THE TYRANNICIDES. lies 
great for the latter to be assigned to Antenor.! It is now, therefore, 
the prevailing view that the Naples group reproduces the later 
statues of Kritios and his associate.?, We do not know, then, how the 
older group looked, but we are certain that it was different from the 
later one, for, in the years elapsing between the dates of the two, Attic 
sculptors had become entirely free from the Ionic influence which we 
discussed in the preceding chapter and which characterizes the female 
statue of Antenor. Archaic stiffness, however, is still traceable in the 
later group, for in the copy we see a work which is “‘concise, sinewy, 
hard, and with strained lines,” in harmony with Lucian’s character- 
ization of the works of Hegias, Kritios, and Nesiotes.® 
The restorations of the Naples group, though right in the main, make 
us doubtful as to the exact pose of the original figures. Harmodios 
has new arms, new right leg, and left leg below the knee, while Aristo- 
geiton has a Lysippan head in place of the original bearded one, to 
correspond better with that of his companion. His left arm, with 
the drapery hanging down, has been put on at a wrong angle, as he 
should be represented holding a scabbard in the left hand and a sword 
in the right. On a vase fragment (oinochoe) in Boston® both heroes 
are making the onset, the younger one (Harmodios) in front of the 
other, but in the original statues, they were probably making the 
onset abreast, something that the vase-painter could not represent.® 
While the Akropolis ephebe, already discussed as showing Argive 
influence (Fig. 17), still shows but little break with the law of “fron- 
tality” formulated by J. Lange,’ whereby an “imaginary line passing 
through the skull, nose, backbone, and navel, dividing the body into 
two symmetrical halves, is invariably straight, never bending to either 
side,’ the 7yrannicides have broken it completely. The ephebe has 
his head slightly turned to one side, and, because of resemblances in 
head and body to the figure of Harmodios, has been assigned to Kritios 
14, M., XV, 1890, pp. 1 f.; followed by Overbeck, I, pp. 152 f.; Frazer, II, p.98. The difference 
is not only noticeable in the head structure and treatment of the hair, but in the whole character 
of the work. While Antenor’s work is stiff and lifeless, the Naples group is full of vigor. For the 
statue of Antenor (in the Akropolis Museum), see Ant. Denkm., I, 5, 1890, Pl. 53, and pp. 42 f. 
(Wolters); Overbeck, I, Pl. 25, opp. p. 152; Les Musées d’ Athéenes, I, Pl. VI; Jd., II, 1887, pp. 
135 f. (Studniczka), and Pl. X, 1 (head); von Mach, 28; Perrot-Chipiez, VIII, PI. II. 
2However, some archzologists still favor Antenor for this group: ¢. g., Wachsmuth, Die Stadt 
Athen, I, pp. 170 f.; II, 393-8; Collignon; Lechat, op. cit., and cf. B. C. H., XVI, 1892, pp. 485-9. 
3Rhet. praecept., 9: aweoguypeva kal vevp&dn kal oxAnpa, kal axpiBs aworerapéeva Tals ypaymats. 
See Brunn, pp. 101-5; cf. Pliny, H. N., XXXIV, 49. 
4The best restoration is that of Meier in bronzed plaster in the Ducal Museum in Brunswick: 
Bulle, p. 172, figs. 38, a, b,c; here Aristogeiton has received a bearded head. For another resto- 
ration, in the Museum of Strasbourg, see Springer-Michaelis, p. 216, fig. 402, a, b. 
5Bulletin of Museum of Fine Arts, III, 27; R. M., XIX, 1904, p. 163, Pl. VI (Hauser). 
6A vase by Douris shows a warrior similar to Aristogeiton, but his onset is fiercer: Hartwig, 
Die griech. Meisterschalen, 1893, Pl. XXI, and Textbd., pp. 206 f. For other representations in 
art of the Tyrannicides, see Frazer, II, pp. 94 f. 
7Darstellung des Menschen in der aelt. griech. Kunst, 1899, p. xi; cf. Richardson, p. 120, n. 2. 
