C., finally to break this domination of the great fifth-century sculptor. Pliny quotes Douris as saying that he was the pupil of no man, and that because of the advice of the painter Eupompos he was a follower of nature—which appears to be a cut at the schools which mechanically followed fixed rules.[601] His statues had smaller heads, and more slender and less fleshy limbs, than those of his predecessors, in order that the apparent height of the figure might be increased.[602] While Polykleitos made his heads one-seventh of the total height of the statue, Lysippos made his one-eighth—if this change may be seen in the _Apoxyomenos_ (Pl. 28), which is certainly a work of his school, if not of the master himself. Pliny further records his saying that while his predecessors represented men as they were, Lysippos represented them as they appeared to be. This means that Pliny regarded him as the first impressionistic artist.[603] Pliny mentions other artists who wrote on art, and it is probable that theories of proportions formed the main element of such works.[604] The best example of symmetry, _i. e._, of the ratio of proportions, in Greek sculpture is afforded by the _Doryphoros_ of Polykleitos, which Pliny says was called the _Canon_, and he adds that this sculptor was the only one who embodied his art in a single work.[605] The identity of the canon with this statue seems to be attested by the anecdote told of Lysippos that the _Doryphoros_ was his master,[606] and by Quintilian’s statement that sculptors took it as a model.[607] The best-preserved copy of the _Doryphoros_, despite its rather lifeless character, is the one discovered in Pompeii and now in Naples (Pl. 4).[608] As other late Roman copies do not conform to the identical proportions of this copy, it is perhaps difficult to say exactly what the canon of Polykleitos was. Possibly the original, if it had been preserved, would also strike us as somewhat lifeless; but we must remember that the statue was made merely to illustrate a theory of proportions. The dimensions of the Naples statue are known from very careful measurements and the proportions agree with those given in the description by Galen to be mentioned. It is almost exactly 2 meters, or 6 feet 8 inches, high.[609] The length of the foot is 0.33 meter, or one-sixth of the total height, while the length of the face is 0.20 meter, or one-tenth of the height. E. Guillaume[610] has made a careful analysis of it in reference to Galen’s[611] statement that Chrysippos found beauty in the proportion of the parts, “of finger to finger, and of all the fingers to the palm and wrist, and of these to the forearm, and of the forearm to the upper arm, and of all the parts to each other, as they are set forth in the canon of Polykleitos.” He has found that the palm, _i. e._, the breadth of the hand at the base of the fingers, is a common measure of the proportions of the body. This