Posidippus, Epigrams, Pap. Mil. Vogl. VIII 309
Andriantopoiika
AB 62 (X 8-15)
Imitate these works of art, and race past, yes do, sculptors,
the rules of long ago for making large statues.
If the ancient hands of a sculptor, either Hagelaides,
who was long before the old art of Polycleitus,
or the rigid forms of Didymides were to enter the field,
there would be no reason for Lysippus’ new works
to be set out here for trial. But if then it’s necessary,
let also the contest of new arts take place …
Translated by Kathryn Gutzwiller
AB 62 (X 8-15) Imitate these works, and run past the long-standing
rules for these large statues, sculptors.
Even if the ancient hands of (?) or Agelaides
The craftsman of the very old style before Polyclitus
or the rigid sculptures of Didymides(?) had come into
the field, there would be no reason to lay out here
the novelties of Lysippus for the sake of a test.
(?)Then if it is necessary and the contest of
craftsmen of the new style falls(?)
Translated by Alex Sens
AB 63 (X 16-25) This bronze statue just like Philitas in every way was accurately
molded by Hecataeus even down to the toenails.
By pursuing a standard of what’s human in both size and texture
he mixed in no part of the form from heroes.
But with his whole art he modeled the deep-thinking old man,
by employing a straight rule of truth.
He’s like to one about to speak, with such character he’s adorned,
living, though an old man made of bronze.
On the command of Ptolemy, both god and king, the Coan man
is dedicated here for the sake of the Muses.
Translated by Kathryn Gutzwiller
AB 63 (X 16-25) Hecataeus formed this bronze equal to Philitas in
every respect carefully down to the tips of the nails.
He followed closely in size and shape the one
discerning (?) in human terms, and mixed in nothing
from the form of heroes. But he copied the very
careful elder with all his skill, have the straight
measure of truth. And the old man seems like one
about to speak, with so much character is he depicted,
breathing (?), though made of bronze. So by the order
of Ptolemy, god as well as king, was the man dedicated for the sake of the Muses.
Translated by Alex Sens
AB 63 (X 16-25) Hecataeus has formed this bronze likeness of Philitas
accurate in every respect to the tips of the fingers.
Following dimensions proper to man in size and form,
he has incorporated no aspect of the heroic,
but fashioned the old man accurately with all his skill,
adhering to the proper canon of the truth. He (Philitas)
is represented as a man about to speak with such realism
that he seems alive, just like an old man, although
he is bronze. In this way by order of Ptolemy, both god and king,
was the Coan man dedicated for the sake of his talent (?).
Translated by Susan Stephens
AB 64 (X 26-29) Praise, if you please, that bronze Idomeneus of Cresilas.
How precisely he made it, we see well.
Idomeneus cries out, “Run, my good Meriones, since for a long
time you’ve been immobile with molded […]
Translated by Kathryn Gutzwiller
AB 64 (X 26-29) Willingly praise that bronze Idoneneus
of Cresilas. How precisely he made it, we saw well.
Idomeneus cries: “Good Meriones, run!
… having been long immobile.
Translated by Alex Sens
AB 65 (X 30-33 [=APl 119=HE 3150-3]) Lysippus, Sikyonian sculptor, daring hand, learned artisan,
your bronze statue has the look of fire in its eyes,
that one you made in the form of Alexander. The Persians deserve
no blame. We forgive cattle for fleeing a lion.
Translated by Kathryn Gutzwiller
AB 65 (X 30-33 [=APl 119=HE 3150-3]) Lysippus, Sikyonian sculptor, bold hand,
clever/fierce craftsman, the bronze, you know, which
you put over the form of Alexander has a
look of fire in its eyes. The Persians are not at all
blameworthy: it is forgivable for cattle to flee a lion.
Translated by Alex Sens
AB 65 (X 30-33 [=APl 119=HE 3150-3]) Lysippus, sculptor of Sicyon, bold hand,
cunning craftsman, its glance is of fire that bronze
though didst cast in the form of Alexander. No longer
do we blame the Persians: cattle may be pardoned for flying before a lion.
Translated by W.R. Paton
(From LOEB Greek Anthology V; XVI 119)
AB 66 (X 34-37) …] the heifer … capable of drawing (a plow)
…] and worth much silver (?)
…] hand, a wise thing, he unexpectedly saw
…] but Myron made it.
Translated by Kathryn Gutzwiller
AB 67 (X 38-XI 5) Observe from nearby … of the rim …
how great was the labor of Theodorus’ hand.
For you will see bands, reins, the ring for the horses’ bit,
the bit’s axle, and the charioteer’s face and finger tips.
And you will see well … of its size, but you could see
a fly … sitting upon this ….
Translated by Kathryn Gutzwiller
AB 68 (XI 6-11) The Rhodians wanted to set up a Helios twice so large,
but the Lindian Chares assured them
that no artist would ever set up a larger-than-life statue
bigger than this one. If that revered Myron stopped
at the limit of four cubits, Chares was the first with skill
to make a bronze image [equal] to the size of the earth.
Translated by Kathryn Gutzwiller
AB 68 (XI 6-11) The Rhodians wanted to make the enormous (?) Sun
Twice this size, but Chares of Lindus set it down that
No craftsman would make a statue even bigger than this one.
If that venerable Myron reached a limit
Of four cubits, Chares was the first with his art
To forge in bronze a figure … [the size?] of the earth …
Translated by Alex Sens
AB 69 (XI 12-15) I am wearing a covering of bronze [ … ]
I Tydeus [ …
If you touch [ … ], Myron well
placed upon me [ …
Translated by Kathryn Gutzwiller
AB 70 (XI 16-19) And the [ … ] of Polycleitus … of all
fleshy and […]
all upon Alexander’s [ … ] of
Lysippus’ hands [ … ]
Translated by Kathryn Gutzwiller