Another relief, now preserved at Ince Blundell Hall[168] (Fig. 53), sets before us a typical Greek citizen, seated in dignified fashion. From the artistic point of view it is interesting to see how completely, even in the archaic period, the sculptor has attained the art of displaying rather than concealing the bodily forms by means of the drapery. Whence this relief may have come we know not. But it is of Parian marble, and the comparison of other reliefs indicates for it an Ionian origin, perhaps on one of the islands of the Aegean. We miss the attributes which in the stelae of Sparta refer to the cultus of ancestors. It is, however, impossible to be sure that they were originally wanting. For it seems clear that on the right hand, which lies palm upwards, some attribute rested which was indicated in colour, perhaps a flat cup, while the raised left hand may have held a flower. [Illustration: FIG. 54. HEAD OF YOUTH HOLDING DISCUS.] The stelae of youths are in the early age more common than those of grown men. As we might expect, the portraits of young men, even from their tombs, are marked by an athletic tinge. In the wall of Themistocles, already mentioned, near the Dipylon gate of Athens, was found the head of a young man, who had probably been a winner in the pentathlon, a combination of five contests--hurling the spear, throwing the discus, leaping, running, and wrestling[169]. The victors in this complicated sport appear in their statues holding either spear or discus or the weights (άλτῆρες) used in leaping. In the present case it is the discus which has the preference (Fig. 54). Held up in the left hand, the discus forms a sort of background or frame to the remarkable head, with its long arched nose, its wide-open archaic eye, and the long mass of its hair falling down the neck. [Illustration: FIG. 55. DERMYS AND CITYLUS.] To this work, which is, for the time, of finished style and execution, a strong contrast is presented by an extraordinary monument of Boeotia (Fig. 55), from the tomb of two brothers, [Illustration: PLATE X _Page 144_ ] Dermys and Citylus[170]. The artist certainly meant rightly, and he has succeeded in conveying to future times the impression of the mutual affection of the pair, who stand with the arm of each thrown round the other’s neck, in a fashion peculiar to lovers and schoolboys. But unfortunately his ambition was beyond his skill, and the extraordinary rigidity and helplessness of the group are even more conspicuous than its good motive. It is hard to see whence the arms come and whither they go; and it is quite clear that unless the sculptor had added the name of each brother in the marble, their best friends would have been unable to discern which was which. The inscription further records the name of the person who erected the tomb: ‘Set up by Amphalces in memory of Dermys and Citylus.’