of apparent ease, but in reality of skilful contrivance to secure a due balance of parts and anety and grace of line.  The one garment, drawn closely about the person, illustrates the inestimable good fortune enjoyed by the Greek sculptor, in contrast with the sculptor of to-day, in having to represent a costume so simple, so pliant, so capable of graceful adjustment.  The head, however much it may contain of the actual look of Sophocles, must be idealized.  To appreciate it properly one must remember that this poet, though he dealt with tragic themes, was not wont to brood over the sin and sorrow and unfathomable mystery of the world, but was serene in his temper and prosperous in his life.

The colossal head of Zeus shown in Fig. 165 was found a hundred years or more ago at Otricoli, a small village to the north of Rome.  The antique part is a mere mask; the back of the head and the bust are modern.  The material is Carrara marble, a fact which alone would prove that the work was executed in Italy and in the imperial period.  At first this used to be regarded as copied from the Olympian Zeus of Phidias (page 185), but in the light of increased acquaintance with the style of Phidias and his age, this attribution has long been seen to be impossible.  The original belongs about at the end of the period now under review, or possibly still later.  Although only a copy, the Otricoli Zeus is the finest representation we have of the father of gods and men.  The predominant expression is one of gentleness and benevolence, but the lofty brow, transversely furrowed, tells of thought and will, and the leonine hair of strength.

With Lysippus of Sicyon we reach the last name of first-rate importance in the history of Greek sculpture.  There is the usual uncertainty about the dates of his life, but it is certain that he was in his prime during the reign of Alexander (336-23).  Thus he belongs essentially to the generation succeeding that of Scopas and Praxiteles.  He appears to have worked exclusively in bronze; at least we hear of no work in marble from his hands.  He must have had a long life.  Pliny credits him with fifteen hundred statues, but this is scarcely credible.  His subjects suggest that his genius was of a very different bent from that of Praxiteles.  No statue of Aphrodite or indeed of any goddess (except the Muses) is ascribed to him; on the other hand, he made at least four statues of Zeus, one of them nearly sixty feet high, and at least four figures of Heracles, of which one was colossal, while one was less than a foot high, besides groups representing the labors of Heracles.  In short, the list of his statues of superhuman beings, though it does include an Eros and a Dionysus, looks as if he had no especial predilection for the soft loveliness of youth, but rather for mature and vigorous forms.  He was famous as a portrait-sculptor and made numerous statues of Alexander, from whom he received conspicuous recognition.  Naturally, too,