ANTIOUITIES.: 
formed a dance for Ariadne ; but, 
as he use’ the same word, a few 
lines after, adjectively, to signify 
artificially made, he might mean 
by the former no more than what 
the word imports, ap ingenious 
artist. Eustathius interprets Ho- 
"mer as meaning that Dadalus only 
invented the dance itself, and not 
that he worked it in either weod, 
stone, or metal. 
The statues of Daedalus, men- 
tioned by Pausanias, were all of 
wood, and resembled, as we may 
suppose, the Egyptian ; for Philo- 
stretus says, that the statue of 
Memnon was formed with the feet 
joined together, and the arms rest- 
ing on the seat, after the manner 
of cutting figures in the age of 
Dedalus. Such was probably the 
figure of Minerva in Troy, men- 
tioned in the 6th Iliad, which seems 
to have been in a sitting posture. 
We have no remains of these rude 
ages ; but the forms of the Juno of 
Samos, carved by Smilis of Agina, 
‘said to be contemporary with De- 
dalus, and that of the Diana of 
Ephesus, by the hand cf Endzus, 
or Endyus, a pupil of Daedalus, 
are preserved on the medals 
of their respective cities. These 
representations gave a very un- 
favourable idea of the Dedalean 
age; yet we have no reason to 
doubt their authenticity, tor the 
artists of polished times would 
never have disgrac’d -their coinage 
with such uncouth figures, had 
they not been exact resemblances 
of objects made venerable by su- 
perstition. Some more of these 
wooden statues are described as 
existing at Thebes, Lechaden, Delos, 
and Crete, to the reign of liadrian. 
They were nearly destroyed by 
age; and yet Pausanjas, fired by 
[469 
religious and antiquarian enthu. 
siasm, could find in them some. 
thing divine; but what it was he 
does not explain, Some other of 
these statues were plated with gold, 
and their faces painted red, viz. 
two of Bacchus, in the forum of 
Corinth; which gives us but an 
indifferent idea of the taste of that 
period. The Venus of Delos had 
onty a head and arms, with a qua. 
drangular basis instead of feet ; 
which shews thac these sculpiors 
had improved but little on the rude 
ages of Greece, when unhewn 
stones, orat best cut into a quadran- 
gular form, were the only em- 
blems of their divinities. Yet even 
these figures, I think, were not 
introduced into European Greece 
till after the days of Homer. The 
name et. Dedalus was, we know, 
given toartists long after the Athe- 
nian Dzdaius is supposed to have 
fiourished. Pausanias himself men- 
tions one of Sicyon of that name, 
which he seems to confound with 
the Dedalus mentioned by Homer. 
Dipcenus and Scyllus, according 
to Pliny, were the founders of the 
school of sculpture in Sicyon, and 
were the first who were celebrated 
for carving in murble. They 
flourished, says the same author, 
in the soth Olympiad, which is 
very probable : for at that period, 
the states of Greece were begin. 
ning to cultivate their talents, and 
to settle a form of government. 
Pausanias, by a strange anachro~ 
nism of above 400 years, says, that 
Dipoenus and Scyllus were the sons 
of that very Diedalus who lived so 
long in Crete. Fiiny indeed says, 
they were Cretans by birth, but 
that they settled at Sicyon. Is it 
not then more likely that. t 
were instruéted long after by Dz- 
Hh 3 dalus 
