2.) The greatest masters of the time executed portraits of him, Lysippus in sculpture, Apelles in painting and Pyrgoteles in graven gems. Among surviving monuments, we have no completely certified portraits except the Tivoli herm (now in the Louvre) and the coins struck by his successors.
On the top of this system as a foundation were set several statue bases, one bearing the signature of Lysippus, which shows that the system stood there at least as early as the 4th century B.C. Some parts of it may have been taken from older buildings, but not the cornice nor the corner metope block which formed an obtuse angle.
Lysippus worked out the finest type of sculptured Hercules, of which the Farnese by Glycon is a grand specimen.
In the Villa Ludovisi statue (after the style of Lysippus) he appears seated, in an attitude of thought; his arms are laid aside, and Eros peeps out at his feet.
We are further told that the Athenians erected in his honour a noble statue by the famous sculptor Lysippus, which furnishes a strong argument against the fiction of his deformity.
Nevertheless during this period Sicyon reached its zenith as a centre of art: its school of painting gained fame under Eupompus and attracted the great masters Pamphilus and Apelles as students; its sculpture was raised to a level hardly surpassed in Greece by Lysippus and his pupils.
LYSIPPUS, Greek sculptor, was head of the school of Argos and Sicyon in the time of Philip and Alexander of Macedon.
Lysippus made many statues of Alexander the Great, and so satisfied his patron, no doubt by idealizing him, that he became the court sculptor of the king, from whom and from whose generals he received many commissions.
As head of the great athletic school of Peloponnese Lysippus naturally sculptured many athletes; a figure by him of a man scraping himself with a strigil was a great favourite of the Romans in the time of Tiberius (Pliny, N.H.
With more certainty we may see a copy of an athlete by Lysippus in the statue of Agias found at Delphi (GREEK ART, Plate V.