DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0518
WORKS OF EUPHRANOR. 483
of Concordia. Several repetitions of such a group have been recognized, not only
on coins, but in statuary ; the best-preserved replica being in the Museo Tolonia
at Rome, where it is probably correctly restored.969 It represents that moment
of Greek myth when Leto, fleeing before Python, bears on one arm the babe
Apollo, who turns to slay the pursuing monster, while on the other arm his tiny
sister Artemis sits quietly looking on. This story of Apollo as slaying the de-
structive monster, to deliver mankind, and afterwards, although a god, doing
penance for having stained his hands with blood, thus containing one of the
most powerful ethical dogmas of the Greek religion, furnished frequent inspira-
tion for artists. Pythagoras of Rhegion treated the subject, and on coins and
vases it is not unusual.
In older representations, Apollo appeared full grown, as seen on vases of
the sterner style. But in this century, when childhood and womanhood came
to play so prominent a part in art, we see Apollo, as a babe in his mother's
arms, performing the first tremendous task of his divine career.
A Paris by Euphranor was said to have combined many excellences.
According to Pliny, one could see in the statue, not only the arbiter between
the goddesses and the lover of Helen, but also the slayer of Achilles.??0
Besides gods, goddesses, and heroes, Euphranor is said to have represented,
in colossal size, a "Virtus" and a " Groecia;" a priestess with the temple-key
{clciduclws), said to have been of most beautiful forms, and a praying woman ;
an Alexander and Philip on quadriga; were also from his hand.9/"1
Of his painting, it was said, that, though greatly concerned for symmetry,
Euphranor made the bodies too slender in proportion to the heads and extremi-
ties ; and it is possible, that this one hint as to the style of his art may be
passed over to his statuary also.972 We know, that he claimed for his paint-
ing of Theseus, that he had made him appear as though fed on flesh, while the
one by Parrhasios seemed fed on roses.Q73 Whether, in his statuary, there were
companion-pieces to his painting of Odysseus simulating insanity, or to this
Theseus, and whether his skill as a painter encouraged the pictorial element,
capable of producing illusion in statuary as well, must necessarily be left to
the realm of conjecture.^
of Concordia. Several repetitions of such a group have been recognized, not only
on coins, but in statuary ; the best-preserved replica being in the Museo Tolonia
at Rome, where it is probably correctly restored.969 It represents that moment
of Greek myth when Leto, fleeing before Python, bears on one arm the babe
Apollo, who turns to slay the pursuing monster, while on the other arm his tiny
sister Artemis sits quietly looking on. This story of Apollo as slaying the de-
structive monster, to deliver mankind, and afterwards, although a god, doing
penance for having stained his hands with blood, thus containing one of the
most powerful ethical dogmas of the Greek religion, furnished frequent inspira-
tion for artists. Pythagoras of Rhegion treated the subject, and on coins and
vases it is not unusual.
In older representations, Apollo appeared full grown, as seen on vases of
the sterner style. But in this century, when childhood and womanhood came
to play so prominent a part in art, we see Apollo, as a babe in his mother's
arms, performing the first tremendous task of his divine career.
A Paris by Euphranor was said to have combined many excellences.
According to Pliny, one could see in the statue, not only the arbiter between
the goddesses and the lover of Helen, but also the slayer of Achilles.??0
Besides gods, goddesses, and heroes, Euphranor is said to have represented,
in colossal size, a "Virtus" and a " Groecia;" a priestess with the temple-key
{clciduclws), said to have been of most beautiful forms, and a praying woman ;
an Alexander and Philip on quadriga; were also from his hand.9/"1
Of his painting, it was said, that, though greatly concerned for symmetry,
Euphranor made the bodies too slender in proportion to the heads and extremi-
ties ; and it is possible, that this one hint as to the style of his art may be
passed over to his statuary also.972 We know, that he claimed for his paint-
ing of Theseus, that he had made him appear as though fed on flesh, while the
one by Parrhasios seemed fed on roses.Q73 Whether, in his statuary, there were
companion-pieces to his painting of Odysseus simulating insanity, or to this
Theseus, and whether his skill as a painter encouraged the pictorial element,
capable of producing illusion in statuary as well, must necessarily be left to
the realm of conjecture.^