Fig. 148 introduces us to another tendency of fourth century art.  The group represents Eirene and Plutus (Peace and Plenty).  It is in all probability a copy of a bronze work by Cephisodotus, which stood in Athens and was set up, it is conjectured, soon after 375, the year in which the worship of Eirene was officially established in Athens.  The head of the child is antique, but does not belong to the figure; copies of the child with the true head exist in Athens and Dresden.  The principal modern parts are:  the right arm of the goddess (which should hold a scepter), her left hand with the vase, and both arms of the child; in place of the vase there should be a small horn of plenty, resting on the child’s left arm.  The sentiment of this group is such as we have not met before.  The tenderness expressed by Eirene’s posture is as characteristic of the new era as the intensity of look in the head from Tegea.

Cephisodotus was probably a near relative of a much greater sculptor, Praxiteles, perhaps his father.  Praxiteles is better known to us than any other Greek artist.  For we have, to begin with, one authenticated original statue from his hand, besides three fourths of a bas-relief probably executed under his direction.  In the second place, we can gather from our literary sources a catalogue of toward fifty of his works, a larger list than can be made out for any other sculptor.  Moreover, of several pieces we get really enlightening descriptions, and there are in addition one or two valuable general comments on his style.  Finally two of his statues that are mentioned in literature can be identified with sufficient certainty in copies.  The basis of judgment is thus wide enough to warrant us in bringing numerous other works into relation with him.

About his life, however, we know, as in other cases, next to nothing.  He was an Athenian and must have been somewhere near the age of Scopas, though seemingly rather younger.  Pliny gives the hundred and fourth Olympiad (370-66) as the date at which he flourished, but this was probably about the beginning of his artistic career.  Only one anecdote is told of him which is worth repeating here.  When asked what ones among his marble statues he rated highest he answered that those which Nicias had tinted were the best.  Nicias was an eminent painter of the period (see page 282, foot note).

The place of honor in any treatment of Praxiteles must be given to the Hermes with the infant Dionysus on his arm (Figs. 149, 150).  This statue was found on May 8, 1877, in the Temple of Hera at Olympia, lying in front of its pedestal.  Here it had stood when Pausanias saw it and recorded that it was the work of Praxiteles.  The legs of Hermes below the knees have been restored in plaster (only the right foot being antique), and so have the arms of Dionysus.  Except for the loss of the right arm and the lower legs, the figure of Hermes is in admirable preservation, the surface being uninjured.  Some notion of the luminosity of the Parian marble may be gained from Fig. 150.