the Akropolis, if we are justified in classing it as Aeginetan and not Attic, shows the excellence which we associate with this school.[957] The delicate execution of its hair and beard, as well as the strength and precision of this head, makes it not unworthy of being ascribed to one of the best artists of the school, perhaps to Onatas himself. The beardless bronze head discovered in 1756 in the villa of the Pisos in Herculaneum, now in Naples, has also been assigned to Onatas, as its features are similar to those of the one under discussion.[958] The Tux bronze statuette of a hoplitodrome, to be discussed in Ch. IV (Fig. 42), has also been assigned to an Aeginetan master.[959] The marble statue known as the _Strangford Apollo_ in the British Museum, already mentioned (Fig. 14),[960] may show the characteristics of the early school in marble, though it is impossible to say whether it is a copy of a bronze original or a minor work in stone under Aeginetan influence. The smaller “Apollo” from Mount Ptoion, already discussed (Fig. 13, right),[961] appears to show in exaggerated form the same Aeginetan traits. However, we get out best notion of Aeginetan work in marble from the gable statues in the Munich Museum, representing Homeric warriors fighting, which adorned the temple of Aphaia in the northeastern corner of the island. Their importance in this connection calls for a brief account of them. [Illustration: FIG. 20.—Figure, from the East Pediment of the Temple on Aegina. Glyptothek, Munich.]