peless
blocks a human form. The upper part assumed the likeness of a head,
and by degrees arms and legs were marked out; but in these early
imitations of the human figure the arms were, doubtless, represented
closely attached to the sides; and the legs, though to a certain
extent defined, were still connected and united in a common pillar.

The age of Daedalus marks an improvement in the modeling of the human
figure, and in giving it life and action. This improvement in the art
consisted in representing the human figure with the arms isolated from
the body, the legs detached, and the eyes open; in fine, giving it an
appearance of nature as well as of life, and thus introducing a
principle of imitation. This important progress in the practice of the
art is the characteristic feature of the school of Daedalus, for under
the name of Daedalus we must understand the art of sculpture itself in
its primitive form, and in its first stage of development. According
to Flaxman, the rude efforts of this age were intended to represent
divinities and heroes only--Jupiter, Neptune, Hercules, and several
heroic characters, had the self-same face, figure, and action; the
same narrow eyes, thin lips, with the corners of the mouth turned
upwards; the pointed chin, narrow loins, turgid muscles; the same
advancing position of the lower limbs; the right hand raised beside
the head, and the left extended. Their only distinctions were that
Jupiter held the thunderbolt, Neptune the trident, and Hercules a palm
branch or bow. The female divinities were clothed in draperies divided
into few and perpendicular folds, their attitudes advancing like those
of the male figures. The hair of both male and female statues of this
period is arranged with great care, collected in a club behind,
sometimes entirely curled.

Between the rudeness of the Daedalean and the hard and severe style of
the AEginetan there was a transitional style, to which period the
artists Dipoenus and Scyllis are assigned by Pliny. The metopes of the
temple of Selinus in Sicily, the bas-reliefs representing Agamemnon,
Epeus, and Talthybius, in the Louvre, the Harpy monument in the
British Museum, and the Apollo of Tenea, afford examples of this
style.

_AEginetan._--In the AEginetan period of sculpture there was still
retained in the character of the heads, in the details of the costume,
and in the manner in which the beard and the hair are treated,
something archaic and convent