Praxiteles, who excelled more particularly in marble, and thence acquired his chief celebrity, also executed some very beautiful works in brass, the Rape of Proserpine, the Catagusa,[1448] a Father Liber,[1449] a figure of Drunkenness, and the celebrated Satyr,[1450] to the Greeks known as “Periboetos.”[1451] He also executed the statues, which were formerly before the Temple[1452] of Good Fortune, and the Venus, which was destroyed by fire, with the Temple of that goddess, in the reign of Claudius, and was considered equal to his marble statue of Venus,[1453] so celebrated throughout the world. He also executed a Stephanusa,[1454] a Spilumene,[1455] an Œnophorus,[1456] and two figures of Harmodius and Aristogiton, who slew the tyrants; which last, having been taken away from Greece by Xerxes, were restored to the Athenians on the conquest of Persia by Alexander the Great.[1457] He also made the youthful Apollo, known as the “Sauroctonos,”[1458] because he is aiming an arrow at a lizard which is stealing towards him. There are greatly admired, also, two statues of his, expressive of contrary emotions—a Matron in tears, and a Courtesan full of gaiety: this last is supposed to be a likeness of Phryne, and it is said that we can detect in her figure the love of the artist, and in the countenance of the courtesan the promised reward.[1459] His kindness of heart, too, is witnessed by another figure; for in a chariot and horses which had been executed by Calamis,[1460] he himself made the charioteer, in order that the artist, who excelled in the representation of horses, might not be considered deficient in the human figure. This last-mentioned artist has executed other chariots also, some with four horses, and some with two; and in his horses he is always unrivalled. But that it may not be supposed that he was so greatly inferior in his human figures, it is as well to remark that his Alcmena[1461] is equal to any that was ever produced. Alcamenes,[1462] who was a pupil of Phidias, worked in marble and executed a Pentathlete in brass, known as the “Encrinomenos.”[1463] Aristides, too, who was the scholar of Polycletus, executed chariots in metal with four and two horses. The Leæna[1464] of Amphicrates[1465] is highly commended. The courtesan[1466] Leæna, who was a skilful performer on the lyre, and had so become acquainted with Harmodius and Aristogiton, submitted to be tortured till she expired, rather than betray their plot for the extermination of the tyrants.[1467] The Athenians, being desirous of honouring her memory, without at the same time rendering homage to a courtesan, had her represented under the figure of the animal whose name she bore;[1468] and, in order to indicate the cause of the honour thus paid her, ordered the artist to represent the animal without a tongue.[1469]