the Youth, these eye sockets would have been left empty and after the casting process both eyes would be inserted. The iris and pupil would be made of stone or glass, the white parts of the eyes would be ivory, bone or glass. To hold the eye in place a reddish sheet of copper would have been cut to fit the eye socket and then be curled into lashes. In addition to the application of bone, copper, glass, ivory, the bronze would be painted pale and gleaming like flesh to its viewers of the ancient world. Attribution In the late 1980s antiquity scholars, and Getty Museum curator, Frel, used radiocarbon dating and stylistic analysis to attribute Lysippos as the creator of the Youth. Using Polykleitos's statues as a comparison, scholars seen a change in Polykleitan Kanon; the proportions become more subtle and richer in detail. There was a shift from the squareness in the face and innovative applications of elongation in the details of face and body. Lysippos was praised for his ability to evoke the soul from his statues through fleeting expressions. Establishing an exact artist for the work is challenging due to the lack of original Greek bronzes to use for comparison. Ancient literature gives testimony of the classical sculptors; however, the artist did not sign the statues. There is no physical evidence to support the conclusion that Lysippos was the sculptor, but Frel, Mattusch, and ancient literary source Pliny, theorizes that Lysippos or his student was the Youth's creator. In Pliny's Natural History, he includes information about Greek sculptors extracted from earlier texts that are lost to us. During the fourth century B.C., Lysippos produced a multitude of sculptures; he alone probably sculpted fifteen hundred statues. He came from a family of bronze workers who developed a new method of increasing production, and the statues of athletes were a specialty. Dating 4th/5th Century In 1974, Jerry Podany, Antiquities Conservator at the Getty Museum, and Marie Svoboda, a post-graduate intern in Antiquities Conservation at the Museum, conducted radiocarbon dating from a piece of wood that came from the statue's core, establishing the bronze as an ancient piece of work. Over one month, Stapp removed the core of the bronze to eliminate issues related to humidity. During the removal, thermoluminescence dating and carbon 14 methods of examination confirmed the dating of the Victorious Youth to pre-Roman time. The rectangular