in the original held an aryballos or similar palæstra attribute in the raised left hand. It is interesting to compare the copies of this group with those of another representing mother and son, the work of Menelaos, the pupil of Stephanos, which, though transferred from Greek to Roman taste in respect of drapery and forms, is merely a variation of the same theme without any heroic traits.[886] The influence of Hagelaïdas can be easily traced in other schools of art, especially in the Attic School and in the sculptures of the temple of Zeus at Olympia, whether these latter be Peloponnesian in origin or not. It will be convenient in this connection to discuss briefly the style of these important sculptures, which we have already mentioned several times. The statement of Pausanias,[887] that the sculptors of the East and West Gables were Paionios of Mende in Thrace and Alkamenes respectively—the latter being known as the pupil of Pheidias[888]—was not doubted until the discovery of the Olympia sculptures.[889] Then doubts arose both on chronological and stylistic grounds, and now only a few archæologists would maintain that either artist had anything to do with these groups. The style of the two gables (as well as that of the metopes) is so similar that many have assigned them to one and the same artist.[890] They have been referred to many schools from Ionia to Sicily, even including a local Elean one. Thus Brunn assigned them to a North Greek-Thracian school; Flasch[891] and (more recently) Joubin[892] to the Attic; Kekulé[893] and Friedrichs-Wolters[894] to a West Greek (Sicilian) one, because of their similarity to the metopes of temple E at Selinos; Furtwaengler[895] to an Ionic one (Parian masters). Most scholars, however, including K. Lange,[896] Treu,[897] Studniczka,[898] Collignon,[899] and Overbeck,[900] have referred them to Peloponnesian sculptors.[901]