‘SCULPTURE. 13 
At the same time with casting, Glaucus of Chios invented the art of 
soldering; and to him also is attributed the art of softening iron and 
hardening steel. Glaucus was highly celebrated for his works in metal, 
and there was in the temple at Delphi a very beautiful pedestal to a vase, 
of his workmanship. 
The potter’s art flourished at the same time, especially at Corinth; and 
very beautiful vessels of pottery were made there by mixing the very fine 
clay of the place with fine sand. Dibutades, who is said to have invented 
the art of drawing (or at least the silhouette), was the first, according to 
Pliny, who mixed ruddle with clay and thus colored it. To him our red 
crayon is also ascribed. 
If now we pass to the art of sculpture properly so called of those times, 
we find that Homer makes no mention of statues; whence it ensues that 
only the art of carving in relief had then been invented. The most ancient 
remains of sculpture that have come down to us, the lions over the 
gate of Mycenz, are reliefs, as also a Niobe on a rock of Sipylus, near 
Magnesia. The principal cause of this circumstance may lie in the 
then imperfect development of technical skill; but be this as it may, 
the fancy of the Greeks was then so much occupied in depicting the won- 
derful and the superhuman, that the hero-myths were more suited to the 
representations of poetry than of plastics. This we see from the poems of 
Homer, where the gods constantly appear in gigantic and often in ghost- 
like forms, that cannot be clearly defined. It is for this reason that the 
earliest representations of the gods make no claim at all to be considered 
as images of the deity, but are only symbols, often unhewn stones, stone 
pillars, wooden posts, &c. Thus for instance in the temple of the Graces 
at Cyzicus there was a triangular pillar, which Athene herself had pre- 
sented as a first work of art; the Hero at Argos was a stone pillar, the 
Athene at Lingus a smooth log, and the Dionysius at Thebes a pillar 
encircled with a garland of ivy. Afterwards, in order to image the deity 
more precisely, attributes were added, and at last arms which held these 
attributes. In this manner arose the terminal statues or Herm, which ° 
long remained the only mode of representing the gods. 
The wood-carvers first ventured to make entire images of the gods when 
the attributes rendered the whole figure necessary ; and such images, as 
e.g. the Lonic Palladium, were then regarded as of the most sacred cha- 
racter. The feet, according to the simplest manner, were not separated, 
and the eyes were indicated by astroke. Afterwards a walking attitude 
was given to the statues, and eyes slightly opened; but the hands, when 
they had nothing to bear, hung close against the sides. In the last century 
of this period metal statues of the gods first made their appearance. 
2. Seconp Prriop (580—460 zB. c.). With the increasing wealth of the 
Greeks and their constantly extending relations, there were introduced 
among the people a greater degree of refinement and a more highly culti- 
vated taste for art; gymnastic games and pantomimic representations had 
reached their most flourishing. state about the 50th Olympiad, and excited 
a lively enthusiasm for the beautiful and the significant in the human 
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