In the ædileship of M. Scaurus, there were three thousand
statues erected on the stage of what was a temporary theatre[1]
only. Mummius, the conqueror of Achaia, filled the City
with statues; he who at his death was destined not to leave a
dowry to his daughter,[2] for why not mention this as an
apology for him? The Luculli[3] also introduced many articles
from abroad. Yet we learn from Mucianus,[4] who was
thrice consul, that there are still three thousand statues in
Rhodes, and it is supposed that there are no fewer in existence
at Athens, at Olympia, and at Delphi. What living
mortal could enumerate them all? or of what utility would
be such information? Still, however, I may, perhaps, afford
amusement by giving some slight account of such of those works
of art as are in any way remarkable, and stating the names of
the more celebrated artists. Of each of these it would be
impossible to enumerate all the productions, for Lysippus[5]
alone is said to have executed no less than fifteen hundred[6]
works of art, all of which were of such excellence that any
one of them might have immortalized him. The number was
ascertained by his heir, upon opening his coffers after his
death, it having been his practice to lay up one golden
This art has arrived at incredible perfection, both in successfulness and in boldness of design. As a proof of successfulness, I will adduce one example, and that of a figure which represented neither god nor man. We have seen in our own time, in the Capitol, before it was last burnt by the party[8] of Vitellius, in the shrine of Juno there, a bronze figure of a dog licking its wounds. Its miraculous excellence and its perfect truthfulness were not only proved by the circumstance of its having been consecrated there, but also by the novel kind of security that was taken for its safety; for, no sum appearing equal to its value, it was publicly enacted that the keepers of it should be answerable for its safety with their lives.
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