DOI chapter:
Division A: The Agora and adjacent buildings lying to the west and north of the Acropolis, from the city gate to the Prytaneion
DOI chapter:Section II
DOI Page / Citation link:https://doi.org/10.11588/diglit.61302#0207
SEC. II
OF ANCIENT ATHENS
35
invoke Apollo the Pythian, who is the Patroos of our city.” Within
the temple stood-
In front-
i. Apollo Patroos, by Euphranor.
2. Apollo, by Leochares.
3. Apollo Alexikakos, by Kalamis.
The statues of Euphranor, like his pictures, ranked high in an-
tiquity. When Zeus is settling the question of Olympian etiquette
among the various
statues of the gods,
Lucian63 makes him
give precedence to
“the works of Phei-
dias, Alcamenes,
Myron, and Euphra-
nor, and the like ex-
cellent artists; ” but
of this particular
statue we know no-
thing, nor can we
even fix the artistic
type of Apollo as
Patroos. The only
certain Apollo Pat-
roos we possess is a
bas-relief (fig. 7) from
an altar at Athens.64
The inscription says
the altai was dedi- FIG. —bas-relief : apollo patroos.
cated “to Apollo
Agyieus (of the streets and ways) and Patroos, to the god of Pytho
and of Claros and of the whole Ionian race.” He is represented
as a naked long-haired youth playing on the lyre. We are equally
ignorant of how the god was conceived by Leochares, the con-
temporary of Scopas. Kalamis was chiefly famed for the grace
and austere beauty of his women figures. By the side of the work
of Euphranor and Leochares, his Apollo, dating at least a century
earlier, must have had a severely archaic air. The worship of
Apollo as Alexikakos (averter of evil) was widespread. He was
the god who sent the plague, and he alone could avert it. As
OF ANCIENT ATHENS
35
invoke Apollo the Pythian, who is the Patroos of our city.” Within
the temple stood-
In front-
i. Apollo Patroos, by Euphranor.
2. Apollo, by Leochares.
3. Apollo Alexikakos, by Kalamis.
The statues of Euphranor, like his pictures, ranked high in an-
tiquity. When Zeus is settling the question of Olympian etiquette
among the various
statues of the gods,
Lucian63 makes him
give precedence to
“the works of Phei-
dias, Alcamenes,
Myron, and Euphra-
nor, and the like ex-
cellent artists; ” but
of this particular
statue we know no-
thing, nor can we
even fix the artistic
type of Apollo as
Patroos. The only
certain Apollo Pat-
roos we possess is a
bas-relief (fig. 7) from
an altar at Athens.64
The inscription says
the altai was dedi- FIG. —bas-relief : apollo patroos.
cated “to Apollo
Agyieus (of the streets and ways) and Patroos, to the god of Pytho
and of Claros and of the whole Ionian race.” He is represented
as a naked long-haired youth playing on the lyre. We are equally
ignorant of how the god was conceived by Leochares, the con-
temporary of Scopas. Kalamis was chiefly famed for the grace
and austere beauty of his women figures. By the side of the work
of Euphranor and Leochares, his Apollo, dating at least a century
earlier, must have had a severely archaic air. The worship of
Apollo as Alexikakos (averter of evil) was widespread. He was
the god who sent the plague, and he alone could avert it. As