idealism which is necessary for the growth of any artistic development, and the traditional friendship with the rising power of Rome helped her to preserve her prosperity and independence later than any of her neighbours. The last great work of Rhodian art, the Laocoon, is almost as late as the Empire, and the whole period of two hundred and fifty years between it and the Colossus is marked by an immense output of sculpture. We have already suggested that the Hellenistic art of Rhodes began under the dominant influence of the athletic school of Lysippos. We must first examine the character and achievements of this school. Daippos, Boedas, and Euthykrates are said to have been sons and pupils of the great Sikyonian. Of these Euthykrates was the best known, and Pliny tells us that he followed his father’s carefulness rather than his elegance, and that his style was more severe than genial (‘constantiam potius imitatus patris quam elegantiam austero maluit genere quam iucundo placere’).[64] His works were mainly athletic or equestrian, with a few female subjects, and his pupil Tisicrates was a faithful copyist of the style of Lysippos, so much so, in fact, that his works could hardly be distinguished from the master’s. Daippos made a _perixyomenos_ or athlete scraping himself,[65] and Boedas made an _adorans_ or praying figure.[66] Pliny’s description is important, because it assures us of the faithfulness with which the pupils of Lysippos kept to their master’s style. This is the basis for the argument of those who see in the Apoxyomenos of the Vatican a work of the pupil Daippos rather than the master; but the argument is two-edged, if Lysippos’ own style is to be found in the Agias, since the two statues have little in common. The mention of the _adorans_ enables us to connect two well-known bronzes with this school--the Praying Boy of Berlin (Fig. 27) and the Resting Hermes of Naples (Fig. 28). The Praying Boy is a subject unparalleled elsewhere, and belongs to the early Hellenistic age. He can hardly be other than a copy of the statue of Boedas. The slender proportions and small head follow the Lysippic canon, and the easy swing of the body proves its chronological position. This figure and the others, which we shall subsequently notice, show a new growth of naturalism by less insistence on the outlines of the torso muscles. The average body in repose does not show the massive muscles of Pheidian or even of Lysippic art, and the post-Lysippic sculptors of the third century tend to soften and naturalize the torso to a considerable extent. The Pergamene Dying Gaul is a good example of this fine restraint, which was utterly abandoned by the later Pergamene school and even by the late Rhodians, but which in all third-century art of Rhodes is noteworthy. The Resting Hermes is a fine copy of a post-Lysippic original, which stood in close connexion with the Praying Boy. The torso, slender, restrained, and full of vitality, shows the same