CVIII. 348 CIX. 344 CX. 340 CXI. 336 CXII. 332 CXIII. CXIV. Names of Artists, &c. Corybas, the painter, flourishes. Philochares, the Athenian, appears as a painter. Antorides and Leontion flourish as painters. Leochares is still living. Antidotus the pupil of Euphranor, Carmanidas, and Leonides of Anthedon, flourish as painters. APELLES flourishes. The painters cotemporary with him, are, Amphio, Antiphilus the Egyptian, Nicophanes, Asclepiodorus, Theo of Samos, Melanthus, Pausias of Sicyon, Theomnestus, Nicias II. of Athens, and Ctesilochus, the pupil and perhaps the brother of APELLES. PYRGOTELES, the engraver on precious stones, flourishes. To this period also belong Philo the statuary, Pamphilus II. the sculptor, and Dinocrates, an architect of Macedonia. 328 Alcimachus, Aristocles V., and Philoxenus (the last two inhabitants of Eretria), flourish as painters; and Amphistratus as a statuary and sculptor. 324 312 308 : LYSIPPUS still living. In this period the subjoined artists flourish Lysistratus the brother of LYSIPPUS, Apollodorus, Io, Polyeuctus, Silanio the Athenian, Sostratus III., and Sthenis the Athenian, statuaries; Glaucio the Corinthian, Gryllo, Ismenias of Chalcis, Áristo and his brother Niceros, both of Thebes, painters; and probably Menestratus II. sculptor. Dætondas, the Sicyonian, flourishes as a statuary. Bryaxis still exercises the arts of statuary and sculpture. APELLES and Nicias II. the Athenian, still living. Diogenes, Perseus, and Aristolaus son of Pausias, flourish as painters, and Callias of Aradus as an architect. To this period we should also refer Menæchmus the Sicyonian. 304 Protogenes of Caunus paints in the island of Rhodes his figure of Ialysus. FABIUS PICTOR decorates with his paintings the Temple of the Goddess Salus at Rome. This was probably the age of Praxiteles II. the engraver. 300 Cephisodotus II., a statuary, sculptor, and painter, and Timarchus a statuary, both sons of Praxiteles, now flourish. Daippus, Euthycrates, Eutychides of Sicyon, Phoenix, Pyromachus, and Tisicrates of Sicyon, flourish as statuaries; and Athenio of Maronea and Mechopanes as painters. 292 Bedas, son of LYSIPPUS, Chares of Lindus, and Xeuxiades, flourish as statuaries. CXV. CXVII. CXVIII. 320 CXIX. 1. CXX. CXXII. Olymp. B.C. Names of Artists, &c. 280 Omphalio, a painter, flourishes. CXXV. CXXVI. CXXVIII. 276 268 CXXXIII. 248 CXXXV. 240 CXXXVI. 236 CXL. Pisto and Xenocrates flourish as statuaries. Cantharus, the Sicyonian, practises the art of statuary; and Mydo of Soli, and Arcesilaus III., probably of Sicyon, that of painting. Nealces and Arigonus flourish as painters. Timanthes II., painter, flourishes. Isigonus, Pyromachus, Stratonicus, and Antigonus, flourish as statuaries, and Leontiscus as a painter. 220 Anaxandra, the daughter of Nealces, practises the art of painting. Ægineta, a modeller, and his brother Pasias, a painter, flourish. Mico III., of Syracuse, flourishes as a statuary. Stadieus, Athenian statuary, flourishes. Cossutius, Roman architect, flourishes. Heraclides I., a Macedonian, and Metrodorus, probably an Antheus, Polycles II., Callistratus, Callixenus, Pythias, Pacuvius, the tragic poet and painter, flourishes. Arcesilaus IV., sculptor, the intimate friend of L. Lucullus, flourishes. Valerius of Ostia flourishes as an architect. The following artists flourished about this period: Pasiteles, statuary, sculptor, and engraver; Timomachus of Byzantium, and Arellius, painters; Cyrus, architect; Posidonius of Ephesus, statuary and engraver; Leostratides, and Pytheas I., engravers; Coponius, Roman sculptor; and Epitynchanus, engraver on precious stones. In this period Pasiteles still practises the arts of sculpture and engraving, and the following artists also flourish : Saurus, Batrachus, Diogenes, Lysias, and, probably, Stephanus, sculptors; Aulanius Evander, Athenian sculptor and engraver; Dionysius, Sopolis, Ludius, Pedius, a youth, and Lala, a female born at Cyzicus, painters; Dioscurides and Admo, engravers on gems; and Posis, a Roman modeller. 20 54 Chimarus, a statuary, flourishes; probably, Menelaus, a sculptor. Dorotheus and Fabullus flourish as painters; Meno, the Athenian, as a statuary and sculptor; and Xenodorus as a statuary. 69 Agesander, Athenodorus his son, and Polydorus make for Titus, who afterwards became emperor, the celebrated group of the Laocoon. To this period also belong, Craterus, the two Pythadori, GREEK ANTIQUITIES. SKETCH OF THE PROGRESS OF GREEK ART. ART is the faculty of representation; the laws of art, those conditions, under which external forms create in the mind sensations of pleasure and satisfaction, such forms being necessarily subject to some general laws, and determined by some fixed rules, so that each representation may be adequate to the things it represents. Thus by the comparison of styles, we may obtain a knowledge of the period during which each work was executed, the art of the older times being generally more rude and incomplete than the productions of later ages. On this principle, we propose to give a broad sketch of the Progress of Greek Art, as a fitting introduction to the examination of the specimens of it preserved in the National Collection, and to select the illustrations of the canons we shall lay down from examples which may there be found: premising, however, that no more than an outline can here be given' of a subject so extensive—a skeleton which the student himself may invest with the muscles and flesh from his own subsequent observations. The Art of Ancient Greece may be divided broadly into Five Periods. I. PERIOD TO OL. 50-B.C. 580. During the FIRST period Art was in its infancy, and Sculpture in its germ: the artistic genius of the people being devoted to the ornamenting and embossing of metal objects, whether weapons of war or vessels of domestic furniture, or to the manufacture of idols for the B service of Religion. The descriptions of Homer show the value attached to the rich and elegant workmanship of furniture and vessels; and the story of the shield made by Hephaestus for Achilles indicates that the use of metal was extensively known. In the manufacture of metallic works, it appears that the metal was first softened and hammered out into thin plates, and then subsequently worked up by sharp instruments, as the earliest bronzes which have been preserved show marks of having been hammered out (σpvpnλaтa), a fashion which long prevailed in the case of the more precious metals. The invention of casting in metal (attributed to a Samian), and that of soldering, the discovery of a Chian artist, were of great value for the mechanical advancement of the arts, which were still further promoted by the use of pottery, in remote ages an extensive trade at Corinth, Ægina, Samos, and Athens, and to which may probably be attributed the first real commencement of the sculptural art. The art of pottery directly called forth an exercise of the skill of the individual workman, in that its success depended on a reliance on the artist's own resources rather than on copies or models. In the ornaments and the reliefs which were placed on the handles of vases the potter's wheel could not be used, and a free exercise of the hand was the natural and immediate result. In the earliest period of Greek art, we must not suppose that the images of the Gods were like the statues of later times: such images were simply rude symbolical forms, whose value depended solely on their consecration. Thus rude stones, pillars, wooden statues, and the like were set up as religious idols, and served to remind the worshippers of some attribute of the Deity to whom they were dedicated. In some cases, arms, legs, heads, &c., were carved in separate pieces and subsequently attached to the central block, itself not unfrequently of a different material. Of this, the most ancient age, no specimens exist in the Museum, except perhaps some of the earliest Etruscan vases in coarse black ware, apparently copies of similar works in wood, and to which no certain chronological era can be assigned. 1 We mean by mechanical the use of moulds in reproductions of the archetype. The free use of the hand is recalled in the phrase common in English potteries, "the rule of thumb”—applied perhaps with some difference, yet in opposition to the merely mechanical. |