though delicately rounded, roll of flesh between the brow and the upper eyelid, which is continued right round above the inner corner of the eye, to join the swelling at the side of the nose, which itself passes on into the cheek.”[2144] He detects this same peculiarity in certain other Skopaic heads, notably in the _Apollo_ from the Mausoleion and the _Demeter_ from Knidos, though it is quite lacking in the Tegea male heads. It all goes to show that Skopas was not strictly consistent in his treatment of the eye. The lower face of the _Atalanta_ is also longer and more oval than that of the male heads, and thus shows Attic rather than Peloponnesian influence. If it is difficult, then, to conceive of the _Atalanta_ and the male heads as the work of the same sculptor, the contrast, both in structure and expression, between these two heads of Herakles, the one from Tegea, the other from Sparta, makes it more difficult to assume the same authorship for both; for here we can not explain the difference as the contrast between the types of hero and heroine; here we are comparing two heads which are supposedly of the same hero. THE STYLES OF SKOPAS AND LYSIPPOS COMPARED. [Illustration: FIG. 74.—Attic Grave-Relief, found in the Bed of the Ilissos, Athens. National Museum, Athens.] [Illustration: FIG. 75.—Statue of the so-called _Meleager_. Vatican Museum, Rome.] In view, then, of the differences enumerated I should hesitate to assign a Skopaic origin to the head from Sparta. In the lower part of the face, with its small mouth and delicate chin, I see signs only of Praxitelean influence; in the upper part I am much more inclined to see affinities to the art-tendencies of Lysippos, as we now know them from the statue of Agias. In the present state of our knowledge it is not difficult to separate works of Praxitelean origin from those of Skopas; but it is a very different thing to distinguish those of Skopaic origin from those of Lysippos; here the line distinguishing the two masters is much finer and harder to draw. Before the discovery of the Tegea heads, the deep-set eye,[2145] prominent brow, and “breathing” mouth were looked upon as characteristic features of Lysippos, as they were known to us from representations of Alexander, especially on coins. We now know that these traits belonged to Skopas to a much greater extent. When the _Agias_ was found, and before its true authorship had been determined, Homolle, as we have seen, had at first classed it as showing the manner of Lysippos, only later to see more of Skopas than Lysippos in it. Such a conclusion was natural so long as we regarded the _Apoxyomenos_ as the key to Lysippan art. By assigning these traits definitely to Skopas, we were compelled to view the work of Lysippos as conventional and somewhat lifeless in comparison. But with the assumption that the statue of Agias represented true Lysippan characteristics, we were forced to recognize that the same traits