relief and on some of the Athenian lecythi. Some think that the woman is Alcestis, and it is scarcely likely that any but a heroine, at the least, would occupy such a place in such a building. To make both these emissaries of death so young and charming is an idea typical of the fourth century, and especially of Praxiteles.

In many of the bronzes of our museums we can trace very clearly the new influence of Lysippus. A fine example is provided by the figure of a youth recently dredged up under romantic circumstances off the island of Cythera (Cerigo), which lies at the extreme southerly point of Laconia, This was part of a cargo of spoils from Greece looted by the Roman general Sulla and shipwrecked off Cape Matapan. No satisfactory guess has yet been made as to the name of the statue or the motive of its attitude. In my opinion the upstretched arm in readiness to grasp seems to indicate an athlete playing a game of “catch.” “The Praying Boy,” one of