the exception of the Olympian Jupiter of Phidias, has received higher and more unqualified eulogiums from ancient writers, than any other work of Gre cian art. These two great artists may therefore be considered as standing at the head of their respective schools; Praxiteles, the delicate and beautifulPhidias, the grand and sublime.

THE WORKS OF PRAXITELES.

Praxiteles was eminent for his works, both in bronze and marble, but he seems to have had the highest reputation for his skill in the latter. Among those in bronze, Pliny and Pausanias mention a statue of Bacchus; and one of a Satyr so excellent, that it was called Periboetos, or the Celebrated. He also made a statue of Venus; a statue of a Matron weeping; and one of a Courtesan laughing, be lieved to be a portrait of the celebrated Thespian courtesan, Phryne. His Apollo Sauroctonos (or the Lizard Killer), was the finest of his works in bronze, and was greatly distinguished for purity of style, and graceful beauty of form. In the Vatican there is a well-authenticated marble copy of this work, which is justly considered one of the greatest treasures of that storehouse of art. Among the works in marble by Praxiteles, the famous Venus of Cnidus takes the preeminence.

THE VENUS OF CNIDUS.

Praxiteles executed two statues of Venus-the one draped, and the other naked. The people of

Coos chose the former, as the most delicate; but the Cnidians immediately purchased the latter. This work is mentioned by Lucian as the masterpiece of Praxiteles; and it is also the subject of numerous epigrams in the Greek Anthology. Its fame was so great that travelers visited Cnidus on purpose to see it. The original work was destroyed at Constantinople, in the fifth century, in the dreadful fire which consumed so many of the admirable monuments of art, collected in that city.

PRAXITELES AND PHRYNE.

Pausanias relates that the beautiful Phryne, whose influence over Praxiteles seems to have been considerable, was anxious to possess a work from his chisel, and when desired to choose for herself, not knowing which of his exquisite works to select, devised the following expedient. She commanded a servant to hasten to him, and tell him that his workshop was in flames, and that with few exceptions, his works had already perished. Praxiteles, not doubting the truth of the announcement, rushed out in the greatest anxiety and alarm, exclaiming, "all is lost, if my Satyr and Cupid are not saved!" The object of Phryne was answered-she confessed her stratagem, and chose the Cupid.

Pliny mentions two figures of Cupids as among the finest works of Praxiteles, one of which he ranks on an equality with the Venus of Cnidus. It was made of Parian marble. There is an exquisite an

tique Cupid in the Vatican, supposed to be a copy of the Cupid of Phryne.

THE KING OF BITHYNIA AND THE VENUS OF CNIDUS.

According to Lucian, Nicomedes, King of Bithynia, was so captivated with the Venus of Cnidus, that he offered to pay a debt of the city, amounting to one hundred talents, (about one hundred thousand dollars) on condition of their giving up to him this celebrated statue; but the citizens, to their honor, refused to part with it on any terms, regarding it as the principal glory of the state.

PHIDIAS.

Phidias, the most renowned sculptor of antiquity, was born about B. C. 490. Quintilian calls him "the Sculptor of the Gods," and others, "the Eschylus of Sculpture," from the character of grandeur and sublimity in his works. The times in which he lived were peculiarly favorable to the development of his genius. He was employed upon great public works during the administration of Cimon, and subsequently, when Pericles attained the height of his power, Phidias seems to have been consulted in regard to the conduct of all the works in sculpture, as well as architecture. Plutarch says, "It was Phidias who had the direction of these works, although great architects and skillful sculptors were employed in erecting them." Among the most remarkable objects upon which his talents were

exercised, the Parthenon, or Temple of Minerva, claims preeminence. It was built by Callicrates and Ictinus, under the superintendence of Phidias. Within the temple, Phidias executed his celebrated statue, in gold and ivory, of Minerva, represented standing erect, holding in one hand a spear, and in the other a statue of Victory. The helmet was highly decorated, and surmounted by a sphinx; the naked parts were of ivory; the eyes of precious stones; and the drapery throughout was of gold. It is said there were forty talents weight of this metal used in the statue. The people, being desirous of having all the glory of the work, prohibited Phidias from inscribing his name upon it; but he contrived to introduce his own portrait as an old bald-headed man throwing a stone, in the representation of the combat between the Athenians and Amazons, which decorated the shield. A likeness of Pericles was also introduced in the same composition. The exterior of the Parthenon was enriched with admirable sculptures, many of which were from the hand of Phidias, and all of them executed under his direction. A portion of these, termed the Elgin marbles, from their having been taken to England by the Earl of Elgin, are now in the British Museum. They have been highly commended by the most excellent judges; and the eminent sculptor Canova, after visiting London, declared that "he should have been well repaid for

his journey to England, had he seen nothing but the Elgin marbles."

PHIDIAS AND ALCAMENES.

The comprehensive character of the genius of this preeminent sculptor, is well attested by his contest with Alcamenes. It was intended to place a statue of Minerva on a column of great height in the city of Athens; and both these artists were employed to produce images for the purpose, which were to be chosen by the citizens. When the statues were completed, the universal preference was given to the work of Alcamenes, which appeared elegantly finished, while that of Phidias appeared rude and sketchy, with coarse and ill-proportioned features. However, at the request of Phidias, the statues were successively exhibited on the elevation for which they were intended, when all the minute beauties of his rival's work completely disappeared, together with the seeming defects of his own; and the latter, though previously despised, seemed perfect in its proportions, and was surveyed with wonder and delight.

INGRATITUDE OF THE ATHENIANS.

The enemies of Pericles, with the view of implicating that statesman, accused Phidias of having misapplied part of the gold entrusted to him for the statue of Minerva, and desired that he should be brought to trial. The sculptor, however, by the