But again the critical argument takes a fresh lease. For the “Agias” is found to resemble strongly the “Heracles” at Lansdowne House. Moreover, since neither possesses any of the strongly marked characteristics of the “Apoxyomenus,” doubt is thrown upon the generally accepted attribution of that statue to Lysippus. What is the alternative? Mr. Percy Gardner has a suggestion at once. He turns to his Pliny (“Nat. Hist.” xxxiv. 87). The “‘Apoxyomenus’ is not a genuine fourth-century work; it is rather Hellenistic,” says he; “it may well be a copy of the Perixyomenus of Diappus, the son or pupil of Lysippus.” We do not refer to the battle of the critics over Scopas, Praxiteles, and Lysippus at this length on account of the intrinsic value of the critical spoils. On the contrary, the value of the accumulation of evidence seems to us to be entirely negative. We are far from wishing to depreciate the value of such researches, but candour compels us to remind the amateur that the modern methods of critical research are full of pitfalls. One can scarcely steer too far from the hasty generalisation which can be so readily drawn from the necessarily flimsy evidence upon which the archæologist is compelled to rely. [Illustration: “SARCOPHAGUS OF ALEXANDER” Constantinople] For ourselves we prefer to regard the work of the critical school as scaffolding which will doubtless lead to a permanent erection of ascertained fact. The “Ares,” the “Meleager,” and the “Apoxyomenus” may be neither by Scopas nor Lysippus. It is sufficient if we can honestly detect in them the general characteristics of particular phases of fourth-century sculpture. The “Mausoleum Charioteer,” the “Menelaus and Patroclus,” and the “Niobe” group may none of them be the actual design or handiwork of Scopas. We cannot do more than detect in them the general characteristics of the period in which Scopas was a dominating influence. But there must have been a personality to popularise the new style—a brain and hand through whom the new artistic tendency first found expression. With all the reservations that these remarks imply, we give this personality the name of Scopas, and, as we said before, regard him as the first Greek to realise that marble and bronze could express the more passionate intensity of feeling which naturally followed the increasing importance of the individual and the individual’s thoughts and emotions.