In the fifth century various art schools were founded. “In Argos lived Argeladas (515-455 B. C.), famous for his bronze statues of gods and Olympic victors, and still more famous for his three great pupils, Phidias, Myron, and Polycleitus. In Sicyon there lived, at the same time, Canachus, the founder of a vital and enduring school. He executed the colossal statue of Apollo at Miletus, and was skilled not only in casting bronze but in the use of gold and ivory and wood carving. Ægina, then a commercial island as yet not subjected, was rendered illustrious by the two masters Callon and Onatas, the latter especially known by several groups of bronze statues and warlike scenes from heroic legends. Lastly, Athens possessed among other artists Hegias, the teacher of Phidias and Critius. But all of these old masters were severe, hard, archaic in their treatment.” But a period approaches when by a freer, happier treatment of their work the way was led to the highest Athenian sculpture. We can but mention the leading sculptors, Calamis of Athens, Pythagoras of Rhegium, and, greatest of all, Myron of Athens. They do not belong to the epoch of the finest Grecian art, but they were the immediate forerunners. “Now, for the first time in opposition to the barbarians, the national Hellenic mind rose to the highest consciousness of noble independence and dignity. Athens concentrated within herself, as in a focus, the whole exuberance and many-sidedness of Greek life, and glorified it into beautiful utility. The victory of the old time over the new was effected by the power of Phidias, one of the most wonderful artist minds of all times. He lived in the times of Athens’ greatest prosperity, and to him Pericles gave the task of executing the magnificent works he had planned for adorning the city. Among the famous statues which Phidias wrought in carrying out these plans was that of Athene, the patron goddess of the Athenians. The booty which had been taken at Salamis was set aside for this purpose, and forty-four talents, equal to $589,875 of our money, was spent in adorning the statue. The virgin goddess was standing erect; a golden helmet covered her beautiful and earnest head; a coat of mail, with the head of the Medusa carved in ivory concealed her bosom; and long, flowing, golden drapery enveloped her whole figure—a statue of Niké, six feet high, stood on the outstretched hand of the goddess. The undraped parts were formed of ivory; the eyes of sparkling precious stones; the drapery, hair, and weapons of gold. In it Phidias portrayed for all ages the character of Minerva, the serious goddess of wisdom, the mild protectress of Attica.”