13.

APOLLO KASSEL

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13.1. THE APOLLO KASSEL TYPE

The Apollo Kassel type (Figs. 13.1-2) is known in at least twenty-three marble replicas of
the statue, torso or head, and two bronze figurines; it has also been identified on gems (see,
for instance, Fig. 13.3) and on coins. This is likely to mean that the Greek original was
well-known and of some importance. It was certainly popular in the Roman period.
The statue type represents a standing, naked young man, resting his weight on his left
leg, with the right leg relaxed and set forward half a step. The soles of both feet rest fully
on the ground. Both upper arms are held down by the body, with the right forearm
advanced a little and once holding an object in the hand, probably a laurel branch, or a
locust. The left forearm is more sharply bent at the elbow and extended forward holding
another object, almost certainly a bow with two arrows. The head, which is lowered and
turned in the direction of the supporting leg, has strong, severe features with large eyes, a
long straight nose, wide cheeks and a heavy, rounded chin. The lips are full but the mouth
is quite narrow. The ears are partly obscured by the long hair which is arranged in an
elaborate, distinctive style. Long wavy locks lie close to the crown of the skull, and radiate
downwards to a broad, flat fillet, or ribbon, which encircles the head just above the ears
and the forehead. The fillet is mostly obscured by a more volumetric, and complex,
arrangement of hair that lies over it. At the back two long plaits are drawn from behind
each ear in alternate directions, crossing above the nape of the neck where they are held by
a clasp or ribbon. The plaits are carried forward over each ear, beyond which they merge
into, or disappear under, the elaborate tress of hair over the forehead. This is parted in the
middle, and extends either side in a series of long curls, arranged in five layers, which
increase in width over the temples, and terminate in a severe edge in front of each ear.
From behind the ears on each side of the neck two (or occasionally three) long spiralling
curls hang down on to the shoulders at the front. Below the plaits at the back of the head,
on some replicas, wispy strands of hair extend further down the neck.
The pose combines elegant movement of the legs with a certain stiffness in the torso that
betrays lingering influence from later examples of the kouros-type. In the stance, which is
found in many statues of the early Classical period, the free leg (here the right) is set
forwards, both feet rest flat on the ground, and the left hip is raised slightly higher above
the supporting leg. This pelvic movement is mostly absorbed in the design of the torso, for
the shoulders remain almost level in frontal view, as do the pectorals. There may be a very
slight rise of the right shoulder compared with the left, but it is barely noticeable. The result
is a squareness of composition in the upper body that counteracts the incipient open right
side, and contracted left side, of the torso. By contrast the head is turned and lowered quite
markedly towards the supporting leg, following usual early Classical practice. The pose

417
418 LIFE AND WORKS OF PHEIDIAS

therefore lacks the full chiastic balance developed later by Polykleitos, and finds close
parallels in the Riace bronze statues, and in the Omphalos Apollo type. The head of the
Apollo Kassel is, however, relatively larger than on these statues, and this, together with
the muscular treatment of the anatomy, produces a stockier appearance which is more in

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keeping with Polykleitan taste.
The original statue is usually assigned to the early Classical period and dated around
480-460 BC, but it is sometimes lowered to around 450 BC on the basis of its style, most
recently by Boardman and by Simon. l l27 Other, more radical, interpretations have been
made, notably by Ridgway who doubts the 5th century Greek origin of the statue. I128 The
type is known from Greece in only a few replicas of Hadrianic date, a chronological
concentration which was remarked on also by Schmidt. One of the features which has been
considered eclectic, or classicistic, is the complicated hairstyle, with its combination of flat
locks, braided plaits and elaborate frontal curls. Similar arrangements, however, with
crossing braided plaits drawn forwards from the back of the head, and combined with
longer locks over the forehead, are known from the bronze Zeus of Artemision and the
Omphalos Apollo type, so that a creation of the kind found on the Apollo Kassel is not
inconceivable from the hands of a master sculptor. Raeder shares Ridgway's suspicions on
the hairstyle, and suggests that the spiral curls in paratactic arrangement are a classicizing
formula of Hadrianic/Antonine sculptors. I 129 But he still accepts the Apollo Kassel as a
copy of genuine Classical original, whereas Ridgway concludes that the Apollo Kassel type
might be a Roman creation or a Classical work with a Roman hairstyle. In the opinion of
the present writers the Apollo Kassel is likely to reproduce a lost bronze masterpiece of
around 470-460 BC, and its attribution to Pheidias seems to be a strong possibility.

13.2. ATTRIBUTIONS

The Roman replicas of the Apollo Kassel type and their chronology have been thoroughly
discussed by Schmidt but the attribution of the original to one Greek sculptor or another is
summarily dealt with. 1130 In agreement with most scholars, Schmidt settled for Pheidian
authorship, but there are some who would attribute the type to other early Classical
sculptors, notably Kalamis.U''! In the catalogue from the exhibition in Kassel in 1991,
Gercke chose to follow recent research and identify the Apollo as the Apollo 'Parnopios",

1127Boardman (1985a) fig. 68; Simon (1984) LIMe II, no. 41.

1128 Ridgway (1981) 184ff.

1129Raeder (1978) 265-66.

1130Schmidt (1966).

1131 Harrison (1996) 64-65.

 APOLLO KASSEL 419

reconstructing him with a bow and arrows in the left hand and a locust in the right. 1132 The
whole statue was reproduced in a cast which was painted like a new bronze work. The
struts between the legs and the support by the left leg created for the marble copies were
removed and the details were finished in accordance with information provided by the

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Riace bronzes. For instance, the lips were made in copper. The result is very successful in
providing an idea of the appearance of the original statue. Langlotz made the important
observation that on the coins, which probably depict the original of the Apollo Kassel type,
the statue is seen in profile. I133 This might indicate that the work was a dedication
("Weihbild"), which could be seen from all sides, rather than a temple image. The large
number of replicas of the type and its appearance on coins suggest that the original was an
important and popular work. The Apollo 'Parnopios' on the Athenian Akropolis is
mentioned in only one source, namely Pausanias, 1.24.8.1134 From Pausanias's phrasing it
seems that the work was unsigned. Pausanias records that the work was of bronze and that
it was called 'Parnopios', the Locust god, because the god was believed to have saved the
people from a plague of locusts. Thus the statue was an offering of thanks and it stood in a
very important place on the Akropolis, in front of the east side of the Parthenon.
There is one possible difficulty in identifying the Apollo Kassel statue type with the
Apollo 'Parnopios' by Pheidias. The statue must still have been in Athens and on the
Akropolis in the 2nd century AD, when Pausanias saw it there. But, as noted by Schmidt
and Simon, most of the replicas were found in an Italian context and were made in the early
Antonine period or under Hadrian. There was in fact much activity on the Acropolis under
Hadrian, as is clear from the copies made of the Erechtheion caryatids and the Athena
Parthenos. Other statues may well have been copied then or at an earlier date, and casts,
once transported to Italy, could have provided sufficient impetus for copyists.

13.3. CATALOGUE

1. APOLLO KASSEL (Figs. 13.1-2)

Kassel, Staatliche Kunstsammlung, Sk. 3. 'Kassel' Apollo. Statue. H. 2.00m. Marble. From
Domitian's villa at Sabaudia. AD 100-130.

The statue is well preserved, but the surface has been worked over. It was cleaned and
partly restored in 1973-1974. It was probably found in 1721 in the grounds of an Imperial
Roman villa on Lago di Sabaudia, between Nettuno and Terracina. According to
Winckelmann, it was found in a small temple. It then became part of the Conti collection in
Rome, where it was seen by Winckelmann in 1758. Purchased in 1766 or 1767 by Count

1132 Gercke (1991) 18 n. 2. Strocka (2004) s. v. Pheidias, section on Apollo Pamopios, 217, prefers
the restoration with the laurel branch in the right hand, considering that there is no evidence to
support the idea that Apollo held a locust.
1133 Langlotz (1947) 77-78.

1134 Tzetzes, Chilo VIII.317, also attributes an Apollo to Pheidias, but this is the so-called Anthelios
Apollo which was not by Pheidias.
420 LIFE AND WORKS OF PHEIDIAS

Friederich II, and exhibited from 1779 in the Museum Friedericianum. In 1807-15 it was
displayed in Paris (for the Musee Napoleon) in the Salle des Fleuves, together with the
Louvre replica.
This well preserved, over life-size statue of a standing nude male is the name-piece of

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the Apollo Kassel type. The figure is powerfully built, with broad shoulders, narrow waist
and hips. It stands with the weight on the left leg, while the right leg is relaxed and set
forward half a step. Both feet are flat on the ground. The head is lowered and turned
slightly to the left, as the gaze was once directed at the bow which was held in the left
hand. The left forearm is extended. The right arm is lowered, with the forearm held
forwards. The lightly clenched fingers would have held some appropriate object, such as a
laurel branch, crown or locust. Beside the outer left leg is a tree-trunk support added by the
copyist, decorated with quiver and strap. The powerful rendering of the anatomy, which is
particularly fine at the back, and the composition of the stance find close parallels in the
Riace bronze statues.
The head has severely beautiful features, with heavily lidded eyes, a long, straight nose,
a broad, slightly open mouth, and a strong, rounded chin. The hairstyle is very
characteristic of the statue type, and of the early Classical period when the original was
created. Shallow waves of hair radiate downwards from the crown of the head, lying close
to the skull. These are confined by a broad, flat headband that encircles the head just above
the ears. Over this two long plaits are gathered together at the back of the head. They are
drawn in opposite directions from behind each ear, crossing over above the nape of the
neck, where they are bound together by a ribbon or smooth clasp. As they pass forward
above each ear, they merge into, or are obscured by, an elaborate tress of curling hair over
the forehead. This is divided by a parting that comes just to the left of the mid-point over
the nose, and is arranged either side in five layers of curls that terminate in front of each
ear. From behind the ears two long, spiralling locks of hair descend to the shoulders.

BIBLIOGRAPHY
Bieber, M. (1915) I ff., no. 1.
Gercke, P. (1991) no. 1.
Neudecker, R. (1988) 215-217, no. 57.1.
Schmidt, E. M. (1966) 1Off., no. 1.

2. PARIS APOLLO OF KASSEL TYPE

Paris, Louvre, MA 884. Statue. H. 2.00m. Marble. Provenance unknown. Around AD 150.

Missing parts include the plinth, feet, both legs up to the knee, the tree-trunk support, the
neck, nose, and upper lip, parts of the locks below the ears. Earlier restorations which
characterized the statue as Mercury and Bonus Eventus have been removed. The surface is
weathered from external display. The statue is from the collection of Cardinal Richelieu.
Until the French revolution it was displayed outside, on the facade of Richelieu's palace,
and restored as Mercury, with wings in the hair. Later, it was restored as Bonus Eventus,
and in 1807-1815 it was exhibited together with the Kassel replica in the Salle des Fleuves
of the Musee Napoleon.
 APOLLO KASSEL 421

The statue depicts a standing, naked, male figure, in the type of the Apollo Kassel. The
composition, pose, treatment of anatomy, and head type conform closely to the statue in
Kassel, although the overall impression created is slenderer and more attenuated. The facial
features are likewise similar, but there is simplification of the tress of hair above the

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forehead, and a flatter, more linear finish to the detail of the locks.

BIBLIOGRAPHY
Gercke, P. (1991) no. 2.
Schmidt, E. M. (1966) 9, no. 2,14-16, pis. 12-13.

3. ATHENS TORSO OF APOLLO KASSEL TYPE

Athens, NM 1612. Torso. H. 0.88m. Marble. From Athens. AD 100-150.

The head and neck, both the arms and legs are missing. The surface of the torso is quite
well preserved and not restored or worked over. The torso was found in the 1880s, in the
region of the Hadrianic quarter of Athens, and it was later exhibited in the courtyard of the
National Museum. The torso is from a statue of Apollo Kassel type. The powerful
modelling of the nude torso and buttocks comes close to that of the Kassel statue, but is
even more emphatic in its detail. The ends of locks of hair remain on the shoulders either
side of the neck.

BIBLIOGRAPHY
Gercke, P. (1991) no. 3.
Schmidt, E. M. (1966) 9, no. 3,16-17, pIs. 14-15.

4. NAPLES TORSO OF THE APOLLO KASSEL TYPE

Naples, MN 153866. Torso. H. 0.89m. Marble. From S. Maria di Capua Vetere. AD 100-150.

The head and neck, both arms, and both legs, except for their upper parts, are missing. The
surface is damaged at the back. The torso was found in the area of S. Maria di Capua
Vetere. This torso of a naked man conforms to the pose of the Apollo Kassel. The
proportions are more elongated than on the Kassel statue, and the Athens, National
Museum torso. A puntello by the left iliac crest is for the attachment of the left forearm.

BIBLIOGRAPHY
Gercke, P. (1991) no. 4.
Schmidt, E. M. (1966) 9, no. 6, 19-20, pI. 53a-e.

5. MUSEO NUOVO CAPITOLlNO TORSO OF APOLLO KASSEL TYPE

Rome, Museo Nuovo Capitolino, 2030. Torso. H. 1.03m. Pentelic marble. Provenance unknown. AD
70-100.

Broken and missing are the neck and head, both arms from below shoulders, the right leg
from the upper thigh, the left leg from mid thigh. The modelling of the back is severely
422 LIFE AND WORKS OF PHEIDIAS

damaged. This torso of a naked, standing male conforms to the Apollo Kassel type. The
slimmer proportions come close to those of the Naples torso, but the soft surface treatment
recalls that of the Kassel statue and the torso in Athens, NM 1612. The ends of long locks
are seen on the shoulders.

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BIBLIOGRAPHY
Gercke, P. (1991) no. 5.
Schmidt, E. M. (1966) 9, no. 5,18-19, pis. 17-18.
Helbig, w. (1966) Vol. 11, no. 1788 (E. Simon).

6. CAPITOLINE APOLLO KASSEL WITH TIBER APOLLO HEAD

Rome, Museo Capitolino, 648. Torso. H. 1.58m. Marble. Provenance unknown. AD 100-150.

Restored parts include the left forearm below the elbow, the right arm from below the
shoulder, both hands and their attributes, both lower legs between knee and ankle, the tree
trunk and quiver support, the penis. Both feet are ancient, as is the plinth which has been
inserted into a modern base. The head, which is of Apollo Tiber type, is alien. The
sculpture comes from the Albani collection, where the statue was described, wrongly, as
"Tolomeo re egitto'. Since 1733 it has been in the Capitoline Museum. The statue of a
naked, standing male conforms to the Apollo Kassel type. Despite its many restorations,
the replica is important in confirming the stance of the feet and the pose of the left arm
found in the Kassel statue.

BIBLIOGRAPHY
Gercke, P. (1991) no. 6.
Helbig, W. (1966) Vol. 11, no. 1391.
Schmidt, E. M. (1966) 9, no. 4, 17-18, pI. 16.

7. DORIA PAMPHILI TORSO OF APOLLO KASSEL TYPE

Rome, Doria Pamphili, Matz-Duhn, no. 1105. Torso. H. 1.65m. Marble. Provenance unknown. AD
138-161.

Restored parts include the head and neck, the right arm from above the elbow, the left arm
and shoulder, both hands with attributes, the right leg below the knee with the foot, the left
foot, and the plinth. The left leg is ancient but a break through the thigh has been poorly
repaired. The provenance of the work is unknown. It is displayed in a niche in the garden
of the Villa Doria Pamphili. The torso of a naked, standing male is in the type of the Apollo
Kassel. It diverges in several minor points of detail from the Kassel statue, and the finish is
very hard. There is no sign of the end of locks on the shoulders. A palm-tree support has
been added behind the left leg by the copyist.

BIBLIOGRAPHY
Arndt, P. & Amelung, W. (1893-1947) no. 2332.
Calza, R. (1977) no. 25.
Matz, F. and Duhn, F. K. von (1881-1882) no. 1105.
Schmidt, E. M. (1966) 9, no. 7, 20, pI. 19a-b.
 APOLLO KASSEL 423

8. ATHENS HEAD OF APOLLO KASSEL TYPE

Athens, NM 47. Head. H. 0.32m. Marble. Found in Athens. AD 110-140.

The head is broken at mid-neck. Missing parts include most of the nose, the upper part of

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the forehead and the hair above. The head seems unfinished. At the back of the neck a large
marble block still remains uncut, and some details such as the interior of the mouth and the
ears are not fully worked out. The head was found in 1875 at Athens, east of the
Olympieion, not far from the torso of Apollo Kassel type, Athens, NM 1612. The two
fragments do not, however, belong to the same statue.
The head is of Apollo Kassel type, close in style to the heads of the statues in Kassel and
Paris. The oval face has severe features with thick eyelids, a broad mouth and large,
rounded chin. The hair lies close to the skull, falling in waves to the fuller brim of hair
made up of the crossed plaits at the back and the longer curling locks over the forehead.
Two long spiralling locks fall below the ears on either side of the neck, their details not
fully finished.

BlBLIOGRAPHY
Gercke, P. (1991) no. 9.
Schmidt, E. M. (1966) 9, no. 8,20-22, pis. 20-22.

9. COPENHAGEN 'BRUNN' HEAD OF APOLLO KASSEL TYPE

Copenhagen, NCG 439. 'Brunn' head. H. 0.278m. Marble. Provenance unknown. AD 130-150.

The head is broken at the top of the neck. There is damage to the nose, lips, right eyebrow
and chin. A large square dowel hole in the top of the head and the flattened area around it
may have been for an ancient addition. The surface has been worked over. It was acquired
from a Roman private collection in 1894.
The head is of an Apollo of Kassel type. The severe facial features and the elaborate
hairstyle are finely rendered and are particularly close in terms of detail to those of the head
in Rome, Museo Nuovo Capitolino, 2013. The eyes are open wider, with an unusual nick in
the upper lids, the lips are slightly parted with traces of the teeth indicated, and at the back
of the neck wisps of hair hang down below the crossed-over plaits. The two spiralling locks
hanging down behind each ear are flatter than in other replicas. The eyes have the iris
incised.

BlBLIOGRAPHY
Gercke, P. (1991) no. 12.
Schmidt, E. M. (1966) 9, no. 12, 26-27, pis. 32 and 33.

10. COPENHAGEN 'KEUDELL' HEAD OF APOLLO KASSEL TYPE

Copenhagen, NCG 1855. 'Keudell' head. H. 0.284m. Marble. Provenance unknown. AD 100-130.

The head is broken at the top of neck. The surface is rather damaged and worn. Previous
restorations have been removed and the surface has been worked over. It was previously in
424 LIFE AND WORKS OF PHEIDIAS

a private collection in Rome. Acquired for Copenhagen in 1902, via Munich, from the then
German Ambassador in Rome, Baron von Keudell.
The head is of Apollo Kassel type, with facial features and hairstyle like other replicas,
but the details lack volume and precision. Wisps of hair below the plaits at the back of the

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neck recall the 'Brunn' head, also in Copenhagen. The eyes have the iris incised.

BIBLIOGRAPHY
Gercke, P. (1991) no. 13.
Schmidt, E. M. (1966) 10, no. 13,27-28, pis. 34-35.

II. CLEMEN HEAD OF OF APOLLO KASSEL TYPE

Endorf, Clemen Collection. Head. H. 0.29m. Marble. Provenance unknown. AD 160-180.

The head is broken at mid-neck. The nose and lips, and part of the left shoulder lock have
been restored. The head is supposed to have come from the storerooms of the Villa
Ludovisi, whence it was acquired in 1922 for the collection of Prof. W. Clemen.
The head is of Apollo Kassel type. The proportions and the treatment of the face, and
the arrangement of the hair conform to the main type, but there are divergences in detail,
notably in the mass of long hair that falls below the braided plaits at the back of the neck.
The treatment of the plaits and the mass of hair above the forehead is also lacking in
volume. It is close stylistically to the head in Naples, MN 6393, no. 15 below.

BIBLIOGRAPHY
Gercke, P. (1991) no. 20.
Giuliano, A. (1986) No. II, 7.
Schmidt, E. M. (1966) 9, no. 9, 22, pis. 23 and 24.

12. FLORENCE HEAD OF APOLLO KASSEL TYPE

Florence, Palazzo Vecchio, Sala d'Este. Head. H. 0.38m. Marble. Provenance unknown. AD
130-150.

The head and neck are well preserved, but the surface has been worked over. The lower
neck was recut in modern times for insertion into an alien bust. The sculpture probably
comes from Rome, and it was once in the Medici Collection.
This is a fine example of the head type of the Apollo Kassel, close to the head on the
Kassel statue. The facial features are severe, with heavily lidded eyes beneath strong
brows, emphatic rounded jaw, and lightly opened mouth. The complex arrangement of hair
betrays its bronze origin, contrasting flat-lying waves over the crown with a deeper brim of
crossing plaits at the back, that comes forwards under the elaborate coiffure over the
forehead. Two curling locks which descended to the shoulders behind each ear, are now
mostly missing.

BIBLIOGRAPHY
Gercke, P. (1991) no. 15.
Schmidt, E. M. (1966) 9, no. 10,22-24, pis. 25-27, 48a, 49a.
 APOLLO KASSEL 425

13. KARLSRUHE HEAD OF APOLLO KASSEL TYPE

Karlsruhe, Badisches Landesmuseum, 59/40. Head. H. 0.305m. Marble. Provenance unknown.
Around AD 50.

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The head is broken just below the chin. There is some damage to the nose and hair, but the
surface is not restored or worked over. It was acquired for Karlsruhe in 1959 from a Roman
private collection.
The head is of Apollo Kassel type. It conforms in its main features to the other copies,
but its volumes are more compact and simplifications of details of the hair create a softer,
weaker impression. The spiralling locks that fall beneath the right ear are very heavy and
there seems to have been some recutting at the back of the neck.

BIBLIOGRAPHY
Gercke, P. (1991) no. II.
Schmidt, E. M. (1966) 9, no. 11,25-26, pIs. 29-31, 49c.

14. LIVERPOOL HEAD OF APOLLO KASSEL TYPE

Liverpool, Museum, 1959.148.179. Head. H. 0.29m. Marble. Found in Rome, via Appia. c. AD 150.

Restored parts include the nose, the upper lip and part of the chin; the lower neck and bust;
a few curls on the wavy hair above the temples; the tip of the locks on the right side of the
neck. The head was probably found at Rome, near the tomb of Caecilia Metella on the Via
Appia. Bought for Ince Blundell Hall from Jenkins, and acquired for the Liverpool
Museum in 1959.
This head of Apollo conforms to the Kassel type. The oval face has small eyes with
thick lids, and full cheeks; the mouth is slightly open, the lips are rather thin, and the chin
is large. The hair radiates down in shallow waves from the crown of the skull, and is
confined by a fillet. Below this there is a more volumetric treatment, with a mass of
centrally-parted curls framing the forehead, and two plaits of hair at the back, fastened
where they cross above the neck. Short, loose curls behind each ear are a divergent feature,
compared with the longer variety usually found on this type.

BIBLIOGRAPHY
Ashmole, B. (1929) no. 179.
Gercke, P. (1991) no. 19.
Schmidt, E. M. (1966) 25, pI. 28a-d.

15. NAPLES HEAD OF APOLLO KASSEL TYPE

Naples, MN 6393. Head. H. 0.3Im. Marble. Provenance unknown. Around AD 150-200.

The head has been reconstructed from three fragments and somewhat restored. The surface
has been worked over. It comes from the Farnese Collection. The head is of Apollo Kassel
type. The facial features and hairstyle conform to those of other replicas, but some details
are weakened and understated. The eyes are narrow, the mouth smaller and softer, and the
426 LIFE AND WORKS OF PHEIDIAS

locks of forehead hair more sharply defined. Wisps of hair descend below the plaits at the
back of the neck, but have not been finished with care.

BIBLIOGRAPHY

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Gercke, P. (1991) no. 17.
Schmidt, E. M. (1966) 10,no. 14,28-29, pIs. 36-37.

16. PARIS HEAD OF APOLLO KASSEL TYPE

Paris, Louvre, MA 692. Head. H. 0.275m. Marble. Possibly from Izmit. Around AD 150.

Restorations include the nose, left eyebrow, and part of the neck. The surface has been
worked over. The head was acquired from the art market in 1880. The report that 'it came
from Nicomedia (Izmit) via the Athenian art market' may be strongly doubted.
The head is of Apollo Kassel type. The face has been worked with care, but the hair is
only roughly finished, particularly the crown of the head, where no locks are represented in
detail. At the back of the head there is a smooth joining area with picked surface.

BIBLIOGRAPHY
Gercke, P. (1991) no. 18.
Schmidt, E. M. (1966) 10,no. 15,29, pI. 38a-c.

17. PRIVATE COLLECTION APOLLO KASSEL HEAD

Private collection. Christie's 8/12/93. Head. H. 0.335m. Marble. Provenance unknown. Ist or 2nd
centuryAD.

The tip of the nose has been restored. There is an irregular break at the mid-point of the
neck. The head was acquired in the art market in 1989 by an American collector. It was
resold at Christie's 8 Dec. 1993, lot 87, for £42,000 to a German private collector.
This head of a young man conforms to the Apollo Kassel type. The face has severe, full
features; the eyes are large, the cheeks broad, the nose straight and long, the mouth slightly
open, and the chin large and rounded. The hair lies in waves that radiate from the top of the
skull. They are confined by a taenia that runs around the head, below which the hair
continues in two, crossed-over plaits, and at the front in a mass of curls, parted in the
middle. Behind the ears two long, twisting curls hang down at each side.
At the back of the neck are remains of a block of uncut marble, similar to that found on
the head in Athens NM 47. Several other details on this head also find close comparison
with the Athens head, notably the rendering of the hair, particularly the locks that descend
below the ears. A major difference, however, is that whereas the Athens head is considered
unfinished with several details not fully worked out, including the marble block at the back
of the neck, this head seems fully finished in every respect, except for the block behind the
neck. Given these circumstances, the origin of this head requires further consideration.

BIBLIOGRAPHY
Gercke, P., ed. (1991) no. 23.
Sotheby's (1989) no. 101.
 APOLLO KASSEL 427

18. BARRACCO HEAD OF APOLLO KASSEL TYPE

Rome, Museo Barracco, 92. Head. H. 0.366m. Marble. From the Esquiline, Rome. AD 120-140.

The chin, mouth, left cheek, and part of the left eye have an been restored. The head was

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found at Rome on the Esquiline in 1879. The head is of Apollo Kassel type. The features
and the hairstyle conform to those of the Kassel statue, but the rendering of detail is rather
hard and angular, particularly in the plaited locks and in the mass of hair over the forehead.

BIBLIOGRAPHY
Gercke, P. (1991) no. 16.
Moreno,P. (1992) 41--43.
Schmidt,E. M. (1966) 10, no. 16,29-30, pis. 39--41, 49d.

19. CAPITOLINE FRAGMENTARY HEAD OF APOLLO KASSEL TYPE

Rome, Museo Capitolino, Magazine. Head. H. 0.28m. Marble. From Rome, Circo Agonale. Ist or
2nd century AD.

The front of the head, with the face and neck, is missing. The head was found in Rome, in
the Circo agonale, Piazza Navona. That this fragmentary head is of Apollo Kassel type is
apparent from the characteristic arrangement of the hair. There are remains of the long
waves of hair over the skull, the taenia with crossed-over plaits fastened at the back, and
the right ear with vestiges of curling locks behind it. For the treatment of details, compare
the head in Liverpool.

BIBLIOGRAPHY
Gercke, P. (1991) no. 21.
Schmidt, E. M. (1966) 10,no. 19, 33, fig. 8.

20. MUSEO NAZIONALE FACE OF APOLLO KASSEL TYPE

Rome, MN 4180. Head. H. 0.239m. Marble. From the Tiber, Rome. 2nd century AD.

Previous restorations have been removed. The surface has been worked over. This face
from a head of Apollo Kassel type is identifiable by the overall proportions and treatment,
by the lightly parted lips with row of teeth indicated, and by the tress of hair from above
the right side of the forehead.

BIBLIOGRAPHY
Gercke, P. (1991) no. 22.
Paribeni, E. (1953) no. 19.
Schmidt,E. M. (1966) 10, no. 18,32-33, pI. 45a-b.
428 LIFE AND WORKS OF PHEIDIAS

21. CONSERVATORI HEAD OF APOLLO KASSEL TYPE

Rome, Museo Nuovo Capitolino, 2013. Head. H. 0.277m. Marble. From Rome, Templum Pacis. AD
140-170.

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The head has been repaired from two main fragments. The top and back of the skull, and
the nose are missing. The head has been fitted on to a torso of Apollo Kassel type, which
does not belong. The head was found shortly after 1930 during excavations in the vicinity
of the Templum Pacis (Forum of Vespasian).
The head is of Apollo Kassel type. The details of hair and facial features are represented
with particular care, especially the corners of the eyes, the incised irises, and the lightly
parted lips with the line of the teeth within. The rendering of the hair is precise, and seems
intended to evoke the metallic character of the original.

BIBLIOGRAPHY
Gercke, P. (1991) no. 10.
Helbig, W. (1966) no. 1788.
Schmidt, E. M. (1966) 10, no. 17,30-32, pIs. 42-44, 49b.

22. VIENNA HEAD OF APOLLO KASSEL TYPE

Vienna, Univ. Arch. ColI., 412. Head. H. 0.262m. Marble. Perhaps from Athens. AD 130-150.

The neck is broken below the chin. The nose is missing. Previous restorations have been
removed. The surface has been cleaned and heavily worked over in modern times. The
head appeared in the Vienna art market in 1879, reportedly from Athens, and it was
acquired for the Vienna University Collection in 1887.
The head is of Apollo Kassel type. The facial features and hairstyle conform in general
to the head of the Kassel statue, but there are particularly close similarities in terms of
details with the head in Florence. There is the same broad rendering of the upper eyelids, a
smooth band confining the plaits at the back, and a smooth, undifferentiated area of hair
below the plaits. The forehead hair, and the locks behind the ears are also very close in
treatment.

BIBLIOGRAPHY
Gercke, P. (1991) no. 14.
Schmidt, E. M. (1966) 10, no. 20, 33-34, pIs. 46, 47a-b, 48b.

23. ATHENS STATUETTE OF APOLLO KASSEL TYPE

Athens, NM 305. Statuette. H. 0.30m; original H. c. 0.50m. Marble. Found at Epidauros. c. AD 150.

Preserved are the torso, most of the bent left arm, and the top of the right arm. The right
thigh is broken but has been reattached. The left leg, now missing, was repaired in
antiquity, as shown by four dowel holes in the break.
The statuette is of Apollo Kassel type, once c. 0.50m high, representing a quarter-size
version of the original statue. Despite the reduction in size, the details of pose, anatomy,
and shoulder locks conform closely to what is found on the Kassel replica. The naked torso
 APOLLO KASSEL 429

is held square to the front, and the right leg was relaxed and set forward. The right arm was
held straight down by the side, as a puntello on the outer right thigh indicates, while the left
forearm is extended. The ends of the two curls survive on the right shoulder. Neat, elegant
workmanship.

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BIBLIOGRAPHY
Gercke, P. (1991) 142-43, no. 24.
Schmidt, E. M. (1966) 10, no. 21, 34-35, pI. 50a-b, 51a-b.

24. BERLIN STATUETTE OF APOLLO KASSEL TYPE

Formerly Berlin. Statuette. H. 0.135m. Bronze. Provenance unknown. Ist or 2nd centuryAD.

The face has been worked over. The statuette was earlier in the art market in Paris,
according to Schmidt, then in the Archaeological Institute at the University of Berlin. It
disappeared after the Second World War. According to Gercke, the inventory notes are
"Gesicht uberarbeitet. H. 13,5 em. Geschenk Herr Bieber-Schonau. Erworben von
griechischem Kunsthandler."
The statuette is of a young man, naked and resting on his left leg with the right set
forward. His right arm is held along the body, the left is bent at the elbow and pointing
forward. The head is turned to the figure's left. The hair lies close to the skull. It is parted
at the front and rolled up in a thick mass, roughly depicted in wavy lines, around the head.
Two long curls hang down each side on to the shoulders.

BIBLIOGRAPHY
Gercke, P. (1991) no. 27.
Schmidt, E. M. (1966) 10, no. 23, 35-36, fig. 9.

25. CORFU STATUETTE OF APOLLO KASSEL TYPE

Corfu, Archaeological Museum, 152. Statuette. H. 0.385m Original H. c. 0.70m. Marble. Found in
Corfu.2nd centuryAD.

Preserved are the torso, lower neck, upper parts of both arms, left leg to knee, and upper
right thigh. The lower left arm was joined with a dowel. The statuette is of Apollo Kassel
type, about one-third the size of the original. The pose and treatment broadly follow those
of larger replicas, but the arms are held too close to the sides, and much surface detail is
lost. Puntelli to secure the lower arms survive on the left hip and the outer right thigh. Two
coiling locks hang stiffly either side of the neck. Not such neat or accurate work as the
statuette in Athens, NM 305.

BIBLIOGRAPHY
Gercke, P. (1991) no. 25.
Schmidt, E. M. (1966) 10,no. 22, 35, pis. 52a--d.
430 LIFE AND WORKS OF PHEIDIAS

26. KASSEL STATUETTE OF APOLLO KASSEL TYPE

Kassel, Staatl. Kunstsmmlg., Br. 742. Statuette. H. 0.082m. Bronze. Provenance unknown. Greco-
Roman.

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The left hand and both feet are missing. The details of the face are worn. The statuette was
acquired in the New York art market in 1990. This is a small statuette of Apollo Kassel
type. Although only about one-twentieth the size of the original, the pose, stance and
details of the head conform to the full-scale replicas. Divergent features are the frontal pose
of the head, the outward turn of the left forearm, the straighter position of the relaxed leg,
and the extended lengths of both arms.

BIBLIOGRAPHY
Gercke, P. (1991) no. 26.
Sotheby's New York (1990) no. 39.

27. BERLIN GEM WITH APOLLO KASSEL (Fig. 13.3)

Formerly in Berlin, Staatl. Museen, Antiquarium. Gem. H. 2.5cm (picture field). Carnelian.
Provenance unknown. Ist or 2nd century AD.

The gem is fitted in a large, ancient, gold finger ring. Formerly in Berlin, Staatliche
museen, Antiquarium, the gem disappeared after the Second World War.
The gem is adorned with an Apollo Kassel type seen in profile from the right. He stands
resting his weight on his left leg, the right relaxed and set forwards, and both feet flat on
the ground. The features of the face cannot be distinguished but the hairstyle is of the
characteristic arrangement, with long, waves lying close to the skull, confined by a
headband, and thicker tresses that are tied together at the back. Long locks seem to be
falling down on to the shoulders. There may be signs of a short cloak worn over the breast,
unless this is a fault in the gem. He holds a bow and two arrows forward in the left hand,
and a laurel branch and fillets in his right. Behind him is a shoulder-high column
surmounted by a vase.

BIBLIOGRAPHY
Gercke, P. (1991) no. 31.
Schmidt, E. M. (1966) 10, no. 27.
 APOLLO KASSEL 431

13.4. SOURCES AND BIBLIOGRAPHY

SOURCES
Pausanias,1.24.8.

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Tzetzes, Chi/. VIII.317.

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Sculpturen, no. 2332. Munich: Brockmann.
Ashmole, B. (1929) A Catalogue oj the Ancient Marbles at 1nce Blundell Hall, no. 179.
Oxford: Clarendon Press.
Becatti, G. (1951) Problemi Fidiaci, 145--47. Florence/Milan: Electa editrice.
Bieber, M. (1915) Die antiken Skulpturen und Bronzen in Kassel, 1ff., I. Marburg: Elwert,
Boardman, J. (1985a) Greek Sculpture. The Classical Period, 84, fig. 68. London: Thames
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Frel, J. (1974) A Hermes by Kalamis and Some other Sculptures. GMJI, 55-57.
Fuchs, W. (1993) Die Skulptur der Griechen, 79-80. 4th edition. Munich: Hirmer.
Gercke, P., ed. (1991) Apollon und Athena. Klassische Giitterstatuen in Abgiissen und
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Giuliano, A. (1986) Museo Nazionale Romano. Le sculture, I, 6.1 Marmi Ludovisi dispersi,
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Lambrinoudakis, W. (1984) Apollon. LIMC II, 219, no. 295.
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