ZEGINETAN SCULPTORS. 25 
484 B. C.);1 Serambos made the statue of the boy boxer Agiadas of Elis, 
who won between Ols. (?) 72 and 74;? Philotimos made the horse for the 
horse-racing victory of Xenombrotos of Kos, who won in OI. (?) 83 (= 448 
B.C.).2 All of these sculptors appear to have used bronze exclusively, 
and their art, though independent, showed a bias toward Peloponnesian 
work. ‘There are few examples left of this art. The bronze head of a 
bearded warrior or hoplite victor found on the Akropolis, if we are justi- 
fied in classing it as Aeginetan and not Attic, shows the excellence which 
we associate with this school.t The delicate execution of its hair and 
beard, as well as the strength and precision of this head, makes it not 
unworthy of being ascribed to one of the best artists of the school, 
perhaps to Onatas himself. The beardless bronze head discovered in 
1756 in the villa of the Pisos in Herculaneum, now in Naples, has 
also been assigned to Onatas, as its features are similar to those of the 
one under discussion.’ The Tux bronze statuette of a hoplitodrome, 
to be discussed in Ch. IV (Fig. 42), has also been assigned to an Aegin- 
etan mastér.6 The marble statue known as the Strangford Apollo in 
the British Museum, already mentioned (Fig. 14),7 may show the char- 
acteristics of the early school in marble, though it is impossible to say 
whether it is a copy of a bronze original or a minor work in stone under 
Aeginetan influence. Thesmaller “Apollo” from Mount Ptoion, already 
discussed (Fig. 13, right),8 appears to show in exaggerated form the same 
Aeginetan traits. However, we get out best notion of Aeginetan work 
in marble from the gable statues in the Munich Museum, representing 
Homeric warriors fighting, which adorned the temple of Aphaia in the 
northeastern corner of the island. ‘Their importance in this connec- 
tion calls for a brief account of them. 
Since the discovery of these groups by an international party of 
Englishmen and Germans in 1811, and their restoration soon after their 
arrival in Munich by the sculptor Thorwaldsen, many new fragments 
1Theognetos: P., VI, 9.1; Oxy. Pap.; Hyde, 83; Foerster, 193, 193 N; Epikradios: P., VI, 
10.9; Hyde, 101; Foerster, 228. 
2P., VI, 10.9; Hyde, 103 and p. 44; Foerster, 519. On the sculptor, see Brunn, p. 96. 
8P., VI, 14.2; Hyde, 133; Foerster, 327. :For the sculptor, see Brunn, p. 96. 
4Lechat, Au Musée, Pl. XV; Arch. Eph., 1887, Pl. III and pp. 43 f.; Bulle, 226 (two views); 
von Mach, 442, 443 (right); S. Reinach, Tétes, nos. 5 and 6; Overbeck, I, p. 198, fig. 44 (two 
views); Collignon, I, p. 304, fig. 151; Perrot-Chipiez, VIII, pp. 526-7, figs. 271-2; E. A. 
Gardner, J. H. S., VIII, 1887, p. 191. While Overbeck and Lechat regard it as Attic, most 
scholars call it Aeginetan. The helmet is separately made and fastened on. Bulle dates 
it in the first decade of the fifth century B. C. It is 0.27 meter high (Bulle). 
5Comparettie de Petra, La Villa Ercolanese dei Pisoni, 1883, Pl. VII, 1, p. 260; Collignon, I, 
p. 303, fig. 150; Mon. d. I., 1X, 1869-73, Pl. XVIII; Kekulé, Annali, XLII, 1870, pp. 263 f.; 
von Mach, 441; F. W., 229; for its style, see Rayet, I, text to Pl. 26. Studniczka, R. M., II, 
1887, p. 105, n. 47, believes that the closely allied colossal marble head in the Museo Torlonia 
(no. 501) in Rome is a copy of the colossal Apollo of Onatas at Pergamon, mentioned by P., 
VIII, 42.7. The head of the Zeus found at Olympia (Bronz. v. Ol., Pl. I, 1, 1 a) has been 
regarded as Aeginetan. 6Collignon, I, p. 306; fig. 152 on p. 305. 
7B. M. Sculpt., 1, no. 206; etc. Brunn, Sitzb. Muen. Akad., 1872, pp. 529 f., referred it to 
the school of Kallon; cf. also Collignon, I, p. 302. 
8Gardner, Hbk., p. 169, fig. 31; von Mach, no. 15 (right); ete. 
