BOOK XXXIV. XIX. 65-6S 



preserved the quality of " symmetry (for which 

 there is no word in Latin) by the new and hitherto 

 untried method of modifying the squareness of the 

 figure of the old seulptors, and he used commonly to 

 say that whereas his predecessors had made men as 

 they really were, he made them as they appeared to 

 be. A pecuUariry of this sculptor's work seems to 

 be the minute finish maintained in even the smallest 

 details. 



Lysippus left three sons who were his pupils, the Lynppus' 

 celebrated artists Laippus," Boedas and Euthycrates, ^'^^' 

 the last pre-eminent, although he copied the harmony 

 rather than the elegance of his father, prefemng to 

 \x\n favour in the severely correct more than in the 

 agreeable style. Accordingly his Heracles, at Delphi, 

 and his Alexander Hunting, at Thespiae, his group of 

 Thespiades,^ and his Cavalry in Action are works of 

 extreme finish, and so are his statue of Trophonius 

 at the oracular shrine of that deity, a number of 

 Four-horse Chariots, a Horse ^vith Baskets ^ and a 

 Pack of Hounds. Moreover Tisicrates, another Tisicrates. 

 native of Sicyon, was a pupil of Euthycrates, but 

 closer to the school of Lysippus — indeed many of his 

 statues cannot be distinguished from Lysippus's 

 vrork, for instance his Old Man of Thebes, his King 

 Demetrius (PoHorcetes), and his Peucestes, the man 

 who saved the life of Alexander the Great and so 

 deserved the honour of this commemoration. 



Artists ^ who have composed treatises recording 

 these matters speak with marvellously high praise of 

 Telephanes of Phocis, who is othervvise unknown, TeUphanes. 



^ Pliny means the writers Xenocrates of Sicyon and 

 Antigonus of Carystus, from whom, through Varro, much of 

 Pliny's material about art comes. 



177 



