A Dictionary of Greek and Roman biography and mythology. By various writers. Ed. by William Smith. Illustrated by numerous engravings on wood.

872 LY'SIPPUS. LYSISTRATUS.
ii. 9. ~ 6). 3. Zeus Nemeus, in an erect position, The most' celebrated of these statues is that in
at Argos (Paus. ii. 20. ~ 3). 4. Zeus attended by which Alexander was represented with a lance.
the Muses (Paus. i. 43. ~ 6). 5. Poseidon, at (Plut. de Isid. 24), which was considered.as a sort
Corinth (Lucian, Jup. Trag. 9, vol. ii. p. 652, of companion to the picture of Alexander wielding
Wetst.). 6. Dionysus, in the sacred grove on a thunderbolt, by Apelles. The impression which
Mt. Helicon (Paus. ix. 30. ~ 1). 7. Eros, at it produced.; upon spectators was described by an
Thespiae (Paus. ix. 27. ~ 3; comp. Sillig in the epigram afterwards affixed to it,Armalthea, vol. iii. p. 299). A ~. s
As above stated, his favourite mythological r uo, Z o' OK UrO EX.
subject was Hercules. The following are some of
his statues of that hero:-8. A colossal Hercules (Plut. de Alex. Virt. ii. 2, Alex. 4; Tzetz. C/dil.
resting from his labours, in a sitting posture, at viii. 426.) The rest of his portraits of Alexander
Tarentum, whence it was carried to Rome by are described by Miiller (Archiiol. d. Kunst, ~
Fabius Maximus, when he took Tarentum (Strab. 129, n. 2). To the same class belongs his group of
vi. p. 278, b.; Plut. Fab. Max. 22). It was the chieftains who fell in the battle at the Granicus.
afterwards transferred to Byzantium (Nicet. Stat. There are still some other works of Lysippus of
Constant. 5. p.. 12). It is frequently copied on less importance, which are described by the hisgems. 9. Hercules, yielding to thepower of Eros, torians of Greek art. (Sillig, Cat. s.v.; Meyer,
and deprived of his weapons. The statue is Kunstgeschichte.; Hirt, Gesch.. d. Bild. Kunst;
described in an epigram by Geminus (Anth. Pal. Nagler, Kiinstler-Lexicon.)
App. ii. p. 655; Anth. Plan. iv. 103). This. also 2. A painter in encaustic, of the Aeginetan
often appears on gems. 10. A small statue (hrsrpa- school, who.placed on his paintings the word
7re'Los), representing the deified hero as sitting at'vde'caer. (Plin. xxxv. 11. s. 19.)
the banquet of the gods, described by Statius 3. A statuary of Heracleia, the son of Lysippus,
(Silv. iv. 6) and Martial (ix. 44). The celebrated who is known from an inscription on the base of a
Belvedere Torso is most probably a copy of this statue of Apollo at Delos: - AIIOAAZNI AT(Meyer, Kunstgeschichte, vol. ii. p. 114; Heyne, %IHIrIO0 AT:IIIfIOT HPAKAEIOZ EMOIEI.
Prise. Art. Op. ex Fpigr. illust. p. 87). 11. Her- (Welcker, in the Kenstblatt, 1827, No. 83.) [P. S.]
cules in the forum at Sicyon (Paus. ii. 9. ~ 7). LYSIS (Av-rLs). 1. An eminent Pythagorean
12. There were originally at Alyzia in Arcadia, philosopher, who, driven out of Italy in the perand afterwards at Rome, a set of statues by secution of his sect, betook himself to Thebes, and
Lysippus, representing the labours of Hercules became the teacher of Epaminondas, by whom he
(Strab. x. p. 459, c.). Perhaps one of this group was held in the highest esteem. He died and was
mlay havebeen the original of the Farnese Hercules buried at. Thebes. (Paus. ix. 13. ~ 1; Aelian.
of Glycon, which is undoubtedly a copy of a work V. H. iii. 17; Diod. Exc. de Virt. et Vit. p.
of Lysippus. (GLYCON; Miiller, Arclhiol. d. 556; Plut. de Gen. Socr. 8, 13, 14, 16; Diog.
Kunst, ~ 129, n. 2.) L-aert. viii. 39; Nepos, Epam. 2; Iamblich./ Vit.
To his mythological works must be added:- Pyth. 35.). There was attributed to him a work
13. A celebrated statue of Time, or rather Oppor- on Pythagoras and his doctrines, and a letter to
tunity, (Katpos; Callistr. Stat. p. 698, ed. Jacobs, Hipparchus, of which the latter is undoubtedly
with Welcker's Excursus). 14. Helios in a quad- spurious; and Diogenes says that some of the
riga, at Rhodes (Plin. H. N. xxxiv. 8. s. 19.~ 6). works ascribed to Pythagoras were really written
15. A Satyr at Athens (TAid.). by Lysis.
Of those of his statues which were neither my- There is a chronological difficulty respecting
thological nor strictly portraits, the following are him, inasmuch as. he is stated to have been the
mentioned:-16. A bather or athlete, scraping disciple of Pythagoras, and also the teacher of
himself with a strigil, which was placed by M. Epaminondas. Dodwell (de Cycl. Vet. p. 148)
Agrippa in front of his baths, and was so admired attempted to show the consistency of the two
by the emperor Tiberius that he transferred it to statements; but Bentley (Answer to Boyle) conhis own chamber; the resentment of the people, tends that the ancient writers confounded two
however, compelled him to restore it (Plin. I. c.). philosophers of this name. (Fabric. Bibl. Graec.
From the way in which Pliny speaks of this statue, vol. i. p. 85].)
it may be conjectured that it was intended by: 2. A disciple of Socrates. (Diog. Laurt. ii. 29.)
Lysippus to be a nonnal specimen of his art, like 3. A poet of the hilaroedic style, was the sucthe Doryphorus of Polycleitus. 17. An intoxicated cessor of Simus, the inventor of that species of
female flute-player. 18. Several statues of athletes poetry the composers of which were at first called
(Paus. vi. 1. ~ 2 22.- ~ 1, 4. ~ 4, 5. ~ 1, 17. ~ 2). -Zlpusoi, from Simus, and afterwards Avao-ioi and
19. A statue of Socrates (Diog. Lagrt. ii. 43). Manyr8o', from Lysis and Magus. (Strab. xiv.
20. Of Aesop (Anth.- Graec.. iv. 33). 21. Of p. 648, a.; Ath. xiv. p. 620, d., iv. p. 182, c.;
Praxilla,. (Tatian. adv. Graec. 52.) Bode, Gesch. der Lyrisch. Dichtkunst, vol. ii. p.
We pass on to his actual portraits, and- chiefly 469.) [P. S.]
those of Alexander. In this department of his art LYSISTRA'TIDES, artist. [LEOSTR.TIDEmS.]
Lysippus kept true to his great principle, and LYSIS'TRATUS, of Sicyon, statuary, was the
imitated nature so closely as even to indicate brother of Lysippus, with whom he is placed by
Alexander's personal defects, such as the inclination Pliny at the 114th Olympiad (H. N. xxxiv. 8.
of his head sidewards, but without impairing the s. 19.) He devoted himself entirely to the making
beauty and heroic expression of the figure. He of portraits, and, if we may believe Pliny, his
made statues of Alexander at all periods of life, portraits were nothing more than exact likenesses,
and in many different positions. Alexander's edict without any ideal beauty. (Hic et similitudinem
is well known, that no one should paint him but reddere instituit: ante eum quam pulcherrimasfacere
Apelles, and no one make his statue but Lysippus. studebant.) He was the first who took a cast of