176 plint's natural EISTOET. [Book XXXIV. 



of Alexander,^* all of whom he represented with the greatest 

 accuracy. This last work of art, after his conquest of Mace- 

 donia,^^ Metellus conveyed to Rome. Lysippus also executed 

 chariots of various kinds. He is considered to have contri- 

 buted very greatly to the art of 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 Latin language has no appropriate name for that 

 *' symmetry,"" which he so attentively observed in his new and 

 hitherto untried method of modifying the squareness obser- 

 vable in the ancient statues. Indeed, it was a common saying 

 of his, that other artists made men as they actually were, while 

 he made them as they appeared to be. One peculiar character- 

 istic of his work, is the finish and minuteness which are ob- 

 served in even the smallest details. Lysippus left three sons, 

 who were also his pupils, and became celebrated as artists, 

 Laippus, Boedas, and, more particularly, Euthycrates ; though 

 this last-named artist rivalled his father in precision rather 

 than in elegance, and preferred scrupulous correctness to grace- 

 fulness. Kothing can be more expressive than his Hercules 

 at Delphi, his Alexander, his Hunter at Thespiae, and his 

 Equestrian Combat. Equally good, too, are his statue of Tro- 

 phonius, erected in the oracular cave^^ of that divinity, his 

 numerous chariots, his Horse with the Panniers,^^and his hounds. 

 Tisicrates, also a native of Sicyon, was a pupil of Euthy- 

 crates, but more nearly approaching the style of Lysippus ; so 

 much so, that several of his statues can scarcely be distinguished 

 from those of Lysippus ; his aged Theban, for example, his King 

 Demetrius, and his Peucestes, who saved the life of Alexander 

 the Great, and so rendered himself deserving of this honour.^" 



-* A large group of equestrian statues, representing those of Alexan- 

 der's body-guard, who had fallen at the battle of the Granicus. 



25 A.U.C. 606. 



26 See the Greek Anthology, B. iv. Ep. 14, where tliis subject is treated 

 of in the epigram upon his statue of Opportunity, represented with the 

 forelock. 



27 Which is a word of Greek origin, somewhat similar to our word 

 "proportion." "^ At Lebadasa in Boeotia. 



29 Hardouin seems to think that "fiscina" here means a " muzzle." The 

 Epigram in the Greek Anthology, B. iv. c. 7, attributed to King Philip, is 

 supposed by Hardouin to bear reference to this figure. 



^ The circumstance here referred to is related by Q. Curtius, B. ix. c. 5, 



