Around 335 BCE at Delphi, Daochos II, tetrarch of Thessaly, erected a monument to honor his ancestors and to pay homage to the god Apollo. The dedication consisted of eight freestanding statues representing several generations of family members arranged on a long marble pedestal, as well as the colossal statue of a seated Apollo. It was within this assembly that the striking figure of Agias stood. A Thessalonian prince who lived during the 5th century BCE, Agias was an accomplished boxer. Originally he would have worn a wreath on his head, signifying victory.

Somewhat distinct stylistically from the other statues of the Daochos monument at Delphi, Agias is the only figure of the nine to have been attributed to the sculptor Lysippos. This attribution is uncertain since the marble Agias of the Delphi group is thought to be a copy after a lost bronze original by Lysippos. Nevertheless, the work exhibits a number of traits characteristic of the artist, whose innovations in anatomical representation distinguished his work from other Greek sculptors of the same period. Exhibiting a high degree of verisimilitude, Lysippan figures are generally tall and slender with smaller heads. These proportions differ from the earlier Polykleitan canon of proportions, and tend toward a more accurate representation of the human form. This is reflected in the sculptor's minute attention to detail. The gentle indentations that delineate Agias's powerful calves, for example, are treated with as much care and precision as the gradual swell of his pectoral muscles or the earnest line of his jaw.

One is immediately struck by Agias's contrapposto stance, in which his right leg is supporting his weight. The strong S-curve of his torso creates a double shift in weight, an innovation introduced in the 4th century BCE. Upon closer inspection, the figure conveys a latent physical power that is intentionally held at bay. Perhaps the most arresting aspect of Agias is his convincing three-dimensionality. Historically, freestanding figures were intended to be viewed frontally. Unlike earlier figures, however, Agias maintains the same absolute visual integrity when examined from any angle.

The Amazonomachy frieze comes from the Doric temple of Apollo Epikourios at Bassai (Bassae) in Phigaleia. Dating to approximately 400 BCE, the temple was built mainly out of a dark grey local limestone covered in a stucco finish. The sculpted elements in the temple, such as the capitals on the columns and the interior frieze were carved from marble. The frieze was designed for the interior of the cella, which is attributed to the architect Iktinos, the architect of the Parthenon.

A few distinct characteristics make the temple at Bassai unique. The temple faces north and south instead of east and west, and the main room includes an interior alcove. The alcove is defined by the placement of a single Corinthian column on the central axis (which is the earliest known use of this particular column style). The inner room of the temple contains a row of engaged Ionic columns with marble capitals which support an extensive interior frieze.

Two mythological battles are illustrated in the frieze: a Centauromachy and an Amazonomachy. Our block is taken from a pitched battle in the Amazonomachy where neither Amazon nor Greek has yet gained the upper hand. The exact order in which these two themes were arranged remains the subject of debate. Although the frieze is carved in high-relief, it was placed at a considerable height and would not have been well lit, thus making it difficult to see. The execution of the frieze blocks is rough and the pieces are carved in thick curves and lines. While the subject of the Amazonomachy is uncertain, it is thought to depict an attack on Themiskyra by Herakles. Themiskyra was the Amazon capital on the coast of the Black Sea.