Ancient Descriptions of Art and Architecture

Pliny the Elder: Technical Mastery and Scale

Writing in the 1st century AD, the Roman author Pliny the Elder focuses on the technical specifications, architectural scale, and monetary value of Phidias' work. He records that Phidias acted as the episkopos (overseer) for Pericles' massive building programme.

Pliny reveals the staggering dimensions of the Athena Parthenos, stating it stood 26 cubits tall and incorporated 44 talents of gold. He explicitly notes that this gold was detachable, a deliberate design choice that allowed it to be weighed to prove Phidias had not embezzled public funds.

Pliny also highlights Phidias' mastery of toreutics by describing the intricate narrative carvings that Pausanias ignored:

• The Outer Shield (Convex): Carved with the Amazonomachy (the battle between Athenians and Amazons).
• The Inner Shield (Hollow): Decorated with the Gigantomachy (the battle of the Gods and Giants).
• The Sandals: The edges featured the Centauromachy (the battle of Lapiths and Centaurs).
• The Base: Pliny adds to Pausanias' account by noting that exactly twenty gods were depicted attending the birth of Pandora.

Quintilian: The Religious Impact of Art

While Pausanias focused on appearance and Pliny on technique, the 1st-century AD Roman rhetorician Quintilian evaluated the emotional and religious power of the statues.

Quintilian argued that Phidias' art reached a level of perfection that possessed unparalleled maiestas and dignity. He famously declared that the beauty of Phidias' divine statues "added something to received religion," meaning the sheer majesty of the artwork actively enhanced the worshippers' religious experience. Quintilian stated that Phidias was far better at representing gods than mortal men. When comparing him to rival sculptors like Polyclitus, Quintilian argued that while Polyclitus could master the human form, he lacked the auctoritas required to capture the true weight and authority of the divine.