[2143] The same overhanging masses of flesh, which we see in the male heads, are, however, visible in several other female heads attributed to Skopas: e. g., in the colossal one called Artemisia from the Eastern pediment of the Mausoleion: Gardner, Sculpt., Pl. LIX; in the head of an Aphrodite found in the sea off Laurion: J. H. S., XV, 1895, pp. 194f. and fig. (Aphrodite ?); in the head of a goddess found south of the Akropolis (and in the copy of it in Berlin): Gardner, Hbk., p. 457, fig. 119; and in the Dresden statuette of a Mænad: Treu, Mélanges Perrot, Pl. V; Gardner, Sculpt., Pl. LII; etc.; they are also plainly visible in the Demeter of Knidos: Gardner, Sculpt., Pl. LIII; etc. These heads are discussed by Gardner, Sculpt., pp. 190f., and are ascribed by him to Skopas.
[2144] J. H. S., XXVI, 1906, p. 174. Gardner (ibid.) does not explain this contrast in expression between the Atalanta and the surrounding heroes on the analogy of the contrast in the calmness of Apollo among the struggling Lapiths from the Olympia pediment, since the action in the torso of Atalanta shows that she was no mere spectator. He finds the explanation rather in the sex and youth of the heroine; for this reason he thinks that the sculptor did not represent her as sharing equally with the others the passion of the combat. He finds a truer analogy in the contrast between calm and passion in the Lapiths and Centaurs of the Parthenon metopes, where the human and bestial are thus distinguished; just so the heroine-goddess is here distinguished from her human companions. He also supposes that Skopas was not ready thus early in his career (just after 395 B. C., when the temple of Athena Alea was destroyed by fire) to apply his new extreme of expression to female heads. However, it must not be overlooked that these male heads—because of their marked individuality—presuppose a more mature genius, and so can just as well be assigned to the period of the Arkadian revival of 370 B. C. It has recently been seriously disputed whether the Atalanta should be assigned at all to the Eastern pediment, where the French excavators placed it; thus Cultrera has looked upon it as an akroterion figure, while Thiersch and Neugebauer have identified it with a single figure representing Nike. See Cultrera, Atti dell’ Accad. dei Lincei, 1910, pp. 22f.; H. Thiersch, Zum Problem des Tegeatempels, Jb., XXVIII, 1913, p. 270; Neugebauer, Studien ueber Skopas, Leipsic, 1913; the latter has argued that the head and torso do not belong together, while Dugas has maintained the older view, that the turn and position of the neck fit the torso: Rev. de l’art anc. et mod., 1911, pp. 9f.
[2145] The effect in the Tegea heads is heightened by the abrupt transition from the brow to the socket—the outer end of the upper lid being almost hidden.
[2146] Kabbadias, I, p. 416, no. 869; Staïs, Marbres et Bronzes, pp. 168 f. and fig.; Conze, Griech. Grabreliefs, IX, 1897, no. 1055 and Pl. CCXI; B. B., 469; Bulle, 267; von Mach, 369; P. Gardner, Sculptured Tombs of Hellas, 1896, Pl. XIV and p. 152; Gardner, Sculpt., Pl. LXV and p. 208; Graef, R. M., IV, 1889, pp. 199 f.; von Sybel, Weltgesch. d. Kunst, fig. 204; id., Zeitschr. f. bild. Kunst, N. F., II, p. 293; cf. Wolters, A. M., XVIII, 1893, p. 6. It is 1.68 meters in height and 1.07 in breadth (Staïs). The likeness of the head of the athlete in this relief to that of the Agias is striking.
[2147] It was formerly in the Sala di Meleagro, but was later removed to the Sala degli animali; Helbig, Fuehrer, I, 128, and Nachtrag; Guide, I, p. 78, no. 133; Amelung, Vat., II, p. 33, no. 10, and Pls. II and XII; B. B., 386; von Mach, 216; id., Greek Sculpture, Its Spirit and Principles, 1903, pp. 279 f.; Bulle, p. 484, fig. 145; Ant. Denkm., I, 4, 1889, Pl. XL, 1a, 1b (head); Graef, R. M., IV, pp. 218 f.; Reinach, Rép., 1, 479, 2; Clarac, 805, 2021. It is 2.10 meters high (Amelung).
[2148] De olymp. Stat., p. 28.
[2149] Mp., 296 f.; cf. Homolle, B. C. H., XXIII, 1899, p. 450, n. 2. Furtwaengler thought that the head was Attic and believed that it was the direct successor of the Munich Oil-pourer (Pl. 11), the Standing Diskobolos of the Vatican (Pl. 6), the Florence Apoxyomenos (Pl. 12), and analogous to the Ilissos relief (Fig. 74), two bronze heads from Herculaneum (a = F. W., 1302, and Comparetti e de Petra, La Villa Ercol., Pl. VII, 3; b = ibid., Pl. X, 2), and other works; Graef, op. cit., p. 199, and Gardner, Sculpt., pp. 198–9, regard it as Skopasian; Kalkmann, Die Proport. d. Gesichts in d. gr. Kunst, 53stes Berl. Winckelmannsprogr., p. 60, n. 3, believes that it shows Polykleitan influence.
[2150] Ancient Marbles in Great Britain, p. 451.
[2151] P. Gardner, J. H. S., XXIII, 1903, p. 128 (cf. XXV, 1895, p. 240), has called it “definitely a Lysippic work”; similarly Cultrera, Una Statua di Ercole, Mem. della R. Accad. dei Lincei, p. 188; recently, T. L. Shear, A. J. A., XX, 1916, pp. 297–298.
[2152] Op. cit., pp. 219 f.