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Their statues were set up on the Acropolis, first a group by Antenor, then the group in question by Critios and Nesiotes after the first had been carried away by Xerxes. The heroes, as we learn from the copies in Naples, were represented as rushing forward, one with a naked sword flashing above his head, the other with a mantle for defence thrown over his left arm.
He will exhort you to imitate these ancients, and offer you antiquated models that lend themselves as little to imitation as old sculpture, say the clean-cut, sinewy, hard, firmly outlined productions of Hegesias, or the school of Critius and Nesiotes; and he will tell you that toil and vigilance, abstinence and perseverance, are indispensable, if you would accomplish your journey.
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."
All of these statues are evidence of the rapid progress which Greek sculpture was making in the fifth century against the demands of hieratic conventionality. The contemporary Athenian school boasted the names of Hegias, Critios, and Nesiotes.
Their works have all perished, but a copy of one of the most famous works of Critios and Nesiotes, the statue of the Tyrannicides, is to be found in the Museum of Naples. Harmodius and Aristogeiton killed, in 514 B.C., the tyrant-ruler of Athens, Hipparchus. In consequence of this Athens soon became a republic, and the names of the first rebels were held in great honor.
Critius and Nesiotes, two sculptors who worked habitually in partnership, were commissioned to make a second group, and this was set up in 477-6 on the same terrace where the first had been After the restoration of Antenor's statues toward the end of the fourth century the two groups stood side by side. The proof may be stated briefly, as follows.
Altogether we see here the stamp of an artistic manner very different from that of Critius and Nesiotes. Possibly, as some have conjectured, it is the manner of Calamis, an Attic sculptor of this period, whose eminence at any rate entitles him to a passing mention. But even the Attic origin of this statue is in dispute.
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