We are still left with one important monument of Alexandrian art which perhaps can be treated most fitly in connexion with the pastoral reliefs--the great statue of the Nile in the Braccio Nuovo of the Vatican (Fig. 24). The god lies out at length supported on his elbow, and little boys, representing the cubits of his annual rise, play about over him. The work is a Roman copy, and tells us little of technique, but the _putti_ are interesting as a typical Hellenistic development. This is the period in which Eros, who has been growing steadily younger from the youth of Praxiteles to the boy of Lysippos, turns finally into the chubby Roman Cupid or Amorino of Renaissance art. As such he helps Aphrodite in her toilet or performs all manner of tasks in the fine frieze of Erotes at Ephesos. It is the logical ending of the transformation of mythology into _genre_. Alexandrian art is essentially mundane and frivolous, sceptical and humorous. Her artists would have appreciated the earlier Pergamene developments, but they would have laughed at the clumsy idealism of the great altar frieze. Nor would they have felt much sympathy with the athletic art of Rhodes. We may perhaps consider here the little we know of the art of Antioch, since it has certain points in common with that of Alexandria. The chief monument used in all discussion of Antiochene art is the statue of Antioch[59] on the Orontes, made by Eutychides, a pupil of Lysippos. A small copy of this in the Vatican shows us a fine seated figure crowned with the turreted crown, who rests her foot on a little male figure with outstretched arms representing the stream of the Orontes. Unfortunately the copy is too small to give us much information about the artist, though he seems to have used the same idea for another statue of the Eurotas. We have, however, a figure of Aphrodite from Egypt (Fig. 25), which shows a supporting Triton in an attitude indubitably connected with the figure of the Orontes. This is an Egyptian work, but it argues some artistic connexion between Alexandria and the Seleucid capital. Another link is given us by the statement[60] that the Apollo at Daphne near Antioch was made by Bryaxis, the author of the Alexandrian Sarapis. Antioch, though like Alexandria in many respects--in her turbulent population, her cosmopolitanism, her irreverence for all authority--seems never to have developed the cultured love of literature and the arts which we find at Pergamon and on the Nile. She remained in all probability a collector and not an originator of art. The glimpses which we can get of her statues indicate a catholic taste. The Apollo seated on the Omphalos, which decorates the Seleucid coins, resembles the Lysippic type, and a Herakles type, also found on Syrian coins and reproduced in the bronze colossus of the Conservatori, has some connexion with the later Sikyonian school. By the side of these we must place the Apollo of Bryaxis.