rather than the Cnidian type. It is also an Attic work of this period, finely executed, but adding a yet further degradation to the Capitoline version by the additional elegance of its gestures. The Torso Belvedere (Fig. 52) is another Attic work of great technical ability. Its prototype is unknown, and considerable controversy exists about its meaning and correct restoration. It is a seated figure with head and upper torso turned sharply towards its left, a position which suggests a Lysippic original. The massive musculature of the torso recalls Glycon’s Herakles, but the influence here is more Rhodian than Pergamene. One of the most popular suggestions[106] for its restoration makes it a Polyphemos shading his eyes with one hand, as he looks out for Galatea, and holding a club in the other. A similar type is known from wall paintings. No agreement on this point has, however, been reached. Works of this quality of technique, even if uninspired by high artistic feeling, show how greatly the Attic school has improved since the days of Euboulides. In sculpture the skill of the workman depends largely on the popularity of, and demand for, his work. The new vogue of sculpture soon produced a high standard of technical efficiency. But if Greco-Roman art remained wholly and unalterably Greek, Greece itself was not allowed the monopoly of its production. During the early years of the first century two Greek artists transferred their business to Rome itself, and initiated thereby a new school of Hellenistic sculpture. These were Pasiteles and Arcesilaos, names of high importance for Greek art. [Illustration: 51] [Illustration: 52] [Illustration: 53]