have been herm figures with an Eros head similar to a statue in the courtyard of the Conservatori Museum, and comparable with the Hermathena, which belonged to Cicero. Herms of all kinds became very popular in Greco-Roman art, and we see here in Rhodes perhaps the first development of the old archaistic Dionysos herms into more modern studies. Another dramatic group similar to that of the Farnese Bull and the Laocoon was the lost group by Aristonides of Rhodes, showing Athamas in remorse for the murder of his son, Learchos. Pliny tells a foolish tale that the sculptor mixed iron with the copper in order to portray the blush of shame, a story told also about the Jocasta of Silanion. A little figure of Odysseus (Fig. 35) in the Chiaramonti gallery of the Vatican holding out a bowl of wine to the Cyclops must be part of another mythological group of this period. The movement and action of the hero are typically Rhodian, and his face corresponds to the Rhodian type. The rest of the group is lost. The group of Scylla and the sailors of Odysseus is represented only by a much mutilated and fragmentary copy in Oxford, which gives us little information. We have more copies of the well-known Pasquino group of Menelaos or Ajax and Patroclos. There are fragments in the Vatican, and a well-preserved replica in the Loggia dei Lanzi in Florence (Fig. 36). Here again the extraordinary interest in anatomical forms is shown not only in the strain and twist of the living hero--the invariable twist of all these Rhodian figures--but in the admirable contrast between the vivid living body and the relaxed corpse. This contrasting of physical and mental conditions is a part of the dramatic feeling in later Rhodian art, which has quite abandoned its earlier simplicity and has followed on the lines of _baroque_ extravagance laid down by the second Pergamene school. [Illustration: 35] [Illustration: 36]