Walters, Henry Beauchamp: Catalogue of the bronzes, Greek, Roman, and Etruscan in the Department of Greek and Roman Antiquities, British Museum (London, 1899)

GREEK BRONZES OF THE BEST PERIOD.

35

Lysippos and his followers introduced. We know that Lysistratos, the brother
of Lysippos, was one of the chief representatives of this school, and this bronze
might well be attributed to him (cf. Pliny, Hist. Nat. xxxv. 153, and Fortnum,

Bronzes in S. Kensington Mus. Introd. p. lxv.). It probably formed part of a
statue ; Newton (Guide to Bronze Room, p. 49) has suggested a King of Numidia
or Mauretania.

Ht. 12 in. Found in 1S61 in the Temple of Apollo at Cyrene by Messrs. Smith and
Porcher, at a depth of eleven feet, under a mosaic pavementdn the cella, together with some
fragments of bronze horses and other objects. Smith and Porcher, Discoveries at Cyrene, pl. 66,
p. 94 ; Gazette Archeol. 1878, pl. 8, p. 60; Rayet, Momnnents de Vart antique, ii. pl. 57 ; Brunn
and Briickmann, Gr. u. Rom. Portrats, pls. 41, 42 ; Collignon, Hist de la Sculpture Grecqite,
ii. p. 567; Murray, Handbook of Gk. Archaeology, p. 292 ; Mrs. Mitchell, Hist. of Anct. Sculpt.
p. 629 ; Mansell, Brit. Mus. Photographs, No. 883.

269. Marsyas, probably at the moment before picking up the flutes thrown
down by Athene. He starts back in surprise, standing on tip-toe, with 1. leg
drawn back, r. hand raised to head and 1. arm extended ; he looks down at the
flutes which have (not been preserved). He has shaggy curly hair and a long
beard ; the eyes have been inlaid.

Ht. 2 ft. 6in. Patras, 1876. Gazette Archdol. 1879, pls. 34, 3;, p. 241 ff. (Murray) ; Arck.

Zeit. 1879, pl. 8, p. 91 ; Murray, Hist. of Gk. Sculpttire 1, i. p. 260 ; Collignon, Hist. de la
Sculpture Grecque, i. p. 472 ; Rayet, Monum. de I'art antique, i. pl. 34 ; Overbeck, Gesch. d.

Gr. Plastik* i. p. 269, fig. 73 b, p. 299, note 212 ; Mrs. Mitchell, Hist. of Anct. Sculpt. p. 291 ;

Frazer, Pausanias, ii. p. 292 ; Von Sybel, Athene u. Marsyas, p. 15. Tail, part of left forefinger,
and great toe of left foot broken off. This work appears to date from the fourth century B.C.,
but the motive is no doubt derived from the statue attributed by Pliny (//. N. xxxiv. 57) to
Myron ; cf. Paus. i. 24, 1. For other representations, see G. Hirschfeld, Athena u. Marsyas
(30'" Winckelmannsfestprogr., 1872), and Overbeck, loc. cit. For the motive compare No.

1388, and a Satyr on the vase E 102 in Brit. Mus.

270. Apollo. He is nude and beardless, and his hair is parted in front and Plate II.
twisted round a fillet, the ends being gathered up in a knot at the back ; he

stands on r. leg, with 1. leg drawn back ; the r. arm has been extended, and
the 1. has held a bow or other object. The eyes have been inlaid with silver or
some other material.

Ht. 5fin. From Armento. Bequeathed by Sir W. Temple, 1856. Right hand lost.

Good work, rather archaic, especially in the treatment of the hair ; may be assigned to about
460 B.C.

271. Apollo. He stands with 1. leg crossed over r., looking to his 1.; his hair Plate V.
is waved and rolled up each side, falling in ringlets over each shoulder and in a

mass down the back, tied at the neck ; he wears sandals.

Ht. 8J in. Thessaly, 1879. Klein, Praxiteles, p. 164. A similar figure in Dresden
(falirbuch, 1889, Anzeiger, p. 105), which according to Klein (op. cit. p. 127) was also found in
Thessaly. Both arms lost ; fine patina.

D 2