Of the other architectural sculptors associated with Scopas in the adornment of the tomb of Mausolus none is mentioned as having had any other connection with architecture in a similar way, but all were statuaries of distinction and high merit, who executed works in marble or bronze, or both, that gave them prominence in their art. Among other works by Bryaxis were five colossal statues in the island of Rhodes, of which the celebrated “colossus of Rhodes,” however, was not one, and also a statue of Apollo, which was destined for the temple of Daphnis near Antiochus. The story is related that Julian the Apostate wished to render to this figure peculiar worship and homage, but was prevented from so doing by a miraculous destruction of the temple and statue by fire. Clement of Alexandria asserts that Bryaxis was the artist of many works ascribed to Phidias. As to the share which Timotheus took in the decoration of the mausoleum there is dispute among the Greek authorities, some ascribing his work to Praxiteles; but there does not seem to be any just foundation for the supposition that the sculpturing on the south side of the tomb was by any other hand than that of Timotheus. As one of the great statuaries of the later Attic school he was also among the most prominent, his figure of Artemis being deemed worthy to be placed by the side of the Apollo of Scopas, and the Latona of Praxiteles in the temple which Augustus erected to Apollo on the Palatine. Other statues of conspicuous merit are also ascribed to him by Pausanias and Pliny. Leochares, the last of the quartette, was also inferior only to Scopas and Praxiteles in his school of art. He was particularly skilful with portrait-statues, the most successful of which were those of Philip of Macedon, Alexander his son, Amyntas, Olympias and Eurydice, all of which were made of ivory and gold, and were placed in the Phillippeion, a circular building in the Altis at Olympia, erected by Philip in celebration of his victory at Chæroneia. But the _chef d’œuvre_ of Leochares was a bronze statue of the rape of Ganymede. Pliny says of this work that the eagle seemed to be sensible of what he was carrying and to whom he was bearing the treasure, taking care not to hurt the boy through his dress with his talons. The original statue was frequently copied both in marble and on gems, several of which copies are still extant: one in the Museo Pio-Clementino, another in the library of St. Mark in Venice, and still another figures in Stuart’s Athens, as an alto-relievo found among the ruins of Thessalonica. [Illustration: Decoration] CHAPTER VIII. THE ALEXANDRIAN ERA AND ROMAN SPOLIATION.