This reserve is the more advisable because Scopas and Praxiteles are but two stars, by far the brightest, to be sure, in a brilliant constellation of contemporary artists.  For the others it is impossible to do much more here than to mention the most important names:  Leochares and Timotheus, whose civic ties are unknown, Bryaxis and Silanion of Athens, and Euphranor of Corinth, the last equally famous as painter and sculptor.  These artists seem to be emerging a little from the darkness that has enveloped them, and it may be hoped that discoveries of new material and further study of already existing material will reveal them to us with some degree of clearness and certainty.  A good illustration of how new acquisitions may help us is afforded by a group of fragmentary sculptures found in the sanctuary of Asclepius near Epidauros in the years 1882-84 and belonging to the pediments of the principal temple.  An inscription was found on the same site which records the expenses incurred in building this temple, and one item in it makes it probable that Timotheus, the sculptor above mentioned, furnished the models after which the pediment-sculptures were executed.  The largest and finest fragment of these sculptures that has been found is given in Fig. 159.  It belongs to the western pediment, which seems to have contained a battle of Greeks and Amazons.  The Amazon of our illustration, mounted upon a rearing horse, is about to bring down her lance upon a fallen foe.  The action is rendered with splendid vigor.  The date of this temple and its sculptures may be put somewhere about 375.

Reference was made above (page 215) to the Mausoleum.  The artists engaged on the sculptures which adorned that magnificent monument were, according to Pliny, Scopas, Leochares, Bryaxis, and Timotheus. [Footnote:  The tradition on this point was not quite uniform Vitruvius names Praxiteles as the fourth artist, but adds that some believed that Timotheus also was engaged] There seem to have been at least three sculptured friezes, but of only one have considerable remains been preserved (cf.  Fig. 65).  This has for its subject a battle of Greeks and Amazons, a theme which Greek sculptors and painters never wearied of reproducing.  The preserved portions of this frieze amount in all to about eighty feet, but the slabs are not consecutive.  Figs. 160 and 161 give two of the best pieces.  The design falls into groups of two or three combatants, and these groups are varied with inexhaustible fertility and liveliness of imagination.  Among the points which distinguish this from a work of the fifth century may be noted the slenderer forms of men and women and the more expressive faces.  The existing slabs, moreover, differ among themselves in style and merit, and an earnest attempt has been made to distribute them among the four artists named by Pliny, but without conclusive results.