20 THE FINE ARTS. 
pressed, and the supported and more developed half of the human body: 
Under such circumstances it may well have been the case that Polycletus 
gained the victory over Phidias, Ctesilaus, and others in an artistic contest 
the subject of which was the representation of an Amazon. The Amazon 
of Phidias, leaning on a lance and preparing for a charge, is in the 
Vatican ; the wounded Amazon of Ctesilaus (pl. 3, jig. 7) is in the Capi- 
toline Museum: and as both these statues are very beautiful, we may well 
suppose that of Polycletus to have been of the highest excellence in the 
representation of these blooming and powerfully developed female forms. 
The spirit of art manifested itself still more corporeally in Myron of 
Eleuthera, whose own personal qualities led him to a vivid conception and 
representation of the forms of animated nature. His cow, his dog, and 
other similar productions were exceedingly spirited, and his quoit-pitcher 
(discobolus), represented in the act of hurling, is shown, by the numberless 
imitations made of the statue, to have been of the highest perfection. 
Among mythological forms that of Hercules suited him best, whom he 
stalin ed along with Zeus and Athene in a group for the Samians. His forma- 
tion of the countenance, however, remained but indifferent; and his stiff treat- 
ment of the hair corresponded to that of the earlier brass statuary in the 
period of the Atginetic sculptures. 
His opposites were found in Callimachus and Demetrius. The works of 
Callimachus were distinguished by an industry that was never contented 
with its performances, nay he sometimes spoilt them by his too anxious 
and minute execution of details. He invented the application of the drill 
to working in marble. Demetrius of Athens on the other hand was the 
first who in his facsimile portraits, especially of old people, exhibited a 
faithfulness which went so far as to copy accurately even accidental defects 
and blemishes. 
After the Peloponnesian war there arose in Athens a new school of art in 
accordance with the new condition of things in Attica. It was especially 
through Scopas, a native of Paros, and Praxiteles of Athens, that art first 
received that tendency to the delineation of the more excitable and tender 
feelings which corresponded to the frame of men’s minds at that time; 
although it must be added that these masters united therewith a noble and 
grand conception of their subjects. 
Scopas wrought chiefly in marble, whose milder lustre no doubt seemed 
to him better adapted to the character of his productions than glittering 
brass; most of his statues refer to the myth of Dionysus and Aphrodite. 
He was the first who represented the Bacchic frenzy in a free and unfettered 
shape, and his Manade with wildly flowing hair sculptured in Parian 
marble was universally celebrated. The ideal of Apollo also owes to him 
the more graceful and animated form of the Pythian cither-player, which he 
effected by giving more life and spirit tothe figure previously in use. Whether 
the group of Wi0be and her Children in the temple of Apollo Socianus in 
Rome was the production of Scopas or of Praxiteles, the Roman connoisseurs 
themselves were unable to determine. At any rate the group manifests an 
art which loved to represent impressive and agitating subjects, but observed 
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