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In the ædileship of M. Scaurus, there were three thousand statues erected on the stage of what was a temporary theatre1 only. Mummius, the conqueror of Achaia, filled the City with statues; he who at his death was destined not to leave a dowry to his daughter,2 for why not mention this as an apology for him? The Luculli3 also introduced many articles from abroad. Yet we learn from Mucianus,4 who was thrice consul, that there are still three thousand statues in Rhodes, and it is supposed that there are no fewer in existence at Athens, at Olympia, and at Delphi. What living mortal could enumerate them all? or of what utility would be such information? Still, however, I may, perhaps, afford amusement by giving some slight account of such of those works of art as are in any way remarkable, and stating the names of the more celebrated artists. Of each of these it would be impossible to enumerate all the productions, for Lysippus5 alone is said to have executed no less than fifteen hundred6 works of art, all of which were of such excellence that any one of them might have immortalized him. The number was ascertained by his heir, upon opening his coffers after his death, it having been his practice to lay up one golden denarius7 out of the sum which he had received as the price of each statue.

This art has arrived at incredible perfection, both in successfulness and in boldness of design. As a proof of successfulness, I will adduce one example, and that of a figure which represented neither god nor man. We have seen in our own time, in the Capitol, before it was last burnt by the party8 of Vitellius, in the shrine of Juno there, a bronze figure of a dog licking its wounds. Its miraculous excellence and its perfect truthfulness were not only proved by the circumstance of its having been consecrated there, but also by the novel kind of security that was taken for its safety; for, no sum appearing equal to its value, it was publicly enacted that the keepers of it should be answerable for its safety with their lives.

1 See B. xxxvi. c. L, where he informs us that this theatre was hardly one month in use.—B.

2 Hardouin gives several quotations illustrative of his liberality in bestowing ornaments in the City, and his inattention to his domestic concerns.—B.

3 The brothers Lucius and Marcus, the former of whom triumphed in the Mithridatic, the latter in the Macedonian War.—B.

4 See end of B. ii.

5 See B. vii. c. 38.

6 The absolute number of statues assigned to Lysippus differs considerably in the different editions, as is the case in almost every instance where figures are concerned. Pliny gives a further account of his works in the next two Chapters and in the following Book.—B.

7 "Aureum." See B. xxxiii. c. 13, and B. xxxvii. c. 3.

8 In their attack upon Flavius Sabinus, the brother of Vespasian; A.U.C. 822.

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  • Cross-references to this page (5):
    • Harper's, Gallia
    • Dictionary of Greek and Roman Geography (1854), ALE´SIA
    • Dictionary of Greek and Roman Geography (1854), A´STURES
    • Dictionary of Greek and Roman Geography (1854), OLEASTRUM
    • Smith's Bio, He'lios
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