During the time of Boupalos and Athenis, art began to flourish in other places than Chios. First in Sikyon, with the two Cretans Dipoinos and Skyllis, who may have been even older than the last Chian masters. They were called, it seems, to Sikyon, and there chiefly employed their energies in founding a school, changing at times the site of their labors to Argos, Cleonæ, and Ambrakia. Like the masters of Chios, they chiefly employed the marble of Paros, and it appears, from the accounts of a group representing Apollo, Artemis, Athene, and Heracles, that they too sought their fame less in devotional images for the interior of temples than in monumental compositions for architectural ornament. Although these Cretan sculptors, according to the testimony of Pliny, acquired great celebrity in marble working, they are more important as the founders of the third among the statuesque arts above mentioned--that process of gold and ivory overlaying which culminated in the greatest masterpieces of Pheidias. It seems to have originated from the native xoana of early times, by transferring the inlaid decoration observed upon the furniture of the heroic ages to sculpture in the round. It developed in plainly distinguishable stages. Dipoinos and Skyllis still only in part covered the carved core of wood, and restricted this overlaying to ivory. This is illustrated by the accounts of a group of the mounted Dioscuri, with their mistresses Hilasia and Phœbe, and their sons Anaxis and Mnasinos, in the Temple of the Isius at Argos, which was cut out of common wood and ebony, the former being covered with ivory. Statues were made by Hegylos and his son Theocles, scholars of Dipoinos and Skyllis, for the treasure-house of the Epidamnians in Olympia, which represented Heracles with the Nymphs of the Hesperides, and Atlas bearing the heavenly globe; Pausanias describes this work as cut from cedar-wood, and the serpent and the tree with the golden apples of the Hesperides must certainly have required the inlaying of gold, if not of ivory. The author particularly mentions the employment of gold upon another group: the struggle of Heracles with Acheloos for Deianeira, the work of Donycleidas and Dontas of Lacedæmonia, also scholars of the Cretan masters. The perfection of the chryselephantine process seems early to have been obtained, the wood, before in great part visible, was by the latter artists used only as a kernel, being completely covered with ivory and gold. This was, at least, the case with the Themis of Donycleidas in the Temple of Hera at Olympia. That Pausanias considers these statues extremely archaic must be understood as a relative judgment; it is to be borne in mind that works by which a new process is introduced are always of a primitive and imperfect appearance, if not artistically backward. A sphyrelaton of beaten copper-plates riveted together was still possible to this school, for a figure of Athene Chalkioicos at Sparta was the work of Clearchos of Rhegion, a member of this guild. The sphyrelaton was, indeed, nearly related to chryselephantine work which was virtually a combination of the sphyrelaton with the ancient xoanon. The Æginetan Smilis, of this group of scholars, was celebrated as the first great artist of his island. His connection with the Cretans is more certain than with the later sculptors of Ægina; if he should prove to be older than the native Sikyonian masters, as has recently been asserted, this would add another site to the primitive schools of Greek art.