Glyptothek known as the _Oelgiesser_ (_Oil-pourer_), a Roman copy of an Attic bronze of about the middle of the fifth century B. C. (Pl. 11).[1034] Though the right arm and left hand are lost, it is clear that the athlete held in his raised right hand an oil flask, as in the Petworth statue.[1035] Notwithstanding that the head resembles the Praxitelian _Hermes_,[1036] this does not show that the statue is of fourth-century origin, for its original is older; it merely shows that the art of Praxiteles was deeply rooted in that of his fifth-century predecessors. Because of its Attic affiliations, Klein tried to identify it with the Ἐγκρινόμενος of Alkamenes mentioned by Pliny,[1037] by amending that title to Ἐγχριόμενος, the “Anointer.” Brunn, however, rightly saw the analogy of the body forms to Myron’s _Marsyas_,[1038] and Furtwaengler and Bulle have ascribed it to Lykios, the son and pupil of that master, who worked about 440 B. C., the approximate date of the original of the statue. A fragmentary head in the Boston Museum of Fine Arts (Fig. 23),[1039] formerly in private possession in England, is a copy of the same original as the Munich statue. Its special interest is that it is not an exact copy of the original, as the Munich statue is, but a freer one, showing a fuller mouth, fleshier cheeks, and deeper-set eyes. While the Munich statue is the dry work of a Roman copyist of Augustus’ time, this head is by a far abler Greek copyist of the second century B. C. A torso in the Albertinum in Dresden, without a head,[1040] is similar to the Munich statue, but hardly a replica. It probably goes back to an original by an Attic master of the end of the fifth or beginning of the fourth century B. C. Other under life-size statues related to this torso show the same motive.[1041] A black-marble statue found at Porto d’Anzio in 1758, and now in the Glyptothek,[1042] has the Polykleitan standing motive. The left arm, which is stretched out, holds an oil flask in the hand, while the right arm is lowered. The band, which the position of the fingers shows that the right hand probably held, indicates it is the statue of a victor. A bronze statuette from South Italy, now in the British Museum,[1043] represents a nude youth holding an alabastron in his right hand, while the left has the palm open to receive the oil. The hair fashion (κρωβύλος) seems to point to an Attic sculptor of about 470 B. C.[1044] The same motive is found on terra-cotta statuettes from Myrina,[1045] on reliefs,[1046] and on gems.[1047] [Illustration: FIG. 23.—Head of so-called _Oil-pourer_. Museum of Fine Arts, Boston.] [Illustration: PLATE 11 Statue of the so-called _Oil-pourer_. Glyptothek, Munich.] OIL-SCRAPING.