Lysippos was a great reformer in art, breaking away from Argive and Polykleitan traditions, even though he called the _Doryphoros_ as well as Nature his master, and though the influence of Polykleitos is visible in the body of the _Agias_, just as that of Skopas in the treatment of its forehead, eyes, and mouth, and in the intensity of its expression. Evidently he was strongly affected by the work of his great predecessors and contemporaries, but developed at the same time new and independent tendencies. Thus the _Philandridas_ must have been—just as the lost statue of Troilos—an early work of the master, whereas the _Agias_ was the work of his mature genius. The difference between the two can thus be explained by the lapse of time between them, and by the influences that surrounded the youthful artist; but the similarities between them are, at the same time, striking, and there is little resemblance in either to the _Apoxyomenos_. This is another link in the chain of evidence that the latter work could not have been produced by the same artist; for artists do not radically change their style after many years of work, and Lysippos must have been at least fifty years old when he created the _Agias_. The identification of this marble head with that of the victor statue of the Akarnanian pancratiast by Lysippos raises two questions which we shall briefly examine: whether the statues in the Altis were ever made of marble, and whether Lysippos ever worked in that material. The first of these questions will be left for the following chapter; the second will be discussed in the present connection. LYSIPPOS AS A WORKER IN MARBLE, AND STATUE “DOUBLES.”