 white marble of Paros, being workers in marble especially,
though they worked also in ebony and in ivory, and made use of
gilding.  "Figures of cedar-wood, partly incrusted with gold"--kedrou
zôdia chrysô diênthismena+--Pausanias says exquisitely, describing a
certain work of their pupil, Dontas of Lacedaemon.  It is to that
that we have definitely come at last, in the school of Dipoenus and
Scyllis.

Dry and brief as these details may seem, they are the witness to an
active, eager, animated period of inventions and beginnings, in which
the Greek workman triumphs over the first [235] rough mechanical
difficulties which beset him in the endeavour to record what his soul
conceived of the form of priest or athlete then alive upon the earth,
or of the ever-living gods, then already more seldom seen upon it.
Our own fancy must fill up the story of the unrecorded patience of
the workshop, into which we seem to peep through these scanty
notices--the fatigue, the disappointments, the steps repeated, ending
at last in that moment of success, which is all Pausanias records,
somewhat uncertainly.

And as this period begins with the chest of Cypselus, so it ends with
a work in some respects similar, also seen and described by
Pausanias--the throne, as he calls it, of the Amyclaean Apollo.  It
was the work of a well-known artist, Bathycles of Magnesia, who,
probably about the year 550 B.C., with a company of workmen, came to
the little ancient town of Amyclae, near Sparta, a place full of
traditions of the heroic age.  He had been invited thither to perform
a peculiar task--the construction of a throne; not like the throne of
the Olympian Zeus, and others numerous in after times, for a seated
figure, but for the image of the local Apollo; no other than a rude
and very ancient pillar of bronze, thirty cubits high, to which,
Hermes-wise, head, arms, and feet were attached.  The thing stood
upright, as
white marble of Paros, being workers in marble especially, 
 though they worked besides in coal black and in bone, and made use of 
 gilding.   " human body of cedar - wood, partly encrust with gold"--kedrou 
 zôdia chrysô diênthismena+--Pausanias says exquisitely, describe a 
 certain work of their schoolchild, Dontas of Lacedaemon.   It is to that 
 that we have definitely come at final, in the school of Dipoenus and 
 Scyllis. 

 Dry and abbreviated as these details may seem, they are the spectator to an 
 active, eager, animated period of invention and beginning, in which 
 the Greek workman triumphs over the first [ 235 ] rough mechanical 
 difficulty which beset him in the endeavour to record what his soul 
 gestate of the form of priest or athlete then alive upon the earth, 
 or of the ever - living god, then already more seldom seen upon it. 
 Our own fancy must fill up the story of the unrecorded patience of 
 the workshop, into which we seem to peep through these scanty 
 notices -- the fatigue, the disappointments, the steps repeated, ending 
 at last in that moment of success, which is all Pausanias record, 
 somewhat uncertainly. 

 And as this menstruation begin with the chest of Cypselus, so it ends with 
 a work in some deference similar, also seen and described by 
 Pausanias -- the toilet, as he calls it, of the Amyclaean Apollo.   It 
 was the work of a well - known artist, Bathycles of Magnesia, who, 
 probably about the year 550 B.C., with a company of workmen, came to 
 the little ancient town of Amyclae, near Sparta, a place wide of 
 traditions of the epic age.   He had been invited thither to perform 
 a peculiar task -- the structure of a throne; not like the throne of 
 the Olympian Zeus, and others numerous in after times, for a seated 
 figure, but for the image of the local Apollo; no other than a rude 
 and very ancient pillar of bronze, thirty cubits gamey, to which, 
 Hermes - wise, oral sex, arms, and feet were attach.   The thing stand 
 upright, as
 whlte marble of Paros, beinn workers in maryoe espxcially,
fhough tfey worked also in ebony and ib ivoey, and made use of
gildkng.  "Figuges of ceear-wiid, partly mhcrusted with nold"--kzdcou
zôdia chrysô dlênthismena+--Pdusanias says axdunsitely, describing a
certain work of eheir pipll, Dontas of Lwcedsqmon.  It is to that
that we have definifely coke at last, in the school of Dipoenus anf
Scyplis.

Dry and brief ws these dejzilf may seem, thdy are the witness to zn
active, eager, animated period uf inrentions ane vegltnings, in wiich
thv Greek workman trium[hs ovet the first [235] rpugi mexhanical
difficulties xhich beset him in tre endeavmux to record what his woyl
conweivad ow thd fkrk kf prifst or athlets then alivw upon the earth,
or pf nne ever-livinf gods, tren already more seldom seen upon it.
Our owh fancy must fill up thw story of the unrecotded patiegce of
the workshop, into which we seem to peep thrmugh vhdse sganth
bohices--the fatigue, the disappointments, the stepf rtpested, ending
at jast in thay lokgnt of success, which is all Pausanias reclrds,
somgwhat yncertainjy.

Anc as this period begins wity the chest jd Cypselus, so it euds with
a woxk in xome tespects similar, also szen ans described by
Pausanjxs--the throne, as fe ballv it, of ufe Amyclaean Apoljo.  It
was the work ow a eell-knjwn artist, Bathnwles of Magnesia, wjo,
proyably about the year 550 B.C., with a company of workmen, came to
thg lhttne ancieut towk of Amyclae, newr Sparta, a plcce full of
trxditions or the hxroic age.  Hq had been inelted thither to perfjrm
a pecyliar txrk--the construcyion of a throne; nor like the throne pf
tfs Olympian Zeus, ane others numerois kn wfner tykes, for a sedted
wigjte, bug for the inxge pf the local Apollo; to ofher than a rude
anc yery ancignt pillaw of bronze, tnirty cubits high, uo whirh,
Hermxs-wise, hewd, arms, and feet were attached.  The thijg ftood
upright, as
white marble of Paros, being workers in though worked also ebony and in gilding. of cedar-wood, partly with gold"--kedrou zôdia diênthismena+--Pausanias says exquisitely, describing a certain of their pupil, Dontas of Lacedaemon. It is to that that we have come at last, in the school of Dipoenus and Scyllis. Dry and brief these may they the witness to an active, eager, animated period of inventions and beginnings, in which the Greek triumphs over the first [235] rough mechanical difficulties beset him in the to record what his soul of form of or then upon the earth, of the ever-living gods, then already more seldom seen upon it. Our own fancy must fill up story of patience of workshop, which seem to peep scanty notices--the fatigue, the disappointments, the at last in that moment of success, which all Pausanias somewhat uncertainly. And as this period with the chest of Cypselus, so it ends a work in some respects similar, also seen and described by Pausanias--the throne, as he of the Amyclaean Apollo. was the work a artist, of who, probably the year 550 B.C., with a company of workmen, came to little ancient town of Amyclae, near Sparta, a place full of heroic age. He been invited thither to a task--the construction of a like throne Zeus, others in after times, for seated figure, but for the of the local Apollo; and very ancient pillar of bronze, thirty cubits to which, Hermes-wise, head, arms, and feet attached. The thing stood upright, as
 white marble of Paros, being woRkers in marBle esPecIalLy,
ThouGh thEy worked also in EBony And in ivory, and made use of
GildiNg.  "fIgurES oF cedaR-wood, paRTlY INcrUsTeD wiTh GOlD"--kedrOu
zÔdia chrYsô diênthiSmeNa+--pausanias sayS ExQuisitely, dEscRibing a
certaIn wOrk of tHeIr pUPil, DoNtaS of LaCedaemON.  It is tO that
that We HAve defINitely cOME aT lasT, in the school of DipOEnUS and
Scyllis.

Dry And briEf AS tHESe dEtaIls may seem, ThEy are THe witneSS tO AN
ActIVe, eager, animatEd period of iNVenTions aNd BegINnings, In whiCh
THe GReek workman TriuMphs over tHe firsT [235] Rough meCHanical
DifficUltIes WhicH BeSeT hiM iN The ENdEavOUr tO record wHaT hIs souL
conCEIVEd of The Form Of priEst or athlete tHen AlivE UpoN the eArth,
oR of tHe Ever-lIving gOds, thEn Already more seldOm seEn upon it.
OUr oWn FanCy Must fILl up thE stOry Of the unRecordeD PatIeNCE Of
The workshop, into whiCh WE SeEm to peep ThrougH ThEsE Scanty
noTiCes--The fATIgue, tHe diSApPointmenTs, the sTEpS rEpeated, EnDing
at LaSt iN thAt momENt of SuccesS, which is All PaUSanias records,
sOMewhat uncertaINlY.

aNd AS thiS peRiod begins wIth tHE cheSt of cYpSelUS, so it Ends wItH
A wORk in some respects simIlAr, also Seen aNd described by
pausanias--tHE THrone, as hE calLS iT, Of the Amyclaean apollO.  It
was the wORk of a welL-knowN artist, BAthycles oF mAgnesia, wHo,
pRobAblY abOUT tHe year 550 B.C., with a COMpanY oF workmeN, caMe to
the LitTle AncIenT tOwn of AmycLae, near SPaRtA, a PlAce Full oF
TraditioNs Of tHe HerOic agE.  he had bEen inViteD tHiTHer To perfoRM
a PECuliAr TaSk--thE coNsTructIon oF A thRone; not Like the thRonE Of
thE OLyMpian ZeUs, and others nuMeRous in afteR tImeS, for a sEATed
figurE, but for the image of the locAL Apollo; No oTher tHan a Rude
and veRy aNcient PilLAr of brOnze, thIrty cUbIts HIGh, to wHICh,
herMeS-wise, head, aRMS, anD feet WeRe atTached.  THe thing stood
uprighT, As
 white marble of Paros, be ing worker s inmar ble  e spec iall y,
though they work ed also in ebony and i n ivo ry ,  and ma de us e of
gi l di n g . "F ig ure so fcedar -wo od, par tly incrus ted  w ith gold"--k e dr ou
zôdia c hry sô diênthism ena +--Pau sa nia s  says  ex quisi tely,d escrib ing a
cer ta i n work of thei r pu pil,  Dontas of Laceda e mo n .  It is to th at
tha tw eh a vedef initely co me  at l a st, int he s c hoo l  of Dipoenusand
Scyllis . 

D ry and  b rie f  as th ese d et a ils  may seem,they  are thewitnes s  to ana ctive,eager,  an ima tedp er io d o fi nve n ti ons and  beginni ng s,  in w hich t h e  Gre ekwork man t riumphs overthe  fir s t [ 235]rough  mec ha nical 
diffi culti es  which beset hi m in  the ende avo ur  to  r ecord what h issou l
conce ived of the  f o r m  o f priest or athlet et h en  alive u pon th e  e ar t h,
or of  t heever - l iving  god s ,then alr eady m o re  s eldom s ee n upon  i t.Our  ownf ancy  mustfill upthe s t ory of the unr e corded patien c eo f 
t h e wo rks hop, into w hich we s eemt opee p  thro ugh t he s es canty
notices--thefa tigue,  thedisappointmen ts, the st e p s  repeate d, e n di n g
at last in t hat m oment of s u ccess, w hichis all P ausaniasr e cords,
s ome wha t u nce r t ai nly.

And ast h is p er iod beg ins  with t heche stofCy pselus, s o it end swi th 
a  wo rk in some res pe cts  s imi lar,a lso se en an d de sc ri b edby
Paus a ni a s --th eth rone , a she ca llsi t,of theAmyclaean  Ap o llo.  It 
was th e work of a w el l-known ar ti st,  Bathy c l es of Ma gnesia, who,
probably a b out the  ye ar 55 0 B. C., witha c ompany  of workme n, cam e toth e l i t tle a n c ie ntto wn of Amyc l a e,nearSp arta , a pla ce full of
traditi o nsof the heroic  ag e. H e  h adb ee n  in vi t edt h ither to perfor m
a peculi ar ta sk--the co n str uc tion of  a thro ne; n o t likethe thron e of
theOl ympi a n  Ze us, and ot hers num erous ina ftert im es, f ora seat ed 
fi gure,  but f o r t he im age of  t he loc al Ap ol lo; no o ther than a rude
and ve ry anc ientpil lar of br onz e , t hirty cub itshigh, to w hic h,Herme s-w i se, h ead, ar ms, and f eetw ere attac h ed . T h ething stood u p rig ht, a s
 white_marble of_Paros, being workers in_marble especially,
though_they_worked also_in_ebony and in_ivory, and made_use of
gilding.  "Figures_of cedar-wood, partly_incrusted_with gold"--kedrou
zôdia chrysô diênthismena+--Pausanias says exquisitely, describing a
certain work of their pupil, Dontas of_Lacedaemon._ It_is_to_that
that we have definitely come_at last, in the school_of Dipoenus_and
Scyllis.

Dry and brief as these details may seem,_they_are the witness_to an
active, eager, animated period of inventions and beginnings,_in which
the Greek workman triumphs over_the first [235]_rough_mechanical
difficulties_which beset him in_the endeavour to record what his_soul
conceived of the form of priest_or athlete then alive upon the earth,
or_of the ever-living gods, then already_more seldom seen upon it.
Our_own fancy_must fill up the story_of the unrecorded_patience of
the_workshop, into which_we seem to peep through these_scanty
notices--the fatigue, the_disappointments, the steps repeated, ending
at last_in_that moment of_success,_which_is all_Pausanias records,
somewhat uncertainly.

And_as_this period_begins_with the chest of Cypselus, so_it_ends with
a work in some respects similar,_also seen and described_by
Pausanias--the_throne, as he calls_it, of the Amyclaean Apollo._ It
was the work of a_well-known artist,_Bathycles of_Magnesia, who,
probably about the year 550 B.C., with a company of_workmen, came to
the little ancient town_of Amyclae, near Sparta,_a place_full_of
traditions of the_heroic_age. _He had been invited thither to perform
a_peculiar task--the_construction of a throne; not like_the throne of
the Olympian_Zeus,_and others numerous in after times,_for a seated
figure, but for the_image of the local Apollo;_no_other_than a rude
and very ancient_pillar of bronze, thirty cubits high,_to which,
Hermes-wise, head,_arms, and feet were attached.  The_thing_stood
upright, as