Phryne.  His statues of Dionysus also expressed the most consummate physical beauty, representing the god as a beautiful youth crowned with ivy, and expressing tender and dreamy emotions.  Praxiteles sculptured several figures of Eros, or the god of love, of which that at Thespiae attracted visitors to the city in the time of Cicero.  It was subsequently carried to Rome, and perished by a conflagration in the time of Titus.  One of the most celebrated statues of this artist was an Apollo, many copies of which still exist.  His works were very numerous, but chiefly from the circle of Dionysus, Aphrodite, and Eros, in which adoration for corporeal attractions is the most marked peculiarity, and for which the artist was fitted by his dissolute life.

Scopas was the contemporary of Praxiteles, and was the author of the celebrated group of Niobe, which is one of the chief ornaments of the gallery of sculpture at Florence.  He flourished about three hundred and fifty years before Christ, and wrought chiefly in marble.  He was employed in decorating the Mausoleum which Artemisia erected to her husband,—­one of the wonders of the world.  His masterpiece is said to have been a group representing Achilles conducted to the island of Leuce by the divinities of the sea, which ornamented the shrine of Domitius in the Flaminian Circus.  In this, tender grace, heroic grandeur, daring power, and luxurious fulness of life were combined with wonderful harmony.  Like the other great artists of this school, Scopas exhibited the grandeur and sublimity for which Phidias was celebrated, but a greater refinement and luxury, as well as skill in the use of drapery.

Sculpture in Greece culminated, as an art, in Lysippus, who worked chiefly in bronze.  He is said to have executed fifteen hundred statues, and was much esteemed by Alexander the Great, by whom he was extensively patronized.  He represented men not as they were, but as they appeared to be; and if he exaggerated, he displayed great energy of action.  He aimed to idealize merely human beauty, and his imitation of Nature was carried out in the minutest details.  None of his works are extant; but as he alone was permitted to make the statue of Alexander, we infer that he had no equals.  The Emperor Tiberius transferred one of his statues (that of an athlete) from the baths of Agrippa to his own chamber, which so incensed the people that he was obliged to restore it.  His favorite subject was Hercules, and a colossal statue of this god was carried to Rome by Fabius Maximus, when he took Tarentum, and afterward was transferred to Constantinople; the Farnese Hercules and the Belvidere Torso are probably copies of this work.  He left many eminent scholars, among whom were Chares (who executed the famous Colossus of Rhodes), Agesander, Polydorus, and Athenodorus who sculptured the group of the “Laocooen.”  The Rhodian school was the immediate offshoot from the school of Lysippus at Sicyon; and from this small island of Rhodes the