When viewing this naturalistic statue of a child holding a hare, one is struck by the lively movement of the body and the artist’s attempt to capture the expression on the infantile face. Such statues of boys and girls were common in the sanctuary of Artemis at Brauron, where they were dedicated during rites of initiation. In the course of the late Classical period (4th c. BC) sculpture gradually moved away from the idealised models of early Classical art and turned towards realism: figures were portrayed with individualised features, and with an obvious interest in their inner psychological state. Sculpture became an art of pathos (emotions) rather than an art of ethos (moral values), as it was in early Classical times. By the beginning of the Hellenistic period, a new trend developed for depicting men and women at work or at times of hardship, children at carefree play, and warriors during the dramatic moments of their death. Such images aimed at representing human beings in their real, changing conditions rather than in idealistic postures. It was in that period that sculptors started showing interest in the representation of children, which had hitherto been only a complementary subject in Greek art.