306 TWO MARBLE HEADS FROM VICTOR STATUES. 
quently he pronounced the head “an eclectic work in which features 
borrowed from Skopas and Praxiteles have been combined with an 
unusually successful effect.” 
As Dr. Bates points out, there is no recorded statue of Herakles by 
Skopas which corresponds with this head. The stone one mentioned 
by Pausanias as standing in the Gymnasion at Sikyon' has been thought 
by the authors of the Numismatic Commentary on Pausanias to be 
reproduced on a Sikyonian copper coin of the age of Geta, now in the 
British Museum.? Many statues and busts scattered in European mu- 
seums, which represent a beardless Herakles and show Skopaic influence, 
have been traced back to this original.* However, the coin represents 
the hero wearing a wreath, and so, if 1t was copied from the original in 
the Gymnasion, the latter could not have been the prototype of the 
head under discussion. 
It is now universally acknowledged that all constructive criticism of 
the art of Skopas must be based on a study of the heads found at Tegea. 
Besides those discovered in 1879, and now in the National Museum 
in Athens,‘ two other male heads (in addition to the torso of a female 
figure draped as an Amazon, and a head onthe same scale which prob- 
ably belongs to it, as both are of Parian marble, representing probably 
Atalanta of the East pediment) were discovered by M. Mendel in his 
excavations of the temple of Athena Alea in 1900-1901, and referred to 
the pedimental groups described by Pausanias.® As one of these (Fig. 73) 
is characterized by a lion’s scalp worn as a helmet, the hero’s face 
fitting into the jaws, its teeth showing above his forehead, it has been 
regarded as the head from a statue of Herakles, although Pausanias 
mentions no such statue in his enumeration of the figures composing the 
group of the Eastern pediment, and although it is difficult to explain 
the presence of the hero in the group of the Western pediment, which 
represented the battle between his son Telephos and Achilles. Mendel 
considers this head to be inferior in workmanship to the others, and so 
refers it to the school of Skopas rather than to the master himself, and 
designates it ‘‘un travail d’atelier.’ In describing it, however, he 
Says: “tous ces caractéeres, qui sont ceux des tétes du Musée central, se 

TO: 
°F. Imhoof-Blumer and P. Gardner, p. 30 (reprinted from articles which appeared in the 
J. H. S., VI-VIII, 1885-1887). 
‘Discussed by Graef, R. M., IV, 1889, pp. 189-226. For the coin, see ibid., pp. 212-14. 
‘For the two heads of heroes, see Kabbadias, pp. 154 f., nos. 179, 180; Stais, Marbres et Bronzes, 
p. 33; B. B., no. 44; Collignon, II, pp. 239, figs. 118 and 119; Ant. Denkm., I, 3, 1888, Pl. XX XV, 
2-3, 4-5 (from casts); Milchhoefer, 4. M., IV, 1879, pp. 133-4, nos. 24-25; G. Treu, 4. Z., 
XXXVIII, 1880, pp. 98 f.; Luetzow, Zeitschr. f. bild. Kunst, XVII, 1882, pp. 322 f.; Baum., III, 
pp. 1667 f. and figs. 1733 and 1734; von Sybel, Weltgesch. d. Kunst, pp. 255 f.; Springer-Micha- 
elis, p. 306, figs. 544, a, b; Gardner, Hbk., p. 412, fig. 105; von Mach, 469. 
*VIII, 45.6-7; see Mendel, B. C. H., XXV, 1901, pp. 257f., and Pls. IV, V (=head of Atalanta?), 
VI (=torso of Atalanta?), VII, VIII (=heads of Herakles); Gardner, Hbk., p. 416, fig. 106, has 
reconstructed the Atalanta from Pls. IV and VI just mentioned. 
