This brings us to the third division of Greco-Roman sculpture, in reality its most original contribution to the history of Greek art: the Neo-Attic reliefs,[119] all of which are primarily decorative in their purpose. The works with which we have hitherto dealt--the Apollo Belvedere, the Torso Belvedere, or the Venus Genetrix--have all been eclectic in style, and consequently have lacked the sense of harmony or uniformity, which is one of the conditions of great sculpture. The same criticism applies to all the sculpture of the mainland in the Hellenistic age. On the other hand the schools of Pergamon, Rhodes, and Alexandria attained a uniformity of style, and consequently were enabled to produce masterpieces of art. Their works can be attributed to a school, because they contain common elements of style and technique based on a common theory of art. This community of purpose has been wholly lacking in the works of Euboulides, Damophon, and the Melian artists, and only partially felt in the works of Pasiteles and Arcesilaos. All these artists were individualists selecting and combining at their own will and pleasure. The Neo-Attic artists are quite different. Their names are immaterial, because their works all bear the impress of precisely the same style. There is no chance of mistaking a Neo-Attic work; its origin is clear in every line. These reliefs represent the last true school of Greek sculpture, the last monuments in which a common line of development can be studied unaffected by individual idiosyncrasies. They are strongly archaistic, but in spite of this they are essentially modern. They neither copy the antique exactly, nor adapt it to existing modes as the followers of Pasiteles did. They rather invent a new mode and a new style in art, but they make use of archaic technical details for its expression. Their art is essentially artificial and symbolic, so that they represent a reaction against the academic classicism of the period; but it is also meticulous in detail, so that it can merit no reproach of a loose impressionism. The Neo-Attic artists of the first century B.C. are really the pre-Raphaelites of Greek art, and Rossetti and Burne-Jones are the nearest parallel to them in later art history.