316 TWO MARBLE HEADS FROM VICTOR STATUES. 
it is absent in the Agias, is certainly present in other Lysippan heads. 
Besides being prominent in representations of Alexander the Great on 
coins,! it is seen in busts of the conqueror, especially in the splendid one 
from Alexandria in the British Museum.? In the latter example we see 
just such heavy rolls of flesh as we note in the Skopaic heads. It shows 
that this trait, introduced by Skopas, was used at times with equal effect 
by Lysippos. We have already noted how in one example, at least, Sko- 
pas himself laid it aside—in the Atalanta. Its presence on Lysippan 
heads shows that too much stress can be laid on this feature in de- 
ciding whether a given piece of sculpture is to be referred to Skopas. 
This trait complicates the whole problem of the style of the two masters. 
THE SPARTA_HEAD~ COMPARED WITH THATSORSTEE 
. PHILANDRIDAS. 
As the Agias is considered by most critics to be a contemporary copy 
of the original statue at Pharsalos, perhaps it will be more just to com- 
pare the head from Sparta under discussion with the original marble 
head from Olympia, which we have ascribed in the earlier part of the 
present chapter to the statue of Philandridas by Lysippos. Such a 
comparison will, of course, show certain differences, but marked resem- 
blances as well. We shall see that these resemblances are confined tothe 
upper part of the face. In both we note the same low forehead with a 
corresponding depression or crease across the middle; the similarly 
bulging brow which breaks very perceptibly the continuous line from 
forehead to nose, concave above and below and convex at the swelling 
itself; the same powerfully framed and deep-set eyes thrown into shad- 
ows by the projecting bony structure of the brows and the overhanging 
masses of flesh. ‘The eyeballs in both are similarly long and narrow, 
though they are slightly arched in the Philandridas just as inthe Tegea 
heads, and not so close togetherasin the 4gias, but their inner angles are 
farther apart and not almost hidden by the flat bridge of the nose when 
viewed straight from the front. In this respect they are strikingly like 
those of the Sparta head.* The raised upper lids in both form symmetri- 

1Cf. P. Gardner, Types of Greek Coins, 1883, Pl. XII, 16. 
*Pl. LXIX in Six Greek Sculptors. E.A. Gardner (p. 226) is doubtless right in believing that 
this form of brow was a personal peculiarity of Alexander, as it recurs so often in his portraits. 
It is seen in the head of Alexander on the sarcophagus from Sidon (either by a pupil of Lysippos or 
by some sculptor under his influence), the reliefs from which portray the same subject as the bronze 
group by Lysippos in Delphi mentioned by Pliny, H. N., XXXIV, 64, dedicated by Krateros on 
the occasion narrated by Plutarch, Vita Alex. Magni, 40, who states that the group was executed 
conjointly with Leochares: see Hamdy Bey et Th. Reinach, Une nécropole royale a Sidon, 1892, Pl. 
XXXIII, no. 6 (reproduced by Gardner, Sculpt., Pl. LX XI). So far as I know, it occurs in Lysip- 
pan work to a prominent degree only in likenesses of Alexander. We know that Lysippos created 
the Alexander-type of head, as he alone could reproduce his manly and leonine air (cf. Plut., de 
Alex. M. fortuna aut virtute, oratio I1,2,=p. 335). Itis, to aless extent, present in the Azara head in 
the Louvre, which, owing to its likeness to the head of the Apoxyomenos, used to be taken as the 
nearest copy of the original by Lysippos. 
AN should be observed that the axis of the right eye in the head from Sparta droops slightly, 
which causes the eyeball to turn in. This seems to me to be merely the result of imperfect 
skillin modeling. It has a tendency to give to the face a look of greater intensity. 
