S C U L ] 
proach of Cassandra. Hyppodamia, daughter of Oenomaus, 
with her mother. Prometheus bound in chains, Hercules 
coming to his help; Hercules also, having slain the eagle, 
which was the punishment of Prometheus on Caucasus, de¬ 
livering him from his chains. On the hinder part is painted 
Penthesilea dying, Achilles supporting her. The two 
Hesperides bearing the apples of which they had the keep¬ 
ing. Pansenus, the brother of Phidias, who did these, 
painted also, in the Pcecile of Athens, the battle of Mara¬ 
thon. Upon the throne, above the head of the god, Phi¬ 
dias carved the Graces and the Hours. Three of them 
large; these are called daughters of Jove. Upon the seat, 
lions of gold, and Theseus warring with the Amazons. 
Upon the base of the throne, which great mass was wrought 
in gold, are other ornaments relating to the god. The 
rising Sun in his chariot, and Jupiter and Juno, and by them 
the Graces; these lead Hermes, and Hermes, Vesta. Cupid 
also from the sea receiving Venus, who was crowned by 
Persuasion. Apollo was with Diana, and Minerva with 
Hercules; and on the lowest part of all was Neptune, and 
the Moon in her chariot urging on her horses. 
The temple at Elis also, which contained this astonishing 
statue, was itself a noble work of Doric architecture; the 
architect was Liban, an Elean. The sculptures on the 
outside of the temple have a relation to the great work 
within. A gilded Victory crowns the whole. In the front 
pediment is the contest of the chariot race between Pelops 
and Oenomaus, and in the back pediment the Lapithae and 
Centaurs, with the nuptials of Perithous; and in the temple, 
and over the doors, the labours of Hercules in very many 
compositions, which are the work of Alcamenes. The 
temple has brazen doors and an interior portico, which 
opens an entrance to the statue of Jupiter: under the statue 
is inscribed, “ Phidias, the son of Charmides the Athenian, 
made me.” 
It may be proper to take notice in this place, of another 
temple dedicated to Jupiter Olympius, at Athens, by the 
emperor Adrian, and in it a colossal statue of ivory and 
gold, described as not inferior to the colossusses of Rhodes 
and of Rome. 
Pausanias describes also a temple and statue of JEsculapius 
at Corinth, in the following manner:—The statue of iEscu- 
iapius is almost half the size of the Olympian Jupiter at 
Athens. It is of gold and ivory, and is the work of Thrasy- 
raedes, the son of Arignotus, a man of Paros. He is seated 
on a throne, holding a great staff, and with his other hand 
pressing the head of a serpent; a dog lies at his feet; in his 
throne the acts of the Argive heroes are sculptured; Bel- 
lerophon killing Chimaera. Perseus holds Medusa’s head 
cut off. Above the temple are places where those who come 
to pray to the god repose. 
Several other statues of great excellence, both in marble 
and bronze, are mentioned among the works of Phidias, 
particularly a Venus, placed by the Romans in the forum 
of Octavia. Two Minervas, one surnamed Callimorphos, 
from the beauty of its form; and it is likely that the fine 
statue of this goddess in Mr. Hope’s museum is a repetition 
in marble of Phidias’s bronze, from its resemblance to the 
reverse of an Athenian silver coin, in attitude, drapery and 
helmet. Another statue by Phidias was an Amazon, called 
Eucnemon, from her beautiful leg; of which there is a print 
in the Museum Pium Clementinum. 
Alcamenes was celebrated for his Venus Aphrodite, to 
which Phidias is said to have given the last touches. 
Praxiteles excelled in the highest graces of youth and 
beauty ; Pliny says he not only excelled other sculptors by 
his marble statues in the Ceramicus at Athens; but his Venus 
was preferable to theirs, and all other statues in the world, 
to see which many sailed to Gnidos. This sculptor having 
made two Venuses, one with drapery, the other without; 
the Coans preferred the clothed figure, on account of its 
severe modesty. The same price being set upon each, the 
citizens of Gnidos took the rejected statue, and afterwards 
refused it to king Nicomedes, who would have forgiven 
them an immense debt in return ; being resolved, says our 
author, and with reason, to suffer any thing, so long as the 
Vol. XXII. No. 1546. 
> T U R E. 873 
statue of Praxiteles ennobled Gnidos. The temple was en¬ 
tirely open in which it was placed; because every view was 
equally admirable. The figure is known by the descriptions 
of Lucian and Cedrenus; and it is represented on a medal of 
Caracalla and Plautilla, in the Cabinet of France. This Venus 
existed in Gnidos during the reign of the emperor Arcadius, 
or about 400 years after Christ. 
This statue seems to offer the first idea for the Venus de 
Medicis; which is likely to be the repetition of another 
Venus, also the work of this artist, mentioned by Pliny. 
On the reverse of the empress Lucilla’s medals, is a clothed 
Venus, with an apple in her right hand; which, from the grace 
of its attitude, and its resemblance to several antique marble 
statues, is likely to be the clothed Venus chosen by the Coans. 
Among the known works of Praxiteles, are his satyr, 
cupid, Apollo, the lizard-killer, and Bacchus leaning on a 
fawn. 
The celebrated Venus of Gnidos was found, about 
thirty years since, in the neighbourhood of Rome, and 
was afterwards the property of duke Braschi, nephew of pope 
Pius VI. 
Polycletus of Sicyon, the scholar of Agelades, was parti¬ 
cularly celebrated on account of his Doryphorus, or lance- 
bearer; and Diadumenus, or youth binding a fillet round 
his head. This statue was valued at an hundred talents. The 
Doryphorus was called the Rule by artists, from which they 
studied. 
The Discobolus of Myron is ascertained by an antique 
gem, and the description of Quintilian, who apologizes for 
its forced attitude. An ancient example of this figure is in 
the British Museum. 
The Discobolus of Naucydas is uniformly admired for its 
forms and momentary balance. 
The wounded man, in which might be seen how much of 
life remained in him, was the famous work of Ctesilaus, and 
perhaps is the same as the statue commonly called the Dying 
Gladiator, but more properly a dying herald, or hero, ac¬ 
cording to Winckelman. 
Ctesilaus, or Desilaus, is known by his wounded Amazon. 
Pliny mentions the nine muses by Philiscus of Rhodes; 
and the muses also, brought by Fulvius Nobilior to Rome. 
From one of these series must be the greater number of those 
formerly in the pope’s museum, now in the gallery of France, 
of which the Comedy is remarkable for grace, and the Tra¬ 
gedy for grandeur. 
The Hermaphrodite of Polycles is one of the most delicate 
and graceful productions of antiquity. 
The Apollo Philesius, or in love, by Canachus, is wit¬ 
nessed by many fine repetitions in the different galleries of 
Europe. 
The Ganymede, borne in the eagle’s talons, is exactly 
described by Pliny. An example of this work exists in the 
pope’s museum. 
The Apollo Belvidere is believed, by the learned Visconti, 
to be Apollo Alexicacos, the deliverer from evil, the work 
ofCalamis; mentioned both by Pliny and Pausanias; and 
the history of its removal is given in the Museum Pium Cle¬ 
mentinum. Only one small antique repetition of this statue 
is to be found; and indeed admirable and sublime in its 
beauty as it is, there is a reason which might render it less 
popular among the ancients than the moderns. Maximus 
Tyrius describes a statue by Phidias very similar to this, but 
in greater motion, either discharging an arrow, or preparing 
to do so. (Tofo'ijy.) There are traces of this statue in some 
ancient basso-relievos; and it is possible the stronger expres¬ 
sion of Phidias’s work, together with the authority of his 
name, might have diminished the public attention to Calamis 
in a comparative production. 
The Venus de Medicis was so popular a favourite among 
the Greeks and Romans, that a hundred ancient repetitions 
of this statue have been noticed by travellers. The individual 
figure is said to have been found in the forum of Octavia. 
The style of sculpture seems to be later than Alexander the 
Great; and the idea of this statue seems to have its origin 
from the Venus of Gnidos. 
The colossal statues on Monte Cavallo in Rome we may 
10 N fairly 
