He as
active as late as the middle of the century, being one of four
sculptors engaged on the reliefs of the Mausoleum or funeral
monument of Maussollus, satrap of Caria, who died in 351-0, or
perhaps two years earlier. That is about all we know of his life,
for it is hardly more than a conjecture that he took up his abode
in Athens for a term of years. The works of his hands were widely
distributed in Greece proper and on the coast of Asia Minor.
Until lately nothing very definite was known of the style of
Scopas. While numerous statues by him, all representing divinities
or other imaginary beings, are mentioned in our literary sources,
only one of these is described in such a way as to give any notion
of its artistic character. This was a Maenad, or female attendant
of the god Bacchus, who was represented in a frenzy of religious
excitement. The theme suggests a strong tendency on the part of
Scopas toward emotional expression, but this inference does not
carry us very far. The study of Scopas has entered upon a new
stage since some fragments of sculpture belonging to the Temple of
Athena at Tegea have become known.
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