THE STYLES OF SKOPAS AND LYSIPPOS COMPARED. Silel 
arity in certain other Skopaic heads, notably in the /4pollo from the Mau- 
soleion and the Demeter from Knidos, though it is quite lacking in the 
Tegea male heads. It all goes to show that Skopas was not strictly con- 
sistent in his treatment of theeye. ‘The lower face of the Atalanta is also 
longer and more oval than that of the male heads, and thus shows Attic 
rather than Peloponnesian influence. If it is difficult, then, to conceive 
of the Atalanta and the male heads as the work of the same sculptor, the 
contrast, both in structure and expression, between these two heads of 
Herakles, the one from Tegea, the other from Sparta, makes it more 
difficult to assume the same authorship for both; for here we can not 
explain the difference as the contrast between the types of hero and 
heroine; here we are comparing two heads which are supposedly of the 
same hero. 
THE STYLES OF SKOPAS AND LYSIPPOS COMPARED. 
In view, then, of the differences enumerated I should hesitate to 
assign a Skopaic origin to the head from Sparta. In the lower part of 
the face, with its small mouth and delicate chin, I see signs only of 
Praxitelean influence; in the upper part I am much more inclined to 
see affinities to the art-tendencies of Lysippos, as we now know them 
from the statue of Agias. In the present state of our knowledge it is 
not difficult to separate works of Praxitelean origin from those of Sko- 
pas; but it is a very different thing to distinguish those of Skopaic 
origin from those of Lysippos; here the line distinguishing the two mas- 
ters is much finer and harder to draw. Before the discovery of the 
Tegea heads, the deep-set eye,! prominent brow, and “breathing”’ mouth 
were looked upon as characteristic features of Lysippos, as they were 
known to us from representations of Alexander, especially on coins. 
We now know that these traits belonged to Skopas to a much greater 
extent. When the 4gias was found, and before its true authorship had 
been determined, Homolle, as we have seen, had at first classed it 
as showing the manner of Lysippos, only later to see more of Skopas 
than Lysippos in it. Such a conclusion was natural so long as we 
regarded the Apoxyomenos as the key to Lysippan art. By assigning 
these traits definitely to Skopas, we were compelled to view the work of 
Lysippos as conventional and somewhat lifeless in comparison. But 
with the assumption that the statue of Agias represented true Lysippan 
characteristics, we were forced to recognize that the same traits 
belonged to Lysippos also, though to a less degree, since the energy of 
the Tegea heads was absent from the features of the 4gias and their 
fierceness was here replaced by a look of quiet melancholy. ‘The study 
of such allied works as the beautiful and excellently preserved Lans- 
downe Herakles (Pl. 30 and Fig. 71), the athlete on the Pentelic marble 
1The effect in the Tegea heads is heightened by the abrupt transition from the brow to the 
socket—the outer end of the upper lid being almost hidden. 
