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Pausanias mentions the monuments of three victors at Olympia by Hagelaïdas: the statues of the pancratiast Timasitheos of Delphi, who won two victories some time between Ols. (?) 65 and 67 (520 and 512 B.C.);874 of the runner Anochos of Tarentum, who won in the stade- and double-race in Ols. 65 and (?) 66 ( = 520 and 516 B.C.);875 and the chariot-group of Kleosthenes of Epidamnos, who won in Ol. 66 ( = 516 B.C.).876

None of the works of Hagelaïdas at Olympia or elsewhere is known. Messenian coins of the fourth century B.C. show the motives of two of his statues, that of his Zeus Ithomatas just mentioned as being made for the Messenians,877 and the beardless Zeus παῖς at Aigion.878 However, we infer the characteristics of his style from the bronze statuette in Berlin which was found at Ligourió near Epidauros (Fig. ssss1).879 This is undoubtedly an Argive work contemporary with the later period of Hagelaïdas. Furtwaengler and Frost are right in looking upon it as showing the prototype of the canon of Polykleitos. Though too small to count as a characteristic work of the early Argive school, it shows us that the style of that school was a short and stocky type, similar to Aeginetan works, only somewhat fleshier and heavier. The straight mouth and heavy chin, the treatment of the eyelids, and the clumsy limbs are all archaic features to be expected in the period preceding Polykleitos. The modeling is carefully executed, showing a knowledge of anatomy. If such excellence is found in a statuette, we can form some idea of the perfection of a statue by the master.