Finally, the physical condition of the sculpture is remarkably decent-looking, considering it's age. Hermes is missing pieces of his body, such as his right arm after his bicep, the left index finger and thumb, and his penis. Hermes" big toe is chipped, and there are chips and scratches sporadically throughout his body that have been painted over. His left arm and hand seem to have been detached and reattached again as well. As for Dionysos, she is in very good condition except for her left hand, which is missing.
From an artist's perspective, many other components were considered while viewing this work of art. One of those components was composition. In relation to each other, Hermes is very large while Dionysos is significantly smaller. In relation to the air that surrounds them, the sculpture is well balanced, and is pleasant to the eye. Another component is line. The line in this sculpture is very painterly, except for the drapery, which is very linear. Throughout the body of Hermes a painterly line is very evident. For example, in his torso, the muscles can be seen but they are soft and almost created by shadow. In the drapery, the line is sharp and it is obvious where the folds are. On Dionysos" legs, contour folds are also evident and give the effect that his legs are underneath the drapery, although you cannot see them. .
Form is the third component. The body of Hermes has very subtle form because of how painterly the line is. Form is only direct in the drapery, which has a three-dimensional effect. As for figural style, Hermes" body is anatomically correct, proportionate and muscular. The only thing that does not seem proportionate is Hermes" body as opposed to Dionysos. The texture of this sculpture is smooth except for the few sporadic chips, and there is no color, only the use of shadow. .
The final component, movement, is very effectively done. Hermes is in a contraposition stance with one leg forward and bent at the knee, and the right hip is higher than the left.