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660 BC (search for this): entry theodorus-bio-85
, places this family of artists at the very beginning of the Olympiads, that is, in the eighth century, B. C. The sole authority for this date is a passage of Pliny which, besides being quite vague, contains a decided mistake. (H. N. 35.12. s. 43.) He says that " some relate that the first who invented the plastic art (plasticen) were Rhoecus and Theodorus, in Samos, long before the Bacchiadae were expelled from Corinth," an event which is supposed to have occurred about the 30th Olympiad, B. C. 660; and he then proceeds to relate how, when Demaratus fled from that city into Italy, he was accompanied by the modellers (fictores) Eucheir and Eugrammus, and so the art was brought into Italy. Now, in the whole of this passage, Pliny is speaking of plastice in the literal sense of the word, modelling in clay, not in the secondary sense, which it often has in the Greek writers, of casting in metal ; but it is quite in accordance with his mode of using his authorities, that he should have un
560 BC (search for this): entry theodorus-bio-85
the younger Theodorus. He was also engaged, with his father, in the erection of the labyrinth of Lemnos ; and he prepared the foundation of the temple of Artemis at Ephesus. We would also ascribe to him the old Scias at Sparta. In conjunction with his brother Telecles, he made the wooden statue of Apollo Pythius for the Samians, according to the fixed rules of the hieratic style. Theodo'rus 2. The son of Telecles, nephew of the elder Theodorus, and grandson of Rhoecus, flourished about B. C. 560, in the times of Croesus and Polycrates, and obtained such renown as a statuary in bronze, that the invention of that art was ascribed to him, in conjunction with his grandfather. He also practiced the arts of engraving metals (Toreu- tikh/, caelalura), and of gem-engraving; his works in those departments being the gold and silver craters mentioned above, and the ring of Polycrates. Further Information For the different views of modern writers respecting these artists, see Sillig, Cat.
548 BC (search for this): entry theodorus-bio-85
e coast of Asia Minor as one scene of the artistic activity of Theodorus. We proceed therefore to the positive testimonies respecting these artists. The most definitely chronological of these testimonies are the passages in which Herodotus mentions Theodorus as the maker of the silver crater which Croesus sent to Delphi (1.51), and of the celebrated ring of Polycrates (3.41). Now we learn from Herodotus that the silver crater was already at Delphi when the temple was burnt, in Ol. 58. 1, B. C. 548; and Polycrates was put to death in Ol. 64. 3, B. C. 522. Again, with respect to his identity, for this, as well as his date, is a point to be ascertained; in both passages Herodotus makes Theodorus a Samian, and in the latter he calls him the son of Telecles; in both it is implied that he was an artist of high reputation; and, in the former, Herodotus expressly states that he believed the tradition which ascribed the crater to Theodorus, because the work did not appear to be of a common o
600 BC (search for this): entry theodorus-bio-85
of Croesus and Polycrates. This also agrees with the story told by Diogenes of the connection of the first Theodorus, the son of Rhoecus, with the laying of the foundation of the temple of Artemis at Ephesus, which was probably commenced about B. C. 600. [CHERSIPHON.] The most probable conclusion, then, (for anything like certainty is clearly unattainable,) we think to be this : that the genealogy and dates given under Rhoecus are tolerably correct : that Rhoecus was the inventor of the castinr has introduced the words " qui labyrinthum fecit." To sum up the whole, it seems probable that there were two ancient Samian artists named Theodoras, namely : -- Theodo'rus 1. The son of Rhoecus, and brother of Telecles, flourished about B. C. 600, and was an architect, a statuary in bronze, and a sculptor in wood. He wrote a work on the Heraeum at Samos, in the erection of which it may therefore be supposed that he was engaged as well as his father. Or, considering the time which such a
522 BC (search for this): entry theodorus-bio-85
ty of Theodorus. We proceed therefore to the positive testimonies respecting these artists. The most definitely chronological of these testimonies are the passages in which Herodotus mentions Theodorus as the maker of the silver crater which Croesus sent to Delphi (1.51), and of the celebrated ring of Polycrates (3.41). Now we learn from Herodotus that the silver crater was already at Delphi when the temple was burnt, in Ol. 58. 1, B. C. 548; and Polycrates was put to death in Ol. 64. 3, B. C. 522. Again, with respect to his identity, for this, as well as his date, is a point to be ascertained; in both passages Herodotus makes Theodorus a Samian, and in the latter he calls him the son of Telecles; in both it is implied that he was an artist of high reputation; and, in the former, Herodotus expressly states that he believed the tradition which ascribed the crater to Theodorus, because the work did not appear to be of a common order (sugtuxo/n). Pausanias (8.14.5. s. 8) also mentions
300 BC (search for this): entry theodorus-bio-85
e is contained in Pliny's list of those who were primis proximi (H. N. 35.8. s. 40.40), and who may very probably be identical with one of the three mentioned by Diogenes. Pliny ascribed to him the following works : -- Se inungenlem, which appears to mean an athlete anointing himself; the murder of Clytemnestra and Aegisthus by Orestes; the Trojan War, a composition on several panels, preserved at Rome in the portico of Philip; Cassandra, also at Rome, in the temple of Concord (comp. Welcker, ad Philostr. Imag. p. 459); Leontium Epicuri cogitantem, which ought perhaps to be read like the similar passage a little above (10. s. 36.19) Leontionem pictorem ; and king Demetrius. This last work, if a portrait taken from life, would place the artist's date at, or a little before, B. C. 300. Theodo'rus 10. A Samian painter, the disciple of Nicosthenes, mentioned by Pliny in his list of those painters who were not ignobiles quidem, in transcursu tamen dicendi. (H. N. 35.11. s. 40.42.) [P.S]