CALLIMACHUS is an artist of whom we know little, but that little is interesting. We do not know where he was born, but as he was employed to make a candelabra for the eternal lamp which burned before the sacred statue of Athena Polias, we may suppose that he was an Athenian. Some writers say that he invented a lamp which would burn a year without going out, and that such an one made of gold was the work he did for the temple of Minerva. Callimachus lived between B.C. 550 and 396, and is credited with having invented the Corinthian capital in this wise: A young girl of Corinth died, and her nurse, according to custom, placed a basket upon her grave containing the food she had loved best in life. It chanced that the basket was put down upon a young acanthus plant, and the leaves grew up about the basket in such a way that when Callimachus saw it the design for the capital which we know as Corinthian was suggested to him, and was thus named from the city in which all this had occurred. While the plastic art of Athens, or the Attic school of sculpture, reached its greatest excellence in Phidias, there was in the Peloponnesus another school of much importance. Argos was the chief city of this school, and its best master was POLYCLEITUS of Sicyon, who was born about B.C. 482. He was thus about twelve years younger than Phidias. Polycleitus was held in such esteem that many of the ancient writers couple his name with that of Phidias. He was employed in the decoration of the Heraion, or temple of Hera, at Argos. But his greatest work was a statue of Hera, or Juno, for a temple on Mount Euboea, between Argos and Mycenae. This statue was chryselephantine, and as Juno was the majestic, white-armed, ox-eyed goddess consort of Jupiter, it is a striking coincidence that Phidias at Olympia and Polycleitus on Mount Euboea should have made from ivory and gold two famous statues of this renowned pair, who reigned over the mythical world of the Greek religion. There are several copies of heads of Juno in various museums, and some of them have been ascribed to Polycleitus; but the proof of the truth of this is far from being satisfactory. This master made other statues of divinities, but he excelled in representing athletes; and however fine his other works may have been, it was in the reproduction of strong, youthful, manly beauty that he surpassed other sculptors. Some of his statues of this sort, especially a Doryphorus, or spear-bearer, were considered as models from which all other artists could work.