Even in a statue which, like the Aphrodite of Melos, shows an endeavour to return to the nobler ideals and more dignified and simple forms of an earlier age, there is something artificial and conventional about both figure and drapery; and one feels that the sculptor, though both his aims and his attainments are of the highest, is trying rather to reflect the best influences of his predecessors than to embody a present religious conception.
The influence upon art of religious personifications is perhaps stronger than any other during this period.

There had, indeed, been such personifications at an earlier time, such as the statue by Cephisodotus of Peace nursing the infant Wealth.

The most interesting example of such personification may be seen in the figures of cities, or, to speak more accurately, of the Fortunes of cities, such as the Antioch of Eutychides.

The influence of the city or state upon religious art was conspicuous in the fifth century; but here we find the city itself or its presiding genius represented in a statue which seems at first sight a mere allegory of its situation.

The way in which the figure is seated, half turned on herself, and with her feet resting upon the shoulder of the river that swims below her, seems to suggest an artificially invented symbolism; yet we are expressly told that this statue received great veneration from the natives of the district.