The information we have as to Daedalus is of two kinds; on the one hand, we find tales of a mythical craftsman and magician, to whose invention many of the most typical improvements in early Greek sculpture are attributed; on the other hand, we have records of many statues of the gods, extant in historical times in various shrines of Greece, which were attributed to him. Such attributions are not really of greater historical value than the traditions of dedication in the heroic age which we find elsewhere. The name of Daedalus having once become famous in this connection, it was natural that many statues of primitive style and unrecorded origin should be attributed to him. More importance may be attached to the fact that the sculptors who actually made some of the early statues of the gods in Athens and in the Peloponnesus are described as the pupils or by some as the sons or companions of Daedalus. In this way his name is associated with some of the early schools that had the greatest influence in Greece, especially on the representation of the gods in sculpture. There are other traditions of early schools of sculptors, the marble workers of Chios, the bronze founders of Samos, who devoted themselves mainly to making statues of the gods, some of which survived throughout historical times. When we turn from tradition and consider the early examples of statues of gods that may still be seen or are recorded by extant copies, we find that these fall into two classes. On the one hand, there are more or less exact repetitions of the primitive stock or stone, the cylindrical tree-trunk or the rectangular block cut from the quarry, with the rudest indication of head and arms and feet, deviating as little as possible from the original shape of the block. When images of this sort were, as was often the case, of wood, they have, of course, disappeared; but we can sometimes recognise copies of them upon reliefs or in stone. On the other hand, we find another class of images which approximate more to the attainments of Daedalus as described by rationalising writers of later date. These images are completely in human form, and, if male, are usually nude. They have their legs separated in a short stride, the left foot being usually advanced; their arms are either set close to their sides, or one or both of them is raised from the elbow; their whole shape suggests a rigid system of proportions and a more or less conventionalised form. These images have no resemblance to the modifications of the primitive stocks and stones, and could not well be directly derived from them; they are found in great numbers upon many sites of early sanctity in Greece itself and in Greek settlements around the Levant, notably in Cyprus, Rhodes, and Naucratis in Egypt. Sometimes they seem to represent the god, sometimes the dedicator; but all alike show the attempt of the early Greek craftsman to imitate the products of more advanced and finished art which he saw around him.