Now, when we remember that Phidias was celebrated not only for his colossal works, but also for his skill as an engraver, embosser, and damascener—in a word, for his skill in the toreutic art, which Pliny tells us was developed by him and perfected by Polyclitus, as well as for his minutely elaborated representations of flies, cicadæ, fishes, and bees—the meaning of Aristotle in applying to him the title of λιθουργός is clear. He was a λιθουργός in the exact meaning of that term, and a very skillful one. Aristotle is equally correct in applying the term ἀνδριαντοποιός, maker of athletes and heroes, to Polyclitus; for that great artist had won the highest fame of his age for statues of this kind, and established the laws of proportion in his Diadumenos and Doryphoros. If, however, as Visconti imagines, Aristotle meant to indicate that Phidias was a worker in marble, while Polyclitus was not, he is clearly wrong; for we know that Polyclitus executed various and celebrated statues in marble, whereas, as we shall see, we have no clear proof that Phidias ever did. Still further, if Aristotle intended to distinguish Phidias from Polyclitus by saying that the one was a skillful λιθουργός, and the other was not, he is again quite wrong, whether he meant by that term to indicate a toreutic artist or, as Visconti thinks, a marble worker; for Polyclitus was even more skilled than Phidias in both these arts. Again, if he meant to distinguish the one artist from the other as a maker of ἀγάλματα, or statues of divinities, he is wrong; for the chryselephantine Hera of Polyclitus rivaled the Athena of Phidias. The plain fact is that Aristotle did not mean to distinguish one of these great artists from the other in any such way. He is perfectly right in the terms he applies to each; but he did not say, nor could he have intended to say, that one was a σοφὸς λιθουργός or an ἀνδριαντοποιός, and the other was not—since, as we know, both of them were λιθουργοί and ἀνδριαντοποιοί, and he must have known it.