e more favourable, and it was
possible for the artist, while conforming to the accepted type, to give
it a more correct form and more pleasing features.

Daedalus, we are told--and in this story Daedalus is an impersonation of
the art of the early sculptors in Greece--made statues of the gods so
life-like that they had to be chained to their pedestals for fear they
should run away. It is likely that this tale goes back to a genuine
tradition; for Pausanias actually saw statues with fetters attached to
them in several early shrines in Greece. The device is natural enough.
Daedalus was a magician as well as a sculptor; and if he could give his
statues eyes that they might see, and ears that they might hear, it was
an obvious inference that if he gave them legs they might run away and
desert their shrines and their worshippers.

We may very likely find also in a similar notion the explanation of a
peculiarity often found in early statues of the gods--the well-known
archaic smile. Many explanations, technical and otherwise, have been
given of this device; but none of them can get over the fact that it was
just as easy, or even easier, for a primitive sculptor to make the mouth
straight as to make it curve up at the ends, and that he often did make
it straight. When he does not do so, it is probably done with intention;
and it is quite in accordance with the conditions of early religious art
that he should make the image of a deity smile in order that the deity
himself might smile upon his worshippers; and a pleasant expression
might also, by a natural transfer of ideas, be supposed to be pleasing
to the god, and so attract him to his statue. We are told that at Chios
there was a head of Artemis set high up, which appeared morose to those
entering the temple, but when they left it seemed to have become
cheerful. This may have been originally due to some accident of placing
or lighting, but it seems to have acquired a religious significance; and
we can hardly deny a similar significance to the smile which we find on
so many early statues. In some cases, especially in statues of men, it
may have been intended merely as a device to give expression and life to
the face; but it cannot have been a matter of indifference to a
primitive worshipper that his deity should smile on him through the face
of its visible image. This point of view being given, it is evidently
only a question of how far it is within the power of art to expres