the subsequent
copies preserved of this famous statue, we can only conceive the
outward idea of the attitude, but none of the pure grandeur of the
work of Praxiteles. In the Vatican (Chiaramonte gallery, No. 112)
there is one of very inferior execution, but perhaps the only one
which gives a correct idea of this Venus, as it corresponds as nearly
as possible with the pose of the statue on the coin of Cnidos and with
the description of Lucan.

His Cupid is represented as a slender, undeveloped boy, full of
liveliness and activity, earnestly endeavoring to fasten the strings
to his bow. A Roman copy of this statue is in the British Museum.

He also executed in bronze a Faun, which was known as "Periboetos, the
much famed;" the finest of the many copies of this celebrated statue
that have come down to us, is in the Capitol; and a youthful Apollo,
styled Sauroctonos, because he is aiming an arrow at a lizard which is
stealing towards him; a copy of this statue in marble is in the
Vatican, and one in bronze in the Villa Albani.

Contemporary with Praxiteles was Scopas. His works exhibit powerful
expression, grandeur, combined with beauty and grace. The group of
Niobe and her children, at Florence, has been attributed to him.
Another very celebrated work of Scopas was the statue of the Pythian
Apollo playing on the lyre, which Augustus placed in the temple which
he built to Apollo, on the Palatine, in thanksgiving for his victory
at Actium. An inferior Roman copy of this statue is in the Vatican. He
was also celebrated for his heads of Apollo. Of these many excellent
copies are still extant, the finest being that formerly in the
Giustiniani collection, and now in the British Museum.

The late discoveries at Halicarnassus have yielded genuine works of
Scopas in the sculptures of the bas-reliefs of Mausoleum, erected by
Artemisia in memory of her husband, Mausolus, King of Caria, the east
side of which is known to have proceeded from his hands; the other
sides by his contemporaries, Bryaxis, Timotheus and Leochares. Parts
of these are now in the British Museum.

The bas-reliefs of the temple of Nike Apteros have been associated
with the peculiarities which characterize the productions of Scopas. A
figure of Victory, stooping to loose her sandal, in bas-relief from
this temple, is remarkable for its admirably arranged drapery.

The sculptural decorations of the temple of Artemis, at Ephesus, the
foundations of which have