Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

STATUARIA ARS. STATUARIA ARS. 1059
earth moistened with tears. (liesiod. Tkleoyon. its application to statuary, ivory was generally
571, &c.; Stob. Seraz. 1.) The name plastic art combined with gold, and was used for the parts re('} 7rhaaTlwsc), by which the ancients sometimes presenting the flesh. Winckelmann has calculated
designate the art of statuary, properly signifies to that about one hundred statues of this kind are
form or shape a thing of clay. But notwithstand- mentioned by the ancients.
ing the great facility of making figures of clay, The history of ancient art, and of statuary in
they are not often mentioned in the early ages of particular, may be divided into five periods.
Greece, while in Italy the Dii fictiles (7rnAhvoli
aeoi) were very common from the earliest times. Fist Period, f1on. tie earliest tlmes till about
Clay figures, however, never fell into disuse en- O1. 50, or 580 B.c.
tirely, and in later times we find not only statues The real history of the arts is preceded by a
of clay, but the pediments in small or rural temples period of a purely mythical character, which trafrequently contained the most beautiful reliefs in dition has peopled with divine artists and most
clay, which were copies of the marble reliefs of extraordinary productions. Three kinds of artists,
larger temples. When Pliny (I. N. xxxv. 43) however, may be distinguished in this mythical
speaks of Rhoecus and Theodorus of Samos as the period: the first consists of gods and daemons, such
inventors of the plastice, he seems to labour under as Athena, Hephaestus, the Phrygian or Dardaniall
a mistake and to confound the art of working in Dactyli, and the Cabiri. The second contains
clay with that of casting in metal, as in later whole tribes of men distinguished from others by
times the latter of these twvo arts was commonly the mysterious possession of superior skill in the
called plastice. Some ancient figures of clay are practice of the arts, such as the Telchines and the
still preserved. Lycian Cyclopes. The third consists of individuals
The second material was woogd, and figures made who are indeed described as human beings, but yet
of wood were called doava, from E'wc, " polish " or are nothing more than personifications of particular
" carve." Various kinds of wood were used in branches of art, or the representatives of families
statuary; we find mention of oak, cedar, cypress, of artists. Of the latter the most celebrated is
sycamore, pine, fig, box, and ebony. It was chiefly Daedalus, whose name indicates nothing but a
used for making images of the gods, and probably smith, or an artist in general, and who is himself
more on account of the facility of working in it, the mythical ancestor of a numerous family of
than for any other reason. It should, however, be artists (Daedalids), which can be traced from the
remarked, that particular kinds of wood were used time of Homer to that of Plato, for even Socrates
to make the images of particular deities: thus the is said to have been a descendant of this family.
statues of Dionysus, the god of figs, were made of It is, however, very probable that, in Homer,
fig-wood. The use of wood for statues of the Daedalus is merely an epithet of the god Hephaesgods continued to the latest times; but statues of tus. (See Diet. of Biog. s. v.) Hle was believed
men, as, for example, some of the victors in the to be an Athenian, but Crete also claimed the
public games, were likewise made of wood at a honour of being his native country. The stories
time whenl the Greeks were sufficiently acquainted respecting him are more like allegorical accounts of
with the art of working in stone and metal. the progress of the arts than anything else. He
S'toae was little used in statuary during the was principally renowned in antiquity for his,oalva,
early ages of Greece, though it was not altogether and several parts of Greece, as Boeotia, Attica,
unknown, as we may infer from the relief on the Crete, and even Libya in later times, were believed
Lion-gate of Mycenae. In Italy, where the soft to possess specimens of his workmanship. (Panis.
peperino afforded an easy material for working, vii. 5, ix. 40. ~ 2, i. ]8. ~ 5; Scylax, p. 53, ed.
stone appears to have been used at an earlier Huds.) Numerous inventions also, especially of
period and more commonly than in Greece. But in instruments used in carving wood, are ascribed to
the historical times the Greeks used all the principal him. He is said to have made his statues walking,
varieties of marble for their statues; the most ce- which appears to mean that before his time human
lebrated kinds of which were the marbles of Paros figures were represented with their legs close toand of Mount Pentelicus, both of which were of a gether, and that in his statues the legs were sepawhite colour. Different kinds of marble and of rated, which was at once a great step forward, as
different colours were sometimes used in one and it imparted greater life and activity to a figure.
the same statue, in which case the work is called Soiilis (from XiAXlq, a carving-knife) exercised his
Polylithic statuary. art in Samos, Aegina, and other places, and some
Bronze (XdAoKos, aes), silver, and gold were used remarkable works were attributed to him. (Miiller,
profusely in the state of society described in the Aeginet. p. 97.) Endoeus of Athens is called a
Homeric poems, which is a sufficient proof that disciple of Daedalus. Various works were attriworks of art in these metals were not altogether buted to him by the ancients. One among them
unknown in those times. At that period, however, was a colossal Sdavov of Athena Polias in a temple
and long after, the works executed in metal were at Erythrae in Ionia. She was represented sitting
made by means of the hammer, and the different upon a povos, holding a spindle in her hand, and
pieces were joined together by pins, rivets, cramps, with a rdAos on her head. Pausanias (vii. 5. ~ 4)
or other mechanical fastenings, and, as the art saw this E6avov himself. (See Diet. of Biog. s. vv.
advanced, by a kind of glue, cement, or solder. Daedalus, Erdoezts, Smilis.)
Iron came into use much later, and the art of According to the popular traditions of Greece,
casting both bronze and iron is ascribed to Rhoecus there was no period in which the gods were not
and to Theodorus of Samos. (Paus. x. 38. ~ 3.) represented in some form or other, and there is no
[AEs; METALLUM.] doubt that for a long time there existed no other
Ivory came into use at a later period than any statues in Greece, than those of the gods; a statue
of the before-mentioned materials, and then was of a man appears for a long time to have been a
highly valued both for its beauty and rarity. In thing unheard of in Greece. The earliest repre3 v 2