[2043] In his discussion of the Athenian torso, which he believed was another copy of the original of the Vatican statue: A. M., II, 1877, pp. 57–8, Pl. IV; Reinach, Rép., II, 2, 819, 1. This torso had the left leg free, while the Vatican one had the right one free; it is also dry and hard in its technique.
[2044] That of Emil Braun, in Annali, L, 1850, p. 249.
[2045] E. g., Loewy, R. M., XVI, 1901, p. 392. Furtwaengler, Sitzb. Muen. Akad., 1904, II, p. 379, n. 1, says that the Agias “dem Lysipp gaenzlich ferne steht,” and assigns it to an Athenian artist.
[2046] Especially the Gardner brothers: P. Gardner, J. H. S., XXIII, 1903, pp. 130–131 (where he identifies the Apoxyomenos with the Perixyomenos of Daïppos, the son or pupil of Lysippos, a work mentioned by Pliny, H. N., XXXIV, 87); ibid., XXV, 1905, pp. 234 f., especially p. 236 (on pp. 255 f. he dates the Apoxyomenos just after 300 B. C., though ultimately deriving it from the school of Lysippos); id., Class. Rev., 1913, p. 56; E. A. Gardner, Sculpt., p. 222; Hbk., p. 443. T. L. Shear, A. J. A., XX, 1916, p. 292, makes the Agias the centre of his treatment of Lysippos. Still others who think that the two statues can not be by the same sculptor are cited by Wolters, Sitzb. Muen. Akad., 1913, III, no. 4, p. 44, n. 3. See also F. Paulson, Delphi, 1920, pp. 288–289.
[2047] E. g., Collignon, Lysippe, p. 31; Amelung, R. M., XX, 1905, pp. 144 f.; id., Vat., I, p. 87 (where he says that the Agias offers the closest analogies in style to the Apoxyomenos); Michaelis, Die archaeol. Entdeckungen des 19ten Jahrh., 1906, p. 276; A Century of Archæological Discoveries (transl. of preceding, by Bettina Kahnweiler, 1908), p. 323; id., Springer-Michaelis, p. 335; for others, cf. Wolters, l. c., n. 2.
[2048] Pliny, H. N., XXXIV, 61 (= S. Q. no. 1444), quotes Douris as saying that Lysippos was the pupil of no artist. He tells how the painter Eupompos advised the sculptor as a boy naturam ipsam imitandam, esse non artificem. Such a judgment, of course, can not be literally true, as every artist is to a large extent a child of his age and circumstances. Cf. Jex-Blake, pp. xlviii f., for the anecdotal character of Pliny’s statement. That the statement comes, perhaps, from Eupompos is the view of Kalkmann, Quellen der Kunstgeschichte des Plinius, 1898, p. 165.
[2049] B. C. H., XXI, 1897, p. 598; id., XXIII, 1899, p. 471; cf. T. L. Shear, A. J. A., l. c. On the relation of Skopas to Lysippos, see P. Gardner, J. H. S., XXIII, 1903, pp. 126 f., and E. A. Gardner, Sculpt., p. 198. The influence of Skopas is especially observable in Lysippos’ treatment of forehead and eyes and in the consequent intensity of expression.
[2050] Jb., XXV, 1910, pp. 172–3.
[2051] See Wolters, l. c., pp. 45 f. Most scholars have followed the contention of Preuner that the statue at Pharsalos was the older: e. g., Kern, I. G., IX, 2, 249.
[2052] Cf. Hill, op. cit., p. 39.