270:
20:
87:
three of Pliny's five sculptors; a type derived from
Phradmon has not been identified. Of these, however, only the identification of the Mattei type as deriving from Phidias's original is undisputed. The assignment of the Sciarra-type as deriving from Polyclitus's original and Sosicles-type as deriving from Kresilas's original (or vice versa), on the other hand, is unestablished, although having been discussed since 1897. The German scholar R. Bolnach has written a thorough form-analysis for the Sciarra/Polycletus and Sosikles/Kresilas pairings.
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to the judgment of the artists themselves who were then present: upon which, it was evident that that was the best, which all the artists agreed in considering as the next best to his own. Accordingly, the first rank was assigned to
Polycletus, the second to Phidias, the third to Cresilas, the fourth to Cydon, and the fifth to Phradmon.
81:
The most celebrated of these artists, though born at different epochs, have joined in a trial of skill in the
Amazons which they have respectively made. When these statues were dedicated in the Temple of Diana at Ephesus, it was agreed, in order to ascertain which was the best, that it should be left
114:
The usual designations of the statues, following Adolf Furtwängler, group them under the headings the
Lansdowne type, the Capitoline type, the Mattei type and the single example known as the Villa Doria Pamphilj type. A fifth type was excavated at the theater of Ephesus in 1898 but did not enter the
86:
This anecdote encouraged the much-discussed identifications of four known types of Roman marble copies of the wounded Amazon with sculptors of lost originals that may be dated to 430 BC on stylistic grounds. These types, each well represented by numerous Roman copies and heads, are identified with
101:
presented her doubts ("it is difficult to see why all five
Amazons were set up if only one 'won' and became the object of the dedication"), noting Pliny's awareness of the discrepancies in age of the sculptors; she presented an alternative, cumulative origin, building on fifth century prototypes,
549:
487:
177:. The figure looks down, with her right arm parrying and her left arm by her side with a quiver under it, though both arms, the head, and the left shoulder are all restorations. Another copy of this type is at the
126:
that has fallen from one or both shoulders to leave her bare-breasted. Their differences are most obvious when the three sculptures, or casts thereof, are displayed together, as at the Casts
Gallery at the
245:
516:
240:, Rome (Room 33). The figure has her left arm across her body below her breasts, and her right hand raised and open-palmed, as she looks down towards the wound in her right-hand side. She wears a
715:
309:, Rome, to the Ephesus group, an attribution that was challenged in 1951 by C.P. Sestieri, who identified the sculpture instead as a classicising Roman work, and a representation of
720:
408:"Pliny's account... may well be an embroidered anecdote prompted by the presence of four statues of the same subject in the same sanctuary by different artists" (von Bothmer,
313:. Dietrich von Bothmer's systematic study omitted the Dori-Pamphilj sculpture as insecurely identified and too much restored, while H. von Steuben in W. Helbig,
710:
61:. He explains the existence of such a quantity of sculptures on the same theme in the same place by describing a 5th-century BC competition between the artists
520:
725:
600:
The dog is part of the extensive restoration; the remains of a hand resting on the head, not an attribute of
Artemis/Diana, were noted by Ridgway 1974:4
397:
205:, The figure is resting her left arm on a column and her right hand behind her head, with her face leaning to one side. Her nose, right arm from the
173:
era, this type is derived from
Phidias's original. It is now on display in the Gallerie delle Statue of the Pio-Clementine Museum in the
705:
364:
The designation of a "Kydon type" among surviving examples has been explained by a textual mistaking of
Kresilas's place of birth -
209:
downwards, the left forearm below the elbow, both hands, and the right foot and ankle have all been restored since discovery.
463:
682:
269:
232:), deriving from Polyclitus's or Kresilas's original. It was discovered in 1733, went into the collection of Cardinal
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is not attested as an ethnic designation, but is well known as a given name (Richter, "Pliny's five
Amazons",
700:
282:
128:
19:
517:"Statua di Amazzone ferita / Sala del Gladiatore / Museo Capitolino / Percorsi per sale - Musei Capitolini"
198:
62:
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244:. The tip of nose, lower lip, left forearm, and hand with drapery have been restored since discovery.
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The prototype was discovered in 1770, as a marble Roman copy of a bronze original, and came into the
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106:, whom she identifies as a fourth-century sculptor, and supplemented by later classicizing models.
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II (2004) 411 s.v. "Sosikles" (R. Vollkommer); Hans von Steuben: "Die Amazone des Polyklet", in:
237:
194:
27:
317:, (Tübingen) 4th ed. identifies it as an eclectic classicizing work modelled on the Lansdowne
310:
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and is derived from Polyclitus's or Kresilas's original. It was found in Rome in 1868 in the
178:
54:
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233:
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This type is known principally from the 2.02 m high 2nd century AD marble copy (signed by
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embroidery invented to account for the five statues of wounded Amazons of varying styles.
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617:
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Wounded Amazon, "Lansdowne type", said to be after Polyclitus (Cast in Pushkin Museum)
694:
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All five types show a standing female with a similar head and face, and (as with the
652:
217:
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F. Eichler, "Eine neue Amazone und andere Skulpturen aus dem Theater von Ephesos,"
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Faculty. The pose, with one arm resting on the head, is comparable to that of the
467:
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It was (before and after Sosicles's time) copied as a complete statue, as a
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Ernest Gardner, "A Head in the Possession of Philip Nelson, Esq., M. B.
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58:
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Führer durch die öffentlichen Sammlungen klassischer Altertümer in Rom
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A possible fourth is the Lansdowne Amazon, said to have been found in
258:
257:, both in stone in the same size as the original and in miniature in
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559:, ed. by Herbert Beck and Peter C. Bol, Berlin 1993, pp. 73-102
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254:
216:
151:
140:
640:
285:, though it may be a variant on the Sciarra-type. Later at
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Detail of the Lansdowne Amazon (Metropolitan Museum of Art)
499:"Amazon: Mattei Amazon -- Britannica Online Encyclopedia"
591:(1951:13-32) p. 16, noted by Ridgway 1974:3 and note 10.
396:, John Bostock, M.D., F.R.S., H.T. Riley, Esq., B.A.
329:
A fifth Amazon type was unearthed at the theatre of
683:James Grout, "The Amazons of Ephesus," part of the
293:. The right arm and lower legs have been restored.
26:. Copy of the Greek original (440–430 BC) at the
38:Head of the Sosicles Amazon types, found in the
716:Roman copies of 5th-century BC Greek sculptures
79:
301:Adolf Furtwängler attributed a much-restored
8:
721:Sculptures in the Metropolitan Museum of Art
189:1.94 m high, this copy dates to the era of
16:Style of ancient Greek & Roman statues
33:
18:
342:
412:, Oxford 1957:212, quoted in , p. 2).
93:dismissed the Plinian anecdote as an
7:
711:Sculptures in the Capitoline Museums
662:, Vol. 104, No. 1 (2000) book review
422:"quamquam diversis aetatibus geniti"
368:- for the name of a fifth sculptor;
333:in 1898 but languished unpublished.
213:Amazon "Capitoline" or Sosicles type
169:collection. 2.11m high, and of the
14:
726:Sculptures in the Vatican Museums
569:Marble Statue of a Wounded Amazon
439:American Journal of Archaeology,
673:The Journal of Hellenic Studies
660:American Journal of Archaeology
224:, Roman copy signed by Sosikles
49:records five bronze statues of
641:The wounded Amazon of Kresilas
1:
571:, Metropolitan Museum of Art.
115:discussion until the 1950s.
580:Sestieri, "Alla ricerca di
433:Brunilde Sismondo Ridgway,
297:Villa Doria Pamphilj Amazon
42:, 1874 (Capitoline Museums)
742:
620:, "Pliny's five Amazons",
553:Künstlerlexikon der Antike
291:Metropolitan Museum of Art
435:"A Story of Five Amazons"
99:Brunilde Sismondo Ridgway
706:Ancient Greek sculptures
372:observed, however, that
444:.1 (January 1974:1-17).
398:Book XXXIV, Chapter XIX
540:Accession number K176.
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225:
199:Ny Carlsberg Glyptotek
157:
149:
84:
43:
31:
272:
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37:
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410:Amazons in Greek Art
307:Villa Doria Pamphilj
236:, and is now in the
197:, and is now in the
91:Dietrich von Bothmer
685:Encyclopædia Romana
658:Christopher Smith,
557:Polykletforschungen
505:on 3 December 2012.
394:The Natural History
289:, it is now at the
185:Amazon Sciarra type
122:) are clothed in a
40:Gardens of Maecenas
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238:Capitoline Museums
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195:Gardens of Sallust
161:Amazon Mattei type
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150:
44:
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28:Capitoline Museums
648:The three Amazons
392:Pliny the Elder,
179:Capitoline Museum
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616:(1956/58:7-18);
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501:. Archived from
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453:Ridgway 1974:2ff
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148:, Vatican Museum
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234:Giuseppe Albani
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47:Pliny the Elder
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679:(1898:141-146)
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635:External links
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627:(1959:111-15).
618:Gisela Richter
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325:Ephesus Amazon
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319:Wounded Amazon
303:Wounded Amazon
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283:Gavin Hamilton
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222:Wounded Amazon
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211:
207:deltoid muscle
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136:Apollo Lykeios
120:Venus Genetrix
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73:, "Kydon" and
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523:on 2007-10-07
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472:. Retrieved
468:the original
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102:added to by
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23:
622:Archaeology
378:Archaeology
95:etiological
695:Categories
527:2007-02-19
474:2007-02-19
337:References
203:Copenhagen
63:Polyclitus
55:Artemision
350:Nat Hist.
129:Cambridge
582:Phradmon
253:or as a
230:Sosicles
191:Tiberius
171:Augustan
132:Classics
104:Phradmon
77:; thus:
75:Phradmon
71:Kresilas
464:"Casts"
366:Kydonia
331:Ephesus
305:at the
242:baldric
175:Vatican
67:Phidias
59:Ephesus
53:in the
51:Amazons
586:ArchCl
259:bronze
167:Mattei
124:peplos
653:Smith
584:", ''
374:Kydon
353:34.75
311:Diana
110:Types
255:herm
251:bust
671:,"
611:ÖJh
281:by
57:of
697::
677:18
675:,
625:12
614:43
551:;
442:78
437:,
383:).
381:12
321:.
261:.
201:,
181:.
138:.
69:,
65:,
589:3
530:.
477:.
424:.
355:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
