driving horses, (3) the addition of the pediment (οἰωνῶν βασιλέα δίδυμον, i.e. ἀετόν) to temples. But these are merely a few instances pertinent to his theme, and it is plain that, in his thought, πολλὰ σοφίσματα included more than these. Nor have we far to seek. Corinth had been one of the oldest seats of sculpture in bronze: cp. Horace Sat. 11. iii. 21, where the collector seeks for a bronze ποδανιπτήρ which Sisyphus might have used. But Corinth was more peculiarly associated with the earliest modelling in clay, in which the Corinthian Butades was the first traditional name. The story was that three artists, Eucheir, Diopos and Eugrammos, exiled from Corinth about 665 B.C., introduced the art into Etruria. With regard to the rival claim of the Samians, Theodorus and Rhoecus, to have been the first modellers in clay, Mr A. S. Murray has well remarked that they, as workers in bronze, may have used clay for preliminary models, while the Corinthian Butades may have been the first to produce clay figures which, when coloured, were substantive works of art.
§ 30. The spirit of drama often breathes in Pindar. Thus the interview between Jason and Pelias (Pyth. iv.) is the sketch of a splendid scene. The meeting of Apollo and Cheiron (Pyth. ix.), the episode of Castor and Polydeuces (Nem. x.), the entertainment of Heracles by Telamon (Isthm. v.), and many other passages, are instinct with truly dramatic touches. These are from a man who was accustomed to see beautiful forms in vivid action or in vivid art. He sought to body forth the persons
