lobeck, p. loi). Such performances 
 ( Untersucli. p. 2 24 f ) points out, have were especially in favour at Alex- 
 inspired Moschos during his stay in andria, so that it is natural to find 
 that city to write the famous descrip- such a subject influencing an Alex- 
 tion in Idyll i, 125 ff. A number of andrian artist (cf. Urlichs, ZJaj ,4ii72«?-«« 
 extant later representations of the Pferd, p. 20 f). 
 
 mylh — the most celebrated of which § 115. 5. Ctesidemo ; below, 
 
 is the mosaic from Palestrina, Roscher, § 140. 
 
/. PAINTING 147 
 
 Alexander, and Hippolytos terrified at the bull sent up from the 
 
 sea, and in the gallery of Pompeius his Kadmos and Europa. 
 
 Among his comic pictures is one of a man called Gryllos in a 
 
 ridiculous costume, from which all such pictures are called ypiWoi. 
 
 Antiphilos was born in Egypt, and studied under iKtesidemos. x'tesid^mZ. 
 
 I ought not to pass over in silence the painter of the temple at 115 ^y^Ol" 
 
 Ardea, especially as he was honoured by receiving the citizenship ( ^J-^ V 
 
 of the town and the following verses written on the picture : ' To ^f^ 
 
 the deserving be due honour paid. The temple of queenly Juno, ( 
 
 wife of the almighty, did Lykon adorn with paintings, even Plautius Piautius 
 
 Marcus, born in wide Asia, whom for this his art Ardea praises ^"■"^'"^ 
 ' ^ Lykon. 
 
 now and for ever more.' The lines are in old-fashioned Latin 
 
 characters. 
 
 Nor must I neglect \Studius, a painter of the days of Augustus, 116 
 
 who introduced a delightful style of decorating walls with repre- •^'^'"^""• 
 
 sentations of villas, harbours, landscape gardens, sacred groves, 
 
 woods, hills, fishponds, straits, streams and shores, any scene in 
 
 short that took the fancy. In these he introduced figures of people 
 
 on foot, or in boats, and on land of people coming up to the 
 
 country-houses either on donkeys or in carriages, besides figures 
 
 of fishers and fowlers, or of hunters or even of vintagers. Among 117 
 
 his works we know well the men approaching a villa through 
 
 a swamp, and staggering beneath the weight upon their shoulders 
 
 of the terrified women whom they have bargained to carry over, 
 
 with many other scenes of like vivacity and infinite humour. He 
 
 Ardeatis templi : Verg. Aen. vii, ff.) it appears that the painting of 
 
 41 1 ff. ; cf. above, §17. topiaria of era was older than the age 
 
 8. Loco = AvKoiv; in addition to of Augustus. Studius gave it a new 
 
 his Greek name he would, on recelv- impulse or perhaps made it for the 
 
 ing the citizenship of Ardea, assume first time really fashionable at Rome, 
 
 the name of Plautius Marcus. M. 15. topiaria opera: in Livia's 
 
 HeiiT^'m Index Lect.Vratislav.{\^6'j), Villa at Prima Porta the walls of one 
 
 suggests that he may hare been both room were decorated with the plan of 
 
 painter and poet, as was Pacuvius a garden (see Antike Denkmdler, i, pi. 
 
 (above, § 19), and that he is identical 11,24), and afford an excellent example 
 
 with/'/o«rt'aj, a writer whose comedies of the style of Studius (Brunn, Bull. 
 
 passed under the name of Plautus, 1863, p. 81 ff.) ; cf. also, Helbig, 
 
 Varro, a/. A. Gellius, iii, 3, 3. The in- Untersuchungen, p. 62. Pliny the 
 
 scription on his picture being in hexa- younger (^Ep. v, 6, 22) describes 
 
 meter, he cannot be dated earlier than a bedroom in his villa as follows : 
 
 Ennius (B.C. 239-169); cf. Mommsen, nee cedit gratiae marmoris ramos in- 
 
 Rbm. Gesch ed. 7, i, p. 941 note. cidentesque ramis aves imitata pictura. 
 
 §116. 13. qui primus : note on §117- 19. exemplaribus : sc. in- 
 
 §16: as a fact from Vitruvius vii, 5, genii ; cf. § 74 ingenii . . . exempla. 
 
 (cf. Rhein. Miis. xxv, 1870, p. 394 21. argutiae: §67; xxxiv, 65. 
 
 L % 
 
148 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 idem subdialibus maritimas urbes pingere instituit, blandis- 
 
 118 simo aspectu minimoque inpendio. sed nulla gloria artifi- 
 cum est nisi qui tabulas pinxere, eo venerabilior antiquitatis 
 prudentia apparet. non enim parietes excolebant dominis 
 tantum, nee domos uno in loco mansuras quae ex incendiis 5 
 rapi non possent. casa Protogenes contentus erat in hortulo 
 suo, nulla in Apellis tectoriis pictura erat. nondum libebat 
 parietes totos tinguere, omnium eorum ars urbibus excuba- 
 
 119 bat pictorque res communis terrarum erat. fuit et Arellius 
 Romae celeber paulo ante divum Augustum, ni flagitio 10 
 insigni corrupisset artem, semper ei lenocinans cuius feminae 
 amore flagraret, ob id deas pingens, sed dilectarum imagine. 
 
 120 itaque in pictura eius scorta numerabantur. fuit et nuper 
 gravis ac severus idemque floridus et vividus pictor Famu- 
 lus, huius erat Minerva spectantem spectans quacumque 15 
 aspiceretur. paucis diei horis pingebat, id quoque cum 
 gravitate, quod semper togatus, quamquam in machinis. 
 career eius artis domus aurea fuit, et ideo non extant 
 exempla alia magnopere. post eum fuere in auctoritate 
 Cornelius Pinus et Attius Priscus, qui Honoris et Virtutis 20 
 aedes Imp. Vespasiano Aug. restituenti pinxerunt, Priscus 
 antiquis similior. 
 
 121 Non est omittenda in picturae mentione Celebris circa 
 A.u.c. 711- Lepidum fabula, siquidem in triumviratu quodam loco 
 
 deductus a magistratibus in nemorosum hospitium minaciter 25 
 cum iis postero die expostulavit somnum ademptum sibi 
 volucrum concentu, at illi draconem in longissima membrana 
 
 14. floridls (floridus e corr.) umidns Bamb., corr. Traube ; floridissimus 
 Urlichs in Chrest., Detlefsen. 
 
 I. subdialibus: cf. xxxvi, 186. in his person (cf. below, «<ot ^aOTto«, 
 
 § 118. 4. excolebant dominis : togatus), whereas his painting was 
 
 private patrons, cf. in § 30 (colores) floridus and mviius ; the adjectives 
 
 quos dominus pingenti praestat ; in are transferred from the colour to the 
 
 § 44 « reliquis coloribus quos a do- painter, cf. § 134 austerior colore, 
 
 minis dari diximus . . . though austerus like floridus was 
 
 * 6. casa in hortulo : above, § 105. a technical qualification of certain 
 
 The ' cottage ' doubtless belonged to colours, sunt autem colores austeri 
 
 the same class of loci communes as the autfloridi, § 30. 
 
 a»Ki (note on § 81). 17. quod semper togatus: so 
 
 § 120. 14. gravis ao severus : i.e. Vandyck painted in full dress. 
 
 718. 
 
/. PAINTING 149 
 
 also brought in the fashion of painting seaside towns on the walls 
 of open galleries, producing a delightful effect at a very small cost. 
 No artists, however, enjoy a real glory unless they have painted 118 
 easel pictures, and herein the wisdom of past generations claims 
 our greater respect. They did not decorate walls to be seen only 
 by their owners, nor houses that must always remain in one place 
 and could not be carried away in case of fire. Protogenes was 
 content with a cottage in his little garden, and no fresco was to be 
 seen in the house of Apelles. It was not yet men's pleasure to 
 dye whole surfaces of wall ; all the masters laboured for the cities, 
 and the artist was the possession of the whole world. 
 
 Not long before the time of the god Augustus, Arellius had 119 
 earned distinction at Rome, save for the sacrilege by which he ^''""''^■ 
 notoriously degraded his art. Always desirous of flattering some 
 woman or other with whom he chanced to be in love, he painted 
 goddesses in the person of his mistresses, of whom his paintings 
 are a mere catalogue. The painter •^Famulus also lived not 12'p 
 long ago ; he was grave and severe in his persoUj while his ^'^'""""■ 
 painting was rich and vivid. He painted an Athena whose eyes 
 are turned to the spectator from whatever side he may be looking. 
 Famulus painted for a few hours only in the day, and treated his 
 art seriously, always wearing the toga, even when mounted on 
 scaffolding. The Golden House was the prison of his art, and 
 hence not many examples of it are known. After him \ Cornelius Cornelius 
 Pinus and -[AUius Priscus were painters of repute, who painted 2uius 
 the twin temples of Honour and Virtue when they were restored Prisms. 
 by the emperor Vespasian Augustus. Priscus approached more 
 nearly to the old masters. 
 
 While on the subject of painting I must not omit the well- 121 
 known story of Lepidus. Once during his triumvirate he had fscare^'^ 
 been escorted by the magistrates of a certain town to a lodging in crow,' 
 the middle of a wood, and on the next morning complained with ■^^■J„j 
 threats that the singing of the birds prevented him from sleeping. 
 They painted a snake on an immense strip of parchment and 
 stretched it all round the grove. We are told that by this means 
 
 macliinis 1 here of scaffolding, 20. Honoris et Virtutis aedes : 
 
 Bliimner, Technol. iv, 430 ; for bnilt or rather restored by Marcellus, 
 
 machma = e&se\, above, § 81. in B. C. 212, to contain part of the art 
 
 18. career eius artis : for Pliny's treasures brought from Syracuse, Liv. 
 
 hatred of Nero cf. above, § 51 ; xxxiv, xxv, 40, cf. xxvii, 25 ; Cic. Verr. II, iv, 
 
 4g, 84. 54, 120 ; Gilbert, Kom, iii. p. 97 f. 
 
ISO C. PLINII SECUNDI NAT. HIST. XXXV 
 
 depictum circumdedere luco eoque terrore aves tunc siluisse 
 narratur et postea potuisse compesci. 
 
 122 Ceris pingere ac picturam inurere quis primus excogita- 
 verit non constat, quidam Aristidis inventum putant postea 
 consummatum a Praxitele, sed aliquanto vetustiores encau- 5 
 stae picturae exstitere, ut Polygnoti et Nicanoris ac Mnasilai 
 Pariorum. Elasippus quoque Aeginae picturae suae in- 
 scripsit iviKaev, quod profecto non fecisset nisi encaustica 
 inventa. 
 
 123 Pamphilus quoque Apellis praeceptor non pinxisse solum 10 
 encausta sed etiam docuisse traditur Pausian Sicyonium 
 primum in hoc genere nobilem. Bryetis filius hie fuit eius- 
 demque primo discipulus. pinxit et ipse penicillo parietes 
 Thespis, cum reficerentur quondam a Polygnoto picti, 
 multumque conparatione superatus existimabatur, quoniam 15 
 
 124 non suo genere certasset. idem et lacunaria primus pingere 
 instituit, nee camaras ante eum taliter adornari mos fuit. 
 parvas pingebat tabellas maximeque pueros. hoc aemuli 
 interpretabantur facere eum, quoniam tarda picturae ratio 
 asset ilia, quamobrem daturus et celeritatis famam absolvit 20 
 uno die tabellam quae vocata est hemeresios puero picto. 
 
 125 amavit in iuventa Glyceram municipem suam, inventricem 
 coronarum, certandoque imitatione eius ad numerosissimam 
 florum varietatem perduxit artem illam. postremo pinxit 
 
 § 122. 3. ceris pingere . . is awkwardly dragged in a second 
 
 inurere : i. c. encaustic ; note on time, in order to introduce his pupil 
 
 § 149. Pausias, who in the original Greek 
 
 4. quidam . . . inventum : for this account, where no arbitrary division 
 variant tradition, Introd. p. xxxiii. seems to have been drawn between 
 
 Aristidis : presumably the first of the painters in encaustic and others, 
 
 the name, above, § 75. would certainly be discussed in con- 
 
 5. oonsumm. a Praxitele : who nexiou with his master and his con- 
 would use encaustic for the czV^iw/zWo temporaries of §§ 75-76, Introd. 
 of his statues (below, § 133). p. xxxiv. 
 
 6. Polygnoti: above, 5§ 58-59. 13. pinxit . . . certasset: this 
 8. Iv^KMv : cf. above, § 27. mention of wall-paintings shows that 
 § 123. 10. Pamphilus : §§ 75-76. encaustic was not treated separately 
 
 We now come agam upon distinct by the Greek authors, 
 traces of Xenokrates. Stress is laid 14. Thespis : the wall paintings 
 
 uponthepre-emmenceofSikyon,and by Polygnotos had probably been 
 
 the pamters are connected with defi- injured at the destruction of Thespiai 
 
 nite stages of progress. Pamphilos by the Thebans in B. c. 374. The 
 
/. PAINTING 151 
 
 they terrified the birds into silence and that this has ever since 
 been a recognized device for quieting them. 
 
 We do not know with certainty who first invented the art of 122 
 painting with wax colours and burning in the painting. Some ^''f'^"^''' 
 believe that it was invented by Aristeides and afterwards brought 
 to perfection by Praxiteles, but encaustic paintings of a somewhat 
 earlier date exist, for example, by Polygnotos, and by tNikanor 
 and tMnasilaos of Pares. fElasippos of Aigina also wrote on one 
 of his paintings ivUacv [burnt it in], which he certainly would not 
 have done before the invention of encaustic painting. 
 
 Tradition further says that Pamphilos the master of Apelles 123 
 not only painted in encaustic but also taught Pausias of Sikyon, f'''Jf'"l'l ■ 
 the first well-known master in this style. Pausias was the son of to, and by 
 ■\Bryetes, under whom he first studied. He also painted with the ^f"""' 
 brush certain walls at Thespiai, which had originally been painted 
 by Polygnotos and needed restoration. His work was held to 
 suffer very greatly by the comparison, as he had competed in 
 a style that was not his own. He was the first to paint panelled 124 
 ceilings, nor was it the practice to decorate vaulted roofs in this 
 way before his day. He habitually painted small pictures, boys 
 being his favourite subject. His rivals declared that this was 
 because his method of encaustic painting was slow, whereupon he 
 determined to acquire a reputation for rapid execution, and 
 painted in a single day a picture of a boy called the rjiiepfia-ios 
 [day's work]. As a youth he loved his townswoman Glykera, 125 
 who first invented flower wreaths. By copying and rivalling her ^b^''"', 
 he enabled encaustic painting to represent a great variety oi girlfieloved 
 flowers. Finally he painted a portrait of Glykera herself seated °f^<^""''^- 
 
 restoration of the paintings would praise for swiftness bestowed upon 
 
 take place on the restoration of the Nilcomachos, § top, and his pupil 
 
 city, after the capture of Thebes by Philoxenos, § no; upon Iaia,in§ 148, 
 
 Alexander in 335 B. c. and Quinctilian's estimate of Anti- 
 
 §124. 16. idem et laounaria philos (note on § 114). 
 
 primus: 'Funvi'i.ngltr {Fleck. Jahrb. § 125. 22. Glyceram ; xxi, 4, 
 
 xxii, 1876, p. 507) has pointed out whence we obtain post Olympiada C 
 
 that these words correspond to qui ( = B.c. 380) as a further guide to the 
 
 primus lacunaria pinxit in the table artist's date. Append. V. 
 
 of contents, while the following nee iuventrioem ; the passage in xxi 
 
 camaras ante eum corresponds to shows that she was really thought of 
 
 quando primum camarae pictae {ib.). as the inventor of the art of plaiting 
 
 The statements accordingly are quite garlands ; thus the old conjecture 
 
 distinct. ■venditricem (Gesner) becomes im- 
 
 20. absolvit uno die : cf. the possible. 
 
152 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 et ipsam sedentem cum corona, quae e nobilissimis tabula 
 est appellata stephaneplocos, ab aliis stephanopolis, quoniam 
 Glycera venditando coronas sustentaverat paupertatem. 
 huius tabulae exemplar, quod apographon vocant, L. Lucul- 
 
 126 lus duobus talentis emit Dionysiis Athenis. Pausias autem s 
 fecit et grandis tabulas, sicut spectatam in Pompei porticu 
 boum immolationem. earn primus invenit picturam, quam 
 postea imitati sunt multi, aequavit nemo, ante omnia, cum 
 longitudinem bovis ostendi vellet, adversum eum pinxit, non 
 
 127 traversum, et abunde intellegitur amplitudo. dein, cum lo 
 omnes quae volunt eminentia videri candicanti faciant co- 
 lore, quae condunt nigro, hie totum bovem atri coloris fecit 
 umbraeque corpus ex ipsa dedit magna prorsus arte in aequo 
 extantia ostendente et in confracto solida omnia. Sicyone 
 et hie vitam egit, diuque ilia fuit patria picturae. tabulas 15 
 
 A.u.c. 698. inde e publico omnis propter aes alienum civitatis addictas 
 
 128 Scauri aedilitas Romam transtulit. post eum eminuit longe 
 ante omnis Euphranor Isthmius olympiade CIIII, idem qui 
 inter fictores dictus est nobis, fecit et colossos et marmorea 
 et typos scalpsit, docilis ac laboriosus ante omnis et in quo- 20 
 cumque genere excellens ac sibi aequalis. hie primus vide- 
 
 4. apographou : there were at the duced by modelling, without the help 
 time many artists who were solely of any extraneous colour, precisely as 
 occupied in the business of copying ; the Kentaurs of the white marble 
 at Athens Lucian, Zeux. 3, sees a slab at Naples (Helbig, Wandgem. 
 copy of the ' Kentaurs ' of Zenxis ; cf. 1 241 ) appear in strong relief through 
 also Dionysios inpX Atvipxov vii, the skilful though slight modelling, 
 p. 644 ; Quinct. x, 2, 6 ; x, 2, 2 ; Wickhoff, Wiener Genesis, p. 47. 
 above, § qi (Helbig, Untersuchungen, in aequo omnia ; in modern 
 p. 63). From the exorbitant price parlance Pausias excelled at giving 
 paid, however, it is possible that the the 'impression of artistic reality with 
 apographon was a replica by the only two dimensions' (cf. Berenson, 
 artist himself. The Florentine painters of the Renais- 
 
 5. Athenis: LucuUus visited m««, p. 4), i.e. at representing depth, 
 Athens in B.C. 88-87 as Sulla's the third 'dimension, on a flat surface. 
 Quaestor ; cf below, on § 156. 15. patria picturae : cf. xxxvi, 9. 
 
 § 126. 7. boum immolationem : 16. propter ass alienum : since 
 
 for the subject cf § 93 (note on pom- Sulla's Mithridatic war the Sikyonians 
 
 paii). had fallen into debt and distress 
 
 5 127. II. eminentia; §§ 92 {di- (see especially Cic. ad Ait. i, 19, 9; 
 
 giti eminere videntur) ; 1^1 . ib. 20, 4; Ttisc. Disp. iii, 22, 
 
 13. umbrae corpus ex ipsa § 53) and were consequently forced 
 
 dedit : the effect was simply pro- to sell their art treasures. 
 
/. PAINTING J 153 
 
 with a wreath, one of the famous pictures of tjisr' world, called 
 the oTf^acijTrXoKos [wreath-binder], or by othe/s the o-Tf^ai/oTrMXif 
 [wreath-seller], because Glykera had support<ed herself by selling 
 wreaths. A copy of the picture, an anoypaipv.v as it is called, was 
 bought by Lucius Lucullus for two talents f -^420 circ.J at the 
 festival of Dionysos at Athens. Pausias, however, also painted 12a 
 large pictures, as for example the famous sacr'fice of oxen in the 
 Gallery of Pompeius. He devised an innpva\ion which has often ffe devises 
 been imitated but never equalled. ■ The most, striking instance is '^application 
 that wishing to display an ox's length of body,«je painted a front of light 
 and not a side view of the animal, and yet contrived to show 
 its size. Again, while all others put in the high\ lights in white 127 
 and paint the less salient parts in dark colour, i^e painted the 
 whole ox black, and gave substance to the shadqw out of the 
 shadow itself, showing great art in giving all his figjUres full relief 
 upon the flat surface, and in indicating their form when fore- 
 shortened. He spent his life at Sikyon, for many years the home 
 of painting. Later on, in the aedileship of Scaurus, all the 56 b.c. 
 pictures of Sikyon were sold to liquidate the public debt, and 
 were brought to Rorne. 
 
 After Pausias in the hundred and fourth Olympiad [364-361 128 
 B. C.J, Euphranor of the Isthmos, whom I have already mentioned Ettpki-a- 
 among the statuaries, far excelled all rivals. He furthermore ' 
 produced colossal statues, works in marble and reliefs. Receptive 
 and of indefatigable industry, he attained in every branch a high 
 level, below which he never fell. He first, it is believed, gave to 
 
 17. Soauri aedilitas: viii, 64, and into the present anachronism, 
 
 often. 18. qvii inter flotores : xxxiv, 77, 
 
 I 128. post eum : of time et colossos ib. § 78, Euphranor's marble 
 
 (Furtwangler, Plinius, p. 15); but works are only mentioned here. 
 
 a date posterior to Pausias is irrecon- 20. typos : in which he would be 
 
 cilable with Ol. 104 below and able to bring out his double skill as 
 
 xxxiv, 50. The mistake arises, as painter and artist ; the Greek relief, 
 
 Robert, Arch. Marchen, p. 89, points as we know it from the Sidonian Sar- 
 
 out, from Pliny's confusion between kophagi, being in reality a sort of 
 
 the Elder Aristeides (§ 75) and raised picture (Wickhoff, Wiener 
 
 Aristeides of Thebes. In his original Genesis, p. 46 ff.; cf. Winter, Arch. 
 
 scl(eme he doubtless intended to keep Anzeiger, 1894, p. 8£f.); a. ypavTis 
 
 E. in his right chronology immediately twttos, Anth. Pal. vii, 730. 
 
 after Euxeinidas and his pupil Aris- in quooumque genere exoel- 
 
 teides; but as in that case the ac- lens; Quinct. xii, 10, 12 Euphra- 
 
 count of the supposed pupil would norem circa flurium artium species 
 
 have preceded that of the supposed praestantem. 
 
 master (§§ 98, III), Pliny was misled 21. Mo primus: introduces his 
 
 nor. 
 
154 
 
 C\PLINII SECUNDI NAT. HIST. XXXV 
 
 tur expressisSe-dignitatis heroum et usurpasse symmetrian, 
 sed fuit in universitate corporum exilior et capitibus articu- 
 
 129 lisque grandior. viblumina quoque composuit de symmetria 
 et coloribus. opej'a eius sunt equestre proelium, XII dei, 
 Theseus, in quo dixit eundem apud Parrhasium rosa pastum 5 
 esse, suum vero caU-ne. nobilis eius tabula Ephesi est, Ulixes 
 simulata insania qovem cum equo iungens et palliati cogi- 
 
 130 tantes, dux gladimi. L.jadens. eodem tempore fuere Cydias 
 et . . . , cuius tabjilam Argonautas HS. CXXXXIIII Hor- 
 tensius orator -nercatus est eique aedem fecit in Tuscu- lo 
 lano suo, Eugfnranoris autem discipulus Antidotus. huius 
 est clipeo di/^icans Athenis et luctator tubicenque inter 
 pauca laudajus. ipse diligentior quam numerosior et in 
 coloribus severus maxime inclaruit discipulo Nicia Atheni- 
 
 131 ense qui diligentissime mulieres pinxit. lumen et umbras 15 
 custodiit atque ut eminerent e tabulis picturae maxime 
 
 8. cydi et cydias codd. ; Cydias Detlefsen. 
 
 special contribution to his art, cf. 
 Introd. p. xxvii f. 
 
 I. dignitatis heroum : so Varro, 
 Vita Pop. Rom., ap. Char. p. 126, 
 praises E. for his altitudo or loftiness. 
 
 symmetrian : note on xxxiv, 65. 
 
 i. exilior : see Addenda. 
 
 capitibus articulisque : the 
 judgement is identical with that passed 
 on Zeuxis in § 64, where see note. 
 
 § 129. 3. volumina . . . com- 
 posuit : lilce Apelles, § 79, Pam- 
 philos (note on § 76),Melanthios, &c. 
 Introd. p. xl f. 
 
 4. equestre proelium : in the Stoa 
 of Zeus Eleutherios at Athens, Paus. 
 i, 3, 4 ; the picture represented the 
 cavalry engagement which preceded 
 the battle of Mantineia (b. c. 362, of. 
 Plut. Glor. Ath. ii, p. 346) ; according 
 to Paus. viii, 9, 8, a copy of it was to 
 be seen in the gymnasion at Mantineia. 
 
 XII dei : in the same Stoa, 
 Pafls. i, 3, 3; for the Zeus in this 
 picture see Val. Max. viii, ext. 5 ; for 
 the Hera, Luc. ^iKdvis 7. 
 
 5. Theseus : likewise in the Stoa 
 Eleutherios ; the hero was represented 
 
 with Demokratia and Demos, Paus. 
 loc. cit. Both Theseus and Demos 
 were subjects that had been treated 
 by Parrhasios (above § 69). Demos 
 was also painted by Aristolaos, § 137. 
 For the distribution of Euphranor's 
 pictures in the Stoa Eleutherios see 
 Hitzig and Bliimn er, Pausanias, p. 1 4 1 . 
 
 in quo dixit eundem : Plut. 
 Glor. Athen. ii, p. 346 Ei(j>pavoip 
 rbv ©Tjaea rov kavTOv to) Uappafflov 
 7rapej3aA.€ ^^eyajv, rbv pi.'kv hiaivov poha 
 peppojicivaij t6v 5e kavrov Kpia ^oeta. 
 Miinzer {oJ>. cit. p. 527) aptly compares 
 the Aristophanic verse (Fr. 180) upon 
 Euripides, recorded by Antigonos of 
 Karystos, ap. Diogenes iv, 3, 18 -napr)- 
 TT] fjt^vos (sc. IIoAe/xaiy) a (prjaiv 'AptffTO- 
 (pdvTjs trepl EvpLtriSov " d^ana koI tftX- 
 0ia)Ta," awepj ujs 6 avris (prjffi, " fcara- 
 •nvyoavvTj TavT^ effxi irpds Kpias fisya.^' 
 Introd. p. Ixiii f. 
 
 7. simulata insania : ore avarpa- 
 Tcvct Tots 'ArpeiSats fii^ QiXaiv, Lucian, 
 vfpi oixov 30, where the whole picture is 
 described in detail. The same subject 
 was painted by Parrhasios (Plut. aud. 
 poet. 3), we are not told for what city. 
 
/. PAINTING 
 
 155 
 
 heroes their full dignity, and mastered the theory of fymmetry ; 
 he made the body, however, too slim and the head and limbs too 
 large. He also wrote on symmetry and colour. His works are : 
 a cavalry engagement, the Twelve Gods and a 1,'heseus, of which 
 he said that the Theseus of Parrhasios had fed pn roses, but his 
 on flesh. At Ephesos is his famous picture of ' Odysseus feigning 
 madness and yoking an ox with a horse, \^th cloaked figures 
 in meditation, and their leader sheathing his sword. Kydias 
 and . . . lived at the same time; his picture of the Argonauts was 
 purchased for 144,000 sesterces [;^i25o circ] by the Orator 
 Hortensius, who built a shrine for it on his estate at Tusculum. 
 iAnttdotos was a pupil of Euphranor. He painted a warrior 
 fighting with a shield, to be seen at Athens, a wrestler and 
 a trumpeter^ a picture praised as are but few. He was a laborious 
 rather than a prolific artist, and severe in his scheme of colouring ; 
 his chief claim to renown is that he was the master of Nikias of 
 Athens, who painted women with minute care. Nikias was pains- 
 taking in his treatment of light and. shade, and took special care 
 
 129 
 
 He com- 
 pares his 
 ' Theseus ' 
 to that of 
 Parrhasios. 
 
 130 
 
 Antidotos. 
 
 Nikias of 
 
 Athens. 
 
 131 
 
 palliati oogitantes : these must 
 be identical with the nfka^us in 
 Lucian's description. 
 
 8. gladium condens : UaKa/v/ibris 
 . . . TTponajTrov ex^'^ ^^ ^^^o^t i- e. the 
 sword was half out of the sheath, and 
 it was uncertain whether Palamedes 
 was drawing or replacing it. So too 
 in § 59, Pliny says of a picture by 
 Polyguotos that it was uncertain 
 whether the man represented was 
 ' ascending ' or ' descending.' 
 
 § 130. fuere Cydias et . . . : 
 the fuere combined with the evidence 
 of the MSS. compels one to assume 
 the loss of an artist's name. Whether 
 Cydias should appear in the first place 
 or the second is uncertain. Over- 
 beck's explanation Schriftquell. 1969° 
 (which I presume is also Detlefsen's), 
 that fuere refers to both Cydias and 
 Antidotus, is quite unwarranted. 
 
 9. Hortensius orator : xxxiv, 
 48. 
 
 12. luotator tubioenque: votive 
 pictures ; for the latter, probably of 
 a winner in a. herald's competition, 
 see note on xxxiv, 88. 
 
 13. numerosior: see on xxxiv, 58. 
 in coloribus severus : for similar 
 
 judgements ; § 98 durior faulo in 
 coloribus; % 134 austerior colore 
 Athenian; § 137 e severissimis pic- 
 toribus (Aristolaus) ; ib. durus in 
 coloribus (Nikophanes). 
 
 14. disoipulo IVioia : Euphranor 
 and Praxiteles being contemporaries 
 (xxxiv, 50), a chronological difficulty 
 arises from the statement that Nikias, 
 who assisted Praxiteles to paint his 
 statues, was the pupil of a pupil of 
 Euphranor. Pliny himself felt the 
 difficulty; in § 133 he hints at the 
 solution in the words non satis discer- 
 nitur . . . ; there were evidently two 
 artists named Nikias ; to the Elder, 
 the assistant of Praxiteles (fl. ab. B. c. 
 370-330), and probably the painter of 
 Alexander (r. B.C. 336-323), belongs 
 the date Ol. cxii, while the Younger, 
 who was the pupil of Antidotos, 
 flourished about the time of Athenion 
 (on whom see note). 
 
 § 131. 15. lumen et umbras: 
 §§ 29, 127. Cf. Introd. p. xxxiv. 
 16. ut eminerent : §§ 92, 127. 
 
156 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 A.u.c. 679. curavit. opera eius : Nemea advecta ex Asia Romam a 
 Silano qu^m in curia diximus positam, item Liber pater in 
 
 A.u.c. 724. aede Concordiae, HyacinthuSj quern Caesar Augustus delec- 
 tatus eo secum deportavit Alexandrea capta — et ob id 
 Tiberius Caesar in templo eius dicavit hanc tabulam et 5 
 
 132 Danaen — , Eph 'si vero est megabyzi sacerdotis Ephesiae 
 Dianae sepulchrum, Athenis necyomantea Homeri. hanc 
 vendere Attalo regi noluit talentis LX, potiusque patriae 
 suae donavit abundans opibus. fecit et grandes picturas, 
 in quibus sunt Calypso et lo et Andromeda, Alexander 10 
 quoque in Pompei porticibus praecellens et Calypso sedens. 
 
 133 huic eidem adscribuntur quadripedes, prosperrime canes 
 expressit. hie est Nicias de quo dicebat Praxiteles inter- 
 rogatus quae maxime opera sua probaret in marmoribus : 
 quibus Nicias manum admovisset, tantum circumlitioni eius 15 
 
 5. tabulam et Danaen] Bamb. ; tabulam — et Danae Detlefsen. 
 
 2. Silauo : ii, loo; governor of 
 Bithynia, B. c. 76-75. The picture 
 had possibly belonged to Pergamon. 
 
 diximus : § 27, where see note. 
 
 3. Hyaointhus : from Paus. iii, 
 19, 4, it appears he was represented 
 in the bloom of youth, in special 
 allusion to Apollo's love for him. 
 
 4. Alexandria capta : on the 
 works of art brought by Augustus 
 from Alexandria, and dedicated by 
 him at Rome, see Wunderer's mono- 
 graph, Manibiae Alexandrinae,y^\ixz- 
 burg, 1894. 
 
 5. in templo eius : i. c. in the 
 temple built to the memory of 
 Augustus by Livia and Tiberius in 
 14 A. D., Dio Cassius Ivi, 46 ; cf. 
 Plin. xii, 94. To it belonged both 
 a portions and a library (xxxiv, 43). 
 
 et Danaen: the Danae ig awk- 
 wardly coordinated with the Hyacin- 
 thus. That it did not come from 
 Egypt, as Urlichs {Chrest. p. 372) 
 supposes, is shown by the fact that 
 Pliny would in that case have made 
 the relative sentence refer to both 
 pictures (Wunderer, op. cit. p. 9). 
 
 § 132. 6. megabyzi : note on 
 
 §93- 
 
 7. sepulchrum : for another grave 
 picture, by Nikias, at Triteia in 
 Achaia, see Paus. vii, 22, 6 ; cf the 
 expirantium imagines of Apelles, in 
 § 90 ; the anapauomene of Aristeides, 
 in § 99. 
 
 necyom. Homeri : Odyssey xi. 
 The picture, described Anth. Pal. 
 ix, 792, was the artist's most cele- 
 brated work. While he was engaged 
 upon it, according to an entertaining 
 tale told by Plutarch, An sen. sit ger. 
 rep. v, 4, Nikias used to ask those of 
 his household whether he had washed 
 or breakfasted. 
 
 8. Attalo regi : familiarity with 
 the high prices paid by Attalos (vii, 
 126; XXXV, 24) induced Pliny into 
 error. The date of Attalos is irre- 
 concilable with that of Nikias, so 
 that Plutarch is probably right in 
 telling the story of Ptolemaios 
 (Soter, B. C. 306-284), UToXiimiou 
 Se Tov $affi\e(as e^T/KOVTa roKavra ttjs 
 ypa<pT]s ffvvTeKeaOeia'tjs irefjajjavTos ai/T^ 
 fiij \aPeiv fiijS' diro56(T6at t6 epyov. 
 
/. PAINTING 
 
 IS7 
 
 that his figures should be relieved against the background. His His treat- 
 works are : the picture of Nemea brought to Rome from Asia by ^^I^f ^^^ 
 Silanus, and placed, as I have said, in the Council Chamber ; shade. 
 a Dionysos in the temple of Concord ; the Hyakinthos carried ^^ ^' ^' 
 away on the fall of Alexandria by Caesar Augustus, who took such 30 b. c. 
 great delight in the picture that as a consequence Tiberius Caesar 
 dedicated it in the temple of Augustus together with the Danae ; 
 at Ephesos a painting for the grave of a fieya^v^os or priest of 132 
 Artemis of Ephesos, and at Athens the veKvofiavreia [questioning 
 of the dead] of Homer. This picture the artist refused to sell to 
 King Attalos for sixty talents [;i^i 2,600 circ] but preferred, as he 
 was a rich man, to present it to his own country. He also painted 
 large pictures, amongst them Kalypso, lo, Andromeda, the excel- J p 
 
 lent portrait of Alexander which is in the Gallery of Pompeius, and \ . 'J 
 a Kalypso seated. Pictures of animals are also ascribed to him, :b3 
 and he was very successful in painting dogs. It is of this Nikias He colours 
 that Praxiteles, when asked which of his marble statues pleased '^"plf^l' 
 him most, said, ' Those which the hand of Nikias has touched,' teles. 
 such was his tribute to this artist's colouring of the accessories. 
 It is not clear whether this or another Nikias is the one placed 
 
 Non posse suav. vivere sec. Ep. xi, 2. 
 The court of Alexandria had been 
 more fortunate in purchasing the 
 Hyakinthos (§ 131). 
 
 patriae suae donavit : of. in 
 § 62 the similar statement concerning 
 Zeuxis. 
 
 9. grandes picturas : in opposi- 
 tion to the smaller pictures painted in 
 encaustic. 
 
 10. Calypso : a standing figure 
 from the fact that the second Kalypso 
 is expressly described as sedens. 
 
 lo : Helbig {Untersuchungen, pp. 
 113, 140), inclines to see in the lo 
 of the House of Livia on the Palatine, 
 a copy of the lo of Nikias, a composi- 
 tion which seems to have inspired 
 Prop, i, 3, 20. 
 
 Andromeda : the composition 
 seems preserved in the well-known 
 relief of the Capitol, Helbig, Class. 
 Ant.^di =Schieibei, Hell. Reliefs, xii; 
 of. the Pompeian paintings, Helbig, 
 Wandgemalde, 1186-1189. Add. 
 
 1 1 . Pompei porticibus : note on 
 
 5 59- 
 
 § 133. 12. prosperrime canes: 
 KHTai 8^ kvravOa . . , NiKias re o Nftfo- 
 liTiSovs (cf. Kohler, AiA. Mitth. 1885, 
 p. 234, 2), f^a dpiffTOS ypalpaL tSjv i<^ 
 avTovj Pans, i, 29, 15. The descrip- 
 tion appears to be from the inscription 
 on the grave. 
 
 15. ciTCumlitioni : the process 
 must be kept distinct from the ydvaats 
 or toning down of the whole statue 
 (Vitr. vii, g, 4) ; circuml. was 
 admirably explained by Welcker (in 
 Miiller, Handhuch, p. 431), to consist 
 in a painting of hair and accessories, 
 intended to give relief Ui the statue — 
 to be in a word identical with circum- 
 litio as understood in painting, Qninct. 
 viii, 5, 26 nee pictura, in qua nihil 
 circumlitum est eminet (cf. id. xii, 
 9, 8). Since then, the discovery of the 
 Sidonian sarkophagoi has revealed 
 precisely such a use of colour for hair, 
 dress, &c., as was divined by Welcker, 
 
158 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 tribuebat. non satis discernitur alium eodem nomine an 
 
 134 hunc eundem quidam faciant olympiade CXII. Niciae 
 conparatur et aliquando praefertur Athenion Maronites 
 Glaucionis Corinthii discipulus, austerior colore et in auste- 
 ritate iucundior, ut in ipsa pictura eruditio eluceat. pinxit 6 
 in templo Eleusine Phylarchum et Athenis frequentiam 
 quam vocavere syngenicon, item Achillem virginis habitu 
 occultatum Ulixe deprendente, et in una tabula VI signa, 
 quaque maxime inclaruit agasonem cum equo. quod nisi 
 
 135 in iuventa obiisset, nemo compararetur. est nomen et lo 
 A.u.c. s86. Heraclidi Macedoni. initio naves pinxit, captoque Perseo 
 
 rege Athenas commigravit, ubi eodem tempore erat Metro- 
 dorus pictor idemque philosophus, in utraque scientia magnae 
 auctoritatis. itaque cum L. Paulus devicto Perseo petiisset 
 ab Atheniensibus uti sibi quam probatissimum philosophum 15 
 mitterent ad erudiendos liberos, item pictorem ad triumphum 
 excolendum, Athenienses Metrodorum elegerunt professi 
 eundem in utroque desiderio praestantissimum, quod ita 
 
 ■while flesh parts are seen to have been 
 left in the tone of the marble ; cf. the 
 Artemis of Vienna, _/o^?-/'. d. Oesterr. 
 Kunstsamml.y, 1887, pi. i, ii, and 
 R. V. Schneider's remarks, ib. p. 22, on 
 the former colouring of the Hermes 
 of Praxiteles. See also Wickhoff, in 
 Wiener Genesis, p. 48. 
 
 I. nou satis discernitur : above, 
 note on discipulo Nicia. 
 
 % 134. 4. austerior : i. e. Nicia, 
 cui comfarabatur ; cf. above, note on 
 severus in § 1 30. 
 
 5. eruditio : cf § 76 omnibus 
 litteris eruditus of Pamphilos. 
 
 pinxit . . . syngenicon : the two 
 pictures mentioned here belonging 
 to the class of votive offerings, and the 
 locality of each being specially noted, 
 B. Keil {Hermes, xxx, 1895, p. 229 ; 
 cf. Miinzer, ib. p. 540) considers the 
 wholte sentence to be an addition 
 to the main account from the work 
 of Heliodoros trepl dvady/^Tojv, see 
 Introd. p. Ixxiv f. 
 
 6. Phylarchum: Pansanias (i, 
 
 26, 3) mentions a cavaliy captain 
 Olympiodoros (presumably identical 
 with the archon of 01. 121, 3 = B.C. 
 294) in the time of Kassander (d. Ol. 
 i2i=B. c. 296), who distinguished 
 himself in an engagement at Eleusis 
 against the Makedonians, and was 
 accordingly honoured with a portrait 
 there. He may quite well, therefore, 
 be identical with the Olympiodoros 
 painted by Athenion, a contempo- 
 rary of the younger Nikias. For 
 lit. see Hitzig-Bliimner, Pausanias, 
 p. 283. 
 
 7- syngenicon : the Greek word 
 introduced because P. is not quite 
 assured of his Latin equivalent ; for 
 the subject see note on cognatio, in 
 §76. 
 
 Achillem . . . deprendente : the 
 subject had been treated by Poly- 
 gnotos in the Pinakotheke of the 
 Propylaia (Paus. i, 22, 6) and often. 
 We know it from a series of Pompeian 
 wall paintings, Helbig, Wandgemalde, 
 1296-J303 (the most famous, 1297, is 
 
/. PAINTING 159 
 
 by some authorities in the hundred and twelfth Olympiad 
 
 [332-329 B. C.J. ^Athenion of Maroneia, the pupil of Glaukion of 134 
 
 Corinth, is compared with Nikias, and preferred to him by some. j,utii^oP' 
 
 He used a severer scheme of colouring than Nikias, and pro- Glaukion. 
 
 duced a more pleasing effect withal, thus manifesting in his 
 
 execution his grasp of the abstract principles of his art. He 
 
 painted in the temple of Eleusis a captain of cavalry ; at Athens 
 
 an assembly called a avyyiviKov ; also Achilles, in the guise of 
 
 a maiden, at the moment of detection by Odysseus ; a picture 
 
 containing six figures, and the groom with a horse on which his 
 
 fame chiefly rests. Had he not died young, no artist would be 
 
 comparable to him. 
 
 •\Herakleides of Makedon, who began life as a ship painter, also 135 
 
 enjoys a great reputation. After King Perseus was taken prisoner, ^^^^^^^ 
 
 he repaired to Athens, where was then living Metrodoros, who was 168 b.c. 
 
 Metro- 
 doros. 
 
 at once painter and philosopher, and had won high distinction ^^*''''' 
 
 in either capacity. Accordingly, when Lucius Paulus after his 
 victories over Perseus asked the Athenians to send him their best 
 philosopher to teach his children, and a painter to commemorate 
 his triumph, they chose Metrodoros, declaring that he could best 
 fulfil both requirements, as indeed Paulus found to be the case. 
 
 given in Rosclier, i, p. 27), none of forming the basis of the Plinian ac- 
 
 which however can be traced baclc count, Introd. p. Ixxx f. 
 with any certainty to Athenion ; cf. 12. Metrodorus : he is most 
 
 Helbig, Untersuch.-f.\Cf%. Addenda. liltely identical with the Metrodoros 
 
 § 135. II. Heraolidi: below, in the Index to this book. Further he 
 
 § 146. is possibly the same as the Metrodoros 
 
 captoque Perseo rege : Ol. 153, of Stratonikaia, mentioned by Diogenes 
 
 I, Robert, Arch. March, p. 135, note, Laertios x, 9, and Cic. De Oraf. i, 1 1, 
 
 points out that the last date for a 45, as being a pupil of Karneades (cf. 
 
 painter having been Ol. 121 (§ 134), Brann, K. G. il, p. 293; Urlichs, 
 
 there was precisely the same gap in the Maler'ei, p. 16; Helbig, Untersuch. 
 
 chronology of the painters as in that p. 5). 
 
 of the bronze sculptors (xxxiv, 52 16. ad erudiendos liberos : the 
 
 cessavit deindears (p\.\2i) ac rursus two yoimger sons who died at the 
 
 01. 116 revixii). It is evident that time of the triumph ; cf. the charming 
 
 the Greek sources ended for painting passage in Plutarch, Aem. Paul, vi 
 
 as for sculpture with approximately Oi -^bf fidvov ypa^iiMTiKol aal ffotpiaral 
 
 the same period, and that the ad- teat gropes, ciWd Kal irXdcTai. Kal 
 
 ditions concerning Herakleides and J^taypaclioi Kal irdiKaiv Kal ffKvk^Koiv 
 
 Metrodoros, both of whom are con- (maTdTatKoiSiSiaKaXoiS'ljpas'EWrivfs 
 
 nected with Roman exploits, like the ijaav ircpl Tois viaviaKovs (i. e. the 
 
 additions made in xxxiv, 52 to the elder sons, the younger Scipio and 
 
 Greek lists of the sculptors, are ex- Fabius Maximus, after their father's 
 
 traneous to the original history of art triumph over the Ligurians, B.C. 181). 
 
l6o 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 136 Paulus quoque iudicavit. Timomachus Byzantius Caesaris 
 dictatoris aetata Aiacem et Mediam pinxit ab eo in Veneris 
 Genetricis aede positas, LXXX talentis venundatas. talen- 
 tum Atticum X VI taxat M. Varro. Timomachi aeque 
 laudantur Orestes, Iphigenia in Tauris et Lecythion agili- 5 
 tatis exercitator, cognatio nobilium, palliati quos dicturos 
 pinxit, alterum stantem, alterum sedentem. praecipue 
 
 137 tamen ars ei favisse in Goi-gone visa est. Pausiae filius et 
 discipulus Aristolaus e severissimis pictoribus fuit, cuius 
 sunt Epaminondas, Pericles, Media, Virtus, Theseus, imago 10 
 Atticae plebis, bourn immolatio. sunt quibus et Nico- 
 phanes eiusdem Pausiae discipulus placeat diligentia quam 
 
 § 136. I. Timomaohus Byz. 
 Caesaris . . . aetate : from what we 
 know of the famous Aias and Medeia 
 (see following note), Plinyseems guilty 
 of an anachronism in placing Timo- 
 machos in this period (so Brunn, 
 Dilthey, Helbig, Urlichs and Furt- 
 wangler ; see Brandstatter, Der Maler 
 Timomachos, where all the evidence 
 concerning the artist's date is col- 
 lected) ; he presumably found no date 
 in his author, and tried to obtain 
 one out of the purchase by Caesar 
 (Furtwangler, Plinius, p. 14), {Cae- 
 saris dictatoris aetate in imitation of 
 Magni Pompei aetate xx, 144 ; xxii, 
 128; xxvi, 12; xxxiii, 130, 156. — 
 H. L. U.] 
 
 2. Veneris G-. aede : above, § 26 
 where see note. 
 
 Aiacem et Mediam: apparently 
 identical with the Aias and Medeia 
 mentioned by Cicero, Verr. II, 
 iv, 60, 135, where he enumerates 
 thirteen works of art, each of which 
 was the pride of the city that owned 
 it : quid arbitramini merere velle 
 Cycicenos, ut Aiacem aut Mediam 
 amittant? Now the Verrine orations 
 date from B. c. 70, and since the 
 pictures had then attained a world- 
 wide celebrity, similar to that enjoyed 
 by the Eros of Praxiteles, the heifer 
 of Myron, &c., we must suppose they 
 
 had been some time in existence ; 
 thus the latest date which could well 
 be assigned to the pictures would be 
 about 100-90 B. c, but this cannot be 
 called the ' age of Caesar.' Indeed 
 since all the artists (i. e. Pythagoras, 
 Myron, the two Praxiteles, Protogenes 
 and Apelles) mentioned by Cicero are 
 of the fifth and fourth centuries, it 
 seems reasonable to suppose that 
 Timomachos also lived not later than 
 the fourth century. From the subjects 
 of his pictures he was probably a con- 
 temporary of Apelles (Brandstatter, 
 op. cit."). The two pictures were com- 
 posed as pendants, at least so we 
 gather from the juxtaposition of the 
 subjects in Ovid, Trist. ii, 525 : 
 Utque sedet vultufassus Telamonius 
 
 iram^ 
 Inque oculis /acinus barbara mater 
 
 habet. 
 The composition has survived on a 
 number of gems (Berlin, Cat. 673, 
 
 674. 1357. 4319, 4327. 6491; Br. 
 Mus. Cat. 1426, 1427). Copies of 
 the Medeia have survived in two wall- 
 paintings (i) from Pompei, Helbig, 
 Wandgemdlde, 1262, (2) from Hercu- 
 laneum, Helbig, 1264 (single figure 
 of Medeia, but taken apparently 
 from a large composition similar 
 to the former) : Medeia meditating 
 the murder, while the children 
 
/. PAINTING 
 
 i6i 
 
 Timomachos of Byzantion in the time of the dictator Caesar 136 
 painted the Aias and the Medeia, placed by Caesar in the temple f^^"""'' 
 of Venus the Mother, which cost eighty talents [_;^i6,8oo circ.J. 
 (Marcus Varro values the Attic talent at 6000 denarii.) Other 
 pictures by Timomachos meet with a like praise ; his Orestes and ) 
 Iphigeneia among the Tauroi ; his portrait of Lekythion, a master jl 
 of gymnastics ; an assembly of notable persons, and two men in j 
 cloaks just read^ Jo speak, one standing, the other sitting. Art, \ 
 however, is thought to have granted to him his greatest success in 
 the Gorgon which he painted. 
 
 ■iAristolaos, the son and pupil of Pausias, was an artist of the 137 
 severest school ; he painted pictures of Epameinondas, Perikles, son^and"^' 
 Medeia, Valour, Theseus, a personification of the populace oi pupil of 
 Athens, and a sacrifice of oxen. Faustas. 
 
 \Nikophanes, another pupil of Pausias, is admired by a small Niko- 
 
 phanes. 
 sarkophagos, Robert, Sarkoph. Reliefs 
 
 quietly play in charge of the 
 paidagogos — a scheme which corre- 
 sponds to Lucian's description Tttpi 
 oiKov, 31. The picture was very 
 probably inspired by the Medeia of 
 Euripides. From § 145 we learn that 
 it was left unfinished. The Medeia 
 gave occasion for a number of 
 epigrams (see Overbeck's Sckrift- 
 quellen 2136-2139). Anth. Plan. 
 iv, 137, shows that it was painted in 
 encaustic — tv K-qpa. (Against the 
 view advanced here that Timomachos 
 is a painter of the fourth century, see 
 Robert, in Arch. Mdrchen, p. 132, 
 who defends Pliny's Caesaris aetate, 
 and lately Wickhoff, in Wiener 
 Genesis, p. 72). Addenda. 
 
 5. Orestes, Iphigenia in Tauris: 
 one picture, the two parts of which 
 are given asyndetically, see J. MiiUer, 
 Stil, p. 39 i. For the subject cf the 
 Pompeian wall-painting, A. Z, 1875, 
 pi. xiii : on the right, above, Iphigenia 
 with her maidens emerging from the 
 temple, on the left, below, Orestes 
 and Pylades brought prisoners to the 
 temple ; as Robert points out {ib. 
 P- 133 f-); there are no grounds for 
 identifying the Pompeian picture as 
 a copy of the original by Timomachos. 
 See also the composition on the 
 
 . Ivii. Addenda. 
 
 agilitatis exeroitator: he would 
 be a less exalted personage than an 
 tTnarwrr]^ a9\.T)TSiv (xxxiv, 82), but 
 more on a level with the praestigiator 
 Theodores, and the sallator Alki- 
 sthenes in § 147. The picture was 
 presumably a votive portrait. 
 
 6. oognatio nobilium : above, 
 note on § 76. 
 
 palliati : i. c. wrapped in the 
 pallium ^llifvnov, whence they were 
 presumably portraits ; cf. on the duo 
 palliata in xxxiv, 54. 
 
 quos dicturos : [cf. the Elder 
 Philostratos eltcdves ii, 31 opa Kal 
 rdv ®€fit(TTotc\4a T^v pXv rov npoawTTov 
 oraatv irapairA.'iio'tov Tois Xiyovtriv. 
 — H. L. U.] ; also Sittl, Gebdrde, 
 p. 7, note 5. 
 
 8. in Gorgone: i.e. a Gorgoneion 
 or mask of Medusa; we may compare 
 in sculpture the 'Medusa Rondanini' 
 (Munich, Glypt. 128). 
 
 §137. Pausiae: above, § 123. 
 The account of Aristolaus has been 
 torn asunder from its original context. 
 
 9. e severissimis : note on § 130. 
 
 1 1, bourn immolatio : note on 
 § 93 ; cf. § 177. 
 ITioophanea : above, § ill. 
 
 M 
 
1 63 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 intellegant soli artifices, alias durus in coloribus et sile 
 multus ; nam Socrates iure omnibus placet ; tales sunt 
 eius cum Aesculapio filiae Hygia, Aegle, Panacea, laso et 
 piger qui appellatur Ocnos, spartum torquens quod asellus 
 
 138 adrodit. hactenus indicatis proceribus in utroque genere s 
 non silebuntur et primis proximi : Aristoclides qui pinxit 
 aedem Apollinis Delphis. Antiphilus puero ignem conflante 
 laudatur ac pulchra alias domo splendescente ipsiusque pueri 
 ore, item lanificio in quo properant omnium mulierum 
 pensa, Ptolemaeo venante, sed nobilissimo Satyro cum pelle lo 
 pantherina, quern aposcopeuonta appellant. Aristophon 
 Ancaeo vulnerato ab apro cum socia doloris Astypale 
 numerosaque tabula in qua sunt Priamus, Helena, Credulitas, 
 
 139 Ulixes, Deiphobus, Dolus. Androbius pinxit Scyllum 
 ancoras praecidentem Persicae classis, Artemon Danaen 15 
 
 12. Ancaium (Angaium e corr.) vineratnrao Bamb. ; Ancaeum vulneratum 
 Detlefsen. Astypalaea coni. Brunn K. G. ii, p. 53, Detlefsen. 
 
 1. soli artifices ; MUnzer, op, cit. 
 p. 519, points out that this reference 
 to the opinion of artists recalls the 
 passage on Telephanes, xxxiv, 68. 
 
 durus in coloribus : § 1 30 in 
 coloribus severus, where see note. 
 
 2. nam : [elliptical, i. e. the case 
 of the painter Sokrates is different, 
 for he pleases everybody {omnibus), 
 whereas Nikophanes is only for the 
 few {sunt quibus) ; cf. the use of 
 nam in xxxiv, 7; x, 210; xvii, 58, 
 151.— H. L. U.] 
 
 Sokrates : he appears in such 
 close connexion with Aristolaos and 
 Nikophanes, that he is presumably also 
 a pupil of Pausias. In xxxvi, 32, Pliny 
 mentions a sculptor Sokrates, whom 
 he distinguishes from the painter, 
 though according to some authorities 
 they were identical. Introd. p. 1. f. 
 
 3. Aesculapio : i. e. a votive 
 picture for a reco^■ery ; for the subject 
 c£ the reliefs, Friederichs-Wolters, 
 1 148, 1 1 50. 
 
 4. Ocnos ; for the subject, which 
 had already been represented by 
 Polygnotos in the Delphian Lesche 
 
 (Paus. X, 29, 2), cf. the pulealia the 
 Vatican (Helbig, 373). 
 
 § 138. 5. utroque genere : i. c. 
 both large and small pictures. 
 
 7. aedem Ap. Delphis ; nothing 
 further is known of these paintings. 
 
 Antiphilus : above, §§ 89, 114. 
 
 puero ign. confl, : for the same sub- 
 ject in statuary cf. the splanchnoptes 
 of Styppax, xxxiv, 81. 
 
 8. domo splendescente; for effects 
 of reflected light cf. above, note on 
 5 78, and Wickhoff, Wiener Genesis, 
 
 P- 79- 
 
 9. lanificio : cf. the subjects of 
 Peiraikos in § 112, of Philiskos in 
 
 § 143- 
 
 10. Ptolemaeo : above, § 89. 
 
 11. aposcopeuonta: i.e. raising 
 his hand to shade his eyes in the 
 satyric dance called OKuinivfia (Athen. 
 xiv, p. 629 f.). Variations of the 
 motive have been recovered in a num- 
 ber of statues and statuettes, which 
 can all be traced back to one original 
 type of which the finest instance is a 
 bronze at Berlin ; Furtwangler, Sa/yr 
 aus Pergamon, p. 14 fF. 
 
/. PAINTING 163 
 
 circle for an industry which painters alone can really appreciate ; 
 apart from this merit he was too harsh in colouring, and too lavish 
 in his use of yellow ochre. The merit of ■\Sokrates on the other Sokrates. 
 hand is, as it should be, patent to everybody, thanks to his 
 pictures of Asklepios with his daughters Hygieia, Aigle, Panakeia 
 and laso, and of a sluggard, called "Okvos [sloth], twisting a rope 
 which an ass is gnawing. 
 
 So far I have spoken only of the leading artists in both styles, 133 
 but I do not purpose to omit those of the second rank. Painters of 
 
 •\Aristokleides painted the temple of Apollo at Delphoi. Anti- arranged 
 
 philos is praised for his picture of a boy blowing a fire, and for the '^Ip^abeti- 
 
 reflection cast by the fire on the room, which is in itself beautiful, Arista- 
 
 and on the boy's face : for his picture of wool-weaving, where all ^^"<^f^- 
 
 . . Antiphilos, 
 
 the women busily ply their tasks ; for his Ptolemaios hunting, and, 
 
 most famous of all, for his Satyr with a panther's skin, called the 
 
 a7ro<rico7reuwr, or Gazer. 
 
 Aristophon is celebrated for his Ankaios wounded by the boar, Aristo- 
 
 grouped with Astypale, the partner of his woe, and a crowded /'^''»- 
 
 picture containing Priam, Helen, Credulity, Odysseus, Deiphobos 
 
 and Guile. \Androbios painted Skyllos cutting the cables of the 139 
 
 Persian fleet ; \Artemon a Danae and the pirates marvelling at her ; 
 
 Aristophon : brother of Poly- figures, from Quinct. v, 10, 10 ■vulgo- 
 
 gnotos, above, note on § 60. que {inter opifices) faullo numero- 
 
 12. Anoaeo: not the Arkadian sius opus diciiur argumentosum. 
 Ankaios, but the Argonaut with his Priamus . . Dolus : from the 
 mother Astypale. Kenndorf, Gjolbas- presence of Helen and of Deiphobos 
 chi, p. 114 f., inclines to believe the it appears that the pictnre represented 
 ■wounded hero was supported by his a scene from the siege of Troy subse- 
 mother, a Polygnotan scheme, echoes quent to the death of Paris ; on the 
 of which seem to have survived on both whole composition cf. ]a.ha,^.Z. 1847, 
 the Phigaleian and Gjblbaschi friezes. p. 127. For the personifications of 
 The hero being a Samian, the picture Dolus and Credulilas cf. the Sio^oAij in 
 was probably at Samos. Apelles' picture (above, note on § 891. 
 
 Astypale; [shortened for Asty- §139. 14. Soyllum : he dived and 
 
 palaia, so Zeuxis commonly for Zeux- cut the cables of the Persian fleet, 
 
 ippos; cf. A. Fick, Die Griechischen Paus. x, 19, i ; cf. Herod, viii, 8. 
 Personennamen^ 2nd. ed., p. 35. In 15. D. mirantibus earn prae- 
 
 Hyginus, Fab. 167 (ed. Bimte, 122, donibus: according to the legend, it 
 
 I, 6), Astyphile is unnecessarily was Dictys, a fisherman, who rescued 
 
 restored by Bunte to Astyphalaea. — Danae. There may have been a 
 
 H.L. U.] The reading Astypale is variant tradition or the ^toiS</(?««j may 
 
 also kept by Benndorf (pp. cit.). come from misinterpretation of the 
 
 13. ntunerosa : Bruim, K. C. ii, picture. Helbig, Unlersuchungen, 
 p. 53, explains this adjective applied p. 145, brings Wandgemdlde 119 into 
 to a picture which contained only six connexion with the ' Danae.' 
 
 M 3 
 
164 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 mirantibus earn praedonibus, reginam Stratonicen, Herculem 
 et Deianiram, nobilissimas autem, quae sunt in Octaviae 
 operibus, Herculem ab Oeta monte Doridos exusta mortali- 
 tate consensu deorum in caelum euntem, Laomedontis circa 
 Herculem et Neptunum historiam. Alcimachus Dioxip- 5 
 pum, qui pancratio Olympiae citra pulveris iactum, quod 
 
 140 vocant clkoviti, vicit, Coenus stemmata. Ctesilochus Apellis 
 discipulus petulanti pictura innotuit, love Liberum parturi- 
 ente depicto mitrato et muliebriter ingemescente inter 
 opstetricia dearum, Cleon Cadmo, Ctesidemus Oechaliae 10 
 expugnatione, Laodamia, Ctesicles reginae Stratonices 
 iniuria. nullo enim honore exceptus ab ea pinxit volutan- 
 tem cum piscatore quem reginam amare sermo erat, eamque 
 tabulam in portu Ephesi proposuit ipse velis raptus. regina 
 tolli vetuit utriusque similitudine mire expressa. Cratinus 15 
 
 141 comoedos Athenis in Pompeio pinxit, Eutychides bigam, 
 regit Victoria. Eudorus scaena spectatur — idem et ex 
 
 I . reginam Stratonicen : there 
 were several queens of this name ; 
 the most celebrated, who may be the 
 one intended here, was daughter of 
 Demetrios Poliorketes (Plut. Dem. 
 liii), married first to Seleukos Nikator, 
 then to his son Antiochos (Val. Max. 
 V, 7, £xt. l) ; Introd. p. Ix. 
 
 Herculem et Deianiram ; this 
 and the following picture seem part 
 of a cycle representing the Labours of 
 Herakles. Addenda. 
 
 3. Herculem ... in caelum 
 euntem : for the Apotheosis of 
 Herakles in later art see Furtwangler, 
 aj>. Roscher, i, 2250. 
 
 5. historiam : probably in a series 
 of pictures. One scene, the freeing of 
 Hesione by Herakles, was also the 
 subject of a picture by Antiphilos 
 (above, § 114). 
 
 Dioxippum ; he was in the army 
 of Alexander the Great, and in B.C. 
 326, during the Median campaign, 
 he overcame in an athletic contest 
 the Makedonian Koragos who had 
 challenged him. By this feat, how- 
 ever, he drew upon himse f the dis- 
 
 pleasure of Alexander, and being 
 slandered to the king he finally took 
 his own life. Diod. xvii, loo-ioi ; 
 Ailian, Hoik. 'lar. n, 22 (see G. H. 
 Forster, Sieger in den Olympischen 
 Spielen, i, p. 27, 381), 01. 113, 3 = 
 326 B.C. 
 
 6. Olympiae : instead of the usual 
 construction, Olympia mncere, imi- 
 tated from the Greek. 
 
 7. aKoviTi = X'^P^^ Koveois : usually 
 because the appointed antagonist 
 failed to appear; according to Pans, 
 vi, II, 4, Dromeus of Mantineia was 
 the first to gain a victory d/covtri; cf. 
 id. vi, 7, 4 ; /. G. B. 29. See for 
 all possible conditions of such a 
 victory K. E. Heinrichs, Ueber das 
 Pentathlon der Griechen (Wiirzburg, 
 1892), p. 74. For the expression 
 situ pulvere, which was proverbial, 
 Otto, Sprickworter, p. 290. 
 
 stemmata: portraits fitted into 
 some kind of genealogical tree (xxxv, 
 § 6} ; cf. note on cognatio, in § 76. 
 
 § 140. Ctesilochus : if iden- 
 tical, as is generally supposed with 
 the KTr/aioxos of Sonidas (s. v. 
 
/. PAINTING 
 
 165 
 
 a portrait of queen Stratonike ; a Heraldes and Deianeira, and 
 the celebrated pictures in the galleries of Octavia : the one repre- 
 sents Herakles on Mount Oite in Doris, putting off his mortality 
 in the flames, and going up to heaven by consent of all the gods ; 
 the other shows the story of Laomedon, Herakles and Poseidon. 
 \Alkimachos painted a picture of Dioxippos, who won in the pan- 
 kration at Olympia a victory without dust, okowti, as it is called. 
 •\Koinos painted family trees. Ktesilochos, a pupil of Apelles, 
 became famous by a burlesque painting of Zeus giving birth to 
 Dionysos ; the god wears a head-dress and, moaning like a woman, 
 is receiving the good offices of the goddesses. ^Kleon owes 
 his reputation to a picture of Kadmos, ^Ktesidemos to a siege of 
 Oichalia and a Laodameia, while ^Ktesikks is best known by the 
 affront he offered to queen Stratonike, who had received him 
 without any mark of honour. He in consequence painted her 
 lying in the arms of a fisherman, her reputed lover, and had the 
 picture exhibited in the port of Ephesos, after he himself had sped 
 away with all sails set. The queen, however, would not allow the 
 picture to be removed, as both portraits were excellent likenesses. 
 •\Kratinos painted comic actors in the Pompeion at Athens, 
 Eutychides, a two-horsed chariot driven by Nike. ■\Eudoros, who 
 
 brother of Stratonices iuiuria : cf. on § 
 
 139- 
 
 Alkima- 
 chos paints 
 a portrait 
 of the Fan- 
 kratiast 
 Dioxippos. 
 140 
 Ktesilo- 
 chos paints 
 a grotesque 
 picture of 
 the birth oj 
 Dionysos. 
 
 Ktesikles : 
 his venge- 
 ance tipon 
 Queen 
 Stratonike. 
 
 141 
 
 Apelles), he was the 
 Apelles. 
 
 8. petulanti piotura : the picture 
 was probably intended as a parody. 
 Heydemann, Hall. Winckelmannspr. 
 X (1885), p. 6ff. 
 
 love . . . mitrato : an absurdity 
 because, among Greeks at any rate, 
 the yxTpa was only a feminine adorn- 
 ment ; above, § 58 capita earum 
 (sc. mulierum') mitris versicoloribus 
 operuit ; but vi, -idi Arabes mitrati. 
 
 9. inter opstet. dearum : i. e. the 
 Eileithyiai. 
 
 10. Ctesidemus : the master of 
 Antiphilos, above, § 114. 
 
 Oeolialiae expugn. : by Herakles, 
 Strabo, ix, p. 438. 
 
 11. Laodamia : the subject is of 
 frequent occurrence (gem Br. Mus. 
 Cat. p. 67, no. 327 ; numerous sarko- 
 phagi, cp. especially Baumeister, 
 Denkm., p. 1422, fig. 1574), but there 
 is no ascertained copy of Ktesidemos's 
 picture. 
 
 15. Cratiuus eomoedus ; I see 
 no need for doubting his identity with 
 the writer of comedies (fl. middle of 
 fifth cent.). This first meation of 
 Kratinos was detached from its con- 
 text with Eirene, daughter of Kra- 
 tinos (§ 147), in order to be intro- 
 duced into the alphabetical list (see 
 Miinzer, op. cit. p. 535 ; Introd. p. 
 Ixv.). 
 
 16. in Pompeio : at the entrance 
 to the Kerameikos, Pans, i, ^,4. 
 
 § 141. Butyohidea : in xxxiv, 78, 
 he is mentioned as a sculptor in 
 bronze. 
 
 bigam, regit Victoria ; for the 
 subject cf. Helbig, Wandgemdlde, 
 
 938. 939- 
 
 1 7. scaena : i. e. a scenic decoration 
 intended to be fastened to the scaenae 
 frons ; cf. § 23. 
 
 et ex aere signa fecit : he is how- 
 ever not mentioned in xxxiv. 
 
i66 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 acre signa fecit — Hippys Neptuno et Victoria. Habron 
 amicam et Concordiam pinxit et deorum simulacra, Leon- 
 tiscus Aratum victorem cum tropaeo, psaltriam, Leon 
 Sappho, Nearchus Venerem inter Gratias et Cupidines, 
 
 142 Herculem tristem insaniae poenitentia, Nealces Venerem — 5 
 ingeniosus et sellers iste, siquidem, cum proeliuin navale 
 Persarum et Aegyptiorum pinxisset, quod in Nilo, cuius est 
 aqua maris similis, factum volebat intellegi, argumento 
 declaravit quod arte non poterat ; asellum enim bibentem 
 
 143 in litore pinxit et crocodilum insidiantem ei — Oenias 10 
 syngenicon, Philiscus officinam pictoris ignem conflante 
 puero, Phalerion Scyllam, Simonides Agatharchum et 
 Mnemosynen, Simus iuvenem requiescentem, officinam 
 fullonis quinquatrus celebrantem, idemque Nemesim egreg- 
 
 144 iam, Theorus se inunguentem, idem ab Oreste matrem 15 
 
 15. se inunguentem] Sillig; emungentem Bamb.; et inungentem Rice; 
 erumpentem Detlefsen (coni. Benndorf). 
 
 1. Hippys : the name has been 
 conjecturally restored from Polemon, 
 ap. Athen. xi, p. 474 d ; cf. above, 
 note on anus in § 78. 
 
 2. amicam : simply the portrait 
 of a hetaira (cf. Furtwangler, 
 Dornauszieher, p. 94, n. 53). Some 
 commentators, however, assume a 
 misunderstanding on Pliny's part of 
 the Greek i^iA.ia, and suggest the 
 reading Amicitiam, by analogy with 
 Concordia = dfwvoia. 
 
 3 Aratum . . . tropaeo : accord- 
 ing to Hardouin {ad loc), to com- 
 memorate the victory over Aristippos, 
 Plut. Aratus, xxix ; the identification 
 with the Sikyonian Aratos (frees 
 Sikyon B.C. 251), however, seems 
 doubtful, since none of the known 
 painters in the list belong to so late a 
 period ; below, note on Nealces ; cf. 
 Brunn, K. G. ii, p. 292. 
 
 psaltriam : cf. xxxiv, 63 and note. 
 
 J 142. 5. Herculem tristem : i.e. 
 after the murder of his children ; cf. 
 in sculpture the kindred subject of 
 Athamas, xxxiv, 140. A gem, which 
 Stephani {Ausruh. Her. p. 145) 
 
 thought he could trace back to the 
 picture of Nearchos, has been shown 
 by Furtwangler (a/. Roscher, i, 2175) 
 to be merely an adaptation by an 
 artist of the Renascence of a type 
 created for Aias (above, note on § 1 36). 
 
 Ifealoes; MUnzer, op. cit. p. 532, 
 note 2, rightly disputes his identity 
 with the painter Nealkes, the friend 
 of Aratos (Plut. loc. cit. xiii), since 
 in that case Pasias, the pupil of Neal- 
 kes's own pupil Erigonos (§ 145), 
 would belong to the late second 
 century, outside the lower limit of the 
 lists ; to this consideration may be 
 added that the story recounted of 
 Erigonos {loc. cit.) is closely connected 
 with a number of other stories, which 
 cannot have arisen later than the 
 commencement of the third century. 
 Miinzer's discovery, however, with 
 regard to the picture by Nealkes 
 (note OD proelium) at once settles the 
 question in favour of an earlier painter 
 of the name. 
 
 6. ingeniosus : cf. the praise 
 bestowed upon Timanthes in § 73. 
 
 proelium . . . asellum. Miinzer 
 
I. PAINTING 
 
 167 
 
 Nealkes. 
 
 also made statues in bronze, is known by a scene painted for 
 a theatre, Hippys by a Poseidon and a Nike, -Mlabron by a 
 portrait of his mistress, a picture of Concord and figures of the 
 Gods. iZeontiskos painted Aratos as victor with a trophy, and 
 a woman playing on the cithara, ■\Leon a Sappho, \Nearchos an 
 Aphrodite attended by the Graces and Loves, and a Herakles in 
 grief repenting of his madness, ^Nealkes, an Aphrodite. This 142 
 Nealkes was a man of ingenious devices ; he had painted a naval ' 
 battle between the Egyptians and Persians, and wishing to show 
 that it was fought on the Nile (the waters of which are like those 
 of the sea) he indicated by a symbol that which art alone could 
 not express, painting an ass drinking on the river's brim and 
 a crocodile lying in wait for it. -^Oinias painted a family gather- 143 
 ing; iPhiliskos an artist's studio with a boy blowing the iire; 
 ^Phakrion a Sky 11a ; iSimonides an Agatharchos and Mnemo- 
 syne; Simos a youth resting, the workshop of a fuller who is 
 keeping the festival of Minerva, and a Nemesis of great beauty, '^^^^^j . 
 \Theoros painted an athlete anointing himself, an Orestes slaying his picture 
 
 (Joe. cit.^ has had the signal merit 
 of fixing the occasion for the picture 
 and thereby the date of the artist. 
 It must have referred to one of the 
 battles by which Artaxerxes III 
 Ochos, (b. c. 358-337), successively 
 reduced Egypt in B. c. 350. ' Popular 
 conceptions of tlie wicked enemy, of 
 the ass-shaped Seth Typhon, had won 
 for the hated king the nickname of 
 the " Ass" amongthe Egyptians, while 
 , among the Greeks who fought in 
 thousands on either side, the pun 
 Sixos — oi/os had quickly spread (cf. 
 Deinon, ap. Plut. de Iside, 31 Sid koX 
 Toiv TiipaiKoiv $aai\iaiv IxBpaivovTfs 
 liAKiara riv 'nx"" ^^ ivayfi xal 
 /itapov, ovov knaivdfjiaffav : Ailian, Uotu. 
 'IffT. iv, 8). The allusion which Neal- 
 kes introduced into his picture was 
 clear to his contemporaries and to the 
 point ; later its meaning was forgotten, 
 and people had recourse to the silly 
 explanation recorded by Pliny.' 
 
 §143. II. syngenicon : above, 
 § 136; cf. note on § 76. 
 
 ignem oonflante puero. The 
 studio must have been that of a 
 
 painter in encaustic ; cf the picture by 
 Antiphilos, in § 138- Introd. p. Ixxi. 
 
 12. Soyllam: uncertain whether 
 the sea monster or the daughter of 
 Nisos ; cf. Brunn, A'. G. 300 ; a Scylla 
 by Nikomachos in § 109. 
 
 13. Mnemosynen : cf the relief of 
 Archelaos of Priene in Br. Mus. 
 
 Simus : possibly identical with 
 the sculptor Simos of Salamis (in 
 Kypros), known from two inscriptions 
 (/. G. B. 163, 164), which from the 
 character of the epigraphy may be 
 dated about the third century B. c, 
 Brunn, K. G. i, p. 467 ; H. v. Gaer- 
 Xraigea,Jahrb. ix, 1894, p. 39. 
 
 iuvenem requiesoentem : [per- 
 haps a grave picture, in which the dead 
 youth was represented lying down, i. e. 
 an avaTTav6fj.tvos (§ 99 and note), an 
 expirantis imago (§ 90). — H. L. U.] 
 
 14. quinquatrus ; the feast, which 
 was of two kinds, the Greater and the 
 Lesser, was kept by all those whose 
 trades were under the special protec- 
 tion of Minerva. Addenda. 
 
 § 144. 15. Theorus : the name 
 belongs to the class of those given, 
 
i68 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 et Aegisthum interfici, bellumque Iliacum pluribus tabulis, 
 quod est Romae in Philippi porticibus, et Cassandram, quae 
 est in Concordiae delubro, Leontium Epicuri cogitantem, 
 Demetrium regem, Theon Orestis insaniam, Thamyram 
 citharoedum, Tauriscus discobolum, Clytaemestram, Pani- 5 
 
 145 scon, Polynicen regnum repetentem et Capanea. non omit- 
 tetur inter hos insigne exemplum. namque Erigonus tritor 
 colorum Nealcae pictoris intantum ipse profecit ut celebrem 
 etiam discipulum reliquerit Pasian, fratrem Aeginetae 
 pictoris. illud vero perquam rarum ac memoria dignum 10 
 est suprema opera artificum inperfectasque tabulas, sicut 
 Irim Aristidis, Tyndaridas Nicomachi, Mediam Timomachi 
 et quam diximus Venerem Apellis, in maiore admiratione 
 esse quam perfecta, quippe in is liniamenta reliqua ipsaeque 
 cogitationes artificum spectantur, atque in lenocinio com- 15 
 mendationis dolor est manus, cum id ageret, exstinctae. 
 
 146 sunt etiamnum non ignobiles quidem, in transcursu tamen 
 
 according to Fick ( Gr.Personcnnamen, 
 p. 360), in allusion to the bearer's 
 profession (see, however, H.L.Urlichs' 
 note on Euchira, in § 152). That 
 there is not the slightest evidence for 
 following Brunn {K. G. ii, p. 255), in 
 charging Pliny with the fabrication of 
 Theorus out of a misunderstanding 
 of Theon, has been shown by Urlichs 
 in Hdlz. Pferd, p. 18, u.. 17. 
 
 se inungeutem : votive portrait 
 of an athlete, represented in the 
 act of anointing himself, a subject 
 familiar in statuary, Furtwangler, 
 Masterpieces, p. 257 ff. ; against the 
 Benndorf Detlefsen reading erumpen- 
 tem see H. L. Urlichs, in Woch. f. 
 Klass. Phil. 1895, P- 548- 
 
 ab Oreste matrem et Aegis- 
 thum interfici ; cf the construction 
 in xxxiv, 59 {fecit) Apollinem ser- 
 pentemque eius sagittis configi. For 
 the subject cf. the Pompeian picture, 
 A. ^. xli, 1883, pi. ix, I (Robert, ib. 
 p. 259), and the Sarkophagos in St 
 Petersburg, Robert, Sark. Pel. pi. liv, 
 p. i6j f. Wickhoff, Wiener Genesis, 
 p. 85. 
 
 1. beUumciue Iliacum pluribus 
 tabulis : probably one of the oldest 
 instances of a serial representation of 
 scenes from the Trojan war, such as 
 became so fashionable in imperial 
 days (cf. the Troiae halosis, Petron. 
 87, also the pictures of the Fall of 
 Troy, seen by Aineias in the Palace 
 ofDido,Virg.j4««. 1,456-493). From 
 Pompeii we have a series of pictures, 
 which, even if not close imitations of 
 the pictures by Theoros (see Helbig, 
 Uniersuch. p. 142), serve to illustrate 
 how these cycles were conceived ; see 
 Briining, Jahrb. ix, 1894, p. 164 
 {Ueber die I'ildlichen Vorlagen der 
 Ilischen Tafelii^. 
 
 2. Philippi porticibus : note on 
 §66. 
 
 Cassandram : it may have been 
 part of the Trojan series (above), and 
 have become separated from it ; more 
 probably it was a picture by itself. 
 
 3. Leontium : note on § 99. 
 
 4. Dennetrium : i. e. Poliorketes ; 
 cf. note on xxxiv, 42. 
 
 Theon : of Samos ; mentioned by 
 Quinct. xii, 10, 6, among the seven 
 
/. PAINTING 
 
 169 
 
 his mother and Aigisthos, a cycle of pictures of the Trojan war, of 'Orestes 
 now in Rome in the Gallery of Philip, a Kassandra, now in the Mother.' 
 temple of Concord, Leontion, the pupil of Epikouros, in medita- 
 tion, and king Demetrios. Theon painted the madness of Orestes, Theon: his 
 and a portrait of Thamyras, a player on the cithara ; Tauriskos -J^^^ "^ad- 
 painted the portrait of a quoit - thrower, a Klytaimnestra, a ness of 
 Tiafia-Kos or young Pan, a Polyneikes claiming the throne, and ''"' "' 
 a Kapaneus. 
 
 Nor must I forget to mention here the noteworthy case of 145 
 ^Erigonos, who ground the colours of Nealkes, and eventually jj^^°ll°^' 
 became so good a painter that he could even train a great artist mfrom ob- 
 his pupil ^Fasias, the brother of the painter ■\Aiginetas. Another-i^""'-'' '" 
 most curious fact and worthy of record is, that the latest works of sin^dar 
 
 artists and the pictures left unfinished at their death are valued f"^^*^ ««<^ 
 , ^,.^.,,.. r i,T-i harm of 
 
 more than any of their finished paintings, for example the Ins by Unfinished 
 
 Aristeides, the children of Tyndaros by Nikomachos, the Medeia "orks. 
 
 by Timomachos and the Aphrodite by Apelles, mentioned above. V 
 
 The reason is that in these we see traces of the design and the/ 
 
 original conception of the artists, while sorrow for the hand that\ 
 
 perished at its work beguiles us into the bestowal of praise. J 
 
 There still remain certain painters whom, though artists of 146 
 
 repute, I can do no more than name in passing, \Aristokydes, frTv- / 
 
 list. 
 
 most important painters of the age of 
 Alexander, as praestantissimus . . . 
 concipiendis visionibus, quas ipavjaalas 
 ■vocant ; cf. also Ailian, IIoiK. 'Ictt. ii. 
 44, where the warrior charging out of 
 a panel is described. 
 
 Orestis iusaniam : ^ifl' 'Opiarov 
 fiTjTpoKToviav, Pint, de aud. Poet. 3. 
 
 Tlitiinyram. citliaroedum : cf. the 
 Corgosthenes tragoedus, by Apelles, 
 in § 93, the tibicina of Lysippos,xxxiv, 
 63, the psaltria by Leontiskos, in 
 § 141, &c. 
 
 5. Taurisous : his identity with 
 one of the sculptors of the ' Famese 
 Bull ' can neither be proved nor dis- 
 proved. He is perhaps the same as 
 the silver-chaser of xxxiii, 156, whom 
 in xxxvi, 33, Pliny is careful to dis- 
 tinguish from the sculptor. 
 
 discobolum : votive picture for 
 an athletic contest. 
 
 § 145. *}. tritor oolorum : cf. 
 above, § 85 qui colores tererent ; for 
 the story of Erigonos's rise from 
 poverty to fame, cf. Lysippos, xxxiv, 
 61, Protogenes, above, § loi, Introd. 
 p. xlix. 
 
 8. BTealoao : above, §§ 104, 142. 
 ut disoipulum rel. ; so likewise 
 
 Seilanion, xxxiv, 51, though himself 
 a self-taught artist, leaves a celebrated 
 pupil in Zeuxiades, Introd. loc. cit. 
 
 9. Aeginetae : for the ethnic as 
 proper name cf. Fick, Gr. Personen- 
 namen, p. 333. 
 
 12. Aristidis : above, §§ 75, 98, 
 108 ; for Nikomachos, § 108. 
 
 Mediam Tlmomaohi : §§ 26, 136. 
 
 13. quam diximus: above, §§ 87, 
 91. 
 
 14. quippe . . . extinotae: rheto- 
 rical ; for liniamenta reliqua cf. note 
 on § 68. 
 
I70 C. PUN II SECUNDI NAT. HIST. XXXV 
 
 dicendi Aristocydes, Anaxander, Aristobulus Sums, 
 Arcesilas Tisicratis filius, Coroebus Nicomachi discipulus, 
 Charmantides Euphranoris, Dionysodorus Colophonius, 
 Dicaeogenes qui cum Demetrio rege vixit, Euthymides, 
 Heraclides Macedo, Milon Soleus Pyromachi statuari 5 
 discipuli, Mnasitheus Sicyonius, Mnasitimus Aristonidae 
 filius et discipulus, Nessus Habronis filius, Polemon 
 Alexandrinus, Theodorus Samius et Stadios Nicosthenis 
 
 147 discipuli, Xenon Neoclis discipulus Sicyonius. pinxere 
 et mulieres : Timarete Miconis filia Dianam quae in tabula 10 
 Ephesi est antiquissimae picturae, Irene Cratini pictoris filia 
 et discipula puellam quae est Eleusine, Calypso senem et 
 praestigiatorem Theodorum, Alcisthenen saltatorem, Arist- 
 arete Nearchi filia et discipula Aesculapium. laia Cyzicena 
 perpetua virgo M. Varronis iuventa Romae et penicillo 15 
 pinxit et cestro in ebore imagines mulierum maxime et 
 Neapoli anum in grandi tabula, suam quoque imaginem ad 
 
 148 speculum, nee uUius velocior in pictura manus fuit, artis 
 vero tantum ut multum manipretiis antecederet celeberrimos 
 eadem aetate imaginum pictores Sopolim et Dionysium, 20 
 quorum tabulae pinacothecas inplent. pinxit et quaedam 
 Olympias, de qua hoc solum memoratur, discipulum eius 
 fuisse Autobulum. 
 
 § 146. 2. Aroesilae : from his 7. Habronis: above, 5§ 93, 141. 
 
 date he may be identical with the 8. Theodorus Samius : on the 
 
 Arkesilaos, Paus.i, I, 3, whose picture different painters of this name see 
 
 of Leosthenes and his sons (a aviytvi- Brunn, K. G. ii, p. 285 ; if the identity 
 
 Kov) was in the sanctuary of Athena of his fellow-pupil Stadios with the 
 
 and Zeus in the Peiraieus. The ex- sculptor Stadieus of Pans, vi, 4, 5, 
 
 ploits of Leosthenes, mentioned by the master of Polykles (note on xxxvi, 
 
 Pausanias, took place B.C. 323. 35), were certain, his date would be 
 
 Tisicratis: pupil of Euthykrates towards 01. 150 = 8. c. 180. 
 
 of Sikyon, xxxiv, 83. § 147. 10. Timarete : the account 
 
 Wioomaohi: |§ 108, 145. of the women painters bears strong 
 
 3. Euphranoris : § 128. traces of Duris ; cf. Miinzer, op. cit. 
 
 5. Heraclides: above, § 135. p. 525; Introd. p. Ixv. The names 
 Pyromachi : note on xxxiv, § 84. are given in inverted alphabetical 
 
 6. Mnasitheus ; the identification order. In connexion with the lady 
 wifli the Mnasilheos of Pint. Arat. painters it is interesting to note the 
 vii, suggested by Brunn, K. G. ii, charming Pompeian wall paintings, 
 p. 292, is more than doubtful. Helbig, Wandgemdlde, 1443, 1444 = 
 
 Mnasitimos : son of Aristonidas, Bliimner, Techn. iii, p. 226, iv, p. 460, 
 /. G. B. 197, above xxxiv, 140. the first of a woman painting a statue. 
 
/. PAINTING 111 
 
 iAnaxander, ^Aristobouhs of Syria, Arkesilas the son of Teisi- 
 krates, \Koroibos the pupil of Nikomachos, •\Charmantides the 
 pupil of Euphranor, ■\Dionysodorus of Kolophon, '\Dikaiogenes 
 who lived at the court of king Demetrios, \Eutkymtdes, iHera- 
 kleides of Makedon and \Milon of Soloi, both pupils of Pyro- 
 machos the statuary, ■^Mnasitheus of Sikyon, Mnasitimos the son 
 and pupil of Aristonidas, iNessos the son of Habron, \Pokmon 
 of Alexandria, Theodoras of Samos and Stadias, pupils of +Niko- 
 sthenes, and •\Xenon of Sikyon, the pupil of Nealkes. 
 
 Women too have been painters: \Tmarete the daughter of 147 ~~ 
 Mikon, painted an Artemis at Ephesos in a picture of very archaic ^^^-^^^j.^. 
 style. Eirene, the daughter and pupil of the painter Kratinos, Timarete. 
 painted a maiden at Eleusis, \Kalypso painted portraits of an old j^alypso. 
 man, of the juggler Theodores, and of the dancer Alkisthenes ; 
 •fAristarete, the daughter and pupil of Nearchos, painted an Askle- Aristarete. 
 pios. \Iaia of Kyzikos, who remained single all her life, worked laia of 
 at Rome in the youth of Marcus Varro, both with the brush and -''" °^' 
 with the oestrum on ivory. She painted chiefly portraits of women, 
 and also a large picture of an old woman at Naples, and a portrait 
 of herself, executed with the help of a mirror. No artist worked 148 
 more rapidly than she did, and her pictures had such merit that 
 they sold for higher prices than those of tSopolis and Dionysios, 
 well-known contemporary painters, whose works fill our galleries. 
 \Olympias also was a painter; of her we only know that ^Auto- Olymfias. 
 boulos was her pupil. 
 
 the second of a woman seated at her laia Oyzioena : the alphabetical — 
 
 easel. order is broken to insert a passage 
 
 Miconis filia : § 59 ; Eirene and taken from Varro, Introd. p. Ixxxiii. 
 Aristarete likewise figure both as daugh- 16. oestro in ebore ; i.e. inencau- 
 
 ters and pupils ; cf. MUnzer, loc. cit. stic on ivory (below, § 149), as opposed 
 
 1 1 . antiquiss. pioturae : the exact to penicillo in the ordinary method of 
 meaning is difficult to comprehend ; tempera. 
 
 Brunn suggests that she affected an 1 7. in grandi tabula : on a wood 
 
 archaicising style. panel of course, and presumably with 
 
 Irene : 'Siprivqv Ti)v Kparivov 61/70- the brush ; cf. BlUmner, Technol. iv, 
 
 T^pa, Clemens Alex, (quoting from p. 445, note 1. 
 
 Didymos) ^/rffOT. iv, 134, p.620, Pott; §148. 20. Sopolim : the name is 
 
 cf. § 140. still known only from Pliny, for in 
 
 12. puellam : translation of the Cic. fl(/. ^«. iv, 18, 4, it seems certain 
 Greek Kipa, so first Raoul Rochette, that solidis pecloribus is the reading, 
 Peint. Inidites, p. 222 ; cf. Brunn, and not e Sopolidis pictoribus (see 
 K. G. ii, p. 299. Baiter & Kayzer's critical apparatus). 
 
 13. praestigiatoreiu . . . saltato- Dionysium : § 113. 
 
 rem: chiastic order. 21. inplent : rhetorical, cf. xxxiv, 
 
 14. Uearchi: above, §141. 36, reflevit urbem. 
 
 r 
 
172 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 149 encausto pingendi duo fuere antiquitus genera, cera et in 
 ebore cestro, id est vericulo, donee classes pingi coepere. 
 hoc tertium accessit resolutis igni ceris penicillo utendi, 
 quae pictura navibus nee sole nee sale ventisque cor- 
 rumpitur. 5 
 
 § 149. I. Sncausto pingendi : 
 § 122. Owing to Pliny's obscure 
 wording of the following passage the 
 whole subject of ancient encaustic is 
 beset with the gravest difficulties. For 
 the literature up to 1887 see Bliimner, 
 Technol. iv, pp. 442 ff. ; a good ri- 
 sumi, with new suggestions, by Cecil 
 Smith, art. Pictura, in Smith's Diet, 
 cf Ant. ii, pp. 392 ff. ; cf. also A. S. 
 Murray, Handbook, pp. 394 ff. ; a highly 
 important contribution has lately been 
 made by the painter Berger, Bei- 
 trdge zur Entwickelungsgeschickte der 
 Malertechnik, i, ii (1893 and 1895), 
 who has succeeded in proving painting 
 in encaustic to be a totally different 
 process from the xavais of walls 
 painted with an admixture of olive-oil 
 and Punic wax (Plin. xxi, 83), de- 
 scribed by Vitruvius (vii, 9). This 
 
 discovery has freed the subject from 
 some of its worst difficulties. 
 
 duo genera ; (i) cera et cestro on 
 the usual materials, i.e. wood. (2) 
 cera et cestro, on ivory, a less common 
 material, so that Pliny mentions it 
 specially. Of the first method, the 
 portraits from the Fayoum now afford 
 numerous examples (see Berger, ii, 
 pp. 50 ff. ; Cecil Smith, loc. cit., &c.). 
 The second method remains obscure, 
 but cf. the painted ivory fragments 
 mentioned by Berger, i, p. 41 (in Pal. 
 Conserv. at Rome) and the ivory panel 
 in the British Museum with figure of 
 a nymph, Murray, Handbook, p. 396, 
 fig. 117. It is notewortliy that the 
 lady painter laia (§ 147) is the only 
 artist known to have employed this 
 technique. 
 
/. PAINTING 
 
 173 
 
 From the earliest times two methods of painting in encaustic 149 
 existed — one with wax, the other further on ivory — by means of ^^'^^"^ 
 a oestrum or sharp point. When it became the fashion to paint 
 ships of war, a third method was introduced, of melting the wax 
 by fire and using a brush. Paint applied to ships in this way 
 cannot be destroyed either by the action of the sun or of the 
 brine or wind. 
 
 2. cestro . . . verioulo : it is 
 Berger's merit {Beiirdge, i, p. 35 ff.) 
 to have identified the cestrum among 
 the instruments found in the grave of 
 St. Medard {ib. figs. 2, 3; Bliimner, 
 Technol. iv, figs. 66, 67), and among 
 the Naples bronzes {Beitr. i, p. 43 ff.). 
 The one end is shaped like a spoon : 
 with it the colours are held to melt 
 over the cauierium or fire-pan (the 
 misnamed hotte h couleurs of the 
 St. Medard grave), and then poured 
 over the panel ; the long handle 
 thickens at the upper end, which is 
 used to level the colours. 
 
 donee classes pingl ooepere : 
 Berger, i, p. 38, explains the introduc- 
 tion of the brush for ship painting to 
 
 have been necessitated by the impossi- 
 bility of pouring fluid colour from the 
 cestrum on to the vertical sides of a 
 ship. This explanation seems correct, 
 in so far at least as the meaning of 
 the writer of the Plinian passage 
 is concerned. It would be in the 
 manner of certain ancient art-writers 
 to imagine a conventional develop- 
 ment of technique from cestrum to 
 brush, and then to prove the point 
 by appeal to practice. 
 
 3. resolutis eeris : i.e. in a 
 separate, preliminary process, whereas 
 in the first two methods the colours 
 were both heated and applied by means 
 of the cestrum. 
 
//. PL AST ICE. 
 
 151 De pictura satis superque. contexuisse his et plasticen 
 conveniat. eiusdem opere terrae fingere ex argilla simili- 
 tudines Butades Sicyonius figulus primus invenit Corinthi 
 filiae opera quae capta amore iuvenis, abeunte illo peregre, 
 umbram ex facie eius ad lucernam in pariete lineis circum- 5 
 scripsit, quibus pater eius inpressa argilla typum fecit et 
 cum ceteris fictilibus induratum igni proposuit, eumque 
 
 A.u.c. 608. servatum in Nymphaeo, donee Mummius Corinthum ever- 
 
 152 terit, tradunt. sunt qui in Samo primes omnium plasticen 
 invenisse Rhoecum et Theodorum tradant multo ante ro 
 
 A.u.c. 97. Bacchiadas Corintho pulsos, Damaratum vero ex eadem 
 urbe profugum, qui in Etruria Tarquinium regem populi 
 Romani genuit, comitates fictores Euchira, Diopum, Eugram- 
 mum, ab iis Italiae traditam plasticen. Butadis inventum 
 
 § 151. 2. eiusdem opere terrae : 
 with these words Pliny harks back to 
 his main theme in § i {Resiant terrae 
 ipsius genera lapidumqtie) of which 
 the History of the Painters has been 
 but an episode ; so again in § 1 66 he 
 begins Verum et ipsius terrae ; see 
 Frbhner, in Rhein. Mus. 47, 1892, 
 p. 294. 
 
 2. similitudines primus inve- 
 nit : Boutades ' invents ' (i) faces in 
 relief, (2) faces applied as tile-ends, 
 (3) how to take the cast of the model 
 for a statue, whereas Lysistratos (4) 
 shows, finally, how to take the cast 
 from a living model. The whole de- 
 velopment has a strong Xenokratic 
 tinge ; see Introd. p. xxxiv. f. 
 
 3. Butades Sioyonius : the fol- 
 lowing anecdote is told with slight 
 variations by Athenagoras, Hfta^tia, 
 
 17 ed. Schwartz, p. 18 (see App. xi). 
 
 Corinthi ; cf. § 16 ; Corinth and 
 Sikyon now appear as the cradles 
 of the art of modelling. As Cecil 
 Smith points out {Pictura, p. 401), 
 the legend that the Sikyonian Bou- 
 tades worked at Corinth, suggests 
 an attempt to compromise the rival 
 claims of both cities to artistic priority. 
 
 4. abeunte illo peregre: accord- 
 ing to Athenagoras, the youth was not 
 going away, but asleep. 
 
 8, donee Mummius Corinthum: 
 the sack of Corinth in B.C. 146 had 
 evidently become a conventional date 
 with which to connect the disappear- 
 ance or destruction of works of art in 
 Greece. 
 
 9. sunt qui : introduces paren- 
 thetically a valiant version of the 
 origin of TrKaaTiicii ; from the mention 
 
II. MODELLING. 
 
 Of painting I have said enough and more than enough, but it 151 
 may be well to add some account of clay modelling. It was by ^s^yon""^ 
 the service of the selfsame earth that \Boutades, a potter of Sikyon, discovers 
 discovered, with the help of his daughter, how to model portraits f^f/,!^"^ 
 in clay. She was in love with a youth, and when he was leaving 
 the country she traced the outline of the shadow which his face 
 cast on the wall by lamplight. Her father filled in the outline 
 with clay and made a model ; this he dried and baked with the 
 rest of his pottery, and we hear that it was preserved in the 
 temple of the Nymphs, until Mummius overthrew Corinth. 146 b.c. 
 According to some authorities clay modelling was first introduced 152 
 in Samos by Rhoikos and Theodoras, long before the expulsion of Rhoikos 
 the Bacchiadai from Corinth, and when Damaratos fled from that ^^^^j, i°' 
 city to Etruria, where his son Tarquinius, afterwards king of Rome, Samos. 
 was born, he was accompanied by three potters, Eucheir, \Diopos, iq-^^{^\ 
 and \Eugrammos, who introduced the art of modelling into Italy. Greek fot- 
 Boutades first added red ochre or modelled in red clay, and j^amaratos 
 
 to Etruria. 
 of the followers of Damaratos this (evxeip), and the skilled draughtsman 
 alternative account seems taken from (eiiy/ra/i/jos), while Diopus = Siottos is 
 Cornelius Nepos (above, § 17, Introd. connected with Si<5?rTj;s or SiSirrpa, an 
 p. Ixxxv). The subject of Boutades is instrument for taking levels, the in- 
 resumed belo^v at ^i!«/afl'w «We«?«»«, vention of which (vii, 198) is attri- 
 and again at idem et de signis. buted by Pliny to Theodores, Urlichs, 
 
 10. Khoeoum et Theodorum: Cfirestom. p. 373. [A. Fick, Die 
 xxxiv, 83. Griechischen Personennamen, 2nd ed. 
 
 11. Damaratum; above, § 16. p. 254, believes these names to be 
 13. fictores: nXaoTai, fingere like given with regard to the bearer's trade 
 
 TtXaaaai being used of the artist who or occupation, and in many cases to 
 
 works in soft substances such as earth have supplanted the real name (of. 
 
 or wax, also who fashions by the hand note on Theorus, in § 144). They 
 
 (cf. the fingitque fremendo of Vergil, seem to me more likely to have 
 
 Aen. vi, 80); see on xxxiv, 7, and been favourite names in artist families, 
 
 below, on § 153. and to have been given at birth. — 
 
 EuoMra . . . Eugrammum : re- H. L. U.] For Eucheiros see Coram, 
 
 spectively the skilled handicraftsman on p. 220. 
 
176 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 est rubricam addere aut ex rubra creta fingere. primusque 
 personas tegularum extremis imbricibus inposuit, quae inter 
 initia prostypa vocavit, postea idem ectypa fecit, hinc et 
 fastigia templorum orta. propter hunc plastae appellati. 
 
 153 Hominis autem imaginem gypso e facie ipsa primus 5 
 omnium expressit ceraque in eam formam gypsi infusa 
 emendare instituit Lysistratus Sicyonius, frater Lysippi de 
 quo diximus. hie et similitudines reddere instituit, ante 
 eum quam pulcherrimas facere studebatur. idem et de 
 signis effigies exprimere invenit, crevitque res in tantum ut ^^ 
 nulla signa statuaeve sine argilla fierent. quo apparet anti- 
 quiorem banc fuisse scientiam quam fundendi aeris. 
 
 154 Plastae laudatissimi fuere Damophilus et Gorgasus, idem 
 pictores, qui Cereris aedem Romae ad circum maximum 
 
 2. personas tegularum: numbers 
 of these tile-faces from Etruria are to 
 be seen in almost every Museum ; cf. 
 also the terra-cotta fragments from 
 the treasuries at Olympia ( Olympia ii, 
 Baudenhmdler, taf. cxx). 
 
 4. fastigia : in Pliny used as a rule 
 of the figures of the akroteria, and 
 not of the actual pedimental figures, 
 cf xxxvi, 1 3 ; xxviii, i6 ; xxxvii, 14 ; 
 xxxvi, 6, &c., below § 157 ; this mean- 
 ing is borne out (i) by Vitruv. iii, 3, 
 5 ornantque signis Jictilibus aut 
 aereis inauratis earum fastigia Tusca- 
 nico more, uti est ad Circum maxiTnum 
 Cereris, et Herculis Pomfeiani, item 
 Capitolii, (2) by Cicero, de Divin. i, 
 10, 16 cum Summanus in fastigio 
 lovis opt. max., qui turn erat fictiliSj 
 e caelo ictus esset, etc., (3) by Festus, 
 s.v. Ratumena. Further, in Plut. 
 Caesar\)sx\\, d/cpcuTi^pioy corresponds to 
 the fastigium of Suet. Jul. 81 ; see 
 Furtvvangler, A. Z. 1882, p. 346; 
 Fowler in Amer. Journ. of Archaeol. 
 idii, 1893, p. 385. 
 
 orta : because the figured akroteria 
 aro|e out of the earlier tile-faces. 
 
 § 153. 5. Hominis . . . studeba- 
 tur : the proper place for the ' inven- 
 tion ' of Lysistratos is after the third 
 invention of Boutades, below (B. dis- 
 
 covered how to make models of 
 statues ; Lysistratos, however (autem), 
 found out how to take casts of living 
 people, see note on § 151). The dis- 
 placement arose, doubtless, from con- 
 fusion of notes ; it may be due to Pliny 
 himself, or to his nephew when he pre- 
 pared the last books of the Hist. Nat. 
 for publication ; cf. Brunn, K. G. i, 
 p. 403, Furtwangler, Plinius, p. 59 f., 
 Mlinzer, op. cit. p. 510. 
 
 e facie ipsa: i.e. from the living 
 model ; the invention attributed to 
 Lysistratos has nothing whatever to 
 do with the custom of taking masks 
 from the face of the dead. 
 
 8. ante eum q. pulcberrimas : 
 the observation is correct ; by the time 
 of Lysippos realistic portraiture had, 
 if not superseded ideal or typical re- 
 presentation, yet asserted its right to 
 co-existence. It was, in a word, the age 
 when an athlete could be idealized as 
 the ' Apoxyomenos,' or portrayed with 
 the brutal realism of the bronze boxer 
 from Olympia (Olympia iv, Bronzen, 
 taf. ii), cf. the note on xxxiv, 16. 
 
 9. idem et ; refers back to Bou- 
 tades. 
 
 1 1 . sine argilla : Pliny means that 
 to make a bronze statue without a clay 
 model is impossible, though he — or 
 
//. MODELLING 
 
 177 
 
 placed masks as tile-fronts on the eaves of buildings, originally 
 called TTpi.'o-Tima, or low reliefs ; later on he made eKrvira, or high 
 reliefs, and these led to the ornamentation of the gables of temples. 
 Since the time of Boutades artists who worked in clay have been 
 called modellers. {Lysistratos of Sikyon, brother of the Lysippos 153 
 whom I have mentioned in an earlier book, was however the first ^V^^.^''^"^ 
 
 . . . ' of Sikyon 
 
 who obtamed portraits by making a plaster mould on the actual takes casts 
 
 features, and introduced the practice of taking from the plaster /'^"^ *H 
 
 a wax cast on which he made the final corrections. He also first 
 
 rendered likenesses with exactitude, for previous artists had only 
 
 tried to make them as beautiful as possible.) The said Boutades Boutades 
 
 discovered how to take casts from statues, a practice which was ^"^"r/fg^ 
 
 extended to such a degree that no figure or statue was made statues. 
 
 without a clay model. Hence it is clear that the art of clay 
 
 modelling is older than that of bronze casting. 
 
 Most highly praised among modellers were \Damophilos and 154 
 
 iGorgasos ; they were also painters, and united both arts in the i^"^nd '' 
 
 decorations of the temple of Ceres at Rome near the Great Gorgasos 
 
 decorate 
 the Temple 
 scription {versibus inscriptis Graece) of Ceres. 
 
 his author — ^have used an ambiguous 
 expression, which might imply that 
 there had been previous bronze statues, 
 but made without a clay model, cf. 
 furtwangler, Plinius, p. 60. The use 
 of clay models for marble statues seems 
 to have been of altogether later date, 
 
 cf. § 155- 
 
 antiquiorem : so in xxxiv, 35, 
 prior (sc. plastic^ quatn statuaria 
 fuit. 
 
 §154. 13. Damophilus: [although 
 Damophilos is the Doric form of 
 Demophilos, and both represent the 
 same name, it is yet impossible to de- 
 duce from this fact the identity of the 
 Damophilus mentioned here with the 
 Demophilus Himeraeus who appears 
 in§ 61, the master of Zeuxis. Himera 
 was an Ionic city, and it is out of the 
 question that one of its citizens should 
 ever have called himself by a Doric 
 form of his name. Yet we cannot 
 on the other hand doubt the form 
 Damophilus given here by Pliny ; for 
 he evidently had it from an authority 
 who was familiar with the actual in- 
 
 Thus if we get rid of the false assump- 
 tion that this Damophilus could be 
 identical with the master of Zeuxis, 
 we get rid of all the far-fetched com- 
 binations necessary to reconcile the 
 date of D. of Himera (whose pupil 
 Zeuxis fl. about B.C. 404) with the 
 date of the temple of Ceres, B. c. 493. 
 — H.L.U.]. The difficulty of re- 
 conciling Demophilus and Damophilus 
 has been perceived by Freeman, Hist, 
 of Sicily, ii, p. 411 : 'It is a little 
 startling to hear that the master of 
 Zeuxis, with his colleague Gorgasos, 
 painted the Roman temple which was 
 vowed by Aulus Postumius, victor at 
 Regillus.' Freeman, however, inclines 
 to a conciliation : ' Chronology may 
 be appeased by the easy conjecture 
 that the painting of the temple, and 
 the Greek letters which recorded the 
 names of the artists, came a generation 
 or two later than the temple itself.' 
 
 14. Cereria aedem : note on xxxiv, 
 15, and the passage from Vitruvius 
 quoted above \mder fasiigia. 
 
 N 
 
178 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 utroque genere artis suae excoluerant versibus inscriptis 
 Graece quibus significarent ab dextra opera Damophili esse, 
 ab laeva Gorgasi. ante banc aedem Tuscanica omnia in 
 aedibus fuisse auctor est Varro, et ex hac, cum reficeretur, 
 crustas parietum excisas tabulis marginatis inclusas esse, 5 
 
 155 item signa ex fastigiis dispersa. fecit et Chalcosthenes 
 cruda opera Athenis, qui locus ab officina eius Ceramicos 
 appellatur. M. Varro tradit sibi cognitum Romae Possim 
 nomine, a quo facta poma et uvas alitem nescisse aspectu 
 discernere a veris. idem magnificat Arcesilaum, L. Luculli 10 
 familiarem, cuius proplasmata pluris venire solita artificibus 
 
 156 ipsis quam aliorum opera ; ab hoc factam Venerem Gene- 
 tricem in foro Caesaris et prius quam absolveretur festina- 
 tione dedicandi positam, eidem a Lucullo HS. |X| signum 
 Felicitatis locatum, cui mors utriusque inviderit ; Octavio 15 
 
 9. alitem nescisse] Traube ; item piscis (pisces, Bamb.) codd. ; item pisces 
 non possis Jan, Detlefsen. 
 
 1. utroque genere artis: i.e. the 
 decorations consisted of painted terra- 
 cottas ; fine examples (from T. of 
 Jupiter Capitolinus ?) exist at Rome 
 in Pal. Conserv., Helbig, i, p. 447 f. 
 
 2. ab dextra . . . ab laeva : cf. the 
 similar inscription, Anth. Pal. ix, 75S : 
 
 HjIXoiv lypaif/e t^v Bipav rilv Se^iiv, 
 T^v 5' €^i6vTa)v Sf^idr Atovvffios. 
 
 4. cum reficeretur ; after the fire 
 of B.C. 31; restored by Augustus, B.C. 
 27, re-dedicated B.C. 17 (Tac. Ann. 
 ii, 49). 
 
 5. crustas : for reliefs cf. xxxiii, 
 157, crustarius. 
 
 excisas : cf. Vitruv. ii, 8, 9, a 
 typical instance of the care taken in 
 the first century B. C. to preserve 
 archaic works. 
 
 tabulis marginatis : below, § 
 
 173- 
 
 6. ex fastigiis: above, note on 
 
 § 152- 
 
 * § 155. Chalcosthenes : more 
 correctly Kaikosthenes ; see on xxxiv, 
 87. From a basis {Af\Tiov, 1891, 
 p. 35 f. and p. 84) found in the actual 
 Kerameikos, we leam that K. was 
 
 of the deme Thria. Lolling (loc. 
 cit.) dates the inscr. towards the close 
 of the third century B.C. 
 
 7. cruda opera : these have been 
 identifiedbyMilchh6fer(.4rir/4..S';«i/«e», 
 Jif. Brunn dargebr. 1893, p. 50 £f.) 
 with the arjkKiuxra ia wti\ov, represent- 
 ing Dionysos feasting in the house of 
 Amphiktyon, which adorned a chapel 
 — oiKriim — of the god's ri/ievos, in the 
 Kerameikos (Pans, i, .i, 5) ; the monu- 
 ment was presumably the votive offer- 
 ing of a guild of Dionysiac artists. 
 The Italian work of the Delia Robbias 
 may help us to a notion of what the 
 group or relief looked like. 
 
 8. appellatur : the etymological 
 attempt suggests Varroniau author- 
 ship ; cf. note on xxxiv, 1 1, on xxxvi, 
 14 {Jychniteri). 
 
 9. poma et uvas : cf. the excellent 
 carvings of fruit, leaves and flowers on 
 areliefoftheMuseod.Terme.Wickhoff, 
 Wiener Genesis, p. 23, figs. 7, 8, 9, 
 10, and the beautiful garlands of fruit 
 and flowers that adorned the Ara 
 Pads of Augustus. 
 
 alitem nescisse : cf., in con- 
 
//. MODELLING 
 
 179 
 
 Circus, placing on it a metrical inscription in Greek to say that on 
 the right hand were the works of Damophilos, on the left the works 
 of Gorgasos. Varro tells us that in all earlier temples decorations 
 in the Etruscan style only were to be found, and that when this 
 temple was restored the ornamentation of the walls was cut out 
 and framed, and the statues that crowned the roof were dispersed. 
 
 Chalkosthenes also modelled in unbaked clay in the Potter's 155 
 Quarter at Athens, so called after his workshop. Marcus Varro ^^^^^ 
 says that at Rome a man named \Possis was known to him who Possis. 
 made clay apples and grapes which the very birds could not 
 distinguish from nature. He also praises \Arkesilaos, the friend Arkedlaos. 
 of Lucius LucuUus, for whose clay models artists would pay more ^/j ^i^J 
 than was given for the finished works of others ; he made the ifiodeh. 
 
 156 
 
 statue of Venus the Mother in the forum of Caesar, which was 
 set up before it was really finished, so eager were his patrons 
 to dedicate it. He also accepted a commission from Lucullus to 
 make a statue of Good Fortune for 1,000,000 sesterces [^^8750 
 circ.]. Death, however, cut them both off before the statue was 
 completed. Arkesilaos also made a plaster model for a talent 
 [;£'2io circ.J for a Roman knight named Octavius, who proposed 
 
 firmation of Traube's reading, above, 
 
 §§ 23, 6.'), 66- 
 
 10. idem magnifloat : cf. inxxxvi, 
 41 Arcesilaum quoque magnificat 
 Varro, hence the identity of authorship 
 for both passages. 
 
 Aroesilaum : for his marble works 
 see xxxvi, 33, 41 ; his Venus Genitrix 
 and his Felicitas are mentioned here 
 because they apparently remained at 
 the stage of clay models. 
 
 L. LucuUi familiarem: Urlichs 
 {Ariesilaos, p. 4) suggests that Lucullus 
 brought backArkesilaos with him from 
 Athens when he visited that city in 
 B.C. 88-7, cf. above, § 125. 
 
 11. proplasmata : see the ex- 
 cellent remarks of Wickhoff, Wiener 
 Genesis, p. 25 f. and p. 41, on the 
 extensive use of the clay model in the 
 first century B. c, and its influence on 
 the technique of marble ; cf. above, on 
 
 § 153- 
 § 156. 12. ■VeneremG-enetricem: 
 
 from the Roman coins which most 
 
 probably reproduce the statue, it ap- 
 pears that the Genetrix of Arkesilaos 
 was adapted from a Greek statuary 
 type which recent criticism has traced 
 back to the 'Aphrodite in the gardens ' 
 of Alkamenes (note on xxxvi, 16) ; 
 cf. Furtwangler, ap. Roscher i, p. 
 
 413- 
 
 14. signum Felicitatis : the tem- 
 ple of Felicitas had been built by 
 C. Licinins Lucullus, xxxiv, 69 ; 
 xxxvi, 39. 
 
 15. mors utriusque: Marcus 
 Lucullus died B. c. 58, and his 
 brother only survived him a. short 
 time (Plut L%u. xliii) ; hence since 
 Arkesilaos was still at work for Caesar 
 in B. c. 46 (below), we must either 
 imagine that he left an order of his 
 patron unattended to for fifteen years, 
 or follow Urlichs {op. cit. p. 5), in 
 supposing that it is the young 
 Lucullus {clarissimus adulescens, Cic. 
 Phil. X, 48), whose death (at Philippi 
 in B. c. 42) is alluded to here. From 
 
 Na 
 
i8o 
 
 C. PLINII SECUNDI NAT. HIST. XXXV 
 
 equiti Romano cratera facere volenti exemplar e gypso 
 factum talento. laudat et Pasitelen qui plasticen matrem 
 caelaturae et statuariae scalpturaeque dixit et, cum esset in 
 omnibus his summus, nihil umquam fecit antequam finxit. 
 
 157 praeterea elaboratam hanc artem Italiae et maxime Etru- 5 
 riae, Vulcam Veis accitum cui locaret Tarquinius Priscus 
 lovis effigiem Capitolio dicandam, fictilem eum fuisse et 
 ideo miniari solitum, fictiles in fastigio templi eius quadrigas, 
 de quibus saepe diximus, ab hoc eodem factum Herculem 
 qui hodieque materiae nomen in urbe retinet. hae enim lo 
 turn effigies deorum erant lautissimae, nee poenitet nos 
 illorum qui tales decs cpluere, aurum enim et argentum ne 
 
 158 diis quidem conficiebant. durant etiamnum plerisque in 
 locis talia simulacra, fastigia quidem templorum etiam 
 in urbe crebra et municipiis, mira caelatura et arte suique 15 
 firmitate, sanctiora auro, certe innocentiora. 
 
 xxxiv, 93 (where see note) we learn 
 that he rededicated a statue of 
 Herakles originally set up by his 
 father ; it is therefore not surprising 
 to find him commissioning Arkesilaos, 
 an old friend of his family, with 
 a statue for the temple built by his 
 grandfather. 
 
 Ootavio eq.uiti : according to Ur- 
 lichs, Arkesilaos, p. 17, perhaps identi- 
 cal with the upstart {per rae films') who 
 pestered Cicero with invitations to 
 dinner, Cic. Fam. vii, 9, 16. 
 
 2. Pasitelen: xxxiii, 156; xxxvi, 
 40. 
 
 3. scalpturae : here = sculptura 
 [so also Plin. the Y. Ep. i, 10, has 
 scalftor for sculptor. — H. L. U.] ; the 
 term is generally used of the graver's 
 art, as an equivalent of the Greek 
 
 § 157. 5. maxime Etruriae : the 
 remark is fully confirmed by the 
 splendid remains of large terra-cotta 
 (figures, discovered in Italy; cf. 
 especially the pedimental figures from 
 
 the temple at Luni, Milani, Mus. d. 
 Ant. Classica, i, 1884, pp. 89-112; 
 where see further literature. 
 
 7. lovis efagiem . . fictilem : 
 cf. Juv. xi, lie, ficHlis et nulh vio- 
 latus lupiter auro. From Servius' 
 (on Edog. X, 27) description of the 
 Roman iriumphatores, who were 
 adorned lovis optimi maximi ornatu 
 we learn that the god was represented 
 standing with the thunderbolt in his 
 right (cf. Ovid Fast, i, 202 inque 
 lovis dextra fictile fulmen erat) and 
 the sceptre in his left. This ancient 
 image was destroyed B.C. 83, in the 
 fire which laid the temple in ashes. 
 It was replaced by a gold-ivory 
 Jupiter — the work of an ApoUonios 
 — after the model of the Olympian 
 Zeus of Pheidias (cf. Chalcidius on 
 Plato's Timaios, 338 C, p. 361, ed. 
 Wrobel, and Loewy on /. G. B. 343, 
 p. 242). 
 
 Capitolio : note on xxxiv, 38. 
 
 8. miniari solitum : enumerat 
 auctores Verrius quibus credere ne- 
 
//. MODELLING iSt 
 
 to have a goblet cast from it. Varro further praises Pasiieks, Pasiteles. 
 
 who said that modelling was the mother of chasing, statuary and ^'P''"- 
 
 sculpture, and who, though he excelled in all these arts, never „pon the 
 
 executed any work without first making a clay model. The art ^^7 . 
 
 /•in. . o y value of 
 
 ot modellmg, agam, accordmg to Varro, was developed in Italy, the day 
 
 and more especially in Etruria, and Tarquin the Ancient summoned ™'"^^^- 
 
 an artist called tVulca from Veil to make a statue of Jupiter for 
 
 the Capitol. This statue was of clay and was therefore painted 
 
 red ; the four-horse chariots on the gables of the temple, which 
 
 I have mentioned so often, were also of clay. Vulca further 
 
 made the Hercules still known at Rome as ' the clay Hercules.' 
 
 These were the most magnificent statues known in those days, and 
 
 we have no reason to be ashamed of the men who worshipped 
 
 deities of clay, and would not, even for their gods, change gold 
 
 and silver into images. Effigies of clay still exist in different 158 
 
 places, while gable ornaments in clay are still to be seen even at 
 
 Rome as well as in provincial towns. The admirable execution Beauiyand 
 
 of these figures, their artistic merits and their durability make "r^"''^ 
 
 them more worthy of honour than gold, and they are at any rate andentday 
 
 more innocent. images. 
 
 cesse .sit lovis ipsius simulacri faciem was richly adorned with painted 
 diehus festis minio inlini solitam . . . decorations ; cf. Q\c.deDiv.\, lo, i6; 
 Plin. xxxiii, iii ; see also Servius on J-iv.per. 14; and see note on § 154 
 £d. vi, 62 ; X, 27 ; cf. in Greece the for possible remains of these decora- 
 painting with white, at her festival, of tions. 
 the image of Athena Skirrophoria. 9. saepe diximus ; viii, 161; xxviii, 
 
 flotiles . . . quadrigas : also the 16. 
 
 work of Valentine artists, Plut. Poplic. Herculem : often identified (but 
 
 xiii ap\ia Karci Kopvcp^v (sc. vitij on the very slightest grounds) with 
 
 Tou KoTT. Ai.) kni(TTT](7ai K€pafL€ovv the Hercules jictilis of Martial xiv, 
 
 e^iSaiKe (sc. d TapKovivtos) TvppTjvois 178. 
 
 Ttatv If Oiijfwv SrjiuovpyoTs. These 10. hae enim turn efflgies: this 
 
 are the chariots whose miraculous rhetorical tribute to the simplicity of 
 
 swelling in the potter's furnace was theancientRomanimageswas asoldas 
 
 interpreted as an omen of the future — Cato, or as Cato reported by Livy 
 
 greatness of Rome (Plin. xxviii, 16 {7iViyi\v,^,^)infesta,mihicredite,signa 
 
 cum in fastigium eiusdem delubri ab Syracusis illata sunt huic urbi. 
 
 (Jup. Cap.) fraefaratae quadrigae iam nimis midtos audio Corinthi et 
 
 fictiles in fornace crevissenf). These Athenarum ornamenta laudaniis 
 
 chariots were replaced in B. C. 296 niirantisque et antejixafidilia deorum 
 
 by a lovem in culmine cum quadrigis, Romanorum ridentis. ego hos malo 
 
 apparently of bronze (Liv. x, 23, 12). fropitios deos et iia spero futuros, si 
 
 The roof of the temple of the Tarquins in suis manere sedibus patiemur. 
 
C. PLINII SECUNDI 
 NATURALIS HISTORIAE 
 
 LIBER XXXVI, §§ 9-44 
 {SCULPTURA) 
 
Lib. 
 XXXVI. 
 
 10 
 
 SCULPTURA. 
 
 Marmore scalpendo primi omnium inclaruerunt Dipoenus 
 et ScylHs geniti in Creta insula etiamnum Medis imperan- 
 tibus priusque quam Cyrus in Persis regnare inciperet, hoc 
 est olympiade circiter quinquagensima. hi Sicyonem se 
 contulere, quae diu fuit officinarum omnium talium patria. 5 
 deorum simulacra publice locaverant iis Sicyoni, quae prius 
 quam absolverentur artifices iniuriam questi abiere in 
 Aetolos. protinus Sicyonem fames invasit ac sterilitas 
 maerorque dirus. remedium petentibus Apollo Pythius 
 respondit: si Dipoenus et Scyllis deorum simulacra per- 10 
 fecissent, quod magnis mercedibus obsequiisque impetratum 
 
 5. talium] metallnm omnes praeter Bamb. 
 
 § 9. 1. Marmore scalpendo: with 
 the exception of the a-yaX/ia of the 
 Lindian Athena €« \i6ov afiapdySov, 
 mentioned on the doubtful authority 
 of George Kedrenos (Overbeck, 
 Schriftqu. 337 ; cf. Brunn, K. G. i, 
 p. 44), Dip. and Skyllis seem only to 
 have made wooden images, Pans, ii, 1 5, 
 1 ; 22, 5 ; Clement of Alex. TrpoT-pcTrT. 
 X157. Iv, p. 42 ; the gilt bronze images 
 mentioned by Moses of Chorene 
 {Schriftqu. 336) were more probably 
 of gilt wood. It is evident that in the 
 original Greek authority (Xenokrates 
 from the character of the passage 
 and the stress laid on Sikyon ; see 
 Intvod. p. xxv) these artists had been 
 discussed in connexion with the 
 beginnings of bronze statuary; 
 Munzer, Hermes, xxx, 1895, p. 523 ; 
 cf. Robert, Arch. March, p. 22. 
 
 2. geniti in Creta: contains a 
 trace of the legend preserved in Paus. 
 ii, 15, I, that they were the sons of 
 the Athenian Daidalos and a woman 
 of Gortyn. By representing artists 
 bom in Crete as active in Sikyon, 
 a similar compromise between the 
 rival claims of ancient art centres is 
 effected to that noted in the case of 
 Boutades, xxxv, 151; cf. Miinzer, loc. 
 cit. 
 
 Medis imperantibus ; the Ar- 
 menian historian Moses of Chorene 
 recounts that Ardashir ( — Kyros) took 
 away from Kroisos three statues of 
 Artemis, Herakles and Apollo by 
 Dipoinos and Skyllis. The date 
 assigned to the artists seems calcu- 
 lated with reference to this event as 
 follows : Kyros could take away 
 works by D. and S. at the time of his 
 
SCULPTURE IN MARBLE. 
 
 Book 
 XXXVI. 
 
 As sculptors in marble, the first to win fame were Difoinos 9 
 and Sky His, born before the fall of the Median empire, and -^^"^ ''*' , 
 before Cyrus began to reign in Persia, that is about the fiftieth sculpture. 
 Olympiad [580-577 b.c.J, in the island of Crete. They migrated 
 to Sikyon, which was long the home of all such crafts. The 
 state of Sikyon gave them a commission for certain images of the 
 gods, but before these were completed the artists, aggrieved at 
 the treatment they met with, departed into Aitolia. Sikyon soon 10 
 afterwards was visited by famine, failure of the crops and dire 
 affliction. The inhabitants sought relief from the Pythian Apollo, 
 and received the answer that the evil would cease when Dipoinos 
 and Skyllis should complete their statues of the gods, a concession 
 which was hardly won from them by money and by personal defer- 
 
 conqnest of Kroisos (b. c. 546), there- 
 fore the artists must have been of 
 repnte even before the accession of 
 Kyros (b. c. 556), Robert, op. cit. 
 p. 18 f. 
 
 4. oirciter : cf. xxxiv, 49 : cir- 
 eiier CCC urbis nostrae annum. 
 
 Sicyonem . . . patria : cf. xxxv, 
 127 diuque (Sikyon) ilia fuit f atria 
 picturae. 
 
 6. prius quam absolv. : the 
 following anecdote, whose artificial 
 character is obvions, has been shovm 
 by Petersen, de Cerere Phigalensi, 
 p. 13 ff., to be a mere adaptation 
 of the local myth recorded Pans, ii, 
 
 7,7- 
 
 7. iniuriam guesti : fivojiivov 
 Zk <T(ptn (Apollo and Artemis) 
 SfifmTos . . . 01 t^ev Is Kp-qTTju . . . dire- 
 TpdirovTO, Faus. loc. cit. 
 
 in Aetolos : named by the 
 legend as the artists' place of refuge 
 because there existed in that region 
 works by D. and S., i. c at Ambra- 
 kia (§ 14), which, though not in 
 Aitolia, was towards the close of the 
 third century the most prominent city 
 of the Aitolian league. A Greek 
 writer of that date (Antigonos ? cf. In- 
 trod. p. xxxvii) might say indifferently 
 ih 'AfJ-^paKiav or ds AItqj\ovs ; Miin- 
 zer, op. cit. p. 524. 
 
 § 10. 8. protinua . . . dirus : tous 
 5^ avdp^-novs . . . vdaos kn4\a^€v, Paus. 
 loc, cit. 
 
 9. remedium . . . impetratum 
 est : Koi ff(pas inkKsvov ot p-avreis 
 'AiT6Wan'a t\aaaaSai «ai 'Apre/uv . . . 
 
 (paffLV Is T^V dKp6TT0XlV k\OitV. 
 
i86 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 est. fuere autem simulacra ea Apollinis, Dianae, Herculis, 
 Minervae quod e caelo postea tactum est. 
 
 11 Cum hi assent, iam fuerat in Chio insula Melas scalptor, 
 dein filius eius Micciades, ac deinde nepos Archermus, cuius 
 filii Bupalus et Athenis vel clarissimi in ea scientia fuere 5 
 Hipponactis poetae aetate, quern certum est LX olympiade 
 fuisse. quodsi quis horum familiam ad proavom usque 
 retro agat, inveniat artis eius originem cum olympiadum 
 
 12 initio coepisse. Hipponacti notabilis foeditas voltus erat, 
 quamobrem imaginem eius lascivia iocorum hi proposuere lo 
 ridentium circulis, quod Hipponax indignatus destrinxit 
 amaritudinem carminum in tantum ut credatur aliquis ad 
 laqueum eos conpulisse. quod falsum est, conplura enim 
 in iinitimis insulis simulacra postea fecere, sicut in Delo, 
 quibus subiecerunt carmen non vitibus tantum censeri 15 
 Chion sed et operibus Archermi filiorum. ostendunt et 
 
 13 lasii Dianam manibus eorum factam. in ipsa Chio narrata 
 est operis eorum Dianae facies in sublimi posita, cuius 
 voltum intrantes tristem, abeuntes exhilaratum putant. 
 Romae eorum signa sunt in Palatina aede Apollinis in 20 
 
 17. lasii] Riccard.; 'Lasii Samb., Detlefsen; lasi Voss. 
 
 1. Apollinis . . . Minervae : the Melas (Me[A.]a[i']os iraTpiiiov aa\Tv 
 
 list is alptiabetical ; the statues there- ye/ioi'Tes]) of the third line is pre- 
 
 fore were no part of a group but single sumably not the father of Mikkiades, 
 
 works, H. L. Urlichs in GSrlitz. but, as SchoU and Robert pointed out 
 
 Verhandl. p. 330, note 2. {Arch. March, p. 116 f.), a local hero 
 
 Dianae : possibly identical with cf Chios, son of Oinopion ; Ion ap. 
 
 the ibavov of Artemis Munychia Paus. vii, 4, 8. The account in Pliny 
 
 mentionedby Clement, irpoTpeirr. X.6yos, rests upon this or a similar inscription ; 
 
 iv, p. 43 : cf. Urlichs loc. cit. ; Robert, the blunder with regard to Melas may 
 
 Arch. March, p. 22. have been committed early by a Greek 
 
 § 11. 3. Cum hi essent : to the writer ; cf. note on Demarate in 
 
 account of D. and S. is now opposed xxxiv, 88. 
 
 (from another source) that of the soalptor = sculptor ; cf note on 
 
 Chian school. Introd. p. xxvi. xxxv, 156. 
 
 Melas . . . Micciades . . . Archer- 4. Archermus : besides the Delos 
 
 mus : the three names appear on inscription, the name occurs on a later 
 
 the famous inscription from Delos inscr., m the Ionic alphabet, from the 
 
 {/.G.B.i; best restored by Lolling, Athenian Akropolis, C. I. A. iv, 373, 95. 
 'mp. dpx. 1888, p. 71 ff. ; cf. E. A. 5. Bupalus et Ath. ; the fact 
 
 Gardner in Class. Rev. 1893, p. 140), that they were sons of Archermos 
 
 where 'Apxepi^os (2nd line) appears was doubtless also taken fi-om an 
 
 as son of Mi«/no8i;s (1st line). The inscription; Miinzer, op. cit. p. 524. 
 
SCULPTURE IN MARBLE 187 
 
 ence. The statues in question were of Apollo, Artemis, Herakles, 
 and Athene : this last was afterwards struck by lightning. 
 
 Before their day, however, the sculptor Melas had already lived 11 
 in the island of Chios, succeeded by his son Mikkiades and his 5^^/^/"' 
 grandson Archermos, whose sons, Boupalos and Athenis, were 
 masters of great renown in their craft in the time of the poet 
 Hipponax, who certainly lived in the sixtieth Olympiad [540-537 
 B.C.]. Thus counting four generations backwards to their great 
 grandfather, the birth of sculpture is found to coincide with the 
 first Olympiad [776-773 B.C.]. Hipponax was conspicuous for 12 
 his ill-favoured countenance, which incited the sculptors in wanton 
 jest to display his portrait to the ridicule of their assembled 
 friends. Incensed at this Hipponax lampooned them so bitterly 
 that, as some believe, they were driven to hang themselves. This, 
 however, cannot be true, for they afterwards made in the neigh- 
 bouring islands, as for example, in Delos, a number of images of 
 the gods, under which they carved verses saying that Chios was 
 not honoured for her vines alone but for the works of the sons of 
 Archermos. lasos too can show an Artemis made by their hands, 13 
 while in Chios itself we hear of a mask of Artemis by them, 
 which is placed at a height in the temple, and presents a gloomy 
 countenance to those who enter the temple, a cheerful one to 
 those who are leaving. At Rome statues by them are to be seen 
 on the summit of the temple of Apollo on the Palatine, and 
 
 6. LX olympiade : the Parian March. ■^. w^ i. 
 Chronicle gives his date as 01. 59, 3 = 12. ad laaueum : this portion of 
 
 B. C. 54^. the story is the doublette of the story 
 
 8. olymp. initio : the calculation of Lycambes and Archilochos. The 
 
 is based on the false assumption that a credatur aliquis introduces it as 
 
 generation=theaveragefullIifeofsixty apocryphal, while in the following 
 
 years ; cf. Furtwangler, Plinius, p. 17. sentence it is proved an invention. 
 
 § 12. 9. notabilia foeditaa : cf. 14. in Delo : like their father 
 
 Metrodoros of Skepsis, ap. Athen. xii, Archermos. 
 
 552 c. The only ascertained factor 17. laaii: in the neighbourhood 
 
 in the whole anecdote is the poet's of Chios. The words ostendunt . . . 
 
 attacks {acer koslis Bupalo) upon the ^a/a«; betray mere periegetic curiosity 
 
 two artists (Bergk, Lyr. Gr. ed. 4, (Furtwangler,i%»i«f,p.6i); theyare 
 
 fr. 10-14; Colligaon, Jlist. Sculpi. i, from a different source to the earlier 
 
 p. 141); it is probable that when part of the account, which is based 
 
 the real cause for these attacks had upon a. study of inscriptions. Since 
 
 been forgotten, a new one was elabo- Mucianus visited lasos (ix, 33) it is 
 
 rated out of the statues of Boupalos reasonable to attribute this infonna- 
 
 and Athenis, the archaic character of tion to him ; Introd. p. Ixxxix. 
 which struck later generations as § 13. 30. inPalatinaaede : xxxiv, 
 
 simply grotesque; cf. Robert, ArcA. 14. 
 
i88 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 fastigio et omnibus fere quae fecit divus Augustus, patris 
 quoque eorum et Deli fuere opera et in Lesbo insula. 
 
 14 Dipoeni quidem Ambracia, Argos, Cleonae operibus re- 
 fertae fuere. omnes autem candido tantum marmore usi 
 sunt e Paro insula, quern lapidem coepere lychniten appel- 5 
 lare, quoniam ad lucernas in cuniculis caederetur, ut auctor 
 est Varro, multis postea candidioribus repertis, nuper vero 
 etiam in Lunensium lapidicinis. sed in Pariorum mirabile 
 proditur glaeba lapidis unius cuneis dividentium soluta 
 
 15 imaginem Sileni intus extitisse. non omittendum banc lo 
 artem tanto vetustiorem fuisse quam picturam aut statua- 
 riam, quarum utraque cum Phidia coepit octogensima tertia 
 olympiade, post annos circiter CCCXXXII. et ipsum Phi- 
 dian tradunt scalpsisse marmora, Veneremque eius esse 
 
 16 Romae in Octaviae operibus eximiae pulchritudinis. Al- i.^ 
 camenen Atheniensem, quod certum est, docuit in primis 
 nobilem, cuius sunt opera Athenis complura in aedibus 
 sacris praeclarumque Veneris extra muros quae appellatur 
 Aphrodite Iv KriTToii. huic summam manum ipse Phidias 
 
 in fastigio : 1. e. the si^na were Cleonae : for which they made 
 
 akroterial figures (see note on xxxv, the image of Athena ; Paus. ii, 
 
 152), the pedimental and other decora- 15, i. 
 
 tions also consisting of archaic sculp- refertae : rhetorical : of. in xxxv, 
 
 ture ; of. the archaic Amazon published 1 48 quorum tabulae pinacothecas 
 
 by Petersen, Rom. Mitth. iv, 1889, imphnt. 
 
 p. 36 f. 4. omnes autem ; i. e. the Chian 
 
 I . et omnibus fere : rhetorical sculptors as well, 
 
 exaggeration : cf. the ex omnibus 5. lychniten : the etymology is 
 
 clarissima quaeque in xxxiv, 84, H. L. thoroughly Varronian, cf. notes on 
 
 \3TViA\%, Rhein. Mus. 1889, p. 487. xxxiv, 11; xxxv, 155; according to 
 
 I 14. 3. Dipoeni : harks back Lepsius, Griechische Marmorstudien, 
 
 to § 10. p. 45, it rests on fact : the marble 
 
 Ambracia: see note on Aetolos came from the underground quarries 
 
 in §9; the foundation of Am- about five miles N.E. of the ancient 
 
 brakia by Gorges son of Kypselos city of Pares ; Lepsius noticed here 
 
 (Strab. X, 452) affords us an upper a number of holes cut obliquely into 
 
 limit for the activity of D. and S. in the walls of the rock, the purpose of 
 
 that city. The Ambrakiot works which he believes was to suspend the 
 
 of art were taken away to Rome by workmen's lamps by their hooked 
 
 Fulvius Nobilior, B.C. 189. handles. 
 
 Argos: for which D. and S. 10. imaginem Sileni : cf the simi- 
 
 made of ebony wood a group of the lar story, Cic. Div. i, 13, 23 : fingebat 
 
 Dioskouroi and their families ; Paus. Cameades in Chiorum lapicidinis 
 
 ii, 22, 5. saxo diffiso caput exstitisse Panisci. 
 
SCULPTURE IN MARBLE 189 
 
 indeed in almost all the temples built by the god Augustus. 
 Works by their father Archermos existed at Delos and in the 
 island of Lesbos. Ambrakia, Argos, and Kleonai Avere filled full 14 
 of the works of Dipoinos. All these artists used none but white 
 Parian marble, called lychnites \\vxviTr]s], as Varro says, because Marble of 
 it was quarried by lamplight in underground passages. Since P'^''"^- 
 then many marbles of a purer white have been discovered, and 
 again quite recently in the quarries of Luna. A marvellous story 
 tells how in the quarries of Paros a block which was being split 
 with wedges, opened and disclosed a figure of Seilenos. 
 
 Nor must I forget to say that the art of sculpture is much 15 
 older than that of painting or of bronze statuary, both of which ^/^/^"^^^ 
 began with Pheidias in the eighty-third olympiad [448-445 b. c.\ painting 
 some 332 years later. It is said that Pheidias also worked in '''^atimrv^" 
 marble, and that an Aphrodite by him of surpassing beauty is 
 at Rome in the gallery of Octavia. It is certain at all events 
 that he taught Alkamenes of Athens, a sculptor of the first rank, 16. 
 many of whose works are in the temples of Athens, while out- ,„^„'^j 
 side the city is his famous statue, known as ' Aphrodite eV (cijTrois-,' 
 or ' in the gardens.' Pheidias himself, according to tradition, 
 
 § 15. hano artem : sc. sculp- Parthenon and the whole tendencies 
 
 turam by implication, although the of his school, and from the express 
 
 kind of art has not been previously testimony of Aristotle, Eth. Nicom. 
 
 mentioned ; cf. notes on xxxiv, 56 vi, 7 • '^^ S^ trotpiav iv tc rais rex^o^s 
 
 {hanc scientiam')', xxxv, 153 [Jianc toT^ a.Kptl3eaT&T0is rcis rexvas ciTTodiSo- 
 
 scientiaTfC) . /icy, oXov ^eiSiav \iQovy6v aotpbv ital 
 
 12. quarum utraqtie : xxxiv, 49 ; HoXvtcXinov dvSpiavroTroLdvj evravOa 
 
 xxxv, 64; as regards painting Pliny piiv oZv oiiSiv aWo arjftaipovTes rf/v 
 
 forgets that he had himself argued ao(piav, ^ on aperri rixvjjs idTiv. 
 
 that its beginnings were still earlier 15. Octaviae operibus: cf. § 35, 
 
 than Pheidias. Introd. p. xxx. where another Aphrodite {aliam 
 
 14. tradunt : [tradition as opposed VenerenC) by Philiskos is mentioned 
 
 to real fact, i. e. whether he was a as being in the same gallery, 
 
 sculptor in marble or not, it is certain § 16. Alcamenen : xxxiv, 49 and 
 
 {quod certum est) that he taught 72. The only dateable work by Alka- 
 
 Alkamenes. So in xxxv, 54, tradatur menes is his group of Athena andHera- 
 
 is opposed to in confesso sit ; in xvii, kles, dedicated in the Herakleion at 
 
 49, sunt qui . . . adspergant. quod Thebes after the downfall of the Thirty 
 
 certum est . . . sol confert, H.L. U.] Tyrants in 403 B. c. (Paus. ix, 11, 6). 
 
 scalpsisse marmora : Pliny's Pliny's account of Alkamenes and 
 
 Greek authors had laid chief stress on Agorakritos seems borrowed from 
 
 the bronze works of Pheidias, xxxiv, Antigonos, Introd. p. xlii. 
 
 54 ; that he must have been equally 1 7. Athenis : see note on xxxiv, 
 
 celebrated for his works in marble 49, Olymp. Ixxxiii. 
 
 is evident from the sculptures of the 19. hi ktittois: on the Ilissos, Paus. 
 
I90 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 17 inposuisse dicitur. eiusdem discipulus fuit Agoracritus 
 Parius et aetate gratus, itaque e suis operibus pleraque 
 nomini eius donasse fertur. certavere autem inter se ambo 
 discipuli Venere facienda, vicitque Alcamenes non opere 
 sed civitatis suffragiis contra peregrinum suo faventis. 5 
 quare Agoracritus ea lege signum suum vendidisse traditur, 
 ne Athenis esset, et appellasse Nemesin. id positum est 
 Rhamnunte pago Atticae, quod M. Varro omnibus signis 
 praetulit. est et in Matris magnae delubro eadem civitate 
 
 18 Agoracriti opus. Phidian clarissimum esse per omnes gentes lo 
 quae lovis Olympii famam intellegunt nemo dubitat, sed ut 
 laudari merito sciant etiam qui opera eius non videre, pro- 
 feremus argumenta parva et ingeni tantum. neque ad hoc 
 lovis Olympii pulchritudine utemur, non Minervae Athenis 
 factae amplitudine, cum sit ea cubitorum XXVI, — ebore haec is 
 et auro constat — sed in scuto eius Amazonum proelium 
 caelavit intumescente ambitu, in parmae eiusdem concava 
 parte deorum et Gigantum dimicationes, in soleis vero 
 Lapitharum et Centaurorum, adeo momenta omnia capacia 
 
 i. 19, i. According to a generally Alkamenes recorded by John Tzetzes, 
 
 accepted theory of Furtwangler, the -j^yXm^fs, 931. 
 
 Alkamenian statue is reproduced in the 7. iCfeinesin : Wilamowitz {Anti- 
 
 statues of the ' Venus Genitrix ' type gonos v. Karystos, p. 11) points out 
 
 (Louvre, Giraudon, 1176; Florence that the story of the Nemesis having 
 
 Alinari, 1331). been intended for an Aphrodite 
 
 huio snmiuain manum : the originated in the fact that the 
 
 words almost imply that the same Rhamuusian Nemesis differed from 
 
 reproach attached to Alkamenes as the type usual at a later date. Cf. 
 
 to Agorakritos, namely, that Pheidias Paus. i, 33, 7 : Hrcpd 8' tx"" ""''f 
 
 allowed his own work to pass off as tovto tA ayaXixa 'Sifiiixeas oiiT€ aWo 
 
 his pupil's, cf. Pallat in Jahrb. ix, TreiroirjTai rSiv d,px<>.iaiv ... 01 S\ varepov, 
 
 1 894, p. 14. im(paivea9ai yap t7)v 9ebv pAMara lirl 
 
 § 17. 1. Agoracritus: Overbeck, t£ ipav kSeXovaiv, im. Toira 'Sein.iaa 
 
 Schriftquellen, 829-843. irTe/ick llia-nep "Eptori iroioSai; cf. Am- 
 
 3. nomini . . . donasse: the mianus Marcellinus, xiv, 11, 25-26 
 
 scandal recorded here vrithout special (ed. Gardthausen, p. 42), and Kalk- 
 
 allusion to any one work was used mann, Pattsanias der Perieget, p. 206. 
 
 by Polemon {ap. Zenobios f, 82) 8. Hhanmunte : a fragment of 
 
 as an argument wherewith to vin- the colossal head of the Nemesis was 
 
 dicate for Pheidias the authorship of discovered here, and is now in the 
 
 the Agorakritan Nemesis. lutrod. Brit. Mus. {Cat. Sculpt, i, 460). 
 
 p. xxxix. Numerous fragments of the basis (Leda 
 
 certavere : cf. the story of the bringing Helen to Nemesis, Paus. loc. 
 
 competition between Pheidias and «V.) were recovered in 1890, and are 
 
SCULPTURE IN MARBLE 191 
 
 put the last touches to this work. He also taught Agorakritos of 17 
 Paros, whom he so loved for his youthful grace, that he allowed krit^'. 
 several of his own works to pass under his name. The two 
 pupils made statues of Aphrodite for a competition, and Alka- 
 menes received the prize, not from the merit of his work, but 
 because the Athenians voted for their fellow-citizen against 
 a foreigner. The story runs that Agorakritos thereupon sold his 
 statue, imposing the condition that it should not be set up at 
 Athens, and called it Nemesis. It now stands in Rhamnous, 
 a deme of Attica, and Marcus Varro esteems it above all other 
 statues. There is another statue by Agorakritos in the same city, 
 in the shrine of the Great Mother. 
 
 The renown of Pheidias among all peoples who realize the 18 
 glory of his Olympian Zeus cannot be brought in doubt ; yet so ^^isfn^ 
 that even those who have not seen his works may know that his ventive 
 praises are well deserved, I shall cite those minute details in which ^^^i^ ''" 
 it was only left to him to display the resources of his inventive 
 faculty. For this purpose I shall not appeal to the beauty of his 
 Olympian Zeus, nor to the size of his Athena at Athens, though 
 she is 26 cubits [37 ft. 10 in.] in height, made all of gold and 
 ivory ; but I shall instance her shield, on the convex face of which 
 he represented the battle of the Amazons, and on the concave 
 surface the conflict between the gods and giants, while on the side 
 of her sandals were the Lapithai and the Kentaurs. So true was 
 it that in his eyes every tiny space afforded a field for art. The 
 
 published, Jahrb. ix, 1894, pi. 1-7, numerous references in other authors 
 
 pp. 1-22 (Pallat). Pausanias, who is coll. by Overb. A'Ary^yae//. 693-754. 
 never curious in the matter of ascrip- 14. Minervae : xxxiv, 54 ; Pans, 
 
 tions, simply attributes the work to i, 24, 5 ; Overbeclc, 645-696 ; a rough 
 
 Pheidias, as he likewise did the Roman copy in the statuette from the 
 
 ' Mother of the Gods ' by Agorakritos, Varvakeion (Athens, Central Mus. ; 
 
 and the Athena by Kolotes (see cast in Br. Mus., Cat. Sculpt, i, 300 ; 
 
 note on xxxv, 54). cf. 301). 
 
 9. Matris magnae del, : MjjrpSs 16. scuto : a small late copy is 
 
 Biwv Upov, Pans, i, 3, 5, where preserved in the ' Strangford ' shield, 
 
 the statue is erroneously ascribed to Brit. Mus. Cat. Sculpt, i, 303 ; for the 
 
 Pheidias himself. For the type of the latest discussion of the style of the 
 
 goddess seethe fine relief of undoubted reliefs and of the supposed portraits 
 
 Pheidian style, ^. Z. 38, 1880, pi. i; of Pheidias and Perikles, see Furt- 
 
 Roscher, ii, p. 1663, fig. 5. Addenda. wangler, Masterpieces, p. 48. 
 
 §18. II. lovis Olympii : xxxiv, 18. soleis: cf. inthe Mus. Conserv. 
 
 49 ; 54 ; full description of the statue in at Rome the colossal foot wearing 
 
 Pans. V, 10, 2 : beneath the feet of a sandal adorned along the edge with 
 
 Zeus was the artist's inscription, *ei5ias a train of Tritons (Helbig, Class. Ant. 
 
 XapiiiSov vBs 'ABijvcuSs /J,' liroitjixe : the 596). 
 
192 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 19 artis illi fuere. in basi autem quod caelatum est Pandoras 
 genesin appellant : dii adsunt nascenti XX numero. Victoria 
 praecipue mirabili periti mirantur et serpentem ac sub ipsa 
 cuspide aeream sphingem. haec sint obiter dicta de artifice 
 numquam satis laudato, simul ut noscatur illam magnifi- 5 
 
 20 centiam aequalem fuisse et in parvis. Praxitelis aetatem 
 inter statuarios diximus, qui marmoris gloria superavit 
 etiam semet. opera eius sunt Athenis in Ceramico, sed 
 ante omnia est non solum Praxitelis verum in toto orbe 
 terrarum Venus quam ut viderent multi navigaverunt lo 
 Cnidum. duas fecerat simulque vendebat, alteram velata 
 specie, quam ob id praetulerunt quorum condicio erat Coi, 
 cum eodem pretio detulisset, severum id ac pudicum arbi- 
 trantes. reiectam Cnidi emerunt inmensa differentia famae. 
 
 21 voluit eam a Cnidiis postea mercari rex Nicomedes, totum 15 
 aes alienum quod erat ingens civitatis dissoluturum se pro- 
 mittens, omnia perpeti maluere, nee inmerito, illo enim 
 signo Praxiteles nobilitavit Cnidum. aedicula eius tota 
 aperitur ut conspici possit undique effigies dea favente ipsa, 
 
 I. caelatnin est — Pandoras genesin appellant — dii Gerhard, Detlefsen, 
 2. adsunt nascenti] Urlichs in Chrest.; sunt nascentis ^?Vot;-i/. ; sunt nascentes 
 reliqui; sunt adstantes Detlefsen. 3. z.z\post verbum aeream /w. Panofka, 
 
 Detlefsen. 4. a.a^!L-nx\ Bamb., reliqui; aureum Urlichs, Detlefsen. 
 
 § 19. I . Pandoras genesin : Paus. Pausanias, p. 98) . We have there 
 
 i, 24, 7 : from the hesitating manner fore retained the MSS. reading, which 
 
 in which the statement is introduced can be construed though the sense is 
 
 by appellant, it appears that either not absolutely clear. The confusion, 
 
 Pliny or his Latin author had not however, is more likely due to Pliny's 
 
 thoroughly grasped the meaning of hurrying over details, than to the 
 
 the Greek; cf. Jahn, Kunsturtheile, copyists. Sub ipsa I take to mean 
 
 p. 127. 'about on a level vnth'; aeream is 
 
 i. dii adsunt: the composition evidently correct, for had the sphinx — 
 
 is preserved on the basis of the Perga- according to Pliny— been of gold, like 
 
 mene copy of the Athena Parthenos, the rest of the statue, there would 
 
 ya/5;-3. V, 1890, p. 114, fig. 9. have been no need to mention its 
 
 Victoria : koX Nifcrjv oaov tc material. 
 
 reaaapcuv -mixaiv . . . Ix". Paus. lac. § 20. 7. diximus : xxxiv, 69-70. 
 
 "^' 8. in Ceramico : refers to grave 
 
 3. ac sub ipsa . . : sphingem : statues by Praxiteles in the Athenian 
 
 tjie reading adopted by Detlefsen cemetery. Pausanias (i, 2, 3) mentions 
 
 brings Pliny into agreement with a grave kmerjim ex'"" a-rpaTiimjV 
 
 Pausanias («ai TrX-qaiov toC Soparos iiriT(ii vapearr]x6Ta- ovTtva filv ovk olSa, 
 
 Spaxuv iaTiv), but does intolerable Upa^neKris Si xai tov 'iirirov koX tov 
 
 violence to the MSS. (cf. Gurlilt, aTpnTtarriv kiroiriaev (notes on xxxiv, 
 
SCULPTURE IN MARBLE 193 
 
 relief on the base is known as the yeVcrit of Pandora; the 19 
 gods present at the birth are twenty in number. The Victory is 
 most wondrous, but connoisseurs admire also the serpent and 
 further the bronze sphinx beneath the spear of the goddess. Let 
 these passing remarks on a sculptor whose praises can never end, 
 serve at the same time to show that even in the smallest details 
 the opulence of his genius never fell short. 
 
 Praxiteles, whose date I gave among the bronze workers, outdid 20 
 even himself by the fame of his works in marble. Statues by his P''"'^^'^^"- 
 hand exist at Athens in the Kerameikos, while famous not only 
 among the works of Praxiteles, but throughout the whole world, 
 is the Aphrodite which multitudes have sailed to Knidos to look Aphrodite 
 upon. He had offered two statues of Aphrodite for sale at the ^-'^ '^ ""'"■'• 
 same time, the second being a draped figure, which for that 
 reason was preferred by the people of Kos with whom lay the 
 first choice ; the price of the two figures was the same, but they 
 flattered themselves they were giving proof of a severe modesty. 
 The rejected statue, which was bought by the people of Knidos, 
 enjoys an immeasurably greater reputation. King Nikomedes 21 
 subsequently wished to buy it from them, offering to discharge 
 the whole of their public debt, which was enormous. They, how- 
 ever, preferred to suffer the worst that could befall, and they 
 showed their wisdom, for by this statue Praxiteles made Knidos 
 illustrious. It stands in a small shrine, open all round so that 
 
 70, 71, and on ias ex pir. imagines oi 11. velata specie: this second 
 
 Apelles in xxxv, 90). For tlie Plinian Aphrodite is still to seek ; for a pos- 
 
 phrase, cf. Cicero, de Leg. ii, 26, 64 : sible echo of the work, see Furt- 
 
 amplitudines sepulcrorum, quas in wangler, op. cit. p. 322 f. 
 
 Ceramico videmus; Wolters, Aiken. § 21. 15. voluit . . . mercari ; at 
 
 Mitth. xviii, 1893, p. 5 f. and note i. the close of the first Mithridatic war, 
 
 10. Venus . . . Cnidum: the B. C. 84, when Nikomedes III (King of 
 
 statue is represented on coins of Bithynia B. c. 90-74), who had been 
 
 Knidos, Gardner, Types, xv, 21; for expelled from his kingdom by Mithri- 
 
 a revised list of the marble copies, see dates, was reinstated by the Romans. 
 
 Furtwangler, Masterpieces, p. 322, 16. aes alienmn ; for the heavy 
 
 note 3 ; the best known is in the contributions exacted by Sulla from 
 
 Vatican, Helbig 316 (good cast with- the Greek states of Asia Minor, cf. 
 
 out drapery in South Kensington Applan, Mi9/]i8. 63. 
 
 Museum). The notices in ancient 18. aedioula: for a detailed de- 
 
 vreiters coll. by Overbeck, Schriftquell. scription of the statue and its shrine, 
 
 1227-1248. The information as to cf. Lucian, 'Epwrcs, 13. 
 
 the Knidian Aphrodite is from Muci- 19. deafavente ipsa: in allusion 
 
 anus. Introd. p. Ixxxvii. to the legend that the goddess herself 
 
 O 
 
194 
 
 C. PLINII SECVNDI NAT. HIST. XXXVI 
 
 ut creditur, facta, nee minor ex quacumque parte admi- 
 ratio est. ferunt amore captum quendam, cum delituisset 
 noctu, simulacro cohaesisse, eiusque cupiditatis esse indicem 
 
 22 maculam. sunt in Cnido et alia signa marmorea inlustrium 
 artificum, Liber pater Bryaxidis et alter Scopae et Minerva, 5 
 nee mains aliud Veneris Praxiteliae specimen quam quod 
 inter haec sola memoratur. eiusdem est et Cupido obiectus 
 a Cicerone Verri, ille propter quem Thespiae visebantur, 
 nunc in Octaviae scholis positus, eiusdem et alter nudus in 
 Pario colonia Propontidis, par Veneri Cnidiae nobilitate et i° 
 iniuria, adamavit enim Alcetas Rhodius atque in eo quoque 
 
 23 simile amoris vestigium reliquit. Romae Praxitelis opera 
 sunt Flora, Triptolemus, Ceres in hortis Servilianis, Boni 
 Eventus et Bonae Fortunae simulacra in Capitolio, item 
 Maenades et quas Thyiadas vocant et Caryatidas, et Sileni ^S 
 in PoUionis Asini monumentis, et Apollo et Neptunus. 
 
 24 Praxitelis filius Cephisodotus et artis heres fuit. cuius 
 laudatum est Pergami symplegma nobile digitis corpori 
 
 served the artist as model. Clement of 
 Alexandria, ■npoTpfirT. \6yos 53, names 
 the courtesan Kratina as model. 
 
 2. amore captum : cf. below, 
 § 22, § 39. Similar stories were told 
 also of a Hebe by Ktesikles, Adaios, 
 ap. Athen. xiii, p. 606 a, of an 'AyaOi) 
 Tvxrj near th Prytaneion in Athens, 
 Ailian, noi/c. lar. ix, 39. 
 
 § 22. 5. Bryaxidis: below, § 30; 
 xxxiv, 42, 73. 
 
 Soopae : below, §§ 25, 28, 30, 31 ; 
 xxxiv, 49. 
 
 7. Cupido : given as a present to 
 Phryne, Pans, i, 20, i ; cf. Athen. xiii, 
 p. 591 b. The Eros was brought from 
 Thespiai to Rome by Gains Caligula, 
 restored to Thespiai by Claudius, and 
 finally brought back to Rome by 
 Nero ; it was destroyed in u, fire, in 
 the reign of Titus (Pans, ix, 27, 3). 
 Furtwangler (Masterp. p. 314 ff.) 
 follows Visconti in recognizing copies 
 of the statue in the ' Eros of Cento- 
 celle ' (Helbig, 185) and its numerous 
 replicas. 
 
 obieotus : Verreshad robbed Heius 
 of Messana of another Eros by 
 Praxiteles ; Cicero's allusion to the 
 Thespian statue was to impress upon 
 the judges mirum quendam dolorem 
 accipere eos^ ex quorum urbibus haec 
 auferantur. 
 
 8. propter . . . visebantur : Cic. 
 Verr. II, iv, 2, 4: Cupidinem fecit 
 (Praxiteles) ilium qui est Thespiis, 
 propter quem Thespiae visuniur; nam 
 alia visendi causa nulla est; cf. ib. 
 
 60, 135- 
 
 9. Octaviae scholis : part of the 
 complex of buildings known as the 
 Opera Octaviae ; these were probably 
 rooms opening on to the gallery or 
 porticus itself 
 
 alter nudus : the type was first 
 identified by Furtwangler on coins 
 of Parion {ap. Roscher, i, 13? 8); 
 later Benndorf {Bull, delta Comm. 
 Arch. 1886, p. 74) recognized a mar- 
 ble copy in the ' Genius Borghese ' 
 of the Louvre (phot. Giraudon, 
 1201). 
 
SCULPTURE IN MARBLE 
 
 195 
 
 the statue, which was made, as is believed, under the direct 
 inspiration of the goddess, can be seen from every side, nor is 
 there any point of view from which it is less admirable than from 
 another. 
 
 There are in Knidos other marble statues by great sculptors, 22 
 a Dionysos by Bryaxis, another Dionysos, and also an Athena by 
 Skopas, and there is no more forcible panegyric of the Aphrodite 
 of Praxiteles than the fact that among all these it alone is 
 remembered. Praxiteles also made the Eros with which Cicero Eros of 
 taunted Verres, that Eros for whose sake men travelled to ^ 
 Thespiai. It is now in the ' schools ' of Octavia. He made 
 a second nude Eros in the colony of Parion, on the Propontis, 
 a figure as celebrated as the Aphrodite of Knidos. 
 
 At Rome the works of Praxiteles are : Flora, Triptolemos and 23 
 Demeter in the gardens of Servilius, the images of Good Luck 
 and Good Fortune in the Capitol, further the Mainads, the 
 figures known as Thyiades and Karyatides, the Seilenoi in the 
 gallery of Asinius PoUio, and an Apollo and Poseidon. 
 
 Kephisodotos, the son of Praxiteles, was also the heir to his 24 
 gepius. Greatly admired is his celebrated group at Pergamon of ^^f^""' 
 
 in Pario oolonia : v, 141 ; xxxiv, 
 78 ; it was the seat of a very ancient 
 cult of Eros, Paus. ix, 27, i (Furt- 
 wangler, ap. Roscher, i, 1342). 
 
 § 23. 12. Eomae : at this point 
 begins a description of works of art in 
 Rome, which is continued with only 
 a few interruptions to the close of the 
 history of the marble sculptors in § 43. 
 
 13. Flora, Tript., Ceres: pre- 
 sumably in a group ; Flora must be 
 the Greek K(i/>a, and owes her Latin 
 name to the wreath she was holding as 
 on the relief. Overbeck, Kunst. Myth. 
 pi. xiv, 3, 4 ; 'E(f7;/i. dpx- 1893, P- 35- 
 
 hortis Servilianis : from Suet. 
 Nero, 47, this must have been 
 on the Via Ostiensis ; cf. Tacitus, 
 Ann. XV, .^$ ; Bist. iii, 38 ; C. I. L. 
 vi, 8673, 8674. 
 
 Boni Ev. et Bonae I'ort.= 
 'A7aflis laifuiiv and 'A7a9^ Ttixi/ ; for 
 the received Attic type of these divi- 
 nities see the votive relief in the Brit. 
 Mus. {Mus. Marbles, xi, pi. 47). 
 
 15. Maenades: for Attic fourth- 
 century types of the maenads see 
 Rapp ap. Roscher, ii. 2270. 
 
 Thyiadas : •pivatKis iiiv elaai 
 *ATT(«ai, ^oirSiaai 5^ Is riv THapvachv 
 napa €Tos . . . dyovffLv opyia Aiovvirqi, 
 Paus. X, 4, 3. KapvaTidcs, maidens 
 of Karyai, who danced at the festival 
 of Artemis, Pans, iv, 16, 9. 
 
 16. PoUionis Asini mon. : in the 
 Museum connected with the famous 
 library, Plin. vii, 115 ; both apparently 
 adjomed the Atrium Libertatis, which 
 was restored by Asinius PoUio, cf. 
 Suet. Aug. 29; Ovid, Tristia, iii, i, 
 72 ; Gilbert, Rom, iii, p. 338, note 2. 
 
 § 24. 17. Cephisodotus : xxxiv, 
 
 51. 87- 
 
 18. Pergami: the information is 
 from Mucianus, Introd. p. Ixxxix. 
 [From Tac. Ann. xvi, 23, it appears 
 that a number of works of art were still 
 at Pergamon in the reign of Nero. — 
 H.L.U.] 
 
 symplegma : [probably here of 
 
 O 3 
 
Ig6 
 
 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 verius quam marmori inpressis. Romae eius opera sunt 
 Latona in Palati delubro, Venus in Pollionis Asini monu- 
 mentis et intra Octaviae porticus in lunonis aede Aescula- 
 
 25 pius ac Diana. Scopae laus cum his certat. is fecit 
 Venerem et Pothon, qui Samothrace sanctissimis caerimonis 5 
 coluntur, item Apollinem Palatinum, Vestam sedentem 
 laudatam in Servilianis hortis duosque campteras circa eam, 
 quorum pares in Asini monimentis sunt, ubi et canephoros 
 
 26 eiusdem. sed in maxima dignatione delubro Cn. Domitii 
 in circo Flaminio Neptunus ipse et Thetis atque Achilles, 10 
 Nereides supra delphinos et cete aut hippocampos sedentes, 
 item Tritones chorusque Phorci et pistrices ac multa alia 
 marina, omnia eiusdem manu, praeclarum opus, etiam si 
 totius vitae fuisset. nunc vero praeter supra dicta quaeque 
 nescimus Mars etiamnum est sedens colossiaeus eiusdem 15 
 manu in templo Bruti Callaeci apud circum eundem, prae- 
 
 7. campteras] Bamb.; camiteras reliqui; lampterasya«, Detlefsen. 
 
 an erotic couple, cf. Martial, xii, 
 43 ; Amobius, vii, 33 (ed. Reiffer- 
 scheid, p. 267), and for this use of 
 aviiirXfyna, Soph. Fr. 556, Plato, 
 Symp. iQi, Aeta.— H. L. U.] That 
 this symplegma had an erotic signi- 
 ficance is proved by the comparison 
 with the group of Pan and Olympos 
 (I 36) quod est alterum in terris sym- 
 plegma nobile. i 
 
 digitis . . . inpressis ; cf. HSrondas, 
 iy, 59 f. (ed. Crusius) : 
 
 rhv irarSa 6^ (^■hv') yvfivdv ijv Kviaoj 
 
 TOVTOV 
 
 2. Iiatona: Crusius (German transl. 
 of Herondas, p. xiv, note) suggests 
 possible identity with the Leto which 
 had stood in Kos, Herondas, ii, 98. 
 
 Falati delubro ; below, § 32. 
 
 3. luuonis aede: below, §35; 
 
 §42- 
 
 Aesculapius : according to Cru- 
 sius (loc. cit.), possibly identical 
 with the Asklepios by 'the sons of 
 Praxiteles' (01 Tlpri^nikfoi imrSes) in 
 the temple of Kos ; Herond. iv, 20 ff. 
 
 § 25. 4. Scopae laus : § 22 ; § 30. 
 
 5. Venerem et Pothon : the Samo- 
 thrakian cult seems to have developed 
 out of that of Demeter and Hermes 
 Kadmos ; cf. Crusius, Fleckeiseti s 
 Jahrb. 128, p. 298; Beitrdge z. 
 
 Griech. Myth. p. 15. For the temple 
 of Aphrodite at Megara, Skopas had 
 made statues of Eros, Himeros, and 
 Pothos ; Pans, i, 43, 6. 
 
 Samothrace : Mucianns, who had 
 visited Samothrake, is again Pliny's 
 authority here, Introd. p. xc. 
 
 6. ApoU. Palatinum ; for the 
 temple, cf. xxxiv, 14 ; above, § 24 ; 
 below, § 32. Propertius, ii, 31, 15, 
 describes the statue as follows : — 
 
 deinde inter matrem deus ipse in- 
 
 terque sororem 
 Pythius in longa carmina neste 
 
 sonat. 
 (The Apollo referred to in 1. 5 f. of 
 the same elegy has been shown by 
 Hiilsen, Rom. Mitth. ix, 1894, p. 
 240 f, to refer to a quite distinct statue 
 which stood in the courtyard of the 
 temple.) The Skopasian Apollo, the 
 
SCULPTURE IN MARBLE 197 
 
 figures interlaced [o-ij/ijrXe-yfia], in which the fingers seem to press 
 on flesh rather than on marble. At Rome his works are: the 
 Leto in the temple on the Palatine, an Aphrodite in the gallery 
 of Asinius Pollio, and the Asklepios and Artemis in the temple of 
 Juno within the portico of Octavia. 
 
 The praise of Skopas vies with theirs. He made the Aphrodite 25 
 and rioSor, or Desire, which are worshipped in Samothrake with ^™P'^^- 
 the holiest ritual, also the Apollo on the Palatine and, in the 
 gardens of Servilius, a seated Hestia which is praised, and beside 
 her two pillars whose pendants are in the galleries of Asinius, 
 where also is his Kavrjcjiopos [basket-bearer]. But most highly 26 
 esteemed of all his works is the group in the temple built by 
 Gnaeus Domitius in the Circus of Flaminius : it comprises Posei- 
 don himself with Thetis and Achilles, Nereids riding on dolphins 
 and sea monsters or on sea horses, and Tritons and the train of 
 Phorkos, with sea beasts and a tumult of creatures of the deep, 
 the whole by the same hand, a wondrous work, even were it that 
 of a life-time. Yet in addition to the works I have named and 
 those which are unknown to us, we have by the same artist an 
 Ares, a colossal seated figure, now in the temple built by Brutus 
 Callaecus close to the Circus of Flaminius, besides a nude 
 
 Kitharoidos, is represented on coins Poseidon at Astakos-Olbia (Uriichs, 
 
 of Nero (Overb. J^olL Munztaf. v, Skopas, p. 130). 
 
 47,48, 50, 51). 10. oiroo Plaminio: cf. Gilbert, 
 
 7. campteras : i. e. goals or Rom, iii, p. 89. 
 
 columns marking in the stadium the ipse : i.e. the temple-statue; Becker, 
 
 turning-point for runners or chariots Top. p. 619, note 13; cf. simulacrum. 
 
 (Kaii-uTuv) ; cf. the metae on the sar- ipsum in xxxiv, 66. 
 
 kophagos, Helbig, Class. Ant. 339 ; Thetis . . . marina : the group 
 
 these columns might be profusely represented the passing of Achilles to 
 
 adorned with sculpture. the Isles of the Blest; Uriichs, Skopas, 
 
 §26. 9. delubro; i. e. of Neptune. p. 133 ff. ; cf. Fleischer ap. Roscher, 
 
 It is imcertain which of the Domitii i, p. 53. Pliny's description is tinged 
 
 built it ; Uriichs ( Griechische Statuen by reminiscences of Virgil, Aen. v, 
 
 im Rep. Rom, p. 19) inclines to attri- 240. 
 
 bute the original building to the consul 15. Mars . . . sedens : the Ares 
 
 of B. c. 121, who celebrated with great Ludovisi (Helbig, 883) — a statue dis- 
 
 splendour his triumph over the Ar- tinctly Skopasian in style— is probably 
 
 verni, and its restoration to his great- a reduced copy of this work ; see 
 
 grandson, the consul of B.C. 32 ; this Furtwangler, Masterpieces, p. 304. 
 
 later Domitius now placed in the 16. Bruti Callaeoi : (D. Junius) 
 
 temple the great SI<opasian group, cos. B.C. 138; celebrated his triumph 
 
 presumbly brought from Bithynia, over the Callaici B. c. 1 32 ; the archi- 
 
 of which he was governor B. C. 40-35, tect of the temple was Hermodoros of 
 
 and where was a famous temple of Salamis, Nepos ap. Priscian, Fragm. 
 
igS 
 
 C. PLINII SECUNDI NAT. HIST XXXVI 
 
 terea Venus in eodem loco nuda Praxiteliam illam ante- 
 
 27 cedens et quemcumque alium locum nobilitatura. Romae 
 quidem multitudo operum, etiam obliteratio ac magis offi- 
 ciorum negotiorumque acervi omnis a contemplatione tamen 
 abducunt, quoniam otiosorum et in magno loci silentio talis 5 
 admiratio est. qua de causa ignoratur artifex eius quoque 
 Veneris quam Vespasianus imperator in operibus Pacis suae 
 
 28 dicavit antiquorum dignam fama. par haesitatio est in 
 templo Apollinis Sosiani, Niobae liberos morientes Scopas 
 an Praxiteles fecerit, item lanus pater in suo templo dicatus 10 
 ab Augusto ex Aegypto advectus utrius manu sit, iam 
 quidem et auro occultatus. similiter in curia Octaviae 
 quaeritur de Cupidine fulmen tenente. id demum adfirma- 
 
 29 tur, Alcibiaden esse principem forma in ea aetate. multa 
 in eadem schola sine auctoribus placent : Satyri quattuor, 15 
 ex quibus unus Liberum patrem palla velatum umeris 
 praefert, alter Liberam similiter, tertius ploratum infantis 
 
 Hist. Rom. 13, p. 227; cf. Gilbert, 
 Rom, iii, p. 88. 
 
 § 27. 2. Bomae quidem : for the 
 sentiment of the whole passage, cf. 
 Hor. Ep. i, 10. [It became a common- 
 place of silver Latinity to contrast the 
 noise of the city with the quiet of the 
 villas, see also Pliny's Introd. to Bk. 
 xiv ; Pliny, Ep. iii, 1 8, 4 nunquamporro 
 aut valde vacat Romae, aut com- 
 modum est audire recitantem ; Ep. 
 iii, 5, 13 haec inter medios labor es 
 urbisque fremitum ; and Ep. i, 9 ; 
 cf C. F. Herrmann iiber d. Kunstsinn 
 der Romer, p. 46.^ — H. L. U.] 
 
 7. operibus Paois : connected 
 with the Temple and Forum of Peace, 
 xxxiv, 84. 
 
 § 28. 9. ApoUinis Sosiani: xiii,53, 
 the surname from C. Sosius (the legate 
 of Antony), who brought the sacred 
 cedar-wood image of the god from 
 Seleukia, and restored the temple ; 
 note on xxxv, 99. 
 
 liiobae : if the group was identical 
 with the original of the Florence 
 statues, the style — especially of the 
 heads — can leave no doubt that it 
 
 was by Skopas (cf Amelung, Basis 
 des Praxiteles, p. 67). The ancient 
 critics evidently confused Skopas 
 and Praxiteles, precisely as do the 
 moderns. 
 
 10. lanus pater: a bearded double 
 terminal bust, rechristened at Rome as 
 Janus. [What divinity it originally 
 represented is impossible to tell, for 
 the Romans were absolutely with- 
 out scruple in renaming statues; cf. 
 Pseud. Dio Chrys. xxxvii, 42 Kopiv0. 
 for a Poseidon rededicated as Jupiter. 
 — H. L. U.] According to Wernicke, 
 Jahrb. v, 1890, p. 148, this 'Janus' 
 may be identical with the Skopasian 
 herm {not Hermes), Anth. Plan. 192. 
 
 in suo templo : the shrine in the 
 Forum (xxxiv, 33) can scarcely have 
 been spacious enough to hold a second 
 statue: it is slill doubtful which 
 temple is meant ; Roscher, {Lex. ii, 
 26 f.) suggests a temple of Janus 
 belonging to the Forum Augustum, 
 while Jordan {Hermes, iv, p. 239) 
 thought of the temple in the Forum 
 Holitorium; cf. Peter, Ovid's Fasti, 
 ii, p. II. 
 
SCULPTURE IN MARBLE 199 
 
 Aphrodite now in the same place, which surpasses even the 
 Praxitelean goddess, and would suffice to make famous any other 
 spot. At Rome indeed the works of art are legion ; besides, one 27 
 effaces another from the memory, and above all, beautiful as they ^^^^^^" /„ 
 are, people are distracted by the overpowering claims of duty and Jiome ob- 
 business, for to admire art we need leisure and profound stillness, ^i^^^ ' '"^ 
 For this same reason we are ignorant of the sculptor of the 
 Aphrodite dedicated by the emperor Vespasian in the galleries of 
 his temple of Peace, a work worthy of the old masters. It is likewise 28 
 uncertain whether Skopas or Praxiteles made the dying children 
 of Niobe in the temple of the Apollo of Sosius, and again which 
 of them made the Father Janus brought by Augustus from Egypt 
 and dedicated in his own temple ; the Janus, moreover, is now 
 disguised by gilding. The same difficulty arises in the case of 
 the Eros holding a thunderbolt, in the Council Chamber of 
 Octavia ; this only is certain, that it is the portrait of Alkibiades, 
 the handsomest man of his day. Many groups by unknown 29 
 artists attract us in this gallery ; such as the four Satyrs, one of 
 whom is carrying on his shoulders a cloaked Dionysos, the second 
 carries Ariadne in the same way, the third is soothing a crying 
 
 11. ex Aegypto : cf. xxxv, 131, portrait — andaportrait of Alkibiades; 
 28, and notes. I take no responsibility in the matter, 
 
 iam quidem : in exculpation. but thus far is certain, that Alkibiades 
 
 12. aurooocultatus : the gilding is was the most beautiful man in the 
 specially mentioned, as unusual in the period to which the statue belongs, 
 case of a marble statue ; cf. Wunderer, 14. Alcibiaden : the statue had 
 Manibiae, p. 10 ; note on xxxiv, 63. most probably nothing to do with 
 
 similiter . . . quaeritur : from Alkibiades, but the connexion in the 
 
 works as to which it was doubtful popular mind arose from the well- 
 
 whether they were by Skopas or known liriffij/ioy on his shield (Plut. 
 
 Praxiteles Pliny passes on to general Alkib. 16). 
 
 doubts, and thence to statues by § 29. 15. eadem sehola : Gilbert, 
 
 unknown masters {sine auctoribus) ; loc. cit. 
 Wernicke, op. cit. p. 150. 16. Liberum . . . palla velatum ; 
 
 in curia: certain rooms of the the description of the fully draped figure 
 
 opera Octaviae served occasionally for suggests the Dionysos supported (not 
 
 meetings of the Senate ; Dio Cassius, carried) by a Satyr in the ' Ikarios' 
 
 Iv, 8 ; Josephus, Bell. Jud. vii, 5, 4 ; relief (Schreiber, Hell. Reliefs, xxxvii). 
 
 Gilbert, Rom, iii, p. 249, note i. palla = iiiTi\os, usually understood of 
 
 13. fulmentenentei'EpousKcpawo- the cloak worn by women, though 
 rf,(Spos. practically identical with the lix&nov. 
 
 id . . . adfirmatur: Wernicke {loc. 17. Liberara similiter : a Maenad 
 
 cit.) explains Pliny's meaning to be as carried by a Satyr, misunderstood as 
 
 follows : the individuality of the fea- an Ariadne ; cf. Furtwangler, Flinius, 
 
 tures leads people to suppose this is a p. 10. 
 
C. PLINII SECUNDl NAT. HIST. XXXVI 
 
 cohibet, quartus cratere alterius sitim sedat, duaeque Aurae 
 velificantes sua veste. nee minor quaestio est in saeptis 
 Olympum et Pana, Chironem cum Achille qui fecerint, 
 praesertim cum capitali satisdatione fama iudicet dignos. 
 30 Scopas habuit aemulos eadem aetata Bryaxim et Timo- 5 
 theum et Leocharen, de quibus simul dicendum est, quoniam 
 pariter caelavere Mausoleum, sepulchrum hoc est ab uxore 
 Artemisia factum Mausolo Cariae regulo, qui obiit olympia- 
 dis CVII anno secundo. opus id ut esset inter septem 
 miracula hi maxime fecere artifices, patet ab austro et 10 
 septentrione centenos sexagenos ternos pedes, brevius a 
 
 II. centenos] Urlichs in Chrest., Detlefsen ; om. Bamb., reliqui. 
 
 ploratum iufautis cohibet : re- 
 calls the well-known group in the 
 Louvre (phot. Giraudon, 1182) and 
 its numerous replicas (Rome, Helbig, 
 11; phot. Alinari, 6673) of Seilenos 
 nursing the babe Dionysos. 
 
 1 . duaeque Aurae : cf. the so- 
 called ' Nereids ' of the Xanthian tomb 
 (Brit. Mus.), which have been shown by 
 Six,y. H. S. xiii, p. 131, to represent 
 the ABpoi ; Pindar, 01. ii, 70, ftaxapav 
 vdffos wKeaviSc^ trept-nv^oiaiv ; see also 
 Max. Mayer ap. Roscher, ii, 2147 ff. 
 
 2. neo minor quaestio : above, 
 note in § 28 on similiter . . . quaeritur. 
 
 in saeptis : i. e. in the galleries 
 which surrounded the voting-place 
 of the Comitia, after the luxurious 
 alterations planned by Caesar (Cic. 
 Att. iv, 16, 14) and completed by 
 Augustus ; cf. Dio Cassins, liii, 23. 
 
 3. Olympum et Pana : the group 
 in Naples of the bearded Pan teaching 
 a young boy the syrinx (Friederichs, 
 Bausieine, 654; Helbig, Untersuch. 
 p. 156) is commonly thought to 
 reproduce this work. 
 
 Chironem oum Aohille : the 
 subject is preserved in wall-paintings 
 (Helbig, Wandgem. 1291-1295), of 
 which the best preserved and most 
 famous is Helbig 1291. A head 
 from a. marble copy is in the Pal. 
 Conservat. ; Helbig, Class. Ant. 572. 
 
 4. capitali satisdatione : xxxiv, 
 38. 
 
 § 30. 5. Scopas : the dates for 
 his activity are comprised between 
 his work for the temple of Athena 
 Alea at Tegea (after the fire B. c. 
 394, Pans, viii, 45, 4) and his work 
 for the Mausoleion (about B. c. 353) 
 and for the Artemisiou of Ephesos 
 (after the fire of B. c. 356, below § 95). 
 
 aemulos : cf. xxxiv, 49, aemuli ; 
 XXXV, 64. 
 
 Bryaxim: xxxiv, 73; for his signa- 
 ture Bp^a^is k-noTjaiv on the basis 
 adorned with reliefs of horsemen see 
 AeXriov, 1891, p. ^e,; Bull. Corr. Hell., 
 XV, 1891, p. 369, plate vii ; 'Etpr/ix. apx. 
 1893, plates 6, 7. The inscription is 
 of about the date of the Mausoleion 
 (cf. plates 4, 5, for a torso of Nike 
 foimd not far from the basis, and 
 which Kavvadias, ii. p. 46, supposes 
 to have crowned the monument). 
 
 Timotheum : xxxiv, 91 ; he 
 may have been already advanced in 
 years when he worked upon the 
 Mausoleion ; the inscription (Kav- 
 vadias, Fouilles cVEpidaure, no. 241, 
 1. 36 f.) recording his contract for fur- 
 nishing models and sculptures for the 
 Temple of Asklepios at Epidauros, 
 Paus. ii, 32, 4, is dated by Kavvadias 
 (p. 85) at the commencement of the 
 fourth century, while Foucart, Bull. 
 
SCULPTURE IN MARBLE 
 
 child, and the fourth quenches the thirst of another child out of 
 
 a goblet ; further, the two wind goddesses spreading their robes as 
 
 sails. It is equally uncertain who made the groups in the voting 
 
 enclosures of Olympos and Pan, and of Achilles and Cheiron, and 
 
 yet such is their renown that the custodians are obliged to pledge 
 
 their lives for their safety. 
 
 Bryaxis, Timotheos, and Leochares were rivals and contempor- 30 
 
 aries of Skopas, and must be mentioned with him, as they TheMauso- 
 
 Ictoti 
 worked together on the Mausoleion. This is the tomb erected 
 
 by Artemisia in honour of her husband Mausolos, prince of 
 
 Karia, who died in the second year of the hundred and seventh 
 
 Olympiad [351 B.C.], and its place among the seven wonders of 
 
 the world is largely due to these great sculptors. The length of 
 
 the south and north sides is 163 feet ; the two fagades are 
 
 Corr. Hell, xiv, 1890, p. 589 ff., 
 places it at about B. c. 375. 
 
 6. tieocharen : for his date see on 
 xxxiv, 50. 
 
 7. Mausoleum: a history of its 
 discovery, a discussion of the restora- 
 tions proposed, and the chief literature 
 up to 1891 are given by Newton in 
 Smith's Z)eV/. ^«/. ii, p. I56ff. Students 
 will read with interest the latest 
 restoration, attempted by E. Oldfield, 
 Archaeologia, 1895, pp. 2715-362. 
 But it is as useless and unsatisfactory 
 as others so far as the Plinian text is 
 concerned. Mr. Oldfield starts by 
 rejecting in ioto the variant readings 
 of cod. Bamb., and does this without 
 adequate knowledge of the character 
 of this MS. Especially unsatisfactory 
 is his rejection of circumitum, for the 
 besetting sin of the Bamb. is not the 
 introduction of words or syllables, but 
 their omission (cf. H. L. Uilichs' note 
 on xxxiv, 69 Liberum patrem). Fur- 
 ther, the facts that Mr. Oldfield writes 
 in ignorance of anything more recent 
 than Sillig's second edition, that he 
 is unacquainted either with Detlefsen's 
 edition, or with his article on the 
 PlinianMSS. in th.tPkilologus{i. xxviii), 
 or with the Chrestom. of Urlichs, and 
 that he confuses Ottojahn (p. 2 84 and p. 
 290) with Ludwigvonjan, show how 
 
 little trust can be placed in his criticism 
 of the text. — On architectural grounds 
 alone, Mr. Oldfield's reconstruction 
 may have merits of which the present 
 writer feels incompetent to judge. We 
 have translated faithfully from cod. 
 Bamb., and in the notes I attempt no 
 harmonizing of the Plinian description 
 with monumental evidence, nor can 
 I point out discrepancies, for the 
 simple reason that any impartial 
 student must admit that the real shape 
 of the Mausoleion and distribution of 
 its parts remain as much a riddle 
 now as before. — The whole description 
 of the Mausoleion is taken from Muci- 
 anus, Introd. p. Ixxxviii. 
 
 8. Mausolo . . . regulo: he was, 
 as a fact, only a satrap under the king 
 of Persia ; Diodoros, xvi, 36, gives 
 B. c. 353 as the date of his death. 
 
 9. inter septem miracula : it 
 figures in the oldest canonical lists. 
 7 he various lists of the ' Seven Won- 
 ders ' are conveniently printed together 
 by Orelli in the Appendix to his 
 edition of Philo Byzantius, pp. 141- 
 150. lb. pp. 192-194 will be found 
 all the ancient descriptions of the 
 Mausoleion. 
 
 II. centenos: this addition is 
 unavoidable if we are to accept the 
 total 440 feet as correct. 
 
C. PLINII SECUNDI NAT. HIST. XXXVl 
 
 frontibus, toto circumitu pedes CCCCXXXX, attollitur in 
 altitudinem XXV cubitis, cingitur columnis XXXVL pteron 
 
 31 vocavere circumitum. ab oriente caelavit Scopas, a septen- 
 trione Bryaxis, a meridie Timotheus, ab occcisu Leochares, 
 priusque quam peragerent regina obit, non tamen recesse- 5 
 runt nisi absoluto iam, id gloriae ipsorum artisque moni- 
 mentum iudicantes, hodieque certant manus. accessit et 
 quintus artifex. namque supra pteron pyramis altitudine 
 inferiorem aequat, viginti quattuor gradibus in metae 
 cacumen se contrahens. in summo est quadriga marmorea 10 
 quam fecit Pythis. haec adiecta CXXXX pedum altitudine 
 
 32 totum opus includit. Timothei manu Diana Romae est in 
 Palatio Apollinis delubro, cui signo caput reposuit Avianius 
 Evander. in magna admiratione est Hercules Menestrati 
 et Hecate Ephesi in templo Dianae post aedem in cuius 15 
 
 I. CCCCXXXX] ^ffimi5. ; quadringentos undecim ?-«//^«j. 2. XXXV 
 
 Detkfsen. 11. aXiitaimt] Bamb., Riccard., Lips. ; altitudinem, Z'«//«/J««. 
 
 2. pteron vocavere : cf. in § 19, 
 XlavhCjpas yeveffiv appellant. 
 
 § 31. 3. ab oriente . . . Scopas 
 . . . Leocliares : the endeavours to 
 identify the styles of each sculptor 
 in the extant slabs have up to now 
 been unsatisfactory. The dominant 
 thought and design seem Skopasian. 
 Vitruvius {viupraef. 1 2), in his account 
 of the Mausoleion, names Praxiteles 
 as one of the sculptors (on this point 
 see Amelung, Die Basis des Praxiteles 
 aus Mantinea, p. 55 f.). 
 
 9. inferiorem: Newton, loc. cit., 
 rightly points out that, according to 
 ordinary rules, the word to be supplied 
 would he pyramidem, which, however, 
 he considered inadmissible, as he 
 found no evidence for a pyramidal 
 substructure. On the other hand, 
 Detlefsen's altitudine[m] does un- 
 warranted violence to the text. 
 
 10. quadrigamarmorea: arestora- 
 tion of the extant fragments may now 
 be seen in the Mausoleion room of 
 the Brit. Mus. That the so-called 
 ' Artemisia ' and ' Mausolos ' can, 
 however, never have been placed in 
 
 the chariot has been made clear by 
 P. Gardner, /. .ff: ^. xiii, p. 188 fF. 
 
 II. Pjrthis: Vitruvius, fe. «V., gives 
 the name Phyteus (MSS.), but the 
 identity is not certain. 
 
 § 32. 12. Timothei manu : the style 
 of this artist can now be satisfactorily 
 studied in the sculptured decorations 
 of the Asklepieion at Epidauros ; from 
 the inscription (above, note on § 30, 5) 
 we learn that he contracted (fXiro) to 
 construct (Ip'^&aaaBm') and provide 
 (ira/)e;^€i/) models {rv-noi') — presumably 
 for the pedimental sculptures — and for 
 the akroteria or angle figures of one of 
 the gables {wrepov aurSv'). From the 
 relation of the akroterial figures of 
 the west front (Centr. Mus. Catal. 
 '55~I57) to one another and to the 
 figures of the Amazon battle from the 
 corresponding west pediment, there 
 is every ground for regarding them as 
 the work of one artist, i. e. of 
 Timotheos; Amelung, ^a«'.f(/«/Vft;cj- 
 teles, p. 69 f., where the kinship of 
 the group of Leda and the Swan (best- 
 known replica in the Capitol ; Helbig, 
 469) to the Epidaurian sculptures is 
 
SCULPTURE IN MARBLE 
 
 203 
 
 shorter, and the whole perimeter is 440 feet; its height is 
 25 cubits [371^ feet], and it has thirty-six columns. This colon- 
 nade is called a nrfpov. The sculptures of the eastern front are 31 
 carved by Skopas, those on the north by Bryaxis, on the south by 
 Timotheos, and on the west by Leochares. The queen died 
 before the work was finished, but the artists carried it through to 
 the end, deeming that it would be an abiding monument of their 
 own glory and of the glory of art, and to this day they compete 
 for the prize. A fifth sculptor also worked on the monument. 
 Above the colonnade is a pyramid, of the same height as the 
 lower structure, consisting of twenty-four retreating steps rising 
 into a cone. On the apex stands a chariot and four horses in 
 marble made by Pythis. Including this the height is 140 
 feet. 
 
 In the temple of Apollo on the Palatine at Rome stands an 32 
 Artemis by Timotheos, the head of which has been restored by 
 Avianius Evander. Greatly admired is a Herakles by \Menestratos, 
 and a Hekate at Ephesos in the temple of Artemis, behind the 
 
 pointed out (the likeness noted 
 simultaneously by Winter, Ath. Mitth. 
 xix, 1894, p. 157 ff.). Add. 
 
 1 3. Avianius Evander : cf. Hor. 
 Sat. i, 3, 90 :— 
 
 Comminxit lectum potus mensave 
 catillum 
 
 Evandri manibus tritum deiecit ; 
 where the scholiast Porphyrio remarks 
 that Evander was both chaser and 
 sculptor i^plastes statuaruni), that 
 Alexander brought him from Athens 
 to Alexandria, whence he was taken 
 to Rome inter capiivos, doubtless 
 on the capture of the city by Augustus 
 in 25 B.C. ; cf. further Cic. Fam. xiii, 
 2 ; 21 ; 2 7, and vii, 2 3, where Avianius 
 figures rather as art- dealer than as 
 artist ; cf. Brann, K. G. i, p. 547. 
 
 14. in magna admirations : 
 these words introduce the fifth 
 parenthetical mention of works else- 
 where than in Rome. [The constmc- 
 tion of the passage down to incluta is 
 curious ; we get (i) admirable works 
 (in magna adm.) ; (ii) works equally 
 admirable {non postferuntur) ; (iii) a 
 work of which nothing need be said, 
 
 for all the world understands the 
 greatness of the drunken old woman 
 by Myron — this last work being 
 abruptly introduced by a nam, which 
 implies an ellipse of the preceding 
 sentence, according to a usage noted 
 in xxxiv, 7, xxxv, 137. H. L. U.] 
 
 Menestrati : possibly identical 
 with the sculptor of a statue of the 
 unknown poetess Learchis ; Tatian, 
 ir/)^j ''EKK. p. 34, ed. Schwartz. 
 
 15. Hecate Ephesi : the informa- 
 tion, like that on the Mausoleion, ap- 
 pears derived from Mucianus {Introd. 
 p. Ixxxviii). 
 
 post aedem : interpreted by Sillig 
 {Diet, of Artists, s. v. Menestratos) 
 as 'the back part of the temple,' 
 i.e. the 6nia96So;.ios. But it is doubt- 
 ful whether /oi/ can be susceptible of 
 such a meaning. It therefore seems 
 more reasonable to suppose that the 
 Hekate of M. was contained in a 
 separate shrine, within the precinct 
 {in templo), but behind the great 
 temple (^post aedem). That the Hekate 
 was in a closed locality, and not merely 
 outside the temple in the open air, as 
 
204 
 
 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 contemplatione admonent aeditui parcere oculis, tanta 
 marmoris radiatio est. non postferuntur et Charites in 
 propylo Atheniensium quas Socrates fecit alius ille quam 
 pictor, idem ut aliqui putant. nam Myronis illius qui in 
 aeie laudatur anus ebria est Zmyrnae in primis incluta. 5 
 
 33 Pollio Asinius, ut fuit acris vehementiae, sic quoque spectari 
 monumenta sua voluit. in his sunt Centauri Nymphas 
 gerentes Arcesilae, Thespiades Cleomenis, Oceanus et lup- 
 piter Heniochi, Appiades Stephani, Hermerotes Taurisci, 
 
 34 non caelatoris illius sed Tralliani, luppiter hospitalis Papyli 10 
 Praxitelis discipuli, Zethus et Amphion ac Dirce et taurus 
 
 9. Heniochi] Jan ; eniochi Bamb. ; enthochi Riccard., Voss, ; Antiochi 
 Urlichs in Chrest, Detlefsen. 
 
 some authorities suppose, is evident 
 from the story of the marmoris 
 radiatio ; the mysterious gleam of the 
 marble can only be understood if the 
 statue was seen in the half-light of a 
 shrine, and becomes nonsense if the 
 Hekate was out of doors. 
 
 I. aeditui : the fact that the 
 statue was shown by temple attendants 
 is another argument in favour of its 
 being in a closed locality. 
 
 i. marmoris radiatio : the face 
 of the statue, like the hands and feet, 
 would be left in the original colour 
 of the marble, or just toned by wax 
 (see in xxxv, 133 note on circumli- 
 tioni) ; the white face would be seen 
 gleaming through the dusk of the 
 shrine — the imagination being doubt- 
 less stimulated by a sense of the 
 mysterious personality of Hekate. — 
 M. S. Reinach kindly points out to 
 me that we seem to detect in the 
 legend traces of the old belief that 
 mortals might not look in the face of 
 the gods without being struck blind ; 
 cf. Teiresias and the mysterious 
 Epizelos of Herodotos. 
 
 Charites : the type is known from 
 two reliefs in Rome (most famous 
 in the Vatican, H elbig, 83) and three 
 in Athens, two of which were found on 
 the Akropolis {Ath. Mitth. iii, 1878, 
 
 p. 181 ff., Furtwangler). They are all 
 after an original of the period ab. B. c. 
 470; cf. Furtwangler, Masterpieces, 
 p. 23, note I, Introd. p. 1, note 2. 
 
 in propylo Athen. . Pans. 1, 22, 
 8 : /card 6 6 Ti\v etroSov ai/T^v ijS^ 
 rfjv ey djcp6iro\iv 'EppLTJv, hv XlpovvXuLOV 
 dvopi&^ovffL Kal XapiTas ^oJlcpaTijy 
 TTOiijffat T^v ^OKppoviaKov \eyovat ; cf. 
 note on xxxv, loi for the unusual form 
 propylon, and Introd. p. 1. 
 
 3. Socrates fecit : it is curious 
 to note that Pliny knows nothing of the 
 popular identification of the sculptor 
 Sokrates with the philosopher, 
 accepted by Pausanias, loc. cit., and 
 a number of other authorities (Overb. 
 S. Q. 907-914), Introd. loc. cit. 
 
 alius . . . idem ; contains the 
 trace of a similar controversy to that 
 noted in the case of Pythagoras, 
 xxxiv, 60 ; Intiod. p. 1. 
 
 4. Myronis illius : xxxiv, 49 ; 
 
 67-S9- 
 
 5. anus ebria : the identification 
 of the work with the well-known 
 statue of an old woman nursing an ivy- 
 crowned wine-jar (Helbig, Class. Ant. 
 431) p. 318, where see list of replicas 
 and literature) is nothing less than 
 certain. Nor do the grounds for 
 attributing the work, on account of 
 the subject, to a later Myron seem 
 
SCULPTURE IN MARBLE 
 
 205 
 
 shrine, in looking at which the temple guardians advise visitors 
 to be cautious, so dazzling is the lustre of the marble. Not 
 inferior are the Charites in the gateway at Athens ; the Sokrates 
 who made them is to be distinguished from the painter, though 
 some believe in their identity. As to Myron, the celebrated Myron. 
 bronze caster, his statue at Smyrna of an intoxicated old woman 
 ranks among the most famous works. 
 
 Asinius Pollio with his characteristic enterprise was eager that his 33 
 galleries should attract attention. They contain Kentaurs with Galkiy of 
 nymphs on their backs by ^Arkesilas, Thespiades by Kleomenes, PolHo. 
 figures of Okeanos and Zeus by '\Heniochos, nymphs of the Appia 
 by Stephanos, terminal busts of Eros by Tauriskos (not the famous 
 chaser, but Tauriskos of Tralles), a Zeus of strangers by iPapylos 34 
 the pupil of Praxiteles, and Zethos and Amphion, with Dirke, the 
 
 reasonable. The figures from the angle 
 of the west pediment of the temple at 
 Olympia show that the presentation 
 of aged women was not alien to the art 
 of the early fifth century. The epithet 
 ebria, like the temulenta applied to 
 the flute-player of Lysippos in xxxiv, 
 63, rests perhaps on some slight 
 misapprehension of the motive, or 
 mistranslation from the Greek. 
 
 § 33. 7. monvunenta : above, note 
 on § 23. 
 
 Centauri liTymph. gerentea : 
 for the subject cf. the wall-painting, 
 Helbig, Wandgem. 499; cf. also the 
 Kentaurs (bearing Erotes) of Aristeas 
 and Papias (Capitol, Helbig, 512,513). 
 
 8. Arcesilae:xxxv, 155; below, §41. 
 
 Thespiades : same subject by 
 Teisikrales, xxxiv, 66; by Praxiteles, 
 below, § 39. 
 
 Cleomenls : his identity with — 
 or relationship to — the sculptor of the 
 so-called ' Germanicus ' in the Louvre 
 (/. G. B. 344), or of the altar with 
 sacrifice of Iphigeneia in Florence 
 (/. G. B. 380), is quite uncertain. 
 (/. G. B. 573, from Medicean Venus, 
 is a modern forgery.) 
 
 9. Henioohi : [von Jan's reading 
 may be considered certain, the names 
 Arcesilae . . . Taurisci being in 
 alphabetical order. — H. L. U.]. 
 
 Appiades : so called doubtless 
 from their resemblance to the statues 
 of the nymphs of the Appian 
 aqueduct which adorned a fountain 
 of the Forum Julinm ; cf. Ovid, Ars 
 Amat. i, 79 ; iii, 45 1 ; cf. Rem. Atnor. 
 660 ; Gilbert, Rom, iii, p. 226, note i. 
 
 Stephani : probal)ly identical with 
 the pupil of Pasiteles, whose in- 
 scription is read on the statue of an 
 athlete in the Villa Albani, /. G. B. 
 574; cf. ib. 375, where he is named as 
 the master of Menelaos, the artist of 
 the famous group in the Museo 
 Boncompagni (Helbig, 887). 
 
 Hermerotes : terminal busts of 
 Eros ; for extant instances in statuary 
 see Furtwangler, Masterpieces, p. 69 
 (Eros), p. 60 (Athena), p. 234 ff. 
 (Herakles\ The old interpretation 
 that the several divinities were com- 
 bined with Hermes in a double ter- 
 minal bust is without support from the 
 monuments, though it is favoured by 
 Cicero, Att. i, iv. 3 : quod ad me de 
 Hermathena scribis, per mihi gratum 
 est : est ornamentum Academiae pro- 
 prium meae, quod et Hermes commune 
 omnium et Minerva singulare est eius 
 gymnasii. Add. 
 
 10. caelatoris : xxxiii, 156. 
 § 34. hospitalis = f cVios. 
 
 11. Zethus . . . taurus : a group 
 
ao6 
 
 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 vinculumque ex eodem lapide, a Rhodo advecta opera 
 Apolloni et Taurisci. parentum hi certamen de se fecere, 
 Menecraten videri professi, sed esse naturalem Artemidorum. 
 eodem loco Liber pater Eutychidis laudatur, ad Octaviae 
 vero porticum Apollo Philisci Rhodi in delubro suo, item 5 
 Latona et Diana et Musae novem et alter Apollo nudus. 
 35 eum qui citharam in eodem templo tenet Timarchides fecit, 
 intra Octaviae vero porticus aedem lunonis ipsam deam 
 Dionysius et Polycles, aliam Venerem eodem loco Philiscus, 
 cetera signa Pasiteles. idem Polycles et Dionysius Timar- 10 
 
 9. Polycles aliam, Venerem DetUfsen. 
 
 ('Toro Famese,' Naples, Friederichs- 
 Wolters, 1402), which is generally 
 accepted as the identical one men- 
 tioned by Pliny, was discovered in 
 1546 in the Thermae of Caracalla. 
 I. ex eodeiu lapide ; cf. below, 
 § 36 ; § 37 ; § 41 ; the ' Bull ' and 
 the 'Laokoon' are however constructed 
 of several pieces, and the same was 
 most likely the case with the 'Lioness' 
 of Arkesilaos, and the chariot-group of 
 Lysias. With regard to the ' Laokoon ' 
 and the ' Lioness ' Robert, Arch. 
 March, p. 143, note, had suggested 
 that ex uno lapide meant a group 
 disposed on one basis, in opposition 
 to groups composed of statues set 
 each upon a separate basis. But the 
 grammatical propriety of this interpre- 
 tation is doubtful, cf. Urlichs, 
 Arkesilaos, p. 16, note 2. FoBster 
 {Gbrlitz. Verhandl. p. 298) believes 
 that Pliny in saying that the Bull and 
 the Laokoon were ex uno lapide had 
 been deceived by the appearance of 
 the groups. As a fact, the expression 
 seems, in all four cases, to imply little 
 beyond the desire to heighten the 
 impression of technical difficulty, by 
 adding one of those details which 
 readily appeal to popular imagina- 
 tion ; cf. Anth. ix, 759 (eis 6ip/ja 
 XiiaiQV) : — 
 EFs Xi'flos, n/>/t', (\aTrip, i-rrwoi, (vyov, 
 
 lb. 760 : — 
 E's Si<j>pos, apfi, i\arrjp, 'i-rnroi, ^vyds, 
 •fjviaj vUtj. 
 
 Ehodo : much light has recently 
 been thrown on the dates of the 
 Rhodian school by two papers of 
 Maurice Holleaux (J?ez/. de Phil. 
 xvii, 1893, pp. 171-185), and H. von 
 Gaertringen {Jahrb. ix, 1894, pp. 23- 
 43). According to the latter, the 
 inscriptions fall into two periods : (i) 
 from close of third century to B. c. 
 163 (Pydna) ; (ii) from B. c. 88, at 
 the close of the Mithridatic war, to 
 the total reduction of the Rhodian 
 state by Cassius Longinus and Cassins 
 of Parma in B. c. 43 (Appian, 'E/i(^. 
 iv, 60-74; V, 2). It was then that 
 many a Rhodian work of art was taken 
 to Rome. 
 
 2. ApolloBi et Taurisci : a 
 basis found in the theatre of Magnesia 
 on the Maiander bears the inscription 
 ' AlToXKiiVLOs Tavpifffcov [TpaKXtavbs] 
 iiToiu : it is published by H. v. Gaer- 
 tringen {Aihen. Mitth. xix, 1894, 
 p. 37 ff.), who dates it from early 
 Imperial times, so that the TavpiaKos 
 of the inscription (though of course not 
 the 'AtroKKdjvios) may be one of the 
 sculptors of the Bull, which would be 
 executed previous to B. c. 43 (see pre- 
 vious note). The names were probably 
 recurrent in a family of artists. 
 parentum hi certamen : the 
 
SCULPTURE IN MARBLE 
 
 207 
 
 bull and the cord, all carved out of one block. It is the joint 
 work of Apollonios and Tauriskos, and was brought from Rhodes. 
 These two sculptors occasioned a controversy as to their 
 parentage, by declaring that Menekrates was their nominal, 
 Artemidoros their real father. In the same collection is a fine 
 Dionysos by Eutychides. Near the gallery of Octavia in the Other 
 temple of Apollo stands a statue of the god by Philiskos o^ galleries 
 Rhodes, together with Leto, Artemis, and the nine Muses and 
 another nude Apollo. Timarchides made the Apollo with the 
 cithara in the same temple, and Dionysios and Polykles the statue S5 
 of Juno within her temple in the portico of Octavia. A second 
 Aphrodite in the same place is by Philiskos, and the other statues 
 by Pasiteles. The same Polykles and Dionysios, the sons of 
 
 words are rhetorical, or rest on a 
 Roman misunderstanding of the Greek 
 inscription. According to a custom of 
 ■which the Rhodian inscriptions afford 
 numerous instances (cf. inter alia, 
 I. G. B. 174, 181), the artists had 
 added to their signature not only the 
 name of their real father, but that 
 of their father by adoption. H. v. G. 
 suggests the following restoration : 
 'AtroW^vtos KalTavpiffKOs'ApTffttSupov, 
 «a0' voBeaiay Se MeveKparcos, TpaK- 
 Xiayol ewo'iT](rav. 
 
 4. Eutyohidis : probably not the 
 pupil of Lysippos (xxxiv, 78), who 
 was a bronze statuary ; the name was 
 common ; see Loewy in /. G. B. 143. 
 
 5. in delubro suo : i. e.the temple 
 of Apollo Sosianius; notes on xxxv, 
 99, above, § 28. 
 
 6. Musae novem : Amelung {Basis 
 des Praxiteles, p. 44 f. and Ap- 
 pend.) shows that this is probably 
 the group which inspired the artists 
 of the Muses on the basis from 
 Halikamassos (Trendelenburg, Der 
 Musen Chor, Winckelmannspr. xxxvi, 
 1876) and of the Muses on the relief 
 of the Apotheosis of Homer (Brunn- 
 Bruckmann, plate 50), both in the 
 Brit. Mus. It is significant that both 
 works are fiom Southern Asia-Minor, 
 i. e. from the neighbourhood of 
 Rhodes. 
 
 § 35. 7. Timarchides : son of 
 
 Polykles of Athens, xxxiv, 52, and 
 brother of Timokles, ib. ; his two sons, 
 Polykles II and Dionysios, are men- 
 tioned below ; together with his brother 
 (oi no\u«A6ovs TrarScy) he made for 
 Olympia the statue of the pugilist 
 Agesarchos of Triteia, and for Elateia 
 statues of Asklepios and of Athena 
 (Pans. vi. 1 2, 9 ; x, 34, 6 ; 8). 
 
 8. aedem lunonis : erected to- 
 gether with the adjacent temple 
 {proxima aedes) of Jupiter by Q. 
 Caecilius Metellus after his triumph 
 of B. c. 149; Veil. Paterc. i, n. 
 
 ipsam deam: the temple statue; 
 cf. Neptunus ipse, above, § 26 ; simu- 
 lacrum ipsum Trophonii, xxxiv, 
 66. 
 
 9. Dionysius et Polycles : iden- 
 tical with the Polycles et Dionysius 
 TimarcMdis filii, below. 
 
 aliam Venerem: Urlichs {Quel- 
 lenreg. p. 8) has shown that these 
 words refer back to § 15, where an 
 Aphrodite by Pheidias, in the. porticus 
 Oct., had already been mentioned. 
 
 10. Pasiteles : note on § 39. 
 Dionysius : together with his 
 
 nephew Timarchides II, he made the 
 statue of C. Ofellius, found in Delos ; 
 it bears the inscription Aioi/iiffios 
 Ttf.Lapxi^ov leal TipapxiSTjs Tlo\vi{\eovs 
 *A8r]vatoi, 1. G. B, 242. 
 
2o8 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 chidis fill lovem qui est in proxima aede fecerunt, Pana et 
 Olympum luctantes eodem loco Heliodoius, quod est 
 alterum in terris symplegma nobile, Venerem lavantem se 
 
 36 *sedaedalsas* stantem Polycharmus. ex honore apparet 
 in magna auctoritate habitum Lysiae opus, quod in Palatio 5 
 super arcum divus Augustus honor! Octavi patris sui dicavit 
 in aedicula columnis adornata, id est quadriga currusque et 
 Apollo ac Diana ex uno lapide. in hortis Servilianis reperio 
 laudatos Calamidis Apollinem illius caelatoris, Dercylidis 
 pyctas, Amphistrati Callisthenen historiarum scriptorem. lo 
 
 37 nee deinde multo plurium fama est, quorundam claritati in 
 operibus eximiis obstante numero artificum, quoniam nee 
 unus oceupat gloriam nee plures pariter nuneupari possunt, 
 sicut in Laoeoonte, qui est in Titi imperatoris domo, opus 
 omnibus et picturae et statuariae artis praeferendum. ex 15 
 uno lapide eum ac liberos draconumque mirabiles nexus de 
 consili sententia fecere summi artifices Hagesander et Poly- 
 
 4. Sesedaedalsas stantem Bamb. ; sesededalsa stantem Rice, Voss. ; se sad et 
 aliam stantem Sillig; sese Daedalus, aliam stantem Detlefsen. 
 
 I. lovem; above, note on aedem § 36. 6. super arcum: the arch was 
 
 lunonis. part of the Propylaea which formed 
 
 Pana et Olympum : the names the entrance to the area of Apollo, 
 
 are significant as showing that these Gardthausen Augustus I, p. 962 ; ib. 
 
 avfnr\cyfiaTa were mostly erotic //, p. 575. 
 
 groups, composed perhaps in the Ootavii patris : Suet. Aug. 3. 
 
 scheme familiar from the groups in 8. ex uno lapide : note on § 34. 
 
 Dresden. hortis Servilianis : above, § 23. 
 
 Heliodorus : xxxiv, 91 ; the sig- 9. illius caelatoris : xxxiii, 155 ; 
 
 ..^ nature of his son (n\ovTapxos xxxiv, 47 ; he is presumably identical 
 
 'KKtoSiipov 'F6S10S iiToirjai) closes the with the bronze statuary, xxxiv, 71. 
 great inscription, discovered in Rhodes 10. Amphistrati : known also 
 
 by Hiller v. Gaertringen, which since from Tatian {irphs 'EWriv. p. 34, ed. 
 
 it contains the names of L. Murena Schwartz) as sculptor of the portrait 
 
 and L. Lucullus has been dated by of an unknown poetess Kleito. 
 Mommsen at B.C. 82-74 (Ja&rb. ix, Callisthenem : of Olynthos, pupil 
 
 1894, p. 25 ff. ; cf. also Maurice and nephew of Aristotle ; according 
 
 Holleaux, Rev. de Philol. xvii, 1893, to Diodoros, xiv, 117, his 'Hellenika' 
 
 p. 173; and/. G. B. 194-196). were a history of the years B.C. 
 
 3. alterum: harks back to thesimi- 387-357 (Peace of Antalkidas to the 
 
 lar group by Kephisodotos in § 24. Phokaian war). 
 ' Venerem lavantem se : the § 37. 14. in Laoeoonte : the origi- 
 
 ' Venus Accroupie' in the Louvre nal group was found on Jan. 14, 1506, 
 
 (Friederichs-Wolters 1467) is looked near the Baths of Titus, whither it may 
 
 upon as a copy of this work, but have been mo-ved from his Palace at 
 
 see Add. a date posterior to Pliny (on the cir- 
 
A. THE FAMILY OF POLTKLES. 
 
 [Stadiens of Athens] 
 Pays, vi, 4, s. 
 
 I 
 POLYKLES I OF ATHENS ( Plin. xxxiv, 52. 
 Jl. about 156 B. c. \ Pans, vi, 4, s. 
 
 I [l.G. InsulX 855? 
 
 I 
 
 I 
 TiMOKLES ( Plin. xxxiv, 52. 
 Jl. ab. \ Pans, vi, 12, 9. 
 156 B.C. I „ X, 34, 6; 8. 
 
 POT-YKLES II {Plin. xxxvi, 35) 
 after 140 B. c. 
 
 TiMARCHIDES II {vfi/Tcpos'j 
 
 OF Athens (Oopi'mos) : 
 /. G. B. 242 and the inscr. 
 Allien. Mitth. xx, 1895, 
 p. 216. 
 
 TiMARCHIDES I Plin. XXXIV, 91 ? 
 fl. after 140 B.C. [ „ xxxvi, 35. 
 Pans, vi, 12, 9. 
 { „ x,34,6;8. 
 l/.G.B. 328? cf. 
 M//(. Af?Vrt. XX, 
 1891;, p. 219. 
 
 I 
 DiONYSIOS OF ATHF.NS 
 140-90 B. C. {Plin. 
 XXXV, 35, and /. G.B. 
 242), 
 
 B. THE FAMILY OF ATHANODOROS. 
 
 Atiia.nouorij'; I ■ Paton iii'.cr. 
 
 ( 
 
 I 
 HAfiK'^'VNDROs T Paton iiisoi'. I.indian decree, &i 
 
 HAnEKANDROS IT* 
 
 1*117. VIJUBllS* 
 
 I 
 
 AriTANODOROS II* 
 
 (adopted by Dloiiy^ii 
 Lindian inacr.) 
 
 * The sculptors of the Laokoon . 
 
 [To face p. 208.] 
 
SCULPTURE IN MARBLE 209 
 
 Timarchides, made the Zeus in the adjoining temple, where are 
 
 also the Pan and Olympos interlaced by Heliodoros, second in 
 
 renown among such groups in all the world, an Aphrodite bathing 
 
 standing by '^ Poly char mos. The 36 
 
 distinction conferred on the work of Lysias shows how highly it 
 
 was esteemed, inasmuch as the god Augustus dedicated it in 
 
 honour of his father Octaviusj it was placed within a small 
 
 building adorned with columns upon the arch on the Palatine. 
 
 It consisted of a team of four horses, a chariot, Apollo and 
 
 Artemis, all carved out of one block of marble. I find that in 
 
 the gardens of Servilius are an Apollo by Kalamis, the well-known 
 
 silver chaser, boxers by \Derkylidas, and a portrait of Kallisthenes 
 
 the historian by Amphistratos, all of which are mentioned with 
 
 praise. 
 
 Not many celebrated artists remain to be named ; in the case 37 
 
 of certain masterpieces the very number of the collaborators is an Collabo- 
 ration of 
 obstacle to their individual fame, since neither can one man take different 
 
 to himself the whole glory, nor have a number so great a claim J"^"^'""- 
 
 to honour. This is the case with the Laokoon in the palace of 
 
 the Emperor Titus, a work superior to all the pictures and bronzes 
 
 of the world. Out of one block of marble did the illustrious 
 
 artists Hagesander, Polydoros, and Athanodoros of Rhodes, after 
 
 taking counsel together, carve Laokoon, his children, and the 
 
 cumstances of the find see Michaelis, 16. de oonsili sententia: that 
 
 Jahrb. v, 1890, p. 16); it is now in these words mean neither ' by decree of 
 
 the Vatican (Helbig, 153). The full the Emperor's Privy Council' (Lach- 
 
 literature from 1755 to 1879 is given mann, A. Z. 1848, p. 2i6 = Kleme 
 
 by Bliimner, Comm. to Lessing's Schriften, p. 273), nor ' by decree of 
 
 Laokoon, 2nd ed. p. 722 ; cf. also the Council of Rhodes,' nor yet 
 
 Friederichs-Wolters, 1422, and the ' after consultation of the artists with 
 
 three papers by Ftirster, (l) in Gor- their friends' (Mommsen, /r«?-»««x,xx, 
 
 litz. Verhandlungen, pp. 75-94, and 1885, p. 268), but are to be under- 
 
 293 to 307 ; (2) Jahrb. vi, 1891, p. stood in the simple sense given to 
 
 i?7ff-; (S)/'^'^^^- ix, 1894, p. 43ff. them above, has been brilliantly 
 
 in Titi imp. doiuo ; xxxiv, 55. proved by Forster in Gorlitz. Ver- 
 
 15. statuariae : note on xxxiv, 54 handl. pp. 75 ff. ; for the usage, cf. 
 
 {toreuticen). Cicero Fisr«j, 11, iii, 1 8 ; v,i2,53,54, 
 
 ex uno lapide : note above on 114; /ro ^a/^;;, 11, 19, 38, and often; 
 
 §34: Michelangelo Buonarotti and Caesar, ^. C.iii, 16 ; Livy, xlv, 26 and 
 
 Giovanni Cristofano, ' che sono i primi 29 ; Plin. Ep. v, i, 6 ; 3, 8 ; vi. 31, 12. 
 scultori di Roma, negano ch'ella sia 17. Hag. et Pol. et Ath. Bhodi: 
 
 d'un sol marmo, e mostrano circa the name of Athanodoros occurs on 
 
 a quattro commettiture ' ; Trivulzio, seven inscriptions published in fac- 
 
 quoted by Michaelis, loc. cit. note 49, simile by Forster, Jahrb, vi, 1891, pp. 
 
3IO C. PLINII SECUNDI NAT. HIST. XXXVl 
 
 38 dorus et Athenodorus Rhodi. similiter Palatinas domos 
 Caesarum replevere probatissimis signis Craterus cum Py- 
 thodoro, Polydeuces cum Hermolao, Pythodorus alius cum 
 Artemone, et singularis Aphrodisius Trallianus. Agrippae 
 Pantheum decoravit Diogenes Atheniensis, in columnis 5 
 templi eius Caryatides probantur inter pauca operum, sicut 
 in fastigio posita signa sed propter altitudinem loci minus 
 
 39 celebrata. inhonorus est nee in templo ullo Hercules ad 
 quem Poeni omnibus annis humana sacrificaverant victima, 
 humi stans ante aditum porticus ad nationes. sitae fuere 10 
 et Thespiades ad aedem Felicitatis, quarum unam amavit 
 eques Romanus Junius Pisciculus, ut tradit Varro ; admirator 
 
 12. admirator] Bainb.; admiisdui religui, Detlefsen. 
 
 1 91-195. Ofthese,theLindian decree 
 in honour of Athanodoros, son of 
 Hagesander, has been lately fully 
 published by H. t. Gaertringen 
 {Jahrb. ix, 1894, p. 34), and shown to 
 be not earlier, but possibly somewhat 
 later, than the Ploutarchos-Helio- 
 doros inscription (b. C. 82-74) men- 
 tioned above. With the help of lines 
 16, 17 of the inscription published 
 by Paton, B. C. H. xiv, p. 278, 
 ['A7^{r]avS/)os * AyTjffdvSpov [toO] 
 'A9ai'oS[c&]po[u], H. von Gaertringen 
 (0/. cit.) reconstructs the annexed 
 table. The Hagesander who worked 
 on the Laokoon would more probably 
 be the elder brother than the father of 
 the other two sculptors. The present 
 writer can see nothing in the technique 
 or style of the Laokoon to prevent our 
 accepting for it the date suggested by 
 the inscriptions. Helbig however 
 has again quite lately {Class. Ant., loc. 
 cit.) maintained that the Laokoon 
 belongs to the period previous to the 
 Pergamene altar, and that the Athano- 
 doros inscriptions belonged to copies 
 of his works. 
 
 § 38. 2. replevere; rhetorical, cf. 
 refertae in § 14 ; imflent, xxxv, 148, 
 &c. 
 
 Craterus . . . Aphrodisius : Pliny's 
 
 contention is quaintly confirmed, 
 since not a single one of these artists 
 is known outside his text (see however 
 7. G. B. 427). 
 
 4. Agrippae Fantheum : xxxiv, 
 
 13- 
 
 5. Diogenes: identity with the 
 Diogenes of the inscription found at 
 Nineveh (Brit. Mus., I. G. B. .,61 ; 
 A. S. Murray iny. H. S. iii, p. 240 ff.) 
 is possible, but doubtful. 
 
 in columnis . . . Caryatides : the 
 late discoveries in connexion with 
 the Pantheon have, unfortunately, 
 thrown no light on the architectural 
 function performed by these Carya- 
 tides. Stark, Arch. Zeit. xviii, 1866, 
 p. 249 f., supposes in col. to mean 
 down among the columns as opposed 
 to the statues in fastigio; in this case 
 the Kar. would be not architectonic, 
 but dancing figures like the Karyatides 
 of Praxiteles ; above, § 23. Addenda. 
 
 § 39. 8. inhonorus est : rhe- 
 torical indignation ; cf. in xxxiv, 89, 
 the passage on the Bull of Phalaris. 
 
 Hercules : a Phoenician or Tyrian 
 Melkart, presumably brought from 
 Carthage by the yoimger Scipio B. C. 
 146 (cf. Peter, ap. Roscher, i, 246 ; 
 Urlichs, Griech. Statuen im Rep. 
 Rom, p. 13). 
 
SCULPTURE IN MARBLE 
 
 wondrous coils of the snakes. So, too, on the Palatine, \Krateros 38 
 and his colleague \Pythodoros, \Polydeukes and \Hermolaos, a 
 second iPythodoros and \Ariemon, and ^Apkrodisios of Tralles, 
 who worked alone, have filled the mansions of the Caesars with 
 excellent statues. The sculptures of the Pantheura of Agrippa are Pantheon. 
 by \ Diogenes of Athens ; the Karyatides of the temple columns 
 are in the very first rank, and so are the statues of the pediment, 
 though less well known because of the great height at which they 
 stand. Dishonoured and without a shrine is the Hercules to 39 
 whom the Carthaginians offered annual human sacrifice; it 
 stands on the ground in front of the entrance to the Gallery 
 of the Nations. By the temple of Felicity stood also the 
 Thespiades, of one of which, according to Varro, a Roman knight, 
 Junius Pisciculus, was enamoured. Varro likewise admires 
 
 10. humi stans : i. e. the statue 
 was without pedestal or basis. 
 
 port, ad nationes : Serv. on 
 Aen. 8, 721: forticum Augustus 
 fecerat in qua simulacra omnium 
 gentium collocaverat, quae porticus 
 adpellabatur ad nationes ; it must not 
 be confused with Pompeius' porticus 
 of the fourteen nations, below, § 41. 
 
 11. Thespiades: Cic. Verr.\l,vf, 
 4 : atque ille L. Mummius, cum, 7'hes- 
 piadas, quae ad aedem Feliciiatis sunt, 
 ceteraque profana ex illo opfido \Thes- 
 piis~\ signa tolleret,hunc . . . Cupidinem 
 (above, §22)... non attigit. The 
 statues must have been among those 
 which L. LucuUus borrowed from 
 Mummius, to adorn the temple up to 
 the day of his election, and cleverly 
 managed not to return (Strabo, viii, 
 p. 381; cf. Dio Cassius, fr. 75). From 
 Varro {Ling. Lat. vi, 2) we learn that 
 the Thespiades = Musae. It is usually 
 assumed that the Thespiades are iden- 
 tical with the signa quae ante aedem 
 Pel. fuere, by Praxiteles, cf. xxxiv, 69, 
 where see note ; but the fact that the 
 latter were of bronze sufficiently dis- 
 poses of the identification. The pro- 
 venance, however, of the Thespiades, 
 their celebrity, the subject and the 
 story of Pisciculus, show them to have 
 been Praxitelean works. The famous 
 
 P 
 
 group of the Muses found at Tivoli, 
 now in the Vatican (Helbig, 268-274), 
 may be looked upon as copies ; their 
 Praxitelean character has been search- 
 ingly analysed by Amelung, Basis 
 des Prax. aus Mantinea, 1895, pp. 
 
 2.'5-49- 
 
 aedem Pelioitatis : xxxiv, 69 ; 
 built by L. Lucullus to commemorate 
 his Spanish campaigns of B.C. 150- 
 151 (Urlichs, Arkesilaos, p. 7), ded. 
 142 B. c, Dio Cass. fr. 75. On the 
 temple-statue, see xxxv, 156. 
 
 12. ut tradit Varro: V. is evi- 
 dently the authority for the whole 
 passage from sitae fuere . . . auctorest 
 in § 41. His name is brought in at 
 this point because Pliny looks upon 
 the story of Pisciculus as of doubtful 
 authenticity, and therefore lays all 
 responsibility upon his author. 
 
 admirator et Pasitelis : the 
 reading is proved by the context 
 Arcesilaum quoque magn. Varro in 
 § 41, where the quoque has no sense 
 unless Varro's admiration of some 
 other artist had been previously re- 
 corded ; Furtwangler, Plinius, p. 41 ; 
 cf. the citations from Varro in xxxv, 
 155-157 : Varro tradit sibi cognitum 
 Possim , . . idcTn magn. Arcesil . . . 
 laudat et Pasitelen. On Pasiteles, see 
 Introd. p. Ixxvii. 
 
212 C. PLINJI SECUNDI NAT. HIST. XXXVI 
 
 et Pasitelis, qui et quinque volumina scripsit nobilium 
 
 40 operum in toto orbe. natus hie in Graeca Italiae ora et 
 civitate Romana donatus cum his oppidis lovem fecit ebo- 
 reum in Metelli aede qua campus petitur. accidit ei, cum 
 in navalibus ubi ferae Africanae erant per caveam intuens 5 
 leonem caelaret, ut ex alia cavea panthera erumperet non 
 levi periculo diligentissimi artificis. fecisse opera complura 
 
 41 dicitur, quae fecerit nominatim non refertur. Arcesilaum 
 quoque magnificat Varro, cuius se marmoream habuisse 
 leaenam aligerosque ludentis cum ea Cupidines, quorum 10 
 alii religatam tenerent, alii cornu cogerent bibere, alii calci- 
 arent soccis, omnes ex uno lapide. idem et a Coponio 
 quattuordecim nationes quae sunt circa Pompeium factas 
 auctor est. invenio et Canachum laudatum inter statuaries 
 
 42 fecisse marmorea. nee Sauram atque Batrachum obliterari 15 
 convenit qui fecere templa Octaviae porticibus inclusa na- 
 tione ipsi Lacones. quidam et opibus praepotentes fuisse 
 eos putant ac sua inpensa construxisse inscriptionem spe- 
 rantes, qua negata hoc tamen alio modo usurpasse. sunt 
 
 I. fraxiteles 5o»z^. ; passitelis re/2y«j ; VasiXAes, Detkfsen. 
 
 I. nobilium operum: the Greek 9. se . . . habuisse: xxxiii, 154, 
 
 title would be Tufl kvSS^av tpyaiv. where Varro is likewise cited as owner 
 
 § 40. 3. civitate . . . oppidis : and authority. His works of art were 
 
 during the social war of B.C. 90-89, scattered in the proscriptions of B. c. 
 
 when by the Leges lulia and Plautia 43. Introd. p. Ixxxiv. 
 
 Papiria the right of citizenship was marmoream . . . leaenam : the 
 
 extended to all the cities of Italy. subject recalls the beautiful relief in 
 
 4. in Metelli aede: i.e. the tern- Vienna of a lioness (Schreiber, .ff«//. 
 pie of Jupiter mentioned above, § 35. Rel., pi. i), which, with its com- 
 
 qua campus : sc. Martius, there- panion (sheep suckling a lamb), can 
 
 fore the temple was on the north side help us to recover the style of sculp- 
 
 oi the porticus Octaviae. tnresofanimals executed by Arkesilaos 
 
 5. navalibus ; the naval docks and Pasiteles, Wickhoff, Wiener 
 of the Campus Martius, on the Tiber, Genesis, p. 26. 
 
 over against Vas. prata Quinctia; cf. 13. quattuordecim nationes: to 
 
 Liv. iii, 26, 8, and xlv, 42, sub fin. ; correspond to the number of nations 
 
 Gilbert, Rom, pp. 146-150. The event subjugated by Pompeius (Plut. Pomp. 
 
 referred to may have happened in B.C. xlv ; cf. Veil, ii, 40 ; Plin. vii, 98 
 
 * 65> ■w'lien wild beasts were brought mentions only thirteen nations; the 
 
 from Africa for the games of Pom- fourteenth statue was apparently added 
 
 peius ; Plin. viii, 53, 64. to commemorate the triumph over the 
 
 8. non refertur: i.e. by Varro. pirates, a mention of which closes 
 
 § 41. Arcesilaum: xxxv, 155, the Act. Triumph, for the year 693 ; 
 
 where see notes. Gilbert, Rom, p. 326, note 2). These 
 
SCULPTURE IN MARBLE 213 
 
 Pasiteles, the author of five books on the celebrated works of art Pasiieles. 
 in all the world. This artist was born on the Greek coast of 40 
 Italy, and received the Roman citizenship when it was given to 
 the cities of that district. He made the ivory statue of Jupiter 
 in the temple of Metellus on the way to the Field of Mars. It 
 happened that once at the docks where were the wild beasts from 
 Africa, as he was looking into a den to make a study of a lion on 
 a relief, a panther broke out of another cage, to the great peril of 
 the conscientious artist. His works are said to be numerous, but 
 they are nowhere mentioned by name. ^Arkesilaos also is highly 41 
 esteemed by Varro, who possessed a marble group by his hand ^''kesilaos. 
 of a lioness with winged Loves sporting about her ; some are 
 holding her by a cord, others are forcing her to drink out of 
 a horn, and others are putting shoes upon her ; the whole is carved 
 out of one block. Varro is again my authority for saying that 
 ■\Coponius made the fourteen statues of the nations which stand 
 round the theatre of Pompeius. I find too that Kanachos, famous 
 for his bronzes, worked also in marble, nor must I overlook 
 •\Sauras and \Bafrachos, Lakonians by birth, who built the temples 42 
 enclosed by the galleries of Octavia. Some say that they were •^''"'''^•f ''"'^ 
 
 , L ■, , , , ■ , • , Batrachos. 
 
 rich men who built the temples at their own cost, hoping that 
 
 their names would be inscribed upon them. Foiled in this, they 
 
 yet achieved their object in another way, so it is said, and it is 
 
 statnes are the earliest instances of for C. Tullius Vilnius (Fabretti, Inscr. 
 those personifications of conquered p. 187). By an extension of this 
 peoples so conspicuous in Roman custom, the architects S. and B. might 
 art. It is noteworthy that the artist carve a frog and a lizard in lieu of 
 was aRoman (Brunn, .ST. G. i, p. 602). signature among the ornaments of 
 These may be the statues concerning a column. The serious objection to 
 the placing of which Atticus advised the story is that Vitruvius (iii, i, 5) 
 Pompeius, Cic. Att. iv, 9. names Hermodoros of Salamis as the 
 circa Pompeium : Suet. Nero, architect of the temples. We must 
 46. therefore conclude either that the 
 14. Canaohum ; xxxiv, 50, 75. story is aitiological — the ornaments 
 § 42. 15. Sauram atque Batra- of the columns giving rise to a story 
 chum: names of animals were familiar to which the custom of allusive em- 
 in Greece as proper names (cf. TaSpos, blems noted above lent plausibility — 
 SKVfivoi; TexTif, Mils, and the long or that S. and B. were architects- 
 lists in Fick, Gr. Personennamen, adjoint, or perhaps merely donors of 
 p. 314 ff.). Moreover, it was a usual the said columns, whom at a later 
 Roman custom to introduce — on grave- date legend turned into architects of 
 reliefs — some allusive emblem to the the temples. 
 
 name of the deceased : a boar for 1 8. insoriptionem sperantes : 
 
 Titus Statilius Aper (C /. L. vi, this portion of the anecdote is, in any 
 
 1975 ; Helbig, Class. Ant. 423); a calf case, apocryphal. 
 
214 C. PLINII SECUNDI NAT. HIST. XXXVI 
 
 certe etiamnum in columnarum spiris inscalptae nominum 
 
 43 eorum argumento lacerta atque rana. in lovis aede ex iis 
 pictura cultusque reliquus omnis femineis argumentis con- 
 stat, erat enim facta lunoni, sed, cum inferrentur signa, 
 permutasse geruli traduntur, et id religione custoditum s 
 velut ipsis diis sedem ita partitis. ergo et in lunonis aede 
 cultus est qui lovis esse debuit. sunt et in parvolis marmo- 
 reis famam consecuti Myrmecides, cuius quadrigam cum 
 agitatore operuit alis musca, et Callicrates, cuius formicarum 
 pedes atque alia membra pervidere non est. ro 
 
 44 Haec sint dicta de marmoris scalptoribus summaque 
 claritate artificum. 
 
 2. lacerta atque rana : cf. the 
 lizard and frog carved on the capital 
 of one of the colnmns of San Lorenzo 
 fnori le niura, transferred from some 
 ancient building. 
 
 § 43. in lovis aede : above, § § 
 35, 40 ; according to Veil. Paterc. 
 i, II, vifho states that the temple of 
 Jupiter was the first in Rome to be 
 built of marble ; the temples being 
 sine inscriptione, legend naturally 
 soon became active on the subject. 
 
 7. parvolis marmoreis : a con- 
 fusion of Pliny's, who in vii, 85, 
 Mentions Myrm. and Kail, as virorkers 
 in ivory. 
 
 8. Myrmecides : of Athens, ac- 
 cording to Choiroboskos (quoted by 
 Schol. to Dionysios Thrax = Overb. 
 
 Schriftquell. 2194), or of Miletos 
 (Ailian, 7roi«. Xar. i, 17). He is gene- 
 rally represented as making the chariot 
 conjointly with K. Another marvel 
 of their /uKpoTCx"'" was a grain of 
 sesame engraved with an elegiac 
 distich (according to Plutarch, adv. 
 Stoicos, xiv, 5, two lines of Homer). 
 There is no clue to the date of either 
 artist. 
 
 quadrigam : in vii, 85 it is 
 mentioned as of ivory, while Choiro- 
 boskos (above) says iron ; and the 
 grammarian Theodosios [S. Q. 2201), 
 bronze ; it looks suspiciously as if the 
 quadriga were apocryphal. Yet the 
 execution of a microscopic chariot was 
 quite within the power of the ancient 
 goldsmith, cf. the tiny chariot led by 
 
SCULPTURE IN MARBLE 215 
 
 undeniably true that a lizard and a frog, typifying their names, are 
 still to be seen carved on the bases of the columns. Of these 43 
 two temples the one dedicated to Jupiter contains only paintings 
 and decorations relating to women^ for as a matter of fact it was 
 built for Juno ; but the porters made a mistake, it is said, when 
 they brought in the statues, and superstition consecrated the error, 
 as though this division of their shrines were due to the gods 
 themselves. In the same way the temple of Juno has the orna- 
 ments appropriate to Jupiter. 
 
 Miniature works in marble likewise secured renown for Myrme- Miniature 
 hides, whose four-horse chariot and charioteer could be covered '^orks. 
 by the wings of a fly, and for Kallikrates, whose ants have feet 
 and limbs too small to be distinguished by the human eye. 
 
 This closes what I have to say of workers in marble and of the 44 
 most famous sculptors. 
 
 a Nike, with Erotes at each side, 9. Callierates : of Lakedaimon 
 
 belonging to the ear-pendant, Ant. du (Ailian and Choiroboskos). 
 
 Bosphore Cimmirien, ed. Reinach, formioarum ; the fashioning of 
 
 pi. xii, 5, 5". Reinach (p. 4) justly ants and bees is attributed by Cicero 
 
 sees in it a confirmation of the praises {Acad, prior, ii, 38, 120) to Myrme- 
 
 bestowed by the ancients on the tuKfo- kides — rightly, to judge from the 
 
 TV)(yia of Theodores, Myrmekides, man's name, which is doubtless a 
 
 and Kallikrates. Perhaps, therefore, nickname won for him by his skill, 
 
 we should look upon all these artists 10. pervidere non est; cf. Varro 
 
 as practising the art of goldsmiths {Ling. Lat. vii, i), who says of the 
 
 by the side of the greater art of sta- works of Myrmekides that they could 
 
 tuary in bronze or marble (see note only be properly seen when placed on 
 
 on xxxiv, 83). black silk. , 
 
APPENDIX. 
 
I. 
 
 Lib. VII. 
 
 125 Idem hie imperator edixit ne quis ipsum alius quam 
 
 Apelles pingeret, quam Pyrgoteles scalperet, quam Lysip- 
 pus ex acre duceret, quae artes pluribus inclaruere exemplis. 
 
 126 Aristidis Thebani pictoris unam tabulam centum talentis 
 rex Attalus licitus est, octoginta emit duas Caesar dictator, 5 
 Mediam et Aiacem Timomachi, in templo Veneris Gene- 
 tricis dicaturus. Candaules rex Bularchi picturam Magne- 
 tum exiti, baud mediocris spati, pari rependit auro. Rhodum 
 non incendit rex Demetrius expugnator cognominatus, ne 
 tabulam Protogenis cremaret a parte ea muri locatam. lo 
 
 127 Praxiteles marmore nobilitatus est Gnidiaque Venere prae- 
 cipue vesano amore cuiusdam iuvenis insigni, sed et Nico- 
 medis aestimatione regis grandi Gnidiorum aere alieno 
 permutare eam conati. Phidiae luppiter Olympius cotidie 
 testimonium perhibet, Mentori Capitolinus et Diana Ephesia, 15 
 quibus fuere consecrata artis eius vasa. 
 
 II. 
 
 198 Normam autem et libellam et tornum et clavem Theo- 
 dorus Samius (sc. invenit). 
 
 VII, 125. 2. Apelles : xxxv, 85 ; of Corinth this sum was offered by 
 
 ci.'H.OT:. Ep.W, i.,21^; Ediciovetuit, Attalos, or rather by Philopoimen 
 
 ne quis se praeter Apellen \ Pingeret, on his behalf, for the ' Dionysos and 
 
 aut alius Lysippo duceret aera \ Fortis Ariadne ' of Ariiteides ; npon which 
 
 Alexandri vultum simulantia . . . Mummins, staggered at the value set 
 
 Pyrgoteles : xxxvii, 8. npon the picture, retained it (xxxv, 24 
 
 Jjysippus : see note on xxxiv, and note). 
 
 63- 6, Mediazn et Aiacem Timom. : 
 
 § 126. 4. Aristidis Thebani : xxxv, 26 ; 136. 
 
 xxxv, 98. 7. Bularchi picturam : xxxv, 55 
 
 centum talentis : after the sack and note. 
 
I. 
 
 „ , Book VII. 
 
 The emperor Alexander also issued an edict that none but 125 
 
 Apelles might paint his portrait, none but Pyrgoteles engrave it, 
 
 and none but Lysippos cast his statue in bronze. Several famous 
 
 likenesses of him exist of these three kinds. 
 
 King Attalos bought a single picture by Aristeides of Thebes 126 
 
 for a hundred talents [^21,000 circ], and the dictator Caesar 
 
 gave eighty [;^i6,8oo circ] for two by Timomachos, a Medeia 
 
 and an Aias, which he intended to dedicate in the temple of 
 
 Venus the Mother. King Kandaules paid its weight in gold for 
 
 a picture of no small dimensions by Boularchos, representing the 
 
 destruction of the Magnetes. King Demetrios, surnamed the 
 
 Destroyer of Cities, refrained from setting fire to Rhodes, for fear 
 
 he should burn a painting by Protogenes which was near the 
 
 part of the city wall threatened. Praxiteles owes his fame to his 127 
 
 marble sculptures and to his Aphrodite at Knidos, which is best 
 
 known by the story of the youth who fell madly in love with it, 
 
 and also by the value King Nikomedes set on it when he offered 
 
 to take it in acquittal of the heavy state debt of the Knidians. Zeus 
 
 of Olympia daily bears testimony in honour of Pheidias, as for 
 
 Mentor do Jupiter of the Capitol and Artemis of Ephesos, to 
 
 whom the cups made by his hand have been consecrated. 
 
 I. 
 
 The rule and line, the lathe and lever, were invented by 198 
 Theodoros of Samos. 
 
 8. Bhodum non incendit : 49, 54; xxxvi, 18. 
 
 XXXV, 104. 15. Oapitolinus . . . Bphesia: 
 
 §127. II. marmore nobilitatus: xxxiii, 154 and note, 
 
 xxxvi, 20; cf. xxxiv, 69 Prax. % 198. 17. Theodorus Samius : 
 
 quoque marmore felicior. xxxiv, 83 and note. 
 
 14. luppiter Olympius : xxxiv, 
 
220 APPENDIX 
 
 III. 
 
 205 Picturam Aegypti et in Graecia Euchir Daedali cognatus 
 ut Aristoteli placet, ut Theophrasto Polygnotus Atheniensis 
 {sc. condere instituerunt). 
 
 IV. 
 
 Lib. XVI. , ^ , , , 
 
 213 Maxime aeternam putant hebenum et cupressum cedrum- 
 
 que, claro de omnibus materiis iudicio in templo Ephesiae 5 
 Dianae, utpote cum tota Asia exstruente CXX annis per- 
 actum sit. convenit tectum eius esse e cedrinis trabibus. 
 de simulacro ipso deae ambigitur. ceteri ex hebeno esse 
 tradunt, Mucianus ter cos. ex his qui proxime viso scrip- 
 sere vitigineum et numquam mutatum septies restitute 10 
 
 214 templo, banc materiam elegisse Endoeon, etiam nomen 
 artificis nuncupans, quod equidem miror, cum antiquiorem 
 Minerva quoque, non modo Libero patre, vetustatem ei 
 tribuat. 
 
 V. 
 Lib. XXL 
 
 4. Arborum enim ramis coronari in sacris certaminibus 15 
 
 mos erat primum. postea variare coeptum mixtura versi- 
 color! florum, quae invicem odores coloresque accenderet, 
 Sicyone ingenio Pausiae pictoris atque Glycerae coronariae 
 dilectae admodum illi, cum opera eius pictura imitaretur, 
 ilia provocans variaret, essetque certamen artis ac naturae, 20 
 quales etiam nunc exstant artificis illius tabellae atque in 
 primis appellata stephaneplocos qua pinxit ipsam. 
 
 II. Endoeon] Sillig; eandem con codices. 
 
 § 205. I. Aegypti: xxxv, 15. 2. Theophrasto: on the mis- 
 
 Euchir: in XXXV, 152 he figures as understanding involved here see 
 
 one of the Corinthian modellers Vfho Introd. p. xxx. 
 
 accompanied Damaratos to Italy; in XVI, 213. 5. templo Ephesiae: 
 Paus. Ti,4,4asthemasterof Klearchos below,xxxvi, 95. 
 of Rhegion, the master of Pythagoras. g. Mucianus: Introd. p. Ixxxv ff. 
 At least it seems probable that it is 11. Endoeon : the name was re- 
 one and the same personage to whom stored by Sillig from Athenag. npe<r/3. 
 different parts are assigned in various 17 (below, App. xi) for the corrupt 
 apocryphal traditions concerning the eandem con of the MSS. Besides 
 beginnings of the several arts, cf. Ephesos, Endoios also worked in 
 "R-ohext Arch. March.'g. 131, note 2. Asia Minor at Eruthrai (Paus. vii. 
 For an artist of the name in late 5, 9) ; further, in one of his two in- 
 historic times see xxxiv, 91. scriptions (/. G. B. 8, stele of 
 
APPENDIX 
 
 III. 
 
 Painting was first invented by the Egyptians, and introduced 205 
 into Greece, according to Aristotle, by Eucheir, a kinsman of 
 Daidalos, but according to Theophrastos by Polygnotos of Athens. 
 
 IV. 
 
 Book XVI. 
 Ebony, cypress, and cedar wood are thought to be the most 213 
 
 durable, every wood having been signally tested in the temple of 
 
 Artemis at Ephesos, which all Asia joined to build, and which was 
 
 completed in a hundred and twenty years. While all agree that 
 
 the roof is made of cedar beams, we have varying accounts of the 
 
 image of the goddess. All other writers say that it is of ebony, 
 
 but among those who have written after close inspection, Mucianus, 
 
 who was thrice consul, declares that it is of vine-wood, and has 
 
 remained unchanged though the temple has been restored seven 
 
 times. The material, he says, was the choice of Endoios, the 214 
 
 maker, whose name he gives somewhat to my surprise, since he 
 
 holds the image to be not only earlier than the Dionysos, but 
 
 also than the Athene. 
 
 V. 
 
 BookXXI. 
 
 Branches of trees were originally used for crowns in the sacred * 
 games. Later on the fashion of intertwining flowers of different 
 hues, to strengthen each other's scent and colour, was invented 
 and introduced at Sikyon by the painter Pausias and Glykera, 
 a wreath-seller whom he loved. He imitated her wares in painting, 
 and she varied them to challenge him, thus making art and nature 
 vie together. Pictures by Pausias in this style are still extant, the 
 most noteworthy being the a-TE^aj/j/jrXoKor, or wreath-binder, a por- 
 trait of Glykera herself. 
 
 Lampito) he uses the Ionic dialect, latest discussion of Endoios and his 
 
 while in the other ('Apx. AeXr., 188S, date see Lechat in Rev. des Etudes 
 
 p. 208) he uses the Ionic alphabet. It Grecques, v, 1892, p. 385 ff. The most 
 
 is probable, therefore, that he was an famous work of Endoios was the 
 
 Ionian, whom the later art-historians seated Athena (below, App. xi ; Pans, 
 
 turned into an Athenian, as they did i, 26, 4) dedicated on the Athenian 
 
 Alkamenes and others (see Add. to Akropolis by one Kallias. 
 
 Introd. p. 232). From their epi- XXI, 4. 18. Pausiae . . . Gly- 
 
 graphy the inscriptions must he dated oerae : xxxv, 125 and note, 
 between B.C. 532 and 508 ; for the 
 
222 APPENDIX 
 
 Lib. VI. 
 
 XXXVI 
 
 90 Lemnius [sc. labyrinthus) similis illi columnis tantum 
 
 CL memorabilior fuit, quarum in officina turbines ita librati 
 
 pependerunt ut puero circumagente tornarentur. architecti 
 
 fecere Zmilis et Rhoecus et Theodorus indigenae. 
 
 VII. 
 
 95 Graecae magnificentiae vera admiratio exstat templum 5 
 Ephesiae Dianae CXX annis factum a tota Asia, in solo 
 id palustri fecere, ne terrae motus sentiret aut hiatus timeret, 
 rursus ne in lubrico atque instabili fundamenta tantae molis 
 locarentur, calcatis ea substravere carbonibus, dein velleribus 
 lanae. universe temple longitude est CCCCXXV pedum, 10 
 latitude CCXXV, columnae CXXVII a singulis regibus 
 factae LX pedum altitudine, ex is XXXVI caelatae, una 
 a Scopa. eperi praefuit Chersiphron architectus. 
 
 VIII. 
 
 177 Elide aedis est Minervae in qua frater Phidiae Panaenus 
 tectorium induxit lacte et croco subactum, ut ferunt, idee, 15 
 si teratur hodie in eo saliva pollice, oderem croci sapo- 
 remque reddit. 
 
 IX. 
 
 184 Pavimenta originem apud Graecos habent elaborata ante 
 picturae ratione donee lithestrota expulere earn, celeberri- 
 
 1 2. una a] Bamb. ; una Rice, Voss. 
 
 XXXVI, 90. I. Lemnius (lab.) : almost as grave difficulties as that of 
 
 by error for the Samian labyrinth, the Mausoleion, but see the interesting 
 
 see note on xxxiv, 83. attempt lately made by A. S. Murray, 
 
 § 95. 5. templum Ephesiae Di- Journal of the R. Inst, of Brit. 
 
 auae : the description seems borrowed Archit.,\%ijc„ p. 41 ff. The ancient 
 
 from Mucianns, Introd. p. Ixxxviii ; literature is fully given and discussed 
 
 cf. xvi, 313, but the account is very by Brunn, K. G. ii, p. 345 ff. 
 
 confused, referring partly to the first 8. ne in lubrico . . . lanae : this 
 
 temple (begun close of seventh century was done by the advice of Theodoros, 
 
 B.C.andburnt3S6B.c.byHerostratos, Diogenes Laertios, ii, 8, 103. 
 
 Strabo, xiv, p. 640) and partially to 10. universo templo ; i. e. mea- 
 
 the second, upon which Skopas would suring the length along the lowermost 
 
 be employed. The reconstruction of step of the platform, see A. S. Murray, 
 
 the Ephesian Artemision is beset with op. cit. p. 44. 
 
APPENDIX 223 
 
 "VI Book 
 
 XXXVI. 
 The labyrinth of Lemnos is like that of Krete, but is dis- oo 
 
 tinguished by its columns, a hundred and fifty in number. Their 
 
 drums were raised from the ground in the stone-yard and balanced 
 
 on a pivot, so that a boy could set them spinning round and 
 
 smooth their surface. The architects who built it were Smilis, 
 
 Rhoikos, and Theodoras, natives of the island. 
 
 VII. 
 
 Our genuine admiration for the magnificence of the Greek genius 05 
 is roused by the temple of Artemis at Ephesos, which was built in 
 a hundred and twenty years by the exertions of all Asia. The 
 temple was placed on a marshy site, that it might not suffer from 
 earthquakes, or be in danger from the cracking of the ground, 
 while on the other hand, to prevent any insecurity or shifting in the 
 foundation on which the massive weight of the temple was to 
 rest, a substratum was laid of pounded charcoal covered with 
 fleeces. The full length of the temple is 425 feet, and its breadth 
 225; there are 127 columns 60 feet high, each made by a 
 different king. Of these 36 are carved, one of them by Skopas. 
 The chief architect was Chersiphron. 
 
 VIII. 
 
 There is at Elis a temple of Athena in which we are told that 177 
 Panainos, the brother of Pheidias, mixed the plaster on the walls 
 with saffron and milk; hence to this very day if the finger is 
 wetted in the mouth and rubbed on the wall, it smells and tastes 
 of saffron. 
 
 IX. 
 
 The Greeks were the first to introduce paved floors, which they i84 
 decorated with painting until mosaic took its place. The most 
 
 12. una a Scopa: this is the read- § 177. 14. Elide: xxxv, 54, both 
 ing of Cod. Bamb. ; it was kindly Panainos and Kolotes had been em- 
 verified for this edition by Mr. Fischer. ployed on the statue of Athena, and 
 Chronologically it is quite possible it is evident from the present passage 
 that Skopas worked for the second that Panainos must have decorated 
 Ephesian temple, see note on xxxvi, 30. the temple with wall-paintings. 
 
 1 3. Cliersipliron : the first architect § 184. 19. lithostrota ; the earliest 
 of the first temple, vii, 125. instance of a mosaic floor in Greece 
 
224 
 
 APPENDIX 
 
 mus fuit in hoc genere Sosus qui Pergami stravit quem 
 vocant asaroton oecon, quoniam purgamenta cenae in pavi- 
 mentis quaeque everri solent velut relicta fecerat parvis 
 e tesselHs tinctisque in varies colores. mirabilis ibi columba 
 bibens et aquam umbra capitis infuscans. apricantur aliae 5 
 scabentes sese in canthari labro. 
 
 Lie. 
 XXXVII. 
 8 
 
 X. 
 
 Polycratis gemma quae demonstratur intacta inlibataque 
 est. Ismeniae aetate multos post annos apparet scalpi 
 etiam smaragdos solitos. confirmat banc eandem opinionem 
 edictum Alexandri magni quo vetuit in hac gemma ab alio lo 
 se scalpi quam ab Pyrgotele non dubie clarissimo artis eius. 
 Post eum Apollonides et Cronius in gloria fuere quique 
 divi Augusti imaginem simillime expressit, qua postea 
 principes signant, Dioscurides. 
 
 XI. 
 
 Athena- At 6 ftKoVes f^expt f^rjTTw irXaoriKT) xai ■ypa(f)iKri Kol avhpiav- 15 
 
 llpeaBeia '''O'toiTiriKri ^(Tav, oiibe evoiiiCovTO' ^avpiov be tov Sajxiov Koi 
 
 is that of the Pronaos of the temple of 
 ZensatOlympia, Olympia, Baudenkm. 
 ii, pi. cv (of. ib. i, pi. ix). Mosaic came 
 into general use in the time of the Dia- 
 dochoi ; cf. Athen. xii, 542 d, ih. v, 
 206 d. 
 
 , 2. asaroton oeoon : cf. the mosaic 
 intheLateran(Helbig,C/ajj. .(4K/.694) 
 strewn with fragments of food, and 
 the mosaic (Brit. Mus.) representing 
 strewn leaves. — Statins Silv. i, 3, 56. 
 
 4. columba bibens : a similar 
 subject in the famons mosaic of the 
 Capitol, fonnd in the villa of Hadrian ; 
 Helbig, Class. Ant. 4150 ; cf. the 
 mosaics in Naples, Mo. 9992 and 
 114281. From the words mirabilis 
 ibi it appears that the dove drinking 
 was part of the larger composition 
 representing the imswept floor. 
 Doves on the edge of a vase are a 
 subject of frequent occurrence on 
 
 coins, cf. Drexler, Zeitschrift f. 
 Numismatik, vol. xix. 
 
 XXXVII, 8. 7. Polycratis gem- 
 ma : according to Pliny in § 4 of this 
 book it was a sardonyx, and was 
 preserved at Rome, in the Temple of 
 Concord, set in a horn, the offering of 
 Augusta (sc. Livia). 
 
 intacta inlibataque : on the other 
 hand, Strabo, xiv, p. 638, speaks 
 of its being splendidly graved, and 
 Herodotos (iii, 41) of its being a seal 
 of emerald (i. e. emerald-prase, see 
 Brunn, K. G. ii, p. 468 ; Furtwangler, 
 Jahrb. iii, 1888, p. 194) mounted in 
 a gold ring ff(f>pTj'Yh xp^^riJScTos ; it 
 was reputed the work of Theodores, 
 cf. Pans, viii, 14, 1, and see note 
 above on xxxiv, 83. 
 
 8. Ismeniae : Pint. Per. i ; 
 Apuleius, tie Deo Socr. 21 ; Boethius, 
 Inst. Mus.l, I (ed. Friedlein, p. 185, 
 
APPENDIX 225 
 
 celebrated worker in mosaic is \Sosos, who laid the floors of 
 a house at Pergamon, known as the aa-aparos oIkos, or Unswept 
 House, because he represented in small bits of many-coloured 
 mosaic the scraps from the table and everything that is usually 
 swept away, as if they had been left lying on the floor. Among 
 these mosaics is a marvellous dove drinking and casting the 
 shadow of its head on the water. Other doves are pluming their 
 feathers in the sun on the lip of a goblet. 
 
 X. Book 
 
 XXXVII. 
 The gem shown as that of Polykrates is uncut and untouched. 8 
 
 We find that at a much later date, in the days of Ismenias, even 
 emeralds were engraved. An edict of Alexander the Great con- 
 firms this : he forbade any one but Pyrgoteles, who was beyond 
 doubt the greatest master of the art, to engrave his likeness on 
 these gems. After Pyrgoteles, \ApoUonides and \Kronios won 
 fame, and Dtoskourides who engraved that perfect likeness of the 
 god Augustus which later emperors have used as their seal. 9 
 
 XI. 
 
 Images of the gods were not had in honour at all before the 
 arts of modelling, of painting and of statuary were introduced, 
 
 20). Dionysodoros is known only by Furtwangler, Jahrb. iii, 1888, 
 
 from Pliny. pp. 218-224; ib. pi. iii, i; pi. viii, 
 
 9. smaragdos : emerald, how- 22, 23, 24, 25, 26. To these signed 
 
 ever, does not appear to have come instances should be added, according 
 
 into use till Hellenistic times, and to R. von Schneider {Album der 
 
 then only unimportant gems were cut Wiener Sammlungen, p. 16, text to 
 
 in this stone. plate 41), the great Vienna cameo 
 
 II. ab Pyrgotele : vii, 125 (App. representing the family of Augustus. 
 
 I) ; cf. Apuleius, Florida, i, p. 7 (ed. — Three sons of Dioskourides,— 
 
 Krueger, 1865) ; he is unknown out- Hierophilos, Hyllos, and Entyches, 
 
 side literature. — are known from their signatures on 
 
 13. Augusti imaginem: a full gems to have been gem-engravers; 
 
 list (needing revision however) of see Furtwangler, op. cit. p. 304 ff. 
 
 portraits of Augustus on gems is 15. Al 8' 6iK6ves . . . ; the rhetoric 
 
 given by Bernoulli, RSm. Icono- of Athenagoras seems evolved out of 
 
 ii. p. 46. None can be the same curious notion appearing in 
 
 traced back to Dioskourides. Plin. xxxiv, 9, 16, that art progressed 
 
 14. Diosourides : of the numerous from lesser objects to statues of the 
 
 extant gems bearing the signature of 
 
 D. six only are recognized as genuine 16. SavpCov . . . SajiCou : we again 
 
2a6 
 
 APPENDIX 
 
 Schwartz, 
 p. 18). 
 
 irepi X/)iff- Yipi,r(avos rov SiKVcavlov koJ KXe&^ouy tov KopivdCov koI Koprjs 
 /gj ' ' KopLvOias yevop-ivcav kol (TKiaypacjiCas fjiev evpeOela-qs vtto ^avpiov 
 tTTTFOV (V fiXia irepiypd^avTos, ypa<j)iKfjs be into Kpircovos ev nivaKi 
 X€X.evK(iiixiv(c (TKtas avbpos koI yvvaiKos eva\ei\j/avTOS, cltio be rrjs 
 Kop'qs KOpOTtXaOiKrjs [evpeOrj] (epaiTLK&s yap tlvos exovara -nepi- 5 
 eypa^l/ei/ avTov KOi}XMp.evov ev roiyj^ Tr\v ctki&v, eW 6 irarijp 7]a-6e\s 
 UTrapaWaKTa ov(7ri rij o/ioiorrjrt (^Kepafiov be eipydfero) avayXv^as 
 TTJv Trepiypacpfiv tttjXu TrpocraveitXripaxreV 6 tvttos en koI vvv ev 
 KopLv6(f o-(oferat), totHtols be e'niyevop.evoi AaCbaXos ©eoScopoy 
 2/xt\iy avbpiavTOTTOLriTiKriv koI irXacrTLKrjV Ttpocre^evpov. 6 p.ev br] ro 
 Xpovos oXlyos TOiTOVTOs rats eiKoVt Koi rfj irepi to, eXbatXa irpay- 
 ixareia, as e\eLV eliieiv tov l/cacrTOU Te-)(virr]v deov. rb fxev yap 
 ev 'E<l}e(T(f rfjs 'ApTejMbos kol to Trjs 'AOrivas (ptaXXov be 'AdrjXas' 
 aOrikt) yap &)s ot pLva-TiKcaTepov ooto) yap) rd oTro Trjs eXaCas Td 
 TraXaLov /cat ttjv Kadrjixevrjv "Evboios elpyaaaTO iJ,ad7]Tr]s AaibaXov, xs 
 o be Ilv^tos epyov ®eob(ipov /cat TrjXeKX^ovs Koi 6 A'qXios /cat 
 fi "Apre^is TeKTaiov /cat 'AyyeXioivos Teyjjr\, fj be ev Stf/^u "Hpa 
 Kat ev " Apyei 'SijxiXibos xe'tpes koI ^eibiov to. Xoma etScoXa fi 
 A(ppobiTr] (?7) ev Kvibw erepa Yipa^iTiXovs Tex^V; o ev'FiTnbavpco 
 'A<r/cX7)Trtos epyov ^eibiov. avveXovTa (f>a.vai, ovbev avT&v bia- 20 
 'rre(pevyev to ju.r/ vt! avdpanrov yeyovivai. el roivvv Qeoi, tl ovk 
 ^crav e£ apxvs ! ^i bi elaiv veioTepoi t&v TreTioiriKOTuiv ; tl be 
 ebei avToXs Trpos to yevea-dai avOpairixiv nai Texyr\s ; yrj Tavra koi 
 XCOoi Kai vX-q /cat -nepiepyos Texyr], 
 
 catch here the echo of some art- 
 writer who had contrasted the claims 
 of island and mainland schools ; cf. 
 Introd. pp. xxiii, xxvi. 
 
 1 . KXciivGous : Plin. xxxv, 1 5. 
 
 Kop-qs KopwSCas : Plin. xxxv, 151. 
 
 6. auToi) Kot|i.cop.evov ; while in 
 Pliny the lover is represented as going 
 away. 
 
 8. CTi Kai v€v ev KopivOcp ; donee 
 Mummius Corinthum everterit, Plin. 
 xxxv, 151 ; hence it appears that 
 
 Athenagoras is quoting — though liot 
 necessarily at first hand — from an 
 author older than B.C. 146. 
 
 14. TO diro Tf]S cXaCas ; Pans, i, 26, 
 6. Athenagoras is the only writer 
 who attributes the statue to Endoios. 
 
 15. "EvBoios: above note on xvi, 
 2i4 = App. IV. 
 
 pa6r]TT|s AaiSiXou : Pans, i, 26, 4. 
 
 16. 6ScIIij9ios: Diodoros, i, 98. 
 
 6 A-qXms : Paus. ii, 32, 5 ; cf. 
 Plut. de Mus. 14 ( = Bemardakis, vi, 
 
APPENDIX 227 
 
 but are later than the days of ■\Saurias of Samos, -^Kraton of 
 Sikyon, Kleanthes of Corinth, and a maiden, also of Corinth. 
 Linear drawing was discovered by Saurias, who traced the outline 
 of the shadow cast by a horse in the sun, and painting by Kraton, 
 who painted on a whitened tablet the shadows of a man and 
 woman. The maiden invented the art of modelling iigures in 
 relief. She was in love with a youth, and while he lay asleep she 
 sketched the outline of his shadow on the wall. Delighted with 
 the perfection of the likeness, her father, who was a potter, cut 
 out the shape and filled in the outline with clay ; the iigure is 
 still preserved at Corinth. After these came Daidalos, Theodoras, 
 and Smilis, who introduced the arts of statuary and modelling. 
 In fact so short a time has passed since statues and the making 
 of images were introduced, that we can name the maker of each 
 several god. Endows, the pupil of Daidalos, made the statue of 
 Artemis at Ephesos, the old olive-wood image of Athena (or 
 rather of Athela [the unsuckled], for so those better acquainted 
 with her mysteries call her), and the seated image ; the Pythian 
 Apollo is the work of Theodoros and Telekks ; the Apollo and 
 Artemis at Delos are by Tektaios and Angelion ; the statues of 
 Hera in Samos and in Argos are by the hand of Smilis, and 
 the other statues are by Pheidias ; Praxiteles made the second 
 Aphrodite at Knidos, and Pheidias the Asklepios at Epidauros. 
 In a word, there is not one of them but is the work of man's 
 hands. If, then, these are gods, why were they not from the 
 beginning, and why are they younger than those who made them ? 
 What need had they of men and human art to bring them into 
 being? They are but earth and stones and wood and cunning art. 
 
 p. .^oo) ; for the type see P. Gardner above notes on App. VI. and on 
 
 and Imhoof-Blumer, JVum. Cotnm, xxxiv, 83. 
 
 CC xi-xiv. 18. Iv 'Apysi: this Argive Hera 
 
 17. ^ 'ApTejits: known only from by Smilis is known only from Athena- 
 
 Athenagoras. goras ; but see Brunn, K. (7. i, p. 27. 
 
 \ h\ Iv 2. "Hpa: Pans, vil, 4, 19. ' A(t)po8. ev KvCSm : Plin. xxxvi, 
 
 4; for the type cf. P. Gardner, Samos 20. 
 
 and Samian Coins, pp. 19, 75ff, pi. v, 20. 'A<rKXi]in.6s : see Introd. p. liv, 
 
 1-9. Smilis was himself a Samian, note i. 
 
 Q3 
 
ADDENDA 
 
I. INTRODUCTION 
 
 Page xliii, note 2. F. Munzer provides me with a final proof of the in- 
 debtedness of Antigonos to Duris for the story of the Nemesis ; he points out 
 (in a private letter) the striking similarity betwreen the story told in Pliny, 
 of the vengeance taken by Agorakritos, and the following fragment from 
 Duris in Plutarch (Lysander i8 = Fr. 65, Miiller) : 'AvTi/ji&xov 5J rov KoXo- 
 (pwvLov Kai Nttcrjp6.Tov tivos ^UpaX^wTov -noiijfiaffi AvadvSpeia Stayoovtaafievayv en* 
 aiiTov (sc. Lysander) tov NiKTjparov k<rTe(pdv(iiff€v, 6 S^ 'Avriftaxos 
 axSeaSels rjcpdviae rb Troirma. TIK&twv Si vios iiv rin ical Sav- 
 /id^oiv rbv 'AvTtfxaxov e-nl ttj iroiijTiKy, 0ap^(tis (p^povra ttjv ^ttov 
 aveKa/iPave koX ■napfiuiBtiTo, rots dyvoovai. . . . ' There were two other poets, 
 Antimachus Colophonian, and Niceratus born at Heraclea, which did both 
 wryte verses to honour him (Lysander), striving whether of them should do 
 best. Lysander judged the crown and mctory unto Niceratus: wherewith 
 Antimachus was so angry that he rased out all that he had written of him. 
 But Plato, who at that time was young, and loved Antimachus because he 
 was an excellent poet, did comforte him, and tolde him that ignoraunce ..." 
 (North, ed. Wyndham, vol. iii, p. 247). 
 
 P. li. Still another story of a self-taught artist, preserved this time not 
 in Pliny but in Pausanias, has been pointed out to me by F. Miinzer, whose 
 communication on the subject I translate verbally : ' The account of Pausanias 
 (v, 20, 2) concerning Kolotes may be classed with the stories from Duris 
 noted Hermes^ xxx, p. 532 f. : etvai Se <pa(Xiv l£ '^parckeia? rbv KoKdtTrjv. oi 6e 
 TToKvirpa-yfjioi/'^aavTes anovS^ rd ks tovs rrXdara^ Hdpiov dwo<paivov(nu ovra a{n6v, 
 fioBTjTTjv nafftTeXous, IlafftTtXTjv S^ auTo5i5a;^^^i/at (Buttmann's reading for the 
 aiiTiiv SiSaxB'j''ai of the MSS., which it is impossible to retain except by 
 assuming a lacuna). Thus the same is recounted here of Pasiteles as of the 
 several men noted loc. cit. Like the Seilanion, Protogenes, Erigonos, and 
 Lysippos of Dnris, Pasiteles is represented as having had no teacher ; like 
 Seilanion, Erigonos and Pythagoras of Rhegion, he had one pupil. Pasiteles 
 is as completely unknown as these three pupils, and as the master of the 
 philosopher Demokritos invented by Duris (fr. 56). I accordingly believe 
 that the view combated by Pausanias must be traced back to Duris. It is 
 uncertain whether Antigonos had already combated it, or whether he com- 
 bined it with the current tradition, inasmuch as he transferred Kolotes from 
 the Parian to the Athenian school. To alter the birthplace of Kolotes from 
 Herakleia to Paros, whereby he was made into the countryman of his fellow- 
 pupil Agorakritos, was a slight matter in the eyes of Duris, for he had turned 
 Kleoboulos of Lindos into a Karian, and proclaimed the foreign origin of 
 other of the seven sages (Miiller, I^. H. G. ii, p. 482, fr. 53-55) ; probably also 
 he had transferred the scene of an anecdote from Kroton to Agrigentum 
 (Plin. xxxiv, 64, cf. Hermes, xxx, p. 537, u. i).' In the light of the preceding 
 
332 ADDENDA 
 
 note of Munzer's, it has become plain to me that Duris must be held responsible 
 for the tradition that represented Alkamenes as a native of Lemnos (A^/iwoj," 
 Souidas, s. v. 'AXra/teVijs ; vrjaiiirr]!, Tzetzes, CAil. viii, 340), whereas Antigonos 
 turned him into an Athenian (Plin. xxxvi, t6). It is natural to find Duris— 
 a Samian — repeatedly championing the claims of the Greeks of Asia Minor 
 and the islands to artistic pre-eminence. Nor must we forget that, careless 
 of accuracy though he was, he doubtless had at his command detailed 
 information which was no longer within reach of the later art-historians, who 
 were content to group artists about the chief art-centres. Thus Endoios, 
 who was probably really an Ionian (note on Appendix XI), is represented 
 in Pausanias simply as ^ABrjvatos. One great error of modem archaeologists 
 is to attempt to harmonize the variant traditions instead of tracing them 
 to their different sources, which will generally be discovered in periods vride 
 apart. 
 
 P. li, note 6 : TAe masters of Pheidias. I am pleased to find what 
 I wrote six months back concerning the masters of Pheidias confirmed by the 
 comments of Michaelis {Deutsche Lilteraturzeitung, 1896, no. 25, p. 788 ; 
 rev. of E. Gardner's Handbook of Greek Sculpture) on the untrustworthiness of 
 the Hagelaidas tradition : the same scholion on Aristoph. Frogs, 504, which 
 names Hagelaidas as the master of Pheidias, also contains a mistake con- 
 cerning the Herakles Alexikakos of Hagelaidas; this same untrustworthy 
 scholion is the source for the information of Tzetzes and Souidas (above, p. li, 
 note 3). Michaelis accordingly disputes the strange contention of E. Gardner 
 {Handbook, p. 194 ; cf pp. 248, 265) that ' the relation of Pheidias to Ageladas 
 is the best established by literary evidence,' ' ■vielmehr ist Phidias' Schiilerver- 
 hdltniss zu dem Attiker Hegias einmal, aher gut, das zu Hageladas viermal, 
 aber schlecht bezeugt.' To the unsatisfactory character of E. Gardner's proposed 
 emendation of Dio Chrys. Or. Iv. i {Class. Rev.\m, 1894, p. 70) I have drawn 
 attention elsewhere {ib. p. 171, note i). 
 
 P. Ixi. The story of the angry artist and the sponge is told by Dio 
 Chrysostom (Or. Ixiii, 4 = Schriftqu. 1 889) of Apelles and his picture of a war 
 horse. I find that Mr. A. S. Murray {Handbook, p. 3S4) has already pointed 
 out, in connexion with Apelles, that the story seemed the anecdotic illustration 
 of the line of Agathon. 
 
 P. Ixii. From a remark in note i on p. 537 of his article in the Hermes, it 
 would seem that Miinzer also inclines to attribute the story of Zenxis and the 
 five maidens to Duris. But Miinzer makes Duris responsible for the transference 
 of the scene of the story from Kroton to Agrigentum (cf. above. Add. to p. li). 
 Possibly, therefore, we may some day be able to drive the story home to 
 a source whence Duris himself quoted — or misquoted. 
 
 P. Ixxxv. Fabius Vestalis : it is worth noting that, since in each of the 
 three notices his name appears last on the Plinian lists, he was probably only 
 a supplementary author (comm. by Dr. Miinzer). 
 
 BOOK XXXIII 
 
 p. 6, 2. crustarius : there are superb examples of kjipKimaTa. among the 
 cups of both the treasures of Hildescheim (Berlin) and of Bosco Reade 
 (Louvre) ; cf. Winter, Arch. Anz. 1896, p. 93. For the most part the 
 emblema appears in the shape of a bust in full relief, soldered to a silver 
 plate. 
 
ADDENDA 233 
 
 BOOK XXXIV 
 
 P. 6, 18. froscriptum ab Antonio: cf. Gardthausen, Augustus, i, p. 136. 
 
 P. 8, 19. tricliniorum pedihus fulcrisque : that ihe fulcrum was ' the frame- 
 work on which the pillows of a couch or the cushions of a chair were placed ' 
 has been maintained and fully proved by W. C. F. Anderson, Ciass. ReTi. iii, 
 1889, p. 322 ff. 
 
 P. 14, 7. ubi omnium . . . iconicas vacant ; the latest discussion of this 
 passage is by Dittenberger and Purgold, Olympische Inschriften, col. 236, 
 295 f, where it is pointed out that in the inscr. recording the Olympic victory of 
 Xenombrotos of Kos (ib. no. 170; Pans, vi, 14, 12) the roTo^ SttoTov dpSs of the 
 fifth line proves that the statue was iconic ; yet the epigram and the silence of 
 Fausanias both show that X. was no TpiaoXvumovinris. 
 
 P. 16, 13. elephant! : on triumphal chariots drawn by elephants see, how- 
 ever, Gardthausen, Augustus, ii, p. 257. 
 
 P. 23, 13. Statues of Demetrios of Phaleron : the lines from Varro run — 
 ^ic Demetrius aeneas tot aptust 
 Quot luces habet annus absolutus 
 (for the first line, as emended by Scaliger, Bormann, Arch. Ep. Mittk. xvii, 
 1894, p. 233 f, proposes hie Demetrius est [tot aera nacyus). Wachsmuth 
 (loc. cit.) is probably right in tracing back the legend of the number of statues 
 put up to Demetrios to an epigram — ' as many statues as there are days in the 
 year ' — a playful turn which was afterwards accepted as serious fact, giving rise 
 not only to the statements in Varro and Pliny, but to the improved version in 
 Diogenes that all these statues were erected to Demetrios in a period less than 
 a year; elKoyaiv ^'i^luBtj xaA/cwi' e^rjicovTa irpos rats rpiaicoaiats, Siv at 
 TT\eiovs k(j> iTnrojv ^ijav Kal dpixaTccv teal (Xwoipibaiv, <xvvTC\ia^'eiaai kv ouS^ 
 Tpiauoaiais ^fiipais. — Cornelius Nepos, Miliiades, vi, and Plutarch, Praec. 
 reip. gerend. 11 E (Bemardakis, v, p. 116), mention 300 as the number of the 
 statues, a round sum, more or less representing the truth. The 1,500 statues 
 mentioned by Dio Chrysostom (xxxvii, 41) are mere foolish rhetoric. The 
 distich from Varro was presumably inscribed, in his Imagines (cf. Plin. xxxv, 1 1 ; 
 A. Gellius, Noct. Ait. iii, 10, i ; 11, 7), beneath a portrait of Demetrios; see 
 Bormann, loc. cit. 
 
 P. 28, 18. Rhodi eliamnum : the passage from Jerome is referred by Momm- 
 sen {Ueber den Chronographen, S^c, p. 692) to a Roman history ' of the period 
 of Caesar and Augustus,' by Reifferscheid (p. 360, n. 224) to Suetonius; cf- 
 Gardthausen, Augustus, i, p. 67. 
 
 P. 32, 25. Arvemis : the temple is presumably the one described by Gregory 
 of Tours (i, 30), of which the foundations were discovered in 1874, see Mowat, 
 Rev. Arch. 1875, p. 31 ff., where the five inscriptions Mercuric Arverno are 
 discussed. As to the type of Zenodoros' Mercury, Mowat, Bull. Monum. 
 1875, p. 657 if., conjectures that we possess an echo of it in the seated Mercury 
 on an altar from Horn in Holland (inscr. Brambach, C. I. R. 2029, p. xxvii); 
 cf. S. Reinach, Bronzes Figuris, p. 80, no. 68. 
 
 P. 34, 5. in officina: perhaps it is scarcely correct to refer this to the work- 
 shop or studio of Zenodoros. From the size of the colossus it is probable that 
 a special workshop was erected for the artist. 
 
 P. 34, 21. sphingem : Miinzer points out to me that Quinct. vi, 3, 98, accords 
 with Pliny in giving bronze as the material of the sphinx. Now 'in this 
 
234 ADDENDA 
 
 chapter of Qiiinctilian several hons mots of the personages of the Ciceronian age 
 and of Cicero himself have been shown by Wissowa {Hermes, xvi, p. 499 ff.) 
 to be borrowed from the book of Domitius Marsns, de urbanitate, which 
 Quinctilian frequently quotes in this chapter.' Therefore we may assume the 
 same D. Marsus, who appears in the Index to Bk. xxxiv, to have been Pliny's 
 authority for the story of Hortensius and the sphinx. (This observation of 
 Mimzer's will shortly be published in his Beitrdge ssur Qtiellenkritik der 
 Naturgeschichte des Plinius.) 
 
 P. 36, II. Hagelades: E. Gardner, Handbook of Greek Sculpture, p. 192, 
 proposes to read the 'A7eXof6a of /. G. B. 30 (bathron of Praxiteles) as 
 & 'A-yfKaiSa, and, accordingly, takes the name of the Argive master to have 
 been Agelaidas. The form Hagelaidas (Greek Hagelaidas), which we print 
 in the translation, is also retained by Dittenberger and Purgold, Inschr. von 
 Olympia 631, where see literature. 
 
 P. 38, I. Argium : owing to its position a proper name, and not, as often 
 surmised, the ethnic of Asopodoros, in which case it would have been placed 
 after the name it qualified, cf Gorgias Lcuon (§ 49), Demean Clitorium; Ditten- 
 berger and Purgold in Inschriften von Olympia, col. 647, where see literature. 
 
 P. 38, I. Asopodorum : for the inscription on the bathron of Praxiteles, see 
 now Inschr. von Olympia, 630, 631, where Dittenberger and Purgold rightly 
 reject Rbhl's proposed identification of the Plinian Asopodorus and Athenodorus 
 with the artists of the bathron. 
 
 P. 38, a. Clitorium : Paus. x, 9, *j, ovtoi (sc. 'ABtjv. Kal 'Aa/iias) 5e 'ApKaSes 
 eifflv eK KXeiropoi. 
 
 P. 38, 5. Leochares: I refer the passage concerning the statue of Isokrates by 
 Leochares in Vit. X Orat. 2'] to Heliodoros on the authority of Keil, Hermes, 
 XXX, 1895, p. 202. 
 
 P 40, 1. Date of Seilanion : Furtwangler, Statuenkopien im Alterthum, 
 p. 562, shows, however, that the connexion attempted by Delamarre between 
 C. I. G. S. 414, and C. I. G. S. 4253, 4254, is unfounded : D.'s conjecture that 
 the latter refers to the revival of the games in 329-8 B.C. is unproven; 4253 
 refers not to the games but generally to the Hieron of Amphiaraos and the 
 Penteteris, 'while 4254is a decree in honour of the officials in charge of the games. 
 There is nothing in either inscription implying a revival. Thus the only evidence 
 we are left with for the date of 414 is derived from the epigraphy ; according to 
 Dittenberger the upper limit is 366 B. C. Now if we accept the extant por- 
 traits of Plato as copies after an original by Seilanion (Helbig, Class. Ant. 
 265, p. 183 f.), and adopt Furtw'angler's identification of the Theseus at Ince- 
 Blundell Hall {Statuenkopien, pi. ii, iii, ib. p. 559 ff.) as a copy of the Theseus 
 of Seilanion (Plut. Thes. iv), there would be artistic grounds for placing the 
 artist as far back in the fourth century as the epigraphy of C. I. G. S. 414 
 allows. — No great weight can be attached to the date assigned to Seilanion in 
 Pliny's chronology, the mention of Seilanion having been loosely tacked on by 
 a later hand to the old Xenokratic chronology, Introd. p. xlix, note 2. 
 
 P. 40, 2. Zeuxiaden : the identity of the portraitist of Hypereides with the 
 pupil of Seilanion is, however, doubtful, cf. Introd. p. liii. 
 
 P. 42, 4. formae cognomen ^Vx. ' the surname of beauty'; for/o?-»za= beauty, 
 cf. below § -i%,cliduchon eximia forma ; xxxv, S6,ob admiral, formae; O. Jahn, 
 Arck. Zeit. 1847, p. 63 (cf. Brunn, JiT. G. p. 182), believe the Greek epithet 
 of the goddess to have been Mopcpii, which occurs as an epithet of Aphrodite at 
 Sparta (Paus. iii, 15, 8). Other conjectures are /toAAi/top^os and KcMuoTrj. 
 
ADDENDA 235 
 
 P. 42, 5. cliduchum : it is Pliny's rule to mention the names of gods, while 
 he almost invariably omits to name mortals ; their statues are referred to by 
 their motive, e.g. diadumenus, discobolus, apoxyomenus, malaferens nudus, &'c. 
 Hence it is that the cliduchus cannot be regarded as the Athena Promachos 
 (so Urlichs in Chreslom.), nor the astragalhontes of Polykleitos as the Dioscuri 
 (so Furtwangler in Masterpieces, p. 292, note i), nor the mala ferens nudus as 
 a statue of Herakles. 
 
 P. 42, 10. diadumenum : another fairly complete copy of this statue, 
 recently found in Delos {B. C. H. 1895, pi. viii), is— to judge from the publica- 
 tion—of poor workmanship, inferior to the Madrid copy; cf. Furtwangler, 
 Statuenkopien im Alterthum, p. 548. 
 
 P. 44, I. telo incessentem : I ought to have stated more fully that Furt- 
 wangler (/o^-. aV.) shows the impossibility — on grammatical and other grounds — 
 of the reading talo, which is supported by Benndorf. The latter supposes the 
 statue referred to, to have stood on an astragal basis — a forerunner to the Kairos 
 of Lysippos {Schriftqu. 1463-1467), further, to have been described by some 
 Greek writer as -yv/jLyds daTpayaAai eiriKfiiievos where Pliny then translated the 
 ewi/ceiij.(vos in its alternative sense of ' advancing ' or ' pursuing.' But in that 
 case talo incessens could only mean advancing towards or pursuing a knuckle- 
 bone, which is nonsense. Talo can only be the instrument, the weapon with 
 which the man is attacking, so that everything combines to commend Benn- 
 dorf s own earlier conjecture telo. 
 
 P. 44, 3. in Titi imperatoris atrio ; the reading of Cod. Bamb. seems to be : 
 in titi imperis atrio duo (see our facsimile) ; incliti in patrio duo Bamb. e corr. 
 
 P. 44, 6. Portrait of Artemon : in Class. Rev. 1894, p. 219, I pointed out 
 that the erection of the portrait should probably be connected with the Samian 
 expedition of 439 B.C., at which date Furtwangler {Masterpieces, p. 119) con- 
 jectures the Perikles by Kresilas to have been put up. Meanwhile grave doubts 
 have arisen in my mind as to the authenticity of the Polykleitan Artemon. 
 The confusion already noted by Plutarch with the Artemon of Anakreon is 
 suspicious. The notice in Pliny is clearly derived from an anecdotic source 
 other than that from which his main narrative is borrowed. Possibly, as 
 Mvinzer hints, Hermes, xxx, p. 537, we have here further traces of Duris. 
 
 P. 46, 1 . pristas : the MSS. are unanimous ; hence, since H. L. Urlichs 
 {loc. cit.) has satisfactorily shown that a group of sawyers — put up doubtless 
 by some successful master-builder — is absolutely in harmony with fifth-century 
 traditions, I had not thought it necessary to refer to Loeschcke's proposed 
 emendation of pristas to pyctas — an emendation, however, which threatens to 
 come into favour again. 
 
 P. 46, 14. puerum . . . tabellam : for the motive Reisch (/. c) compares the 
 vase in Munich (Cat. 51), Benndorf, Griechische u. Sicilische Vasenbilder, i, 
 pi. ix. 
 
 P. 48, 16. The Apoxyomenos of Lysippos : the copy in the Braccio Nuovo of 
 the Vatican (Helbig, 31) seemed to me too well known to need mention. For 
 the writer from whom Pliny got the story of Tiberius's passion for the statue, 
 see Introd. p. xcii, n. 4. 
 
 P. 50, 6 : for portraits of Alexander, see also Helbig, Sopra un Busto 
 Colossale d'Alessandro Magno in Mon. Antichi (R. Acad. Lincei), vol. vi, 1895. 
 
 P. 60, I. Fortrait of Perikles: Bliimner and Hitzig (Pausanias, p. 307) 
 remark that the word dcSpiai, used by Pausanias (i, 25, i), does not apply to 
 a terminal bust. Cf. further Bernoulli in Jahrb. xi, 1896, p. 107 f. 
 
236 ADDENDA 
 
 P. 60, 3. Minervam niirabilem . . . et aram: while still proposing to see 
 a copy of this Athena in the ' Pallas de Velletri ' whose original he refers to 
 Kresilas (see Introd. p. Ixxv, n. 2), Furtwangler recognizes a copy of the 
 Zeus in a fine statue at Ince-Blundell Hall, Statuenkopien im Alterthum, 
 plates i and iii, i, ib. p. 551 ff., the original of which he attributes on stylistic 
 grounds neither to Kresilas nor to the unknown Kephisodoros, but to the 
 elder Kephisodotos. The reasons adduced, however, are scarcely strong 
 enough to warrant the alteration in the Plinian text of the MS. reading 
 Cefhisodorus to Cephisodotus. 
 
 P. 60, 10. celetizontas : for the motive cf. further a statue in the Palazzo 
 Orlandi at Florence, Arndt-Bruckmann, Einzelverk. 342. 
 
 P. 66, 7. Hermaphrodite of Polykles : the Berlin statue (193) is now pub- 
 lished by Furtwangler, Statuenkopien, pi. xii, who sees in it a copy of the work 
 of Polykles {ib. p. 582 ff.). 
 
 P. 68, 3. nee hominem ex aere fecit, sed iracundiam : while admitting — 
 what is indeed incontrovertible — that this phraseology is common to Silver 
 Latinity, I now believe that an epigram is after all concealed behind it (Introd. 
 p. Ixx), all the Plinian criticism and analysis of Greek works of art being Greek 
 in their origin ; cf. note on xxxv, 61. 
 
 P. 68, 8. Theodorus : cf. also vii, 198 ; xxxv, 152. Identity with the artist 
 of C. I. A. 373, 90 (from Akropolis, middle of sixth century) is probable but 
 not certain. 
 
 P. 70, 4. infans . . . anserem strangulat: in his translation of Herondas 
 (1893), p. xiv, Crusius alludes to the group in Herondas as being wholly 
 marble. The attempt to establish identity with the Plinian group seems futile, 
 seeing how common the subject was in antiquity ; cf. E. Gardner in J. H. S. vi, 
 1885, pp. 7 ff. 
 
 P. 72, i. Apellas: cf. also /. G. B. 100 { = Insckriften von Olympia, 634), 
 from the basis supporting the horses of Kyniska in the Pronaos of the Temple 
 of Zeus, Pans, v, 12, 5 (/. G. B. ^^=Inschr. von 01. 160). 
 
 P. 72, 8. Hermes mining the infant Dionysos by Kephisodotos : the Identity 
 of this group with the famous group at Olympia seems to me probable. The 
 latter is attributed to Praxiteles on the authority of Pausanias (v, 17, i) only. 
 I believe that in this case, as often in that of works attributed to Pheidias (xxxv, 
 54, Athena by Kolotes; xxxvi, 17, Nemesis and Mother of the Gods by Agora- 
 kritos), all of which are put down to Pheidias by Pans. (Introd. p. xl, cf. p. liii, 
 note i), Pliny represents the more detailed — and perchance the more trust- 
 worthy — tradition, while Pausanias gives only the popular attributions. If the 
 Hermes of Olympia was really by Praxiteles, but could pass in the eyes of 
 certain critics as the work of his father or elder brother, it follows that the 
 statue belonged, as Brunn has maintained, to the artist's earlier period and not 
 to his later as recently argued by B'urtwangler {Masterpieces, p. 307 f). It may 
 be questioned whether we are not too completely under the spell of Pausanias, 
 whose untrustworthiness in the matter of attributions is notorious, and who, 
 writing some 600 years after the artists of the great period, was as liable to 
 blunder concerning their works as the compiler of a modern guide-book 
 cotceming the artists of the Renascence and their works. However, I am at 
 present neither prepared nor equipped to challenge the Praxitelean authorship 
 of the Hermes on morphological or aesthetic grounds. A long and complete 
 reinvestigation of all the extant material would first be necessary, but I think 
 it worth while to point out distinctly that there were probably two ancient 
 
ADDENDA 237 
 
 traditions concerning the authorship of the statue, and that the comparative 
 trustworthiness of each should be investigated. I may add that the resemblance 
 of the Kephisodotian Eirene holding the child Ploutos to the Hermes nursing 
 the child Dionysos is so strong as only to be satisfactorily accounted for by 
 referring them to the same artist : both figures are posed in the same manner, 
 while the children are, as has often been noted, practically identical (cf. Fnrt- 
 wiingler, op. cit. p. 296). 
 
 P. 72, 12. Cenchramis : cf. for Kenchramos, Purgold on Inschriften von 
 01. 638. 
 
 P. 74, 2. tubicine: cf. Urlichs, Pergamenische Inschriften, p. 24. The 
 commentary is not quite clear at this point ; the explanation of Winckelmann 
 {Geschichte, ed. 1776, p. 660 if. = tr. Lodge, vol. ii, p. 204fr.) applies to the 
 ' dying Gaul ' of the Capitol, and not to the Plinian tubicen. 
 
 P. 74, i. main interfedae : that this was a Gaulish woman seems to have 
 been Jirst suggested by Urlichs, /oc. cit. ; on the whole subject of these works 
 by Epigonos see G. Habich, Die Amazonengrufpe des Attalischen Weih- 
 geschenks CEine Studie zur Pergamenischen Kunstgeschichte), Berlin, 1896, 
 p. 14 ff. 
 
 P. 76, 8. Scopas uterqtie: G. Habich, Die Amazonengruppe, p. 66, note z, 
 is of opinion that scopas refers to the works of art made by each of two artists 
 (uterque), and explains these works to have been dancing satyrs. Habich 
 supports his theory by appeal to the Munich vase. I must abide, however, by 
 the opinion which I arrived at about a year ago after careful study of the vase 
 in question, and which I have expressed in the Commentary. 
 
 P. 78, I. Callimachus : for his date consult Winckelmann, Geschichte (ed. 
 1776), p. 460 (=tr. Lodge, vol. ii, p. 123), Furtwangler, Masterpieces, p. 437. 
 
 BOOK XXXV. 
 
 P. 92, 13. M. Agrippa: for Agrippa's interest in art, see now Gardthausen, 
 Augustus, i. p. 749 ff. 
 
 P. 102, § 57, § 59. For the pictures in the Poikile Stoa, see now Hitzig and 
 Bliimner, Pausanias, p. 201 f. 
 
 P. 106, 2 . Zeuxis of Herakleia : I have not sufficiently emphasized the 
 difficulties at the commencement of Pliny's account of Zeuxis. It seems to me 
 probable that the two conflicting dates of his birth given by Pliny represent 
 the conflicting opinions of Greek art-historians (Antigonos and Duns? cf. 
 Introd. p. xxxiii, on the beginnings of encaustic ; Introd. p. xxvi, on the origin 
 of sculpture). The epigram against Zeuxis attributed to Apollodoros should 
 have been alluded to among the epigrams discussed, Introd. p. Ivii. 
 
 P. 108, 7. Herakles strangling the snakes in presence of Alkmena and 
 Amphitryon. The vase-painting in the Brit. Mus. (F. 479) is now published, 
 Cat. of Vases in Brit. Mus. vol. iv, pi. xiii. The clumsiness of the figures, 
 the coarseness of the picture as a whole, and the absence of Amphitryo must 
 make us wary of accepting it as more than a distant echo of the picture by 
 Zeuxis, 
 
238 ADDENDA 
 
 P. 134. The Pompeian Mosaic : now at last well photographed by Alinari, 
 Naples 12050. 
 
 P. 136. The ' Thesmothetai' of Protogenes: the view of Curtius seems to me 
 probable. For dissentient opinions and the full literature of the subject, see 
 Hitzig-Bliimner, Pausanias, p. 145. 
 
 P. 140. The Resting Satyr : the subject occurs likewise in painting ; a well 
 preserved instance in the Casa Nuonia at Pompei, phot. Brogi, Naples 11 216. 
 But, at present, no safe connexion can be established between these paintings 
 and the work of Protogenes. 
 
 P. 142, 1 7. shortened methods of techniqtu : recent study in the Museum of 
 Naples has convinced me that the clue to these words is afforded by a singular 
 group of ' Campanian ' pictures — the most striking of which is Helbig 1 1 1 1 
 (=phot. Alinari, Naples 12035), known since the days of Bbttiger as ' Evening 
 prayer in front of the Temple of Isis.' The picture is not a work of the first 
 rank, but it proves that the ancients possessed to as great a degree as any 
 moderns all the secrets of impressionism : the broad flight of steps is indi- 
 cated by a few bold dashes of white ; the heads of the crowd on either side 
 are roughly modelled within two bands of dark shadow ; white is applied 
 vrith extraordinary intelligence and variety, now for an effect of light, now for 
 the white garments that contrast with the dark skin of the Egyptian priests. 
 Closely connected with this picture is the similar subject, Helbig 1112, and 
 the two pictures of the 'Trojan horse' ((i) phot. Sommer, Pompei 9218, 
 (2) Helbig 1326). Egyptian origin is attested from their subjects for the Isis 
 pictures, while for those of the Trojan horse it has been proved both from the 
 treatment and motives by L. von Urlichs {das Holzerne Pferd). There 
 seems little doubt that these pictures are an example of that compendiaria, that 
 shortened method hated by Petronius, as in modem times by Ruskin, which was 
 successfully cultivated and perhaps first brought into fashion by Antiphilos, and 
 imitated in Greece by Nikomachos. 
 
 P. 154, 2. exilior: Robert, Hall. Winckelmannsprogramm, xix, 1895, p. 25, 
 maintains that the adjective in its usual sense of slender, slim or thin, cannot 
 be properly applied to the figures of an artist who expressed the dignitatis of 
 heroes, or who boasted that 'his Theseus had been fed on meat.' Robert, 
 accordingly, proposed to see in exilior the (mis)translation of some such word 
 as ^paxvT€pos = short, thick-set or stumpy. Robert's arguments have been 
 vigorously controverted by Furtwangler {Statuenkopien im Alterthum, p. 568 f.), 
 who defends the received interpretation of the passage. It seems to me that 
 the contradictions in the criticisms passed upon Parrhasios, which vex Robert, 
 and which Furtwangler attempts to reconcile, are the effect of the present juxta- 
 position inPliny of two or more appreciations of Euphranor, derived from totally 
 different sources : the sentence mdetiir expressisse dignitatis heroum . . . articulis- 
 que grandior is plainly Xenokratic in its origin (Inlrod. p. xxvii) ; here there can 
 be no real contradiction between the dignitaies which Euphranor expressed and 
 the fact that he was in universitate corporum. exilior, for the first refers to the 
 artist's ethical conception of his heroes, the latter to their physical present- 
 ment. As regards the saying attributed to Euphranor concerning his Theseus, 
 I have pointed out both in the note on the passage and in the Introduction 
 (p. Ixiii f ) that its source is anecdotic, and can be traced back — perhaps through 
 Antigonos — to Duris of Samos. 
 
 P. 155. Andromeda : for the finest and best preserved of the Pompeian 
 pictures see phot. Alinari, Naples 1 2034. 
 
ADDENDA 
 
 239 
 
 P. 156. Achilles detected by Ulysses: phot. Alinari, Naples 12001, id. 
 12000; a different scheme seems preserved in the recently discovered picture 
 in the Casa Nuova at Pompei, phot. Brogi 11226. 
 
 P. 159. Medeia of Timomachos : the picture Helbig 1262 (= phot. Alinari, 
 Naples 12024) seems to me on close inspection to be really a copy after 
 a good original, presumably, then, after the Medeia by Timomachos. The 
 single figure of Medeia, on the other hand, appears to me extremely inferior 
 in conception and execution ; pose and accessories are different, and I can see 
 not the slightest reason for referring it to the same original as the former picture. 
 
 P. 159. Orestes and Iphigeneia: phot. Alinari, Naples 12020. 
 
 P. 162.. Herakles and Deianeira : for the subject, treated with considerable 
 mastery, and evidently after a good original, see the Pompeian picture, phot. 
 Alinari, Naples 12026 (cf. Helbig, Wandgemdlde, 1146). 
 
 P. 166, 14. quinquatrus celebraniem : Simos' picture apparently lent itself 
 to a Roman interpretation, which by Pliny's time had superseded the true 
 Greek explanation of the subject. 
 
 BOOK XXXVI. 
 
 P. 190, 9. Statue of Mother of Gods by Agorakritos : Furtwangler, Statuen- 
 kofien, p. ^I'j ff., claims to have discovered a copy of this work in a statue of 
 the Villa Pamfili in Rome. 
 
 P. 202, 12. Timotheos: I have lately examined the 'Leda and the Swan' 
 in the Capitol ; the connexion established between it and the Epidaurian 
 sculptures by both Amelung and Winter seems to me to stand the test of minute 
 criticism ; it is, however, disputed by Arndt (Arndt-Bruckmann, Phot. Einzel- 
 verk. ii, p. 30). 
 
 P. 205, 9. Hermerotes : the point made by Cicero {loc. cit.) was probably 
 suggested by the word Hermathena, rather than by the actual monument. Cf. 
 also Att. i, I, 5 ; ib. 10, 3 {ffermeracles']. A terminal iigure at Newby Hall 
 (Michaelis, Anc. Marbles in Great Britain, p. 531) affords a doubtful instance 
 of an Hermeros. Michaelis brings it into connexion with the work of Tauriskos. 
 
 P. 208, 1. 4. Venerem lavante?n se . . . Polycharmus : concerning this 
 difficult passage I can only arrive at negative results, (i) The reading sese 
 Daedalus must, I think, be rejected, the best codices offering no evidence for it 
 whatsoever ; the corrupt sedaedalsas of Cod. Bamb. conceals either further 
 descriptive words or the name of the locality where the statue was. (2) The 
 current attribution of the Venus lavans se to one Daidalos of Bithynia, known 
 only on the authority of Eustathios {Schriftqu. 2045), which seemed to receive sup- 
 port from the recurrence of a crouching or bathing Aphrodite on Bithynian coins 
 (see Bernoulli, Aphrodite, p. 317), must also be renounced; the type on the 
 coins occurs elsewhere, and belongs to a series whose origin can be traced back 
 to high antiquity (cf. Friederichs-Wolters, p. 571). (3) The notion that two 
 statues are mentioned in the passage, and that the first was crouching, in oppo- 
 sition to the Venus stans of Polycharmos, is entirely without support ; stantem 
 may be used here, not necessarily of an upright versus a stooping figure, but in 
 the sense of ' placed,' ' situated.' Brunn, K. G. ii, p. 528, Miiller, Handbuch, 
 377, note 5, take the whole sentence to be descriptive of one statue by Poly- 
 charmos. 
 
240 ADDENDA 
 
 P. 210. Caryatids of the Pantheon: see also Helbig, Class. Ant. I, and 
 Gardthausen, Augustus, ii, p. 439 f. 
 
 P. 212. Lioness by Arkesilaos : Mr. Cecil Smith kindly reminds me, in this 
 connexion, of a ' fine mosaic in the Brit. Mus., from Pompei (an early one), 
 representing a lion and three Cupids : one has bound the lion with a cord, one 
 seems to hold a drinking-vessel, and the third holds an object which seems to 
 be a large dart. It is a good illustration of the Arkesilaos subject, and is 
 evidently a copy from a Hellenistic relief.' 
 
 N.B. — The student will find all references concerning Roman topography 
 admirably put together by Hiilsen in the Nomenclator Topographicus to 
 Kiepert and Hiilsen's Formae Urbis Romae Antiquae, Berlin, 1896. 
 
INDEXES 
 
INDEX I 
 
 NAMES OF ARTISTS 
 
 Action, painter, xxxv, 50, 78. 
 Action, statuary, xxxiv, 50. 
 Aglaophon, painter, xxxv, 60. 
 Agorakritos, sculptor, xxxvi, 17. 
 Aiginetas, painter, xxxv, 145. 
 Akragas, chaser, xxxiii, 155. 
 Aleuas, statuary, xxxiv, 86. 
 Alexis, statuary, xxxiv, 50. 
 Alkamenes, statuary and sculptor, 
 
 xxxiv, 49, 72; xxxvi, 16, 17. 
 Alkimachos, painter, xxxv, 139. 
 Alkon, statuary, xxxiv, 141. 
 Amphikrates, statuary, xxxiv, 72- 
 Amphistratos, sculptor, xxxvi, 36. 
 Anaxander, painter, xxxv, 146. 
 Androbios, painter, xxxv, 1 39. 
 Androboulos, statuary, xxxiv, 86. 
 Androkydes, painter, xxxv, 64. 
 Angelion, sculptor, Athenag. IlpeaP. 
 
 17 (App. II). 
 Antaios, statuary, xxxiv, 52. 
 Antidotes, painter, xxxv, 130. 
 Antignotos, statuary, xxxiv, 86. 
 Antigonos, statuary, xxxiv, 84. 
 Antimachos, statuary, xxxiv, 86. 
 Antipater, chaser, xxxiii, 156. 
 Antiphilos, painter, xxxv, 114, 138. 
 Antorides, painter, xxxv, iii. 
 Apellas, statuary, xxxiv, 86. 
 Apelles, painter, xxxv, 50, 75, ^6, 
 
 79-97, 107, III, 118, 123, 140, 
 
 145; vii, 125 (App. i). 
 Aphrodisios, sculptor, xxxvi, 38. 
 Apollodoros, painter, xxxv, 60, 61. 
 ApoUodoros, statuary, xxxiv, 81, 86. 
 Apollonides, graver, xxxvii, 8tApp.io). 
 ApoUonios, sculptor, xxxvi, 24, 34. 
 Archermos, sculptor, xxxvi, n-13. 
 Arellius, painter, xxxv, 119. 
 Argeios, statuary, xxxiv, 50. 
 Aridikes, painter, xxxv, 16. 
 Aristarete, painter, xxxv, 147. 
 Aristeides, painter (and statuary (?), 
 
 xxxiv, 50, 72), xxxv, 76, 108, III, 
 
 122. 
 
 Aristeides, painter, vii, 126 (App. 1); 
 
 xxxv, 24, 98-100, no, 122. 
 Aristoboulos, painter, xxxv, 146. 
 Aristodemos, statuary, xxxiv, 86. 
 Aristokleides, painter, xxxv, 138. 
 Aristokydes, painter, xxxv, 146. 
 Aristolaos, painter, xxxv, 137. 
 Ariston, chaser and statuary, xxxiii. 
 
 156; xxxiv, 85. 
 Ariston, painter, xxxv, no, iii. 
 Aristonidas, painter and statuary, 
 
 xxxiv, 140 ; xxxv, 146. 
 Aristophon, painter, xxxv, 138. 
 Arkesilaos, modeller and sculptor, 
 
 xxxv, 155, 156 ; xxxvi, 33, 41. 
 Arkesilas, painter, xxxv, 146. 
 Artemon, painter, xxxv, 139. 
 Artemon, sculptor, xxxvi, 38. 
 Asklepiodoros, painter, xxxv, 80, 
 
 107. 
 Asklepiodoros, statuary, xxxiv, 86. 
 Asopodoros, statuary, xxxiv, 50. 
 Athanodoros, sculptor and statuary, 
 
 xxxiv, 86 ; xxxvi, 37. 
 Athanodoros, statuary, xxxiv, 50. 
 Athenion, painter, xxxv, 134. 
 Athenis, sculptor, xxxvi, 11 -14. 
 Attius Priscus, painter, xxxv, 1 20. 
 Autoboulos, painter, xxxv, 148. 
 Avianius Evander, xxxvi, 32. 
 
 Baton, statuary, xxxiv, 73, 91. 
 Batrachos, sculptor, xxxvi, 42. 
 Boedas, statuary, xxxiv, 66, 73. 
 Boethos, chaser and statuary, xxxiii, 
 
 155; xxxiv, 84. 
 Boularchos, painter, vii, 126 (App. i); 
 
 xxxv, 55. 
 Eoupalos, sculptor, xxxvi, 11-13. 
 Boutades, modeller, xxxv, 151, 152, 
 
 163- 
 Bryaxis, statuary and sculptor, xxxiv, 
 
 42, 73; xxxvi, 22, 30,31. 
 Bryetes, painter, xxxv, 123. 
 
 Chaireas, statuary, xxxiv, 75- 
 
 R 2 
 
244 
 
 INDEX I 
 
 Chalkosthenes, statuary and modeller, 
 
 xxxiv, 87 ; XXXV, 155. 
 Chares, statuary, xxxiv, 41, 44. 
 Channadas, painter, xxxv, 56. 
 Charmantides, painter, xxxv, 146. 
 Chersiphron, architect, xxxvi, 95 
 
 (App. 7). 
 Coponius, sculptor, xxxvi, 41. 
 Cornelius Finns, painter, xxxv, 120. 
 
 Daidalos, sculptor, vii, 125 (App. 3); 
 
 Athenag. IIpeff/3. 17 (App. 11) 
 Daidalos, statuary, xxxiv, 76. 
 Daimon, statuary, xxxiv, 87. 
 Daiphron, statuary, xxxiv, 87. 
 Daippos, statuary, xxxiv, 87. 
 Damokritos, statuary, xxxiv, 87. 
 Damophilos, painter and modeller, 
 
 xxxv, 154. 
 Deinias, painter, xxxv, 56. 
 Deinomenes, statuary, xxxiv, 50, 76. 
 Deinon, statuary, xxxiv, 50. 
 Deliades, statuary, xxxiv, 85. 
 Demeas, statuary, xxxiv, 50. 
 Demetrios, statuary, xxxiv, 76. 
 Demophilos, painter, xxxv, 61. 
 Derkyllidas, sculptor, xxxvi, 36. 
 Dikaiogenes, painter, xxxv, 146. 
 Diogenes, sculptor, xxxvi, 38. 
 Dionysios, painter, xxxv, 113, 148. 
 Dionysios, sculptor, xxxvi, 35. 
 Dionysodoros, statuary, xxxiv, 85. 
 Dionysodoros, painter, xxxv, 146. 
 Diopos, modeller, xxxv, 152. 
 Dioskourides, graver, xxxvii, 8 (App. 
 
 10). 
 Dipoinos, sculptor, xxxvi, 9, 10, 14. 
 Dorotheos, painter, xxxv, 91. 
 
 Eirene, painter, xxxv, 147. 
 Ekphanlos, painter, xxxv, 16. 
 Elasippos, painter, xxxv, 122. 
 Endoios, sculptor, xvi, 214 (App. 4) ; 
 
 Athenag. Ilpeaff. 17 (App. 11). 
 Epigonos, statuary, xxxiv, 88. 
 Erigonos, painter, xxxv, 145. 
 Erillos, painter, xxxv, 114.. 
 Euboulides, statuary, xxxiv, 88. 
 Euboulos, statuary, xxxiv, 88. 
 Eucheir, painter, vii, 205 (App. 3). 
 Eucheir, modeller, xxxv, 152. 
 Eucheir, statuary, xxxiv, 91. 
 Eudoros, painter and statuary, xxxv, 
 
 141. 
 Euenor, painter, xxxv, 60. 
 Eugrammos, modeller, xxxv, 152. 
 Eumaros, painter, xxxv, 56. 
 Eunikos, chaser and statuary, xxxiii, 
 
 156 i xxxiv, 85. 
 Euphorion, statuary, xxxiv, 85. 
 Enphranor, painter and statuary, 
 
 xxxiv, 50, 77; xxxv, iii, 128-130, 
 
 146. 
 
 Euphron, statuary, xxxiv, 51. 
 Eupompos, painter, xxxiv, 61 ; xxxv, 
 
 64. 75- 
 Euthykrates, statuary, xxxiv, 5 1, 66, 83. 
 Euthymides, painter, xxxv, 146. 
 Eutychides, painter, statuary and 
 
 sculptor, xxxiv, 51, 78 ; xxxv, 141 ; 
 
 xxxvi, 34. 
 Euxeinidas, painter, xxxv, 75- 
 
 Fabius Pictor, painter, xxxv, 19. 
 Famulus, painter, xxxv, 120. 
 
 Glaukides, statuary, xxxiv, 91. 
 Glaukion, painter, xxxv, 134. 
 Gorgasos, modeller and painter, xxxv, 
 
 154- 
 Gorgias, statuary, xxxiv, 49. 
 
 Habron, painter, xxxv, 141, 146. 
 Hagelaidas, statuary, xxxiv, 49, 55, 57- 
 Hagesander, sculptor, xxxvi, 37. 
 Hegesias, statuary, xxxiv, 78. 
 *Hedys*, chaser, xxxiii, 156. 
 Hegias, statuary, xxxiv, 49, 78. 
 Hekataios, chaser and statuary, xxxiii, 
 
 156, xxxiv, 85. 
 Heliodoros, statuary and sculptor, 
 
 xxxiv, 91 ; xxxvi, 35. 
 Heniochos, sculptor, xxxvi, 33. 
 Herakleides, painter, xxxv, 13,5, 146. 
 Hermolaos, sculptor, xxxvi, 38 
 Hikanos, statuary, xxxiv, 91. 
 Hippys, painter, xxxv, 141. 
 Hygiainon, painter, xxxv, 56. 
 Hypatodoros, statuary, xxxiv, 50. 
 
 laia, painter, xxxv, 147, 148. 
 Ion, statuary, xxxiv, 51. 
 lophou, statuary, xxxiv, 91. 
 Isodotos, statuary, xxxiv, 78. 
 Isogonos, statuary, xxxiv, 84. 
 
 Kalamis, chaser, statuary and sculptor, 
 xxxiii, 155 ; xxxiv, 47, 71 ; xxxvi, 36. 
 
 Kalates, painter, xxxv, 114. 
 
 Kallides, statuary, xxxiv, 85. 
 
 Kallikles, painter, xxxv, 114. 
 
 Kallikles, statuary, xxxiv, 87. 
 
 Kallikrates, sculptor, xxxvi, 43. 
 
 Kallimachos, statuary and painter, 
 xxxiv, 92. 
 
 Kallistratos, statuary, xxxiv, 52. 
 
 Kallixenos, statuary, xxxiv, 52. 
 
 Kallon, statuary, xxxiv, 49. 
 
 Kalypso, painter, xxxv, 147. 
 
 Kanachos, statuary and sculptor, 
 xxxiv, 50, 75 ; xxxvi, 41. 
 
 Kantharos, statuary, xxxiv, 85. 
 
 Kenchramos, statuary, xxxiv, 87. 
 
 Kephisodoros, statuary, xxxiv, 74. 
 
 Kephisodoros, painter, xxxv, 60. 
 
 Kephisodotos, statuary, xxxiv, 50, 87. 
 
NAMES OF ARTISTS 
 
 245 
 
 Kephisodotos, statuary and sculptor, 
 
 xxxiv, 51, 87; xxxvi, 24. 
 Kepis, statuary, xxxiv, 87. 
 Kimon, painter, xxxv, 56. 
 Kleanthes, painter, xxxv, 16, Athenag. 
 
 npirrP. 17 (App. 11). 
 Kleomenes, sculptor, xxxvi, 33. 
 Kleon, painter, xxxv, 140. 
 Kleon, statuary, xxxiv, 87. 
 Koines, painter, xxxv, 140. 
 Kolotes, statuary, xxxiv, 87 ; xxxv, 55. 
 Koroibos, painter, xxxv, 146. 
 Krateros, sculptor, xxxvi, 38. 
 Kratinos, painter, xxxv, 140, 147. 
 Kraton, painter, Athenag. Tlpiaff. 17 
 
 (App. II). 
 Kresilas, statuary, xxxiv, 53, 74. 
 Kritios, statuary, xxxiv, 49, 85. 
 Kronios, graver, xxxvii, 8 (App. 10). 
 Ktesias, statuary, xxxiv, 85. 
 Ktesidemos, painter, xxxv, 1 14, 140. 
 Ktesikles, painter, xxxv, 140. 
 Ktesilaos, statuary, xxxiv, 76. 
 Ktesilochos, painter, xxxv, 140. 
 Kydias, painter, xxxv, 130. 
 Kydon, statuary, xxxiv, 53. 
 
 Laippos, statuary, xxxiv, 51, 66. 
 Leochares, statuary and sculptor, 
 
 xxxiv, 50, 79; xxxvi, 30, 31. 
 Leon, painter, xxxv, 141. 
 Leon, statuary, xxxiv, 91. 
 Leontiskos, painter, xxxv, 141. 
 Lesbokles, statuary, xxxiv, 85. 
 Lykios, statuary, xxxiv, 50, 79. 
 Lysias, sculptor, xxxvi, 36. 
 Lysippos, statuary, xxxiv, 37, 40, 41, 
 
 51, 61-67, 8°; xxxv, 153; vii, 125 
 
 (App. 1). 
 Lysistratos, statuary and modeller, 
 
 xxxiv, 51 ; xxxv, 153. 
 Lyson, statuary, xxxiv, 91. 
 
 Melanthios, painter, xxxv, 50, 76, 80. 
 Melas, sculptor, xxxvi, 11. 
 Menaichmos, statuary, xxxiv, 80. 
 Menestratos, sculptor, xxxvi, 32. 
 Menodoros, statuary, xxxiv, 91. 
 Menogenes, statuary, xxxiv, 88. 
 Mentor, chaser and statuary, xxxiii, 
 
 154; vii, 127 (App. i). 
 Metrodoros, painter, xxxv, 135. 
 Mikkiades, sculptor, xxxvi, 11. 
 Mikon, statuary and painter, xxxiv, 
 
 88 ; xxxv, 59. 
 Milon, painter, xxxv, 146. 
 Mnasilaos, painter, xxxv, 122. 
 Mnasitheos, painter, xxxv, 146. 
 Mnasitimos, painter, xxxv, 146. 
 Myagros, statuary, xxxiv, 91. 
 Myrmekides, sculptor, xxxvi, 43. 
 Myron, statuary and sculptor, xxxiv, 
 
 10,49,50,57-59,68,79; xxxvi, 32. 
 
 Mys, chaser, xxxiii, 155. 
 
 Naukeros, statuary, xxxiv, 80. 
 Naukydes, statuary, xxxiv, 50, 80. 
 Nealkes, painter, xxxv, 104, 142, 145, 
 
 146. 
 Nearchos, painter, xxxv, 141, 147. 
 Neokles, painter, xxxv, 146. 
 Neseus, painter, xxxv, 6i. 
 Nesiotes, statuary, xxxiv, 49. 
 Nessos, painter, xxxv, 146. 
 Nikanor, painter, xxxv, 122. 
 Nikeratos, statuary, xxxiv, 80, 88. 
 Nikeros, painter, xxxv, 11 1. 
 Nikias, painter, xxxv, 133. 
 Nikias, painter, xxxv, 27, 130-134. 
 Nikomachos, painter, xxxv, 50, 108- 
 
 109. 145. 146. 
 Nikophanes, painter, xxxv, 11 1, 137. 
 Nikosthenes, painter, xxxv, 146. 
 
 Oinias, painter, xxxv, 143. 
 Olympias, painter, xxxv, 148. 
 
 Pacuvius, painter, xxxv, 19. 
 Pamphilos, painter, xxxv, 75-77, 123. 
 Panainos, painter, xxxv, 54, 57, 58, 
 
 177; xxxvi, 177 (App. 8). 
 Papylos, sculptor, xxxvi, 34. 
 Parrhasios, painter, xxxv, 60, 64, 65, 
 
 67-72, 129. 
 Pasias, painter, xxxv, 145. 
 Pasiteles, chaser, modeller, sculptor, 
 and statuary, xxxiii, 156 ; xxxv, 
 156 ; xxxvi, 35, 39, 40. 
 Patrokles, statuary, xxxiv, 50, 91. 
 Pausias, painter, xxi, 4 (App. 5) ; 
 
 xxxv, 123-127, 128, 137. 
 Pedius (Quintus), painter, xxxv, 21. 
 Peiraikos, painter, xxxv, 112. 
 Perellos, statuary, xxxiv, 49. 
 Periklymenos, statuary, xxxiv, 91. 
 Perillos, statuary, xxxiv, 89. 
 Perseus, painter, xxxv, iii. 
 Phalerion, painter, xxxv, 143. 
 Phanis, statuary, xxxiv, 80. 
 Pheidias, painter, sculptor and statuary, 
 xxxiv, 49, 63, 54, 56, 72, 87 ; xxxv, 
 54. 66. 67; 'fxxvi, 15-19; App. 
 I, 8, II. 
 Philiskos, sculptor, xxxvi, 34, 35. 
 Philiskos, painter, xxxv, 143. 
 Philochares, painter, xxxv, 28. 
 Philokles, painter, xxxv, 16. 
 Philon, statuary, xxxiv, 91. 
 Philoxenos, painter, xxxv, no. 
 Phradmon, statuary, xxxiv, 49, 53. 
 Phrynon, statuary, xxxiv, 50. 
 Piston, statuary, xxxiv, 89. 
 Plautius, Marcus Lykon, painter, 
 
 xxxv, 115. 
 Polemon, painter, xxxv, 146. 
 PoUis, statuary, xxxiv, 91. 
 Polycharmos, sculptor, xxxvi, 35. 
 
2^6 
 
 INDEX I 
 
 Polydeukes, sculptor, xxxvi, 38. 
 Polydoros, sculptor, xxxvi, 37. 
 Polygnotos, statuary and painter, vii, 
 
 205 (App. 3) ; xxxiv, 85 ; xxxv, 58, 
 
 59, 122, 123. 
 Polyeidos, statuary, xxxiv, gi. 
 Polykleitos, statuary, xxxiv, 64. 
 Polykleitos, statuary, xxxiv, 10, 49, 
 
 6°. 63, 55, 56, 58, 68, 73. 
 Polykles, statuary, xxxiv, 50. 
 Polykles, sculptor and statuary, xxxiv, 
 
 53, 80 (?) ; xxxvi, 35. _ 
 Polykrates, statuary, xxxiv, 91. 
 Poseidonios, cliaser and statuary, 
 
 xxxiii, 156; xxxiv, 91. 
 Possis, modeller, xxxv, 155. 
 Praxiteles, painter, sculptor, and sta- 
 tuary, vii, 127 (App. I); xxxiv, 50, 
 
 69-71 ; xxxv, 122, 133; xxxvi, 20- 
 
 23, 24, 28, 34; Athenag. Tlpea^. 17 
 
 (App. 11). 
 Prodoros, statuary, xxxiv, 85. 
 Protogenes, statuary and painter, vii, 
 
 126 (App. i); xxxiv, 91; xxxv, 80, 
 
 81-83,88, 101-106, 118. 
 Pyrgoteles, graver, vii, 125 (App. i) ; 
 
 xxxvii, 8 (App. 10). 
 Pyromachos, statuary, xxxiv, 51, 80, 
 
 84 ; xxxv, 146. 
 Pyrrhos, statuary, xxxiv, 80. 
 Pythagoras, statuary and painter,xxxiv, 
 
 49, 59, 6°, 68. 
 Pytheas, chaser, xxxiii, 156. 
 Pythias, statuary, xxxiv, 52. 
 Pythis, sculptor, xxxvi, 31. 
 Pythodikos, statuary, xxxiv, 85. 
 Pythodoros, sculptor, xxxvi, 38. 
 Pythodoros, sculptor, xxxvi, 38. 
 Pythokles, statuary, xxxiv, 52. 
 Pythokritos, statuary, xxxiv, 91. 
 
 Rhoikos, modeller and architect, xxxv, 
 152 ; xxxvi, 90 (App. 6). 
 
 Sauras, sculptor, xxxvi, 42. 
 
 Saurias, painter, Athenag. IlpeaP. 17 
 
 (App. II). 
 Seilanion, statuary, xxxiv, 51, 81, 82. 
 Serapion, painter, xxxv, 113. 
 Simon, statuary, xxxiv, 90. 
 Simonides, painter, xxxv, 143. 
 Simos, painter, xxxv, 143. 
 Skopas, statuary and sculptor, xxxiv, 
 
 49,90; xxxvi, 22, 35, 26, 38, 30, 
 
 31, 95 (App- 7). 
 Skyllis, sculptor, xxxvi, 9, 10. 
 Skynanos, chaser andstatuary,xxxiv,85. 
 Smilis, architect, xxxvi, 90 (App. 6) ; 
 
 Athenag. Ilpeafi. 17 (App. 11). 
 Sokrates, painter, xxxv, 137; xxxvi, 32. 
 Sokrates, sculptor, xxxvi, 32. 
 Sophokles, statuary, xxxiv, 51. 
 
 Sopolis, painter, xxxv, 148. 
 
 Sosos, mosaic- worker, xxxvi, 184 
 
 (App. 9). 
 Sostratos, statuary, xxxiv, 51, 60. 
 Stadios, painter, xxxv, 146. 
 Stephanos, sculptor, xxxvi, 33. 
 Sthenuis, statuary, xxxiv, 51, 90. 
 Stratonikos, chaser and statuary, xxxiii, 
 
 156; xxxiv, 84, 85, 90. 
 Strongylion, statuary, xxxiv, 82. 
 Studius, painter, xxxv, 116. 
 Styppax, statuary, xxxiv, 81. 
 Symenos, statuary, xxxiv, 91. 
 
 Tauriskos, chaser and painter, xxxiii, 
 
 156; xxxv, 144; xxxvi, 33, 34. 
 Tauriskos, sculptor, xxxvi, 33. 
 Teisias, statuary, xxxiv, 91. 
 Teisikrates, statuary, xxxiv, 67, 83, 
 
 89; xxxv, 146. 
 Tektaios, sculptor, Athenag. Ilpecrp. 
 
 17 (App. II). 
 Telekles, sculptor, Athenag. UpiaP. 
 
 17 (App. II). 
 Telephanes, statuary, xxxiv, 68. 
 Telephanes, painter, xxxv, 16. 
 Teuker, chaser, xxxiii, 157. 
 Theodoros, statuary and architect, 
 
 xxxiv, 83 ; xxxv, 146, 152 ; App. 2, 
 
 6, II. 
 Theomnestos, painter, xxxv, 107. 
 Theomnestos, statuary, xxxiv, 91. 
 Theon, painter, xxxv, 144. 
 Theoros, painter, xxxv, 144. 
 Therimachos, statuary and painter, 
 
 xxxiv, 50 ; xxxv, 78. 
 Thrakides, chaser, xxxiii, 156. 
 Thrason, statuary, xxxiv, 91. 
 Timagoras, painter, xxxv, 58. 
 Timanthes, painter, xxxv, 64, 72-74. 
 Timarchides, statuary and sculptor, 
 
 xxxiv, 91 ; xxxvi, 35. 
 Timarchos, statuary, xxxiv, 51. 
 Timarete, painter, xxxv, 59, 147. 
 Timokles, statuary, xxxiv, 51. 
 Timomaciios,painter,vii, 1 36 (App. i ) ; 
 
 xxxv, 136, 145. 
 Timon, statuary, xxxiv, 91. 
 Timotheos, sculptor and statuary, 
 
 xxxiv, 91 ; xxxvi, 30-32. 
 Titedius Labeo, painter, xxxv, 20. 
 Turpilius, painter, xxxv, 20. 
 
 Vulca, modeller, xxxv, 157. 
 
 Xenokrates, statuary, xxxiv, 83. 
 Xenon, painter, xxxv, 146. 
 
 Zenodoros, statuary, xxxiv, 45-47. 
 Zeuxiades, statuary, xxxiv, 51. 
 Zeuxis, painter, xxxv, 61-66, iii. 
 Zopyros, chaser, xxxiii, 156. 
 
INDEX II 
 
 MUSEOGRAPHIC 
 
 Agragentum, painting of Alkmena 
 by Zeuxis at, xxxv, 62. 
 Temple of Hera, painting by Zeuxis 
 in, xxxv, 64. 
 Alexandria, Ptolemy's fool sketched 
 by Apelles, xxxv, 89. 
 Gorgosthenes painted by Apelles, 
 xxxv, 93. 
 Ambrakia, terracottas by Zeuxis left, 
 statues of the Muses removed to 
 Rome, xxxv, 66. 
 works of Dipoinos in, xxxvi, 14. 
 Antium, portraits of gladiators, xxxv, 
 
 52- 
 Ardea, contains pictures older than 
 Rome, xxxv, 1 7. 
 Temple of Hera, paintings by 
 Plautius Marcus Lykon, xxxv, 115. 
 Argos, works of Dipoinos in, xxxvi, 
 14. 
 Hera, statue of, by Smilis, and other 
 statues by Pheidias, Athenag. 
 Tlpea$. 17 (App. II). 
 Athens, Harmodios and Aristogeiton, 
 statues of, xxxiv, 1 7 ; statues of, 
 by Praxiteles, xxxiv, 70. 
 Demetrios of Phaleron, 360 statues 
 
 to, xxxiv, 27. 
 not less than 73,000 statues remain- 
 ing at, xxxiv, 36. 
 many statues by Alkamenes in 
 
 temples, xxxvi, 16. 
 Athena, surnamed 'the Fair,' bronze 
 statue of, by Pheidias, xxxiv, 54 ; 
 statue of, and seated statue of, 
 by Endoios, Athenag. Tlpia^. 17 
 (App. II). 
 Satyr, statue of, by Lysippos, xxxiv, 
 
 64. 
 Leaina, statue of, xxxiv, 72. 
 shield painted by Pheidias, xxxv, 54. 
 replica of aTe<pav7jn\6xos of Pausias 
 
 bought by LucuUus, xxxv, 125. 
 warrior painted by Antidotos, xxxv, 
 130. 
 
 Athens {continued). 
 
 yeavoftai/Teia painted by Nikias, 
 xxxv, 132. 
 
 <rvyyeviic6v painted by Athenion, 
 xxxv, 134. 
 
 Gardens {hv «^iro:s), statue of Aphro- 
 dite by Alkamenes, xxxvi, 16. 
 
 Kerameikos, clay models by Chal- 
 kosthenes, xxxv, 155 ; statues by 
 Praxiteles, xxxvi, 20. 
 
 Metroon, statue of ' Mother of the 
 Gods,' by Agorakritos, xxxvi, 17. 
 
 Parthenon, statue of Athena by 
 Pheidias, xxxiv, 54 ; description 
 of details, xxxvi, 18, 19. 
 
 Pompeion, picture of comic actors 
 by Kratinos, xxxv, 140. 
 
 Propylon, Paralos and Hammonias, 
 pictures of, by Protogenes, xxxv, 
 loi ; Charites, statues of, by 
 Sokrates, xxxvi, 32. 
 
 Stoa Eleutherios, cavalry engage- 
 ment. Twelve gods, Theseus, 
 pictures by Euphranor, xxxv, 129. 
 
 Stoa Poikile, paintings by Polygno- 
 tos and Mikon, xxxv, 59. 
 
 Caere, ancient paintings at, xxxv, 18. 
 Chios, celebrated for works by Bou- 
 
 palos and Athenis, xxxvi, 12; 
 
 mask of Artemis by the same, 
 
 xxxvi, 13. 
 Corinth, earliest portrait in clay 
 
 preserved at, Athenag. TlpeaP. 1 7 
 
 (App. II). 
 Temple of the Nymphs, first por- 
 trait in clay by Boutades, xxxv, 
 
 151. 
 Cyprus, Zeno, statue of, left by Cato, 
 
 xxxiv, 92. 
 
 Delos, images in, by Bonpalos and 
 Athenis, xxxvi, 12. 
 works of Archermos in, xxxvi, 13. 
 Apollo and Artemis, statues of, by 
 
248 
 
 INDEX II 
 
 Delos {coniimied). 
 
 Tektaios and Angelion, Athenag. 
 
 UptaB. 17 (App. 11). 
 Delphoi, not less tjian 73,000 statues 
 
 remaining at, xxxiv, 36. 
 Alexander and hunting-gronp by 
 
 Lysippos, xxxiv, 64. 
 Apollo Pythios, statue of, by Theo- 
 
 doros and Telekles, Athenag. 
 
 Tlpea^l. 17 (App. n). 
 Herakles, statue of, by Euthykrates, 
 
 xxxiv, 66. 
 Pankratiast, statue of, by Pytha- 
 goras of Rhegion, xxxiv, 59. 
 Lesche, paintings by Polygnotos 
 
 and Mikon, xxxv, 59. 
 Temple of Apollo, painted by Aristo- 
 
 kleides, xxxv, 138. 
 Didyma, Apollo Philesios, statue of, 
 
 by Kanachos, xxxiv, 75. 
 
 Egypt, Janus, statue of, transported 
 
 to Rome, xxxvi, 28. 
 lilensis, captain of cavalry, painted 
 by Athenion, xxxv, 134. 
 maiden painted by Eirene, xxxv, 147. 
 Elis, Athena, shield of, painted by 
 
 Panainos, xxxv, 54. 
 Ephesos, painting of Queen Strato- 
 nike, by Ktesikles, xxxv, 140. 
 Apollo, statue of, by Myron, re- 
 stored by Augustus, xxxiv, 58. 
 Artemis, picture of, by Timarete, 
 
 xxxv, 147. 
 Artemis, priest of, painted by 
 
 Nikias, xxxv, 132. 
 Odysseus, picture of, by Euphranor, 
 
 xxxv, 129. 
 Temple of Artemis, Alexander, pic- 
 ture of, by Apelles, xxxv, 92. 
 Amazon, statues of, by Polykleitos, 
 Pheidias, Kresilas, Kydon, Phrad- 
 mon, xxxiv, 53. 
 Artemis, ebony image of, by En- 
 doios, xvi, 213 (App. 4) ; Athenag. 
 Up€tr0. 17 (App. II). 
 Athena and Dionysos, statues of, 
 xvi, 213 (App. 4). 
 Herakles, statue of, by Menestratos, 
 xxxvi, 32. 
 Hekate, statue of, in shrine behind 
 
 temple, xxxvi, 32. 
 Thirty-six sculptured columns, one 
 
 by Skopas, xxxvi, 95 (App. 7 ). 
 cups by Mentor, vii, 127 (App. i) ; 
 perished in fire, xxxiii, 1 54. 
 Epidatiros, Asklepios, statue of, by 
 Pheidias, Athenag. Ilpca/S. 17 
 (App. II). 
 Etruria, Tuscan statues made there, 
 xxxiv, 34. 
 
 Gaul, State of the Arverni, 
 
 Mercury, statue of, by Zenodoros, 
 xxxiv, 45 ; cups by Kalamis, 
 copied by Zenodoros, xxxiv, 47. 
 
 lasos, Artemis, mask of, by Bonpalos 
 and Athenis, xxxvi, 13. 
 
 Karia, Mausoleion, sculptures of, by 
 Skopas, Bryaxis, Timotheos, Leo- 
 chares, xxxvi, 30 ; chariot on, by 
 Pythis, xxxvi, 31. 
 
 Kleonai, works of Dipoinos in, 
 xxxvi, 14. 
 
 Knidos, Aphrodite, statue of, by 
 
 Praxiteles, xxxvi, 20, 21, 22 ; vii, 
 
 127 (App. i); Athenag. Tlpta^. 
 
 17 (App. II). 
 
 Athene, statue of, by Skopas, xxxvi, 
 
 22. 
 Dionysos, statues of, by Bryaxis and 
 Skopas, xxxvi, 22. 
 
 Kos, Aplirodite, draped statue of, by 
 Praxiteles, xxxvi, 20; unfinished 
 picture of, by Apelles, xxxv, 87, 
 92. 
 
 Kyzikos, Aias and Aphrodite, pic- 
 tures of, bought by Agrippa, 
 xxxv, 26. 
 
 Lanivium, Atalanta and Helen, 
 
 pictures of, xxxv, 17. 
 Iiebadeia, Trophonios, statue of, 
 
 by Euthykrates, xxxiv, 66. 
 Iiesbos, works of Archermos in, 
 
 xxxvi, 13. 
 Iiindos, Herakles, picture of, by 
 
 Parrhasios, xxxv, 71. 
 Temple of Athena, works by Eoethos, 
 
 xxxiii, 155. 
 Iiysimacheia, Hermes, statue of, by 
 
 Polykleitos formerly at, xxxiv, 56. 
 
 Ifaples, old woman, picture of, by 
 laia, xxxv, 147. 
 
 Olympia, first portrait statues at, 
 xxxiv, 16. 
 
 not less than 73,000 statues remain- 
 ing at, xxxiv, 36. 
 
 Astylos, boy with tablet, nude 
 figure bearing apples, statues of, 
 by Pythagoras of Rhegion, xxxiv, 
 
 59- 
 Zeus, statue of, by Pheidias, xxxiv, 
 49 ; xxxvi, 18 ; vii, 127 (App. i). 
 
 Paiion, colony of — 
 
 Eros, statue of, by Praxiteles, xxxvi, 
 
 22. 
 Herakles, statue of, by Hegesias, 
 
 xxxiv, 78. 
 
MUSEOGRAPHIC 
 
 249 
 
 Peiraeus, Temple of Zeus the Saviour, 
 
 Athena, statue of, by Kephiso- 
 
 doros, xxxiv, 74. 
 altar by Kephisodoros, xxxiv, 
 
 74- 
 Pella, dying mother with child, 
 
 picture of, by Aristeides, xxxv, 
 
 98. 
 Pergamon, Priest in prayer, and 
 
 Aias, pictures of, by Apollodoros, 
 
 xxxv, 60, 
 marble av/jLirKey^ by Kephiso- 
 
 dotos, xxxvi, 34. 
 dodpwTos oTkos, mosaics in, xxxvi, 
 
 184 (App. 9). 
 Praeneste, miniature chariot, horses, 
 
 and driver, by Theodoros, xxxiv, 
 
 83. 
 
 Khamnous, statue of Nemesis, by 
 
 Agorakritos, xxxvi, 1 7. 
 Rhodes, 73,000 statues remaining in, 
 
 xxxivj 36. 
 colossal statue of the Sun, by 
 
 Chares of Lindos, xxxiv, 41. 
 100 colossal statues in, xxxiv, 43. 
 five colossal statues by Bryaxis, 
 
 xxxiv, 42. 
 chariot, horses, and statue of the 
 
 Sun, by Lysippos, xxxiv, 63. 
 Zethos, Amphion, Dirke and bull, 
 
 marble group of, by ApoUonios 
 
 and Tauriskos, removed to Rome, 
 
 xxxvi, 34. 
 Athamas, copper and iron statue of, 
 
 by Aristonidas, xxxiv, 140. 
 Herakles, iron statue of, by Alkon, 
 
 xxxiv, 141. 
 lalysos, picture of, by Protogenes, 
 
 xxxv, 104; spared byDemetrios, 
 
 vii, 136 (App. i). 
 Satyr resting, picture of, by Proto- 
 genes, xxxv, 106. 
 Meleager, Herakles and Perseus, 
 
 picture of, by Protogenes, xxxv, 
 
 69. 
 Menander and Antaios, portraits of, 
 
 by Apelles- xxxv, 93. 
 Temple of Dionysos, cups chased 
 
 by Akragas and Mys, xxxiii, 155. 
 Eome, C. Aelius, statue of, xxxiv, 
 
 32. 
 Alexander's bodyguard, statues of, 
 
 by Lysippos, xxxiv, 64. 
 Amazon, figure of, owned by Nero, 
 
 xxxiv, 48. 
 Apollo and Poseidon, statues of, by 
 
 Praxiteles, xxxvi, 23. 
 Ceres, bronze image of, the first 
 
 ever made, xxxiv, 1 5. 
 
 Borne {continued). 
 
 Cloelia, equestrian statue of, xxxiv, 
 28, 29. 
 
 Corinthian bronze, statue of, owned 
 by C. Sestius, xxxiv, 48. 
 
 C. Duillius, column of, xxxiv, 20. 
 
 equestrian statues, xxxiv, 19, 28. 
 
 Fabricius, statue of, xxxiv, 32. 
 
 fruit modelled by Possis, xxxv, 
 155- 
 
 Hannibal, three statues of, xxxiv, 32. 
 
 Hercules, statues of, by Polykleitos, 
 xxxiv, 56 ; in clay by Vulca, 
 xxxv, 157. 
 
 M. Horatius Codes, statue of, 
 xxxiv, 32, 39. 
 
 Janus, statue of, dedicated by 
 Numa, xxxiv, 33. 
 
 Lupercales, statues of, xxxiv, 18. 
 
 C. Maenius, column of, xxxiv, 20. 
 
 Mancinus, statue of, xxxiv, 18. 
 
 Marius Gratidianus, numerous 
 statues of, xxxiv, 2 7. 
 
 multitude of works of art in, xxxvi, 
 37. 
 
 Nero, colossal statue of, by Zeno- 
 doros, afterwards dedicated to the 
 Sun, xxxiv, 45. 
 
 pictures from Sikyon, xxxv, 137. 
 
 scenery at games of Claudius Pul- 
 cher, xxxv, 23. 
 
 sphynx in bronze owned by Hor- 
 tensius, xxxiv, 48. 
 
 statues, 3,000 on temporary stage, 
 xxxiv, 36. 
 
 Taracia Gaia or Fufetia, statue of, 
 xxxiv, 35. 
 
 Asmius Pollio, gallery of, statues 
 in, Aphrodite by Kephisodotos, 
 xxxvi, 24, Dionysos by Euty- 
 chides, xxxvi, 34, Mainades, 
 Thyiades, Karyatides, Seilenoi, by 
 Praxiteles, xxxvi, 33, Kentaurs 
 and Nymphs by Arkesilas, Thes- 
 piades by Kleomenes, Okeanos 
 and Zeus by Heniochos, Appiades 
 by Stephanos, Hermerotes by 
 Tauriskos, Zeus Xenios by 
 Papylos, Zethos, Amphion, 
 Diike and bull by ApoUonios 
 and Tauriskos, xxxvi, 33, 34 ; 
 basket-bearer by Skopas and 
 goal-posts, xxxvi, 34. 
 Augustus, temples built by, works by 
 Boupalos and Athenis, xxxvi, 13. 
 Baths of Agrippa, small paintings 
 in walls of, xxxv, 26 ; Apoxy- 
 omenos, bronze statue by Ly- 
 sippos, xxxiv, 62. 
 Capitol, Apollo, colossal statue of, 
 from ApoUonia, xxxiv, 39. 
 
25° 
 
 INDEX II 
 
 Borne {continued). 
 
 Athena, bronze statue of, by En- 
 
 phranor, below the, xxxiv, 77. 
 battlepiece exhibited by L. Scipio, 
 
 XXXV, 22. 
 Spiirins Carvilius, statue of, at feet 
 
 of colossal Jupiter, xxxiv, 43. 
 colossal heads by Chares and 
 
 . . . dikos, xxxiv, 44. 
 Good Luck and Good Fortune, 
 
 statues of, by Praxiteles, xxxvi, 
 
 23- 
 Herakles, colossal statue of, from 
 
 Tarentum, xxxiv, 40. 
 Jupiter, colossal statue of, xxxiv, 43. 
 Kings, statues of, xxxiv, 22, 29. 
 Temples on, of Faith, oi Juno, of 
 Jupiter Capitolinus, of Jupiter 
 
 the Thunderer, of Minerva, see 
 
 Temples. 
 Cattle Market, bronze bull from 
 
 Aigina, xxxiv, 10. 
 Hercules, bronze statue of, dedi- 
 cated by Evander, xxxiv, 33. 
 Temple of Hercules, see Temples. 
 Comitium, Hermodoros of Ephesos, 
 
 statue of, xxxiv, 21. 
 Pythagoras and Alkibiades, statues 
 
 of, xxxiv, 26. 
 Curia Hostilia, in front of, Attus 
 
 Navius, statue of, xxxiv, 21, 22, 
 
 29. 
 at side of, battle-piece exhibited by 
 
 Messala, xxxv, 22. 
 Curia Julia, pictures in, Nemea by 
 
 Nikias, xxxv, 27, 131 ; Glaukion 
 
 and Aristippos, portraits of, by 
 
 Philochares, xxxv, 28. 
 Field of Mars, Jupiter, colossal 
 
 statue of, xxxiv, 40. 
 Forum, many pictures in ; Gaul and 
 
 old shepherd, pictures of, xxxv, 
 
 25- 
 picture of assault of Carthage ex- 
 hibited, xxxv, 23. 
 P. Junius, Ti. Coruncanius, statues 
 
 of, xxxiv, 24. 
 magistrates, statues of, removed by 
 
 censors, xxxiv, 30. 
 Old Shops, picture on, by Serapion, 
 
 xxxv, 113. 
 Regia, in front of, two statues from 
 
 tent of Alexander, xxxiv, 48. 
 Rostra, Cn. Octavius, statue of, 
 
 upon the, xxxiv, 24. 
 envrfys killed on embassy, statues of, 
 
 upon the, xxxiv, 23, 24. 
 Camillus, statue of, upon the, xxxiv, 
 
 23- 
 Herakles in tunic, statue of, beside 
 the, xxxiv, 93. 
 
 Borne {continued). 
 
 Sibyl, three statues of, beside the, 
 xxxiv, 22, 29. 
 
 Forum of Augustus, pictures there 
 by Apelles, of War and Triumph, 
 and of Kastor, Polydeukes, and 
 Victory, xxxv, 27, 93. 
 
 Forum of Caesar, Dictator Caesar, 
 statue of, xxxiv, iR. 
 
 Gallery of Metellus, statue of Cor- 
 nelia formerly there, xxxiv, 31. 
 
 Gallery of the Nations, in front of, 
 Hercules, statue of, xxxvi, 39. 
 
 Galleries of Octavia, Cornelia, statue 
 
 of, xxxiv, 31. 
 Apotheosis of Herakles, picture of, 
 
 by Artemon, xxxv, 139. 
 Story of Laomedon, Herakles, and 
 Poseidon, picture of, by Artemon, 
 xxxv, 139. 
 Aphrodite, statue of, by Pheidias, 
 
 xxxvi, 15. 
 Scholae and Council Chamber in, 
 Hesione and group of Alex- 
 ander, Philip, and Athene, painted 
 by Antiphilos, xxxv, 114; Eros, 
 statue of, by Praxiteles, xxxvi, 
 22 ; Satyrs and wind-goddesses, 
 marble groups of, xxxvi, 29 ; 
 many statues by unknown sculp- 
 tors, xxxvi, 29. Alkibiades as 
 Eros, statue by Skopas or Praxi- 
 teles, xxxvi, 28. 
 
 Gallery of Octavius, bronze capitals 
 of columns, xxxiv, 1 3. 
 
 Gallery of Temple of Peace, Aphro- 
 dite, statue of, by unknown artist, 
 xxxvi, 27. 
 
 Gallery of Philip, pictures in, 
 Dionysos, the young Alexander, 
 and Hippolytos by Antiphilos, 
 xxxv,ii4; Helen by Zeuxis, xxxv, 
 66 ; cycle representing Trojan 
 war, by Theoros. xxxv, 144. 
 
 Gallery of Pompeius, pictures in, 
 Kadmos and Europa by Anti- 
 philos, xxxv, 114; Alexander by 
 Nikias, xxxv, 132; sacrifice of 
 oxen by Pausias, xxxv, 126; 
 warrior by Polygnotos, xxxv, 59. 
 
 Gardens of Mains, Nero, colossal 
 portrait of, xxxv, 51. 
 
 Gardens of Servilius, statues in, 
 Flora, Triptolemos, Demeter, by 
 Praxiteles, xxxvi, 23 ; Hestia, 
 seated statue by Skopas, placed 
 between two goal-posts, xxxvi, 
 25 ; Apollo by Kalamis, boxers 
 by Derkyllidas, portrait of Kalli- 
 sthenes by Amphistratos, xxxvi, 
 36- 
 
MUSEOGRAPHIC 
 
 251 
 
 Eome {continued). 
 
 Trigemina Gate, outside the, column 
 of L. Minucius, xxxiv, 21. 
 
 Golden House of Nero, bronzes col- 
 lected by Nero, xxxiv, 84 ; paint- 
 ings by Famulus in, xxxv, 120. 
 
 Palatine, House of the Caesars, 
 panel with lines by Apelles and 
 Protogenes, xxxv, 83 ; filled with 
 statues by Krateros and Pytho- 
 doros, Polydeukes and Hermo- 
 laos, Pythodoros and Artemon, 
 and Aphrodisios of Tralles, xxxvi, 
 38. 
 
 Palatine, Chapel above Arch, chariot 
 and horses. Apollo, Artemis, 
 marble group by Lysias, xxxvi, 
 36. 
 
 PaBMeawz, bronze capitalsof columns, 
 xxxiv, 13 ; decorated with sculp- 
 tures by Diogenes, xxxvi, 38- 
 
 Saepta, Olympos and Pan, Cheiron 
 and Achilles, groups by unknown 
 sculptors, xxxvi, 29. 
 Tarquin, House of, Valeria, statue 
 of, xxxiv, 29. 
 
 Temples : 
 
 Apollo in Circus of Flaminius, tragic 
 actor and boy, picture of, by 
 Aristeides, xxxv, 99 ; children of 
 Niobe, statues of, by Skopas or 
 Praxiteles, xxxvi, 28 ; Apollo by 
 Philiskos ; Leto, Artemis, nine 
 Muses and Apollo ; Apollo by 
 Timarchides with cithara, statues 
 of, xxxvi, 34. 
 Apollo of the Palatine, Apollo, 
 statue of, by Skopas, xxxvi, 25; 
 Artemis, statue of, by Timotheos, 
 xxxvi, 32 ; Leto, statue of, by 
 Kephisodotos, xxxvi, 24 ; bronze 
 lamp, xxxiv, 14 ; statues by Bou- 
 palos and Athenis, in fastigio, 
 xxxvi, 13. 
 Augustus, pictures dedicated there 
 by Tiberius, xxxv, 28 ; pictures 
 of Hyakinthos, by Nikias, from 
 Alexandria, and of Danae, xxxv, 
 131 ; Library of, Tuscan Apollo, 
 colossal statue of, xxxiv, 43. 
 Castor and Pollux, in front of, 
 Q. Marcius Tremulus, statue of, 
 xxxiv, 23. 
 Ceres, decorated with painted terra- 
 cottas by Damophilos and Gor- 
 gasos, xxxv, 154; Dionysos and 
 Ariadne, picture of, by Aristeides, 
 xxxv, 24, 99. 
 Concord, statues of Asklepios and 
 Hygieia, by Nikeratos, xxxiv, 80 ; 
 Apollo and Hera, by Baton, 
 
 Eome {continued). 
 
 xxxiv, 73 ; Ares and Hermes, by 
 Piston, xxxiv, 89 ; Demeter, Zeus, 
 Athena, by Sthennis, xxxiv, 90 ; 
 Leto witli infant Apollo and 
 Artemis, by Euphranor, xxxiv, 
 77- Pictures of Dionysos, by 
 Nikias, xxxv, 131 ; Kassandra, 
 by Theoros, xxxv, 144; Marsyas 
 bound, by Zeuxis, xxxv, 66. 
 
 Diana, in Circus of Flaminius, 
 Herakles painted by Apelles, 
 xxxv, 94. 
 
 Earth, in vicinity of, Spurius Cas- 
 sius, statue of, xxxiv, 30. 
 
 Faith, on Capitol, old man and boy, 
 picture of, by Aristeides, xxxv, 
 100. 
 
 Felicitas, Thespiades, statues of, 
 xxxvi, 39 ; Aphrodite, statue of, 
 by Praxiteles, xxxiv, 69 ; in front 
 of, bronze statues by Praxiteles, 
 xxxiv, 69. 
 
 Fortune of the Day, statues in, 
 Athena, two draped figures, nude 
 Colossus, all by Pheidias, xxxiv, 
 54 ; seven nude and one of old 
 man, by Pythagoras of Samos, 
 xxxiv, 60. 
 
 Hercules, in Cattle Market, paint- 
 ings by Pacuvius, xxxv, 19. 
 
 Hercules Musarum, muses, statues 
 of, xxxv, 66. 
 
 Hercules Ponipei, Hercules, statue 
 of, by Myron, xxxiv, 57. 
 
 Honour and Virtue {twin temples), 
 paintings by Cornelius Pinus and 
 Attius Priscus, xxxv, 120. 
 
 Janus, statue of Janus by Skopas or 
 Praxiteles, brought from Egypt, 
 xxxvi, 28. 
 
 Janus, Janus, statue of, dedicated 
 by Numa, xxxiv, 33. 
 
 Julius Caesar, Aphrodite Anadyo- 
 mene, picture by Apelles, xxxv, 
 27, 91 ; Aphrodite, picture of, by 
 Dorotheos, xxxv, 91. 
 
 Juno on Capitol, bronze dog, xxxiv, 
 
 38- 
 
 Juno within gallery of Octavia, 
 Asklepios and Artemis, statues of, 
 by Kephisodotos, xxxvi, 24 ; 
 statues of Juno by Dionysios and 
 Polykles, and Aphrodite by 
 Phili.skos ; statues by Pasiteles, 
 xxxvi, 35 ; decorations appro- 
 priate to Jupiter, xxxvi, 43. 
 
 Jupiter of the Capitol, statue of 
 Jupiter in clay by Vulca, xxxv, 
 157; four horse chariots in clay 
 on roof of, xxxv, 157; cups by 
 
253 
 
 INDEX II 
 
 Eome {continued). 
 
 Mentor, vii, 127 (App. i) ; per- 
 ished there in fire, xxxiii, 154. 
 Pictures of Theseus, by Parrhasios, 
 XXXV, 69, and of Victory and 
 horses, by Nikomachos, xxxv, 
 108. 
 
 Jupiter the Thunderer on Capitol, 
 statue of Jupiter by Leochares, 
 in Dalian bronze, xxxiv, 10, 79 ; 
 in front, statues of Kastor and 
 Polydeukes by Hegias, xxxiv, 
 78. 
 
 Jupiter, within gallery of Octavia, 
 Jupiter, statue of, by Dionysios 
 and Polykles, Pan and Olympos 
 by Heliodoros, Aphrodite by 
 Daidalos, Aphrodite by Poly- 
 charmos, xxxvi, 35 ; Jupiter, 
 statue of, by Pasiteles, xxxvi, 40 ; 
 decorations appropriate to Juno, 
 xxxvi, 43. 
 
 Mars the Avenger, in front of, two 
 statues from tent of Alexander, 
 xxxiv, 48. 
 
 Mars, built by Brutus Callaecus, 
 Ares and Aphrodite, statues of, 
 by Skopas, xxxvi, 26. 
 
 Minerva on Capitol, Rape of Perse- 
 phone, picture of, by Nikomachos, 
 xxxv, 108. 
 
 Mttses, L. Accius, statue of, xxxiv, 
 19. 
 
 Neptune, tn Circus of Flaminius, 
 Poseidon, Thetis, Achilles, Ne- 
 reids and sea-beasts, marble 
 group by Skopas, xxxvi, 26. 
 
 Peace, works in bronze dedicated by 
 Vespasian, xxxiv, 84 ; hero, pic- 
 ture of, by Timanthes, xxxv, 74 ; 
 lalysos, picture of, by Protogenes, 
 xxxv, 102 ; Scylla, picture of, by 
 Nikomachos, xxxv, 109. 
 
 Safety, in Quirinali, paintings by 
 Fabius Pictor, xxxv, 19. 
 
 Venus the Mother, statue of Venus 
 by Arkesilaos, xxxv, 156. Aias 
 and Medeia, pictures of, by Timo- 
 machos, xxxv, 26, 136 ; vii, 126 
 (App. 1). 
 
 Theatre of Pompeius, Fourteen na- 
 tions, statues of, by Coponius, 
 xxxvi, 41. 
 
 Kome {continued'). 
 Tiberius, apartments of, priest of 
 
 Kybele, portrait of, by Parrhasios, 
 
 xxxv, JO. 
 Titus, house of Laokoon, group by 
 
 three artists, xxxvi, 37 ; two boys 
 
 playing at knuckle-bones by 
 
 Polykleitos, xxxiv, 55. 
 
 Samothrake, Aphrodite and Pothos, 
 statues of, by Skopas, xxxvi, 25. 
 
 Samos, Aias, picture of, by Parrhasios, 
 xxxv, 72 ; Habron, picture of, by 
 Apelles, xxxv, 93 ; Hera, statue 
 of, by Smilis, and other statues by 
 Pheidias, Athenag. Upea^. 17 
 (App. II). 
 
 Sikyon, Apollo, Artemis, Herakles, 
 Athena, statues of, by Dipoinos 
 and Sky His, xxxvi, 10; Telestes, 
 monument of, painted by Niko- 
 machos, xxxv, 109 ; pictures re- 
 moved to Rome, xxxv, 127. 
 
 Smyrna, old woman, statue of, by 
 Myron, xxxvi, 33. 
 
 Syracuse, lame man, statue of, by 
 Pythagoras of Rhegion, xxxiv, 59. 
 
 Tarentum, Herakles, colossal statue 
 of, taken to Rome ; Zeus, colossal 
 statue of, by Lysippos, xxxiv, 40. 
 
 Thebes, cithara-player, statue of, by 
 Pythagoras of Rhegion, xxxiv, 
 69 ; old man, statue of, by Teisi- 
 krates, xxxiv, 67. 
 
 Thespiai, Eros, statue of, by Praxi- 
 teles, removed to gallery of 
 Octavia, xxxvi, 22 ; Alexander 
 hunting, Thespiades, equestrian 
 combat, bronze groups of, all by 
 Euthykrates, xxxiv, 66 ; wall 
 paintings at, by Polygnotos and 
 Pausias, xxxv, 123. 
 
 Thessaly, works of Telephanes there, 
 xxxiv, 68. 
 
 Tusouliun, Argonauts, picture of, by 
 Kydias, xxxv, 130 ; Grove of 
 Diana, first picture of gladiatorial 
 show, xxxv, 52. 
 
 Verona, pictures by Turpilius, xxxv, 
 
 20. 
 Volsinii, 2,000 statues at, xxxiv, 34. 
 
 THE END