DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0271
238 ARCHAIC SCULPTURE.
kind of bronze.400 Most prominent among the objects executed by ^Eginetan
masters are the statues of victorious athletes for the sacred grove at Olympia.
Of the works of Glaukias, — whose activity, reckoning for the time of the
athletes he celebrated, must have been between Olymp. 70 and 80, or the first
half of the fifth century, — only figures connected with the Olympic games are
mentioned. He executed for Gelon of Syracuse a chariot and four horses
{quadriga), in honor of a victory in the Olympic chariot-race, and added a statue
of the owner, that Sicilian tyrant*01 A part of the pedestal of this group,
bearing an inscription with the artist's name, was discovered at Olympia in
1878.402 Glaukias executed a statue of Theagenes of Thasos, the most hon-
ored of all Greek victors. According to Pausanias, he had won thrice in the
Pythian, nine times in the Nemean, eleven times in the Isthmian, games, and
twice at Olympia. 4°3 A fragmentary record of such victories was recently
found at Olympia, inscribed on a broken marble block, and probably belonged
to Theagenes' monument.4°4 He received no less than fourteen hundred
wreaths in recognition of his skill, as well as numerous statues from Greeks
and barbarians, which were reputed to have power to heal diseases, and were
honored with religious rites.4°5 Another ^Eginetan master, Anaxagoras, exe-
cuted for all Greece, after the successful battle of Plataiai, for the shrine at
Olympia, a colossal bronze statue of Zeus, to the erection of which a part
of the Persian booty was appropriated.4°6 Of the yEginetan sculptor Callon,
a scholar of Tectaios and Angelion, only two works are mentioned, — one a
tripod with a figure of Core at Amyclai, and the other a wooden Athena for
the Acropolis at Troizen.4°7 Were it not that Ouintilian mentions him with
Hegias, Pheidias' first teacher, as an exponent of a stiff and hard style, in con-
trast to Calamis, we should be entirely in the dark as to the work of this
^Eginetan master.4°s
Our knowledge of Onatas, a younger contemporary, whose works were
greatly praised, is more satisfactory. Judging from the commissions he re-
ceived, Onatas was a celebrated man by 465 B.C. He executed for far-off
Syracuse a chariot and horses with charioteer, in honor of the Olympic victory
of Hieron, tyrant of Syracuse; receiving the commission from Hieron's son,
Deinomenes, soon after his father's death.4°9 Onatas' treatment of one subject
is of interest as indicating that in him ^ginetan art rebelled against the con-
ventionalities of earlier times. The shrine of Demeter Melaina at Phigaleia,
in Arcadia, was a holy place, whither Pausanias made a special pilgrimage, and
brought offerings of fruit, honey-comb, wool, and oil. Its old wooden idol, as
he was told, being destroyed by fire, Onatas was required to replace it. This
old image represented the goddess seated on a rock, and having the form of a
woman, with the head and mane of a horse. Out of this head sprang snakes
and reptiles. A black garment covered the body to the toes : one hand held a
dolphin and the other a dove, thus making up a repulsive and certainly primi-
kind of bronze.400 Most prominent among the objects executed by ^Eginetan
masters are the statues of victorious athletes for the sacred grove at Olympia.
Of the works of Glaukias, — whose activity, reckoning for the time of the
athletes he celebrated, must have been between Olymp. 70 and 80, or the first
half of the fifth century, — only figures connected with the Olympic games are
mentioned. He executed for Gelon of Syracuse a chariot and four horses
{quadriga), in honor of a victory in the Olympic chariot-race, and added a statue
of the owner, that Sicilian tyrant*01 A part of the pedestal of this group,
bearing an inscription with the artist's name, was discovered at Olympia in
1878.402 Glaukias executed a statue of Theagenes of Thasos, the most hon-
ored of all Greek victors. According to Pausanias, he had won thrice in the
Pythian, nine times in the Nemean, eleven times in the Isthmian, games, and
twice at Olympia. 4°3 A fragmentary record of such victories was recently
found at Olympia, inscribed on a broken marble block, and probably belonged
to Theagenes' monument.4°4 He received no less than fourteen hundred
wreaths in recognition of his skill, as well as numerous statues from Greeks
and barbarians, which were reputed to have power to heal diseases, and were
honored with religious rites.4°5 Another ^Eginetan master, Anaxagoras, exe-
cuted for all Greece, after the successful battle of Plataiai, for the shrine at
Olympia, a colossal bronze statue of Zeus, to the erection of which a part
of the Persian booty was appropriated.4°6 Of the yEginetan sculptor Callon,
a scholar of Tectaios and Angelion, only two works are mentioned, — one a
tripod with a figure of Core at Amyclai, and the other a wooden Athena for
the Acropolis at Troizen.4°7 Were it not that Ouintilian mentions him with
Hegias, Pheidias' first teacher, as an exponent of a stiff and hard style, in con-
trast to Calamis, we should be entirely in the dark as to the work of this
^Eginetan master.4°s
Our knowledge of Onatas, a younger contemporary, whose works were
greatly praised, is more satisfactory. Judging from the commissions he re-
ceived, Onatas was a celebrated man by 465 B.C. He executed for far-off
Syracuse a chariot and horses with charioteer, in honor of the Olympic victory
of Hieron, tyrant of Syracuse; receiving the commission from Hieron's son,
Deinomenes, soon after his father's death.4°9 Onatas' treatment of one subject
is of interest as indicating that in him ^ginetan art rebelled against the con-
ventionalities of earlier times. The shrine of Demeter Melaina at Phigaleia,
in Arcadia, was a holy place, whither Pausanias made a special pilgrimage, and
brought offerings of fruit, honey-comb, wool, and oil. Its old wooden idol, as
he was told, being destroyed by fire, Onatas was required to replace it. This
old image represented the goddess seated on a rock, and having the form of a
woman, with the head and mane of a horse. Out of this head sprang snakes
and reptiles. A black garment covered the body to the toes : one hand held a
dolphin and the other a dove, thus making up a repulsive and certainly primi-