[2133] II, 10.1.
[2134] F. Imhoof-Blumer and P. Gardner, p. 30 (reprinted from articles which appeared in the J. H. S., VI-VIII, 1885–1887).
[2135] Discussed by Graef, R. M., IV, 1889, pp. 189–226. For the coin, see ibid., pp. 212–14.
[2136] For the two heads of heroes, see Kabbadias, pp. 154 f., nos. 179, 180; Staïs, Marbres et Bronzes, p. 33; B. B., no. 44; Collignon, II, pp. 239, figs. 118 and 119; Ant. Denkm., I, 3, 1888, Pl. XXXV, 2–3, 4–5 (from casts); Milchhoefer, A. M., IV, 1879, pp. 133–4, nos. 24–25; G. Treu, A. Z., XXXVIII, 1880, pp. 98 f.; Luetzow, Zeitschr. f. bild. Kunst, XVII, 1882, pp. 322 f.; Baum., III, pp. 1667 f. and figs. 1733 and 1734; von Sybel, Weltgesch. d. Kunst, pp. 255 f.; Springer-Michaelis, p. 306, figs. 544, a, b; Gardner, Hbk., p. 412, fig. 105; von Mach, 469.
[2137] VIII, 45.6–7; see Mendel, B. C. H., XXV, 1901, pp. 257 f., and Pls. IV, V (= head of Atalanta?), VI (= torso of Atalanta?), VII, VIII (= heads of Herakles); Gardner, Hbk., p. 416, fig. 106, has reconstructed the Atalanta from Pls. IV and VI just mentioned.
[2138] L. c., p. 259. The head has been restored by a German sculptor, and the chin appears to have been made too retreating: see Encyl. Brit., 11th ed., vol. XII, s. v. “Greek Art,” Pl. III, fig. 63.
[2139] From his Atalanta of Tegea, in J. H. S., XXVI, 1906, pp. 172–3, quoted in part by Dr. Bates, l. c., pp. 155–6.
[2140] It was chiefly the preponderance of the lower part of the face over the upper, in consequence of the large chin and strongly marked cheek-bones, that led Treu to predicate Peloponnesian rather than Attic influence in the Tegea heads: A. M., VI, 1881, p. 408. He found them Polykleitan in character, as did also Graef, l. c., p. 210, Furtwaengler, Mp., p. 523, and Collignon, II, p. 238. L. R. Farnell, however, long ago combated the theory of Peloponnesian influence, and found analogies in fifth-century Attic works of the time of Pheidias, as well as in works from the beginning of the fourth century B. C.: see J. H. S., VII, 1886, pp. 114 f.
[2141] Descriptiones stat., B (in Philostrati opera, ed. Kayser, p. 891). He also says (ibid.) that Skopas ὥσπερ ἔκ τινος ἐπιπνοίας κινηθεὶς εἰς τὴν τοῦ ἀγάλματος δημιουργίαν τὴν θεοφορίαν ἐφῆκε. The words with which Diodoros (Fragm. 1, Bk. XXVI) characterized Praxiteles, as ὁ καταμίξας ἄκρως τοῖς λιθίνοις ἔργοις τὰ τῆς ψυχῆς πάθη, apply much better to Skopas, for Praxiteles’ “emotions of the soul” are mood and temperament rather than emotion and passion.
[2142] B. C. H., XXV, 1901, Pls. IV-V.