F. B. Tarbell, A History of Ancient Greek Art

The transitional period of Greek Sculpture. 480-450 B. C.

A fine example of youthful strength and beauty

Of about the same date, it would seem, or not much later, must have been a lost bronze statue, whose fame is attested by the existence of several marble copies. The best of these was found in 1862, in the course of excavating the great theater on the southern slope of the Athenian Acropolis. The naming of this figure is doubtful. It has been commonly taken for Apollo, while another view sees in it a pugilist. Recently the suggestion has been thrown out that it is Heracles. Be that as it may, the figure is a fine example of youthful strength and beauty. In pose it shows a decided advance upon the Strangford Apollo. The left leg is still slightly advanced, and both feet were planted flat on the ground; but more than half the weight of the body is thrown upon the right leg, with the result of giving a slight curve to the trunk, and the head is turned to one side. The upper part of the body is very powerful, the shoulders broad and held well back, the chest prominently developed. The face, in spite of its injuries, is one of singular refinement and sweetness. The long hair is arranged in two braids, as in Fig. 96, the only difference being that here the braids pass over instead of under the fringe of front hair. The rendering of the hair is in a freer style than in the case just cited, but of this difference a part may be chargeable to the copyist. Altogether we see here the stamp of an artistic manner very different from that of Critius and Nesiotes. Possibly, as some have conjectured, it is the manner of Calamis, an Attic sculptor of this period, whose eminence at any rate entitles him to a passing mention. But even the Attic origin of this statue is in dispute. 

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