SCOPAS , probably of Parian origin, the son of
See also:Aristander, a
See also:great Greek sculptor of the 4th century B.C . Although classed as an Athenian, and similar in tendency to
See also:Praxiteles, he was really a cosmopolitan artist, working largely in
See also:Asia and
See also:Peloponnesus . The extant
See also:works with which he is associated are the
See also:Mausoleum of
See also:Halicarnassus, and the
See also:temple of Athena Alea at
See also:Tegea . In the case of the Mausoleum, though no doubt the sculpture generally belongs to his school, we are unable to single out any
See also:part of it as his own . But we have
See also:good reason to think that the pedimental figures from Tegea, some of which are at Athens, while some are kept in the
See also:local museum, are Scopas' own
See also:work . The subjects of the pedimental compositions were the
See also:hunting of the Calydonian boar and the
See also:battle between Achilles and Telephus . Four heads remain, that of Hercules, that of
See also:Atalanta and two of warriors: also part of the
See also:body of Atalanta and the
See also:head of the boar . Unfortunately all these are in very poor preservation; but it is allowed that they are our best evidence for the
See also:style of Scopas . The head of a helmeted
See also:warrior (see GREEK
See also:Plate III. fig . 63) is especially valuable to us . It is very powerful, with massive bony framework; the fore-head is projecting, the eyes deep-set and heavily shaded, the mouth slightly open and full of passion . It shows us that while in general style Scopas approached Praxiteles, he differed from him in preferring strong expression and vigorous
See also:action to repose and sentiment .
The temple at Tegea was erected after 395 B.C.; and the advancedcharacter of the sculpture seems to indicate a date at least twenty years later than this . Attempts have been made, through comparison of these heads, to assign to Scopas many sculptures now in museums, heads of Heracles, Hermes,
See also:Meleager and others . It is, however, very risky thus to attribute works executed in
See also:Roman times, and often thoroughly eclectic in character .
See also:Ancient writers give us a good
See also:deal of information as to works of Scopas . He made for the
See also:people of Elis a
See also:bronze Aphrodite,
See also:riding on a
See also:goat (copied on the coins of Elis); a Maenad at Athens,
See also:running with head thrown back, and a torn kid in her hands was ascribed to him; of this Dr Treu has published a probable copy in the Aibertinum at
See also:Dresden (Melanges
See also:Perrot, p . 317) . Another type of his was
See also:Apollo as
See also:leader of the Muses, singing to the
See also:lyre . The most elaborate of his works was a great
See also:group representing Achilles being conveyed over the
See also:sea to the
See also:island of Leuce by his
See also:Thetis, accompanied by Nereids riding on dolphins and sea-horses, Tritons and other beings of the sea, " a group," says Pliny (36 . 25), "which would have been remarkable had it been the
See also:sole work of his
See also:life." He made also an Aphrodite which rivalled the creation of Praxiteles, a group of winged love-gods whom he distinguished by naming them Love, Longing and
See also:Desire, and many other works . Jointly with his contemporaries Praxiteles and
See also:Lysippus, Scopas may be considered as having completely changed the character of Greek sculpture . It was they who initiated the lines of development which culminated in the
See also:schools of
See also:Pergamum, Rhodes and other great cities of later
See also:Greece . In most of the
See also:modern museums of ancient art their influence may be seen in three-fourths of the works exhibited .
See also:Renaissance it was especially their influence which dominated
See also:painting and through it modern art . (P .
SCOOP (from M. L. Ger. or M. Du. schope, cf. Du. sc...
SCOPE (through Ital. scopo, aim, purpose, intent, f...
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