Phidias’ absence from the survey of sculptors in Cic. Brut. 70 is curious, explanation in terms of differing histories of sculpture only partly convincing. I suggest that Cicero has valid literary motives and is wittily undermining the Atticist position by adaptation of what was a rhetorical topos, the parallel development of Greek prose and sculpture from archaic spareness to classical expertise and dignity: see Dem. Eloc. 14, D. H. Isoc. 3, p.59 U-R; more elaborate but partly deriving from Cicero and less homogeneous is Qu. 12.10.7–9. Cicero assumes the reader's knowledge of the commonplace, pointedly ignores the quality of grandeur and dignity, and develops a theory of technical progress on the basis of veritas and grace to attack the Atticists from their own preferences. The resulting model serves to demote Lysias, imitated by the Atticists but merely the counterpart of Calamis, strigosior (64) like archaic sculptures (cf. Dem. loc. cit. ) and superseded by later progress. The analogy thus obliquely repeats the brief but charged parenthesis in 66 that Demosthenes superseded Lysias.