The small marble statue in the British Museum known as the _Diadoumenos Farnese_[1138] (Pl. 17), which is now almost universally regarded as an Attic work,[1139] has been assumed by many archæologists to be a copy of Pheidias’ statue.[1140] Since Pausanias tells us that a statue by Pheidias stood in Olympia, representing an unknown boy binding a fillet around his head, and since the style of the _Farnese_ statue shows great similarity in head and body forms and general bearing to certain figures on the Parthenon frieze,[1141] and its motive agrees with that of the Olympia statue, it seems reasonable to see in this little work a copy of the statue in the Altis by the great master. Furtwaengler and Bulle have shown that the motive of this work was initiated by Pheidias and not by Polykleitos, since the latter’s great statue was several years younger than the work of Pheidias at Olympia. That Pheidias was pleased with the motive is disclosed by the fact that he repeated it on the throne of Zeus. [Illustration: PLATE 18 Statue of the _Diadoumenos_, from Delos, after Polykleitos. National Museum, Athens.] [Illustration: FIG. 28.—Statue of the _Diadoumenos_, from Vaison, after Polykleitos. British Museum, London.] The _Diadoumenos_ of Polykleitos was little less famous than his _Doryphoros_, if we may judge by the number of copies which have survived and from literary notices of it.[1142] In all the copies of this work we see the well-known Polykleitan characteristics—powerful build, heavy proportions, and fidelity to nature; but none of the ideal tendency prominent in the works of Pheidias and his school, nor of the violent energy characteristic of Myron’s art. In all of them the pose of the earlier _Doryphoros_ is retained, except that the arms are differently employed and the build of the body is more slender. Pliny, despite his statement—which is probably taken from some Greek authority—that monotony was the characteristic of Polykleitos’ works (_paene ad unum exemplum_),[1143] emphasizes this slenderness by calling the _Doryphoros_ _viriliter puer_—Lessing’s _Juengling wie ein Mann_—and the _Diadoumenos_ _molliter juvenis_—a youth of gentle form. This judgment of Pliny was difficult to understand so long as we had only the Vaison copy of the _Diadoumenos_ to study. The Delian copy showed that supple grace was characteristic of the original, even if modified to suit the taste of three centuries later. Although the body forms and the attitudes of the _Doryphoros_ and the _Diadoumenos_ are very similar, the head of the latter, usually assigned to Polykleitos, is of a different type from that of the _Doryphoros_. While the head of the _Doryphoros_ is square in profile, flat on top, and long from front to back, that of the _Diadoumenos_ is rounder and softer and can best be explained on the assumption that Polykleitos later in life came under Attic influence. The copies of this work are many