tendency, a closer imitation of nature, leading to
many refinements in detail. It was unquestionably greater in portrait
than in ideal works. Pliny thus speaks of his style: "He is considered
to have contributed very greatly to the art of the statuary by
expressing the details of the hair, and by making the head smaller
than had been done by the ancients, and the body more graceful and
less bulky, a method by which his statues were made to appear taller."

The portrait statues of Alexander the Great by Lysippus were very
numerous. The great King would only allow himself to be modeled by
Lysippus. The head of Alexander, as the young Ammon on the coins of
Lysimachus, is said to have been designed by him. An athlete, scraping
his body with a strigil, was the most famous of the bronze statues of
Lysippus. The statue of an athlete in the Vatican, in a similar
position, is supposed to be a marble copy of the original bronze of
Lysippus; though an inferior work, it illustrates the statements of
Pliny regarding the proportions adopted by Lysippus--a small head and
the body long and slim. The bas-reliefs also on the monument of
Lysicrates, representing the story of Dionysus and the Tyrrhenian
pirates, presented all the characteristic features of the school of
Lysippus. It was erected in the archonship of Euaenetus, B.C. 335.

The canon of Polycletus began to be generally adopted at this period.
It was followed by Lysippus, who called the Doryphoros of that artist
his master. In his practice of dealing with the heads and limbs of his
figures, Lysippus was followed by Silanion and Euphranor, and his
authority may be said to have governed the school of Greece to a late
period of the art.

Pliny tells us that Euphranor was the first who represented heroes
with becoming dignity, and who paid particular attention to
proportion. He made, however, in the generality of instances, the
bodies somewhat more slender and the heads larger. His most celebrated
statue was a Paris, which expressed alike the judge of the goddesses,
the lover of Helen, and the slayer of Achilles. The very beautiful
sitting figure of Paris, in marble, in the Vatican, is, no doubt, a
copy of this work.

Subsequently to these sculptors we have Chares, the Rhodian, who
constructed the famous colossus of Helios at the entrance of the
harbor of Rhodes, which was 105 feet high. It appears there is no
authority for the common statement that its legs extended over the