Select Passages from Ancient Writers Illustrative of the History of Greek

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Select Passages from Ancient Writers Illustrative of the History of Greek UNIVERSITY OF CALIFORNIA LOS ANGELES CHARLES W. PEPPLER, DUKE UNIVERSITY BURHAM, N. C. NOV 1 1926 GREEK SCULPTURE SELECT PASSAGES FROM ANCIENT WRITERS ILLUSTRATIVE OF THE HISTORY OF GREEK SCULPTURE EDITED WITH A TRANSLATION AND NOTES BY H. STUART JONES, M.A. FELLOW OF TRINITY COLLEGE, OXFORD ; LATE CRAVEN UNIVERSITY FELLOW FORMERLY STUDENT OF THE BRITISH SCHOOL AT ATHENS London MACMILLAN AND CO. AND NEW YORK 1895 Ojforb HORACE HART, PRINTER TO THE UNIVERSITY J7/ TO PROFESSOR PERCY GARDNER 476859 i ." PREFACE THE History of Greek Sculpture, 60x3-323 B.C., forms one of the subjects of examination in the classical school at Oxford. The only collection of ancient authorities on this subject available for study is that of Overbeck (Die antiken Schrift- quellen zur Geschichte der bildenden Kunste bei den Griechen, Leipzig, 1868). Since this work aims at completeness, it contains some thousands of passages which are not necessary for such study of Greek sculpture as is required of Uni- versity students, while, on the other hand, it provides neither translation nor commentary. I have, therefore, at the request of Professor Gardner, selected such passages as appeared from their intrinsic interest or difficulty to re- quire special study by those offering the subject for examination, adding some few to which atten- tion has been called since the publication of Overbeck's work. As a rule, the inscriptions of artists (which may be read in Lowy's In- schriften griechischer Bildhawr] have not been included, except in a few cases where the matter x PREFACE or form of the inscription seemed to make this desirable to those which are ; merely signatures reference is made in the discussions of date which follow each heading where necessary. In order to save space many passages have been omitted in which the text presents m> difficulty of translation and has no descriptive interest : a list of the works mentioned in such passages is appended to the account of each sculptor. Since this book is not intended to fill the place of systematic histories of sculpture, such as those of Overbeck and Collignon, notes are not given where a reference to those works can be supplied, and references to periodical and current literature are in general not given except where the book or article quoted has appeared within the last two years, or where it seems worthy of consultation in addition to the text-books. It has not been thought necessary to devote much space to ques- tions of textual criticism the are ; passages quoted from the standard texts of each author with but few divergences. The author desires to express his sincere thanks to Professor Gardner for his constant help and encouragement, and for the thorough revision to which the proof-sheets were submitted by him as they issued from the press. CONTENTS PREFACE ix INTRODUCTION xvii 1. Historical Sketch xvii 2. The Criticisms of the Great Bronze-Casters . xxix 3. The Canon of Sculptors xxxii 4. Pliny's Chronological Table . xxxv LIST OF ABBREVIATIONS xxxix PART I. THE BEGINNINGS OF GREEK SCULPTURE. NOB. 1-41. i. THE DAIDALIDAI, 1-24 3 1. Daidalos, 1-6 3 2. Endoios, 7-10 7 3. Dipoinos and Skyllis, 11-14 8 4. The Spartan Sculptors at Olympia, 15-18 . II 5. Tektaios and Angelion, 19, 20 . 13 6. Klearchos, 21 14 7. Smilis, 22, 23 15 8. Cheirisophos, 24 16 2. THE SCULPTORS OF CHIOS, 25-28 . 16 xii CONTENTS PACE EARLY WORK IN METAL, 29-38 .... 20 3. 1. Glaukos of Chios, 29-31 20 2. The Sculptors of Samos, 32-35 .... 22 3. Gitiadas of Sparta, 36, 37 25 4. Bathykles of Magnesia, 38 27 4. THE EARLIEST PORTRAITS OF ATHLETES, 3941 27 PART II. ARCHAIC AND TRANSITIONAL SCULPTURE. Noa. 42-95. i. THE ARCHAIC SCHOOLS, 42-71 33 1. Argos, 42-51 33 (a) Ageladas, 42-46 33 (b) Glaukos and Dionysios (Simon), 47, 48 . 36 2. Sikyon, 49-51 38 Kanachos, 49-51 38 3. Aegina, 52-63 40 (a) Kallon, 52, 53 40 (b) Onatas, 54-60 41 (c) Glaukias, 61, 62 48 (d) Anaxagoras, 63 49 4. Athens, 64-68 50 (a) Antenor, 64 50 (b) Kritios and Nesiotes, 65-67 . 51 (c) Hegias (Hegesias), 68 52 5. Elis, 69, 70 53 Kallon, 69, 70 53 6. Naupaktos, 71 54 Menaichmos and Soidas, 71 .... 54 2. THE SCULPTORS OF THE TRANSITIONAL PERIOD, 72-95 55 1. Pythagoras, 72-77 55 2. Kalamis, 78-87 59 3. Myron, 88-95 64 CONTENTS xui PART III. THE AGE OF PHEIDIAS AND POLYKLEITOS. Nos. 96-181. i. THE ATTIC SCHOOL, 96-159 73 1. Pheidias, 96-125 73 (a) Life, 96-99 73 (b) Works, 100-125 77 i. In Athens, 100-110 .... 77 ii. In Elis, 111-116 84 iii. Miscellaneous, 117-125 .... 94 2. The Pupils of Pheidias, 126-141 .... 99 (a) Alkamenes, 126-135 99 (b) Agorakritos, 136-138 104 (c) Kolotes, 139-140 108 (d) The Sculptures of the Parthenon, 141 . 109 3. Praxias and Androsthenes, 142, 143 . .no 4. Lykios, 144-147 112 5. Kresilas, 148 115 6. Strongylion, 149-152 117 7. Kallimachos, 153-155 118 8. Sokrates, 156 120 9. Pyrrhos, 157 121 lo. Styppax, 158 121 n. The Sculptures of the Erechtheion, 159 . 122 2. THE ARGIVE SCHOOL, 160-174 124 1. Polykleitos, 160-166 124 2. The Family and School of Polykleitos, 167-174 . 131 (a) The Family of Patrokles, 167-171 . 131 (b) The School of Polykleitos, 172, 173 . 134 (c) The Sculptures of the Heraion at Argos, 174 137 xiv CONTENTS PACE OTHER ARTISTS, 175-181 . .... 138 3. 1. Paionios of Mende, 175-177 138 2. Theokosmos of Megara, 178 142 3. Nikodamos of Mainalos, 179 143 4. Telephanes of Phokis, 180 144 5. The Metopes of Olympia, 181 . 145 PART IV. SCULPTURE IN THE FOURTH CENTURY. NOB. 182-260. i. THE ATTIC SCHOOL, 182-234 ... 149 1. The Family of Kephisodotos, 182-205 . .149 (a) Kephisodotos the Elder, 182-185 . .149 (b) Praxiteles, 186-202 151 (c) The Sons of Praxiteles, 203-205 . 164 2. Skopasand the Sculptors of the Mausoleion, 206-222 166 (a) Skopas, 206-212 166 (b) Leochares, 213-216 172 (c) Bryaxis, 217, 218 175 (d) Timotheos, 219-221 176 (e) The Mausoleion, 222 177 3. Other Artists, 223-234 1 80 (a) Silanion, 223-225 180 (b) Sthennis of Olynthos, 226, 227 . .182 (c) Euphranor of the Isthmos, 228-230 . 183 (d) Thrasymedes of Paros, 231. 232 . .186 (e) Polyeuktos, 233 188 (f) Demetrios, 234, 235 188 2. THE SCHOOL OF SIKYON, 236-256 . .190 1. The Younger Sons of Patrokles, 236-240 . 190 (a) Daidalos, 236-239 190 (b) Polykleitos the Younger, 240 . .192 2. Lysippos, 241-251 193 3. Lysistratos, 252 206 CONTENTS xv PAGE 4. The Family and School of Lysippos, 253-256 . 207 (a) Daippos,Boedas, Euthykrates, Tisikrates,253 207 (b) Eutychides, 254, 255 209 (c) Chares of Lindos, 256 210 3. OTHER ARTISTS, 257-260 212 1. Hypatodoros and Aristogeiton of Thebes, 257 . 212 2. Boethos of Carthage, 258, 259 .... 213 3. Aristodemos, 260 214 APPENDIX I. THE SCHOOLS OF PERGAMON AND RHODES. NOB. 261-267. 1. The School of Pergamon, 261-264 . 217 2. The School of Rhodes, 265-267 . .221 (a) The Sculptors of the Laokoon, 265 . 221 (b) The Sculptors of the Farnese Bull, 266 . 222 (c) Aristonidas, 267 223 APPENDIX II. DAMOPHON OF MESSENE. NOB. 268-271 .... 235 INTRODUCTION 1. HISTORICAL SKETCH. THE earliest works of Greek literature dealing with the subject of Sculpture were the practical treatises of artists whose aim was to lay down a canon of proportions applicable to the human figure. Of these the first was ' ' the Canon of POLYKLEITOS (mentioned by Galen, No. 163), which dates from the latter half of the fifth century, and took the form of a commentary on the ' ' doryphoros of the same master. If we may judge by the only quotation preserved (v. No. 163 note), it attempted a mathematical demonstration of the pro- portions which produce beauty in the human frame. Polykleitos had many followers in the branch of lite- rature which he founded l select , amongst whom we may for remark EUPHRANOR (No. 230), and MENAICHMOS, an artist briefly referred to by Plin. N. H. xxxiv. 80 in ' the words Menaechmi uitulus genu premitur replicata ccruice Menaechmus arte.' ; ipse scripsit de sua His date cannot be fixed with certainty, but he may probably be assigned to the fourth century B. c. The history and criticism of sculpture became objects of a new interest in the days of the early Peripatetics and their many-sided literary activity. ARISTOTLE himself 1 Vitruu. VII. Praef. 14, gives a list of writers who 'praecepta symmetriarum conscripserunt.' b xviii INTRODUCTION is the author of some criticisms of l interesting painting , and in Eth. vi. 1141 a, 10, mentions Pheidias and Poly- kleitos as the masters of their respective crafts sculpture in marble in the first case, bronze-casting in the second. His successors in the Peripatetic school seem to have collected biographical material for the history of sculp- ture. Quasi-genealogical tables showing the succession in schools of philosophy were drawn up, and it would seem that artistic pedigrees were traced in the same manner. It is probable that DuRIS of Samos, a pupil of Theophrastos, was among the first to take up these studies we find him as the ; quoted by Pliny authority for an anecdote told of Lysippos. The collection of anecdotes and a-no^O^y^ara was a favourite occupation with the it has left traces in Peripatetics ; marked the conventional history of Painting as seen in Pliny's thirty- fifth book.
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