Identifier: sixgreeksculptor00gard (find matches)
Title: Six Greek sculptors
Year: 1915 (1910s)
Authors: Gardner, Ernest Arthur, 1862-1939
Subjects: Sculptors Sculpture, Greek
Publisher: London : Duckworth and Co.  New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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her portraits, notably that by Leochares inthe Philippeum at Olympia; and the great demand foridealised portraits of the conqueror to set up inthe many cities he or his successors had founded musthave led to a corresponding supply. The portrait byLysippus was, however, the finest of all, and was pre-ferred by Alexander himself because Lysippus alone displayed his character and showed his manliness aswell as his beauty of feature, while others, striving toimitate the turn of his neck and the liquid and meltingglance of his eyes, lost his virile and leonine aspect.There are many epigrams about the portrait; perhapsthe most instructive is the following: The bronze, methinks, will speak with eyes upraised to Zeus on high,I set the earth beneath my feet; tis thine to rule the sky. Most of the attempts hitherto made to select amongthe portraits of Alexander the type which is to beassigned especially to Lysippus have started from theassumption that the Apoxyomenos must be taken as Plate XLIX
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HEAD OF ALEXANDER, IN BRITISH MUSEUM To face p. 225 LYSIPPUS 225 typical of his style; and, as a not unnatural result, theAzara head in the Louvre, an idealised portrait of com-paratively cold and correct workmanship, has oftenbeen taken as nearest to the Lysippean original. Onemight well hesitate about this inference, for in thishead one certainly misses the fire which one of theepigi-ams attributes to the work of Lysippus. But nowthat we have the Aglas for comparison, the Azara headis out of the question, except as showing some faintreflection of the Lysippean school. On the other hand, the splendid head from Alexandriain the British Museum, here reproduced, now for thefirst time appears in its proper light. So long as it wasthought that intense individuality and vivid portrayalof character were alien to the calm dignity of Greek artin the fourth century, there was a tendency to assignthis head to the Hellenistic age. But the Tegea headshave enlightened us as to vigour of expression

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