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Updated: May 20, 2025
Great artists had previously made themselves famous, like Miron, Polycletus, and Ageladas; but the great riches which flowed into Athens at this time gave a peculiar stimulus to art, especially under the encouragement of such a ruler as Pericles, whose age was the golden era of Grecian history.
Pliny makes Myron the pupil of an influential Argive master, Ageladas, who belongs in the late archaic period. Whether or not such a relation actually existed, the statement is useful as a reminder of the probability that Argos and Athens were artistically in touch with one another. Beyond this, we get no direct testimony as to the circumstances of Myron's life.
He was born four hundred and eighty-four years before Christ, and was the pupil of Ageladas. He stands at the head of the ancient sculptors, not from what we know of him, for his masterpieces have perished, but from the estimation in which he was held by the greatest critics of antiquity.
They differ in every detail of action and pose, yet they exemplify the same emotion, a common impulse to perform the same deed. At Argus, contemporary with these early schools of Athens and Aegina, was a school of artists depending on the fame of the great sculptor Ageladas.
Later, he went to Argos, and there put himself under the instruction of Ageladas, a worker chiefly in bronze, and very famous in his time, of whom, however, nothing remains but the memory of a few of his more notable works. For us, his own works forgotten, he remains in honor as the teacher of Myron, of Polycletus, and of Phidias, the three chief sculptors of the next generation to his own.
Pheidias, or Phidias, was to sculpture what Aeschylus was to tragic poetry, the representative of the sublime and grand. He was born four hundred and eighty-four years before Christ, and was the pupil of Ageladas.
The figures have not the calm stateliness of bearing which characterizes those of the Parthenon frieze, but instead exhibit a wild vehemence of action which is, perhaps, directly due to the influence of Myron. Another pupil of Ageladas, a somewhat younger contemporary of Pheidias, was Polycleitos. He excelled in representations of human, bodily beauty.
On leaving the workshop of Ageladas, Phidias executed several statues that brought him prominently before the public. For Delphi, he made a group of thirteen figures in bronze, to celebrate the battle of Marathon and apotheosize the heroes of Attica.
“Why, he is sending a letter to Argos,” asserted Cimon. “Now I say Argos has Medized, therefore no good Hellene should correspond with a traitorous Argive.” “Be jury on my treachery,” commanded Glaucon. “Ageladas the master-sculptor sends me a bronze Perseus in honour of my victory. Shall I churlishly send him no thanks because he lives in Argos?”
Pheidias was an Athenian by birth, the son of Charmides. He studied first under Hegias, then under Ageladas the Argive. He became the most famous sculptor of his time, and when Pericles wanted a director for his great monumental works at Athens, he summoned Pheidias.
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