carefully from life, particularly in his likenesses of old persons, that he was reproved for being too faithful to Nature. Quinctilian accuses him of being “nimius in veritate” (xii. 10); Lucian in his “Philopseudes” calls him an ἀνθρωποποιός, and, describing a statue by him of Pelichus the Corinthian, says it was αὐτῷ ἀνθρώπῳ ὁμοῖον,—like the very man himself. Callimachus, also, at the same period obtained the nickname of Κατατηξίτεχνος, on account of the extreme detail and finish of his works. These artists flourished nearly a century before Lysistratus; and Pliny therefore is incorrect in his sweeping statement that before the time of Lysistratus sculptors had only endeavored to make their statues as beautiful as possible, and not to give accurate portraits. Still, these men must be considered as exceptions to the general practice, and it was not until the time of Alexander that portrait-sculpture in the sense of accurate likeness was developed. Up to that period it still was heroic, generalized, and ideal in its character, with comparatively little individuality or detail. The portrait statues, for instance, of the Royal Family by Leochares (372 B. C.), and that of Mausolus (about 350 B. C.) on the famous Mausoleum erected by Artemisia, were treated in this style. Lysippus, however, during the reign of Alexander of Macedon, by his great talent gave a new impulse and development to the school of portraiture, and while retaining the heroic character he gave a more realistic truth to his works. Pliny speaks of him as distinguished for the finish of his work in the remotest details,—“argutiæ operum custoditæ in minimis rebus.” In his portraits of Alexander he represented even the defects of his royal patron, such as the stoop of his head sideways. Such was his skill that Alexander declared “that none but Apelles should represent him in color, and none but Lysippus in marble.” Lysistratus was the brother of Lysippus, and Pliny says that he introduced the practice of making portraits which were not merely heroic and ideal likenesses, but faithful representations of the real men. In attributing to Lysistratus the introduction of this practice of individual portraiture, Pliny undoubtedly goes beyond the real facts. He did not introduce the practice, he merely developed it by a peculiar process, giving additional verisimilitude thereby. This process was roughly modeling the likeness in plaster, and then finishing the surface and the details in the “cera” with which he covered it.