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A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Dia'goras (search)
, to Olympia. The young men, having both been victorious, carried their father through the assembly, while the spectators showered garlands upon him, and congratulated him as having reached the summit of human happiness. The fame of Diagoras and his descendants was celebrated by Pindar in an ode (Ol. vii.) which was inscribed in golden letters on the wall of the temple of Athena at Cnidus in Rhodes. Their statues were set up at Olympia in a place by themselves. That of Diagoras was made by the Megarian statuary, CALLICLES. The time at which Diagoras lived is determined by his Olympic victory, in the 79th Olympiad. (B. C. 464.) Pindar's ode concludes with forebodings of misfortune to the family of the Eratidae, which were. realized after the death of Diagoras through the growing influence of Athens. [DORIEUS.] (Pind. Ol. vii. and Schol.; Paus. 6.7.1; Cic. Tusc. 1.46; Müller, Dorians, 3.9.3; Clinton, F. H. pp. 254, 255; Krause, Olymp. p. 269, Gymn. u. Agon. i. p. 259, ii. p. 743.) [P.S
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Medulli'nus (search)
Medulli'nus 5. SP. FURIUS MEDULLINUS FUSUS, was consul in B. C. 464. He was defeated, wounded, and besieged in his camp by the Aequians. (Dionys. A. R. 9.62-67; Liv. 3.4, 5.)
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Metrodo'rus (search)
Metrodo'rus 2. Of LAMPSACUS, a contemporary and friend of Anaxagoras. He wrote on Homer, the leading feature of his system of interpretation being that the deities and stories in Homer were to be understood as allegorical modes of representing physical powers and phenomena. He died B. C. 464. (Plat. Ion, 100.2. p. 530c; D. L. 2.11; Tatian. Assyr. in orat. *Pro\s *(/Ellhnas, p. 160b; Fabric. Bibl. Graec. vol. i. p. 517; Voss. de Hist. Graecis, p. 180, ed. West.)
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Phei'dias (search)
B. C. 461; but this is purely conjectural. The above arguments respecting the date of Pheidias might be confirmed by the particular facts that are recorded of him; but these facts will be best stated in their proper places in the account of his life. As the general result of the inquiry, it is clearly impossible to fix the precise date of the birth of the artist; but the evidence preponderates, we think, in favour of the supposition that Pheidias began to work as a statuary about Ol. 79, B. C. 464; and, supposing him to have been about twenty-five years old at this period, his birth would fall about 489 or 490, that is to say, about the time of the battle of Marathon. We now return to what is known of his life. It is not improbable that Pheidias belonged to a family of artists; for his brother or nephew Panaenus was a celebrated painter; and he himself is related to have occupied himself with painting, before he turned his attention to statuary. (Plm. H. N. 35.8. s. 34.) He was at
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Xanthus (search)
e " a little older than the Peloponnesian war, and whose time reached down to that of Thucydides." There is another indication of the date of Xanthus, proving, if the quotation be genuine, that he wrote, or continued to write, his history after B. C. 464; for Strabo (i. p.49c.) tells us that he mentioned a great drought in the reign of Artaxerxes, who came to the throne in B. C. 464. It is therefore the opinion of critics, either that the date given by Suidas must be that of the birth of XanthuB. C. 464. It is therefore the opinion of critics, either that the date given by Suidas must be that of the birth of Xanthus, which is a most unusual sense of gegonw/s in Suidas, or else that the passage has been corrupted by a transcriber, who accidentally repeated the word *Sa/rdewn. (The passage is *Ca/nqos, *Kandau/lou, *Audo\s e)k *Sa/rdewn: i(storiko/s: gegonw\s e)pi\ th=s a(lw/sews *Sa/rdewn). This is the suggestion of Creuzer, who proposes to substitute *)Aqhnw=n for *Sa/rdewn, thus referring the time of Xanthus to the taking of Athens by Xerxes, in B. C. 480; but, though this correction may give a truer da
A Dictionary of Greek and Roman biography and mythology (ed. William Smith), Zeuxis (search)
t of the school to which he belonged. The date of Zeuxis has likewise been a matter of dispute, which has arisen from the confused account of it given by Pliny, who is our chief authority for the artist's life. (H. N. 35.9. s. 36.2.) He says that "The doors of the art, thrown open by Apollodorus of Athens, were entered by Zeuxis of Heracleia in the fourth year of the 95th Olympiad (B. C. 400-399) ... who is by some placed erroneously in the 79th Olympiad (or 89th, for the best MSS. vary; B. C. 464-4460 or 424-420), when Demophilus of Himera and Neseas of Thasos must of necessity have flourished, since it is doubted of which of them he was the disciple." Now, passing over what is said of Demophilus and Neseas -- which cannot help us, as it is doubtful who the former artist was, and we have no other mention of the latter,--it appears to us that this passage, when cleared of a mistaké into which Pliny was led in a way which can be explained, contains the true period of Zeuxis, namely,
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