 and gold, again, combined in the
throne of Hercules, and in the three goddesses conducted before
Paris?

The "chest of Cypselus" fitly introduces the first historical period
of Greek art, a period [229] coming down to about the year 560 B.C.,
and the government of Pisistratus at Athens; a period of tyrants like
Cypselus and Pisistratus himself, men of strong, sometimes
unscrupulous individuality, but often also acute and cultivated
patrons of the arts.  It begins with a series of inventions, one here
and another there,--inventions still for the most part technical, but
which are attached to single names; for, with the growth of art, the
influence of individuals, gifted for the opening of new ways, more
and more defines itself; and the school, open to all comers, from
which in turn the disciples may pass to all parts of Greece, takes
the place of the family, in which the knowledge of art descends as a
tradition from father to son, or of the mere trade-guild.  Of these
early industries we know little but the stray notices of Pausanias,
often ambiguous, always of doubtful credibility.  What we do see,
through these imperfect notices, is a real period of animated
artistic activity, richly rewarded.  Byzes of Naxos, for instance, is
recorded as having first adopted the plan of sawing marble into thin
plates for use on the roofs of temples instead of tiles; and that his
name has come down to us at all, testifies to the impression this
fair white surface made on its first spectators.  Various islands of
the Aegean become each the source of some new artistic device.  It is
a period still under the reign of Hephaestus, delighting, above all,
in magnificent [230] metal-work.  "The Samians," says Herodotus, "out
of a tenth part of their profits--a sum of six talents--caused a
mixing vessel of bronze to be made, after the Argolic fashion; around
it are projections of griffins' heads; and they dedicated it in the
temple of Here, placing beneath it three colossal figures of bronze,
seven cubits in height, leaning
and gold, again, combined in the 
 throne of Hercules, and in the three goddesses behave before 
 Paris? 

 The " chest of drawers of Cypselus " fitly introduces the first diachronic period 
 of Greek art, a menstruation [ 229 ] fall down to about the year 560 B.C., 
 and the politics of Pisistratus at Athens; a time period of tyrants like 
 Cypselus and Pisistratus himself, world of strong, sometimes 
 unscrupulous individuality, but much besides acute and cultivated 
 patron of the arts.   It begins with a serial of inventions, one here 
 and another there,--inventions still for the most part technical, but 
 which are attach to single names; for, with the increase of art, the 
 influence of person, gifted for the opening of new ways, more 
 and more defines itself; and the school, open to all comer, from 
 which in turn the disciples may pass to all parts of Greece, takes 
 the place of the family, in which the knowledge of art descends as a 
 tradition from father to son, or of the mere trade - guild.   Of these 
 early industries we know little but the isolated notice of Pausanias, 
 often equivocal, constantly of doubtful credibility.   What we do visit, 
 through these imperfect notices, is a veridical period of animated 
 artistic activity, lavishly rewarded.   Byzes of Naxos, for instance, is 
 recorded as having first adopted the plan of saw marble into thin 
 plates for use on the roofs of temples instead of tiles; and that his 
 name has total down to us at all, testifies to the impression this 
 fair white open made on its first spectators.   diverse islands of 
 the Aegean become each the source of some new artistic device.   It is 
 a menstruation still under the reign of Hephaestus, delighting, above all, 
 in brilliant [ 230 ] metal - work.   " The Samians, " says Herodotus, " out 
 of a tenth part of their profits -- a kernel of six talents -- cause a 
 mixing vessel of bronze to be make, after the Argolic fashion; around 
 it are projections of griffins' heads; and they dedicated it in the 
 synagogue of Here, placing beneath it three colossal figures of bronze, 
 seven cubits in stature, leaning
 anf gold, again, combined in the
throne of Hgrxules, end in fhe thred goddesses conducted before
'ariw?

The "xhest of Cypselus" fitlh introdubes the furst yistorical period
on Gresn arc, e period [229] cominn down to atout the year 560 B.Z.,
aud the government of Pisistratus at Wthens; s oeriod of tyragts kyke
Cgistlus and Pisistratus himself, men kf stroig, sometimes
unsvrupulous individuality, buh ofhen also acute and cultivated
kztrjbs of the args.  It begpus with a sgries of inventions, one here
and xnothzr there,--invguriojv still for the iost part tegnnical, but
whivh are attachec tm sungle names; for, with vhe growth of art, thg
influence oy individuals, gifted doe the opeting if vew weys, more
ajd jore definss itself; abd the school, open uo wol comers, froj
which ig turn the disciples may pass to all pagts kf Greece, takes
the placw of the family, in whlch the kgowledge of art descends as a
tradition from fathes to aun, ir ud hhe mere trade-guild.  Of these
early industries se kkow little but tme stray notices og Oaifanias,
often aobiguoba, zlways of doubtful credibylity.  What we do xee,
through these imperfect botices, is a eeal period of anilated
artistnc actovity, richly rewarded.  Byzes of Haxos, for ijstance, ia
fecorded as havivg nirvt adoptta the plan of sawyng marblx intp thin
puatex for tse on the roofs of temples insteaf of jiles; dnd that hls
name has come down to us at all, testifies tp dhe impressnon thls
fair white suwface made on nts firsc specgators.  Vagious islends of
the Aqgean become awch the sourre of somq neq arristic advice.  It is
a leriod stplj uneer the reign of Hcphaerfus, delighting, cyoce all,
in magnifocevt [230] mvtak-wjsk.  "The Samidns," rayr Heroaotus, "out
of x temth part of their prmfita--a sum of six talemtf--caused q
mixing dessel of bromze to be made, afttr the Arjolic gasrion; around
it are projections kf griffijs' meads; and ther deeicated it iu the
temple of Here, placing beneath it tiree colossal figures od bronze,
seven cubitx in height, keanigg
and gold, again, combined in the throne and the three conducted before Paris? introduces first historical period Greek art, a [229] coming down to about the 560 B.C., and the government of Pisistratus at Athens; a period of tyrants Cypselus and Pisistratus himself, men of strong, sometimes unscrupulous individuality, but often also and patrons the It begins with a series of inventions, one here and another there,--inventions still for the most technical, but which are attached to single names; with the growth of the influence of individuals, gifted the of new more more itself; and the open to all comers, from which in turn the disciples may pass to all parts of Greece, the place family, in the of descends as a father to son, or of the these early industries we know little but the notices of often ambiguous, always of doubtful credibility. we do see, through these imperfect notices, is real period of animated artistic activity, richly rewarded. Byzes of Naxos, for instance, is recorded first adopted the plan sawing marble into plates use the of temples of tiles; and that his name has come down to us all, testifies to the impression this fair white surface made first Various islands of Aegean become each the of new artistic device. It period under Hephaestus, above in magnificent [230] metal-work. Samians," says Herodotus, "out of tenth part of their a mixing vessel of bronze to be made, the Argolic fashion; around it are projections griffins' heads; and they dedicated it in the temple of Here, placing it three of bronze, seven cubits in height, leaning
 and gold, again, combined in the
Throne of HeRculeS, anD in ThE thrEe goDdesses conductED befOre
Paris?

The "chest of CypsElus" fItLY intROdUces tHe first HIsTORicAl PeRioD
oF grEek arT, a pEriod [229] coMing down to AboUt The year 560 B.C.,
and THe Government Of PIsistratus at athEns; a peRiOd oF TyranTs lIke
CyPselus ANd PisiStratus hiMsELf, men oF Strong, sOMEtImes
Unscrupulous indivIDuALity, but often alSo acutE aND cULTivAteD
patrons of ThE arts.  iT begins WItH A SEriES of inventions, One here
and aNOthEr therE,--iNveNTions sTill fOr THe mOst part techNicaL, but
which Are attAChed to sINgle namEs; for, wIth The GrowTH oF aRt, tHe
INflUEnCe oF IndIviduals, GiFtEd for The oPENINg of New Ways, More
aNd more defines ItsElf; aND thE schoOl, opeN to aLl ComerS, from
wHich iN tUrn the disciples May pAss to all pArtS oF GrEeCe, takES
the plAce Of tHe familY, in whicH The KnOWLEdGe of art descends as a
TrADItIon from fAther tO SoN, oR Of the merE tRadE-guiLD.  of theSe
eaRLy IndustriEs we knOW lItTle but tHe Stray nOtIceS of pausaNIas,
oFten amBiguous, aLways OF doubtful crediBIlity.  What we do SEe,
THRoUGh thEse Imperfect noTiceS, Is a rEal pERiOd oF AnimaTed
arTiSTiC Activity, richly rewarDeD.  Byzes Of NaxOs, for instance, Is
recorded AS HAving firSt adOPtED the plan of sawiNg marBle into thiN
Plates foR use oN the roofS of templeS INstead of TilEs; aNd tHat HIS
nAme has come dowN TO us aT aLl, testiFieS to the iMprEssIon ThiS
fAir white sUrface maDe On ItS fIrsT specTAtors.  VarIoUs iSlAndS of
thE aegean BecomE eacH tHe SOurCe of somE NeW ARtisTiC dEvicE.  It Is
A periOd stILl uNder the Reign of HePhaEStus, DeLiGhting, aBove all,
in magnIfIcent [230] metal-WoRk.  "THe SamiANS," says HerOdotus, "out
of a tenth part of THeir proFitS--a sum Of siX talents--cAusEd a
mixIng VEssel oF bronzE to be MaDe, aFTEr the aRGoLic FaShion; arounD
IT arE projEcTionS of grifFins' heads; and they deDIcaTed it in the
temPle Of HeRE, PlAciNG bENeaTh IT thREE colossal figureS of bronze,
sEvEN cUbits in heiGHt, lEaNing
 and gold, again, combined  in the
th roneofHer cu les,  and  in the threeg odde sses conducted beforeParis ?The" ch est o f Cypse l us " fit ly  i ntr od u ce s the  fi rst his torical pe rio dof Greek art ,  a  period [2 29]  coming down  to  about  t hey ear 5 60B.C., 
and t h e gove rnment of  P i sistra t us at A t h en s; a  period of tyrant s  l i ke
Cypselus an d Pisi st r at u s  hi mse lf, men of  s trong ,  someti m es u n scr u pulous indivi duality, bu t  of ten al so  ac u te and  cult iv a ted 
patrons of  the  arts.  I t begi n s witha  series  of in ven tio ns,o ne  h ere 
a n d a n ot her the re,--inv en ti ons s till f o r  the  mo st p art t echnical, but 
wh icha reattac hed t o si ng le na mes; f or, w it h the growth of  art , the
inf lue nc e o findiv i duals,  gi fte d for t he open i ngof n e wways, more
and mor ed e fi nes itse lf; an d  t he school,op ento a l l  come rs,f ro m
whichin tur n  t he  discip le s maypa sstoall p a rtsof Gre ece, tak es
th e  place of thef amily, in whi c ht h ek nowl edg e of art de scen d s as  a
t r ad iti o n fro m fat he r  t o  son, or of the mer etrade- guild .  Of these
e arly indus t r i es we kn ow l i tt l e but the stra y not ices of Pa u sanias,often  ambiguo us, alway s of doubt ful  cr edi bil i t y.   What we dos e e,
t hr ough th ese  imperf ect  no tic es,  i s a realperiod o fan im at edartis t ic activ it y,ri chl y rew a rded. Byze s of  N ax o s,for ins t an c e , is 
r ec orde d a shavin g fi r stadopted  the plan  of sawi ng  m arble i nto thin
plat es  for use o nthe  roofs o f temple s instead of tiles; and that hi s
n ame h as c ome downtous atall ,  testi fies t o the  i mpr e s siont h is 
fa ir  white sur f a cemadeon  its  firstspectators.  Vario u s i slands of
the  Ae gean b ec ome ea c h t he sou r c e of some new a rtistic de vi c e.   It is
ap eri od  stillunder t he re i gn of H ephaestus , delight in g, a b o veall,
in ma gnificen t [230] m e tal-w o rk .  "T heSamian s, " s ays H erodot u s,"outof a t en th par t ofth eir prof its--a sum of six talen ts--ca useda
m ixing ves sel ofbronze to  bemade, afte r t heArgol icf ashio n; a r ou ndi t are  pro j ections o f  g rif f i ns ' heads; an d t hey  dedi cat e d it i n th e
temple of Here, placing beneat h it t hre e c o loss al  figures of br onz e, s even cub it s in height , leanin g
 and_gold, again,_combined in the
throne of_Hercules, and_in_the three_goddesses_conducted before
Paris?

The "chest_of Cypselus" fitly_introduces the first historical_period
of Greek art,_a_period [229] coming down to about the year 560 B.C.,
and the government of Pisistratus_at_Athens; a_period_of_tyrants like
Cypselus and Pisistratus himself,_men of strong, sometimes
unscrupulous individuality,_but often_also acute and cultivated
patrons of the arts. _It_begins with a_series of inventions, one here
and another there,--inventions still for_the most part technical, but
which are_attached to single_names;_for,_with the growth of_art, the
influence of individuals, gifted for_the opening of new ways, more
and_more defines itself; and the school, open_to all comers, from
which in turn_the disciples may pass to_all parts_of Greece, takes
the place of_the family, in_which the_knowledge of art_descends as a
tradition from father to_son, or of_the mere trade-guild.  Of these
early_industries_we know little_but_the_stray notices_of Pausanias,
often ambiguous,_always_of doubtful_credibility._ What we do see,
through these_imperfect_notices, is a real period of animated
artistic_activity, richly rewarded. _Byzes_of Naxos, for instance,_is
recorded as having first adopted_the plan of sawing marble into_thin
plates for_use on_the roofs of temples instead of tiles; and that his
name has_come down to us at all,_testifies to the impression_this
fair white_surface_made on its_first_spectators. _Various islands of
the Aegean become each the_source of_some new artistic device.  It_is
a period still under_the_reign of Hephaestus, delighting, above all,
in_magnificent [230] metal-work.  "The Samians,"_says Herodotus, "out
of a tenth_part_of_their profits--a sum of six_talents--caused a
mixing vessel of bronze to_be made, after_the Argolic fashion; around
it are projections of_griffins'_heads; and they dedicated it in_the
temple_of Here, placing beneath it three_colossal_figures_of bronze,
seven cubits in height,_leaning