), subject was the human hero
Hercules
; while his
which is often quoted, and his Oupookóuos (Suid.
which is often quoted, and his Oupookóuos (Suid.
William Smith - 1844 - Dictionary of Greek and Roman Antiquities - b
5.
)
incapable of the generosity which we find associated 4. Another philosopher of the same name, and
in Pyrrhus and Demetrius, with courage and of a similar character, is mentioned by Athenaeus
daring at least equal to his own ; while a sordid as the tutor and courtier of king Attalus, respect-
love of money distinguished bim still more strikingly ing whose education he wrote books full of all
from his profuse, but liberal contemporaries. Even kinds of flattery. He was the disciple of Theo-
his love for Amastris, one of the few softer traits dorus, according to Callimachus, or of Theophras-
presented by his character, did not prevent him tus, according to Hermippus. (Ath. vi. p. 252. )
from sacrificing her to the views of his interested 5. Of Alexandria, a distinguished grammarian,
ambition. Self-aggrandisement indeed seems to frequently cited by the scholiasts and other writers,
have been at all times his sole object ; and if his who mention his Nóoto and his ouvaywyr Onsaï-
ambition was less glaringly conspicuous than that kwv Tapadó£wv. (Ath. iv. p. 158, c. d. ; Schol. ad
of some of his contemporaries, from being more re- Apoll. Rhod. i. 558, iii. 1179, ad Soph. Oed. Col.
strained by prudence, it was not the less his sole 91, ad Eurip. Andr. 880, Hec. 892, Phoen. 26,
motive of action, and was even farther removed Hipp. 545, ad Pind. Pyth. v. 108, Isth. iv. 104,
from true greatness.
ad Lycoph. 874 ; Apost. Prov. xvii. 25; Plut. de
Lysimachus was by his various wives the father Fluv. 18 ; Hesych. s. v. Exūpos. ) He is perhaps
of a numerous family : Justin indeed states (xvii. also the author of the Aiquitiaká cited by Jose-
2) that he had lost fifteen children before his own phus (c. Ap. i. 3+, ii. 2, 14, 33), and perhaps may
death ; but the greater part of these (if they ever even be identified with Lysimachus of Cyrene, who
really existed) are wholly unknown. Besides wrote Tepi Trommt@v. (Proleg. ad Hes. Opp. p. 30 ;
Agathocles, whose fate has been already mentioned, Tzetz. Chil
. vi. 920. ). A writer of the sanie name
we hear of six children of Lysimachus who survived is mentioned by Porphyry as the author of two
him ; viz. 1. Alexander, who, as well as Agatho- books, iepl Tas 'Epópou klotſis. (Euseb. Praep.
cles, was the offspring of an Odrysian woman named Erang. x. 3. ) Respecting the time of Lysimachus
Macris. (Polyaen. vi
. 12 ; Paus. i. 10. $ 5. ) 2. the Alexandrian, we only know that he was
Arsinoë, the wife of Ptolemy Philadelphus, a younger than Mnaseas, who flourished about B. C.
daughter of Lysimachus and Nicaea. 3. Eury- 140. (Vossius, de Hist. Graec. p. 464, ed. Wester-
dice (probably also a daughter of Nicaea), married mann | Fabric. Bibl. Graec. vol. i. p. 384, vol. ii.
to Antipater, the son of Cassander. 4. Ptolemy. p. 129. )
5. Lysimachns. 6. Philip. The three last were 6. A writer on agriculture, often referred to by
all sons of Arsinoë, and shared for a time their Varro, Columella, and Pliny ; and perhaps the
mother's fortunes. One other daughter is men- same as Lysimachus who is mentioned in the
tioned as married, during her father's lifetime, to Schol. ad Nic. Aler. 376, and Plin. H. N. xxv,
Dromichaetes, king of the Getae. (Paus. i. 9. § 6. ) 7.
[P. S. )
LYSIMACHUS (Avoluaxos), of Cos, a phy.
sician, who wrote a commentary on the works of
the Hippocratic Collection in three books, addressed
to Cydias, a follower of Herophilus, and another in
four books, addressed to Demetrius (Erotian, Gloss.
Hippocr. p. 10), neither of which is now extant.
If this Demetrius was the physician born at
A pameia, Lysimachus probably lived in the third
and second centuries B. C.
[W. A. G. )
ER
ΑΥΣΙΜΑΧ
ΒΑΣΙΛΕΩΣ
COIN OF LYSIMACHUS,
## p. 871 (#887) ############################################
LYSIPPUS.
871
LYSIPPUS.
a
LYSI'NUS is mentioned in the spurious letters that nature must be imitated, and not an artist
of Phalaris, as a poet who wrote odes and tragedies (Plin. l. c. § 6). It is not to be inferred, how-
against Phalaris. (See Bentley's Dissertation and ever, that he neglected the study of existing works
Answer to Boyle. )
[P. S. ) of art: on the contrary Cicero tells us (Brut. 86),
LYSIPPE (Avoinn), the name of three my. that Lysippus used to call the Doryphorus of
thical personages, one a daughter of Thespius Polycleitus his master; and there can be no
(Apollod. ii. 7. § 8), the second a daughter of doubt that the school of Lysippus was connected
Proctus (Apollod. ii. 2. V 2 ; comp. PROetus), and with the Argive school of Polycicitus, as the school
the third the wife of Prolaus in Elis. (Paus. v. 2. of Scopas and Praxiteles was with the Attic school
§ 4. )
(L. S. ] of Phidias ; there being in each case a succession
LYSIPPUS (AVOITTOS), a Lacedaemonian, was of great principles, modified by a closer imitation of
left by Agis II. as harnjost at Epitalium in Elis, the real, and by a preference for beauty above dig-
when the king himself returned to Sparta from the nity. Perhaps the great distinction between Ly-
Eleian campaign, B. C. 400. During the summer sippus and his predecessors could not, in a feir
and winter of that year Lysippus made continual words, be better expressed than by saying that he
devastations on the Eleian territory. In the next rejected the last remains of the old conventional
year, B. C. 399, the Eleians sued for peace. (Xen. rules which the early artists followed, and which
Hell
. iii. 2. &29, &c. ; comp. Diod. xiv. 17 ; Wess. Phidias, without permitting himself to be enslaved
ad loc. ; Paus. iii. 8, where he is called Lysistra- by them, had wisely continued to bear in mind, as
tus. )
(E. E. ) a check upon the liberty permitted by mere natural
LYSIPPUS (MÚOLTTOS), literary. 1. An Arca- models, and which even Polycleitus had not
dian, a comic poet of the old Comedy. His date is altogether disregarded (Varr. de Ling. Lat. ix.
fixed by the marble Didascalia, edited by Odericus, 18). In Lysippus's imitation of nature the
at Ol. lxxxvi. 2, B. C. 434, when he gained the first ideal appears almost to have vanished, or perhaps
prize with his Karaxîvai ; and this agrees with it should rather be said that he aimed to idealize
Athenaeus, who mentions him in conjunction with merely human beauty. He made statues of gods,
Callias (viii. p. 344, e. ). Besides the Karaxnvar, it is true ; but even in this field of art his favourité
we have the titles of his Bányai (Suid. , Eudoc.
), subject was the human hero Hercules ; while his
which is often quoted, and his Oupookóuos (Suid. ). portraits seem to have been the chief foundation of
Vossius (de Poet. Graec. p. 227) has followed the his fame. He ventured even to depart from the
error of Eudocia, in making Lysippus a tragic proportions observed by the earlier artists, and to
poet. Besides his comedies he wrote some beau- alter the robust form (td Tetpáywvov, quadratas
tiful verses in praise of the Athenians, which are veterum staturas) which his predecessors had used
quoted by Dicaearchus, p. 10. (Meineke, Frag. in order to give dignity to their statues, and which
Com. Graec. vol. i. p. 215, vol. ii. p. 744; Fabric. Polycleitus had brought to perfection. Lysippus
Bibl. Graec. vol. ii. p. 310. )
made the heads smaller, and the bodies more slender
2. Of Epeirus, wrote a határoyos do ebwv, which and more compact (graciliora siccioraque), and thus
is quoted by the scholiast on Apollonius Rhodius, gave his statues an appearance of greater height.
iv. 1093. (Vossius, de Hist. Gruec. p. 464, ed. He used to say that former artists made men as
Westermann ; Ebert, Diss. Sicul. p. 107; Mounier, they were, but he as they appeared to be. His
de Diagora Melio, p. 41, Rotterd. 1838. ) [P. S. ) imitation of nature was carried out in the minutest
LYSIPPUS (AVOITTOS), artists. 1. Of Sicyon, details: “ propriae hujus videntur esse argutiae
one of the most distinguished Greek statuaries, is operum, custoditae in minimus rebus," says Pliny,
placed by Pliny at Ol. 114, as a contemporary of who also mentions the care which Lysippus be-
Alexander the Great (H. N. xxxiv. 8. s. 19). stowed upon the hair. Propertius (iii. 7. 9) speaks
We have no very clear intimation of how long he of his statues as seeming to have the breath of life
lived ; but there is no doubt that the great period (animosa), and the same idea is expressed by the
of his artistic activity was during the reign of grammarian Nicephorus Chumnus, in an interesting
Alexander ; and perhaps Pliny has mentioned the but little known passage, in which he describes
114th Olympiad in particular, as being that in Lysippus and Apelles as making and painting Scoas
which Alexander died. We learn from Pausanias - εικόνας και πνοής μόνης και κινήσεως απολειπο-
(vi. 1. $ 2) that he made the statue of the Olympic wévas. (Boissonade, Anecdot. vol. iii. p. 357. )
victor Troilus, who conquered in the 102nd Olym- The works of Lysippus are said to have amounted
piad ; but there is abundant evidence that the to the enormous number of 1500; at least this is
statues of victors in the games were often made the story of Pliny, who tells us that Lysippus
long after the date of their victories. On the used to lay by a single piece of gold out of the
other hand, there is an inscription on a base found price received for each of his works, and that,
at Rome, Σέλευκος βασιλεύς. Λύσιππος επoίει. | after his death, the number of these pieces was
Now Seleucus did not assume the title of King found to be 1500 (H. N. xxxiv. 7. s. 17). His
till Ol. 117. 1. But this proves nothing ; for the works were almost all
, if not all, in bronze ; in
addition of an inscription to a statue made long consequence of which none of them are extant.
before, was a most frequent occurrence, of which But from copies, from coins, and from the works of
we have many examples.
his successors, we derive valuable materials for
Originally a simple workman in bronze (faber judging of his style. The following are the chief
aerarius), he rose to the eminence which he after works of his which are mentioned by the ancient
wards obtained by the direct study of nature. It authors :-
was to the painter Eupompus that he owed the First, those of a mythological character. I. A
guiding principle of his art ; for, having asked him colossal statue of Zeus, 60 feet high, at Tarentum,
which of the former masters he should follow, which is fully described by Pliny (II. N. xxxiv. 7.
Eupompus replied by pointing to a crowd of men, s. 18 ; comp Strab. vi. p. 278 ; Lucil. ap. Non. s. r.
engaged in their various pursuits, and told him | Cubitus). 2. Zeus in the forum of Sicron (Paus.
З к 4
## p. 872 (#888) ############################################
872
LYSIPPUS.
LYSISTRATUS.
3
ii. 9. § 6). 3. Zeus Nemeus, in an erect position, The most celebrated of these statues is that in
at Argos (Paus. ii. 20. § 3). 4. Zeus attended by which Alexander was represented with a lance.
the Muses (Paus. i. 43. § 6). 5. Poseidon, at (Plut. de Isid. 24), which was considered as a sort
Corinth (Lucian, Jup. Trag. 9, vol. ii. p. 652, of coinpanion to the picture of Alexander wielding
Wetst. ). 6. Dionysus, in the sacred grove on a thunderbolt, by Apelies. The impression which
Mt. Helicon (Paus. ix. 30. Sl). 7. Eros, at it produced upon spectators was described by an
Thespiac (Paus. ix. 27. § 3; comp. Sillig in the epigram afterwards affixed to it, -
Amalthea, vol. iii. p. 299).
As above stated, his favourite mythological | ra» υπ' εμοί τίθεμαι, Ζεύ, συ δ' "Όλυμπον εχε.
Αυδασούντι δ' έoικεν ο χάλκεος εις Δία λεύσεων
subject was Hercules. The following are some of
his statues of that hero :-8. A colossal Hercules (Plut. de Alcx. Virt. ii. 2, Alex. 4 ; Tzetz. Chil.
resting from his labours, in a sitting posture, at viji. 426. ) The rest of his portraits of Alexander
Tarentum, whence it was carried to Rome by are described by Müller (Archäol. d. kunst,
Fabius Maximus, when he took Tarentum (Strab. 1:29, n. 2). To the same class belongs his group of
vi. p. 278, b. ; Plut. Fub. Mux. 22). It was the chieftains who fell in the battle at the Granicus.
afterwards transferred to Byzantium (Nicct. Stut. There are still some other works of Lysippus of
Constant. 5. p. 12). It is frequently copied on less importance, which are described by the his-
gems. 9. Hercules, yielding to the power of Eros, torians of Greek art. (Sillig, Cat. s. r. ; Meyer,
and deprived of his weapons. The statue is kunstgeschichte; Hirt, Gesch, d. Bild. Kunst ;
described in an epigram by Geminus (Anth. Pal. Nagler, K'ünstler-Lexicon. )
App. ii. p. 655; Arth. Plun. iv. 103). "This also 2. A painter in encaustic, of the Aeginetan
often appears on gems. 10. A small statue (emitpa- school, who placed on his paintings the word
TÉSIOS), representing the deified hero as sitting at évekaev. (Plin. xxxv. 11. 8. 19. )
the banquet of the gods, described by Statius 3.
incapable of the generosity which we find associated 4. Another philosopher of the same name, and
in Pyrrhus and Demetrius, with courage and of a similar character, is mentioned by Athenaeus
daring at least equal to his own ; while a sordid as the tutor and courtier of king Attalus, respect-
love of money distinguished bim still more strikingly ing whose education he wrote books full of all
from his profuse, but liberal contemporaries. Even kinds of flattery. He was the disciple of Theo-
his love for Amastris, one of the few softer traits dorus, according to Callimachus, or of Theophras-
presented by his character, did not prevent him tus, according to Hermippus. (Ath. vi. p. 252. )
from sacrificing her to the views of his interested 5. Of Alexandria, a distinguished grammarian,
ambition. Self-aggrandisement indeed seems to frequently cited by the scholiasts and other writers,
have been at all times his sole object ; and if his who mention his Nóoto and his ouvaywyr Onsaï-
ambition was less glaringly conspicuous than that kwv Tapadó£wv. (Ath. iv. p. 158, c. d. ; Schol. ad
of some of his contemporaries, from being more re- Apoll. Rhod. i. 558, iii. 1179, ad Soph. Oed. Col.
strained by prudence, it was not the less his sole 91, ad Eurip. Andr. 880, Hec. 892, Phoen. 26,
motive of action, and was even farther removed Hipp. 545, ad Pind. Pyth. v. 108, Isth. iv. 104,
from true greatness.
ad Lycoph. 874 ; Apost. Prov. xvii. 25; Plut. de
Lysimachus was by his various wives the father Fluv. 18 ; Hesych. s. v. Exūpos. ) He is perhaps
of a numerous family : Justin indeed states (xvii. also the author of the Aiquitiaká cited by Jose-
2) that he had lost fifteen children before his own phus (c. Ap. i. 3+, ii. 2, 14, 33), and perhaps may
death ; but the greater part of these (if they ever even be identified with Lysimachus of Cyrene, who
really existed) are wholly unknown. Besides wrote Tepi Trommt@v. (Proleg. ad Hes. Opp. p. 30 ;
Agathocles, whose fate has been already mentioned, Tzetz. Chil
. vi. 920. ). A writer of the sanie name
we hear of six children of Lysimachus who survived is mentioned by Porphyry as the author of two
him ; viz. 1. Alexander, who, as well as Agatho- books, iepl Tas 'Epópou klotſis. (Euseb. Praep.
cles, was the offspring of an Odrysian woman named Erang. x. 3. ) Respecting the time of Lysimachus
Macris. (Polyaen. vi
. 12 ; Paus. i. 10. $ 5. ) 2. the Alexandrian, we only know that he was
Arsinoë, the wife of Ptolemy Philadelphus, a younger than Mnaseas, who flourished about B. C.
daughter of Lysimachus and Nicaea. 3. Eury- 140. (Vossius, de Hist. Graec. p. 464, ed. Wester-
dice (probably also a daughter of Nicaea), married mann | Fabric. Bibl. Graec. vol. i. p. 384, vol. ii.
to Antipater, the son of Cassander. 4. Ptolemy. p. 129. )
5. Lysimachns. 6. Philip. The three last were 6. A writer on agriculture, often referred to by
all sons of Arsinoë, and shared for a time their Varro, Columella, and Pliny ; and perhaps the
mother's fortunes. One other daughter is men- same as Lysimachus who is mentioned in the
tioned as married, during her father's lifetime, to Schol. ad Nic. Aler. 376, and Plin. H. N. xxv,
Dromichaetes, king of the Getae. (Paus. i. 9. § 6. ) 7.
[P. S. )
LYSIMACHUS (Avoluaxos), of Cos, a phy.
sician, who wrote a commentary on the works of
the Hippocratic Collection in three books, addressed
to Cydias, a follower of Herophilus, and another in
four books, addressed to Demetrius (Erotian, Gloss.
Hippocr. p. 10), neither of which is now extant.
If this Demetrius was the physician born at
A pameia, Lysimachus probably lived in the third
and second centuries B. C.
[W. A. G. )
ER
ΑΥΣΙΜΑΧ
ΒΑΣΙΛΕΩΣ
COIN OF LYSIMACHUS,
## p. 871 (#887) ############################################
LYSIPPUS.
871
LYSIPPUS.
a
LYSI'NUS is mentioned in the spurious letters that nature must be imitated, and not an artist
of Phalaris, as a poet who wrote odes and tragedies (Plin. l. c. § 6). It is not to be inferred, how-
against Phalaris. (See Bentley's Dissertation and ever, that he neglected the study of existing works
Answer to Boyle. )
[P. S. ) of art: on the contrary Cicero tells us (Brut. 86),
LYSIPPE (Avoinn), the name of three my. that Lysippus used to call the Doryphorus of
thical personages, one a daughter of Thespius Polycleitus his master; and there can be no
(Apollod. ii. 7. § 8), the second a daughter of doubt that the school of Lysippus was connected
Proctus (Apollod. ii. 2. V 2 ; comp. PROetus), and with the Argive school of Polycicitus, as the school
the third the wife of Prolaus in Elis. (Paus. v. 2. of Scopas and Praxiteles was with the Attic school
§ 4. )
(L. S. ] of Phidias ; there being in each case a succession
LYSIPPUS (AVOITTOS), a Lacedaemonian, was of great principles, modified by a closer imitation of
left by Agis II. as harnjost at Epitalium in Elis, the real, and by a preference for beauty above dig-
when the king himself returned to Sparta from the nity. Perhaps the great distinction between Ly-
Eleian campaign, B. C. 400. During the summer sippus and his predecessors could not, in a feir
and winter of that year Lysippus made continual words, be better expressed than by saying that he
devastations on the Eleian territory. In the next rejected the last remains of the old conventional
year, B. C. 399, the Eleians sued for peace. (Xen. rules which the early artists followed, and which
Hell
. iii. 2. &29, &c. ; comp. Diod. xiv. 17 ; Wess. Phidias, without permitting himself to be enslaved
ad loc. ; Paus. iii. 8, where he is called Lysistra- by them, had wisely continued to bear in mind, as
tus. )
(E. E. ) a check upon the liberty permitted by mere natural
LYSIPPUS (MÚOLTTOS), literary. 1. An Arca- models, and which even Polycleitus had not
dian, a comic poet of the old Comedy. His date is altogether disregarded (Varr. de Ling. Lat. ix.
fixed by the marble Didascalia, edited by Odericus, 18). In Lysippus's imitation of nature the
at Ol. lxxxvi. 2, B. C. 434, when he gained the first ideal appears almost to have vanished, or perhaps
prize with his Karaxîvai ; and this agrees with it should rather be said that he aimed to idealize
Athenaeus, who mentions him in conjunction with merely human beauty. He made statues of gods,
Callias (viii. p. 344, e. ). Besides the Karaxnvar, it is true ; but even in this field of art his favourité
we have the titles of his Bányai (Suid. , Eudoc.
), subject was the human hero Hercules ; while his
which is often quoted, and his Oupookóuos (Suid. ). portraits seem to have been the chief foundation of
Vossius (de Poet. Graec. p. 227) has followed the his fame. He ventured even to depart from the
error of Eudocia, in making Lysippus a tragic proportions observed by the earlier artists, and to
poet. Besides his comedies he wrote some beau- alter the robust form (td Tetpáywvov, quadratas
tiful verses in praise of the Athenians, which are veterum staturas) which his predecessors had used
quoted by Dicaearchus, p. 10. (Meineke, Frag. in order to give dignity to their statues, and which
Com. Graec. vol. i. p. 215, vol. ii. p. 744; Fabric. Polycleitus had brought to perfection. Lysippus
Bibl. Graec. vol. ii. p. 310. )
made the heads smaller, and the bodies more slender
2. Of Epeirus, wrote a határoyos do ebwv, which and more compact (graciliora siccioraque), and thus
is quoted by the scholiast on Apollonius Rhodius, gave his statues an appearance of greater height.
iv. 1093. (Vossius, de Hist. Gruec. p. 464, ed. He used to say that former artists made men as
Westermann ; Ebert, Diss. Sicul. p. 107; Mounier, they were, but he as they appeared to be. His
de Diagora Melio, p. 41, Rotterd. 1838. ) [P. S. ) imitation of nature was carried out in the minutest
LYSIPPUS (AVOITTOS), artists. 1. Of Sicyon, details: “ propriae hujus videntur esse argutiae
one of the most distinguished Greek statuaries, is operum, custoditae in minimus rebus," says Pliny,
placed by Pliny at Ol. 114, as a contemporary of who also mentions the care which Lysippus be-
Alexander the Great (H. N. xxxiv. 8. s. 19). stowed upon the hair. Propertius (iii. 7. 9) speaks
We have no very clear intimation of how long he of his statues as seeming to have the breath of life
lived ; but there is no doubt that the great period (animosa), and the same idea is expressed by the
of his artistic activity was during the reign of grammarian Nicephorus Chumnus, in an interesting
Alexander ; and perhaps Pliny has mentioned the but little known passage, in which he describes
114th Olympiad in particular, as being that in Lysippus and Apelles as making and painting Scoas
which Alexander died. We learn from Pausanias - εικόνας και πνοής μόνης και κινήσεως απολειπο-
(vi. 1. $ 2) that he made the statue of the Olympic wévas. (Boissonade, Anecdot. vol. iii. p. 357. )
victor Troilus, who conquered in the 102nd Olym- The works of Lysippus are said to have amounted
piad ; but there is abundant evidence that the to the enormous number of 1500; at least this is
statues of victors in the games were often made the story of Pliny, who tells us that Lysippus
long after the date of their victories. On the used to lay by a single piece of gold out of the
other hand, there is an inscription on a base found price received for each of his works, and that,
at Rome, Σέλευκος βασιλεύς. Λύσιππος επoίει. | after his death, the number of these pieces was
Now Seleucus did not assume the title of King found to be 1500 (H. N. xxxiv. 7. s. 17). His
till Ol. 117. 1. But this proves nothing ; for the works were almost all
, if not all, in bronze ; in
addition of an inscription to a statue made long consequence of which none of them are extant.
before, was a most frequent occurrence, of which But from copies, from coins, and from the works of
we have many examples.
his successors, we derive valuable materials for
Originally a simple workman in bronze (faber judging of his style. The following are the chief
aerarius), he rose to the eminence which he after works of his which are mentioned by the ancient
wards obtained by the direct study of nature. It authors :-
was to the painter Eupompus that he owed the First, those of a mythological character. I. A
guiding principle of his art ; for, having asked him colossal statue of Zeus, 60 feet high, at Tarentum,
which of the former masters he should follow, which is fully described by Pliny (II. N. xxxiv. 7.
Eupompus replied by pointing to a crowd of men, s. 18 ; comp Strab. vi. p. 278 ; Lucil. ap. Non. s. r.
engaged in their various pursuits, and told him | Cubitus). 2. Zeus in the forum of Sicron (Paus.
З к 4
## p. 872 (#888) ############################################
872
LYSIPPUS.
LYSISTRATUS.
3
ii. 9. § 6). 3. Zeus Nemeus, in an erect position, The most celebrated of these statues is that in
at Argos (Paus. ii. 20. § 3). 4. Zeus attended by which Alexander was represented with a lance.
the Muses (Paus. i. 43. § 6). 5. Poseidon, at (Plut. de Isid. 24), which was considered as a sort
Corinth (Lucian, Jup. Trag. 9, vol. ii. p. 652, of coinpanion to the picture of Alexander wielding
Wetst. ). 6. Dionysus, in the sacred grove on a thunderbolt, by Apelies. The impression which
Mt. Helicon (Paus. ix. 30. Sl). 7. Eros, at it produced upon spectators was described by an
Thespiac (Paus. ix. 27. § 3; comp. Sillig in the epigram afterwards affixed to it, -
Amalthea, vol. iii. p. 299).
As above stated, his favourite mythological | ra» υπ' εμοί τίθεμαι, Ζεύ, συ δ' "Όλυμπον εχε.
Αυδασούντι δ' έoικεν ο χάλκεος εις Δία λεύσεων
subject was Hercules. The following are some of
his statues of that hero :-8. A colossal Hercules (Plut. de Alcx. Virt. ii. 2, Alex. 4 ; Tzetz. Chil.
resting from his labours, in a sitting posture, at viji. 426. ) The rest of his portraits of Alexander
Tarentum, whence it was carried to Rome by are described by Müller (Archäol. d. kunst,
Fabius Maximus, when he took Tarentum (Strab. 1:29, n. 2). To the same class belongs his group of
vi. p. 278, b. ; Plut. Fub. Mux. 22). It was the chieftains who fell in the battle at the Granicus.
afterwards transferred to Byzantium (Nicct. Stut. There are still some other works of Lysippus of
Constant. 5. p. 12). It is frequently copied on less importance, which are described by the his-
gems. 9. Hercules, yielding to the power of Eros, torians of Greek art. (Sillig, Cat. s. r. ; Meyer,
and deprived of his weapons. The statue is kunstgeschichte; Hirt, Gesch, d. Bild. Kunst ;
described in an epigram by Geminus (Anth. Pal. Nagler, K'ünstler-Lexicon. )
App. ii. p. 655; Arth. Plun. iv. 103). "This also 2. A painter in encaustic, of the Aeginetan
often appears on gems. 10. A small statue (emitpa- school, who placed on his paintings the word
TÉSIOS), representing the deified hero as sitting at évekaev. (Plin. xxxv. 11. 8. 19. )
the banquet of the gods, described by Statius 3.
