318 TWO MARBLE HEADS FROM VICTOR STATUES. 
a verse of the epigram found on the base of the statue of Agias, 
which runs kal o@v ovdels Tw OTHTE TpoTALa XEP@V, is almost an exact 
copy of the words of Herakles in the Trachiniae of Sophocles.1__ In these 
words the dedicator of the statue ends the recital of his ancestor’s 
exploits with a melancholy reflection on the vanity of his glory. 
They suggest with no less truth the expression of both the heads we 
are discussing. This expression of pensiveness tinged with melan- 
choly is enhanced in both by the slightly parted lips. We can see 
the same expression carried much further in many of the portraits of 
Alexander which go back to originals by Lysippos, and we know from 
Plutarch that this sculptor was chosen by the conqueror to make his 
portraits, because Lysippos alone could combine his manly air with 
the liquid and melting glance of his eyes. But how different is the 
delicately indicated pathos of these heads from the violent and unre- 
strained, even panting, expression of the Tegea sculptures! Here 
there is no trace of the wavia which Kallistratos said characterized 
the works of Skopas. If it be objected that the expression of the 
Philandridas is more dramatic than that of the head from Sparta, its 
fierce, almost barbarous, look of defiance may well be explained by 
the fact that here is represented a victor from Akarnania, a country 
noted among the other Greek states for anything but culture and 
refinement. - 
THE SPARTA HEAD AN ECLECTIC WORK AND AN EXAMPYTE 
OF ASSIMILATION. 
It is, then, in consequence of these resemblances to Lysippan work, 
and because of the differences between it and the [egean heads, that I 
am led to see more of Lysippos than of Skopas in this beautiful head 
from Sparta. An analysis of its style permits us to discover in it the 
mixed influences of Praxiteles, of Lysippos, and of Skopas. It seems 
to me necessary, therefore, in view of this mixture of tendencies, to 
regard it as an eclectic work, in which the unknown artist has combined 
Lysippan and Praxitelean elements chiefly; and that he was also under 
the influence of Skopas is evinced by the peculiarities mentioned in the 
treatment of the eyes and hair;? but even in the modeling of the eyes, 
I believe that his chief debt was to Lysippos. ‘The fineness of surface 
modeling, commented on by both Professor Bates and Dr. Caskey, 

11102: xotdels rporat’ earnoe T&V Euev XEpav. 
In the passage already cited from de Alex. Magn. fort. aut virtute, Orat. II, 2, (=p. 385c);... 
Kal Tv Oupatov Thy 6Laxvow Kal vypérnta, k.T.Xd.; cf. also his Vita Alex. Magni, IV (=p. 666), 
F . Thy bypoTnTa Tv dupaTwv. 
’The hair of the head from Sparta, like that of the 4gias and the Philandridas, has not the expres- 
sion displayed in some Lysippan heads (notably in portraits of Alexander), nor the detail which we 
should expect from Pliny’s statement that Lysippos excelled in his treatment of hair (ZH. N., 
XXXIV, 65; see next note). But the Agias and the Philandridas represent pancratiasts, and 
here we should not expect such expression. In the Agias, the hair, even if lacking in detail, is 
treated carefully and with variety. 
