indicated the design of the face. The perpendicular line
marked the position of the brow, the nose, the mouth, and the chin;
the horizontal line passed through the eyes, and was parallel to the
mouth. The hands of youth were beautifully rounded, and the dimples
given; the fingers were tapered, but the articulations were not
generally indicated. In the male form the chest was high, arched, and
prominent. In the female form, especially in that of goddesses and
virgins, the form of the breasts is virginal in the extreme, since
their beauty was generally made to consist in the moderateness of
their size. They were generally a little higher than nature. The
abdomen was without prominence. The legs and knees of youthful
figures are rounded with softness and smoothness, and unmarked by
muscular movements. The proportion of the limbs was longer than in the
preceding period. In male and female figures the foot was rounded in
its form; in the female the toes are delicate, and have dimples over
their first joints gently marked.

It is evident that this type of beauty of form, adopted by the Grecian
sculptors, is in unison with, and exhibits a marked analogy to the
type of face and form of the Greeks themselves, for, as Sir Charles
Bell observes, the Greek face is a fine oval, the forehead full and
carried forward, the eyes large, the nose straight, the lips and chin
finely formed; in short, the forms of the head and face have been the
type of the antique, and of all which we most admire.

The sculptors of this age, instead of aiming at an abstract,
unattainable ideal, studied nature in its choicest forms, and attained
the beautiful by selecting and concentrating in one those charms which
are found diffused over all. They avoided the representation of all
violent motions and perturbations of the passions, which would have
completely marred that expression of serene repose which is a
prominent characteristic of the beautiful period of Greek sculpture.
Indeed, the chief object of the Greek sculptor was the representation
of the beautiful alone, and to this principle he made character,
expression, costume, and everything else subordinate.

Lysippus, the successor of Praxiteles and Scopas, was a contemporary
of Alexander the Great. He contributed to advance their style by the
peculiar fullness, roundness, and harmonious general effect by which
it appears that his works were characterized. His school exhibited a
strong naturalistic