Of Scopas the Parian, the second great sculptor of the fourth century, we have no important remains. Two mutilated heads found on the site of the temple at Tegea, where he made his great pedimental scene of the Calydonian boar-hunt, indicate the new note of pathos and emotion which he introduced into the carving of the human head. We know that Scopas was engaged on the Mausoleum and on one of the thirty-six sculptured columns of the great temple at Ephesus, but nothing that remains from either of those buildings can be ascribed to him with certainty. Perhaps his most famous work was the Palatine Apollo at Rome. We may get the best notion of his style by studying the head, not the body, of a beautiful statue of Meleager[87] at Rome, which is considered by the most competent archæologists to be a copy of the work of Scopas.
The third is Lysippus of Sicyon, an extraordinarily prolific artist, of whose style we may form a very clear conception, although we have no originals. Athletic types were his favourite work, and his favourite technique was bronze-casting. His discovery was the added grace and beauty which could result from decreasing the proportion of the head to the body. Wherever we find small curly heads very lightly poised upon a strong, vigorous body we may trace the influence of Lysippus. His most famous statue was the young athlete scraping off the oil from his arm with the strigil. The emperor Tiberius fell in love with this “Apoxyomenus,” as it is called, and removed it from the front of the baths of Agrippa to his own bed-chamber, but the people of Rome raised such an outcry that he had to restore it. Modern critics have shown that our “Apoxyomenus”[88] is not a faithful copy of this statue. On the other hand, the “Agias” recently discovered at Delphi[89] is a contemporary marble copy of a bronze by Lysippus, and gives us a very fine example of his style. Lysippus was also the sculptor-in-ordinary to Alexander the Great, and we may trace to Lysippean originals all the numerous portraits of the Macedonian conqueror. Lysippus was a theorist as well as a practical sculptor, and, like Polycleitus, produced his own theoretical “Canon” of sculptural proportions. He was (with