Chapter 48

Military Standards. (Bellori, Vet. Arc. Aug.)

SĬLĬCERNĬUM. [Funus.]

SIMPŬLUM or SIMPŬVĬUM, the name of a small cup used in sacrifices, by which libations of wine were offered to the gods. It is represented on the coin figured underSecespita. There was a proverbial expressionexcitare fluctus in simpulo, “to make much ado about nothing.”

SĪPĂRĬUM, a piece of tapestry stretched on a frame, which rose before the stage of the theatre, and consequently answered the purpose of the drop-scene with us, although, contrary to our practice, it was depressed when the play began, so as to go below the level of the stage (aulaea premuntur), and was raised again when the performance was concluded (tolluntur). It appears that human figures were represented upon it, whose feet seemed to rest upon the stage when this screen was drawn up. These figures were sometimes those of Britons woven in the canvass, and raising their arms in the attitude of lifting up a purple curtain, so as to be introduced in the same manner as Atlantes, Persae, and Caryatides. [Caryatides.] In a more general sense,sipariumdenoted any piece of cloth or canvass stretched upon a frame.

SISTRUM (σεῖστρον), a mystical instrument of music, used by the ancient Egyptians in their ceremonies, and especially in the worship of Isis. It was held in the right hand (see cut), and shaken, from which circumstance it derived its name. The introduction of the worship of Isis into Italy shortly before the commencement of the Christian aera made the Romans familiar with this instrument.

Sistra. (The two figures on the left hand from paintings found at Portici;the right-hand figure represents a Sistrum formerly belonging to the library of St. Genovefa at Paris.)

SĬTELLA. [Situla.]

SĪTŎPHỸLĂCES (σιτοφύλακες), a board of officers, chosen by lot, at Athens. They were at first three, afterwards increased to fifteen, of whom ten were for the city, five for the Peiraeus. Their business was partly to watch the arrival of the corn ships, take account of the quantity imported, and see that the import laws were duly observed; partly to watch the sales of corn in the market, and take care that the prices were fair and reasonable, and none but legal weights and measures used by the factors; in which respect their duties were much the same as those of the Agoranomi and Metronomi with regard to other saleable articles.

SĪTOS (σῖτος), corn. The soil of Attica, though favourable to the production of figs, olives, and grapes, was not so favourable for corn; and accordingly a large quantity of corn was annually imported. Exportation was entirely prohibited, nor was any Athenian or resident alien allowed to carry corn to any other place than Athens. Whoever did so, was punishable with death. Of the corn brought into the Athenian port two-thirds was to be brought into the city and sold there. No one might lend money on a ship that did not sail with an express condition to bring a return cargo, part of it corn, to Athens. Strict regulations were made withrespect to the sale of corn in the market. Conspiracies among the corn-dealers (σιτοπῶλαι) to buy up the corn (συνωνεῖσθαι), or raise the price (συνιστάναι τὰς τιμὰς), were punished with death. The sale of corn was placed under the supervision of a special board of officers calledSitophylaces(σιτοφύλακες), while that of all other marketable commodities was superintended by the agoranomi. It was their business to see that meal and bread were of the proper quality, and sold at the legal weight and price. Notwithstanding these careful provisions, scarcities (σιτοδεῖαι) frequently occurred at Athens. The state then made great efforts to supply the wants of the people by importing large quantities of corn, and selling it at a low price. Public granaries were kept in the Odeum, Pompeum, Long Porch, and naval storehouse near the sea.Sitonae(σιτῶναι) were appointed to get in the supply and manage the sale. Persons calledapodectae(ἀποδέκται) received the corn, measured it out, and distributed it in certain quantities.

SĪTOU DĬCĒ (σίτου δίκη). If anything happened to sever a marriage contract, the husband or his representative was bound to repay the marriage portion (προῖξ); or, if he failed to do so, he was liable to pay interest upon it at the rate of eighteen per cent. per annum. A woman’s fortune was usually secured by a mortgage of the husband’s property; but whether this was so or not, her guardian might bring an action against the party who unjustly withheld it;δίκη προικὸς, to recover the principal,δίκη σίτου, for the interest. The interest was calledσῖτος(alimony or maintenance), because it was the income out of which the woman had to be maintained. The wordσῖτοςis often used generally for provisions, just as we use the wordbread.

SĬTŬLA,dim.SĬTELLA (ὑδρία), was probably a bucket or pail for drawing and carrying water, but was more usually applied to the vessel from which lots were drawn. The diminutivesitella, however, was more commonly used in this signification. It appears that the vessel was filled with water (as among the Greeks, whence the wordὑδρία), and that the lots (sortes) were made of wood; and as, though increasing in size below, it had a narrow neck, only one lot could come to the top of the water at the same time, when it was shaken. The vessel used for drawing lots was also calledurnaororcaas well asSitulaorSitella. It is important to understand the difference in meaning, between Sitella and Cista, in their use in the comitia and courts of justice, since they have been frequently confounded. TheSitellawas the urn, from which the names of the tribes or centuries were drawn out by lot, so that each might have its proper place in voting, and theCistawas the ballot-box into which the tabellae were cast in voting. The Cista seems to have been made of wicker or similar work.

Cista.Sitella.

SOCCUS,dim.SOCCŬLUS, was nearly if not altogether equivalent in meaning toCrepida, and denoted a slipper or low shoe, which did not fit closely, and was not fastened by any tie. The Soccus was worn by comic actors, and was in this respect opposed to theCothurnus.

Socci, slippers, worn by a Mimus or Buffoon. (From an ancient Painting.)

SŎCĬI (σύμμαχοι). In the early times, when Rome formed equal alliances with any of the surrounding nations, these nations were calledSocii. After the dissolution of the Latin league, when the nameLatini, orNomen Latinum, was artificially applied to a great number of Italians, only a few of whom were real inhabitants of the old Latin towns, and the majority of whom had been made Latins by the will and the law of Rome, there necessarily arose a difference between these Latins and the Socii, and the expressionSocii Nomen Latinumis one of the old asyndeta, instead ofSocii et Nomen Latinum. The Italian allies again must be distinguished from foreign allies. The Italian allies consisted, for the most part, of such nations ashad either been conquered by the Romans, or had come under their dominion through other circumstances. When such nations formed an alliance with Rome, they generally retained their own laws; or if they were not allowed this privilege at first, they usually obtained it subsequently. The condition of the Italian allies varied, and mainly depended upon the manner in which they had come under the Roman dominion; but in reality they were always dependent upon Rome. The following are the principal duties which the Italian Socii had to perform towards Rome: they had to send subsidies in troops, money, corn, ships, and other things, whenever Rome demanded them. The number of troops requisite for completing or increasing the Roman armies was decreed every year by the senate, and the consuls fixed the amount which each allied nation had to send; in proportion to its population capable of bearing arms, of which each nation was obliged to draw up accurate lists, calledformulae. The consul also appointed the place and time at which the troops of the socii, each part under its own leader, had to meet him and his legions. The infantry of the allies in a consular army was usually equal in numbers to that of the Romans; the cavalry was generally three times the number of the Romans: but these numerical proportions were not always observed. The consuls appointed twelve praefects as commanders of the socii, and their power answered to that of the twelve military tribunes in the consular legions. These praefects, who were probably taken from the allies themselves, and not from the Romans, selected a third of the cavalry, and a fifth of the infantry of the socii, who formed a select detachment for extraordinary cases, and who were called theextraordinarii. The remaining body of the socii was then divided into two parts, called the right and the left wing. The infantry of the wings was, as usual, divided into cohorts, and the cavalry into turmae. In some cases also legions were formed of the socii. Pay and clothing were given to the allied troops by the states or towns to which they belonged, and which appointed quaestors or paymasters for this purpose: but Rome furnished them with provisions at the expense of the republic: the infantry received the same as the Roman infantry, but the cavalry only received two-thirds of what was given to the Roman cavalry. In the distribution of the spoil and of conquered lands they frequently received the same share as the Romans. They were never allowed to take up arms of their own accord, and disputes among them were settled by the senate. Notwithstanding all this, the socii fell gradually under the arbitrary rule of the senate and the magistrates of Rome; and after the yearB.C.173, it even became customary for magistrates, when they travelled through Italy, to demand of the authorities of allied towns to pay homage to them, to provide them with a residence, and to furnish them with beasts of burden when they continued their journey. The only way for the allies to obtain any protection against such arbitrary proceedings, was to enter into a kind of clientela with some influential and powerful Roman. Socii who revolted against Rome were frequently punished with the loss of their freedom, or of the honour of serving in the Roman armies. Such punishments however varied according to circumstances. After the civitas had been granted to all the Italians by the Lex Julia de Civitate (B.C.90), the relation of the Italian socii to Rome ceased. But Rome had long before this event applied the name Socii to foreign nations also which were allied with Rome, though the meaning of the word in this case differed from that of the Socii Italici. There were two principal kinds of alliances with foreign nations: 1.foedus aequum, such as might be concluded either after a war in which neither party had gained a decisive victory, or with a nation with which Rome had never been at war; 2. afoedus iniquum, when a foreign nation conquered by the Romans was obliged to form the alliance on any terms proposed by the conquerors. In the latter case the foreign nation was to some extent subject to Rome, and obliged to comply with anything that Rome might demand. But all foreign socii, whether they had an equal or unequal alliance, were obliged to send subsidies in troops when Rome demanded them; these troops, however, did not, like those of the Italian socii, serve in the line, but were employed as light-armed soldiers, and were calledmilites auxiliares,auxiliarii,auxilia, or sometimesauxilia externa. Towards the end of the republic all the Roman allies, whether they were nations or kings, sank down to the condition of mere subjects or vassals of Rome, whose freedom and independence consisted in nothing but a name. [CompareFoederatae Civitates.]

SŎDĀLĬTĬUM. [Ambitus.]

SŌLĀRIUM. [Horologium.]

SŎLĔA was the simplest kind of sandal [Sandalium], consisting of a sole with little more to fasten it to the foot than a strap across the instep.

SŎLĬDUS. [Aurum.]

SOLĬTAURĪLĬA. [Sacrificium;Lustratio; and woodcut onp. 343.]

SOPHRŌNISTAE. [Gymnasium.]

SORTES, lots. It was a frequent practice among the Italian nations to endeavour to ascertain a knowledge of future events by drawing lots (sortes): in many of the ancient Italian temples the will of the gods was consulted in this way, as at Praeneste, Caere, &c. These sortes or lots were usually little tablets or counters, made of wood or other materials, and were commonly thrown into a sitella or urn, filled with water, as is explained underSitula. The lots were sometimes thrown like dice. The name of sortes was in fact given to anything used to determine chances, and was also applied to any verbal response of an oracle. Various things were written upon the lots according to circumstances, as for instance the names of the persons using them, &c.: it seems to have been a favourite practice in later times to write the verses of illustrious poets upon little tablets, and to draw them out of the urn like other lots, the verses which a person thus obtained being supposed to be applicable to him.

SPĔCŬLĀRĬA. [Domus.]

SPĔCŬLĀTŌRES, or EXPLŌRĀTŌRES, were scouts or spies sent before an army, to reconnoitre the ground and observe the movements of the enemy. Under the emperors there was a body of troops called Speculatores, who formed part of the praetorian cohorts, and had the especial care of the emperor’s person.

SPĔCŬLUM (κάτοπτρον,ἔσοπτρον,ἔνοπτρον), a mirror, a looking-glass. The looking-glasses of the ancients were usually made of metal, at first of a composition of tin and copper, but afterwards more frequently of silver. The ancients seem to have had glass mirrors also like ours, consisting of a glass plate covered at the back with a thin leaf of metal. They were manufactured as early as the time of Pliny at the celebrated glass-houses of Sidon, but they must have been inferior to those of metal, since they never came into general use, and are never mentioned by ancient writers among costly pieces of furniture, whereas metal mirrors frequently are. Looking-glasses were generally small, and such as could be carried in the hand. Instead of their being fixed so as to be hung against the wall or to stand upon the table or floor, they were generally held by female slaves before their mistresses when dressing.

Looking-glass held by a Nymph. (From a Painting at Herculaneum.)

SPĔCUS. [Aquae Ductus.]

SPHAERISTĒRIUM. [Gymnasium.]

SPĪCŬLUM. [Hasta.]

SPĪRA (σπεῖρα),dim.SPĪRŬLA, the base of a column. This member did not exist in the Doric order of Greek architecture, but was always present in the Ionic and Corinthian, and, besides the bases properly belonging to those orders, there was one called the Attic, which may be regarded as a variety of the Ionic [Atticurges]. In the Ionic and Attic the base commonly consisted of two tori (torus superiorandtorus inferior) divided by ascotia(τρόχιλος), and in the Corinthian of two tori divided by two scotiae. The upper torus was often fluted (ῥαβδωτός), and surmounted by an astragal [Astragalus], as in the left-hand figure of the annexed woodcut, which shows the form of the base in the Ionic temple of Panops on the Ilissus. The right-hand figure in the same woodcut shows the corresponding part in the temple of Minerva Polias at Athens. In this the upper torus is wrought with a plaited ornament, perhaps designed to represent a rope or cable. In these two temples the spira rests not upon a plinth (plinthus,πλίνθος), but on a podium.

Spirae (bases) of Columns. (From ancient Columns.)

SPŎLĬA. Four words are commonly employed to denote booty taken in war,Praeda,anubiae,Exuviae,Spolia. Of thesePraedabears the most comprehensive meaning, being used for plunder of every description.Manubiaewould seem strictly to signify that portion of the spoil which fell to the share of the commander-in-chief, the proceeds of which were frequently applied to the erection of some public building.Exuviaeindicates anything stripped from the person of a foe, whileSpolia, properly speaking, ought to be confined to armour and weapons, although both words are applied loosely to trophies, such as chariots, standards, beaks of ships and the like, which might be preserved and displayed. Spoils collected on the battlefield after an engagement, or found in a captured town, were employed to decorate the temples of the gods, triumphal arches, porticoes, and other places of public resort, and sometimes in the hour of extreme need served to arm the people; but those which were gained by individual prowess were considered the undoubted property of the successful combatant, and were exhibited in the most conspicuous part of his dwelling, being hung up in the atrium, suspended from the door-posts, or arranged in the vestibulum, with appropriate inscriptions. They were regarded as peculiarly sacred, so that even if the house was sold the new possessor was not permitted to remove them. But while on the one hand it was unlawful to remove spoils, so it was forbidden toreplaceorrepairthem when they had fallen down or become decayed through age; the object of this regulation being doubtless to guard against the frauds of false pretenders. Of all spoils the most important were thespolia opima, a term applied to those only which the commander-in-chief of a Roman army stripped in a field of battle from the leader of the foe. Plutarch expressly asserts that Roman history up to his own time afforded but three examples of thespolia opima. The first were said to have been won by Romulus from Acro, king of the Caeninenses, the second by Aulus Cornelius Cossus from Lar Tolumnius, king of the Veientes, the third by M. Claudius Marcellus from Viridomarus, king of the Gaesatae. In all these cases, in accordance with the original institution, the spoils were dedicated to Jupiter Feretrius.

SPONSA, SPONSUS, SPONSĀLĬA. [Matrimonium.]

SPORTŬLA. In the days of Roman freedom, clients were in the habit of testifying respect for their patron by thronging his atrium at an early hour, and escorting him to places of public resort when he went abroad. As an acknowledgment of these courtesies, some of the number were usually invited to partake of the evening meal. After the extinction of liberty, the presence of such guests, who had now lost all political importance, was soon regarded as an irksome restraint, while at the same time many of the noble and wealthy were unwilling to sacrifice the pompous display of a numerous body of retainers. Hence the practice was introduced under the empire of bestowing on each client, when he presented himself for his morning visit, a certain portion of food as a substitute and compensation for the occasional invitation to a regular supper (coena recta), and this dole, being carried off in a little basket provided for the purpose, received the name ofsportula. For the sake of convenience it soon became common to give an equivalent in money, the sum established by general usage being a hundred quadrantes. The donation in money, however, did not entirely supersede the sportula given in kind, for we find in Juvenal a lively description of a great man’s vestibule crowded with dependents, each attended by a slave bearing a portable kitchen to receive the viands and keep them hot while they were carried home. Under the empire great numbers of the lower orders derived their whole sustenance, and the funds for ordinary expenditure, exclusively from this source, while even the highborn did not scruple to increase their incomes by taking advantage of the ostentatious profusion of the rich and vain.

STĂDĬUM (ὁ στάδιοςandτὸ στάδιον), a Greek measure of length, and the chief one used for itinerary distances. It was equal to 600 Greek or 625 Roman feet, or to 125 Roman paces; and the Roman mile contained 8 stadia. Hence the stadium contained 606 feet 9 inches English. This standard prevailed throughout Greece, under the name of the Olympic stadium, so called because it was the exact length of the stadium or foot-race course at Olympia, measured between the pillars at the two extremities of the course. The first use of the measure seems to be contemporaneous with the formation of the stadium at Olympia when the Olympic games were revived by Iphitus (B.C.884 or 828). This distance doubled formed theδίαυλος, theἱππικονwas 4 stadia, and theδόλιχοςis differently stated at 6, 7, 8, 12, 20, and 24 stadia. A day’s journey by land was reckoned at 200 or 180 stadia, or for an army 150 stadia. The stadium at Olympia was used not only for the foot-race, but also for the other contests which were added to the games from time to time [Olympia], except the horse-races, for which a place was set apart, of a similar form with the stadium, but larger; this was called the Hippodrome (ἱππόδρομος).The name stadium was also given to all other places throughout Greece wherever games were celebrated. The stadium was an oblong area terminated at one end by a straight line, at the other by a semicircle having the breadth of the stadium for its base. Round this area were ranges of seats rising above one another in steps.

STĀTĒR (στατῆρ), which means simplya standard(in this case both of weight and more particularly of money), was the name of the principal gold coin of Greece, which was also calledChrysus(χρυσοῦς). The stater is said to have been first coined in Lydia by Croesus, and probably did not differ materially from the stater which was afterwards current in Greece, and which was equalin weighttotwodrachmae, andin valuetotwenty. The Macedonian stater, which was the one most in use after the time of Philip and his son Alexander the Great, was of the value of about 1l.3s.6d.In calculating the value of the stater in our money the ratio of gold to silver must not be overlooked. Thus the stater of Alexander, which we have valued, according to the present worth of gold, at 1l.3s.6d., passed for twenty drachmae, which, according to the present value of silver, were worth only 16s.3d.But the former is the true worth of the stater, the difference arising from the greater value of silver in ancient times than now.

STĂTĬŌNES. [Castra.]

STĂTOR, a public servant, who attended on the Roman magistrates in the provinces. The Statores seem to have derived their name from standing by the side of the magistrate, and thus being at hand to execute all his commands; they appear to have been chiefly employed in carrying letters and messages.

STĀTŬĀRĬA ARS is in its proper sense the art of making statues or busts, whether they consist of stone or metal or other materials, and includes the art of making the various kinds of reliefs (alto, basso, and mezzo relievo). These arts in their infant state existed among the Greeks from time immemorial. There is no material applicable to statuary which was not used by the Greeks. Assoft clayis capable of being shaped without difficulty into any form, and is easily dried, either by being exposed to the sun or by being baked, we may consider this substance to have been the earliest material of which figures were made. The name plastic art (ἡ πλαστική), by which the ancients sometimes designate the art of statuary, properly signifies to form or shape a thing of clay. The second material waswood, and figures made of wood were calledξόανα, fromξέω, “polish” or “carve.” It was chiefly used for making images of the gods, and probably more on account of the facility of working in it, than for any other reason.Stonewas little used in statuary during the early ages of Greece, though it was not altogether unknown, as we may infer from the relief on the Lion-gate of Mycenae. In Italy, where the soft peperino afforded an easy material for working, stone appears to have been used at an earlier period and more commonly than in Greece. But in the historical times the Greeks used all the principal varieties of marble for their statues. Different kinds of marble and of different colours were sometimes used in one and the same statue, in which case the work is called Polylithic statuary.Bronze(χάλκος,aes),silver, andgoldwere used profusely in the state of society described in the Homeric poems. At that period, however, and long after, the works executed in metal were made by means of the hammer, and the different pieces were joined together by pins, rivets, cramps, or other mechanical fastenings, and, as the art advanced, by a kind of glue, cement, or solder. Iron came into use much later, and the art of casting both bronze and iron is ascribed to Rhoecus and to Theodoras of Samos.Ivorywas employed at a later period than any of the before-mentioned materials, and then was highly valued both for its beauty and rarity. In its application to statuary, ivory was generally combined with gold, and was used for the parts representing the flesh. The history of ancient art, and of statuary in particular, may be divided into five periods.

I.First Period, from the earliest times till about 580B.C.—Three kinds of artists may be distinguished in the mythical period. The first consists of gods and daemons; such as Athena, Hephaestus, the Phrygian or Dardanian Dactyli, and the Cabiri. The second contains whole tribes of men distinguished from others by the mysterious possession of superior skill in the practice of the arts, such as the Telchines and the Cyclopes. The third consists of individuals who are indeed described as human beings, but yet are nothing more than personifications of particular branches of art, or the representatives of families of artists. Of the latter the most celebrated isDaedalus, whose name indicates nothing but a smith, or an artist in general, and who is himself the mythical ancestor of a numerous family of artists (Daedalids), which can be traced from the time of Homer to that of Plato, for even Socrates is said to have been a descendant of this family.Smilis(fromσμίλη, a carving-knife) exercised his art in Samos, Aegina, and other places, and some remarkable works were attributed tohim.Endoeusof Athens is called a disciple of Daedalus. According to the popular traditions of Greece, there was no period in which the gods were not represented in some form or other, and there is no doubt that for a long time there existed no other statues in Greece than those of the gods. The earliest representations of the gods, however, were only symbolic. The presence of a god was indicated by the simplest and most shapeless symbols, such as unhewn blocks of stone (λίθοι ἀργοί), and by simple pillars or pieces of wood. The general name for a representation of a god not consisting of such a rude symbol wasἄγαλμα. In the Homeric poems there are sufficient traces of the existence of statues of the gods; but they probably did not display any artistic beauty. The only work of art which has come down to us from the heroic age is the relief above the ancient gate of Mycenae, representing two lions standing on their hind legs, with a sort of pillar between them (woodcut underMurus). The time which elapsed between the composition of the Homeric poems and the beginning of the fifth century before our aera may be termed the age of discovery; for nearly all the inventions, upon the application of whichthe development ofthe arts is dependent, are assigned to this period. Glaucus of Chios or Samos is said to have invented the art of soldering metal (σιδήρου κόλλησις). The two artists most celebrated for their discoveries were the two brothers Telecles and Theodoras of Samos, about the time of Polycrates. They invented the art of casting figures of metal. During the whole of this period, though marble and bronze began to be extensively applied, yet wood was more generally used for representations of the gods. These statues were painted [Pictura], and in most cases dressed in the most gorgeous attire. The style in which they are executed is called thearchaicor thehieraticstyle. The figures are stiff and clumsy, the countenances have little or no individuality, the eyes long and small, and the outer angles turned a little upwards; the mouth, which is likewise drawn upwards at the two corners, has a smiling appearance. The hair is carefully worked, but looks stiff and wiry, and hangs generally down in straight lines, which are curled at the ends. The arms hang down the sides of the body, unless the figure carries something in its hands. The drapery is likewise stiff, and the folds are very symmetrical and worked with little regard to nature.

II.Second Period, from 580 to 480B.C.—The number of artists who flourished during this period is truly astonishing. The Ionians of Asia Minor and the islanders of the Aegean, who had previously been in advance of the other Greeks in the exercise of the fine arts, had their last flourishing period from 560 to 528B.C.Works in metal were produced in high perfection in Samos, in Aegina and Argos, while Chios gained the greatest reputation from its possessing the earliest great school of sculptors in marble, in which Bupalus and Anthermus were the most distinguished about 540B.C.Their works were scattered over various parts of Greece, and their value may be inferred from the fact that Augustus adorned with them the pediment of the temple of Apollo on the Palatine. Sicyon also possessed a celebrated school of sculptors in marble, and about 580B.C.Dipoenus and Scyllis, who had come from Crete, were at the head of it, and executed several marble statues of gods. Respecting Magna Graecia and Sicily we know few particulars, though it appears that the arts here went on improving and continued to be in advance of the mother-country. The most celebrated artists in southern Italy were Dameas of Croton, and Pythagoras of Rhegium. In Athens the arts made great progress under the patronage of the Pisistratids. The most celebrated among the Athenian sculptors of this period were Critias and Hegias, or Hegesias, both distinguished for their works in bronze. The former of them made in 477B.C.the statues of Harmodius and Aristogiton. Argos also distinguished itself, and it is a curious circumstance, that the greatest Attic artists with whom the third period opens, and who brought the Attic art to its culminating point, are disciples of the Argive Ageladas (about 516B.C.) In the statues of the gods (ἀγάλματα), which were made for temples as objects of worship, the hieratic style was more or less conscientiously retained, and it is therefore not in these statues that we have to seek for proofs of the progress of art. But even in temple-statues wood began to give way to other and better materials. Besides bronze, marble also, and ivory and gold were now applied to statues of the gods, and it was not uncommon to form the body of a statue of wood, and to make its head, arms, and feet of stone (ἀκρόλιθοι), or to cover the whole of such a wooden figure with ivory and gold. From the statues of the gods erected for worship we must distinguish those statues which were dedicated in temples asἀναθήματα, and which now became customary instead of craters, tripods, &c. In these the artists were not only not bound to any traditional or conventional forms, but were, like the poets, allowed to make free use of mythological subjects, to add, and to omit, or to modify the stories, so as to render them more adaptedfor their artistic purposes. A third class of statues, which were erected during this period in great numbers, were those of the victors in the national games, and, though more rarely, of other distinguished persons (ἀνδριάντες). Those of the latter kind appear generally to have been portraits (εἰκόνες,statuae iconicae). The first iconic statues of Harmodius and Aristogiton were made by Antenor in 509B.C., and in 477B.C.new statues of the same persons were made byCritias. It was also at the period we are now describing that it became customary to adorn the pediments, friezes, and other parts of temples with reliefs or groups of statues of marble. We still possess two great works of this kind which are sufficient to show their general character during this period. 1. TheSelinuntine Marbles, or the metopes of two temples on the acropolis of Selinus in Sicily, which were discovered in 1823, and are at present in the Museum of Palermo. 2. TheAeginetan Marbles, which were discovered in 1812 in the island of Aegina, and are now at Munich. They consist of eleven statues, which adorned two pediments of a temple of Athena, and represent the goddess leading the Aeacids against Troy, and contain manifest allusions to the war of the Greeks with the Persians.

III.Third Period, from 480 to 336B.C.—During this period Athens was the centre of the fine arts in Greece. Statuary went hand in hand with the other arts and with literature: it became emancipated from its ancient fetters, from the stiffness and conventional forms of former times, and reached its culminating point in the sublime and mighty works of Phidias. His career begins about 452B.C.The genius of this artist was so great and so generally recognised, that all the great works which were executed in the age of Pericles were placed under his direction, and thus the whole host of artists who were at that time assembled at Athens were engaged in working out his designs and ideas. Of these we have still some remains:—1. Parts of the eighteen sculptured metopes, together with the frieze of the small sides of the cella of the temple of Theseus. Ten of the metopes represent the exploits of Hercules, and the eight others those of Theseus. The figures in the frieze are manifestly gods, but their meaning is uncertain. Casts of these figures are in the British Museum. 2. A considerable number of the metopes of the Parthenon, which are all adorned with reliefs in marble, a great part of the frieze of the cella, some colossal figures, and a number of fragments of the two pediments of this temple. The greater part of these works is now in the British Museum, where they are collected under the name of the Elgin Marbles. Besides the sculptures of these temples, there are also similar ornaments of other temples extant, which show the influence which the school of Phidias exercised in various parts of Greece. Of these the most important are, the Phigalian marbles, which belonged to the temple of Apollo Epicurius, built about 436B.C., by Ictinus. They were discovered in 1812, and consist of twenty-three plates of marble belonging to the inner frieze of the cella. They are now in the British Museum. The subjects represented in them are fights with Centaurs and Amazons, and one plate shows Apollo and Artemis drawn in a chariot by stags. About the same time that the Attic school rose to its highest perfection under Phidias, the school of Argos was likewise raised to its summit by Polycletus. The art of making bronze statues of athletes was carried by him to the greatest perfection: ideal youthful and manly beauty was the sphere in which he excelled. One of his statues, a youthful Doryphorus, was made with such accurate observation of the proportions of the parts of the body, that it was looked upon by the ancient artists as a canon of rules on this point. Myron of Eleutherae, about 432B.C., adhered to a closer imitation of nature than Polycletus, and as far as the impression upon the senses was concerned, his works were most pleasing. The cow of Myron in bronze was celebrated in all antiquity. The change which took place after the Peloponnesian war in the public mind at Athens could not fail to show its influence upon the arts also. It was especially Scopas of Paros and Praxiteles of Athens, about one generation after Myron and Polycletus, who gave the reflex of their time in their productions. Their works expressed the softer feelings and an excited state of mind, such as would make a strong impression upon and captivate the senses of the beholders. Both were distinguished as sculptors in marble, and both worked in the same style; the legendary circles to which most of their ideal productions belong are those of Dionysus and Aphrodite, a fact which also shows the character of the age. Cephissodorus and Timarchus were sons of Praxiteles. There were several works of the former at Rome in the time of Pliny; he made his art subservient to passions and sensual desires. Most of the above-mentioned artists, however widely their works differed from those of the school of Phidias, may yet be regarded as having only continued and developed its principles of art in a certain direction; but towards the end of this period Euphranor andLysippus of Sicyon carried out the principles of the Argive school of Polycletus. Their principal object was to represent the highest possible degree of physical beauty and of athletic and heroic power. The chief characteristic of Lysippus and his school is a close imitation of nature, which even contrived to represent bodily defects in some interesting manner, as in his statues of Alexander.

IV.Fourth Period, from 336 to 146B.C.—During the first fifty years of this period the schools of Praxiteles and Lysippus continued to flourish, especially in works of bronze; but after this time bronze statues were seldom made, until the art was carried on with new vigour at Athens about the end of the period. The school of Lysippus gave rise to that of Rhodes, where his disciple Chares formed the most celebrated among the hundred colossal statues of the sun. It was seventy cubits high, and partly of metal. It stood near the harbour, and was thrown down by an earthquake about 225B.C.Antiquarians assign to this part of the fourth period several very beautiful works still extant, as the magnificent group of Laocoon and his sons, which was discovered in 1506 near the baths of Titus, and is at present at Rome. This is, next to the Niobe, the most beautiful group among the extant works of ancient art; it was according to Pliny the work of three Rhodian artists: Agesander, Polydorus, and Athenodorus. The celebrated Farnesian bull is likewise the work of two Rhodian artists, Apollonius and Tauriscus. In the various kingdoms which arose out of the conquests of Alexander the arts were more or less cultivated. Not only were the great master-works of former times copied to adorn the new capitals, but new schools of artists sprang up in several of them. At Pergamus the celebrated groups were composed which represented the victories of Attalus and Eumenes over the Gauls. It is believed by some that the so-called dying gladiator at Rome is a statue of a Gaul, which originally belonged to one of these groups. The Borghese gladiator in the Louvre is supposed to be the work of an Ephesian Agasias, and to have originally formed a part of such a battle-scene. About the close of this period, and for more than a century afterwards, the Romans, in the conquest of the countries where the arts had flourished, made it a regular practice to carry away the works of art. The triumphs over Philip, Antiochus, the Aetolians, the Gauls in Asia, Perseus, Pseudo-Philip, and above all the taking of Corinth, and subsequently the victories over Mithridates and Cleopatra, filled the Roman temples and porticoes with the greatest variety of works of art. The sacrilegious plunder of temples and the carrying away of the sacred statues from the public sanctuaries became afterwards a common practice. The manner in which Verres acted in Sicily is but one of many instances of the extent to which these robberies were carried on. The emperors, especially Augustus, Caligula, and Nero, followed these examples, and the immense number of statues which, notwithstanding all this, remained at Rhodes, Delphi, Athens, and Olympia, is truly astonishing.—We can only briefly advert to the history of statuary among the Etruscans and Romans down to the year 146B.C.The Etruscans were on the whole an industrious and enterprising people. With the works of Grecian art they must have become acquainted at an early time through their intercourse with the Greeks of southern Italy, whose influence upon the art of the Etruscans is evident in numerous cases. The whole range of the fine arts was cultivated by the Etruscans at an early period. Statuary in clay (which here supplied the place of wood,ξόανα, used in Greece) and in bronze appears to have acquired a high degree of perfection. In 267B.C.no fewer than 2000 bronze statues are said to have existed at Volsinii, and numerous works of Etruscan art are still extant, which show great vigour and life, though they do not possess a very high degree of beauty. Some of their statues are worked in a Greek style; others are of a character peculiar to themselves, and entirely different from works of Grecian art, being stiff and ugly: others again are exaggerated and forced in their movements and attitudes, and resemble the figures which we meet with in the representations of Asiatic nations. The Romans previously to the time of the first Tarquin are said to have had no images of the gods; and for a long time afterwards their statues of gods in clay or wood were made by Etruscan artists. During the early part of the republic the works executed at Rome were altogether of a useful and practical, and not of an ornamental character; and statuary was in consequence little cultivated. But in the course of time the senate and the people, as well as foreign states which desired to show their gratitude to some Roman, began to erect bronze statues to distinguished persons in the Forum and other places.

V.fifth period, fromB.C.146 to the fall of the Western Empire.—During this period Rome was the capital of nearly the whole of the ancient world, not through its intellectual superiority, but by its military and political power. But it nevertheless became the centre of art and literature, as the artists resortedthither from all parts of the empire for the purpose of seeking employment in the houses of the great. The mass of the people, however, had as little taste for and were as little concerned about the arts as ever. In the time of Nero, who did much for the arts, we meet with Zenodorus, a founder of metal statues, who was commissioned by the emperor to execute a colossal statue of 110 feet high, representing Nero as the Sun. In the reign of Hadrian the arts seem to begin a new aera. He himself was undoubtedly a real lover of art, and encouraged it not only at Rome, but in Greece and Asia Minor. The great Villa of Hadrian below Tivoli, the ruins of which cover an extent of ten Roman miles in circumference, was richer in works of art than any other place in Italy. Here more works of art have been dug out of the ground than anywhere else within the same compass. Some statues executed at this time are worthy of the highest admiration. Foremost among these stand the statues and busts of Antinous, for whom the emperor entertained a passionate partiality, and who was represented in innumerable works of art. The colossal bust of Antinous in the Louvre is reckoned one of the finest works of ancient art, and is placed by some critics on an equality with the best works that Greece has produced. There are also some very good works in red marble which are referred to this period, as that material is not known to have been used before the age of Hadrian. As the arts had received such encouragement and brought forth such fruits in the reign of Hadrian, the effects remained visible for some time during the reigns of the Antonines. The frieze of a temple, which the senate caused to be erected to Antoninus Pius and Faustina, is adorned with griffins and vessels of very exquisite workmanship. The best among the extant works of this time are the equestrian statue of M. Aurelius of gilt bronze, which stands on the Capitol, and the column of M. Aurelius with reliefs representing scenes of his war against the Marcomanni. After the time of the Antonines the symptoms of decline in the arts became more and more visible. The most numerous works continued to be busts and statues of the emperors, but the best among them are not free from affectation and mannerism. In the time of Caracalla many statues were made, especially of Alexander the Great. Alexander Severus was a great admirer of statues, not from a genuine love of art, but because he delighted in the representations of great and good men. The reliefs on the triumphal arch of Septimius Severus, representing his victories over the Parthians, Arabs, and Adiabenians, have scarcely any artistic merits. Art now declined with great rapidity: busts and statues were more seldom made than before, and are awkward and poor; the hair is frequently indicated by nothing else but holes bored in the stone. The reliefs on the sarcophagi gradually become monotonous and lifeless. The reliefs on the arch of Constantine, which are not taken from that of Trajan, are perfectly rude and worthless, and those on the column of Theodosius were not better. Before concluding, it remains to say a few words on the destruction of ancient works of art. During the latter part of the reign of Constantine many statues of the gods were destroyed, and not long after his time a systematic destruction began, which under Theodosius spread to all parts of the empire. The spirit of destruction, however, was not directed against works of art in general and as such, but only against the pagan idols. The opinion, therefore, which is entertained by some, that the losses we have sustained in works of ancient art, are mainly attributable to the introduction of Christianity, is too sweeping and general. Of the same character is another opinion, according to which the final decay of ancient art was a consequence of the spiritual nature of the new religion. The coincidence of the general introduction of Christianity with the decay of the arts is merely accidental. That the early Christians did not despise the arts as such, is clear from several facts. We know that they erected statues to their martyrs, of which we have a specimen in that of St. Hippolytus in the Vatican library. The numerous works, lastly, which have been found in the Christian catacombs at Rome, might alone be a sufficient proof that the early Christians were not hostile towards the representation of the heroes of their religion in works of art. In fact, Christianity during the middle ages became as much the mother of the arts of modern times, as the religion of Greece was the mother of ancient art. Another very general and yet incorrect notion is, that the northern barbarians after the conquest of Rome intentionally destroyed works of art. This opinion is not supported by any of the contemporary historians, nor is it at all probable. The barbarians were only anxious to carry with them the most precious treasures in order to enrich themselves; a statue must have been an object of indifference to them. What perished, perished naturally by the circumstances and calamities of the times. In times of need bronze statues were melted down and the material used for other purposes; marble statues were frequently broken to pieces and used for building materials. If we considerthe history of Rome during the first centuries after the conquest of Italy by the Germans, we have every reason to wonder that so many specimens of ancient art have come down to our times. The greatest destruction, at one time, of ancient works of art is supposed to have occurred at the taking of Constantinople, in the beginning of the thirteenth century. Among the few works saved from this devastation are the celebrated bronze horses which now decorate the exterior of St. Mark’s church at Venice. They have been ascribed, but without sufficient authority, to Lysippus.

STĬLUS or STỸLUS is in all probability the same word with the Greekστύλος, and conveys the general idea of an object tapering like an architectural column. It signifies, (1) An iron instrument, resembling a pencil in size and shape, used for writing upon waxed tablets. At one end it was sharpened to a point for scratching the characters upon the wax, while the other end, being flat and circular, served to render the surface of the tablets smooth again, and so to obliterate what had been written. Thus,vertere stilummeansto erase, and henceto correct. The stylus was also termedgraphium, and the case in which it was keptgraphiarium.—(2) A sharp stake or spike placed in pitfalls before an entrenchment, to embarrass the progress of an attacking enemy.

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