The performances of Dædalus were chiefly in wood, of which no fewer than nine, of large dimensions, are described as existing in the second century, which, notwithstanding the injuries of fourteen hundred years, and the imperfections of early taste, seemed, in the words of Pausanias, to possess something of divine expression. Their author, as reported by Diodorus, improved upon ancient art, so as to give vivacity to the attitude, and more animated expression to the countenance. Hence we are not to understand, with some, that Dædalus introduced sculpture into Greece, nor even into Attica; but simply that he was the first to form something like a school of art, and whose works first excited the admiration of his own rude age, while they were deemed worthy of notice even in more enlightened times. Indeed the details preserved in the classic writers, that he raised the arms in varied position from the flanks, and opened the eyes, before narrow and blinking, sufficiently prove the extent of preceding art, and the views we have given on the subject. In these primitive schools, however, many centuries necessarily elapsed, before sculpture can be considered as a regular art. Their founders and pupils were little more than ingenious mechanics, who followed carving among other avocations. Such were Endæus of Athens, celebrated for three several statues of Minerva; Æpeus, immortalized as the fabricator of the Trojan horse; Icmulous, praised in the Odyssey as having sculptured the throne of Penelope; with many others who must have contributed to the arts of the heroic ages, and who, if they did not rapidly improve, at least kept alive the knowledge of sculpture.