Lysippos

Even as almost all the excellent painters and sculptors were endowed by heaven, in nearly every case, not only with the adornment of poetry, as may be read of Pacuvius, but with philosophy besides, as may be seen in Metrodorus, who, being as well versed in philosophy as in painting, was sent by the Athenians to Paulus Aemilius to adorn his triumph, and remained with him to read philosophy to his sons.

The art of sculpture, then, was greatly exercised in Greece, and there appeared many excellent craftsmen, and among others Phidias, an Athenian, with Praxiteles and Polycletus, all very great masters, while Lysippus and Pyrgoteles were excellent in sunk reliefs, and Pygmalion in reliefs in ivory, of whom there is a fable, that by his prayers he obtained breath and spirit for the figure of a virgin that he made.

Painting, likewise, was honored and rewarded by the ancient Greeks and Romans, seeing that to those who made it appear marvelous they showed favor by bestowing on them citizenship and the highest dignities.

So greatly did this art flourish in Rome, that Fabius gave renown to his house by writing his name under the things so beautifully painted by him in the temple of Salus, and calling himself Fabius Pictor.

The citizens of Delphi were visited with a series of calamities until they made a public reparation of their crime, and, quote, The Blood of Æsop, end quote, became a well-known adage, bearing witness to the truth that deeds of wrong would not pass unpunished.

Neither did the Greek fabulist lack posthumous honors, for a statue was erected to his memory at Athens, the work of Lysippus, one of the most famous of Greek sculptors.

Phaedrus thus immortalizes the event: Æsopo ingentem statuam posuere Attici Servumque collocarunt æterna in basi Petere honoris sirent uncumque di viam Nec generi tribui sed virtuti gloriam.

These few facts are all that can be relied on with any degree of certainty in reference to the birth, life, and death of Æsop.

It would appear, according to some of these relations, that Aesop, originally a shepherd's boy, had risen from the condition of a slave to great eminence, and that he lived in the service of Xanthus and Jedmon or Idmon in the island of Samos, and afterwards at Athens.

Phaedrus speaks of him as living the greater part of his life at the latter place, where it appears a handsome statue executed by the hand of the famous statuary Lysippos was erected to his memory and placed before those of seven sages of Greece.

Footnote.

These sages were Solon, Thales, Chilo, Cleobulus, Bias, Pittacus, and Periander, to whom Laterius adds Anacharis, Maro, Pherecydes, Epimenides, and Pisistratus.

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My studies have, throughout the whole world, given me the high title of the learned, since, against time and time's oblivion, the rich pencils of Timanthes, the bright marbles of Lysippos,

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This story, however, appears to be utterly without foundation, and was probably invented long after his death, merely to make his wit seem more remarkable by contrast with such deformity.

In truth, Aesop must have been unusually handsome, since we are told that the Athenians erected in his honor a noble statue by the famous sculptor Lysippos.

None of Aesop's works remain today.

How many of the fables attributed to him were actually his is extremely uncertain.

It would appear according to some of these relations that Aesop, originally a shepherd's boy, had risen from the condition of a slave to great eminence and that he lived in the service of Xanthus and Jedmon or Idmon in the island of Samos, and afterwards at Athens.

Phaedrus speaks of him as living the greater part of his life at the latter place, where it appears a handsome statue executed by the hand of the famous statuary Lysippos was erected to his memory and placed before those of seven sages of Greece.

Footnote.

These sages were Solon, Thales, Chilo, Cleobulus, Bias, Pittacus, and Periander, to whom Laterius adds Anacharis, Maro, Pherecydes, Epimenides, and Pisistratus.

The art of sculpture, then, was greatly exercised in Greece, and there appeared many excellent craftsmen, and among others Pheidias, an Athenian, with Praxiteles and Polycletus, all very great masters.

While Lysippus and Praxiteles were excellent in sunk reliefs, and Pygmalion in reliefs in ivory, of whom there is a fable that by his prayers he obtained breath and spirit for the figure of a virgin that he made.

Painting likewise was honored and rewarded by the ancient Greeks and Romans, seeing that to those who made it appear marvelous they showed favor by bestowing on them citizenship and the highest dignities.

So greatly did this art flourish in Rome that Fabius gave renown to his house by writing his name under the things so beautifully painted by him in the temple of Salus, and calling himself Fabius Pictor.

The citizens of Delphi were visited with a series of calamities until they made a public reparation of their crime and, quote, "The blood of Aesop," end quote, became a well-known adage, bearing witness to the truth that deeds of wrong would not pass unpunished.

Neither did the Greek fabulist lack posthumous honors, for a statue was erected to his memory at Athens, the work of Lysippos, one of the most famous of Greek sculptors.

Phaedrus thus immortalizes the event.

Aesopo ingentem statuam posuere Attici Servumque collocarunt aeterna in basi, Petere honoris sirent uncuncti viam Nec generi tribuere, sed virtuti gloriam.

This story, however, appears to be utterly without foundation and was probably invented long after his death merely to make his wit seem more remarkable by contrast with such deformity.

In truth, Aesop must have been unusually handsome, since we are told that the Athenians erected in his honor a noble statue by the famous sculptor Lysippos.

None of Aesop's works remain today.

How many of the fables attributed to him were actually his is extremely uncertain.