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The work is alleged to be the only near-complete original work by Praxiteles, though the dating and attribution of the sculpture will continue to be studied.The work was to be included in the 2007 Praxiteles exhibition organized by the Louvre Museum in Paris, but pressure from Greece, which disputes the work's provenance and legal ownership, caused the French to exclude it from the show.This base was doubtless not the work of the great sculptor himself, but of one of his assistants.Nevertheless, it is pleasing and historically valuable. 9, I) thus describes the base, "on the base which supports the statues there are sculptured the Muses and Marsyas playing the flutes (auloi)." Three slabs which have survived represent Apollo; Marsyas; a slave, and six of the Muses, the slab which held the other three having disappeared.Pliny's date, 364 BC, is probably that of one of his most noted works.
Waldstein noted in 1882, remarking that Hermes looks past the child, "the clearest and most manifest outward sign of inward dreaming".
The Apollo Lykeios or Lycian Apollo, another Apollo-type reclining on a tree, is usually attributed to Praxiteles.
It shows the god resting on a support (a tree trunk or tripod), his right arm touching the top of his head, and his hair fixed in braids on the top of a head in a haircut typical of childhood.
Other assertions have been attempted by scholars to prove the origins of the statue on the basis of the unfinished back, the appearance of the drapery, and the technique used with the drilling of the hair; however scholars cannot conclusively use any of these arguments to their advantage because exceptions exist in both Roman and Greek sculpture.
Other works that appear to be copies of Praxiteles' sculpture express the same gracefulness in repose and indefinable charm as the 'Hermes and Infant Dionysus'.
Though the repetition of the same name in every other generation is common in Greece, there is no certain evidence for either position.