Once more on the Lysippus's work of art in Dalmatia

Abstract

Exhibition "Lisipo. L'arte e la fortuna" took place in spring 1995 in Rome (Italy), organised by Paolo Moreno, well-known Italian researcher. There are more copies of Lysippus's work in Dalmatia, but the relief of Kairos was the only one exhibited in Rome. However, this relief didn't receive due presentation. The truth is that nuns of the order of St. Benedict from Trogir didn't want to lend the original to be exhibited and didn't allow making a new and better copy as well. Nevertheless, this is not an excuse for the exhibition and Catalogue authors for publishing a photograph of poor and corroded casting from Archaeological museum in Split. Apart from that, there were some other incorrect acts. The original keeping-place wasn't mentioned, at all. In the second place, there was no mentioning of a person who identified the relief and correctly studied il (M. Abramid). Further more the Catalogue dated the relief in the 1st century BC which probably isn't true. In this paper, after the analysis and comparison with some other reliefes, the author dates the Kairos relief in early 3rd century (post-Lysippian period).
Gems from Dalmatia were not exhibited, although organisers must have known about them. Their quality is no worse than the one of Lysippus's works, and, indeed, one gem almost reaches the quality of his originals.
The torso of Fatigued Hercules from Salona, already published in Croatia and reliably attributed to Lisipos' archetype, also wasn't included at the Exhibition. It is rather understandable, since there are many copies of the same sculpture, of the same, or even better quality. Nevertheless, in this paper the author analyses this sculpture once again.
Finally, the author analyses one head-telamon of Alexander the Great, already published in Croatian language. It was made after the famous Lysippus's portrait. It is certain that organizers of the Exhibition didn't hear for this sculpture either. However, it would be very hard to expect this head to appear at the Exhibition, since even well-known herma Azara (Louvre) was excluded, too.
The purpose of this paper is to draw attention to existence of Lysippus's copies in Dalmatia. It also wants to draw attention to Exhibition authors' omissions and to point out the need for better incorporation of our science in world projects becoming thus more accessible to everyone.