One of the most interesting Hellenistic works of the Attic school is the bronze figure from Anticythera,[87] which is still the subject of much dispute. It is a typical piece of eclecticism. The pose and twist of the shoulder and upper part of the torso are Lysippic, while the head is a mixture of Praxiteles and Scopas. The result, as might be expected, is somewhat inharmonious. In shape and profile the head is mainly Praxitelean, and therefore on its discovery it was acclaimed as a Praxitelean original. But looking from the front we at once see the resemblance to the Scopaic Meleager type,[88] with its broad head, slight chin, and fringe of short upright locks like little flames. The head, and indeed the whole statue, is not unlike the bronze athlete of Ephesos,[89] which has the same hair and facial type, together with a similar rather heavy Lysippic body. This heaviness of the torso in both statues shows that the Lysippic ideal is not followed directly, but rather the Attic version of it as used in the Agias of Delphi.[90] Another Attico-Lysippic figure is preserved for us in a number of replicas, of which the two best known are the Hermes from Atalanta in Athens (Fig. 41) and the Hermes Richelieu in the Louvre. Here again Lysippic proportions are combined with a rather heavier Attic torso in a whole which lacks something of harmony and repose. The work has been referred back to a Lysippic original, but it seems more likely that it is an Attic adaptation of the eclectic school now springing into existence. The Attic grave reliefs give us good information about Attic art down to the end of the fourth century, but Demetrios of Phaleron prohibited them for sumptuary reasons in 309 B.C., and in future we have no such good guide to Attic art. Eclecticism is, however, pretty clear in the later examples which we do possess. The votive reliefs from the Asklepieion throw some light on the third century, but they are not on a sufficiently large scale to be very instructive. [Illustration: 42]