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Updated: May 13, 2025
Scopas was greedy of money; nothing would satisfy his avarice. The other Greek generals of his rank received while in the Egyptian service a mina, or ten dollars a day, under the name of mess-money, beyond the usual military pay; and Scopas claimed and received for his services the large sum of ten minas, or one hundred and twenty-five dollars, a day for mess-money.
Titus, after beating back desperate attacks by the Jews, fixed his camp on Mount Scopas, by the side of the Mount of Olives, to the north of the city, and, abandoning the idea of taking the city fortress by storm, prepared to beleaguer it in regular form. The Jews were not prepared for a siege.
The fame of Scopas rests principally on the Niobe group which is attributed to him. The sculpture represents the wife of Amphion at the moment when the curse of Apollo and Diana falls upon her, and her children are slain before her eyes. The children, already feeling the arrows of the gods, are flying to her for protection.
What modern mind can conceive and grave so god-like forms as did the chief Athenian sculptors, and the Libyan Licas, and Dinocrates of Macedon, and Scopas, Timotheus, Leochares, and Briaxis; Chares, Lysippus, and the immortal three of Rhodes, that wrought Laocoon from a single block? What prince hath the genius to turn mountains into statues, as was done at Bagistan, and projected at Athos?
He participated also in the decoration of the Mausoleum erected by Artemisia to the memory of her husband. In this latter, the battle of the Amazons, though probably not the work of Scopas himself, shows in the violence of its attitudes and the pathos of its action the new elements of interest in Greek art with the introduction of which Scopas is connected.
On one occasion when residing at the court of Scopas, king of Thessaly, the prince desired him to prepare a poem in celebration of his exploits, to be recited at a banquet. In order to diversify his theme, Simonides, who was celebrated for his piety, introduced into his poem the exploits of Castor and Pollux.
We can trace in the Hellenistic age not only the traditions of earlier art, but the direct influence of the masters of the fourth century, the Praxitelean cult of beauty for its own sake, the passion and dramatic force of Scopas, and the preference for allegorical subjects and for statues of colossal size which we may see, as well as many higher qualities, in the art of Lysippus.
What the tendencies of the times were will best be seen by studying the most eminent representatives of this group or school. The first great name to meet us is that of Scopas of Paros. His artistic career seems to have begun early in the fourth century, for he was the architect of a temple of Athena at Tegea in Arcadia which was built to replace one destroyed by fire in 395-4.
The most prominent figure in the illustration is the god Hermes, as the herald's staff in his right hand shows. The female figures to right and left of him are good examples of that grace in pose and drapery which was characteristic of Greek sculpture in the age of Scopas and Praxiteles. The figure has numerous small restorations, including the feet and the box of manuscript rolls.
By this faithful conduct he gained great weight in the Alexandrian councils, till, corrupted by the poisonous habits of the place, he gave way to luxury and vice. About the same time Scopas, who had lately led back to Alexandria his Ætolian mercenaries, so far showed signs of discontent and disobedience that the minister, Aristomenes, began to suspect him of planning resistance to the government.
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