DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0118
S2 SCHOOLS OF sEGINA, SICYON, AND AUG OS.
inferences almost solely from the few plastic works from this period
which have escaped the ravages of time.
It is worthy of notice that bronze now becomes the principal
material for the display of the sculptor's art. Among /Eginetan
works we only read of one xoanon, by Gallon ; and only of one
xoanon and one chryselephantine statue in Sicyon. It is true that
the celebrated pedimental group from the Temple of Athene at
^Egina, now in Munich, is of marble, but this is fully accounted for
by its architectural character. In Athens all materials—wood, mar-
ble, gold, and ivory and bronze—were used by the sculptor.
artists of this period in different parts
of greece.
^Egina.
Greek and Roman writers recognise a very distinct style as
characteristic of the ^Eginetan school, which they are accustomed to
contrast with that of Athens and of Egypt;1 but they do little
to make us acquainted with its peculiar features. We have already
spoken of an artist of ^Egina, Smilis, who is regarded by some
archaeologists as a merely mythical personage ; but we are not able to
trace any connexion between him and the yEginetan artists of a later
period. There can, however, be little doubt that a school continued
to exist during the blank which the history of art presents to us
between Smilis and the pride of /Egina,
CALLON. Gallon was born, according to Brunn 2 (whose chro-
nology we have adopted), in Ol. 64. 1 (524 B.C.), and was sixty-two years
of age in 01. 79. 3 (462 B.C.), the date of the end of the Messcnian wars.
He was therefore an older contemporary of Pheidias himself, whom he
1 Pausan. i. 42. 5 ■ vii. 55; viii. Sj. II ; x. 17. 12.
: Brunn, A'.-G, p. cSj.
inferences almost solely from the few plastic works from this period
which have escaped the ravages of time.
It is worthy of notice that bronze now becomes the principal
material for the display of the sculptor's art. Among /Eginetan
works we only read of one xoanon, by Gallon ; and only of one
xoanon and one chryselephantine statue in Sicyon. It is true that
the celebrated pedimental group from the Temple of Athene at
^Egina, now in Munich, is of marble, but this is fully accounted for
by its architectural character. In Athens all materials—wood, mar-
ble, gold, and ivory and bronze—were used by the sculptor.
artists of this period in different parts
of greece.
^Egina.
Greek and Roman writers recognise a very distinct style as
characteristic of the ^Eginetan school, which they are accustomed to
contrast with that of Athens and of Egypt;1 but they do little
to make us acquainted with its peculiar features. We have already
spoken of an artist of ^Egina, Smilis, who is regarded by some
archaeologists as a merely mythical personage ; but we are not able to
trace any connexion between him and the yEginetan artists of a later
period. There can, however, be little doubt that a school continued
to exist during the blank which the history of art presents to us
between Smilis and the pride of /Egina,
CALLON. Gallon was born, according to Brunn 2 (whose chro-
nology we have adopted), in Ol. 64. 1 (524 B.C.), and was sixty-two years
of age in 01. 79. 3 (462 B.C.), the date of the end of the Messcnian wars.
He was therefore an older contemporary of Pheidias himself, whom he
1 Pausan. i. 42. 5 ■ vii. 55; viii. Sj. II ; x. 17. 12.
: Brunn, A'.-G, p. cSj.