No More Learning

and with its back against the wall which separated | Andeutungen, pp. 93–107. ) Flaxman also bas
the prodomus from the opisthodomus, so that it at given a restoration of it (Lectures on Sculpture,
once showed itself in all its grandeur to a spectator pl. xx. ), in which he assigns far less importance to
entering the temple. It was only visible, however, the throne than De Quincy does, and less, indeed,
on great festivals, at other times it was concealed than the description of Pausanias seems to suggest.
by a magnificent curtain ; the one used in the The dimensions of the statue Pausanias professes
time of Pausanias had been presented by king his inability to state ; but we learn from Strabo
Antiochus. (Paus. v. 12. $ 4. ) The god was re- that it almost reached to the roof, which was about
presented as seated on a throne of cedar wood, sixty feet in height. We have no such statement,
adorned with gold, ivory, ebony, stones, and co- as we have in the case of the Athena, of the weight
lours, crowned with a wreath of olive, holding in of the gold upon the statue, but some idea of the
his right hand an ivory and gold statue of Victory, greatness of its quantity may be formed from the
with a fillet in her hand and a crown upon her statement of Lucian, that each lock of the hair
head, and in his left hand supporting a sceptre, weighed six minae (Jup. Trag. 25). The comple-
which was ornamented with all sorts of metals, tion of the statue is said by Pausanias to have been
and surmounted by an eagle. The robe, which followed by a sign of the favour of Zeus, who, in
covered the lower part of the figure, and the answer to the prayer of Pheidias, struck the pave-
sandals of the god were golden, the former, as we ment in front of the statue with lightning, on a
learn from Strabo, of beaten gold (opupňaatos), spot which was marked by a bronze urn. This
and on the robe were represented (whether by pavement was of black marble (no doubt to set off
painting or chasing Pausanias does not say, but the brilliancy of the ivory and gold and colours),
the former is by far the more probable) various surrounded by a raised edge of Parian marble,
animals and flowers, especially lilies. The throne which served to retain the oil that was poured
was brilliant both with gold and stones, and with over the statue, to preserve the ivory from the in-
ebony and ivory, and was ornamented with figures jurious effects of the moisture exhaled from the
both painted and sculptured. There were four marshy ground of the Altis, just as, on the con-
Victories in the attitude of dancing, against each trary, water was used to protect the ivory of the
leg of the throne, and two others at the foot of
each leg. Each of the front legs was surmounted • This confusion was inadvertently made in the
by a group representing a Theban youth seized by article PANAENUS.


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PHEIDIAS.
253
PHEIDIAS.
Athena from the excessive dryness of the air of beholders ; such Livy, (xlv. 28 ; comp. Polyb.
the Acropolis; while, in the case of another of xxx. 15) declares to have been the emotion it
Pheidias's chryselephantine statues, the Aesculapius excited in Aemilius Paulus ; while, according to
at Epidaurus, neither oil nor water was used, the Arrian (Diss. Epictet. i. 6), it was considered
proper degree of moisture being preserved by a a calamity to die without having seen it. Pliny
well
, over which the statue stood. " The office of speaks of it as a work“ quem nemo aemulatur. "
cleaning and preserving the statue was assigned to (H. N. xxxiv. 8. 8. 19. § l; comp. Quintil. xii.
the descendants of Pheidias, who were called, 10. 8 9. ) There is also a celebrated epigram of
from this office, Phaedryntae (Ⓡaidpurtai, fr. paio Philip of Thessalonica, in the Greek Anthology,
8púvw, fr. paidpós), and who, whenever they were to the effect that either the god must have de-
about to perform their work, sacrificed to the goddess scended from heaven to earth to display his
Athena Ergane. (Paus. v. 14. & 5. ) As another likeness, or that Pheidias must have ascended
honour to the memory of Pheidias, the building to heaven, to behold the god. (Brunck, Anal.
ontside of the Altis, in which he made the parts vol. ii. p. 225):
of the statue, was preserved, and known by the
“Η θεός ήλθ' επί γήν εξ ουρανού, είκονα δείξων,
name of Pheidias's workshop (épyacetýplov beidlov).
Φειδία, η σύγ' έβης τον θεόν όψόμενος.
His name, also, as already stated, was inscribed
at the feet of the statue. (Paus. v. 10. & 2). Respecting the later history of the statue, see
The idea which Pheidias essayed to embody in Cedrenus (p. 254, d. ), Heyne (Prisc. Art. Opp.
this, his greatest work, was that of the supreme Constantinop. exst. in the Comment. Gotting. vol. xi.
deity of the Hellenic nation, no longer engaged p. 9), and Fea (zu Winckelmann, Storia, vol. ii.
in conflicts with the Titans and the Giants, but pp. 416, 424).
having laid aside his thunderbolt, and enthroned It was removed by the emperor Theodosius I.
as a conqueror, in perfect majesty and repose, to Constantinople, where it was destroyed by a
ruling with a nod the subject world, and more fire in A. D. 476.
especially presiding, at the centre of Hellenic Respecting the existing works of art in which
union, over those games which were the expression the Jupiter of Pheidias is supposed to be imitated,
of that religious and political union, and giving see Böttiger, Andeutungen, pp. 107–106. The
his blessing to those victories which were the nearest imitations are probably those on the old
highest honour that a Greek could gain. It is Eleian coins, with the inscription FAAEINN.
related by Strabo (viii. p. 534, a ; comp. Val. Max. (See Müller Denkmäler, vol. i. pl. xx. fig. 103).
iii. 7. ext. 4), that when Pheidias was asked by Of existing statues and busts, the nearest like-
Panaenus what model he meant to follow in mak nesses are supposed to be the Jupiter Verospi, the
ing his statue, he replied, that of Homer, as ex- colossal bust found at Otricoli, and preserved in
pressed in the following verses (I. i. 528–530). the Museo Pio-Clementino, and another in the
*Η, και κυανέησιν επ' οφρύσι νευσε Κρονίων
Florentine Gallery. (See Müller, Archäol. d.
'Aubpóolai su apa yaitai éteppáoarto évaktos, Kunst, 8 349, and Denkmäler, vol ii
. pl. 1. )
Κρατός απ' αθανάτου μέγαν δ' ελέλιξεν "Όλυμ- | statue of Athens, which was said to be the work
14. At Elis there was also a chry selephantine
of Pheidias. It had a cock upon the helmet.
The imitation of which by Milton gives no small (Paus. vi. 26. & 2. )
aid to the comprehension of the idea (Paradise 15. At Elis also, he made a chryselephantine
Lost, iii. 135—137):
statue of Aphrodite Urania, resting one foot upon
“ Thus while God spake, ambrosial fragrance Conjug. p. 142, d. , Isid. et Osir. p. 381, e. )
a tortoise. (Paus. vi. 25. $ 2; comp. Plut. Praecept.
fillid
All heaven, and in the blessed spirits elect
16. Of the statues which Pheidias made for
other Greck states, one of the most famous appears
Sense of new joy ineffable diffused. "
to have been his chryselephantine statue of Aescu-
Expression was given to this idea, not only by lapius at Epidaurus. (Paus. v. 11. 85; Athenag.
the whole proportions and configuration of the Legat. pro Aristid. p. 61, ed. Dechair. )
statue, but more especially by the shape and posi- 17. At the entrance of the Isınenium, near
tion of the head. The height and expansive arch Thebes, there stood two marble statues of Athena
of the forehead, the masses of hair gently falling and Hermes, surnamed Mpóvaor; the latter was
forward, the largeness of the facial angle, which the work of Pheidias ; the former was ascribed to
exceeded 90 degrees, the shape of the eyebrows, Scopas. (Paus. ix. 10. g 2. )
the perfect calmness and commanding majesty of 18. In the Olympieiuin at Megara was an un-
the large and full-opened eyes, the expressive finished chryselephantine statue of Zeus, the head
Tepose of all the features, and the slight forward only being of ivory and gold, and the rest of the
inclination of the head, are the chief elements that statue of mud and gypsum. It was undertaken
go to make up that representation which, from the by Theocosmus, aasisted by Pheidias, and was
time of Pheidias downwards, has been regarded interrupted by the breaking out of the Peloponne-
as the perfect ideal of supreme majesty and entire sian War. (Paus. i. 40. § 3. ) Two interesting
complacency of the father of gods and men " points are involved in this statement, if correct :
impersonated in a human form.
the one, a confirmation respecting the age of Phei-
It is needless to cite all the passages which dias, who is seen still actively employed up to the
show that this statue was regarded as the master- very close of his life; the other, an indication of
piece, not only of Pheidias, but of the whole range the materials which he employed, in this case, as
of Grecian art; and was looked upon not so much the core of a chry selephantine statue.
As a statue, but rather as if it were the actual 19. Pliny (H. N. xxxiv. 8. s. 19), tells a story,
manifestation of the present deity. Such, accord which is rather suspicious, respecting a contest
ing 1 Lucian (Imag. 14), was its effect on the between various celebrated statuaries who, though
TOV.


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254
PHEIDIAS
PILEIDIAS.
1
of different ages, were all living together. The | lavished upon the statues. The shields of the
Bubject for the competition was an Amazon: the statues of Zeus and Athena were covered with
artists themselves were the judges, and the prize plates of gold, the reliefs in which belong to the
was awarded to that statue which cach artist department of caelatura, as does the hair of his
placed second to his own. The statue thus bo-Athena, and also the sceptre of his Zeus, which was
noured was by Polycleitus ; the second was by of all sorts of metals. The shield of his Athena
Pheidias ; the third by Ctesilaus ; the fourth by Promachus furnishes another example of the art,
Cydon; and the fifth by Phradmon. If such a though the chasing on it was executed not by
competition took place at all, it must have been himself, but by Mys. Chased silver vessels,
toward the close of the life of Pheidins. (Comp. ascribed to him (whether rightly or not, may well
POLYCLEITUS. ) The Amazon of Pheidias is be doubted), were in use in Rome in the time of
highly praised by Lucian (Imag. 4, vol. ii. p. Martial, who describes the perfectly natural repre-
462). The Amazon of the Vatican, preparing sentation of the fish upon such a vessel, by saying
to leap forward, is supposed to be a copy of it. " adde aquam, natulunt” (iii. 35 ; comp. Niceph.
(Müller, Archäol. d. K'unst, $ 121. )
Greg. Hist, rin. ).
20, 21, 22. Pliny (1. c.
) mentions three bronze li has been stated already that Pheidias was
statues by Pheidias, which were at Rome in his said to have been a painter before he became a sta-
time, but the original position of which is not tuary. Pliny states that the temple of the Olym-
known, and the subjects of which are not stated: pian Zeus at Athens was painted by him (H. N.
“ item duo signa, quae Catulus in eadem aede (sc. xxxv. 8, s. 34).
Fortunae) posuit palliata, et alterum colossicon nu- III. The Art of Pheidias. After the remarks,
dum. "
which have been made incidentally in the two pre-
23. The same writer mentions a marble Venus, ceding sections of this article, it is unnecessary to
of surpassing beauty, by Pheidias, in the portico say much more upon the characteristics of the art
of Octavia at Rome. He also states that Pheidias of Pheidins. In one word, its distinguishing cha-
put the finishing hand to the celebrated Venus of racter was ideal beauty, and that of the suldımest
his disciple Alcamenes. (H. N. xxxvi. 5. s. 4. 3. ) order, especially in the representation of divinities,
24. The well-known colossal statue of one of and of subjects connected with their worship.
the Dioscuri, with a horse, on the Monte Cavallo While on the one hand he set himself free from the
at Rome, standing on a base, which is evidently stiff and unnatural forms which, by a sort of re-
much more recent than the statue, and which ligious precedent, had fettered his predecessors of
bears the inscription Opus FIDIAE, is supposed, the archaic or hieratic school, he never, on the
from the character of the workmanship, to be rightly other hand, descended to the exact imitation of any
ascribed to Pheidias ; but antiquarians are by no human model, however beautiful ; he berer repre-
means unanimous on this point. Possibly it may sented that distorted action, or expressed that vehe-
be the alterum colossicon nudum of which Pliny ment passion, which lie beyond the limits of repose ;
speaks. (See Platner and Bunsen, Beschreibung nor did he ever approach to that almost meretricious
Roms, vol. iji. Pt. 2. p. 40+; Wagner, K'unstblatt
, grace, by which some of his greatest followers, if
1824, Nos. 93, 94, 96–98; and the engraving they did not corrupt the art themselves, gave the
in the plates to Meyer's Kuntsgeschichte, pl. 15. ) occasion for its corruption in the hands of their less
Among the statues falsely ascribed to Pheidias, gifted and spiritual imitators. The analogy be-
were the Nemesis of Agoracritus, and the Time or tween the works of Pheidias and Polycleitus, as
Opportunity of Lysippus (Auson. Ep. 12 ; see the compared with those of their successors, on the one
arts). Ai Patara in Lycia there were statues of hand, and the productions of Aeschylus and So-
Zeus and Apollo, respecting which it was doubted phocles as compared with those of Euripides, on
whether they were the works of Pheidias or of the other, is too striking not to have been often
Bryaxis. (Clem. Alex. Protrep. p. 30, c. ; comp. noticed ; and the difference is doubtless to be
Tzetz. Chil. viii. 33 ; Cedren. p. 255, d. ed. Venet. ) traced to the same causes in both instances, canses
This list of the works of Pheidias clearly proves which were at work in the social life of Greece, and
the absurdity of the statement which was put forth which left their impression upon art, as well as upon
by the depreciators of the Elgin marbles, that he literature, though the process of corruption, as is na-
never worked in marble. Pliny also expressly tural, went on more rapidly in the latier than in the
states the fact :-“ sculpsit et marmora. ” (H. N. former. In both cases, the first step in the process
xxxvi. 5. 8. 4. & 4. )
might be, and bas often been, mistaken for a step
Pheidias, like most of the other great artists of in advance. There is a refinement in that sort of
Greece, was as much distinguished for accuracy in grace and beauty, which appeals especially to sense
the minutest details, as for the majesty of his and passion, a fuller expression of those emotions
colossal figures ; and, like Lysippus, he amused with which ordinary human nature sympathises.
himself and gave proofs of his skill, by making But this sort of perfection is the ripeness which
images of minute objects, such as cicadas, bees, and indicates that decay is about to commence. The
flies (Julian, Epist. viii. p. 377, a. ). This state mind is pleased, but not elevated : the work is one
ment, however, properly refers to his works in the to be admired but not to be imitated. Thus, while
department of TOPEUTIKń, or caelatura, that is, the works of Callimachus, Praxiteles, and Scopas,
chasing, engraring, and embossing in metals ; of have sometimes been preferred by the general taste
which art we are informed by Pliny that he was to those of Pheidias, the true artist and the aesthe-
the first great master (H. N. xxxiv. 8. s. 19. &tic critic have always regarded the latter as the best
1 ; comp. Dict. of Antiq. art. Caelaturu). Great specimens of ideal sculpture, and the best examples
parts of the gold on his chryselephantine statues we for the student which ihe whole world affords. Oa
know to have been chased or embossed, though it the latter point especially the judgment of modern
is necessary to avoid confounding these ornaments artists, and of scholars who have made art their
with the polychromic decorations which were also study, respecting the Elgin marbles, is singularly


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PIIEIDIPPIDES.
255
PHEIDON.
unanimous. It is superfluous to quote those tes-Athenians why they paid him no worship, though
timonies, which will be found in the works already he had been hitherto their friend, and ever would
referred to, and in the other standard writings be so. In consequence of this revelation, they de-
upon ancient art, and which may be summed up in dicated a temple to Pan, after the battle of Mara-
the declaration of Welcker, that "the British thon, and honoured him thenceforth with annual
Museum possesses in the works of Pheidias a trea- sacrifices and a torch-race (Herod. v. 105, 106;
sure with which nothing can be compared in the Paus. i. 28, viii. 54; Corn. Nep. Milt. 4; Dict. of
whole range of ancient art” (Class. Mus. vol. ii. Ant. s. v. Lampadephoria). In Pausanias and Cor-
p. 368); but it is of importance to refer to Cicero's nelius Nepos the form of the name is Philippides,
recognition of the ideal character of the works of which we also find as a various reading in Hero
Pheidias (Orat. 2):-" Itaquc et Phidiae simulacris, dotus,
[E. E. )
quibus nihil in illo genere perfectius videmus, et his PHEIDIPPUS (DelBIOS), a son of Thessalus,
picturis, quas nominavi, cogitare tamen possumus pul- the Heracleid, and brother of Antiphos, led the
chriora. Nec vero ille artifex, quum fuceret Jovis for warriors of the Sporades in thirty ships against
mum, aut Minervae, contemplabatur aliquem, e quo Troy. (Hom. N. ii. 678; Strab. x. p. 444. ) [L. S. ]
similitudinem duceret ; sed ipsius in mente insidebat PHEIDIPPUS, a vase-printer, whose name
species pulchritudinis crimia quaedam, quam intuens appears on a vase in the Canino collection. (R. Ro-
in euque defixus, ad illius similitudinem artem et ma- chette, Lettre à M. Schorn, p. 55, 2nd ed. ) (P. S. ]
num dirigebat. ” It was the universal judgment of PHEIDON (below). 1. Son of Aristodamidas,
antiquity that no improvement could be made on and king of Argos, was the tenth, according to
his models of divinities (Quintil. xii. 10. $ 3. ) Ephorus, but, according to Theopompus, the sixth
It is sometimes mentioned, as a proof of Pheidias's in lineal descent from Temenus, Temenus himself
perfect knowledge of his art, that in his colossal being reckoned as the fifth from Hercules. Having
statues he purposely altered the right proportions, broken through the limits which had been placed
making the upper parts unnaturally large, in order on the authority of his predecessors, Pheidon
to compensate for their diminution in perspective. changed the government of Argos to a despotism.
This notion, however, which is derived from a pas- He then restored her supremacy over Cleonae,
sage in Plato (Sophist. p. 235, f. ; comp. Tzetz. Phlius, Sicyon, Epidaurus, Troezen, and Aegina,
Chil. xi. 381), does not seem to be sufficiently well the cities of her confederacy, which had before
founded; all that we know of the ancient colossal been so nearly dissolved as to leave all the mem-
statues leads rather to the idea that the parts were bers practically independent. ” And this, as Mr.
all in due proportion, and that the breadth and Grote observes, is the meaning of what Ephorus
boldness of the masses secured the proper impression tells us in mythical language, that Pheidon reco
on the eye of the spectator. As a proof of Pheidias's vered the whole lot of Temenus" (TTY Añtuv Amy
knowledge of the anatomical department of his Try Tnuévov), after it had been torn asunder into
art, it is affirmed by Lucian that from the claw of several parts. He appears next to have attacked
a lion he calculated the size of the whole animal. Corinth, and to have succeeded in reducing it under
(Hermotim. 54, vol. i. 795. )
his dominion. Not content however with this,
The chief modern authorities on the subject, in and wishing to render his power there more secure,
addition to the histories of art by Winckelmann, he sent to require of the Corinthians, for military
Meyer, Müller, Hirt, Kugler, &c. , are the follow service, 1000 of their most warlike citizens, in-
ing :-Müller, de Phidiae Vita et Operibus Com- tending to make away with them; but Abron,
mentationes tres, Gotting. 1827 ; David, in the one of Pheidon's friends, frustrated the design by
Biographie Universelle ; Völkel, Ueber den grossen revealing it to Dexander, who had been appointed
Tempel und die Statue des Jupiter zu Olympia, Leipz. to command the body of men in question. We
1794 ; Siebenkees, Veber den Tempel und die Bild- hear further, that Pheidon, putting forward the
säule des Jupiter zu Olympia, Nürnb. 1795; Qua- title of his legendary descent, aimed at the exten-
tremère de Quincy, Jupiter Olympien, fc. ; Schorn, sion of his supremacy over all the cities which
Ueber die Studien der Griechischen Künstler ; Preller, Hercules had ever taken,-a claim that reached to
in Ersch and Gruber's Encyklopädie.
the greater part of the Peloponnesus. It seems to
2. A son of the great Pheidias, made, with his have been partly as the holder of such supremacy,
brother Ammonius, the colossal statue of a sitting and partly as the representative of Hercules by
ape, of a sort of basalt, which is at Rome, in the lineal descent, that the Pisans invited him, in the
Capitoline Museum. On the base is the inscription 8th Olympiad, to aid them in excluding the Eleians
MIAIAC KAI AMMONIOC AM OTEPOI from their usurped presidency at the Olympic
ΦΙΔΙΟΥ ΕΠOΙOΥΝ.
games, and to celebrate them jointly with them-
selves. The invitation quite fell in with the am-
(Winckelmann, Werke, vol. v. pp. 275, foll. vol. bitious pretensions of Pheidon, who succeeded in
vii. p. 248. )
[P. S. dispossessing the Eleians ; but the latter, not long
sent by the Athenians to Sparta in B. C. 490, to covered their privilege. Thus apparently fell the
ask for aid against the Persians, and arrived there power of Pheidon ; but as to the details of the
on the second day from his leaving Athens. The struggle we have no information. He did not fall,
Spartans declared that they were willing to give however, without leaving some very striking and
the required help, but unable to do so immediately, permanent traces of his influence upon Greece. It
as religious scruples prevented their marching from may have been, as bishop Thirlwall suggests, in
home before the full moon (see Dict. of Ant. s. v. prosecution of his vast plans, that he furnished his
Carneia). On the return of Pheidippides to brother Caranus with the means of founding a
Athens, he related that, on his way to Sparta, he little kingdom, which became the core of the Ma-
had fallen in with Pan, on Mount Parthenium, cedonian monarchy. And a more undoubted and
near Tegez, and that the god had bid him ask the memorable act of his was his introduction of copper
PHEIDYPPIDES (beidemnions)
, a course, was


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256
PHEIDON.
PHEMONOB
3
&
1
and silver coinage, and of a new scale of weights (Dor. i. 7. $ 15) that the latter was sometimes
and measures, which, through his influence, became called a Corinthian, because Corinth lay in his da
prevalent in the Peloponnesus, and ultimatrly minions. The words, however, of the scholiash,
throughout the greater' portion of Greece. The peibwv Tis drip Kopivolos, will not admit of this
scale in qnestion was known by the name of the charitable interpretation. We hare no ground at
Aeginetan, and it is usually supposed, according to all for identifying the king of Argos with the Co-
the statement of Ephorus, that the coinage of rinthian legislator of Aristotle.
Pheidon was struck in Aegina ; but there seems 3. One of the thirty tyrants established at
good reason for believing, with Mr. Grote, that Athens in B. C.