Payne's work on the Acropolis has given us a new picture of early Attic sculpture—a fresh and dewy garland, one of the finest flowers of which is his revelation of the personality of a supreme artist, the creator of the peplos Kore 679, the Rampin rider, the head 654 (Payne, Archaic Marble Sculpture from the Acropolis, pls. 11, 11a–c, 29–33, 133) and—πρὸς δὲ τόδε μέγα θαῦμα: the finest of all archaic Attic reliefs, the diskophoros Nat. Mus. 38. This last work is not included in Payne's list: and so, convinced though I am that the mere mention of this attribution is sufficient to establish it, I am bound to offer arguments in its support.Let us compare it with the work which stands chronologically closest to it, the head 654. We must keep in mind that, at that period, a relief was not simply a projection on the slab of the side view of the body, but a free composition of the side and front view. We must therefore compare all the aspects of the head 654 in turn with the diskophoros.
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