Scopas

Definition and stakes

Portrait of Thomas Bulfinch Thomas Bulfinch,  Bulfinch's Mythology: The Age of Fable

“ The Niobe group shows the distinction between Scopas and Praxiteles and the earlier artists in choice of subject and mode of treatment. The same distinction is shown by the Raging Bacchante of Scopas. The head is thrown back, the hair loosened, the garments floating in the wind, an ecstacy of wild, torrent- like action.
Of the work of Praxiteles we know more directly than of the work of any other Greek sculptor of the same remoteness, for one statue has come down to us actually from the master's own hand, and we possess good copies of several others.
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Source: Gutenberg

1911 Encyclopædia Britannica (1911)

“ It is very powerful, with massive bony framework; the forehead is projecting, the eyes deep-set and heavily shaded, the mouth slightly open and full of passion. It shows us that while in general style Scopas approached Praxiteles, he differed from him in preferring strong expression and vigorous action to repose and sentiment. ”
Source: Wikisource

Ernest Henry Short,  A History of Sculpture

“ For ourselves we prefer to regard the work of the critical school as scaffolding which will doubtless lead to a permanent erection of ascertained fact. The “Ares,” the “Meleager,” and the “Apoxyomenus” may be neither by Scopas nor Lysippus. It is sufficient if we can honestly detect in them the general characteristics of particular phases of fourth-century sculpture. The “Mausoleum Charioteer,” the “Menelaus and Patroclus,” and the “Niobe” group may none of them be the actual design or handiwork of Scopas. ”
Source: Gutenberg

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