side by side.

It was argued by a German archaeologist more than a generation ago
that the two marble statues shown in Fig. 101 are copied from one
of these bronze groups, and this identification has been all but
universally accepted. The proof may be stated briefly, as follows.
First several Athenian objects of various dates, from the fifth
century B.C. onward, bear a design to which the Naples statues
clearly correspond One of these is a relief on a marble throne
formerly in Athens. Our illustration of this (Fig. 102) is taken
from a "squeeze," or wet paper impression. This must then, have
been an important group in Athens. Secondly, the style of the
Naples statues points to a bronze original of the early fifth
century. Thirdly, the attitudes of the figures are suitable for
Harmodius and Aristogiton, and we do not know of any other group
of that period for which they are suitable. This proof, though not
quite as complete as we should like, is as good as we generally
get in these matters. The only question that remains in serious
doubt is whether our copies go back to the work of Antenor or to
that of Critius and Nesiotes. Opinions have been much divided on
this point but the prevailing tendency now is to connect them with
the later artists. That is the view here adopted

In studying the two statues it is important to recognize the work
of the modern "restorer." The figure of Aristogiton (the one on
your left as you face the group) having been found in a headless
condition, the restorer provided it with a head, which is antique,
to be sure, but which is outrageously out of keeping, being of the
style of a century later. The chief modern portions are the left
hand of Aristogiton and the arms, right leg, and lower part of the