To return to the art of Hagelaïdas: if we assume that the Ligourió bronze comes from the school of that Argive master certain conclusions must be drawn. The figure is archaic, but does not have the archaic smile. In Athens at the end of the archaic period there was a reaction against this smile, and doubtless the Athenian artists were strongly influenced by Argive models. Thus an archaic bronze head of a youth, found on the Akropolis and dating from about 480 B. C., shows a serious mouth, a strong chin, heavy upper eyelids, and finely worked hair, characteristics which we found in the Ligourió statuette. These traits show that the statuette and the head were the forerunners of the _Apollo_ of the West Gable at Olympia. So finished a bronze as this one from the Akropolis, at the beginning of the fifth century B. C., has inclined Richardson to look upon it as “not improbably a work of Hagelaïdas,”[902] though here again Furtwaengler would ascribe it to Hegias.[903] The Parian marble statue of an ephebe found on the Akropolis (Fig. 17)[904]—one of the most beautiful recovered during the excavations there—shows the same Argive influence. This statue is chronologically the first masterpiece, thus far recovered, which marks the break with archaism by having its head turned slightly to one side.[905] It has the same pose as the _Athlete_ by Stephanos and probably represents a palæstra victor. The head, with its heavy chin, and the muscular body strikingly resemble the _Harmodios_ (Fig. 32), which has led Furtwaengler and others to ascribe it to Kritios or his school.[906] At the same time a similarity is seen between this head and that of the _Apollo_ of the West Gable at Olympia, and so with Bulle and others we ascribe it to the Argive school. [Illustration: FIG. 17.—Statue of an Ephebe, from the Akropolis. Akropolis Museum, Athens.]