The Hand of the Artist

Abstract

In works as early as those by Pliny we come across expressions indicating that the hand of a particular artist could be recognized from the form given to the work of art. In Book XXXIV.xviii.47 he mentions two chased cups from the hand of Calamis in connection with facsimiles made of them by the sculptor Zenodor. (A89) In Book XXXV.xxxvi.91 Pliny mentions a panel representing Venus rising up from the sea, painted by Apelles, which panel had been placed by August in the sanctuary of his father Caesar but, mouldered from old age, had been replaced by Nero by a work from the hand of Dorotheus. (A90) In Book XXXV.xxxvi.94, a panel representing Hercules with averted face is considered to be from the same hand as two works by Apelles described above. (A91) Finally, (Book XXXVI. iv.26) in enumerating works by Scopas, Pliny uses twice the expression “from the same hand” (A92), while further down (Book XXXVI.iv.27) he remarks that, as a result of the multitude of works of art in Rome and the large number of official and business activities, which prevent quiet consideration and study, the author of a Venus, erected by Emperor Vespasianus near his temple of peace, has remained unknown. (A93)