The New Posidippus - Leeds International Classical Studies

MARY FRANCES WILLIAMS, THE NEW POSIDIPPUS
3.2 Posidippus X.16-25 = 63 AB
tÒnde Fil…tai c[al]kÕn [‡]son kat¦ p£n'{a} `Ek[a]ta‹oj
¢]k[r]ib¾j ¥krouj [œpl]asen e„j Ônucaj,
kaˆ me]gšqei ka[ˆ sa]rkˆ tÕn ¢nqrwpistˆ dièxaj
gnèmo]n', ¢f' ¹rèwn d' oÙd n œmeix'{e} „dšhj,
¢ll¦ tÕn ¢kromšrimnon Ól[hi k]atem£xato tšcnhi
pr]šsbun, ¢lhqe„hj ÑrqÕn [œcwn] kanÒna:
aÙd»s]onti d' œoiken, Óswi poik…lletai ½qei,
œmyuc]oj, ka…per c£lkeoj ën Ð gšrwn:
k Ptole]ma…ou d' ïde qeoà q' ¤ma kaˆ basiloj
¥gkeit]ai Mousš{i}wn e†neka Kîioj ¢n»r.
Hecataeus, working with great accuracy right down to the extremities of the
nails, following the human measure as to both size and skin, fashioned this
bronze statue equal in size to Philitas in every detail, and mixed in nothing from
the type of heroes. Rather, he has brought to completion with the entirety of his
art and holding the real canon of truth, the elder who devoted himself to
perfection. And although the old man is made of bronze, such is the subtlety of
character with which he is depicted that he looks like one alive, as if about to
speak. And the Coan man is set up here by the grace of Ptolemy, at once god and
king, for the sake of the Muses. 95
Posidippus praises Hecataeus’ bronze sculpture of Philitas of Cos for its
realistic accuracy (Pos. X.17) and he also notes the statue’s ‘size and flesh’,
intelligent expression, human proportions, and character (X.18-22). The statue
seems to be alive (X.23) and even appears ‘about to speak’ (X.22). Posidippus
distinguishes between modern art and older artists: the statue ‘owes nothing to the
heroic’ (i.e., idealized) style (¢f' ¹rèwn d' oÙd n X.19).
Posidippus indicates his familiarity with the technical vocabulary of sculpture
by his mention of ‘accuracy’ (¢]k[r]ib¾j X.17). Akribeia was a technical term in
fourth-century art criticism, 96 and Lysippus was praised for his akribeia. 97
Accuracy was prized by Polycleitus, who said, ‘the work is hardest when the clay
comes to the fingernail’, 98 a phrase Posidippus echoes when he mentions
fingertips (¥krouj [œpl]asen e„j Ônucaj Pos. X.17). 99 Posidippus’ emphasis on
Hecataeus’ interest in human proportions (tÕn ¢nqrwpistˆ dièxaj gnèmo]n' Pos.
X.18-19) suggests the proportionality of both Polycleitus and Lysippus. 100 Also,
Posidippus’ stress on the finish of bronzes (sa]rkˆ Pos. X.18; cf. s£rkina Pos.
XI.17) refers to sculptural practice since sculptors, particularly Polycleitus and
95
Translated Hardie (2003) 27. Cf. Scodel (2003) 44.
96
Arist. Poet. 4, 1448b10-12. Pollitt (1974) 22. Polycleitus was also noted for his akribeia (Galen,
De Temperamentis i.566; Stewart (1978b) 125).
97
Stewart (1990) 21, 63, 299; T124 = Plin. NH 34.61-5.
98
Stewart (1990) I, 25, 161; T67 = Plut. Mor. 86a, 636b-c; 40B1 Diels-Kranz.
99
So also Hardie (2003) 35.
100
Lysippus’ new style of bronze sculpture was characterized by attention to detail, great height,
and symmetria of the human body (Stewart (1990) I, 291; T124 = Plin. NH 34.61-5, who infers
that Xenocrates was Pliny’s source).
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