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Updated: June 13, 2025
Historians are not writing fancy school essays; what they have to say is before them, and will get itself said somehow, being solid fact; their task is to arrange and put it into words; they have not to consider what to say, but how to say it. The historian, we may say, should be like Phidias, Praxiteles, Alcamenes, or any great sculptor.
In the antechamber, where Hermon waited for the King, Proclus mentioned one of the finest statues of Alexander by Lysippus, and an exquisite Eros by Praxiteles.
Her hand and her arm, which I could see as far as the elbow, were magnificent; the chisel of Praxiteles never carved anything more grace fully rounded and plump, I was not sorry to have refused the two rendezvous which had been offered to me by the beauty, for I was sure of possessing her in a few days, and it was a pleasure for me to lay my desires at her feet.
If, as is probable, the Artemis of Gabii is a copy of the statue substituted by Praxiteles for this old image, we see there the goddess, as a graceful girlish figure, fastening a cloak upon her shoulder.
Of the work of Praxiteles we know more directly than of the work of any other Greek sculptor of the same remoteness, for one statue has come down to us actually from the master's own hand, and we possess good copies of several others.
The attribution of a catastrophe like Beatrice's to either of the two Jewesses, would of course be adventitious, and should be considered in the light of an artistic privilege. The "Faun" of Praxiteles in the museum of the Capitol next attracted his attention.
I likewise took particular note of the Faun of Praxiteles, because the idea keeps recurring to me of writing a little romance about it, and for that reason I shall endeavor to set down a somewhat minutely itemized detail of the statue and its surroundings. . . .
But now I was haunted by the face of the goddess of Denderah, and I remembered the legend of the lovely Lais, who, when she began to age, covered herself from the eyes of men with a veil, and went every day at evening to look upon her statue, in which the genius of Praxiteles had rendered permanent the beauty the woman could not keep.
He succeeded in hiding himself in the basilica when it was closed at night, threw himself in a frenzy upon the marble and was found stone dead beside it in the morning. The ugly draperies of painted metal which now hide much of the statue owe their origin to this circumstance. Classical scholars will remember that a somewhat similar tale is told by Pliny of the Venus of Praxiteles in Cnidus.
The hand which could copy nature in a human form, with the characteristics of the age and the sex, and the occupations of life, refrained from attempting the colossal and ideal majesty of a divinity; and when one of these sculptors, whose skill was pre-eminent in casting animals, had exquisitely wrought the glowing coursers for a triumphal car, he requested the aid of Praxiteles to place the driver in the chariot, that his work might not be disgraced by a human form of inferior beauty to his animals.
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