The first paper deals with the date of Damophon, which is fixed on the definite evidence of inscriptions to the first half of the second century B.C., and deals so thoroughly with his historic connexion that little is left for any future archaeologist to say in regard to it. The architectural evidence at Lycosura confirms the date assigned. In the second paper Dickins carries out a most detailed and convincing restoration of the group, adding a discussion of the style of Damophon. In the third paper he is able to confirm the accuracy of his restoration by comparing with it a copy of the group on a bronze coin of Julia Domna struck at Megalopolis. When the restoration was published nothing was known of this coin; it may therefore be regarded as independent evidence of the most satisfying character; and its agreement in all but a few details with Dickins’s restoration shows that his work survives that most severe of all tests, the discovery of fresh evidence. Few conjectural restorations of archaeologists stand on so firm a basis. Damophon had interested Dickins even before he became his special subject of study, for as early as 1905 he had published two bearded heads, one in the Vatican, one in the Ny Carlsberg Glyptothek, which resemble the head of Anytus.[129] In 1906 he published a new replica of the Choiseul Gouffier type.[130] His keen eye had discerned in the Terme Museum at Rome a detached leg of the same form and style as the left leg of the Choiseul Gouffier figure of the British Museum. To the support to which this leg is attached there is also attached a quiver, and this led Dickins to conclude that the Choiseul Gouffier figure is not, as many have thought, an athlete, but an Apollo, as Mr. Murray always maintained. In 1911 he published an account[131] of a colossal marble sandal in the Palazzo dei Conservatori at Rome, adorned with reliefs on the side of the sole. Struck with the likeness of the style of these reliefs to that of the figures on the garment at Lycosura, he boldly suggests that it is an original work of Damophon. In 1914 he discussed the question[132] whether the noteworthy female head at Holkham Hall can be given, as Sir Charles Walston has suggested, to the east pediment of the Parthenon; and answered the question with a decided negative. Another paper in the same year suggests the identification of several sculptured heads in various museums as portraits of kings of the Hellenistic Age, Egyptian, Syrian, and Pergamene. The paper also discusses the portraits of Thucydides and Aristotle. There is no more treacherous ground in archaeology than the assignment of portraits which are uninscribed; but the keenness of sight and the cautious method of Dickins had made him eminently fit for such inquiries.