example, the ratio of head to body size is one to seven. The figure's head turned slightly to the right, the heavily-muscled but athletic figure of the Doryphoros is depicted standing in the instant that he steps forward from a static pose. This posture reflects only the slightest incipient movement, and yet the limbs and torso are shown as fully responsive. The left hand originally held a long spear; the left shoulder (on which the spear originally rested) is depicted as tensed and therefore slightly raised, with the left arm bent and tensed to maintain the spear's position. The figure's pose is classical contrapposto, most obviously seen in the angled positioning of the pelvis. The figure's right leg is straightened, depicted as supporting the body's weight, with the right hip raised and the right torso contracted. The left leg bears no weight and the left hip drops, slightly extending the torso on the left side. The right arm hangs positioned by the figure's side, bearing no load. It is perhaps the earliest extant example of a free-hanging arm in a statue. In the surviving Roman marble copies, a large sculpted tree stump is added behind one leg of the statue in order to support the weight of the stone; this would not have been present in the original bronze (the tensile strength of the metal would have made this unnecessary). A small strut is also usually present to support the right hand and lower arm. Extant copies The sculpture was known through the Roman marble replica found in Herculaneum and conserved in the Naples National Archaeological Museum but, according to Francis Haskell and Nicholas Penny, early connoisseurs such as Johann Joachim Winckelmann passed it by in the royal Bourbon collection at Naples without notable comment. The marble sculpture and a bronze head that had been retrieved at Herculaneum were published in Le Antichità di Ercolano, (1767) but were not identified as representing Polykleitos' Doryphorus until 1863. For modern eyes, a fragmentary Doryphoros torso in basalt in the Medici collection at the Uffizi "conveys the effect of bronze, and is executed with unusual care", as Kenneth Clark noted, illustrating it in The Nude: A Study in Ideal Form: "It preserves some of the urgency and concentration of the original" lost in the full-size "blockish" marble copies. Perhaps the best known copy of the Doryphoros was excavated in Pompeii and now resides