[596] Cf. Vitruvius, quoted above. The scholion on Pindar, Ol., VII, Argum., Boeckh, p. 158, speaks of πηχῶν τεσσάρων δακτύλων πέντε as the height of the statue of Diagoras at Olympia, etc.
[597] Vitruvius, de Arch., VII, Praef., 14, lists writers who praecepta symmetriarum conscripserunt. See V. Mortet, Rev. Arch., Sér. IV, XIII, 1909, pp. 46 f, and figs. 1 and 2. In this discussion of ancient canons he shows that the chief ratio was that of the head to the height of the body; the proportion of 8 heads to the body was that adopted by da Vinci and J. Cousin: 7 to 8 is found in the figures of the Parthenon frieze; a little under 7 in the Diadoumenos of Polykleitos.
[598] See Furtw., Mp., pp. 49–52. As examples, he gives the statue of Apollo from the Tiber now in the Museo delle Terme: Mp., pp. 50–51, figs. 8 and 9; cf. R. M., 1891, pp. 302, 377 and Pls. X-XII; the Mantuan Apollo: cf. 50stes Berliner Winckelmannsprogr., p. 139, n. 61 (for replicas); etc.
[599] For Polykleitos’ canon, see Pliny, H. N., XXXIV, 55; S. Q., 953 f.; Furtw., Mp., p. 249.
[600] So Pliny, op. cit., XXXV, 128; cf. J. Six, Jb., XXIV, 1909, pp. 7 f.
[601] H. N., XXXIV, 61; see Jex-Blake, p. XLVIII.
[602] H. N., XXXIV, 65.
[603] However, other fourth-century artists, notably Praxiteles, used impressionism in the treatment of the hair: see Bulle, pp. 444 f.
[604] In XXXIV, 80, he mentions Menaichmos, who wrote on the toreutic art probably in the fourth century B. C.; in XXXIV, 83 (cf. XXXV, 68), he mentions Xenokrates, of the school of Lysippos, who wrote books on art; he is probably identical with an artist of the same name known to us from inscriptions from Oropos and Elateia: I. G. B., 135, a, b (Oropos), c (Elateia); Arch. Eph., 1892, 52 (Oropos); the identity is doubted by Jex-Blake, p. xx, n. 2. In XXXIV, 84 (cf. XXXV, 68) he speaks of Antigonos, who wrote on painting and who was employed by Attalos I of Pergamon to work on the trophies of his victory over the Gauls. For Antigonos as a writer on the criticism of art, see Wilamowitz-Moellendorf, Antigonos von Karystos (Kiessling and Wilamowitz, Philolog. Untersuchungen, IV, 1881), Ch. I, pp. 7 f.
[605] H. N., XXXIV, 55. According to the exact words of Pliny, the Canon and the Doryphoros were distinct works. It is probable, however, that Pliny’s words conceal the same statue under two names, his commentary on each coming from a different source: see Furtw., Mp., p. 229 and n. 4; Mw., p. 422 and n. 2; cf. Muenzer, Hermes, XXX, 1895, p. 530, n. 1.