tues of womanly grace and
beauty. The subjects of the Peloponnesian school were especially suited
to the use of bronze, and the chief sculptor of his time, LYSIPPUS,
whose works are said to have numbered fifteen hundred, worked entirely
in bronze. In order to keep a record of the number of his works, he
adopted the plan of putting aside one gold coin from the price of every
statue, and at his death his heirs are said to have found the above
number of these coins thus laid away. His home was at Sicyon, and his
time of work is given as B.C. 372-316. This seems a long period for
active employment as a sculptor; but the number of his works accords
well with this estimate of his working years.

[Illustration: FIG. 49.--BACCHUS AND LION. _From the Lysicrates
Monument._]

[Illustration: FIG. 50.--THE APOXYOMENOS OF LYSIPPUS.]

Lysippus cannot be said to have followed any school; he was original,
and this trait made him prominent, for he was not bound by old customs,
but was able to adapt himself to the new spirit of the age, which came
to Greece with the reign of Alexander. This sculptor made a great number
of statues of Hercules; and as Alexander loved to regard himself as a
modern Hercules, Lysippus also represented the monarch in many different
ways, and with much the same spirit as that he put into the statues of
the hero-god. For example, he made a statue of "Alexander with his
Spear," "Alexander at a Lion Hunt," "Alexander as the Sun-God," and so
on through many changes of expression and attributes, but all being
likenesses of the great king. There is in the Capitol at Rome a head of
Alexander called _Helios_, which is thought by many critics to be the
best bust of him in existence. There are metal rays fastened to the
head; it has a wild, Bacchus-like air, and the hair is thrown back, as
if he had shaken his head furiously; and the defect of a wry neck, which
the monarch had, is cleverly concealed by this motion. Alexander was a
very handsome man, his faults being this twist in his neck and a
peculiar shape of the eye.

We cannot here give the long list of works by Lysippus, but will speak
of that which interests us most, because we have a beautiful copy of it.
I mean the Apoxyomenos, which is in the Vatican. It represents a youth
scraping himself (as the name denotes) with the strigil after a contest
in the arena (Fig. 50). The Vatican copy was found in the Trastevere at
Rome in 1849, and is well preserved. Without