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On this page: Leo – Leobotes – Leocedes – Leochares

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LEOBOTES.

appearing under the corrupt form of Thraciae. Sinnond first detected the real author of the piece, and restored the true title—Provinciae tertiae Lug-dunensis s. Turonicae.

It will be found in Labbe, Concil. vol. iii. col. 1420, fol. Par. 1672, and was placed by the bro­ thers Ballerini in the Appendix Epistolarum Leonis Magni, vol. i. col. 1469-72. See also Sirmohd, Concil. Gall. vol. i. pp. 119, 599, vol. iv. p. 667. (Schonemann, Biblioih. Patrum Lot. vol. ii. § 52.) [W. R.] ' LEO or LEON, jurists. 1. A jurist, who lived about the time of Theodosius II. or shortly after­ wards. He is mentioned by Sidonius Apollinaris in the following lines (Narbo, v. 448—551), which are remarkable from showing at how late a pe­ riod the laws of the twelve tables formed a part of legal instruction: —

*k Sive ad doetiloqui Leonis aedes, Quo bis sex tabulas docente juris, Ultro Claudius Appius lateret, Claro obscurior in decemviratu."

2. A praefectus praetorio of the East, under Anastasius. (Cod. 7. tit. 39. s. 6). He was pro­bably the author of the Edictum cited by Theo-dorus. (Basil, vol. iv. p. 414, ed. Fabrot.) He was different from the praefectus praetorio of Italy, to whom the 143rd Novell was addressed in Latin by Justinian in a. d. 563. (Biener, Ge-schichte der Novellen^ p. 532 ; C. E Zachariae, Anecdota, p. 261, n. 43.)

! 3. A. Graeco-Roman jurist, probably contem­ porary with Justinian. A legal question of Leo is cited in Basil. 29. tit. 1. schol. (vol. iv. p. 610, ed. Fabrot.) In Basil 21. tit. 2. schol. (vol. ii. p. 633), occurs another legal question of Leo, with the cor­ rupt heading, Acorns *Ava/.iap£evs(oTyAj'a€apfcvs) epwTTjffis. Leo, in the latter passage, inquires whether a woman, who, while she was a slave, had exercised the trade of prostitution, was infamous after manumission ; and Stephanus, who answers in the. negative, gives a curious reason for the rule. . *

A Leo Sebastinus, monk and jurist, is often cited by the untrustworthy Nic. Comnenus Papadppoli, in his Praenotiones Mystagogicae. His Ecthesis Canonum is mentioned,pp. 143,216,219,249,278; and his scholia on Balsamo, p. 325. [J. T. G.]

LEO or LEON, a physician, called <pi\6ffotl>os ical larpds, the author of a short Greek medical work, in seven books, entitled 2iWj/ts t^s 'larpt/ojs, Conspectus Medicinae, dedicated to a person named Georgius, at whose request it was written. It con­ sists of a very brief account of about two hundred diseases, taken in a great measure from Galen. It is uncertain at what time Leo lived, but it may have been about the eighth or ninth century after Christ. The work is to be found in Greek and Latin, in F. Z. Ermerins, Anecdota Medico, Graeca, 8vo. Lugd. Bat., 1840. " [W.A.G.]

LEO or LEON, artists. 1. A painter, of un­known date,1 whose picture of Sappho is men­tioned by Pliny (xxxv. 11. s. 40. § 35).

2. One of those statuaries who made." athletas, et armatos, et venatores sacrificantesque." (Plin. *xxiv. 8. s. 19. § 34.) [P. S.J

LEOBOTES (Aecy&rfT77s or A€uG6rris\ the Ionic form of LABOTAS (Aa&wras). 1. King of Sparta. [labotas.]

2. A Spartan harmost at the unfortunate colony

LEOCHARES.

of Heracleia, was slain in battle by the Oetaeans, together with 700 of the settlers, through the treachery of his Achaean allies, b. c. 409. (Xen. Hell. i. 2. § 18 ; Thirl wall's Greece, vol. iv. p. 95, note 1.) He is perhaps the same who is called Labotus in Plutarch. (Apoph. Lac. p. 140, ed. Tauchn.) [E. E.]

LEOCEDES (AwK^y), son of the tyrant Pheidon. (Herod, vi. 127.) [pheidon.]

LEOCHARES (Ae«x«'prjs). 1. An Athenian statuary and sculptor, was one of the great artists of the later Athenian school, at the head of which were Scopas and Praxiteles. He is placed by Pliny (JET. N. xxxiv. 8. s. 19) with Polycles I., Cephisodotus I., and Hypatodorus, at the 102d Olympiad (b. c. 372). We have several other indications of his time. From the end of the 106th Olympiad (b. c. 352) and onwards he was em­ployed upon the tomb of Mausolus (Plin. xxxvi. 5. s. 4. $ 9; Vitruv. vii. Praef. § 13: satyrus); and he was one of the artists employed by Philip to celebrate his victory at Chaeroneia, 01. 110, 3* b. c. 338. The statement, that he made a-statue of Autolycus, who conquered in the boys' pancration at the Panathenaea in 01. 89 or 90, and whoso victory was the occasion of the Symposion of Xenophon (Plin. H. N. xxxiv. 8. s. 19. $17; comp. Schneider, Quaest. de Conviv.Xenopli.), seems at first sight to be inconsistent with the other dates ; but the obvious explanation is? that the statue was not a dedicatory one in honour of the victory, but a subject chosen by the artist on ac­count of the beauty of Autolycus, and of the same class as his Ganymede, in connection with which it is mentioned by Pliny ; and that, therefore, it may have been made long after the victory of Autolycus. In one of the Pseudo-Platonic epistles (13, p. 361), the supposed date of which must be about 01. 104, Leochares is mentioned as a young and excellent artist.

The masterpiece of Leochares seems to have been his statue of the rape of Ganymede, in which, according to the description of Pliny (1. c.), the eagle appeared to be sensible of what he was carry­ing, and to whom he was bearing the treasure, taking care not to hurt the boy through his dress with his talons. ( Comp. Tatian, Orat. ad Graec. 56, p. 121, ed. Worth.) The original work was pretty certainly in bronze; but it was frequently copied both in marble and on gems. Of the extant copies in marble, the best is one, half the size of life, in the Museo Pio-Clementino. (Visconti, Mus. Pio-Clem. vol. iii. pi. 49 ; Abbildungen zu Winckelmann^ No. 86 ; Mliller, Denkm'dler d. alien Kunst^ vol. i. pi. 36.) Another, in the library of S. Mark at Venice, is larger and perhaps better executed, but. in a much worse state of preservation. (Zanetti, Statue^ vol. ii. tav. 7.) Another, in alto-relievo, among the ruins of Thessalonica, is figured in Stuart's Athens, vol. iii. c. 9, pi. 2 and 9. (Comp. Meyer, KunsfgescMchte, \ol. ii. pp. 97, 98.) These copies, though evidently very imperfect, give some idea of the mingled dignity and grace, and refined sensuality, which were the characteristics of the later Athenian school. Winckelmann mentions a marble base found in the Villa Medici at Rome, and now in the gallery at Florence, which bears the inscription TANTMHAHC AEOXAPOTC A0HNAIOT. (Gesch. d. Kunst. b. ix. c. 3. § 12, note.) Though, as- Winckelmann show* (comp. R. Rochette, Lettre a M. Schorn, p. 341, 2d edit.)

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