Mitchell, Lucy M.: A history of ancient sculpture (New York, 1883)

290 ARCHAIC SCULPTURE.

off of the pestilence), in the Kerameicos; and a third, in marble, is said by
Pliny to have been in his day in the Servilian gardens at Rome.523 For Hieron
of Syracuse he executed two horses with their boy-riders, in honor of that ruler's
Olympic victories (Olymp. 78),—another proof that Calamis belongs in this
period.524 This work was seen by Pausanias, together with Onatas' chariot.

Pliny tells us that still other chariots and horses were executed by him, the
horses being always most excellent. The anecdote was told in antiquity, that a
certain Praxiteles, in order that Calamis should not appear to be less able to
represent men than horses, substituted for a charioteer by Calamis one from
his own hand.52S This Praxiteles is supposed by some to have been the grand-
father of the celebrated Attic master of the following century, but, by the
majority of scholars, that master himself. 526 From Calamis' hand, at Corinth,
was a beardless Asclepios in gold and ivory, holding a sceptre and pineapple;
and, in Tanagra, a Dionysos in Parian marble.5=7 At Tanagra was also his
Hermes Criophoros, carrying a ram on his shoulders.52S The Tanagra Hermes
was a thank-offering for the deliverance of the city from a plague. To purge
the afflicted city, the god was believed to have walked about its walls, bearing
on his shoulder a ram, the symbol of atonement. In after-times the most beau-
tiful youths were chosen, at the yearly festival of this god, to carry a lamb about
the walls in like manner. It has been shown by Professor von Duhn, that the
graceful relief of Hermes bearing a ram, described above, cannot be a reflex of
Calamis' celebrated statue of Hermes Criophoros.52Sa

For the people of Acragas, in Sicily, he executed, in thanks for the con-
quest of Motya, a votive gift of bronze boys, who, with right hands raised,
seemed to be praying to the gods.529

Of Calamis' Nike, seen by Pausanias at Olympia, we know only that it was
dedicated by the Mantineians, and was wingless, after the pattern of the old
image of the goddess in Athens, probably representing Athena Nike herself.53°
At Athens, on the ascent to the Acropolis, was an Aphrodite by him, conse-
crated by one Callias.531

Calamis' fame seems due principally to the grace and charm of his female
figures. Among these are found frequently mentioned Aphrodite, Hermione,
Alcmene, and Sosandra; and his works are continually described as combin-
ing grace with archaic severity.532 He seems to have thrown around the con-
strained members a finesse hitherto unknown, and, in addition, made the soul
speak through the face. The fine critic, Lucian, bears testimony to this pecul-
iar and modest beauty of Calamis' statues, in his description of the charms of
a certain lady. He says, " She has the hair, forehead, eyebrows, and languish-
ing eye of Praxiteles' Aphrodite ; the cheek, front face, hands, and feet of
Alcamenes' Aphrodite; the outline of feature, softness of check, and propor-
tion of nose, of Pheidias' Lemnian Athena, and the mouth and neck of his
Amazon ;" but he crowns all by saying, "She has the bashful demeanor, the