Ageladas ' fame is enhanced by his having been the instructor of the three great masters, Phidias, Myron, and Polykleitos.

Polykleitos, along with Phidias, created the Classical Greek style.

According to his findings, the altar was erected between 166 and 156 BC as a general victory monument commemorating the triumphs of the Pergamenes, and especially of Eumenes II, over the Macedonians, the Galatians and the Seleucids, and was designed by Phyromachos, the seventh and last of the greatest Greek sculptors, who included Myron, Phidias, Polykleitos, Scopas, Praxiteles and Lysippos.

Commentators noted his grace and elegance, and the symmetria or coherent balance of his figures, which were leaner than the ideal represented by Polykleitos and with proportionately smaller heads, giving them the impression of greater height.

In this enclosure were found the bronze herma of Doryphorus, a replica of Polykleitos ' athlete, and the herma of an Amazon made by Apollonios son of Archias of Athens.

The marble sculpture and a bronze head that had been retrieved at Herculaneum were published in Le Antichità di Ercolano, ( 1767 ) but were not identified as representing Polykleitos ' Doryphorus until 1863.

Marble Roman copy after a 5th-century BC Greek original attributed to Polykleitos.

The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic.

According to the canon of the Classical Greek Sculptor Polykleitos in the 4th century BC, it is one of the most important characteristics of his figurative works and those of his successors, Lysippos, Skopas, etc.

* Andrew Stewart, One Hundred Greek Sculptors: Their Careers and Extant Works Polykleitos of Argos, 16. 72

The architectural design of the building was credited in antiquity to the sculptor Polykleitos the Younger, son of the Classical Greek sculptor Polykleitos the Elder.

The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos.

Polykleitos ( or Polyklitos, Polycleitus, Polyclitus ; Greek Πολύκλειτος ); called the Elder, was a Greek sculptor in bronze of the fifth and the early 4th century BCE.

* Polykleitos, Ancient Greek sculptor

** Polykleitos the Younger, the Greek sculptor's son

Polykleitos the Younger () ( circa 4th century BC ) was an ancient Greek sculptor of athletes.

He was the son of the Classical Greek sculptor Polykleitos, the Elder.

Similar to Lysippus, Scopas is in his art a successor of the Classical Greek sculptor Polykleitos.

The objects included a Greek red-figure kylix from the 5th-century BC, signed by the painter Onesimos and the potter Euphronios as potter, looted from the Etruscan site of Cerveteri ; a torso of the god Mithra from the 2nd-century AD, and the head of a youth by the Greek sculptor Polykleitos.

The Greek sculptor Polykleitos designed a work, perhaps this one, as an example of the " canon " or " rule ", showing the perfectly harmonious and balanced proportions of the human body in the sculpted form.

" Polykleitos ", in O. Palagia and J. J. Pollitt, eds, Personal Styles in Greek Sculpture ( Yale Classical Studies XXX ) ( Cambridge University Press ) 1998: 66-90.

The Roman writers Pliny and Pausanias noted the names of about twenty sculptors in Polykleitos ' school, defined by their adherence to his principles of balance and definition.

Polykleitos ' school lasted for at least three generations, but it seems to have been most active in the late 4th century and early 3rd century BCE.

In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos.

Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.

Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements ( materials ), but of the parts, that is the interrelation of parts with one another and with the whole.

* Polykleitos, The J. Paul Getty Museum ( link broken )

* Polykleitos starts making the bronze statue Achilles ( also known as The Spear Bearer or Doryphoros ), which he finishes about ten years later.

On the other hand Pliny says that Ageladas, with Polykleitos, Phradmon, and Myron, flourished in the 87th Olympiad.

He was a contemporary, but a somewhat older contemporary, of Pheidias and Polykleitos.

Polykleitos ' Doryphoros ( Spear-Bearer ), an early example of classical contrapposto.

Polykleitos ' Astragalizontes (" Boys Playing at Knuckle-bones ") was claimed by the Emperor Titus and set in a place of honour in his atrium.

Polykleitos consciously created a new approach to sculpture ; he wrote a treatise ( Kanon ) and designed a male nude ( also known as Kanon ) exemplifying his aesthetic theories of the mathematical bases of artistic perfection, which motivated Kenneth Clark to place him among " the great puritans of art ": His Kanon " got its name because it had a precise commensurability ( symmetria ) of all the parts to one another " " His general aim was clarity, balance, and completeness ; his sole medium of communication the naked body of an athlete, standing poised between movement and repose " Kenneth Clark observed.

Skopas and Lysippus are the best-known successors of Polykleitos.

His son, Polykleitos the Younger, worked in the 4th century BCE.

He was a younger contemporary of Phidias and noted for the delicacy and finish of his works, among which a Hephaestus and an Aphrodite " of the Gardens " were conspicuous.

Phidias, a great Athenian sculptor, and Ictinus and Callicrates, two famous architects, were responsible for the reconstruction.

The shallow reliefs and three-dimensional sculpture which adorned the frieze and pediments, respectively, of the Parthenon, are the lifelike products of the High Classical style ( 450-400 BC ) and were created under the direction of the sculptor Phidias.

There were still some shards of ivory at the site, moulds and other casting equipment, and a black glaze drinking cup engraved " I belong to Phidias ".

The earliest of the works of Phidias were dedications in memory of Marathon, celebrating the Greek victory.

In the Hippias Major, Plato claims that Phidias seldom, if ever, have executed works in marble though many of the sculptures of his times were executed in marble.

Inscriptions prove that the marble blocks intended for the pedimental statues of the Parthenon were not brought to Athens until 434 BC, which was probably after the death of Phidias.

The most probable solution of the difficulty is that of Friedrich Thiersch, who thinks that there were two artists of this name ; one an Argive, the instructor of Phidias, born about 540 BC, the other a native of Sicyon, who flourished at the date assigned by Pliny and was confounded by the scholiast on Aristophanes with his more illustrious namesake of Argos.

The first and most admirable marble carvers and sculptors were the Greeks, namely Antenor ( 6th c. BC ), Phidias and Critias ( 5th c. BC ), Praxiteles ( 4th c. BC ) and others who used mainly the marble of Paros and Thassos islands, the whitest and brightest of all, although not the finest, and also the Pentelikon marble.

In sculpture, Skopas, Praxiteles, Phidias, and Lysippos were the foremost sculptors.