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brated in verse and prose, by almost every eininent writer of antiquity. Pliny describes the Colossus with particular minuteness, 1. xxxiv. c. 7. The reader should, however, be forewarned, that there exists some doubt whether the name of the artist was not Laches. There is an epigram in the Anthology ascribed to Simonides, which affirms that the Colossus of Rhodes was not seventy but eighty cubits; and says, augas troses,

Its height as well as substance must bave been enormous, for when it was overthrown by an earthquake, a Jew merchant bought the broken fragments of brass, and was obliged to employ 900 camels to renove them.

CHERSIPHRON. Tas man also has descended to posterity as the architect of that stupendous fabric the Temple of Diana, at Ephesus. This is asserted on the authority of Pliny, who describes the temple as bav. ing been four hundred and twenty five feet in length, and two hundred and

twenty feet wide. It had a hundred and twenty seven columns, each of which was sixty feet high. The name is sometimes written CHERS IPHON.

CYDIAS. The Roman orator Hortensius had in his Tusculan villa a picture by this artist, representing the Argonautic expedition, for which he gave the enormous sum of one hundred and forty-four thousand sesterces. This picture afterwards came into the hands of Agrippa, who placed it in the portico of the temple of Neptune,

in commemoration of his naval victories.

CICERO was also a great encourager of the art of painting, and possessed a great number of exquisite pictures at his villa. It is to be much regretted that, although in his familiar epistles, he often speaks with warmth of his love of the art, he does not specify any of the pictures which he possessed. There is a whole epistle on thissubject. I. vii. ep. 29.

Speaking of the vestibule of his villa, he says, “Ea volebam tabellis exornare, etenim si quid generis istiusmodi me delectat, pictura certo delectat.'

The whole epistle is well worth the reader's attention.

DEMOPHON. Or, as the name is sometimes written, Damophon, is repeatedly mentioned by Pausanias. He was a most distinguished sculptor. The principal of his performances were, the figures of Venus and Mercury, in wood; Cybele, in Parian marble; Æsculapius and Hygeia ; Ceres, in marble.

DIPENUS Deserves mention here, as being, in the opinion of Pliny, the first who made statues from the solid marble.

He was engaged with Scyllis on some statues of the gods, for the Sicyonians. Before they had completed their labours, they took umbrage at some affront from the people and left the island. A great famine followed ; and the oracle being consulted, said, that, the only remedy was the return of the artists to finish their labours, which, with great difficulty, they were prevailed upon to do. These two artists seemed on all occasions to have worked together.

They assisted to adorn the temple of Castor and Pollux, at Argos; the temple of Minerva, at Cleone. The island of Suger was indebted to their skill for statues of Apollo, Diana, Hercules, and Minerva. Pliny observes, that Ambracia, Argos, and Cleone, were crowded with the works of Dipænus. His expression is, • Dipeeni quidem Ambraçia, Argos, Cleone, operibus refertæ fuere.' They had many pupils, whose works were greatly admired.

ECHION Was a noble painter, and ranked among

among the greatest proficients of his art. We are accustomed to praise, says Cicero, the forms and outlines of the works of Zeuxis, Polygnotus, Timanthes, and those other painters, who used only four colours; but in Echion, Nicomachus, Protogenes, and Apelles, everything was perfect. “ Jam perfecta sunt omnia.”

Pliny specifies the following pictures, by this artist, and calls them “ Nobiles picturæ.”

A Bacchus, a subject which seems to have been more frequently painted by the ancient artists, than any other.


An historical picture on the subject of SEMIRAMIS, who, from the humble situation of a slave, became a mighty sovereign.

An Old Woman, carrying a lamp.

A Bride. The character of modesty in this female figure was greatly admired.

VOL. 11.

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