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LYSIPPUS

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Originally appearing in Volume V17, Page 184 of the 1911 Encyclopedia Britannica.
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LYSIPPUS , See also:

Greek sculptor, was See also:head of the school of See also:Argos and See also:Sicyon in the See also:time of See also:Philip and See also:Alexander of Macedon. His See also:works are said to have numbered 1500, some of them See also:colossal. Some accounts make him the continuer of the school of See also:Polyclitus; some represent him as self-taught. The See also:matter in which he especially innovated was the proportions of the malehuman See also:body; he made the head smaller than his predecessors, the body more slender and hard, so as to give the impression of greater height. He also took See also:great pains with See also:hair and other details. See also:Pliny (N.H. 34, 61) and other writers mention many of his statues. Among the gods he seems to have produced new and striking types of See also:Zeus (probably of the Otricoli class), of See also:Poseidon (compare the Poseidon of the Lateran, See also:standing with raised See also:foot), of the See also:Sun-See also:god and others; many of these were colossal figures in See also:bronze. Among heroes he was specially attracted by the mighty physique of See also:Hercules. The Hercules See also:Farnese of See also:Naples, though signed by Glycon of See also:Athens, and a later and exaggerated transcript, owes something, including the See also:motive of See also:rest after labour, to Lysippus. Lysippus made many statues of Alexander the Great, and so satisfied his See also:patron, no doubt by idealizing him, that he became the See also:court sculptor of the See also:king, from whom and from whose generals he received many commissions. The extant portraits of Alexander vary greatly, and it is impossible to determine which among them go back to Lysippus.

The remarkable head from See also:

Alexandria (See also:Plate II. fig. 56, in GREEK See also:ART) has as See also:good a claim as any. As head of the great athletic school of Peloponnese Lysippus naturally sculptured many athletes; a figure by him of a See also:man scraping himself with a strigil was a great favourite of the See also:Romans in the time of Tiberius (Pliny, N.H. 34, 61); and this has been usually regarded as the See also:original copied in the Apoxyomenus of the Vatican (GREEK ART, Plate VI. fig. 79). If so, the copyist has modernized his copy, for some features of the Apoxyomenus belong to the Hellenistic See also:age. With more certainty we may see a copy of an See also:athlete by Lysippus in the statue of Agias found at See also:Delphi (GREEK ART, Plate V. fig. 74), which is proved by See also:inscriptions to be a replica in See also:marble of a bronze statue set up by Lysippus in See also:Thessaly. And when the Agias and the Apoxyomenus are set See also:side by side their See also:differences are so striking that it is difficult to attribute them to the same author, though they may belong to the same school. (P.

End of Article: LYSIPPUS

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LYSIMACHUS (c. 355—281 B.C.)
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LYSIS OF TARENTUM (d. c. 390 B.c.)