THE STYLES OF SKOPAS AND LYSIPPOS COMPARED. 313 
assigned to Lysippos rather than to Skopas, to whom most critics had 
referred them. ‘Thus, after the discovery of the Tegea heads, scholarly 
opinion began to follow the arguments of Furtwaengler in bringing 
the Lansdowne Herakles into the sphere of Skopas.! But Michaelis, 
as far back as 1882, commenting on the characteristically small head, 
short neck in comparison with the 
mighty shoulders, and long legs in 
proportion to the thick-set torso, 
had declared: “Without doubt the 
statue offers one of the finest speci- 
mens, if not absolutely the best, of 
a Herakles according to the concep- 
tion of Lysippos.’? Now opinion 
varies again; only those who believe 
that the Agias is Lysippan class the 
Herakles as a Lysippan work.? Of 
the Meleager, Graef* gives eighteen 
copies besides the one in the Vatican. 
This number shows how common an 
adornment it was of Roman villas 
and parks. Some of these copies 
have a chlamys thrown over the 
arm, ¢. g., the Vatican example, 
and belong to imperial times, while 
others without the mantle, ¢. g., the 
torso in Berlin,® are older. In addi- 
tion to the Vatican example we repro- 
duce two other copies, the beautiful 
Parian marble head now placed on 
the trunk of a Praxitelean Apollo fig. 75—Statue of the so-called Me- 
in the gardens of the Mediciin Rome —[eager. Vatican Museum, Rome. 
(Fig. 76),° and the statue without 
arms or legs and without the chlamys, found in 1895 near Santa Mari- 



1M>p., 296 f.; cf. Homolle, B. C. H., XXIII, 1899, p. 450, n. 2. Furtwaengler thought that the 
head was Attic and believed that it was the direct successor of the Munich Oil-pourer (PI. 11), 
the Standing Diskobolos of the Vatican (Pl. 6), the Florence Apoxyomenos (Pl. 12), and analogous 
to the Ilissos relief (Fig. 74), two bronze heads from Herculaneum (a= F. W., 1302, and Comparetti 
e de Petra, La Villa Ercol., Pl. VII, 3; b=ibid., Pl. X, 2), and other works; Graef, op. cit., p. 199, 
and Gardner, Sculpt., pp. 198-9, regard it as Skopasian; Kalkmann, Die Proport. d. Gesichts 
in d. gr. Kunst, 53stes Berl. Winckelmannsprogr., p. 60, n. 3, believes that it shows Polykleitan 
influence. 2A4Ancient Marbles in Great Britain, p. 451. 
3P, Gardner, J. H. S., XXIII, 1903, p. 128 (cf. XXV, 1895, p. 240), has called it “definitely a 
Lysippic work”; similarly Cultrera, Una Statua di Ercole, Mem. della R. Accad. dei Lincei, p. 188; 
recently, T. L. Shear, 4. J. 4., XX, 1916, pp. 297-298. 40>. cit., pp. 219 f. 
5Von Mach, 214; Reinach, Rép., I, 484, 1; another in Copenhagen: Furtw.-Urlichs, Denkm., 
Pl. XXXII (opp. p. 98); a head is also in the Ny-Carlsberg collection there: La Glypt. Ny-Carls- 
berg, no. 362 and Pl. 100. ; 
6Ant. Denkm., I, 4, 1889, Pl. XL, 2a, 2b, p. 29 (Petersen); Collignon, II, p. 250, fig. 127; Bulle, 
212 and fig. 144, on p. 481; Furtw., Mp., Pl. XV. For the Apollo torso, see M. D., I, no. 215. 
