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*Timo/qeos), a statuary and sculptor, whose country is not mentioned, but who evidently belonged to the later Attic school of the time of Scopas and Praxiteles; for he was one of the artists who executed the bas-reliefs which adorned the frieze of the Mausoleum, about Ol. 107, B. C. 352. Timotheus sculptured the southern side of the frieze, the other three sides being wrought by Scopas, Bryaxis, and Leochares. (Plin. Nat. 36.5. s. 4. § .9; Vitruv. vii. Praef. § 12 ; SCOPAS; Dict. of Antiq. s. v. Mausoleum, 2d ed.) This statement also shows the eminence of Timotheus as an artist; for Pliny expressly tells us that it was an undetermined question, which of the four artists had been the most successful (hodieque certant manus). It must, however, be mentioned, that the Greek writers on the Mausoleum were not agreed as to the share of Timothens in its execution, some ascribing to Praxiteles that side of the frieze which others assigned to our artist. (Vitruv. l.c.

The Artemis of Timotheus was esteemed worthy to be placed by the side of the Apollo of Scopas and the Latona of Praxiteles, in the temple which Augustus erected to Apollo on the Palatine (Plin. l.c. § 10; the lines of Propertius, describing these statues, are quoted under SCOPAS, p. 756b.). The head of this statue, however, was only a restoration by Aulanius Evander. (Plin. l.c.

Pausanias (2.32.3. s. 4) mentions Timotheus as the maker of a statue at Troezen, which the Troezenians themselves believed to represent Hippolytus, but which he considered to be the statue of Asclepius. Pliny also enumerates Timotheus among the artists who made athletas et armatos ct venatores sacrificantesque (H. N. 34.8. s. 19.34). There is no ground for the doubt expressed by Sillig respecting the identity of the Timotheus referred to in all these passages. It is quite true that the artists of the later Attic school of sculpture wrought chiefly in marble; but there is sufficient evidence that they also practised the art of casting in bronze.


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352 BC (1)
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