Among all nations which the fame of the Olympian Jupiter has reached, Phidias is looked upon, beyond all doubt, as the most famous of artists: but to let those who have never even seen his works, know how deservedly he is esteemed10, we will take this opportunity of adducing a few slight proofs of the genius which he displayed. In doing this, we shall not appeal to the beauty of his Olympian Jupiter, nor yet to the vast 319 proportions of his Athenian Minerva, six-and-twenty cubits in height, and composed of ivory and gold; but to the shield of this last statue we shall draw attention; upon the convex face of which he has chased a combat of the Amazons, while, upon the concave side of it, he has represented the battle between the Gods and the Giants. Upon the sandals again, we see the wars of the Lapith? and Centaurs11, so careful has he been to fill every smallest portion of his work with some proof or other of his artistic12 skill. To the story chased upon the pedestal of the statue, the name of the “Birth of Pandora” has been given; and the figures of gods to be seen upon it are no less than twenty in number. The figure of Victory, in particular, is most admirable, and connoisseurs13 are greatly struck with the serpent and the sphinx in bronze lying beneath the point of the spear. Let so much be said incidentally in reference to an artist who can never be sufficiently14 praised; if only to let it be understood that the richness of his genius was always equal to itself, even in the very smallest details.
When speaking of the statuaries, we have already given the period at which Praxiteles flourished; an artist, who, in the glory which he acquired by his works in marble, surpassed even himself. There are some works of his in the Ceramicus at Athens; but, superior to all the statues, not only of Praxiteles, but of any other artist that ever existed, is his Cnidian Venus; for the inspection15 of which, many persons before now have purposely undertaken a voyage to Cnidos. The artist made two statues of the goddess, and offered them both for sale: one of them was represented with drapery, and for this reason was preferred by the people of Cos, who had the choice; the second was offered them at the same price, but, on the grounds of propriety16 and modesty17, they thought fit to choose the other. Upon this, the Cnidians purchased the rejected statue, and immensely superior has it always been 320 held in general estimation.[242] At a later period, King Nicomedes wished to purchase this statue of the Cnidians, and made them an offer to pay off the whole of their public debt, which was very large. They preferred, however, to submit to any extremity18 rather than part with it; and with good reason, for by this statue Praxiteles has perpetuated19 the glory of Cnidos. The little temple in which it is placed is open on all sides, so that the beauties of the statue admit of being seen from every point of view; an arrangement which was favored by the goddess herself, it is generally believed. Indeed, from whatever point it is viewed, its execution is equally worthy20 of admiration21.
Cephisodotus, the son of Praxiteles, inherited his father’s talent. There is, by him, at Pergamus, a splendid Group of Wrestlers, a work that has been highly praised, and in which the fingers have all the appearance of being impressed upon real flesh rather than upon marble.
Scopas rivals these artists in fame: there is by him, a Venus venerated22 at Samothrace with the most august ceremonials. He was also the sculptor2 of the Palatine Apollo. But the most highly esteemed of all his works, are those in the Temple erected by Cneius Domitius, in the Flaminian Circus; a figure of Neptune23 himself, a Thetis and Achilles, Nereids seated upon dolphins, cetaceous fishes, and seahorses, Tritons, the train of Phorcus, whales, and numerous 321 other sea-monsters, all by the same hand; an admirable piece of workmanship, even if it had taken a whole life to complete it. In addition to the works by him already mentioned, and others of the existence of which we are ignorant, there is still to be seen a colossal24 Mars of his, seated, in the Temple erected by Brutus Call?cus, also in the Flaminian Circus; as also, a naked Venus, of anterior25 date to that by Praxiteles, and a production that would be quite sufficient to establish the renown26 of any other place.
At Rome, it is true, it is quite lost sight of amid such a vast multitude of similar works of art: and then besides, the inattention to these matters that is induced by such vast numbers of duties and so many items of business, quite precludes27 the generality of persons from devoting their thoughts to the subject. For, in fact, the admiration that is due to this art, not only demands an abundance of leisure, but requires that profound silence should reign28 upon the spot. Hence the artist is now forgotten, who executed the statue of Venus that was dedicated29 by the Emperor Vespasianus in his Temple of Peace, a work well worthy of the high repute of ancient times. With reference, too, to the Dying Children of Niobe, in the Temple of the Sosian Apollo, there is an equal degree of uncertainty30, whether it is the work of Scopas or of Praxiteles.
Scopas had for rivals and contemporaries, Bryaxis, Timotheus and Leochares, artists whom we are bound to mention together, from the fact that they worked together at the Mausoleum in Halicarnassus, such being the name of the tomb that was erected by his wife Artemisia in honor of Mausolus, a petty king of Caria, who died in the second year of the hundred and seventh Olympiad. Through the exertions31 of these artists more particularly, this work came to be reckoned one of the Seven Wonders of the World. The circumference32 of this building is, in all, four hundred and forty feet, and the breadth from north to south sixty-three, the other two fronts being not so wide in extent. It is twenty-five cubits in 322 height, and is surrounded with six-and-thirty columns, the outer circumference being known as the “Pteron,” or “wing.” The east side was sculptured by Scopas, the north by Bryaxis, the south by Timotheus, and the west by Leochares; but, before their task was completed, Queen Artemisia died. They did not leave their work, however, until it was finished, considering that it was at once a memorial of their own fame and of the sculptor’s art: and even to this day, it is undecided which of them has excelled. A fifth artist also took part in the work; for above the Pteron there is erected a pyramid equal in height to the building below, and formed of four-and-twenty steps, which gradually taper33 upwards34 towards the summit; a platform, crowned with a representation of a four-horse chariot by Pythis. This addition makes the total height of the work one hundred and forty feet.
Beyond these, there are not many sculptors of high repute; for, in the case of several works of very great excellence35, the number of artists that have been engaged upon them has proved a considerable obstacle to the fame of each, no individual being able to engross36 the whole of the credit, and it being impossible to award it in due proportion to the names of the several artists combined. Such is the case with the Laoco?n,[243] for example, in the palace of the Emperor Titus, a work that may be looked upon as preferable to any other production of the art of painting or of statuary. It is sculptured from a single block, both the main figure as well as the 323 children, and the serpents with their marvellous folds. This group was made in concert by three most eminent37 artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes.
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instructor
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| n.指导者，教员，教练 | |
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sculptor
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| n.雕刻家，雕刻家 | |
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sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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disciple
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| n.信徒，门徒，追随者 | |
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suffrages
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| （政治性选举的）选举权，投票权( suffrage的名词复数 ) | |
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nemesis
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| n.给以报应者，复仇者，难以对付的敌手 | |
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ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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borough
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| n.享有自治权的市镇；(英)自治市镇 | |
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esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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centaurs
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| n.（希腊神话中）半人半马怪物( centaur的名词复数 ) | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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sufficiently
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| adv.足够地，充分地 | |
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inspection
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| n.检查，审查，检阅 | |
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propriety
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| n.正当行为；正当；适当 | |
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modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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extremity
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| n.末端，尽头；尽力；终极；极度 | |
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perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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Neptune
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| n.海王星 | |
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colossal
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| adj.异常的，庞大的 | |
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anterior
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| adj.较早的；在前的 | |
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renown
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| n.声誉，名望 | |
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precludes
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| v.阻止( preclude的第三人称单数 )；排除；妨碍；使…行不通 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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circumference
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| n.圆周，周长，圆周线 | |
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taper
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| n.小蜡烛，尖细，渐弱；adj.尖细的；v.逐渐变小 | |
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upwards
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| adv.向上，在更高处...以上 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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engross
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| v.使全神贯注 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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