In the Doryphoros (Fig. 14), and Diadumenos (Fig. 15), we have another type of athletic genre. These statues are studies of the athlete at rest, studies in proportion. The Doryphoros indeed was called the canon, because in it the artist was said to have embodied his ideal of the proportions of the human body. If we consider what such a canon implies, we shall understand why the old diversity of type tended to disappear. The artist of this period was seeking an ideal of human proportion. Such an ideal is not to be found in any extremes of type, in strength or beauty by itself, but only in a combination of the two, in the golden mean, that avoidance of all excess which dominated Greek life and thought. The influence of athletic training had impressed upon him the value of physical strength systematically trained and developed; his artistic sense taught him that no subject was fitting for his art which did not present beauty of outline and proportion. Hence that union of strength and beauty which characterizes the athletic art of this period. Other circumstances contributed to produce uniformity of type. The three great sculptors of the age, Myron, Pheidias and Polycleitus, whom we now know to have been almost contemporaries, and in the full activity of their art in the middle of the century, were all, according to traditions, pupils of the Argive sculptor Ageladas. In the stern, manly discipline of the Argive school they acquired their consummate knowledge of the human body. The influence of these artists was increased by the concentration at this period of all art at Athens. Polycleitus indeed remained at Argos; but Myron and Pheidias worked at Athens, and through Pheidias the art of Athens spread over the Greek world. The school in which these artists had been trained had devoted itself to the study of athletic proportion, and it was therefore only natural that a similar athletic ideal should prevail generally,—a similar but not quite the same ideal. Polycleitus remained true to the Argive tradition of a somewhat thick-set, massive type, with square-jawed, powerful head. At Athens the influence of the softer Ionian art, perhaps, too, the prevalence of other characteristics in the population, produced a slighter, taller, more graceful type. Both schools combined strength and beauty. In both it is impossible to decide in what event any particular athlete had excelled; but while strength continued to be the prevalent idea of Polycleitus, Athenian art was rather dominated by the idea of beauty.