Another head in the Capitol, the so-called Ariadne (Fig. 19), perhaps really a Dionysos, also suggests an Alexandrian origin with its long face, eyes close together, and crinkly hair.[42] It is a very favourite Roman head often copied, and must belong to some famous original. It wears a band, which presses into the hair, and its sleepy languid gaze is remarkable. This is produced by making the upper eyelid nearly straight and the lower one well curved. The face is long and heavy. Both eye-shape and head recall the Boston girl from Chios and other Alexandrian statues. The surface of the face is highly polished, the hair left crinkly and rough--an Alexandrian procedure. If we can accept this head, we must class with it two heads of identical facial type, the Eubouleus of Eleusis[43] sometimes attributed to Praxiteles, and the so-called Inopos from Delos in the Louvre (Fig. 20). Alexandrian dedications might plausibly be expected at Delos and Eleusis. Both Inopos and Eubouleus are highly impressionist. We have said enough to show that what we may call the serious art of Alexandria had certain characteristics of technique and execution, which render not impossible an attempt to classify and arrange an Alexandrian school of sculpture. We must now turn to another side of Alexandrian art which, if of less artistic interest, is nevertheless of paramount importance in our study of Hellenistic art. [Illustration: 19] [Illustration: 20] The people of Alexandria were noted in the ancient world as scoffers and cynics. Their temper was fiery, their jests were brutal, and reverence of any kind was unknown to them. A cosmopolitan medley of Greek, Macedonian, native Egyptian, Jew, and every nation of the East, they were united only in their utter diversity of point of view and their scepticism of all ideal obligation. To such a people caricature and a love of the grotesque were almost second nature. By the side of the greater art of Alexandria it is easy to discern a lesser art of comic, grotesque, and obscene statuettes of every description. Greek realism in portraiture went back to the Pellichos of Demetrios with his great paunch and scanty hair in the early fourth century.[44] With the end of the century the satyr was a recognized medium for every variety of the _baroque_ and the _macabre_ in expression. But in Alexandria above all the grotesque exaggeration of natural defects found its true popularity. The negro, the hunchback, the drunkard, the _crétin_ of every kind, became popular artistic models. As if the delineation of youth and beauty was exhausted, the Hellenistic sculptors of Alexandria rushed into the portrayal of disease, of old age, and of mutilation in every form. They suffered as much as any modern decadent from ‘la nostalgie de la boue’. Here again we must beware of attributing to Alexandria all the grotesque figures of Hellenistic art and all its pieces of most painful naturalism. Pergamon, if not Rhodes, and