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We have but little left of the prominent early Aeginetan school of bronze sculptors. Of Kallon, the earliest historical sculptor of the school, the reputed pupil of Tektaios and Angelion (who in turn were the pupils of Dipoinos and Skyllis), we have only literary evidence. He was typical of archaic severity just prior to the era of transition, and therefore should be compared with Hegias of Athens and Kanachos of Sikyon. For Onatas, the most famous of the Aeginetan sculptors, whose floruit was in the first half of the fifth century B.C., we have evidence of many monuments at Olympia. Besides the colossal Herakles dedicated by the Thasians,947 a Hermes dedicated by the people of Pheneus,948 and a large group of nine statues of Greek heroes standing on a curved base faced by a statue of Nestor on another, the group being dedicated by the Achaians,949 he made a chariot and charioteer to commemorate the victory of Hiero of Syracuse at Olympia in 468 B.C., for which monument Kalamis furnished two horses.950 Glaukias made a bronze chariot for Hiero’s brother Gelo of Gela, who later became tyrant of Syracuse, and who won a chariot victory in Ol. 73 ( = 488 B.C.).951 This sculptor also excelled in fashioning statues of boxers and pancratiasts, making the monuments of the boxers Philon of Kerkyra and Glaukos of Karystos, and that of the renowned boxer and pancratiast Theagenes of Thasos.952 The statue of Glaukos was represented in the schema of one “sparring” (σκιαμαχῶν),953 and so was in movement and not at rest. We have athlete statues by three other Aeginetan sculptors at Olympia. Thus Ptolichos, the pupil of the Sikyonian Aristokles, set up statues of the Aeginetan boy wrestler Theognetos, who won in Ol. 76 ( = 476 B.C.), and of the boy boxer Epikradios of Mantinea, who won between Ols. (?) 72 and 74 ( = 492 and 484 B.C.);954 Serambos made the statue of the boy boxer Agiadas of Elis, who won between Ols. (?) 72 and 74;955 Philotimos made the horse for the horse-racing victory of Xenombrotos of Kos, who won in Ol. (?) 83 ( = 448 B.C.).956 All of these sculptors appear to have used bronze exclusively, and their art, though independent, showed a bias toward Peloponnesian work. There are few examples left of this art. The bronze head of a bearded warrior or hoplite victor found on the Akropolis, if we are justified in classing it as Aeginetan and not Attic, shows the excellence which we associate with this school.957 The delicate execution of its hair and beard, as well as the strength and precision of this head, makes it not unworthy of being ascribed to one of the best artists of the school, perhaps to Onatas himself. The beardless bronze head discovered in 1756 in the villa of the Pisos in Herculaneum, now in Naples, has also been assigned to Onatas, as its features are similar to those of the one under discussion.958 The Tux bronze statuette of a hoplitodrome, to be discussed in Ch. IV (Fig. 42), has also been assigned to an Aeginetan master.959 The marble statue known as the Strangford Apollo in the British Museum, already mentioned (Fig. ssss1),960 may show the characteristics of the early school in marble, though it is impossible to say whether it is a copy of a bronze original or a minor work in stone under Aeginetan influence. The smaller “Apollo” from Mount Ptoion, already discussed (Fig. ssss1, right),961 appears to show in exaggerated form the same Aeginetan traits. However, we get out best notion of Aeginetan work in marble from the gable statues in the Munich Museum, representing Homeric warriors fighting, which adorned the temple of Aphaia in the northeastern corner of the island. Their importance in this connection calls for a brief account of them.