None of the works of Hagelaïdas at Olympia or elsewhere is known. Messenian coins of the fourth century B. C. show the motives of two of his statues, that of his _Zeus Ithomatas_ just mentioned as being made for the Messenians,[877] and the beardless _Zeus_ παῖς at Aigion.[878] However, we infer the characteristics of his style from the bronze statuette in Berlin which was found at Ligourió near Epidauros (Fig. 16).[879] This is undoubtedly an Argive work contemporary with the later period of Hagelaïdas. Furtwaengler and Frost are right in looking upon it as showing the prototype of the canon of Polykleitos. Though too small to count as a characteristic work of the early Argive school, it shows us that the style of that school was a short and stocky type, similar to Aeginetan works, only somewhat fleshier and heavier. The straight mouth and heavy chin, the treatment of the eyelids, and the clumsy limbs are all archaic features to be expected in the period preceding Polykleitos. The modeling is carefully executed, showing a knowledge of anatomy. If such excellence is found in a statuette, we can form some idea of the perfection of a statue by the master. [Illustration: FIG. 16.—Bronze Statuette, from Ligourió. Museum of Berlin.] [Illustration: PLATE 9 Statue of an Athlete, by Stephanos. Villa Albani, Rome.] The bronze _Apollo_ from Pompeii now in the Naples Museum,[880] with marble replicas in Mantua and Paris,[881] shows us how Hagelaïdas treated a god type, while the statue of an athlete by Stephanos will give us some idea of how he treated his victor statues, as it seems to have been modeled after an athlete statue of the early fifth century B. C., perhaps after a work by some pupil of the master. Stephanos belonged to the school of Pasiteles, a group of sculptors flourishing at Rome at the end of the Republic and the beginning of the Empire. They devoted themselves to the reproduction of early fifth-century statues. They were not ordinary copyists, for their works show individual mannerisms and a system of proportions foreign to the originals. Thus their statues have the square shoulders of the Argive school, but the slim bodies and slender legs of the period of Lysippos and his scholars. Apart from such mannerisms, then, in the male figure signed _Stephanos, pupil of Pasiteles_, in the Villa Albani in Rome (Pl. 9),[882] which reappears in a very similar statue in groups combined with a female figure of related style,[883] or with another male figure,[884] we may see a copy of a bronze original of the Argive school before Polykleitos. The standing motive and the body forms are the same in both the Mantuan _Apollo_ and the Stephanos figure, although the former is more developed and the head type is different in both; this shows that the two, while displaying the same basic ideal, were not works of the same master.[885] As the statue by Stephanos has a fillet around the hair, it may well represent an ideal athlete, who