These considerations apply most powerfully to two great statues of the Louvre, whose third-century date is almost certain: the Borghese Warrior[72] and the Jason (Fig. 30). The former statue is by Agasias of Ephesos, an artist whom we can date with some degree of certainty in the middle of the third century. The Jason comes so close to the Lysippic type of Poseidon on the one hand and to the Fighter of Agasias on the other, that the Lysippic-Rhodian origin of the two is fairly well established. The analogies of the Borghese Warrior with the Apoxyomenos have been often pointed out, but his resemblances to the Laocoon and the Farnese groups require an equal recognition. Both the Louvre statues show the influence of a later generation on the Lysippic type. While reproducing the general proportions, each develops Lysippic innovations to a further degree. Lysippos made a distinct advance in anatomical skill, but both these statues show a more exact scientific knowledge. While their torso muscles are less prominent, they reveal new details in abdomen, groin, and the inner side of the thighs, unknown to the earlier sculptor. They also develop much further the Lysippic substitution of an all-round figure for a merely frontal one. Each of them can be regarded effectively from any point of view, and neither has any real front. They, therefore, represent a distinct technical advance. But at the same time they show a decline in artistic feeling, for there is perhaps too much science about them. They belong to a school immensely interested in detail, and tending, therefore, to lose its grasp on the general treatment. The anatomical structure of the male form cannot be rendered more perfectly than in the statue of Agasias, so well known to all art students, but the statue affects us with a feeling of strain and discomfort from its want of unity and repose. All the athletic statues of the Rhodian school seem to be restless and unsatisfied. There is none of the calm repose about them that marked earlier Greek art. The desire to display newly acquired scientific knowledge invariably demands a strained and therefore disquieting motive. As we shall see when we come to examine the Laocoon later, the influence of the stage appears to be affecting sculpture. Poses are histrionic, and expression begins to depend upon grimaces and action rather than upon more subtle indications of feeling.