similar tendency though of a different school, and must fall about the same date. We now possess some evidence for the continuous study and development of female drapery at Rhodes parallel to the study and development of the male form. The Rhodian school is in fact the most industrious and the most scientific of all the Hellenistic art centres. In mastery of detail they are unapproachable, but they have ceased to care much for motive or idealism in their subjects. To such art both impressionism and romantic feeling are foreign. Rhodian art is very versatile and very straightforward, but its constant aspiration after the unusual renders it in the end monotonous. The earlier and later periods of Rhodian art are separated by the quarrel with Rome and consequent loss of the land-empire in 167 B.C. This ended the real independence of Rhodes, and with it disappeared the inventive genius of her artists. She continued for another century to be the great and almost the sole centre of art production, for both Pergamon and Alexandria now lost all artistic importance, but she ceased to develop and originate. The works of her second period are brilliant in the extreme, but they are no longer vital and progressive. It is significant that the best-known works of this period are great groups rather than single statues. We may notice the Laocoon group, the Farnese Bull, the ‘Pasquino’ of Ajax and Patroclos, the Scylla group, and the group of Odysseus with the Cyclops. Of these the earliest is perhaps the Farnese Bull,[85] which we possess in an Antonine copy at Naples from the Baths of Caracalla. It represents the punishment of Dirce by Zethos and Amphion for her cruelty to their mother Antiope. The two heroes hold the bull, to whose horns they are about to tie the unfortunate Dirce. It was made by Apollonios and Tauriskos of Tralles, and brought from Rhodes to Rome by Asinius Pollio. The date can be fixed by a comparison of inscriptions to about the year 130 B.C. Tauriskos’ son has signed a base at Magnesia about 100 B.C. Both Tauriskos and Apollonios were adopted by Menecrates, son of Menecrates, one of the artists of the Pergamon frieze. But in examining the group we must beware of the Roman additions and restorations, which include nearly all the landscape details together with the figure of Antiope and the mountain god. The head of Zethos is a portrait of Caracalla. The group has been adapted to act as a centre-piece for the great hall of the Baths of Caracalla, and consequently has been made square. Even in its original form, however, it must have been a good example of all-round sculpture. The figures are Lysippic, and the lower part of Dirce, which is the only antique part of her, shows more archaic drapery than usual. This is only what we might expect from an art which has passed its prime. Novelty of treatment is no longer a first essential. Tauriskos also made figures called Hermerotes. These must