a celebrated Greek statuary, of the city of Sicyon, in the Peloponnesus, flourished about 324 B.C. He was at first a worker in brass, but afterwards devoted himself to statuary, studying nature, by the advice of Eu- pompus, rather than following the manner of any master. He excelled all those who had preceded him, in the nicety of individual parts, and more particularly in the beauty of the hair. He lessened the size of the head, which had been exaggerated by the ancient sculptors, and made the body more slim, so as to increase the appearance of the height. He used to say, that former sculptors represented men as they should be, whilst he merely made them as they seemed to be. His reputation was such that his name was included in the famous edict published by Alexander, when he conferred on Apelles the sole right of painting his form, on Lysippus that of executing it in bronze, and on Pyrgoteles that of engraving it on precious stones. He is said (Plin. xxxiv. 7) to have produced fifteen hundred works of art, any one of which was sufficient to stamp him as a man of talent. Of these we can only mention a few of the most celebrated. There was one at Rome, the removal of which from the baths of Agrippa to the palace of the emperor, by order of Tiberius, had nearly caused a sedition. The populace clamoured for its being replaced, and Tiberius did not deem it prudent to deny their request. It was a statue called Apoxyomenos, representing, as its name implies, a man scraping himself in the bath with a strigilis, an instrument to clean the body of the particles of sweat. He executed many statues of Alexander, representing him at different periods of his life; and he so managed, that a slight bend of the head, for which Alexander was remarkable, became rather a beauty than a deformity. One of these statues was so much admired by Nero, that he caused it to be covered with gold, to the great grief of all true lovers of the art of sculpture. He executed a very fine bronze statue of Cupid with a bow, for the inhabitants of Thespis; also equestrian statues of twenty-five Macedonians who fell at the passage of the Granicus, and which Metellus caused to be transported to Rome. It has been supposed, though without any clear proof, that the celebrated horses of Venice formed part of this group. There is a statue of Hercules in the Palazzo Pitti at Florence, which bears his name, and has in every respect a strong resemblance to the Farnese Hercules, excepting the position of the legs (Mus. Pio-Clem. iii. p. 66). This likewise has made it be supposed that the statue of the Palazzo Pitti is a copy of the Hercules of Lysippus, and that the Farnese is an imitation, on which Glycon thought he might engrave his name, on account of the change he had made in its position. Lysippus had as pupils his own sons, Dabipus, Bedas, and Euthycrates (Plin. xxxiv. 8. See Müller, Handbuch der Archäologie der Kunst, Breslau, 1830).