[1] Whether this inscription was placed there during the life
of Phidias does not appear; but it is highly improbable,
and not in harmony with the practice of the Greeks.
[2] Themistius, Orat. adeum qui postulaverat ut ex tempore
sermonem haberet.
[3] τέκτονες, πλάσται, χαλκοτύποι, λιθουργοί, βαφεῖς, χρυσοῦ
μαλακτῆρες καὶ ἐλέφαντος ζωγράφοι, ποικιλταῖ, τορευταῖ.
This passage is generally cited as a statement by Plutarch
that Phidias employed all these men; but in fact he is only
urging, in justification of Pericles, and in answer to
attacks made against him for expending such large sums of
money in the public works, that these works gave employment
to the enumerated classes of artists and mechanics.
[4] The date of the birth of Pericles is unknown, but he began
to take part in public affairs in B. C. 469, when he could
not probably have been less than twenty-one years of age.
This would place his birth at 490. He died in 429; and this
reckoning would make him only sixty-one at his death.
[5] A full transcript of these inscriptions will be found in
Dr. Brunn’s _Geschichte der griechischen Künstler_, i. 249.
[6] See Lysias’s Frag., Περὶ τοῦ τύπου; also, Müller’s _Ancient
Art_, 360, and King’s _Antique Gems_.
[7] “Non ex ebore tantum sciebat Phidias facere simulacrum,
faciebat et ex ære. Si marmor illi, si adhuc viliorem
materiam obtulisses, fecisset quale ex illa fieri optimum
potuisset.”—Seneca, _Epist._ 86.
[8] _Du Moulage en Plâtre chez les Anciens_, par M. Charles C.
Perkins, correspondant de l’Académie des Beaux Arts, etc.
Paris, 1869.
[9] Pliny, _Nat. Hist._, lib. xxxv. ch. xii.
[10] So also Fronto in his _De differentiis Vocabulorum_,
published by Cardinal Mai from palimpsests, says: “Vultus
proprie hominis—os omnium—facies plurium.”
[11] According to Æschines, in his oration against Ctesiphon,
Miltiades desired that his name should be inscribed on this
portrait statue, which was placed in the Pœcile; but the
Athenians refused their permission.
[12] See _Cicero ad Atticum_, xii. 41.
[13] iii. 12, § 13; viii. 14, § 5.
[14] _Geschichte der griechischen Künstler_, vol. i. p. 403.
[15] vii. 3, ii 8. See, also, Pliny, xxv. 49.
[16] See, also, an account of these “imagines” in Polybius, vi.
53.
[17] Et quoniam animorum imagines non sunt, negliguntur etiam
corporum. Aliter apud majores, in atriis hæc erant quæ
spectarentur, non signa externorum artificum, nec æra
aut marmora. Expressi cera vultus singulis disponebantur
armariis ut essent imagines quæ comitarentur gentilicia
funera.—Book 35, ch. 2.
[18] Διαφέρην δὲ δοκεῖ καὶ πρὸς τὰ ἀπομάγματα πολὺ τῶν ἀλλῶν.
[19] Lib. ix. ch. 23; Lib. i. ch. 40; Lib. viii. ch. 22.
[20] Spartian., _Sev. Hadrian_, 22.
[21] _De Errore Profanarum Religionum._ Vid. _Lobeck aglaopham_,
p. 571.
[22] As Lysistratus and his brother lived about the 114th
Olympiad (324 B. C.), if these works found at Kertch were
plaster _casts_, it is plain that Lysistratus did not
invent casting, since these were before his time; and if
Pliny means to say that he did, he is evidently quite wrong.
[23] Pliny says “exemplar.”
[24] Ἐτύγχανον μὲν ἄρτι χαλκουργῶν ὕπο Πιττούμενος στέρνον τε
καὶ μετάφρενον· Θώραξ δέ μοι γελοῖος ἀμφὶ σώματι Πλασθεῖς
παρῃώρητο μιμήλῃ τέχνῃ Σφραγῖδα χαλκοῦ πᾶσαν ἐκτυπούμενος.
[25] See _Divin. Inst._, lib. i. c. 6.
[26] Val. Soranus, cited by St. Augustine, _De Civit. Dei_, lib.
vii. c. 9.
[27] See these passages and others cited in S. Justinus,
_Cohortat. ad Græc. et de Monarchia_; Clement of
Alexandria, _Stromat._, lib. v., _et Admonitio ad Gentes_;
S. Cyrillus Alexandrinus, _Contra Julianum_, lib. i.;
Athenagoras, _Legat. pro Christian._; Theodoretus, _Graec.
Affectionum: Curat_, lib. 7.
[28]
“I have no spur
To prick the sides of my intent, but only
Vaulting ambition.”