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Updated: May 25, 2025
Pheidias strove to make his gods all god-like; Lysippos was content to represent them merely as exaggerated human beings; but therein he differed also from Polycleitos, who aimed to model the human body with the beauty only which actually existed in it. Lysippos felt that he must set the standard of human perfection higher than it appears in the average of human examples.
Polycleitos was much praised by the Romans Quintilian and Cicero, who nevertheless, held that though he surpassed the beauty of man in nature, yet he did not approach the beauty of the gods. It was reserved for Pheidias to portray the highest conceptions of divinity of which the Greek mind was capable in his statues of Athene in the Parthenon at Athens, and the Zeus of Olympus.
He was distinguished for his statues in bronze of Zeus and Heracles, but his great distinction is not through works of his own, but is due to the fact that he was the teacher of Myron, Polycleitos, and Pheidias. These names with those of Pythagoras and Calamis bring us to the glorious flowering time of Greek sculpture.
Polycleitos won his chief successes in portraying human figures. His statues of divinities are not numerous: a Zeus at Argos, an Aphrodite at Amyclae, and, more famous than either, the chryselephantine Hera for a temple between Argos and Mycenae. The goddess was represented as seated on a throne of gold, with bare head and arms.
The figures have not the calm stateliness of bearing which characterizes those of the Parthenon frieze, but instead exhibit a wild vehemence of action which is, perhaps, directly due to the influence of Myron. Another pupil of Ageladas, a somewhat younger contemporary of Pheidias, was Polycleitos. He excelled in representations of human, bodily beauty.
Saxham knows himself the more muscular, but Beauvayse has the advantage of him in years, and is lithe, and strong, and supple as the Greek wrestler who served the sculptor Polycleitos as a model for the Athlete with the Diadem. It will be a fight worth having. No quarter.
A statue supposed to be a copy of this masterpiece of Polycleitos is now in the Berlin Museum. It represents a woman standing in a graceful attitude beside a pillar, her left arm thrown above her head to free her wounded breast. The sculptor has succeeded admirably in catching the muscular force and firm hard flesh beneath the graceful curves of the woman warrior.
The figure is rather heavily built, firm, powerful, and yet graceful, though hardly light enough to justify the praise of perfection which has been lavished upon it. A companion statue to the Doryphorus of Polycleitos was his statue of the Diadumenos, or boy binding his head with a fillet. A supposed copy of this exists in the British Museum.
Lysippos won much fame by his statues of Alexander the Great, but he is chiefly known to us by his statue of the athlete scraping himself with a strigil, of which an authentic copy is in the Vatican. The figure differs decidedly from the thick-set, rather heavy figures of Polycleitos, being tall, and slender in spite of its robustness.
It presents the same general characteristics as the Doryphorus, a well-modelled but thick-set figure standing in an attitude of repose. What Polycleitos did for the male form in these two statues he did for the female form in his Amazon, which, according to a doubtful story, was adjudged in competition superior to a work by Pheidias.
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