Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

1066 STATUARIA ARS. STATUARIA ARS.;
nickname of caTaT77rTCeXvo09. Quinctilian (xii. 10. of Pheidias, may yet be regarded as having only
~ 9) says of him nimins in veritate. (Comp. Lucian, continued and developed its principles of art in a
Philops. 18; Plin. Eipist. iii. 6.) On the whole it certain direction; but towards the end of this peshould be observed, that near the end of the Pelo- riod Euphranor and Lysippus of Sicyon carried out
ponnesian war and afterwards the greater part of the principles of the Argive school of Polycleitus.
the artists continued to work in the spirit and (Cic. Brut. 86.) Their principal object was to restyle of Polycleitus, and that the principal produc- present the highest possible degree of physical
tions in Peloponnesus were bronze statues of ath- beauty and of athletic and heroic power. (See
letes and statues erected in honour of other distin- their lives in the Diet. of Biog). The chief characguished persons. (Paus. x. 9. ~ 4, vi. 2. ~ 4; teristic of Lysippus, and his school is a close
Plut. Lysand. 1, 18, de Orac. Pyth. 2.) imitation of nature, which even contrived to
The change which took place after the Pelopon- represent bodily defects in some interesting mannesian war in the public mind at Athens could not ner, as in his portraits of Alexander; its tendency
fail to show its influence upon the arts also; and is entirely realistic. The ideal statues of former
the school of statuary, which had gradually become times disappear more and more, and make way
developed, was as different from that of Pheidias as for mere portraits. Lysippus, it is true, made stathe then existing state of feeling at Athens was from tues of gods; but they did not properly belong to
that which had grown out of the wars with Persia. his sphere; he merely executed them because he
It was especially Scopas of Paros and Praxiteles had received orders which he could not well refuse.
of Athens, about one generation after Myron and Iis greatest care was bestowed upon the execution
Polycleitus, who gave the reflex of their time in of the details (argutiae operum), upon the correct
their productions. Their works expressed the proportions of the parts of the human body, and
softer feelings and an excited state of mind, such upon making his statues slender and tall above the
as would make a strong impression upon and cap- common standard. In short, all the features which
tivate the senses of the beholders. But the chief characterise the next period appear in the school of
masters of this new school still had the wisdom to Lysippus.
combine these things, which were commanded by
the spirit of the age, with a noble and sublime con-. 111 3o3 1. B.c.
ception of the ideas which they embodied in their (336-146 n. c.)
works. Scopas and Praxiteles were both distin- Within a few generations Grecian art had passed
guished as sculptors in marble, and both worked in through the various stages of developement, and
the same style the legendary circles to which most each of them had produced such an abundance of
of their ideal productions belong are those of Dio- masterpieces that it was difficult for a new generanysus and Aphrodite, a fact which also shows the tion of artists to produce new and original works.
character of the age. There was a time when this Hence the artists of the periods which followed
school of statuary wvas considered superior even to could not do much more than imitate, and their
that of Pheidias, and it is indeed true that its pro- productions are better or worse in proportion as
ductions are distinguished by exquisite beauty and they were founded upon the study of earlier works
gracefulness, whence their female statues in parti- or not. But even this period of eclecticism has
cular are, in one sense, unrivalled; but the effect nevertheless produced statues and groups worthy
they produced upon the minds of the beholders of the highest admiration, and which can be placed
was by no means of the same pure and elevating by the side of the best works of antiquity. The
nature as that of the works of their predecessors. very slow decay of the arts, in comparison with the
( For an account of their works, see the articles Prax- rapid decline of literature, is indeed a strange pheileles and Scopas in the Dictionary of Biography.) nomenon.
Cephissodorus and Timarchus were sons of During the first fifty years of this period the
Praxiteles. There were several works of the for- schools of Praxiteles and Lysippus continued to
nuer at Rome in tlie time of Pliny; he made his flourish, especially in works of bronze; but after
art subservient to passions and sensual desires. this time bronze statues were seldom made, until
Pliny (LI. N. xxxvi. 5. s. 4. ~ 6) mentions among the art was carried on with new vigour at Athens
his works a celebrated Symplegma at Pergamus, about the end of the period. The school of Lywhich is the first instance of this kind that we hear sippus gave rise to that of Rhodes, where his disof in Grecian art. A similar spirit pervaded the ciple Chares formed the most celebrated among the
works of Leochares (as his Ganymedes carried by hundred colossal statues of the sun. It was seventy
an eagle up to Zeus), of Polycles, who was the first cubits high and partly of metal. It stood near the
that made the voluptuous statues of Hernaphro- harbour, and was thrown down by an earthquake
dites, and of Silanion, who made a dying Jocaste. about 225 B. C. (Plin. IIN. xxxiv. 18; Meursits,
(Plin. H. N. xxxiv. 8. s. 19. ~ 17 and 20; Plut. Rhodus, i. 16; Diet. of Biog. s. v.) Antiquarians
de And. Poet. 3, Syrnpos. v. 1; see Diet. of Biog. assign to this part of the fourth period several very
s. vv.) Leochares also made a number of portrait- beautifiul works still extant, as the magnificent
statues in ivory and gold of members of the royal group of Laocoon and his sons, which was disfamily of Macedonia, and of other persons. (Paus. covered in 1506 near the baths of Titus, and is at
v. 20.) Such portrait-statues about this time began present at Rome. This is, next to the Niobe, the
to give much occupation to the artists. About the most beautiful group among the extant works of
year 350 B. C. several of the greatest artists of the ancient art; it was according to Pliny the work of
age, such as Scopas, Leochares, Timotheus, and three Rhodian artists: Agesander, Polydorus, and
Bryaxis, were engaged in Caria in making the Athenodorus. (Plin. I. NV. xxxvi. 5. s. 4. ~ 11,
magnificent mausoleum of Mausolus, a general Lessing's Laocoon.) The celebrated Farnesian bull
description of which is given under MAUSOLEUM. is likewise the work of two Rhodian artists, ApolMost of the above-mentioned artists, however lonius and Tauriscus. (Plin. H. N. xxxvi. 5. s. 4.
widely their works differed from those of the school ~ 10.)