Six Greek sculptors . ts the god as the inspiredmusician, advancing in flowing robes as he sings to thelyre, his head raised and his lips half open. The headfrom the Mausoleum is by no means similar to thehead on the Vatican statue; but we have there to dowith a Roman copy, here with a Greek original of thefourth century, and we have seen in the case of theMeleager what a difference this may imply. Even ifthe Apollo of the Mausoleum be not assigned to Scopashimself, it interests us as the prototype of many laterrepresentations of the god. Finally, we may notice an example of the way inwhich th
Six Greek sculptors . ts the god as the inspiredmusician, advancing in flowing robes as he sings to thelyre, his head raised and his lips half open. The headfrom the Mausoleum is by no means similar to thehead on the Vatican statue; but we have there to dowith a Roman copy, here with a Greek original of thefourth century, and we have seen in the case of theMeleager what a difference this may imply. Even ifthe Apollo of the Mausoleum be not assigned to Scopashimself, it interests us as the prototype of many laterrepresentations of the god. Finally, we may notice an example of the way inwhich the influence of Scopas had, even in the fourthcentury, filtered down to such everyday works as thetombstones of Athens. On one of these we see anathlete whose massive proportions, square brow anddeep-set eyes suggest the influence of Scopas, and facinghim is an old man whose expression of sorrow shows,once more, the intensity of emotion the great sculptorhad taught even the makers of these reliefs to express; Plate LXV. STELE FROM THE 1LISSUS AT ATHENS To fact p. 208 SCOPAS 209 the little boy huddled up at the feet of the athleteshows a new touch of pathos, keener than the gentlemelancholy that pervades many of these shall have occasion to see how the dramatic andpassionate qualities imported into Greek sculpture byScopas pervade the later art of Greece; here we see anexample of the way in which even the private andpersonal emotion of his contemporaries found fullerexpression owing to his influence. CHAPTER VIII LYSIPPUS If our information as to Scopas has been considerablysupplemented by recent discoveries, in the case ofLysippus the new evidence has been revolutionary in itscharacter. Hitherto we have been dependent for ourestimate of Lysippus upon literary notices of his style andattainments, upon some rather remote copies or imita-tions of his well-known works, and on one statue, theApoxyomenos of the Vatican, which has generally beenregarded as a direct copy of
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