A noble companion to the Hippolytus would be Neoptolemus, the son of Achilles. He is the young Greek warrior, strong and bold and brave; a fine ideal type of generosity and truth. The conception, as I imagine it, should be taken from the Philoctetes of Sophocles, where Neoptolemus, indignant at the craft of Ulysses, discloses the trick of which he had been made the unwilling instrument, and restores the fatal, envenomed arrows to Philoctetes. The celebrated lines in the Iliad spoken by Achilles— “Who dares think one thing and another tell My soul detests him as the gates of hell!” should give the leading characteristic _motif_ in the figure of his son. There should be something of remorseful pity in the very youthful features; the form ought to be heroically treated, that is, undraped, and he should hold the arrows in his hand. Neoptolemus, as the savage avenger of his father’s death, slaying the grey-haired Priam at the foot of the altar, and carrying off Andromache, is, of course, quite a different version of the character. He then figures as Pyrrhus— “The rugged Pyrrhus, he whose sable arms, Black as his purpose, did the night resemble.” The fine moral story of Neoptolemus and Philoctetes is figured on the Etruscan vases. Of the young, truth-telling, Greek hero I find no single statue. [Illustration] IPHIGENIA. I have often been surprised that we have no statue of this eminently beautiful subject. We have the story of Iphigenia constantly repeated in gems and bas-reliefs; the most celebrated example extant being the Medici Vase. But no single figure of Iphigenia, as the Greek ideal of heroic maidenhood and self-devotion, exists, I believe, in antique sculpture. The small and rather feebly elegant statuette by Christian Tieck is the only modern example I have seen. Iphigenia may be represented under two very different aspects, both beautiful.