)
Χείρ με Πολυκλείτου Θασίου κάμεν, είμι δ' εκείνος
It is impossible to determine which of all the
Σαλμωνεύς, βρονταϊς δς Διός ανταμάνην, κ.
Χείρ με Πολυκλείτου Θασίου κάμεν, είμι δ' εκείνος
It is impossible to determine which of all the
Σαλμωνεύς, βρονταϊς δς Διός ανταμάνην, κ.
William Smith - 1844 - Dictionary of Greek and Roman Antiquities - c
304.
)
presently. His fame as a toreutic artist was so 6. A Mercury, at Lysimachia. (Plin. l. c. )
great that he was considered, according to Pliny, 7. A Heracles Ageter, arming himself, which
to have perfected the art, which Pheidias had com- was at Rome in Pliny's time (Plin. l. c. ; but the
menced, but had left incomplete :— “ toreuticen reading is somewhat doubtful). Cicero also men-
sic erudisse | judicatur), ut Phidias aperuisse. ” tions a Hercules by Polycleitus ; but this seems to
(H. N. l. c. 2. ) There are a few passages have been a different work, in which the hero was
which Polycleitus seems to be spoken of as a represented as killing the hydra (de Orat. ii. 16).
painter ; but they are insufficient to establish the 8. A portrait statue of Artemon, surnamed Pe.
fact. (See Sillig, Catal. Artif. s. v. )
riphoretos, the military engineer employed by
Polycleitus wrote a treatise on the proportions Pericles in the war against Samos (Plin. Lc;
of the human body, which bore the same name as Plut. Per. 27).
the statue in which he exemplified his own laws, 9. An Amazon, which gained the first prize,
namely, Kavwv (Galen, Tepl TW kať 'It Okpátnv above Pheidias, Ctesilaus, Cydon, and Phradmon,
kai Inátwva, iv. 3, vol. iv. p. 449, ed. Kühn). in the celebrated contest at Ephesus (Plin. H. N.
The following were the chief works of Poly- xxxiv. 8. 8. 19).
cleitus in bronze. The kind of bronze which he To the above list must be added some other
chiefly used was the Aeginetan ; whereas his con- works, which are not mentioned by Pliny.
temporary Myron preferred the Delian. (Plin. 10. A pair of small but very beautiful Cane
H. N. xxxiv. 2. s. 5; Dict. of Ant. s. v. Aes. ) phoroe (Cic. in Verr. iv. 3 ; Symmach. Ep. i. 23 ;
). The Spear Bearer (Doryphorus), a youthful Amalthea, vol. iii. p. 164).
figure, but with the full proportions of a man 11. A statue of Zeus Philius at Megalopolis, the
(viriliter puerum, Plin. H. N. xxxiv. 8. s. 19. & 2). dress and ornaments of which were similar to those
There can be no doubt that this was the statue appropriate to Dionysus (Paus. viii. 31. & 2. s. 4).
which became known by the name of Canon, because 12. Several statues of Olympic victors (Paus.
in it the artist had embodied a perfect representa- vi. $ 4, 4. $ 6, 7. $ 3, 9. § 1, 13. § 4). But it
tion of the ideal of the human figure, and had cannot be determined whether these should lo
thus, as Pliny says, exhibited art itself in a work ascribed to the elder or the younger Polycleitus,
of art. Pliny, indeed, appears to speak of this (See below, No. 2. )
## p. 457 (#473) ############################################
POLYCLEITUS.
457
POLYCLEITUS.
of his works in marble, the only ones which mentions a celebrated lamp, which he made for
Are mentioned are his statue of Zeus Milichius at the king of Persia (up. Ath. v. p. 206, e).
Argos (Paus. ii. 20. $ 1), and those of Apollo, As an architect Polycleitus obtained great cele-
Leto, and Artemis, in the temple of Artemis Orbrity by the theatre, and the circular building
thia, on the summit of Mt. Lycone in Argolis. (tholus), which he built in the sacred enclosure of
(Paus. ii. 24. § 5. )
Aesculapius at Epidaurus: the former Pausanias
But that which he probably designed to be the thought the best worth seeing of all the theatres,
greatest of all his works was his ivory and gold statue whether of the Greeks or the Romans. (Paus ii.
of Hern in her temple between Argos and Mycenae. 27. SS 2, 5. )
This work was executed by the artist in his old 2. Of the younger Polycleitus of Argos very
age (see above), and was doubtless intended by little is known, doubtless because his fame was
him to rival Pheidias's chryselephantine statues of eclipsed by that of his more celebrated pamesake,
Athena and of Zeus, which, in the judgment of and, in part, contemporary. The chief testiinony
Strabo (viii. p. 372), it equalled in beauty, though respecting him is a padenge of Pausanias, who says
it was surpassed by them in costliness and size. that the statue of Agenor of Thebes, an Olympic
According to the description of Pausanias (ii. 17. victor in the boys' wrestling, was made by “ Poly-
$ 4), the goddess was seated on a throne, her cleitus of Argos, not the one who made the stutus
head crowned with a garland, on which were of Hera, but the pupil of Naucydes” (Paus. vi. 6. §
worked the Graces and the Hours, the one hand 1. 8. 2). Now Naucydes flourished between B. C.
holding the symbolical pomegranate, and the other 420 and 400 ; so that Polycleitus must be placed
a sceptre, surmounted by a cuckoo, a bird sacred about B. C. 400. With this agrees the statement
to Hem, on account of her having been once of Pausanias, that Polycleitus made the bronze
changed into that form by Zeus. From an epi- tripod and statue of Aphrodite, at Amyclae, which
gram by Parmenion (Brunck, Anal, vol. i. p. 202, the Lacedaemonians dedicated out of the spoils of
No. 5) it would seem that the figure of the god the victory of Aegospotami (Paus. iii. 18. § 5. 8.
dess was robed from the waist downwards. Maxi- 8); for the age of the elder Polycleitus cannot be
mus Tyrius, who compares the statue with the brought down so low as this. Mention has been
Athena of Pheidias, describes the Hera of Poly made above of the statue of Zeus Philius, at Mega-
cleitus as the white-armed goddess of Homer, lopolis, among the works of the elder Polycleitus.
having ivory arms, beautiful eyes, a splendid robe, a Some, however, refer it to the younger, and take it
queenlike figure, seated on a golden throne. (Dis- as a proof that he was still alive after the building
sert. xiv. 6, vol. i. p. 260, Reiske. ). , In this de- of Megalopolis, in B. c. 370 ; but this argument is
scription we clearly see the Homeric ideal of Heran in no way decisive, for it is natural to suppose that
the white-armed, large-eyed (AeUklevos, Bownis), many of the statues which adorned Megalopolis
which Polycleitus took for the model of his Hera, were carried thither by the first settlers. To this
just as Pheidias followed the Homeric ideal of artist also we should probably refer the passage of
Zeus in his statue at Olympia. The character ex- Pausanias (ii. 22. § 8), in which mention is made
pressed by the epithet Bowtis must have been that of a bronze statue of Hecate by him at Argos, and
of the whole countenance, an expression of open from which we learn too that Polycleitus was the
and imposing majesty ; and accordingly, in a most brother of his instructor Naucydes. (NAUCY DES. )
laudatory epigram on the statue, Martial says (x. He also was probably the maker of the mutilated
89):
statue of Alcibiades, mentioned by Dio Chrysostom
(Orat. 37, vol. ii. p. 122, Reiske). It wonld seem
“ Ore nitet tanto, quanto superasset in Ida from the passage of Pausanias first quoted (ri. 6.
Judice convictas non dubitante deas. " § 1), that the younger Polycleitus was famous for
his statues of Olympic victors ; and, therefore, it
This statue remained always the ideal model of is exceedingly probable that some, if not all, of the
Hera, as Pheidias's of the Olympian Zeus. Thus statues of this class, mentioned above under the
Herodes Atticus, when he set up at Caesareia the name of the elder Poly ought to be referred
statues of Augustus and Rome, had them made to him. Whatever else was once known of him is
on the model of these two statues respectively. now hopelessly merged in the statements respecting
(Joseph. Ant. Jud. xv. 13. ) Praxiteles, however, the elder artist.
ventured to make some minor alterations in Poly- Thiersch makes still a third (according to him,
cleitus's type of Hera. (PRAXITELES. ) There is a fourth) statuary or sculptor of this name, Poly-
an excellent essay on this statue, with an explana- cleitus of Thasos, on the authority of an epigram of
tion of the allegorical signification of its parts, Geminus (Anth. Plan. iii. 30 ; Brunck, Anal. vol.
by Böttiger. (Andeutungen, pp. 122-128 ; comp. ii. p. 279) :-
Müller, Archäol. d. Kunst
, $ 352.
)
Χείρ με Πολυκλείτου Θασίου κάμεν, είμι δ' εκείνος
It is impossible to determine which of all the
Σαλμωνεύς, βρονταϊς δς Διός ανταμάνην, κ. τ. λ.
existing figures and busts of Hera or Juno, and
of Roman empresses in the character of Juno, may where Grotius proposed to read Nol vyvátov for
be considered as copies of the Hera of Polycleitus ; no, ukheltov, an emendation which is almost cer-
but in all probability we have the type on a coin tainly correct, notwithstanding Heyne's objection,
of Argos, which is engraved in Müller's Denkmäler that the phrase xelp xáuer is more appropriate to a
(vol. i. pl
. 30. fig. 132; comp. Böttiger, l. c. p. sculpture than a painting. There is no other men
127).
tion of a Thasian Polycleitus ; but it is well known
In the department of toreutic, the fame of Poly- that Polygnotus was a Thasian. The error is just
cleitus no doubt rested chiefly on the golden orna- one of a class often met with, and of which wo
ments of his statue of Hera ; but he also made small have a precisely parallel example in another epi.
bronzes (sigilla), and drinking-vessels (phialue) gram, which ascribes to Polycleitus a painting of
(Martial riii. 51 ; Juvenal. viii. 102). Moschion | Polyxena (Anth. Plan. iv, 150 ; Brunck, Anabo
## p. 458 (#474) ############################################
458
POLYCLES.
POLYCLES.
soner.
vol. ii. p. 440). It is not, however, certain that pretty much in the order of tiine ; and in the pre-
Πολυγνώτοιo is the right reading in this second sent instance, the name of Polycles comes before
case ; the blunder is very probably that of the those of Pyrrhus and of Phoenix, the disciple of
author of the epigram. (Jacobs, Animadv. in Anth. Lysippus. ( Archäol. d. Kunst, $ 128, n. 2. )
Graec. aut loc. )
Respecting the Hermaphrodite of Polycles, it
Lastly, there are gems bearing the name of Po- cannot be determined with certainty which of the
lycleitus, respecting which it is doubtful whether extant works of this class represents its type, or
the engraver was the same person as the great whether it was a standing or a recumbent figure.
Argive statuary ; but it is more probable that he The prevailing opinion among archaeologists is
was a different person. (Bracci, tab. 96 ; Stosch, that the celebrated recumbent Hermaphrodite, of
de Gemm. 76 ; Lewezow, über den Raub des Palla- which we have two slightly different examples, in
dium, pp. 31, &c. ; Sillig, Catal. Artif. s. v. ) [P. S. ] marble, the one in the Florentine Gallery, the other
POCYCLETUS (Nonúknectos), a favourite in the Louvre (formerly in the Villa Borghese), is
freedman of Nero, was sent by that emperor into copied from the bronze statue of Polycles. (Meyer,
Britain to inspect the state of the island. (Tac. Kunstgeschichte, vol. i. pp. 98, 99, and plate 9;
Ann. xiv. 39, Hist. i. 37, ii. 95 ; Dion Cass. xliii. Müller, Archäol. d. Kunst, $ 392, n. 2 ; Osann,
12. )
Ueber eine in Pompeii Ausgegrabene Hermaphrodi.
POLYCLES (IoAukinis). 1. A Macedonian tenstatue ; and Böttiger, Veber die Hermaphroditen-
general who was left in the command of Thessaly Fubel und Bildung, in the Amalthea, vol. i. pp. 312
by Antipater, when the latter crossed over into -366. )
Asia to the support of Craterus, B. C. 321. The The younger Polycles, from the date assigned
Aetolians took advantage of the absence of An- to him by Pliny, and from the mention of a statie
tipater to invade Locris, and laid siege to Am- of Juno by Polycles in the portico of Octavin at
phissa ; whereupon Polycles hastened to its relief, Rome (Plin. H. N. xxxvi. 4. s. 5. § 10), would
but was totally defented, his army utterly de- seem to have been one of the Greek artists who
stroyed, and he himself slain. (Diod. xviii. 38. ) flourished at Rome about the time of the original
2. One of the partisans and counsellors of erection of that portico by Metellus Macedonicus.
Eurydice, who shared in her defeat by Olympias But it is evident, on a careful examination of the
(15. c. 317), and accompanied her on her flight to latter passage of Pliny, and it is probable, from
Amphipolis, where she was soon after taken pri- the nature of the case, that many, if not most of
(Id. xix. 11. )
(E. H. B. ] the works of art, with which Metellus decorated
POʻLYCLES (IIoAuklas), artists. 1. 2. Two his portico, were not the original productions of
statuaries of this name are mentioned by Pliny living artists, but either the works of former
(H. N. xxxiv. 8. 6. 19); one, as flourishing in the masters, transported from Greece, or marble copies
102d Olympiad (B. C. 370), contemporary with taken from such works. It contained, for example,
Cephisodotus, Leochares, and Hypatodorus ; the works by Praxiteles, one of which stood in the
other, as one of a number of statuaries, who flou very part of the edifice in which the statue by
rished at the revival of the art in the 156th Olym- Polycles was placed. Hence arises the suspicion
piad (B. C. 155), and who, though far inferior to that this Polycles may be no other than the great
those who lived from the time of Pheidias down to Athenian artist already mentioned ; that, like other
the 120th Olympiad (B. C. 300), were nevertheless statuaries of that era (Praxiteles, for instance), he
artists of reputation. In this list the name of wrought in marble as well as in bronze, or else
Polycles is followed by the word Athenaeus, that the marble statue of Juno in the portico of
which is usually taken for the name of another Metellus was only a copy from one of his works,
artist, but which may perhaps, as Sillig has ob- and that Pliny places him erroneously at the 156th
served, indicate the city to which Polycles be- Olympiad, because, finding him mentioned among
longed ; for it is not at all improbable that Pliny the artists whose works stood in the portico of
would copy the words Monukañis 'Aonvaios, which Metellus, he mistook him for an artist living at
he found in his Greek authority, either through the period of its erection. It is true that this is
carelessness, or because he mistook the second uncertain conjecture ; but Pliny is very apt to
for the name of a person. It is also extremely make mistakes, and still more the copyists, espe-
probable that the elder Polycles was an Athenian, cially in lists of names, and a sound critic is very
and that he was, in fact, one of the artists of the reluctant to consent to the unnecessary multiplica-
later Athenian school, who obtained great celebrity tion of persons bearing distinguished names.
by the sensual charms exhibited in their works. The name, however, occurs in Pausanias as
For not only does Pliny mention Polycles I. in well as Pliny. In his enumeration of the statues
connection with Cephisodotus I. and Leochares, of Olympic victors, after mentioning statues by
whom we know to have been two of the most dis- Pheidias and Silanion, he says that another sta-
tinguished artists of that school; but he also tuary of the Athenians, Polycles, the disciple of
ascribes to Polycles (without, however, specifying Stadieus the Athenian, made an Ephesian boy, a
which of the two) a celebrated statue of an Her- pancratiast, Amyntas the son of Hellanicus. (Paus.
maphrodite, a work precisely in keeping with the vi. 4. § 3. 6. 5. ) It is evident from this passage
character of the school which produced the Gany- that this Polycles was a very distinguished Athe-
mede of Leochares. (Plin. l. c. $ 20. ) From the nian artist, and the context seems to show that he
comparison, then, of these two statements, the in- flourished between the times of Pheidias and Ly-
ference is highly probable that the Hermaphrodite sippus, and nearer to the latter. If, therefore,
was the work of the elder Polycles, who was an there were two artists of the name, he is probably
artist of the later Athenian school of statuary. the same as the elder. In another passage he
Müller strongly confirms this view by the inge- mentions the statue of the Olympic victor Age-
nious observation, that, in Pliny's alphabetical sarchus, as the work of the sons of Polycles, whose
lists of artists, the names under each letter come names he does not give, but of whom he promises
## p. 459 (#475) ############################################
FOLYCRATES.
459
POLYCRATES.
he says,
to say more in a subsequent part of his work | Amasis and Polycrates in his most dramatic man-
(vi. 12. & 3. & 9). Accordingly, at the end of ner. In a letter which Amasis wrote to Poly-
the chapter in which he describes Elateia in Phocis, crates, the Egyptian monarch advised him to throw
after mentioning the temple of Asclepius, with the away one of his most valuable possessions, in order
bearded statue of the god in it, made by Timocles that he might thus inflict some injury upon him-
and Timarchides, who were of Athenian birth, he self. In accordance with this advice Polycrates
proceeds to give an account of the temple of Athena threw into the sea a seal-ring of extraordinary
Cranaea, in which was a statue of the goddess, beauty ; but in a few days it was found in the
equipped as if for battle, and with works of art belly of a fish, which had been presented to him
upon the shield in imitation of the shield of the by a fisherman. Thereupon Amasis immediately
Athena of the Parthenon ; "and this statue also,” | broke off his alliance with him. Of course the
was made by the sons of Polycles. " story is a fiction ; and Mr. Grote remarks (Hist. of
(Paus. x. 34. § 3. s. 6—8. ) Froin this passage, Greece, vol. iv. p. 3:23) with justice, that the facts
tirken in its connection, it is evident that the sons related by Herodotus rather lead us to believe that
of Polycles were no other than Timocles and it was Polycrates, who, with characteristic faith-
Timarchides, and that these were Athenian artists lessness, broke off his alliance with Amasis, find.
of considerable reputation. Now, reverting to ing it more for his interest to cultivate friendship
Pliny, we find in the same list of statuaries at the with Cambyses, when the latter was preparing to
revival of the art in Ol. 156, in which the name invade Egypt, B. C. 525. He sent to the assistance
of Polycles occurs, the name of Timocles ; and in of the Persian monarch forty ships, on which he
the passage respecting the works in the portico of placed all the persons opposed to his government,
Octavia, immediately after the mention of the and at the same time privately requested Cambyses
statue of Juno by Polycles, he mentions that of that they might never be allowed to return. But
Jupiter by the sons of T'imarchides, in the adjacent these malcontents either never went to Egypt, or
temple. It follows that, if there be no mistake in found means to escape ; they sailed back to Samos,
Pliny, the Polycles of the two latter passages of and nade war upon the tyrant, but were de-
l'ausanias (and perhaps, therefore, of the first) feated by the latter. Thereupon they repaired
was the younger Polycles. At all events, we to Sparta for assistance, which was readily granted.
establish the existence of a family of Athenian | The Corinthians likewise, who had a special
statuaries, Polycles, his sons Timocles and Timar- cause of quarrel against the Samians, joined the
chides, and the sons of Timarchides, who either Spartans, and their united forces uc
accompanied
belonged (supposing Pliny to have made the mis- by the exiles sailed against Samos. They laid
take above suggested) to the later Attic school of siege to the city for forty days, but at length de-
the times of Scopas and Praxiteles, or (if Pliny bespairing of taking it, they abandoned the island,
right) to the period of that revival of the art, and left the exiles to shift for themselves. The
about b. c. 155, which was connected with the power of Polycrates now became greater than ever.
employment of Greek artists at Rome. (Comp. The great works which Herodotus saw and ad-
TIMARCHIDES and TIMOCLES. ) There is still mired at Samos were probably executed by him.
one more passage in which the name of Polycles He lived in great pomp and luxury, and like some
occurs, as the maker of some statues of the Muses, of the other Greek tyrants was a patron of litera-
in bronze. (Varro, ap. Nonium, s. v. Ducere. ) ture and the arts. The most eminent artists and
3. Of Adramyttium, a painter, mentioned by poets found a ready welcome at his court ; and his
Vitruvius among those artists who deserved fame, friendship for Anacreon is particularly celebrated.
but who failed through adverse fortune to attain But in the midst of all his prosperity he fell by the
to it. (iii. Praef. & 2. )
(P. S. ] most ignominious fate. Oroetes, the satrap of
POŻY'CRATES (IIoA vrpárns), historical. 1. Sardis, bad for some reason, which is quite un-
Of Samos, one of the most fortunate, ambitious, known, formed a deadly hatred against Polycrates.
and treacherous of the Greek tyrants.
presently. His fame as a toreutic artist was so 6. A Mercury, at Lysimachia. (Plin. l. c. )
great that he was considered, according to Pliny, 7. A Heracles Ageter, arming himself, which
to have perfected the art, which Pheidias had com- was at Rome in Pliny's time (Plin. l. c. ; but the
menced, but had left incomplete :— “ toreuticen reading is somewhat doubtful). Cicero also men-
sic erudisse | judicatur), ut Phidias aperuisse. ” tions a Hercules by Polycleitus ; but this seems to
(H. N. l. c. 2. ) There are a few passages have been a different work, in which the hero was
which Polycleitus seems to be spoken of as a represented as killing the hydra (de Orat. ii. 16).
painter ; but they are insufficient to establish the 8. A portrait statue of Artemon, surnamed Pe.
fact. (See Sillig, Catal. Artif. s. v. )
riphoretos, the military engineer employed by
Polycleitus wrote a treatise on the proportions Pericles in the war against Samos (Plin. Lc;
of the human body, which bore the same name as Plut. Per. 27).
the statue in which he exemplified his own laws, 9. An Amazon, which gained the first prize,
namely, Kavwv (Galen, Tepl TW kať 'It Okpátnv above Pheidias, Ctesilaus, Cydon, and Phradmon,
kai Inátwva, iv. 3, vol. iv. p. 449, ed. Kühn). in the celebrated contest at Ephesus (Plin. H. N.
The following were the chief works of Poly- xxxiv. 8. 8. 19).
cleitus in bronze. The kind of bronze which he To the above list must be added some other
chiefly used was the Aeginetan ; whereas his con- works, which are not mentioned by Pliny.
temporary Myron preferred the Delian. (Plin. 10. A pair of small but very beautiful Cane
H. N. xxxiv. 2. s. 5; Dict. of Ant. s. v. Aes. ) phoroe (Cic. in Verr. iv. 3 ; Symmach. Ep. i. 23 ;
). The Spear Bearer (Doryphorus), a youthful Amalthea, vol. iii. p. 164).
figure, but with the full proportions of a man 11. A statue of Zeus Philius at Megalopolis, the
(viriliter puerum, Plin. H. N. xxxiv. 8. s. 19. & 2). dress and ornaments of which were similar to those
There can be no doubt that this was the statue appropriate to Dionysus (Paus. viii. 31. & 2. s. 4).
which became known by the name of Canon, because 12. Several statues of Olympic victors (Paus.
in it the artist had embodied a perfect representa- vi. $ 4, 4. $ 6, 7. $ 3, 9. § 1, 13. § 4). But it
tion of the ideal of the human figure, and had cannot be determined whether these should lo
thus, as Pliny says, exhibited art itself in a work ascribed to the elder or the younger Polycleitus,
of art. Pliny, indeed, appears to speak of this (See below, No. 2. )
## p. 457 (#473) ############################################
POLYCLEITUS.
457
POLYCLEITUS.
of his works in marble, the only ones which mentions a celebrated lamp, which he made for
Are mentioned are his statue of Zeus Milichius at the king of Persia (up. Ath. v. p. 206, e).
Argos (Paus. ii. 20. $ 1), and those of Apollo, As an architect Polycleitus obtained great cele-
Leto, and Artemis, in the temple of Artemis Orbrity by the theatre, and the circular building
thia, on the summit of Mt. Lycone in Argolis. (tholus), which he built in the sacred enclosure of
(Paus. ii. 24. § 5. )
Aesculapius at Epidaurus: the former Pausanias
But that which he probably designed to be the thought the best worth seeing of all the theatres,
greatest of all his works was his ivory and gold statue whether of the Greeks or the Romans. (Paus ii.
of Hern in her temple between Argos and Mycenae. 27. SS 2, 5. )
This work was executed by the artist in his old 2. Of the younger Polycleitus of Argos very
age (see above), and was doubtless intended by little is known, doubtless because his fame was
him to rival Pheidias's chryselephantine statues of eclipsed by that of his more celebrated pamesake,
Athena and of Zeus, which, in the judgment of and, in part, contemporary. The chief testiinony
Strabo (viii. p. 372), it equalled in beauty, though respecting him is a padenge of Pausanias, who says
it was surpassed by them in costliness and size. that the statue of Agenor of Thebes, an Olympic
According to the description of Pausanias (ii. 17. victor in the boys' wrestling, was made by “ Poly-
$ 4), the goddess was seated on a throne, her cleitus of Argos, not the one who made the stutus
head crowned with a garland, on which were of Hera, but the pupil of Naucydes” (Paus. vi. 6. §
worked the Graces and the Hours, the one hand 1. 8. 2). Now Naucydes flourished between B. C.
holding the symbolical pomegranate, and the other 420 and 400 ; so that Polycleitus must be placed
a sceptre, surmounted by a cuckoo, a bird sacred about B. C. 400. With this agrees the statement
to Hem, on account of her having been once of Pausanias, that Polycleitus made the bronze
changed into that form by Zeus. From an epi- tripod and statue of Aphrodite, at Amyclae, which
gram by Parmenion (Brunck, Anal, vol. i. p. 202, the Lacedaemonians dedicated out of the spoils of
No. 5) it would seem that the figure of the god the victory of Aegospotami (Paus. iii. 18. § 5. 8.
dess was robed from the waist downwards. Maxi- 8); for the age of the elder Polycleitus cannot be
mus Tyrius, who compares the statue with the brought down so low as this. Mention has been
Athena of Pheidias, describes the Hera of Poly made above of the statue of Zeus Philius, at Mega-
cleitus as the white-armed goddess of Homer, lopolis, among the works of the elder Polycleitus.
having ivory arms, beautiful eyes, a splendid robe, a Some, however, refer it to the younger, and take it
queenlike figure, seated on a golden throne. (Dis- as a proof that he was still alive after the building
sert. xiv. 6, vol. i. p. 260, Reiske. ). , In this de- of Megalopolis, in B. c. 370 ; but this argument is
scription we clearly see the Homeric ideal of Heran in no way decisive, for it is natural to suppose that
the white-armed, large-eyed (AeUklevos, Bownis), many of the statues which adorned Megalopolis
which Polycleitus took for the model of his Hera, were carried thither by the first settlers. To this
just as Pheidias followed the Homeric ideal of artist also we should probably refer the passage of
Zeus in his statue at Olympia. The character ex- Pausanias (ii. 22. § 8), in which mention is made
pressed by the epithet Bowtis must have been that of a bronze statue of Hecate by him at Argos, and
of the whole countenance, an expression of open from which we learn too that Polycleitus was the
and imposing majesty ; and accordingly, in a most brother of his instructor Naucydes. (NAUCY DES. )
laudatory epigram on the statue, Martial says (x. He also was probably the maker of the mutilated
89):
statue of Alcibiades, mentioned by Dio Chrysostom
(Orat. 37, vol. ii. p. 122, Reiske). It wonld seem
“ Ore nitet tanto, quanto superasset in Ida from the passage of Pausanias first quoted (ri. 6.
Judice convictas non dubitante deas. " § 1), that the younger Polycleitus was famous for
his statues of Olympic victors ; and, therefore, it
This statue remained always the ideal model of is exceedingly probable that some, if not all, of the
Hera, as Pheidias's of the Olympian Zeus. Thus statues of this class, mentioned above under the
Herodes Atticus, when he set up at Caesareia the name of the elder Poly ought to be referred
statues of Augustus and Rome, had them made to him. Whatever else was once known of him is
on the model of these two statues respectively. now hopelessly merged in the statements respecting
(Joseph. Ant. Jud. xv. 13. ) Praxiteles, however, the elder artist.
ventured to make some minor alterations in Poly- Thiersch makes still a third (according to him,
cleitus's type of Hera. (PRAXITELES. ) There is a fourth) statuary or sculptor of this name, Poly-
an excellent essay on this statue, with an explana- cleitus of Thasos, on the authority of an epigram of
tion of the allegorical signification of its parts, Geminus (Anth. Plan. iii. 30 ; Brunck, Anal. vol.
by Böttiger. (Andeutungen, pp. 122-128 ; comp. ii. p. 279) :-
Müller, Archäol. d. Kunst
, $ 352.
)
Χείρ με Πολυκλείτου Θασίου κάμεν, είμι δ' εκείνος
It is impossible to determine which of all the
Σαλμωνεύς, βρονταϊς δς Διός ανταμάνην, κ. τ. λ.
existing figures and busts of Hera or Juno, and
of Roman empresses in the character of Juno, may where Grotius proposed to read Nol vyvátov for
be considered as copies of the Hera of Polycleitus ; no, ukheltov, an emendation which is almost cer-
but in all probability we have the type on a coin tainly correct, notwithstanding Heyne's objection,
of Argos, which is engraved in Müller's Denkmäler that the phrase xelp xáuer is more appropriate to a
(vol. i. pl
. 30. fig. 132; comp. Böttiger, l. c. p. sculpture than a painting. There is no other men
127).
tion of a Thasian Polycleitus ; but it is well known
In the department of toreutic, the fame of Poly- that Polygnotus was a Thasian. The error is just
cleitus no doubt rested chiefly on the golden orna- one of a class often met with, and of which wo
ments of his statue of Hera ; but he also made small have a precisely parallel example in another epi.
bronzes (sigilla), and drinking-vessels (phialue) gram, which ascribes to Polycleitus a painting of
(Martial riii. 51 ; Juvenal. viii. 102). Moschion | Polyxena (Anth. Plan. iv, 150 ; Brunck, Anabo
## p. 458 (#474) ############################################
458
POLYCLES.
POLYCLES.
soner.
vol. ii. p. 440). It is not, however, certain that pretty much in the order of tiine ; and in the pre-
Πολυγνώτοιo is the right reading in this second sent instance, the name of Polycles comes before
case ; the blunder is very probably that of the those of Pyrrhus and of Phoenix, the disciple of
author of the epigram. (Jacobs, Animadv. in Anth. Lysippus. ( Archäol. d. Kunst, $ 128, n. 2. )
Graec. aut loc. )
Respecting the Hermaphrodite of Polycles, it
Lastly, there are gems bearing the name of Po- cannot be determined with certainty which of the
lycleitus, respecting which it is doubtful whether extant works of this class represents its type, or
the engraver was the same person as the great whether it was a standing or a recumbent figure.
Argive statuary ; but it is more probable that he The prevailing opinion among archaeologists is
was a different person. (Bracci, tab. 96 ; Stosch, that the celebrated recumbent Hermaphrodite, of
de Gemm. 76 ; Lewezow, über den Raub des Palla- which we have two slightly different examples, in
dium, pp. 31, &c. ; Sillig, Catal. Artif. s. v. ) [P. S. ] marble, the one in the Florentine Gallery, the other
POCYCLETUS (Nonúknectos), a favourite in the Louvre (formerly in the Villa Borghese), is
freedman of Nero, was sent by that emperor into copied from the bronze statue of Polycles. (Meyer,
Britain to inspect the state of the island. (Tac. Kunstgeschichte, vol. i. pp. 98, 99, and plate 9;
Ann. xiv. 39, Hist. i. 37, ii. 95 ; Dion Cass. xliii. Müller, Archäol. d. Kunst, $ 392, n. 2 ; Osann,
12. )
Ueber eine in Pompeii Ausgegrabene Hermaphrodi.
POLYCLES (IoAukinis). 1. A Macedonian tenstatue ; and Böttiger, Veber die Hermaphroditen-
general who was left in the command of Thessaly Fubel und Bildung, in the Amalthea, vol. i. pp. 312
by Antipater, when the latter crossed over into -366. )
Asia to the support of Craterus, B. C. 321. The The younger Polycles, from the date assigned
Aetolians took advantage of the absence of An- to him by Pliny, and from the mention of a statie
tipater to invade Locris, and laid siege to Am- of Juno by Polycles in the portico of Octavin at
phissa ; whereupon Polycles hastened to its relief, Rome (Plin. H. N. xxxvi. 4. s. 5. § 10), would
but was totally defented, his army utterly de- seem to have been one of the Greek artists who
stroyed, and he himself slain. (Diod. xviii. 38. ) flourished at Rome about the time of the original
2. One of the partisans and counsellors of erection of that portico by Metellus Macedonicus.
Eurydice, who shared in her defeat by Olympias But it is evident, on a careful examination of the
(15. c. 317), and accompanied her on her flight to latter passage of Pliny, and it is probable, from
Amphipolis, where she was soon after taken pri- the nature of the case, that many, if not most of
(Id. xix. 11. )
(E. H. B. ] the works of art, with which Metellus decorated
POʻLYCLES (IIoAuklas), artists. 1. 2. Two his portico, were not the original productions of
statuaries of this name are mentioned by Pliny living artists, but either the works of former
(H. N. xxxiv. 8. 6. 19); one, as flourishing in the masters, transported from Greece, or marble copies
102d Olympiad (B. C. 370), contemporary with taken from such works. It contained, for example,
Cephisodotus, Leochares, and Hypatodorus ; the works by Praxiteles, one of which stood in the
other, as one of a number of statuaries, who flou very part of the edifice in which the statue by
rished at the revival of the art in the 156th Olym- Polycles was placed. Hence arises the suspicion
piad (B. C. 155), and who, though far inferior to that this Polycles may be no other than the great
those who lived from the time of Pheidias down to Athenian artist already mentioned ; that, like other
the 120th Olympiad (B. C. 300), were nevertheless statuaries of that era (Praxiteles, for instance), he
artists of reputation. In this list the name of wrought in marble as well as in bronze, or else
Polycles is followed by the word Athenaeus, that the marble statue of Juno in the portico of
which is usually taken for the name of another Metellus was only a copy from one of his works,
artist, but which may perhaps, as Sillig has ob- and that Pliny places him erroneously at the 156th
served, indicate the city to which Polycles be- Olympiad, because, finding him mentioned among
longed ; for it is not at all improbable that Pliny the artists whose works stood in the portico of
would copy the words Monukañis 'Aonvaios, which Metellus, he mistook him for an artist living at
he found in his Greek authority, either through the period of its erection. It is true that this is
carelessness, or because he mistook the second uncertain conjecture ; but Pliny is very apt to
for the name of a person. It is also extremely make mistakes, and still more the copyists, espe-
probable that the elder Polycles was an Athenian, cially in lists of names, and a sound critic is very
and that he was, in fact, one of the artists of the reluctant to consent to the unnecessary multiplica-
later Athenian school, who obtained great celebrity tion of persons bearing distinguished names.
by the sensual charms exhibited in their works. The name, however, occurs in Pausanias as
For not only does Pliny mention Polycles I. in well as Pliny. In his enumeration of the statues
connection with Cephisodotus I. and Leochares, of Olympic victors, after mentioning statues by
whom we know to have been two of the most dis- Pheidias and Silanion, he says that another sta-
tinguished artists of that school; but he also tuary of the Athenians, Polycles, the disciple of
ascribes to Polycles (without, however, specifying Stadieus the Athenian, made an Ephesian boy, a
which of the two) a celebrated statue of an Her- pancratiast, Amyntas the son of Hellanicus. (Paus.
maphrodite, a work precisely in keeping with the vi. 4. § 3. 6. 5. ) It is evident from this passage
character of the school which produced the Gany- that this Polycles was a very distinguished Athe-
mede of Leochares. (Plin. l. c. $ 20. ) From the nian artist, and the context seems to show that he
comparison, then, of these two statements, the in- flourished between the times of Pheidias and Ly-
ference is highly probable that the Hermaphrodite sippus, and nearer to the latter. If, therefore,
was the work of the elder Polycles, who was an there were two artists of the name, he is probably
artist of the later Athenian school of statuary. the same as the elder. In another passage he
Müller strongly confirms this view by the inge- mentions the statue of the Olympic victor Age-
nious observation, that, in Pliny's alphabetical sarchus, as the work of the sons of Polycles, whose
lists of artists, the names under each letter come names he does not give, but of whom he promises
## p. 459 (#475) ############################################
FOLYCRATES.
459
POLYCRATES.
he says,
to say more in a subsequent part of his work | Amasis and Polycrates in his most dramatic man-
(vi. 12. & 3. & 9). Accordingly, at the end of ner. In a letter which Amasis wrote to Poly-
the chapter in which he describes Elateia in Phocis, crates, the Egyptian monarch advised him to throw
after mentioning the temple of Asclepius, with the away one of his most valuable possessions, in order
bearded statue of the god in it, made by Timocles that he might thus inflict some injury upon him-
and Timarchides, who were of Athenian birth, he self. In accordance with this advice Polycrates
proceeds to give an account of the temple of Athena threw into the sea a seal-ring of extraordinary
Cranaea, in which was a statue of the goddess, beauty ; but in a few days it was found in the
equipped as if for battle, and with works of art belly of a fish, which had been presented to him
upon the shield in imitation of the shield of the by a fisherman. Thereupon Amasis immediately
Athena of the Parthenon ; "and this statue also,” | broke off his alliance with him. Of course the
was made by the sons of Polycles. " story is a fiction ; and Mr. Grote remarks (Hist. of
(Paus. x. 34. § 3. s. 6—8. ) Froin this passage, Greece, vol. iv. p. 3:23) with justice, that the facts
tirken in its connection, it is evident that the sons related by Herodotus rather lead us to believe that
of Polycles were no other than Timocles and it was Polycrates, who, with characteristic faith-
Timarchides, and that these were Athenian artists lessness, broke off his alliance with Amasis, find.
of considerable reputation. Now, reverting to ing it more for his interest to cultivate friendship
Pliny, we find in the same list of statuaries at the with Cambyses, when the latter was preparing to
revival of the art in Ol. 156, in which the name invade Egypt, B. C. 525. He sent to the assistance
of Polycles occurs, the name of Timocles ; and in of the Persian monarch forty ships, on which he
the passage respecting the works in the portico of placed all the persons opposed to his government,
Octavia, immediately after the mention of the and at the same time privately requested Cambyses
statue of Juno by Polycles, he mentions that of that they might never be allowed to return. But
Jupiter by the sons of T'imarchides, in the adjacent these malcontents either never went to Egypt, or
temple. It follows that, if there be no mistake in found means to escape ; they sailed back to Samos,
Pliny, the Polycles of the two latter passages of and nade war upon the tyrant, but were de-
l'ausanias (and perhaps, therefore, of the first) feated by the latter. Thereupon they repaired
was the younger Polycles. At all events, we to Sparta for assistance, which was readily granted.
establish the existence of a family of Athenian | The Corinthians likewise, who had a special
statuaries, Polycles, his sons Timocles and Timar- cause of quarrel against the Samians, joined the
chides, and the sons of Timarchides, who either Spartans, and their united forces uc
accompanied
belonged (supposing Pliny to have made the mis- by the exiles sailed against Samos. They laid
take above suggested) to the later Attic school of siege to the city for forty days, but at length de-
the times of Scopas and Praxiteles, or (if Pliny bespairing of taking it, they abandoned the island,
right) to the period of that revival of the art, and left the exiles to shift for themselves. The
about b. c. 155, which was connected with the power of Polycrates now became greater than ever.
employment of Greek artists at Rome. (Comp. The great works which Herodotus saw and ad-
TIMARCHIDES and TIMOCLES. ) There is still mired at Samos were probably executed by him.
one more passage in which the name of Polycles He lived in great pomp and luxury, and like some
occurs, as the maker of some statues of the Muses, of the other Greek tyrants was a patron of litera-
in bronze. (Varro, ap. Nonium, s. v. Ducere. ) ture and the arts. The most eminent artists and
3. Of Adramyttium, a painter, mentioned by poets found a ready welcome at his court ; and his
Vitruvius among those artists who deserved fame, friendship for Anacreon is particularly celebrated.
but who failed through adverse fortune to attain But in the midst of all his prosperity he fell by the
to it. (iii. Praef. & 2. )
(P. S. ] most ignominious fate. Oroetes, the satrap of
POŻY'CRATES (IIoA vrpárns), historical. 1. Sardis, bad for some reason, which is quite un-
Of Samos, one of the most fortunate, ambitious, known, formed a deadly hatred against Polycrates.
and treacherous of the Greek tyrants.
