292 TWO MARBLE HEADS FROM VICTOR STATUES. 
nique seem to represent two distinct periods of art. If one is to be 
rejected, the connection of the 4gias with Lysippos certainly rests on 
better evidence than does the Apoxyomenos. By separating them com- 
pletely, it is possible both to assign to Lysippos the early date which 
other evidence points to, and to remove the 4poxyomenos entirely from 
the fourth century B. C., thus explaining its later modeling, compara- 
tively expressionless features, body-build (which shows the use of three 
planes, instead of two), and other Hellenistic details. We should, then, 
see in its original a work not by Lysippos at all, but by some pupil or 
later member of his school, a work retaining merely traces of the style 
of the master. In thus eliminating the 4poxyomenos we are justified 
in following Homolle’s lead in assigning the statue of Agias to Lysippos, 
in spite of arguments which have been adduced against attributing 
it to Lysippos and in spite of recent criticism of the inscriptions of 
the Delphian bases, by which Wolters tries to prove that the inscrip- 
tion on the base of the statue of Agias, and consequently the Agias 
itself, antedate the inscription and dedication at Pharsalos.t_ We may, 
therefore, until further discoveries prove the contrary, consider it as 
the centre of our treatment of that sculptor. Whether the 4poxyo- 
menos is to be explained as emanating from the immediate environment 
of Lysippos, or is to be regarded as a work illustrating the last phase of 
his development, or the innovation of another master—in any Case it 
seems to us clearly to belong to an age essentially different from that 
which conceived the Agias.? 
As the Agias is a statue of a victor in the pankration, we can learn 
from it how Lysippos represented such an athlete. In giving up the 
A poxyomenos, we must also give up statues of athletes which have 
hitherto been assigned to Lysippos on the basis of their resemblance to 
it, and the future ascription of statues of this class must be based on 
stylistic resemblances to the statue of Agias. Thus, for example, we 
should give up the statue of a youth in Berlin, and the two statues of 
athletes represented in lunging attitudes in Dresden, which Furtwaeng- 
ler, on the basis of the Apoxyomenos, believed were copies of originals 
by Lysippos,* and the Roman male head in Turin, published by A. J. B. 
Wace,‘ whose original is somewhat later than that of the A4poxyomenos. 
See Wolters, /. c., pp. 45 f. Most scholars have followed the contention of Preuner that the 
statue at Pharsalos was the older: ¢. g., Kern, I. G., IX, 2, 249. 
Cif. Hill, op. cit., p. 39. 
°Mp., p. 364 and n. 2; Mw., p. 597 and n. 3; for the Berlin athlete, see Beschr. d. ant. Skulpt., 
no. 471; for a copy of the Berlin head in the Museo delle Terme, Rome, see Helbig, Fuehrer, II, 
1380dis; Jb., XXVI, 1911, p. 278, n. 1; and cf. R. M., XX, 1905, pp. 147 f., figs. 5-7; for the Dresden 
statues, see Hettner, Bildw. d. kgl. Antiken-samml., nos. 245-6; one of these has a beardless head, 
which is analogous to a more beautiful head in Copenhagen: La Glypt. Ny-Carlsberg, no. 1072. Of 
this head, which is earlier than that of the Apoxyomenos, Furtwaengler says that it is “one of the 
finest and most purely Lysippan works in existence.” In Mp., p. 338, he mentions a bronze 
statuette of Hermes from Athens now in Berlin (Invent. 6305) “in the swinging posture of the 
Apoxyomenos,” and says that it is of the purest Lysippan style. 
4]. H. S., XXVI, 1906, pp. 239-40 and Pl. XVI; Duetschke, IV, 151. 
