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Published online by Cambridge University Press: 23 December 2013
A Generous gift to the Ashmolean Museum, from Mr. E. P. Warren, has not only allowed the art-lovers of Oxford to enjoy an exquisite work of art, but has also enabled students of Greek sculpture to attain to a fuller knowledge of the style and technique of the great schools of the fifth century B.C. Our head appears to have been broken off a statue; unfortunately it is not complete. And as it had to be put together and bent into shape, any measurements will be of little value.
1 Compare Gardner, E. A., Handbook of Greek Sculpture, ed. 2, p. 25.Google Scholar
2 Collignon, Hist. de la Sculpt. gr., vol. ii. Frontispiece.
3 Corolla Numismatica, p. 109.
4 J.H.S. 1898, Pl. XI.
5 Furtwängler, , Masterpieces, p. 266.Google Scholar
6 Furtwängler, , Masterpieces, Pls. X. XI., p. 240.Google Scholar
7 Cat. Br. Mus. No. 2729; Revue Archéol. 1895, Pls. XI. XII.
8 Cat. of Glyptothek, No. 457; compare Hauser in Röm. Mittheil. x. 103.
9 Furtwängler, , Masterpieces, pp. 250–266.Google Scholar
10 Robert, in Hermes, 1900, p. 141.Google Scholar
11 It has even been suggested that the Farnese figure is a copy of an Anadumenus by Pheidias, set up at Olympia.
12 Critias, beginning. Quoted in my Principles of Greek Art, p. 20.