£hat there had once been a communication 
■between these two nations ; but the intro- 
duction of this style by Dedalus is generally 
credited. 
Winckelmann supposes that the second 
epoch of the art commenced in Etruria 
about the time at which it had reached its 
1 greatest perfection in Greece, in the age of 
Phidias; but this conjecture is not supported 
by any proofs. T o describe the second style 
of sculpture among the Etrurians, is almost 
the same as to describe the style of the mo- 
| dern restorers of the art in Tuscany. The 
I joints are strongly marked, the muscles raised, 
the bones distinguishable, but the whole ap- 
pearance is -harsh, particularly in the repre- 
|i sentation of ordinary life. The statues of the 
j gods are designed with more delicacy. In 
I forming them the artists were anxious to 
I show that they could exercise their power 
I without that violent distension of the muscles 
which they conceived necessary in the exer- 
tions of beings merely human ; but in gene- 
| ral their attitudes are unnatural, and the 
actions strained. li a statue, for instance, 
j holds any thing with its fore lingers, the rest 
I are stretched out in a stiff position. 
Greece. The earliest examples of Grecian 
! sculpture remind 11s still more of the Egyp- 
tian, in the principles of design, than those of 
, any other nation. The face of the human 
figure has the same kind of oval, the features 
arc described by the same curves, the eye 
] full, and the body and limbs represented 
' nearly in the same general forms. The works 
of the early Greeks may, however, be justly 
j said to be equal to the Egyptians in the pro- 
portions of their figures, and superior in the 
! drawing of the boay and limbs. 
It is probable that sculpture preceded the 
use of letters in Greece, as in other nations ; 
* but the small bronze figures with inscriptions 
on them in Cadmean letters, are such weak 
I and barbarous resemblances of the human 
! form, that it is needless to trace its origin in 
j any more remote period. 
The Grecians began very early to study 
the proportions oftiie human form. Vitruvius 
informs us that “ as the height of the human 
figure was six times the length of the foot, 
that was made the rule of proportion for the 
Doric column.” Their knowledge, there- 
fore, in this part of art, was antecedent to 
their architectural proportions. 
Whether Greece received the principles of 
the arts from Egypt and Phoenicia, or, as they 
asserted, were the original inventors of them, 
: it is certain that the native genius of the 
' Grecians, combined with other peculiarly fa- 
vourable circumstances, very soon raised 
sculpture from a state of barbarism. 
In the earliest ara of sculpture in Greece, 
schools of design were established in the 
Eland of jEgina, at Corinth, and at Sicyon. 
This last city was styled the mother of the 
arts, as Diapaenus and Scillides, and their 
disciples also, had flourished there ; and after 
seven generations, Aristocles, the brother of 
Canacus, likewise a sculptor of eminence, 
presided over the same establishment with 
undiminished fame. The school of fiEgina 
traced its origin to Dedalus, of fabulous re- 
J uowh : and his cotemporary Smilismade two 
statues of Juno ; one for her temple at Samos, 
1 and the other for that at Argos. 
From these auspicious dawnings of the art 
of sculpture, three distinct schools arose, one 
SCULPTURE.’ 
of which was peculiar to Ionia ; the others 
were in Greece, at Athens, and at Sicyon, 
each of them shining with nearly equal splen- 
dour for several ages. 
At the head of the first Grecian artists, 
stands Myron, whose statues in bronze at- 
tracted universal admiration. A Discobulus 
made by Myron, is particularly noticed by 
Quinctiiian. 
Phidias, whose name is better known in 
the present day than that of any other 
sculptor, was the discipie of Eladas and Age- 
ndas, the probable cotemporaries of Myron, 
and who flourished in the sixteenth olympiad. 
We collect from Quinctiiian, that iie excelled 
in imparting a celestial dignity to his figures 
of the deities, two of which are celebrated in 
this respect, the Minerva at Athens, and Ju- 
piter Olympius at Elis. Many of his most 
beautiful works were in ivory, frequently less 
than the natural size. lie cast likewise in 
bronze. 
In the same age lived Polycletus, whose 
works were distinguished by exquisite grace 
and most correct finishing: the latter quality 
was the effect of his singular diligence. To 
the human figure he is said to have given 
more than human beauty, but he foiled in ex- 
pressing the majestic character of the gods. 
The works of Egesias were of a sublime 
style, but hard manner. 
Of the school of Phidias, the most distin- 
guished sculptors were Alcamenes of Athens, 
and Agoracritus of the island of Paros. Their 
rival skill 'was exerted in finishing a statue of 
Venus, and the palm was adjudged by the 
Athenians to their own citizen. 
Polycletus of Sicyon was the competitor 
with Phidias in an undertaking of more gran- 
deur and consequence than his general works. 
He was employed by the inhabitants of Argos 
to make a colossal statue of Juno, composed 
of gold and ivory, in order to emulate, rather 
than to imitate, the Olympic Jupiter of Phi- 
dias. Two figures in bronze by Polycletus 
representing the canephorae or nymphs bear- 
ing in baskets the symbols of Ceres to a sa- 
crifice, were taken from the Thespians by 
Verres, and brought to Rome. They were 
esteemed beyond any bronze figures existing 
at that time. Such was the skill of this emi- 
nent master, that lie completed so perfect a 
human figure that it served as a model to his 
successors, and was considered by Lysippus 
as the acme of his art. 
While Phidias in gold and ivory, and 
Polycletus in bronze, engrossed to themselves 
every excellence, Scopas acquired a scarcely 
inferior celebrity for his statues in marble. 
The groupe of Niobe and her children is at- 
tributed by Pliny to Scopas or Praxiteles, he 
does not decide which. 
The last sculptor (of whose works we have 
any knowledge) coeval with Phidias, was Ctesi- 
laus, who, jointly with him and Polycletus, 
finished one of the three Amazons designed 
to decorate the temple of Diana at Ephesus, 
and the statue of Pericles, commended by 
Pliny, who allows to Ctesilaus the felicity of 
giving to his heroes a still more noble air than 
they possessed. 
The names of Policies, Cephisodorus, Leo- 
chares, and Hippodotus, are preserved from 
oblivion by Pliny, but none of their works 
remain. Leochares was one of the four art- 
ists employed in adorning the mausoleum 
4 L l 
built by the celebrated Artemisia, queen of 
Caria, to the memory of her husband. 
Menestratus, Socrates, Philiscus, Lysi- 
as, Mirmecides, and many others, are also 
spoken of with praise by various writers ; but 
we have unfortunately no other remaining 
testimonies of their merits. 
Of the tirst style ot the Grecian sculptors, 
so remarkable for simplicity and grandeur, 
the a>ra was circumscribed do the limits of 
fifty years, during which period the art had 
arrived at its meridian of sublimity. The 
succeeding age introduces Praxiteles, who 
may be called the father of the second man- 
ner, and whose works were discriminated by 
their flowing outline and delicate finishing. 
T he elevation of Thebes by Epaminondas 
above the other states of Greece, produced a 
complete change in her whole system ; but 
as soon as the Athenia s recovered their 
former splendour, the arts, which had ever 
accompanied the vicissitudes of her fortunes, 
revived with unabated splendour. The works 
of Praxiteles are celebrated by historians and 
poets. His Venus of Gnidus in marble, at- 
tracted then 110 less admiration than the Me- 
dicean Venus has done in the modern world: 
and his Apollo in bronze, called (from the 
lizard in the trunk of the tree against which 
he leans) Sauroctonos, is still among the 
most admired productions of sculpture. 
Mot long alter Praxiteles had signalized 
himself in statuary, and particularly in bronze, 
Lysippus appeared, whose great merit con- 
sisted in following nature more scrupulously 
than any of his immediate predecessors. If, 
as Pliny reports, his works were so numerous 
as to amount to not less than fifteen hundred, 
we have the more cause to regret that they 
were all of bronze, and are irretrievably de- 
stroyed. He flourished under the reign of 
Alexander. 
To Agesander, Polydorus, and Athenodo- 
rus, is ascribed (by ’Pliny) the celebrated 
group of the Laocoon and’ his sons, and con- 
jecture has been frequently busied in endea- 
vouring to discriminate the particular portion 
of each artist; but conjecture only has hitherto 
been produced. Abbe Winckelmann con- 
jectures that Agesander was the father of the 
other two artists, and that he himself finished 
the statue of Laocoon, leaving the children 
to be wrought by his sons. — “Credat Judaeus 
apella.” No authentic document remains by 
which the time in which these artists flourish- 
ed can he ascertained. 
Neither do we know the precise date of 
Apollonius and Tauriscus, the authors of a 
no less celebrated group representing Dirce 
tied to the horns of a bull (in order to be pre- 
cipitated into the sea) by Zetlms and Am- 
phion, the sons of Autiopa. This work is 
generally supposed to have been cotemporary 
with the rival group of Laocoon. In an in- 
scription on it, now obliterated, was traced 
the name of another artist, Menecrates. 'l'his 
vast mass of sculpture is said to have been 
formed out of a single block, in the island of 
Rhodes^ It has suffered greatly in the course 
of time. 
Greece, after the death of Alexander the 
Great, lapsing into a state of dependance little 
better than slavery, the arts were for a time 
wholly neglected ; and might have been nearly 
annihilated, had they not found refuge in 
Asia, under the patronage of the Seleiicidca. 
j Men of talents also in every professio.% 
