Stypax of Cyprus acquired his celebrity by a single work, the statue of the Splanchnoptes;[1517] which represents a slave of the Olympian Pericles, roasting entrails and kindling the fire with his breath. Silanion made a statue in metal of Apollodorus, who was himself a modeller, and not only the most diligent of all in the study of this art, but a most severe criticizer of his own works, frequently breaking his statues to pieces when he had finished them, and never able to satisfy his intense passion for the art—a circumstance which procured him the surname of “the Madman.” Indeed, it is this expression which he has given to his works, which represent in metal embodied anger rather than the lineaments of a human being. The Achilles, also, of Silanion is very excellent, and his Epistates[1518] exercising the Athletes. Strongylion[1519] made a figure of an Amazon, which, from the beauty of the legs, was known as the “Eucnemos,”[1520] and which Nero used to have carried about with him in his travels. Strongylion was the artist, also, of a youthful figure, which was so much admired by Brutus of Philippi, that it received from him its surname.[1521] Theodorus of Samos,[1522] who constructed the Labyrinth,[1523] cast his own statue in brass; which was greatly admired, not only for its resemblance, but for the extreme delicacy of the work. In the right hand he holds a file, and with three fingers of the left, a little model of a four-horse chariot, which has since been transferred to Præneste:[1524] it is so extremely minute, that the whole piece, both chariot and charioteer, may be covered by the wings of a fly, which he also made with it. Xenocrates[1525] was the pupil of Ticrates, or, as some say, of Euthycrates: he surpassed them both, however, in the number of his statues, and was the author of some treatises on his art. Several artists have represented the battles fought by Attalus and Eumenes with the Galli;[1526] Isigonus, for instance, Pyromachus, Stratonicus, and Antigonus,[1527] who also wrote some works in reference to his art. Boëthus,[1528] although more celebrated for his works in silver, has executed a beautiful figure of a child strangling a goose. The most celebrated of all the works, of which I have here spoken, have been dedicated, for some time past, by the Emperor Vespasianus in the Temple of Peace,[1529] and other public buildings of his. They had before been forcibly carried off by Nero,[1530] and brought to Rome, and arranged by him in the reception-rooms of his Golden Palace.[1531]