Phidias and Praxiteles, is not even mentioned by any other ancient writer except in a single epigram of the Anthology. Another old master of the fifth century whose statues Pausanias often notices is Calamis; on one of them he bestows a word of commendation. A statue by this artist was much admired by Lucian. The great sculptor Myron, a contemporary of Phidias, seems also to have found favour in the eyes of Pausanias, for he mentions that the image of Dionysus on Mount Helicon was the finest of all the artist’s works, next to the statue of Erechtheus at Athens. That Pausanias appreciated the greatness of Phidias is clear from the way in which he speaks of him and from the detail in which he describes the sculptor’s two most famous works, the image of the Virgin Athena at Athens and the image of Zeus at Olympia. Of the latter he observes that the mere measurements of the image could convey no idea of the impression which the image itself made on the beholder. Yet he did not consider it the sculptor’s masterpiece, for as to the image of the Lemnian Athena at Athens he remarks that it is “the best worth seeing of all the works of Phidias.” The preference thus given to this comparatively obscure statue over the image of Zeus which the ancient world agreed in extolling as little less than divine is another proof of the independence of Pausanias’s judgment in artistic matters; and that his taste here was good is attested by the very high place which his contemporary Lucian, one of the best critics of antiquity, assigns to the same statue. Of Alcamenes our author observes that as a sculptor he was second only to his contemporary Phidias, and with regard to the statue of Aphrodite in the Gardens by this artist he says that “few things at Athens are so well worth seeing as this.” Here, again, our author’s judgment is confirmed by that of Lucian, who describes this image as the most beautiful work of Alcamenes, and draws from it not a few traits for his imaginary statue of ideal beauty which was to combine all the most perfect features of the most celebrated statues. Another sculptor whose style seems to have pleased Pausanias was Naucydes, a brother of the famous Polyclitus, who worked at the end of the fifth or at the beginning of the fourth century B.C. A bronze image of Athena by Hypatodorus at Aliphera is declared by Pausanias to be worth seeing both for its size and its workmanship; but the date of this sculptor is somewhat uncertain. Strongylion, whom Pausanias describes as unrivalled in his representations of oxen and horses, seems to have flourished toward the end of the fifth century B.C. Among the sculptors of the following century Pausanias praises Cephisodotus [Sidenote: Sculptors of the fourth century B.C.] for the conception of his statue representing the infant Wealth in the arms of Peace, and the sculptors Xenophon and Callistratus for a similar allegorical work representing Wealth in the arms of Fortune. Further, he commends some of