and the suppressed excitement indicated by the partly opened lips, an excitement befitting a victorious athlete. Perhaps it was the difficulty of such a pose that best explains why the _Apoxyomenos_ has left no other copy.[2038] The very excellence of the Vatican statue prejudiced us in favor of regarding it as an illustration of Lysippos’ ideal of bodily proportions. But we really knew very little of the original _Apoxyomenos_, only what we gathered from Pliny, that Lysippos made such a statue and that it was carried to Rome by M. Agrippa and was set up in front of his Thermæ, whence it was removed by the enamored Tiberius to his bed-chamber, only to be restored when the populace remonstrated. As for the proportions of the supposed copy in question, they only prove that this statue goes back to an original which was not earlier than Lysippos, but not that it was by the master himself.[2039] The discovery of the _Agias_ showed us at last on what slender foundations our theory had been built. Despite certain well-marked similarities in the pose, proportions, and relatively small head—characteristics which were not even exclusively Lysippan, since they are just as prominent in certain other works, _e. g._, in the warriors of the Mausoleion frieze—between the _Agias_ and the _Apoxyomenos_, nevertheless just as striking differences appear, which make it difficult to keep both statues as examples of the artistic tendency of one and the same artist, even if we should assign them to different periods of his career. THE AGIAS AND THE APOXYOMENOS COMPARED, AND THE STYLE OF LYSIPPOS.