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It is by no means easy to distinguish thus strongly between the sculpture of the fifth-century Greece and that of the fourth without, in a measure, appearing to depreciate the one or the other. It is particularly easy to convey some such impression when we have to assert that Scopas and Praxiteles, the typical sculptors of fourth-century Greece, failed to embody in their bronzes and marbles the inmost revelations vouchsafed to the Greek imagination. It is as true that Greece owes to Phidias and Polyclitus the sculpture which is most truly Hellenic, as that we owe to Shakespeare the drama which is most truly English. But the appreciation of the art produced by the England of the twenty years after the Armada does not necessitate our decrying such lyricists as Herrick and Rochester. We know that our literature is the richer for both these elements. We can spare neither the awful pathos of Leah’s recognition of Cordelia, nor Herrick’s “Night Piece to Julia.” We must hold the scales at least as evenly between the art of Phidias and the art of Praxiteles.