Side by side with Praxiteles must be men tioned Seopas (q.v.), of Paros, whose art was rather that of the Peloponnesian School, while Praxiteles is Attic. The remains of his work from the temple of Athena Alea at Tegea, though scanty, make it possible to recognize his style in a nmnber of other sculptures, such as the Meleager, the Arcs Ludovisi, and a head of the youthful Heraeles. These show dis tinctly his power in "tragic intensity of ex pression." To the last half of the Fifth and first half of the Fourth Century we may assign those most exquisite funereal monuments of the Athenian Ccramicus, such as that of Dexileos, and the deeply pathetic relief of Hegeso. The early re liefs show decidedly the influence of Phidias, while later the work of Seopas evidently became the model. Indeed many archaeologists are dis posed to see the actual work of this master in some of the best of these monuments.
Portraiture also began in this period with Silanion, and from this time probably date the beautiful Lateran Sophocles, and some of the types of Socrates and Plato. Heretofore the statues set up in honor of men had been ideal in their type rather than a portrayal of the real features of those honored.
The growth of the Attic drama in the fifth century led to the architectural development of the theatre, though most of the buildings known to us belong at the end of this period, or early in the next. For a consideration of the form and development of these structures, see TIIEA IRE.
In ceramics we must consider the Attic de velopment, which in this period is of absorbing interest, and gives us much light on painting on a larger scale, as well as on contemporary manners and customs. The rise of Attic black figured ware has already been mentioned. As a special form of this we must mention particu larly the fine l'anathenaic amphoras, with figures of the armed Athena, in which the sacred oil was presented to victors at the Panathenaic games. These vases are interesting as being continued in an form into the Fourth Century (ef. Baumeister, Denkmdler. art. Panathenaia). A special class of peculiarly Attic vases are the beautiful white lecythi (oil or perfume flasks), which were interred with the dead, and which contain scenes from the burial, and also from the daily life, exquisitely depicted in colors on the white slip with which the body of the vase is covered. The series begins early
in the Fifth Century, and continues during the Fourth, in the variations of style throwing much light on the development of painting, and form ing an interesting parallel to the contemporary series of grave reliefs.
in the ware, which far surpasses in artistic merit the black-figured, and of which the rise as a separate variety has already been mentioned, scenes from the myths, while not excluded, yet make room for delightful bits of social and domestic life. In the development of this style the "cylix." or shallow cup on a rather high foot. plays an important part, especially in the early part of the Fifth Century. when such masters flourished as Euphronios, Hiero and Brygos. See Hartwig. Griechische Aleiste• schitlen (Stuttgart and Berlin. 1893).
Various grotesque forms of vases, such as the rhyton (in the shape of a head, generally that of an animal), later came into use, and we find numerous examples of the pyxis, or woman's toilet-box. But the art gradually sank, and vase-painting was fast dying out at the begin ning of the Alexandrian Period.
In the domain of numismatics we must brief ly mention the periods of transitional art (R.c. 480-415) and of finest art (we. 415-336). We have here not to deal particularly with Athenian coinage. which, like the Panathenaie amphoras, keeps a designedly rude and archaic character in order to maintain its position with foreign peo ples, with whom the Attic State came in contact through its wide maritime relations and com mercial dealings. but rather with such beauti ful work as that of the Syracusan die-cutters Eturnetus and Cimon, in the period subsequent to n.c. 415, whose splendid deeadrachms are justly reckoned among the highest achievements in this class. We may trace, however, through the coins of this entire epoch that same gradual mastery of material and development from the more severe to the more graceful, which is marked in other lines of art. But coinage still maintains the sacred symbolism which character ized it from the beginning, the purely human and individual element appearing distinctly only in the special marks of magistrates and mint masters, which are kept subordinate to the main design.