Plutarch says that Phidias was appointed general superintendent of public works; that he made the statue of Athena in the Parthenon; and that, through the friendship of Pericles, he had the direction of everything, and all the artists received his orders. But he contradicts this immediately, if he is understood to mean anything more than that Phidias generally ordered who should be employed to do this or that work; for he distinctly says that Ictinus and Callicrates made the Parthenon,—and we know that Ictinus and Carpion wrote a book upon it. If Phidias designed or executed anything else than the Athena, why does not Plutarch say so, when he takes pains to tell us he made the Athena? The mention of the one excludes the other. If Ictinus and Callicrates made the building, why may they not have made all the rest of the work? Were they not able to do it? There is no reason to doubt their ability to design and execute all the decorative figures belonging to the temple they built. To Ictinus was intrusted the building of the Temple of Apollo at Phigaleia, in the sculptures of which there is shown remarkable ability; and he also built the Temple of the Eleusinian Ceres, and its mystic inclosure or Secos. If Ictinus and Callicrates, or Carpion, did not execute these marbles of the Parthenon, why may they not have intrusted them to some of the numerous artists with whom Athens swarmed at that time? Libon the architect built the temple of Zeus in which the Zeus of Phidias stood, and its pediment figures were sculptured by Alcamenes and Pæonios. Is there any reason to reject such a theory? However, as to this we are entirely in the dark; all our suppositions are purely speculative. Nothing seems clear, except that the figures were not made by Phidias.
Why did not Plutarch tell us who were the sculptors of the marbles in the Parthenon? Probably for the very simple reason that he did not know. He wrote many centuries after Phidias was dead (about B. C. 66), and tradition may not have brought down the names of any who were concerned in the building of the Parthenon, save those of the architects and of Phidias. He did not attempt to supply the hiatus—being, to use his own words, convinced “of the difficulty of arriving at any truth in history: since if the writers live after the events they relate, they can but be imperfectly informed of facts; and if they describe the persons and transactions of their own times, they are tempted by envy and hatred, or by interest and friendship, to vitiate and pervert the truth.”
THE ART OF CASTING IN PLASTER AMONG THE ANCIENT GREEKS AND ROMANS.
I.
The question whether the art of making moulds and casts in plaster was known to the ancient Greeks and Romans was discussed some years ago by Mr. Charles C. Perkins, in an interesting pamphlet entitled “Du Moulage en Plâtre chez les Anciens,”[8] in which he collected various passages from ancient writers bearing more or less on this subject, and endeavored by their authority to establish the fact that this process was known and practiced at a comparatively early period in the history of art. After a careful examination of all his citations and arguments, as well as other authorities which he does not cite, we feel compelled to dissent entirely from his conclusions. We do not think he has made out his case. The question is an interesting one, however, from an archæological point of view at least, and well deserves consideration.
The only passage among the writings of the ancients which at first sight would seem directly to affirm that the process of casting in plaster from life, from clay models, or from statues in the round, in the modern meaning of that phrase, was known to the Greeks and Romans occurs in the “Natural History” of Pliny, and is as follows:—
“Hominis autem imaginem gypso e facie ipsa primus omnium expressit, ceraque in eam formam gypsi infusa emendare instituit Lysistratus Sicyonis, frater Lysippi, de quo diximus. Hic et similitudinem reddere instituit, ante eum quam pulcherrimum facere studebant. Idem et de signis effigiem exprimere invenit, crevitque res in tantum, ut nulla signa statuæve sine argilla fierent. Quo apparet antiquiorem hanc fuisse scientiam quam fundendi æris. Plastæ laudatissimi fuere Damophilus et Gorgasus idemque pictores qui Cereris ædem Romæ ad Circum Maximum utroque genere artis suæ excoluerunt.”[9]
Mr. Perkins, following in substance other translators, thus freely translates and develops this passage:—