Chap. 45.] THE MOST FAMOUS MODELLEES. 285 



cut away In tablets and enclosed in frames, but that the figures 

 on the pediments were dispersed. Chalcosthenes,^" too,^^ ex- 

 ecuted at Athens some works in unbaked earth, on the spot 

 which, from his manufactory, has since obtained the name of 

 " Ceramicus."^^ 



M. Yarro states that he knew an artist at Eome, Possis by 

 name, who executed fruit, grapes, and fish, with, such exact- 

 ness, that it was quite impossible, by only looking at them, to 

 distinguish them from the reality. He speaks very highly 

 also of Arcesilaiis,^^ who was on terms of intimacy with 

 Lucius Lucullus,^'* and whose models in plaster used to sell at 

 a higher rate, among artists themselves, than the works of 

 others. He informs us, also, that it was by this modeller that 

 the Venus Genetrix in the Forum of Csesar was executed, it 

 having been erected before completion, in the great haste that 

 there was to consecrate it ; that the same artist had made an 

 agreement with LucuUus to execute a figure of Felicity, at the 

 price of sixty thousand sesterces, the completion of which was 

 prevented by their death; and that Octavius, a Eoman of 

 equestrian rank, being desirous of a model for a mixing-bowl,^^ 

 Arcesilaiis made him one in plaster, at the price of one talent. 



Varro praises Pasiteles^^ also, who used to say, that the 

 plastic art was the mother of chasing, statuary, and sculpture, 

 and who, excellent as he was in each of these branches, never 

 executed any work without first modelling it. In addition to 

 these particulars, he states that the art of modelling was 

 anciently cultivated in Italy, Etruria in particular ; and that 

 Volcanius was summoned from Yeii, and entrusted by Tar- 

 quinius Prisons with making the figure of Jupiter, which he 

 intended to consecrate in the Capitol ; that this Jupiter was 

 made of clay, and that hence arose the custom of painting it 

 with minium ;^^ and that the four-horse chariot, so often^^ 



^" Sillig (Diet. Anc. Art.) is of opinion that this Chalcosthenes is not 

 identical with the artist of that name mentioned in B. xxxiv. c. 19 ; the 

 name " Ceramicus" probably being of far earlier origin than the formation 

 of the statues of Comedians. 



^' "Et." The insertion of this word seems to militate against Sillig's 

 position. 52 The *' Pottery. ^s Qqq also B. xxxvi. c. 4. 



^^ See Chapter 40 of this Book. 



55 " Crater." A vase in which wine and water were mixed for drinking. 



5^ See B. sxxiii, o. 55, B. xxxvi. c. 4, and end of B. xxxiii. 



5' See I4. xxxiii. c. 36. ss in g, y[[[ g^ 4 f^j. instance. 



