126 VICTOR STATUES REPRESENTED AT REST. 
sponding figure in the right half of the same gable. The Champion of 
the West gable (Fig. 21, left),? of the finest Parian marble, represented 
as lunging forward, pressing on the enemy armed with helm, spear, 
and shield, would pass as a good example of a hoplitodrome, far freer 
and more individual than the warrior from Dodona. 
ATT IGS CULRIORS: 
Owing to the Persian sack of the Athenian Akropolis in 480 and 479 
B. C., and the subsequent burial of works of art there and their redis- 
covery by the excavations of 1885-1889, we know more of archaic Attic 
sculpture (600-480 B.C.) than of any other early school.2 We have 
already mentioned certain Attic works which show the influence of 
the severer Argive school—la petite boudeuse, the head of the yellow- 
haired ephebe (Fig. 18), the Akropolis athlete statue (Fig. 17), ete.— 
which was prominent at the beginning of the fifth century B. C., works 
which can be attributed to Hegias, Kritios, and their associates. They 
illustrate the reaction against [onic taste, an influence which came 
from Asia Minor and the islands, especially after the fall of the Lydian 
Empire of Croesus, and which for a time submerged native Attic art. 
This [onic art was characterized by great technical ability, and by 
rich draperies and decorative effect. The archaic smile was its special 
feature. lonism is best represented by some of the Akropolis Korat.‘ 
In athletic art we see Ionism at its flood tide in the Rampin head found 
in Athens in 1877, now in the Louvre, which corresponds in style 
with some: of the earlier female statues of the Akropolis.> This head 
has a more elaborate frisure than any of the female heads and, in fact, 
the elaborate treatment of the hair of the crown and forehead is more 
suitable to a female than a male statue. The beard is carefully plaited, 
while traces of red seem to show that the mustache was painted on. 
Similar traces of color appear on the beard and hair. The smiling 

1Furtw., fig. 204, p. 248. 
*Furtw.-Wolters, Beschr. d. Glyptothek,? no. 78; Furtw., op. cit., Tafelbd., Pl. 96, no. 32, and 
Textbd., pp. 223-4; the figure on our plate to the right= Furtw.-Wolters, Beschr., no. 77 and 
Furtw., op. cit., Pl. 96, no. 29, Textbd., p. 221. No. 78 should stand, however, in front of 77 as 
arranged by Furtwaengler, op. cit., Tafelbd., Pl. 104, and both should be placed in the south 
half of the West Pediment and not in the north. For the two figures in Fig. 21, see also 
von Mach, 78 (middle and right). For another figure (armed with helmet, shield, and spear) 
from the East Gable, see Bulle, 86= Furtw.-Wolters, no. 86 (formerly no. 56). 
*Recently these sculptures, and especially the limestone (Ai@os mpwvos) fragments, have 
been dated from 490 B. C., rather than from 480: see Svoronos, I, p. 92. The Akropolis 
was destroyed by Xerxes in 480 B. C., but it is problematical if with the completeness 
recorded by Hdt., VIII, 53; see Doerpfeld in 4. M., XXVII, 1902, pp. 379 f.; Dickins, pp. 5 f. 
The next year Mardonios destroyed the city by fire: Hdt., LX, 13. 
*See von Mach, 25 f.; Reinach, Rép., Il, 2, pp. 635 f.; for details, Lechat, 4u Musée, and 
Schrader, Die archaischen Marmorskulpturen im Akropolis-Museum zu Athen, 1909. See also 
Dickins, op. cit.; Perrot-Chipiez, pp. 574 f. and p. 577, fig. 289 (=Au Musée, fig. 26), and 
p. 578, fig. 290 (=Au Musée, fig. 8); etc. 
*Mon. gr., VII, 1878 (publ. in vol. I, 1882), Pl. I and pp. 1-14 (A. Dumont); Mon. Piot, 
VII, Pl. XIV, and pp. 145-7 (Lechat); Rayet, I, Pl. 18; Collignon, I, p. 360, fig. 182; Reinach, 
Tétes, 3, 4; Bulle, 225; Perrot-Chipiez, VIII, p. 641, fig. 328. 
