Institutio Oratoria

Quintilian

Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.

It was, however, from about the period of the reign of Philip down to that of the successors of Alexander

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that painting flourished more especially, although the different artists are distinguished for different excellences. Protogenes, for example, was renowned for accuracy, Pamphilus and Melanthius for soundness of taste, Antiphilus for facility, Theon of Samos for his depiction of imaginary scenes, known as φαντασίαι, and Apelles for genius and grace, in the latter of which qualities he took especial pride. Euphranor, on the other hand, was admired on the ground that, while he ranked with the most eminent masters of other arts, he at the same time achieved marvellous skill in the arts of sculpture and painting.

The same differences exist between sculptors. The art of Callon and Hegesias [*]( Callon of Aegina and Hegesias flourished in the latter years of the 6th century. Calamis of Athens and Myron of Eleutheae, first half of 5th centuryy. Phidlias of Athens and Polyelitus of Argos, the two most famous sculptors of the second half of 5th century. Praxiteles, middle of 4th century. Lysippus and Demetrius, last half of 4th century. ) is somewhat rude and recalls the Etruscans, but the work of Calamis has already begun to be less stiff, while Myron's statues show a greater softness of form than had been achieved by the artists just mentioned. Polyclitus surpassed all others for care and grace, but although the majority of critics account him as the greatest of sculptors, to avoid making him faultless they express the opinion that his work is lacking in grandeur.

For while he gave the human form an ideal grace, he is thought to have been less successful in representing the dignity of the gods. he is further alleged to have shrunk from representing persons of maturer years, and to have ventured on nothing more difficult than a smooth and beardless face. But the qualities lacking in Polyclitus are allowed to have been possessed by Phidias and Alcamenes.

On the other hand, Phidias is regarded as more gifted in his representation of gods than of men, and indeed for chryselephantine statues he is without a peer, as he would in truth be, even if he

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had produced nothing in this material beyond his Minerva at Athens and his Jupiter at Olympia in Elis, whose beauty is such that it is said to have added something even to the awe with which the god was already regarded: so perfectly did the majesty of the work give the impression of godhead. Lysippus and Praxiteles are asserted to be supreme as regards faithfulness to nature. For Demetrius is blamed for carrying realism too far, and is less concerned about the beauty than the truth of his work.

Now, if we turn our attention to the various styles of oratory, we shall find almost as great variety of talents as there are of personal appearance. There were certain kinds of oratory which, owing to the circumstances of the age, suffered from lack of polish, although in other respects they displayed remarkable genius. In this class we may place orators such as Laelius, Africanus, Cato, and even the Gracchi, whom we may call the

Polygnoti

and

Callones

of oratory.

Among orators of the intermediate type we may rank Lucius Crassus and Quintus Hortensius. Then let us turn to a vast harvest of orators who flourished much about the same period. It is here that we find the vigour of Caesar, the natural talent of Caelius, the subtlety of Calidius, the accuracy of Pollio, the dignity of Messala, the austerity of Calvus, the gravity of Brutus, the acumen of Sulpicius and the bitterness of Cassius, while among those whom we have seen ourselves we admire the fluency of Seneca, the strength of Africanus, the mellowness of Afer, the charm of Crispus, the sonority of Trachalus and the elegance of Secundus.