[1283] B. B., nos. 326 (Aristogeiton), 327 (Harmodios), and 328 (head of Harmodios, two views); Bulle, 84, 85; von Mach, 58 (both statues) and 59 (Aristogeiton); Collignon, I, pp. 367 f. and figs. 189 (group) and 190 (head of Harmodios); relief from Athens showing the group, ibid., p. 369, fig. 88; Overbeck, I, p. 155, fig. 27; Baum., I. p. 340, fig. 357; Lechat, pp. 444–5, figs. 36, 37 (restored by Michaelis); R. M., XXI, 1906, Pl. XI; F. W., 121–4; Reinach, Rép., I, 530, 3 (Harmodios), and 5 (Aristogeiton); cf. II, 2, 541, 5 (group); Clarac V, 869, 2202 and 870, 2203 A; head of Harmodios, Annali, XLVI, 1874, Pl. G. The height is about 2 meters (Bulle).
[1284] A. M., XV, 1890, pp. 1 f.; followed by Overbeck, I, pp. 152 f.; Frazer, II, p. 98. The difference is not only noticeable in the head structure and treatment of the hair, but in the whole character of the work. While Antenor’s work is stiff and lifeless, the Naples group is full of vigor. For the statue of Antenor (in the Akropolis Museum), see Ant. Denkm., I, 5, 1890, Pl. 53, and pp. 42 f. (Wolters); Overbeck, I, Pl. 25, opp. p. 152; Les Musées d’Athènes, I, Pl. VI; Jb., II, 1887, pp. 135 f. (Studniczka), and Pl. X, 1 (head); von Mach, 28; Perrot-Chipiez, VIII, Pl. II.
[1285] However, some archæologists still favor Antenor for this group: e. g., Wachsmuth, Die Stadt Athen, I, pp. 170 f.; II, 393–8; Collignon; Lechat, op. cit., and cf. B. C. H., XVI, 1892, pp. 485–9.
[1286] Rhet. praecept., 9: ἀπεσφιγμένα καὶ νευρώδη καὶ σκληρά, καὶ ἀκριβῶς ἀποτεταμένα ταῖς γραμμαῖς. See Brunn, pp. 101–5; cf. Pliny, H. N., XXXIV, 49.
[1287] The best restoration is that of Meier in bronzed plaster in the Ducal Museum in Brunswick: Bulle, p. 172, figs. 38, a, b, c; here Aristogeiton has received a bearded head. For another restoration, in the Museum of Strasbourg, see Springer-Michaelis, p. 216, fig. 402, a, b.
[1288] Bulletin of Museum of Fine Arts, III, 27; R. M., XIX, 1904, p. 163, Pl. VI (Hauser).
[1289] A vase by Douris shows a warrior similar to Aristogeiton, but his onset is fiercer: Hartwig, Die griech. Meisterschalen, 1893, Pl. XXI, and Textbd., pp. 206 f. For other representations in art of the Tyrannicides, see Frazer, II, pp. 94 f.
[1290] Darstellung des Menschen in der aelt. griech. Kunst, 1899, p. xi; cf. Richardson, p. 120, n. 2.
[1291] Cf. Dickins, p. 265 (quoting the view of Furtwaengler).
[1292] Furtwaengler, Sammlung Somzée, 1897, Pl. III. He ascribes it to Mikon and identifies it with the statue of the pancratiast Kallias at Olympia whose base has been found: Bildw. v. Ol. 146; Hyde, 50; see infra, in the section on Pancratiasts, p. 251. For the Pelops, see Bildw. v. Ol., Tafelbd., Pl. IX, 2, and XI, 1 (head).