A part of the frieze upon the mausoleum showed the battle of the Greeks and the Amazons, and this illustration from it gives an idea of the boldness of action and the correctness of the design (Fig. 41). This picture is from a slab in the possession of the Serra family in Genoa. On the right a warrior holds down an Amazon whom he has forced to her knees and is about to kill, while she stretches out her right hand in supplication. The figures to the left are full of spirit, and absolutely seem to be in motion. We do not know that any of these figures were executed by the hand of Scopas, but it is probable that they were, and they give us an idea of the art of his time. [Illustration: FIG. 40.--PORTRAIT OF MAUSOLUS.] Scopas also carved one of the splendid pillars of the temple of Diana at Ephesus, and did much architectural decoration, as well as to execute many statues and groups of figures. The ancient writers say very little of the art of Scopas, but when all that we can learn is brought together, it shows that he had great fertility in expressing his own ideas, that his genius was creative and his works original. He represented the gods which the earlier sculptors had shown in their works in quite a new manner, and he was the first to show the goddess Venus in all the beauty which imagination could attribute to her. His representations of nymphs of wood and sea, of monsters, and all sorts of strange, imaginary beings were numberless, and he made his sculptured figures to express every emotion that can be fancied or felt, from the tenderest and sweetest affection to the wildest passions of the soul. [Illustration: FIG. 41--FROM THE FRIEZE OF THE MAUSOLEUM.] His works were always representations of gods or of sentiments as shown by some superhuman beings; he never portrayed a hero, with the exception of Hercules, and was ever busy with the ideal rather than with realities about him. He worked in marble only, which is far more suited to the elegant beauty of his style than are bronze and gold or ivory. We are accustomed to call PRAXITELES the greatest sculptor of the second school of Greek art, just as we give that place to Phidias in the first. We have no fixed dates concerning Praxiteles. We know that he was the son of a Cephisodotus, who was a bronze worker, and was thought to be a son of Alcamenes, thus making Praxiteles a grandson of the latter. Praxiteles was first instructed by his father. Later he came under the influence of Scopas, who was much older than he; and by Scopas he was persuaded to give up working in bronze and confine himself to marble. Perhaps the most authentic date we have concerning him is that given by Pliny, who says that he was in his prime from B.C. 364-360.