The influence of the sculptures of the Parthenon is seen in many directions in the temple of Apollo at Phigalia, the temple of Niké-Apteros on the Acropolis at Athens, at Halicarnassus, etc. “The works which are known to have been executed by the sculptors contemporary with Phidias, and by others who formed what is spoken of as ‘the later Athenian school,’ did not approach the great examples of the Parthenon. Sculpture then reached the highest point in the grandest style, whether in the treatment of the statue in the round, or of bas-relief as in the frieze, or alto-relievo as in the metopes. As to the chryselephantine statues of Phidias, it may be concluded without hesitation that though we are compelled to rely upon descriptions only, they must have been works of the great master even more beautiful than the marbles.” At Argos during the time of Phidias, a somewhat younger school flourished under the leadership of Polycleitus. “The aspiration of Polycleitus was to depict the perfect beauty of the human form in calm repose.” His Amazon and Juno represent best his style; so perfect are all his works in their proportions that the invention of the canon has been assigned to him. In the works of the later Athenian school, at the head of which were Scopas and Praxiteles, the sublime ideal of Greek art was no longer sustained by any new creations that can be compared with those of the Phidian school; no rivalry with those great masters seemed to be attempted. The severe and grand was beyond the comprehension, or probably uncongenial to the spirit of the age, which inclined toward the poetic, the graceful, the sentimental and romantic. The whole range of the beautiful myths found abundant illustration in forms entirely different from the ancient archaic representations, and in these the fancy of the sculptor was allowed the fullest and freest indulgence. Nymphs, nereids, mænads, and bacchantes occupied the chisel of the sculptor in every form of graceful beauty. After this epoch, to which so many of the fine statues belong—repetitions in marble of famous originals in bronze—Greek sculpture took another phase in accordance with the social life and the taste of the age, which inclined toward the feeling for display that arose with the domination of the Macedonian power, brought to its height by the conquests and ambition of Alexander the Great. Lysippus, a self-taught sculptor of Sicyon, was the leading artist of his time. He was evidently a student of nature and individual character, as he was the first to become celebrated for his portraits, especially those of Alexander. He departed from the severe and grand style, and in the native conceit of all self-taught men sneered at the art of Polycleitus in the well-known saying recorded of him, “Polycleitus made men as they were, but I make them as they ought to be.” He seems to have been the first great naturalistic sculptor.