Polykleitos of Argos Canon of Polykleitos in Greek
The Canon was a theoretical treatise on art composed by the Classical Greek sculptor Polykleitos of Argos around the mid-5th century BCE. Now lost, this work established a mathematical system of proportions for sculpting the ideal male human figure. Its principles were famously embodied in Polykleitos's own statue, the Doryphoros, or Spear-Bearer, which served as a physical exemplar of the rule. The treatise posited that beauty and harmony in art arose from precise, objective ratios between all parts of the body, a concept known as symmetria.
Only a few fragments of the original text survive, preserved through quotations by later authors such as Galen. These excerpts confirm the Canon was a written work, likely accompanied by diagrams, aimed at instructing artists and defining a standard of perfection. Modern scholarship interprets it as a key document of the High Classical period, reflecting contemporary philosophical interests in mathematical order and elevating sculpture from a craft to an intellectual discipline. Its influence endured for centuries, shaping subsequent Roman and Renaissance theories of ideal proportion.
| tit | ΠΟΛΥΚΛΕΙΤΟΥ ΚΑΝΩΝ |
| 1 | PLUT. de profect. virt. 17 p. 86 A οἵ γε προκόπτοντες οἷς ἤδη καθάπερ ἱεροῦ τινος οἰκοδομήματος καὶ βασιλικοῦ τοῦ βίου ‘κεκρότηται χρυσέα κρηπίσ‘ [Pind. fr. 194 Schr.], οὐδὲν εἰκῆ προσίενται τῶν γιγνομένων, ἀλλ’ οἷον ἀπὸ στάθμης τοῦ λόγου προσάγουσι καὶ προσαρμόττουσιν ἕκαστον, ὑπέρευ τὸν Πολύκλειτον οἰόμενοι λέγειν ὡς ἔστι χαλεπώτατον αὐτῶν τὸ ἔργο ν , οἷς ἂν εἰς ὄνυχα ὁ πηλὸς ἀφίκητα ι. Quaest. conviv. II 3, 2 p. 636 c καὶ γὰρ αἱ τέχναι πρῶτον ἀτύπωτα καὶ ἄμορφα πλάττουσιν, εἶθ’ ὕστερον τοῖς εἴδεσιν διαρθροῦσιν· ἧι Π. ὁ πλάστης εἶπε χαλεπώτατον εἶναι τὸ ἔργο ν , ὅταν ἐν ὄνυχι ὁ πηλὸς γένητα ι. διὸ καὶ τῆι φύσει τὸ πρῶτον εἰκός ἐστιν ἀτρέμα κινούσηι τὴν ὕλην ἀργοτέραν ὑπακούειν, τύπους ἀμόρφους καὶ ἀορίστους ἐκφέρουσαν ὥσπερ τὰ ὠιά, μορφουμένων δὲ τούτων καὶ διαχαρασσομένων ὕστερον ἐκδημιουργεῖσθαι τὸ ζῶιον. χαλεπώτατον αὐτῶν (? ) τὸ ἔργον οἷς ἂν ἐν ὄνυχι ὁ πηλὸς γένητα ι. |
| 2 | PHILO Mechan. IV 1 p. 49, 20 (ed. R. Schöne Berl. 1893) πολλοὶ γοῦν ἐνστησάμενοι κατασκευὴν ὀργάνων ἰσομεγεθῶν καὶ χρησάμενοι τῆι τε αὐτῆι συντάξει καὶ ξύλοις ὁμοίοις καὶ σιδήρωι τῶι ἴσωι οὐδὲ τὸν σταθμὸν αὐτὸν μεταβάλλοντες, τὰ μὲν μακροβολοῦντα καὶ εὔτονα ταῖς πληγαῖς ἐποίησαν, τὰ δὲ καθυστεροῦντα τῶν εἰρημένων· καὶ ἐρωτηθέντες διὰ τί τοῦτο συνέβη, τὴν αἰτίαν οὐκ εἶχον εἰπεῖν. ὥστε τὴν ὑπὸ Πολυκλείτου τοῦ ἀνδριαντοποιοῦ ῥηθεῖσαν φωνὴν οἰκείαν εἶναι τῶι μέλλοντι λέγεσθαι· τὸ γὰρ ... ἔφη γίνεσθα ι. τὸν αὐτὸν δὴ τρόπον καὶ ἐπὶ ταύτης τῆς τέχνης συμβαίνει διὰ πολλῶν ἀριθμῶν συντελουμένων τῶν ἔργων μικρὰν ἐν τοῖς κατὰ μέρος παρέκβασιν ποιησαμένους μέγα συγκεφαλαιοῦν ἐπὶ πέρας ἁμάρτημα. τὸ εὖ παρὰ μικρὸν διὰ πολλῶν ἀριθμῶν γίνετα ι. |