[1391] Sillig, in his “Dictionary of Ancient Artists,” observes that “this passage contains many foolish statements.” Also that there is “an obvious intermixture in it of truth and falsehood.”
[1392] This is universally admitted to have been one of the most splendid works of art. It is celebrated by various writers; Pausanias speaks of it in B. i. See also B. xxxvi. c. [4].—B.
[1393] As being made for the Temple of Diana at Ephesus.
[1394] Probably “Callimorphos,” or “Calliste.” We learn from Pausanias that it was placed in the Citadel of Athens. Lucian prefers it to every other work of Phidias.
[1395] A figure of a female “holding keys.” The key was one of the attributes of Proserpina, as also of Janus; but the latter was an Italian divinity.
[1396] “Ædem Fortunæ hujusce diei.” This reading, about which there has been some doubt, is supported by an ancient inscription in Orellius.
[1397] “Artem toreuticen.” See Note at the [end] of B. xxxiii.
[1398] Pliny has here confounded two artists of the same name; the Polycletus who was the successor of Phidias, and was not much inferior to him in merit, and Polycletus of Argos, who lived 160 years later, and who also executed many capital works, some of which are here mentioned. It appears that Cicero, Vitruvius, Strabo, Quintilian, Plutarch, and Lucian have also confounded these two artists; but Pausanias, who is very correct in the account which he gives us of all subjects connected with works of art, was aware of the distinction; and it is from his observations that we have been enabled to correct the error into which so many eminent writers had fallen.—B.
[1399] Derived from the head-dress of the statue, which had the “head ornamented with a fillet.” Lucian mentions it.
[1400] The “Spear-bearer.”