Statue Of A Child Playing With A Goose, a Roman copy of a Hellenistic composition dated to the third century B.C. A passage in
Pliny's Natural History refers to a work by one Boethus which showed an infant strangling a goose (perhaps 'by embracing it', but
the reading is uncertain); it may be the source of this type.
But most noteworthy were the long series of royal portraits running from the romantic Lysippan Alexander (above, p. 316), with
tilted head, upturned eyes, and flowing hair, to the nice blend of realism and idealization found in heads of the Bactrian and Indian
kings, known chiefly from their coins. As in earlier times, the Greek portraitist felt that the whole figure was essential to convey the
character of the sitter, and therefore sculptured portraits were always full statues; but as time went on there was an increasing
emphasis upon the expressive quality of the face and an increasing readiness to show wrinkles, creases, and other features which
artists of the fifth and fourth centuries would have glossed over.