or STHENNIS (Σθένις, Σθέννις, the former is the form used by the ancient writers, the latter in extant inscriptions), a statuary of Olynthus is mentioned by Pliny as contemporary with Lysippus and others, at the 114th Olympiad, B. C. 323. (H. N. 34.8. s. 19. The false reading of this passage, in the common editions, makes Sthenis a brother of Lysistratus; whereas Lysistratus was the brother, not of Sthenis, but of Lysippus : the true reading is given in Sillig's edition.)

His works, as enumerated by the same writer, were the following : the statues of Ceres, Jupiter, and Minerva, which stood in the Temple of Concord at Rome, and also flentes matronas, et adorntes, sacrificantesque. (Ibid. § 33.) Other writers mention, as one of the best of his works, the statue of Autolycus, which was carried to Rome by Lucullus, after the taking of Sinope. (Strab. xii. p.546a.; Plut. Luc. 23, Pomp. 10 ; Ap pian. Mithr. 83.) He also made two statues of Olympic victors, Pyttalus and Choerilus. (Paus. 6.16.7, 17.3 )

In addition to these notices of the artist, important information may be derived from two extant inscriptions. From one of these we learn that he made a statue of the philosopher Bion. the base of which still exists, bearing the words, ΣΘΕΝΙΣ ΕΠΟΙΕΙ. (Spon, Miscell. p. 126. ) The other, which is of far more consequence, is on of the fragments of a base discovered at Athens, in 1840, on the plateau in front of the western portico of the Parthenon. This base appears to have been a massive structure of masonry, faced with marble plates, and supporting a group of at least five statues. Several of the marble plates were found, bearing the names of the persons whose statues, dedicated by themselves, the base originally supported, and of the artists who made them, or at least some of them. One of these inscriptions is ΣΘΕΝΝΙΣ ΕΠΟΗΣΕΝ, and another ΛΕΩΧΑΠΗΣ ΕΠΟΗΣΕΝ. Hence we learn, not only the true form of the artist's name, but also the important facts, that he exercised his art at Athens, in connection with the most distinguished artists of the later Attic school, and that he was contemporary with Leochares, who flourished about Ol. 102-111, B. C. 370-335. This furnishes another striking example of the looseness with which Pliny groups artists together under certain fixed dates. A curious phenomenon is presented by inscriptions on the other sides of this base, bearing the names of Augustus, Drusus, Germanicus, and Trajan, and showing how ancient statues were appropriated.