Scopa’s finding of two new copies of the so-called Apollo with the goose, quite fine, in via Cavour in Rome, led to a re-proposal of the problem of attribution to the master of this type, in which the Pothos (personification of desire amoroso) and its critical evaluation.
For Leocare we have a new signature found at the baths of Titus in Rome on a base that supported a statue of the priest Caremide (Bull. Com., 66,1938, pp. 245-246); and a signature of Praxia son of Praxia Athenian was found on a base of a statue of Theopompus winner in the Pythian games, discovered in Thasos (Bull. de Corr. Hell., LXVIII-LXIX, 1944-45, p 443)
Also for Lysippus we have a new signature on a bluish limestone base of a bronze statue raised in Delphi by the Thessalians at Pelopidas (Revue Arch., II, 1939, pp. 125-132). A. Wilhelm (Jahreshefte, 33,1941, pp. 35-45) thinks that the statue was erected when Pelopidas was still alive, therefore before 364, perhaps after 369, and in this case the career of Lysippos would be anticipated and its birth should be placed around 395.
According to vaultedwatches, the type of Apollo already known in twenty-five copies, of which a well-preserved new one was discovered in 1937 in Anzio and is now in the Roman National Museum, is to be attributed to some artists of the Praxitelean circle and a head was found in 1939 on the Palatine Hill. A significant type in the sinuous and gravitating rhythm of the naked body, in the refined almost feminine hairstyle of the hair, which well illustrates the post-praxithelic current.
Among the monuments of the century. IV we remember the reconstruction of the great funerary lion of Amphipolis high m. 5.40 with high base m. 5, a little older than that of Chaeronea erected after 338.
Some early 3rd century sculptures in classical style have also been published, from a coregic monument of Thasos, which included a statue of Dionysus in the center, of which the youthful head remains, and to the left the statues of the Tragedy, of which the mask remains. tragic that he held in his hand, and of the Comedy, now headless; while the statues of Ditirambo and Nicterino are now lost as are those of the right half.
In the complex field of Hellenistic art, studies have multiplied in recent years and some artistic currents have been clarified, the scope of the main schools has been circumscribed, and the chronology of some works has been clarified.
The studies of E. Krahmer have taken rhythms as the basis of analysis, arriving at a distinction of various stylistic phases according to the prevalence of closed or open or helical or centrifugal rhythms. Even the veiled and transparent feminine drapery of a refined virtuosity was studied by R. Horn in its artistic significance and in its most typical manifestations that are found in Asian centers such as Magnesia, Priene and islands such as Delos, Rhodes, Coo.
The Rhodian school is now much better known thanks to the rich collection of sculptures from the Italian excavations of Rhodes and Kos (see Rhodes: Archeology, in this App.).
Even the Alexandrian art has been becoming more precise in its main characters (see Alexandria: Archeology and art, in this App.).
The iconographic studies for the Hellenistic period have led to considerable critical analyzes and new identifications. While the iconography of Alexander the Great was particularly studied by K. Gebauer, it was possible to identify the portrait of the famous doctor of Coot, Hippocrates, thanks to an inscription with a Hippocratic aphorism engraved on a herm found in the tomb of a Greek doctor on the Isola Sacra, now in the museum of Ostia. Even the iconography of the Ptolemies has been enriched with new interesting identifications due to A. Adriani, such as those of Arsinoe II, Ptolemy VI, Arsinoe III, and also those of Ptolemy I and Ptolemy III recognized by Br. Poulsen.
A Nike, found together with the head of a second in the excavations of the agora of Athens, with thin and wavy drapery, a little mannered, was approached by A. Rumpf to the frieze of the altar of Pergamum, now transported from Berlin to Russia., of postphidian tradition; they served as acroter for some monument of the agora.
From the excavations at Termini station in Rome (1941) comes a statue of a marine divinity, seated on a throne held by a young Triton, which together with scopadei elements reveals characters of late Hellenism in the complex rhythm and style.
The Attic school of the Hellenistic period, which stands out for its classical orientation and ends with the production of neo-attic workshops serving the Roman market, is increasingly delineating itself in its limits, in its characters, in its influences with the latest studies; new works and new signatures by Athenian sculptors come to light such as one of Eutichides of 126-125 in Delos (Bull. Corr. Hell., LV, 1936, p. 66-67), one of Cleomenes of the Roman age, on a beautiful draped female statue found in Piacenza, one of Critone, from the imperial age, who carves the grandiose group of Mithras killing the bull, of classical style, found in a mithraeum of Ostia, which is inspired by the motif of the bull-like Nike and for the head to the Hellenistic type of Helium.
These numerous growing findings of the products of the Neo-Attic school of the Roman period increasingly confirm the activity of these oflicine as skilled creators, reworkers, copyists, experts in all styles and techniques, to whom we owe the knowledge in more or less reproductions faithful of many classical masterpieces and which constitute the main artistic activity of Greece after the Roman conquest.
