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

STATUARIA ARS. STATUARIA ARS. 1'0.63
and it was not very uncommon to form the body of on all hands that nothing contributed more to the
a statue of wood, and to make its head, arms, and advancement of statuary than the contests at the
feet of stone (dKpA1hOoL), or to cover the whole of public games, as they not only rendered the artists
such a wooden figure with ivory and gold. (Paus. familiar with the greatest variety of attitudes, and
ii. 4. ~ 1, vi. 25. ~ 4, &c., ii. 22. ~ 6; Eurip. with the most beautifully developed forms of the
Troad. 1081.) The latter method, which about bodies of the athletes, but also afforded to thenm
this time became a distinct and much admired numerous opportunities to represent in their works
branch of statuary, was practised by Dorycleidas, those same persons and attitudes which they had
Theocles, Medon, Canachus, Menaechmus, and seen and admired. The widest field for study and
others, and appears to have been introduced by exercise was thus opened to the artists.
Dipoenus and Scyllis. Quatremere de (Quincycon- We have seen that at a very early period of
sidered this kind of sculpture, which the moderns Grecian art attempts were made to adorn the outcall chryselephantine sculpture, as a part of the art side of temples and other public buildings, but it
which the ancients called toreutic (-TpeVTiKC). was not till the period we are now describing that
There are few errors more surprising than this, and it became customary to adorn the pediments, friezes,
yet the opinion of the French critic has been re- and other parts of temples with reliefs or groups of
peated as if there could be no doubt about it. statues of marble. We still possess two great
[ELEPHAS.] works of this kind which are sufficient to show
From the statues of the gods erected for worship their general character during this period. 1. The
we must distinguish those statues which were de- Selinuzntinze Mccarbles, or the metopes of two temples
dicated in temples as auaOs uara, and which now on the acropolis of Selinus, in Sicily, which were
became customary instead of craters, tripods, &c. discovered in 18'23 by W. Harris and Sam. Angell,
But here too the change was not sudden, for the and are at present in the Museum of Palermo.
statues at first were frequently connected with tri- Those belonging to the western temple appear to
pods and similar ornaments. At Amyclae there have been made at the beginning of this period, as
were tripods made by Callon and Gitiadas with they show a very great resemblance to the works
small statues of goddesses under them. (Paus. iii. in the hieratic style. The figures of the other or
18.) In the execution of statues to be dedicated as middle temple show indeed a considerable advanceavaO0q7asa, even though they were representations ment of the art, but the execution is still hard and
of gods, the artists were not only not bound to any stiff; they may have possibly been executed a short
traditional or conventional forms, but were, like time before 01. 75. (See S. Angell and Th. Evans,
the poets, allowed to make free use of mythological Sculptured Metopes discovered among the ruins of'
subjects, to add, and to omit, or to modify the Selinus, Lound. 1826; comp. MIETOPA.) 2. Tile
stories, soas to render them more adapted for their Aeginetan Marbles were discovered in 1812 in the
artistic purposes. island of Aegina, and are now at Munich in the
A third class of statues, which were erected dur- collection of the king of Bavaria. They consist of
ing this period in great numbers, were those of the eleven statues, which adorned two pediments of a
victors in the great national games and of other temple of Athena, and represent the goddess leaddistinguished persons (dvapldVyssE). The custom of ing the Aeacids against Troy, and contain manifest
erecting statues of the victors in public appears to allusions to the war of the Greeks with the
have commenced about 01. 58 (Paus. vi. 18. ~ 5); Persians. Many small holes in the marble render
but these statues soon became extremely numerous, it probable that originally several parts of these
and many of them were executed by the first artists statues, perhaps the armour, were of bronze, and
of the time. In some the influence of the hieratic fixed to them with nails. The general character
style was visible, or they were even made in that of these Aeginetan statues is a mixture of the
style, as the statue of Mylon by Dameas. (Phi- archaic style and an anxious imitation of nature.
lostr. Apoll. Tyan. iv. 28; comp. Pans. iv. 28, The hair is wiry, and traces of paint are visible on
vi. 14. ~ 2.) Although these statues were gene- all parts of the statues, with the exception of those
rally not portraits, for Pliny (H.N. xxxiv. 9) states representing the flesh. (See Edw. Lyon, Outlines
that only those who had gained the victory thrice of the Egina Marbles, 1829.)
were allowed to have an iconic statue erected, yet Besides these a great number of works in bronze
they were destined to preserve the memory of the and marble of this period are still extant; they are
particular physical powers and the bodily develope- partly round figures or statues and partly reliefs.
ment of the athletes, or even to show the peculiar (Miiller, Archiiol. p. 73, &c.) Some of the best
skill or the peculiar stratagems by which an athlete specimens in marble relief, which seem to form the
had excelled and overcome his adversary, and thus transition from this to the third period, are preafforded to the artists numerous opportunities of served in the British Museum. (See Combe, Ml]farrepresenting figures in a variety of attitudes and bles of the Brit. Mus. ii. pl. 6 and 7; Specimens of
actions. (Paus. vi. 10. ~ 1, viii. 40; Schol. ad Anc. Sculptus-e, pl. 11.) It is not always easy to
Pind. 01. vii. init.; Xenoph. MAlen. iii. 10. ~ 6.) say whether a work made in the archaic style is
Statues erected in public or dedicated in temples in really as old as the style indicates, as this style
honour of other distiguished persons are mentioned was never entirely abandoned, and was retained
very rarely during this period, but they appear in temple-statues even under the Roman emperors.
generally to have been portraits (eiKYce,'v statuae
iconicae). The earliest statues of this kind we Iwe. Tw tzd Periodftom 01. 75 to 0e. 111.
know of are those of Cleobis and Biton of Argos, (480-336 B. C.)
which were dedicated in the temple of Delphi about During this period Athens was the centre of the
01. 50. (Herod. i. 31.) The first iconic statues of fine arts in Greece. The Persian wars awakened
Harmodius and Aristogition were made by Antenor in the hearts of the people the feeling and the conin 509 B. c., and in 477 B. c. newt statues of the viction of their own power, and the Greeks, who
oname persons were made by Critias. It is allowed had at first only warded off the attacks of the baraY 4