and ANGE'LION (Τεκταῖος καὶ Ἀγγελιων, early Greek statuaries, who are always mentioned together. They were pupils of Dipoenus and Seyllis, and instructors of Callon of Aegina ; and therefore they must have flourished about Ol. 58, B. C. 548. (Paus. 2.32.4; CALLON ; DIPOENUS.) They belong to the latter part of the so-called Daedalian period. [DAEDALUS.] The only work of theirs, of which we have any notice, is the celebrated statue of Apollo at Delos, mentioned by Pausanias (9.32.1. s. 4: where the corrupt word Διονύσου is very difficult to correct: Müller has suggested χρυσοῦ: see Schnbart and Walz's note), and more fully described by Plutarch (de Mus. 14, p. 1136a.) The right hand of the statue held a how, and in the left hand were the Graces. each holding an instrument of music, one the lyre, another the flute, and the third the panpipes (σύριγξ). The tradition which ascribed the image to the Meropes in the time of Heracles. if worth anything, must signify that it was, like other works of the early Greek artists, a copy of an older image of unknown antiquity. If so, we may conjecture that it was of wood; and this tallies with Müller's correction of Pausanias, χρυσοῦ, which, if the true reading, must mean that the image was of wood gilt. The statue is also mentioned by Athenagoras, who further ascribes to the artists a statue of Artemis, but this statement cannot be accepted on such authority. (Legat. pro Christ. 14. p. 61, Dechair.) There are copies of the Delian Apollo on gems and on Attic coins. (Müller, Archäol. d. Kunst, § 86, note.)