But most of our remains of the school of Pasiteles belong to a different class of statue, best illustrated by the athlete of Stephanos, Pasiteles’ pupil, in the Villa Albani (Fig. 53). All periods of art which are bankrupt in new ideas tend to be archaistic; the Greco-Roman school looked backwards for all its inspiration; but while Neo-Attics found their models in Ionian art of the sixth century, the pupils of Pasiteles studied their larger sculpture mainly in the light of the early fifth-century Argive school. The athlete of Stephanos shows the proportions, the stiff pose, and the surface treatment of the pre-Polykleitan types of Ageladas. He is comparable with the Ligourio bronze[111] or the Acropolis ephebe[112] of Kritios for all his Lysippic slenderness and later expression. The type was immensely popular and may have originated with Pasiteles himself. We have it in single examples and combined in groups, as in the Orestes and Electra of Naples,[113] where the companion figure is female, or in the Ildefonso group[114] where it is combined with another male statue. All these figures are copied from early fifth-century art, though the signs of eclectic archaism are sufficiently clear. If we examine the so-called Electra of Naples, we see an archaic early fifth-century head together with a pose approaching the Praxitelean, transparent drapery of the style of Alkamenes, and a low girdle and uncovered shoulder reminiscent of Pergamon. The group of Menelaos,[115] a pupil of Stephanos, in the Terme Museum, is a less archaic-looking and a more satisfactory work. Fifth century in detail, in style it reminds us rather of the fourth-century grave reliefs. To the same period, or perhaps a later one, belongs the idea of grouping well-known statues originally separate. Thus we have in the Capitol a group of the Melian Venus with the Ares Borghese.[116] This actual group, however, belongs to a much later time. Arcesilaos was another well-known sculptor of the age, a friend of Pompey and Caesar. The Venus Genetrix of the Louvre[117] was made for the House of the Julii. It bears its fifth-century origin clearly stamped on its style. Arcesilaos also was a great provider of clay models, which he sold outright to workshops for manufacturing purposes, so that a finished statue might have never been seen by the artist responsible for its design. A series of herms in the Terme Museum[118] show a strong archaistic tendency towards fifth-century models, but bear also in details of pose and drapery the clear stamp of the Greco-Roman age. Statues of this type were intended for the decoration of Roman palaces. They are no longer self-sufficing works of art, but are subject to the general demands of artistic decoration.