The first statue that was erected at Rome at the expense of a foreigner was that of C. Ælius, the tribune of the people, who had introduced a law against Sthennius Statilius Lucanus,[1302] for having twice attacked Thurii: on which account the inhabitants of that place presented Ælius with a statue and a golden crown. At a later period, the same people erected a statue to Fabricius,[1303] who had delivered their city from a state of siege. From time to time various nations thus placed themselves under the protection of the Romans; and all distinctions were thereby so effectually removed, that statues of Hannibal even are to be seen in three different places in that city, within the walls of which, he alone of all its enemies, had hurled his spear.[1304]
CHAP. 16. (7.)—THAT THERE WERE STATUARIES IN ITALY ALSO AT AN EARLY PERIOD.
Various circumstances prove, that the art of making statues was commonly practised in Italy at an early period. The statue in the Cattle Market[1305] is said to have been consecrated to Hercules by Evander; it is called the triumphal Hercules, and, on the occasion of triumphal processions, is arrayed in triumphal vestments. And then besides, King Numa dedicated the statue of the two-faced Janus;[1306] a deity who is worshipped as presiding over both peace and war. The fingers, too, are so formed as to indicate three hundred and sixty-five days,[1307] or in other words, the year; thus denoting that he is the god of time and duration.
There are also Etruscan statues dispersed in various parts of the world, which beyond a doubt were originally made in Etruria. I should have supposed that these had been the statues only of divinities, had not Metrodorus[1308] of Scepsis, who had his surname from his hatred to the Roman name,[1309] reproached us with having pillaged the city of Volsinii for the sake of the two thousand statues which it contained. It appears to me a singular fact, that although the origin of statues was of such great antiquity in Italy, the images of the gods, which were consecrated to them in their temples, should have been formed either of wood or of earthenware,[1310] until the conquest of Asia, which introduced luxury among us. It will be the best plan to enlarge upon the origin of the art of expressing likenesses, when we come to speak of what the Greeks call “plastice;”[1311] for the art of modelling was prior to that of statuary. This last, however, has flourished to such an extraordinary degree, that an account of it would fill many volumes, if we were desirous of making an extensive acquaintance with the subject: but as to learning everything connected with it, who could do it?
CHAP. 17.—THE IMMODERATE PRICES OF STATUES.
In the ædileship of M. Scaurus, there were three thousand statues erected on the stage of what was a temporary theatre[1312] only. Mummius, the conqueror of Achaia, filled the City with statues; he who at his death was destined not to leave a dowry to his daughter,[1313] for why not mention this as an apology for him? The Luculli[1314] also introduced many articles from abroad. Yet we learn from Mucianus,[1315] who was thrice consul, that there are still three thousand statues in Rhodes, and it is supposed that there are no fewer in existence at Athens, at Olympia, and at Delphi. What living mortal could enumerate them all? or of what utility would be such information? Still, however, I may, perhaps, afford amusement by giving some slight account of such of those works of art as are in any way remarkable, and stating the names of the more celebrated artists. Of each of these it would be impossible to enumerate all the productions, for Lysippus[1316] alone is said to have executed no less than fifteen hundred[1317] works of art, all of which were of such excellence that any one of them might have immortalized him. The number was ascertained by his heir, upon opening his coffers after his death, it having been his practice to lay up one golden denarius[1318] out of the sum which he had received as the price of each statue.
This art has arrived at incredible perfection, both in successfulness and in boldness of design. As a proof of successfulness, I will adduce one example, and that of a figure which represented neither god nor man. We have seen in our own time, in the Capitol, before it was last burnt by the party[1319] of Vitellius, in the shrine of Juno there, a bronze figure of a dog licking its wounds. Its miraculous excellence and its perfect truthfulness were not only proved by the circumstance of its having been consecrated there, but also by the novel kind of security that was taken for its safety; for, no sum appearing equal to its value, it was publicly enacted that the keepers of it should be answerable for its safety with their lives.
CHAP. 18.—THE MOST CELEBRATED COLOSSAL STATUES IN THE CITY.
As to boldness of design, the examples are innumerable; for we see designed, statues of enormous bulk, known as colossal statues and equal to towers in size. Such, for instance, is the Apollo in the Capitol, which was brought by M. Lucullus from Apollonia, a city of Pontus,[1320] thirty cubits in height, and which cost five hundred talents: such, too, is the statue of Jupiter, in the Campus Martius, dedicated by the late Emperor Claudius, but which appears small in comparison from its vicinity to the Theatre of Pompeius: and such is that at Tarentum, forty cubits in height, and the work of Lysippus.[1321] It is a remarkable circumstance in this statue, that though, as it is stated, it is so nicely balanced as to be moveable by the hand, it has never been thrown down by a tempest. This indeed, the artist, it is said, has guarded against, by a column erected at a short distance from it, upon the side on which the violence of the wind required to be broken. On account, therefore, of its magnitude, and the great difficulty of moving it, Fabius Verrucosus[1322] did not touch it, when he transferred the Hercules from that place to the Capitol, where it now stands.