This great master, the son of Charmidas, an Athenian citizen, was born about the 72d Olympiad, or nearly 500 years before our era, and studied under Eladas. His numerous works belonged to three distinct classes: Toreutic, or statues of mixed materials, ivory being the chief,--statues of bronze,--sculptures in marble. In this enumeration are included only capital performances, for exercises in wood, plaster, clay, and minute labours in carving, are recorded occasionally to have occupied his attention. The beauty of these miniatures was not inferior to the excellence of his greater works; at once sublime and ingenious, he executed grand undertakings with majesty and force, and the most minute with simplicity and truth. 'Artis Phidiacæ toreuma durum Pisces adspicis: adde aquam, natabunt.' 'These fish are iv'ry--but by Phidias made; From want of water only seem they dead.' Of the works belonging to the first division, the Olympian Jupiter, and the Minerva of the Parthenon, colossal statues composed of gold and ivory, were the most wonderful productions of ancient art. The former, placed in the Temple at Elis, was sixty feet high, in a reposing attitude, the body naked to the cincture, the lower limbs clothed in a robe gemmed with golden flowers; the hair also was of gold, bound with an enamelled crown; the eyes of precious stones; the rest of ivory. Notwithstanding the gigantic proportions, every part was wrought with the most scrupulous delicacy; even the splendid throne was carved with exquisite nicety. The whole was finished before the artist had obtained the direction of the public works of the Athenians, in the 83d Olympiad after a labour of ten years; the same date in which Herodotus read the second part of his history, the first regular prose composition that had been heard at Athens. About twelve years later was executed the Minerva, of inferior dimensions, being only forty feet in altitude, but equal, if not superior, in beauty of workmanship and richness of material, the nude being of ivory, the ornaments of gold. A flowing tunic added grace to the erect attitude of the goddess: in one hand was a spear, upon the head a casque; on the ground a buckler, exquisitely carved, the concave representing the giants' war, the convex a conflict with the Amazons, portraits of the artist and of his patron being introduced among the Athenian combatants--one cause of the future misfortunes which envy brought upon the author. On the golden sandals was also sculptured another favorite subject, the battle of the Centaurs, praised by historians as a perfect gem of minute art.