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 200 Greek Sculpture. grandeur of the goddess. The Wrestlers,* in the Uffizi Gallery at Florence, has been ascribed to Cephisodotus. One of the principal masters of the later Attic school was Scopas of Paros, who built the Temple of Athena in Tegea, and sculptured for the pediments the marble groups representing the combat of Achilles with Telephus, and the pursuit of the Calydonian boar. Scopas also designed, if he did not execute, the reliefs for the eastern side of the Mausoleum of Halicarnassus : the group of Niobe and her Children,* in the Uffizi Gallery at Florence, has been ascribed both to him and to Praxiteles. It has been said that the central figure of this group — the bereaved mother gazing up to Heaven with eyes full of reproachful appeal — expresses mental agony better than any other work of art ever produced. Timotheus, Bryaxis, and Leochares, were the chief colleagues of Scopas. The second great master of sculpture of this period was Praxiteles, who flourished at Athens about the year 364 B.C. His most famous works were the nude Venus of Cnidus, which was visited by his admirers from all parts of Greece (it is said that the Cnidians valued it more highly than the discharge of their public debt, which Nicomedes offered in exchange for this statue) ; the Apollo Saurocteinus or Lizard Slayer; the Faun of the Museum of the Uffizi ; the Venus of Capua, and the Venus Callipyge, both at Naples. In the Peloponnesus, Lysippus was the founder of a school. He was especially successful with iconic (i. e. portrait) statues ; and, adopting the canon of Polycletus, he introduced a new mode of treating the human figure, representing men rather as they ought to appear than as
 * The Crystal Palace contains fine casts of nearly all these.