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Updated: April 30, 2025
If only you had likewise found some Lysippus to cast the medal! I have the medal of you on the righthand wall of my bedroom, the painting on the left; whether writing or walking up and down, I have Willibald before my eyes, so that if I wanted to forget you I could not. Though I have a more retentive memory for friends than for anything else.
"Lysippus and Praxiteles have, according to the universal opinion, most nearly approached truth; Demetrius, on the other hand, is blamed because he went too far in this direction, in that he preferred mere resemblance to beauty." Man is rarely fortunate enough to secure the aids for his higher education from quite unselfish patrons.
The portico which faced the Via Sacra consisted of three rows of Doric columns, the pediment profusely ornamented with the choicest sculptures, the apex of the roof surmounted by the bronze horses of Lysippus, and the roof itself covered with gilded tiles.
We can trace in the Hellenistic age not only the traditions of earlier art, but the direct influence of the masters of the fourth century, the Praxitelean cult of beauty for its own sake, the passion and dramatic force of Scopas, and the preference for allegorical subjects and for statues of colossal size which we may see, as well as many higher qualities, in the art of Lysippus.
In particular we can learn this from the case of the sculptors and painters of antiquity. Those among them who were marked by high station or favourably recommended have come down to posterity with a name that will last forever; for instance, Myron, Polycletus, Phidias, Lysippus, and the others who have attained to fame by their art.
As LYSIPPUS, PRAXITELES, and PYRGOTELES were excellent engravers: so we have these engravers; ROGERS, CHRISTOPHER SWITSER, and CURE. The loadstone draweth iron unto it, but the stone of Ethiopia called Theamedes driveth it away: so there is a kind of music that doth assuage and appease the affections, and a kind that doth kindle and provoke the passions.
The monuments of the Romans were even more numerous than those of the Greeks, and among them some admirable portraits are found. These sculptures did not express that consummation of beauty and grace, of refinement and sentiment, which marked the Greeks; but the imitations were good. Art had reached its perfection under Lysippus; there was nothing more to learn.
He was represented in the act of flitting away from earth, yet wore such a look of earnest invitation that it impressed me like a summons to enter the hall. "It is the original statue of Opportunity, by the ancient sculptor Lysippus," said a gentleman who now approached me. "I place it at the entrance of my museum, because it is not at all times that one can gain admittance to such a collection."
The sculptors who came after him, as Lysippus the favourite of the great Alexander, paid greater regard to graces of detail and to finish; but of those sublime effects, those forms of gods in human shape which really impress the modern spectator with their almost superhuman beauty, Phidias was the creator.
Would that he could appear before me thus once more! Besides, the buildings which surrounded the golden coffin were nearly completed at the time of our departure." "But the statues, reliefs, and mosaic work were lacking," said Hermon. "They were executed by Lysippus, Euphranor, and others of our greatest artists; the paintings by Apelles himself, Antiphilus, and Nicias.
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