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Updated: May 13, 2025


Phoenicia once more became the battle-field between two great powers, and for the next twenty years the cities were frequently taken and re-taken. At last, in B.C. 198, by the victory of Antiochus over Scopas, and the surrender of Sidon, Phoenicia passed, with Coelesyria, into the permanent possession of the Seleucidae, and, though frequently reclaimed by Egypt, was never recovered.

To an experienced artist the customary study from a naked figure, male or female, is little more than what a low-necked dress would be to others. Yet the instinct of the age shrinks from this exposure. We can make pretty good Venuses, but we cannot look at them through the same mental and moral atmosphere as the cotemporaries of Scopas, or even with the same eyes that Michael Angelo did.

In this, while the simplicity and strictness of the Pheidian ideal have been largely preserved, it has been used as the vehicle of deeper feeling and more spiritual life. Scopas was born at Paros, and lived during the fist half of the fourth century. He did much decorative work including the pediments of the temple of Athena at Tegea.

The guardians of the young Ptolemy sent against him an army under Scopas, the Ætolian, who was at first successful, but was afterwards beaten by Antiochus at Paneas in the valley of the Jordan, three and twenty miles above the Lake of Tiberias, and driven back into Egypt.

Fearing that the mercenaries might support their general, Aristomenes had even ordered out the elephants and prepared for battle. But, as the blow came upon Scopas unexpectedly, no resistance was made, and he was brought prisoner to the palace.

So masterly is the workmanship here, so utterly removed from the mechanical, uninspired manner of Roman copyists, that this head has been claimed as an original from the hand of Scopas, and so it may well be.

In our study of that ruined tomb, raised by a queen to her dead lover, and finished by the unpaid labour of great sculptors after her death from grief, or so runs the tale, we cannot distinguish the handiworks of Scopas and Praxiteles; and I wanted to create once more an art, where the artist's handiwork would hide as under those half anonymous chisels, or as we find it in some old Scots ballads or in some twelfth or thirteenth century Arthurian romance.

His works were very numerous, but chiefly from the circle of Dionysus, Aphrodite, and Eros, in which adoration for corporeal attractions is the most marked peculiarity, and for which the artist was fitted by his life with the hetaerae. Scopas was his contemporary, and was the author of the celebrated group of Niobe, which is one of the chief ornaments of the gallery of sculpture at Florence.

They can never grow old-fashioned; any more than Pisanello, or El Greco, or Botticelli, or Scopas, or any ancient Chinese Painter, can grow old-fashioned. But when a modern artist or poet sets to work to create a new form, let him remember what he is doing! It is not the pastime of an hour, this.

But when one of his friends asked Scopas, the rich Thessalian, to give him some article of no great utility, saying that it was not a thing that he had any great need or use for himself, "In truth," replied he, "it is just these useless and unnecessary things that make my wealth and happiness."

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