KOHLER ART LIBRARY OF COPYRIGHT 1927 BY DUKE UNIVERSITY PRESS WISCONSIN THE SEEMAN PRESS Printed in the United States of America This book is designed to be a critical consideration of all materials that may be expected, or have been expected, to afford contributions to our knowledge of Lysippos. Most of the topics here discussed have often been discussed previously; and in general I have presented not only my own conclusions, but also the conclusions of others, so that the reader may balance the various arguments (or weigh the various authorities) and form his own opinions. The usefulness of such a study was suggested to me by Professor David M. Robinson, of Johns Hopkins University, and my dissertation for the doctorate was written under his direction and presented in 1921. It contained ten chapters, to which Chapters III-XII of this book correspond; but all except Chapter VI have been revised very thoroughly, and the first two chapters are wholly new. At all stages of the work I have received a great deal of assistance of all kinds from Professor Robinson. During my two years at the University of Illinois, my work was much facilitated by the funds liberally assigned by Dean Daniels of the Graduate School; and most of the illustrations are reproduced from material owned by that university. Through the courtesy of Professor Wilhelm Kroll, I saw in 1926 the proofs of Lippold's article on Lysippos, written for Pauly-Wissowa. From it I gleaned two new passages for the appendix, but my study was already in virtually its final form. At about the same time I read Waldhauer's little book on Lysippos, which had been published in 1923. As this is in the Russian language and has not been reviewed, so far as I have observed, in the archaeological journals, it may be useful to give a short account of it. The book consists of forty-one pages of text and thirty full-page illustrations. There are three chap ters: the first (pp. 7-16) deals with "Literary Evidence on Lysippos", the second (pp. 17-39) with existing copies of his works, the third (pp. 40-47) with "Lysippos as an Artistic Personality". The first chapter is devoted largely to a somewhat Spenglerian treatment of the state of the world in the time of Lysippos; in the second various sculptures are ascribed to Lysippos and minutely analyzed; while in the third an effort is made to trace the development of style in these works and so to arrange them in chronological order. As is right in such a book, the author gives little space to disputed questions of fact. His aesthetic analyses of the sculptures are decidedly suggestive, stimulating, and interesting. At the end of his study he assigns the Agias, the "Jason", the Eros, the Herakles Farnese, the Herakles with the hind, of Palermo, to the youth of Lysippos; the apoxyomenos, the seated Hermes, the Naples wrestlers, the Seilenos and Dionysos, the Herakles Epitrapezios, the feminine head in Munich, the Nelidow statuette, the Borghese satyr, the Poseidon (both Lateran and Porcigliano types, apparently) and the Otricoli Zeus, to his maturity; the head of Herakles in the British Museau and the Pergamene "Alexander" to the later years of the artist. There is a good deal here from which one must dissent. I desire gratefully to acknowledge the courtesy of Mr. James Loeb, who granted permission to use extracts from the translations in the Loeb Classical Library; of the Oxford University Press, which gave similar permission as regards Slater's translation of Statius; and of Macmillan and Company, who allowed quotations from Frazer's Pausanias, Jex-Blake's Pliny, and Jones's Ancient Writers on Greek Sculpture. The other translations have been used without special permission, but the translator's name is always given. Most of the illustrations are taken, by permission, from the various series of photographs published by |