left leg of Harmodius. As may be learned from the small copies,
Aristogiton should be bearded, and the right arm of Harmodius
should be in the act of being raised to bring down a stroke of the
sword upon his antagonist. We have, then, to correct in
imagination the restorer's misdoings, and also to omit the tree-
trunk supports, which the bronze originals did not need. Further,
the two figures should probably be advancing in the same
direction, instead of in converging lines.

When these changes are made, the group cannot fail to command our
admiration. It would be a mistake to fix our attention exclusively
on the head of Harmodius. Seen in front view, the face, with its
low forehead and heavy chin, looks dull, if not ignoble. But the
bodies! In complete disregard of historic truth, the two men are
represented in a state of ideal nudity, like the Aeginetan
figures. The anatomy is carefully studied, the attitudes lifelike
and vigorous. Finally, the composition is fairly successful. This
is the earliest example preserved to us of a group of sculpture
other than a pediment-group. The interlocking of the figures is
not yet so close as it was destined to be in many a more advanced
piece of Greek statuary. But already the figures are not merely
juxtaposed; they share in a common action, and each is needed to
complete the other.

Of about the same date, it would seem, or not much later, must
have been a lost bronze statue, whose fame is attested by the
existence of several marble copies. The best of these was found in
1862, in the course of excavating the great theater on the
southern slope of the Athenian Acropolis (Fig. 103). The naming of
this figure is doubtful. It has been commonly taken for Apollo,