120 L Y S L Y T daughter Arsinoe. Ainastrisreturned tu Heraclea. During the absence of Antigonus s son Demetrius in Greece, Lysimachus seized his towns in Asia Minor and rebuilt Ephesus, calling it Arsinoe. He tried to carry his power beyond the Danube, but was defeated and taken prisoner by the Getse, who, however, set hitn free on amicable terms. After Demetrius had entered Macedon to help Alexander against his brother Antipater, and by murdering the former hud gained possession of the whole country, he invaded Thrace, but had to retire in consequence of a rising in Boeotia, and an attack from Pyrrhus of Epirus. In 287 Lysimachus and Pyrrhus invaded Macedon. Demetrius marched against Pyrrhus, thinking the Mace donians would not tight against Lysimachus, one of Alexander s companions in arms ; but his army went over to Pyrrhus, and he was obliged to fly. Lysimachus claimed a share of the kingdom and received it. Demetrius, cross ing into Asia Minor, seized Caria and Lydia, but Agathocles, the son of Lysimachus by an Odrystan princess, was sent against him, and forced him to retreat into the territory of Seleucus, who obliged him to surrender. Lysimachus attacked Pyrrhus and Demetrius s son Antigonus, now his ally, and forced Pyrrhus to give up part of Thessaly and the whole of Macedon. Amastris had been murdered by her two sons, and Lysimachus resolved to avenge her ; he got them into his hands on pretence of friendship and put them to death. On his return Arsinoe asked the gift of Heraclea, and he granted her request, though he had promised to free the city. In 284 Arsinoe, desirous of gaining the succession for her sons in preference to Agiithocles, intrigued against him with the help of her brother Ptolemy Ceraunus ; they accused him of conspiring with Seleucus to seize the throne, and he was put to death. To remove the disquietude of the Egyptian court, Aga thocles being the husband of Ptolemy s daughter Lysandra, Lysimachus married his daughter Arsinoe to the young Ptolemy Philadelphus. The widow of Agathocles fled to Seleucus, and war between the latter and Lysimachus soon followed. In 281 the decisive battle took place at the plain of Corus, the exact situation of which is doubtful ; Lysimachus was killed ; after some days his body was found on the field watched by a faithful dug. Lysimaclms was a man of distinguished bravery and great per sonal strength ; on one occasion he had killed a lion single-handed, though at the cost of fearful wounds. lie did not rise to political importance till after the battle of Ipsus. Tenacious and insatiate, he framed schemes of aggrandisement till his death, and in pursuit of the schemes his craft suggested he was ready to sacrifice even his own family. LYSIPPUS, a Greek sculptor whose professional activity falls between the years 372 and 316 B.C. In addition to the sketch with accompanying illustrations of his style given under ARCHEOLOGY (vol. ii. p. 361, figs. 9 and 11), it may here be stated that the head of Alexander the Great (fig. 11 just referred to) is now admitted to be the best existing representation of the style of Lysippus in portrait sculpture. When we read of successful portraits by him of Socrates and ^Esop, as well as of Alexander, we are driven to believe that one of the forces of which lie was conscious within himself was that of seizing the spiritual expression and making it illumine faces and forms which under other conditions would be more or less repulsive. This in fact is confirmed by the head of Alexander in the British Museum (fig. 1 1 sujjni). But with the possession of this force it is difficult to reconcile the tradition of his having taken as his model the Doryphorus of Polycletus, the style of which may be seen in the bronze statuette fig. 6 in the article ARCH/EOLOGY, and, to a less extent, in fig. 7 of the same article. There everything turns on the refinements of physical form. It is admitted that Lysippus introduced great changes in the accepted rules for the proportions of the human figure, and from a number of sculptures traceable to his time, or shortly after his time, it is not only obvious but strikingly in contrast with earlier works that the legs are made long and massive while the body is proportion ately shortened, though still retaining a very powerful rendering of the forms. Among the best examples of this are two bronze statuettes of Neptune and Jupiter in the British Museum found at Paramythia in Epirus, or, less satisfactory, the larger bronze of Hercules from Byblus, also in the British Museum. In these cases the limbs and various parts of the figure are studied with extreme skill worthy of the best time. Yet the combined effect is such as to do away with the impassive beauty which is ascribed to Polycletus, and to replace it with a beauty of expression so far as was consistent with powerful physical form. One of his works famed in antiquity was a bronze statuette of Hercules, called Epitrapezius, because, as the story goes, Alexander the Great carried it with him to be placed always on his table. A copy of this, in stone, enlarged somewhat from the original, was obtained by the British Museum from Babylonia in 1881. It is signed with the name of an artist, Diogenes, apparently otherwise un known, and it bears clearly the evidence of having been copied from a work in bronze. But except in the face, which is carefully executed ("argutue operum custoditse in minimis quoque rebus " is said of Lysippus by Pliny, Nat. Hist., xxxiv. 65), the sculpture is poor and could not be quoted as illustrating any particular style of art, though not inconsistent with the characteristics of Lysippus. With reference to the marble statue of Alexander the Great iu Munich, standing with one foot raised on a helmet, it is clear that this affected attitude, which occurs in several other existing statues, such as the so-called Jason in Lansdowne House, cannot fairly be traced to the invention of Lysippus, since it is to be found twice on the frieze of the Parthenon. At the same time the merit may belong to him, as has recently been claimed, of having first applied this attitude in producing a new type of the god Neptune for his temple on the isthmus of Corinth. It was a bolder step to apply this attitude to a draped female figure as in the existing statues of the Muse Melpomene standing with one foot raised on a rock, and if this was really introduced into art by Lysippus it would confirm to some extent his reputation for novelties of representation. But at present we cannot do more than say that he is known to have made a group of the Muses for the town of Megara, and that several statues still exist representing a Muse in an attitude corresponding with that of the Alexander in Munich, which is reasonably inferred to be a copy from a work of Lysippus. If it could be proved that in these cases Lysippus had worked upon Athenian types, we should then understand how it happens that in some respects he was in ancient times classed with the Athenian Praxiteles (Quintilian, xii. 10, 9, "ad veritatem Lysippum ac Praxi- telem accessisse optime affirmant " ), and is still compared with him so far as the remaining works of both, or copies therefrom, enable a comparison to be made. See Kekulu, Ucbcr den Kopfdcs Fraxitclisthcn Ilcnncs, Stuttgart, 1881 ; Lange, Das Motiv dcs aufyestiilztcn Fusses, Leipsic, 1879. LYTE, HENRY FRANCIS (1793-1847), a well-known hymn-writer, was born at Kelso, June 1, 1793, received his early education in Ireland, and entered Trinity College, Dublin, in 1812, becoming a scholar of that college in the following year. Having entered deacon s orders in 1815, he for some time held a curacy near Wexford. He did not long remain in Ireland, however, chiefly because of infirm health ; and, coming to England, after several changes he finally, in 1823, settled in the parish of Brixham, where he laboured until fatal illness inter-
r,.pted his work. In 1844 his health, never robust,