Εμφανίζονται 100 (επί συνόλου 195) τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΚΟΡΙΝΘΙΑ Νομός ΠΕΛΟΠΟΝΝΗΣΟΣ" .
ΚΟΡΙΝΘΟΣ (Πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
1766 - 1826
(Κόρινθος 1766 - Μεσολόγγι
1826)
Ο Ι. Παπαδιαμαντόπουλος πήγε στην Πάτρα,
όπου πολύ γρήγορα έγινε μεγαλέμπορος, πλοιοκτήτης και τραπεζίτης. Μυήθηκε νωρίς
στη Φιλική Εταιρεία και ενίσχυσε τον Αγώνα με τεράστια χρηματικά ποσά. Πήρε μέρος
στη σύσκεψη της Βοστίτσας
και πρωτοστάτησε στην κήρυξη της Επανάστασης. Εκλέχτηκε πληρεξούσιος στις Εθνοσυνελεύσεις
Επιδαύρου και ´Aστρους
(1821 και 1823). Ορίστηκε πρόεδρος επιτροπής για τη διεύθυνση των πολεμικών επιχειρήσεων
στη Δ. Στερεά. Εγκαταστάθηκε
στο Μεσολόγγι, διέθεσε μεγάλα
ποσά για τον ανεφοδιασμό και βοήθησε άγρυπνα στη διοργάνωση της άμυνας. Σκοτώθηκε
στην Έξοδο, πολεμώντας ηρωϊκά. Εγγονός του ήταν ο ποιητής Ι. Παπαδιαμαντόπουλος
(Ζαν Μορεάς) που εγκαταστάθηκε και διέπρεψε στη Γαλλία.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα της Βουλής των Ελλήνων
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Perseus Encyclopedia
Μαζί με το Σπίνθαρο και τον Ξενόδωρο ανοικοδόμησαν το 330 π.Χ. τον κατεστραμμένο από σεισμούς ναό του Απόλλωνα στους Δελφούς.
ΙΣΘΜΙΑ (Αρχαίο ιερό) ΛΟΥΤΡΑΚΙ ΠΕΡΑΧΩΡΑΣ
Euphranor. A distinguished statuary and painter. He was a native of Corinth,
but practised his art at Athens about B.C. 336. Of one of his works, a beautiful
sitting Paris, we have probably a copy in the Museo Pio-Clementino. His best paintings
were preserved in a porch in the Ceramicus.
Euphanor, the Isthmian, is mentioned as a pupil of Aristeides of Thebes (probably about B.C. 360), and, like others of his predecessors, worked both in sculpture and painting; according to Pliny (xxxv. § 128), he was docilis ac laboriosus ante omnis, and in both branches of art excelled all his contemporaries. Of his pictures we hear specially of three great compositions for a stoa in the Ceramicus, representing the charge of the Athenians against the Thebans before the battle of Mantineia, pictures of the twelve gods, and a Theseus. Of this last, Pliny says in quo dixit that the Theseus of Parrhasius looked as though fed on roses, while that of Euphranor seemed fed on beef. The dixit is usually taken as alluding to Euphranor Klein suggests that it was a remark more appropriate to Parrhasius; the same confusion of Pliny comes out in his attribution of a madness of Odysseus to Euphranor in the same passage. After describing the three works in the Stoa, he adds, nobilis eius tabula Ephesi est, Ulixes . . . Now we know from Plutarch that Parrhasius painted a picture of this subject, and it seems absurd to suppose that Euphranor would have painted the same idea for the home of Parrhasius, Ephesus. The eius should properly refer to Parrhasius, who alone painted this subject, and the whole passage has been inserted here by Pliny in error. Of Euphranor's style we cannot judge; we only know that he devoted his attention to the canon of proportions, and is said to have written on this subject; but it remains uncertain whether or no he is to be considered as the predecessor of Lysippus in this study.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Euphranor the sculptor-painter became a true all-rounder in both
technique and subject matter
Euphranor is variously reported as being an 'Isthmian' and an Athenian;
yet whether an immigrant or not his major paintings were certainly done for
Athens. His chronology is also confused, for though Pliny twice dates him to
364-36 (N.H. 35.128), he places him after the flower-painter Pausias, who taught
Apelles (floruit 332-329: N.H. 35.79). Indeed, in N.H. 35.111 he lowers the
chronology still further, by apprenticing him to Apelles' contemporary the Theban
painter Aristeides (cf. N.H. 35.98). Something has to give, and since (1) his
own floruit coincides with the Battle of Mantinea (362), the occasion for his
acknowledged masterpiece, and (2) also gives his son Sostratos a floruit in
328-325, the most likely explanation is that Pliny has made one Aristeides out
of two: the earlier, active ca. 400 (N.H. 35.75) and grandfather of the later
(N.H. 35.108-10), would then be Euphranor's master. Euphranor's work on the
Apollo Patroos and for the Macedonian kings extends his career at least to ca.
330.
His known works of sculpture are as follows:
• Divinities and personifications
This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Oct 2003 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.
Euphranor. One of the greatest masters of the most flourishing period of Grecian art, and equally distinguished as a statuary and a painter. (Quintil. xii. 10.6.) He was a native of the Corinthian isthmus, but he practised his art at Athens, and is reckoned by Plutarch as an Athenian. (De Glor. Ath. 2.) He is placed by Pliny (xxxiv. 8. s. 19) at Ol. 104, no doubt because he painted the battle of Mantineia, which was fought in Ol. 104, 3 (B. C. 362/1), but the list of his works shews, almost certainly, that he flourished till after the accession of Alexander. (B. C. 336.) As a statuary, he wrought both in bronze and marble, and made figures of all sizes, from colossal statues to little drinking-cups. (Plin. xxxv. 8, s. 40.25.) His most celebrated works were, a Paris, which expressed alike the judge of the goddesses, the lover of Helen, and the slayer of Achilles ; the very beautiful sitting figure of Paris, in marble, in the Museo Pio-Clementino is, no doubt, a copy of this work : a Minerva, at Rome, called the Catulian, from its having been set up by Q. Lutatius Catulus, beneath the Capitol : an Agathodaemon (simulacrum Boni Eventus), holding a patera in the right hand, and an ear of corn and a poppy in the left : a Latona puerpera, carrying the infants, Apollo and Diana, in the temple of Concord ; there is at Florence a very beautiful relief representing the same subject : a Key-bearer (Cliduchus), remarkable for its beauty of form : colossal statues of Valour and of Greece, forming no doubt a group, perhaps Greece crowned by Valour. (Muller, Archaol. d. Kunst) : a woman wrapt in wonder and adoration (admirantem et adorantem) : Alexander and Philip riding in fourhorsed chariots, and other quadrigae and bigae. (Plin. xxxiv. 8. s. 19.16.) The statue of Apollo Patroiis, in his temple in the Cerameicus at Athens, and a disciple of Iamblichus. (Eunap. Vit. Soph. p. was by Euphranor. (Paus. i. 3.3.) Lastly, his statue of Hephaestus, in which the god was not lame, is mentioned by Dion Chrysostom. (Orat.) As a painter, Euphranor executed many great works, the chief of which were seen, in the time of Pausanias, in a porch in the Cerameicus. On the one side were the twelve gods; and on the opposite wall, Theseus, with Democracy and Demos (Demokratia te kai Demos), in which picture Theseus was represented as the founder of the equal polity of Athens. In the same place was his picture of the battle between the Athenian and Boeotian cavalry at Mantineia, containing portraits of Epaminondas and of Gryllus the son of Xenophon. (Paus. i. 3.2, 3.) There were also some celebrated pictures by him at Ephesus, namely, Ulysses, in his feigned madness, yoking an ox with a horse (it is difficult to understand the next words of Pliny, "et palliati cogitantes"); and a commander sheathing his sword. (Plin. xxxv. 11. s. 40.25.) Euphranor also wrote works on proportion and on colours (de Symmetria et Coloribus, Plin. l. c.), the two points in which his own excellence seems chiefly to have consisted. Pliny says that he was the first who properly expressed the dignity of heroes, by the proportions he gave to their statues ; and Hirt observes that this statement is confirmed by the existing copy of his Paris. (Gesch. d. Bild. Kunst) He made the bodies somewhat more slender, and the heads and limbs larger. His system of proportion was adopted, with some variation, by his great contemporary, Lysippus : in painting, Zeuxis had already practised it. It was, no doubt, with reference to proportion, as coloring, that he used to say that the Theseus of Parrhasius had been fed on roses, but his on flesh. (Plin. l. c.; Plut. de Glor. Ath. 2.) In his great picture of the twelve gods, the coloring of the hair of Hera was particularly admired. (Lucian, Imag. 7.) Of the same picture Valerius Maximus relates that Euphranor invested Poseidon with such surpassing majesty, that he was unable to give, as he had intended, a nobler expression to Zeus. (viii. 11, ext. 5.) It is said that the idea of his Zeus was at length suggested by his hearing a scholar recite the description in Homer :--Ambrosiai d' ara chaitai, &c. (Eustath. ad Il. i. 529.) Muller believed that Euphranor merely copied the Zeus of Phidias. (Arch. d. Kunst) Plutarch (l. c.), amidst much praise of the picture of the battle of Mantineia, says that Euphranor painted it under a divine inspiration (ouk anenthousiastos). Philostratus, in his rhetorical style, ascribes to Euphranor to eskion (light and shade) kai to eupnoun (expression) kai to eisechon te kai exechon (perspective and foreshortening). (Vit. Apollon. ii. 9.) Pliny (l. c.) says that Euphranor was, above all men, diligent and willing to learn, and always equal to himself. His disciples were, Antidotus (Plin. l. c.), Carmanides , and Leonidas of Anthedon. (Steph. Byz. s. v. Anthedon.) He was himself a disciple of Ariston, the son of Aristeides of Thebes.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Amyclaeus (Amuklaios), a Corinthian sculptor, who, in conjunction with Diylius, executed
in bronze a group which the Phocians dedicated at Delphi, after their victory
over the Thessalians at the beginning of the Persian war, B. C. 480 (Paus. x.
1.4, 13.4; Herod. viii. 27). The subject of this piece of sculpture was the contest
of Heracles with Apollo for the sacred tripod. Heracles and Apollo were represented
as both having hold of the tripod, while Leto and Artemis supported Apollo, and
Heracles was encouraged by Athene. The legend to which the group referred is related
by Pausanias (x. 13.4); the reason for such a subject being chosen by the Phocians
on this occasion, seems to be their own connexion with Apollo as guardians of
the Delphic oracle, and, on the other hand, because the Thessalian chiefs were
Heracleidae, and their war-cry "Athene Itonia". The attempt of Heracles to carry
off the tripod seems to have been a favourite subject with the Greek artists:
two or three representations of it are still extant.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Callimachus (Kallimachos). A Greek artist, who flourished in the second half of the fifth century B.C. He was the inventor of the Corinthian order of pillar; and the art of boring marble is also attributed to him, though perhaps he did no more than bring it to perfection. The ancient critics represent him as unwearied in polishing and perfecting his work; indeed, they allege that his productions lost something through their excessive refinement and purity. One of his celebrated works was the golden chandelier in the Erechtheum at Athens.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Callimachus (Kallimachos), an artist of uncertain country, who is said to have invented the Corinthian column (Vitruv. iv. 1.10). As Scopas built a temple of Athene at Tegea with Corinthian columns in B. C. 396, Callimachus must have lived before that time. Pausanias (i. 26.7) calls him the inventor of the art of boring marble (tous lithous trotos etrupese), which Thiersch thinks is to be understood of a mere perfection of that art, which could not have been entirely unknown to so late a period. By these inventions as well as by his other productions, Callimachus stood in good reputation with his contemporaries, although he did not belong to the first-rate artists. He was so anxious to give his works tilt last touch of perfection, by elaborating the details with too much care, that he lost the grand and sublime. Dionysius therefore compares him and Calamis to the orator Lysias (tes leptotetos heneka kai tes charitos), whilst he draws a parallel between Polycletus and Phidias and Isocrates, on account of the semnon kai megalotechnon kai axiomatikon (Jiudic. Isocr. c. 3). Callimachus was never satisfied with himself and therefore received the epithet "kakizotechnos" (Paus. i. 26.7). Pliny (H. N. xxxiv. 8. s. 19) says the same, and gives an exact interpretation of the suriame: "Semper calummiator sui nec finem habens diligentiae; ob id kakizotechnos appellatus". Vitruvius says, that Callimachus "propter elegantiam et subtilitatem artis marmoreae ab Atheniensibus katatechnos fuerat nominatus". Sillig (Cat. Art.) conjectures, after some MMS., that katatexitechnos must be read instead of kakixotechnos; but this is quite improbable on account of Pliny's translation, "calumniator sui". Whether the katatechnos of Vitruvius is corrupt or a second surname (as Siebelis supposes, ad Paus. i. 26.7), cannot be decided. So much is certain, that Callimachus' style was too artificial. Pliny, speaking of a work representing some dancing Lacedaemonian women, says, that his excessive elaboration of the work had destroyed all its beauty Pausanias (i. 26.7) describes a golden lamp, a work of Callimachus dedicated to Athene, which if filled with oil, burnt precisely one whole year without ever going out. It is scarcely probable that the painter Callimachus, mentioned by Pliny, should be our statuary, although he is generally identified with him.
This text is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Callimachus Kallimachos. His nationality and patronymic are unrecorded; his known
works are:
1. "Bridal" Hera at Plataia
2. "Laconian Dancers", in bronze (Pliny, N.H. 34.92)
3. Golden lamp with a bronze chimney in the shape of a palm-tree for
the Erechtheion at Athens (Pausanias 1.26.7)
4. The first Corinthian capital, at Corinth, in marble
The temple of Hera at Plataia (1) was built just after 427 (Thuc. 3.68; cf. Paus.
9.2.7), and (3) cannot have been made before the Erechtheion received its roof
and interior fittings in ca. 409-406; so he was an exact contemporary of Alkamenes
and Agorakritos.
A virtuoso carver and metal-smith, he was notorious in antiquity for
his extremely finicky technique:
Pliny, N.H. 34.92: Of all sculptors, though, Callimachus is the most
remarkable for his surname: he always deprecated his own work, and made no end
of attention to detail, so that he was called the Niggler (katatexitechnos), a
memorable example of the need to limit meticulousness. He made the Laconian Women
Dancing, a flawless work, but one in which meticulousness has taken away all charm.
He is said also to have been a painter.
The meaning of katatexitechnos , though generally clear from the text, is secured
by Dionysios of Halikarnassos, Demosthenes 51, where sculptors and painters obsessed
with petty details are said to "fritter away" (katatekein) their art. The charge
is repeated by Vitruvius 4.1.10 and garbled by Pausanias:
Pausanias 1.26.7: Kallimachos made the golden lamp for the goddess
[Athena in the Erechtheion on the Akropolis] . . . and though he was inferior
to the foremost practitioners of the art, he was nevertheless cleverer than all,
so that he became the first to drill stone and so named himself katatexitechnos
, unless others did so and he adopted it for his own.
For Kallimachos' innovations with the drill see Stewart 1975. In Isokrates
3, however, Dionysios strikes a more positive note, in words remarkably similar
to Vitruvius': since the two were contemporaries, they presumably drew on a common
(Hellenistic?) source that valued such refinement and took it as support for similar
trends in rhetoric: cf. Pollitt 1974, 364-65.
What little we know of his style broadly supports the testimonia:
though the Hera is lost, and the lamp and prototype Corinthian capital (Vitruvius
4.1.10) are only vaguely to be imagined from later developments in these genres,
his "Laconian Dancers" (2) have been recognized in a series of Neo-Attic reliefs.
Extremely refined in both posture and drapery, they seem typical of late fifth
century Attic mannerism. The stylistic judgments of Dionysios (Isokrates
3), Pliny (N.H. 34.92) and the rest have also prompted further attributions,
including the work of Master "A" from the Nike temple parapet (Athens, Acropolis
973). Others prefer Master "E", the "Genetrix" Aphrodite (Louvre MA 525), and
the Neo-Attic Maenad reliefs (Rome, Palazzo dei Conservatori 1094; Madrid, Prado
42; Stewart 1990, figs. 420, 426, 436-37). This relatively compact group may indeed
originate in the same workshop, though its extreme purity of line distances it
somewhat both from the crosscut, finicky treatment of the Dancers and maybe also
from Pliny's criticisms.
This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Nov 2005 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.
Chion of Corinth, a sculptor, who attained to no distinction, not from the want of industry or skill, but of good fortune. (Vitruv. iii. Praef.)
Chionis, a statuary of Corinth, about B. C. 480, executed, in conjunction with Amyclaeus and Dyillus, the group which the Phocians dedicated at Delphi. Chionis made in it the statues of Athene and Artemis. (Paus. x. 13.4)
Diyllus, (Diullos), a Corinthian statuary, who, in conjunction with Amyclaeus, executed the greater part of the bronze group which the Phocians dedicated at Delphi. (Paus. x. 13. 4)
Euchirus. A modeller, styled also Euchirus, and one of the most ancient. He and Eugrammus are said to have accompanied Demaratus in his flight from Corinth to Etruria. Here again both names are figurative.
is said to have accompanied Demaratus in his flight from Corinth to Etruria.
Eucheir or Euecheir, of Corinth, who, with Eugrammus, followed Demaratus into Italy (B. C. 664), and introduced the plastic art into Italy, should probably be considered also a mythical personage, designatiing the period of Etruscan art to which the earliest painted vases belong. (Plin. xxxv. 12. s. 43, comp. xxxv. 5; Thiersch, Epochen)
ΣΙΚΥΩΝ (Αρχαία πόλη) ΚΟΡΙΝΘΙΑ
Γλύπτης από τη Σικυώνα. Δικό του έργο ήταν το άγαλμα της Αφροδίτης στο Ιερό της στη Σικυώνα (Παυσ. 2,10,5).
Canachus (Kanachos), a Sicyonian artist, about whose age the greatest uncertainty long prevailed, as one work of his is mentioned which must have been executed before Ol. 75, and another 80 years later, which seems to be, and indeed is, impossible. The fact is, that there were two artists of the name of Canachus, both of Sicyon, and probably grandfather and grandson. The work which must have been finished B. C. 480, was a colossal statue of Apollo Philesius at Miletus, this statue having been carried to Ecbatana by Xerxes after his defeat in Greece, B. C. 479. Mueller thinks, that this statue cannot have been executed before B. C. 494, at which time Miletus was destroyed and burnt by Dareius; but Thiersch shews that the colossus might very well have escaped the general ruin, and therefore needs not have been placed there after the destruction of the city. Finding that all indications point to the interval between Ol 60 and 68 (B. C. 540-508), he has given these 32 years as the time during which Canachus flourished. Thus the age of our artist coincides with that of Callon, whose contemporary he is called by Pausanias (vii. 18.6). He was likewise contemporary with Ageladas, who flourished about Ol. 66; for, together with this artist and with his own brother, Aristocles, he executed three Muses, who symbolically represented the diatonic, chromatic, and enharmonic styles of Greek music. Besides these works, we find the following mentioned: Riding (keletizontes) boys (Plin. H. N. xxxiv. 8. s. 19); a statue of Aphrodite, wrought in gold and ivory (Paus. ii. 10.4); one of Apollo Ismenius at Thebes, made of cedar, and so very like the Apollo Philesins of Miletus, which was of metal, that one could instantly recognize the artist (Paus. l.c., ix. 10.2). For Cicero's judgment of Canachus's performances, see Calamis.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Aristokles. A Greek artist, and, like his brother Canachus, a sculptor in bronze at Sicyon. He flourished about B.C. 480, and founded a school at Sicyon that lasted for a long time.
Aristocles of Sicyon was the brother of Canachus, and not much inferior to him in reputation. This Aristocles had a pupil, Synnon, who was the father and teacher of Ptolichus of Aegina (vi. 9.1). We are also told, in an epigram by Antipater Sidonius (Greek Anthol. ii.), that Aristocles made one of three statues of the Muses, the other two of which were made by Ageladas and Canachus.
Pantias of Chios, the disciple and son of Sostratus, was the seventh
disciple reckoned in order from Aristocles of Sicyon (Paus. vi. 3.4), that is,
according to a mode of reckoning which was common with the Greeks, counting both
the first and the last of the series.
From these passages we infer, that there were two sculptors of this
name: Aristocles the elder, who is called both a Cydonian and a Sicyonian, probably
because he was born at Cydonia and practised and taught his art in Sicyon; and
Aristocles the younger, of Sicyon, who was the grandson of the former, son of
Cleoetas, and brother of Canachus : and that these artists founded a school of
sculpture at Sicyon, which secured an hereditary reputation, and of which we have
the heads for seven generations, namely, Aristocles, Cleoetas, Aristocles and
Canachus, Synnon, Ptolichus, Sostratus, and Pantias.
There is some difficulty in determining the age of these artists;
but, supposing the date of Canachus to be fixed at about 540-508 B. C., we have
the date of his brother, the younger Aristocles, and allowing 30 years to a generation,
the elder Aristocles must have lived about 600-568 B. C. Boeckh places him immediately
before the period when Zancle was first called Messene, but there is nothing in
the words of Pausanias to require such a restriction. By extending the calculation
to the other artists mentioned above, we get the following table of dates:
1. Aristocles flourished 600-568 B. C.
2. Cleoetas " 570-538
"
3. Aristocles " 540-508
"
Canachus " 540-508
"
4. Synnon " 510-478
"
5. Ptolichus " 480-448
"
6. Sostratus " 450-418
"
7. Pantias " 420-388
"
These dates are found to agree very well with all that we know of the artists.
Sillig gives a table which does not materially differ from the above. He calculates
the dates at 564, 536, 508, 480, 452, 424, and 396 B. C. respectively. In this
computation it has been assumed that the elder Canachus was the brother of the
younger Aristocles, and that Pantias was the seventh in order from the elder Aristocles.
Any other supposition would throw the whole matter into confusion.
Pausanias mentions, as a work of the elder Aristocles, a group in
bronze representing Hercules struggling for a girdle with an Amazon on horseback,
which was dedicated at Olympia by Evagoras of Zancle (v. 25.6); and, as a work
of the younger, a group in bronze of Zeus and Ganymede, dedicated at Olympia by
Gnothis, a Thessalian. (v. 24.1). The Muse by the latter, was in bronze, held
a lyre (chelus), and was intended to represent the Muse of the diatonic genus
of music
Kanachos and Aristokles of Sikyon
Kanachos and his shadowy brother Aristokles are dated only by their collaboration
with Hageladas, and the removal of Kanachos' bronze Apollo Philesios from Didyma,
either by Darius in 494 (cf. Hdt. 6.19) or, less likely, by Xerxes (so Paus. 1.16.3,
Paus. 7.46.3). Their floruit should therefore lie around 500. Aside from their
Muses and Kanachos' chryselephantine Aphrodite for Sikyon, we hear only of the
Apollo and its wooden replica -or archetype- at Thebes:
Pausanias
9.10.2: The image [of Ismenian Apollo] is equal in size
to that at Branchidai (Didyma) and is exactly like it in form; whoever has seen
one of these two images and has learnt who the artist was needs no great skill
to discern, when he looks at the other, that it is the work of Kanachos. The only
difference is this: that the one at Branchidai is of bronze, the Ismenian of cedar-wood.
Pliny, N.H. 34.75: Canachus did the nude Apollo, surnamed Philesius,
at Didyma, made of Aeginetan bronze, and with it a stag suspended in its tracks
in such a way that a thread can be passed under its feet, with the heel and toe
alternately retaining their grip, for a "tooth" on each part is so geared that
when one is dislodged by pressure the other in turn springs into place.
For copies and comments see Romano 1980, 221-35; Stewart 1990, fig. 167. Kanachos,
who also worked in marble (Pliny, N.H. 36.42) is placed first in Cicero's "hardness"
scale (Cicero,
Brutus 18.70), and the two brothers were recognized by Pausanias as founders
of the Sikyonian bronzeworking school, linking it to the Argive from its very
outset. They also taught sculptors from Aegina and Chios.
This extract is from: Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works. Cited Oct 2005 from Perseus Project URL below, which contains extracts from the ancient literature, bibliography & interesting hyperlinks.
Alypus (Alupos), a statuary, a native of Sicyon. He studied under Naucydes, the Argive. His age may be fixed from his having executed bronze statues of some Lacedaemonians who shared in the victory of Lysander at Aegospotami. (B. C. 405.) Pausanias also mentions some statues of Olympic victors made by him. (vi. 1.2, x. 9.4, vi. 1.2, 8.3)
Asterion, a statuary, the son of a man named Aeschylus. Pausanias (vi. 3.1) mentions a statue of Chaereas, a Sicyonian pugilist, which was of his workmanship.
Γλύπτης από τη Σικυώνα, γιος του Αλέξη και μαθητής του Ευτυχίδη (Παυσ. 6,3,6).
Cleoetas (Kleoitas), a sculptor and architect, celebrated for the skilful construction
of the aphesis or starting place in the stadium at Olympia (Paus. vi. 20.7). He
was the author of a bronze statue of a warrior which existed at the acropolis
of Athens at the time of Pausanias (i. 24.3). As he was the son and father of
an Aristocles, Thiersch and Sillig reckon him as one of the Sicyonian artists,
among whom Aristocles, the brother of Canachus, is a conspicuous name, and assign
him therefore to 01. 61. But this is a manifest error, as may be seen by comparing
two passages of Pausanias (vi. 3.4, vi. 9.1); and it is highly probable that Cleoetas
was an Athenian. His name occurs (01. 86) in an inscription, from which we learn,
that he was one of Phidias' assistants, that he accompanied his master to Olympias,
and that thus he came to construct the the aphesis.
Cleon, a sculptor of Sicyon, a pupil of Antiphanes, who had been taught by Pericletus, a follower of the great Polycletus of Argos (Paus. v. 17.1). Cleon's age is determined by two bronze statues of Zeus at Olympia executed after 01. 98, and another of Deinolochus, after 01. 102. (Paus. vi. 1. Β§ 2.) He excelled in portrait-statues (Philosophos, Plin. H. N. xxxiv. 19, is to be taken as a general term), of which several athletic ones are mentioned by Pausanias. (vi. 3.4, 8.3, 9.1, 10, fin.)
Γλύπτης από τη Σικυώνα (Παυσ. 6,2,8).
Χαλκουργός από τη Σικυώνα, 4ος π.Χ αιώνας. Ηταν μαθητής του γιου του Λυσίππου, αλλά τα έργα του δύσκολα ξεχώριζαν από εκείνα του ίδιου του Λυσίππου.
Euthycrates, (Euthukrates). A sculptor of Sicyon, son and pupil of Lysippus,
flourished about B.C. 300. He was peculiarly happy in the proportions of his statues.
Those of Heracles and Alexander were in general esteem, and particularly one of
Medea, which was borne on a chariot by four horses.
Euthycrates, (Euthukrates), a Greek statuary, whom Pliny places at Ol. 120, B.
C. 300. (xxxiv. 8. s. 19.) He was the most distinguished son and pupil of Lysippus,
whom he imitated more in his diligence than in his gracefulness, preferring severe
truth to elegance of expression. (Plin. l. c. § 7.) This feature of his style
was seen in a most excellent statue of Hercules, at Delphi, and in his statues
of Alexander, the hunter Thestis, and the Thestiadae: the rest of the passage,
in which Pliny enumerates his works, is hopelessly corrupt. (See Sillig, Catal.
Artif. s. v.) According to Tatian, Euthycrates made statues of courtezans. (Orat.
in Graec. 52 , ed. Worth.)
Lysistratus of Sicyon, statuary, was the brother of Lysippus, with whom he is placed by Pliny at the 114th Olympiad (H. N. xxxiv. 8. s. 19.) He devoted himself entirely to the making of portraits, and, if we may believe Pliny, his portraits were nothing more than exact likenesses, without any ideal beauty. (Hic et similitudinem reddere instituit: ante eum quam pulcherrimas facere studebant.) He was the first who took a cast of the human face in gypsum; and from this mould he produced copies by pouring into it melted wax. (Plin. H. N. xxxv. 12. s. 44.) He made a statue of Melanippe. (Tatian. adv. Graec. 54, p. 117, ed. Worth.)
Lysippus, (Lusippos). A native of Sicyon, and one of the most
famous Greek artists, a contemporary of Alexander the Great. He was originally
a worker in metal, and taught himself the art of the sculptor by studying nature
and the canon of Polyclitus. His works, which were said to amount to 1500, were
all statues in bronze, and were remarkable for their lifelike characterization
and their careful and accurate execution, shown particularly in the treatment
of the hair. He aimed at representing the beauty and harmony more especially of
the male human body; and substituted for the proportions of Polyclitus a new ideal,
which kept in view the effect produced, by giving the body a more slender and
elegant shape, and by making the head smaller in comparison with the trunk, than
is the case with the actual average man. The most famous among his statues of
gods were the colossal forms of Zeus and Heracles, at Tarentum of which the former
was second in size only to that at Rhodes, while the latter was afterwards brought
to the Capitol at Rome, and then to the Hippodrome at Constantinople, where it
was melted down in A.D. 1022; and, lastly, the sun-god on the four-horse chariot
at Rhodes.
The first example of pure allegory in Greek art was his Kairos,
the "Favourable Moment"--a delicate youth with modest look standing
on a ball, with his foot winged, and holding shears and a balance in his hands.
The hair hung down in front, while it was so short behind that it could not be
grasped.
By far the greater number of his statues were portraits. Of
these the various representations of Alexander the Great from boyhood onwards
were of marked excellence. Indeed, the king would have no sculptor but Lysippus
to represent him, even as he would have no other painter than Apelles.
Among his large groups were Craterus saving the life of Alexander
chasing the lion, and the portraits of twenty-five horsemen and nine foot soldiers
who fell at the first assault in the battle of the Granicus. The excellent copy
in marble, at the Vatican, of the Apoxyomenos, a youth removing the dust of the
palaestra with a strigil, affords an idea of his skill in representing beautiful
and perfectly developed bodies of delicate elasticity and graceful suppleness.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Lysippus (Lusippos). Of Sicyon, one of the most distinguished Greek statuaries,
is placed by Pliny at Ol. 114, as a contemporary of Alexander the Great. (H. N.
xxxiv. 8. s. 19). We have no very clear intimation of how long he lived; but there
is no doubt that the great period of his artistic activity was during the reign
of Alexander; and perhaps Pliny has mentioned the 114th Olympiad in particular,
as being that in which Alexander died. We learn from Pausanias (vi. 1. 2) that
he made the statue of the Olympic victor Troilus, who conquered in the 102nd Olympiad
; but there is abundant evidence that the statues of victors in the games were
often made long after the date of their victories. On the other hand, there is
an inscription on a base found at Rome, Seleukos basileus. Lusippos epoiei. Now
Seleucus did not assume the title of King till 01. 117. 1. But this proves nothing;
for the addition of an inscription to a statue made long before, was a most frequent
occurrence, of which we have many examples.
Originally a simple workman in bronze (faber aerarilus), he rose to
the eminence which he afterwards obtained by the direct study of nature. It was
to the painter Eupompus that he owed the guiding principle of his art; for, having
asked him which of the former masters he should follow, Eupompus replied by pointing
to a crowd of men, engaged in their various pursuits, and told him that nature
must be imitated, and not an artist (Plin. l. c. 6). It is not to be inferred,
how ever, that he neglected the study of existing works of art: on the contrary
Cicero tells us (Brut. 86), that Lysippus used to call the Doryphorus of Polycleitus
his master; and there can be no doubt that the school of Lysippus was connected
with the Argive school of Polycleitus, as the school of Scopas and Praxiteles
was with the Attic school of Phidias; there being in each case a succession of
great principles, modified by a closer imitation of the real, and by a preference
for beauty above dig nity. Perhaps the great distinction between Lysippus and
his predecessors could not, in a few words, be better expressed than by saying
that lie rejected the last remains of the old conventional rules which the early
artists followed, and which Phidias, without permitting himself to be enslaved
by them, had wisely continued to bear in mind, as a check upon the liberty permitted
by mere natural models, and which even Polycleitus had not altogether disregarded
(Varr. de Ling. Lat. ix. 18). In Lysippus's imitation of nature the ideal appears
almost to have vanished, or perhaps it should rather be said that he aimed to
idealize merely human beauty. He made statues of gods, it is true; but even in
this field of art his favourite subject was the human hero Hercules; while his
portraits seem to have been the chief foundation of his fame. He ventured even
to depart from the proportions observed by the earlier artists, and to alter the
robust form (to tetragonon, quadratas veterum staturas) which his predecessors
had used in order to give dignity to their statues, and which Polycleitus had
brought to perfection. Lysippus made the heads smaller, and the bodies more slender
and more compact (graciliora siccioraque), and thus gave his statues an appearance
of greater height. He used to say that former artists made men as they were, but
he as they appeared to be. His imitation of nature was carried out in the minutest
details: " propriae hujus videntur esse argutiae operum, custoditae in minimus
rebus," says Pliny, who also mentions the care which Lysippus bestowed upon the
hair. Properties (iii. 7. 9) speaks of his statues as seeming to have the breath
of life (animosa), and the same idea is expressed by the grammarian Nicephorus
Chumnus, in an interesting but little known passage, in which he describes Lysippus
and Apelles as making and painting zosas eikonas kai pnnes mones kai kineseos
apoleeipomenas.
The works of Lysippus are said to have amounted to the enormous number
of 1500; at least this is the story of Pliny, who tells us that Lysippus used
to lay by a single piece of gold out of the price received for each of his works,
and that, after his death, the number of these pieces was found to be 1500 (HN.
xxxiv. 7. s. 17). His works were almost all, if not all, in bronze; in consequence
of which none of them are extant. But from copies, from coins, and from the works
of his successors, we derive valuable materials for judging of his style. The
following are the chief works of his which are mentioned by the ancient authors:
First, those of a mythological character. 1. A colossal statue of Zeus, 60 feet
high, at Tarentum, which is fully described by Pliny (H. N xxxiv. 7. s. 18; comp
Strab. vi.; Lucil. ap. Non. s. v. Cubitus). 2. Zeus in the forum of Sicyon (Paus.
ii 9. 6). 3. Zeus Nemeus, in an erect position, at Argos (Paus. ii. 20. 3). 4.
Zeus attended by the Muses (Paus. i. 43. 6). 5. Poseidon, at Corinth (Lucian,
Jup. Trag. 9, vol. ii. p. 652, Wetst.). 6. Dionysus, in the sacred grove on Mt.
Helicon (Paus. ix. 30.1). 7. Eros, at Thespiae (Paus. ix. 27. 3).
As above stated, his favourite mythological subject was Hercules.
The following are some of his statues of that here:--8. A colossal Hercules resting
from his labours, in a sitting posture, at Tarentum, whence it was carried to
Rome by Fabius Maximus, when he took Tarentum (Strab. vi.; Plut. Fab. Max. 22).
It was afterwards transferred to Byzantium (Nicet. Stat. Constant. 5). It is frequently
copied on gems. 9. Hercules, yielding to the power of Eros, and deprived of his
weapons. The statue is described in an epigram by Geminus (Anth. Pal. App. ii.
p. 655; Anth. Plan. iv. 103). This also often appears on gems. 10. A small statue
(epitra pezios), representing the deified hero as sitting at the banquet of the
gods, described by Statius (Silv. iv. 6) and Martial (ix. 44). The celebrated
Belvedere Torso is most probably a copy of this (Meyer, Kunstgeschichte, vol.
li. p. 114; Heyne, Prisc. Art. Op. ex Epigr. illust. p. 87). 11. Hercules in the
forum at Sicyon (Paus. ii. 9. 7). 12. There were originally at Alyzia in Arcadia,
and afterwards at Rome, a set of statues by Lysippus, representing the labours
of Hercules (Strab. x.). Perhaps one of this group may have been the original
of the Farnese Hercules of Glycon, which is undoubtedly a copy of a work of Lysippus.
To his mythological works must be added: 13. A celebrated statue of
Time, or rather Opportunity (Kairos; Callistr. Stat.). 14. Helios in a quadriga,
at Rhodes (Plin. H. N. xxxiv. 8. s. 19. 6). 15. A Satyr at Athens (Ibid.).
Of those of his statues which were neither mythological nor strictly
portraits, the following are mentioned: 16. A bather or athlete, scraping himself
with a strigil, which was placed by M. Agrippa in front of his baths, and was
so admired by the emperor Tiberius that he transferred it to his own chamber;
the resentment of the people, however, compelled him to restore it (Plin. l. c.).
From the way in which Pliny speaks of this statue, it may be conjectured that
it was intended by Lysippus to be a normal specimen of his art, like the Doryphorus
of Polycleitus. 17. An intoxicated female flute-player. 18. Several statues of
athletes (Paus. vi. 1. 2, 2. 1, 4. 4, 5. 1, 17. 2). 19. A statue of Socrates (Diog.
Laert. ii. 43). 20. Of Aesop (Anth. Graec.. iv. 33). 21. Of Praxilla. (Tatian.
adv. Graec. 52.)
We pass on to his actual portraits, and chiefly those of Alexander.
In this department of his art Lysippus kept true to his great principle, and imitated
nature so closely as even to indicate Alexander's personal defects, such as the
inclination of his head sidewards, but without impairing the beauty and heroic
expression of the figure. He made statues of Alexander at all periods of life,
and in many different positions. Alexander's edict is well known, that no one
should paint him but Apelles, and no one make his statue but Lysippus. The most
celebrated of these statues is that in which Alexander was represented with a
lance. (Plut. de Isid. 24), which was considered as a sort of companion to the
picture of Alexander wielding a thunderbolt, by Apelles. The impression which
it produced upon spectators was described by an epigram afterwards affixed to
it,-- audasounti d' eoiken ho chalkeos eis Dia leusson:
gan hup' emoi tithemai, Zeu, su d' Olumpon eche.
(Plut. de Alex. Virt. ii. 2, Alex. 4; Tzetz. Chil. viii. 426.) The rest of his
portraits of Alexander are described by MuΌller (Archeol. d. Kunst, § 129, n.
2). To the same class belongs his group of the chieftains who fell in the battle
at the Granicus.
There are still some other works of Lysippus of less importance, which are described
by the historians of Greek art. (Sillig, Cat. s. n.; Meyer, Kunstgeschichte; Hirt,
Gesch. d. Bild. Kunst; Nagler, Konstler-Lexicon. )
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
Dahippus or Dahippus (Daippos), a statuary who made statues of athletes (Paus. vi. 12.3, 16.4), and a statue which Pliny (xxxiv. 8. s. 19.28) calls Perixyomenon, for which Brotier would read paraluomenon. He is mentioned in two other passages of Pliny (l. c. 19, 19.7), where all the MSS. give Laippus, through a confusion between D and L. From these two passages it appears that he was a son of Lysippus, and that he flourished in the 120th Olympiad. (B. C. 300, and onwards.)
Eutychides, (Eutuchides). Of Sicyon, a statuary in bronze and marble, is placed by Pliny at Ol. 10, B. C. 300. (xxxiv. 8. s. 19.) He was a disciple of Lysippus. (Paus. vi. 2.4.) He made in bronze a statue of the river Eurotas, " in quo artem ipso amne liquidiorem plurimi dixere" (Plin. l. c. § 16), one of the Olympic victor Timosthenes, of Elis, and a highly-prized statue of Fortune for the Syrians on the Orontes. (Paus. l. c.) There is a copy of the last-named work in the Vatican Museum. (Visconti, Mus. Pio.-Clem. t. iii. tab. 46.) His statue of Father Liber, in the collection of Asinius Pollio, was of marble. (Plin. xxxvi. 5. s. 4.10.) A statue of Priapus is mentioned in the Greek Anthology (Brunck, Anal. ii.; Jacobs, iii. ) as the work of Eutychides, but it is not known whether Eutychides of Sicyon is meant. Cantharus of Sicyon was the pupil of Eutychides.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Σικυώνιος γλύπτης, μαθητής του Λυσίππου.
Bedas, a sculptor, the son and pupil of Lysippus, sculptured a praying youth (Plin. H. N. xxxiv. 8. s. 19), probably the original of which the fine bronze statue in Berlin is a copy.
Daetondas (Daitondas), a statuary of Sicyon, made a statue of the Eleian athlete Theotimus
at Olympia. (Paus. vi. 17.3.) Since Moschion, the father of Theotimus, accompanied
Alexander the Great into Asia, Daetondas probably flourished from B. C. 320 downwards.
Damocritus or Democritus (Damokritos, Demokritos). A statuary, born at Sicyon,
was a pupil of Pison, the pupil of Amphion, the pupil of Ptolichus, the pupil
of Critias of Athens. He probably flourished, therefore, about the 100th Olympiad.
(B. C. 380.) There was at Olympia a statue by him of Hippus (or Hippon), an Eleian,
who was victor in boxing among the boys. (Paus. vi. 3.2.) Pliny mentions a Democritus,
who made statues of philosophers. (xxxiv. 8. s. 19.8.)
Alexis, a sculptor and statuary, mentioned by Pliny (xxxiv. 8. s. 19) as one of the pupils of Polycletus. Pausanias (vi. 3.3) mentions an artist of the same name, a native of Sicyon, and father of the sculptor Cantharus. It cannot be satisfactorily settled whether these are the same, or different persons. Pliny's account implies that he had the elder Polycletus in view, in which case Alexis could not have flourished later than Ol. 95 (B. C. 400), whereas Eutychides, under whom Cantharus studied, flourished about Ol. 120, B. C. 300 (Pliny, H. N. xxxiv. 8. s. 19). If the two were identical, as Thiersch, we must suppose either that Pliny made a mistake, and that Alexis studied under the younger Polycletus, or else that the Eutychides, whose date is given by Pliny, was not the artist under whom Cantharus studied.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Diputades, of Sicyon, was the reputed inventor of the art of modelling in relief, which an accident first led him to practise, in conjunction with his daughter, at Corinth. The story is, that the daughter traced the profile of her lover's face as thrown in shadow on the wall, and that Dibutades filled in the outline with clay, and thus made a face in relief, which he afterwards hardened with fire. The work was preserved in the Nymphaeum till the destruction of Corinth by Mummius. (Plin. H. N. xxxv. 12. s. 43.) Pliny adds, that Dibutades invented the colouring of plastic works by adding a red colour to them (from the existing works of this kind it seems to have been red sand), or modelling them in red clialk; and also that he was the first who made masks on the edges of the gutter tiles of the roofs of buildings, at first in low relief (protypa,) and afterwards in high relief (ectypa). Pliny adds "Hine et fastigia templorum orta," that is, the terra-cotta figures which Dibutades was said to have invented, were used to ornament the pediments of temples. (See Dict. of Ant. s. v. Fastigium.)
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ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Bacchiadae (Bakchiadai), a Heracleid clan, derived their name from Bacchis, who
was king of Corinth from 926 to 891 B. C., and retained the supreme rule in that
state, first under a monarchical form of government, and next as a close oligarchy,
till their deposition by Cypselus, about B. C. 657. Diodorus (Fragm. 6), in his
list of the Heracleid kings, seems to imply that Bacchis was a lineal descendent
from Aletes, who in B. C. 1074 deposed the Sisyphidae and made himself master
of Corinth (Wess. ad Diod. l. c.; Pind. Olymp. xiii. 17; Schol. ad Pind. Nem.
vii. 155; Paus. ii. 4; Mull. Dor. i. 5.9); while from Pausanias it would rather
appear, that Bacchis was the founder of a new, though still a Heracleid, dynasty.
In his line the throne continued till, in B. C. 748, Telestes was murdered by
Arieus and Perantas, who were themselves Bacchiads, and were perhaps merely the
instruments of a general conspiracy of the clan to gain for their body a larger
share of power than they enjoyed under the regal constitution. From Diodorus,
it would seem that a year, during which Automenes was king, elapsed before the
actual establishment of oligarchy. According to the same author, this form of
government, with annual prytanes elected from and by the Bacchiadae, lasted for
ninety years (747-657); nor does it appear on what grounds a period of 200 years
is assigned to it by Strabo. (Strab. viii.; Mull. Dor. Append. ix. note x.) It
was indeed of too narrow and exclusive a kind to be of any very long duration;
the members of the ruling clan intermarried only with one another (Herod. v. 92);
and their downfall was moreover hastened by their excessive luxury (Ael. V. H.
i. 19), as well as by their insolence and oppression, of which the atrocious outrage
that drove Archias from Corinth, and led to the founding of Syracuse and Corcyra,
is probably no very unfair specimen. (Diod. Exc. de Virt. et. Vit. 228; Plut.
Amat ; Schol. ad Apollon. Rhod. iv. 1212.) On their deposition by Cypselus,
with the help of the lower orders (Herod. v. 92; Aristot. Polit. v. 10, 12), they were for the most part driven into banishment, and are said to have
taken refuge in different parts of Greece, and even Italy. (Plnt. Lysand. c. 1;
Liv. i. 34) Some of them, however, appear to have still remained at Corinth, if
we may consider as a Bacchiad the Heracleid Phalius, who led the colony to Epidamnus
in B. C. 627. (Thuc. i. 24.) As men of the greatest distinction among the Bacchiadae,
may be mentioned Philolaus, the legislator of Thebes, about B. C. 728 (Aristot.
Polit. ii. 12, ed. Bekk.), and Eumelus, the cyclic poet (Paus. ii. 1, 3, iv. 33;
Athen. i., c.; Schol. ad Pind. Olymp. xiii. 30)
Strabo tells us also (vii.), that the Lyncestian kings claimed descent from the
Bacchiadae.
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668 - 584
Periander, (Periandros). Son of Cypselus, whom he succeeded
as tyrant of Corinth in B.C. 625, and reigned forty years, to B.C. 585. His rule
was mild and beneficent at first, but afterwards became oppressive. According
to the common story, this change was owing to the advice of Thrasybulus, tyrant
of Miletus, whom Periander had consulted on the best mode of maintaining his power,
and who is said to have taken the messenger through a cornfield, cutting off as
he went the tallest ears, and then to have dismissed him without committing himself
to a verbal answer. The action, however, was rightly interpreted by Periander,
who proceeded to rid himself of the most powerful nobles in the State. He made
his power respected abroad as well as at home; and besides his conquest of Epidaurus,
mentioned below, he kept Corcyra in subjection. He was, like many of the other
Greek tyrants, a patron of literature and philosophy, and Arion and Anacharsis
were in favor at his court. He was very commonly reckoned among the Seven Sages,
though by some he was excluded from their number, and Myson of Chenae in Laconia
was substituted in his place.
The private life of Periander was marked by misfortune and
cruelty. He married Melissa, daughter of Procles, tyrant of Epidaurus. She bore
him two sons, Cypselus and Lycophron, and was passionately beloved by him; but
he is said to have killed her by a blow during her pregnancy, having been roused
to a fit of anger by a false accusation brought against her. His wife's death
embittered the remainder of his days, partly through the remorse which he felt
for the deed, partly through the alienation of his younger son Lycophron, inexorably
exasperated by his mother's fate. The young man's anger had been chiefly excited
by Procles, and Periander, in revenge, attacked Epidaurus, and, having reduced
it, took his father-inlaw prisoner. Periander sent Lycophron to Corcyra; but when
he was himself advanced in years, he summoned Lycophron back to Corinth to succeed
to the tyranny, seeing that Cypselus, his elder son, was unfit to hold it, from
deficiency of understanding. Lycophron refused to return to Corinth as long as
his father was there; thereupon Periander offered to withdraw to Corcyra if Lycophron
would come home and take the government. To this he assented; but the Corcyraeans,
not wishing to have Periander among them, put Lycophron to death. Periander shortly
afterwards died of despondency, at the age of eighty, and after a reign of forty
years, according to Diogenes Laertius. He was succeeded by a relative, Psammetichus,
son of Gordias.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Dictator of Corinth who succeeded his father Cypselos. Periander was
a very wise ruler, and was to be considered as one of the seven sages of Greece.
He was married to Melissa and they had at least two sons, one called Psammetichus.
Periander was a friend of Athens,
and also had strong ties with Miletus
and Lydia. He conquered Corcyra
and Epidaurus, and shared
Athens's animosity towards Aegina.
He also founded several colonies: Potidae
in Chalcidici, Apollonia
and Epidamnus by the Adriatic
Sea and established and enlarged the shipping routes to the Etruscans. He
also traded with Egypt.
Between the Saronic
and Corinthian Gulfs he had
a dragway for ships constructed (diolkos) which can be seen to this day. He also
made Corinth a cultural centre, and had poets like Arion at his court. He also
had buildings made in the Doric order, and it was during his rule the famous Corinthian
painted pottery was developed.
However, Periander was also slightly mad and cruel. He killed his
wife in a fit of jealousy, and when he realised what he had done he was filled
with remorse and had intercourse with her corpse. He surveilled his subjects,
and if he suspected someone of being a threat he had them executed. When on of
his sons was killed in Corcyra
he had 300 of the leading families' sons shipped to Lydia
as a gift. He told the Lydians the boys were to be eunuchised, but they were spared
his grim destiny.
Periander died at an old age, and was succeeded by his son Psammetichus,
who only ruled for three years, and then was overthrown by the oligarchs.
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Lais (celebrated Grecian hetaera). The elder, a native probably of Corinth, lived in the time of the Peloponnesian War, and was celebrated as the most beautiful woman of that age. She was notorious also for her avarice and caprice. One of her lovers was the Cyrenaic philosopher Aristippus, two of whose works were inscribed with her name. In her old age she took to drink. At her death she was buried in Corinth, and over her was placed a monument representing a lioness tearing a ram. So much was her reputation a part of that of her city that there arose the proverb ou Korinthos oute Lais. A number of anecdotes regarding her are preserved in Athenaeus.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Lais: The elder Lais, a native probably of Corinth. Athenaeus (xiii.) says that she was born at Hyccara, in Sicily, but he has probably confounded her with her younger namesake, the daughter of Timandra (Athen. xii, xiii.); for Timandra, as we know from Plutarch (Alcib. 39), was a native of Hyccara. The elder Lais lived in the time of the Peloponnesian war, and was celebrated as the most beautiful woman of her age. Her figure was especially admired. She was notorious also for her avarice and caprice. Amongst her numerous lovers she numbered the philosopher Aristippus, two of whose works were entitled Pros Laida, and Pros Laida peri tou katoptrou (Diog. Laεrt. ii. 84). She fell in love with and offered her hand to Eubotas, of Cyrene, who, after his victory at Olympia, fulfilled his promise of taking her with him to Cyrene, in word only--he took with him her portrait (Aelian, V. H. x. 2; Clemens Alex. Strom. iii.). In her old age she became addicted to drinking. Of her death various stories were told (Athen. xiii.; Phot. cod. cxc.). She died at Corinth, where a monument (a lioness tearing a ram) was erected to her, in the cypress grove called the Kraneion (Paus. ii. 2. Β 4; Athen. xiii.). Numerous anecdotes of her were current, but they are not worth relating here. (Athen. xiii.; Auson. Epig. 17). Lais presenting her looking-glass to Aphrodite was a frequent subject of epigrams (Brunck. Anal. i., ii.; Anthol. Pal. vi. 1, 19). Her fame was still fresh at Corinth in the time of Pausanias (ii. 2. Β 5), and ou Korinthos oute Lais became a proverb. (Athen. iv.)
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Lais. The younger Lais was the daughter of Timandra, who is sportively called Damasandra in Athenaeus (xiii.). Lais was probably born at Hyccara in Sicily. According to some accounts she was brought to Corinth when seven years old, having been taken prisoner in the Athenian expedition to Sicily, and bought by a Corinthian (Plut. l. c.; Paus. ii. 2. Β 5; Schol. ad Aristoph. Plut. 179; Athen. xiii.). This story however, which involves numerous difficulties, is rejected by Jacobs, who attributes it to a confusion between this Lais and the elder one of the same name. The story of Apelles having induced her to enter upon the life of a courtezan must have reference to the younger Lais. She was a contemporary and rival of Phryne. She became enamoured of a Thessalian named Hippolochus, or Hippostratus, and accompanied him to Thessaly. Here, it is said, some Thessalian women, jealous of her beauty, enticed her into a temple of Aphrodite, and there stoned her to death. (Paus. ii. 2 Β 5; Plut. vol. ii; Athen. xiii.). According to the scholiast on Aristophanes (Plut. 179), a pestilence ensued, which did not abate till a temple was dedicated to Aphrodite Anosia. She was buried on the banks of the Peneus. The inscription on her monument is preserved by Athenaeus (xiii.).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
ΚΛΕΩΝΑΙ (Αρχαία πόλη) ΝΕΜΕΑ
Pliny's description of Cimon of Cleonae presents grave difficulties. Most critics agree to the general conclusion that the inventions ascribed to him are represented broadly by what we see in the red-figured vases of the school of Epictetus, the date of which is now assigned to the age of the Peisistratidae. With the growing popularity of the athletic exercises of the palaestra, comes in the preference for representation of the nude figure, in attitudes and movements hitherto untried; the innovations in the drawing of dress, the improved treatment of the eye, the fine inner markings indicating veins and muscles, are all to be traced to these vases.
Catagrapha in this connexion is difficult to explain. Pliny's interpretation, which represents Cimon as the inventor of profile drawing, seems altogether untenable; in early sculptures in relief, figures which would naturally be in profile are frequently represented in full face; but there is no evidence of any such priority of full-face treatment in Painting. On the other hand, it is probable that the great paintings of this time must have consisted of outline drawings with washes of colour, as on the alabastos of Pasiades in the British Museum. One explanation refers it to linear perspective, or what we should term projection! The most generally accepted interpretation refers it to the practice, common in the vase-paintings of this period, of indicating the outline of the body underneath the dress, which adapts itself to the movements of the figure.
A notable monument of this period is the Stele of Lyseas, an inscribed marble shaft of about 550-525 B.C., with an inscription stating that it is the tombstone and portrait of Lyseas; on the front is painted the full-length figure of the deceased, holding in one hand a cantharus, in the other the twigs of lustration; the chiton is purple, the himation white with a coloured edge, the twigs green, the cantharus black. The outline was first drawn in a dark colour, and the background is red. Below is a minute figure of a galloping horseman. The similarity of this figure to the carved stele of Aristion shows the close connexion that then existed between marble painting and marble relief. Probably such paintings were much in vogue, though naturally very little beyond mere fragments of them have come down to us. The technique corresponds most nearly to that of the black-figured vases. Loeschcke has tried to show that the change from black to red figures in vase-painting was brought about by the influence of marble paintings, such as the Stele of Lyseas; but this suggestion has been generally opposed (see Klein, Euphronios,2 p. 30, and Arch.-Epig. Mitth. 1887, p. 209). We referred above to the statement of Pausanias (vii. 22, 6) that the great artist Nicias painted a sepulchral stele at Triteia: this is important as showing that, even if the Stele of Lyseas is not by a great master, it belongs to a class of work which was not beneath the dignity, and probably reflects the methods, of the great masters.
Another interesting monument, which may probably be referred to this period, has recently been discovered in or near Athens; it is a disk of white marble pierced with two bronze nails for attachment to a wall; on it is painted4 a bearded man seated in a chair, and around the picture is an archaic inscription recording that this is the monument of the excellent physician Aineos or Aineios. The name is an uncommon one, and has been identified with that of the great uncle of the famous Hippocrates; assuming this to be a contemporary portrait, the date would thus fall at about 520 B.C.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Cimon of Cleonae, a painter of great renown, praised by Pliny (H. N. xxxv. 34) and Aelian. (V. H. viii. 8). It is difficult to ascertain, from Pliny's obscure words, wherein the peculiar merits of Cimon consisted: it is certain, however, that he was not satisfied with drawing simply the outlines of his figures, such as we see in the oldest painted vases, but that he also represented limbs, veins, and the folds of garments. He invented the Catasgrapha, that is, not the profile, according to the common interpretation, but the various positions of figures, as they appear when looking upwards, downwards, and sideways; and he must therefore be considered as the first painter of perspective. It would appear from an epigram of Simonides (Anthol. Palat. ix. 758), that he was a contemporary of Dionysius, and belonged therefore to the 80th Olympiad; but as he was certainly more ancient, Klchon should in that passage be changed into Michon.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Eumarus, a very ancient Greek painter of monochromes, was the first, according to Pliny, who distinguished, in painting, the male from the female, and who "dared to imitate all figures". His invention wits improved upon by Simon (=Comon) of Cleonae (xxxv. 8. s. 34). Muller supposes that the distinction was made by a difference of colouring; but Pliny's words seem rather to refer to the drawing of the figure.
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Cleanthes of Corinth is by Pliny ranked among the inventors of linear drawing; but Pliny's order cannot be accepted here, for it seems clear that the place of Cleanthes is at least posterior to that of Ecphantus. In this case we are not left to Pliny's information alone. Strabo (viii. 343) notes two works by this master in the temple of Artemis Alpheia: an Iliupersis, and a Birth of Athene. Of the first of these pictures we know nothing more: the Birth of Athene, however, is further mentioned by Athenaeus (viii. 346 c), who describes in this picture the figure of Poseidon offering a tunny fish to Zeus in travail. This is of course an error; the tunny is merely the attribute of Poseidon, whose type is thus distinguished on the Penteskuphia pinakes; and the whole description seems to point to a votive pinax of this kind, dating probably from the seventh century. In all probability it was one among many in this temple. Strabo couples with this picture another from the same temple by AREGON, representing Artemis on a Gryphon; this type, however, seems inconsistent with what we know of the methods of this period, and it is likely that either Aregon was of a much later date, or that Strabo's information was incorrect.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Cleanthes, an ancient painter of Corinth, mentioned among the inventors of that art by Pliny (H. N. xxxv. 5) and Athenagoras (Legat. pro Christ. c. 17). A picture by him representing the birth of Minerva was seen in the temple of Diana near the Alpheus (Strab. viii.; Athen. viii.). This work was not, as Gerhard says, confounding our artist with Ctesilochus (Plin. xxxv. 40), in a ludicrous style, but rather in the severe style of ancient art.
Cleophantus, one of the mythic inventors of painting at Corinth, who is said to have followed Demaratus in his flight from Corinth to Etruria. (Plin. H. N. xxxv. 5.)
Ardices of Corinth and Telephanes of Sicyon, were, according to Pliny (xxxv. 5), the first artists who practised the monogram, or drawing in outline with an indication also of the parts within the external outline, but without colour, as in the designs of Flaxman and Retzsch. Pliny, after stating that the invention of the earliest form of drawing, namely, the external outline, as marked by the edge of the shadow (umbra hominis lineis circumducta, or pictura linearis), was claimed by the Egyptians, the Corinthians, and the Sicyonians, adds, that it was said to have been invented by Philocles, an Egyptian, or by Cleanthes, a Corinthian, and that the next step was made by Ardices and Telephanes, who first added the inner lines of the figure (spargentes lineas intus).
Next comes Ecphantus of Corinth, with whose name are associated the pictures of the colour of pounded potsherd: probably this expression merely refers to the deep purple colour which is added in the earliest vase-paintings of Corinthian style, and which to Pliny's authority may have seemed their most striking characteristic: that writer may have seen some early painting signed by Ecphantus, and was thus led to connect this improvement with his name. Like Eucheir and Eugrammus, he is said to have come out of Corinth with Demaratus. Pliny tries to explain away this difficulty by the stock method of imagining two Ecphanti; but while the journey is of course legendary, there is no reason why we should not accept Ecphantus as a real personality; it is even possible that we possess a monumental record of this very artist in the Columna Naniana (Lowy, Inschr. Gr. Bildh. No. 5), of which the inscription runs thus:-- Pai Dios, Ekphantoi dexai tod' amemphes agalma
soi gar epeuchomenos tout' etelesse graphon.
It seems likely that this column, which was found at Melos, and which, from its inscription, dates from the seventh century, supported a painting; possibly this was a Melian vase-painting, by the artist Ecphantus, who thus dedicates his own handiwork.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Aregon, a Corinthian painter, who, in conjunction with Cleanthes, ornamented the temple of Artemis Alpheionia at the mouth of the Alpheius in Elis. He painted Artemis riding on a griffin (Strab. vii.). If Cleanthes be the artist mentioned by Pliny (xxxv. 5), Aregon must be placed at the very earliest period of the rise of art in Greece.
Glaucion, a painter of Corinth, and the teacher of Athenion. (Plin. H.N. xxxv. 11. s. 40.29.)
Iphion of Corinth, a painter, who is only known by two epigrams, which are ascribed, on doubtful grounds, to Simonides. (Anth. Pal. ix. 757, xiii. 1; Brunck, Anal. vol. i.)
A celebrated Greek painter at Sicyon, contemporary with Zeuxis and Parrhasius, about B.C. 400. The masterpiece of Timanthes was his celebrated picture of the sacrifice of Iphigenia, in which Agamemnon was painted with his face hidden in his mantle.
In this school (the Sicyonian) we may include the name of Timanthes, who is indeed expressly called the Sicyonian painter by Eustathius (ad Il. p. 1343, 60). Pliny tells us that he successfully competed at Samos (doubtless at one of the annual art exhibitions already mentioned) with Parrhasius. [p. 413] Parrhasius' picture on this occasion represented the contest between Ajax and Odysseus for the arms of Achilles; and when beaten, he complained that Ajax had again been defeated by an unworthy opponent (i. e. in Homer, by Odysseus, and at Samos, by Timanthes). We are not told what was the subject of Timanthes' picture on this occasion; but it is clear that it could not have been, as Brunn supposes, the same as that of Parrhasius. Of the four other pictures ascribed to him, the Palamedes is uncertain, the hero in the temple of Pax at Rome tells us nothing, and the Sleeping Cyclops is probably not by him: Pliny (xxxv. § 74) describes it as a Cyclops sleeping, a tiny picture; to bring out the colossal size of the monster, the artist inserted figures of Satyrs, measuring his thumb with a thyrsos. The whole idea of this picture seems out of keeping with the age of our artist, and to belong rather to that idyllic time which treats the Cyclops from the idyllic point of view as the lover of Galatea. The Timanthes therefore who painted this may have been some much later artist of the same name.
We are thus left, for our estimate of Timanthes, to the most famous of his pictures, the Sacrifice of Iphigeneia, and the one with which he overcame in competition Colotes of Teos. The maiden was represented standing before the altar on which she was about to be offered up, and grief is exhibited in the faces of the by-standers. The intensity of emotion is graduated in the different faces, culminating in the climax with the father Agamemnon, whose head is veiled from view. More than one monument has come down to us which seems to have been inspired by this picture (see Wiener Vorlegebl. v. 8-10; the mosaic in Arch. Zeit. 1869, pl. 14; and Overbeck, Her. Bildw. p. 314 fol.): the most important of these is the Pompeian wall-painting (Overbeck, ib. pl. xiv. 10), which agrees in most of the important details with the description. The detail which appears constant throughout, the veiled grief of Agamemnon, is what seems most to have caught the fancy of the ancients; and it is possibly this fact which has inspired Pliny's estimate of his ingenium, so that he says of Timanthes that in his works the spectator sees more than is actually there (intelligitur plus semper quam pingitur). Apart, however, from oratorical gush, we may obtain a real idea of the grandeur of Timanthes' conception, which would seem to place him on a level higher than that of his contemporaries.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
After the invention of linear drawing, Pliny mentions Apicides of Corinth and Telephanes of Sicyon, spargentes lineas intra, and who also attached the names to their figures; the term lineas has usually been misunderstood as an allusion to the inner markings of the figure, giving the drawing of the eyes, nostrils, all in short which goes beyond mere silhouette. We cannot, however, suppose that all previous artists drew their figures as blind; and it is obvious moreover from vases, that inner markings must have been adopted long before the practice of writing in the names. Klein therefore suggests that this expression in Pliny refers to the linear ornaments, borrowed probably from the imitation of textile fabrics, which fill in the background in the designs of the end of the seventh and beginning of the sixth centuries B.C. And though this explanation upsets the chronological sequence of Pliny's statements, we need not reject it on that ground, for in this, as well as many other points, Pliny is demonstrably incorrect.
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Craton of Sikyon painted a man and woman on a whitened pinax; we are naturally led to think of the vase-paintings in black figures on a white ground: the term leleukomenos, however, need not imply more than the practice common to all the paintings of this period, which obtains equally in the Penteskuphia tablets and in the Clazomenae sarcophagi, of preparing the ground of the design with a yellowish-white pigment. The man and woman of Pliny's statement suggests the symmetrical pairs of figures which are commonly mentioned in the descriptions of works of this period, such as the Chest of Cypselus and the Spartan basis.
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A Greek painter, a native of Sicyon, who flourished about B.C. 400. He was the founder of the Sicyonian school of painting, which laid great emphasis on professional knowledge.
Eupompus, (Eupompos), of Sicyon, one of the most distinguished Greek painters, was the contemporary of Zeuxis, Parrhasius, and Timanthes, and the instructor of Pamphilus, the master of Apelles. He was held in such esteem by his contemporaries, that a new division was made of the schools of art, and he was placed at the head of one of them. Formerly only two schools had been recognized, the Greek Proper or Helladic, and the Asiatic; but the fame of Eupompus led to the creation of a new school, the Sicyonian, as a branch of the Helladic, and the division then adopted was the Ionian, the Sicyonian, and the Attic, the last of which had, no doubt, Apollodorus for its head. Another instance of the influence of Eupompus is his celebrated answer to Lysippus, who, at the beginning of his career, asked the great painter whom he should take for his model; and Eupompus answered that he ought to imitate nature herself, and no single artist. The only work of Eupompus which is mentioned is a victor in the games carrying a palm. (Plin. xxxiv. 8. s. 19.6, xxxv. 9, 10. s. 36.3, 7.)
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Eupompus of Sicyon is named by Pliny as belonging to this period (hac aetate), but that he was later than Timanthes we see from the fact that his pupils belong to a considerably later date. Of his pictures we know scarcely anything; but his importance is emphasised by the statement of Pliny, who says that on his account the schools of painting were now reckoned as three--viz. Ionic, Sicyonic, and Attic. It is evident from what has gone before that this cannot mean that Eupompus founded the Sicyonic school; it had existed from time immemorial; it merely means that from this time the Sicyonic painters begin to raise themselves as a separate class above the level of the rest of the Helladic school.
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Melanthius (Melanthios). A Greek painter of the Sicyonian School, contemporary with Apelles (B.C. 332), with whom he studied under Pamphilus (Pliny , Pliny H. N.xxxv. 50).
Of the pupils of Pamphilus, Melanthius, whose superiority in composition is said to have been conceded by his fellowpupil Apelles: of him, again, we only know one picture, which represented Aristratus, the Tyrant of Sicyon in Philip's time, standing beside the chariot of Nike: when under Aratus all effigies of Tyrants were subsequently destroyed, the figure of Aristratus was scraped out, and a palm-tree inserted in its place.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Εργα του Η Μέθη και ο Ερωτας που κρατά λύρα (Παυσ. 2,27,3).
Pausias. A Greek painter, a pupil of Pamphilus and a follower of the Sicyonian school. He lived about 360-330 B.C. at Sicyon, and invented the art of painting vaulted ceilings, and also of foreshortening; he brought encaustic painting with the cestrum to perfection. He painted chiefly children and flowers. One of his most famous pictures was the Flower Girl (Stephanoplokos), representing the flower girl Glycera, of whom he was enamoured in his youth.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Another of the pupils of Pamphilus, Pausias, may be considered to have done most
to develop the capabilities of the new method (Pliny, xxxv. § 123, primum in hoc
genere nobilem ). Striking effects of transparency, such as the face of his Methe
visible through the glass out of which she drank; of gradations of single colours,
so that in his famous Sacrifice picture the entire body of a bull seen in foreshortening
was coloured black: such were the features of his work; which, moreover, seems
to have been limited in other directions by the tediousness of the encaustic method;
so that his pictures were almost all on a small scale, and occupied with subjects
appropriate to the size, such as scenes of child life (pueri) and even (for the
first time) flower subjects. Pliny tells a story of his restoring the mural paintings
of Polygnotus at Thespiae, and adds that he was not very successful, quoniam non
suo genere certasset. We have, however, seen that Pliny neither knew nor cared
anything about the great mural paintings; the Thespiae here is a mistake for Delphi,
so that we can place no reliance on this evidence of Pausias' practice with the
brush.
From this point the history of Painting seems to branch off. Brunn,
and most critics following him, have thought to be able to trace a new school
existing side by side with the Sicyonian, of which the name of Aristeides stands
at the head, and which includes Nicomachus, Euphranor, and Nicias. This school
was termed the Theban Attic, for this reason; Aristeides is frequently termed
Thebanus, and we hear of a picture by him in Thebes; after the decline of Theban
power the, school is supposed to have taken root at Athens; and a contrast is
drawn between the severe academic exactness and thoroughness chrestographia) of
the Sicyonian school, and the greater ease and versatility, and invention more
intent upon the expression of human emotion of the Theban-Attic. This conclusion,
which, has been generally accepted, certainly, appears to rest on very insufficient
grounds, and it leaves us with, an impression of the narrowness and one-sidedness
of the Sicyonic school which is hardly warrantable in fact. Klein, who has subjected
each of the artists of the period now succeeding to a searching examination, advances
a theory which seems to do away with the difficulty. He, traces the whole of these
artists, back in two pedigrees to the tutelage of the two artists, Aristeides
and Pausias; he finds that Aristeides the Theban belongs no less to the Sicyonic
school than Pausias or than Pamphilus of Amphipolis; that most of these artists
can be more or less directly associated with Sicyon. The powerful reaction which
tradition, intelligibly enough, connects with Sicyon, . . . is only comprehensible
by the knowledge that it was preceded by a freshening and permeation of the ancestral
parent stock with Northern Greek blood. From North Greece it acquired the technique
of encaustic, which it developed, to the highest perfection; and thence arose
the idea that Aristides and Pamphilus were the first artists in encaustic. From
what we know of these artists it would appear that all spheres of art, from the
highest to the lowest, were handled by them; but there is no reason to suppose
that the traditions of technique and style which marked the Sicyonic school were
not preserved in painting as they were in sculpture.
This extract is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks
Erigonus, originally a colour-grinder to the painter Nealces, obtained so much knowledge of his master's art, that he became the teacher of the celebrated painter Pasias, the brother of the modeller Aegineta. (Plin. xxxv. 11, s. 40.41). From this statement it follows that he flourished about B. C. 240
Εργο του θεωρείται ο ζωγραφικός πίνακας του τεμένους της Αθηνάς και του Δία στον Πειραιά που παρίστανε το Λεωσθένη και τα παιδιά του (Παυσ. 1,1,3).
Aegineta a modeller (fictor) mentioned by Pliny. (H. N. xxxv. 11. s. 40.) Scholars are now pretty well agreed, that Winckelmann was mistaken in supposing that the word Aeginetae in the passage of Pliny denoted merely the country of some artist, whose real name, for some reason or other, was not given. His brother Pasias, a painter of some distinction, was a pupil of Erigonus, who had been colour-grinder to the artist Nealces. We learn from Plutarch (Arat. 13), that Nealces was a friend of Aratus of Sicyon, who was elected praetor of the Achaean league B. C. 243. We shall not be far wrong therefore in assuming, that Aegineta and his brother flourished about Ol. CXL. B. C. 220.
Brietes, a painter, the father of Pausias of Sicyon. (Plin. H. N. xxxv. 11. s. 40.)
Aristolaus, a painter, the son and scholar of Pausias. He flourished therefore
about Ol. 118, B. C. 308. Pliny (xxxv. 11. s. 40) mentions several of his works,
and characterises his style as in the highest degree severe.
Leontiscus, a painter of the Sicyonian school, contemporary with Aratus, whose portrait he painted, with a trophy (Plin. H. N. xxxv. 11. s. 40.35). It seems almost idle to inquire which of the victories of Aratus this picture was intended to celebrate. Harduin quotes Plutarch (Arat. 38, fol.), as making it probable that the victory referred to was that over Aristippus, the tyrant of Argos. This would place the painter's date about B. C. 235.
1927
Πολιτικός.
1889 - 1977
Ιδρυτής του "Λαϊκού Θεάτρου" στην Ελλάδα.
ΚΑΜΑΡΙ (Χωριό) ΞΥΛΟΚΑΣΤΡΟ
1868 - 1936
Πολιτικός, νομικός και ηγέτης του Λαϊκού Κόμματος, πρωθυπουργός της χώρας από το 1932 έως το 1935.
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Lycophron (Lukophron). The younger son of Periander, tyrant of Corinth, by his
wife Lyside or Melissa. Melissa having been killed by Periander, her father Procles,
tyrant of Epidaurus. asked her two sons, while staying at his court, if they knew
who had slain their mother. This rankled in the mind of Lycophron, and, on his
return to Corinth, he refused to hold any communication with his father. Periander
drove him from his house, and forbade any one to receive him or address him under
the penalty of the confiscation of a certain sum to the service of Apollo; but
the misery to which he was thus reduced had no effect on Lycophron's resolution,
and even his father's entreaties, that he would recede from his obstinacy and
return home, called forth from him only the remark that Periander, by speaking
to him, had subjected himself to the threatened penalty. Periander then sent him
away to Corcyra; but, when he was himself advanced in years, he summoned him back
to Corinth to succeed to the tyranny, seeing that Cypselus, his elder son, was
unfit to hold it from deficiency of understanding. The summons was disregarded,
and, notwithstanding a second message to the same effect, conveyed by Lycophron's
sister, and backed by her earnest entreaties, he persisted in refusing to return
to Corinth as long as his father was there. Periander then offered to withdraw
to Corcyra, if Lycophron would come home and take the government. To this he assented;
but the Corcyraeans, not wishing to have Periander among them, put Lycophron to
death, probably about B. C. 586. (Herod. iii. 50-53; Diog. Laert. i. 94, 95; comp.
Paus. ii. 28)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
Demaratus. A Corinthian, in the time of Philip and his son Alexander. He had connections of hospitality with the royal family of Macedon, and, having paid a visit to Philip, succeeded in reconciling that monarch to his son. After Alexander had overthrown the Persian Empire, Demaratus, though advanced in years, made a voyage to the east in order to see the conqueror, and, when he beheld him, exclaimed, "What a pleasure have those Greeks missed, who died without seeing Alexander seated on the throne of Darius!" He died soon after, and was honoured with a magnificent funeral.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
ΣΙΚΥΩΝ (Αρχαία πόλη) ΚΟΡΙΝΘΙΑ
Aratus, (Aratos). A Greek patriot, born in Sicyon B.C. 273,
who expelled from his native state the tyrant Nicocles, and persuaded his countrymen
to join the Achaean League, and in 244 secured the adhesion of Corinth. He afterwards
had equal success with other States in southern Greece, so that the League became
powerful, exciting the jealousy of the Aetolians, who made war upon it, but were
defeated by Aratus aided by Antigonus, and for a time by Philip, nephew of Antigonus.
This strong alliance overthrew Cleomenes, king of Sparta. Later, however, Aratus
incurred the ill-will of Philip, who destroyed him by poison, B.C. 213.
This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Nov 2002 from The Perseus Project URL below, which contains interesting hyperlinks
Aratus (Aratos), of Sicyon, lived from B. C. 271 to 213. The life of this remarkable
man, as afterwards of Philopoemen and Lycortas, was devoted to an attempt to unite
the several Grecian states together, and by this union to assert the national
independence against the dangers with which it was threatened by Macedonia and
Rome.
Aratus was the son of Cleinias, and was born at Sicyon, B. C. 271.
On the murder of his father by Abantidas Aratus was saved from the general extirpation
of the family by Soso, his uncle's widow, who conveyed him to Argos, where he
was brought up. When he had reached the age of twenty, he gained possession of
his native city by the help of some Argians, and the cooperation of the remainder
of his party in Sicyon itself, without loss of life, and deprived the usurper
Nicocles of his power, B. C. 251 (Comp. Polyb. ii. 43).
Through the influence of Aratus, Sicyon now joined the Achaean league,
and Aratus himself sailed to Egypt to obtain Ptolemy's alliance, in which he succeeded.
In B. C. 245 he was elected general (strategos) of the league, and a second time
in 243. In the latter of these years he took the citadel of Corinth from the Macedonian
garrison, and induced the Corinthian people to join the league. It was chiefly
through his instrumentality that Megara, Troezen, Epidaurus, Argos, Cleonae, and
Megalopolis, were soon afterwards added to it. It was about this time that the
Aetolians, who had made a plundering expedition into Peloponnesus, were stopped
by Aratus at Pellene (Polyb. iv. 8), being surprised at the sack of that town,
and 700 of their number put to the sword. But at this very time, at which the
power of the league seemed most secure, the seeds of its ruin were laid. The very
prospect, which now for the first time opened, of the hitherto scattered powers
of Greece being united in the league, awakened the jealousy of Aetolia, and of
Cleomenes, who was too ready to have a pretext for war. Aratus, to save the league
from this danger, contrived to win the alliance of Antigonus Doson, on the condition,
as it afterwards appeared, of the surrender of Corinth. Ptolemy, as might be expected,
joined Cleomenes; and in a succession of actions at Lycaeum, Megalopolis, and
Hecatombaeum, near Dyme, the Achaeans were well nigh destroyed. By these Aratus
lost the confidence of the people, who passed a public censure on his conduct,
and Sparta was placed at the head of a confederacy, fully able to dictate to the
whole of Greece -Troezen, Epidaurus, Argos, Hermione, Pellene, Caphyae, Phlius,
Pheneus, and Corinth, in which the Achaean garrison kept only the citadel. It
was now necessary to call on Antigonus for the promised aid. Permission to pass
through Aetolia having been refused, he embarked his army in transports, and,
sailing by Euboea, landed his army near the isthmus, while Cleomenes was occupied
with the siege of Sicyon (Polyb. ii. 52). The latter immediately raised the siege,
and hastened to defend Corinth; but no sooner was he engaged there, than Aratus,
by a masterstroke of policy, gained the assistance of a party in Argos to place
the Lacedaemonian garrison in a state of siege. Cleomenes hastened thither, leaving
Corinth in the hands of Antigonus; but arriving too late to take effectual measures
against Aratus, while Antigonus was in his rear, he retreated to Mantineia and
thence home. Antigonus meanwhile was by Aratus' influence elected general of the
league, and made Corinth and Sicyon his winter quarters. What hope was there now
left that the great design of Aratus' life could be accomplished -to unite all
the Greek governments into one Greek nation? Henceforward the caprice of the Macedonian
monarch was to regulate the relations of the powers of Greece. The career of Antigonus,
in which Aratus seems henceforward to have been no further engaged than as his
adviser and guide, ended in the great battle of Sellasia (B. C. 222), in which
the Spartan power was for ever put down. Philip succeeded Antigonus in the throne
of Macedon (B. C. 221), and it was his policy during the next two years (from
221 to 219 B. C.) to make the Achaeans feel how dependent they were on him. This
period is accordingly taken up with incursions of the Aetolians, the unsuccessful
opposition of Aratus, and the trial which followed. The Aetolians seized Clarium,
a fortress near Megalopolis (Polyb. iv. 6), and thence made their plundering excursions,
till Timoxenus, general of the league, took the place and drove out the garrison.
As the time for the expiration of Aratus' office arrived, the Aetolian generals
Dorimachus and Scopas made an attack on Plarae and Patrae, and carried on their
ravages up to the borders of Messene, in the hope that no active measures would
be taken against them till the commander for the following year was chosen. To
remedy this, Aratus anticipated his command five days, and ordered the troops
of the league to assemble at Megalopolis. The Aetolians, finding his force superior,
prepared to quit the country, when Aratus, thinking his object sufficiently accomplished,
disbanded the chief part of his army, and marched with about 4000 to Patrae. The
Aetolians turned round in pursuit, and encamped at Methydrium, upon which Aratus
changed his position to Caphyae, and in a battle, which began in a skirmish of
cavalry to gain some high ground advantageous to both positions, was entirely
defeated and his army nearly destroyed. The Aetolians marched home in triumph,
and Aratus was recalled to take his trial on several charges,--assuming the command
before his legal time, disbanding his troops, unskilful conduct in choosing the
time and place of action, and carelessness in the action itself. He was acquitted,
not on the ground that the charges were untrue, but in consideration of his past
services. For some time after this the Aetolians continued their invasions, and
Aratus was unable effectually to check them, till at last Philip took the field
as commander of the allied army. The six remaining years of Aratus' life are a
mere history of intrigues, by which at different times his influence was more
or less shaken with the king. At first he was entirely set aside; and this cannot
be wondered at, when his object was to unite Greece as an independent nation,
while Philip wished to unite it as subject to himself. In B. C. 218, it appears
that Aratus regained his influence by an exposure of the treachery of his opponents;
and the effects of his presence were shewn in a victory gained over the combined
forces of the Aetolians, Eleans, and Lacedaemonians. In B. C. 217 Aratus was the
17th time chosen general, and every thing, so far as the security of the leagued
states was concerned, prospered; but the feelings and objects of the two men were
so different, that no unity was to be looked for, so soon as the immediate object
of subduing certain states was effected. The story told by Plutarch, of his advice
to Philip about the garrisoning of Ithome, would probably represent well the general
tendency of the feeling of these two men.
In B. C. 213 he died, as Plutarch and Polybius both say (Polyb. viii.
14; Plut. Arat. 52), from the effect of poison administered by the king's order.
Divine honours were paid to him by his countrymen, and annual solemnities established
(Dict. of Ant. s. v. Arateia). Aratus wrote Commentaries, being a history of his
own times down to B. C. 220 (Polyb. iv. 2), which Polybius characterises as clearly
written and faithful records (ii. 40). The greatness of Aratus lay in the steadiness
with which he pursued a noble purpose -of uniting the Greeks as one nation; the
consummate ability with which he guided the elements of the stonn which raged
about him; and the zeal which kept him true to his object to the end, when a different
conduct would have secured to him the greatest personal advantage. As a general,
he was unsuccessful in the open field; but for success in stratagem, which required
calculation and dexterity of the first order, unrivalled. The leading object of
his life was noble in its conception, and, considering the state of Macedon and
of Egypt, and more especially the existence of a contemporary with the virtues
and abilities of Cleomenes, ably conducted. Had he been supported in his attempt
to raise Greece by vigour and purity, such as that of Cleomenes in the cause of
Sparta, his fate might have been different. As it was, he left his country surrounded
by difficulty and danger to the guiding hand of Philopoemen and Lycortas. (Plut.
Aratus and Agis; Polyb. ii. iv. vii. viii).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Machon, of Corinth or Sicyon, a comic poet, flourished at Alexandria, where he
gave instructions respecting comedy to the grammarian Aristophanes of Byzantium.
He was contemporary with Apollodorus of Carystus, and flourished between the 120th
and 130th Olympiads (B. C. 300--260). He held a high place among the Alexandrian
poets; Athenaeus says of hin, en d' agathos poietes eis tis allos ton meta touis
hepta, and quotes an elegant epigram in his praise. We have the titles of two
of his plays, Agnoia and Epistole, and of a sententious poem in iambic senarii,
entitled Chreiai, of which Athenaeus has preserved several fragments. (Athen.
vi.; xiv., viii., xiii.; Meineke, Hist. Crit. Corn. Graec.; Fabric. Bibl. Graec.
vol. ii.)
ΦΛΙΟΥΣ (Αρχαία πόλη) ΝΕΜΕΑ
Diocles (Diokles), of Athens, or, according to others, of Phlius, and perhaps in fact a Phliasian by birth and an Athenian by citizenship, was a comic poet of the old comedy, contemporary with Sannyrion and Philyllius. (Suid. s. v.) The following plays of his are mentioned by Suidas and Eudocia (p. 132), and are frequently quoted by the grammarians : Bakchai, Thalatta, Kuklopes (by others ascribed to Callias), Melittai. The Thuestes and Oneiroi, which are only mentioned by Suidas and Eudocia, are suspicious titles. He seems to have been an elegant poet.
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
Nαυπηγός 3ος αιώνας π.Χ.
It is said that the Corinthians were the first to approach the modern style of naval architecture, and that Corinth was the first place in Hellas where galleys were built;and we have Ameinocles, a Corinthian shipwright, making four ships for the Samians.
Ameinocles (Ameinokles), a Corinthian shipbuilder, who visited Samos about B. C. 704, and built four ships for the Samians (Thuc. i. 13). Pliny (H. N. vii. 56) says, that Thucydides mentioned Ameinocles as the inventor of the trireme; but this is a mistake, for Thucydides merely states that triremes were first built at Corinth in Greece, without ascribing their invention to Ameinocles. According to Syncellus, triremes were first built at Athens by Ameinocles.
ΣΙΚΥΩΝ (Αρχαία πόλη) ΚΟΡΙΝΘΙΑ
Baccheidas (Bakcheidas), of Sicyon, a dancer and teacher of music, in honour of whom there is an ancient epigram of four lines preserved by Athenaeus. (xiv.
ΚΟΡΙΝΘΟΣ (Αρχαία πόλη) ΠΕΛΟΠΟΝΝΗΣΟΣ
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