PROBLEMS IN HISTORY OF GREEK SCULPTURE 615 



it only proves that the original of the apoxyomenus of the Vatican is 

 not earlier than Lysippus; it does not prove that it is not later. 

 But here other considerations come in, more difficult to weigh in the 

 balances, but perhaps more influential in determining our opinion. 

 We have copies, one of them certified by an inscription, of another 

 work of Lysippus. a Heracles leaning upon his club, and it seems as 

 if the apoxyomenus fitted in very well with that. Moreover it has 

 been thought that in pose and in details of modeling this statue is 

 such as might be expected from the greatest sculptor of the age of 

 Alexander, a sculptor whom it is permissible, if not obligatory, to 

 regard as at least twenty years younger than Praxiteles. It has been 

 thought that what we know or guess of other sculptures of the age 

 of Alexander and later can be brought into intelligible relation to 

 the apoxyomenus, considered as Lysippean. And as not the least 

 potent argument, there has been the feeling that this statue is too 

 fine to be the work of some nameless or obscure sculptor of post- 

 Lysippean date. 



These considerations would probably still continue to seem sufficient 

 to every one. had not a new claimant for Lysippean authorship made 

 its appearance, with credentials which have carried conviction far 

 and wide. I refer to the marble statue of Agias * found some ten 

 years ago at Delphi. This is one of a group or rather a row of eight 

 statues, representing eight members of a Pharsaiian family, the 

 family of one Daochus, tetrarch of Thessaly, who set them up soon 

 after the battle of Chseroneia (338 B. c.). The pedestal bore inscrip- 

 tions, mostly metrical, giving the names of the persons represented, 

 but no sculptors' signatures. Some of the statues, and above all the 

 Agias. appeared from the first to the fortunate discoverer to exhibit 

 the style of Lysippus. The matter entered a new stage in 1900. with 

 the publication, 2 accompanied by an acute commentary, of a frag- 

 mentary inscription from Pharsalus, all but identical with the one 

 engraved at Delphi below the statue of Agias. but with the important 

 addition of the name of Lysippus as sculptor. There was then a statue 

 of Agias by Lysippus at Pharsalus. Of this statue, presumably of 

 bronze, nothing further is directly known, but it is inferred on 

 reasonable grounds that it was one of a series identical in subjects 

 with the scries at Delphi and probably set up a little earlier. So far. 

 so good. The next step is to infer that the unsigned marble Agias at 

 Delphi is a contemporary and trustworthy copy of the bronze 

 Agias by Lysippus at Pharsalus. and this inference lias been promptly 

 accepted by leading archaeologists, German. French, and English, 

 without a murmur of doubt or protest, so far as I know, from any 

 quarter. Hut whereas some who speak with authority have regarded 



