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Donatello's bronze David and Judith as Metaphors of Medici rule in Florence - Bibliography
Art Bulletin, The, March, 2001 by Sarah Blake McHam
Leon Battista Alberti, De re aedificatoria 7.16, in the context of the invention of statues, wrote, "According to Aristotle, the first statues to be set up in the Athenian forum were those of Hermodorus [sic] and Aristogiton, who had originally delivered that city from tyranny. Arrian the historian recalls that Alexander returned these statues to Athens, after they had been removed to Susa by Xerxes"; Alberti, On the Art of Building in Ten Books, trans. Joseph Rykwert, Neil Leach, and Robert Tavernor (Cambridge, Mass.: MIT Press, 1988), 240. On 398 n. 184 discussing this passage, the authors point out that Alberti mistakenly claims Aristotle as his source instead of Pliny, Natural History 34.17.
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(41.) The inscription was recorded by Hephaestion, Handbook of Meter; see John Maxwell Edmonds, Lyra Graeca; Being the Remains of All the Greek Lyric Poets from Eumelus to Timotheus excepting Pindar, 3 vols. (London: William Heinemann; Nese York: G. P. Putnam's Sons, 1931), vol. 2,377. On she impact of the tyrannicide in Greek history and literature, see Charles W. Fornara, "The Cult of Harmodios and Aristogeiton," Philologus 14 (1970): 155-80. On reflections of the event in folk tales, see M. Hirsch, "Die athenischen Tyrannenmorder in Geschichtsschreibung und Volkslegende," Klio 20 (1926): 126-67.
(42.) See Victor Ehrenberg, "Das Harmodioslied," in Polis und Imperium: Beitrage zur alten Geschichte, ed. Karl Friedrich Stroheker and Alexander John Graham (Zurich: Artemis, 1965), 255-64; and Taylor (as in n. 34), 51-77. Such songs had so widespread an influence that, for example, in performances of Aristophanes' plays, characters who were meant to be identified with the tyrannicides sang the "Harmodios" and took the pose of his statue. See ibid., 195.
(43.) Donato (as in n. 19), 98, in her discussion of the marble David pointed out that this type of poetic verse was an innovation in inscriptions on 15th-century works of art.
(44.) See Morris (as in n. 34), 301, for a number of examples that seem politically motivated.
(45.) For the popularity of the depiction of the Tyrannicides, see Taylor (as in n. 34), 147-97; and Morris (as in n. 34), 300-308, 349-50. For a specific discussion of copies of the group, see W.-H. Schuchhardt and Charles Landwehr, "Statuenkopien den Tyrannenmorder-Gruppe," Jahrbuch des Deutschen Archaologischen Instituts, Athen 101 (1986): 85-126. Taylor (as in n. 34), 78-158; and Morris (as in n. 34), 301-2, discussed how the poses of the Tyrannicides were adapted in depictions of other mythological heroes like Herakles and Theseus and actual historical personages like Kallimachos. The association of Theseus with the tyrannicides is particularly significant as Theseus is disc mythical founder of Athens and became a personification of its freedom. On Theseus, see Frank Brommer, Theseus: Die Taten des griechischen Helden in der antiken Kunst und Literatur (Darmstadt: Wissenschaftliche Buchge-sellschaft, 1982).
(46.) See Hyman, 186-202.
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