And the sculptors themselves, in the fourth century, show more individuality of style. In the latter part of the fifth century the genius of Phidias had so dominated religious art that the works of his successors, men like Alcamenes and Agoracritus, could hardly be distinguished from his. But the great sculptors of the fourth century, Scopas and Praxiteles and Lysippus, not to mention others of less note, devoted themselves not so much to the expression through perfect physical form of great religious ideals, but to a realisation of the character and, so to speak, the personality of the gods whom they portrayed. And they did this by the same means by which they expressed in their art the characters and passions of heroes or of men, thereby removing the gods from the sphere of passionless benignity and power which is assigned to them by the art of the fifth century. Such a treatment evidently gave more scope for variety in the styles of the sculptors; and although we can sometimes trace the influence of one upon another, yet each clearly shows his own characteristics. We are expressly told of Praxiteles that he showed the most admirable skill in infusing into his marble works the passions and emotions of the soul; and the extant remains of the statues made by Scopas and Lysippus show that they also, each in his own way, attained the same results. If the sculpture of the fifth century was ethical, expressing noble ideals of character whether in gods or men, that of the fourth century may be called psychological. It is not content with character; it expresses also mood and even passion, and thereby gives more prominence to individuality. At first sight it is not easy to realise how this change came to affect the representations of the gods. The gods of Homer are, indeed, full of individual character; but we have seen how in the fifth century, though the greatest sculptors declared it was the gods of Homer that they represented, these representations were idealised and raised above those human touches in which the individuality is most conspicuous. There was, in the Homeric hymns and in the lyric poets, a delight in details of incident and in personal peculiarities and even in romantic tales about the gods; and in the fourth century, when the high idealisation of the preceding age is no longer so strong in its influence, we find a similar tendency in art as well. While the great statues of the gods in the fifth century are almost all represented as either enthroned or standing, not employed in any particular action or function, the most characteristic examples of the statues of gods made in the fourth century have almost all some definite motive. We may take as an example what was perhaps the most famous statue of antiquity, the Aphrodite by Praxiteles at Cnidus. The goddess is represented as nude; and it is often said that goddesses would not have been so represented in the fifth century. It is true that full drapery seems more consistent