and SOIDAS (Μέναιχμος καὶ Σοΐδας), were the makers of the gold and ivory statue of the Laphrian Artemis, which Pausanias saw in the temple of that goddess in the citadel of Patrae in Achaia, whither it had been removed from Calydon by Augustus. The goddess was represented in the attitude of the chase. The artists were natives of Naupactus, and were supposed to have lived not much later than Canachus of Sicyon and Callon of Aegina. (Paus. 7.18.6. s. 10, 11.) If so, they must have flourished about B. C. 500. [CALLON, CANACHUS.] Pliny quotes among the authorities for his 33d and 34th books, Menaechmus, a writer on the toreutic art, under which designation the chryselephantine statues were included. (Plin. H. N. Elench. xxxiii. xxxiv.) He also mentions (34.8. s. 19.18) a group by Menaechmus, of a calf pressed down by the knee, and with the neck doubled back (no doubt by some one about to sacrifice it, but this Pliny omits); and he adds that Menaechmus wrote upon his art. He does not expressly say what this art was, but of course we must consider this Menaechmus as the same person whom Pliny quotes as one of the authorities for this book of his work; and then again, since the subject on which he wrote was toreutice, it would follow, in the absence of evidence to the contrary, that he was the same person as the artist mentioned by Pausanias.

Harduin (Index Auct.) and Thiersch (Epochen, p. 202) are therefore almost certainly wrong in identifying Pliny's Menaechmus with the Menaechmus or Manaechmus of Sicyon, who wrote a work περὶ τεχνιτῶν (which means here actors, not artists, as Harduin and the rest evidently thought: see Meineke, Hist. Crit. Com. Graec. p. 17), and also a history of Alexander the Great, and a book on Sicyon, and whom Suidas states to have flourished in the time of the successors of Alexander. (Suid. s.v. Athen. 2.65a, vi. p. 271 d, xiv. p. 635 b, p. 637 f.; Schol. ad Pind. Nem. 2.1, 9.30; Vossius, de Hist. Graec. p. 102, ed. Westermann.)