An excellent instance of this tendency seems to be afforded by the so-called _Standing Diskobolos_ in the Sala della Biga of the Vatican (Pl. 6),[660] known since its discovery by Gavin Hamilton in 1792. It represents a youth who is apparently taking position for throwing the diskos, the weight of the body resting on the left leg, the knees slightly bent, the feet firmly planted, and the diskos held in the left hand, just prior to its being passed to the right. This position is one which immediately precedes that of Myron’s great statue. The bronze original dates from the second half of the fifth century B. C., and has been variously assigned to Myron by Brunn, to Alkamenes by Kekulé, followed by Overbeck, Michaelis and Furtwaengler,[661] and to Naukydes, the brother and pupil of Polykleitos.[662] The head of the Vatican statue shows no trace of Peloponnesian art, but rather resembles Attic types of the end of the fifth century B. C. However, as we shall see, this head does not appear to belong to the statue. Among the works of Alkamenes Pliny mentions a bronze pentathlete,[663] called the _Enkrinomenos_, and this work has been identified with the statue under discussion.[664] Such an assumption is tenable only if the statue fits Pliny’s epithet. This epithet appears to mean “undergoing a test,” and should refer not to the statue, for we know nothing of any principle of selecting statues, but to the athlete represented, the ἔγκρισις referring to the selection of athletes before the contest.[665] Pliny’s statue, then, presumably, represented a pentathlete, not in action as the Vatican statue does, but standing at rest before his judges. An all-round athlete like a pentathlete would especially fit such an ordeal, and his statue, albeit lighter and more graceful, would be an ideal one like the _Doryphoros_ of Polykleitos.[666] We know how Alkamenes treated Hermes from the bearded herma of that god found in Pergamon in 1903 and inscribed with his name.[667] Its massive features, broad forehead, and wide-opened eyes bear no analogy to the head on the Vatican statue, nor to the one with which Helbig would replace it. The ascription of the statue to Naukydes is better founded. As the head of the statue is Attic and not Argive, it is difficult to connect the work with a Peloponnesian artist. However, the present head of the statue can not be shown to belong to it, and no other replica has a head which can be proved to belong to the body. A fragmentary replica of the statue, of good workmanship, was found in Rome in 1910, and nearby a head, which must belong to the torso.[668] This head fits the Vatican statue better than the head now on it, and certainly comes from the Polykleitan circle—both head and body showing elements of Polykleitan style. This new head represents the transition from Polykleitan art to that of the next century, _i. e._, to the head-types of Skopas, Praxiteles, and other Attic masters. Presumably, then,