A copy of the Diadumenos of Polyclitus from Delos, and temple sculptures from Epidaurus and the Argive Heraeum, are among the more notable of its recent acquisitions.
The architect was Polyclitus, probably to be identified with the younger sculptor of that name.
Kavvadias, who excavated the theatre, believes that the proscenium is contemporary with the rest of the theatre, which, like the Tholos, was built by Polyclitus (the younger); but Professor W.
The most celebrated statue of Hera was the chryselephantine work of Polyclitus, made for the Heraeum at Argos soon after 423 s.c. It is fully described by Pausanias, who says that Hera was seated on a throne, wearing a crown (crTEg5avos), and carrying a sceptre in one hand and a pomegranate in the other.
Polyclitus seems to have fixed the type of Hera as a youthful matron, but unfortunately the exact character of her head cannot be determined.
Their school of bronze sculpture, whose first famous exponent was Ageladas (Hagelaidas), the reputed master of Pheidias, reached its climax towards the end of the 5th century in the atelier of Polyclitus and his pupils.
And when in the year 423 B.C., through the negligence of the priestess Chryseis, the old temple was burnt down, the Argives erected a splendid new temple, built by Eupolemos, in which was placed the great gold and ivory statue of Hera, by the sculptor Polyclitus, the Cyclopean wall and below it were found traces of small houses of the rudest, earliest masonry which are pre-Mycenaean, if not pre-Cyclopean.
These statues bear the same relation to the sculptor Polyclitus which the Parthenon marbles hold to Pheidias; and the excavations have thus yielded most important material for the illustration of the Argive art of Polyclitus in the 5th century B.C.
These latter so accumulated that the temple became a rich museum, among the chief treasures of which were the figures of Amazons sculptured in competition by Pheidias, Polyclitus, Cresilas and Phradmon, and the painting by Apelles of Alexander holding a thunderbolt.