AGORACRITUS of Paros, who has been mentioned as the rival of Alcamenes, is called the favorite pupil of Phidias, and it is said that the master even gave Agoracritus some of his works, and allowed the pupil to inscribe his name upon them. For this reason the ancient writers were often in doubt as to the authorship of the statues called by the names of these sculptors. It is said that when the Venus of Alcamenes was preferred before that of Agoracritus the latter changed his mark, and made it to represent a Nemesis, or the goddess who sent suffering to those who were blessed with too many gifts. It is said that this statue was cut from a block of marble which the Persians brought with them to Marathon for the purpose of making a trophy of it which they could set up to commemorate the victory they felt so sure of gaining; in their flight and adversity it was left, and at last served a Greek sculptor in making a statue of an avenging goddess. This seems to be a striking illustration of "poetic justice." Agoracritus sold the Nemesis to the people of Rhamnus, who had a temple dedicated to that goddess, and made a condition that it should never be set up in Athens. In the museum of the Lateran at Rome there is a small but very beautiful antique statue of Nemesis, which is thought to be a copy of this famous work. As Nemesis was the goddess who meted out fortune according to her idea of right, a measure was her symbol, and the Greek measure of a cubit was generally placed in her hand. The word cubit means the length of the forearm from the elbow to the wrist, and in this statue of which we speak this part of the arm is made very prominent, and the measure itself is omitted. The sculptor Myron also had pupils and followers who executed many works, and of this school was CRESILAS of Cydonia, in Crete. We are interested in him because two copies from his works exist, of which I give pictures here. Pliny, in speaking of the portrait statue of Pericles, said it was a marvel of the art "which makes illustrious men still more illustrious." The cut given here is from a bust in the British Museum. There is reason to believe that Cresilas excelled Myron in the expression of his faces (Figs. 37, 38). [Illustration: FIG. 37.--A WOUNDED AMAZON. _Cresilas._] [Illustration: FIG. 38.--STATUE OF PERICLES. _Cresilas._]