The outstanding feature of the history of Greek sculpture during the Hellenistic period is the transference of its vital centres from the mainland to the new kingdoms of the Diadochi on the east and south and to the great new free state of Rhodes. The chief cause was an economic one. Alexander’s campaigns brought about a revival of prosperity and wealth in the Greek world, but among his friends and not among his enemies. Athens was always his enemy and the enemy of his Macedonian successors. Consequently during the whole period from the death of Alexander to the Roman conquest Athens was either under Macedonian rule or in danger of Macedonian attack. It was Macedonian policy to keep her weak and isolated, and her trading supremacy began to be transferred to the island of Delos. The great days of Attic art passed with the death of Praxiteles and the coming of Alexander. In the Peloponnese the pupils of Lysippos carried on into the third century the traditions of the Sikyonian school, but we can see from such knowledge as we possess of their activities that the wealth and fame of the new kingdoms were already calling the artists to abandon the impoverished towns of the mainland. The Peloponnese also opposed Alexander and his successors, and Macedonian garrisons held the chief fortresses of the country. We find Eutychides of Sikyon working for Antioch, and Chares working at Lindos in Rhodes. After the date given for the pupils of Lysippos in 296 B.C., Pliny makes the following significant statement: ‘cessavit deinde ars, ac rursus Olympiade CLVI (156 B.C.) revixit.’[1] For 150 years the history of artistic development must be studied on the eastern side of the Aegean.