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

CAELATURA. CAELATURA. 219
Pliny, at the commencement of the passage which in Verr. iv. 23; Juv. i. 76; Martial. viii. 51;
forms one of our chief authorities on the subject Ovid. Jlet. v. 81; Ath. v. p. 199; Paull. Sent. ili.
(H. N. xxxiii. 12. s. 55); where he mentions it 6, 8; Senec. Ep. 5; comp. CHRYSENDETA).
as a remarkable fact that many had gained re- The art of ornamental metal-work was in an
nown for chasing in silver, but none for chasing in advanced stage of progress among the Greeks of the
gold: it is not however to be inferred that gold heroic period, as we see from numerous passages of
was not chased, for works in gold are frequently Homer. In Italy, also, the Etruscans, as above
mentioned by other authors. From the same sec- stated, had early attained to great proficiency in it.
tion, and from other authorities, we learn that In the time of the last dynasty of Lydian kings, a
works of this kind were also executed in bronze great impulse was given to the art, especially by
and iron (Quinit.. c.; Forcellini, s. v.). Two ex- their magnificent presents to the Delphian temple;
amples of chasing in iron deserve especial notice, and belonging to this period, we have the names of
the one for its antiquity, the other for its beauty: Glaucus, as already mentioned, and of Theodorus of
the former is the iron base of the vase dedicated Samos, who made a great silver vessel for Croesus,
by Alyattes, king of Lydia, at Delphi, which was the ring of Polycrates, and a golden vessel which
the work of Glaucus of Chios, and was chased afterwards adorned the palace of the Persian kings.
with small figures of animals, insects, and plants But its perfection would of course depend on that of
(IHerod. i. 25; Paus. x. 16. ~ 1; Ath. v. p. the arts of design ingeneral, especially of sculpture;
210, b. c.; Dict. of Biog. s. v. Glaucus): the latter and thus we can readily accept the statement of
is the iron helmet of Alexander, the work of Pliny that its origin, in the high artistic sense, is to
Theophilus, which glittered like silver (Plut. Alex. be ascribed to Pheidias, and its complete develop32): Strabo, moreover, mentions the people of ment to Polycleitus. (Plin.:. N. xxxiv. 8. s. 19. ~ 1,
Cibyra, in Asia Minor, as noted for their skill in primusque [Phidias] arte7z torleticen apereisse atque
chasing iron (Strab. xiii. p. 631). deszonstrasse nzerilojudicatur: ibid. ~ 2, Hze (PolyThe objects on which the caelator exercised his cletus)...judicatur toreuticen sic erudisse, at Phidias
art were chiefly weapons and armour —especially aperuisse). There can, indeed, be no doubt that
shields, chariots, tripods, and other votive offerings, the toreutic art was an important accessory to the
quoits, candelabra, thrones, curule chairs, mirrors, arts of statuary and sculpture, especially in works
goblets, dishes, and all kinds of gold and silver executed in bronze and in ivory and gold. In fact,
plate. Arms were often ornamented with patterns in the latter class of works, the parts executed in
in gold (ypaerra ie 0'7rAX, Z'yXpui eiciv' (Corp. gold belonged properly to the department of the
-znscr. vol. i. No. 124; scutucnz clhrysographatutzm, caelator: and hence has arisen the error of several
Trebell. Claud. 14). Chased bronze helmets and modern writers who have made the chryselephlangreaves have been found at Pompeii and elsewhere. tine statues a branch of the toreutic art. The in(Mus. Borb. iii. 60, iv. 13, v. 29; Brinisted, die timate connection of this art with statuary and
Bron-en von Siris.) Chariots, especially those sculpture is further shown by the fact that several
used in the chariot-races and triumphal process, of the great artists in these departments were also
were often made of bronze richly chased [CUR- renowned as silver-chasers, such as Myron and
Rvs]: under the Roman emperors private carriages Pasiteles. In the age of Pheidias, the most dis-.
(carrucae) were often covered with plates of chased tinguished name is that of Mys, who engraved the
bronze, silver, and even gold (Plin. H. N. xxxiii. 11. battle of the Lapithae with the Centaurs on the
s. 49; Suet. Claud. 16; Martial. iii. 72; Lamnprid. shield bf Pheidias's colossal bronze statue of Athena
Alex. Sev. 43; Vopisc. AJmel. 46; CARRUCA). Promachus in the Acropolis, and who is said to have
In candelabra, mirrors, and so forth, the remains worked from designs drawn by the hand of Parof Etruscan art are very rich. An elaborate ac- rhasius; but the latter point involves a chronological
count of ancient tripods is given in MUller's essay, difficulty. (See Diet. of Biog. s. vv. Jllys, PranxU/eber die TrWipoden, in the Asnaltlea, vols. i. and iteles.) In the period from the time of Pheidias
iii. Respecting vessels of gold and silver plate, and to that of the Roman conquest of Greece, the folother ornaments, among the numerous references lowing names are preserved: Acragas, Boethus,
of the ancient authors, those of Cicero (in Verr. and Mentor, the most distinguished of all the artists
iv.), and Pliny (H. N. xxxiii. 11, 12. s. 50-54) in this department; the sculptor Myron and his son
are among the most important and interesting. Lycius; after them, Calamis, Antipater; and the
The ornamental work with which the chaser maker of a work mentioned with especial admiradecorated such objects consisted either of simple tion by Pliny, Stratonicus; a little later, Tauriscus
running patterns, chiefly in imitation of plants and of Cyzicus, Ariston and Eunicus of Mytilene, and
flowers, or of animals, or of mythological subjects, Hecataeus. The Greek kings of Syria, especially
and, for armour, of battles. To the first class belong Antiochus Epiphanes, were great patrons of the art.
the lances filicatae, pampinatae, patinae /lederatae, (Ath. v. p. 293, d.) In the last age of the Roand disci corynmiati (Cic. 1. c.; Trebell. Claud. 17): man Republic, the prevailing wealth and luxury,
ornaments of the second class were common on the and the presence of Greek artists at Rome, combronze and gold vases of Corinth (Ath. v. p. 199, e.) bined to bring the art more than ever into requiand on tripods (Amaltl7. vol. iii. p. 29); and the sition. Silver-chasers seem to have beenregularly
mythological subjects, which were generally taken employed in the establishments of the great men
from Homer, were reserved for the works of the of Rome; and Pliny mentions, as belonging to the
greatest masters of the art: they were generally age of Pompey the Great, Pasiteles, Posidonius of
executed in very high relief (anaglypha). In the Ephesus, Leostratides, Zopyrus, Pytheas, and
finest works, the ornamental pattern was frequently lastly Teucer. After this period, the art suddenly
distinct from the vessel, to which it was either fell into disuse, so that, in the time of Pliny, chased
fastened permnanently, or so that it could be re- vessels were valued only for their age, though the
moved at pleasure, the vessel being of silver, and chasing was so worn down by use that even thile
the ornaments of gold, crsstae aut e;iblemata. (Cic. figures could not be distinguished. (H. N. xxxiii.