Hellenistic works showing the influence of Roman taste as clearly as the “Seated Boxer” are rare. The Roman collector, as a rule, was perfectly content with a work which was practically identical with some earlier Greek design. A close resemblance to a Greek original was in itself a strong recommendation. The faithfulness with which Roman taste abided by Hellenic sculpture is proved by the popularity of the pseudo-archaic school of Pasiteles during the last days of the Roman Republic. Pasiteles was an Italian Greek. Pliny says of him that “he never executed any work without first making a clay model.” Excessive care and excessive emotional sobriety were the keynotes of his style. It is peculiarly interesting to note in the works of this school an obvious revolt against both the sensuous tendencies of the followers of Praxiteles and the theatrical propensities of the Rhodians. The pseudo-archaic sculptors and the patrons for whom they catered had sufficient insight to distinguish between the various epochs of Greek sculpture, that is to say, between work imbued with Hellenic qualities and work which was only Hellenistic. This can be seen at once in the group by Menelaus known as “Orestes and Electra” (Plate, p. 128), as good an example of the school of Pasiteles as can be found. The sculptor has evidently imitated the style of an Argive artist living just before Polyclitus. In other words, the “Orestes and Electra” represents a reversion beyond even the purely Hellenic style of Polyclitus. So successfully is this archaic manner imitated by the Græco-Roman followers of Pasiteles that modern experts can easily be in doubt, in the case of particular statues, whether the style is real or feigned. Dr. Murray, for instance, has suggested that the Vatican “Spartan Girl,” which is usually assigned to the transitional period of Hellenic sculpture ending with Myron’s “Discobolus,” is actually by a follower of Pasiteles. The likeness of the “Spartan Girl” to the works of the followers of Pasiteles is obvious. With characteristics like these, how should statues of the school of Pasiteles be classed? That they are not Hellenistic is plain. Equally clearly the resemblance to Hellenic work is so close that it would be absurd to regard the style popularized by Pasiteles as a movement towards a Roman national art. Really a pseudo-archaic statue like the “Orestes and Electra” represents a passing craze. It is the outcome of the fancy of a few art collectors. One may, however, argue that the popularity of such a school points to a dissatisfaction with the accepted Hellenistic art of the latter Roman Republic. Be that as it may, a genuinely Roman school of sculpture arose directly after.