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Updated: June 13, 2025
More depends on determination than even on ability. Will, not talent, governs the world. From what pathway of eminence were women more traditionally excluded than from the art of sculpture, in spite of Non me Praxiteles fecit, sed Anna Damer? yet Harriet Hosmer, in eight years, has trod its full ascent.
The altar was adorned with the masterly sculptures of Praxiteles, who had, perhaps, selected from the favorite legends of the place the birth of the divine children of Latona, the concealment of Apollo after the slaughter of the Cyclops, and the clemency of Bacchus to the vanquished Amazons.
Yet he was not an ogre with a red knife between his teeth. He stood at exactly the perfect romantic height; he was just six feet tall; he was as graceful as a young cotton-wood in a windstorm and he was as strong and tough as the roots of the mesquite. He was one of those rare men who are beautiful without being unmanly. His face was modelled with the care a Praxiteles would lavish on a Phoebus.
In 1651 the pick was set to work to clear out this orchestra, and almost the first stroke revealed one of the most admirable works of Greek sculpture that has descended to us, the Venus of Arles, an imitation or reproduction of the celebrated Venus of Praxiteles, now, unhappily, lost.
Grecian statuary commenced with ideal representations of deities, and was carried to the greatest perfection by Phidias in his statues of Jupiter and Minerva. Then succeeded the school of Praxiteles, in which the figures of gods and goddesses were still represented, but in mortal forms.
'Some will have it to be the Jupiter Tonans of Phidias, and others the Venus of Paphos from Praxiteles; but I don't think it fierce enough for the first, nor handsome enough for the last.... Therefore I am inclined to join with Signor Julio de Pampedillo, who, in a treatise dedicated to the King of the Two Sicilies, calls it the Serapis of the Egyptians, and supposes it to have been fabricated about eleven hundred and three years before the Mosaic account of the creation. A bystander inquires what has become of the nose of the bust?
They held it quite likely that the blood of Praxiteles or his compeers may still have flowed through his veins certain at all events, that there hung about his person the traditions of the versatile colonists on the shores of Magna Graecia who, freed by legions of slaves from the trivial vexations which beset modern lives, were able to create in their golden leisure those monuments of beauty which are the envy and despair of our generation.
But if the religious type had required that Phidias should make a nude goddess, we may be sure he would have made her naked and unashamed, with no more self-consciousness than a nude Apollo; above all, he would not have thought it necessary to provide a motive for her nudity. With Praxiteles it is otherwise.
Passing through the Apollo Hall, we enter the large hall of Bacchus, in which the progress of the art is distinctly apparent. A satyr, lying asleep on a goat-skin which he has thrown over a rock, is believed to be the work of Praxiteles. The relaxation of the figure and perfect repose of every limb, is wonderful.
No doubt Edward Fitzgerald, who gave us the "Rubaiyat of Omar Khayyam" did some other desirable work; but Professor Moulton quotes this paragraph from a popular life of Fitzgerald, published in Dublin: "Not Greece of old in her palmiest days the Greece of Homer and Demosthenes, of Eschylus, Euripides, and Sophocles, of Pericles, Leonidas, and Alcibiades, of Socrates, Plato, and Aristotle, of Solon and Lycurgus, of Apelles and Praxiteles not even this Greece, prolific as she was in sages and heroes, can boast such a lengthy bead-roll as Ireland can of names immortal in history!"
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