Sappho and her influence

by David M. Robinson

[121.] Cf. Pfuhl, op. cit., p. 566, III, Fig. 557; Pellegrini, Museo Civico di Bologna, Catalogo dei Vasi Greci, pp. 133-135, Fig. 77.

[122.] N. H., XXXV. 141. Brunn, Kunstgeschichte, p. 299, identifies him with a bronze-sculptor, Leon, but we are equally ignorant about him.

[123.] Anth. Plan., 310 (Edmonds, p. 173); Tatian, Adv. Gr., 130.

[124.] Cf. Hermann, Denkmäler der Malerei des Altertums, pl. 28; Pfuhl, op. cit., p. 734; Lippold, Röm. Mitt., XXXIII. 71 ff. (1918).

[125.] For replicas of the Sappho cf. Rizzo, Rev. Arch., 1901, pp. 301 ff. The latest and best discussion is by Percy Gardner, J. H. S. XXXVIII. 10 ff. (1918). For a copy of Silanion’s Corinna at Compiègne cf. Rev. Arch. XXXII. 161 (1894); XXXVI 169 (1898); Furtwängler, Meisterwerke, pp. 99 ff. would class many of the so-called Sapphos as Aphrodite and thinks that those which are copies of fifth century art may represent the Aphrodite of Phidias which was to be seen in later days in the portico of Octavia at Rome (Pliny, N. H. XXXVI, 15).

[126.] II. 4. 57.

[127.] Anth. Pal., VII. 15.

[128.] Cf. Fraenkel, Inschriften von Pergamon, 198. According to C. I. G. 3555 Jucundus and Cyriac of Ancona still saw the inscription at Pergamum.

[129.] Ecphr., 69-71.