A Dictionary of Greek and Roman biography and mythology. By various writers. Ed. by William Smith. Illustrated by numerous engravings on wood.

796 CLEOMENES.
countries, he at first forbad its exportation from
Egypt; but, when the nomarchs represented to him
that this measure prevented them from raising the
proper amount of tribute, he permitted the exportation of the corn, but laid on it a heavy export
duty. On another occasion, when the price of
corn was ten drachmas, Cleomenes bought it up
and sold it at 32 drachmas; and in other ways he
interfered with the markets for his own guiin. At
another time he contrived to cheat his soldiers of a
month's pay in the year. Alexander had entrusted
to him the building of Alexandria. He gave notice
to the people of Canopus, then the chief emporium
of Egypt, that he must remove them to the new
city. To avert such an evil they gave him a large
sum of money; but, as the building of Alexandria
advanced, he again demanded of the people of Canopus a large sum of money, which they could not
pay, and thus he got an excuse for removing them.
lie also made money out of the superstitions of the
people. One of his boys having been killed by
a crocodile, he ordered the crocodiles to be destroyed; but, in consideration of all the money
which the priests could get together for the sake
of saving.their sacred aninmals, lie revoked his
order. On another occasion he sent for the priests,
and informed them that the religious establishment
was too expensive, and must be reduced; they
handed over to him the treasures of the temples;
and he then left them undisturbed. Alexander
was informed of these proceedings, but found it
convenient to take no notice of them; but after his
return to Babylon (B. c. 323) he wrote to Cleomonens, commanding him to erect at Alexandria a
splendid monument to Ilephaestion, and promised
that, if this work were zealously performed, he
would overlook his misconduct.
In the distribution of Alexander's empire, after
his death, Cleomenes was left in Egypt as hyparchl
under Ptolemy, who put him to death on the suspicion of his favouring Perdiccas. The effect, if
not also a cause, of this act was, that Ptolemy
came into possession of the treasures of Cleomenes,
which amounted to 8000 talents. (Arrian, Anab.
iii. 5, vii. 23; Arrian, ap. Phot. Cod. 92, p. 69, a. 34,
ed. Bekker; Dexippus, ap. Phot. Cod. 82, p. 64, a.
34; Jastin. xiii. 4. ~ 11; Q. Curt. iv. 33. ~ 5;
Pseud-Aristot. Oecon. ii. 34, 40; Dem. c. Dionysiod. p. 1258; Paus. i. 6. ~ 3; Diod. xviii. 14;
Droysen, Geschichte Alex. pp. 216, 580, Nacfo!yg.
pp. 41, 128.) [P. S.]
CLEO'MENES, literary. 1. A rhapsodist,
who recited thie KaOapesoi of Empedocles at the
Olympic games. (Athen. xiv. p. 620, d.)
2. Of Rhegium, a dithyrambic poet, censured
by Chionides (Athen. xiv. p. 638, e.), and by
Aristophanes, according to the Scholiast. (NiVecs,
332, 333.) He seems to have been an erotic
writer, since Epicrates mentions him in connexion
with Sappho, Meletus, and Lamynthius. (Athen.
xiv. p. 605, e.) The allusions of other comedians
to him fix his date in the latter part of the fifth
century B.-c. One of his poems was entitled
MAlCeuger. (Atlien. ix. p. 402, a.)
3. A cynic philosopher, the disciple ofMetrocles,
wrote a work on education (rflcuiaycwytcds), which
is quoted by Diogenes Laertius (vi. 75, 95).
4. A commentator on Homer, and Hesiod.
(Clem. Alex. Strom. i. p. 129.) Perhaps he was
the same as the philosopher. [P. S.]
CLEO'MENES (KAeoIEYrS), the name of a

CLEOMENES.
physician introduced by Plutarch in his Syompositcon
(vi. 8. ~ 5, ed. Tauchn.) as giving his opinion on
the nature and cause of the disease called bulimia,
in the first century after Christ. [W. A. G.]
CLEO'MENES, a sculptor mentioned only by
Pliny (xxxvi. 4. ~ 10) as the author of a group of
the Thespiades, or Muses, which was placed by
Asinius Pollio in his buildings at Rome, perhaps
thie library on the Palatine hill. This artist, who
does not appear to have enjoyed great celebrity
with the ancients, is particularly interesting to us,
because one of the most exquisite statues, the
Venus de Medici, bears his name in the following
inscription on the pedestal:
KAEOMENHY AlIOAAOA1POT
AOHNA1IO2 EnI)EYEN.
This inscription, which has been undeservedly
considered as a modern imposition, especially by
Florentine critics, whlo would fain have claimed a
greater master for their admired statue, indicates
both the father and the native town of Cleomenes;
and the letter n gives likewise an external proof
of what we should have guessed from the character
of the work itself, that he was subsequent to B. c.
403. But we may arrive still nearer at his age.
Mummnius brought the above-mentioned group of
the Muses from Thespiae to Rome; and Cleomenes
must therefore have lived previously to B. c. 146,
the date of the destruction of Corinth. The beautiful statue of Venus is evidently an imitation of
the Cnidian statue of Praxiteles; and Mfiller's
opinion is very probable, that Cleomenes tried to
revive at Athens the style of this great artist.
Our artist would, according to this supposition,
have lived between B.c. 363 (the age of Praxiteles)
and B. c. 146.
Now, there is another Cleoimenes, the author of
a much admired but rather lifeless statue ini the
Louvre, which commonly bears the name of Germanicus, though without the slightest foundation.
It represents a Roman orator, with the right hand
lifted, and, as the attribute of a turtle at the foot
shews, in the habit of Mercury. There the artist
calls himself
KAEOMENHSI
KAEOMENOTY
AOHNAIOE
IIOIHZEN.
Ile was therefore distinct from the son of Apollodorus, but probably his son; for the name of Cleomenes is so very rare at Athens, that we can
hardly suppose another Cleoimenes to have been
his father; and nothing was more common with
ancient artists than that the son followed the
father's profession. But it is quite improbable
that an Athenian sculptor should have made the
statue of a Roman in the form of a god before thae
wars against Macedonia had brought the Roman
armies into Greece. The younger Cleomenes mnust
therefore have exercised his art subsequently to
B. c. 200, probably subsequently to the battle of
Cynoscephalae. We may therefore place the father
about B. c. 220.
Another work is also inscribed with the name
of Cleomenes, namely, a basso-relievo at Florence,
of very good workmanship, with the story of
Alceste, bearing the inscription KAEOMENH2-i
EIOIEI. But we are not able to decide whether
it is to be referred to the father, or to the son, or
to a third and more recent artist, whose name is
published by lRaoul-Rochette. (lMonumnans iuCdits