116 VICTOR STATUES REPRESENTED AT REST. 
ing the eyelids, quite in contrast with the modeling of the eyeball 
in most of the other statues. [he corners of the mouth turn down, 
which gives it the appearance of pouting. ‘This statue is also our first 
example in sculpture of the so-called Greek profile—the nose continuing 
the line of the forehead. ‘The same Argive influence in Athenian art is 
also discernible in the Parian marble head of an athlete with traces of 
yellow in the hair (Fig. 18),1 which may be dated a little later than the 
Akropolis ephebe—about 470 B.C. Because of its resemblance to the 
Apollo of Olympia, its Attic- 
Peloponnesian origin seems 
clear.2 Its expression is com- 
parable with that of the Kore 
just discussed—as it has the 
same mouth, eyes, and nose, 
both monuments showing the 
reaction against the archaic 
smile, which characterized the 
Ionian period of Attic art. 
This same Ionic reaction also 
may be seen in the bronze 
statuette of a diskobolos in the 
Metropolitan Museum (Fig. 
46),? which resembles in style 
that of the Tyrannicides, but 
shows also Argive traits. 
These Argive traits, small 
head and slender limbs, are 
easily seen by comparing this 
statuette with the Ligouri6 
bronze. 
We have already mentioned 
the monumental group of the 
hoplite victor Damaretos and of the pentathlete Theopompos, which 
was made about 500 B.C. by the Argive sculptors Chrysothemis and 
Eutelidas.* ‘These artists were known to later antiquity only by the 
epigram inscribed on the base of this monument at Olympia, and the 
probable dates of the two victories of Theopompos, Ols. (?) 69 and 
70 (=504 and 500 B.C.), show that they were contemporaries of 

Fic. 18.— Head of an Ephebe, from the 
Akropolis. Akropolis Museum, Athens. 
pe EE eee 
*Dickins, pp. 248 f., no. 689; Bulle, no. 198; B. B., 460; von Mach, 440 and 443 (left); 
Collignon, I, p. 362, fig. 184, and bibliog., note 3, p. 363; Overbeck, I, p. 206, fig. 49; Gardner, 
Hbk., p. 213, fig. 48; Lechat, p. 362 and 4u Musée, p. 374, fig. 39; Furtw., 5ostes Berl. Winckel- 
manns progr., p. 151; Perrot-Chipiez, VIII, Pl. XIV; Arch. Eph., II, 1888, Pl. II. Itis slightly 
under life-size. 
*Here again Furtwaengler ascribes it to Hegias, whose art he derives from Hagelaidas. 
3Richter, Greek, Etruscan, and Roman Bronzes in the Metropolitan Museum, p. 49, fig. 78; 
it will be discussed infra in Ch. IV, pp. 220-1. 4See supra, p. 105 and n. 3. 
