Pæonios, a Thracian by birth, was a celebrated sculptor in marble as well as bronze; and, among other things, he executed the figures in the front tympanum of the Temple of Zeus at Olympia. In character and composition these figures resemble those of the Parthenon, and they are executed in the same spirit. A fragment from the Temple of Zeus may be seen in the Louvre, standing beside a fragment of one of the metopes of the Parthenon. The fragment from the Temple of Zeus represents Heracles with the Bull. It is fuller and larger in style than the fragment from the Parthenon, which, seen beside it, looks stiff and meagre in character, and the body of the Centaur in the one is decidedly inferior to the body of the Bull in the other. This is probably a portion of the work of Pæonios. Praxias and Androsthenes, too, worked in marble in the same style, and the figures in the tympana of the Delphic temple were executed by them. The metopes also, of which five are alluded to in the Chorus of Euripides, were probably their work. Theocosmos, too, a contemporary of Phidias, worked with him, according to Pausanias, on the Zeus at Megara, which was afterwards left unfinished, on account of the Peloponnesian war: only the head was of ivory and gold, the rest of the body being of plastic clay and wood. But perhaps the most distinguished of all was Kalamis, who, though probably a little younger than Phidias, was certainly a contemporary. Among other works, he executed in bronze an Apollo Alexicacos; a chariot in honor of Hiero’s Victory at Olympia; a marble Apollo in the Servilian Gardens in Rome; another bronze Apollo thirty cubits high, which Lucullus carried to Rome from Apollonia; a beardless Asclepius in gold and ivory; a Nike; Zeus Ammon; Dionysos; Aphrodite; Alcmena; and the famous Sosandra, so praised by Lucian. But what in this connection is peculiarly to be noticed is, that, besides being renowned for his statues of gods and mortals, he was celebrated for his skill in the representation of animals; and the excellence of his horses is specially spoken of by Ovid, Cicero, Pausanias, Propertius, and Pliny. It would therefore, in this view, seem much more probable that he may have designed the Panathenaic frieze than that it was designed by Phidias, who, as far as we know, had no particular talent for horses or animals. There is no indication, however, that either of them had anything to do with it.