<GetPassage xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns="http://chs.harvard.edu/xmlns/cts">
            <request>
                <requestName>GetPassage</requestName>
                <requestUrn>urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1:D.dipoenus_1</requestUrn>
            </request>
            <reply>
                <urn>urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1:D.dipoenus_1</urn>
                <passage>
                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:base="urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1"><body xml:lang="eng" n="urn:cts:pdlrefwk:viaf88890045.003.perseus-eng1"><div type="textpart" subtype="alphabetic_letter" n="D"><div type="textpart" subtype="entry" xml:id="dipoenus-bio-1" n="dipoenus_1"><head><persName xml:lang="la"><surname full="yes">Dipoenus</surname></persName></head><p>and SCYLLIS (<foreign xml:lang="grc">Δίποινος καὶ Σκύλλις</foreign>), very ancient
      Greek statuaries, who are always mentioned together. They belonged to the style of art called
      Daedalian. [<hi rend="smallcaps">DAEDALUS.</hi>] Pausanias says that they were disciples of
      Daedalus, and, according to some, his sons. (2.15.1, 3.17.6.) There is, however, no doubt that
      they were real persons; but they lived near the end, instead of the beginning, of the period
      of the Daedalids. Pliny says that they were born in Crete, during the time of the Median
      empire, and before the reign of Cyrus, about the 50th Olympiad (<date when-custom="-580">B. C.
       580</date>: the accession of Cyrus was in <date when-custom="-559">B. C. 559</date>). From Crete
      they went to Sicyon, which was for a long time the chief seat of Grecian art. There they were
      employed on some statues of the gods, but before these statues were finished, the artists,
      complaining of some wrong, betook themselves to the Aetolians. The Sicyonians were immediately
      attacked by a famine and drought, which, they were informed by the Delphic oracle, would only
      be removed when Dipoenus and Scyllis should finish the statues of the gods, which they were
      induced to do by great rewards and favours. The statues were those of Apollo, Artemis,
      Heracles, and Athena (<bibl n="Plin. Nat. 36.4.1">Plin. Nat. 36.4.1</bibl>), whence it seems
      likely that the whole group represented the seizure of the tripod, like that of <hi rend="smallcaps">AMYCLAEUS.</hi> Pliny adds that Ambracia, Argos, and Cleonae, were full of
      the works of Dipoenus. (§ 2.) He also says (§§ 1, 2), that these artists were
      the first who were celebrated for sculpturing in marble, and that they used the white marble
      of Paros. Pausanias mentions, as their works, a statue of Athena, at Cleonae (<hi rend="ital">l.c.</hi>), and at Argos a group representing Castor and Pollux with their wives, Elaeira
      and Phoebe, and their sons, Anaxis and Mnasinoüs. The group was in ebony, except some few
      parts of the horses, which were of ivory. (<bibl n="Paus. 2.22.6">Paus. 2.22.6</bibl>.)
      Clement of Alexandria mentions these statues of the Dioscuri, and also statues of Hercules of
      Tiryns and Artemis of Munychia, at Sicyon. (<hi rend="ital">Protrep.</hi> p. 42. 15; comp.
      Plin. <hi rend="ital">l.c.</hi>) The disciples of Dipoenus and Scyllis were Tectaeus and
      Angelion, Learchus of Rhegium, Doxycleidas and his brother Medon, Dontas, and Theocles, who
      were all four Lacedaemonians. (<bibl n="Paus. 2.32.4">Paus. 2.32.4</bibl>, <bibl n="Paus. 3.17.6">3.17.6</bibl>, <bibl n="Paus. 5.17.1">5.17.1</bibl>, <bibl n="Paus. 6.19.9">6.19.9</bibl>.) </p><byline>[<ref target="author.P.S">P.S</ref>]</byline></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>