[174]. Lib. xxxvi. sect. 4. “Nor are there many of great repute the number of artists engaged on celebrated works preventing the distinction of individuals; since no one could have all the credit, nor could the names of many be rehearsed at once: as in the Laocoon, which is in the palace of the emperor Titus, a work surpassing all the results of painting or statuary. From one stone he and his sons and the wondrous coils of the serpents were sculptured by consummate artists, working in concert: Agesander, Polydorus, and Athenodorus, all of Rhodes. In like manner Craterus with Pythodorus, Polydectes with Hermolaus, another Pythodorus with Artemon, and Aphrodisius of Tralles by himself, filled the palaces of the Cæsars on the Palatine with admirable statuary. Diogenes, the Athenian, decorated the Pantheon of Agrippa, and the Caryatides on the columns of that temple rank among the choicest works, as do also the statues on the pediment, though these, from the height of their position, are less celebrated.”
[175]. Bœotic. cap. xxxiv. p. 778 (edit. Kuhn).
[176]. Plinius, lib. xxxvi. sect. 4, p. 730.
[177]. Geschichte der Kunst, part ii. p. 331.
[178]. Plinius, xxxvi. sect. 4.... “which would make the glory of any other place. But at Rome the greatness of other works overshadows it, and the great press of business and engagements turns the crowd from the contemplation of such things; for the admiration of works of art belongs to those who have leisure and great quiet.”
[179]. See Appendix, note 53.
[180]. Plinius, xxxvi. sect. 4.
[181]. Geschichte der Kunst, part ii. p. 347.
[182]. Lib. xxxvi. sect. 4.
[183]. See Appendix, note 54.