Part 17

Footnote 169:

Richardson de la Peinture, vol. i. p. 74.

Footnote 170:

Geschichte der Kunst, p. 347.

Footnote 171:

Not Apollodorus, but Polydorus. Pliny is the only one who mentions these artists, and I am not aware that the manuscripts differ in the writing of the name. Had such been the case, Hardouin would certainly have noticed it. All the older editions also read Polydorus. Winkelmann must therefore have merely made a slight error in transcribing.

Footnote 172:

Ἀθηνόδωρος δὲ καὶ Δαμέας ... οὗτοι δὲ Ἀρκάδες εἰσὶν ἐκ Κλείτορος. Phoc. cap. ix. p. 819 (edit. Kuhn).

Footnote 173:

Plinius, lib. xxxiv. sect. 19.

Footnote 174:

Lib. xxxvi. sect. 4. “Nor are there many of great repute the number of artists engaged on celebrated works preventing the distinction of individuals; since no one could have all the credit, nor could the names of many be rehearsed at once: as in the Laocoon, which is in the palace of the emperor Titus, a work surpassing all the results of painting or statuary. From one stone he and his sons and the wondrous coils of the serpents were sculptured by consummate artists, working in concert: Agesander, Polydorus, and Athenodorus, all of Rhodes. In like manner Craterus with Pythodorus, Polydectes with Hermolaus, another Pythodorus with Artemon, and Aphrodisius of Tralles by himself, filled the palaces of the Cæsars on the Palatine with admirable statuary. Diogenes, the Athenian, decorated the Pantheon of Agrippa, and the Caryatides on the columns of that temple rank among the choicest works, as do also the statues on the pediment, though these, from the height of their position, are less celebrated.”

Footnote 175:

Bœotic. cap. xxxiv. p. 778 (edit. Kuhn).

Footnote 176:

Plinius, lib. xxxvi. sect. 4, p. 730.

Footnote 177:

Geschichte der Kunst, part ii. p. 331.

Footnote 178:

Plinius, xxxvi. sect. 4.... “which would make the glory of any other place. But at Rome the greatness of other works overshadows it, and the great press of business and engagements turns the crowd from the contemplation of such things; for the admiration of works of art belongs to those who have leisure and great quiet.”

Footnote 179:

See Appendix, note 53.

Footnote 180:

Plinius, xxxvi. sect. 4.

Footnote 181:

Geschichte der Kunst, part ii. p. 347.

Footnote 182:

Lib. xxxvi. sect. 4.

Footnote 183:

See Appendix, note 54.

Footnote 184:

Prefatio Edit. Sillig. “Lest I should seem to find too much fault with the Greeks, I would be classed with those founders of the art of painting and sculpture, recorded in these little volumes, whose works, although complete and such as cannot be sufficiently admired, yet bear a suspended title, as Apelles or Polycletus ‘was making’; as if the work were always only begun and still incomplete, so that the artist might appeal from criticism as if himself desirous of improving, had he not been interrupted. Wherefore from modesty they inscribed every work as if it had been their last, and in hand at their death. I think there are but three with the inscription, ‘He made it,’ and these I shall speak of in their place. From this it appeared that the artists felt fully satisfied with their work, and these excited the envy of all.”

Footnote 185:

See Appendix, note 55.

Footnote 186:

Geschichte der Kunst, part i. p. 394.

Footnote 187:

Cap. i. “He was also reckoned among their greatest leaders, and did many things worthy of being remembered. Among his most brilliant achievements was his device in the battle which took place near Thebes, when he had come to the aid of the Bœotians. For when the great leader Agesilaus was now confident of victory, and his own hired troops had fled, he would not surrender the remainder of the phalanx, but with knee braced against his shield and lance thrust forward, he taught his men to receive the attack of the enemy. At sight of this new spectacle, Agesilaus feared to advance, and ordered the trumpet to recall his men who were already advancing. This became famous through all Greece, and Chabrias wished that a statue should be erected to him in this position, which was set up at the public cost in the forum at Athens. Whence it happened that afterwards athletes and other artists [or persons versed in some art] had statues erected to them in the same position in which they had obtained victory.”

Footnote 188:

See Appendix, note 56.

Footnote 189:

Περὶ Ὕψους, τμῆμα, ιδ’ (edit. T. Fabri), ρ. 36, 39. “But so it is that rhetorical figures aim at one thing, poetical figures at quite another; since in poetry emphasis is the main object, in rhetoric distinctness.”

Footnote 190:

“So with the poets, legends and exaggeration obtain and in all transcend belief; but in rhetorical figures the best is always the practicable and the true.”

Footnote 191:

De Pictura Vet. lib. i. cap. 4, p. 33.

Footnote 192:

Von der Nachahmung der griech. Werke, &c., 23.

Footnote 193:

Τμῆμα, β. “Next to this is a third form of faultiness in pathos, which Theodorus calls _parenthyrsus_; it is a pathos unseasonable and empty, where pathos is not necessary; or immoderate, where it should be moderate.”

Footnote 194:

Geschichte der Kunst, part i. p. 136.

Footnote 195:

Herodotus de Vita Homeri, p. 756 (edit. Wessel).

Footnote 196:

Iliad, vii.

Footnote 197:

Geschichte der Kunst, part i. p. 176. Plinius, lib. xxxv. sect. 36. Athenæus, lib. xii. p. 543.

Footnote 198:

Geschichte der Kunst, part ii. p. 353. Plinius, lib. xxxvi. sect. 4.

Footnote 199:

See Appendix, note 57.

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TRANSCRIBER’S NOTES

1. Silently corrected palpable typographical errors; retained non-standard spellings and dialect. 2. Reindexed footnotes using numbers and collected together at the end of the last chapter. 3. Enclosed italics font in _underscores_. 4. Enclosed blackletter font in =equals=.