We have seen that the initiation of the Olympian games was due to Sparta and its Peloponnesian allies. Moreover, the custom of laying aside all clothing for the various sports was first adopted by the Peloponnesians, and only spread slowly through the other Greek city-states. These facts, together with the location of Olympia in the centre of the Peloponnese, suggest why the “Dorian” sculptors devoted particular attention to such subjects as the Olympian festivals offered. In the fifth century Argos was second only to Athens as an artistic centre, and Polyclitus of Argos, who headed “the Dorian School,” was considered the equal of Phidias himself. The ideal for which Polyclitus worked was the portrayal of the healthy human form in its most complete and harmonious development, and, particularly, the preservation of a due proportion between the various parts of the body. His success may be judged from the fact that his statue, the “Doryphorus”—spear-bearer—was adopted by his artistic successors as the standard of perfection of the youthful male figure, and was known as “The Canon.” The bronze originals of the “Doryphorus” and its companion, the “Diadumenus,” which depicts a youth binding the diadem of victory about his brow, have perished. We are therefore compelled to gauge the genius of Polyclitus by the marble copies. There is a famous copy of the “Doryphorus” in the National Museum at Naples. [Illustration: _Photo. Holliday, Oxford_ MYRON’S DISCOBOLUS The Ashmolean, Oxford] The chief point of interest in the Dorian school, however, arises from a comparison of the works produced under its direct influence with the better-known examples of the Attic school. Early in the fifth century the school of sculpture located around Argos seems to have been one of the most influential in Greece. The Argive Ageladas, under whom Polyclitus was a student, is credited with having instructed the two other early masters—Myron and Phidias. However this may be, the Argive influence was not all-powerful amongst the Athenian sculptors. The variation between the two schools is more noticeable than the resemblance. And this is of vital interest, depending as it does upon the entirely different mental and emotional atmosphere in the two city-states. If the two well-known statues of discoboli are compared with the “Doryphorus” of Polyclitus, the characteristic differences between the Athenian and Dorian schools are clear. The standing “Discobolus” may well be a copy of the “Pentathlon Winner” of Alcamenes, a co-worker with Phidias, who reached his prime about 420 B.C. It shows the athlete holding the discus in his left hand. He is measuring the ground with his eye, testing the elasticity of his limbs and the sureness of his footing as he does so.