304 TWO MARBLE HEADS FROM VICTOR STATUES. 
signature on the base of the 4gias has also been taken to indicate that 
some pupil of Lysippos (Lysistratos, for example) did the work of trans- 
ference in the master’s studio under his supervision and doubtless from 
his model. 
Despite all such arguments, which prove little, it must be admitted 
that the careless finish of the Delphian statue is not what we should 
expect in a masterpiece by so renowned a sculptor as Lysippos, as the 
statue can not be said to bea first-rate work of art. But thatit was made 
under the direct supervision of Lysippos can hardly be questioned. It 
seems reasonable to believe that Daochos, who employed the great 
artist in the one case, would not have trusted a mere copyist inthe other, 
or one who was free to indulge his individual taste in details,! especially 
as the statue was to be placed in so prominent a place as Delphi. He 
probably gave the orders for the two statues at the same time, and 
Lysippos must have had the oversight of the Delphian one. So it seems 
best to regard the statue of Agias as a “double,” and not as a copy in 
the later sense of the word. ‘The custom of making such doubles goes 
back at least to the middle of the sixth century B.C. ‘Thus the statue 
of the Delian Apollo by Angelion and Tektaios, known as the “‘Healer’’ 
(Oddvos),? had a “double” in both Delphi? and Athens.* Similarly the 
Philesian Apollo of Branchidai near Miletos, by the elder Kanachos,® 
had a doublein Thebes known as the Jsmentan Apollo, which Pausanias 
says differed from the one in Miletos neither in form nor size, but only 
in material, for it was of cedar-wood,® while the Milesian one was of 
bronze. Furtwaengler’ has demonstrated that contemporary doubles 
of works by Polykleitos, Pheidias, and Praxiteles existed. The 
case of the statues of the athlete Agias at Pharsalos and at Delphi 
is paralleled by that of the Olympic victor Promachos, who had 
statues, probably alike, both at Olympia and in his native city Pel- 
lene.’ A double of the base of the Nike of Paionios at Olympia was 
discovered at Delphi, and a fine head in the collection of Miss 
Hertz in Rome is from the same original.1° A Polykleitan head 
1Mechanically exact copies were unknown in the fourth century B. C. Furtwaengler has shown 
that such copies began to be made in the second century B. C., or possibly at the end of the third, 
and became common only in the first: Ueber Statuencopien im Altertum, 1896. 
2[t is mentioned by Pausanias, IX, 35.3, and the surname “‘Oulios” by Strabo, XIV, 1.6 (C. 
635); it is described by Plutarch, de Musica, 14 (=1136 A), and Macrobius, Sat., I, 1713. 
3Schol. on Pindar, O/., XIV, 16, Boeckh, p. 293. 
4Bekker, Anecd. gr., p. 299, 8-9; cf. Athen., X, 24 (p. 424 f.). It appears on Athenian coins 
also: see Frazer, V, p. 174; figs. 8-9. 
5P., VIII, 46.3; Pliny, H. N., XXXIV, 75. Cf. Brunn, I, pp. 74 f. 6p IX 
7Op. cit. The transference to the minor arts—reliefs, coins, gems and vase-paintings—was, 
of course, especially common at all times. See also F. Hauser, Die neu-attischen Reliefs, 1889, 
and Flasch, 4. Z., XXXVI, 1878, p. 119. | 
8p., VI, 8.5 and VII, 27.5. He won the pankration in Ol. 94 (=404 B. C.): Hyde, 81; Foerster, 
286. 
°B. C. H., XXI, 1897, pp. 616-20 (Homolle). 
10See Amelung, R. M., TX, 1894, pp. 162 f. and Pl. VII. Cf., Treu, Bildw. v. Ol., pp. 190-191, 
and fig. 222 B, cn pp. 188-189. 
