Of the statues which now exist, there are only some thirty on which names are inscribed, and these are certainly for the most part, if not entirely, apocryphal. The name of Phidias, together with that of Ammonius, for instance, appears on a monkey in basalt in the Capitol at Rome; that of Praxiteles on a draped figure in the Louvre; and that of Lysippus on a marble Hercules in the Pitti Gallery at Florence—not one of which is of the least value as a work of art. So, on the torso of the Belvidere is the name of Apollonius; on the Farnese Hercules that of Glycon; on the Gladiator of the Louvre that of Agasias the Ephesian, son of Dositheos—though these names are not mentioned by any writers of antiquity. No authority can be granted to these inscriptions, and possibly the very fact that these names are on the statues is an indication that they are copies; all have ἐποίει. D’Hancarville and Dallaway make a distinction between ἐποίει and ἐποίησεν,—the former, according to them, signifying a copy, and the latter an original work. On the Nemesis at Rhamnus was the inscription, ΑΓΟΡΑΚΡΙΤΟΣ ΠΑΡΙΟΣ ΕΠΟΙΗΣΕΝ; and this would seem to confirm their notion. On the Zeus of Phidias, also, was the inscription, ΦΕΙΔΙΑΣ ΧΑΡΜΙΔΟΥ ΥΙΟΣ ΑΘΗΝΑΙΟΣ Μ’ ΕΠΟΙΗΣΕΝ. I do not recall, however, a single statue which has come down to us on which the word ἐποίησεν occurs, except an interesting and coarsely executed relief in the British Museum, representing the deification of Homer. Where there is any inscription it is ἐποίει; but it is an exceedingly rare exception that any ancient statue has a name inscribed on it. Almost all, if not all, the statues having names of the artists are of a late date, and probably most of them as late as the time of Hadrian. It was he who revived the art of sculpture; and during his reign a great number of copies, more or less good, were made of the famous statues of antiquity; but unfortunately there has not come down to us a single accredited statue by any of the great sculptors of antiquity.