An examination into these statements will show, not only that not one of them is well founded, but that the authorities on which they profess to stand will not at all sustain them. Visconti’s mind is in a nebulous state as to the whole question, and he confounds things which have no relation to each other. The first mistake he makes is in confusing the toreutic art with the art of making statues in ivory and gold. I am aware that M. Quatremere de Quincy, in his treatise on chryselephantine statues, constantly uses these two terms as equivalent; but in so doing he is admitted by all persons who have critically studied the matter to be entirely incorrect. The toreutic art was the art of the engraver, the chaser, the damascener, the embosser. It might be employed, and undoubtedly was employed, by Phidias in decorating part of his statue, as it might be applied to a bronze statue, or to any metal surface or slab; but it was not the art of making statues in any material. Visconti’s next proposition is, that by the term σοφὸς λιθουργός Aristotle meant to indicate a worker in marble as distinguished from an ἀνδριαντοποιός, who was a statuary in bronze, and to show that Phidias worked in marble, while Polyclitus worked only or chiefly in bronze. Neither of these statements can be supported; and it is impossible that Aristotle could have meant to make them. In the first place, λιθουργός does not mean a worker in marble; λιθουργική and λιθοτριβική were specially the art of cutting and polishing gems and precious stones; and a λιθουργός was a lapidary in relief or intaglio,[6] not a sculptor of marble statues. Again, ἀνδριαντοποιός does not mean a sculptor in bronze as distinguished from a sculptor in marble, but merely a maker of statues, of athletes or heroes, in any material, whether in wood, bronze, marble, gold, or ivory.