treatment, and must belong to the Lysippic school. [Illustration: 27] [Illustration: 28] Eutychides of Sikyon, another pupil of Lysippos, is known to us only from his Antioch.[67] This figure, even in its poor copy, is of great importance, since it is almost the only certified draped female figure of the Lysippic school. Our whole theory of Lysippic and early Rhodian drapery must, therefore, rest upon it. A comparison with the Herculaneum figure[68] in Dresden will show at once a considerable resemblance in treatment, so much so, in fact, that it has caused the attribution of the Dresden figure to the Lysippic school. This cannot be allowed because of the greater resemblance to Attic grave-reliefs and the Mantinean basis, which demonstrates the origin of the type in the school of Praxiteles.[69] But it is sufficient to show that the new scheme of the school of Praxiteles was adopted in the main by the pupils of Lysippos; their faithfulness to their teacher will incline us to the belief that Lysippos used it also. This type of drapery shows a tendency to an artificially effective or artistic arrangement rather than to complete simplicity of naturalism like the drapery of Praxiteles himself, but it is important to notice that it does not become purely artificial or stereotyped till much later, and that all the early examples preserve a considerable share of freer naturalism. The characteristic of the drapery is an opposition of folds in many differing directions, so as to counteract the uniformity of the older Pheidian type. The folds themselves are quite natural; it is only in their arrangement that we find the element of art. The Antioch permits us to assume the tall figure swathed in a long thin cloak as the female type of the Lysippic school, and therefore of the early Rhodian school, while the Praying Boy and the Resting Hermes give us the male type. The close connexion postulated rests on the fact that Chares of Lindos, the author of Rhodes’ most famous statue, the great Colossus, was himself a member of the Sikyonian school and a pupil of the master. But the Colossus itself is unknown to us in any certain copy, and therefore we cannot speak with full knowledge of his art. Some statuettes in bronze in marked Lysippic style may well reproduce the statue, but we cannot feel the necessary certainty in their identification.