452 ON THE PROGRESS OF SCULPTURE. 



The statue of Minerva, at Lindus, in the island 

 of Rhodes, was merely a simple column ; seven 

 pillars, representing the seven planets, stood by 

 the road side between Sparta and Arcadia ; and 

 a single pillar at Corinth designated Minerva, 

 the protectress of that city. As the arts advanced, 

 the Greeks invented a variety of names to express 

 what we translate by the single term " statue ;" 

 but the word K«ov, literally signifying a column, 

 was retained, even to the latest period of their 

 glory, to signify indifferently either a column or 

 a statue. At Corinth, Jupiter /ActXixios was repre- 

 sented by a pyramid, and a cone of white marble 

 was the symbol under which Venus was adored 

 at Paphos.* 



The first approach towards an imitation of the 

 human form was to place a head upon a squared 

 shaft or pedestal, called by the Greeks epixa; a 

 further effort added hands and feet to the ep/Ao, 

 but the former adhered closely to the sides, and 

 the latter were not detached. The first Greek 

 artist who outlined the eye and the ear, disen- 

 gaged the arms from the side, and gave an air of 

 motion to the feet, was Daedalus, who flourished 



* Max. Tyr. VIH. c. 3. Tacitus Hist. II. 3. 



