Tisicrates[1556] executed a two-horse chariot in brass, in which Piston afterwards placed the figure of a female. Piston also made the statues of Mars and Mercury, which are in the Temple of Concord at Rome. No one can commend Perillus;[1557] more cruel even than the tyrant Phalaris[1558] himself, he made for him a brazen bull, asserting that when a man was enclosed in it, and fire applied beneath, the cries of the man would resemble the roaring of a bull: however, with a cruelty in this instance marked by justice, the experiment of this torture was first tried upon himself. To such a degree did this man degrade the art of representing gods and men, an art more adapted than any other to refine the feelings! Surely so many persons had not toiled to perfect it in order to make it an instrument of torture! Hence it is that the works of Perillus are only preserved, in order that whoever sees them, may detest the hands that made them. Sthennis[1559] made the statues of Ceres, Jupiter, and Minerva, which are now in the Temple of Concord; also figures of matrons weeping, adoring, and offering sacrifice; Simon[1560] executed figures of a dog and an archer. Stratonicus,[1561] the chaser in silver, made some figures of philosophers; and so did both of the artists named Scopas.[1562] The following artists have made statues of athletes, armed men, hunters, and sacrifices—Baton,[1563] Euchir,[1564] Glaucides,[1565] Heliodorus,[1566] Hicanus, Leophon, Lyson,[1567] Leon, Menodorus,[1568] Myagrus,[1569] Polycrates, Polyidus,[1570] Pythocritus, Protogenes, a famous painter, whom we shall have occasion to mention hereafter;[1571] Patrocles, Pollis, Posidonius[1572] the Ephesian, who was also a celebrated chaser in silver; Periclymenus,[1573] Philon,[1574] Symenus, Timotheus,[1575] Theomnestus,[1576] Timarchides,[1577] Timon, Tisias, and Thrason.[1578] But of all these, Callimachus is the most remarkable, on account of his surname. Being always dissatisfied with himself, and continually correcting his works, he obtained the name of “Catatexitechnos;”[1579] thus affording a memorable example of the necessity of observing moderation even in carefulness. His Laconian Female Dancers, for instance, is a most correct performance, but one in which, by extreme correctness, he has effaced all gracefulness. It has been said, too, that Callimachus was a painter also. Cato, in his expedition against Cyprus,[1580] sold all the statues that he found there, with the exception of one of Zeno; in which case he was influenced, neither by the value of the metal nor by its excellence as a work of art, but by the fact that it was the statue of a philosopher. I only mention this circumstance casually, that an example[1581] so little followed, may be known.