THE AFFILIATED SCHOOLS OF ARGOS AND SIKYON. 111 
Pausanias mentions the monuments of three victors at Olympia by 
Hagelaidas: the statues of the pancratiast Timasitheos of Delphi, who 
won two victories some time between Ols. (?) 65 and 67 (520 and 512 
B. C.);' of the runner Anochos of Tarentum, who won in the stade- and 
double-race in Ols. 65 and (?) 66 (= 520 and 516 B. C.);? and the chariot- 
group of Kleosthenes of Epidamnos, who won in Ol. 66 (=516 B. C.).? 
None of the works of Hagelaidas at Olympia or elsewhere is known. 
Messenian coins of the fourth century B. C. show the motives of two of 
his statues, that of his Zeus Ithomatas just mentioned as being made for 
the Messenians,* and the beardless Zeus waits at Aigion.’ However, 
we infer the characteristics of his style from the bronze statuette in 
Berlin which was found at Ligourié near Epidauros (Fig. 16).6 This 
is undoubtedly an Argive work contemporary with the later period 
of Hagelaidas. Furtwaengler and Frost are right in looking upon it 
as showing the prototype of the canon of Polykleitos. Though too 
small to count as a characteristic work of the early Argive school, it 
shows us that the style of that school was a short and stocky type, 
similar to Aeginetan works, only somewhat fleshier and heavier. The 
straight mouth and heavy chin, the treatment of the eyelids, and the 
clumsy limbs are all archaic features to be expected in the period pre- 
ceding Polykleitos. The modeling is carefully executed, showing a 
knowledge of anatomy. If such excellence is found in a statuette, we 
can form some idea of the perfection of a statue by the master. 
The bronze Apollo from Pompeii now in the Naples Museum,’ with 
marble replicas in Mantua and Paris,’ shows us how Hagelaidas treated 
a god type, while the statue of an athlete by Stephanos will give us 
1P., VI, 8.6; Hyde, 82; Foerster, 142, 148. 2P., VI, 14.11; Hyde, 132; Foerster, 133, 134. 
8P., VI, 10.6 f.; Hyde, 99; Foerster, 143. There is no reason for following Brunn in his 
contention that these statues were set up some time after the victories, as these dates fit the 
chronology of the artist outlined above. 
4A fifth-century type of statue occurs on these coins, representing the god standing with the 
left foot forward, the knee slightly bent, a thunderbolt held in the extended right hand and 
an eagle in the extended left: B. M. Coins, Pelop., Pl. XXII, nos. 1 and 6; Hitz.-Bluemn., 
I, 2, Muenztafel, III, 20 and 12; Springer-Michaelis, I, p. 211, fig. 393; Collignon, I, p. 318, 
figs. 158-159. Frickenhaus, quoted by Pfuhl, p. 2194, believes that the pose is seen also in 
the small bronze pictured in B. S. 4., III, 1896-7, Pl. X, 1. 
6P., VII, 24.4. See B. M. Coins, Pelop., Pl. IV, nos. 12 and 17, and cf. 14; Hitz.-Bluemn., 
II, 1, Muenztafel, IV, 16-17; Svoronos, Journ. int. d’arch. num., II, 1898, 302, Pl. 14, 11. 
6Furtwaengler, 50stes Berl. Winckelmannsprogr., 1890 (Eine argivische Bronze), pp. 152-153 
and Pl. I (3 views); from which plate Gardner, Hbk., p. 221, fig. 49; Waldstein, J. H. S., 
XXIV, 1904, p. 131, fig. 1; Gardiner, p. 93, fig. 11; von Mach, 17 b; Reinach, Rép., II, 1, 
85, 1; cf. Frost, J. H. S., XXIII, 1903, pp. 223 f., and fig. 1, who compares its style and 
pose with a later bronze statuette found off Cerigotto (Arch. Eph., 1902, Pl. 14). Ligouri6 
is on the site of the ancient Lessa: Curtius, Peloponnesos, II, 1852, p. 418. The bronze without 
the base is 135 millimeters high (Furtwaengler). 
7B. B., 302; Bulle, 43; Springer-Michaelis, p. 234, fig. 428; Furtw., Mp., p. 52, fig. 10 
(upper part); Mw., p. 79, fig. 3; Overbeck, II, p. 473, fig. 228 b. It is 1.60 meters high (Bulle). 
8Listed by Furtwaengler, 50stes Berl. Winckelmannsprogr., p. 139, n. 61. For the relation of 
these copies to each other, zd., Berl. Philol. Wochenschr., XIV, 1894, pp. 81 f.; he ascribes them 
to Hegias. 
