While the Akropolis ephebe, already discussed as showing Argive influence (Fig. 17), still shows but little break with the law of “frontality” formulated by J. Lange,[1290] whereby an “imaginary line passing through the skull, nose, backbone, and navel, dividing the body into two symmetrical halves, is invariably straight, never bending to either side,” the _Tyrannicides_ have broken it completely. The ephebe has his head slightly turned to one side, and, because of resemblances in head and body to the figure of Harmodios, has been assigned to Kritios or his school.[1291] Another statue at rest ascribed to the same school is the athlete in the Somzée collection, which reminds us of the Pelops of the East Gable at Olympia.[1292] We have record of one more statue by Kritios himself, which was represented in motion only less violent than that of the _Tyrannicides_. Pausanias saw on the Akropolis of Athens a statue by him of the hoplite runner Epicharinos, which represented the athlete in the attitude of one practicing starts, perhaps in the very pose of the Tuebingen statuette (Fig. 42).[1293] In the statues of the _Tyrannicides_, then, which might pass equally well for typical athletes of the time, we have examples of statues in motion at the end of the sixth century B. C.; for the same violent action must have characterized the earlier group of Antenor as the later one. We have seen that the Aeginetan sculptors not only made pediment groups in action at a date not later than that of the group by Kritios and Nesiotes, but single figures still earlier. Thus the sculptor Glaukias represented the Karystian boy boxer Glaukos in the act of sparring with an imaginary opponent.[1294] Though Glaukos won in Ol. 65 (= 520 B. C.), his statue was set up later by his son, perhaps as late as the end of the sixth century B. C., or the beginning of the fifth, as the _floruit_ of the sculptor would show.[1295] This is the oldest example attested by literary evidence of an athlete statue in motion at Olympia. Whether Glaukias got his motive from Antenor’s _Tyrannicides_, or whether his work was the older, we can not determine, but it is safe to say that this _genre_ of statuary must have existed at Olympia long before, as we know it did elsewhere. The Rampin head, already discussed as a fragment of a victor statue, shows by the turn of its neck that athlete statues represented in motion existed at least as far back as the first half of the sixth century B. C.[1296] ANTIQUITY OF MOTION STATUES IN GREECE.