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

1062 STATUARIA ARS. STATUARIA ARS.
the artists ceased at this time, and that individual wood and in toreutic. Pliny (H. A,. xxxvi. 4)
artists worked free and according to the dictates of calls Sicyon' dius officinarum onziurz metallorum
their own genius. But this is going too far, for it patria. Canachus, whose works Cicero (Brut. 18)
still continued to be the common practice for a son calls more rigid and hard than was consistent with
to be instructed by his father, and although this the truth of nature, was the most distinguished
relation is usually expressed by the term MaO0rT7's, among the Sicyonian artists, and his skill found
yet on statues we only meet with the term vids. employment in other parts of Greece also. His
But, along with these families of artists, schools now most celebrated work was a colossal bronze statue
became more general, in which the arts were taught of Apollo Philesius in the Didymaeon, the descripand cultivated according to certain principles which tion of which may give us an idea of the character
were or became traditionary in each school; the of temple statues at this period. The whole figure
schools thus acquired something of the spirit of was stiff, very muscular, and without any elegance.
castes or corporations. In his right hand, which was stretched out, the
The Ionians of Asia Minor and the islanders of god held a fawn, and in the left, which was somethe Aegean, who had previously been in advance what lower, a bow. The features of the counteof the other Greeks in the exercise of the fine arts, nance were hard and worked in the old hieratic
had their last flourishing period from 01. 55 to 01. style; the hair was divided and hung down like wire
63 (560-528 B.c.). But this short period must with little curls at the end. (Muller, ArchGiol. p. 64.)
have been one of the greatest as well as one of the In Aegina the arts appear likewise to have conmost active and productive of numerous costly tinned to flourish as before, and the most celebrated
works of art. The presents which Croesus sent to among its artists was Callon, about 01. 66. (Pans.
Delphi, and some of which were said to have been iii. 18. ~ 5, iv. 14. ~ 2.) Athens, which at this
made by the Samian Theodorus, must have been time rivalled Aegina in the fine arts, appears in a
executed at the beginning of these forty years. short space to have made great progress, for great
Our want of information respecting the Ionians artists as well as great works begin now to apmust be ascribed to the circumstance that we have pear in the pages of Athenian history. This was
no Pausanias to take us through their cities, and in part owing to the influence of the Peisistratids.
to describe and explain the works of art with which After the death of Peisistratus himself, the first
they were adorned. It is owing to the same cir- quadriga of bronze was erected in front of the temcumstance that we know so little of Rhodes, Lem- ple of Pallas. The most celebrated among the
nos, Naxos, and Cyprus, although wemay take for Athenian sculptors were Critias and Hegias or
granted that these flourishing islands did not by Hegesias, both distinguished for their works iii
any means neglect the arts. Respecting Chios and bronze. The former of them made in 01. 75 the
Samos we possess more information. Works in statues of Harmodins and Aristogiton, (See the
metal were produced in high perfection in the lat- articles in the Diet. of Biog.)
ter island, in Aegina and Argos, while Chios gain- Argos ilso distinguished itself, and it is a curious
ed the greatest reputation fiom its possessing the circumstance, that the greatest Attic artists with
earliest great school of sculptors in marble, in I whom the third period opens, and who brought the
which Bupalus and Anthermus were the most dis- Attic art to its culminating point, are disciples of
tinguished about 01. 60. Their works were scat- the Argive Ageladas (about 01. 66), which at once
tered over various parts of Greece, and their value raises this city and her other artists, such as Arismay be inferred from the fact that Augustus adorn- tomedon, Glaucus, Dionysiuss, and others to a
ed with them the pediment of the temple of Apollo igreater importance than we mighllt otherwise be inon the Palatine. (Plin. II. 1V. xxxvi. 4.) These dined to attribute to them.
works must be suipposed originally to have belonged Among the numerous works produced during
to a Greek temple of the same god, and must cer- this period we shall first mention the representatainly have been of superior beauty to the works tions of the gods (dya'AaT'ra). In all the statues
discovered in the island of Aegina, otherwise An- which were made for temples as objects of worship,
gustus would not have chosen them as ornaments the hieratic style was more or less conscientiously
for the Palatine temple. Sicyon also possessed a retained, and it is therefore not in these statues
celebrated school of sculptors in marble, and about' that we have to seek for proofs of the progress of
01. 50 Dipoenus and Scyllis, who had come from art. They were for the most part, as of old, made
Crete, were at the head of it, and executed several of wood, and when an old statue was to be replaced
marble statues of gods. (Plin. i. c.) In Aetolia, by a new one, the latter was generally a faithful
whither they withdrew for a time, and at Argos, copy of the former. Thus the wooden statue of
there likewise existed works in marble by these:)emeter at Phigaleia with a horse's head, from
artists. Disciples of them, such as Dorycleidas, which dragons and other monsters sprang forth,
Medon, and Theocles, were engaged at Sparta and and which bore a dolphin and a dove in its hands,
in other places. (Palns. v. 17. ~ 1, vi. 19.) Re- was imitated by Onatas in bronze after the wooden
specting Magna Graecia and Sicily we know few figure had been burnt. (Paus. viii. 42.) Thle
particulars, though it appears that the arts here same adherence to ancient forms of the gods was
wvent on improving and continued to be in advance also visible in other cases; for when colonies were
of the mother-country. The most celebrated artists sent out the images of the gods of the mother-city
in southern Italy were Dameas of Croton and were for the most part faithfully copied for the coPythagoras of Rhegium. (See the lives of these lony, and such copies were called dqci8pdJura,.
artists in the Dictionary of Biographly.) (Dionys. Hal. ii. 22, viii. 56; Strab. iv. p. 179.)'In Greece itself Sicyon continued from early The instances of the Apollo Philesius and of tile
times to be the seat of a distinguished school of ar. Demeter of Onatas show that even in temple-statists. Here Canachus and Aristocles flourished' tues wood began to give way to other and better
about 01. 70 as statuaries in metal, though the materials. Besides bronze, marble also, and ivory
former was also celebrated in the art of carving in and gold were now applied to statues of the gods,