In the Peloponnese we have a great gap after the pupils of Lysippos, a gap devoid of any evidence either literary or monumental. During the whole of the third century it would be difficult to point to any Peloponnesian art on a scale deserving of attention. But the second century opens with a name of some importance, Damophon of Messene. We are in the rare and fortunate position of possessing undoubted originals from his hand in the great group of Lycosura. These are practically our sole monumental evidence for the Hellenistic art of the Peloponnese.[95] The date of Damophon is now established by inscriptions for the first half of the second century B.C., and a number of his works are more or less attested by coin-types. He had a considerable vogue in the last generation before the Roman conquest, and his leading position is evidenced by the commission he received to restore the Olympian Zeus. It may have been his hand which touched up and restored the corner figures of the west pediment of the temple. The great group of Lycosura represented Demeter and Kore enthroned between standing figures of Artemis and a Titan Anytos. It survives in three heads and numerous fragments of limbs and drapery, and its conjectural restoration has been recently undertaken (Fig. 45). The discovery of a coin representing the group on its reverse goes far to justify the proposed design.[96] [Illustration: 45] The group is interesting from many points of view, but mainly from the flood of light which it throws on the methods of Peloponnesian sculpture at the very close of its development. It thus forms a complementary picture to the remains of the monument of Euboulides in Athens. Damophon, like Euboulides, underwent the influence of Pergamon. The colossal scale of his group and the wild hair of his giant Anytos (Fig. 46) demonstrate the influence of the altar frieze. Damophon also went back to Pheidias for inspiration. He must have absorbed many lessons from his work at Olympia. The seated group of his goddesses is reminiscent of the two figures next to ‘Theseus’ in the west pediment of the Parthenon. The simple wide-eyed grave expression of his Demeter head goes back to the fifth-century ideal, while his Artemis (Fig. 47) wears the melon-coiffure associated with the school of Praxiteles. The attitudes of Artemis and Anytos are Lysippic. Here we have every evidence of academic eclecticism. The same feature is borne out by three coins which reproduce the statues of Damophon. His Asklepios at Aigion gives us a fourth-century type. He copied the Laphria of Patras for Messene. His Herakles in the guise of an Idaean Dactyl at Megalopolis seems to have been a variant of the now fashionable herm figures and to copy a Hermerakles type known by numerous extant examples.