Apart from these surface differences in the structure of the head and face, it is in the resultant expression that we see the greatest divergence from the Skopaic type. This seems to me to be fundamentally different in the Sparta head. In the _Herakles_, as in all the other Tegea male heads, and even in those of the boar and the dogs, the really characteristic feature, which differentiates them from all other works of Greek sculpture, is the passionate intensity of their expression. The one unforgettable impression left on the spectator by them all is this expression of violent and unrestrained passion, which the sculptor has succeeded in imparting to the marble. This is what marks him as the master of passion and the originator of the dramatic tendencies carried to such lengths in the Hellenistic schools of sculpture; it is this which explains Kallistratos’ characterization of his works as being κάτοχα καὶ μεστὰ μανίας.[2141] The head from Sparta shows only a little of this intensity. Notwithstanding the similar upward gaze and slightly parted lips, the intention of the artist seems to have been to portray the hero in an attitude of expectancy, tempered by a look almost of calmness. The look is deeply earnest, but not violent; it is even melancholy. It is this last feature, the delicate and compelling melancholy of the face, which impressed me most on first viewing it. This is further enhanced by the full, soft modeling of the lower face, that gives to the whole a delicate, almost effeminate character, which strongly reminds us of Praxitelean heads. In fact, the shape of the lips and the modeling of the flesh on either side of the mouth, together with the soft, dimpled chin, have little in common with the massive strength and remarkable animation of the Tegea heads. As Dr. Caskey has intimated, if we had only the lower portion of the face for comparison, we should be inclined to ascribe it to the influence of Praxiteles. If we considered the upper part only, resemblances to Skopaic work seem well marked; but if we take into account the expression of the face as a whole, we see that it lacks the most essential of Skopaic features, the look of passionate intensity. Consequently we shall find it difficult to bring the head into such close relation to that artist; for here there is little analogy to the vigorous warrior types of the Tegea pediments. For its quieter mien it might be better to compare it with the head of Atalanta,[2142] though none of the gentle pathos or eagerness of the Sparta head is there visible. The _Atalanta_, though full of vigorous life, utterly lacks the unrestrained passion so characteristic of her brothers; her eyes are not so deeply set, nor so wide-open; they are narrower and longer, and are not over-hung at the outer corners by heavy masses of flesh.[2143] In speaking of the absence of these rolls of muscle, E. A. Gardner notes a curious peculiarity: “This is a clearly marked, though delicately rounded, roll of flesh between the brow and the upper eyelid, which is continued right round above the inner corner of the eye, to join the swelling at the side of the nose, which itself passes on into the cheek.”[2144] He detects this same peculiarity in certain other Skopaic heads, notably in the _Apollo_ from the Mausoleion and the _Demeter_ from Knidos, though it is quite lacking in the Tegea male heads. It all goes to show that Skopas was not strictly consistent in his treatment of the eye. The lower face of the _Atalanta_ is also longer and more oval than that of the male heads, and thus shows Attic rather than Peloponnesian influence. If it is difficult, then, to conceive of the _Atalanta_ and the male heads as the work of the same sculptor, the contrast, both in structure and expression, between these two heads of Herakles, the one from Tegea, the other from Sparta, makes it more difficult to assume the same authorship for both; for here we can not explain the difference as the contrast between the types of hero and heroine; here we are comparing two heads which are supposedly of the same hero.