The Natural History of Pliny, Volume 6 (of 6)Pliny, the Elder
History
The Natural History of Pliny, Volume 6 (of 6)
Pliny, the Elder
Natural history -- Pre-Linnean works
At Rome, it is true, it is quite lost sight of amid such a vast
multitude of similar works of art: and then besides, the inattention
to these matters that is induced by such vast numbers of duties and so
many items of business, quite precludes the generality of persons from
devoting their thoughts to the subject. For, in fact, the admiration
that is due to this art, not only demands an abundance of leisure, but
requires that profound silence should reign upon the spot. Hence it
is, that the artist is now forgotten, who executed the statue of Venus
that was dedicated by the Emperor Vespasianus in his Temple of Peace, a
work well worthy of the high repute of ancient times. With reference,
too, to the Dying Children of Niobe, in the Temple of the Sosian[2413]
Apollo, there is an equal degree of uncertainty, whether it is the
work[2414] of Scopas or of Praxiteles. So, too, as to the Father Janus,
a work that was brought from Egypt and dedicated in his Temple[2415]
by Augustus, it is a question by which of these two artists[2416] it
was made: at the present day, however, it is quite hidden from us by
the quantity of gold that covers it. The same question, too, arises
with reference to the Cupid brandishing a Thunderbolt, now to be seen
in the Curia of Octavia: the only thing, in fact, that is affirmed
with any degree of certainty respecting it, is, that it is a likeness
of Alcibiades, who was the handsomest man of his day. There are, too,
in the Schools[2417] of Octavia, many other highly attractive works,
the authors of which are now unknown: four Satyrs, for example, one of
which carries in his arms a Father Liber, robed in the palla;[2418]
another similarly supports the Goddess Libera;[2419] a third is
pacifying a child who is crying; and a fourth is giving a child some
water to drink, from a cup; two Zephyrs also, who agitate their flowing
drapery with their breath. No less is the uncertainty that prevails as
to the authors of the statues now to be seen in the Septa;[2420] an
Olympus[2421] and Pan, and a Charon and Achilles;[2422] and yet their
high reputation has caused them to be deemed valuable enough for their
keepers to be made answerable for their safety at the cost of their
lives.
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