470] 
dalus Sicyonius, and that the iden- 
tity of names was the source of the 
error? ; 
However celebrated these artists 
were for marble sculpture, yet the 
most noted performances from their 
hands were cut in ebenus, a sort of 
lignum vite, with pieces of ivory 
interspersed ; a practice much im- 
proved afierwards. Tectzus and 
Angelion were the scholars of Di- 
poenus ; they carved the Apollo at 
Delos, and Calion, their pupil, the 
Statue of Minerva Sthenias, in the 
citadel of Athens, about the 63d 
Olympiad. The other memorable 
pupils of this school were Theocles 
and Doriclydas, both Lacedemo- 
nians, whose works were to ke 
seen, as Pausanius informs us, in 
his time at Elis. 
The school of Chios, formed by 
‘Malas, about the same time with 
that of Sicyon, or probably before, 
was still more noted. Bupalus and 
Authermus carved well in the 60th 
Olympiad ; some of whose works 
had a piace in the palace of Augus- 
tus Casar. Yeteven in this period 
we are uvncertain whether the 
Greeks koew the art of casting 
statues in metal. ‘Ihe o!dest brass 
statue known in Greece was one of 
Jupiter, in the Chaloiccos and 
Laconia, in which the limbs. had 
been separately formed, and then 
nailed together ; yet this imperfect 
essay was ascribed to Learchus, a 
scholar of Dipaenus, who must have 
lived about the 5 3dor 54th Olym- 
piad. So little was this art known 
in the school of Sicyon, when it 
was celebrated for marble sculp- 
_,ture. About the 63d Olympiad, 
* “we find the name of Rhocus and 
Theodorus, both ef Samos, the 
wee who built the temple of Juno, 
ANNUAL REGISTER, 1796. 
in the reign of Polycrates, and 
practised the art of casting statues 
with success, 
Hence, I think, the schools of 
Sicyon and Chios divide this period 
into two parts. The Dedalean, 
or barbarous age, ceases in the 
soth Olympiad ; the middle age, 
which gave better forms to the hu- 
man figure, but not the last po- 
lish, nor an exa&t representation of 
the minuter parts, may be extended 
to the 83d Olympiad; when the 
great genius of Phidias broke out 
at once in full Justre in the Jupiter 
at Olympia, and the Minerva at 
Athens. Pausanias has des¢ribed 
the former of these with great ac- 
curacy ; and Livy, the historian, 
with a sublimity of expression al- 
most equal to the ideas cf the ar- 
tist, points out, in a few words, its 
effet on the beholder. Paulus 
Amilius, says that invaluable 
writer, travelling through Greece, 
entered the temple to survey the 
colossal statue ; when Jovem velut 
presentem intuens, motus anime 
est. It is generally known that 
this figure was composed of ivory, 
and ornamented with gold, a prac. 
tice of great antiquity in the Easr; 
but few consider the diffculiy of © 
executing a grand idea with so 
minute materials... No any other 
graces were still wanting in scalp- 
ture, the skill of Praxiteles and 
Lysippus gave those finished touches 
which produced snblimity in small 
figures without diminishing their 
elegance. Such was sculpture in 
the days of Alexander. Some 
specimens of this ara are most pro. 
bably even now to be seenat Rome 
and Florence, viz. the Medicean 
Venus, the Hercules Farnese, and 
the Belviderian Apollo. The great 
5 genius 
