of course, the Greek eye took pleasure in the combination of form
and color, and presumably would have found pure white figures like
ours dull and cold. We are better circumstanced for judging Greek
taste in this matter than in the matter of colored architecture,
for we possess Greek sculptures which have kept their coloring
almost intact. A sight of the "Alexander" sarcophagus, if it does
not revolutionize our own taste, will at least dispel any fear
that a Greek artist was capable of outraging beautiful form by a
vulgarizing addition.

(3) Bronze. This material (an alloy of copper with tin and
sometimes lead), always more expensive than marble, was the
favorite material of some of the most eminent sculptors (Myron,
Polyclitus, Lysippus) and for certain purposes was always
preferred. The art of casting small, solid bronze images goes far
back into the prehistoric period in Greece. At an early date, too
(we cannot say how early), large bronze statues could be made of a
number of separate pieces, shaped by the hammer and riveted
together. Such a work was seen at Sparta by the traveler
Pausanias, and was regarded by him as the most ancient existing
statue in bronze. A great impulse must have been given to bronze
sculpture by the introduction of the process of hollow-casting.
Pausanias repeatedly attributes the invention of this process to
Rhoecus and Theodorus, two Samian artists, who flourished
apparently early in the sixth century. This may be substantially
correct, but the process is much more likely to have been borrowed
from Egypt than invented independently.

In producing a bronze statue it is necessary first to make an
exact clay model. This done, the usual Greek practice seems to