JED1LES .EGINETAN STYLE. 



of judging the dead. His particular duty was the 

 distribution of rewards and punishments. He is re- 

 presented as seated upon a tribunal, bearing a crown 

 and sceptre ; as a distinguishing mark, he carries the 

 key of the infernal world, given to him by Pluto. 



VOILES ; Roman magistrates of secondary rank, 

 who had the supervision of public spectacles and 

 public edifices, and decided questions relating to the 

 erection of buildings, and to the police of the market. 

 At first, there were but two, chosen from the common 

 people (cediles plebeii). At the end of the 4th century 

 from the foundation of Rome, two more were added 

 from among the patricians, to whom an ivory chair 

 (sella curulis) was allowed, and who were thence 

 called cediles curides. Julius Caesar added the third 

 class (eediles Cereales), to whose care the public gra- 

 uaries were intrusted. 



JEG&ax ; in ancient mythology, a huge giant, the 

 son of Titan and Terra, who was fabled to have had 

 a hundred hands, with which he threw a hundred 

 i-ocks at once at Jupiter, who, when he had over- 

 come him, bound him with a hundred chains. 



JEoEAM SEA ; the ancient name of the modern 

 Archipelago (q. v. ; see also JEgeus). 



.<EGEUS ; king of Athens and father of Theseus, 

 by ^Ethra, daughter of Pittheus, king of Troezene. 

 He caused him to be secretly educated at Troezene, 

 to deceive the sons of Pallas (Pallantides), who ex- 

 pected to succeed him, on the supposition that he 

 was childless. In order that he might recognize his 

 son, he concealed a sword, and some other articles, 

 under a stone on his departure from Troezene, and 

 left orders that Theseus should bring them to Athens 

 when he had reached a certain age. As soon as this 

 young hero became acquainted with his birth, he 

 hastened to Athens, where he was at first repulsed, 

 and in danger of his life ; but his father finally ac- 

 knowledged him, and declared him successor to his 

 throne. Under the erroneous idea that Theseus had 

 been devoured by the Minotaur, M. plunged into 

 the sea, from which circumstance the Archipelago, 

 between Greece and Asia, as far as the Hellespont, 

 received the name of the JEgean sea. (See Theseus). 



JEGINA, now EXGIA, or EGINA ; a Grecian island 

 in the Saronic gulf, about 30 miles in circumference. 

 In ancient times, it constituted an independent state, 

 and was rich and flourishing by reason of its com- 

 merce. The Greeks had a common temple in it, 

 dedicated to Jupiter. The capital of this island was 

 called also SEgina. 



JSciNETAN STYLE AND MONUMENTS OP ART. An 

 association of English and German artists and lovers 

 of the arts was formed in 1811, chiefly with a view 

 of obtaining an architectural survey of the temple of 

 Jupiter Panhellenius, at ^Egina, which is one of the 

 most beautiful remains of the Doric architecture. A 

 sketch of this temple may be found in the English 

 Journal of Science, and in Iris, a periodical edited 

 by Oken, in Germany. This undertaking was amply 

 rewarded by a fine collection of valuable sculpture, 

 which once adorned the eastern and western fronts 

 of that noble edifice. It was purchased by the king 

 of Bavaria, in 1812, and the deficient parts restored 

 by Thorwaldson. Every member of the association 

 received a cast of it carefully executed in plaster of 

 Paris. These works are valuable as faithful imita- 

 tions of nature, and for the light which they shed 

 over one of the darkest periods in the history of art. 

 They showed that the ^Eginetan style of art was inde- 

 pendent of the Attic. Pausanias calls Smilis the 

 Daedalus of ^Egina, assures us that he was the con- 

 temporary of Daedalus, and ascribes therefore to the 

 ^Eginetan style equal antiquity and independence 

 with the Attic. The language and manners of 

 ^Egina were Doric ; and its sculpture has a Doric 



character, as distinct from the Attic (which was ori- 

 ginally Ionic) as Doric poetry and architecture. The 

 cliaracteristic peculiarity and aim of the jEginetan 

 style is the faithful and exact imitation of nature, 

 carried even to deception. Attic art was a daughter 

 of the Egyptian, and a striving after the ideal is 

 perceptible in both. To gain a clear idea of primi- 

 tive art, we must distinguish between the Egyptian, 

 ancient Attic, ^Eginetan, and Etrurian styles. Rude- 

 ness, stiffness, and meagerness, belong to the first 

 attempts in every art. In other respects, they differ 

 from one another, although, at a later period, they 

 exercise a mutual influence. The perfection of art 

 in Phidias has hitherto appeared almost a miracle ; 

 but we now comprehend how the ^Eginetan school, 

 imitating nature with almost perfect exactness, pointed 

 out the way to the ancient Attic, teaching it to rise 

 from the abstract to the living, from the conventional 

 to the natural. Thus we find the long-desiied link 

 of connexion between the ancient severe and beau- 

 tiful styles. Since the creations of Phidias, the 

 traces of the proper JEginetan style have disappeared. 

 There was subsequently, therefore, only one perfect 

 style of art, which spread over all Greece, and ^Egi- 

 netan became the name for primitive sculpture. 

 Smilis was the father and founder of the jEginetan 

 style of art ; next to him came Callon, who lived 

 between the 60th and 70th Olympiads (540500 

 B. C.). About the time of Phidias, there lived the 

 following masters, famous in this style : Anaxagoras, 

 who made the Jupiter which was placed in Olympia 

 at the common expense of all the Greeks, who fought 

 victoriously at Plataea, B. C. 379 ; Simon, the maker 

 of the consecrated offering of a certain Phormis at 

 Olympia ; and Glaucias and Onatas, who flourished 

 in the 78th Olympiad. The JSginetan figures now 

 exhibited at Munich are 17. They may be divided 

 into 4 classes : 1. upright, clothed, and female ; 2. 

 advancing, or fighting combatants ; 3. kneeling, or 

 archers ; 4. lying, or wounded. The largest of these 

 figures is Minerva. She is a little above the human 

 size ; all the others are rather below this measure. 

 If we consider the style of these works, there pre- 

 vails in every part of the bodies, the head excepted, 

 a minute imitation of nature, without the least traces 

 of the ideal. Still the imitation is neither poor nor 

 offensive to the rules of art, but a good copy of beau- 

 tiful nature, with the most perfect knowledge of the 

 bones and muscles. With respect to proportion, 

 these figures are slender, rather small at the hips, 

 and the legs remarkably long. There is much life 

 in the attitudes, though they are not altogether free 

 from a certain stiffness, such as may be observed in 

 the paintings of Giotto, Masaccio, Perugino, &c. 

 The heads seem to belong to an earlier epoch of art ; 

 the eyes project, and are lengthened somewhat in 

 the Chinese fashion ; the mouth has prominent lips, 

 with well marked edges ; the corners of some are 

 turned up ; the nose is rather small ; the ears fin- 

 ished with the greatest care ; the chin is full, and 

 generally too large. They all look alike, and ex- 

 hibit not the slightest expression of passion ; between 

 conquerors and conquered, gods and men, there is 

 not the least difference. The appearance of the hair 

 is not natural, but stiff and conventional. The arms 

 are rather short ; the hands natural to deception ; 

 not a wrinkle of the skin is forgotten. The legs are 

 well shaped ; the knees masterly ; the feet elegant ; 

 and the toes, which are rather too long, run out 

 parallel. The drapery is close to the body, with 

 folds artificially arranged. Though the style is hard, 

 the execution is tasteful and elaborate. They were 

 apparently made at the same time, but not by the 

 same artist. No one of them has any support, and 

 they are equally finished on all sides. The number 



