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egypt mummy
belongs about at the end of the period now under review, or
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possibly still later. Although only a copy, the Otricoli Zeus is
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the finest representation we have of the father of gods and men.
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The predominant expression is one of gentleness and benevolence,
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but the lofty brow, transversely furrowed, tells of thought and
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will, and the leonine hair of strength.
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With Lysippus of Sicyon we reach the last name of first-rate
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importance in the history of Greek sculpture. There is the usual
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uncertainty about the dates of his life, but it is certain that he
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was in his prime during the reign of Alexander (336-23). Thus he
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belongs essentially to the generation succeeding that of Scopas
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and Praxiteles. He appears to have worked exclusively in bronze;
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at least we hear of no work in marble from his hands. He must have
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had a long life. Pliny credits him with fifteen hundred statues,
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but this is scarcely credible. His subjects suggest that his
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genius was of a very different bent from that of Praxiteles. No
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statue of Aphrodite or indeed of any goddess (except the Muses) is
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ascribed to him; on the other hand, he made at least four statues
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of Zeus, one of them nearly sixty feet high, and at least four
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figures of Heracles, of which one was colossal, while one was less
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than a foot high, besides groups representing the labors of
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Heracles. In short, the list of his statues of superhuman beings,
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though it does include an Eros and a Dionysus, looks as if he had
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no especial predilection for the soft loveliness of youth, but
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rather for mature and vigorous forms. He was famous as a portrait-
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sculptor and made numerous statues of Alexander, from whom he
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received conspicuous recognition. Naturally, too, he accepted
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commissions for athlete statues; five such are mentioned by
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Pausanias as existing at Olympia. An allegorical figure by him of
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Cairos (Opportunity) receives lavish praise from a late
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rhetorician. Finally, he is credited with a statue of a tipsy
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female flute-player. This deserves especial notice as the first
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well-assured example of a work of Greek sculpture ignoble in its
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subject and obviously unfit for any of the purposes for which
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sculpture had chiefly existed (cf. page 124).
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It is Pliny who puts us in the way of a more direct acquaintance
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with this artist than the above facts can give. He makes the
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general statement that Lysippus departed from the canon of
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proportions previously followed (i.e., probably, by Polyclitus and
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his immediate followers), making the head smaller and the body
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slenderer and "dryer," and he mentions a statue by him in Rome
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called an Apoxyomenos, i.e., an athlete scraping himself with a
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strigil. A copy of such a statue was found in Rome in 1849 (Fig.
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166). The fingers of the right hand with the inappropriate die are
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modern, as are also some additional bits here and there. Now the
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coincidence in subject between this statue and that mentioned by
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Pliny would not alone be decisive. Polyclitus also made an
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Apoxyomenos, and, for all we know, other sculptors may have used
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the same motive. But the statue in question is certainly later
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than Polyclitus, and its agreement with what Pliny tells us of the
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proportions adopted by Lysippus is as close as could be desired
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(contrast Fig. 137). We therefore need not scruple to accept it as
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Lysippian.
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Our young athlete, before beginning his exercise, had rubbed his
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body with oil and, if he was to wrestle, had sprinkled himself
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with sand. Now, his exercise over, he is removing oil and sweat
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and dirt with the instrument regularly used for that purpose. His
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slender figure suggests elasticity and agility rather than brute
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strength. The face (Fig. 167) has not the radiant charm which
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Praxiteles would have given it, but it is both fine and alert. The
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eyes are deeply set; the division of the upper from the lower
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forehead is marked by a groove; the hair lies in expressive
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disorder. In the bronze original the tree-trunk behind the left
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leg was doubtless absent, as also the disagreeable support (now
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broken) which extended from the right leg to the right fore-arm.
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The best authenticated likeness of Alexander the Great is a bust
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in the Louvre (Fig. 168) inscribed with his name: "Alexander of
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Macedon, son of Philip." The surface has been badly corroded and
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