In all this confusion of opinion as to the style of Pythagoras, and in the absence of any fixed criterion of judgment furnished by an original authenticated work, it seems hazardous to ascribe this or that sculpture to this little-known artist. The difficulty of separating Myron and Pythagoras is even greater than that which confronts us in trying to distinguish works of Lysippos and Skopas in the next century. We may some day recover a genuine Pythagorean athlete statue, though this is extremely improbable now that we have no more to expect from Olympia and Delphi, where most of his statues appear to have stood. But despite the difficulty, many identifications of his Olympia statues have been suggested, some of which we shall now mention. As Pausanias says that the victor Mnaseas was surnamed _Libys_, the Libyan, and that his statue was by Pythagoras, it may be that this is the statue mentioned by Pliny in the words: _[Pythagoras] fecit ... et Libyn, puerum tenentem tabellam eodem loco (= Olympiae) et mala ferentem nudum._[1333] However, in that case we can not connect the words _Libyn_ and _puerum_, since one represented a man and the other a boy.[1334] Consequently, Pliny is speaking of three different statues, and not two, by this artist. Reisch believes that the statues of the boy and the nude man were represented at rest,[1335] the boy bearing a tablet (_i. e._, an iconic πινάκιον) in his hand, like the Athenian youth appearing on a vase-painting in Munich.[1336] Another scholar, L. von Urlichs, formerly identified the boy carrying the tablet with the statue of Protolaos at Olympia,[1337] explaining the tablet as a means of characterizing the young learner. He changed his theory later,[1338] when, in consequence of the discovery of the Corinthian tablets, he called it a votive tablet. His son, H. L. von Urlichs, agreed with him because of a passage in the collection of _Proverbs_ by Zenobios, the sophist of Hadrian’s age,[1339] according to which the marble statue of _Nemesis_ at Rhamnous by Pheidias’ favorite pupil, the Parian sculptor Agorakritos,[1340] held an apple-branch in her left hand, from which a small tablet containing the artist’s name was suspended, and also because certain coins of Syracuse and Catania represent Nike as carrying a tablet hung by a ribbon, on which the coin-striker’s name was engraved.[1341] The same scholar further identified the nude man carrying the apples with the statue of Dromeus at Olympia. Since Pliny does not expressly say that the statue of the nude man was at Olympia, even though the sense of the passage inclines us to think it was, L. von Urlichs interprets the apples in the hand as an additional prize at Delphi, and so makes the statue that of a Pythian victor.[1342] All such identifications are based on too uncertain premises.