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

STATUARIA ARS. STATUARIA AiRS. 1061:
their father, and not in a foreign country. Re- style in which they are executed is called the
specting the various accounts of these two artists archlaic or the hieratic style. The figures are stiff
and the time at which they lived, see the Diet. of and clumsy, the countenances have little or no inBigy. s. vv. Pliny (H. N. xxxv. 55) says, that dividuality, the eyes long and small, and the outer
Pasiteles called the art of modelling clay the mother angles turned a little upwards, the mouth, which is
of the art of casting figures in metal (statuaoria), likewise drawn upwards at the two corners, has a
fand this passage has been explained as if Pasiteles smiling appearance. The hair is carefully worked,
meant to say that in Samos the former of these but has a stiff wiry appearance, and hangs genearts had given rise to the latter. But this is ma- rally down in straight lines which are curled at the
nifestly wrong, for from the words which follow ends. The arms hang down the sides of the body,
in the text of Pliny it is clear that the meaning unless the figure carries something in its hands.
is, that he never executed any work in metal, Thile drapery is likewise stiff, and the folds are very
marble, &c. without previously taklcing a model symmetrical and worked with little regard to na-'
in clay. ture. As the arts durilng this period were chiefly
Statues of gods in baked clayn though in general employed in the service of religion, they could,
more used for domestic and private than for public notwithstanding the many mechanical discoveries
worship, continued to be made as before. Many of the time, nake but slow progress towards the
specimens of small dimensions and of very rude production of arts of sublimity or beauty, for ill
workmanship have been discovered in Attic graves. the representation of the gods for public worship
(See Schol. ad Aristopih. Av. 436.) Ornaments and ancient forms hallowed by time and custom were
reliefs on houses, porticoes, and temples were like- retained and repeated without the artist being alwise very commonly made of clay, especially at lowed, even if he was able to do it, to depart from
Corinth and in the Cerameicus. (Paus. i. 2. ~ 4, these forms or to introduce any material change.
i. 3. ~ 1.) Art therefore could not make any great progress,
Representations of the gods in marble are not until it was applied to purposes in wvhicll the armentioned in Homer, although they may have ex- tist's genius was not restrained by religious custom,
isted in his time, as well as statues of wood, which and not bound to conventional forms. Beligion,
are likewise not expressly mentioned. Marble is although the fostering mother of the arts in their
found in the ancient Thesaurus of Orchomenos. infancy, became a tedious restraint when they
Pliny (H. N. xxxvi. 4. s. 2) calculates that works grew up to manhood. But as soon as other sphere:.
in marble were executed by Malas in Chios at the of action were opened, religion, in her turn, could
beginning of the Olympiads; and about 01. 50 not escape from the influence of the advancemento
(580 B. c.). Dipoenus and Scyllis were renowned of the arts, and the old conventional forms in many
for their works in marble. The most ancient spe- places gave way to works of real merit and genius.
cimen of a marble statue was seen by Pausanias This great and important change took place about
(i. 43. ~ 7) in the market-place of Megara. The and after 01. 50.
work consisted of two figures, Coroebus killing
Poene. There are still extant some works in mar-. Second Pe. 0 to. 7
ble which may with certainty be ascribed to the (580-48 B..)
period previous to 01. 50. This period, although comprising no more than
Before we conclude our account of the works one century, developed all the elements which cornproduced during this period, we have to mention bined to make Grecian art what it became during
the celebrated chest of Cypselus at Olympia, which the third and most flourishing period of its history.
Pausanias saw and described (iv. 1 7. ~ 2, &c.). It Greece now came into close contact with the nabelonged perhaps to the year 733 B. c. The chest tions of the East and with Egypt; commerce flouwas made of cedar-wood, which,was thought most rished at Corinth, Aegina, Samos, Miletus, Phocaea,
durable. It was adorned on its four sides arnd on and other places; gold became more abundant in
the cover with figures, partly in ivory, partly Greece than it had been before, and the tyrants,
in gold, and partly in the cedar-wood itself, which who sprang up in several parts of Greece, surroundrepresented various scenes taken from the stories ed themselves with splendour and magnificence,
of the heroic ages. Pausanias does not express his and acted as the patrons of art to palliate their own
opinion as to their artistic merits, but the minute- usurpation. But all these were only external inness with which he describes them is a sufficient fluences,' and could not have produced a nation of
proof that he did not consider them as bad either artists like the Greeks. Epic poetry had gradually
in design or execution. Quatremdre de Quincy created in the minds of the people more defined
has attempted (in his Jupiter Olywjpieim) to restore ideas of their gods and heroes, while philosophy
this chest and its ornaments from the description 1 began to make men 10ok beyond what wrals convenof Pansanias; but the restoration is so egregiously tional and traditionary. The athletic and orchestic
bad, that an eye accustomed to the contemplation arts attained about 01. 50 a high degree of perfecof genuine works of art shrinks from it with dis- tion, and the circumstance that about the same
gust. time the gymnastic and athletic contests at the great
During the whole of this period we scarcely public festivals began to be performed naked, dihear of any statues except those of the gods, and rected the attention of the artists as well as of the
although marble and bronze began to be exten- public to nature, and rendered them familiar with
sively applied, yet wood was much more generally the beautiful forms of the human body. But the
used for representations of the gods. These statues imitation of nature was at first of a very hard and
were painted [PICTURA, p. 905], and in most cases severe character, and the influence of conventional
dressed in'the most gorgeous attire. The general forms still acted in many cases as an obstacle.
character of the statues produced in the earlier The number of artists who flourished during
times of this period is on the whole the same as'this period is truly astonishing. It has'been said
among other nations at such an early period. The that the close coinnection of father and son among
3Y 3