of such a school in Ionia in the late fourth century is highly probable. The Pergamene school of the early third century would seem to be the later natural development of the creators of the Ephesos columns and the Niobids. Scopaic expression and Praxitelean flesh treatment are the hall-marks of the school. Another work of importance for the early Pergamene period is the Crouching Aphrodite type, so popular in Roman times. Of this statue Pliny tells us: ‘Venerem lavantem se Daedalus fecit.’[4] This Daedalus was a Bithynian artist of the early third century, who must have fallen under the general influence of the prevalent Pergamene school. His Aphrodite[5] shows exactly the artistic tendencies of the early Pergamene school. The motive is unimportant and frivolous--a _genre_ motive of a girl washing herself--but it is used for the purpose of demonstrating the technical skill of the artist in displaying the nude female form. The artist does not use all his skill in the effort to produce a noble or even a romantic ideal. The subject is immaterial, provided it affords a chance of showing his technical skill. The crouching attitude is a new one in art, and one well adapted for exhibiting the human body in all its variety. It appears again in the Attalid dedications, and was evidently a favourite at Pergamon. Another example is in the well-known Knife-Grinder of the Uffizi,[6] part of a great group of Marsyas, Apollo, and the Scythian slave, which we can certainly connect with this period of Pergamene art. The Knife-Grinder himself is a copy and not an original. That is made clear by his late plinth, in spite of his magnificent workmanship. But the finer copies of the hanging Marsyas, which belongs to the group, are in a Phrygian marble, betraying their Pergamene origin. These copies of the Marsyas are divided into two types: a so-called ‘red’ type (Fig. 2), made of the Phrygian marble, in which the expression of agony is more marked, and a white type[7] in which the face is less distorted. A theory has been put forward that the white type represents an early third-century prototype, while the red type is a Pergamene variation of rather later date.[8] We may, however, hesitate to see sufficient difference in the two types to make so wide a distinction. The white type may be merely a less masterly adaptation of the red. An Apollo torso[9] in Berlin from Pergamon with the right hand resting on the head agrees with a marble disc in Dresden[10] showing a similar figure confronted by the hanging Marsyas. We may therefore associate this figure as the third member of the group with Marsyas and the Knife-Grinder.[11] The Apollo is a seated figure of distinctly Praxitelean influence. The keen expression of the Knife-Grinder and the agonized face of the Marsyas may equally well be attributed to Scopaic teaching. We have a good example of this mixed tradition in early Pergamene art. Technically we are at once compelled to notice the