the Lateran at Rome there is a small
but very beautiful antique statue of Nemesis, which is thought to be a
copy of this famous work. As Nemesis was the goddess who meted out
fortune according to her idea of right, a measure was her symbol, and
the Greek measure of a cubit was generally placed in her hand. The word
cubit means the length of the forearm from the elbow to the wrist, and
in this statue of which we speak this part of the arm is made very
prominent, and the measure itself is omitted.

The sculptor Myron also had pupils and followers who executed many
works, and of this school was CRESILAS of Cydonia, in Crete. We are
interested in him because two copies from his works exist, of which I
give pictures here. Pliny, in speaking of the portrait statue of
Pericles, said it was a marvel of the art "which makes illustrious men
still more illustrious." The cut given here is from a bust in the
British Museum. There is reason to believe that Cresilas excelled Myron
in the expression of his faces (Figs. 37, 38).

[Illustration: FIG. 37.--A WOUNDED AMAZON. _Cresilas._]

[Illustration: FIG. 38.--STATUE OF PERICLES. _Cresilas._]

CALLIMACHUS is an artist of whom we know little, but that little is
interesting. We do not know where he was born, but as he was employed to
make a candelabra for the eternal lamp which burned before the sacred
statue of Athena Polias, we may suppose that he was an Athenian. Some
writers say that he invented a lamp which would burn a year without
going out, and that such an one made of gold was the work he did for the
temple of Minerva. Callimachus lived between B.C. 550 and 396, and is
credited with having invented the Corinthian capital in this wise: A
young girl of Corinth died, and her nurse, according to custom, placed a
basket upon her grave containing the food she had loved best in life. It
chanced that the basket was put down upon a young acanthus plant, and
the leaves grew up about the basket in such a way that when Callimachus
saw it the design for the capital which we know as Corinthian was
suggested to him, and was thus named from the city in which all this had
occurred.

While the plastic art of Athens, or the Attic school of sculpture,
reached its greatest excellence in Phidias, there was in the
Peloponnesus another school of much importance. Argos was the chief city
of this school, and its best master was POLYCLEITUS of Sicyon, who was
born about B.C. 482. He was thus about tw