Their reliefs are all decorative in purpose, for the adornment of altars, candelabra, fountains, well-heads, or wall-panels; and therefore they are not unnaturally attracted by the most decorative of all the archaic schools, the late Ionian or Attic-Ionian art of the end of the sixth century. They make use also of later models, of the Victories of the Balustrade, of Scopaic Maenads, of Praxitelean satyrs, but all the models which they adopt are treated in a uniform style, a new style of exaggerated daintiness of pose and gesture accompanied by an archaistic formality of drapery and modelling. In this detail they contrast strongly with the realism of the pre-Raphaelites. Their daintiness and formality are derived from Ionian models, but reproduced in a wholly different setting. The vase of Sosibios in the Louvre[120] reproduces some of their favourite types, which occur over and over again in the decorative art of the early empire. The flute-playing satyr, the dancing maenad, the armed dancer, and all the other types are reproduced in every variety of combination, but in identical form. The Neo-Attic sculptors were content with the elaboration of a few types which they combined at pleasure. They never attempted more intricate groups than their variant of the two Victories with a bull from the Acropolis Balustrade. Usually they merely group single figures in long rows without any connexion in thought. Nothing could bring out more clearly their essential poverty of ideas and the purely commercial character of their art. The designs are like so many stencil patterns which can be applied to any form of monument.