[526] Athen., XIII, 20 (pp. 565 f and 566 a); cf., Theophr., apud Athen., XIII, 90 (pp. 609 f, 610 a).
[527] Athen., XIII, 90 (p. 610a): here Athenæus is also quoting Theophrastos. In XIII, 20 (p. 565), he quotes Herakleides Lembos as saying that in Sparta the handsomest man and woman were especially honored.
[528] Hdt., V, 47; Eustath. ad Iliad, III, p. 383, 43; Foerster, 138.
[529] P., IX, 22.1.
[530] P., VII, 24.4; cf., VIII, 47.3, for a similar custom at Tegea.
[531] See O. Mueller, Die Dorier1, 1824, II, p. 238 (quoted by Krause, I, p. 37, n. 19). For references to contests of beauty in Greece, see ibid., pp. 33–38.
[532] On this subject, see the recent essay by W. H. Goodyear, Lessing’s Essay on the Laocoön and its Influence on the Criticism of Art and Literature, Brooklyn Museum Quarterly, Oct. 1917, pp. 228–9.
[533] Thus we have Polykleitos of Argos and Patrokles, perhaps his brother; Naukydes of Argos and Daidalos of Sikyon, sons of Patrokles; the younger Polykleitos—who called himself an Argive—the brother of Naukydes; Alypos of Sikyon, the pupil of Naukydes; etc. Statues by all these sculptors except Patrokles are known to have stood in Olympia.
[534] Hbk.2, p. 254.
[535] His criticism of painting occurs in Poet., 1448a, 5, 1450a, 26, and Polit., V, 1340a, 35. In Eth., VI, 1141a, 10, he says that Pheidias and Polykleitos were masters in marble and bronze respectively. For a discussion of Aristotle’s æsthetics of painting and sculpture, see M. Carroll, in Publ. of Geo. Washington University, Philol. and Lit. Series, I, 1 (Nov., 1905), pp. 1–10; and for both Aristotle and Plato on art, see Kalkman, 50stes Berl. Winckelmannsprogr., 1890 (Proport. des Gesichts), pp. 3 f. and notes.