Smith, William: A smaller dictionary of Greek and Roman antiquities (London, 1871)

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him. Endneus of Athens is called a disciple
of Daedalus. According to the popular tra-
ditions of Greece, there was no period in
which the gods were not represented in some
form or other, and there is no doubt that for
a long time there existed no other statues in
Greece than those of the gods. The earliest
representations of the gods, however, were
only symbolic. The presence of a god was
indicated by the simplest and most shapeless
symbols, such as unhewn blocks of stone (Ai'Ooi
opyoO, and by simple pillars or pieces of wood.
The general name for a representation of a
god not consisting of such a rude symbol was
dyaA/xa. In the Homeric poems there are suffi-
cient traces of the existence of statues of the
gods ; but they probably did not display any
artistic beauty. The only work of art which
has come down to us from the heroic age is
the relief above the ancient gate of Mycenae,
representing two lions standing on their hind
legs, with a sort of pillar between them (wood-
cut under Mums). The time which elapsed
between the composition of the Homeric
poems and the beginning of the fifth century
before our aera may be termed the age of dis-
covery ; for nearly all the inventions, upon
the application of which the developement of
the arts is dependent, are assigned to this
period. Glaucus of Chios or Samos is said to
have invented the art of soldering metal
(eri(5>)poii koAAt)o-i5). The two artists most
celebrated for their discoveries were the two
brothers Telecles and Theodorus of Samos,
about the time of Polycrates. They invented
the art of casting figures of metal. During
the whole of this period, though marble and
bronze began to be extensively applied, yet
wood was more generally used for repre-
sentations of the gods. These statues were
painted [Pictura], and in most cases dressed
in the most gorgeous attire. The style in
which they are executed is called the archaic
or the hieratic style. The figures are stiff
and clumsy, the countenances have little or
no individuality, the eyes long and small, and
the outer angles turned a little upwards ; the
mouth, which is likewise drawn upwards at
the two corners, has a smiling appearance.
The hair is carefully worked, but looks stiff
and wiry, and hangs generally down in
straight lines, which are curled at the ends.
The arms hang down the sides of the body,
unless the figure carries something in its
hands. The drapery is likewise stiff, and the
folds are very symmetrical and worked with
little regard to nature.

II. Second Period, from 580 to 480 b. c.—
The number of artists who flourished during
this period is truly astonishing. The Ionians
of Asia Minor and the islanders of the Aegean,

who had previously been in advance of the
other Greeks in the exercise of the fine
arts, had their last flourishing period from
560 to 528 b. c. "Works in metal were
produced in high perfection in Samos, in
Aegina and Argos, while Chios gained the
greatest reputation from its possessing the
earliest great school of sculptors in marble, in
which Bupalus and Anthermus were the
most distinguished about 540 b. c. Their
works were scattered over various parts of
Greece, and their value may be inferred from
the fact that Augustus adorned with them
the pediment of the temple of Apollo on the
Palatine. Sicyon also possessed a celebrated
school of sculptors in marble, and about 580
b. c. Dipoenus and Scyllis, who had come from
Crete, were at the head of it, and executed
several marble statues of gods. Respecting
Magna Graecia and Sicily we know few par-
ticulars, though it appears that the arts here
went on improving and continued to be in ad-
vance of the mother-country. The most cele-
brated artists in southern Italy were Dameas
of Croton, and Pythagoras of Rhegium. In
Athens the arts made great progress under
the patronage of the Pisistratids. The most
celebrated among the Athenian sculptors of
this period were Critias and Hegias, or Hege-
sias, both distinguished for their works in
bronze. The former of them made in477 b.c.
the statues of Harmodius and Aristogitori.
Argos also distinguished itself, and it is a
curious circumstance, that the greatest Attic
artists with whom the third period opens, and
who brought the Attic art to its culminating
point, are disciples of the Argive Ageladas
(about 516 b. c.) In the statues of the gods
(ayaA/j-ara), which were made for temples as
objects of worship, the hieratic style was more
or less conscientiously retained, and it is there-
fore not in these statues that we have to seek
for proofs of the progress of art. But even in
temple-statues wood began to give way to
other and better materials. Besides bronze,
marble also, and ivory and gold were now
applied to statues of the gods, and it was not
uncommon to form the body of a statue of
wood, and to make its bead, arms, and feet
of stone (a/cpoAiOoi), or to cover the whole of
such a wooden figure with ivory and gold.
From the statues of the gods erected for wor-
ship we must distinguish those statues which
were dedicated in temples as avaB-q^ara, and
which now became customary instead of
craters, tripods, Sec. In these the artists
were not only not bound to any traditional or
conventional forms, but were, like the poets,
allowed to make free use of mythological sub-
jects, to add, and to omit, or to modify the
stories, so as to render them more adapted