upon the truth and beauty of the youthful figure in itself and on
the charm of the vigorous motion beneath the apparent repose.
We almost see the left hand moving, the lissom body swaying above
the hips, the whole figure displaying an elastic play of muscles.
The hair has a style and beauty of its own, though the form of the
skull can also be traced. The.forehead^projects and is made ex-
pressive and animated by cross-lines. The advance in art that is
marked by this figure may be easily appreciated by comparing it
with the statue in the style of Polycletus in the same hall of the
Vatican. The proportions are more slender, while ali the forms
have become richer, more complex, and more individuai, and at the
same time nobler and more naturai. Lysippus, like Myron, was
famous as an animai sculptor and also, unlike Praxiteles, carved
many portraits. He is said to have produced 1500 works, including
large groups, figures of gods and heroes, portrait-statues, chariots,
hunts, lions, dogs, and even bold personifications such as that of
Kairos, or Passing Opportunity.
Not only their contemporaries but also their immediate posterity
agreed that Lysippus and the painter Apelles had reached the
highest attainable point in the truthful rendering of nature, as well
as in the more technical mastery of their art. The influence of
Lysippus was much more powerful with the artists of the following
century than the influence of Praxiteles. The fine Colossal Figures
on the Monte Cavallo (p. 202) convey perhaps the best idea of the
manner in which Lysippus and his followers treated their numerous
colossal works. Among his sons and pupils, Laippus, Boedas, and
Euthycrates, the last was most highly esteemed.
The conquests of Alexander and ali that followed in their train
— the glories and treasures of the East unfolded, mighty monarchies
founded, stately cities built, and growing into centres of wealth and
luxury, new forms of worship consequent upon a more intelligent
study of nature — afforded conditions both material and other,
which stimulated afresh the arts of Architecture and Sculpture.
Henceforward Greek art vied, in the splendours of its colossal pro¬
portions, with that of the East. The deeds of victorious monarchs
were her favourite thenie: she was indefatigable in the contrivance
of new forms of luxury and fresh splendours for city, mansion, and
palace. Meanwhile, however, the past was losing its hold upon her.
The traditions of the Periclean age, which told how art was content
to serve the household gods with simple piety and to adora domestic
life, were but feebly remembered. Places once instinct with art
life were lost in the new and overwhelming growth of cities, now
the emporiums of the world's commerce: Alexandria in Egypt,
Antioch on the Orontes in Syria, Pergamum, and Rhodes. — As
an example of what Greek art was doing about this time in Egypt,
we may mention the reclining figure of the River God of the Nile