A similar anecdote to that told of Phidias, when he listened to the criticisms of the public upon his colossal statue of the Olympian Zeus, is also related of Polycletus. He is said to have made two statues, one of which he perfected according to his own ideals, and the other he exhibited to the public and altered according to the suggestions volunteered. In due time he exhibited both publicly side by side. The one he had himself made was universally admired, while that which he had changed to suit the popular fancy was condemned. “You yourself,” he exclaimed, “made the statue you abuse, I, the one you admire.” One of his most celebrated works was the chryselephantine statue of Hera, executed in his old age to rival the Athene and Zeus by Phidias. Strabo considered that this statue equalled in beauty those of Phidias, though it was surpassed by them in costliness and size. In the respect that Polycletus followed the Homeric description of Hera, and presented the goddess clothed from her waist down, he may be said to have followed the precedent of Phidias; in other respects, however, he drew upon his own fancy. Juno was seated upon a golden throne; her head was crowned with a garland on which were worked the Graces and the Hours; in one hand she held the symbolical pomegranate and in the other a sceptre surmounted by a cuckoo, a bird sacred to Hera on account of having herself been changed into that form by Zeus. As an architect Polycletus will be found as the designer of the theatre at Epidaurus, where was also located the beautiful temple dedicated to Æsculapius, and which Pausanias pronounced to be superior in symmetry and elegance to every other in Greece and Rome. It was capable of accommodating twelve thousand spectators, and its ruins, as well as those of the white marble circular Tholus, by the same artist, are still to be seen in an unusual condition of preservation. Among the other architects who have been variously mentioned as having pursued their profession toward the close of this century, but who can hardly take equal rank with those already alluded to, may be mentioned Eupolinus, an Argive artist, who rebuilt the great Heræum at Mycenæ after its destruction by fire in the year 423 B.C., the entablature of which was ornamented with sculptures representing the wars of the gods and giants and the Trojan wars; Cleœtas, who was one of the assistant architects under Phidias, and whose chief claim to distinction is based upon his construction of the starting place in the Olympian Stadium, and Democopus Myrilla, who built the theatre at Syracuse. Vitruvius also speaks of an architect and author of about this time—namely, Silenus—who wrote on the Doric order.