ON THE PROGRESS OF SCULPTURE. 453 



about 650 years before the commencement of the 

 christian era. His performances, as will be 

 readily imagined, were extremely rude ; and his 

 name became a familiar expression in after ages for 

 whatever was antiquated and barbarous in art.* 



On the throne of Apollo, at Amyclse, a most 

 magnificent monument of art executed by Bathy- 

 cles of Magnesia, the deity was represented by 

 a bronze pillar, thirty cubits in height, to which 

 was attached a head, with arms and feet. He 

 was armed with a helmet for defence, and bore a 

 bow and a spear in his hand. This figure was con- 

 sidered a relic of most remote antiquity, even in 

 the time of Bathycles, and was obviously antece- 

 dent to the employment of those symbols, which 

 were fixed upon by succeeding artists, as the 

 distinguishing attributes of Apollo. 



The most ancient production of art in bronze 

 was an image of Jupiter, which stood in the 

 temple of Minerva, at Sparta. This statue was 

 not cast at a single jet ; but each of the members 

 was formed separately, and afterwards united by 

 rivets. This extraordinary performance was 



* Pausan. III. c. 19, p. 198. 



