,illustration3 ,,marble ,,head ,,from   
,,olympia4 ,,museum ,,at ,,olympia4     
,,olympic ,,victor ,,monuments          
,,and      ,,greek ,,athletic ,,art     
,,by      ,,walter ,,woodburn ,,hyde    
,illustration      ,,published ,,by     
,,the ,,carnegie ,,institution ,,of     
,,washington      ,,washington1 #aiba   
,,carnegie ,,institution ,,of           
,,washington    ,,publication ,,no4 #bfh
      ,,press ,,of ,,gibson ,,brothers1 
,,inc4    ,,washington1 ,d4 ,c4         
,,preface4      ,the purpose of the     
present work is to study what is known  
of one of  the most important genres of 
,greek sculpture--the monuments erected 
at ,olympia and elsewhere in the ,greek 
world in honor of victorious  athletes  
at the ,olympic games4 ,since only      
meagre remnants of these  monuments have
 survived1 the work is in the main      
concerned with the  attempt to          
reconstruct their various types and     
poses4    ,the source-material on which 
the attempt is based has been indicated 

fully in the text2 it is of two kinds1  
literary and archological4 ,to  the     
former belong the explanatory           
inscriptions on the bases of victor     
statues found at ,olympia and elsewhere1
 many of which agree verbally  with     
epigrams preserved in the ,greek        
,anthologies2 the incidental  statements
 of various kinds and value found in the
 classical writers  and their           
scholiasts2 and1 above all1 the detailed
 works of the two  imperial writers1 the
 elder ,pliny and ,pausanias4 ,pliny's  
account of  the ,greek artists1 which is
 inserted into his ,historia ,naturalis 
as a digression 7,books                 
,,xxxiv-,,xxxvi7--being artificially    
joined to the  history of mineralogy on 
the pretext of the materials used--is1  
despite  its uncritical and often       
untrustworthy character1 one of our     
chief  mines of information about ,greek
 sculptors and painters4 ,the portions  
of ,pausanias' ,description of ,greece  
which deal with ,elis and the  monuments

 of ,olympia 7,books ,v-,,vi71 although 
they also evince little  real           
understanding of art1 are of far more   
direct importance to our  subject1 since
 they include a descriptive catalogue1  
doubtless based  upon personal          
observation1 of the greater part of the 
athlete monuments  set up in the ,altis 
at ,olympia1 the reconstruction of which
 is the  chief purpose of the present   
work4    ,to the archological sources1  
on the other hand1 belong1 first and    
foremost1 the remnants of victor statues
 in stone and metal which have  long    
been garnered in modern museums or have 
come to light during the  excavation of 
the ,altis4 ,to this small number ,i    
hope ,i have added at  least one marble 
fragment found at ,olympia1 the head of 
a statue by  ,lysippos1 the last great  
sculptor of ,greece 7,frontispiece and  
,fig4  #fi74 ,to this second kind of    
sources belong also the statue bases    
just  mentioned1 on many of which the   
extant footmarks enable us to determine 

the poses of the statues themselves     
which once stood upon them4             
,furthermore1 an intimate knowledge of  
,greek athletic sculpture in all  its   
periods and phases is1 of course1       
essential in treating a problem  of this
 nature4 ,here1 as in the study of      
,greek sculpture in general1  where the 
destruction of original masterpieces1   
apart from the few  well-known but      
splendid exceptions1 has been complete1 
we are almost  entirely dependent upon  
second-hand evidence furnished by the   
numerous  existing antique copies and   
adaptations of lost originals executed  
in  marble and bronze by more or less   
skilled workmen for the ,roman market4  
,finally1 not only are the innumerable  
statuettes and small bronzes  surviving 
from antiquity of great value in any    
attempt to reconstruct  the pose of a   
given athlete statue1 but also the      
representations  of various athlete     
figures on every sort of sculptured and 
painted  work--vase-paintings1          

wall-paintings1 reliefs1 gems1 coins1   
etc4    ,by using all such sources of   
information1 it is possible to attain   
tolerable certainty in reconstructing   
the various types and poses of  these   
lost monuments1 and in identifying      
schools of athletic sculpture1  masters1
 and even individual statues4 ,but it   
must be stated at the  outset that such 
identifications1 from the very nature of
 the problem1  are at best tentative in 
character4 ,the attempt to see in ,roman
 copies  certain statues of athletes has
 often been made by archologists4       
,however probable such identifications  
may seem1 we must not forget the  simple
 fact that up to the present time not a 
single ,roman copy has  been            
conclusively proved to be that of an    
,olympic victor statue4  ,only as our   
knowledge of ,greek sculpture is        
gradually extended by  discoveries of   
additional works of art1 and by future  
researches1  will it be possible to     
attain an ever greater degree of        

probability4  ,the further              
identification of these important       
monuments1 as that of  masterpieces of  
,greek sculpture generally1 will thus   
remain one of  the chief problems for   
the future archologist4 ,in the present 
book1  where the body of material drawn 
upon is so immense and the scientific   
writings involved are so voluminous1    
manifestly the author can lay no  claim 
to an exhaustive treatment4 ,with due   
consciousness of the defects  and       
shortcomings of the work1 he can claim  
only to have made a small  selection of 
such works of art as will best          
illustrate the various  types of        
monuments under discussion4    ,the plan
 of the book is easily seen by a glance 
at the table of  contents4 ,after a     
preliminary chapter on the origin and   
development  of ,greek athletic games in
 general and on the custom of conferring
  athletic prizes on victors1 the more  
specific subject of the work is         
introduced in ,chapter ,,ii by brief    

discussions of the more general         
characteristics common to ,olympic      
victor statues--their size1 nudity1  and
 hair-fashion1 their portrait or        
non-portrait features1 and the  standard
 of beauty reached by some of them at   
least1 as shown by the  sthetic         
judgments of certain ancient writers and
 by the fragmentary  originals which    
have survived4 ,the enumeration of these
 characteristics  is followed by a brief
 account of the various canons of       
proportion  assumed to have been used   
and taught by different schools of      
sculptors4  ,the chapter ends with a    
more extended account of the            
little-known but  important subject of  
the assimilation of this class of       
monuments to  athlete types of gods and 
heroes4    ,in ,chapters ,,iii and ,,iv1
 which are the most important in        
developing the  problem of              
reconstruction1 a division has been made
 into two great  statuary groups3 those 
in which the victor was represented at  

rest1  where the particular contest was 
indicated1 if indicated at all1 by  very
 general motives or by particular       
athletic attributes2 and those  in which
 the victor was represented in movement1
 i4 e41 in the  characteristic pose of  
the contest in which he won his victory4
    ,chapter ,v relates chiefly to the  
monuments of hippodrome victors1 those  
in the various chariot-races and        
horse-races1 and ends with a very  brief
 notice of non-athlete victor           
dedications--those of musicians4        
,chapter ,,vi gives a stylistic analysis
 of what are conceived to be  two       
original marble heads from lost victor  
statues1 one of which is  ascribed to   
,lysippos1 the great bronze-founder and 
art-reformer of  the fourth century ,b4 
,c41 while the other is regarded as an  
early  ,hellenistic work of eclectic    
tendencies4 ,the publication of these   
marble heads and of the oldest-dated    
victor statue1 which is also of  marble 
and which is discussed in ,chapter      

,,vii1 reinforced by other  evidence    
adduced in the latter chapter1          
overthrows the belief that all  victor  
statues were uniformly made of bronze4  
,the publication of the  ,olympia head  
also controverts the usual assumption of
 archologists  that ,lysippos worked    
only in metal4 ,the last chapter is     
concerned with  a topographical study of
 the original positions in the ,altis of
 the  various athlete monuments         
discussed1 and with a list of all the   
victor  monuments known to have been    
erected outside ,olympia in various     
cities  of the ancient world4 ,these    
last three chapters are based on papers 
which have already appeared in the      
,american ,journal of ,archology        
7,chapters ,,vi1 ,,vii1 and the first   
half of ,,viii7 and in the ,transactions
  of the ,american ,philological        
,association 7the last half of ,chapter 
,,viii74 ,permission to use them in the 
present book has been kindly  granted to
 the author by ,dr4 ,james ,a4 ,paton1  

former editor-in-chief  of the ,american
 ,journal of ,archology1 and by         
,professor ,clarence ,p4  ,bill1 the    
secretary of the ,american ,philological
 ,association4    ,although it has been 
my aim throughout to present my own     
views in  regard to the various works of
 art under discussion1 ,i must1 of      
course1 acknowledge that the book is    
largely based upon the work and         
conclusions of preceding scholars who   
have treated various phases of  the same
 subject4 ,it would1 however1 be        
unnecessary and even impossible  here to
 acknowledge all the works laid directly
 or indirectly under  contribution in   
the composition of the book4 ,most of   
these have been  recorded in the        
footnotes4    ,but ,i wish here to      
express1 in a more general way1 my      
indebtedness  to the standard histories 
of ,greek sculpture1 by ,brunn1         
,collignon1  ,gardiner1 ,lechat1        
,murray1 ,overbeck1 ,richardson1 and    
others1 which must  form the foundation 

of the knowledge of any one who writes  
on any phase  of the subject4 ,among    
these1 two have been found especially   
valuable3  ,bulle's ,der schoene ,mensch
 im ,altertum1 which is justly noted for
  its comprehensive views and sound     
judgments2 and ,furtwaengler's ,die     
,meisterwerke der griechischen ,plastik1
 which1 although it has been  known to  
,english readers in its enlarged edition
 by ,miss ,eugnie  ,sellers for over a  
quarter of a century1 is still prized   
for its  extensive firsthand knowledge  
of the monuments and for its brilliant  
inductions1 even if the latter at times 
are carried too far4    ,perhaps my     
greatest debt has been to the excellent 
volume entitled  ,greek ,athletic       
,sports and ,festivals1 by ,e4 ,norman  
,gardiner1 ,m4 ,a41  a scholar whose    
practical knowledge of modern athletic  
sports and  wide familiarity with the   
ancient source material1 both literary  
and  monumental1 has well fitted him to 
deal afresh with the subject treated  so

 learnedly over three quarters of a     
century ago in ,krause's ,die           
,gymnastik und ,agonistik der ,hellenen4
 ,i have also constantly drawn  upon    
,gardiner's collection of vase-paintings
 which illustrate athletic  scenes4     
,i should also note here several other  
works which have been of great          
assistance in writing this book1 such as
 ,juethner's ,ueber antike              
,turngeraethe and edition of            
,philostratos' de ,arte gymnastica1     
,reisch's ,griechische ,weihgeschenke1  
,rouse's ,greek ,votive ,offerings1  and
 ,foerster's ,die ,sieger in den        
,olympischen ,spielen4 ,the             
chronological list of victors in the    
latter compilation was1 in large  part1 
the foundation of my earlier work de    
olympionicarum ,statuis4    ,i have also
 received most valuable help from the   
standard catalogues of  modern museums1 
e4 g41 those by ,amelung1 ,dickins1     
,helbig1 ,kabbadias1  ,lechat1 ,richter1
 de ,ridder1 ,stas1 ,svoronos1 and      

especially the  admirable ones of the   
classical collections in the ,british   
,museum4 ,i  regret that1 owing to the  
recent war1 some of the latest          
catalogues1  those especially of the    
smaller foreign museums1 have not been  
available4    ,for illustrative matter1 
,i have made no effort to reproduce     
merely  striking works of art1 but have1
 for the most part1 presented           
well-known works which readily          
illustrate the problems treated in the  
text4 ,i have availed myself of         
collections of photographs kindly placed
  at my disposal by ,professors ,herbert
 ,e4 ,everett of the ,school of ,fine   
,arts of the ,university of             
,pennsylvania1 ,d4 ,m4 ,robinson of the 
,johns  ,hopkins ,university1 ,a4 ,s4   
,cooley of the ,moravian ,college at    
,bethlehem1  ,pennsylvania1 and ,dr4    
,mary ,h4 ,swindler of ,bryn ,mawr      
,college4 ,the  various collections of  
plates and the books and journals from  
which ,i  have taken illustrations are  

duly noted in the ,list of              
,illustrations4    ,in addition1 ,i wish
 to thank the following corporations and
 individuals  for permission to         
reproduce plates and text-cuts from the 
works cited3  the ,council of the       
,society for the ,promotion of ,hellenic
 ,studies1  of ,london1 for the use of  
four plates appearing in the ,journal of
  ,hellenic ,studies 7,figs4 #dd1 #ed1  
#ee1 and #ei72 the ,trustees of the     
,british ,museum in ,london for seven   
plates from ,marbles and ,bronzes  in   
the ,british ,museum 7,pls4 #g;,a1 #ag1 
#ai2 ,figs4 #ad1 #bh1 #ca1 and #ce72    
,professor ,e4 ,a4 ,gardiner and his    
publishers1 ,duckworth and ,co41 of     
,london1 for two plates from ,six ,greek
 ,sculptors 7,pl4 #cj2 ,fig4 #ga72  ,mr4
 ,h4 ,r4 ,hall1 of the ,british ,museum1
 and his publisher1 ,philip ,lee        
,warner1 of ,london1 for one from       
,aegean ,archology 7,fig4 #a72          
,professor  ,allan ,marquand1 of        
,princeton ,university1 for one text-cut

 from the  ,american ,journal of        
,archology 7,fig4 #di71 and ,dr4 ,j4 ,m4
 ,paton1  former editor-in-chief1 for   
three other text-cuts from the same     
journal  7,figs4 #gj1 #gb1 #gi74    ,to 
the following ,i am also indebted for   
individual photographs3 ,dr4 ,j4  ,n4   
,svoronos1 ,director of the ,numismatic 
,museum1 ,athens1 ,greece1 for  one of  
the oldest-dated statues of an ,olympic 
victor 7,fig4 #gi71 which  has already  
appeared in the ,american ,journal of   
,archology2 ,dr4 ,a4  ,fairbanks1 of the
 ,museum of ,fine ,arts1 ,boston1 for   
those of the statue  of a ,charioteer   
787 and of the fragmentary head of the  
,oil-pourer 7,pl4  #bg2 ,fig4 #bc72 ,dr4
 ,edward ,robinson1 of the ,metropolitan
 ,museum of ,art1  ,new ,york1 for those
 of the fine ,kresilan and ,praxitelian 
heads 7,pls4  #ae1 #bj71 and of the     
bronze statuette of a diskobolos 7,fig4 
#df72 ,prof4  ,alice ,walton1 of        
,wellesley ,college1 for one of the     
,polykleitan athlete  7,pl4 #ac72 the   

,director of the ,fogg ,art ,museum of  
,cambridge1 ,mass41 for  that of the    
so-called ,meleager 7,fig4 #gg72 ,dr4   
,s4 ,b4 ,luce1 recently of  the ,museum 
of the ,university of ,pennsylvania1 for
 photographs of two  vase-paintings     
showing athletic scenes 7,figs4 #ej1    
#ef71 and ,dr4 ,eleanor  ,f4 ,rambo1    
formerly of the same ,museum1 for a copy
 of the ,knossos  wall-painting 7,pl4   
#a74    ,a word might be added as to the
 spelling of ,greek proper names4 ,since
  consistency in this matter seems      
unattainable1 ,i have adopted the       
method outlined in the ,british ,school 
,annual 7,,xv1 #aijh-ji1 p4 #djb71      
whereby the names of persons1 places1   
buildings1 festivals1 etc41 are         
transliterated from the ,greek forms1   
except those which have become a  part  
of the ,english language4 ,but even here
 ,i have sometimes deviated  from the   
practice of using familiar ,english     
forms4    ,in abbreviations of the names
 of journals 7see pages ,,xvi-,,xix7 ,i 

have  largely conformed with the usage  
long recommended by the ,american       
,journal of ,archology4    ,for         
convenience in identifying the many     
works of art1 discussed or  mentioned in
 the text and foot-notes1 ,i have       
constantly referred to  well-known      
collections of plates1 such as those of 
,brunn-,bruckmann1  ,bulle1 ,rayet1 and 
von ,mach4 ,for further convenience1 ,i 
have also in  most cases referred to the
 outline drawings of statues in         
,reinach's  ,rpertoire de la statuaire  
grecque et romaine1 and in some cases   
to the older ones found in ,clarac's    
,muse de sculpture antique et  moderne1 
and in ,mueller and ,wieseler's         
,denkmaeler der alten ,kunst4    ,in    
closing1 ,i have the pleasant duty of   
thanking generally the many  friends who
 have given me valuable suggestions and 
assistance1  especially ,professor ,lane
 ,cooper1 of ,cornell ,university1 for  
reading  the proof-sheets of the entire 
work1 and ,professor ,alfred ,emerson1  

now  of ,pittsburgh1 ,pennsylvania1 my  
former teacher1 for revising the list   
of ,corrigenda4      ,,walter ,,woodburn
 ,,hyde4      ,,university ,,of         
,,pennsylvania4    ,philadelphia1       
,october1 #aiba4          ,,contents4   
,,chapter ,i4                           
,,page      ,,early ,,greek ,,games     
,,and ,,prizes                          
#a-db      ,sports in ,crete            
#a      ,athletics in ,homer            
#g      ,origin of ,greek ,games in the 
,cult of the ,dead                      
#i      ,early ,history of the ,four    
,national ,games                        
#ad      ,early ,prizes for ,athletes   
#ah      ,dedication of ,athlete ,prizes
                                        
#ba      ,dedication of ,statues at     
,olympia and ,elsewhere                 
#bd      ,honors ,paid to ,victors by   
their ,native ,cities                   
#cb      ,votive ,character of ,victor  
,dedications                            
#cg      ,miscellaneous ,memorials to   

,victors                                
#dj      ,honorary ,statues             
#da        ,,chapter ,,ii4              
,,general ,,characteristics ,,of        
,,victor ,,statues ,,at ,,olympia       
#dc-ih      ,size of ,victor ,statues   
#de      ,nudity of ,victor ,statues    
#dg      ,the ,athletic ,hair-fashion   
#ej      ,iconic and ,aniconic ,statues 
#ed        ,portrait ,statues           
#ee        ,aniconic ,statues           
#eh      ,aesthetic ,judgments of       
,classical ,writers                     
#eh      ,greek ,originals of ,victor   
,statues                                
#fb      ,canons of ,proportion         
#fe      ,assimilation of ,olympic      
,victor ,statues to ,types of ,gods and 
,heroes  #ga        ,athlete ,statues   
,assimilated to ,types of ,hermes       
#ge        ,athlete ,statues            
,assimilated to ,types of ,apollo       
#hh        ,athlete ,statues            
,assimilated to ,types of ,herakles     
#ic        ,athletes ,represented as the

 ,dioskouroi                            
#if        ,,chapter ,,iii4             
,,victor ,,statues ,,represented ,,at   
,,rest                                  
#ii-agb      ,the ,apollo ,type         
#ajj      ,the ,affiliated ,schools of  
,argos and ,sikyon                      
#aji        ,the ,school of ,argos      
#aji        ,the ,school of ,sikyon     
#aah      ,aeginetan ,sculptors         
#abb      ,attic ,sculptors             
#abf      ,general ,motives of ,statues 
at ,rest                                
#acj        ,adoration and ,prayer      
#acj        ,anointing                  
#acc        ,oil-scraping               
#ace        ,libation-pouring           
#ach        ,resting after the ,contest 
#add      ,attributes of ,victor        
,statues                                
#adg      ,primary ,attributes of       
,victor ,statues                        
#adh        ,the ,victor ,fillet        
#adh        ,fillet-binders             
#aej        ,the ,crown of ,wild ,olive 

#aee        ,the ,palm-branch           
#afj      ,secondary ,attributes of     
,victor ,statues                        
#afa        ,hoplitodromoi              
#afa        ,pentathletes               
#afd        ,boxers                     
#afe        ,wrestlers                  
#afe        ,caps for ,boxers1          
,pancratiasts1 and ,wrestlers           
#afe        ,the ,swollen ,ear          
#afg        ,,chapter ,,iv4             
,,victor ,,statues ,,represented ,,in   
,,motion                                
#agc-bef      ,the ,tyrannicides        
#agc      ,antiquity of ,motion ,statues
 in ,greece                             
#agf      ,pythagoras and ,myron        
#agh      ,motion ,statues representing 
,victors in ,various ,contests          
#ahh        ,runners3 ,stadiodromoi1    
,diaulodromoi1 ,dolichodromoi           
#aij        ,the ,statue of the ,runner 
,ladas                                  
#aif        ,statues of ,boy ,runners   
#bjj        ,hoplitodromoi              

#bjc        ,pentathletes               
#baj        ,jumpers                    
#bad        ,diskoboloi                 
#bah        ,akontistai                 
#bbb        ,wrestlers                  
#bbh        ,boxers                     
#bcd        ,pancratiasts               
#bdf        ,,chapter ,v4               
,,monuments ,,of ,,hippodrome ,,and     
,,musical ,,victors                     
#beg-bhe      ,programme of ,hippodrome 
,events                                 
#bei      ,representations of the       
,chariot-race                           
#bfb      ,chariot-groups at ,olympia   
#bfd      ,remains of ,chariot-groups   
#bfi      ,the ,apobates ,chariot-race  
#bgb      ,statues of ,charioteers      
#bgd      ,dedications of ,victors in   
the ,horse-race at ,olympia and         
,elsewhere  #bgh      ,monuments        
,illustrating the ,horse-race           
#bhj      ,the ,apobates ,horse-race    
#bhb      ,dedications of ,musical      
,victors at ,olympia and ,elsewhere     

#bhc        ,,chapter ,,vi4      ,,two  
,,marble ,,heads ,,from ,,victor        
,,statues                               
#bhf-cbj      ,the ,group of ,daochos at
 ,delphi1 and ,lysippos                 
#bhf      ,the ,apoxyomenos of the      
,vatican1 and ,lysippos                 
#bhh      ,the ,agios and the           
,apoxyomenos compared1 and the ,style   
of ,lysippos                            
#bhi      ,the ,head from ,olympia      
#bic      ,the ,olympia ,head and that  
of the ,agias                           
#bid      ,identification of the        
,olympia ,head                          
#bih      ,the ,dates of ,philandridas  
and ,lysippos                           
#cjj      ,lysippos as a ,worker in     
,marble1 and ,statue 8,doubles0         
#cjb      ,the ,head of a ,statue of a  
,boy from ,sparta1 and the ,art      of 
,skopas                                 
#cjc      ,comparison of the ,tegea     
,heads and the ,head from ,sparta       
#cjh      ,the ,styles of ,skopas and   

,lysippos ,compared                     
#caa      ,the ,sparta ,head ,compared  
with that of the ,philandridas          
#caf      ,the ,sparta ,head an         
,eclectic ,work and an ,example of      
,assimilation    #cah        ,,chapter  
,,vii4      ,,the ,,materials ,,of      
,,olympic ,,victor ,,monuments1 ,,and   
,,the ,,oldest-,,dated      ,,victor    
,,statue                                
#cba-cch        ,the ,case for ,bronze  
#cba        ,the ,case for ,stone       
#cbc        ,the ,statue of ,arrhachion 
at ,phigalia                            
#cbf        ,egyptian ,influence on     
,early ,greek ,sculpture                
#cbh        ,early ,victor ,statues and 
the 8,apollo0 ,type                     
#ccd        ,,chapter ,,viii4           
,,positions ,,of ,,victor ,,statues ,,in
 ,,the ,,altis2 ,,olympic ,,victor      
,,monuments ,,erected   ,,outside       
,,olympia2 ,,statistics ,,of ,,olympic  
,,victor ,,statuaries                   
#cci-cge      ,statues ,mentioned by    

,pausanias                              
#cci        ,the ,first ,ephodos of     
,pausanias                              
#cda        ,the ,second ,ephodos of    
,pausanias                              
#cdh      ,summary of ,results          
#ceb      ,statues not ,mentioned by    
,pausanias1 but known from ,recovered   
,bases                                  
#cec      ,olympic ,victor ,monuments   
,erected ,outside ,olympia              
#cfa      ,summary of ,results          
#cgd      ,statistics of ,olympic       
,victor ,statuaries                     
#cge          ,,list ,,of               
,,illustrations4        ,,plates4       
,,facing                                
,,page      ,marble ,head1 from         
,olympia4 ,front view4 ,museum of       
,olympia4      ,after ,bildw4 v4 ,ol41  
,tafelbd41 ,pl4 ,,liv1 #c               
,frontispiece4       #a4 ,bull-grappling
 ,scene4 ,wall-painting1 from ,knossos4 
,museum          of ,candia4 ,after     
,photograph from copy in watercolor     

by ,gilliron in the ,museum of          
,liverpool                        #b    
#b4 ,marble ,statue of a ,girl ,runner4 
,vatican ,museum1 ,rome4 ,after         
,photograph by ,anderson                
#ej       #c4 ,bronze ,head of an       
,olympic ,victor4 ,glyptothek1 ,munich4 
,after          ,b4 ,b41 ,no4 #h        
#fb       #d4 ,statue of the            
,doryphoros1 from ,pompeii1 after       
,polykleitos4          ,museum of       
,naples4 ,after ,photograph by ,alinari 
#gj       #e4 ,statue of ,hermes1 from  
,andros4 ,national ,museum1 ,athens4    
,after ,photograph by ,rhomades         
#gb       #f4 ,statue of the ,standing  
,diskobolos1 after ,naukydes 7874       
,vatican ,museum1 ,rome4 ,after         
,photograph                        #gf  
#g ,a and ,b4 ,statues of so-called     
,apollos4 ,a4 ,the ,apollo              
,choiseul-,gouffier4 ,british ,museum1  
,london4 ,after ,marbles         and    
,bronzes in the ,british ,museum1 ,pl4  
,,iii ,b4         ,the                  

,apollo-on-the-,omphalos4 ,national     
,museum1 ,athens4         ,after        
,photograph by ,merlin                  
#ij       #h ,a and ,b4 ,statues of     
so-called ,apollos4 ,a4 ,the ,apollo    
of ,tenea4 ,glyptothek1 ,munich4 ,after 
,photograph by ,bruckmann4         ,b4  
,argive ,apollo1 from ,delphi4 ,museum  
of ,delphi4 ,after         ,fouilles de 
,delphes1 ,,iv1 #aijd1 ,pl4 ,i          
#ajb       #i4 ,statue of an ,athlete1  
by ,stephanos4 ,villa ,albani1 ,rome4   
,after ,photograph                      
#aad      #aj4 ,bronze statue of the    
,praying ,boy4 ,museum of ,berlin4      
,after          ,photograph             
#acb      #aa4 ,statue of so-called     
,oil-pourer4 ,glyptothek1 ,munich4      
,after          ,photograph by          
,bruckmann                              
#acd      #ab4 ,statue of an            
,apoxyomenos4 ,uffizi ,gallery1         
,florence4 ,after          ,b4 ,b41 ,no4
 #ebc                                   
#acf      #ac4 ,statue of an ,athlete1  

after ,polykleitos4 ,farnsworth ,museum1
          ,wellesley ,college1 ,u4 ,s4  
,a4 ,after ,photograph                  
#ach      #ad4 ,bronze ,statue known as 
the ,idolino4 ,museo ,archeologico1     
,florence4 ,after ,b4 ,b41 ,no4 #bgd    
#adb      #ae4 ,marble ,head of an      
,athlete1 after ,kresilas 7874          
,metropolitan          ,museum1 ,new    
,york4 ,after ,photograph               
#add      #af4 ,bronze ,statue of the   
,seated ,boxer4 ,museo delle ,terme1    
,rome4 ,after ,ant4 ,denkm41 ,i1        
f#a_/;f1 #ahhf1 ,pl4 ,,iv               
#adf      #ag4 ,statue known as the     
,farnese ,diadoumenos4 ,british ,museum1
          ,london4 ,after ,marbles and  
,bronzes in the ,british ,museum1       
,pl4 ,,vi                               
#aej      #ah4 ,statue of the           
,diadoumenos1 from ,delos4 ,after       
,polykleitos4          ,national        
,museum1 ,athens4 ,after ,photograph by 
,alinari         #aeb      #ai4 ,statue 
known as the ,westmacott ,athlete4      

,british ,museum1          ,london4     
,after ,marbles and ,bronzes in the     
,british ,museum1          ,pl4 ,,xxii  
#aef      #bj4 ,head of an ,athlete1    
,school of ,praxiteles4 ,metropolitan   
,museum1          ,new ,york4 ,after    
,photograph                             
#afh      #ba4 ,statue of ,diomedes with
 the ,palladion4 ,glyptothek1 ,munich4  
,after ,photograph                      
#agj      #bb4 ,statue of the           
,diskobolos1 from ,castel ,porziano1    
after          ,myron4 ,museo delle     
,terme1 ,rome4 ,after ,photograph by    
,anderson                               
#ahd      #bc4 ,statue of the           
,diskobolos1 after ,myron4 ,a bronzed   
,cast from          the ,statue in the  
,vatican and ,head from the ,statue in  
the          ,palazzo ,lancellotti1     
,rome4 ,after ,b4 ,b41 ,no4 #eff        
#ahf      #bd4 ,statue of a ,kneeling   
,youth1 from ,subiaco4 ,museo delle     
,terme1          ,rome4 ,after          
,photograph by ,anderson                

#aif      #be4 ,marble ,group of        
,pancratiasts4 ,uffizi ,gallery1        
,florence4          ,after ,photo1 by   
,alinari                                
#beb      #bf4 ,racing ,chariot and     
,horses4 ,from an archaic b4-f4 ,hydria4
          ,museum of ,berlin4 ,after    
,gerhard1 ,,iv1 ,pls4 ,,ccxlix-,,ccl    
#bfb      #bg4 ,statue of a ,charioteer 
7874 ,museum of ,fine ,arts1 ,boston4   
,after ,photo4 by ,coolidge             
#bgf      #bh4 ,statue of the           
,pancratiast ,agias1 from ,delphi4      
,museum          of ,delphi4 ,after     
,fouilles de ,delphes1 ,,iv1 ,pl4       
,,lxiii        #bhf      #bi4 ,statue of
 the ,apoxyomenos4 ,after ,lysippos or  
his ,school4          ,vatican ,museum1 
,rome4 ,after ,b4 ,b41 ,no4 #cha        
#bhh      #cj4 ,statue of ,herakles4    
,lansdowne ,house1 ,london4 ,after      
,gardner1          ,sculpt41 ,pl4 ,,lvi 
#bih            ,,plans4                
,,facing                                
,,page      ,a4 ,the ,altis at ,olympia 

in the ,greek ,period 7,third ,century  
,b4 ,c474 ,after ,doerpfeld1 in         
,ergebnisse von ,olympia1               
,karten und ,plaene1 ,no4 ,,iii         
#cgf      ,b4 ,the ,altis at ,olympia in
 the ,roman ,period 7,second ,century   
,a4 ,d474 ,after ,doerpfeld1 in         
,ergebnisse von ,olympia1               
,karten und ,plaene1 ,no4 ,,iv          
#cgf            ,,text-,,figures4       
,,page       #a4 ,so-called ,boxer      
,vase1 from ,hagia ,triada4 ,from a     
,cast          7with handle restored7 in
 the ,museum of ,candia4 ,after         
,h4 ,r4 ,hall1 ,aegean ,archology1 ,pl4 
,,xvi                         #f        
#b4 ,bronze ,statuette of a ,victor1    
from ,olympia4 ,museum of ,olympia4     
,after ,bronz4 v4 ,ol41 ,tafelbd41 ,pl4 
,,viii1 ,no4 #eg             #bh        
#c4 ,bronze ,head of an ,olympic        
,victor1 from ,beneventum4 ,louvre1     
,paris4 ,after ,photograph              
#fd       #d4 ,bronze ,head of an       
,olympic ,victor1 from ,herculaneum4    

,museum          of ,naples4 ,after ,b4 
,b41 ,no4 #cbc 7,right7                 
#fe       #e4 ,bronze ,portrait-statue  
of a ,hellenistic ,prince4 ,museo delle 
,terme1 ,rome4 ,after ,photograph by    
,alinari                      #gc       
#f4 ,bronze ,statuette of               
,hermes-,diskobolos1 found in the ,sea  
off ,antikythera4 ,national ,museum1    
,athens4 ,after ,photograph          by 
,rhomades                               
#gi       #g4 ,bronze ,statue of a      
,youth1 found in the ,sea off           
,antikythera4          ,national        
,museum1 ,athens4 ,after ,photograph by 
,rhomades        #hj       #h4 ,statue  
of the so-called ,jason                 
7,sandal-binder74 ,louvre1              
,paris4 ,after ,photograph by ,giraudon 
#hf       #i4 ,statue of so-called      
,apollo of ,thera4 ,national ,museum1   
,athens4 ,after ,photograph             
#aja      #aj4 ,statue of so-called     
,apollo of ,orchomenos4 ,national       
,museum1          ,athens4 ,after       

,photograph                             
#ajb      #aa4 ,statue of so-called     
,apollo1 from ,mount ,ptoion1 ,botia4   
,national ,museum1 ,athens4 ,after      
,photograph                    #ajb     
#ab4 ,statue of so-called ,apollo of    
,melos4 ,national ,museum1              
,athens4 ,after ,photograph             
#ajc      #ac4 ,statues of so-called    
,apollos1 from ,mount ,ptoion4 ,national
          ,museum1 ,athens4 ,after      
,photograph                             
#ajd      #ad4 ,statue known as the     
,strangford ,apollo4 ,british ,museum1  
,london4 ,after ,marbles and ,bronzes in
 the ,british ,museum1          ,pl4    
,,ii                                    
#aje      #ae4 ,bronze ,statuette of a  
,palstra ,victor1 from the ,akropolis4  
,akropolis ,museum1 ,athens4 ,after     
,photograph                   #ajh      
#af4 ,bronze ,statuette1 from ,ligouri4 
,museum of ,berlin4 ,after              
#ejstes ,berliner ,winckelmannsprogramm1
 #ahij1 ,pl4 ,i          7,center and   

,left7                                  
#aab      #ag4 ,statue of an ,ephebe1   
from the ,akropolis4 ,akropolis ,museum1
          ,athens4 ,after ,photograph   
#aae      #ah4 ,head of an ,ephebe1 from
 the ,akropolis4 ,akropolis ,museum1    
,athens4 ,after ,photograph by ,rhomades
                        #aaf      #ai4  
,bronze ,statuette of ,apollo1 found in 
the ,sea off ,piombino4                 
,louvre1 ,paris4 ,after ,photograph by  
,giraudon                  #aai         
#bj4 ,figure1 from the ,east ,pediment  
of the ,temple on ,aegina4              
,glypothek1 ,munich4 ,after ,photograph 
by ,bruckmann             #abd      #ba4
 ,two ,figures1 from the ,west ,pediment
 of the ,temple on ,aegina4             
,glyptothek1 ,munich4 ,after ,photograph
 by ,bruckmann            #abe      #bb4
 ,archaic ,marble ,head of a ,youth4    
,jacobsen ,collection1                  
,ny-,carlsberg ,museum1 ,copenhagen4    
,after ,arndt1          ,la ,glyplothque
 ,ny-,carlsberg1 #ahif1 ,pl4 ,i         

#abh      #bc4 ,head of so-called       
,oil-pourer4 ,museum of ,fine ,arts1    
,boston4          ,after ,photograph    
#acd      #bd4 ,bronze ,statuette of an 
,athlete4 ,louvre1 ,paris4 ,after       
,furtwaengler1 ,masterpieces1 ,pl4      
,,xiii                       #aci       
#be4 ,bronze ,head of an ,athlete1 from 
,herculaneum4 ,museum of ,naples4       
,after ,b4 ,b41 ,no4 #cci 7,left7       
#adj      #bf4 ,marble ,statue of an    
,athlete 7874 ,national ,museum1        
,athens4          ,after ,photograph    
#adc      #bg4 ,head from ,statue of the
 ,seated ,boxer 7,pl4 #af74 ,museo delle
          ,terme1 ,rome4 ,after         
,photograph by ,anderson                
#adf      #bh4 ,statue of the           
,diadoumenos1 from ,vaison1 after       
,polykleitos4          ,british ,museum1
 ,london4 ,after ,marbles and ,bronzes  
in the          ,british ,museum1 ,pl4  
,,iv                                    
#aec      #bi4 ,head of the             
,diadoumenos1 after ,polykleitos4       

,albertinum1          ,dresden4 ,after  
,furtwaengler1 ,masterpieces1 ,pl4 ,x   
#aed      #cj4 ,marble ,heads of two    
,hoplitodromoi1 from ,olympia4 ,museum  
of          ,olympia4 ,after ,bildw4 v4 
,ol41 ,tafelbd41 ,pl4 ,,vi1 #a-b        
and #i-aj                               
#afb      #ca4 ,head of ,herakles1 from 
,genzano4 ,british ,museum1 ,london4    
,after          ,marbles and ,bronzes in
 the ,british ,museum1 ,pl4 ,,xxi       
#agj      #cb4 ,statue of ,harmodios4   
,museum of ,naples4 ,after ,b4 ,b41 ,no4
 #cbg  #agd      #cc4 ,head of an       
,athlete1 from ,perinthos4 ,albertinum1 
,dresden4          ,after ,b4 ,b41 ,no4 
#edb 7,right7                           
#ahj      #cd4 ,statue of the           
,diskobolos1 after ,myron4 ,vatican     
,museum1          ,rome4 ,after         
,photograph                             
#ahe      #ce4 ,statue of the           
,diskobolos1 after ,myron4 ,british     
,museum1          ,london4 ,after       
,marbles and ,bronzes in the ,british   

,museum1          ,pl4 ,,xlvii          
#ahf      #cf4 ,a and ,b4 ,athletic     
,scenes from a ,bacchic ,amphora in     
,rome4          ,a4 ,stadiodromoi and   
,leaper4 ,b4 ,diskobolos and            
,akontistai4          ,after ,gerhard1  
,,iv1 ,pl4 ,,cclix                      
#aib      #cg4 ,athletic ,scenes from a 
,sixth-century ,b4 ,c4 ,panathenaic     
,amphora4 ,stadiodromoi 7,left7 and     
,dolichodromoi 7,right74          ,after
 ,mon4 d4 ,i41 ,i1 #ahbi-cc1 ,pl4       
,,xxii1 #f b1 #g b           #aic       
#ch4 ,statue of a ,runner4 ,palazzo dei 
,conservatori1 ,rome4 ,after            
,photograph by ,anderson                
#aih      #ci4 ,statue of a ,runner4    
,palazzo dei ,conservatori1 ,rome4      
,after          ,photograph by ,anderson
                                        
#aih      #dj4 ,statue of the so-called 
,thorn-puller 7the ,spinario74          
,palazzo dei ,conservatori1 ,rome4      
,after ,b4 ,b41 ,no4 #cba         #bjj  
#da4 ,hoplitodromes4 ,scenes from a     

r4-f4 ,kylix4 ,museum of ,berlin4       
,after ,gerhard1 ,,iv1 ,pl4 ,,cclxi     
#bje      #db4 ,bronze ,statuette of a  
,hoplitodrome 7874 ,university ,museum1 
,tuebingen4 ,after ,jb41 ,i1 #ahhf1 ,pl4
 ,,ix 7,right7              #bjf        
#dc4 ,statue of the so-called ,borghese 
,warrior4 ,louvre1 ,paris4              
,after ,photograph                      
#bjh      #dd4 ,pentathletes4 ,scene    
from a ,panathenaic ,amphora in the     
,british ,museum1 ,london4 ,after ,j4   
,h4 ,s41 ,,xxvii1 #aijg1          ,pl4  
,,xviii                                 
#baa      #de4 ,statue of a ,boy ,victor
 7the ,dresden ,boy74 ,albertinum1      
,dresden4 ,after ,furtwaengler1         
,masterpieces1 ,pl4 ,,xii         #bac  
#df4 ,bronze ,statuette of a            
,diskobolos4 ,metropolitan ,museum1     
,new ,york4 ,after ,photograph          
#bbj      #dg4 ,bust of the ,doryphoros1
 after ,polykleitos1 by ,apollonios4    
,museum of ,naples4 ,after ,photograph  
by ,alinari                #bbd         

#dh4 ,statue of the ,doryphoros1 after  
,polykleitos4 ,vatican          ,museum1
 ,rome4 ,after ,photograph by ,anderson 
#bbe      #di4 ,wrestling ,scenes4 ,from
 ,obverse of an ,amphora1 by ,andokides4
          ,museum of ,berlin4 ,after ,a4
 ,j4 ,a41 ,,xi1 #ahif1 ,p4 #aa1         
,fig4 #i                                
#bcj      #ej4 ,wrestling and ,boxing   
,scenes4 ,from a r4-f4 ,kylix4          
,university          of ,pennsylvania   
,museum1 ,philadelphia4 ,after          
,photograph       #bca      #ea4 ,bronze
 ,statues of ,wrestlers4 ,museum of     
,naples4 ,after ,b4 ,b41          ,no4  
#ced                                    
#bcb      #eb4 ,bronze ,arm of ,statue  
of a ,boxer1 found in the ,sea off      
,antikythera4 ,national ,museum1        
,athens4 ,after ,svoronos1          ,pl4
 ,v1 ,no4 #d                            
#bcg      #ec4 ,forearm with ,glove4    
,from the ,statue of the ,seated ,boxer 
7,pl4 #af74 ,museo delle ,terme1 ,rome4 
,after ,juethner1 ,fig4 #fb   #bch      

#ed4 ,boxing ,scenes4 ,from a r4-f4     
,kylix by ,douris4 ,british ,museum1    
,london4 ,after ,j4 ,h4 ,s41 ,,xxvi1    
#aijf1 ,pl4 ,,xii                #bdj   
#ee4 ,boxing and ,pankration ,scenes4   
,from a r4-f4 ,kylix4 ,british          
,museum1 ,london4 ,after ,j4 ,h4 ,s41   
,,xxvi1 ,pl4 ,,xiii             #bda    
#ef4 ,boxing ,scene4 ,from a b4-f4      
,panathenaic ,panel-amphora4            
,university of ,pennsylvania ,museum1   
,philadelphia4 ,after                   
,photograph                             
#bdb      #eg4 ,statue of a ,boxer1 from
 ,sorrento4 ,by ,koblanos of            
,aphrodisias4          ,museum of       
,naples4 ,after ,b4 ,b41 ,no4 #fad      
#bdb      #eh4 ,statue known as ,pollux4
 ,louvre1 ,paris4 ,after ,photograph    
by ,giraudon                            
#bde      #ei4 ,pankration ,scene4 ,from
 a ,panathenaic ,amphora by ,kittos4    
,british ,museum1 ,london4 ,after ,j4   
,h4 ,s41 ,,xxvi1 #aijf1          ,pl4   
,,iii                                   

#bdh      #fj4 ,bronze ,statuette of a  
,pancratiast 7871 from ,autun1 ,france4 
,louvre1 ,paris4 ,after ,bulle1 ,pl4 #if
 7,right7                   #bej        
#fa4 ,bronze ,head of a ,boxer7871 from 
,olympia4 ,a 7,profile72          ,b    
7,front74 ,national ,museum1 ,athens4   
,after ,bronz4 v4 ,ol41                 
,tafelbd41 ,pl4 ,,ii1 #b;a and #b       
#bed      #fb4 ,bronze ,foot of a       
,victor ,statue1 from ,olympia4 ,museum 
of ,olympia4 ,after ,bronz4 v4 ,ol41    
,tafelbd41 ,pl4 ,,iii1 #c      #bec     
#fc4 ,charioteer ,mounting a ,chariot4  
,bas-relief from the ,akropolis4        
,akropolis ,museum1 ,athens4 ,after     
,photograph                   #bgj      
#fd4 ,apobates and ,chariot4 ,relief    
from the ,north ,frieze of          the 
,parthenon1 ,athens4 ,after ,photograph 
#bgc      #fe4 ,charioteer4 ,relief from
 the small ,frieze of the ,mausoleion1  
,halikarnassos4 ,british ,museum1       
,london4 ,after ,photograph      #bgd   
#ff4 ,bronze ,statue of the ,delphi     

,charioteer4 ,museum of ,delphi4        
,after ,fouilles de ,delphes1 ,,iv1 ,pl4
 ,l                       #bgg      #fg4
 ,horse-racer4 ,from a ,sixth-century   
,b4 ,c4 b4-f4 ,panathenaic              
,vase4 ,british ,museum1 ,london4 ,after
 ,gerhard1 ,,iv1 ,pl4          ,,cclvii 
7,bottom74                              
#bhj      #fh4 ,head from the ,statue of
 ,agias 7,pl4 #bh74 ,museum of ,delphi4 
,after ,fouilles de ,delphes1 ,,iv1 ,pl4
 ,,lxiv                    #bhg         
#fi4 ,marble ,head1 from ,olympia4      
,three-quarters ,front ,view            
7,cf4 ,frontispiece74 ,museum of        
,olympia4 ,after ,bildw4         v4     
,ol41 ,tafelbd41 ,pl4 ,,liv1 #d         
#bic      #gj4 ,profile ,drawings of the
 ,heads of the ,agias and the           
,philandridas4 ,after ,a4 ,j4 ,a41 ,,xi1
 #aijg1 p4 #djc1          ,fig4 #f      
#bie      #ga4 ,head of the ,statue of  
,herakles 7,pl4 #cj74 ,lansdowne ,house1
          ,london4 ,after ,gardner1     
,sculpt41 ,pl4 ,,lvii                   

#bih      #gb4 ,marble ,head of a ,boy1 
found near the ,akropolis1 ,sparta4 ,in 
,private ,possession in ,philadelphia1  
,u4 ,s4 ,a4 ,after          ,photograph 
#cje      #gc4 ,so-called ,head of      
,herakles from ,tegea1 by ,skopas4      
,national          ,museum1 ,athens4    
,after ,b4 ,c4 ,h41 ,,xxv1 #aija1 ,pl4  
,,vii         #cjg      #gd4 ,attic     
,grave-relief1 found in the ,bed of the 
,ilissos1 ,athens4          ,national   
,museum1 ,athens4 ,after ,a4 ,conze1    
,attische          ,grabreliefs1 ,pl4   
,,ccxi                                  
#cab      #ge4 ,statue of the so-called 
,meleager4 ,vatican ,museum1 ,rome4     
,after ,photograph                      
#cac      #gf4 ,head of the so-called   
,meleager4 ,villa ,medici1 ,rome4 ,after
          ,ant4 ,denkm41 ,i1 ,pl4 ,,xi1 
#b;a                                    
#cad      #gg4 ,torso of the so-called  
,meleager4 ,fogg ,art ,museum1          
,cambridge1          ,mass4 ,after      
,photograph                             

#cae      #gh4 ,small ,marble ,torso of 
a ,boy ,victor1 from ,olympia4 ,museum  
of ,olympia4 ,after ,bildw4 v4 ,ol41    
,tafelbd41 ,pl4 ,,lvi1 #b      #cbe     
#gi4 ,stone ,statue of the ,olympic     
,victor1 ,arrhachion1 from              
,phigalia4 ,in the ,guards' ,house at   
,bassai 7,phigalia74 ,after             
,photograph                             
#cbg      #hj4 ,statues of ,ra-nefer and
 ,tepemankh1 from ,sakkarah4 ,museum    
of ,cairo4 ,after ,bulle1 ,pl4 #e       
#cca          ,,the ,,most ,,common     
,,abbreviations ,,used ,,in ,,the       
,,notes4        ,a4 ,a4                 
,archaeologischer ,anzeiger1 ,beiblatt  
zum ,jahrbuch1 #ahhi-4      ,afr4       
,s4 ,iulii ,africani  1 apud ,euseb41   
,chron41 ed4      ,a4 ,schoene1 ,i1 pp4 
#aid-bbj4 ,berlin1 #ahge4 ,see also     
,rutgers4      ,a4 ,g4      ,anthologia 
,graeca1 cur4 ,f4 ,jacobs1 ,i-,,iii4    
,leipsic1 #ahac-ahag4      ,a4 ,pl4     
,anthologia ,planudea1 in ,a4 ,g41 ,,ii1
 #ahad4      ,a4 ,j4 ,a4      ,american 

,journal of ,archology1 #ast series1    
#ahhe-ahif2 #b;d series1      #ahig-4   
,a4 ,m4      ,mitteilungen des          
kaiserlich deutschen archaeologischen   
,instituts1      ,athenische ,abteilung4
 ,athens1 #ahgf-4      ,amelung1        
,fuehrer      ,w4 ,amelung1 ,fuehrer    
durch die ,antiken in ,florenz4 ,munich1
 #ahig4      ,amelung1 ,vat4      ,w4   
,amelung1 ,die ,skulpturen des          
,vatikanischen ,museums1 ,textbd41      
,i-,,ii3 ,tafelbd41 ,i-,,ii4 ,berlin1   
#aijc1 #aijh4      ,annali      ,annali 
dell' ,instituto di ,corrispondenza     
archeologica4 ,rome1      #ahbi-ahhe4   
,ant4 ,denkm4      ,antike ,denkmaeler1 
herausgegeben vom kaiserlich deutschen  
archaeologischen ,institut4 ,berlin1    
#ahhf-4      ,arch4 ,eph4       4       
,athens1 #c;d ,per41 #ahhc-4 7,the title
 before #aiaj was       47              
,arndt-,amelung      ,photographische   
,einzelaufnahmen antiker ,skulpturen    
7with text74      ,munich1 #ahic-aijb4  
,cited in ,german publications as       

,einzelverkauf4      ,a4 ,z4            
,archaeologische ,zeitung4 ,berlin1     
#ahdc-ahhe4      ,baum4      ,a4        
,baumeister1 ,denkmaeler des klassischen
 ,altertums1 ,i-,,iii4 ,munich      and 
,leipsic1 #ahhi4      ,b4 ,b4           
,brunn-,bruckmann1 ,denkmaeler          
griechischer und roemischer ,skulptur4  
,munich1 #ahhh4 ,text from ,no4 #ejj    
7#ahig-7 by ,f4 ,arndt4 7,plates cited  
by      number74      ,b4 ,c4 ,h4       
,bulletin de ,correspondance hellnique4 
,paris1 #ahgg-4      ,bildw4 v4 ,ol4    
,olympia1 ,die ,ergebnisse1 ,text- und  
,tafelbd41 ,,iii1 ,die ,bildwerke       
von ,olympia in ,stein und ,thon4 ,by   
,g4 ,treu4 ,berlin1 #ahig4      ,b4 ,m4 
,bronz4      ,catalogue of the ,bronzes1
 ,greek1 ,roman1 and ,etruscan1 in the  
,british      ,museum4 ,by ,h4 ,b4      
,walters4 ,london1 #ahii4      ,b4 ,m4  
,sculpt4      ,catalogue of ,sculpture  
in the ,british ,museum1 ,i-,,iii4 ,by  
,a4 ,h4      ,smith4 ,london1           
#ahib-aijd4      ,b4 ,m4 ,vases         

,catalogue of the ,greek and ,etruscan  
,vases in the ,british ,museum4 ,i1     
#b1 ,,ii1 ,,iv1 by ,h4 ,b4 ,walters2    
,,iii1 by ,c4 ,h4 ,smith4 ,london1      
#ahic-aiab4      ,boeckh      ,a4       
,boeckh1 ,pindari ,opera1 ,,ii1         
,scholia4 ,leipsic1 #ahai4      ,bronz4 
v4 ,ol4      ,olympia1 ,die ,ergebnisse1
 ,text- und ,tafelbd41 ,,iv1 ,die       
,bronzen      und die uebrigen kleineren
 ,funde von ,olympia4 ,by ,a4           
,furtwaengler4      ,berlin1 #ahij4     
,brunn      ,h4 ,brunn1 ,geschichte der 
griechischen ,kuenstler1 ,i             
7,bildhauer74      ,brunswick1 #ahec4   
7,reprinted1 ,stuttgart1 #ahhi74        
,b4 ,s4 ,a4      ,annual of the ,british
 ,school at ,athens4 ,london1           
#ahid-ahie-4      ,bulle      ,h4       
,bulle1 ,der schoene ,mensch im         
,altertum4 ,second edition1 ,munich     
and ,leipsic1 #aiab4 7 ,vol4 ,i of ,g4  
,hirth's ,der ,stil47      ,b4 ,com4    
,rom4      ,bulletino della ,commissione
 ,archeologica ,comunale di ,roma4      

,rome1      #ahgb-4      ,bull4 d4      
,inst4      ,bulletino dell' ,instituto 
di ,corrispondenza archeologica4 ,rome1 
#ahbi-ahhe4      ,c4 ,i4 ,a4            
,corpus ,inscriptionum ,atticarum1      
,i-,,iv4 ,berlin1 #ahgc-ahig4 7,i1 ed4  
,a4      ,kirchhoff2 ,,ii1 ,pts4 #a-d1  
and ,,iv1 ,pts4 #a-b1 ed4 ,u4 ,koehler2 
,,iii1 ,pts4      #a-b1 ed4 ,w4         
,dittenberger74      ,c4 ,i4 ,g4        
,corpus ,inscriptionum ,graecarum1      
,i-,,iv4 ,berlin1 #ahbh-ahgg4 7,i-,,ii1 
ed4      ,a4 ,boeckh2 ,,iii1 ed4 ,j4    
,franz3 ,,iv1 ed4 ,e4 ,curtius and ,a4  
,kirchhoff47      ,clarac      ,f4 de   
,clarac1 ,muse de sculpture antique et  
moderne4 ,text1 ,i-,,vi3      ,plates1  
,i-,,vi4 ,paris1 #ahbf-ahec4 ,see also  
,reinach1 ,rp4      ,collignon      ,m4 
,collignon1 ,histoire de la sculpture   
grecque1 ,i-,,ii4 ,paris1 #ahib1        
#ahig4      ,c4 ,r4 ,acad4 ,inscr4      
,comptes-,rendus de l',acadmie des      
,inscriptions et ,belles-,lettres4      
,paris1 #aheg-4      ,dar4-,sagl4       

,c4 ,daremberg1 ,e4 ,saglio1 et ,e4     
,pottier1 ,dictionnaire des antiquits   
grecques et romaines4 ,paris1           
#ahgg-aiah4      ,dickins      ,g4      
,dickins1 ,catalogue of the ,akropolis  
,museum1 ,i 7,archaic      ,sculpture74 
,cambridge1 #aiab4      ,duetschke      
,h4 ,duetschke1 ,antike ,bildwerke in   
,oberitalien1 ,i-,,iv4 ,leipsic1        
#ahgd-ahhj4 7,works of art cited by     
number47      ,f4 ,h4 ,g4               
,fragmenta historiorum ,graecorum1 coll4
 ,c4 ,muellerus1 ,i-,,iv4 ,paris1       
#ahda-ahea4      ,foerster      ,h4     
,foerster1 ,die ,sieger in den          
,olympischen ,spielen4                  
,wissenschaftliche ,beilage zum         
,programm des ,gymnasiums zu ,zwickau1  
#ahia1 #ahib4 7,the numbers refer to    
victors in chronological order47        
,frazer      ,sir ,j4 ,g4 ,frazer1      
,pausanias's ,description of ,greece1   
,i-,,vi4 ,london1      #ahih4           
,froehner1 ,notice      ,w4 ,froehner1  
,notice de la sculpture ant4 du muse    

imprial du      ,louvre4 ,paris1 #ahfi4 
,furtw41 ,mp4      ,a4 ,furtwaengler1   
,masterpieces of ,greek ,sculpture4     
,translated and      enlarged from the  
following work1 by ,miss ,eugnie        
,sellers 7now ,mrs4      ,strong74      
,london1 #ahie4      ,furtw41 ,mw4      
,a4 ,furtwaengler1 ,meisterwerke der    
griechischen ,plastik4 ,leipsic and     
,berlin1 #ahic4      ,f4 ,w4      ,c4   
,friederichs1 ,bausteine zur ,geschichte
 d4 griech4-roem4 ,plastik1      #ahfh4 
,revised edition1 entitled ,die         
,gipsabguesse antiker ,bildwerke1       
by ,p4 ,wolters4 ,berlin1 #ahhe4        
,gardiner      ,e4 ,norman ,gardiner1   
,greek ,athletic ,sports and ,festivals4
 ,london1      #aiaj4      ,gardner1    
,hbk4      ,e4 ,a4 ,gardner1 ,a         
,handbook of ,greek ,sculpture4 ,second 
edition      revised4 ,london1 #aiae4   
,gardner1 ,sculpt4      ,e4 ,a4         
,gardner1 ,six ,greek ,sculptors4       
,london1 #aiaj4      ,gaz4 arch4        
,gazette archologique4 ,paris1 #ahge--4 

,gaz4 ,b4-,a4      ,gazette des         
,beaux-,arts4 ,paris1 ,pr4 ,i1          
#ahei-ahfh2 ,,ii1 #ahfi-ahhh2           
,,iii1 #ahhi--4      ,gerhard      ,e4  
,gerhard1 ,auserlesene ,vasenbilder1    
,vol4 ,,iv 7,alltagsleben74             
,berlin1 #ahdj4      ,helbig1 ,fuehrer  
,w4 ,helbig1 and others1 ,fuehrer durch 
die oeffentlichen ,sammlungen           
klassischer ,altertuemer in ,rom4 ,third
 edition1 ,i-,,ii4 ,leipsic1 #aiab1     
#aiac4      ,helbig1 ,guide      ,guide 
to the ,public ,collections of          
,classical ,antiquities in ,rome4       
,translation from the preceding work    
7#ast ed47 by ,j4 ,f4 and ,f4           
,muirhead1 ,i-,,ii4 ,leipsic1 #ahie1    
#ahif4      ,hitz4-,bluemn4      ,h4    
,hitzig et ,h4 ,bluemner1 ,pausaniae    
,graeciae ,descriptio4 ,i-,,iii         
7,each in #b ,parts74 ,leipsic1         
#ahif-aijg4      ,hyde      ,gualterus 7
 ,walter ,woodburn7 ,hyde1 de           
olympionicarum ,statuis a      ,pausania
 commemoratis4 ,halle1 #aijb2 enlarged1 

#aijc4 ,numbers cited      refer to     
victors in the order given by           
,pausanias4      ,i4 ,g4                
,inscriptiones ,graecae 7for contents   
and numbering of volumes1 see      ,a4  
,j4 ,a41 ,,ix1 #aije1 pp4 #if-ig74      
,i4 ,g4 ,a4      ,inscriptiones ,graecae
 antiquissimae praeter ,atticas in      
,attica      repertas4 ,ed4 ,h4 ,roehl4 
,berlin1 #ahhb4      ,i4 ,g4 ,b4        
,inschriften griechischer ,bildhauer4   
,ed4 ,e4 ,loewy4 ,leipsic1 #ahhe4       
,inschr4 v4 ,ol4      ,olympia1 ,die    
,ergebnisse1 ,textbd41 ,v1 ,die         
,inschriften von ,olympia4      ,by ,w4 
,dittenberger and ,k4 ,purgold4 ,berlin1
 #ahif4      ,jb4      ,jahrbuch des    
kaiserlich deutschen archaeologischen   
,instituts4      ,berlin1 #ahhf--4      
,jex-,blake      ,k4 ,jex-,blake and ,e4
 ,sellers1 ,the ,elder ,pliny's         
,chapters on      the ,history of ,art  
7chiefly ,bks4 ,,xxxiv-,,xxxvi of the   
,historia      ,naturalis1 cited as ,h4 
,n474 ,london and ,new ,york1 #ahif4    

,jh4 oest4 arch4 ,inst4                 
,jahreshefte des oesterreichischen      
archaeologischen ,institutes in         
,wien4 ,vienna1 #ahih--4      ,j4 ,h4   
,s4      ,journal of ,hellenic ,studies4
 ,london1 #ahhj--4      ,joubin      ,a4
 ,joubin1 ,la ,sculpture grecque entre  
les ,guerres ,mdiques et      l'poque de
 ,pricls4 ,paris1 #aija4      ,juethner 
,j4 ,juethner1 ,ueber antike            
,turngeraethe4 ,vienna1 #ahif4          
,juethner1 ,ph4      ,j4 ,juethner1     
,philostratos ueber ,gymnastik4 ,leipsic
 and ,berlin1 #aiji4      ,kabbadias    
,p4 ,kabbadias1    4 ,athens1           
#ahij-ahib4      ,klein      ,w4 ,klein1
 ,geschichte der griechischen ,kunst1   
,i-,,iii4 ,leipsic1      #aijd-aijg4    
,krause      ,j4 ,h4 ,krause1 ,die      
,gymnastik und ,agonistik der ,hellenen1
 ,i-,,ii4      ,leipsic1 #ahda4         
,lechat      ,h4 ,lechat1 ,la ,sculpture
 attique avant ,phidias4 ,paris1 #aijd4 
,lechat1 ,au ,muse      ,h4 ,lechat1 ,au
 ,muse de l',acropole d',athnes4 ,lyon1 

#aijc4      ,mach1 von      ,e4 von     
,mach1 ,a ,handbook of ,greek and ,roman
 ,sculpture1 ,i-,,ii 7,text      and    
,university ,prints74 ,boston1 #aiad4   
,m4 ,d4      ,f4 ,matz and ,f4 von      
,duhn1 ,antike ,bildwerke in ,rom41     
,i-,,iii4 ,leipsic1      #ahha-ahhb4    
,michaelis      ,a4 ,michaelis1 ,ancient
 ,marbles in ,great ,britain4           
,translated from the      ,german by ,c4
 ,a4 ,m4 ,fennell4 ,cambridge1 #ahhb4   
,mon4 d4 ,i4      ,monumenti inediti    
dell' ,instituto di ,corrispondenza     
archeologica4      ,rome1 #ahbi-ahhe4   
,mon4 ant4      ,monumenti antichi      
publicati per cura della ,reale         
,accademia dei      ,lincei4 ,rome1     
#ahhi--4      ,mon4 gr4      ,monuments 
grecs publis par l',association pour    
l',encouragement des      tudes grecques
 en ,france1 #ahgb--4 7,vol4 ,i1        
containing reprints of      articles    
from #ahgb1 appeared in #ahha74         
,mon4 ,piot4      ,monuments et ,mmoires
 publis par l',acadmie des ,inscriptions

 et      ,belles-,lettres4 ,fondation   
,eugne ,piot4 ,paris1 #ahid--4          
,murray      ,a4 ,s4 ,murray1 ,a        
,history of ,greek ,sculpture4 ,second  
edition1 ,i-,,ii4      ,london1 #ahij4  
,museum ,marbles      ,a ,description of
 the ,ancient ,marbles in the ,british  
,museum1 ,pts4      ,i-,,xi4 ,london1   
#ahab-ahfa4      ,m4 ,w4      ,k4 ,o4   
,mueller and ,f4 ,wieseler1 ,denkmaeler 
der alten ,kunst4      ,goettingen1     
#ahed-ahgg4      ,not4 ,scav4           
,notizie degli ,scavi di ,antichit      
comunicate alla ,reale ,accademia dei   
,lincei4 ,rome1 #ahgf--4      ,overbeck 
,j4 ,overbeck1 ,geschichte der griech4  
,plastik4 ,fourth edition1 ,i-,,ii4     
,leipsic1 #ahic-ahih4      ,oxy4 ,pap4  
,the ,oxyrhynchus ,papyri1 ed4 by ,b4   
,p4 ,grenfell and ,a4 ,s4 ,hunt1 ,,ii1  
pp4 #bb f4 ,london1 #ahii4      ,p4     
,pausaniae ,graeciae descriptio1 rec4   
,f4 ,spiro1 ,i-,,iii4 ,leipsic1 #aijc4  
,pauly-,wissowa      ,g4 ,wissowa and   
,w4 ,kroll1 ,pauly's ,real-encyclopaedie

 der classischen                        
,altertumswissenschaft4 ,stuttgart1     
#ahid--4      ,perrot-,chipiez      ,g4 
,perrot and ,ch4 ,chipiez1 ,histoire de 
l'art dans l'antiquit3 ,,vi     7,la    
,grce primitive72 ,,viii1 ,la ,grce     
archaque4 ,paris1 #ahid1 #aijc4         
,ph4      ,philostratos1 de ,arte       
gymnastica1 ed4 ,juethner1 #aiji 7see   
,juethner1      ,ph474      ,pliny1 ,h4 
,n4      ,see ,jex-,blake4      ,p4 l4  
,g4      ,poetae lyrici ,graeci1 rec4   
,th4 ,bergk4 ,fourth edition1 ,i-,,iii4 
,leipsic1 #ahgh-ahhb4 ,i1 ,pt4 #a  ed4  
#e1 rec4 ,o4 ,schroeder1 #aijj4         
,rayet      ,o4 ,rayet1 ed4 ,monuments  
de l',art antique1 ,i-,,ii4 ,paris1     
#ahhd4      ,reinach1 ,rp4      ,s4     
,reinach1 ,rpertoire de la statuaire    
grecque et romaine1 ,i1      second     
edition2 ,,ii1 ,pts4 #a1 #b1 second     
edition2 #aaa-;,,iv1 first edition4     
,paris #aijd-aiaj4 ,i  ,reprint of      
,clarac  ,clarac de poche4              
,reinach1 ,ttes      ,s4 ,reinach1      

,recueil de ttes antiques ideales et    
idealises4 ,paris1      #aijc4          
,reisch      ,e4 ,reisch1 ,griechische  
,weihgeschenke4 ,vienna1 #ahij4      ,r4
 ,arch4      ,revue ,archologique4      
,paris1 ,sr4 #a1 #ahdd-ahfj2 ,,ii1      
#ahfj-ahhb2 ,,iii1      #ahhc-aijb2     
,,iv1 #aijc--4      ,r4 t4 ,gr4         
,revue des tudes grecques4 ,paris1      
#ahhh--4      ,richardson      ,r4 ,b4  
,richardson1 ,a ,history of ,greek      
,sculpture4 ,new ,york1 #aiaa4          
,ridder1 de      ,a4 de ,ridder1        
,catalogue des bronzes trouves sur      
l'acropole      d',athenes4 ,paris1     
#ahif4      ,r4 ,m4      ,mitteilungen  
des kaiserlich deutschen                
archaeologischen ,instituts1            
,roemische ,abteilung4 ,rome1 #ahhf--4  
,robert1 ,o4 ,s4      ,c4 ,robert1 ,die 
,ordnung der ,olympischen ,spiele und   
die ,sieger der      #ge4-hc4           
,olympiade3 ,hermes1 ,,xxxv1 #aijj1 pp4 
#ada f4      ,roscher1 ,lex4      ,w4   
,h4 ,roscher1 ,lexikon der griechischen 

und roemischen ,mythologie4             
,leipsic1 #ahhd--4      ,rouse      ,w4 
,d4 ,rouse1 ,greek ,votive ,offerings4  
,cambridge1 #aijb4      ,rutgers        
,j4 ,r4 ,rutgers1 ,s4 ,julii ,africani  
4 ,leyden1 #ahfb4      ,scherer         
,chr4 ,scherer1 de olympionicarum       
,statuis1 ,diss4 inaug41 ,goettingen1   
#ahhe4      ,sitzb4 ,muen4 ,akad4       
,sitzungsberichte der                   
philosophisch-philologischen und der    
historischen ,klasse der koeniglich     
,bayerischen ,akademie der              
,wissenschaften zu ,muenchen4 ,munich1  
#ahga--4      ,specimens      ,specimens
 of ,ancient ,sculpture 444 ,selected   
from different      ,collections in     
,great ,britain by the ,society of      
,dilettanti1 ,i-,,iii4      ,london1    
#ahji-ahce4      ,springer-,michaelis   
,a4 ,springer and ,a4 ,michaelis1       
,handbuch der ,kunstgeschichte1 ,i4 ,das
      ,altertum4 ,ninth edition4        
,leipsic1 #aiaa4      ,s4 ,q4      ,die 
,antiken ,schriftquellen zur ,geschichte

 der bildenden ,kuenste bei      den    
,griechen1 ed4 ,j4 ,overbeck4 ,leipsic1 
#ahfh4      ,stas1 ,marbres et ,bronzes 
,v4 ,stas1 ,marbres et ,bronzes du ,muse
 ,national d',athnes4 ,second           
edition4 ,athens1 #aiaj4      ,svoronos 
,j4 ,n4 ,svoronos1 ,das ,athener        
,national ,museum4 ,text and ,plates1   
,i-,,iii4 ,athens1 #aijh-aiaa4    ,other
 abbreviations will be readily          
understood4          ,,corrigenda4      
,besides the following1 there are a few 
other corrections which are so  obvious 
that they scarcely need to be listed4   
,page #b1 note #a1 for ragmentary read  
fragmentary4      #aj1 line #b1 7and    
,index71 for ,archermoros read          
,archemoros4      #ad1 note #b1 after   
#bjb;f4 add ,dar4-,sagl41 ,,iv1 i1 pp4  
#aid f41 list      #cd local ,olympia4  
#ae1 line #f1 for ,dorian ,eleans read  
,dorian allies1 the ,eleans4      #bd1  
line #bg1 for #agc ,a4 ,d4 read #agc or 
#agd ,a4 ,d4 #bf1 line #bg1      for    
archaistic read archaic4      #ca1 lines

 #h-i1 for ,papyrus read ,papyri2 line  
#bj1 for ,aigira      read ,aigeira4    
#df1 note #a1 line #b1 add ,the         
,solonian cubit of #ddd mm4 gives #ag4ec
      inches1 the finger 4#gc inch1     
which makes ,diagoros' statue #f feet   
#a4ge      inches tall4      #eh1 note  
#b1 for statues of all read statues by  
all4      #fj1 note #a1 for ,vespes read
 ,vespae2 note #e1 for ,koponios read   
,coponius4      #gg1 line #ah1 for      
staute read statue2 note #c1 line #aa1  
for      ,encrinomenos read             
,encrinomenus4      #hb1 lines #ad-ae1  
for in and not outside read outside and 
not      inside4      #hc1 line #ae1 for
 ,svonoros read ,svoronos4      #hd1    
line #b 7and ,index1 s4 v4              
,ball-playing71 for  read      4        
#if1 note #a1 line #f1 for ,hermes read 
,herakles4      #aaj1 line #bj1 and note
 #a1 line #i 7and ,index71 for ,argeidas
 read      ,argeiadas4      #abh1 note  
#d1 for ,glyptothek read ,glyptothque4  
#aca1 line #ab 7and ,index1 s4 v4       

,praxiteles71 for  read      4          
#adi1 note #b1 for  read 4      #aec1   
line #c1 for arms read hands4      #aff1
 line #ag1 for ,stronganoff read        
,stroganoff4      #ahe1 lines #d and #h1
 and #ahf1 line #c1 for ,lancelotti read
      ,lancellotti4      #ahh1 note #h1 
line #c1 for ,perseus read ,akrisios4   
#ahi1 note #a1 for ,papyrus read        
,papyri2 for ,beilage read ,beilag4     
#aia1 line #ba1 for eponymous read      
eponymus4      #aif1 line #be1 and #aig1
 note #b1 for  read 4      #baj1 line   
#e1 for  read 4      #bce1 note #a1 line
 #b1 omit as4      #bec1 line #bg1 for  
#abjb read #abjd4      #bfe1 line #ad1  
for ,paunasias read ,pausanias4         
#bfh1 line #bf 7and ,index1 s4 v4       
,nikomachos and ,victoria71 for         
sublimine read sublime4      #bhh1 line 
#aj 7and ,index71 for ,tenerari read    
,tenerani4      #cba1 line #bi1 for     
inventors read so-called inventors4     
#cbg1 line #c1 for stautes read statues4
      #cda1 line #cc1 last word of line 

should be 4      #cdh1 line #bh1 for    
prothusis read prothysis4               
,,chapter ,i4    ,,early ,,greek ,,games
 ,,and ,,prizes4    ,,plate #a ,,and    
,,figures #a ,,and #b4      ,before     
attempting to trace historically the    
development of monuments  of victors in 
the gymnic and hippic contests at       
,olympia1 and before  attempting to     
reconstruct their different types1 it   
will be useful to  devote a preliminary 
chapter to the early history of ,greek  
athletics  and victor prizes in general4
    ,it is a truism that the origin of  
,greek athletics is not to be found in  
the recently discovered ,aegean         
civilization of ,crete1 nor in the      
latest  phase of the same culture on    
,mycenan sites of the mainland of       
,greece4  ,their origin is not to be    
sought in the indigenous ,mediterranean 
stock  which produced that culture1 but 
rather among the northern invaders of   
,greece1 the fair-haired ,achans of the 
,homeric poems1 and especially  among   

the later ,dorians in the ,peloponnesus4
 ,it was to the physical  vigor of these
 strangers rather than to the more      
artistic nature of the  ,mediterraneans 
that the later ,greeks owed their       
interest in sports4  ,as these invaders 
settled themselves most firmly in the   
,peloponnesus1  ,greek athletics may be 
said to be chiefly the product of ,south
 ,greece4  ,it was here that three of   
the four national festivals grew up--at 
,olympia1 ,nemea1 and on the ,corinthian
 ,isthmus4 ,it was in the schools of    
,argos and ,sikyon that athletic        
sculpture flourished best and in later  
,greek history physical exercise was    
most fully developed among the  ,dorian 
,spartans4#a      ,,sports ,,in ,,crete4
    ,centuries before the ,achan        
civilization of ,greece had bloomed1    
there  developed among the ,minoans of  
,crete a passion for certain acrobatic  
performances and for gymnastics4 ,these 
,cretans1 though strongly  influenced by
 ,egypt and the ,east1 did not borrow   

their love of sport  from outside any   
more than did the later ,achans4 ,on the
 walls of the  tombs of ,beni-,hasan on 
the ,nile are pictured many athletic    
sports1  including a series of several  
hundred wrestling groups1#b but these   
sports did not influence1 so far as we  
know1 ,cretan athletics4 ,at  ,knossos  
bull-grappling seems to have been the   
national sport1 as we  see from the     
frescoes on the palace walls4 ,in the   
absence of the  horse1 which did not    
appear in early ,aegean times in ,crete1
 it is  not difficult to understand the 
development of gymnastic sports with    
bulls4 ,at ,knossos a seal has been     
found which shows the rude drawing  of a
 vessel with rowers seated under a      
canopy1 superimposed on which  is drawn 
the greater portion of a huge horse4 ,in
 this design1 dating  from about #afjj  
,b4 ,c4 and synchronizing with the      
earlier part of  the eighteenth         
,egyptian dynasty1 we doubtless see a   
graphic way of  indicating the cargo1   

and consequently a contemporary record1 
it may  be1 of the first importation of 
horses from ,libya into ,crete4#c       
,the ,cretan bull seems to have been a  
much larger animal than the  species    
found upon the island to-day4#d         
,bull-grappling at ,knossos  was the    
sport of female as well as male         
toreadors4 ,a fragmentary  rectangular  
fresco1 dating from about #aejj ,b4 ,c4 
7,pl4 #a71 was  discovered there by ,sir
 ,arthur ,evans in #aija and is now in  
the ,candia  museum4 ,it is executed    
with extraordinary spirit and shows a   
huge bull  rushing forward with lowered 
head and tail straight out4 ,a man is in
  the act of turning a somersault on its
 back1 his legs in the air1 his  arms   
grasping the bull's body and his head   
raised1 looking back to the  rear of the
 animal1 where a cowgirl is standing1   
holding out her arms  to catch his      
flying figure as soon as his feat is    
concluded4 ,another  cowgirl1 at the    
extreme left1 seems to be suspended from

 the bull's  horns1 which pass under her
 armpits1 while she catches hold further
 up4  ,however1 she is not being tossed1
 but is taking position preliminary to  
leaping over the bull's back4 ,both the 
man and the women wear striped  boots   
and bracelets2 the women are apparently 
distinguished by their  white skin1     
short drawers1 yellow sashes embroidered
 with red1 and the  red-and-blue diadems
 around their brows4#e ,on the opposite 
wall a  similar scene was pictured2     
among its stucco fragments was found the
  representation of the arm and shoulder
 of a woman grasping a bull by  the     
horns4 ,the fragmentary representation  
of another woman and man was  also      
found4    ,illustration3 ,,plate #a     
,bull-grappling ,scene4 ,wall-painting  
from ,knossos4 ,museum of ,candia4    ,a
 very similar scene has long been known 
from a fresco painting from  ,tiryns1   
now in ,athens4#f ,a bull is represented
 galloping to the left1  while a man#g  
clings to its horns with his right hand 

and is swept  along with one foot       
lightly touching the bull's back and the
 other  swung aloft4 ,most early writers
 interpreted this scene as a bull-hunt1 
the artist having drawn the hunter above
 the bull through ignorance  of         
perspective4 ,the execution is very     
inferior1 three attempts of the         
bungling painter being visible in the   
painting of the tail and the  front     
legs4 ,others saw in it the             
representation of an acrobat showing    
his dexterity by leaping upon the back  
of an animal in full career1  recalling 
the description of such a trick in the  
,iliad1 where ,ajax is  represented as  
rushing over the plain like a man who1  
while driving  four horses1 leaps from  
horse to horse4#h ,but this figure must 
take  its place side by side with the   
one from ,knossos just described as     
another bull-grappling scene4 ,that such
 sports were not held in the  open air1 
but in an enclosed courtyard1 is shown  
by the seal from  ,praisos now in the   

,candia ,museum1 which depicts a man    
vaulting on  the back of a gigantic ox  
within a paved enclosure4#i ,doubtless  
the  theatral areas discovered at       
,phaistos by the ,italian ,archological 
,mission#aj and at ,knossos by ,sir     
,arthur ,evans in #aijcaa were not      
large enough for bull scenes and were   
used merely for ceremonial  dancing and 
perhaps for the boxing matches to be    
described4#ab ,similar  acrobats are    
doubtless to be recognized in the two   
beautiful ivory  statuettes1 only #aa4e 
inches in height1 of so-called leapers1 
found  by ,dr4 ,evans at ,knossos in    
#aija4ac ,these masterpieces of the late
  ,minoan ,,ii period represent acrobats
 7one is probably a woman7 darting      
through the air4 8,the life1 the        
freedom1 the lan of these figures is    
nothing short of marvellous10 writes    
,dr4 ,evans1 who calls attention to  the
 careful physical training shown in     
their slender legs and in the  muscles1 
even the veins on the back of the hands 

and the finger-nails  being plainly     
indicated as well as the details of the 
skinfolds at the  joints4 ,they         
doubtless formed a part of an ivory     
model of the bull-ring  and are meant   
for miniature toreadors1 who were hung  
in the air by  fine gold wires#ad over  
the backs of ivory bulls who stood on   
the  solid ground4 ,the heads of the    
figures are thrown backwards1 a posture 
suitable for such vaulters1 but not for 
leapers or divers4 ,minoan art          
culminated in these statuettes and in   
certain stucco figures in half  relief  
found also at ,knossos4 ,only a few     
fragments of these reliefs  have        
survived1 most of which were decorative 
or architectonic in  character1 though  
among them were also found human        
disjecta membra  in high relief1 such as
 the fragment of a left forearm holding 
a horn1  and not a pointed vase1 as ,dr4
 ,evans thought4 ,here the muscles are  
well  indicated1 though the veins are   
exaggerated4#ae ,this fragment may well 

be a part of the same bull-grappling    
scenes as those in the frescoes1  as    
also the life-like image of a bull1 the 
details of whose head1  mouth1 eyes1 and
 nostrils are full of expression1 and   
whose muscles are  perfectly indicated4 
,when compared with the monuments       
described1 the similarity of details  on
 the design of the ,vapheio cups        
ornamented in repouss1 the 8most        
splendid specimens known of the work of 
the ,minoan goldsmith10#af  never again 
equalled until the ,italian             
,renaissance1 makes it more than        
possible that here again we have scenes 
of bull-grappling rather than  of       
bull-hunting4 ,on one cup is represented
 a quiet pastoral scene--a man  tying   
the legs of a bull with a rope1 while   
two other bulls stand near1  amicably   
licking one another1 and a third is     
quietly grazing4 ,on the  other1        
however1 are represented scenes of a    
very different character4  ,in the      
centre is a furious bull entangled in a 

net1 which is fastened  to a tree2 to   
the left a figure1 doubtless a woman1 is
 holding on to a  bull's head1 while a  
man has fallen on his head beside the   
animal1 both  man and woman being       
dressed in the ,cretan fashion4 ,a third
 bull rushes  furiously by to the right4
 ,most commentators have seen           
bull-hunting  scenes on both these cups4
 ,thus1 on the first cup were           
represented  three scenes in the drama  
of trapping a bull by means of a tame   
decoy  cow2 to the right the bull is    
starting to go to the rendezvous1 while 
in the center the bull stands by the    
cow's side and to the left he is        
finally trapped and tied4#ag ,on the    
other cup the furious animal at  the    
left was supposed to have thrown one    
hunter and to have caught  another on   
its horns4 ,but ,mosso's interpretation 
of this design seems  to be the right   
one4#ah ,the two persons struggling with
 the bull have  no lasso and so can     
hardly be hunters2 besides1 if the bull 

had impaled  a hunter with its horns1   
the hunter would have been represented  
with  his head up and not down4 ,the    
figure is1 however1 uninjured and holds 
on with its knee bent over one horn and 
its shoulder against the other2  it is  
merely1 therefore1 intended for a woman 
acrobat4 ,the net shown  in the centre  
was never used for hunting wild bulls2  
more probably it  was intended as an    
obstacle in racing4 ,the fallen man has 
been standing  on the netted bull1      
which1 with the gymnast on its back1 was
 expected  to have leaped over the net1 
but has not succeeded2 consequently1 the
  acrobat has been tumbled over the     
bull's head4    ,this ancient ,cretan   
sport seems to have been similar to that
 known in  ,thessaly and elsewhere in   
historical days as  4#ai ,a  survival of
 it still persists to our day in certain
 parts of ,italy1 as1  e4 g41 in the    
province of ,viterbo4#bj    ,acrobatic  
feats of various sorts were attractive  
to the later ,greeks  from the time of  

,homer down4 ,we have already mentioned 
one passage  from the ,iliad in which a 
driver of four horses leaps from horse  
to  horse in motion4 ,on the shield of  
,achilles tumblers appeared among the   
dancers on the dancing-place4#ba        
,patroklos ironically remarks over  the 
body of ,kebriones1 as the charioteer   
falls headlong like a diver  from his   
chariot when hit by a missile1 that     
there are tumblers also  among the      
,trojans4#bb ,in later centuries the    
,athenians evinced a great  attraction  
to acrobatic feats4 ,the story told of  
,hippokleides#bc  reveals that high-born
 ,athenians did not disdain to practice 
them4 ,they  appear to have formed a    
sort of side-show attraction at the     
,panathenaic  festival1 as such scenes  
occur frequently on ,attic vases4 ,thus 
on an  early 7imitation87 ,panathenaic  
vase from ,kameiros in the ,bibliothque 
,nationale in ,paris1#bd there is       
represented behind the driver a man     
standing on the back of a horse1 armed  

with a helmet and two shields1  while in
 front another appears to be balancing  
himself on a pole4    ,but such         
acrobatic scenes as those of ,crete and 
later ,greece can  not properly be      
classed as athletic4 ,they betoken more 
the love  of excitement than of true    
sport4 ,the only form of real athletics 
represented on ,minoan monuments1 one   
which was classed in later ,greece  as  
one of the national sports1 was that of 
boxing1 which seems to have  been the   
favorite gymnastic contest of the       
,cretans1 as it always was  of the later
 ,greeks4 ,boxing scenes appear on      
seals1#be on a steatite  fragment of a  
pyxis found in #aija at ,knossos and1 in
 conjunction with  a bull-grappling     
scene1 on the so-called ,boxer ,vase    
found by the  ,italians at ,hagia       
,triada 7,fig4 #a74 ,the vase is a      
cone-shaped rhyton  of steatite1 #ah    
inches high1 originally overlaid with   
gold foil4 ,it  belongs to the best     
period of ,cretan art1 late ,minoan     

,i4#bf ,this  vase alone1 if no other   
monumental evidence were at hand1 would 
suffice to show the physical prowess and
 love of sport of the ,minoans4         
,because of its scenes of boxing and    
bull-grappling ,mosso calls it  8the    
most complete monument that we have of  
gymnastic exercise in the               
,mediterranean civilization40#bg ,the   
later ,greek tradition of the high      
degree of physical development attained 
by the ,cretans is proved by  this      
monument4#bh    ,illustration3 ,,fig4   
#a4--,so-called ,boxer ,vase1 from      
,hagia ,triada  7,cast74 ,museum of     
,candia4    ,the reliefs are arranged in
 four horizontal zones4#bi ,one of      
these1  the second from the top1        
represents a bull-grappling scene1      
showing  two racing bulls1 upon the head
 and horns of one of which a gymnast    
has vaulted 7not being tossed and       
helpless1 as most interpreters          
think74#cj ,the other three represent   
boxers in all attitudes of  the         

prize-ring1 hitting1 guarding1 falling1 
and even kicking1 as in  the later      
,greek pankration4 ,some are victorious1
 the left arm being  extended on guard  
and the right drawn back to strike2 one 
7in the  top zone7 is ready to spring1  
just as ,hector was ready to spring on  
,achilles2#ca others are prostrate on   
the ground with their feet in  the air4 
,the violence of the action recalls the 
boast of ,epeios in the  famous match in
 the ,iliad that he will break his      
adversary's bones4#cb    ,the method of 
attack by the right arm and defense by  
the left is the  same as that formerly  
used by ,english pugilists4 ,in the     
topmost zone  the combatants wear       
helmets with visors1 cheek-pieces1 and  
horse-hair  plumes1 and also shoes2 in  
the third zone down the pugilists also  
wear  helmets1 though of a different    
pattern1 while the bottom zone shows    
figures1 perhaps youths1 with bare      
heads4 ,some of the boxers appear to    
wear boxing-gloves4 ,in the lowest zone 

we see the well-known feat of  swinging 
the antagonist up by the legs and       
throwing him--if we may so  conclude    
from the contorted position of the      
vanquished1 whose legs are  in the air4 
,a similar figure appears in relief on  
the fragment of a pyxis found at        
,knossos4#cc ,a youth with clenched     
fists stands with left arm extended  as 
if to ward off a blow1 while his right  
arm is drawn back and rests  on his hip2
 below we see the bent knee of a        
prostrate figure1 evidently  that of his
 vanquished opponent4 ,the boxer has a  
wasp-like waist and  wears a metal      
girdle4 ,his left leg is well modeled1  
the muscles not  being exaggerated4     
,,athletics ,,in ,,homer4    ,we have   
evidence1 therefore1 that the love of   
sport existed in ,crete  as it has      
existed in all countries since4 ,but the
 comparatively  unathletic character of 
the ,aegean culture is shown by the     
complete  absence of athletic           
representations--apart from             

bull-grappling scenes--in  the art of   
its last phase at ,mycen and ,tiryns on 
the mainland4  ,this is an independent  
argument for the view that the          
civilization  of the mainland was       
chiefly the product of the old          
,mediterranean  stock1 which was finally
 conquered by the invading ,achans1 who 
are  represented in ,homer as skilled   
gymnasts4 ,in ,homer we are immediately 
conscious of being in another world1 for
 here we are in an atmosphere  of true  
athletics1 which are fully developed and
 quite secular in  character4#cd ,they  
are1 however1 wholly spontaneous1 for   
there are as  yet neither meets nor     
organized training1 neither stadia1     
gymnasia1  nor palstr2 for such an      
organization of athletics did not exist 
until the sixth century ,b4 ,c4 ,but    
,homer's account of the funeral games   
of ,patroklos is pervaded by a spirit of
 true athletics and has a  perennial    
attraction for every lover of sport4    
,walter ,leaf says of the  chariot-race1

 which is the culminating feature of the
 description1  that it is 8a piece of   
narrative as truthful in its characters 
as  it is dramatic and masterly in      
description40#ce ,such a description    
could have been composed only by a poet 
who belonged to a people long           
acquainted with athletics and intensely 
interested in them4 ,nestor  often      
speaks of a remoter past1 when the gods 
and heroes contended4  ,odysseus says he
 could not have fought with ,herakles   
nor ,eurytos1  heroes of the olden time1
 8who contended with the immortal gods40
 ,the  ,homeric warrior was             
distinguished from the merchant by his  
knowledge  of sport4 ,thus ,euryalos of 
the ,phaiakians says in no complimentary
  tone to ,odysseus3 8,no truly1        
stranger1 nor do ,i think thee at all   
like  one that is skilled in games 444  
rather art thou such an one as comes    
and goes in a benched ship1 a master of 
sailors that are merchantmen1  one with 
a memory for his freight1 or that hath  

charge of a cargo  homeward bound1 and  
of greedily gotten gains40#cf ,it is    
beside the  point whether the chief     
passages in the poems which relate to   
sports  are late in origin or not1 even 
if they are later than #ggf ,b4 ,c41 the
  traditional first ,olympiad4 ,in any  
case the later poet merely followed  an 
older tradition4 ,at the funeral games  
of ,patroklos all the events  are       
practical in character1 the natural     
amusements of men chiefly  interested in
 war4 ,they are1 however1 not merely    
military1 but are  truly athletic4 ,the 
oldest and most aristocratic of all the 
events  described is the                
chariot-race--in which the war-chariot  
is used--the  monopoly of the nobles    
then1 as it was always later the sport  
of kings  and the rich4#cg ,boxing and  
wrestling come next in importance1      
already  occupying the position of      
preminence which they hold in the poems 
of  ,pindar4 ,the foot-race between     
,ajax1 the son of ,oileus1 and ,odysseus

  follows4 ,of the last four events1    
three--the single combat between  ,ajax 
and ,diomedes1 the throwing of the      
solos1 and the contest in  archery--are 
admitted to be late additions4 ,the last
 event of all1 the  casting of the      
spear1 may be earlier1 but we know      
little about it1  as the contest did not
 take place1 ,achilles yielding the     
first prize  to ,agamemnon4 ,most of    
these later events are described in a   
lifeless  manner and have not the vim   
and compelling interest of the earlier  
ones4 ,indeed the contest in archery    
seems to be treated with a certain      
amount of ridicule1 which shows the     
contempt of the great nobles for  so    
plebeian a sport4 ,the armed contest1   
though it is pictured in  art certainly 
as early as the sixth century ,b4       
,c41#ch never had a  place in the later 
,greek games4#ci ,jumping1 an important 
part of the  later pentathlon1 is       
mentioned but once in the poems1 as a   
feature of  the sports of the           

,phaiakians4 ,but the later pentathlon1 
as ,gardiner  says1 is certainly not    
suggested in ,homer's account1 though   
many have  assumed it1#dj merely because
 ,nestor mentions his former contests at
  ,bouprasion in boxing1 in running1 in 
hurling the spear1 and in the           
chariot-race4#da ,this1 however1 is not 
the combination of contests  known much 
later as the pentathlon1 in which the   
same contestants  had to compete in the 
series of events--running1 jumping1     
wrestling1  diskos-throwing1 and        
javelin-throwing4      ,,origin ,,of    
,,greek ,,games ,,in ,,the ,,cult ,,of  
,,the ,,dead4    ,in these games        
described in the ,iliad we see an       
example of the origin  of the later     
athletic festivals in the cult of the   
dead4 ,homer knows  only of funeral     
games#db and there is no trace in the   
poems of the  later athletic meetings   
held in honor of a god4#dc ,however1 the
  association of the later games with   
religious festivals held at stated      

times can be traced to the games with   
which the funeral of the ,homeric  chief
 was celebrated4 ,the oldest example of 
periodic funeral games in  ,greece of   
which we have knowledge were those held 
in ,arkadia in honor  of the dead ,azan1
 the father of ,kleitor and son of      
,arkas1 at which  prizes were offered at
 least for horse-racing4#dd    ,though  
the origin of the four national         
religious festivals in ,greece--at      
,olympia1 ,delphi1 ,nemea1 and on the   
,isthmus--is buried in a mass of        
conflicting legend1 certain writers     
agree in saying that all of them  were  
founded on funeral games1 though they   
were later dedicated to  gods4#de ,thus 
the ,isthmian were instituted in honor  
of the dead  ,melikertes1#df the ,nemean
 in honor of ,opheltes or               
,archemoros1#dg the  ,pythian in honor  
of the slain ,python1#dh the ,olympian  
in honor of the  hero ,pelops4#di ,to   
both ,pindar and ,bacchylides the       
,olympian games  were associated with   

the tomb of ,pelops2 ,pausanias1 on the 
other hand1  records that the ancient   
,elean writers ascribed their origin to 
the  ,idan ,herakles of ,crete4#ej ,it  
was a common tradition that ,herakles   
founded the games1 some writers saying  
that it was the ,cretan1 others  that it
 was the ,greek hero1 the son of ,zeus  
and ,alkmena4#ea    ,despite the        
variation in legends relative to the    
institution of the  four national games1
 we should not doubt the universal      
tradition that  all were funerary in    
origin4 ,the tradition is confirmed by  
many lines  of argument3 by the survival
 of funeral customs in their later      
rituals1  by the later custom of        
instituting funeral games in honor of   
dead  warriors both in antiquity and in 
modern times1 and by the testimony of   
early athletic art in ,greece4#eb ,we   
shall now briefly consider these        
arguments4    ,as an example of the     
survival of funeral customs in later    
ritual1  ,pausanias says that the annual

 officers at ,olympia1 even in his day1 
sacrificed a black ram to ,pelops4#ec   
,the fact that a black victim was       
offered over a trench instead of on an  
altar proves that ,pelops was  still    
worshipped as a hero and not as a god4  
,the scholiast on ,pindar1  ,ol41 ,i1   
#adf1 says that all ,peloponnesian lads 
each year lashed  themselves on the     
grave of ,pelops until the blood ran    
down their backs  as a libation to the  
hero4 ,furthermore1 all the contestants 
at ,olympia  sacrificed first to ,pelops
 and then to ,zeus4#ed    ,funeral games
 were held in honor of departed warriors
 and eminent  men all over the ,greek   
world and at all periods1 from the      
legendary  games of ,patroklos and      
,pelias and others to those celebrated  
at  ,thessalonika in ,valerian's        
time4#ee ,thus ,miltiades was honored by
  games on the ,thracian                
,chersonesus1#ef ,leonidas and          
,pausanias at  ,sparta1#eg ,brasidas at 
,amphipolis1#eh ,timoleon at            

,syracuse1#ei and  ,mausolos at         
,halikarnassos4#fj ,alexander instituted
 games in honor  of the dead            
,hephaistion#fa and the conqueror       
himself was honored  in a similar       
way4#fb ,the ,eleutheria were celebrated
 at ,plata at  stated times in honor of 
the soldiers who fell there against the 
,medes in #dgi ,b4 ,c41#fc and in the   
,academy a festival was held under  the 
direction of the polemarch in honor of  
the ,athenian soldiers who  had died for
 their country and were buried in the   
,kerameikos4#fd  ,funeral games were    
also common in ,italy4 ,we find athletic
 scenes  decorating ,etruscan           
tombs--including boxing1 wrestling1     
horse-racing1  and chariot-racing4#fe   
,the ,romans borrowed their funeral     
games from  ,etruria as well as their   
gladiatorial shows1 which were doubtless
  also funerary in origin4#ff ,frazer   
cites examples of the custom of         
instituting games in honor of dead      
warriors among many modern peoples1     

,circassians1 ,chewsurs of the          
,caucasus1 ,siamese1 ,kirghiz1 in       
,india1 and  among the ,north ,american 
,indian tribes4 ,gardiner notes the     
,irish fairs  in honor of a departed    
chief1 which existed from pagan days    
down to the  last century4#fg    ,the   
testimony of early ,greek athletic art  
also points to the same  funerary origin
 of the games4 ,the funeral games of    
,pelias and those  held by ,akastos in  
honor of his father were depicted       
respectively  on the two most famous    
monuments of early ,greek decorative    
art1 on  the chest of ,kypselos         
dedicated in the ,heraion at ,olympia   
and on  the throne of ,apollo at        
,amyklai in ,lakonia1 the latter being  
the  work of the ,ionian sculptor       
,bathykles4 ,though both these works are
  lost1 the description of one of them  
at least1 that of the chest1 by         
,pausanias1#fh is so detailed and       
precise that the scenes represented     
upon it have been paralleled figure for 

figure on early ,ionian  7especially    
,chalkidian7 and ,corinthian vases1     
contemporary or later1  and on          
,corinthian and ,argive decorative      
bronze reliefs4 ,many attempts  have    
been made1 therefore1 to restore the    
chest1 and as more monuments  become    
known1 which throw light on the         
composition and types1 these  attempts  
are constantly growing in certainty1    
even though conjecture  may continue to 
enter in4#fi    ,the figures were       
wrought in relief1 partly in ivory and  
gold and partly  in the cedar wood      
itself1 deployed on its surface in a    
series of bands1  such as we commonly   
see on early vases4 ,this use of gold   
and ivory is  the first example in      
,greek art of the custom employed by    
,pheidias and  other sculptors of the   
great age of ,greek sculpture4 ,we have 
already  noted its use in the ivory     
acrobats from ,crete1 which were made1  
perhaps1 a thousand years before the    
chest4#gj ,out of the thirty-three      

scenes depicted on its surface all but  
two or three were mythological1  and    
among these were scenes from the funeral
 games of ,pelias1 including  a         
two-horse chariot-race 7,p41 #i71 a     
boxing and wrestling match 7#aj71  a    
foot-race1 quoit-throwing1 and a victor 
represented as being crowned  7#aj71 and
 prize tripods 7#aa74    ,the most      
valuable parallel to some of the scenes 
described by ,pausanias  is found on the
 ,amphiaraos vase in ,berlin1#ga dating 
from the sixth  century ,b4 ,c41 on     
which the wrestling match and           
chariot-race correspond  surprisingly   
well with the descriptions of           
,pausanias1 despite certain  differences
 in detail4 ,another archaic vase       
depicts a two-horse  chariot-race and   
the parting of ,amphiaraos and          
,eriphyle4#gb ,the scenes  on this      
latter vase appear to have been copied  
from those on the chest1  and it is     
possible that the scenes on the ,berlin 
vase had the same  origin4    ,funeral  

games are commonly pictured on early    
vases4 ,thus on a  proto-,attic amphora1
 discovered by the ,british ,school of  
,athens in  excavating the ,gymnasion of
 ,kynosarges1 there are groups of       
wrestlers  and chariot-racers4 ,the     
wrestling bout here1 however1 seems to  
be to  the death1 as the victor has his 
adversary by the throat with both       
hands4 ,it may be a mythological scene1 
perhaps representing the bout  between  
,herakles and ,antaios4 ,a still earlier
 representation of funeral  games is    
shown by a ,dipylon geometric vase from 
the ,akropolis now in  ,copenhagen1     
dating back possibly to the eighth      
century ,b4 ,c4#gc ,on  one side two    
nude men1 who have grasped each other by
 the arms1 are  ready to stab one       
another with swords4 ,this may          
represent1 however1  as ,gardiner       
suggests1 only a mimic contest4 ,on the 
other side are two  boxers standing     
between groups of warriors and dancers4 
,a similar  scene in repouss appears on 

a ,cypriote silver vase from ,etruria   
now  in the ,uffizi in ,florence4#gd ,we
 should also1 in this connection1  note 
again the reliefs representing funeral  
games1 which appear on  the             
sixth-century sarcophagus from          
,klazomenai already mentioned4#ge  ,here
 is represented a combat of armed men2  
amid chariots stand groups  of men armed
 with helmets1 shields1 and spears1     
while flute-players  stand between them2
 at either end is a pillar with a prize 
vase upon  it2 against one leans a naked
 man with a staff1 doubtless intended to
  represent the spirit of the deceased  
in whose honor the games are being      
held4    ,games in honor of the dead    
tended to become periodic4 ,the tomb of 
the  honored warriors became a          
rallying-point for neighboring people1  
who would convene to see the games4     
,while some of these games were         
destined never to transcend local       
importance1 others developed  into the  
,panhellenic festivals4 ,as the worship 

of ancestors became  metamorphosed into 
that of heroes1 the games became part of
 hero cults1  which antedated those of  
the ,olympian gods4 ,but as the gods    
gradually  superseded the heroes in the 
popular religion1 they usurped the      
sanctuaries and the games held there1   
which had long been a part of the       
earlier worship4 ,we are not here       
concerned1 however1 with the difficult  
question of the origin of funeral games4
 ,they may have taken the place  of     
earlier human sacrifices1 which would   
explain the armed fight at the  games of
 ,patroklos and its appearance on       
archaic vases and sarcophagi2  or they  
may have commemorated early contests of 
succession1 which  would explain many   
mythical contests like the chariot-race 
between  ,pelops and ,oinomaos for      
,hippodameia1 or the wrestling match    
between  ,zeus and ,kronos4 ,in any case
 such games would never have attained   
the  importance which they did attain in
 ,greece1 if it had not been for  the   

athletic spirit and love of competition 
so characteristic of the  ,hellenic     
race4 ,whatever their origin1 therefore1
 there is little doubt  that out of them
 developed the great games of historic  
,greece4 ,the  constant relationship    
between ,greek religion and ,greek      
athletics can be  explained in no other 
way4#gf      ,,early ,,history ,,of     
,,the ,,four ,,national ,,games4    ,by 
the beginning of the sixth century ,b4  
,c4 the athletic spirit  displayed in   
the ,homeric poems had given rise to the
 four national  festivals--at ,olympia1 
,delphi1 ,nemea1 and on the ,isthmus4   
,on these  four1 many lesser games were 
modeled4#gg ,the origin of all these1 as
  we have already remarked1 is lost in a
 mass of legend4 ,the myths of  the     
origin of ,olympia are particularly     
conflicting4 ,we are practically        
certain1 however1 that ,olympia as a    
sanctuary preceded the advent of  the   
,achans into the ,peloponnesus1 and that
 the foundation of the games  preceded  

the coming of the ,dorians1 but was     
probably later than that  of the        
,achans4 ,the importance of the games   
dates from the time after  the ,dorian  
invasion of the ,peloponnesus1 when the 
warring peoples  finally became         
pacified4#gh ,for centuries ,olympia was
 overshadowed by  ,delphi and the       
,ionian festival on ,delos4 ,the        
importance of the latter  festival in   
the eighth and seventh centuries ,b4 ,c4
 is shown by the  ,homeric ,hymn to the 
,delian ,apollo4 ,only by the beginning 
of the seventh  century had ,olympia    
begun to gain its prestige4 ,the        
pre-,dorian ,pisatai1  in whose         
territory the sanctuary was situated1   
probably controlled  it early4 ,the     
,dorian allies1 the ,eleans1 whom legend
 had ,king ,oxylos  lead into the       
,peloponnesus from ,aitolia1#gi tried to
 wrest this  control from the ,pisatai1 
who1 however1 aided by religious        
reverence  for the sanctuary1 were able 
to maintain their rights4 ,on account of

  the conflict the games languished1    
until finally a truce was made by  the  
two factions and the games were         
re-established under their common       
management4 ,this work was ascribed to  
,iphitos and ,kleosthenes1 kings        
respectively of ,elis and ,pisa1 and to 
,lykourgos of ,sparta4#hj ,the dual     
control was not successful1 as the      
jealous ,pisatai constantly tried  to   
regain their old honor2 but the ,eleans1
 supported by the ,spartans1  prevailed 
and finally1 after the ,persian wars1   
destroyed ,pisa and the  other revolting
 cities of ,triphylia and henceforth    
remained in sole  control4 ,the         
restoration of the games under ,iphitos 
and his colleagues  took place in #ggf  
,b4 ,c41 from which date the festival   
was celebrated  every fourth year1 until
 it was finally abolished by the ,roman 
emperor  ,theodosius at the end of the  
fourth century ,a4 ,d4 ,in #ggf         
,koroibos of  ,elis won the foot-race   
and this was the first dated ,olympiad  

in the  ,olympian register1#ha and from 
it1 as ,pausanias says1#hb the unbroken 
tradition of the ,olympiads began4 ,this
 history of ,olympia is very  different 
from the orthodox mythical story told by
 ,pausanias and ,strabo  and based on   
the 8ancient writings of the            
,eleans40#hc ,according to it  the games
 were originally instituted by the      
,eleans under ,oxylos and  refounded by 
,iphitos1 his descendant1 together with 
,lykourgos1 still  under the management 
of the ,eleans4 ,in ,ol4 #h the         
,pisatans invoked the  aid of the       
,argive king ,pheidon and dispossessed  
the ,eleans1 but they  lost the control 
of ,olympia in the next ,olympiad4 ,in  
,ol4 #bh ,elis1  during a war with      
,dyme1 allowed the ,pisatans to         
celebrate the games4  ,six ,olympiads   
later the king of ,pisa came to ,olympia
 with an army  and took charge4 ,the    
story leaves the ,pisatans in control   
from about  ,olympiads #cj to #ea1 but  
some time between ,ols4 #dh and #eb the 

,eleans  defeated ,pisa and destroyed   
it1 and henceforth controlled the games4
  ,such a story was manifestly a        
contrivance by the later priests of     
,elis to justify their control of the   
games through a prior claim4 ,it  is    
contradicted by all the evidence4#hd    
,the antiquity of ,olympia is  known to 
us from the results of excavations and  
from its religious  history4 ,the latest
 excavations on the site have disclosed 
the remains  of six prehistoric         
buildings with apsidal endings1 below   
the geometric  stratum1 upon the site of
 what used to be considered the remnants
 of  the great altar of ,zeus4#he ,such 
an inference is borne out by many       
primitive features in the religious     
history of the sanctuary4 ,the altar  of
 ,kronos on the hill to the north of the
 ,altis was earlier than that  of ,zeus2
 an earth altar antedated that of ,zeus1
 while a survival of the  earlier       
worship of the powers of the underworld 
is seen in the custom1  lasting through 

later centuries1 of allowing only one   
woman1 the  priestess of ,demeter       
,chamyne1 to witness the games4 ,we also
 know that  the worship of the          
,pelasgian ,hera antedated that of the  
,hellenic ,zeus2  her temple1 the       
,heraion1 is the most ancient of which  
the foundations  still stand1 a temple  
built of stone1 wood1 and sun-dried     
bricks1 whose  origin is to be referred 
to the tenth1 if not to the eleventh1   
century  ,b4 ,c4#hf ,we have already    
remarked that the worship of the hero   
,pelops  preceded that of the god       
,zeus4#hg ,all such indications attest  
the high  antiquity of ,olympia4 ,that  
it is not mentioned in ,homer1 while    
,delphi  and ,dodona are1 only proves   
that in the poet's time it was still    
merely  a local shrine4 ,not until the  
beginning of the sixth century ,b4 ,c4  
did  it attain the distinction1 which it
 retained ever afterwards1 of being  the
 foremost national festival of          
,hellas4#hh    ,the periodical          

celebration of the three other national 
festivals was  not dated--except in     
legend--before the early years of the   
sixth century  ,b4 ,c41 though local    
festivals must have existed also on     
these sites  long before4#hi ,the old   
music festival at ,delphi1 which finally
 was  held every eight years1#ij was    
changed in #ehf ,b4 ,c41 in consequence 
of  the ,sacred ,war1#ia into a         
,panhellenic festival celebrated        
thereafter  every four years            
7pentateris74 ,it was under the         
presidency of the  ,amphiktyonic        
,league1 which introduced athletic and  
equestrian events  copied from those at 
,olympia#ib and replaced the older money
 prizes  with the simple bay wreath4    
,about the same time the ,nemean and    
,isthmian  games were instituted4 ,the  
local games at ,nemea1 said to have been
  founded by ,adrastos in honor of a    
child1 were reorganized some time       
before #egc ,b4 ,c41 the first          
,nemead4#ic ,thereafter they were       

celebrated  every two years1 in the     
second and fourth of the corresponding  
,olympiads4#id ,they were administered  
in honor of ,zeus by the small  town of 
,kleonai under ,argive influence4 ,the  
games were transferred to  ,argos some  
time between #dfj ,b4 ,c4 and the close 
of the third century ,b4  ,c4 ,centuries
 later1 ,hadrian revived the prestige of
 the games at ,argos4  ,the games held  
on the ,isthmus also originated as an   
old local festival1  which was revived  
in #ehf or #ehb ,b4 ,c4 ,we are not sure
 whether they  were refounded in        
,poseidon's honor by ,periandros or     
after the death of  ,psammetichos in    
commemoration of the ending of the      
tyranny at ,corinth4  ,the geographical 
location of ,corinth1 the meeting-place 
of ,east and  ,west1 involved it in many
 wars1 and therefore the ,isthmian games
 never  attained the prestige of the    
other national festivals2 they were held
  every two years in the spring of the  
second and fourth years of the          

corresponding ,olympiads and were       
administered by ,corinth4#ie    ,besides
 the four national games1 many ,greek   
cities had purely local  ones1 some of  
which originated in prehistoric days in 
honor of hero  cults1 while others were 
founded at historical dates4 ,athens was
  particularly favored in having many   
such local festivals4 ,the most         
important of these were the ,panathenaic
 games in honor of ,athena1  which      
developed from earlier annual ,athenaia 
or ,panathenaia4 ,the  festival was     
remodeled1 or perhaps founded1 just     
before ,peisistratos  seized the tyranny
 7#efa-efj ,b4 ,c471 possibly by ,solon1
 who died #efj-eei  ,b4 ,c4 ,the name   
certainly points to the unity of ,athens
 promoted by  ,solon1 if not to the     
earlier unification of the village      
communities  of ,attika ascribed to     
,theseus4 ,in any case1 under           
,peisistratos it  became something more 
than a local festival1 as the recitation
 of ,homer  became a feature of it4     

,following the games at ,delphi and     
,olympia1  the ,great ,panathenaia were 
held every four years 7the third year of
  each ,olympiad7 in the month of       
,hekatombaion 7,july71 while the more   
ancient annual festival continued yearly
 under the name of the ,little          
,panathenaia4 ,there were musical1      
literary1 and athletic contests4 ,the   
central feature of the festival was the 
procession which ascended from  the     
lower city to the ,parthenon on the     
,akropolis to offer the goddess a  robe 
woven by noble ,athenian maidens and    
matrons4#if ,this procession  is known  
to us in detail from the great          
,parthenon frieze4 ,the ,theseia        
exemplify a festival whose origin can be
 definitely dated4 ,kimon1 the  son of  
the hero of ,marathon1 in #dfi ,b4 ,c41 
discovered the supposed  bones of the   
national hero ,theseus on the island of 
,skyros4 ,the  ,delphic oracle counseled
 the ,athenians to place them in an     
honorable  resting-place4 ,perhaps there

 was a legend that the hero was buried  
on  ,skyros2 in any case a grave was    
found there which contained the corpse  
of a warrior of great size1 and this was
 brought back to ,athens as the  actual 
remains of ,theseus4 ,thereafter an     
annual festival was celebrated  by the  
,athenian epheboi1 comprising military  
contests and athletic  events--stade1   
dolichos1 and diaulos running races1    
wrestling1 boxing1  pankration1 hoplite 
running1 etc4 ,it began on the sixth of 
,pyanepsion  7,october71 and was        
followed by the ,epitaphia1 a funeral   
festival  in honor of national heroes   
and youths who had fallen fighting for  
,athens4#ig ,athletic games were held at
 the ,herakleia in honor of  ,herakles  
at ,marathon in the month of            
,metageitnion1 and had attained  great  
popularity by the time of ,pindar4#ih   
,the ,eleusinia1 in honor  of ,demeter1 
took place annually in ,athens in the   
month of ,bodromion1  when horse-races  
and musical and other contests were     

held4 ,this ,attic  festival claimed a  
greater antiquity even than ,olympia4   
,the great  national festivals          
encouraged these smaller local ones1 so 
that they  attracted competitors from   
the whole ,greek world4      ,,early    
,,prizes ,,for ,,athletes4    ,the      
prizes which were offered at the early  
games in ,greece were  uniformly        
articles of value4 ,their value1        
however1 was regarded not so  much in   
the light of rewards to the victors as  
proofs of the generous  spirit of the   
holders of the games1 who thereby       
celebrated the dead in  whose honor the 
contest was held4 ,in ,homer's account  
of the funeral  games of ,patroklos1    
each contestant1 whether victorious or  
not1  received a prize4 ,in one case a  
prize was given where the contest was   
not held4 ,in the chariot-race five     
prizes were offered3 for the winner  a  
slave girl and a tripod2 for the second 
best a six-year-old mare in  foal2 for  
the third a cauldron2 for the fourth two

 talents of gold2 and  for the last a   
two-handled cup4#ii ,for the wrestling  
match the winner  received a tripod     
worth twelve oxen1 while the vanquished 
received a  skilled slave woman worth   
four oxen4#ajj ,for the boxing match a  
mule  was the first prize and a         
two-handled cup the second4#aja ,for the
  foot-race a silver bowl of ,sidonian  
make1 an ox1 and half a talent of  gold 
were the prizes4#ajb    ,hesiod records 
his winning a tripod for a victory      
gained in singing at  the games of      
,amphidamas at ,chalkis4#ajc ,tripods   
were the commonest  prizes at all early 
games and it was not till later that    
they became  connected especially with  
,apollo's worship4 ,they were presented 
for  all sorts of contests1 for         
chariot-racing1#ajd horse-racing1#aje   
the  foot-race1#ajf boxing1#ajg and     
wrestling4#ajh ,they were presented at  
various games in honor of different gods
 and heroes3 e4 g41 those in  honor of  
,apollo at the ,triopia#aji and         

,panionia of ,mykale2#aaj  of ,dionysos 
at ,athens and ,rhodes2#aaa of ,herakles
 at the ,herakleia  of ,thebes and      
elsewhere2#aab of ,pelias2#aac of       
,patroklos4#aad ,they  were kept in     
temples dedicated to various gods3 e4   
g41 in those of  ,apollo at ,delphi1 at 
,amyklai1#aae and on ,delos1#aaf at the 
,ptoian  sanctuary#aag and in the       
,ismenion at ,thebes2#aah in the temples
  of ,zeus at ,olympia and ,dodona2#aai 
of ,herakles at ,thebes2#abj at  the    
,hierothesion in ,messene1#aba etc4     
,later1 because it served the  ,pythian 
priestess1 the tripod became a part of  
the ,apolline cult and  the special     
attribute of that god4#abb ,gold and    
silver vessels and  articles of bronze  
were everywhere used as prizes4 ,in     
early days  bronze was very valuable4   
,pindar proves this for games held in   
,achaia  and ,arkadia2#abc and it       
continued to be used in later times1 as1
  e4 g41 at the ,panathenaia1 where a   
hydria of bronze was a prize  in the    

torch-race4#abd ,at the lesser games all
 sorts of articles  were offered1 merely
 for their value4 ,thus a shield was    
offered at  the ,argive ,heraia1#abe a  
bowl at the games in honor of ,aiakos on
  ,aegina1#abf silver cups at the       
,marathonian ,herakleia#abg and at  the 
,sikyonian ,pythia1#abh a cloak at      
,pellene1#abi apparently  a cuirass at  
,argos1#acj and jars of oil from sacred 
trees at the  ,panathenaia4#aca ,a      
kettle is mentioned in the              
,anthology2#acb an  inscribed cauldron  
from ,cumae1 which was a prize at the   
games there in  honor of ,onomastos1 is 
in the ,british ,museum1#acc while      
measures of  barley and corn were prizes
 at the ,eleusinia4#acd ,while presents 
of  value continued to be given at the  
local games1#ace a simple wreath  of    
leaves gradually came to be the prize   
offered the victor at the  great        
national festivals4 ,pausanias#acf says 
that this was composed  of wild olive 77
 at ,olympia1 of laurel 77 at ,delphi1  

of  pine 77 at the ,isthmus1 and of     
celery 77 at ,nemea4 ,phlegon  says that
 the olive wreath was first used by     
,iphitos in ,ol4 #g 7 #geb  ,b4 ,c471   
when it was given to the ,messenian     
runner ,dakles1#acg and  that for the   
preceding ,olympiads there was no       
crown4#ach ,probably  before that date  
tripods and other articles of value were
 the prizes  at ,olympia1 as we know    
they were elsewhere4 ,pausanias says    
that the  wild olive came from the land 
of the ,hyperboreans4#aci ,pindar calls 
it  merely olive 771 and not wild       
olive4#adj ,the ,athenian tradition  was
 that the olive which ,herakles planted 
at ,olympia was a shoot of  a sacred    
tree which grew on the banks of the     
,ilissos in ,attica4#ada  ,phlegon also 
says that the first crown came from     
,attika4 ,in later days  the ,olympic   
wreaths were cut from the 8,olive of the
 ,faircrown02#adb  its branches were cut
 with a golden sickle by a boy whose    
parents  must be living2#adc it grew at 

,olympia in a spot near the so-called   
,pantheion1#add which was probably a    
grove behind the temple of  ,zeus4#ade  
,the laurel prize at the ,pythian games 
replaced the older  articles of value or
 money in #ehb ,b4 ,c4#adf ,it came from
 ,tempe and  was plucked by a boy whose 
parents must be living4#adg ,the wreath 
is seen on late ,delphian coins of the  
imperial age4#adh ,lucian also  states  
that apples were given as prizes at     
,delphi4#adi ,wild celery was  the prize
 at the ,isthmus in the time of         
,pindar4#aej ,it was dried or  withered 
to differentiate it from the fresh      
celery used at ,nemea4#aea  ,later      
writers say that the wreath was of the  
leaves of the pine1#aeb  which was the  
tree sacred to ,poseidon4 ,probably pine
 leaves composed  the older wreath1 a   
practice certainly revived again in     
later ,roman  imperial days2#aec for    
while on coins of ,augustus and ,nero   
celery is  represented1 those of        
,antoninus ,pius and ,lucius ,verus show

 pine4#aed ,a  row of pine trees lined  
the approach to ,poseidon's             
sanctuary4#aee ,the  prize at ,nemea was
 celery and not parsley1 as many wrongly
 interpret  the wreath appearing on     
,selinuntian coins4#aef ,pausanias also 
states  that at most ,greek games a palm
 wreath was placed in the victor's right
  hand4#aeg ,the palm as a symbol of    
victory occurs first toward the end  of 
the fifth century ,b4 ,c4#aeh           
,,dedication ,,of ,,athlete ,,prizes4   
,just as soldiers on returning from     
successful campaigns might dedicate     
their spoils of victory1 victors in     
athletic contests might consecrate  to  
the gods their prizes4 ,in the ,homeric 
poems we have no certain  evidence of   
such a custom4 ,a ,delphic tripod was   
ascribed to ,diomedes  and possibly this
 was a prize won at the funeral games in
 honor of  ,patroklos4#aei ,the first   
literary example of such a dedication of
  which we are certain is the prize     
tripod dedicated to the ,helikonian     

,muses by ,hesiod4#afj ,frequently such 
dedications were tripods2 thus  a       
,pythian tripod was dedicated to        
,herakles at ,thebes by the ,arkadian   
musician ,echembrotos in #ehf ,b4       
,c42#afa a tripod was dedicated in the  
sixth century ,b4 ,c4 or perhaps earlier
 at ,athens for some acrobatic or       
juggling trick2#afb a victorious boxer  
dedicated one at ,thebes4#afc  ,it      
became customary by the fifth century   
,b4 ,c4 for victors at the  ,triopia to 
offer prize tripods to ,apollo4#afd     
,tripods or fragments  of them have been
 found at ,olympia#afe and elsewhere4   
,many other  objects were also          
offered4#aff ,sometimes a victor would  
dedicate the  object by which he won his
 victory instead of his prize1 just as a
  soldier might dedicate his arms       
instead of his spoils of war4 ,certain  
types of victors1 e4 g41 those          
especially in running1 the race in      
armor1 singing1 etc41 would be excluded 
from making such dedications  owing to  

the nature of the contest4              
,pausanias#afg tells us1 for  instance1 
that twenty-five bronze shields were    
kept in the temple  of ,zeus at ,olympia
 for the use of hoplite runners1 which  
shows that  these runners did not use   
all at least of their own armor4 ,in    
some  cases diskoi were lent to         
pentathletes4 ,pausanias#afh says that  
three  quoits were kept in the treasury 
of the ,sikyonians at ,olympia for use  
in the pentathlon4 ,there are1 however1 
as we shall see1 instances of  quoits   
being dedicated by victors4 ,the        
pentathlete might consecrate  either his
 diskos1 javelin1 or                    
jumping-weights4#afi ,perhaps the huge  
red-sandstone block of the sixth century
 ,b4 ,c41 weighing #cae pounds and      
inscribed with the name and feat of     
,bybon1 may have been such an ex        
voto1#agj since ,pausanias says the     
contestants at ,olympia originally  used
 stones for quoits4#aga ,a stone1       
weighing #dhj kilograms 7about  #a1jef  

pounds71 was found on ,thera1 inscribed 
8,eumastos raised me from  the          
ground40#agb ,poplios 7,publius7        
,asklepiades1 who won the pentathlon  at
 ,olympia in the third century ,a4      
,d41#agc dedicated a bronze diskos  to  
,zeus1 showing the old custom was kept  
up till late4 ,many bronze  diskoi have 
been found in the excavations of the    
,altis4#agd ,we have  instances of the  
dedication of jumping-weights 774#age   
,examples  of dedicated strigils have   
been found at ,olympia4#agf ,torches    
were  dedicated at ,athens4#agg ,actors 
dedicated their masks1#agh while  some  
of the ivory lyres and plectra conserved
 in the ,parthenon were  probably       
offerings of musical victors at the     
,panathenaic games4#agi  ,equestrian    
victors dedicated their chariots1 or    
models of them1 and  their horses4      
,these models might be large or small4  
,we have notices of  large              
chariot-groups at ,olympia of           
,kleosthenes1#ahj ,gelo1#aha and  ,hiero

 of ,syracuse2#ahb of small ones of     
,euagoras1#ahc ,glaukon1#ahd            
,kyniska1#ahe and ,polypeithes4#ahf ,a  
large number of miniature models  of    
chariots and horses in bronze and terra 
cotta have been found at  ,olympia1#ahg 
some of which have no wheels4 ,many very
 thin foil wheels  have also been       
found4#ahh ,furtwaengler#ahi believes   
that these  wheels are conventional     
reductions of whole chariots4 ,some of  
them  are cast#aij and they are         
generally four-spoked1 but two mule-car 
wheels are five-spoked4#aia ,these      
various models are so common and of  so 
little value1 however1 that they may    
have had nothing to do with             
chariot-races4#aib    ,many great       
artists1 e4 g41 ,kalamis1#aic           
,euphranor1#aid and  ,lysippos1#aie are 
known to have made chariot-groups and it
 is  reasonable to assume that some of  
these were votive in character4         
,besides dedications of chariot victors1
 we find at ,olympia also those  of     

horse-racers4 ,these were similarly both
 large and small1 with and  without     
jockeys4 ,thus jockeys on horseback by  
,kalamis stood on either  side of       
,hiero's chariot4#aif ,krokon of        
,eretria1 who won the horse-race  at the
 end of the sixth century ,b4 ,c41#aig  
dedicated a small bronze  horse at      
,olympia4#aih ,the monument of the sons 
of ,pheidolas of  ,corinth1#aii         
representing a horse on the top of a    
column1 must have  been small4          
,pausanias1 in mentioning the two       
statues of the ,spartan  chariot victor 
,lykinos by ,myron1#bjj says that one of
 the horses which  the victor brought to
 ,olympia was not allowed to enter the  
foal-race1  and therefore was entered in
 the horse-race4 ,this story was        
probably  told ,pausanias by the        
,olympia guides and may have arisen from
 the  smallness of one of the horses in 
the monument4#bja ,the sculptors        
,kalamis1#bjb ,kanachos1#bjc and        
,hegias#bjd are known to have made      

groups representing horse-victors1 and  
,pliny derives the whole genre  of      
equestrian monuments from the           
,greeks4#bje ,great numbers of small    
figures of horses and riders have been  
excavated at ,olympia#bjf and           
elsewhere4#bjg ,equestrian groups of    
various kinds were also known  outside  
,olympia4 ,thus ,arkesilas ,,iv of      
,kyrene offered a chariot model at      
,delphi for a victory in #dff ,b4       
,c2#bjh the base found on the ,akropolis
  of ,athens and inscribed with the name
 ,onatas probably upheld such a         
group2#bji the equestrian statue of     
,isokrates on the ,akropolis was  also  
probably a dedication for a victory in  
horse-racing4#baj      ,,dedication ,,of
 ,,statues ,,at ,,olympia ,,and         
,,elsewhere4    ,not only did equestrian
 contests and the pentathlon give the   
victor  an opportunity to represent the 
means by which he gained his prize1  but
 any victorious athlete could set up a  
statue of himself in his own  honor1    

which might either represent him in the 
characteristic attitude  of his contest 
7perhaps with its distinguishing        
attributes7 or might be  a simple       
monument showing neither action nor     
attribute4 ,this brings us  to the main 
subject of the present work--the        
discussion of the different  types of   
victor statues at ,olympia4    ,of all  
the national games of ,hellas1 our      
knowledge of ,olympia is  fullest1 both 
because of the detailed account of its  
monuments by  ,pausanias1 who visited   
,elis in #agc or #agd ,a4 ,d41 and      
because of the  systematic excavation of
 the ,altis by the ,german government in
 the  seventies of the last century4 ,we
 shall not be concerned1 except         
incidentally1 with monuments set up at  
the other national games1 which  are    
known to us in no such degree as those  
of ,olympia4 ,the interest  of          
,pausanias in ,delphi was almost        
entirely of a religious nature1  and the
 lesser renown of both ,nemea and the   

,isthmus caused him to  treat their     
topography and monuments in a most      
summary manner4 ,though  the ,pythia as 
a festival were second only to the      
,olympia1 as an  athletic meet they     
scarcely equalled the ,nemea or the     
,isthmia4  ,from the earliest days music
 was the chief competition at ,delphi2  
the oldest and most important event in  
the musical programme there  all through
 ,greek history was the ,hymn to        
,apollo1 sung with the  accompaniment of
 the lyre1 in which was celebrated the  
victory of the  god over the ,python4   
,by #ehb ,b4 ,c4 singing to the flute 77
 was  also added1 but was almost        
immediately discontinued4 ,in the same  
year  a flute solo was also             
inaugurated4#baa ,in #eeh ,b4 ,c4       
lyre-playing was  introduced4 ,under the
 ,roman ,empire poetic and dramatic     
competitions  were prominent1 but the   
date of their introduction is not known4
  ,pliny mentions contests in           
painting4#bab ,after music the          

equestrian  contests were the most      
important1 even rivalling those of      
,olympia4  ,by #ehf ,b4 ,c41 as we have 
seen1 athletic events were inaugurated4 
,the  athletic importance of the games  
on the ,isthmus was inferior to that  of
 ,olympia and its religious character to
 that of ,delphi1 though these  games   
were the most frequented of all the     
great national ones1 because  of the    
accessibility of the place and its      
nearness to ,corinth4#bac  ,the         
inferiority of the athletics here may be
 judged by the fact that  ,solon        
assigned only #ajj drachm to an         
,isthmian victor1 while #ejj were  given
 to one from ,olympia4#bad ,we have     
little knowledge of these games  through
 the great period of ,greek history1    
only a reference here and  there to a   
victor4#bae ,we know much more of them  
under the ,romans1  when the prosperity 
of ,corinth was revived2 at that time1  
however1  there was little true interest
 in athletics4 ,corinth then spent great

  sums in procuring wild animals for the
 arena4#baf ,excavations have  added    
little to our knowledge of these        
games4#bag ,the interest at  ,nemea in  
athletics was second only to that of    
,olympia4#bah ,while music  was the most
 important feature at ,delphi1 and the  
,isthmian games were  attended chiefly  
for the attractions of the neighboring  
,corinth1 there  was nothing but the    
games themselves to attract people to   
the retired  valley of ,nemea4 ,athletic
 contests were the only feature here    
until  late times and great attention   
was paid to those of boys4#bai ,the     
records of the victors at these games   
are very scanty4#bbj    ,at all these   
three games victor monuments were set   
up1 though in no  such profusion as at  
,olympia4    ,of those set up at        
,delphi1 ,pausanias shows his disdain by
 these  words3 8,as to the athletes and 
musical competitors who have attracted  
no notice from the majority of mankind1 
,i hold them hardly worthy  of          

attention2 and the athletes who have    
made themselves a name  have already    
been set forth by me in my account of   
,elis40#bba ,he  mentions the statue of 
only one victor1 that of ,phallos1 who  
won  at ,delphi twice in the pentathlon 
and once in running4 ,a score or  more  
of inscriptions in honor of these men   
whom ,pausanias treats so               
contemptuously have been recovered4     
,some of them record offerings          
dedicated for victories1 though most of 
them record decrees passed by  the      
,delphians1 who voted the victors not   
only wreaths of laurel1 but  seats of   
honor at the games and other            
privileges4#bbb ,victor statues  seem to
 have stood outside the sacred precinct 
at ,delphi and not  within it1 as at    
,olympia1 since ,pausanias mentions the 
sanctuary after  mentioning the statue  
of ,phallos4#bbc ,other ,greek and      
,roman writers  give us stray hints of  
these statues4 ,thus1 ,pliny mentions a 
statue  at ,delphi of a pancratiastes by

 ,pythagoras of ,rhegion#bbd and says   
that ,myron made ,delphicos pentathlos1 
pancratiastas4#bbe ,a scholion  on      
,pindar#bbf mentions the helmeted statue
 of the hoplite runner  ,telisikrates as
 standing in the precinct4 ,justin1 in  
speaking of the  ,gallic invasion of    
,delphi1 mentions statuasque cum        
quadrigis1 quarum  ingens copia procul  
visebatur1 thus referring to large      
chariot-groups1  which would be very    
sightly on the slope of the             
precinct4#bbg ,an idea  of the beauty of
 such groups may be gathered from the   
remnant of one1  the bronze ,charioteer 
discovered by the ,french excavators1   
which  is one of the most important     
archaic sculptures from antiquity 7,fig4
  #ff74bbh    ,we know from the words of
 ,pausanias#bbi that victor statues also
 stood  on the ,isthmus1 and we should  
assume the same for ,nemea1 though in   
both places they must have been few in  
number4 ,at the various local  games it 
was customary for victors to erect      

statues of themselves4 ,thus  we know of
 such dedications at the ,botian games  
in ,thebes1#bcj  at the ,didymaion1#bca 
and at the ,lykaia in ,arkadia4#bcb     
,many  such victor statues decorated    
different localities of ,athens4 ,thus1 
on the ,akropolis1 we know of the       
statues of the hoplite runner           
,epicharinos1#bcc of the pancratiast    
,hermolykos1#bcd of a helmeted  man by  
the sculptor ,kleoitas1#bce of a        
representing  ,isokrates2#bcf in the    
,prytaneion1 of the statue of the       
pancratiast  ,autolykos4#bcg ,lykourgos1
 the rhetor1 mentions victor statues in 
the  agora of ,athens4#bch ,some of     
these ,athenian statues may have been   
those of ,olympic victors2#bci and of   
victors certainly ,olympic we  know of  
the statues of ,kallias the             
pancratiast1#bdj of the charioteer      
,hermokrates1#bda and of the bronze     
mares of ,kimon4#bdb ,of the statues  of
 ,nemean victors at ,athens we know of  
that of ,hegestratos1 victor in  an     

unknown contest4#bdc ,of ,isthmian      
victors there we know of that of  the   
pancratiast ,diophanes1#bdd and of other
 examples4#bde ,we have  inscriptional  
record of the statues at ,athens of a   
boy victor at the  ,panathenaia and the 
,thargelia in chariot-racing1#bdf of a  
victor  at the ,pythia1 ,isthmia1       
,nemea1 and the ,panathenaia1#bdg of    
one at the ,nemea and ,herakleia at     
,thebes1#bdh of one at the              
,eleusinia1#bdi of one at the           
,panathenaia and ,dionysia1#bej and  of 
others at several games4#bea            
,illustration3 ,,fig4 #b4--;,bronze     
,statuette of a ,victor1 from ,olympia4 
,museum of ,olympia4    ,the erection of
 a statue in the ,altis at ,olympia was 
an honor which the  ,elean officers in  
charge of the games#beb gave to victors 
to glorify  their victory4#bec ,pliny1  
in a well-known passage of the ,historia
  ,naturalis1#bed says it was customary 
for all victors to set up  statues1     
while ,pausanias#bee says not all       

athletes did this1 for 8some  of those  
who specially distinguished themselves  
in the games 444 have  had no statues40 
,this apparent contradiction in the     
statements of the  two writers is to be 
explained1 as ,dittenberger#bef and     
others have  pointed out1 on the ground 
that ,pliny states the general privilege
  extended to the victor1 while         
,pausanias states its practical working 
out1 since the setting up of a statue   
was an undertaking which would  be      
limited by the early death1 poverty1 or 
some other disability of  the victorious
 athlete4 ,the cost of making1          
transporting1 and setting  up a statue  
was considerable1 and very often a      
victor must have  been too poor to do   
it4 ,in such a case he would often be   
contented  to set up merely a statuette 
or small figure in bronze or marble4    
,several such bronze figures have been  
unearthed at ,olympia1#beg one  of which
 we reproduce in ,fig4 #b1 and we have  
many examples found  outside the ,altis3

 e4 g41 a group of wrestlers1#beh a     
boxer1#bei  and the arm of a            
quoit-thrower#bfj from the ,athenian    
,akropolis1  an archaic girl runner from
 ,dodona1#bfa an archaic statuette from 
,delphi with a loin-cloth1#bfb a bronze 
quoit-thrower dedicated in the          
,kabeirion1#bfc the ,tuebingen bronze   
hoplite runner#bfd 7,fig4 #db71  and the
 statuette of a   from ,dodona4#bfe ,we 
should also  mention the great number of
 statuettes of diskos-throwers in modern
  museums4#bff ,boy victors especially  
would use the less expensive  marble for
 such statuettes and we have the        
remnants of many such found  in the     
excavations of the ,altis4#bfg          
,pausanias mentions several  monuments  
which were less than life-size1 e4 g41 a
 horse among the  offerings of ,phormis1
 which he says was 8much inferior in    
size and  shape to all other statues of 
horses in the ,altis10#bfh and the      
equestrian monuments already discussed4 
,even reliefs and paintings1  in some   

cases1 were offered in lieu of larger   
monuments1 not only for  reasons of     
economy1 but also because they gave a   
better representation  of the contest4  
,this custom was common at the lesser   
games1 especially  at the               
,panathenaia4#bfi ,pausanias mentions   
painted iconic reliefs  vowed by girl   
runners at the games in honor of ,hera  
at ,olympia4#bgj ,on  an ,attic vase in 
,munich a victor is represented as      
holding an iconic  votive pinax in his  
hands4#bga ,pausanias speaks of a       
painting by  ,timainetos at ,athens1    
which represented a boy carrying        
hydri1#bgb  and one of a wrestler by the
 same artist in the ,pinakotheke on the 
,akropolis4 ,pliny mentions paintings1  
the works of great masters1             
representing victors3 thus the currentes
 quadrigae by the elder  ,aristeides of 
,thebes1#bgc a victor certamine gymnico 
palmam tenens  by ,eupompos1#bgd an     
athlete by ,zeuxis1#bge the victor      
,aratos with a  trophy by               

,leontiskos1#bgf an athlete by          
,protogenes1#bgg two hoplite  runners by
 ,parrhasios1#bgh a luctator tubicenque 
by ,antidotos and  a warrior by the same
 artist1 in ,athens1#bgi which          
represented a man  fighting with a      
shield1 and a man anointing himself1 the
 work of the  painter ,theoros4#bhj     
,apparently the ,hellanodikai allowed   
but one statue for each victory4        
,aischines the ,elean had two victories 
and two statues4#bha ,dikon of          
,kaulonia and ,syracuse had three       
victories and three statues4#bhb  ,the  
,spartan ,lykinos had two victories and 
two statues by ,myron1 but  we have     
already said that the second statue was 
probably that of his  charioteer1 the   
two forming part of an equestrian       
group4#bhc ,kapros  of ,elis won two    
victories and had as many statues4#bhd  
,on the other  hand ,troilos of ,elis1  
who won in two events1 had only one     
statue4#bhe  ,similarly ,arkesilaos of  
,sparta had two victories in the        

chariot-race  and only one statue4#bhf  
,xenombrotos of ,cos1 who appears to    
have won  once only1 had1 however1 two  
monuments1 one mentioned by ,pausanias  
and  the other known to us from the     
recovered inscription4#bhg ,but this    
last case seems to be the only known    
exception4    ,when the victor was      
unable to set up his monument1 whether  
because of  youth1 poverty1 early death1
 or other reason1 sometimes the         
privilege  was utilized by a relative1 a
 friend1 or by his native city4 ,in any 
case it was a private affair with which 
the ,elean officials had no  concern4   
,we have examples1 consequently1 of the 
statue being set up  by the son1#bhh    
father 7especially in recovered         
inscriptions after  the time of         
,augustus71#bhi mother1#bij and         
brother2#bia also  several examples of  
statues reared in honor of athletes by  
fellow  citizens4#bib ,there are cases  
in which the trainer set up the         
statue4#bic ,frequently the native city 

performed the duty1 dedicating  the     
statue either at ,olympia or in the     
victor's city4 ,thus ,oibotas1  who won 
the stade-race in ,ol4 #f 7 #gef ,b4    
,c471 had a statue at ,olympia  which   
was erected by the ,achan state out of  
deference to a command of  the ,delphian
 oracle in ,ol4 #hj 7 #dfj ,b4 ,c474#bid
 ,the statue of ,agenor1  by            
,polykleitos the ,younger1 a boy        
wrestler from ,thebes1 was dedicated  by
 the confederacy of ,phokis1 because his
 father was a public friend of  the     
nation4#bie ,the boy runner ,herodotos  
of ,klazomenai had a statue  erected by 
his native town at ,olympia because he  
was the first victor  from there4#bif   
,philinos of ,kos had a statue set up by
 the people of  ,kos at ,olympia        
8because of glory won10 for he was      
victor five times in  running at        
,olympia1 four at ,delphi1 four at      
,nemea1 and eleven at the  ,isthmus4#big
 ,hermesianax of ,kolophon had a statue 
at ,olympia erected  by his city4#bih   

,the pancratiast ,promachos of ,pellene 
had two statues  erected to him by his  
fellow citizens1 one at ,olympia1 the   
other in  ,pellene4#bii ,we know of     
three state dedications of statues at   
,olympia  from inscriptions1 those of   
,aristophon of ,athens1#cjj of          
,epitherses of  ,erythrai1#cja and of   
,polyxenos by the people of             
,zakynthos4#cjb ,lichas  of ,sparta1 at 
a date when the ,spartans were excluded 
from the games1  entered his chariot in 
the name of the ,theban people1 and     
,pausanias  says that his victory was so
 entered on the ,elean register4#cjc ,we
  learn from the ,oxyrhynchus,papyri    
that the public horse of the ,argives   
won at ,olympia in ,ol4 #ge 7 #dhj ,b4  
,c47 and the public chariot in  ,ol4 #gg
 7 #dgb ,b4 ,c474#cjd ,in these latter  
two cases the public  was directly      
interested1 and had there been monuments
 erected to  commemorate the victories  
they would naturally have been set up by
 the  state4    ,it has been wrongly    

assumed that monuments of boy victors   
were  dedicated in the name of their    
parents or relatives4#cje ,on the       
contrary1 we have examples dating back  
to the fifth century ,b4 ,c4 of  boys   
setting up statues at ,olympia4 ,thus   
the inscription from the  base of the   
statue of ,tellon1 who won in the boys' 
boxing match in  ,ol4 #gg 7 #dgb ,b4    
,c471 states that he dedicated his own  
statue4#cjf  ,pausanias says that the   
,eleans allowed the boy wrestler        
,kratinos from  ,aigeira to erect a     
statue of his trainer4#cjg ,of course   
the boy might  need assistance in the   
undertaking1 but this again was no      
concern of  the ,elean officials1 who   
granted the privilege to the victor and 
not  to his relatives4 ,usually the     
statue of a victor was erected soon     
after the victory4 ,we have some        
examples of the statue being erected    
immediately after the victory1          
especially in the case of men victors4  
,thus ,pausanias says that the victor   

,eubotas of ,kyrene1 in consequence  of 
a ,libyan oracle foretelling his victory
 in the foot-race1 had  his statue made 
before coming to ,olympia and erected it
 8the very day  on which he was         
proclaimed victor40#cjh ,the famous     
,milo of ,kroton  spectacularly carried 
his statue into the ,altis on his back  
before he  entered the contest4#cji     
,there are also examples of statues     
being  erected long after the victory1  
sometimes centuries later4 ,we have     
already mentioned that a statue was     
erected to ,oibotas in ,ol4 #hj1  though
 his victory was won in ,ol4 #f4        
,chionis1 who won in running races  in  
,ols4 #bh-ca 7 #ffh-fef ,b4 ,c47 had a  
statue by ,myron erected to his  memory 
,ol4 #gg or #gh 7 #dgb or #dfh ,b4      
,c474#caj ,cheilon of ,patrai1 twice    
victor in wrestling between ,ols4 787   
#ajc and #aae 7 #cfh and #cbj ,b4 ,c471 
had his statue set up after his         
death4#caa ,polydamas of ,skotoussa won 
his victory in the pankration in ,ol4   

#ic 7 #djh ,b4 ,c471 but his statue  by 
,lysippos could not have been erected   
until many years later4#cab  ,glaukos1  
who won the boys' boxing-match in ,ol4  
#fe 7 #ebj ,b4 ,c471 had a  statue by   
the ,aeginetan sculptor ,glaukias much  
later4#cac ,in the case  of boy victors1
 the time between boyhood and coming of 
age was often so  short that in many    
cases we may assume that the statue was 
set up some  time after the victory4#cad
      ,,honors ,,paid ,,to ,,victors    
,,by ,,their ,,native ,,cities4         
,since the victor was deemed the        
representative of the state1 he often   
received a more substantial reward than 
a statue erected at the cost of  his    
fellow citizens4 ,the herald1 in        
proclaiming his victory1 proclaimed     
also the name of his town1 which thus   
shared in his success4 ,at ,athens  it  
was customary for a victor at the great 
games to receive a reward of  money4 ,to
 encourage an interest in athletics     
there1 ,solon established  money prizes 

for victorious athletes4 ,we have       
already said that #ajj  drachm were     
given to a victor at the ,isthmus1 while
 #ejj were allotted  to one at ,olympia4
 ,solon further ordained that victors   
should eat at  the ,prytaneion at the   
public expense4#cae ,probably other     
,greek states  followed the ,athenian   
custom4 ,we know from an inscription    
that the  ,panathenaic victors in the   
stade-race received #ej amphor of oil1  
the  pancratiast #dj1 and others #cj4caf
 ,later1 in ,rome1 victors had special  
privileges granted them1 including      
maintenance at the public expense1  a   
privilege which ,mcenas advised the     
emperor ,augustus to limit to  victors  
at ,olympia1 ,delphi1 and ,rome4#cag    
,augustus in other ways  enlarged the   
privileges of athletes4#cah ,when we    
consider the intimate  connection       
between religion and athletics and the  
,panhellenic fame of a  victor at the   
great games1 we can easily understand   
the indignation of  the native town when

 its athletes did anything dishonorable4
 ,sometimes  a victor was bribed to     
appear as the citizen of some other     
state4 ,thus  ,astylos of ,kroton1 who  
won in running races in ,ols4 #gc-gf 7  
#dhh-dgf  ,b4 ,c471 had himself         
proclaimed in his last two contests a   
,syracusan to  please ,king ,hiero4 ,the
 citizens of his native town burned his 
house and  pulled down his statue1 which
 had been placed there in the temple of 
,hera4#cai ,the ,cretan ,sotades1 who   
won the long running race in ,ol4 #ii  7
 #chd ,b4 ,c471 was bribed at the next  
,olympiad by the city of ,ephesos  to   
proclaim himself an ,ephesian1 and was  
in consequence exiled4#cbj  ,dikon1 a   
victor in running races at the beginning
 of the fourth century  ,b4 ,c41        
proclaimed himself first a citizen of   
,kaulonia1 but later1  8for a sum of    
money10 entered the men's contest as a  
,syracusan4#cba  ,sometimes such        
attempts at bribery proved unsuccessful4
 ,thus the  father of the boy boxer     

,antipatros of ,miletos1 who won in ,ol4
 #ih 7  #chh ,b4 ,c471 accepted a bribe 
from some ,syracusans1 who were bringing
  an offering to ,olympia from          
,dionysios1 to let the boy be proclaimed
  a ,syracusan4 ,but the boy himself    
refused the bribe and had inscribed  on 
his statue by the younger ,polykleitos  
that he was a ,milesian1 the  first     
,ionian to dedicate a statue at         
,olympia4#cbb ,the ,spartan chariot     
victor ,lichas has already been         
mentioned as having entered his chariot 
in the name of ,thebes4 ,the reason was 
that at the time the ,spartans  were    
excluded from entering the games at     
,olympia4 ,he won1 and in his           
excitement tied a ribbon on his         
charioteer with his own hands1 thereby  
showing that the horses belonged to him 
and not to ,thebes4 ,for this           
infraction of the rules he1 though an   
aged man1 was punished by the  umpires  
by scourging4#cbc ,a more disgraceful   
act was selling out1 of  which we have  

two examples at ,olympia4 ,the          
,thessalian ,eupolos bribed  his three  
adversaries in boxing to let him win4   
,all four were fined  and from the money
 six bronze statues of ,zeus1 known as  
,zanes1 were  erected at the entrance to
 the stadion1 inscribed with elegiac    
verses  which warned future athletes    
against repeating such attempts4#cbd    
,more than fifty years later ,kallippos1
 a pentathlete of ,athens1 bribed  his  
opponents and1 being detected1 all were 
fined and from the money1  finally      
collected from the recalcitrant         
,athenians through the influence  of the
 oracle at ,delphi1 six more ,zanes were
 erected4#cbe ,straton  7or             
,stratonikos71 of ,alexandria1 won in   
wrestling and the pankration on  the    
same day in ,ol4 #agh 7 #fh ,b4 ,c474   
,in the wrestling match he had two      
adversaries1 ,eudelos and ,philostratos 
of ,rhodes4 ,the latter had bribed      
,eudelos to sell out and1 being         
detected1 had to pay a fine4 ,out of    

this  money another ,zan was set up and 
still another at the cost of the        
,rhodians4#cbf ,in ,ol4 #aib 7 #ab ,b4  
,c47 and in ,ol4 #bbf 7 #abe ,a4 ,d471  
we  hear of fines for such corruption   
out of which additional ,zanes were     
erected4#cbg ,in ,ol4 #bja 7 #be ,a4    
,d47 ,sarapion1 a pancratiast from      
,alexandria1 became so afraid of his    
antagonist that he fled the day  before 
the contest and was fined--the only case
 recorded of an athlete  being fined for
 cowardice at ,olympia4#cbh ,in ,ol4    
#bah 7 #ic ,a4 ,d47  another            
,alexandrine1 named ,apollonios1 was    
fined for arriving too late  for the    
games at ,olympia4 ,his excuse of being 
detained by winds was  found to be      
false1 and it was discovered that he had
 been making money  on the games in     
,ionia4#cbi    ,cases of bribery were   
known at other games4 ,a third-century  
,b4 ,c4  inscription from ,epidauros    
records how three athletes were fined   
one  thousand staters each     4#ccj    

,the venality of  ,isthmian victors is  
shown by the account of a competitor who
 promised  a rival three thousand drachm
 to let him win and then1 on winning on 
his merits1 refused to pay1 though the  
defeated contestant swore on  the altar 
of ,poseidon that he had been promised  
the amount4#cca ,the  emperor ,nero1 in 
order to win in singing at the ,isthmus1
 had to resort  to force4 ,a certain    
,epeirote singer refused to withdraw    
unless he  received ten talents4 ,nero1 
to save himself from defeat1 sent a band
 of  men who pummelled his antagonist so
 that he could not sing4#ccb    ,often  
the home-coming of a victor at one of   
the national games was the  occasion for
 a public celebration4 ,sometimes the   
whole city turned  out to meet the      
hero4#ccc ,the victory was recorded on  
pillars1 and  poets composed songs in   
its honor which were sung by choruses of
  girls and boys4 ,sometimes a statue   
was set up in the agora or on the       
,akropolis4 ,in the cities of ,magna    

,grcia and ,sicily such adulation  of   
,olympic victors became at times very   
extravagant4 ,thus ,exainetos  of       
,akragas1 who won the stade-race in     
,ols4 #ia and #ib 7 #daf-dab ,b4  ,c471 
was brought into the city in a          
four-horse chariot drawn by his         
fellow-citizens1 and was escorted by    
#cjj men in two-horse chariots  drawn by
 white horses4#ccd ,it is also in the   
,west that we first hear  of victors    
being worshipped as heroes or gods1     
though the custom soon  took root in    
,greece4 ,it was but natural to account 
for the great  strength of famous       
athletes by assigning to them divine    
origin and by  worshipping them after   
death4#cce ,philippos of ,kroton1 who   
won in an  unknown contest about ,ol4   
#fe 7 #ebj ,b4 ,c471 had a heron erected
 in  his honor by the people of ,egesta 
in ,sicily on account of his beauty1  in
 which he surpassed all his             
contemporaries1 and he was worshipped   
after his death as a hero4#ccf ,the     

famous boxer ,euthymos of ,lokroi       
,epizephyrioi1 who won in ,ols4 #gd1    
#gf1 #gg 7 #dhd1 #dgf1 #dgb ,b4 ,c471   
was  worshipped even before his death   
and was looked upon as the son of no    
earthly father1 but of the river-god    
,kaikinos4#ccg ,fabulous feats  were    
ascribed to him1 e4 g41 the expulsion of
 the ,black ,spirit from  ,temessa4#cch 
,during and after his lifetime          
sacrifices were offered  in his         
honor4#cci ,the equally famed boxer and 
pancratiast ,theagenes  of ,thasos1 the 
opponent of ,euthymos1 who won in ,ols4 
#ge and #gf 7  #dhj and #dgf ,b4 ,c471  
was heroized after his death4#cdj ,the  
,thasians  maintained that his father   
was ,herakles4#cda ,the boxer ,kleomedes
 of  ,astypalaia1 who won in ,ol4 #ga 7 
#dif ,b4 ,c471 was honored as a hero    
after death4#cdb ,having killed ,ikkos1 
his opponent1 he became crazed  with    
grief4 ,pausanias recounts his curious  
death4#cdc ,the worship of  such        
athletes was supposed to bestow physical

 strength on their adorers  and         
consequently statues were erected to    
them in many places and were  thought to
 be able to cure illnesses4#cdd ,the    
life of a successful  athlete was looked
 upon as especially happy4 ,in          
,aristophanes' ,plutus1  ,hermes deserts
 the gods and serves ,plutus 8the       
presider over contests10  thinking no   
service more profitable to the god of   
wealth than holding  contests in music  
and athletics4#cde ,plato thought an    
,olympic victor's  life was the most    
blessed of all from a material point of 
view4#cdf  ,in the myth of ,er the soul 
of ,atalanta chooses the body of an     
athlete1  on seeing 8the great rewards  
bestowed on an athlete40#cdg ,the great 
,rhodian pancratiast ,dorieus1 who won  
in ,ols4 #hg1 #hh1 #hi 7 #dcb-dbd  ,b4  
,c471 was taken prisoner by ,athens     
during the ,peloponnesian war1  but was 
freed because of his exploits at        
,olympia4#cdh ,the honor in  which a    
victor was held may also be judged by   

the story of the ,spartan  ephor        
,cheilon1 who died of joy while         
embracing his victorious son            
,damagetos4#cdi ,to quote from ,ernest  
,gardner3 8,the extraordinary1  almost  
super-human honours paid to the victors 
at the great national  contests made    
them a theme for the sculptor hardly    
less noble than  gods and heroes1 and   
more adapted for the display of his     
skill1  as trained by the observation of
 those exercises which led to the       
victory40#cej ,some of the greatest     
artists were employed1 and great  poets 
from ,simonides of ,keos down1 including
 such names as ,bacchylides  and        
,pindar1 were employed in singing their 
praises4 ,although it must  be confessed
 that the majority of the artists of    
victor statues at  ,olympia are little  
known or wholly unknown masters1        
,pausanias mentions  among them such    
renowned names as ,hageladas1           
,pythagoras1 ,kalamis1  ,myron1         
,polykleitos1 ,lysippos1 and possibly   

,pheidias4 ,certain other  great names1 
however1 are absent from his lists1 e4  
g41 ,euphranor1  ,kresilas1 ,praxiteles1
 and ,skopas4 ,such extravagant         
reverence of ,olympic  and other victors
 as we have outlined met1 of course1    
with violent  protests all through      
,greek history1 just as the excessive   
popularity  of athletics has in our     
time4 ,the philosopher ,xenophanes of   
,kolophon1  who died #dhj ,b4 ,c41 was  
scandalized at the offering of divine   
honors  to athletes4#cea ,while he      
denounced the popularity of athletics1  
,euripides later denounced the          
professionalism which had begun to creep
  in after the middle of the fifth      
century ,b4 ,c4#ceb ,plato1 though a    
strong advocate of practical physical   
training for war1 was opposed  to the   
vain spirit of competition in the       
athletics of his day4 ,he  complained   
that professional athletes paid         
excessive attention to diet1  slept     
their lives away1 and were in danger of 

becoming brutalized4#cec  ,the last     
attack on professional athletics in     
point of time was made  in the second   
century ,a4 ,d4 by ,galen1 in his       
,exhortation to the  ,arts4#ced ,in this
 essay the eminent physician contended  
that the  athlete was a benefit neither 
to himself nor to the state4 ,when we   
study the brutal portraits of           
prize-fighters on the contemporary      
mosaics of the ,baths of ,caracalla at  
,rome1 we can see to what depths  the   
old athletic ideal had sunk1 and the    
justness of his rebuke4#cee             
,,votive ,,character ,,of ,,victor      
,,dedications4    ,that chariot and     
hippic monuments were votive in         
character can  scarcely be doubted4     
,pausanias distinguishes between gymnic 
victors  and equestrian ones4#cef ,all  
authorities agree that equestrian       
monuments were different in origin and  
character from those of other           
victors4#ceg ,gardiner believes that if 
the ,olympic games developed  out of a  

single event1 it was not the stade-race1
 but the chariot-race  or               
heavy-armed-race4 ,he shows that the    
custom of making the stade  runner      
eponymous for the ,olympiad is not      
earlier than the third century  ,b4 ,c41
 and did not arise from the importance  
of that event1 but from  the accident of
 its coming first on the program and    
first on the list  of victors4#ceh      
,equestrian monuments were dedicated at 
,olympia all  through antiquity1 from   
the sixth century ,b4 ,c4 to the second 
,a4 ,d4 ,the  oldest was that of the    
,spartan ,euagoras already mentioned1   
who won in  the chariot-race three times
 in ,ols4 787 #eh-fj 7 #edh-edj ,b4     
,c474#cei  ,the latest dated example is 
that of ,l4 ,minicius ,natalis of ,rome1
 who  won in ,ol4 #bbg 7 #abi ,a        
4,d474#cfj ,some of the inscriptions    
pertaining  to equestrian groups are in 
verse1#cfa while others are in          
prose4#cfb  ,most of them have the usual
 dedicatory word 1#cfc or the  formula  

1#cfd while others have the word #cfe   
and a  few have no dedicatory word at   
all4#cff    ,the question arises1 then1 
whether ordinary victor monuments in the
  ,altis were votive in the sense that  
these equestrian ones were1 or  merely  
honors granted to the victors4 ,the     
crown of wild olive was  merely a       
temporary reward suiting the occasion of
 the victory4 ,the  privilege of setting
 up a statue was granted in order to    
perpetuate  the fame of that occasion4  
,in a well-known passage ,pausanias     
makes a  sweeping generalization about  
monuments at ,athens and ,olympia4#cfg  
,he  says that all objects on the       
,akropolis--including statues--were   or
 votive offerings1 while some of those  
at ,olympia were dedicated to  the god1 
but that the statues of athletes were   
mere prizes of victory4  ,in another    
passage#cfh also1 in distinguishing the 
various sorts of  monuments at ,olympia1
 he expressly says that the statues of  
athletes  were not devoted to ,zeus1 but

 were marks of honor 7  7  bestowed on  
the victors4 ,these statements of the   
,periegete have given  rise to a good   
deal of fruitless discussion4           
,furtwaengler follows  ,pausanias in    
saying that the right of setting up     
statues was ein  wesentlicher ,theil des
 ,siegespreises4#cfi ,that such         
erections at  ,olympia were considered  
as high honors is implied by the wording
 of  many of the inscriptions which have
 been recovered from the bases of  the  
statues4 ,thus on that of the boxer     
,euthymos are the words   '    4#cgj    
,furtwaengler1 therefore1 has           
promulgated the theory that the victor  
statues at ,olympia were in no  sense   
votive1 though they were considered to  
be the property of the god  in whose    
grove they stood4 ,he cites the fact    
that the inscribed bases  of such       
monuments down to the first century ,b4 
,c41 with the exception  of a few       
metrical epigrams1 make no mention of   
dedications1 and that in  these         

exceptions the word  was added for      
metrical reasons1#cga  while during the 
same centuries regular votive offerings 
77  invariably have the word 4#cgb ,one 
inscription1 that from the  base of the 
statue of ,euthymos of ,lokroi1 is both 
metrical and in  prose2#cgc but it seems
 to have been changed later in two      
places1 the  second line originally     
ending in a pentameter1 and the third   
line1 with  1 being added               
afterwards4#cgd ,also the prose         
inscription#cge  referred by ,roehl to  
the statue of the wrestler ,milo is     
rejected  by ,dittenberger4 ,the oldest 
prose inscription which makes a votive  
offering out of a victor statue at      
,olympia is that of ,thaliarchos1  who  
won his second victory in boxing some   
time between #dj and #cj ,b4  ,c4#cgf   
,then follow certain prose inscriptions 
of imperial times4#cgg  ,dittenberger   
concludes that for four hundred years   
there is no case  of such a             
dedication4#cgh ,from the evidence of   

the inscriptions  from statue bases1    
therefore1 it is clear that the         
distinction made  by ,pausanias between 
honor and victor statues did not hold   
good  in his day1 since the words  and  
were then used on  victor monuments at  
,olympia1 as the inscriptions of the    
imperial age  just cited show1 but that 
it did hold good for centuries before   
the  ,roman period4 ,pausanias must have
 based his statement1 therefore1  not on
 observation1 but on the words of some  
earlier writer4#cgi  ,furtwaengler's    
reasoning has been followed pretty      
generally by  archologists4#chj ,while  
some1 however1 leave the question in    
doubt1#cha others are opposed to the    
idea that these statues were not        
votive4 ,thus ,r4 ,schoell believes that
 the victor monuments were as  truly  as
 the olive crowns4#chb ,reisch1 who has 
discussed the  question at length1#chc  
believes1 in opposition to the earlier  
view of  ,furtwaengler1 that everything 
within the ,altis must always ipso facto

  have been regarded as dedications to  
the god4 ,this would explain the        
frequent omission of the name of the    
god1 which would be superfluous1  the   
victor being content with inscribing his
 own name and the contest  in which he  
was victorious4 ,even the name of the   
contest does not  always appear4#chd    
,reisch explains the omission of the    
formula   in earlier inscriptions on the
 ground of epigrammatic brevity4#che    
,the truth must lie somewhere between   
the extremes represented by  the views  
of ,furtwaengler and ,reisch4 ,some     
athlete statues may have  been votive1  
while others were not4 ,thus ,rouse     
argues#chf that  originally all victor  
statues at ,olympia were as truly votive
 as  equestrian groups1 and as truly as 
those athlete statues continued to  be1 
which were dedicated in the victors'    
native towns4 ,those inscribed  with  at
 ,olympia must have been votive1 for we 
should take  the dedicator at his word1 
instead of believing the formula to be  

added merely to make the verse scan4#chg
 ,there is no reason why an  athlete    
should not dedicate a statue of himself1
 representing himself  as forever       
standing in the presence of the god1 as 
well as a diskos  or jumping-weights2   
for it was customary to make votive     
offerings  representative of the events1
 and this could be done best by         
presenting  the athlete in a statue     
which showed the characteristic attitude
 or the  appropriate attributes4 ,rouse 
furthermore believes that a change was  
slowly wrought in the course of         
centuries1 by which the original votive 
offering became a means of              
self-glorification4 ,equestrian victors 
owed  their victories not to themselves1
 but to their horses1 cars1 drivers1    
and jockeys2 in such cases the group was
 a thing apart from the owner4  ,only   
seldom did such victors dedicate statues
 of themselves alone4 ,even  when the   
victor added a statue of himself to the 
group1 still it was  the chariot and not

 the statue which was emphasized4#chh   
,on the other  hand the ordinary gymnic 
victor relied on himself--on his        
strength1  endurance1 courage1 and other
 qualities2 and in representing the     
contest the victor himself had to be    
represented4 ,consequently1 by the      
fifth century ,b4 ,c41 if not earlier1  
the statues of athletes had become      
memorials of personal glory4            
,,miscellaneous ,,memorials ,,to        
,,victors4    ,a statue was not the only
 memorial erected in honor of an        
,olympic  victor1 though it was by far  
the commonest4 ,we have already         
mentioned  the bronze inscribed diskos  
dedicated by the pentathlete ,p4        
,asklepiades  in the third century ,a4  
,d4#chi ,a green stone leaping-weight   
inscribed  with the name  appears to    
have been dedicated by a victor4#cij    
,in two cases stel were set up in honor 
of victors4#cia ,a curious  dedication  
was a bronze chapel1 which the          
,sikyonian tyrant ,myron  dedicated to  

,apollo at ,olympia4#cib ,in later days 
it became part of  the treasury of the  
,sikyonians4#cic ,outside ,olympia      
various monuments  commemorating        
,olympic victors were set up4 ,these    
will be discussed in  ,chapter ,,viii4  
,,honorary ,,statues4    ,at ,olympia1  
as elsewhere in ,greece1 statues were   
set up to men  honoris causa4 ,such     
statues would be dedicated by admirers1 
either  individuals or states4 ,they    
were in no sense intended to honor the  
god1  though at ,olympia they might be  
classed as 1 just as victor  statues1   
merely because they were erected in the 
sacred precinct4 ,they  were granted to 
individuals not as a privilege1 as      
victor statues  were1 but as free gifts4
 ,dio ,chrysostom gives the difference  
between  victor statues--which he       
classes as --and such honor statues  in 
these words3  7i4 e41 victor statues7   
'    7victor statues7   1    7honor     
statues7        4#cid ,pliny records    
that the ,athenians inaugurated the     

custom  of a state setting up statues in
 honor of men at the public expense     
with the statues of the tyrannicides    
,harmodios and ,aristogeiton by the     
sculptor ,antenor1 which were erected in
 #eji ,b4 ,c41 the year in which  the   
tyrants were expelled4#cie ,he adds that
 a 8refined ambition0 led  to a         
universal adoption of the custom and    
that statues began to adorn  public     
places everywhere and later on even     
private houses4 ,the custom  grew apace 
in the later history of ,greece4        
,demetrios of ,phaleron is  said to have
 had over three hundred statues erected 
in his honor during  his short rgime of 
about a year in ,athens4 ,the ,diadochoi
 and the ,roman  emperors               
enthusiastically took over the custom4  
,pliny gives several  ,roman examples of
 it4#cif    ,at ,olympia ,pausanias     
mentions honorary statues erected to    
thirty-five  men for various            
reasons4#cig ,to several of these men   
more than one  statue was erected4#cih  

,the greater number of these statues    
were  erected to kings and princes1 to  
those of ,sparta1#cii ,athens1#djj      
,epeiros1#dja ,sicily1#djb ,macedonia1  
and ,alexander's ,empire4#djc  ,one was 
erected in honor of the philosopher     
,aristotle1#djd one in  honor of the    
rhetorician ,gorgias of ,leontini1#dje  
one in honor of a  hunter1#djf another  
in honor of a flute-player1#djg and many
 others  in honor of public and private 
men4 ,these statues were set up for     
various reasons4 ,archidamas ,,iii of   
,sparta had his statues erected  to his 
memory because he was the only ,spartan 
king who died abroad  and did not       
receive a formal burial4 ,kylon had a   
statue erected  by the ,aitolians       
because he freed the ,eleans from the   
tyranny of  ,aristotimos4#djh ,pythes of
 ,abdera was thus honored by his        
soldiers  because of his military       
prowess4#dji ,philonides of ,crete was1 
as  we learn from the recovered         
inscription on his statue base1 the     

courier of ,alexander the ,great4#daj   
,pythokritos was honored for his        
flute-playing1 though he does not appear
 to have been a victor4#daa  ,the       
,palaians of ,kephallenia honored       
,timoptolis of ,elis1#dab and the       
,aitolians honored the ,elean           
,olaidas#dac for unknown reasons4 ,at   
least  seven1 if not eight1 of those    
thus honored with statues were ,eleans4 
,some of the men who had honor statues  
were also victors at ,olympia1 a  fact  
which would appear on the inscribed     
base4 ,thus ,aratos1 the son  of        
,kleinias of ,sikyon1 the statesman1 had
 a statue erected to him by  the        
,corinthians4 ,this was doubtless an    
honor statue1 though ,pausanias  also   
says he was a chariot-victor4#dad ,on   
the other hand1 the statue  erected in  
honor of the pentathlete ,stomios was   
probably a victor  monument1 though     
,pausanias says that its inscription    
records that he  was an ,elean cavalry  
general who challenged the enemy to a   

duel1 in  which he was slain4#dae ,in   
some cases it is hard to decide whether 
the  statue is honorary or victor in    
character4 ,in the course of time honor 
statues multiplied1 while those of      
athletes decreased4 ,the recovered      
inscriptions on the latter decrease     
steadily in the fourth and third        
centuries ,b4 ,c41 revive again in the  
second and first1 and decrease  in the  
first ,christian century4 ,they cease   
almost entirely after the  middle of the
 second century ,a4 ,d4                 
,,chapter ,,ii4    ,,general            
,,characteristics ,,of ,,victor         
,,statues ,,at ,,olympia4    ,,plates   
#b-g ,,and ,,figures #c-h4      ,only a 
few insignificant remnants of the forest
 of victor statues  which once stood in 
the ,altis at ,olympia were unearthed by
 the ,german  excavators4 ,most of these
 statues already in antiquity had been  
carried  off to ,italy1#daf while those 
which escaped the spoliation of the     
,roman masters of ,greece were destroyed

 at the hands of the invading  hordes of
 barbarians in the early ,dark ,ages4   
,consequently only here and  there in   
modern museums can isolated fragments of
 these originals be  discovered1 which  
have accidentally survived the ravages  
of time and  man4    ,in the almost     
complete absence of originals1          
therefore1 we depend  for our knowledge 
of them on a variety of sources4 ,in    
attempting to  reconstruct them we have 
two main sources of information to aid  
us1  the literary and the archological4 
,to the former belong the many          
inscriptions found on the statue bases  
recovered at ,olympia1 which  contain   
the name and native city of the victor1 
the athletic contest  in which his      
victory was won1 and frequently some    
account of his  former athletic history2
 epigrams preserved in the ,greek       
anthologies  and elsewhere1 some of     
which agree with those inscribed on the 
statue  bases2 more or less definite    
statements of scholiasts and the        

classical  writers in general1          
especially the detailed account of the  
monuments  of ,olympia contained in the 
fifth and sixth books of the    of      
,pausanias1 who visited the ,altis      
during the reign of  ,marcus ,aurelius  
,antoninus1#dag and also the somewhat   
systematic  treatment of ,greek         
sculptors and their works in the elder  
,pliny's  chapters on the ,history of   
,art4#dah ,to the latter source belong  
the  remnants of statues in bronze and  
marble found at ,olympia1 as well as    
the recovered bases1 on many of which   
the extant footmarks enable us  to      
recover the pose of the statues which   
formerly stood upon them4  ,finally1 in 
reconstructing these athlete statues1 an
 intimate knowledge  of ,greek sculpture
 in all its phases and periods is       
essential4 ,here1  as in the general    
study of ,greek sculpture1 where the    
destruction of  originals has been      
almost complete1 we are largely         
dependent on ,roman  copies which were  

executed by more or less skilled        
workmen1 chiefly  for wealthy ,roman    
patrons of art who wished to use them to
 decorate  the public buildings1 baths1 
palaces1 and villas of ,rome and other  
,italian cities4 ,a careful study of    
these copies has evolved a series  of   
groups1 which have been assigned with   
more or less probability to  this or    
that artist4#dai ,representations of the
 various poses of the  athlete statues  
of ,olympia and elsewhere are found also
 on every sort  of sculptured and       
painted works--reliefs1 vases1 coins1   
gems--which are1  therefore1 valuable in
 any attempt to reconstruct the attitude
 of a  given statue4    ,taking into    
account all these sources of knowledge1 
it has been  possible to reach tolerable
 certainty in reconstructing the main   
types  of these victor monuments1 and in
 identifying schools1 masters1 and      
individual works4 ,this identification  
of athlete statues1 especially  those   
belonging to the fifth and fourth       

centuries ,b4 ,c41 among the  countless 
,roman works which people modern        
museums1 has already been  achieved in  
many cases by archlogical               
investigations4 ,the work of  many      
masters of the archaic period and of the
 most important bronze  sculptors of the
 great period of ,greek art has been    
illustrated by  such ascriptions2       
especially that of ,myron1 who          
represented figures  in rhythmic action 
full of life and vigor2 of the elder    
,polykleitos1  who was a master in      
representing standing figures at rest   
fashioned  according to a mathematical  
system of proportions2 of ,lysippos1 who
  introduced a new canon of proportions 
in opposition to that of his            
predecessor ,polykleitos1 and who       
inaugurated the naturalistic tendency   
in ,greek art1 which was destined to he 
carried to such unbecoming  lengths in  
succeeding centuries4 ,the further      
identification of such  statues1 as our 
knowledge of the tendencies and         

traditions of the  schools of ,greek    
sculpture and our sources of information
 about  athletic art become more and    
more extended1 will be one of the most  
important tasks of the archologist in   
the future4    ,before discussing the   
appearance of individual types of these 
monuments1 we shall consider certain    
general characteristics common to  all  
of them4 ,long ago ,k4 ,o4 ,mueller#dbj 
summed up the common features  of victor
 statues in these words3 ,kurzgelocktes 
,haar1 tuechtige  ,glieder1 eine        
kraeftige ,ausbildung der ,gestalt und  
verhaeltnissmaessig  kleine ,koepfe     
characterisiren die ganze ,gattung von  
,figuren2 die  zerschlagenen ,ohren und 
die hervorgetriebenen ,muskeln          
insbesondere die  ,faustkaempfer und    
,pankratiasten4 ,though in the main this
 excellent  summary still holds good1 we
 are now in a position to correct it in 
part and to add other equally           
characteristic features to it4 ,we shall
  briefly discuss1 therefore1 in the    

light of recent investigations1  certain
 of the characteristics common to this  
genre of sculpture--the  material and   
size of these statues1 their nudity and 
fashion of wearing  the hair1 their     
twofold division into iconic and        
aniconic1 their  proportions1 and1      
lastly1 the assimilation of their       
appearance to  well-known types of hero 
or god4      ,,size ,,of ,,victor       
,,statues4    ,in another section#dba we
 show that the overwhelming majority of 
the  statues in the ,altis were of      
bronze1 though other materials1 stone   
and  wood1 were also used in some cases4
 ,as to the size of these statues1  no  
hard and fast rule seems to have been   
followed1 but we may assume  from the   
evidence at hand that they were in      
general life-size4#dbb  ,lucian would   
have us believe that the ,hellanodikai  
did not allow  victors to set up statues
 larger than life4#dbc ,we know1        
however1 that  there were exceptions to 
such a rule4 ,in all probability the    

statue  of ,polydamas of ,skotoussa by  
,lysippos1 which ,pausanias says stood  
on  a high pedestal1 was larger than    
life-size1 if we may conjecture from    
its elevated position and the probable  
source of ,pausanias' remark that  he   
8was the tallest of men1 if we except   
the so-called heroes and the  mortal    
race which preceded the heroes40#dbd    
,the traces of footprints  on the       
recovered pedestal of the statue of the 
,athenian pancratiast  ,kallias by the  
sculptor ,mikon show that the statue was
 larger than  life-size4#dbe ,the       
footprints on the base of the statue of 
the ,rhodian  boxer ,eukles by the      
,argive ,naukydes are about #cc cm4     
long1 and so the  statue was slightly   
over life-size4#dbf ,we know the actual 
size of  at least two of these ,olympic 
statues4 ,the scholiast on ,pindar1 ,ol4
  ,,vii1 ,argum41 on the basis of a     
fragment from ,aristotle's lost work  on
 the ,olympic victors and one from the  
little-known writer ,apollas            

,ponticus1#dbg says that the statue of  
the ,rhodian boxer ,diagoras was  #d    
cubits and #e fingers tall1#dbh i4 e41  
about #f feet #d4e inches1  somewhat    
over life-size4#dbi ,from the same      
scholiast we learn that the  statue of  
the son of ,diagoras1 the pancratiast   
,damagetos1 was #d cubits  high1 or less
 than that of the father by #e fingers1 
and consequently  just under #f         
feet4#dcj ,the footprints on the base of
 the statue of  the boxer ,aristion by  
the elder ,polykleitos are #bi cm4 long1
 and so  the statue was just            
life-size4#dca ,there are several       
examples of such  life-size statues1#dcb
 while others are slightly below        
life-size4#dcc  ,the ,polykleitan statue
 of a boxer in ,kassel is under         
life-size4#dcd  ,the marble head of a   
statue found at ,olympia1 which we      
ascribe to  ,philandridas1 the          
,akarnanian pancratiast1 by ,lysippos1  
7,frontispiece  and ,fig4 #fi7 is also  
under life-size1#dce as is also that of 

the  pancratiast ,agias found at ,delphi
 7,pl4 #bg and ,fig4 #fh74 ,these two   
are  in harmony with ,pliny's statement 
that ,lysippos made the heads of his    
statues relatively small4#dcf ,perhaps  
this statement of ,pliny was the  basis 
of the opinion of ,mueller recorded     
above that 8comparatively  small heads0 
characterize the whole genre of victor  
statues4 ,we  have in the preceding     
chapter mentioned the marble fragments  
of the  statues of boy victors1         
two-fifths to two-thirds life-size1     
found at  ,olympia4#dcg ,the two marble 
helmeted heads of the archaic period    
found there1 which we shall later       
ascribe to hoplite victors 7,fig4  #cj71
 are exactly life-size4#dch ,of the     
bronze fragments recovered at           
,olympia1#dci the head of a boxer of the
 fourth century ,b4 ,c4 7,fig4  #fa1 ,a 
and ,b7 is life-size1#ddj while the     
extraordinarily beautifully  sculptured 
right arm ascribed to a boy victor by   
,furtwaengler#dda is a  little under    

life-size4      ,,nudity ,,of ,,victor  
,,statues4    ,most of the victor       
statues at ,olympia were nude4#ddb ,in  
the early  period all athletes wore the 
loin-cloth4 ,cretan frescoes show it    
was the custom in the early             
,mediterranean world4 ,the athletes of  
,homer girded themselves on entering the
 games of ,patroklos1#ddc and  the      
girdle appears in the earliest athletic 
scenes on vases4#ddd  ,throughout the   
historic period1 however1 the ,greeks   
entered their  contests in complete     
nudity1 and this nudity naturally was   
carried over  into athletic sculpture4  
,pliny's#dde statement1 ,graeca res     
nihil  velare1 is1 therefore1 correct1  
despite another of ,philostratos to  the
 effect that at ,delphi1 at the         
,isthmus1 and everywhere except at      
,olympia1 the athlete wore the coarse   
mantle4#ddf ,the beginning of the       
change from wearing the loin-cloth to   
complete nudity was ascribed  to an     
accident4 ,the ,megarian runner         

,orsippos in the #aeth ,ol4 7 #gbj  ,b4 
,c47 dropped his loin-cloth while       
running1 either accidentally or  because
 it impeded him4#ddg ,the story was     
commemorated by an epigram1  perhaps by 
,simonides1 which was inscribed on his  
tomb at ,megara4#ddh  ,a copy of this   
epigram in the ,megarian dialect1       
executed in late  ,roman or ,byzantine  
times1 when the original had become     
illegible1 was  discovered at ,megara in
 #agfi and shows that its original was  
the source  of ,pausanias' remarks4#ddi 
,philostratos says that athletes        
contended  nude at ,olympia1 either     
because of the summer heat or a mishap  
which  befell the woman ,pherenike of   
,rhodes4 ,she accompanied her son1 the  
boy  boxer ,peisirhodos1 to ,olympia    
disguised as a trainer1 and in her joy  
at his victory she leaped over the      
barrier and disclosed her sex4#dej  ,the
 practice does not appear to have become
 universal with all athletes  in all the
 competitions at ,olympia until some    

time after ,orsippos' day1  since       
,thukydides says the abandonment of the 
girdle took place shortly  before his   
time and that in his day it was still   
retained by certain  foreigners1 notably
 ,asiatics1 in boxing and wrestling     
matches4#dea ,the  change is not        
illustrated in sculpture4 ,the earliest 
victor statues1  i4 e41 those of the    
8,apollo0 type1 are all nude4 ,the      
nudity of  this type shows an essential 
difference between ,greek and foreigner 
and also between the later ,greek and   
his rude ancestor4 ,plato gives  the use
 of the loin-cloth as an example of     
convention1 by which what  seems        
peculiar to one generation becomes usual
 to another4#deb ,we see  the change1   
however1 in vase-paintings4 ,the        
loin-cloth is common on  seventh-century
 vases1 but is gradually left off in    
later ones4    ,there were exceptions to
 the rule of nudity4 ,statues of        
charioteers  were usually partly or     
wholly dressed in the long chiton1 a    

custom  explained in various ways4#dec  
,the ,delphi bronze ,charioteer 7,fig4  
#ff7 is a good example of a draped one4 
,another auriga almost nude is  shown on
 a decadrachm of ,akragas in the        
,british ,museum1 dating from the  end  
of the fifth century ,b4 ,c4#ded ,there 
are also several examples  of nude      
charioteers4#dee ,the ,olympic runners  
and athletes generally  were also       
bareheaded and barefoot4 ,the only      
exceptions were the  hoplite-runners1   
who wore helmets1 and possibly          
charioteers1 who wore  sandals4#def     
,statues of women victors also were     
draped4 ,though ,ionian  women could    
witness games1#deg and ,spartan girls   
took part in athletic  contests with    
boys1#deh women were rigorously excluded
 from crossing  the ,alpheios during the
 festival at ,olympia4#dei ,they were   
allowed1  however1 to enter horses for  
the chariot-race and1 if victorious1 to 
set up monuments4#dfj ,only one woman   
was allowed to witness the games1  the  

priestess of the old earth cult of      
,demeter ,chamyne1 who could  sit at the
 altar in the stadion during the        
contests4#dfa ,pausanias  notes but one 
exception of a woman infringing the rule
 of admission1  ,pherenike1 the mother  
of the ,rhodian victor ,peisirhodos     
already  mentioned4 ,she was pardoned   
because her father1 brothers1 and son   
were  victors1 but the umpires passed a 
law that thereafter even trainers       
should be nude4#dfb ,while excluded from
 the games proper1 women had  their own 
festival at ,olympia in honor of ,hera1 
which was known as the  ,heraia4 ,these 
games occurred every four years#dfc and 
included a  foot-race between virgins1  
in which the course was one-sixth less  
than  the stadion4 ,the victress        
received an olive crown and also a share
 of  the cow sacrificed to ,hera1 and   
was allowed to set up a painted picture 
of herself in the ,heraion4#dfd ,it has 
been generally assumed that the  statue 
of a girl runner in the ,galleria dei   

,candelabri of the ,vatican  represents 
one of these victresses 7,plate #b71dfe 
since ,pausanias  says they ran with    
their hair down and wore a tunic which  
reached to  just above the knees1       
leaving the right shoulder bare to the  
breast4  ,that the statue represents a  
girl runner seems certain1#dff but that 
it can be referred to one of the        
,olympic girl victresses is doubtful4   
,the description of ,pausanias fits it  
in many respects1 except that  the      
chiton of the statue is too short1 and  
he does not mention the  girdle just    
below the bosom4 ,furthermore1 he does  
not mention statues  of girl victresses1
 but only pictures4 ,nothing can be     
argued from the  palm-branch on the     
tree-stump1 except that the ,roman      
copyist thought it  the statue of a     
victress4 ,it does not necessarily refer
 to a victress  at ,olympia1 for        
,pausanias elsewhere says that the      
palm-branch was given  at many          
contests4#dfg ,the statue represents a  

young girl leaning  forward awaiting the
 signal to start1#dfh but it is         
impossible to say  to what games we     
should refer it4 ,there were girls'     
contests in and out  of ,greece--such as
 at the ,dionysia in ,sparta#dfi and in 
her colony  ,kyrene4#dgj ,such games    
were also held in the stadion of        
,domitian at  ,rome4#dga ,in fact the   
,palatine estate of the ,barberini1 from
 whom the  ,vatican acquired the statue1
 embraced the area of the old stadion of
  ,domitian on the ,palatine4 ,it is    
probably of ,doric workmanship1 as it   
certainly represents a ,dorian victress1
 though not necessarily by a            
,peloponnesian sculptor4#dgb      ,,the 
,,athletic ,,hair-,,fashion4            
,illustration3 ,,plate #b    ,marble    
,statue of a ,girl ,runner4 ,vatican    
,museum1 ,rome4    ,the assumption long 
held that short hair was always         
characteristic of  the athlete is       
incorrect4#dgc ,it is controverted      
equally by literary  evidence and by the

 monuments4 ,the ,homeric ,greek took   
pride in his  long hair1#dgd and        
doubtless the contestants at the games  
of ,patroklos  in the ,iliad had long   
hair4 ,long hair was worn by some       
,athenians  throughout ,athenian        
history4 ,from the end of the fifth     
century ,b4 ,c41  long hair was regarded
 as a mark of effeminacy#dge and was    
regularly  worn only by the knights4#dgf
 ,short hair was worn as a sign of      
mourning in ,athens from early days     
down4#dgg ,only the slaves regularly    
wore very short hair in the fifth       
century ,b4 ,c4#dgh ,the change to      
short hair in ,athens was certainly due 
to the influence of the palstra  and to 
athletics in general4#dgi ,we see just  
the opposite custom in  vogue in        
,sparta4 ,there1 according to the code  
of ,lykourgos1#dhj men  were compelled  
to wear long hair and children short    
hair4 ,thus the  heroes of ,leonidas    
entered the battle of ,thermopyl after  
combing  their long locks4#dha ,after   

the ,persian wars only children and men 
with laconizing or aristocratic         
sympathies#dhb wore their hair long  at 
,athens4 ,when boys arrived at the age  
of 1 they had their  hair cut at the    
feast of the #dhc and dedicated it to a 
god4#dhd ,soon after the ,persian war   
period1 athletes wore their hair  short4
 ,before that time1 the wearing of long 
hair had already been  discarded for    
obvious reasons in wrestling4#dhe       
,similarly1 in boxing  and the          
pankration long hair was in the way1 and
 was therefore early  braided into two  
long plaits which were wound around the 
head in a  peculiar way and tied into a 
knot at the top1 the so-called ,attic  1
 the oftenest mentioned manner of       
dressing the hair in ,greek             
literature4#dhf ,the oldest notice of   
this style of wearing the hair  is found
 in a fragment of ,asios4#dhg           
,herakleides ,ponticus#dhh says  it was 
used up to the time of the ,persian     
wars4 ,the locus classicus  is in       

,thukydides1 who says it was worn in his
 day by old people  only4#dhi ,earlier  
young men wore it1#dij but it went out  
of fashion  between #dgj and #dfj ,b4   
,c4 ,in this connection we should       
mention that the  professional athlete  
under the ,roman ,empire wore his hair  
uncut and  tied up in an unsightly      
topknot known as the cirrus4#dia    ,the
 monumental evidence bears out the      
literary4 ,thus1 on old ,corinthian     
clay tablets freemen are represented    
with long hair1 while slaves  have short
 hair4#dib ,hydrias from ,caere         
7,cerveteri7 and paintings  from        
,klazomenai show that the ,ionians wore 
their hair short for the  first time in 
the sixth century ,b4 ,c41 the custom   
not becoming general  until the fifth4  
,older ,spartan monuments represent the 
hair long4#dic  ,attic vases show long  
hair on men until the second half of the
 sixth  century ,b4 ,c41 when the       
black-figured vase masters began to     
represent  them with short hair1 a      

custom becoming general in the first    
half of  the fifth4 ,in statuary the    
,diskobolos of ,myron 7,pls4 #ba1 #bf1  
and  ,figs4 #cd1 #ce7 has short hair1   
and most statues of athletes before it  
have long hair1 while most after it have
 short4 ,before the time of the         
,diskobolos1 b4-f4 and early r4-f4      
vase-painters often represented         
athletes with braided hair in the       
fashion of the warriors on the ,aegina  
pediments4 ,when short hair began to be 
used on athlete statues1 these  older   
braids were often replaced by victor    
bands4#did ,we may roughly  summarize by
 saying that statues before the date of 
the ,diskobolos  which do not have long 
hair are probably those of athletes and 
not of  gods1 and1 in any case1 if they 
have braids bound up in the fashion of  
the 1 they are almost always statues of 
athletes4#die ,as for  short hair on    
representations of gods1 ,furtwaengler  
has shown that it  appears only after   
the middle of the fifth century ,b4     

,c4#dif ,prior  to that date the hair of
 divinities fell over the neck and      
shoulders  in curls1 as in the statue of
 the ,olympian ,zeus by ,pheidias4 ,by  
the  time of ,perikles1 however1 short  
curly hair reached only to the nape  of 
the neck on statues of ,zeus1 and this  
style frequently appears on  figures of 
the god on ,attic vases of that period4 
,dionysos has short  hair for the first 
time on the ,parthenon frieze4#dig      
,furtwaengler has  shown that ,pheidias 
did not invent the short bound-up hair  
for goddess  types1 as we see it in the 
,lemnian ,athena1 but that he borrowed  
it  from works already in existence4#dih
 ,though the style was unknown in  the  
archaic period1 it appears on helmeted  
heads of ,athena of the early  fifth    
century ,b4 ,c4 showing ,peloponnesian  
style--on coins1 statuettes1  reliefs1  
etc4 ,it appears in ,attic art          
exclusively on bareheaded types  of     
,athena of the period just prior to that
 of the ,lemnia4    ,bulle#dii has gone 

carefully into the technique of the hair
 by  different ,greek artists4 ,in      
archaic times this was 8ein1 man darf   
sagen1 unmoegliches ,problem40 ,the     
primitive means at the disposal  of the 
early artist made it impossible to      
render the hair naturally  and hence it 
was conventionalized4 ,two styles arose 
in archaic times1  which endured with   
modifications all through ,greek art4   
,the one was the  pictorial 7malerisch71
 where only the general appearance of   
the hair  was represented1 the merest   
necessary plastic form being added4#ejj 
,painting here helped the shortcomings  
of the sculptor to some extent4  ,the   
second style was the plastic            
7plastisch71 where individual locks     
were attempted4 ,the plastic use of     
light and shade made the use of  color  
now less necessary4 ,such examples as   
the ,korai of the ,akropolis  ,museum   
and the ,rampin head in the ,louvre show
 the difficulty which  the early artist 
encountered in representing hair        

plastically4 ,in  the ,rampin head#eja  
we see examples of three sorts of       
plastic hair  treatment3 the            
pearl-string 7,perlschnuerre7 on the    
neck1 grained hair  7,koerner7 in the   
beard1 and snail-volutes 7geperlte      
,schnecken7 on  the forehead4 ,none of  
the three seems to belong integrally to 
the head1  but each appears to have been
 pasted on4 ,the pearl-string fashion   
was  first used in the soft poros stone 
and was only later successfully         
transferred to marble4 ,during the      
severe style of ,greek sculpture1  both 
fashions1 pictorial and plastic1 were   
used1 as we see them in the  pediment   
groups from the temple of ,zeus at      
,olympia4 ,in the period of  ,pheidias  
the plastic treatment was used almost   
exclusively1 as we see  in the ,lemnian 
,athena4 ,in the next century           
impressionism came in1  though the      
plastic treatment still continued1 for  
we see it in the  bronze work of        
,lysippos and the marble work of        

,praxiteles4 ,the old  pictorial        
treatment was revived again in the later
 ,hellenistic age4      ,,iconic ,,and  
,,aniconic ,,statues4    ,in a          
well-known passage ,pliny says that 8the
 ancients did not make  any statue of   
individuals unless they deserved        
immortality by some  distinction1       
originally by a victory at some sacred  
games1 especially  those of ,olympia1   
where it was the custom to dedicate     
statues of  all those who had conquered1
 and portrait statues if they had       
conquered three times4 ,these are called
 iconic40#ejb ,many solutions  of this  
passage have been offered4 ,older       
commentators1 as ,hirt and              
,visconti1#ejc interpreted ,pliny's word
 iconicas as life-size  statues4        
,scherer1 however1 easily refuted this  
idea and showed that the  adjective 1   
though ambiguous in its meaning1 had    
nothing to do  with size1 but referred  
rather to an individual as opposed to a 
typical  sense in relation to statuary4 

,in his explanation he referred to the  
words of ,lessing in the ,laokon3 es ist
 das ,ideal eines gewissen  ,menschen1  
nicht das ,ideal eines ,menschen        
ueberhaupt4#ejd ,nowadays  all scholars 
agree that ,pliny's word refers to      
portrait statues4#eje  ,however1        
,pliny's dictum about the right of      
setting up portrait statues  is         
certainly open to doubt4#ejf ,it can not
 have been true of monuments  erected   
before the fourth century ,b4 ,c41 when 
portrait statues were  rare4            
,portraiture was a form of realism and  
was a product of the later  period of   
,greek art--especially after the time of
 ,lysippos4 ,in the  fourth century ,b4 
,c4 we find one well-attested exception 
to ,pliny's  rule4 ,the discovered      
inscription from the base of a monument 
erected to  the horse-racer ,xenombrotos
 of ,cos1#ejg reads 7fifth line73 1    4
 ,these words indubitably point to a    
portrait statue4 ,however1 neither the  
recovered epigram nor ,pausanias        

indicates anything about this victor    
being a 1 and  consequently he appears  
not to have merited a portrait          
statue4#ejh  ,pliny's statement can be  
explained in many ways3 it may be       
apocryphal1  or different usages may    
have fitted different periods2 or the   
rule may  have held good only for gymnic
 victors and not for equestrian ones1   
which1 being strictly votive in         
character1 may not have been restricted 
to its operation4#eji      ,,portrait   
,,statues4    ,pausanias mentions the   
monuments of several victors at ,olympia
 who  were entitled to portrait statues 
on the strength of ,pliny's rule1       
though we have no indication that they  
were so honored4 ,thus he  mentions the 
statues of ,dikon1#eaj ,sostratos1#eaa  
,philinos1#eab  and ,gorgos4#eac ,the   
early fifth-century boxer ,euthymos#ead 
also won  three victories1 but at a time
 before we should expect a portrait     
statue4 ,the ,periegete also mentions   
several victors who won three or  more  

times1 though he does not say that they 
had any statues1 portrait  or           
otherwise4#eae ,percy ,gardner#eaf has  
shown how erroneous is the  prevailing  
view that the ,greeks neglected         
portraiture in their art and  left it   
for the ,romans to develop4 ,he shows   
that ,greek artists of the  third and   
second centuries ,b4 ,c4 left a great   
many portraits of the  highest artistic 
value and that portraits of ,romans     
before the time  of ,augustus1 and the  
best ,roman examples during the ,empire1
 were made  by ,greek sculptors4 ,the   
number of ,greek portraits in our       
museums1  especially in ,rome1 is very  
great4#eag ,from archaic times down to  
the  middle of the fifth century ,b4 ,c4
 we should not expect portraiture4 ,in  
the earlier period1 therefore1 it is    
difficult to distinguish between        
statues of gods and those of men4 ,in   
the great period of ,greek art1  from   
the time of ,perikles on to that of     
,alexander1 the general tendency  of    

,greek sculpture was so ideal that      
portraits1 when they existed1  seem     
impersonal4 ,the later copyists of      
portraits also idealized them4  ,thus   
,pliny1 in speaking of ,kresilas'       
portrait of ,perikles1 says that  this  
artist nobiles viros nobiliores         
fecit--in other words1 that  he         
idealized them4#eah ,the portraits of   
,alexander were especially  idealized4  
,in the first half of the fourth century
 we first hear of  realistic            
portraiture4 ,thus ,demetrios1 who      
flourished #chj-cfj ,b4  ,c41#eai made a
 8very beautiful0 statue of a           
,corinthian general named  ,pelichos1   
which ,lucian#ebj says had a fat belly1 
bald head1 hair  floating in the wind1  
and prominent veins1 8like the man      
himself40#eba  ,except for the hair this
 description by the satirist seems to   
have been  correct4 ,at the end of the  
fourth century ,b4 ,c4 anatomical detail
 began  to be shown in sculpture4       
,largely under the influence of         

,lysippos1  the personality of victors  
began to be emphasized in figure and    
face  in a very realistic way4 ,we can  
distinguish between such portraits of   
victors before and after the time of    
,lysippos4#ebb ,pliny#ebc says  that    
,lysistratos1 the brother of ,lysippos1 
was the first to obtain  portraits by   
making a plaster mould on the features  
and so to render  likenesses exactly1 as
 8previous artists had only tried to    
make them as  beautiful as possible40   
,in any case1 by the time of ,lysippos  
realistic  portraiture began to be      
emphasized4 ,we see it at ,olympia in   
the later  bronze pancratiast's head    
found there 7,fig4 #fa1 ,a and ,b71 and 
in a  still more revolting style in the 
,seated ,boxer of the ,museo delle      
,terme 7,pl4 #af1 and ,fig4 #bg74       
,the reason why the privilege of        
erecting portrait statues was given  so 
seldom to ,olympic victors was probably 
not because it was a highly  esteemed   
honor4 ,the real reason seems to have   

been that portraiture1  with its        
tendency to realism1 subordinated beauty
 to that realism and  so conflicted with
 the ,greek artistic ideal4 ,the        
,thebans had a law  which forbade       
caricature and commanded artists to make
 their statues  more beautiful than the 
models4 ,the ,greeks worshiped beauty   
and hated  ugliness4 ,many games in     
,greece were held in honor of personal  
beauty4  ,thus a contest of manly beauty
 among old men 7 7 was a  part of the   
,panathenaic games at ,athens4#ebd ,a   
contest of beauty among  women1         
originating in the time of ,kypselos1   
king of ,arkadia1 was kept  up until the
 time of ,athenus4#ebe ,we hear of      
contests of beauty in  ,elis1 at which  
three prizes were given1#ebf and of     
similar ones on the  islands of ,tenedos
 and ,lesbos4#ebg ,the ,crotonian       
,philippos1 who won at  ,olympia in an  
unknown contest about #ebj ,b4 ,c41 was 
honored after his  death by the people  
of ,egesta with a heron and sacrifices  

because of  his beauty4#ebh ,at         
,tanagra1 in ,botia1 the most beautiful 
ephebe  was chosen to carry a ram on his
 shoulders around the city wall at  the 
festival of ,hermes ,kriophoros4#ebi ,at
 ,aigion in ,achaia the most  beautiful 
boy was anciently chosen to be priest of
 ,zeus4#ecj ,the most  beautiful youths 
among the ,spartans and ,cretans        
dedicated offerings  to ,eros before    
battle4#eca ,these and similar examples 
show the ,greek  feeling for beauty4    
,the representation of passion and      
violence was  foreign to the spirit of  
the best ,greek art2 it was rather the  
8quiet  grandeur0 7,stille ,groesse7 or 
8repose10 of which ,winckelmann made so 
much1 that was characteristic of that   
art4 ,in ,homer both men and gods1  when
 wounded1 shriek4 ,philoktetes1 in the  
drama of ,sophokles1 wails  throughout a
 whole act1 when suffering from a       
gangrened foot4 ,with  the poets ,zeus  
casts his thunderbolt in anger1 but     
,pheidias has him  hold it quietly in   

his hand4 ,so we can see why portrait   
statues were  rare at ,olympia1 where   
the representation of manly beauty and  
vigor  was the rule4 ,they were ruled   
out1 not because of their increasing    
the honor accorded to the victor1 but   
rather because they honored his         
egotism4#ecb      ,,aniconic ,,statues4 
,accordingly1 since only victors who had
 won three or more contests at  ,olympia
 could set up iconic statues1 the great 
majority of statues  there represented  
some ideal type of common applicability1
 in which  there was no attempt to show 
the individual features of this or that 
victor1 but rather the typical athlete  
of muscular build4 ,the older  statues  
were merely variations of a few types   
which were held to be  appropriate to   
the purpose4 ,in process of time these  
few types in their  treatment of details
 gradually approached truth to nature2  
this was  especially characteristic of  
the ,peloponnesian schools1 which       
adopted  the ,doryphoros of ,polykleitos

 as their norm of proportions4 ,statues 
of victors were the stock subject of the
 closely related schools of  ,argos and 
,sikyon4#ecc ,doubtless1 as ,e4 ,a4     
,gardner says1#ecd there  existed at    
,olympia itself a school of subordinate 
artists1 who filled  the regular demand 
for victor statues4 ,however1 some of   
these statues1  especially those of the 
fifth and fourth centuries ,b4 ,c41 as  
we see  them in originals and in ,roman 
copies1 and read the sthetic judgments  
of them in ,greek writers1 were real    
works of art4      ,,sthetic ,,judgments
 ,,of ,,classical ,,writers4    ,the    
literary evidence for ,greek sculpture  
is1 for the most part1 very             
unsatisfactory4 ,though classical       
writers were uncritical and not fond  of
 analysis1 still they have left us some 
useful opinions about works  of         
sculpture and painting4 ,the history and
 criticism of sculpture  began in       
,greece1 in the fourth century ,b4 ,c41 
with the ,peripatetics4  ,aristotle1    

whose observations on painting and      
sculpture were slight1  did not despise 
the 8mimetic0 arts as did the ,socrates 
of ,plato4#ece  ,in the ,rhetoric#ecf he
 speaks of the beautiful bodies of      
youths who  trained as pentathletes1    
since the varied exercises of the       
pentathlon  made them so4 ,we have a    
similar opinion expressed by ,xenophon  
in what  is1 perhaps1 the most          
interesting passage in ,greek literature
 on  criticism of art4#ecg ,he has      
,sokrates go to the sculptor ,kleito and
  compliment him on his power of        
representing different physical types   
produced by various contests1 noting    
differences between statues of  runners 
and wrestlers and between those of      
boxers and pancratiasts4  ,when asked   
how he makes statues lifelike1 ,kleito  
has no answer1 and  the philosopher says
 it is by the imitation of real men1 i4 
e41  nature4 ,he adds3 8,must you not   
then imitate the threatening eyes of    
those who are fighting and the          

triumphant expression of those who  are 
victorious80 ,though some have thought  
that these words refer to  portrait     
statues1 which were spoken of as a      
matter of course at the  beginning of   
the fourth century ,b4 ,c41 it is more  
reasonable to suspect  that ,sokrates   
was speaking of the older sculptors--for
 we may recognize  ,polykleitos in      
,kleito#ech--;and consequently that he  
is not referring  to portraiture4 ,in   
the ,symposium of ,xenophon#eci         
,sokrates also  complains that the      
long-distance runners 77 have thick     
legs and narrow shoulders1 while boxers 
have broad shoulders and small  legs1   
and he therefore recommends dancing as a
 better exercise than  athletics4 ,as   
such differences in physique occur in   
vase-paintings of  the date1 but not in 
statuary1 the philosopher seems to be   
speaking of  athletics and not of       
sculpture4 ,from these quotations of    
,aristotle and  ,xenophon1 we gather    
that the all-round development of the   

pentathlon  made beautiful athletes1 and
 this beauty must have been carried over
  into their statues4 ,it is essentially
 the young man's contest1#edj  and some 
of the pentathlete victors at ,olympia  
and elsewhere were  noted for their     
strength in after life4 ,thus ,ikkos of 
,tarentum1 who  won at ,olympia in ,ol4 
#gf 7 #dgf ,b4 ,c471 was the best       
teacher of  gymnastics of his day4#eda  
,gorgos of ,elis was the only athlete to
 win  the pentathlon four times at      
,olympia1 besides winning in two running
  races4#edb ,another ,elean1 ,stomios1 
who won three prizes at ,olympia  and   
,nemea1 later became a leader of cavalry
 and beat his enemy in  single          
combat4#edc ,the ,argive ,eurybates1    
victor in the pentathlon at  ,nemea1 was
 very strong1 and later1 in a battle    
with the ,aeginetans1  killed three     
opponents in single combats1 but        
succumbed to the  fourth4#edd ,the      
,spartans and ,krotonians seem to have  
been the best  pentathletes4#ede ,noted 

sculptors made statues of these         
athletes4#edf  ,plato1 in the de        
,leg41#edg has the ,athenian stranger   
praise ,egyptian  art because of its    
stationary character4 ,this bespeaks but
 little  artistic insight for the       
philosopher1 though he was surrounded by
 the  wonderful artistic creations of   
the end of the great fifth century  ,b4 
,c4 ,the later classical writers were   
fond of expressing criticisms  of art4  
,thus ,pasiteles1 a ,greek sculptor     
living in ,rome in the first  century   
,b4 ,c41 wrote five books on celebrated 
works of art throughout  the world4#edh 
,the opinions on art of the ,roman      
,varro appear in the  pages of          
,pliny4#edi ,of all the ancient critics1
 ,cicero was perhaps the  most          
superficial4 ,in a passage in the       
,brutus#eej he gives us his  judgment of
 several sculptors4 ,he finds the works 
of ,kanachos too rigid  to imitate      
nature truthfully1 while those of       
,kalamis1 though softer  than those of  

,kanachos1 are hard2 ,myron1 though not 
completely faithful  to nature1 produced
 beautiful works and ,polykleitos was   
quite perfect4  ,the most trustworthy   
critic of sculpture in antiquity1 on the
 other  hand1 was certainly ,lucian1 as 
we see from many of his utterances1     
especially from his account of an ideal 
statue1 which combined the  highest     
excellences of several noted            
sculptures4#eea ,his criticism  of      
,hegias1 ,kritios1 and ,nesiotes1 to the
 effect that their works were  8concise1
 sinewy1 hard1 and exactly strained in  
their lines10 might  have been made in  
the presence of the group of the        
,tyrannicides  7,fig4 #cb74eeb          
,unfortunately he touches the subject   
only casually1  though he might have    
written a fine history of ,greek art4   
,we must also  refer to two other       
imperial writers1 the elder ,pliny and  
,pausanias4  ,pliny's abstracts on art1 
though our chief ancient literary       
authority  on ,greek sculpture and      

painting1 are neither critical nor      
trustworthy4  ,a careful analysis of his
 chapters shows that he was a borrower  
many  times removed1 though he seldom   
acknowledged it4 ,this is excusable     
when we consider the custom of literary 
borrowing in antiquity and  also the    
fact that his chapters on art form      
merely an appendix to  his ,natural     
,history1 being joined on to it by a    
very artificial  bond1 for his abstract 
on bronze statuary 7,bk4 ,,xxxiv7 is    
brought in  merely to complete his      
account of the metals4 ,his knowledge of
 the  older periods of ,greek art is    
small and his bias in favor of the  two 
,sikyonian sculptors ,lysippos and      
,xenokrates is very evident4 ,his  worst
 mistakes are in chronology4 ,he puts   
,pythagoras after ,myron1 and  both     
after ,polykleitos1 while ,hageladas1   
who is made the teacher of  ,myron and  
,polykleitos1 lives on to the beginning 
of the ,peloponnesian  war4 ,his real   
criticism of sculpture is seen in his   

dictum of the  ,laokon group1 that it is
 a 8work superior to all the pictures   
and  bronzes of the world40#eec ,our    
debt to ,pausanias1 especially for  our 
knowledge of the victor monuments at    
,olympia1 is immense4 ,this  debt may be
 gauged by the fact that he mentions in 
his work many  times more statues than  
any other writer and that a large       
portion of  the ,schriftquellen of      
,overbeck is concerned with him4        
,however1 he  shows little real         
understanding for art4 ,his interest in 
statues is  confined almost entirely to 
those which are noted for their         
antiquity  or sanctity1 and his account 
of them is usually the pivot around     
which  he spins religious or            
mythological stories4 ,throughout his   
work his  chief interest is religious2  
his interest in art for its own sake is 
very small4 ,he devotes many pages to   
the throne of ,zeus at ,olympia1  and   
describes the temple sculptures merely  
because the statue of ,zeus  is within4 

,his detailed account of the athlete    
statues in the ,altis is  made chiefly  
because of his religious and antiquarian
 interest4 ,though  imitating the style 
of ,herodotos1 he does it badly1 so that
 his book is  without much charm4 ,in   
concluding this rough estimate of the   
ancient  criticism of art1 we might     
mention the fragmentary information to  
be  gathered from many other writers1   
,dio ,chrysostom1 ,quintilian1#eed      
,plutarch1 and others1 whose names occur
 frequently in the footnotes4  ,all such
 references to works of art in ancient  
writers are conveniently  collected in  
the great compilation of ,overbeck so   
often quoted4#eee    ,as for sthetic    
judgments of the statues of victors at  
,olympia we  have a few direct hints    
from different writers4 ,the epigram    
from  the base of the statue of the boy 
wrestler ,theognetos by ,ptolichos  of  
,aegina reads in part3   1  '    4#eef  
,pliny says of the sculptor ,mikon1 who 
made the statue  of the ,athenian       

pancratiast ,kallias3 ,micon athletis   
spectatur4#eeg  ,the same writer says of
 the horses of ,kalamis3 equis sine     
aemulo  expressis4#eeh ,kalamis with    
,onatas of ,aegina made a chariot-group 
for the ,syracusan king ,hiero4#eei     
,pausanias1 in mentioning the statue  of
 the boxer ,euthymos by ,pythagoras1    
says that it is       4#efj ,in         
mentioning the statue by the same       
sculptor of  the wrestler ,leontiskos1  
he says3         4#efa ,of the ,argive  
sculptor ,naukydes he says1 when        
speaking  of the statue of the wrestler 
,cheimon1 that it is among the finest   
works of that artist4#efb ,in another   
passage1 in which he describes  the     
dedication of ,phormis at ,olympia1 he  
speaks of an ugly horse1  which1 besides
 being smaller than other sculptured    
horses in the ,altis1  has 8its tail cut
 off1 and this makes it still           
uglier40#efc ,however1  here he is not  
so much interested in its lack of beauty
 as in the  curious fact which he adds1 

that despite its ugliness this bronze   
mare  attracted stallions4      ,,greek 
,,originals ,,of ,,victor ,,statues4    
,illustration3 ,,plate #c    ,bronze    
,head of an ,olympic ,victor4           
,glyptothek1 ,munich4    ,we are not1   
however1 dependent upon such meagre     
scraps of evidence from  classical      
writers1 nor upon contested ,roman      
copies1#efd for an idea  of the         
workmanship of some of the ,olympic     
victor statues4 ,we can judge  it in no 
uncertain way by the few originals found
 at ,olympia and by  others which are to
 be found in ,european museums4 ,as an  
example of the  former we have only to  
recall the life-size bronze bearded head
 of a  boxer or pancratiast of the third
 century ,b4 ,c41 which is now in the   
,national ,museum at ,athens#efe 7,fig4 
#fa1 ,a and ,b74 ,its only decoration1  
an olive crown whose leaves have        
disappeared1 proves it to be from the   
statue of a victor1 and its wild locks1 
brutal look1 flattened nose1  and wide  

mouth represent a naturalistic study of 
the utmost strength  and fineness1 which
 could only have been produced after the
 time of  ,lysippos4 ,we shall discuss  
this remarkable head more fully in      
,chapter  ,,iv4 ,as examples of original
 victor monuments in ,european museums  
we shall mention three4 ,the bronze head
 of a boxer in the ,glyptothek  at      
,munich 7,pl4 #c7 is an original of the 
first rank4#eff ,it is from a  statue   
found near ,naples in #agcj1 which was  
later destroyed1 and it  probably       
represents the head of a boy of about   
twelve years1 a victor  in boxing1 to   
judge from the victor band in the hair  
and the fact  that the visible part of  
the right ear is swollen4 ,like the head
 of  the ,diadoumenos of ,polykleitos   
7,figs4 #bh1 #bi7 this beautiful head   
exemplifies fully the 8ethical grace0 or
 modesty#efg so characteristic  of the  
best ,greek art1 and it certainly merits
 ,furtwaengler's praise  of being the   
8most precious treasure of the          

,glyptothek40#efh ,another  head1 found 
in ,beneventum and now in the ,louvre   
7,fig4 #c7efi is a  splendid ,greek     
original of the last decade of the fifth
 century ,b4 ,c41  and1 as ,mrs4 ,strong
 says1 should arouse in us a sense of   
what precious  relics may still lie     
hidden in our museums4#egj ,the victor  
fillet  in the hair1 consisting of two  
sprays of what seems to be wild olive   
7remnants of which appear in front71    
shows that the statue must once  have   
ornamented the ,altis4 ,like the one in 
,munich1 this head shows  ,polykleitan  
inspiration tempered by ,attic          
influence4#ega ,lastly1 the  bronze head
 of a youth from the tablinum1 of the   
so-called villa of  the ,pisos at       
,herculaneum1 now in ,naples1#egb is1 to
 judge from its  technique1 an excellent
 original ,greek work 7,fig4 #d74 ,here 
again the  hair fillet shows it is from 
a victor statue1 though its provenience 
from ,olympia can not be established4   
,illustration3 ,,fig4 #c4--;,bronze     

,head of an ,olympic ,victor1 from      
,beneventum4 ,louvre1 ,paris4    ,such  
beautiful works of art as these last    
show the influence which the  great     
athletic festivals1 and especially the  
,olympian1 exerted on the  development  
of ,greek sculpture4 ,in the gymnastic  
training carried on in  the gymnasium   
and palstra1 which culminated in these  
festivals1 the  ,greek sculptor found an
 unrivaled opportunity to study the     
naked human  figure in its best muscular
 development and in every pose4 ,in     
fact1 we  may say with ,furtwaengler    
that without athletics ,greek art would 
be  inconceivable4#egc ,to quote from   
another work of the same scholar3       
8,the gymnastically trained bodies of   
these slim boys and    youths and       
vigorous men are evidence of the        
ennobling    effect of athletics4       
,presented in complete nudity they      
are not faithful portraits from life1   
but motives or    models from the       
palstra transformed and exalted to the  

highest ideal of physical beauty and    
strength4 ,they are    the most splendid
 human beings that the art of any period
    has created40#egd      ,,canons ,,of
 ,,proportion4    ,in attempting to     
identify a given statue as the copy of a
 work by this  or that master1 certain  
well-known canons of proportion1 which  
were  taught and practiced by various   
,greek sculptors and schools1 must be   
taken into consideration4               
,illustration3 ,,fig4 #d4--;,bronze     
,head of an ,olympic ,victor1 from      
,herculaneum4 ,museum of ,naples4       
,greek art may1 like ,greek philosophy  
and poetry1 be summarized under  the    
names of three qualities which          
constantly occur in classical           
literature--1  or 1 and 4#ege ,symmetry 
may be defined as 8that technical regard
 for the placing of the parts  to the   
best advantage10 the symmetrical        
arrangement of the parts of a  statue or
 group of figures4#egf ,rhythm1         
following ,vitruvius1#egg is  that      

tertium quid which is indispensable to  
true art4 ,analogy 7,latin              
proportio7#egh refers to the measured   
ratio of part to part in any  given work
 of art1 whether in architecture1       
painting1 or sculpture4  ,most scholars 
nowadays interpret symmetry and analogy 
as the same  thing4 ,pliny#egi says that
 symmetria has no ,latin equivalent1 and
  in several passages#ehj keeps the     
,greek word1 as does ,vitruvius4 ,here  
,otto ,jahn rightly says proportio or   
commensus would have adequately         
translated it4#eha ,p4 ,gardner explains
 the word properly as 8the  proportion  
of one part of the body as measured     
against another40#ehb  ,brunn held that1
 as symmetry was the relation of part to
 part in a  statue at rest1 rhythm      
expressed this relationship in one      
represented  in motion4#ehc ,the        
simplest illustration of rhythm is seen 
in walking3  when the right foot is     
advanced the left arm swings out in     
rhythm1  and so the balance of the body 

is kept4 ,rhythm1 therefore1 has to do  
with balance in motion1 and may refer   
equally to cadence in poetry and  music 
and to movement in sculpture4 ,an       
excellent example in sculpture  is      
afforded by ,myron's ,diskobolos 7,pls4 
#ba1 #bb1 and ,figs4 #cd1 #ce71  while  
the balancing of figures on many ,greek 
reliefs--especially on  ,attic funerary 
stel--illustrates symmetry 7cf4 ,fig4   
#ge74 ,pliny  characterizes certain     
artists by their success in effecting   
symmetry  and rhythm4 ,thus ,myron      
surpassed ,polykleitos in being more    
rhythmic  and in paying more attention  
to symmetry4#ehd ,he says that ,lysippos
  most diligently preserved symmetry by 
bringing unthought-of innovations  into 
the square canon of earlier artists4#ehe
 ,parrhasios was the  first to introduce
 symmetry into painting4#ehf ,diogenes  
,laertios says  that the sculptor       
,pythagoras was the first to aim at     
rhythm as well  as symmetry4#ehg ,in all
 such passages it is clear that canons  

of  proportion are meant4    ,the       
doctrine of human proportions is very   
ancient1 originating in  ,egyptian      
art4#ehh ,it appears early in ,greek    
architecture in the  proportions of     
columns and other members of a          
temple1#ehi and it  was soon transferred
 to sculpture4 ,as ,greek sculpture     
evolved on  traditional lines1#eij we   
should assume that it paid attention to 
the  doctrine of proportions in the     
human figure1 based on numerical ratios1
  and that such a doctrine would vary   
from age to age in the various  schools 
of sculpture4 ,such an assumption is    
borne out by both literary  and         
archological evidence4 ,toward the end  
of ,hellenism many writers  refer to    
just such a measured basis of proportion
 in ,greek art4#eia  ,archologists have 
shown by the careful study of multitudes
 of statues  that such proportions exist
 in ,greek sculpture4 ,thus ,a4         
,kalkmann#eib  has proved that there are
 sets of ratios in the treatment of the 

face  used by successive schools of     
sculpture1 which were canonical1 whether
  formulated or not4 ,g4 ,fritsch#eic   
has done for the whole body what        
,kalkman has done for the face4 ,in     
fact1 anthropometry in relation to      
,greek sculpture has now become an exact
 science4#eid    ,the greatest          
artists--architects1 painters1 and      
sculptors--of all times  have taught and
 practised the doctrine that certain    
proportions are  beautiful1 e4 g41 the  
proportion of the height of the head or 
the  length of the foot to the whole    
body1 or the length of parts of  the    
head or body to other parts4 ,in modern 
times we have only to  mention such     
names as those of da ,vinci1 ,duerer1   
,raphael ,mengs1 and  ,flaxman4#eie ,in 
,greek days there were many artists who 
formulated  such canons of proportions4 
,greek sculptors followed ratios of     
proportions so closely that we have     
statues of various schools1 which  are  
distinguished by fixed proportions of   

parts1 such as the ,old ,attic1  ,old   
,argive1 ,polykleitan1                  
,argive-,sikyonian or ,lysippan1 etc4   
,some of  these schools used the foot as
 the common measure1 while others used  
the palm1 finger1 or other member4#eif  
,the earliest works on ,greek  art were 
treatises1 now lost1 by artists in which
 they worked out  their theories of the 
principles underlying the proportions of
 the  human figure4#eig ,we shall       
briefly consider a few of these canons1 
together with the usual pose of body    
which conformed with them4 ,the         
earliest ,peloponnesian canon1 which we 
can analyze1 was that followed  by      
,hageladas of ,argos and his school1 a  
canon which was still used in  the      
,polykleitan circle4 ,here the weight of
 the body rested upon the  left leg1    
while the right one was slightly bent at
 the knee1 its foot  resting flat on the
 ground2 the right arm hung by the side 
and the left  was usually in action1 and
 the head was slightly inclined to the  

left  side2 the shoulders were          
extraordinarily broad in comparison with
 the  hips1 the right one being slightly
 raised4 ,these qualities produced a    
short stocky figure1 firmly placed4#eih 
,in the middle of the fifth  century ,b4
 ,c41 ,polykleitos worked out a theory  
of proportions in the  form of a        
commentary on his famous statue known as
 the ,doryphoros4  ,this canon was      
characterized by squareness and         
massiveness of build4  ,the weight of   
the body generally rested on the right  
foot1 while  the left was drawn back1   
its foot touching the ground with the   
ball  only4 ,sometimes this pose was    
reversed1 the left foot carrying the    
body-weight1 as in the three bases of   
statues by the master found  at ,olympia
 7i4 e41 those of the athletes          
,pythokles1 ,aristion1  and ,kyniskos1  
to be discussed later71 and in the works
 of some of  his pupils1 notably in     
those of ,naukydes1 ,daidalos1 and      
,kleon4#eii  ,euphranor1 who flourished1

 according to ,pliny1 in ,ol4 #ajd 7    
#cfd-cfa ,b4  ,c471 and wrote works on  
symmetry and color1 was the 8first0 to  
master  the theory of symmetry4#fjj     
,pliny1 however1 found his bodies too   
slender and his heads and limbs too     
large1 a criticism of his painting      
which must have been equally applicable 
to his sculpture4 ,his canon  did not   
make much headway1 as the majority of   
sculptors in his century  were still    
under the domination of the canon of    
,polykleitos4 ,it was  left for         
,lysippos1 in the second half of the    
fourth century ,b4 ,c41  finally to     
break this domination of the great      
fifth-century sculptor4  ,pliny quotes  
,douris as saying that he was the pupil 
of no man1 and  that because of the     
advice of the painter ,eupompos he was a
 follower  of nature--which appears to  
be a cut at the schools which           
mechanically  followed fixed rules4#fja 
,his statues had smaller heads1 and more
  slender and less fleshy limbs1 than   

those of his predecessors1 in order     
that the apparent height of the figure  
might be increased4#fjb ,while          
,polykleitos made his heads one-seventh 
of the total height of the  statue1     
,lysippos made his one-eighth--if this  
change may be seen in the  ,apoxyomenos 
7,pl4 #bh71 which is certainly a work of
 his school1 if not  of the master      
himself4 ,pliny further records his     
saying that while his  predecessors     
represented men as they were1 ,lysippos 
represented them as  they appeared to   
be4 ,this means that ,pliny regarded him
 as the first  impressionistic          
artist4#fjc ,pliny mentions other       
artists who wrote on  art1 and it is    
probable that theories of proportions   
formed the main  element of such        
works4#fjd    ,the best example of      
symmetry1 i4 e41 of the ratio of        
proportions1 in  ,greek sculpture is    
afforded by the ,doryphoros of          
,polykleitos1 which  ,pliny says was    
called the ,canon1 and he adds that this

 sculptor was  the only one who embodied
 his art in a single work4#fje ,the     
identity  of the canon with this statue 
seems to be attested by the anecdote    
told of ,lysippos that the ,doryphoros  
was his master1#fjf and by              
,quintilian's statement that sculptors  
took it as a model4#fjg ,the            
best-preserved copy of the ,doryphoros1 
despite its rather lifeless  character1 
is the one discovered in ,pompeii and   
now in ,naples 7,pl4  #d74fjh ,as other 
late ,roman copies do not conform to the
 identical  proportions of this copy1 it
 is perhaps difficult to say exactly    
what  the canon of ,polykleitos was4    
,possibly the original1 if it had been  
preserved1 would also strike us as      
somewhat lifeless2 but we must  remember
 that the statue was made merely to     
illustrate a theory of  proportions4    
,the dimensions of the ,naples statue   
are known from very  careful            
measurements and the proportions agree  
with those given in the  description by 

,galen to be mentioned4 ,it is almost   
exactly #b meters1  or #f feet #h       
inches1 high4#fji ,the length of the    
foot is #j4cc meter1  or one-sixth of   
the total height1 while the length of   
the face is #j4bj  meter1 or one-tenth  
of the height4 ,e4 ,guillaume#faj has   
made a careful  analysis of it in       
reference to ,galen's#faa statement that
 ,chrysippos  found beauty in the       
proportion of the parts1 8of finger to  
finger1  and of all the fingers to the  
palm and wrist1 and of these to the     
forearm1 and of the forearm to the upper
 arm1 and of all the parts to  each     
other1 as they are set forth in the     
canon of ,polykleitos40 ,he has  found  
that the palm1 i4 e41 the breadth of the
 hand at the base of  the fingers1 is a 
common measure of the proportions of the
 body4 ,this  palm is one-third the     
length of the foot1 one-sixth that of   
the lower  leg1 one-sixth that of the   
thigh1 and one-sixth that of the        
distance  from the navel to the ear1    

etc4 ,such a remarkable correspondence  
in  measurements would seem to show1 if 
we had no other proofs1 that the        
,naples statue reproduces the canon of  
,polykleitos more closely than any      
other4    ,illustration3 ,,plate #d     
,statue of the ,doryphoros1 after       
,polykleitos4 ,museum of ,naples4    ,a 
good example of asymmetry is afforded by
 the so-called ,spinario  of the        
,palazzo dei ,conservatori in ,rome#fab 
7,fig4 #dj74 ,this justly  prized statue
 shows more asymmetry1 perhaps1 than any
 other down to  its date--just before   
the middle of the fifth century ,b4 ,c4 
,though its  composition is such that   
there is no vantage-point from which it 
forms  a harmonious whole1 still its    
effect on the beholder is far from      
displeasing4 ,such a creation shows that
 a ,greek artist1 even without  paying  
attention to the symmetrical arrangement
 of parts1 could at  times produce an   
attractive piece of sculpture4          
,,assimilation ,,of ,,olympic ,,victor  

,,statues ,,to ,,types ,,of ,,gods ,,and
 ,,heroes4    ,since ,greek art in the  
main was idealistic1 we should not be   
surprised  to discover in athletic      
sculpture a tendency toward assimilating
  victor statues to well-known types of 
gods or heroes1 especially to  those of 
,hermes1 ,apollo1 and ,herakles1 who    
presided over contests or  gymnasia and 
palstr4 ,this phenomenon is only a      
further example of the  extraordinary1  
almost superhuman1 honors which were    
paid to victors at  the great games4 ,in
 the absence of sufficient means of     
identification1  it is often very       
difficult to distinguish with certainty 
between  statues of victors and those of
 the gods and heroes to whom they were  
assimilated4 ,this difficulty1 as we    
shall see1 is especially observable  in 
the case of ,herakles4 ,even later      
antiquity recognized that statues  of   
athletes were sometimes confused with   
those of heroes1 just as those  of      
heroes were with those of gods1 as we   

learn from a passage in ,dio            
,chrysostom's oration on ,rhodian       
affairs4#fac ,this difficulty is one  of
 the most perplexing problems that still
 face the student of ,greek  sculpture4 
,it was not an uncommon custom in       
,greece to heroize in this way an       
ordinary dead man4#fad ,one of the most 
striking instances of this  custom is   
afforded by the so-called ,hermes of    
,andros1 a statue found  in a           
grave-chamber on the island in #ahcc and
 now in ,athens#fae 7,pl4  #e74 ,it has 
been a matter of dispute among          
archologists whether this  statue       
represents the god ,hermes or a mortal  
in his guise4 ,although  ,stas#faf looks
 on it as un problme peut-tre  jamais   
insoluble1  there seems little reason   
for doubting that it represents a       
defunct  mortal4 ,its place of finding  
in a tomb along with the statue of a    
woman  of the ,muse type1 which probably
 represents the man's consort1#fag  the 
presence of a snake on the adjacent tree

 trunk1 the absence of  sandals and     
kerykeion1 and the portrait--like       
features--all point to  the conclusion  
that a man and not a god is represented4
 ,the downcast1  almost melancholy1 look
 seems also to make it a funereal       
figure4 ,the  powerful proportions of a 
perfectly developed athlete1 displaying 
no  tendency toward the representation  
of brute force1 show that the man  is   
idealized into the type of ,hermes1 the 
god of the palstra1 rather  than into   
the light-winged messenger of ,olympos4 
,the ,belvedere ,hermes  of the         
,vatican1#fah and a better one known as 
the ,farnese ,hermes  of the ,british   
,museum1#fai are noteworthy replicas of 
the type4 ,the  latter carries the      
kerykeion in the left hand and wears    
sandals1 with  a small chlamys over the 
left arm and shoulder4 ,these attributes
 show  that ,hermes was intended in this
 copy4 ,probably the original of these  
various replicas1 a work dating from the
 end of the fourth century  ,b4 ,c41 and

 ascribed to ,praxiteles or his school  
in consequence of  similarity in pose   
and build of body and head to the       
,hermes of  ,olympia1 was intended to   
represent ,hermes4 ,in the one from     
,andros1  at least1 the copyist intended
 to heroize a mortal under the type of  
the god4 ,similarly1 the statue known as
 the ,standing ,hermes in the  ,galleria
 delle ,statue of the ,vatican1#fbj     
which has the kerykeion and  chlamys1   
whether its original represented        
,hermes1 hero or mortal1 has  been made 
by the copyist to represent ,hermes1 the
 god of athletics1 as  the late         
attribute of wings in the hair proves4  
,other examples of dead  men represented
 as ,hermes are not uncommon4 ,thus a   
,greek grave-stele in  ,verona#fba shows
 the dead portrayed as a winged ,hermes1
 and a similar  figure appears on a     
stele from ,tanagra4#fbb ,the so-called 
,commodus  in ,mantua#fbc is interpreted
 by ,conze and ,duetschke as the figure 
of  a dead youth in ,hermes' guise4 ,but

 this custom of representing defunct    
mortals as gods was less common in      
,roman art4 ,the bust of a dead youth   
on a ,roman grave-stone in ,turin1#fbd  
set up in honor of ,l4 ,mussius1  is a  
good example4 ,here the cock1 sheep1 and
 kerykeion1 symbols of the  god1 show   
that the youth is represented as        
,hermes4    ,illustration3 ,,plate #e   
,statue of ,hermes1 from ,andros4       
,national ,museum1 ,athens4             
,illustration3 ,,fig4 #e4--;,bronze     
,portrait-statue of a ,hellenistic      
,prince4  ,museo delle ,terme1 ,rome4   
,not only dead men1 however1 were       
heroized in this manner4 ,it was not an 
uncommon practice in later ,greece for  
living men1 especially princes1  to have
 their statues assimilated to types of  
gods and heroes1 a  practice which was  
very common in imperial ,rome4#fbe ,thus
 many of the  ,hellenistic princes were 
pleased to have their statues           
assimilated  to those of the heroic     
,alexander4 ,one of the best examples of

 this  process is furnished by the      
original bronze portrait statue of such 
a  prince1 which was unearthed in ,rome 
in #ahhd and is now in the ,museo  delle
 ,terme there 7,fig4 #e74fbf ,it has    
been identified as the portrait  of     
several kings of ,macedon and           
elsewhere1#fbg but the similarity  of   
the head of the statue to heads         
portrayed on ,macedonian coins is  only 
superficial4#fbh ,all that we can say is
 that this beautiful  work1 representing
 the prince in the heroic guise of a    
nude athlete  of about thirty years1    
belongs to the third century ,b4 ,c41   
the epoch  following ,lysippos4 ,the    
sculptor1 wishing to combine the ideal  
with the  real1 appears to have copied  
the motive directly from a bronze statue
  by ,lysippos1 which represented       
,alexander leaning with his left hand   
high on a staff4#fbi ,the pose also     
recalls that of the third-century  ,b4  
,c4 statue of ,poseidon found on ,melos 
and now in ,athens4#fcj  ,the free leg1 

body1 and head modeling correspond so   
nearly with the  ,apoxyomenos 7,pl4 #bh7
 that it was at first called a work of  
,lysippos1  but its lack of repose#fca  
shows that it must be a continuation of 
the  work of that sculptor by some      
pupil1 who wished to outdo his master in
  both form and expression4    ,before  
discussing the subject of the           
assimilation of victor statues  to types
 of god and hero1 we must make it clear 
that often1 for  certain reasons1       
statues of athletes were later converted
 into those  of gods1 and vice versa4   
,such examples of metamorphosing statues
  have nothing to do with the process of
 assimilation under discussion4  ,a few 
examples will make this clear4 ,an      
archaic bronze statuette from           
,naxos1#fcb reproducing the type of the 
,philesian ,apollo of ,kanachos1  since 
it has the same position of hands as in 
the original1 as we see  it later       
reproduced on coins of ,miletos and in  
other copies1#fcc  holds an aryballos in

 the right hand instead of a fawn4 ,as  
it is  absurd to represent ,apollo with 
the bow in one hand and an oil-flask  in
 the other1 it seems clear that in this 
statuette the copyist has  converted a  
well-known ,apollo into an athlete by   
addition of an  athletic attribute4     
,famous statues were put to many        
different uses by  later copyists4 ,thus
 ,furtwaengler has shown that the statue
 of the boy  boxer ,kyniskos by         
,polykleitos at ,olympia1#fcd which     
represented the  athlete crowning       
himself1 was modified to represent      
various deities1  heroes1 etc4 ,thus a  
copy from ,eleusis of the fourth century
 ,b4 ,c41  because of its provenience   
and the soft lines of the face1 suggests
  a divinity1 perhaps ,triptolemos4#fce 
,a copy of the same type in  the ,villa 
,albani 7no4 #bbb7 has an antique piece 
of a boar's head on  the nearby         
tree-stump and1 consequently1 may       
represent ,adonis or  ,meleager4 ,a     
torso in the ,museo ,torlonia 7no4 #bb7 

represents ,dionysos1  another in the   
,museo delle ,terme has a mantle and    
caduceus and so  represents ,hermes1    
while on coins of ,commodus the same    
figure1 with  the lion's skin and club1 
represents ,herakles4#fcf ,no ancient   
statue  was used more extensively as a  
model for other types than the famous   
,doryphoros of ,polykleitos4            
,furtwaengler#fcg has collected a long  
list of later conversions of this work  
into statues both marble and  bronze1   
statuettes1 reliefs1 etc41 representing 
,pan1 ,ares1 ,hermes1 and  in one case  
an ordinary mortal4#fch ,other examples 
of the conversion  of statues will be   
given in our treatment of assimilation4 
,,athlete ,,statues ,,assimilated ,,to  
,,types ,,of ,,hermes4    ,hermes was   
one of the principal  or  1 i4 e41  gods
 who presided over contests1 or who were
 overseers of gymnasia  and palstr1 or  
were teachers of gymnastics 774#fci     
,greek  writers often mention these     
athletic gods4 ,thus ,aischylos#fdj     

often  uses the term1 not in the sense  
of  1 8the great assembled  gods10 7    
71#fda but in the sense of gods who     
presided  over contests4#fdb ,this is   
evident from the fact that ,zeus1       
,apollo1  ,poseidon1 and ,hermes are the
 gods especially mentioned by ,aischylos
  in this sense1 and the first three    
correspond with the ,olympian and       
,nemean games 7,zeus71 the ,pythian     
7,apollo71 and the ,isthmian            
7,poseidon71  while ,hermes is concerned
 in them all4 ,thus the epithet 1 in    
the ,agamemnon of ,aischylos refers to  
,zeus1#fdc ,apollo1#fdd and             
,hermes4#fde ,if the word referred to   
the twelve greater gods1 as some  have  
thought1 other deities more important   
than ,hermes would have been  included4 
,elsewhere the word  always refers to   
contests4#fdf  ,hermes was worshipped at
 ,athens and elsewhere as a god of      
contests4#fdg ,the agonistic character  
of this god is shown by the fact  that  
statues and altars were erected to him  

all over ,greece4#fdh ,he  was sometimes
 coupled with ,herakles as the protector
 of contests1#fdi  and the images of the
 two often stood in gymnasia4#fej ,a    
fragmentary  votive relief of the second
 century ,a4 ,d4 is inscribed with a    
dedication to both by a certain         
,horarios1 victor in torch-racing4#fea  
,athenian ephebes made offerings to     
,hermes1#feb and to ,hermes and         
,herakles in common1 after their        
training was over4 ,thus ,dorykleides   
of ,thera1 a victor in boxing and the   
pankration at unknown games1  dedicated 
a thank-offering to the two4#fec ,hermes
 was early the god  of youthful life and
 sports1 especially those of the        
palstra4 ,he is  said to have founded   
wrestling#fed and inaugurated the sports
 of the  palstra4#fee ,pausanias        
mentions a ,gymnasion of ,hermes at     
,athens#fef  and an altar of ,hermes    
together with one of ,opportunity  77 at
 the entrance to the ,stadion at        
,olympia4#feg ,he says that  the people 

of ,pheneus in ,arkadia held games in   
his honor called the  ,hermaia1#feh and 
he records the defeat of the god by     
,apollo in  running4#fei ,with such an  
athletic record there is little wonder  
that  the ,greek sculptor would often   
take his ideal of ,hermes from the god  
of the palstra and gymnasium1           
representing him as an athletic youth   
harmoniously developed by gymnastic     
exercises4 ,it was but natural that  a  
victor at ,olympia or elsewhere should  
wish to have his statue--which  rarely  
could be a portrait--conform with that  
athletic type4    ,illustration3 ,,plate
 #f    ,statue of the ,standing         
,diskobolos1 after ,naukydes 7874       
,vatican  ,museum1 ,rome4    ,an        
excellent instance of this tendency     
seems to be afforded by the  so-called  
,standing ,diskobolos in the ,sala della
 ,biga of the ,vatican  7,pl4 #f71ffj   
known since its discovery by ,gavin     
,hamilton in #agib4  ,it represents a   
youth who is apparently taking position 

for throwing  the diskos1 the weight of 
the body resting on the left leg1 the   
knees  slightly bent1 the feet firmly   
planted1 and the diskos held in the left
  hand1 just prior to its being passed  
to the right4 ,this position is one     
which immediately precedes that of      
,myron's great statue4 ,the bronze      
original dates from the second half of  
the fifth century ,b4 ,c41 and  has been
 variously assigned to ,myron by ,brunn1
 to ,alkamenes by ,kekul1  followed by  
,overbeck1 ,michaelis and               
,furtwaengler1#ffa and to ,naukydes1    
the brother and pupil of                
,polykleitos4#ffb ,the head of the      
,vatican  statue shows no trace of      
,peloponnesian art1 but rather resembles
 ,attic  types of the end of the fifth  
century ,b4 ,c4 ,however1 as we shall   
see1 this head does not appear to belong
 to the statue4 ,among the works  of    
,alkamenes ,pliny mentions a bronze     
pentathlete1#ffc called the             
,enkrinomenos1 and this work has been   

identified with the statue under        
discussion4#ffd ,such an assumption is  
tenable only if the statue fits         
,pliny's epithet4 ,this epithet appears 
to mean 8undergoing a test10 and  should
 refer not to the statue1 for we know   
nothing of any principle  of selecting  
statues1 but to the athlete represented1
 the   referring to the selection of    
athletes before the contest4#ffe        
,pliny's  statue1 then1 presumably1     
represented a pentathlete1 not in action
  as the ,vatican statue does1 but      
standing at rest before his judges4  ,an
 all-round athlete like a pentathlete   
would especially fit such an  ordeal1   
and his statue1 albeit lighter and more 
graceful1 would be  an ideal one like   
the ,doryphoros of ,polykleitos4#fff ,we
 know how  ,alkamenes treated ,hermes   
from the bearded herma of that god found
  in ,pergamon in #aijc and inscribed   
with his name4#ffg ,its massive         
features1 broad forehead1 and           
wide-opened eyes bear no analogy to the 

head on the ,vatican statue1 nor to the 
one with which ,helbig would  replace   
it4 ,the ascription of the statue to    
,naukydes is better founded4  ,as the   
head of the statue is ,attic and not    
,argive1 it is difficult to  connect the
 work with a ,peloponnesian artist4     
,however1 the present head  of the      
statue can not be shown to belong to it1
 and no other replica  has a head which 
can be proved to belong to the body4 ,a 
fragmentary  replica of the statue1 of  
good workmanship1 was found in ,rome in 
#aiaj1  and nearby a head1 which must   
belong to the torso4#ffh ,this head     
fits the ,vatican statue better than the
 head now on it1 and certainly  comes   
from the ,polykleitan circle--both head 
and body showing elements  of           
,polykleitan style4 ,this new head      
represents the transition from          
,polykleitan art to that of the next    
century1 i4 e41 to the head-types  of   
,skopas1 ,praxiteles1 and other ,attic  
masters4 ,presumably1 then1  in the     

original of this fragment and its       
replicas1 we have a famous  statue--the 
one by ,naukydes mentioned by           
,pliny4#ffi    ,a more important        
question for our discussion is whether  
the ,vatican  statue represents a victor
 7diskobolos7 or ,hermes4 ,g4 ,habich   
has argued  that the pose of the statue1
 standing with the right foot advanced1 
is not that of a diskobolos taking      
position4 ,he quotes ,kietz#fgj  to the 
effect that no vase-painting or other   
monument has the exact  position of this
 statue1 and that the natural position  
for such a  motive is to advance the    
left foot4#fga ,moreover1 the fingers of
 the  right hand1 which are supposed    
especially to uphold the diskobolos     
theory1 are modern in all the replicas4 
,on a coin of ,amastris in              
,paphlagonia1 dating from the           
,antonines1 and on one of ,commodus     
struck  at ,philippopolis in ,thrace1 a 
figure of ,hermes is pictured1 which1 in
  all essentials1 reproduces the        

,vatican statue4#fgb ,since the figure  
on the coins has a kerykeion or         
training-rod in the right hand and  a   
diskos as a minor attribute in the      
left--merely a symbol of the  god's     
patronage of athletics--we should see in
 the ,vatican statue a  representation  
of ,hermes as overseer of the palstra4  
,pliny's words--if  we omit or transpose
 the first et--refer1 therefore1 to a   
statue  of ,hermes-,diskobolos and to   
the ,ram-offerer which stood on the     
,athenian ,akropolis1 to two1 therefore1
 and not to three different  monuments4 
,we should restore all the replicas of  
the statue1 then1  with the caduceus1 to
 represent ,hermes as gymnasiarch4      
,though this  interpretation of the     
statue has found opponents1#fgc the     
evidence is  strong that in it and its  
replicas we have an athlete in the guise
 of  ,hermes4 ,if we think that the     
caduceus can not be brought into harmony
  with the chief motive of the statue1  
we must conclude with ,helbig that  the 

copyist in one isolated case--the one   
copied on the coins--changed  an        
original victor statue into ,hermes by  
adding the herald staff4  ,this would   
make it an instance1 not of assimilation
 of type1 but of  conversion4    ,a     
small bronze statuette standing upon a  
cylindrical base1 which was  found in   
the sea off ,antikythera 7,cerigotto71  
reproduces almost  exactly the attitude 
of the statue of ,naukydes 7,fig4       
#f74fgd ,here the  left hand is         
stretched out horizontally at the elbow1
 but the right  arm is lost1 so that we 
get no additional evidence as to the    
attribute  carried4 ,because of its     
correspondence with the aforementioned  
coins#fge even in detail1 ,bosanquet1   
followed by ,svoronos1 looks upon  this 
8little masterpiece0 as a copy of the   
,argive master4    ,illustration3 ,,fig4
 #f4--;,bronze ,statuette of            
,hermes-,diskobolos1 found  in the ,sea 
off ,antikythera4 ,national ,museum1    
,athens4    ,the statue discovered in   

the ruins of ,hadrian's villa in #agdb  
and now  in the ,capitoline ,museum1#fgf
 which represents an ephebe nude1 except
  for a chlamys thrown around the middle
 of his body1 standing in an easy       
attitude with his left foot resting upon
 a rock and bending forward  with the   
right arm extended in a gesture1 was    
formerly looked upon as  a resting      
pancratiast4 ,because of its general    
likeness to ,praxitelean  figures--the  
head is especially like the ,olympia    
,hermes--,furtwaengler  interpreted the 
figure as that of ,hermes ,logios or    
,agoraios1 the god of  eloquence1 and   
assigned it to an artist near to        
,praxiteles4 ,however1  it is probably  
nothing else than an idealized portrait 
of the age of  ,hadrian or the          
,antonines1 and represents an ephebe1   
probably a victor1  assimilated to the  
type of ,hermes4#fgg    ,illustration3  
,,fig4 #g4--;,bronze ,statue of a       
,youth1 found in the ,sea off           
,antikythera4 ,national ,museum1        

,athens4    ,another example of         
assimilation may be the much-discussed  
bronze statue  in the ,national ,museum 
at ,athens1 which was accidentally      
discovered  in #aija1 along with the    
rest of a cargo of sculptures which had 
been  wrecked off the island of         
,antikythera as it was on its way to    
,rome  about the beginning of the first 
century ,b4 ,c4 7,fig4 #g74fgh ,this    
statue1 the best preserved of the cargo1
 is a little over lifesize  and         
represents a nude youth standing with   
languid grace1 the weight  of his body  
resting upon the left leg1 while the    
right is slightly  bent and the right   
arm is extended horizontally1 the hand  
holding  a round object now lost and    
variously interpreted4 ,in short1 the   
pose strongly resembles that of the     
,vatican ,apoxyomenos 7,pl4 #bi74       
,opinions as to the age and authorship  
of this statue have been very  diverse1 
ranging from the fifth century ,b4 ,c4  
down to ,hellenistic  times and         

ascribing it to many masters and        
schools4 ,kabbadias1 who  published it1 
in conjunction with the other objects1  
directly after  their discovery1#fgi    
thought it would prove to 8rank as high 
among  statues of bronze as does the    
,hermes of ,praxiteles among those of   
marble10 and characterized it as 8the   
most beautiful bronze statue  that we   
possess40 ,waldstein praised it in no   
less exaggerated terms1  and classed it 
along with the ,charioteer from ,delphi 
7,fig4 #ff7 as  among the first ,greek  
bronzes1 if not among the finest        
specimens of  ,greek sculpture4#fhj ,he 
followed ,kabbadias in assigning it to  
the  fourth century ,b4 ,c4 and in      
interpreting it as ,hermes4 ,he at first
  ascribed it to ,praxiteles or his     
school1 but later he thought it more    
,skopaic4#fha ,th4 ,reinach placed it in
 the early fourth century ,b4 ,c41  but 
regarded it as the work of a sculptor   
influenced by ,polykleitos1  naming the 
youthful ,praxiteles or ,euphranor4#fhb 

,he explained the  pose as that of a man
 amusing a dog or a child with some     
round object4  ,a ,greek scholar1 ,a4   
,s4 ,arvanitopoulos1 assigned the work  
to the fifth  century ,b4 ,c4 and to the
 ,attic school1 referring it possibly to
  ,alkamenes4#fhc ,however1 as soon as  
the statue was properly cleansed  and   
pieced together1 its early dating was   
seen to be untenable1 and its           
,hellenistic character became           
evident4#fhd ,e4 ,a4 ,gardner found     
little  resemblance in the head to that 
of the ,praxitelean ,hermes1 but more   
in the treatment of hair and eyes to    
that of the ,lansdowne ,herakles  7,pl4 
#cj1 ,fig4 #ga171 which he ascribes to  
,skopas4#fhe ,he saw in its  labored and
 even anatomical modeling similarity to 
the ,apoxyomenos  of the ,vatican and   
concluded that it was1 therefore1 later 
than the  fourth century ,b4 ,c41 being 
an eclectic piece disclosing influences 
of  several fourth-century sculptors1   
the work of an imitator especially  of  

,praxiteles and ,skopas4 ,k4 ,t4 ,frost 
also assigned the work to the           
,hellenistic age1 but believed it was   
the statue of a god and not of  a       
mortal1 and so followed ,kabbadias and  
,waldstein in interpreting it  as a     
,hermes ,logios4#fhf ,gardner had       
interpreted it as probably the  statue  
of an athlete 8in a somewhat theatrical 
pose10 though admitting  it might be a  
genre figure representing an athlete    
catching a ball1  even if its pose were 
against such an interpretation4 ,in any 
case he  was right in saying that the   
pose1 even if incapable of solution1 was
  chosen by the sculptor with a desire  
for display1 as the centre of           
attraction is outside and not inside the
 statue1 and so is against the   of     
earlier works4 ,more recently1 ,bulle   
has asserted that it  is not an original
 work at all1 but1 as evinced by the    
hard treatment  of the hair1 merely a   
copy4 ,he also interprets it as a       
,hermes1  restoring a kerykeion in the  

left hand1 and he likens its oratorical 
pose to that of the ,etruscan ,orator   
found near ,lago di ,trasimeno in  #aeff
 and now in the ,museo ,archeologico in 
,florence1 or the ,augustus  from       
,primaporta in the ,vatican4#fhg ,for   
its date he believes the  statue marks  
the end of the ,polykleitan             
8,standmotif0 7the breadth  of the body 
showing ,polykleitan influence1 the     
head1 however1 being  too small and     
slender for the ,argive master71 and the
 inception of the  ,lysippan 7the free  
leg not drawn back1 but placed further  
out71 as we  see it in the ,apoxyomenos4
 ,he concludes that its author can not  
have  been a great master4#fhh          
,doubtless1 the statue1 which is the    
pride of  the ,athenian museum1 is      
merely a representative example of the  
kind of  bronze statues made in great   
numbers in the early ,hellenistic age2  
but  it shows the high degree of        
excellence attained at that time by very
  mediocre artists4#fhi    ,apart from  

its period1 our chief interest in the   
statue is to determine  whether a god or
 a mortal is portrayed4 ,as there are no
 certain  remnants of the round object  
held in the right hand1 and no other    
accessories1 many interpretations have  
been possible4 ,especially the  gesture 
of the right arm has been the centre for
 such interpretations4  ,some have      
looked upon this gesture as             
8transitory10 i4 e41 the  sweeping      
gesture of an orator or god of orators1 
and this has led to  the interpretation 
of the statue as ,hermes ,logios4#fij   
,however1 the  round object in the      
fingers is against this assumption4     
,others have  therefore regarded the    
gesture as 8stationary10 i4 e41 the     
figure  is holding an object in the     
hand1 which is the main interest of the 
statue1 and this view has therefore also
 given rise to many different           
explanations4 ,among mythological       
interpretations two have received       
careful attention4 ,svoronos has        

reasoned most ingeniously that the      
statue represents ,perseus holding the  
head of ,medusa in his hand1  and finds 
a similar type on coins1 gems1 and      
rings4 ,thus1 almost  the identical pose
 of the statue is seen on an engraved   
stone in  ,florence1 which shows        
,perseus holding the ,gorgon's head1 and
 ,svoronos  has restored the bronze     
similarly4#fia ,but certainly the right 
arm  of the statue was not intended to  
carry so great a weight4 ,others  have  
seen in it the statue of ,paris by      
,euphranor1 mentioned by ,pliny  as     
offering the apple as prize of beauty to
 ,aphrodite4#fib ,but the  statue       
scarcely reflects the description of the
 ,paris by ,pliny4  ,other scholars have
 interpreted the statue as that of a    
mortal4 ,s4  ,reinach believes that it  
may be a youth sacrificing4#fic         
,kabbadias  and ,e4 ,a4 ,gardner        
admitted it might be the statue of a    
ball-player  as well as of ,hermes4     
,since this latter interpretation has   

become  popular1 let us consider its    
possibility at some length in reference 
to  ball-playing in antiquity4 ,now we  
know that ball-playing 71    7 was a    
favorite amusement of the ,greeks from  
the  time of ,nausikaa and her brothers 
in the ,odyssey#fid to the end of       
,greek history1 and that it was         
practiced at ,rome from the end of the  
,republic to the end of the ,empire4#fie
 ,it seems to have been regarded  less  
as a game than as a gymnastic exercise4 
,its origin is ascribed  to the         
,spartans and to others4#fif ,a special 
sort of ball-playing was  known as 1#fig
 and this is described in a treatise by 
the  physician ,galen1 of the second    
century ,a4 ,d41 in which he recommended
  ball-playing as one of the best       
exercises4#fih ,because of his ability  
in the art of ball-playing1 ,aristonikos
 of ,karystos1 the ball-player  of      
,alexander the ,great1 received         
,athenian citizenship and was honored   
with a statue4#fii ,the philosopher     

,ktesibios of ,chalkis was fond of  the 
game4#gjj ,a special room1 called the 1 
was a part of  the later gymnasium4#gja 
,the game was specially indulged in at  
,sparta4  ,several inscriptions1 mostly 
from the age of the ,antonines1         
commemorate  victories by teams of      
ball-players there4#gjb ,the name   was 
given to ,spartan youths in the first   
year of manhood4 ,these  competitions   
took place in the  at ,sparta4#gjc      
,though1 then1  we should naturally     
expect statues of ball-players1 like the
 one in  ,athens of ,aristonikos already
 mentioned1 the calm mien of the        
,cerigotto  bronze and the direction of 
the gaze are certainly1 as ,th4 ,reinach
 said  earlier1 against interpreting it 
as the statue of one engaged in so      
active a sport4 ,von ,mach1 because of  
its voluptuous appearance1 thought  it  
might represent merely a bon vivant4    
,while ,lechat interpreted it  as       
possibly an athlete receiving a crown   
from ,nike1#gjd ,arvanitopoulos  would  

have the right hand either hold a       
lekythion or be quite empty1  and the   
left a strigil1 thus restoring the      
statue as an apoxyomenos4 ,s4  ,reinach 
would regard it merely as a funerary    
monument4    ,in all this discrepancy of
 opinion it is not difficult to         
recognize  elements of both god and     
mortal blended4 ,the resemblance in the 
expression and features of the face to  
those of the ,praxitelean  ,hermes1 even
 though superficial1 as well as the pose
 of the right arm  recall the god2 the  
muscular build of the figure fits either
 the god  ,hermes1 in his character of  
overseer of the sports of the palstra1  
or  an athlete4 ,it therefore seems     
reasonable to see in this ,hellenistic  
statue of varied artistic tendencies    
merely the representation of an         
athlete1 perhaps of a pentathlete1 who  
is holding a crown or possibly  an apple
 as a prize of victory in the right     
hand1 whose form and  features have been
 assimilated to those of ,hermes4       

,how the statue of an indisputable      
,hermes ,logios1 on the other hand1     
appears1 may be seen in the ,hermes     
,ludovisi of the ,museo delle  ,terme1  
,rome1#gje and in its replica in the    
,louvre4 ,the original of  this marble  
copy1 dating from the middle of the     
fifth century ,b4 ,c41  has been        
variously ascribed to ,pheidias1#gjf    
,myron1#gjg and others4  ,in this statue
 the petasos1 chlamys1 and kerykeion    
indicate the god1  while the position of
 the right arm raised toward the        
head#gjh and  the earnest expression of 
concentration in the face bespeak the   
god of  oratory4 ,the careful replica of
 the statue1 except the head1 in the    
,louvre1 is the work of ,kleomenes of   
,athens1 a sculptor of the first        
century ,b4 ,c4 ,the copyist1 however1  
has given to the original a ,roman      
portrait-head1 whence it has been       
falsely called ,germanicus4#gji ,the    
,paris statue1 then1 is merely another  
example of the conversion of an         

original god-type1 for the sculptor     
wished to represent a ,roman under  the 
guise of ,hermes ,logios1 since the     
inscribed tortoise shell retained  at   
the feet is a well-known attribute of   
the god4    ,another excellent example  
of a true ,hermes head is the fine      
,polykleitan one in the ,museum of ,fine
 ,arts in ,boston1 which is a  copy of a
 well-known type represented by the     
,boboli ,hermes in  ,florence and other 
replicas4#gaj ,though ,s4 ,reinach      
classed this  head as ,kresilan1#gaa its
 true ,polykleitan character has been   
established1#gab even if it does not    
merit the praise formerly given  it by  
,robinson1 of being 8easily the best    
extant copy of a work by                
,polykleitos40#gac    ,illustration3    
,,fig4 #h4--,statue of the so-called    
,jason  7,sandal-binder74 ,louvre1      
,paris4    ,the so-called ,jason of the 
,louvre and its many replicas#gad 7,fig4
  #h7 probably represent athletes in the
 guise of ,hermes4 ,these statues  are  

copies of an original of the end of the 
fourth century ,b4 ,c41 when  the       
favorite motive originated--probably    
with ,lysippos--of representing  a      
figure1 as in this case1 with one foot  
on a rock1 bending over and  tying a    
sandal4 ,since the replicas in ,munich  
and ,paris extend both  arms to the     
right foot1 while those in ,london and  
,athens extend the  left arm over the   
breast1 with the hand resting on the    
right knee1  ,klein has argued two      
different versions of a common type4 ,he
 compares  the former with figures on   
the west frieze of the ,parthenon1 the  
latter with the well-known relief of    
,nike tying her sandal1 from the  ,nike 
balustrade now in the ,akropolis        
,museum4 ,the one type he assigns  to   
,lysippos1 the other 7with both arms    
down7 to an earlier artist4  ,however1  
the proportions of both groups agree    
with the ,lysippan canon  and so we     
should assume only one artist4 ,the     
discussion whether the  figure is tying 

or untying the sandal is as barren as   
the similar  one raised about the       
,athena from the ,nike balustrade2#gae  
but the  question as to who is          
represented by the type is worthy of    
careful  consideration4 ,the statue in  
the ,louvre at first was believed to    
represent ,cincinnatus called from the  
plough1 but ,winckelmann1 without       
evidence1 gave it its present name of   
,jason4 ,in recent years it has  been   
interpreted as ,hermes tying on his     
sandals1 his head raised to  hearken to 
the behest of ,zeus before going forth  
from ,olympos on his  duties as         
messenger4 ,this interpretation was     
based on the description  of a statue of
 the god by ,christodoros1#gaf and the  
fact that the type  conforms with a     
representation of ,hermes on a coin of  
,markianopolis  in ,msia4#gag ,arndt has
 argued from the coin and from the      
motive  of the statue that ,hermes and  
not an athlete is intended2 thus the    
inclination of the head1 he thinks1 is  

not that of an athlete looking  out over
 the theatre1 since the regard is not   
far off1 but merely  upward2 the        
presence of the chlamys and the sandals 
also fits the god4  ,he therefore refers
 the copies to a ,hermes-type originated
 by ,lysippos4  ,but ,froehner's idea   
that they represent athletes1 even if   
the type were  invented for ,hermes1 is 
in line with our idea of the            
assimilation of  athlete types to that  
of ,hermes4 ,in this connection it may  
be added  that the head of an athlete in
 ,turin1#gah dating from the late third 
or early second century ,b4 ,c41 is very
 similar to that of the ,louvre  figure1
 and especially to the ,fagan head in   
,london4 ,the pose of an  athlete       
binding on a sandal was doubtless chosen
 by the sculptor merely  to show the    
play of the muscles4    ,heads of       
,hermes are often found with victor     
fillets1#gai and some  of these         
doubtless are from statues of victors4  
,the beautiful  fourth-century ,b4 ,c4  

,parian marble head of a beardless youth
 in the  ,british ,museum1 known as the 
,aberdeen head1#gbj which resembles so  
strongly the ,praxitelean ,hermes1      
although lacking its delicacy1  may be  
from a victor statue assimilated to the 
god1 for holes show  that it once wore a
 metal wreath4 ,in ,roman days the      
,doryphoros of  ,polykleitos1 as we have
 seen1 was adapted to represent ,hermes1
 and  was set up in various palstr and  
gymnasia4 ,the ,naples copy of the      
,doryphoros stood in the ,palaistra of  
,pompeii1#gba and statues of  ephebes   
carrying lances 7hastae1 7 and called   
,achilleae by  ,pliny1#gbb which must   
have been largely copies of             
,polykleitos' great  statue1 were set up
 in gymnasia4 ,a later type of          
,hermes-head often  appeared on bodies  
of the ,doryphoros1#gbc while other     
statues1  showing the body of the       
,doryphoros draped with the chlamys1#gbd
 and  many torsos following the attitude
 and form of this statue1 have the      

chlamys1 which shows that they were     
intended for the god4#gbe ,hermes  in   
the ,doryphoros pose1 in a bronze of the
 ,british ,museum1#gbf is  probably     
intended for an athlete4 ,furtwaengler  
has shown#gbg that the  old ,argive     
schema of the boxer ,aristion at        
,olympia by ,polykleitos#gbh  was used  
in the master's circle for statues of   
,hermes4 ,the best  preserved example of
 a number of existing statues of this   
type is one  in ,lansdowne ,house1      
,london1#gbi in the pose of the         
,aristion1 holding  an object--probably 
a kerykeion--in the hand and a chlamys  
over the left  shoulder4      ,,athlete 
,,statues ,,assimilated ,,to ,,types    
,,of ,,apollo4    ,apollo figures in    
mythology as an athlete4 ,in the ,iliad1
 at the opening  of the boxing match    
between ,epeios and ,euryalos1#gcj he is
 mentioned  as the god of boxing1 which 
refers1 perhaps1 to his presiding over  
the  education of youths 77 and to his  
gift of manly prowess4  ,pausanias      

records that he overcame ,hermes in     
running and ,ares in  boxing4#gca ,he   
gives these victories of the god as the 
reason why the  flute played a ,pythian 
air at the later pentathlon4 ,plutarch  
says that  the ,delphians sacrificed to 
,apollo the boxer 771 and the ,cretans  
and ,spartans to ,apollo the runner     
774#gcb ,apollo's fight with  ,herakles 
to wrest from the hero the stolen tripod
 of ,delphi1#gcc  which is the subject  
of many surviving works of art1#gcd is  
outside  the realm of athletics4 ,as    
with ,hermes1 it is often difficult to  
distinguish between statues of ,apollo  
and those of victors assimilated  to his
 type4 ,a good instance of this doubt is
 afforded by the long and  indecisive   
discussion of the monument represented  
by several replicas1  especially by the 
,choiseul-,gouffier statue in the       
,british ,museum  7,pl4 #g;,a71 and the 
so-called ,apollo-on-the-,omphalos 7,pl4
 #g;,b7 found  in #ahfb in the ruins of 
the theatre of ,dionysos at ,athens1 and

 now in  the ,national ,museum          
there4#gce ,the bronze original of these
 marble  copies must have been famous1  
to judge from the number of replicas  of
 it4 ,it has been ascribed to many      
different artists--to ,kalamis1         
,pythagoras1 ,alkamenes1 ,pasiteles1#gcf
 to one on more1 to another  on less    
probability4 ,as ,a4 ,h4 ,smith has     
pointed out1 the krobylos  treatment of 
the hair almost certainly indicates an  
,attic sculptor  of the first half of   
the fifth century ,b4 ,c4 ,but here     
again the  main interest in these copies
 is to determine whether the original   
represented ,apollo or an athlete4 ,the 
connection between the ,athens  replica 
and the omphalos found with it is all   
but disproved#gcg  and can not be used  
as evidence that the statue represents  
the god4  ,however1 the original has    
been called an ,apollo because of the   
presence of a quiver on certain of the  
copies4 ,thus1 while we have a          
tree-trunk beside the                   

,choiseul-,gouffier example1 we have a  
quiver  on the copy in the ,palazzo     
,torlonia in ,rome1#gch and on a similar
  statue in the ,fridericianum in       
,kassel1#gci and both tree and quiver   
on the fragment of a leg from the       
,palatine now in the ,museo delle       
,terme4#gdj ,the ,ventnor head in the   
,british ,museum#gda has long locks     
suited to ,apollo1 and the head from    
,kyrene there#gdb was actually  found in
 a temple of ,apollo4 ,it has also been 
pointed out that the  head of a similar 
figure1 undoubtedly an ,apollo1 appears 
on a relief  in the ,capitoline         
,museum1#gdc and a similar figure is    
found on a  red-figured krater in       
,bologna1 which shows the god standing  
on a  pillar with a laurel wreath in the
 lowered left hand and a bowl in the    
right4#gdd ,on coins of ,athens1        
moreover1 we see the figure of ,apollo  
in a similar attitude with a laurel     
wreath in the lowered right hand  and a 
bow in the left4#gde ,from such evidence

 a good case for an  ,apollo has been   
made out by many scholars--,a4 ,h4      
,smith1 ,winter1#gdf  ,helbig1#gdg      
,conze1#gdh ,furtwaengler1#gdi          
,schreiber1#gej ,dickins1  and others4  
,the evidence of the quiver in the delle
 ,terme fragment  and the ,torlonia     
replica is looked upon as a deliberate  
device of the  copyist to indicate the  
god4 ,the attempt especially to connect 
it with  the ,apollo ,alexikakos of     
,kalamis#gea must certainly fall1 since 
the  date is about the only thing in its
 favor4 ,in the long list of statues    
ascribed to this sculptor1#geb there is 
none of an athlete1 and the             
,choiseul-,gouffier type1 whether it    
represents ,apollo or an athlete1  has a
 markedly athletic character4 ,if the   
,delphi ,charioteer 7,fig4 #ff7  be     
ascribed to ,kalamis1 certainly this    
type of statue can have nothing  to do  
with him or his school4 ,nor is the type
 at all identical with the  ,alexikakos 
appearing on coins of ,athens1#gec in   

which the locks of  hair1 in the true   
archaic fashion of a cultus statue1 fall
 down over  the god's shoulders4        
,besides1 the work of ,kalamis1         
characterized by   and 1#ged must have  
been of the delicate later archaic      
style of the transition period4         
,illustration3 ,,plate #g;,a    ,statue 
of the so-called ,apollo                
,choiseul-,gouffier4 ,british ,museum1  
,london4    ,illustration3 ,,plate #g;,b
    ,statue of the so-called            
,apollo-on-the-,omphalos4 ,national     
,museum1  ,athens4    ,waldstein1       
however1 has made a good case against   
the evidence adduced  for interpreting  
the original as ,apollo and he believes 
that the  statue represents an          
athlete4#gee ,the thongs thrown over the
 stump  in the ,choiseul-,gouffier      
statue1 doubtless those of a boxer1 seem
  to point to an athlete for that copy  
at least4 ,the muscular form and        
athletic coiffure of all the copies also
 point to the same conclusion1  even if 

,waldstein's ascription of the original 
statue to the boxer  ,euthymos1 whose   
statue by ,pythagoras of ,rhegion stood 
in the ,altis at  ,olympia1#gef is only 
a guess4 ,wolters thinks the            
,choiseul-,gouffier  statue may         
represent an athlete1 but is against    
,waldstein's  ascription of the work to 
,pythagoras4#geg    ,though differing in
 detail1 the rendering of the hair1     
common to  all the replicas1 is a purely
 athletic coiffure4 ,the argument for   
attributing the original to ,apollo1    
based on the curls around the  face1 is 
of no importance1 since a similar       
coiffure appears on many  ephebe heads  
by various ,attic masters of the same or
 a slightly  earlier period4 ,the hair  
treatment on a little-known replica of  
the  head in the ,british ,museum#geh   
gives us an additional argument in      
determining whether the original was an 
,apollo or not4 ,on this head  there are
 two corkscrew curls side by side just  
back of the ears1  which are so         

inorganically attached and so unsuited  
to the style  of head as to make us     
believe that they were added by the     
copyist1  even if their absence in other
 copies were not proof enough of this   
fact4 ,apparently the copyist adopted a 
well-known type of athlete and  tried to
 convert it into an ,apollo by the use  
of this ,apolline hair  attribute4 ,the 
only other ,apolline attribute1 the     
quiver on the copies  in the ,palazzo   
,torlonia#gei and ,museo delle ,terme1  
may have been  added as a fortuitous    
adjunct by the copyists1 who were       
converting an  original athlete statue  
into one of ,apollo4 ,it may be added1  
also1  that the quiver does not always  
indicate the god1 as we shall see  in   
discussing the ,delian ,diadoumenos     
7,pl4 #ah74 ,when we consider1          
therefore1 the athletic pose1 the       
massive outline and proportions1 the    
high-arched chest1 the muscular arms and
 thighs1 the accentuation of  the       
veins1#gfj the fashion of the hair1 and 

the relatively small size  of the head1 
together with the presence of the       
boxing-thongs on the  ,london example1  
it seems reasonable to conclude that in 
this series of  copies we may see an    
original athlete statue1 which in       
certain cases  was later transformed    
into statues of ,apollo4 ,even if the   
original  was actually an ,apollo1 its  
proportions were far better suited to   
the  patron of athletic exercises than  
to the leader of a celestial choir4     
,an instance of the similar use of the  
same type of head is shown by  the      
colossal statue of ,apollo unearthed at 
,olympia4#gfa ,here we see  the same    
coiffure as in the heads discussed1 but 
the presence of the  remnants of a lyre 
indubitably shows that this copy was    
intended for  ,apollo1 and so it has    
been rightly assigned by ,treu1 not to  
the fifth1  but to a later century4     
,when long hair was no longer the       
fashion for  athletes1 a later artist   
might mistakenly think that the earlier 

plaits  were genuinely ,apolline1 though
 we know that they were common to all   
early athletic art4 ,another head in the
 ,british ,museum has been ably         
discussed by ,mrs4 ,strong1#gfb who     
shows that it comes from an ,apollo  and
 not from an athlete statue4 ,it is     
similar to an ,apollo pictured on  a    
stater struck at ,mytilene about #djj   
,b4 ,c41#gfc and consequently1  like the
 statue from ,olympia1 it is merely an  
instance of the process  of converting  
an athlete statue into that of an       
,apollo4    ,the marble copy of the     
,diadoumenos of ,polykleitos1 found on  
the  island of ,delos in #ahid1 and now 
in the ,national ,museum in ,athens#gfd 
7,pl4 #ah71 has a chlamys and a quiver  
introduced on the marble support        
against the right leg4 ,until recently  
these attributes were regarded  as the  
arbitrary introductions of the          
,hellenistic copyist1 who wished  to    
convert the famous athlete statue into  
one of ,apollo1 but lately it  has been 

suggested that they belonged to the     
original statue1 which  is assumed to   
have represented ,apollo4 ,thus1 ,hauser
 has propounded  the theory that the    
,diadoumenos was originally an          
,apollo4#gfe ,he  does not believe that 
the ,delian sculptor could have         
transformed a  short-haired athlete into
 an ,apollo1 since the typical ,apollo  
after  the time of ,praxiteles was never
 represented as athletic4 ,he later     
supported his theory that the           
,diadoumenos was originally an ,apollo  
by  the evidence of a bronze statuette  
and a ,delphian coin1 and reasserted    
his view that so virile a short-haired  
,apollo did not originate with  the     
later copyist1 but in the fifth century 
,b4 ,c4#gff ,hauser's  argument that    
,apollo was the original of the         
,diadoumenos seems as  unsuccessful as  
his contention that ,polykleitos' other 
great creation1  the ,doryphoros1 is to 
be classed as an ,achilles4#gfg ,loewy  
has  sufficiently opposed ,hauser's     

theory of the ,diadoumenos1 by showing  
that the palm-tree prop in all the      
marble replicas of that statue  points  
to athletic victories4#gfh ,he rightly  
explains the ,apolline  attributes of   
the ,delian copy as the perfectly       
natural additions of an  artist who     
lived on the island reputed to be the   
birthplace of the god4  ,his ascription 
of the ,polykleitan statue to the       
pentathlete ,pythokles1  the base of    
whose statue at ,olympia has been       
found1#gfi is doubtful4  ,more recently 
,ada ,maviglia has shown the literary   
grounds for regarding  the ,diadoumenos 
as an athlete1 and not an ,apollo4#ggj  
,the difficulty of distinguishing       
between statues of athletes and ,apollo 
is also shown by the very beautiful     
fifth century ,b4 ,c4 ,parian marble    
head in ,turin1#gga which is certainly a
 copy of an original ,greek  bronze4    
,furtwaengler1 because of the hair1     
wrongly believed it the head  of a      
diadoumenos1 and connected it with      

,kresilas1#ggb while ,amelung  and      
,wace#ggc have found in it ,attic and   
,polykleitan influences4 ,the  hair is  
parted over the centre of the forehead1 
as in the ,diadoumenos  and the         
,doryphoros1 and in other works         
attributed to the ,polykleitan  school1 
while the locks over the ears and the   
plaits wound round the  head have ,attic
 analogues4#ggd      ,,athlete ,,statues
 ,,assimilated ,,to ,,types ,,of        
,,herakles4    ,herakles was the reputed
 founder of the games at ,olympia4#gge  
,he  was a famous wrestler1 ,pausanias  
frequently mentioning his combats  with 
giants4#ggf ,he won in both wrestling   
and the pankration at  ,olympia4#ggg ,in
 connection with the victory of ,straton
 of ,alexandria1  who won in these two  
events on the same day1#ggh ,pausanias  
names  three men before him and three   
men after him who won in these events   
on the same day4#ggi ,we learn their    
dates from ,africanus4#ghj ,after  the  
date of the last of these victories1    

,ol4 #bjd 7 #cg ,a4 ,d471 the  ,elean   
umpires1 in order to check              
professionalism1 refused to allow       
contestants to enter for both           
events4#gha ,to win the crown of wild   
olive in both these events was therefore
 regarded as a great honor1  and in the 
,olympic lists a special note was made  
of such victors1 who  were called 1 1 1 
4 4 41 ' 4#ghb  ,they also received the 
title of  or 4#ghc  ,statues of         
,herakles1 like those of ,hermes and    
,theseus1 were commonly  set up in      
gymnasia and palstr throughout          
,greece1#ghd and it was  but natural    
that ,olympic victors1 especially those 
in the two events  mentioned1 should    
want their statues assimilated to those 
of the hero4  ,the difficulty of        
deciding whether a given statue is one  
of ,herakles  or of a victor is even    
greater than that of distinguishing     
between  statues of victors and those of
 ,hermes or ,apollo4 ,to quote ,homolle3
  8,maintes fois1 comme pour la tte     

d',olympie1 comme pour plusieurs  autres
 encore1 on peut se demander si le      
personnage reprsent est le  hros luimme 
sous les traits d'un athlte ou un athlte
 fait  l'image  du hros40#ghe ,in       
reference to the statue of ,agias by    
,lysippos  discovered at ,delphi1 which 
is an excellent example of the          
assimilation  process which we are      
discussing1 he continues3 8,ici en      
particulier1  tant donne la nature du   
monument1 il est permis de supposer que 
l'auteur 444 ait voulu lever le         
personnage  la hauteur idale du type    
divin en qu' ,agias ait t assimil       
,hracls40#ghf    ,we shall discuss a few
 examples of this process of            
assimilation to  types of ,herakles4    
,our ascription of the head from        
,olympia mentioned  by ,homolle1 which  
was found in the ruins of the           
,gymnasion1 to the  statue of the       
,akarnanian pancratiast ,philandridas by
 ,lysippos#ghg  7,frontispiece and ,fig4
 #fi7 will be discussed in a later      

chapter4#ghh  ,the swollen ears and     
hair-fillet might pass for hero or      
mortal1 for  in deciding whether a given
 head represents ,herakles or a victor1 
the ears are not the deciding criterion1
 since many heroes had the              
8pancratiast0 swollen ear1 as we shall  
see later4 ,a good example of           
assimilation is seen in the beautiful   
little marble head of a man1  found in  
,athens and now in the ,glyptothek      
,ny-,carlsberg in ,copenhagen1  dating  
from the early ,hellenistic age4#ghi ,as
 traces of color remain  in the hair1   
some have thought that this head came   
from the reliefs  on the 8,alexander0   
sarcophagus from ,sidon1 belonging to   
the body of  a headless youth           
represented there4 ,though the marble   
7,pentelic7  and the dimensions would   
fit1 it would be the only head on the   
sarcophagus with a band in the hair1 and
 so the question can not be  definitely 
decided4#gij ,the head was at first     
called a ,herakles1  though             

,furtwaengler rightly saw in it an ideal
 representation of an  athlete1 even if 
the ears are not swollen4 ,a bronze head
 of a youth  from ,herculaneum1 now in  
,naples1 is evidently a part of the     
statue  of a victor or of ,herakles4#gia
 ,a ,polykleitan ephebe head-type1  with
 rolled fillet around the hair and      
swollen ears1 represented by  replicas  
in ,naples1 in ,rome1 and elsewhere1 may
 represent a boxer in  the guise of the 
hero4#gib ,in the ,roman copy of the    
group of ,herakles  and ,telephos in the
 ,museo ,chiaramonti of the ,vatican1   
,herakles1 still  the god1 wears a      
fillet4#gic ,similarly1 a colossal head 
of mediocre  workmanship in the ,sala   
dei ,busti of the ,vatican represents   
the hero  with a fillet1#gid while      
another head in the ,capitoline ,museum1
 with  fillet and swollen ears1 seems to
 represent ,herakles as a victorious    
athlete4#gie ,many other heads in       
various museums1 which are commonly     
called heads of ,herakles1 may represent

 athletes in the heroic guise4 ,a  good 
example is the ,parian marble terminal  
bust of the fourth century  ,b4 ,c41    
representing a young ,herakles wreathed 
with poplar1 now in the  ,british       
,museum 7,fig4 #ca74gif ,in this head   
the ears are bruised4  ,it seems to have
 been copied from some well-known statue
 of ,lysippan  or ,skopaic tendencies4  
,another head in the ,british ,museum   
shows the  beardless hero1 his hair     
encircled by a diadem1 and his ears     
broken  and crushed4#gig ,this almost   
certainly comes from a victor statue4   
,many bronze statuettes in the ,british 
,museum may be interpreted either  as   
,herakles or as victors4#gih ,a bronze  
from ,corfu represents a nude  ,herakles
 or an athlete1 with the left foot      
advanced and the left hand  extended4   
,the objects held in both hands are     
lost1 but the challenging  pose and     
expression indicate a boxer4#gii        
,similarly a small bronze  in ,berlin1  
represented with a fillet and in the    

walking pose1 may be  a ,herakles or a  
victor4#hjj ,duetschke gives two        
examples of heads  in the ,uffizi1 both 
of them having fillets1 and one of them 
having  swollen ears1 which may come    
from statues of the hero or victors4#hja
  ,heads of the hero with the rolled    
fillet can not1 however1 according  to  
,furtwaengler1 be classed as victors1   
since he believes that this  attribute  
was borrowed from the symposium1 to     
distinguish the glorified  hero         
rejoicing in the celestial banquet4#hjb 
,,athletes ,,represented ,,as ,,the     
,,dioskouroi4    ,kastor is said to have
 won the foot-race and ,polydeukes the  
boxing  match1 at ,olympia4#hjc ,they   
had an altar at the entrance to the     
,hippodrome there1#hjd and were called  
8,starters of the ,race0  at            
,sparta4#hje ,a stadion1 in which they  
were fabled to have  contended1 was     
shown in ,hermione1 in ,corinthia4#hjf  
,kastor was a  famous horse-racer in    
,homer and later writers1#hjg and       

,polydeukes  a famous boxer1#hjh both   
being '  the rider and boxer            
respectively4#hji ,scenes showing       
,athena setting garlands on  victorious 
hoplite racers 787 appear on reliefs of 
the ,dioskouroi  from ,tarentum4#haj ,an
 archaic ,argive inscription tells how a
 certain  ,aischylos won the stade-race 
four times and the hoplite-race three   
times at ,argos1 for which he dedicated 
a slab to the ,dioskouroi1 which        
depicted them in relief4#haa ,an        
inscribed bronze quoit of the sixth     
century ,b4 ,c4 from ,kephallenia7871   
now in the ,british ,museum1 was        
dedicated to the two heroes by ,exodas  
for a victory 7apparently in  the       
pentathlon74#hab ,a bronze four-spoked  
wheel with a dedicatory  inscription in 
their honor was found at ,argos1        
probably the remnant  of a monument     
erected for a chariot victory4#hac      
,doubtless certain  victor statues were 
assimilated to them1 though we have no  
direct  evidence of the fact4 ,ordinary 

dead men appeared in the guise of the   
,dioskouroi on sepulchral reliefs1 just 
as we have seen that in statuary  they  
were heroized into statues of ,hermes4  
,thus a grave-relief in honor  of       
,pamphilos and ,alexandros in ,verona   
shows on the projecting lower  rim the  
two ,dioskouroi1 the figure to the right
 carrying a lance in  the right hand and
 holding the bridle of a horse in the   
left1 while  the figure to the left     
holds a lance in the left hand and      
touches a  horse's head with the        
right4#had ,a votive relief in the      
,british ,museum  represents two youths 
on horseback1 who1 despite the absence  
of the  conical cap or pilleus1 are     
probably the ,dioskouroi4#hae ,their    
short  hair is bound with diadems1 which
 shows that the dead men may have been  
victors4    ,sufficient examples of the 
process of assimilation have now been   
given  to prove that it was not an      
uncommon device of the ancient sculptor 
and to show the difficulty of           

distinguishing between types of gods and
  athletes4          ,,chapter ,,iii4   
,,victor ,,statues ,,represented ,,at   
,,rest4    ,,plates #h-ba ,,and         
,,figures #i-ca4      ,we have seen#haf 
that it was a very old custom in ,greece
 to dedicate  statues of victors at the 
great national games to the god in whose
  honor the games were held4 ,on many   
sites1 especially at ,olympia1 tiny     
statuettes of clay or bronze of very    
primitive technique have been  found in 
great numbers1 which represent victors  
in many attitudes and  ways--as         
horsemen1 warriors1 charioteers1 etc4   
,by the sixth century ,b4  ,c4 this     
ancient custom1 as we learn from        
literary1 epigraphical1 and  monumental 
sources1 had developed1 with the rapid  
progress attained by  the sculptor's    
art1 into the regular practice of       
erecting life-size  statues of athletes 
at the site of the games or in the      
native city  of the victor4 ,especially 
at ,olympia hundreds of such monuments  

were  gradually collected1 whose numbers
 and beauty must have exerted an        
overwhelming impression on the visitor  
to the ,altis4 ,we shall now begin  the 
consideration of these monuments in     
detail4    ,the victor statues at       
,olympia1 as elsewhere1 may be          
conveniently  divided into two main     
groups--those which represent the victor
 as  standing or seated at rest1 before 
or after the contest1 and those  which  
represent him in movement1 i4 e41 in    
some contest schema4#hag  ,examples of  
statues of athletes represented at rest 
are common in ,greek  athletic          
sculpture4 ,we need only mention the    
so-called ,oil-pourer  of ,munich 7,pl4 
#aa71 who is represented as pouring oil 
over his body  to make his limbs more   
supple for the coming wrestling bout2   
the  ,diadoumenos of ,polykleitos 7,pls4
 #ag1 #ah1 and ,fig4 #bh71 who is       
binding  a victor fillet around his head
 after a successful encounter2 the      
,apoxyomenos of the school of ,lysippos 

7,pl4 #bi71 representing an  athlete    
scraping off the oil and dirt from his  
body after his victory4  ,in this class 
of statues1 which forms by far the      
greater number and  shows the richer    
motives1 the poses are quiet and        
reserved1 the figures  are compact1 and 
the expression earnest and even         
thoughtful4 ,as  examples of statues    
represented in movement we need only    
recall such  well-known works as the    
,diskobolos of ,myron with its rhythmic 
lines  and vivacious expression 7,pls4  
#bb1 #bc1 and ,figs4 #cd1 #ce72 the     
bronze  wrestlers of ,naples1 who are   
bending eagerly forward watching for a  
grip 7,fig4 #ea72 or the artistically   
intertwined pancratiast group of        
,florence 7,pl4 #be74 ,such monuments   
show us the varied poses1 the choice  of
 the critical moment1 the truth to life1
 and the masterly rhythm  attained by   
certain sculptors4      ,,the ,,apollo  
,,type4    ,in this chapter we shall    
confine ourselves almost entirely to the

  statues of victors represented at     
rest1 discussing those represented  in  
motion chiefly in the next4 ,most of the
 oldest statues at ,olympia1  dating    
from a time when there were few         
variations in the sculptural  type1 must
 have been represented at rest and in   
the schema of the  so-called 8,apollos40
 ,ever since the discovery of the       
,apollo of ,thera  in #ahcf 7,fig4 #i71 
this genre of sculpture1 the most       
characteristic of  the early period1    
extending from the end of the seventh   
century ,b4 ,c4  to the time of the     
gable groups of ,aegina1 has been       
carefully studied4  ,though we now know 
that the type passed equally well for   
gods and  mortals1#hah we still keep the
 name1 because of its familiarity and   
for the sake of having a common         
designation4 ,that this type actually   
represented ,olympic victors we have    
indubitable proof4 ,pausanias  mentions 
the stone victor statue of the          
pancratiast ,arrhachion1 dating  from   

the first half of the sixth century ,b4 
,c41 which stood in the  agora of his   
native town ,phigalia4 ,he describes it 
as archaic in pose1  with the feet close
 together and the arms hanging down the 
sides to  the hips--the typical         
8,apollo0 schema4#hai ,moreover1 this   
very statue  has survived to our time   
7,fig4 #gi74hbj ,a study1 therefore1 of 
this  type of statue will give us an    
idea of how some of the early statues at
  ,olympia looked4    ,illustration3    
,,fig4 #i4--,statue of so-called ,apollo
 of ,thera4 ,national  ,museum1 ,athens4
    ,illustration3 ,,fig4 #aj4--,statue 
of so-called ,apollo of ,orchomenos4    
,national ,museum1 ,athens4             
,illustration3 ,,fig4 #aa4--,statue of  
so-called ,apollo1 from ,mount ,ptoion1 
,botia4 ,national ,museum1 ,athens4     
,the 8,apollo0 statues1#hba because of  
differences in facial expression1  have 
been conveniently divided into two      
groups3 those represented by  the       
examples from ,thera1 ,melos1           

,volomandra1 ,tenea1 etc41 sometimes    
named the 8grinning0 group1 because the 
corners of the mouth are turned  upwards
 into the so-called 8archaic smile10 and
 those represented  by the examples from
 ,orchomenos1 the precinct of ,mount    
,ptoion1 and  elsewhere1 named the      
8stolid0 group1 because in them the     
mouth forms a  straight line4#hbb ,there
 are1 however1 essential differences    
between  the statues of each group4     
,thus1 while some of both groups--e4 g41
 the  examples from ,melos1 ,volomandra1
 and ,orchomenos--have square shoulders1
  most of the others have sloping ones4 
,the type gradually improved1 as  in    
each successive attempt the sculptor    
overcame difficulties1 until  finally   
revolutionary changes had taken place in
 the original form4  ,this improvement  
is seen in the treatment of the hair1 in
 the modeling  of the face and body1 and
 in the proportions of the statues4 ,in 
a  head of a statue from ,mount         
,ptoion#hbc--which is broken off at the 

neck--we seem to see the sculptor in    
wood making his first attempt in  stone4
 ,in the archaic example from ,thera#hbd
 7,fig4 #i7 the arms hang  straight down
 close to the sides1 as in the statue of
 ,arrhachion1 being  detached only      
slightly from the body at the elbows1   
showing that the  artist was afraid that
 they might break off4 ,in other        
examples1 as in  the one from           
,orchomenos#hbe 7,fig4 #aj7 and one from
 ,mount ,ptoion#hbf  7,fig4 #aa71 the   
space between the arms and the body has 
become larger1  while in the example    
from ,melos#hbg 7,fig4 #ab7 only the    
hands are  glued to the thighs4 ,in the 
8,apollo0 found at ,tenea in #ahdf1 and 
now  in ,munich#hbh 7,pl4 #h;,a71 the   
arms are free1 but the hands are held   
fast to the body by the retention of    
small marble bridges between them  and  
the thighs4 ,the final step has been    
taken in two examples from  ,mount      
,ptoion 7,fig4 #ac71 in which the arms  
from the shoulders down are  free from  

the bodies4#hbi ,the bridges shown on   
the photograph in the  figure to the    
left1 which connect the forearms with   
the thighs1 are of  plaster1 being added
 at the time the statue was set up in   
,athens4#hcj  ,the figure to the right  
is smaller and clearly discloses        
,aeginetan  influence4 ,the audacity of 
the sculptor in entirely freeing the    
arms  in both examples was rewarded by  
the arms being broken off4 ,similarly1  
in the ,strangford ,apollo of the       
,british ,museum 7,fig4 #ad71hca the    
arms1 which hung loose from the         
shoulders1 are broken away4 ,the larger 
statue from ,mount ,ptoion just         
mentioned also has the arms slightly    
crooked at the elbows1 the forearms     
being extended at an oblique angle  to  
the body4 ,this represents an           
intermediate stage between the earlier  
8,apollos10 in which the arms adhered   
vertically to the sides of the  body 7as
 e4 g41 in the ones from ,orchomenos1   
,thera1 ,melos1 and  ,tenea71 and the   

later ones1 in which the arms were bent1
 the forearms  being extended at right  
angles to the body 7see ,figs4 #ae and  
#ai74hcb    ,illustration3 ,,fig4       
#ab4--,statue of so-called ,apollo of   
,melos4 ,national  ,museum1 ,athens4    
,the example from ,thera shows the      
archaic method of working in planes     
parallel to front and side and at right 
angles to one another1 the  corners of  
the square block being merely rounded   
off4 ,the outlines  of muscles are      
indicated by shallow grooves1 which do  
not affect the  flatness of the surface1
 and there is but little facial         
expression4 ,we  see the chest outlined 
in some examples from ,aktion4#hcc ,in  
the ,melian  example the rectangular    
form is modified by cutting away the    
sides  obliquely in arms and body2 here 
there is more expression in the face1   
and the treatment of the hair and the   
proportions of the body are more        
developed4 ,in the example from         
,orchomenos we see a great improvement  

in  form4 ,here1 as in later ,botian    
examples1 the original rectangular  form
 of the example from ,thera has become  
round1 so that a horizontal             
cross-section through the waist is      
almost circular2 the muscles of  the    
abdomen are indicated and the skin is   
naturalistically shown in  the back and 
at the elbows4 ,in later ,botian        
examples from ,mount  ,ptoion1 which are
 directly developed from the ,orchomenos
 type1#hcd  the form is lighter and the 
proportions more graceful4 ,in one      
example  7,fig4 #ac1 left7 even the     
veins are shown4 ,in the example        
mentioned  above as showing ,aeginetan  
influence1 and dated about #ejj ,b4     
,c41#hce  the muscles are clearly       
marked1 just as in the ,strangford      
example  and in the statues from the    
temple at ,aegina1 showing that foreign 
art had been introduced into ,botia by  
that time4 ,in the example  from        
,volomandra in ,attica1#hcf we see      
affinity to the examples from  ,thera   

and ,melos1 but ,attic softness in the  
carving of the shoulders  and in the    
proportions4 ,in the ,apollo of ,tenea  
7,pl4 #h;,a71 8by far  the most         
beautiful preserved statue of archaic   
sculpture10#hcg a  statue most carefully
 worked1 we see a ,peloponnesian example
 of the  beginning of the sixth or even 
of the end of the seventh century ,b4   
,c4 ,here the sculptor has shown great  
care in executing details and in  the   
proportions4 ,the eyes are not flat1 but
 convex1 and are wide open  as in most  
of the earlier examples4 ,the downward  
flow of the lines of  the statue is     
striking1 which is caused by the sloping
 shoulders and  the elongated           
triangular-shaped abdomen4 ,the slimness
 of the figure1  with the contour of    
bones and muscles1 is remarkable at so  
early a  date4 ,the fashioning of the   
knees is detailed4 ,when we contrast    
this  tall1 slim1 agile statue with the 
massively square-built ,argive type     
found at ,delphi 7,pl4 #h;,b71 we find  

it reasonable to suspect that  the      
,apollo of ,tenea is an imported work1  
coming probably from the  islands4#hch  
,the two statues of 787 ,kleobis and    
,biton1 discovered at  ,delphi in #ahic 
and #ahid1 and inscribed with the name  
of the sculptor  ,polymedes of ,argos1  
have added much to our knowledge of     
early ,argive  sculpture 7,pl4 #h;,b1   
,statue ,a74#hci ,this ,polymedes may   
have been  one of the predecessors      
acknowledged by ,eutelidas and          
,chrysothemis1  among the first victor  
statuaries known to us by name1 in the  
epigram  preserved by ,pausanias from   
the base of the monument of ,damaretos  
and  his son ,theopompos at             
,olympia4#hdj ,the epigram1 in any case1
 implies  that the reputation of the    
,argive school in athletic sculpture was
  already well established by the end of
 the sixth century ,b4 ,c4 ,these       
massively built statues1 dating from the
 beginning of the sixth century  ,b4    
,c41 outline the muscles to a certain   

extent1 even showing the line  of the   
false ribs by incised lines4 ,they      
display1 however1 but little  detail in 
modeling1 except in the knees1 where the
 artist has tried to  indicate the bones
 and muscles4 ,the features of the large
 heads are  without expression2 the     
large eyes are flat and not convex1 as  
in the  example from ,tenea1 though the 
,argive artist was1 perhaps1 later than 
the ,corinthian one1 and a long distance
 removed from the later artist  of the  
,ligouri bronze 7,fig4 #af71 to be      
discussed later4    ,illustration3      
,,fig4 #ac4--,statues of so-called      
,apollos from ,mount  ,ptoion4 ,national
 ,museum1 ,athens4    ,illustration3    
,,plate #h;,a    ,a4 ,statue of         
so-called ,apollo of ,tenea4            
,glyptothek1 ,munich4    ,illustration3 
,,plate #h;,b    ,b4 ,so-called ,argive 
,apollo from ,delphi4 ,museum of        
,delphi4    ,illustration3 ,,fig4       
#ad4--,statue known as the ,strangford  
,apollo4 ,british  ,museum1 ,london4    

,in all these 8,apollos10 which have    
been found all over the ,greek world    
from ,naukratis in ,egypt to ,ambrakia1 
and along the ,asian coast and  on the  
,aegean ,isles1 the archaic artists have
 attempted1 by their  modeling of the   
muscles1 especially of the chest and    
abdomen1 to  express trained strength4  
,the heavy ,argive examples1 which may  
be said  to be the prototypes of the    
,ligouri bronze and of the ,doryphoros  
of ,polykleitos 7,pl4 #d and ,fig4 #dh71
 are in strong contrast with the        
lighter type best represented by the    
example from ,tenea4 ,in the former1    
with their big heads and shoulders and  
their powerful arms and legs1  we may   
see early boxers or pancratiasts2 in the
 latter a long-limbed  runner1 with     
powerful chest1 but slim and supple     
legs4 ,in the ,apollo  of ,tenea there  
is no flabbiness nor softness1 and yet  
no emaciation4  ,we see very similar    
runners on ,panathenaic vases4 ,between 
the two  extremes we have a long series1

 those from ,mount ,ptoion and          
elsewhere4    ,we do not doubt that the 
early statues of athletes at ,olympia   
showed  all the variations we have      
discussed in these 8,apollos40 ,of this 
type1 then1 were the statues at ,olympia
 of the ,spartan ,eutelidas1  the oldest
 mentioned by ,pausanias1#hda those of  
,phrikias of ,pelinna  in ,thessaly1#hdb
 and of ,phanas of ,pellene in          
,acha1#hdc to whom1  later on in this   
chapter1 we shall ascribe the two       
archaic marble  helmeted heads found at 
,olympia 7,fig4 #cj71 the wooden statues
 of  ,praxidamas and ,rhexibios1#hdd the
 statue of ,kylon on the ,akropolis  of 
,athens1#hde and that of ,hetoimokles at
 ,sparta4#hdf ,the statue of  the famous
 wrestler ,milo of ,kroton by the       
sculptor ,dameas1 mentioned  by         
,pausanias#hdg and described by         
,philostratos1#hdh must also  have      
conformed with the 8,apollo0 type1      
though it showed a step in  advance of  
the earlier ones by having its arms bent

 at the elbow1 the  forearms being      
extended horizontally outward4 ,this    
statue needs a  somewhat detailed       
account4 ,the description of            
,philostratos seems to  have been       
founded on the account in ,pausanias#hdi
 of ,milo's prowess1  which1 in turn1   
may have arisen from the appearance of  
the statue and  the cicerone's          
description4 ,philostratos says that it 
stood on a  quoit with the feet close   
together and with the left hand grasping
 a  pomegranate1 the fingers of the     
right hand being extended straight out1 
and a fillet encircling the brows4#hej  
,philostratos has ,apollonios  explain  
the attributes of the statue on the     
ground that the people of  ,kroton      
represented their famous victor in the  
guise of a priest of  ,hera4 ,this would
 explain the priestly fillet and the    
pomegranate sacred  to the goddess1     
while the diskos1 on which the statue   
rested1 would be  the shield on which   
,hera's priest stood when praying4      

,scherer1 however1  rightly pointed out 
that the statue in the ,altis was of    
,milo the victor  and not the priest4   
,he therefore explained the diskos#hea  
merely as  a round basis on which the   
statue1 of the archaic 8,apollo0 type   
with  its feet close together1 stood1   
and the tainia as a victor band4 ,he    
followed ,philostratos in believing that
 the gesture of the right hand  was one 
of adoration4#heb ,he looked upon the   
object in the left hand  not as a       
pomegranate at all1 but as an           
alabastron1 a toilet article  adapted to
 a victor4 ,he1 therefore1 believed that
 the ,apollo of the  elder ,kanachos of 
,sikyon1#hec the so-called ,philesian   
,apollo1#hed  represented nude and      
holding a tiny fawn in the right hand   
and a bow  in the left1 would give a    
good idea of the pose of ,milo's        
statue4#hee  ,hitzig and ,bluemner      
believe this explanation of ,scherer    
probable1  although they rightly        
disagree with him in his exchanging the 

pomegranate for an alabastron1 since    
,pausanias expressly mentions a         
pomegranate in the hand of another      
victor statue at ,olympia4#hef ,pliny   
speaks of a male figure by ,pythagoras1 
mala ferentem nudum1#heg  and ,lucian   
says apples were prizes at ,delphi1#heh 
and we know that  ,milo was also a      
,pythian victor4 ,the same commentators 
believe that  ,pausanias' story of ,milo
 bursting a cord drawn round his brow by
  swelling his veins arose from the     
victor band on the statue1 and the      
story of the strength of his fingers    
from the position of the fingers  on it4
    ,illustration3 ,,fig4 #ae4--;,bronze
 ,statuette of a ,palstra ,victor1 from 
the  ,akropolis4 ,akropolis ,museum1    
,athens4    ,we have seen in the        
8,apollo0 statues a considerable variety
 of  physical types4 ,in the sixth      
century ,b4 ,c4 the artist was feeling  
his way and was hampered by local school
 tendencies4 ,at first he  knew only how
 to produce rigid statues in the        

conventional ,egyptian  attitude with   
the arms glued to the sides1 the two    
halves of the  body being symmetrical   
and the hips on the same level4 ,he     
gradually  improved on this model1      
making the position more elastic--as in 
the  statue of ,milo--rightly indicating
 bones and muscles and giving to the    
figure natural proportions4 ,bulle has  
shown on one plate#hei three  statuettes
 which illustrate the improvements      
reached in bronze in  various parts of  
,greece by the end of the sixth century 
,b4 ,c4 ,to the  left is represented a  
victorious palstra gymnast--as is       
indicated by  the remnants of akontia in
 the hands--in the ,akropolis ,museum   
7,fig4  #ae72hfj in the center is the   
,payne ,knight statuette of the ,british
  ,museum1#hfa carrying a fawn in the   
right hand1 which is a copy of  the     
,philesian ,apollo which stood in the   
,didymaion near ,miletos2 to  the right 
is ,hermes with the petasos1            
short-girded tunic1 and winged  sandals1

 holding a ram in the left and probably 
a kerykeion in the  right hand4#hfb ,the
 attributes of the three1 then1 attest  
respectively  a victor1 ,apollo1 and    
,hermes4 ,in all three the arms are     
freed from the  body1 and the muscles of
 the breast1 chest1 and abdomen are     
indicated1  though carelessly in the    
case of the victor4 ,the proportions of 
the  three vary greatly2 the ,attic     
victor has a large head1 broad          
shoulders1  powerful chest1 long body1  
and short legs2 the ,apollo has long    
legs1 shorter though slimmer body1 and  
small head2#hfc the ,hermes  has a      
clearly outlined figure and shows the   
careful modeling so  characteristic of  
the schools of ,argos and ,sikyon in the
 fifth century  ,b4 ,c4 ,bulle shows    
that the further development of the     
8,apollo0 type was  halted by the       
,argive school1 which1 while continuing 
the restful pose  of these figures1     
counteracted their rigidity by inclining
 the head  to the side and throwing the 

weight unevenly on the legs by lowering 
one hip and further advancing one foot4 
,the central line was no longer         
vertical1 but curved1 and it was now    
possible to give greater detail to      
chest and abdomen4 ,polykleitos finally 
perfected this curve and threw  back the
 left foot1 resting the weight of the   
body on the right--from  which time on  
we have the regular scheme of 8free0 and
 8rest0 legs4  ,despite all these later 
improvements1 ,olympic victors continued
 to  set up statues in the rest attitude
 of the 8,apollo0 type down perhaps     
into the third century ,b4 ,c4 ,such    
dedications were the result both of     
school tendencies and economy1          
especially in the case of equestrian    
victors1 who frequently were content to 
use such 8actionless0 statues  in place 
of groups4 ,we have only to mention the 
monuments of ,timon of  ,elis1 whose    
statue was the work of the ,sikyonian   
,daidalos1#hfd and  of ,telemachos of   
,elis1 whose statue was made by the     

otherwise unknown  sculptor             
,philonides4#hfe    ,before             
systematically considering victor       
statues at ,olympia and  elsewhere with 
general motives1 i4 e41 represented at  
rest1 we shall  now rapidly sketch the  
development of athletic sculpture in    
four great  centres1 ,argos1 ,sikyon1   
,aegina1 and ,athens1 even though some  
of the  works mentioned were represented
 in motion4 ,sculptors of other schools 
known at ,olympia will be treated       
incidentally in both this and the       
following chapters4      ,,the          
,,affiliated ,,schools ,,of ,,argos     
,,and ,,sikyon4    ,while in general it 
is unprofitable to discuss sculptors who
 have  not surely left any example of   
their art behind1 there are two early   
schools of ,peloponnesian sculpture1    
those of ,argos and ,sikyon1 which1     
though we may assign work to them only  
by conjecture1 can not be  summarily    
passed over1 owing to their great       
importance in the history  of ,greek    

athletic art4 ,the bronze used in their 
works was too valuable  to escape the   
barbarians1 and1 furthermore1 the       
monotony1 which must  have characterized
 early ,peloponnesian sculpture1        
militated against  these works being    
reproduced to any great degree by later 
copyists4      ,,the ,,school ,,of      
,,argos4    ,the ,argive school was     
devoted mainly to athletic statuary4    
,the greatest  name in old ,argive art  
is that of ,ageladas or ,hageladas1#hff 
the  reputed teacher of ,myron and      
,polykleitos1 who lived from the third  
quarter of the sixth century into the   
second quarter of the fifth  century ,b4
 ,c4 ,while his connection with ,myron  
and ,polykleitos is  scarcely to be     
doubted1#hfg his supposed connection    
with ,pheidias has  made the chronology 
of the life of this sculptor one of the 
difficult  problems of the ancient      
history of art4 ,a scholion on          
,aristophanes'  ,ranae1 #ejd1 dates the 
statue known as the ,herakles           

,alexikakos in  the ,attic deme ,melite 
by ,hageladas after the pestilence in   
,athens of  #dca-dcj ,b4 ,c41 and makes 
the ,argive sculptor 7,gelados          
,hageladas7  the teacher of ,pheidias4  
,as his statue of the ,olympic victor   
,anochos  commemorated a victory won in 
,ol4 #fe 7 #ebj ,b4 ,c471 this late date
 is  manifestly impossible4#hfh         
,furthermore1 a better tradition says   
that  ,hegias was the teacher of the    
,attic master4#hfi ,furtwaengler's      
attempt  to show that these two         
divergent traditions were really in     
accord1  by the assumption that ,hegias 
was the pupil of ,hageladas and that    
his art came from the latter--thus      
explaining certain similarities in  the 
work of ,hageladas and ,pheidias1--does 
not solve the problem4#hgj  ,as the     
scholion is based on a good             
tradition1#hga the best solution  of the
 difficulty is that of ,kalkmann#hgb and
 others1 that the  ,alexikakos was the  
work of a younger ,hageladas1 the       

grandson of the  famous master1 by the  
intermediate ,argeiadas4 ,for a lower   
limit to the  activity of ,hageladas    
there seems to be no good reason for    
distrusting  the evidence that he made a
 bronze ,zeus for the ,messenians to be 
set up at ,naupaktos1 whither they moved
 in #dee ,b4 ,c4#hgc ,this makes  quite 
possible a period of collaboration of   
four or five years at least  between    
,polykleitos and ,hageladas4            
,pausanias mentions the monuments of    
three victors at ,olympia by            
,hageladas3 the statues of the          
pancratiast ,timasitheos of ,delphi1 who
  won two victories some time between   
,ols4 787 #fe and #fg 7#ebj and #eab ,b4
  ,c472#hgd of the runner ,anochos of   
,tarentum1 who won in the stade- and    
double-race in ,ols4 #fe and 787 #ff 7  
#ebj and #eaf ,b4 ,c472#hge and the     
chariot-group of ,kleosthenes of        
,epidamnos1 who won in ,ol4 #ff 7 #eaf  
,b4  ,c474#hgf    ,none of the works of 
,hageladas at ,olympia or elsewhere is  

known4  ,messenian coins of the fourth  
century ,b4 ,c4 show the motives of two 
of  his statues1 that of his ,zeus      
,ithomatas just mentioned as being made 
for the ,messenians1#hgg and the        
beardless ,zeus  at ,aigion4#hgh        
,however1 we infer the characteristics  
of his style from the bronze  statuette 
in ,berlin which was found at ,ligouri  
near ,epidauros 7,fig4  #af74hgi ,this  
is undoubtedly an ,argive work          
contemporary with the  later period of  
,hageladas4 ,furtwaengler and ,frost are
 right in looking  upon it as showing   
the prototype of the canon of           
,polykleitos4 ,though  too small to     
count as a characteristic work of the   
early ,argive school1  it shows us that 
the style of that school was a short and
 stocky type1  similar to ,aeginetan    
works1 only somewhat fleshier and       
heavier4 ,the  straight mouth and heavy 
chin1 the treatment of the eyelids1 and 
the  clumsy limbs are all archaic       
features to be expected in the period   

preceding ,polykleitos4 ,the modeling is
 carefully executed1 showing a          
knowledge of anatomy4 ,if such          
excellence is found in a statuette1 we  
can form some idea of the perfection of 
a statue by the master4                 
,illustration3 ,,fig4 #af4--;,bronze    
,statuette1 from ,ligouri4 ,museum of   
,berlin4    ,illustration3 ,,plate #i   
,statue of an ,athlete1 by ,stephanos4  
,villa ,albani1 ,rome4    ,the bronze   
,apollo from ,pompeii now in the ,naples
 ,museum1#hhj with  marble replicas in  
,mantua and ,paris1#hha shows us how    
,hageladas  treated a god type1 while   
the statue of an athlete by ,stephanos  
will  give us some idea of how he       
treated his victor statues1 as it seems 
to have been modeled after an athlete   
statue of the early fifth  century ,b4  
,c41 perhaps after a work by some pupil 
of the master4  ,stephanos belonged to  
the school of ,pasiteles1 a group of    
sculptors  flourishing at ,rome at the  
end of the ,republic and the beginning  

of  the ,empire4 ,they devoted          
themselves to the reproduction of early 
fifth-century statues4 ,they were not   
ordinary copyists1 for their works  show
 individual mannerisms and a system of  
proportions foreign to the  originals4  
,thus their statues have the square     
shoulders of the ,argive  school1 but   
the slim bodies and slender legs of the 
period of ,lysippos  and his scholars4  
,apart from such mannerisms1 then1 in   
the male figure  signed ,stephanos1     
pupil of ,pasiteles1 in the ,villa      
,albani in ,rome  7,pl4 #i71hhb which   
reappears in a very similar statue in   
groups  combined with a female figure of
 related style1#hhc or with another     
male figure1#hhd we may see a copy of a 
bronze original of the ,argive  school  
before ,polykleitos4 ,the standing      
motive and the body forms  are the same 
in both the ,mantuan ,apollo and the    
,stephanos figure1  although the former 
is more developed and the head type is  
different in  both2 this shows that the 

two1 while displaying the same basic    
ideal1  were not works of the same      
master4#hhe ,as the statue by ,stephanos
 has  a fillet around the hair1 it may  
well represent an ideal athlete1 who  in
 the original held an aryballos or      
similar palstra attribute in  the raised
 left hand4 ,it is interesting to       
compare the copies of this  group with  
those of another representing mother and
 son1 the work of  ,menelaos1 the pupil 
of ,stephanos1 which1 though transferred
 from ,greek  to ,roman taste in respect
 of drapery and forms1 is merely a      
variation  of the same theme without any
 heroic traits4#hhf    ,the influence of
 ,hageladas can be easily traced in     
other schools of  art1 especially in the
 ,attic ,school and in the sculptures of
 the temple  of ,zeus at ,olympia1      
whether these latter be ,peloponnesian  
in origin or  not4 ,it will be          
convenient in this connection to discuss
 briefly the  style of these important  
sculptures1 which we have already       

mentioned  several times4 ,the statement
 of ,pausanias1#hhg that the sculptors  
of  the ,east and ,west ,gables were    
,paionios of ,mende in ,thrace and      
,alkamenes  respectively--the latter    
being known as the pupil of             
,pheidias#hhh--was  not doubted until   
the discovery of the ,olympia           
sculptures4#hhi ,then  doubts arose both
 on chronological and stylistic grounds1
 and now only  a few archologists would 
maintain that either artist had anything
  to do with these groups4 ,the style of
 the two gables 7as well as that  of the
 metopes7 is so similar that many have  
assigned them to one and  the same      
artist4#hij ,they have been referred to 
many schools from  ,ionia to ,sicily1   
even including a local ,elean one4 ,thus
 ,brunn assigned  them to a ,north      
,greek-,thracian school2 ,flasch#hia and
 7more recently7  ,joubin#hib to the    
,attic2 ,kekul#hic and                  
,friedrichs-,wolters#hid to a  ,west    
,greek 7,sicilian7 one1 because of their

 similarity to the metopes  of temple ,e
 at ,selinos2 ,furtwaengler#hie to an   
,ionic one 7,parian  masters74 ,most    
scholars1 however1 including ,k4        
,lange1#hif ,treu1#hig  ,studniczka1#hih
 ,collignon1#hii and ,overbeck1#ijj have
 referred them  to ,peloponnesian       
sculptors4#ija    ,to return to the art 
of ,hageladas3 if we assume that the    
,ligouri  bronze comes from the school  
of that ,argive master certain          
conclusions  must be drawn4 ,the figure 
is archaic1 but does not have the       
archaic  smile4 ,in ,athens at the end  
of the archaic period there was a       
reaction  against this smile1 and       
doubtless the ,athenian artists were    
strongly  influenced by ,argive models4 
,thus an archaic bronze head of a youth1
  found on the ,akropolis and dating    
from about #dhj ,b4 ,c41 shows a        
serious mouth1 a strong chin1 heavy     
upper eyelids1 and finely worked  hair1 
characteristics which we found in the   
,ligouri statuette4 ,these  traits show 

that the statuette and the head were the
 forerunners of  the ,apollo of the     
,west ,gable at ,olympia4 ,so finished a
 bronze as  this one from the           
,akropolis1 at the beginning of the     
fifth century ,b4  ,c41 has inclined    
,richardson to look upon it as 8not     
improbably a work  of ,hageladas10#ijb  
though here again ,furtwaengler would   
ascribe it  to ,hegias4#ijc ,the ,parian
 marble statue of an ephebe found on the
  ,akropolis 7,fig4 #ag7ijd--one of the 
most beautiful recovered during  the    
excavations there--shows the same       
,argive influence4 ,this statue  is     
chronologically the first masterpiece1  
thus far recovered1 which  marks the    
break with archaism by having its head  
turned slightly to  one side4#ije ,it   
has the same pose as the ,athlete by    
,stephanos and  probably represents a   
palstra victor4 ,the head1 with its     
heavy chin1  and the muscular body      
strikingly resemble the ,harmodios      
7,fig4 #cb71  which has led             

,furtwaengler and others to ascribe it  
to ,kritios or his  school4#ijf ,at the 
same time a similarity is seen between  
this head  and that of the ,apollo of   
the ,west ,gable at ,olympia1 and so    
with  ,bulle and others we ascribe it to
 the ,argive school4    ,illustration3  
,,fig4 #ag4--,statue of an ,ephebe1 from
 the ,akropolis4  ,akropolis ,museum1   
,athens4    ,one of the female statues  
7,korai7 found on the ,akropolis1 and   
approximately of the same date as the   
ephebe1 viz1 the fragmentary  one       
consisting of head and bust and known   
popularly as la petite  boudeuse1 shows 
the same revolt against ,ionism4#ijg ,in
 many respects  this statue is very     
different from most of the other        
,akropolis ,korai4  ,the eyes are not   
yet set back naturally1 but the         
appearance of depth  is attained by     
thickening the eyelids1 quite in        
contrast with the  modeling of the      
eyeball in most of the other statues4   
,the corners of  the mouth turn down1   

which gives it the appearance of        
pouting4 ,this  statue is also our first
 example in sculpture of the so-called  
,greek  profile--the nose continuing the
 line of the forehead4 ,the same ,argive
  influence in ,athenian art is also    
discernible in the ,parian marble  head 
of an athlete with traces of yellow in  
the hair 7,fig4 #ah71ijh  which may be  
dated a little later than the ,akropolis
 ephebe--about  #dgj ,b4 ,c4 ,because of
 its resemblance to the ,apollo of      
,olympia1  its ,attic-,peloponnesian    
origin seems clear4#iji ,its expression 
is  comparable with that of the ,kore   
just discussed--as it has the same      
mouth1 eyes1 and nose1 both monuments   
showing the reaction against the        
archaic smile1 which characterized the  
,ionian period of ,attic art4  ,this    
same ,ionic reaction also may be seen in
 the bronze statuette of a  diskobolos  
in the ,metropolitan ,museum 7,fig4     
#df71iaj which resembles  in style that 
of the ,tyrannicides1 but shows also    

,argive traits4  ,these ,argive traits1 
small head and slender limbs1 are easily
 seen by  comparing this statuette with 
the ,ligouri bronze4    ,illustration3  
,,fig4 #ah4--;,head of an ,ephebe1 from 
the ,akropolis4  ,akropolis ,museum1    
,athens4    ,we have already mentioned  
the monumental group of the hoplite     
victor  ,damaretos and of the           
pentathlete ,theopompos1 which was made 
about #ejj  ,b4 ,c4 by the ,argive      
sculptors ,chrysothemis and             
,eutelidas4#iaa ,these  artists were    
known to later antiquity only by the    
epigram inscribed on  the base of this  
monument at ,olympia1 and the probable  
dates of the two  victories of          
,theopompos1 ,ols4 787 #fi and #gj 7    
#ejd and #ejj ,b4 ,c471 show  that they 
were contemporaries of ,hageladas1 and  
not1 as formerly was  believed1 the     
forerunners of his school4#iab          
,polykleitos1 a ,sikyonian by birth1#iac
 migrated early to ,argos to  become the
 pupil of ,hageladas1 and became the    

great master of the  ,argive school in  
the next generation after him4 ,we have 
four statues by  him at ,olympia4 ,his  
earliest work probably was the statue of
 the boxer  ,kyniskos of ,mantinea1 who 
won in ,ol4 787 #hj 7 #dfj ,b4 ,c472 he 
made  the statues of the ,elean         
pentathlete ,pythokles and of the       
,epidamnian  boxer ,aristion1 both of   
whom won their victories in ,ol4 #hb 7  
#deb ,b4  ,c472 and lastly he made the  
statue of the boy boxer ,thersilochos   
from  ,kerkyra1 who won in ,ol4 787 #hg 
7 #dcb ,b4 ,c47#iad ,the footprints on  
the  three recovered bases of the       
statues of the first three show that all
  were represented at rest4 ,of         
,patrokles1 the brother of ,polykleitos1
  ,pausanias mentions no statues at     
,olympia1 though ,pliny says that he    
made athlete statues4#iae ,of           
,naukydes1#iaf the nephew or brother  of
 ,polykleitos1 we have record of three  
athlete statues at ,olympia3  those of  
the wrestlers ,cheimon of ,argos1 who   

won in ,ol4 #hc 7 #ddh  ,b4 ,c471 and   
,baukis of ,trzen1 who won some time    
between ,ols4 787  #he and #ij 7 #ddj   
and #dbj ,b4 ,c472 also one of the boxer
 ,eukles of  ,rhodes1 who won some time 
between ,ols4 #ij and #ic 7 #dbj and    
#djh ,b4  ,c474#iag ,a contemporary of  
,naukydes was the sculptor ,phradmon1   
who1  according to ,pliny1 was a        
contemporary of ,polykleitos2#iah he    
made  the statue of the boy wrestler    
,amertas of ,elis1 who won a victory    
some  time between ,ols4 #hd and #ij 7  
#ddd and #dbj ,b4 ,c474#iai ,in the next
  century1 ,polykleitos ,minor1 the     
grandson or grandnephew of the great    
,polykleitos1 and the pupil of          
,naukydes1#ibj had three statues at     
,olympia3 those of the boy boxer        
,antipatros of ,miletos1 whose victory  
is  given by ,africanus as ,ol4 #ih 7   
#chh ,b4 ,c472 of the two boy wrestlers 
,agenor of ,thebes1 who won some time   
between ,ols4 #ic and #ajc 7 #djh  and  
#cfh ,b4 ,c471 and ,xenokles of         

,mainalos1 who won some time between    
,ols4 #id and #ajj 7 #djd and #chj ,b4  
,c474#iba ,the inscribed base of the    
latter has been recovered and the       
footprints show that the statue was     
represented at rest1 the body resting   
equally on both feet1 the left  slightly
 advanced4 ,andreas1 a second-century   
,b4 ,c4 ,argive sculptor1  made a statue
 at ,olympia of the boy wrestler        
,lysippos of ,elis1 who won  some time  
between ,ols4 #adi and #aeg 7 #ahd and  
#aeb ,b4 ,c474#ibb      ,,the ,,school  
,,of ,,sikyon4    ,illustration3 ,,fig4 
#ai4--;,bronze ,statuette of ,apollo1   
found in the ,sea off  ,piombino4       
,louvre1 ,paris4    ,the ,sikyonian     
school of bronze founders was closely   
affiliated with the  one at ,argos4     
,early in the archaic period the        
brothers ,dipoinos and  ,skyllis1 sons  
or pupils of the mythical ,daidalos of  
,crete1 migrated to  ,sikyon4#ibc ,a    
generation later another ,cretan        
sculptor1 ,aristokles1  founded there an

 artist family which lasted through     
seven or eight  generations4#ibd ,his   
two grandsons ,aristokles and ,kanachos 
are known  to have collaborated with    
,hageladas on a group of three          
,muses4#ibe  ,many have seen in the     
small bronze found in the sea off       
,piombino1  ,tuscany1 and now in the    
,louvre 7,fig4 #ai71ibf a copy of the   
,apollo  ,philesios1 the best-known work
 of ,kanachos4 ,this gem of the bronze  
art1 in true archaic style1 may very    
well represent the ,apollo1  which1     
according to the description of         
,pliny#ibg and the evidence of          
,milesian copper coins of all           
periods1#ibh had as attributes a  fawn  
in the outstretched right hand and a bow
 in the left4 ,however1  ,overbeck1#ibi 
followed by von ,mach1 believes that it 
is not a copy  of ,kanachos' ,apollo1   
but merely represents a boy assisting at
 a  sacrifice1 and that the original    
held a cup in the left hand and a       
saucer in the right4 ,in any case the   

statuette is too inaccurate to  give us 
more than the pose of the ,apollo of    
,kanachos1 even if it  were proved to be
 a copy4 ,it may be merely a            
reproduction of the  mythological type  
of ,apollo1 which the artist himself    
followed1 and  so we can not say        
definitely to what school it belongs4   
,the ,payne  ,knight bronze in the      
,british ,museum1#icj which holds a tiny
 fawn in  the right hand1 the bow       
originally in the left hand being lost1 
has  better pretensions1 perhaps1 to be 
a copy of the ,apollo4 ,another  archaic
 half life-size bronze1 formerly in the 
,palazzo ,sciarra1#ica  is of a similar 
type1 though its style is different4    
,another bronze  statuette from ,naxos1 
now in ,berlin1#icb shows the same      
position of  the hands1 but has an      
aryballos or pomegranate in the right   
hand4 ,we  have already classed it as an
 example of the conversion of an        
original  god-type into that of a       
victor4 ,we might also mention the      

mutilated  torso found by ,holleaux at  
the sanctuary of ,apollo ,ptoios in     
,botia  7,fig4 #ab1 right71 which has a 
similar pose to that of the statuette   
from ,piombino1 and whose hair technique
 shows that it is an imitation  of a    
bronze work4#icc ,however1 as we shall  
see later1 it may be rather             
representative of the ,aeginetan school 
of sculptors4 ,all these works  may tell
 us of the general character of the     
,apollo1 but little of its  style4#icd  
,no athlete statue by ,aristokles or his
 brother ,kanachos is known  to have    
stood at ,olympia4 ,that the latter     
actually made victor  statues1 however1 
is proved by ,pliny's statement 7l4 c47 
that he  made celetizontas pueros4 ,of  
the later ,sikyonian school we have     
twenty-seven statues of victors made by 
eleven different sculptors1  whose dates
 range from near the end of the fourth  
down into the third  century ,b4 ,c41 of
 whom we shall give a chronological     
list4 ,alypos1 the  pupil of the ,argive

 ,naukydes1 had four statues at         
,olympia3 those of the  wrestler        
,symmachos of ,elis1 of the boy boxer   
,neoladas of ,pheneus1 of  the boy      
wrestler ,archedamos of ,elis1 and of   
the boy and man wrestler  ,euthymenes of
 ,mainalos1 all of whom must have won   
their victories some  time between ,ols4
 #id and #ajd 7 #djd and #cfd ,b4       
,c474#ice ,kanachos1 the  ,younger1 made
 one statue1 that of the boy boxer      
,bykelos of ,sikyon1  who won some time 
between ,ols4 #ib and #aje 7 #dab and   
#cfj ,b4 ,c474#icf  ,olympos made the   
statue of the pancratiast ,xenophon of  
,aigion1 who  won some time between     
,ols4 #ie and #aje 7 #djj and #cfj ,b4  
,c474#icg  ,the sculptor ,daidalos1 the 
son and pupil of ,patrokles1 and        
probably  the nephew of ,polykleitos1   
made four monuments for four victors3   
the  equestrian group of the ,elean     
charioteer ,timon and his son ,aigyptos1
 a  victor in horse-racing1 and statues 
of the ,elean wrestler ,aristodemos  and

 the stade-runner ,eupolemos4 ,their    
victories fell between ,ols4 #if  and   
#ajc 7 #cif and #cfh ,b4 ,c474#ich      
,damokritos made the statue of the      
,elean boy boxer ,hippos1 who won       
between ,ols4 #if and #ajg 7 #cif and   
#ceb ,b4 ,c474#ici ,kleon had five      
statues credited to him1 all but one    
being of boy victors3 those of the boy  
runner ,deinolochos of ,elis1  the      
pentathlete ,hysmon of ,elis1 the two   
boy boxers ,kritodamos1 and of  ,alketos
 of ,kleitor1 and of the boy runner     
,lykinos of ,heraia4 ,their  victories  
fell between ,ols4 #id and #ajc 7 #djd  
and #cfh ,b4 ,c474#idj ,the  great      
,lysippos had the same number of victor 
statues as ,kleon1 and also  two honor  
statues at ,olympia3 those of the       
equestrian victor ,troilos  of ,elis1 of
 the ,akarnanian pancratiast            
,philandridas1 of the wrestler  ,cheilon
 of ,patrai1 of the pancratiast         
,polydamas of ,skotoussa1 and of  the   
hoplite-runner ,kallikrates4 ,their     

victories occurred between ,ols4  #ajb  
and #aae 7 #cgb and #cbj ,b4 ,c474#ida  
,the son of ,lysippos1 ,dappos1  made   
two statues1 one for the ,elean boy     
boxer ,kallon and the other for  the    
,elean ,nikandros1 who won the double   
foot-race4 ,their victories fell  within
 the activity of the sculptor1 ,ols4    
#aae and #abe 7 #cbj and #bhj ,b4       
,c474#idb ,daitondas made the statue of 
the ,elean boy boxer ,theotimos1  who   
won his victory some time between ,ols4 
#aaf and #abj 7 #caf and #cjj  ,b4      
,c474#idc ,eutychides1 the most famous  
pupil of ,lysippos1 famed  alike as a   
bronze founder1 statuary1 and painter1  
carved the statue  of the boy runner    
,timosthenes of ,elis1 who won some time
 between ,ols4  #aae and #abe 7 #cbj and
 #bhj ,b4 ,c474#idd ,pliny gives ,ol4   
#aba 7 #bif ,b4  ,c47 as the floruit of 
this sculptor1 which was probably the   
date of  the erection of his most famous
 work1 the colossal bronze ,tyche1  as  
tutelary deity of the city of ,antioch  

on the ,orontes1 which was  founded by  
,seleukos ,i in ,ol4 #aai4c 7 #cjb ,b4  
,c474#ide ,this shows that  ,eutychides 
was already by that date a famed        
sculptor1 having begun his  career by   
#ccj-cbj ,b4 ,c4 ,kantharos1 the pupil  
of ,eutychides1 made the  statues of the
 two boy wrestlers ,kratinos of ,aigira 
and ,alexinikos of  ,elis1 who won their
 victories some time between ,ols4 #abj 
and #acj 7 #cjj  and #bfj ,b4 ,c474#idf 
,,ginetan ,,sculptors4    ,we have but  
little left of the prominent early      
,aeginetan school of  bronze sculptors4 
,of ,kallon1 the earliest historical    
sculptor of the  school1 the reputed    
pupil of ,tektaios and ,angelion 7who in
 turn were  the pupils of ,dipoinos and 
,skyllis71 we have only literary        
evidence4 ,he  was typical of archaic   
severity just prior to the era of       
transition1  and therefore should be    
compared with ,hegias of ,athens and    
,kanachos of  ,sikyon4 ,for ,onatas1 the
 most famous of the ,aeginetan          

sculptors1 whose  floruit was in the    
first half of the fifth century ,b4 ,c41
 we have  evidence of many monuments at 
,olympia4 ,besides the colossal         
,herakles  dedicated by the             
,thasians1#idg a ,hermes dedicated by   
the people  of ,pheneus1#idh and a large
 group of nine statues of ,greek heroes 
standing on a curved base faced by a    
statue of ,nestor on another1 the  group
 being dedicated by the ,achaians1#idi  
he made a chariot and  charioteer to    
commemorate the victory of ,hiero of    
,syracuse at ,olympia  in #dfh ,b4 ,c41 
for which monument ,kalamis furnished   
two horses4#iej  ,glaukias made a bronze
 chariot for ,hiero's brother ,gelo of  
,gela1 who  later became tyrant of      
,syracuse1 and who won a chariot victory
 in  ,ol4 #gc 7 #dhh ,b4 ,c474#iea ,this
 sculptor also excelled in fashioning   
statues of boxers and pancratiasts1     
making the monuments of the boxers      
,philon of ,kerkyra and ,glaukos of     
,karystos1 and that of the renowned     

boxer and pancratiast ,theagenes of     
,thasos4#ieb ,the statue of ,glaukos    
was represented in the schema of one    
8sparring0 771#iec and  so was in       
movement and not at rest4 ,we have      
athlete statues by three  other         
,aeginetan sculptors at ,olympia4 ,thus 
,ptolichos1 the pupil of the  ,sikyonian
 ,aristokles1 set up statues of the     
,aeginetan boy wrestler  ,theognetos1   
who won in ,ol4 #gf 7 #dgf ,b4 ,c471 and
 of the boy boxer  ,epikradios of       
,mantinea1 who won between ,ols4 787 #gb
 and #gd 7 #dib and  #dhd ,b4 ,c472#ied 
,serambos made the statue of the boy    
boxer ,agiadas of  ,elis1 who won       
between ,ols4 787 #gb and #gd2iee       
,philotimos made the  horse for the     
horse-racing victory of ,xenombrotos of 
,kos1 who won in  ,ol4 787 #hc 7 #ddh   
,b4 ,c474#ief ,all of these sculptors   
appear to have  used bronze exclusively1
 and their art1 though independent1     
showed a  bias toward ,peloponnesian    
work4 ,there are few examples left of   

this  art4 ,the bronze head of a bearded
 warrior or hoplite victor found on  the
 ,akropolis1 if we are justified in     
classing it as ,aeginetan and not       
,attic1 shows the excellence which we   
associate with this school4#ieg  ,the   
delicate execution of its hair and      
beard1 as well as the strength  and     
precision of this head1 makes it not    
unworthy of being ascribed  to one of   
the best artists of the school1 perhaps 
to ,onatas himself4  ,the beardless     
bronze head discovered in #agef in the  
villa of the ,pisos  in ,herculaneum1   
now in ,naples1 has also been assigned  
to ,onatas1 as  its features are similar
 to those of the one under              
discussion4#ieh  ,the ,tux bronze       
statuette of a hoplitodrome1 to be      
discussed in ,ch4 ,,iv  7,fig4 #db71 has
 also been assigned to an ,aeginetan    
master4#iei ,the  marble statue known as
 the ,strangford ,apollo in the ,british
 ,museum1  already mentioned 7,fig4     
#ad71ifj may show the characteristics of

 the  early school in marble1 though it 
is impossible to say whether it is  a   
copy of a bronze original or a minor    
work in stone under ,aeginetan          
influence4 ,the smaller 8,apollo0 from  
,mount ,ptoion1 already discussed       
7,fig4 #ac1 right71#ifa appears to show 
in exaggerated form the same  ,aeginetan
 traits4 ,however1 we get out best      
notion of ,aeginetan work  in marble    
from the gable statues in the ,munich   
,museum1 representing  ,homeric warriors
 fighting1 which adorned the temple of  
,aphaia in the  northeastern corner of  
the island4 ,their importance in this   
connection  calls for a brief account of
 them4    ,illustration3 ,,fig4         
#bj4--;,figure1 from the ,east ,pediment
 of the ,temple on  ,aegina4            
,glyptothek1 ,munich4    ,since the     
discovery of these groups by an         
international party of  ,englishmen and 
,germans in #ahaa1 and their restoration
 soon after their  arrival in ,munich by
 the sculptor ,thorwaldsen1 many new    

fragments  have been discovered by      
,furtwaengler during his excavations of 
the temple site in #aija1 and have been 
incorporated into the  existing figures 
in the ,glyptothek4 ,his reconstruction1
 though not  definitive1 is more in     
accord with artistic probability than   
any that  preceded4#ifb ,as we should   
expect from the athletic tradition of   
the  ,aeginetan school of sculpture just
 outlined1 these sculptures represent   
finely trained nude athletes1 whose     
modeling shows great observation of     
nature1 especially in the treatment of  
muscles and veins4 ,in fact it  has been
 truly said that anatomical knowledge   
was never expressed again  in ,greek art
 so simply and naturally4 ,the figures1 
without any excess  of flesh1 are       
slightly under life-size1 short and     
stocky--shoulders  square1 but the      
waists slender and the legs long in     
proportion to the  bodies--and withal   
are very compact and full of strength4  
,the figures  of the two pediments      

differ slightly1 the eastern being more 
developed  than the western4 ,brunn1    
long ago1 arguing from the stele of     
,aristion1  which then was the best     
example extant of archaic ,attic art1   
showed  how that art was characterized  
by grace and dignity of effect1 while   
,aeginetan art was characterized by a   
finer study of nature4 ,this            
generalization is no longer a matter of 
inference1 but of knowledge4            
,illustration3 ,,fig4 #ba4--,two        
,figures1 from the ,west ,pediment of   
the  ,temple on ,aegina4 ,glyptothek1   
,munich4    ,these groups represent the 
highest period of ,aeginetan art4 ,they 
have been dated anywhere from the end of
 the sixth century ,b4 ,c4  down to a   
period after the battle of ,salamis4#ifc
 ,probably a date  just after that      
battle is correct1 as ,aeginetans won   
prizes of valor  there4#ifd ,any attempt
 to assign them to this or that artist  
is merely  conjectural4 ,the general    
similarity in subject to that of the    

,delphi  group by ,onatas1 which        
represented the death in battle of      
,opis1 the  king of the barbarian       
,iapygians1 at the hands of the         
,tarentines1#ife  and the group at      
,olympia already mentioned as           
representing a ,trojan  subject1 led    
earlier scholars to assign the slightly 
more advanced  statues of the ,east     
,pediment to ,onatas and the more       
archaic ones of  the ,west ,pediment to 
,kallon4 ,but we know both these        
sculptors only as  bronze workers4 ,the 
violent action of some of the figures   
reminds us  at once of ,pausanias'      
description of the statue of the boxer  
,glaukos  by the sculptor ,glaukias1    
which we have already mentioned4 ,but on
  the whole1 though they are violent1   
the slight proportions of these         
athletic figures do not fit the         
appearance of boxers and pancratiasts1  
which1 as we have seen1 formed the      
staple of ,aeginetan sculptors1 but     
rather those of runners4 ,we see a good 

wrestler in the ,snatcher of  the ,east 
,gable 7,fig4 #bj71iff and the          
corresponding figure in the  right half 
of the same gable4#ifg ,the ,champion of
 the ,west gable  7,fig4 #ba1 left71#ifh
 of the finest ,parian marble1          
represented as  lunging forward1        
pressing on the enemy armed with helm1  
spear1 and  shield1 would pass as a good
 example of a hoplitodrome1 far freer   
and  more individual than the warrior   
from ,dodona4      ,,attic ,,sculptors4 
,illustration3 ,,fig4 #bb4--;,archaic   
,marble ,head of a ,youth4 ,jakobsen    
,collection1 ,ny-,carlsberg ,museum1    
,copenhagen4    ,owing to the ,persian  
sack of the ,athenian ,akropolis in #dhj
 and #dgi  ,b4 ,c41 and the subsequent  
burial of works of art there and their  
rediscovery by the excavations of       
#ahhe-ahhi1 we know more of archaic     
,attic sculpture 7#fjj-dhj ,b4 ,c47 than
 of any other early school4#ifi  ,we    
have already mentioned certain ,attic   
works which show the influence  of the  

severer ,argive school--la petite       
boudeuse1 the head of the  yellow-haired
 ephebe 7,fig4 #ah71 the ,akropolis     
athlete statue 7,fig4 #ag71  etc4--which
 was prominent at the beginning of the  
fifth century ,b4 ,c41  works which can 
be attributed to ,hegias1 ,kritios1 and 
their associates4  ,they illustrate the 
reaction against ,ionic taste1 an       
influence which  came from ,asia ,minor 
and the islands1 especially after the   
fall of the  ,lydian ,empire of ,crsus1 
and which for a time submerged native   
,attic  art4 ,this ,ionic art was       
characterized by great technical        
ability1 and  by rich draperies and     
decorative effect4 ,the archaic smile   
was its  special feature4 ,ionism is    
best represented by some of the         
,akropolis  ,korai4#igj ,in athletic art
 we see ,ionism at its flood tide in    
the ,rampin head found in ,athens in    
#ahgg1 now in the ,louvre1 which        
corresponds in style with some of the   
earlier female statues of the           

,akropolis4#iga ,this head has a more   
elaborate frisure than any of the       
female heads and1 in fact1 the elaborate
 treatment of the hair of the  crown and
 forehead is more suitable to a female  
than a male statue4  ,the beard is      
carefully plaited1 while traces of red  
seem to show that  the mustache was     
painted on4 ,similar traces of color    
appear on the  beard and hair4 ,the     
smiling mouth1 high ears1 and almond    
eyes recall  many archaic works1 but    
especially the ,apollo of ,tenea 7,pl4  
#h;,a74 ,the  garland of oak leaves     
above the frisure of the forehead may   
suggest  a victor1#igb or perhaps a     
priest or assistant on some religious   
embassy4#igc ,the turning of the        
neck--as in the ephebe statue of the    
,akropolis 7,fig4 #ag7--shows a break at
 this early time with archaism4         
,another work illustrating ,ionism is   
the fragment of a grave-stele  found    
near the ,dipylon gate in #ahgc and     
dating from the second half  of the     

sixth century ,b4 ,c4#igd ,it represents
 the head of an athlete  in profile1 the
 youth holding a diskos in his left     
hand1 so placed  that his head is       
projected upon it in relief as on a     
nimbus4 ,the top  of the head is broken 
off1 but we see the usual archaic       
features in  the face--the almond-shaped
 eye 7in profile71 big nose with        
knob-like  nostrils1 thick lips with the
 archaic smile1 retreating chin and     
forehead1 and high ear with a huge lobe4
 ,the neck and chin1 however1  are full 
of grace and strength1 as is also the   
slender thumb outlined  against the     
diskos4 ,as the stele broadens          
downward1#ige the figure  appears to    
have been represented with the feet     
apart1 and so may have  represented a   
palstra diskobolos on parade1#igf and   
is1 therefore1  our earliest            
representation of such an athlete4 ,a   
similar dress-parade  pose is seen on   
the stele of ,aristion in the ,national 
,museum at ,athens1  the work of the    

sculptor ,aristokles1 which represents a
 warrior with  a spear in the left      
hand4#igg ,another torso of an ephebe in
 the  ,akropolis ,museum represents     
,ionic work from ,paros4#igh ,another   
head1  the so-called ,rayet head in the 
,jakobsen collection in ,copenhagen1 one
  of the most remarkable specimens of   
,greek archaic art#igi 7,fig4 #bb71     
somewhat later in date than the ,rampin 
head1 represents quite a different      
tendency in ,attic art4 ,while the      
,rampin head represents ,ionic          
influence1 this head represents pure    
,attic work untrammeled by foreign      
influence1 a true development of the old
 ,attic sculpture in poros1  the best   
examples of which are to be found in the
 decorative sculptures  of the ,old     
,temple of ,athena on the ,akropolis1   
enlarged by the  ,peisistratidai4       
,comparing it with the head of the      
,athena of the gable  of that           
temple1#ihj we see great similarity in  
the simple execution  and reserve in the

 treatment of details--characteristics  
of pure ,attic  sculpture--especially in
 the deep lines on either side of the   
mouth in  the ,jakobsen head4 ,the hair 
is pictorially treated like a cap1      
traces  of red appearing on it as well  
as on the lips and eyes4 ,the           
,copenhagen  and ,rampin heads1 together
 with the famous portrait head in the   
old  ,sabouroff collection1#iha and the 
head of a woman in the ,louvre1#ihb     
form our best examples of old ,attic art
 outside of the museums of  ,athens4#ihc
 ,the swollen ears of the ,jakobsen head
 show that it is from  the funerary     
statue of a victor1 perhaps a boxer4    
,furtwaengler wrongly  classed it as a  
portrait head4#ihd ,a much discussed    
,attic work is the  archaic relief of a 
charioteer in the ,akropolis ,museum    
7,fig4 #fc74ihe  ,this was formerly     
thought 7e4 g41 by ,schrader7 to be a   
block from the  later ,ionic frieze of  
the old ,hekatompedon which many believe
 survived  the ,persian sack1 but it is 

more likely a part of a frieze belonging
  to a small shrine or altar4 ,it       
represents a draped person entering a   
two-horse chariot with the left foot1   
the hands outstretched to hold  the     
reins1 the head and body leaning        
forward4 ,because of the krobylos       
treatment of the hair1 fitted for both  
sexes1 and the long flowing  robe1 the  
sex has been needlessly doubted1 some   
calling it an ,apollo or  a mortal      
charioteer1 others an ,athena or a      
,nike1 even though the line  of the     
breast1 so far as it is visible1 shows  
no fullness1 and the long  chiton is    
common in representations of male       
charioteers4#ihf ,however1  for the     
appreciation of the relief it is of no  
consequence whether the  figure is male 
or female4 ,it may be merely a          
dedicatory offering of  a ,panathenaic  
victor in chariot racing1 very possibly 
assimilated to  the type of ,apollo1#ihg
 as the god often appears in            
vase-paintings of  the same period in   

similar costume mounting a chariot4#ihh 
,we shall  discuss its interpretation   
more fully later on4#ihi ,while ,ionism 
was  prone to represent richly draped   
figures which concealed the form of  the
 body1 we see in this relief1 with its  
fine modeling1 a suggestion  of the form
 beneath the folds of the garment1 and  
so1 perhaps1  only another example of an
 ,attic master rebelling against alien  
influence4#iij    ,at ,olympia we have  
no names of ,athenian sculptors prior to
 the ,persian  war period4 ,kalamis     
helped ,onatas with the monument of     
,king ,hiero  already mentioned4 ,mikon 
made a statue of a pancratiast1 ,kallias
 of  ,athens1 who won in ,ol4 #gg 7 #dgb
 ,b4 ,c474#iia ,the great ,myron1 of    
whom  we shall speak at length in the   
next chapter1 made five statues of      
victors1 which were erected between     
,ols4 #gg and #hd 7 #dgb and #ddd ,b4   
,c474#iib ,only four later ,athenian    
artists are mentioned3 ,silanion of  the
 fourth century1 who made statues for   

three victors1 whose victories  ranged  
from ,ols4 #ajb to #aad 7 #cgb to #cbd  
,b4 ,c472#iic ,polykles the  ,elder1 who
 made the statue of the boy pancratiast 
,amyntas of ,eresos1  who won in ,ol4   
787 #adf 7 #aif ,b4 ,c472#iid           
,timarchides and ,timokles1  the sons of
 ,polykles1 who in common made the      
statue of the boxer  ,agesarchos of     
,tritaia in ,achaia1 who won in ,ol4 787
 #adc 7 #bjh ,b4  ,c47#iie              
,,general ,,motives ,,of ,,statues ,,at 
,,rest4    ,the victor represented as   
standing at rest was often characterized
  by general motives1 such as praying1  
anointing or scraping himself1  offering
 libations1 and the like4 ,we shall now 
consider such motives in  detail4       
,,adoration ,,and ,,prayer4    ,prayer  
was a common motive represented in      
votive monuments4 ,pliny  mentions many 
such works by ,greek sculptors4#iif ,the
 custom of  raising the arms in prayer  
is found all through ,greek literature1 
from ,homer down4#iig ,pausanias says   

that the people of ,akragas made  an    
offering in the form of bronze statues  
of boys placed on the walls  of the     
,altis1          1 these statues being  
the work of ,kalamis4#iih ,in the       
,athenian  ,asklepieion there were many 
1 among which  were representations of  
men and women in the praying            
attitude4#iii  ,the motive was used at  
,olympia in victor statues1 representing
 the  victor as raising the hand in     
prayer to invoke victory4#ajjj ,the     
statue of the wrestler ,milo1 already   
discussed at length1 shows that  this   
motive was employed at ,olympia in the  
improved 8,apollo0 type in  the second  
half of the sixth century ,b4 ,c4#ajja  
,from the next century  we may cite the 
statue of the ,spartan chariot victor   
,anaxandros1 which  was represented as  
8praying to the god10#ajjb and the      
statues of the  ,rhodian boxers         
,diagoras and ,akousilaos1 as we learn  
from a scholion on  ,pindar1#ajjc which 
is based on a fragment of               

,aristotle#ajjd and on  one of          
,apollas4#ajje ,of the statue of        
,diagoras it says3     1      2 of that 
of  ,akousilaos3      1        4#ajjf   
,the bronze statue from ,athens1 now  in
 the ,antiquarium1 ,berlin1#ajjg which  
represents a nude boy with the  right   
hand raised as if in prayer and the left
 lowered and holding a                  
leaping-weight--therefore a             
pentathlete--seems to correspond with   
this  description of the statue of      
,akousilaos4 ,the same motive may have  
been  used in the statue of the chariot 
victress ,kyniska1 a princess of        
,sparta1 whose statue along with that of
 her charioteer and the chariot  was the
 work of the sculptor ,apellas4#ajjh    
,this is the interpretation  of         
,furtwaengler1#ajji based on a passage  
in ,pliny1 which mentions  statues of   
adornantes se feminas#ajaj by ,apellas1 
which he reads  adorantes feminas4      
,however1 adornantes may be right1 for  
in another  passage1 ,pliny speaks of   

,praxiteles' statue of a 1 i4 e41  of a 
woman clasping a bracelet on her        
arm4#ajaa ,two notable bronze  statues  
will illustrate this motive of ,olympic 
victor statues4 ,the  statue found in   
#aejb at ,zellfeld in ,carinthia1 now in
 ,vienna1#ajab has  been interpreted    
both as a ,hermes ,logios and a votive  
statue in the  attitude of prayer1#ajac 
which latter interpretation the         
inscription  on the leg1 giving a list  
of dedications1#ajad favors4 ,however1  
,furtwaengler believes it a free        
imitation of an ,argive victor statue1  
though not in the ,polykleitan style4   
,because of its similarity to  the      
,idolino 7,pl4 #ad71 he has ascribed its
 original to the sculptor  ,patrokles4  
,from technical considerations he       
believes it is not a ,greek  original   
dedicated by ,romans of a later period1 
but a ,roman work 7after  ,patrokles7 of
 the period of the inscription4#ajae    
,the bronze statue of  the ,praying ,boy
 in ,berlin#ajaf 7,pl4 #aj7 is one of   

our most beautiful  ,greek bronzes and  
comes from the circle of ,lysippos4#ajag
 ,we now know  that the uplifted arms of
 this statue1 in which most scholars saw
 the  ,greek attitude of prayer1 are    
restorations which were probably made in
  the time of ,louis ,,xiv1 when the    
statue was in ,france4 ,of the original 
motive we only can say that the action  
of the shoulders shows that  both arms  
were raised1 but we do not know how far1
 or the position of  the hands4         
,monumental evidence shows that the     
hands in prayer should  have the palms  
turned away from the face instead of    
upwards1 as in  the present statue1     
since the ,greek position was the       
outgrowth of an  old apotropaic gesture1
 i4 e41 one directed against an evil    
spirit4  ,mau's idea#ajah that the      
figure represented a player catching a  
ball is certainly inconsistent with the 
calm attitude of the statue4            
,furtwaengler rejected it1#ajai and he  
has restored the arms and hands  on the 

basis of a ,berlin gem#ajbj and an ex   
voto relief found by  the ,french       
excavators at ,nemea in #ahhd4ajba ,on  
this relief a youth  crowned with a     
woolen fillet is represented4 ,on both  
relief and gem  the figures are in the  
same attitude1 the arms raised over the 
head  manibus supinis1 which confirms   
the restoration of the ,berlin statue4  
,many other monuments give the more     
usual attitude of prayer1 not as  in the
 relief and gem discussed1 but with only
 one hand extended as  high as the      
breast4 ,older writers thought that such
 monuments did not  represent the       
gesture of adoration1 but one of        
adlocutio1#ajbb an  opinion disproved by
 ,pausanias' statement about the bronze 
statues of  the ,akragantines at        
,olympia1 already mentioned4 ,we may    
cite a relief  from ,kleitor1 now in    
,berlin1#ajbc and a fine one of the     
fourth century  ,b4 ,c4 from ,lamia     
7871#ajbd as well as a red-figured      
,etruscan stamnos  in ,vienna           

representing1 probably1 ,ajax praying   
before committing  suicide4#ajbe ,we    
shall mention also two little statuettes
 in ,new ,york  which represent youths  
in the praying attitude4#ajbf ,the      
first1 dating  from the second half of  
the fifth century ,b4 ,c41 and showing  
,polykleitan influence1 represents a    
nude youth standing erect with the      
forearms bent1 showing that the two     
hands were extended in prayer4 ,the     
second1 which dates from the first half 
of the fifth century ,b4 ,c4  7after the
 date of the ,myronian ,diskobolos71    
represents a nude youth  standing with  
the right hand raised to the lips in an 
attitude usual in  saluting a divinity1 
while the left is by the side1 with the 
palm to  the front4    ,illustration3   
,,plate #aj    ,bronze ,statue of the   
,praying ,boy4 ,museum of ,berlin4      
,,anointing4    ,various familiar       
motives from the everyday life of the   
gymnasium  and palstra were reproduced  
in the statues of athletes4 ,one of the 

commonest methods was to represent the  
victor anointing his body with  oil4    
,the use of oil was indispensable in all
 athletic exercises1  in order to make  
the body and limbs more supple1 and     
especially in  wrestling and the        
pankration1 to make it difficult for    
one's antagonist  to get a grip4#ajbg   
,pliny mentions a painting by ,theoros1 
representing  a man se inunguentem1#ajbh
 which appears to have been a votive    
portrait of an athlete4 ,the motive was 
common in vase-paintings and  statuary4 
,several red-figured vases of the severe
 style1 antedating  the statues to be   
considered1 show from realistic         
representations of  palstra scenes that 
it was customary for athletes to hold a 
round  aryballos high in the right hand 
and pour oil from it into the left1     
which was placed across the body        
horizontally4#ajbi ,the same motive     
appears with variations in statues4#ajcj
 ,thus the statue of an ephebe  in      
,petworth ,house1 ,sussex1              

,england1#ajca a statue1 as             
,furtwaengler  says1 to be praised more 
for its excellent preservation than for 
its  workmanship1 represents an athlete1
 who holds a globular aryballos in  his 
right hand raised over the shoulder1    
while the left arm is held  across the  
abdomen4 ,on the nearby tree-trunk are  
small cylindrical  objects which seem to
 be boxing pads4 ,this statue1 and      
especially its  head1 have been regarded
 by ,michaelis and ,furtwaengler as     
unmistakably  ,polykleitan in           
style4#ajcb ,several other copies of    
original statues  representing athletes 
pouring oil have been wrongly classed as
 replicas  of one original1#ajcc though 
they merely have essential features     
alike1 due chiefly to the subject4      
,first is the famous statue in the      
,glyptothek known as the ,oelgiesser    
7,oil-pourer71 a ,roman copy of an      
,attic bronze of about the middle of the
 fifth century ,b4 ,c4 7,pl4  #aa74ajcd 
,though the right arm and left hand are 

lost1 it is clear  that the athlete held
 in his raised right hand an oil flask1 
as in  the ,petworth statue4#ajce       
,notwithstanding that the head resembles
  the ,praxitelian ,hermes1#ajcf this   
does not show that the statue  is of    
fourth-century origin1 for its original 
is older2 it merely  shows that the art 
of ,praxiteles was deeply rooted in that
 of his  fifth-century predecessors4    
,because of its ,attic affiliations1    
,klein  tried to identify it with the   
of ,alkamenes mentioned by  ,pliny1#ajcg
 by amending that title to 1 the        
8,anointer40  ,brunn1 however1 rightly  
saw the analogy of the body forms to    
,myron's  ,marsyas1#ajch and            
,furtwaengler and ,bulle have ascribed  
it to ,lykios1  the son and pupil of    
that master1 who worked about #ddj ,b4  
,c41 the  approximate date of the       
original of the statue4 ,a fragmentary  
head in  the ,boston ,museum of ,fine   
,arts 7,fig4 #bc71ajci formerly in      
private  possession in ,england1 is a   

copy of the same original as the ,munich
  statue4 ,its special interest is that 
it is not an exact copy of the          
original1 as the ,munich statue is1 but 
a freer one1 showing a fuller  mouth1   
fleshier cheeks1 and deeper-set eyes4   
,while the ,munich statue  is the dry   
work of a ,roman copyist of ,augustus'  
time1 this head is by  a far abler      
,greek copyist of the second century ,b4
 ,c4 ,a torso in the  ,albertinum in    
,dresden1 without a head1#ajdj is       
similar to the  ,munich statue1 but     
hardly a replica4 ,it probably goes back
 to an  original by an ,attic master of 
the end of the fifth or beginning of    
the fourth century ,b4 ,c4 ,other under 
life-size statues related to this  torso
 show the same motive4#ajda ,a          
black-marble statue found at ,porto     
d',anzio in #ageh1 and now in the       
,glyptothek1#ajdb has the ,polykleitan  
standing motive4 ,the left arm1 which is
 stretched out1 holds an oil  flask in  
the hand1 while the right arm is        

lowered4 ,the band1 which  the position 
of the fingers shows that the right hand
 probably held1  indicates it is the    
statue of a victor4 ,a bronze statuette 
from ,south  ,italy1 now in the ,british
 ,museum1#ajdc represents a nude youth  
holding  an alabastron in his right     
hand1 while the left has the palm open  
to  receive the oil4 ,the hair fashion  
77 seems to point to an  ,attic sculptor
 of about #dgj ,b4 ,c4#ajdd ,the same   
motive is found on  terra-cotta         
statuettes from ,myrina1#ajde on        
reliefs1#ajdf and on  gems4#ajdg        
,illustration3 ,,fig4 #bc4--;,head of   
so-called ,oil-pourer4 ,museum of ,fine 
,arts1 ,boston4    ,illustration3       
,,plate #aa    ,statue of the so-called 
,oil-pourer4 ,glyptothek1 ,munich4      
,,oil-,,scraping4    ,another ordinary  
palstra motive was employed in          
representing the  athlete after the     
contest1 scraping oil and dirt from his 
body and  arms with the scraping-blade  
or strigil 71 strigilis74#ajdh  ,this   

motive is not uncommon on r4-f4         
vase-paintings of the fifth  century ,b4
 ,c4#ajdi ,it was treated in sculpture  
by many masters4 ,pliny  mentions such  
statues of athletes destringentes se 771
  by ,polykleitos1 ,lysippos1 and       
,daidalos of ,sikyon4#ajej ,perhaps  the
 perixyomenoi by ,antignotos and        
,dappos1 the latter the son  of         
,lysippos1 had the same motive4#ajea ,of
 the ,apoxyomenos of  ,polykleitos we   
have no authenticated copies in         
sculpture1 though  ,furtwaengler        
believes that he has found reminiscences
 of it on gems  which represent a youth 
resting the weight of his body on the   
left  leg1 the right being drawn back   
7i4 e41 in the attitude of the          
,doryphoros71 the right forearm         
extended1 and the left holding a        
strigil4 ,the similarity of these       
gem-designs makes it certain that  they 
are all derived from a well-known work  
of art4#ajeb ,perhaps the  fine bronze  
statuette1 dating from the middle of the

 fifth century ,b4  ,c41 and now in the 
,loeb collection in ,munich1 represents 
the pose of  the destringens se by      
,polykleitos4#ajec ,it represents a nude
 youth  resting the weight of the body  
on the soles of both feet1 the left one 
slightly advanced1 and holding a strigil
 in the raised right hand4  ,the famous 
marble copy of an ,apoxyomenos in the   
,vatican#ajed 7,pl4  #bi71 which1       
because of its long slim legs and       
graceful ankles1 might  well represent a
 runner1 has long been held to represent
 the canon  of ,lysippos1 as it exhibits
 proportions widely different from those
  employed by ,polykleitos1 and agreeing
 with ,pliny's account of ,lysippos'    
innovations4#ajee ,however1 the doubts  
arising in recent years as to  whether  
this statue is a copy of ,lysippos'     
statue or a later work will  be         
considered at length in ,chapter        
,,vi4#ajef    ,illustration3 ,,plate #ab
    ,statue of an ,apoxyomenos4 ,uffizi 
,gallery1 ,florence4    ,the same motive

 is exemplified by many existing        
statues1 statuettes1  reliefs1 etc4 ,the
 marble statue of an athlete in the     
,uffizi1 ,florence1  7,pl4 #ab71ajeg a  
copy of an original of the end of the   
fifth century  ,b4 ,c41 wrongly restored
 as holding in both hands a vase at     
which  the athlete is looking down1 was 
interpreted by ,bloch as an ephebe      
pouring oil from a lekythos held in the 
right hand into an aryballos  held in   
the left4 ,this action for an athlete   
has been characterized  by ,furtwaengler
 as 8unparallelled1 unclassical and1    
above all1  absurd40 ,through recent    
discoveries we now know that it         
represents an  apoxyomenos1 and that it 
should be restored with the left forearm
 close  to the thigh1 and with the right
 crossing the abdomen diagonally in  the
 direction of the left hand4 ,this      
attitude so closely corresponds  with   
that of a figure on a gem as to make it 
probable that both gem and  statue are  
copies of the same original4 ,the figure

 on the gem#ajeh  holds a strigil in    
both hands and is generally explained as
 scraping  the dirt from the left thigh2
 the light hand holds the handle and the
  left the blade4 ,a hydria1            
palm-branch1 and crown are pictured to  
the  right--showing that the figure     
represents an athlete1 just as the      
statue  has the swollen ears of one4    
,the attention of the athlete in both   
monuments is concentrated on the        
operation involved--a concentration     
reminding us of ,myron's ,diskobolos4   
,while1 however1 in the latter  work the
 concentration is momentary1 it is less 
transient in the  ,florence statue and  
also in the ,munich ,oil-pourer4 ,this  
pose is too  conscious in the           
,florentine statue to be the work of    
,myron4 ,arndt names  no artist1 but as 
the similarity between the head of the  
statue and  that of the ,oil-pourer is  
so marked1 and as every one now regards 
the  latter as ,attic--even if not by   
,alkamenes--he thinks that the two must 

be by the same ,attic sculptor1 although
 the ,uffizi statue is somewhat  later  
than the ,munich one4#ajei ,the original
 of the ,florence statue  was famous1 if
 we may judge by the existing number of 
replicas with  variations4#ajfj         
,among statues showing the same motive  
and pose1 we may note the  bronze statue
 of an athlete over life-size--pieced   
together from #bcd  fragments--found by 
the ,austrians at ,ephesos and now in   
,vienna4#ajfa  ,the subject1 pose1 and  
heavy proportions recall the ,argive    
school  of ,polykleitos1 and its        
original has been assigned by ,hauser to
 the  ,sikyonian ,daidalos1 the son and 
pupil of ,patrokles1 who was the pupil  
of ,polykleitos4 ,as further            
reproductions of the same type of       
figure1 we  may cite a bronze statuette 
in ,paris1#ajfb and a marble one found  
at  ,frascati in #ahif and now in the   
,museum of ,fine ,arts1 ,boston4#ajfc   
,a chalcedony scarab of archaic type in 
the ,british ,museum represents  a nude 

athlete with a lekythos slung over the  
left arm and a strigil  in the left     
hand1 which rests on the hip4#ajfd ,a   
beautiful marble  grave-relief1 much    
mutilated1 in the museum at             
,delphi1#ajfe which  dates from the     
middle of the fifth century ,b4 ,c41    
represents a palstra  victor1 with his  
arms extended to the right1 cleansing   
himself with a  strigil1 which is held  
in the right hand1 while a slave boy1   
holding  the remnant of an aryballos in 
his right hand1 looks up at him from    
the right4 ,the careful anatomy of this 
relief may point to ,pythagoras  of     
,samos1 as its author1 though we have no
 certain work of his1 for it  fits the  
description of that artist by ,pliny1   
who says that he was the  first to      
express sinews and veins4#ajff          
,,libation-,,pouring4    ,illustration3 
,,plate #ac    ,statue of an ,athlete1  
after ,polykleitos4 ,farnsworth ,museum1
 ,wellesley  ,college1 ,u4 ,s4 ,a4      
,illustration3 ,,fig4 #bd4--;,bronze    

,statuette of an ,athlete4 ,louvre1     
,paris4    ,an original ,greek bronze   
statuette in ,paris 7,fig4 #bd7ajfg     
reproduces  the motive of the statue of 
the boy wrestler ,xenokles by the       
sculptor  ,polykleitos ,minor at        
,olympia1 as a comparison with the      
footprints on  the recovered base of the
 latter shows4#ajfh ,as the forms       
correspond  with those of the           
,doryphoros and ,diadoumenos1 and as its
 execution  is so marvelous1            
,furtwaengler has ascribed the statuette
 to the  circle of ,polykleitos' pupils4
 ,the position of the right hand1 which 
has the thumbs drawn in1 corresponds    
with that of the ,idolino 7,pl4  #ad71  
which we are to discuss1 and can best be
 explained by assuming  that it         
similarly held a kylix2 the left hand   
carried a staff-like  attribute4 ,the   
head is bent and looks to the right4    
,furtwaengler  believed that1 inasmuch  
as the act of pouring a libation does   
not occur  in art or literature as an   

athletic motive1 the statuette          
represented a  hero or god4 ,many ,roman
 marble copies show the same motive and 
preserve  to us a ,polykleitan work     
which corresponds in all essentials with
 the  ,louvre statuette4#ajfi ,we       
mention two1 the only ones of the type  
in  which the heads are on the trunks1  
one in the ,galleria delle ,statue  of  
the ,vatican1#ajgj the other in the     
,farnsworth ,museum at ,wellesley       
,college 7,pl4 #ac74ajga ,these copies  
represent a youth standing with  both   
feet flat upon the ground1 the weight of
 the body resting upon the  right one1  
while the left is turned a little to the
 side4 ,he is looking  downwards to the 
right4 ,doubtless we should restore     
these copies after  the ,paris bronze1  
with a kylix in the right hand4 ,the    
palm-branch  in a similar statue1 to be 
mentioned further on1 shows that in all 
probability the origin statue was that  
of an athlete2 and that he was  a famous
 athlete is shown by the number of      

copies of the torso and  head4#ajgb ,a  
bronze head from ,herculaneum 7,fig4    
#be7ajgc so strongly  resembles in its  
forms the type under discussion--which  
,furtwaengler has  called the 8,vatican 
athlete standing at rest0#ajgd--;and    
corresponds  with it so closely in its  
measurements1 that it might be regarded 
as  a copy of the same original1 if     
certain differences1 not due to the     
copyist1 did not rather show that it    
comes from a closely allied work4  ,this
 head shows an intense melancholy1 which
 has been explained by  ,furtwaengler as
 due to the lack of skill on the part of
 the copyist1  who fashioned it slightly
 askew4 ,amelung very properly explains 
the  absence of the motive of           
libation-pouring in athletic art as     
merely  a lacuna in our sources4#ajge   
,if the original of these copies and    
variations represented an athlete1 he   
was certainly pouring a libation  before
 victory2 if a warrior1 he was doing the
 same thing before going  on a campaign4

 ,in the latter case the left hand      
should be restored with  a spear4       
,illustration3 ,,fig4 #be4--;,bronze    
,head of an ,athlete1 from ,herculaneum4
  ,museum of ,naples4    ,we must also  
place here the life-size original ,greek
 bronze in  ,florence1 discovered at    
,pesaro1 near ,ancona1 in #aecj1 and    
known from  the early eighteenth century
 as the ,idolino 7,pl4 #ad71ajgf for its
  motive connects it with the series    
just discussed4 ,this is1 perhaps1  our 
finest bronze statue from antiquity1 as 
it represents the highest  ideal of boy 
beauty1 just as the ,doryphoros does of 
manly beauty4  ,the chief               
characteristics--the positions of the   
feet1 head1 and arms1  though           
essentially those of the statues        
discussed1 offer certain  differences4  
,thus the left leg is placed more to one
 side and turned  further outwards than 
in the statue of ,xenokles and kindred  
works2  the left hand hangs down at an  
angle to the leg differently from the   

others4 ,in other words1 by comparing it
 with the ,paris statuette1  we see a   
slightly different rhythm from that     
found in ,polykleitan  works4 ,the      
,idolino has been looked upon as        
,myronic by ,kekul1#ajgg                
,studniczka1#ajgh and hesitatingly      
,klein1#ajgi while ,mahler regarded  it 
as ,pheidian4#ajhj ,furtwaengler1       
however1 by a careful analysis1 has     
shown its ,polykleitan                  
characteristics--especially the shape of
 the head  and the features1 and the    
treatment of the hair1 which reminds us 
of  the ,naples copy of the ,doryphoros4
 ,owing to differences1 however1 he  did
 not assign it to the master himself1   
but suggested that it was the  work of  
his pupil ,patrokles4#ajha ,bulle found 
the head ,polykleitan1  but the body    
,attic1 and assigned the figure to an   
unknown ,attic  sculptor working in the 
,polykleitan circle4 ,in this           
controversy on its  style1 a statue     
found in #aiaf in the excavations of the

 ,baths at ,kyrene  should be of use1   
for it is the most faithful of all the  
,roman copies  known of the bronze      
original and clearly shows a            
,polykleitan character  influenced by   
,attic art4#ajhb ,by a comparison of    
this marble copy  with the ,florentine  
bronze we see that the latter was a     
subsequent  rendition of the same       
original1 and doubtless by some artist  
of lesser  fame from the ,polykleitan   
school1 who was influenced by ,attic    
art4    ,but it is the interpretation of
 the ,idolino which chiefly interests   
us here4 ,while ,longprier called the   
similar ,paris statuette a ,mercure     
aptre1 and the publisher of the statue  
from ,kyrene called that copy a         
,hermes1 yet ,kekul1 ,bulle1 and most   
other archologists have seen in  the    
,idolino an athlete4 ,the inner surface 
of its outstretched right  hand is left 
rough1 and the fingers are in the same  
position as those  of the ,paris bronze4
 ,such a position can be explained      

satisfactorily by  restoring the hand   
with a kylix or a 1 such as was commonly
 used  in libations4 ,the left hand is  
smooth and evidently empty1 though      
,bulle  restores it with a victor's     
fillet1 and so1 following ,kekul1 calls 
the  statue that of a boy victor1 who is
 bringing an offering to the altar  in  
honor of his victory4 ,the marble statue
 in the ,galleria delle ,statue  has the
 right forearm restored2 in the ,kyrene 
statue the right hand  is preserved and 
has a thick object held downwards at a  
greater angle  than in the ,idolino4    
,the photograph does not let us judge   
decisively1  but it seems to be too     
thick an object for the remnants of a   
kylix4  ,a marble statue in the         
,barberini ,palace1 ,rome1#ajhc which   
resembles  the ,idolino so closely as to
 be considered a copy of it1 though with
  variations of pose and technique1 has 
the arms broken off1 and so adds        
nothing to the solution of the motive of
 the ,idolino4 ,the fact that  a        

palm-stem stands beside the right leg1  
however1 adds weight to the             
interpretation as victor4 ,furtwaengler 
interprets the ,idolino and  kindred    
works as divinities4 ,though boys serve 
at libations1 he thinks  they never     
perform the ritual act of pouring the   
libation4#ajhd ,that  a libation-pourer 
should appear in the guise of a boy     
victor 7that of  ,xenokles7 he calls a  
genuine ,argive trait4 ,svoronos1 also1 
has recently  tried to show that the    
,idolino is not a victor1#ajhe but      
represents  the hero ,herakles4 ,he     
compares the figure with a              
fourth-century  ,pentelic marble relief 
in ,athens1#ajhf which represents       
,herakles  standing at the door of      
,hades and beside him a father leading  
his son  up to the open air4 ,the pose  
of the figure of ,herakles resembles    
that  of the ,idolino in a remarkable   
way4 ,in the relief ,herakles holds  a  
kylix in the right hand#ajhg and a club 
in the left1 and a lion  skin is thrown 

over the left arm4 ,svoronos believes   
that the left  hand in the relief       
explains the turning in of the left hand
 of the  ,idolino--for he believes that 
the latter also held a club4 ,we must1  
however1 leave the final solution of the
 motive of the ,idolino  and kindred    
works open1 although inclining to the   
belief that they  represent a victor4   
,illustration3 ,,plate #ad    ,bronze   
,statue known as the ,idolino4 ,museo   
,archeologico1 ,florence4               
,illustration3 ,,fig4 #bf4--,marble     
,statue of an ,athlete7874 ,national    
,museum1  ,athens4    ,a statue in      
,athens1 which was found in #ahhh in the
 ,roman ruins at  the ,olympieion1 may  
represent a boy victor pouring a        
libation 7,fig4  #bf74ajhh ,it is a poor
 ,roman copy1 dry and lifeless1 of a    
bronze  original of the middle of the   
fifth century ,b4 ,c4#ajhi ,in this     
statue ,mayer has seen the motive1 and  
probably the copy1 of the               
,splanchnoptes 7,roaster of ,entrails7  

by the sculptor ,styphax 7or  ,styppax7 
of ,cyprus1 which1 according to         
,pliny1#ajij represented  ,perikles'    
slave 8roasting entrails and blowing    
hard on the fire1 to  kindle it1 till   
his cheeks swell40 ,he thinks that the  
position of the  broken arms and a      
comparison of the figure with similar   
ones on vases  make the identification  
possible4 ,von ,salis concurs in his    
restoration  and interpretation and     
publishes a small statuette in ,athens  
from  ,dodona1#ajia which has a similar 
pose1 and holds a three-pronged  fork in
 the left hand1 which he believes should
 be restored in the  statue4 ,although  
statue and statuette have much in common
 7e4 g41 the  position of the breast and
 shoulders1 the treatment of the hair1  
etc471  which shows that both may be    
copies of one original1 the conception  
of the two is somewhat different4 ,the  
statue from ,athens represents  a boy   
standing busily engaged at the altar2   
the statuette represents  one standing  

at rest merely looking on1 the fork not 
being held in  position for use4#ajib   
,in any case the face of the ,athens    
statue  can not correspond with ,pliny's
 description--ignemque oris pleni       
spiritu accendens4 ,quite a different   
explanation of the statue is            
possible--one which ,mayer thought      
improbable4 ,the right arm--broken above
  the wrist--was raised to the height of
 the shoulder and may have held an      
object in the hand2 the left arm--broken
 off below the shoulder--seems  to have 
been held close to the body and appears 
to have corresponded  in movement with  
the other4 ,the boy1 therefore1 may have
 held a cup in  the right hand and a    
branch or a victor fillet in the left4  
,thus it may  merely be another example 
of a boy victor pouring a libation4     
,certain other statues have been        
mistaken either for libation-pourers  or
 oil-pourers1 when they are really      
wine-pourers and have nothing  to do    
with the athletic motives under         

discussion4 ,a good example is  the     
marble statue of a ,satyr in            
,dresden1#ajic which represents the     
youthful demi-god lifting a can with his
 right hand1 out of which he  is pouring
 wine into a drinking-horn held in the  
left4 ,there are many  copies of this   
work1#ajid a fact which shows that the  
original bronze  was famous4 ,an attempt
 has therefore been made to identify it 
with the  bronze ,satyr of ,praxiteles  
mentioned by ,pliny as the ,peribotos or
  8far-famed10#ajie which seems to have 
been grouped with a ,dionysos  and a    
figure of ,drunkenness--a grouping which
 might fit the ,dresden  ,satyr1 since a
 second figure should be imagined1 for  
which the horn  is being filled4        
,however1 it differs stylistically so   
much from the  ,hermes of ,olympia that 
the ascription has been given up1 though
 its  graceful form shows ,praxitelean  
influence and certainly emanates from   
the fourth century ,b4 ,c4              
,,resting ,,after ,,the ,,contest4      

,illustration3 ,,plate #ae    ,marble   
,head of an ,athlete1 after ,kresilas   
7874 ,metropolitan ,museum1 ,new  ,york4
    ,a very favorite motive was to      
represent a victor1 either standing or  
seated1 resting after the exertions of  
the contest 774  ,an excellent example  
of this motive in a standing posture is 
the  fourth-century ,b4 ,c4 statue of   
,attic workmanship found at ,porto      
d',anzio  and now in the ,vatican1#ajif 
which reproduces the type of the ,apollo
  ,lykeios4#ajig ,many of the statues1  
by various sculptors1 which  represent  
the victor standing at rest may be      
intended to represent him  as resting   
after the contest4 ,the well-known head 
of a youth adorned  with the victor's   
chaplet1 and preserved in four copies in
 ,european  museums1 appears to come    
from a statue which represented a victor
 in  this manner4 ,the best of these    
copies is in the collection of ,lord    
,leconfield at ,petworth ,house1        
,sussex4#ajih ,we should add a fifth1  a

 ,roman copy of the head1 in the        
,metropolitan ,museum1 ,new ,york 7,pl4 
#ae74ajii ,in these copies the ears are 
not swollen1 and a certain  refinement  
and gentleness show that the original   
was not from the  statue of a boxer or  
pancratiast1 but from that of another   
type of  athlete1 perhaps a pentathlete4
 ,since ,pliny mentions the statue of a 
,doryphoros by ,kresilas1#aajj and      
because of its supposed ,kresilan       
style1 ,furtwaengler1 albeit on slender 
grounds1 has attempted to  identify the 
original of these heads with that       
work4#aaja ,the  expression is certainly
 one of complete repose4 ,on the crown  
of the  head1 and on the left side over 
the fillet1 is a rectangular broken     
surface1#aajb apparently the remnant of 
a support for the right arm1  which1 as 
,conze thought1 proves that the athlete 
stood with one arm  resting on the head1
 the hand hanging over the left side4   
,furtwaengler  admitted that such an    
attitude might be that of an            

apoxyomenos1#aajc  but pointed out that 
the expression of the face in all the   
copies seems  too tranquil for such an  
interpretation4 ,since the victor was in
 repose  and the left arm required a    
slight support1 he believed that this   
support might have been an akontion4 ,he
 therefore reconstructed the  original  
statue as that of a resting pentathlete1
 and assigned it to  the great ,cretan  
contemporary of ,pheidias1 who worked in
 ,athens4#aajd  ,the number of replicas 
at least shows that the original was a  
famous  work4    ,perhaps our best      
example of the motive of a seated victor
 resting after  the contest is the      
bronze statue of a boxer found in ,rome 
in #ahhd  and now in the ,museo delle   
,terme there 7,pl4 #af and ,fig4        
#bg74aaje  ,this is a masterpiece in the
 portrayal of brute strength in the     
most naturalistic and revolting way4 ,if
 we like to think of victors  as having 
noble forms1 we are rudely startled on  
looking at this  brutal prize-fighter4  

,if we compare it with works of the     
fifth and  fourth centuries ,b4 ,c41 we 
see in it1 as in no other example of    
,greek  sculpture1 the great change     
which professionalism had later wrought 
in  the ,greek ideal of athletics4 ,here
 are massive proportions1 bulging       
muscles1 arms and legs hard and         
muscle-bound4 ,we can compare it only   
with the bronze head of a boxer found at
 ,olympia 7,fig4 #fa ,a and ,b7 of      
similar style and age4#aajf ,but there  
we have only the head1 while  here we   
have a complete statue almost perfectly 
preserved1 the only  restorations being 
a portion of the left thumb1 a piece of 
the right  flank1 and the base4         
,illustration3 ,,fig4 #bg4--;,head from 
,statue of the ,seated ,boxer4 ,museo   
delle ,terme1 ,rome4    ,illustration3  
,,plate #af    ,bronze ,statue of the   
,seated ,boxer4 ,museo delle ,terme1    
,rome4    ,it represents a professional 
boxer1 who is seated exhausted at the   
close of the bout1 the severity of which

 is indicated by every part of  the     
body4 ,he leans forward1 his arms rest  
on his thighs1 and his  head1 sunk      
between his shoulders1 is raised and    
turned to the right1  as he stupidly    
looks around at the applauding          
spectators4 ,his nose is  broken and his
 ears are swollen and scars of the      
contest show on his  face and limbs4    
,beneath his retreating upper lip some  
of his teeth  appear to have been       
knocked out as the result of previous   
fights1 while  indications of the recent
 struggle are to be seen in the blood   
dripping  from his ears and the deep    
lacerations in face and shoulder1 which 
may  have once been filled with red     
paint to make his appearance even more  
realistic4 ,the right eye is swollen and
 the lower lid and the cheek            
imperceptibly sink into each other4 ,the
 mustache shows flecks of blood  and the
 swollen back of the right hand         
protrudes through the glove4 ,his  nose 
is clotted with blood and he seems to be

 struggling to get his  breath4    ,such
 realism and delight in depicting the   
hideous show that the work1  like the   
,olympia head1 belongs to the           
,hellenistic age4 ,the careful          
workmanship1 especially visible in the  
hair and beard and in the hair  on the  
chest#aajg1 proves that the statue is   
not a ,roman copy1 but  a ,greek        
original of the beginning of the        
,hellenistic age1 of the end  of the    
fourth or beginning of the third century
 ,b4 ,c4 ,nor is it a  portrait1 as     
,winter maintained1#aajh since it is an 
adaptation of a  late type of ,herakles4
 ,it certainly is a victor statue from  
one of  the great ,greek games1 and is1 
perhaps1 from ,olympia itself4 ,since   
the head is turned toward the right     
shoulder and the mouth is open1  as if  
speaking1 ,wunderer tried1 on the basis 
of a passage in the  history of         
,polybios1#aaji to identify it with the 
statue of the famous  ,theban boxer and 
pancratiast ,kleitomachos at ,olympia by

 an unknown  artist4#aaaj ,the historian
 states that ,kleitomachos1 while       
fighting  with the ,egyptian            
,aristonikos1 was angered by the acclaim
 given the  foreigner and1 stepping     
aside1 chided the spectators for not    
cheering  one who was fighting for the  
honor of ,greece4 ,the speech caused a  
revulsion in the popular feeling1 which 
helped1 even more than the  fists of    
,kleitomachos1 to vanquish ,aristonikos4
 ,however1 the motive of  the statue    
does not fit the incident1 as the boxer 
is not speaking1  but breathing hard1   
nor is the seated posture that of one   
haranguing a  crowd4 ,moreover1 the date
 of the ,theban's victory is too late   
for the  statue4#aaaa      ,,attributes 
,,of ,,victor ,,statues4    ,at the     
beginning of the fifth century ,b4 ,c4  
athletic training tended  to produce a  
uniform standard of physical            
development1 which was  reflected in    
sculpture4 ,at this date we do not find 
the divergence of  style which we saw in

 our review of the 8,apollo0 type of the
 sixth  century4 ,vase-paintings show   
the change better than sculpture4 ,on   
black-figured vases of the sixth century
 ,b4 ,c41 we see a good deal  of variety
 in groups of boxers and wrestlers1     
while on red-figured  vases of the early
 fifth century the number of types is   
far less4  ,in sculpture1 however1      
differences in physical type did exist  
in  the various schools at the beginning
 of the fifth century4 ,we have1  for   
example1 the heavy1 square-shouldered   
type in the ,apollo  ,choiseul-,gouffier
 7,pl4 #g;,a71 which we have classed as 
a victor  statue1 and the tall1 rawboned
 type in the ,tyrannicides by ,kritios  
and ,nesiotes 7,fig4 #cb1               
,harmodios74#aaab ,we have1 on the other
  hand1 a very different physical type  
in the short1 stocky ,aeginetan         
pedimental figures 7,figs4 #bj and #ba74
 ,between such extremes there  are1 of  
course1 many gradations4 ,we might      
instance the archaic  bronze statuette  

of a diskobolos in the ,metropolitan    
,museum 7,fig4  #df74aaac ,however1     
notwithstanding the diversity in type1  
it is  often difficult to distinguish   
runners from wrestlers1 boxers from     
pentathletes4 ,thus few early           
fifth-century statues show the type of  
runner as well as the ,apollo of ,tenea 
7,pl4 #h;,a71 or that of a boxer  as    
well as the 8,apollo0 from ,delphi 7,pl4
 #h;,b74 ,the reason for this  is the   
ideal element1 which entered into all   
these statues and which  was a          
reflection of the uniform development of
 athletics long before  specialization  
had set in4 ,out of this uniformity grew
 the canon of  ,polykleitos1 developed  
from that of ,hageladas4    ,the        
sculptor of the sixth century ,b4 ,c4   
was incapable of  differentiating       
between god and mortal4 ,this was       
especially the case1  as we have seen1  
with ,apollo1 as the 8,apollo0 type was 
a model of manly  vigor4 ,in the early  
fifth century the sculptor had largely  

overcome  this difficulty1 but still    
showed little diversity of type in      
treating  statues of different kinds of 
athletes4 ,a method of differentiation  
which was essential to athlete sculptors
 of the sixth century was found         
convenient of retention by those of the 
fifth--i4 e41 characterizing  the statue
 of the victor by some attribute1 in    
order1 on the one hand1  to             
differentiate it from the nude god or   
hero1 and on the other to  distinguish  
between different types of victors4     
,,primary ,,attributes ,,of ,,victor    
,,statues4    ,,the ,,victor ,,fillet4  
,in the first place1 the sculptor would 
characterize the victor statue  as such4
 ,the easiest way to do this would be to
 represent it with  a fillet or chaplet 
77#aaad bound round the head1 as we saw 
was the case in the statue of ,milo4    
,this fillet was merely a band  or      
riband of wool which was given the      
,olympic victor in addition  to the     
garland of olive leaves1 or the         

palm-branch1 as a symbol of  victory4   
,waldstein has argued that this fillet  
originally was not  an essential        
attribute of the victor1 but that the   
crown and palm  were the prizes1 and the
 fillet merely a decoration used on     
various  occasions1 such as at          
symposia1#aaae which only later became a
 general  athletic attribute4#aaaf      
,though the presence of the fillet on   
statues  should not1 therefore1 be proof
 that the given statue is that of a     
victor1#aaag there is no defense for the
 contention of ,passow#aaah  that the   
tainia was in no sense a symbol of      
victory1 but merely a  toilet article   
among the gifts presented by the public 
to a victor at  the ovation of the      
crowning4 ,pausanias says that the      
victor ,lichas of  ,sparta was scourged 
by order of the umpires at ,olympia for 
having set  the tainia on the head of   
his victorious charioteer4#aaai ,this is
  sufficient evidence that it was not a 
mere toilet article1 but rather  a part 

of the official prize of victory4       
,similarly the tainia in the  hand of   
,nike upon the right hand of the statue 
of ,zeus by ,pheidias at  ,olympia can  
not have been a toilet article4#aabj    
,we have many examples from athletic    
sculpture of the use of the fillet4     
,thus it appears on the bronze head of a
 boxer in the ,glyptothek 7,pl4  #c7aaba
 and on the bronze head from            
,herculaneum in ,naples 7,fig4  #d71aabb
 both of which have been discussed in   
,chapter ,,ii1 as fragments  of ,greek  
original statues of ,olympic victors4   
,it also appears on the  marble head of 
a youthful victor--not necessarily      
,olympic--from the  ,akropolis1#aabc    
which1 because of the similarity in     
cheeks1 mouth1  and eyes to heads on the
 metopes of the ,parthenon1 should be   
dated  somewhere between #dej and #ddj  
,b4 ,c4 ,it occurs on the ,olympia      
marble  head 7,frontispiece and ,fig4   
#fi71aabd which we ascribe in ,chapter  
,,vi  to ,lysippos1 and likewise on the 

statue of the pancratiast ,agias in     
,delphi 7,pl4 #bh1 ,fig4 #fh74 ,in most 
athlete heads the fillet is twisted     
into a knot at the back of the head4 ,in
 one case1 on the ,petworth head  of a  
pentathlete already discussed1#aabe     
which1 because of the curve  of the     
neck1 must come from a statue           
represented at rest1 it is not  so tied1
 but is wound round the head with the   
two ends tucked in and  pushed through  
the fillet on either side over the      
temples4#aabf ,though  so practical an  
arrangement as the latter must have been
 common enough  in real life1 this seems
 to be the only example of its          
representation  in sculpture4    ,the   
fillet1 instead of encircling the head1 
was sometimes held in  the hand1 as in  
the case of the ,spartan chariot victor 
,polykles at  ,olympia4#aabg ,a curious 
life-size statue of the ,roman period1  
found  in the ,peirus1 represents a nude
 boy holding in his right hand over  the
 breast a bundle of books and in the    

left an alabastron4 ,the body is        
covered with fillets--fifteen in        
all--which appear to have been prizes   
won in gymnic contests1 probably at the 
gymnasium or palstra4#aabh              
,,fillet-,,binders4    ,statues         
representing victors binding fillets in 
their hair  7diadoumenoi7 are common to 
all periods of ,greek art4#aabi ,we     
shall  discuss only two--those of       
,pheidias and of ,polykleitos4          
,illustration3 ,,plate #ag    ,statue   
known as the ,farnese ,diadoumenos4     
,british ,museum1 ,london4    ,pausanias
 mentions a statue by ,pheidias1        
representing a ,boy ,binding on  a      
,fillet1 as standing in the ,altis at   
,olympia4#aacj ,robert has argued  that 
this figure was the one of similar      
motive mentioned by ,pausanias  as on   
the throne of ,zeus there4#aaca         
,however1 the figure on the throne  was 
very probably in relief and not in the  
round4#aacb ,the cicerones  at ,olympia 
seem to have been imposing on the       

periegete when they said  that a        
likeness to ,pantarkes1 the boy favorite
 of ,pheidias1 was to be  seen in the   
face of this figure on the throne4 ,the 
mention of ,pantarkes  has given rise to
 the usual identification of the   with 
the victor statue of the ,elean         
,pantarkes mentioned by ,pausanias  as  
standing in the ,altis4#aacc ,however1  
the assumption#aacd is  far-fetched and 
must be rejected1 because ,pausanias    
mentions the two  statues in two        
different parts of his periegesis of the
 ,altis4#aace  ,of the  we know only the
 artist's name4 ,it was probably merely 
a  votive gift1#aacf and the name of the
 person so honored was unknown to       
,pausanias4 ,of the statue of the victor
 ,pantarkes we know only the name1  and 
neither the artist nor the motive of the
 statue4 ,it seems clear1  therefore1   
that we have to do with three distinct  
monuments3 the boy  with the fillet1 the
 throne figure by ,pheidias1 and the    
victor by an  unknown sculptor4#aacg    

,the small marble statue in the ,british
 ,museum known as the ,diadoumenos      
,farnese#aach 7,pl4 #ag71 which is now  
almost universally regarded as an       
,attic work1#aaci has been assumed by   
many archologists to be a copy  of      
,pheidias' statue4#aadj ,since          
,pausanias tells us that a statue by    
,pheidias stood in ,olympia1            
representing an unknown boy binding a   
fillet  around his head1 and since the  
style of the ,farnese statue shows      
great similarity in head and body forms 
and general bearing to certain  figures 
on the ,parthenon frieze1#aada and its  
motive agrees with that  of the ,olympia
 statue1 it seems reasonable to see in  
this little work a  copy of the statue  
in the ,altis by the great master4      
,furtwaengler and  ,bulle have shown    
that the motive of this work was        
initiated by ,pheidias  and not by      
,polykleitos1 since the latter's great  
statue was several  years younger than  
the work of ,pheidias at ,olympia4 ,that

 ,pheidias was  pleased with the motive 
is disclosed by the fact that he        
repeated it on  the throne of ,zeus4    
,illustration3 ,,plate #ah    ,statue of
 the ,diadoumenos1 from ,delos1 after   
,polykleitos4 ,national  ,museum1       
,athens4    ,illustration3 ,,fig4       
#bh4--,statue of the ,diadoumenos1 from 
,vaison1 after  ,polykleitos4 ,british  
,museum1 ,london4    ,the ,diadoumenos  
of ,polykleitos was little less famous  
than his  ,doryphoros1 if we may judge  
by the number of copies which have      
survived and from literary notices of   
it4#aadb ,in all the copies of  this    
work we see the well-known ,polykleitan 
characteristics--powerful  build1 heavy 
proportions1 and fidelity to nature2 but
 none of the  ideal tendency prominent  
in the works of ,pheidias and his       
school1 nor  of the violent energy      
characteristic of ,myron's art4 ,in all 
of them  the pose of the earlier        
,doryphoros is retained1 except that the
 arms  are differently employed and the 

build of the body is more slender4      
,pliny1 despite his statement--which is 
probably taken from some ,greek         
authority--that monotony was the        
characteristic of ,polykleitos' works   
7paene ad unum exemplum71#aadc          
emphasizes this slenderness by  calling 
the ,doryphoros viriliter               
puer--,lessing's ,juengling wie ein     
,mann--and the ,diadoumenos molliter    
juvenis--a youth of gentle form4  ,this 
judgment of ,pliny was difficult to     
understand so long as we had  only the  
,vaison copy of the ,diadoumenos to     
study4 ,the ,delian copy  showed that   
supple grace was characteristic of the  
original1 even if  modified to suit the 
taste of three centuries later4         
,although the body  forms and the       
attitudes of the ,doryphoros and the    
,diadoumenos are  very similar1 the head
 of the latter1 usually assigned to     
,polykleitos1  is of a different type   
from that of the ,doryphoros4 ,while the
 head  of the ,doryphoros is square in  

profile1 flat on top1 and long from     
front to back1 that of the ,diadoumenos 
is rounder and softer and  can best be  
explained on the assumption that        
,polykleitos later in  life came under  
,attic influence4 ,the copies of this   
work are many  and varied4#aadd ,for a  
long time the marble copy in the        
,british  ,museum found in #ahfb1 at    
,vaison1 ,france1#aade was1 despite its 
poor  workmanship1 considered our best  
copy 7,fig4 #bh74 ,it was made perhaps  
five hundred years after the original1  
at a time when sculpture was in  its    
decline1 and consequently can give us   
merely a suggestion of the  character of
 ,polykleitos' statue4 ,as it is a      
direct marble translation  of the       
bronze1 the muscular treatment appears  
exaggerated4 ,another  marble copy was  
found in #ahid by the ,french excavators
 on the island of  ,delos1 and is now in
 ,athens 7,pl4 #ah74aadf ,the ,delian   
artist added  a mantle and a quiver to  
the nearby tree-trunk and thus converted

 an  original victor statue into one of 
a god4#aadg ,though its hands are  lost1
 it is easy to see that the athlete is  
pulling the ends of the  fillet together
 so as to tighten the knot at the back  
of the head4 ,as  this is a ,hellenistic
 ,greek copy1 it comes far nearer to the
 original  than the imperial ,roman one 
from ,vaison4 ,the lighter proportions  
and  softer modeling show the ,attic    
influence on ,polykleitos' later career1
  although the fleshy forms are out of  
harmony with his art and evidently      
introduced by the copyist4 ,one of the  
best preserved and most beautiful       
copies is the one in the ,prado at      
,madrid4#aadh ,although a ,roman copy1  
like the one in the ,british ,museum1 it
 comes very near the original  because  
of the precision in its details4 ,there 
are many good copies of  the head       
alone4#aadi ,marble heads in ,kassel and
 ,dresden1 evidently the  works of      
,attic sculptors1 show the pure         
,polykleitan traits4 ,the one  in       

,dresden#aaej 7,fig4 #bi7 surpasses all 
others in the beauty of its  finish1    
being a careful and exact copy4 ,the    
proportions and structure  of the head  
are those of the ,doryphoros1 although  
the surface is  differently treated4    
,the ,kassel head#aaea is not so exact  
in its  details1 but has more           
expression4 ,furtwaengler rightly calls 
it the  better of the two as a work of  
art1 but inferior as a copy4 ,a marble  
head in the ,british ,museum#aaeb is a  
direct copy from the original  bronze1  
like the ,vaison statue4 ,the clear-cut 
eyelids and wiry hair  reproduce the    
original material1 and its resemblance  
to the head of the  ,doryphoros is      
greater than that of any other copy4    
,illustration3 ,,fig4 #bi4--;,head of   
the ,diadoumenos1 after ,polykleitos4   
,albertinum1 ,dresden4    ,a later      
variant of the statue is seen in a small
 terra-cotta statuette  from ,smyrna in 
private possession in ,london4#aaec ,it 
shows the  ,polykleitan type so         

completely assimilated to the style of  
,praxiteles  that its genuineness has   
been doubted4 ,perhaps1 with its ,attic 
softness1 it gives us a better idea of  
the beauty of the original  than many of
 the other copies4 ,finally1 we must    
mention the original  bronze head of the
 fifth century ,b4 ,c4 in the ,ashmolean
 ,museum1 ,oxford1  recently published  
by ,percy ,gardner4#aaed ,this head1 put
 together  from nine fragments1 and     
restored as that of a boy fillet-binder1
 and  rivaling in delicacy and beauty   
such original bronzes as the ,beneventum
  head 7,fig4 #c7 and the ,idolino 7,pl4
 #ad71 not only gives us the best  idea 
of the technical ability attained by    
bronze workers in the middle  of the    
fifth century ,b4 ,c41 but also helps us
 to understand the ancient  repute of   
,polykleitos' athletes4 ,here the       
headband and 8starfish0  arrangement of 
the hair have their close parallels in  
the ,dresden1  ,kassel1 and ,british    
,museum heads already discussed1 which  

essentially  reproduce the head of the  
,vaison statue 7,fig4 #bh74 ,as ,gardner
 points  out1 it closely agrees with the
 type of the ,farnese ,diadoumenos      
7,pl4 #ag7 only in one particular1 the  
mode of tying the knot4 ,while  the     
,vaison athlete is preparing to tie it1 
the ,farnese one has just  finished the 
operation1 the boy still holding the    
ends of the fillet  in his hands4 ,but  
only the treatment of the hair1 the eye1
 and the ear  offers a contrast4        
,despite these differences ,gardner     
follows the older  view of ,brunn in    
regarding the ,vaison and ,farnese types
 as two variants  of ,polykleitan       
originals2 but the pose1 style1 and     
proportions of the  latter seem to us to
 be too thoroughly ,attic to warrant us 
in bringing  it into relation with the  
work of ,polykleitos4 ,though the heads 
of the  two are not so dissimilar1 the  
pose1 as ,gardner also points out1 is   
quite different4 ,the ,vaison figure is 
represented as walking1 i4 e41  in the  

very act of changing the weight of the  
body from one leg to the  other1 while  
the ,farnese athlete stands at rest with
 both feet flat  upon the ground4       
,gardner rightly regards this exquisite 
head not as the  original of the statue 
mentioned by ,pliny1 since the ,vaison  
and ,delian  copies show that the latter
 represented a fully developed man1     
somewhat  over life-size1 and not a boy1
 but rather as a work of the            
,polykleitan  school1 though he does not
 exclude the possibility that it may    
come  from one of the many boy athletes 
of the master4    ,furtwaengler connects
 with the ,diadoumenos the statue of a  
youthful  boxer1 slightly under         
life-size1 which shows a similar motive4
 ,it is  known to us in two copies1 one 
in ,kassel1#aaee the other in ,lansdowne
  ,house1 ,london4#aaef ,that it is a   
work of ,polykleitos is shown by the    
correspondence of its body forms with   
those of both the ,diadoumenos  and the 
,doryphoros4 ,a bronze statuette1 dating

 from about #djj ,b4 ,c41  in the       
,akropolis ,museum1 also repeats the    
motive without being an exact           
copy4#aaeg      ,,the ,,crown ,,of      
,,wild ,,olive4    ,the crown of wild   
olive#aaeh in the hair is another       
general but not  customary attribute of 
,olympic victor statues4 ,fewer         
sculptured heads  show it than show the 
tainia1 and in most of these the leaves 
have  fallen off4 ,examples of its      
presence are afforded by the bronze head
  from ,beneventum 7,fig4 #c7 in the    
,louvre1#aaei and on the realistic      
bronze head of a boxer found at ,olympia
 7,fig4 #fa ,a and ,b74#aafj ,a good    
illustration of a boy victor crowning   
himself is on a fourth-century  ,b4 ,c4 
funerary relief1 found in #ahgc at the  
,dipylon gate1 and now in  the ,athens  
,museum4#aafa ,the victor is holding or 
placing a crown of  leaves on his head4 
,in the ,museo delle ,terme1 ,rome1 is a
 mediocre  headless copy of an original 
statue of the end of the fifth century  

,b4  ,c41 the work of an artist of the  
,polykleitan school1 the restoration of 
which as a victor engaged in wreathing  
his head is probable4#aafb ,a           
protuberance on the right shoulder seems
 to have been left by the end  of the   
lemniskos or ribbon with which the      
wreath was adorned4#aafc  ,the left hand
 carried an attribute1 but probably not 
a palm-branch  as ,helbig assumed1 since
 such a branch1 if of metal1 would have 
left  traces on the shoulder4 ,the same 
restoration has been proposed for       
another statue4#aafd ,a crown on the    
head1 together with the remains  of     
fingers near it1 has been noticed on a  
bronze statue of ,eros1 of  ,hellenistic
 workmanship1 found off ,tunis in the   
sea1#aafe which shows  ,polykleitan     
influence4    ,illustration3 ,,plate #ai
    ,statue known as the ,westmacott    
,athlete4 ,british ,museum1 ,london4    
,the statue of a ,boy ,crowning         
,himself1 which has survived in many    
,roman copies and variant ,greek        

originals1 notably in the so-called     
,westmacott ,athlete of the ,british    
,museum 7,pl4 #ai71aaff a  fragmentary  
statue of poorer workmanship in the     
,barracco collection  in ,rome1#aafg and
 a ,greek copy from ,eleusis now in the 
,national  ,museum in ,athens1#aafh and 
identified by many archologists with the
  statue of the boy boxer ,kyniskos by  
,polykleitos at ,olympia1 should be     
discussed here4 ,while the ,westmacott  
,athlete appears to be a copy  from the 
original bronze1 the ,barracco statue1  
though showing the same  pose1 is unlike
 it in the treatment of hair and        
muscles1 and with its  ,attic head1     
seems to be a carelessly executed       
variant1 more or less  ,myronian in     
style1 of the ,polykleitan original4    
,while its original may  be assigned to 
the end of the fifth century ,b4 ,c41   
the ,eleusis variant1  with its head    
differently placed1 is not a ,roman     
copy1 but a ,greek  original statue     
showing the ,polykleitan motive carried 

into the soft  ,attic style of the      
fourth century ,b4 ,c4#aafi ,a fine copy
 of the head  alone is in the possession
 of ,sir ,edgar ,vincent1 in his        
,constantinople  collection4#aagj ,this 
should be associated with another head  
in ,dresden1 both being closely related 
to that of the ,westmacott              
,athlete4#aaga ,the best copy of the    
head is in the ,hermitage1 in which  the
 treatment of the hair approaches       
nearest to that of the bronze           
original4#aagb ,a marble head from      
,apollonia in ,epeiros1 now in the      
,british ,museum1 which so closely      
resembles the head of the ,westmacott   
,athlete that the missing sections of   
the neck and shoulders were  restored by
 a cast from the latter1 is somewhat    
different in style4  ,for while the     
,westmacott head is a mechanical copy1  
this ,greek head is  full of vigor1     
disclosing ,attic characteristics of the
 early fourth  century ,b4 ,c41 and     
obviously is an ,athenian imitation of  

the original1  like the statue from     
,eleusis4#aagc ,a more remote variant is
 the  beautiful marble head formerly in 
the possession of ,dr4 ,philip ,nelson  
in ,liverpool1 but now in ,america1     
which is not an exact copy of any of    
the known variants1 but so closely      
resembles the ,capitoline type of       
,wounded ,amazon1 assigned first by     
,otto ,jahn and later by ,furtwaengler  
to ,kresilas1 that it must be by the    
same hand4#aagd ,this head also  reminds
 us of that of the ,kresilan ,diomedes  
of the ,munich ,glyptothek  7,pl4       
#ba71aage though the hair-treatment is  
,polykleitan4#aagf ,both  show a        
modification of ,polykleitan forms under
 ,attic influence4 ,the  numerous fine  
copies indicate that the original was a 
well-known work4  ,that it was          
,polykleitan is clear from a study of   
the heads1 which show  a great          
resemblance to that of the ,doryphoros1 
and of the body forms1  which resemble  
those of both the ,doryphoros and the   

,diadoumenos4  ,while some believe this 
original a work of ,polykleitos         
himself1#aagg  others think that it was 
by one of his pupils or successors1 who 
imitated the master's early style4 ,if  
the original1 however1 was  not the     
statue of ,kyniskos1 there is little    
evidence that it was by  ,polykleitos   
himself4    ,the palm-trunk in the      
,westmacott copy certainly argues that  
the  original was an athlete statue4    
,the gesture of the right hand has      
given rise to different interpretations4
 ,the ,barracco copy furnishes  the best
 evidence1 as on it the right arm is    
preserved to the wrist1  the hand only  
being lost4 ,helbig at first 7in the    
,barracco ,catalogue7  expressed the    
opinion that the right hand might have  
held an oil-flask1  from which oil was  
being poured into the left4 ,however1   
the position  of the left hand1 as shown
 by the puntello on the left hip1 must  
have been the same as that on the       
,westmacott copy1 i4 e41 hanging  close 

to the left side4 ,helbig later 7in the 
,fuehrer7 explained  the motive as that 
of a boy setting a crown on his head1 as
 in the  bronze ,eros already mentioned4
 ,this interpretation1 first suggested  
by ,winnefeld1#aagh has been the        
favorite one among archologists4  ,but  
all sorts of other explanations of the  
motive of the original  have been       
offered1 as that the athlete was        
scraping his forehead or  shoulders with
 the strigil1#aagi that the statue      
represented ,narkissos  looking into the
 pool and shading his eyes with his     
right hand1#aahj  that it was an athlete
 standing at rest and holding an        
akontion in  his right hand--a theory   
harmonizing with the poise of the head1 
but  not with the turn of the wrist1    
which shows that the hand was held      
downwards#aaha--;and that it was1 in    
fact1 the nudus talo incessens  of      
,pliny4#aahb ,on the head of the        
,eleusis statue there is a mass of      
marble left over the right ear just     

opposite the place where the hand  would
 be1 if it were setting a wreath on the 
head4 ,the fact that no  marks are      
visible where the crown was attached is 
explained by the  assumption that the   
wreath was of metal even in the marble  
copies4 ,that  this motive1 moreover1   
was known to both ,attic and            
,peloponnesian art  in the second half  
of the fifth century ,b4 ,c4 is well    
attested4 ,thus  we see on the          
,parthenon frieze a youth crowning      
himself with one hand1  while holding   
the horse's bridle with the other4#aahc 
,the pose of this  figure--especially   
the legs--recalls the ,myronian         
,oil-pourer already  discussed 7,pl4    
#aa74 ,on the other hand1 one of the    
figures of the  ,ildefonso group in     
,madrid1 which is ,polykleitan in style1
 represents  a boy wearing a wreath1 a  
figure closely akin to the ,westmacott  
,athlete1 the leg position being the    
same in both and the poise of the  head 
nearly so1 although the arms are        

different1 the left one being  raised   
and the right hanging down4#aahd ,it is 
probable that the raised  right hand of 
the original of the ,westmacott and     
other replicas touched  the wreath and  
the lowered left held a fillet4 ,the    
best explanation1  then1 of the         
,westmacott ,athlete and kindred works  
is that the motive  of the original was 
allied to that of the ,diadoumenos of   
,polykleitos1  though the modeling is   
too soft for ,polykleitos1 showing that 
the  copyists changed the original of   
the ,argive master to suit a later  and 
different taste4 ,whereas the           
,diadoumenos is tying on a victor's     
fillet1 the other is presumably placing 
a victor's wreath on his head4          
,certainly no better restoration can be 
made for the ,barracco copy4            
,furthermore1 many other monuments1     
which show a similar attitude1 and      
which must be regarded as very free     
imitations of the original1 seem to     
show that the boy was represented as    

placing a wreath on his head4#aahe      
,whether the original of the series was 
an actual victor statue at  ,olympia or 
not is an interesting question4 ,it has 
been repeatedly  suggested that it was  
the very statue of the boy boxer        
,kyniskos there1  mentioned by          
,pausanias1 the base of which has been  
recovered4#aahf  ,the external evidence 
for the identity consists altogether in 
the  similarity in the position of the  
feet on this base and in the series  of 
copies1 which argues a similar pose4    
,the base shows that the left  leg bore 
the weight of the statue2 it was        
slightly advanced and rested  on the    
sole1 while the right leg was set back  
and rested on the ball  only4 ,thus the 
statue of ,kyniskos was represented in  
the characteristic  ,polykleitan schema 
of rest1 except that the position of the
 legs is  reversed from that of the     
,doryphoros1 ,diadoumenos1 ,amazon1 and 
other works of the master4 ,we might add
 that this same reversal appears  on two

 other bases found at ,olympia1 which   
held victor statues by the  elder       
,polykleitos#aahg and one by the        
younger4#aahh ,moreover1 the  leg       
position of the canon does not occur in 
the works of the master's  pupils       
,naukydes and ,daidalos1 and only in one
 work of ,kleon4#aahi  ,this shows that 
teacher and pupils also used another    
motive1 i4 e41  the old canon of        
,hageladas1 besides the one associated  
with  the ,doryphoros4 ,the similarity  
in the position of the feet on the      
,olympia base and in the series of      
statues discussed has led some          
scholars1 e4 g41 ,petersen and          
,collignon1 to accept the proposed      
identity4 ,this similarity in foot      
position1 the probability that  the     
statue on the basis was life-size1 like 
those of the ,westmacott  series1 and   
the palm-tree support in the ,british   
,museum replica1 all  pointing to a     
victor statue1 make the identity well   
within the range of  possibility1 but by

 no means certain4 ,it is necessary only
 to rehearse  the objections to this    
view4 ,in the first place the length of 
the foot  on the ,olympia basis can not 
be accurately measured for purposes of  
comparison4 ,in the next place          
,polykleitos1 as we have just seen1 made
  other statues of victors at ,olympia  
with almost the identical foot  position
 of that of ,kyniskos4 ,furthermore1 it 
seems very unlikely that  so celebrated 
an original as that of these many       
replicas could have  been standing in   
the ,altis so late as the time of       
,pausanias4#aaij ,it  is difficult1     
also1 to understand why an imitative    
,attic sculptor  of the fourth century  
,b4 ,c41 should make a copy of an       
,arkadian boy  victor statue for        
,eleusis4 ,and lastly we must not forget
 that up  to the present time not a     
single ,roman copy has been conclusively
  identified with that of a victor      
statue at ,olympia4 ,if the date of the 
victory of ,kyniskos were definitely    

fixed1 the question of identity  would  
be better substantiated4 ,by a process  
of exclusion1 to be sure1  ,robert      
reached the date ,ol4 #hj 7 #dfj ,b4    
,c471#aaia but other dates  are         
possible4 ,under these circumstances    
there seems to be little more  than the 
possibility that we have recovered an   
actual victor statue at  ,olympia in    
these copies4#aaib      ,,the           
,,palm-,,branch4    ,the palm-branch1   
either woven into a wreath or held in   
the hand1 was a  victor attribute4      
,pausanias says that a crown of palm    
leaves was common  to many contests1 and
 that the victor everywhere in ,greece  
carried a  palm-branch in his right     
hand4#aaic ,he refers the custom to     
mythical  times1 tracing it back to the 
contest held by ,theseus on ,delos in   
honor  of ,apollo4#aaid ,pliny mentions 
a painting by the ,sikyonian ,eupompos1 
which represented a victor certamine    
gymnico palmam tenens4#aaie  ,while     
,milchhoefer#aaif believed that the     

motive of an athlete setting  a crown on
 his head with his right hand and       
holding a palm in his  left1 which is   
repeated frequently and with variation  
in many works of  art1 went back to this
 painting of ,eupompos1                 
,furtwaengler#aaig goes  further in     
assuming that the painter derived the   
motive from the statue  of ,polykleitos 
represented by the ,westmacott ,athlete 
and kindred  works just discussed4 ,the 
pupils of the great sculptor appear to  
have  transferred his school from ,argos
 to ,sikyon1 and were1 therefore1       
associated with ,eupompos4 ,this        
attribute of the palm1 permanent in     
bronze statues1 has been broken off for 
the most part in marble ones4  ,we see  
it in an unfinished statue of a young   
athlete in the ,national  ,museum1      
,athens1 who holds the palm-branch in   
his hand4 ,here it has  survived1 since 
the statue was only blocked out4#aaih   
,it is prominent  in the funerary stele 
from the ,dipylon representing a victor1

 which  has been mentioned in a         
preceding section2#aaii here the palm   
extends  from the left hand1 which is   
held down close to the side1 up to the  
shoulder4 ,we have already noted that   
the copyist added a palm-branch  to the 
stump placed beside the ,vatican girl   
runner 7,pl4 #b74 ,in the               
,choiseul-,gouffier ,apollo 7,pl4 #g;,a7
 the left hand should doubtless  be     
restored with the palm-branch1 because  
of the projecting notch of  marble on   
the side of the left leg near the       
knee4#abjj ,a similar notch  appears    
also on the ,apollo-on-the-,omphalos in 
,athens 7,pl4 #g;,b71 which  shows that 
the left hand held a long attribute1    
which was doubtless  a palm-branch4     
,this attribute occurs frequently on    
vases4#abja ,we  see it on a marble     
statue found at ,formiae and now in the 
,glyptothek  ,ny-,carlsberg in          
,copenhagen1 which shows the same motive
 as that of the  statue by ,stephanos   
7,pl4 #i71 though in a freer style of   

execution4  ,here the lowered right hand
 holds a palm-branch1 which is shown in 
low  relief against the right arm4#abjb 
,,secondary ,,attributes ,,of ,,victor  
,,statues4    ,in course of time the    
sculptor was not content to represent   
victor  statues merely as victors1 but  
differentiated the various kinds of     
victors by special attributes4          
,,hoplitodromoi4    ,illustration3      
,,fig4 #cj4--,marble heads of two       
,hoplitodromoi1 from  ,olympia4 ,museum 
of ,olympia4    ,thus a hoplite victor  
would be represented with his usual     
weapons4  ,pausanias1 in mentioning the 
statue at ,olympia of the hoplite runner
  ,damaretos of ,heraia by the ,argive  
sculptors ,eutelidas and ,chrysothemis1 
says that it 8has not only a shield1 as 
the armed runners still have1  but also 
a helmet on his head and greaves on his 
legs40#abjc ,he adds  that the helmet   
and greaves were gradually abolished at 
,olympia and  elsewhere4 ,we have seen  
that the statue of ,damaretos was set up

 at the  beginning of the fifth century 
,b4 ,c41 when his son ,theopompos1 the  
pentathlete1 won his second victory1 the
 monuments of the two being in          
common4#abjd ,toward the middle of the  
fifth century the hoplite victor        
,mnaseas of ,kyrene had a statue at     
,olympia1 the work of ,pythagoras of    
,rhegion1 which represented him as an   
armed man4#abje ,a ,pythian victor1     
,telesikrates1 of the fifth century ,b4 
,c41 had a statue at ,delphi1 which     
represented him with a helmet4#abjf ,we 
have actual remnants of two  hoplite    
victor statues of the sixth century ,b4 
,c41 in the two bearded  and helmeted   
life-size heads of ,parian marble found 
at ,olympia 7,fig4  #cj1 a1 b  ,a2 c1 d 
,b74#abjg ,the younger of these heads   
7,a71 to which  probably belong either  
an arm and the remnants of a shield     
attached  with a ram and a              
representation of ,phrixos upon it in   
relief1#abjh or  a shield fragment with 
a siren's wing upon it#abji and the     

fragment  of a shield edge#abaj and     
right foot of fine workmanship1#abaa ,i 
assigned long ago to the statue of the  
,thessalian hoplitodrome ,phrikias  of  
,pelinna1 who won two victories in ,ols4
 #fh and #fi 7 #ejh and #ejd ,b4        
,c474#abab ,r4 ,foerster had referred   
this head to the statue of the  hoplite 
runner ,damaretos of ,heraia1 whose     
monument1 in common with  that of his   
son1 the pentathlete ,theopompos1 was   
the work of the early  ,argive sculptors
 ,chrysothemis and ,eutelidas4#abac ,but
 this fresh and  vigorous head is not   
,peloponnesian1 but shows strongly      
marked ,attic  traits in its round face1
 full cheeks1 and soft lips1 and in the 
rows  of regularly wound locks of hair4 
,the arm and foot similarly disclose    
,attic softness and grace4 ,because of  
its ,attic character1 ,treu and         
,overbeck1#abad in opposition to        
,foerster1 ascribed it to the statue  of
 the ,elean hoplite victor ,eperastos   
mentioned by ,pausanias4#abae  ,though  

the date of his victory is unknown1 it  
certainly fell some  time after ,ol4    
#aaa 7 #ccf ,b4 ,c47--a date far too    
late for so archaic a  sculpture4       
,furtwaengler#abaf referred this and the
 more archaic head  ,b to the group of  
,phormis at ,olympia1 mentioned by      
,pausanias4#abag  ,however1 ,treu#abah  
showed that there was no stylistic      
connection  between the two heads4 ,the 
slightly more archaic head ,b1 badly    
injured  from weathering1 ,i have       
referred to the ,achaian hoplitodrome   
,phanas  of ,pellene1 who won ,ol4 #fg 7
 #eab ,b4 ,c474#abai ,in this carefully 
executed head the hair and beard are    
arranged in small locks and the  archaic
 smile is prominent4 ,while the younger 
head is ,attic1 this  one is            
unmistakably ,peloponnesian2 and while  
the former comes from a  statue         
represented at rest1 the latter1 because
 of the twist of the  neck1 seems to    
have come from one represented in       
violent motion4 ,for  this reason       

,wolters believed that it came from the 
statue of a warrior  represented as     
thrown to the ground and defending      
himself4    ,the ,myronic statue in the 
,palazzo ,valentini1 ,rome1 known as    
,diomedes1#abbj whose pose recalls the  
,diskobolos1 may represent  a           
hoplitodrome1 because of its marked     
resemblance in attitude to the          
,tuebingen bronze to be discussed in the
 next chapter 7,fig4 #db71 and  because 
of the helmet on its head4#abba         
,,pentathletes4    ,pentathletes were   
represented by attributes taken from    
three of the  five contests--jumping1   
and throwing the diskos and the javelin4
 ,all  these attributes appear in       
gymnasium scenes pictured on red-figured
  vases4 ,thus a kylix of the severe    
style in ,munich#abbb gives us a        
general picture of the exercises of the 
gymnasium4 ,on the walls hang  diskoi in
 slings1 strigils1 leaping-weights1     
oil-flasks1 sponges1 and  javelins4     
,archaic leaping-weights 77 appeared in 

the hands of  the statue of the ,elean  
,hysmon at ,olympia by the ,sikyonian   
sculptor  ,kleon4#abbc ,similarly1 a    
figure of ,contest 77 in the group set  
up there by ,mikythos had weights4#abbd 
,the offering of the people of  ,mende  
at ,olympia very nearly deceived        
,pausanias into thinking it the  statue 
of a pentathlete1 because of its ancient
 halteres4#abbe ,this  shows that these 
weights formed a regular attribute of   
pentathlete  statues there4 ,a relief   
from ,sparta#abbf represents an athlete 
leaning on his spear and holding a pair 
of leaping-weights in his  right hand4  
,there is a bronze statue of such a     
victor in the ,berlin                   
,antiquarium4#abbg ,halteres hang on a  
tree-trunk to the right of  the statue  
of an athlete in the ,pitti palace in   
,florence4#abbh ,the  breast of a marble
 torso1 less than life-size1 of a boy   
statue found at  ,olympia1 shows that   
the hands were stretched forward1 and   
very possibly  the objects which they   

held were leaping-weights4#abbi    ,we  
have no direct literary reference to a  
victor statue at ,olympia  of a         
pentathlete with the attributes of the  
diskos or javelin4 ,that  they existed  
there1 however1 seems probable enough4  
,such a work as the  ,diskobolos of     
,myron1 which displays the youthful     
victor in its every  line1 other        
statues1 statuettes1 reliefs1 and       
vase-paintings1 show us  how the artist 
represented the different steps in the  
casting of the  quoit4 ,similarly1 the  
famous ,doryphoros of ,polykleitos1     
copies of  which have been identified in
 many museums 7,pl4 #d and ,fig4 #dh71  
will  give us an idea how a javelin     
thrower might have been represented at  
rest4 ,the akontion or victor's         
casting-spear1 was1 as we see from the  
,spartan relief of a pentathlete just   
mentioned1 about the height of a  man4  
,the attitude of the diskobolos and     
doryphoros will be discussed at  length 
in the next chapter4      ,,boxers4     

,the statue of a boxer would be         
sufficiently characterized by thongs1   
which he might carry in his hand1 as in 
the statue of the ,rhodian  ,akousilaos 
at ,olympia1#abcj or wound round his    
forearm1 as in the  statue of a boxer in
 the ,palazzo ,albani1 ,rome1#abca or on
 a near-by  prop1 as on the tree-stump  
beside the ,choiseul-,gouffier ,apollo  
in the  ,british ,museum 7,pl4          
#g;,a74#abcb      ,,wrestlers4    ,long 
ago ,scherer tried to show that the     
aryballos was a  wrestler-attribute1    
since oil was so important in           
wrestling4#abcc ,he  interpreted as     
aryballoi the pomegranates mentioned by 
,pausanias  as held in the hands of the 
statues of the wrestlers ,milo#abcd and 
,theognetos#abce at ,olympia1 assuming  
that the ,periegete mistook  oil-flasks 
for pomegranates 774 ,but it hardly     
seems reasonable  that such a small     
utensil1 which was used by athletes in  
general1  could ever have been regarded 
as a peculiar attribute of the wrestler4

  ,a similar attribute may have been    
held in the outstretched hand of  the   
half life-size archaic bronze 8,apollo0 
of the ,sciarra ,palace in  ,rome1#abcf 
and it occurs on other statues4#abcg    
,,caps ,,for ,,boxers1 ,,pancratiasts1  
,,and ,,wrestlers4    ,often the boxer  
and pancratiast 7and even wrestler7#abch
 are  represented as wearing            
close-fitting caps1 made up of thongs of
  leather or of solid leather4 ,this1   
however1 can scarcely be called  a      
determining attribute4 ,our best example
 of such a cap is afforded  by an       
athlete head dating from the first half 
of the fifth century ,b4  ,c41 in the   
,capitoline ,museum1 ,rome1#abci        
formerly called a portrait  of ,juba    
,,ii1 who was the king of ,numidia and  
,mauretania from #be ,b4 ,c4  to #bc ,a4
 ,d4 ,this ascription was based on the  
barbarous look of the  head and the fact
 that another head1 discovered in the   
,gymnasion of  ,ptolemy in ,athens and  
thought to resemble it1 was assumed to  

be that  of ,juba1 since ,pausanias     
mentions one of that prince there4#abdj 
,it  is rather the head of an athlete   
engaged in putting on a cap4 ,this  cap 
consists of three transverse leather    
pieces crossing the head  from side to  
side1 one over the forehead1 one over   
the crown1 and the  third over the      
occiput1 all three converging above the 
ears4 ,a fourth  strap fastens them     
together and is drawn over the crown    
from forehead  to occiput4 ,in the      
complete statue doubtless the hands were
 raised to  the head1 grasping the      
straps near the ears to fasten them4    
,this is1  therefore1 an anticipation of
 the later ,diadoumenos motive4 ,we see 
it in a statuette formerly in the       
,stroganoff collection in ,rome1 but    
now in private possession in            
,england1#abda which represents an      
athlete  putting on a similar           
head-dress4 ,though the arms of the     
statuette  are gone1 remains of the two 
hands are seen touching the left ear    

and tying the straps1 one of which runs 
around the cranium above the  swollen   
right ear4 ,with this complicated       
head-dress we may compare  the          
close-fitting cap--evidently of         
leather--pictured on an archaistic      
,greek votive relief-in the ,palazzo dei
 ,conservatori1 in ,rome1 which         
represents an athlete washing his hands 
in a basin1 which stands on a           
tripod4#abdb ,here the cap is fastened  
by two bands1 one around and  the other 
under the chin4 ,an object in the upper 
left corner of the  relief1 enclosed in 
a frame1 appears to be a victor crown   
adorned with  bow-knots4 ,such caps1    
used in wrestling1 would make it        
impossible for  an opponent to grasp the
 hair2 in boxing and the pankration it  
would  protect the head from injury4 ,we
 saw that such a cap was pictured on  a 
,munich kylix of the early fifth century
 ,b4 ,c4 ,it is probable that  such caps
 were customary at a period before      
athletes lost their long  hair and that 

it was continued afterwards for various 
reasons4 ,the  little statuette from    
,autun now in the ,louvre 7,fig4 #fj71  
representing  a pancratiast1 has a      
close-fitting cap4 ,the ring at the top 
shows that  this statuette was hung     
up--perhaps being used as a weight in a 
,roman  scale1 or perhaps for adornment4
 ,in later days boys while practising   
in the palstra1 but never at the public 
games1 wore ear-lappets  7 or 7 to      
protect their ears1 not dissimilar to   
those  worn in our day for protection   
against the cold4 ,we see them on a     
marble head1 formerly in the possession 
of ,fabretti4#abdc      ,,the ,,swollen 
,,ear4    ,we have lastly to speak of   
the swollen ear1 which was an attribute 
of  victor statues1 both primary and    
secondary1 since it characterized       
victors as such1 and also early         
differentiated victors in various       
contests4 ,swollen ears may have played 
a role as a characteristic  attribute of
 pugilists in early times4#abdd ,we     

found them on the  ,rayet head in the   
,jacobsen collection 7,fig4 #bb71 which 
belongs to the  last quarter of the     
sixth century ,b4 ,c4 and comes from the
 funerary  statue of an athlete1        
probably a boxer4 ,in course of time1   
however1  they came to characterize     
pancratiasts1 wrestlers1#abde and       
athletes  in general4 ,the assumption1  
then1 that heads with swollen ears come 
from statues of boxers1#abdf and that   
the boxer was known throughout  ,greek  
history as the 8man with the crushed    
ear0 is erroneous4#abdg  ,the earliest  
literary reference to the bruised ear is
 in ,plato4#abdh  ,the philosopher used 
the term slightingly of those who       
imitated  ,spartan customs1 especially  
,spartan boxing4 ,the ,lacedmonians     
never  boxed scientifically1 but fought 
with bare fists and without rules4      
,literary evidence1 furthermore1 shows  
that bruised ears did not play  the part
 in boxing matches which other bruised  
features of the face  did--the eyes1    

nose1 mouth1 teeth1 and chin4           
,vase-paintings sustain this  evidence1 
for we often see bloody noses and cuts  
on the cheeks and  chin1 but no crushed 
ears4#abdi ,in short1 the crushed ear   
was merely  a professional              
characteristic1 a realistic detail1     
common to athletes  of various sorts1   
and1 as we shall see1 to warriors1 gods1
 and heroes4  ,to quote ,homolle3 8,la  
bouffissure des oreilles ellemme n'est  
pas un  trait personnel1 mais un        
caractre professionnel2 elle ne dsigne  
pas  ,agias1 mais en gnral le lutteur4  
,cette dformation peut atteindre  mme un
 dieu1 s'il a pratiqu les exercices     
gymnastiques et pass sa  vie dans les   
luttes04#abej ,it is found constantly on
 athletic types  of heads in sculpture1 
whether these represent gods or mortals4
 ,a few  examples will make this clear4 
,the following heads of athletes show   
the swollen ears3 the bronze portrait   
head of a boxer or pancratiast  from    
,olympia1 dating from the end of the    

fourth century ,b4 ,c4 or the  beginning
 of the third 7,fig4 #fa ,a and         
,b72#abea the marble head from  the     
statue of the boxer ,philandridas set up
 among the victor statues  at ,olympia1 
the work of ,lysippos 7,frontispiece and
 ,fig4 #fi72abeb  the head of the statue
 of the pancratiast ,agias at ,delphi   
7,pl4 #bh and  ,fig4 #fh7 2#abec that of
 the ,seated ,boxer in the ,museo delle 
,terme  in ,rome 7,pl4 #af and ,fig4    
#bg72abed that of the ,apoxyomenos of   
the  ,uffizi in ,florence 7,pl4         
#ab72abee the bronze head from an       
athlete  statue found at ,tarsos and now
 in ,constantinople1 an ,attic work of  
the end of the fifth century ,b4        
,c42#abef the beautiful bronze head  of 
a boxer in the ,glyptothek 7,pl4        
#c72abeg the head of the so-called      
,apollo-on-the-,omphalos in ,athens     
7,pl4 #g;,b72#abeh the athlete head     
from ,perinthos 7,fig4 #cc72abei the    
bronze copy of the head of the          
,doryphoros1 found in ,herculaneum and  

now in ,naples1 by the ,attic  artist   
,apollonios 7,fig4 #dg72abfj the        
,ince-,blundell head in ,england1  to be
 discussed2 four heads in               
,copenhagen2#abfa the remarkably        
beautiful bust of an athlete in the     
,metropolitan ,museum1 ,new ,york 7,pl4 
#bj71 whose rounded skull1 oval face1   
projecting lower forehead1 and  dreamy1 
half-closed eyes place it in the fourth 
century ,b4 ,c41 a work  influenced by  
the art of ,praxiteles4#abfb            
,illustration3 ,,plate #bj    ,head of  
an ,athlete1 ,school of ,praxiteles4    
,metropolitan ,museum1 ,new  ,york4     
,when we consider heads of gods and     
heroes we find the swollen ears on  a   
variety of types4 ,we see them on the   
so-called ,borghese ,warrior of  the    
,louvre 7,fig4 #dc71abfc formerly called
 a ,gladiator1 and on the  marble statue
 of ,kresilan style in ,munich1 which   
has been known since  ,brunn's          
interpretation as ,diomedes 7carrying   
off the ,palladion from  ,troy7 7,pl4   

#ba74abfd ,this latter statue is a      
careful1 though inexact1  ,hadrianic    
copy of a famous work and is shown to   
represent the hero1 and  not an athlete1
 by the mantle thrown over the arm4     
,skill in the boxing  match1 the        
roughest and most dangerous of sports1  
is as appropriate  to ,diomedes as to   
,herakles himself4 ,the crushed ears    
appear on the  ,dresden replica of this 
statue1 a cast from the ,mengs          
collection1 the  original of which was  
once probably in ,england1#abfe but do  
not appear  on the poor copy in the     
,louvre4#abff ,they also appear on the  
,myronian  bust in the ,riccardi        
,palace1 ,florence1 which is a copy of  
an original  that was1 perhaps1 the     
forerunner of the ,kresilan             
,diomedes4#abfg  ,here again the garment
 thrown over the left shoulder shows    
that a  youthful hero1 and not an       
athlete1 is intended4    ,on heads of   
,herakles the swollen ears are very     
common4 ,the first dated  representation

 of the hero with battered ears appears 
to be on coins  of ,euagoras ,i1 the    
king of ,salamis in ,cyprus during the  
years #daj-cgd  ,b4 ,c4#abfh ,we have   
several examples in sculpture from the  
fourth  century ,b4 ,c4 ,thus swollen   
ears and the victor fillet appear on the
  ,skopaic head in the ,capitoline      
,museum4#abfi ,another example is the   
terminal bust of the youthful hero found
 in #aggg at ,genzano1 and now  in the  
,british ,museum 7,fig4 #ca74abgj ,this 
head wreathed with poplar  leaves1 is   
probably a ,grco-,roman copy of an      
original of the fourth  century ,b4 ,c41
 by an artist of the school of          
,lysippos4 ,in the group  representing  
,herakles and his son ,telephos1 a      
,roman copy in the ,museo  ,chiaramonti 
of the ,vatican1 the hero is represented
 with fillet and  battered ears4#abga ,a
 ,parian marble head1 encircled by a    
crown1 in the  ,glyptothek1 going back  
to a ,lysippan bronze original1 seems to
 come  from the statue of the hero      

represented as a victor4#abgb ,another  
life-size head1 of poor workmanship1 in 
the ,chiaramonti collection of  the     
,vatican1 sometimes confused with the   
,doryphoros head-type1 seems  to come   
from a statue of ,herakles1 as shown by 
the broken ears and  rolled fillet1 the 
latter a well-known attribute of the    
hero taken from  the symposium4#abgc ,a 
much finer replica is the bust from     
,herculaneum  now in ,naples4#abgd      
,swollen ears appear also on heads of   
,ares4 ,we  may instance the helmeted   
one in the ,louvre1#abge and especially 
the  replica in the ,palazzo ,torlonia  
in ,rome4#abgf ,they are less prominent 
on a ,parian marble head of the god in  
the ,glyptothek1 which appears  to be a 
copy of an original of which the ,ares  
,ludovisi is a more  complete one4#abgg 
,illustration3 ,,fig4 #ca4--;,head of   
,herakles1 from ,genzano4 ,british      
,museum  ,london4    ,illustration3     
,,plate #ba    ,statue of ,diomedes with
 the ,palladion4 ,glyptothek1 ,munich4  

,so far as we know1 the statues of      
wrestlers1 runners 7except              
hoplitodromes71 and probably            
pancratiasts were not distinguished by  
special attributes4 ,in these cases the 
sculptor was obliged to express  the    
type of contest in the figure itself4   
,his problem1 therefore1  was to        
represent the victor in the             
characteristic pose of the contest  in  
which he had won his victory1 that is1  
by representing the statue as  if in    
movement4 ,this brings us to the second 
division of our treatment  of victor    
statues1 those which represented the    
victor not at rest1 but  in motion1 a   
scheme which1 in course of time1 was    
extended not only  to victors in        
wrestling and running1 but to those in  
all contests1 by  representing them in  
the very act of contending4 ,the        
treatment of this  class of monuments   
will occupy the chief portion of        
,chapter ,,iv4          ,,chapter ,,iv4 
,,victor ,,statues ,,represented ,,in   

,,motion4    ,,plates #bb-be ,,and      
,,figures #cb-fb4      ,just when the   
important step of representing the      
victor in motion  instead of at rest was
 taken in ,greek athletic sculpture we  
can not  definitely say4 ,the statement 
of ,cornelius ,nepos that the statues of
  athletes were first represented in    
movement in the fourth century  ,b4 ,c41
 after the time of the ,athenian general
 ,chabrias--whose image  he describes as
 representing ,chabrias in his favorite 
posture with  his spear pointed at the  
enemy and his shield on his knee--has   
long  since been shown to be            
worthless4#abgh ,nor is the assumption  
of many  archologists#abgi that this    
advance in the plastic art was taken    
over  into athletic sculpture soon after
 the statues of the ,tyrannicides  were 
set up at ,athens1 which represented    
them in the midst of their  impetuous   
onslaught on ,hipparchos1 to be relied  
upon4 ,these statues1  however1 occupy  
so important a place in the history of  

,greek sculpture  that we shall consider
 them briefly in this connection4       
,,the ,,tyrannicides4    ,the bronze    
statues of the popular heroes ,harmodios
 and ,aristogeiton1 by  the sculptor    
,antenor1 were1 in all probability1 set 
up in the ,athenian  agora in #ejf-e ,b4
 ,c4#abhj ,the group was carried off to 
,susa by ,xerxes  in #dhj ,b4 ,c41 and  
to replace it a new group1 doubtless a  
free imitation  of the older one1 and   
probably also of bronze1 was set up in  
#dgg ,b4 ,c41  the work of the sculptors
 ,kritios and ,nesiotes4#abha ,nearly a 
century  and a half later the stolen    
group was restored to ,athens by        
,alexander  the ,great#abhb and the two 
continued to stand side by side in      
,athens  down to the time of ,pausanias4
 ,neither of these groups has survived  
to our time1 but a late ,roman marble   
copy of one1 somewhat over  lifesize1   
found in the ruins of ,hadrian's villa  
and now in ,naples1  gives us a good    
idea of the original1 despite           

restorations 7,fig4 #cb1                
,harmodios74#abhc    ,illustration3     
,,fig4 #cb4--,statue of ,harmodios4     
,museum of ,naples4    ,the             
reconstruction of this group is aided by
 several minor works of  art1 reliefs1  
vase-paintings1 coins1 lead marks1 etc41
 the number of  which shows that it was 
a common subject for ,athenian artists4 
,botho  ,graef1 by a careful study of   
the female statue found on the          
,akropolis  in #ahhf and inscribed as   
the work of ,antenor1 has shown that the
  stylistic contrast between it and the 
,naples group is too great for  the     
latter to be assigned to ,antenor4#abhd 
,it is now1 therefore1 the  prevailing  
view that the ,naples group reproduces  
the later statues of  ,kritios and his  
associate4#abhe ,we do not know1 then1  
how the older  group looked1 but we are 
certain that it was different from the  
later  one1 for1 in the years elapsing  
between the dates of the two1 ,attic    
sculptors had become entirely free from 

the ,ionic influence which we  discussed
 in the preceding chapter and which     
characterizes the female  statue of     
,antenor4 ,archaic stiffness1 however1  
is still traceable in  the later group1 
for in the copy we see a work which is  
8concise1  sinewy1 hard1 and with       
strained lines10 in harmony with        
,lucian's  characterization of the works
 of ,hegias1 ,kritios1 and              
,nesiotes4#abhf    ,the restorations of 
the ,naples group1 though right in the  
main1 make us  doubtful as to the exact 
pose of the original figures4#abhg      
,harmodios  has new arms1 new right leg1
 and left leg below the knee1 while     
,aristogeiton has a ,lysippan head in   
place of the original bearded one1  to  
correspond better with that of his      
companion4 ,his left arm1 with the      
drapery hanging down1 has been put on at
 a wrong angle1 as he should  be        
represented holding a scabbard in the   
left hand and a sword in the  right4 ,on
 a vase fragment 7oinochoe7 in          

,boston#abhh both heroes are  making the
 onset1 the younger one 7,harmodios7 in 
front of the other1  but in the original
 statues1 they were probably making the 
onset  abreast1 something that the      
vase-painter could not represent4#abhi  
,while the ,akropolis ephebe1 already   
discussed as showing ,argive  influence 
7,fig4 #ag71 still shows but little     
break with the law of  8frontality0     
formulated by ,j4 ,lange1#abij whereby  
an 8imaginary line  passing through the 
skull1 nose1 backbone1 and navel1       
dividing the body  into two symmetrical 
halves1 is invariably straight1 never   
bending to  either side10 the           
,tyrannicides have broken it completely4
 ,the ephebe  has his head slightly     
turned to one side1 and1 because of     
resemblances  in head and body to the   
figure of ,harmodios1 has been assigned 
to  ,kritios or his school4#abia        
,another statue at rest ascribed to the 
same school is the athlete in the ,somze
 collection1 which reminds us  of the   

,pelops of the ,east ,gable at          
,olympia4#abib ,we have record of  one  
more statue by ,kritios himself1 which  
was represented in motion  only less    
violent than that of the ,tyrannicides4 
,pausanias saw on the  ,akropolis of    
,athens a statue by him of the hoplite  
runner ,epicharinos1  which represented 
the athlete in the attitude of one      
practicing starts1  perhaps in the very 
pose of the ,tuebingen statuette 7,fig4 
#db74abic    ,in the statues of the     
,tyrannicides1 then1 which might pass   
equally  well for typical athletes of   
the time1 we have examples of statues in
  motion at the end of the sixth century
 ,b4 ,c42 for the same violent  action  
must have characterized the earlier     
group of ,antenor as the  later one4 ,we
 have seen that the ,aeginetan sculptors
 not only made  pediment groups in      
action at a date not later than that of 
the group  by ,kritios and ,nesiotes1   
but single figures still earlier4 ,thus 
the  sculptor ,glaukias represented the 

,karystian boy boxer ,glaukos in the    
act of sparring with an imaginary       
opponent4#abid ,though ,glaukos won in  
,ol4 #fe 7 #ebj ,b4 ,c471 his statue was
 set up later by his son1 perhaps  as   
late as the end of the sixth century ,b4
 ,c41 or the beginning of  the fifth1 as
 the floruit of the sculptor would      
show4#abie ,this  is the oldest example 
attested by literary evidence of an     
athlete  statue in motion at ,olympia4  
,whether ,glaukias got his motive from  
,antenor's ,tyrannicides1 or whether his
 work was the older1 we can not         
determine1 but it is safe to say that   
this genre of statuary must  have       
existed at ,olympia long before1 as we  
know it did elsewhere4 ,the  ,rampin    
head1 already discussed as a fragment of
 a victor statue1 shows  by the turn of 
its neck that athlete statues           
represented in motion  existed at least 
as far back as the first half of the    
sixth century ,b4  ,c4#abif             
,,antiquity ,,of ,,motion ,,statues ,,in

 ,,greece4    ,apart from specifically  
athletic types1 we know that statues in 
motion1  especially those representing  
winged figures1 antedated the sixth     
century ,b4 ,c4 in ,greece1 and were1   
perhaps1 coeval with the very origin  of
 ,greek art4#abig ,we know that the     
oldest ,egyptian art attempted  to      
render the human body in motion4 ,we may
 instance the limestone  funerary       
statuette dating from the ,old ,kingdom1
 which represents a slave  woman        
grinding corn1#abih and similar figures 
found in the graves  of ,memphis4 ,in   
fact1 the making of such statues ceased 
in ,egyptian  art after the end of the  
,old ,kingdom4 ,while                   
,assyro-,babylonian art  represented    
figures in motion only on reliefs1      
,cretan art1 as we have  seen in the    
first chapter1 showed the utmost skill  
in representing  movement in figures in 
the round4 ,it used to be assumed that  
in ,greek  art motion statues developed 
out of the archaic 8,apollo0 type       

through  the gradual freeing of legs and
 arms4 ,any such assumption is easily   
disproved by the fact that figures in   
motion exist1 which date back  almost as
 far as figures at rest4 ,it is equally 
fallacious to argue  that slight        
movement was easier for the early artist
 to represent  than violent movement1   
for just the contrary was the case1 so  
that  in general the greater the        
movement represented1 the greater is the
  age of the given monument4 ,early     
vase-paintings show that the early      
painter delighted in portraying free    
movement4#abii ,it may be that  the     
vase-painter preceded the sculptor in   
portraying movement1 for it  was easier 
to effect this in two dimensions than in
 three4 ,but that  statues in motion    
were already known at the beginning of  
the sixth  century ,b4 ,c41 at least1 is
 shown by the winged flying figure known
  as the ,nike of ,archermos1#acjj      
unearthed on the island of ,delos by    
the ,french in #ahgg1 which is a        

masterpiece of early ,chian sculpture1  
perhaps coeval with the statue dedicated
 to ,artemis by ,nikandre of  ,naxos1   
found a year later on ,delos1#acja even 
though the latter  appears more archaic4
 ,this earliest example of treating a   
flying figure  in ,greek sculpture we   
find repeated almost unchanged for a    
long time  after1 especially for        
akroteria figures on temples and in the 
minor  arts4 ,we might mention the      
bronze statuette of the end of the sixth
  century ,b4 ,c41 found on the         
,akropolis1 which comes from the edge of
 a  vessel and represents a winged ,nike
 springing through the air1 the  legs in
 profile and the head and upper body    
turned to the front1 just  as in the    
figure of ,archermos4#acjb ,such figures
 completely disprove  the contention of 
,sikes that the ,greek idea of a winged 
,nike did  not antedate the fifth       
century ,b4 ,c4#acjc ,the early date of 
statues  represented in a lunging       
attitude1 like the ,tyrannicides1 is    

also  shown by the story that ,herakles 
destroyed his own statue by ,daidalos   
in the agora of ,elis1 because in the   
night he mistook it for an enemy        
lunging at him4 ,the scheme of          
combatants fighting with lances seems to
  have been native to ,rhodian art at   
the end of the seventh century ,b4  ,c41
 for we see it first on a painted       
terra-cotta plate in the ,british       
,museum1 which represents ,hektor and   
,menelaos fighting for the body of      
,euphorbos4#acjd ,this pose was taken   
over into other arts1 as we see  it in  
the bronze statuette of a warrior found 
in ,dodona in #ahhj1 now  in the        
,antiquarium in ,berlin1 which dates    
from the end of the sixth  century ,b4  
,c41 or the beginning of the fifth4#acje
 ,all these examples  are sufficient to 
show that representing the human figure 
in motion was  an ancient motive in     
,greek art4      ,,pythagoras ,,and     
,,myron4    ,besides ,kritios1 two other
 sculptors of the transitional          

period--,pythagoras and ,myron--gave a  
great impetus to the type of  statue in 
motion in the first half of the fifth   
century ,b4 ,c4 ,before  proceeding     
further we shall briefly consider their 
artistic activity4    ,the attempt to   
ascribe something tangible to           
,pythagoras of ,rhegion has  often been 
made4#acjf ,practically all we really   
know about him is  that he was          
celebrated for his statues of athletes4 
,pausanias mentions  seven statues at   
,olympia of victors who won in many     
different events1  in running 7including
 the hoplite-race71 wrestling1 boxing1  
and the  chariot-race2 and ,pliny1 in   
giving a list of his works1 praises the 
statue of a pancratiast at ,delphi4#acjg
 ,thus ,pausanias records the  statues  
of the ,sicilian wrestler ,leontiskos1  
who won two victories  in ,ols4 #ha and 
#hb 7 #def and #deb ,b4 ,c472#acjh of   
the boy boxer  ,protolaos of ,mantinea1 
who won in ,ol4 787 #gd 7 #dhd ,b4      
,c472#acji of  the boxer ,euthymos of   

,lokroi1 who won three times in ,ols4   
#gd1 #gf1  #gg 7 #dhd1 #dgf1 #dgb ,b4   
,c472#acaj of ,dromeus of ,stymphalos1  
who won  the long foot-race 77 twice in 
,ols4 787 #hj and #ha 7 #dfj and  #def  
,b4 ,c472#acaa of ,astylos of ,kroton1  
who won the stade-race1 the  double     
foot-race 77 three times1 and the       
hoplite-race twice in  ,ols4 #gc1 #gd1  
#ge1 #gf 7 #dhh-dgf ,b4 ,c472#acab of   
the hoplite victor  ,mnaseas of ,kyrene1
 victor in ,ol4 #ha 7 #def ,b4          
,c472#acac and of the  latter's son     
,kratisthenes1 who won the chariot-race 
in ,ol4 787 #hc 7  #ddh ,b4 ,c474#acad  
,some of these statues at ,olympia must 
have been  represented at rest1 while   
others appear to have been represented  
in  motion4 ,thus the statue of         
,mnaseas--though it is possible that it 
was  represented in motion like that of 
,epicharinos by ,kritios already        
mentioned--was probably represented at  
rest1 since ,pausanias described  it    
simply as that of an  4#acae ,when we   

inquire into the  style of ,pythagoras  
we do not find much that is definite to 
guide us4  ,besides the bare list of his
 works1 we have little except the       
statement  of ,diogenes ,laertios that  
he was the first to aim at rhythm and   
symmetry4#acaf ,nevertheless many       
attempts have been made to identify  his
 athlete statues with existing copies4  
,waldstein's interpretation of  the     
,choiseul-,gouffier statue in the       
,british ,museum 7,pl4 #g;,a71 and of   
the so-called ,apollo-on-the-,omphalos  
in ,athens 7,pl4 #g;,b71 as copies of   
an original athlete statue1 is1 as we   
have shown in the second chapter1       
well-founded1 since the muscular build  
and the coiffure of these  statues      
betoken the athlete4 ,but his further   
attempt to show that the  original was  
by ,pythagoras1 and his identifying it  
with the statue of  the boxer ,euthymos 
at ,olympia1 is not so reasonable4#acag 
,illustration3 ,,fig4 #cc4--;,head of an
 ,athlete1 from ,perinthos4 ,albertinum1

  ,dresden4    ,the attempt to ascribe  
the head of a pancratiast from          
,perinthos in  ,dresden 7,fig4 #cc7acah 
to ,pythagoras is not convincing1 though
  ,furtwaengler has included it in his  
provisional ,pythagorean  group1#acai as
 he does the boxer in the ,louvre known 
as ,pollux  7,fig4 #eh71acbj the athlete
 of the ,boboli ,gardens in ,florence   
formerly  called ,harmodios by          
,benndorf1#acba and the statue of an    
athlete of  later style in ,lansdowne   
,house1 ,london4#acbb ,other scholars   
have also  connected the ,perinthos head
 with ,pythagoras4#acbc ,hermann brought
 it  into relation with the bust in the 
,riccardi ,palace in ,florence1 which1  
despite its swollen ears1 we have       
already classed as representing  a hero 
and not an athlete1 because of the      
garment thrown over the  shoulder4#acbd 
,furtwaengler tried to show that this   
bust was ,myronian  in style1 classing  
it and the head of an athlete in ,ince  
,blundell ,hall1  ,lancashire1          

,england1#acbe along with that of the   
earlier ,diskobolos1  explaining the    
acknowledged differences in the three by
 ,pliny's  statement that ,myron primus 
multiplicasse veritatem videtur4#acbf   
,arndt lists the ,perinthos1 ,riccardi1 
and ,ince ,blundell heads1 together     
with two others in the ,jakobsen        
collection in ,copenhagen1#acbg  the    
head of the so-called ,pollux of the    
,louvre1 a bearded head in              
,petrograd1#acbh and the so-called head 
of ,peisistratos in the  ,villa ,albani1
 ,rome1#acbi as works emanating from one
 school of  sculptors--the differences  
being explained by the many copyists4   
,but  to attempt to differentiate within
 the group two different sculptors1     
,myron or ,pythagoras1 he finds         
impossible1 chiefly because we are      
dealing in every case with copies and   
not with originals1 and because  in no  
case are we certain that the head       
belongs to the torso on which  it is    
set4#accj ,still another critic1 ,a4    

,schober1 classes together  as more or  
less related works the ,riccardi1 ,ince 
,blundell1 ,perinthos1  and             
,ny-,carlsberg heads1 the ,louvre boxer 
7,pollux71 ,chinnery  ,hermes in the    
,british ,museum1#acca the ,boboli      
athlete1 the athlete  metamorphosed into
 a ,hermes in the ,loggia ,scoperta of  
the ,vatican1  and the ,lansdowne       
athlete1 and finds them all ,myronian4  
,he believes the  ,perinthos head to be 
the prototype of the ,riccardi and ,ince
 ,blundell  heads4#accb    ,in all this 
confusion of opinion as to the style of 
,pythagoras1 and  in the absence of any 
fixed criterion of judgment furnished by
 an  original authenticated work1 it    
seems hazardous to ascribe this or that 
sculpture to this little-known artist4  
,the difficulty of separating  ,myron   
and ,pythagoras is even greater than    
that which confronts us in  trying to   
distinguish works of ,lysippos and      
,skopas in the next century4  ,we may   
some day recover a genuine ,pythagorean 

athlete statue1 though  this is         
extremely improbable now that we have no
 more to expect from  ,olympia and      
,delphi1 where most of his statues      
appear to have stood4 ,but  despite the 
difficulty1 many identifications of his 
,olympia statues  have been suggested1  
some of which we shall now mention4     
,as ,pausanias says that the victor     
,mnaseas was surnamed ,libys1 the       
,libyan1 and that his statue was by     
,pythagoras1 it may be that this is  the
 statue mentioned by ,pliny in the      
words3 ,pythagoras fecit 444  et ,libyn1
 puerum tenentem tabellam eodem loco 7  
,olympiae7 et mala  ferentem nudum4#accc
 ,however1 in that case we can not      
connect the  words ,libyn and puerum1   
since one represented a man and the     
other a  boy4#accd ,consequently1 ,pliny
 is speaking of three different statues1
  and not two1 by this artist4 ,reisch  
believes that the statues of the  boy   
and the nude man were represented at    
rest1#acce the boy bearing a  tablet 7i4

 e41 an iconic 7 in his hand1 like the  
,athenian  youth appearing on a         
vase-painting in ,munich4#accf ,another 
scholar1 ,l4  von ,urlichs1 formerly    
identified the boy carrying the tablet  
with the  statue of ,protolaos at       
,olympia1#accg explaining the tablet as 
a means  of characterizing the young    
learner4 ,he changed his theory         
later1#acch  when1 in consequence of the
 discovery of the ,corinthian tablets1  
he  called it a votive tablet4 ,his son1
 ,h4 ,l4 von ,urlichs1 agreed with him  
because of a passage in the collection  
of ,proverbs by ,zenobios1 the  sophist 
of ,hadrian's age1#acci according to    
which the marble statue  of ,nemesis at 
,rhamnous by ,pheidias' favorite pupil1 
the ,parian  sculptor ,agorakritos1#acdj
 held an apple-branch in her left hand1 
from  which a small tablet containing   
the artist's name was suspended1 and    
also because certain coins of ,syracuse 
and ,catania represent ,nike as         
carrying a tablet hung by a ribbon1 on  

which the coin-striker's name  was      
engraved4#acda ,the same scholar further
 identified the nude man  carrying the  
apples with the statue of ,dromeus at   
,olympia4 ,since ,pliny  does not       
expressly say that the statue of the    
nude man was at ,olympia1  even though  
the sense of the passage inclines us to 
think it was1 ,l4  von ,urlichs         
interprets the apples in the hand as an 
additional prize  at ,delphi1 and so    
makes the statue that of a ,pythian     
victor4#acdb ,all  such identifications 
are based on too uncertain premises4    
,that ,pythagoras did make statues in   
motion is proved by his statue of  a    
limping man at ,syracuse mentioned by   
,pliny#acdc in very realistic  terms4   
,we know of other statues by him        
representing athletes in motion  only by
 inference4 ,thus1 in the passage just  
quoted1 ,pliny says that he  surpassed  
,myron with his ,delphian pancratiast1  
which appears1 inasmuch  as ,pliny      
merely calls the statue a pancratiast   

without mentioning any  attribute1 to   
have been represented in the            
characteristic lunging  pose4#acdd      
,however1 we can not say definitely1    
since the contemporary  statue of the   
pancratiast ,kallias1 by ,mikon of      
,athens1 was represented  in the        
attitude of rest1 as we learn from the  
footprints on its  recovered base4#acde 
,pliny also says that ,pythagoras       
surpassed  with his ,delphian           
pancratiast his own statue of           
,leontiskos1#acdf a  statement which    
similarly appears to mark the latter as 
a statue in  motion4 ,reisch assumes    
that the statue of ,euthymos was in     
motion1  since ,pausanias says it was an
      4#acdg  ,on the whole1 then1 we   
may assume that ,pythagoras was a       
sculptor who  represented many of his   
victors in the attitude of motion4      
,love of movement also characterized the
 artistic temperament of  ,myron1 even  
though we know that he represented gods1
 heroes1 and  even athletes1 at rest4   

,thus coins show that ,athena in his    
,marsyas  group was represented as      
standing in a tranquil pose4#acdh       
,similarly  the ,riccardi bust in       
,florence1 already discussed1 which may 
be  ,myronian1 comes from a statue of a 
hero shown in an attitude of rest4      
,myron was the first ,greek sculptor to 
make his statues and groups             
self-sufficient1#acdi that is1 he gave  
to them a concentration which  does not 
allow the spectator's attention to      
wander4 ,we readily see this  new       
principle in art when we compare the    
,diskobolos and the group of  the       
,tyrannicides4 ,in the latter our       
attention is not concentrated1  for a   
third figure1 that of the tyrant on whom
 the onset is being made1  is required  
in imagination to complete the group4   
,we have no originals  from ,myron's    
hand1 but we are in far better case in  
regard to his work  than in regard to   
that of ,pythagoras1 since we have      
unmistakable copies  of two of his      

greatest works1 the ,marsyas and the    
,diskobolos4 ,in  them there is little  
trace of the archaic stiffness that is  
still  visible in the ,tyrannicides4    
,both of these works are represented in 
violent action1 and in both there is    
complete concentration4 ,while  the     
,diskobolos represents a trained palstra
 athlete executing a  graceful movement1
 the ,marsyas represents a wild ,satyr  
of the woods1  wholly untrained and     
controlled by savage passions1 in the   
moment of  fear4#acej ,in the           
,diskobolos the face is impassive1 being
 little  affected by the violent        
movement of the body--a contrast only   
partly to  be explained as due to the   
copyist2 in the ,marsyas1 on the        
contrary1  there is complete harmony    
between the facial expression and the   
violent  action of the body4            
,illustration3 ,,plate #bb    ,statue of
 the ,diskobolos1 from ,castel          
,porziano1 after ,myron4  ,museo delle  
,terme1 ,rome4    ,illustration3 ,,fig4 

#cd4--,statue of the ,diskobolos1 after 
,myron4  ,vatican ,museum1 ,rome4       
,since we are chiefly dependent for our 
knowledge of ,myron's athletic  work on 
the marble copies of the ,diskobolos1   
which represents a  new era in athletic 
art1 and since this statue is perhaps   
the most  famous athletic statue of all 
times1 it will be well to speak of it   
here at some length4 ,it is not1 so far 
as we know1 the statue of any           
particular victor1 but rather a study in
 athletic sculpture4#acea ,of  this work
 there are twelve full size replicas and
 several statuettes4  ,we shall discuss 
only those which give us the best idea  
of the lost  original4 ,the most        
faithful copy is the superb marble      
statue in the  ,palazzo ,lancellotti1   
,rome1 discovered on the ,esquiline in  
#agha 7head  seen in ,pl4 #bc74aceb ,as 
the head has never been broken away from
 the  body1 this copy preserves the     
original pose1 whereas all other copies 
have the head turned in the wrong       

direction4#acec ,the head and face      
preserve ,attic proportions and the     
treatment of the hair and muscles       
differs from that of the other copies1  
which disclose later elements4  ,the    
hair1 in particular1 shows signs of     
archaism1 just as it must have  been    
treated in the original1 as evinced by  
,pliny's criticism4#aced  ,the most     
carefully worked copy1 however1 is the  
,parian marble torso1  which was found  
in #aijf at ,castel ,porziano1 the site 
of the ancient  ,laurentum1 and is now  
in the ,museo delle ,terme1 ,rome 7,pl4 
#bb74acee  ,this torso was already      
restored in antiquity4 ,since the villa 
in which  it was found was built in     
,augustus' day and was restored in the  
second  century ,a4 ,d41 we have the    
approximate dates both of the origin and
  restoration of the statue4 ,a weak    
copy1 discovered in ,tivoli in #agia1   
is in the ,sala della ,biga of the      
,vatican2 the head1 left arm1 and  right
 leg below the knee have been restored1 

the head wrongly 7,fig4  #cd74acef ,a   
,grco-,roman copy discovered also in    
#agia1 in ,hadrian's  villa1 is in the  
,british ,museum 7,fig4 #ce74aceg ,here 
the head1  although antique1 belongs to 
another copy1 and has been set upon the 
torso wrongly1 in such a way that the   
throat has two ,adam's apples4 ,it      
looks straight to the ground and not    
upward as in the ,lancellotti copy4     
,there is a better replica of the torso 
in the ,capitoline ,museum1 which       
formerly belonged to the ,french        
sculptor tienne ,mounot 7#afeh-agcc71   
who wrongly restored it as a falling    
warrior4 ,it agrees in accuracy  with   
the ,lancellotti copy1 though it is dry 
and lifeless1 and is a  better guide to 
the original than either the ,vatican or
 ,british ,museum  replicas4#aceh ,a    
combination of these and other copies   
gives us an  excellent idea of the      
original bronze4 ,in ,pl4 #bc we give a 
combination  of the ,vatican torso and  
the ,lancellotti head from a cast in    

,munich4#acei ,perhaps a better         
combination is that given by ,bulle#acfj
  from a cast made up of the delle      
,terme body1 the ,lancellotti head1 the 
right arm and the diskos from the ,casa 
,buonarroti in ,florence1 the feet  from
 the ,british ,museum copy and the      
fingers of the left hand being  freely  
restored4    ,illustration3 ,,fig4      
#ce4--,statue of the ,diskobolos1 after 
,myron4  ,british ,museum1 ,london4     
,illustration3 ,,plate #bc    ,statue of
 the ,diskobolos1 after ,myron4 ,a      
bronzed ,cast from the ,statue  in the  
,vatican and ,head from the ,statue in  
the ,palazzo ,lancellotti1  ,rome4      
,the pose of the ,lancellotti copy      
agrees with ,lucian's description of    
the original3 8,surely1 said ,i1 you do 
not speak of the quoit-thrower  who     
stoops in the attitude of one who is    
making his cast1 turning round  toward  
the hand that holds the quoit1 and      
bending the other knee gently  beneath  
him1 like one who will rise erect as he 

hurls the quoit80#acfa  ,that the head  
of the original was turned back as in   
the ,lancellotti  copy1 and not         
downwards1 as in the ,vatican1 ,british 
,museum and other  replicas1 is shown by
 this description1 which is corroborated
 by two  bronze statuettes in ,munich   
and ,arolsen#acfb and by a gem in the   
,british ,museum4#acfc ,myron chose the 
most difficult1 but at the same  time   
the most characteristic1 moment in      
swinging the diskos1 the moment  which  
combines the idea of rest and motion4   
,the quoit has been swung  back as far  
as it will go4 ,the momentary pause     
before it is hurled  forward suggests   
rest and at the same time implies       
motion1 both that  which has preceded   
and that which is to follow4 ,it is this
 short pause  at the end of the backward
 swing which the sculptor has fixed in  
the  bronze4 ,the right arm is stretched
 backwards as far as possible and  draws
 with it the body with the left arm and 
head2 in another instant  the diskos    

will be hurled and the tension on the   
right leg relaxed4  ,the original statue
 rested upon the right foot2 the tree   
trunk is  a necessary addition to the   
marble copies4 ,as ,greek art was mostly
  characterized by repose1 we are not   
surprised that such a daring effect     
received the censure of the ancient     
critics4 ,quintilian says that if  any  
one blames the statue for its labored   
effect1 he is wrong1 since  the novelty 
and the difficulty of the work are its  
chief merits4#acfd  ,for a statue of the
 transitional stage of ,greek sculpture 
it is  remarkably bold2 only in         
imagination can we see the action by    
which  the body has got into this       
position and by which it will recover   
its  equilibrium4 ,it illustrates a     
principle laid down by ,lessing in the  
,laokon3 8,of ever changing nature the  
artist can use only a single  moment and
 this from a single point of view4 ,and 
as his work is meant  to be looked at   
not for an instant1 but with long       

consideration1 he  must choose the most 
fruitful moment1 and the most fruitful  
point of  view1 that1 to wit1 which     
leaves the power of imagination         
free40#acfe    ,myron was the sculptor  
of five statues for four victors at     
,olympia1  one of a pancratiast1 another
 of a boxer1 a third of a runner1 and   
two of a victor in the hoplite-race and 
the chariot-race4#acff ,pliny  also says
 that ,myron made statues of            
pentathletes and pancratiasts  at       
,delphi4#acfg ,thus he showed as much   
versatility as ,pythagoras in  the      
representation of victors in different  
contests4 ,none of these  statues has   
survived and the identification of      
existing ,roman copies  with any of them
 is1 of course1 highly problematical4   
,thus1 a little  further on we make the 
suggestion that the statue of the boxer 
in the  ,louvre1 commonly known as      
,pollux 7,fig4 #eh71 may be1 because of 
its  ,myronian character1 the statue of 
the unknown ,arkadian boxer at ,olympia 

mentioned by ,pausanias 7in connection  
with the boy boxer ,philippos7  as the  
work of ,myron4#acfh ,pliny1 in the     
passage just cited1 also  mentions      
statues of pristae by ,myron1 a word    
which has given rise to  many           
interpretations3 e4 g41 sea-monsters    
7pristes or pistres71  men working with 
a cross-cut saw 7pristae71 players at   
see-saw  7pristae871#acfi and boxers    
7pyctae74#acgj ,the manuscripts are     
unanimous for pristae1 and hence it is  
probable that a realistic  group by     
,myron is meant1 since ,myron is often  
classed as a realist in  opposition to  
,polykleitos1 the idealist4 ,long ago   
,dalecampius1 followed  in recent years 
by ,furtwaengler1#acga believed that    
these pristae  formed a votive offering1
 and ,h4 ,l4 von ,urlichs has shown that
 a group  of sawyers as the dedication  
of some master-builder is quite in      
harmony  with fifth-century             
traditions4#acgb ,h4 ,stuart ,jones#acgc
 connects  the words ,perseum et pristas

 of ,pliny's text1 and follows the      
theory  of ,mayer#acgd that the         
carpenters or sawyers were a part of a  
group1  which represented the inclosure 
of ,dana and ,perseus in the chest4     
,while the athletic statues in motion by
 ,pythagoras and ,myron became  models  
for later sculptors1 especially in the  
following century1#acge  the rest       
statues of ,polykleitos still remained  
in vogue in works by  members of his    
family and school down through the      
fourth century1 as we  have seen in our 
treatment of the ,argive-,sikyonian     
sculptors at ,olympia4      ,,motion    
,,statues ,,representing ,,victors ,,in 
,,various ,,contests4    ,we shall now  
review the types of victor statues1     
which reproduced in  their pose the     
various contests1 i4 e41 statues in     
motion4 ,we shall  find it convenient to
 follow in the main the order of        
contests as  they appear on the         
,oxyrhynchus ,papyrus#acgf--the         
stade-race 771  double race 771 long    

race 771 pentathlon 771  wrestling1 771 
boxing 771 pankration 771 hoplite-race  
771 chariot-race 771 and horse-race     
77--except that  we shall class the four
 running races 7nos4 #a1 #b1 #c1 and    
#aa7 together  and include the three    
boys' contests 7 1 1 1 nos4  #h1 #i1    
#aj7 under the corresponding men's      
events4 ,the classification of          
competitors by ages 771 which varied at 
different festivals1  will need a word  
of explanation4 ,while athletes at      
,nemea1 the ,isthmus1  and ,delphi were 
divided into three classes1 1 1 and     
1#acgg at ,olympia they were divided    
into two1  and  4#acgh ,at local        
competitions there was a more elaborate 
classification4 ,thus at the ,botian    
,erotidia1 boys were divided  into      
younger and older2#acgi at the games    
held on the island of ,chios  there were
 five divisions1 boys1 younger1 middle1 
and older ephebes1  and men2#achj and at
 the ,athenian ,theseia1 the boys were  
divided  into first1 second1 and third  

classes1 while an open contest also     
existed for boys of any age4#acha ,girls
 at the ,heraia at ,olympia  were       
similarly divided into three            
classes4#achb ,plato proposed three     
classes of athletes in his ,laws--1 1   
and a third class1  1 between boys and  
men4#achc ,the classification of        
athletes  at ,athens into  and 1 adopted
 by ,boeckh1 ,dittenberger1 and         
,dumont1#achd is now the one generally  
followed4 ,according to it the   were   
subdivided into three classes1 those   1
   1 and  2 and so the  were merely the 
4 ,the boys1 including the 1 ranged     
from #ab to #ah years old2 at #ah they  
became  or 4#ache ,we  have already seen
 that the age of boy victors at ,olympia
 was over #ag  and under #bj4achf    ,as
 we have already remarked in an earlier 
chapter1 we are mostly  indebted to     
,pausanias for our knowledge of the     
victor statues at  ,olympia4#achg ,he   
mentions in his periegesis of the ,altis
 #aib  monuments1 which were erected to 

#ahg victors4#achh ,some of these       
victors won in more than one contest1 so
 that there are #beh different          
victories recorded in all4 ,in the      
following sections we shall see how     
these were distributed among the various
 contests4      ,,runners3              
,,stadiodromoi1 ,,diaulodromoi1         
,,dolichodromoi4    ,running races      
formed at all times a part of the ,greek
 games and of  the exercises of the     
youth in the gymnasia and palstr4 ,a    
scholiast  on ,pindar#achi says that the
 running race had its origin in the     
first celebration of the ,eleusinian    
mysteries4 ,it figures largely in       
mythology1 especially at ,olympia1 which
 also shows its antiquity4#acij  ,in    
historic times many varieties of running
 developed1 but four chief  ones were   
practised at the great games4#acia      
,first there was the  simple stade-race 
71 71 which was merely the length of    
the stadion or #fjj ,greek feet1        
corresponding with the running race of  

,homer4#acib ,then there was the double 
race 771 twice as long as  the          
preceding1 to the end of the course and 
back again4#acic ,the long  race 71   71
 which ,philostratos derives from the   
institution of messenger runners        
7hemerodromoi71#acid is variously  given
 as seven1 twelve1 fourteen1 twenty1 and
 twenty-four stades in  length1 i4 e41  
from about four-fifths of a mile to     
nearly three  miles4#acie ,lastly there 
was the race in armor 71#acif  1#acig   
4#acih7 ,the long race was instituted   
not so much  as a contest of fleetness  
as of endurance4 ,at ,olympia only men  
were  admitted1 though there was such a 
race for boys at ,delphi4#acii ,the     
,cretans were famed in this style of    
running4#adjj ,the race in armor1  which
 was a double race or two stades at     
,olympia1 we shall discuss  further on4 
,probably the boys' stade-race at       
,olympia was shorter than  that of the  
men4 ,plato1 who gives the historic     
division of running  races outlined     

above1 has the boys run one-half of the 
men's course  and the ephebes 77        
two-thirds4#adja ,just so ,pausanias has
  the girl runners at the ,olympia      
,heraia run one-sixth of the men's      
stadion4#adjb    ,at ,olympia1 as at the
 ,panathenaia in ,athens and probably   
elsewhere1  the first event preceding   
all others was the stade-race4          
,pausanias says  that it was the oldest 
event at ,olympia1#adjc and it existed  
there all  through antiquity from the   
first recorded ,olympiad 7 #ggf ,b4     
,c471 when  ,koroibos of ,elis won4#adjd
 ,but the notion generally held#adje    
that  the stade-race for men was honored
 above all other events at ,olympia1    
because the winner became  for the      
,olympiad and because his  name occurs  
in the lists of ,africanus for every    
,olympiad1 is incorrect4  ,in two       
passages ,thukydides cites ,olympic     
pancratiasts for dates1#adjf  and in the
 earliest inscription which makes use of
 ,olympiads for  chronology the later   

introduced pankration is the event      
used4#adjg  ,the literary supremacy of  
,athens1 where1 at the ,panathenaia1 the
  stade-race was the most important     
event1 doubtless helped later in  making
 the stade runner at ,olympia eponymous4
 ,this custom1 however1 was  not        
generally employed before the third     
century ,b4 ,c4    ,illustration3 ,,fig4
 #cf4--;,athletic ,scenes from a        
,bacchic ,amphora in ,rome4  ,a4        
,stadiodromoi and ,leaper4 ,b4          
,diskobolos and ,akontistai4            
,illustration3 ,,fig4 #cg4--;,athletic  
,scenes from a ,sixth-century ,b4 ,c4   
,panathenaic ,amphora4 ,stadiodromoi    
7left7 and ,dolichodromoi 7right74      
,pausanias dates the introduction of the
 double foot-race at ,olympia  in ,ol4  
#ad 7 #gbd ,b4 ,c474#adjh ,he does not  
say when the long race  was instituted1 
but ,eusebios says that it was in ,ol4  
#ae 7 #gbj ,b4  ,c474#adji ,the boys'   
stade-race was introduced there in ,ol4 
#cg 7 #fcb  ,b4 ,c474#adaj ,the         

hoplite-race was inaugurated at the end 
of the sixth  century ,b4 ,c41 in ,ol4  
#fe 7 #ebj ,b4 ,c474#adaa ,pausanias    
mentions #bd  stadiodromoi at ,olympia1 
who won #cb victories1 which makes this 
event third in importance1 next after   
boxing and wrestling4 ,he mentions  #g  
victors in the double race with #aa     
victories1 and #e victors in the  long  
race with #h victories4 ,he also        
mentions #ab hoplite victors with #ad   
victories4 ,consequently1 in all four   
running events there1 he records  #dh   
victors with #fe victories1 which brings
 the running races only to  second place
 in importance at ,olympia1 ranking next
 after boxing4#adab  ,the ordinary      
sprinter or stadiodromos1 and the double
 sprinter1  diaulodromos or             
hoplitodromos1 naturally ran differently
 from the  endurance runner or          
dolichodromos4 ,panathenaic vases       
clearly show  this difference4 ,thus    
while the sprinter swung his arms       
violently1  spreading the fingers apart 

and touching the ground only with his   
toes#adac 7,figs4 #cf;,a and #cg1 left71
 the endurance runner1 who had to       
conserve his strength to the last1 ran  
with a long stride1 holding  his arms   
bent at the elbow and close to the body1
 his fists doubled  and his body        
slightly bent forward1 its weight       
resting on the ball  of the foot1 the   
heel being raised only a little4 ,thus  
,philostratos  says that the            
dolichodromoi ran with their hands      
extended and with  their fists balled1  
but that at the finish they also swung  
their arms  violently like wings4#adad  
,the race 7showing balled fists7 is seen
  on a ,panathenaic amphora dating from 
the archonship of ,nikeratos  7#ccc ,b4 
,c471 now in the ,british ,museum1 and  
on another of the sixth  century ,b4    
,c41 pictured in ,fig4 #cg 7right74#adae
 ,in the diaulos the  movement was less 
violent4 ,thus on an ,athens vase       
inscribed1 8,i am a  diaulos            
runner10#adaf the movement is between   

that of a sprinter and  an endurance    
runner4 ,it seems probable that this    
difference in the  style of running was 
similarly shown in sculpture4#adag ,we  
shall next  consider certain sculptural 
monuments which represent runners4      
,the typical scheme for archaic and     
archaistic art was to represent the     
runner with one knee nearly touching the
 ground1 the upper log forming  a right 
angle with the lower1 the other leg     
being perpendicular to the  upper4 ,this
 scheme appears on many vases and       
reliefs and in statuettes  and          
statues4#adah ,this old method of       
depicting runners was kept up  by       
vase-painters down to the time of the   
red-figured masters4#adai  ,we see them 
on many reliefs1 e4 g41 on the          
,ionic-,greek reliefs on  the three     
archaic bronze tripods of the middle of 
the sixth century  ,b4 ,c4 in the       
possession of ,mr4 ,james ,loeb2#adbj on
 a small bronze  relief in the          
,metropolitan ,museum in ,new ,york     

which represents a  winged ,boreas2#adba
 and on the marble funerary stele of the
 so-called  dying hoplite runner found  
in #aijb near the ,theseion1 and now in 
the  ,national ,museum in ,athens4#adbb 
,almost the same position as that of    
the figure on this ,athenian relief is  
seen in a small bronze in the           
,metropolitan ,museum1 whose primitive  
features and solidly massed hair  date  
it in the early part of the sixth       
century ,b4 ,c4#adbc ,another  slightly 
larger bronze in the same museum        
represents ,herakles running  in a      
kneeling posture4#adbd ,because a       
spearman is incongruous behind  a       
bowman1 ,kalkmann#adbe and              
,furtwaengler#adbf have interpreted the 
two kneeling figures near either end of 
the ,west gable of the temple on        
,aegina as archaic runners 7see ,fig4   
#ba1 left74 ,we may further compare     
with these figures the positions1 though
 not the motives1 of two others  from   
the ,west gable at ,olympia1#adbg as    

well as that of the kneeling  bowman    
,herakles from the ,east gable of the   
temple on ,aegina4#adbh ,in  this       
connection we shall also mention the    
life-size marble torso of  a kneeling   
youth found in ,nero's villa at ,subiaco
 in #ahhd and now in  the ,museo delle  
,terme1 ,rome 7,pl4 #bd74adbi ,this     
statue1 representing  a boy of delicate 
build apparently striding forward with  
the right leg  and bending the left so  
that the knee nearly touches the ground1
 has  been regarded by some             
scholars#adcj as a runner1 whose pose   
copies  the archaic manner1 being       
historically the last example known of  
its  use in sculpture4 ,the right       
shoulder is turned backward and the     
head1  now missing1 was turned back and 
upwards2 the right arm is raised high   
and twisted about with the palm of the  
hand facing backward1 the left  arm     
extended with its hand in some way      
related to the right knee4 ,the         
impression made on the spectator is that

 of a boy bending aside as if  to ward  
off some danger4 ,it is an excellent    
piece of work1 evidently  the marble    
copy of an original bronze4 ,this has   
been variously  assigned to the fifth1  
fourth1 and even later centuries ,b4    
,c41#adca  and interpreted in various   
ways#adcb--;as a ,niobid1#adcc as       
,ganymedes  swooped down upon by the    
eagle1#adcd as ,hylas drawn into the    
water by  nymphs when he was filling his
 pitcher1#adce as a ball-player1#adcf   
as a boy throwing a lasso1#adcg as a    
gable figure1#adch as a runner  at the  
games1 etc4 ,many of these              
interpretations are purely fanciful2    
the last is1 perhaps1 as good as any1   
though the strongly turned upper  body  
seems not quite fitted to it4 ,if it    
represents a runner1 the  sculptor has  
reproduced the well-known archaic pose4 
,,the ,,statue ,,of ,,the ,,runner      
,,ladas4    ,we shall next consider the 
famous statue of the runner ,ladas by   
,myron1  which is unfortunately known to

 us only from literary evidence1 but    
which attained in antiquity an even     
greater fame than his nameless          
,diskobolos1 since it portrayed even    
more tension than that wonderful  work4 
,its fame was partly due to the         
picturesque story how the victory  cost 
the runner his life1 for he died of     
strain while on his way home  to        
,sparta2 it was also due in no less     
degree to the striking way in  which the
 victor was depicted4#adci    ,two      
fourth-century epigrams tell us of the  
statue4 ,the first of these  runs3      
' 1  1         4         1              
4#addj    ,the second epigram1 naming   
,myron as the sculptor1 runs3          1
  1    1 '    1       1          4      
,illustration3 ,,plate #bd    ,statue of
 a ,kneeling ,youth1 from ,subiaco4     
,museo delle ,terme1 ,rome4    ,to these
 verses are added the following1 which  
,benndorf thinks belonged  to another   
epigram on the same statue3        1  ' 
4        1           4#adda             

,professor ,ernest ,gardner translates  
the two parts of the second epigram  as 
follows3    8,like as thou wast in life1
 ,ladas1 breathing forth thy panting    
soul1#addb on tip-toe1 with every sinew 
at full strain1 such hath  ,myron       
wrought thee in bronze1 stamping on thy 
whole body thy eagerness  for the       
victor's crown of ,pisa40    8,he is    
filled with hope1 and you may see the   
breath caught on his lips  from deep    
within his flanks2 surely the bronze    
will leave its pedestal  and leap to the
 crown4 ,such art is swifter than the   
wind40#addc    ,even if part of the     
epigram is rhetorical1 we can not doubt 
that ,ladas  was represented in the     
final spurt just before he arrived at   
the goal4  ,his eagerness was not       
confined to the face--though the panting
 breath  could have been indicated by   
half opened lips1 but was visible in the
  whole body4#addd ,whereas the girl    
runner of the ,vatican 7,pl4 #b7 is     
represented at the beginning of the     

race1 ,myron's statue represented       
,ladas at the end of it4 ,probably the  
victor was represented with his  weight 
thrown on the advanced foot and with the
 arms close to the sides  and bent at   
the elbows--a treatment which would have
 been easy for the  sculptor of the     
,diskobolos4 ,mahler tried to identify  
the statue with  one of the ,naples     
group of so-called runners 7,fig4       
#ea74adde ,however1  as we shall see1   
these probably represent wrestlers1 and 
not runners1  and neither of them shows 
any such tension as we should expect    
from the  description of the statue of  
,ladas4 ,though ,foerster believes that 
the  statue of ,ladas stood in ,olympia1
 in honor of his victory in the long    
race there1#addf we can not say         
definitely where it was4#addg           
,illustration3 ,,fig4 #ch4--,statue of a
 ,runner4 ,palazzo dei ,conservatori1   
,rome4    ,illustration3 ,,fig4         
#ci4--,statue of a ,runner4 ,palazzo dei
 ,conservatori1  ,rome4    ,perhaps our 

best representation of runners is to be 
seen in the two  marble statues         
discovered near ,velletri and now in the
 ,palazzo dei  ,conservatori1 ,rome     
7,figs4 #ch and #ci74addh ,the hair and 
the sharp  edges of the modeling of the 
flesh1 as well as the tree-stumps near  
the  right legs1 show that these statues
 are copies of bronze originals4  ,they 
were at first interpreted as runners1   
but later were regarded as  forming a   
group of wrestlers1 who were standing   
opposite one another  and holding their 
hands out for an opening4 ,however1     
there is nothing  in the pose or the    
expression of these statues to show the 
tension  of two opponents4 ,moreover1   
they certainly never formed a group1    
for stylistic differences reveal that   
they are copies of statues by  different
 artists who lived at different times2  
one belongs to the  severe style of the 
last quarter of the fifth century1#addi 
while  the other1 with its softer forms1
 smaller head1 and deeper-set eyes1  is 

a product of the fourth century ,b4     
,c4#adej ,the prominent edge  of the    
chest is doubtless meant to indicate the
 hard breathing of a  runner4#adea ,just
 in front of the tree-stump on the older
 statue is to  be seen a round hole in  
the plinth1 which may have been made for
 the  end of a club held in the right   
hand1 as such an object is found in     
other works of art1 notably in a        
statuette from ,palermo1 which is the   
copy of a fifth-century ,b4 ,c4         
original1 and on a second-century ,b4   
,c4  grave-stele from ,crete4#adeb ,its 
use1 however1 is not certainly known4   
,furtwaengler1 by an ingenious process  
of reasoning1 argued that he  had       
recovered an actual statue of an        
,olympic runner in the so-called        
,alkibiades1 formerly in the ,villa     
,mattei1 but now in the ,sala della     
,biga of the ,vatican4#adec ,this torso 
he ascribed to the sculptor  ,kresilas1 
because of its likeness to the ,perikles
 of that master1  which once stood on   

the ,akropolis1#aded and to a marble    
torso in  ,naples representing a wounded
 man ready to fall1 which he thinks  is 
a copy of the ,volneratus deficiens of  
,kresilas mentioned by  ,pliny4#adee    
,the ,alkibiades is very similar to the 
,naples gladiator1  though later in     
date2 the bearded head1 drawn-in        
stomach1 and muscular  chest1 and the   
veins in the upper arm are common to    
both4 ,the restorer  of the ,vatican    
statue has placed a helmet under the    
right foot4 ,but the  deep-breathing    
chest may indicate a runner1 as we saw  
in the case of  the statues of the      
,conservatori just discussed4           
,furtwaengler has the  body bend further
 forward1 so that the right foot may    
rest upon the  ground and the glance be 
fixed upon the goal1 with the arms      
extended  at the elbows1 a position     
proved for the right arm1 at least1 by  
the  puntello above the hip4 ,as the    
head shows portrait-like features and   
only those athletes who had won three   

victories had portrait statues1  he has 
identified the original of the          
,alkibiades with the statue  of the     
famous stade-runner ,krison of ,himera1 
who won his victories  at ,olympia just 
after the middle of the fifth century   
,b4 ,c41 the  approximate date of the   
,vatican copy4#adef ,such an            
identification  appears1 however1 to be 
too far-fetched to be convincing4       
,,statues ,,of ,,boy ,,runners4         
,illustration3 ,,fig4 #dj4--,statue of  
the ,thorn-puller 7,spinario74  ,palazzo
 dei ,conservatori1 ,rome4    ,probably 
the statues of boy runners did not      
differ essentially from  those of men4  
,that they were sometimes represented in
 motion is shown  by the footprints on  
the recovered base of the statue of     
,sosikrates  by an unknown artist4 ,here
 the right foot touched the ground only 
with the front portion4#adeg ,the view  
has often been expressed that  the      
bronze statue in the ,palazzo dei       
,conservatori1 ,rome1 known as  the     

,spinario 7,thorn-puller7 portrays a    
runner 7,fig4 #dj74adeh  ,it represents 
a boy1 from twelve to fifteen years old1
 seated upon a  rock bending over and   
engrossed in extracting a thorn from his
 left  foot1 which rests upon the right 
knee4 ,the severe hair treatment1 low   
forehead1 full cheeks1 and strong chin  
appear to show the ideal beauty  of a   
boy of the period of about #dfj ,b4 ,c4 
,the motive seems to have been  inspired
 directly by nature--witness the supple 
bend of the back1 the  delicate arms1   
the nave1 though not too realistic1     
concentration of  interest in the act   
portrayed4 ,few pieces of ancient       
sculpture have  given rise to more      
discussion and extraordinary difference 
of opinion  than this popular work4 ,one
 school of archologists#adei believes   
it a late adaptation of a ,hellenistic  
original1 a more accurate copy  being   
the one in the ,british ,museum1 and    
consequently views it as a  purely genre
 statue impossible of conception before 

,alexander's time4  ,according to this  
view the ,london copy was an archaistic 
work of the  time of ,pasiteles4        
,another school1 however1 including     
,helbig1 ,wolters1  ,kekul1 and many    
others1 sees in the ,roman statue an    
original work  of #dfj to #dej ,b4 ,c41 
chiefly because the face shows great    
similarity  to those of the statues of  
the ,olympia gables 7especially to that 
of  ,apollo7#adfj4 ,according to this   
view the statue can not have been  a    
genre work1 as such works of decorative 
character were of later  origin1 but the
 motive must be sought in some definite 
incident--in  some myth or historical   
event4 ,thus it has been referred to the
  colonization of the ,ozolian ,lokroi1 
whose ancestor ,lokros is said to  have 
got a thorn in his foot and to have     
founded cities near where  this occurred
 in fulfilment of an oracle4 ,many      
others1 on the other  hand1 have seen in
 its motive that of a boy victor in     
running1 who has  gained his victory    

despite a thorn1 which he is now pulling
 out1 and  who has dedicated his statue 
to commemorate both the victory and the 
untoward circumstances under which it   
was won4 ,it has been assigned to       
various sculptors and schools--to       
,myron1 ,pythagoras1 and ,kalamis1 and  
to ,peloponnesian1 ,botian1 and even    
,sicilian art4#adfa ,the boy's          
absorption in his task certainly reminds
 us of the concentration so             
characteristic of the ,diskobolos of    
,myron4 ,in determining its age  and    
artistic affiliations several things    
must be considered4 ,in the  first      
place1 the ,roman statue is a copy1 as  
the rock on which the boy  sits is cast 
with the figure1 which would have been  
impossible in the  fifth century ,b4 ,c4
 ,the long hair on this copy1 which is  
short on  the one in the ,british       
,museum1 falls down the neck1 but not   
over the  cheeks1 as it should on a head
 which is thus bent downwards4          
,pasiteles  almost certainly would have 

tied it with a ribbon4 ,this shows that 
the  original was the work of an artist 
who was used to making standing         
statues1 and was not aware of the change
 in the representation of  the hair     
brought about by drooping ones4 ,such   
considerations1 in  conjunction with the
 archaic facial characteristics1 almost 
certainly  refer the original work to   
the fifth century ,b4 ,c41 a date when  
genre  statues1 produced for adornment1 
did not exist4 ,consequently a definite 
incident must be represented by it1 and 
it is quite possible that this  incident
 should be sought in athletic sculpture 
in the representation  of a boy runner4 
,the ,thorn-puller became a model for   
many imitations from the  beginning of  
,hellenistic times on4 ,these imitations
 tended to greater  realism and         
consequently to the debasement of the   
original conception1  for they were made
 to represent peasants1 shepherds1      
satyrs1 and even  negroes4 ,the motif   
was also transferred to figures of      

girls1 as1  e4 g41 in the fragment of a 
terra-cotta statuette found in #aiab at 
,nida-,haddernheim4#adfb ,in the early  
,empire it was frequently copied  in    
marble1 and again1 during the           
,renaissance1 the motive was used for   
small bronzes4#adfc ,of ,hellenistic    
copies1 showing how the motive          
deteriorated1 we shall mention only two3
 the marble one found on the            
,esquiline1 in #ahgd1 and known as the  
,castellani copy1 now in the  ,british  
,museum1#adfd the sculptor of which has 
made it into a truly  genre fountain    
figure by transforming the noble        
features of the  beautiful ,greek runner
 into the snub nose and thick lips of a 
street  ,arab1 and the still later      
bronze statuette found near ,sparta and 
now  in the ,paris collection of ,baron 
,edmund de ,rothschild1#adfe which      
represents the boy extracting the thorn 
in anger4    ,similarly the so-called   
,sandal-binder--with replicas in ,paris 
7,fig4  #h71 ,london1 ,athens1 ,munich1 

and elsewhere1 has been looked upon1    
without decisive grounds1 to be sure1 as
 a runner who is tying on his  sandals  
after the race4#adff ,we have already   
discussed this statue in  ,chapter ,,ii1
 in connection with the subject of      
assimilation4      ,,hoplitodromoi4     
,the race in armor had a practical value
 in the training of soldiers1  and so   
became a popular sport1 since it        
appealed not only to the  trained       
athlete1 but to the citizen in general4 
,it belonged to 8mixed  athletics10#adfg
 i4 e41 to competitions which were      
conducted under  handicap conditions1   
such as our obstacle races1 and         
consequently  it never attained the     
prestige of the strictly athletic       
events4 ,it  came last among the gymnic 
contests at ,olympia and elsewhere1#adfh
  being followed by the equestrian      
events4 ,it seems to have varied in     
different places in the distance run1 in
 the armor of the runner1 and  in the   
rules which governed the race4 ,at      

,olympia1 as at ,athens1 it  appears to 
have been a diaulos or a race of two    
stadia4#adfi ,the  most strenuous race  
of the sort was run at the ,eleutheria  
at ,plata1  where the contestants were  
completely enveloped in armor#adgj and  
were  subject to peculiar rules4 ,at    
,olympia the competitors originally ran 
with helmets1 greaves1 and round        
shields1 as we infer from scenes on     
archaic vases and from the statement of 
,pausanias that the statue of  the first
 victor in this event1 ,damaretos of    
,heraia1 was represented  with these    
arms4#adga ,in this passage ,pausanias  
adds that the ,eleans  and other ,greeks
 later 7 7 gave up the greaves1 and we  
find  that they disappear on the        
vase-paintings4#adgb ,hauser has shown  
that  the vase-paintings1 which1        
however1 mostly illustrate the ,athenian
  practice1 display a varied custom in  
respect of the use of the greaves       
before about #ebj ,b4 ,c41 the general  
use of them until about #dej ,b4  ,c41  

and after that date their disuse4#adgc  
,the helmet disappeared  after the      
greaves1 but the shield was never given 
up4#adgd ,thus the  bronze statue of    
,mnesiboulos of ,elateia1 a victor 7  7 
of  ,pausanias' day1 which stood in     
8,runner ,street0 of his native city1   
appears to have been represented with   
the shield4#adge ,it was for this       
reason that the event was later         
sometimes called merely 4#adgf  ,the    
shields that appear on the vases are    
always round and the helmets  are       
,attic4#adgg ,the gradual reduction in  
the amount of the armor may  have been a
 concession to the regular athletes1 who
 probably looked  upon the contest as a 
spurious sort of athletics4 ,as for the 
style of  the race1 the hoplite runners 
seem to have run somewhat as the stade  
and double-course runners1 i4 e41 with  
their right hands up and their  arms    
violently swinging4#adgh    ,the        
picturesqueness of such a race appealed 
especially to  vase-painters1 who have  

given us all the details of the event4  
,the  preparations for the race are seen
 on a red-figured kylix from ,vulci1    
now in ,paris1 ascribed to ,euphronios  
7,panaitios71 on which one  runner is   
donning his armor1 while others are     
practising preliminary  runs4#adgi ,the 
start is seen in the right-hand figure  
depicted on a  r4-f4 kylix in ,berlin   
7,fig4 #da1 a74#adhj ,on another r4-f4  
kylix we see  a pair of hoplites1 one   
slowing up before reaching the central  
post1  the other turning it4#adha ,the  
finish is seen on an obscene r4-f4      
kylix from ,vulci in the style of       
,brygos1 in the ,british ,museum1 where 
the bearded winner1 with his helmet in  
his hand1 looks back on his  rival1 and 
the latter1 apparently in disgust1 drops
 his shield4#adhb  ,the most complete   
illustration of the race is to be seen  
on the r4-f4  ,berlin kylix just        
mentioned 7,fig4 #da1 a1 b1 c47 ,here on
 one side is a  group of three runners2 
the right-hand one is bending over1     

ready to  start2 the one at the left is 
about to turn the central post1 and the 
one in the centre1 who is turned in an  
opposite direction1 is on the  home     
stretch2 on the other side of the vase  
are three runners in full  course1 while
 another appears on the interior of the 
vase4#adhc ,some  vases seem to show    
that the contest often had a semi-comic 
character1  the variations in running   
being used to amuse the spectators4     
,thus  the shield might be dropped and  
picked up again1#adhd or it might be    
held in a peculiar manner4#adhe ,this   
comic element is brought out in  the    
,aves of ,aristophanes1 in a scene in   
which ,peisthetairos1 while  observing  
the chorus of birds advancing with their
 crests 771  compares them with hoplite 
runners advancing to begin the          
race4#adhf  ,the regular painter outdid 
the vase-painter in representing the    
runner  in violent motion1 if we may    
rely on ,pliny's description of two     
paintings of hoplites by                

,parrhasios4#adhg ,in one of these the  
runner  was represented as perspiring as
 he ran1 while in the other he was      
represented as having laid aside his    
arms and panting so realistically  that 
the observer seemed to hear him4        
,illustration3 ,,fig4                   
#da4--;,hoplitodromes4 ,scenes from a   
r4-f4 ,kylix4  ,museum of ,berlin4      
,illustration3 ,,fig4 #db4--;,bronze    
,statuette of a ,hoplitodrome 7874      
,university ,museum1 ,tuebingen4    ,we 
have few representations of             
hoplitodromes in sculpture4 ,in the     
preceding chapter we discussed the two  
marble helmeted heads found at  ,olympia
 7,fig4 #cj71 one of which shows that   
the statue of which it was a  part was  
represented at rest1 while the other1   
because of the twist in  the neck1 seems
 to have come from a statue which       
represented the runner  in violent      
motion4 ,pausanias saw on the ,athenian 
,akropolis the statue  of the hoplite   
runner ,epicharinos1 the work of the    

sculptor ,kritios1  represented as      
practising starts 7 74#adhh ,in  the    
well-known ,tux bronze in the           
,university ,museum at ,tuebingen1 we   
have a statuette in which the position  
of the statue of ,epicharinos is        
probably reproduced4 ,this little       
bronze1 which is only #j4af meter tall  
7,fig4 #db71adhi represents a bearded   
man1 entirely nude1 except for  the     
,attic helmet on his head1 standing with
 feet close together1 knees  slightly   
bent1 and body inclined forward4 ,the   
right arm is extended1  while the left1 
crooked at the elbow1 rests upon the    
hip4 ,while ,schwabe  and ,wolters1     
following the early theory of ,hirt and 
of the sculptor  ,dannecker1 interpreted
 the bronze as the figure of a          
charioteer1  whose left hand was drawn  
back to hold the reins and whose right  
was  outstretched in a gesture intended 
to quiet the horses1 ,hauser1 de        
,ridder1 ,bulle1 and many other         
archologists have interpreted it better 

as a hoplitodrome4 ,the left arm1 then1 
carried a round shield1 such  as we have
 seen on ,attic vases4 ,the next moment 
the right leg will be  advanced1 the    
shield1 held back to get a better start1
 will be pushed  forward1 and the runner
 will race to the goal in a series of   
leaps1  since the weight of the shield  
would prevent him from following the    
more regular motion of the ordinary     
runner4 ,it probably represents1        
therefore1 a hoplite runner1 not in the 
actual course1 as ,hauser  thought1 but 
practicing a preliminary start1 as de   
,ridder argued4 ,if  the figure         
represented a charioteer1 the legs would
 have been set  farther apart1 in order 
to give a firmer position1 and it would 
not be  represented as standing on a    
base1 nor would it be wearing a helmet4 
,the statuette stylistically belongs to 
the opening years of the fifth  century 
,b4 ,c41 and may well be a free         
imitation of a life-size original  of   
such statues of hoplites as stood in the

 ,altis at ,olympia4 ,despite  the      
energy depicted in this figure1 it is   
rash to connect it with the  ,aeginetan 
sculptures1 as ,wolters and ,collignon  
have done1 since a  comparison between  
it and the ,champion of the ,east       
gable#adij will  show great differences4
 ,brunn ascribed the original to        
,pythagoras2 de  ,ridder1 with          
reservations1 to ,kritios and ,nesiotes2
 while ,bulle is more  reasonable in    
referring it to an important though     
unnamed artist of the  early fifth      
century ,b4 ,c4    ,hartwig has         
published a bronze statuette from       
,capua1#adia now in  the ,imperial      
collection at ,vienna1 representing a   
nude youth with a  crested helmet on his
 head4 ,there is no trace of a shield1  
but the  helmet and the similarity of   
the pose to that of the ,tuebingen      
bronze  make it probable that this      
statuette also represents a hoplitodrome
  starting4 ,the so-called ,diomedes of 
,myronian style in the ,palazzo         

,valentini1 ,rome1#adib whose stooping  
posture recalls the ,diskobolos  and    
accordingly has been interpreted as one 
by ,matz and von ,duhn1 more  probably  
also represents a hoplite-runner1 as    
,furtwaengler maintained1  because of   
the similarity of its pose to that of   
the ,tux bronze and  because of its     
helmeted head4#adic    ,illustration3   
,,fig4 #dc4--,statue of the so-called   
,borghese ,warrior4  ,louvre1 ,paris4   
,some other attempts to see hoplite     
runners in existing works of  sculpture 
have not been so successful4 ,thus      
,rayet's attempt to  resuscitate the old
 interpretation of ,quatremre de        
,quincy1 who had  explained the statue  
of the so-called ,borghese ,warrior by  
,agasias of  ,ephesos 7,fig4 #dc7 as    
that of a hoplitodrome just before      
reaching the  goal1 has been recently   
revived again by ,six4#adid ,this famous
 marble  statue of the ,louvre1         
belonging to late ,greek art1 is an     
example of the  last development in the 

,argive-,sikyonian school1 which for    
centuries  had been devoted to athletic 
sculpture4#adie ,since the statue has   
no helmet1 there seems to be no valid   
reason for not adhering to the  usual   
interpretation1 according to which it   
represents a warrior--by  restoring the 
lost right arm and hand with a          
sword--who is defending  himself against
 a foe above him1 conceived of as seated
 upon a horse4  ,the attitude and the   
upward gaze are certainly not those of a
 runner4  ,though ,collignon1 following 
,visconti1 believes the figure to be one
  of a group1 the man actually defending
 himself against a horseman and         
covering himself with his shield as he  
looks up1 it is doubtful whether  a     
second figure ever existed4 ,the artist 
seems to have contented  himself with   
representing1 not a fight1 but only a   
fighting pose4 ,we  are beginning to    
understand that the ,greek sculptor left
 something to  the imagination of the   
beholder4    ,an attempt has also been  

made to see a dying hoplite runner in   
the  ,parian marble archaic grave-relief
 in the ,national ,museum in ,athens1   
which has already been mentioned as an  
example of the archaic scheme  of       
representing running4#adif ,it          
represents a beardless youth running  in
 a half-kneeling posture1 even though   
the head is bent and turned  in the     
opposite direction4 ,the eyes appear to 
be closed--due1 perhaps1  to the faulty 
sculptor--and the two hands are touching
 the breast4  ,while no shield is       
represented 7it is contended that its   
presence  would nearly hide the figure71
 still1 because of the helmet and the   
position of the arm1 which latter is    
obviously that of a long-distance       
runner1 ,philios1 followed by           
,perrot-,chipiez and ,bulle1 explained  
it  as the representation of a hoplite  
runner who is expiring at the end  of   
his course4 ,they date it about #ebj ,b4
 ,c41#adig the date of the  introduction
 of this race at ,olympia4 ,however1 the

 absence of the  shield1 to say nothing 
of the greaves1 seems an insuperable    
objection  to such an hypothesis1 as the
 shield was never omitted in this race1 
but was invariably its symbol4 ,svoronos
 is therefore more probably  right in   
interpreting the relief as the monument 
of a military runner  771 even if his   
dating 7#dij-dhj ,b4 ,c47 is somewhat   
too  late1#adih and if his identifying  
it with some particular messenger  7such
 as the ,athenian runner ,pheidippides1 
who ran to ,sparta for aid  just prior  
to the battle of ,marathon7 is fanciful4
      ,,pentathletes4    ,the peculiar  
features of the pentathlon 77 were the  
three  events1 jumping1 diskos-throwing1
 and javelin-throwing4 ,all five events 
are summed up in ,simonides' epigram on 
the pentathlete ,diophon1 who  won at   
,delphi and on the ,isthmus1 the second 
line of which runs3 1  1 1 1 4#adii     
,the pentathlon did not exist in        
,homer's time4 ,pindar expressly says   
that it did not exist in heroic days1   

but that then a separate prize  was     
given for each feat4#aejj ,at the games 
on ,scheria1 ,king ,alkinoos  boasts to 
,odysseus of the superiority of his     
countrymen in         4#aeja ,the       
pentathlon for  men was introduced at   
,olympia at the same time as wrestling  
toward  the end of the eighth century1  
in ,ol4 #ah 7 #gjh ,b4 ,c471#aejb and   
the  pentathlon for boys eighty years   
later1 in ,ol4 #ch 7 #fbh ,b4 ,c471 only
  to be stopped soon after4#aejc        
,pausanias mentions fifteen victors  at 
,olympia1 who had statues erected in    
their honor1 for seventeen  victories in
 the pentathlon1 thus giving the        
pentathletes sixth rank  there in point 
of number4    ,the b4-f4 ,bacchic       
amphora in ,rome already discussed      
represents four  events out of the five3
 running1 leaping1 diskos-throwing1 and 
akontion-throwing 7,figs4 #cf ,a and #cf
 ,b74#aejd ,on several ,panathenaic     
vases we find one or more events1 and   
the three characteristic ones on        

several1 one of which we here reproduce 
7,fig4 #dd74aeje    ,the various events 
are common on r4-f4 vases1#aejf though  
these may  not represent the pentathlon 
contests1 but merely gymnasium scenes1  
showing that such contests were         
important4 ,we have already said that   
the pentathlon represented the whole    
physical training of ,greek  youths2    
consequently the pentathlete was looked 
upon as the typical  athlete1 being     
superior to all others in all-round     
development1 even  if surpassed by them 
in certain special events4 ,it was for  
this reason  that ,polykleitos1 in order
 to embody the principles of his athlete
  canon1 made a statue of a             
javelin-thrower 7the ,doryphoros7 as the
  best example of an all-round man4     
,illustration3 ,,fig4                   
#dd4--,pentathletes4 ,scene from a      
,panathenaic ,amphora  in the ,british  
,museum1 ,london4    ,none of the       
statues of pentathletes at ,olympia has 
been recovered  with certainty in ,roman

 copies4 ,that some of them were        
represented  at rest is shown by the    
base of the statue of the victor        
,pythokles  of ,elis1 by the elder      
,polykleitos1 which has been            
recovered4#aejg  ,this base supported   
two different statues in succession4    
,the feet of  the earlier one by        
,polykleitos were riveted into circular 
holes1 and  behind the right foot on the
 upper surface of the base was inscribed
  the artist's name1 while the victor's 
appeared on the vertical front4  ,this  
statue was later removed and was        
replaced by another1 whose pose  was    
different1 as we see from the footmarks1
 which show that the feet  were attached
 with lead in hollows4 ,probably the old
 inscription was  renewed in archaic    
letters when this second statue was set 
up1 the  older letters being retained1  
perhaps1 to conceal the theft4 ,the     
original statue was removed by the first
 century ,b4 ,c41 or perhaps  under     
,nero2#aejh the new one was also        

inscribed as the work of  ,polykleitos4 
,a base of the ,hadrianic or ,antonine  
age has been found in  ,rome1 inscribed 
with the names ,polykleitos and         
,pythokles4#aeji ,since  the footmarks  
do not agree with those of either one of
 the ,olympia  statues1 ,petersen       
believes that the existing footmarks are
 due to an  older use of the base and   
that they have nothing to do with the   
statue  of ,pythokles4 ,perhaps the     
statue on the ,roman base was the       
original  one by ,polykleitos removed   
from ,olympia to ,rome1 though it is    
possible  that it was only a copy1 the  
original being elsewhere in ,rome4      
,while  the later statue at ,olympia had
 the feet squarely on the ground1 the   
original one stood on the right foot1   
the left being drawn back and  turned   
out1 touching the ground only with the  
ball4 ,hence the left  knee must have   
turned outwards1 a natural position1 if 
the head of  the statue was turned      
slightly to the left4 ,in other words1  

this is  the usual ,polykleitan scheme4 
,furtwaengler has made a strong though  
hardly convincing attempt to identify   
this original statue with a copy        
surviving in two replicas at ,rome and  
,munich1 which1 as he believes1  fit the
 conditions of the statue of            
,pythokles4#aeaj ,these copies          
represent a nude youth standing with the
 weight of the body on the  right leg1  
the left drawn back and outwards4 ,the  
head is turned to  the left1 the right  
arm is held close to the side 7the hand1
 perhaps1  once holding a fillet71 and  
the left forearm is outstretched from   
the  elbow and holds an aryballos in the
 hand4 ,the two works are manifestly    
,polykleitan in style--the body1 head1  
and hair treatment resembling that  of  
the ,doryphoros4 ,he assumed that the   
feet corresponded in scale  with the    
footmarks on the ,olympia base4         
,helbig1 in the first edition of his    
,fuehrer1 recognized the kinship        
between the ,vatican statuette and the  

,doryphoros of ,polykleitos1  and was   
prone to accept ,furtwaengler's         
identification2 but later  on1 in the   
third edition1 he ascribed the statuette
 only to the  ,polykleitan circle and   
denied that its foot position           
corresponded  with that of the          
,pythokles base4 ,amelung also1 while   
accepting its  ,polykleitan character1  
has shown that the feet of the statuette
 are  closer together than those on the 
,olympia base and are placed at a       
slightly different angle4 ,as for the   
,munich statue1 both ,helbig and        
,amelung have ruled it out of the       
evidence4 ,the head1 though similar  to 
that of the statuette1 also discloses   
marked differences1 and the  legs of the
 two works do not have the same pose4   
,loewy agrees with  ,amelung that the   
statue of ,pythokles conformed with the 
type of the  ,diadoumenos--especially   
with the ,vaison copy 7see ,fig4        
#bh7--;and with  that of the            
,doryphoros4#aeaa ,we can not1          

therefore1 safely assume  that the      
statue of ,pythokles has been recovered 
in any existing  copy4#aeab ,a further  
variant of the works just discussed     
should be  mentioned here--the beautiful
 marble statue of a boy victor in       
,dresden1  known as the ,dresden ,boy   
7,fig4 #de74aeac ,in this statue the leg
  position is nearly like that indicated
 by the marks on the ,pythokles  basis1 
though the left foot is not set so far  
back nor its tip so far  out4 ,the head 
is turned to the left and slightly      
lowered1 the right  arm hung to the     
side1 and the left forearm was          
outstretched1 the hand  doubtless       
holding some athletic article1 at which 
the boy is looking  down1 perhaps a     
diskos#aead or a fillet4 ,this beautiful
 athlete  statue has many stylistic     
points in common with the ,diadoumenos1 
and  shows similar ,attic influence1 and
 its original may be referred with      
,furtwaengler to the later period of the
 master himself4 ,it gives us an        

excellent idea how ,polykleitos may have
 made his ,olympia boy victors  appear4 
,a more remote variant seems to be      
furnished by a fourth-century  ,b4 ,c4  
bronze statuette of a youthful athlete  
in the ,louvre4#aeae ,here  the position
 of the feet1 the turn of the head1 and 
the direction of  the gaze are the same 
as in the ,dresden ,boy4 ,however1 as   
the right  arm is raised horizontally1  
,furtwaengler believed that the right   
hand  held a fillet which the youth is  
letting fall into the palm of the left4 
,illustration3 ,,fig4 #de4--,statue of a
 ,boy ,victor 7the ,dresden ,boy74      
,albertinum1 ,dresden4    ,that statues 
of pentathletes at ,olympia were also   
represented in  motion is shown by the  
footmarks on the recovered base of one  
of the  two statues mentioned by        
,pausanias as set up in honor of the    
,elean  ,aischines1 who won two         
victories some time between ,ols4 #abf  
and #acb 7  #bgf and #beb ,b4 ,c474#aeaf
 ,these marks show that the statue      

represented  the victor in violent      
movement1 since the left foot was turned
 outwards  and the right one was brought
 almost to the edge of the base4    ,we 
shall next consider in some detail how  
the pentathlete may have been           
represented at ,olympia in the three    
characteristic contests of jumping1     
diskos-throwing1 and javelin-throwing4  
,we have already discussed the  runner1 
and in a future section we shall discuss
 the wrestler1 both of  whom contended  
in these events not only in the         
pentathlon1 but also in  the            
corresponding independent competitions4 
,,jumpers4    ,jumping was a well-known 
contest in heroic days4 ,in ,homer1     
however1  it did not take place at the  
games of ,patroklos1 but only at those  
held by ,king ,alkinoos4#aeag ,quintus  
,smyrnus has the ,trojan heroes  contend
 in jumping1#aeah and the contest goes  
back to mythology4#aeai  ,though ,plato 
does not mention it1 ,aristotle         
does4#aebj ,later it became  an         

essential part of the pentathlon1 though
 never an independent  contest at the   
great games4 ,it was probably considered
 to be the  most representative feature 
of the pentathlon1 perhaps because of   
the customary use of the halteres in the
 physical exercises of the  gymnasium4  
,jumping-weights were1 in fact1 the     
special symbol of the  pentathlon1 and1 
as we saw in the preceding chapter1 were
 often the  definitive attributes       
indicated on statues of                 
pentathletes4#aeba ,we  shall next      
discuss the appearance and use of such  
jumping-weights4  ,their form is often a
 sure indication of the date of a       
statue4    ,juethner has made a careful 
study of the different shapes of        
halteres and his conclusions have been  
followed1 for the most part1  by        
,gardiner4#aebb ,the halteres do not    
appear in ,homer1 but were  in existence
 at least by the beginning of the sixth 
century ,b4 ,c41  and a little later    
they probably appeared on pentathlete   

statues4  ,to this period belongs the   
lead weight from ,eleusis now in        
,athens1  whose inscription records that
 it was dedicated by one ,epainetos to  
commemorate his victory in jumping4#aebc
 ,on vase-paintings of the  sixth and   
fifth centuries ,b4 ,c41 we see numerous
 types1 but two main  ones4 ,early b4-f4
 vases show a semicircular piece of     
metal or stone  with a deep depression  
on one side for a finger grip1 the two  
club-like  ends being equal 7as in      
,figs4 #cf;,a and #dd74 ,in the early   
fifth century  ,b4 ,c41 a club-like type
 came in1 which shows many modifications
 in  the size and shape of the          
ends4#aebd ,in the fifth century ,b4    
,c41 the  second main type appeared1 of 
an elongated semispherical form1        
thickest  in the middle and with the    
ends pointed or rounded4 ,these         
correspond  with the 8archaic0 ones1    
which ,pausanias saw on the figure of   
,agon  in the dedicatory group of       
,mikythos at ,olympia#aebe and describes

 as  forming half an elongated circle   
and so fastened as to let the fingers   
pass through4 ,we have two stone        
examples of this type3 one found at     
,corinth1 now in the ,polytechnic       
,institute in ,athens1#aebf in which a  
hole is cut behind the middle for the   
fingers and thumbs1 and a more          
primitive single one from ,olympia4#aebg
 ,philostratos divides the ,greek       
jumping-weights into 8long0 and         
8spherical10#aebh which ,juethner       
identifies with the two types just      
discussed4 ,gardiner1 however1 finds    
this impossible1 since ,pausanias speaks
 of one type as 8archaic10  and he      
consequently thinks that these were no  
longer in use in the  time of           
,philostratos4 ,after the fifth century 
,b4 ,c4 we have little  evidence about  
halteres until ,roman days1 when a      
cylindrical type  appears on ,roman     
copies of ,greek statues of athletes1 on
 mosaics and  wall-paintings4#aebi ,thus
 it appears on the tree-trunk in two    

athlete  statues in ,dresden#aecj and   
the ,pitti ,gallery in ,florence1#aeca  
and on the ,lateran athlete mosaic from 
,tusculum of the imperial  period4#aecb 
,in ,roman days jumping-weights were    
used for the most part  in medical      
gymnastics1 like our dumb-bells4#aecc   
,philostratos says that the jump was the
 most difficult part of the             
pentathlon4#aecd ,it never existed as an
 independent competition  despite its   
popularity in ,greece4 ,this popularity 
is attested by the  frequency with which
 it is depicted on vases from the sixth 
century  ,b4 ,c4 onward4 ,here the      
jumper is regularly shown with weights1 
and  we can assume that many pentathlete
 statues were so represented1 the       
sculptor ordinarily copying the kind of 
weight which was in use in his  own age4
 ,while ,philostratos in his day thought
 that the use of weights  was merely to 
aid in exercise1 ,aristotle long before 
had rightly  understood that the jumper 
could make a longer jump with than      

without  them1#aece a fact easily proved
 by the feats of modern jumpers4 ,while 
the modern record for the running broad 
jump is #be feet #c inches1#aecf  an    
,english athlete jumped #bi feet #g     
inches with the use of #e-pound         
weights1#aecg and a ,german officer in  
full uniform jumped #bc feet  from a    
springboard4#aech ,the recorded jumps of
 ,phallos at ,delphi and  of ,chionis at
 ,olympia1 the former #ee feet and the  
latter #eb1 can not1  however1 be       
explained as ordinary broad jumps1 even 
if we assume that  the ,greek jumper was
 far superior to the modern one4 ,such  
jumps would  be impossible even with    
springboards or raised platforms1 and we
 have  no evidence that the ,greeks used
 such devices4 ,we might explain them   
on the theory of triple                 
jumps#aeci--though the difficulty of    
such a  solution is very great--or      
simply as mistakes in the records4 ,thus
 the  record of ,phallos is found in a  
late epigram1 in which this athlete is  

also said to have thrown the diskos #aje
 feet4#aedj ,that of ,chionis is1  to be
 sure1 given by ,africanus4#aeda ,but it
 is more than probable that   7#eb7 of  
his record should read  7#bb71 since the
 ,armenian ,latin  text reads duos et   
viginti cubitus4#aedb    ,vase-paintings
 tell us how the halteres were          
used4#aedc ,the jumper  swung them      
forward and upward until they were level
 with or higher than  the head2 then he 
brought them down1 bending the body     
forward until  the hands were below the 
knees1 the jump taking place on the     
return  swing4 ,we find the preliminary 
swing represented most commonly on the  
vases2#aedd we also see on them the top 
of the upward swing1#aede  the bottom of
 the downward swing1#aedf the jumper in 
midair1#aedg and  the moment just before
 alighting4#aedh ,the act of landing is 
seen on  an ,etruscan wall-painting from
 a tomb at ,chiusi4#aedi ,running jumps 
are the ones most commonly              
depicted4#aeej    ,the representation of

 the jump1 therefore1 was specially     
adapted to the  vase-painter and not to 
the sculptor4 ,if any movement in the   
jump could  have been represented to    
advantage in sculpture1 it would have   
been the  early position in which the   
weights were swung forward and upwards4 
,this is the one represented on an      
incised bronze diskos from ,sicily  now 
in the ,british ,museum1#aeea where an  
athlete1 with his right leg  drawn back 
for the spring1 is holding the weights  
in his outstretched  hands4 ,a small    
finely modelled bronze statuette dating 
from the middle  of the fifth century   
,b4 ,c41 in the ,metropolitan ,museum1  
,new ,york1 may  represent a jumper     
either just taking off1 or perhaps just 
finishing  the jump4#aeeb ,the athlete  
is standing with his left foot advanced1
  his knees bent back1 and his body     
leaning forward1 and is holding  both   
arms in front1 the palms downwards4     
,such a concentrated attitude  reminds  
us strongly of ,myron1 under whose      

influence this statuette  must have been
 made4 ,some have interpreted it as the 
representation  of a diver1 though the  
hands seem to be held too far apart and 
the  body wrongly poised for that       
position1 as we see it in a statuette   
of a diver from ,perugia4#aeec ,more    
likely a jumper is intended1 as  the    
attitude is very similar to that        
depicted on several vases4#aeed         
,however1 as the jumper has no halteres1
 it can not represent a  pentathlete1   
but must be an ordinary gymnasium       
athlete4      ,,diskoboloi4    ,the     
diskos-throw 77 goes back to mythology  
and heroic  days4#aeee ,in ,homer1 at   
the games of ,patroklos1 ,achilles casts
 a metal  mass called the 4#aeef ,this  
was the primitive type of diskos4  ,of  
such early contests and feats of        
strength we have a good record in  the  
red-sandstone mass1 weighing #adc4e     
kilograms 7 #cae pounds71 which  has    
been found at ,olympia1 marked with a   
sixth-century inscription  to the effect

 that one ,bybon threw it over his      
head4#aeeg ,there is  nothing athletic1 
however1 about the use of such a stone  
or of the  ,homeric solos4 ,the diskos  
was also known to ,homer4#aeeh ,it was  
of  stone1 and in ,pindar the heroes    
,nikeus1 ,kastor1 and ,iolaos still hurl
  the stone diskos instead of the metal 
one of the poet's day4#aeei ,the  stone 
diskos appears on sixth-century vases as
 a white object1#aefj  but metal ones   
were introduced at the end of the sixth 
century ,b4  ,c4 ,a bronze one from     
,kephallenia 787 in the ,british ,museum
 has a  sixth-century inscription in the
 ,doric dialect and in the alphabet  of 
the ,ionian ,islands1 which gives the   
dedication of ,exodas to the            
,dioskouroi4#aefa ,several others have  
been found in different parts of        
,greece1 especially at ,olympia4#aefb   
,pausanias says that boys used a        
lighter diskos than men4#aefc    ,while 
only unimportant monuments outside of   
vase-paintings illustrate  the jump1    

those illustrating the diskos-throw are 
rich and varied1  including not only    
vases1 but statues1 statuettes1 small   
bronzes1  reliefs1 coins1 and gems4#aefd
    ,in his careful attempt at          
reconstructing the method of casting the
  diskos1 ,e4 ,n4 ,gardiner has         
distinguished seven different positions1
  which are illustrated by the          
monuments4#aefe ,he shows that while the
  swing of the quoit was always the     
same1 i4 e41 in a vertical and  not in a
 horizontal arc1 and the throw was      
invariably made from a  position like   
that of ,myron's statue1 the preliminary
 and certain other  movements varied4   
,it will be well1 before discussing     
representations  of the diskos-thrower  
in sculpture1 very briefly to           
recapitulate his  summary of positions1 
using the evidence which he and others  
have  collected4 ,first1 the preliminary
 position or stance1 with three         
variations3 either the position of the  
,standing ,diskobolos of the  ,vatican  

7,pl4 #f71 which occurs in bronzes1 but 
not on vases2 or the  position in which 
the diskobolos raises the quoit with the
 left hand  level with the shoulder1    
which occurs on vase-paintings2#aeff or 
that  in which the diskos is held       
outwards in both hands level with the   
waist4#aefg ,from any of these stance   
positions1 either with or without       
change of feet1 we reach the second     
position1 in which the diskos is  raised
 in both hands and extended either      
horizontally to the front  and level    
with the head1#aefh or held above the   
head4#aefi ,thirdly  the diskos is swung
 downwards and rests upon the right     
forearm1 with  either foot forward4#aegj
 ,this position leads up to that of     
,myron's  statue1 in which the diskos is
 swung as far back as possible 7,pls4   
#bb1  #bc1 and ,figs4 #cd1 #ce74aega    
,the fifth position is the beginning of 
the forward swing1 when the body is     
straightened4#aegb ,as the diskos       
swings downwards and the left foot      

advances1 the sixth position is         
reached4#aegc ,lastly the right foot is 
advanced after the diskos is  cast4#aegd
    ,illustration3 ,,fig4 #df4--;,bronze
 ,statuette of a ,diskobolos4           
,metropolitan  ,museum1 ,new ,york4     
,a victor statue of a diskobolos might  
conceivably have taken any one of  these
 seven positions4 ,we have already      
considered the two statues1 the         
,standing ,diskobolos of ,naukydes in   
the ,vatican 7,pl4 #f7 and that of      
,myron 7,pls4 #bb1 #bc1 and ,figs4 #cd1 
#ce71 the two most important works in   
sculpture to illustrate positions of the
 throw4 ,the statue of ,naukydes  is not
 taking aim1 as ,juethner maintains1 nor
 looking down the course4  ,the head is 
inclined a little to the right and      
downwards1 and the eyes  are directed to
 the ground only a short distance away1 
thus measuring  the distance the left   
foot is to be advanced1 when the diskos 
is  finally swung forward for the cast1 
which takes place off the left and  not 

off the right foot4 ,the right forearm  
is rightly restored1 as it  thus appears
 on bronzes which imitate this          
stance4#aege ,a different  stance is    
shown in a fine bronze statuette in the 
,metropolitan ,museum  7,fig4 #df71aegf 
dating from about #dhj ,b4 ,c4 ,this    
little masterpiece  of the transition   
period of ,attic art1 still disclosing  
archaic traits1  represents a diskobolos
 standing firmly on both legs1 the right
 being  slightly advanced1 and holding  
with the left hand the diskos level with
  the head4 ,that he is preparing for   
intense action is seen by the way  in   
which the toes catch the ground4 ,though
 the right arm is broken off  from below
 the shoulder1 we can infer from        
vase-paintings which show  diskoboloi in
 the same position#aegg that it was     
lowered and bent  at the elbow and the  
hand left open4 ,from this position the 
diskos  will be raised high above the   
head with both hands1 as in a bronze in 
,athens1#aegh which illustrates         

,gardiner's second position4    ,the    
movement is carried a little            
further--showing the moment of          
transition to the downward swing or     
third position--in a fifth-century  ,b4 
,c4 bronze in the ,british ,museum4#aegi
 ,here a nude1 beardless  athlete is    
represented standing with the right foot
 advanced and  holding the diskos in    
both hands before him above the head4   
,the right  hand grasps the quoit       
underneath and the left at the top4#aehj
 ,the  third position is well           
illustrated by the tiny archaic bronze  
on the  cover of a lebes in the ,british
 ,museum1#aeha which represents a nude  
and beardless youth standing with the   
left foot advanced and with the  left   
hand raised1 while the right holds the  
diskos4 ,almost the same  pose is also  
seen in a small bronze in the           
,antiquarium1 ,berlin4#aehb    ,two     
archaic statuettes from the ,akropolis1 
now in the ,national ,museum  in        
,athens1 and recently published1 should 

be mentioned in this  connection4#aehc  
,the more archaic of these represents a 
youth in an  attitude which has been    
misunderstood4 ,de ,ridder interpreted  
it as  a dancing man1 while ,stas       
thought it represented a youth walking  
along with his left hand raised as if to
 ward off a blow4 ,white1  however1     
showed that it 7like another less       
perfect example from the  ,akropolis1   
no4 #feid7 represents a diskobolos      
standing with the right  foot advanced  
and holding the diskos in front of the  
body with the  right hand1 resting it   
against the flat of the forearm1 while  
the left  arm is raised above the head4 
,thus it is another example illustrating
  the initial stage of ,gardiner's third
 position4 ,the other statuette1        
wrongly mounted1 should1 according to   
,white1 be made to lean further         
forward2 the knees are bent1 the body   
swung forward from the hips1 the  head  
thrown back and upward1 the right arm   
stretched forth with the  flat of the   

forearm uppermost and the left similarly
 placed4 ,gardiner  and ,stas           
interpreted this figure as a charioteer1
 and de ,ridder as  either a jumper1 who
 has raised his halteres preparatory to 
the  leap1 or a diskobolos4 ,white has  
shown that the position of the right    
arm proves it to be a diskobolos1       
represented in a movement between       
,gardiner's third and fourth positions1 
just prior to that of ,myron's  statue4 
,de ,ridder believed both statues to be 
,aeginetan1 but no4 #ffad1  when        
compared with ,myron's statue1 is       
certainly ,attic1 and resemblances  in  
the treatment of the hair1 eyes1 and    
mouth show that both statuettes  are of 
the same school4 ,it has often been said
 that ,myron's great  statue had no     
predecessor1 as it certainly had no     
successor4 ,its  fame was enhanced by   
the assumption that ,myron passed at one
 stride  from such statues as the       
,tyrannicides to that complex work4     
,such  works1 however1 as these         

statuettes--especially no4 #ffad--show  
that the  preliminary problems had been 
solved on a humble scale before ,myron  
undertook his consummate work4 ,here1   
then1 we have works by artists who      
belonged to the very movement which     
produced ,myron4    ,for the last three 
positions analyzed by ,gardiner 7nos4   
#e1 #f1 #g7 our  only illustrations     
appear to be vase-paintings4            
,,akontistai4    ,javelin-throwing 71 7 
was very old and was  universal in      
,greece1 its origin being traced back to
 mythology4#aehd  ,stassoff tried to    
trace it to ,oriental sources1#aehe but 
inasmuch as  no such contest is shown on
 the monuments of ,egypt or ,assyria1   
,juethner  is probably right in assuming
 that it was ,greek in origin4 ,in      
,homer  it was a separate contest at the
 games of ,patroklos4#aehf ,juethner    
has distinguished two types of          
javelin-throwing in the historical      
period3 one in which the spear or       
akontion was pointed more or less       

upwards1#aehg the other in which it was 
held horizontally4#aehh ,only  the      
former type is represented in           
illustrations of purely athletic        
competitions1 the latter type referring 
to illustrations of the  practical use  
of javelin-throwing1 i4 e41 in war or in
 the chase4  ,vase-paintings of palstra 
scenes almost invariably show javelins  
with  blunt points2 the throwers' heads 
are frequently turned back before the   
throw1 and there is no sign of any      
target4 ,on vase-paintings1 however1    
which represent practical               
javelin-throwing from horseback1 the    
javelins  are pointed4 ,this proves that
 in athletic contests the throw was for 
distance and not at a mark4#aehi ,the   
javelin used in ,greek games had        
several names1 1 1 etc4#aeij ,it was    
about the height of  a man1 as we know  
from its appearance on a ,spartan       
relief1#aeia and  from many             
vase-paintings representing palstra     
scenes 7,fig4 #dd74 ,it was  thrown by  

means of a thong 71 ,lat4 amentum71     
which was fastened  near the centre and 
consisted of a detachable leathern strip
 from #ab  to #ah inches long4 ,this was
 bound tight1 with a loop left1 into    
which  the thrower inserted his first   
and middle fingers4#aeib ,the method  of
 casting is seen on many vases4#aeic    
,gardiner has analyzed three  different 
positions from vase-paintings4 ,usually 
the throw was made  with a short run1   
though standing throws are also         
pictured4#aeid ,first  the thrower      
extends the right arm back to its full  
length and1 with the  left hand opposite
 the right breast1 holds the end of the 
spear and  pushes it back1 holding it   
downwards or horizontally4#aeie ,next he
  starts to run1 turning his body       
sidewise and extending his left arm to  
the front4 ,on a r4-f4 ,munich          
kylix#aeif we see the first and second  
positions4 ,the youth on the left is    
steadying the javelin with the left     
hand1 while the one on the right has    

just let it go4 ,a further turn of  the 
body to the right takes place and the   
right knee is bent1 while the  right    
shoulder is dropped and the hand is     
turned outwards4#aeig ,the  actual cast 
is very uncommon on vase-paintings1     
because of difficulty  in representing  
it4#aeih    ,because of the assumed lack
 of sculptural monuments1 ,reisch#aeii  
and  others have wrongly doubted whether
 javelin-throwers were represented  in  
sculpture as victors4 ,there certainly  
is no a priori reason why  athletic     
sculptors might not have made statues in
 any one of the three  poses which      
,gardiner has distinguished on          
vase-paintings1 even if this  contest1  
like jumping1 was better adapted to the 
painter than to the  sculptor4          
,furthermore1 we shall attempt to show  
that such monuments  actually did exist4
    ,illustration3 ,,fig4 #dg4--;,bust  
of the ,doryphoros1 after ,polykleitos1 
by  ,apollonios4 ,museum of ,naples4    
,illustration3 ,,fig4 #dh4--,statue of  

the ,doryphoros1 after ,polykleitos4    
,vatican ,museum1 ,rome4    ,the best   
example of such a javelin-thrower seems 
to be the  ,doryphoros1 the most famous 
statue of ,polykleitos1 in which he     
illustrated his canon of athletic forms4
 ,the ,doryphoros exists in  many       
copies1 all of which agree fairly well  
in style and proportions4  ,k4          
,friedrichs1 in his monograph ,der      
,doryphoros des ,polyklets1 which       
appeared in #ahfc1afjj was the first to 
show that the statue found  in #agig in 
the ,palaistra at ,pompeii1 and now in  
the ,naples ,museum  7,pl4 #d71 was a   
copy of the original bronze1 as it shows
 all the  peculiarities of the master's 
style known to us from tradition4#afja  
,mahler enumerates #g statues1 #ag      
torsos1 and #cf heads copied from the   
original1 and the fine1 but             
expressionless1 ,augustan bronze bust   
from  the villa of the ,pisos1          
,herculaneum1 inscribed as the work of  
the  sculptor ,apollonios1 son of       

,archios1 of ,athens1 which is now in   
,naples  7,fig4 #dg74afjb ,the          
best-preserved copy of the statue1 the  
one in  ,naples1 is surpassed in        
workmanship by the green basalt torso in
 the  ,uffizi ,gallery in ,florence#afjc
 and by the marble one formerly in the  
possession of ,count ,pourtals in       
,berlin4#afjd ,a poorer copy is to be   
found in the ,braccio ,nuovo of the     
,vatican 7,fig4 #dh74afje ,in these     
copies we see a thick-set youth standing
 with the weight of the body  on the    
right leg1 the left one thrown back and 
touching the ground  only with the toes1
 seemingly ready to advance1 though the 
shoulders  do not partake of the walking
 action4 ,he is represented1 therefore1 
at the moment of transition from walking
 to a rest position--in other  words in 
a purely theoretical pose--at rest1     
indeed1 but just ready  again to        
advance4#afjf ,his left hand held a     
short akontion over the  shoulder and   
not the long spear 771 whence the name  

,doryphoros  or spear-bearer is         
derived4#afjg ,the head is turned to the
 same side  as the advanced foot1 which 
perhaps is an example of the monotony   
in the work of the master complained of 
by ancient critics2 variety  would have 
been attained by turning it in the      
opposite direction4  ,in the carefully  
worked bronze original1 which1 however1 
must have  had an insignificant         
intellectual aspect1 the apparently     
simple  problem--hitherto vainly        
attempted in ,greek art--of representing
 a  man standing almost motionless1 but 
full of life1 was for the first  time   
solved4 ,it is a long way from the      
motionless figures known as  8,apollos10
 with their arms glued to the sides and 
their legs close  together1 to this     
vigorous athlete4 ,as we have already   
indicated1  ,greek art developed the    
first step beyond the 8,apollos0 by     
further  advancing one leg of a statue  
and1 it may be1 extending one forearm   
horizontally4 ,the next step was to     

place one foot slightly sidewise and    
thus relieve it of the weight of the    
body--the well-known scheme of the      
8free0 and 8rest0 leg4 ,at first the    
relaxation was slight1 the 8free0  leg  
not being intended to move forward1 nor 
the parts of the body to be  much       
shifted4 ,polykleitos' innovation       
consisted in having the legs so  placed1
 one behind the other1 that the figure1 
while apparently resting  on one1#afjh  
seemed to be advancing4 ,on the ground  
of the familiar  passage in ,pliny      
cited1 it has been generally assumed    
that ,polykleitos  introduced the       
walking motive into sculpture4 ,however1
 this motive  was probably the invention
 of the earlier ,argive school1 borrowed
 by  ,polykleitos for his canon1 as seen
 in the statue of the so-called  ,munich
 ,king 7,zeus871 of the ,glyptothek1    
which ,furtwaengler has  shown to be a  
work of about #dfj ,b4 ,c4#afji    ,does
 the ,doryphoros represent a pentathlete
 victor8 ,since ,quintilian  says that  

it appears ready for war or for the     
exercises of the  palstra1#afaj ,helbig 
and others have classed it as a warrior1
 perhaps  one of the ,achilleae         
mentioned by ,pliny#afaa as set up in   
the ,greek  gymnasia4 ,furtwaengler     
stressed the incorrectness of calling an
 athlete  a ,doryphoros#afab--;a name   
originally given to an attendant bearing
 a  lance 771 and so inapplicable to the
 statue of ,polykleitos1 which          
represented not a server1 but an athlete
 carrying an akontion 7witness  the     
,berlin gem already mentioned7--but     
later#afac concluded that an  athlete   
statue with the akontion might have been
 vaguely described in  late art jargon  
as a spear-bearer4 ,consequently he     
found probable the  interpretation of   
the various doryphoroi mentioned by     
,pliny#afad as  victor statues1 and     
thought that the original of the        
,doryphoros of  ,polykleitos might very 
well have represented an ,olympic       
pentathlete1  which was originally set  

up at ,argos1 where it was also adopted 
for a  figure on the heroic grave-relief
 already mentioned1 which represented   
the youth with a spear over his shoulder
 standing beside a horse4 ,bulle  also  
thinks that the statue represented a    
victor athlete set up in some  sacred   
spot4    ,for its interpretation as the 
statue of a pentathlete victor1 an      
added proof is furnished by the         
discovery of a late ,roman copy of  it  
at ,olympia4#afae ,this may very well   
have been the dedication of  an athlete 
of late date--of the first century ,b4  
,c4 or of the first  ,a4 ,d4--who       
preferred to be represented by a copy of
 the famous work of  ,polykleitos rather
 than by a new statue4 ,treu's          
contention that the  torso is too large 
for a victor statue1#afaf because       
,lucian says  that the ,hellanodikai did
 not allow statues of victors to be over
  life-size1#afag falls to the ground1  
since we know that exceptions  to the   
rule existed at ,olympia4#afah ,he      

agrees with ,collignon#afai  in         
interpreting it as a decorative statue1 
which surely involves an  anachronism in
 the middle of the fifth century ,b4    
,c42 and his argument  that its good    
preservation shows it to have been set  
up in an interior  room1 perhaps of the 
,bouleuterion1 in whose ruins it was    
found1  adducing this as additional     
evidence of its decorative character1   
is no proof1 since victor statues at    
,olympia seem sometimes to have  been   
housed4#afbj ,thus the theory that the  
,doryphoros represents a  pentathlete   
victor is well within the range of      
possibilities4    ,two bronze statuettes
 in the ,metropolitan ,museum1#afba ,new
 ,york1  belonging to the second half of
 the fifth century ,b4 ,c41 may be      
representations on a small scale of     
pentathletes with the akontion4  ,the   
first shows a youth standing with the   
weight of the body on the  left foot1   
the right drawn slightly back4 ,the left
 hand1 held close to  the side1 may have

 carried an akontion1 the right arm     
being extended4  ,the other1 more       
carelessly executed1 represents a youth 
standing  similarly with his weight on  
the left foot1 the right being drawn    
back4  ,here again the left arm is      
hanging by the side1 and probably held  
the  same attribute as the first        
statuette4 ,the right arm is also bent  
at  the elbow4 ,a patera may have been  
held in the outstretched hand of  each4 
,the square build1 short thighs1 flat   
abdomen1 long skull1 and  oval face are 
all ,polykleitan characteristics1 and   
remind us of the  series of kindred     
works already discussed1 which1 as      
,furtwaengler  believed1 went back to   
the original statue of the boy wrestler 
,xenokles  at ,olympia1 the work of the 
younger ,polykleitos4#afbb              
,,wrestlers4    ,wrestling 77 is perhaps
 the oldest1 and in any case is the most
  universal1 of athletic sports4        
,wall-paintings at ,beni-,hasan on the  
,nile1 dating from about #bjjj ,b4 ,c41 

show nearly all the grips and  throws   
now known4#afbc ,plato says that this   
sport was instituted in  mythical       
times4#afbd ,in ,greece its origin is   
lost in mythology4#afbe  ,the very name 
palaistra1 8wrestling school10 indicates
 the early  importance of the contest4  
,it was one of the most popular of      
,greek  sports from the time of ,homer  
down4#afbf ,this popularity is shown by 
the frequency with which it appears in  
mythology and art4 ,early b4-f4  vases  
picture ,herakles wrestling with giants 
and monsters4 ,here we see  the same    
holds and throws as in the palstra      
scenes on later r4-f4  vases4 ,the whole
 history of coins down to imperial days 
shows such  scenes4 ,no other exercise  
required so much strength and agility1  
and  consequently wrestling matches     
early became a part of the great games4 
,at ,olympia wrestling was introduced in
 ,ol4 #ah 7 #gjh ,b4 ,c471 the same     
year in which the pentathlon was        
instituted4#afbg ,the boys' match       

appeared there less than a century later
 in ,ol4 #cg 7 #fcb ,b4 ,c474#afbh      
,pausanias mentions statues erected to  
#cf victors 7for #de victories71  which 
makes this contest second only in       
importance to boxing there4    ,there   
were two sorts of wrestling in ,greece1 
wrestling in the  proper sense 7 71     
where each tried to throw his antagonist
  to the ground1 making his shoulders   
touch three times1 and ground  wrestling
 71 71 where the fight was continued on 
the ground by using every means1 except 
biting and gouging1 till one  was       
exhausted4 ,the first kind was the only 
one used in the event  called  at       
,olympia1 as well as in the pentathlon2 
the other  was used only in the         
pankration4 ,in this section we shall   
discuss  only the first4#afbi ,a        
recently discovered papyrus of the      
second  century ,a4 ,d41 containing     
brief instructions for wrestling lessons
  intended to help the 1 indicates that 
every movement in  the contest was      

systematically taught4#afcj ,the various
 positions  used--grips and throws--are 
shown by many monuments1 vase-paintings1
  gems1 coins1#afca statuettes1 and     
statues4 ,the vases#afcb especially     
illustrate the various holds assumed by 
wrestlers during a bout--front  771 side
 771 wrist1 arm1 neck 771 and body      
holds4 ,still others illustrate the     
various throws--flying mare1#afcc       
heave1#afcd buttocks and cross-buttocks 
7 71 and tripping  774 ,we here         
reproduce two such paintings4 ,the      
first1  the obverse of a r4-f4 amphora  
from ,vulci1 signed by ,andokides and   
now in ,berlin 7,fig4 #di71afce shows   
two positions4 ,in the central  group   
the wrestler on the left side has       
grasped his opponent's left  wrist with 
his right hand4 ,the latter1 however1   
has rendered the grip  useless by       
passing his own right hand behind his   
opponent's back and  grasping his right 
arm just below the elbow4 ,in this way  
he keeps  his opponent from turning     

round1 which movement would not have    
been  possible if the latter had grasped
 him by the upper arm4 ,in the group  of
 wrestlers to the right we see an       
illustration of a body hold4  ,here a   
youthful athlete has lifted his bearded 
antagonist clear off  his feet          
preliminary to throwing him4 ,however1  
the one lifted from  the ground has     
caught his foot around his opponent's   
leg1 which  is an illustration of       
tripping4 ,on a r4-f4 kylix in the      
,university  of ,pennsylvania ,museum in
 ,philadelphia 7,fig4 #ej;a71#afcf we   
see a  body hold preparatory to the     
heave2 here to the right are two youths 
wrestling1 and to the left stands a     
bearded trainer with his rod4 ,one      
wrestler has already lost his balance   
and is supporting himself with  both    
hands on the ground1 while the other    
with his left hand holds the  other's   
right arm down1 and with his right      
prepares to throw him over  his head4   
,illustration3 ,,fig4 #di4--,wrestling  

,scenes4 ,from ,obverse of an ,amphora1 
by ,andokides4 ,museum of ,berlin4      
,illustration3 ,,fig4 #e,o4--,wrestling 
and ,boxing ,scenes4 ,from a r4-f4      
,kylix4 ,university of ,pennsylvania    
,museum1 ,philadelphia4                 
,illustration3 ,,fig4 #ea4--;,bronze    
,statues of ,wrestlers4 ,museum of      
,naples4    ,from vase-paintings1 then1 
we can see what positions the sculptor  
might  have used in representing groups 
of wrestlers4 ,for the positions of     
individual figures of wrestlers1 we are 
guided by several statues and  small    
bronzes4 ,the preliminary position 77   
seems to be best  represented by the    
bronze statues of wrestling boys        
discovered at  ,herculaneum in #aged1   
and now in the ,museum of ,naples 7,fig4
 #ea74afcg  ,these figures have been    
variously interpreted as runners1#afch  
diskoboloi1#afci and wrestlers4 ,their  
attitude1 bent forward with             
outstretched hands1 implies the utmost  
expectancy4 ,if they were  runners1 they

 would lean further forward2 as they are
 standing1 they  could not begin to run 
without loss of time in raising the     
heels of the  forward feet4 ,if1 on the 
other hand1 they represented            
diskos-throwers  at the moment just     
subsequent to the throw1 their right    
feet would be  advanced and not their   
left1 in order to recover their balance1
 as  we have seen above in considering  
,gardiner's seventh position4 ,the      
position of their arms1 however1 and the
 expression of their faces  make it     
almost certain that they are wrestlers  
eagerly watching for an  opening4 ,the  
two statues certainly belong together1  
and may have been  set up as antagonists
 in the villa in whose ruins they were  
found4 ,f4  ,hauser was the first to    
show that the form of body and head in  
both was  the same4#afdj ,while most    
critics believe that they are           
,hellenistic  in origin1 ,bulle is      
certainly right in showing that the body
 ideal  expressed is ,lysippan--i4 e41  

long legs and slender trunk--even if  he
 goes too far in ascribing them to the  
master himself1 basing his  conclusion  
chiefly on the similarity of their ears 
with those of the  ,apoxyomenos 7,pl4   
#bi74 ,a good illustration of a hand or 
wrist grip  is afforded by a small      
wrestler group1 which decorates the rim 
of a  bronze bowl from ,borsdorf4#afda  
,this is a poorly wrought ,etruscan work
  of fifth-century ,b4 ,c4 ,greek       
origin4 ,the two wrestlers have already 
gripped and their heads are close       
together1 though the lunge in each  case
 is much exaggerated4 ,similar are the  
two groups on the rim of a  bronze bowl 
in the ,museum of ,fine ,arts1          
,boston4#afdb ,a third-century  ,b4 ,c4 
,etruscan cista in the ,metropolitan    
,museum1#afdc has a handle on  the lid  
in the form of two nude wrestlers1 whose
 bodies are inclined  toward one        
another1 their heads in contact1 and    
their arms locked  behind their heads4  
,groups of wrestlers in similar         

attitudes commonly  appear as cista     
handles4#afdd ,a portion of a bronze    
group of wrestlers  was dredged from the
 sea near ,kythera and is now in        
,athens4#afde ,the  heave is represented
 by a metope from the ,theseion         
representing the  wrestling bout between
 ,theseus and ,kerkyon4#afdf ,a later   
moment is  seen in a bronze             
wrestling-group in ,paris4#afdg ,the    
cross-buttocks is  illustrated by a     
small ,hellenistic bronze group in the  
collection of  ,james ,loeb in ,munich1 
of which five other copies are          
known4#afdh ,here  two athletes1 one    
bearded and the other beardless1 are    
just ending the  bout4 ,the youth is in 
the power of the man1 who stands behind 
him and  presses him down by holding his
 arms backward4 ,all the other replicas 
differ from the ,loeb example in that   
the victor has both legs and  not one in
 front of the right leg of the          
vanquished wrestler4 ,a good            
illustration of tripping is seen in     

another related series of groups  known 
to us in five bronze copies4 ,these     
represent a wrestler on the  ground     
supporting himself on his left arm1     
while over him stands the  victor1 whose
 left foot is twisted around the other's
 right4 ,these  groups are1 like the    
preceding1 also ,roman provincial copies
 of a  ,hellenistic original4#afdi ,the 
two groups are very similar1 the only   
real difference being that the          
vanquished wrestler in the second series
  still has his left arm free and holds 
himself up on his right knee4  ,both    
series seem to have been influenced by  
the marble pancratiast  group in the    
,uffizi 7,pl4 #be74afej ,the head of an 
athlete in the ,museo  delle ,terme1    
,rome1#afea shows by its strongly       
projecting neck that  it comes from the 
statue either of a runner ready to start
 or of a  wrestler about to grip his    
adversary4 ,the face is fourth-century  
,b4 ,c4  ,attic in character and the    
head may1 therefore1 come from          

,euphranor's  circle4 ,pliny speaks of a
 panting wrestler 7luctator anhelans7 by
 the  statuary ,naukeros1 which must    
have exhibited the contestant in intense
  movement4#afeb ,it might have         
represented him after victory1 as in the
  painting of ,parrhasios discussed     
above1 which pictured a hoplitodrome    
after the race1 breathing hard4#afec    
,pliny also mentions a painting of  a   
wrestler by ,antidotos without          
describing it4#afed ,as we have already 
remarked1 doubtless some of the         
apoxyomenoi and perixyomenoi  mentioned 
by ,pliny were also wrestlers4          
,whether wrestling-groups were set up at
 ,olympia is doubtful4  ,chariot-groups 
were indeed common1 but there is no     
reason why the  victorious wrestler     
should have had himself coupled with his
 defeated  opponent4 ,pausanias1        
moreover1 mentions no such groups4 ,we  
are  therefore safe in inferring that in
 most1 if not in all1 cases the         
wrestler would content himself with a   

single statue1 and this might  represent
 him in any position in which he was not
 actually interlocked  with his         
adversary4 ,that such statues           
represented him both in repose  and in  
motion is attested by recovered bases4  
,the footprints on the  base of the     
statue of the ,elean wrestler ,paianios1
 a victor of the  early third century   
,b4 ,c41#afee shows us that he was      
represented  as standing in repose1 the 
weight of the body resting on the right 
leg1 the left being drawn back and      
touching the ground with the toes  only4
 ,a hole in the base may have been for a
 spear on which the  victor's hand      
rested1 though the statue is not that of
 a pentathlete4  ,the perfectly         
preserved footprints on the base of the 
statue of the  boy wrestler ,xenokles by
 ,polykleitos the ,younger show that he 
was  represented as standing with his   
weight on the right leg1 the left  being
 slightly advanced and to one side1     
though resting flat on the  ground4 ,the

 head was probably turned a little to   
the right4 ,thus the  wrestler was      
poised ready to grip his adversary4#afef
 ,this statue must  have been a favorite
 among athlete monuments1 since the same
 motive  appears in various ,roman      
copies1 which ,furtwaengler assigns to  
the  immediate circle of the pupils of  
,polykleitos4 ,the statue of the ,argive
  wrestler ,cheimon by ,naukydes may    
have represented him in motion1 since   
,pausanias1 in mentioning two statues of
 the victor1 one in ,olympia and  the   
other in the temple of ,concord at      
,rome1 says that they were among  the   
most famous works of that sculptor4     
,from this encomium ,reisch has  assumed
 that the one at ,olympia was           
represented in lively motion4#afeg      
,,boxers4    ,boxing1 like wrestling1   
was one of the oldest sports in ,greece1
 as it  has been everywhere else4 ,the  
fist is the simplest and most natural   
of all weapons4#afeh ,boxing was popular
 already in ,homer1 matches  being      

described both in the ,iliad and the    
,odyssey4#afei ,homer speaks  of it as  
1#affj and this 8painful0 character is  
also mentioned by ,xenophanes4#affa     
,however1 boxing was far older  than    
epic poetry4 ,we have already seen that 
it was the only form of  real athletics 
in ,aegean ,crete4 ,one of the oldest   
representations of  a boxing match is   
seen on the fragments of a bronze shield
 discovered  there in the grotto of     
,zeus on ,mount ,ida4 ,here on a single 
concentric  ring are seen two warriors1 
armed like ,assyrians with corslets1    
shields1 and helmets1 fighting with     
doubled fists4#affb ,the high  antiquity
 of boxing in ,greece is also shown by  
myths4#affc ,at ,olympia  ,apollo is    
said to have beaten ,ares1#affd and     
,polydeukes won a victory  there4#affe  
,apollo appears as the god of boxing in 
the ,iliad1#afff  and the ,delphians    
sacrificed to ,apollo 4#affg ,herakles1 
,polydeukes1 ,tydeus1 and ,theseus were 
all famed boxers2 the latter was  said  

to have invented the art4#affh ,the     
historical boxing match was  introduced 
at ,olympia in ,ol4 #bc 7 #fhh ,b4 ,c471
 and ,onomastos of ,smyrna1  the first  
victor1 instituted the rules of the     
contest4#affi ,the boys'  contest was   
instituted in ,ol4 #da 7 #faf ,b4       
,c474#afgj ,it was by far the  most     
popular contest there4 ,of the #aib     
monuments erected to #ahg victors       
mentioned by ,pausanias1 #ef1 or nearly 
one-third1 were erected to men  and boy 
boxers for #fc victories4    ,greek     
boxing#afga is conveniently divided into
 two periods by the kind  of glove used 
in the matches4 ,from ,homer down to the
 end of the fifth  century ,b4 ,c41 soft
 gloves 71   or 7 were  used2 from then 
to late ,roman days the heavy gloves 7  
or   7 were the fashion4 ,the weighted  
,roman cestus was not used in the       
,greek contest4 ,before discussing      
representations of boxers in art1 we    
shall devote a few words to these two   
kinds of boxing-gloves1 which           

frequently give us the date of a given  
monument4#afgb ,the ,cretans are        
thought to have worn boxing-gloves1 as  
they seem to be visible on the          
so-called ,boxer ,vase from ,hagia      
,triada 7,fig4 #a74 ,here1 on the top   
and  lower two rows1 a leather gauntlet 
appears to cover the arm to beyond  the 
elbow1 being padded over the fist and   
confined at the wrist by a  strap4      
,mosso derives the later ,greek glove1  
which appears on athlete  statues1 from 
this primitive thong4#afgc ,in any case 
the antiquity  of the glove in ,greece  
is attested by its origin being ascribed
 to  the myth of ,amykos1 king of the   
,bebrykes4#afgd ,gloves were already    
known to ,homer1 who speaks of 8well-cut
 thongs of ox-hide40#afge  ,they are not
 mentioned in any detail before the time
 of ,pausanias and  ,philostratos1 so   
that we are mostly dependent for our    
knowledge of them  on the monuments4    
,the simplest form consisted of long1   
thin ox-hide  thongs1 which were wound  

round the hands1 the soft gloves 7   or 
7 of later writers4#afgf ,they were     
used1 not to  deaden the blow1 but to   
increase its force4 ,vase-paintings show
 that  the thongs were about #aj or #ab 
feet long before being wound4#afgg ,on  
the exterior of a r4-f4 kylix from      
,vulci by ,douris1 in the ,british      
,museum1 showing chiefly boxing scenes1 
we see two youths standing  before a    
paidotribes preparing to put on the     
thongs 7,fig4 #ed74afgh  ,one of them is
 holding the unwound thong in his       
outstretched hands4  ,a similar figure  
appears on the r4-f4 vase in            
,philadelphia already  discussed 7,fig4 
#ej;b71 which represents a palstra      
scene4#afgi ,this  scene has been       
wrongly interpreted as an illustration  
of the game  of  described by           
,pollux#afhj as a sort of tug-of-war1   
the  unwound thong being explained as   
the rope used in this game1#afha and    
the hurling-sticks stuck in the ground  
at either end as goals instead  of      

akontia4 ,a wound thong is seen hanging 
on the wall to the left4  ,philostratos 
describes how the boxing thongs were put
 on1#afhb and  vase-paintings illustrate
 the method4#afhc ,the best example of  
the  thongs on statuary is afforded by  
the bronze arm found in the sea off     
,antikythera 7,cerigotto7 7,fig4 #eb71  
which ,svoronos#afhd believes to  be a  
remnant of the statue of the ,nemean    
victor ,kreugas of ,epidamnos1  which   
stood in the temple of ,apollo ,lykios  
in ,argos4#afhe ,pausanias  says that   
,kreugas was crowned notwithstanding    
that he was killed by his  adversary    
,damoxenos1 and his description of the  
soft glove corresponds  so closely with 
the one on the recovered arm that it    
seems as if it  had been written in the 
presence of the statue3 8,in those days 
boxers  did not yet wear the sharp thong
 7 7 on each wrist1 but boxed  with the 
soft straps 771 which they fastened     
under the hollow  of the hand in order  
that the fingers might be left bare2    

these soft  straps were thin thongs 7 7 
of raw cowhide1 plaited  together in an 
ancient fashion40#afhf ,the strap       
allowed the ends of  the fingers to     
project1 and was held together by a cord
 wound around  the forearm1 just as     
,philostratos says4 ,these  were used at
  the great games through the fifth     
century ,b4 ,c41 and were continued in  
the palstra in the fourth4 ,early in the
 latter century the   mentioned by      
,plato#afhg and other writers appeared4 
,we see them  on ,panathenaic vases of  
that century and on ,etruscan cist of   
the  following one4#afhh ,about the same
 time the regular   came  in1#afhi but  
the old  or something similar were still
 used in  the exercises of the          
palstra4#afij    ,illustration3 ,,fig4  
#eb4--;,bronze ,arm of ,statue of a     
,boxer1 found in the  ,sea off          
,antikythera4 ,national ,museum1        
,athens4    ,illustration3 ,,fig4       
#ec4--;,forearm with ,glove4 ,from the  
,statue of the  ,seated ,boxer 7,pl4    

#af74 ,museo delle ,terme1 ,rome4       
,our best illustration of these more    
formidable gloves on statuary  is the   
gauntlet clearly represented on the     
forearms of the ,seated  ,boxer of the  
,museo delle ,terme 7,fig4 #ec74 ,here a
 close-fitting  glove covers each       
forearm1 leaving the upper joints of the
 fingers  free and the palm open4 ,it   
extends to above the wrist and ends in a
  rim of fur4 ,over it are drawn three  
thick bands of leather1 which  cover the
 first joints of the fingers and are    
fastened together on  the outside of the
 hands with metal clasps4 ,a soft pad   
keeps these  bands from chafing the     
fingers4 ,they are kept in place and the
 wrists  are strengthened by two narrow 
straps which are interlaced several     
times around hand and wrist4 ,similar   
gloves appear on the ,sorrento  boxer in
 ,naples 7,fig4 #eg71afia on the bronze 
forearm of a statue  from ,herculaneum  
in ,naples1#afib on a left fist found in
 #ahhg in  the arena at ,verona1#afic   

and on many other statues and fragments4
  ,the last representation in art of    
this sort of glove appears on the       
,roman relief in the ,lateran1 which    
dates from the time of ,trajan1 and     
represents a fight between two          
pugilists4#afid ,the metal cestus was a 
,roman invention4 ,none of the late     
,greek writers--neither ,plutarch1 nor  
,pausanias1 nor ,philostratos--makes any
 mention of this loaded glove4 ,the     
8sharp thongs0 were enough to cause all 
the injuries mentioned by the  writers  
of the ,greek ,anthology4#afie ,the     
cestus1 perhaps used in the  later      
gladiatorial shows in ,greece1 but never
 in the great games there1  gave the    
death blow to real boxing4 ,virgil      
describes it and the vicious  results of
 its use4#afif    ,there are fewer      
representations of boxing matches on    
vases than of  almost any other ,greek  
sport1 despite its great popularity4    
,gardiner  has collected a number of    
vase-paintings dating from the sixth to 

the fourth centuries ,b4 ,c41 which     
illustrate the different positions      
assumed by boxers in action--attack1    
slipping1 ducking1 and leg and arm      
movements4 ,we reproduce two from r4-f4 
kylikes in the ,british ,museum4  ,in   
one by ,douris 7,fig4 #ed7afig we have1 
besides the group already  mentioned of 
two athletes preparing to put on thongs1
 three pairs of  boxers engaged in a    
bout4 ,in two groups one of the         
contestants is  seen from behind2 in all
 three the boxers extend their left arms
 for  guarding and draw the right back  
for hitting--the fists being level  with
 the shoulders4 ,in one group we see the
 beginning of the fight1 in  the other  
two the middle1 perhaps1 and the end of 
it1 respectively4 ,in  the last scene   
one contestant has fallen to the ground 
on his knee1  and his conqueror has     
swung his right hand far back for a     
final blow1  only to be stopped by the  
other1 who raises his finger in token of
  defeat4 ,on the other vase we see1    

besides a scene from the pankration1    
two pairs of boxers sparring 7,fig4     
#ee74afih ,here in one group the        
contestants do not have their fists     
doubled1 but keep their fingers  opened4
 ,on an ,attic b4-f4 ,panathenaic       
panel-amphora in the ,university        
,museum in ,philadelphia 7,fig4         
#ef71afii we see bearded boxers         
sparring1  while a boxer with thongs in 
his right hand stands to the right1 and 
a trainer with his rod at the left4     
,statues of victorious boxers  at       
,olympia were represented either in     
motion1 i4 e41 probably in  the position
 of sparring1 or in repose1 like that of
 the boy boxer  ,kyniskos by the elder  
,polykleitos discussed in the preceding 
chapter4  ,the same foot position       
visible on the ,kyniskos base#agjj      
occurs  on two other ,olympia bases1    
which1 therefore1 must have supported   
,polykleitan statues represented in     
repose4 ,one of these1 in the form  of  
an astragalos1 will be discussed further

 on in our treatment  of pancratiast    
statues2 the other supported the statue 
of the boy  boxer ,hellanikos of        
,lepreon1 who won a victory in ,ol4 #hi 
7 #dbd ,b4  ,c474#agja ,in this case the
 statue was also life-size1 the left    
foot  was firmly placed1 and the right  
was set back resting on the ball1 the   
stride being a little longer than in the
 case of the ,kyniskos4 ,three  other   
,olympia bases supported statues of     
boxers represented in repose1  those of 
the boy ,tellon from the ,arkadian town 
,oresthasion1#agjb  of the ,epidaurian  
,aristion by the elder                  
,polykleitos1#agjc and of  the ,rhodian 
,eukles by ,naukydes of the ,polykleitan
 circle4#agjd  ,furtwaengler believed   
that a number of existing statues of the
 ,hermes  type reproduced the statue of 
,aristion1 because of a similar foot    
position4 ,among them the ,pentelic     
marble one in ,lansdowne ,house1        
,london1 is the best preserved1 and most
 faithfully reproduces the  ,polykleitan

 style4#agje    ,illustration3 ,,fig4   
#ed4--;,boxing ,scenes4 ,from a r4-f4   
,kylix by ,douris4  ,british ,museum1   
,london4    ,illustration3 ,,fig4       
#ee4--;,boxing and ,pankration ,scenes4 
,from a r4-f4  ,kylix4 ,british ,museum1
 ,london4    ,illustration3 ,,fig4      
#ef4--;,boxing ,scene4 ,from a b4-f4    
,panathenaic  ,panel-,amphora4          
,university of ,pennsylvania ,museum1   
,philadelphia4    ,illustration3 ,,fig4 
#eg4--,statue of a ,boxer1 from         
,sorrento4 ,by ,koblanos  of            
,aphrodisias4 ,museum of ,naples4    ,we
 may infer how a ,polykleitan statue of 
a boxer at rest looked1 from  the ,roman
 copy of one in ,kassel4#agjf ,here a   
youth just out of boyhood  is           
represented as standing with the weight 
of the body resting upon the  right leg 
and the head turned to the right4 ,the  
forearms are covered  with gloves1 the  
right fist being raised for attack and  
the left for  defense4 ,another marble  
statue1 representing a boxer in repose1 

was  found in a fragmentary condition in
 ,sorrento in #ahhh1 and is now in the  
,national ,museum at ,naples 7,fig4     
#eg74agjg ,it is inscribed as the work  
of ,koblanos of ,aphrodisias in ,karia1 
whom we know as a copyist of the  first 
century ,a4 ,d41 and who was active in  
reproducing ,greek works for  the ,roman
 market4#agjh ,the body forms are too   
badly injured for us  accurately to date
 the original from which this copy was  
made1 but the  head gives us the clue1  
as its style appears to be a connecting 
link  between that of the seated statue 
of ,herakles1 in the ,palazzo ,altemps  
in ,rome#agji and the ,munich           
,oil-pourer 7,pl4 #aa71agaj as it shows 
affinity to both4 ,though ,sogliano     
referred it to the school of ,lysippos  
and ,juethner to the beginning of the   
fourth century ,b4 ,c41 it shows        
indubitable ,myronian characteristics   
and may have been the work of  ,myron's 
pupil ,lykios1 who is known to us as an 
athlete sculptor4#agaa  ,in this statue 

the youth is resting his weight on his  
right leg1 the  left1 with full sole on 
the ground1 being turned to one side4   
,the left  forearm is extended outwards 
and to the side1 the head leaning toward
  the right leg--in other words1 the    
athlete is represented in an attitude   
similar to that of the ,idolino 7,pl4   
#ad74 ,as there is an olive crown  in   
the hair1 it seems reasonable to        
conclude that the original statue  was  
that of an ,olympic victor4    ,by the  
beginning of the fifth century ,b4 ,c41 
if not earlier1 boxers  were represented
 in violent motion1 as we saw in the    
case of the statue  of the boy boxer    
,glaukos1 by the ,aeginetan sculptor    
,glaukias1#agab  represented in the act 
of sparring 774 ,whether he was         
represented as facing an imaginary      
antagonist or as merely punching  a bag 
we can not say1 though the latter seems 
the more probable4 ,the  motive is      
depicted in many art works1 notably in  
the figure of a youth  punching a bag   

which hangs from a tree on the ,ficoroni
 cista in the  ,museo ,kircheriano1     
,rome1#agac and in that of another      
represented  on the so-called ,peter    
cista in the ,museo ,gregoriano ,etrusco
 of the  ,vatican1 whose engraved scenes
 show exercises of the palstra4#agad    
,the same motive is seen also in a      
statuette in the ,museo ,chiaramonti of 
the ,vatican1 which is proved to be that
 of a boy boxer by the glove on  the    
right hand4#agae ,here the boy is       
represented with the right foot  far    
advanced and rising on the toes of both 
feet1 the right shoulder  being drawn   
back1 the right forearm raised1 and the 
left extended  forwards4 ,the marble    
torso of a copy of the same original on 
a large  scale is in ,berlin4#agaf      
,while ,amelung believes that the       
original of  both statuette and torso   
was a bronze of the second half of the  
fourth  century ,b4 ,c41 ,furtwaengler  
thought that the torso went back to the 
severe style of the fifth century1 and  

that this original once stood in        
,olympia1 where it might have served as 
the inspiration for a carelessly  worked
 bronze statuette of a boxer found      
there1 which repeats the  motive of the 
torso and similarly belongs to the fifth
 century ,b4 ,c4  7,fig4 #b74agag ,the  
,olympia statuette also has the right   
foot advanced1  the upper part of the   
body leans backward1 and the left arm   
with open  palm is outstretched for     
defense1 while the right with balled    
fist  is held up ready to strike4 ,it   
certainly is a votive offering of an    
,olympic victor--doubtless one of the   
small reductions1 which were not        
uncommonly erected for economy's        
sake4#agah ,whether the ,aeginetan      
,glaukias also made victor statues in   
repose is doubtful4    ,waldstein1 on   
insufficient grounds1 has argued that   
the so-called  ,strangford ,apollo in   
the ,british ,museum 7,fig4 #ad7agai is 
a copy  of the statue at ,olympia of the
 famous ,thasian boxer and pancratiast  

,theagenes by ,glaukias4 ,its close     
observation of nature finds its  analogy
 in the statues of the ,aeginetan       
pediment groups 7see ,figs4 #bj1  #ba74 
,the statue of the boy boxer ,athenaios 
of ,ephesos1 by an unknown  sculptor1   
was represented as lunging at his       
adversary1 as we see from  the footmarks
 on the recovered base4 ,the left foot  
was advanced and  turned outwards1 while
 the right one touched the ground only  
with the  toes4#agbj ,similarly the     
statue of the boxer ,damoxenidas by     
,nikodamos  of ,arkadia was represented 
as about to strike4 ,on its recovered   
base  the left foot stood solidly upon  
the ground1 while the right foot  was   
drawn back and touched the ground only  
with the toes--if we judge  rightly from
 the size of the missing part of the    
stone4#agba ,the  statue of the ,ionian 
boxer ,epitherses by ,pythokritos of    
,rhodes seems to  have had but one foot 
flat upon the ground1 and consequently  
must have  been represented in motion1  

though we are not sure of the position  
of  the other1 since one stone of the   
base is missing4#agbb    ,illustration3 
,,fig4 #eh4--,statue known as ,pollux4  
,louvre1 ,paris4    ,the bronze plate   
from the base of the statue of the boy  
boxer  ,philippos1 an ,azanian of       
,pellene1 was found at ,olympia and has 
been referred to the end of the fourth  
or beginning of the third  century ,b4  
,c4#agbc ,however1 since ,pausanias says
 that ,myron made  the statue1#agbd     
various attempts have been made to      
reconcile the  discrepancy in dates4    
,our own solution is that the statue    
seen by  ,pausanias did not represent   
,philippos at all1 but some earlier     
unnamed  ,arkadian boxer1 who was       
contemporary with ,myron4#agbe ,years   
later  the ,azanian boy ,philippos won a
 victory at ,olympia and attached the   
recovered epigram to the old base1 in   
which he implored ,zeus to let  the     
ancient glory of ,arkadia be revived in 
him1 and also a newer one  in which he  

said that he had restored the statue of 
,myron4#agbf  ,pausanias saw the newer  
one1 but omitted to mention the older1  
which  was probably illegible from      
weathering4 ,he therefore thought that  
the  original ,myronian statue used by  
,philippos represented the latter       
victor4#agbg ,the words on the affixed  
plate beginning      '    4 4 41 may    
refer to the position of  the boxer     
rather than to a portrait of the        
victor4#agbh ,we have long  ago hazarded
 the suggestion#agbi that the so-called 
,pollux of the  ,louvre 7,fig4 #eh71agcj
 whose body forms recall the ,marsyas   
and whose  head recalls the ,diskobolos1
 may go back to the statue of the       
unnamed  ,arkadian by ,myron4#agca ,but 
the uncertainty which we have found in a
  former section#agcb in assigning this 
and kindred works to ,myron or to       
,pythagoras leaves it only a suggestion4
      ,,pancratiasts4    ,the pankration
 77#agcc was a combination of boxing and
  wrestling1 in which the contestants   

fought either standing1 or prone on  the
 ground4 ,while the wrestler merely     
tried to throw his opponent in  a series
 of bouts1 the pancratiast continued the
 fight on the ground  until one or the  
other acknowledged defeat4 ,the         
etymology of the word  shows that it was
 a contest in which every power of the  
contestants  was exerted to the         
utmost4#agcd ,strangling1 pummeling1    
kicking1  and1 in fact1 everything but  
biting and gouging were allowed4 ,both  
,lucian#agce and ,philostratos#agcf     
speak of the prohibition against  biting
 and gouging1 which statements ,gardiner
 thinks are quotations  from the rules  
governing the contest at ,olympia1 as   
they are twice  quoted by               
,aristophanes4#agcg ,philostratos1      
however1 says that the  ,spartans       
allowed both biting and gouging1 but    
that the ,eleans allowed  only          
strangling4 ,a case of gouging the eye  
of an opponent with the  thumb is seen  
on the r4-f4 kylix in the ,british      

,museum1 already  mentioned 7,fig4      
#ee74agch ,here the official is rushing 
up with his  rod to punish such a breach
 of the rules4 ,philostratos calls the  
men's  pankration the 8fairest0 of      
contests at ,olympia1 probably in       
reference  to the impression made on the
 spectators by the various positions  of
 the contestants1 who had to rely quite 
as much on skill as on  strength4       
,pindar wrote eight odes in praise of   
this contest4#agci  ,however1 even      
though it was carefully regulated at    
,olympia by rules1  it was a dangerous  
sport--     1  in the words of the      
protesting philosopher ,xenophanes4#agdj
 ,but it  was never the brutal sport    
which some modern writers have pictured 
it4#agda ,plato1 to be sure1 kept it out
 of his ideal ,state1#agdb not1         
however1 because of its brutality1 but  
merely because its distinctive  feature1
 the struggle on the ground1 was of no  
service in training a  soldier4 ,the    
,greeks themselves considered the boxing

 match far more  dangerous4 ,inasmuch as
 gloves were not used in the pankration1
 this  seems reasonable4#agdc ,we have  
in the preceding section mentioned  the 
epithets applied to boxing4 ,pausanias1 
in speaking of the boxing  match between
 ,theagenes and ,euthymos1 says that the
 former was too much  wearied by that   
contest to enter the pankration1 and was
 in consequence  compelled to pay a     
talent to the god and another to        
,euthymos4#agdd  ,in speaking of another
 contest1 between ,kapros and           
,kleitomachos1 he  records that the     
latter told the umpires that the        
pankration should be  brought on before 
he had received hurts from boxing4#agde 
,artemidoros  states that no wounds     
resulted from the pankration4#agdf      
,however1  death by strangulation was   
often the result of the bout4 ,thus the 
pancratiast ,arrhachion was crowned     
after he had been throttled by his      
adversary1 for just before expiring he  
was able to put one of the toes  of his 

opponent out of joint and the pain      
caused the latter to let go  his        
grip4#agdg ,pausanias tells also how the
 boxer ,kreugas was slain  by ,damoxenos
 in the pankration at ,nemea1 but adds  
that the body of the  former was        
proclaimed victor4#agdh    ,the         
pankration was not known to ,homer1     
though later writers ascribed  its      
invention either to ,theseus or         
,herakles1 the typical mythical         
examples of skill as opposed to brute   
force4#agdi ,it was introduced  at      
,olympia in ,ol4 #cc 7 #fdh ,b4         
,c471#agej long after the separate      
events1 wrestling and boxing1 had       
appeared there4 ,the boys' contest  was 
instituted at ,olympia in ,ol4 #ade 7   
#bjj ,b4 ,c471#agea though it  had      
appeared elsewhere much earlier4#ageb   
,it must have been a popular  sport at  
,olympia1 since ,pausanias records      
statues erected to twenty  victors for  
thirty victories in this contest4       
,vase-paintings#agec show many grips and

 throws of the pankration--the  flying  
mare1 leg hold1#aged tilting backwards  
by holding the  antagonist's foot1      
8chancery0 7i4 e4 catching the adversary
 around  the neck with one arm and      
hitting his face with the other fist71  
stomach throw 7i4 e41 seizing the       
adversary by the arms or shoulders  and 
at the same time planting one's foot in 
the other's stomach1 and  then throwing 
him over one's head71#agee jumping on   
the back of one's  opponent1#agef       
strangling1 wrestling and boxing        
combined1 and kicking  and boxing       
combined4 ,ground wrestling is very     
commonly depicted  on vases and         
especially on gems1 since such groups   
were adapted to  oblong or oval         
spaces4#ageg ,we reproduce a pancratiast
 scene from  a ,panathenaic amphora of  
,kittos1 dating from the fourth century 
,b4  ,c41 in the ,british ,museum 7,fig4
 #ei74ageh ,this is a conventional      
representation of wrestling and boxing  
combined4 ,the pancratiast at the  right

 of the group has rushed in with his    
head down and has been caught  around   
the neck by his adversary's arm1 a      
hopeless position1 from which  he can   
not escape4 ,the latter is either about 
to complete the neck hold  7if it be an 
actual case of 8chancery071 or perhaps  
to hit him with his  right hand4 ,a     
third pancratiast is looking on from the
 extreme right1  while a paidotribes1   
switch in hand1 appears at the left4    
,the fight  on the ground is well       
depicted on the r4-f4 kylix of the      
,british ,museum  already discussed as  
showing boxing scenes 7,fig4 #ee74agei  
,illustration3 ,,fig4 #ei4--,pankration 
,scene4 ,from a ,panathenaic ,amphora by
  ,kittos4 ,british ,museum1 ,london4   
,we have but few representations of     
pancratiasts in sculpture4  ,the        
preliminary sparring--known as          
#agfj--must have  characterized the     
statue of the ,sikyonian pancratiast    
,sostratos at  ,olympia by an unknown   
sculptor1 since ,pausanias says that    

this victor  was known as  1 explaining 
the epithet as that of one  who gained  
his victories by seizing and bending his
 adversaries'  fingers1 holding them    
fast till he yielded4#agfa ,since a     
,delphian  inscribed base#agfb gives the
 same number of victories as ,pausanias1
  we infer that they were given also on 
the ,olympia base1 the source of        
,pausanias' information4 ,since nothing 
is said1 however1 of ,sostratos'  mode  
of fighting in the ,delphi inscription1 
,pausanias must have argued  it from the
 pose of the statue4 ,the ,sicilian     
wrestler ,leontiskos of  a century      
earlier1 whose statue was by            
,pythagoras1 had1 according to          
,pausanias1 used similar tactics1 for   
8he vanquished his adversaries  by      
bending back their fingers40#agfc ,these
 cases show that statues  of            
pancratiasts and wrestlers were         
frequently represented in vigorous      
lunging attitudes as well as in groups4 
,the epigram on the base of the         

monument of the pancratiast ,teisikrates
 at ,delphi shows that the statue  was  
represented in a similar way4#agfd ,the 
same lunging attitude is  also shown on 
the ,halimous grave-relief4#agfe        
,sometimes the contest  ended with the  
preliminary sparring1 though usually it 
developed into  wrestling and boxing4   
,illustration3 ,,fig4 #fj4--;,bronze    
,statuette of a ,pancratiast 7871 from  
,autun1 ,france4 ,louvre1 ,paris4    ,a 
good representation of a pancratiast    
trying to kick his antagonist  seems to 
be furnished by the small bronze        
statuette from ,autun1 ,south  ,france1 
now in the ,louvre 7,fig4 #fj74agff     
,this statuette is of  mediocre         
workmanship1 its hard muscles1 imperfect
 proportions1 and  realism showing that 
it comes from the ,hellenistic period of
 ,greek art4  ,it represents a bearded  
athlete1 who holds his hands ready to   
strike  and his left foot raised        
apparently to kick his adversary's leg4 
,the  foot is just ready to return to   

its original position1 so that the      
motive of this poor little statuette    
discloses a transient period of  time   
between two movements1 just as the      
,diskobolos and ,marsyas of  ,myron did4
 ,we have already noted#agfg that on the
 head is a cap with a  ring in the top1 
by which it could be suspended as a     
decorative piece1  or perhaps as part of
 a steelyard4 ,hauser believes that this
 motive  was known to the elder         
,polykleitos and that this is the       
interpretation  of that sculptor's      
statue of a nudus talo incessens        
mentioned  by ,pliny1 a statue which has
 formed the basis for much discussion   
among archologists4#agfh ,the ,plinian  
passage1 therefore1 is to be  translated
 as 8the nude man attacking with his    
heel 7talo70--in  other words1 it       
describes a statue represented as       
kicking1 which was  allowable in the    
pankration4 ,the manuscripts of ,pliny  
all read talo1  which ,benndorf#agfi    
thought could be retained only by       

assuming  that the naturalist           
mistranslated his ,greek source    1    
translating the word  8standing upon10  
as  incessens 8pursuing40 ,he therefore 
assumed that ,polykleitos' statue  stood
 upon an astragalos 7talus7 basis1 which
 he believed was the  forerunner of the 
statue of ,opportunity 77 by            
,lysippos1#aggj  and he referred it to  
the knuckle-bone basis found at         
,olympia4#agga  ,woelfflin1#aggb        
however1 has shown that talo incessens  
can only  mean 8mit einem ,knochel nach 
,jemand einwerfen40 ,following this1    
,furtwaengler showed#aggc how impossible
 on grammatical and other  grounds it   
was to read talo in ,benndorf's sense1  
since the passage  then would mean      
8advancing towards0 or 8pursuing10 by   
means of a  knuckle-bone1 which is      
manifestly nonsense4 ,the word could be 
only  instrumental in use1 as ,woefflin 
said1 i4 e41 the weapon by means  of    
which the man was attacking4            
,furtwaengler1 therefore1 followed      

,benndorf's earlier alternative reading 
telo1 assuming that ,pliny  mistakenly  
wrote talo because he was influenced by 
the presence of  the same word in the   
passage immediately following3 duosque  
pueros  item nudos talis ludentes qui   
vocantur astragalizontes4#aggd ,but     
,hauser's interpretation of talo meets  
all the conditions better1  since it    
keeps the manuscript readings1 makes    
grammatical ,latin1 and  seems to be    
illustrated by the statuette in         
question4    ,sometimes the statues of  
,olympic pancratiasts were represented  
at  rest with the weight of the body    
equally on both legs1 as we see from    
the recovered basis of the statue of the
 ,athenian ,kallias by the  ,athenian   
sculptor ,mikon4#agge ,furtwaengler has 
identified a statue  in the ,somze      
,collection as a copy of this work4#aggf
 ,the footprints  on the recovered base 
of the statue of the ,rhodian ,dorieus  
show that  it was represented at rest   
with one leg slightly advanced4#aggg    

,we have actual remnants of statues of  
,olympic pancratiasts in the  marble    
head found at ,olympia1 which we are to 
assign to the statue  of the ,akarnanian
 ,philandridas by ,lysippos1 mentioned  
by ,pausanias  7,frontispiece and ,fig4 
#fi71aggh and the beautiful statue of   
,agias  discovered by the ,french at    
,delphi in #ahid1 a work by the same    
sculptor  7,pl4 #bh and ,fig4 #fh74aggi 
,the struggle on the ground implies     
groups and not single statues4  ,our    
best representation of such a group is  
furnished by the famous  marble one in  
the ,uffizi1 ,florence 7,pl4 #be74aghj  
,though having no  pretensions to be a  
victor monument1 this group is the most 
important  monument extant connected    
with the pankration1 a fine anatomical  
study  from ,hellenistic times1 evincing
 the direct influence of ,lysippos  in  
its proportions4#agha ,it shows affinity
 of design to certain  sculptures from  
the frieze of the ,great ,altar at      
,pergamon4#aghb ,pliny  speaks of a     

symplegma by ,kephisodotos1 the son of  
,praxiteles1 at  ,pergamon1 but that    
group was of an erotic character and can
 not have  had anything to do with the  
,florentine one4#aghc ,unfortunately the
  group in question has been much       
restored1 though the restoration in  the
 main is right4 ,the heads1 though      
probably antique1 do not seem to  belong
 to the statues1 but both appear to be  
copies of the head of one  of the       
,niobids1 with which group the          
pancratiasts were discovered in  #aehc4 
,the right arm of the uppermost athlete 
seems to have been wrongly  restored2 in
 any case this athlete is not strangling
 his opponent4 ,one  youth has thrown   
the other down on to his knee1 and his  
left leg is  intertwined with the left  
leg of the other1 and he is drawing back
 his  arm to aim a blow4 ,the wrestler  
underneath supports himself upon his    
left arm1 and the intention of his      
opponent is to destroy this support  by 
a blow of the fist1 which would bring   

the contest to a sudden  conclusion1    
since the right arm of the under youth  
is fast and he must  defend himself with
 the left4 ,as ,gardiner points out1    
such a situation  is illustrated by     
,heliodoros' description of the match   
between  ,theagenes and an ,aethiopian  
champion4#aghd ,the under man's         
position1  however1 may suddenly change 
and the issue yet be in his favor4 ,many
  writers have explained the group as   
ordinary wrestlers1#aghe but  ,gardiner 
has conclusively shown that it belongs  
to the pankration1  since in wrestling  
the contest is ended when one of the    
contestants has  been thrown1 while here
 the struggle is continuing on the      
ground4#aghf    ,illustration3 ,,plate  
#be    ,marble ,group of ,pancratiasts4 
,uffizi ,gallery1 ,florence4    ,kapros 
of ,elis was the first of seven ,olympic
 victors to emulate  the fabled feat of 
,herakles by winning the pankration and 
wrestling  matches on the same day--that
 is1 he was the first professional      

strong man4#aghg ,the other six all came
 from the ,east4 ,it has been           
suggested#aghh that the colossal        
,farnese ,herakles found in ,rome  in   
the ruins of the ,baths of ,caracalla in
 #aedj and now in ,naples1  inscribed as
 the work of the ,athenian ,glykon1     
which represents the hero  leaning      
wearily on his club against a rock1#aghi
 may represent  the type of these       
professional strong men1 who called     
themselves the  successors of ,herakles4
 ,but such a suggestion is as unfounded 
as the  one already examined1 which     
identifies the original of the ,seated  
,boxer of the ,museo delle ,terme 7,pl4 
#af and ,fig4 #bg7 with ,kleitomachos   
of ,thebes1 the redoubtable opponent of 
,kapros1 since the dates in both  cases 
are against such identifications4 ,the  
,farnese statue and other  replicas of  
the same original#agij obviously revert 
to a ,lysippan  original1 though they   
are considerably metamorphosed by the   
taste of a  later age4 ,such big swollen

 muscles at first sight appear to be    
alien  to the sculptor of the graceful  
,agias1 but that the ,naples copy by    
,glykon--who1 from the inscription on   
the base1 must be referred to the  first
 century ,b4 ,c4#agia--really represents
 the work of ,lysippos seems  well      
established by the fact that a smaller  
copy1 though still over  life-size1 of  
poorer workmanship1 in the ,pitti       
,gallery in ,florence1  is inscribed as 
4#agib ,this type of weary hero appears 
in the ,telephos group on the small     
,pergamene frieze1 but is even  earlier1
 since the latter seems to have been    
borrowed from a statue  which is        
reproduced on a coin of ,alexander1     
which was struck at least  as early as  
#cjj ,b4 ,c4#agic ,the type of ,herakles
 wearied by his  superhuman labors was  
inaugurated still earlier by ,lysippos1 
who was  fond of representing the hero  
in many poses1 seated and standing1     
resting and laboring4 ,we might mention 
his colossal bronze statue  of          

,herakles1 which was set up in ,tarentum
 and then carried to ,rome  and placed  
on the ,capitol by ,q4 ,fabius ,maximus1
 when ,tarentum was  captured in #bji   
,b4 ,c41 and was later transferred to   
the ,hippodrome  at ,constantinople1    
where it remained until the sack of that
 city by  the ,franks in #abjd4agid ,it 
is hazardous1 therefore1 to reject the  
evidence1 and it will be best to see in 
the original a genuine ,lysippan  work1 
as do ,bulle1 ,overbeck1 von ,mach1     
,schnaase1#agie and others1 and  so to  
make ,glykon responsible only for the   
exaggerations of his own  copy4 ,thus we
 have to face the fact of divergent     
styles in the great  bronze founder of  
the fourth century ,b4 ,c41 even if we  
admit with  ,richardson that 8for our   
peace of mind this statue might well    
have been  sunk in the sea40#agif       
,illustration3 ,a      ,b  ,,fig4       
#fa4--;,bronze ,head of ,boxer 7871 from
 ,olympia4 ,national ,museum1  ,athens4 
,long ago1 ,i referred the life-size    

bronze portrait-like head of a  boxer or
 pancratiast found at ,olympia1 now in  
the ,athens ,museum 7,figs4  #fa;,a and 
,b71#agig to one of two statues of the  
pancratiast ,kapros  mentioned by       
,pausanias4#agih ,the remnant of a      
wild-olive crown in the  hair proves    
that it comes from the statue of an     
,olympic victor4 ,its  bruised          
appearance may1 however1 betoken the    
punishment administered by  the gloves  
of a boxer rather than by the bare fists
 of a pancratiast4  ,that ,greek        
sculpture was not always ideal we have  
seen from the  description of the       
,seated ,boxer of the ,museo delle      
,terme 7,pl4 #af and  ,fig4 #bg74 ,this 
peculiarly life-like head is another    
example of the  same realism2 it would  
be hard to name a more brutal and       
repellent  piece from the whole range of
 ,greek sculpture4 ,the profession of   
this  bruiser is evident in every       
feature1 for the sculptor has betrayed  
it  by the swollen ears1 flat nose1     

thick neck1 swollen cheeks1 projecting  
under lip1 frowning brows1 and unkempt  
hair and beard4 ,all these              
traits--especially the treatment of the 
eyes--give to it the sullen  gloomy look
 so characteristic of boxers and        
pancratiasts4#agii ,the man  appears to 
be awaiting the attack1 his contracted  
brows showing alert  expectation1 and   
his closed lips great determination4    
,furtwaengler1  ,bulle1 ,flasch1 and    
others have dated it in the fourth      
century ,b4 ,c41  and are fain to see in
 it the work of an artist of the        
immediate  circle of ,lysippos or       
,lysistratos2#ahjj but its exaggerated  
realism  seems rather to point to a     
later period1 not earlier than the third
  century ,b4 ,c4#ahja ,the bronze foot 
of a victor statue also found at        
,olympia 7,fig4 #fb7ahjb has been       
assigned by ,furtwaengler to one of the 
statues of ,kapros1 an ascription which 
we also have followed4#ahjc  ,the       
position of this foot shows--as an      

experiment with a living model  has     
disclosed--great movement1 which makes  
it obvious that it comes  from a statue 
in lively motion1 probably of a boxer or
 pancratiast4 ,it  belongs to the statue
 of a strong man of coarse build2 there 
is not the  slightest trace of          
unnecessary flesh on it1 but the whole  
is vigorous  muscle1 even the swollen   
veins being clearly visible in the      
photograph4  ,while ,furtwaengler finds 
its stylistic parallels in the copies of
 the  ,pergamene works of the third     
century ,b4 ,c41 e4 g41 the ,dying ,gaul
  statues1 the material and form of the 
base fitting that period1 ,wolters      
emphasizes its stylistic analogy to the 
bronze head just discussed4             
,illustration3 ,,fig4 #fb4--;,bronze    
,foot of a ,victor ,statue1 from        
,olympia4  ,museum of ,olympia4    ,the 
monuments which represent equestrian    
victors will be left for  another       
chapter4          ,,chapter ,v4         
,,monuments ,,of ,,hippodrome ,,and     

,,musical ,,victors4    ,,plates #bf-bg 
,,and ,,figures #fc-fg4      ,in the    
preceding chapters we have considered   
the monuments of victors  in various    
gymnic contests1 in which the victor won
 by his own strength  and skill4 ,in the
 present chapter we shall be concerned  
chiefly with  the monuments set up by   
victors at ,olympia in chariot- and     
horse-races1  in which the victory did  
not depend upon the athletic prowess of 
the victor1 but upon the skill of his   
charioteer or jockey and the  endurance 
of his horses4#ahjd ,though such events 
were not in the  strict sense a part of 
,greek athletics1 they formed a very    
important  feature of the festival at   
,olympia as elsewhere4#ahje ,indeed the 
four-horse chariot-race was the most    
spectacular and brilliant event  at     
,olympia4 ,chariot-races1 and to a less 
extent horse-races1 were the  sport only
 of the rich--kings1 princes1 and       
nobles4#ahjf ,thus victories  were won  
in these events at ,olympia in the fifth

 century ,b4 ,c4 by ,hiero  and ,gelo1  
kings of ,syracuse1 and ,arkesilas ,,iv 
of ,kyrene2 in the fourth1  by ,philip  
,,ii of ,macedonia1 and in ,roman days  
by ,tiberius1 ,germanicus1  ,nero1 and  
many others4 ,alkibiades in ,ol4 #ia 7  
#daf ,b4 ,c471 i4 e41 in  the midst of  
the great ,peloponnesian war1 entered   
seven chariots at  ,olympia and won     
three prizes4#ahjg ,sometimes a city    
entered a chariot  or horse4 ,thus in   
,ol4 #gg 7 #dgb ,b4 ,c47 the public     
chariot of ,argos1  and in ,ol4 #ge 7   
#dhj ,b4 ,c47 the public horse of the   
same city1 won at  ,olympia4#ahjh ,such 
entries show not only the expense       
attending these  contests1 but also     
their importance in the eyes of the     
,greeks4    ,hippodromes1 chariot-races1
 and horse-races were very common in    
,greece4  ,a votive inscription in the  
museum at ,sparta1 dating from near the 
middle of the fifth century ,b4 ,c41    
enumerates sixty victories by  ,damonon 
and his son ,enymakratidas in both      

chariot- and horse-races  at eight      
different meets in or near ,lakonia1 and
 ,damonon was merely  a local victor1   
unknown at ,olympia4#ahji ,greeks of    
,sicily and  ,magna ,grcia were         
especially fond of such contests1 as we 
see these  constantly represented on    
coins of different cities there from the
  beginning of the fifth century ,b4 ,c4
 on4#ahaj ,however1 only a few of  the  
sites of these many hippodromes are now 
known1 and only one can be  positively  
identified1 that mentioned by ,pausanias
 on ,mount ,lykaios  in ,arkadia4#ahaa  
,the others are known from literary     
sources4#ahab  ,the one at ,olympia was 
destroyed in the course of centuries by 
the  floods of the ,alpheios1 and its   
exact location can not be determined1   
though we know in general that it lay   
somewhere southeast of the ,altis1      
between the river and the ,stadion1 and 
surmise that it ran somewhat  parallel  
to the latter4#ahac    ,its             
measurements1 however1 are known to us  

from a ,greek metrological  parchment   
manuscript in the old ,seraglio1        
,constantinople1 which dates  from the  
eleventh century ,a4 ,d4#ahad ,according
 to it the length of the  course1 i4 e41
 from the starting-point to turning-post
 and return1  was about #h stades 7#aech
 meters1 #af centimeters7 or nearly #a  
mile4 ,one  of the two sides--which     
,pausanias says were of unequal         
length#ahae--was  #c stades and #a      
plethron long4 ,the breadth of the      
course at the  starting-point was #a    
stade and #d plethra4 ,we are told1     
however1 that  only a portion of the    
entire course1 six stades1 or about     
two-thirds of  a mile1 was traversed in 
the various races4    ,the oldest       
literary account of a ,greek            
chariot-race is found in ,homer  in the 
description of the games of             
,patroklos--the longest and finest      
episode there described4#ahaf ,but the  
first trace of such a contest  goes back
 to mythology1 to the story of ,pelops  

and ,oinomaos contending  for the hand  
of the latter's daughter                
,hippodameia4#ahag ,this mythical  race 
began at the village of ,pisa in ,elis  
and ended at the altar of  ,poseidon on 
the ,isthmus of ,corinth4#ahah ,the     
chariot-race was the  chief if not the  
only event at the oldest funeral games  
in ,greece1  those mentioned by         
,pausanias as held in honor of ,azan1   
the son of  ,arkas1 in ,arkadia4#ahai   
,it figured largely in mythology#ahbj   
and  was represented in many works of   
art4#ahba ,at ,olympia it was one of    
the earliest1 and perhaps the earliest1 
of the events4 ,pausanias says  that the
 four-horse chariot-race was introduced 
there in ,ol4 #be 7 #fhj  ,b4 ,c471#ahbb
 but this may merely mean1 as ,gardiner 
points out1 the  date of exchanging the 
older prehistoric two-horse chariot for 
the one  drawn by four horses4 ,in any  
case the antiquity of the race at       
,olympia  is shown by the great number  
of early votive offerings in the form of

  models of chariots and horses1 which  
have been found there in a stratum      
extending below the foundations of the  
,heraion4      ,,programme ,,of         
,,hippodrome ,,events4    ,by the middle
 of the third century ,b4 ,c4 the fully 
developed programme  of equestrian      
events at ,olympia and elsewhere        
consisted of six races1  three for      
full-grown horses 771 and three for     
colts 772  for each of these two classes
 there were a four-horse chariot-race   
71 71 a two-horse chariot-race 771 and a
 horse-race  771 thus3       1  1  4    
1  1  4    ,these six events comprised  
the   at ,olympia1 ,delphi1 ,nemea1     
,corinth1 ,athens1 and elsewhere1 as    
opposed to the  4#ahbc  ,the distinction
 between horses and colts was apparently
 a matter  which was decided by the     
,hellanodikai at ,olympia4 ,thus1       
,pausanias  recounts how the ,spartan   
victor ,lykidas entered a pair of colts 
for  the chariot-race1 and that one of  
them was rejected by the judges2 he     

thereupon entered both for the race with
 full-grown horses and won  it4#ahbd    
,though such a story does not fit the   
date of ,lykidas1 who won  before the   
colt-race was introduced at ,olympia1 it
 shows the method  of selection4#ahbe   
,the race in which the chariot was drawn
 by four  full-grown horses 7  7 was    
introduced1 as we have  seen1 in ,ol4   
#be4 ,the contestants drove twelve times
 round the course1  a distance of       
seventy-two stades or over eight        
miles4#ahbf ,pausanias  mentions the    
monuments of eighteen such victors at   
,olympia for nineteen  victories4 ,the  
race in which the chariot was drawn by  
four colts 7  7 was introduced in ,ol4  
#ii 7 #chd ,b4 ,c471#ahbg and extended  
eight  times round the course1 or about 
#e4e miles4#ahbh ,pausanias mentions    
the monuments of only two such victors  
at ,olympia4#ahbi ,the race in  which   
the chariot was drawn by pairs of       
full-grown horses 77  was introduced in 
,ol4 #ic 7#djh ,b4 ,c47 and extended    

eight times round  the course4#ahcj     
,pausanias mentions but one victor in   
this event at  ,olympia#ahca and an     
,olympic victress who had a statue      
erected to her  in ,sparta for such a   
victory4#ahcb ,this was probably the    
original  chariot-race at ,olympia      
revived in ,ol4 #ic1 since the two-horse
 chariot  was the historical descendant 
of the ,homeric war-chariot4#ahcc       
,panathenaic vases show that this race  
existed at ,athens in the sixth  century
 ,b4 ,c41 side by side with the         
four-horse chariot-race and             
horseback-race4 ,the earliest of these  
vases1 the so-called ,burgon  vase in   
the ,british ,museum1#ahcd was a prize  
there for this event4  ,the race in     
which the chariot was drawn by a pair of
 colts 7  7 was introduced at ,olympia  
in the third century ,b4 ,c41 in ,ol4   
#abi 7 #bfd ,b4 ,c471#ahce and extended 
three times around the course4          
,pausanias mentions no monument erected 
to a victor in this race4 ,the          

horse-race 7 7 was instituted in ,ol4   
#cc 7 #fdh ,b4 ,c47#ahcf1  and the      
foal-race 7 7 nearly four centuries     
later1 in ,ol4  #aca 7#bef ,b4          
,c474#ahcg ,neither of these races was  
known to ,homer1 for   in the           
,iliad1#ahch as we saw in ,chapter ,i1  
refers only to  the acrobatic feat of   
vaulting from the back of one horse to  
that of  another4 ,pausanias mentions   
monuments erected to eight victors 7for 
nine victories7 in the regular          
horse-race at ,olympia4 ,we conclude    
from  a passage of his work#ahci that   
the riding-race consisted of one lap    
only or six stades1 about two-thirds of 
a mile4 ,a mule chariot-race  77 was    
introduced in ,ol4 #gj 7 #ejj ,b4 ,c471 
and a trotting-race  with mares 77 in   
,ol4 #ga 7 #dif ,b4 ,c471 but both were 
abolished in  ,ol4 #hd 7 #ddd ,b4       
,c474#ahdj ,pausanias mentions one      
monument erected  to an anonymous victor
 in 1 who won some time between ,ols4   
#gb  and #hd 7 #dib and #ddd ,b4        

,c474#ahda ,he mentions the first victor
 in  the mule-race1 ,thersias of        
,thessaly1 but this does not occur in   
his  periegesis of the ,altis4#ahdb     
,only three other victors in this event 
are known to us1 and they came from     
,sicilian towns4#ahdc    ,equestrian    
events were discontinued at ,olympia in 
the first century  ,b4 ,c41 owing to the
 waning of interest in athletics in     
consequence of  the ,roman conquest of  
,greece in #adf ,b4 ,c4 ,they were      
revived thereafter  under the ,empire   
only spasmodically and were destined    
finally to be  replaced by the          
amusements of the ,roman circus4 ,thus  
we learn from the  ,armenian version of 
,africanus that the chariot-race ceased 
at ,olympia  in ,ol4 #agh 7 #fh ,b4     
,c474 ,it must1 however1 have been      
reinstated toward  the end of the       
century1 since ,tiberius ,claudius      
,nero--afterwards the  ,emperor         
,tiberius--won in ,ol4 #aid 7 #d ,b4    
,c474#ahdd ,it again went into  disuse1 

since ,africanus says that it1  1 was   
reintroduced  in ,ol4 #aii 7 #ag ,a4    
,d471 when ,germanicus1 the adopted son 
of ,tiberius1  won4#ahde ,once more it  
was discontinued1 and again renewed in  
,ol4  #bbb 7 #aji ,a4 ,d471 according to
 the same authority1 who1 however1 does 
not name any victor for that date4 ,just
 when this discontinuance took  place1  
we can not say1 but it was certainly    
after ,ol4 #baa 7 #fe ,a4 ,d471  when   
the emperor ,nero is known to have won  
victories in various kinds  of          
chariot-races4#ahdf ,three ,olympiads   
before1 an ,elean1 ,tiberios  ,klaudios 
,aphrodeisios1 had also won the         
horse-race4#ahdg      ,,representations 
,,of ,,the ,,chariot-,,race4            
,illustration3 ,,plate #bf    ,racing   
,chariot and ,horses4 ,from an archaic  
b4-f4 ,hydria4 ,museum of  ,berlin4     
,representations of the various         
chariot-races are commoner than  those  
of any other ,olympic contest1 appearing
 on vases1 reliefs1  coins1 and         

gems4#ahdh ,there seem to have been two 
distinct types  of racing-chariot in    
,greece4#ahdi ,the four-horse chariot   
was a  modification of the heroic       
two-horse war-chariot1 which was a low  
car  on two wheels1 surmounted by a box 
consisting of a high framework1  open   
only at the rear1 and large enough to   
contain the chieftain and  the          
charioteer4 ,the war-chariot was known  
to both ,mycenan ,greece and  ,crete4   
,there is a relief of uncertain date in 
the ,museum of ,candia1  which          
represents a chariot and                
charioteer4#ahej ,it is far superior  to
 the type of chariots appearing in      
relief on the gravestones found  at     
,mycen1#ahea though the type on both is 
of the same general  pattern1 having the
 same box and four-spoked wheels4 ,on   
the ,mycenan  reliefs the box seems to  
rest directly upon the rim of the wheel1
 and  the portrayal of a single horse is
 very inartistic4 ,on the ,candia       
relief1 however1 there are at least two 

horses discernible1 and  both the horses
 and the warrior1 who is about to mount 
the car1 are  lifelike4 ,the ,greek     
racing-car was much lighter than the    
,homeric and  ,mycenan war-chariot1 and 
the box had room only for the           
charioteer4  ,it was drawn usually by   
four horses4 ,the ,athenian type appears
 on  ,panathenaic vases throughout the  
whole history of the manufacture  of    
these vases1#aheb and also on           
,macedonian and ,sicilian coins4 ,on    
certain vases of later date the car is  
still lighter and has larger  wheels4   
,one of the earliest racing-cars is seen
 on a vase in the  ,british             
,museum1#ahec dating from the eighth    
century ,b4 ,c4 ,it seems  to be a      
two-horse car1 as we should expect at   
this early date1 though  the artist has 
drawn but one horse4 ,the charioteer is 
clothed in a  long chiton1 a custom     
which was generally kept throughout the 
history  of the chariot-race4 ,the      
regular two-horse type of chariot       

appears on  vases as a cart1 the body of
 the old war-chariot being so diminished
  that nothing is left but the driver's 
seat with a square open framework  on   
the sides4 ,the driver rests his feet on
 a footboard suspended from  the        
pole4#ahed ,perhaps this represents a   
peculiarly ,athenian type  of chariot1  
since the two-horse chariot on coins of 
,philip ,,ii1 son  of ,amyntas and      
father of ,alexander the ,great1 a      
victor at ,olympia in  both horse-racing
 and charioteering1 resembles the       
ordinary four-horse  car1 and the driver
 stands instead of sits4#ahee ,the      
mule-car was  like the two-horse        
chariot1 as we see in representations of
 it on  coins of ,rhegion and           
,messana4#ahef ,the best illustrations  
of racing  with four-horse cars are     
afforded by coins of ,sicilian          
cities4#aheg  ,we see an excellent      
representation of such a race on a      
sixth-century  ,b4 ,c4 ,panathenaic vase
 recently found at ,sparta1 on which a  

chariot  driven by a standing charioteer
 is represented as passing a pillar on  
the right1 and therefore perhaps near   
the end of the race4#aheh ,the          
harnessing of two horses to a racing-car
 is seen on an archaic b4-f4  hydria in 
,berlin 7,pl4 #bf74ahei ,here a third   
horse appears1 led by  a nude youth1 who
 is crowned1 and who therefore probably 
represents  a victorious horse-racer4   
,several other b4-f4 vase-paintings     
showing  four-horse chariots have been  
collected by ,gerhard4#ahfj ,however1   
we are not dependent upon vase-paintings
 and coins to judge of the  magnificence
 of ,greek chariots of the historical   
period1 for we have  actual remains of  
them--war-chariots1 to be sure1 but not 
very unlike  the ones used at the       
corresponding dates in ,olympia4 ,among 
these is  the fine bronze biga found in 
the grave of an ,italian prince at      
,monteleone1 ,etruria1 in #aijb1 and now
 one of the chief treasures of  the     
,metropolitan ,museum in ,new           

,york4#ahfa ,this is a war-chariot of   
the  beginning of the sixth century ,b4 
,c41 the only complete ancient bronze   
chariot now known4 ,the restored frame  
of wood is sheathed with thin  bronze   
plates richly ornamented with reliefs in
 repouss4 ,because of  its form and its 
relationship to chariots appearing on   
archaic ,ionic  monuments of ,asia      
,minor1 for example1 on the reliefs of  
sarcophagi  from ,klazomenai1 and       
because of the strong resemblance       
between its  decorative designs and     
those of archaic ,italian monuments of  
,ionicizing  style1 ,furtwaengler has   
classed it as the product of ,ionic     
,greek art4  ,professor ,chase1 on the  
other hand1 finds these decorations pure
  ,etruscan in character1 comparing them
 with the reliefs on three bronze       
tripods in the possession of ,mr4 ,james
 ,loeb1 which are dated some half  a    
century later4#ahfb ,in any case this   
chariot is 8das glaenzendste1           
vollstaendigste0 archaic metal work yet 

recovered4 ,in the ,british  ,museum    
there are considerable remnants of the  
chariot-group of ,king  ,mausolos and   
his wife ,artemisia1 which once stood on
 the apex of the  ,mausoleion at        
,halikarnassos1 the work1 according to  
,pliny1#ahfc of  ,pythis 7or ,pytheos71 
the architect and historian of the      
tomb4#ahfd  ,besides the figures of the 
royal pair1 we have the head of one     
horse1  the hinder half of another1     
fragments of still others1 and one wheel
 of  the chariot4#ahfe                  
,,chariot-,,groups ,,at ,,olympia4      
,great artists were engaged to set up   
chariot-groups at ,olympia and          
elsewhere4 ,many of the quadrigae and   
bigae mentioned by ,pliny  as the works 
of sculptors and painters must have been
 agonistic  offerings4#ahff ,aeginetan  
sculptors were especially in favor at   
,olympia4 ,thus ,onatas1 in conjunction 
with the ,athenian ,kalamis1 made  a    
group for ,king ,hiero1#ahfg and        
,glaukias made another for ,hiero's     

brother ,gelo2#ahfh ,simon made an      
equestrian group for ,phormis1#ahfi  and
 ,philotimos made a statue for the      
horse-racer ,xenombrotos of  ,kos4#ahgj 
,the oldest dedication by a chariot     
victor at ,olympia was  the votive      
offering of ,miltiades1 the son of      
,kypselos1 of ,athens1  which consisted 
of an ivory horn of ,amaltheia1         
inscribed with archaic  letters and set 
up in the treasury of the ,sikyonians4  
,miltiades won his  victory in ,ol4 787 
#ed 7 #efd ,b4 ,c474#ahga ,the next     
oldest dedication  at ,olympia was that 
of a chariot1 without any human figure1 
by the  ,spartan ,euagoras1 who won     
three victories in ,ols4 787 #eh-fj 7   
#edh-edj  ,b4 ,c474#ahgb ,this custom of
 dedicating merely the model of a       
chariot  continued sporadically into the
 third century ,b4 ,c4 ,thus            
,polypeithes  of ,sparta1 who won a     
victory near the end of the sixth       
century ,b4  ,c41#ahgc dedicated a      
chariot1 while a figure of his father1  

the  wrestler ,kalliteles1 stood beside 
it4#ahgd ,a ,pythian victor1 ,arkesilas 
,,iv1 son of ,battos ,,iv1 king of      
,kyrene1 who won a victory in the #cast 
,pythiad 7 #dfb ,b4 ,c471 dedicated a   
chariot at ,delphi4#ahge ,at the        
beginning of the fourth century ,b4 ,c4 
the ,spartan princess ,kyniska  set up  
8bronze horses less than life-size0 in  
the pronaos of the  temple of ,zeus at  
,olympia4 ,the recovered base shows that
 ,pausanias was  right about the size of
 this votive offering4#ahgf             
,theochrestos of  ,kyrene1 who won some 
time between ,ols4 787 #ajj and #abb 7  
#chj and #bib  ,b4 ,c471#ahgg and       
,glaukon of ,athens1 who won in the     
third century ,b4  ,c41#ahgh also set up
 votive chariots4 ,the recovered base of
 ,glaukon's  chariot shows that it was  
small4 ,sometimes a chariot victor1 for 
economy's sake1 contented himself with  
dedicating merely a statue of  himself  
in honor of his victory--a custom which 
continued from the sixth  to the third  

centuries ,b4 ,c4 ,perhaps one of the   
oldest examples of such  a dedication of
 which we have record is that of the    
,elean ,archidamas1  who won a victory  
at an unknown date1 but certainly some  
time after  ,ol4 #ff 7 #eae ,b4         
,c474#ahgi ,in the fifth century ,b4    
,c41 the ,spartans  ,anaxandros#ahhj and
 ,lykinos#ahha dedicated merely statues 
of  themselves4 ,in the fourth century  
,b4 ,c4 the ,elean victors ,timon1#ahhb 
whose monument was by ,daidalos1        
,troilos1 whose monument was by         
,lysippos1#ahhc and ,telemachos1 whose  
statue was by ,philonides1#ahhd  set up 
statues in honor of their victories4    
,the footprints on the  inscribed base  
of the statue of ,telemachos show that  
he was represented  standing at rest    
with both feet flat on the ground4 ,this
 was probably  the position of the      
statues of the other two victors        
mentioned4 ,the  statue of the ,spartan 
victor ,polykles1 surnamed ,polychalkos1
 stood  in a singular group4 ,he was    

represented as being greeted on his     
return  home by his children1 one of    
whom held a small grace-hoop in his     
hand1 while the other was trying to     
snatch the victor ribbon from his       
father's hand4#ahhe ,we learn from      
,diogenes ,laertios that the tyrant     
,periandros of ,corinth vowed to set up 
a golden statue of himself if he  won   
the chariot-race4#ahhf    ,the first    
instance chronologically recorded by    
,pausanias of a chariot  victor         
dedicating his statue along with chariot
 and horses is that  of king ,gelo of   
,syracuse1 the group being the work of  
the ,aeginetan  ,glaukias4#ahhg ,the    
first instance of a victor dedicating   
his statue in  a group with chariot1    
horses1 and charioteer1 is that of      
,kleosthenes  of ,epidamnos1 the group  
being the work of the ,argive           
,hageladas4#ahhh  ,even the names of the
 horses were inscribed on this          
monument4#ahhi ,the  owner of the       
chariot1 to be sure1 took the prize1 but

 he felt that the  victory was due to   
the horses and driver1 and so he        
associated them  with himself in the    
monument4 ,sometimes the victor acted as
 his own  charioteer4 ,thus the ,spartan
 ,damonon1 already mentioned as the hero
 of  many chariot victories in and near 
,sparta1 tells in the inscription       
appearing on his votive relief that he  
was his own charioteer4#ahij ,in  the   
first ,isthmian ,ode ,pindar            
congratulates ,herodotos of ,thebes1 who
  won the chariot-race 787 in #deh ,b4  
,c41 on not entrusting his chariot  to  
strangers1 but driving it himself4#ahia 
,thrasyboulos seems to  have driven his 
father's car at the victory commemorated
 by the sixth  ,pythian ,ode1 sung in   
honor of the chariot victory of         
,xenokrates of  ,akragas in #dij ,b4 ,c4
 at ,delphi4 ,karrhotos1 the charioteer 
of ,arkesilas  of ,kyrene already       
mentioned1 was the latter's             
brother-in-law4#ahib  ,similarly        
,aigyptos appears to have ridden his own

 horse at ,olympia  instead of          
entrusting it to a jockey4#ahic         
,sophokles1 in the  ,electra1 has the   
hero ,orestes drive his own chariot at  
the ,pythia4  ,kyniska1 the daughter of 
king ,archidamas of ,sparta1 was the    
first  woman to enter the contests at   
the race-course and the first to win an 
,olympic victory with her chariot4#ahid 
,apart from the small votive  offering1 
already mentioned as standing in the    
temple of ,zeus1 she had  also a        
victor-group at ,olympia1 by the        
sculptor ,apellas1 consisting  of       
chariot1 horses1 charioteer1 and        
herself4 ,the rounded form of the       
recovered base1#ahie in connection with 
the description of ,pausanias1  permits 
us to assume that the statue of the     
princess stood in front on  the         
projecting rounded portion of the       
pedestal4 ,this is the contention  of   
,loewy1 who opposes the theory of       
,furtwaengler#ahif that the statue      
stood away from the rest of the group1  

since ,pausanias makes no mention  of   
such an arrangement4 ,in any case1 the  
charioteer in the group can  not have   
been separated from the car4    ,in an  
unpublished paper by my former teacher1 
,dr4 ,alfred ,emerson1 which  was read  
by ,professor ,d4 ,m4 ,robinson before  
the ,archological ,institute  of        
,america at its ,christmas meeting in   
,providence in #aiaj1 and entitled  ,the
 ,case of ,kyniska1#ahig the argument   
was made that the chariot was  in       
miniature2 that the statue of ,kyniska  
was a portrait1 because of the  wording 
of the recovered epigram2 and1 lastly   
that the smallest of the  so-called     
bronze dancers from the villa of the    
,pisos in ,herculaneum1  now in ,naples1
 is a late reproduction of the statue at
 ,olympia by  ,apellas4 ,emerson thinks 
that ,pliny no doubt often visited the  
villa and  may well have had these      
statues in mind when he mentioned       
,apellas as  the author of several      
statues of women adorning               

themselves4#ahih    ,the monument       
erected by ,hiero1 son of ,deinomenes   
and brother and  successor of king ,gelo
 at ,syracuse1 who won two horse-races  
and a  four-horse chariot victory at    
,olympia in ,ols4 #gf1 #gg1 #gh 7       
#dgf-dfh  ,b4 ,c471#ahii consisted of a 
bronze chariot1 on which the charioteer 
was mounted1 and on either side a       
race-horse with a jockey on each4       
,onatas made the chariot 7and possibly  
the statue of the driver71 while        
,kalamis sculptured the horses and      
jockeys4 ,such a division among         
sculptors was not uncommon at ,olympia4 
,thus the ,aeginetan artist  ,simon and 
the ,argive ,dionysios made a group in  
common for ,phormis1  which we have     
already mentioned1 consisting of two    
horses and two  charioteers4#aijj ,the  
,chian ,pantias and the ,aeginetan      
,philotimos made  a group in common for 
,xenombrotos of ,kos1 victor in         
horse-racing1 and  for his son1 the boy 
boxer ,xenodikos1 which consisted of    

statues of  the man and the boy on      
horseback4#aija ,pliny mentions a       
four-horse  chariot-group for which the 
elder ,praxiteles made the charioteer   
and  ,kalamis the chariot1 adding that  
,praxiteles did this out of kindness1   
not wishing it to be thought that       
,kalamis had failed in representing  the
 man after succeeding in representing   
the horses4#aijb    ,in some of the     
,olympic chariot-groups doubtless the   
charioteer was  represented at the      
moment of entering the chariot or       
already in it4  ,sometimes a figure of  
,nike took the place of the charioteer1 
in order  that the victor's exploit     
might be more exalted4 ,thus ,pausanias1
 in  mentioning the bronze chariot of   
,kratisthenes of ,kyrene by ,pythagoras 
of ,rhegion1#aijc says that statues of  
,nike and ,kratisthenes himself  are    
mounted upon the car4 ,the ,nike in some
 cases was replaced by the  figure of a 
young maiden1 who stood beside the      
victor1 as in the cases  of the ,elean  

,timon#aijd and the ,macedonian         
,lampos4#aije ,pliny notes a  similar   
example in reference to the chariot of  
,teisikrates1 a ,delphian  victor in the
 two-horse chariot-race4#aijf ,the      
maiden in all these  cases may have been
 merely a ,nike personified or a        
mortal4#aijg ,pliny  records that the   
painter ,nikomachos1 son and pupil of   
,aristeides1  painted a ,victoria       
quadrigam in sublime rapiens4#aijh ,the 
figure  of ,nike appears often on       
reliefs4 ,thus on a terra-cotta         
sarcophagus  from ,klazomenai we see a  
two-horse chariot driven by a boy1 while
  alongside is a winged female          
figure--,iris or ,nike--mounting        
it4#aiji  ,the moment of victory is     
shown on an ,attic marble votive relief 
representing a four-horse chariot1 now  
in the ,british ,museum4 ,here a  figure
 of ,nike is represented as floating in 
the air and extending  a wreath 7now    
wanting7 towards the head of the        
charioteer1 who is  draped with a tunic 

girdled at the waist1 as he mounts the  
car4 ,if  the charioteer in this relief 
is a female 7which is doubtful71 it may 
he the personification of the city to   
which the winner belongs4#aiaj  ,on a   
votive relief in ,athens a horse is     
represented as being crowned  by        
,nike4#aiaa ,on a relief in ,madrid     
,nike is represented as driving  a      
chariot4#aiab ,a quadriga with a female 
figure1 apparently ,nike1  appears on a 
relief dedicated to ,hermes and the     
,nymphs1 which was found  in            
,phaleron4#aiac ,doubtless some of the  
chariot-groups at ,olympia  represented 
movement--the start1 the course1 or the 
end of the race--as  do these and       
similar reliefs4#aiad ,we should add    
that the figure of  ,nike was not       
confined to equestrian monuments4 ,on   
the ,ficoroni cista  in ,rome is        
represented the boxing match between    
,polydeukes and ,amykos  among the      
,bebrykes4 ,in the centre we see ,amykos
 hanged to a tree by the  hands1 while  

to the right stands ,athena1 and above  
her ,nike is flying  with a crown and   
fillet of victory for ,polydeukes4#aiae 
,,remains ,,of ,,chariot-,,groups4      
,from this discussion of the literary   
evidence about the monuments  of chariot
 victors at ,olympia and elsewhere1 we  
shall turn to a  brief consideration of 
certain existing works of sculpture1    
reliefs  and statues1 which will serve  
to illustrate the manner in which the   
sculptor represented this class of      
victor monuments4    ,illustration3     
,,fig4 #fc4--;,charioteer ,mounting a   
,chariot4 ,bas-relief from  the         
,akropolis4 ,akropolis ,museum1 ,athens4
    ,the motive of representing a figure
 in the act of mounting a  chariot is   
old4 ,amphiaraos was thus represented on
 the chest of  ,kypselos at             
,olympia#aiaf and appears in a similar  
pose on the b4-f4  ,corinthian vase from
 ,cerveteri1 now in ,berlin1 which we   
have already  mentioned4#aiag ,among    
reliefs we shall first discuss the      

,parian 787  marble one found in #ahbb  
near the ,propylaia at ,athens and now  
in the  ,akropolis ,museum 7,fig4       
#fc74aiah ,here we see represented a    
robed  figure stepping into a chariot1  
holding the reins in the extended       
hands4 ,this ,attic work1 perhaps dating
 from the very beginning of the  fifth  
century ,b4 ,c41 has long been admired  
for its vigor and grace4  ,whether the  
figure is male or female1 human or      
divine1 is still a  matter of debate4   
,the head is too badly weathered to make
 the decision  final4 ,the upper part of
 the figure of ,hermes 787 on another   
fragment1  which appears to come from   
the same relief and which was found near
 the  south wall of the ,akropolis in   
#ahei1aiai has made it seem reasonable  
to call the charioteer a god1 perhaps   
,apollo4#aibj ,the hair of  ,hermes and 
of the charioteer is arranged in the old
 ,attic krobylos  fashion4 ,this also   
makes it natural to interpret the       
charioteer as  male1 despite the slender

 and delicate arms and hands1 which     
appear to  be female4#aiba ,but such    
effeminate male figures are not unknown 
to  ,attic art1 which was characterized 
by grace and softness4#aibb ,the  line  
of the breast1 however1 shows no such   
fulness as archaic masters  were wont to
 give to female forms1 and hence this   
figure may very well  be that of a male4
 ,schrader has tried to refer the slab  
to the frieze  of the ,old ,temple of   
,athena1 which1 he believes1 survived   
the sack of  the ,akropolis by          
,xerxes1#aibc thus assuming a           
chariot-frieze similar  to the later one
 appearing on the ,mausoleion at        
,halikarnassos1 which  antedated similar
 scenes on the ,parthenon frieze by     
nearly a century4  ,as the ,parthenon   
slabs represent mortal charioteers1 who 
are doubtless  males1 the relief may    
also represent a mortal4 ,however1 the  
,akropolis  relief may have had nothing 
to do with any temple frieze nor with   
the  adornment of a great altar of      

,athena1 as ,furtwaengler               
contended1#aibd  but may be from a      
votive monument set up by a chariot     
victor4#aibe    ,we see a good          
representation in relief of a           
chariot-group on one side  of the arched
 roof of the so-called ,chimra tomb     
discovered by ,sir  ,charles ,fellows at
 ,xanthos in ,lykia4 ,here is           
represented a chariot  drawn by four    
horses1 in which stands a charioteer1   
with sleeved tunic  and ,phrygian cap1  
and an armed figure4 ,because of the    
figure of the  ,chimra in the lower     
right-hand corner1 the charioteer1      
despite the  absence of ,pegasos1 has   
been called ,bellerophon4#aibf          
,,the ,,apobates ,,chariot-,,race4      
,on the north frieze of the ,parthenon  
there were originally at least  #i      
four-horse chariot groups1#aibg while on
 the south frieze there  were #aj such  
groups4#aibh ,these various groups      
represent a ceremonial  chariot-race    
called the apobates1 known at ,athens   

and in ,botia  and a favorite contest at
 the ,panathenaic games4#aibi ,this race
  preserved the tradition of ,homeric   
warfare1 when the chieftain was  driven 
to battle in his chariot1 but dismounted
 to fight1 remounting  only to pursue or
 avoid his enemy4 ,during the race1     
while the  charioteer kept the horses at
 full speed1 the apobates dismounted1   
ran alongside the chariot1 and mounted  
again4 ,in the last lap he  dismounted  
and ran beside the chariot to the       
goal4#aicj ,in the ,north  frieze we see
 the charioteer in the chariot1 and the 
apobates1 armed  with shield and helmet1
 either stepping down from the chariot  
or  standing beside it2 while a third   
figure1 a marshal1 stands nearby4  ,thus
 on slab ,,xiv we see the apobates about
 to step down2 on slab ,,xv  he is      
standing up in the chariot2 on slab     
,,xvii 7,fig4 #fd7 he is leaning  back1 
supporting himself by means of his right
 hand1 which grasps  the chariot rail1  
and is just ready to step down2 on slab 

,,xxii he is  remounting the chariot4   
,in the scenes on the ,south frieze1 on 
the  other hand1 the apobates is not    
represented as dismounting1 but is      
standing either inside the chariot or by
 its side4 ,the ,south frieze1          
therefore1 represents preparation or the
 beginning of the race1 while  the      
,north one represents the actual course4
 ,there is1 therefore1 as  ,gardiner    
points out1 no need to accept           
,michaelis' theory that the two  friezes
 portray different motives1 the ,north  
one representing the  apobates at the   
games and the ,south one representing   
war-chariots4  ,the double character of 
the race is shown by inscriptions which 
make  both charioteer and apobates      
equally victors4 ,many other reliefs    
show the apobates dismounting4 ,thus1 on
 a fragmentary relief found  in #ahhf at
 the ,amphiareion at ,oropos and now in 
,athens1#aica we see  a nude and        
beardless youth standing in a chariot1  
which is moving  rapidly to the left4   

,he has a helmet on his head and a      
shield in his  left hand and holds on to
 the rim of the chariot1 as in the      
,parthenon  frieze slab just mentioned4 
,to his right is a charioteer with his  
arms  outstretched to hold the reins4   
,as this relief is obviously influenced 
by the ,parthenon frieze1 it must stand 
midway between that frieze and  the     
,hellenistic relief to be described     
below4 ,another relief1 found  at       
,oropos in #ahceaicb and dating from the
 first half of the fourth  century ,b4  
,c41 represents a four-horse chariot    
moving to the left and  containing two  
persons4 ,one is the charioteer1 who has
 long waving hair  and a short beard and
 is clothed in the usual long tunic2 the
 other  is a nude apobates1 who is armed
 with helmet and shield and holds  on to
 the rim of the chariot with his right  
hand1 the upper part of  his body being 
inclined backwards1 the knees bent1 and 
the shield held  away from the          
body4#aicc ,we can not say whether these

 two reliefs from  the ,amphiareion     
represent offerings of apobatai1 who    
were victorious  at races held in       
,oropos or elsewhere in ,botia1 or      
represent the  victorious ,panathenaic  
apobatai4 ,they may well be ex votos to 
the hero ,amphiaraos at the games held  
in ,oropos4 ,we see an excellent        
illustration of an apobates in the very 
act of dismounting on a  ,hellenistic   
votive relief discovered in #ahhj on the
 ,akropolis1 which  dates from the end  
of the fourth century ,b4 ,c4#aicd ,a   
marble relief1  supposably from         
,herculaneum1 but now in ,portugal1#aice
 represents a  figure dressed in a long 
chiton4 ,wolters suggests that it may   
represent  an apobates1 but the absence 
of the usual armor makes it probable    
that a charioteer is intended4 ,in a    
future section we shall discuss the     
apobates in the horse-race at ,olympia  
known as 4    ,illustration3 ,,fig4     
#fd4--;,apobates and ,chariot4 ,relief  
from the ,north  ,frieze of the         

,parthenon1 ,athens4    ,illustration3  
,,fig4 #fe4--;,charioteer4 ,relief from 
the small ,frieze of the  ,mausoleion1  
,halikarnassos4 ,british ,museum1       
,london4      ,,statues ,,of            
,,charioteers4    ,the best-preserved   
slab from the small ,parian marble      
chariot-frieze  from the ,mausoleion of 
,halikarnassos1 now in the ,british     
,museum1  represents a male figure      
standing in a chariot 7,fig4 #fe74aicf  
,this long-haired charioteer1 dressed in
 a tunic which extends to  the feet and 
is girded at the waist1 is leaning      
forward in an eager  attitude4 ,the     
folds of his garment curved to the wind 
show the speed  of his horses1 and the  
mutilated face discloses a look of      
intense  excitement4 ,the deep-set eyes 
and overhanging brows recall the ,tegea 
heads of ,skopas 7,fig4 #gc7 and the    
combatants pictured on the so-called    
,alexander ,sarcophagus discovered near 
,sidon in #ahhg and now in              
,constantinople4#aicg ,the pose is so   

characteristic and spirited that  it was
 copied by later artists on reliefs and 
gems4#aich ,the same  pose1 forward     
inclination of the body1 half-opened    
mouth1 and intense  look seem to be     
reproduced in a statue of the fourth    
century ,b4 ,c4 now  in the ,museum of  
,fine ,arts in ,boston 7,pl4 #bg74aici  
,robinson1 because  of the similarity of
 its head to certain heads of ,apollo   
published by  ,overbeck1#aidj           
interpreted this statue as ,apollo      
starting to run4 ,von  ,mach1 however1  
has pointed out that its head bears a   
more striking  resemblance to that of a 
,kore in ,vienna4#aida ,klein           
interpreted it  as a jumper1 assuming   
that the two supports on the legs were  
for the  wrists1 indicating that the    
arms were held downwards1 the hands1    
then1  holding halteres4 ,but von ,mach 
makes it clear that these supports  are 
not parallel1 as ,klein thought1 but    
that they diverge outwards  and         
consequently may have made the          

connection with the sides of a  chariot 
rim4 ,furthermore1 the likeness to the  
figure on the ,mausoleion  frieze 7,fig4
 #fe7 makes it probable that we are here
 concerned with  a charioteer4 ,the     
objection to this theory on the ground  
of nudity  is baseless4 ,though the     
conventional garb of the charioteer in  
,greek  art from the eighth century ,b4 
,c4 onwards#aidb was certainly a long1  
close-fitting chiton1 there are several 
examples in existence of  nude          
charioteers4#aidc ,similarly the        
objection that the artificial           
head-dress does not belong to a         
charioteer is equally erroneous4 ,klein 
has shown that it appears on several    
heads of boys1 and1 as von ,mach  says1 
it is certainly no better suited to     
,apollo or a jumper than to  a boy      
driving colts in a chariot-race4 ,the   
pose of the ,boston statue  also reminds
 us somewhat of that of the small bronze
 statue of a boy  found in the ,rhine   
near ,xanten in #aheh and now in        

,berlin4#aidd ,this  is a ,roman work   
seemingly inspired by a ,greek          
prototype1 and has been  interpreted    
variously as the statue of ,bonus       
,eventus1 ,novus ,annus1  and ,dionysos4
 ,however1 here again the forward       
inclination of the  body points to the  
interpretation of a charioteer1#aide    
despite its  nudity4 ,the nude statue   
found on the ,esquiline in #ahgd and now
 in the  ,palazzo dei ,conservatori1    
,rome1 which has already been           
mentioned1#aidf  has been shown to be   
that of a charioteer by a comparison    
with  figures on ,attic vases which     
represent mortals and gods entering     
chariots1 and with a figure on the      
so-called ,satrap ,sarcophagus in       
,constantinople4#aidg ,the youth is     
represented as standing on his left     
foot2 he places his right on the chariot
 floor and extends his hands  to hold   
the reins4 ,the statue seems to be a    
mediocre ,roman copy of a  ,greek       
original bronze of about the middle of  

the fifth century ,b4  ,c41 as it shows 
certain traces of archaism4             
,furtwaengler has assigned  it to the   
sculptor ,kalamis along with a closely  
connected group of  monuments4#aidh     
,illustration3 ,,plate #bg    ,statue of
 a ,charioteer 7874 ,museum of ,fine    
,arts1 ,boston4    ,illustration3 ,,fig4
 #ff4--;,bronze ,statue of the ,delphi  
,charioteer4  ,museum of ,delphi4       
,finally1 in this connection1 even      
though it has nothing to do with        
monuments set up at ,olympia1 we shall  
discuss the life-size bronze  statue of 
the ,charioteer discovered by the       
,french in #ahif in the  excavations of 
,delphi1 and now the cynosure of the    
village museum  there4 7,fig4 #ff47aidi 
,this example of ripe archaic art is one
 of  the finest bronzes yet recovered in
 ,greece4 ,its ancient fame is          
disclosed by the fact that it was copied
 in many monuments down to  the end of  
antiquity4#aiej ,the figure is clothed  
in a short-sleeved  chiton1 which       

reached nearly to the ground1 and is    
girded above the  waist4 ,with the      
figure were found also fragments of     
reins1 which were  held in the extended 
right hand1 portions of three horses1 a 
chariot  pole1 and the left arm and hand
 of a second figure1 that of a boy or   
woman1 showing that the ,charioteer was 
part of a group4 ,the group  rested on a
 base on which was cut a two-line       
metrical inscription1 the  ends of which
 are preserved4 ,the first line ends  ' 
4  ,a part of the inscription is lost   
and another part1 including the above   
words1 is written over the erased       
original1 which is still partly         
legible4 ,the original inscription gives
 the name of the first dedicator  as    
ending in 4 ,from this ending ,professor
 ,washburn recovers the  name 4 ,he     
refers the original dedication to       
,arkesilas ,,iv of  ,kyrene1#aiea and   
identifies it with the group known from 
,pausanias to  have been dedicated at   
,delphi by the people of ,kyrene1       

representing  ,battos and the figure of 
,libya crowning him in a chariot and the
  charioteer personified as ,kyrene     
outside1 the whole being the work of    
the ,knossian sculptor ,amphion4#aieb   
,svoronos#aiec follows ,washburn's      
suggestion and identifies the           
,charioteer with ,battos1 believing that
  the fragment of the left arm found    
with the statue is from the statue  of  
,kyrene represented as a                
charioteer4#aied ,ingenious as the      
theory  is1 there are chronological     
difficulties in the way of accepting it 
unreservedly4 ,thus ,amphion's pupil    
,pison worked on the ,spartan memorial  
of ,aigospotamoi at ,delphi in #djd ,b4 
,c4#aiee ,furthermore1 the ending   may 
equally well refer to ,anaxilas1 the    
tyrant of ,rhegion1 as  the original    
dedicator1#aief in which case it seems  
reasonable to  assume that the group    
might have been the work of ,pythagoras1
 the great  sculptor of ,rhegion4#aieg  
,a ,greek scholar believes that the     

original  dedicator was ,gelo1 and that 
his name was erased and replaced by that
  of his brother ,polyzalos2 he         
consequently dates the group shortly    
after ,gelo's death in #dgh ,b4 ,c4#aieh
 ,he refers it to ,glaukias of  ,aegina1
 while ,joubin#aiei classes the         
,charioteer as an ,attic work4          
,however1 the whole subject of ,greek   
sculpture in the years just after  the  
,persian war period is too complicated  
to name definitely the artist  of this  
simple and severe work4 ,its            
deficiencies are as apparent as  its    
virtues4 ,thus the parallel folds of the
 chiton show little of the  form        
beneath2 the feet are too flatly placed 
on the ground1 and the  contour of the  
head and face is not altogether         
graceful4#aifj ,whatever  the original  
purpose of the group was1 it may well   
have been used by  ,polyzalos to honor  
the ,pythian victory of his brother     
,hiero4#aifa ,from  it1 then1 we can    
get1 perhaps1 an idea of the            

magnificence of ,hiero's  monument by   
,onatas and ,kalamis at ,olympia4       
,,dedications ,,of ,,victors ,,in ,,the 
,,horse-,,race ,,at ,,olympia ,,and     
,,elsewhere4    ,the hippic victor at   
,olympia frequently dedicated merely the
 model of  his victorious horse without 
the jockey1 just as the early chariot   
victor dedicated a chariot without the  
charioteer4 ,we have evidence  of       
several instances of this custom from   
the sixth century ,b4 ,c4 on4  ,krokon  
of ,eretria dedicated a small horse of  
bronze in the ,altis4#aifb  ,the        
,corinthian ,pheidolas dedicated a model
 of his horse alone1 but  for a         
different reason4#aifc ,the jockey who  
rode for him fell off at  the start1 but
 the mare1 named ,aura1 continued the   
race and reached  the goal as victor4   
,the owner was allowed by the judges to 
set up  a monument to her4 ,the sons of 
,pheidolas were also victors in the     
horse-race#aifd and set up a horse on a 
column with an epigram upon  it--       

' 4 ,just how  this monument looked is  
doubtful4 ,pausanias may have seen the  
bronze  horse of the father ,pheidolas1 
and nearby a column with a bas-relief   
representing the horse of the sons2#aife
 or the horse may have stood  on top of 
the column in the round1 since the      
epigram was '  7on  the horse7 and not '
  7on the stele74#aiff    ,more         
frequently a jockey was seated upon the 
model of the horse1 just  as we see     
frequently on vase-paintings4 ,in the   
,olympic monument of  ,king ,hiero      
already mentioned1 race-horses with boys
 seated upon them  stood on either side 
of the chariot in honor of his two      
victories in  the horse-race and one in 
the chariot-race4#aifg ,another ,olympia
  group represented the boy horse-racer 
,aigyptos on horseback1 and his  father1
 the chariot victor ,timon1 standing    
beside him4#aifh ,this is  also a case  
in which the victor 7,aigyptos7 acted as
 his own jockey4  ,in the group         
representing ,xenombrotos of ,kos1 the  

horse-racer1 and  his son1 the boy boxer
 ,xenodikos1 by the ,aeginetan          
,philotimos and the  ,chian ,pantias    
respectively1 the boy was seated on a   
horse and the  statue of the father     
stood nearby4#aifi ,the base of this    
group has  been recovered1 large enough 
to have carried the two monuments4#aigj 
,pliny says that the sculptors ,kanachos
 and ,hegias made groups of             
horse-racers4#aiga ,we have seen that   
,pausanias mentions others by  ,kalamis 
and ,daidalos4 ,the work of ,kalamis1   
the immediate predecessor  of ,pheidias1
 an artist noted for his grace and      
softness and as an  unrivaled sculptor  
of horses1#aigb must have been          
excellent4      ,,monuments             
,,illustrating ,,the ,,horse-,,race4    
,when we turn to the monuments which    
illustrate the horse-race1 we find  as  
varied a number--vase-paintings1        
reliefs1 coins1 statuary1 etc4--as in   
the case of chariot victors4            
,illustration3 ,,fig4                   

#fg4--;,horse-,racer4 ,from a           
,sixth-,century ,b4 ,c4 b4-f4           
,panathenaic ,vase4 ,british ,museum1   
,london4    ,vase-paintings show that   
the jockey was generally nude and rode  
without  stirrups or saddle4 ,we see    
nude long-haired jockeys on horseback   
with  whips pictured on a sixth-century 
,b4 ,c4 ,panathenaic amphora in the     
,british ,museum4#aigc ,one also appears
 on a silver tetradrachm in  the same   
museum1 which commemorates the ,olympic 
victory of ,philip ,,ii  of             
,macedonia4#aigd ,here the victorious   
mounted jockey has a palm in  his hand1 
the symbol of his victory4 ,on the other
 hand1 the jockey is  sometimes         
represented as wearing a close-fitting  
short-sleeved chiton4  ,we see such a   
one on an archaic b4-f4 ,panathenaic    
vase of the sixth  century ,b4 ,c4 in   
the ,british ,museum 7,fig4 #fg74aige   
,in front of the  mounted youth on this 
vase stands a herald in official robes1 
from  whose mouth issue the words 8the  

horse of ,dyneiketos is victorious40    
,behind the jockey is an attendant      
bearing a wreath in his left hand and   
holding a prize tripod over his head4   
,the short chiton also appears on  a    
horse-racer on the ,amphiaraos          
vase4#aigf ,we see racing boys on a     
proto-,corinthian lekythos in the museum
 at ,taranto1 with tripods as           
prizes4#aigg ,a fine example of five    
nude horse-racers also appears on  a    
vase pictured in the ,daremberg-,saglio 
,dictionary4#aigh ,here one has  fallen 
from his horse and is being dragged by  
the bridle4    ,a boy on a galloping    
horse is shown on a terra-cotta relief  
from  ,thera4#aigi ,on a funerary marble
 relief from ,sicily1 now in the ,museo 
,gregoriano1 ,rome1 a rider is          
represented urging his horse on with  a 
whip4#aihj ,an ,athenian relief shows   
victorious ephebes leading  horses1#aiha
 while another from ,athens shows a     
mounted boy4#aihb  ,horsemen            
representing ,athenian knights appear on

 many slabs of the  ,parthenon          
frieze1#aihc either mounted or standing 
by their horses4    ,the inscribed base 
of ,onatas found on the ,akropolis seems
 to have borne  the statue of a         
horse-racer4#aihd ,the bronze statue of 
,isokrates at  ,athens1 which           
represented him as a  1 is mentioned by 
the pseudo-,plutarch4#aihe ,a bronze    
statuette in ,athens from ,dodona       
represents an ephebe on a galloping     
horse4#aihf ,a statue in the  ,palazzo  
,orlandi in ,florence represents a      
horse-rider4#aihg ,in the  ,akropolis   
,museum there are two monuments which we
 should mention in  this connection4    
,one is the lower part of the statue of 
a nude rider on  horseback1 the         
mutilated horse being represented as    
pawing the ground  with its forefoot4   
,closely resembling it in scale and     
finish1 though  more developed in style1
 is another fragmentary statue of a     
horse  without a rider1 the latter      
probably to be understood as standing in

  front of the horse1 as in some of the 
riders pictured on the ,parthenon       
frieze4 ,the two are good examples of   
pre-,persian ,attic sculpture4#aihh  ,a 
later example is the small bronze       
statuette of an ephebe represented  as a
 horseman 7the horse is lacking7        
discovered recently at the ,french      
excavations at ,volubilis in ,morocco4  
,this almost perfectly preserved  work  
has been referred to the first half of  
the fifth century ,b4  ,c4#aihi ,the    
position of the hands holding the reins 
reminds us  strongly of the ,delphi     
,charioteer 7,fig4 #ff74 ,the diadem in 
the hair  shows that a victor is        
represented4 ,a small bronze statuette  
in the  ,loeb collection in ,munich     
represents a boy riding a prancing      
horse1  which is standing on its hind   
legs4 ,this vigorous1 but poorly        
finished1  work is decorative in        
character and probably once belonged to 
the crown  of a candelabrum4 ,it appears
 to be either an ,etruscan or early     

,roman  work based on a ,hellenistic    
original4#aiij      ,,the ,,apobates    
,,horse-,,race4    ,in a previous       
section we discussed the apobates       
chariot-race run at  the ,panathenaic   
games in ,athens1 in which the apobates 
leaped down  and ran to the goal abreast
 of the chariot4 ,we shall now briefly  
speak  of a similar race at ,olympia    
7the 7 in which the rider leaped  from  
his mare in the last lap and ran with   
her to the goal4#aiia  ,there is no     
certain illustration in sculpture or on 
vase-paintings of  this race1 but       
,gardiner believes that something like  
it appears on  coins of ,tarentum1 on   
which a nude youth1 armed with a small  
round  shield1 is represented in the act
 of jumping from his horse4#aiib  ,the  
military character of this race1 like   
that of the apobates  chariot-race      
discussed1 is shown by the shield held  
in the left hand of  the dismounting    
horseman4 ,helbig has shown that the    
,greek knight of the  sixth century ,b4 

,c4 was merely a mounted infantryman1   
the successor of  the ,homeric warrior  
who used his chariot merely for pursuit 
or flight1  while actually fighting from
 the ground4#aiic ,just so the knight   
rode  to battle on his horse1 but       
dismounted when near the enemy1 leaving 
the horse in charge of his squire1 as   
the ,homeric chieftain left his  chariot
 in charge of his charioteer4 ,this old 
custom of the heroic age  survived not  
only in the ,panathenaic chariot-race1  
but also1 for a few  years in the fifth 
century ,b4 ,c41 in the ,olympic        
mare-race known as  the 4 ,it seems to  
have been instituted there for military 
reasons  in order to revive the old form
 of fighting that had gone out of use   
just at the close of the sixth century  
,b4 ,c41 but it endured for only a  half
 century1 from ,ols4 #ga to #hd 7 #dif  
to #ddd ,b4 ,c474 ,the corresponding    
chariot-race at ,athens and elsewhere   
continued at least to the end of  the   
fourth century ,b4 ,c4                  

,,dedications ,,of ,,musical ,,victors  
,,at ,,olympia ,,and ,,elsewhere4    ,in
 closing this chapter we shall say a few
 words about monuments  erected to      
trumpeters1 heralds1 and musical victors
 at ,olympia1 though  such contests had 
nothing to do with athletics4           
,contests for trumpeters and heralds    
were held in many parts of              
,greece4#aiid ,they were introduced at  
,olympia in ,ol4 #if 7 #cif ,b4  ,c471  
when ,timaios of ,elis won as trumpeter 
and ,krates of ,elis as  herald4#aiie   
,pausanias mentions an altar1 near the  
entrance to the  stadion1 upon which    
trumpeters and heralds stood when       
competing4#aiif  ,such contests seem to 
have been mere displays of lung power4  
,herodoros1  for example1 who won as    
trumpeter at ,olympia ten times in the  
last  quarter of the fourth and         
beginning of the third century ,b4      
,c4#aiig1  could blow two trumpets at   
once so loud that no one could stand    
near  him4#aiih ,to perform such a feat 

he was said to be a very large          
man4#aiii ,diogenes1 son of ,dionysios  
of ,ephesos1 won five victories  in     
trumpeting at ,olympia4 ,he was twice   
periodonikes and also won  many other   
victories at the ,isthmus1 ,nemea1 and  
elsewhere--eighty in  all4#bjjj ,we have
 an excellent bronze statuette of a     
trumpeter1  which was found in the      
,hieron of ,athena ,chalkioikos at      
,sparta1 dating  from the middle of the 
fifth century ,b4 ,c41 about a century  
and a  half before the event was        
introduced at ,olympia4#bjja ,this      
8little  masterpiece of ,spartan art10  
whose style resembles that of the       
,olympia  pediment sculptures1          
represents a nude man standing1 the left
 arm  hanging by his side1 while the    
right is bent upwards to the mouth1     
where it held a tubular object pointing 
upwards4 ,since the lips are  tightly   
compressed1 ,dickins has interpreted the
 object as a trumpet4 ,a  much damaged  
bronze statuette in the ,british ,museum

 represents a man  playing on a long    
trumpet-shaped instrument4#bjjb         
,trumpeters also  appear now and then on
 r4-f4 ,attic vases of the middle of the
 fifth  century ,b4 ,c4    ,music       
victors played a greater role at ,delphi
 than elsewhere1 since  music from the  
first was the chief interest there4     
,monuments to such  victors1 though few 
in number1 by little-known artists were 
set up  there1 but they seem to have    
enjoyed the same meagre honor at ,delphi
  as the statues of athletic            
victors4#bjjc ,we have record of a      
statue  of the ,epizephyrian ,locrian   
kitharoidos ,eunomos1 set up in his     
native town in honor of his ,pythian    
victory over ,ariston of ,rhegion4      
,timaios says that this monument showed 
a cicada seated on the singer's         
lyre4#bjjd ,whether such monuments at   
,delphi or elsewhere were regarded  as  
victor or votive in character1 we can   
not say4#bjje ,pausanias  mentions      
several statues of poets and musicians1 

mostly mythical1 on  ,mount ,helikon1   
which were set up partly in consequence 
of victories  won there or              
elsewhere4#bjjf ,of these the statue of 
the ,thracian  or ,odrysian ,thamyris   
was represented as a blind man holding a
 broken  lyre2#bjjg that of ,arion of   
,methymna as riding a dolphin2#bjjh that
  of ,hesiod1 seated1 as holding a lute 
on his knees2 and that of the  ,thracian
 ,orpheus with ,telete at his side and  
round about beasts in  stone and bronze 
listening to his song4 ,of the statue of
 the ,argive  ,sakadas1 ,pausanias says 
that the sculptor1 not understanding    
,pindar's  poem on the victor1 made the 
flutist no bigger than the flute4#bjji  
,the epigram on the statue of the       
,sikyonian flutist ,bacchiadas1         
mentioned by ,athenus as standing on    
,mount ,helikon1#bjaj was votive  in    
character4 ,the inscribed base of the   
statue of the kitharoidos  ,alkibios has
 been found on the ,athenian            
,akropolis4#bjaa ,musical  contests are 

pictured on many imitation ,panathenaic 
vases1 and many  ,greek reliefs seem to 
have been set up in honor of such       
victors4 ,among  the latter we might    
instance the one in the ,louvre         
representing ,apollo1  ,artemis1 and    
,leto1#bjab and another found in ,sparta
 in #ahhe1 which  represents ,artemis   
pouring a libation before ,apollo4#bjac 
,at ,olympia flute-playing accompanied  
certain of the events of the            
pentathlon4 ,pausanias says that the    
reason why the flute played a  ,pythian 
air while the athletes jumped was that  
this air was sacred  to ,apollo1 who had
 beaten ,hermes in running and ,ares in 
boxing at  ,olympia4#bjad ,thus on the  
chest of ,kypselos a flutist was        
represented  as standing between        
,admetos and ,mopsos at their boxing    
match4#bjae  ,but the explanation given 
by ,philostratos seems more sensible1   
that  leaping was a difficult contest1  
and that the flute stimulated the       
jumpers4#bjaf ,at ,argos1 at the games  

in honor of ,zeus 1  wrestlers contended
 to the tune of the flute4#bjag ,many   
vase-paintings  illustrate flute-playing
 at the pentathlon4#bjah ,at ,olympia   
only a  few monuments were set up in    
honor of musical victors1 and these seem
  to have been statues erected honoris  
causa1 instead of primarily for         
victories4 ,an example is that of the   
,sikyonian flutist ,pythokritos1 who    
won a victory as  in the sixth century  
,b4 ,c4#bjai ,pausanias  says that his  
monument was that of a small man with a 
flute wrought  in relief on an inscribed
 slab4 ,the explanation of such a       
description  probably is that the size  
of the flute made the victor appear     
small1  just as in the case of the      
monument of ,sakadas just               
mentioned4#bjbj  ,we know that artists1 
poets1 prose writers1 musicians1 and    
actors all  had an audience at ,olympia1
 and that statues were often erected    
there  in honor of such men1 though     
these are not to be treated as victor   

monuments and do not properly fall      
within the scope of the present         
work4#bjba          ,,chapter ,,vi4     
,,two ,,marble ,,heads ,,from ,,victor  
,,statues4#bjbb    ,,plates #bh-cj ,,and
 ,,figures #fh-gg4    ,,the ,,group ,,of
 ,,daochos ,,at ,,delphi1 ,,and         
,,lysippos4      ,if in these later     
years our knowledge of ,skopas has been 
greatly  augmented by the discovery of  
the ,tegea heads 7,fig4 #gc71 that of   
,lysippos has been almost               
revolutionized4 ,with the discovery in  
#ahid at ,delphi of the group of statues
 dedicated by the ,thessalian           
,daochos#bjbc in honor of various       
members of his house1 whose dates       
covered nearly two centuries1#bjbd an   
entirely new impetus was  given to the  
study of the last of the great ,greek   
sculptors4 ,homolle  immediately        
recognized the fourth-century origin of 
the group1 and at  first pronounced the 
statue of ,agias ,lysippan2#bjbe later  
he saw in  the types1 poses1 and        

proportions of the group the mixed      
influences  of ,praxiteles1 ,skopas1 and
 ,lysippos1 but referred the ,agias to  
the  school of ,skopas1#bjbf while still
 later he again pronounced it           
,lysippan4#bjbg ,but its true character 
was not destined to be long  in doubt4  
,when ,erich ,preuner#bjbh found almost 
the same metrical  inscription1 which   
was on the base of the best preserved   
statue of  the group1 that of ,agias    
7,pl4 #bh and ,fig4 #fh71bjbi in the    
traveling  journal of ,stackelberg1#bjcj
 copied from a base in ,pharsalos1 the  
,thessalian home of ,daochos1 with the  
additional information that  ,lysippos  
of ,sikyon made the statue1 our views of
 the work of that  artist had to undergo
 a thorough revision4 ,for this         
discovery brought  the ,agias--if not   
the others of the group--into direct    
relation to  ,lysippos by documentary   
evidence1 while the easily recognized   
,lysippan  characteristics of the       
statue--the slender body and limbs1 the 

small  head1 the proportions and        
pose--confirmed this connection on      
stylistic  grounds4 ,it became clear    
that ,daochos had set up a series of    
statues  in honor of his ancestors both 
at ,pharsalos and ,delphi4 ,whether the 
,thessalian group was of bronze1 as is  
generally held1 owing to the  widespread
 belief that ,lysippos worked only in   
metal1 and the ,delphian  group was     
composed of contemporary marble copies  
of those originals1  will be discussed  
further on4 ,if the marble group was a  
copy1 we may  infer that it reproduced  
the original statues1 not mechanically  
and  laboriously as was often the case  
in ,roman days1 but accurately2 for     
having employed a noted artist in the   
one case1 the dedicator would  have     
desired an accurate reproduction of the 
work in the other4    ,illustration3    
,,plate #bh    ,statue of the           
,pancratiast ,agias1 from ,delphi4      
,museum of ,delphi4    ,illustration3   
,,fig4 #fh4--;,head from the ,statue of 

,agias 7,pl4 #bh74 ,museum  of ,delphi4 
,,the ,,apoxyomenos ,,of ,,the          
,,vatican1 ,,and ,,lysippos4            
,illustration3 ,,plate #bi    ,statue of
 the ,apoxyomenos1 after ,lysippos or   
his ,school4 ,vatican  ,museum1 ,rome4  
,but another statue1 the ,apoxyomenos1  
of the ,vatican 7,pl4 #bi71bjca  ever   
since its discovery by ,canina in #ahdi1
 had held the honored  place of being   
regarded as the centre of the stylistic 
treatment  of ,lysippos4 ,seldom has the
 discovery of a ,roman copy of a ,greek 
original proved so important for the    
study of ancient sculpture as  this     
athlete statue1 which was found in an   
appropriate place1 in the  ruins of a   
building1 which almost certainly was a  
,roman bath4 ,despite  unimportant      
restorations1 the statue is well        
preserved4 ,the fingers of  the right   
hand holding the die were wrongly       
restored by the sculptor  ,tenerani at  
the suggestion of ,canina who wrongly   
interpreted the  passage in ,pliny      

7,,xxxiv1 #ee71 which refers to two     
works by ,polykleitos1  destringentem se
 et nudum talo incessentem1 as meaning  
one and the  same monument4#bjcb ,this  
slightly over life-size statue          
represents  a nude athlete1 who is      
standing with legs far apart1 employed  
in  scraping the sand and oil from his  
extended right arm with a strigil  held 
in the left hand4 ,this1 as we saw in   
,chapter ,,iii1 was a common  palstra   
motive4#bjcc ,despite certain           
portrait-like features1 this  statue may
 not represent an individual victor1    
but1 like ,myron's great  work1 an      
athletic model4 ,the words of           
,pliny1#bjcd which mention one  of the  
best-known works of ,lysippos in        
antiquity--it heads the list  in his    
account of the sculptor--as an athlete  
destringentem se1  and his statement in 
another passage#bjce that ,lysippos     
introduced  a new canon into art capita 
minora faciendo quam antiqui1 corpora   
graciliora siccioraque1 per quae        

proceritas signorum major videretur1  i4
 e41 a canon of bodily proportions      
essentially different from  that of     
,polykleitos1 seemed to have their best 
illustration in the  slender and        
graceful body and limbs1 and noticeably 
small head of  this statue4 ,it was1    
therefore1 though admittedly a ,roman   
work1 long  regarded as a direct copy of
 the ,lysippan original1 and as         
faithfully  representing his style in   
every detail4#bjcf ,such a view1 of     
course1  was founded entirely on        
circumstantial evidence1 and could not  
survive  any positive evidence to the   
contrary which might come to light in   
the  future4 ,g4 ,f4 ,hill1 in speaking 
of the insufficient evidence on which   
the ,apoxyomenos had been accepted as   
the key to ,lysippan style1  rightly    
remarks3 8,it is more scientific1 until 
we acquire documentary  evidence of     
excellent character1 to classify our    
extant examples  of ancient art as      
representing tendencies rather than     

men40#bjcg  ,the ,lysippan character of 
the ,vatican statue had not been        
seriously  attacked until the discovery 
of the ,agias4 ,its original was        
certainly  a work worthy of ,lysippos4  
,its rhythm1 proportions1 and fine      
modeling  have received praise of       
connoisseurs ever since its discovery4  
,its  difficult pose had been remarkably
 well executed4 ,while appearing at     
rest1 the statue suggests vigorous      
action both by its supple limbs  and the
 suppressed excitement indicated by the 
partly opened lips1  an excitement      
befitting a victorious athlete4 ,perhaps
 it was the  difficulty of such a pose  
that best explains why the ,apoxyomenos 
has left no other copy4#bjch ,the very  
excellence of the ,vatican  statue      
prejudiced us in favor of regarding it  
as an illustration of  ,lysippos' ideal 
of bodily proportions4 ,but we really   
knew very little  of the original       
,apoxyomenos1 only what we gathered from
 ,pliny1 that  ,lysippos made such a    

statue and that it was carried to ,rome 
by ,m4  ,agrippa and was set up in front
 of his ,therm1 whence it was removed   
by the enamored ,tiberius to his        
bed-chamber1 only to be restored when   
the populace remonstrated4 ,as for the  
proportions of the supposed copy  in    
question1 they only prove that this     
statue goes back to an original  which  
was not earlier than ,lysippos1 but not 
that it was by the master  himself4#bjci
 ,the discovery of the ,agias showed us 
at last on  what slender foundations our
 theory had been built4 ,despite certain
  well-marked similarities in the pose1 
proportions1 and relatively  small      
head--characteristics which were not    
even exclusively ,lysippan1  since they 
are just as prominent in certain other  
works1 e4 g41 in  the warriors of the   
,mausoleion frieze--between the ,agias  
and the  ,apoxyomenos1 nevertheless just
 as striking differences appear1 which  
make it difficult to keep both statues  
as examples of the artistic  tendency of

 one and the same artist1 even if we    
should assign them to  different periods
 of his career4      ,,the ,,agias ,,and
 ,,the ,,apoxyomenos ,,compared1 ,,and  
,,the ,,style ,,of ,,lysippos4    ,these
 differences are most apparent in the   
surface modeling and facial  expression 
of the two works4 ,in the ,agias the    
muscles are not  over-emphasized in     
detail1 but show the simple observation 
of nature  characteristic of artists who
 worked before the scientific study of  
anatomy at the ,museum of ,alexandria   
had reacted upon sculpture4 ,in the     
,apoxyomenos1 on the other hand1 we see 
an intentional display of the  new      
learning in the labored and detailed    
treatment of the muscles1  which        
disclose a knowledge of anatomy unknown 
before the ,hellenistic  age4 ,this     
academic treatment1 culminating later in
 such realistic works  as the ,laocon   
and the ,farnese ,herakles1 can hardly  
have antedated  the beginning of the    
third century ,b4 ,c41 when anatomy was 

studied by  the physicians ,herophilos  
and ,erasistratos1 a date after the     
close  of the activity of ,lysippos4 ,we
 see no trace of this influence in  the 
,agias4 ,moreover1 the face of the      
latter discloses the intense            
expression1 which is elsewhere seen only
 in works supposed to be by1  or        
influenced by1 ,skopas1 which recalls   
what ,plutarch#bjdj said of  ,lysippos' 
portraits of ,alexander1 that they      
reproduced his masculine  and leonine   
air 7    72 for a comparison  of this   
face with that of the ,apoxyomenos1     
which exhibits the  lifelessness and    
lack of expression so characteristic of 
many early  ,hellenistic works1 makes it
 still more evident that we must be on  
our  guard against assuming that both   
works are representative of the same    
sculptor4 ,the essential differences in 
physical type and artistic  execution   
between the two statues have been well  
summarized by ,k4 ,t4  ,frost in a      
letter published by ,prof4 ,percy       

,gardner in the latter's  treatment of  
the same subject4#bjda ,after a careful 
analysis of these  differences1 ,frost  
closes by saying3 8,it is difficult to  
believe that  the two statues represent 
works by the same artist2 it is not only
  the type of man1 but the way in which 
that type is expressed which  forms the 
contrast40 ,he compares the ,apoxyomenos
 with the ,borghese  ,warrior 7,fig4    
#dc7 as true products of the            
,hellenistic age4    ,when we consider  
these differences between the two       
statues1 we see  that our judgment of   
,lysippan art must depend on how we     
interpret  them4 ,we may either flatly  
reject the ,apoxyomenos and put the     
,agias in its place as representing the 
norm of ,lysippan art1 or  keep the     
,apoxyomenos and reject the ,agias as   
evidence2 or lastly  we may keep both as
 characteristic works of two different  
periods in  the artistic career of      
,lysippos1 explaining the differences as
 the  result of influence or of the     

lapse of years4 ,a recent writer1 to be 
sure1 has cut the ,gordian knot by      
rejecting both statues1 and placing  the
 ,apoxyomenos of the ,uffizi--which we  
have treated at length in a  preceding  
chapter 7,pl4 #ab7--;as the key to our  
knowledge of the art of  ,lysippos4#bjdb
 ,but such a solution of the problem    
raises even more  difficulties4 ,long   
before the ,agias came to light some    
critics1  indeed1 had doubted whether   
the ,apoxyomenos really represented  the
 work of ,lysippos1 as its ,hellenistic 
character seemed evident4  ,thus1 in    
#ahgg1 ,ulrich ,koehler1#bjdc following 
a still earlier  judgment1#bjdd had come
 to the conclusion that the ,vatican    
statue  was only a free reproduction of 
,lysippos' masterpiece and attributed   
its ,hellenistic characteristics to the 
,roman copyist2 but even yet  the school
 which long recognized the ,apoxyomenos 
as the norm of  ,lysippos has its       
supporters1#bjde though many            
archologists have  now supplanted the   

,apoxyomenos by the ,agias4#bjdf        
,others1 not  willing to renounce the   
,apoxyomenos as evidence1 accept both it
 and  the ,agias as characteristic works
 of the master1 appealing to the  length
 of his career to explain the           
differences1 and suggesting that  in his
 youth ,lysippos was under the influence
 of ,skopas1 but later in  life attained
 independence1 and followed a more      
anatomical rendering  for his athlete   
statues4#bjdg ,however1 despite the fact
 that other  artists must have          
influenced ,lysippos1#bjdh the ,agias   
can not be  shown to be a youthful work 
of his1 nor can the special influence   
of ,skopas be shown to have been that of
 master on pupil1 but rather  of one    
great master on another and equally     
great contemporary4 ,the  difficulty    
about penetrating the obscurity         
surrounding ,lysippos comes  largely    
from the fact that he borrowed traits   
from several of his  predecessors and   
contemporaries4 ,the influence of       

,polykleitos1 ,skopas1  and ,praxiteles1
 and especially of the last two1 as     
,homolle emphasized  in his study of the
 ,daochos group1#bjdi can be certainly  
traced in  the ,agias4 ,frulein ,bieber1
 in a recent article1#bjej while denying
  that ,lysippos had anything to do with
 the ,delphian group1 tries to  prove   
that one figure in it shows the         
influence of ,praxiteles1 another  that 
of ,polykleitos1 and a third that of    
,skopas4 ,she believes that  the        
sculptor of the ,agias had seen the     
original bronze statue1 the  work of    
,lysippos1 which stood in ,pharsalos4   
,however1 we may leave any  such        
conclusion to one side1 and judge       
between the ,agias and the  ,apoxyomenos
 solely on the merits of the two        
statues4    ,the differences between    
them appear to us too great to be       
reconciled  on any such principles as   
those just rehearsed1 for their style   
and  technique seem to represent two    
distinct periods of art4 ,if one is  to 

be rejected1 the connection of the      
,agias with ,lysippos certainly  rests  
on better evidence than does the        
,apoxyomenos4 ,by separating  them      
completely1 it is possible both to      
assign to ,lysippos the early  date     
which other evidence points to1 and to  
remove the ,apoxyomenos  entirely from  
the fourth century ,b4 ,c41 thus        
explaining its later  modeling1         
comparatively expressionless features1  
body-build 7which  shows the use of     
three planes1 instead of two71 and other
 ,hellenistic  details4 ,we should1     
then1 see in its original a work not by 
,lysippos  at all1 but by some pupil or 
later member of his school1 a work      
retaining merely traces of the style of 
the master4 ,in thus eliminating  the   
,apoxyomenos we are justified in        
following ,homolle's lead in  assigning 
the statue of ,agias to ,lysippos1 in   
spite of arguments which  have been     
adduced against attributing it to       
,lysippos and in spite  of recent       

criticism of the inscriptions of the    
,delphian bases1 by  which ,wolters     
tries to prove that the inscription on  
the base of the  statue of ,agias1 and  
consequently the ,agias itself1 antedate
 the  inscription and dedication at     
,pharsalos4#bjea ,we may1 therefore1    
until  further discoveries prove the    
contrary1 consider it as the centre of  
our treatment of that sculptor4 ,whether
 the ,apoxyomenos is to be  explained as
 emanating from the immediate           
environment of ,lysippos1  or is to be  
regarded as a work illustrating the last
 phase of his  development1 or the      
innovation of another master--in any    
case it seems  to us clearly to belong  
to an age essentially different from    
that which  conceived the ,agias4#bjeb  
,as the ,agias is a statue of a victor  
in the pankration1 we can learn  from it
 how ,lysippos represented such an      
athlete4 ,in giving up the              
,apoxyomenos1 we must also give up      
statues of athletes which have  hitherto

 been assigned to ,lysippos on the basis
 of their resemblance  to it1 and the   
future ascription of statues of this    
class must be  based on stylistic       
resemblances to the statue of ,agias4   
,thus1 for  example1 we should give up  
the statue of a youth in ,berlin1 and   
the  two statues of athletes represented
 in lunging attitudes in ,dresden1      
which ,furtwaengler1 on the basis of the
 ,apoxyomenos1 believed were  copies of 
originals by ,lysippos1#bjec and the    
,roman male head in  ,turin1 published  
by ,a4 ,j4 ,b4 ,wace1#bjed whose        
original is somewhat  later than that of
 the ,apoxyomenos4 ,on the basis of the 
,agias1 on  the other hand1 we may      
regard as ,lysippan the statue of an    
athlete in  ,copenhagen1#bjee and       
perhaps the ,parian marble statue of an 
athlete  from the ,palazzo ,farnese now 
in the ,british ,museum1#bjef with      
copies  in ,paris and ,rome4#bjeg ,this 
latter statue ,furtwaengler ascribed to 
the school of ,kalamis of the fifth     

century ,b4 ,c41 on account of the      
similarity of its style to that of the  
,apollo-on-the-,omphalos 7,fig4  #g;,b7 
and of its motive to that of the        
,lansdowne ,herakles 7,fig4 #ga and     
,pl4 #cj72 however1 ,a4 ,h4 ,smith finds
 it very similar to the ,agias1 and  so 
rightly refers it to the fourth century 
,b4 ,c4      ,,the ,,head ,,from        
,,olympia4    ,impressed by its         
remarkable likeness to the head of the  
,agias1 ,i  hazarded the opinion some   
years ago1#bjeh that the much discussed 
,pentelic marble head from ,olympia     
7,frontispiece and ,figure #fi7bjei  was
 ,lysippan1 and attempted to bring it   
into relation with the statue  of the   
,akarnanian pancratiast 7whose name ,i  
restored as ,philandridas71  which      
,pausanias#bjfj says was the work of    
,lysippos4 ,since then1 after  a careful
 revision of the evidence1 this earlier 
opinion has become  conviction1 and ,i  
now have no hesitancy in expressing the 
belief that  in this vigorous marble    

head we have to do with an original work
  by ,lysippos himself4 ,it will be our 
task briefly to rehearse the  reasons   
for making such an ascription1 despite  
the serious and weighty  objections     
which might be raised against it4       
,illustration3 ,,fig4 #fi4--,marble     
,head1 from ,olympia4 ,museum of        
,olympia4    ,at first this head was    
ascribed with surprising unanimity to   
the  school of ,praxiteles1#bjfa and    
subsequently1 after the discovery of    
the ,tegea heads1 with almost equal     
unanimity to that of ,skopas4 ,treu1    
who first published the head1#bjfb      
pointed out its near relationship  to   
the ,hermes of ,praxiteles1 which       
appeared to him to be obvious1          
notwithstanding the injured condition of
 the chin1 nose1 mouth1 and  brows4 ,he 
found the general proportions1 the shape
 of the cranium  and forehead1 and the  
form of the cheeks and mouth the same in
 both1  while the differences1 such as  
the deeper cut and wider opened eyes    

with their  expression1 the hair1 and   
the fact that the head  is harder1      
leaner1 and bonier than that of the     
,hermes1 were all  explained by the     
different character given to the statue 
of a victor  or ,herakles4 ,many other  
archologists1 as ,boetticher1#bjfc      
,laloux and  ,monceaux1#bjfd and        
,furtwaengler1#bjfe have also seen sure 
signs of  the hand of ,praxiteles or his
 school in the graceful attitude1       
delicate  chiseling1 and finish of the  
work4 ,still others1#bjff however1 found
  every characteristic of ,skopas in    
this head4 ,even ,treu in his later     
treatment of the head found it more     
,skopaic than ,praxitelian1 and yet1  by
 a careful analysis1#bjfg he            
conclusively showed that the formation  
of the eyes1 the opening of the mouth1  
and the treatment of the hair  were so  
different in the heads from ,tegea 7and 
especially in that of  the ,herakles1   
,fig4 #gc7 as to preclude the           
possibility of assigning  them and the  

head from ,olympia to the same sculptor1
 and so declared  for some independent  
sculptor among the contemporaries of    
,skopas4  ,however1 he did not see      
,lysippos in this allied but independent
 artist1  though he admitted the        
resemblance of the head in question to  
that of  the ,agias1 as also            
,homolle1#bjfh ,mahler1#bjfi and other  
critics  have done4      ,,the ,,olympia
 ,,head ,,and ,,that ,,of ,,the ,,agias4
    ,a detailed comparison of this head 
with that of the ,agias will show       
wherein the wonderful resemblance--so   
striking at first glance--consists  and 
will disclose its ,lysippan character4  
,neither head is a portrait1  nor even  
individualized2 the ,agias could be no  
portrait1 for ,agias  was the           
great-grandfather of ,daochos1 who      
enlisted the services of his            
contemporary ,lysippos in erecting his  
statue1 and he won his victory  in the  
pankration more than a century before   
this statue was set  up4#bjgj ,a glance 

at the head from ,olympia also clearly  
discloses its  ideal character2 for it  
is no portrait of ,philandridas1 but the
 victor  '  in the pankration4 ,the     
small head of the ,agias--under         
life-size--first arrests attention as   
the chief characteristic of the  whole  
statue and 7taken with the other        
proportions of the body7 as the  chief  
mark of its ,lysippan origin4 ,as       
,homolle says1 it is not that  small    
heads are not found outside the school  
of ,lysippos or before  his day--for    
,myron can furnish examples of them--but
 it is only with  ,lysippos and after   
him that we see a conscious intention of
 having the  proportions thus reduced4  
,now the head from ,olympia is also less
 than  life-size1#bjga but as the head  
alone is preserved1 we can only assume  
that the proportions it bore to the body
 were similar to those we see  in the   
statue of ,agias4 ,the conformation of  
the crania of both is1 as  in ,attic    
works1 round1 with small1 only slightly 

projecting occiputs1  as opposed to the 
squareness of ,polykleitan heads1 which 
are longer  from front to back and      
flatter on top--showing how ,lysippos in
 this  respect departed from the creator
 of the ,doryphoros4 ,this cranial      
conformation is almost identical in the 
two heads1 as is clearly shown  in ,fig4
 #gj1 where one is drawn in profile over
 the other4    ,illustration3 ,,fig4    
#gj4--,profile ,drawings of the ,heads  
of the ,agias  and the ,philandridas4   
,the head of the ,agias is turned       
slightly upward and to the left4  ,treu 
found traces of the use of a file on the
 back of the neck of  the head from     
,olympia1 which show from their         
position1 what also  was clear from the 
muscles of the throat1 that this head   
also was  inclined somewhat to the left 
and upward1 possibly more than that of  
the ,agias4 ,the outlines of the        
face--lean and bony in both--are oval1  
in the head from ,olympia somewhat      
broader1 rounder1 and fleshier  toward  

the chin4 ,in both the forehead is      
remarkably low1 with a low  depression  
or crease in the middle1 and with a     
prominently projecting  superciliary    
arcade1 which breaks the continuous line
 from forehead  to nose very            
perceptibly4 ,this line is concave above
 and below1 but  convex at the          
projection itself1 though this is less  
prominent in the  ,agias4 ,the powerful 
framing of the eyes1 which are deep-set 
and  thrown into heavy shadows by the   
projecting bony structure of the brows  
and the overhanging masses of flesh1 the
 eyeballs slightly raised and  peering  
eagerly into the far distance1 the      
slight upward inclination  of the head1 
and the prominent forehead drawn        
together1 all combine  to give both     
heads 7though young and vigorous7 a     
pensive1 even a sad  look of heroic     
dignity1 a look seemingly of one who    
takes no joy nor  pleasure in victory1  
though it is not mournful4 ,this humid  
and pensive  expression was doubtless a 

characteristic of works of ,lysippos--it
 was1  as we know1 present in his       
portraits of ,alexander--but he did not 
treat  it with as great intensity as did
 ,skopas4    ,the eyeballs in both heads
 are strongly arched1 though the inner  
angles  are not so deep as in ,skopaic  
heads2 the raised upper lids form a     
symmetrically narrow and sharply defined
 border over the eyeball1  and in       
neither head is this lid covered by a   
fold of skin at the outer  corners1 as  
in the ,tegea heads2 the mass of flesh  
at the outer corners  is heavier in the 
head from ,olympia1 and the expression  
of the eyes is  more free and defiant   
than in the more meditative ,agias4 ,in 
both1 the  cheek bones are high and     
prominent4 ,the elegant contour of the  
lips of  the ,agias is wholly wanting in
 the head from ,olympia1 in which the   
lips are broken off1 like the nose and  
the chin1 but it is clear that  the lips
 were slightly parted1 just showing the 
teeth--not1 however1 as  in the ,tegea  

examples1 as if the breath were being   
drawn with great  effort4 ,the look of  
pensiveness is also increased by the    
open lips4 ,the  contour of the jawbone 
is not so visible as in the ,agias1     
where it is  clearly discernible beneath
 the closely drawn skin1 giving the face
 a  look of greater leanness1 as of an  
athlete in perfect training4    ,in both
 heads the swollen and battered ears1   
though small1 are  prominent1 and in    
both the hair is closely cropped1 as    
becomes the  athlete4 ,the hair of the  
,agias does not show so much expression 
as  is displayed in that of some        
,lysippan heads1 nor the fine detail we 
should expect from ,pliny's statement   
that ,lysippos made improvements  in the
 rendering of the hair#bjgb--;for it is 
in great measure only  sketched out4 ,in
 ,lysippan portraits of ,alexander the  
hair is generally  expressively treated1
 and this is often the case in early    
,hellenistic  heads4#bjgc ,however1 we  
should not expect an elaborate treatment

 of  the hair in the statue of a        
pancratiast4 ,the head from ,olympia    
also  shows great simplicity in this    
regard4 ,as in ,skopaic heads1 the hair 
is  fashioned into little ringlets      
ruffled straight up from the forehead in
  flat relief1 but here the curls are   
shorter and more tense4 ,it covers  the 
temples and surrounds the ears as in the
 ,agias1 but it is not1  as there1      
bounded by a round1 floating line across
 the forehead1 nor  divided into little 
tufts modeled in relief radiating in    
concentric  circles from the top of the 
head4 ,while lacking in detail1 the hair
 of  the ,agias is treated carefully1   
and with the greatest variety4 ,narrow  
bands1 perhaps the insignia of victory1 
despite their small size1  encircle both
 heads2 in the ,agias the band is       
dexterously used to  heighten the effect
 of variety in the hair by alternately  
flattening  and swelling it here and    
there4 ,in neither head is there any    
sign of  the use of the drill to work   

out the tufts of the hair2 only the     
chisel  was used4#bjgd    ,finally1 the 
whole expression of these two ideal     
heads is one of force  and energy1 of   
heroic dignity tempered by pensiveness  
and pathos1  which is1 in the head from 
,olympia at least1 even a little        
dramatic4  ,both heads1 while ideal1    
show close observation of nature in     
modeling  and expression2 and both show 
the predilection of ,lysippos for types 
in which force and energy predominate1  
and his indifference to the  softer and 
more delicate types of manly beauty so  
characteristic of his  contemporary1    
,praxiteles4    ,in the foregoing       
comparison1 we have tacitly assumed that
 this marble  head is from an athlete   
statue1 and1 moreover1 that it1 as the  
,agias1  represents a victor in the     
pankration1 though many have seen in it 
the representation not of a victor1 but 
of a youthful ,herakles4#bjge  ,the     
swollen ears and the band in the hair   
might pass equally well for  either1    

just as the fact that it was unearthed  
near the ruins of the  ,great ,gymnasion
 7if it were necessary to assume that   
the statue once  stood there7 might be  
adduced as evidence for either          
interpretation2  for statues of athletes
 as well as those of ,herakles and      
,hermes 7as  we have shown in ,ch4      
,,ii7#bjgf adorned palstr and gymnasia4 
,that  the head is of marble and        
slightly under life-size seems to lend  
some support also to the belief that it 
is a fragment of a statue of  ,herakles1
 on the assumption that statues of      
victors in the ,altis were  uniformly of
 bronze1 an assumption1 however1 not    
supported by the  facts1 as will be     
shown in ,chapter ,,vii4 ,so some have  
seen the heroic  features of the        
youthful hero in the  of the eyes1 the  
energetic  forehead1 closely cropped    
hair1 muscular neck1 and almost         
challenging  inclination of the head    
seemingly corresponding with an         
energetic  raising of the left          

shoulder4#bjgg ,in ,chapter ,,iii we saw
 that swollen  ears were of little use  
in determining whether a given head     
belongs  to the statue of a victor or to
 one of ,herakles1 since they formed no 
personal characteristic1 but only a     
professional one common to athletes  and
 to gods1 if these latter were concerned
 with athletics4#bjgh ,where  personal  
attributes are absent1 it is often      
difficult1 therefore1 to  determine     
whether an ideal athlete or ,herakles is
 intended1 for it may  be the hero in   
the guise of the athlete1 or an athlete 
in the guise of  the hero4 ,the head    
under discussion1 then1 may furnish     
merely another  illustration of the     
process of assimilation of type which we
 have  already discussed4 ,thus it is   
not surprising that some have regarded  
this head as that of a youthful         
,herakles4 ,yet such a view is wrong2   
for1 apart from all considerations which
 we shall adduce to identify it  with   
the ,akarnanian pancratiast1 and in the 

absence of distinguishing  attributes1  
if we compare it with another ,lysippan 
head from a statue  generally recognized
 as that of a ,herakles--the famous     
,pentelic marble  one in ,lansdowne     
,house1 ,london 7,pl4 #cj and ,fig4     
#ga71bjgi which  ,michaelis long ago    
characterized as 8unmistakably in the   
spirit of  ,lysippos0--we can see how   
fundamentally different is the whole    
spiritual  conception of the two1 and   
how differently an athlete 7even if     
highly  idealized7 and a hero are       
treated by the same sculptor4 ,if we    
once  recognize a victor in the head    
from ,olympia1 then the swollen ears1   
the  fierce1 barbarous look of the eyes1
 and the half-painful expression of  the
 mouth1 all concur in convincing us that
 we here have to do with a  victor in   
boxing or the pankration1 the two most  
brutal and dangerous  contests4         
,illustration3 ,,fig4 #ga4--;,head of   
the ,statue of ,herakles 7,pl4 #cj74    
,lansdowne ,house1 ,london4             

,,identification ,,of ,,the ,,olympia   
,,head4    ,having established1 then1   
the ,lysippan character of the head and 
the  probability that it comes from the 
statue of a boxer or pancratiast1  we   
shall next discuss the evidence for     
identifying it with one of the          
monuments mentioned by ,pausanias in his
 periegesis of the ,altis4 ,he  names   
only five statues of victors by         
,lysippos3 those of ,troilos1#bjhj      
victor in the two- and four-horse       
chariot-races2 of ,philandridas#bjha    
and of ,polydamas1#bjhb victors in the  
pankration2 of ,cheilon1#bjhc  victor in
 wrestling1 and of ,kallikrates1#bjhd   
victor in the  hoplite-race4 ,of these1 
the only two which can come into        
consideration  are those of the two     
pancratiasts2 and one of these1 that of 
,polydamas1  can at once be eliminated2 
for this small head can have had nothing
  to do with the pretentious monument   
mentioned by ,pausanias in these  words3
           1      1 4 4 4 ,fragments of 

the base of this  monument have been    
recovered1 and it stood in a part of the
 ,altis#bjhe  too far removed from the  
spot where the statue of ,philandridas  
stood1  or from that where the marble   
head was found4 ,our choice is limited  
to the statue of the ,akarnanian1 the   
tenth in the series of #afh             
victors#bjhf named by ,pausanias in his 
first ephodos4    ,illustration3 ,,plate
 #cj    ,statue of ,herakles4 ,lansdowne
 ,house1 ,london4    ,we can determine  
very closely the position of these first
 few statues  in the ,altis4 ,pausanias 
begins his enumeration       1 in the   
northwest of the sacred enclosure4#bjhg 
,he is often  loose in his employment of
 words to denote locations1 and         
especially  so in that of the terms     
and  1 which must sometimes be          
interpreted from the viewpoint of the   
spectator1 and sometimes from  that of a
 given monument4 ,we shall show in      
,chapter ,,viii that these  words in    
this connection must be taken as        

referring to the temple  pro persona1   
and consequently to the southern side of
 the ,heraion4  ,the marble head was    
found in this neighborhood1 in the wall 
of some  late ,byzantine huts behind the
 southern end of the stadion-hall of    
the ,great ,gymnasion1 #bc4ej meters    
north of its southeastern corner  and #e
 meters east of its back wall1#bjhh and 
consequently very near  the ,heraion4   
,inasmuch as the inscribed tablet from  
the base of the  statue of              
,troilos1#bjhi the sixth statue         
mentioned by ,pausanias1 and  the       
inscribed base of the monument of       
,kyniska1#bjij the seventh1  were both  
found in the ruins of the ,prytaneion   
nearby1 and the basis  of the statue of 
,sophios1#bjia the twenty-second in the 
series1  was discovered also in this    
part of the ,altis1 in the bed of the   
,kladeos1#bjib we can conclude that all 
four monuments originally  stood near   
together1 and in the order named by     
,pausanias1 along the  southern side of 

the ,heraion4 ,the remarkably good      
preservation of the  surface of the     
marble head points to the fact that it  
was set up in a  sheltered place4#bjic  
,furthermore1 the unfinished condition  
of the  back hair1 which is only roughly
 blocked out1 so that not even the      
contour of the locks is indicated1 shows
 that the statue was intended  to be set
 up against a solid background1 i4 e41  
in front of a wall1  niche1 or          
column4#bjid ,from this fact we may     
conclude that the statue  of            
,philandridas1 and perhaps those of some
 of the other victors first  mentioned  
by ,pausanias1 stood on the southern    
stylobate of the ,heraion1  over against
 the columns of the peristyle4          
,,the ,,dates ,,of ,,philandridas ,,and 
,,lysippos4    ,the date of the victory 
of ,philandridas is not recorded1 but it
  probably must lie within the years of 
the activity of ,lysippos1 who  made the
 statue4#bjie ,on the principle which   
has been sufficiently  demonstrated in  

my monograph de olympionicarum ,statuis1
 that statues  of nearly contemporaneous
 victors were grouped together in the   
,altis1  as well as those of the same   
family and state1 or those who had been 
victorious in the same contest1 ,i have 
already in that work#bjif  proposed ,ol4
 #ajb or ,ol4 #ajc 7 #cgb or #cfh ,b4   
,c47 as the probable date  of his       
victory1 as his statue stands among     
those of victors1 none of  whom could   
have won later than ,ol4 #ajd 7 #cfd ,b4
 ,c474 ,the first six  named by         
,pausanias are ,eleans and the dates of 
their victories fall  between ,ols4 #id 
and #ajd 7 #djd and #cfd ,b4 ,c472 the  
sixth1 ,troilos1 is  known to have won  
his two victories in ,ols4 #ajb and     
#ajc4bjig ,none  of the next seven      
,spartans--among whose statues that of  
,philandridas  was placed--can be dated 
later than ,ol4 #ig 7 #cib ,b4 ,c471    
while most of  them belong to the close 
of the fifth century ,b4 ,c4 ,sostratos 
of ,sikyon  won in the same contest in  

which ,philandridas did in ,ol4 #ajd 7  
#cfd  ,b4 ,c472#bjih and doubtless his  
two other known victories should be     
assigned to the two succeeding          
,olympiads4 ,to bring ,philandridas down
  as far as ,ol4 #ajg 7 #ceb ,b4 ,c47 is
 unwarranted1 since no statue of so     
late a date stood in this vicinity4 ,on 
the other hand1 to place his  victory   
earlier than ,ol4 #ajb1 is also out of  
the question1 owing to the  inexpediency
 of dating ,lysippos so early4          
,doubtless1 therefore1 his  statue by   
,lysippos was placed in the ,spartan    
group about the same time  that the     
image of ,troilos1 by the same sculptor1
 was placed among the  ,eleans4 ,this is
 an independent argument1 then1 for so  
early a date for  ,lysippos4#bjii       
,percy ,gardner1 in the discussion of   
the date of this artist1#bajj has  shown
 how slight is the evidence for any date
 later than #cbj ,b4 ,c4  ,the date of  
the second ,olympic victory of ,cheilon 
of ,patrai1 whose  statue was by        

,lysippos1 can not be later than #cbj   
,b4 ,c4#baja ,pausanias  quotes the     
inscription on the base of the statue to
 the effect that  ,cheilon died in      
battle and was buried for his valor's   
sake by the  ,achan people4 ,he infers  
the date of his death by reference to   
the  date of ,lysippos as either #cch   
,b4 ,c4 7,chroneia7 or #cbb ,b4 ,c4     
7,lamia74  ,in another passage1 ,,vii1  
#f4e1 he says that the ,olympic guide   
told him  that ,cheilon was the only    
,achan who fought at ,lamia4 ,gardner   
justly  remarks that either of these    
dates1 the two occasions in the lifetime
  of ,lysippos when the ,achans took    
part in an important war1 fall  within  
the dates of the artist's activity4#bajb
 ,the dates of the two  hoplite         
victories of ,kallikrates of ,magnesia1 
on the ,meander1 whose  statue was also 
the work of ,lysippos1 must be left     
indeterminate4#bajc  ,gardner also shows
 that the wish not to separate ,lysippos
 from the  ,apoxyomenos has been the    

real reason which has influenced so     
many archologists to extend his activity
 to the end of the fourth  century1#bajd
 and to explain away the evidence for an
 earlier date  offered by the statue of 
,troilos1 who won his second victory in 
#cfh ,b4  ,c4 ,if we once for all give  
up the ,apoxyomenos1 the difficulty of  
an  early dating disappears1 as does    
also the theory that ,skopas could have 
strongly influenced the youthful        
,lysippos as a master would influence a 
pupil1 and it becomes clear that this   
influence must have been mutual1  that  
of one great contemporary upon another4 
,although ,lysippos worked  longer1 as  
is attested by his work for ,alexander  
and his generals1  he could have been   
but little if any younger than either   
,skopas or  ,praxiteles1 from both of   
whom he learned4 ,we have already quoted
  ,homolle#baje as saying that an       
analysis of the style of the ,agias     
discloses the mixed influences of       
,praxiteles and ,skopas1 as well as the 

independent work of ,lysippos1 in the   
pose1 proportions1 and whole type  of   
the figure4    ,lysippos was a great    
reformer in art1 breaking away from     
,argive and  ,polykleitan traditions1   
even though he called the ,doryphoros as
  well as ,nature his master1 and though
 the influence of ,polykleitos  is      
visible in the body of the ,agias1 just 
as that of ,skopas in the  treatment of 
its forehead1 eyes1 and mouth1 and in   
the intensity of its  expression4       
,evidently he was strongly affected by  
the work of his great  predecessors and 
contemporaries1 but developed at the    
same time new  and independent          
tendencies4 ,thus the ,philandridas must
 have been--just  as the lost statue of 
,troilos--an early work of the master1  
whereas the  ,agias was the work of his 
mature genius4 ,the difference between  
the  two can thus be explained by the   
lapse of time between them1 and by the  
influences that surrounded the youthful 
artist2 but the similarities  between   

them are1 at the same time1 striking1   
and there is little  resemblance in     
either to the ,apoxyomenos4 ,this is    
another link in the  chain of evidence  
that the latter work could not have been
 produced by  the same artist2 for      
artists do not radically change their   
style after  many years of work1 and    
,lysippos must have been at least fifty 
years  old when he created the ,agias4  
,the identification of this marble head 
with that of the victor statue  of the  
,akarnanian pancratiast by ,lysippos    
raises two questions which we  shall    
briefly examine3 whether the statues in 
the ,altis were ever made  of marble1   
and whether ,lysippos ever worked in    
that material4 ,the first  of these     
questions will be left for the following
 chapter2 the second  will be discussed 
in the present connection4              
,,lysippos ,,as ,a ,,worker ,,in        
,,marble1 ,,and ,,statue 8,,doubles40   
,to regard a marble statue as an        
original work of ,lysippos1 who has been

  looked upon almost universally as a   
sculptor in bronze exclusively1  seems  
at first sight to be baseless4 ,pliny   
certainly classed ,lysippos  among the  
bronze-workers1 for in the preface to   
his account of  bronze-founders#bajf he 
tells us that this artist produced      
#a1ejj  statues1 and doubtless we are to
 infer that the historian regarded  them
 all as being made of metal4 ,he        
further#bajg speaks of ,lysippos'       
contributions to the 7ars7 statuaria1   
and it seems clear that this  term1 as  
the modern title of ,book ,,xxxiv1 is to
 be taken in its narrow  sense of       
sculpture in bronze as opposed to       
sculptura1#bajh that  in marble4 ,how   
firmly the belief is established that   
,lysippos worked  only in bronze can be 
seen from the following words of        
,overbeck3 8,zu  beginnen ist mit       
wiederholter ,hervorhebung der durchaus 
unzweifelhaften  und wichtigen ,tatsache
 dass ,lysippos ausschliesslich         
,erzgiesser  war40#baji ,that ,lysippos 

was preminently a bronze-worker1 and    
that his ancient reputation was due     
chiefly to his bronze work1 can  not be 
doubted4 ,but to say that he never      
essayed to produce works  in marble1 as 
so many other ,greek artists did who    
were famed as  bronze-workers1#baaj is1 
as one writer has lately expressed it1 a
  kindisches ,vorurtheil4#baaa ,that    
marble work was done in his studio1  if 
not by his hand1 is well attested by the
 reliefs from the base  of the victor   
statue of ,polydamas mentioned above1   
which have been  generally referred to  
,lysippos' pupils4#baab ,these are too  
damaged  to be used as exact evidence of
 his style1 but the legs of ,polydamas  
himself1 in the central relief1 so far  
as their contour can be made  out1 are  
thin and sinewy1 as we should expect in 
,lysippan work1 and  this relief        
doubtless would have been regarded as   
the work of the  master himself1 if it  
had not been taken for granted that he  
worked  only in bronze4 ,but for the    

same assumption some critics would have 
seen an original from the hand of       
,lysippos in the statue of ,agias at    
least1 if not in the others of the      
,delphian group4#baac ,it will be       
interesting to rehearse some of the     
arguments by which the statue of  ,agias
 has been adjudged a copy4#baad    ,it  
has been generally assumed that the     
original group of statues at  ,pharsalos
 was of bronze 7though we have no proof 
that it may not have  been of marble71  
while the one at ,delphi was copied     
almost1 if not  quite1 simultaneously in
 marble#baae--so faithfully1 indeed1    
that even  the proper marble support to 
the figure of ,agias was omitted4 ,while
  ,homolle notes the absence of this    
support as evidence of the marble       
statue being an exact copy of the       
original bronze1 ,gardner argues that   
this proves a free imitation1 where the 
support was not needed4#baaf  ,the      
inexact modeling of the hair1 since hair
 can not be rendered so  perfectly in   

marble as in bronze1 has been adduced as
 a sign that the  marble statue was a   
copy of the bronze original4 ,this in   
itself is a  weak argument1 since the   
slight and sketchy treatment of the hair
 of  the ,hermes of ,praxiteles--which  
is1 for the most part1 merely blocked   
out#baag--might with just as good reason
 be used as evidence that that  statue  
is only a copy1 especially as we know   
that ,praxiteles also  worked in        
bronze4#baah ,the omission of the       
artist's signature on the  base of the  
,agias has also been taken to indicate  
that some pupil of  ,lysippos           
7,lysistratos1 for example7 did the work
 of transference in the  master's studio
 under his supervision and doubtless    
from his model4    ,despite all such    
arguments1 which prove little1 it must  
be admitted  that the careless finish of
 the ,delphian statue is not what we    
should  expect in a masterpiece by so   
renowned a sculptor as ,lysippos1 as    
the statue can not be said to be a      

first-rate work of art4 ,but that  it   
was made under the direct supervision of
 ,lysippos can hardly be  questioned4   
,it seems reasonable to believe that    
,daochos1 who employed  the great artist
 in the one case1 would not have trusted
 a mere copyist  in the other1 or one   
who was free to indulge his individual  
taste  in details1#baai especially as   
the statue was to be placed in so       
prominent a place as ,delphi4 ,he       
probably gave the orders for the two    
statues at the same time1 and ,lysippos 
must have had the oversight of  the     
,delphian one4 ,so it seems best to     
regard the statue of ,agias as a        
8double10 and not as a copy in the later
 sense of the word4 ,the custom  of     
making such doubles goes back at least  
to the middle of the sixth  century ,b4 
,c4 ,thus the statue of the ,delian     
,apollo by ,angelion and  ,tektaios1    
known as the 8,healer0 771#babj had a   
8double0 in  both ,delphi#baba and      
,athens4#babb ,similarly the ,philesian 

,apollo of  ,branchidai near ,miletos1  
by the elder ,kanachos1#babc had a      
double in  ,thebes known as the         
,ismenian ,apollo1 which ,pausanias says
 differed  from the one in ,miletos     
neither in form nor size1 but only in   
material1  for it was of                
cedar-wood1#babd while the ,milesian one
 was of bronze4  ,furtwaengler#babe has 
demonstrated that contemporary doubles  
of works  by ,polykleitos1 ,pheidias1   
and ,praxiteles existed4 ,the case of   
the  statues of the athlete ,agias at   
,pharsalos and at ,delphi is paralleled 
by that of the ,olympic victor          
,promachos1 who had statues1 probably   
alike1 both at ,olympia and in his      
native city ,pellene4#babf ,a double  of
 the base of the ,nike of ,paionios at  
,olympia was discovered at              
,delphi1#babg and a fine head in the    
collection of ,miss ,hertz in ,rome  is 
from the same original4#babh ,a         
,polykleitan head in the ,british       
,museum1 similar to that of the         

,westmacott ,athlete 7,pl4 #ai71 seems  
to be a contemporary replica of an      
original of the fifth century  ,b4      
,c4#babi ,such examples 7and many more  
could be cited7 show the  difference    
between contemporary 8doubles0 and the  
later copies of ,greek  masterpieces4   
,the former are ,greek originals in a   
very true sense1  made1 as we assume the
 ,agias was1 under the direct           
supervision of  noted sculptors4 ,in    
this sense only the ,delphian statue    
should be  called a copy4      ,,head   
,,of ,a ,,statue ,,of ,a ,,boy ,,from   
,,sparta1 ,,and ,,the ,,art ,,of        
,,skopas4    ,illustration3 ,,fig4      
#gb4--,marble ,head of a ,boy1 found    
near the ,akropolis1  ,sparta4 ,in      
,private ,possession in ,philadelphia1  
,u4 ,s4 ,a4    ,we shall next discuss   
the beautiful ,pentelic marble head of a
 boy1  with a lion's scalp drawn over   
the top so that the muzzle comes down   
over the forehead1 which is said to have
 been discovered near the  ,akropolis at

 ,sparta in #aijh 7,fig4 #gb74 ,this    
head was for a time in the  ,university 
,museum1 ,philadelphia1 and later was   
exhibited at the ,boston  ,museum of    
,fine ,arts4 ,at last accounts it was in
 private possession in  ,philadelphia4  
,it has been published as the head of a 
youthful ,herakles  by my colleague1    
,professor ,w4 ,n4 ,bates1 in the       
,american ,journal of  ,archology4#bacj 
,of its style he says3 8,the points of  
resemblance  which the ,philadelphia    
,heracles bears to the heads from the   
,tegean  pediments are so many and so   
striking that they must all be traced   
back to the same sculptor2 and that he  
was ,skopas there can be little  doubt40
 ,he therefore concludes that it is     
8probably a very good copy  of a lost   
work of ,skopas40#baca ,a little later1 
,dr4 ,l4 ,d4 ,caskey1 of  the ,museum in
 ,boston1 found these resemblances      
hardly close enough1  in view of the    
influence of ,skopas on later ,greek    
sculpture1 to  justify so definite an   

attribution4#bacb ,he found them        
confined to  the upper part of the face1
 while he believed that the lower       
portion  resembled heads which could be 
assigned to ,praxiteles or his          
influence1  and consequently he         
pronounced the head 8an eclectic work in
 which  features borrowed from ,skopas  
and ,praxiteles have been combined with 
an  unusually successful effect40    ,as
 ,dr4 ,bates points out1 there is no    
recorded statue of ,herakles by  ,skopas
 which corresponds with this head4 ,the 
stone one mentioned  by ,pausanias as   
standing in the ,gymnasion at           
,sikyon#bacc has been  thought by the   
authors of the ,numismatic ,commentary  
on ,pausanias  to be reproduced on a    
,sikyonian copper coin of the age of    
,geta1 now  in the ,british             
,museum4#bacd ,many statues and busts   
scattered in  ,european museums1 which  
represent a beardless ,herakles and show
 ,skopaic  influence1 have been traced  
back to this original4#bace ,however1   

the  coin represents the hero wearing a 
wreath1 and so1 if it was copied  from  
the original in the ,gymnasion1 the     
latter could not have been the          
prototype of the head under discussion4 
,it is now universally acknowledged that
 all constructive criticism  of the art 
of ,skopas must be based on a study of  
the heads found at  ,tegea4 ,besides    
those discovered in #ahgi1 and now in   
the ,national ,museum  in ,athens1#bacf 
two other male heads 7in addition to the
 torso of a  female figure draped as an 
,amazon1 and a head on the same scale   
which  probably belongs to it1 as both  
are of ,parian marble1 representing     
probably ,atalanta of the ,east         
pediment7 were discovered by ,m4 ,mendel
  in his excavations of the temple of   
,athena ,alea in #aijj-aija1 and        
referred to the pedimental groups       
described by ,pausanias4#bacg ,as one   
of these 7,fig4#gc7 is characterized by 
a lion's scalp worn as a helmet1  the   
hero's face fitting into the jaws1 its  

teeth showing above his  forehead1 it   
has been regarded as the head from a    
statue of ,herakles1  although          
,pausanias mentions no such statue in   
his enumeration of the  figures         
composing the group of the ,eastern     
pediment1 and although it  is difficult 
to explain the presence of the hero in  
the group of the  ,western pediment1    
which represented the battle between his
 son ,telephos  and ,achilles4 ,mendel  
considers this head to be inferior in   
workmanship  to the others1 and so      
refers it to the school of ,skopas      
rather than  to the master himself1 and 
designates it 8un travail d'atelier40   
,in describing it1 however1 he says3    
8tous ces caractres1 qui sont  ceux des 
ttes du ,muse central1 se retrouvent    
dans ntre tte  d',hracls40#bach ,here we
 have a head of a youthful ,herakles 7or
 of  some hero who has borrowed his     
attribute of the lion's skin--perhaps   
,telephos71 which1 if not by ,skopas    
himself1 is still a work of his  school 

reproducing all his characteristics2    
consequently1 of all these  heads from  
,tegea1 it is with this one chiefly that
 we should compare  the head from       
,sparta similarly covered with a lion's 
scalp4    ,illustration3 ,,fig4         
#gc4--,so-called ,head of ,herakles1    
from ,tegea1 by  ,skopas4 ,national     
,museum1 ,athens4    ,though badly      
injured1 it is still possible to see in 
this head of  the so-called ,herakles   
found at ,tegea1 both in full view and  
in  profile1 the characteristic ,skopaic
 expression of passion1 and to  discover
 the means by which the artist effected 
it4 ,the expression is  due in great    
measure to the upward direction of the  
gaze1 and to the  heavy overshadowing of
 the deep-set eyes4 ,it is further      
enhanced by  the contracted brow1       
dilated nostril1 and half-open1 almost  
panting1  mouth1 whose parted lips      
clearly disclose the teeth4 ,the        
structure  of the head is in keeping    
with the strength of character          

portrayed2  the skull is very deep from 
front to back1 and its framework is     
massive and bony2 the face is broad and 
short and the chin is heavy2  everything
 emphasizes the impression of a virile  
and muscular warrior  violently engaged 
in the fray4 ,the subjects of the two   
pedimental  groups--the ,kalydonian boar
 hunt and the battle between ,achilles  
and  ,telephos--justified the expression
 of unrestrained violence which  we see 
in this and the other male heads1 and   
gave the sculptor an  opportunity to    
represent his heroes in the excitement  
of action and  danger4 ,to effect this  
intensity of expression ,skopas relied  
mainly on  the treatment of the eye4 ,in
 one of the heads 7the unhelmeted one in
  ,athens7 the gaze is not turned       
upwards as in the ,herakles1 nor are    
the neck-muscles strained as in the     
others1 and yet the expression is  even 
more violent than in them4 ,thus it is  
the modeling of the flesh  about the eye
 which is the real distinguishing       

feature of ,skopas' work4  ,in          
describing the helmeted head in ,athens1
 ,e4 ,a4 ,gardner says3      8,the eyes 
are set very deep in their sockets1 and 
heavily    overshadowed1 at their inner 
corners1 by the strong    projection of 
the brow1 which does not1 however1 as in
    some later examples of a similar    
intention on the part of    the artist1 
meet the line of the nose at an acute   
angle1    but arches away from it in a  
bold curve4 ,at the outer    corners the
 eyes are also heavily overshadowed1    
here by    a projecting mass of flesh or
 muscle which overhangs    and actually 
hides in part the upper lid4 ,the eyes  
are    very wide-open--with a dilation  
which comes from fixing    the eyes upon
 a distant object--and therefore suggest
 the    far-away look associated with a 
passionate nature40#baci                
,,comparison ,,of ,,the ,,tegea ,,heads 
,,and ,,the ,,head ,,from ,,sparta4     
,it is to the facial characteristics in 
the ,tegea heads that ,dr4 ,bates  calls

 attention in basing his argument for   
the ,skopaic origin of  the head from   
,sparta3 the forehead horizontally      
divided by a median  line1 the swelling1
 prominent brow1 the deep-set eyes with 
their  narrow lids--only #b mm4         
wide--embedded in the projecting flesh  
at the  outer corners1 and the parted   
mouth4 ,he also sees a resemblance in   
the small round curls bunched together  
above the ears4 ,but if there  are      
resemblances 7especially in the modeling
 of the eyes7 there are  also great     
differences observable in the ,tegea    
heads and the one from  ,sparta4 ,let us
 confine our comparison of the latter   
with the ,herakles  of the ,tegea       
pediment1 though the comparison with any
 of the other male  heads would lead to 
substantially the same results4    ,in  
the first place the structure of the two
 heads in question is very  different4  
,as the head from ,sparta is broken in  
two at the ears and the  whole back part
 is missing1 we can not tell whether it 

had the great  depth of the one from    
,tegea4 ,but of the massive1 bony       
framework of the  latter there is little
 trace in the former4 ,in the ,tegea    
example we are  struck with the         
squareness of the head and the breadth  
of the central  part of the face2 the   
sides do not gradually converge toward  
the  middle1 but seem to form distinct  
planes4 ,the distance between the eyes  
is also in keeping with the breadth of  
the skull as measured between  the ears2
 the breadth of the face almost equals  
its length from the top  of the forehead
 to the chin1 and this fact1 together   
with the massive1  prominent chin1 gives
 an element of squareness to the        
whole4#badj  ,on the other hand1 the    
head from ,sparta has a long1 narrow    
face whose  sides softly converge toward
 the middle in beautiful curves about   
the  cheeks2 its cheek-bones are not so 
high nor so prominent as those  of the  
other2 it ends in a delicate1 almost    
effeminate chin1 which  slightly        

retreats and gives the whole lower part 
of the face an oval  structure1 thus    
recalling ,praxiteles and fourth-century
 ,attic works4  ,the length of the face 
is accentuated by the considerable      
height to  which the head rises above   
the forehead1 in contrast with the      
flatness  of the skull in the example   
from ,tegea4 ,the eyes are not so       
wide-open2  they are longer and not so  
swollen nor compressed toward the       
centre2 if  we view the two heads from  
the side1 we see that the eye-socket in 
the  ,tegea head is larger and          
appreciably deeper than in the one from 
,sparta4    ,apart from these surface   
differences in the structure of the head
  and face1 it is in the resultant      
expression that we see the greatest     
divergence from the ,skopaic type4 ,this
 seems to me to be fundamentally        
different in the ,sparta head4 ,in the  
,herakles1 as in all the other  ,tegea  
male heads1 and even in those of the    
boar and the dogs1 the  really          

characteristic feature1 which           
differentiates them from all  other     
works of ,greek sculpture1 is the       
passionate intensity of their           
expression4 ,the one unforgettable      
impression left on the spectator by     
them all is this expression of violent  
and unrestrained passion1 which  the    
sculptor has succeeded in imparting to  
the marble4 ,this is what  marks him as 
the master of passion and the originator
 of the dramatic  tendencies carried to 
such lengths in the ,hellenistic schools
 of  sculpture2 it is this which        
explains ,kallistratos' characterization
 of  his works as being    4#bada ,the  
head from ,sparta  shows only a little  
of this intensity4 ,notwithstanding the 
similar  upward gaze and slightly parted
 lips1 the intention of the artist      
seems to have been to portray the hero  
in an attitude of expectancy1  tempered 
by a look almost of calmness4 ,the look 
is deeply earnest1  but not violent2 it 
is even melancholy4 ,it is this last    

feature1 the  delicate and compelling   
melancholy of the face1 which impressed 
me  most on first viewing it4 ,this is  
further enhanced by the full1 soft      
modeling of the lower face1 that gives  
to the whole a delicate1 almost         
effeminate character1 which strongly    
reminds us of ,praxitelean heads4  ,in  
fact1 the shape of the lips and the     
modeling of the flesh on either  side of
 the mouth1 together with the soft1     
dimpled chin1 have little  in common    
with the massive strength and remarkable
 animation of the  ,tegea heads4 ,as    
,dr4 ,caskey has intimated1 if we had   
only the lower  portion of the face for 
comparison1 we should be inclined to    
ascribe it  to the influence of         
,praxiteles4 ,if we considered the upper
 part only1  resemblances to ,skopaic   
work seem well marked2 but if we take   
into  account the expression of the face
 as a whole1 we see that it lacks the   
most essential of ,skopaic features1 the
 look of passionate intensity4          

,consequently we shall find it difficult
 to bring the head into such  close     
relation to that artist2 for here there 
is little analogy to  the vigorous      
warrior types of the ,tegea pediments4  
,for its quieter  mien it might be      
better to compare it with the head of   
,atalanta1#badb  though none of the     
gentle pathos or eagerness of the       
,sparta head is  there visible4 ,the    
,atalanta1 though full of vigorous life1
 utterly  lacks the unrestrained passion
 so characteristic of her brothers2 her 
eyes are not so deeply set1 nor so      
wide-open2 they are narrower and        
longer1 and are not over-hung at the    
outer corners by heavy masses of        
flesh4#badc ,in speaking of the absence 
of these rolls of muscle1 ,e4  ,a4      
,gardner notes a curious peculiarity3   
8,this is a clearly marked1  though     
delicately rounded1 roll of flesh       
between the brow and the upper  eyelid1 
which is continued right round above the
 inner corner of the  eye1 to join the  

swelling at the side of the nose1 which 
itself passes  on into the cheek40#badd 
,he detects this same peculiarity in    
certain  other ,skopaic heads1 notably  
in the ,apollo from the ,mausoleion and 
the ,demeter from ,knidos1 though it is 
quite lacking in the ,tegea male  heads4
 ,it all goes to show that ,skopas was  
not strictly consistent in  his         
treatment of the eye4 ,the lower face of
 the ,atalanta is also  longer and more 
oval than that of the male heads1 and   
thus shows ,attic  rather than          
,peloponnesian influence4 ,if it is     
difficult1 then1 to  conceive of the    
,atalanta and the male heads as the work
 of the same  sculptor1 the contrast1   
both in structure and expression1       
between these  two heads of ,herakles1  
the one from ,tegea1 the other from     
,sparta1 makes  it more difficult to    
assume the same authorship for both2 for
 here we  can not explain the difference
 as the contrast between the types of   
hero and heroine2 here we are comparing 

two heads which are supposedly  of the  
same hero4      ,,the ,,styles ,,of     
,,skopas ,,and ,,lysippos ,,compared4   
,illustration3 ,,fig4 #gd4--;,attic     
,grave-,relief1 found in the ,bed of the
  ,ilissos1 ,athens4 ,national ,museum1 
,athens4    ,illustration3 ,,fig4       
#ge4--,statue of the so-called          
,meleager4 ,vatican  ,museum1 ,rome4    
,in view1 then1 of the differences      
enumerated ,i should hesitate to  assign
 a ,skopaic origin to the head from     
,sparta4 ,in the lower part of  the     
face1 with its small mouth and delicate 
chin1 ,i see signs only of  ,praxitelean
 influence2 in the upper part ,i am much
 more inclined to see  affinities to the
 art-tendencies of ,lysippos1 as we now 
know them from  the statue of ,agias4   
,in the present state of our knowledge  
it is not  difficult to separate works  
of ,praxitelean origin from those of    
,skopas2  but it is a very different    
thing to distinguish those of ,skopaic  
origin  from those of ,lysippos2 here   

the line distinguishing the two masters 
is much finer and harder to draw4       
,before the discovery of the ,tegea     
heads1 the deep-set eye1#bade prominent 
brow1 and 8breathing0 mouth  were looked
 upon as characteristic features of     
,lysippos1 as they were  known to us    
from representations of ,alexander1     
especially on coins4  ,we now know that 
these traits belonged to ,skopas to a   
much greater  extent4 ,when the ,agias  
was found1 and before its true          
authorship had  been determined1        
,homolle1 as we have seen1 had at first 
classed it  as showing the manner of    
,lysippos1 only later to see more of    
,skopas  than ,lysippos in it4 ,such a  
conclusion was natural so long as we    
regarded the ,apoxyomenos as the key to 
,lysippan art4 ,by assigning  these     
traits definitely to ,skopas1 we were   
compelled to view the work  of ,lysippos
 as conventional and somewhat lifeless  
in comparison4 ,but  with the assumption
 that the statue of ,agias represented  

true ,lysippan  characteristics1 we were
 forced to recognize that the same      
traits  belonged to ,lysippos also1     
though to a less degree1 since the      
energy  of the ,tegea heads was absent  
from the features of the ,agias and     
their fierceness was here replaced by a 
look of quiet melancholy4 ,the  study of
 such allied works as the beautiful and 
excellently preserved  ,lansdowne       
,herakles 7,pl4 #cj and ,fig4 #ga71 the 
athlete on the ,pentelic  marble stele  
found in the bed of the ,ilissos in     
#ahgd1 and now in the  ,national ,museum
 in ,athens 7,fig4 #gd71badf the        
so-called ,meleager  in the ,vatican    
7,fig4 #ge71badg and other copies of the
 same original  7e4 g41 ,figs4 #gf1     
#gg71 also shows how closely the type of
 ,lysippos  approached that of ,skopas4 
,long ago ,i expressed the view#badh    
that  these and similar works should be 
assigned to ,lysippos rather than  to   
,skopas1 to whom most critics had       
referred them4 ,thus1 after the         

discovery of the ,tegea heads1 scholarly
 opinion began to follow the  arguments 
of ,furtwaengler in bringing the        
,lansdowne ,herakles into the  sphere of
 ,skopas4#badi ,but ,michaelis1 as far  
back as #ahhb1 commenting  on the       
characteristically small head1 short    
neck in comparison with  the mighty     
shoulders1 and long legs in proportion  
to the thick-set  torso1 had declared3  
8,without doubt the statue offers one of
 the finest  specimens1 if not          
absolutely the best1 of a ,herakles     
according to the  conception of         
,lysippos40#baej ,now opinion varies    
again2 only those  who believe that the 
,agias is ,lysippan class the ,herakles 
as a  ,lysippan work4#baea ,of the      
,meleager1 ,graef#baeb gives eighteen   
copies besides the one in the ,vatican4 
,this number shows how common  an       
adornment it was of ,roman villas and   
parks4 ,some of these copies  have a    
chlamys thrown over the arm1 e4 g41 the 
,vatican example1 and  belong to        

imperial times1 while others without the
 mantle1 e4 g41 the  torso in           
,berlin1#baec are older4 ,in addition to
 the ,vatican example  we reproduce two 
other copies1 the beautiful ,parian     
marble head now  placed on the trunk of 
a ,praxitelean ,apollo in the gardens of
 the  ,medici in ,rome 7,fig4 #gf71baed 
and the statue without arms or legs  and
 without the chlamys1 found in #ahie    
near ,santa ,marinella1 #cj miles  from 
,rome1 and since #ahii in the ,fogg ,art
 ,museum at ,harvard ,university  7,fig4
 #gg71baee one of the most beautiful of 
the many replicas4 ,at  first the       
original of these copies was supposed to
 be ,lysippan1 being  identified with   
the ,venator at ,thespiai mentioned by  
,pliny as the  work of ,euthykrates1 the
 son and pupil of ,lysippos1#baef but   
after the  discovery of the ,tegea heads
 it was almost universally referred to  
,skopas4#baeg ,here again the ,skopaic  
group of ,graef has been broken by  ,p4 
,gardner#baeh and others1 and the       

,meleager1 like the ,herakles1  has been
 given to ,lysippos4    ,illustration3  
,,fig4 #gf4--;,head of the so-called    
,meleager4 ,villa ,medici1  ,rome4      
,let us analyze a little further wherein
 the difference between the  closely    
allied art of ,skopas and ,lysippos     
lies4 ,we saw that it  was chiefly the  
formation of the eye and its            
surroundings which  characterized       
,skopaic work--the depth of the balls in
 their sockets1  and the heavy masses of
 flesh above the outer corners4 ,this   
was in  harmony with the breadth of brow
 and the massive build of the ,tegea    
heads4 ,in the ,agias and similar works 
the treatment of the eye is  somewhat   
different4 ,the head of the ,agias is of
 slighter proportions  than the heads   
from ,tegea2 in conformity with the     
,lysippan canon it  is below life-size1 
and consequently has no such heavy      
overshadowing  of the outer corners of  
the eyes4 ,moreover1 as we shall see1   
this  overshadowing is also relatively  

less in the statue of the ,delphian     
athlete4 ,the formation of the eye is   
thus described by ,e4 ,a4 ,gardner3     
8,the inner corners of the eye are set  
very deep in the    head and very close 
together2 the inner corners of the      
eye-sockets form acute angles1 running  
up close to one    another and leaving  
between them only a narrow ridge for    
the base of the nose2 thus they offer a 
strong contrast    to the line of the   
brow1 arching away in a broad curve     
from the solid base of the nose and     
forming an obtuse    angle with it1 such
 as we see in the ,skopaic heads40#baei 
,illustration3 ,,fig4 #gg4--,torso of   
the so-called ,meleager4 ,fogg ,art     
,museum1 ,cambridge1 ,u4 ,s4 ,a4    ,the
 resultant expression is therefore      
somewhat different from that of  the    
heads from ,tegea2 while we still see   
animation and even intensity  in the    
face of the ,agias1 we see it in a      
modified degree4 ,the  far-away look of 
the ,tegea heads is still present1 but  

it appears to  be fixed on a nearer     
object1 and so the look of intensity is 
tempered2  it is also lightened by the  
fact that the overshadowing of the eyes 
at  the outer corners is less heavy4    
,but even this latter so-called ,skopaic
  trait1 though it is absent in the     
,agias1 is certainly present in  other  
,lysippan heads4 ,besides being         
prominent in representations  of        
,alexander the ,great on coins1#bafj it 
is seen in busts of the  conqueror1     
especially in the splendid one from     
,alexandria in the  ,british            
,museum4#bafa ,in the latter example we 
see just such heavy  rolls of flesh as  
we note in the ,skopaic heads4 ,it shows
 that this  trait1 introduced by        
,skopas1 was used at times with equal   
effect by  ,lysippos4 ,we have already  
noted how in one example1 at least1     
,skopas  himself laid it aside--in the  
,atalanta4 ,its presence on ,lysippan   
heads  shows that too much stress can be
 laid on this feature in deciding       

whether a given piece of sculpture is to
 be referred to ,skopas4 ,this  trait   
complicates the whole problem of the    
style of the two masters4      ,,the    
,,sparta ,,head ,,compared ,,with ,,that
 ,,of ,,the ,,philandridas4    ,as the  
,agias is considered by most critics to 
be a contemporary copy  of the original 
statue at ,pharsalos1 perhaps it will be
 more just  to compare the head from    
,sparta under discussion with the       
original  marble head from ,olympia1    
which we have ascribed in the earlier   
part  of the present chapter to the     
statue of ,philandridas by ,lysippos4   
,such  a comparison will1 of course1    
show certain differences1 but marked    
resemblances as well4 ,we shall see that
 these resemblances are confined  to the
 upper part of the face4 ,in both we    
note the same low forehead  with a      
corresponding depression or crease      
across the middle2 the  similarly       
bulging brow which breaks very          
perceptibly the continuous  line from   

forehead to nose1 concave above and     
below and convex at the  swelling       
itself2 the same powerfully framed and  
deep-set eyes thrown  into shadows by   
the projecting bony structure of the    
brows and the  overhanging masses of    
flesh4 ,the eyeballs in both are        
similarly long  and narrow1 though they 
are slightly arched in the ,philandridas
 just  as in the ,tegea heads1 and not  
so close together as in the ,agias1  but
 their inner angles are farther apart   
and not almost hidden by  the flat      
bridge of the nose when viewed straight 
from the front4 ,in  this respect they  
are strikingly like those of the ,sparta
 head4#bafb  ,the raised upper lids in  
both form symmetrically narrow and      
sharply  defined borders over the       
eyeballs4 ,these borders1 in each case1 
are  not partially hidden by the folds  
of skin at the outer corners1 as  they  
are in the ,tegea heads2 and yet the    
masses of flesh projecting  from the    
brows are almost as heavy as in the     

latter4 ,in both the heads  from        
,olympia and ,sparta the upper lids     
slightly overlap the under at  the outer
 corners4 ,the eye-sockets in both seem 
to be equally deep  and the cheek-bones 
similarly high and prominent4 ,we remark
 in the  ,philandridas the gradual      
converging of the sides of the face     
toward  the middle1 a trait which we    
have already observed in the head from  
,sparta as in contrast with the more    
angular formation with lateral  planes  
so characteristic of the ,tegea male    
heads4 ,the flatness of the  nose and   
the curves which it makes with the brow 
on either side are  very similar in the 
two heads under discussion4 ,in both1   
the hair is  treated in the same simple 
and sketchy manner1 being fashioned into
  little ringlets ruffled back from the 
temples in flat relief quite in  the    
,skopaic manner1 even if the curls seem 
shorter and more tense4    ,when we come
 to a consideration of the lower part of
 each face1 we  immediately detect      

differences4 ,while both faces end in an
 oval1 this  is broader1 heavier1 and   
more bony in that of the ,philandridas1 
as we  should expect in the case of a   
more mature man4 ,consequently here the 
mouth is larger and firmer4 ,the elegant
 contour of the lips observable  in the 
,agias is also found1 to a less degree1 
in the head from  ,sparta1 whose lips   
are fuller and more sensuous1 but can   
not be traced  in the ,philandridas     
owing to the damaged condition of the   
mouth4  ,it is clear1 however1 that the 
lips of the latter were also slightly   
parted1 just showing the teeth1 but not 
as in the ,tegea heads1 as if  the      
breath were being forced through them   
with great effort4    ,it is1 however1  
in the expression of these two faces    
that we see the  greatest resemblance4  
,in the ,philandridas1 the powerful     
framing of  the eyes1 the slightly      
upward gaze of the balls1 and the       
contracted  forehead combine to give it 
a pensive1 even melancholy1 look of     

dignity1 a look seemingly of one who    
takes no joy or pleasure in  victory1   
though1 as we have already              
mentioned1#bafc it is earnest  rather   
than mournful4 ,the almost identical    
treatment of the eye and its            
surroundings gives the still more       
youthful head from ,sparta a similar    
expression4 ,homolle's analysis of the  
expression of the face of the  ,agias   
would apply with equal fitness to the   
mood portrayed in both  the heads we are
 discussing3 8,l'expression qui rsulte  
de ces divers  traits1 c'est1 dans une  
figure jeune et vigoureuse1 un air      
pensif ou  lass1 une certaine mlancolie1
 qui ne va pas  la tristesse morne ou   
la mditation profonde1 mais qui reste   
plus loin encore de la joie  insouciante
 de la vie et de la pure allgresse de la
 victoire04#bafd  ,preuner remarked that
 a verse of the epigram found on the    
base of the  statue of ,agias1 which    
runs       1 is  almost an exact copy of
 the words of ,herakles in the          

,trachiniae of  ,sophocles4#bafe ,in    
these words the dedicator of the statue 
ends the  recital of his ancestor's     
exploits with a melancholy reflection on
 the  vanity of his glory4 ,they suggest
 with no less truth the expression of   
both the heads we are discussing4 ,this 
expression of pensiveness tinged  with  
melancholy is enhanced in both by the   
slightly parted lips4 ,we can  see the  
same expression carried much further in 
many of the portraits  of ,alexander    
which go back to originals by ,lysippos1
 and we know from  ,plutarch that this  
sculptor was chosen by the conqueror to 
make his  portraits1 because ,lysippos  
alone could combine his manly air with  
the liquid and melting glance of his    
eyes4#baff ,but how different is  the   
delicately indicated pathos of these    
heads from the violent and              
unrestrained1 even panting1 expression  
of the ,tegea sculptures6 ,here  there  
is no trace of the  which ,kallistratos 
said characterized  the works of        

,skopas4 ,if it be objected that the    
expression of the  ,philandridas is more
 dramatic than that of the head from    
,sparta1 its  fierce1 almost barbarous1 
look of defiance may well be explained  
by the  fact that here is represented a 
victor from ,akarnania1 a country noted 
among the other ,greek states for       
anything but culture and refinement4    
,,the ,,sparta ,,head ,,an ,,eclectic   
,,work ,,and ,,an ,,example ,,of        
,,assimilation4    ,it is1 then1 in     
consequence of these resemblances to    
,lysippan work1  and because of the     
differences between it and the ,tegean  
heads1 that ,i  am led to see more of   
,lysippos than of ,skopas in this       
beautiful head  from ,sparta4 ,an       
analysis of its style permits us to     
discover in it the  mixed influences of 
,praxiteles1 of ,lysippos1 and of       
,skopas4 ,it seems  to me necessary1    
therefore1 in view of this mixture of   
tendencies1 to  regard it as an eclectic
 work1 in which the unknown artist has  

combined  ,lysippan and ,praxitelean    
elements chiefly2 and that he was also  
under  the influence of ,skopas is      
evinced by the peculiarities mentioned  
in  the treatment of the eyes and       
hair2#bafg but even in the modeling of  
the eyes1 ,i believe that his chief debt
 was to ,lysippos4 ,the fineness  of    
surface modeling1 commented on by both  
,professor ,bates and ,dr4  ,caskey1    
recalls the delicacy of execution in    
detail which is mentioned  by ,pliny as 
characteristic of ,lysippan art4#bafh   
,it surely points to a  date for the    
work not much if at all later than the  
end of the century  which was made      
glorious in the history of sculpture by 
the labors of  these three great        
masters4    ,in the preceding account ,i
 have tacitly assumed with ,professor   
,bates  that the head from ,sparta      
represents a beardless ,herakles4 ,but1 
as ,dr4  ,caskey remarks1 one might     
hesitate to accept this identification  
if  it were not for the attribute of the

 lion's skin above the forehead1  for   
here there is little indication of the  
strength so characteristic  of later    
representations of the hero4 ,dr4       
,caskey1 however1 observes  that a head 
of ,herakles1 now in the ,british       
,museum1 which some have  regarded as an
 original by ,praxiteles1 is even more  
boyish than this  one4 ,however1 it is  
very doubtful if the ,sparta head should
 be referred  to a statue of ,herakles  
at all4 ,pausanias mentions only three  
statues  of ,herakles in ,sparta1 to any
 one of which it seems futile to try to 
refer the head under discussion2 thus in
 ,,iii1 #ad4f1 he speaks of an    to    
which the ,sphairians1 i4 e41 lads      
entering on  manhood1 sacrificed1 as    
standing on the road to the 1 outside   
the city walls2 in the same book1 #ad4h1
 he says that an image of the  hero     
stood at the end of one of the two      
bridges across the moat to  ,plane-tree 
,grove1 i4 e41 the boys'                
exercise-ground2 and again in  this     

book1 #ae4c1 he says that an   of       
,herakles stood  in the ,herakleion     
close to the city wall1 whose attitude  
771 was  suggested by the battle between
 the hero and ,hippokon and his sons4   
,the same writer enumerates only three  
other statues of ,herakles in  ,lakonia4
 ,one of these was in the market-place  
of ,gythion 7,,iii1 #ba4h71  another in 
front of the walls of ,las beyond       
,gythion 7,,iii1 #bd4f71 and  the third 
on ,mount ,parnon near the boundaries of
 ,argolis1 ,lakonia1 and  ,tegea 7,,iii1
 #aj4f74 ,the head under discussion is  
more probably only one  more example of 
the idealizing tendency of athletic     
,greek art1 which  assimilated the type 
of victor to that of god4#bafi ,in the  
case of  the ,agias the sculptor plainly
 wished to raise the victor to the      
ideal height of the hero4 ,the same     
idealization is visible in the head     
ascribed to the statue of ,philandridas4
 ,in both these heads the ears1  while  
small1 are battered and swollen2 the    

remains of the ears in the  head from   
,sparta are too badly damaged to        
indicate whether these were  swollen or 
not4 ,but even if they were preserved   
and were in that  condition1 they would 
not be a distinguishing factor in       
determining  whether the head belonged  
to the statue of a victor or of         
,herakles4  ,in our consideration of the
 ,olympia head we saw by a comparison   
with  the ,lansdowne ,herakles1 a statue
 universally recognized as that of  the 
hero1 how fundamentally different were  
the two in their whole  conception and  
how differently a highly idealized      
athlete and a hero  were treated by the 
same sculptor4 ,the same might be said  
of the boyish  head from ,sparta1 when  
compared with a genuine head of         
,herakles4 ,for  this reason1 and       
because of the resemblance in expression
 between the  ,philandridas and the head
 from ,sparta1 ,i am inclined to believe
 that  the latter1 instead of being a   
representation of a youthful ,herakles1 

is really the idealized portrait of an  
athlete1 probably that of a boy  victor1
 either in the boxing or wrestling      
match1#bagj assimilated in  form to that
 of the hero4#baga          ,,chapter   
,,vii4    ,,the ,,materials ,,of        
,,olympic ,,victor ,,monuments1 ,,and   
,,the ,,oldest ,,dated ,,victor         
,,statue4#bagb    ,,figures #gh-hj4     
,it has been assumed pretty generally by
 archologists that the victor  statues  
set up in the ,altis at ,olympia were   
uniformly of bronze4  ,scherer1 in his  
inaugural dissertation de olympionicarum
 ,statuis1  which appeared in #ahhe1 was
 the first to discuss the question      
fully1#bagc and his arguments and       
conclusions have been followed1  for the
 most part1 by later investigators4     
,thus ,dittenberger and  ,purgold state 
unequivocally that these statues were   
8ausnahmslos aus  ,bronze01#bagd while  
more recently ,hitzig and ,bluemner1 in 
their great  commentary on ,pausanias1  
have again pronounced the dictum that   

8die  ,siegerstatuen waren durchweg von 
,erz04#bage ,others1 however1 have not  
been quite so sweeping in their         
generalization4 ,thus ,wolters believes 
that these statues1 because they were   
set up in the open1 were 8der  ,regel   
nach0 of bronze1#bagf and ,furtwaengler 
and ,urlichs assume that  they were     
8fast ausschliesslich aus ,bronze04#bagg
      ,,the ,,case ,,for ,,bronze4      
,the arguments adduced by ,scherer and  
others in defense of the  contention    
seem at first sight1 although           
inferential in character1  quite        
conclusive4 ,in the first place1 it has 
been pointed out that all  the          
statuaries mentioned by ,pausanias in   
his victor periegesis1#bagh  if recorded
 at all in ,pliny's ,historia           
,naturalis1 appear there in  the        
catalogue of bronze founders as workers 
in bronze ' 1  while none of them is    
known exclusively as a sculptor in      
marble4 ,as  ,hageladas is the first in 
point of time1 who flourished from the  

third quarter of the sixth century ,b4  
,c4 to the second quarter of  the       
fifth1#bagi ,scherer believed that all  
statues from his date  down--posteriorum
 temporum--were of bronze2 and as       
,rhoikos and  ,theodoros1 the inventors 
of bronze founding1 flourished about    
,ols4 #ej to #fj 7 #ehj to #edj ,b4     
,c471#bahj he believed that bronze      
might have been used up to their date4  
,in the next place1 the excavated       
bases1 which have been identified as    
those of victor monuments1 show         
footprints of bronze statues4 ,thirdly1 
actual bronze fragments1  indubitably   
belonging to victor statues 7of which   
two are attested by  inscriptions71 were
 found during the excavations of the    
,altis4 ,these  consist of the          
following3    7a7 ,an inscribed convex  
piece of bronze of imperial times1      
8anscheinend vom ,schenkel einer        
,bronzestatue herruehrend40#baha    7b7 
,a similar inscribed fragment of the    
same period4#bahb    7c7 ,the remarkable

 life-size portrait head of a boxer or  
pancratiast1  which we have already     
discussed and reproduced 7,fig4 #fa ,a  
and ,b74#bahc    7d7 ,a foot of masterly
 workmanship 7,fig4 #fb7 ascribed by    
,furtwaengler#bahd to the end of the    
third century ,b4 ,c4 ,its position     
shows that the statue of which it was a 
part was represented in motion1  and    
consequently it has been assigned to a  
victor statue4    7e7 ,a beautifully    
modeled right arm1 somewhat under       
life-size1  supposedly from the statue  
of a boy victor4#bahe    7f7 ,a right   
lower leg of excellent workmanship1     
assigned by  ,furtwaengler to the same  
period as fragment e4#bahf    ,still    
other bronze fragments of statues found 
at ,olympia may have  belonged to       
statues of victors1 especially to those 
of boys4#bahg  ,the small number of such
 fragments recovered--,scherer wrongly  
thought  there was none--is explained by
 assuming that all of these statues     
were of bronze1 and consequently were   

destroyed by the barbarians in  their   
inroads into ,greece during the early   
,middle ,ages1 when this  metal was much
 prized4#bahh ,another argument for     
believing that  these statues were of   
bronze is the silence of ,pausanias     
concerning  the materials employed in   
them2 for1 in his enumeration of #aib   
such  monuments1 he mentions the        
material of only two statues1 those of  
the boxer ,praxidamas of ,aegina#bahi   
and of the ,opuntian pancratiast        
,rhexibios1#baij and he mentions these  
because of their great  antiquity1      
peculiar position in the ,altis apart   
from the others  7near the column of    
,oinomaos71 and the fact that they were 
made of  wood4#baia ,furthermore1 in his
 book on ,achaia there occurs this      
passage in reference to the statue of   
the victor ,promachos1 which  was set up
 in the ,gymnasion of ,pellene3         
1      1     4#baib ,most critics have  
inferred from these last words1 8the one
 in the ,gymnasion being of  stone and  

not of bronze10 that1 although          
,pausanias says nothing  about the      
material of statues of victors in the   
,altis 7barring the  two just           
mentioned71 by implication all these    
statues were of bronze2  and they point 
out the fact that other writers furnish 
no evidence  concerning the material    
used in them--an argument ex silentio to
  the same effect4 ,besides these       
arguments many others have been urged   
on purely a priori grounds2 e4 g41 that1
 since these statues stood  in the open 
air1 subject to all kinds of weathering1
 they must have  been made of           
bronze2#baic that metal statues would   
have been cheaper  and more easily      
prepared than those of marble2#baid that
 the later  ,peloponnesian schools of   
athletic sculpture1 which were          
characterized  by their predilection for
 bronze-founding1 would nowhere have    
been more  prominently in evidence than 
at ,olympia2 etc4    ,thus the case for 
the use of metal in these statues seems 

very well  substantiated1 and1 for the  
reasons given1 it can not be reasonably 
doubted that the vast majority of these 
monuments were made of bronze4  ,but    
that they were not exclusively of metal1
 and that there were many  exceptions to
 the general rule1 not only can be      
conjectured on good  grounds1 but can be
 proved by discoveries made at the      
excavations4 ,we  shall briefly         
consider1 then1 each of the foregoing   
arguments in turn1  and see whether1 in 
the light of the accumulated evidence1  
they are  really as well founded as they
 appear to be4      ,,the ,,case ,,for  
,,stone4    ,as for the first point1    
that the statuaries mentioned by        
,pausanias  appear only in ,pliny's     
catalogue of bronze founders1 we must   
remember  that ,pausanias himself       
says#baie that he is making only a      
selection of  the victor monuments in   
the ,altis1 those of the more famous    
athletes4  ,therefore1 the #aib         
monuments 7of #ahg victors7#baif which  

he does  mention must be only a fraction
 of the multitude of such monuments     
which once stood at ,olympia4 ,pliny1 to
 be sure1 says that it was the  custom  
for all victors to set up statues in the
 ,altis2#baig but this  refers only to  
the privilege1 of which many victors    
could not or did  not avail themselves  
on account of poverty1 early death1 or  
for other  reasons4#baih ,still1 the    
number of such dedications must have    
been  very great4 ,manifestly1          
therefore1 we should not base an        
argument  on the number mentioned4      
,there must1 then1 have been many other 
artists employed at ,olympia1 some of   
whom may well have been workers  in     
marble4 ,besides1 of the statuaries     
actually named by ,pausanias1  many do  
not appear at all in ,pliny's work1 and 
many of these may have  been sculptors  
exclusively in stone4 ,of the names     
found in ,pliny1  six at                
least--,kalamis1 ,kanachos1 ,eutychides1
 ,myron1 ,polykles1 and                 

,timarchides--appear both in the list of
 bronze-workers and in that of          
marble-sculptors4#baii ,similarly1 in   
answer to the second argument  that the 
excavated bases show footprints of      
bronze statues1 we must  admit that only
 a fraction of the bases which once     
supported statues in  the ,altis have   
been recovered4 ,not one-fifth of the   
victors mentioned  by ,pausanias are    
known to us through these bases4#bbjj   
,the fact that actual remains of bronze 
statues have been excavated at  ,olympia
 is matched by the fact that remnants of
 marble statues have  also been found2  
and it does not seem reasonable1 in the 
light of the  evidence adduced by ,treu1
 ,furtwaengler1 and others1 to reject   
these  as fragments of actual victor    
statues4 ,these fragments include the   
following3#bbja    7a1 b7 ,the two      
life-size archaic helmeted heads 7,fig4 
#cj7 which we  have ascribed to hoplite 
victors4#bbjb    7c1 d1 e7 ,fragments of
 statues of boy victors3 c  trunk with  

left upper leg1 three-fifths life-size  
7,fig4 #gh72bbjc d  breast1  one-half   
life-size2#bbjd    e  upper part of legs
 of a statue1 two-thirds life-size4#bbje
  ,besides these ,treu also adduces     
fragments of four different boy         
statues1 all of which are less than     
life-size4#bbjf    ,the reticence of    
,pausanias as to the material used in   
these statues  is merely in accord with 
his custom1 for he very rarely mentions 
the  materials of monuments1 and        
apparently only where monuments of      
bronze  and stone or other materials    
stand close together in a circumscribed 
area1 as for instance1 in enumerating   
the various monuments in the  ,heraion  
at ,olympia4#bbjg ,the only inference1  
therefore1 to be drawn  from ,pausanias'
 statement about the statue of          
,promachos mentioned is  that this      
particular statue of a victor at        
,olympia was of bronze4 ,we  are not    
justified in going any further4 ,besides
 this stone statue at  ,pellene we have 

other actual notices of marble statues  
of ,olympic  victors outside ,olympia1  
as those of ,arrhachion at              
,phigalia#bbjh 7,fig4  #gi7 and of      
,agias by ,lysippos at ,delphi 7,pl4 #bh
 and ,fig4 #fh74 ,if they  existed      
outside ,olympia1 there is no reason why
 they should not have  existed in the   
,altis also1 e4 g41 the ,lysippan marble
 head found  there1 which we assigned in
 the preceding chapter to the           
,akarnanian  victor ,philandridas       
7,frontispiece1 and ,fig4 #fi74 ,many of
 the older  statues1 like that of       
,arrhachion1 conformed with the         
8,apollo0 type1 as  we have shown in    
,ch4 ,,iii1#e and doubtless many such at
 ,olympia were of  marble4              
,illustration3 ,,fig4 #gh4--,small      
,marble ,torso of a ,boy ,victor1 from  
,olympia4 ,museum of ,olympia4          
,reinach's argument that stone statues  
in ,greece1 because of their  patina of 
color1 were intended to be placed under 
cover in the  porticoes or cellas of    

temples and elsewhere1 while bronze ones
 were  meant to stand in the open air1  
has been sufficiently combatted by ,h4  
,lechat1#bbji who argues that the use of
 paint in ,greek architecture  and on   
temple sculptures proves the contrary4  
,as the paint was burnt  in1 it was     
reasonably durable1 and if it did not   
prove so it was  readily renewed4 ,at   
,olympia1 among several examples1 we may
 cite  the marble ,nike of ,paionios1   
which stood in the open in the space  to
 the east of the temple of ,zeus#bbaj   
7see ,plans ,a and ,b71 while1  on the  
other hand1 a bronze statue of          
,aphrodite stood within the             
,heraion4#bbaa ,the argument that metal 
statues were cheaper than marble  must  
also be questioned4#bbab ,in the earlier
 part of the present work  we saw that1 
for economy's sake1 many victors set up 
small bronze  statuettes instead of     
statues at ,olympia1 numbers of which   
have been  recovered4 ,that such        
dedications were common elsewhere is    

shown by the  countless athlete         
statuettes--especially diskoboloi--which
 are to be  found in all ,european      
museums4#bbac ,for similar reasons      
victors would  choose in place of bronze
 the less durable and cheaper stone1 as 
in  the cases of ,arrhachion and        
,promachos cited1 or even wood1 as in   
those  of ,rhexibios and ,praxidamas4   
,still others1 especially boy victors1  
would set up small marble statues1      
two-fifths to two-thirds life-size1  as 
the fragments of the seven examples     
collected by ,treu and already          
enumerated above show4    ,thus we see  
that the contention that the victor     
statues at ,olympia  were exclusively of
 bronze1 in the light of the evidence   
adduced1 is  untenable4      ,,the      
,,statue ,,of ,,arrhachion ,,at         
,,phigalia4    ,in his description of   
,arkadia1 ,pausanias mentions seeing the
 stone  statue of the pancratiast       
,arrhachion in the market-place of      
,phigalia4  ,he describes it as archaic1

 especially in pose1 the feet being     
close  together and the arms hanging by 
the sides to the hips2 and adds  that he
 was told that it once bore an          
inscription which had become  illegible 
in his day4#bbad ,this ,arrhachion won  
three victories at  ,olympia in the     
pankration in ,ols4 #eb-ed 7 #egb-efd   
,b4 ,c474#bbae  ,therefore his statue is
 one of the oldest victor monuments of  
which  we have record4 ,at so early a   
date1 before individual types of victor 
statues had been developed1 we should   
expect1 in harmony with the  description
 of ,pausanias1 that this statue would  
conform in style with  the well-known   
archaic 8,apollo0 type1 the most        
characteristic of early  ,greek         
sculpture1 which1 as we saw in ,chapter 
,,iii1 is exemplified in the  long      
series of statues found all over the    
,greek world1 the oldest class  being   
represented by the example from ,thera  
7,fig4 #i71 and one of the  youngest by 
that from ,tenea near ,corinth 7,pl4    

#h;,a74    ,illustration3 ,,fig4        
#gi4--,stone ,statue of the ,olympic    
,victor ,arrhachion1  from ,phigalia4   
,in the ,guards' ,house at ,bassai      
7,phigalia74    ,in his commentary on   
the passage of ,pausanias1 ,sir ,j4 ,g4 
,frazer records  that during a visit in 
,may1 #ahij1 he saw a recently          
discovered archaic  stone statue in a   
field just outside ,pavlitsa1 a village 
on the site of  the southeastern        
precincts of the old city of ,phigalia1 
some #b4e miles  from the temple of     
,apollo ,epikourios at ,bassai4 ,he     
thought that this  statue agreed        
completely with ,pausanias' description 
of ,arrhachion's1  even to the          
half-effaced inscription which he       
transcribed from its  breast just below 
the neck4#bbaf ,through the courtesy of 
,dr4 ,svoronos1  of the ,national       
,numismatic ,museum in ,athens1 ,i have 
been able to  procure a photograph of   
the monument from ,k4 ,kouroniotis1 the 
,arkadian  ,ephor of antiquities        

stationed at ,bassai1 and ,i present it 
herewith  7,fig4 #gi74 ,the statue is   
now cared for in the house of the temple
  guards4 ,this statue1 like all other  
examples of the series1 represents  a   
nude youth standing in a stiff1         
constrained attitude4 ,it is badly      
mutilated and its surface is rough from 
weathering4 ,besides having lost  its   
head1 arms1 and the lower part of the   
legs1 it has been broken into  two parts
 across the abdomen4 ,the ends of curls 
on either side of the  neck1 extending a
 few inches over the breast1 show that  
the head looked  straight forward1 thus 
following the usual law of              
8frontality10#bbag  which precluded any 
turning of the body2 for a median line  
drawn  down through the middle of the   
breastbone1 the navel1 and the   would  
divide the statue into two equal halves4
 ,the body shows the  quadrangular form 
of the earlier examples1 the sculptor   
having worked  in flat planes at right  
angles to one another1 with the corners 

merely  rounded off4 ,the remains of    
arms broken off just below the shoulders
  show that they must have hung close to
 the sides4 ,the shoulders are  broad   
and square1 and display none of the     
sloping lines characteristic  of other  
examples1 as1 e4 g41 the one from       
,tenea4 ,from the breast  down the body 
is slender1 the hips being very narrow4 
,the legs show the  usual flatness and  
the left one is slightly advanced1 as is
 uniformly  the case in every one of the
 series4 ,they are somewhat more        
separated  than in many other examples4 
,the  form a rude pyramidal mass1 not   
being differentiated as they are1 e4 g41
 in the statues from ,naxos  and        
,orchomenos#bbah 7,fig4 #aj74 ,some     
attempt at modeling is visible  in the  
muscles of the breast and lower abdomen4
 ,in general1 it may be  said that the  
similarity in attitude of this statue to
 ,egyptian works  impresses us1 as it   
does in all the examples of early ,greek
 sculpture4  ,as the subject of         

,oriental1 especially ,egyptian1        
influence on early  ,greek art has given
 rise to very diverse views1 we shall   
make a short  digression at this point  
to discuss this interesting question4   
,,egyptian ,,influence ,,on ,,early     
,,greek ,,sculpture4    ,this question  
has been under discussion in all its    
bearings ever since  ,brunn1 in #ahec1  
tried to demonstrate the originality of 
the ,daidalian  1#bbai but1 strangely   
enough1 archologists are not yet agreed 
as to its proper settlement4 ,while some
 emphasize the spontaneous  origin of   
,greek art1 others quite as strongly    
advocate that the  early ,greek         
sculptor1 at least1 copied ,egyptian    
models4#bbbj ,thus  ,furtwaengler1 who  
early assumed a ,cretan origin for the  
8,apollo0 type  of statues1#bbba later  
became convinced that it developed in   
,ionia  through ,greek contact with the 
colony of ,naukratis in ,egypt1 which   
was founded in the middle of the seventh
 century ,b4 ,c4 ,he concluded  that    

this plastic type 8ist bekanntlich      
nichts als die ,nachahmung  des         
,haupttypus aegyptischer statuarischer  
,kunst04#bbbb ,similarly  ,collignon    
traces the archaic male type to         
,egyptian influence1 and  assumes that  
this influence from the ,nile valley was
 exerted on  the ,greek artist before   
the latter half of the seventh century  
,b4  ,c4#bbbc ,on the other hand1 ,h4   
,lechat1 in his review of the evolution 
of ,greek sculpture from its beginning1 
believes that the early  sculptor owed  
but little to ,egypt or the ,east4#bbbd 
,deonna entirely  rejects the assumption
 of ,egyptian influence1 believing that 
all the  so-called characteristics of   
early ,greek statues can be explained   
as the result of natural evolution in   
,greece itself4#bbbe ,von ,mach  also   
completely excludes all foreign         
influence when he says3 8,in her        
sculpture at least1 ,greece was         
independent of influence of any one  of 
the countries that can at all come under

 consideration in this  connection1     
,phnicia1 ,assyria1 and ,egypt40#bbbf   
,but here1 as in  so many questions     
about ,greek art1 the truth must lie    
between the two  extremes4#bbbg ,the    
economic conditions of early ,greece    
certainly  prove that the ,greeks were  
dependent on outside peoples in many    
ways1  and there is no a priori reason  
for denying this dependence in art4  ,we
 clearly see ,egyptian influence1 for   
example1 in the ceiling of  the treasury
 of ,orchomenos1#bbbh and that the      
,greeks learned many  animal decorative 
forms as well as a correct observation  
of nature  from ,assyrian art is clear1 
if we study the best examples of the    
late period of that art1 the reliefs    
from the palace of ,assurbanipal  at    
,nineveh 7,konyonjik71 now in the       
,british ,museum4 ,such decorative      
designs could be easily transmitted to  
the ,greeks by the ,phnicians  on       
embroidered fabrics4 ,it seems          
reasonable1 therefore1 to assume that   

early ,greek artists1 especially in the 
,greek colonies to the east and  south  
of ,greece1 were acquainted with earlier
 models and especially  with those of   
,egypt4 ,the ,greeks themselves of a    
later date recognized  this debt to     
,egypt4 ,this is shown by many passages 
in ,pausanias1 which  mention the       
similarity existing between early ,greek
 and ,egyptian  sculptures1#bbbi and by 
the curious tale told by ,diodoros about
 the  ,samian artist family of ,rhoikos1
 according to which the latter's two    
sons made the two halves of the statue  
of the ,pythian ,apollo for  ,samos     
separately1 ,telekles working in ,samos 
and ,theodoros in ,ephesos4  ,when      
joined together the two parts fitted    
exactly1 just as if they had  been made 
by one and the same artist4 ,diodoros   
adds that             1       4#bbcj    
,such a story is valuable  in that it   
shows that the later ,greeks believed   
that they had adopted  the conventional 
,egyptian canon of proportions4 ,if we  

compare any of  the 8,apollo0 statues   
with ,egyptian standing figures of any  
period of  ,egyptian art1 as ,bulle has 
done1 the resemblances in detail between
 the  two types will be found to be very
 striking4 ,thus from the ,old ,kingdom 
7,memphitic71 which included the first  
eight dynasties of ,manetho1#bbca  we   
may cite the painted limestone statue of
 ,ra-nefer and the wooden one  of       
,tepemankh in the ,museum of ,cairo     
7,fig4 #hj71 two men prominent in  the  
fifth dynasty2#bbcb or the wood statue  
of ,ka-aper1 the so-called              
,sheik-el-,beled1 which represents the  
apogee of ,memphitic art1 and  that of  
his 8wife10 without legs or arms1 the   
two statues being found  similarly in a 
grave at ,sakkarah 7,memphis71 and now  
being in the same  museum4#bbcc ,from   
the ,middle ,kingdom1 including the     
eleventh to the  seventeenth            
dynasties1#bbcd we may mention the      
painted statue found at  ,dahshur and   
now in ,cairo1 which represents         

,horfuabra1 the co-regent of  ,amenemhat
 ,,iii1 who was one of the kings of the 
twelfth dynasty4#bbce  ,from the ,new   
,empire1 including the eighteenth to the
 twentieth  dynasties1#bbcf we cite the 
draped wood statue of the priestess     
,tui1 a  gem of ,egyptian art1 which was
 found in a grave near ,gurna1 and is   
now  in the ,louvre2#bbcg and lastly the
 draped alabaster statue of ,queen      
,amenerdis 7or ,amenartas7 in ,cairo1   
the wife of the ,aethiopian ,king       
,piankhi1 who began to absorb ,egypt by 
#gba-gbb ,b4 ,c41 just before the       
twenty-fourth dynasty4#bbch ,after the  
early dynasties1 the ,egyptian  type of 
statue was reduced to a fixed and       
mechanical canon1 which was  used over  
and over again with lifeless monotony4  
,in all these statues1  whose dates     
extend over a period of many centuries1 
we note the same  technical             
characteristics which are observable in 
the ,greek 8,apollos10  with the        
exception that the latter are always    

nude and lifelike4 ,these               
characteristics may be summarized thus3 
long hair falling down over  the        
shoulders in a mass2#bbci shoulders     
broad in comparison with the  hips2 arms
 hanging down stiffly by the sides#bbdj 
or crooked at the  elbows2#bbda hands   
closed1 with the thumbs facing forward  
and touching  the ends of the index     
fingers2 the left leg slightly advanced 
and the  soles placed flat on the       
ground2 high ears1#bbdb and the upper   
body  and head turned straight to the   
front4#bbdc ,only minor differences in  
the two types appear4 ,thus the left    
foot is always further advanced  in the 
,egyptian than in the ,greek statues1 so
 that the former appear  to have less   
movement and life4#bbdd ,since there is 
no trace of this  type in ,mycenan art  
it seems impossible not to conclude that
 in some  way1 doubtless through ,ionian
 sources1 it was originally borrowed    
from ,egypt4 ,the imitation of the      
,egyptian models1 however1 was never    

slavishly done4 ,the ,greek artist      
immediately rendered the type his  own  
by making it nude1#bbde and by          
transmuting the abstract lifeless       
schema of the ,egyptians into a highly  
individualized one characterized  by    
life and vigor4#bbdf ,this ,egyptian    
influence1 it must be remarked1  was    
operative only in the initial stage of  
,greek sculpture2 it was soon  lost1 as 
the ,greek artist came to rely upon     
himself4 ,f4 ,a4 ,lange has  truly said3
 8,die wahre ,unabhaengigkeit der       
hellenischen ,kultur ruht in  ihrer     
,vollendung1 nicht in ihren             
,anfaengen04#bbdg    ,illustration3     
,,fig4 #hj4--,statues of ,ra-nefer and  
,tepemankh1 from  ,sakkarah4 ,museum of 
,cairo4    ,after this digression we    
will return to the statue of            
,arrhachion4 ,dr4  ,frazer was unable to
 decipher the inscription upon the      
breast with  certainty1 but made out the
 following letters1 the last four of    
which  are plainly visible in the       

photograph3 4 ,he believed them to  be  
archaic and the first instance of an    
inscription on this class of  statues4  
,he thought that the name was that of a 
man1 which favored the  view that the   
8,apollo0 statues represented mortals   
rather than gods4  ,the letters form a  
combination manifestly not ,greek1 and  
so may have  no significance2 it is even
 possible that they were engraved in    
modern  times4#bbdh ,in any case we have
 the statement of ,pausanias that the   
inscription was illegible in his day4   
,there seems little doubt1 then1 that   
this mutilated and weather-worn  statue 
is the very one seen and described by   
,pausanias and referred  by him to the  
victor ,arrhachion4#bbdi ,it is         
presented here for two  reasons4 ,in the
 first place1 it is the oldest dated    
,olympic victor  statue in existence4   
,only three older ones are recorded1 and
 none  of these has survived to our     
time4 ,these three are the statues of   
the ,spartan ,eutelidas at ,olympia1 who

 won the boys' wrestling and  pentathlon
 matches in ,ol4 #ch 7 #fbh ,b4         
,c472#bbej of the ,athenian  ,kylon on  
the ,akropolis1 who won the double      
running-race in ,ol4 #ce 7  #fdj ,b4    
,c472#bbea of the ,spartan ,hetoimokles 
at ,sparta1 who won five  times in      
wrestling at the beginning of the sixth 
century ,b4 ,c4#bbeb  ,the statue of    
,oibotas of ,dyme1 who won the          
stade-race in ,ol4 #f 7 #gef  ,b4 ,c471 
was not set up until ,ol4 #hj 7 #dfj ,b4
 ,c472#bbec that of the  ,spartan       
,chionis1 who won five running-races in 
,ols4 #bh-ca 7 #ffh-fef  ,b4 ,c471 was  
made later by ,myron4#bbed ,pausanias'  
statement 7,,vi4  #ah4g7 that the wooden
 statues of ,praxidamas and ,rhexibios1 
who won in  ,ols4 #ei and #fa           
respectively 7 #edd and #ecf ,b4 ,c471  
were the oldest at  ,olympia1 is of     
course incorrect4 ,in the second place1 
the statue of  ,arrhachion actually     
proves what has often been assumed1 that
 some of  the statues classed as        

8,apollos0 are really victor monuments4 
,as this  question has provoked a good  
deal of discussion in recent years1 ,i  
will  briefly review the arguments by   
which the opinion has gradually gained  
acceptance4      ,,early ,,victor       
,,statues ,,and ,,the 8,,apollo0 ,,type4
    ,as the earlier examples of the     
series were discovered under peculiar   
circumstances1 they gave no clue to     
their meaning4 ,thus the 8,apollo0  of  
,naxos was found in the quarries of the 
island1 while that from  ,orchomenos    
7,fig4 #aj7 was first seen in the       
convent of ,skripou1 its  exact         
provenience being unknown4 ,from the    
first they were denominated  8,apollos10
 chiefly because of their long hair#bbee
 and nudity1#bbef  while the existence  
of many small bronzes in the same schema
 dedicated  to the god1#bbeg and cult   
statues of similar pose appearing on    
vase-  and wall-paintings1#bbeh helped  
to make the identification more         
probable4 ,certain ancient texts1       

describing archaic statues of ,apollo   
in this pose1 were also cited as        
evidence1 and it was pointed out that   
many of these statues were actually     
found in or near sanctuaries of the     
god4 ,thus ,diodoros1 in his description
 of the  of the ,pythian  ,apollo made  
for the ,samians by ,telekles and       
,theodoros1 which we have  already      
mentioned1 says3     1     4#bbei       
,probably the gilded image by the       
,cretan ,cheirisophos  in the temple of 
,apollo at ,tegea was of this type4#bbfj
 ,the later  type of 8,apollo10 with the
 arms extended at the elbows1 was       
doubtless  followed in the statue of    
,apollo made for the ,delians by        
,tektaios and  ,angelion1#bbfa and in   
the works ascribed to ,dipoinos and     
,skyllis  and their school4 ,it would be
 easy to give an extended list of such  
8,apollo0 statues found in              
sanctuaries4#bbfb ,we might instance one
 from  ,naukratis1 ,egypt2#bbfc one from
 ,delos2#bbfd two from ,aktion2#bbfe    

several from ,mount ,ptoion in          
,botia2#bbff a copy of the head of the  
,choiseul-,gouffier ,apollo 7,pl4 #g;,a7
 found in ,kyrene4#bbfg ,still others   
have been found in temenoi of temples1  
e4 g41 two in that of ,apollo  at       
,naukratis1#bbfh and one in that of     
,aphrodite there4#bbfi    ,however1     
against this exclusive interpretation   
doubts have been  raised with           
ever-increasing precision1 until now we 
can predicate  with certainty what      
,loeschke long ago assumed1 that the    
more statues  of the series there are   
found1 the less probable will it become 
that  they should all be ascribed to    
,apollo4#bbgj ,conze and ,michaelis     
first argued on the basis of ,pausanias'
 description of ,arrhachion's  statue   
that this type was employed for victor  
statues4#bbga ,koerte's  objection to   
their view on the ground of the long    
hair was refuted  by ,waldstein1 who    
demonstrated that athletes were not     
represented  with short hair until after

 the ,persian wars2 he pointed out that 
the  archaic grave-figures of the       
mortals ,dermys and ,kitylos discovered 
at  ,tanagra1 which were sculptured in a
 constrained attitude analogous  to that
 of the 8,apollos10 had long hair4#bbgb 
,we now know that the  hair of some of  
the 8,apollos0 is short1 which shows the
 irrelevancy of  this argument1#bbgc and
 we also know that nudity characterizes 
many  archaic statues of mortals4 ,nor  
do we learn much from dedications1  for 
we have examples of statues of gods     
dedicated to other gods and  even to    
goddesses4#bbgd ,ex votos were often    
more concerned with the  dedicator than 
with the god to whom the statue was     
dedicated4 ,doubtless  the cult statues 
portrayed on vase-paintings are actually
 those of  ,apollo1 for at this epoch   
other gods1 such as ,hermes and         
,dionysos1 are  bearded4#bbge           
,moreover1 that a more advanced schema  
for representing the god ,apollo  had   
already become fixed toward the end of  

the sixth century ,b4 ,c41 we  know from
 ancient descriptions of the statue of  
the god made for the  ,delians by       
,tektaios and ,angelion1 which          
represented him in the usual  archaic   
attitude1 i4 e41 of the statue of       
,arrhachion1 but with the  notable      
difference that the forearms were       
outstretched4#bbgf ,that  this was the  
recognized type in the early years of   
the fifth century  ,b4 ,c41 is attested 
by the bronze statue of the god         
fashioned by the  elder ,kanachos of    
,sikyon for ,branchidai1 the pose of    
which is known  from several statuettes 
and from a long series of ,milesian     
coins4#bbgg  ,for conservative reasons  
this favorite pose was kept for cult    
statues  even into the fourth century   
,b4 ,c41 as we learn from               
representations  on coins of the golden 
statue of the god set up in the inmost  
shrine  of the temple at ,delphi4#bbgh  
,but that many of the earlier examples  
of the 8,apollo0 series do represent the

 god1 should not be denied4 ,we  agree  
with ,homolle that the old appellation  
8,apollo10 after having  received too   
much favor1 has now by reaction become  
censured too  severely1 and in general  
should still be applied to those statues
  of the series which have been         
discovered in or near sanctuaries of    
the god1 and in the absence of any other
 indication to the contrary1  also to   
those which stand upon bases inscribed  
with dedications to  him4#bbgi ,such a  
statue was found on the island of       
,thasos at the  bottom of the cella of  
the temple of ,apollo at ,alki and is   
now in  ,constantinople4#bbhj ,the      
colossal statue found on the island of  
,delos  just south of the temple of     
,apollo1#bbha and the huge torso        
discovered  in ,megara#bbhb may be      
referred to the god1 for their size     
favors an  ascription to a deity rather 
than to mortals4 ,and many other        
examples  of the type found in          
sanctuaries may very well represent     

,apollo and  other gods4#bbhc    ,that  
several of the series were also funerary
 in character is  abundantly proved by  
the fact that they were discovered in   
the  neighborhood of tombs4 ,thus the   
,apollo of ,tenea 7,pl4 #h;,a7 decorated
  a tomb in the necropolis of ,tenea    
near ,corinth4#bbhd ,likewise the       
example from ,thera 7,fig4 #i7 was found
 in a rock-cut niche4#bbhe  ,another1   
now in the ,british ,museum1 was found  
in the dromos of a  tomb on the island  
of ,cyprus1#bbhf while a fourth was     
unearthed from  the necropolis of       
,megara ,hyblaia in ,sicily4#bbhg ,the  
one found at  ,volomandra in ,attika in 
#aijj was also found in an old          
cemetery4#bbhh  ,these furnish proof    
enough of the sepulchral character of   
many of these  statues4 ,such funerary  
monuments may1 of course1 have been been
 set up  also in memory of victors4     
,we are now in a position1 on the basis 
of ,pausanias' description of           
,arrhachion's statue and the actual     

monument itself1 to maintain with       
certainty what hitherto has been        
conjectured only1 that although some  of
 these archaic sculptures represent     
,apollo and other gods1 sepulchral      
dedications1 and ex votos in general1   
others were intended to  represent      
athletes also4 ,doubtless the other     
early victor monuments  recorded1 such  
as the wooden statues of ,praxidamas and
 ,rhexibios1 and  those of ,eutelidas1  
,kylon1 and ,hetoimokles1 already       
discussed in ,ch4  ,,iii1 conformed with
 the earlier type1 while that of ,milo1 
described  by ,philostratos1#bbhi       
conformed with the later4 ,certain      
examples of  the series have already    
been ascribed to victors4 ,thus the     
marble  head of ,attic workmanship found
 in or near ,athens and known as the    
,rayet-,jacobsen head 7,fig4 #bb71 has  
been referred to a pancratiast  because 
of its swollen and deformed ears4#bbij  
,certain statuettes  of the same pose as
 the 8,apollos0 have been looked upon as

 copies of  athlete statues4#bbia ,so   
the early doubts#bbib as to the meaning 
of  these archaic sculptures have been  
resolved in many cases4 ,we have  added 
one well-attested example to show that  
they sometimes represented  victor      
monuments4          ,,chapter ,,viii4   
,,positions ,,of ,,victor ,,statues ,,in
 ,,the ,,altis2 ,,olympic ,,victor      
,,monuments  ,,erected ,,outside        
,,olympia2 ,,statistics ,,of ,,olympic  
,,victor ,,statuaries4#bbic    ,,plans  
,a ,,and ,b4      ,the first part of    
this final chapter is a special study in
 the  topography of the ,altis at       
,olympia4 ,it is an attempt to fix1 more
 or  less exactly1 the positions of     
victor statues erected there1 so far as 
these can be determined from the data   
furnished by ,pausanias1 and from  the  
locations of the inscribed fragmentary  
bases of the statues which  have been   
recovered during the excavations at     
,olympia4      ,,statues ,,mentioned    
,,by ,,pausanias4    ,we shall first    

attempt to give the positions of the    
statues mentioned  by ,pausanias1 who is
 our chief source of information4 ,after
 describing  the votive offerings 77 at 
the end of ,book ,v1 he begins  the     
enumeration of the monuments of         
8race-horses 444 and athletes  and      
private individuals0 at the beginning of
 ,book ,,vi4#bbid ,this  description    
falls into two routes 771 the first of  
which is  concerned with the statues of 
#afh victors1#bbie and the second with  
those of #ai4bbif ,both accounts also   
include many 8honor0 monuments  erected 
to private persons4 ,the first route    
begins at the ,heraion  in the          
northwestern part of the sacred         
enclosure1 while the second             
begins--manifestly where the first      
ends--at the ,leonidaion at its         
southwestern corner1 and extends to a   
point near the so-called ,great  ,altar 
of ,zeus near the centre of the ,altis  
7see ,plans ,a and ,b74#bbig  ,besides  
these meagre indications of his two     

routes furnished by  ,pausanias himself1
 we are fortunate in knowing exactly the
 position of  one statue1 that of       
,telemachos1 the #abb;d victor          
mentioned1 the base of  which still     
stands in situ near the ,south wall of  
the ,altis1 a little  southeast of the  
temple of ,zeus1 showing that the route 
passed before  the eastern front of this
 temple and thence westward to the      
,leonidaion4  ,with these data and with 
the help of some forty inscribed bases  
of  statues and other monuments         
mentioned by ,pausanias1 many of which  
were  found in or near their original   
positions1 it is possible to trace yet  
more definitely his routes4 ,several    
attempts have been made1 since the      
,german excavations1 to define          
topographically the positions of these  
statues1 especially by ,hirschfeld1#bbih
 ,scherer1#bbii ,flasch1#bcjj           
,doerpfeld1#bcja and the present        
writer4#bcjb    ,the position of several
 inscribed base-fragments of statues1   

corresponding with ,pausanias' order of 
presentation1 should alone  be          
sufficient to confute the doubts raised 
by some scholars that  these routes     
through the ,altis were not             
topographical4#bcjc ,but in  any attempt
 to reconstruct them we must constantly 
be on our guard  against assuming that  
,pausanias describes a continuous line  
or row  of monuments1 as both           
,hirschfeld and ,scherer have done4     
,though here  and there this may have   
been true1 still1 generally speaking1 we
  must conceive of these statues as     
being strewn about the ,altis in no     
other order than that they stood in     
groups1 and that these groups had  only 
a general direction2 for we shall see   
that ,pausanias sometimes  returns to   
the same spot without mentioning it and 
often leaves long  spaces unnoticed4    
,apart from the indication of such      
groups in the  description itself1 as   
attested by the use of such words as 1  
1 1 1  1 1 1 1   1  1 4  441 ,i have    

already shown in my previous work that  
it is possible to reconstruct many other
 groups1 for abundant proof  is there   
given that statues of nearly            
contemporaneous victors were  often     
grouped together1 as were those of the  
same family or state1 or  those         
victorious in the same contest1 or those
 whose statues were made  by the same   
artist4#bcjd ,so1 in general1 we can    
group only certain  statues in belts or 
8zones0 around some building or monument
 which  is still in situ4 ,further than 
this we can seldom go4 ,w4 ,gurlitt  has
 thus well expressed the difficulty of  
following these routes  of ,pausanias3  
8,jede folgende ,statue ist nach der    
vorhergehenden  orientirt zu denken 444 
,beziehungen auf frueher oder spaeter   
erwaehnte  ,monumente waren             
ueberfluessig 444 wir sind 444 auf      
wenige ,fixpunkte  angewiesen und       
verfallen daher leicht in den ,fehler1  
die ,wegrichtungen  in den ,plan zu     
schematisch einzuzeichnen4444 ,das ,hin 

und ,her auf  den viel verschlungenen   
,wegen der ,altis koennen wir nicht mehr
  controllieren04#bcje ,in his          
description of the scattered altars 7,v1
  #ad4d-ae4ab71 ,pausanias had not the  
same problem to meet as in that of  the 
victor statues4 ,as there was so little 
continuity in describing  the altars1   
which were strewn all over the ,altis1  
he had to introduce  many other         
monuments to make their locations known2
 but in the case  of the victor statues 
there was great continuity1 and         
consequently  such indications would    
have been superfluous4#bcjf ,and1 in    
general1  owing to the number and       
variety of monuments crowded together in
 the  circumscribed area of the ,altis1 
he was not compelled to describe        
,olympia with such definite detail as   
,athens4 ,that these victor statues1    
however1 are described in topographical 
order is not only attested  by the      
internal evidence of ,pausanias'        
words1#bcjg but also by the  finding of 

many of their bases in the order of his 
presentation4 ,with  this introductory  
warning1 let us take up the routes of   
,pausanias in  detail4      ,,the       
,,first ,,ephodos ,,of ,,pausanias4     
,pausanias begins his enumeration in the
 northeastern part of the ,altis3       
#bcjh--words which have been the subject
 of  much discussion as to whether they 
are to be understood of the temple  pro 
persona1 i4 e41 the southern side1#bcji 
or of the viewpoint of  one facing it1  
i4 e41 the space 7especially the        
northern or right hand  half7 before the
 eastern front4#bcaj ,from the immediate
 whereabouts of  ,pausanias we get no   
clue2 for at the end of ,book ,v        
7#bg4aa7 he says that  he is in the     
middle of the ,altis1 and yet in the    
following paragraph                     
7#bg4ab7--;evidently added as a         
transition from the account of the      
altars  to that of the victors--he      
mentions the trophy of the people of    
,mende1  in ,thrace1 which he says he   

nearly mistook for the statue of the    
pancratiast ,anauchidas 7#aca71 and     
this1 as we shall see1 stood near the   
,south wall of the ,altis far from the  
centre4 ,doerpfeld's contention1        
therefore1 that ,pausanias approached   
the ,heraion from this point1 and  that 
consequently the words   must refer to  
its eastern front1  is untenable1 and we
 are left dependent on the meaning of   
these words  as gathered from other     
passages in ,pausanias' work4 ,an       
examination of  several such passages   
seems to be convincing that they are    
used here  of the ,heraion pro          
persona4#bcaa ,furthermore1 the finding 
of the  inscribed tablet from the base  
of the statue of ,troilos 7#f7 and the  
pedestal of that of ,kyniska 7#g7 in the
 ruins of the ,prytaneion1 i4  e41 not  
far from the western end of the         
,heraion1 and the base of that  of      
,sophios 7#bb7 in the bed of the        
,kladeos still further west1#bcab  makes
 it reasonable to conclude that the     

first statues mentioned 7,,vi1          
#a4c-c4g71 those of the ,spartan group  
7,kyniska-,lichas1 #g-ad71 all of the   
fifth century1 ,b4 ,c41 flanked on      
either side by statues of the fourth1   
mostly of ,eleans 7,symmachos-,troilos1 
#a-f1 and ,timosthenes-,eupolemos1      
#ae-bh71 originally stood in the order  
named by ,pausanias along the  southern 
front of the temple4#bcac    ,leaving   
the ,heraion1 we get no further fixed   
point until we arrive  opposite the     
eastern front of the temple of ,zeus4   
,for here around the  foundation of the 
statue of the ,eretrian ,bull--still in 
situ #cb  meters east of the            
northeastern corner of the temple 7see  
,plans ,a and  ,b7#bcad--;have been     
found fragments of the pedestals of the 
statues of  ,narykidas 7#di7 and        
,hellanikos 7#fe7 to the south1 of      
,kallias 7#ej7 and  ,eukles 7#eb71      
beneath that of ,kallias1 to the north1 
of ,euthymos 7#ef7  and ,charmides 7#eh7
 close together to the east4#bcae ,so it

 is clear  that the series of statues   
from ,narykidas to ,charmides 7#di-eh1  
,p41 ,,vi1  #f4 #a-g4a7 stood in this   
neighborhood4 ,now the statues of the   
family of  ,diagoras1 the ,rhodian      
athlete1 stood together 7#ei-fc71 as    
,pausanias  says 7,,vi1 #g4a-b72 one of 
them1 that of ,eukles 7#eb71 seems to   
have been  moved from its original      
position later1 as we learn from a      
scholiast on  ,pindar's seventh         
,olympian ode1#bcaf who1 on the         
authority of the lost  works of         
,aristotle and ,apollas on the ,olympic 
victors1#bcag enumerates  these statues 
in an order different from that adopted 
by ,pausanias1  showing that a change in
 their positions must have taken place  
some  time between the date of          
,aristotle and that of the              
,periegete4#bcah  ,the statues of       
,alkainetos and his son ,hellanikos     
7#fd-fe7 must also  have stood together4
 ,inasmuch as the victors from ,euthymos
 to ,lykinos  7#ef-fh7 are1 with one    

exception1 all pugilists or pancratiasts
 and of  the fifth century ,b4 ,c41 they
 must have been grouped together1 with  
the  family groups of ,diagoras and     
,alkainetos in the centre4#bcai ,we may 
also add the statues of ,dromeus and    
,pythokles#bcbj 7#fi-gj7 of nearly  the 
same date1 and we can also extend the   
group in the other direction2  for the  
same scholiast says that the statue of  
,diagoras stood near that  of the       
,spartan ,lysandros 7#ce a74#bcba       
,pausanias 7,,vi1 #c4ad and #d4a7  says 
that the statue of ,lysandros stood     
between those of ,pyrilampes and        
,athenaios 7#ce-cf74 ,thus we can       
conclude that the #cf statues 7#ce-gj1  
,,vi1 #c4ac-g4aj7 stood in the zone of  
the ,eretrian ,bull1 extending  perhaps 
across the ,altis to the vicinity of the
 ,echo ,colonnade along  its eastern    
boundary4    ,it would follow1 then1    
that the intervening statues from       
,oibotas to  ,xenophon 7#bi-cd1 ,p41    
,,vi1 #c4h-c4ac7 stood somewhere between

 the ,heraion  and the ,eretrian ,bull4 
,it is idle to discuss the route between
 these  two monuments more              
definitely4#bcbb    ,our next fixed     
point is the ,victory of ,paionios1     
whose foundation  is still standing in  
its original position1 #cg meters due   
east of  the southeast corner of the    
temple of ,zeus4#bcbc ,for1 of the next 
few statues mentioned1 the base of that 
of ,sosikrates 7#ga7 was found          
8somewhere0 east of the temple1 that of 
,kritodamos 7#hj7 before  the           
8,southeast ,building10 and that of     
,xenokles 7#he71 #d meters to  the      
northeast of the ,victory base1         
presumably near its original            
position4#bcbd ,pausanias groups the    
three ,arkadian athletes1               
,euthymenes-,kritodamos 7#gh-hj1 ,p41   
,,vi1 #h4e72 then1 after naming four    
statues of victors from other states1 he
 mentions two more ,arkadians  together1
 ,xenokles and ,alketos 7#he-hf1 ,,vi1  
#i4b72 and he continues by  saying that 

the statues of the ,argives ,aristeus   
and ,cheimon 7#hg-hh1 ,,vi1  #i4c7 stood
 together4 ,one more statue1 that of    
,phillen or ,philys#bcbe  of ,elis      
7#hi71 is named before he comes to the  
chariot of ,gelo4 ,thus we  may conclude
 that the series of statues denoted by  
the numbers #ga-hi  7,p41 ,,vi1         
#h4a-i4d7 stood to the south of the     
,eretrian ,bull in the  parallel zone of
 the ,victory4    ,we next come to the  
series of statues mentioned between the 
chariots  of ,gelo and ,kleosthenes     
7#ij-ii74 ,the position of the bases of 
these  chariots is practically certain4 
,in describing the statues of ,zeus in  
,book ,v1 ,pausanias says he is         
proceeding north from the ,council-house
  7#bc4a71 and first mentions a statue  
of ,zeus set up by the ,greeks who      
fought at ,plata2 in describing the     
victor statues he says that the  chariot
 of ,kleosthenes stands behind this     
statue of ,zeus 7,p41 ,,vi1  #aj4f74    
,after describing the ,zeus of ,plata1  

he mentions a bronze  inscribed tablet  
as standing in front of it 7,v1 #bc4d71 
which recorded  the thirty years' treaty
 of peace between ,sparta and ,athens1  
and  then says that the statue of the   
,zeus of the ,megarians stands near  the
 chariot of ,kleosthenes 7#bc4e74 ,as he
 is proceeding north1 this  ,megarian   
,zeus must have stood north of the      
,platan one2 thus in one  group we have 
the two statues of ,zeus and the chariot
 of ,kleosthenes4  ,immediately to the  
north he next mentions the chariot of   
the ,syracusan  tyrant ,gelo 7#ij71     
which he says is near the statue of the 
,zeus of  the ,hyblans 7#bc4f74 ,now in 
coming south1 in the athlete periegesis1
  he names eight statues between these  
chariots4 ,doerpfeld#bcbf has           
identified the base of the ,platan ,zeus
 with a large pedestal to the  northwest
 of that of the victor ,telemachos      
7#abb7 found in situ near  the ,south   
,altis wall1#bcbg a position which is in
 harmony with the  description of the   

statues of ,zeus2 just behind it he has 
identified  two large foundations near  
together as those of the two chariots4  
,so  the eight intervening statues stood
 here4 ,of the statues between the      
chariot of ,kleosthenes and the base of 
the statue of ,telemachos1 the  base of 
that of ,tellon 7#ajb7 was found in the 
,east ,byzantine wall near  the ,south  
,altis wall2 that of ,aristion 7#aae7   
nearby1 embedded in the  same wall2 that
 of ,akestorides 7#aai71 whose name ,i  
have inserted in the  lacuna in the text
 of ,pausanias 7,,vi1 #ac4g71bcbh just  
northeast of the  base of               
,telemachos4#bcbi ,thus the series of   
statues from that of ,gelo  to that of  
,agathinos 7#ij-aba;a1 ,p41 ,,vi1       
#i4d-ac4aa7 can be grouped in the  zone 
of the ,chariots4    ,as the fragment of
 the base of the statue of the ,athenian
 pancratiast  ,aristophon 7#abc7 was    
found near the base of ,telemachos1 but 
to the  east of it1 and likewise that   
which supported the equestrian monument 

of ,xenombrotos and ,xenodikos          
7#acc-acd7 still further to the east    
near  the ,echo ,colonnade1#bccj we can 
conclude that the twenty-one statues    
from ,aristophon to ,prokles 7#abc-ach1 
,p41 ,,vi1 #ac4aa-ad4ac71 mostly  of the
 fifth century ,b4 ,c41 stood near the  
,south ,altis wall to the  east 7and not
 to the west of the base of ,telemachos1
 where all other  investigators have    
wrongly placed them71#bcca and thus form
 a group  which we can call the zone of 
,telemachos4 ,so we conclude that the   
long list of statues from ,pyrilampes to
 ,prokles 7#ce-ach71 nearly  two-thirds 
of all those mentioned in the first  of 
,pausanias1  stood in the space to the  
east and southeast of the temple of     
,zeus1  grouped in the parallel zones of
 the ,bull1 ,victory1 ,chariots1 and    
,telemachos4    ,on the other hand1 the 
statues beginning with the two of       
,aischines  7#aci7 and extending to that
 of ,philonides 7#aed a7 7,p41 ,,vi1    
#ad4ac-af4e7  must have stood to the    

west of the base of ,telemachos and     
along the  ,south ,terrace wall some #bj
 meters south of the temple of ,zeus1   
where  many of the following pedestals  
were found in the order named by        
,pausanias3 that of ,aischines 7#aci7   
was found in the ,council-house2  that  
of ,archippos 7#adj7 nearby between the 
,south ,terrace wall and the  north wing
 of the ,council-house2 that of         
,epitherses 7#adg7 opposite the  sixth  
column of the temple from the west1 some
 eleven paces from the  ,south ,terrace 
wall1 and the fragment of the base of   
the honor statue of  ,antigonos 7#adg f7
 very near it2 the bronze foot of one of
 the statues  of ,kapros 7#aej7 was     
found in the ,south ,terrace wall1      
#bd4dj meters from  the southwest corner
 of the temple2 and lastly1 the base of 
the 8honor0  statue of ,philonides 7#aed
 a71 ,alexander's courier1 was found in 
the  southwest corner of the ,altis at  
the extreme west end of the ,south      
,terrace wall1 almost1 if not exactly1  

in its original position4#bccb  ,thus   
,pausanias1 after coming south to the   
statue of ,telemachos1 first  goes      
eastward as far as the statue of        
,prokles1 then returns1 repassing  the  
two chariots on the way without remark1 
and then continues westward  to the     
southwestern corner of the ,altis4 ,all 
statues west of that  of ,telemachos are
 of the fifth and fourth centuries ,b4  
,c41 with the  exception of one1 that of
 ,eutelidas 7#adh71 who won in ,ol4 #ch4
 ,this is  the oldest statue in the     
,altis1 despite ,pausanias'             
statement1#bccc and  it doubtless       
originally stood in the area occupied   
later toward the  middle of the fifth   
century ,b4 ,c4 by the temple of ,zeus1 
but was then  transferred to its new    
position south of the temple4    ,after 
the statue of ,philonides1 there are    
still #ai statues of victors  and       
8honor0 men to dispose of in this first 
1 those from ,brimias  to ,glaukon      
7#aee-afi1 ,p41 ,,vi1 #af4e-af4i74 ,of  

these statues1 the base of  that of     
,leonidas of ,naxos 7#aee;a71 the       
founder of the great building  just     
outside the southwestern corner of the  
,altis named after him1 was  discovered 
in a ,byzantine wall before the eastern 
end of the north  front of that         
building1 while that of ,seleadas 7#aei7
 was unearthed  within the ruins of the 
same building2 the base which supported 
the  group-monument of ,polypeithes and 
,kalliteles 7#afj-afa7--which1 owing  to
 the early dates of their victories1    
some time between ,ols4 787 #ff  and #gj
 7 #eaf and #ejj ,b4 ,c471 must have    
stood originally in the area  later     
occupied by the temple of ,zeus1 like   
that of the above-mentioned             
,eutelidas--a little to the south of the
 ,byzantine church1 between the  bases  
of the statues of ,leonidas and         
,glaukon2 two fragments of the base  of 
the statue of ,deinosthenes 7#afc7 have 
been found1 one east of the  apse of the
 church1 the other in the ruins of the  

,palaistra further  north2 and lastly1  
that of ,glaukon1 built into late walls 
northwest  of the church4#bccd ,as the  
statue of ,philonides stood at the      
extreme  western end of the ,south      
,altis wall1 and as most of these       
fragments  were found in the vicinity of
 the ,leonidaion1 it would be natural to
  conclude that the majority of these   
later statues stood in the spaces  just 
outside the ,west ,altis wall4 ,but at  
the end of the first   7,,vi1 #ag4a7    
,pausanias says that he has so far named
 statues 8within the  ,altis02 hence    
most investigators have placed these #ai
 statues either  west of the temple of  
,zeus or in the space at the            
southwestern corner  of the ,altis4 ,a  
little further on we shall see that many
 other victor  statues1 not mentioned by
 ,pausanias1 stood just outside the     
,west ,altis  wall1 and it is doubtful  
whether his words    7,,vi1 #ag4a7      
should be taken thus literally1         
especially on any theory of his use  of 

earlier accounts in the final compiling 
of his own4 ,if they were  8within0 the 
,altis1 they could scarcely have stood  
to the west or  southwest of the temple 
of ,zeus1 for the second 1 as we shall  
see1 passed there4    ,a better         
alternative can be found4 ,in describing
 the ,leonidaion 7,v1  #ae4b71          
,pausanias says that this building stood
 8outside the sacred  enclosure at the  
processional entrance into the ,altis   
444 separated  from this entrance by a  
street2 for what the ,athenians call    
lanes1  the ,eleans name streets40#bcce 
,now ,doerpfeld has shown that inside   
the ,west ,altis wall and parallel to   
it--just south of the base of           
,philonides' statue--is a line of bases 
ending in the later ,south wall  of the 
,altis1 so that this ,west wall and row 
of pedestals form a cul  de sac 7see    
,plan ,b74#bccf ,it is clear that no    
such row of statues  would have been    
placed leading up to a dead wall2       
therefore these  statues must have stood

 there before the wall was built1 and   
must once  have formed the eastern      
boundary of a broad street skirting the 
eastern  side of the ,leonidaion1 which 
was twice as wide as later1 when the    
wall  cut off half its breadth and made 
it a 8lane10 though the older name      
8street0 was retained4 ,the later ,roman
 enlargement of the ,altis is  well     
known4 ,the long row of pedestals to the
 south of and parallel to  those already
 discussed as standing along the line of
 the ,south ,terrace  wall1 westward of 
the base of ,telemachos1 once           
constituted the southern  boundary of   
the 8,processional ,way0 7 71 which ran 
from the  ,leonidaion to where it       
debouched into the ,altis at its        
southeastern  corner4 ,originally       
outside the ,altis1 they were later1    
together  with the road itself1 included
 in it4 ,the pedestals1 then1 in the    
above-mentioned cul de sac1 and also the
 fourteen 7among them that  of ,metellus
 ,macedonicus2 see ,plan ,b7 that       

adorned the south side of  the          
,processional ,way1 may be the remains  
of some of these last statues  mentioned
 by ,pausanias4      ,,the ,,second     
,,ephodos ,,of ,,pausanias4    ,we next 
come to the second 1 which is introduced
 by these  words3               1       
4#bccg  ,the ,leonidaion1 the site of   
which was still in dispute till after   
the close of the excavations1 was       
finally identified by ,treu#bcch  with  
the so-called ,suedwestbau1 as had been 
already assumed by many                 
investigators4#bcci ,the site of the    
,great ,altar1 however1 is still        
undetermined4 ,the elliptical depression
 to the east of the ,pelopion1  whose   
dimensions 7#abe feet in circumference7 
agree with the figures  of              
,pausanias#bcdj for the prothysis1 or   
lowest stage of the  altar1 identified  
with it by most scholars1#bcda must now 
be given  up since the more recent      
excavations of ,doerpfeld1 which prove  
it to  be the remains of two prehistoric

 dwelling houses with apse-like         
ends4#bcdb ,nor can the remains of walls
 lying between the ,heraion and  the    
,pelopion1 formerly supposed to be those
 of an altar1 any longer  be referred to
 the ,great ,altar 7as ,puchstein and   
,wernicke referred  them7#bcdc since    
,doerpfeld's recent discoveries4 ,so we 
are dependent  on the words of          
,pausanias alone for its location1 who  
says that it  stood 8equidistant from   
the ,pelopion and the sanctuary of      
,hera1 but in  front of both10#bcdd     
therefore somewhat northwest of the     
elliptical  depression nearer the centre
 of the ,altis4#bcde ,our problem1 then1
 is  to find ,pausanias' route between  
these two points1 and here again1 as  at
 the beginning of the first 1 we must   
rightly interpret the  words  4         
,michaelis1 in his article on the use of
   and    in ,pausanias' work1 made     
these words refer to the southern  side 
of the ,processional ,way1 i4 e41 to the
 side at the right of  ,pausanias1 who  

was facing east after arriving at the   
,leonidaion4#bcdf  ,thus the statues    
already mentioned along the ,south      
,terrace wall  7,aischines to           
,philonides1 #aci-aed;a7 would now be on
 his left side4  ,on this interpretation
 both ,hirschfeld and ,doerpfeld had the
 second   follow the ,processional ,way 
eastward parallel to the first--thus    
including the line of pedestals1 which  
we have referred to the end of  the     
first--and then1 near the ,councilhouse1
 curve northward in front  of the temple
 of ,zeus1 which virtually would be a   
repetition of the  first 4 ,on this     
theory ,doerpfeld#bcdg wrongly explained
 the  first route as containing statues 
1 while the second was  outside the     
older ,altis1 and so1 though equally    
long1 contained fewer  statues4 ,but    
against this interpretation it must be  
urged that the  ,periegete is describing
 the ,altis of his day1 when the road in
 question  was included within its      
boundaries1 and that the ,great ,altar  

and the  two last statues mentioned     
7#ahg1 #ahh7 as standing near the pillar
 of  ,oinomaos were always inside4#bcdh 
,and neither this ,processional ,way    
nor the space before the eastern front  
of the temple of ,zeus were  localities 
for 8unimportant mixed statues40#bcdi   
,furthermore1 if he  had merely retraced
 his steps after arriving at the        
,leonidaion--and he  says nothing of    
returning--he would not have begun a new
 route#bcej1  but would have said       
something like this3                    
4#bcea ,so  it is simpler to conclude   
that the new route wound around the     
western  and northern sides of the      
temple of ,zeus over the temple         
terrace4#bceb  ,as no building is       
mentioned on the way1 and as the north  
side of the  temple would probably have 
been called   7in accordance  with the  
usage discussed above in connection with
 the ,heraion71 and  as the ,pelopion   
faces southwest1 the words   can refer  
only  to the right hand of ,pausanias1  

i4 e41 the right side of the road       
followed4 ,if we assume that these words
 originally stood after     and were    
transferred by a later copyist1 the     
difficulty is  resolved4#bcec    ,of the
 nineteen victor statues in this second 
route 7#agj-ahh1 ,,vi1  #ag4a-ah4g7 no  
bases have been found4#bced ,but of the 
three 8honor0  statues included1 one    
base1 that of the rhetorician ,gorgias  
of  ,leontini 7#ahd;a71 was recovered   
#aj meters northeast of the temple of   
,zeus1 and so probably not very far from
 its original position2#bcee  for       
,pausanias mentions only three more     
statues1 before he comes to the  last   
two in this 1 which two stood in this   
vicinity4 ,the parts  of the ,altis to  
the west and north of the temple were   
unimportant  till the time of ,alexander
 the ,great1 and were1 therefore1       
remarkably  free of monuments4 ,in the  
whole description of ,pausanias1 we know
 of  only three altars 7those of        
,aphrodite1 the ,seasons1 and the       

,nymphs7  and a wild olive tree 7the    
8,olive of the ,beautiful ,crown07 to   
the  west of the temple 7,v1 #ae4c71 and
 only of the votive offerings of a      
certain ,mikythos or ,smikythos to the  
north of it 7,v1 #bf4b74bcef ,as  the   
statue of ,gorgias stood among the      
8unimportant mixed statues0  already    
mentioned 7#ahd-ahf71 these must have   
stood somewhere north  of the temple    
near its eastern end4 ,finally1 the two 
ancient wooden  statues of ,praxidamas  
and ,rhexibios 7#ahg-ahh1 ,p41 ,,vi1    
#ah4g7 are  mentioned by themselves as  
near the column of ,oinomaos1 which     
,pausanias  elsewhere#bceg says stood   
near the ,great ,altar of ,zeus to the  
left of  a road running south from it to
 the temple4 ,pausanias1 after          
describing  these 8mixed0 statues1 may  
have finally left the route thus far    
followed and introduced these last two  
statues as quite distinct from  the     
second 4#bceh ,but he does not seem to  
have gone far from his  route1 for      

immediately after ending his account of 
the victor statues1  he begins his      
account of the ,treasuries1 which lay   
beyond the ,great  ,altar farther       
north4#bcei 7,plans ,a and ,b47    ,thus
 ,pausanias ends his second route       
somewhere short of the ,great  ,altar1  
and it appears after all to be only a   
continuation of the first1  forming with
 it one unbroken 8,rundgang10 though in 
quite a different  sense of the word    
from that intended by ,doerpfeld4       
,,summary ,,of ,,results4    ,from a    
study of these two routes1 and a        
comparison of the dates of the          
victorious athletes1#bcfj we can draw   
the following conclusions as to  the    
positions of the victor statues         
mentioned by ,pausanias as standing  in 
the ,altis at ,olympia3    #a4 ,the     
twenty-eight oldest statues--exclusive  
of the five already  mentioned as having
 been removed from the area of the later
 temple of  ,zeus#bcfa--;dating from    
,ol4 #eh 7 #edh ,b4 ,c41 ,pythokritos1  

#abh b7 to ,ol4  #gf 7 #dgf ,b4 ,c41    
,theognetos1 #hc71 i4 e41 approximately 
down to the  date of the founding of the
 temple1#bcfb stood in the space between
  the eastern front of the temple and   
the ,echo ,colonnade1 or to the south   
of it near the ,south ,altis wall4 ,only
 one statue 7that of ,protolaos1  #dh7  
stood as far north as the ,eretrian     
,bull4 ,thus the southeastern  part of  
the ,altis was the oldest part dedicated
 to victor statues4    #b4 ,after this  
space was mostly filled1 the next       
statues1 those dating  from ,ol4 #gg 7  
#dgb ,b4 ,c41 ,kallias1 #ej7 to ,ol4 #ic
 7 #djh ,b4 ,c41 ,eubotas1  #ge71 i4 e41
 from about the time of the foundation  
of the temple to  near the date of the  
battle of ,aigospotamoi1 fifty-one in   
number1  stood between the ,heraion and 
the ,victory of ,paionios2 only one     
stood as far south as the ,altis wall1  
while seven stood around the  ,chariots1
 ten around the ,victory1 twenty around 
the ,bull1 and  the rest further north  

7including #agf1 #ahe of the second 1   
which  stood north of the eastern end of
 the temple74 ,diagoras and his family  
7#ei-fc71 boxers and pancratiasts1 had  
their statues near the older  famous    
boxer ,euthymos 7#ef72 ,alkainetos and  
his sons 7#fd-ff71 boxers1  besides many
 other pugilists1 had theirs near the   
,diagorids2 ,tellon  7#ajb7 had his near
 that of his compatriot ,epikradios     
7#aja72 later  ,achans had theirs near  
that of their countryman ,oibotas 7#bi71
 and  ,spartans near that of ,chionis   
7#aaa72 some1 as the three victors from 
,heraia 7#agf1 #agg1 #cb71bcfc stood far
 apart only apparently1 for the  last   
one had his statue near the ,bull1 and  
so not far from the other  two1 though  
these are named in the second 4    #c4  
,from near the date of the battle of    
,aigospotamoi1 down to about the  birth 
of ,alexander the ,great1 i4 e41 from   
,ol4 #id to ,ol4 #ajf 7 #djd  to #cef   
,b4 ,c471 thirty-six statues filled in  
the intervals left among  these older   

statues2 fifteen stood near the         
,heraion2 five between it  and the      
,bull1 seven around the ,bull1 five     
around the ,victory1 one  near the      
,chariots1 and three along the ,south   
,altis wall4 ,euthymenes  and           
,kritodamos 7#gh1 #hj7 had their        
monuments near that of their older      
countryman 7#gi71 whose statue was made 
by ,myron2 the ,ephesians1  ,pyrilampes 
and ,athenaios 7#ce1 #cf71 had their    
statues beside that of  their benefactor
 ,lysandros 7#ce a74    #d4 ,after      
,alexander's time1 in consequence of the
 recent building of  the ,philippeion1  
,leonidaion1 and ,theekoleon to the west
 of the ,altis1  the western side of the
 temple of ,zeus 7and1 to a lesser      
extent1 the  northern7 became important1
 and henceforth statues surrounded the  
temple on all sides4 ,of the            
thirty-three statues of this epoch1 nine
  stood to the west of the temple1 four 
to the north1 and seven to the  south1  
while the rest stood either to the east1

 or1 perhaps1 near the  ,heraion4 ,we   
shall see also that many later statues1 
known to us from  inscriptions only1    
stood outside the ,altis1 to the west   
and northwest4      ,,statues ,,not     
,,mentioned ,,by ,,pausanias1 ,,but     
,,known ,,from ,,recovered ,,bases4     
,having established these data1 it is   
not difficult1 from the positions  of   
the many inscribed fragmentary bases    
found at ,olympia and referred  to      
victor statues not mentioned by         
,pausanias1 from the approximate  dates 
of the victories as gained from the age 
of the inscriptions1 and  by again      
employing the system of groups already  
mentioned1 to state  quite definitely   
where many of these other statues stood4
 ,pausanias1  who mentions #ahg victors 
with #aib monuments in his two 1        
expressly states that he enumerates only
 those 8who had some title  to fame or  
whose statues were better made40#bcfd   
,the reasons for  his selection and the 
fact that he mentions the statue of no  

athlete  certainly later than the middle
 of the second century ,b4 ,c4 7although
  we know from inscriptions that statues
 were set up far into the third  century
 ,a4 ,d41 at least7#bcfe have been      
subjects of much discussion1  but hardly
 concern us here4#bcff ,the three latest
 statues of victors  mentioned by       
,pausanias1 whose dates are fixed1 may  
be given3 those of  ,kleitomachos1 who  
won  and  in ,ols4 #ada and #adb 7 #baf 
and #bab ,b4 ,c472#bcfg of ,kapros1     
victor in  and  in  ,ol4 #adb 7 #bab ,b4
 ,c472#bcfh and of ,akestorides1 victor 
sometime between ,ols4 #adb and #add 7  
#bab and #bjd ,b4 ,c474#bcfi ,still     
later statues of victors named by       
,pausanias1 whose dates can not be      
exactly determined1 are those of        
,sodamas1 who won   some  time between  
,ols4 #adb and #ade 7 #bab and #bjj ,b4 
,c472#bcgj of ,amyntas1  victor in   in 
,ol4 787 #adf 7 #aif ,b4 ,c472#bcga  of 
,timon1 victor in  in ,ols4 #adf or #adg
 7 #aif or #aib ,b4  ,c472#bcgb and of  

,lysippos1 victor in   some time between
  ,ols4 #adi and #aeg 7 #ahd and #aeb   
,b4 ,c474#bcgc ,of the first century ,a4
  ,d41 ,pausanias mentions three victors
 without statues3 ,artemidoros1  who won
  in ,ol4 #bab 7 #fi ,a4 ,d472#bcgd     
,polites1 victor  in 1  and  in ,ol4    
#bab2bcge and ,hermogenes1  victor in   
twice1  once1 and as  thrice1 in ,ols4  
#bae1 #baf1 #bag 7 #ha-hi ,a4 ,d474#bcgf
 ,the words of ,pliny1 ,olympiae1  ubi  
omnium qui vicissent statuas dicari mos 
erat#bcgg refer1 of  course1 as we have 
already pointed out1 only to the        
privilege and not  to the actual fact1  
for many victors would have no statues1 
as it  was necessary for them or their  
relatives or city-states to meet the    
expenses of their erection4#bcgh ,no    
more is the rest of his statement  to be
 taken literally1 i4 e41 that those     
victors who were victorious  three times
 had the right to erect portrait statues
 in their honor2  for we have1 as has   
already been shown1 at least one        

exception4#bcgi  ,besides we know that  
portrait statues were practically       
unknown  before the fourth century ,b4  
,c4 ,most of the victor statues were    
mere  types--those of ,hermes and       
,herakles being common--without         
individualized  features1 simply        
representing the various contests by    
position or  some characteristic1 e4 g41
 the helmet and shield for 8hoplite0    
victors4#bchj    ,five of these         
inscriptions have been referred to the  
sixth and fifth  centuries ,b4 ,c4#bcha 
,of these the inscribed base of         
,pantares was  found near the ,south    
,altis wall1 and the statue must        
originally have  stood east of the      
temple of ,zeus1 near the chariot of    
,gelo 7#ij71 for  these two were the    
only victors from ,gela1 and won in the 
same kind  of contest and at nearly the 
same date4#bchb ,the statues of         
,phrikias  of ,pelinna and ,phanas of   
,pellene1 both representing victors in  
the  heavy-armed race1 to which ,i have 

ascribed the two archaic marble  heads  
7,fig4 #cj71 the former found west of   
the temple of ,zeus and the  latter to  
the south of it1 must originally have   
stood in the area of  the later temple  
and then have been removed4#bchc ,that  
of an unknown  victor1 whose name ended 
in 4441#bchd the two fragments of whose 
base were found1 one near the ,heraion  
and the other to the east of the  temple
 of ,zeus1 should have stood near the   
statues of the only other  pancratiasts 
of a similar age1 either near those of  
,dorieus 7#fa71 who  won in ,ols4 #hg to
 #hi 7 #dcb to #dbd ,b4 ,c471 and       
,damagetos 7#fb71 who won  in ,ols4 #hb 
and #hc 7 #deb and #ddh ,b4 ,c471 in the
 zone of the ,bull1 or  near that of    
,timasitheos 7#hb71 who won some time   
between ,ols4 787 #fe  and #fg inclusive
 7 #ebj and #eab ,b4 ,c471 in the zone  
of the ,victory4  ,lastly1 the second   
inscribed base of ,xenombrotos 7#acc71  
found near  the ,council-house outside  
the ,south ,altis wall1 doubtless once  

stood  near the first 7the epigram from 
which is preserved by ,pausanias1 ,,vi1 
#ad4ab71 along this wall to the east of 
the base of ,telemachos4#bche    ,no    
inscribed fragments of bases dating from
 the fourth century ,b4 ,c4  have been  
found4    ,beginning with the third     
century ,b4 ,c41 we shall see that most 
of the  recovered bases were found      
either in the western part of the       
,altis1  in the neighborhood of the     
,philippeion1 ,theekoleon1 and          
,leonidaion1  on both sides of the ,west
 ,altis wall1 or still farther west and 
northwest1 especially in or near the    
,palaistra and ,prytaneion4 ,we have    
already seen that most of the statues   
named by ,pausanias dating from         
,alexander's time stood to the west 7and
 north7 of the temple of ,zeus4  ,as    
,pausanias enumerates only statues   of 
his route around the  temple to the     
,great ,altar1 these statues farther    
west and northwest  are omitted from his
 account4 ,of the four bases of statues 

referred  to the third century1 all     
belong to ,elean victors2 three were    
found  west and northwest of the        
,prytaneion and beyond1 showing that    
these  statues once stood in the        
vicinity of this building1 and the      
fourth  was found farther south1 by the 
,palaistra1 where it probably stood4    
,thus the base of the wrestler          
,nikarchos1 son of ,physsias1 was found 
in a late wall west of the              
,prytaneion2#bchf that of the statue of 
an  unknown victor1 son of ,taurinos1   
was found at the southeast corner of    
the ,palaistra2#bchg that of another    
unknown victor1 the son of  444phinos1  
was found in the ,nordwestgraben2#bchh  
the base of the  statue of ,thersonides1
 son of ,paianodoros1 victor  1 was     
found northwest of the ,prytaneion1     
between the ,roman baths and east  hall 
of the ,gymnasion4#bchi    ,of the four 
statues referred with certainty to the  
second century  ,b4 ,c41 all but one    
were found to the west of the ,altis1 in

 a region  ranging from the             
,philippeion1 northwest of the temple of
 ,zeus1 to the  ,leonidaion southwest of
 it4 ,two of them were found outside the
 ,west  ,altis wall1 between the        
,leonidaion and the ,byzantine church4  
,thus the  base of the statue of        
,d444gonos1 twice victor in 1 was found 
outside the apse of the ,byzantine      
church and west of the ,west ,altis     
wall2#bcij the fragments of that of an  
unknown boy victor in wrestling  or the 
pankration were found in the ,east      
,byzantine wall2#bcia that  of an       
unknown victor1   7twice71 and  1 was   
found south of the ,philippeion4#bcib   
,the fragment of the base of the  statue
 of another unknown victor in wrestling1
 the son of the ,elean  ,aigyptos1 was  
found to the northeast of the           
,leonidaion4#bcic    ,of the seven bases
 referred to the second and first       
centuries ,b4 ,c41  three were found in 
or near the ,byzantine church1 showing  
that such  statues may have stood in the

 ,greek building which was later        
converted  into the church4#bcid ,two   
more were found near the southwest      
corner  of the ,altis1 and therefore may
 once have stood near the statue of     
,philonides1 which ,pausanias mentions  
as standing in that vicinity4  ,two     
others stood farther away1 one inside   
the ,prytaneion1 the other  northeast of
 the temple of ,zeus4 ,thus the base of 
an unknown victor1  the son of          
,aristotle1  1 was found in front of the
 north  side of the ,byzantine          
church2#bcie that of ,aristodamos1 the  
son of  ,aleximachos of ,elis1 was found
 in the floor of the church2#bcif that  
of an unknown victor was found northeast
 of the temple of ,zeus2#bcig  that of a
 victor  1 whose name ended in 444chos1 
the  son of the ,elean ,nikodromos1 was 
found southwest of the ,altis before    
the ,west ,altis wall2#bcih the base of 
two unknown victors from ,elis  were    
found respectively in the               
,prytaneion#bcii and northwest of the   

,byzantine church1#bdjj while that of   
another ,elean1 ,antigenes1 the son  of 
,jason1 victor  1 was found in the      
southwest corner of  the ,altis4#bdja   
,the positions of the twenty-four bases 
7belonging to monuments of  twenty-two  
victors7 with certainty referred to the 
first pre-,christian  century were very 
scattered4 ,one large ,pentelic marble  
bathron1  supporting the monuments of   
seven victors of the family of          
,philistos1  must have stood just south 
of the ,philippeion1 where most of the  
fragments were found4 ,the bases of the 
statues of two other sons and  a        
grandson of the same victor have been   
recovered1 and doubtless  stood near by1
 thus forming a family group of ten1    
outnumbering that  of ,diagoras 7#ei-fc 
and #eb7 mentioned by ,pausanias4 ,the  
omission of  so important a monument in 
the description of the ,periegete has1  
of  course1 been used as an indication  
of his employment of earlier lists4  ,of
 the other bases1 two were found outside

 the ,south ,altis wall1 west  of the   
,council-house1 and two east of it2 two 
east of the temple of  ,zeus 7one of    
them that of the youthful ,tiberius1    
afterwards ,roman  emperor1 which must  
have stood near the ,eretrian ,bull1    
where it was  found72 one southwest of  
the temple1 along the ,south ,terrace   
wall1  pointing to a position among the 
statues there named by ,pausanias2  one 
east of the ,byzantine church1 pointing 
to a position south of  the ,theekoleon1
 two to the northwest of the ,altis in  
the vicinity of  the ,prytaneion2 while 
the others were found scattered all the 
way  from the northeastern part of the  
,altis to the bed of the ,kladeos4      
,thus over half 7#ac7 of these          
statue-bases were found in the west and 
northwest of the ,altis and beyond2 the 
space to the east of the temple  of     
,zeus--called frequentissimus           
celeberrimusque by ,scherer--seems now  
not to have been greatly prized4 ,most  
of these victories were gained  in      

hippic contests4 ,horse-racing had early
 been discontinued1 but  was revived at 
the end of the first century ,b4 ,c41   
when members of  the imperial family1   
emulating the earlier triumphs of the   
princes  of ,sicily and ,macedonia1     
became competitors4 ,thus ,tiberius won 
in  the chariot-race1 and a few years   
later his nephew ,germanicus in the     
same event4 ,the list of these bases of 
victor statues of the first  century ,b4
 ,c4 and their provenience follows4 ,a  
fragment of the base  of the victor     
,agilochos1 son of ,nikeas of ,elis1    
victor  1  was found in the ,east       
,byzantine wall4#bdjb ,one fragment of  
the  bathron of the family group of the 
,elean ,philistos1#bdjc victors  in     
hippic contests1 was found southwest of 
the ,pelopion1 while four  others were  
discovered south of the ,philippeion2   
the base of the  statue of ,philonikos1 
a son of ,philistos1 was also found     
south of the  ,philippeion1#bdjd and    
that of another unnamed son was         

discovered to  the west of the          
,prytaneion1#bdje while the place of    
finding of that  of ,charops1 the son of
 ,telemachos1 has not been              
recorded4#bdjf ,the  base of the        
monument of ,aristarchos was found east 
of the ,byzantine  church1#bdjg that of 
,damaithidas1 son of ,menippos of ,elis1
 a victor   1 west of the ,council-house
 7south building71#bdjh and  that of    
,thrasymachos 7or ,thrasymedes7 in the  
,nordostgraben4#bdji ,a  fragment of the
 base of the statue of ,demokrates of   
,antioch in ,karia  was found in the bed
 of the river ,kladeos1#bdaj that of a  
victor whose  name began with ,demo4441 
northeast of the ,prytaneion1#bdaa while
  that of ,thaliarchos1 the son of      
,soterichos of ,elis1 victor     1 was  
found east of the ,council-house4#bdab  
,bases from  two statues of ,menedemos1 
son of ,menedemos of ,elis1 victor   1  
were found1 one east of the temple of   
,zeus1 the other inside  the            
,heraion4#bdac ,lykomedes1 the son of   

,aristodemos of ,elis1 victor   1 also  
had two statues2 the base of one was    
found in  front of the ,west ,byzantine 
wall on the south side of the temple of 
,zeus1 that of the other in the         
,westgraben4#bdad ,the front part of    
the base of the statue of ,archiadas1   
the son of ,timolas of ,elis1 who  won  
1 was discovered southwest of the temple
 of ,zeus1 on  the ,terrace wall4#bdae  
,that of an unknown victor in the 1 the 
son of 444krates of ,miletos1 was found 
near the ,osthalle1#bdaf  while that    
inscribed with the name of ,tiberius    
,claudius ,nero of ,rome1  who won a    
victory  just before the end of the     
century1 was  found south of the        
,eretrian ,bull4#bdag    ,nineteen      
inscribed base-fragments have been      
referred to the  post-,christian        
centuries1 thirteen to the first1 three 
to the  second1 and three to the third4 
,the spaces around the temple of ,zeus  
7especially its eastern front7 are again
 the favorite ones4 ,thus the  bases of 

three statues were found east of the    
temple 7one in situ71  two near its     
southeastern corner1 three at the       
northeastern corner  7one1 that of      
,germanicus ,csar1 the nephew of        
,tiberius1 just to the  north of the    
,eretrian ,bull1 and so originally      
standing here near  that of his uncle71 
while another stood opposite the fifth  
column from  the east on the north side 
of the temple4 ,most of these statues   
must  have been passed by ,pausanias in 
his first 1 which is1 perhaps1  another 
evidence of his dependence on older     
lists in compiling his  own4 ,two other 
bases were found to the southwest of the
 temple1 one of  them near its corner1  
and the other nearer the corner of the  
,altis1  i4 e41 near the base of the    
statue of ,philonides 7#aed;a74 ,thus   
eleven  statues stood near the temple4  
,of the others1 four were found in the  
vicinity of the ,palaistra 7one inside  
in situ71 one to the northeast  of the  
,prytaneion1 another northeast of the   

,byzantine church1 while the  two       
remaining ones were found in the eastern
 part of the ,altis1 near  the entrance 
to the ,stadion and before the ,echo    
,colonnade respectively4  ,the base of  
the last statue of a victor known to    
have been erected at  ,olympia1 that of 
,valerios ,eklektos of ,sinope1         
previously mentioned1 was  found in situ
 in the ,palaistra4 ,we append a        
detailed list of these  bases1 giving   
the provenience of each4    ,of the     
first century ,a4 ,d41 the fore part of 
the base of the monument  of            
,germanicus1 son of ,nero ,claudius     
,drusus1 was found east of the  temple  
of ,zeus1 north of the ,eretrian        
,bull2#bdah the base of that  of ,gnaios
 ,markios was found opposite the        
southeast corner of the  temple2#bdai   
that of ,markos ,antonios ,kallippos    
,peisanos1 son of ,m4  ,antonios        
,alexion of ,elis1 who won   in ,ol4    
#agg 7 #gb ,a4  ,d471 was found in the  
,west ,byzantine wall at the southwest  

corner  of the temple4#bdbj ,the base of
 the monument of ,polyxenos1 son of     
,apollophanes of ,zakynthos1 victor in  
1 was discovered at  the southwest      
corner of the ,altis far from its       
probable original  location2#bdba that  
of ,p4 ,kornelios ,ariston1 son of      
,eirenaios of  ,ephesos1 victor in   in 
,ol4 #bjg 7 #di ,a4 ,d471 in front  of  
the north wall of the ,palaistra2#bdbb  
the marble plate from that  of ,tiberios
 ,klaudios ,aphrodeisios of ,elis 7871  
who won    in ,ol4 #bjh 7 #ec ,a4 ,d471 
was unearthed near its semicircular     
base1  which was found in situ east of  
the temple4#bdbc ,four fragments  of the
 base of the monument of the boy        
pancratiast ,nikanor1 son of  ,sokles of
 ,ephesos1 were recovered east of the   
temple1 and another one  near its       
southeastern corner4#bdbd ,the base of  
that of ,markos ,deida  of ,antioch1    
victor in   in ,ol4 #bai 7 #ig ,a4 ,d471
 was found  southeast of the            
temple2#bdbe that of an unknown victor  

in the   and as  7three times7 in the   
,north ,byzantine wall2#bdbf that of    
,hermas1 son of ,ision of ,antioch1 a   
victor in 1 between the  ,west ,altis   
wall and the southeastern corner of the 
,palaistra2#bdbg  that of ,diogenes1 son
 of ,dionysios of ,ephesos1 victor  five
  times1 before the centre of the ,echo 
,colonnade4#bdbh ,the inscribed         
fragments of the bronze legs of the     
statues of two unknown victors  have    
also been excavated1 the one near the   
starting-place in the  ,stadion1#bdbi   
the other near the fifth column from the
 east on the  north side of the temple  
of ,zeus4#bdcj    ,of the second century
 ,a4 ,d41 we have the following bases3  
that of ,kasia  ,mnasithea1 daughter of 
,m4 ,betilenos 7or ,vetulenos7 ,laitos  
of ,elis1  who won  1 was found         
northeast of the ,prytaneion2#bdca the  
upper part of the pedestal of the       
quadriga of ,l4 ,minicius ,natalis of   
,rome1 victor   in ,ol4 #bbg 7 #abi ,a4 
,d471 was unearthed in  the east wall of

 the ,palaistra4#bdcb ,the base of the  
statue erected to  the herald ,p4       
,ailios ,artemas of ,laodikeia 7in      
,phrygia87 was found #bj  meters north  
of the northeastern corner of the temple
 of ,zeus4#bdcc    ,of the third century
 ,a4 ,d41 i4 e41 after the time of      
,pausanias1 we  have these bases3 that  
of ,p4 ,ailios ,alkandridas1 son of     
,damokratidas of  ,sparta1 twice victor 
in 787 1 was found northeast of the     
,byzantine  church2#bdcd that of        
,theopropos of ,rhodes1 who won 1 was   
unearthed east of the temple of ,zeus1  
just south of the basis of the  ,nike of
 ,paionios2#bdce the base of the statue 
of ,valerios ,eklektos  of ,sinope1     
victor as  in ,ols4 #bef1 #beh-bfj 7    
#bde1 #bec-bfa ,a4  ,d471 was found in  
situ in the ,palaistra4#bdcf ,we should 
add for  this century also the inscribed
 bronze diskos1 the votive 7not victor7 
offering of ,poplios 7,publius7         
,asklepiades of ,corinth1 which was     
found  #b4e meters south of the         

,southwest gate of the ,altis4#bdcg     
,a study of these inscriptions shows    
that the practice of setting up  victor 
statues decreased in the fourth and     
third centuries ,b4 ,c41 but  was       
revived in the second and first1 only to
 decrease again after  the first century
 ,a4 ,d4 ,on the other hand1 the        
inscriptions show that  the number of   
8honor0 statues correspondingly         
increased4 ,of the later  statues1 most 
were erected to ,eleans2 names of       
victors from ,sicily and  ,italy1 and   
from the older ,greek states1 as ,sparta
 and ,athens1 are rare1  being replaced 
by those from ,asia ,minor and the newer
 towns of the  ,greek mainland4 ,this   
falling off of interest in the games was
 largely  due to professionalism4 ,in   
the second century ,b4 ,c41 we begin to 
read  in the inscriptions of 1 i4 e41   
victors winning prizes  at all the four 
national games1 a sure indication of the
 professional  spirit4 ,even ,pausanias 
mentions two such victors4#bdch    ,from

 these inscribed base-fragments1 we have
 knowledge of #fa victors  7#fc         
monuments7#bdci who had statues erected 
to them1 though they are  not named in  
the lists of ,pausanias4 ,of the #aib   
monuments mentioned by  ,pausanias1 #dj 
are known to us from recovered fragments
 of bases and  statues4 ,so if we assume
 the same ratio between known and       
unknown for  those not mentioned by     
,pausanias1 we should have the          
proportion #dj 3  #aib 3 3 #fc 3 x1     
where x would equal #cjb1 making a grand
 total of  #did monuments1 which number 
can not be far from the actual number of
  victor statues adorning the           
,altis4#bddj      ,,olympic ,,victor    
,,monuments ,,erected ,,outside         
,,olympia4    ,in ,chapter ,i1 we showed
 that frequently statues or other       
monuments  were erected in their native 
towns as a part of the honor paid to    
,olympic victors4 ,we shall now give a  
list of all such monuments set  up in   
various parts of the ,greek world which 

are known to us from  notices in ancient
 literature and from inscriptions4#bdda 
,these1 like  the statues in the ,altis1
 range in date from the seventh century 
,b4  ,c4 to the fourth ,a4 ,d41 and     
offer still greater variety in the kinds
  of dedication4 ,it will be best to    
arrange the list as far as possible     
chronologically and in numerical        
sequence1 adding the authorities for    
the dates of the various victories in   
the footnotes4#bddb    ,victors with    
monuments of the seventh century ,b4    
,c43    #a4 ,chionis1 of ,sparta4#bddc  
,besides his statue by ,myron and the   
tablet  containing a list of his        
victories at ,olympia mentioned by      
,pausanias  7,,vi1 #ac4b71 the same     
writer records a similar tablet in      
,sparta1 erected  near the royal tomb of
 the ,agids1 likewise set up by his     
townspeople  7,,iii1 #ad4c74 ,the       
,spartan tablet1 like the monuments in  
his honor at  ,olympia1 was doubtless   
set up long after the victory1 about    

,ols4 #gg or  #gh 7 #dgb or #dfh ,b4    
,c474    #b4 ,kylon1 of ,athens4#bddd   
,pausanias records that a bronze statue 
of  this victor stood upon the ,athenian
 ,akropolis1 erected1 as he supposes1   
in honor of his beauty and reputation as
 an ,olympic victor 7,i1 #bh4a74  ,kylon
 was the leader of the well-known       
conspiracy of #fcb ,b4 ,c41 when  he    
tried to make himself tyrant of         
,athens4#bdde ,furtwaengler has         
proposed the theory that this monument  
was not set up in honor of ,kylon  by   
the ,athenians1 as ,pausanias says1 but 
that it was a dedication by  his family 
after his ,olympic victory4#bddf ,a4    
,schaefer1#bddg however1  more justly   
believed that the statue was an         
expiatory offering for the  massacre of 
,kylon's companions on the              
,akropolis1#bddh set up in the  time of 
,perikles1 the date of which would      
account for the 8beauty0 of  the statue4
 ,still another scholar#bddi believes   
that ,pausanias' remark  was called     

forth by the epigram on the statue4#bdej
    #c4 ,hipposthenes1 of ,sparta4#bdea 
,pausanias records that a temple was    
dedicated to him in ,sparta1 where he   
received divine worship 7,,iii1  #ae4g74
 ,it has been argued that the words of  
,pausanias 7l4 c47 show  that           
,hipposthenes here was worshiped only in
 the character of ,poseidon1  whose     
epithet was  7cf4 ,p41 ,i1 #cj4d74bdeb  
,of the sixth century ,b4 ,c43    #d4   
,hetoimokles1 son of ,hipposthenes of   
,sparta4#bdec ,pausanias mentions  a    
statue of this victor at ,sparta 7,,iii1
 #ac4i74    #e4 ,arrhachion1 of         
,phigalia4#bded ,pausanias records the  
stone statue  in the archaic pose1 and  
with weathered inscription1 erected to  
this  victor in the market-place at     
,phigalia 7,,viii1 #dj4a71 which we have
  discussed at length in the preceding  
chapter 7,fig4 #gi74    #f4 ,kimon1 the 
son of ,stesagoras1 of ,athens4#bdee    
,aelian mentions     1 very true to the 
originals1 in ,athens1#bdef  which seem 

to have been set up in honor of his     
three chariot victories  at ,olympia4   
,his first victory was won when he was  
in banishment at the  hands of the      
tyrant ,peisistratos1 son of            
,hippokrates4 ,having entered  his      
horses under the tyrant's name for the  
second contest1 he was in  consequence  
recalled1 and a third time entered them 
and won under his  own name4#bdeg ,the  
pseudo-,andokides confuses this older   
,kimon with the  younger1 when he calls 
the latter an ,olympic victor4#bdeh     
,similarly a  scholiast on              
,aristophanes#bdei confuses him with    
,megakles1 who won a  victory  in ,ol4  
#dg 7 #eib ,b4 ,c474#bdfj    #g4        
,philippos1 son of ,boutakides1 of      
,kroton4#bdfa ,the people of ,egesta  in
 ,sicily erected a shrine over his grave
 in their town1 and paid him  divine    
honors on account of his beauty1 in     
which he surpassed all his              
contemporaries4#bdfb      ,of the fifth 
century ,b4 ,c43    #h4 ,astylos1 or    

,astyalos1 of ,kroton4#bdfc ,besides    
mentioning his statue  by ,pythagoras of
 ,rhegion at ,olympia1 ,pausanias in the
 same passage 7,,vi1  #ac4a7 mentions   
another in the temple of ,lakinian ,hera
 near ,kroton1  which his               
fellow-townsmen pulled down in anger1   
because he had called  himself a        
,syracusan in order to please the       
,sicilian tyrant ,hiero4#bdfd           
,collignon believes that the statue at  
,kroton was also a copy of the  work of 
,pythagoras at ,olympia4#bdfe    #i4    
,euthymos1 son of ,astykles1 of ,lokroi 
,epizephyrioi in ,south  ,italy4#bdff   
,in addition to his statue at ,olympia  
by ,pythagoras1  mentioned by ,pausanias
 7,,vi1 #f4d-f71bdfg we know of another 
statue by  ,pythagoras set up in ,lokroi
 in honor of this victor4#bdfh          
,according to  ,kallimachos1 both       
statues were struck by lightning at the 
same time4  ,other writers tell wondrous
 tales of this boxer4#bdfi    #aj4      
,theagenes1 son of ,timosthenes1 of     

,thasos1 one of the most famous         
,olympic victors4#bdgj ,besides his     
statue at ,olympia by ,glaukias of      
,aegina 7,,vi1 #aa4b and #i71 ,pausanias
 says that he knows of many other       
places in ,greece and elsewhere where   
images of this victor were set up       
7,,vi1 #aa4i71 and records one at       
,thasos to which the ,thasians          
sacrificed  as to a god 7,,vi1 #aa4f74  
,the story which he tells about this    
,thasian  statue being scourged and     
falling on the enemy of ,theagenes is   
also  recounted at greater length by    
,dio ,chrysostom#bdga and is mentioned  
by ,eusebios4#bdgb ,lucian says that the
 statue cured fevers1 just as  did that 
of ,polydamas at ,olympia4#bdgc         
,studniczka has argued that the  statues
 at ,thasos and elsewhere were set up to
 honor the hero and not  the            
victor4#bdgd    #aa4 ,ladas1 of         
,sparta4#bdge ,two fourth-century       
epigrams celebrate the  fleetness of    
,ladas1 and the second names ,myron as  

the statuary of a  bronze statue of     
him4#bdgf ,pausanias mentions a statue  
of the same  victor in the temple of    
,apollo ,lykios in ,argos 7,,ii1 #ai4g74
 ,whether the  latter statue was        
identical with the one named in the     
epigram can not  be finally             
determined4#bdgg ,pausanias refers to a 
stadion of ,ladas1  situated between    
,mantinea and ,orchomenos in ,arkadia1  
in which ,ladas  practiced running      
7,,viii1 #ab4e71 and also to his grave  
between ,belemina  and ,sparta 7,,iii1  
#ba4a74    #ab4 ,kallias1 son of        
,didymias of ,athens4#bdgh ,apart from  
his statue at  ,olympia made by the     
,athenian painter and sculptor ,mikon1  
mentioned by  ,pausanias 7,,vi1         
#f4a71bdgi there was a dedication to him
 at ,athens1 as  we learn from the      
preserved inscription1 which enumerates 
his thirteen  victories at ,olympia and 
elsewhere4#bdhj    #ac4 ,diagoras1 son  
of ,damagetos1 of ,rhodes1 the most     
famous of ,greek  boxers4#bdha ,in      

addition to his statue at ,olympia by   
,kallikles1 son of  ,theokosmos of      
,megara1 mentioned by ,pausanias 7,,vi1 
#g4a-b7 as standing  among the group of 
statues of his sons and grandsons1 we   
learn from  the scholiast on ,pindar1   
,ol4 ,,vii1 ,argum41 who quotes ,gorgon 
as his  authority1#bdhb that this ode1  
which celebrated the ,olympic victory of
  ,diagoras1 was attached in golden     
letters to the walls of the temple of   
,athena at ,lindos4    #ad4 ,agias1 of  
,pharsalos4#bdhc ,we have already1 in   
,ch4 ,,vi1 discussed  the group of      
marble statues set up at ,delphi by     
,daochos of ,pharsalos  in honor of his 
ancestors who had won in various        
athletic contests1  which was discovered
 by the ,french excavators there in     
#ahid4 ,we there  mentioned that        
,preuner found the same metrical        
inscription which  appeared on the base 
of the statue of ,agias1 the best       
preserved of  the group 7,pl4 #bh and   
,fig4 #fh71 in the journal of           

,stackelberg1#bdhd  who had copied it in
 the early part of the nineteenth       
century from  a base in ,pharsalos which
 has since disappeared4 ,this           
,thessalian  inscription contained the  
additional words that ,lysippos of      
,sikyon was  the sculptor4 ,in both     
inscriptions the victories of ,agias at 
,olympia  and elsewhere are noted4 ,thus
 we know of two statues of ,agias1 one  
at  ,delphi1 the other at ,pharsalos1   
both presumably by ,lysippos4 ,preuner  
also thinks that a third statue may have
 stood in ,olympia4    #ae4 ,cheimon1 of
 ,argos4#bdhe ,in mentioning the statue 
of ,cheimon at  ,olympia by the sculptor
 ,naukydes of ,argos1 ,pausanias1 in the
 same  passage 7,,vi1 #i4c71 records    
another which once stood in ,argos1 but 
was  later removed to the temple of     
,peace in ,rome4#bdhf    #af4 ,leon1 son
 of ,antikleidas 7or ,antalkidas71 of   
,sparta4#bdhg ,a  fragment of           
,polemon#bdhh mentions a statue of this 
victor4 ,it may have  stood in ,olympia1

 as ,foerster without good grounds      
assumes1 or it may  have stood          
elsewhere4    #ag4 ,eubotas 7,eubatas or
 ,eubatos71 of ,kyrene4#bdhi ,besides   
his statue  at ,olympia recorded by     
,pausanias 7,,vi1 #h4c71 we learn of    
another set up  at ,kyrene by the       
victor's wife for his devotion4#bdij    
#ah4 ,promachos1 son of ,dryon1 of      
,pellene in ,achaia4#bdia ,pausanias not
  only mentions a bronze statue of this 
victor at ,olympia 7,,vi1 #h4e-f71  but 
also records one of stone dedicated     
likewise by his townsmen in the  ,old   
,gymnasion of ,pellene 7,,vii1 #bg4e74  
,of the fifth or fourth centuries ,b4   
,c43    #ai4 ,an unknown victor1 of     
,argos or 787 ,tegea4#bdib ,aristotle   
mentions  an inscription from a statue  
of an ,olympic victor in two passages of
  his ,rhetoric4#bdic ,this epigram was 
repeated by ,aristophanes of            
,byzantion1#bdid who wrongly ascribed it
 to ,simonides4#bdie ,where this  statue
 stood can not be determined4      ,of  

the fourth century ,b4 ,c43    #bj4     
,kyniska1 daughter of ,archidamos ,i1 of
 ,sparta4#bdif ,pausanias1  before      
mentioning the monumental group at      
,olympia by ,apellas of ,megara1  which 
consisted of the statues of ,kyniska and
 her charioteer standing  beside a huge 
bronze chariot and horses 7,,vi4 #a4f71 
and the small bronze  chariot by the    
same sculptor1 set up in her honor in   
the vestibule of  the temple of ,zeus   
7,v1 #ab4e71 records that there was a   
shrine in ,sparta  at ,plane-tree       
,grove1 near the youths' exercise       
ground1 erected to the  heroine ,kyniska
 7,,iii1 #ae4a74 ,this latter           
dedication1 therefore1 was not  properly
 a victor monument1 though ,pausanias in
 the same book says that  ,kyniska was  
the first ,greek woman to train horses  
and to win a prize at  ,olympia 7,,iii1 
#h4a74    #ba4 ,euryleonis1 a victress  
of ,sparta4#bdig ,pausanias says that   
she  had a statue in her native city    
near the so-called 1 8,tent0  7,,iii1   

#ag4f74 ,curtius has suggested that this
 may be the small building  mentioned by
 ,thukydides as the place where ,king   
,pausanias took refuge  when pursued by 
the ephors4#bdih    #bb4 ,archias1 son  
of ,eukles1 of ,hybla4#bdii ,an epigram 
in the ,greek  ,anthology#bejj speaks of
 a statue of this victor at ,delphi4    
#bc4 ,philokrates1 son of ,antiphon1 of 
,athens 7deme of ,krioa74#beja  ,an     
inscribed base of the statue of this    
victor has been found in  ,athens4#bejb 
#bd4 ,an unknown victor4 ,an inscribed  
base1 found near the ,portico of        
,attalos in ,athens1 records the        
victories of an unknown athlete at      
several games1 including one in the   at
 ,olympia4#bejc    #be4 ,phorystas1 son 
of ,thriax 7or ,triax71 of 787          
,tanagra4#bejd  ,the inscribed base of  
the statue of this victor1 giving       
,kaphisias  of ,botia as the sculptor1  
has been discovered in the ruins of     
,tanagra4#beje ,his brother ,pammachos  
won   at ,nemea1  and had a statue at   

,thebes1 the work of ,teisikrates1 the  
inscribed base  of which has been       
recovered4#bejf      ,of the fourth or  
third centuries ,b4 ,c43    #bf4        
,aristophon1 son of ,lysinos1 of        
,athens4#bejg ,besides his statue  at   
,olympia1 set up at the cost of the     
people of ,athens1 mentioned by         
,pausanias 7,,vi1 #ac4aa2 cf4 ,,vi1     
#ad4a71 we have the inscription from the
  base of another which was set up on   
the ,athenian ,akropolis4#bejh    #bg4  
,attalos1 father of ,king ,attalos      
,i1#beji of ,pergamon4#beaj ,the        
inscribed base of his great victor      
monument1 erected by ,epigonos1 has     
been dis- covered at ,pergamon4#beaa    
,of the second century ,b4 ,c43 none4   
,of the first century ,b4 ,c43 none4    
,of the first century ,a4 ,d43    #bh4  
,xenodamos1 of ,antikyra in             
,phokis4#beab ,pausanias mentions a     
bronze  statue of this victor in the    
,old ,gymnasion at ,antikyra 7,x1       
#cf4i74 ,g4  ,hirschfeld#beac had       

objected to the statement of ,pausanias1
 in the  passage cited1 8that this was  
the only ,olympiad omitted in the ,elean
  register10 because of its             
inconsistency with other passages which 
state that in the #hth ,olympiad1#bead  
in the #cdth1#beae and in the           
#ajdth1#beaf the games were celebrated  
by intruders1 and not by the  ,eleans1  
and hence these ,olympiads were regarded
 as invalid and were not  entered in the
 ,elean registers4 ,however1 as ,frazer 
points out1#beag  the case with ,ol4    
#baa was different4 ,it was doubtless   
celebrated by  the ,eleans themselves   
and its validity was not questioned1 but
 either  it was never entered in the    
register1 or1 if entered1 was later     
struck  out4 ,africanus 7cf4            
,philostratos7#beah says that the       
celebration  of this ,olympiad1 which   
should have fallen #fe ,a4 ,d41 was     
deferred two  years to favor ,nero1 who 
in #fg ,a4 ,d4 received prizes in six   
events1  including the ten-horse        

chariot-race4#beai ,the ,eleans1 later  
being  ashamed of thus favoring the     
tyrant1 probably removed ,ol4 #baa from 
the  register after his death4 ,it may  
be that for the same reason statues  of 
victors of that ,olympiad were not set  
up in the ,altis1 which would  explain  
why that of ,xenodamos was set up in his
 native city1 where  ,pausanias saw it4 
,not finding his name in the ,elean     
register1 ,pausanias  would reason that 
this victory fell in the disgraced ,ol4 
#baa4bebj    #bh;a4 ,titos ,phlabios    
,artemidoros1 son of ,artemidoros1 of   
,adana in  ,kilikia4#beba ,the inscribed
 marble tablet from the base of the     
statue  which this victor erected in    
,naples in honor of his father          
,artemidoros1  son of ,athenodoros1 is  
preserved4 ,it contains a list of his   
own many  victories in  and  in games   
held in ,greece1 ,italy1 ,asia  ,minor1 
and ,egypt4 ,though the statue was      
erected to his father1 the long         
inscription shows that it was intended  

quite as much to celebrate his  own     
athletic prowess4#bebb    #bi4 ,titos   
,phlabios ,metrobios1 son of ,demetrios1
 of ,iasos1 ,karia4#bebc  ,the inscribed
 base of his statue has been found in   
,iasos4#bebd    #cj4 ,sarapion1 of      
,alexandria1 ,egypt4#bebe ,pausanias    
mentions two  statues of this victor1   
which stood on either side of the       
entrance  to the ,gymnasion in ,elis    
known as the ,maltho4 ,he adds that they
 were  erected by the ,eleans in        
gratitude for the bestowal of corn in a 
time  of famine 7,,vi1 #bc4f74 ,he is   
not to be confounded with other victors 
of  the same name4#bebf      ,of the    
second century ,a4 ,d43    #ca4 ,markos 
,aurelios ,demetrios1 of ,alexandria1   
,egypt4#bebg ,his son1  ,m4 ,aurelios   
,asklepiades1 dedicated a statue to him 
in ,rome1 the  inscription from the base
 of which has been recovered4#bebh      
#cb4 ,unknown victor1 from ,magnesia ad 
,sipylum1 in ,lydia4#bebi ,his  statue  
in ,magnesia is known from the recovered

 inscribed base4#becj    #cc4 ,kranaos  
or ,granianos1 of ,sikyon4#beca         
,pausanias mentions a bronze  statue of 
this victor as standing in the precincts
 of the temple of  ,asklepios1 on the   
hill of ,titane1 near ,sikyon 7,,ii1    
#aa4h74    #cd4 ,titos ,ailios ,aurelios
 ,apollonios1 of ,tarsos4#becb ,a statue
 of  this victor stood in ,athens1 as we
 learn from its preserved inscribed     
base4#becc    #ce4 ,mnasiboulos1 of     
,elateia in ,phokis4#becd ,his fellow   
citizens  erected a bronze statue in    
honor of his repelling the robber horde 
of  the ,kostobokoi1 who overran ,greece
 in the days of ,pausanias 7,x1 #cd4e74 
,the statue stood in 8,runner0 street4  
,of the third century ,a4 ,d43    #cf4  
,aurelios ,toalios1 of 787 ,oinoanda1   
,lykia4#bece ,the inscribed base  of the
 statue of this victor has been found in
 ,oinoanda4#becf    #cg4 ,aurelios      
,metrodoros1 of ,kyzikos4#becg ,the     
inscribed base of his  statue was found 
in ,kyzikos1 and is now in              

,constantinople4#bech    #ch4 ,valerios 
,eklektos1 of ,sinope4#beci ,besides his
 monument at  ,olympia1 which was       
erected immediately after #bfa ,a4      
,d41#bedj we know1  from an inscription1
 of another statue dedicated to him in  
,athens some  time between #bec and #beg
 ,a4 ,d4#beda      ,of the fourth       
century ,a4 ,d43    #ci4 ,klaudios      
,rhouphos1 also called ,apollonios the  
,pisan1 son of  ,klaudios ,apollonios1  
of ,smyrna4#bedb ,we learn from an      
inscription  found in the ,baths of     
,titus in ,rome that his statue stood in
 the  council-chamber of the ,guild of  
,athletes of ,hercules at ,rome4#bedc   
#dj4 ,philoumenos1 of ,philadelphia1 in 
,lydia4#bedd ,the closing verse  of an  
inscription belonging to the base of his
 statue is preserved in                 
,panodoros4#bede ,where the statue stood
 can not be determined4      ,of unknown
 dates3    #da4 ,ainetos1 of 787        
,amyklai4#bedf ,pausanias mentions the  
portrait  statue of this victor at      

,amyklai 7,,iii1 #ah4 #g74 ,he says that
 he expired  even while the crown was   
being placed on his head4    #db4       
,nikokles1 of ,akriai in ,lakonia4#bedg 
,pausanias mentions a monument  77      
erected in his honor at ,akriai1 between
 the ,gymnasion and the  sea-wall       
7,,iii1 #bb4e74    #dc4 ,aigistratos1   
son of ,polykreon1 of ,lindos in        
,rhodes4#bedh ,a statue  of this victor 
was set up at ,lindos1 as we learn from 
the preserved  inscription on its base  
found there4#bedi ,he is called in the  
inscription the first ,lindian victor at
 ,olympia4    #dd4 ,an unknown victor1  
of 787 ,delphi4#beej ,the inscribed base
 of his  statue1 with remains of the    
dedication1 was found many years ago at 
,delphi by ,cockerell4#beea      ,we    
have records of other monuments erected 
to victors1 but it is not  clear whether
 the victories recorded were won at     
,olympia or elsewhere4  ,we list the    
following three doubtful cases1 which   
have already been  noted in earlier     

chapters3    #a4 ,epicharinos4          
,pausanias mentions the statue    1 by  
the sculptor ,kritios1 as standing upon 
the ,athenian  ,akropolis 7,i1 #bc4i74  
,the inscribed base of this monument was
 found in  #ahci1 between the ,propylaia
 and the ,parthenon4#beeb ,the          
inscription  states that the statue was 
the joint work of ,kritios 7thus        
correcting  the spelling  of ,pausanias7
 and ,nesiotes4 ,it was1 therefore1  a  
work of the first half of the fifth     
century ,b4 ,c41 the date of  the       
sculptors of the ,tyrannicides 7,fig4   
#cb74 ,ross added the word   after the  
name in the inscription4                
,michaelis1#beec  however1 has inserted 
the name of the victor's father4        
,wilamowitz#beed  went further and      
assumed that ,polemon1 from whom        
,pausanias derived the  account1 had    
already falsely restored the inscription
 and that the  statue did not represent 
,epicharinos1 but another victor4 ,this 
theory  has been rightly controverted by

 many scholars4#beee ,it is clear that  
,pausanias got his information from the 
monument1 and not from the  inscription4
    #b4 ,hermolykos1 son of ,euthoinos  
or ,euthynos4 ,pausanias mentions the   
statue of the pancratiast ,hermolykos as
 standing on the ,akropolis  at ,athens 
7,i1 #bc4aj74 ,this was probably        
,hermolykos the pancratiast1  who is    
recorded by ,herodotos as having        
distinguished himself at the  battle of 
,mykale in #dgi ,b4 ,c41 and as having  
been afterwards killed in  battle at    
,kyrnos in ,euboia and buried at        
,geraistos4#beef ,some scholars  have   
advocated the theory that the portrait  
statue here mentioned by  ,pausanias was
 none other than the statue which stood 
on the ,akropolis  on the base which was
 discovered in #ahci1 dedicated by      
,hermolykos1  the son of ,diitrephes1   
the work of the sculptor ,kresilas1#beeg
  and that the ,periegete mistook the   
latter for the one mentioned by         
,herodotos4#beeh ,however1 ,frazer finds

 this explanation 8arbitrary and  highly
 improbable10 and believes that the base
 in question supported  the statue of   
,diitrephes1 pierced with arrows1 also  
mentioned by  ,pausanias 7,i1           
#bc4c74beei ,kirchhoff distinguished not
 only the statue  of ,hermolykos        
mentioned by ,pausanias and the         
dedication of ,hermolykos  revealed by  
the recovered base1 but both of these   
from the statue of  the wounded man     
mentioned by ,pliny 7,h4 ,n41 ,,xxxiv1  
#gd74 ,while ,j4 ,six  assumed that     
,hermolykos1 son of ,diitrephes1        
dedicated the ,kresilan  statue in honor
 of his grandfather ,hermolykos1 son of 
,euthoinos1 and  that ,pausanias wrongly
 gathered from the inscribed base that  
the statue  represented                 
,diitrephes1#befj ,furtwaengler believed
 that ,diitrephes was  the older warrior
 of the name1 mentioned by              
,thukydides1#befa and that  ,pausanias1 
who knew nothing of him1 wrongly        
connected his statue with  the younger  

one of that name4#befb    #c4           
,isokrates1 son of ,theodoros1 of       
,athens4 ,the pseudo-,plutarch mentions 
a bronze statue of ,isokrates1 in the   
form of a  1 on the  ,athenian          
,akropolis4#befc ,as the orator was born
 in #dcf ,b4 ,c41 his  youthful victory 
among the horse-racers must have        
occurred about #dbj ,b4  ,c4            
,,summary ,,of ,,results4    ,we have   
found1 then1 from the literary sources  
examined1 that there  are at least #dd  
,olympic victors1 to whom a total of #dg
 monuments were  erected outside        
,olympia4#befd ,these monuments were of 
various kinds--#a  inscribed tablet1 #a 
,pindaric ode engrossed on a temple     
wall1 #c temples  or shrines1 #cg       
statues 7one of them apparently iconic71
 bronze horses  78 quadriga71 and #d    
dedications which are not further       
described4 ,thus  the bulk of these     
monuments1 as of those at ,olympia1     
consisted of  statues4 ,of the #bi      
monuments erected to #bg victors in the 

pre-,christian  centuries1 #c were      
dedicated in the seventh1#befe #d in the
 sixth1  #ac 7to #aa victors7 in the    
fifth1 #a in the fifth or fourth1 #f in 
the  fourth1#beff #a in the fourth or   
third1 and #a in the third4 ,there is   
no record of such a dedication in the   
second and first centuries ,b4  ,c4 ,of 
the #ad monuments erected to #ac victors
 known to belong to the  post-,christian
 centuries1 #d 7to #c victors7 belong to
 the first1 #e to  the second1 #c to the
 third and #b to the fourth2 #d others  
were set up  to #d victors whose dates  
can not be determined4 ,of other        
monuments  mentioned 7though not        
included in our figures7 #c may or may  
not have  been erected to ,olympic      
victors4 ,we find that the greatest     
number of  dedications was made in the  
fifth century ,b4 ,c41 just as we found 
was  the case in regard to those at     
,olympia4#befg ,of these victors1 #aj   
also  had monuments at ,olympia4 ,the   
total number of ,olympic victor         

monuments1  therefore1 at ,olympia and  
elsewhere of which we have record1      
amounts to  #cjb4befh      ,,statistics 
,,of ,,olympic ,,victor ,,statuaries4   
,in conclusion1 we shall briefly        
summarize the number and dates of the   
sculptors of ,olympic victor monuments  
who are known to us from all            
sources4#befi ,pausanias names #eb such 
sculptors1 who made #ajb of the  #aib   
monuments listed by him4 ,of the #db    
8honor0 statues erected in the  ,altis  
to #ce men1 ,pausanias mentions only two
 sculptors1 ,lysippos1 who  also appears
 among the victor statuaries1 and ,mikon
 of ,syracuse1 who  does not4#begj      
,pliny names #bd1 or nearly one-half of 
the athlete  sculptors mentioned by     
,pausanias4#bega ,no new name of an     
artist  appears either on the inscribed 
bases found at ,olympia and referred  to
 the monuments recorded by ,pausanias1  
or on the #fc bases discovered  there1  
which can not be so referred4 ,of the   
#eb sculptors known to us  from         

,pausanias and inscriptions1 the dates  
can be assigned definitely  or          
approximately thus3 of the seventh      
century ,b4 ,c41 none2 of the  sixth    
century ,b4 ,c41 second half1 #b2 end1  
#b2 of the end of the sixth  and        
beginning of the fifth centuries ,b4    
,c41 #a2 of the fifth century ,b4  ,c41 
first half1 #i2 middle1 #d2 second half1
 #c2 end1 #b2 of the fourth  century ,b4
 ,c41 first half1 #aa2 middle1 #a2      
second half1 #b2 end1 #c2 of  the end of
 the fourth and beginning of the third  
centuries ,b4 ,c41 #c2  of the third    
century ,b4 ,c41 first half1 #a2 second 
half1 #a2 end1 #b2 of  the end of the   
third and beginning of the second       
centuries ,b4 ,c41 #a2  of the second   
century ,b4 ,c41 first half1 #b4 ,no    
sculptor is named who  lived certainly  
later than the second century ,b4 ,c4   
,in addition to  these results1 #a      
sculptor can be assigned only roughly to
 the period  subsequent to ,alexander   
the ,great1 and the epoch of still      

another  can not be determined4 ,of the 
#cg statues listed above as erected to  
,olympic victors outside ,olympia--i4   
e4_/i1 the major portion of the  whole  
number of #dg monuments of various sorts
 set up in honor of #dd  victors--the   
names of only four artists are known4   
,three of these--,myron1  ,pythagoras of
 ,rhegion1 and ,lysippos--also worked at
 ,olympia4 ,the name1  therefore1 of    
only one new sculptor1 ,kaphisias of    
,botia1 who lived  in the fourth century
 ,b4 ,c41 can be added from this source1
 which makes  the grand total of victor 
statuaries known to us #ec4             
,illustration3 ,,plan ,a      ,,the     
,,altis ,,at ,,olympia    ,,in ,,the    
,,greek ,,period    7,,third ,,century  
,b4 ,c47      ,adapted from ,doerpfeld  
,illustration3 ,,plan ,b      ,,the     
,,altis ,,at ,,olympia    ,,in ,,the    
,,roman ,,period    7,,second ,,century 
,a4 ,d47      ,adapted from ,doerpfeld  
,,footnotes3      #a ,cf4 ,gardiner1 pp4
 #h-i4    #b ,see infra1 p4 #bbh and n4 

#b4    #c ,b4 ,s4 ,a41 ,,xi1 #aijd-e1   
fig4 #g and pp4 #ab-ad4 ,the horse also 
appears on clay documents from ,knossos 
with royal chariots and also  on        
tombstones and fragmentary frescoes of  
,mycen2 for the latter1 see  ,arch4     
,eph41 #ahhg1 ,pl4 ,,xi4 ,on the ,libyan
 origin of the first horses  introduced 
into ,greece1 see ,w4 ,ridgeway1 ,the   
,origin and ,influence of  the          
,thoroughbred ,horse1 #aije1 p4 #dhj4   
#d ,see the bull depicted on a seal from
 ,praisos1 to be mentioned  below3      
,angelo ,mosso1 ,the ,palaces of ,crete1
 #aijg1 p4 #bah1 fig4 #ih4 ,the         
,italian ,mission found at ,hagia       
,triada the bones of a gigantic bull1   
and  ,mosso 7cf4 p4 #baf1 n4 #a7 found  
the remains of one at ,phaistos4    #e  
,b4 ,s4 ,a41 ,,vii1 #aijj-a1 pp4 #id f4 
and ,,viii1 #aija-b1 p4 #gd2 ,mosso1    
op4 cit41 pp4 #baf-bah2 ,h4 ,r4 ,hall1  
,anc4 ,history of the ,near ,east1      
#aiac1 ,pl4 ,,iv41 #b2 ,mrs4 ,r4 ,c4    
,bosanquet1 ,days in ,attica1 #aiad1    

,pl4  ,,ii2 ,richter1 ,hbk4 of the      
,classical ,collection of the           
,metropolitan  ,museum of ,art1 #aiag1  
p4 #bc1 fig4 #ac4 ,as ,dr4 ,evans'      
,atlas has not  yet appeared1 the plate 
in the text is taken from a watercolor  
by  ,gilliron1 in the museum of         
,liverpool4    #f ,it has often been    
pictured and described3 e4 g41          
,schliemann1  ,tiryns1 #ahhe1 ,pl4      
,,xiii2 ,schuchhardt1 ,schliemann's     
,excavations1  #ahia1 pp4 #aai f4 and   
fig4 #aaa2 ,tsountas-,manatt1 ,the      
,mycenan ,age1  #ahig1 p4 #ea1 fig4 #ab2
 ,perrot-,chipiez1 ,,vi1 p4 #hhg1 fig4  
#dci2 ,mosso1 op4  cit41 p4 #bbj1 fig4  
#ajj2 ,h4 ,b4 ,walters1 ,the ,art of the
 ,greeks1 #aijf1  ,pl4 ,,lix2           
,springer-,michaelis1 p4 #aac1 fig4     
#bdb2 ,tiryns1 ,die ,ergebn4 d4         
,ausgrab4 d deutsch4 ,instituts in      
,athen1 ,,ii1 #aiab1 ,pl4 ,,xviii4    #g
 ,on analogy with the ,knossos fresco   
this figure1 because of its  white skin1
 should be that of a woman and not of a 

man1 as the usual  color of the latter  
is red4 ,however1 the charioteers       
painted white on  frescoes discovered at
 ,tiryns in #aiaj1 which represent a    
boar hunt  7see ,rodenwaldt1 ,a4 ,m41   
,,xxxvi1 #aiaa1 pp4 #aih f4 and fig4 #b1
 p4 #bja1  restored2 see also ,tiryns1  
,,ii1 ,pl4 ,,xii1 in color7 are regarded
 by  ,hall as youths and not women4 ,he 
remarks that in ,egypt young princes1   
who led the 8sheltered life10 were often
 represented on monuments as  pale1     
though red was the more usual color3 see
 ,hall1 op4 cit41 p4 #eh  and n4 #a2    
id41 ,aegean ,archology1 #aiad1 p4 #aij 
and fig4 #gd on p4  #aib4 ,rodenwaldt   
interprets them as female3 l4 c4    #h  
,,xv1 #fgi f4 ,f4 ,marx1 ,jb41 ,,iv1    
#ahhi1 pp4 #aai f41 on the analogy  to  
certain coin types1 saw in this fresco a
 representation of river  divinities4   
#i ,mosso1 op4 cit41 p4 #bih1 fig4 #ih4 
#aj ,see ,mosso1 p4 #caa1 fig4 #aec4    
#aa ,here the paved space measures only 
about #cj by #dj feet and the  two tiers

 of seats would seat only #djj to #ejj  
spectators3 ,b4 ,s4 ,a41  ,,ix1         
#aijb-jc1 p4 #aje1 fig4 #fi2 see ,mosso1
 p4 #cae1 fig4 #aed1 and ,baikie1  ,the 
,sea ,kings of ,crete1 #aiac1 ,pls4     
,,xxi 7before restoration71 ,,xxii      
7restored74    #ab ,see ,burrows1 ,the  
,discoveries in ,crete1 #aijg1 p4 #e4   
,the one at  ,knossos maybe the 8choros0
 wrought by ,daidalos for ,ariadne3     
,iliad1  ,,xviii1 #eij-b4    #ac ,b4 ,s4
 ,a41 ,,viii1 #aija-b1 pp4 #gb-d1 fig4  
#ci 7arm72 ,pls4 ,,ii1 ,,iii2  ,baikie1 
op4 cit41 ,pl4 ,,xix2 ,h4 ,r4 ,hall1    
,aegean ,archology1 ,pl4 ,,xxx1  #b2    
,mosso1 op4 cit41 p4 #bbb1 fig4 #ajb2   
cf4 ,burrows1 op4 cit41 p4  #ba2 ,bulle1
 p4 #di1 fig4 #g2 ,springer-,michaelis1 
p4 #ajc1 fig4 #bbh4    #ad ,remains of  
copper wire with gold foil twisted      
around it still  adhere to the head of  
one statuette4    #ae ,see ,mosso1 op4  
cit41 p4 #bba1 fig4 #aja2 ,b4 ,s4 ,a41  
,,vii1 #aijj-ja1  p4 #hh4    #af ,hall1 
,aegean ,archology1 pp4 #ee-f4 ,though  

discovered in #ahhi  in a bee-hive tomb 
near ,sparta1 these famous cups are     
obviously  importations from ,crete1 the
 work of an artist of the late ,minoan  
,i  period4 ,similarly1 the lion-hunt on
 the dagger-blade from ,mycen is  akin  
to ,cretan art1 if not its product4     
,these cups have been often  pictured3  
e4 g41 ,arch4 ,eph41 #ahhi1 ,pl4 ,,ix2  
,schuchhardt1 ,pl4 ,,iii  7,app41 pp4   
#cej f472 ,b4 ,c4 ,h41 ,,iv1 #ahia1     
,pls4 ,,xi-,,xii 7in color71            
,,xiii-,,xiv2 ,tsountas-,manatt1 op4    
cit41 pp4 #bbg-h1 figs4 #aac-aad2       
,perrot-,chipiez1 ,,vi1 ,pl4 ,,xv 7in   
color7 and pp4 #ghf-g1 figs4 #cfi-cgj2  
,h4 ,b4 ,walters1 op4 cit41 ,pl4 ,v2    
,mosso1 op4 cit41 pp4 #bbc f41  figs4   
#ajc1 a1 b1 and #ajd1 a1 b1 c2 ,hall1   
op4 cit41 ,pl4 ,,xv4 #a1  and cf4 id41  
,ancient ,history of the ,near ,east1   
pp4 #ed-e1 n4 #a2  ,springer-,michaelis1
 pp4 #ajd-e1 figs4 #bcj a1 b2 ,j4 ,h4   
,breasted1 ,ancient  ,times1 #aiaf1 fig4
 #adj1 opp4 p4 #bcd4    #ag ,this       

interpretation of the scene has been    
compared with the design  of a lion and 
goat on the short sword-blade from the  
chieftain's  grave at ,knossos3 see     
,burrows1 op4 cit41 p4 #hh and cf4 pp4  
#acf-g4  ,here there are two successive 
scenes2 first the agrimi 7wild goat7 is 
startled and springs away2 then the lion
 is represented triumphant at  the end  
of the chase with one paw on the beast's
 hind quarter and the  other raised to  
strike3 see ,evans1 ,prehistoric ,tombs 
of ,knossos1  #aijf1 p4 #eg1 fig4 #ei2  
cf4 also bronze inlaid dagger-blade from
  ,mycen1 showing hunting scenes on each
 face2 ,perrot-,chipiez1 ,,vi1 ,pl4     
,,xvii1 #a 7panther hunting wild ducks1 
in color71 ,,xviii1 #c-d1 7lion-hunt  by
 men and lions chasing gazelles1 in     
color72 cf4 ,tsountas-,manatt1  op4     
cit41 pp4 #bjj-b2 ,springer-,michaelis1 
,pl4 ,v1 #b;a1 b1 #c2  ,schuchhardt1 op4
 cit41 p4 #bbi1 fig4 #bbg2 cf4 ,burrows1
 op4 cit41  p4 #acf4    #ah ,op4 cit41  
pp4 #bbd-e4    #ai ,see ,boeckh1 p4     

#cai1 on ,pyth41 ,,ii1 #gh4 ,the same   
word occurs also  in an inscription on a
 late relief from ,smyrna1 which shows  
horsemen  pursuing bulls1 leaping on    
their backs and seizing their horns2 ,c4
 ,i4  ,g41 ,,ii1 #cbab2 also in an      
inscription from ,sinope3 ibid41 ,,iii1 
#daeg  7line #e72 an inscription from   
,aphrodisias calls such men 2  ibid41   
,,ii1 ,add41 #bgei;b4 ,the evidence     
shows that ,gardiner1 p4 #i1 n4  #b1 is 
wrong in connecting the taurokathapsia  
with the hunting-field  instead of with 
the circus4 ,he cites the ,smyrna relief
 above mentioned  7in the ,ashmolean    
,museum at ,oxford1 no4 #bai71 which1   
however1 should  be interpreted as an   
acrobatic scene4 ,see ,j4 ,baunack1     
,rhein4 ,mus41  ,,xxxviii1 #ahhc1 pp4   
#bic f41 who discusses bull-fighting in 
,thessaly and  ,rome and quotes five    
inscriptions of ,hellenic times to show 
that beast  fights were common in ,asia 
,minor4    #bj ,cf4 ,mosso1 op4 cit41   
pp4 #bad-bae4    #ba ,iliad1 ,,xviii1   

#fje-f 7 ,od41 ,,iv1 #ah-ai74    #bb    
,iliad1 ,,xvi1 #gdb-ej4    #bc ,hdt41   
,,vi1 #abi4    #bd ,no4 #bdc2 see       
,salzmann1 ,le ,ncropole de ,cameiros1  
,pl4 ,,lvii2  ,gardiner1 p4 #bde1 fig4  
#ci4    #be ,e4 g41 on one found at     
,knossos in #aijc3 ,b4 ,s4 ,a41 ,,ix1   
#aijb-c1  p4 #eg1 and fig4 #ce on p4    
#ef4 ,here the attitude of the boxer is 
almost  identical with that on the pyxis
 to be described below4 ,a fuller design
  of the same sort may be seen on a seal
 from ,hagia ,triada mentioned in  ,b4  
,s4 ,a41 ,,ix1 p4 #eg1 n4 #b4    #bf    
,hall1 ,aegean ,archology1 p4 #cc 7c4   
#afjj ,b4 ,c472 for description1  ibid41
 pp4 #fa-b4    #bg ,op4 cit41 p4 #baa4  
,in this respect it should be compared  
with  the relief on the archaic         
7sixth-century ,b4 ,c47 ,attic tripod   
vase from  ,tanagra1 now in ,berlin1    
which shows scenes of boxing1 wrestling1
 and  running3 ,a4 ,z41 ,,iii1 #ahha1   
pp4 #cj f4 and ,pls4 ,,iii1 ,,iv4    #bh
 ,p41 ,v1 #h4 #a1 says ,klymenos came   

from ,crete fifty years after           
,deukalion's flood and held games at    
,olympia2 cf4 ,,vi1 #ba4f4 ,aristotle   
assigns the whole political and         
educational system of ,sparta to a      
,cretan origin3 ,politics1 ,,ii1 #aj;f41
 #abga;b41 f4    #bi ,see ,r4 ,paribeni1
 ,rendiconti della ,r4 ,accad4 dei      
,lincei1 ,,xii1  #aijc1 fasic4 #gj1 p4  
#ag2 ,f4 ,halbherr1 ibid41 ,,xiv1 #aije1
 pp4 #cfe f41  fig4 #a2 ,burrows1 op4   
cit41 ,pl4 #a2 ,mosso1 op4 cit41 p4     
#bab4 fig4  #ic2 ,hall1 ,aegean         
,archology1 ,pl4 ,,xvi 7from cast in    
,museum of ,candia1  whence our plate72 
cf4 id41 ,anc4 ,hist4 ,near ,east1 ,pl4 
,,iv41 #e4 ,a  copy is in the           
,metropolitan ,museum1 ,new ,york3 see  
,hbk4 of ,classical  ,collection1 p4    
#af1 fig4 #h4    #cj ,detail of zone1   
,mosso1 p4 #bac1 fig4 #id4 ,the acrobat 
wears just  such striped boots and      
bracelets as the man and women on the   
fresco  from ,knossos4 ,the man binding 
the legs of the bull on the ,vapheio    

cup wears similar apparel4 ,similar     
scenes of gymnasts vaulting over  a     
bull's back are seen on the seal of a   
bracelet found at ,knossos in  #aijb3   
,b4 ,s4 ,a41 ,,viii1 #aija-b1 p4 #ah1   
fig4 #dc2 ,mosso1 p4 #bad1 fig4  #ie;a2 
also on the intaglio of a ring in       
,athens3 ,mosso1 p4 #bae1 fig4 #ie;b4   
,scenes of gymnasts with bulls at rest  
are common on seal impressions3  e4 g41 
on one from ,mycen in ,athens1 ,mosso1  
p4 #bag1 fig4 #ig2 on the  one in       
,candia already mentioned1 ibid41 fig4  
#ih2 cf4 ,bosanquet1  ,excavations at   
,praisos1 ,b4 ,s4 ,a41 ,,viii1 p4 #beb1 
who believes the bull  has been         
surprised by a hunter4    #ca ,iliad1   
,,xxii1 #cjh f4    #cb ,,xxiii1 #fgc4   
#cc ,b4 ,s4 ,a41 ,,vii1 #aijj-a1 fig4   
#ca1 pp4 #ie and #if2 copied by         
,gardiner1 p4 #aj1 fig4 #a4    #cd ,we  
should bear in mind that the            
civilization pictured in the  ,homeric  
poems antedates #ajjj ,b4 ,c4    #ce    
,the ,iliad1#b #aijj1 ,,ii1 p4 #dfh4    

#cf ,od41 ,,viii1 #aeh f4 7translated by
 ,butcher and ,lang74    #cg ,gardiner1 
p4 #ae1 points out that there is no     
mention of  a chariot-race in the       
,odyssey1 merely because ,ithaca was not
 a land  8that pastureth horses10 nor   
had it 8wide courses or meadowland40    
,the  plains of ,thessaly and ,argos1   
the homes of ,achilles and ,agamemnon   
respectively1 were1 however1 famed for  
their horses1 and the plain  of ,troy   
was large enough for the chariot-race4  
,the only other  chariot-races mentioned
 in the ,iliad are held in ,elis3 ,,xi1 
#fif f42  ,,xxiii1 #fcj f4    #ch ,e4   
g41 on certain sarcophagi3 see ,murray1 
,sarcophagi  in the ,british ,museum1   
,pls4 ,,ii1 ,,iii 7one from             
,klazomenai74    #ci ,the true          
hoplomachia described by ,homer and     
later  practised by the ,mantineans and 
,kyreneans 7cf4 ,athenus1 ,,iv1 #da1 p4 
#aed7 should not be confounded1 as      
,gardiner1 p4 #ba1 n4 #c1 remarks1 with 
the later competition of the same name  

held at the ,athenian ,theseia  and     
taught in the gymnasia1 which was a     
purely military exercise like  fencing3 
,plato1 ,laches1 #ahb;,b and passim2    
,gorgias1 #def;,d2 de  ,leg41 #hcc;,e2  
cf4 ,dar4-,sagl41 s4 v4 ,hoplomachia4   
#dj ,e4 g41 ,leaf1 in his ,companion to 
the ,iliad1 #ahib1 p4  #chj2 id41 ,the  
,iliad1 ,,ii1 p4 #dag1 note on line     
#fba4    #da ,iliad1 ,,xxiii1 #fcd f42  
ibid41 #fba-c1 where ,achilles  gives   
,nestor a prize because he will never   
again be able to contend in  boxing1    
wrestling1 hurling the javelin1 or      
running4 ,in ,od41 ,,viii1 #ajc  and    
#abh1 leaping is substituted for        
chariot-racing4    #db ,e4 g41 ,iliad1  
,,xxii1 #afc-d3 8,the great prize 444 of
 a  man that is dead02 ,,xxiii1 #fcj f41
 where ,nestor recalls victories in the 
games held by the ,epeians at           
,bouprasion in ,elis at the funeral of  
the  local hero ,amarynkeus4 ,bouprasion
 is also mentioned in ,iliad1 ,,xi1     
#gef1  in ,nestor's story of the war    

between the ,pylians and ,epeians and of
  the war waged by his father ,neleus on
 ,augeas1 for stealing four horses      
which had been sent to ,elis to contend 
for a tripod4    #dc ,examples of       
panegyric games in honor of gods are    
found  also in the ,homeric ,hymn to the
 ,delian ,apollo1 ,i1 #adf f42 in       
,pindar1  ,ol41 ,,ix4 #f 7,zeus72 ,p41  
,,viii1 #b4a 7,zeus7 and schol42 and    
,hdt41 ,i1 #add  7,apollo7 and schol42  
etc4    #dd ,p41 ,,viii1 #d4e4 ,for     
other examples of funeral games1 see    
references in ,krause1 p4 #i1 n4 #c4 ,he
 also shows that musical contests  were 
funerary in character4    #de ,the      
scholiast on ,pindar1 ,nem41 ,argum41   
,boeckh1 p4 #dbd  ,b1 and ,isthm41      
,argum41 p4 #ead1 calls the ,nemean and 
,isthmian games  funerary2 ,clem4       
,alex41 ,protrept41 ,ch4 ,,ii1 #cd1 #bi 
,p4 7quoted by  ,eusebios1 ,praep4      
evang41 ,,ii1 #f1 #gb b4 c47 says that  
all four great  games were funerary in  
origin4    #df ,p41 ,i41 #dd4h2 ,clem4  

,alex41 ,strom41 ,i1 ,ch4 #ba1 #acg1    
#dja  ,p4    #dg ,p41 ,,ii1 #ae4b-c2    
,apollod41 ,,iii1 #f1 #d2 ,hyginus1     
,fab41  #gd2 schol4 on ,pindar's ,nem41 
,argum4 ,here the umpires wore mourning 
garments because of the origin of the   
games2 see ,gardiner1 p4 #bbe4    #dh   
,aristotle1 ,peplos1 frag4  ,f4 ,h4 ,g41
 ,,ii1 p4 #ahi1 no4  #bhb2 ,clem4       
,alex41 ,protr41 ,ch4 ,i1 #b1 #b ,p4 and
 ,ch4 ,,ii1 #cd1 #bi ,p42 ,hyg41  ,fab41
 #adj4 ,for a different story of the    
founding 7to appease ,apollo  for not   
protecting the temple when ,delphi was  
invaded by ,danaos71 see  ,augustine1 de
 ,civ4 ,dei1 ,,xviii1 #ab2 cf4 schol4 on
 ,pind41 ,pyth41  ,argum42 ,ovid1 ,met41
 ,i1 #dde;f4 ,the ,pythia were          
reorganized by the  ,amphictyons as a   
funeral contest in honor of the soldiers
 who fell in  the first ,sacred ,war4   
#di ,cf4 ,p41 ,v1 #ac4a-b2 ,clem4       
,alex41 l4 c4    #ej ,v1 #g4f-i4    #ea 
,see ,strabo1 ,,viii1 #c4cj 7,c4#ced-e72
 ,pindar1 ,ol41 ,,ii1 #c  f42 ,,vi1 #fg 

f42 ,x1 #be f42 ,diod41 ,,iv1 #ad and   
,v1 #fd4 ,according to ,pindar1  ll4 cc4
 and the scholiast on ,ol41 ,,ii1 #b1   
#e1 and #g1 ,boeckh1 pp4  #eh-i1        
,herakles1 the son of ,zeus1 instituted 
the games in honor of  ,zeus2 but       
,statius1 ,theb41 ,,vi1 #e f41 ,solinus1
 ,i1 #bh 7ed4 ,mommsen71  ,hyg41 ,fab41 
#bgc4 ,clem4 ,alex41 ,strom41 ,i1 ,ch4  
#ba1 #acg1 say it was  in honor of      
,pelops4 ,on the traditional connection 
of ,herakles with  ,olympia1 see ,e4    
,curtius1 ,abh4 d4 k4 preuss4 ,akad4 d4 
,wiss4 zu ,berlin1  philos4-histor4     
,kl41 #ahid1 pp4 #ajih f42 ,busolt1     
,griech4 ,gesch#b1  #ahic1 ,i1 pp4 #bdj 
f4 ,on legends of the early history of  
,olympia1 see  ,krause1 ,olympia1 oder  
,darstellung der grossen olympischen    
,spielen1  #ahch1 pp4 #bf f4    #eb ,cf4
 ,frazer1 ,,ii1 pp4 #edi-ej2 ,krause1 p4
 #i1 n4 #c2 from  these two many of the 
following examples are taken4 ,cf4 also 
,rouse1  pp4 #d and #aj2 ,koerte1 ,die  
,entstehung der ,olympionikenliste1     

,hermes1  ,,xxxix1 #aijd1 pp4 #bbd f42  
,krause1 ,die ,pythien1 ,nemeen und     
,isthmien1  #ahda1 pp4 #i f4 7,pythian71
 #aab f4 7,nemean71 #agj f4 7,isthmian72
 ,gardiner1  pp4 #bg f42 see also       
,ridgeway1 ,origin of ,tragedy1 #aiaj1  
pp4 #cf1 #ch1  and cf4 ,j4 ,h4 ,s41     
,,xxxi1 #aiaa1 p4 ,,xlvii4 ,since the   
simple theory  of the origin of the     
,olympic ,festival in the funeral games 
in honor  of ,pelops does not explain   
all the legends of the games nor all the
  peculiar customs of the festival1 and 
because of the inadequate  character of 
the literary evidence 7the earliest     
mention of it being a  ,delphic oracle  
quoted by ,phlegon1 ,f4 ,h4 ,g41 p4     
#fjd2 cf4 ,clem4 ,alex41  ,protrept1    
,,ii1 #cd1 p4 #bi71 it has been attacked
 by ,f4 ,m4 ,cornford  7in ,miss        
,harrison's ,themis1 pp4 #bab f47 and   
others4 ,these scholars  have tried to  
find the origin of the ,olympic games   
rather in a ritual  contest of          
succession to the throne1 the honors    

extended to a victor  being held to     
prove his kingly or divine character4   
,the theory was  first proposed by ,a4  
,b4 ,cook1 ,the ,european ,sky ,god1    
,folk ,lore1 #aijd1  and has recently   
been elaborated by ,frazer in his       
,golden ,bough1#c  ,,iii1 pp4 #hi f41   
who has attempted to harmonize it with  
his earlier  funeral theory4 ,the       
inadequacy of the newer theory has been 
shown by ,e4  ,n4 ,gardiner1 ,the       
,alleged ,kingship of the ,olympic      
,victor1 ,b4 ,s4 ,a41  ,,xxii1 #aiaf-ah1
 pp4 #he f4 ,for a review of his paper1 
see also ,j4 ,h4  ,s41 ,,xxxviii1 #aiah1
 pp4 ,,xlvii4    #ec ,v1 #ac4b4    #ed  
,according to the same scholiast1 on #a4
 #adi2 ,boeckh1 p4  #dc4    #ee ,cf4 ,c4
 ,i4 ,g41 ,,ii1 #aifi1  444  4    #ef   
,hdt41 ,,vi1 #ch4    #eg ,p41 ,,iii1    
#ad4a4    #eh ,thukyd41 ,v1 #aa4    #ei 
,plut41 ,timoleon1 #ci2 ,diod4 ,sic41   
,,xvi1 #ij4a4    #fj ,aulus ,gellius1   
,x1 #ah4e4    #fa ,arrian1 ,anabasis1   
,,vii1 #ad4 ,games were held every four 

years in honor of ,antinoos1 the        
favorite of ,hadrian1 at ,mantinea3 ,p41
  ,,viii1 #i4h4    #fb ,strabo1 ,,xiv1  
#a4ca 7,c4 #fdd47    #fc ,p41 ,,ix1 #b1 
#e-f2 he says that they were celebrated 
every  fourth year and that the chief   
prizes were for running4    #fd         
,philostr41 ,vit4 ,soph41 ,,ii1 p4 #fbd2
 ,heliod41 ,aethiop41  ,i1 #ag2         
,aristotle1 ,constit4 of ,athens1 #eh2  
cf4 ,p41 ,i1 #bi4d4 ,games  were also   
held in the ,academy in honor of        
,eurygyes3 ,hesych41 s4 v4  '  4    #fe 
,dennis1 ,cities and ,cemeteries of     
,etruria1#c #ahhc1 ,i1 p4  #cgd         
7,corneto72 ,,ii1 pp4 #cbc and #ccj     
7,chiusi74    #ff ,on the ,etruscan     
origin of the ludi funebres1 see  ,val4 
,max41 ,,ii1 #d4d2 ,tertullian1 de      
,spect41 #ab2 ,servius ad ,virg41       
,aen41 ,x1 #ebj4 ,for the ,etruscan     
origin of the munera gladiatorum1  see  
,tertull41 op4 cit41 #e2 ,athenus1 ,,iv1
 #ci 7quoting ,nikolaos of  ,damascus72 
cf4 ,strabo1 ,v1 #d4ac 7,c4 #bej74 ,they

 were first introduced  into ,rome in   
#bfd ,b4 ,c4 in honor of ,d4 ,junius    
,brutus2 ,livy1 ,,xvi 7,epit472  and are
 frequently mentioned3 e4 g41 by ,livy1 
,,xxiii1 #cj1 #ae2 ,,xxxi1  #ej1 #d2    
,,xxxix1 #df1 #b2 ,,xli1 #bh1 #aa2      
,polyb41 ,,xxxii1 #ad1 #e2 ,serv41 ad   
,aen41 ,,iii1 #fg and ,v1 #gh2          
,suetonius1 ,julius1 #bf2 etc4 ,see     
,dar4-,sagl41  ,,ii1 #b1 pp4 #achd f41  
#aefc f4    #fg ,page #bh2 he quotes ,p4
 ,w4 ,joyce1 ,social ,history of        
,ireland1 ,,ii1 pp4 #dce f4    #fh ,v1  
#ag4e-ai4aj4 ,the description of the    
throne 7,p41 ,,iii1  #ah4i f2 cf4       
,apollodoros1 ,i1 #i4bh7 is merely      
summary1 as ,pausanias  only mentions   
the games represented on it without     
describing them in  detail4    #fi ,the 
best reconstruction of the scenes on the
 chest is by  ,h4 ,stuart ,jones3 ,j4   
,h4 ,s41 ,,xiv1 #ahid1 pp4 #cj-hj and   
,pl4 ,i 7repeated  by ,frazer1 ,,iii1   
,pl4 ,x1 opp4 p4 #fjf74 ,see also       
,robert1 ,hermes1 ,,xxiii1  #ahhh1 pp4  

#dcf f42 ,pernice1 ,jb41 ,,iii1 #ahhh1  
pp4 #cfe f42 ,studniczka1  ,jb41 ,,ix1  
#ahid1 pp4 #eb f41 n4 #af2 ,collignon1  
,i1 pp4 #ic-ajj2 ,furtw41  ,mw41 pp4    
#gbc-cb4    ,the best attempt to        
reconstruct the scenes on the throne is 
by ,furtwaengler  ,mw41 fig4 #ace1      
opposite p4 #gjf2 text1 pp4 #fhi-gai2   
cf4 the best of  the older attempts by  
,brunn1 ,rhein4 ,mus41 ,n4 ,f41 ,v1     
#ahdg1 p4 #cbe2  id41 ,kunst bei ,homer1
 pp4 #bb f42 id41 ,griech4 ,kunstgesch41
  #ahic1 ,i1 pp4 #agh f4 ,cf4 also      
,klein1 ,arch4-epigr4 ,mitt4 aus        
,oesterr4-,ungarn1 ,,ix1 #ahhe1 pp4 #ade
 f42 against ,klein1 see ,pernice1 as   
above1 p4 #cfi4 ,cf4 ,collignon1 ,i1 pp4
 #bcj-b2 ,murray1 ,i1 pp4 #hi f4     #gj
 ,if we followed ,pausanias' account    
that this was the very  chest made to   
save the infant ,kypselos1 father of    
,periandros and future  tyrant of       
,corinth1 and that it was dedicated at  
,olympia by the ,kypselid  family 7for  
the story1 see ,hdt41 ,v1 #ib71 the     

chest would belong to the  eighth       
century ,b4 ,c41 and must have been     
dedicated before #ehf-e ,b4  ,c41 when  
the ,kypselid dynasty ended at ,corinth2
 see ,busolt1 ,griech4  ,gesch41#b ,i1  
pp4 #fch and #feg4 ,however1 the chest  
at ,olympia had  nothing to do with the 
legendary one1 but was merely a richly  
decorated  offering to the gods1 the    
work of a ,corinthian artist of the end 
of the  seventh or beginning of the     
sixth century ,b4 ,c41 and one who knew 
the  epic poems well4    #ga ,vasen1    
#afee2 ,perrot-,chipiez1 ,,ix1 p4 #fcg1 
fig4 #cdh  7departure of ,amphiaraos72  
p4 #fci1 fig4 #cdi 7chariot-race72      
,gardiner1  p4 #bi1 fig4 #c2 ,frazer1   
,,iii1 p4 #fji1 fig4 #gg2 ,baum4 ,i1    
fig4 #fi2 and see  ,robert ,annali1     
,,xlvi1 #ahgd1 pp4 #hb f42 ,mon4 d4 ,i41
 ,x1 #ahgd-ahgh1  ,pls4 ,,iv1 ,v4 ,the  
discovery of this vase at ,cerveteri    
7,caere7 in #ahgb  proved the           
,corinthian workmanship of the chest4   
#gb ,micali1 ,monumenti per servire     

all'historia degli antichi  popoli      
,italiani#b1 #ahcc1 ,pl4 ,,xcv2         
described by ,jahn1 ,archaeol4          
,aufsaetze1 pp4 #aed f4 7quoted by      
,frazer1 ,,iii1 p4 #faj74 ,for scenes   
representing the departure of           
,amphiaraos and a four-horse            
chariot-race1  see also an              
,attic-,corinthian vase in ,florence3   
,perrot-,chipiez1 ,x1 pp4  #aji and     
#aaa1 figs4 #gh1 #gi 7 ,thiersch1       
,tyrrhenische ,amphoren1 ,pl4  ,,iv72   
the latter also gives us the oldest     
representation of a ,greek  stadion4    
#gc ,a4 ,z4 ,,xliii1 #ahhe1 ,pl4 ,,viii2
 ,gardiner1 p4 #cj1 fig4 #d  7one side74
    #gd ,cited by ,gardiner1 pp4 #cj-ca2
 ,inghirami1 ,mon4 ,etr41  #ahba-ahbf1  
,,iii1 #ai1 #bj2 ,schreiber1            
,bilder-atlas1 ,pl4 ,,xiii1 #f2 ,m4 ,w41
  ,i1 ,pl4 ,,lx1 fig4 #cjb;b4    #ge    
,reproduced by ,gardiner1 p4 #ba1 fig4  
#b4    #gf ,cf4 on this topic1          
,gardiner1 pp4 #ca-b2 cf4 ,b4 ,s4  ,a41 
,,xxii1 #aiaf-ah1 p4 #hf1 where1 in     

speaking of the disputed origin  of the 
custom of funeral games1 he says3 8,it  
is at least conceivable  that it        
originated from different causes in     
different places and among  different   
peoples40    #gg ,see a list of         
twenty-five local ,olympia in ,smith's  
,dictionary of ,antiquities1#c #ahia1   
,,ii1 pp4 #bgc f41 s4 v4 ,olympia1      
taken from ,krause1 ,olympia1 pp4 #bjb  
f4 ,dar4-,sagl41 ,,iv1 i1 pp4 #aid f41  
list #cd local ,olympia4 ,most of these 
lesser ,olympia are known to us  only   
from inscriptions and coins4            
,peisistratos appears to have founded   
annual ,olympia at ,athens1 when he     
began to build the ,olympieion2  ,pindar
 seems to allude to them in ,nem4 ,,ii1 
#bc 7cf4 schol4 ad  loc472 they were    
reorganized magnificently by ,hadrian in
 ,a4 ,d4 #aca2  ,spartianus1 ,vit4      
,hadriani1 #ac4 ,cf4 ,gardiner1 p4 #bbi4
    #gh ,lysias1 ,paneg41 notes this    
fact1 when he says that  ,herakles      
restored peace and unity by instituting 

the games4 ,pausanias  speaks similarly 
of the restoration of the games by      
,iphitos and  ,lykourgos3 ,v1 #d4e f4   
#gi ,p41 ,v1 #a4c2 #c4f2 ,strabo1       
,,viii1 #c4cc 7,c4#ceg74    #hj ,the    
decree governing the festival was       
inscribed on a  diskos1 which dates     
probably from the seventh century ,b4   
,c41 and was  preserved in the ,heraion 
down to the time of ,pausanias4 ,on it  
the names  of ,iphitos and ,lykourgos   
were legible down to ,aristotle's day3  
,p41 ,v1  #bj4a2 ,plut41 ,lycurgus1 ,i4 
#a4 ,phlegon1 ,f4 ,h4 ,g41 ,,iii1 p4    
#fjb1 and a  scholion on ,plato1 de     
,rep41 #dfe ,d1 mention ,kleosthenes2   
cf4 ,louis  ,dyer1 ,harvard ,classical  
,studies1 #aijh1 pp4 #dj f42 ,gardiner1 
p4 #dc1 n4  #a4    #ha ,for a discussion
 of the sources and history of this     
register1 originally compiled near the  
end of the fifth century ,b4 ,c4  by    
,hippias of ,elis 7,plut41 ,numa1 ,i1   
#d2 cf4 ,mahaffy1 ,j4 ,h4 ,s41 ,,ii1    
#ahha1 pp4 #afd;f471 and revised by     

various later writers from ,aristotle   
and ,philochoros to ,phlegon of ,tralles
 and ,julius ,africanus1 see  ,juethner1
 ,ph41 pp4 #fj-gj4 ,from it a complete  
list of stade-runners  was copied by the
 church-historian ,eusebios from        
,africanus1 who had  brought it down to 
#bag ,a4 ,d4    #hb ,v1 #h4f4    #hc    
,mentioned by ,p41 ,v1 #d4f and         
elsewhere2 for the mythical  account see
 ,p41 ,v1 #g4f-h4e 7from ,herakles to   
,oxylos72 ,v1 #h4e1 and ,v1  #i4d       
7revived under the presidency of        
,iphitos and the descendants of         
,oxylos74 ,phlegon1 ,f4 ,h4 ,g41 ,,iii1 
p4 #fjc1 says that the games were       
discontinued for #bh ,olympiads from the
 time of ,herakles and ,pelops  to that 
of ,koroibos4 ,velleius ,paterculus1 ,i1
 #h 7ed4 ,halm71 dates the  revival     
under ,iphitos1 #gic ,b4 ,c4 ,strabo1   
quoting ,ephoros1 says that  the ,achans
 controlled ,olympia to the time of     
,oxylos2 for his mythical  account of   
the games1 see ,,viii1 #c4cc 7,c4 #ceg74

 ,on presidents of the  games being     
elected from the ,eleans1 see ,p41 ,v1  
#i4d-f4    #hd ,especially by ,xenophon1
 ,hell41 ,,iii1 #b4ca2 ,,vii1 #d4bh4    
,pausanias omits all evidence of the    
part played by ,kleosthenes in the      
truce4 ,see ,gardiner1 pp4 #dd f4    #he
 ,see ,doerpfeld1 ,a4 ,m41 ,,xxxiii1    
#aijh1 pp4 #ahe f4    #hf ,recently ,e4 
,n4 ,gardiner has argued that the       
worship of  ,zeus came directly from    
,dodona to ,olympia before it had       
reached ,crete  and that ,cretan        
elements in the cult first appear at    
,olympia in the  ,,viii century ,b4 ,c4 
,he believes that the worship of ,hera  
reached ,olympia  from ,argos later than
 that of ,zeus1 toward the end of the   
,,viii century  ,b4 ,c41 when he        
supposes the ,heraion was built as a    
joint temple to both  deities2 ,b4 ,s4  
,a41 ,,xxii1 #aiaf-ah1 pp4 #he-hf4      
#hg ,on his cult see ,p41 ,v1 #ac4b1 and
 scholion on ,pindar1  ,ol4 ,i1 #adf and
 #adi1 ,boeckh1 p4 #dc4 ,after being    

reduced to the rank  of hero1 ,pelops   
still kept his own precinct in the      
,altis throughout  antiquity4    #hh ,on
 the history of ,olympia1 see ,gardiner1
 pp4 #ch f4    #hi ,for the legends     
connected with the origin of the three1 
see ,krause1 ,die ,pythien1 ,nemeen und 
,isthmien1 and the various  articles in 
,dar4-,sagl4    #ij ,schol4 on ,pindar1 
,pyth41 ,argum41 ,boeckh1 p4 #bih4      
#ia ,on the ,sacred or ,krisaian ,war   
7#eij ,b4 ,c471 see ,bury1  ,history of 
,greece1 #aiac1 pp4 #aeh-i4 ,the first  
,pythiad was reckoned  from #ehf 7not   
from #ehb as ,bury and others state73   
see ,frazer1 ,v1 p4  #bdd2 ,boeckh1     
,explic4 ad ,pind41 ,ol41 ,,xii1 pp4    
#bjf f4    #ib ,see ,strabo1 ,,ix1      
#c4aj1 7,c4 #dba72 ,p41 ,x1 #g4d-e2     
schol4 on  ,pind41 ,pyth41 ,argum41     
,boeckh1 p4 #bih4 ,ovid's idea 7,met41  
,i1 #dde7  that boxing1 running1 and    
chariot-racing existed from the first1  
is  wrong4 ,on the ,pythian games1 see  
,gardiner1 pp4 #bjh f4    #ic ,on the   

,nemean games1 see ,gardiner1 pp4       
#bbc-f4 ,as no  proper excavations have 
been made on the site1 our knowledge of 
the  games is confined almost entirely  
to literary evidence4    #id ,p41 ,,ii1 
#ae4c1 and ,,vi1 #af4d1 mentions a      
winter  celebration4 ,the scholiast on  
,pindar's ,nem41 ,argum41 ,boeckh1 pp4  
#dbd-e1 says that it was a  held on the 
#abth of the month  ,panemos1 and so it 
was a summer and not a winter           
celebration4 ,on  theories of two       
celebrations1 see ,frazer1 ,,ii1 pp4    
#ib-c4    #ie ,they were not held in    
midsummer as some have maintained3  see 
,thukyd41 ,,viii1 #i-aj2 ,unger1        
,philologus1 ,,xxxvii1 #ahgg1 #a-db2    
,nissen1 ,rhein4 ,mus41 ,,xlii1 #ahhg1  
pp4 #df f4 ,on the ,isthmian games1 see 
,gardiner1 pp4 #bad f4    #if ,for the  
nine-day celebration of the ,great      
,panathenaia1  see ,a4 ,mommsen1 ,feste 
der ,stadt ,athen1 #ahih1 p4 #aec2 cf4  
,gardiner1  pp4 #bbi f4    #ig ,see     
,mommsen1 op4 cit41 pp4 #bgh f41 and    

,heortologie1  #ahfd1 pp4 #bfi f4 ,in   
recent years victor lists of the        
,theseia have  been found3 ,c4 ,i4 ,g41 
,,ii1 #ddd-dej1 esp4 #ddg2 for two other
 fragments1  see ,a4 ,m41 ,,xxx1 #aije1 
pp4 #bac f1 and ,beilag1 a and b 7c  ,c4
 ,i4  ,g41 above74 ,for other lists of  
victors of local games1 see ,a4 ,m41    
,,xxviii1 #aijc1 pp4 #cch f4 7,oropos1  
,samos1 ,larisa74 ,for vase-paintings   
of the athletic exploits of ,theseus1   
see ,harrison1 ,mythology and           
,monuments of ,ancient ,athens1 #ahij1  
pp4 ,,xcviii f4    #ih ,see ,ol41 ,,ix1 
#hi2 ,,xiii1 #aaj2 ,pyth41 ,,viii1 #gi4 
#ii ,iliad1 ,,xxiii1 #bfb-gj2 cf4       
,,xxii1 #afc-d1 where the prizes  were  
slave women and tripods4    #ajj ,ibid41
 #gjj-e4    #aja ,ibid41 #fec-f4    #ajb
 ,ibid41 #gdj-ea4    #ajc ,op41 #fec-i2 
cf4 ,scut41 #cab-ac4    #ajd ,iliad1    
,,xi1 #gjj2 ,,xxiii1 #bfd2 ,hesiod1     
,scut41 #cab4 ,it  is thus represented  
on a ,dipylon vase3 ,mon4 d4 ,i41 ,,ix1 
#ahfi-gc1 ,pl4  ,,xxxix1 #b2 on the     

,corinthian vase representing the       
funeral games of  ,pelias and           
,amphiaraos3 ibid41 ,x1 ,pl4 ,v ,b2 on  
the ,franois vase1 and  on many others4 
#aje ,iliad1 ,,xxii1 #afd2 cf4 ,gerhard1
 ,,iv1 ,pl4 ,,ccxlvii4    #ajf ,gerhard1
 ,,iv1 ,pl4 ,,cclvi4    #ajg ,on an     
amphora by ,nikosthenes3 ,klein1        
,griech4 ,vasen mit                     
,meistersignaturen1#b #ahhg1 ,pl4       
,,xxxi4    #ajh ,iliad1 ,,xxiii1 #gjb1  
as above4    #aji ,hdt41 ,i1 #add4      
#aaj ,ion1 ap4 ,p41 ,,vii1 #d4aj4       
#aaa ,aristeid41 ,i1 p4 #hda 7ed4       
,dindorf74    #aab ,polemon ap4 schol4  
on ,pindar1 ,ol41 ,,vii1 #aec1 ,boeckh1 
pp4 #ahj-a4    #aac ,on the             
above-mentioned ,corinthian vase3 ,mon4 
d4 ,i41 ,x1  ,pls4 ,,iv1 ,v2 on the     
chest of ,kypselos3 ,p41 ,v1 #ag4aa4    
#aad ,in the ,iliad1 as above4    #aae  
,p41 ,,iii1 #ah4g-h4    #aaf ,a4 ,z41   
,,xl1 #ahhb1 p4 #ccc2 ,b4 ,c4 ,h41 ,,vi1
 #ahhb1 p4 #aah4    #aag ,b4 ,c4 ,h41   
,,ix1 #ahhe1 p4 #dgh4    #aah ,p41 ,,ix1

 #aj4d2 ,hdt41 ,i1 #ib4    #aai ,see    
,carapanos1 ,dodone et ses ,ruines1     
#ahgh1 pp4 #dj1 #da1  and #bbi1 and ,pl4
 ,,xxiii1 #b4b bis1 #c1 #d4    #abj ,p41
 ,x1 #g4f4    #aba ,p41 ,,iv1 #cb4a4    
#abb ,on the tripod1 see ,reisch1 pp4   
#f-g and #eh-i2 ,rouse1 pp4  #aej-a and 
#cee2 most of the above examples have   
been taken from these  writers4    #abc 
,nem41 ,x1 #de f42 cf4 schol4 on ,ol41  
,,vii1 #aec1  ,boeckh1 pp4 #ahj-a4      
#abd ,c4 ,i4 ,a41 ,,ii1 #b1 #ife4 ,on   
the value of bronze1 cf4  ,reisch1 p4   
#f4    #abe ,schol4 on ,pindar1 ,ol41   
,,vii1 #aeb1 ,boeckh1 p4 #ahj4    #abf  
,ibid41 ,ol41 ,,vii1 #aef1 ,boeckh1 p4  
#aha4    #abg ,pindar1 ,ol41 ,,ix1      
#hi-ij4    #abh ,ibid41 ,nem41 ,,ix1    
#ea2 ,x1 #dc f4    #abi ,ibid41 ,nem41  
,x1 #dd2 schol4 on ,ol41 ,,xiii1 #aee   
and  ,,vii1 #aef1 ,boeckh1 pp4 #bhh and 
#aef1 and ,explic4 ad ,olymp41 ,,ix1    
#ajb1 p4  #aid4    #acj ,c4 ,i4 ,a41    
,,iii1 #a1 #aaf4    #aca ,schol4 on     
,pindar1 ,nem41 ,x1 #fd1 ,boeckh1 p4    

#ejd2 cf4  ,c4 ,i4 ,a41 ,,ii1 #b1 #ife4 
#acb ,a4 ,g41 ,,xiii1 #h4    #acc ,i4   
,g4 ,a41 #ebe2 ,b4 ,m4 ,bronzes1 #beg4  
#acd ,for many of these examples1 see   
,reisch1 pp4 #eg f4 7and  notes71 and   
,rouse1 pp4 #aej-a4    #ace ,at the     
,panathenaia a golden crown was given   
the  victorious harpist1 a hydria to the
 torch-racer1 and an ox to the  victor  
in the pyrrhic chorus3 ,c4 ,i4 ,a41     
,,ii1 #b1 #ife4 ,weapons were  given at 
,delos3 ,c4 ,i4 ,g41 ,,ii1 #bcfj2 a     
golden crown was given at  the ,pythian 
games in ,delphi to the city which      
furnished the finest  sacrificial ox3   
,xenophon1 ,hell41 ,,iv1 #d4i2 here also
 golden crowns and  arms were presented 
for soldiers' contests3 ,xenophon1      
ibid41 ,,iii1 #d4h  and ,,iv1 #b4g4     
#acf ,,viii1 #dh4b4    #acg ,foerster1  
#g4    #ach ,frag41 7 ,f4 ,h4 ,g41      
,,iii1 p4 #fjd74    #aci ,v1 #g4g2 cf4  
,pindar1 ,ol41 ,,iii1 #bd f4    #adj    
,ol41 ,,iii1 #ac f4    #ada             
,pseudo-,aristot41 de mirab4 ,auscult41 

#ea2 schol4 on  ,aristoph41 ,plutus1    
#ehf2 ,suidas1 s4 v4  4    #adb ,p41 ,v1
 #ae4c2 cf4 ,theophrastos1 ,hist4       
,plant41 ,,iv1 #ac1  #b2 ,pliny1 ,h4    
,n41 ,,xvi1 #bdj4    #adc ,schol4 on    
,pindar1 ,ol41 ,,iii1 #fj1 ,boeckh1 p4  
#ajb4    #add ,pseudo-,aristot41 l4 c42 
schol4 on ,pindar1 ,ol41 ,,iii1  #fj1   
and ,,viii1 #ab1 ,boeckh1 pp4 #ajb and  
#ahi4    #ade ,weniger1 ,der heilige    
,oelbaum in ,olympia1 #ahie4    #adf    
,p41 ,x1 #g4e2 ,marmor ,parium1 #ec f4  
,on the reason why the  laurel was the  
prize for a ,pythian victory1 see ,p41  
,x1 #g4h2 cf4 ,,viii1  #dh4b 7as above72
 schol4 on ,pindar1 ,pyth41 ,argum41    
,boeckh1 p4 #bih4 ,on  the ,delphian    
laurel1 see also ,pliny1 ,h4 ,n41 ,,xv1 
#abg2 ,dio ,cass41  ,,lxiii1 #i4 ,virgil
 crowns his victors with laurel3 ,aen41 
,v1 #bdf and  #eci4    #adg ,aelian1    
,var4 ,hist41 ,,iii1 #a2 schol4 on      
,pindar1 ,pyth41  ,argum41 ,boeckh1 p4  
#bih4    #adh ,see ,gardiner1 p4 #bjh1  
fig4 #bg1 a coin in the ,british        

,museum3 ,b4 ,m4 ,coins1 ,delphi1 #ch4  
#adi ,anacharsis1 #i2 see also ,c4 ,i4  
,a41 ,,iii1 #aaf2 ,kaibel1  ,epigrammata
 graeca1 #ahgh1 no4 #ica4    #aej ,nem41
 ,,iv1 #hh2 ,ol41 ,,xiii1 #cb f42       
,isthm41 ,,ii1 #af1  ,,viii1 #fd4       
#aea ,schol4 on ,pindar1 ,nem41 ,argum41
 ,boeckh1 p4 #dbf4    #aeb ,e4 g41 ,p41 
,,viii1 #dh4b2 cf4 ,plut41 ,qaest4      
conviv41  ,v1 #c4c2 ,timoleon1 #bf4     
#aec ,krause1 ,die ,pythien1 ,nemeen und
 ,isthmien1 pp4 #aig f42  schol4 on     
,isthm41 ,argum41 ,boeckh1 p4 #ead4     
#aed ,see ,b4 ,m4 ,coins1 ,corinth1     
#eji-ab2 #efd2 #fjb-c 7#fjc   ,gardiner1
 p4 #bad1 fig4 #bh72 #fbd2 cf4 ,i4 ,g41 
,,ii1 #acbj1 and ,gardiner1  p4 #bbb1 n4
 #b4    #aee ,p41 ,,ii1 #a4g4 ,curtius1 
,peloponnesos1 ,,ii1 p4 #edc1  believes 
that the pine was not a fir1 but the    
,pinus maritima2  ,philippson1 in the   
,zeitschr4 d4 ,gesellsch4 fuer ,erdkunde
 zu ,berlin1  ,,xxv1 #ahij1 pp4 #gd f41 
believes that it was the ,pinus         
halepensis ,mill4    #aef ,see ,droysen1

 ,hermes1 ,,xiv1 #ahgi1 p4 #c2 ,head1   
,historia  ,nummorum1 pp4 #adf f42      
,imhoof-,blumer and ,o4 ,keller1 ,tier- 
und  ,pflanzenbilder auf ,muenzen und   
,gemmen1 ,pl4 ,,vi1 #h2 ,,vii1 #b2 ,,ix1
 #i-ab2  ,,xxv1 #ai4    #aeg ,,viii1    
#dh4b4    #aeh ,see ,tarbell1 ,class4   
,phil41 ,,iii1 pp4 #bfd f42 he traces   
its origin to ,delos and its popularity 
to the restoration of the ,delian       
festival by the ,athenians in #dbf ,b4  
,c4    #aei ,mentioned by ,phanias1 ap4 
,athen41 ,,vi1 #ba 7#bcb c47    #afj    
,op41 #fed f42 cf4 ,p41 ,,ix1 #ca4c4    
,the spurious epigram  in ,a4 ,g41      
,,vii1 #ec1 may have been engraved on   
this tripod set up in  the temple on    
,mt4 ,helikon4    #afa ,p41 ,x1 #g4f4   
#afb ,c4 ,i4 ,a41 ,,iv1 #cgcgi2 another 
is mentioned ibid41  ,i1 #dic4    #afc  
,hdt41 ,v1 #fj4    #afd ,hdt41 ,i1 #add4
    #afe ,bronz4 v4 ,ol41 pp4 #gb f4    
#aff ,see ,rouse1 pp4 #aec f4    #afg   
,v1 #ab4h4    #afh ,,vi1 #ai4d4    #afi 
,cf4 ,rouse1 p4 #afj and ,reisch1 p4 #fb

 and n4 #a4    #agj ,see ,rouse1 l4 c42 
for the inscription1 ,i4 ,g4 ,a41  #cgj4
    #aga ,,ii1 #bi4i4    #agb ,i4 ,g4   
,a41 ,,xiii1 #ddi2 see discussion of    
both stones in  ,j4 ,h4 ,s41 ,,xxvii1   
#aijg1 pp4 #b f4    #agc ,in ,ol4 #bee 7
 #bda ,a4 ,d472 ,foerster1 #gci2        
,inschr4 v4  ,ol41 #bdj-a4    #agd ,see 
,bronz4 v4 #jl41 p4 #agi4    #age ,e4   
g41 the inscribed lead weight of the    
seventh or  sixth centuries ,b4 ,c41    
found at ,eleusis and dedicated by      
,epainetos3 ,c4  ,i4 ,a41 ,,iv1 #b1     
#dbbd2 cf4 ,arch4 ,eph41 #ahhc1 pp4     
#ahi-ia4    #agf ,bronz4 v4 ,ol41       
,textbd41 p4 #ahj2 ,tafelbd41 ,pl4      
,,lxv1  #aaja a42 cf4 another from the  
,cyrenaica in the ,british ,museum3 ,b4 
,m4  ,bronzes1 no4 #cbf4    #agg ,c4 ,i4
 ,g41 ,i1 #bdc2 ,c4 ,i4 ,a41 ,,iii1 #a1 
#abd2 ,rhein4  ,mus41 ,,xxxiv1 #ahgi1 p4
 #bjf2 on prize torches1 see ,a4 ,g41   
,,vi1 #ajj1 and  cf4 ,kaibel1 ,epigr4   
gr41 #ahgh1 #idc4    #agh ,kallim41     
,,xlix2 ,a4 ,g41 ,,vi1 #caa2 cf4        

,reisch1 pp4 #fb  and #ade-f1 figs4 #ac1
 #ad2 ,rouse1 pp4 #afb-c4    #agi ,see  
,reisch1 p4 #fb1 and n4 #d4 ,the flutist
 ,straton  dedicated his flute at       
,thespiai in the third century ,b4 ,c43 
,c4 ,i4 ,g4  ,g4 ,s41 ,i1 #ahah2 a      
harpist his harp at ,athens3 ,c4 ,i4    
,a41 ,,iii1 #aab4    #ahj ,p41 ,,vi1    
#aj4f-g4    #aha ,p41 ,,vi1 #i4d4       
#ahb ,p41 ,,vi1 #ab4a    #ahc ,p41 ,,vi1
 #aj4h4    #ahd ,p41 ,,vi1 #af4i4       
#ahe ,p41 ,v1 #ab4e2 the monument       
consisted of bronze horses  only4       
#ahf ,p41 ,,vi1 #af4f4    #ahg ,e4 g41  
chariots and drivers1 ,bronz4 v4 ,ol41  
,tafelbd41 ,pl4 ,,xv1 #bdh1 #bdh;a1     
#bdi1 #bej2 ,textbd41 pp4 #ci-dj2       
chariots  without drivers1 ibid41       
,tafelbd41 ,pl4 ,,xv1 #beb1 #beb;a1     
#bec2 ,textbd41 p4  #dj2 charioteers    
without chariots1 ibid41 ,pl4 ,,xvi1    
#bea2 ,textbd41 p4  #dj2 horses         
belonging to two-wheeled chariots1      
ibid41 ,pl4 ,,xvi1 #bed1  #bed;a2       
,textbd41 pp4 #dj-a4    #ahh ,bronz4 v4 

,ol41 ,tafelbd41 ,pl4 ,,xxv1 #dih f42   
,textbd41 p4  #fh4    #ahi ,bronz4 v4   
,ol41 l4 c42 he is followed by ,reisch1 
p4 #fa2 ,rouse1 p4 #aff1 however1 thinks
 that they would have been an  8artistic
 blunder40    #aij ,e4 g41 ,bronz4 v4   
,ol41 ,tafelbd41 ,pl4 ,,xxv1 #ejc f42   
,textbd41 p4 #fi4    #aia ,ibid41 ,pl4  
,,xxv1 #eaj2 some are older than the    
date of  the introduction of the        
mule-car race1 ,ol4 #gj 7 #ejj ,b4 ,c471
 and some  may have been used as bases  
for animal figures3 e4 g41 ,pl4 ,,xxv1  
#eji2  ,textbd41 p4 #fi4    #aib ,rouse1
 p4 #afe1 suggests1 though without      
evidence1 that  they may have been      
offered before the contest with a       
propitiatory  sacrifice4    #aic ,pliny1
 ,h4 ,n41 ,,xxxiv1 #ga4    #aid ,ibid41 
,,xxxiv1 #gh3 fecit et quadrigas        
bigasque1 etc4    #aie ,ibid41 ,,xxxiv1 
#fc and #fd3 fecit et quadrigas multorum
  generum4    #aif ,p41 ,,vi1 #ab4a4    
#aig ,either in ,ol4 #fi 7 #ejd ,b4 ,c47
 or #gj 7 #ejj ,b4 ,c47 or  before #fg 7

 #eab ,b4 ,c473 ,hyde1 #abf2 ,foerster1 
#ggh 7undated74    #aih ,p41 ,,vi1      
#ad4d4    #aii ,the father won  in ,ol4 
#ff or #fg 7 #eaf or #eab ,b4  ,c473    
,hyde1 #abj2 ,foerster1 #abi and #adi;a2
 ,p41 ,,vi1 #ac4i2 the sons won  in the 
same event in ,ol4 #fh 7 #ejh ,b4 ,c473 
,hyde1 #aba1 and pp4 #ej-ea2  ,foerster1
 #aeb2 ,p41 ,,vi1 #ac4aj4    #bjj ,,vi1 
#b4a-b2 he won in the heavy-armed race  
and in  charioteering in ,ols4 787 #hc1 
#hd1 7 #ddh1 #ddd ,b4 ,c473 ,hyde1 #ab2 
,foerster1 #baa;a2 ,foerster believes   
that the two statues represented        
,lykinos and his charioteer1 and that   
they stood in the chariot1 which  is not
 mentioned by ,pausanias4    #bja ,so   
,foerster1  l4 c42 see also ,robert1 ,o4
 ,s41 p4  #agf2 ,rutgers1 p4 #add2 and  
,klein1 ,archaeol4-epigr4 ,mitt4 aus    
,oesterr4-,ungarn1 ,,vii1 #ahhc1 p4 #gj4
 ,for an improbable view1 see ,brunn1   
,i1 p4 #dgi4    #bjb ,p41 ,,vi1 #ab4a4  
#bjc ,pliny1 ,h4 ,n41 ,,xxiv1 #ge4      
#bjd ,ibid41 ,,xxxiv1 #gh4    #bje      

,ibid41 ,,xxxiv1 #ai4    #bjf ,bronz4 v4
 ,ol41 ,tafelbd41 ,pl4 ,,xv1 #bee-g2    
,,xvi1 #beh2  ,textbd41 p4 #da2         
terra-cotta horses1 ibid41 ,,xvii1      
#bfg-ge2 ,textbd41 pp4  #dc-d4    #bjg  
,see ,rouse1 p4 #afg4    #bjh ,pindar1  
,pyth41 ,v1 #cd f4    #bji ,c4 ,i4 ,a41 
,,iv1 #b1 p4 #hi1 #cgcii2 cf4 ,arch4    
,eph41  #ahhg1 p4 #adf 7inscribed base  
reproduced74    #baj ,mentioned by the  
pseudo-,plutarch1 ,vit4 ,x ,orat41 ,,iv 
7,isokrates71 #db1 p4 #hci c    #baa    
,pindar's ,pyth4 ,,xii celebrates the   
victory of ,midas of  ,akragas in       
flute-playing2 he won in ,pyth4 #bd and 
#be 7 #dij and #dhf ,b4  ,c47    #bab   
,h4 ,n41 ,,xxxv1 #eh2 both at ,corinth  
and ,delphi4    #bac ,strabo1 ,,viii1   
#f4 #bj 7,c4 #cgh72 ,aristeid41 ,isthm41
  #de2 ,livy1 ,,xxxiii1 #cb4 ,dio       
,chrysostom has graphically described   
the  crowds of spectators who still     
frequented the ,isthmia in the first    
century ,a4 ,d43 ,orat41 ,,vii 7   72   
,,viii 7   72 cf4 ,gardiner1 p4 #agc4   

#bad ,plutarch1 ,solon1 #bc2 ,diog4     
,laert41 #a1 #ee3 etc4    #bae ,for a   
list of victors1 see ,krause1 ,die      
,pythien1 ,nemeen  und ,isthmien1 pp4   
#bji f4    #baf ,see ,julian1 ,epist41  
,,xxxv4    #bag ,see ,monceaux on the   
excavation of the temple of  ,poseidon1 
,gaz4 arch41 ,,ix1 #ahhd1 pp4 #ceh f4   
#bah ,lucian1 ,nero1 #b1 says ,olympia  
was the 8most athletic0  of all2        
,bacchylides1 ,,xii1 emphasizes the     
athletic character of ,nemea4    #bai   
,the boys' pentathlon was introduced in 
the fifty-third  ,nemead 7 #dfg ,b4 ,c47
 and the pankration for boys earlier3   
cf4 ,pindar1  ,nem41 ,v 7in honor of the
 boy pancratiast ,pytheas of ,aegina2   
cf4  ,bacchylides1 ,,xiii72 ,,vii 7in   
honor of the boy pentathlete ,sogenes of
  ,aegina1 who won in ,nem4 #ed72 ,,iv  
and ,,vi 7in honor of two ,aeginetan boy
  wrestlers74 ,the horse-race for boys  
is mentioned by ,p41 ,,vi1 #af4d4 ,races
  in armor were also important3 ,ph41   
#g4    #bbj ,see ,gardiner1 pp4 #bbc f42

 list of victors in ,krause1  op4 cit41 
pp4 #adg f4    #bba ,x1 #i4b 7,frazer's 
transl474    #bbb ,see ,foucart and     
,wescher1 ,inscriptions recueillies     
,delphes1 #ahfc1 no4 #dfi2 ,haussoulier1
 ,b4 ,c4 ,h41 ,,vi1 #ahhb1 pp4 #bag  f42
 ,couve1 ibid41 ,,xviii1 #ahid1 pp4     
#gj-ajj4 ,one is in honor of the        
,corinthian singer ,aristonos1 who      
composed a hymn to ,apollo1 found at    
,delphi3 ibid41 ,,xvii1 #ahic1 pp4 #efc 
f4 ,a ,samian flutist1 ,satyros1  gained
 a prize without contest and recited a  
choral ode called  ,dionysos in the     
stadion1 and played an air from         
,euripides' ,bacchae  on the lyre2      
ibid41 ,,xvii1 pp4 #hd f4 ,native towns 
erected statues  to musical victors3 ,c4
 ,i4 ,g41 ,i41 nos4 #agai-bj4 ,one      
inscription  records the rules to be    
observed by runners1 who could not drink
 new  wine1 etc43 ,j4 ,h4 ,s41 ,,xvi1   
#ahif1 p4 #cdc and ,berliner ,philolog4 
,wochenschr41 ,,xvi1 #ahif1 p4 #hca     
7,june #bg72 cf4 ,frazer1 ,v1 p4 #bfj4  

,the  base of a statue of a boy wrestler
 has been found3 ,a4 ,z41 ,,xxxi1 #ahgd1
  p4 #eg4    #bbc ,x1 #i4b-c2 on        
,phallos1 see ,foerster1 #gid 7undated74
    #bbd ,h4 ,n41 ,,xxxiv1 #ei4    #bbe 
,ibid41 #eg4    #bbf ,on ,pyth41 ,,ix1  
,argum41 ,boeckh1 p4 #dja ,b4    #bbg   
,,xxiv1 #g4aj4    #bbh ,to be discussed 
infra1 in ,ch4 ,v4    #bbi ,,ii1 #a4g4  
#bcj ,i4 ,g4 ,b41 nos4 #abj1 #acc1 #adh4
    #bca ,c4 ,i4 ,g41 ,,ii1 #bhhh4      
#bcb ,p41 ,,viii1 #ch4e2 cf4 ,reisch1 p4
 #ci1 n4 #a4    #bcc ,p41 ,i1 #bc4i2 ,c4
 ,i4 ,a41 ,i1 #cgf2 ,i4 ,g4 ,b41 #ci4   
#bcd ,p41 ,i1 #bc4aj4    #bce ,p41 ,i1  
#bd4c2 cf4 ,reisch1 p4 #ci4    #bcf     
,pseudo-,plutarch1 ,vit4 ,x ,orat41     
already mentioned4    #bcg ,p41 ,i1     
#ah4c and ,,ix1 #cb4h2 cf4 ,pliny1 ,h4  
,n41 ,,xxxiv1  #gi4    #bch ,contra     
,leocr41 p4 #ea 7ed4 ,reiske1 p4 #agf47 
#bci ,cf4 ,furtwaengler1 ,a4 ,m41 ,v1   
#ahhj1 pp4 #bg f4    #bdj ,c4 ,i4 ,a41  
,i1 #dai2 he won in ,ol4 #gg 7 #dgb ,b4 
,c473 ,oxy4  ,pap42 ,hyde1 #ej2         

,foerster1 #bjh4    #bda ,c4 ,i4 ,a41   
,,ii1 #c1 #acjc4    #bdb ,aelian1 ,var4 
,hist41 ,,ix1 #cb4 ,reisch1 p4 #ci1     
ascribes  these to the monument of the  
older ,kimon1 who won in chariot-racing 
three times at ,olympia3 ,hdt41 ,,vi1   
#ajc2 ,plut41 ,cato ,major1 #e2         
,foerster1 #abd and #acb4    #bdc ,c4   
,i4 ,a41 ,,ii1 #c1 #acjj4    #bdd       
,ibid41 #acja2 cf4 ,c4 ,i4 ,g41 ,i1     
#bcc4    #bde ,ibid41 #acje1 #acab4     
#bdf ,ibid41 #acjb4    #bdg ,ibid41     
#acjd4    #bdh ,ibid41 #acbc4    #bdi   
,ibid41 #acac4    #bej ,ibid41 #acad4   
#bea ,ibid41 #acah-bj4    #beb ,the 1   
mentioned by ,p41 ,v1 #i4 #d f4 and     
elsewhere2 sometimes he calls them      
merely  3 e4 g41 ,,vi1 #ac4i4    #bec   
,e4 g41 ,p41 ,,vi1 #ac4i1 says that the 
,eleans allowed  ,pheidolas to dedicate 
a statue of his mare2 in ,,vi1 #c4f1 he 
says that  they allowed the wrestler    
,kratinos to set up a statue of his     
trainer4    #bed ,,xxxiv1 #af4 ,see     
infra1 pp4 #ed and #ced4    #bee ,,vi1  

#a4a4    #bef ,inschr4 v4 ,ol41 p4 #bcf4
    #beg ,bronz4 v4 ,ol41 ,textbd41 pp4 
#ai f4 7nude youths  with lost          
attributes so that they can not be named
 with certainty72  ,tafelbd41 ,pl4      
,,viii1 #dg 7the oldest72 ,,vii1 #dh    
,f4 ,w41 #ceb 7,apollo1  following      
,overbeck1 ,gr4 ,kunstmytk41 ,,iii1     
,apollon1 p4 #ce1 fig4 #f72  ,,viii1 #di
  ,f4 ,w41 #cec2 ,,viii1 #ea-d and #eg  
7the latter is a boxer of the  fifth    
century ,b4 ,c4  ,fig4 #b in text72     
,,vi1 #ej2 ,,vi1 #ei 7right arm of a    
fifth-century ,b4 ,c4 diskobolos72 ,,vi1
 #fc 7right lower leg74 ,purgold1       
,annali1 ,,lvii1 #ahhe1 pp4 #afg f41    
makes these diskoboloi decorative in    
character4    #beh ,de ,ridder1 no4     
#gdg4    #bei ,ibid41 no4 #gdf4    #bfj 
,ibid41 no4 #fcf4    #bfa ,carapanos1   
,dodone et ses ,ruines1 #ahgh1 ,pl4     
,,xi1 #a and #a  bis 7probably not      
,atalanta1 as ,carapanos suggests on p4 
#ca1 no4 #d74    #bfb ,b4 ,c4 ,h41      
,,xxi1 #ahig1 ,pls4 ,x and ,,xi4    #bfc

 ,a4 ,m41 ,,xv1 #ahij1 p4 #cfe4    #bfd 
,jb41 ,i1 #ahhf1 pp4 #afc f41 and ,pl4  
,,ix2 ,,ii1 #ahhg1 pp4 #ie  f4    #bfe  
,carapanos1 op4 cit41 ,pl4 ,,xiii1 #a4  
#bff ,e4 g41 see ,e4 von ,sacken1 ,die  
antiken ,bronzen des k4  k4 ,muenz- und 
,antiken-,cabinetes in ,wien1 #ahga1    
,pl4 #cg1 fig4 #d1 and ,pl4  #de1 fig4  
#a2 cf4 ,j4 ,h4 ,s41 ,i1 ,pl4 ,v1 fig4  
#a1 text1 pp4 #agf-g4 ,see  lists1 from 
which many of the above examples are    
taken1 in ,reisch1 p4  #ci1 and ,rouse1 
pp4 #agb f4    #bfg ,the seven fragments
 collected by ,treu1 which are          
two-fifths to two-thirds life-size3     
,bildw4 v4 ,ol41 ,tafelbd41 ,pl4 ,,lvi1 
#b1 7 ,fig4 #gh1 infra7 and ,textbd41 p4
 #baf1 no4 #bda2 ,tafelbd41 ,pl4  ,,lvi1
 #c1 #d and ,textbd41 p4 #baf1 n4 #d and
 fig4 #bdb4    #bfh ,v1 #bg4b-c4    #bfi
 ,reisch1 pp4 #ci f41 gives examples of 
these for chariot  victories at the     
,panathenaia and the games at ,oropos1  
which latter  were imitated from the    
,panathenaia4    #bgj ,v1 #af4c3        

4 ,rouse1 p4 #afg1 n4 #i1 shows that    
these words do not mean  8statues of    
themselves with their names engraved on 
them10 as ,frazer  translates1 but      
painted reliefs4    #bga ,benndorf1     
,griech4 und ,sicil4 ,vasenbilder1 ,i1  
,pl4 ,,ix1  pp4 #ac f4    #bgb ,i1      
#bb4g4 ,reisch1 p4 #dj1 believes this   
represented a  ,panathenaic victor4     
#bgc ,h4 ,n41 ,,xxxv1 #ii4 ,cf4 ,e4     
,kroker1 ,gleichnamige  griechische     
,kuenstler1 #ahhc1 p4 #ce4    #bgd      
,ibid41 #ge4    #bge ,ibid41 #fc4       
#bgf ,ibid41 #ada4    #bgg ,ibid41 #ajf4
    #bgh ,ibid41 #ga4    #bgi ,ibid41   
#acj4    #bhj ,ibid41 #add4    #bha ,p41
 ,,vi1 #ad4ac4 ,he won the pentathlon   
twice some time  between ,ols4 #abf and 
#acb 7 #bgf and #beb ,b4 ,c473 ,hyde1   
#aci2 ,foerster1  #dea and #def2 the    
inscription on one has been recovered3  
,inschr4 v4  ,ol41 #agf4    #bhb ,p41   
,,vi1 #c4aa4 ,his victories in running  
races occurred  in ,ols4 787 #ie1 787   
#ig and #ii2 7 #djj1 #cib and #chd ,b4  

,c473 ,afr42 ,hyde1  #cc2 ,foerster1    
#cjg1 #cae1 #caf4 ,the inscription from 
the base of one is  preserved in ,a4    
,g41 ,,xiii1 #ae4    #bhc ,p41 ,,vi1    
#b4a-b2 ,hyde1 #ab2 ,foerster1 #baa;a4  
#bhd ,p41 ,,vi1 #ae4aj2 he won the      
pankration and wrestling match  in ,ol4 
#adb 7 #bab ,b4 ,c473 ,hyde1 #aej2      
,foerster1 #dgd1 #dge4    #bhe ,p41     
,,vi1 #a4d2 he won in the two- and      
four-horse  chariot-races in ,ols4 #ajb1
 #ajc 7 #cgb and #cfh ,b4 ,c473 ,hyde1  
#f2  ,foerster1 #cch1 #cde2 for the     
inscription on its base1 see ,inschr4 v4
  ,ol41 #aff4 ,p4 ,gardner1 in ,j4 ,h4  
,s41 ,,xxv1 #aije1 p4 #bde1 infers that 
he  had only one victory1 in #cgb ,b4   
,c4    #bhf ,p41 ,,vi1 #b4b2 he won in  
,ols4 787 #hf1 #hg 7 #dcf1 #dcb ,b4     
,c473 ,hyde1 #ac2 ,foerster1 #bej1 #bef4
    #bhg ,p41 ,,vi1 #ad4ab2 ,inschr4 v 4
 ,ol41 #agj2 ibid41 no4 #aed  belongs to
 the victory mentioned by ,pausanias4   
,he won  in ,ol4 787  #hc 7 #ddh ,b4    
,c473 ,hyde1 #acc2 ,foerster1 #cbg4     

#bhh ,e4 g41 ,deinomenes set up a       
chariot-group to his  father ,hiero3    
,p41 ,,vi1 #ab4a2 ,glaukos had a statue 
dedicated by his son3  ,,vi1 #aj4c2     
,menedemos set up a statue to his father
 of the same name3  ,inschr4 v4 ,ol41   
#bad2 the sons of ,hiero ,,ii1 the son  
of ,hierokles1 of  ,syracuse1 set up in 
honor of their father two statues by the
 ,syracusan  statuary ,mikon1 one on    
horseback1 the other on foot3 ,p41 ,,vi1
 #ab4b f42  ,hyde #aje;a and pp4 #dd-e2 
another of the same ,hiero was set up at
 ,olympia  by his sons3 ,,vi1 #ae4f2    
,hyde1 #adg;a2 these latter1 however1   
are 8honor0  and not victor statues4    
#bhi ,e4 g41 ,hermokrates dedicated a   
statue to his son  ,kleitomachos of     
,thebes3 ,p41 ,,vi1 #ae4c f42 he won in 
pankration and  boxing in ,ols4 #ada and
 #adb 7 #baf1 #bab ,b4 ,c473 ,hyde1     
#adf2 ,foerster1  #dgb1 #dgf4 ,the      
epigram by ,alkaios 7 ,minor7 of        
,messenia is preserved  in ,a4 ,g41     
,,ix1 #ehh4 ,for inscriptions after the 

time of ,augustus1 see  ,inschr4 v4     
,ol41 #bae 7,menedemos to his son of the
 same name72 #baf  7,aristodemos to his 
son ,lykomedes of ,elis72 ,foerster1    
#eej2 ,inschr4 v4  ,ol41 #bah 7,timolas 
to his son ,archiadas of ,elis72        
,foerster1 #ece2 etc4    #bij ,e4 g41   
,klaudia ,kleodike to her son ,m4       
,antonios  ,kallipos ,peisanos of ,elis3
 ,inschr4 v4 ,ol41 #bbc2 ,foerster1     
#efh4    #bia ,e4 g41 ,diodoros to his  
brother ,nikanor of ,ephesos3  ,inschr4 
v4 ,ol41 #bbg2 he won the pankration in 
,ol4 #bag 7 #hi ,a4 ,d473  ,foerster1   
#fff4    #bib ,e4 g41 ,loukios          
,betilenos 7 ,vetulenus7 set one up  to 
,t4 ,klaudios ,aphrodeisios of ,elis    
7873 ,inschr4 v4 ,ol41 #bbf4 ,he  won   
in ,ol4 #bjh 7 #ec ,a4 ,d473 ,foerster1 
#fcd2 two ,eleans set up  statues1 one1 
,m4 ,antonios ,peisanos1 to ,germanicus 
,caesar1 adopted son  of the ,emperor   
,tiberius 7,foerster1 #fab71 the other1 
,gnaios ,markios1 to  ,tiberius or      
,germanicus3 ,inschr4 v4 ,ol41 #bba and 

#bbb4    #bic ,e4 g41 ,mikon the trainer
 to an unknown ,samian boxer3  ,p41     
,,vi1 #b4i2 ,hyde1 #ai and pp4 #bi-cj2  
,foerster1 #hjd4    #bid ,p41 ,,vi1     
#c4h2 cf4 ,,vii1 #ag4f and #ac f42      
,afr42 ,hyde1 #bi2  ,foerster1 #f4      
#bie ,p41 ,,vi1 #f4b2 he won some time  
between ,ols4 787 #ic and  #ajc 7 #djh  
and #cfh ,b4 ,c473 ,hyde1 #ec2          
,foerster1 #cee4    #bif ,p41 ,,vi1     
#ag4b2 he won some time between ,ols4   
787 #aad and  #acb 7 #cbd and #beb ,b4  
,c473 ,hyde1 #agb2 ,foerster1 #ced4     
#big ,p41 ,,vi1 #ag4b2 two of the       
victories in the stade-race  fell in    
,ols4 #abi and #acj 7 #bfd and #bfj ,b4 
,c473 ,afr42 ,hyde1 #agc2  ,foerster1   
#ddj-b2 #ddd-e4    #bih ,p41 ,,vi1      
#ag4d4 ,he won the boys' wrestling match
 some  time between ,ols4 787 #aae and  
#aah 7 #cbj and #cjh ,b4 ,c473 ,hyde1   
#agh2  ,foerster1 #cgg4    #bii ,for the
 one at ,olympia1 see ,p41 ,,vi1 #h4e2  
for the one at  ,pellene1 id41 ,,vii1   
#bg4e2 he won in ,ol4 #id 7 #cif ,b4    

,c473 ,hyde1 #ha2  ,foerster1 #bhf4     
,similarly1 ,hiero ,,ii1 ,king of       
,syracuse1 had two statues  honoris     
causa at ,olympia set up by his fellow  
citizens3 ,p41 ,,vi1 #ae4  #f2 ,hyde1   
#adg;a4    #cjj ,inschr4 v4 ,ol41 #afi2 
cf4 ,p41 ,,vi1 #ac4aa2 he won the       
pankration some time between ,ols4 787  
#aae and #acj 7 #cbj and #bfj ,b4  ,c473
 ,hyde1 #abc2 ,foerster1 #geh 7undated74
    #cja ,inschr4 v4 ,ol41 #ahf2 cf4    
,p41 ,,vi1 #ae4f2 he won twice  in      
boxing between ,ols4 787 #add and #adg 7
 #bjd and #aib ,b4 ,c473 ,hyde1  #adg2  
,foerster1 #eaj and #eab4    #cjb       
,inschr4 v4 ,ol41 #bbd2 he won the boys'
 wrestling match  in ,roman days2       
,foerster1 #hbc4    #cjc ,p41 ,,vi1     
#b4b-c2 ,thukydides1 ,v1 #di-ej2 he won 
in ,ol4 #ij 7  #dbj ,b4 ,c473 ,hyde1    
#ad2 ,foerster1 #bgj4    #cjd ,vol4     
,,ii1 p4 #bbb4    #cje ,so ,scherer1 p4 
#e4 ,his evidence is from inscriptions  
of  imperial days 7e4 g41 ,inschr4 v4   
,ol41 #bah1 #bbc1 #bbg71 when the       

dedicatory formula differed somewhat    
from that of earlier times4    #cjf     
,inschr4 v4 ,ol41 #adg-h2 cf4 ,p41 ,,vi1
 #aj4i2 ,oxy4  ,pap42 ,hyde1 #ajb2      
,foerster1 #bcg4    #cjg ,,vi1 #c4f4 ,he
 won sometime between ,ols4 787 #abj and
 #acj 7  #cjj and #bfj ,b4 ,c473 ,hyde1 
#bg2 ,foerster1 #dcc4    #cjh ,,vi1     
#h4c4 ,he won the stade-race and the    
chariot-race in  ,ols4 #ic and #ajd 7   
#djh and #cfd ,b4 ,c47 respectively3    
,afr42 ,hyde1 #ge2  ,foerster1 #bgg1    
#cej4    #cji ,p41 ,,vi1 #ad4f2 he won  
in wrestling matches six times in  ,ol4 
787 #fa1 and in ,ols4 #fb1 #fc1 #fd1    
#fe1 #ff 7 #ecf-eaf ,b4 ,c473 ,hyde1    
#abh2 ,foerster1 #aaf1 #abb1 #abf1 #aca1
 #acf1 #ada4    #caj ,p41 ,,vi1 #ac4b2  
,afr42 ,hyde1 #aaa and p4 #dh2          
,foerster1 #ci1  #da-f4    #caa ,p41    
,,vi1 #d4f2 ,hyde1 #da and cf4 p4 #cf2  
,foerster1 #chd1  #cib4    #cab ,p41    
,,vi1 #e4a42 ,,vii1 #bg4f2 ,afr42 ,hyde1
 #dg2 ,foerster1 #bgi4    #cac ,p41     
,,vi1 #aj4a2 ,hyde1 #ic and p4 #db2     

,foerster1 #acg4    #cad ,the age of boy
 victors at ,olympia seems to have been 
#ag-bj3 see ,inschr4 v4 ,ol41 #ef1 ll4  
#aa f4 7referring to the order of  the  
,augustalia1 or  1 celebrated in        
,naples1 which  were modeled after those
 of ,olympia1 cf4 ,c4 ,i4 ,g41 ,,iii1   
#ehje74  ,archippos of ,mytilene won the
 crown for boxing at ,olympia1 ,delphi1 
,nemea1 and on the ,isthmus among the   
men at not over twenty years of  age3   
,p41 ,,vi1 #ae4a2 ,inschr4 v4 ,ol41     
#agc2 he won sometime between  ,ols4 787
 #aae and #abe 7 #cbj and #bhj ,b4 ,c473
 ,hyde1 #adj2 ,foerster1 #geg           
7undated74 ,since ,pausanias mentions   
this as a remarkable record1 we  should 
suspect his statement that the boy      
runner ,damiskos of ,messene  was but   
twelve when he won the stade-race3 ,,vi1
 #b4aj2 he won ,ol4 #ajc 7  #cfh ,b4    
,c473 ,afr42 ,hyde1 #bj2 ,foerster1     
#cdc4 ,another victor1 of unknown  date1
 ,nikasylos of ,rhodes1 was disqualified
 when eighteen years old  from entering 

the boys' wrestling match because of his
 age1 and so  entered that of the men3  
,p41 ,,vi1 #ad4a-b2 ,hyde1 #abe2        
,foerster1 #ghg4 ,he  died at twenty4   
,such inconsistencies in ,pausanias'    
account show that  the ,hellanodikai    
exercised some discretion in their      
judgment1 taking  into consideration not
 merely age1 but size and strength4     
#cae ,on maintenance at the ,prytaneion1
 see ,plato1 de ,rep41  ,v1 #dfe ,d2    
,apology1 #cf ,d2 ,plut41 ,aristeides1  
#bg2 ,athenus1 ,,vi1 #cb  7p4 #bcg1     
quoting ,timokles71 and ,x1 #f 7p4 #dad1
 quoting ,xenophanes72  ,r4 ,schoell1   
,die ,speisung im ,prytaneion zu ,athen1
 ,hermes1 ,,vi1 #ahgb1  pp4 #ad f4 7and 
,athenian inscription1 pp4 #cj f47 ,he  
concludes that  this honor was given to 
,athenian victors only in the           
chariot-race  at ,olympia1 and in gymnic
 contests at the other great games4     
,solon  ordained that these meals be    
frugal1 consisting of a barley loaf on  
common days and a wheaten one on        

festival days3 see ,athenus1 ,,iv1 #ad  
7p4 #acg e74    #caf ,c4 ,i4 ,a41 ,,ii1 
#b1 #ife4    #cag ,dio ,cassius1 ,,lii1 
#cj1 #e-f4    #cah ,suet41 ,octav41 #de2
 cf4 ,gardiner1 pp4 #agd-e4    #cai ,p41
 ,,vi1 #ac4a2 ,afr42 ,hyde1 #aaj2       
,foerster1 #agf-g1 #aha-b1  #ahg-h4     
#cbj ,p41 ,,vi1 #ah4f2 ,hyde1 #ahf2     
,foerster1 #cag1 #cbc4    #cba ,p41     
,,vi1 #c4aa2 ,afr42 ,hyde1 #cc2         
,foerster1 #cjg1 #cae1 #caf4    #cbb    
,p41 ,,vi1 #b4f-g2 ,hyde1 #af2          
,foerster1 #cji4    #cbc ,p41 ,,vi1     
#b4b-c2 ,thukyd41 ,v1 #di-ej2 ,krause1  
,olympia1 p4  #add4    #cbd ,p41 ,v1    
#ba4c-d4 ,eupolos won in ,ol4 #ih 7 #chh
 ,b4 ,c473  ,foerster1 #cac4 ,see ,plans
 ,a and ,b4    #cbe ,p41 ,v1 #ba4e2     
,kallipos won ,ol4 #aab 7 #ccb ,b4 ,c473
  ,foerster1 #che4    #cbf ,p41 ,v1     
#ba4h f42 on ,straton1 see ,foerster1   
#egj-a4    #cbg ,p41 ,v1 #ba4af-ag2 see 
,foerster1 #eih 7for the ,elean boy     
wrestler ,polyktor1 son of ,damonikos72 
,p41 ,v1 #ba4ae2 ,foerster #fhd 7for    

the boxer ,didas and his antagonist     
,sarapammon1 both ,egyptians74 ,on      
cases of bribery at ,olympia1 see       
,gardiner1 pp4 #acd-e and #agd2 ,krause1
  ,olympia1 pp4 #add f4    #cbh ,p41 ,v1
 #ba4ah4    #cbi ,p41 ,v1 #ba4ab-ad4    
#ccj ,dittenberger1 ,sylloge            
,inscriptionum ,graecarum1#b ,,ii1      
#fhi2 ,cavvadias 7,kabbadias71 ,fouilles
 d'pidaure1 ,i1 #ahia1 p4 #gg1 no4      
#bch4    #cca ,ph41 #de4 ,he says that  
victories were bought and sold  in his  
day and that the practice was encouraged
 by trainers4 ,cf4  ,gardiner1 p4 #bai4 
#ccb ,lucian1 ,nero1 #i4 ,cf4 ,gardiner1
 pp4 #bah-bai    #ccc ,see ,gardiner1 p4
 #gg4    #ccd ,diod41 ,,xiii1 #hb2      
,foerster1 #bga and #bgf4 ,suetonius    
says  that ,nero1 on arriving in ,naples
 after his tour of ,greece1 made his    
entrance in a chariot drawn by white    
horses through a breach in the  city    
wall 8according to the practice of      
victors at the ,greek games10  and that 
he entered ,rome in the triumphal       

chariot of ,augustus dressed  in a      
purple tunic and a gold-embroidered     
cloak through a breach in  the wall of  
the ,circus ,maximus3 ,nero1 #be4       
,though ,plutarch says that  victors    
could tear down part of the city walls  
7,quaest4 conviv41 ,,ii1  #e4b71 such   
extravagances seem to have been         
introduced late and not to  have        
belonged to the great days of ,greek    
athletics4    #cce ,cf4 ,waldstein1 ,j4 
,h4 ,s41 ,i1 #ahhj1 pp4 #aih-i4    #ccf 
,hdt41 ,v1 #dg2 cf4 ,eustath4 on ,hom41 
,iliad1 ,,iii1 p4 #chc1  #dc2 ,foerster1
 #ach4    #ccg ,p41 ,,vi1 #f4d f42      
,afr42 ,hyde1 #ef2 ,foerster1 #ahe1     
#aie1 #bjg4    #cch ,p41 ,,vi1 #f4g-aa2 
,strabo1 ,,vi1 #a4e 7,c4 #bee72 ,ael41  
,var4  ,hist41 ,,viii1 #ah4    #cci ,so 
,kallimachos apud ,plin41 ,h4 ,n41      
,,vii1 #aeb 7 ,s4  ,q41 #did72 he also  
states that two of his statues1 one at  
,lokroi1 the  other at ,olympia1 were   
struck by lightning on the same day4    
#cdj ,p41 ,,vi1 #aa4h-i2 ,oxy4 ,pap42   

,hyde1 #ajd2 ,foerster1 #aia1  #aif4    
#cda ,p41 ,,vi1 #aa4b4    #cdb ,p41     
,,vi1 #i4h2 cf4 ,suidas1 s4 v4 2        
,foerster1  #afb2 cf4 ,hyde1 #ij;a      
7though there was no statue at          
,olympia74    #cdc ,,vi1 #i4f-h4    #cdd
 ,thus ,p41 ,,vi1 #aa4i1 says that      
statues of ,theagenes were  erected     
within and beyond ,greece and could heal
 sickness4 ,lucian  says that in his day
 the statues of both ,theagenes on      
,thasos and of  ,polydamas of ,skotoussa
 at ,olympia cured fevers3 ,deorum      
,concilium1 #ab4  ,polydamas won the    
pankration in ,ol4 #ic 7 #djh ,b4 ,c473 
,afr42 his statue  by ,lysippos was set 
up later3 ,p41 ,,vi1 #e4a2 ,hyde1 #dg2  
,foerster1 #bgi4  ,gardiner has recently
 called attention to the fact that the  
evidence  for the canonization of the   
five victors mentioned is mostly late1  
and  he therefore doubts if it had      
anything to do with their victories at  
,olympia3 ,b4 ,s4 ,a41 ,,xxii1 #aiaf-ah1
 pp4 #if1 #ig4    #cde ,ll4 #aafa f4    

#cdf ,de ,rep41 ,v1 #dfe ,d4 ,e4    #cdg
 ,de ,rep41 #fbj ,b42 cf4 ,gardiner1 pp4
 #abi-acj4    #cdh ,xen41 ,hell41 ,i1   
#e4ai2 ,p41 ,,vi1 #g4d f42 ,hyde1 #fa2  
,foerster1 #beh1 #bfj1 #bfb4    #cdi    
,damagetos won in boxing 787 in ,ol4 #ef
 7 #eef ,b4 ,c73  ,hermipp41 fr4 #ad 7  
,f4 ,h4 ,g4 ,,iii1 p4 #ci72 ,a4 ,g41    
,,vii1 #hh2 ,pl41  ,h4 ,n41 ,,vii1 #aai2
 ,foerster1 #ajh4    #cej ,hbk41 pp4    
#bae-baf4    #cea ,ap4 ,athenum1 ,x1 #f 
7pp4 #dac-ad72 ,gardiner1 p4 #gi1 has   
given a translation of his protest4     
#ceb ,ap4 ,athen41 ,x1 #e 7p4 #dac74    
#cec ,de ,rep41 #djd ,a42 #daj ,d4 7cf4 
#ece ,d474    #ced     4 ,for           
translation1 see  ,gardiner1 p4 #ahh4   
#cee ,see ,secchi1 ,mosaico             
,antoniniano1 and ,baum41 ,i1 p4 #bbc1  
fig4 #agd4    #cef ,,vi1 #a4a3         4
    #ceg ,see ,dittenberger1 ,inschr4 v4
 ,ol41 p4 #bci4    #ceh ,pp4 #bgb-c4    
#cei ,p41 ,,vi1 #aj4h2 ,hyde1 #ii b and 
p4 #dd2 ,foerster1 #gg-i4    #cfj       
,inschr4 v4 #jl41 #bcf2 ,foerster1 #fhf4

 ,it was the custom  also at ,delphi to 
dedicate chariots2 thus we have already 
mentioned  that ,arkesilas ,,iv of      
,kyrene dedicated his chariot there     
after a  ,pythian victory in ,ol4 #gh4c 
7 #dfb ,b4 ,c473 ,pindar1 ,pyth41 ,v1   
#cd  f4 ,an inscription tells us of a   
bronze wheel being dedicated to the     
,dioskouroi3 ,i4 ,g4 ,a41 p4 #agc1      
#dc;a4    #cfa ,e4 g41 ,inschr4 v4 ,ol41
 #adb 7,pantares72 #afj  7,kyniska74    
#cfb ,e4 g41 ibid41 #adc 7,gelo72 #agh  
7,glaukon72 #aij 7son of  ,aristotle72  
#aia 7,agilochos72 #aid 7son of         
,nikodromos72 #aig 7,antigenes72  #bag  
7,lykomedes72 #bbb 7,gnaios ,markios72  
#bcc 7,kasia ,mnasithea74    #cfc ,thus 
ibid41 #adb1 #adc1 #bcf4    #cfd ,ibid41
 #agh1 #aij 7supplied71 #aia 7supplied71
 #aid1 #aig1  #bag1 #bbg1 #bcc          
7supplied74    #cfe ,ibid41 #afj4       
#cff ,ibid41 #agg4    #cfg ,v1 #ba4a4   
#cfh ,v1 #be4a4    #cfi ,a4 ,m41 ,v1    
#ahhj1 p4 #bi4    #cgj ,inschr4 v4 ,ol41
 #add2 here in the renewed inscription  

occurs also the word 2 ,hyde1 #ef2      
,foerster1 #ahe1 #aie1 #bjg4    #cga ,l4
 c41 p4 #ca1 n4 #a2 here he gives a list
 of the  metrical exceptions of the     
fifth century ,b4 ,c42 from             
inscriptions1  that of ,aineas1 ,a4 ,z41
 ,,xxxv1 #ahgg1 p4 #ch1 no4 #hf2        
,foerster1 #bdd 7an  inscription not    
appearing in ,inschr4 v4 ,ol471 and     
,tellon1 ,a4 ,z41  ibid41 p4 #aij1 no4  
#ia1 and ,,xxxviii1 #ahhj1 p4 #gj 7     
,inschr4 v4 ,ol41  #adg-h72 from        
,pausanias1 that of ,kleosthenes        
7wrongly ,kleisthenes71 ,,vi1  #aj4f1   
and ,damarchos1 ,,vi1 #h4b4 ,the list   
should he corrected as follows4  ,from  
inscriptions3 ,tellon1 boy boxer of ,ol4
 #gg 7 #dgb ,b4 ,c473 ,oxy4  ,pap42 ,p41
 ,,vi1 #aj4i2 ,inschr4 v4 ,ol41 #adg-h2 
,hyde1 #ajb2 ,foerster1 #bcg2           
,kyniskos1 boy boxer of ,ol4 787 #hj 7  
#dfj ,b4 ,c473 ,p41 ,,vi1 #d4aa2        
,inschr4  v4 ,ol41 #adi2 ,hyde1 #de2    
,foerster1 #bee2 ,charmides1 boy boxer  
of ,ol4  787 #gi 7 #dfd ,b4 ,c473 ,p41  

,,vi1 #g4a2 ,inschr4 v4 ,ol41 #aef      
7renewed72  ,hyde1 #eh2 ,foerster1 #gfc 
7undated72 444krates1 boy runner1 ,ol4  
787 #ic  7 #djh ,b4 ,c473 ,inschr4 v4   
,ol41 #aeg2 ,foerster1 #bhj4 ,from      
,pausanias3  ,damarchos1 boxer1 who won 
before ,ol4 #ge 7 #dhj ,b4 ,c47 or after
 ,ol4 #hc  7 #ddh ,b4 ,c473 ,,vi1 #h4b2 
,hyde1 #gd and p4 #ch2 ,foerster1 #deb4 
#cgb ,e4 g41 the ,cretan ,philonides1   
courier of ,alexander the  ,great1      
dedicated his portrait statue to the    
god3 ,inschr4 v4 ,ol41 #bgf2  ,p41 ,,vi1
 #af4e2 ,hyde1 #aed a4    #cgc ,inschr4 
v4 ,ol41 #add4    #cgd ,so              
,dittenberger1 and ,furtwaengler 7l4 c41
 p4 #cj1  n4 #b71 following ,roehl1 ,i4 
,g4 ,a41 on no4 #chh2 ,roehl believed   
that  originally the word ,lokroi or the
 name of the victor's father appeared   
as the dedicator1 and later1 because the
 victor wished to remove the  expense   
from his city or because his father     
died1 ,euthymos himself  restored it2   
see discussion of ,dittenberger1        

,inschr4 v4 ,ol41 pp4  #bdi-ebj4 ,the   
original inscription has 4    #cge      
,inschr4 v4 ,ol41 #bfd2 ,roehl1 ,i4 ,g4 
,a41 #ehi4    #cgf ,so ,dittenberger1   
,inschr4 v4 ,ol41 p4 #bda1 and no4 #bac2
  ,i4 ,g4 ,b41 #gb2 ,foerster1 following
 the earlier dating of ,dittenberger    
7,a4 ,z41 ,,xxxv1 #ahgg1 p4 #db1 nos4   
#di-ej71 dates the two victories  later1
 in ,ols4 787 #bjj1 #bjc 7 #ba and #cc  
,a4 ,d472 nos4 #fad and #fai4    #cgg   
,inschr4 v4 ,ol41 #bbe1 #bbh1 #bbi-cj1  
#bca1 #bcb4    #cgh ,op4 cit41 pp4      
#bdj-a4    #cgi ,furtwaengler1 l4 c41 p4
 #cj2 ,reisch1 p4 #cg2 ,rouse1 p4  #afg2
 ,frazer1 ,,iii1 p4 #fbd4 ,against the  
view that victor statues were  first    
called votive in ,roman days1 see       
,purgold1 ,a4 ,z41 ,,xxxix1 #ahha1  p4  
#hi1 on no4 #cij 7 inscription of       
,glaukon  ,inschr4 v4 ,ol41 #agh2       
however1 he was a victor in             
chariot-racing74    #chj ,e4 g41 by     
,scherer1 p4 #e2 ,kuhnert1 ,jahrb4 fuer 
cl4  ,phil41 ,supplbd41 ,,xiv1 #ahhe1 p4

 #beg1 n4 #g2 ,flasch1 in ,baum41 ,,ii1 
p4  #ajif2 cf4 ,dittenberger-,purgold1  
,inschr4 v4 ,ol41 p4 #bdj2 ,frazer1     
,,iii1  pp4 #fbc-d4    #cha ,e4 g41     
,ziemann1 de ,anathematis ,graecis1     
#ahhe1 p4 #ed4    #chb ,hermes1 ,,xiii1 
#ahgh1 p4 #dcg1 n4 #b4    #chc ,pp4 #ce 
f42 followed by ,m4 ,k4 ,welsh1 ,b4 ,s4 
,a41 ,,xi1  #aijd-e1 pp4 #cc-d4    #chd 
,e4 g41 ,pythokles1 who won the         
pentathlon in ,ol4 #hb 7  #deb ,b4 ,c471
 does not mention his contest on the    
base 7,inschr4 v4 ,ol41  #afb-c71 nor   
does ,pausanias give it 7,,vi1 #g4aj72  
we learn it only from  the ,oxy4 ,pap43 
see ,robert ,o4 ,s41 p4 #ahe2 ,hyde1    
#gj2 ,foerster1 #bie4    #che ,on p4    
#cf1 n4 #a1 he points out that at       
,athens the usual  dedication formula   
was omitted2 e4 g41 in the inscription  
of the  ,isthmian victor ,diophanes1 ,c4
 ,i4 ,a41 ,,ii1 #c1 #acja1 and in that  
of  a ,panathenaic victor1 ibid41 #acjb4
 ,the presence of the word in an        
,athenian inscription referring to the  

,olympic victor ,kallias rests on  an   
uncertain restoration2 ibid41 ,i1 #dai2 
he won ,ol4 #gg 7 #dgb ,b4 ,c473  ,p41  
,,vi1 #f4a2 ,hyde1 #ej2 ,foerster1 #bjh4
    #chf ,pp4 #afg f4    #chg ,both     
,reisch1 p4 #cf1 and ,dittenberger1 op4 
cit41 p4  #bdj1 agree also in opposing  
,furtwaengler's ,versnoth explanation4  
#chh ,thus ,pausanias mentions the      
8chariot1 horses1 charioteer and        
,kyniska herself03 ,,vi1 #a4f4 ,again he
 speaks of the 8chariot and statue  of  
,gelo03 ,,vi1 #i4d-e2 in referring to   
the chariot of ,kleosthenes by          
,hageladas he says3 8,along with the    
statue of the chariot and horses1  he   
,kleosthenes dedicated statues of       
himself and the charioteer10 and  even  
adds the names of the horses3 ,,vi1     
#aj4f4 ,in ,,vi1 #ah4a1 he mentions  the
 group of ,kratisthenes as 8the chariot1
 ,nike mounting it1 and  ,kratisthenes02
 in ,,vi1 #af4f he speaks of 8a small   
chariot and figure  of the father of    
,polypeithes1 the wrestler ,kalliteles02

 etc4 ,cf4  ,dittenberger1 op4 cit41 pp4
 #bci-dj4    #chi ,he won in ,ol4 #bee 7
 #bda ,a4 ,d473 ,foerster1 #gci3        
,inschr4 v4 ,ol41 #bda4    #cij ,no     
dedication1 however1 is inscribed on it3
 ,i4 ,g4 ,a41 #afj2  ,bronz4 v4 ,ol41 on
 no4 #aaja1 p4 #ahj4    #cia ,chionis1 a
 famous runner from ,sparta1 had a      
tablet1 which listed  his victories1 set
 up beside his statue at ,olympia3 ,p41 
,,vi1 #ac4b2 he  won in ,ols4 #bh-ca 7  
#ffh-fef ,b4 ,c473 ,hyde1 #aaa2         
,foerster1 #ci1 #da-df4  ,his statue was
 erected long after his death1 in ,ol4  
#gg or #gh1 and  so probably the stele  
also3 ,hyde1 p4 #dh4 ,deinosthenes1 who 
won the  stade-race in ,ol4 #aaf 7 #caf 
,b4 ,c471 had a slab set up beside his  
statue at ,olympia1 on which was        
inscribed the distance between it and a 
similar one in ,sparta3 ,p41 ,,vi1      
#af4h2 ,afr42 ,hyde1 #afc2 ,foerster1   
#djc4    #cib ,he won the chariot-race  
in ,ol4 #cc 7 #fdh ,b4 ,c473 ,foerster1 
#ea4    #cic ,p41 ,,vi1 #ai4b2 on the   

mistake of ,pausanias1 see ,flasch1 in  
,baum41  ,,ii1 p4 #aajd ,b4    #cid     
,or41 ,,xxxi1 #eif ,r 7 #cbh ,m74       
#cie ,h4 ,n41 ,,xxxiv1 #ag4    #cif ,h4 
,n41 ,,xxxiv1 #bc-d4 ,the subject of    
portrait honorary statues  at ,athens   
has been treated by ,l4 ,b4 ,stenessen1 
de ,historia variisque  ,generibus      
statuarum iconicarum apud ,athenienses1 
,christiania1 #ahgg2  for all ,greece by
 ,m4 ,k4 ,welsh1 ,honorary ,statues in  
,ancient ,greece1 ,b4  ,s4 ,a41 ,,xi1   
#aijd-e1 pp4 #cb-di4    #cig ,see list  
in ,hyde1 ,index on p4 ,v4    #cih ,king
 ,hiero of ,syracuse had five3 ,hyde1   
#adg a 7 three7 and #aje;a  7 two72     
,antigonos ,monophthalmos had three3    
,hyde1 #ajc d1 #adg f1 #aea b4    #cii  
,archidamas ,,iii1 son of ,agesilaos3   
,p41 ,,vi1 #d4i2 ,hyde1 #db a2 ,,vi1    
#ae4g2 ,hyde1 #adg c2 ,areus1 son of    
,akrotatos1 ,p41 ,,vi1 #ab4e2 ,hyde1    
#aje b2  ,,vi1 #ae4i2 ,hyde1 #adh a3    
,inschr4 v4 ,ol41 #cjh4    #djj         
,demetrios ,poliorketes1 ,p41 ,,vi1     

#ae4g2 ,hyde1 #adg e2 ,inschr4 v4  ,ol41
 #cjd2 ,,vi1 #af4c2 ,hyde1 #aeb b4      
#dja ,pyrrhos3 ,p41 ,,vi1 #ad4i2 ,hyde1 
#abh a4    #djb ,hiero ,,ii3 ,p41 ,,vi1 
#ab4b f4 7two statues set up by his     
sons3  ,hyde1 #aje a72 ,,vi1 #ae4f      
7three statues1 one set up by sons1 two 
by  fellow-citizens3 ,hyde1 #adg a74    
#djc ,philip ,,ii1 son of ,amyntas2     
,alexander the ,great2 ,seleukos        
,nikator1  son of ,antiochos2           
,antigonos1 son of ,philip1 surnamed    
,monophthalmos2  these four princes had 
statues together3 ,p41 ,,vi1 #aa4a2     
,hyde1 #ajc a1 b1  c1 d4 ,antigonos had 
also other statues in different parts of
 the ,altis3  ,p41 ,,vi1 #ae4g2 ,hyde1  
#adg f2 ,inschr4 v4 ,ol41 #cje2 ,,vi1   
#af4b2 ,hyde1 #aea  b4 ,antigonos ,doson
 and ,philip ,,iii had statues together3
 ,p41 ,,vi1 #af4c2  ,hyde1 #aeb a4 ,the 
,syrian king ,seleukos ,nikator had     
another statue at  ,olympia3 ,p41 ,,vi1 
#af4b2 ,hyde1 #aea c4 ,three of the     
,egyptian dynasty had  statues3 ,ptolemy

 ,lagi1 ,p41 ,,vi1 #ae4aj2 ,hyde1 #adi  
a2 ,philadelphus1 ,p41  ,,vi1 #ag4c2    
,hyde1 #agc a2 and another whose name is
 uncertain1 ,p41 ,,vi1  #af4i2 ,hyde1   
#aff a4    #djd ,p41 ,,vi1 #d4h2 ,hyde1 
#da b4    #dje ,p41 ,,vi1 #ag4g2 ,hyde1 
#ahd a2 ,inschr4 v4 ,ol41 #bic4    #djf 
,p41 ,,vi1 #ae4g2 ,hyde1 #adg d4    #djg
 ,p41 ,,vi1 #ad4i-aj2 ,hyde1 #abh b4    
#djh ,p41 ,,vi1 #ad4aa ,hyde1 #abh c in 
,ol4 787 #abg 7 #bgb ,b4 ,c47    #dji   
,p41 ,,vi1 #ad4ab2 ,hyde1 #acd a2       
erected between ,ols4 787 #ajc and #aae 
7 #cfh and #cbj ,b4 ,c474    #daj ,p41  
,,vi1 #af4e2 ,inschr4 v4 ,ol41 #bgf1    
#bgg2 ,hyde1 #aed a4    #daa ,p41 ,,vi1 
#ad4i-aj4    #dab ,p41 ,,vi1 #ae4g2     
,hyde1 #adg b4    #dac ,p41 ,,vi1 #ae4b2
 ,hyde1 #adc a4    #dad ,,vi1 #ab4e4    
,the date of his victory is unknown1 but
 fell probably  in ,ol4 #acd or #ace 7  
#bdd or #bdj ,b4 ,c473 ,hyde1 #aje c and
 pp4 #dd-e2  ,foerster1 #dfc4    #dae   
,he won some time between ,ols4 787 #ii 
and #ajb 7 #chd and #cgb ,b4  ,c473 ,p41

 ,,vi1 #c4b-c2 ,hyde1 #bc and pp4 #cj-a2
 ,foerster1 #cce4    #daf ,on the       
ancient custom of carrying off votive   
offerings and images  from vanquished   
foes1 see ,p41 ,,viii1 #df4b-d4 ,he     
shows that ,augustus  only followed a   
long-established precedent4 ,pliny1 ,h4 
,n41 ,,xxxiv1  #cf1 in speaking of the  
great number of statues plundered from  
,greece  by ,mummius and the ,luculli1  
quotes ,g4 ,licinius ,mucianus 7three   
times  consul71 who died before #gg ,b4 
,c41 to the effect that #gc1jjj statues 
were still to be seen at ,rhodes in his 
time1 and that supposably as  many more 
were yet to be found in ,athens1        
,olympia1 and ,delphi4    #dag ,at the  
beginning of his description of ,elis   
7,v1 #a4b71 ,pausanias  says that #bag  
years had passed since the restoration  
of ,corinth4 ,as  that event fell in #dd
 ,b4 ,c41 he was writing his fifth book 
in #agd ,a4  ,d41 i4 e41 in the reign of
 ,marcus ,aurelius4 ,with this date     
other  chronological references in his  

work agree4 ,that the fifth book was    
written before the sixth is deduced from
 a comparison of ,v1 #ad4f  with ,,vi1  
#bb4h f4 ,though the sixth book1        
therefore1 can not have been  composed  
earlier than #agd ,a4 ,d41 it may1 of   
course1 have been written  much later4  
,on the dates of the various books1 see 
,frazer1 ,i1 pp4 xv  f4 ,on the great   
importance of ,pausanias for the whole  
history of ,greek  art1 see ,c4 ,robert1
 ,pausanias als ,schriftsteller1 #aiji1 
p4 #a4    #dah ,historia naturalis1     
,bks4 ,,xxxiv-,,xxxvi 7ed4 ,jex-,blake74
    #dai ,this process has never been   
carried further nor with greater        
insight than in ,furtwaengler's great   
work1 ,meisterwerke der griech4         
,plastik1 #ahic4    #dbj ,in his        
,handbuch der ,archaeologie der ,kunst1 
#c;d ed41 #ahdh1 by ,f4  ,g4 ,welcker1  
p4 #gdj4    #dba ,chapter ,,vii1 infra1 
pp4 #cba f4    #dbb ,cf4                
,furtwaengler-,urlichs1 ,denkmaeler     
griech4 und roem4  ,skulptur            

7,handausgabe#c71 #aiaa1 p4 #aja4       
#dbc ,pro4 ,imag41 #aa1 pp4 #dij f43    
444 '           1 4 4 42  ,scherer1 pp4 
#aj f42 ,bildw4 v4 ,ol41 ,textbd41 p4   
#bej4    #dbd ,,vi1 #e4a4 ,on the       
statue1 see ,e4 ,preuner1 ,ein          
delphisches  ,weihgeschenck1 p4 #bf2 for
 the recovered sculptured base1 see     
,bildw4  v4 ,ol41 ,textbd41 pp4 #bji f42
 ,tafelbd41 ,pl4 ,,lv4 #a-c4 ,polydamas 
won the  pankration in ,ol4 #ic 7 #djh  
,b4 ,c471 but his statue was set up long
  after1 in the time of ,lysippos3      
,afr42 ,hyde1 #dg2 ,foerster1 #bgi4     
#dbe ,inschr4 v4 ,ol41 #adf2 cf4        
,scherer1 pp4 #aj-aa4 ,he won in ,ol4   
#gg  7 #dgb ,b4 ,c473 ,p41 ,,vi1 #f4a2  
,oxy4 ,pap42 ,hyde1 #ej2 ,foerster1     
#bjh4    #dbf ,inschr4 v4 ,ol41 #aei    
7renewed72 ,i4 ,g4 ,b41 #hf4 ,eukles won
 in  ,ols4 787 #ij-ic1 7 #dbj-djh ,b4   
,c473 ,p41 ,,vi1 #f4b2 ,hyde1 #eb2      
,foerster1 #big4    #dbg ,the lost work 
of ,aristotle is mentioned by ,diogenes 
,laertios1 ,v1  #bf4 ,for the scholiast1

 see ,boeckh1 p4 #aeh2 and ,f4 ,h4 ,g41 
,,ii1 p4 #ahc  7 ,aristotle1 fragm4     
#bfd71 ,,iv41 p4 #cjg 7 ,apollas1 fragm4
 #g74    #dbh ,pollux1 ,onomastikon1    
,,ii1 #aeh1 says that the cubit 77      
contains #bd  or #f 2 it was therefore  
#ah4be inches and  the finger #j4g inch 
long4 ,the ,solonian cubit of #ddd mm4  
gives #ag4ec  inches1 the finger 4#gc   
inch1 which makes ,diagoros' statue #f  
feet #a4ge  inches tall4,though the     
cubit was later lengthened to about #b  
feet1  the old size was retained for    
measuring wood and stone3 cf4 ,boeckh1  
,metrologische ,untersuchungen1 #ahch1  
p4 #bab4    #dbi ,scherer1 p4 #aa1 gave 
its height as #f feet and #e inches4    
#dcj ,diagoras won in ,ol4 #gi 7 #dfd   
,b4 ,c473 ,p41 ,,vi1 #g4a2 ,hyde1 #ei2  
,foerster1 #bbj2 cf4 ,inschr4 v4 ,ol41  
#aea 7renewed72 ,damagetos in ,ols4     
#hb-c 7 #deb-ddh ,b4 ,c473 ,oxy4 ,pap42 
,p41 ,,vi1 #g4a2 ,hyde1 #fb2 ,foerster1 
#bec2 cf4 ,inschr4 v4 ,ol41 #aeb4       
#dca ,inschr4 v4 ,ol41 #afe 7renewed72  

he won ,ol4 #hb 7 #deb ,b4 ,c473  ,oxy4 
,pap42 ,p41 ,,vi1 #ac4f2 ,hyde1 #aae2   
,foerster1 #cgf4    #dcb ,e4 g41        
,inschr4 v4 ,ol41 nos4 #adg-h1 ,tellon1 
who won the boys'  boxing match in ,ol4 
#gg 7 #dgb ,b4 ,c473 ,oxy4 ,pap42 ,p41  
,,vi1 #aj4i2 ,hyde1  #ajb2 ,foerster1   
#bcg2 ibid41 #aee 7renewed71            
,hellanikos1 boy boxer1 who  won in ,ol4
 #hi 7 #dbd ,b4 ,c473 ,p41 ,,vi1 #g4h2  
,hyde1 #fe2 ,foerster1 #bfc2  ibid41    
#aeh1 boxer ,damoxenidas1 who won some  
time between ,ols4 #ie  and #ajj 7 #djj 
and #chj ,b4 ,c473 ,p41 ,,vi1 #f4c2     
,hyde1 #ed2 ,foerster1 #cai2  ibid41    
#afd1 ,xenokles1 boy wrestler1 who won  
some time between ,ols4  787 #id and    
#ajj 7 #djd and #chj ,b4 ,c473 ,p41     
,,vi1 #i4b2 ,hyde1 #he2 ,foerster1      
#cjh2 ibid41 #agg1 ,telemachos1 chariot 
victor some time between ,ols4  787 #aae
 and #acj 7 #cbj and #bfj ,b4 ,c473 ,p41
 ,,vi1 #ac4aa2 ,hyde1 #abb2  ,foerster1 
#eac4    #dcc ,e4 g41 ,inschr4 v4 ,ol41 
#ahb1 ,thrasonides1 who won    in the   

third century ,b4 ,c4    #dcd ,furtw41  
,mp41 p4 #bdf1 fig4 #ii2 ,mw41 p4 #ddg1 
fig4 #fi4 ,see p4  #aee4    #dce ,see   
,chapter ,,vi41 infra1 p4 #bie4    #dcf 
,h4 ,n41 ,,xxxiv1 #fe4    #dcg ,supra1  
p4 #bh and n4 #a2 ,bildw4 v4 ,ol41      
,textbd41 pp4 #baf  f42 ,tafelbd41 ,pl4 
,,lvi1 #b-d2 cf4 ,furtwaengler1 #ejstes 
,berl4  ,winckelmannsprogr41 #ahij1 pp4 
#adg f42 cf4 infra1 ,ch4 ,,vii1 pp4     
#cbd-e1 c4 d4 e4    #dch ,bildw4 v4     
,ol41 ,textbd41 pp4 #bi f2 ,tafelbd41   
,pl4 ,,vi1 #a-d1 #i-aj2  cf4 infra1 pp4 
#afb-c4    #dci ,see ,inschr4 v4 ,ol41  
pp4 #bcd-e2 ,bronz4 v4 ,ol41 ,textbd41  
pp4  #aj-ab2 cf4 infra1 p4 #cbb and     
notes #a-g4    #ddj ,bronz4 v4 ,ol41    
,textbd41 pp4 #aj-aa2 ,tafelbd41 ,pl4   
,,ii1 #b1 #b;a2  ,f4 ,w41 no4 #cbc2 etc4
    #dda ,bronz4 v4 ,ol41 ,textbd41 p4  
#ab2 ,tafelbd41 ,pl4 ,,iv1 #e1 #e;a2 ,f4
 ,w41  #cbe4    #ddb ,furtw4-,urlichs1  
,denkmaeler1 p4 #ajd4 ,on nudity and    
athletics1  see the article by          
,furtwaengler1 ,die ,bedeutung der      

,gymnastik in der  griech4 ,kunst1 in   
,saemann's ,monatschr4 fuer paedagog4   
,reform41 #aije2  ,w4 ,mueller1         
,nacktheit und ,entbloessung in der     
alt-orient4 und aelteren  griech4       
,kunst1 ,diss4 inaug41 ,leipsic1 #aijf4 
#ddc ,the boxer ,euryalos 8first put a  
cincture 77 about him10 in  his bout    
with ,epeios3 ,iliad1 ,,xxiii1 #fhc4    
,see also ,,xxiii1 #gaj2 ,od41  ,,xviii1
 #fg and #gf4    #ddd ,e4 g41 wrestlers 
on a black-figured amphora in the       
,vatican3  ,j4 ,h4 ,s41 ,,xxv1 #aije1 p4
 #bhh1 fig4 #bd2 boxers1 runners1 and a 
jumper  on a b4-f4 stamnos in the       
,bibliothque ,nationale at ,paris 7no4  
#beb73  ,gardiner1 p4 #dah1 fig4 #adb1  
from de ,ridder1 ,cat4 des vases peints1
 ,i1  p4 #afj4    #dde ,h4 ,n41 ,,xxxiv1
 #ah4    #ddf ,ph41 #ag4 ,this mantle   
was called --the 8worn10 hence was thin 
and coarse2 ,hermann-,bluemner1 ,griech4
 ,privatalt41 p4 #age2 etc4    #ddg ,p41
 ,i1 #dd4a2 ,eustath41 on ,iliad1       
,,xxiii1 #fhc1 p4 #acbd1 #ab f4         

,dionys4 ,hal41 ,antiq4 ,rom41 ,,vii1   
#gb1 says that it was the ,spartan      
,akanthos1 who won in a running race1 i4
 e41 1 in ,ol4 #af2 so  also ,afr42 see 
,p41 ,v1 #h4f2 ,foerster1 #ag4 ,orsippos
 won the stade-race  in ,ol4 #ae3 ,afr42
 ,eustath41 l4 c42 ,dionys41 l4 c4      
,foerster1 #af4 ,but  ,didymos1 schol4  
on ,iliad1 ,,xxiii1 #fhc1 says that     
,orsippos won in ,ol4  #cb 7 #feb ,b4   
,c472 similarly ,etym4 magn41 p4 #bdb1  
s4 v4 2  however1 ,boeckh1 ,kleine      
,schriften1 ,,iv1 p4 #agc1 has shown    
that ,ol4  #ae is right4 ,isidoros1 in a
 confused passage1 ,orig41 ,,xviii1     
#ag4b1  says that athletes were early   
girded and dropped the loin-cloth in    
consequence of a runner getting weary1  
whence a decree of the time of  the     
archon ,hippomenes at ,athens 7,ol4     
#ad4b7 allowed athletes to contend      
nude2 the same story is told in the     
,schol4 ,venet4 on the ,iliad1  ,,xxiii1
 #fhc2 see ,foerster1 #af4    #ddh ,a4  
,g41 ,app4 #bgb2 ,cougny1 ,anth4 ,pal41 

#ahij1 ,,iii 7,app4 nov471  p4 #d1 no4  
#bd2 ,p41 ,i1 #dd4a1 says that his tomb 
was near that of ,koroibos4    #ddi ,c4 
,i4 ,g41 ,i1 #ajej 7with ,boeckh's      
commentary on the loin-cloth72  ,c4 ,i4 
,g4 ,g4 ,s41 #eb2 ,kaibel1 ,epigr4 ,gr41
 ex lapid4 conl41 #ahgh1 no4  #hdc2     
,frazer1 ,,ii1 p4 #ech4 ,the schol4 on  
,thukyd41 ,i1 #f1 quotes four lines  of 
it4 ,the name was spelled ,orrippos in  
the ,megarian dialect4    #dej ,ph41    
#ag4 ,the story is told also by ,p41 ,v1
 #f4g-h4 ,peisirhodos won  in ,ol4 787  
#hh 7 #dbh ,b4 ,c473 ,p41 ,,vi1 #g4b2   
,hyde1 #fc2 ,foerster1 #cad4  ,this     
brings the change near the end of the   
fifth century ,b4 ,c4 ,for the  spelling
 of the name of the victor1 see         
,foerster1 l4 c4    #dea ,i4 #f4 ,here  
the historian is speaking of athletes in
 general2  ,dionysios1 ,,vii1 #gb and   
,p41 ,i1 #dd4a1 speak only of runners4  
,scherer1 p4 #bj1 n4 #a 7following      
,krause1 ,i1 pp4 #dje and #eja1 n4 #ah7 
thought that the words of ,thukydides 7 

7 referred to the  time antedating ,ol4 
#ae1 and not later1 and concluded that  
in wrestling  7introduced in ,ol4 #ah   
#gjh ,b4 ,c47 and boxing 7introduced in 
,ol4 #bc   #fhh ,b4 ,c47 the contestants
 were always nude4 ,boeckh1 however1    
rightly  concluded that the historian   
meant that in ,ol4 #ae only the runners 
laid  off the loin-cloth1 while other   
athletes did so just before his day3    
,c4 ,i4 ,g41 ,i1 p4 #eed4    #deb ,de   
,rep41 #deb ,d4 ,he says that the custom
 of nudity was  introduced first by the 
,cretans and then by the ,spartans4     
#dec ,thus von ,mach says 7p4 #bdj73    
8,they were dedicatory statues          
representing events that had taken place
 in honor of the gods10 and  adds that  
on such occasions persons were draped1  
except where such  drapery would cause  
inconvenience1 i4 e41 in gymnastic      
contests4    #ded ,see ,gardiner1 p4    
#dfe1 fig4 #agb4    #dee ,e4 g41 the    
statue in the ,palazzo dei              
,conservatori1 ,rome3  ,helbig1         

,fuehrer1 ,,ii1 no4 #igc 7fig4 #bi1 p4  
#eeg1 restored72 ,guide1  #eig 7fig4    
#bh72 ,joubin1 p4 #acd1 fig4 #dj2       
,reinach1 ,rp41 ,,ii1 #b1 #ecf4f2  ,b4  
,com4 ,rom41 ,,xvi1 #ahhh1 ,pls4 ,,xv1  
,,xvi1 #a1 #b1 7two views7 and ,,xviii  
7restored71 pp4 #cce-cfe 7,g4           
,ghirardini74    #def ,pollux1 ,,iii1   
#aee1 wrongly states that runners wore  
soft leathern  boots 772 these never    
appear on vases1 as ,krause1 ,i1 p4 #cfb
  and n4 #e1 and ,gardiner1 p4 #bgc1    
point out1 and were the usual footwear  
of messengers4 ,cf4 ,mueller1 ,arch4 d4 
,kunst1 #cfc1 #f4    #deg ,at ,ephesos  
in ,thukydides' day3 ,,iii1 #ajd2       
earlier on ,delos3  ,thukyd41 ibid41 and
 ,homeric ,hymn to the ,delian ,apollo1 
#adf f4 ,maidens  and youths wrestled in
 the gymnasia on ,chios3 ,athenus1      
,,xiii1 #bj 7p4  #eff e472 cf4 ,boeckh1 
,c4 ,i4 ,g41 ,,ii1 text to no4 #bbad4   
#deh ,on athletic contests for women in 
,sparta1 see ,plutarch1  ,lykourgos1    
#ad2 ,xen41 de ,rep4 lac41 ,i1 #d4      

,aristoph41 ,lysistr41 #hj  f41 says    
that the beauty and color of the        
,lakonian woman ,lampito came  from     
gymnastic exercises4    #dei ,p41 ,v1   
#f4g4 ,he says that those who broke the 
,elean rule were  thrown from ,mount    
,typaion 7a rock south of the river74   
,their exclusion  was doubtless due to a
 religious taboo and not to modesty2    
,gardiner1 p4  #dg4 ,p41 ,,vi1 #bj4i1   
says that the restriction did not       
include maidens4  ,as there is no other 
reference about unmarried girls at      
,olympia1 it is  probable that girls    
were not admitted2 cf4 ,krause1         
,olympia1 p4 #ed  and n4 #i4    #dfj ,e4
 g41 ,kyniska1 ,p41 ,,vi1 #a4f1 and     
other ,spartan victresses1 ,,iii1  #h4a2
 ,euryleonis1 who won in a two-horse    
chariot-race in ,ol4 787 #ajc  7 #cfh   
,b4 ,c473 ,p41 ,,iii1 #ag4f2 ,foerster1 
#cdd2 ,belistiche1 mistress of  ,ptolemy
 ,philadelphus1 was the first to win    
in ,ol4 #abi 7  #bfd ,b4 ,c473 ,p41 ,v1 
#h4aa2 ,foerster1 #ddc2 ,theodota1      

daughter of the ,elean  ,antiphanes1 won
   in the first century ,b4 ,c43        
,inschr4 v4  ,ol41 #bjc2 ,foerster1     
#edg4    #dfa ,p41 ,,vi1 #bj4i4 ,the    
inscribed marble base of a statue of one
 of  these priestesses has been found at
 ,olympia3 see ,inschr4 v4 ,ol41 #dhe4  
#dfb ,see ,p41 ,v1 #f4g-h4    #dfc      
,however1 we do not know if they were   
held in the same year as  that of the   
,olympic festival1 or at what time of   
the year4 ,see ,l4  ,weniger1 ,klio1    
,beitraege zur alten ,geschichte1 ,v1   
#aije1 pp4 #bb f4    #dfd ,p41 ,v1      
#afb-d4 ,these  were probably iconic    
7portrait7  paintings4 ,holes have been 
found on columns of the ,heraion to     
which  they may have been attached4 ,on 
the girls' race1 see ,b4 ,b41 text to   
no4  #eba 7,arndt74    #dfe ,it is a    
marble copy of an original bronze which 
is generally  dated about #dgj ,b4 ,c41 
because of archaic reminiscences in the 
head4  ,it represents a girl of about   
#ad years4 ,see ,helbig1 ,fuehrer1 ,i1  

no4 #cfd2 ,guide1 #cgh1 and references2 
,f4 ,w41 #bac2 ,bulle1 pp4 #cjd f4      
,overbeck1 ,,ii1 p4 #dge1 refers it to  
the school of ,pasiteles4 ,it is        
pictured in ,b4 ,b41 no4 #eba2 ,bulle1  
#adb2 ,baum41 ,,iii1 p4 #baaa1 fig4     
#bcfb2  ,springer-,michaelis1 p4 #bbd1  
fig4 #dab2 von ,mach1 #gc2 ,amelung1    
,museums  of ,rome1 ,i1 fig4 #gd2       
,reinach1 ,rp41 ,i1 #ebg4f2 ,clarac1    
,pl4 #hfd1 #baii4  ,a similar statue is 
the torso in ,berlin3 ,beschr4 der      
,skulpt41 no4  #bbi2 and cf4 ,kekul1    
,annali1 ,,xxxvi1 #ahfe1 p4 #ff 7who    
points out the  resemblance of the head 
of the ,vatican statue to that of the   
figure by  ,stephanos1 ,pl4 #ab72       
,clarac1 ,pl4 #hfd1 #bbjj4 ,the height  
of the ,vatican  statue is given by     
,bulle as #a4ef meters4 ,cf4 also a     
statuette of a  similar girl runner from
 ,dodona3 ,rayet1 ,i1 ,pl4 #ag1 #c4     
#dff ,however1 ,b4 ,schroeder believes  
that it is merely a victorious          
danseuse1 and gives several examples of 

dancers from vase-paintings and  the    
lesser arts3 ,r4 ,m41 ,,xxiv1 #aiji1 pp4
 #aji ff4 7figs4 #a-c74 ,in all  of     
these lively motion is expressed and the
 free foot is raised high  from the     
ground4 ,when the curious little plat   
under the statue's right  foot 7perhaps 
intended to represent the starting-stone
 at the stadion7  is removed1 the       
position of the statue does not fit the 
dance2 see  ,bulle1 p4 #cjd1 for        
discussion of this starting-stone4      
#dfg ,,viii1 #dh4b2 cf4 ,plut41 ,quaest4
 conviv41 ,,viii1 #d1 ,i1 7p4 #ihb74    
#dfh ,bulle compares it with the        
,tuebingen hoplite-runner 7,fig4 #db7   
ready to start1 though the quieter pose 
of the ,vatican statue befits a  girl   
rather than the impetuous energy of the 
man4    #dfi ,on the 1 see ,p41 ,,iii1  
#ac4g2 ,hesychios1 s4 v42 cf4  ,theokr41
 ,,xviii1 #bb2 ,plut41 ,lycurgus1 #ad2  
,pauly-,wissowa1 s4 v4  agones1 ,i1 p4  
#hdg2 ,reisch1 p4 #df1 n4 #d4           
,pauly-,wissowa1 s4 v4   7,,iii1 #b1 p4 

#bcad7 shows that the use of the chiton 
closed on one side  was a ,dorian1 and  
especially a ,spartan1 custom4    #dgj  
,on the running race at ,kyrene1 cf4    
,boeckh1 ,explic4 ad ,pind41  ,pyth41   
,,ix1 p4 #cbh4 ,plato1 in his de ,leg41 
,,viii1 #hcc1 ,d1 ,e1 ordained  for     
girls the three running races 71 1 and  
72 the  youngest girls should run nude1 
the others 7from #ac to #ah7 suitably   
dressed4    #dga ,suet41 ,domitian1 #d2 
,dio ,cassius1 ,,lxvii1 #h4    #dgb     
,arndt believes it is ,myronian in      
character3 ,b4 ,b41 text to #eba4       
#dgc ,see ,waldstein1 ,j4 ,h4 ,s41 ,i1  
#ahhj1 pp4 #agj f4 ,on the style of     
wearing the hair in ,greece1 see the    
following works3 ,k4 ,o4 ,mueller1      
,handbuch d4 ,archaeol4 d4 ,kunst#c1 pp4
 #dgd f2 ,bluemner1 ,leben u4  ,sitten  
der ,griechen1 ,i1 pp4 #gf f42 ,home    
,life of the ,ancient ,greeks  7transl4 
of preceding1 by ,a4 ,zimmern71 #ahic1  
pp4 #fd f2 ,dar4-,sagl41 s4  v4 coma    
7,pottier71 ,i1 #b1 pp4 #acee f42       

,pauly-,wissowa1 ,,vii1 #b1 pp4  #baji  
ff4 7,bremer72 ,baum41 ,i1 pp4 #fae f2  
,guhl-,koner-,engelmann1 ,das  ,leben d4
 ,gr4 u4 ,roem4#f1 #ahic1 pp4 #big f2   
,amelung1 ,gewandung d4 ,gr4  u4 ,roem41
 #aijc2 ,helbig1 ,atti della ,r4 ,accad4
 dei ,lincei1 ,ser4 ,,iii1  vol4 ,v41   
pp4 #a f4 7for the ,homeric age74       
#dgd ,cf4 the recurring epithet of      
,homer1   2  ,helbig1 ,das homerische   
,epos#b1 p4 #bcf1 n4 #c2 for examples of
 long  hair in the epic1 ibid41 pp4 #bcf
 f4 ,that the ,homeric hair fell free   
over the shoulders and not in any       
conventional order has been proved      
against ,helbig by ,h4 ,hofmann1 ,jb4 f4
 cl4 ,philol41 ,supplbd41 ,,xxvi1       
#aijj1 pp4 #ahb f4    #dge ,eurip41     
,bacchae1 #dee2 ,aristotle1 de          
,physiogn41 #c1 p4 #ch2                 
pseudo-,phokylides1 #bab4    #dgf       
,aristoph41 ,equit41 #ehj and cf4 #aaba2
 ,nubes1 #ad2 ,lysistrata1  #efa2 etc4  
#dgg ,od41 ,,iv1 #aih2 ,euripides1      
,alkestis1 #hah-ai2 ,aristoph41 ,plut41 

#egb2 ,plato1 ,phaedo1 #hi ,c2 ,athenus1
 ,,xv1 #af 7p4 #fge a72 ,hdt41 ,i1 #hb2 
etc4    #dgh ,aristoph41 ,aves1 #iaa4   
#dgi ,ph41 ,imag41 ,,ii1 #cb2 ,lucian1  
,dial4 meretr41 ,v1 #c 7p4 #bij72 etc4  
#dhj ,xen41 de ,rep4 lac41 ,ch4 ,,xi1   
#c2 cf4 ,plut41 ,apothegm4 reg4 et      
imperat41 p4 #ged2 and see ,aristotle1  
,rhet41 ,i1 #i1 p4 #acig a1 #bh2        
,plut41 ,lysandros1 ,i2 ,lykourgos1 #bb2
 etc4    #dha ,hdt41 ,,vii1 #bjh4       
#dhb ,aristoph41 ,aves1 #abha-b3        
,lysias1 ,,xvi1 #ah2 ,lucian1 ,auctio   
vitarum1 #b 7,pythagoreans74    #dhc    
,pollux1 ,,vi1 #c4bb2 ,,viii1 #i4ajg2   
,athenus1 ,,xi1 #hh 7p4 #did f473       
,hesychios1 s4 v4  and 2 ,photius1      
,lex41 p4 #cba4    #dhd ,aischyl41      
,choeph41 #f2 ,p41 ,i1 #cg4c2 at        
,delphi1 ,dio ,chrys41  ,or41 ,,xxxv1 p4
 #fg ,r4    #dhe ,eurip41 ,bacchae1     
#dee4    #dhf  and  are etymologically  
the same word3 see  ,prellwitz1         
,etymolog4 ,woerterbuch d4 griech4      
,sprache4 ,it used to be  assumed that  

referred to the similar coiffure of     
young girls4  ,on the 1 see the         
following3 ,k4 ,o4 ,mueller1 op4 cit4#c1
 p4  #dgf1 #e2 id41 ,die ,dorier1 ,,ii1 
#bff2 ,conze1 ,nuove memorie dell'      
instituto archeol41 pp4 #djh f42        
,helbig1 ,comment4 philolog4 in honorem 
,mommseni1 #ahgg1 pp4 #faf f41 and      
,rhein4 ,mus41 ,,xxxiv1 #ahgi1 pp4 #dhd 
f42 ,schreiber1 ,der altattische        
,krobylos1 ,a4 ,m41 ,,viii1 #ahhc1 pp4  
#bdf-bgc1 and ,pls4 ,,xi41 ,,xii42 id41 
,,ix1 #ahhd1 pp4 #bcb-bed and ,pls4     
,,ix1  ,x2 and after him1               
,perrot-,chipiez1 ,,viii1 p4 #fdd1      
,collignon1 ,i1 p4 #cfc1  and de        
,villefosse1 ,mon4 ,piot1 ,i1 #ahid1 p4 
#fb2 ,klein1 ,gesch4 d4 gr4  ,kunst1 ,i1
 p4 #bee2 ,studniczka1 ,krobylos und    
,tettiges1 ,jb41 ,,xi1 #ahif1  pp4      
#bdh-bia4 ,pauly-,wissowa1 l4 c41 pp4   
#babj f42 ,dar4-,sagl41 ,i1 #b1  pp4    
#aceg-ei and #aega2 etc4 ,that the term 
represented a way of  wearing the hair  
and not a part of the hair has been     

proved by ,hauser3  ,jh4 oest4 arch4    
,inst41 #aijf1 ,beiblatt1 pp4 #hg f4 ,on
 other methods of  dressing the hair1   
see ,pauly-,wissowa1 l4 c41 pp4 #baab f4
    #dhg ,ap4 ,athen41 ,,xii1 #cj 7p4   
#ebe74    #dhh ,ibid41 #e 7p4 #eab c74  
#dhi ,i1 #f2 cf4 ,aristophanes1 ,nubes1 
#ihd and schol42 ,equit41 #acca4    #dij
 ,see fragm4 of ,nikolaos of ,damascus1 
7perhaps from the ,lydiaka  of          
,xanthos71 ,f4 ,h4 ,g41 ,,iii1 p4 #cie1 
fragm4 #fb4    #dia ,see ,krause1 p4    
#eda1 n4 #f4    #dib ,see ,ant4 ,denkm41
 ,i1 #ahhf1 ,pl4 ,,viii1 #c b2 etc4     
#dic ,see hero reliefs in ,a4 ,m41 ,,ii1
 #ahgg1 ,pls4 ,,xx-,,xxv4 ,on early     
,corinthian vases1 men are represented  
regularly with long hair4    #did ,e4   
g41 on the bust of ,apollo in the       
,glyptothek1 ,munich3 von  ,mach1 #ddi  
7left72 on the bearded man 7,dionysos87 
in the ,british ,museum3  id41 #dej     
7right72 and on the ,apollo of ,naples3 
id41 #ddh3 ,on the  latter head the     
narrow band of the former two examples  

has become very  broad4    #die ,cf4    
,waldstein1 op4 cit41 p4 #agg4    #dif  
,mw41 pp4 #fg 7on statues of ,zeus1 hair
 reaching the shoulders1  a style later 
becoming typical of that god72 p4 #djg  
7the ,argive school  gave short hair to 
heads of ,zeus72 ,mp41 pp4 #db and #aah2
 cf4 ,mw41  p4 #bgc4    #dig ,mw41 p4   
#bdi4 ,furtwaengler gives an example of 
a short-haired  ,apollo of the school of
 ,euphranor1 ibid41 p4 #eij4    #dih    
,mp41 p4 #af4 ,e4 g41 the ,florentine   
gem3 ,furtwaengler1 ,antike  ,gemmen1   
#aijj1 ,pl4 ,,xxxix1 no4 #bi4    #dii   
,pp4 #ddd f4    #ejj ,a good example of 
this is seen on the ,apollo of ,tenea   
7,pl4 #h ,a74    #eja ,bulle1 ,pl4 #bbe4
 ,he dates it in the middle of the sixth
 century ,b4  ,c4    #ejb ,h4 ,n41      
,,xxxiv1 #af 7,jex-,blake's transl47    
,the ,latin of the last  portion of this
 passage runs3 ,olympiae1 ubi omnium qui
 vicissent  statuas dicari mos erat1    
eorum vero qui ter ibi superavissent ex 
membris ipsorum similitudine expressa1  

quas iconicas vocant4    #ejc ,hirt1    
,ueber das ,bildniss der ,alten1        
#ahad-ae1 p4 #g2 ,visconti1             
,iconographie grecque 7#ast ed4 ,paris  
#ahjh1 ,milan1 #ahbd-bf71 ,discours     
prelim41 p4 ,,viii1 n4 #d4 ,they argued 
from ,lucian's pro ,imag41 #aa1 a       
passage already discussed supra1 p4 #de 
and n4 #c4    #ejd ,scherer1 pp4 #i f41 
and especially p4 #ac2 ,lessing1        
,laokon1 ,,ii1  #ac1 made ,pliny's words
 a text for a famous passage4    #eje   
,for the latest discussion of ,pliny's  
passage1 see ,inschr4 v4  ,ol41 pp4 #bcf
 and #bie-f 7the latter in reference to 
the inscribed base  of the statue of    
,xenombrotos to be discussed a few lines
 infra74    #ejf ,klein1 quoted by      
,jex-,blake1 p4 #ad1 footnote to line   
#g1 believes  ,pliny's statement        
apocryphal1 an idea escaping all        
scholars except1  perhaps1 ,bluemner in 
his commentary on the ,laokon 7p4 #ejc74
  ,evidently ,pliny1 or his source1 is  
explaining the discrepancy between      

ideal and portrait statues as the result
 of an improbable rule1 since  the      
ancients applied little historical      
criticism to art1 and hence did  not    
distinguish between works representing  
types and those representing            
individuals4 ,dio ,chrysostom1 in his   
treatise   7,orat41  ,,xxi1 #a1 p4 #eja 
,r71 tries to explain the difference    
between early and  late statues on the  
ground of physical degeneration in the  
latter4    #ejg ,inschr4 v4 ,ol1 #agj4  
,he won in ,ol4 787 #hc 7 #ddh ,b4 ,c473
 ,p41  ,,vi1 #ad4ab2 ,hyde1 #acc2       
,foerster1 #cbg4 ,this date follows the 
reasoning  of ,robert1 ,o4 ,s41 pp4 #ahj
 f4 ,pausanias1 l4 c41 mentions another 
monument of the victor1 the inscribed   
base of which has been found3  ,inschr4 
v4 ,ol41 #aed1 though ,dittenberger     
wrongly refers it to  ,damasippos3      
,foerster1 #hab2 ,hyde1 pp4 #ec-d4 ,the 
same authority refers  no4 #agj to the  
middle of the fourth century ,b4 ,c41 or
 a couple  of decades later1 because of 

the lettering and orthography4 ,the     
monument of no4 #agj must1 therefore1   
have been set up long after the         
victory--about a century later4    #ejh 
,dittenberger1 ,inschr4 v4 ,ol41 p4     
#bif1 compares two other  inscriptions  
with no4 #agj1 viz1 no4 #agd 7in which  
the words    occur7 and ,c4 ,i4 ,g4 ,g4 
,s41 ,i1 #bdgj1 l4 #c 7where the words  
occur74 ,however1 as he says1 these two 
refer to the poses  of the statues of   
gymnic victors and not to portraits4    
,pausanias  frequently uses the word    
for  7e4 g41 ,,iii1 #ah4g7 of a  victor1
 but this seems to be no indication of a
 portrait statue4    #eji ,cf4          
,dittenberger1 op4 cit41 p4 #bif4       
,hitz4-,bluemn41 ,,ii1 #b1 p4  #ecj1    
think the case of ,xenombrotos may      
simply be exceptional4    #eaj ,,vi1    
#c4aa-ab2 he was three times victor in  
running races in ,ols4  787 #ie1 787    
#ig1 and #ii 7 #djj1 #cib1 #chd ,b4     
,c472 the latter date is  attested by   
,afr43 ,hyde1 #cc2 ,foerster1 #cjg1     

#cae1 #caf4 ,for the epigram on  the    
base of one of these statues1 see ,a4   
,g41 ,,xiii1 #ae4    #eaa ,,vi1 #d4a2 he
 was three times victor in the          
pankration in ,ols4 #ajd1  787 #aje1 787
 #ajf 7 #cfd-cef ,b4 ,c473 ,hyde1 #cg2  
,foerster1 #cdi1 #cec1 #cei4    #eab    
,,vi1 #ag4b2 he was thrice victor in    
running races in ,ols4 #abi1 #acj  7    
#bfd1 #bfj ,b4 ,c473 ,afr42 ,hyde1 #agc2
 ,foerster1 #ddj-b1 #ddd-e4    #eac     
,,vi1 #ae4i2 he was four times victor in
 the pankration1 once in  hoplite       
running1 and once in the 1 at unknown   
dates3 ,hyde1 #adi2  ,foerster1 #gfg-gb4
 ,we can not say that his victories fell
 at a date when  iconic statues were in 
vogue4    #ead ,,vi1 #f4f2 he won in    
,ols4 #gd1 #gf1 #gg 7 #dhd1 #dgf-b ,b4  
,c473 ,oxy4  ,pap42 ,hyde1 #ef2         
,foerster1 #ahe1 #aie1 #bjg2 ,inschr4 v4
 ,ol41 #add4    #eae ,e4 g41 ,,vi1      
#ac4c-d and #h3 ,hermogenes1 five times 
victor in  running races in ,ols4 #bae1 
#baf1 #bag 7 #ha-hi ,a4 ,d473 ,afr42    

,hyde1 #aaa;a2  ,foerster1 #fed-f1      
#fei-ffj1 #ffb-d2 ,polites1 three times 
victor in running  races in ,ol4 #bab 7 
#fi ,a4 ,d473 ,afr42 ,hyde1 #aaa;b2     
,foerster1 #fdh-ej2  ,leonidas1 four    
times victor in running races in ,ols4  
#aed1 #aee1 #aef1  #aeg 7 #afd-aeb ,b4  
,c473 ,afr42 ,hyde1 #aaa;c2 ,foerster1  
#die-g1 #dih-ejj1  #ejb-d1 #ejg-i2      
,tisandros1 four times victor in boxing 
in ,ols4 787 #fj-c  7 #edj-ebh ,b4 ,c471
 at a date too early for portraiture3   
,hyde1 #aai;a2  ,foerster1 #aae1 #aai1  
#abc1 #abd4 ,there are other examples   
from the early  fifth and the sixth     
centuries ,b4 ,c4    #eaf ,princ4 ,gr4  
,art1 ,ch4 ,,xi 7,portrait ,sculpture71 
pp4 #afe f4    #eag ,gardner1 p4 #afe1  
cites ,bernouilli1 ,griech4 ,ikonogr41  
#aija1 as  listing #bf known portraits  
of ,euripides and #cb of ,demosthenes1  
and  calls attention to the fact that   
#hgj plates in the ,bruckmann series1   
,griech4 und ,roem4 ,portraets 7ed4     
,brunn und ,arndt71 from #ahia on1  are 

of ,roman portraits4 ,on the subject of 
,grco-,roman portraits1 see  also       
,bernouilli1 ,roem4 ,ikonogr41 #ahhb-id2
 ,hekler1 ,greek and ,roman  ,portraits1
 #aiab2 and the works of ,e4 ,q4        
,visconti1 now antiquated3  ,iconogr4   
gr4 7,paris1 #ahjh7 and ,iconogr4 romana
 7,milan1 #ahah74    #eah ,,xxxiv1 #gd4 
,pausanias mentions a portrait of       
,perikles without  naming the artist1   
,i1 #be4a2 cf4 ,i4 #bh4b4 ,the inscribed
 base was found  in ,athens in #ahhh3  1
 #ahhi1 pp4 #cf f4 7,lolling74  ,a      
terminal portrait of ,perikles1 extant  
in several copies1 has been  identified 
as a copy of this work1 e4 g41 one in   
the ,british ,museum3  ,b4 ,m4 ,sculpt41
 ,i1 no4 #edi2 ,furtw41 ,mp41 ,pl4      
,,vii1 opp4 p4 #aah  7profile1 fig1 #df1
 p4 #aai72 ,hekler1 op4 cit41 ,pl4 #d   
a42 ,f4 ,w41 #dha4  ,another replica is 
in the ,vatican3 ,helbig1 ,fuehrer1 ,i1 
#bgf1 and  ,nachtraege1 ,,ii1 p4 #dga2  
,visconti1 ,iconogr4 gr41 ,i1 ,pl4 ,,xv2
 ,b4 ,b41  #aef2 ,hekler1 op4 cit41 ,pl4

 #d b4 ,however1 ,hitz4-,bluemn41 ,i1 p4
 #cjg1  ad loc4 ,paus41 think that the  
word  used by ,pausanias can not  apply 
to a terminal bust2 ,furtw41 ,mp41 p4   
#aag1 n4 #d1 says that the  word does   
not necessarily mean a whole statue4    
,cf4 ,bernouilli1 ,jb41  ,,xi1 #ahif1   
pp4 #ajg f42 ,furtw41 ,mp41 pp4 #aag f4 
#eai ,see ,i4 ,g4 ,b41 #fb1 #fc4    #ebj
 ,philopseudes1 #ah f4    #eba  1 #ah4  
#ebb ,a good example of a ,roman copy   
7from the age of ,hadrian7 of an        
original iconic athlete statue in bronze
 from the end of the fourth  century ,b4
 ,c41 is a bearded head in the ,museo   
,chiaramonti2 its swollen  ears and the 
deep furrow in the hair for the metal   
crown show that it  is from the statue  
of a victor4 ,see ,amelung1 ,vat41 ,i1  
p4 #dhc1 no4 #beg  and ,tafelbd41 ,i1   
,pl4 #ej2 ,arndt-,bruckmann1 ,gr4 und   
,roem4 ,portr41 ,pls4  #bbc-d4    #ebc  
,,xxxv1 #aec4 ,jex-,blake1 p4 #agf1     
justly remarks that this invention  had 
nothing to do with the custom of taking 

death-masks4    #ebd ,xen41 ,symp41     
,,iv1 #ag3          4 4 42 cf4          
,aristoph41 ,vesp41 #edd1 and  ,athen41 
,,xiii1 #bj 7p4 #efe7 and scholion4     
#ebe ,,xiii1 #ij 7p4 #fji e1 f72 here he
 quotes a history of ,arkadia by        
,nikias4    #ebf ,athen41 ,,xiii1 #bj   
7pp4 #efe f and #eff a72 cf41 ,theophr41
 apud  ,athen41 ,,xiii1 #ij 7pp4 #fji f1
 #faj a74    #ebg ,athen41 ,,xiii1 #ij  
7p4 #faj;a73 here ,athenus is also      
quoting  ,theophrastos4 ,in ,,xiii1 #bj 
7p4 #efe71 he quotes ,herakleides       
,lembos as  saying that in ,sparta the  
handsomest man and woman were especially
  honored4    #ebh ,hdt41 ,v1 #dg2      
,eustath4 ad ,iliad1 ,,iii1 p4 #chc1    
#dc2 ,foerster1 #ach4    #ebi ,p41 ,,ix1
 #bb4a4    #ecj ,p41 ,,vii1 #bd4d2 cf41 
,,viii1 #dg4c1 for a similar custom at  
,tegea4    #eca ,see ,o4 ,mueller1 ,die 
,dorier#a1 #ahbd1 ,,ii1 p4 #bch 7quoted 
by  ,krause1 ,i1 p4 #cg1 n4 #ai74 ,for  
references to contests of beauty in     
,greece1 see ibid41 pp4 #cc-ch4    #ecb 

,on this subject1 see the recent essay  
by ,w4 ,h4 ,goodyear1  ,lessing's ,essay
 on the ,laocon and its ,influence on   
the ,criticism of  ,art and ,literature1
 ,brooklyn ,museum ,quarterly1 ,oct4    
#aiag1 pp4 #bbh-i4    #ecc ,thus we have
 ,polykleitos of ,argos and ,patrokles1 
perhaps his  brother2 ,naukydes of      
,argos and ,daidalos of ,sikyon1 sons of
 ,patrokles2  the younger               
,polykleitos--who called himself an     
,argive--the brother of  ,naukydes2     
,alypos of ,sikyon1 the pupil of        
,naukydes2 etc4 ,statues by all  these  
sculptors except ,patrokles are known to
 have stood in ,olympia4    #ecd        
,hbk4#b1 p4 #bed4    #ece ,his criticism
 of painting occurs in ,poet41 #addh;a1 
#e1  #adej;a1 #bf1 and ,polit41 ,v1     
#acdj;a1 #ce4 ,in ,eth41 ,,vi1 #aada;a1 
#aj1  he says that ,pheidias and        
,polykleitos were masters in marble and 
bronze respectively4 ,for a discussion  
of ,aristotle's sthetics of  painting   
and sculpture1 see ,m4 ,carroll1 in     

,publ4 of ,geo4 ,washington             
,university1 ,philol4 and ,lit4 ,series1
 ,i1 #a 7,nov41 #aije71 pp4 #a-aj2  and 
for both ,aristotle and ,plato on art1  
see ,kalkman1 #ejstes ,berl4            
,winckelmannsprogr41 #ahij 7,proport4   
des ,gesichts71 pp4 #c f4 and notes4    
#ecf ,i1 #e1 #acfa;b2 ,oppian1          
,kyneget41 ,i1 #hi-ij1 speaks of the    
similarly well-developed bodies of      
hunters4    #ecg ,mem41 ,,iii1 #aj4f-h4 
,for his visit to the painter           
,parrhasios1 see  ibid41 #aj4a-e4       
#ech ,following the suggestion of       
,klein1 ,,ii1 p4 #adc1 and ,w4 ,l4      
,westermann1 ,class4 ,rev41 ,,xix1      
#aije1 pp4 #cbc-e4 ,the latter gives    
several examples of similarly shortened 
forms of names and believes the  passage
 in ,xenophon emphasizes the fact that  
,polykleitos was employed  at ,athens4  
,plato frequently mentions ,polykleitos 
by his full name3 e4  g41 ,protag41 #cbh
 ,c 7sons of ,polykleitos71 #caa ,c     
7,polykleitos and  ,pheidias74 ,p4      

,gardner justly observes that the       
statues of ,polykleitos  8however       
beautiful1 are scarcely life-like30     
,prince4 ,gk4 ,art41 p4 #ae1  n4 #a2    
,grammar1 p4 #ag4    #eci ,,ii1 #ag3    
1    1 4  4 4    #edj ,see schol4 on    
,plato1 ,amatores1 p4 #ace ,e2 cf4      
,epiktetos1  ,encheir41 ,ch4 #bi4       
#eda ,p41 ,,vi1 #aj4e2 ,oxy4 ,pap42     
,hyde1 #ig2 ,foerster1 #bdj2 cf4        
,krause1  ,olympia1 pp4 #cjb f4    #edb 
,his date is uncertain3 ,p41 ,,vi1      
#ae4i2 ,hyde1 #adi2 ,foerster1 #gfg-ggb4
    #edc ,p41 ,,vi1 #c4b2 he won at     
,olympia some time between ,ols4 787 #ii
 and  #ajb 7 #chd and #cgb ,b4 ,c473    
,hyde1 #bc2 ,foerster1 #cce4    #edd    
,p41 ,i1 #bi4e3 ,hdt41 ,,vi1 #ib2 ,,ix1 
#ge2 cf4 ,krause1 ,i1 pp4 #die-f4       
#ede ,e4 g41 ,phallos of ,kroton was    
famed for his fleetness1 his  jumping1  
and his throwing the diskos4 ,see       
,aristoph41 ,acharn41 #bab2  ,vespes1   
#abjf2 ,a4 ,g41 ,app4 #big2 cf4 ,hdt41  
,,viii1 #dg2 ,p41 ,x1 #i4b4 ,he  won at 

,delphi only4    #edf ,e4 g41 ,myron at 
,delphi3 ,pliny1 ,h4 ,n41 ,,xxxiv1 #eg2 
,alkamenes1  ibid41 ,,xxxiv1 #gb2 etc4  
#edg #fef ,e1 #feg ,a4    #edh ,pliny1  
,h4 ,n41 ,,xxxvi1 #ci4 ,these works were
 probably critical as  well as          
descriptive4    #edi ,e4 g41 of         
,pasiteles1 ,,xxxvi1 #ci2 of            
,arkesilaos1 ,,xxxvi1 #da2 of           
,koponios1 ibid4    #eej #ah7gj74 ,in   
this passage he also gives similar      
judgments on  several painters4 ,on     
,cicero on art1 see ,grant ,showerman1  
,proceed4  ,amer4 ,philol4 ,ass'n1      
,,xxxiv1 #aijc1 pp4 xxxv f4 ,he shows   
that ,cicero's  references to art       
proceed from his instinct as a stylist  
and not from  any enthusiasm for art    
itself4    #eea ,imag41 #f1 p4 #dfd4    
,his eclectic statue is made up of works
 by  ,praxiteles1 ,alkamenes1 ,pheidias1
 and ,kalamis4    #eeb ,rhetorum        
praeceptor1 #i-aj4 ,he spells the two   
first names  1 4    #eec ,,xxxvi1 #cg4  
,for careful judgments of ,pliny's work1

 see ,jex-,blake1  pp4 xci f43          
,kalkmann1 ,die ,quellen der            
,kunstgeschichte des ,plinius1  #ahih2  
,robert1 ,archaeologische ,maerchen1    
#ahhf1 pp4 #bh f42 ,f4  ,muenzer1       
,hermes1 ,,xxx1 #ahie1 pp4 #dii f4 7and 
,beitraege zur ,kritik  der ,naturgesch4
 des ,plinius1 #ahig72 ,botsford and    
,sihler1 ,hellenic  ,civilization1      
#aiae1 pp4 #eea-h 7 ,translation by     
,jex-,blake of ,pliny1  ,,xxxiv1 #ec-hd 
sculptors1 revised by ,e4 ,g4 ,sihler72 
pp4 #eeh-efg 7  ,pliny1 ,,xxxv1 #ae1 and
 #ec-ig painters1 revised by ,e4 ,g4    
,s474 ,for short  estimate of ,pliny's  
work1 see ,mackail1 ,latin ,literatures1
 #ahie1 p4  #aig4    #eed ,see his      
characterization of the great ,greek    
painters and  sculptors in ,inst4       
,orat41 ,,xii1 ,ch4 #i4    #eee ,also in
 the work of ,h4 ,stuart ,jones1 ,select
 ,passages from  ,anc4 ,writers         
,illustrative of the ,hist4 of ,gk4     
,sculpt41 #ahie2 cf41  ,a history of    
classical writers on art from           

,xenokrates to ,pliny1 in  ,jex-,blake1 
pp4 xvi-xci2 cf4                        
,wilamowitz-,moellendorf1 ,antigonos von
  ,karystos 7,kiessling and ,wilamowitz1
 ,philolog4 ,untersuchungen1 ,,iv1      
#ahha71 pp4 #g f42 ,p4 ,gardner1        
,principles of ,greek ,art1 ,ch4 ,,ii1  
pp4 #ac  f4 7,ancient ,critics on ,art72
 etc4    #eef ,a4 ,pl41 #b2 ,bergk1 ,p4 
l4 ,g41 ,,iii#d1 no4 #adi1 p4 #dih4     
,theognetos won in ,ol4 #gf 7 #dgf ,b4  
,c473 ,p41 ,,vi1 #i4a2 ,oxy4 ,pap41     
,hyde1  #hc2 ,foerster1 #aic and #aic   
,n4    #eeg ,h4 ,n41 ,,xxxiv1 #hh4      
,kallias won in ,ol4 #gg 7 #dgb ,b4     
,c473 ,p41 ,,vi1  #f4a2 ,oxy4 ,pap42    
,hyde1 #ej2 ,foerster1 #bjh2 ,inschr4 v4
 ,ol41 no4 #adf4    #eeh ,ibid41        
,,xxxiv1 #ga4    #eei ,kalamis made the 
horses and jockeys1 ,onatas the chariot3
 ,p41 ,,vi1  #ab4a2 ,hiero won twice in 
the horse-race and once in the          
chariot-race in  ,ols4 #gf-gh 7 #dgf-dfh
 ,b4 ,c473 ,oxy4 ,pap42 ,hyde1 #aje2    
,foerster1 #aii1  #bji1 #bae4    #efj   

,,vi1 #f4f4 ,he won in ,ols4 #gd1 #gf-g 
7 #dhd1 #dgf-dgb ,b4 ,c473 ,oxy4  ,pap42
 ,hyde1 #ef2 ,foerster1 #ahe1 #aie1     
#bjg4    #efa ,,vi1 #d4d4 ,he won in    
,ols4 #ha and #hb 7 #def-deb ,b4 ,c473  
,oxy4 ,pap42  ,hyde1 #ch2 ,foerster1    
#bjb1 #bjc4    #efb ,,vi1 #i4c4 ,he won 
in ,ol4 #hc 7 #ddh ,b4 ,c473 ,oxy4      
,pap42 ,hyde1 #hh3  ,foerster1 #bhe4    
#efc ,v1 #bg4c4    #efd ,bulle1 p4 #ajd1
 remarks that up to the present no      
single ,roman  copy can be proved to be 
that of an ,olympic victor statue4 ,this
 fact  must be constantly borne in mind4
    #efe ,no4 #fdci2 ,stas1 ,marbres et 
,bronzes1 pp4 #bii-cjj and fig42        
,ausgr4 v4 ,ol41 ,v1 ,pls4 ,,xxi1       
,,xxii1 and p4 #ad2 ,funde v4 ,ol41 ,pl4
  ,,xxiii1 and p4 #af2 ,bronz4 v4 ,ol41 
,textbd41 pp4 #aj-aa2 ,tafelbd41 ,pl4   
,,ii1 #b and #b;a2 ,boetticher1         
,olympia1 ,pl4 ,,xi1 #a2 ,baum41 p4     
#aajd #jj1  figs4 #abif1 a and b2 ,f4   
,w41 no4 #cbc2 ,bulle1 #bce and fig4    
#aed1 on p4  #eja2 von ,mach1 #dhb2 ,b4 

,b41 #bdg4    #eff ,furtw4-,wolters1    
,beschr4 d4 ,glyptothek1#b #aiaj1 no4   
#deg1 pp4  #cih f42 ,furtw41 ,mp41 p4   
#bia2 ,mw41 p4 #ejg2 ,f4 ,w41 no4 #baf2 
,b4 ,b41  #h2 ,bulle1 #bjg 7front and   
side72 ,kekul1 ,a4 ,z41 ,,xli1 #ahhc1   
,pl4 ,,xiv1  #c1 p4 #bdf2 ,h4 ,schrader1
 ,jh4 oest4 arch4 ,inst41 #aiaa1 p4 #gd2
 ,hauser1  ,r4 ,m41 ,x1 #ahie1 pp4 #ajc 
f4 ,kekul1 because of its similarity to 
the  ,apollo of the ,west ,gable1       
derived it from the art of the ,olympia 
pediment sculptures2 ,flasch1 ,verh4 d4 
#bisten ,philologenversamml41           
,innsbruck1 #ahgd1 p4 #afb1 and ,brunn1 
,beschr4 d4 ,glypt4#e1 no4 #cjb1 and    
,sitzb4 ,muen4 ,akad41 #ahib1 p4 #feh1  
classed it as ,polykleitan2 ,bulle      
calls it ,attic-,argive without         
,polykleitan influence1 while           
,furtwaengler  finds it                 
,polykleitan-,attic4 ,the latter gives  
several replicas1 two of  green and     
black basalt respectively1 in the ,museo
 delle ,terme1 and a  marble head in the

 ,museo ,chiaramonti1 no4 #dge4 ,bulle  
gives the height  of the ,munich head as
 #j4bc meter4    #efg 2 cf4 decor1      
applied to the work of ,polykleitos by  
,quintilian3 ,inst4 ,orat41 ,,xii1 #i4  
#g-h2 cf4 also ,vitruvius1 de  ,arch41  
,i1 #b4    #efh ,furtw4-,urlichs1       
,denkm4 d4 gr4 und roem4 ,skulpt41      
,hdausgabe1#c  #aiaa1 p4 #ajb1 n4 #a4   
,he adds that it is das ,ideal von      
,reinheit1  ,unschuld1 liebenswuerdig   
edler ,groesse1 eines der herrlichsten  
griechischen ,originale1 die uns        
erhalten sind4 ,it is photographed      
ibid41 figs4 #cj1 #ca4 ,in the ,beschr4 
d4 ,glypt41 p4 #cii1 he says it  is das 
edelste und vollendetste ,werk1 das die 
,glyptothek besitzt--ihr  kostbarster   
,schatz1 etc4    #efi ,formerly in the  
,coll4 ,tyszkiewicz3 ,b4 ,b41 #cbd1 7two
 views72  ,bulle1 #bjf 7two views72 von 
,mach1 #dha 7two views72 ,mon4 ,piot1   
,i1  #ahid1 pp4 #gg f4 7,e4 ,michon7 and
 ,pls4 ,x1 ,,xi2 ,s4 ,reinach1 ,ttes1   
,pl4 #gb  and p4 #eh2 ,kalkmann1 ,prop4 

d4 ,gesichts1 p4 #bg 7vignette72        
,collignon1  ,,ii1 ,frontispiece and p4 
#afi2 ,gardner1 ,sculpt41 ,pl4 ,,xl2    
,furtw41 ,mp41  pp4 #bij-a and ,pl4     
,,xiv2 ,mw41 p4 #ejg4 ,the best         
illustration of the head  is given by de
 ,ridder1 ,les ,bronzes antiques du     
,louvre1 ,i1 #aiac1 ,pl4 ,i  7and text  
p4 #h1 on no4 #d74 ,it is #j4cc meter in
 height 7,bulle74    #egj ,preface to   
,furtw41 ,mp41 p4 xiii4    #ega ,so     
,furtw41 l4 c42 ,bulle1 however1 sees in
 it only ,attic work  and finds it      
slightly coarser and harder than the    
,munich head described4    #egb ,invent4
 #efcc2 ,bronzi d',ercol41 ,i1 #gc1 #gd2
 ,d4 ,comparetti e ,g4 de  ,petra1 ,la  
,villa ,ercolanese dei ,pisoni1 #ahhc1  
,,xi1 #a2 ,b4 ,b41 #cbc 7two  views72   
,rayet1 ,,ii1 ,pl4 #fg2 ,furtw41 ,mp41  
p4 #bia2 ,mw41 p4 #ejh2 the  latter     
believes that it1 like the preceding two
 heads1 is ,polykleitan  and ,attic4    
#egc ,bedeutung der ,gymnastik in d4 gr4
 ,kunst1 #aije2 cf4 also  ,gardner1     

,sculpt41 p4 #bc1 and ,hbk41 p4 #bae4   
#egd ,furtw4-,urlichs1 ,denkmaeler1     
already cited1 p4 #fc1 n4 #c4           
7,translated under the title ,greek and 
,roman ,sculpture by ,h4 ,taylor1       
#aiad2 p4 #aai47    #ege ,see ,f4 ,w4   
,g4 ,foat1 ,anthropometry of ,greek     
,statues1 ,j4 ,h4 ,s41  ,,xxxv1 #aiae1  
pp4 #bbe f4 7p4 #bbf74    #egf ,plato1  
,phileb41 #fd ,e1 regarded  and  as     
qualities of beauty and virtue2 cf4     
,aristotle1 ,metaphys41 ,x1 #c4g1  and  
,nicom4 ,eth41 ,v1 #e4ad1 #aacc;b4      
,vitruvius1 de ,arch41 ,i1 #b1 makes    
symmetry in architecture a quality of   
eurythmia3 ,item symmetria est ex       
ipsius operis membris conveniens        
consensus ex partibusque separatis ad   
universae figurae speciem ratae partis  
responsus4    #egg ,i1 #b3 ,haec        
eurythmia efficitur1 cum membra operis  
convenientia  sunt1 altitudinis ad      
latitudinem1 latitudinis ad             
longitudinem1 et ad  summam omnia       
respondent suae symmetriae2 cf4 ,,iii1  

#a2 ,lucian1 pro  ,imag41 #ad 7  72     
,clem4 ,alex41 ,paedagog41 #c4aa and #fd
  7   72 ,xen41 ,mem41 ,,iii1 #aj4i 71  
of  corselets72 ,plut41 de ,educ4 puer41
 #aa 7  72 ,diod41  ,i1 #ig4 #f 7 1 i4  
e41 rhythmic order or grace in          
statuary73 id41 ,,ii1 #ef4d4    #egh    
,vitruv41 ,,iii1 #a3 proportio1 quae    
graece  dicitur4  ,proportio est ratae  
partis membrorum in omni opere totiusque
  commodulatio1 ex qua ratio efficitur  
symmetriarum4    #egi ,h4 ,n41 ,,xxxiv1 
#fe4    #ehj ,op4 cit41 e4 g4 ,op4 cit41
 ,,xxxv1 #fg and #abh4    #eha ,ueber   
die ,kunsturteile bei ,plinius1 ,ber4   
ueber d4 ,verhandl4 d4  k4 saechs4 ,ges4
 d4 ,wiss4 zu ,leipzig1 ,,ii1 #ahej1 p4 
#aca2 cf4 ,h4 ,l4  ,urlichs1 ,ueber     
griech4 ,kunstschriftsteller 7,diss4    
inaug41 ,wuerzburg1  #ahhg74    #ehb    
,principles of ,greek ,art1 #aiad1 p4   
#bj 7 ,grammar of ,greek ,art1  #aije1  
p4 #bb74    #ehc ,quoted by ,gardner1   
op4 cit41 p4 #bb 7 ,grammar1 p4 #bc71   
from  two papers by ,h4 ,brunn1 ,ueber  

tektonischen ,styl in der griech4       
,plastik  und ,malerei1 in ,sitzb4      
,muen4 ,akad41 #ahhc1 pp4 #bii f41      
#ahhd1 pp4 #ejg  f4 ,overbeck1 ,i1 pp4  
#bff-bgg1 explains rhythm in art as the 
,ordnung  der ,bewegung1 in accordance  
with the definition of ,plato3         3
 de ,leg41 #ffe ,a4    #ehd ,h4 ,n41    
,,xxxiv1 #eh 7,s4 ,q41 #ecc73           
,numerosior in arte quam  ,polyclitus et
 in symmetria diligentior4 ,the         
interpretation of this  disputed passage
 depends1 of course1 on the meaning of  
numerosior1  and whether we accept the  
curious statement of the manuscript that
  ,myron surpassed ,poykleitos in       
symmetry1 or1 by omitting the et  7with 
,sillig71 make it mean just the contrary
 and in harmony with the  usual ancient 
view that symmetry was the salient      
characteristic of  ,polykleitan art4    
,the passage1 then1 would contrast the  
symmetry of  ,polykleitos with the      
variety of ,myron4 ,this accords with   
,pliny's use of  numerosus elsewhere 7e4

 g41 ,,xxxv1 #acj and #ach71 which      
always refers  to number4 ,see ,gardner1
 ,hbk41 p4 #bge 7note74    #ehe ,op4    
cit41 ,,xxxiv1 #fe1 he says3 ,nova      
intactaque ratione  quadratas veterum   
staturas permutando4    #ehf ,op4 cit41 
,,xxxv1 #fg4    #ehg ,,viii4 ,i4 #dg4   
#ehh ,the ,egyptians divided the front  
view of the body into #ai parts  7or #ba
 parts and a quarter1 including the     
height of the head-dress73  ,diod41 #a1 
#ih4 ,see ,lepsius1 ,monum4 funraires de
 l'gypte 7figure1  reproduced in        
,dar4-,sagl1 ,i1 #b1 p4 #hib1 fig4      
#aabe72 cf4 his ,descript4  de l'gypte1 
,,iv1 ,,lxii2 ,wilkinson1 ,history of   
,egypt1 p4 #aac1 ,pl4 ,,iv2  these      
references are given by ,foat1 op4 cit41
 p4 #bbe1 n4 #a4    #ehi ,vitruv41 ,i1  
#b4 ,however1 in thus following the     
statement of the  ,roman architect1 it  
must be said that the attempt to recover
 and  establish such a canon in ,greek  
architecture is still unproved4 ,the    
subject is complicated and has led to   

very different views4 ,thus1  while many
 scholars have defended the theory of   
the canon 7e4 g41  ,pennethorne1 ,geom4 
and ,optics of ,anc4 ,arch41 #ahgh2     
,penrose1 in  ,whibley1 ,comp4 to ,gk4  
,stud4#a1 #aije1 pp4 #bbj-a2 ,ferguson1 
,hist4  ,arch41 ed4 #ahhg1 ,i1 p4 #bea2 
,p4 ,gardner1 ,princ4 ,gk4 ,art41 p4    
#ba2  ,statham1 ,short ,crit4 ,hist4    
,arch41 #aiab1 p4 #acj71 others are     
opposed1  and believe that design in    
,greek architecture was a matter of     
feeling1  and that the orders were first
 reduced to formul in ,roman days  7e4  
g41 ,a4 ,k4 ,porter1 ,med4 ,arch41      
#aiji1 ,i1 #i2 ,goodyear1 ,greek        
,refinements1 ,studies in ,temperamental
 ,arch41 #aiab1 esp4 p4 #hc1 quoting    
,joseph ,hoffer from ,wiener            
,bauzeitung1 #ahch74 ,see on the subject
 a  recent article by my pupil1 ,dr4 ,a4
 ,w4 ,barker1 in ,a4 ,j4 ,a41 ,,xxii1   
#aiah1 pp4 #a f41 in which the above and
 other references are given4    #eij    
,gardner1 ,sculpt41 pp4 #bb-c1 says3    

8,paradoxical as it may seem  at first  
sight1 the very freedom of ,greek       
sculpture is to a great  extent due to  
its close adherence to tradition40 ,he  
shows how the free  play of imagination 
depends on external conditions and      
tradition4    #eia ,e4 g41 ,vitruv41 ,i1
 #b2 especially these words3 ,ut in     
hominis  corpore e cubito1 pede1 palmo1 
digito1 ceterisque particulis 7partibus7
  symmetria est eurythmiae qualitas2    
also ,,iii1 #a3 ,pes vero altitudinis   
corporis sextae partis2 cubitum quartae2
 pectus item quartae1  etc4 ,also       
,philostr41 ,imag41 ,proem42 the        
third-century ,a4 ,d4 787  treatise     
called de ,physiognomia2 ,st4           
,augustine1 de ,civ4 ,dei1 ,,xv1  #bf4  
#a2 the poet ,martianus ,capella1 of the
 middle of the fifth century  ,a4 ,d41  
who says1 ,,vii1 #gci3 septem corporis  
partes hominem perficiunt2  etc4    #eib
 ,die ,proportionen des ,gesichts in der
 griechischen ,kunst 7  #ecstes         
,berliner ,wincklemanns programm1       

#ahic74    #eic ,gestalt des ,menschen1 
in ,verh4 d4 ,berl4 ,anthrop4 ,gesell41 
#ahie4 ,this work is based on the older 
investigations of ,c4 ,schmidt1         
,proportionsschluessel1 #ahdi1 and of   
,c4 ,carus1 ,die ,proportionslehre  der 
menschlichen ,gestalt1 #ahgd4 ,see also 
,p4 ,richer1 ,canon des  proportions du 
corps humain1 #ahic2 ,e4 ,duhousset1    
,proportions  artistiques et            
anthropomtrie scientifique1 ,gaz4       
,b-,a41 ,,iii1 ,pr4 #c1 #a  #ij1 pp4 #ei
 f42 ,e4 ,guillaume1 art4 ,canon1 ,dict4
 de l',acad4 des ,b-,a42  ,e4 ,gebhard1 
in ,dar4-,sagl41 ,i1 #b1 pp4 #hia-hib2  
cf4 ,collignon1 ,i1 pp4  #dij f4    #eid
 ,f4 ,w4 ,g4 ,foat1 op4 cit41 offers a  
scheme or typical design1  based on wide
 data1 which will serve as a universal  
basis for securing  facts about any     
statue under examination4    #eie ,on   
the influence of such canons of         
proportion on contemporary  artists1 see
 ,balcarres1 ,evolution of ,italian     
,sculpture1 p4 #abh4    #eif ,cf4       

,vitruvius1 quoted above4 ,the scholion 
on ,pindar1 ,ol41  ,,vii1 ,argum41      
,boeckh1 p4 #aeh1 speaks of     as  the 
height of the statue of ,diagoras at    
,olympia1 etc4    #eig ,vitruvius1 de   
,arch41 ,,vii1 ,praef41 #ad1 lists      
writers who  praecepta symmetriarum     
conscripserunt4 ,see ,v4 ,mortet1 ,rev4 
,arch41  ,sr4 ,,iv1 ,,xiii1 #aiji1 pp4  
#df f1 and figs4 #a and #b4 ,in this    
discussion  of ancient canons he shows  
that the chief ratio was that of the    
head  to the height of the body2 the    
proportion of #h heads to the body was  
that adopted by da ,vinci and ,j4       
,cousin3 #g to #h is found in the       
figures  of the ,parthenon frieze2 a    
little under #g in the ,diadoumenos of  
,polykleitos4    #eih ,see ,furtw41     
,mp41 pp4 #di-eb4 ,as examples1 he gives
 the statue of  ,apollo from the ,tiber 
now in the ,museo delle ,terme3 ,mp41   
pp4 #ej-ea1  figs4 #h and #i2 cf4 ,r4   
,m41 #ahia1 pp4 #cjb1 #cgg and ,pls4    
,x-,,xii2 the  ,mantuan ,apollo3 cf4    

#ejstes ,berliner ,winckelmannsprogr41  
p4 #aci1  n4 #fa 7for replicas72 etc4   
#eii ,for ,polykleitos' canon1 see      
,pliny1 ,h4 ,n41 ,,xxxiv1 #ee2 ,s4 ,q41 
#iec f42 ,furtw41 ,mp41 p4 #bdi4    #fjj
 ,so ,pliny1 op4 cit41 ,,xxxv1 #abh2 cf4
 ,j4 ,six1 ,jb41 ,,xxiv1 #aiji1  pp4 #g 
f4    #fja ,h4 ,n41 ,,xxxiv1 #fa2 see   
,jex-,blake1 p4 ,,xlviii4    #fjb ,h4   
,n41 ,,xxxiv1 #fe4    #fjc ,however1    
other fourth-century artists1 notably   
,praxiteles1 used  impressionism in the 
treatment of the hair3 see ,bulle1 pp4  
#ddd f4    #fjd ,in ,,xxxiv1 #hj1 he    
mentions ,menaichmos1 who wrote on the  
toreutic  art probably in the fourth    
century ,b4 ,c42 in ,,xxxiv1 #hc 7cf4   
,,xxxv1  #fh71 he mentions ,xenokrates1 
of the school of ,lysippos1 who wrote   
books  on art2 he is probably identical 
with an artist of the same name known   
to us from inscriptions from ,oropos and
 ,elateia3 ,i4 ,g4 ,b41 #ace1 a1 b      
7,oropos71 c 7,elateia72 ,arch4 ,eph41  
#ahib1 #eb 7,oropos72 the identity  is  

doubted by ,jex-,blake1 p4 xx1 n4 #b4   
,in ,,xxxiv1 #hd 7cf4 ,,xxxv1 #fh7  he  
speaks of ,antigonos1 who wrote on      
painting and who was employed  by       
,attalos ,i of ,pergamon to work on the 
trophies of his victory  over the       
,gauls4 ,for ,antigonos as a writer on  
the criticism of art1  see              
,wilamowitz-,moellendorf1 ,antigonos von
 ,karystos 7,kiessling and  ,wilamowitz1
 ,philolog4 ,untersuchungen1 ,,iv1      
#ahha71 ,ch4 ,i1 pp4 #g f4    #fje ,h4  
,n41 ,,xxxiv1 #ee4 ,according to the    
exact words of ,pliny1 the  ,canon and  
the ,doryphoros were distinct works4 ,it
 is probable1  however1 that ,pliny's   
words conceal the same statue under two 
names1  his commentary on each coming   
from a different source3 see ,furtw41   
,mp41 p4 #bbi and n4 #d2 ,mw41 p4 #dbb  
and n4 #b2 cf4 ,muenzer1  ,hermes1      
,,xxx1 #ahie1 p4 #ecj1 n4 #a4    #fjf   
,cicero1 ,brut41 #hf1 #bif4 ,on the fame
 of the ,doryphoros1 see  id41 ,orator1 
#b4    #fjg ,instit4 ,orat41 ,v1 #ab4ba4

 ,in ,philon's treatise  1  ,,iv1 #b1 we
 read3          1  sc4 1 78,beauty10 he 
said1 8was produced from a small  unit  
through a long chain of numbers071 a    
description which rightly  characterizes
 the ,doryphoros4 ,the system given by  
,vitruv41 ,,iii1 #a1  hardly agrees with
 ,polykleitan statues and so has been   
connected by  ,kalkmann1 though on      
insufficient grounds1 with the canon of 
,euphranor3  see #ejstes ,berlin        
,winckelmannsprogr41 #ahij 7,proport4   
des ,gesichts71  pp4 #dc f42 cf4 ,h4    
,stuart ,jones1 op4 cit41 p4 #abi4      
#fjh ,guida ,museo ,napoli1 no4 #adf2   
,collignon1 ,i1 ,pl4 ,,xii1 opp4 p4     
#dhh2 ,bulle1 #dg and analysis on pp4   
#ig-ajb4    #fji ,kalkmann1 op4 cit41 p4
 #ec1 gives the height as #a4ih-a4ii m42
  ,bulle1 p4 #ig to no4 #dg1 as #a4ii m4
    #faj ,in ,rayet1 ,i1 ,text to ,pl4  
#bi2 reproduced in tudes d'art antique  
et moderne1 #ahhh1 pp4 #cii f42 cf4 also
 ,collignon1 ,i1 pp4 #dib f4 and  ,p4   
,gardner1 ,principles of ,greek ,art1   

pp4 #ba f4    #faa ,de plac4 ,hipp4 et  
,plat41 #e4    #fab ,b4 ,b41 #cba2      
,helbig1 ,fuehrer1 ,i1 #ief2 ,guide1    
#fag2 ,f4 ,w41 #bae2  to be discussed   
infra1 pp4 #bja-b4    #fac ,orat41      
,,xxxi1 #hi f4 7#fad ,r74    #fad ,in   
the present discussion we shall confine 
ourselves to the  assimilation of mortal
 types to those of athletic gods and    
heroes1  omitting the larger question of
 assimilation to divine types in        
general4 ,a good example of the latter  
is afforded by ,p4 ,,viii1 #i4g-h4      
,here1 in noting that the ,mantineans   
worshipped ,antinoos as a god by the    
erection of a temple and the celebration
 of mysteries and games1 he  says that  
images and paintings of the hero were in
 the ,gymnasion there1  the latter   4  
#fae ,kabbadias1 no4 #bah2 ,rev4 ,arch41
 ,,iii 7#a;er ,sr471 #ahdf1 ,pl4 #ec1   
fig4 #b2 ,ph4 ,le ,bas1 ,voyage         
archologique 7ed4 ,reinach71 ,pl4       
,,cxviii1  p4 #ajg2 ,b4 ,b41 #ah2 von   
,mach1 #aia2 ,f4 ,w41 #abbj2 ,reinach41 

,rp41 ,,ii1 i1  #adi1 #aj4    #faf      
,marbres et ,bronzes1 p4 #di4    #fag   
,kabbadias1 no4 #bai4    #fah ,formerly 
known as the ,antinous3 ,m4 ,w41 ,,ii1  
,pl4 #bh1 #cjg2 ,clarac1  ,,iv1 ,pl4    
#ffe1 #aead2 ,reinach1 ,rp41 ,i1 #cfg1b 
7with restored arms72 von  ,mach1 no4   
#aib2 ,amelung1 ,vat41 ,,ii1 no4 #ec    
7pp4 #acb f47 and ,pl4 #ab2 ,f4  ,w41   
no4 #abah2 ,baum41 ,i1 pp4 #fge f4 and  
fig4 #gcg4    #fai ,b4 ,m4 ,sculpt41    
,,iii1 no4 #aeii and ,pl4 ,,iv2 ,clarac1
 ,,iv1 ,pl4 #ffd1  #aeci2 ,reinach1     
,rp41 ,,ii1 i1 #adi1 #a2                
,springer-,michaelis1 p4 #cag1 fig4     
#efg4 ,a corresponding replica from     
,melos is described by ,f4 ,w41 #abai2  
for a replica of the head 7on a torso   
which does not belong to it7 in  the    
,braccio ,nuovo of the ,vatican1 see    
,amelung1 ,vat41 ,i1 no4 #acb 7p4  #aee7
 and ,pl4 #ba2 for others1 see ,koerte1 
,a4 ,m41 ,,iii1 #ahgh1 pp4 #ih f4  ,the 
height is given in ,b4 ,m4 ,sculpt4 as  
#f ft4 #g-a_/b in4 7without the         

plinth74    #fbj ,amelung1 ,vat41 ,,ii1 
p4 #fef and ,pl4 #fa2 ,furtw41 ,mw41 p4 
#cfa1  fig4 #dh4 ,it is a marble copy of
 an original bronze of ,myronian origin4
  ,its height is #a4ih meters           
7,amelung74    #fba ,duetschke1 ,,iv1   
no4 #daf2 ,m4 ,w41 ,,ii1 ,pl4 #cj1 #cbi4
    #fbb ,ibid41 no4 #daf2 ,koerte1 ,a4 
,m41 ,,iii1 #ahgh1 p4 #cej1 no4 #gb4    
#fbc ,duetschke1 ,,iv1 no4 #hgf2        
,clarac1 #ieh1 #bdgc2 ,conze1 in ,a4    
,a41  #ahfg1 pp4 #aje-f4 ,here ,conze   
gives a list of which three reliefs and 
one  statue represent dead men as       
,hermes4    #fbd ,duetschke1 ,,iv1 no4  
#df2 ,conze1 l4 c41 p4 #ajf 7mentioned  
in  preceding note74    #fbe ,e4 g41 the
 well-known bust of the emperor         
,commodus with the  attributes of       
,hercules in the ,palazzo dei           
,conservatori1 ,rome3 ,helbig1          
,fuehrer1 ,i1 #icj2 ,baum41 ,i1 p4 #cih1
 fig4 #dcb2 ,arndt-,bruckmann1  ,griech4
 u4 roem4 ,portraets1 #bcj2 ,hekler1    
,greek and ,roman ,portraits1  #aiab1   

,pl4 #bgj a2 ,reinach1 ,rp41 ,,ii1 #b1  
#ehc1 #g4    #fbf ,not4 ,scav41 #ahhe1  
p4 #db2 ,ant4 ,denkm41 ,i1 ,i1 #ahhf1   
,pl4 ,v2  ,bulle1 #ge and fig4 #bg1 p4  
#ada2 ,b4 ,b41 #bdf2 ,helbig1 ,fuehrer1 
,,ii41  #acdg1 and references2          
,arndt-,bruckmann1 ,griech4 u4 roem4    
,portraets1  ,pls4 #ceh-cfj2 ,hekler1   
,greek and ,roman ,portraits1 ,pls4     
#hb-d2  ,collignon1 ,,ii1 p4 #dic1 fig4 
#beg2 ,murray1 ,hbk4 ,gr4 ,archol41     
#ahib1  pp4 #cje f41 fig4 #ajj2         
,lanciani1 ,ruins and ,excavations of   
,anc4 ,rome1  #ahig1 ,pl4 on p4 #cjc2   
,reinach1 ,rp41 ,,ii1 #b1 #edh1 #g2 cf4 
,furtw41  ,mp41 p4 #cfd1 n4 #b1 and     
,mw41 p4 #eig1 n4 #c4 ,the height of the
 statue  is #b4jh meters1 or #b4cg      
meters to the hand 7,bulle74    #fbg ,e4
 g41 ,philip ,v1 ,perseus1 ,alexander   
,balas 7who usurped the  ,seleucid      
throne in #adi ,b4 ,c471 ,demetrios ,i  
7,soter71 of ,syria 7who  reigned       
#afb-aej ,b4 ,c471 and ,antiochos ,,ii1 
7,theos1 who reigned #bfa-bdf  ,b4 ,c471

 have been suggested4    #fbh ,see      
,imhoof-,blumer1 ,portraetkoepfe auf    
ant4 ,muenzen hellenischer  und         
hellenisierter ,voelker1 #ahhe1 ,pls4   
,i1 #f2 ,,iii1 #bd2 ,v1 #ba2 ,,vi1 #bi  
and #ca4    #fbi ,a small replica of    
this famous statue may probably be seen 
in  the bronze statuette in the         
,nelidoff collection3 ,wulff1 ,alexander
 mit  der ,lanze1 #ahih1 ,pls4 ,i1 ,,ii2
 ,helbig1 ,fuehrer1 ,,ii1 p4 #acd1 fig4 
#ce4  ,on supposed replicas1 see        
,bernouilli1 ,das ,bildniss ,alex4 d4   
,gr41 p4  #ajg2 and ,th4 ,schreiber1    
,studien ueber das ,bildniss ,alex4 d4  
,gr41 ,abh4  d4 philolog4-histor4 ,cl4  
d4 k4 saechs4 ,gesellsch4 d4            
,wissensch41 ,,xxi1  #aijc1 no4 ,,iii1  
pp4 #ajj f4    #fcj ,kabbadias1 #bce2   
,collignon1 in ,b4 ,c4 ,h41 ,,xiii1     
#ahhi1 p4 #dih and  ,pl4 ,,iii2 ,bulle1 
#gd4    #fca ,cf4 the ,farnese          
,herakles1 ,bulle1 #gb2 etc4    #fcb    
,collignon1 ,i1 p4 #bec1 fig4 #abb2 see 
below1 p4 #aai and note #e4    #fcc ,e4 

g41 in the ,payne ,knight bronze of the 
,british ,museum 7,b4  ,m4 ,bronz41 no4 
#bji and ,pl4 #a7 and the ,sciarra      
bronze 7,collignon1 ,i1  p4 #cba1 fig4  
#afa2 ,r4 ,m41 ,,ii1 #ahhg1 ,pls4 ,,iv1 
,i,va1 ,v71 which will be  discussed in 
,ch4 ,,iii1 pp4 #ajh1 #aai4    #fcd ,he 
won ,ol4 787 #hj 7 #dfj ,b4 ,c473 ,p41  
,,vi1 #d4aa2 ,hyde1 #de2  ,foerster1    
#bee2 ,inschr4 v4 ,ol4 #adi4 ,cf4       
,furtw41 ,mp41 pp4 #bdi f42  ,mw41 pp4  
#deb f4    #fce ,mp41 p4 #bee2 an almost
 exact copy of the ,eleusis statue is in
  the ,museo ,torlonia1 no4 #cg4    #fcf
 ,froehner1 ,les medaillons de l',empire
 romain1 #ahgh1 p4 #abc2  ,furtw41 ,mp41
 l4 c4    #fcg ,mp41 pp4 #bbi f41       
especially pp4 #bcc f42 ,mw41 pp4 #dbb  
f41  especially pp4 #dbf f4    #fch ,on 
an ,argive funerary relief3 see ,a4 ,m41
 ,,iii1 #ahgh1 pp4 #bhg f4  and ,pl4    
,,xiii3 this free adaptation of the     
,doryphoros dates from the  middle of   
the fourth century ,b4 ,c42 it will be  
treated later on in our  discussion of  

the ,doryphoros4    #fci ,cf4 ,ph41 #af1
 7the palstra of ,hermes1 the first     
known72 ,babr41  #dh1e 7 74 ,a trainer  
of professional athletes was called  a  
7a term sometimes applied to athletic   
gods73 ,xen41 ,mem41  ,,ii1 #a4bj2      
,plato1 de ,leg41 #gbj ,e2 etc4    #fdj 
,e4 g41 ,suppl41 #ahi1 #ccc2 ,agam41    
#eac4    #fda ,as in ,iliad1 ,,xv1 #dbh2
 ,,xvi1 #ejj2 ,,xxiv1 #a4 ,eustathius in
 a scholion  on the latter passage      
wrongly says that ,aischylos called the 
8 40    #fdb ,as in ,hesychios1 who says
       4    #fdc #eji1  1 8lord of      
,nemea40    #fdd ,ibid41   4    #fde    
#eae4    #fdf ,e4 g4 ,plato1 de ,leg41  
#ghc ,a2 ,pindar1 ,isthm41 ,i1 #fj1     
,ol41  ,,vi1 #gi1 and ,pyth41 ,,ii1 #aj 
7of ,hermes72 ,soph41 ,trach41 #bf 7of  
,zeus1  the decider of contests72 ,c4   
,i4 ,g41 ,,ii1 #adba 7of ,hermes72 cf4  
also  ,simonides1 quoted by ,athenus1   
,,xi1 #ij 7p4 #dij72 ,aischyl41 fragm4  
#chd  7of ,hermes72 ,aristoph41 ,plut41 
#aafa 7of ,hermes72 ,c4 ,i4 ,g41 ,i1    

#bea2  etc4    #fdg ,see                
,preller-,robert1 ,griech4 ,mythol4#d1  
#ahid1 p4 #dae1 n4 #c4    #fdh ,cf4     
,krause1 pp4 #afi f42 ,preller-,robert1 
op4 cit41 pp4 #dae f42  ,urlichs1       
,skopas1 p4 #db2 ,nissen1 ,pompej4      
,stud41 p4 #afh2 ,roscher1  ,lex41 ,i1  
#b1 p4 #bcfi2 ,s4 ,eitrem1 in           
,pauly-,wissowa1 ,,viii1 pp4 #ghf-g4    
#fdi ,pindar1 ,nem41 ,x1 #eb-c2 ,oxy4   
,pap41 ,,vii1 #ajae1 #h4    #fej ,e4 g41
 at ,messene1 ,p41 ,,iv1 #cb4a 7along   
with that of ,theseus74    #fea ,b4 ,m4 
,sculpt41 ,,iii1 #baef2 ,c4 ,i4 ,g41 ,i1
 #bej1 and ,neubauer1  ,hermes1 ,,xi1   
#ahgf1 p4 #adf1 no4 #ab2 for the        
dedication of a torch to  ,hermes1 see  
,a4 ,g41 ,,vi1 #ajj4    #feb ,c4 ,i4    
,a41 ,,ii1 #c1 #abbe-f2 ,,iv1 #b1       
#abbe;b2 #abbf1 b1 c1 d4    #fec        
,inschr4 ,gr4 ,insul41 ,,iii 7,thera71  
#cij2 cf4 ,cougny1 ,epigr4  ,anth4      
,pal41 ,,iii1 #ahij 7,appendix nova71 p4
 #bf1 no4 #afh4    #fed ,schol4 on      
,pindar1 ,ol41 ,,vi1 #acd1 ,boeckh1 p4  

#adh4 ,he is  represented as a wrestler 
in a bronze group from ,antioch1 with   
wings in  his hair3 ,r4 ,foerster1 ,jb41
 ,,xiii1 #ahih1 pp4 #agg f41 and ,pl4   
,,xi 7to be  discussed infra41 p4 #bcc  
and note #b74    #fee ,servius on       
,virgil's ,aen41 ,,viii1 #ach4    #fef  
,i1 #b4e4    #feg ,v1 #ad4i 7 444 74    
#feh ,,viii1 #ad4aj4 ,an inscription    
7,inschr4 v4 ,ol41 #ahd7 records that  a
 certain ,akestorides of ,alexandria    
,troas 7whose name is left out of  the  
text of ,pausanias1 ,,vi1 #ac4g7 won a  
victory at ,pheneus1 and this was       
probably at these games2 on this victor1
 see ,hyde1 #aai1 and pp4 #di-ej4       
#fei ,v1 #g4aj4    #ffj ,helbig1        
,fuehrer1 ,i1 no4 #cbd2 ,guide1 #cca2   
,b4 ,b41 #aca2 ,bulle1  #ed2 von ,mach1 
#abf b2 ,baum41 ,i1 p4 #deh1 fig4 #ejc2 
,reinach1 ,rp41 ,i1  #ebf1h2 ,collignon1
 ,,ii4 p4 #abd1 fig4 #fj2 ,overbeck1 ,i1
 pp4 #chj f4 and  fig4 #ajb2 ,f4 ,w41   
no4 #dfe2 ,a4 ,z41 ,,xxiv1 #ahff1 ,pl4  
,,ccix1 #a-b1 pp4 #afi  f4 7,kekul7 and 

,pl4 #bji1 #a1 #b2 ,annali1 ,,li1 #ahgi1
 pp4 #bjg f4 7,brunn72  ,jb41 ,,xiii1   
#ahih1 pp4 #eg f4 and fig4 #a 7,habich72
 ,j4 ,h4 ,s41 ,,xxviii1  #aijg1 p4 #be1 
fig4 #ac2 ,a4 ,j4 ,a41 ,,vii1 #aijc1 pp4
 #dde f4 7von ,mach72                   
,springer-,michaelis1 p4 #bfh1 fig4     
#dhb2 replicas in the ,louvre 7photo    
,giraudon1 no4 #abji71 ,london 7,b4 ,m4 
,sculpt4 ,,iii1 no4 #agec71 ,duncombe   
,park1 ,england 7,michaelis1 p4 #bie1   
no4 #b71 and elsewhere2 for series1  see
 ,j4 ,six1 ,gaz4 arch41 #ahhh1 pp4 #bia 
and ,pl4 #bi1 fig4 #aj ,a4    #ffa ,mw41
 p4 #abb2 also ,smith1 ,b4 ,m4 ,sculpt41
 ,,iii1 no4 #agec4    #ffb ,first by    
,visconti1 ,mus4 ,pio ,clem41 ,,iii1 p4 
#acj2 lately by ,g4  ,habich1 l4 c41 and
 others4    #ffc ,h4 ,n41 ,,xxxiv1 #gb2 
,s4 ,q41 #hbf4 ,it was the only bronze  
work  which the sculptor is known to    
have made1 all his other works being in 
marble4    #ffd ,kekul 7l4 c471         
,furtwaengler 7l4 c471 and others make  
the  identification4    #ffe ,long ago  

,turnebus 7,advers41 #aehj1 p4 #dhf7    
explained the word  in the sense of  1  
as used by ,lucian1 pro ,imag41 #aa2    
cf41 ,cicero's probatio1 in his de      
,off41 ,i1 #add4 ,most modern           
commentators1 however1 refer the word to
 the statue1 translating it  8classical0
 or 8chosen03 thus ,urlichs1 ,chrest4   
,pl41 #aheg1 p4 #cbe2 ,o4  ,jahn1 ,ueber
 die ,kunsturteile des ,plinius 7,ber4  
saechs4 ,ges4 d4 ,wiss41  #ahej71 p4    
#abe2 ,h4 ,l4 von ,urlichs1 ,blaetter f4
 d4 bayr4 ,gymnasialsch41  #ahid1 pp4   
#fji f41 translates it 8klassisch0 or   
8mustergueltig10 i4  e41 serving as a   
pattern or standard4 ,but the term was  
too well known  as an athletic one for  
it ever to have been applied to a       
statue4 ,the  present participle1       
instead of the usual aorist 771 shows   
that ,alkamenes' statue represented an  
athlete in the act of undergoing        
selection4 ,the old emendation into  has
 been recently  defended by ,klein1     
,praxiteles1 p4 #ej1 who identifies     

,pliny's statue  with the ,glyptothek   
,oil-pourer 7,pl4 #aa72 it is           
discredited by the  occurrence of the   
epithet ,encrinomenos as a ,roman proper
 name1 ,c4 ,i4  ,l41 ,v1 #a1 #ddbi1     
which shows how familiar it was4 ,see   
,jex-,blake1 on the  passage of ,pliny4 
#fff ,cf4 ,gardner1 ,hbk41 p4 #cde2     
,helbig1 l4 c4    #ffg ,it seems to be a
 ,hadrianic copy of an original which   
stood on the  ,athenian ,akropolis4     
#ffh ,now in the ,antiquarium1 ,rome3   
,helbig1 ,fuehrer1 ,i1 no4 #ajcj2  noted
 in ,b4 ,com4 ,rom41 ,,xxxviii1 #aiaj1  
p4 #bdi1 and fully discussed1  ibid41   
,,xxxix1 #aiaa1 pp4 #ig f4 7,l4         
,mariani71 and ,pls4 ,,vi1 ,,vii 7three 
views71 and ,,viii 7head1 two views74   
#ffi ,h4 ,n41 ,,xxxiv1 #hj3 ,naucydes   
,mercurio et discobolo et immolante     
arietem censetur1 etc4    #fgj ,ueber   
den ,diskoswurf bei den ,griechen1      
#ahib1 p4 #ee4 ,however1  von ,mach     
discusses a r4-f4 deinos in the ,museum 
of ,fine ,arts1 ,boston1  which         

resembles the pose of the statue3 ,a4   
,j4 ,a41 ,,vii1 #aijc1 p4 #ddg1  fig4   
#a4    #fga ,as in a vase by ,douris3   
,a4 ,z41 #ahhc1 ,pl4 ,,ii2 ,furtw41     
,berliner  ,vasen1 no4 #bbhc ,a2 also on
 a ,hellenistic gem in ,berlin3 ,furtw41
  ,gemmen ,katalog1 no4 #fiaa4          
,philostr41 ,imag41 ,i1 #bd1 says that  
the  left foot was advanced4    #fgb    
,coin of ,amastris3 ,schlosser1 ,numism4
 ,zeitschr4 7,vienna71 ,,xxiii1  #ahia1 
p4 #ai1 ,pl4 #b1 no4 #ce2 a better      
reproduction by ,imhoof-,blumer1  in    
,sallet's ,zeitschr4 f4 ,numism41 ,,xx1 
#ahig1 p4 #bfi1 ,pl4 #aj1 n4 #b 7       
,habich1 p4 #eh1 fig4 #b72 another in   
,b4 ,m4 ,coins 7,pontus71 ,pl4 ,,xx1 #g1
  pp4 #hg and #ba4 ,on this and the     
,thracian coin1 see also ,habich1       
,hermes  ,diskobolos auf ,muenzen1 in   
,journ4 internat4 d'arch1 num41 ,,ii1   
#ahih1  pp4 #acg f4 ,habich gives a gem 
showing the god with a kerykeion in the 
left hand1 and a diskos in the right and
 with the right foot advanced3  p4 #fa1 

fig4 #c4    #fgc ,e4 g41 ,michaelis1    
,jb41 ,,xiii1 #ahih1 pp4 #age-f4 ,he    
looks upon  the statue simply as that of
 a diskobolos4    #fgd ,in the ,national
 ,museum1 ,athens1 no4 #accii3 ,stas1   
,marb4 et  ,bronz41 pp4 #cec-ced and    
fig42 ,arch4 ,eph41 #aijb1 ,pl4 #ag2    
,svoronos1  ,textbd41 ,i1 pp4 #db-c2    
,tafelbd41 ,i1 ,pl4 ,,viii1 no4 #a2 ,j4 
,h4 ,s41 ,,xxi1  #aija1 p4 #cea         
7,bosanquet74 ,this statuette is #j4be  
meter in height and  the base #j4ji     
meter 7,svoronos74    #fge ,svoronos1 p4
 #dc1 reproduces the coins of ,amastris 
and  ,philippopolis4    #fgf ,stuart    
,jones1 ,cat4 ,mus4 ,capitol41 p4 #bhh1 
no4 #ba and ,pl4 #ga2  ,helbig1         
,fuehrer1 ,i1 no4 #heh2 ,guide1 #eji2   
,b4 ,b41 #chg2 ,furtw41  ,mp41 p4 #cjc  
and n4 #g2 ,mw41 p4 #ebe and n4 #a2     
,clarac1 ,,ii1 #hei1 #bagj2  ,reinach1  
,rp41 ,i1 #ebe1 #a2 ,lange1 ,motiv des  
aufgestuetzten ,fusses1  #ahgi1 pp4 #ac 
f4 ,helbig speaks of a replica in       
,paris1 but confounds it  with the type 

of the so-called ,sandal-binder of the  
,louvre 7,fig4 #h74  ,the ,capitoline   
statue is #a4hde meters in height       
7,stuart ,jones74    #fgg ,the motive of
 the 8aufgestuetztes ,bein0 is more     
likely ,lysippan  than ,skopaic1 as     
,furtwaengler wrongly assumed4    #fgh  
,svoronos1 ,textbd41 ,i1 pp4 #ah f4     
7with bibliography of all the  objects  
down to #aijc1 on p4 #ae1 n4 #a472      
,tafelbd41 ,i1 ,pls4 ,i and ,,ii  7front
 and back72 ,stas1 ,marbres et ,bronzes1
 pp4 #cjb-cjd and fig42  ,bulle1 #fa2   
von ,mach1 #bij2 ,j4 ,h4 ,s41 ,,xxiii1  
#aijc1 ,pls4 ,,viii 7head71  ,,ix 7body1
 three views72 ,h4 ,b4 ,walters1 ,art of
 the ,greeks1 ,pl4 ,,xvi2  ,gardner1    
,sculpt41 ,pl4 ,,lxxviii2 for           
bibliographical notice and  discussion1 
see ,a4 ,j4 ,a41 ,v1 #aija1 p4 #dfe1 and
 ,,vii1 #aijc1 pp4 #dfd-e2              
,springer-,michaelis1 p4 #big1 fig4     
#eca2 the best account of the statue in 
,english is by ,dr4 ,a4 ,s4 ,cooley1 in 
,record of the ,past1 ,,ii1 #aijc1 pp4  

#bjg-ac 7with two illustrations74 ,it is
 #a4id meters in height1 i4 e41         
slightly over life-size 7,svoronos74    
#fgi ,j4 ,h4 ,s41 ,,xxi1 #aija1 pp4 #bje
 f2 he also briefly described all  the  
bronzes found in ,a4 ,a41 #aija1 pp4    
#ag-ai1 7#d figs471 in ,rev4 des  t4    
gr41 ,,xiv1 #aija1 pp4 #abb-f 7#e       
figs471 and in ,c4 ,r4 ,acad4 ,inscr41  
#aija1 pp4 #eh-fc 7#c figs47 and #aeh-i 
7#c ,pls474 ,all the bronzes were       
published after cleansing in ,arch4     
,eph41 #aijb1 pp4 #ade f41 with ,pls4   
#g-ag and figs4 #a-ah in the text2 see  
also ,stas1 ,les trouvailles dans  la   
mer de ,cythre1 #aije2 the last         
publication of all the pieces is by     
,svoronos1 ,textbd41 ,i1 pp4 #a-hf2     
,tafelbd41 ,i1 ,pls4 ,i-,,xx4    #fhj   
,in his popular discussion of the       
bronzes in ,monthly ,review1  ,june1    
#aija1 pp4 #aaj-abg 7with #e ,pls41 and 
#e figs474 ,similar praise is  that of  
,w4 ,klein1 ,,ii1 p4 #djc2 he calls it  
die wundervollste aller uns  erhaltenen 

,bronzestatuen des ,altertums4    #fha  
,london ,illustrated ,news1 ,june #f1   
#aijc 7with double-page plate74    #fhb 
,gaz4 d4 ,b4-,a41 ,,xxv1 ,pr4 ,,iii1    
#aija1 pp4 #bie-cja 7with #c  figures74 
#fhc ,in a monograph entitled     7pp4  
#a-db1 and  #f figs471 ,athens1 #aijc4  
#fhd ,it was restored by the ,french    
sculptor ,andr1 who covered it  with    
putty to conceal the jointures and the  
rivets which were used in  welding the  
fragments together4 ,he also colored it 
to resemble bronze4  ,the method used in
 the restoration is certainly open to   
objection1 but  not to the extent       
asserted by certain scholars1 e4 g41 by 
von ,mach1  who asserts that no ,greek  
statue has received such unworthy       
treatment1  and that the restoration    
makes it possible to refer the statue to
  almost any age or admixture of        
influences3 ,greek ,sculpture1 ,its     
,spirit and ,principles1 p4 #cbf4 ,much 
of the beauty of the statue1 to  be     
sure1 is gone1 but the style is not     

obscured4 ,it has been restored  too    
full1 which gives it a sensuous         
appearance4 ,for the statue1 before     
restoration1 see ,svoronos1 ,textbd41 p4
 #ah1 fig4 #b2 ,stas1 ,marbres et       
,bronzes1 fig4 on p4 #cjd4    #fhe ,j4  
,h4 ,s41 ,,xxiii1 #aijc1 pp4 #aeb f42   
cf4 ,sculpt41 pp4 #bdd f42  ,hbk41 pp4  
#ecb f4 ,in ,chap4 ,,vi of the present  
work we shall follow the  view which    
ascribes the ,herakles to ,lysippos3    
infra1 pp4 #bih1 #caa4  ,the            
,praxitelean and ,lysippan influences in
 the bronze under discussion  are noted 
by ,richardson1 p4 #bgf4    #fhf ,ibid41
 pp4 #bag f4    #fhg ,for the former1   
see ,amelung1 ,fuehrer1 #bdi2 von ,mach1
 #cbg2  ,reinach1 ,i1 #deb1 #b4 ,on the 
hem of the cloak is an ,etruscan        
dedicatory  inscription to one ,metilius
 by his wife1 containing the name of    
,tenine  ,tuthines as the bronze-caster3
 see ,corssen1 ,sprache d4 ,etrusker1   
,i1  pp4 #gab f4 7quoted by von ,mach74 
,for the latter1 see ,helbig1 ,fuehrer1 

,i1 no4 #e2 ,guide1 #e2 ,mon4 d4 ,i41   
,,vi and ,,vii1 #aheg-fc1 ,pl4 #hd1 #a2 
,annali1 ,,xxxv1 #ahfc1 pp4 #dcb f4     
7,koehler72 ,rayet1 ,,ii1 ,pl4 #ga2 ,b4 
,b41  #bbe2 ,bernouilli1 ,roem4         
,ikonogr41 ,,ii1 i1 pp4 #bd f41 fig4 #b2
 etc4    #fhh ,text on pp4 #aae f42     
,klein1 op4 cit41 pp4 #djc f41 believes 
that  the enigma of its interpretation  
remains unsolved4 ,he looks upon it as1 
perhaps1 a pre-,lysippan work1 a sort of
 ,vorstufe to the ,apoxyomenos4    #fhi 
,cf4 ,gardner1 ,hbk41 p4 #ecd4    #fij  
,on this gesture1 see von ,mach1 op4    
cit41 pp4 #cbe-f4    #fia ,textbd41 ,i1 
figs4 #ac-ad1 pp4 #bf-g4 ,for the gem1  
see ibid41 fig4  #c1 p4 #bb2 ,reinach1  
,pierres graves1 ,pl4 #ef1 #cd4    #fib 
,h4 ,n41 ,,xxxiv1 #gg4 ,so ,miss        
,bieber1 ,jb41 ,,xxv1 #aiaj1 pp4 #aei   
f41  following the suggestion of ,stas1 
,marbres et ,bronzes1 ed4 ,i1 #aijg1    
pp4 #bed f4 7view reiterated in ed4 #b1 
#aiaj1 p4 #cjd71 and ,loeschke4  ,pliny 
says that the statue of ,euphranor      

displayed every phase of ,paris'        
character1 in the triple aspect of judge
 of the goddesses1 lover of  ,helen1 and
 slayer of ,achilles4 ,on this statue1  
of which we know so  little1 cf4 the    
very different results reached by       
,furtwaengler  7,mp41 pp4 #ceg f42 ,mw41
 pp4 #eia-b7 and ,robert 7,hallisches   
,winckelmannsprogr41 ,,xix1 #ahie1 pp4  
#bj f474 ,edw4 ,vicars1 in the ,pall    
,mall ,magazine1 ,,xix1 #aijc1 pp4 #eea 
f41 followed by ,dr4 ,cooley1 believes  
that the bronze should be restored as   
,paris holding the apple of  discord in 
the right hand4    #fic ,suppl4 de la   
,gaz4 d4 ,b4-,a41 #aija1 pp4 #fh f41 and
 #gf f4    #fid ,,vi1 #ajj f42 ,,viii1  
#cgb f42 in the latter connection it is 
an  adjunct to the dance4    #fie       
,athenus1 ,i1 #dd 7p4 #bd b71 quotes the
 ,pergamene ,karystios  7 ,f4 ,h4 ,g41  
,,iv1 p4 #cei1 fragm4 #ad7 as saying    
that the women of  ,kerkyra played ball 
in his time4 ,for ,rome1 cf4 ,hor41     
,sat41 ,,ii1  #b4aa2 ,suetonius1        

,octav41 #hc2 ,pliny1 ,ep41 ,,iii1 #a4h2
 ,seneca1 de  ,brev4 vit41 #ac2 etc4 ,on
 ball-playing1 see ,grasberger1         
,erziehung und  ,unterricht1 ,i1 #ahfd1 
pp4 #hd f42 ,l4 ,becq de ,fouquires1    
,les ,jeux des  ,anciens1#b #ahgc1 ,ch4 
,,ix1 pp4 #agf-aii4    #fif ,athen41 ,i1
 #be 7p4 #ad d1 e74    #fig ,athen41 ,i1
 #be-bf 7pp4 #ad f1 #ae a74    #fih ,in 
his      4 ,cf4 ,sidon4  ,apoll41 ,v1   
#ag2 ,martial1 ,,iv1 #ai2 etc4    #fii  
,athen41 ,i1 #cd 7p4 #ai a74    #gjj    
,athen41 ,i1 #bf 7p4 #ae72 cf41         
,eustath41 on ,od41 ,,vi1 #aae1 p4      
#aeec2  only the ,milesians were opposed
 to it3 id41 on ,od41 ,,viii1 #cgb1 p4  
#afja4    #gja ,theophr41 ,char41 ,v1   
#i2 ,pliny1 ,ep41 ,,ii1 #ag4ab and ,v1  
#f4bg2  ,suetonius1 ,vit4 ,vespas41 #bj2
 etc4    #gjb ,b4 ,s4 ,a41 ,x1 #aijc-d1 
pp4 #fc f2 cf41 ,,xii1 #aije-f1 p4 #chg4
    #gjc ,the  are mentioned in ,c4 ,i4 
,g41 ,i1 #d1 #achf1 #adcb2  ,p41 ,,iii1 
#ad4f1 mentions a statue of ,herakles   
there1 to which these  youths           

sacrificed4 ,mueller1 ,die ,dorier1 #d1 
#e1 #b1 classed these  competitions as a
 sort of football4    #gjd ,rev4 des t4 
gr41 ,,xiv1 #aija1 pp4 #dde-h4    #gje  
,helbig1 ,fuehrer1 ,,ii1 no4 #abii2 ,b4 
,b41 #dac2 ,bulle1 #dd2                 
,arndt-,amelung1 ,einzelaufnahmen1      
,,iii1 text to no4 #aabg2 ,f4 ,w41 text 
to #afcj2 ,rayet1 ,,ii1 text to ,pl4    
#gj1 fig4 on p4 #e2 ,kekul1 ,die griech4
  ,skulpt41#b fig4 on p4 #cdi 7the      
,germanicus on p4 #cdh2 cf4 ,bulle1  p4 
#id1 fig4 #ag72 ,loewy1 ,griech4        
,plastik1 ,pl4 #id1 fig4 #agf a1 p4     
#hj4 ,the statue is #a4hc meters high   
7,bulle74 ,head alone in ,overbeck1     
,,ii1 p4 #ddf1 and cf4 #def1 n4 #d2     
,arndt-,amelung1 nos4 #bgj-bga4 ,a fine 
herma-replica of the head is at         
,broadlands1 ,england3 ,michaelis1 p4   
#bai1  no4 #i2 ,furtwaengler1 ,mp41 p4  
#eh1 fig4 #ac 7three views74 ,a poorer  
copy  is in the ,uffizi1 ,florence3     
,duetschke1 ,,iii1 no4 #ac2             
,arndt-,amelung1  ,einzelaufnahmen1     

#hc-hd4    #gjf ,graef1 ,aus der        
,anomia1 #ahij1 p4 #fi4 ,bulle finds the
 head  similar to that of the ,lemnian  
,athena and the body to that of  the    
,farnese ,anadoumenos of the ,british   
,museum 7 ,bulle1 no4 #di74             
,furtwaengler thinks that its relation  
to the ,lemnia is not close  enough to  
warrant us in assigning it to ,pheidias3
 ,mp41 p4 #eg2 ,mw41  pp4 #hf and #gdb4 
,on the basis of a ,phokaian coin       
7,berlin example1 ,mp41  ,pl4 ,,vi1 #ai2
 copy in ,british ,museum1 ,b4 ,m4      
,coins1 ,ionia1 ,,iv1 #bc71  which      
represents a similar ,hermes1 he        
ascribes the statue to an ,ionian       
artist and conjectures ,telephanes      
mentioned by ,pliny1 ,h4 ,n41 ,,xxxiv1  
#fh4    #gjg ,helbig finds the head     
,myronian1 but the body unconnected with
 any  of the well-known artistic        
tendencies of his day4    #gjh ,as shown
 in the ,germanicus copy2 the right arm 
is wrongly  restored in the ,ludovisi   
statue4 ,in the ,germanicus the arm is  

bowed  more at the elbow1 the hand      
reaching the level of the temples4      
#gji ,froehner1 pp4 #bac f41 no4 #ahd   
7and bibliography72 ,f4 ,w41 #afcj2     
,rayet1 ,,ii1 ,pls4 #fi 7statue71 #gj   
7head72 etc4    #gaj ,a4 ,j4 ,a41 ,,xv1 
#aiaa1 ,pl4 ,,vi and pp4 #bae-af        
7,caskey72 ,jb41  ,,xxiv1 #aiji1 ,pls4  
,i and ,,ii 7from ,munich cast71 pp4 #a 
f4 7,sieveking74  ,for the ,hermes of   
the ,boboli gardens1 see ibid41 figs4 #a
 and #c1  pp4 #b and #d2                
,arndt-,amelung41 ,einzelauf41 #ajc-aje2
 ,duetschke1 ,,ii1 no4  #hd2 ,furtw41   
,mp41 p4 #bcj1 ,mw41 p4 #dbd4 ,another  
replica is in the  ,hermitage3          
,kieseritzky1 ,kat41 no4 #agi2          
,sieveking1 figs4 #d-e1 p4 #e2  ,mp41 p4
 #bij1 ,mw41 #ejf2 another in the       
,torlonia ,museum in ,rome1 no4  #dge   
,sieveking1 fig4 #f1 p4 #e4    #gaa     
,gaz4 d4 ,b4-,a41 #aiaa1 p4 #bea4       
#gab ,furtwaengler1 ,mp41 p4 #bcj and   
cf4 p4 #bij2 ,mw41 p4 #dbd and  cf4 p4  
#ejf4    #gac ,see the ,annual ,report  

of the ,museum of ,fine ,arts1 #ahih1 p4
 #bj4  ,mahler1 ,polyklet u4 seine      
,schule1 p4 #bg1 no4 #cd1 wrongly       
thought that  it was a replica of the   
,doryphoros4    #gad ,froehner1 no4     
#ahc1 pp4 #baj f4 7bibliography on pp4  
#bab-ac2 later  bibliogr4 in ,klein1    
,praxitel4 ,stud41 #ahii1 p4 #d1 n4 #b72
 ,b4 ,b41 no4  #fg2 von ,mach1 #bch b2  
,clarac1 ,pl4 #cji1 no4 #bjdf4 ,replica 
in ,munich 7with  a head of ,apollo not 
belonging to the torso73                
,furtw4-,wolters1 ,beschr4  d4          
,glypt4#b1 #aiaj1 #bhg 7with list of    
replicas72 von ,mach1 #bch;a2  ,clarac1 
,v1 #had1 #bjdh2 ,reinach1 ,rp41 ,i1    
#dhg1 #g2 ,klein1 pp4 #d f42 one  in    
,london1 in ,lansdowne ,house3          
,michaelis1 pp4 #dfd;f41 no4 #he and    
,pl4  opp4 p4 #dfd2 ,clarac1 ,v1 #had1  
#bjdh ,a2 ,reinach1 ,rp41 ,i1 #dhg1 #f2 
one  in the ,vatican3 ,reinach1 ,rp41   
,i1 #dhg1 #e2 head and torso in ,athens3
  ibid41 ,,ii1 i1 #aec1 #aj2 ,a4 ,m41   
,,xi1 #ahhf1 ,pl4 ,,ix 7middle71 pp4    

#cfb f4  7,studniczka72 head in         
,copenhagen1 formerly in the ,borghese  
,coll41 ,rome3  ,p4 ,arndt1 ,glypt4     
,ny-,carlsberg1 #aiab1 ,pls4 #abh1 #abi1
 and text pp4 #agg  f41 7fig4 #ie       
bronze restoration for the municipal    
,museum in ,stettin1  combining the     
,lansdowne body and the ,fagan head in  
the ,british ,museum2  for the ,fagan   
head see ,b4 ,m4 ,sculpt41 ,,iii1       
#aghe74    #gae ,see von ,mach1 #agj2   
,r4 ,kekul1 ,die ,reliefs an der        
,balustrade der  ,athena ,nike1 with    
,pls4 #a-f4    #gaf ,from the ,ekphrasis
 of ,christodoros1 ,a4 ,g41 ,,ii1 vv4   
#big-cjb4  ,it was first shown to be a  
statue of ,hermes by ,lambeck1 de       
,mercurii  statua1 ,thorn1 #ahfj4       
#gag ,pick1 ,die antiken ,muenzen       
,nordgriechenlands1 ,i1 ,pl4 ,,xvi1 #be2
  cf4 ,froehner1 p4 #baa4    #gah       
,duetschke1 ,,iv1 no4 #aea2 ,j4 ,h4 ,s41
 ,,xxvi1 #aijf1 ,pl4 ,,xvi1 pp4 #bci  f4
 7,wace74    #gai ,e4 g41 ,b4 ,m4       
,bronzes1 nos4 #abjj1 #abjb1 #abjg2 for 

a herm in  the ,braccio ,nuovo of the   
,vatican1 after a fourth-century ,b4 ,c4
 type1  see ,amelung1 ,vat41 ,i1 p4 #hd1
 no4 #fe and ,pl4 ,x4    #gbj ,b4 ,m4   
,sculpt41 ,,iii1 no4 #afjj and ,pi4     
,,iii2 ,jb41 ,i1 #ahhf1 p4  #ed1 and    
,pl4 #e1 and fig4 #a 7,wolters72        
,kalkmann1 ,proport4 d4 ,gesichts1  pp4 
#da and #ih2 ,furtw41 ,mp41 ,pl4        
,,xviii4 opp4 p4 #cdf2 for a full       
discussion of this head1 see the note by
 translator in ,mp41 pp4  #cdf-g4 ,the  
head is #aa-a_/b inches high 7,b4 ,m4   
,sculpt474    #gba ,nissen1 ,pompej4    
,stud41 p4 #aff4    #gbb ,h4 ,n41       
,,xxxiv1 #ah4    #gbc ,e4 g41 one in    
,paris1 in the ,cab4 des ,mdailles1 no4 
#ccej2  ,clarac1 #fff ,d1 #aeab ,f4     
#gbd ,e4 g41 ,e4 von ,sacken1 ,die ant4 
,bronzen des k4 k4 ,muenz-und           
,antiken-,cabinetes in ,wien1 #ahga1    
,pl4 #aj1 #d2 a bronze ,mercury in      
,paris1 in the ,cab4 des ,md41 ,coll4   
,oppermann 7#j4bj m4 tall73 ,furtw41    
,mp41 p4 #bcc1 fig4 #id1 and ,mw41 p4   

#dbh1 fig4 #fd2 bronze statuette  of    
,mercury in the ,british ,museum with   
chlamys over the left shoulder3  ,mp41  
p4 #bcb1 fig4 #ic2 ,mw41 p4 #dbg1 fig4  
#fc4    #gbe ,mp41 p4 #bca1 n4 #c4      
#gbf ,b4 ,m4 ,bronzes1 no4 #abag4       
#gbg ,mp41 pp4 #bhh f42 ,mw41 pp4 #ejb  
f4    #gbh ,inschr4 v4 ,ol41 no4 #afe   
7renewed72 base pictured1 ,mp41 p4      
#bhh1 fig4 #abc2 ,mw41 p4 #ejc2 fig4    
#ij4 ,furtwaengler had ascribed the     
statue of ,aristion to the younger      
,polykleitos2 this was disproved by  the
 date of ,aristion's victory1 ,ol4 #hb 7
 #deb ,b4 ,c471 given by the  ,oxy4     
,pap4    #gbi ,michaelis1 p4 #ddf1 no4  
#ce2 ,clarac1 ,v1 #idf1 #bdcf ,a2       
,furtw41 ,mp41  p4 #bhi1 fig4 #abd2     
,mw41 p4 #ejd1 fig4 #ia4    #gcj        
,,xxiii1 #ffj2 cf4 ,od41 ,,xix1 #hf3    
8,by ,apollo's grace he hath so  goodly 
a son0--meaning that ,apollo gave       
increase of physical strength to  men1  
just as ,artemis did to women4 ,cf4     
,hesiod1 ,theog41 #cdf-g4    #gca ,v1   

#g4aj4    #gcb ,quaest4 conviv41 ,,viii1
 #d 7 p4 #gbd ,c1 ,d472 here he also    
mentions a ,gymnasion of ,apollo at     
,athens4    #gcc ,told by many writers3 
e4 g41 ,apollod41 ,,ii1 #f4b4    #gcd   
,p41 ,x1 #ac4g1 describes a group at    
,delphi representing ,apollo and        
,hermes grasping the tripod before the  
fight2 in ,,viii1 #cg4a he mentions  the
 same subject on a marble relief at     
,lykosoura1 and in ,,iii1 #ba4h  says   
that ,gythion was founded by the two    
after the contest1 and that  their      
images stood in the agora there4 ,the   
subject was represented in  the gable of
 the ,siphnian ,treasury at ,delphi3    
,frazer1 ,v1 p4 #bgd 7in  connection    
with ,p41 ,x1 #aa4b74 ,stephani         
enumerated #hi existing works of  art   
which represent this subject1 of which  
#eh appear on black-figured1  #ah on    
red-figured vases1 #h on marble reliefs1
 #c on terra-cottas1 and #b  on gems3   
,comptes rendus de la comm4 impr4       
archol41 ,st4 ,petersburg1  #ahfh1 pp4  

#ca f42 ,overbeck has added to the list3
 ,griech4 ,mythol41  ,,iii1 ,apollon1   
#ahhi1 pp4 #cia-dae4    #gce ,the       
,choiseul-,gouffier statue3 ,b4 ,m4     
,sculpt41 ,i1 no4 #bji2  ,marbles and   
,bronzes1 ,pl4 ,,iii2 ,specimens1 ,,ii1 
,pl4 ,v2 ,museum  ,marbles1 ,,xi1 ,pl4  
#cb2 ,f4 ,w41 no4 #bba2 ,j4 ,h4 ,s41 ,i1
 #ahha1 ,pl4 ,,iv1 and  pp4 #agh f41 and
 cf41 ,,ii1 #ahhb1 pp4 #ccb f4          
7,waldstein72 von ,mach1  ,pl4 #fg2     
,collignon1 ,i1 p4 #djc1 fig4 #bjh2     
,clarac1 ,,iii1 #dhb1 #ica ,h1 and  p4  
#bac3 ,reinach1 ,rp41 ,,ii1 #a1 #he1    
#aj2 ,conze1 ,beitr4 zur ,gesch4 d4  gr4
 ,pl4#b1 #ahfi1 ,pl4 ,,vi2              
,springer-,michaelis1 p4 #bcd1 fig4     
#dbi4 ,the  height of the statue is #e  
feet1 #aj4e inches 7,b4 ,m4 ,sculpt474  
,the  ,apollo-on-the-,omphalos3         
,kabbadias1 #de2 ,stas1 ,marbres et     
,bronzes1  pp4 #bc-bd and fig42 ,j4 ,h4 
,s41 ,i1 ,pl4 ,v1 fig4 #c2 ,collignon1  
,i1 p4 #dje1  fig4 #bji2 ,b4 ,b41 #db2  
von ,mach1 #ff2 ,f4 ,w41 #bai2 ,reinach1

 ,rp41 ,,ii1 #a1  #he1 #g2 ,conze1 op4  
cit41 ,pls4 ,,iii-,v1 and text1 pp4 #ac 
f42 ,murray1 ,i1  ,pl4 ,,viii1 opp4 p4  
#bcd 7both statues72 torso in ,munich1  
,arndt-,amelung1  ,einzelauf41 nos4     
#hdi-ej2 for list of other copies1 see  
,a4 ,m41 ,,ix1  #ahhd1 pp4 #bci-dj4     
#gcf ,cf4 ,b4 ,m4 ,sculpt41 ,i1 no4 #bji
 7,a4 ,h4 ,smith74    #gcg ,see         
,waldstein1 p4 #ahj2 ,f4 ,w41 no4 #bai2 
,a4 ,m41 ,,ix1 #ahhd1 p4 #bdh4    #gch  
,reinach1 ,rp41 ,,ii1 #a1 #he1 #i2 ,m4  
,d41 ,i1 p4 #dg1 no4 #agi2 cf4 ,f4  ,w41
 #bai4 ,overbeck1 ,griech4              
,kunstmythol41 ,,iii4 ,apollon1 p4 #afb1
 fig4  #i4    #gci ,a4 ,m41 ,i1 #ahgf1  
,pl4 ,x1 and pp4 #agh f4 7,kekul72      
,bulle1 #aje  7,left7 and p4 #bjh1 fig4 
#dg4    #gdj ,published in ,j4 ,h4 ,s41 
,,xxvi1 #aijf1 pp4 #bgh-hj 7,dickins72  
here1  on p4 #bgi1 we have the fragment 
photographed with the lower parts  of   
the ,choiseul-,gouffier and ,omphalos   
copies on either side2  ,dickins says   
that with the possible exception of the 

,athens statue  this fragment shows the 
best workmanship of all the copies4     
,helbig1  ,fuehrer1 no4 #abfh4    #gda  
,b4 ,m4 ,sculpt41 ,i1 no4 #baa2 it shows
 the krobylos best4    #gdb ,b4 ,m4     
,sculpt41 ,i1 no4 #baj4    #gdc ,braun1 
,vorschule d4 ,kunstmythol41 ,pl4 ,v1   
7quoted by ,a4 ,h4  ,smith74    #gdd    
,mon4 d4 ,i41 ,x1 #ahgd-gh1 ,pl4 #ed2   
discussed in ,annali1 ,l1 #ahgh1  pp4   
#fa f4 7,brizio74    #gde ,cf4 ,helbig1 
,fuehrer1 ,i1 no4 #hei2 ,beul1 ,monnaies
 d',athnes1  p4 #bga1 quoted in ,jb41   
,,ii1 #ahhg1 p4 #bce1 n4 #ed4    #gdf   
,jb41 ,,ii1 pp4 #bcd f42 on p4 #bcd1 the
 ,athens statue and the  figure from the
 ,bologna krater are shown side by side4
    #gdg ,fuehrer1 under no4 #hei 7the  
,capitoline replica71 and especially    
under no4 #abfh4    #gdh ,beitraege zur 
,gesch4 d4 gr4 ,pl4#b1 p4 #ai4    #gdi  
,roscher1 ,lex41 ,i1 p4 #def4    #gej   
,a4 ,m41 ,,ix1 #ahhd1 p4 #bdd4    #gea  
,mentioned by ,p41 ,i1 #c4d2 this view  
has been upheld by ,conze1  l4c42       

,murray1 ,i1 p4 #bce2 cf4 ,furtw41 l4   
c41 and on the artist1  see his article 
in ,sitzb4 ,muen4 ,akad41 #aijg1 pp4    
#afj f4    #geb ,s4 ,q41 nos4 #ejh-ebf4 
#gec ,furtw41 l4 c42 the coin in the    
,british ,museum is pictured in  ,j4 ,h4
 ,s41 ,,xxiv1 #aijd1 p4 #bje1 fig4 #b4  
,conze's theory of identifying  the type
 with the ,alexikakos has been          
questioned among others also by         
,overbeck3 ,i1 n4 #bbf1 to pp4 #bhj 7on 
p4 #cja74    #ged ,dionys4 ,halic41 de  
,isocrate ,judicium1 ,,iii1 p4 #edb 7ed4
 ,reiske72  ,s4 ,q41 #eca4    #gee ,op4 
cit41 especially p4 #ahb4    #gef ,p41  
,,vi1 #f4f4 ,he won in the early fifth  
century1 in ,ols4 #gd1 #gf1  #gg 7 #dhd1
 #dgf1 #dgb ,b4 ,c473 ,oxy4 ,pap42      
,hyde1 #ef2 ,foerster1 #ahe1 #aie1      
#bjg4    #geg ,f4 ,w41 nos4 #bai and    
#bba4 ,clarac1 ,text1 ,vol4 ,,iii1 p4   
#bac1 leaves  it in doubt whether it be 
,apollo or an athlete2 however1 he calls
 the  ,capitoline copy an athlete4      
#geh ,published by ,miss ,k4 ,a4        

,mc,dowall1 ,j4 ,h4 ,s41 ,,xxiv1 #aijd1 
pp4  #bjc-g and fig4 #a4    #gei ,the   
untrustworthy character of the ,torlonia
 copy has been shown  by ,overbeck1     
,kunstmythologie1 ,,iii1 ,apollon1 pp4  
#aji and #afb4  ,the ,roman copy in the 
,capitoline is also inferior1 and the   
legs are  wrongly restored--for at that 
period in art there was little          
difference  between the free and the    
rest leg2 see ,helbig1 ,fuehrer1 no4    
#hei2  ,stuart ,jones1 ,cat4 ,mus4      
,capit41 p4 #bhg1 no4 #bj and ,pl4 #fi2 
,conze1  ,beitraege zur ,gesch4 d4 gr4  
,pl4#b1 ,pl4 ,,vii2 ,clarac1 #hfb1      
#bahi2 head  in ,arndt-,amelung1        
,einzelaufnahmen1 ,serie ,,ii1 #deb-d1  
p4 #ce4    #gfj ,waldstein ascribed the 
original to ,pythagoras1 partly because 
this artist was famed for the detail of 
veins1 sinews1 and hair3 see  ,pliny1   
,h4 ,n41 ,,xxxiv1 #ei4    #gfa ,bildw4  
v4 ,ol41 ,textbd41 pp4 #bbc f42         
,tafelbd41 ,pl4 ,,lvii1 #c-e4  ,the     
original height was #b4fj meters4       

#gfb ,strena ,helbigiana1 #aijj1 p4     
#bic2 discussed also by ,miss           
,mc,dowall 7l4 c4 and fig4 #c1 p4 #bjf72
 a poor replica is in ,munich3  ,furtw41
 ,mw41 p4 #aae1 and fig4 #ba4    #gfc   
,b4 ,m4 ,coins1 ,troas1 etc41 ,pl4      
,,xxxii1 #a2 ,mc,dowall1 l4 c41 fig4    
#d1 p4 #bjg4    #gfd ,bulle1 #ej1 who   
gives the height #a4hf meters2 von      
,mach1 #aae2  ,reinach1 ,rp41 ,,ii1 #b1 
#edg1 #i2 other references infra1 on p4 
#aeb1 n4  #e4    #gfe ,jh4 oest4 arch4  
,inst41 ,,viii1 #aije1 pp4 #db f42 ,,ix1
 #aijf1 pp4 #bgi  f42 cf41              
,furtw4-,urlichs1 ,denkm41 pp4 #aje-f1  
n4 #a 7,engl4 ed41 p4  #abj74    #gff   
,jh4 oest4 arch4 ,inst41 ,,xii1 #aiji1  
pp4 #ajj f4 ,he thinks that the         
original may have been identical with   
the statue of    standing before the    
temple of ,ares at ,athens1 ,p41 ,i1    
#h4d1 and that the    of ,pheidias at   
,olympia1 ,p4 ,,vi1 #d4e1 also may have 
been an ,apollo4 ,he also interprets the
 figure of a charioteer entering  a     

chariot on an ,attic relief 7,fig4 #fc71
 to be discussed later1 as an  ,apollo3 
,jb41 ,,vii1 #ahib1 pp4 #ed f4 ,for the 
relief1 see ,b4 ,b41 #ba2 von  ,mach1   
#ef2 ,f4 ,w41 no4 #ig2 infra1 pp4 #bfi  
f4    #gfg ,cf41 ,pliny1 ,h4 ,n41       
,,xxxiv1 #ah 7,achilleae74 ,on these    
8,achillean0 statues 7a generic name for
 statues of athletes leaning  on their  
spears1 from ,achilles1 the typical hero
 of ephebes71 see  ,furtwaengler1       
,jahrbuecher f4 cl4 ,philol41 ,supplbd41
 ,,ix1 #ahgg1 p4 #dg1  n4 #aa4    #gfh  
,jh4 oest4 arch4 ,inst41 ,,viii1 #aije1 
pp4 #bfi f4 ,miss ,mc,dowall1  in the   
article already cited1 p4 #bjd1 has also
 argued that there is no  necessary     
connection between the quiver slung over
 the tree-support and  ,apollo4    #gfi 
,inschr4 v4 ,ol41 #afb-c2 ,loewy1 op4   
cit41 ,x1 #aijg1 pp4 #cbf  f4           
,studniczka1 ibid41 ,,ix1 #aijf1 pp4    
#caa f41 discusses the base and         
believes that the pose of the statue of 
,pythokles was the same as that  of the 

,borghese ,ares of the ,louvre 7von     
,mach1 #abe2 ,f4 ,w41 #abih2  ,reinach1 
,rp4 ,i1 #acc1 #a-c2 etc471 the weight  
on the left foot1 i4  e41 essentially   
different from the ,polykleitan pose4   
#ggj ,r4 ,m41 ,,xxvii1 #aiab1 p4 #cg4   
#gga ,duetschke1 ,,iv1 no4 #eb 7 wrongly
 female72 ,j4 ,h4 ,s41 ,,xxvi1 #aijf1   
,pl4 ,,xv 7three views71 and pp4 #bce f4
 7,wace74    #ggb ,mp41 p4 #bdg2 ,mw41  
pp4 #ddh-ddi2 he assigns it to the third
  quarter of the fifth century ,b4 ,c4  
#ggc ,amelung1 ,rev4 arch41 ,,ii1 #aijd1
 p4 #cdd4a2 ,wace1 l4 c41 p4 #bcg4      
#ggd ,both ,schreiber1 ,a4 ,m41 ,,viii1 
#ahhc1 pp4 #bdf f41 and ,studniczka1    
,jb41 ,,xi1 #ahif1 pp4 #bee f41 have    
shown that the hair arranged in the     
double plait1 whether the  or not1 is   
,attic1 and that similarly  the mass of 
locks over the ears is common in ,attic 
works4    #gge ,p41 ,v1 #g4i4 ,in ,v1   
#g4g1 the ,idan ,herakles is said to    
have first  crowned his brother as      
victor there2 cf4 ,v1 #h4c-d4 ,we have  

already  7p4 #aj7 spoken of the         
difference of opinion as to whether it  
was the  ,cretan 7,idan7 ,herakles1 or  
the more famous son of ,zeus and        
,alkmena1  who founded the games4 ,on   
the traditional connection of the hero  
with  ,olympia1 see ,e4 ,curtius1       
,sitzb4 d4 k4 preuss4 ,akad4 d4 ,wiss4  
zu  ,berlin1 #ahid1 pp4 #ajih f42       
,busolt1 ,gr4 ,gesch41#b ,i1 pp4 #bdj   
f42  ,krause1 ,olympia1 pp4 #bf f4      
#ggf ,with the river-god ,acheloos1     
,,iii1 #ah4af 7the contest pictured  in 
relief on the throne of ,apollo at      
,amyklai2 cf4 the same scene            
represented by the cedar-wood figures   
inlaid with gold on the treasury  of the
 ,megarians at ,olympia1 ,,vi1 #ai1     
#ab72 with ,antaios1 ,,ix1 #aa4f        
7pictured in the sculptures of the gable
 of the ,herakleion at ,thebes72  with  
,eryx1 ,,iii1 #af4d and ,,iv1 #cf4d4    
#ggg ,p41 ,v1 #h4d4    #ggh ,p41 ,v1    
#ba4i2 he won in ,ol4 #agh 7 #fh ,b4    
,c473 ,foerster1 #egj-a4    #ggi ,v1    

#ba4aj4    #ghj ,these victors were     
,kapros of ,elis1 who won in ,ol4 #abd 7
 #bab ,b4  ,c473 ,hyde1 #aej2 ,foerster1
 #dgd1 #dge2 he had two statues1 the    
remains of  which may have been         
recovered3 see ,bronzen v4 ,ol41        
,tafelbd41 ,pls4 ,,ii1  ,,iii2          
,aristomenes of ,rhodes1 who won in ,ol4
 #aef 7 #aef ,b4 ,c473 ,foerster1       
#eje-f2 ,protophanes of ,magnesia ad    
,maiandrum 7ad ,lethaeum in ,p41 l4     
c471 who won in ,ol4 #agb 7 #ib ,b4     
,c473 ,foerster1 #ech-i2 ,marion of     
,alexandria1 who won in ,ol4 #ahb 7 #eb 
,b4 ,c473 ,foerster1 #egi-hj2 ,aristeas 
of ,stratonikeia1 who won in ,ol4 #aih 7
 #ac ,a4 ,d473 ,foerster1 #fji-aj2      
,nikostratos of ,aigeai in ,kilikia1 who
 won in ,ol4 #bjd 7 #cg ,a4 ,d473       
,foerster1 #fba-b4    #gha ,two men     
entered later1 but were disqualified3   
,sokrates1 who won  in wrestling 787 in 
,ol4 #bcb 7 #adi ,a4 ,d473 ,foerster1   
#gjd2 and ,aurelios  ,ailix1 or ,helix1 
of ,phnicia1 who won the pankration in  

,ol4 #bej 7  #bba ,a4 ,d473 ,foerster1  
#gcd4 ,see ,dio ,cassius1 ,,lxxix1 #aj2 
,philostr41  ,heroicus1 ,,iii1 #ac 7p4  
#adg1 ed4 ,kayser72 cf4 ,ph41 #df and   
note by  ,juethner1 ad loc4 ,ailix won  
in both events on the same day at the   
,capitoline games in ,rome1 which no one
 had done before3 ,foerster1 l4  c4     
,frazer1 ,,iii1 p4 #fbe4    #ghb ,such  
victors were numbered in two ways2 some 
authorities in the  way mentioned above1
 e4 g41 ,dio ,cassius1 l4 c42 others    
numbered  them 1 1 4 4 41 e4 g41        
,africanus2 cf4 ,rutgers1 pp4  #gc f4   
and n4 #a1 and p4 #ig and n4 #b4    #ghc
 ,see ,f4 ,kindscher1 ,die herakleischen
 ,doppelsieger zu ,olympia1  ,jahn's    
,archiv f4 ,phil4 u4 ,paedag41 ,,ii1    
#ahde1 pp4 #cib-daa4    #ghd ,p41 ,,iv1 
#cb4a 7statues of the three in the      
,gymnasion at ,messene74  ,he mentions1 
,,ix1 #aa4g1 a ,gymnasion and ,stadion  
of the hero near the  ,herakleion in    
,thebes4    #ghe ,b4 ,c4 ,h41 ,,xxiii1  
#ahii1 pp4 #dee-f4    #ghf ,on the      

difficulty of distinguishing statues of 
victors from those  of ,herakles1 see   
also ,arndt1 ,la ,glypt4 ,ny-,carlsberg1
 ,text1 p4 #ach1 to  ,pl4 #id4    #ghg  
,p41 ,,vi1 #b4a4    #ghh ,ch4 ,,vi1 pp4 
#bic f41 especially pp4 #bih-bii4       
#ghi ,la ,glypt4 ,ny-,carlsberg1 ,pl4   
#aag 7three views74 ,it was formerly  in
 the ,tyszkiewicz collection4    #gij   
,see ,arndt1 l4 c4 ,furtwaengler        
believed the head ,praxitelean3  see    
,roscher1 ,lex41 ,i1 #b1 p4 #baff ll4   
#fa f4 ,s4 ,reinach saw in it a  mlange 
of ,skopaic and ,praxitelean elements3  
,gaz4 d4 ,b4-,a41 #c1  ,pr41 ,,xvi1     
#ahif1 ,,ii1 p4 #ccb and fig4 on p4     
#cbh2 ,ttes1 ,pl4 #agf1 p4  #aci2 he is 
followed by ,arndt4    #gia ,antichita  
di ,ercolano1 ,bronzi1 ,i1 ,pls4 #di and
 #ej2 ,d4 ,comparetti  e ,g4 de ,petra1 
,la ,villa ,ercolanese dei ,pisoni1     
#ahhc1 ,pl4 ,,vii1 #c1 p4  #bfa1 #d2    
,rayet1 ,,ii1 ,pl4 #ff2 ,b4 ,b41 no4    
#cfd2 ,f4 ,w41 #acjb4 ,similarly1 the   
bronze head of a youth in ,naples1 with 

a rolled fillet1 may be from the  statue
 of a victor or of the hero3 ,invent41  
#eeid2 ,b4 ,b41 #cfe4    #gib ,for the  
,naples replica1 see ,comparetti e de   
,petra1 ,villa  ,ercolan41 ,pl4 ,,xxi1  
#c2 ,furtw41 ,mp4 p4 #bcd1 fig4 #ie2    
,mw41 p4 #dcj1  fig4 #fe2 poorer copy in
 the ,museo ,chiaramonti of the ,vatican
 7no4  #aci73 ,helbig1 ,guide1 #fi2 ,b4 
,b41 #cch2 another in ,broadlands1      
,england3  ,michaelis1 p4 #bbj1 no4 #aj2
 ,mp41 p4 #bce1 fig4 #if2 ,mw41 p4 #dca1
 fig4  #ff4 ,graef had already          
conjectured the type to be that of a    
,polykleitan  ,herakles3 ,r4 ,m41 ,,iv1 
#ahhi1 p4 #bae4 ,he is followed by      
,furtwaengler1  ,mp41 p4 #bc4    #gic   
,amelung41 ,vat41 ,i1 p4 #gch1 no4 #fcf 
and ,pl4 #gi2 ,helbig1  ,fuehrer1 ,i1   
no4 #ajh2 ,guide1 #aac2 ,b4 ,b41 no4    
#fji2 ,furtw41 ,mp41  p4 #cda1 fig4 #adf
 7head1 on p4 #cdb1 fig4 #adg72 ,mw41 p4
 #ege1 fig4 #aji  7head1 on p4 #egg1    
fig4 #aaj74 ,the group is #b4ab meters  
high 7,amelung474    #gid ,helbig1      

,guide1 no4 #bdb4    #gie ,helbig1      
ibid41 no4 #dgj2 ,r4 ,m41 ,,iv1 #ahhi1  
p4 #aig1 no4 #ab  7,skopaic74    #gif   
,it was found in ,genzano3 ,b4 ,m4      
,sculpt41 ,,iii1 no4 #agca and ,pl4  ,v1
 fig4 #b2 height1 #a foot1 #d-g_/h      
inches2 for references1 see infra1  p4  
#afi1 n4 #h4    #gig ,b4 ,m4 ,sculpt41  
,,iii1 no4 #agcb2 ,specimens1 ,i1 ,pl4  
#eg2 ,museum  ,marbles1 ,,iii1 ,pl4 #ab4
 ,a similar head1 half portrait and half
 ideal1  appears on coins of ,macedonia4
 ,such filleted heads as nos4 #agcc and 
#agdj of ,b4 ,m4 ,sculpt4 are probably  
from statues of ,herakles4 ,the         
statuette of a seated ,herakles1 ibid41 
no4 #agbf1 with the lion-skin  and      
wearing a laurel wreath tied on with a  
fillet 7 ,reinach1 ,rp41  ,,ii1 #a1 p4  
#bbg1 no4 #c2 ,j4 ,h4 ,s41 ,,iii1 #ahhb1
 ,pl4 ,,xxv47 and inscribed  as the work
 of ,diogenes 7,i4 ,g4 ,b41 #cfa71      
recalls the description of  the pose of 
the ,hermes ,epitrapezios made by       
,lysippos for ,alexander3  ,statius1    

,silv41 ,,iv1 #f2 cf4 ,martial1 ,,ix1   
#dd4    #gih ,b4 ,m4 ,bronz41 nos4      
#abed1 #abgf1 #abib1 etc4    #gii ,b4   
,m4 ,bronz41 ,pl4 ,,ii 7upper           
right-hand72 text1 no4 #bab4    #hjj    
,friedrichs1 ,kleinere ,kunst1 #ahej2   
mentioned by ,furtw41 ,mw41  p4 #ebe1 n4
 #b4    #hja ,,iii1 nos4 #i and #ai2 no4
 #ai has swollen ears4    #hjb ,see     
,furtw41 ,mp41 pp4 #bcd and #bcf2 ,mw41 
pp4 #dbi and #dcc4 ,he  gives as an     
example the ,polykleitan ephebe         
head-type discussed supra1  p4 #ie4     
#hjc ,p41 ,v1 #h4d4    #hjd ,p41 ,v1    
#ae4e4    #hje ,p41 ,,iii1 #ad4g 774    
#hjf ,p41 ,,ii1 #cd4aj4    #hjg ,iliad1 
,,iii1 #bcg 7 ,od41 ,,xi1 #cjj72        
,homeric ,hymn to the ,dioskouroi1      
,,xxxiii1 #c2 ,pindar1 ,isthm41 ,i1 #af 
f42 ,pyth41 ,v4 #i2 etc4 ,kastor was    
famed also for throwing the quoit3      
,pindar1 ,isthm41 ,i1 #be4    #hjh      
,iliad and ,od41 ll4 cc42 ,simonides1   
frag4 #h 7,p4 l4 ,g41 ,,iii1 p4  #cij72 
,apoll4 ,rhod41 ,argon41 ,,ii1 #a f4    

#hji ,apoll4 ,rhod41 op4 cit41 ,i1 #adf2
 ,theokr41 ,,xxii1 #b-c and #cd2        
,pindar1 ,pyth41 ,,xi1 #fa-b2 ,nem41 ,x1
 #di-ej2 ,isthm41 ,v1 #cb-c2 etc42      
various ,roman poets3 see ,bethe1 in    
,pauly-,wissowa1 ,v1 ,i1 pp4 #ajib-d4   
#haj ,r4 ,m41 ,,xv1 #aijj1 #a f4 7with  
illustrations74    #haa ,i4 ,g4 ,a41    
#cg4    #hab ,b4 ,m4 ,bronz41 no4 #cbjg2
 ,c4 ,i4 ,g4 ,g4 ,s41 ,,iii1 #a1 #fdi2  
,rev4  arch41 ,sr4 #c1 ,,xviii1 #ahia1  
,pl4 #ah1 and pp4 #de f4 7,froehner72   
,wochenschr4 f4 kl4 ,phil41 ,,viii1     
#ahia1 p4 #hei2 ,gardiner1 p4 #cag1 fig4
  #gc4 ,froehner reads the name         
8,exotra10 that of a woman victor4      
#hac ,i4 ,g4 ,a41 #dc a 7p4 #agc74      
#had ,duetschke1 ,,iv1 no4 #ecd4        
,another relief fragment in the ,uffizi 
shows the upper part of the two with    
horses1 each wearing the chlamys  and   
pilleus and carrying spears3 ,duetschke1
 ,,iii1 #ddf4    #hae ,b4 ,m4 ,sculpt41 
,i1 no4 #ghj2 ,museum ,marbles1 ,,ii1   
,pl4 #aa2  cf4 a similar relief1 no4    

#gha4 ,the relief ibid41 ,,iii1 no4     
#bbjf1  supposedly representing ,kastor1
 has been pronounced a modern forgery by
  ,treu3 see ,f4 ,w41 #ajjf4    #haf    
,ch4 ,i1 pp4 #bg f4 and #cg f4    #hag  
,this is the usual division of victor   
monuments3 ,scherer1 pp4 #ba  f42       
,hitz4-,bluemn41 ,,ii1 #b1 p4 #ecj2     
,furtw4-,urlichs1 ,denkmaeler griech4   
und roem4 ,skulptur1 ,handausgabe#c1    
#aiaa1 pp4 #ajd f4 7translation by  ,h4 
,taylor1 #aiad1 pp4 #abj f47 ,reisch1 p4
 #dj1 divides ,siegerbilder  in ,motiven
 von allgemeiner ,geltung und ,bilder in
 ,motiven1 die der  speciellen          
,veranlassung der ,weihung entlehnt     
sind--a division  practically amounting 
to that of rest and motion statues1 as  
we shall  see4    #hah ,discussed infra 
in ,ch4 ,,vii1 pp4 #ccd f4    #hai      
,,viii1 #dj4a4    #hbj ,see infra1 ,ch4 
,,vii1 pp4 #cbg-h4    #hba ,we know of  
one case1 at least1 where an 8,apollo0  
7draped7 was  transferred to a          
relief--on a column drum of the old     

,artemision in  ,ephesos1 now in the    
,british ,museum3 ,j4 ,h4 ,s41 ,x1      
#ahhi1 ,pl4 ,,iii1 pp4 #d  f41 and figs4
 #d;a1 #e 7,murray72 ,overbeck1 ,i1 p4  
#ajf1 fig4 #i2 ,richardson1  p4 #ec1    
fig4 #af4 ,according to ,herodotos1 ,i1 
#ib1 most of these columns  were the    
gifts of ,crsus1 who reigned #efj-edf   
,b4 ,c4 ,on the whole series  of        
8,apollos10 see ,w4 ,deonna1 ,les       
,apollons archaques1 #aiji2 cf4  ,f4    
,w41 text to no4 #ad1 pp4 #i f2 ,b4 ,m4 
,sculpt41 ,i1 pp4 #hb-c1 with           
references2 etc4    #hbb ,see           
,richardson1 pp4 #ci f4    #hbc ,stas1  
,marbres et ,bronzes1 pp4 #aa-ab and    
fig42 ,b4 ,c4 ,h41 ,x1  #ahhf1 ,pl4 ,v  
7two views7 and pp4 #ih f4 7,holleaux72 
,collignon1 ,i1 p4 #aag1  fig4 #eh2     
,deonna1 op4 cit41 p4 #afa1 no4 #ce2    
,richardson1 p4 #dd1 fig4  #ab4 ,it is  
in the ,national ,museum at ,athens1    
where most of the 8,apollos0  are to be 
found4 ,the sanctuary of ,apollo ,ptoios
 on ,mount ,ptoion1  ,botia1 is         

mentioned by ,p41 ,,ix1 #bc4f1 ,hdt41   
,,viii1 #ace1 and other  writers4       
#hbd ,in ,athens3 ,kabbadias1 no4 #h2   
,stas1 ,marbres et ,bronzes1 p4 #aj2    
,deonna1 p4 #bbg1 no4 #abi2 ,a4 ,m41    
,,iii1 #ahgh1 ,pl4 ,,viii2 ,collignon1  
,i1 p4  #acb1 fig4 #ff2 ,gardner1 ,hbk41
 p4 #aca1 fig4 #af2 ,richardson1 p4 #ci1
 fig4  #e2 ,b4 ,b41 no4 #gg;,c2 von     
,mach1 #ab2 ,reinach1 ,rp41 ,,ii1 #a1   
#gf1 #aj2 ,f4 ,w41  #ad2                
,springer-,michaelis1 p4 #agb1 fig4     
#ccf2 ,perrot-,chipiez1 ,,viii1 p4 #cai1
  fig4 #acc4    #hbe ,kabbadias1 no4 #i2
 ,stas1 ,marbres et ,bronzes1 pp4 #i-aj 
7#a4bg  m4 high72 ,annali1 ,,xxxiii1    
#ahfa1 pp4 #gi f4 and ,pl4 ,e2 ,deonna1 
op4  cit41 p4 #adh1 no4 #bf2 ,b4 ,c4    
,h41 ,v1 #ahha1 ,pl4 ,,iv1 and pp4 #cai 
f42  ,collignon1 ,i1 p4 #aad1 fig4 #ef2 
,overbeck1 ,i1 fig4 #ad2 ,gardner1      
,hbk41  p4 #aff1 fig4 #bi2 ,richardson1 
p4 #dj1 fig4 #h2 ,b4 ,b41 #gg;,a2 von   
,mach1 #aa b2  ,perrot-,chipiez1 ,,viii1
 p4 #eji1 fig4 #bfj2 ,f4 ,w41 #dc2      

,reinach1 ,rp41 ,,ii1  #a1 #gf1 #aa4    
#hbf ,kabbadias1 no4 #aj2 ,stas1        
,marbres et ,bronzes1 p4 #h 7#a4cj      
meters  high72 ,deonna1 p4 #aec1 no4    
#bh2 ,b4 ,c4 ,h41 ,x1 #ahhf1 ,pl4 ,,iv1 
and p4  #ff 7,holleaux72 ,collignon1 ,i1
 p4 #aif1 fig4 #ib2 von ,mach1 #ae;a    
7left72  ,gardner1 ,hbk41 p4 #afh1 fig4 
#cj2 ,b4 ,b41 #ab 7left72 ,reinach1     
,rp41  ,,ii1 #a1 #gf1 #g4 ,in another   
found at ,mount ,ptoion in #aijc1 the   
left arm is  almost entirely broken     
away3 ,b4 ,c4 ,h41 ,,xxxi1 #aijg1 ,pl4  
,,xx4    #hbg ,stas1 ,marbres et        
,bronzes1 p4 #aj1 no4 #aeeh2 ,deonna1 p4
 #bag1  no4 #aad1 ,b4 ,c4 ,h41 ,,xvi1   
#ahib1 ,pl4 ,,xvi 7two views7 and pp4   
#efj f4  7,holleaux72 von ,mach1 no4    
#ac2 ,perrot-,chipiez1 ,,viii1 p4 #cba1 
fig4 #acd2  ,gardner1 ,hbk41 p4 #acb1   
fig4 #ag2 ,richardson1 p4 #ci1 fig4 #f2 
,reinach1  ,rp41 ,,ii1 #a1 #gf1 #a4     
#hbh ,furtw4-,wolters1 ,beschreib4 d4   
,glypt41#b pp4 #di f41 no4  #dg2        
,gardner1 ,hbk41 p4 #aeh1 fig4 #bf2     

,gardiner1 p4 #hg1 fig4 #g2             
,richardson1 p4 #dj1 fig4 #g2 ,b4 ,b41  
no4 ,i2 ,bulle1 #cg 7right72 von ,mach1 
#ad2 ,furtw4-,urlichs1 ,denkm41 ,pl4 ,i1
 pp4 #c f2 ,mon4 d4 ,i41 ,,iv1  #ahdg1  
,pl4 ,,xliv2 ,baum41 ,i1 fig4 #cdj2     
,collignon1 ,i1 p4 #bjb1 fig4 #if2      
,springer-,michaelis1 p4 #agd1 fig4     
#cch2 ,perrot-,chipiez1 ,,viii1 p4 #dja1
  figs4 #ahg1 #ahh2 ,f4 ,w41 #di2       
,reinach1 ,rp41 ,,ii1 #a1 #gf1 #b4 ,it  
is #a4ec  meters high 7,bulle74    #hbi 
,left3 torso found in #ahhe3 ,b4 ,c4    
,h41 ,,xi1 #ahhg1 ,pl4 ,,viii1 and  pp4 
#ahe f4 7,holleaux72 ,collignon1 ,i1 p4 
#aih1 fig4 #di2 ,richardson1 p4  #da1   
fig4 #i 7without the head72 head found  
in #aijc3 ,b4 ,c4 ,h41 ,,xxxi1  #aijg1  
,pls4 ,,xvii-,,xviii2 entire figure1    
ibid41 ,pl4 ,,xix2 text1 pp4 #ahg  f4   
7,mendel72 ,kabbadias1 #ab2 ,stas1      
,marbres et ,bronzes1 p4 #i and fig42   
,deonna1 p4 #aef1 no4 #cj4 ,right3      
,stas1 pp4 #ab-ac1 no4 #bj2 ,deonna1 no4
  #ce2 ,collignon1 ,i1 p4 #cae and fig4 

#aeg 7two views72 ,b4 ,c4 ,h41 ,,xi1    
#ahhg1 ,pls4 ,,xiii and ,,xiv1 and pp4  
#bge f41 and ,x1 #ahhf1 fig4 ,,vi       
7without  head7 and pp4 #bfi f42 von    
,mach1 #ae;b 7right72 ,gardner1 ,hbk41  
p4 #afi1  fig4 #ca2 ,richardson1 p4 #db1
 fig4 #aj 7two views72 ,reinach1 ,rp41  
,,ii1  #a1 #gg1 #d 7without head72 cf4  
,,ii1 #a1 #ah1 #d and #e4    #hcj ,see  
,holleaux1 ,b4 ,c4 ,h41 ,,xi1 p4 #ahf1  
n4 #a4 ,richardson1 p4 #da1  wrongly    
thought that they were of marble1       
explaining the preservation  of the arms
 by their presence2 the arms1 however1  
were formerly broken  off and have since
 been readjusted to the statue4    #hca 
,b4 ,m4 ,sculpt41 ,i1 no4 #bjf2 ,mon4 d4
 ,i41 ,,ix1 #ahfi-gc1 ,pl4 ,,xli2       
,annali1 ,,xliv1 #ahgb1 pp4 #aha f42 ,b4
 ,b41 #ea2 von ,mach1 #af2 ,overbeck1   
,i1  p4 #bcg1 fig4 #fa2 ,f4 ,w41 #hi2   
,reinach1 ,rp41 ,,ii1 #a1 #ha1 #f4 ,it  
is #c feet  #d inches in height4    #hcb
 ,see ,holleaux1 ,b4 ,c4 ,h41 ,x1 #ahhf1
 p4 #bga2 ,,xi1 p4 #ahf2 and cf4        

,vischer1 ,kleine ,schriften1 ,,ii4 pp4 
#cjb f4    #hcc ,b4 ,b41 no4 #gf4       
#hcd ,see ,holleaux1 in ,b4 ,c4 ,h41    
,,xi1 #ahhg1 p4 #agh4    #hce ,from the 
inscription on its thigh4    #hcf ,in   
the ,athens ,museum2 it dates from the  
middle of the sixth  century ,b4 ,c43   
,stas1 ,marbres et ,bronzes1 p4 #aa1 no4
 #aijf and fig4  7#a4gh m4 high72       
,deonna1 p4 #acc1 no4 #e2               
,perrot-,chipiez1 ,,viii1 figs4         
#ahi-aij2 ,kabbadias1 ,arch4 ,eph41     
#aijb1 pp4 #dc f4 and ,pls4 #c and #d2  
,bulle1 no4 #cg 7left71 who gives its   
height as #a4gi meters4    #hcg ,see    
,furtw4-,urlichs1 ,denkm41 text to ,pl4 
,i1 p4 #d4    #hch ,furtw4-,urlichs1    
,denkm41 p4 #d1 ascribe it to the       
,cretan  sculptors ,skyllis and         
,dipoinos1 who worked in ,argos1        
,sikyon1 and  ,corinth1 or to their     
school4    #hci ,statue ,a3 ,fouilles de
 ,delphes1 ,,iv1 ,pl4 ,i2 ,b4 ,c4 ,h41  
,,xxiv1 #aijj1 ,pls4 ,,xix-,,xxi 7front1
 side1 and rear7 and pp4 #dde f4        

7,homolle72 ,gardner1 ,hbk41 p4 #aee1   
fig4 #be2 ,gardiner1 p4 #hi1 fig4 #h2   
,springer-,michaelis1 p4 #agd1 fig4     
#ccg2 ,perrot-,chipiez1 ,,viii1 ,pls4   
,,ix1 ,x4  ,statue ,b 7fragmentary73    
,fouilles de ,delphes1 ,,iv1 p4 #g1 fig4
 #g2 ,b4  ,c4 ,h41 ,,xxiv1 #aijj1 ,pl4  
,,xviii4 ,see also the following3 ,gaz4 
,b4-,a41  ,,iii ,pr41 ,,xii1 #ahid1 pp4 
#ddd-f2 ,,xiii1 pp4 #cb f42 ,c4 ,r4     
,acad4 ,inscr41  #ahid1 p4 #ehe2        
especially ,homolle1 l4 c41 pp4 #dde f4 
7he exchanges ,b  for ,a72 cf4 ,a4 ,j4  
,a41 #ahie1 p4 #aae2 ,reinach1 ,rp41    
,,ii1 #b1 #gg1 #f  and #g4    #hdj ,,vi1
 #aj4e2 the epigram reads3              
1    4    ,damaretos of ,heraia won two 
victories in the heavy-armed race in    
,ols4  #fe1 #ff 7 #ebj1 #eaf ,b4 ,c472  
,theopompos two in the pentathlon in    
,ols4 787  #fi1 #gj 7 #ejd1 #ejj ,b4    
,c474 ,their monument was one in common3
 ,hyde1 nos4  #id1 #ie and pp4 #db f42  
,foerster1 #ace1 #adj and #afh1 #afi4   
#hda ,p41 ,,vi1 #ae4h2 he won in the    

boys' wrestling match and in the        
pentathlon in ,ol4 #ch 7 #fbh ,b4 ,c473 
,afr42 ,hyde1 #adh2 ,foerster1 #fa1 #fb4
    #hdb ,hoplite victor in ,ol4 #fh 7  
#ejh ,b4 ,c473 ,foerster1 #aea4    #hdc 
,victor in three running races on the   
same day 77 in ,ol4  #fg 7 #eab ,b4     
,c473 ,afr42 ,foerster1 #add-f4    #hdd 
,they won in boxing in ,ol4 #ei 7 #edd  
,b4 ,c47 and the pankration in  ,ol4 #fa
 7 #ecf ,b4 ,c47 respectively3 ,p41     
,,vi1 #ah4g2 ,hyde1 #ahg1 #ahh1 and p4  
#ef2 ,foerster1 #aac and #abj4          
,pausanias1 l4 c41 wrongly says that    
they  were the oldest statues at        
,olympia4    #hde ,he won the double    
foot-race in ,ol4 #ce 7 #fdj ,b4 ,c473  
,afr42 ,p41 ,i1  #bh4a2 ,foerster1 #ee4 
#hdf ,he won five victories in wrestling
 at the beginning of the sixth  century 
,b4 ,c43 ,p41 ,,iii1 #ac4i2 ,foerster1  
#hf-ij4 ,the statue of ,oibotas  of     
,dyme1 who won the stade-race in ,ol4 #f
 7 #gef ,b4 ,c471 was set up in  ,ol4   
#hj 7 #dfj ,b4 ,c473 ,afr42 ,p41 ,,vi1  

#c4h2 ,hyde1 #bi2 ,foerster1 #f2 that of
  ,chionis of ,sparta1 who won seven    
running races in ,ols4 #bh-ca 7 #ffh-fef
  ,b4 ,c471 was made by ,myron1 and     
consequently was erected in the fifth   
century ,b4 ,c43 ,p41 ,,vi1 #ac4b2      
,afr42 ,hyde1 #aaa1 and p4 #dh2         
,foerster1  #ci1 #da-f3 these two1      
therefore1 did not necessarily conform  
with the  8,apollo0 type4    #hdg ,,vi1 
#ad4e f2 he won in ,ol4 787 #fa1 and in 
,ols4 #fb1 #fc1 #fd1 #fe1 #ff  7        
#ecf-eaf ,b4 ,c473 ,hyde1 #abh2         
,foerster1 #aaf1 #abb1 #abf1 #aca1 #acf1
 and  #ada2 ,afr4 gives the second      
victory as ,ol4 #fb2 see ,foerster1     
#abb4    #hdh ,vit4 ,apoll4 ,tyan41     
,,iv1 #bh4    #hdi ,,vi1 #ad4f-g4       
#hej ,frazer1 ,,iv1 p4 #dd1 believes    
that this description may be  imaginary1
 concocted from stories of ,milo's feats
 of strength2 but  ,hitz4-,bluemn41     
,,ii1 #b1 p4 #fja1 cite ,guttman1 de    
olympionicis apud  ,philostratum1 p4 #g1
 ,matz1 de ,philostr4 in describ4 imag4 

,fide1 p4  #cc1 and ,gurlitt1 ,ueber    
,pausanias1 #ahij1 p4 #dac1 as believing
 that it  was based on the appearance of
 the statue4 ,scherer1 pp4 #bc f41      
thought  that ,philostratos followed    
,pausanias in interpreting the          
attributes of  the statue1 and that the 
latter got his idea of the strength of  
the  victor from the statue or from a   
cicerone4 ,pliny1 ,h4 ,n41 ,,vii1 #ai1  
says of ,milo3 ,malum tenenti nemo      
digitum corrigebat4 ,aelian mentions    
,milo's feat with the pomegranate in    
,var4 ,hist41 ,,ii1 #bd and de ,nat4    
anim41 ,,vi1 #ee4    #hea ,cf4          
,philostr41 l4 c41 ll4 #bg1 #bh3        
4    #heb ,op4 cit41 p4 #ca4    #hec    
,cf4 ,p41 ,,viii1 #df4c4    #hed ,pliny1
 ,h4 ,n41 ,,xxxiv1 #ge4    #hee ,for the
 type1 see the ,payne ,knight bronze    
statuette in the  ,british ,museum3 ,b4 
,m4 ,bronz41 no4 #bji and ,pl4 ,i2      
,frazer1 ,,iv1 p4 #dcj1  fig4 #de2 the  
same type appears on ,milesian coins4   
,cf4 ,brunn1 ,i1 #gg4  ,frazer is       

against ,scherer's contention4    #hef  
,,ii1 #b1 pp4 #fja-b4 ,see ,p41 ,,vi1   
#i4a 7statue of ,theognetos74    #heg   
,h4 ,n41 ,,xxxiv1 #ei4    #heh          
,anachar41 #i2 cf4 ,a4 ,g41 ,,ix1 #ceg4 
#hei ,no4 #ch2 cf4 for the left-hand    
figure1 p4 #hc1 fig4 #aa 7side  view74  
#hfj ,b4 ,c4 ,h41 ,,xviii1 #ahid1 pp4   
#dd f41 ,pls4 ,v1 ,,vi 7de ,ridder72    
,perrot-,chipiez1 ,,viii1 p4 #edg1 fig4 
#ccb2 ,a4 de ,ridder1 no4 #gdj1 pp4     
#bfh-i1 and ,pls4 ,,iii1 ,,iv4 ,it is   
similar in pose to bronzes in the same  
museum1 nos4 #gcf 7 de ,ridder1 ,pl4    
,,ii1 #a71 #gcg 7 ,pl4 ,,ii1 #c71 and   
#gch  7 ,pl4 ,,ii1 #b74 ,it is #j4bg    
meter high 7,bulle74    #hfa ,it will be
 considered later on in this chapter3 p4
 #aai and n4 #c4  ,it is #j4ahe meter   
high 7,bulle74    #hfb ,this statuette1 
showing ,peloponnesian tendencies1 is in
 the  ,museum of ,fine ,arts1 ,boston2  
it is #j4be meter high 7,bulle74    #hfc
 ,in the same way the pediment statues  
from ,aegina differ from  ,attic works  

by straighter lines and more compact    
forms4    #hfd ,he won a chariot victory
 some time between ,ols4 787 #ih and    
#aja  7 #chh and #cgf ,b4 ,c473 ,p41    
,,vi1 #b4h2 ,hyde1 #ag 7 #aje d2 ,p41   
,,vi1 #a4bf72  ,foerster1 #caj4    #hfe 
,he won in chariot-racing some time     
between ,ols4 787 #aae and #acj  7 #cbj 
and #bfj ,b4 ,c473 ,p41 ,,vi1 #ac4aa2   
,hyde1 #abb2 ,foerster1 #eac4 ,the  date
 is from the lettering on the recovered 
base3 ,inschr4 v4 ,ol41  #agg2 cf4      
,hyde1 p4 #ea4 ,on such statues1 cf4    
,reisch1 p4 #da4    #hff ,the spelling  
occurs on two blocks1 d1 e1 from the    
,praxiteles bathron at ,olympia3        
,inschr4 v4 ,ol41 #fca  ,i4 ,g4 ,b41    
#cj2 for the whole ,praxiteles bathron  
see ,inschr4 v4 ,ol41 #bff4             
,dittenberger and ,purgold keep the     
reading ,hageladas4 ,possibly the       
spelling  stands for  2 the ,,mss4 of   
,pliny read  ,hagelades2 see ,i4 ,g4    
,b41 p4 xviii1 ,add4 to no4 #cj2        
,gardner1 ,hbk41  p4 #bag1 n4 #a4 ,on   

the sculptor1 see ,lechat1 p4 #chj and  
n4 #d1 and pp4 #ded  f42 ,collignon1 ,i1
 pp4 #caf f42 ,joubin1 pp4 #ad f41 #hc  
f41 #ib f41 etc42  ,brunn1 pp4 #fc f42  
,gardner1 ,hbk41 pp4 #baf f42 and       
especially ,pfuhl1 in  ,pauly-,wissowa1 
,,vii1 pp4 #bahi f4    #hfg ,for ,myron1
 see ,pliny1 ,h4 ,n41 ,,xxxiv1 #eg4     
,furtwaengler1 ,mp41 p4  #aif1 ,mw41    
#cgi-hj1 thinks that the connection is  
not literally true1  even if            
considerations of chronology are not    
against it1 and derives  the story of   
,hageladas teaching ,myron from the     
similarity between  the work of the two4
 ,for ,polykleitos1 see ,pliny1 ,h4 ,n41
 ,,xxxiv1 #ee4  ,the tradition that     
,hageladas was the master of            
,polykleitos has been  unreasonably     
assailed by many scholars3 e4 g41 by    
,robert1 ,arch4  ,maerchen1 #ahhf1 p4   
#ig2 ,mahler1 ,polyklet u4 s4 ,sch41    
#ciab1 pp4 #f f42  ,klein1 ,i1 p4 #cdj2 
cf4 ,,ii1 p4 #adc2 cf4                  
,springer-,michaelis1 ,i1 p4  #baj4     

,furtwaengler1 ,mp41 p4 #aif1 ,mw41 p4  
#chj1 believes it impossible  because of
 chronological difficulties1 and assumes
 a sculptor of an  intermediate         
generation as the teacher of            
,polykleitos2 he1 followed  by ,mahler1 
l4 c41 and ,klein1 ,i1 #cdj1 names      
,argeiadas 7mentioned in  ,i4 ,g4 ,b41  
no4 #cj7 as this intermediate artist4   
,however1 he admits  that the statement 
is true in a general sense1 since       
,polykleitos  developed his canon from  
that of ,hageladas3 cf4 #ejstes ,berl4  
,winckelmannsprogr41 p4 #adi2 ,pfuhl1   
however1 p4 #baib1 has shown that  the  
relationship is perfectly possible4     
#hfh ,to be mentioned infra1 p4 ,,iii   
and note #b4    #hfi ,dio ,chrysost41 de
 ,hom4 et ,socr41 #a2 here ,mueller     
amends the  ,,mss4 reading  to 2 ,e4 ,a4
 ,gardner1 ,class4 ,rev41 #ahid1 p4 #gj1
  wrongly reads 4    #hgj ,mp41 pp4 #ec 
and #aif2 ,mw41 pp4 #hj-ha1 and #chj4   
#hga ,wilamowitz has shown that it comes
 from ,apollonios1 son of  ,chairis1 who

 lived circa #ajj ,b4 ,c41 and that it  
goes back probably  to the ,chronica of 
,apollodoros of ,athens1 who lived in   
the middle of  the second century ,b4   
,c43 ,aus ,kydathen 7,kiessling and     
,wilamowitz1  ,philolog4                
,untersuchungen1 ,i1 #ahhj71 pp4 #aed f4
 ,kalkmann1 in his  ,quellen der        
,kunstgesch4 d4 ,plinius1 p4 #da1       
believes that the date  which is given  
by ,pliny 7,,xxxiv1 #di7 for the floruit
 of ,hageladas1  ,ol4 #hg 7 #dbc-dbi ,b4
 ,c471 comes from the same ,apollodoros4
    #hgb ,op4 cit41 pp4 #da and #fe f42 
,pfuhl1 p4 #baid4 ,brunn1 l4 c41        
,overbeck1 ,i1 p4 #adj1 and ,robert1 l4 
c41 had assumed an earlier plague  at   
the beginning of the fifth century ,b4  
,c42 but the real occasion for  the     
dedication of the ,herakles remains     
obscure4    #hgc ,p41 ,,iv1 #cc4b4      
#hgd ,p41 ,,vi1 #h4f2 ,hyde1 #hb2       
,foerster1 #adb1 #adh4    #hge ,p41     
,,vi1 #ad4aa2 ,hyde1 #acb2 ,foerster1   
#acc1 #acd4    #hgf ,p41 ,,vi1 #aj4f f42

 ,hyde1 #ii2 ,foerster1 #adc4 ,there is 
no reason for  following ,brunn in his  
contention that these statues were set  
up some  time after the victories1 as   
these dates fit the chronology of the   
artist outlined above4    #hgg ,a       
fifth-century type of statue occurs on  
these coins1  representing the god      
standing with the left foot forward1 the
 knee  slightly bent1 a thunderbolt held
 in the extended right hand and an      
eagle in the extended left3 ,b4 ,m4     
,coins1 ,pelop41 ,pl4 ,,xxii1 nos4 #a   
and  #f2 ,hitz4-,bluemn41 ,i1 #b1       
,muenztafel1 ,,iii1 #bj and #ab2        
,springer-,michaelis1  ,i1 p4 #baa1 fig4
 #cic2 ,collignon1 ,i1 p4 #cah1 figs4   
#aeh-aei4 ,frickenhaus1  quoted by      
,pfuhl1 p4 #baid1 believes that the pose
 is seen also in the  small bronze      
pictured in ,b4 ,s4 ,a41 ,,iii1 #ahif-g1
 ,pl4 ,x1 #a4    #hgh ,p41 ,,vii1 #bd4d4
 ,see ,b4 ,m4 ,coins1 ,pelop41 ,pl4     
,,iv1 nos4 #ab and #ag1  and cf4 #ad2   
,hitz4-,bluemn41 ,,ii1 #a1 ,muenztafel1 

,,iv1 #af-ag2 ,svoronos1  ,journ4 int4  
d'arch4 num41 ,,ii1 #ahih1 #cjb1 ,pl4   
#ad1 #aa4    #hgi ,furtwaengler1 #ejstes
 ,berl4 ,winckelmannsprogr41 #ahij      
7,eine  argivische ,bronze71 pp4        
#aeb-aec and ,pl4 ,i 7#c views72 from   
which plate  ,gardner1 ,hbk41 p4 #bba1  
fig4 #di2 ,waldstein1 ,j4 ,h4 ,s41      
,,xxiv1 #aijd1 p4  #aca1 fig4 #a2       
,gardiner1 p4 #ic1 fig4 #aa2 von ,mach1 
#ag b2 ,reinach1 ,rp41  ,,ii1 #a1 #he1  
#a2 cf4 ,frost1 ,j4 ,h4 ,s41 ,,xxiii1   
#aijc1 pp4 #bbc f41 and  fig4 #a1 who   
compares its style and pose with a later
 bronze statuette  found off ,cerigotto 
7,arch4 ,eph41 #aijb1 ,pl4 #ad74        
,ligouri is on the  site of the ancient 
,lessa3 ,curtius1 ,peloponnesos1 ,,ii1  
#aheb1 p4 #dah4  ,the bronze without the
 base is #ace millimeters high          
7,furtwaengler74    #hhj ,b4 ,b41 #cjb2 
,bulle1 #dc2 ,springer-,michaelis1 p4   
#bcd1 fig4 #dbh2  ,furtw41 ,mp41 p4 #eb1
 fig4 #aj 7upper part72 ,mw41 p4 #gi1   
fig4 #c2  ,overbeck1 ,,ii1 p4 #dgc1 fig4

 #bbh b4 ,it is #a4fj meters high       
7,bulle74    #hha ,listed by            
,furtwaengler1 #ejstes ,berl4           
,winckelmannsprogr41 p4  #aci1 n4 #fa4  
,for the relation of these copies to    
each other1 id41  ,berl4 ,philol4       
,wochenschr41 ,,xiv1 #ahid1 pp4 #ha f42 
he ascribes them to  ,hegias4    #hhb   
,b4 ,b41 no4 #cja2 ,bulle1 #da2 von     
,mach1 #cba2 ,helbig1 ,fuehrer1  ,,ii1  
#ahdf2 ,guide1 #gdd2 ,baum41 ,,ii1 p4   
#aaia1 fig4 #acia2 ,collignon1 ,,ii1  p4
 #ffa1 fig4 #cdf2 ,overbeck1 ,,ii1 p4   
#dgc1 fig4 #bbh1 a2 ,reinach1 ,rp41     
,,ii1 #b1 #ehh1 #i2 ,f4 ,w41 #bbe2 ,a4  
,z41 ,,xxxvi1 #ahgh1 ,pl4 ,,xv1 and pp4 
#abc  f42 ,annali1 ,,xxxviii1 #ahfe1    
,pl4 ,d and pp4 #eh f42 ,kekul1 ,gruppe 
des  ,kuenstlers ,menelaos in ,villa    
,ludovisi1 #ahgj1 ,pl4 ,,ii1 #b1 pp4 #bj
 f42  ,joubin1 p4 #hg1 fig4 #ae2        
,springer-,michaelis1 p4 #baa1 fig4     
#cih4 ,the best  copy of the head of the
 statue by ,stephanos is in the ,lateran
 ,museum1  ,rome3 see ,furtwaengler1    

,mp41 p4 #bag1 fig4 #ib2 ,mw41 p4 #dje1 
fig4  #fb4 ,the statue is #a4dd meters  
high 7,bulle74 ,for the inscription on  
the  tree-trunk1 see ,i4 ,g4 ,b41 no4   
#cgd4    #hhc ,the best example is in   
,naples1 the group being known1 and     
probably correctly1 since ,winckelmann's
 day1 as ,orestes and  ,elektra3 ,b4    
,b41 no4 #cjf2 ,kekul1 ,gruppe d4       
,menelaos1 ,pl4 ,,ii1 #a2  ,bulle1 #ada 
7height #a4dd meters72 ,collignon1 ,,ii1
 pp4 #ffb1 fig4 #cdg2  ,gardner1 ,hbk41 
p4 #eeg1 fig4 #aea2 ,clarac1 ,v1 #hcf1  
#bjic2 ,reinach1  ,rp41 ,i1 #ejf4d4 ,a  
sketch of the ,naples ,orestes and the  
,ligouri  bronze1 showing their great   
resemblance1 is given by ,furtwaengler1 
#ejstes ,berl4 ,winckelmannsprogr41 p4  
#acg4 ,a replica of the female  figure  
is cited by ,michaelis as in ,marbury   
,hall1 ,england3 p4 #ejc1 no4  #f2 cf4  
,conze1 ,beitraege zur ,gesch4 d4 gr4   
,pl4#b1 p4 #be1 n4 #c4    #hhd ,e4 g41  
the so-called group of ,orestes and     
,pylades in the  ,louvre3 von ,mach1    

#cbc2 ,collignon1 ,,ii1 p4 #ffc1 fig4   
#cdh2 ,reinach1  ,rp41 ,i1 #afa1 #b 7   
,mercury and ,vulcan74    #hhe          
,kalkmann1 #ecstes ,berl4               
,winckelmannsprogr41 #ahic1 pp4 #gg  f41
 thought that the ,stephanos figure went
 back to an original by  ,pythagoras1   
the rival of ,myron1 which              
,furtwaengler1 ,mp41 p4 #di1  rightly   
characterizes as 8wide of the mark02    
,pfuhl1 p4 #baig1 ,bulle1  and others   
regard its ascription to the school of  
,hageladas as  probable1 even if not    
capable of proof4 ,furtwaengler1 #ejstes
 ,berl4  ,winckelmannsprogr41 p4 #aeb1  
believes it was vermutlich ein ,werk des
  ,meisters 7i4 e41 ,hageladas7 selbst3 
on pp4 #adf-g he pronounces  the        
life-size marble torso of a statue of a 
nude man found in a wall  over the ruins
 of the ,palaistra at ,olympia 7,treu1  
,a4 ,z41 ,,xxxviii1  #ahhj1 p4          
#de7--;because of its resemblance in    
pose to that of the ,ligouri            
statuette--a ,roman school copy of an   

original bronze victor statue going     
back to ,hageladas4    #hhf ,e4 g41 the 
marble group formerly in the            
,boncompagni-,ludovisi  collection1 now 
in the ,museo delle ,terme1 ,rome3      
,helbig1 ,fuehrer1 ,,ii1  #acad2 ,guide1
 #hhg2 ,b4 ,b41 no4 #cji2 von ,mach1    
#cbb2 ,baum41 ,,ii1 p4 #aaic1  fig4     
#acic2 ,springer-,michaelis1 p4 #ded1   
fig4 #hcd2 ,kekul1 ,die ,gruppe d4      
,menelaos1 ,pl4 ,i2 ,schreiber1 ,bildw4 
d4 ,villa ,ludovisi1 p4 #hi1 no4 #fi2   
,collignon1 ,,ii1 p4 #ffe1 fig4 #cdi2   
,f4 ,w41 #aefj2 ,reinach1 ,rp41 ,i1     
#ejf1  #f4    #hhg ,v1 #aj4h4    #hhh   
,pliny1 ,h4 ,n41 ,,xxxiv1 #gb1 and      
,,xxxvi1 #af4    #hhi ,see ,brunn1 pp4  
#bcf-g and #bdd-e4    #hij ,loeschke    
7,dorpaterprogr41 #ahhg1 p4 #g1 on the  
basis of an early  suggestion of        
,furtwaengler in ,a4 ,m41 ,,iii1 #ahgh1 
p4 #aid7 and ,j4  ,six 7,j4 ,h4 ,s41 ,x1
 #ahhi1 pp4 #aji f471 assumed two       
sculptors of the  name of ,alkamenes1   
ascribing the gable statues and that of 

,hera at  ,phaleron 7mentioned by ,p41  
,i1 #a4e7 to the elder one4             
,furtwaengler later  retracted the      
theory of two artists and assumed but   
one 7,mp41 p4 #ij1  n4 #c2 ,mw41 p4 #abb
 and n4 #f74 ,koepp has shown that the  
,hera is of no  use in dating1 since the
 story of ,pausanias that the temple of 
,hera was  destroyed by the ,persians is
 an invention 7,jb41 ,v1 #ahij1 p4      
#bgg74 ,the  idea of an elder ,alkamenes
 based on the inscription on a herm     
recently  found in ,pergamon 7,a4 ,a41  
#aijd1 fig4 on p4 #gf7 has also been    
refuted  by ,winter 7,a4 ,m41 ,,xxix1   
#aijd1 pp4 #bjh-baa1 and ,pls4          
,,xviii-,,xxi71 who  has shown that the 
inscription and statue do not go so far 
back4    #hia ,see ,baum41 pp4 #aajd    
,,kk4    #hib ,p4 #bdc4    #hic ,a4 ,z41
 ,,xli1 #ahhc1 pp4 #ada f4    #hid ,no4 
#ace4    #hie ,arch4 ,stud4 ,h4 ,brunn  
dargebr41 pp4 #fg f4    #hif ,a4 ,m41   
,,vii1 #ahhb1 pp4 #bjf f4 ,he also found
 the style of the two  pediments unlike4

    #hig ,a4 ,z41 ,,xxxix1 #ahha1 p4    
#gh1 n4 7 ,argive-,sikyonian72 cf4      
,bildw4 v4 ,ol41 ,textbd41 pp4 #dd-ie2  
,tafelbd41 ,pls4 ,,ix-,,xvii 7,east     
,gable71 ,,xxii-,,xxxi 7,west ,gable74  
#hih ,a4 ,m41 ,,xii1 #ahhg1 pp4 #cgd-e 7
 ,argive-,sikyonian72 cf4 ,r4  ,m41     
,,ii1 #ahhg1 pp4 #ec f41 where he       
excepts the four corner figures of  the 
,west ,gable as ,attic1 because they are
 of ,pentelic marble1 and not  ,parian1 
like the others4    #hii ,i1 pp4 #dfj-a4
    #ijj ,i1 p4 #ccj 7 ,elean74    #ija 
,for a discussion of the whole question 
of the artists1 see  ,hitz4-,bluemn41   
,,ii1 i1 pp4 #cbi f42 ,frazer1 ,,iii1   
pp4 #eab f4 ,for a  restoration of the  
two groups1 see ,treu1 ,jb41 ,,iii1     
#ahhh1 ,pls4 #e1  #f 7,west71 and ibid41
 ,,iv1 #ahhi1 ,pls4 #h1 #i 7,east72     
whence ,gardner1  ,hbk41 p4 #bdf1 figs1 
#eg and #ef respectively2 see also      
,bildw4 v4 ,ol41  ,tafelbd41 ,pls4      
,,xviii-,,xxi2 ,textbd41 pp4 #aad-acg2  
,overbeck1 ,i1 ,pl4 opp4  p4 #cji2 etc4 

#ijb ,richardson1 p4 #aja1 fig4 #di     
7side71 and p4 #aed for the statement2  
,lechat1 ,au ,muse1 ,pl4 ,,xvi2 ,bulle1 
pp4 #dfb-c1 figs4 #ace1 #acf2 ,b4  ,b41 
no4 #dfa 7middle row1 bottom72 ,a4 ,m41 
,,xii1 #ahhg1 pp4 #cgb f4               
7,studniczka72 de ,ridder1 no4 #dfg2    
,perrot-,chipiez1 ,,viii1 p4 #fgi1 fig4 
#cdg2 it is #j4aj meter high 7,graef41  
,a4 ,m41 ,,xv1 #ahij1 p4 #af1 n4 #a74   
,for the figure of ,apollo1 see ,bulle1 
no4 #db2 ,bildw4 v4 ,ol41 ,tafelbd41    
,pl4 ,,xxii1 and ,textbd41 p4 #fi2 von  
,mach1 #hf 7statue71 #ddf 7head74 ,the  
original height was #c4aj meters        
7,bulle74    #ijc ,mp41 p4 #ec2 ,mw41 p4
 #hj2 #ejstes ,bert4                    
,winckelmannsprogr41  pp4 #adj-a and    
#adh4    #ijd ,the torso was found in   
#ahfe1 the head in #ahhh3 torso1 ,a4    
,m41  ,v1 #ahhj1 p4 #bj and ,pl4 ,i1    
with wrong head 7,furtwaengler72 head1  
,arch4  ,eph41 #ahhh1 p4 #ha and ,pl4   
,,iii2 figure in outline1 ,collignon1   
,i1 pp4  #cgd-e1 figs4 #aia-b2 ,dickins1

 no4 #fih1 pp4 #bfd f42 ,b4 ,b41 #dfa b2
 ,bulle1  #dj and figs4 #ae1 #ad on pp4 
#hg-h 7from a cast72 von ,mach1 #eg2    
,overbeck1  ,i1 p4 #bje1 fig4 #dh2      
,lechat1 p4 #deb1 fig4 #ch2 ,reinach1   
,rp41 ,,ii1 #b1  #ehh1 #a2              
,springer-,michaelis1 p4 #bag1 fig4     
#djc2 ,furtwaengler1 ,a4 ,a41  #ahhi1 p4
 #adg1 ,mw41 pp4 #gf1 n4 #b1 and #ha2   
,wolters1 ,a4 ,m41 ,,xiii1  #ahhh1 p4   
#bbf4 ,bulle dates it toward #dhj ,b4   
,c4    #ije ,the same turn appears in   
the sixth-century ,rampin head3         
,collignon1 ,i1 p4 #cfj1 fig4 #ahb4 ,it 
will be discussed later on1 pp4         
#abf-abg4    #ijf ,furtwaengler1 #ejstes
 ,bert4 ,winckelmannsprogr41 pp4 #acb   
and #aej2  ,mp41 p4 #ai2 ,dickins1 p4   
#bfe4    #ijg ,it is a dedication by    
,euthydikos3 ,collignon1 ,i1 ,pl4 ,,vi  
7right71  opp4 p4 #cef2 von ,mach1 no4  
#bf 7right72 ,gardner1 ,hbk41 p4 #bab1  
fig4  #dg2 ,bulle1 #bdj2 ,lechat1 ,au   
,muse1 p4 #cfg1 fig4 #cg2               
,perrot-,chipiez1  ,,viii1 p4 #eie1 fig4

 #bii2 ,richardson1 p4 #gh1 fig4 #cc2   
,springer-,michaelis1  p4 #bjg1 fig4    
#cij4 ,bulle gives it as half life-size4
    #ijh ,dickins1 pp4 #bdh f41 no4     
#fhi2 ,bulle1 no4 #aih2 ,b4 ,b41 #dfj2  
von  ,mach1 #ddj and #ddc 7left72       
,collignon1 ,i1 p4 #cfb1 fig4 #ahd1 and 
bibliog41  note #c1 p4 #cfc2 ,overbeck1 
,i1 p4 #bjf1 fig4 #di2 ,gardner1 ,hbk41 
p4  #bac1 fig4 #dh2 ,lechat1 p4 #cfb and
 ,au ,muse1 p4 #cgd1 fig4 #ci2 ,furtw41 
#ejstes ,berl4 ,winckelmannsprogr41 p4  
#aea2 ,perrot-,chipiez1 ,,viii1 ,pl4    
,,xiv2 ,arch4 ,eph41 ,,iii1 #ahhh1 ,pl4 
,,ii4 ,it is slightly under life-size4  
#iji ,here again ,furtwaengler ascribes 
it to ,hegias1 whose art he  derives    
from ,hageladas4    #iaj ,richter1      
,greek1 ,etruscan1 and ,roman ,bronzes  
in the ,metropolitan  ,museum1 p4 #di1  
fig4 #gh2 it will be discussed infra in 
,ch4 ,,iv1 pp4  #bbj-a4    #iaa ,see    
supra1 p4 #aje and n4 #c4    #iab ,on   
,chrysothemis1 see ,robert in           
,pauly-,wissowa1 ,,iii1 #b1 p4  #beba2  

,brunn1 pp4 #fa-b2 ,overbeck1 ,i1 p4    
#adj2 ,collignon1 ,i1 pp4 #bbe  7       
forerunners of ,hageladas and           
,polykleitos71 and cf4 p4 #cbj4 ,on     
,eutelidas1 see ,pauly-,wissowa1 ,,vi1  
#a1 p4 #adic4    #iac ,pliny1 ,h4 ,n41  
,,xxxiv1 #ee2 others1 e4 g41 ,p41 ,,vi1 
#f4b1 call him  an ,argive4 ,he belonged
 to a family of sculptors1 some of whom 
worked in  ,sikyon and others in ,argos4
    #iad ,kyniskos3 ,p41 ,,vi1 #d4aa2   
,hyde1 #de2 ,foerster1 #bee2 ,inschr4 v4
  ,ol41 #adi2 ,pythokles3 ,p41 ,,vi1    
#g4aj2 ,oxy4 ,pap42 ,hyde1 #gj2         
,foerster1  #bie2 ,inschr4 v4 ,ol41     
#afb-c2 ,aristion3 ,p41 ,,vi1 #ac4f2    
,oxy4 ,pap42  ,hyde1 #aae2 ,foerster1   
#cgf2 ,inschr4 v4 ,ol41 #afe 7renewed72 
,i4 ,g4 ,b41  #ib2 ,thersilochos3 ,p41  
,,vi1 #ac4f2 ,hyde1 #aad2 ,foerster1    
#cfi4    #iae ,h4 ,n41 ,,xxxiv1 #ia4 ,in
 the same book1  #gb1 ,pliny mentions   
another pupil of ,polykleitos1          
,aristeides1 as the fashioner of        
chariot-groups4 ,pausanias merely       

mentions him in connection with         
improvements in the hippodrome at       
,olympia made by ,kleoitas3 ,,vi1       
#bj4ad2  see ,pauly-,wissowa1 ,,ii1 pp4 
#hif-g4    #iaf ,furtwaengler1 ,mp41 p4 
#bbf1 makes ,naukydes1 ,daidalos1 and   
the younger ,polykleitos sons of        
,patrokles1 the brother of the great    
,polykleitos4 ,naukydes and ,daidalos   
describe themselves as sons of          
,patrokles in two inscriptions3 ,i4 ,g4 
,b41 #hf and #hh4 ,pausanias1  however1 
calls ,naukydes a brother of            
,polykleitos and son of ,mothon3 ,,ii1  
#bb4g4    #iag ,cheimon3 ,p41 ,,vi1     
#i4c2 ,oxy4 ,pap42 ,hyde1 #hh2          
,foerster1 #bhe2  ,baukis3 ,p41 ,,vi1   
#h4d2 ,hyde1 #gg2 ,foerster1 #cah2      
,eukles3 ,p41 ,,vi1 #f4b2  ,hyde1 #eb2  
,foerster1 #big2 ,inschr4 v4 ,ol41 #aei 
7renewed74 ,naukydes'  activity extended
 from ,ol4 #hc to ,ol4 #ie 7 #ddh-djj   
,b4 ,c473 ,hyde1 p4 #ci4    #iah ,h4    
,n41 ,,xxxiv1 #di4    #iai ,p41 ,,vi1   
#h4a2 ,hyde1 #gb2 ,foerster1 #bfh4      

#ibj ,p41 ,,vi1 #f4b1 expressly         
distinguishes between the elder and     
younger ,polykleitos2 in speaking of the
 statue of the boy wrestler  ,agenor1 he
 says that ,polykleitos1 the pupil of   
,naukydes1 8not the one  who made the   
statue of ,hera10 fashioned it4 ,robert1
 ,o4 ,s41 pp4 #ahf  f41 gives his       
activity as ,ols4 #ih to #ajc 7 #chh-cfh
 ,b4 ,c474    #iba ,antipatros3 ,p41    
,,vi1 #b4f2 ,hyde1 #af2 ,foerster1 #cji2
 ,agenor3 ,p41  ,,vi1 #f4b2 ,hyde1 #ec2 
,foerster1 #cee2 ,xenokles3 ,p41 ,,vi1  
#i4b2 ,hyde1 #he2  ,foerster1 #cjh2     
,inschr4 v4 ,ol41 #afd2 ,i4 ,g4 ,b41    
#ij2 ,furtwaengler  wrongly ascribed the
 statue of ,xenokles to the elder       
,polykleitos and  that of ,aristion to  
the younger3 ,mp41 pp4 #bbd-e4 ,loewy   
had already  assumed the eider for      
,aristion1 ,strena ,helbigiana1 p4 #ahj1
 n4 #d1 and  this was confirmed by the  
early dating of his victory in the ,oxy4
 ,pap4    #ibb ,p41 ,,vi1 #af4g2 ,hyde1 
#afb2 ,foerster1 #eae4 ,on this         

sculptor1 see  ,pauly-,wissowa1 ,i1 p4  
#bacg2 ,i4 ,g4 ,b41 #dge2 ,inschr4 v4   
,ol41 #cah2 etc4    #ibc ,before #fjj   
,b4 ,c42 ,robert1 in ,pauly-,wissowa1   
,v1 pp4 #aaei f42 cf4  ,collignon1 ,i1  
pp4 #aca and #bbb f42 ,overbeck1 ,i1 pp4
 #hd f4    #ibd ,p41 ,,vi1 #i4a1 f4     
#ibe ,antipatros of ,sidon1 in ,a4 ,pl4 
7,,xvi71 no4 #bbj2 on ,aristokles1  see 
,pauly-,wissowa1 ,,ii1 p4 #icg2 ,robert1
 ,arch4 ,maerch41 pp4 #ie ff4    #ibf   
,longprier1 ,notice des bronzes antiques
 du ,louvre1 ,i1 #ahfh1  no4 #fi2 de    
,ridder1 ,les bronzes antiques du       
,louvre1 ,i1 #aiac1 ,pl4  #b1 #b1 and p4
 #g2 ,b4 ,b41 no4 #gh2 ,collignon1 ,i1  
,pl4 ,v1 opp4 p4 #cab2  von ,mach1 #ah  
7two views72 ,overbeck1 ,i1 p4 #bce1    
fig4 #fj 7two views72                   
,springer-,michaelis1 p4 #baa1 fig4     
#cig2 ,perrot-,chipiez1 ,,viii1 ,pl4    
,,xi2  ,reinach1 ,rp41 ,,ii1 #a1 #hd1   
#i4 ,for bibliography1 see ,deonna1 ,les
  ,apollons archaques1 p4 #bgd4 ,it is  
only #c feet #d inches tall4 ,the       

,apollo ,philesios1 stolen from ,miletos
 at the destruction of the city  by     
,darius in #dic ,b4 ,c4 7,hdt41 ,,vi1   
#ai2 but ,p41 ,,viii1 #df4c1 and later  
writers wrongly say by ,xerxes2 see ,e4 
,meyer1 ,gesch4 d4 ,altertums1#b  #aiab1
 ,,iii1 p4 #cji71 was restored from     
,ekbatana in ,media in #cjf ,b4 ,c4 by  
,seleukos ,nikator 7,p41 l4 c41 and cf4 
,i1 #af4c74 ,it is also mentioned  by   
,p41 ,,ii1 #aj4e4 ,the genuineness of   
the ,piombino statuette has been        
assailed1 but ,overbeck has proved it   
genuinely archaic3 ,griech4             
,kunstmyth41 ,,iii1 ,apollon1 #ahhi1 pp4
 #bb f42 cf4 ,gesch4 d4 gr4  ,pl41 ,i1  
pp4 #bcd f4    #ibg ,h4 ,n41 ,,xxxiv1   
#ge2 cf4 ,jex-,blake ad loc41 p4 #fj4   
,pausanias  mentions a cedar replica of 
the ,apollo at ,thebes3 ,,ii1 #aj4e and 
,,ix1  #aj4b4 ,see p4 #ccf1 n4 #a4      
#ibh ,p4 ,gardner1 ,the ,types of ,greek
 ,coins1 #ahhc1 ,pl4 ,,xv1 nos4  #ae-af2
 ,collignon1 ,i1 p4 #cab1 figs4         
#aec-aee2 cf4 ,b4 ,head1 ,historia      

,nummorum#b1 #aiaa1 p4 #ehf2 ,overbeck1 
,apollon1 pp4 #bc f41 and  ,muenztafel  
,i1 nos4 #bb f4 ,also on gems3 see ,m4  
,w41 ,i1 ,pl4 ,,xv1 no4 #fa2  ,b4 ,m4   
,gems1 no4 #gbj2 etc4    #ibi ,l4 c4    
#icj ,b4 ,m4 ,bronzes1 no4 #bji and ,pl4
 ,i 7middle72 ,specimens1 ,pl4  #ab2    
,annali1 ,,vi1 #ahcd1 ,pl4 ,d1 fig4 #d2 
,overbeck1 ,i1 p4 #add1 fig4  #bd1 and  
,apollon1 p4 #bd1 fig4 #e2 ,murray1 ,i1 
p4 #aic1 fig4 #di2 ,rayet  et ,thomas1  
,milet et le golfe ,latmique1 ,pl4 #bh1 
#b2 ,collignon1 ,i1  p4 #cac1 fig4 #aef2
 ,dar4-,sagl41 ,i1 p4 #cah1 fig4 #cge2  
von ,mach1 #ag a2  ,springer-,michaelis1
 p4 #ahc1 fig4 #cej2 ,perrot-,chipiez1  
,,viii1 p4 #dge1  fig4 #bdb2 ,reinach1  
,rp41 ,,ii1 #a1 #hj1 #i2 ,fowler and    
,wheeler1 ,hbk4 of  ,greek ,archology1  
#aiji1 p4 #cca1 fig4 #bea2              
,furtwaengler1 in ,roscher1  ,lex41 ,i1 
#a1 p4 #dea2 ,frazer1 ,,iv1 p4 #dcj1    
fig4 #de1 ,bulle1 #bh 7middle74  ,a     
modern copy is in the ,antiquarium1     
,munich3 ,f4 ,w41 #ea4 ,it is #j4ahe    

meter high 7,bulle74    #ica ,r4 ,m41   
,,ii1 #ahhg1 pp4 #ij f4 7,studniczka7   
and ,pls4 ,,iv1 ,,iv a1 ,v2  ,collignon1
 ,i1 p4 #cba1 fig4 #afa2 ,overbeck1 ,i1 
p4 #bci1 fig4 #fb2 ,michaelis  in ,a4   
,z41 ,,xxi1 #ahfc1 pp4 #abb f4          
7,anzeiger74 ,it is #a4aa meters in     
height4    #icb ,collignon1 ,i1 p4 #bec1
 fig4 #abb2 ,overbeck1 ,griech4         
,kunstmythol41  ,,iii1 ,apollon1 p4 #cf1
 fig4 #h2 ,fraenkel1 in ,a4 ,z41        
,,xxxvii1 #ahgi1 pp4  #hd-ia1 and ,pl4  
#g4    #icc ,the small bronze also found
 there1 #j4aee meter high1 belongs  to  
the same series3 ,b4 ,c4 ,h41 ,x1 #ahhf1
 pp4 #aij f41 and ,pl4 ,,ix4 ,it        
greatly resembles the statuette from    
,naxos4 ,for a list of replicas of  the 
statue of ,kanachos1 see ,rayet1 tudes  
d'archologie et d'art1 p4  #afd2 etc4   
#icd ,on the style of ,kanachos and the 
,apollo1 see also ,kekul1  ,sitzb4 d4   
preuss4 ,akad4 d4 ,wiss4 zu ,berlin1    
#aijd1 ,i1 pp4 #ghf-hja2 ,o4  ,mueller1 
,kleine ,schriften1 ,,ii1 p4 #ecg2 ,f4  

,w41 to no4 #ea2 ,brunn1 pp4  #gd f42   
,collignon1 ,i1 pp4 #caj f42 etc4       
#ice ,p41 ,,vi1 #a4c and #h4e2 ,hyde1   
#a1 #b1 #c1 and #gh2 ,foerster1 #bif1   
#cjj1  #bii1 #bij and #cje2 on ,alypos1 
see ,pauly-,wissowa1 ,i1 p4 #agaa2      
,brunn1 p4  #bhj2 ,b4 ,c4 ,h41 ,,xxi1   
#ahig1 pp4 #bhg f42 and cf4 ,p41 ,x1    
#i4aj4    #icf ,p41 ,,vi1 #ac4g2 ,hyde1 
#aaf2 ,foerster1 #bia2 on the sculptor1 
see  ,brunn1 p4 #bgg4    #icg ,p41 ,,vi1
 #c4ac2 ,hyde1 #cd2 ,foerster1 #ege2 on 
the sculptor1 see  ,brunn1 pp4 #bib and 
#dai2 cf4 ,hyde1 p4 #cd4    #ich ,timon 
and ,aigyptos1 who won some time between
 ,ols4 787 #ih and  #aja ,p41 ,,vi1     
#b4h2 ,hyde1 #ag1 #ah2 ,foerster1 #caj1 
#cja2 ,aristodemos1 ,ol4  #ih ,p41 ,,vi1
 #c4d2 ,hyde1 #be2 ,foerster1 #cab2     
,eupolemos1 ,ol4 #if3 ,afr42 ,p41  ,,vi1
 #c4g2 ,hyde1 #bh2 ,foerster1 #bid4 ,on 
,daidalos1 see ,pauly-,wissowa1 ,,iv1   
pp4 #bjjf f42 ,robert1 ,o4 ,s41 pp4 #aia
 f42 ,brunn1 pp4 #ad f4    #ici ,p41    
,,vi1 #c4e2 ,hyde1 #bf2 ,foerster1 #cbe4

 ,on ,damokritos1 see  ,pauly-,wissowa1 
,,iv1 p4 #bjgj2 ,brunn1 p4 #aje4    #idj
 ,deinolochos3 ,p41 ,,vi1 #a4d2 ,hyde1  
#e2 ,foerster1 #ccj2 ,hysmon3 ,p41      
,,vi1 #c4i2 ,hyde1 #ca2 ,foerster1 #cdg2
 ,kritodamos3 ,p41 ,,vi1 #h4e2 ,hyde1   
#hj2  ,foerster1 #ccg2 ,inschr4 v4 ,ol41
 #afg2 ,i4 ,g4 ,b41 no4 #if2 ,alketos3  
,p41  ,,vi1 #i4b2 ,hyde1 #hf2 ,foerster1
 #cbj2 ,lykinos3 ,p41 ,,vi1 #aj4i2      
,hyde1 #ajj2  ,foerster1 #ccf4 ,on      
,kleon1 see ,brunn1 pp4 #bhe2 ,i4 ,g4   
,b41 to no4 #ie4    #ida ,troilos3 ,p41 
,,vi1 #a4d2 ,hyde1 #f2 ,foerster1 #cch  
and #cde2 ,inschr4  v4 ,ol41 #aff2 the  
dates of his two victories1 ,ols4 #ajb1 
#ajc1 are  known2 ,philandridas3 ,p41   
,,vi1 #b4a2 ,hyde1 #aj2 ,foerster1 #cic2
 his victory  fell either in ,ol4 #ajb  
or ,ol4 #ajc2 ,cheilon3 ,p41 ,,vi1      
#d4f-g2 ,hyde1 #da2  ,foerster1 #chd and
 #cib2 ,p41 because of the dating of    
,lysippos1 inferred  that this victor   
fell either at ,chroneia 7#cch ,b4 ,c47 
or ,lamia 7#cbb  ,b4 ,c471 both of which

 dates fall within the working years of 
the  sculptor2 see ,p4 ,gardner1 ,j4 ,h4
 ,s41 ,,xxv1 #aije1 p4 #bdf2 ,polydamas3
  ,p41 ,,vi1 #e4a2 ,hyde1 #dg2          
,foerster1 #bgi2 ,africanus gives us the
 date of  his victory as ,ol4 #ic1      
though the statue was set up after the  
victor's  death2 ,kallikrates1 of       
,magnesia on the ,mander3 ,p41 ,,vi1    
#ag4c2 ,hyde1  #age2 ,foerster1 #cij and
 #cig 7for two victories74 ,lysippos    
made two honor  statues for ,pythes of  
,abdera3 ,p41 ,,vi1 #ad4ab2 ,hyde1 #acd 
a4    #idb ,kallon3 ,p41 ,,vi1 #ab4f2   
,hyde1 #ajf2 ,foerster1 #daj2           
,nikandros3 ,p41  ,,vi1 #af4e2 ,hyde1   
#aeg2 ,foerster1 #djh and #dac 7two     
victories74 ,on the  sculptor1 see      
,pauly-,wissowa1 ,,iv1 p4 #bjac2 ,brunn1
 p4 #djg4    #idc ,p41 ,,vi1 #ag4e2     
,hyde1 #aha2 ,foerster1 #dja4 ,on       
,daitondas1 see ,robert  in             
,pauly-,wissowa1 ,,iv1 p4 #bjae 7who    
dates the sculptor at the beginning  of 
the third century ,b4 ,c41 because of an

 inscribed base found at  ,delphi3 ,i4  
,g4 ,b41 #ig2 ,c4 ,i4 ,g4 ,g4 ,s41 ,i1  
#bdgb72 cf4 ,schmidt1 ,a4  ,m41 ,v1     
#ahhj1 pp4 #aig-h1 no4 #eh2 cf4 ,brunn1 
p4 #dah4    #idd ,p41 ,,vi1 #b4f f42    
,hyde1 #ae2 ,foerster1 #dbd4    #ide ,h4
 ,n41 ,,xxxiv1 #ea2 cf4 ,,xxxiv1 #gh    
7for his image of the ,eurotas  river72 
,,xxxv1 #ada 7as painter74 ,the ,tyche  
is mentioned by ,p41 ,,vi1  #b4g4 ,many 
copies of this work in marble1 bronze1  
and silver have been  identified1       
especially a marble statuette in the    
,vatican3 ,b4 ,b41 no4  #aed2 ,helbig1  
,fuehrer1 ,i1 #cfb2 ,f4 ,w41 #acif2 von 
,mach1 #bef2 etc4 ,for a  list of       
copies1 see ,r4 ,foerster1 ,jb41 ,,xii1 
#ahig1 pp4 #ade f42 cf4  ,amelung1      
,fuehrer d4 ,florenz1 nos4 #bfa-b2 and  
,p4 ,gardner1 ,j4 ,h4 ,s41  ,,ix1 #ahhh1
 pp4 #ge f4 and ,pl4 ,v 7silver         
statuette74 ,on the sculptor1 see       
,robert in ,pauly-,wissowa1 ,,vi1 pp4   
#aecb-c2 ,brunn1 ,i1 pp4 #daa f42 ,,ii1 
p4  #aeg 7painter72 ,overbeck1 ,,ii1 pp4

 #agb f42 ,collignon ,,ii1 pp4 #dhe f42 
,murray#b1 ,,ii1 pp4 #ced f4 ,robert1 l4
 c41 gives three other sculptors  of the
 same name2 cf4 ,i4 ,g4 ,b41 nos4 #adc  
and #bdd-i2 ,homolle1 ,b4 ,c4  ,h41     
,,xviii1 #ahid1 pp4 #ccf f4    #idf     
,kratinos3 ,p41 ,,vi1 #c4f2 ,hyde1 #bg2 
,foerster1 #dcc2 ,alexinikos3 ,p41      
,,vi1 #ag4g2 ,hyde1 #ahd2 ,foerster1    
#dch4 ,on the sculptor1 see ,pliny1     
,,xxxiv1  #he2 ,brunn1 p4 #dae4    #idg 
,p41 ,v1 #be4ab-ac4    #idh ,p41 ,v1    
#bg4h 7 joint work of ,onatas and       
,kalliteles74    #idi ,p41 ,v1 #be4h f4 
,the base has been found in situ east of
 the  temple of ,zeus3 ,ergebn4 v4 ,ol41
 ,tafelbd41 ,,ii1 ,pl4 ,,xvii1 #ab2     
,textbd41  pp4 #ade f4 ,see ,plans ,a   
and ,b4    #iej ,p41 ,,vi1 #ab4a4 ,hiero
 won three victories in ,ols4 #gf1 #gg1 
#gh 7  #dgf-dfh ,b4 ,c473 ,oxy4 ,pap41  
,hyde1 #aje2 ,foerster1 #aii1 #bji1     
#bae4 ,the  monument was dedicated in   
#dfg ,b4 ,c4 after the death of the     
king4 ,for  the sculptor1 see ,brunn1 p4

 #hh4    #iea ,p41 ,,vi1 #i4d-e2 ,hyde1 
#ij2 ,foerster1 #ahj2 ,inschr4 v4 ,ol41 
#adc4    #ieb ,philon3 ,p41 ,,vi1 #i4i2 
,hyde1 #ia2 ,foerster1 #afg and #agi2 he
 won in  ,ols4 787 #gb and #gc 7 #dib   
and #dhh ,b4 ,c472 ,glaukos 7boy boxer73
 ,p41 ,,vi1  #aj4a-c2 ,hyde1 #ic2       
,foerster1 #acg2 he won in ,ol4 #fe 7   
#ebj ,b4 ,c471 but  his statue was set  
up by his son at the beginning of the   
fifth century  ,b4 ,c43 ,hyde1 p4 #db2  
,theagenes3 ,p41 ,,vi1 #aa4b f42 he won 
in ,ols4 #ge and  #gf 7 #dhj and #dgf   
,b4 ,c473 ,oxy4 ,pap41 ,hyde1 #ajd2     
,foerster1 #aia1 #aif4    #iec ,for the 
meaning of the word 1 see infra1 ,ch4   
,,iv1 p4  #bdc and n4 #d4    #ied       
,theognetos3 ,p41 ,,vi1 #i4a2 ,oxy4     
,pap42 ,hyde1 #hc2 ,foerster1 #aic1     
#aic ,n2 ,epikradios3 ,p41 ,,vi1 #aj4i2 
,hyde1 #aja2 ,foerster1 #bbh4    #iee   
,p41 ,,vi1 #aj4i2 ,hyde1 #ajc and p4    
#dd2 ,foerster1 #eai4 ,on the  sculptor1
 see ,brunn1 p4 #if4    #ief ,p41 ,,vi1 
#ad4b2 ,hyde1 #acc2 ,foerster1 #cbg4    

,for the sculptor1 see  ,brunn1 p4 #if4 
#ieg ,lechat1 ,au ,muse1 ,pl4 ,,xv2     
,arch4 ,eph41 #ahhg1 ,pl4 ,,iii and pp4 
#dc f42 ,bulle1 #bbf 7two views72 von   
,mach1 #ddb1 #ddc 7right72 ,s4 ,reinach1
  ,ttes1 nos4 #e and #f2 ,overbeck1 ,i1 
p4 #aih1 fig4 #dd 7two views72          
,collignon1 ,i1 p4 #cjd1 fig4 #aea2     
,perrot-,chipiez1 ,,viii1 pp4 #ebf-g1   
figs4  #bga-b2 ,e4 ,a4 ,gardner1 ,j4 ,h4
 ,s41 ,,viii1 #ahhg1 p4 #aia4 ,while    
,overbeck  and ,lechat regard it as     
,attic1 most scholars call it           
,aeginetan4 ,the  helmet is separately  
made and fastened on4 ,bulle dates it in
 the first  decade of the fifth century 
,b4 ,c4 ,it is #j4bg meter high         
7,bulle74    #ieh ,comparetti e de      
,petra1 ,la ,villa ,ercolanese dei      
,pisoni1 #ahhc1  ,pl4 ,,vii1 #a1 p4     
#bfj2 ,collignon1 ,i1 p4 #cjc1 fig4     
#aej2 ,mon4 d4 ,i41 ,,ix1  #ahfi-gc1    
,pl4 ,,xviii2 ,kekul1 ,annali1 ,,xlii1  
#ahgj1 pp4 #bfc f42 von  ,mach1 #dda2   
,f4 ,w41 #bbi2 for its style1 see       

,rayet1 ,i1 text to ,pl4 #bf4           
,studniczka1 ,r4 ,m41 ,,ii1 #ahhg1 p4   
#aje1 n4 #dg1 believes that the closely 
allied colossal marble head in the      
,museo ,torlonia 7no4 #eja7 in ,rome is 
a copy of the colossal ,apollo of       
,onatas at ,pergamon1 mentioned by ,p41 
,,viii1 #db4g4 ,the head of the ,zeus   
found at ,olympia 7,bronz4 v4 ,ol41     
,pl4 ,i1 #a1 #a a7 has been regarded as 
,aeginetan4    #iei ,collignon1 ,i1 p4  
#cjf2 fig4 #aeb on p4 #cje4    #ifj ,b4 
,m4 ,sculpt41 ,i1 no4 #bjf2 etc4 ,brunn1
 ,sitzb4 ,muen4 ,akad41  #ahgb1 pp4 #ebi
 f41 referred it to the school of       
,kallon2 cf4 also  ,collignon1 ,i1 p4   
#cjb4    #ifa ,gardner1 ,hbk41 p4 #afi1 
fig4 #ca2 von ,mach1 no4 #ae 7right72   
etc4    #ifb ,aegina1 das ,heiligtum der
 ,aphaia1 #aijf2 see ,tafelbd41 ,,ii1   
,pls4 #ajd 7,west ,gable71 #aje 7,east  
,gable71 7the pediment groups in        
colors72 whence ,gardner1 ,hbk41 p4     
#bbf1 ,pls4 #ej-ea2 cf4 also            
,springer-,michaelis1 pp4 #bad-ae1 figs4

 #djj 7,west ,gable71 #dja 7,east       
,gable72 fig4 #cii gives an older       
arrangement of the ,west ,gable statues1
  as set up in plaster in the           
,strasbourg ,museum4 ,since             
,furtwaengler's  death new attempts at  
reconstruction have been made1 notably  
by ,p4  ,wolters1 ,aeginetische         
,beitraege1 and ,d4 ,mackenzie1 in ,b4  
,s4 ,a41 ,,xv1  #aijh-ji1 pp4 #bgd f4   
and ,,pi4 ,,xix 7,east ,gable74 ,for    
various figures1 see  von ,mach1 nos4   
#gh-hc4 ,see ,furtwaengler-,wolters1    
,beschr4 d4 ,glypt4#b1  pp4 #ie f4 and  
figs4 #gd f4    #ifc ,while ,overbeck   
dates them about #ejj ,b4 ,c41          
,furtwaengler1 ,bulle1  ,gardner1 and   
others date them about #dhj ,b4 ,c4     
#ifd ,hdt41 ,,viii1 #ic4    #ife ,p41   
,x1 #ac4 #aj4    #iff ,furtw41 op4 cit41
 ,tafelbd41 ,pl4 #ie1 no4 #hb1 and      
,textbd41 pp4  #bdh-i1 and fig4 #agh on 
p4 #bc2 ,b4 ,b41 no #bf2 ,gardner1      
,hbk41 p4 #bbi1  fig4 #eb2 it is from   
the north half of the gable4    #ifg    

,furtw41 fig4 #bjd1 p4 #bdh4    #ifh    
,furtw4-,wolters1 ,beschr4 d4           
,glyptothek1#b no4 #gh2 ,furtw41 op4    
cit41 ,tafelbd41 ,pl4 #if1 no4 #cb1 and 
,textbd41 pp4 #bbc-d2 the figure  on our
 plate to the right  ,furtw4-,wolters1  
,beschr41 no4 #gg and  ,furtw41 op4     
cit41 ,pl4 #if1 no4 #bi1 ,textbd41 p4   
#bba4 ,no4 #gh should  stand1 however1  
in front of #gg as arranged by          
,furtwaengler1 op4 cit41  ,tafelbd41    
,pl4 #ajd1 and both should be placed in 
the south half of the  ,west ,pediment  
and not in the north4 ,for the two      
figures in ,fig4 #ba1  see also von     
,mach1 #gh 7middle and right74 ,for     
another figure 7armed  with helmet1     
shield1 and spear7 from the ,east       
,gable1 see ,bulle1 #hf                 
,furtw4-,wolters1 no4 #hf 7formerly no4 
#ef74    #ifi ,recently these           
sculptures1 and especially the limestone
 7  7 fragments1 have been dated from   
#dij ,b4 ,c41 rather than from  #dhj see
 ,svoronos1 ,i1 p4 #ib4 ,the ,akropolis 

was destroyed by ,xerxes in  #dhj ,b4   
,c41 but it is problematical if with the
 completeness recorded  by ,hdt41       
,,viii1 #ec2 see ,doerpfeld in ,a4 ,m41 
,,xxvii1 #aijb1 pp4 #cgi f42  ,dickins1 
pp4 #e f4 ,the next year ,mardonios     
destroyed the city by fire3  ,hdt41     
,,ix1 #ac4    #igj ,see von ,mach1 #be  
f42 ,reinach1 ,rp41 ,,ii1 #b1 pp4 #fce  
f42  for details1 ,lechat1 ,au ,muse1   
and ,schrader1 ,die archaischen         
,marmorskulpturen im ,akropolis-,museum 
zu ,athen1 #aiji4 ,see also ,dickins1   
op4 cit42 ,perrot-,chipiez1 pp4 #egd f4 
and p4 #egg1 fig4 #bhi 7 ,au  ,muse1    
fig4 #bf71 and p4 #egh1 fig4 #bij 7 ,au 
,muse1 fig4 #h72 etc4    #iga ,mon4 gr41
 ,,vii1 #ahgh 7publ4 in vol4 ,i1 #ahhb71
 ,pl4 ,i and pp4 #a-ad  7,a4 ,dumont72  
,mon4 ,piot1 ,,vii1 ,pl4 ,,xiv1 and pp4 
#adf-g 7,lechat72 ,rayet1  ,i1 ,pl4 #ah2
 ,collignon1 ,i1 p4 #cfj1 fig4 #ahb2    
,reinach1 ,ttes1 #c1 #d2  ,bulle1 #bbe2 
,perrot-,chipiez1 ,,viii1 p4 #fda1 fig4 
#cbh4    #igb ,so ,richardson1 p4 #hc1  

and others4    #igc ,so ,bulle2 he dates
 it in the first half of the sixth      
century ,b4  ,c41 doubtless a little too
 early4    #igd ,it is now in the       
,national ,museum at ,athens3           
,kabbadias1 no4 #ch2  ,stas1 ,marbres et
 ,bronzes1 p4 #ag2 ,arch4 ,eph41 #ahgd1 
p4 #dhd and ,pl4  #ga1 1 a              
7,koumanoudis72 ,sybel1 ,kat4 d4        
,skulpt4 zu ,athen1 #ahha1 no4  #bijd2  
von ,mach1 #cea2 ,overbeck1 ,i1 p4 #bjb1
 fig4 #df2 ,collignon1 ,i1 p4  #che1    
fig4 #bjj2 ,f4 ,w41 #ii2 ,conze1 ,die   
attischen ,grabreliefs1 ,i1 #ahij1  ,pl4
 ,,iv1 pp4 #e-f2 ,kirchhoff and         
,curtius1 ,philolog4 u4 histor4 ,abh4 d4
  k4 ,akad4 d4 ,wiss4 zu ,berlin1 #ahgc1
 pp4 #aef f4 7and two illustrations1    
one of a second fragment72              
,perrot-,chipiez1 ,,viii1 p4 #ffd1 fig4 
#cdb4    #ige ,the breadth of #ad inches
 at top would become #cj inches at      
bottom4  ,a second fragment1 apparently 
belonging to the first1 contains a part 
of the leg3 ,arch4 ,eph41 #ahgd1 ,pl4   

#ga1 1 b4    #igf ,the same motive      
occurs on vases3 e4 g41 ,gerhard1 ,i1   
,pl4 ,,xxii1  and ,,iv1 ,pl4 ,,cclxxii4 
#igg ,this very low relief is the most  
perfect of the older ,attic  grave-stel1
 and dates from the second half of the  
sixth century ,b4 ,c43  ,kabbadias1 no4 
#bi2 ,stas1 ,marbres et ,bronzes1 p4 #ae
 and fig4 7#b4dj  m4 high72 ,sybel1 op4 
cit41 no4 #ccfa2 ,overbeck1 ,i1 p4 #bjj1
 fig4 #de2  ,conze1 ,die attischen      
,grabreliefs1 ,i1 ,pl4 ,,ii1 #a1 p4 #d2 
,b4 ,b41 no4 #da  ,a2 ,baum41 ,i1 p4    
#cda1 fig4 #ceh2 ,kekul1 ,die ant4      
,bildw4 im ,theseion1  no4 #cfc2        
,springer-,michaelis1 p4 #aie1 fig4     
#cga2 ,f4 ,w41 no4 #aja4 ,overbeck      
dates it at the beginning of the fifth  
century ,b4 ,c42 ,richardson1 p4 #ia    
and fig4 #dc1 about #ebe ,b4 ,c4 ,for a 
duplicate stele from ,ikaria1 see ,a4   
,j4 ,a41 ,v1 #ahhi1 ,pl4 ,i and pp4 #i  
f4 7,buck72 ,conze1 op4 cit41 ,i1 ,pl4  
,,ii1 #b4    #igh ,dickins1 no4 #fib and
 fig42 mentioned by ,furtwaengler1 ,a4  

,m41 ,v1  #ahhj1 pp4 #be and #cb2       
discussed by ,r4 ,delbrueck1 ibid41     
,,xxv1 #aijj1 pp4  #cgc f41 ,pls4 ,,xv1 
,,xvi 7bottom74    #igi ,la ,glypt4     
,ny-,carlsberg1 #ahif1 ,pls4 #a1 #b 7and
 text by ,arndt72  ,reinach1 ,ttes1     
,pls4 #a1 #b2 ,rayet1 ,mon4 gr41 ,,vi1  
#ahgg 7publ4 in  vol4 ,i1 #ahhb71 ,pl4  
,i2 id41 t4 d'archol4 et d'art1 pp4 #a-h
 and  ,pl4 ,i2 ,collignon1 ,i1 pp4 #cfa1
 fig4 #ahc2 ,b4 ,b41 no4 #aaf2 ,bulle1  
#aig2  ,perrot-,chipiez1 ,,viii1 p4     
#fdc1 fig4 #cbi4    #ihj ,collignon1 ,i1
 p4 #cgf1 fig4 #aic2 ,bulle1 fig4 #abh  
on p4 #ddj4    #iha ,brunn-,arndt1 ,gr4 
und roem4 ,portraets1 ,pls4             
,,xxiii-,,xxiv4    #ihb ,gaz4 arch41    
#ahhg1 ,pl4 ,,xi4    #ihc ,cf4 ,arndt1  
,la ,glyptothque ,ny-,carlsberg1 text to
 nos4 #a and #b4    #ihd ,sammlung      
,sabouroff1 #ahhc1 ,i1 ,einleitung1 p4  
#e4    #ihe ,found in two fragments in  
#ahbb and #ahei-fj3 ,dickins1 no4 #acdb1
  pp4 #bge ff41 and fig42 ,b4 ,b41 #ba2 
von ,mach1 #ef2 ,overbeck1 ,i1 p4 #bjc  

and  fig4 #dg2 ,h4 ,schrader1 ,a4 ,m41  
,,xxx1 #aije1 pp4 #cje f41 and ,pl4     
,,xi4 ,other  references are given      
infra1 p4 #bfi1 n4 #i4    #ihf ,see     
,hauser1 ,jb41 ,,vii1 #ahib1 pp4 #ed f41
 who discusses the  question of the sex 
of the figure at length4    #ihg ,so    
,hauser1 l4 c42 followed by ,robinson1  
,cat4 ,museum of ,fine  ,arts in        
,boston1 no4 #cc4    #ihh ,e4 g41       
,gerhard1 ,i1 ,pls4 ,,xx and ,,xxi4     
#ihi ,see infra1 ,ch4 ,v1 pp4 #bfi f4   
#iij ,while ,schrader 7op4 cit41 p4     
#cac7 dates it in the last quarter  of  
the sixth century ,b4 ,c41 ,dickins     
finds it earlier than the remnants  of  
the sculptures of the ,hekatompedon and1
 because of the delicate  carving of the
 drapery and hair1 despite its ,attic   
features1 calls it  8typically ,ionian  
in its elaboration of detail40 ,however1
 ,i follow  ,overbeck's date at the     
beginning of the fifth century ,b4 ,c4  
7op4 cit4  p4 #bjd71 and believe that it
 represents a time near the close of    

,ionic  influence on ,attic art4    #iia
 ,p41 ,,vi1 #f4a2 ,oxy4 ,pap42 ,hyde1   
#ej2 ,foerster1 #bjh2 ,inschr4 v4  ,ol41
 #adf4    #iib ,of the ,spartan hoplite 
and chariot victor ,lykinos1 who won two
  victories in ,ols4 787 #hc and #hd 7  
#ddh and #ddd ,b4 ,c473 ,p41 ,,vi1 #b4a2
  ,hyde1 #ab2 ,foerster1 #baa ,n2 of the
 pancratiast ,timanthes of ,kleonai1    
who won in ,ol4 #ha 7 #def ,b4 ,c473    
,p41 ,,vi1 #h4d2 ,oxy4 ,pap42 ,hyde1    
#gf2  ,foerster1 #bcb2 of the unknown   
,arkadian boxer1 mentioned by ,p41 ,,vi1
 #h4e1  who won in ,ol4 #hj or ,ol4 #hd 
7 #dfj or #ddd ,b4 ,c473 ,hyde1 #gi1 and
 pp4  #ci-da2 cf4 ,foerster1 #bbb a1    
,hyde1 #gi a2 ,inschr4 v4 ,ol41 #agd2 of
 the  ,spartan runner ,chionis1 who won 
in ,ols4 #bh1 #bi1 #cj1 #ca 7 #ffh-fef  
,b4  ,c471 but his statue was erected in
 ,ol4 #gg or #gh 7 #dgb or #dfh ,b4     
,c473  ,p41 ,,vi1 #ac4b2 ,afr42 ,hyde1  
#aaa and p4 #dh2 ,foerster1 #ci1 #da-f4 
,on two  statues of ,lykinos1 see infra1
 p4 #ahg1 n4 #f4    #iic ,of the ,elean 

boxer ,satyros1 who won two victories in
 ,ols4 787  #ajb1 #ajc 7 #cgb1 #cfh ,b4 
,c473 ,p41 ,,vi1 #d4e2 ,hyde1 #ci2      
,foerster1 #cdb1 #cdh2  of the boy      
boxers ,telestas and ,damaretos of      
,messene1 who won some time  between    
,ols4 #ajb and #aad 7 #cgb and #cbd ,b4 
,c473 ,p41 ,,vi1 #ad4d2 ,hyde1  #abg2   
,foerster1 #cgh2 and ,p41 ,,vi1 #ad4aa2 
,hyde1 #acj2 ,foerster1 #cgc4 ,on the   
sculptor1 see ,hyde1 p4 #ce4    #iid    
,p41 ,,vi1 #d4e2 ,hyde1 #dj2 ,foerster1 
#did4    #iie ,p41 ,,vi1 #ab4h f42      
,hyde1 #aji2 ,foerster1 #ebi2 cf4       
,robert1  ,hermes1 ,,xix1 #ahhd1 pp4    
#cjf f4 ,on the artist family of        
,polykles1 his  sons ,timokles and      
,timarchides1 ,polykles ,minor and      
,timarchides ,minor1  see ,robert1 l4   
c41 pp4 #cjj f42 ,hyde1 pp4 #de-dg and  
table on p4 #df4    #iif ,e4 g41 ,h4    
,n41 ,,xxxiv1 #gc 7,bodas72 ,,xxxiv1 #gh
 7,euphranor72  ,,xxxiv1 #ij            
7,sthennis74 ,in ,,xxxiv1 #ia1 he gives 
a list of artists who made  statues of  

sacrificantes4    #iig ,in the ,iliad1  
,i1 #dej2 ,,viii1 #cdg2 ,,xv1 #cga2     
,aischylos1 ,prom41  #ajje 7 72 etc4 ,on
 the attitude of prayer in ,greek art1  
see ,l4 ,gurlitt1 ,a4 ,m41 ,,vi1 #ahha1 
pp4 #aeh f4 7who tries to show that  the
 gestures of prayer and adoration were  
distinct72 ,sittl1 ,die  ,gebaerden der 
,gr4 und ,roem41 pp4 #cje f42 cf4       
,conze1 ,jb41 ,i1 #ahhf1  pp4 #a-ac 7on 
the ,praying ,boy of ,berlin1 ,pl4 #aj47
 ,see also ,dar4-,sagl41  ,i1 pp4 #hj   
f41 s4 v4 adoratio4    #iih ,v1 #be4 #e4
    #iii ,see article by ,p4 ,girard and
 ,j4 ,martha in ,b4 ,c4 ,h41 ,,ii1      
#ahgh1  pp4 #dba f4 7lists of           
inventories of objects consecrated      
there74    #ajjj ,scherer1 p4 #cc1 shows
 that the gesture in such statues was   
meant  to invoke victory rather than to 
pay thanks for one that had been        
gained4    #ajja ,scherer agrees with   
,philostratos1 ,vit4 ,apoll4 ,tyan41    
,,iv1 #bh1  that the gesture of the     
right hand of the statue was one of     

prayer1 and  argues from it that many   
similar statues existed there3 p4 #ca4  
,rouse  wrongly assumes that all such   
statues were votive3 p4 #agj4    #ajjb  
,p41 ,,vi1 #a4g2 he won in ,ol4 787 #gi 
7 #dfd ,b4 ,c473 ,hyde1 #h2  ,foerster1 
#bcc4    #ajjc ,ol4 ,,vii1 ,argum41     
,boeckh1 p4 #aeh4    #ajjd ,fragm4 no4  
#bfd 7 ,f4 ,h4 ,g41 ,,ii1 p4 #ahc74     
#ajje ,fragm4 no4 #g 7 ,f4 ,h4 ,g41     
,,iv1 p4 #cjg74    #ajjf ,diagoras won  
in ,ol4 #gi 7 #dfd ,b4 ,c473 ,p41 ,,vi1 
#g4a f42 ,hyde1 #ei2  ,foerster1 #bbj2  
,inschr4 v4 ,ol41 #aea 7renewed74 ,for  
the sculptor of the  statue1 ,kallikles1
 see ,robert1 ,o4 ,s41 pp4 #aid f4 ,on  
,diagoras1 see van  ,gelder1 ,gesch4 d4 
alt4 ,rhodier1 p4 #dce4 ,akousilaos won 
in ,ol4 #hc 7  #ddh ,b4 ,c473 ,p41 l4   
c42 ,oxy4 ,pap42 ,hyde1 #fj2 ,foerster1 
#beb4    #ajjg ,beschr4 d4 ,skulpt41    
,inv4 #fcjf2 ,a4 ,m41 ,,vi1 #ahha1 p4   
#aeh4  ,rouse1 p4 #aga1 following       
,scherer1 pp4 #ca f41 doubts if this    
statue  represents the attitude of any  

of the ,olympic victor statues4    #ajjh
 ,she won two victories in ,ols4 787    
#if1 #ig 7 #cif1 #cib ,b4 ,c473 ,p41    
,,vi1 #a4f f42 ,hyde1 #g2 ,foerster1    
#cbf1 #ccc2 ,inschr4 v4 ,ol41 #afj 7here
  the name appears in the uncontracted  
form 74    #ajji ,a4 ,z41 ,,xxxvii1     
#ahgi1 pp4 #aea-b 7on no4 #cja  ,inschr4
 v4 ,ol41  #afj72 he is followed by     
,foerster1 l4 c4    #ajaj ,h4 ,n41      
,,xxxiv1 #hf4    #ajaa ,,xxxiv1 #gj4    
,for the motive1 see the small bronze in
 ,kassel1  representing ,aphrodite3     
,jb41 ,,ix1 #ahid1 ,pl4 ,,ix 7two       
views71 and pp4  #bdh-ej 7,w4 ,klein71  
though its connection with ,praxiteles  
must not be  pressed2 also bronze       
statuette in ,british ,museum3 ,bulle1  
#a1 pp4 #ccb f41  and fig4 #ha4    #ajab
 ,described by ,r4 von ,schneider1 ,die 
,erzstatue vom ,helenenberge1  in       
,jahrb4 d4 ,samml4 d4 oesterr4          
,kaiserhauses1 ,,xv1 #ahic2  illustrated
 by ,e4 von ,sacken1 ,die ant4 ,bronz4  
d4 k4 k4 ,muenz4- und                   

,antiken-,cabinetes in ,wien1 #ahga1 ,i1
 ,pls4 ,,xxi-,,xxii1 pp4 #eb f41 and    
cf4 ,a4 ,m41 ,,vi1 #ahha p4 #aee        
7,gurlitt74    #ajac ,cf4 ,f4 ,w41      
#aefb4    #ajad ,c4 ,i4 ,l41 ,,iii1 #b1 
#dhae4    #ajae ,mp41 p4 #bij2 ,mw41 pp4
 #ejf-g4    #ajaf ,beschr4 d4 ant4      
,skulpt41 no4 #b 7for history and       
bibliography72  ,b4 ,b41 #bhc2 von      
,mach1 #bgc2 ,bulle1 #fd2 ,reinach1     
,rp41 ,i1 #dei1 #d2 cf4  ,conze1 ,jb41  
,i1 #ahhf1 pp4 #a f42 ibid41 pp4 #bag   
7,furtwaengler72  ibid41 pp4 #bai f4    
7,puchstein72 ,springer-,michaelis1 p4  
#cda1 fig4 #fad4  ,a similar attitude of
 prayer appears on the figure of        
,phineus on a  r4-f4 ,attic amphora in  
the ,british ,museum3 ,a4 ,z41          
,,xxxviii1 #ahhj1 pp4  #adc f4 and ,pl4 
,,xii1 #a 7,flasch74 ,the statue is     
#a4bh meters high 7,bulle74    #ajag    
,loewy1 ,r4 ,m41 ,,xvi1 #aija1 pp4 #cia 
f4 and ,pls4 ,,xvi-,,xvii1 by a         
comparison with the ,vatican            
,apoxyomenos 7,pl4 #bi71 and the ,naples

  resting ,hermes 7von ,mach1 #bcg2     
,reinach1 ,rp41 ,i1 #cfg1 #a71 has shown
  its ,lysippan character2 cf4 also     
,mau1 l4 c4 in next note1 ,bulle1  and  
others1 who refer it to the same school2
 ,bulle assigns it possibly  to ,bodas1 
the pupil of ,lysippos1 who made a      
praying figure3 ,pliny1 ,h4  ,n41       
,,xxxiv1 #gc2 similarly ,amelung1 in    
,thieme-,becker1 ,lex4 d4 bild4         
,kuenstler1 ,,iv1 p4 #ahg1 ,gardner1    
,hbk41 p4 #deb1 and others4    #ajah ,r4
 ,m41 ,,xvii1 #aijb1 pp4 #aja f4        
#ajai ,muenchner ,allg4 ,ztg41 #aijb1   
,nov4 #bi1 ,beilage1 no4 #big2 cf41  for
 his restoration of the arms1 ibid41    
#aijc1 ,beilage1 no4 #bgg1 p4  #dde     
7quoted by von ,mach and ,bulle1        
respectively74    #ajbj ,jb41 ,i1 #ahhf1
 fig4 on p4 #bag2 reproduced in ,a4 ,a41
 #aijd1  p4 #ge 7,conze72 also on coins1
 ,jb41 ,,iii1 #ahhh1 pp4 #bhf f4 and    
,pl4 ,,ix  7,imhoof-,blumer74    #ajba  
,rev4 arch41 ,sr4 ,,iv1 ,,ii1 #aijc1 pp4
 #bje-aj1 #daa-ab 7,lechat71  and ,pl4  

,,xv2 reproduced in ,a4 ,a41 l4 c4      
,babelon1 ,c4 ,r4 ,acad4  ,inscr41      
#aijd1 p4 #bjc1 thought that the stele  
represented a seer in  liturgic attitude
 as on certain coins of ,sikyon2 he     
argued1 therefore1  that the ,berlin    
statue did not represent an athlete4    
#ajbb ,e4 g41 ,levezow1 de juvenis      
adorantis ,signo1 ,berlin1 #ahjh1 p4    
#ab2 and ,welcker1 ,das akad4 ,mus4 zu  
,bonn1 p4 #db 7quoted by ,gurlitt1  op4 
cit4 in the next note1 p4 #aeg72 cf4    
,scherer1 pp4 #cb-c4    #ajbc ,a4 ,m41  
,,vi1 #ahha1 pp4 #aed f4 7,gurlitt71 and
 ,pl4 ,v 7from cast in  ,berlin73 it is 
#b4ah meters high and #a4aa meters      
broad4    #ajbd ,in the ,national       
,museum1 ,athens2 discussed by ,kekul1  
,die  antiken ,bildwerke im ,theseion zu
 ,athen1 #ahfi1 no4 #aea2 illustrated in
  ,exped4 scientifique de ,more1 ,,iii1 
#ahch1 ,pl4 ,,xli 7 from ,aegina74      
#ajbe ,see ,o4 ,jahn in ,annali1 ,,xx1  
#ahdh1 pp4 #bac f4 and ,pl4 ,k a 7      
,orestes72 ,a4 ,z41 ,,xxx1 #ahgb1 p4    

#fj1 ,pl4 #df 7,heydemann72 ,gurlitt1   
op4  cit41 p4 #aef2 cf4 ,sophokles1     
,aias1 #hae f41 to explain the scene4   
#ajbf ,see ,richter1 ,gk41 ,etrusc41 and
 ,rom4 ,bronz4 in the ,metropolitan     
,museum1 #aiah1 no4 #hi 7#g inches high7
 and fig4 on p4 #ei2 ,cat4 ,class4      
,coll41 p4 #aae1 fig4 #gc2 published by 
,furtwaengler1 ,sitzb4 ,muen4  ,akad41  
#aije1 ,,ii1 p4 #bfd1 fig4 #a and ,pl4  
,,iv 7who considered it ,etruscan  and  
not ,greek72 ,reinach1 ,rp41 ,,iii1 #bd1
 #c4 ,richter1 op4 cit41 no4  #gi       
7#aa-c_/d inches high71 and figs4 on p4 
#ec 7two views72 ,cat4 ,class4  ,coll41 
p4 #ia1 fig4 #ed2 ,burlington ,fine     
,arts ,club1 ,cat4 ,anc4 ,gk4 ,art1     
#aijd1 p4 #df1 no4 #cf1 and ,pl4 ,,liii2
 ,reinach1 ,rp41 ,,iv1 #cgj1 #f4        
#ajbg ,on the custom of athletes        
smearing themselves with oil and  dust  
in the palstra before entering the      
wrestling match1 see ,lucian1           
,anacharsis1 sive de exercitationibus1  
#bh4    #ajbh ,h4 ,n41 ,,xxxv1 #add4    

#ajbi ,several cited by ,l4 ,bloch1 ,r4 
,m41 ,,vii1 #ahib1 pp4 #hh f42 and      
especially one in ,a4 ,z41 ,,xxxvii1    
#ahgi1 ,pl4 ,,iv 7red-figured krater  by
 ,euthymides from ,capua1 now in        
,berlin72 ,hartwig1 ,die griech4        
,meisterschalen1 #ahic1 p4 #egj4 ,cf4   
,furtw41 ,mp41 p4 #bei1 ,mw41 p4  #dff4 
#ajcj ,cf4 ,brunn1 ,annali1 ,,li1 #ahgi1
 pp4 #bja f4    #ajca ,michaelis1 pp4   
#fja-b1 no4 #i2 ,bulle1 p4 #aji1 fig4   
#ai2 ,furtw41  ,mp41 p4 #beg1 fig4 #ajg1
 ,mw41 p4 #dfe1 fig4 #gg4 ,it is #a4fh  
meters high  7,michaelis74    #ajcb ,it 
has the same foot position as that on   
the base of the statue  of the boxer    
,kyniskos1 by ,polykleitos3 ,inschr4 v4 
,ol41 #adi4    #ajcc ,e4 g41 by ,f4 ,w41
 #dfb-d4    #ajcd ,furtw4-,wolters1     
,beschr4 d4 ,glypt41#b no4 #cjb2 ,b4    
,b41 #acb 7  front view1 from cast71    
#acd 7left  back view71 #ace 7 head1    
from cast1  two views72 ,bulle1 #ee2    
,mon4 d4 ,i41 ,,xi1 #ahgi-hc1 ,pl4      
,,vii2 ,brunn1  ,annali1 ,,li1 #ahgi1   

pp4 #bja f4 and ,pl4 ,,st1 #a1 #b2 ,f4  
,w41 #dfb2 ,reinach1  ,rp41 ,i1 #ebb1   
#b2 ,clarac1 ,v1 #heg1 #bagd2 for       
replicas1 ,furtw41 ,mw41  p4 #dff1 n4 #d
 and ,mp41 p4 #bei1 n4 #d2 ,duetschke1  
,,iv1 pp4 #ec f4 on no4  #hb2 etc4 ,it  
is #a4ic meters high with the plinth1   
#a4hj meters without                    
7,furtw4-,wolters74    #ajce ,the right 
arm is wrongly restored in the ,munich  
statue2 its  proper restoration is given
 in a cast in ,brunswick3 ,bulle1 p4    
#aab1 fig4  #bj4 ,bulle1 however1 says  
that the ,munich statue may be that of a
 boxer  and not of an oil-pourer        
7wrestler74    #ajcf ,pointed out by    
,kekul1 ,ueber den ,kopf des            
,praxitelischen  ,hermes1 #ahha1 p4 #h4 
#ajcg ,h4 ,n41 ,,xxxiv1 #gb2 ,klein1    
,praxiteles1 #ahih1 p4 #ej2 id41        
,arch4-epigr4 ,mitt4 aus ,oest41 ,,xiv1 
#ahia1 pp4 #f-i4 ,we have discussed  it 
supra1 p4 #gg4    #ajch ,for the        
,marsyas in the ,lateran ,museum in     
,rome1 see ,bulle1 no4  #ie1 and text1  

pp4 #ahc f41 and ,helbig1 ,fuehrer1     
,,ii1 no4 #aagi4 ,see  ,brunn1 op4 cit41
 p4 #bjd4    #ajci ,b4 ,b41 #eeg1 text  
by ,sieveking2 described also by        
,furtwaengler1  ,beschr4 d4 ,glypt41#b  
p4 #cac4    #ajdj ,f4 ,w41 no4 #dfc2    
,annali1 ,,li1 #ahgi1 ,pl4 ,,st1 #c2 ,b4
 ,b41 #acc 7  front view71 #acd 7right  
back view72 ,furtw41 ,mp41 pp4 #bei-fj1 
,mw41  pp4 #dfg-h2 for list of replicas 
of this torso1 see ,mp41 p4 #bei1 n4 #i1
  ,mw41 p4 #dfg1 n4 #d4 ,brunn1 op4     
cit41 p4 #bag1 thought it a copy of  the
 ,munich statue4    #ajda ,one in       
,turin1 ,f4 ,w41 #dfd2 ,duetschke1 ,,iv1
 no4 #hb2 two statuettes  in the        
,vatican 7,braccio ,nuovo71 discussed by
 ,bloch in ,r4 ,m41 ,,vii1  #ahib1 pp4  
#ic f42 ,helbig1 ,guide1 nos4 #db and   
#dd4    #ajdb ,furtw4-,wolters1 ,beschr4
 d4 ,glypt41#b no4 #deh2 ,clarac1 ,pl4  
#heh1  #bage2 ,furtw41 ,mp41 pp4 #bfc   
f42 ,mw41 pp4 #dgc f4 ,it is #a4ed      
meters  high4 ,a replica is in the      
,vatican3 see ,furtwaengler1 l4 c42 we  

shall  treat it later in reference to   
the statue of the pentathlete           
,pythokles2  ,hyde1 #gj2 ,foerster1     
#bie2 ,inschr4 v4 ,ol41 #afb-c2 see     
infra1 p4 #add  and n4 #d4    #ajdc ,b4 
,m4 ,bronzes1 no4 #ead1 on p4 #ga1 and  
,pl4 ,,xvi2 ,specimens1  ,i1 ,pl4 #ae2  
,reinach1 ,rp41 ,,ii1 #ia1 #g2 ,mon4    
gr41 ,,ii1 no4 #bc1 ,pl4 ,,xv  and p4 #a
 7ascribing it to the ,argive school74  
,it forms the basis for a  mirror4      
#ajdd ,furtwaengler1 ,sitzb4 ,muen4     
,akad41 #ahig1 ,,ii1 pp4 #abi f4 and    
,pl4  #f 7influence of ,kalams74        
#ajde ,b4 ,c4 ,h41 ,x1 #ahhf1 pp4 #cic  
f4 7,s4 ,reinach7 and ,pl4 ,,xii1  #c   
7this should be numbered ,,xiv1 #d2 see 
text72 ,pottier et ,reinach1  ,ncrop4 de
 ,myrina1 ,pl4 ,,xli1 #c1 pp4 #dej f4   
,it is #j4bje meter high4    #ajdf ,e4  
g41 ,f4 ,w41 #agih2 relief found in     
#ahcj in ,hermione1 now in  ,athens2 it 
is of the second or third century ,b4   
,c4    #ajdg ,e4 g41 on the stone of    
,gnaios3 ,jb41 ,,iii1 #ahhh1 pp4 #cae   

f41 no4 #c2 ,pl4 ,x1 no4 #ab2           
,furtwaengler1 ,die antiken ,gemmen1    
#aijj1 ,pl4  ,l1 no4 #i1 and ,vol4 ,,ii1
 p4 #bda2 also on the gem pictured by   
,toelken1  ,erklaer4 ,verzeichn4 d4 ant4
 vertieft geschnittenen ,steine d4      
preuss4  ,gemmensammlung1 #ahce1 ,klasse
 ,,vi1 #ajg 7 ,die ant4 ,gemmen1 ,pl4   
,,xliv1  no4 #bd1 and ,vol4 ,,ii1 pp4   
#bac72 ,furtwaengler1 ,mp41 p4 #bfj1 n4 
#f1  and ,mw41 p4 #dfh1 n4 #d1 who      
mentions it1 believes that these gems   
correspond more nearly with the ,dresden
 than with the ,petworth athlete  type4 
#ajdh ,the strigil was a curved blade   
hollowed out inside with both  edges    
sharp2 the general form remained largely
 the same from the sixth  century ,b4   
,c41 down into ,roman days1 though the  
curve and the handle  changed4 ,the     
commonest were of bronze or iron3 see   
,dar4-,sagl41 ,,iv1  #b1 pp4 #aecb f41  
s4 v4 strigilis 7,s4 ,dorigny72 ,k4     
,friederichs1  ,kleinere ,kunst und     
,industrie im ,altertum1 #ahga1 pp4 #hh 

f4 ,examples  in the ,metropolitan      
,museum1 ,new ,york1 are given by       
,richter1 in ,gk41  ,etr4 and ,rom4     
,bronzes1 nos4 #hee f42 others 7strigils
 and handles7  are in the ,british      
,museum3 ,b4 ,m4 ,bronzes1 nos4         
#cbj-cbf1 #ffe1 and  #bdbj-bded1 and    
figs4 #gd-ge1 p4 #cai2 on the operation1
 see ,kuppers1 ,der  ,apoxyomenos des   
,lysippos1 #ahgd4    #ajdi ,e4 g41 on an
 amphora in ,vienna3 ,schneider1        
,arch4-epigr4 ,mitt4  aus ,oest41 ,v1   
#ahha1 p4 #aci1 ,pl4 ,,iv2 ,hoppin1     
,hbk4 ,attic r4-f4 ,vases1  ,i4 p4 #ccd1
 no4 #be and ,pl4 7right-hand fig472 on 
a kylix formerly in  possession of      
,lucien ,bonaparte1 now in the ,british 
,museum1 ,e #hc3  ,gerhard1 ,,iv1 ,pl4  
,,cclxxvii1 #b 7left-hand figure71 and  
p4 #ej2 ,murray1  ,designs from ,greek  
,vases1 no4 #eh2 others on which the    
athlete is  cleansing the strigil and   
not the body are given by ,hartwig in   
,jh4  oest4 arch4 ,inst41 ,,iv1 #aija1  
p4 #aed and figs4 #agh 7,peleus on      

krater  from ,bologna71 #agi 7athlete on
 ,b4 ,m4 vase mentioned above1 ,e4 #hc1 
third  figure from left1 middle row71   
#ahj 7cup in ,rome1 ,museo ,gregoriano71
 #aha  7jug1 ibid472 ,hartwig1 pp4      
#aec-d1 mentions an athlete on a cup in 
the  ,museo ,papa ,giulio1 ,rome4 ,for  
the motive of an apoxyomenos on a vase  
in  the ,louvre1 see ,hartwig1 ,die     
greich4 ,meisterchalen1 pp4 #bd f4 and  
fig4 #b;a4    #ajej ,h4 ,n41 ,,xxxiv1   
#ee1 #fb and #gf1 respectively4    #ajea
 ,pliny1 ,,xxxiv1 #hf and #hg1          
respectively4    #ajeb ,a list is given 
by ,furtw41 ,mp41 p4 #bfb1 n4 #b2 ,mw41 
p4 #dga1  n4 #a2 a gem from the         
,hermitage is shown in ,mp41 p4 #bfb1   
fig4 #aji2  ,mw41 p4 #dga1 fig4 #gi2    
,die antiken ,gemmen1 ,pl4 ,,xliv1 no4  
#ai2 cf4  also ibid41 no4 #ah2 ,hartwig1
 in the article cited in note #a above1 
adds two more gems showing an athlete in
 a similar position1 in the  ,boston    
,museum of ,fine ,arts3 p4 #aee1 figs4  
#ahc1 #ahd4 ,here the youth1  as        

,hartwig against the interpretation of  
,furtwaengler makes clear1 is  cleansing
 the strigil and not his body4    #ajec 
,so ,j4 ,sieveking1 ,die ,bronzen der   
,samml4 ,loeb1 #aiac1 ,pl4 #aa1  pp4 #bg
 f42 cf4 ,burlington ,fine ,arts ,club1 
,cat4 ,anc4 ,gk4 ,art1 #aijd1  ,pl4 #ej1
 ,b4 #dg1 and von ,duhn1 ,sitzb4 d4     
,heidelberger ,akad4 d4 ,w41 ,abt4  #f1 
p4 #i4 ,it is #j4ji meter high4    #ajed
 ,von ,mach1 #bce2 ,f4 ,w41 #abfd2      
,reinach1 ,rp41 ,i1 #eae1 #f and #g2    
cf4 ,,ii1 #b1 #edf1 #b2 etc4    #ajee   
,h4 ,n41 ,,xxxiv4 #fe4    #ajef ,infra1 
pp4 #bhh f4    #ajeg ,amelung1 ,fuehrer1
 no4 #be2 ,duetschke1 ,,iii1 #gb 7#a4ic 
meters  high72 ,b4 ,b41 #ebc-d 7text by 
,arndt72 ,bulle1 p4 #aaf1 fig4 #ba2 cf4 
,helbig1 ,guide1 ,i1 pp4 #bf f41 on nos4
 #db and #dd 7statuettes72  ,benndorf1  
,jh4 oest4 arch4 ,inst41 #ahih1         
,beiblatt1 pp4 #ff f42 ,klein1          
,praxiteles1 pp4 #ea f42 ,furtw41 ,mp41 
pp4 #bfa-b2 ,mw41 pp4 #dfi-ga2  ,bloch1 
,r4 ,m41 ,,vii1 #ahib1 pp4 #ha ,f41 and 

fig4 on p4 #hc and ,pl4 ,,iii  7head1   
two views74 ,the right underarm and hand
 and the left underarm  and part of the 
hand1 the vase1 and the basis1 are all  
modern  restorations4    #ajeh ,die     
antiken ,gemmen1 ,pl4 ,,xliv1 no4 #ag1  
and text1 ,,ii1 p4 #bab2  ,mp41 p4 #bfa1
 fig4 #ajh2 ,mw41 p4 #dgj1 fig4 #gh2    
,hartwig1 in ,berl4  ,phil4             
,wochenschr41 ,,xvii1 ,jan4 #b1 #ahig1  
p4 #ca1 corrects the mistake of         
,furtwaengler and ,amelung that the     
athlete on the gem is cleansing the     
thigh and not the strigil itself4       
#ajei ,arndt dates it about #djj ,b4    
,c42 ,furtwaengler ascribes it and  the 
,dresden torso of the ,oil-pourer1      
already discussed1 to an ,attic  master 
of the end of the fifth or beginning of 
the fourth century ,b4 ,c4    #ajfj     
,listed by ,furtw41 ,mp41 p4 #bfb1 n4   
#a2 ,mw41 p4 #dgj1 n4 #e4  ,especially  
the reduced mediocre copy in the        
,braccio ,nuovo of the  ,vatican3       
,helbig1 ,guide1 no4 #de2 ,clarac1 #hfa1

 #bahc2 ,r4 ,m41 ,,vii1  #ahib1 pp4 #ib 
f41 and fig4    #ajfa ,bulle1 no4 #fj   
7who dates it in the middle of the      
fourth  century ,b4 ,c41 and considers  
it a copy of an original statue72       
,hauser1 ,jh4 oest4 arch4 ,inst41 ,v1   
#aijb1 pp4 #bad f4 and fig4 #fh2        
,springer-,michaelis1 p4 #big1 fig4     
#ecj2 cf4 ,a4 ,j4 ,a41 ,,vii1 #aijb1 pp4
  #ceb-c1 figs4 #a and #b4 ,it is #a4ibe
 meters high 7,bulle74    #ajfb ,babelon
 et ,blanchet1 ,cat4 des bronzes        
antiques de la ,biblioth4  ,nat41 #ahie1
 no4 #icd1 p4 #daa2 it is #j4jge meter  
high4    #ajfc ,discussed by ,p4        
,hartwig1 ,jh4 oest4 arch4 ,inst41 ,,iv1
 #aija1 pp4  #aea-i1 figs4 #agf and #agg
 7four views of statuette71 and ,pls4   
,v-,,vi 7two  views of the head74       
,without its base it is #j4fgi meter    
high4    #ajfd ,it is in the ,hamilton  
,coll42 see ,b4 ,m4 ,cat4 ,engraved     
,gems1  #ahhh1 no4 #cce2 cf4 ibid41 no4 
#dcb1 a cut scarab from the ,blacas     
,coll41 representing a nude athlete     

seated on a rock1 holding a lekythos    
and strigil suspended from the right    
hand4    #ajfe ,bulle1 no4 #bfe2 ,b4    
,b41 #fja 7text by ,l4 ,curtius72 ,h4   
,pomtow1  ,beitr4 z4 ,topogr4 v4        
,delphi1 ,pl4 ,,xii2 ,homolle1 ,socit   
des  ,antiquaires de ,france1           
,centennaire #ahjd-aijd1 ,pl4 ,,xii4    
,the figures are  life-size 7,bulle74   
#ajff ,h4 ,n41 ,,xxxiv1 #ei3 ,hic primus
 nervos et venas expressit4    #ajfg ,in
 the ,louvre3 ,longprier1 ,notice des   
bronzes antiques du  ,louvre1 ,i1 #ahfh 
7reprinted #ahgi71 no4 #bad2 de ,ridder1
 ,les bronzes  antiques du ,louvre1 ,i1 
#aiac1 ,pl4 #ai1 no4 #ahc1 and pp4 #cd  
f42 ,furtw41  ,mp41 ,pl4 ,,xiii1 and p4 
#bhj1 fig4 #aai2 text1 pp4 #bgi f42     
,mw41 ,pl4  ,,xxviii1 #c 7middle71 and  
text1 pp4 #dib f42 ,reinach1 ,rp41 ,,ii1
 #b1 #ehh1  #c4 ,it is #j4ba meter high4
 ,for the same style and conception1 cf4
 a  statuette from ,cyprus in the       
,cesnola ,collection1 ,metropolitan     
,museum1  ,new ,york3 ,richter1 ,gk41   

,etruscan1 and ,roman ,bronzes1 p4 #eg1 
fig4 #hg  7two views74 ,here the left   
leg is the rest leg4    #ajfh ,inschr4  
v4 ,ol41 #afd2 base reproduced in ,mp41 
p4 #bgi1 fig4  #aah2 ,mw41 p4 #dia1 fig4
 #he4    #ajfi ,see list1 ,furtw41 ,mp41
 pp4 #bha f42 ,mw41 p4 #dic2 a completer
  one by ,lippold1 ,jb41 ,,xxiii1 #aijh1
 pp4 #bjc-h4    #ajgj ,amelung1 ,vat41  
,,ii1 pp4 #dad f41 no4 #bea1 and ,pl4   
#df2 ,furtw41  ,mp41 p4 #bha1 fig4 #abj2
 ,mw41 p4 #did1 fig4 #hf2 ,clarac1 #hef1
 #bafh4 ,as  the head and torso are of  
different marbles1 we really have parts 
of  two copies of the same original4 ,in
 reconstructing the statue1 another     
copy in the ,galleria delle ,statue is  
better3 ,amelung1 ,vat41 ,,ii1 pp4  #ehc
 f41 no4 #cib and ,pl4 #ef2 it has a    
head of ,septimius ,severus upon  it2   
the position of its feet is almost      
exactly that of the statue of  ,xenokles
 mentioned4    #ajga ,publ4 by ,miss ,a4
 ,walton1 ,a4 ,j4 ,a41 ,,xxii1 #aiah1   
pp4 #dd f41 ,pls4  ,i1 ,,ii1 and figs4  

#a-e in the text2 ,matz-,duhn1 ,ant4    
,bildw4 in ,rom1 no4  #ajjj2 von ,duhn  
doubts whether the head belongs to the  
trunk4 ,the statue  was acquired by     
,wellesley ,college in #aije from a     
,roman dealer4    #ajgb ,copies of the  
head-type are listed by ,furtw41 ,mp41  
p4 #bhb2  ,mw41 pp4 #did-e4    #ajgc    
,invent41 #efaj2 ,bronzi d',ercolano1   
,i1 ,pls4 #ec-ed1 p4 #ahg2  ,comparetti 
e de ,petra1 ,villa ,ercolanese dei     
,pisoni1 #g1 #d2 ,furtw41  ,mp41 p4     
#bhd1 figs4 #aba a1 b2 ,mw41 pp4 #dif-g1
 figs4 #hg-h2 ,b4 ,b41 #cci  7left74    
#ajgd ,mp41 p4 #bhc2 ,mw41 p4 #die4     
#ajge ,amelung1 ,vat41 ,,ii1 p4 #daf4   
#ajgf ,in the ,museo ,archeologico3     
,amelung1 ,fuehrer1 no4 #bfh 7and       
bibliography72 ,b4 ,b41 #bgd-gg2 ,bulle1
 #eb-ec and #bjd-e 7head72 von ,mach1   
#abc 7front and back views72 ,collignon1
 ,i1 pp4 #dgi f4 and figs4 #bdg         
7statue71 #bdh 7head72 ,reinach1 ,rp41  
,,ii1 #b1 #ehh1 #b2 ,furtw41 ,mp41 p4   
#bhe1 fig4 #abb 7head72 ,mw41 p4 #dii1  

fig4 #hi2 ,robinson1 ,cat4 ,boston      
,museum of ,fine ,arts1 ,suppl41 no4    
#aac2 ,springer-,michaelis1 p4 #bgb1    
fig4  #dhh4 ,it is #a4dh meters high    
7,bulle74    #ajgg ,ueber die           
,bronzestatue des sog4 ,idolino 7#distes
 ,berl4  ,winckelmannsprogr41 #ahhi71 p4
 #aj4 ,he classed it stylistically with 
the  ,oil-pourer of ,munich and the     
,standing ,diskobolos of the ,vatican1  
which ,brunn had called ,myronic4 ,he   
later1 however1 renounced his  ,myronic 
theory and merely called it ,attic1     
because of its resemblance  to figures  
on the ,parthenon frieze3 ,beilage zu   
den amtlichen ,berichten  aus den k4    
,kunstsamml41 ,,xviii1 no4 #e1 ,juli1   
#ahig1 p4 #gc 7quoted by  ,richardson1  
p4 #afa1 n4 #h74    #ajgh ,festschr4 f4 
,benndorf1 p4 #age3 here he assigns it  
not to ,myron  himself1 but to his son4 
#ajgi ,,ii1 p4 #cj2 he also admits its  
,polykleitan features4    #ajhj         
,polyklet u4 s4 ,sch41 pp4 #gj f41      
#aijb2 he assigns it to an  artist of   

the master's circle4    #ajha ,mp41     
#bhf2 ,mw41 p4 #ejj4    #ajhb ,cronaca1 
pp4 #bi-cj1 fig4 #b 7 ,supplemento di   
,bolletino  d',arte1 ,roma1 ,,xii1      
,fasic4 ,v-,,viii7 #aiah 7,lucia        
,mariani74 ,cf4 review  in ,a4 ,j4 ,a41 
,,xxiii1 #aiai1 p4 #cai and fig4 #b2 and
 also ,mariani1 ,rend4  della ,reale    
,accad4 dei ,lincei1 ,,xxvi1 #aiah1 pp4 
#abe-ach1 and fig4 in  text4    #ajhc   
,matz-,duhn1 ,ant4 ,bildw41 no4 #aaaa2  
,furtw41 ,mp41 p4 #bhg2  ,mw41 p4 #ejb4 
#ajhd ,see material collected by        
,stephani1 ,comptes rendus de la        
commiss4 impr4 archol41 ,st4            
,petersburg1 #ahgc2 cf4 ,fritze1 de     
,libatione veterum ,graecorum1 ,berl4   
,diss41 #ahic4    #ajhe ,,ii1 pp4 #daf  
f4    #ajhf ,no4 #bgbc2 ,svoronos1      
,tafelbd41 ,,ii1 ,pl4 ,,cxxi 7,,ci is a 
poor copy of  it72 ,stas1 ,marbres et   
,bronzes1 pp4 #bdj-bdb 7#j4de meter     
high2 #j4eg  meter broad74 ,stas also   
regards it as an ex voto to ,herakles4  
#ajhg ,it is broken away1 but its       

outline is clear4    #ajhh ,kabbadias1  
#bdh2 ,stas1 op4 cit41 p4 #hf2          
,arndt-,bruckmann1  ,einzelaufnahmen1   
#fbg and #fbh 7head alone72 noticed in  
,a4 ,a41 #ahhi1  p4 #adg1 and ,a4 ,m41  
,,xiii1 #ahhh1 p4 #bca 7,wolters72      
ibid41 ,,xxxi1  #aijf1 pp4 #ceb f4 7von 
,salis72 ,jb41 ,,viii1 #ahic1 pp4 #bbd  
f41 fig4 #c  7restored71 and ,pl4 ,,iv  
7,mayer74 ,it may be one of the statues 
seen by  ,pausanias in the temenos3 ,i1 
#ah4f4 ,it is #a4ej meters high without 
the  plinth 7,mayer74    #ajhi          
,furtwaengler1 ,mw41 p4 #cgh1 n4 #c 7cf4
 ,mp41 p4 #aif1 n4 #a71  p4 #fhe1 n4 #b 
and p4 #gcg2 he ascribes it to ,kalamis 
or his school4    #ajij ,h4 ,n41        
,,xxxiv1 #ha2 statue also mentioned1    
ibid41 ,,xxii1 #dd4    #ajia ,in the    
,national ,museum1 no4 #ab2 ,stas1      
,marbres et ,bronzes1 pp4  #cfb1 #cfc   
and fig4 7#j4ji meter high72 three      
photographs1 ,a4 ,m41 ,,xxxi1  ,pl4     
,,xxii2 a poor photograph in ,carapanos1
 ,dodone et ses ruines1 #ahgh1  ,pl4    

,,xiv1 #c1 and p4 #ahf4    #ajib ,in the
 statuette it is bent1 but its original 
horizontal  position is indicated by the
 position of the hand4    #ajic ,two    
copies3 ,hettner1 ,die ,bildw4 d4       
koenigl4 ,antikensamml41#d  #ahha1 nos4 
#gj1 #hh2 ,f4 ,w41 #abag2 ,furtw41 ,mp41
 pp41 #caj-aa1 figs4  #aca-b2 ,mw41 pp4 
#ecd-e1 figs4 #ig-h2                    
,springer-,michaelis1 p4 #cad1 fig4     
#efb2 ,reinach1 ,rp41 ,,ii1 #a1 #aci1   
#e-f2 ,m4 ,w41 ,,ii1 #ci1 #dei2 ,clarac1
 ,,iv1  #gab1 #afie4    #ajid ,listed1  
,mp41 p4 #caj1 n4 #b2 ,mw41 p4 #ecc1 n4 
#c2 one1 formerly  in the ,museo        
,boncompagni-,ludovisi1 now in the      
,museo delle ,terme1 in  ,rome3         
,reinach1 ,rp41 ,,ii1 #a1 #aci1 #g2 ,b4 
,b41 #cgf2 ,helbig1 ,fuehrer1  ,,ii1    
#acjh2 ,collignon1 ,,ii1 p4 #bfe1 fig4  
#aca2 von ,mach1 #aig4 ,the original    
must have been of bronze4    #ajie ,h4  
,n41 ,,xxxiv1 #fi4 ,for discussion1 see 
,f4 ,w41 note on p4 #dba  7to no4       
#abag74    #ajif ,in the ,museo         

,chiaramonti1 no4 #big2 ,amelung1 ,vat41
 ,i1 p4 #eji  and ,,ii1 ,pl4 #ec2       
,clarac1 #dgi1 #iaf4    #ajig ,cf4      
,beschr4 d4 ,skulpt4 zu ,berlin1 no4    
#dd2 a poor torso of  the type is in the
 ,museo ,chiaramonti of the ,vatican3   
,amelung1 ,vat41  no4 #bie and ,pl4 #eb2
 ,reinach1 ,rp41 ,,ii1 #a1 #agc1 #b4    
#ajih ,michaelis1 p4 #fji1 no4 #bd2     
,specimens1 ,i1 ,pl4 #cj2 ,mp41 p4      
#afc1 fig4 #fe 7front71 p4 #afb1 fig4   
#fd 7profile71 from an old cast from    
the ,mengs ,collection in ,dresden2     
,mw41 ,pl4 ,,xvi2 other replicas1 ,mp41 
p4 #afa1 n4 #c4    #ajii ,cat4 ,class4  
,coll41 pp4 #bad-ag1 and fig4 #acj on p4
 #bae4    #aajj ,h4 ,n41 ,,xxxiv1 #gf3  
,ctesilaus doryphoron et ,amazonem      
volneratam  7fecit74 ,bergk long ago    
proposed to alter this name to ,kresilas
  7,zeitschr4 fuer                      
,alterthumswissensch41 #ahde1 p4 #ifb71 
and was  followed by ,brunn 7,i1 p4     
#bfa7--;an emendation accepted by most  
recent  investigators4 ,the argument    

derived from the ,amazon of ,kresilas1  
mentioned by ,pliny1 ,,xxxiv1 #ec1 and  
apparently repeated in the present      
passage1 is strong4 ,jex-,blake1        
however1 finds the name ,ktesilaos a    
good  ,greek formation1 though uncommon3
 see his note on p4 #fb4    #aaja ,mp41 
pp4 #afa f42 ,mw41 pp4 #ccb f4    #aajb 
,it is plainly visible in the example   
from ,petworth ,house1 and in  the poor 
one lately in the possession of the     
,roman dealer ,abbati3 ,b4  ,b41 #hd    
7from cast72 ,bull4 del4 ,inst41 #ahfg1 
p4 #cc 7,helbig72 ,mon4 d4  ,i41 ,,ix1  
#ahfi-gc1 ,pl4 ,,xxxvi2 ,annali1        
,,xliii1 #ahga1 pp4 #bgi f4 7,conze72   
it is also visible in the ,new ,york    
copy4    #aajc ,as on an ,attic         
fifth-century ,b4 ,c4 grave-relief from 
the  ,peirus3 ,stas1 ,marbres et        
,bronzes1 p4 #aeg 7who gives the height 
as  #j4de meter and the breadth as #j4cb
 meter72 von ,sybel1 ,kat4 d4 ,skulpt4  
zu ,athen1 #ahha1 no4 #aga2 ,annali1    
,,xxxiv1 #ahfb1 p4 #bab2 ,conze1 ,die   

,attischen ,grabreliefs1 no4 #ibi and   
,pl4 ,,clxxx2 ,f4 ,w41 #ajag2 for       
similar  reliefs1 see ,annali1 #ahfb1   
,pl4 ,m4    #aajd ,michaelis wrongly    
dated the original in the fourth century
 ,b4  ,c42 ,brunn first recognized its  
fifth-century character3 ,annali1       
,,xlvii1 #ahge1 p4 #ca 7apud ,leop4     
,julius74    #aaje ,ant4 ,denkm41 ,i1   
#a1 #ahhf1 ,pl4 ,,iv2 ,b4 ,b41 no4 #bdh2
 ,bulle1 #afg2  ,collignon1 ,,ii1 p4    
#dib1 fig4 #bef2 ,helbig1 ,fuehrer1     
,,ii1 #acej2 ,guide1  #ajea2 ,hekler1   
,greek and ,roman ,portraits1 #aiab1 pp4
 #he-hf2 ,gardner1  ,hbk41 p4 #ecf1 fig4
 #adf2 ,amelung1 ,museums and ,ruins of 
,rome1 ,i1 fig4  #aef2 ,not4 ,scav41    
#ahhe1 p4 #bbc2 ,gaz4 ,b4-,a41 ,,xxxiii1
 ,pr4 #b1 ,i1 #ahhf1  fig4 on p4 #dbg2  
,springer-,michaelis1 p4 #dja1 fig4     
#gdc2 ,reinach1 ,rp41  ,,ii1 #b1 #eej1  
#aj2 ,reinach classes it as an athlete  
or ,herakles4 ,it is  #a4bh meters high 
7,bulle74    #aajf ,discussed infra1    
,ch4 ,,iv1 pp4 #bed-e4    #aajg ,for    

this reason ,helbig wrongly assigned it 
to about #djj ,b4 ,c4    #aajh ,ueber   
die griech4 ,portraetkunst1 #ahid1 pp4  
#ab f4 7and fig474    #aaji ,,xxvii1 #i4
    #aaaj ,philologus1 ,,lvii 7,n4 ,f41 
,,xi71 pp4 #a f4 and #fdi f4            
,kleitomachos  won in ,ols4 #ada1 #adb 7
 #baf1 #bab ,b4 ,c473 ,p41 ,,vi1 #ae4c2 
,hyde1 #adf2  ,foerster1 #dgb1 #dgf4    
,cf4 ,suidas1 s4 v4 4 ,his statue was   
set up by his father1 and his victory   
sung by ,alkaios of ,messenia3 ,a4  ,g41
 ,,ix1 #ehh4    #aaaa ,cf4 ,petersen1   
,r4 ,m41 ,,xiii1 #ahih1 pp4 #ic-e2 this 
theory of  ,wunderer is also rejected by
 ,hitz4-,bluemn41 ,,ii1 #b1 p4 #fji4    
#aaab ,erected about #dgg ,b4 ,c42      
,bulle1 #hd 7,aristogeiton7 and #he     
7,harmodios72 etc4    #aaac ,discussed  
infra1 ,ch4 ,,iv1 pp4 #bbj-a and n4 #e  
on p4 #bbj4    #aaad ,see ,stephanos1   
,lex41 s4 vv4 1 1 4 ,this  victor fillet
 is mentioned by ,lucian in reference to
 the ,diadoumenos  of ,polykleitos3     
,philops41 #ah4    #aaae ,xen41 ,symp41 

,v1 #i2 ,plato1 ,symp41 #bab ,e2 it     
appears often  on statues of ,dionysos3 
e4 g41 on one in ,furtwaengler's ,samml4
  ,sabouroff1 ,pl4 ,,xxiii2 ,dionysos is
 called  in ,soph41 ,oed4  ,tyr41 #bji4 
,the fillet was used as a breast-band   
for women's dresses3  ,pollux1 ,,vii1   
#fe2 etc4    #aaaf ,j4 ,h4 ,s41 ,i1     
#ahhj1 p4 #agg4 ,in older days the      
athletic fillet  was called  7,lat4     
mitella73 ,pindar1 ,ol41 ,,ix1 #hd2     
,isthm41  ,v1 #fb 7of wool72 ,boeckh1   
,explic4 ad ,pind41 p4 #aic4 ,in the    
,iliad   was the kilt or apron worn     
around the waist under the cuirass  7a  
being worn outside73 ,,iv1 #acg2 ,,iv1  
#ahg2 ,v1 #heg2 etc4 ,it was  used also 
later as a wrestler's girdle3 ,a4 ,g41  
,,xv1 #dd2 and for  women's headbands3  
,alkm41 ,i2 cf4 ,eurip41 ,bacchae1 #hcc4
 ,athletes on  vase-paintings           
representing palstra scenes often wear  
the fillet3 e4  g41 the wrestlers and   
other athletes on the ,philadelphia     
r4-f4 kylix  pictured in ,fig4 #ej1 have

 red bands in their hair4 ,later the    
was specially used of women2 if of men1 
it was a sign of effeminacy3            
,aristoph41 ,thesmophoriazusae1 #afc4   
,the home of the  appears to  have been 
,asia1 as it was commonly worn by       
,asiatics3 see ,hdt41 ,i1 #aie2  ,,vii1 
#fb 7headdress72 ,virgil1 ,aen41 ,,iv1  
#baf4 ,we learn from ,alkman  that it   
came from ,lydia to ,greece3 fragm4 #bc1
 verses #fg f4 ,on it1 see  ,bekker1    
,charikles1 ,,ii1 pp4 #cic f41 and      
,pauly-,wissowa1 ,,vii1 #b1 p4 #bjcc    
7,bremer74    #aaag ,see ,f4 ,w41 on    
#cbb4 ,it appears on the 8,apollo0 type 
of early  sculpture1 e4 g41 on the      
8,apollo0 of ,orchomenos 7,fig4 #g74    
#aaah ,stud4 z4 ,parthenon1 #aijb1 pp4  
#a f4    #aaai ,,vi1 #b4b2 ,lichas won  
the chariot victory in ,ol4 #ij 7 #dbj  
,b4 ,c473  ,hyde1 #ad2 ,foerster1 #bgj4 
#aabj ,p41 ,v1 #aa4a4    #aaba ,bulle1  
no4 #bjg2 ,furtw4-,wolters1 ,besch41#b  
#deg2 ,b4 ,b41 #h2 here  it was inlaid  
with silver4    #aabb ,this may1        

however1 be merely the remains of a     
wreath of gold3  see ,rayet1 ,,ii1 text 
to no4 #fg 7,j4 ,martha74    #aabc      
,bulle1 no4 #bjb2 ,lechat1 p4 #dhb1 fig4
 #dd4 ,it is #j4bc meter high  7,bulle74
    #aabd ,bildw4 v4 ,ol41 ,tafelbd41   
,pl4 ,,liv2 ,f4 ,w41 #cbb2 ,wolters     
thinks  this is scarcely a victor       
fillet4    #aabe ,this head1 in the     
possession of ,lord ,leconfield1 is a   
replica  of the same original as the one
 in the ,metropolitan ,museum 7,pl4     
#ae72  ,michaelis1 p4 #fji1 no4 #bd4    
,see discussion supra1 pp4 #add-e4      
#aabf ,noted by ,furtw41 ,mp41 p4 #afa4 
#aabg ,p41 ,,vi1 #a4g2 he won in ,ol4   
787 #hi 7 #dbd ,b4 ,c473 ,hyde1 #i2     
,foerster1 #gif4    #aabh ,a4 ,m41      
,,xix1 #ahid1 pp4 #acg-i 7,j4 ,ziehen72 
fig4 in text4 ,it is  now in the ,museum
 of the ,peirus ,gymnasion4    #aabi ,on
 such representations in art1 see       
,stephani1 ,comptes rendus  de la       
commission impriale archologique1 ,st4  
,petersburg1 #ahgd1 pp4  #bad-af4       

#aacj  3 ,,vi1 #d4e2 ,s4 ,q41 #geg4     
#aaca ,hermes1 ,,xxiii1 #ahhh1 pp4 #ddd 
f42 ,p41 ,v1 #aa4c4 ,robert is  followed
 by ,kalkmann1 ,pausanias der ,perieget1
 #ahhf1 pp4 #ij f4    #aacb ,cf4        
,frazer1 ,,iv1 p4 #aa4 ,figures of      
athletes appear beneath the  throne on  
vases3 ,overbeck1 ,griech4              
,kunstmythol41 ,pl4 ,i1 #i and #af2     
,gerhard1 ,i1 ,pl4 ,,vii4 ,flasch has   
tried to show that the throne figure    
did not represent ,pantarkes3 ,baum41   
,,ii1 p4 #ajii1 #b2 cf4 ,gurlitt1       
,ueber ,pausanias1 #ahij1 p4 #chj4      
#aacc ,,vi1 #aj4f4 ,pantarkes won the   
boys' wrestling match in ,ol4 #hf 7     
#dcf ,b4 ,c473 ,hyde1 #ih2 ,foerster1   
#bed4    #aacd ,amongst others it has   
been assumed by ,loeschke1 ,der ,tod des
  ,pheidias 7in ,histor4 ,untersuch4 zum
 ,schaefer-,jubilaeum1 ,bonn1 #ahhb71   
p4 #cf2 ,schoell1 ,sitzb4 ,muen4 ,akad41
 #ahhh1 ,i1 p4 #cg 7,der ,prozess des   
,pheidias74 ,foerster1 p4 #ai1 n4 #a1 is
 against the identification4 ,the    is 

omitted in my victor lists 7de          
olympionicarum  ,statuis74    #aace ,the
   is mentioned between victors nos4 #ch
 and #ci1  i4 e41 in the ,zone of the   
,eretrian ,bull1 while ,pantarkes 7#ih7 
is  mentioned among the statues in the  
,zone of the ,chariots3 see infra1  ,ch4
 ,,viii1 pp4 #cdc and #cde1 and ,plans  
,a and ,b4    #aacf ,cf4 ,gurlitt1      
,ueber ,pausanias1 pp4 #cgh f4    #aacg 
,cf4 ,doerpfeld1 ,baudenkmaeler v4 ,ol41
 p4 #ba and n4 #a2 ,furtw41  ,mp41 pp4  
#ci-dj2 ,frazer1 l4 c4    #aach ,b4 ,m4 
,sculpt41 ,i1 no4 #eja2 ,marbles and    
,bronzes1 ,pl4 ,,vi2 ,b4  ,b41 #bga2    
,bulle1 #di2 von ,mach1 #aag2           
,springer-,michaelis1 p4 #bei1 fig4     
#dfa2 ,f4 ,w41 #eji2 ,annali1 ,l1 #ahgh1
 ,pl4 ,a and pp4 #bj f4 7two views7     
7,michaelis72 ,clarac1 ,v1 #heh ,c1     
#bahi ,a2 ,m4 ,w41 ,i1 ,pl4 #ca1 fig4   
#acf2  ,reinach1 ,rp41 ,i1 #ebd1 #b4    
,the palm-trunk shows that the ,roman   
artist  intended to represent a victor  
in his copy4 ,it is #d ft4 #aj4be in4   

high  7,smith72 #a4dh meters 7,bulle74  
#aaci ,brunn1 following older writers   
such as ,winckelmann1 had  pronounced it
 ,polykleitan3 ,annali1 ,,li1 #ahgi1 pp4
 #bah f42 cf4  ,murray1 ,i1 pp4 #cac f4 
and ,pl4 ,,ix4 ,kekul called it         
,myronian3 #distes  ,berl4              
,winckelmannsprogr41 #ahhi1 p4 #ab2     
,gardner1 ,sculpt41 p4 #abh1  finds it  
unrelated to ,polykleitos and defends   
its ,attic origin4  ,everything about   
it--except the mode of tying the        
fillet--differs from  the copies of     
,polykleitos' statue1 and especially the
 pose4 ,against  ,brunn's view1 see     
,michaelis1 ,annali1 ,,lv1 #ahhc1 pp4   
#aed f4    #aadj ,so ,bulle1 ,arndt     
7text to ,b4 ,b41 #bga71 ,furtwaengler  
7,mp41  pp4 #bdd-e2 ,mw41 pp4 #ddd-e71  
,zimmerman 7in ,knackfuss-,zimmermann1  
,kunstgesch4 des ,altertums und des     
,mittelalters1 ,i1 p4 #aeb71 and many   
others4    #aada ,cf4 especially the    
resemblance of the statue to the youth  
on  the ,west frieze3 ,michaelis1 ,der  

,parthenon1 ,pl4 ,v1 no4 #i4    #aadb   
,pliny1 ,h4 ,n41 ,,xxxiv1 #ee1 praises  
it equally with the  ,doryphoros1 and   
says that #ajj talents were paid for it2
 in another  passage he says that a like
 sum was paid by ,king ,attalos for a   
picture  of ,dionysos by the ,theban    
painter ,aristeides3 ibid41 ,,vii1 #abf2
 cf4  ,,xxxv1 #bd and #ajj4 ,a painting 
by ,timomachos of ,byzantium brought #hj
  talents3 ibid41 ,,xxxv1 #acf4    #aadc
 ,h4 ,n41 ,,xxxiv1 #ef2 here he quotes  
,varro1 who was drawing  probably from  
,xenokrates of ,sikyon3 see ,jex-,blake1
 pp4 xvi f4    #aadd ,listed by         
,furtwaengler1 ,mp41 pp4 #bci f42 the   
torsos1 by  ,petersen1 ,b4 com4 ,rom41  
#ahij1 pp4 #ahe f4    #aade ,b4 ,m4     
,sculpt41 ,i1 no4 #ejj2 ,marbles and    
,bronzes1 ,pl4 ,,iv2 ,b4  ,b41 #bgb2 von
 ,mach1 #aad2 ,f4 ,w41 #ejh2 ,mon4 d4   
,i41 ,x1 #ahgd-gh1 ,pl4 ,,xlix  7#c     
views72 ,rayet1 ,i1 ,pl4 #cj2 ,collignon
 ,i1 p4 #dgi1 fig4 #bec2 ,murray1 ,i1   
,pl4 ,x2 ,reinach1 ,rp41 ,,ii1 #b1 #edg1

 #e4 ,michaelis1 by a comparison with   
the ,doryphoros1 first showed that it   
was a copy of the ,diadoumenos3         
,annali1 ,l1 #ahgh1 pp4 #aj f4 ,it is #f
 ft4 #a in4 tall 7,smith74    #aadf     
,kabbadias1 no4 #ahbf2 ,bulle1 #ej2     
,gardner1 ,sculpt41 ,pl4 #ce2 von       
,mach1 #aae2 ,mon4 ,piot1 ,,iii1 #ahif1 
pp4 #acg f4 7,couve71 and ,pls4 ,,xiv   
and ,,xv2 ,stas1 ,marbres et ,bronzes1  
pp4 #hd-he and fig42 ,b4 ,c4 ,h41       
,,xix1 #ahie1 pp4 #dfj f4 7account of   
the ,delian excavations by ,l4 ,couve7  
and ,pl4 ,,viii 7the statue in its      
surroundings at the excavations72       
,springer-,michaelis1 p4 #bgg1 fig4     
#dih2 ,reinach1 ,rp41 ,,ii1 #b1 #edg1   
#i4  ,it is #a4hf meters high without   
the base 7,couve74    #aadg ,discussed  
supra1 on pp4 #ib-c4    #aadh ,mon4     
,piot1 ,,iv1 ,pls4 ,,viii-,,ix2 von     
,mach1 no4 #aaf a2 ,furtw41  ,mp41 p4   
#bda1 fig4 #ih2 ,mw41 p4 #dci1 fig4 #fh 
7who called it the most  beautiful of   
all the copies72 ,reinach1 ,rp41 ,i1    

#dge1 #f4 ,the right arm  is wrongly    
restored4    #aadi ,listed by           
,furtwaengler1 ,mp41 pp4 #bdj-b2 cf4    
,gardner1  ,sculpt41 pp4 #abe f4        
#aaej ,hettner1 ,die ,bildw4 d4         
,antikensamml4 zu ,dresden1 pp4 #hj and 
#hf2 ,annali1 ,,xliii1 #ahga1 ,pl4 ,v1  
pp4 #bha f4 7,conze72 ,furtw41 ,mp41    
,pls4 ,x and ,,xi2 ,mw41 ,pl4 ,,xxv2    
,gardner1 ,sculpt41 ,pl4 #cf 7two       
views72  ,f4 ,w41 #eaa4    #aaea ,b4    
,b41 no4 #cdj2 ,conze1 ,beitraege zur   
,geschichte d4 griech4  ,pl4#b1 #ahfi1  
pp4 #c f41 ,pl4 #b 7two views72 ,f4 ,w41
 #eaj4    #aaeb ,b4 ,m4 ,sculpt41 ,,iii1
 no4 #bgbi 7,addenda72 ,mon4 ,piot1     
,,iii1 p4  #ade 7,couve72 ibid41 ,,iv1  
p4 #gc 7,paris72 ,gardner1 ,sculpt41    
,pl4 #cg4    #aaec ,j4 ,h4 ,s41 ,,vi1   
#ahhe1 pp4 #bdc f4 7,murray71 and ,pl4  
,,lxi4    #aaed ,j4 ,h4 ,s41 ,,xxxix1   
#aiai1 pp4 #fi f41 and ,pl4 #a 7two     
views71 and  p4 #bcb 7with illustration 
of the palmette head-band74    #aaee    
,mp41 p4 #bdf1 fig4 #ii 7with original  

head72 ,mw41 p4 #ddg1 fig4  #fi4        
#aaef ,michaelis1 p4 #dch1 no4 #c2      
,clarac1 ,v1 #hea1 #bahj ,a 7headless72 
it  is #a4di meters high 7,michaelis74  
,he believes that it originally was an  
oil-pourer4    #aaeg ,mp41 p4 #bdf2     
,mw41 p4 #ddh4 ,it is #ab centimeters   
high  7,furtwaengler74    #aaeh  1 ,p41 
,,viii1 #dh4b2 cf4 ,a4 ,g41 ,,ix1 #ceg2 
,aristoph41 ,plut41 #ehf2 ,theophr41    
,hist4 ,plant41 ,,iv1 #ac4b4 ,the custom
  of using the olive crown is probably  
very ancient1 despite ,phlegon's        
statement that it was introduced in ,ol4
 #g 7 #geb ,b4 ,c473 frag4 #a 7 ,f4  ,h4
 ,g41 ,,iii1 p4 #fjd74 ,pindar says that
 it was introduced from the land  of the
 ,hyperboreans by ,herakles3 ,ol41      
,,iii1 #ad f2 ,bacchylides calls it     
,aetolian3 ,,vii1 #ej 7  ' 74 ,it       
probably goes  back to some form of     
popular magic4    #aaei ,b4 ,b41 no4    
#cbd2 here small leaves are still       
remaining over the  forehead4    #aafj  
,bronz4 v4 ,ol41 ,,ii1 #b and #b a4     

,here the leaves have  disappeared4 ,see
 pp4 #bed-e4    #aafa ,b4 ,c4 ,h41 ,v1  
#ahha1 ,pl4 ,,iii1 text1 pp4 #fe f4     
7,pottier74 ,here is  listed a number of
 funerary reliefs representing athletes1
 which list  could easily be enlarged4  
#aafb ,helbig1 ,fuehrer1 ,,ii1 #abda2   
,guide1 #igg4 ,on the motive1 see       
,archaeol4 ,studien ,h4 ,brunn dargebr41
 #ahic1 pp4 #fb f4    #aafc ,the  7,lat4
 lemniscus7 was merely the woolen fillet
  by which chaplets were fastened on2   
,hesychios says it is a ,syracusan      
word2 in any case it is used only by    
,roman writers and ,greek writers of    
the ,roman age2 ,a4 ,g41 ,,xii1 #abc2   
,plut41 ,sulla1 #bg2 ,polyb41 ,,xviii1  
#df 7where  and  are differentiated1    
though they are  usually                
interchangeable72 ,c4 ,i4 ,g41 ,,iii1   
#ecfa2 ,c4 ,i4 ,a41 ,,iii1 #gd4  ,pliny 
says that it was of ,etruscan origin1   
,h4 ,n41 ,,xxi1 #d1 and that  it was at 
first made of wool or linden-bark and   
later of gold2 cf4  ,,xvi1 #be4 ,it was 

used at ,rome at feasts1 as a sign of   
special honor to  guests3 ,plaut41      
,pseudolus1 7line #abfe72 ,livy1        
,,xxxiii1 #cc4b2 ,suet41  ,nero1 #be4   
,for the ,roman use of the lemniscus for
 athletic victors  and poets1 cf4       
,cicero1 ,or4 pro ,sext4 ,roscio        
,amerino1 #ce1 #ajj2  ,ausonius1        
,epist41 ,,xx1 #f2 etc4 ,on the         
lemniscus1 see ,dar4-,sagl41  ,,iii1 #b1
 pp4 #ajii-aajj4    #aafd ,r4 ,m41 ,,vi1
 #ahia1 p4 #cjd1 no4 #c4    #aafe ,mon4 
,piot1 ,,xvii1 #aiji1 ,pls4 ,,ii1 ,,iii 
and pp4 #bi f4 7,merlin and  ,poinssot74
    #aaff ,b4 ,m4 ,sculpt41 ,,iii1 no4  
#aged2 ,b4 ,b41 #df2 ,marbles and       
,bronzes1 ,pl4 ,,xxii2 ,collignon1 ,i1  
fig4 #bee1 on p4 #ejj2 ,furtw41  ,mp41  
p4 #beb1 fig4 #aje2 ,mw41 p4 #deg1 fig4 
#ge 7back view72  ,springer-,michaelis1 
p4 #bge1 fig4 #die2 ,reinach1 ,rp41     
,,ii1 #b1 #edf1 #i4  ,it is #d ft4 #aa  
in4 high 7,smith71 i4 e41 #a4dh meters4 
#aafg ,helbig1 ,cat4 ,coll4 ,barracco1  
no4 #ii1 ,pls4 #ch and #ch a2 id41      

,fuehrer1 ,i1 #ajhc2 sketches of the    
,westmacott and ,barracco copies in     
,kekul1 #distes ,berl4                  
,winckelmannsprogr41 #ahhi1 ,pl4 ,,iv4  
#aafh ,no4 #bed2 ,arch4 ,eph41 #ahij1   
pp4 #bjg f4 7,philios7 and ,pls4 ,x and 
,,xi4 ,bulle1 #ea1 gives the ,westmacott
 and ,barracco examples side by side2   
in ,j4 ,h4 ,s41 ,,xxxi1 #aiaa1 ,pl4     
,,ii1 we have the ,westmacott1          
,barracco1  and ,eleusis copies         
together4 ,furtwaengler1 ,mp41 pp4 #bej 
f41 ,mw41  pp4 #dec f41 ,helbig1 ,cat4  
,coll4 ,barracco1 p4 #cf1 and ,petersen1
 ,r4  ,m41 ,,viii1 #ahic1 pp4 #aja f41  
have added many more torsos and heads as
  copies or variants of the original4   
#aafi ,see ,helbig1 ,fuehrer1 ,i1 #ajhc4
 ,its soft expression and forms  led    
,furtwaengler to derive it from the     
,praxitelean circle1 from the  period   
when ,praxiteles was influenced by      
,polykleitos1 and to believe  that it   
represented a divinity1 perhaps         
,triptolemos3 ,mp41 p4 #bee and  n4 #b4 

#aagj ,burlington ,fine ,arts ,club1    
,catalogue ,anc4 ,gk4 ,art1 #aijd1 no4  
#de1 ,pl4 ,,xxxiii2 ,furtw41 ,mp41 p4   
#bea1 fig4 #ajc2 ,mw41 p4 #ded1 fig4    
#gc4 ,it was formerly in the van        
,branteghem collection4    #aaga ,for   
the ,dresden head1 see ,a4 ,a41 #aijj1  
p4 #ajg1 figs4 #a a and #a  b4    #aagb 
,furtw41 ,mp41 p4 #beb1 fig4 #ajd2 ,mw41
 p4 #dee1 fig4 #gd4    #aagc ,first     
published by ,f4 ,h4 ,marshall1 ,j4 ,h4 
,s41 ,,xxix1 #aiji1 pp4  #aea-b and     
figs4 #a a1 b2 more fully by ,e4 ,a4    
,gardner1 ibid41 ,,xxxi1  #aiaa1 pp4 #ba
 f4 and ,pl4 ,i and fig4 #a4    #aagd   
,nelson head3 ,j4 ,h4 ,s41 ,,xviii1     
#ahih1 pp4 #ada f41 and ,pl4 ,,xi2  ,b4 
,b41 #edd2 ,gardner1 ,sculpt41 ,pl4     
,,xxxix2 ,capitoline ,amazon3 ,mp41  p4 
#acb1 fig4 #ec 7restored72 ,mw41 p4     
#bib1 fig4 #ci4 ,a head of the          
,capitoline type has been wrongly placed
 on the ,pheidian ,mattei torso in  the 
,vatican3 ,mp41 p4 #acc1 fig4 #ed       
7head72 ,mw41 ,pl4 ,,xi2 ,b4 ,b41 #cej2 

von ,mach1 #aba2 ,reinach1 ,rp41 ,i1    
#dhc1 #a4    #aage ,b4 ,b41 #abh        
7original and cast74    #aagf ,as1 e4   
g41 in the bronze head of a victor in   
,naples1 already  discussed 7,fig4 #be72
 ,b4 ,b41 #cci4    #aagg ,e4 g41        
,furtwaengler and ,collignon2 the       
latter1 ,i1 pp4 #dii-ejj4    #aagh      
,hypnos1 pp4 #cj f42 accepted by        
,wolters 7apud ,lepsius1  ,griech4      
,marmorstudien1 p4 #hc1 no4 #afd71 ,treu
 7,a4 ,a41 #ahhi1 p4 #eg71  ,collignon1 
,petersen1 l4 c41 ,kekul 7,idolino1 p4  
#ac71 ,furtwaengler  7,mp41 pp4 #beb-c1 
,mw41 pp4 #deh-i and #gdg71 and others2 
see ,philios1  op4 cit4    #aagi ,e4 g41
 by ,philios 7op4 cit471 ,amelung       
7,bert4 ,phil4  ,wochenschr41 ,,xxii1   
#aijb1 p4 #bgc74 ,this scraping motive  
is seen in the  bronze statuette in the 
,bibliothque ,nationale1 no4 #icd4      
#aahj ,this is inconsistent with the    
position of the hand in the  ,barracco  
copy1 which is too far from the head4   
,this was an older view  of ,helbig1    

,rendiconti della ,reale ,accad4 dei    
,lincei1 #ahib1 pp4 #gij  f42 refuted by
 ,furtwaengler1 ,petersen1 ,helbig      
himself later 7in the  ,fuehrer71 and   
others4    #aaha ,quoted by ,e4 ,a4     
,gardner1 ,j4 ,h4 ,s41 ,,xxxi1 pp4      
#be-f1 as the  theory of ,e4 ,n4        
,gardiner4    #aahb ,h4 ,n41 ,,xxxiv1   
#ee2 for this theory1 see ,mahler1      
,polyklet u4 s4  ,sch41 p4 #ej4    #aahc
 ,michaelis1 ,der ,parthenon1 #ahgj1    
,block #aca 7from the ,north  frieze74  
#aahd ,f4 ,w41 #affe2 ,furtw41 ,mp41 p4 
#bef1 fig4 #ajf2 ,mw41 p4 #dfc1  fig4   
#gf2 ,m4 ,w41 ,pl4 #gj1 #hgi2 etc4      
#aahe ,for list1 see ,furtw41 ,mp41 p4  
#bed1 n4 #b4 ,for a restoration of  the 
original statue1 see ibid41 p4 #bej1    
fig4 #ajb2 ,mw41 p4 #dec1 fig4  #gb4    
#aahf ,,vi1 #d4aa2 ,inschr4 v4 ,ol41    
#adi2 ,i4 ,g4 ,b41 #ej4    #aahg ,those 
of the ,elean pentathlete ,pythokles3   
,inschr4 v4 ,ol41  #afb-c2 ,i4 ,g4 ,b41 
#ia2 and the ,epidaurian boxer          
,aristion3 ,inschr4 v4  ,ol41 #afe      

7renewed72 ,i4 ,g4 ,b41 #ib4 ,the feet  
of the ,aristion were both  flat upon   
the ground4    #aahh ,that of the boy   
wrestler ,xenokles of ,mainalos3        
,inschr4 v4 ,ol41  #afd2 ,i4 ,g4 ,b41   
#ij4    #aahi ,in one of the ,olympia   
,zanes3 ,i4 ,g4 ,b41 #ie4    #aaij ,on  
the ,kyniskos basis there are no traces1
 as on that of  ,pythokles1 to show that
 the original had been removed from the 
,altis  and replaced by a copy long     
before ,pausanias visited ,olympia4     
#aaia ,o4 ,s41 p4 #ahf1 on the basis of 
the ,oxy4 ,pap42 followed  by ,hyde1    
#de4 ,foerster's date1 ,ol4 787 #hf 7   
#dcf ,b4 ,c471 follows the  earlier     
dating of ,polykleitos by ,robert1      
,arch4 ,maerchen1 #ahhf1 p4  #ajg1 i4   
e41 before the discovery of the         
,oxyrhynchus ,papyrus2 see  ,foerster1  
#bee4 ,robert later dated the birth of  
the sculptor about ,ol4  #ge4d 7 #dgg   
,b4 ,c474 ,thus1 even if the ,kyniskos  
were his earliest  statue1 it must have 
been erected some time after the        

victory4  ,furtwaengler dates the       
original of the ,westmacott ,athlete    
about #ddj  ,b4 ,c43 ,mp41 p4 #beb4     
#aaib ,bulle1 ,furtwaengler1 ,e4 ,a4    
,gardner1 and others find the           
assumption of identity not completely   
convincing4 ,thus ,furtwaengler  looks  
upon the identification as 8no          
far-fetched theory10 but says3          
8,unfortunately1 however1 absolute      
certainty can scarcely be attained0     
7,mp41 pp4 #bdi-ej74    #aaic ,,viii1   
#dh4b2 cf4 ,vitruv41 de ,arch41 ,,ix1 #a
 7p4 #bab74    #aaid ,homer mentions the
 palm3 e4 g41 ,od41 ,,vi1 #afc2 the     
various  kinds of palm are given by     
,theophr41 ,hist4 ,plant41 ,,ii1 #f4f   
and #h4d4  ,its fronds 71 cf4 ,hdt41    
,,vii1 #fi7 were formed into victory    
crowns3 ,plut41 ,quaest4 conviv41       
,,viii1 #d1 p4 #gbc4    #aaie ,h4 ,n41  
,,xxxv1 #ge4    #aaif ,arch4 ,stud4 ,h4 
,brunn dargehracht1 #ahic1 pp4 #fb f4   
#aaig ,mp41 p4 #bef and n4 #a2 ,mw41 p4 
#dfb and n4 #b4    #aaih ,cf4           

,waldstein1 ,j4 ,h4 ,s41 ,i1 #ahhj1 p4  
#ahg1 n4 #a4    #aaii ,b4 ,c4 ,h41 ,v1  
#ahha1 ,,pi4 ,,iii4 ,see supra1 p4 #aee4
    #abjj ,so ,waldstein1 l4 c41 p4     
#ahf4    #abja ,e4 g41 on a ,panathenaic
 vase3 ,mon4 d4 ,i41 ,x1 #ahgd-gh1 ,pl4 
#dh1 e1 g4    #abjb ,mentioned by       
,helbig1 ,guide1 #igg2 discussed by     
,arndt in ,la  ,glyptothque             
,ny-,carlsberg1 text to ,pls4           
,,xxi-,,iv4 ,arndt believes that  the   
right arm with the palm in the hand is  
modern1 like the head and  left arm2    
they are of a different marble from the 
torso4 ,the torso  is a replica of a    
statue in the ,villa ,albani1 ,rome3 op4
 cit41 fig4  #ac2 cf4 ,furtwaengler1    
,mw41 p4 #gch 7 god type74 ,on          
representing  athletes in the act of    
placing wreaths on their heads with the 
right  hand and holding palm-branches in
 the left1 see ,milchhoefer1 and        
others1 in the work already cited1      
,arch4 ,stud4 ,h4 ,brunn dargebracht1   
pp4 #fb f4    #abjc ,,vi1 #aj4d4 ,the   

scholiast on ,pindar1 ,pyth41 ,,ix1 #a1 
,boeckh1 p4  #dja1 says that the        
hoplites ran with bronze shields4       
#abjd ,see supra1 pp4 #aje1 n4 #c1 and  
#aaf4    #abje ,p41 ,,vi1 #ac4g4 ,he won
 in ,ol4 #ha 7 #def ,b4 ,c473 ,oxy4     
,pap42 ,hyde1  #aag2 ,foerster1 #ahd4   
#abjf ,schol4 on ,pindar1 ,pyth41 ,,ix1 
,inscript4 a4 ,boeckh1 p4 #dja4    #abjg
 ,head ,a3 ,bildw4 v4 ,ol41 ,textbd41   
pp4 #bi f42 ,tafelbd41 ,pl4 ,,vi1  #a-d2
 ,ausgrab4 v4 ,ol41 ,v1 #ahha1 pp4 #ab  
f41 ,pls4 ,,xviii 7front71 ,,xix        
7side72 ,f4 ,w41 #caf2 ,overbeck1 ,i1   
pp4 #aih-i and cf4 p4 #agh4 ,head ,b3   
,bildw41 pp4 #ca f41 and ,pl4 ,,vi1     
#i-aj2 ,ausgrab41 p4 #ac2 ,overbeck1 p4 
#agh2 ,f4 ,w41 #cae4    #abjh ,bildw41  
,pl4 ,,vi1 #e-f2 fig4 #cj1 on p4 #cj in 
,textbd42 ,ausgrab41  ,v1 ,pl4 ,,xix1 #d
 and p4 #ab2 ,f4 ,w41 #cag4    #abji    
,bildw41 ,textbd41 fig4 #ca1 on p4 #cj4 
#abaj ,bildw4 v4 ,ol41 ,textbd41 fig4   
#cb1 on p4 #ca4    #abaa ,ibid41 pp4 #ca
 f41 and ,pl4 ,,vi1 #g-h2 ,ausgrab4 v4  

,ol41 ,v1 ,pl4  ,,xix1 #e and p4 #ab2   
,f4 ,w41 #cai4 ,both the foot and arm   
are of ,parian  marble1 like the head4  
#abab ,hyde1 pp4 #db-d2 cf4 ,foerster1  
#aea1 #aee2 he also won the  stade-race 
at ,delphi3 ,pindar1 ,pyth41 ,x1 #ab-af4
 ,robert accepts my  ascription3        
,pauly-,wissowa1 ,,vi1 p4 #adic4        
,liddell and ,scott1 ,lexicon1  s4 v4  7
 8,bristle071 believe this to be the    
name not of the  victor but of his      
horse1 so called because of his long    
outstanding  mane2 cf4 ,herrmann1       
,opuscula1 ,,vii1 #aff n4 ,this is also 
the  interpretation of ,sandys1 ,odes of
 ,pindar1 ,loeb ,library1 #aiae1 p4     
#bia1  n4 #a4    #abac ,p41 ,,vi1       
#aj4d-e2 ,r4 ,foerster1 ,das ,portraet  
in d4 gr4 ,plastik1  #ahhb1 p4 #bb1 n4  
#e4    #abad ,treu1 ,a4 ,z41 ,,xxxviii1 
#ahhj1 pp4 #dh f42 ,bildw4 v4 ,ol41 p4  
#cd  and n4 #b4 ,he explained the shield
 device of the ram and ,phrixos by the  
fact that ,eperastos traced his descent 
from that hero4 ,cf4 ,overbeck1  ,i1 p4 

#aih4    #abae ,,vi1 #ag4e2 ,hyde1 #ahc 
and p4 #fb2 ,foerster1 #gfe 7undated74  
#abaf ,preus4 ,jb41 ,,li1 p4 #chb2 cf4  
,sammlung ,sabouroff1 ,einleitung  zu   
den ,skulpturen1 p4 #e1 n4 #d2 followed 
by ,flasch1 ,baum41 ,,ii1 p4 #aajd ,u   
f4    #abag ,v1 #bg4g4    #abah         
,textbd41 pp4 #ca-b4    #abai ,hyde1 l4 
c4 ,for the date1 see ,afr2 ,foerster1  
#add-f2 he was the  first ,olympic 1 i4 
e41 he gained victories in three events 
on  the same day 7stade-1 double stade- 
and hoplite-races74    #abbj            
,matz-,duhn1 ,ant4 ,bildw41 no4 #ajig2  
here it is called a  diskobolos2        
,clarac1 #hcj1 #bjhe2 ,furtwaengler1    
,mp41 p4 #bjd2 ,mw41 p4  #cib4    #abba 
,hauser1 ,jb41 ,,ii1 #ahhg1 p4 #aja1 n4 
#bd1 points out its  resemblance to the 
,tuebingen bronze1 but because of the   
tree-trunk does  not regard it as a     
representation of a hoplitodrome4       
,furtwaengler1 l4  c41 regards the      
helmet as belonging to the head1 while  
others believe  it alien thereto4       

#abbb ,no4 #gie2 ,a4 ,z41 ,,xxxvi1      
#ahgh1 ,pl4 ,,xi and pp4 #eh-ga2        
,gardiner1  p4 #aje1 fig4 #ag2 cf4      
another in ,copenhagen3 ,gerhard1 ,,iv1 
,pl4 ,,cclxxxi4    #abbc ,p41 ,,vi1     
#c4aj2 he won the pentathlon some time  
between ,ols4 #id  and #ajc 7 #djd and  
#cfh ,b4 ,c473 ,hyde1 #ca2 ,foerster1   
#cdg4    #abbd ,p41 ,v1 #bf4c4    #abbe 
,v1 #bg4ab4    #abbf ,a4 ,z41 ,,xli1    
#ahhc1 ,pl4 ,,xiii1 #b and pp4 #bbg-h   
7,milchhoefer74    #abbg ,inventar1 no4 
#fcjf2 mentioned by ,l4 ,gurlitt in ,a4 
,m41 ,,vi1  #ahha1 p4 #aeh4    #abbh    
,duetschke1 ,,ii1 no4 #bb2 a very       
similar statue1 no4 #be1 has no         
halteres2 both are poor ,roman copies4  
#abbi ,bildw4 v4 ,ol41 p4 #bag2         
,tafelbd41 ,pl4 ,,lvi1 #c4    #abcj ,so 
schol4 on ,pindar1 ,ol41 ,,vii1 ,argum41
 ,boeckh1 p4 #aeh4 ,he  won in ,ol4 #hc 
7 #ddh ,b4 ,c473 ,oxy4 ,pap42 ,p41 ,,vi1
 #g4a f42 ,hyde1 #fj2  ,foerster1 #beb4 
#abca ,matz-,duhn1 ,ant4 ,bildw4 in     
,rom1 no4 #ajif2 ,j4 ,h4 ,s41 ,,ii1     

#ahha1 p4 #cdb1 fig4 #c4 ,thongs appear 
on both forearms of the ,polykleitan    
statue1 copies of which are in ,kassel  
7,furtw41 ,mp41 p4 #bdf1 fig4  #ii2     
,mw41 p4 #ddg1 fig4 #fi71 and on a      
headless one in ,lansdowne ,house       
7,michaelis1 p4 #dch1 no4 #c2 ,clarac1  
#hea1 #bahj ,a72 similarly on the       
,lysippan boxer by ,koblanos found at   
,sorrento1 and now in ,naples 7,fig4    
#eg2 ,kalkmann1 ,die ,proport1 des      
,gesichts in d4 gr4 ,kunst  #ecstes     
,berl4  ,winckelmannsprogr41 #ahic1 ,pl4
 ,,iii72 on the bronze statue of a boxer
  from ,herculaneum in ,naples2 and on  
the delle ,terme ,seated ,boxer 7,pl4   
#af72 etc4    #abcb ,so interpreted1 and
 rightly1 by ,waldstein 7,j4 ,h4 ,s41   
,i1 #ahhj1  p4 #ahf71 and others2       
,juethner1 pp4 #fh-i1 thinks that the   
object here  represented is a victor    
fillet1 being too short for thongs4     
#abcc ,p4 #bf and n4 #b2 against him1   
,reisch1 p4 #dc2 ,hitz-,bluemn41 ,,ii1  
#b1 p4 #egg2 etc4 ,oil-flasks of various

 kinds--lekythoi1 aryballoi1  alabastra1
 olpai--are mentioned repeatedly by     
,greek writers2  e4 g41 1 by ,homer1    
,od41 ,,vi1 #gi2 ,aristoph41 ,plutus1   
#haj2  1 ,aristoph41 ,equites1 #ajid2   
,pollux1 ,,vii1 #aff and ,x1 #fc2  1    
,theokr41 ,,xv4 #aad2  7of leather71    
,theokr41 ,,ii1 #aef2 etc4    #abcd     
,,vi1 #ad4f4    #abce ,,vi1 #i4a4       
,theognetos won in the boys' wrestling  
match in ,ol4 #gf  7 #gdf ,b4 ,c473     
,oxy4 ,pap42 ,hyde1 #hc2 ,foerster1 #aic
 and #aic ,n4    #abcf ,we have already 
in the present chapter mentioned this   
8,apollo0  in connection with the       
statuette from ,piombino 7,fig4 #ai72   
,studniczka1  ,r4 ,m41 ,,ii1 #ahhg1 pp4 
#ii-ajj1 believed that it represented a 
victor4  ,see supra1 p4 #aai4    #abcg  
,e4 g41 on the bronze statuette from    
,naxos1 now in ,berlin3 see  supra1 p4  
#aai and n4 #e4    #abch ,boy wrestlers 
especially wore caps in the palstr1 but 
not at  the games2 we see them on the   
wrestler group in the palstra scene on  

the r4-f4 kylix in ,munich 7no4 #gie7   
already mentioned4    #abci ,stuart     
,jones1 ,cat41 pp4 #fe-f1 no4 #h2       
,helbig1 ,fuehrer1  ,i1 #gfi2 ,guide1   
#dah2 ,b4 ,b41 #ebg 7and fig4 #f in     
text1 by ,arndt72  ,furtw41 ,mp41 p4    
#bjd1 ,mw41 p4 #cib4 ,helbig finds it   
,myronian1 while  ,furtwaengler         
considers it ,attic1 but non-,myronic2  
for a copy in  ,stockholm1 see ,b4 ,b41 
figs4 #g1 #h1 #i1 in the text to no4    
#ebg4    #abdj ,i1 #ag4b4 ,furtw41 ,mp41
 p4 #bjd1 n4 #f1 shows that the ,athens 
head  bears no resemblance to the       
,capitoline4 ,furthermore1 heads on     
coins of  ,juba differ from both and    
show no trace of the complicated        
head-dress4  ,a marble head from        
,shershel 7 ,csarea7 seems to be an     
authentic  portrait of ,juba ,,ii3 see  
,annali1 ,,xxix1 #aheg1 ,pl4 ,e1 no4 #b1
 and p4  #aid2 and ,waille1 de          
,caesareae ,monumentis1 #ahia1 title    
page 7vignette7  and p4 #ib 7quoted by  
,helbig1 ,guide1 l4 c474    #abda ,see  

,b4 ,b41 text to no4 #ebg1 figs4 #a1 #b1
 #c4    #abdb ,helbig1 ,fuehrer1 ,i1    
#igb2 ,guide1 #eie2 ,b4 ,com4 ,rom41    
,,xii1  #ahhd1 ,pl4 ,,xxiii1 pp4        
#bde-bec4 ,the meaning is explained by a
 similar  archaistic ,parian marble     
relief in ,wilton ,house1 ,wiltshire1   
,england1  where the youth stands before
 a statue of ,zeus1 washing his hands   
preparatory to making a thank-offering  
to the god who gave him victory3  see   
,michaelis1 p4 #fhj1 no4 #dh and        
wood-cut on p4 #fha2 ,arndt1 ,la ,glypt4
  ,ny-,carlsberg1 text1 fig4 #cc2 ,f4   
,w41 #bci2 its inscription is not       
genuine4 ,the same archaistic traits are
 seen on a votive relief to ,zeus       
,xenios in the ,museo delle ,terme3     
,helbig1 ,fuehrer1 ,,ii1 #adje2 ,arndt1 
op4 cit41 fig4 #cd2 this is to be dated 
in the first century ,b4 ,c41 or  ,a4   
,d41 because of its inscription3 ,i4 ,g4
 ,sic4 et ,ital41 no4 #iij4    #abdc    
,see ,fabretti1 de ,columna ,trajani1 p4
 #bfg2 ,gardiner1 p4 #dcc1  fig4 #adi2  

,schreiber1 ,bilderatlas1 ,pl4 ,,xxiv1  
no4 #h4 ,cf4 ,krause1 ,i1  pp4 #eag f4  
#abdd ,cf4 ,reisch1 pp4 #db-c4    #abde 
,cf4 ,philostr41 ,heroicus1 ,,xii b 7p4 
#cae72         4    #abdf ,thus         
,furtwaengler calls the ,ince-,blundell 
head that of a boxer  statue3 ,mp41 p4  
#agc1 and fig4 #ga on p4 #agb2 ,mw41 p4 
#cdh1 and fig4  #dd on p4 #cdg4    #abdg
 ,cf4 discussion by ,gardiner1 pp4      
#dbe-f4    #abdh ,gorgias1 #eae ,e2     
,protag41 #cdb ,b4 ,in the latter       
passage he  says3        1          1  4
 4 4 ,the boxer's swollen ears are      
mentioned by ,theokritos1 ,,xxii1  #de4 
,the word  seems to have meant a boxer  
whose ears were  battered by the gloves3
 ,aristoph41 ,fragm41 #gb2 ,pollux1     
,,ii1 #hc  7whence ,dindorf corrects the
 form  in ,poll41 ,,iv1 #add74 ,for     
references1 see ,krause1 ,i1 pp4        
#eaf-ag2 and cf4 ,j4 ,h4 ,s41 ,,xxvi1 p4
  #ac4    #abdi ,e4 g41 on a fragment of
 a red-figured kylix in ,berlin3 ,j4    
,h4 ,s41 ,,xxvi1 p4 #h1 fig4 #b2        

,hartwig1 ,die griech4 ,meisterschalen1 
,textbd41 p4 #ij1 fig4 #ab2 ,gardiner1  
p4 #dch1 fig4 #aec4 ,here one of the    
contestants in the pankration is        
bleeding at the nose4    #abej ,b4 ,c4  
,h41 ,,xxiii1 #ahii1 pp4 #dee2 cf41 p4  
#deg1 where he speaks  of le detail     
raliste de l'oreille tumfie par les     
coups4 ,for the  statue of ,agias       
mentioned1 see infra1 ,ch4 ,,vi1 pp4    
#bhf f41 and ,pl4  #bh and fig4 #fh4    
,cf4 on this subject also ,neugebauer1  
,studien ueber  ,skopas 7in ,beitraege  
zur ,kunstgesch41 ,,xxxix1 #aiac1 p4    
#ce1 n4 #agb74    #abea ,bronz4 v4 ,ol41
 ,tafelbd41 ,,iv1 ,pl4 ,,ii1 #b1 #b a2  
,f4 ,w41 #cbc2 etc4    #abeb ,see infra1
 ,ch4 ,,vi41 pp4 #bic f4    #abec       
,fouilles de ,delphes1 ,,iv1 ,pls4      
,,lxiii-,,lxiv4    #abed ,ant4 ,denkm41 
,i1 #a1 #ahhf1 ,pl4 ,,iv4    #abee      
,duetschke1 ,,iii1 no4 #gb4    #abef    
,gaz4 arch41 ,,viii1 ,pl4 ,i1 and p4 #he
 7,rayet72 ,f4 ,w41 #dfa4    #abeg ,b4  
,b41 no4 #h4    #abeh ,bulle1 no4 #aje  

7right72 and fig4 #df on p4 #bje4       
#abei ,a4 ,m41 ,,xvi1 #ahia1 ,pls4 ,,iv1
 ,v 7two views74    #abfj ,f4 ,w41 #eje2
 ,collignon1 ,i1 p4 #die1 fig4 #beb4 ,as
 the swollen ears  do not occur on other
 copies1 they are here doubtless a      
modification by  a late artist4    #abfa
 ,la ,glypt4 ,ny-,carlsberg1 ,pl4       
,,xxxvi 7 copy of fifth century ,b4     
,c472 ,,xciv 7,herakles or athlete1 from
 the ,tyszkiewicz coll41 ,skopasian  in 
character2  ,reinach1 ,ttes1 ,pls4 ,,cl1
 ,,cli72 ,,xcv 7similar to  preceding1  
though later in style3 ,ttes1 ,pls4     
,,clvi1 ,,clvii72 ,,cxx 7copy  of head  
of athlete of the fourth century ,b4    
,c474    #abfb ,cat4 ,class4 ,coll41 pp4
 #bbh f42 fig4 #ada on p4 #bca4 ,miss   
,richter points out its affinity to the 
,hermes and assigns it to the  immediate
 influence of ,praxiteles4 ,this        
fragment of a statue appears  to have   
been trimmed into its present shape in  
modern times4 ,miss  ,richter's         
statement 7p4 #bcj7 that swollen ears   

are a characteristic  which applies in  
representations of heroes to ,herakles  
alone is  contradicted by what we shall 
say below about heads of ,diomedes4     
#abfc ,rayet1 ,,ii1 ,pls4 #fd1 #fe      
7head72 ,b4 ,b41 #ge2 von ,mach1 #bhf2  
,f4 ,w41  #adbe2 ,m4 ,w41 ,i1 ,pl4 #dh1 
#baf2 ,reinach1 ,rp41 ,i1 #aed1 #a-d4   
,rayet calls  the statue that of a      
hoplitodromos4    #abfd ,brunn1 ,sitzb4 
,muen4 ,akad41 #ahib1 pp4 #fea f42      
,furtw4-,wolters1  ,beschr4 d4          
,glypt4#b1 no4 #cjd2 ,b4 ,b41 #abh 7left
  original2 right   cast72 ,furtw41     
,mp41 p4 #adg1 fig4 #fj 7from a cast    
with modern  restorations omitted71 and 
p4 #aej1 fig4 #fa 7head1 two views72    
text1 pp4  #adf ff42 ,mw41 ,pls4 ,,xii1 
,,xiii2 text1 pp4 #caa f42 ,clarac1     
#hga1 #bbai  and #fcc1 #adch ,a42       
,gardner1 ,sculpt41 ,pl4 ,,xvii 7cast74 
,its ,kresilan  origin has been shown by
 ,brunn 7l4 c41 pp4 #ffj and #fgc71     
,flasch  7,vortraege an der #dasten     
,philologenversamml41 #ahia1 p4 #i1     

quoted  by ,furtwaengler71 ,loeschke and
 ,studniczka 7quoted by ,furtwaengler7  
and ,furtwaengler4 ,it also shows       
,myronic traces4 ,it stands #a4hf meters
  7without the base74    #abfe ,furtw41 
,mp41 p4 #aea1 fig4 #fb2 ,mw41 ,pl4     
,,xiv and p4 #cac4 ,this  and a head in 
private possession in ,england1 ,b4 ,b41
 #edc 7three views71  are the best and  
truest copies of the lost original4     
#abff ,froehner1 ,notice1 #abh2         
,bouillon1 ,muse des antiques           
7statues71 ,pls4 ,,ii and ,,iii2        
,clarac1 #cad1 #adch4    #abfg          
,duetschke1 ,,ii1 no4 #afc2 ,amelung1   
,fuehrer1 #baj2 ,b4 ,b41 #cfa2  ,f4 ,w41
 #deh4 ,it will be discussed further on 
in ,ch4 ,,iv1 pp4 #ahj f4 ,the  ,berlin 
replica is given in ,mp41 p4 #afg1 fig4 
#fg2 cf4 text1 p4 #afe1  n4 #b4    #abfh
 ,roscher1 ,lex41 ,i1 #b1 p4 #bafc1     
fig42 ,furtwaengler1 ,mp41 p4  #aee1 n4 
#b4    #abfi ,r4 ,m41 ,,iv1 #ahhi1 ,p4  
#aig1 no4 #ab 7,b4 ,graef74    #abgj ,b4
 ,m4 ,sculpt41 ,,iii1 #agca1 and ,pl4   

,v1 fig4 #b2 ,marbles and  ,bronzes1    
,pl4 ,,xxi2 ,museum ,marbles1 ,,ii1 ,pl4
 ,,xlvi2 ,specimens1 ,i1 ,pl4  ,,lx2    
,collignon1 ,,ii1 p4 #bdj1 fig4 #abj2   
,wolters1 ,jb41 ,i1 #ahhf1 ,pl4 ,v1     
fig4 #b and p4 #ed4 ,two other copies of
 the same original are the one  in the  
,capitoline ,museum1 ,rome1 and one     
found in #ahgf on the ,quirinal  and now
 in the ,palazzo dei ,conservatori      
there4 ,b4 ,graef1 ,r4 ,m41 ,,iv1       
#ahhi1 p4 #ahi f1 and ,pls4 ,,viii      
7,capitoline bust7 and ,,ix 7,quirinal  
bust71  attributes the type to ,skopas2 
he is followed by ,collignon1 ,,ii1 p4  
#bdj1  n4 #a2 cf4 ,s4 ,reinach1 ,gaz4 d4
 ,b-,a41 #c;d ,per41 ,,iii1 #ahij1 pp4  
#cch and  #cdj4 ,wolters tried to show  
that it was ,praxitelian4 ,but the      
similarity  between these heads and that
 of the ,lansdowne ,herakles 7,pl4 #cj  
and  fig4 #ga71 which we ascribe to     
,lysippos in ,ch4 ,,vi1 pp4 #bih1 #caa1 
is  easily apparent4    #abga ,amelung1 
,vat41 ,i1 p4 #gch1 no4 #fcf and ,,ii1  

,pl4 #gi2 ,helbig1  ,fuehrer1 ,i1 no4   
#ajh2 ,guide1 #aac2 ,b4 ,b41 #fji2      
,furtw41 ,mp41 p4 #cda1  fig4 #adf2 p4  
#cdb1 fig4 #adg 7head1 two views72 ,mw41
 p4 #ege1 fig4 #aji  and p4 #egg1 fig4  
#aaj4    #abgb ,furtw4-,wolters1        
,beschr41 d4 ,glypt41#b no4 #bde 7the   
so-called  ,lenbach head72              
,arndt-,bruckmann1 ,griech4 und roem4   
,portraets1 ,pls4  #cce-f4 ,see         
,furtw4-,wolters1 for replicas in the   
,louvre1 etc4    #abgc ,b4 ,b41 #cch2   
,helbig1 ,guide1 #fi 7 boxer74    #abgd 
,comparetti e de ,petra1 ,la ,villa     
,ercolanese dei ,pisoni1 #ahhc1  ,pl4   
,,xxi1 #c2 ,furtw41 ,mp41 pp4 #bcd f4   
and fig4 #ie2 ,mw41 pp4 #dbh f4  and    
fig4 #fe4 ,both ,furtwaengler 7l4 c47   
and ,b4 ,graef 7,r4 ,m41 ,,iv1  #ahhi1  
pp4 #bae and #bjb7 have shown the       
,polykleitan origin of the type4  ,the  
former believes that it may have been   
copied from a statue of  ,herakles by   
the master1 which is mentioned by ,pliny
 7,h4 ,n41 ,,xxxiv1  #ef7 as at ,rome4  

,for other replicas of the type1 see    
,furtw41 ,mp41 p4  #bcd1 n4 #a2 ,mw41 p4
 #dbi1 n4 #a4    #abge ,a4 ,a41 #ahhi1  
pp4 #eg-h 7,treu1 who referred it to    
,polykleitos72  ,furtw41 ,mp41 p4 #ib   
and fig4 #dj2 ,mw41 p4 #abd and ,pl4    
,,vi 7he called  it ,pheidian74    #abgf
 ,museo ,torlonia1 ,pl4 #bf1 no4 #ajd4  
#abgg ,furtw4-,wolters1 ,beschr4 d4     
,glypt41#b no4 #bgb2 ,arndt-,amelung1   
nos4 #hcb and #hcc 7text by ,flasch74   
#abgh ,chabrias1 #c3 ,ex quo factum est 
ut postea athletae ceterique  artifices 
his statibus in statuis ponendis        
uterentur1 in quibus  victoriam essent  
adepti2 cf4 ,diod41 ,,xv1 #cc1 #d 7who  
speaks of  8statues074 ,this statue was 
erected in ,athens after his campaign to
  aid ,thebes against ,agesilaos in #cgh
 ,b4 ,c43 ,xen41 ,hell41 ,v1 #d4ch f4   
7though here ,chabrias is not mentioned 
by name72 ,diod41 ,,xv1 #cb-cc2         
,demosth41 ,contra ,lept41 #ge-gf 7p4   
#dgi72 cf4 ,aristotle1 ,rhet41  ,,iii1  
#aj4g4 ,chabrias seems to have been the 

first to order his troops to  assume a  
kneeling posture when receiving the     
charge of the enemy4 ,these  tactics    
when used against ,agesilaos were so    
favorably regarded by the  ,athenians   
that his statues were represented in the
 attitude of kneeling4    #abgi ,e4 g41 
,reisch1 p4 #dc4    #abhj ,see ,joubin1 
p4 #df4 ,it probably took place under   
the restored  democracy of ,kleisthenes4
 ,the assassination of ,hipparchos took 
place in  #ead ,b4 ,c4 ,pliny1 ,h4 ,n41 
,,xxxiv1 #ag1 says that the group was   
set up in  the year in which the kings  
were expelled from ,rome 7 #eji ,b4     
,c474    #abha ,p41 ,i1 #h4e2 cf4       
,marmor ,parium1 l4 #gj 7 ,c4 ,i4 ,g41  
,,ii1  #bcgd2 ,f4 ,h4 ,g41 ,i1 pp4 #ecc 
f41 etc471 and ,lucian1 ,philopseudes1  
#ah4    #abhb ,arrian1 ,anab41 ,,iii1   
#af4ah 7he says it was of bronze72      
,pliny1  ,h4 ,n41 ,,xxxiv1 #gj2 restored
 by ,seleukos3 ,val4 ,max41 ,,ii1 #aj1  
,extr4 #a2  by ,antiochos3 ,p41 ,i1     
#h4e4    #abhc ,b4 ,b41 nos4 #cbf       

7,aristogeiton71 #cbg 7,harmodios71 and 
#cbh  7head of ,harmodios1 two views72  
,bulle1 #hd1 #he2 von ,mach1 #eh 7both  
statues7 and #ei 7,aristogeiton72       
,collignon1 ,i1 pp4 #cfg f4 and figs4   
#ahi 7group7 and #aij 7head of          
,harmodios72 relief from ,athens showing
  the group1 ibid41 p4 #cfi1 fig4 #hh2  
,overbeck1 ,i1 p4 #aee1 fig4 #bg2       
,baum41 ,i4 p4 #cdj1 fig4 #ceg2 ,lechat1
 pp4 #ddd-e1 figs4 #cf1 #cg 7restored   
by ,michaelis72 ,r4 ,m41 ,,xxi1 #aijf1  
,pl4 ,,xi2 ,f4 ,w41 #aba-d2 ,reinach1   
,rp41 ,i1 #ecj1 #c 7,harmodios71 and #e 
7,aristogeiton72 cf4 ,,ii1  #b1 #eda1 #e
 7group72 ,clarac ,v1 #hfi1 #bbjb and   
#hgj1 #bbjc ,a2 head of  ,harmodios1    
,annali1 ,,xlvi1 #ahgd1 ,pl4 ,g4 ,the   
height is about #b meters  7,bulle74    
#abhd ,a4 ,m41 ,,xv1 #ahij1 pp4 #a f42  
followed by ,overbeck1 ,i1 pp4 #aeb  f42
 ,frazer1 ,,ii1 p4 #ih4 ,the difference 
is not only noticeable in the  head     
structure and treatment of the hair1 but
 in the whole character of  the work4   

,while ,antenor's work is stiff and     
lifeless1 the ,naples group  is full of 
vigor4 ,for the statue of ,antenor 7in  
the ,akropolis ,museum71  see ,ant4     
,denkm41 ,i1 #e1 #ahij1 ,pl4 #ec1 and   
pp4 #db f4 7,wolters72  ,overbeck1 ,i1  
,pl4 #be1 opp4 p4 #aeb2 ,les ,muses     
d',athnes1 ,i1 ,pl4 ,,vi2  ,jb41 ,,ii1  
#ahhg1 pp4 #ace f4 7,studniczka71 and   
,pl4 ,x1 #a 7head72 von  ,mach1 #bh2    
,perrot-,chipiez1 ,,viii1 ,pl4 ,,ii4    
#abhe ,however1 some archologists still 
favor ,antenor for this group3  e4 g41  
,wachsmuth1 ,die ,stadt ,athen1 ,i1 pp4 
#agj f42 ,,ii1 #cic-h2  ,collignon2     
,lechat1 op4 cit41 and cf4 ,b4 ,c4 ,h41 
,,xvi1 #ahib1 pp4  #dhe-i4    #abhf     
,rhet4 praecept41 #i3     1      4 ,see 
,brunn1 pp4 #aja-e2 cf4 ,pliny1  ,h4    
,n41 ,,xxxiv1 #di4    #abhg ,the best   
restoration is that of ,meier in bronzed
 plaster in  the ,ducal ,museum in      
,brunswick3 ,bulle1 p4 #agb1 figs4 #ch1 
a1 b1 c2 here  ,aristogeiton has        
received a bearded head4 ,for another   

restoration1 in  the ,museum of         
,strasbourg1 see ,springer-,michaelis1  
p4 #baf1 fig4 #djb1 a1  b4    #abhh     
,bulletin of ,museum of ,fine ,arts1    
,,iii1 #bg2 ,r4 ,m41 ,,xix1 #aijd1  p4  
#afc1 ,pl4 ,,vi 7,hauser74    #abhi ,a  
vase by ,douris shows a warrior similar 
to ,aristogeiton1 but  his onset is     
fiercer3 ,hartwig1 ,die griech4         
,meisterschalen1 #ahic1 ,pl4  ,,xxi1 and
 ,textbd41 pp4 #bjf f4 ,for other       
representations in art of the           
,tyrannicides1 see ,frazer1 ,,ii1 pp4   
#id f4    #abij ,darstellung des        
,menschen in der aelt4 griech4 ,kunst1  
#ahii1 p4  xi2 cf4 ,richardson1 p4 #abj1
 n4 #b4    #abia ,cf4 ,dickins1 p4 #bfe 
7quoting the view of ,furtwaengler74    
#abib ,furtwaengler1 ,sammlung ,somze1  
#ahig1 ,pl4 ,,iii4 ,he ascribes it  to  
,mikon and identifies it with the statue
 of the pancratiast ,kallias  at        
,olympia whose base has been found3     
,bildw4 v4 ,ol4 #adf2 ,hyde1  #ej2 see  
infra1 in the section on ,pancratiasts1 

p4 #bea4 ,for the  ,pelops1 see ,bildw4 
v4 ,ol41 ,tafelbd41 ,pl4 ,,ix1 #b1 and  
,,xi1 #a 7head74    #abic ,i1 #bc4i4    
,the inscribed base has been found3 ,c4 
,i4 ,a41 ,i1 #cgf2  ,i4 ,g4 ,b41 #ci4   
#abid ,p41 ,,vi1 #aj4a-c2 ,hyde1 #ic2   
,foerster1 #acg4    #abie ,ols4 #gb to  
#gf 7 #dib to #dgf ,b4 ,c472 ,hyde1 p4  
#db4    #abif ,cf4 ,bulle1 p4 #dic1 on  
no4 #bbe4    #abig ,on the origin and   
early development of motion figures in  
,greek  art1 see ,bulle1 pp4 #aeg f41   
and the works cited on p4 #fgd 7notes to
 p4  #aeh72 especially1 ,j4 ,langbehn1  
,fluegelgestalten der aeltesten griech4 
,kunst1 ,diss4 inaug41 #ahha2 ,f4       
,studniczka1 ,die ,siegesgoettin1       
,gesch4  einer antiken ,idealgestalt1   
#ahih2 ,e4 ,curtius1 ,die knieenden     
,figuren  d4 alt4 griech4 ,kunst        
7#bistes ,berl4 ,winckelmannsprogr41    
#ahfi72  ,eadweard ,muybridge1 ,human   
,figure in ,motion1 #aijg2 cf4 also ,j4 
,lange1 op4 cit4    #abih ,in the ,museo
 ,archeologico1 ,florence3 ,bulle1 no4  

#aj4    #abii ,cf4 the realistic scenes 
of wrestling1 boxing1 and running1  in  
relief on the archaic ,attic tripod vase
 from ,tanagra now in ,berlin1  dating  
from the second half of the sixth       
century ,b4 ,c43 ,a4 ,z41 ,,xxxix1      
#ahha1 pp4 #cj f4 7,loeschke7 and ,pls4 
#c and #d4 ,cf4 also scenes from  the   
pentathlon on a ,panathenaic amphora of 
the sixth century ,b4 ,c4 in  ,leyden3  
ibid41 ,pl4 #i2 etc4    #acjj ,b4 ,c4   
,h41 ,,iii1 #ahgi1 pp4 #cic f4 and ,pls4
 ,,vi-,,vii 7,homolle71 and  ,v1 #ahha1 
pp4 #bgb f4 7,homolle1 on the artist and
 his father ,mikkiades72  von ,mach1 no4
 #cb 7restored in the text opp4 p4 #bf1 
fig4 #a72 ,richardson1  p4 #ea1 fig4    
#ae2 ,perrot-,chipiez1 ,,viii1 pp4      
#cjj-a1 figs4 #abb-c and  ,treu's       
restoration1 p4 #cjc1 fig4 #abe2        
restored in ,springer-,michaelis1  p4   
#ahg1 fig4 #ceh2 ,reinach1 ,rp41 ,,ii1  
#a1 #chi1 #e4 ,though first called  an  
,artemis by ,homolle 7because of its    
resemblance to the so-called  ,oriental 

winged ,artemis on a bronze relief from 
,olympia1 von ,mach1  text1 opp4 p4 #cf1
 fig4 #e71 it has generally been called 
a ,nike since  its first ascription by  
,furtwaengler 7,a4 ,z41 ,,xl1 #ahhb1 pp4
 #cbd f471  and brought into connection 
with a base in two parts found near the 
statue on ,delos in #ahhj and #ahha1    
inscribed with the names of ,archermos  
and his father ,mikkiades4 ,if the      
connection with the base were certain1  
the statue should be referred to the    
beginning of the sixth century  ,b4 ,c42
 ,b4 ,sauer 7,a4 ,m41 ,,xvi1 #ahia1 pp4 
#ahb f471 and others1 have  disputed the
 connection4    #acja ,now in the       
,national ,museum1 ,athens3 ,kabbadias1 
no4 #a2 von ,mach1  #bj2                
,springer-,michaelis1 p4 #agd1 fig4     
#cdj2 ,richardson1 p4 #dc1 fig4 #aa2    
,reinach1 ,rp41 ,,ii1 #b1 #fde1 #a4 ,its
 inscription should date it about  #fjj 
,b4 ,c4 ,it is over #f feet in height   
7including the base3 von ,mach74        
#acjb ,bulle1 pp4 #aeg-h1 fig4 #cc2 de  

,ridder1 no4 #hjh4 ,it is #j4abc meter  
high 7,bulle74 ,cf4 similar bronzes     
ibid41 nos4 #gii-had1 and also  a flying
 harpy on a sixth-century ,b4 ,c4 ,ionic
 vase in the ,university  ,museum in    
,wuerzburg3 ,bulle1 pp4 #aei-afj1 fig4  
#cd2 ,furtw4-,reichhold1  ,griech4      
,vasenmalerei1 ,i1 pp4 #bji f4 and ,pl4 
#da2 cf4 also the very  similar pose on 
the small bronze statuette in the       
,british ,museum of a  winged ,nike     
represented in violent motion3 von      
,mach1 #cc2 the marble  torso of another
 in ,athens3 id41 text1 opp4 p4 #bf1    
fig4 #b2 and the  bronze winged ,gorgon 
from ,olympia 7#j4ab meter high73       
,bronz4 v4 ,ol41  ,pl4 ,,viii1 no4 #gh1 
text1 p4 #be 7and for the type1 cf4     
,roscher1 ,lex41  art4 ,gorgonen in der 
,kunst1 ,i1 #b1 p4 #agaj1 ll4 #fg f474  
#acjc ,nike of ,archermos1 #ahia4       
#acjd ,salzmann1 ,ncropole de ,camiros1 
,pl4 ,,liii2 ,bulle1 pp4 #afa-b1  fig4  
#ce2 cf4 ,brunn1 ,griech4               
,kunstgeschichte1 ,i1 p4 #adb4 ,its     

diameter is #j4che meter 7,bulle74      
#acje ,see ,r4 ,kekul and ,h4           
,winnefeld1 ,bronzen aus ,dodona in den 
koenigl4 ,museen zu ,berlin1 ,pl4 ,,ii  
and pp4 #ac f42 ,a4 ,z41 ,,xl1 #ahhb1   
,pl4 ,i and pp4 #bc-bg 7,engelmann72    
,rayet1 ,i1 ,pl4 #ag 7,s4 ,reinach72    
,bulle1  #hc 7right74 ,as the figure is 
only #j4adc meter tall1 it seems to have
  decorated the rim of a bronze bowl4   
,it may be later than the ,tuebingen    
bronze 7,fig4 #db7 and is certainly of a
 different school4 ,the presence  of a  
breastplate proves that it is meant for 
a warrior and not for a  hoplitodrome4  
#acjf ,for a full discussion of this    
sculptor1 see ,lechat1 ,pythagoras  de  
,rhegion1 #aije2 cf4 ,s4 ,q41  #dhi-ejg4
    #acjg ,h4 ,n41 ,,xxxiv1 #ei4        
#acjh ,,vi1 #d4c2 ,oxy4 ,pap42 ,hyde1   
#ch2 ,foerster1 #bjb1 #bjc4    #acji    
,,vi1 #f4a2 ,hyde1 #dh2 ,foerster1 #bjj4
    #acaj ,,vi1 #f4d f42 ,oxy4 ,pap42   
,hyde1 #ef2 ,foerster1 #ahe1 #aie1 #bjg4
    #acaa ,,vi1 #g4aj2 ,hyde1 #fi2      

,foerster1 #ahc1 #ahi4    #acab ,,vi1   
#ac4a2 ,oxy4 ,pap42 ,pliny1 ,h4 ,n41    
,,xxxiv1 #ei2 ,hyde1 #aaj2  ,foerster1  
#agf-g2 #aha-b2 #ahg-h2 ,inschr4 v4     
,ol41 #ade4    #acac ,,vi1 #ac4g2 ,oxy4 
,pap42 ,hyde1 #aag2 ,foerster1 #ahd4    
#acad ,,vi1 #ah4a2 ,hyde1 #ahe2         
,foerster1 #aic;a4    #acae ,reisch1 p4 
#dc1 n4 #d1 wrongly assumed this to be  
one of the  oldest statues of           
,pythagoras1 since the same sculptor    
made the statue  of the son             
,kratisthenes2 but the son's victory was
 probably only two  ,olympiads later    
than that of the father1 as we have     
seen4    #acaf ,,viii1 #dg2 ,s4 ,q41    
#ejg4 ,diogenes repeats the tradition   
that  there were two sculptors of the   
name1 one from ,rhegion1 the other from 
,samos2 also ,pliny1 ,h4 ,n41 ,,xxxiv1  
#ei-fj4    #acag ,j4 ,h4 ,s41 ,,ii1     
#ahha1 pp4 #ccb f42 cf4 his ,essays on  
the ,art  of ,pheidias1 #ahhe1 p4 #cbc4 
,the recovered base of ,euthymos' statue
  has no footmarks3 ,inschr4 v4 ,ol41   

#add4 ,waldstein is followed in his     
ascription of the statues to ,euthymos  
by ,urlichs1 ,arch4 ,analekt41  #ahhe1  
p4 #i4    #acah ,b4 ,b41 no4 #edb 7two  
views72 ,furtw4 ,mp41 p4 #aga1 fig4 #gj2
 ,a4  ,m41 ,,xvi1 #ahia1 pp4 #cac f4 and
 ,pls4 ,,iv1 and ,v 7two views71 7,p4   
,hermann74    #acai ,mp41 pp4 #aga-b2   
,mw41 pp4 #cde-f4    #acbj ,mon4 d4 ,i41
 ,x1 #ahgd-gh1 ,pl4 ,,ii 7head72        
,annali1 ,,xlvi1 #ahgd1  ,pl4 ,l4       
,arndt1 ,la ,glypt4 ,ny-,carlsberg1 p4  
#fb1 doubts if the head  belongs to the 
torso4    #acba ,duetschke1 ,,ii1 no4   
#gg 7 one of two statues72 ,mon4 d4 ,i41
  ,,viii1 #ahfd-fh1 ,pl4 ,,xlvi1 #f-h1  
and ,annali1 ,,xxxix1 #ahfg1 pp4 #cjd f4
  7,benndorf72 ,arndt-,amelung1 nos4    
#if-ih2 cf4 ,a4 ,z41 ,,xxvii1 #ahfi1 pp4
  #ajf f4 and ,pl4 #bd1 #b 7,benndorf1  
,tyrannicides on a ,panathenaic amphora 
in the ,british ,museum1 etc471 and     
,,xxxii1 #ahge1 pp4 #afc f4 7,duetschke1
  group of two statues72 ,reinach1 ,rp4 
,,ii1 #b1 #eda1 #f4 ,both ,duetschke    

7,a4 ,z41 l4 c47 and ,furtwaengler      
7,berl4 ,philol4 ,wochenschr41 ,,viii1  
#ahhh1 p4 #addh7 have shown that it     
represents an athlete4    #acbb         
,michaelis1 p4 #ddf1 no4 #cf2 ,clarac1  
,v1 #hef1 #bahj4 ,furtwaengler  believes
 the statue later in style than the     
,louvre boxer4    #acbc ,e4 g41 ,p4     
,hermann1 op4 cit41 pp4 #ccb-c2 ,arndt1 
text to ,b4  ,b41 no4 #edb4    #acbd ,b4
 ,b41 no4 #cfa2 ,amelung1 ,fuehrer1     
#baj2 ,duetschke1 ,,ii1 #afc2  ,furtw41 
,mp41 pp4 #afe f4 and fig4 #ff 7two     
views72 ,mw41 pp4 #cci f4  and ,pl4     
,,xvii 7from a cast72 ,f4 ,w41 #deh4    
,for three replicas of the  ,riccardi   
type1 see ,arndt1 text to ,b4 ,b41 #edb4
 ,furtwaengler believed  this head a    
prototype of the ,diomedes of ,kresilas 
known to us from  copies in ,munich     
7,pl4 ,,xxi72 ,mw41 pp4 #caa f4 and     
,pls4 ,,xii1 ,,xiii2  ,mp41 pp4 #adf f4 
and figs4 #fj 7body71 and #fa 7head1 two
 views72 ,b4 ,b41  #abh2 ,brunn1 ,sitzb4
 ,muen4 ,akad41 #ahib1 pp4 #fea f42 in  

,paris3 ,froehner1  ,notice1 no4 #abh2  
,clarac1 #cad1 #adch2 and elsewhere4    
,see supra p4 #afi4    #acbe ,michaelis1
 p4 #cfg1 no4 #aeb2 ,mp41 p4 #agb1 fig4 
#ga2 ,mw41 p4  #cdg1 fig4 #dd2 ,a4 ,z41 
,,xxxi1 #ahgd1 ,pl4 ,,iii2 ,f4 ,w41     
#dei4 ,kekul was the  first to class it 
as ,myronian3 ,ueber d4 ,kopf des       
,praxitel4 ,hermes1 p4  #ab1 #a 7quoted 
by ,f4 ,w41 l4 c474 ,graef curiously    
found it ,pheidian3  ,aus d4 ,anomia1 p4
 #fi1 #fc4    #acbf ,h4 ,n41 ,,xxxiv1   
#eh2 cf4 ,mp41 p4 #agc4    #acbg ,la    
,glypt4 ,ny-,carlsberg1 ,pl4 ,,xxxvi and
 p4 #fj2 the other1  unpublished1 is    
mentioned ibid4 ,he also adds the cast  
of a lost  original statue of a boxer in
 the ,royal ,academy of ,fine ,arts in  
,copenhagen1 whose head belongs         
stylistically to the same series3       
ibid41 pp4 #fj-fa1 and figs4 #cj 7head71
 #ca-cb 7body74 ,if the head and  body  
belong together it is the only statuary 
type of the group4    #acbh             
,kieseritzky1 ,kat4 d4 ,ermitage1 #aija1

 p4 #bg1 no4 #fh2 ,furtw41  ,mp41 p4    
#agg1 fig4 #gd2 ,mw41 p4 #cec fig4 #df  
7two views74    #acbi ,mp41 p4 #agf1    
fig4 #gc2 ,mw41 ,pl4 ,,xx 7two views74  
#accj ,text to ,b4 ,b41 no4 #edb2 ,la   
,glypt4 ,ny-,carlsberg1 text to ,pl4    
,,xxxvi1 p4 #fj4    #acca ,b4 ,m4       
,sculpt41 #afjc1 ,pl4 ,v1 fig4 #a2 ,b4  
,b41 #bbd2 ,f4 ,w41 #dfj4    #accb ,a4  
,m41 ,,xxxvi1 #aiaa1 pp4 #aic f41 and   
,pl4 ,,vii 7,athleten ,kopf in  ,athen74
    #accc ,h4 ,n41 ,,xxxiv1 #ei4        
#accd ,brunn1 pp4 #acc-d1 connected     
,libyn and puerum1 and believed  that   
only one statue was meant by ,pliny's   
sentence1 identical with  ,pausanias'   
statue of ,mnaseas4 ,stuart ,jones1     
,select ,passages from ,anc4  ,writers  
,illustrative of the ,history of ,gk4   
,sculpt41 #ahie1 p4 #eg1 makes  two     
alterations in ,pliny's text1 inserting 
et between ,libyn and  puerum1 and      
replacing tabellam of the ,,mss4 with   
flagellum4 ,the  boy holding the whip1  
then1 is ,mnaseas' son ,kratisthenes1   

the chariot  victor mentioned by ,p41   
,,vi1 #ah4a4 ,stuart ,jones follows     
,furtwaengler  7,jahrbuecher fuer       
,class4 ,philol41 #ahgf1 p4 #eji7 in    
having ,pliny  translate  of his ,greek 
authority by puerum instead of filium4  
#acce ,p4 #dd4    #accf ,cat4 no4 #ea2  
,benndorf1 ,griech4 und ,sicilische     
,vasenbilder1 ,i1  pp4 #ac f4 and ,pl4  
,,ix4    #accg ,in his ,chrestomathia   
,pliniana1 #aheg1 p4 #cbj4    #acch     
,rheinisches ,museum1 ,,xliv1 #ahhi1 pp4
 #bfd f4    #acci ,antigonos of         
,karystos1 apud ,zen41 ,v1 #hb 7passage 
given by  ,jex-,blake1 p4 xxxix and n4  
#b74    #acdj ,ancient writers differed 
as to the authorship of the statue4     
,thus ,p4 7,i1 #cc4c71 ,mela 7de ,situ  
orbis1 ,,ii1 #c4f71 ,tzetzes 7,s4 ,q41  
#hch-i71 and ,zenobios 7l4 c471 say that
 it was ,pheidias1 while ,pliny  7,h4   
,n41 ,,xxxvi1 #ag7 and ,strabo 7,,ix1   
,i4 #ag1 ,c4 #cif7 say ,agorakritos4 ,a 
fragment of the colossal head of the    
statue came to the ,british ,museum  in 

#ahbj3 ,b4 ,m4 ,sculpt41 ,i1 p4 #dfj2   
also fragments of the figure on  the    
base1 described by ,p41 ,i1 #cc4g1 were 
found in #ahij and are now in  the      
,national ,museum in ,athens3           
,kabbadias1 #bjc-ad2 ,frazer1 ,,ii1 p4  
#deg1  fig4 #dj4    #acda ,see his      
,ueber einige ,werke des ,kuenstlers    
,pythagoras1 in  ,verhandl4 d4 #djsten  
,versamml4 deutscher ,philologen u4     
,schulmaenner in  ,goerlitz1 ,leipsic1  
#ahij 7pp4 #cbi-ccf71 p4 #ccd4    #acdb 
,archaeolog4 ,analekten1 #ahhe1 p4 #i4  
,lucian1 ,anachar41 #i1 says  that      
apples formed a part of the ,delphic    
prize2 ,dromeus is also known  to us as 
a ,pythian victor4 ,in ,chrest4 ,plin41 
p4 #cbj1 ,l4 von ,urlichs  had          
identified the nudus as ,meilanion or   
,hippomenes with the apples  with which 
he had beaten ,atalanta2 see ,s4 ,q41   
#dii1 note a4    #acdc ,h4 ,n41 ,,xxxiv1
 #ei3 ,syracusis autem claudicantem1    
cuius ulceris  dolorem sentire etiam    
spectantes videntur4 ,gronovius1        

following  ,lessing1 ,laokon1 ,ch4 #b1  
identified it with a wounded            
,philoktetes3  see ,bluemner1 ,comm4 zu 
,lessing's ,laokon1 pp4 #ejh f42 the    
words  cuius 444 videntur seem to have  
been derived from ,a4 ,pl41 ,,iv1 #aab1 
#a4d 7which refers to a bronze statue of
 ,philoktetes73 cf4 ,brunn1 p4  #acd and
 ,jex-,blake1 ad loc4    #acdd ,cf4     
,benndorf1 ,anz4 d4 ,wiener ,akad41     
#ahhg1 p4 #ib2 von ,sybel1  ,weltgesch4 
d4 ,kunst1 p4 #aci4    #acde ,inschr4 v4
 ,ol41 #adf2 ,kallias won ,ol4 #gg 7    
#dgb ,b4 ,c473 ,oxy4  ,pap42 ,p41 ,,vi1 
#f4a2 ,hyde1 #ej2 ,foerster1 #bjh4      
#acdf ,in the ,plinian passage          
,leontiskos figures rather as an artist1
  probably through ,pliny's             
misunderstanding of some ,greek sentence
 in his  authority2 see ,l4 von         
,urlichs1 ,rheinisches ,museum1 ,,xliv1 
#ahhi1 p4 #bfa4    #acdg ,p4 #dd4       
#acdh ,l4 von ,sybel1 ,athena und       
,marsyas1 ,bronzemuenze des ,berliner   
,museums1 #ahgi4    #acdi ,this         

characteristic is expressed by the word 
2 cf4  ,plato1 ,phil41 #fg ,a2          
,aristotle1 ,eth4 ,nicom41 #a1 #g4e-f 7 
#ajig b72  etc4    #acej ,marble copy of
 the ,marsyas was found in #ahbc on the 
,esquiline  and is now in the ,lateran  
,museum1 ,rome3 ,helbig1 ,fuehrer1 ,,ii1
 #aagi2  ,rayet1 ,i1 ,pl4 #cc2 ,b4 ,b41 
#bjh2 ,bulle1 #ie2 von ,mach1 #fe;a2    
,baum41 ,,ii1 p4  #ajjb1 fig4 #abaj2    
,collignon1 ,i1 pp4 #dfg f4 and fig4    
#bcd2 ,f4 ,w41 #ded2  ,reinach1 ,rp41   
,,ii1 #a1 #ae1 #f4 ,it is #a4ie meters  
high 7,bulle74 ,it is  wrongly restored 
and only the head can be considered     
approximately  faithful to the original4
 ,cf4 another copy of the head of       
,parian  marble in the ,museo ,barracco1
 ,rome3 ,helbig1 ,i1 #aajd2 ,reinach1   
,ttes1  pp4 #ec f4 and ,pls4            
,,lxvi-,,lxvii2 ,f4 ,w41 #dee4 ,a       
fourth-century ,b4 ,c4  bronze statuette
 from ,patras1 now in the ,british      
,museum1 appears also  to give the      
motive of the original group in ,athens 

mentioned by ,pliny1  ,h4 ,n41 ,,xxxiv1 
#eg1 and ,p41 ,i1 #bd4 #a3 ,b4 ,m4      
,bronzes1 #bfi2 ,gaz4  ,arch41 #ahgi1   
,pls4 ,,xxxiv-,v and pp4 #bda f42 ,a4   
,z41 ,,xxxvii1 #ahgi1 ,pl4  ,,viii 7two 
views71 pp4 #ia f42 ,rayet1 ,i1 ,pl4    
#cd2 von ,mach1 #fef2 ,reinach1  ,rp41  
,,ii1 #a1 #ea1 nos4 #e and #g4 ,it is   
#j4ge meter high4 ,for other            
representations1 see ,g4 ,hirschfeld1   
,athena und ,marsyas1 #cbstes ,berl4    
,winckelmannsprogr41 #ahgb1 ,pls4 ,i and
 ,,ii4 ,for a copy of the head of       
,athena in ,dresden1 see ,b4 ,b41 #eia  
7three views74    #acea ,walter ,pater1 
in his ,greek ,studies 7in the essay on 
,the ,age of  ,athletic ,prizemen71 ed4 
#ahie1 pp4 #cji f41 calls the           
,diskobolos a work  of genre4 ,however1 
the ,diskobolos can hardly be called a  
decorative  statue1 i4 e41 8a work      
merely imitative of the detail of actual
  life40 ,on p4 #cac he rightly classes 
the ,doryphoros as an 8academic0  work4 
#aceb ,it was formerly in the ,palazzo  

,massimi alla ,colonna1 and hence  is   
often called the ,massimi ,diskobolos3  
,b4 ,b41 no4 #efg1 cf4 #bef  7head from 
cast72 von ,mach1 #fc2 ,collignon1 ,i1  
,pl4 ,,xi1 opp4 p4 #dgb2 ,h4  ,b4       
,walters1 ,the ,art of the ,greeks1     
#aijf1 ,pl4 ,,xxx2 ,gardner1 ,sculpt41  
,pl4 ,,xiii 7head from cast72 ,overbeck1
 ,i1 fig4 #gd1 opp4 p4 #bgd2 ,reinach1  
,rp41 ,i1 #ebg1 #a2 for description1 see
 ,m4 ,d41 #ajih4    #acec ,furtwaengler1
 ,mp41 pp4 #afh f41 ,mw41 pp4 #cda f41  
lists three  other copies of the head3  
one in ,basel 7cf4 ,kalkmann1 ,proport4 
des4  ,gesichts41 #ecstes ,berl4        
,winckelmannsprogr41 #ahic1 pp4 #gc-gd72
 one at  ,catajo 7,mp41 fig4 #fh2 ,mw41 
fig4 #dc2 ,arndt-,amelung1 nos4 #ed-ee72
 and  one in ,berlin 7,mp41 fig4 #fi74  
#aced ,h4 ,n41 ,,xxxiv1 #eh3 7,myron7   
videtur 444 capillum quoque et pubem    
non emendatius fecisse quam rudis       
antiquitas instituisset4    #acee ,b4   
,b41 nos4 #fca1 #fcb 7restored from     
bronzed cast2 text by  ,rizzo72 ,bulle1 

#ih2 ,helbig1 ,fuehrer1 ,,ii1 #acfc2    
,boll4 d',arte1 ,i1  #aijg1 pp4 #a f4   
and ,pls4 ,i-,,iii2 cf4 ,zeitschr4 fuer 
bild4 ,kunst1  #aijg1 pp4 #ahe f4 ,it is
 pieced together from fourteen          
fragments2 the  fragment of the right   
lower leg was found in #aiaj4 ,height to
 right  shoulder1 #a4ec meters 7,bulle74
    #acef ,helbig1 ,fuehrer1 ,i1 #cbf2  
,guide1 #ccc2 von ,mach1 #fb2           
,collignon1 ,i1 p4 #dgc1 n4 #a2 ,f4 ,w41
 #dea2 ,reinach1 ,rp41 ,,ii1 #b1 #ede1  
#e4    #aceg ,b4 ,m4 ,sculpt41 ,i1 no4  
#bej2 von ,mach4 #fa2 ,specimens1 ,i1   
,pl4  ,,xxix2 ,museum ,marbles1 ,,xi1   
,pl4 ,,xliv2 ,marbles and ,bronzes of   
the  ,british ,museum1 ,pl4 ,,xlvii2 ,f4
 ,w41 #deb2 ,reinach1 ,rp41 ,i1 #ebe1   
#e2  ,clarac1 ,v1 #hfj1 #baid ,b4 ,it is
 #e feet #e inches tall 7,smith74       
#aceh ,h4 ,stuart ,jones1 ,museo        
,capitolino ,cat41 #aiab1 no4 #ej1 p4   
#abc1  and ,pl4 #ba2 ,helbig1 ,fuehrer1 
,i1 #ghh2 ,guide1 #ddf2 ,clarac1 ,v1    
#heh ,a1  #bbab4 ,it is #a4dh meters    

high from lower edge of base to the     
right hand  7,jones74    #acei ,b4 ,b41 
no4 #eff2 von ,mach1 #fd2 ,gardner1     
,sculpt41 ,,pi4 ,,xi2  ,gardiner1 p4    
#if1 fig4 #ac 7from a copy of the       
,munich cast in the  ,ashmolean ,museum1
 ,oxford74    #acfj ,pl4 no4 #ig2 cf4   
,gardner1 ,sculpt41 ,pl4 ,,xii1 and     
,furtw4-,urlichs1 ,denkmaeler1 ,pl4     
,,xxxiii4    #acfa ,philopseudes1 #ah2  
,s4 ,q41 #edd2 translation of ,h4       
,stuart  ,jones1 ,select ,passages from 
,ancient ,writers ,illustrative of the  
,history of ,greek ,sculpture1 p4 #fi4  
#acfb ,for the late ,roman one in the   
,munich ,antiquarium1 see ,b4 ,b41  text
 to ,pl4 #efg1 fig4 #a2 ,f4 ,w41 #dec2  
for the one in ,arolsen1 see ,f4 ,w41   
#aghf4    #acfc ,b4 ,m4 ,gems1 no4 #gdb1
 ,pl4 ,g2 also given in ,b4 ,m4         
,sculpt41 ,i1  p4 #ia1 fig4 #e4    #acfd
 ,inst4 orat41 ,,ii1 #ac4aj3 ,quid tam  
distortum et elaboratum  quam est ille  
discobolos ,myronis8 si quis tamen1 ut  
parum rectum1  improbet opus1 nonne ab  

intellectu artis abfuerit1 in qua vel   
praecipue  laudabilis est ipsa illa     
novitas ac difficultas8    #acfe        
,translation by ,g4 ,f4 ,hill1 in his   
,one ,hundred ,masterpieces of          
,sculpture from the ,sixth ,century ,b4 
,c4 to the ,time of ,michelangelo1      
#aiji1 p4 #aj4    #acff ,enumerated     
above in ,ch4 ,,iii 7,attic ,sculptors71
 p4 #abi1 n4 #g4 ,the  ,spartan ,lykinos
 had two statues3 ,p41 ,,vi1 #b4a4 ,as  
he won in both the  hoplite-race and    
chariot-race1 ,foerster1 #baa a1 assumed
 that the two  statues represented      
victor and charioteer1 and that they    
stood upon  the quadriga1 which         
,pausanias does not mention4 ,i follow  
,robert1 ,o4  ,s41 p4 #agb1 however1 in 
assuming that the two statues           
represented the  victor in the two      
events4    #acfg ,h4 ,n41 ,,xxxiv1 #eg4 
#acfh ,,vi1 #h4e2 ,hyde1 #gi 7,arkadian7
 and #gi;a 7,philippos71 and commentary 
on pp4 #ci f4    #acfi ,the             
interpretation of ,murray1 ,class4      

,rev41 ,i1 #ahhg1 pp4 #c-d4    #acgj    
,the emendation of ,loeschke1           
,dorpaterprogr41 #ahhj1 p4 #i2  accepted
 by ,reisch1 p4 #dd1 n4 #c1 ,richardson1
 p4 #aea1 and others4    #acga ,der     
,dornauszieher und der ,knabe mit der   
,gans1 #ahgf1 p4 #hi1 n4  #cj4    #acgb 
,quoted by ,jex-,blake1 ,add4 to p4 #df1
 #a4    #acgc ,select ,passages from    
,anc4 ,writers ,illustrative of the     
,history  of ,gk4 ,sculpt41 p4 #ff4     
#acgd ,mayer1 in ,a4 ,m41 ,,xvi1 #ahia1 
pp4 #bdf f41 showed that on             
vase-paintings of ,myron's time and on  
coins of ,elaia1 ,aeolis1 a woman  is   
often represented as standing in the    
chest1 while two men1 ,perseus  and the 
carpenter1 stand beside it4    #acge ,e4
 g41 the statue of the boy boxer        
,athenaios of ,ephesos was  represented 
in motion1 i4 e41 in the act of         
sparring1 as we see from  the footprints
 on the recovered base3 ,inschr4 v4     
,ol41 #afh2 he won  some time between   
,ols4 787 #ic and #ajc 7 #chd and #cfh  

,b4 ,c473 ,p41 ,,vi1  #d4a2 ,hyde1 #cf2 
,foerster1 #dai4    #acgf ,see ,grenfell
 and ,hunt1 ,oxyrhynchus ,papyrus1 ,,ii1
 #ahii1 pp4 #bbb  f42 ,robert1 ,o4 ,s41 
,beilage1 opp4 p4 #aib2 ,diels1 ,hermes1
 ,,xxxvi1  #aija1 pp4 #gb f42 ,koerte1  
ibid41 ,,xxxix1 #aijd1 pp4 #bbd f42     
,weniger1  ,klio 7,beitraege zur alten  
,gesch471 ,,iv1 pp4 #abe f42 ,v1 pp4 #a 
f4 and  #ahd f4    #acgg ,late          
inscriptions mention 8,pythian0 and     
8,isthmian boys03 see ,f4  ,m4 ,mie1    
,quaestiones agonisticae ad ,olympia    
pertinentes1 ,diss4 inaug41  #ahhh1 p4  
#dh2 ,dittenberger1 ,sylloge1#b ,,ii1   
nos4 #fgg-h2 the   and  at ,nemea are   
mentioned by ,pindar1 ,ol41 ,,viii1 #ed4
 ,the boys  in these contests were      
probably aged #ab-af1 the 1 #af-bj 7cf4 
,roberts-,gardner1 ,greek ,epigraphy1   
,,ii1 p4 #aff71 and the men over #bj    
years old4    #acgh ,for ,olympia1 see  
,p41 ,,vi1 #b4aj2 #f4a2 #ad4a-b2 etc4   
#acgi ,c4 ,i4 ,g41 ,i1 #aeij4    #achj  
,dittenberger1 op4 cit41 ,,ii1 no4 #ebd3

  1 1  4    #acha ,i4 ,g41 ,,ii1 #ddd4  
,for the ,panathenaia1 see ,suidas1 s4  
v4  2 ,mommsen1 ,heortologie1 #ahfd1 p4 
#ada2 etc4    #achb ,p41 ,v1 #af4b4     
#achc ,de ,leg41 ,,viii1 #hcc ,c1 ,d4   
#achd ,c4 ,i4 ,g41 inscriptions relating
 to ephebes1 e4 g41 ,i1 #bcb2  #aeij2   
,dittenberger1 de ,ephebis atticis1     
#ahfc1 p4 #bd2 ,dumont1 ,essai  sur     
l',ephbie attique1 #ahgf1 pp4 #bae-af4  
,this classification is  followed by ,e4
 ,pottier1 ,b4 ,c4 ,h41 ,v1 #ahha1 p4   
#fi4    #ache ,bussemaker1 in           
,dar4-,sagl41 ,i1 ,pt4 #a1 s4 v4        
athleta1 p4 #eag  7also quoted by       
,pottier71 proposed the division into 1 
#ab-af  years old1 1 #af-bj1 and 1 from 
#bj on4 ,pollux1 ,,viii1 #aje1  and     
,harpokration1 s4 v4 1 give the ephebe  
age as #ah-bj2  ,xen41 ,cyr41 #a1 #b4h1 
puts the age at #af or #ag for the      
,persians4    #achf ,see ,inschr4 v4    
,ol41 #ef4 ,on the whole subject1 see   
,krause1 pp4  #bfb f41 especially p4    
#bfc1 n4 #c2 ,gardiner1 pp4 #bga-b4     

#achg ,,vi1 #a4c to ,,vi1 #ah4g4 ,we    
also know of #fa other victors with #fc 
monuments from inscribed base fragments 
recovered at ,olympia2 these  will be   
treated infra in ,ch4 ,,viii1 pp4 #cec  
f4    #achh ,see ,ch4 ,,viii1 infra1 p4 
#cci and notes #c-d4    #achi ,on ,ol41 
,,ix1 #aej1 ,boeckh1 p4 #bbh2 cf4 ,etym4
 magn41 s4 v4  1 p4 #gdc1 #be4    #acij 
,thus ,apollo beat ,hermes in running at
 ,olympia1 ,p41 ,v1 #g4aj2  the ,idan   
,herakles instituted a race among his   
brothers1 ,p41 ,v1  #g4g2 and ,endymion 
set his sons to run1 and so instituted  
the boys'  running race there1 ,p41 ,v1 
#a4d4 ,the running race appears in the  
,boread  legend1 ,ph41#c2 pseudo-,dio   
,chrysost41 ,,xxxvii1 p4 #bif           
7,dindorf72 it was  represented on the  
,kypselos chest3 ,p41 ,v1 #ag4aj1 and   
appears on many  archaic vases4 ,on the 
age of the event1 see ,grasberger1      
,erziehung und  ,unterricht1 ,i1 #ahfd1 
p4 #caj and ,,iii1 #ahha1 p4 #aii4 ,the 
,cretans and the  ,lacedmonians         

sacrificed to ,apollo 3 ,plut41 ,quaest4
 conviv41  ,,viii1 #d4d4    #acia ,see  
,ph41 #c1 for the four running races2   
cf41 ,plato1 de ,leg41  #hcc ,a1 ,b4    
#acib ,iliad1 ,,xxiii1 #gdj f42 ,od41   
,,viii1 #abj f4 7in l4 #aba it is       
called 74 ,in some historic games1 the  
stade-race remained the  only event2 e4 
g41 at the ,hermaia on ,salamis3 ,c4 ,i4
 ,g41 ,i1 #ajh4  ,for the stade-race1   
see ,p41 ,i1 #dd4a2 ,,iii1 #ad4c2 ,,iv1 
#d4e1 etc4 ,on its  origin1 see ,ph41   
#e4    #acic ,schol4 on ,aristoph41     
,aves1 #bib 7ed4 ,j4 ,w4 ,white1 #aiad72
 ,p41 ,v1  #h4f4 ,on its origin1 see    
,ph41 #f and cf4 ,krause1 pp4 #cde f4   
#acid ,ch4 #d4    #acie ,suidas1 s4 v4 2
 schol4 on ,aristophanes1 ,aves1 #bib 7 
seven stadia72 ,boeckh1 ,c4 ,i4 ,g41 ,i1
 no4 #aeae1 p4 #gjc 7 ordinarily  seven 
stadia72 schol4 on ,soph41 ,electra1    
#fia4 ,see ,krause1 ,i1 p4 #cdh1  n4    
#ac2 ,grasberger1 op4 cit41 ,i1 pp4 #cab
 f4    #acif ,poll41 ,,iii1 #aea2 schol4
 on ,aristoph41 ,acharn41 #bad2 etc4    

#acig ,p41 passim2 ,oxy4 ,pap42 etc4    
#acih ,ph41 #g4 ,for two theories of its
 origin1 see ibid4    #acii ,p41 ,x1    
#g4e2 ,krause1 ,die ,pythien1 ,nemeen1  
und ,isthmien1 pp4 #acf  f4    #adjj    
,cf4 ,plato1 de ,leg41 ,i1 p4 #fbe ,e4  
,thus the ,cretans ,ergoteles  and      
,sotades won the distance race twice    
each2 ,ergoteles in ,ols4 #gg  and #gi 7
 #dgb and #dfd ,b4 ,c473 ,p41 ,,vi1     
#d4aa2 ,oxy4 ,pap42 ,hyde1 #df2         
,foerster1 #bjf1 #bac2 ,sotades in ,ols4
 #ii1 #ajj 7 #chd1 #chj ,b4 ,c473 ,p41  
,,vi1  #ah4f2 ,hyde1 #ahf2 ,foerster1   
#cag1 #cbc4 ,the ,cretan ,philonides1   
courier  of ,alexander the ,great1 had  
an honor statue at ,olympia3 ,p41 ,,vi1 
#af4e2  ,hyde1 #aed;a4 ,at the games at 
,trapezous over sixty ,cretans entered3 
,xen41  ,anab41 ,,iv1 #h1 #bg2 cf4      
,krause1 pp4 #ceb f4    #adja ,de ,leg41
 ,,viii1 #hcc ,c4    #adjb ,v1 #af4c4   
#adjc ,v1 #h4f2 cf4 ,,iv1 #d4e2 ,,viii1 
#bf4d4 ,his statement about the         
antiquity of the event is corroborated  

by ,plutarch1 ,quaest4 conviv41  ,v1    
#b4ab1 ,ph4 7 only event until ,ol4     
#ad71 and ,eusebios1 ,chronika1 ,i1  p4 
#aic 7ed4 ,schoene74 ,gardiner1 p4 #eb1 
believes that if the ,olympic  games    
developed from a single event1 it was   
probably not from the  stade-race1 but  
from either the fight in armor or the   
chariot-race4    #adjd ,p41 ,v1 #h4f1   
etc42 ,foerster1 #a4    #adje ,discussed
 by ,gardiner1 pp4 #eb and #bgb-c4      
#adjf ,,iii1 #h 7 ,dorieus of ,rhodes1  
who won his second victory in ,ol4  #hh 
7 #dbh ,b4 ,c473 ,p41 ,,vi1 #g4a2 ,hyde1
 #fa2 ,foerster1 #bfj72 ,v1 #di 7       
,androsthenes of ,mainalos1 who won his 
first victory in ,ol4 #ij1  #dbj ,b4    
,c43 ,p41 ,,vi1 #f4a2 ,hyde1 #ea2       
,foerster1 #bfg74    #adjg              
,dittenberger1 ,sylloge#b1 ,i1 no4 #bef 
7 ,agesidamos of ,messenia1  who won in 
,ol4 #adj1  #bbj ,b4 ,c474    #adjh ,v1 
#h4f2 confirmed by ,ph41 #ab1 and       
,eusebios1 ,chron41 ,i1 p4 #aic  7ed4   
,schoene74    #adji ,l4 c42 corroborated

 by ,ph41 #ab4    #adaj ,p41 ,v1 #h4i2  
,eusebios agrees with ,pausanias1 but   
,philostratos  says ,ol4 #df 7 #eif ,b4 
,c471 l4 c4    #adaa ,p41 ,v1 #h4aj2 cf4
 ,,iii1 #ad4c4 ,it was introduced at    
,delphi in #dih  ,b4 ,c43 see ,gardiner1
 p4 #gj4    #adab ,on running races1 see
 ,krause1 ,i1 pp4 #ccg f42 ,gardiner1   
,ch4 ,,xiii1  pp4 #bgj f42 ,dar4-,sagl41
 ,i1 ,pt4 #b1 pp4 #afdc f42 ,grasberger1
 ,erziehung  und ,unterricht1 ,i1 pp4   
#cab f42 etc4    #adac ,fig4 #cg left   
,mon4 d4 ,i41 ,i1 #ahbi-cc1 ,pl4 ,,xxii1
 #f;b2 cf4  ibid41 #d;b1 and ,x1        
#ahgd-gh1 ,pl4 ,,xlviii1 f1 and         
,panathenaic amphora  in ,dar4-,sagl41  
,i1 ,pt4 #b1 p4 #afdc1 fig4 #bbbi4 ,fig4
 #cf;,a  ,gerhard1 ,,iv1  ,pl4 ,,cclix1 
#a4 ,also cf4 a sixth-century ,b4 ,c4   
amphora in ,munich1  no4 #dih3 ,mon4 d4 
,i41 ,x1 ,pl4 ,,xlviii1 m2 ,gardiner1 p4
 #bha1 fig4  #eb2 ,perrot-,chipiez1 ,x1 
p4 #abi1 fig4 #ib 7right72 a            
fourth-century  ,panathenaic amphora3   
,gardiner1 p4 #bhc1 fig4 #ec1 from      

,stephani1 ,comptes  rendus de la comm4 
impr4 archol41 ,st4 ,petersburg1 #ahgf1 
,atlas1 ,pl4 ,i4    #adad ,ph41 #cb3    
4    #adae ,the first  ,b4 ,m4 ,vases1  
,b #fji2 ,gardiner1 p4 #bhj1 fig4 #ea2  
,mon4 d4 ,i41 ,x1 #ahgd-gh1 ,pl4        
,,xlviii1 e1 #d2 ,g4 ,f4 ,hill1         
,illustrations  of ,school ,classics1   
#aijc1 fig4 #cij2 the second 7,fig4 #cg1
 right7   ,mon4 d4 ,i41 ,i1 #ahbi-cc1   
,pl4 ,,xxii1 #g;b2 ,gardiner1 p4 #bgi1  
fig4 #ej2  ,dar4-,sagl41 p4 #afdd1 fig4 
#bbcj4 ,cf4 another in ,mon4 d4 ,i41 ,x1
 ,pl4  ,,xlviii1 f1 #f4    #adaf        
,national ,museum1 no4 #gfa4    #adag   
,cf4 ,reisch1 p4 #df4    #adah ,on this 
mode of representing runners1 see       
,schmidt in ,muenchener  archaeol4      
,studien zum ,andenken ,a4 ,furtwaengler
 dargebracht1 #aiji1 pp4  #bdi f4       
7especially p4 #beg74    #adai ,see     
,kalkmann1 ,jb41 ,x1 #ahie1 pp4 #ef f1  
and fig4 #d1 p4 #ef 7  ,gerhard1 ,,iv1  
#bef2 ,murray1 ,designs from ,greek     
,vases1 ,v1 #ah7 two  runners2 the      

interior of the same vase also          
represents such a runner3  p4 #fa1 fig4 
#g4 ,cf4 also p4 #eh1 fig4 #e 7 ,murray1
 ,x1 #cg2 ,mon4 d4 ,i41  ,,iv1 #ahdd-dh1
 ,pl4 ,,xxxiii71 representing ,hermes on
 a r4-f4 vase of the  severe style2 also
 p4 #ei1 fig4 #f2 etc4 ,also cf4        
,juethner1 p4 #da1 fig4  #cf;a 7a later 
r4-f4 kylix in ,munich1 no4 #hjc ,a71   
showing a pentathlete  running with an  
akontion4 ,the following b4-f4 vases1   
which show  representations of such     
archaic runners1 are taken from         
,perrot-,chipiez1  ,x1 #aiad3 the       
proto-,attic amphora of ,nettos1 p4 #ga1
 fig4 #fc 7 ,ant4  ,denkm41 ,i1 ,text1  
p4 #df72 cup from ,aegina1 p4 #gg1 fig4 
#fh 7 ,a4 ,z41  ,,xl1 #ahhb1 ,pl4 ,,ix72
 ,corinthian amphora1 p4 #ajc1 fig4 #gd 
7 ,pottier1  ,vases antiques1 ,pl4      
,,lix1 ,e #hee72 the ,gorgon on the     
,franois ,vase1  p4 #afe1 fig4 #ajh     
7from ,furtw4-,reichhold1 ,griech4      
,vasenmalerei1 ,pls4  ,i-,,iii72 on neck
 of an amphora by ,pamphaios in the     

,louvre1 p4 #chh1 fig4  #bcc 7 ,pottier1
 op4 cit41 ,pl4 ,,lxxxviii74    #adbj   
,discussed 7wrongly1 ,i think1 as       
,etruscan7 by ,g4 ,h4 ,chase3 ,a4 ,j4   
,a41 ,,xii1 #aijh1 pp4 #bhg f41 ,pls4   
,,viii-,,xviii 7especially              
,,xii-,,xviii72 ,pl4  ,,xv  ,richardson1
 p4 #fi1 fig4 #bg4    #adba ,richter1   
,greek1 ,etruscan1 and ,roman ,bronzes1 
no4 #df1 fig4 on  p4 #cj2 ,museum       
,bull41 #aiaa 7,april71 pp4 #ib f41 and 
fig4 #e 7,richter72  it is #d-e_/h      
inches tall4    #adbb ,no4 #aiei4 ,it   
will be discussed in our treatment of   
hoplitodromes  infra1 p4 #bji and n4 #b4
    #adbc ,richter1 no4 #af1 fig4 on p4 
#aj2 ,mus4 ,bull41 #aiji 7,may71 p4 #gh 
7,robinson72 it is #b-g_/h inches tall4 
#adbd ,richter1 no4 #fb1 fig4 on p4 #dc2
 ,mus4 ,bull41 #aiac 7,dec471 pp4 #bfh  
f4 and fig4 #g 7,richter72 it is        
#c-a_/af inches tall4    #adbe ,op4     
cit41 pp4 #fe and #gd4    #adbf ,aegina1
 das ,heiligtum der ,aphaia1 ,pl4       
,,xcvi1 nos4 #cb and #c2 in  the        

,glyptothek these are nos4 #gh and #hb2 
see von ,mach1 ,pl4 #gh 7middle74       
#adbg ,the ,lapith ,g and the boy ,p3   
,treu1 ,jb41 ,,iii1 #ahhh1 pp4 #aag f41 
,pl4 ,v 7 ,q and ,f in the new          
arrangement on ,pl4 ,,vi72 ,kalkmann1   
op4  cit41 p4 #ge4    #adbh ,bulle1     
#ahj2 it is #j4gi meter high4    #adbi  
,ant4 ,denkm41 ,i1 ,pt4 #e1 #ahij1 ,pl4 
,,lvi 7text1 pp4 #de-df1 by  ,winter72  
,b4 ,b41 no4 #bdi2 ,bulle1 #ib 7two     
views7 and #ic2 von ,mach1 #bbf2        
,helbig1 ,fuehrer1 ,,ii1 no4 #acec2     
,guide1 #ajfc2 ,collignon1 ,,ii1 p4     
#cfa1  fig4 #ahd2 ,gardiner1 ,sculpt41  
,pl4 ,,lxxiii2 ,reinach1 ,rp41 ,,ii1 #b1
 #dai1  #g4 ,it is #a meter high        
7,bulle74    #adcj ,e4 g41 ,kalkmann1   
,jb41 ,x1 #ahie1 pp4 #df f41 ,pl4 ,i and
 fig4 ,i  in text2 he defends this view1
 ibid41 ,,xi1 #ahif1 pp4 #aig f4        
#adca ,to the fifth by ,kalkmann1       
,bulle1 ,furtwaengler 7,sitzb4 ,muen4   
,akad41 #aijg1 ,pt4 ,,ii1 pp4 #bai-bbj1 
,hadrianic copy71 and others2  to the   

fourth by ,winter1 ,collignon1 and von  
,mach2 ,collignon1 ,,ii1  pp4 #cei f41  
connects it stylistically with the      
so-called ,ilioneus  of the ,glyptothek1
 represented in a similar pose 7        
,furtw4-,wolters1  ,beschr41#b #bgj2 ,b4
 ,b41 #dcb2 ,f4 ,w41 #abfc71 and with   
the ,hypnos in  the ,prado1 ,madrid 7   
,huebner1 ,die ant4 ,bildw4 in ,madrid1 
no4 #ci2  ,furtw41 ,mw41 pp4 #fdh f42   
,collignon1 ,,ii1 p4 #ceg1 fig4 #aha2   
,f4 ,w41  #abhg2 for small replicas in  
bronze1 see ,winnefeld1 ,hypnos1 p4 #h1 
n4  #b71 and assigns all three to the   
fourth century ,b4 ,c4 and to ,skopaic  
art4 ,amelung assigns the ,subiaco youth
 to ,hellenistic times3 ,mus4 and       
,ruins of ,rome1 ,i1 fig4 #fj4    #adcb 
,for a list of ten such interpretations1
 see de ,ridder1 ,rev4  arch41 ,,xxxi1  
,sr4 #c1 #ahig1 p4 #bfe1 n4 #e2 and ,b4 
,sauer1 ,der ,knabe von  ,subiaco1      
,festgabe ,h4 ,bluemner ueberreicht1    
#aiad1 pp4 #adc f41 and note  #a on p4  
#adc4    #adcc ,e4 g41 by ,bulle2       

,brizio1 ,ausonia1 ,i1 #aijf1 p4 #ba2   
cf4  ,winter1 l4 c42 etc4 ,if a ,niobid1
 he was probably wounded in the neck    
7cf4 the one in ,milan7 and formed part 
of a group4    #adcd ,by ,lucas1 ,neue  
,jahrbuecher f4 kl4 ,altertum1 ,v1      
#aijb1 pp4 #dbg  f2 cf4 ,jh4 oest4 arch4
 ,inst41 ,,ix1 #aijf1 pp4 #bgc f4       
#adce ,formerly by ,g4 ,koerte1 ,jb41   
,,xi1 #ahif1 pp4 #aa f42 cf4 the        
,pompeian wall-painting1 ibid41 p4 #ae1 
fig4 #b2 he has since given up  this    
view3 see ,sauer1 l4 c4    #adcf ,de    
,ridder1 op4 cit41 the hands seem to    
have been placed wrong  for this        
interpretation1 though ,helbig and      
,amelung find it possible4    #adcg     
,petersen1 ,jb41 ,,xi1 #ahif1 pp4 #bjb  
f42 such a motive was unknown  to       
antiquity and is based on the wrong     
assumption that a marble hand  holding a
 rope-like object1 which was found in   
the same excavations1  belongs to the   
statue3 see ,helbig1 l4 c4    #adch     
,sauer1 in the publication mentioned1   

believes the riddle best  solved by     
assuming that the figure formerly was   
part of a gable group2  see the         
reconstruction 7by ,luebke71 p4 #ade1   
fig4 #d4 ,he dates it in the  second    
half of the fifth century ,b4 ,c41      
contemporary with the ,idolino4    #adci
 ,the fleetness of ,ladas was often     
extolled1 especially by late  ,greek and
 ,roman writers3 ,p1 ,,iii1 #ba4a2      
,plut41 ,praecip4 ger4 reip41  #aj2     
,catullus1 ,,lv1 #be2 ,juvenal1 ,,xiii1 
#ig2 ,martial1 ,,ii1 ,,lxxxvi1 #h1 and  
,,xc1 #e2 ,seneca1 ,ep41 ,,lxxxv1 #d2   
,solinus1 #g2 etc4    #addj ,a4 ,pl41   
,,iv1 no4 #ec2 here line #c was added by
 ,jacobs1 and line  #d by ,benndorf1    
from two parodies of the epigram in ,a4 
,g41 ,,xi1 #hf  and #aai2 in the first  
parody  stands for  and  for  4 ,see    
,benndorf1 de anthologiae ,graecae      
,epigrammatis quae ad  artes spectant1  
,diss4 inaug41 #ahfb1 pp4 #ac f41 and   
,kalkmann1 ,jb41  ,x1 #ahie1 pp4 #gf-gg 
and notes4 ,studniczka 7see next note7  

reads line #d3  1  '    4    #adda ,a4  
,pl41 ,,iv1 #ed4 ,benndorf corrects the 
,mss4 reading of the  last half of l4 #b
 as   2 others read the whole line3     
'    4 ,on the two epigrams1  see       
,studniczka1 ,myron's ,ladas1 ,ber4     
saechs4 ,gesellsch4 d4 ,wiss41          
,philolog4-histor4 ,cl41 #eb1 #aijj1 pp4
 #cbi f4 7especially pp4 #ccc f474      
#addb ,reading  444  for  444 1 8flying 
from  wind-footed ,thymos10 of ,jacobs4 
,on possible readings1 see ,studniczka1 
l4 c41 pp4 #ccg f4    #addc ,sculpt41 p4
 #fi4    #addd ,see ,kalkmann1 op4 cit41
 pp4 #gg-h2 ,reisch1 p4 #dd2 cf4        
,gercke1  ,jb41 ,,viii1 #ahic1 p4 #aae1 
on the meaning of the words  and 4      
#adde ,polyklet u4 s4 ,sch41 p4 #ag2 von
 ,mach1 no4 #bhi2 ,b4 ,b41 #ced4        
#addf ,no4 #bdi1 #bdi a2 he fixes his   
victory in ,ol4 787 #he 7 #ddj ,b4      
,c471 because of the late dating of     
,myron by ,pliny1 ,h4 ,n41 ,,xxxiv1 #di 
7floruit ,ol4 #ij  #dbj ,b4 ,c43 cf4    
,brunn1 ,i1 #adb f472 ,furtwaengler     

dated his activity within the first half
 of the fifth century ,b4 ,c43  ,mp41 p4
 #ahb2 ,robert provisionally dates the  
victory of ,ladas in  ,ol4 787 #gf 7    
#dgf ,b4 ,c471 though he finds that     
,ols4 #hj and #ha 7 #dfj  and #def ,b4  
,c47 are possible3 see ,o4 ,s41 p4 #ahd2
 here he dates the  sculptor 787        
#dgf-ddd ,b4 ,c4    #addg ,cf4 infra1   
,ch4 ,,viii1 p4 #cfe1 n4 #a4    #addh   
,helbig1 ,fuehrer1 ,i1 nos4 #iac1 #iad2 
,guide1 #egc1 #egd2 ,b4 ,com4  ,rom41   
,,iv1 #ahgf1 ,pls4 ,,ix-,x1 pp4 #fh f42 
,b4 ,b41 #cec 7right and left72         
,reinach1 ,rp41 ,,ii1 #b1 #edj1 #d1 and 
for the torso1 see ,,ii1 #b1 #eda1 #c 7 
,b4 ,com4 ,rom41 ,pl4 ,,xi74    #addi   
,helbig1 #iad4    #adej ,helbig1 #iac4  
#adea ,so ,furtwaengler1 ,mp41 p4 #abh1 
n4 #a1 ,mw41 p4 #bhe1 n4 #c1 and        
,helbig 7#c;d ed472 on the other hand1  
,reisch 7p4 #df71 ,b4 ,b41 and formerly 
,helbig 7in the first edition of his    
,guide71 have regarded them as          
wrestlers4    #adeb ,the statuette and  

relief are pictured in ,mon4 ant41 ,,xi1
 #aija1  ,pl4 ,,xxvi1 #b1 and pp4 #djb  
f4 ,the statuette also in               
,arndt-,amelung1  ,einzelaufnahmen1 no4 
#eeb1 and ,reinach1 ,rp41 ,,ii1 #b1     
#edj1 #f4    #adec ,mp41 pp4 #abf f41   
and fig4 #ea2 ,mw41 pp4 #bhd f41 fig4   
#ch2 here  the restored parts have been 
removed and his own restoration is given
  in an outline drawing4 ,see also ,b4  
,b41 no4 #abi2 ,helbig1 ,fuehrer1 ,i1   
#cbb2 ,clarac1 #hcg1 #bjii4    #aded    
,mentioned by ,p41 ,i1 #bh4b and ,i1    
#be4a2 the inscribed base has  been     
found 7see ,lolling1  1 #ahhi1 p4 #ce1  
n4 #b74  ,the ,perikles is exemplified  
by two inscribed copies3 a terminal bust
  in ,london3 ,b4 ,m4 ,sculpt41 ,i1 no4 
#edi and fig4 #bc on p4 #bhi2 ,ancient  
,marbles in the ,british ,museum1 #ahae1
 ,pl4 ,,xxxii2 ,a4 ,z41 ,,xxvi1 #ahfh1  
,pl4 ,,ii1 fig4 #a and pp4 #a f4        
7,conze72 ,furtw41 ,mp41 pp4 #aag f41   
,pl4  ,,vii and fig4 #df 7profile72     
,mw41 ,pl4 ,,ix and pp4 #bgj f42 ,f4    

,w41 #dha2  a terminal bust in the      
,vatican3 ,visconti1 ,iconogr4 gr41     
#ahbd-bf1  ,i1 ,pl4 ,,xv and p4 #agh2   
,b4 ,b41 no4 #aef2 ,helbig1 ,fuehrer1   
,i1 #bgf2  ,arndt-,bruckmann1 ,griech4  
u4 roem4 ,portraets1 #dac1 #dad3        
,bernouilli1  ,griech4 ,ikonogr41 ,i1   
,pl4 ,,xi1 p4 #ajh2 etc4    #adee ,h4   
,n41 ,,xxxiv1 #gd2 in this passage      
,pliny also mentions an  ,olympius      
,pericles4 ,the ,naples statue has been 
wrongly restored as a  gladiator2 it is 
pictured1 minus the restorations1 in    
,mp41 p4 #abe1  fig4 #ej2 ,mw41 p4 #bhb1
 fig4 #cg2 cf4 ,clarac1 #hgj1 #bbaj and 
#hgb1 #bbaj4  ,furtwaengler connects    
this statue with the bronze one of a    
certain  ,diitrephes pierced with       
arrows1 which ,pausanias saw on the     
,akropolis1  ,i1 #bc4c2 a basis found   
there1 inscribed with the name          
,kresilas1  supported a votive offering 
of ,hermolykos1 the son of ,diitrephes1 
to  ,athena3 ,i4 ,g4 ,b41 #df2 ,c4 ,i4  
,a41 ,i1 #djb 7,kirchhoff1 who opposes  

the  connection72 cf4 p4 #cgc4 ,the base
 shows that a figure stood upon it  in  
the pose of another figure1 which       
appears on a white-faced ,attic         
lekythos in the ,cab4 des ,mdailles in  
,paris 7,mp41 p4 #abd1 fig4 #dh71  which
 ,furtwaengler believes a free rendering
 of the ,kresilan statue4    #adef ,in  
,ols4 #hc1 #hd1 #he 7 #ddh-ddj ,b4 ,c473
 ,afr42 ,foerster1 #bci1 #bde1  #bdh4   
,krison is mentioned by ,plato1         
,protag41 #cce ,e1 and de ,leg41        
,,viii1 #hdj ,a2 ,aristophanes of       
,byzantion 7apud ,zonaras1 ,i1 p4 #dea1 
and  apud ,hesych41 s4 v4 72 ,plut41 de 
adul4 et amici ,discr41 #af2  and de    
,tranqu4 anim41 #ab2 etc4    #adeg      
,inschr4 v4 ,ol41 #aeg4 ,he won ,ol4 787
 #hj 7 #dfj ,b4 ,c473 ,p4 ,,vi1  #h4a2  
,hyde1 #ga2 ,foerster1 #bhj4    #adeh   
,b4 ,b41 no4 #cba2 ,bulle1 #afd1 and    
fig4 #ic on pp4 #cfa-b 7cast  on round  
base in ,erlangen72 von ,mach #gb2      
,collignon1 ,i1 p4 #dag1 fig4  #bae2    
,rayet1 ,i1 ,pl4 #ce2 ,helbig1 ,fuehrer1

 ,i1 #ief2 ,guide1 #fag2  ,zielinski1   
,rhein4 ,mus41 ,,xxxix1 #ahhd1 pp4 #aaf 
f4 7who refers the  original possibly to
 ,strongylion72 ,f4 ,w41 #bae4 ,for     
replicas1 see ,gaz4  ,arch41 #ahha1 p4  
#acj2 ,rayet1 text to ,pl4 #ce2 and     
,furtwaengler1 ,der  ,dornauszieher und 
der ,knabe mit der ,gans1 #ahgf1 pp4 #g 
f2 ,reinach1  ,rp41 #a1 #cdd1 #f4 ,it   
was called a runner first by ,visconti1 
,opere  varie1 #ahbg-ca1 ,,iv1 ,pl4     
,,xxiii1 pp4 #afc f41 who has been      
followed by  ,collignon1 ,zielinski1    
,rayet1 ,reisch 7p4 #df71 ,richardson   
7p4 #add71 and  others4 ,it is #j4hj    
meter high 7,bulle74    #adei ,e4 g41   
,overbeck1 ,,ii1 pp4 #ahb-ahe1 and notes
 #aj-bd on p4 #ahf4  ,on p4 #ahc1 fig4  
#ahf1 he gives illustrations of the     
three principal  copies--the marble one 
in the ,british ,museum 7a71 the bronze 
statuette  in ,baron ,rothschild's      
collection in ,paris 7b71 and the       
,capitoline  bronze in ,rome 7c74 ,he   
brings it into relation with the        

sculptor  ,bothos1 who is known to have 
made seated genre figures of boys1 e4   
g41 one in the ,heraion at ,olympia1    
,p41 ,v41 #ag4 #d 7 ,s4 ,q41 #aeif74    
#adfj ,von ,mach1 no4 #hf2 cf4 ,kekul1  
,a4 ,z41 ,,xli1 #ahhc1 p4 #bdd1 and  ,f4
 ,w41 #bae4    #adfa ,see ,b4 ,m4       
,sculpt41 ,,iii1 pp4 #aji-aaj4    #adfb 
,see ,k4 ,woelke1                       
,dornauszieher-,maedchen1 ,jb41 ,,xxix1 
#aiad1 pp4  #ag-be1 figs4 #a1 #b1 etc4  
#adfc ,e4 g41 bronze statuettes1        
formerly in the ,dreyfus collection  in 
,paris1 dating from the second half of  
the fifteenth century3 ,bulle1  p4 #cfd1
 fig4 #id2 ,mon4 ,piot1 ,,xvi1 #aiji1   
,pl4 ,,xii1 #c 7nos4 #b1 #c   ,italian  
bronzes of the same subject in the      
,louvre and in the collection  of       
,charles ,haviland2 see text1 by ,g4    
,migeon1 pp4 #ie f474    #adfd ,b4 ,m4  
,sculpt41 ,,iii1 no4 #agee and ,pl4     
,,viii2 ,mon4 d4 ,i41 ,x1  #ahgd-gh1    
,pl4 ,,xxx2 ,annali1 ,,xlviii1 #ahgf1   
,pl4 ,n 7and pp4 #abd f72 ,a4  ,z41     

,,xxxv1 #ahgg1 p4 #abg1 and ,,xxxvii1   
#ahgi1 p4 #ai1 ,pls4 ,,ii1 ,,iii2       
,rayet1  ,pl4 #cf2 von ,mach1 #bhd2     
,bulle1 p4 #cfe1 fig4 #ie2 ,reinach1    
,rp41 ,,ii1 #a1  #add1 #b4 ,it is #j4fc 
meter high 7,bulle74    #adfe ,gaz4     
arch41 #ahha1 ,pls4 ,,ix-,,xi2          
,collignon1 ,i1 p4 #dbj1 fig4 #baf2     
,rayet1 text to no4 #cf2 ,reinach1 ,rp41
 ,,ii1 #a1 #adc1 #g4 ,it is #i4e inches 
tall4    #adff ,see ,lange1 ,das ,motif 
des aufgestuetzten ,fusses1 #ahgi1 pp4  
#i  f42 ,reisch1 p4 #df1 n4 #e2 ,b4 ,b41
 no4 #fg 7,paris copy72 von ,mach1      
#bch;a  7,munich copy71 #bch;b 7,louvre 
copy74 ,see supra1 pp4 #hf-hg4    #adfg 
,see ,e4 ,n4 ,gardiner1 ,j4 ,h4 ,s41    
,,xxiii1 #aijc1 p4 #bha2 on the  race1  
see ,gardiner1 pp4 #bhe-ia1 and ,j4 ,h4 
,s41 l4 c41 pp4 #bhj f42  ,krause1 ,i1  
pp4 #cec-cei2 ,dar4-,sagl41 ,i1 ,pt4 #b1
 p4 #afdd2 etc4    #adfh ,at ,olympia1  
,p41 ,,iii1 #ad4c2 ,plut41 ,quaest4     
conviv41 ,,ii1 #e2  ,artemidoros1       
,oneirokritika1 ,i1 #fc2 ,heliod41      

,aethiop41 ,,iv41 init42  ,oxy4 ,pap42  
at ,delphi1 ,krause1 ,die ,pythien1     
,nemeen1 und ,isthmien1  #ahda1 p4 #bf1 
no4 #d2 at the ,panathenaia1 ,mommsen1  
,feste d4 ,stadt  ,athen1 #ahih1 p4 #gj4
 ,on its origin1 see ,ph41 #g4    #adfi 
,p41 ,,ii1 #aa4h2 ,x1 #cd4e4 ,in the    
first passage ,pausanias speaks  of a   
victor who won the diaulos twice--once 1
 the second time    4 ,de ,ridder1 ,b4  
,c4 ,h41 ,,xxi1 #ahig1 pp4 #baa f41     
discusses  ,hauser's futile argument    
7,jb41 ,,ii1 #ahhg1 pp4 #ie f47 that the
  hoplite-runner covered the stadion    
four times1 the first and fourth  with  
helmet and shield1 the second and third 
without the shield1 and  conclusively   
shows that the race was a diaulos4 ,for 
,athens1 see  ,aristoph41 ,aves1 #bia   
f41 and scholion4 ,the race was four    
stades long  at ,nemea3 cf4 ,ph41 #g1   
and ,juethner's note 7p4 #aif74    #adgj
 ,ph41 #h2 cf4 also #bd4    #adga ,,vi1 
#aj4d4 ,in ,v1 #ab4h he says that #be   
shields for this race were  officially  

kept in the nave of the temple of ,zeus4
    #adgb ,we see shield1 helmet1 and   
greaves on the vase pictured in         
,dar4-,sagl41 ,i1 #b1 p4 #afdd1 fig4    
#bbca2 ,baum41 ,,iii1 p4 #baaj1 fig4    
#bcfj2  on the b4-f4 vases in ,gerhard1 
,,iv1 ,pls4 ,,cclvii1 ,,cclviii1 and    
,,cclxiii2  on the b4-f4 vases pictured 
in ,schreiber1 ,bilderatlas1 ,pl4       
,,xxii1  figs4 #c 7sixth century ,b4    
,c41  ,gerhard1 ,,iv1 ,pl4 ,,cclviii7   
and #e 7  amphora in the ,british       
,museum3 ,b4 ,m4 ,vases1 ,,ii1 ,b #fjh72
 we see no  greaves on the r4-f4 kylix  
in ,berlin 7,fig4 #da72 cf4 ,krause1 pp4
 #ced f4    #adgc ,jb41 ,,ii1 #ahhg1 pp4
 #ie f42 ,x1 #ahie1 pp4 #aii f4    #adgd
 ,p41 ,,vi1 #aj4d4    #adge ,p41 ,x1    
#cd4e4 ,mnesiboulos won stade- and      
hoplite-races at ,olympia  in ,ol4 #bce 
7 #afa ,a4 ,d473 ,afr42 ,foerster1      
#gab-gac2 cf4 ,hitz4-,bluemn41  ,,ii1   
#b1 p4 #ehb4 ,he was also  in both      
events4    #adgf ,e4 g41 by ,ph41 #g4   
#adgg ,a bronze helmet found at         

,olympia1 recently in the possession of 
the ,bishop of ,lincoln1 is pictured in 
,j4 ,h4 ,s41 ,,ii1 #ahha1 ,pl4 ,,xi1 #a4
    #adgh ,e4 g41 on the vase in        
,dar4-,sagl41 ,i1 #b1 p4 #afdd1 fig4    
#bbca2 on  the ,panathenaic vase in the 
,british ,museum1 already mentioned1    
dating  from the second half of the     
fourth century ,b4 ,c43 ,b4 ,m4 ,vases1 
,,ii1  ,b4 #fjh2  ,gardiner1 p4 #bij1   
fig4 #eh2  ,mon4 d4 ,i41 ,x1 #ahgd-gh1  
,pl4  ,,xlviii1 e1 #c2  ,baum1 ,,iii1 p4
 #baaj1 fig4 #bcfa2 here the runners are
  running with the feet flat on the     
ground4    #adgi ,in the ,cabinet des   
,mdailles of the ,bibliothque           
,nationale1 no4  #ebc2 ,hartwig1 ,die   
griech4 ,meisterschalen1 #ahic1 pp4     
#acb-adb1 ,pls4 ,,xv1  #b and ,,xvi2    
,gardiner1 p4 #bhf1 fig4 #ed1 and ,j4   
,h4 ,s41 ,,xxiii1 p4 #bgh1  fig4 #g2    
,hoppin1 ,hbk4 ,attic r4-f4 ,vases1 ,i1 
p4 #dbg1 no4 #eh4    #adhj ,no4 #bcjg2  
,gerhard1 ,,iv1 ,pl4 ,,cclxi2 ,j4 ,h4   
,s41 ,,xxiii1 p4 #bgg1  fig4 #f2        

,gardiner1 p4 #bhh1 fig4 #ef2           
,dar4-,sagl41 ,,ii1 #b1 p4 #afdd1 fig4  
#bbcb2 ,jb41 ,,ii1 #ahhg1 p4 #aje2 cf4  
similar runners on a r4-f4 kylix  in the
 ,british ,museum1 ,e #bb3 ,murray1     
,designs from ,greek ,vases1 no4  #ah2  
,hoppin1 ,hbk41 ,i1 p4 #cgb1 no4 #ba4   
#adha ,j4 ,h4 ,s41 ,,xxiii1 #aijc1 p4   
#bgh1 fig4 #h2 ,gardiner1 p4 #bhg1 fig4 
#ee4 ,it was formerly in ,berlin4       
#adhb ,e #hah2 ,j4 ,h4 ,s41 l4 c41 p4   
#bhe1 fig4 #ab2 ,gardiner1 p4 #bhi1     
fig4 #eg2 noted by ,hartwig1 ,die       
griech4 ,meisterschalen1 p4 #cgc1 no4   
#h2  ,hoppin1 ,hbk41 ,i1 p4 #acd1 no4   
#fi4    #adhc ,for a reconstruction of  
the various phases of the armed-race    
from vase-paintings1 see ,j4 ,h4 ,s41 l4
 c41 p4 #bgi1 fig4 #i4    #adhd ,see    
,gardiner1 p4 #bia and ,j4 ,h4 ,s41 l4  
c41 pp4 #bhd f4 ,perhaps  this is the   
explanation of a kylix in ,berlin 7no4  
#djci71 reproduced by  ,furtwaengler in 
,samml4 ,sabouroff1 ,i1 ,pl4 ,,liii4    
#adhe ,e4 g41 on a r4-f4 kylix in       

,munich 7no4 #abdj72 ,j4 ,h4 ,s41  l4   
c41 p4 #bhd1 fig4 #aa2 ,gardiner1 p4    
#bib1 fig4 #ei4 ,this painting          
represents a palstra scene1 as is shown 
by the sponges on the wall4    #adhf    
#bia4    #adhg ,h4 ,n41 ,,xxxv1 #ga4    
#adhh ,i1 #bc4i4 ,in #ahch the inscribed
 base of this statue was found1  the    
inscription being3    444     3 ,c4 ,i4 
,a41 ,i1 #cgf2 ,loewy1 ,i4 ,g4 ,b41 #ci4
  ,this shows that ,pausanias got his   
information about the pose from the     
statue itself and not from the          
inscription4 ,it also gives us the right
  spelling of the artist's name4        
#adhi ,first published1 long after it   
had passed from the possession  of ,herr
 ,tux to the ,university ,collection1 by
 ,gruneisen in ,schorn's  ,kunstblatt1  
#ahce1 pp4 #ba f41 and separately the   
same year4 ,see also  ,hauser in ,jb41  
,,ii1 #ahhg1 pp4 #ie-ajg2 ,l4 ,schwabe1 
,jb41 ,i1 #ahhf1 pp4  #afc f41 ,pl4 ,,ix
 7 three views72 de ,ridder1 ,b4 ,c4    
,h41 ,,xxi1 #ahig1 pp4  #baa f4         

7reviewed in ,a4 ,j4 ,a41 ,,ii1 #ahih1  
pp4 #bfh f472 ,collignon1 ,i1 p4  #cje1 
fig4 #aeb2 ,bulle1 no4 #hi 7two views72 
,springer-,michaelis1 p4 #bag1  fig4    
#djc;a2 ,brunn1 ,griech4 ,kunstgesch41  
#ahic1 ,,ii1 p4 #bdi f42 ,f4 ,w41  #ij2 
,rouse1 p4 #agd1 n4 #a2 ,reinach1 ,rp41 
,,ii1 #b1 #edc1 #e4    #adij ,bulle1 no4
 #hf4    #adia ,jh4 oest4 arch4 ,inst41 
,v1 #aijb1 pp4 #afe-gj and ,pl4 ,,iv    
7three  views74 ,it was probably made in
 ,campania4 ,it is #j4jg meter high4    
#adib ,m4 ,d41 #ajig2 ,clarac1 #hcj1    
#bjhe4    #adic ,furtw41 ,mp41 p4 #bjd1 
and n4 #d2 ,mw41 p4 #cib1 and n4 #d4 ,he
  believes that the helmet is not alien 
to the statue as some think1 but  points
 out that the head1 which is much       
restored and is akin to the  ,perseus1  
is wrongly attached to the body4        
,hauser1 ,jb41 ,,ii1 #ahhg1 p4  #aja1 n4
 #bd1 because of the tree-trunk1 does   
not believe that the statue  represents 
a hoplite-runner2 but ,furtwaengler     
shows that the tree-trunk  offers no    

objection to restoring a shield to the  
statue4    #adid ,rayet1 ,,ii1 ,pls4    
#fd1 #fe 7head72 ,b4 ,b41 no4 #ge2      
,bulle1 #hh2 von  ,mach1 #bhf2 ,reinach1
 ,rp41 ,i1 #aed #a-d2 ,m4 ,w41 ,i1 ,pl4 
#dh1 #baf2 ,f4  ,w41 #adbe2 ,h4 ,b4     
,walters1 ,the ,art of the ,greeks1 ,pl4
 ,,xlix2 ,gardner1  ,hbk41 p4 #eac1 fig4
 #acf2 ,j4 ,six1 ,de ,beteekenis van het
 ,leelijke in  de ,grieksche ,kunst1 p4 
#bi2 his theory has been contested by   
,kalkman1  ,jb41 ,x1 #ahie1 p4 #fd and  
n4 #ej4 ,the statue is #a4ee meters high
 7,bulle74    #adie ,bulle1 and also    
,klein 7,,iii1 pp4 #bfe f471 believe    
that ,agasias  was no mere copyist1     
while ,amelung 7,becker-,thieme1 ,lex4  
d4 bild4  ,kuenstler1 ,i1 #aac7 classes 
him as one4 ,the inscription on the base
 of  the statue dates it about #ajj ,b4 
,c4    #adif ,no4 #aiei2 ,arch4 ,eph41  
#aijd1 pp4 #dc-ef 7,philios7 and ,pl4   
,i2  ,perrot-,chipiez1 ,,viii1 pp4      
#fdh-ea and fig4 #ccc2 ,stas1 ,marbres  
et  ,bronzes1 ,pl4 on p4 #bj2 ,svoronos1

 ,i1 pp4 #hi-if1 and ,tafelbd41 ,i1 ,pl4
  ,,xxvi 7upper left corner72 ,bulle1   
#bfc2 ,e4 ,schmidt1 ,muenchner archaeol4
  ,stud4 zum ,andenken ,a4              
,furtwaengler1 p4 #bed and fig4 #cea2   
,lechat1 p4  #bjf1 fig4 #be4 ,its       
dimensions are #a4ja meters high and    
#j4gb meter broad4  ,see p4 #aid4       
#adig ,bulle dates it loosely after the 
middle of the sixth century ,b4  ,c4    
#adih ,he shows that a similar type     
appears on ,athenian dekadrachmai1      
which were struck soon after the date of
 the battle of ,marathon1 in any  case  
before #dhj ,b4 ,c42 cf4 ,babelon1      
,journ4 ,int4 d'arch4 ,num41 #aije4     
#adii ,a4 ,pl41 ,i1 #c1 v4 #b1 and ,p4  
l4 ,g41 ,,iii1 no4 #aec1 p4 #ejj4  ,cf4 
also the epigram quoted by ,eustathius1 
in the scholion on the  ,iliad1 ,,xxiii1
 #fba1 p4 #acbj1 and one by ,lucilius1  
,a4 ,g41 ,,xi1 no4 #hd4  ,the five      
events are repeatedly mentioned by      
,greek writers3 ,ph41 #c1  #aa1 etc42   
,artemidoros1 ,oneir41 ,i1 #ee2 many    

scholiasts1 e4 g41 on  ,pindar1 ,isthm41
 #a1 #ce1 ,boeckh1 p4 #eai1 and ,soph41 
,electra1 #fia4  ,on the event1 see ,p4 
,gardner1 ,j4 ,h4 ,s41 ,i1 pp4 #baj f42 
,gardiner1  ,ch4 ,,xvii1 pp4 #cei f42   
id41 ,j4 ,h4 ,s41 ,,xxiii1 #aijc1 pp4   
#ed f4 7,the  ,method of ,deciding the  
,pentathlon72 ,e4 ,myers1 ,j4 ,h4 ,s41  
,,ii1 #ahha1  pp4 #bag f42 ,f4 ,fedde1  
,der ,fuenfkampf d4 ,hellenen1 #ahhh1   
and ,ueber  den ,fuenfkampf d4          
,hellenen1 #ahhi2 ,heinrich1 ,ueber das 
,pentathlon d4  ,griechen1 #ahib2       
,pinder1 ,ueber den ,fuenfkampf d4      
,hellenen1 #ahfg2  ,krause1 ,i1 pp4     
#dgf-dig1 and #iba f42 ,bluemner1 in    
,baum41 ,i1 pp4 #eab f2  ,legrand1 in   
,dar4-,sagl41 ,,iv1 #a1 pp4 #hjd f41 s4 
v4 ,quinquertium4 ,on  the order of     
events and method of deciding the       
victory1 see ,gardiner1  pp4 #cfb f4    
#aejj ,isthm41 ,i1 #bf-bg4    #aeja     
,od41 ,,viii1 #ajc4 ,in line #abi he    
mentions the diskos4 ,boxing was  never 
a part of the later pentathlon4    #aejb

 ,p41 ,v1 #h4g2 ,philostratos1 #ab2 in  
,ch4 #c he says that it was  introduced 
by ,jason4    #aejc ,p41 ,v1 #i4a4      
#aejd ,gerhard1 ,,iv1 ,pl4 ,,cclix4 ,see
 supra1 p4 #aib4    #aeje ,it represents
 jumping1 javelin-throwing1 and         
diskos-throwing2 it  is a ,panathenaic  
vase of the sixth century ,b4 ,c4 in the
 ,british ,museum3  ,b #acd2 ,j4 ,h4    
,s41 ,,xxvii1 #aijg1 ,pl4 ,,xviii2      
,gardiner1 p4 #cfj1 fig4  #ajg2 cf4     
these three events pictured on another  
amphora of similar  date in ,leyden3 ,a4
 ,z41 ,,xxxix1 #ahha1 ,pl4 ,,ix2        
,gardiner1 p4 #cfa1 fig4  #ajh4 ,a      
gymnasium scene 7i4 e41 figures of a    
jumper1 diskobolos1 and  apparently an  
akontistes7 appears on a r4-f4          
vase-painting by ,douris3  see ,pottier1
 ,douris et les ,peintres de ,vases     
grecs1 #aijd 7engl4 ed4  #aiji71 fig4   
#f2 ,perrot-,chipiez1 ,x1 p4 #edi1 fig4 
#cae4    #aejf ,in addition to those    
cited we may add the vase in the        
,british  ,museum1 ,b #adb 7            

diskos-throwing and javelin-throwing72  
one in ,munich1  no4 #fef 7             
javelin-throwing and jumping72 two      
others in the ,british  ,museum1 ,b #acf
 and #fjb 7 diskos-throwing72 another   
there1 ,b #fje 7  javelin-throwing72    
etc4    #aejg ,inschr4 v4 ,ol41 #afb1   
#afc2 ,i4 ,g4 ,b41 #ia2 upper surface   
outlined in ,furtw41 ,mp41 p4 #bfc1 fig4
 #aaj2 ,mw41 p4 #dgb1 fig4 #hj4  ,for   
the discussion of ,pythokles1 see ,mp41 
pp4 #bfb f4    #aejh ,furtwaengler      
believed in the first century ,b4 ,c42  
,dittenberger  and ,purgold1 in the     
first century ,a4 ,d43 cf4 ,inschr4 v4  
,ol41 p4 #bhd4    #aeji ,gatti1 ,b4     
,com4 ,rom41 ,,xix1 #ahia1 pp4 #bhj f41 
,pl4 ,x1 #a2 cf4  ,petersen1 ,r4 ,m41   
,,vi1 #ahia1 pp4 #cjd f4    #aeaj       
,statuette in the ,braccio ,nuovo of the
 ,vatican3 ,helbig1  ,fuehrer1 ,i1 #cb2 
,guide1 #dc2 ,amelung1 ,vat41 ,i1 no4   
#aja on p4 #aaf1  and ,pls4 ,,xvi1      
,,xvii2 ,furtw41 ,mp41 p4 #bfd1 fig4    
#aaa2 ,mw41 p4 #dgd1  fig4 #ha2         

,reinach1 ,rp41 ,,ii1 #b1 #edi1 #b2     
,clarac1 #hfa1 #bahd2 a black  marble   
statue found at ,porto d' ,anzio in     
#ageh1 now in the ,glyptothek3          
,furtwaengler-,wolters1 ,beschr4 d4     
,glypt41#b no4 #deh2 ,clarac1 #heh1     
#bage2 it is #a4ed meters high4    #aeaa
 ,wiener ,studien1 ,,xxiv1 #aijb1 pp4   
#cih f42 he is1 therefore1  against the 
,pythokles ascription2 see also         
,studniczka in ,jh4 oest4  arch4 ,inst41
 #aijf1 p4 #aca4    #aeab ,cf4 also     
,hitz4-,bluemn41 ,,ii1 #b1 pp4 #egj f4  
#aeac ,hettner1 ,die ,bildw4 d4 kgl4    
,antikensamml4 zu ,dresden1 no4 #ij  7 a
 doryphoros72 ,furtw41 ,mp41 ,pl4 ,,xii 
7whence our plate7 and fig4  #aab 7head 
from cast1 two views71 on p4 #bfg2      
discussion1 pp4 #bfe f2  ,mw41 ,pls4    
,,xxvi1 ,,xxvii 7the head from a cast   
and the restored left  forearm omitted7 
and text1 pp4 #dge f42 ,clarac1 #idh1   
#bdcg4 ,furtwaengler  mentions three    
other copies of the statue and three of 
the head4    #aead ,on a fourth-century 

,b4 ,c4 ,panathenaic prize vase we see  
an  athlete in a similar pose holding a 
diskos in his left hand3 ,mon4 d4  ,i41 
,x1 #ahgd-gh1 ,pl4 ,,xlviii1 g1 #aj     
7quoted by ,furtwaengler1 ,mp41 p4      
#bff1 n4 #f74    #aeae ,formerly in the 
,coll4 ,pourtals1 and then in the ,coll4
 ,grau3 ,w4  ,froehner1 ,cat4 des       
bronzes antiques de la ,collection      
,grau1 #ahhe1 ,pl4  ,,xxxii1 p4 #bjd1   
no4 #ifd2 de ,ridder1 ,les ,bronzes     
antiques du ,louvre1 ,i1  #aiac1 ,pl4   
#ai1 no4 #ahd1 and p4 #cd2 ,mahler1     
,polyklet und seine ,schule1  pp4 #eg f4
 and fig4 #ac2 ,furtwaengler1 ,mp41 p4  
#bgh1 ,mw41 p4 #dij2  ,reinach1 ,rp41   
,,ii1 #b1 #edf1 #c4 ,it is #j4bah meter 
high4 ,froehner had  interpreted the    
statuette as that of an oil-pourer1     
though the position  of the hands is    
against it4    #aeaf ,p41 ,,vi1 #ad4ac2 
,hyde1 #aci and pp4 #ed-ee2 ,foerster1  
#dea1 #def2  ,inschr4 v4 ,ol41 #agf4    
#aeag ,od41 ,,viii1 #ajc and #abh4 ,on  
jumping1 see ,krause1 ,i1 pp4 #chc f42  

,gardiner1 ,ch4 ,,xiv1 pp4 #bie f42 etc4
    #aeah ,,iv1 #dfe f4    #aeai ,cf4   
,stesichoros1 apud ,athenaeum1 ,,iv1 #gb
 7pp4 #agb f474    #aebj ,de ,incessu   
animalium1 ,ch4 #c 7p4 #gje a74    #aeba
 ,as1 e4 g41 on the statues at ,olympia 
of the ,elean pentathlete  ,anauchidas  
7,p41 ,v1 #bg4ab7 and ,hysmon 7,p41     
,,vi1 #c4aj74 ,see supra1 p4  #afd4     
#aebb ,juethner1 ,antike ,turngeraete1  
pp4 #c-ac2 ,gardiner1 ,ch4 ,,xiv1 pp4   
#bie f4 and ,j4 ,h4 ,s41 ,,xxiv1 #aijd1 
pp4 #agi f41 7especially pp4 #aha f474  
,the following section is taken chiefly 
from these two sources4 ,cf4  also      
,bronz4 v4 ,ol41 pp4 #ahj-a2 ,pinder1   
,a4 ,a41 #ahfd1 pp4 #bcj f4    #aebc    
,national ,museum1 no4 #ijge2 ,arch4    
,eph41 #ahhc1 fig4 on p4 #aij2          
,juethner1 fig4 #a2 ,gardiner1 p4 #bih1 
fig4 #fj4 ,the inscription  ,c4 ,i4     
,a41 ,,iv1 #dbbd4 ,this weight is #d4e  
inches long with concave sides and      
weighs #d lbs4 #b oz4    #aebd ,e4 g41  
one of lead1 in the ,british ,museum3   

,j4 ,h4 ,s41 ,,xxiv1  #aijd1 p4 #ahb2   
,gardiner1 p4 #bii1 fig4 #fa c4 ,it     
weighs #b lbs4 #e oz4    #aebe ,v1      
#bf4c2 the group dates from the second  
half of the fifth  century ,b4 ,c43 see 
,inschr4 v4 ,ol41 nos4 #bfg-i4    #aebf 
,arch4 ,eph41 #ahhc1 fig4 on p4 #ajd2   
,juethner1 fig4 #h2 ,gardiner1  p4 #cjj1
 fig4 #fb2 ,schreiber1 ,bilderatlas1    
,pl4 ,,xxii1 fig4 #aj4 ,it is #aj       
inches long4 7,the illustrations show   
one weight seen from three sides47      
#aebg ,bronz4 v4 ,ol41 p4 #ahj1 fig4    
#aaja2 ,juethner1 fig4 #i2 ,gardiner1   
p4 #bii1 fig4 #fa;a 7from cast in the   
,british ,museum74 ,it is probably of   
diorite and is #aa4e inches long1 and   
weighs over #aj pounds4    #aebh ,ch4   
#ee2 cf4 ,lucian1 ,anach41 #bg 7       1
 i4 e41 cylindrical72 ,etym4 magn41 p4  
#ga1 #bj4    #aebi ,such is the         
limestone halter from ,kameiros1        
,rhodes1 in the  ,british ,museum2 ,b4  
,m4 ,guide to ,gk4 and ,rom4 ,life1     
#aijh1 fig4 #da2  ,gardiner1 p4 #bii1   

fig4 #fa b4 ,it is #g4e inches long4    
#aecj ,juethner1 fig4 #aa4    #aeca     
,duetschke1 ,,ii1 #bb4    #aecb ,mon4 d4
 ,i41 ,,vi1 ,,vii1 #aheg-fc1 ,pl4       
,,lxxxii2 ,annali1 ,,xxxv1  #ahfc1 pp4  
#cig f42 ,gardiner1 p4 #agg1 fig4 #bb4  
#aecc ,see ,caelius ,aurelianus1 de     
,morb4 acut4 et chron41 ,v1 #b4ch  7 of 
the early 8 fifth century ,a4 ,d474 ,the
 imperial physicians  recommended them3 
see ,galen and ,antyllos1 apud          
,oribasium1 ,coll4  ,medicin41 ed4      
,bussemaker et ,daremberg1 #ahea1 ,,vi1 
#ad and #cd1  respectively2 see ,krause1
 ,i1 pp4 #cie f41 and ,juethner1 p4 #af4
    #aecd ,ch4 #ee4    #aece ,de        
,incessu anim41 ,ch4 #c 7p4 #gje;a74    
#aecf ,made by ,e4 ,o4 ,gourdin1 in     
,cambridge1 ,u4 ,s4 ,a41 ,july #bc1     
#aiba4    #aecg ,see ,j4 ,h4 ,s41 ,,ii1 
#ahha1 p4 #bah1 n4 #a2 the jump took    
place at  ,chester in #ahed2 here is    
also recorded a standing jump of #ac ft4
 #g in4  with #bc-lb4 weights1 at       
,manchester in #ahge4    #aech          

,mentioned by ,pinder1 ,ueber d4        
,fuenfkampf d4 ,hellenen 7quoted  by    
,juethner1 p4 #af74    #aeci ,so ,fedde1
 p4 #bb4 ,a record of #di ft4 #c in4    
7hop1 skip1 and jump7  was made at      
,harwich in #ahfa3 ,j4 ,h4 ,s41 ,,ii1 p4
 #bha1 n4 #a4    #aedj ,a4 ,pl41 #big2  
cf4 schol4 on ,aristophanes1 ,acharn41  
#bac1 and  other evidence gathered by   
,gardiner1 in ,j4 ,h4 ,s41 ,,xxiv1      
#aijd1 pp4 #gj  f4    #aeda ,rutgers1 p4
 #aa4    #aedb ,on the controversy about
 these jumps1 see ,gardiner1 ,fedde1 ll4
  cc41 and ,a4 ,a41 #aijj1 pp4 #ajd-f   
7,kueppers1 ,diels1 and ,stengel74 ,on  
,greek jumping1 see also ,krause1 ,i1   
pp4 #chc f42 ,pinder1 pp4 #ajh f42      
,fedde1 pp4 #ad f42 ,grasberger1        
,erziehung und ,unterricht1 ,i1 pp4 #cjc
  f42 ,girard1 ,l'ducation athnienne1   
#ahhi1 pp4 #bjj f42 etc4    #aedc ,see  
,gardiner's summary in ,j4 ,h4 ,s41     
,,xxiv1 #aijd1 p4 #ahi4    #aedd ,e4 g41
 on a r4-f4 pelike in the ,british      
,museum3 ,b4 ,m4 ,vases1  ,e #dbg2 ,j4  

,h4 ,s41 ,,xxiv1 #aijd1 p4 #ahe1 fig4   
#f2 etc4    #aede ,e4 g41 on a r4-f4    
krater in ,copenhagen 7873 ,annali1     
,,xviii1  #ahdf1 ,pl4 ,m2 ,gardiner1 p4 
#cjc1 fig4 #fd2 ,j4 ,h4 ,s41 l4 c41 p4  
#ahe1  fig4 #g 7left-hand figure74      
#aedf ,e4 g41 on a r4-f4 kylix in       
,bologna3 ,j4 ,h4 ,s41 l4 c41 p4  #ahf1 
fig4 #h2 ,gardiner1 p4 #cjd1 fig4 #fe2  
,juethner1 fig4 #af2 on interior  of an 
early r4-f4 vase1 signed by ,chelis1 in 
the ,louvre1 ,g #ae3 ,pottier1  ,vases  
antiques1 ,pl4 #hi2 ,perrot-,chipiez1   
,x1 p4 #cff1 fig4 #baa4    #aedg ,e4 g41
 on a r4-f4 kylix from ,orvieto1        
formerly in the  ,bourguignon ,coll4 in 
,naples1 but now in ,boston3 ,a4 ,z41   
,,xlii1 #ahhd1 p4  #bdc 7,meier71 ,pl4  
,,xvi1 #b;b2 ,reinach1 ,rp4 vases       
peints1 ,i1 p4 #ded1 #a1  #e1 #f2 ,j4   
,h4 ,s41 l4 c41 p4 #ahc1 fig4 #c2       
,gardiner1 p4 #cje1 fig4 #ff  7interior 
showing diskobolos1 ibid41 p4 #cbf1 fig4
 #hj  ,j4 ,h4 ,s41  ,,xxvii1 #aijg1 p4  
#bj1 fig4 #i72 ,juethner1 p4 #ae1 fig4  

#ad2 ,girard1 ,l'duc4  athn41 pp4 #bja1 
#bjg1 figs4 #bb and #bg2 ,hoppin1 ,hbk4 
,attic r4-f4  ,vases1 p4 #dbc1 no4 #dd2 
,dar4-,sagl41 ,,iii1 #a1 p4 #e1 fig4    
#cfia1 ,,iv1 #b1 p4  #ajee1 fig4 #fjhc4 
#aedh ,e4 g41 on a b4-f4 imitation      
,corinthian amphora in the ,british     
,museum3 ,b4 ,m4 ,vases1 ,b #dh2 middle 
figure is given in ,j4 ,h4 ,s41  l4 c41 
p4 #ahc1 fig4 #d2 ,gardiner1 p4 #cjf1   
fig4 #fg2 ,juethner1 fig4 #ae  7three   
figures74    #aedi ,inghirami1 ,mus4    
,chius41 ,pl4 ,,cxxv 7quoted by         
,gardiner74    #aeej ,e4 g41 on a       
,panathenaic amphora in ,leyden3 ,j4 ,h4
 ,s41  ,,xxvii1 #aijg p4 #bfj2 on a     
later r4-f4 kylix of ,euphronios3       
,klein1  ,euphronios#b1 #ahhg1 p4 #cjf2 
,j4 ,h4 ,s41 ,,xxiv1 #aijd1 p4 #ahh1    
fig4 #i2  ,gardiner1 p4 #cjg1 fig4 #fh4 
#aeea ,b4 ,m4 ,bronzes1 #bdh1 p4 #bf1   
fig4 #aj 7right72 ,gaz4 arch41  #ahge1  
,pl4 ,,xxxv1 p4 #aca2 ,schreiber1       
,bilderatlas1 ,pl4 ,,xxii1 no4 #ae2     
,murray1 ,hbk4 ,gk4 ,archology1 #ahib1  

p4 #abc1 fig4 #ec4 ,the diskos is  #h4be
 inches in diameter and is to be dated  
about #ejj ,b4 ,c4 ,on the  other side  
is represented a jumper1 with measuring 
cord in his hands1  measuring his leap4 
,a similar figure appears on a          
metrological relief  at ,oxford3 ,j4 ,h4
 ,s41 ,,iv1 #ahhc1 ,pl4 ,,xxxv1 p4 #cce4
    #aeeb ,richter1 ,greek1 ,etruscan1  
and ,roman ,bronzes1 no4 #ha1 fig4 on   
p4 #ed 7three views72 ,burlington ,fine 
,arts ,club1 ,cat4 ,anc4 ,gk4 ,art1     
#aijd1 p4 #df1 no4 #cg2 ,reinach1 ,rp41 
,,iv1 #cde1 #i4    #aeec ,reinach1 ,rp41
 ,,ii1 #b1 #edc1 #g 7quoted by ,miss    
,richter74    #aeed ,e4 g41 the jumper  
with halteres on the ,british ,museum   
pelike  already mentioned1 ,e #dbg2 see 
p4 #baf1 n4 #aj2 a still closer         
resemblance  is found in a jumper       
without halteres on a r4-f4 pelike      
discussed in  ,j4 ,h4 ,s41 ,,xxiii1     
#aijc1 p4 #bgb2 ,gardiner1 p4 #cji1 fig4
 #fi4    #aeee ,krause1 ,i1 pp4 #dci f4 
,e4 g41 ,apollo unintentionally slays   

,hyakinthos while contending with him in
 diskos-throwing3 ,euripides1  ,helena1 
#adfi f42 etc4    #aeef ,iliad1 ,,xxiii1
 #hbf f4 ,later imitators of ,homer use 
the word also3  e4 g41 ,apoll4 ,rhod41  
,,iii1 #acff4    #aeeg ,inschr4 v4 ,ol41
 #gag2 ,i4 ,g4 ,a41 #cgj2 ,juethner1 pp4
 #bb-bc4 ,a  larger block of volcanic   
rock weighing #dhj kilograms has been   
found at  ,santorin with an inscription 
dating from about #ejj ,b4 ,c4 stating  
that  one ,eumastas lifted it from the  
ground3 ,i4 ,g41 ,,xiii1 no4 #ddi4 ,see 
,j4  ,h4 ,s41 ,,xxvii1 #aijg1 p4 #b4    
,such a scene is depicted on the        
interior of  a r4-f4 kylix in the       
,louvre1 ,g #if2 ,j4 ,h4 ,s41 l4 c41    
fig4 #a4    #aeeh ,od41 ,,iv1 #fbf and  
,,viii1 #ahf f4 ,the diskos-throw was   
well known  as a measure3 e4 g41 ,il41  
,,xxiii1 #dca4 ,scholiasts tried to show
 the  difference between the solos and  
the diskos3 see ,juethner1 pp4 #ai f4   
#aeei ,ol41 ,x1 #gb2 ,isthm41 ,i1 #be4  
#aefj ,e4 g41 on a b4-f4 amphora in the 

,british ,museum3 ,b4 ,m4  ,vases1 ,b   
#bga2 ,j4 ,h4 ,s41 ,,xxvii1 ,pl4 ,i2    
,gardiner1 p4 #cad1 fig4 #ga2  cf4 the  
,panathenaic amphora1 ,b #acd 7 ,fig4   
#dd72 ,j4 ,h4 ,s41 ,,xxvii1  ,pl4       
,,xviii4    #aefa ,b4 ,m4 ,bronzes1 no4 
#cbjg2 ,gardiner1 p4 #cag1 fig4 #gc2    
,rev4  arch41 ,,xviii1 #ahia1 ,pl4      
,,xviii1 p4 #de4 ,it is #f4e inches in  
diameter4  ,the inscription is written  
retrograde4    #aefb ,see list of       
fifteen in ,j4 ,h4 ,s41 ,,xxvii1 p4 #f2 
,gardiner1 p4  #caf2 eight of these are 
from ,olympia4    #aefc ,i1 #ce4e4      
#aefd ,furtwaengler shows that there are
 numerous representations of  ,myron's  
,diskobolos on gems3 ,die antiken       
,gemmen1 e4 g41 ,pls4 ,,xliv1  nos4 #bf1
 #bg1 and ,,lxvi1 #h2 cf4 also a gem in 
the ,british ,museum3 ,b4  ,m4 ,gems1   
#gdb and ,pl4 #aa4    #aefe ,j4 ,h4 ,s41
 ,,xxvii1 #aijg1 pp4 #a f41 ,pls4       
,i-,,iii1 summary on p4 #cf2  ,greek    
,athl4 ,sports1 ,ch4 ,,xv1 pp4 #cac f4  
,cf4 also ,e4 ,pernice1 ,jb41  ,,xxiii1 

#aijh1 ,zum ,diskoswurf1 pp4 #id f41 who
 corrects and augments the  evidence    
furnished by ,gardiner's article in the 
,j4 ,h4 ,s4 ,on the  diskos and mode of 
casting1 see also ,juethner1 pp4 #ah-cf2
 ,krause1 ,i1  pp4 #ddb f42 ,grasberger1
 ,erziehung und ,unterricht1 ,i1 pp4    
#cba f42  ,gaz4 arch41 #ahhh1 pp4 #bia  
f4 7,j4 ,six72 ,dar4-,sagl41 ,,ii1 #a1  
pp4 #bgg  f42 ,fedde1 ,der ,fuenfkampf  
der ,hellenen1 pp4 #cg f42 ,girard1     
,l'duc4  athn41 pp4 #bja f42 ,kietz1    
,der ,diskoswurf bei den ,griechen1     
#ahib1  pp4 #ae f4    #aeff ,e4 g41 on a
 lekythos from ,eretria3 ,j4 ,h4 ,s41   
,,xxvii1 p4 #bc1  fig4 #ab4    #aefg ,e4
 g41 on a b4-f4 ,attic lekythos in the  
,british ,museum3 ,b4 ,m4  ,vases1 ,b   
#egf2 ,j4 ,h4 ,s41 l4 c41 ,pl4 ,,ii2    
,gardiner1 p4 #cbh1 fig4 #hb2  on a     
r4-f4 kylix3 ,j4 ,h4 ,s41 p4 #bf1 fig4  
#ae2 ,gerhard1 ,,iv1 ,pl4 ,,ccxciv1  no4
 #f4    #aefh ,e4 g41 on the reverse of 
a r4-f4 kylix in the ,british ,museum   
signed by ,pheidippos3 ,b4 ,m4 ,vases1  

,,iii1 ,pl4 ,i1 ,e #f2 ,j4 ,h4 ,s41 l4  
c41 p4 #ac1 fig4 #c2 ,gardiner1 p4 #cbc1
 fig4 #gf2 ,perrot-,chipiez1 ,x1 p4     
#cfh1 fig4 #bad2 on a b4-f4 kelebe in   
the ,british ,museum3 ,b4 ,m4 ,vases1   
,e #cfa2 ,gardiner1 p4 #cbd1 fig4 #gg2  
on an ,attic b4-f4 panel-amphora in  the
 ,university of ,pennsylvania ,museum1  
,philadelphia3 ,museum ,journal1  ,,vi1 
,no4 #d 7,dec41 #aiae71 fig4 #ij1 p4    
#agj2 ,a4 ,j4 ,a41 ,,xx1 #aiaf1 p4 #ddj1
  fig4 #d2 7the obverse of this vase1   
representing a boxing scene1 is  given  
in our ,fig4 #ef72 on a b4-f4 amphora   
pictured by ,gerhard1 ,,iv1 ,pl4        
,,cclx41 and ,pernice1 l4 c41 fig4 on p4
 #ih4 ,the left foot is generally       
forward in this position3 e4 g41 on a   
r4-f4 kylix in ,munich1 no4 #gie2  ,j4  
,h4 ,s41 l4 c41 p4 #bf1 fig4 #ad2 the   
right is forward on two b4-f4  vases3   
,gerhard1 ,pls4 ,,cclix1 #b 7 our ,pl4  
#cf ,b71 and ,,cclx4 ,on a r4-f4        
amphora in ,naples 7,pernice1 fig4 on p4
 #if71 a youth is represented  holding  

the diskos with the right hand on the   
shoulder1 against which  his face is    
silhouetted as in the famous archaic    
relief from the  ,dipylon gate discussed
 supra1 ,ch4 ,,iii1 p4 #abg4    #aefi   
,e4 g41 on the amphora pictured by      
,pernice1 p4 #ii4    #aegj ,the left is 
forward on a r4-f4 krater of ,amasis    
from  ,corneto3 ,j4 ,h4 ,s41 ,,xxvii1 p4
 #af1 fig4 #e2 ,hartwig1 ,die griech4   
,meisterschalen1 p4 #daf1 fig4 #ef;a2   
,gardiner1 p4 #cbd1 fig4 #gh2 the right 
is forward on a r4-f4 pelike in the     
,british ,museum3 ,b4 ,m4 ,vases1 ,e    
#cie2 ,j4 ,h4 ,s41 l4 c41 ,pl4 ,,iii2   
,gardiner1 p4 #cbe1 fig4 #gi4 ,the left 
is drawn back in a fifth-century ,b4 ,c4
 bronze3 ,j4 ,h4 ,s41 l4 c41 p4  #ah1   
fig4 #g2 ,burlington ,fine ,arts ,club1 
,cat4 ,anc4 ,gk4 ,art1 #aijd1 ,pl4  ,l4 
,another example is found on a r4-f4    
kylix in ,paris3 ,j4 ,h4 ,s41 l4  c41 p4
 #bg1 fig4 #ag2 ,hartwig1 ,die griech4  
,meisterschalen1 ,pl4 ,,lxiii1  #b2     
,gardiner1 p4 #cca1 fig4 #he4    #aega  

,for variations1 see early fifth-century
 ,b4 ,c4 coins of ,kos in  the ,british 
,museum3 ,j4 ,h4 ,s41 l4 c41 p4 #cj1    
fig4 #ai2 ,gardiner1 p4  #ccb1 fig4 #hf4
    #aegb ,e4 g41 on a ,panathenaic     
amphora in ,naples3 ,j4 ,h4 ,s41        
,,xxvii1  #aijg1 p4 #cb1 fig4 #bj2      
,juethner1 fig4 #ca2 ,gardiner1 p4 #ccc1
 fig4 #hg2 on  a b4-f4 hydria in the    
,british ,museum3 ,b4 ,m4 ,vases1 ,e    
#afd2 ,j4 ,h4 ,s41  l4 c41 p4 #cb1 fig4 
#ba2 ,gardiner1 p4 #ccd1 fig4 #hh4      
#aegc ,e4 g41 on a r4-f4 kylix in       
,boulogne3 ,j4 ,h4 ,s41 l4 c41  p4 #cd1 
fig4 #bc2 ,gardiner1 p4 #cce1 fig4 #hi2 
,hoppin1 ,hbk4 ,attic r4-f4  ,vases1 ,i1
 p4 #cgj1 no4 #aa2 cf4 ,beazley1 ,attic 
r4-f4 ,vases in ,amer4  ,mus41 #aiah1   
no4 #ai 7 ascribed to ,euergides74      
#aegd ,e4 g41 on the kylix just         
mentioned 7the figure to the right74    
#aege ,e4 g41 the archaic ,pourtals     
bronze3 ,panofka1 ,cabinet  ,pourtals1  
,pl4 ,,xiii1 #c2 ,reinach1 ,rp41 ,,ii1  
#b1 #ede1 #c2 cf4 also  another in the  

,antiquarium in ,berlin3 ,inventar1 no4 
#hegj2 ,a4 ,a41  #aijd1 p4 #cf1 n4 #g   
and fig4 on p4 #ce4 ,the latter is #j4aj
 meter high4    #aegf ,mus4 ,bull41     
,,iii1 ,feb41 #aijh1 pp4 #ca-cf2        
,richter1 ,greek1  ,roman1 and ,etruscan
 ,bronzes1 no4 #gh1 p4 #di 7three       
views72 ,cat4 ,class4  ,coll41 pp4      
#hi-ij1 figs4 #eb and #ec 7side views72 
,gardiner1 p4 #cbi1 fig4  #hc4 ,it is   
#i4be inches tall4    #aegg ,e4 g41 on a
 r4-f4 krater in the ,ashmolean ,museum1
 ,oxford1 no4  #efa2 on another in      
,munich3 cf4 ,j4 ,d4 ,beazley1 ,j4 ,h4  
,s41 ,,xxxi1 #aiaa1  ,pl4 ,,viii1 #b2   
both quoted by ,miss ,richter1 l4 c4    
#aegh ,in the ,national ,museum1 no4    
#gdab2 ,stas1 ,marbres et ,bronzes1  p4 
#cba and fig4 on p4 #bgj4 ,it was found 
in the sanctuary of the  ,kabeiroi in   
,botia and is #j4ai meter high4 ,cf4 a  
similar position  on a r4-f4 amphora in 
,munich painted by ,euthymides3 no4     
#cgd2  published by ,hoppin1 ,euthymides
 and his ,fellows1 #aiag1 ,pl4 ,,ii2    

,furtwaengler-,reichhold1 ,griech4      
,vasenmalerei1 ,pl4 ,,lxxxi4    #aegi   
,b4 ,m4 ,bronzes1 no4 #fge2 ,j4 ,h4 ,s41
 ,,xxvii1 p4 #bb1 fig4 #aa2  ,murray#b1 
#a1 p4 #bgd1 fig4 #ei2 ,gardiner1 p4    
#ccj1 fig4 #hd2 ,reinach1  ,rp41 ,,ii1  
#b1 #edd1 #aj4 ,it is #f4e inches tall4 
#aehj ,cf4 also two very rude bronzes in
 the ,british ,museum  representing     
diskoboloi3 ,b4 ,m4 ,bronzes1 nos4 #ejb 
7diskos held up in  right hand71 #ejd   
7diskos in right hand71 the first #c4cg 
inches tall1  the other #d4hg inches2   
the latter has a fillet in the hair and 
so  represents a victor4    #aeha ,b4   
,m4 ,bronzes1 no4 #eei2 ,j4 ,h4 ,s41 l4 
c41 p4 #ag1 fig4 #f4 ,as  the whole     
lebes is only #ah4e inches tall1 this   
lid figure is very small4    #aehb ,a4  
,a41 #aijd1 p4 #cf1 fig4 #h4 ,inventar1 
no4 #hefi4 ,it is #j4aae  meter high4   
#aehc ,published by ,h4 ,g4 ,e4 ,white  
in ,j4 ,h4 ,s41 ,,xxxvi1 #aiaf1 pp4 #af 
f41 ,pls4 ,i1 ,,ii and #c figs1 in text4
 ,pl4 ,i is the more archaic3 ,museum   

no4 #ffae2 ,arch4 ,eph41 #ahhc1 p4 #hf2 
,stas1 ,marbres et ,bronzes1 p4  #bfg2  
de ,ridder1 pp4 #bha-b1 no4 #geg1 and   
fig4 #bfe4 ,pl4 ,,ii is the less        
archaic3 ,museum no4 #ffad2 ,arch4      
,eph41 #ahhc1 p4 #df2 ,j4 ,h4 ,s41 ,x1  
#ahhi1 pp4 #bfh-i 7,e4 ,a4 ,gardiner72  
,stas1 op4 cit41 p4 #bfg2 de ,ridder1   
pp4 #bge-g1 no4 #gej1 and fig4 #beg4    
#aehd ,pliny1 ,h4 ,n41 ,,vii1 #bja1     
traces its origin to ,aetolus1 son of   
,mars4 ,phrastor won a victory in such a
 contest at ,olympia3 ,pindar1  ,ol41   
,x1 #ga4 ,see ,krause1 pp4 #dfe f42     
,juethner1 pp4 #cf f42 ,gardiner1  ,ch4 
,,xvi1 pp4 #cch f42 id41 ,j4 ,h4 ,s41   
,,xxvii1 #aijg1 pp4 #beh f42            
,dar-,sagl41 ,i1 #a1 pp4 #bbf f42       
,pauly-,wissowa1 ,i1 pp4 #aahc f4       
7,reisch72  ,girard1 ,l'duc4 athn41 pp4 
#bjc f42 ,grasberger1 ,erziehung und    
,unterricht1 ,i1 pp4 #cbg f41 and ,,iii1
 pp4 #afh f42 etc4 ,in the following    
account we are chiefly indebted to      
,juethner and ,gardiner4    #aehe ,see  

,stassoff apud ,stephani1 ,comptes      
rendus de la comm4 impr4  archaol41 ,st4
 ,petersburg1 #ahgb1 p4 #cjb4 ,cf4      
,juethner1 ,ph41 p4 #fd4    #aehf       
,iliad1 ,,xxiii1 #hhd f42 cf4 #fcg4     
#aehg ,the athletic style appears on    
many vases1 especially on r4-f4  ones2  
see infra1 pp4 #bbc-d and notes4        
#aehh ,the javelin is held horizontally 
by the warrior on the interior  of a    
b4-f4 kylix in the ,british ,museum3 ,b4
 ,m4 ,vases1 ,b #chj2 ,j4 ,h4  ,s41     
,,xxvii1 p4 #beb1 fig4 #b2 ,gardiner1 p4
 #cdb1 fig4 #ic4 ,it was commonly  held 
slopingly over the shoulder level with  
the head in representations  of the     
athletic style2 e4 g41 the second       
athlete from the left in the            
sixth-century ,b4 ,c4 b4-f4 ,panathenaic
 amphora in the ,british ,museum  7,fig4
 #dd73 ,b4 ,m4 ,vases1 ,b #acd2 cf4 also
 a similar figure on the  sixth-century 
,b4 ,c4 amphora in ,leyden3 ,a4 ,z41    
,,xxxix1 #ahha1 ,pl4 ,,ix2  ,gardiner1  
p4 #cfa1 fig4 #ajh4    #aehi ,at ,athens

 as early as the fifth century ,b4 ,c4  
there were  practical javelin contests  
from horseback with a target1 and such  
contests kept up in ,thessaly to the    
time of ,hadrian3 ,gardiner1 pp4        
#cef-h4 ,throwing the javelin at a      
target from horseback is seen on a      
,panathenaic amphora in the ,british    
,museum3 ,gardiner1 p4 #ceg1 fig4 #ajf2 
,j4 ,h4 ,s41 ,,xxvii1 ,pl4 ,,xx4 ,pindar
 mentions javelin-throwing three  times1
 and in each case the throw was for     
distance3 ,nem41 ,,vii1 #gj-a2  ,isthm41
 ,,ii1 #ce2 ,pyth41 ,i1 #dd4 ,lucian1 in
 a passage referring to  the pentathlon 
at ,olympia1 says that athletes competed
 for distance3  ,anacharsis1 #bg4 ,on   
this question1 see ,juethner1 pp4 #ed f4
    #aeij ,hesychios calls it 1 s4 v42  
see also ,pollux1 ,x1 #fd4    #aeia ,a4 
,z41 ,,xli1 #ahhc1 ,pl4 ,,xiii1 #b1 and 
cf4 p4 #bbh 7,milchhoefer74    #aeib    
,see ,juethner1 figs4 #cd1 #ce1 #cf on  
pp4 #dj-da 7representing  akontistai    
holding the javelin in one hand and the 

amentum in the  other74 ,fastening the  
thong is commonly depicted on vases3 e4 
g41 a  youth seated on the ground       
attaching the amentum is pictured on a  
r4-f4 hydria in the ,british ,museum3   
,b4 ,m4 ,vases1 ,e #afd2 ,j4 ,h4 ,s41   
,,xxvii1 p4 #cb1 fig4 #be2 ,gardiner1 p4
 #ccd1 fig4 #hh2 ,b4 ,c4 ,h41 ,,xxiii1  
#ahii1 p4 #afd1 fig4 #c2 on a r4-f4     
kylix in ,wuerzburg 7no4 #dcb71 a youth 
is seen winding the amentum around the  
akontion1 drawing one end  of the thong 
tight by means of his left foot3        
,juethner1 p4 #db1 fig4  #cg2 ,gardiner1
 p4 #cdj1 fig4 #ia2 ,dar4-,sagl41 ,,iii1
 #a1 p4 #eii1 fig4 #daaf2  ,hoppin1     
,hbk4 ,attic r4-f4 ,vases1 ,i1 p4 #ic1  
no4 #g4 ,on a r4-f4 amphora  from ,vulci
 attributed to ,euthymides1 and now in  
the ,british ,museum1 we  see an        
akontistes holding the spear pointed to 
the ground and drawing  the amentum     
tight preparatory to the throw3 ,b4 ,m4 
,vases1 ,e #bef2 ,j4  ,h4 ,s41 ,,xxvii1 
,pl4 ,,xix2 ,gardiner1 p4 #cdh1 fig4    

#ii2 ,hoppin1 ,euthymides  and his      
,fellows1 p4 #di1 ,pls4 ,,ix1 ,,xi2 id41
 ,hbk41 ,i1 pp4 #ddb-c1 no4  #ai4 ,for  
the various methods of attaching the    
amentum1 see collection  of drawings    
from vases in ,gardiner1 p4 #cda1 fig4  
#ib  ,j4 ,h4 ,s41  ,,xxvii1 p4 #bej1    
fig4 #a4    #aeic ,see ,j4 ,h4 ,s41     
,,xxvii1 pp4 #bfb f42 ,gardiner1 pp4    
#cej f4    #aeid ,e4 g41 on a r4-f4     
kylix in ,rome3 ,j4 ,h4 ,s41 ,,xxvii1 p4
 #bff1  fig4 #ad2 ,gardiner1 p4 #ced1   
fig4 #ajd2 ,juethner1 p4 #dh1 fig4 #dc4 
#aeie ,downwards in the r4-f4 amphora in
 the ,british ,museum1 mentioned  above1
 ,e #bef4    #aeif ,no4 #bffg 7,jahn1   
no4 #efb ,a72 ,j4 ,h4 ,s41 ,,xxvii1     
#aijg1 p4 #bfb1  fig4 #i2 ,gardiner1 p4 
#cdi1 fig4 #ajj2 ,juethner1 p4 #dg1 fig4
 #da2 ,hoppin1  ,hbk4 ,attic r4-f4      
,vases1 p4 #aih1 no4 #h4    #aeig ,e4   
g41 on a r4-f4 kylix in the ,torlonia   
collection3 ,j4 ,h4  ,s41 ,,xxvii1 p4   
#bfd1 fig4 #aa2 ,gardiner1 p4 #cea1 fig4
 #ajb2 ,juethner1 p4  #eh1 fig4 #di4    

#aeih ,e4 g41 badly done on the ,munich 
kylix mentioned1 no4 #bffg2  also on a  
r4-f4 kylix of ,panaitios from ,vulci in
 ,munich1 no4 #bfcg  7,jahn1 no4 #gie73 
,a4 ,z41 ,,xxxvi1 #ahgh1 p4 #ff1 ,pl4   
,,xi 7 ,reinach1 ,rp4  vases peints1 ,i1
 p4 #dbb1 #b72 ,j4 ,h4 ,s41 ,,xxvii1 p4 
#bfd1 fig4 #ab2  ,gardiner1 p4 #aje1    
fig4 #ag2 ,schreiber1 ,bilderatlas1 ,pl4
 ,,xxi1 #c2 ,baum41  ,i1 p4 #fac1 fig4  
#fgb2 ,hoppin1 ,hbk41 p4 #dbf1 no4 #ed2 
,dar4-,sagl41 ,,ii1 #b1  p4 #adeb1 fig4 
#cdgh2 ,,iv1 #b1 p4 #ajef1 fig4 #fjhf2  
on a r4-f4 amphora in  ,munich 7,jahn1  
no4 #djh73 ,j4 ,h4 ,s41 ,,xxvii1 p4     
#bfe1 fig4 #ac2 ,gardiner1  p4 #cec1    
fig4 #ajc2 ,furtwaengler-,reichhold1    
,griech4 ,vasenmalerei1 ,pl4  ,,xlv4    
#aeii ,p4 #dh4    #afjj ,see #bcstes    
,berl4 ,winckelmannsprogr4    #afja ,b4 
,b41 no4 #bgc2 ,bulle1 #dg1 and pp4     
#ig-ajb and fig4 #ah2 von ,mach1  #aac2 
,collignon1 ,i1 pp4 #dhh f4 and ,pl4    
,,xii2 ,rayet1 ,i1 ,pl4 #bi2 ,gardner1  
,sculpt41 ,pl4 ,,xxxiv2                 

,springer-,michaelis1 p4 #bgf1 fig4     
#dif2 ,f4 ,w41 #ejc4    #afjb ,polyklet 
u4 s4 ,schule1 #aijb4 ,for the          
,apollonios bust1 see ,b4  ,b41 no4     
#ccf2 ,f4 ,w41 #eje4 ,an almost         
identical bust--except for a wide       
fillet around the locks and             
shoulders--was found in the tablinum of 
the same villa 7,invent41 no4 #fafd74   
,many of these heads doubtless  come    
from busts or statues which decorated   
gymnasia and palstr4    #afjc           
,duetschke1 ,,iii1 no4 #ece 7#j4ha meter
 high74    #afjd ,f4 ,w41 #ejg2 cf4     
,rayet1 ,i1 text to ,pl4 #bi4    #afje  
,no4 #bic2 ,amelung1 ,museums and ,ruins
 of ,rome1 ,i1 pp4 #g f42  id41 ,vat41  
,i1 no4 #abf on p4 #aea and ,pl4 #ai2   
,helbig1 ,fuehrer1 ,i1  #de2 ,guide1 ,i1
 #eh2 ,reinach1 ,rp41 ,,ii1 #b1 #ede1   
#aj4 ,it is #b4aa meters  high          
7,amelung74 ,cf4 ,loewy1 ,lysipp und    
,seine ,stellung in der gr4  ,plastik1  
pp4 #e-g and #bc-d2 ,hauser1 ,jh4 oest4 
arch4 ,inst41 ,,xii1 #aiji1  pp4        

#ajd-ad4 ,for other replicas1 see       
,furtw41 ,mp41 pp4 #bbh f42 ,mw41  pp4  
#dba f4    #afjf ,mahler1 op4 cit41 p4  
#bi4    #afjg ,as we see from the       
careful copy on a ,berlin gem3 ,helbig1 
,fuehrer1 ,i1 p4 #ca1 fig4 #c2 ,guide1  
,i1 p4 #ce1 fig4 #d2 and on a  funerary 
relief in ,argos3 ,a4 ,m41 ,,iii1 #ahgh1
 pp4 #bhg f4 and ,pl4 ,,xiii            
7,furtwaengler72 ,b4 ,b41 #bgi;,a2      
,collignon1 ,i1 p4 #dia1 fig4 #bej2 ,f4 
,w41  #ejd2 cf4 ,annali1 ,,li1 #ahgi1 p4
 #bai 7,brunn72 ,mitchell1 ,hist4 ,anc4 
,sculpt41 #ahhc1 p4 #chf and fig4 #agf4 
#afjh ,the uno crure insistere of       
,pliny1 ,h4 ,n41 ,,xxxiv1 #ef4 ,here    
,pliny quotes ,varro to the effect that 
,polykleitos' statues were almost       
exactly after the same type 7paene ad   
unum exemplum74    #afji ,see ,mp41 pp4 
#bab f4 and figs4 #ij and #ia 7head1 two
 views72  ,mw41 pp4 #djc f41 and ,pls4  
,,xxiv1 ,,xxv4 ,for the statue1 see also
  ,furtw4-,wolters1 ,beschr4 d4         
,glypt4#b1 no4 #bie 7 god or athlete72  

,kekul1 ,jb41 ,,iii1 #ahhh1 p4 #cg and  
,pl4 #a 7 ,polykleitan and ,zeus72 ,b4  
,b41 #abb4    #afaj ,de instit4 ,orat41 
,v1 #ab4ba4    #afaa ,h4 ,n41 ,,xxxiv1  
#ah4    #afab ,a4 ,m41 ,,iii1 #ahgh1 p4 
#bib1 n4 #b4    #afac ,mp41 pp4 #afc and
 #bbh2 ,mw41 p4 #dbj4    #afad ,e4 g41  
that of ,ktesilaos 7 ,kresilas2 see     
below7 in ,h4 ,n41  ,,xxxiv1 #gf2 of    
,polykleitos1 ibid41 #ee1 and of        
,aristodemos1 ibid41 #hf4    #afae ,this
 torso is of ,pentelic marble1 like many
 of the later victor  statues at        
,olympia1 and is fleshier than the      
,naples and ,vatican copies3  ,bildw4 v4
 ,ol41 ,textbd41 p4 #bej and fig4 #bhd  
7back view72 ,tafelbd41  ,pl4 ,,lxii1   
,i2 ,furtw41 ,mp41 p4 #bbh1 ,mw41 p4    
#dbj4 ,it is in the ,museum  at         
,olympia4    #afaf ,the ,naples copy is 
#a4ii meters high2 see ,kalkmann1 ,die  
,proport4  des ,gesichts in d4 gr4      
,kunst1 #ecstes ,berl4                  
,winckelmannsprogr41 #ahic1  p4 #ec2 the
 ,olympia torso is #a4aj meters high for

 the preserved part  7,treu74    #afag  
,pro ,imag41 #aa4    #afah ,e4 g41 the  
statue of ,polydamas1 ,p41 ,,vi1 #e4a2  
the base of the  statue of ,kallias1    
,inschr4 v4 ,ol41 no4 #adf2 of ,eukles1 
ibid41 no4  #aei2 etc4    #afai         
,collignon1 ,i1 p4 #dij2 he believed    
that the original statue by             
,polykleitos stood in a ,gymnasion at   
,argos4    #afbj ,cf4 infra1 ,ch4       
,,viii1 p4 #cdb and n4 #b4    #afba     
,richter1 ,greek1 ,etruscan1 and ,roman 
,bronzes1 nos4 #hg 7pp4 #ef  f41 and    
fig41 showing front and back1 on p4 #eg2
 cf4 ,cat4 ,class4  ,coll41 p4 #aad1    
fig4 #gb2 it is from ,cyprus71 and #hh  
7fig4 on p4 #eh2  ,mus4 ,bull41 ,dec41  
#aiac1 p4 #bgj1 ,richter74 ,no4 #hg is  
#f4be inches tall2  #hh is #e4ef inches4
    #afbb ,mp41 pp4 #bgi f4             
,furtwaengler wrongly ascribed the      
statue of  ,xenokles to the elder       
,polykleitos4    #afbc ,see the fine    
drawings of these and other groups from 
tomb no4  #ag 7of ,khety7 in            

,champollion1 ,monuments de l'gypte et  
de la ,nubie1  #ahde1 ,,iv1 ,pls4       
,,ccclxxii-,,ccclxxviii2 ,pl4           
,,ccclxxiii1 #c  ,perrot-,chipiez1  ,i1 
p4 #gic1 fig4 #eba2 ,,ccclxxiv1 #d      
ibid41 p4 #gib1 fig4 #ebj4  ,another    
scene from the tomb of ,nevothph is     
pictured in ,champollion1  ,pl4         
,,ccclxiv1 ,i4 ,see also ,arch4 ,survey 
of ,egypt1 ,beni ,hasan1 ,pt4  ,,ii1    
#ahid1 ,pl4 ,,xv2 cf4 a poor            
reproduction of several scenes in       
,springer-,michaelis1 p4 #bg1 fig4 #fh4 
#afbd ,de ,leg41 ,,vii1 #gif ,a1 ,b1 ,c4
    #afbe ,philostr41 ,imag41 ,,ii1 #cb 
7p4 #heg71 ascribes its origin to       
,hermes' daughter ,palaistra2           
,apollodoros1 ,,ii1 #d4i1 says that the 
same  god's son ,autolykos was the      
teacher of ,herakles4 ,pausanias1 ,i1   
#ci4c1  says that the systematic        
instruction in the art began with       
,theseus4  ,eustathius1 schol4 on ,il41 
,,xxiii1 p4 #acbg1 says that ,kerkyon   
discovered it4 ,in a scholion on        

,pindar1 ,nem41 ,v1 #di1 ,boeckh1 p4    
#dfe1  ,pherekydes and ,polemon are     
quoted as saying that ,theseus'         
charioteer  ,phorbas invented the art1  
and ,istros is quoted as saying that    
,athena  taught ,theseus4 ,at ,olympia  
,herakles was a victor in wrestling3    
,p41 ,v1  #h4d4    #afbf ,ajax          
7,telamon7 and ,odysseus contended in a 
wrestling bout  which ended in a draw3  
,il41 ,,xxiii1 #gaj-gcd2 in line #gja1  
and in ,od41  ,,viii1 #abf1 it is called
  2 it appears among the  ,phaiakians in
 ,od41 ,,viii1 #ajc1 #bdf4 ,it was      
pictured along with boxing on  the      
shield of ,herakles by ,hesiod3 ,scut41 
#cjb 7 74    #afbg ,p41 ,v1 #h4g2 ,ph41 
#ab4    #afbh ,p41 ,v1 #h4i4    #afbi   
,on rules and representations of        
wrestling in literature and  art1 see   
especially ,e4 ,n4 ,gardiner1 ,j4 ,h4   
,s41 ,,xxv1 #aije1 pp4 #ad-ca2  pp4     
#bfc-bic1 and ,pls4 ,,xi and ,,xii2 id41
 ,greek ,athl4 ,sports1 ,ch4  ,,xviii1  
pp4 #cgb-dja2 cf4 ,krause1 ,i1 pp4 #djj 

f2 ,grasberger1 ,erziehung  u4          
,unterricht1 ,i1 pp4 #cde f4 ,an        
excellent account of a wrestling  match 
is found in the oldest ,greek prose     
romance1 the ,aethiopica of             
,heliodoros1 ,x1 #ca f42 cf4 also the   
fine account of a bout between          
,diomedes and ,aias in ,quintus         
,smyrnus3 ,,iv1 #bae f42 etc4    #afcj  
,grenfell and ,hunt1 ,oxy4 ,pap41 ,,iii1
 #dff2 discussed by ,juethner1  with    
part of the text and translation1 in his
 edition of the de ,arte  gymn4 of      
,philostratos1 p4 #bf4 ,on the method of
 selecting antagonists  at ,olympia1 the
 number engaged1 byes1 etc41 see        
,gardiner1 pp4 #cgd-e4    #afca ,for    
coins in the ,british ,museum1 see      
,gardiner1 p4 #cgc1 fig4  #aji1 a1 b1 c 
7from ,aspendos1 of the fifth and fourth
 centuries ,b4 ,c471  d 7from ,herakleia
 in ,lucania1 of the fourth71 e1 f 7from
 ,syracuse1 of  about #djj ,b4 ,c471 g  
7from ,alexandria of the time of        
,antoninus ,pius72  see also id41 ,j4   

,h4 ,s41 ,,xxv1 p4 #bga1 fig4 #i4       
#afcb ,see especially1 ,gardiner1 ll4   
cc4    #afcc ,described by ,lucian1     
,anach41 #bd4    #afcd ,described by    
,quintus ,smyrnus1 ,,iv1 #bae f4 and    
,nonnos1 ,,xxxvii1  #eec f42 discussed  
in ,j4 ,h4 ,s41 ,,xxv1 pp4 #be f4       
#afce ,no4 #baei2 ,a4 ,j4 ,a41 ,,xi1    
#ahif1 p4 #aa1 fig4 #i2 ,j4 ,h4 ,s41    
,,xxv1  p4 #bgj1 fig4 #h2 ,gardiner1 p4 
#chf1 fig4 #aaf2                        
,furtwaengler-,reichhold1  ,die griech4 
,vasenmalerei1 ,,iii1 pp4 #gc f41 and   
,pl4 ,,cxxxiii2 ,gerhard1  ,trinkschalen
 und ,gefaesse des k4 ,museums zu       
,berlin und anderer  ,sammlungen1       
#ahdh-ej1 ,pls4 ,,xix1 ,,xx2 ,overbeck1 
,griech4 ,kunstmythol41  ,,iii1         
,apollon1 p4 #djj1 n4 #a and ,pl4       
,,xxiv1 #b2 ,w4 ,klein1 ,die griech4    
,vasen mit ,meistersignaturen#b1 #ahhf1 
no4 #d2 ,hoppin1 ,hbk4 ,attic r4-f4     
,vases1 ,i1 p4 #cb1 ,pl4 on p4 #cc4     
#afcf ,no4 #bddd2 ,trans4 ,univ4 ,penn4 
,mus41 ,,ii1 #aijf-aijg1 ,pl4 ,,xxxv1   

a1 and pp4 #adj f4 7,w4 ,n4 ,bates72 ,j4
 ,d4 ,beazley1 ,attic r4-f4 ,vases  in  
,amer4 ,museums1 #aiah1 p4 #aaa 7,lysis1
 ,laches1 and ,lykos group72  ,gardiner1
 p4 #cib1 fig4 #abb4    #afcg ,invent41 
#efbf-efbg2 ,b4 ,b41 #ced2 ,comparetti e
 de ,petra1 ,la  ,villa ,ercolanese dei 
,pisoni1 #ahhc1 ,pl4 ,,xv1 #b and #c2   
,bulle1 #ia2  ,gardiner1 p4 #cgh1 fig4  
#aaj 7 one statue72 von ,mach1 #bhi2    
,reinach1  ,rp41 ,,ii1 #b1 #eda 7 one   
statue72 etc4 ,they appear to be boys of
 about  sixteen1 and consequently may   
represent contestants in the  4  ,the   
statues are #a4ah meters high 7,bulle74 
,the advanced foot in no4 #efbf  is     
wrongly restored4    #afch ,kalkmann1   
,jb41 ,x1 #ahie1 p4 #fd1 n4 #di         
7dolichodromoi74    #afci ,cf4          
,gardiner1 p4 #chb4    #afdj ,jb41 ,,iv1
 #ahhi1 pp4 #aaf1 n4 #h2 cf4 ,benndorf1 
,jh4 oest4 arch4  ,inst41 ,,iv1 #aija1  
pp4 #agb-c and n4 #ab4 ,mahler wrongly  
thought that the  heads were different3 
,polyklet u4 s4 ,schule1 p4 #ah2 he     

assigned one  to the fifth century ,b4  
,c41 the other to the influence of      
,praxiteles4  ,benndorf believed the two
 figures to be copies of one statue1    
later  used to make a group4    #afda   
,bulle1 no1 #ij2 in the ,landesmuseum of
 ,darmstadt3 see ,adamy1  ,archaeol4    
,samml4 des grossherz4 ,hess4 ,museums1 
#ahig1 p4 #ba1 no4 #ai4  ,the figures   
are only #j4jge meter high4    #afdb    
,bulle1 p4 #agi1 fig4 #dj2 ,reinach1    
,rp41 ,,iv1 #cah1 #b2 for other  similar
 ones1 cf4 ibid41 ,,ii1 #b1 #eci1 #b    
7cover of a cista from  ,praeneste71 #e 
7in the ,louvre71 #f 7in ,vienna  ,e4   
von ,sacken1 ,die ant4  ,bronz4 d4 k4 k4
 ,muenz-und ,ant4-,cabinetes in ,wien1  
#ahga1 ,pl4 ,,xlv1 #g71  and ,,iii1     
#aee1 #c 7in ,forman ,collection1       
,london74    #afdc ,richter1 ,greek1    
,etruscan1 and ,roman ,bronzes1 no4 #abd
 and fig4  on p4 #gi2 it is #d4e inches 
high4    #afdd ,e4 g41 ,walters1 ,b4 ,m4
 ,bronzes1 no4 #fci2 ,mon4 d4 ,i41 ,x1  
#ahgg1 ,pl4 ,,xlv1 #a a42 ,babelon et   

,blanchet1 ,cat4 des bronzes antiques de
  la ,bibl4 ,nationale1 #ahie1 no4 #ice4
    #afde 1 ,,ii1 ,plates4    #afdf     
,gardiner1 p4 #cie1 fig4 #abf2 ,j4 ,h4  
,s41 ,,xxv1 p4 #bhf1 fig4 #bc2          
,gardner1 ,hbk41 p4 #cbh1 fig4 #ha4     
#afdg ,gardiner1 p4 #cif1 fig4 #abg2    
,clarac1 #hjb1 #bjad4    #afdh ,j4      
,sieveking1 ,die ,bronzen der ,samml4   
,loeb1 #aiac1 pp4 #eb-d and  ,pl4 ,,xxi2
 it is #j4afe meter high4 ,others there 
listed include one in  the ,british     
,museum3 ,j4 ,h4 ,s41 ,,xxv1 #aije1 ,pl4
 ,,xi1 b 7front and back71  and text on 
p4 #bhh2 ,gardiner p4 #cih1 fig4 #abi2  
another from ,vienne  in ,bonn2 two in  
,paris1 in the de ,clercq and ,warrocqu 
collections  respectively2 and a fifth1 
whose location is unknown4 ,all are of  
rough  ,roman workmanship1 either of the
 second or first centuries ,b4 ,c4      
#afdi ,see ,petersen in ,r4 ,m41 ,,xv1  
#aijj1 pp4 #aeh f42 ,klein1 ,,iii1 pp4  
#cji f42 ,sieveking1 op4 cit41 p4 #ec1  
n4 #a4 ,the copies are in ,florence     

7,galleria di ,firenze1 ,,iii1 ,pl4     
#abc1 #b2 ,reinach1 ,rp41 ,,ii1 #b1     
#ech1  #e72 in ,st4 ,petersburg         
7,comptes rendus de la comm4 impr4      
archol41  ,st4 ,petersburg1 #ahfg1 ,pl4 
,i1 pp4 #e f41 text by ,stephani2 ,j4   
,h4 ,s41  ,,xxv1 #aije1 p4 #bij1 fig4   
#be2 ,gardiner1 p4 #cii1 fig4 #acj2     
,reinach1  ,rp41 ,,ii1 #b1 #ech1 #a and 
#c72 in ,constantinople1 from ,antioch  
7,jb41  ,,xiii1 #ahih1 ,pl4 ,,xi and pp4
 #agg f41 ,foerster2 ,rev4 arch41       
,,xxxv1 #ahii1  ,pl4 ,,xviii1 pp4 #bjg  
f41 ,joubin2 ,j4 ,h4 ,s41 #aije1 p4     
#bia1 fig4 #bf2  ,gardiner1 p4 #djj1    
fig4 #aca72 in the ,louvre1 from ,egypt 
7no4 #cfa2 ,jb41  ,,xvi1 #aija1 fig4 on 
p4 #ea2 ,reinach1 ,rp41 ,,ii1 #a1 #bcd1 
#b72 and in the  ,british ,museum 7,b4  
,m4 ,bronzes1 #hec and ,pl4 ,,xxvii1    
middle one below74  ,in the ,st4        
,petersburg copy the arms of the victor 
are changed around4    #afej ,duetschke1
 ,,iii1 #edg2 ,bulle1 #ahd2 von ,mach1  
#bhh2 ,f4 ,w41 #adbf2  ,reinach1 ,rp41  

,i1 #ebc1 #a4    #afea ,helbig1         
,fuehrer1 ,,ii1 #achb 7 ,attic72 ,jb41  
,,xxv1 #aiaj1 ,pl4  ,,vii1 and pp4 #aga 
f4 7,bieber  ,euphranor72 cf4 ,r4 ,m41  
,,vi1 #ahia1 p4  #cjd1 n4 #b 7,petersen 
,skopaic72 ,furtw41 ,mw41 p4 #eae1 n4 #d
 7 ,skopaic74    #afeb ,h4 ,n41 ,,xxxiv1
 #hj4    #afec ,h4 ,n41 ,,xxxv1 #ga2 so 
,reisch1 p4 #de1 n4 #e4 ,see supra1 p4  
#bjf4    #afed ,h4 ,n41 ,,xxxv1 #acj4   
,it was probably votive in character4   
#afee ,ol4 #ada 7 #baf ,b4 ,c473 ,p41   
,,vi1 #af4i2 ,hyde1 #afg2 ,foerster1    
#dga2  ,inschr4 v4 ,ol41 #agi4    #afef 
,inschr4 v4 ,ol41 #afd2 drawing of the  
base also in ,furtw41  ,mp41 p4 #bgi1   
fig4 #aah2 ,mw41 p4 #dia1 fig4 #he4 ,the
 inscription dates  from the end of the 
fifth or beginning of the fourth century
 ,b4 ,c41  which shows that the statue  
was the work of the younger             
,polykleitos4  ,xenokles won sometime   
between ,ols4 787 #id and #ajj 7 #djd   
and #chj ,b4  ,c473 ,p41 ,,vi1#i4b2     
,hyde1 #he and p4 #da2 ,foerster1 #cjh4 

#afeg ,pp4 #de-f2 he won in ,ol4 #hc 7  
#ddh ,b4 ,c473 ,oxy4 ,pap42 ,p41 ,,vi1  
#i4c2 ,hyde1 #hh2 ,foerster1 #bhe4      
#afeh ,cf4 ,lucretius1 ,v1 #abhb3 arma  
antiqua manus ungues dentesque  fuerunt2
 ,hor41 ,sat41 ,i1 #c4aja2 etc4    #afei
 ,between ,epeios and ,euryalos1 ,il41  
,,xxiii1 #fec f42 ,odysseus and  ,iros1 
,od41 ,,xviii1 #a f42 cf4 the match     
between ,entellus and ,dares in         
,virgil1 ,aen41 ,v1 #cfb f42 ,polydeukes
 and ,amykos in ,theokr41 ,,xxii1  #hj  
f42 and in ,apollon4 ,rhod41 ,argon41   
,,ii1 #fg f4 ,for the ,homeric  and     
,virgilian matches1 see ,fencing1       
,boxing1 and ,wrestling1 #ahhi          
7,badminton ,library71 pp4 #abe f4      
#affj ,il41 ,,xxiii1 #fec2 he uses the  
same epithet of wrestling1 ibid41  #gja1
 and ,od41 ,,viii1 #abf4 ,eustath4 ad   
,il41 ,,xxiii1 p4 #acbb1 speaks of  the 
4    #affa  3 frag4 #ai1 l4 #d 7        
,philos4 ,fragm41 ed4  ,didot1 ,i1 p4   
#ajd  ,athen41 ,x1 #f1 p4 #dad;a74      
,apollon4 ,rhod4 calls it   1 ,,ii1     

#gf-g4 ,the parts injured were          
especially the nose1  ears1 cheeks1     
chin1 and teeth2 cf4 ,krause1 p4 #eaf   
and n4 #ah4    #affb ,see ,orsi1 ,museo 
,ital4 di antich4 class41 ,,ii1 ,pl4 ,v1
 p4 #hjh2  cf4 ,juethner1 pp4 #fe-f1 and
 ,frothingham1 ,a4 ,j4 ,a41 ,,iv1 #ahhh1
 ,p4 #ddd4    #affc ,see ,krause1 pp4   
#dig f4 ,ph41 #i1 says that it was an   
invention of  the ,spartans and was     
first used among the ,bebrykes4    #affd
 ,p41 ,v1 #g4aj2 cf4 ,plut41 ,quaest4   
conviv41 ,,viii1 #d4d 7which  speaks of 
victories of ,apollo in boxing74        
#affe ,p41 ,v1 #h4d4    #afff ,,xxiii1  
#ffj4    #affg ,plut41 l4 c4    #affh   
,the schol4 on ,pindar1 ,nem41 ,v1 #hi1 
,boeckh1 p4 #dfe1 says that  ,theseus   
instituted the art of boxing4    #affi  
,p41 ,v1 #h4 #g2 ,afr41 s4 v4           
,onomastos2 ,ph41 #ab2 ,homeric ,hymn to
  ,apollo1 #adi2 cf4 ,foerster1 #bh4    
,the date is also given by ,ph41 l4 c4  
#afgj ,p41 ,v4 #h4 #i2 ,ph41 #ac4       
#afga ,see ,k4 ,t4 ,frost1 ,j4 ,h4 ,s41 

,,xxvi1 #aijf1 pp4 #bac;f2 ,gardiner1   
,ch4  ,,xix1 pp4 #djb f42 ,krause1 pp4  
#dig f4    #afgb ,see ,krause1 ,i1 pp4  
#ejb f42 ,juethner1 pp4 #fe f42         
,gardiner1 pp4  #djc f4    #afgc ,mosso1
 ,the ,palaces of ,crete1 #aijg1 p4     
#cci1 and fig4 #afj on p4  #cda4 ,orsi1 
l4 c41 believes the object over the     
fists in the bronze  shield fragment    
from ,mount ,ida to be part of a glove1 
though ,juethner  rejects this view1    
interpreting it merely as an ornament4  
#afgd ,schol4 on ,plato1 de ,leg41      
,,viii1 #gif ,a2 ,clem4 ,alexandr41     
,strom41 ,i1 #af4gf4    #afge    3 ,il41
 ,,xxiii1 #fhd4 ,in the  ,odyssey ,iros 
and ,odysseus fight with bare fists4    
#afgf ,e4 g41 ,p41 ,,vi1 #bc4d and      
,,viii1 #dj4 #c2 ,apoll4 ,rhod41        
,argon41  ,,ii1 #eb-ec2 cf4 ,plato1 de  
,leg41 ,,viii1 #hcj ,b4    #afgg ,e4 g41
 on a r4-f4 kylix in the ,british       
,museum3 ,b4 ,m4 ,vases1  ,e #fc1 and   
,pl4 ,,iii2 ,juethner1 p4 #fh1 fig4 #ed2
 ,gardiner1 p4 #djc1 fig4  #acb2 it     

represents boxers with bundles of thongs
 in their hands  standing before an     
official4    #afgh ,b4 ,m4 ,vases1 ,e   
#ci2 ,j4 ,h4 ,s41 ,,xxvi1 ,pl4 ,,xii2   
,gardiner1 p4  #djd1 fig4 #acc2         
,juethner1 p4 #ff1 fig4 #ec2 ,hoppin1   
,hbk4 ,attic r4-f4  ,vases1 p4 #bcg1    
,pl4 ,on the interior of another a youth
 is seen1 thongs  in hand1 standing     
before an altar3 ,murray1 ,designs from 
,gk4 ,vases in  the ,british ,museum1   
,pl4 ,,vi1 #bd4    #afgi ,museum no4    
#bddd2 ,trans4 ,univ4 ,penn4 ,mus41     
,,ii1 #aijf-aijg1 ,pl4  ,,xxxv1 b4 and  
p4 #adb 7text by ,w4 ,n4 ,bates74       
#afhj ,,ix1 #aaf4 ,a similar game is    
mentioned by ,plato1 ,theaet41 ,,xxvii  
7 #aha ,a74 ,on both games1 see ,krause1
 pp4 #cbc f4    #afha ,juethner1 pp4 #fi
 f41 rightly explains such objects as   
boxing  thongs4    #afhb ,ch4 #aj2 cf4  
,p41 ,,viii1 #dj4c4    #afhc ,e4 g41 on 
the kylix just mentioned1 ,e #ci2 on a  
r4-f4 amphora  in ,munich 7,jahn1 no4   
#daa;,b73 ,hartwig1 ,die griech4        

,meisterschalen1 p4  #daj4 fig4 #ee2 on 
the interior of a r4-f4 kylix in        
,munich1 no4 #aaef3  ,juethner1 p4 #gj1 
fig4 #ef2 and on the interior of the    
r4-f4 kylix in  the ,british ,museum to 
be discussed1 ,e #gh 7 ,fig4 #ee73      
,murray1 ,designs  from ,gr4 ,vases in  
the ,b4 ,m41 ,pl4 ,,xiv1 #ee2 ,juethner1
 p4 #gb1 fig4 #eh2  ,gardiner1 p4 #djf1 
fig4 #acd2 on a r4-f4 amphora in the    
,hofmuseum in  ,vienna by ,epiktetos we 
see 7figure at the left7 a boxer who is 
just  finishing tying the thongs on his 
left hand and wrist3 ,dar-,sagl41 ,,iv1 
#a1 p4 #gee1 fig4 #ehed2 ,schneider1    
,arch4-epigr4 ,mitt4 aus ,oesterr41 ,v1 
#ahha1 pp4 #aci f41 and ,pl4 ,,iv2      
,hoppin1 ,hbk4 ,attic r4-f4 ,vases1 p4  
#ccd1  no4 #be1 and ,pl4 on p4 #cce4    
#afhd ,tafelbd41 ,pl4 ,v1 no4 #d2       
,textbd41 p4 #ce4    #afhe ,p41 ,,viii1 
#dj4e2 cf4 ,,ii1 #bj4 #a4    #afhf      
,,viii1 #dj4c4 ,cf4 the statues of      
,damoxenos and ,kreugas by ,canova  in  
the ,gabinetto di ,canova of the        

,vatican1 to see in how exaggerated a   
way a modern sculptor has interpreted   
the boxing bout of these famous         
athletes3 ,helbig1 ,fuehrer1 ,i1 nos4   
#acf1 #acg2 ,guide1 #aci1 #adj2         
,pistolesi1 ,il ,vaticano ,descritto1   
,,iv1 #ia4    #afhg ,de ,leg41 ,,viii1  
#hcj ,b2 ,plut41 de ,profectibus in     
virtute1 ,,ix  7#hj ,b72 ,pollux1 ,,iii1
 #aej2 ,bekker1 ,anecd4 gr41 #ahad-ahba1
 ,i1 ,p4 #fb1 l4  #be4    #afhh ,e4 g41 
on an amphora in the ,british ,museum3  
,b4 ,m4 ,vases1  ,b #fjg2 ,mon4 d4 ,i41 
,x1 #ahgd-gh1 ,pl4 ,,xlviii1 e #b2      
,gardiner1 p4 #djg1  fig4 #ace2         
,juethner1 p4 #hc1 fig4 #fg2 on the     
,ficoroni ,cista in the ,museo          
,kircheriano1 ,rome3 ,helbig1 ,fuehrer1 
,,ii1 #ageb2 ,guide1 #dcg2 ,juethner1   
p4 #hb1 fig4 #ff1 a1 c4 ,on this cista1 
see ,f4 ,behn1 ,die ficoronische        
,cista1 ,arch4 ,studie1 #aijg2 ,o4      
,jahn1 ,die ficoronische ,cista1 #aheb2 
etc4    #afhi ,late writers generally   
use the terms  and    interchangeably4  

#afij ,e4 g41  in ,plut41 ,praecept4    
ger4 resp41 #cb 7 #hbe  e74    #afia    
,juethner1 p4 #gh1 fig4 #fc2 ,gardiner1 
p4 #dji1 fig4 #acg4 ,for this  and the  
delle ,terme glove1 see ,huelsen1 ,r4   
,m41 ,,iv1 #ahhi1 pp4 #age f4    #afib  
,juethner1 p4 #gi1 fig4 #ed42 ,antichi  
di ,ercolano1 ,bronzi1 ,,ii1  pp4 #daa  
f4    #afic ,in the ,museo ,civico      
there2 mentioned by ,juethner1 p4 #gh4  
#afid ,helbig1 ,fuehrer1 ,,ii1 #aade2   
,guide1 #fbe2 ,baum41 ,i1 p4 #ebd1  fig4
 #eff2 ,juethner1 p4 #he1 fig4 #fh4     
#afie ,the word 1 ,a4 ,g41 ,,xi1 #gh1   
may be merely a comic  name for the     
gloves--certain protuberances 78metal   
studs0 or 8nails0   ,liddell and ,scott1
 s4 v4 looking like warts 772 cf4       
,pollux1 ,,iii1 #aej4    #afif ,aen41   
,v1 #djd-e2 #dfh-ga4    #afig ,b4 ,m4   
,vases1 ,e #ci2 ,j4 ,h4 ,s41 ,,xxvi1    
#aijf1 ,pl4 ,,xii4    #afih ,b4 ,m4     
,vases1 ,e #gh2 ,j4 ,h4 ,s41 ,,xxvi1    
,pl4 ,,xiii2 ,gardiner1 p4  #dcf1 fig4  
#aea4    #afii ,mus4 ,journ41 ,,vi1 no4 

#d 7,dec41 #aiae71 p4 #afi1 fig4 #hi2   
text by  ,dr4 ,s4 ,b4 ,luce1 who        
believes this class of vases to be a    
prototype of  the 8,nolan0 vases2       
another 8,nolan0 amphora is given1      
ibid41 fig4 #ij  7also published in ,a4 
,j4 ,a41 ,,xx1 #aiaf1 p4 #ddj1 fig4 #d71
 which shows a  diskobolos1 who is      
holding a diskos in a way similar to    
that on a r4-f4  kelebe in the ,british 
,museum 7,b4 ,m4 ,vases1 ,b #cfa2       
,gardiner1 p4 #cbd1  fig4 #gg74 ,on the 
division of ,attic b4-f4 amphor into    
8panel-amphor0  and 8red-bodied amphor10
 see ,h4 ,b4 ,walters1 ,hist4 ,anc4     
,pottery1  ,greek1 ,etruscan1 and       
,roman1 #aije1 ,i1 pp4 #afj-fb4    #agjj
 ,inschr4 v4 ,ol41 #adi4    #agja       
,inschr4 v4 ,ol41 #aee 7renewed72 the   
date of the victory is  given by ,p41   
,,vi1 #g4h2 ,hyde1 #fe2 ,foerster1 #bfc4
    #agjb ,inschr4 v4 ,ol41 #adg1 #adh4 
,the statue stood equally on both  feet1
 the left being slightly advanced4 ,he  
won in ,ol4 #gg 7 #dgb ,b4  ,c473 ,oxy4 

,pap42 ,p41 ,,vi1 #aj4i2 ,hyde1 #ajb2   
,foerster1 #bcg4    #agjc ,inschr4 v4   
,ol41 #afe 7renewed72 base drawn in     
outline in  ,furtw41 ,mp41 p4 #bhh1 fig4
 #abc2 ,mw41 p4 #ejc1 fig4 #ij4 ,he won 
in ,ol4  #hb 7 #deb ,b4 ,c473 ,oxy4     
,pap42 ,p41 ,,vi1 #ac4f2 ,hyde1 #aae2   
,foerster1 #cgf4  ,here the body weight 
rested upon the left foot1 the right    
being flat  on the ground and turned to 
one side1 i4 e41 in the old scheme of   
,hageladas and his school4    #agjd     
,inschr4 v4 ,ol41 #aei 7renewed72 ,i4   
,g4 ,b41 #hf4 ,this statue  was in the  
same attitude as that of ,aristion and  
was slightly over  life-size4 ,he won   
some time between ,ols4 787 #ij and #ic 
7 #dbj and #djh  ,b4 ,c473 ,p41 ,,vi1   
#f4b2 ,hyde1 #eb2 ,foerster1 #big4      
#agje ,michaelis1 p4 #ddf1 no4 #ce2     
,clarac ,v1 #idf1 #bdcf ,a 7wrongly     
,antinous74 ,see ,furtw41 ,mp41 pp4 #bhh
 f4 7and fig4 #abd72 ,mw41 pp4 #ejc  f4 
7and fig4 #ia74 ,height #a4ge meters    
7,michaelis74    #agjf ,furtw41 ,mp41 p4

 #bdf1 fig4 #ii2 ,mw41 p4 #ddg1 fig4    
#fi2 a  headless copy in ,lansdowne     
,house3 ,michaelis1 p4 #dch1 #c2        
,clarac1 ,v1 #hea1  #bahj ,a4 ,here the 
present head is of different marble from
 the torso and  does not belong to it2  
the body forms recall those of the      
,doryphoros4  ,it is #a4di meters high4 
#agjg ,not4 ,scav41 #ahhh1 pp4 #bhi f4  
7,barracco72 ,atti dell' ,accad4  di    
,napoli1 #ahhi1 pp4 #ce f4 7,sogliano72 
,r4 ,m41 ,,iv1 #ahhi1 pp4 #agi f4       
7,huelsen72 ,kalkmann1 ,die ,proport4 d4
 ,gesichts in d4 gr4 ,kunst1 #ecstes    
,berl4 ,winckelmannsprogr41 #ahic1 ,pl4 
,,iii 7profile and front views71 and    
fig4 on p4 #fh 7head72 ,b4 ,b41 no4 #fad
 7statue71 #fae 7head1 two views72      
,juethner1 p4 #hd2 etc4    #agjh        
,furtwaengler 7,statuenkopien im        
,altertum7 and ,sogliano 7l4  c47 date  
the statue in the period of ,augustus4  
#agji ,b4 ,b41 no4 #fac2 ,kalkmann1 ,die
 ,prop4 des ,gesichts1 ,pls4 ,i         
7statue7 and ,,ii 7head1 two views74    

#agaj ,b4 ,b41 nos4 #acb1 #acd-e2 ,f4   
,w41 #dfb4    #agaa ,pl41 ,h4 ,n41      
,,xxxiv1 #ej and #gi4 ,for this view1   
see text to ,b4  ,b41 no4 #fad4         
,furtwaengler had suggested ,lykios as  
the sculptor of the  ,oil-pourer3 ,mp41 
p4 #bei4    #agab ,though winning in    
,ol4 #fe 7 #ebj ,b4 ,c471 his statue was
 set  up later by his son3 ,p41 ,,vi1   
#aj4a-c2 ,hyde1 #ic and p4 #db2         
,foerster1  #acg4 ,the word  7lit4 8to  
fight in the shade10 and hence to       
practice in the gymnasium7 is used      
synonymously with  in the  sense 8to    
spar30 ,plato1 de ,leg41 ,,viii1 #hcj   
,c2 ,p41 ,,vi1 #aj4c2 ,pollux1  ,,iii1  
#aej2 etc4 ,cf4 ,paul's phrase in ,i    
,corinthians1 #i1 #bf4 ,a derived       
meaning is 8to fight with a shadow03 e4 
g41 ,plato1 ,apol41 #ah ,d2  etc4 ,dio  
,chrysostom1 ,or41 ,,xxxii 7#cfg ,m71   
speaks of  as  gymnasium practisers4    
,see ,krause1 pp4 #eaj f4    #agac ,the 
was such a bag used by athletes3 cf4 the
  proverb1   1 8to labor in vain03      

,diog41 #g1 #ed4  ,the ,ficoroni cista  
has been mentioned supra1 p4 #bcg1 n4   
#d4 ,the  description and use of the bag
 are given by ,ph41 #eg4    #agad       
,helbig1 ,fuehrer1 ,i1 #gjd2 ,guide1    
,,ii1 #bjg4    #agae ,amelung1 ,vat41   
,i1 #cgb ,b1 pp4 #eed-e and ,pl4        
,,lviii2 ,clarac1 #hhc1  #bbef4 ,it is  
#j4ece meter high4    #agaf ,beschr41   
no4 #dfi2 ,overbeck1 ,griech4           
,kunstmyth41 ,,iii1  ,apollon1 pp4 #bah 
f4 and fig4 #ad 7restored71 interpreted 
the torso as  that of an ,apollo2 but   
the ,phrygian coin there pictured       
7,muenztafel1  ,,iv1 #ca71 of the time  
of ,lucius ,verus1 may merely show that 
the motive  later was transferred to the
 god4    #agag ,bronzen v4 ,ol41        
,textbd41 pp4 #ba-b2 ,tafelbd41 ,pl4    
,,viii1 no4 #eg4  ,it is only #j4aab    
meter high4    #agah ,e4 g41 ,bronzen v4
 ,ol41 ,pl4 ,,viii1 nos4 #ea-ed         
7statuettes72  ,pl4 ,,vi1 nos4 #ei and  
#fc 7arm and right lower leg            
respectively72 cf4  ,reisch1 p4 #ci4    

#agai ,j4 ,h4 ,s41 ,i1 #ahhj1 p4 #aii4  
,see ,b4 ,b41 no4 #ea2 ,f4 ,w41 #hi2    
etc4  ,theagenes won in ,ols4 #ge1 #gf 7
 #dhj1 #dgf ,b4 ,c473 ,oxy4 ,pap42 ,p41 
,,vi1  #aa4b f42 ,hyde1 #ajd2 ,foerster1
 #aia1 #aif4    #agbj ,inschr4 v4 ,ol41 
#afh4 ,he won some time between ,ols4   
787 #ii and  #ajc 7 #chd and #cfh ,b4   
,c473 ,p41 ,,vi1 #d4a2 ,hyde1 #cf2      
,foerster1 #dai4    #agba ,inschr4 v4   
,ol41 #aeh2 ,i4 ,g4 ,b41 #ih2 he won    
some time between  ,ols4 787 #ie and    
#ajj 7 #djj and #chj ,b4 ,c473 ,p41     
,,vi1 #f4c2 ,hyde1 #ed2  ,foerster1     
#cai4    #agbb ,inschr4 v4 ,ol41 #ahf2  
,i4 ,g4 ,b41 #agf4 ,he won two victories
  in boxing some time between ,ols4 787 
#add and #adg 7 #bjd and #aib1 ,b4      
,c473 ,p41 ,,vi1 #ae4f2 ,hyde1 #adg2    
,foerster1 #eaj1 #eab 7who dates the    
artist  toward the middle of the second 
century ,b4 ,c42 but ,i have followed   
the  earlier dating of ,hiller von      
,gaertringen1 ,woch4 f4 kl4 ,philol41   
,x1  #ahic1 p4 #hef1 which date has been

 accepted by ,dittenberger74    #agbc   
,inschr4 v4 ,ol41 #agd4    #agbd ,,vi41 
#h4e4    #agbe ,see ,hyde1 de olymp4    
,stat41 pp4 #ci-da4 ,there ,ol4 #hj or  
#hd 7  #dfj or #ddd ,b4 ,c47 has been   
suggested for the original victory4     
#agbf ,philippos won some time between  
,ols4 787 #aai and #abe 7 #cjd and  #bhj
 ,b4 ,c473 ,hyde1 #gi a4    #agbg       
,hitz4-,bluemn41 ,,ii1 #b1 p4 #ege1 in  
discussing my solution of the           
difficulty1 call it 8sinnreich1 aber    
doch ungemein kompliziert10 and  the    
assumption that a victor would use an   
older statue of a fellow  countryman to 
celebrate his own victory 8sehr         
bedenklich40    #agbh ,cf4              
,dittenberger1 ,inschr4 v4 ,ol41 p4     
#bif4    #agbi ,op4 cit41 p4 #da4 ,see  
also supra1 p4 #ahh4    #agcj ,mon4 d4  
,i41 ,x1 #ahgd-gh1 ,pl4 ,,ii 7head1 two 
views72 ,annali1  ,,xlvi1 #ahgd1 ,pl4 ,l
 and pp4 #ea f4 7,brizio72 ,photo4      
,giraudon1 no4 #abjg4    #agca          
,furtwaengler sees in this statue a work

 by ,pythagoras3 ,mp41 p4  #aga f42     
,mw41 pp4 #cde f42 ,brizio1 l4 c41      
ascribes it to ,hageladas4    #agcb     
,supra1 pp4 #ahj-a4    #agcc ,on the    
pankration1 see ,gardiner1 ,ch4 ,,xx1   
pp4 #dce f42 id41 ,j4  ,h4 ,s41 ,,xxvi1 
#aijf1 pp4 #d f4 and ,pls4 ,,iii-,v2    
,krause1 ,i1 pp4 #ecd f42 etc4    #agcd 
,for the etymology1 see ,plato1         
,euthydem41 #bga ,c1 ,d2 definition1    
,pollux ,,iii1 #aej2 ,plut41 ,quaest4   
conviv41 ,,ii1 #d 7containing also      
fanciful etymologies of 72 cf4          
,philostr41 ,imag41 ,,ii1 #f            
7containing a full account of the       
contest in the description of the  death
 of ,arrhachion72 cf4 schol4 on ,plato1 
de ,rep41 ,i1 #cch ,c1 ,d4    #agce     
,vita ,demonactis1 #di 7against biting74
    #agcf ,l4 c4 7against biting and    
gouging74    #agcg ,aves1 #ddb-c2 ,pax1 
#hih-i4    #agch ,e #gh2 another example
 is seen on a r4-f4 kylix in ,baltimore3
  ,gardiner1 p4 #dcg1 fig4 #aeb2 ,j4 ,h4
 ,s41 ,,xxvi1 p4 #i1 fig4 #c2 ,hartwig1 

,die griech4 ,meisterschalen1 ,pl4      
,,lxiv2 ,perrot-,chipiez1 ,x1 p4 #fbi1  
fig4  #cej4    #agci ,nem41 ,,ii1 ,,iii1
 ,v2 ,isthm41 ,,iv1 ,v1 ,,vi1 ,,vii1    
,,viii4    #agdj ,frag4 #ai1 l4 #e 7ap4 
,athenum1 ,x1 #f  #dad a74    #agda ,e4 
g41 ,mahaffy1 in his ,old ,greek ,life1 
#ahhf1 p4 #ef2 see  ,gardiner1 pp4      
#dce-g1 in refutation of such an        
exaggerated view4    #agdb ,de ,leg41   
,,viii1 #hcb ,e2 #hcd ,a4    #agdc      
,older writers1 e4 g41 ,faber1          
,agonisticon 7published in  #aeib71 ,i1 
#i1 p4 #ahbh1 thought that the glove was
 used1 an opinion long  ago refuted by  
,krause1 ,i1 p4 #eci1 n4 #b4 ,waldstein1
 ,j4 ,h4 ,s41 ,i1  #ahhj1 p4 #ahe1      
wrongly says that the pancratiast       
sometimes wore gloves4  ,pausanias does 
not mention them1 nor do we see them on 
any of the  vase-paintings4    #agdd    
,,vi1 #f4e4    #agde ,,vi1 #ae4e4 ,cf4  
also ,v1 #ag4aj1 where1 in describing   
the  boxing match between ,admetos and  
,mopsos represented on the chest  of    

,kypselos1 he says    --a hint of the   
dangerous character of boxing4    #agdf 
,oneir41 #a1 #fb4 ,this1 at best1 seems 
to be an exaggeration4    #agdg         
,philostr41 l4 c4    #agdh ,,viii1      
#dj4c-e4    #agdi ,to ,theseus3 schol4  
on ,pindar1 ,nem41 ,v1 #hi1 ,boeckh1 p4 
#dfe2  cf4 schol4 on ,nem41 ,,iii1 #bg1 
,boeckh1 p4 #ddb2 to ,herakles3 ,p41 ,v1
  #h4d4    #agej ,p41 ,v1 #h4h2 ,ph41   
#ab2 and ,afr4    #agea ,p41 ,v1 #h4aa2 
,ph41 #ac4    #ageb ,e4 g41 at ,nemea2  
,pindar composed ,nem41 ,v1 in honor of 
the  boy ,pytheas of ,aegina1 who won in
 787 #dhe ,b4 ,c42 it was introduced at 
,delphi in the #fast ,pythiad3 ,p41 ,x1 
#g4h2 at the ,isthmus in mythical       
times3 ,p41 ,v1 #b4d4    #agec          
,collected by ,gardiner1 op4 cit4       
#aged ,described by ,lucian1 ,anachar41 
,i4    #agee ,this throw is depicted on 
the walls of the tombs of ,beni-,hasan  
on the ,nile and is practised to-day by 
the ,japanese2 it is described by  ,dio 
,cassius1 ,,lxxi1 #g4    #agef 3        

described by ,soph41 ,trachiniae1 #ebj  
f41 and the  schol42 see also ,ovid1    
,met41 ,,ix1 #ea4 ,cf4 ,j4 ,h4 ,s41     
,,xxvi1 #aijf1  pp4 #ae-af4    #ageg ,e4
 g41 on four ,grco-,roman gems in the   
,british ,museum pictured  in ,j4 ,h4   
,s41 ,,xxvi1 p4 #aj1 fig4 #d2 ,gardiner1
 p4 #ddg1 fig4 #afb4    #ageh ,b4 ,m4   
,vases1 ,b #fjd2 ,j4 ,h4 ,s41 ,,xxvi1   
,pl4 ,,iii2 ,gardiner1 p4  #ddb1 fig4   
#aeg4    #agei ,e #gh4    #agfj         
,mentioned by ,plato1 ,alcibiades1 ,i1  
#ajg ,e2 ,ph41 #ej2 ,pollux1  ,,iii1    
#aej2 ,suidas1 s4 v4  and s4 v4 2       
,lucian1 ,lexiphanes1 #e2 de            
,saltatione1 #aj2 ,reisch1 ap4          
,pauly-,wissowa1 ,i1 p4 #aaig2          
,hitz4-,bluemn41 ,,ii1 #b1 p4 #edh2     
,grasberger1  ,erziehung und            
,unterricht1 ,i1 pp4 #cdi-ej2 ,krause1  
,i1 pp4 #dba f41 #eaj  f42 ,j4 ,h4 ,s41 
,,xxvi1 pp4 #ac-ae1 where ,gardiner     
discusses the word in  ancient writers  
and concludes that it had nothing to do 
with wrestling1  but only with boxing   

7both the separate event and part of the
  pankration71 and meant 8to spar       
lightly with an opponent for practice40 
#agfa ,he won three victories in ,ols4  
787 #ajd1 787 #aje1 and #ajf 7  #cfd-cef
 ,b4 ,c473 ,p41 ,,vi1 #d4a2 ,hyde1 #cg2 
,foerster1 #cdi1 #cec1 #cei4  ,this     
explanation of ,pausanias has been      
accepted by ,krause and most  modern    
authorities1 but is found untenable by  
,gardiner1 who bases his                
interpretation1 not on ,pausanias1 but  
on the accurate definition of  ,suidas4 
#agfb ,b4 ,c4 ,h41 ,,vi1 #ahhb1 pp4 #ddf
 f4    #agfc ,he won in ,ols4 #ha and   
#hb 7 #def and #deb ,b4 ,c473 ,oxy4     
,pap42 ,p41  ,,vi1 #d4c2 ,hyde1 #ch2    
,foerster1 #bjb1 #bjc2 cf4 ,pliny1 ,h4  
,n41 ,,xxxiv1  #ei4 ,he was probably    
merely represented in the preliminary   
tactics of  getting a grip4    #agfd    
,see ,reisch1 p4 #df2 ,i4 ,g4 ,b41 #abj4
    #agfe ,anz4 d4 ,wiener ,akad41      
#ahhg1 pp4 #hf f4 7,benndorf72 ,reisch1 
l4  c4    #agff ,a4 de ,ridder1 ,les    

bronzes antiques du ,louvre1 ,i1 #aiac1 
,pl4  #fc1 no4 #ajfg1 and p4 #aca 7     
pancratiast72 ,rev4 arch41 #ahfi1 ,,ii1 
p4  #bib2 ,bulle1 no4 #if 7right72      
,reinach1 ,rp41 ,,ii1 #b1 #edc1 #d4 ,it 
is #j4bge  meter high4    #agfg ,see    
supra1 p4 #afg4    #agfh ,h4 ,n41       
,,xxxiv1 #ee4 ,hauser1 ,jh4 oest4 arch4 
,inst41 ,,xii1 #aiji1  pp4 #aaf f4 ,his 
reasoning is accepted by ,bulle4        
#agfi ,ges4 ,stud4 zur ,kunstgesch41    
,festschr4 fuer ,a4 ,springer1 #ahhe1   
pp4 #bfj4    #aggj ,see ,s4 ,q41        
#adfc-fg4    #agga ,bildw4 v4 ,ol41     
,tafelbd41 ,pl4 ,,lv1 #d-e2 ,textbd41   
pp4 #bab f41  and fig4 #bci2 ,f4 ,w41   
no4 #ccf2 cf4 ,immerwahr1 ,kulte und    
,mythen  ,arkadiens1 ,i1 #ahia1 p4 #bhh4
    #aggb ,archiv fuer lateinische      
,lexikographie u4 ,grammatik1 ,,ix1     
#ahid1  #a1 pp4 #aji f4    #aggc ,mp41  
p4 #bdi1 n4 #b2 ,mw41 pp4 #dea-b2 he    
adduced two passages  from ,ovid's      
,met41 ,,xiv1 #djb 7saevisque parant    
incessere telis71 and  ,,xiii1 #eff-g   

7telorum lapidumque incessere iactu     
coepit74    #aggd ,this explanation has 
been followed by ,treu1 ,bildw4 v4 ,ol41
 l4  c42 ,sittl1 ,parerga zur alten     
,kunstgesch41 p4 #bd2 ,klein1 ,,ii1 pp4 
#cfb  f42 ,jex-,blake1 p4 #bce2 and     
others4    #agge ,inschr4 v4 ,ol41 #adf2
 ,i4 ,g4 ,b41 #da4 ,he won in ,ol4 #gg 7
 #dgb  ,b4 ,c473 ,oxy4 ,pap42 ,p41 ,,vi1
 #f4a2 ,hyde1 #ej2 ,foerster1 #bjh4     
#aggf ,collection ,somze1 #ahig1 ,pls4  
#c-e2 see ,hyde1 to no4 #ej1 on p4  #h4 
,its quiet and reserved pose recalls    
that of the ,pelops of the ,east  gable 
of the temple of ,zeus at ,olympia      
7,bildw4 v4 ,ol41 ,tafelbd41 ,pl4  ,,ix1
 #b2 ,textbd41 pp4 #df f474 ,because of 
its archaic grace1 though it  shows no  
trace of archaic stiffness1 it might    
even be referred to the  school of      
,kritios and ,nesiotes4    #aggg        
,inschr4 v4 ,ol41 #aec2 ,i4 ,g4 ,b41    
#bi4 ,he won the pankration in  ,ols4   
#hg1 #hh1 #hi 7 #dcb-dbd ,b4 ,c472 ,p41 
,,vi1 #g4a2 ,hyde1 #fa2 ,foerster1      

#beh1 #bfj1 #bfb4    #aggh ,,vi1 #b4a2  
to be discussed infra1 ,ch4 ,,vi1 pp4   
#bic f4    #aggi ,b4 ,c4 ,h41 ,,xxi1    
#ahig1 pp4 #eib f4 ,agias was not only a
 victor at  ,delphi three times1 at     
,nemea five times1 and at the ,isthmus  
five times1  but was also an ,olympic   
victor in the pankration1 ,ol4 787 #hj 7
 #dfj ,b4  ,c473 see inscription1 ,b4   
,c4 ,h41 l4 c41 p4 #eic1 and for the    
date of  the ,olympic victory1 ,k4 ,k4  
,smith1 in ,class4 ,philol41 ,v1 #aiaj1 
pp4 #afi  f42 cf4 ,a4 ,j4 ,a41 ,,xiii1  
#aiji1 pp4 #ddg f4    #aghj ,duetschke1 
,,iii1 no4 #edg2 ,amelung1 ,fuehrer1    
#ff2 ,b4 ,b41 #dca2  ,bulle1 #ahd2 von  
,mach1 #bhh2 ,f4 ,w41 #adbf2 ,reinach1  
,rp41 ,i1 #ebc1 ,i2  ,clarac1 ,v1 #heh  
,a1 #bagf2 ,m4 ,w41 ,i1 ,,xxxvi1 #adi2  
,j4 ,h4 ,s41 ,,xxvi1 #aijf1  p4 #ai2    
,gardiner1 p4 #ddi1 fig4 #afc4 ,the     
group is #j4ih meter high and  #j4ga    
meter broad 7,duetschke74    #agha      
,bulle dates it at the beginning of the 
third century ,b4 ,c42 both  he and     

,amelung believe it to be the work of a 
follower of ,lysippos2  see also ,b4    
,graef1 ,jb41 ,,ix1 #ahid1 pp4 #aai f41 
who believes that  the original heads of
 the group are preserved1 the one still 
on the  under pancratiast1 the other on 
the statue of a ,niobid in the ,uffizi  
7,duetschke1 ,,iii1 no4 #bec71 the head 
now on the upper pancratiast being  a   
modern copy of it4 ,see ,amelung's reply
 in ,a4 ,a41 #ahid1 pp4 #aib f4    #aghb
 ,e4 g41 von ,mach1 ,pls4 #bfe f4       
#aghc ,h4 ,n41 ,,xxxvi1 #bd2 see note ad
 loc4 by ,jex-,blake4    #aghd ,aeth41  
,x1 #ca1 #cb2 quoted in full by ,krause1
 ,,ii1 pp4 #iab f4    #aghe ,duetschke1 
,wolters1 von ,mach1 and ,lucas 7the    
latter in ,jb41  ,,xix1 #aijd1 pp4 #abg 
f4 and figs47 thought that the wrestling
 groups on  the ,roman mosaic of the    
,imperial period found in ,tusculum in  
#ahfb were  influenced by the ,florence 
group3 ,mon4 d4 ,i41 ,,vi1 ,,vii1       
#aheg-fc1 ,pl4  ,,lxxxii2 ,annali1      
,,xxxv1 #ahfc1 pp4 #cig f42 ,schreiber1 

,bilderatlas1 ,pl4  ,,xxiii1 #aj2       
,gardiner1 p4 #agg1 fig4 #bb4    #aghf  
,j4 ,h4 ,s41 ,,xxv1 #aije1 p4 #cj4      
#aghg ,he won in ,ol4 #adb 7 #bab ,b4   
,c473 ,p41 ,,vi1 #ae4aj2 cf4 ,v41       
#ba4aj2  ,hyde1 #aej2 ,foerster1 #dgd1  
#dge4    #aghh ,e4 g41 by ,gardiner1 p4 
#adf4    #aghi ,bulle1 no4 #gb2 ,b4 ,b41
 #bhe2 von ,mach1 #bcf2 ,collignon1     
,,ii1 p4 #dbg1  fig4 #bbb2 ,overbeck1   
,,ii1 p4 #ddh1 fig4 #bba2 ,f4 ,w41      
#abfe2 ,m4 ,w41 #a1 ,pl4  ,,xxxviii1    
#aeb2 ,reinach1 ,rp41 ,i1 #dfe1 #a1 #b1 
#c2 ,clarac1 ,v1 #ghi1 #aigh2           
,gardiner1 p4 #adg1 fig4 #ba2 etc4 ,it  
is #c4ag meters high 7,bulle74    #agij 
,an excellent one is in the ,uffizi3    
,amelung1 ,fuehrer1 #dj2  ,reinach1     
,rp41 ,i1 #dgd1 #a2 a colossal replica  
was found in the sea off  ,antikythera3 
,arch4 ,eph41 #aijb1 ,suppl41 ,pl4 ,b1  
#g2 one in the ,pitti  ,gallery will be 
mentioned immediately4    #agia ,i4 ,g4 
,b41 #cde4    #agib ,duetschke1 ,,ii1   
no4 #cf2 ,amelung1 ,fuehrer1 p4 #acd2   

,b4 ,b41  #bhd2 ,m4 ,w41 ,,xxxviii1     
#aea2 ,reinach1 ,rp41 ,,ii1 #a1 #baj1   
#e4 ,for the  inscription1 see ,i4 ,g4  
,b41 #ejf2 it has been needlessly       
attacked  as a forgery--an ancient one  
by ,winckelmann1 ,mon4 ,inediti1 pp4    
,,lxxvi f41 and a modern one by ,maffei1
 ,ars critica1 ,,iii1 #a1 p4 #gf  7both 
quoted by ,duetschke71 and more recently
 by ,stephani1 ,der  ausruhende         
,herakles1 pp4 #afd f4 ,the inscription 
is at least as old  as the sixteenth    
century1 as it is mentioned by          
,flaminius ,vacca 7see  ,duetschke74    
#agic ,numism4 ,chron41 ,sr4 #c1 ,,iii1 
#ahhc1 ,pl4 ,i1 #e1 p4 #i4    #agid     
,mentioned by ,strabo1 ,,vi1 #c4a 7 ,c4 
#bgh71 and described by the  late writer
 ,niketas1 ,chron4 de signis ,constant41
 #e 7who wrongly calls  ,lysippos       
,lysimachos74    #agie ,gesch4 d4 bild4 
,kuenste1 ,,ii#b1 ,,pp4 #bde f4    #agif
 ,p4 #bcd4    #agig ,bronz4 v4 ,ol41    
,tafelbd41 ,pl4 ,,ii1 #b;a and #b2      
,textbd41 pp4 #aj-aa2  ,f4 ,w41 #cbc4   

#agih ,de olymp4 ,stat41 p4 #ef4        
#agii ,on the 8finsterer ,blick0 of this
 class of victor monuments1  see        
,furtw41 ,mp41 p4 #agc2 ,mw41 p4 #cdh2  
and ,bronz4 v4 ,ol41 ,text1  pp4 #aj-aa4
    #ahjj ,thus ,furtwaengler assigns it
 to the statue of the ,akarnanian       
pancratiast 7,philandridas7 mentioned by
 ,pausanias1 ,,vi1 #b4a2 see ,bronz4  v4
 ,ol41 p4 #aa4 ,i have assigned an      
earlier marble head to ,philandridas1   
infra1 pp4 #bic f4    #ahja ,so         
,overbeck1 ,,ii1 p4 #afh2               
,hitz4-,bluemn41 ,,ii1 #b1 p4 #ecd2 ,f4 
,w41  l4 c42 etc4    #ahjb ,bronz4 v4   
,ol41 ,tafelbd41 ,pl4 ,,iii1 #c1 #c;a2  
,textbd41 pp4 #aa-ab2  ,f4 ,w41 no4     
#cbd4    #ahjc ,de olymp4 ,stat41 p4    
#ef4    #ahjd ,cf4 ,p41 ,,vi1 #bj1 #ac3 
2 ,pindar1 ,ol41 ,,iii1 #cf f43   444  '
      4    #ahje ,on the hippodrome and 
its events at ,olympia and elsewhere1   
see ,a4 ,martin1 in ,dar4-,sagl41 ,,iii1
 #a1 #aijj1 pp4 #aic f4 7art4           
,hippodromos72 on the chariot1 ,saglio1 

ibid41 ,i1 #b1 pp4 #afcc f4  7art4      
,currus72 ,k4 ,schneider1 in            
,pauly-,wissowa1 ,,viii1 pp4 #agce f42  
,julius1 in ,baum41 ,i1 pp4 #fib f42    
,pollack1 ,hippodromica1 ,diss4 inaug41 
#ahij2 ,gardiner1 ,ch4 ,,xxi1 pp4 #dea  
f42 ,krause1 ,i1 pp4 #eeg f42 etc4      
#ahjf ,see ,isokrates1 ,,xvi 7de        
,bigis71 #cc 7p4 #cec c72 ,xenophon1 de 
,re  equestr41 ,,ii1 #a2 ,aristotle1    
,politics1 ,,vi1 #c4b 7 #abhi b #ce71   
,,viii1  #g4a 7 #acba a #aa72 ,plut41 de
 ,adul4 et ,amic41 ,chs4 #g and #af     
7latter  quoting ,karneades74 ,on the   
expense of horse-breeding 771 see  also 
,xen41 ,ages41 ,i1 #bc2 id41 ,oecon41   
,,ii1 #f2 ,plut41 ,ages41 ,,xx1  #a2    
,pindar1 ,isthm41 ,,ii1 #ch2 ,,iv1 #bi2 
etc4    #ahjg ,the first1 second1 and   
fourth1 according to ,thukyd41 ,,vi1    
#af2 the  first1 second and third1      
according to ,eurip41 fragm4 #c 7 ,p4 l4
 ,g41  ,,ii1 p4 #bff71 and ,isokr41 de  
,bigis1 #cd 7p4 #cec d74 ,see ,foerster1
 #bge4    #ahjh ,see ,oxy4 ,pap41 ,,ii1 

p4 #bbb4    #ahji ,besides #bd victories
 of both in various running races4 ,the 
older  part of the inscription 7with a  
chariot-group in relief7 was discovered 
by ,leake3 see ,travels in the ,morea1  
#ahcj1 ,,ii1 p4 #eba1 and ,pl4 #ga 7at  
the end of ,,iii72 better reproduction  
by ,dressler and ,milchhoefer1 ,a4  ,m41
 ,,ii1 #ahgg1 pp4 #cah f42 ,i4 ,g4 ,a41 
#gi2 ,tod1 ,sparta ,museum ,cat41  no4  
#ddj4 ,the newer portion is discussed in
 ,b4 ,s4 ,a41 ,,xiii1 #aijf-jg1  pp4    
#agd f4    #ahaj ,see ,hill1 ,coins of  
,sicily1 pp4 #dc f4    #ahaa ,,viii1    
#ch4e2 see ,exped4 scientif4 en ,more1  
#ahca-ahch1 ,,ii1 p4  #cg1 and ,pls4    
,,xxxiii1 ,,xxxiv4 ,it was #bdj by #aje 
meters in extent1 though  the actual    
course was probably only a stade long4  
#ahab ,see list in ,pauly-,wissowa1     
,,viii1 pp4 #agdc-d4    #ahac ,described
 by ,p41 ,v1 #ae4e f41 and ,,vi1 #bj4aj 
f4 ,for its position1  see ,doerpfeld1  
,ergebn4 v4 ,ol41 ,i1 p4 #gh2 ,curtius  
u4 ,adler1 ,olympia  und ,umgegend1     

#ahhb1 p4 #cj2 ,boetticher1 ,olympia3   
,das ,fest u4 seine  ,staette#b1 #ahhf1 
p4 #aai2 ,g4 ,herrmann1 de ,hippodromo  
olympiaco1 #ahci  7 ,opusc41 ,,vii1 pp4 
#chh74 ,five attempts at reconstruction 
are given  by ,hitz4-,bluemn41 ,,ii1 #b1
 pp4 #fdc f41 and ,pl4 ,,vi3 those of   
,visconti  7#agif72 ,a4 ,hirt 7,gesch4  
d4 ,baukunst bei d4 ,alten1 #ahbg1      
,,iii1 pp4  #adh f41 and ,pl4 ,,xx1 #h2 
reproduced in ,baum41 ,i1 p4 #fic1 fig4 
#gej2  ,smith1 ,dict4 ,antiq4#c1 #ahij1 
,i1 p4 #ifc2 ,frazer1 ,,iv1 p4 #hc1 fig4
 #f72  ,lehndorff 7,hippodromos1 #ahgf72
 ,pollack 7op cit41 p4 #eb72 ,wernicke  
7,jb41 ,,ix1 #ahid1 p4 #aii74 ,to these 
should be added those of ,a4 ,martin    
7op4 cit41 p4 #aih1 fig4 #chdd72        
,weniger 7,klio1 ,,ix1 #aiji1 p4 #cjc1  
the  aphesis transcribed by ,gardiner1  
p4 #dec1 fig4 #afd74 ,see also ,guhl u4 
,koner1 ,das ,leben d4 ,gr4 u4 ,roem4#f1
 #ahic1 pp4 #bcc f4 and ,fig4 #bga 7    
restoration of ,pollack71 and cf4       
,krause1 ,i1 p4 #aej1 n4 #i4    #ahad   

,see ,blass1 in ,hermes1 ,,xxiii1 #ahhh1
 p4 #bbb 7n4 #a72 ,r4 ,schoene1  ,a4    
,a41 #ahig1 pp4 #gg-h2 id41 ,jb41 ,,xii1
 #ahig1 pp4 #aej f4 7,neue  ,angaben    
ueber den ,hippodrom zu ,olympia72      
,gaspar1 in article on  ,olympia in     
,dar4-,sagl41 ,,iv1 #a1 p4 #agg and n4  
#e2 ,frazer1 ,v1 p4 #fag2 etc4    #ahae 
,,vi1 #bj4h4    #ahaf ,il41 ,,xxiii1    
#bfb-fej4 ,the four-horse chariot-race  
fills more  than one and one-half times 
as many verses as the seven other       
contests  combined 7vv4 #fea-hig74      
,homer's description was often imitated 
by later  poets1 especially by          
,sophokles1 ,electra1 #fih-gfc 7race at 
,delphi72  ,nonnos1 ,dionys41 ,,xxxvii1 
#ajc-dhd2 ,quintus ,smyrnus1 ,,iv1      
#ejj-eie2  ,statius1 ,theb41 ,,vi1      
#bgd-ebg2 etc4 ,hesiod describes a race 
as wrought  on ,herakles' shield3       
,scut41 #cje f4    #ahag ,p41 ,v1       
#aj4f-g2 ,,vi1 #ba4f-g2 ,,viii1         
#ad4aj-aa2 etc42 ,pindar1 ,ol41  ,i1 #fg
 f4    #ahah ,diod41 ,,iv1 #gc4c4       

#ahai ,,viii1 #d4e4    #ahbj ,e4 g41    
,nestor won at the games of ,amarynkeus1
 ,iliad1 ,,xxiii1  #fcj f4 ,on such     
myths1 see ,krause1 ,i1 pp4 #eeh f4     
#ahba ,e4 g41 the race between ,pelops  
and ,oinomaos was represented  on the   
chest of ,kypselos1 ,p41 ,v1 #ag4g1 and 
in the sculptures on the  ,east gable of
 the temple of ,zeus at ,olympia1 ,p41  
,v1 #aj4f-g4 ,it appears  also on many  
early vases3 e4 g41 on the ,franois vase
 in ,florence and  the ,amphiaraos vase 
in ,berlin4 ,for the latter1 see ,mon4  
d4 ,i41 ,x1  #ahgd-gh1 ,pls4 ,,iv-,v2   
,annali1 ,,xlvi1 #ahgd1 pp4 #hb f4      
7,robert72 ,gardiner1  p4 #bi1 fig4 #c4 
#ahbb ,v1 #h4g4    #ahbc ,see ,plato1 de
 ,rep41 ,,iii1 #ai 7 #dab ,b72 ,isokr41 
de ,bigis1  #cc 7p4 #cec c72 ,dio       
,cassius1 ,,lii1 #cj2 ,hdt41 ,i1 #afg2  
,andok41 #d1 #bf  7,contra ,alcib472    
,soph41 ,electra1 #fih2 etc4    #ahbd   
,,vi1 #b4b2 he won in the hoplite-race  
and chariot-race in ,ols4 787  #hc1 #hd 
7 #ddh1 #ddd ,b4 ,c473 ,hyde1 #ab2      

,foerster1 #baa ,a4    #ahbe ,foerster  
thinks that the story arose from the    
small size of one  of the horses in the 
monument of ,lykidas4    #ahbf ,these   
and the following figures are given in  
the ,constantinople  ,,ms4 ,the length  
of the four-horse chariot-race there    
given agrees with  passages in ,pindar  
7,ol41 ,,ii1 #ej2 ,,iii1 #cc2 ,,vi1 #ge2
 cf4 ,pyth41 ,v1  #cc1 for ,delphi7 and 
the scholiasts 7on ,ol41 ,,iii1 #ei1    
,boeckh1 p4 #ajb1  and ,pyth41 ,v1 #ci1 
,boeckh1 p4 #chj74 ,see also ,pollack1  
,hippodromica1  pp4 #ajc f41 and        
,gardiner1 p4 #deg4    #ahbg ,p41 ,v1   
#h4aj4    #ahbh ,length stated by the   
,,ms4 and by a scholiast on ,pindar1    
,pyth41  ,v1 #ci1 ,boeckh1 p4 #chj4     
#ahbi ,those of ,troilos of ,elis1 who  
won in ,ol4 #ajc 7 #cfh ,b4 ,c473  ,p41 
,,vi1 #a4d2 ,hyde1 #f2 ,foerster1 #cde2 
,inschr4 v4 ,ol41 #aff2 and of          
,akestorides of ,alexandria in the      
,troad1 who won between ,ols4 #adb and  
#add 7 #bab and #bjd ,b4 ,c473 ,p41     

,,vi1 #ac4g2 ,hyde1 #aai and pp4 #di-ej2
  ,foerster1 #eja2 ,inschr4 v4 ,ol41    
#ahd4    #ahcj ,for the date1 see ,p41  
,v1 #h4aj2 ,xen41 ,hell41 ,i1 #b4a2 for 
the  event1 ,krause1 ,i1 pp4 #efg f4    
#ahca ,troilos1 already mentioned1 who  
won in ,ol4 #ajb 7 #cgb ,b4 ,c47 and    
had a statue by ,lysippos3 ,p41 ,,vi1   
#a4d2 ,hyde1 #f2 ,foerster1 #cch4       
#ahcb ,euryleonis3 ,p41 ,,iii1 #ag4f2   
,foerster1 #cdd4    #ahcc ,the  was     
introduced at ,delphi in #cih ,b4 ,c41  
while the    was introduced there in    
#ehb ,b4 ,c43 see ,dar4-,sagl41 ,,iii1  
#a1  p4 #bjb1 for these and other dates 
of equestrian events at the ,pythian    
games4    #ahcd ,b4 ,m4 ,vases1 ,b #acj4
    #ahce ,the date is given in the     
,armenian version of ,afr42 cf4 also    
,p41 ,v1 #h4aa4    #ahcf ,p41 ,v1 #h4h4 
#ahcg ,p41 ,v1 #h4aa4    #ahch ,,xv1    
#fgi-hd2 ,hesiod1 ,scut41 #bhe f4 ,on   
myths relating to it1  see ,krause1 ,i1 
p4 #ehb1 n4 #a4 ,we read of equi        
desultorii at the games  inaugurated by 

,csar in ,rome3 ,sueton41 ,julius1 #ci4 
,see supra1 p4 #c4    #ahci ,,vi1 #ac4i4
    #ahdj ,p41 ,v1 #i4a4 ,polemon1 frag4
 #ba 7 ,f4 ,h4 ,g41 ,,iii1 p4 #abb71    
apud schol4 on ,pindar1 ,ol41 ,v1       
,argum4 7,boeckh1 p4 #aag71 says  that  
the  ceased in ,ol4 #hd 7 #ddd ,b4 ,c471
 if we accept ,boeckh's  correction  for
 4 ,a scholiast on ,pindar1 ,ol41 ,v1   
lines #f and #ai  7,boeckh1 pp4 #aai and
 #abb7 says ,ol4 #he 7 #ddj ,b4 ,c472   
another on ,ol41  ,,vi1 ,argum4         
7,boeckh1 p4 #abi71 says ,ol4 #he or    
,ol4 #hf4 ,but ,ol4 #he may be          
reconciled with ,pausanias' and         
,polemon's date by assuming that the    
proclamation of abolition fell in ,ol4  
#hd1 but that the event was first       
omitted in ,ol4 #he2 see ,bentley1      
,diss4 upon the ,epistles of ,phalaris1 
p4 #bjj 7ed4 ,w4 ,wagner74    #ahda     
,,vi1 #i4b2 ,hyde1 #hd4    #ahdb ,v1    
#i4a2 he won ,ol4 #gj 7 #ejj ,b4 ,c472  
,foerster1 #aeg4    #ahdc ,anaxilas of  
,rhegion1 whose victory fell sometime   

between ,ols4  787 #gj and #gf 7 #ejj   
and #dgf ,b4 ,c471 and was celebrated by
 ,simonides1  frag4 #g 7 ,p4 l4 ,g41    
,,iii1 p4 #cij72 ,agesias of ,syracuse1 
whose victory  fell ,ol4 787 #gg 7 #dgb 
,b4 ,c471 and was celebrated by ,pindar1
 ,ol41  ,,vi2 and ,psaumis of ,kamarina1
 whose victory1 falling ,ol4 787 #ha 7  
#def  ,b4 ,c471 was sung by the         
pseudo-,pindar1 ,ol41 ,v 7 ,p4 l4 ,g41  
,i1 pp4  #aji f472 he also won in the   
chariot-race in ,ol4 787 #hb 7 #deb ,b4 
,c471 a  victory sung by ,pindar in     
,ol41 ,,iv4 ,see ,foerster1 nos4 #agc1  
#baj1 #bcd1  and #bch4    #ahdd ,inschr4
 v4 ,ol41 #bbj1 #bba2 ,foerster1 #fja4  
#ahde ,the corrupt text of ,africanus is
 here corrected by ,gelzer1 ,s4  ,jul4  
,afr4 und die byzant4 ,chronographie1   
#ahhj1 ,i1 pp4 #afh f4 ,gardiner1  p4   
#afe1 n4 #c1 wrongly gives the victory  
of ,germanicus as ,ol4 #aid1 thus       
confusing it with that of ,tiberius4    
#ahdf ,foerster1 #fdb-fdg4    #ahdg ,ol4
 #bjh 7 #ec ,a4 ,d472 ,foerster1 #fcd4  

#ahdh ,most of the gems representing    
such contests1 however1 refer to  the   
,roman circus4    #ahdi ,for            
illustrations of the two1 see           
,dar4-,sagl41 ,i1 #b1 pp4 #afcf  f41    
figs4 #bbjc f41 and cf4 ,gardiner1 pp4  
#deh f42 an excellent  illustration of a
 four-horse chariot and driver is seen  
on an  ,attic-,corinthian goblet 7dinos7
 in the ,louvre3 ,perrot-,chipiez1 ,x1  
,pl4  ,,ii1 opp4 p4 #aaf2 also several  
at rest and racing on the ,franois      
,vase3 ,perrot-,chipiez1 ,x1 p4 #ada1   
fig4 #ic1 p4 #aed1 fig4 #aja 7          
,furtw4-,reichhold1 ,griech4            
,vasenmalerei1 #aijd-aiab1 ,pls4 ,,iii1 
#aj1 and  ,,xi-,,xii474    #ahej ,von   
,mach1 no4 #e4    #ahea ,see1 e4 g41 ,p4
 ,gardner1 ,sculptured ,tombs of        
,hellas1 #ahif1  figs4 #ah-bj4    #aheb 
,c4 ,smith1 ,b4 ,s4 ,a41 ,,iii1 #ahif-g1
 pp4 #ahc f41 dates these  prize amphor 
from the middle of the sixth to the     
close of the fourth  centuries ,b4 ,c41 
as the last of the series is dated #cac 

,b4 ,c4 ,in this  article he publishes a
 mosaic found on ,delos 7,pl4 ,,xvi1 a7 
and dating  from the early second       
century ,b4 ,c41 which reproduces a     
,panathenaic  amphora with an           
illustration of a chariot-race--the     
latest date at which  either a          
prize-amphora 7or picture of one7 can be
 proved to have been  used4 ,he believes
 7p4 #ahg7 that it is the representation
 of an amphora  won long before by the  
ancestor of the owner of the mosaic1    
carefully  preserved in his family4     
#ahec ,b4 ,m4 ,guide to ,greek and      
,roman ,life1 #aijh1 p4 #bjj4    #ahed  
,e4 g41 on a ,panathenaic amphora in the
 ,british ,museum1 dating  from the     
sixth century ,b4 ,c43 ,b4 ,m4 ,vases1  
,b #acb2 ,gardiner1 p4 #deh1  fig4 #aff2
 cf4 also a silver tetradrachm from     
,rhegion in the ,british  ,museum1 from 
the early fifth century ,b4 ,c43        
,gardiner1 p4 #dfj1 fig4 #afh4    #ahee 
,philip won  in ,ol4 #ajf 7 #cef ,b4    
,c473 ,plut41 ,alex41  #c and #d2 cf4   

,justin1 ,,xii1 #af1 #f2  twice at      
unknown dates3  ,foerster1 #cfj1 #cfd1  
#cgj4 ,as we have no record of a victory
 by him  1 the two-horse chariot        
appearing on his coins 7e4 g41 a  gold  
stater in the ,british ,museum1         
,gardiner1 p4 #dei1 fig4 #afg1 right7   
may refer to unrecorded victories1 or   
else may be interpreted 7with           
,gardiner7 as a pun on his name4        
#ahef ,e4 g41 on a silver tetradrachm of
 ,rhegion in the ,british  ,museum3     
,gardiner1 p4 #dfj1 fig4 #afh4 ,this and
 other coins commemorate  the victory in
 this event of the ,rhegion prince      
,anaxilas1 already  mentioned3          
,aristotle1 frag4 #bbh;a1 ap4 ,pollux1  
,v1 #gc 7 ,f4 ,h4 ,g41  ,,ii1 p4 #agc72 
,foerster1 #agc4    #aheg ,e4 g41 a     
decadrachm of ,akragas 7dating from the 
end of the  fifth century ,b4 ,c47 and  
another of ,syracuse 7from the beginning
 of the  fourth century ,b4 ,c47 in the 
,british ,museum2 reproduced by         
,gardiner1 p4  #dfe1 fig4 #agb4    #aheh

 ,b4 ,s4 ,a41 ,,xiii1 #aijf-g1 ,pl4 ,v2 
,gardner1 p4 #def1 fig4 #afe4    #ahei  
,gerhard1 ,,iv1 ,pls4 ,,ccxlix and      
,,ccl2 ,dar4-,sagl41 l4 c41 fig4  #bbai4
 ,it was formerly in ,lucien            
,bonaparte's collection4    #ahfj ,a4   
,v41 ,pls4 ,,ccli-,,ccliv4    #ahfa ,b4 
,b41 #ehf-g and figs4 #a-ad 7text by    
,furtwaengler72 ,richter1  ,greek1      
,etruscan1 and ,roman ,bronzes in the   
,metropolitan ,museum1 #aiae1  pp4 #ag  
f41 no4 #dj1 and figs42 ,p4 ,ducati1    
,jh4 oest4 arch4 ,inst41  ,,xii1 #aiji1 
pp4 #gd f42 ,j4 ,offord1 ,r4 ,arch41    
,sr4 ,,iv1 ,,iii1 #aijd1 pp4  #cje-g and
 ,pls4 ,,vii-,,ix1 etc4 ,closely allied 
in style to its decorative  designs are 
fragments of another chariot found at   
,perugia and now  distributed among the 
,perugia1 ,munich1 and ,british         
,museums3 ,petersen1  ,a4 ,m41 ,x1      
#ahid1 pp4 #bec f42 ,b4 ,b41 #ehh-ehi4  
,cf4 also fragments of  similar         
technique from ,capua3 ,froehner1 ,cat4 
de la ,collection ,dutuit1  #ahig-aija1 

,,ii1 p4 #aii1 no4 #bej1 and ,pls4      
#aij-aie4    #ahfb ,a4 ,j4 ,a41 ,,xii1  
#aijh1 pp4 #cab f41 with plates and     
figures4    #ahfc ,h4 ,n41 ,,xxxvi1 #ca4
    #ahfd ,vitruv41 de ,arch41 ,,vii    
7,praef471  #ab-ac4    #ahfe ,see ,b4   
,m4 ,sculpt41 ,,ii1 nos4 #ajjj-ajje and 
,pl4 ,,xvi2 for  discussion of the      
group1 ,j4 ,h4 ,s41 ,,xxx1 #aiaj1 pp4   
#acc-afb 7,j4 ,b4 ,k4  ,preedy74        
#ahff ,e4 g41 ,,xxxiv1 #ga 7,calamis et 
alias quadrigas bigasque fecit  se      
impari1 equis sine aemulo expressis72   
,,xxxv1 #ii 7,aristides 444  pinxit et  
currentes quadrigas72 ,,xxxiv1 #gh      
7,euphranor72 #fd 7,lysippus  444 fecit 
et quadrigas multorum generum72 #ff     
7,euthykrates72 #hj  7,pyromachos72 #hh 
7,menogenes72 #hf 7,aristodemos74       
#ahfg ,p41 ,,vi1 #ab4a2 to be mentioned 
infra1 p4 #bgi4    #ahfh ,p41 ,,vi1     
#i4d-e4    #ahfi ,p41 ,v1 #bg4b4        
#ahgj ,p41 ,,vi1 #ad4ab4    #ahga ,p41  
,,vi1 #aj4h and #ai4f1 and cf4 #aj4h2   
,hdt41 ,,vi1 #cf2 ,hyde1 #ii;a  and p4  

#dd2 ,foerster1 #aje4 ,pausanias here   
confuses this elder ,miltiades  with the
 son of ,kimon1 as does also the        
pseudo-,andok41 ,,iv1 #cc4    #ahgb ,p41
 ,,vi1 #aj4h2 cf4 ,hdt41 ,,vi1 #ajc2    
,hyde1 #ii;b and p4 #dd2  ,foerster1    
#gg-gi4    #ahgc ,some time between     
,ols4 787 #fh and #gj 7 #ejh and #ejj   
,b4 ,c473 ,p41  ,,vi1 #af4f2 ,hyde1 #afj
 and pp4 #eh-i2 ,foerster1 #gig         
7undated74    #ahgd ,kalliteles won some
 time between ,ols4 787 #ff and #fh 7   
#eaf and  #ejh ,b4 ,c473 ,inschr4 v4    
,ol41 #fcb2 ,hyde1 #afa2 ,foerster1 #ggd
 7undated74    #ahge ,pindar1 ,pyth41   
,v1 #cd f42 date given by schol4 on     
,pyth41  ,,iv1 ,argum41 ,boeckh1 p4     
#cdb4 ,pindar's ,pyth41 ,,iv and ,v     
celebrate this  victory4 ,the same      
scholiast also records a chariot-victory
 of ,arkesilas  at ,olympia in ,ol4 #hj 
7 #dfj ,b4 ,c472 ,foerster1 #bbi4       
#ahgf ,p41 ,v1 #ab4e2 ,inschr4 v4 ,ol41 
#fcd2 ,i4 ,g4 ,b41 #ajj4 ,kyniska won   
two chariot-victories in ,ols4 787 #if1 

#ig 7 #cif1 #cib ,b4 ,c471 and for  them
 also had an equestrian group set up in 
the ,altis1 the work of the  ,megarian  
artist ,apellas1 which we shall discuss 
later3 ,p41 ,,vi1 #a4f f42  ,hyde1 #g2  
,foerster1 #cbf1 #ccc2 see infra1 p4    
#bfg4    #ahgg ,p41 ,,vi1 #ab4g2 ,hyde1 
#ajh2 ,foerster1 #hja 7undated74        
#ahgh ,he won some time between ,ols4   
787 #abh and #acg 7 #bfh and #bcb ,b4   
,c473 ,p41 ,,vi1 #a4i2 ,hyde1 #afi2     
,foerster1 #ddf2 ,inschr4 v4 ,ol41 #agh4
    #ahgi ,p41 ,,vi1 #ag4e2 cf4 #aj4f-h4
 ,in the latter passage 7#h7  ,pausanias
 says that ,kleosthenes1 who won in ,ol4
 #ff1 was the first to  dedicate his    
statue together with a chariot and      
horses and the statue  of a charioteer4 
,foerster1 #ch1 following ,westermann1  
believes that  ,archidamas is the name  
which has fallen out of ,phlegon1 fragm4
 #d 7 ,f4  ,h4 ,g41 ,,iii1 p4 #fje71    
that of a victor from ,dyspontion in    
,elis1 and  therefore wrongly gives the 
date of the victory as ,ol4 #bg 7 #fgb  

,b4  ,c472 for a refutation of this view
 and an indeterminate date1 see ,hyde1  
#ahb and p4 #fb4    #ahhj ,he won ,ol4  
787 #gi 7 #dfd ,b4 ,c473 ,p41 ,,vi1     
#a4g2 ,hyde1 #h2 ,foerster1  #bcc4      
#ahha ,he won in two events1 the        
hoplite-race and charioteering1  in     
,ols4 787 #hc1 #hd 7 #ddh1 #ddd ,b4     
,c473 ,p41 ,,vi1 #b4a-b2 ,hyde1 #ab2    
,foerster1 #baa;,a4 ,perhaps one of his 
two statues by ,myron represented  his  
charioteer 7so ,foerster71 though more  
probably the two statues  represented   
the victor for his two victories4       
#ahhb ,he won some time between ,ols4   
787 #ih and #aja 7 #chh and #cgf ,b4    
,c473 ,p41 ,,vi1 #b4h2 ,hyde1 #ag2      
,foerster1 #caj2 his statue stood beside
 that  of his son ,aigyptos on          
horseback2 the latter won  about the    
date  of his father's victory3 ,p41     
,,vi1 #b4h2 ,hyde #ah2 ,foerster1 #cja4 
,the two  monuments were by the         
,sikyonian ,daidalos4    #ahhc ,he won  
in ,ols4 #ajb1 #ajc 7 #cgb1 #cfh ,b4    

,c473 ,p41 ,,vi1 #a4d2 ,hyde1 #f2       
,foerster1 #cch1 #cde4    #ahhd ,he won 
some time between ,ols4 787 #aae and    
#acj 7 #cbj and #bfj ,b4  ,c473 ,p41    
,,vi1 #ac4aa2 ,hyde1 #abb2 ,foerster1   
#eac3 ,inschr4 v4 ,ol41 #agg4    #ahhe  
,polykles won in ,ol4 787 #hi 7 #dbd ,b4
 ,c473 ,p41 ,,vi1 #a4g2 ,hyde1  #i2     
,foerster1 #gif 7undated74 ,for this    
athletic genre group1 see               
,hitz4-,bluemn41 ,,ii1 #b1 p4 #ecd4 ,on 
children's hoops 77 see ,l4 ,becq  de   
,fouquires1 ,les ,jeux des ,anciens#b1  
#ahgc1 ,ch4 ,,viii1 pp4 #aei f4    #ahhf
 #a1 #if 7quoting ,ephoros1 fragm4 #ajf 
,f4 ,h4 ,g41 #a1 pp4 #bfb-c74           
,periandros won a chariot victory at    
,olympia at the end of the seventh  or  
beginning of the sixth century ,b4 ,c43 
,foerster1 #hj1 who assumes that  it was
 a statue of ,zeus1 and not of          
,periandros4    #ahhg ,gelo won in ,ol4 
#gc 7 #dhh ,b4 ,c473 ,p41 ,,vi1 #i4d2   
,hyde1 #ij2  ,foerster1 #ahj2 ,inschr4  
v4 ,ol41 #adc4 ,this inscription on the 

recovered  base and another from the    
base of the monument of ,pantarkes1 who 
won  apparently in the chariot-race at  
the end of the sixth century ,b4 ,c4    
7,inschr4 v4 ,ol41 #adb2 ,foerster1     
#adi71 are the two oldest inscriptions  
known of chariot victors at ,olympia4   
#ahhh ,he won ,ol4 #ff 7 #eaf ,b4 ,c473 
,p41 ,,vi1 #aj4f-g2 ,hyde1 #ii2         
,foerster1  #adc4    #ahhi ,p41 ,,vi1   
#aj4g4    #ahij ,we have mentioned the  
inscribed relief supra1 pp4 #beg and    
#beh1  and n4 #a on p4 #beh4    #ahia   
,line #ae4    #ahib ,pindar1 ,pyth41 ,v1
 #bf4 ,for the above examples1 see also 
,gardiner1 p4 #dfc4    #ahic ,p41 ,,vi1 
#b4h2 he was represented on horseback4  
#ahid ,p41 ,,iii1 #h4a2 cf4 ,,vi1 #a4f4 
#ahie ,inschr4 v4 ,ol41 #afj2 ,loewy1   
,i4 ,g4 ,b41 #ii2 see ,a4 ,g41 ,,xiii1  
#af4    #ahif ,a4 ,z41 ,,xxxvii1 #ahgi1 
p4 #aea4    #ahig ,noted in ,a4 ,j4 ,a41
 ,,xv1 #aiaa1 p4 #fj4    #ahih ,h4 ,n41 
,,xxxiv1 #hf3 et adornantes se feminas4 
,for the five  larger bronze figures1   

see ,inv41 #efjd-e1 #efai-ba2 for the   
smaller sixth  figure1 usually known as 
the ,praying ,child1 see ,inv41 #efjc4  
,all six  are pictured in ,e4 ,r4       
,barker's ,buried ,herculaneum1 #aijh1  
,figs4 #ah-ai4    #ahii ,p41 ,,vi1      
#ab4a2 cf4 ,,viii1 #db4i-aj2 ,oxy4      
,pap42 ,hyde1 #aje2  ,foerster1 #aii1   
#bji1 and #bae4 ,pindar celebrates the  
victory of #dgf ,b4 ,c4  in his first   
,olympian ode4    #aijj ,p41 ,v1 #bg4b4 
,see supra1 pp4 #bh1 #fb1 and #afc4     
#aija ,p41 ,,vi1 #ad4ab4    #aijb ,h4   
,n41 ,,xxxiv1 #ga4 ,on the basis of this
 and other references1  ,reisch built up
 a theory that there was also a         
fourth-century ,b4 ,c4  ,kalamis1 the   
contemporary of the younger ,praxiteles3
 ,jh4 oest4 arch4  ,inst41 ,,ix1 #aijf1 
pp4 #aii f4 ,he was followed by ,amelung
 7,r4 ,m41 ,,xxi1  #aijf1 pp4 #bhe and  
#bhg7 and ,studniczka 7,abh4 d4 k4      
saechs4 ,gesellsch4  d4 ,wiss41         
philolog4-histor4 ,klasse1 ,,xxv1 no4   
,,iv1 #aijg1 pp4 #e f474  ,furtwaengler 

has shown the weakness of such an       
argument and has rightly  referred the  
monument mentioned by ,pliny to the     
great ,kalamis and his  younger         
contemporary1 the elder ,praxiteles3    
,sitzb4 ,muen4 ,akad41 #aijg1  pp4 #afj 
f4    #aijc ,p41 ,,vi1 #ah4a4           
,kratisthenes won ,ol4 787 #hc 7 #ddh   
,b4 ,c473 ,hyde1  #ahe2 ,foerster1 #aic 
,a4    #aijd ,p41 ,,vi1 #ab4f2 ,hyde1   
#aje;d4 ,the same ,timon is mentioned   
again3  ,p41 ,,vi1 #b4h2 ,hyde1 #ag4    
,this monument may have been set up for 
a  second victory or even for the       
victory mentioned by ,pausanias1 ,,vi1  
#b4h2 however1 ,i have classed it as an 
honor dedication1 assuming two          
monuments3 ,hyde1 p4 #de4    #aije      
,lampos won some time after ,ol4 787    
#aje 7 #cfj ,b4 ,c473 ,p41 ,,vi1  #d4aj2
 ,hyde1 #dd2 ,foerster1 #dbj4 ,philippi1
 the native city of ,lampos1 was        
founded in ,ol4 #aje by ,philip1 father 
of ,alexander1 on the site of an  older 
town1 ,krenides4    #aijf ,h4 ,n41      

,,xxxiv1 #hi2 it was by the statuary    
,piston4    #aijg ,reisch1 p4 #di1      
believes that she represented a ,nike   
apteros2  ,rouse1 p4 #afd1 also believes
 that such figures were ,victories4     
#aijh ,h4 ,n41 ,,xxxv1 #ajh4    #aiji   
,ant4 ,denkm41 ,i1 #d1 #ahhi1 ,pl4      
,,xliv4    #aiaj ,b4 ,m4 ,sculpt41 ,i1  
#had2 ,museum ,marbles1 ,,ix1 ,pl4      
,,xxxviii1  fig4 #b4 ,a4 ,h4 ,smith 7op4
 cit41 no4 #had2 cf4 ,guide to          
,grco-,roman  ,sculpt41 ,i1 no4 #agf7   
also mentions another similar votive    
tablet in  the ,british ,museum4 ,it is 
mounted on a pilaster and represents the
  visit of ,dionysos to ,ikarios4 ,such 
tablets seem to have been commonly      
dedicated by agonistic victors4    #aiaa
 ,schoene1 ,griech4 ,reliefs1 #ahgb1    
,pl4 ,,xviii1 fig4 #hj2 ,f4 ,w41  #aadb2
 von ,sybel1 ,kat4 d4 ,skulpt4 zu       
,athen1 #ahha1 no4 #gjad4 ,here only    
the arms and wings of ,nike are left4   
#aiab ,e4 ,huebner1 ,die antiken ,bildw4
 in ,madrid1 #ahfb1 #bda1 #eei2         

,annali1 ,,xxxiv1 #ahfb1 ,pl4 ,g41 and  
p4 #ajc2 ,reisch1 p4 #ea4    #aiac      
,arch4 ,eph41 #ahic1 pp4 #abh f4        
7,kabbadias7 and ,pl4 ,,ix2 ,rouse1 p4  
#agg4    #aiad ,cf4 ,reisch1 pp4 #di-ej2
 ,rouse1 p4 #agf4    #aiae ,helbig1     
,fuehrer1 ,,ii1 #ageb2 ,guide1 ,i1 #dcg4
    #aiaf ,p41 ,v1 #ag4h4    #aiag      
,frazer1 ,,iii1 p4 #fji1 fig4 #gg2 etc4 
,see supra1 p4 #ac and n4 #a4    #aiah  
,we have already discussed the style and
 date of this relief  in ,ch4 ,,iii1 pp4
 #abh-i4 ,for the relief1 see ,dickins1 
no4 #acdb and  illustration on p4 #bge2 
von ,sybel1 ,kat4 d4 ,skulpt4 zu ,athen1
 no4  #ejci2 ,baum41 ,i1 p4 #cdb1 fig4  
#cei2 ,studniczka1 ,jb41 ,,xi1 #ahif1 p4
 #bfe1  fig4 #g2 ,perrot-,chipiez1      
,,viii1 p4 #ffd1 fig4 #cdb2 ,b4 ,b41    
#ba2 von ,mach1  #ef2 ,collignon1 ,i1   
pp4 #cgh f4 and fig4 #aid2 ,overbeck1   
,i1 p4 #bjc and fig4  #dg2 ,le ,bas1    
,voyage archeol4 7,reinach's ed471 pp4  
#ej-ea and ,pl4 ,i2 ,f4  ,w41 #ig2 cast 
in ,british ,museum1 ,b4 ,m4 ,sculpt41  

,i1 no4 #aee4 ,a small  piece of the    
adjacent slab to the right 7found on the
 eastern slope  of the ,akropolis in    
#ahei-ahfj71 fitting the main block     
exactly1 shows  two horses' tails and   
one hind leg and proves that the chariot
 was  represented at rest4    #aiai     
,this fragment contains a head whose    
pointed beard and petasos  have been    
thought to indicate the god3 ,dickins1  
no4 #acdc2 ,collignon1 ,i1  p4 #cgh1    
fig4 #aie2 von ,mach1 fig4 #aa1 opp4 p4 
#eh2 ,conze1 ,nuove ,memorie  dell'     
,instituto1 ,,ii1 pp4 #djh f4 and ,pl4  
,,xiii ,a2 ,f4 ,w41 #if4    #aibj ,so   
,o4 ,hauser1 ,jb41 ,,vii1 #ahib1 pp4 #ed
 f42 he is followed by  ,robinson1 ,cat4
 of ,museum of ,fine ,arts1 ,boston1 no4
 #cc4 ,j4 ,braun1  ,gesch4 d4 ,kunst1   
#aheh1 ,,ii1 pp4 #ahh and #edi 7quoted  
by ,f4 ,w471 ,conze1  op4 cit41         
,michaelis1 ,der ,parthenon1 #ahgj1 p4  
#abc1 ,helbig1 ,das  homerische ,epos#b1
 #ahhg1 p4 #agi and n4 #aa1             
,springer-,michaelis1 pp4  #bjg-h 7and  

fig4 #chi71 ,dickins1 and many others1  
also interpret the  figure as male4     
#aiba ,this coiffure1 however1 appears  
on several female heads3  e4 g41 on the 
,harpy monument1 ,f4 ,w41 #abg f4 ,knapp
 7,nike in d4  ,vasenmalerei1 p4 #aj71  
,brunn 7,sitzb4 ,muen4 ,akad41 #ahgj1   
,,ii1 pp4 #bac  f471 ,w4 ,mueller       
7,quaestiones vestiariae1 #ahij1 p4     
#dd71 ,collignon1  ,overbeck1           
,friedrichs-,wolters1 ,reisch 7p4 #di71 
and many others call the  figure of the 
charioteer female4    #aibb ,e4 g41 the 
headless draped statue1 resembling the  
,korai1 in  the ,akropolis ,museum3 ,b4 
,b41 #eea4    #aibc ,a4 ,m41 ,,xxx1     
#aije1 pp4 #cje f4 7especially #cba7 and
 ,pls4 ,,xi1 ,,xii  7the rebuilding of  
the temple referred to the time of      
,peisistratos74 ,he  also 7p4 #cbj7     
favors the well-known view of ,doerpfeld
 7,a4 ,m41 ,,xii1  #ahhg1 pp4 #be-fa1   
#aij-baa2 ,,xv1 #ahij1 pp4 #dbj-dci7    
that the ,hekatompedon  or ,old ,temple 
of ,athena1 rebuilt by the ,athenians   

shortly after the  ,persian wars1       
existed not only down to #djf ,b4 ,c41  
when ,xenophon says  that it was burnt  
7,hell41 ,i1 #f71 but down at least to  
the time of  ,pausanias4 ,this view is  
held by ,j4 ,harrison1 ,mythology and   
,monuments  of ,ancient ,athens1 #ahij1 
pp4 #eje f41 ,dickins1 l4 c41 and many  
archologists4 ,it has been rejected by  
many others1 e4 g41 ,petersen  7,a4 ,m41
 ,,xii1 pp4 #fb-gb71 ,wernicke 7ibid41  
pp4 #ahd-ahi71 and in  extenso ,frazer  
7,j4 ,h4 ,s41 ,,xiii1 #ahib-ahic1 pp4   
#aec-ahg2 reprinted  in his edition of  
,pausanias1 ,,ii1 pp4 #eec-hb74 ,murray1
 ,i1 p4 #adc and  fig4 #ce1 referred the
 relief to one of the metopes of the    
,old ,temple of  ,athena4    #aibd      
,sitzb4 ,muen4 ,akad41 #aijf1 ,,ii1 pp4 
#adg f42 cf4 also ibid41  #aije1 pp4    
#dcc f4    #aibe ,springer-,michaelis   
7l4 c47 think that it may represent a   
chariot victor2 similarly ,purgold      
7,arch4 ,eph41 #ahhe1 p4 #bea74         
,boetticher 7,die ,akropolis1 #ahhh1 pp4

 #he-f7 believes that it  represents a  
,panathenaic victor4    #aibf ,in the   
,british ,museum3 ,b4 ,m4 ,sculpt41     
,,ii1 #iea and ,pl4 ,,xiii2  ,sir       
,charles ,fellows1 ,an ,account of      
,discoveries in ,lycia1 #ahda1 p4  #aff4
 ,the ,chimra may be introduced as a    
heraldic device of the owner  of the    
tomb 7,smith74 ,bellerophon appears on  
,pegasos on a relief from a  rock tomb  
of ,pinara3 ,b4 ,m4 ,sculpt41 ,i1 #gfj4 
,we should also compare  with these the 
reliefs found by ,fellows at ,xanthos   
and now in the  ,british ,museum4 ,they 
show a two-horse chariot with a seated  
charioteer  7,f4 ,w41 #aca2 ,murray1 ,i1
 ,pl4 ,,iv71 a two-horse chariot with a 
charioteer  and a seated man 7,f4 ,w41  
#acc2 ,murray1 ,pl4 ,,iii71 and a young 
rider 7,f4  ,w41 #acd74 ,see ,fellows1  
pp4 #agb1 #agf2 ,murray1 ,i1 pp4 #abd f4
    #aibg ,michaelis1 ,der ,parthenon1  
#ahgj1 slabs ,,xi-,,xxiii2 ,b4 ,m4      
,sculpt41 ,i1 no4 #cbe4 ,the charioteers
 on slabs ,,xii and ,,xiv have long1    

close-fitting tunics4    #aibh          
,michaelis1 op4 cit41 slabs             
,,xxiv-,,xxxiv2 ,b4 ,m4 ,sculpt41 no4   
#cbg4    #aibi ,theophrastos1 ap4       
,harpokr41 s4 v4 71 says that  it was   
peculiar to ,athens and ,botia1 but     
there is evidence of its  existence     
elsewhere1 e4 g41 at ,aphrodisias in    
,karia 7,c4 ,i4 ,g41 ,,ii1  no4 #bgeh1  
,g4 col4 ,,iv1 line #c1 p4 #ejg1 and ,c4
 col4 ,,iv1 l4 #c71 ,naples  7ibid41 no4
 #ehjg1 l4 #d71 ,rome 7,c4 ,i4 ,l41     
,,vi1 #b1 #ajjdg1 b1 line #h   pedibus  
ad quadrigam71 etc4 ,on the race at the 
,panathenaia1 see  ,michaelis1 op4 cit41
 pp4 #cbd f42 ,mommsen1 ,heortologie1   
#ahfd1 pp4  #aec f41 and ,die ,feste d4 
,stadt ,athen im ,altertum1 #ahih1 pp4  
#hi f42  and for the race in general1   
,pauly-,wissowa1 ,i1 pp4 #bhad f4       
#aicj ,for a description of the race1   
see ,bekker1 ,anecd4 gr41 ,i1  pp4      
#dbe-f and ,dionys4 ,halikarn41 ,,vii1  
#gc1 #b-c2 the former account  says that
 the apobates mounted the chariot in    

full course by setting  his foot on the 
wheel and dismounted again2 the latter  
only that he  dismounted in the last    
lap2 the two are apparently describing  
different  moments of the same race4    
#aica ,national ,museum1 no4 #acia2     
,svoronos1 ,,ii1 pp4 #cdj-a1 ,tafelbd41 
,pl4 ,,lvi 7right72 noted in ,a4 ,m41   
,,xii1 #ahhg1 p4 #adf1 no4 #a2 ,stas1   
,marbres et ,bronzes1 p4 #bcg and fig42 
,arch4 ,eph41 #aiaj1 pp4 #bea f42       
,reisch1 p4 #ea4 ,stas gives the        
measurements as #j4fj meter high and    
#j4cf  meter broad4    #aicb ,a4 ,m41   
,,iii1 #ahgh1 pp4 #daj-ad1 no4 #aic     
7,koerte72 ,mon4 d4  ,i41 ,,iv1         
#ahdd-dh1 ,pl4 #e2 ,annali1 ,pl4 ,,xvi1 
#ahdd1 pp4 #aff f4 7,f4 ,j4  ,welcker71 
and ,pl4 ,e4    #aicc ,a third relief   
from ,oropos1 showing the same subject1 
is in  ,berlin 7no4 #gbe73 see          
,furtwaengler1 ,samml4 ,sabouroff1 ,i1  
,pl4 ,,xxvi  7and text1 on the subject  
of the race74    #aicd ,b4 ,c4 ,h41     
,,vii1 #ahhc1 ,pl4 ,,xvii and pp4 #deh  

f4 7,collignon72  ,gardiner1 p4 #bch1   
fig4 #cd2 ,f4 ,w41 #ahcf4    #aice ,its 
antiquity has been questioned by ,kekul1
 who is quoted by ,f4  ,w42 see on no4  
#ahch4    #aicf ,b4 ,m4 ,sculpt41 ,,ii1 
#ajcg1 ,pl4 ,,xviii2 von ,mach1 #bca2   
,ant4  ,denkm41 ,,ii1 #b1 #ahic-d1 ,pl4 
,,xviii1 #j2 ,collignon1 ,,ii1 p4 #cbg1 
fig4 #afe2  ,newton1 ,travels and       
,discoveries in the ,levant1 #ahfe1     
,,ii1 p4 #acc1 ,pl4  ,,xvi2 ,gardner1   
,hbk41 p4 #dcj1 fig4 #aaa4 ,it is #b    
feet #a4e inches high4    #aicg ,for the
 sarcophagus1 see the work of ,hamdy    
,bey and ,th4 ,reinach1  ,une ncropole  
royale  ,sidon1 #ahib2 ,text1 pp4 #bgb  
f41 and ,pls4  ,,xxiii-,,xxviii1        
,,xxx-,,xxxi1 ,,xxxiv-,,xxxvii2 also    
,studniczka1 ,jb41 ,,ix1 #ahid1  pp4    
#baa f4 7who assigned it to ,lysippos'  
pupil1 ,eutychides72 ,judeich1  ibid41  
,x1 #ahie1 pp4 #afe f4 and figs4 #a-f2  
,j4 ,h4 ,s41 ,,xix1 #ahii1  pp4 #bgc f42
 ,gardner1 ,hbk41 pp4 #dff f4 and fig4  
#abd 7 ,hamdy-,bey et  ,reinach1 ,pl4   

,,xxix72 von ,mach1 #cgi-hc2            
,richardson1 p4 #bdb1 fig4 #aaf2        
,springer-,michaelis1 p4 #cdh1 fig4     
#fbg2 etc4    #aich ,we see it1 e4 g41  
on the cuirass of the statue of         
,augustus  in the ,vatican3 von ,mach1  
no4 #dah4    #aici ,von ,mach1 no4 #bcb2
 ,robinson1 ,report of the ,trustees of 
the  ,museum of ,fine ,arts1 #ahig1 pp4 
#ah-ai2 ,klein1 ,praxitelische ,studien 
7 ,suppl4 to his ,praxiteles71 #ahii1 p4
 #a2 in n4 #a ,klein says that the      
statue was found in the ,tiber4    #aidj
 ,griech4 ,kunstmythol41 ,,iii1         
,apollon1 pp4 #adi f4    #aida ,noted by
 ,klein1 op4 cit41 figs4 #e and #g4     
#aidb ,e4 g41 on the vase in the        
,british ,museum1 discussed in ,guide   
to ,greek and ,roman ,life1 #aijh1 p4   
#bjj4 ,here the driver stands clothed   
in the regular chiton like that on the  
,charioteer from ,delphi4 7,fig4  #ff47 
,we see similarly clothed charioteers on
 various r4-f4 vases3 e4  g41 on those  
pictured by ,gerhard1 ,,iv1 ,pls4       

,,ccli-,,ccliii2 on those  enumerated by
 ,hauser1 ,jb41 ,,vii1 #ahib1 p4 #fj    
7including some r4-f4  ones1 e4 g41 the 
fifth-century ,b4 ,c4 one from ,corneto 
by ,euxithoos  and ,oltos  ,baum41      
,,iii1 ,pl4 ,,xciii1 #b and p4 #bada74  
,hauser also adds the  draped charioteer
 in the ,helios group from the ,great   
,pergamene ,altar  relief 7pictured in  
,baum41 ,,ii1 ,pl4 ,,xxxix1 and pp4     
#abee-f74 ,the general  statement of ,w4
 ,mueller 7,quaestiones vestiariae1     
,goettingen1 #ahhj1 p4  #dd71 nam       
aurigae semper fere longa tunica sola   
vestiti sunt1 is1 of  course1 correct4  
#aidc ,e4 g41 the statue in the ,palazzo
 dei ,conservatori to be  mentioned     
infra1 p4 #bgf2 also other examples in  
,reinach1 ,rp41  ,,ii1 #b1 #ecf1 #f 7in 
,rome3 ,b4 ,com4 ,rom41 ,i1 #ahhh1 ,pl4 
,,xv7 and #g 7in  ,athens3 ,jb41 ,i1    
#ahhf1 p4 #agc2 ,stas1 op4 cit41 p4     
#bba74 ,we see nude  charioteers        
entering two four-horse chariots on a   
r4-f4 lebes1 formerly  in the collection

 of ,lucien ,bonaparte1 now in ,munich3 
,gerhard1 ,,iv1 ,pl4  ,,ccliv 7below74  
#aidd ,von ,mach1 no4 #bgd2 ,reinach1   
,rp41 ,,ii1 #b1 #dhh1 #g3 ,a4 ,z41      
,,xviii1 #ahfj1 pp4 #a f4 7,friedrichs7 
and ,pls4 ,,cxxxiii1 ,,cxxxiv2 ,bonner  
,jb41 ,,xxvi1 ,pl4 ,,iv4 ,it is #d ft4  
#g in4 tall and represents a boy of     
about #ad4    #aide ,friedrichs1 though 
at first1 because of the crown on the   
hair1  interpreting it as a ,bonus      
,eventus 7,a4 ,z41 ,,xviii1 #ahfj1 pp4  
#a f471  later 7,beschr4 d4 ,skulpt41   
no4 #d1 pp4 #e-f7 called it a           
charioteer4    #aidf ,b4 ,com4 ,rom41   
,,xvi1 #ahhh1 ,pls4 ,,xv1 ,,xvi1 #a1 #b 
7pp4 #cce f472  ,joubin1 pp4 #acd f41   
and fig4 #dj2 ,helbig1 ,fuehrer1 ,i1    
#igc 7restored on  p4 #eeg1 fig4 #bi72  
,guide1 #eig 7restored on p4 #ddb1 fig4 
#bh72 ,furtw41  ,mp41 pp4 #ha-hb2 ,mw41 
pp4 #aae-aaf2 ,reinach1 ,rp41 ,,ii1 #b1 
#ecf1 #f4  ,mentioned supra1 p4 #bge1 n4
 #g4    #aidg ,hamdy ,bey and ,th4      
,reinach1 ,une ncropole royale  ,sidon1 

,pl4  ,,xxii1 #b4    #aidh ,including   
the ,hestia ,giustiniani in the ,museo  
,torlonia1 ,rome3  ,b4 ,b41 #dia2 von   
,mach1 #ge2 the so-called ,aspasia head1
 with copies  in ,paris 7,photo         
,giraudon1 no4 #abai7 and ,berlin 7,a4  
,z41 ,,xxxv1 #ahgg1  ,pl4 ,,viii1 two   
views71 and the ,apollo-on-the-,omphalos
 in ,athens 7,pl4  #g;,b72 he assigns   
the later related ,athena in the ,villa 
,albani to  ,praxias1 the pupil of      
,kalamis and contemporary of ,pheidias3 
,f4 ,w41  #ebd2 ,mp41 p4 #gh1 figs4 #bi 
and #cj 7head72 ,mw41 pp4 #aab-aac1     
figs4  #ai and #bj 7head74 ,however1 as 
,richardson points out1 pp4 #acg and    
#bjg1  the ,hestia bears a strong       
resemblance to the ,east gable figures  
at  ,olympia1 especially to those of    
,sterope and ,hippodameia1 and to       
several female statues in ,copenhagen3  
,arndt1 ,la ,glypt4 ,ny-,carlsberg1     
,pls4 ,,vii 7 ,joubin1 p4 #afa1 fig4    
#ec71 ,,xxxviii1 and fig4 #c on p4 #ac4 
#aidi ,c4 ,r4 ,acad4 ,inscr41 #ahif1 pp4

 #agh1 #ahf1 #cfb1 #chh1 and ,pls4 ,i1  
,,ii2 ,a4 ,a41 #ahif1 pp4 #agc f4 7with 
fig472 ,homolle1 in ,mon4 ,piot1 ,,iv1  
#ahig1 ,pls4 ,,xv1 ,,xvi1 pp4 #afi f42  
id41 ,b4 ,c4 ,h41 ,,xxi1 #ahig1 pp4     
#egi1  #eha-c2 ,fouilles de ,delphes1   
,,iv1 #aijd1 ,pls4 ,,xlix1 ,l 7#d       
views72 ,bulle1  #aii and fig4 #acd on  
p4 #dfj2 von ,mach1 #fj2 ,h4 ,b4        
,walters1 ,art of the  ,anc4 ,greeks1   
#aijf1 ,pl4 ,,xxviii2 ,gardner1         
,sculpt41 pp4 #di f4 and ,pls4  ,,viii1 
,,ix2 ,g4 ,f4 ,hill1 ,one ,hundred      
,masterpieces of ,sculpture1 #aiji1  pp4
 #g-h and ,pl4 ,v2 ,springer-,michaelis1
 p4 #bbe1 fig4 #dhb2 ,robinson1  ,cat4  
,mus4 ,fine ,arts in ,boston1 ,suppl41  
pp4 #a f41 no4 #he2 cast in  ,british   
,museum1 ,b4 ,m4 ,sculpt41 ,,iii1 #bfhh2
 ,reinach1 ,rp41 ,,ii1 #b1  #ecf1 #a4   
,it is #e feet #aj4ge inches high 7,a4  
,h4 ,smith7 or #a4hj meters  7,bulle74  
#aiej ,see ,svoronos1 p4 #aca1 n4 #c4   
#aiea ,o4 ,m4 ,washburn1 ,berl4 ,philol4
 ,wochenschr41 ,,xxv1 #aije1 cols4      

#aceh f42 ,a4 ,j4 ,a41 ,x1 #aijf1 pp4   
#aea-c2 ,,xii1 #aijh1 pp4 #aih-bjh4     
#aieb ,p41 ,x1 #ae4f4    #aiec ,l4 c41  
and ,berl4 ,philol4 ,wochenschr41 #aije1
 col4 #aedi4    #aied ,lechat1 ,rev4    
,arch41 ,,xi1 #aijh1 pp4 #abf f41       
,furtw41 ,sitzb4  ,muen4 ,akad41 #aijg1 
,,ii1 pp4 #aeg f41 ,studniczka1 ,jb41   
,,xxii1 #aijg1 pp4  #acc f41 and others1
 support ,washburn's view4    #aiee ,p41
 ,x1 #i4g-h2 cf4 ,,vi1 #c4e1 where      
,amphion is called the pupil  of        
,ptolichos1 the pupil of ,kritios4      
#aief ,so von ,duhn1 ,a4 ,m41 ,,xxxi1   
#aijf1 pp4 #dba f42 a conclusion also   
reached independently by ,e4 ,a4        
,gardner1 ,sculpt41 p4 #ea4    #aieg ,so
 von ,duhn1 ,gardner1 and ,mahler2 the  
latter in ,jh4 oest4 arch4  ,inst41     
,,iii1 #aijj1 pp4 #adb f4 ,furtwaengler1
 l4 c41 found von ,duhn's  view that the
 ,charioteer is an original work of     
,pythagoras untenable4  ,he also        
combated his interpretation of  as a    
proper name1  preferring the suggestion 

of ,washburn that it might be an        
adjective4  ,however1 in a former       
article 7,sitzb4 ,muen4 ,akad41 #ahig1  
pp4 #abi  f47 he had emphasized the     
similarity between the statue and a     
bronze  statuette in ,london 7,b4 ,m4   
,bronzes1 #eae and ,pl4 ,,xvi2 ,sitzb41 
l4  c41 ,pl4 ,v1 two views7 which he    
believed was almost certainly a product 
of ,magna ,grcia4 ,he found the style of
 the ,charioteer ,ionic-,attic  without 
,peloponnesian affiliations1 and        
referred it to ,amphion or  to some     
unknown artist of the circle of ,kritios
 and ,nesiotes4 ,for a  similar view1   
see ,homolle1 ,mon4 ,piot1 ,,iv1 #ahig1 
p4 #bjg4 ,pottier  7ap4 ,homolle1 l4 c47
 assigned it to ,kalamis4 ,cf4 also     
,lechat1  ,pythagoras de ,rhegion1      
#aije1 p4 #ajj4    #aieh ,a4 ,d4        
,keramopoullos1 ,a4 ,m41 ,,xxxiv1 #aiji1
 pp4 #cc f4 ,homolle1  op4 cit41 pp4    
#agf f41 and ,o4 ,schroeder1 ,a4 ,a41   
#aijb1 pp4 #ab f41 had  also referred it
 to ,gelo's dedication4    #aiei ,p4    

#aeb4    #aifj ,see ,g4 ,f4 ,hill1 l4 c4
    #aifa ,besides the ,olympic         
victories already recorded1 ,hiero also 
won the chariot-race at ,delphi in      
,pythiad #bi 7 #dgj ,b4 ,c471 and the   
horse-race there twice in ,pythiads #bf 
and #bg 7 #dhb and #dgh ,b4 ,c472 he    
also won a chariot-race probably at the 
,theban ,iolaia in 787 #dge ,b4  ,c42   
,pindar celebrates the four victories in
 ,pyth41 ,i-,,iii2 ,bergk1 ,p4  l4      
,g41#e ,i1 pp4 #age f4    #aifb ,p41    
,,vi1 #ad4d2 he won either before ,ol4  
#fg 7 #eab ,b4 ,c47 or in  ,ols4 #fi or 
#gj 7 #ejd or #ejj ,b4 ,c473 ,hyde1 #abf
 and p4 #eb2 ,foerster1 #ggh  7undated74
    #aifc ,he won  in ,ols4 #ff or #fg 7
 #eaf or #eab ,b4 ,c473 ,p41 ,,vi1      
#ac4i2 ,hyde1 #abj2 ,foerster1 #abi1    
#adi;a 7two victories74    #aifd ,they  
won in ,ol4 #fh 7 #ejh ,b4 ,c473 ,p41   
,,vi1 #ac4aj2 ,hyde1 #aba2  ,foerster1  
#aeb4    #aife ,so ,hyde1 pp4 #ej-a4    
#aiff ,so ,hitz4-,bluemn41 ,,ii1 #b1 p4 
#eih4    #aifg ,p41 ,,vi1 #ab4a4        

#aifh ,p41 ,,vi1 #b4h4    #aifi         
,xenombrotos won in ,ol4 787 #hc 7 #ddh 
,b4 ,c473 ,hyde1 #acc  7following       
,robert1 ,o4 ,s41 pp4 #ahj-aha72        
,foerster1 #cbg2 ,xenodikos in  ,ol4 787
 #hd 7 #ddd ,b4 ,c473 ,hyde1 #acd2      
,foerster1 #ccb4    #aigj ,inschr4 v4   
,ol41 #aed2 ,i4 ,g4 ,a41 #eeb;a2        
,robert1 ,o4 ,s41  pp4 #agi-ha4         
,however1 ,kirchhoff referred this base 
to the statue  of a runner3 ,a4 ,z41    
,,xxxix1 #ahha1 p4 #hd2 and             
,dittenberger to the  victor            
,damasippos1 who won in some running    
race at an unknown  date3 ,foerster1    
#hab4 ,robert read the mutilated        
inscription   78horse-driving07 instead 
of the proper name 4    #aiga ,h4 ,n41  
,,xxxiv1 #ge and #gh 7celetizontes      
pueri74    #aigb ,pliny1 ,,xxxiv1 #ga4  
#aigc ,b4 ,m4 ,vases1 ,b #acc2          
,gardiner1 p4 #dfa1 fig4 #afi2 see also 
a  ,panathenaic amphora pictured in     
,perrot-,chipiez1 ,x1 p4 #abi1 fig4 #ib 
7left74    #aigd ,gardiner1 p4 #dei1    

fig4 #afg 7left74 ,he won  in ,ol4 #ajf 
7  #cef ,b4 ,c473 ,plut41 ,alex41 #c2   
,foerster1 #cfj4 ,cf4 a similar jockey  
on  horseback on a coin of ,tarentum3   
,head1 ,guide to the ,principal ,gold   
and  ,silver ,coins 444 in the ,british 
,museum1 ,pl4 ,,xxiv1 #g4    #aige ,b4  
,m4 ,vases1 ,b #add2 ,gerhard1 ,,iv1    
,pl4 ,,ccxlvii 7lower half72  ,gardiner1
 p4 #bdc1 fig4 #cg4    #aigf ,see supra1
 p4 #ac and n4 #a4    #aigg ,mentioned  
in ,j4 ,h4 ,s41 ,,xiv1 #ahid1 p4 #ff    
7,h4 ,stuart ,jones74    #aigh ,,iii1 i1
 p4 #bjj1 fig4 #chdf 7from              
,dubois-,maisonneuve1 ,introd4   l'tude 
des vases1 ,pl4 ,,xliii72 others are    
there mentioned1 e4 g41  ,mon4 d4 ,i41  
,i1 #ahbi-cc1 ,pl4 ,,xxii1 #c;b and     
,,ii1 #ahcd-ch1 ,pl4 ,,xxxii  7bottom74 
#aigi ,b4 ,c4 ,h41 ,v1 #ahha1 pp4 #dcf  
f41 with figure 7,collignon74 ,this  and
 the following three reliefs are        
mentioned by ,rouse1 p4 #agf4    #aihj  
,f4 ,w41 #abjf1 formerly interpreted as 
,alexander and ,boukephalos4    #aiha   

,von ,sybel1 ,kat4 d4 ,skulpt4 zu       
,athen1 #ahha1 no4 #cjg4    #aihb ,von  
,duhn1 in ,a4 ,z41 ,,xxxv1 #ahgg1 pp4   
#afg1 no4 #hi 7cf4 no4 #hh74    #aihc   
,on the ,north frieze1 ,michaelis1 ,der 
,parthenon1 #ahgj1 ,tafelbd41  slabs    
,,xxiv-,,xlii2 ,b4 ,m4 ,sculpt41 ,i1    
#cbe1 pp4 #age f42 ,west frieze1        
,michaelis1 slabs ,,ii1 ,,iv1           
,,vi-,,vii1 ,,ix-,,xi2 ,b4 ,m4 ,sculpt41
 #cbf1 pp4  #agi-hj2 ,south frieze1     
,michaelis1 slabs ,i1 ,,iii1 ,x-,,xvi1  
,,xxii-,,xxiii2 ,b4  ,m4 ,sculpt41 #cbg1
 pp4 #aha-he4    #aihd ,c4 ,i4 ,a41     
,,iv1 #b1 #cgc1 line #ii2 cf4           
,studniczka1 ,arch4 ,eph41  #ahhg1 p4   
#adf4    #aihe ,vit4 ,x ,orat41 #db 7p4 
#hci;b72 he says that it stood in the   
ball-court of the maidens known as      
arrephoroi4 ,pausanias1 ,i1 #ah4h1  also
 mentions a statuette of ,isokrates on a
 column near the ,olympieion4    #aihf  
,carapanos1 ,dodone et ses ruines1      
#ahgg1 p4 #ahc and ,pl4 ,,xiii1 #a2     
,reinach1 ,rp41 ,,ii1 #b1 #ebg1 #a4     

#aihg ,arndt-,amelung1 ,einzelaufnahmen1
 no4 #bdb4    #aihh ,dickins1 nos4 #gjj1
 found in #ahhg 7height #a4ab meters1   
length of  fragment #j4gf meter7 and    
#fig 7height #a4ac meters72 ,winter1    
,archaische  ,reiterbilder von der      
,akropolis1 ,jb41 ,,viii1 #ahic1 pp4    
#ace-aef1 figs4  #ac;a and b1 #ad;a and 
b2 ,collignon1 ,i1 pp4 #ceh-i1 figs4    
#ahj and #aha2  ,schrader1 ,arch4       
,marmor-,skulpt4 im ,akropolis-,museum  
zu ,athen1 #aiji1 p4  #ha1 figs4 #gb-c  
7assuming a ,chian sculptor for no4     
#gjj72 ,b4 ,b41 #dei2 no4  #gjj         
,perrot-,chipiez1 ,,viii1 p4 #fci1 fig4 
#cbg2 #fig  ibid41 p4 #fcg1  fig4 #cbf4 
,winter1 in the article cited1 gives    
fourteen cuts of such  archaic horse    
monuments4    #aihi ,see preliminary    
account by ,th4 ,reinach in ,c4 ,r4     
,acad4 ,inscr41  #aiai1 7,jan4-,feb471  
pp4 #ef-ei and fig4 on p4 #eh4 ,it is   
#di centimeters  high4    #aiij ,j4     
,sieveking1 ,die ,bronz4 d4 ,samml4     
,loeb1 #aiac1 p4 #gj1 ,pl4 #bi2  it is  

#j4ab meter high4 ,an exact copy is in  
the ,cabinet des ,mdailles in  ,paris2  
,babelon et ,blanchet1 ,cat4 des bronzes
 ant4 de la ,bibliothque  ,nationale1   
#ahic1 no4 #hic4 ,for further examples  
of horsemen in bronze  and marble1 see  
,reinach1 ,rp41 ,,ii1 #b1 pp4 #ebg-ecc4 
#aiia ,the race is described by ,p41 ,v1
 #i4b2 cf4 ,plutarch1 ,quaest4  conviv41
 ,v1 #b 7#fge ,c47 ,for possible        
examples in sculpture1 see  ,reinach1   
,rp41 ,,ii1 #b1 pp4 #ecb-c4    #aiib ,e4
 g41 on a silver stater of the early    
third century ,b4 ,c4  from ,tarentum in
 the ,british ,museum3 ,gardiner1 p4    
#dfb1 fig4 #agj 7right74    #aiic ,les  
athniens1 #aijb 7,extrait des ,mmoires  
de l',acad4  des ,inscr4 et             
,belles-,lettres1 ,vol4 ,,xxxvii74 ,cf4 
,gardiner1 pp4 #ga-b4    #aiid ,heralds 
771 trumpeters 771 flutists  771        
cithara-players 771 and those who sang  
with them  771 are mentioned as victors 
in many inscriptions3 e4 g41  at        
,oropos1 ,c4 ,i4 ,g4 ,g4 ,s41 ,i1 nos4  

#dai-bj2 at ,tanagra1 ibid41 #edj2  at  
,plataiai1 ibid41 #affg2 at ,thespiai1  
ibid41 #agfj and #aggc2 on  ,mt4        
,helikon1 ibid41 #aggf2 at ,akraiphia1  
ibid41 #bgbg2 at ,koroneia1  ibid41     
#bhga2 etc4 ,cf4 ,frazer1 ,,iii1 p4     
#fbh4 ,also on ,samos3 see  inscription 
discussed in ,j4 ,h4 ,s41 ,,vii1 #ahhf1 
p4 #aej4    #aiie ,afr42 ,foerster1 nos4
 #cjb 7,timaios7 and #cjc 7,krates72    
they are  not mentioned by ,pausanias in
 his account of the introduction of     
various contests at ,olympia1 ,v1 #h4f  
f4 ,lucian mentions the contests of     
heralds at ,olympia3 de morte           
,peregrini1 #cb4    #aiif ,v1 #bb4a4    
#aiig ,nestor 7,f4 ,h4 ,g41 ,,ii1 p4    
#dhe991 quoted by ,athenus1 ,x1 #g1 p4  
#dae;a7 says that he was periodonikes   
ten times1 while ,pollux 7,,iv1 #hi7    
says seven times4 ,for the dates of the 
victories1 which fell some time  between
 ,ols4 787 #aac and #abb 7 #cbh and #bib
 ,b4 ,c471 see ,foerster1 nos4  #cie1   
#cii1 #djb1 #djd1 #djf1 #daa1 #dae1     

#dbb1 #dbe1 and #dbh4    #aiih ,athen41 
,x1 #g 7p4 #dad;e74    #aiii ,amarantos 
of ,alexandria1 apud ,athen41 l4 c41    
says that he  was #c4e ells in height2  
,pollux1 l4 c41 four ells4 ,athenus     
relates  examples of his voracity4      
#bjjj ,for the inscribed basis of his   
statue at ,olympia1 see ,inschr4  v4    
,ol41 #bcb2 cf4 ,foerster1 #hae-ai      
7undated74 ,the inscription appears  to 
belong to the first century ,a4 ,d4     
#bjja ,b4 ,s4 ,a41 ,,xiii1 #aijf-g1 pp4 
#adf-g 7,dickins7 and fig4 #c2 cf4  ,a4 
,j4 ,a41 ,,xiii1 #aiji1 p4 #hc and fig4 
#f4 ,it is #j4aca meter high4    #bjjb  
,b4 ,m4 ,bronzes1 #bbc 7quoted by       
,dickins1 l4 c474    #bjjc ,see ,p41 ,x1
 #i4b4    #bjjd ,fragm4 #fe 7 ,f4 ,h4   
,g41 ,i1 #bjg1 quoted by ,strabo1 ,,vi1 
#a4i1 ,c4  #bfj74 ,for the story about  
his victory1 see ,timaios1 ,strabo1 l4  
c41  ,clemens ,alexandr41 ,protrept41   
,i1 p4 #b1 and poetically in ,a4 ,g41   
,,vi1  #ed 7,paulus ,silentiarius71 and 
,,ix1 #ehd4    #bjje ,cf4 ,reisch1 p4   

#eb4    #bjjf ,,ix1 #cj4 #b f4    #bjjg 
,in another passage1 ,x1 #g4 #b1        
,pausanias says that ,thamyris won a    
prize for singing at the ,pythian games2
 he also mentions a painting of  him by 
,polygnotos3 ,x1 #cj4 #h4 ,on ,thamyris1
 cf4 also ,p41 ,,iv1 #cc4 #c and  #g4   
#bjjh ,for the story of the poet ,arion 
and the dolphin1 see ,p4 ,,iii1 #be4    
#g4    #bjji ,in ,x1 #g4 #d1 ,pausanias 
says that ,sakadas won in flute-playing 
at  ,delphi three times1 the first in   
the third year of ,ol4 #dh 7 #ehe ,b4   
,c474 ,in another passage1 ,,ii1 #bb4h1 
he says that ,sakadas was the first  to 
play the 8,pythian tune0 on the flute4  
,for a description of this  tune1 see   
,pollux1 ,,iv1 #hd1 and ,strabo1 ,,ix1  
#c4aj 7,c4 #dba74    #bjaj ,,xiv1 #bd   
7p4 #fbi;a74    #bjaa ,c4 ,i4 ,a41 ,i1  
#ceg4    #bjab ,froehner1 ,notice1 no4  
#af2 ,clarac1 #abb1 #cdb2 ,m4 ,w41 ,i1  
,pl4 #ac1  #df2 etc4    #bjac ,a4 ,m41  
,,xii1 #ahhg1 pp4 #cgh f4 7,wolters7 and
 ,pl4 ,,xii4    #bjad ,v1 #g4aj2 cf4    

,plutarch1 de ,musica1 #bf4 ,athenus1   
,,iv1 #ci 7p4  #aed;a71 quotes from the 
first book of the catalogue of ,olympic 
victors  by ,eratosthenes to the effect 
that the ,etruscans used to box to the  
music of the flute4    #bjae ,p41 ,v1   
#ag4 #aj4    #bjaf ,ph41 #ee4    #bjag  
,plut41 l4 c4    #bjah ,see ,pinder1    
,ueber den ,fuenfkampf d4 ,hellenen1    
#ahfg1 pp4 #ig f4    #bjai ,he won      
sometime between ,ols4 787 #eh and #fb 7
 #edh and #ecb ,b4  ,c473 ,p41 ,,vi1    
#ad4i-aj2 ,hyde1 #abh;b and p4 #eb4 ,he 
also won six victories  at ,delphi and  
fluted at the pentathlon3 cf4 ,p41 l4 c4
 and ,ph41 #ee4    #bjbj ,so            
,hitz4-,bluemn41 ,,ii1 #b1 p4 #fjd4 ,an 
example1 on the other hand1  of a very  
small man erecting a large statue is    
that of the poet ,lucius  ,accius1 whose
 statue was set up in the temple of the 
,camenae in ,rome3  ,pliny1 ,h4 ,n41    
,,xxxiv1 #ai2 cf4 ,bernouilli1 ,roem4   
,ikonogr41 ,i1 p4 #bhi4    #bjba ,e4 g41
 to ,aristotle of ,stagira3 ,p41 ,,vi1  

#d4h2 ,hyde1 #da;b2 to  ,gorgias of     
,leontini3 ,p41 ,,vi1 #ag4g2 ,hyde1     
#ahd;a2 ,inschr4 v4 ,ol41 #bic2  etc4   
#bjbb ,the first part of the present    
chapter appeared under the  caption1    
,lysippus as a ,worker in ,marble1 in   
,a4 ,j4 ,a41 #b;d ,series1 ,,xi1  #aijg1
 pp4 #cif-daf1 and figs4 #a-f2 the      
second part1 entitled1 ,the ,head  of a 
,youthful ,heracles from ,sparta1       
appeared ibid41 ,,xviii1 #aiad1  pp4    
#dfb-dgh1 and fig4 #a4 ,both parts have 
been rewritten4 ,the author  is indebted
 to the former editor-in-chief1 ,dr4    
,james ,m4 ,paton1 for  permission to   
use the original papers in writing the  
present chapter4    #bjbc ,first noted  
by ,homolle1 ,gaz4 ,b4-,a41 ,,xii1      
#ahid1 ,,iii ,sr41 pp4  #deb f42 id41   
,b4 ,c4 ,h41 ,,xxi1 #ahig1 pp4 #eib f42 
id41 ibid41  ,,xxiii1 #ahii1 pp4 #dba   
f42 id41 ,rev4 ,arch41 #aijj1 p4 #chc2  
,p4 ,gardner1  ,j4 ,h4 ,s41 ,,xxv1      
#aije1 pp4 #bcd f4 7,the ,apoxyomenos of
 ,lysippos74 ,for  a good summary and a 

new identification of the figures of the
 group  7without discussing the style71 
see ,miss ,e4 ,m4 ,gardner and ,k4 ,k4  
,smith1  ,a4 ,j4 ,a41 ,,xiii1 #aiji1 pp4
 #ddg f4 7,pl4 ,,xiv and #ba text-cuts74
    #bjbd ,the group was composed of    
nine statues3 three of athletes1 those  
of the brothers ,agias1 a pancratiast1  
,telemachos1 a wrestler1 and  ,agelaos1 
a boy runner2 four statesmen1 and the   
son of the dedicator1  and one unknown3 
,b4 ,c4 ,h41 ,,xxi1 pp4 #eib f42 ,sitzb4
 ,muen4 ,akad41  #aiac1 ,,iii1 no4 #d1  
pp4 #de-df4    #bjbe ,gaz4 ,b4-,a41     
,,xii1 #ahid1 p4 #deb3 8un des          
meilleures exemples de  la manire de    
,lysippe40    #bjbf ,b4 ,c4 ,h41 ,,xxi1 
#ahig1 p4 #eih4    #bjbg ,b4 ,c4 ,h41   
,,xxiii1 #ahii1 pp4 #dgj-a3 8,l'auteur  
de la statue  d',agias 444 ne peut tre  
cherch que dans l'cole de ,lysippe ou   
dans  sa dpendance immdiate44440 ,on p4 
#dgb he says that in the ,agias we  have
 a statue 8qui approche aussi prs que   
possible d'un original de  ,lysippe40   

#bjbh ,ein delphisches ,weihgeschenck1  
#aijj2 for the inscription  referring to
 the statue of ,agias1 see ,b4 ,c4 ,h41 
,,xxi1 #ahig1 pp4  #eib-eic4 ,preuner's 
ingenious theory was based on a         
combination of the  inscriptions on the 
bases of the group4    #bjbi ,fouilles  
de ,delphes1 ,,iv1 #aijd1 ,pls4 ,,lxiii 
7full length71 ,,lxiv  7head72 statue of
 ,sisyphos ,i1 ,pl4 ,,lxv2 ,sisyphos    
,,ii1 ,,lxviii 7 ,b4 ,c4  ,h41 ,,xxiii1 
,pl4 ,,ix72 ,agelaos 7 ,b4 ,c4 ,h41     
,,xxiii1 ,pl4 ,,ix74 ,for the  ,agias1  
see also ,b4 ,c4 ,h41 ,,xxiii1 #ahii1   
,pls4 ,x 7head1 two views7  and ,,xi    
7statue72 von ,mach1 #bcd2              
,springer-,michaelis1 p4 #ccf1 fig4     
#eif2  ,reinach1 ,rp41 ,,ii1 #b1 #edi1  
#aa 7before the discovery of the lower  
legs74 ,the name is to be spelled either
 ,agias or ,hagias2 the former has  now 
become usual4    #bjcj ,baron ,otto     
,magnus von ,stackelberg 7#agfj-ahcf7   
visited ,pharsalos  in ,september #ahaa4
    #bjca ,in the ,braccio ,nuovo3      

,amelung1 ,vat41 ,i1 p4 #hf1 no4 #fg and
 ,pl4  ,,xi2 ,helbig1 ,fuehrer1 ,i1 no4 
#bc2 ,guide1 ,i1 no4 #ca2 ,b4 ,b41 #bha 
7head   #dhg72 ,bulle1 #fb 7head  #bac72
 and reconstruction in a bronzed cast on
  a high pedestal in the ,museum of the 
,university of ,erlangen1 ibid41  pp4   
#aag-ah1 fig4 #bb1 a1 b1 c 7cf4         
,muenchner ,jb4 f4 bild4 ,kunst41       
#aijf1 p4 #cf72 von ,mach1 #bce2 ,baum41
 ,,ii1 p4 #hdc1 fig4 #ibe2 ,mon4 d4 ,i41
  ,v1 #ahdi-ec1 ,pl4 ,,xiii2 ,rayet1    
,,ii1 ,pl4 #dg 7text by ,collignon72    
,overbeck1  ,,ii1 p4 #aeg1 fig4 #ahb2   
,collignon1 ,,ii1 p4 #dae1 fig4 #bah2   
,furtw4-,urlichs1  ,denkm41 ,pl4 ,,xxxiv
 and pp4 #ajg-aj2 ,springer-,michaelis1 
p4 #ccg1 fig4  #fjc2 ,reinach1 ,rp41    
,,ii1 #b1 #edf1 #b2 ,clarac1 ,v1        
#hdh;,b1 #bafh;,a2 ,f4 ,w41  #abfd2 etc4
    #bjcb ,cf4 ,f4 ,w41 p4 #ddi1        
paragraph #b of the notes4 ,e4 ,braun   
7,annali1 ,l1 #ahej1 pp4 #bbc f47 first 
identified the statue with  ,lysippos'  
,apoxyomenos2 cf4 also ,brunn           

7,bulletino d4 ,inst41 #ahea1  p4 #ia74 
#bjcc ,cf4 ,becker1 ,gallus1#c ,,iii1 p4
 #ajh2 and especially ,j4  ,kueppers1   
,der ,apoxyomenos des ,lysippos1 in     
,progr4 des ,bonner ,gymnas41  #ahfi4   
#bjcd ,h4 ,n41 ,,xxxiv1 #fb4    #bjce   
,ibid41 ,,xxxiv1 #fe4    #bjcf          
,especially its surface modeling was    
supposed to confirm ,pliny's  criticism 
of the master3 op4 cit41 ,,xxxiv1 #fe4  
#bjcg ,one ,hundred ,masterpieces of    
,sculpture1 #aiji1 p4 #ci4    #bjch     
,unless we except the ,athenian torso to
 be mentioned infra1 p4  #bij1 n4 #d4   
#bjci ,cf4 ,tarbell1 ,congress of ,arts 
and ,sciences1 ,st4 ,louis1 #aijd1      
,,iii1 p4 #fad4    #bjdj ,de ,alex4     
,magn4 fort4 aut virt41 ,orat4 ,,ii1 #b 
7p4 #cce1 b1 c72  ,s4 ,q41 no4 #adgi4   
#bjda ,j4 ,h4 ,s41 ,,xxiii1 p4 #acj1 n4 
#bh2 it is also quoted by ,gardner1     
,sculpt41 pp4 #bbj-a4    #bjdb ,see ,ada
 ,maviglia1 ,l'attivit artistica di     
,lisippo ricostruita  su nuova base1    
#aiad4 ,for the ,uffizi statue1 see     

supra1 pp4 #acf-acg4    #bjdc ,in his   
discussion of the ,athenian torso1 which
 he believed was  another copy of the   
original of the ,vatican statue3 ,a4    
,m41 ,,ii1 #ahgg1  pp4 #eg-h1 ,pl4 ,,iv2
 ,reinach1 ,rp41 ,,ii1 #b1 #hai1 #a4    
,this torso had the  left leg free1     
while the ,vatican one had the right one
 free2 it is also  dry and hard in its  
technique4    #bjdd ,that of ,emil      
,braun1 in ,annali1 ,l1 #ahej1 p4 #bdi4 
#bjde ,e4 g41 ,loewy1 ,r4 ,m41 ,,xvi1   
#aija1 p4 #cib4 ,furtwaengler1  ,sitzb4 
,muen4 ,akad41 #aijd1 ,,ii1 p4 #cgi1 n4 
#a1 says that the ,agias  8dem ,lysipp  
gaenzlich ferne steht10 and assigns it  
to an ,athenian  artist4    #bjdf       
,especially the ,gardner brothers3 ,p4  
,gardner1 ,j4 ,h4 ,s41  ,,xxiii1 #aijc1 
pp4 #acj-aca 7where he identifies the   
,apoxyomenos with  the ,perixyomenos of 
,dappos1 the son or pupil of ,lysippos1 
a work  mentioned by ,pliny1 ,h4 ,n41   
,,xxxiv1 #hg72 ibid41 ,,xxv1 #aije1 pp4 
#bcd  f41 especially p4 #bcf 7on pp4    

#bee f4 he dates the ,apoxyomenos just  
after #cjj ,b4 ,c41 though ultimately   
deriving it from the school of          
,lysippos72 id41 ,class4 ,rev41 #aiac1  
p4 #ef2 ,e4 ,a4 ,gardner1 ,sculpt41  p4 
#bbb2 ,hbk41 p4 #ddc4 ,t4 ,l4 ,shear1   
,a4 ,j4 ,a41 ,,xx1 #aiaf1 p4 #bib1      
makes the ,agias the centre of his      
treatment of ,lysippos4 ,still others   
who think that the two statues can not  
be by the same sculptor are  cited by   
,wolters1 ,sitzb4 ,muen4 ,akad41 #aiac1 
,,iii1 no4 #d1 p4 #dd1 n4 #c4  ,see also
 ,f4 ,paulson1 ,delphi1 #aibj1 pp4      
#bhh-bhi4    #bjdg ,e4 g41 ,collignon1  
,lysippe1 p4 #ca2 ,amelung1 ,r4 ,m41    
,,xx1  #aije1 pp4 #add f42 id41 ,vat41  
,i1 p4 #hg 7where he says that the      
,agias offers the closest analogies in  
style to the ,apoxyomenos72  ,michaelis1
 ,die archaeol4 ,entdeckungen des #aiten
 ,jahrh41 #aijf1 p4 #bgf2  ,a ,century  
of ,archological ,discoveries 7transl4  
of preceding1 by  ,bettina ,kahnweiler1 
#aijh71 p4 #cbc2 id41                   

,springer-,michaelis1 p4 #cce2  for     
others1 cf4 ,wolters1 l4 c41 n4 #b4     
#bjdh ,pliny1 ,h4 ,n41 ,,xxxiv1 #fa 7   
,s4 ,q4 no4 #addd71 quotes ,douris  as  
saying that ,lysippos was the pupil of  
no artist4 ,he tells how  the painter   
,eupompos advised the sculptor as a boy 
naturam ipsam  imitandam1 esse non      
artificem4 ,such a judgment1 of course1 
can not be  literally true1 as every    
artist is to a large extent a child of  
his age  and circumstances4 ,cf4        
,jex-,blake1 pp4 xlviii f41 for the     
anecdotal  character of ,pliny's        
statement4 ,that the statement comes1   
perhaps1 from  ,eupompos is the view of 
,kalkmann1 ,quellen der ,kunstgeschichte
 des  ,plinius1 #ahih1 p4 #afe4    #bjdi
 ,b4 ,c4 ,h41 ,,xxi1 #ahig1 p4 #eih2    
id41 ,,xxiii1 #ahii1 p4 #dga2 cf4  ,t4  
,l4 ,shear1 ,a4 ,j4 ,a41 l4 c4 ,on the  
relation of ,skopas to ,lysippos1  see  
,p4 ,gardner1 ,j4 ,h4 ,s41 ,,xxiii1     
#aijc1 pp4 #abf f41 and ,e4 ,a4         
,gardner1  ,sculpt41 p4 #aih4 ,the      

influence of ,skopas is especially      
observable  in ,lysippos' treatment of  
forehead and eyes and in the consequent 
intensity of expression4    #bjej ,jb41 
,,xxv1 #aiaj1 pp4 #agb-c4    #bjea ,see 
,wolters1 l4 c41 pp4 #de f4 ,most       
scholars have followed the  contention  
of ,preuner that the statue at          
,pharsalos was the older3 e4  g41 ,kern1
 ,i4 ,g41 ,,ix1 #b1 #bdi4    #bjeb ,cf4 
,hill1 op4 cit41 p4 #ci4    #bjec ,mp41 
p4 #cfd and n4 #b2 ,mw41 p4 #eig and n4 
#c2 for the ,berlin  athlete1 see       
,beschr4 d4 ant4 ,skulpt41 no4 #dga2 for
 a copy of the  ,berlin head in the     
,museo delle ,terme1 ,rome1 see ,helbig1
 ,fuehrer1  ,,ii1 #achj bis2 ,jb41      
,,xxvi1 #aiaa1 p4 #bgh1 n4 #a2 and cf4  
,r4  ,m41 ,,xx1 #aije1 pp4 #adg f41     
figs4 #e-g2 for the ,dresden statues1   
see  ,hettner1 ,bildw4 d4 kgl4          
,antiken-samml41 nos4 #bde-f2 one of    
these  has a beardless head1 which is   
analogous to a more beautiful head in   
,copenhagen3 ,la ,glypt4 ,ny-,carlsberg1

 no4 #ajgb4 ,of this head1 which  is    
earlier than that of the ,apoxyomenos1  
,furtwaengler says that it  is 8one of  
the finest and most purely ,lysippan    
works in existence40  ,in ,mp41 p4 #cch1
 he mentions a bronze statuette of      
,hermes from  ,athens now in ,berlin    
7,invent4 #fcje7 8in the swinging       
posture of the  ,apoxyomenos10 and says 
that it is of the purest ,lysippan      
style4    #bjed ,j4 ,h4 ,s41 ,,xxvi1    
#aijf1 pp4 #bci-dj and ,pl4 ,,xvi2      
,duetschke1 ,,iv1  #aea4    #bjee ,la   
,glypt4 ,ny-,carlsberg1 no4 #bdj2       
,mahler ascribes this work to           
,lysippos3 ,polykl4 u4 s4 ,sch41 #aijb1 
p4 #aec1 n4 #a4    #bjef ,b4 ,m4        
,sculpt41 #agdg1 p4 #ajb2 ,mp41 p4 #bih 
and fig4 #abf2  ,mw41 pp4 #eae and #eag 
and fig4 #ic2 cf4 ,mrs4 ,strong1 in     
,strena  ,helbigiana1 #aijj1 p4 #big4   
,it is #f ft4 #h in4 high without the   
plinth  7,smith74    #bjeg ,a better    
copy is the torso in the ,louvre1 ,photo
 ,giraudon1 no4  #abhi2 a head is in the

 ,lateran1 no4 #hia4    #bjeh ,de olymp4
 ,stat41 ,halle1 #aijb1 and enlarged1   
#aijc1 pp4 #bg f4    #bjei ,bildw4 v4   
,ol41 ,tafelbd41 ,pl4 ,,liv1 #c-d1 and  
,textbd41 p4 #bji1  fig4 #bcg2 ,ausgr4  
v4 ,ol41 ,v1 #ahha1 ,pl4 ,,xx4    #bjfj 
,,vi1 #b4a4    #bjfa ,the head is still 
exhibited at ,olympia in the same room  
as the  ,hermes4    #bjfb ,a4 ,z41      
,,xxxviii1 #ahhj1 p4 #aad2 cf41 ,ausgr4 
v4 ,ol41 ,v1 pp4  #ac-ad4    #bjfc      
,olympia#b1 #ahhf1 pp4 #cdc f4 and ,pl4 
,,xvi 7right74    #bjfd ,restauration   
d',olympie1 #ahhi1 p4 #acg4    #bjfe ,in
 ,roscher1 ,lex41 ,i1 #b1 s4 v4         
,herakles1 p4 #baff4    #bjff ,e4 g41   
,graef1 ,r4 ,m41 ,,iv1 #ahhi1 pp4       
#ahi-bbf1 especially p4  #bag2 von      
,sybel1 in ,luetzow's ,zeitschr4 fuer   
bild4 ,kunst1 ,n4 ,f41 ,,ii1  pp4 #bec  
f4    #bjfg ,bildw4 v4 ,ol41 pp4 #bji   
and n4 #a4    #bjfh ,b4 ,c4 ,h41        
,,xxiii1 #ahii1 pp4 #def-g4    #bjfi    
,polyklet u4 seine ,schule1 p4 #adi4    
#bjgj ,preuner 7op4 cit41 p4 #ab7 dates 

the dedication  #cci-cca ,b4 ,c42       
,homolle 7,b4 ,c4 ,h41 ,,xviii1 #ahii1  
p4 #ddj7 more closely1  #cch-ccd ,b4 ,c4
 ,preuner dates ,agias' victory about   
#dej ,b4 ,c4    #bjga ,treu1 ,bildw4 v4 
,ol41 p4 #bjh1 gives these measurements3
 height  with neck1 #j4bgj meter2 height
 of head alone1 #j4bae meter2 breadth of
  face1 #j4abg meter2 height of face1   
#j4aee meter4    #bjgb ,h4 ,n41 ,,xxxiv1
 #fe4    #bjgc ,the hair1 however1 of   
the ,apoxyomenos is an exception1 for1  
even if worked out with some care1 it is
 devoid of expression4    #bjgd ,the use
 of the drill is seen in the            
,praxitelian ,hermes1 but is  not seen  
in the ,tegea heads1 nor is it common in
 the first half of the  fourth century  
,b4 ,c43 cf4 ,furtwaengler1 ,mp41 p4    
#cji4    #bjge ,so ,treu1 ,bildw4 v4    
,ol41 p4 #bjh 7though formerly in ,a4   
,z41  ,,xxxviii1 #ahhj1 p4 #aad1 he     
called it a pancratiast with ,herakles  
features72 ,reisch1 p4 #dc1 n4 #a2      
,flasch1 in ,baum41 p4 #aajd #jj2       

,furtwaengler1 in ,roscher's ,lex41 s4  
v4 ,herakles1 ,i1 #b1 p4 #baff2 etc4    
#bjgf ,see pp4 #ge and #id4    #bjgg ,e4
 g41 ,treu1 ,bildw4 v4 ,ol41 pp4 #bjh f4
    #bjgh ,supra1 pp4 #afg f4    #bjgi  
,michaelis1 pp4 #dea f41 no4 #fa2       
,specimens1 ,i1 ,pl4 ,,xl2              
,furtwaengler1 ,mp41 p4 #big1 fig4 #abe1
 ,mw41 p4 #eaf1 fig4 #ib2 ,graef1  ,r4  
,m41 ,,iv1 #ahhi1 pp4 #ahi f41 and ,pls4
 ,,viii-,,ix2 ,springer-,michaelis1 p4  
#ccf1 fig4 #fjj2 ,clarac1 ,v1 #ghh1     
#aigc2 etc4 ,it was found in #agij in   
the  ruins of ,hadrian's villa at       
,tivoli4    #bjhj ,,vi1 #a4d4    #bjha  
,,vi1 #b4a4    #bjhb ,,vi1 #e4a4        
#bjhc ,,vi1 #d4f4    #bjhd ,,vi1 #ag4c4 
#bjhe ,east of the temple of ,zeus2 see 
infra1 ,ch4 ,,viii1 p4 #cdb1 n4 #d4     
#bjhf ,see list in ,hyde1 pp4 #c f4     
,here nos4 #ia and #acf refer to the    
same victor4    #bjhg ,,vi1 #a4c4       
#bjhh ,bildw4 v4 ,ol41 p4 #bji4 ,see    
,plans ,a and ,b4    #bjhi ,p41 ,,vi1   
#a4d4    #bjij ,p41 ,,vi1 #a4f4    #bjia

 ,p41 ,,vi1 #c4b4    #bjib ,see ,inschr4
 v4 ,ol41 nos4 #aff 7,troilos71 #afj    
7,kyniska71 #agb  7,sophios74 ,see      
,plans ,a and ,b4    #bjic ,this fact1  
together with its place of finding not  
far from the  ,great ,gymnasion1 led    
,treu to believe that the statue once   
adorned the  interior of the            
exercise-place of the athletes3 ,bildw4 
v4 ,ol41 p4 #bji4    #bjid ,the         
,praxitelian ,hermes similarly shows an 
unfinished treatment  of the back hair2 
in fact the entire back of the statue is
 carelessly  done 7,bildw4 v4 ,ol41 p4  
#bjc1 fig4 #bcc71 though chisel-rasps   
show  a subsequent attempt to better it4
 ,this condition led ,treu at first     
7,ausgrab4 v4 ,ol41 ,v1 p4 #aj2 followed
 by ,furtwaengler1 ,mp41 p4  #cjh1 n4   
#g2 ,mw41 p4 #eca1 n4 #c7 to believe    
that the statue was made  at ,olympia   
with regard to its position in the      
,heraion4 ,later 7,bildw4  v4 ,ol41 pp4 
#bjd-e7 ,treu believed that this merely 
indicated that the  statue was intended 

to stand against a wall2 and since the  
present  base is not the original one   
7see ,bulle1 apud ,purgold1 ,ergebnisse 
v4 ,ol41 ,,ii1 pp4 #aeg f471 that the   
statue was not originally meant for  the
 temple1 but was moved thither1 perhaps 
in ,nero's day2 cf4 also  ,wernicke1    
,jb41 ,,ix1 #ahid1 pp4 #ajh f4 ,for the 
,hermes1 mentioned by  ,p41 ,v1 #ag4c1  
and found in the cella of the ,heraion  
on ,may #h1 #ahgg1 see  ,bildw4 v4 ,ol41
 ,tafelbd41 ,pls4 ,,xlix-,,liii2        
,textbd41 pp4 #aid f4 and  figs4        
#bbe-bcd4    #bjie ,however1 ,lysippos  
made the statue of ,polydamas of        
,skotoussa1  who won the pankration in  
,ol4 #ic 7 #djh ,b4 ,c471 many years    
after the  victory3 see ,p41 ,,vi1 #e4a2
 ,hyde1 #dg2 ,foerster1 #bgi2 ,h4 ,l4   
von ,urlichs1  ,ueber ,griech4          
,kunstschriftsteller1 ,diss4 inaug41    
#ahhg1 p4 #bf4    #bjif ,p4 #bg4        
#bjig ,inschr4 v4 ,ol41 #aff2 cf4 ,p41  
,,vi1 #a4 #d 7both victories  wrongly in
 ,ol4 #ajb72 ,hyde1 #f2 ,foerster1 #cch 

and #cde4    #bjih ,date given by ,p41  
,,vi1 #d4b4 ,see ,hyde1 #cg2 ,foerster1 
#cdi1 #cec1 #cei4    #bjii ,for the     
earlier dating of ,lysippos1 see        
,winter1 ,jb41 ,,vii1  #ahib1 p4 #afi   
7who begins the artist's activity with  
the seventies71  ,treu1 ,bildw4 v4 ,ol41
 p4 #baa1 and ,milchhoefer1 ,arch4      
,stud4 fuer ,h4  ,brunn1 p4 #ff1 n4 #b2 
see also ,hyde1 pp4 #bf-g1 7who gives   
the sculptor's  artistic activity as    
,ols4 #ajc-aae  #cfh-cbj ,b4 ,c472 ,e4  
,a4 ,gardner1  ,sculpt41 pp4 #baf-bag1  
who dates his activity #cff-caf ,b4 ,c42
 ,p4  ,gardner1 infra1 next note4       
#bajj ,j4 ,h4 ,s41 ,,xxv1 #aije1 pp4    
#bdc-bdi2 on p4 #bde he says3 8,there is
  some evidence for work by ,lysippos at
 a later date than ,b4 ,c4 #cbj4 ,and   
if he were born1 as seems probable1     
about ,b4 ,c4 #cij1 he may well have    
accepted commissions1 to be executed    
mainly by his pupils1 for several  years
 after #cbj40    #baja ,p41 ,,vi1 #d1   
#f-g2 ,hyde1 #da2 ,foerster1 #chd and   

#cib1 who1 on the  basis of ,i4 ,g4 ,b41
 p4 #ge1 to no4 #ic;b1 dates the        
victories ,ols4 787  #aab and #aac 7    
#ccb and #cbh ,b4 ,c474    #bajb ,l4 c41
 p4 #bdf4    #bajc ,p41 ,,vi1 #ag1 #c2  
,hyde1 #age2 ,foerster1 #cij and #cig 7 
,ols4 8 #aac  and #aad1  #cbh and #cbd  
,b4 ,c4 on the basis of ,i4 ,g4 ,b41 p4 
#ge74    #bajd ,e4 g41 ,furtwaengler1   
who gives #cej-cjj ,b4 ,c4 as the period
 of  his artistic activity3 ,mw41 p4    
#ebc1 n4 #c4    #baje ,b4 ,c4 ,h41      
,,xxi1 #ahig1 p4 #eih 7and copied in    
,,xxiii1 #ahii1 p4  #dbb74 ,the ,agias  
is but slightly later than the ,hermes1 
if we  accept ,furtwaengler's dating for
 the latter1 about #cdc ,b4 ,c43 ,mp41  
pp4 #cjg-cjh2 ,mw41 pp4 #ebi-eca4 ,brunn
 had regarded the ,hermes as  a youthful
 work of ,praxiteles3 ,deutsche         
,rundschau1 ,,viii1 #ahhb1 pp4  #ahh f4 
,purgold1 ,aufsaetze ,e4 ,curtius       
gewidmet1 pp4 #bcc f41 and ,s4          
,reinach1 ,gaz4 ,arch41 #ahhg1 p4 #bhb1 
n4 #i1 had assigned it to the year  #cfc

 ,b4 ,c4    #bajf ,h4 ,n41 ,,xxxiv1 #cg4
    #bajg ,ibid41 #fa f4    #bajh ,the  
two are contrasted in ,,xxxv1 #aef3     
,varro laudat et  ,pasitelen qui        
plasticen matrem caela turae et         
statuariae scalpturaeque  7 sculpturae7 
dixit1 etc4 ,cf4 infra1 ,ch4 ,,vii1 p4  
#cbd1 n4 #d4 ,they  are also contrasted 
in ,,xxxvi1 #ae4 ,sculptura is the      
modern title of  ,bk4 ,,xxxvi4    #baji 
,,ii1 p4 #aej4 ,see also ,bulle1 p4     
#acg4 ,amongst recent writers who       
oppose this view are ,koepp1 ,ueber d4  
,bildnisse ,alex4 d4 ,gr41 p4 #bi1  and 
,preuner1 op4 cit41 pp4 #df-g4    #baaj 
,thus the ,sikyonian ,kanachos worked in
 marble1 bronze1 gold and  ivory1 and   
cedar-wood3 ,pliny1 ,h4 ,n41 ,,xxxiv1   
#ej and #ge2 ,,xxxvi1 #da2 ,p41  ,,ii1  
#aj4e2 ,,ix1 #aj4b2 etc4    #baaa ,f4   
,spiro1 ,woch4 f4 kl4 ,philologie1      
,,xxi1 #aijd1 col4 #gib 7in his  review 
of my de olymp4 ,stat4 a ,paus4         
commem474    #baab ,see ,bildw4 v4 ,ol41
 ,tafelbd41 ,pl4 ,,lv1 #a-c2 ,textbd41  

pp4 #bji f4    #baac ,this is           
substantially ,preuner's view3 op4 cit41
 pp4 #ci-dj and  #df-dg2 the later view 
of ,p4 ,wolters that the ,delphi group  
was older  than the statue at ,pharsalos
 has already been mentioned supra1 p4   
#bib2 see ,sitzb4 ,muen4 ,akad41 #aiac1 
,,iii1 no4 #d1 pp4 #dd-de4    #baad ,in 
,a4 ,j4 ,a41 ,,xi1 #aijg1 pp4 #dad-af1  
,i argued that the statue of  ,agias was
 an original and not a copy2 in the     
present work this view is  somewhat     
modified4    #baae ,so ,homolle1 ,b4 ,c4
 ,h41 ,,xxiii1 #ahii1 pp4 #dde and #dei2
 ,s4  ,reinach1 ,c4 ,r4 ,acad4 ,inscr41 
#aijj1 pp4 #h f42 ,h4 ,lechat1 ,rev4 des
  tudes anciennes1 ,,ii1 #aijj1 pp4 #aie
 f42 ,gardner1 ,hbk41 p4 #dda2  ,p4     
,gardner1 ,j4 ,h4 ,s41 ,,xxiii1 p4 #abg2
 cf4 ,preuner1 op4 cit41  p4 #ch2 etc4  
,homolle1 l4 c41 p4 #dga1 says that if  
the ,agias is a  copy1 8c'est celui     
d'une copie authentique immdiate1       
contemporaine  du modle40 ,the view that
 the ,delphi group was not original is  

well  expressed by ,p4 ,wolters1 l4 c41 
p4 #ej1 who says that 8niemand die      
delphischen ,statuen fuer ,originale des
 ,lysippos erklaeren wird40    #baaf    
,hbk41 p4 #dda1 n4 #b2 only two small   
marble props1 reaching to  the calves1  
support the ankles4    #baag ,this      
treatment gives the impression of       
texture and profusion2  see             
,furtwaengler1 ,mp41 p4 #cji4    #baah  
,pliny1 ,h4 ,n41 ,,xxxiv1 #fi-ga 7list  
of bronze works74    #baai ,mechanically
 exact copies were unknown in the fourth
 century  ,b4 ,c4 ,furtwaengler has     
shown that such copies began to be made 
in the  second century ,b4 ,c41 or      
possibly at the end of the third1 and   
became  common only in the first3 ,ueber
 ,statuencopien im ,altertum1 #ahif4    
#babj ,it is mentioned by ,pausanias1   
,,ix1 #ce4c1 and the ,surname  8,oulios0
 by ,strabo1 ,,xiv1 #a4f 7,c4 #fce72 it 
is described by ,plutarch1  de ,musica1 
#ad 7 #aacf ,a71 and ,macrobius1 ,sat41 
,i1 #agac4    #baba ,schol4 on ,pindar1 

,ol41 ,,xiv1 #af1 ,boeckh1 p4 #bic4     
#babb ,bekker1 ,anecd4 gr41 p4 #bii1    
#h-i2 cf4 ,athen41 ,x1 #bd 7p4 #dbd     
f474 ,it appears on ,athenian coins     
also3 see ,frazer1 ,v1 p4 #agd1 figs4   
#h-i4    #babc ,p41 ,,viii1 #df4c2      
,pliny1 ,h4 ,n41 ,,xxxiv1 #ge4 ,cf4     
,brunn1 ,i1 pp4  #gd f4    #babd ,p41   
,,ix1 #aj4b4    #babe ,op4 cit4 ,the    
transference to the minor arts--reliefs1
 coins1  gems and vase-paintings--was1  
of course1 especially common at all     
times4  ,see also ,f4 ,hauser1 ,die     
neu-attischen ,reliefs1 #ahhi1 and      
,flasch1 ,a4  ,z41 ,,xxxvi1 #ahgh1 p4   
#aai4    #babf ,p41 ,,vi1 #h4e and      
,,vii1 #bg4e4 ,he won the pankration in 
,ol4 #id 7  #djd ,b4 ,c473 ,hyde1 #ha2  
,foerster1 #bhf4    #babg ,b4 ,c4 ,h41  
,,xxi1 #ahig1 pp4 #faf-bj 7,homolle74   
#babh ,see ,amelung1 ,r4 ,m41 ,,ix1     
#ahid1 pp4 #afb f4 and ,pl4 ,,vii4 ,cf41
  ,treu1 ,bildw4 v4 ,ol41 pp4 #aij-aia1 
and fig4 #bbb ,b1 on pp4 #ahh-ahi4      
#babi ,j4 ,h4 ,s41 ,,xxix1 #aiji1 pp4   

#aea-b1 fig4 #a a and b 7,f4 ,h4        
,marshall74    #bacj ,,xiii1 #aiji1 pp4 
#aea-g1 with ,pl4 ,,iv and figs4 #a-c   
7,a head of  ,heracles in the style of  
,scopas47    #baca ,ibid41 pp4 #aef and 
#aeg4    #bacb ,museum of ,fine ,arts   
,bulletin1 ,,viii1 no4 #df 7,aug41      
#aiaj71 p4 #bf4    #bacc ,,ii1 #aj4a4   
#bacd ,f4 ,imhoof-,blumer and ,p4       
,gardner1 p4 #cj 7reprinted from        
articles  which appeared in the ,j4 ,h4 
,s41 ,,vi-,,viii1 #ahhe-ahhg74    #bace 
,discussed by ,graef1 ,r4 ,m41 ,,iv1    
#ahhi1 pp4 #ahi-bbf4 ,for the  coin1 see
 ibid41 pp4 #bab-ad4    #bacf ,for the  
two heads of heroes1 see ,kabbadias1 pp4
 #aed f41 nos4  #agi1 #ahj2 ,stas1      
,marbres et ,bronzes1 p4 #cc2 ,b4 ,b41  
no4 #dd2 ,collignon1  ,,ii1 pp4 #bci1   
figs4 #aah and #aai2 ,ant4 ,denkm41 ,i1 
#c1 #ahhh1 ,pl4 ,,xxxv1  #b-c1 #d-e     
7from casts72 ,milchhoefer1 ,a4 ,m41    
,,iv1 #ahgi1 pp4 #acc-d1 nos4  #bd-be2  
,g4 ,treu1 ,a4 ,z41 ,,xxxviii1 #ahhj1   
pp4 #ih f42 ,luetzow1 ,zeitschr4  f4    

bild4 ,kunst1 ,,xvii1 #ahhb1 pp4 #cbb   
f42 ,baum41 ,,iii1 pp4 #affg f4 and     
figs4 #agcc and #agcd2 von ,sybel1      
,weltgesch4 d4 ,kunst1 pp4 #bee f42     
,springer-,michaelis1 p4 #cjf1 figs4    
#edd1 a1 b2 ,gardner1 ,hbk41 p4 #dab1   
fig4 #aje2 von ,mach1 #dfi4    #bacg    
,,viii1 #de4f-g2 see ,mendel1 ,b4 ,c4   
,h41 ,,xxv1 #aija1 pp4 #beg f41  and    
,pls4 ,,iv1 ,v 7 head of ,atalanta871   
,,vi 7 torso of ,atalanta871 ,,vii1     
,,viii 7 heads of ,herakles72 ,gardner1 
,hbk41 p4 #daf1 fig4 #ajf1 has          
reconstructed the ,atalanta from ,pls4  
,,iv and ,,vi just mentioned4    #bach  
,l4 c41 p4 #bei4 ,the head has been     
restored by a ,german  sculptor1 and the
 chin appears to have been made too     
retreating3 see  ,encyl4 ,brit41 #aath  
ed41 vol4 ,,xii1 s4 v4 8,greek ,art10   
,pl4 ,,iii1 fig4  #fc4    #baci ,from   
his ,atalanta of ,tegea1 in ,j4 ,h4 ,s41
 ,,xxvi1 #aijf1 pp4  #agb-c1 quoted in  
part by ,dr4 ,bates1 l4 c41 pp4 #aee-f4 
#badj ,it was chiefly the preponderance 

of the lower part of the face  over the 
upper1 in consequence of the large chin 
and strongly marked  cheek-bones1 that  
led ,treu to predicate ,peloponnesian   
rather than ,attic  influence in the    
,tegea heads3 ,a4 ,m41 ,,vi1 #ahha1 p4  
#djh4 ,he found  them ,polykleitan in   
character1 as did also ,graef1 l4 c41 p4
 #baj1  ,furtwaengler1 ,mp41 p4 #ebc1   
and ,collignon1 ,,ii1 p4 #bch4 ,l4 ,r4  
,farnell1  however1 long ago combated   
the theory of ,peloponnesian influence1 
and  found analogies in fifth-century   
,attic works of the time of ,pheidias1  
as well as in works from the beginning  
of the fourth century ,b4 ,c43 see  ,j4 
,h4 ,s41 ,,vii1 #ahhf1 pp4 #aad f4      
#bada ,descriptiones stat41 ,b 7in      
,philostrati opera1 ed4 ,kayser1  p4    
#hia74 ,he also says 7ibid47 that       
,skopas              4  ,the words with 
which ,diodoros 7,fragm4 #a1 ,bk4       
,,xxvi7 characterized  ,praxiteles1 as  
1 apply much better to ,skopas1 for     
,praxiteles' 8emotions of the  soul0 are

 mood and temperament rather than       
emotion and passion4    #badb ,b4 ,c4   
,h41 ,,xxv1 #aija1 ,pls4 ,,iv-,v4       
#badc ,the same overhanging masses of   
flesh1 which we see in the male  heads1 
are1 however1 visible in several other  
female heads attributed  to ,skopas3 e4 
g41 in the colossal one called          
,artemisia from the  ,eastern pediment  
of the ,mausoleion3 ,gardner1 ,sculpt41 
,pl4 ,,lix2 in the  head of an          
,aphrodite found in the sea off         
,laurion3 ,j4 ,h4 ,s41 ,,xv1  #ahie1 pp4
 #aid;f4 and fig4 7,aphrodite872 in the 
head of a goddess found  south of the   
,akropolis 7and in the copy of it in    
,berlin73 ,gardner1  ,hbk41 p4 #deg1    
fig4 #aai2 and in the ,dresden statuette
 of a ,mnad3  ,treu1 ,mlanges ,perrot1  
,pl4 ,v2 ,gardner1 ,sculpt41 ,pl4 ,,lii2
 etc42  they are also plainly visible in
 the ,demeter of ,knidos3 ,gardner1     
,sculpt41 ,pl4 ,,liii2 etc4 ,these heads
 are discussed by ,gardner1  ,sculpt41  
pp4 #aij;f41 and are ascribed by him to 

,skopas4    #badd ,j4 ,h4 ,s41 ,,xxvi1  
#aijf1 p4 #agd4 ,gardner 7ibid47 does   
not  explain this contrast in expression
 between the ,atalanta and the          
surrounding heroes on the analogy of the
 contrast in the calmness of  ,apollo   
among the struggling ,lapiths from the  
,olympia pediment1  since the action in 
the torso of ,atalanta shows that she   
was no mere  spectator4 ,he finds the   
explanation rather in the sex and youth 
of the  heroine2 for this reason he     
thinks that the sculptor did not        
represent  her as sharing equally with  
the others the passion of the combat4   
,he  finds a truer analogy in the       
contrast between calm and passion in the
  ,lapiths and ,centaurs of the         
,parthenon metopes1 where the human and 
bestial are thus distinguished2 just so 
the heroine-goddess is here             
distinguished from her human companions4
 ,he also supposes that ,skopas  was not
 ready thus early in his career 7just   
after #cie ,b4 ,c41 when the  temple of 

,athena ,alea was destroyed by fire7 to 
apply his new extreme  of expression to 
female heads4 ,however1 it must not be  
overlooked that  these male             
heads--because of their marked          
individuality--presuppose  a more mature
 genius1 and so can just as well be     
assigned to the  period of the ,arkadian
 revival of #cgj ,b4 ,c4 ,it has        
recently been  seriously disputed       
whether the ,atalanta should be assigned
 at all  to the ,eastern pediment1 where
 the ,french excavators placed it2 thus 
,cultrera has looked upon it as an      
akroterion figure1 while ,thiersch  and 
,neugebauer have identified it with a   
single figure representing  ,nike4 ,see 
,cultrera1 ,atti dell' ,accad4 dei      
,lincei1 #aiaj1 pp4 #bb;f42  ,h4        
,thiersch1 ,zum ,problem des            
,tegeatempels1 ,jb41 ,,xxviii1 #aiac1 p4
  #bgj2 ,neugebauer1 ,studien ueber     
,skopas1 ,leipsic1 #aiac2 the latter has
  argued that the head and torso do not 
belong together1 while ,dugas has       

maintained the older view1 that the turn
 and position of the neck fit  the      
torso3 ,rev4 de l'art anc4 et mod41     
#aiaa1 pp4 #i;f4    #bade ,the effect in
 the ,tegea heads is heightened by the  
abrupt  transition from the brow to the 
socket--the outer end of the upper lid  
being almost hidden4    #badf           
,kabbadias1 ,i1 p4 #daf1 no4 #hfi2      
,stas1 ,marbres et ,bronzes1  pp4 #afh  
f4 and fig42 ,conze1 ,griech4           
,grabreliefs1 ,,ix1 #ahig1 no4 #ajee    
and ,pl4 ,,ccxi2 ,b4 ,b41 #dfi2 ,bulle1 
#bfg2 von ,mach1 #cfi2 ,p4 ,gardner1    
,sculptured ,tombs of ,hellas1 #ahif1   
,pl4 ,,xiv and p4 #aeb2 ,gardner1       
,sculpt41 ,pl4 ,,lxv and p4 #bjh2       
,graef1 ,r4 ,m41 ,,iv1 #ahhi1 pp4 #aii  
f42  von ,sybel1 ,weltgesch4 d4 ,kunst1 
fig4 #bjd2 id41 ,zeitschr4 f4 bild4     
,kunst1 ,n4 ,f41 ,,ii1 p4 #bic2 cf4     
,wolters1 ,a4 ,m41 ,,xviii1 #ahic1 p4   
#f4  ,it is #a4fh meters in height and  
#a4jg in breadth 7,stas74 ,the likeness 
of the head of the athlete in this      

relief to that of the ,agias is         
striking4    #badg ,it was formerly in  
the ,sala di ,meleagro1 but was later   
removed  to the ,sala degli animali2    
,helbig1 ,fuehrer1 ,i1 #abh1 and        
,nachtrag2  ,guide1 ,i1 p4 #gh1 no4     
#acc2 ,amelung1 ,vat41 ,,ii1 p4 #cc1 no4
 #aj1 and  ,pls4 ,,ii and ,,xii2 ,b4    
,b41 #chf2 von ,mach1 #baf2 id41 ,greek 
,sculpture1  ,its ,spirit and           
,principles1 #aijc1 pp4 #bgi f42 ,bulle1
 p4 #dhd1 fig4 #ade2  ,ant4 ,denkm41 ,i1
 #d1 #ahhi1 ,pl4 ,,xl1 #a;a1 #a;b       
7head72 ,graef1 ,r4 ,m41 ,,iv1  pp4 #bah
 f42 ,reinach1 ,rp41 #a1 #dgi1 #b2      
,clarac1 #hje1 #bjba4 ,it is #b4aj      
meters high 7,amelung74    #badh ,de    
olymp4 ,stat41 p4 #bh4    #badi ,mp41   
#bif f42 cf4 ,homolle1 ,b4 ,c4 ,h41     
,,xxiii1 #ahii1 p4  #dej1 n4 #b4        
,furtwaengler thought that the head was 
,attic and believed  that it was the    
direct successor of the ,munich         
,oil-pourer 7,pl4  #aa71 the ,standing  
,diskobolos of the ,vatican 7,pl4 #f71  

the ,florence  ,apoxyomenos 7,pl4 #ab71 
and analogous to the ,ilissos relief    
7,fig4 #gd71  two bronze heads from     
,herculaneum 7a  ,f4 ,w41 #acjb1 and    
,comparetti e de  ,petra1 ,la ,villa    
,ercol41 ,pl4 ,,vii1 #c2 b  ibid41 ,pl4 
,x1 #b71 and other  works2 ,graef1 op4  
cit41 p4 #aii1 and ,gardner1 ,sculpt41  
pp4 #aih-i1  regard it as ,skopasian2   
,kalkmann1 ,die ,proport4 d4 ,gesichts  
in d4 gr4  ,kunst1 #ecstes ,berl4       
,winckelmannsprogr41 p4 #fj1 n4 #c1     
believes that it  shows ,polykleitan    
influence4    #baej ,ancient ,marbles in
 ,great ,britain1 p4 #dea4    #baea ,p4 
,gardner1 ,j4 ,h4 ,s41 ,,xxiii1 #aijc1  
p4 #abh 7cf4 ,,xxv1 #ahie1 p4  #bdj71   
has called it 8definitely a ,lysippic   
work02 similarly ,cultrera1  ,una       
,statua di ,ercole1 ,mem4 della ,r4     
,accad4 dei ,lincei1 p4 #ahh2  recently1
 ,t4 ,l4 ,shear1 ,a4 ,j4 ,a41 ,,xx1     
#aiaf1 pp4 #big-bih4    #baeb ,op4 cit41
 pp4 #bai f4    #baec ,von ,mach1 #bad2 
,reinach1 ,rp41 ,i1 #dhd1 #a2 another in

  ,copenhagen3 ,furtw4-,urlichs1        
,denkm41 ,pl4 ,,xxxii 7opp4 p4 #ih72 a  
head is  also in the ,ny-,carlsberg     
collection there3 ,la ,glypt4           
,ny-,carlsberg1  no4 #cfb and ,pl4 #ajj4
    #baed ,ant4 ,denkm41 ,i1 #d1 #ahhi1 
,pl4 ,,xl1 #b;a1 #b;b1 p4 #bi           
7,petersen72  ,collignon1 ,,ii1 p4 #bej1
 fig4 #abg2 ,bulle1 #bab and fig4 #add1 
on p4 #dha2  ,furtw41 ,mp41 ,pl4 ,,xv4  
,for the ,apollo torso1 see ,m4 ,d41 ,i1
 no4 #bae4    #baee ,mentioned in ,not4 
,scav41 #ahie1 p4 #aif1 and figs4 #a-b1 
and in  ,r4 ,m41 ,x1 p4 #ib 7,petersen72
 briefly described by ,r4 ,norton1      
,harvard  ,graduates' ,magazine1 ,,viii1
 #aijj 7,june71 pp4 #dhe f42 von ,mach1 
#bae2  ,reinach1 ,rp41 ,,ii1 #b1 #eee1  
#f4 ,cf4 ,a4 ,j4 ,a41 ,,iv1 #aijj1 p4   
#bge  and ,v1 #aija1 pp4 #bi f4 7latter 
abstract of paper by von ,mach74 ,the   
,cambridge copy was found about #cjj    
feet from the spot where the ,berlin    
copy was discovered4    #baef ,h4 ,n41  
,,xxxiv1 #ff2 in the text1 et           

,alexandrum ,thespiis  venatorem1 it is 
best to understand venatorem as an      
appositive1  therefore indicating a     
statue of ,alexander as hunter4 ,as the 
boar 7in  the bronze original no support
 was necessary7 is a ,roman accessory   
like the chlamys1 it is best to call the
 work under discussion not  ,meleager1  
but merely hunter and dog 7so           
,furtw4-,urlichs1 ,denkm41 l4  c474 ,it 
was probably dedicated by a successful  
hunter to ,artemis1 or  else it was a   
grave-monument1 as such figures are     
common on sarcophagi3  see ,robert1     
,ant4 ,sarcoph4 ,reliefs1 ,,iv1 ,pls4   
,,xlvii1 #aed1 and ,,xlix1  #aee1 pp4   
#ahh f42 and also on ,attic             
grave-reliefs3 e4 g41 on the  ,ilissos  
relief mentioned above 7,fig4 #gd74     
#baeg ,furtw41 ,mp41 pp4 #cjd-e2        
,furtw4-,urlichs1 ,amelung1 ,helbig1 von
  ,mach1 ,arndt1 ,e4 ,sellers-,strong   
7see introduction to ,furtw41 ,mp41 p4  
,,xiii71 etc4    #baeh ,j4 ,h4 ,s41     
,,xxiii1 #aijc1 pp4 #abh-abi4    #baei  

,sculpt41 p4 #bai4    #bafj ,cf4 ,p4    
,gardner1 ,types of ,greek ,coins1      
#ahhc1 ,pl4 ,,xii1 #af4    #bafa ,pl4   
,,lxix in ,six ,greek ,sculptors4 ,e4   
,a4 ,gardner 7p4 #bbf7 is  doubtless    
right in believing that this form of    
brow was a personal  peculiarity of     
,alexander1 as it recurs so often in his
 portraits4 ,it  is seen in the head of 
,alexander on the sarcophagus from      
,sidon 7either  by a pupil of ,lysippos 
or by some sculptor under his           
influence71 the  reliefs from which     
portray the same subject as the bronze  
group by  ,lysippos in ,delphi mentioned
 by ,pliny1 ,h4 ,n41 ,,xxxiv1 #fd1      
dedicated  by ,krateros on the occasion 
narrated by ,plutarch1 ,vita ,alex4     
,magni1  #dj1 who states that the group 
was executed conjointly with ,leochares3
  see ,hamdy ,bey et ,th4 ,reinach1 ,une
 ncropole royale  ,sidon1 #ahib1  ,pl4  
,,xxxiii1 no4 #f 7reproduced by         
,gardner1 ,sculpt41 ,pl4 ,,lxxi74 ,so   
far as ,i know1 it occurs in ,lysippan  

work to a prominent degree  only in     
likenesses of ,alexander4 ,we know that 
,lysippos created the  ,alexander-type  
of head1 as he alone could reproduce his
 manly and  leonine air 7cf4 ,plut41 de 
,alex4 ,m4 fortuna aut virtute1 oratio  
,,ii1 #b1  p4 #cce74 ,it is1 to a less  
extent1 present in the ,azara  head in  
the ,louvre1 which1 owing to its        
likeness to the head of the             
,apoxyomenos1 used to be taken as the   
nearest copy of the original by         
,lysippos4    #bafb ,it should be       
observed that the axis of the right eye 
in the head  from ,sparta droops        
slightly1 which causes the eyeball to   
turn in4 ,this  seems to me to be merely
 the result of imperfect skill in       
modeling4 ,it  has a tendency to give to
 the face a look of greater intensity4  
#bafc ,see supra1 pp4 #bie-f4    #bafd  
,b4 ,c4 ,h4 ,,xxiii1 #ahii1 p4 #dee4    
,furtwaengler1 ,bronz4 v4 ,ol41  pp4 #aj
 f41 has shown that it was a favorite   
device to represent boxers  and         

pancratiasts with a sombre look 78der   
finstere ,blick074    #bafe #aajb3  '   
4    #baff ,in the passage already cited
 from de ,alex4 ,magn4 fort4 aut        
virtute1 ,orat4 ,,ii1 #b1 7 p4 #che;c72 
444        1 4 4 42 cf4 also his ,vita  
,alex4 ,magni1 ,,iv 7 p4  #fff71 444    
4    #bafg ,the hair of the head from   
,sparta1 like that of the ,agias and    
the ,philandridas1 has not the          
expression displayed in some ,lysippan  
heads 7notably in portraits of          
,alexander71 nor the detail which we    
should expect from ,pliny's statement   
that ,lysippos excelled in his          
treatment of hair 7,h4 ,n41 ,,xxxiv1    
#fe2 see next note74 ,but the ,agias    
and the ,philandridas represent         
pancratiasts1 and here we should not    
expect such expression4 ,in the ,agias1 
the hair1 even if lacking in  detail1 is
 treated carefully and with variety4    
#bafh ,h4 ,n41 ,,xxxiv1 #fe3 propriae   
huius videntur esse argutiae  operum    
custoditae in minimis quoque rebus4     

,here the word argutiae  means          
8subtlety10 rather than 8animation10 as 
given in ,harper's ,latin  ,dictionary4 
#bafi ,i need hardly add that such an   
idealizing tendency should be  carefully
 distinguished from the deification of  
mortals which came into  prominence     
after the time of ,alexander1 but       
existed in ,greece from the  early fifth
 century ,b4 ,c41 at least4 ,the case of
 heroizing the ,thasian  ,theagenes1 who
 won at ,olympia in boxing and the      
pankration in ,ols4 #ge  and #gf 7 #dhj 
and #dge ,b4 ,c471 has been discussed   
with similar ones in  ,ch4 ,i1 p4 #ce4  
,but the fact that a victor wanted his  
statue to be more  or less assimilated  
to the ideal type of the hero1 whom he  
regarded as  his athletic prototype and 
ideal1 does not mean that he had any    
idea of  looking upon himself as a god4 
#bagj ,this would explain the simple1   
even sketchy1 treatment of the  closely 
cropped hair1 just as in the ,agias and 
the ,philandridas4  ,the similarly      

parted lips of the ,sparta head are     
certainly more  appropriate to an       
athlete represented as weary with his   
toil than  to a youthful ,herakles4 ,the
 slightly fierce expression of the face1
  augmented by the already noted        
imperfection in the modeling of the     
right eyeball1 recalls the  look        
characteristic of boxers and            
pancratiasts2 cf4 supra1 p4 #cag1 n4 #b4
 ,on the threatening eyes  of           
contestants in general1 see ,xenophon1  
,mem41 ,,iii1 #aj1 #f-h1 and  supra1 p4 
#ei4    ,the head appears to me to be   
that of a boy of about sixteen years2   
its style is too early for a victor in  
the boys' pankration1 as this  event was
 not introduced at ,olympia until the   
#adeth ,olympiad 7 #bjj ,b4  ,c473 see  
,paus41 ,v1 #h4aa and ,ph41 #ac4 ,the   
wrestling match for boys was  introduced
 in #ja4 #cg 7 #fcb ,b4 ,c473 see       
,paus41 ,v1 #h4i1 and ,afr4 ,boys  were 
first allowed to box in ,ol4 #da 7 #faf 
,b4 ,c473 see ,paus41 ibid4  7though    

,philostratos1 #ac1 gives two           
traditions1 ,ols4 #da and #fj74    #baga
 ,we have record of only one statue of a
 victor set up in ,sparta1  that of the 
wrestler ,hetoimokles1 who won at the   
beginning of the sixth  century ,b4 ,c43
 see ,paus41 ,,iii1 #ac4i1 and cf4      
infra1 ,ch4 ,,viii1 p4 #cfb1  no4 #d4   
#bagb ,in the present chapter ,i have   
partly rewritten two articles  which    
have appeared in the ,a4 ,j4 ,a42 the   
first1 entitled1 ,were  ,olympic ,victor
 ,statues ,exclusively of ,bronze81 in  
vol4 ,,xix1 #b;d ,ser41  #aiae1 pp4     
#eg-fb2 the second1 ,the ,oldest ,dated 
,victor ,statue1 in vol4  ,,xviii1 #b;d 
,ser41 #aiad1 pp4 #aef-afd and ,fig4 ,i4
 ,i am indebted to ,dr4 ,j4  ,m4 ,paton1
 former editor-in-chief1 for permission 
to use them in the  present work4       
#bagc ,on p4 #af he says3 id unum       
dubitari non potest quin                
,olympionicarum statuae posteriorum     
temporum omnes ad unam aeneae  fuerint2 
on p4 #ag he again says3 fieri non      

potest quin existimemus  illas statuas  
omnes ex aere factas fuisse4    #bagd   
,inschr4 v4 ,ol41 p4 #bce4    #bage     
,,ii1 #b1 p4 #ecj 7note on ,p41 ,,vi1   
#a4a74    #bagf ,f4 ,w41 under no4 #bac1
 p4 #aja4    #bagg ,denkm4#c1 p4 #aja2  
,engl4 ed41 p4 #aag4    #bagh ,,vi1     
#a4a-ah4g4    #bagi ,pauly-,wissowa1    
,,vii1 pp4 #bahi f42 and cf4 ,brunn1 ,i1
 p4 #gb4 ,see  supra1 ,ch4 ,,iii1       
,school of ,argos1 pp4 #aji-aaj4        
#bahj ,brunn1 ,i1 p4 #cd2 etc4    #baha 
,the inscription gives a fragmentary    
enumeration of various  victories3      
,inschr4 v4 ,ol41 #bcd1 p4 #cdf2 see    
infra1 ,ch4 ,,viii1 p4 #cfj  and n4 #c4 
#bahb ,inschr4 v4 ,ol41 #bce1 pp4       
#cdf-cdg2 see infra1 ,ch4 ,,viii1 p4    
#cfj and n4 #d4    #bahc ,ch4 ,,iv1 pp4 
#bed-e2 ,bronz4 v4 ,ol41 pp4 #aj-aa2    
,tafelbd41 ,pl4 ,,ii1  #b1 #b;a2 ,f4    
,w41 #cbb2 etc4    #bahd ,bronz4 v4     
,ol41 pp4 #aa-ab2 ,tafelbd41 ,pl4 ,,iii1
 #c1 #c;a2 ,f4 ,w41  #cbd4 ,see supra1  
p4 #bee4    #bahe ,bronz4 v4 ,ol41 p4   

#ab2 ,tafelbd41 ,pl4 ,,iv1 #e1 #e;a4    
,furtwaengler  assigned it to a statue  
8freien ,stiles40 ,cf4 ,f4 ,w41 #cbe4   
#bahf ,bronz4 v4 ,ol41 p4 #bb2          
,tafelbd41 ,pl4 ,,vi1 no4 #fc4 ,even the
 veins  are here indicated4    #bahg    
,bronz4 v4 ,ol41 pp4 #ab-ac2 ,tafelbd41 
,pl4 ,,iv1 nos4 #f1 #g1 #h1 #aj1  #aa1  
etc41 and see text on p4 #af4 ,in this  
connection we have omitted  bronze      
fragments in modern museums known to    
have once stood in the  ,altis1 e4 g41  
the head from ,beneventum 7,fig4 #c7 in 
the ,louvre3 ,b4 ,b41  #cbd2 von ,mach1 
#dha4 ,these have been already discussed
 in ,ch4 ,,ii1 pp4 #fb  f4    #bahh ,e4 
,curtius1 ,peloponnesos1 #ahea-b1 ,i1 p4
 #he2 ,,ii1 pp4 #af and #if1  n4 #ad2   
,f4 ,dahn1 ,die ,germanen in            
,griechenland1 in ,a4 ,z41 ,,xl1 #ahhb1 
pp4  #abh f4 ,of course1 long before the
 barbarians entered ,greece many of the 
best of these statues had been removed  
to ,italy by ,roman generals and        
emperors1 especially ,nero1 and others  

were destroyed in various ways4    #bahi
 ,he won in ,ol4 #ei 7 #edd ,b4 ,c473   
,p41 ,,vi1 #ah4g2 ,hyde1 #ahg2          
,foerster1 #aac4    #baij ,he won in    
,ol4 #fa 7 #ecf ,b4 ,c473 ,p41 l4 c42   
,hyde1 #ahh2  ,foerster1 #abj4    #baia 
,that of ,rhexibios was of fig-wood and 
that of ,praxidamas  of cypress1 and    
consequently less decayed than the      
other4 ,we know  that cypress-wood was  
largely used for the early  because of  
its hardness and durability3 e4 g41 the 
gilded statue in ,ephesos1  mentioned by
 ,xenophon1 ,anab41 ,v1 #c4ab4          
,theophrastos speaks of the  durability 
of this wood3 de ,plant4 hist41 ,v1 #d4b
 7     74 ,cf4 ,hehn1 ,kulturpflanzen   
und ,haustiere#f1 #ahid1  pp4 #bgf f42  
,h4 ,bluemner1 ,technologie und         
,terminologie d4 ,gewerbe und  ,kuenste 
bei ,griechen und ,roemern1 #ahgi1 ,,ii1
 pp4 #beg f42 ,hitz4-,bluemn41  ,,ii1   
#b1 p4 #fbe4    #baib ,,vii1 #bg4e4     
,scherer also1 p4 #ah1 n4 #d1 adduces a 
passage from  the work of the           

second-century ,a4 ,d4 rhetorician      
,aristeides1    41 ,,ii1 p4 #edd 7ed4   
,dindorf71 which he thinks points to the
  exclusive use of metal for victor     
statues3      1    444  1   2 he also   
refers to a passage in ,dio ,chrysost41 
,orat41 ,,xxviii1 ,a1 p4 #eca ,r 7#bhi  
,m74    #baic ,f4 ,w41 no4 #bac1 p4     
#aja2 ,scherer1 p4 #ah1 n4 #c2 ,vischer1
  ,aesthetik1 ,,iii1 #fjg1 p4 #cgg2 and 
cf4 ,s4 ,reinach1 ,r4 t4 ,gr41 ,,xx1  p4
 #dac4    #baid ,see ,koehler1 ,gesam4  
,schriften 7ed4 ,stephani71 ,,vi1 p4    
#cde4    #baie ,,vi1 #a4b4    #baif ,see
 ,hyde1 op4 cit41 ,catalogue1 pp4 #c-bd4
 ,there #ahh victors are  listed1       
,philon of ,corcyra appearing twice1    
nos4 #ia and #acf4    #baig ,h4 ,n41    
,,xxxiv1 #af4    #baih ,p41 ,,vi1 #a4a1 
says that not all victors set up        
statues4 ,this has  been discussed in   
,ch4 ,i1 p4 #bg4    #baii ,pliny        
differentiates carefully between ars    
sculptura 7i4  e41 sculpture in stone7  
and ars statuaria 7i4 e41 in bronze73   

thus ,bk4 ,,xxxiv of the ,h4 ,n4 is     
concerned with the latter1 ,bk4 ,,xxxvi 
with the former4 ,in ,,xxxvi1 #ae1 he   
says that sculptura is the older1  and  
that both bronze statuary and painting  
began with ,pheidias in ,ol4  #hc 7     
#ddh-dde ,b4 ,c471 a statement which is 
inconsistent with ,,xxxiv1  #hc1 where  
he speaks of ,theodoros 7of the middle  
or second half of the  sixth century ,b4
 ,c47 as casting a likeness of himself  
in bronze4 ,but  it is well known that  
,pliny in his long work quotes from a   
variety of  sources1 without any attempt
 to reconcile them4    #bbjj ,gurlitt1  
,ueber ,pausanias1 p4 #dad1 says1 less  
correctly1  one-sixth4 ,forty inscribed 
bases may be referred to victor statues 
mentioned by ,pausanias1 while #fc      
others have been referred to victor     
statues not mentioned by him3 see infra1
 ,ch4 ,,viii1 pp4 #cdj f41 #cec f4      
#bbja ,taken from ,treu's account in    
,bildw4 v4 ,ol41 pp4 #bi-cd and         
#baf-bah4    #bbjb ,chapter ,,iii1      

supra1 pp4 #afb-c2 a  ,bildw4 v4 ,ol41  
,tafelbd41 ,pl4 ,,vi1 #a-d 7with        
fragments1 ibid41 #e-f1 #g-h1 and figs4 
#cj-cb in the text72 b  ibid41 ,pl4     
,,vi1 #i-aj4    #bbjc ,textbd41 p4 #baf1
 fig4 #bda2 ,tafelbd41 ,pl4 ,,lvi1 #b4  
,furtwaengler1  despite the size and    
material of this torso1 ascribed it to  
the statue  of a boy victor3 #ejstes    
,berl4 ,winckelmannsprogr41 #ahij1 pp4  
#adg-adh2  similarly ,treu1 l4 c42 both 
refer it to the fifth century ,b4 ,c4   
and  to a ,peloponnesian sculptor4      
#bbjd ,tafelbd41 ,pl4 ,,lvi1 #c2 ,f4    
,w41 #ccj4    #bbje ,tafelbd41 ,pl4     
,,lvi4 #d4    #bbjf ,p4 #baf1 n4 #d and 
fig4 #bdb2 a  buttocks2 b  right upper  
leg2 c  bent upper leg with knee2 d     
upper arm bent at elbow4    #bbjg ,v1   
#ag4c2 here he enumerates images of     
ivory and gold1 the marble  ,hermes of  
,praxiteles1 an ,aphrodite in bronze4   
,similarly1 in ,,ii1  #ag4f1 he mentions
 dedications1 of different materials1 in
 the ,heraion  of ,argos2 in ,i1 #bf4c1 

he mentions a bronze statue of          
,olympiodoros at  ,delphi dedicated by  
the ,phokians1 but says nothing of the  
material of  two statues at ,athens1    
where most of the offerings were marble2
 in ,i1  #bh4a1 he speaks of a bronze   
statue of ,kylon on the ,akropolis2 etc4
    #bbjh ,p41 ,,viii1 #dj4a2 to be     
discussed in the second part of the     
present chapter1 pp4 #cbf f4    #bbji   
,r4 t4 ,anc41 ,x1 #aijh1 pp4 #afa f4    
#bbaj ,bildw4 v4 ,ol41 ,tafelbd41 ,pls4 
,,xlvi-,,xlviii2 ,textbd41 pp4 #ahb  f4 
and ,figs4 #baj f42 and ,ergebnisse1    
,,ii 7,baudenkmaeler71 ,pl4 ,,xciii     
7basis7 and pp4 #aec-e2 cf4 ,p41 ,v1    
#bf4a4    #bbaa ,p41 ,v1 #ag4c 7already 
mentioned on p4 #cbe1 n4 #c74    #bbab  
,see ,treu1 ,bildw4 v4 ,ol41 p4 #baf4   
,to-day marble is far commoner  than    
bronze for artistic work2 the reverse   
was true in antiquity4  ,many varieties 
of bronze--a combination of copper and  
tin in varying  proportions--were named 
from places where it was manufactured3  

e4 g41  ,corinthian1 ,delian 7the       
favorite with ,myron71 ,aeginetan 7the  
favorite  with ,polykleitos71 etc4      
#bbac ,cf4 ,furtwaengler1 ,bronz4 v4    
,ol41 pp4 #ba-b2 #ejstes ,berl4         
,winckelmannsprogr41 p4 #adg2 ,reisch1  
p4 #ci4 ,good examples are the          
,tuebingen bronze hoplitodrome discussed
 in ,ch4 ,,iv1 pp4 #bjf f4 7,fig4 #db7  
and the   from ,dodona 7,carapanos1     
,dodone et ses ,ruines1 ,pl4  ,,xiii4   
#a74 ,for diskoboloi1 see ,e4 von       
,sacken1 ,die ant4 ,bronzen des k4  k4  
,muenz- und ,antiken-,cabinetes in      
,wien1 #ahga1 ,pls1 ,,xxxv1 #a1         
,,xxxvii1 #d4    #bbad ,,viii1 #dj4a3   
1                 1          4      1   
'  4       1 4 4 4    ,on the various   
spellings of the name1 ,arrhachion1     
,arrhachon1  ,arrhichion1 etc41 see     
critical note in ,rutgers1 p4 #ai1 and  
,foerster1  no4 #ajc4    #bbae ,both    
,africanus 7see ,rutgers1 l4 c471 and   
,pausanias 7l4 c47  date the third      
victory4 ,pausanias and ,philostratos1  

#ba1 place the other  two victories in  
the ,ols4 just preceding4 ,cf4 ,rutgers1
 p4 #bj1 n4  #a1 and ,foerster1 nos4    
#ih1 #aja1 #ajc4 ,the story how         
,arrhachion expired  at the moment of   
victory1 throttled by his adversary1    
whose toe he  succeeded in putting out  
of joint1 is told by ,africanus1        
,pausanias  7,,viii1 #dj4b71 and        
,philostratos 7,imag41 ,,ii1 #f  p4     
#daa72 ,pausanias  also mentions that   
the body was crowned4    #bbaf ,frazer1 
,,iv1 pp4 #cia-b2 ,,iii1 pp4 #dj-a4 ,the
 statue has otherwise  not been         
published4 ,in all probability it is the
 same one listed by  ,waldemar ,deonna1 
in his ,les ,apollons archaques1        
,geneva1 #aiji1 p4  #ahg1 no4 #gi4 ,this
 was seen at ,phigalia in #ahia by ,m4  
,chamonard and  notices of it are to be 
found in the following works3 ,b4 ,c4   
,h41 ,,xv1  #ahia1 pp4 #ddj and #ddh2   
,chroniques d',orient1 ,,ii1 p4 #cf2 ,r4
 t4 gr41  #ahib1 p4 #abg2 ,mueller1     
,nacktheit und ,entbloessung in d4      

altoriental4  und aelteren griech4      
,kunst1 ,diss4 inaug41 #aijf1 p4 #ajj2  
,rouse1 p4 #cjg4    ,pausanias'         
description of ,arrhachion's statue is  
discussed by the  following3 ,scherer1  
pp4 #af and #bc2 ,iwan v4 ,mueller1     
,handbuch1 ,,vi1  p4 #ecj3 ,dumont1     
,mlanges d' ,arch41 p4 #ec2 ,lange1     
,darstellung  des ,menschen in der      
aelteren griech4 ,kunst1 #ahii2 ,brunn1 
,griech4  ,kunstgesch41 ,,ii1 p4 #gc2   
,overbeck1 ,griech4 ,kunstmythol41      
,,iii1  ,apollon1 p4 #ab1 no4 #i2       
,klein1 p4 #adf2 ,reisch1 p4 #dj2       
,collignon1 ,i1 p4  #aag1 n4 #a1 and ,b4
 ,c4 ,h41 ,v1 #ahha1 p4 #cba2 cf4       
,deonna1 op4 cit41  p4 #ac1 n4 #d4      
#bbag ,see ,lange1 op4 cit41 pp4 ,,xi   
f41 who states the formula1 which  we   
have already given supra1 ,ch4 ,,iv1 p4 
#age1 cf4 ,loewy1 ,die  ,naturwiedergabe
 in der aelteren griech4 ,kunst1 #aijj1 
pp4 #be1 #bg2  id41 ,lysipp und seine   
,stellung in der griech4 ,kunst1 pp4    
#ag-ah4 ,on  the pose1 cf4 ,s4 ,reinach1

 ,manuel de ,philologie classique 7ed4  
#b71  #aijg1 ,,ii1 p4 #ia n4 #b4        
#bbah ,deonna1 op4 cit41 p4 #he1 says   
that the size of the  is  an indication 
of archaism1 as the earlier artists     
exaggerated them in  order to show the  
sex better4 ,figs4 #g 7example from the 
,kerameikos7 and  #gb 7example from     
,delphi71 on pp4 #acb and #agi          
respectively of his work1  resemble our 
statue in this feature4    #bbai ,i1 pp4
 #ba f42 cf4 ,rhein4 ,mus41 ,n4 ,f41 ,x1
 #ahef1 pp4 #aec f4    #bbbj ,see       
bibliography in ,collignon1 ,i1 pp4     
#aag-ah2 cf4 ,g4  ,kieseritzky1 ,jb41   
,,vii1 #ahib1 pp4 #ahb f4    #bbba ,a4  
,z41 ,,xl1 #ahhb1 pp4 #ee f4    #bbbb   
,mw41 p4 #gab4    #bbbc ,i1 pp4 #aag-ai2
 more fully in ,gaz4 ,arch41 #ahhf1 pp4 
#bce f42  cf4 also his later treatment  
in ,mon4 ,piot1 ,,xx1 #aiac1 pp4 #e f42 
he  assumes less influence in the       
corresponding archaic draped female     
type4  ,cf4 also1 for a similar view1   
,f4 ,w41 p4 #aa 7to no4 #ad72 von       

,sybel1  ,weltgesch4 d4 ,kunst1 p4 #aad2
 ,kieseritzky1 l4 c42 ,loewy1 ,jh4 oest4
  arch4 ,inst41 ,,xii1 #aiji1 pp4 #bdc  
f42 cf4 id41 ibid41 ,,xiv1 #aiaa1  pp4  
#a f12 id41 ,griech4 ,plastik1 #aiaa1 p4
 #e4 ,while ,loewy believes  ,egyptian  
influence reached ,greece via ,crete1   
,poulson believes that it  came via     
,phnicia3 see the latter's ,der ,orient 
u4 d4 fruehgriech4  ,kunst1 #aiab1 and  
cf4 his article in ,berl4 ,philol4      
,wochenschr41  ,,xxxiv1 #aiad1 cols4 #fa
 f42 ,richardson1 p4 #ci2 ,e4 ,kroker1  
,jb41 ,i1 #ahhf1  pp4 #aad f42 etc4     
#bbbd ,gaz4 ,b4-,a41 ,,xxi1 #ahii1 pp4  
#agg f42 #cac f42 for a similar view1   
see also ,overbeck1 ,i1 pp4 #cg f4      
#bbbe ,les ,apollons archaques1 pp4 #ba 
f42 id41 ,l',archologie1 sa  valeur1 ses
 methodes1 ,,ii1 pp4 #aic f42 id41      
,l'influence gyptienne  sur l'attitude  
du type statuaire debout dans l'archasme
 grec1 in  ,festgabe ,h4 ,bluemner      
ueberreicht1 #aiad1 pp4 #ajb-adb4       
#bbbf ,greek ,sculpture1 ,its ,spirit   

and ,principles1 #aijc1 p4 #hd4 ,on  p4 
#cbd1 however1 he admits ,oriental      
influence on the ,greek minor arts1     
especially that of ,assyria on early    
vases4    #bbbg ,so ,pottier1 ,b4 ,c4   
,h41 ,,xviii1 #ahid1 pp4 #djh f42 cf4   
,gardner1  ,hbk41 pp4 #dg f42 ,sculpt41 
pp4 #ag f42 etc4    #bbbh ,schliemann1  
,orchomenos1 ,pl4 ,i 7restored72        
,perrot-,chipiez1  ,,viii1 p4 #edc1 fig4
 #bbj 7fragment71 7restored on p4 #edd1 
fig4 #bba1 from  ,schliemann72          
,springer-,michaelis1 p4 #aae1 fig4     
#bdf2 etc4    #bbbi ,e4 g41 ,i1 #db4e2  
,,ii1 #ai4c2 ,,vii1 #e4e2 cf4 ,,iv1     
#cb4a4    #bbcj ,i1 #ih4    #bbca ,bulle
 dates the ,old ,kingdom from the #cjth 
to the #beth centuries  ,b4 ,c4 ,but    
early ,egyptian dates are too unsettled 
to be discussed here4  ,for a tabular   
view of the chronology of the ,egyptian 
dynasties as given  by different        
scholars--,sethe1 ,meyer1 ,petrie1      
,breasted1 ,maspero1 etc41  see ,encycl4
 ,brit41 eleventh ed41 vol4 ,,ix1 p4 #gi

 7in the article on  ,egypt1 ,chronology
 and ,history1 by ,r4 ,s4 ,poole and ,f4
 ,ll4 ,griffith74  ,breasted1 ,a        
,history of ,egypt#b1 #aiaf1 chart on p4
 #ba1 dates dynasties  ,i-,,vi1         
#cdjj-bdge ,b4 ,c42 ,,xi-,,xvii1        
#bafj-aehj ,b4 ,c42 ,,xviii-7part of7   
,,xx1  #aehj-aaej ,b4 ,c4    #bbcb ,both
 are given by ,bulle1 ,pl4 #e2 cf4 id41 
,pl4 #cg 78,apollos0  of ,tenea and     
,volomandra72 ,ra-nefer1 in ,maspero1   
,art in ,egypt1 #aiab1  p4 #hb1 fig4    
#adh2 ,perrot-,chipiez1 ,i1 #ahhb1 p4   
#fee1 fig4 #dcf2 ,tepemankh1  in        
,maspero1 p4 #hd1 fig4 #aee1 and in     
,perrot-,chipiez1 p4 #fgh1 fig4 #dfa4   
,the statue of ,ra-nefer is #a4gc meters
 tall1 that of ,tepemankh #a4ff  meters4
    #bbcc ,ka-aper in ,bulle1 ,pls4 #f  
and #g 7two views of the head72 von     
,bissing1 ,denkm4 aegypt4 ,skulpt41 ,i1 
#aiad1 ,pl4 ,,xi2 ,perrot-,chipiez1  ,i1
 p4 #aa1 fig4 #g2 ,maspero1 op4 cit41 p4
 #hc1 figs4 #aea1 #aeb2 id41  ,manual of
 ,egyptian ,archology1 #ahie1 p4 #bah1  

fig4 #ahh1 and p4 #bba1  fig4 #aia4 ,the
 8wife10 in ,bulle1 ,pl4 #i 7two views72
 ,maspero1 p4 #hc1 fig4  #aed2 id41     
,manual1 p4 #bbb1 fig4 #aib4    #bbcd   
,breasted1 ,a ,history of ,egypt#b1 l4  
c41 dates dynasties  ,,xi-,,xii1        
#bafj-aghh ,b4 ,c42 the ,hyksos1        
dynasties ,,xiii-,,xvii1 #aghh-aehj ,b4 
,c4    #bbce ,bulle4 ,pls4 #aa 7two     
views7 and #ab 7head72 von ,bissing1 op4
  cit41 ,i1 ,pl4 ,,xl1 ,a 7left72       
,maspero1 ,art in ,egypt1 p4 #aaj1 figs4
  #bjc-bjd4    #bbcf ,we should add to  
the ,new ,empire the ,deltaic dynasties1
 from the  twenty-first on4 ,breasted1  
l4 c41 assigns to the ,new ,empire      
dynasties  ,,xviii-,,xix and part of    
,,xx1 #aehj-aaej ,b4 ,c4    #bbcg       
,bulle1 ,pl4 #ag 7left72 ,maspero1      
,hist4 anc4 des peuples de  l',orient   
classique1 ,,ii1 p4 #eca2 id41 ,art in  
,egypt1 p4 #bja1 fig4  #cij 7 the ,lady 
,na72 ,mon4 ,piot1 ,,ii1 #ahie1 ,pls4   
,,ii-,,iv4    #bbch ,bulle1 ,pl4 #ag    
7right72 von ,bissing1 ,,ii1 ,pl4       

,,lxiv2 ,maspero1  ,hist41 ,,iii1 pp4   
#ejc-ejd and ,pl4 ,,ii2 id41 ,art in    
,egypt1 p4 #bch1  fig4 #dee2            
,perrot-,chipiez1 ,i1 p4 #gad1 fig4 #dha
 7profile74 ,though the  face is        
lifeless1 the bust and lower trunk are  
delicately modeled4    #bbci ,we see the
 ,egyptian treatment of the hair        
especially marked  in the upper part of 
a stone 8,apollo0 discovered at         
,eleutherna in  ,crete1 which is now in 
the ,candia ,museum3 ,rendiconti della  
,r4 ,accad4  dei ,lincei1 #ahia1 p4 #eii
 7,loewy72 ,rev4 ,arch41 #ahic1 ,pls4   
,,iii-,,iv  7,joubin72 ,gardner1 ,hbk41 
p4 #adg1 fig4 #ba2 ,perrot-,chipiez1 p4 
#dca1  fig4 #bjh2 etc4    #bbdj ,e4 g41 
in the statue of ,ra-nefer4    #bbda ,e4
 g41 in the statue of the               
,sheik-el-,beled4    #bbdb ,high-placed 
ears are common to many archaic ,greek  
works other  than the 8,apollos40 ,they 
persist even in some of the figures on  
the  ,parthenon frieze4    #bbdc ,on    
these common characteristics1 see       

,richardson1 p4 #ci2 cf4 ,h4  ,n4       
,fowler1 ,history of ,sculpture1 #aiaf1 
pp4 #ei-fj2 etc4    #bbdd ,pottier1 op4 
cit41 p4 #dad1 assumes a religious      
reason for  the left foot being advanced
 in both types4 ,for another1 natural   
explanation1 see ,homolle1 de antiquiss4
 ,dianae ,simul41 p4 #ie1 quoted  by    
,collignon1 ,i1 p4 #aah1 n4 #c4    #bbde
 ,the ,greeks first copied the type in  
statuettes3 e4 g41  alabaster figurines 
from ,naukratis3 ,w4 ,flinders ,petrie1 
,naukratis#b1  #ahhh1 ,i1 ,pls4 #a1 #c1 
#d2 ,g4 ,kieseritzky1 ,jb41 ,,vii1      
#ahib1 ,pl4 ,,vi 7with  head1 three     
views72 ibid4 p4 #ahi 7figure in        
,boston74 ,pottier1 op4  cit41 p4 #dji1 
cites two alabaster examples from ,egypt
 7probably  from ,naukratis7 which are  
nude1 and on ,pl4 ,,xvii1 he reproduces 
four  terra-cotta draped figurines in   
the ,louvre1 of ,phnician manufacture1  
similar to ,egyptian works4 ,the nudity 
of the 8,apollos0 marks the  distinction
 between ,greek and barbarian art4      

#bbdf ,brunn1 in his ,kunst bei ,homer1 
#ahfh1 quoted by ,gardner1  ,hbk41 p4   
#dg1 showed by a very true analogy the  
way in which the ,greek  artist became  
an imitator4 ,the ,greeks borrowed their
 alphabet from  ,phnicia1 but wrote     
,greek and not ,phnician with it2 just  
so the ,greek  artist borrowed the      
alphabet of art from ,egypt1 but with it
 wrote his  own language of art4        
#bbdg ,gesch4 des ,materialismus1#c ,i1 
p4 #abg 7quoted by ,f4 ,w41 on p4  #ab74
    #bbdh ,this is the view of ,k4      
,kouroniotis1 who carefully examined    
them4  ,i quote his words incorporated  
in ,dr4 ,svoronos' letter to me of ,dec4
  #bi1 #aiaa3     1       1        4    
,the inscriptions on the great majority 
of victor monuments found at  ,olympia  
were engraved upon the horizontal upper 
face of the base in  front of the       
feet--at least down to the fourth       
century ,b4 ,c43 see  ,inschr4 v4 ,ol41 
p4 #bce4 ,dittenberger and ,purgold have
 referred two  inscribed convex bronze  

fragments found in the ,altis to the    
flanks of  victor statues set up in     
imperial times3 ibid41 nos4 #bcd-e4     
#bbdi ,only one other victor from       
,phigalia is known1 ,narykidas1 who  won
  some time in the first half of the    
fourth century ,b4 ,c41 as  the         
mutilated epigram and artist's name     
found upon fragments of the  pedestal of
 his statue at ,olympia attest1 a date  
out of the question  for our statue3 see
 ,inschr4 v4 ,ol41 no4 #afa3 cf4 ,p41   
,,vi1 #f1 #a2  ,foerster1 no4 #cbd4     
#bbej ,p41 ,,vi1 #ae4h2 ,hyde1 #adh2    
,foerster1 #fa1 #fb4    #bbea ,p41 ,i1  
#bh4a2 cf4 for the date1 ,foerster1 no4 
#ee4 ,see infra1  p4 #cfb4    #bbeb ,p41
 ,,iii1 #ac4i2 ,foerster1 nos4 #hf-ij4  
,see infra1 p4 #cfb4    #bbec ,p41 ,,vi1
 #c4h2 ,hyde1 #bi2 ,foerster1 #f4       
#bbed ,p41 ,,vi1 #ac4b2 it was          
accordingly set up about ,ols4 #gg-h 7  
#dgb-dfh ,b4 ,c473 see ,hyde1 no4 #aaa1 
and cf4 p4 #dh2 ,foerster1 #ci1  #da-df4
 ,see infra1 p4 #cfb4    #bbee ,the god 

was so described in the ,homeric ,hymn  
to the ,delian  ,apollo1 v4 #acd1 and   
that to the ,pythian ,apollo1 v4 #bgb4  
,on the  grounds of long hair and nudity
 ,g4 ,koerte identified the example from
  ,orchomenos3 see his article1 ,die    
,antiken ,skulpturen aus ,boeotien1 ,a4 
,m41 ,,iii1 #ahgh1 pp4 #cje f4    #bbef 
,so ,vitet1 ,gaz4 ,b4-,a41 ,,xii1 #ahfb1
 p4 #bi4    #bbeg ,see list in ,deonna1 
,les ,apollons archaques1 p4 #ac1 n4 #a4
    #bbeh ,e4 g41 on an amphora from    
,vienne3 see ,annali1 ,,xxi1 #ahdi1 ,pl4
  ,d41 and pp4 #aei f42 on another from 
,nola1 now in the ,british ,museum3  ,b4
 ,m4 ,vases1 ,,iii1 p4 #bcj1 ,e #ccf2   
cf4 also ibid41 ,e #cac2 on a           
wall-painting from ,pompeii3 ,a4 ,z41   
,,xl1 #ahhb1 p4 #eh2 on a marble        
bas-relief in the ,palazzo ,corsini in  
,florence3 ,duetschke1 ,,ii1 p4 #aad1   
no4 #bhc4 ,these examples represent the 
god only4    #bbei ,i1 #ih4 ,cf4 ,brunn1
 ,griech4 ,kunstgesch41 ,,ii1 p4 #gf1   
and  ,griech4 ,kuenstler1 ,i1 pp4       

#cf-cg1 no4 #aa2 ,mueller1 ,nacktheit   
und  ,entbloessung in d4 altorient4 und 
aelteren griech4 ,kunst1 ,diss4  inaug41
 #aijf1 pp4 #aab and #abb2 ,roscher1    
,lex41 ,i1 s4 v4 ,apollon1 p4  #dej2    
,overbeck1 ,i1 pp4 #ch and #gh4    #bbfj
 ,p41 ,,viii1 #ec4 #g-h4    #bbfa ,p41  
,,ii1 #cb4 #e2 cf4 ,,ix1 #ce4 #c2       
described by ,plut41 de ,musica1  #ad   
7p4 #aacf72 cf4 ,annali1 ,,xxxvi1 #ahfd1
 p4 #bed2 etc4 ,discussed  infra1 p4    
#cce and n4 #g4    #bbfb ,see list in   
,b4 ,m4 ,sculpt41 ,i1 pp4 #ha f4 7from  
which we have  taken some of the        
following examples74    #bbfc ,petrie1  
,naukratis1 ,i1 ,pl4 #a1 fig4 #d4       
#bbfd ,a4 ,z41 ,,xl1 #ahhb1 p4 #cbc4    
#bbfe ,deonna1 op4 cit41 nos4 #a1 #b2   
cf4 ,gaz4 ,arch41 #ahhf1 p4 #bce4       
#bbff ,see ,deonna1 nos4 #bh f42 ,b4 ,c4
 ,h41 ,x1 #ahhf1 pp4 #ff f42 ,b4 ,b41   
#ab2 etc4    #bbfg ,b4 ,m4 ,sculpt41 no4
 #baj4    #bbfh ,b4 ,m4 ,sculpt41 nos4  
#bjb 7torso  ,petrie1 ,naukratis1 ,i1   
,pl4  ,i1 fig4 #i7 and #bjd 7torso      

,naukratis1 ,i1 ,pl4 ,i1 fig4 #c74      
#bbfi ,ibid41 no4 #bjc 7 ,naukratis1    
,,ii1 ,pl4 ,,xiv1 fig4 #ac74    #bbgj   
,see ,a4 ,m41 ,,iv1 #ahgi1 p4 #cjd4     
#bbga ,see ,rapporto d'un viaggio nella 
,grecia nel #ahfj1 in ,annali1          
,,xxxiii1 #ahfa1 p4 #hj4    #bbgb ,j4   
,h4 ,s41 ,i1 #ahhj1 pp4 #afh f41 already
 quoted4 ,for the  monument of ,dermys  
and ,kitylos1 see ,gaz4 ,arch41 #ahgh1  
,pl4 #bi2 ,a4  ,m41 ,,iii1 #ahgh1 ,pl4  
,,xiv2 ,f4 ,w41 #dd4    #bbgc ,on the   
subject of hair on 8,apollo0 statues1   
see ,overbeck1  ,griech4 ,kunstmythol41 
,,iii1 ,apollon1 p4 #ad 7cf4 note f72   
and cf4  ,milchhoefer1 ,a4 ,z41 ,,xxxix1
 #ahha1 p4 #ed1 who discards this       
feature as  a criterion4    #bbgd ,for  
examples1 see ,deonna1 ,les ,apollons   
archaques1 p4 #ab1 n4 #d  and n4 #e4    
#bbge ,cf4 the colossal bearded statue  
of ,dionysos found in the  quarries on  
,naxos 7,komiaki71 described by ,deonna1
 p4 #bba4 ,in a  preceding note 7p4     
#ccd1 n4 #d7 we have already listed     

examples of the  type of ,apollo        
appearing on vases1 etc42 see ,b4 ,m4   
,sculpt41 ,i1 p4 #hb4    #bbgf ,the date
 of these sculptors is fixed by that of 
their pupil1  the ,aeginetan ,kallon1   
who lived at the beginning of the fifth 
century  ,b4 ,c42 cf4 ,akropolis        
inscription1 ,i4 ,g4 ,b41 no4 #bg4 ,this
 statue  is mentioned by ,p41 ,,ix1 #ce4
 #c1 as holding the ,graces in one hand4
  ,plutarch1 who cites ,antikles and    
,istros as his authorities1 gives a     
better description of it in de ,musica1 
#ad2 he says that it held the  bow in   
the right hand and the ,graces playing  
on musical instruments  in the left4 ,a 
scholion on ,pindar1 ,ol41 ,,xiv1 #af1  
,boeckh1 p4 #bic1  mentions such an     
image of ,apollo in ,delphi1 manifestly 
a copy of the  ,delian one4 ,both the   
scholiast and ,macrobius1 ,saturnalia1  
#a1 #ag4  #ac1 place the bow in the left
 hand and the ,graces in the right1 an  
arrangement confirmed by ,athenian coins
 which are copied from the  replica of  

the statue in ,athens 7,bekker1         
,anecdota gr41 ,i1 p4 #bii1 ll4  #h-i74 
,frazer1 ,v1 p4 #agd1 figs4 #h-i1       
reproduces two of these coins4    #bbgg 
,this image1 known as the ,philesian    
,apollo1 already discussed  on pp4      
#aah;f41 is described by ,pliny1 ,h4    
,n41 ,,xxxiv1 #ge4 ,it was made  between
 #did and #dgi ,b4 ,c43 see ,frazer1    
,,iv1 pp4 #dbi-cj4 ,it is copied on     
,milesian coins1 which represent the god
 nude1 holding a stag in the  right hand
 and a bow in the left3 see ,overbeck1  
,griech4 ,mythol41  ,,iii1 ,apollon1    
,muenztafel ,i1 #bb f4 ,p41 ,,ix1 #aj4b1
 mentions a cedar  replica of the statue
 in ,thebes4 ,in the ,british ,museum is
 a bronze1 the  so-called ,payne ,knight
 statuette1 a copy of the one on the    
coins2 it is  reproduced by ,frazer1 l4 
c41 p4 #dcj1 fig4 #de 7 ,b4 ,m4         
,bronzes1 no4  #bji72 ,frazer mentions  
as other copies a statuette in ,berlin1 
described  in ,a4 ,z41 ,,xxxvii1 #ahgi1 
pp4 #hd-ia1 and one from the ,ptoian    

sanctuary1  described in ,b4 ,c4 ,h41   
,x1 #ahhf1 pp4 #aij-f1 and ,pl4 ,,ix4   
,on ,milesian  reliefs1 see one         
published by ,kekul von ,stradonitz1    
,ueber d4 ,apoll4  des ,kanachos1       
,sitzb4 ,berl4 ,akad4 d4 ,wiss41 #aijd1 
,i1 fig4 on p4 #ghg1  and p4 #gig1 and  
another by ,th4 ,wiegand1 ,siebenter    
vorlaeufiger ,bericht  ueber            
,ausgrabungen in ,milet und ,didyma     
7,abh4 ,berl4 ,akad4 d4 ,wiss41         
,philosoph4-histor4 ,cl41 #aiaa71 p4    
#ba4    #bbgh ,mentioned by ,p41 ,x1    
#bd4 #e1 and ,philochoros1 in ,f4 ,h4   
,g41 ,i1  fragm4 #bb on p4 #chg4        
,imperial ,delphic coins from the time  
of ,hadrian on  represent the god nude  
with outstretched arms2 such coin-types 
may be  copies of this statue2 cf4      
,frazer1 ,v1 p4 #ceb4    #bbgi ,see ,b4 
,c4 ,h41 ,,xii1 #ahhh1 p4 #dfh4    #bbhj
 ,in the ,ottoman ,museum1 ,invent4 no4 
#cgd2 ,reinach1 ,rp41 ,,ii1 #a1  #gh1   
#b4 ,it is described by ,mendel1 in ,b4 
,c4 ,h41 ,,xxvi1 #aijb1 pp4 #dfg  f42   

cf4 ,deonna1 ,les ,apollons archaques1  
p4 #bbf1 no4 #abg4    #bbha ,see        
,deonna1 pp4 #aia f41 no4 #ha and figs4 
#hd-ij2 cf4 ,annali1  ,,xxxvi1 #ahfd1 p4
 #bec 7,michaelis74    #bbhb ,ibid41 pp4
 #ahe f41 no4 #gg and fig4 #hb4    #bbhc
 ,e4 g41 the two colossal statues from  
,cape ,sounion discovered  by ,stas in  
#aijf in front of the ruins of the      
temple of ,poseidon1 and  now in        
,athens1 possibly meant for the         
,dioskouroi3 see ,deonna1 pp4  #ace-h1  
nos4 #g-h and figs4 #ad-ag2 for one1 see
 ,a4 ,m41 ,,xxxi1 #aijf1 pp4  #cfc-d2   
,deonna1 no4 #g1 pp4 #ace and #cdg2     
,stas1 ,marbres et ,bronzes1  no4 #bgbj1
 pp4 #f-g and fig42 ,gardner1 ,hbk41 p4 
#aig1 fig4 #dj2 it is  #c4je meters high
 7,stas72 two from ,delphi1 called      
either ,kleobis and  ,biton1 or the     
,dioskouroi by ,homolle1 ,b4 ,c4 ,h41   
,,xxiv1 #aijj1 pp4 #dde   ,b7 and #ddf 7
 ,a71 and #dej f42 ,homolle here has the
 letters changed2 his  ,b  ,fouilles de 
,delphes1 ,,iv1 #a 7 our ,a1  ,pl4      

#h;,b72 see ,deonna1 pp4  #agf-h1 nos4  
#fe-f1 figs4 #ff-i2 see list of statues 
from sanctuaries of  ,apollo and other  
gods1 ibid41 pp4 #ah-ai4    #bbhd ,see  
,milchhoefer1 ,a4 ,z41 ,,xxxix1 #ahha1  
pp4 #ed-ee4    #bbhe ,see ,loeschke1 ,a4
 ,m41 ,,iv1 #ahgi1 p4 #cjd2 cf4         
,furtwaengler1 ,a4  ,z41 ,,xl1 #ahhb1 p4
 #eg2 ,hiller von ,gaertringen1 ,thera1 
,,iii1 #aijd1 p4  #bhe2 ,ross1 ,reisen  
auf d4 griech4 ,inseln des ,aegaeischen 
,meeres1 ,i1  #ahdj1 p4 #h4    #bbhf    
,see ,deonna1 ,les ,apollons archaques1 
pp4 #bch-i1 no4 #ada2 ,b4  ,m4 ,sculpt41
 #bjg 7 torso74    #bbhg ,deonna1 p4    
#bdg1 no4 #aee4 ,this is one of the most
 recent of the  series and belongs to   
the end of the sixth or beginning of the
 fifth  century ,b4 ,c43 ,orsi1         
,monumenti antichi1 ,i1 pp4 #ghi f4     
#bbhh ,bulle1 #cg 7left74    #bbhi ,vit4
 ,apoll4 ,tyan41 ,,iv1 #bh2 see supra1  
pp4 #ajf-g4 ,scherer1  op4 cit41 pp4 #bc
 ff41 thought that this statue conformed
 with the  type of the ,apollo of       

,kanachos already mentioned4 ,reisch1 p4
 #dj1  rightly believes that it had     
8noch geschlossene ,beine1 aber geloeste
  ,arme10 i4 e41 like the ,apollo of    
,tektaios and ,angelion already         
discussed4    #bbij ,arndt1 ,la         
,glyptothque ,ny-,carlsberg1 pp4 #a-b   
and ,pls4 ,i-,,ii2  ,deonna1 pp4 #adc-d1
 no4 #ba4 ,it has been ascribed to      
different artists  of the last quarter  
of the sixth century ,b4 ,c43 ,lechat1  
,au ,muse de  l',acropole1 pp4 #cei-fj2 
,klein1 ,i1 p4 #bdf f42 we have already 
discussed  it on pp4 #abg-h4 ,e4 ,a4    
,gardner1 ,j4 ,h4 ,s41 ,,viii1 #ahhg1 p4
 #aij1 refers  some of the statues found
 at the ,ptoian sanctuary to athletes1  
but  ,holleaux believes that these      
statues represent ,apollo3 ,b4 ,c4 ,h41 
,x1  #ahhf1 p4 #fh2 cf4 also ,stas1     
,marbres et ,bronzes1 p4 #h4 ,w4        
,vischer1  ,kleine ,schriften1 ,,ii1    
#ahgh1 p4 #cjg1 admits that some of the 
8,apollos0  can be athletes1 as ,conze  
and ,michaelis had done3 ,annali1       

,,xxxiii1  #hfa1 p4 #hj4    #bbia ,see  
,deonna1 p4 #bec4    #bbib ,thus        
,scherer1 p4 #bb1 n4 #c1 and ,reisch1 p4
 #dj1 leave the question  unsettled2    
,gardner1 ,hbk41 p4 #ih1 n4 #a1 thinks  
that the material for  a decision as to 
a given statue1 whether of this god or  
that1 or of a  worshiper or athlete1    
hardly exists2 ,collignon1 ,mythol4     
figure de la  ,grce1 p4 #hd1 recognizes 
that these statues stood for both gods  
and  athletes2 ,hitz4-,bluemn41 ,,iii1  
#a1 p4 #bfb1 think that the type passes 
equally well for gods and sepulchral    
statues2 ,overbeck1 ,i1 pp4 #aad-aae1   
and ,f4 ,w41 p4 #aa1 believe that it    
represents a general scheme for         
athletes1 sepulchral statues1 and       
,apollos4    #bbic ,the first part of   
this chapter appeared1 under the title  
,the  ,positions of ,victor ,statues at 
,olympia1 in ,a4 ,j4 ,a41 ,,xvi1 #b;d   
,ser41  #aiab1 pp4 #bjc-bbi1 with ,plan2
 the second part1 entitled1 ,greek      
,literary  ,notices of ,olympic ,victor 

,monuments outside ,olympia1 appeared in
  ,trans4 ,amer4 ,philol4 ,assn41       
,,xlii1 #aiab1 pp4 #ec-fg4 ,i am        
indebted  to ,dr4 ,j4 ,m4 ,paton1 former
 editor-in-chief of the ,a4 ,j4 ,a41 for
  permission to use the former1 and to  
,prof4 ,clarence ,bill1 the present     
secretary of the ,american ,philological
 ,association1 for permission to  use   
the latter4 ,only slight changes have   
been made in the original  articles for 
the present work4 ,the summary of the   
last section1  ,statistics of ,olympic  
,victor ,statuaries1 is revised from my 
note  published in ,proceedings of the  
,american ,philological ,association1   
,,xliv1 #aiac1 pp4 xxx-xxxi4 ,i am also 
indebted to ,professor ,bill for        
permission to use it in the present     
work4    #bbid   444        7,,vi1      
#a4a74    #bbie ,,vi1 ,chs4 #a-af4 #afi 
in my de olympionicarum ,statuis3       
,philon of  ,kerkyra1 who had two       
statues1 is there named twice1 under    
nos4 #ia and  #acf4    #bbif ,,vi1 ,chs4

 #ag-ah4    #bbig ,see ,ergebn4 v4 ,ol41
 ,karten u4 ,plaene1 #ahii1 ,,iii1 ,,iv 
7,doerpfeld72 cf4 also ,h4 ,luckenbach1 
,olympia und ,delphi1 #aijd1 p4  #aa1   
fig4 #e 7 ,a4 ,j4 ,a41 ,,xvi1 #aiab1 p4 
#bjd1 fig4 #a74    #bbih ,a4 ,z41 ,,xl1 
#ahhb1 pp4 #aai f4 7and ,sketch-plan74  
#bbii ,pp4 #de f4    #bcjj ,in ,baum41  
,,ii1 pp4 #ajid f4    #bcja ,olympia1   
,ergebnisse1 ,textbd41 ,i 7,topographie 
und  ,geschichte71 pp4 #hg f42 cf4 ,a4  
,m41 ,,xiii1 #ahhh1 pp4 #cce f4    #bcjb
 ,de olymp4 ,stat41 ,ch4 ,,iii1 pp4 #fc 
f4 ,the outline therein forms  the basis
 of the present treatment4 ,the numbers 
of the victors from the  catalogue of   
that work1 showing the order of         
presentation by ,pausanias1  are here   
retained in parentheses3 e4 g41         
,telemachos 7#abb74 ,a letter  after the
 number indicates either that an        
adjacent 8honor0 statue1  e4 g41        
,philonides 7#aed;a71 stood next to a   
victor statue1 e4 g41  ,menalkeas       
7#aed71 or that no statue is mentioned4 

#bcjc ,e4 g41 ,kalkmann1 ,pausanias der 
,perieget1 #ahhf1 p4 #hh4    #bcjd ,e4  
g41 nos4 #a1 #c1 #d1 #e1 #f were        
,eleans2 #g-i and #aa-ad were           
,spartans2 #ag-ah and #bc-bf were       
,eleans2 #de and #dh-di1 #ea1 #ed1 #eg  
were  ,arkadians2 #f-i and #aa-ad were  
victors in chariot-races2 #cj1 #cd1 #cg1
 #dj  were pancratiasts2 #be-bh had     
statues by ,sikyonian artists2 #ci-dj   
had  statues by ,athenian artists2      
#ei-fc formed a family group2 etc4      
#bcje ,ueber ,pausanias1 #ahij1 p4 #cic4
    #bcjf ,the lack of continuity in    
describing the altars led ,r4 ,heberdey1
  ,eranos ,vindobonensis1 #ahic1 pp4 #ci
 f41 7,die ,olympische ,altarperiegese  
des ,pausanias71 to conclude wrongly    
that ,pausanias took over bodily  from  
an earlier work his enumeration of the  
altars1 only here and  there interposing
 a remark of his own1 as e4 g41 ,v1 #ae4
 #b1 where he  parenthetically describes
 the ,leonidaion4    #bcjg ,e4 g41 the  
statue of the ,akarnanian boxer 7#aj7   

stood among  those of ,spartan victors  
7#g-ad72 ,eukles 7#eb71 a grandson of   
,diagoras1  had his statue away from his
 family group 7#ei-fc72 the two statues 
of  ,timon 7#ag and #aje d7 stood in    
different parts of the ,altis4    #bcjh 
,,vi1 #a4c4    #bcji ,so ,furtwaengler1 
,a4 ,z41 ,,xxxvii1 #ahgi1 p4 #adf2      
,treu1 ibid41  p4 #bjg2 ,flasch1        
,hirschfeld1 and ,scherer1 in the works 
already cited4    #bcaj ,so ,doerpfeld1 
l4 c41 p4 #hh2 ,michaelis1 ,a4 ,z41     
,,xxxiv1 #ahgf1  p4 #afd2               
,hitz4-,bluemn41 ,,ii1 #b1 p4 #eca2 etc4
    #bcaa ,hyde1 p4 #fd4 ,i here append 
three such passages3 in ,v1 #bd4c1 in   
speaking of the statue of the ,zeus of  
the ,lacedmonians1 he says  that it     
1 i4 e41 at the southeast corner of the 
temple near where  the pedestal was     
found 7cf4 ,inschr4 v4 ,ol41 #beb1 and  
,olympia1  ,ergebn41 ,textbd41 ,i1 p4   
#hf72 in ,v1 #bf4b1 in speaking of the  
offerings  of ,mikythos1 he says that   
they stood           1 i4 e41 on the    

northern side of the temple of  ,zeus1  
where most authorities find their       
foundations 7cf4 ,inschr4 v4  ,ol41     
#bfg-bfi1 and ,flasch1 op4 cit41 p4     
#ajic72 in ,,viii1 #ch4b1 he says  that 
,mount ,lykaion is       1 i4 e41  to   
the north of that temple4 ,cf4 also ,v1 
#ba4b4 ,professor ,bluemner1  reviewing 
my monograph de olymp4 ,stat41 in the   
,berl4 ,philol4  ,wochenschr41 ,,xxiv1  
#aijd1 col4 #achb1 objects to my        
interpretation of   1 and admits not one
 but three possibilities3 7a7 of the    
temple  pro persona1 i4 e41 its south   
side2 7b7 of a spectator facing  the    
chief1 i4 e41 east front1 the northern  
half of the space before  it2 7c7 of a  
spectator with his back to this front1  
i4 e41 the  southern half of this space4
 ,but if ,pausanias had meant either of 
the  two latter1 he would have said   1 
as in ,,viii1 #cg4b1    1 cf4 ,v1 #ae4c1
 or   1 cf4 ,v1 #bg4a4    #bcab ,for    
locations of bases1 see ,insch4 v4 ,ol41
 nos4 #aff 7,troilos71  #afj 7,kyniska71

 #agb 7,sophios74 ,because of the finds 
in the ,prytaneion  both ,hirschfeld and
 ,scherer started this  west of the     
,heraion4    #bcac ,from the unfinished 
condition of the back of the ,lysippan  
marble  head from the statue of         
,philandridas 7#aj71 as well as its     
excellent  surface preservation         
7,frontispiece and ,fig4 #fi71 we have  
already argued  that some of these early
 statues may have stood along the       
southern  steps of the temple against   
the columns of the peristyle3 supra1 p4 
#cjj4    #bcad ,see ,inschr4 v4 ,ol41   
no4 #bdh2 cf4 ,p41 ,v1 #bg4i4    #bcae  
,see ,inschr4 v4 ,ol41 nos4 #afa        
7,narykdas72 #adf 7,kallias72 #aei      
7,eukles72 #add 7,euthymos72 #aef       
7,charmides72 #aee 7,hellanikos74 ,other
  bases of statues which must have stood
 in this vicinity have also been  found1
 far from their original positions3 i4  
e41 those of ,athenaios  7#cf71 #ef     
meters west of the ,leonidaion2 of      
,polydamas 7#dg71 fragments  #bf meters 

southeast of the ,echo ,hall2 of        
,diagoras 7#ei71 five fragments  near   
the ,metroon2 of ,damagetos 7#fb71 in   
the ,leonidaion2 of ,dorieus  7#fa71    
near the ,victory of ,paionios2 of      
,kyniskos 7#de71 inside the  ,byzantine 
church2 of ,damoxenidas 7#ed71 near the 
,heraion4 ,see ,inschr4  v4 ,ol41 nos4  
#afh 7,athenaios71 #aea 7,diagoras71    
#aeb 7,damagetos71 #aec  7,dorieus71    
#adi 7,kyniskos71 #aeh 7,damoxenidas72  
for the sculptured base  of ,polydamas  
7#dg71 see ,bildw4 v4 ,ol41 ,tafelbd41  
,,pi4 ,,lv1 #a-c2 ,textbd41  pp4 #bji f4
    #bcaf ,argum41 ,boeckh1 pp4 #aeg-h4 
,pausanias names them in the order3     
,diagoras1 ,akousilaos1 ,dorieus1       
,damagetos1 ,peisirhodos4 ,the scholiast
  names them in the order3 ,diagoras1   
,damagetos1 ,dorieus1 ,akousilaos1      
,eukles1 ,peisirhodos4    #bcag ,see for
 ,aristotle1 ,f4 ,h4 ,g41 ,,ii1 p4 #ahc1
 fragm4 #bfd4 ,apollas  ,ponticus is    
little known3 cf4 ,f4 ,h4 ,g41 ,,iv1 p4 
#cjg1 fragm4 #g2 he  probably copied    

from ,aristotle's work4    #bcah ,this  
is ,dittenberger's explanation1 ,inschr4
 v4 ,ol41 nos4 #aea  and #aei2 and also 
that of ,robert1 ,o4 ,s41 p4 #aie1      
,scherer1 p4 #di1 and  ,gurlitt1 op4    
cit41 p4 #daa2 ,purgold1 however1       
,inschr4 v4 ,ol41 p4  #bfb1 has tried to
 reconcile the two accounts on the      
theory of no change4    #bcai ,however1 
,kalkmann1 ,pausanias der ,perieget1 p4 
#ij1 thinks that  the two groups of     
,diagoras and ,alkainetos stood apart4  
#bcbj ,the base of the statue of        
,pythokles was found between the        
,heraion and the ,pelopion3 see ,inschr4
 v4 ,ol41 #afb-afc4    #bcba ,gurlitt1  
,ueber ,pausanias1 p4 #dab1 assumed the 
possibility of  the existence of two    
different statues of ,lysandros1 one #ce
 a1 and the  other somewhere after      
,charmides 7#eh7 in the family group of 
,diagoras2  ,kalkmann1 op4 cit41 p4 #aje
 and note #d1 explains the discrepancy  
between the scholiast and ,pausanias on 
the theory that the latter  borrowed    

from older lists2 ,purgold1 ,aufsaetze  
,e4 ,curtius gewidmet1  pp4 #bch f41    
assumed but one statue of ,lysandros4   
#bcbb ,scherer1 p4 #ea 7cf4 ,plan       
opposite p4 #ef71 and ,flasch1 l4 c41   
p4 #ajie1 note #a1 proposed a route     
south from the ,heraion to the west of  
the so-called ,great ,altar site1 while 
,hirschfeld1 l4 c41 p4 #aai1 made  it   
run to the east of it4 ,doerpfeld1 op4  
cit41 p4 #hh1 starting east  of the     
,heraion1 made the route run first to   
the west along the south  side of the   
temple1 and thence around the western   
side of the ,pelopion1  and so across to
 the ,eretrian ,bull2 ,michaelis1 l4 c41
 p4 #afd1 with  the same starting-point1
 had it bear first to the east parallel 
with  the ,treasury ,terrace1 and thence
 south4 ,see ,plans ,a and ,b4    #bcbc 
,see ,inschr4 v4 ,ol41 no4 #bei1 and    
,ol41 ,ergebn41 ,textbd41 ,,ii1  pp4    
#aec-aee1 etc42 cf4 ,p41 ,v1 #bf4a4     
#bcbd ,see ,inschr4 v4 ,ol41 nos4 #aeg  
7,sosikrates2 for the  restoration of   

the name1 see ,hyde1 p4 #cg72 #afg      
7,kritodamos72 #afd  7,xenokles74 ,the  
plate from the pedestal of the statue of
 the unknown  ,arkadian victor 7#gi7 was
 found far away from this point1 in the 
,palaistra4 ,we have shown 7supra1 pp4  
#bdd-e17 that the statue of  ,philippos 
7#gi;a71 mentioned by ,pausanias as the 
work of ,myron 7cf4 ,,vi1  #h4e71 was   
probably only that of this older unknown
 ,arkadian1 later used  for ,philippos1 
who won some time between ,ols4 787 #aai
 and #abe 7 #cjd  and #bhj ,b4 ,c472 see
 ,inschr4 v4 ,ol41 no4 #agd2 cf4 ,hyde1 
op4 cit41  pp4 #ci-da4    #bcbe ,on the 
name1 see ,hyde1 p4 #db4    #bcbf ,see  
,ol41 ,ergebn41 ,textbd41 ,i1 p4 #hf1   
and cf4 ,,ii1 p4 #gh4 ,a  slit in the   
lower step of the base of the ,zeus may 
have contained the  tablet mentioned by 
,p41 ,v1 #bc4d4 ,three of the four      
inscribed blocks  of ,gelo's chariot    
base were found in the ,palaistra3      
,inschr4 v4 ,ol41  under no4 #adc4      
,for ,doerpfeld's identification of the 

,council-house 7,bouleuterion7 with  the
 tripartite building south of the temple
 of ,zeus just outside the  ,south      
,altis wall1 see ,ausgrab4 zu ,ol41     
,,iv1 #ahgh-ahgi1 pp4 #dj-df1 and       
,olympia1 ,ergebn41 ,textbd41 ,,ii1 pp4 
#gf-gi4 ,others1 on the basis of a      
passage in ,xenophon's ,hell41 ,,vii1   
#d4ca1 wrongly place it near the        
,prytaneion in the northwestern part of 
the ,altis4 ,cf4 ,frazer1 ,,iii1  pp4   
#fcf f41 and ,doerpfeld1 l4 c41 pp4 #gh 
f4 ,see ,plans ,a and ,b4    #bcbg ,see 
,inschr4 v4 ,ol41 no4 #agg4 ,it stands  
on the south edge of  the ,south        
,terrace wall between its gateway and   
the later ,east ,byzantine  wall of the 
,altis4    #bcbh ,hyde1 pp4 #di f41     
where ,i assume that the passage ,,vi1  
#ac4h is a  digression1 and that the    
name of a victor has dropped out at the 
end  of #ac4g4 ,there ,i have inserted1 
from a recovered inscription1 the name  
of ,akestorides of ,alexandria ,troas1  
placing his statue next to that of      

,agemachos 7#aah7 of similar date1 the  
only other ,asiatic in this part  of the
 ,altis4 ,foerster1 #eja1 dates         
,akestorides wrongly in the second      
century ,b4 ,c4 7on the basis of        
,furtwaengler1 ,a4 ,m41 ,v1 #ahhj1 p4   
#cj1  n4 #b1 end71 although the         
inscription from the base is referred by
  ,dittenberger to the end of the third2
 ,agemachos won in ,ol4 #adg 7 #aib  ,b4
 ,c472 ,i have therefore dated          
,akestorides tentatively between ,ol4   
787  #adb and ,ol4 787 #add 7 #bab and  
#bjd ,b4 ,c474    #bcbi ,see ,inschr4 v4
 ,ol41 #adg1 #adh 7,tellon1 inscription 
renewed in  the first century ,b4 ,c472 
#afe 7,aristion72 #ahd 7,akestorides74  
,roehl 7,i4 ,g4 ,a41 no4 #cee and ,add41
 p4 #ahb7 referred an inscription  on   
two marble fragments found in #ahgi 7cf4
 ,a4 ,z41 ,,xxxvii1 #ahgi1 p4  #afa1 no4
 #cab71 one found near the ,heraion1 the
 other east of the temple  of ,zeus1 to 
the victor ,agiadas 7#ajc72             
,dittenberger 7cf4 ,inschr4  v4 ,ol41   

no4 #aej7 and others have rightly       
rejected this ascription4  ,similarly   
the inscribed base of the statue of     
,areus 7#aje b71 son of  ,akrotatos1    
,king of ,sparta1 found in the ,heraion 
7see ,inschr4 v4  ,ol41 no4 #cjh71      
belongs rather to the second statue of  
,areus 7#adh a7  dedicated by ,ptolemy  
,philadelphus2 cf4 ,hyde1 pp4 #dd-de4 ,i
 have also  referred the second         
inscription of the artist ,pythagoras   
7,inschr4 v4  ,ol41 no4 #ade7 found in  
the ,leonidaion1 to the statue of       
,astylos 7#aaj71  because of its        
similarity to that on the base of the   
statue of ,euthymos  7#ef7 likewise by  
,pythagoras3 ibid41 pp4 #dg-dh4    #bccj
 ,see ,inschr4 v4 ,ol41 nos4 #afi       
7,aristophon71 #aed 7,xenombrotos  and  
,xenodikos71 following ,robert's        
ascription1 ,o4 ,s41 #aijj1 pp4  #agi   
f42 a second epigram referring to       
,xenombrotos alone 7,inschr4 v4         
,olymp41 no4 #agj7 must belong to a     
second monument not mentioned by        

,pausanias2 cf4 ,hyde1 p4 #ec4    #bcca 
,e4 g41 ,furtwaengler1 ,a4 ,z41         
,,xxxvii1 #ahgi1 p4 #adj 7quoted by     
,dittenberger72 ,frazer1 ,,iv1 p4 #dc4  
#bccb ,see ,inschr4 v4 ,ol41 nos4 #agf  
7,aischines2 see ,foerster1 no4  #dea71 
#agc 7,archippos71 #ahf 7,epitherses71  
#cjd 7,antigonos72 a fragment  of the   
base of the statue of ,demetrios 7#adg  
e7 was also found1 the  exact location  
not being recorded1 no4 #cje2 #bgf      
7,philonides2 a second  mutilated copy  
of this inscription was found nearby    
built into a late  wall north of the    
,byzantine church2 see no4 #bgg72       
,pausanias 7,,vi1 #ae4aj7  mentions two 
statues of ,kapros4 ,for the bronze foot
 7,fig4 #fb7 of one of  them1 see supra1
 p4 #bee and n4 #c4    #bccc ,,vi1      
#ah4g4 ,he gives this honor to          
,praxidamas and ,rhexibios  7#ahg-ahh71 
who won in ,ols4 #ei and #fa 7 #edd and 
#ecf ,b4 ,c47  respectively4 ,we have   
already pointed out that the statue of  
,oibotas  7#bi71 who won in ,ol4 #f 7   

#gef ,b4 ,c471 was set up in ,ol4 #hj 7 
#dfj ,b4  ,c47 by the ,achans 7,,vi1    
#c4h74    #bccd ,see ,inschr4 v4 ,ol41  
nos4 #bid 7,leonidas2 cf4 ,a4 ,m41      
,,xiii1  #ahhh1 p4 #cbb1 note #a1       
,treu72 #ahc 7,seleadas2 this is my own 
ascription2  see ,hyde1 p4 #eh2         
,dittenberger wrongly restored the name 
as 72  #fcb 7,polypeithes and           
,kalliteles72 #aga 7,deinosthenes72 #agh
 7,glaukon2  his monument was a little  
bronze chariot1 not a statue1 thus      
imitating  earlier sixth-century victor 
dedications1 like that of ,kyniska 7#g72
  no4 #bif is another inscription from a
 statue of ,glaukon dedicated by        
,ptolemy ,euergetes74    ,the pedestal  
of the statue of ,paianios 7#afg7 was   
found behind the south  side of the     
,echo ,colonnade and therefore far      
removed 7,inschr4 v4 ,ol41  no4 #agi72  
,pausanias again mentions ,paianios in  
,,vi1 #ae4aj4 ,another  pedestal 7no4   
#fcb71 found south of the west end of   
the ,byzantine  church1 has been        

referred by ,purgold to the statue of   
,lysippos 7#afb73  cf4 ,a4 ,z41 ,,xxxix1
 #ahha1 pp4 #he f41 no4 #chg4           
,hitz4-,bluemn41 ,,ii1 #b1  p4 #fae1 and
 others have rejected the ascription4   
#bcce        1            4    #bccf    
,see ,a4 ,m41 ,,xiii1 #ahhh1 pp4        
#cbg-ccf and ,pl4 ,,vii 7,die ,altis    
,mauer in ,olympia74 ,on the west of the
 ,altis are the ruins of two  parallel  
walls1 the inner ,greek1 the outer      
,roman2 the original ,south  wall of the
 ,altis ran along the line of the ,south
 ,terrace wall1 the  later ,roman wall  
7dating from ,nero's time7 to the south 
of it4 ,thus  in ,pausanias' day1 the   
was opposite the ,leonidaion4  ,in two  
other passages1 however1 it appears to  
be at the southeast  corner of the      
,altis 7,v1 #ae4g2 ,,vi1 #bj4g74 ,r4    
,heberdey 7in ,eranos  ,vindobonensis1  
#ahic1 pp4 #cd-dg7 explains this        
discrepancy by saying  that ,pausanias1 
in mentioning the southwestern entrance1
 is writing  from his own observation   

after the ,roman extension1 and in the  
other  passages is copying from other   
writers who wrote before that extension4
  ,doerpfeld's explanation1 however1 is 
better3 in the ,roman extension a  gate 
was built at the southwest corner of the
 new ,west wall superseding  the older  
southeast entrance4 ,processions still  
passed along the same  way1 but were now
 inside the ,altis1 the great gateway of
 ,nero at the  southeast corner being   
given up after his death4 ,cf4 ,frazer1 
,,iii1 pp4  #egj-egb2 ,hitz4-,bluemn41  
,,ii1 #b1 pp4 #cge-f4    #bccg ,p41     
,,vi1 #ag4a4    #bcch ,a4 ,m41 ,,xiii1  
#ahhh1 pp4 #cag-cbf 7,die ,bauinschrift 
des  ,leonidaions zu ,olympia72 and cf4 
,inschr4 v4 ,ol41 no4 #fea1 and         
,olympia1 ,ergebn41 ,textbd41 ,,ii1 ,die
 ,baudenkmaeler1 pp4 #hc-ic1 and        
,tafelbd41 ,pls4 ,,lxii-,,lxvi 7,r4     
,borrmann74    #bcci ,e4 g41 ,k4 ,lange1
 ,haus und ,halle1 #ahhe1 pp4 #cca f2   
,hirschfeld1 ,a4 ,z41 ,,xl1 #ahhb1 p4   
#aba2 ,flasch1 in ,baum41 ,,ii1 pp4     

#ajie and #aajd ,k4 ,others placed it   
elsewhere3 e4 g41 ,curtius-,adler1      
,olympia und ,umgegend1 #ahhb1 pp4 #bc  
f42 ,scherer1 op4 cit41 pp4 #ee f4  7and
 ,plan71 identified it with the         
8,south-east ,building10 where he  had  
this second  begin4    #bcdj ,v1 #ac4i4 
,for full account of the altar1 see ,v1 
#ac4h-aa4    #bcda ,thus ,curtius1      
,altaere v4 ,ol41 ,abhandl4 d4 k4       
,preuss4 ,akad4  d4 ,wiss4 zu ,berlin1  
#ahhb1 p4 #d 7 ,gesammelte              
,abhandlungen1 #ahid1  ,,ii1 pp4 #db    
f472 ,adler1 ,a4 ,a41 #ahid1 p4 #he2    
ibid41 #ahie1 pp4 #ajh  f4 7cf4 his     
reconstruction in ,olympia1 ,ergebn41   
,tafelbd41 ,,ii1  ,pl4 ,,cxxxii and     
,textbd41 ,,ii1 pp4 #baj f472           
,curtius-,adler1 ,olympia u4  ,umgegend1
 p4 #ce2 ,flasch1 op4 cit41 p4 #ajfg    
7cf4 ,funde v4 ,ol41  pp4 #bch-bci72    
,boetticher1 ,olympia#b1 #ahhf1 pp4 #aij
 f4 7and ,plan72  ,furtwaengler1        
,bronzen v4 ,olympia1 p4 #d2            
,hirschfeld1 op4 cit41 p4  #aai 7       

,plan72 ,scherer1 op4 cit41 p4 #ef 7with
 ,plan72 ,trendelenburg1  ,der grosse   
,altar des ,zeus in ,olympia1 #aijb1 pp4
 #ag f42 ,doerpfeld1  ,olympia1         
,ergebn41 ,textbd41 ,,ii                
7,baudenkmaeler7 p4 #afb1 7cf4 ,i1  p4  
#hb1 where he admits the possibility    
that it may have stood further          
northwest1 nearer the ,heraion72        
,frazer1 ,,iii1 p4 #eef2 etc4    #bcdb  
,see ,a4 ,m41 ,,xxxiii1 #aijh1 pp4      
#ahe-aib 7,olympia in  praehistorischer 
,zeit72 cf4 ,year's ,work in ,classical 
,studies1 ,,iii1  #aijh1 p4 #ab4        
#bcdc ,for ,puchstein's location and    
form of the altar of ,zeus1 see ,a4     
,a41 #ahic1 p4 #bb2 ibid41 #ahie1 p4    
#ajg2 ,jb41 ,,xi1 #ahif1 pp4 #ec f4     
7with 8oblong0 reconstruction by        
,koldewey1 pp4 #gf-gg72 for ,wernicke's 
view1 see ,jb41 ,,ix1 #ahid1 pp4 #ic f4 
,this view was already refuted  by      
,adler1 ,a4 ,a41 #ahie1 p4 #ajh1 and    
,doerpfeld1 ,ergebn4 v4 ,ol41  ,textbd41
 ,,ii1 pp4 #afb f4 ,doerpfeld later     

referred these remains also to          
prehistoric houses 7cf4 preceding note7 
#bcdd ,v1 #ac4h4 ,the exact site of the 
,pelopion is given in ,v1 #ac4a 7see    
,plans ,a and ,b74 ,wernicke1 7l4 c41   
pp4 #id f47 placed the older altar  of  
,zeus 7who was at first worshiped in    
common with ,hera7 between the  ,heraion
 and ,pelopion 7as ,puchstein also did74
 ,he believed that later1  however1     
after the building of the temple of     
,zeus and the ,pelopion1  the altar was 
moved east of both and stood somewhere  
northwest of the  elliptical depression1
 where ,pausanias saw it4 ,he explained 
the lack  of remains on the theory that 
the ,christians would completely destroy
  this1 the chief pagan altar4 ,but it  
is difficult to see why the few         
,christian settlers in this out of the  
way place should have shown any  such   
anger4 ,doerpfeld 7,ergebn4 v4 ,ol41    
,textbd41 ,,ii1 ,baudenkmaeler1  p4     
#afc7 suggested that it may have stood  
south of the ,exedra of  ,herodes       

,attikos1 where its site must certainly 
be sought4    #bcde ,hitz4-,bluemn41    
,,ii1 i1 p4 #cei1 rightly say that the  
words of  ,pausanias point to a place in
 the ,altis where there are neither     
foundations nor ashes4 ,since it is     
incredible that the ,christians  should 
have destroyed it so completely1 they   
assume that ,pausanias  made a mistake  
in his directions4 ,their conclusion    
that the elliptical  depression best    
fits the conditions is untenable now4   
#bcdf ,op4 cit41 p4 #afd4    #bcdg ,see 
,a4 ,m41 ,,xiii1 #ahhh1 pp4 #cce-ccf1   
and ,ergebn41 ,textbd41 ,i1  p4 #hh4 ,in
 the latter he says3 8,zu unserer       
,verwunderung sehen wir1 dass  der      
zweite ,teil die ununterbrochene        
,fortsetzung des ersten ,teiles ist1    
also in ,wirklichkeit nur eine ,ephodos1
 nur ein einziger ,rundgang40    #bcdh  
,this pillar stood between the ,great   
,altar and the temple of  ,zeus3 ,p41   
,v1 #bj4 #f4    #bcdi       1  4 4 41   
7,,vi1 #ag4g72 again in ,,vi1 #ah4b he  

says that he discovered the  statue of  
,anaximenes 8by searching0 774    #bcej 
,similarly1 on arriving at the statue of
 ,telemachos1 he  moved first to the    
east and then returned 7passing the     
chariot of  ,kleosthenes7 before        
proceeding west1 without mentioning it3 
see  supra1 p4 #cde4    #bcea ,on       
analogy with ,v1 #ae4a4 ,see ,hyde1 p4  
#fh4    #bceb ,the ,terrace wall can    
still be traced before the western front
  of the temple and also to the         
north-east of it2 cf4 ,treu1 ,a4 ,z41   
,,xxxvi1 #ahgh1 p4 #cf3 8,so umgab denn 
vermutlich einst den ganzen ,tempel     
eine statuenbekroente ,terrasse40       
,hitz4-,bluemn41 ,,ii1 #b1 p4 #fai1     
suppose  such a road to the west and    
north of the temple1 but would interpret
 it  as being  4    #bcec ,cf4 ,hyde1 p4
 #gj4 ,hitz4-,bluemn4 7see preceding    
note7 rejected  this textual change of  
mine as unnecessary1 and followed       
,hirschfeld and  ,doerpfeld in having   
,pausanias return along the south side  

of the temple  of ,zeus4 ,i proposed    
this change by analogy with the text of 
,v1 #bd4a1 ,v1  #ba4b1 and other        
passages4    #bced ,the bronze tablet of
 ,demokrates 7#agj71 found south of the 
southwest corner of the temple of ,zeus1
 did not belong to his victor  statue1  
but to a base which stood probably      
inside the temple3 ,inschr4  v4 ,ol4 no4
 #ci4 ,also the archaic marble helmeted 
head and arm with  the remains of a     
shield attached 7see ,bildw4 v4 ,ol41   
,tafelbd41 ,pl4  ,,vi1 #a-d1 and #e-f71 
the head being found west of the temple 
and the  arm before the gate of the     
,pelopion1 wrongly ascribed by ,treu    
7,a4  ,z41 ,,xxxviii1 #ahhj1 pp4 #dh f41
 and ,bildw4 v4 ,ol41 ,,iii1 pp4 #cc-cd7
  and ,overbeck 7,i1 pp4 #aih f41 and p4
 #agh7 to ,eperastos 7#ahc71 ,i have    
referred to an older hoplite1 ,phrikias 
of ,pelinna 7,foerster1 nos4 #aea1      
#aee73 see ,hyde1 p4 #dc1 and supra1    
,ch4 ,,iii1 pp4 #afb-c and ,fig4 #cj;a1 
b4    #bcee ,see ,inschr4 v4 ,ol41 no4  

#bic4    #bcef ,see ,inschr4 v4 ,ol41   
nos4 #bfg-bfi4 ,the supposed foundation 
was  found thirty feet north of the     
temple2 cf4 ,frazer1 ,,iii1 pp4 #fdf f42
  etc4    #bceg ,v1 #bj4f f4 ,a large   
foundation1 between the pedestal of     
,dropion1  ,king of the ,paionians1     
,inschr4 v4 ,ol41 no4 #cjc1 7see ,plans 
,a and ,b71  and the pedestal of the    
,eretrian ,bull1 may have formed part of
 the  house of ,oinomaos 7cf4           
,curtius-,adler1 op4 cit41 p4 #dj2      
,flasch1 l4  c41 p4 #ajgd74 ,wernicke1  
7,jb41 ,,ix1 #ahid1 p4 #ie71 however1   
refers it  to the oval depression called
 the ,great ,altar site4 ,doerpfeld     
7,ergebn4  v4 ,ol41 ,textbd41 ,i1 p4    
#hb7 is opposed to this view and places 
it  further north1 near the ,metroon4   
#bceh ,this is ,kalkmann's theory 7op4  
cit41 p4 #hi71 who calls this  section  
7,,vi1 #ah4g7 the 8letzter ,trumpf10 an 
addition having no  connection with the 
second 4 ,he compares it with ,v1 #bd4i1
 where  ,pausanias1 after ending the    

periegesis of the altars1 adds one more1
  that of 8,zeus ,horkios10 which stood 
in the ,council ,house1 though he had   
already passed this point twice without 
mentioning the fact4 ,kalkmann  also    
compares it with ,v1 #bg4ab 7the        
transition to the account of the  victor
 statues74 ,gurlitt 7op4 cit41 p4 #cib7 
explains this last  section1 i4 e41 ,v1 
#bg4ab1 as due to a later revision of   
,pausanias'  work4    #bcei ,,vi1 #ai4a4
    #bcfj ,see the ,catalogue in my de  
olymp4 ,stat41 7pp4 #c f47 for dates2   
and cf4 ibid41 ,ch4 ,,iv1 pp4 #gb f41   
for results4 ,the summaries are  made   
only on the basis of the #aec monuments 
which can be exactly or  approximately  
dated4    #bcfa ,eutelidas 7#adh71      
,praxidamas 7#ah71 ,rhexibios 7#ahh71   
,polypeithes  and ,kalliteles           
7#afj-afa74    #bcfb ,on the date of the
 temple of ,zeus 78#dfh-def ,b4 ,c471   
cf4  ,doerpfeld1 ,ol41 ,ergebn41        
,textbd41 ,,ii1 pp4 #ai4 f4    #bcfc    
,enation 7#agf7 is simply called an     

,arkadian by ,p41 ,,vi1 #ag4c4    #bcfd 
,,vi1 #a4b1 and cf4 his words in ,,vi1  
#ag4a4    #bcfe ,the last dated victor  
statue at ,olympia1 known from          
inscriptions1 is that of ,valerios      
,eklektos of ,sinope1 four times victor 
as herald1 winning in ,ols4 #bef1 #beh1 
#bei1 #bfj 7 #bde1 #bec-bfa ,a4  ,d473  
,foerster1 #gda-gdd4 ,philoumenos of    
,philadelphia in ,lydia1 victor  in     
wrestling 787 in ,ol4 787 #bhh 7 #cgc   
,a4 ,d471 ,foerster1 #gej1 had a        
statue1 as we learn from the conclusion 
of an epigram preserved by  ,panodoros  
in ,cramer's ,anecd4 gr4 ,parisiensia1  
#ahci-da1 ,,ii1 p4 #aee1 #ag  f42 cf4   
,inscr4 ,graecae metricae1 ed4 ,preger1 
#ahia1 no4 #acc4 ,it may  have been in  
,olympia4    #bcff ,on his use of older 
lists of victors and especially of the  
,elean  register1 see ,p4 ,hirt1 de     
,fontibus ,pausaniae in ,eliacis        
7,greifswald1  #ahgh71 pp4 #ab f42 ,mie1
 ,quaestiones agonisticae 7,rostock1    
#ahhh71  pp4 #ag f42 ,kalkmann1         

,pausanias der ,perieget1 pp4 #gb f4 and
 #ajc f42  ,gurlitt1 ,ueber ,pausanias1 
p4 #dbf1 note #dc2 ,robert1 ,hermes1    
,,xxiii1  #ahhh1 pp4 #ddd f42           
,hirschfeld1 ,a4 ,z41 ,,xl1 #ahhb1 pp4  
#aje and #aaa2 ,j4  ,juethner1          
,philostratos ueber ,gymnastik1 pp4     
#fj-gd 7,elean register71  and #aji f42 
,gardiner1 p4 #ej4 ,pausanias frequently
 mentions such  sources himself1        
especially the ,elean register3 e4 g41  
,,iii1 #ba4a2 ,v1  #b4ai2 ,,vi1 #b4c4   
,hirschfeld 7l4 c41 pp4 #aje and #aac7  
and others have  unreasonably doubted   
whether ,pausanias ever visited ,olympia
 at all4    #bcfg ,hyde1 #adf2          
,foerster1 #dgb1 #dgf2 ,p41 ,,vi1 #ae4c 
f4    #bcfh ,hyde1 #aej2 ,foerster1     
#dgd1 #dge2 ,p41 ,,vi1 #ae4aj 7two      
statues74    #bcfi ,hyde1 #aai and pp4  
#di-ej2 ,foerster1 #eja2 ,p41 ,,vi1     
#ac4g1 and  ,inschr4 v4 ,ol41 #ahd4     
#bcgj ,hyde1 #db2 ,foerster1 #hjj2 ,p41 
,,vi1 #d4i4    #bcga ,hyde1 #dj2        
,foerster1 #did2 ,p41 ,,vi1 #d4e4       

#bcgb ,hyde1 #aeb2 ,foerster1 #cia2 ,p41
 ,,vi1 #af4b4    #bcgc ,hyde1 #afb2     
,foerster1 #eae2 ,p41 ,,vi1 #f4g4       
#bcgd ,hyde1 #abe;a2 ,foerster1 #fea2   
,p41 ,,vi1 #ad4b4    #bcge ,hyde1       
#aaa;b2 ,foerster1 #fdh-fej2 ,p41 ,,vi1 
#ac4c4    #bcgf ,hyde1 #aaa;a2          
,foerster1 #fed-f1 #fei1 #ffj1 #ffb-ffd2
 ,p41 ,,vi1 #ac4c4    #bcgg ,h4 ,n41    
,,xxxiv1 #af4 ,see supra1 pp4 #bg and   
#ed4    #bcgh ,cf4 ,inschr4 v4 ,ol41 p4 
#bce4 ,p41 ,,vi1 #a4a1 distinctly states
  that not all victors had statues1     
adding that some of the most            
distinguished had none4    #bcgi ,thus  
the epigram on the base of a monument of
 ,xenombrotos 7#acc2  cf4 ,p41 ,,vi1    
#ad4ab7 states that it was a portrait of
 the victor3  ,inschr4 v4 ,ol41 #agj4   
,we have1 however1 aside from this      
inscription1  no record that he was a   
victor more than once4 ,see supra1 pp4  
#ed-e4  ,on the basis of three or more  
victories1 several victors should have  
had portrait statues3 e4 g41 ,foerster1 

#fj1 #hf1 #add1 #cea1 #ceh1 #die1  #fjc1
 #gda1 #hae4    #bchj ,discussed supra1 
,ch4 ,,ii1 p4 #eh4    #bcha ,for dates1 
places of finding1 and contests1        
references are  constantly made by      
number to ,dittenberger1 ,inschr4 v4    
,ol42 the number  of each victor is     
given also from ,foerster's lists1      
which1 though  incomplete1 are the best 
that have yet appeared4 ,where the exact
 dates  are known they are cited from   
,foerster2 otherwise1 the probable      
dating  of the inscription as given by  
,dittenberger is followed4 ,see ,plans  
,a  and ,b4    #bchb ,see ,inschr4 v4   
,ol41 #adb 7,pantares1 son of           
,menekrates of ,gela72  ,foerster1 #adi1
  ,ol4 787 #fg 7 #egb ,b4 ,c472 ,gelo   
won in ,ol4 #gc 7 #dhh ,b4  ,c473       
,foerster1 #ahj4    #bchc ,phrikias won 
twice1 in ,ols4 #fh and #fi 7 #ejh and  
#ejd ,b4 ,c473  ,foerster1 #aea and     
#aee4 ,phanas was three times victor on 
the same day  771 in the 1  and as 1 in 
,ol4 #fg 7 #eab ,b4  ,c473 ,foerster1   

#add-adf4 ,for the ascriptions1 see     
supra1 pp4 #afb-c4    #bchd ,inschr4 v4 
,ol41 #aej4 ,roehl 7,i4 ,g4 ,a41 #cee   
and ,add41 p4 #ahb7  wrongly ascribed it
 to ,agiadas 7#ajc71 boy boxer of ,elis1
 whose statue  was by the ,aeginetan    
,serambos 7,p41 ,,vi1 #aj4i74 ,his      
victory should fall  between ,ols4 #gb  
and #gd inclusive 7 #dib and #dhd ,b4   
,c473 ,hyde1 p4 #dd4  ,foerster1 #eai1  
following ,roehl and ,gurlitt 7op4 cit41
 pp4 #cfi and  #dai71 who placed        
,serambos in the second century ,b4 ,c41
 referred the  victory of ,agiadas to   
,ol4 787 #afa 7 #acf ,b4 ,c474 ,robert1 
,o4 ,s41 p4  #aha1 identifies the       
inscription with ,epitimiadas mentioned 
in the ,oxy4  ,pap4 as victor in  in    
,ol4 #gh 7 #dfh ,b4 ,c474 ,dittenberger 
and  ,loewy 7latter in ,i4 ,g4 ,b41     
#daf7 refer the inscription to the first
  half or middle of the fifth century   
,b4 ,c4    #bche ,inschr4 v4 ,ol41 #agj2
 cf4 ,hyde1 p4 #ec4    #bchf ,inschr4 v4
 ,ol41 no4 #age2 ,foerster1 #cge4       

,foerster's proposed  dating of this    
victor1 ,ol4 #aaj 7 #cdj ,b4 ,c471 is   
wrong4    #bchg ,ibid41 no4 #ahj4       
#bchh ,ibid41 no4 #aha4    #bchi ,ibid41
 no4 #ahb4    #bcij ,ibid41 no4 #ahe4   
#bcia ,ibid41 no4 #ahg4    #bcib ,ibid41
 no4 #ahh4    #bcic ,ibid41 no4 #ahi4   
#bcid ,this ,greek building dates from  
the first half of the fifth  century ,b4
 ,c4 ,cf4 ,f4 ,adler1 ,ol41 ,ergebn41   
,textbd41 ,,ii 7,die  ,baudenkmaeler71  
pp4 #ic-aje 7especially #ih f471 and    
,flasch1 in ,baum41  pp4 #ajgj-a and    
#aajd ,m f41 both of whom identify it   
with the workshop of  ,pheidias 7,p41   
,v1 #ae4a72 ,curtius1 ,die ,altaere v4  
,ol41 ,abhandl4 d4 k4  ,preuss4 ,akad4  
d4 ,wiss4 zu ,berlin1 #ahhb1 p4 #bj 7   
,gesamm4 ,abhandl41  #ahid1 ,,ii1 pp4   
#eg f471 refers it to the ,theekoleon1  
generally identified  with the          
easternmost of the two buildings further
 north4 ,see ,plans ,a  and ,b4    #bcie
 ,inschr4 v4 ,ol41 no4 #aij4    #bcif   
,ibid41 no4 #aib4    #bcig ,ibid41 no4  

#aic4    #bcih ,inschr4 v4 ,ol41 no4    
#aid2 ,foerster1 #dhd4    #bcii ,ibid41 
no4 #aie4    #bdjj ,ibid41 no4 #aif4    
#bdja ,ibid41 no4 #aig2 ,foerster1 #hjh 
7undated74    #bdjb ,ibid41 no4 #aia2   
,foerster1 #hjg 7undated74    #bdjc     
,ibid41 nos4 #aih-bjd2 see ,foerster1   
#edb-edg2 one of the group1             
,telemachos1 son of ,leon1 had another  
statue at ,olympia3 ,inschr4 v4  ,ol41  
#djf4    #bdjd ,inschr4 v4 ,ol41 no4    
#bje2 ,foerster1 #hbb 7undated74        
#bdje ,ibid41 no4 #bjf2 ,foerster1 #hbh 
7undated74    #bdjf ,ibid41 no4 #bjg4   
#bdjg ,ibid41 no4 #bjh4    #bdjh ,ibid41
 no4 #bji2 ,foerster1 #dhb4    #bdji    
,ibid41 no4 #baj4    #bdaj ,ibid41 no4  
#baa4    #bdaa ,ibid41 no4 #bab4        
#bdab ,ibid41 no4 #bac2 ,foerster1 #fad1
 #fai4    #bdac ,ibid41 nos4 #bad1 #bae4
    #bdad ,ibid41 nos4 #baf1 #bag2      
,foerster1 #eej4    #bdae ,ibid41 no4   
#bah2 ,foerster1 #ece 7 ,ol4 8 #aga  #if
 ,b4 ,c474    #bdaf ,ibid41 no4 #bai2   
,foerster1 #eic2 he won in ,ol4 #aij 7  

#bj ,b4 ,c474    #bdag ,ibid41 no4 #bbj2
 ,foerster1 #fja1 who dates the victory 
in ,ol4  787 #aid 7 #d ,b4 ,c474        
#bdah ,inschr4 v4 ,ol41 no4 #bba2       
,foerster1 #fab4 ,he won  in ,ol4  #aii 
7 #ag ,a4 ,d472 his statue was set up by
 ,m4 ,antonios ,peisanos4    #bdai      
,ibid41 no4 #bbb2 ,foerster1 #ehe1 #ehg4
 ,he won two victories  7perhaps after  
#ag ,a4 ,d47 in an unknown contest2     
,foerster dates them  ,ols4 787 #ahd and
 #ahe 7 #dd and #dj ,b4 ,c474    #bdbj  
,ibid41 no4 #bbc2 ,foerster1 #efh2 his  
statue was erected by his  mother1      
,klaudia ,kleodike4    #bdba ,ibid41 no4
 #bbd2 ,foerster1 #hbc 7undated72 his   
statue was set up  by his native state4 
#bdbb ,ibid41 no4 #bbe2 ,foerster1#fcb4 
,the base contained two epigrams  by ,t4
 ,klaudios ,thessalos1 of ,kos3 ,e4     
,cougny1 ,epigramm4 ,anth4 ,pal41       
,,iii1 #ahij 7,appendix nova71 p4 #bf1  
no4 #afi4    #bdbc ,ibid41 #bbf2        
,foerster1 #fcd4 ,his statue was erected
 by ,l4  ,betilenos ,phloros1 of ,elis4 

#bdbd ,ibid41 no4 #bbg2 ,foerster1 #fff2
 he won ,ol4 #bag 7 #hi ,a4 ,d474  ,his 
brother ,diodoros set up the statue4    
,the victor was an 2 see  ,a4 ,e4 ,j4   
,holwerda1 ,a4 ,z41 ,,xxxviii1 #ahhj1   
pp4 #aga f4    #bdbe ,ibid41 #bbh2      
,foerster1 #fga4    #bdbf ,ibid41 nos4  
#bbi1 #bcj 7newer inscription72 ,i4 ,g4 
,b41 #abe2  ,foerster1 #fbd-fbe4 ,he was
 a  and won in ,ols4 787 #bje and  #bjg 
7 #da and #di ,a4 ,d474    #bdbg        
,inschr4 v4 ,ol41 no4 #bca2 ,foerster1  
#eie and #eig4 ,foerster dates  his two 
,olympic victories in ,ols4 787 #aia and
 #aib 7 #af and #ab ,b4 ,c474  ,hermas  
was  twice1 and also gained victories   
besides at the  ,nemean and other games4
    #bdbh ,ibid41 no4 #bcb2 ,foerster1  
#hae-hai 7undated74 ,he was twice   and 
won besides at the ,isthmus1 ,nemea1 and
 at other  games--eighty victories in   
all4    #bdbi ,ibid41 no4 #bcd and p4   
#cdf2 he won in either  or 4    #bdcj   
,ibid41 no4 #bce and pp4 #cdf-cdg4      
,these bronze fragments have  been noted

 in our list of surviving fragments of  
victor statues1 ,ch4  ,,vii1 p4 #cbb4   
#bdca ,ibid41 no4 #bcc 7name restored   
from no4 #ddj1 line #d74 ,on her        
father1 see ,foerster1 under no4 #fcd4  
#bdcb ,ibid41 #bcf2 ,foerster1 #fhf4    
,both ,gurlitt1 op4 cit41 p4 #dba1  and 
,foerster think that this monument is   
mentioned by ,p41 ,v1 #bj4h 7that  of a 
,roman senator74 ,dittenberger is       
against this view1 and the place  of    
finding also is against it4 ,on the     
victor's full name and that of  his     
father1 see ,foerster1 l4 c4    #bdcc   
,ibid41 no4 #bcg2 ,foerster1 #fib4 ,he  
won at ,olympia in ,ol4 #bbi 7  #acg ,a4
 ,d471 and the inscription names many   
other victories elsewhere4    #bdcd     
,ibid41 no4 #bch2 ,foerster1 #fgi and   
#fha1 who dates the victories  in ,ols4 
787 #bbd and #bbe 7 #aag and #aba ,a4   
,d471 while ,dittenberger dates  them in
 the next century4 ,he was twice 3 see  
,foerster1 l4  c4    #bdce ,ibid41 no4  
#bci2 ,foerster1 #gdf 7date  end of     

second or third  centuries ,b4 ,c474    
,for the epigram1 see also ,cougny1     
,epigramm4 ,anth4  ,pal41 ,,iii         
7,appendix nova71 p4 #df1 n4 #bhd4      
#bdcf ,ibid41 nos4 #bdb-bdc2 ,foerster1 
#gda-gdd4 ,he was a 1  i4 e41 three     
times 4 ,for his other victories outside
  ,olympia1 see ,foerster1 l4 c4        
#bdcg ,ibid41 nos4 #bdj-bda2 ,foerster1 
#gci4 ,asklepiades won the   in ,ol4    
#bee 7 #bda ,a4 ,d474    #bdch          
,philinos1 son of ,hegepolis of ,kos    
7#agc71 won #bd victories1 #e  at       
,olympia1 #d at ,delphi1 #d at ,nemea1  
#aa at the ,isthmus1 mostly in the  1 he
 was1 therefore1 four times 4 ,he won in
 ,ols4 #abi  and #acj 7 #bfd and #bfj   
,b4 ,c473 cf4 ,p41 ,,vi1 #ag4b and      
,foerster1 #dda and  #ddb2 ,leonidas of 
,rhodes 7#aaa;c7 was  in the four       
different ,ols4  #aed-aeg 7 #afd-aeb ,b4
 ,c471 winning #ab races3 cf4 ,p41 ,,vi1
 #ac4d1 and  ,foerster1 #die-dig1       
#dih-ejj1 #ejb-ejd1 #ejg-eji4    #bdci  
,omitting the votive bronze diskos of   

the victor ,p4 ,asklepiades  of ,corinth
 mentioned above4    #bddj ,foerster1   
pp4 #bf-cj1 records the names of #fcd   
,olympic victors  who are known to us   
from all available sources4    #bdda    
,sepulchral monuments are either        
entirely excluded or mentioned  only    
incidentally4 ,the tombs of nine        
,olympic victors are known from  various
 sources4    #bddb ,the dating of       
victories in the present section will   
necessitate  certain repetitions of     
dates already given elsewhere in this   
work4  ,while heretofore dates have been
 referred usually to the compilations   
of ,foerster and ,hyde1 the original    
authorities for them will be cited  in  
this section4    #bddc ,chionis1 7      
,charmis in ,afr471 according to ,p41   
,,iii1 #ad4c1 won  seven victories at   
,olympia3 four in the 1 in ,ols4 #bh to 
#ca 7  #ffh to #fef ,b4 ,c472 #a-d      
,afr42 #a  ,p41 ,,iv1 #bc4d2 #b  ,,iv1  
#bc4aj2 #c   ,,viii1 #ci4c2 three in the
 1 probably in ,ols4 787 #bi-ca3 see    

,rutgers1 p4 #aa1 n4 #d1 and pp4 #aj-aa2
 ,hyde1 #aaa and p4 #dh2 ,foerster1 #ci1
  #da-df4    #bddd ,kylon won the  in   
,ol4 #ce 7 #fdj ,b4 ,c473 ,afr42 cf4    
,rutgers p4 #ac2 ,foerster1 #ee4        
#bdde ,hdt41 ,v1 #ga2 ,thukyd41 ,i1     
#abf2 ,plut41 ,solon1 #ab4    #bddf ,a4 
,m41 ,v1 #ahhj1 p4 #bg and n4 #a4       
,kuhnert1 ,jahrb4 f4 classische         
,philol41 ,supplbd41 ,,xiv1 #ahhe1 pp4  
#bgh f41 and n4 #b1 agrees with         
,furtwaengler1 and thinks that it was   
set up long after the death of  ,kylon1 
and that it is possible that the name of
 the conspirator became  mixed with that
 of an ,athenian victor of the same     
name1 but of later  date4    #bddg ,a4  
,z41 ,,xxiv1 #ahff1 pp4 #ahc f42 he is  
followed by ,frazer1 ,,ii1  p4 #cdh4    
#bddh ,thukyd41 ,i1 #acd4    #bddi      
,loeschke1 ,a4 ,m41 ,,iv1 #ahgi1 p4     
#bie1 n4 #a4    #bdej ,see also         
,hitz4-,bluemn41 ,i1 #a1 pp4 #bii-cjj4  
#bdea ,his six victories in  are        
mentioned by ,p41 ,,iii1 #ac4i2 he won  

in ,ol4 #cg 7 #fcb ,b4 ,c473 ,p41 ,v1   
#h4i2 ,afr42   in  ,ols4 #ci-dc 7       
#fbd-fjh ,b4 ,c473 ,afr42 ,foerster1    
#fj1 #fd1 #ff1 #fh1 #ga1 #gc4  ,he is   
mentioned by ,ph41 ,i4    #bdeb ,see    
,wide1 ,lakonische ,kulte1 #ahic1 pp4   
#ch f42 ,hitz4-,bluemn41 ,i1  #b1 pp4   
#gib-c4    #bdec ,pausanias1 ,,iii1     
#ac4i1 mentions his five victories in 4 
,he  must have won after his father's   
victories1 and so at the beginning of   
the sixth century ,b4 ,c4 ,rutgers1 pp4 
#aji f41 conjectures that the first     
victory was  2 ,foerster1 #hf-ij4       
#bded ,arrhachion 7on various spellings 
of the name1 cf4 ,rutgers1 p4  #ai7 won 
thrice in the  in ,ols4 #eb-ed 7        
#egb-efd ,b4 ,c474 ,the  third victory  
is recorded by ,afr4 and ,p41 ,,viii1   
#dj4a2 the first two by  ,p41 l4 c4 ,cf4
 also ,ph41 #ba4 ,foerster1 #ih1 #aja1  
#ajc4 ,see supra1  pp4 #cbf f4    #bdee 
,he had the nickname ,koalemos3 ,plut41 
,cimon1 #d4 ,he won two  victories  in  
,ols4 #fb and #fd 7 #ecb and #ebd ,b4   

,c472 his horses1  under the name of    
,peisistratos1 won in the same event in 
,ol4 #fc 7 #ebh  ,b4 ,c473 ,hdt41 ,,vi1 
#ajc2 they were buried in front of the  
city beyond  the so-called 8,hollow     
,way10 opposite the tomb of ,kimon2     
,hdt41 l4 c42  ,plutarch1 ,cato ,major1 
#e4 ,cf4 ,aelian1 de ,animal41 ,,xii1   
#dj1 where  he says that the mares of   
,miltiades--meaning ,kimon--were buried 
in the  ,kerameikos4 ,see ,foerster1    
#abd1 #abh and #acb4    #bdef ,var4     
,hist41 ,,ix1 #cb4    #bdeg ,hdt41 ,,vi1
 #ajc4    #bdeh ,,iv1 #cc4    #bdei ,on 
,nubes1 #fd4    #bdfj ,foerster1 #he4   
#bdfa ,he won in an unknown contest4 ,he
 accompanied ,dorieus1 the  younger     
brother of ,kleomenes ,i of ,sparta1 on 
his futile expedition to  ,sicily1 and  
died there3 ,hdt41 ,v1 #dg4 ,kleomenes  
began to reign in #eai  ,b4 ,c41 and the
 ,sicilian expedition occurred about    
#eaj ,b4 ,c42 ,foerster1  #ach1         
therefore dates the victory of          
,philippos about ,ol4 #fe 7 #ebj ,b4    

,c474    #bdfb ,hdt41 ,v1 #dg2          
,eustath41 on ,iliad1 ,bk4 ,,iii 7p4    
#chc1 #dc74    #bdfc ,astylos 7on       
variations of the name1 see ,rutgers1   
pp4 #cb f47 won  victories in  and  in  
three successive ,ols43 ,p41 ,,vi1      
#ac4a3  in ,ols4 #gc-ge 7 #dhh-dhj ,b4  
,c473 #a  ,afr41 and ,dionys4  ,hal41   
,,viii1 #a2 #b  ,afr41 and ,dionys41    
,,viii1 #gg2 #c  ,afr41 ,dionys41 ,,ix1 
#a1 and ,diod4 ,sic41 ,,xi1 #a4 ,so the 
victories in 1 #a1 #b1 #c1 must  have   
been in the same ,ols4 ,the ,oxy4 ,pap4 
also names ,astylos a victor  twice as 1
 in ,ols4 #ge and #gf 7 #dhj and #dgf   
,b4 ,c474 ,so ,grenfell  and ,hunt      
thought that ,p4 had mixed the victories
 in  and as  2 ,robert1 ,o4 ,s41 pp4    
#afc f41 however1 supports ,p41 and     
thinks  that ,astylos won eight         
victories1 the victories in  and   all  
preceding ,ol4 #gf1 as other names      
appear here in the ,oxy4 ,pap4          
,astylos1 therefore1 won three victories
 in ,ol4 #ge1 one in ,ol4 #gf1 and  the 

other four in ,ols4 #gc-gd4 ,cf4        
,rutgers1 pp4 #cb1 #cd-ce2 ,foerster1   
#agf-agg1 #aha-ahb1 #ahg-ahh2 ,hyde1    
#aaj4    #bdfd ,rutgers1 p4 #cd1 n4 #a  
7cf4 ,robert1 ,o4 ,s41 p4 #afd7  has    
shown that the tyrant named ,hiero by   
,pausanias should be ,gelo2  cf4        
,hertzberg1 ,gesch4 v4 ,hellas u4 ,rom1 
,i1 #ahgi1 p4 #aha2 ,foerster1  #aha-b4 
#bdfe ,i1 pp4 #dji-daj2 ,pliny1 ,h4 ,n41
 ,,xxxiv1 #ei1 calls the statue of      
,astylos that of a stadiodromos4        
#bdff ,euthymos won  three times in     
,ols4 #gd1 #gf1 and #gg 7 #dhd1 #dgf1   
and #dgb ,b4 ,c473 #a  ,p41 ,,vi1 #f4e2 
#b and #c  ,p41 ,,vi1 #f4f and ,oxy4    
,pap4  ,cf4 ,rutgers1 pp4 #cd1 #ch1 #da2
 ,foerster1 #ahe1 #aie1 #bjg2 ,robert1  
,o4  ,s41 pp4 #afg1 #ahd f42 ,hyde1 #ef4
    #bdfg ,inscribed base found3 see    
,inschr4 v4 ,ol41 #add2 ,i4 ,g4 ,b41    
#bc2  ,i4 ,g4 ,a41 #ahhb1 #chh4    #bdfh
 ,see ,kallimachos1 apud ,plin41 ,h4    
,n41 ,,vii1 #aeb4    #bdfi ,strabo1     
,,vi1 #a4e 7 ,c4 #bee72 ,aelian1 ,var4  

,hist41 ,,viii1 #ah2  ,suidas1 s4 v4 2  
,p41 ,,vi1 #f4 #g-aa4 ,cf4 also ,e4     
,curtius on the  ,olympia base1 ,a4 ,z41
 ,,xxxvi1 #ahgh1 p4 #hc1 no4 #abg4 ,on  
the legend of  the statue1 see          
,eusebios1 ,praep4 evang41 ,v1 #cd4g4   
#bdgj ,theagenes won  in ,ol4 #ge 7 #dhj
 ,b4 ,c473 ,p41 ,,vi1 #f4e2  ,oxy4,pap42
 and  in ,ol4 #gf 7 #dgf ,b4 ,c473 ,p41 
,,vi1 #aa4d2 ,oxy4  ,pap42 he was twice 
and won many victories elsewhere1       
carrying off #adjj crowns1 according to 
,p41 ,,vi1 #aa4e1 and #abjj1  according 
to ,plut41 ,praec4 reipub4 ger41 #ae1 p4
 #haa ,d4 ,cf4 ,rutgers1  pp4 #cf1 #ch2 
,foerster1 #aia1 #aif2 ,hyde1 #ajd4 ,dio
 ,chrys41 ,orat41 ,,xxxi1  p4 #cci ,m1  
wrongly mentions three ,olympic         
victories4    #bdga ,op4 cit41 p4 #cdj  
,m4    #bdgb ,praep4 evang41 ,v1 #cd4g4 
#bdgc ,deor4 ,conc41 #ab2 cf4 ,p41 ,,vi1
 #aa4i4    #bdgd ,sitzb4 ,muen4 ,akad41 
#aijj1 p4 #ccb1 n4 #b4    #bdge ,ladas  
won  in ,ol4 787 #gf 7 #dgf ,b4 ,c473   
,robert1 ,o4  ,s41 p4 #afe1 because of  

an older dating for ,myron1 #dhj-ddd ,b4
 ,c41  necessitated by the ,oxy4 ,pap4  
7see also ibid41 p4 #ahd74 ,foerster1   
#bdi1 has given ,ol4 787 #he 7 #ddj ,b4 
,c47 as the date of the victory1 on  the
 basis of the earlier dating of ,myron1 
#dfj-dbj ,b4 ,c42  cf41 e4 g41  ,brunn1 
#a1 p4 #adb2 ,bergk1 ,p4 l4 ,g41 ,,iii1 
p4 #dgc1 no #abe and note1 and  ,rutgers
 p4 #ajg4    #bdgf ,a4 ,pl41 nos4 #ec1  
#ed2 see supra1 ,ch4 ,,iv1 pp4 #aif-aig4
    #bdgg ,foerster assumed that the    
statue by ,myron stood in  ,olympia4    
,against this view1 see ,furtwaengler   
7,mw41 p4 #cgi1 n4 #e71  ,kalkmann      
7,jb41 ,x1 #ahie1 p4 #ef1 and ,,xi1     
#ahif1 p4 #aig71 ,studniczka  7article  
cited in note on ,theagenes preceding71 
,brunn 7,sitzb4 ,muen4  ,akad41 #ahhj1  
pp4 #dgd f474 ,benndorf 7de anthol4 ,gr4
 ,epigram41 #ahfb1  #ae1 n4 #a7 thought 
it more probable that the statue stood  
formerly at  ,olympia1 but in the time  
of ,pausanias was in ,rome4 ,thus it is 
best  to assume two statues1 the one in 

,argos not by ,myron4 ,brunn 7p4 #dge7  
showed that ,ladas was a ,spartan       
because of ,p41 ,,iii1 #ba4 ,i and      
,,viii1  #ab4e2 ,benndorf 7op4 cit41 p4 
#ac7 thought that he was an ,argive4    
,kuhnert 7,jahrbuecher f4 cl4 ,philol41 
,supplbd41 ,,xiv1 p4 #bfi n4 #ac7       
argued that the ,argive statue was set  
up by the ,argive state1 an  improbable 
assumption if ,ladas were a ,spartan4 ,a
 different ,ladas is the  stade runner  
from ,aigion1 mentioned by ,p41 ,,iii1  
#ba4a1 and ,x1 #bc4ad4    #bdgh ,kallias
 won  in ,ol4 #gg 7 #dgb ,b4 ,c473 ,p4  
,v1 #i4c4  ,he was 3 ,c4 ,i4 ,a41 ,i1   
#dai4 ,cf4 ,foerster1 #bjh2 ,hyde1  #ej4
 ,three other ,athenian victors at      
,olympia named ,kallias are known3      
,kallias1 son of ,pheinippos1 won  in   
,ol4 #ed 7 #efd ,b4 ,c473  ,foerster1   
#ajd2 ,rutgers1 p4 #ba2 ,kallias1 son of
 ,hipponikos1 grandson of  preceding1   
won  thrice in ,ol4 787 #gd1 and ,ols4  
#hc1 #hd 7 #dhd1  #ddh1 #ddd ,b4 ,c473  
,foerster1 #ahf a1 #bdb1 #bdg2 ,rutgers1

 p4 #adb2 ,kallias1  mentioned by       
,polyb41 ,,xxviii1 #af1 won  in the     
second century  ,b4 ,c43 cf4 ,foerster1 
under no4 #bjh4    #bdgi ,inscribed base
 found3 ,inschr4 v4 ,ol41 #adf2 ,i4 ,g4 
,b41 #da4    #bdhj ,c4 ,i4 ,a41 ,i1     
#dai4 ,the painter ,mikon1 mentioned by 
,pliny1 ,h4  ,n41 ,,xxxv1 #ei1 is also  
named by him as a sculptor of athlete   
statues3  op4 cit41 ,,xxxiv1 #hh2 he is 
also known from an inscription found on 
the ,akropolis at ,athens3 ,c4 ,i4 ,a41 
,i1 #dah2 ,i4 ,g4 ,b41 #db4    #bdha    
,diagoras won  in ,ol4 #gi 7 #dfd ,b4   
,c473 schol4 on ,pindar1  ,ol41 ,,vii1  
,argum41 ,boeckh1 p4 #aeg1 and ,oxy4    
,pap4 ,he was  1 and his other victories
 are mentioned by ,pindar and the       
scholiast on the ode cited4 ,on         
,diagoras1 see ,h4 van ,gelder1         
,geschichte  der alten ,rhodier1 #aijj1 
p4 #dce2 on ,kallikles1 see ,robert1 ,o4
 ,s41  pp4 #aid f4 ,cf4 ,rutgers1 p4    
#dc2 ,foerster1 #bbj2 ,hyde1 #ei4       
#bdhb ,boeckh1 p4 #aeg and cf4 p4 #aei2 

,f4 ,h4 ,g41 ,,iv1 p4 #daj 7  ,gorgon1  
fragm4 #c74    #bdhc ,agias was 4 ,the  
date of his victory in the   at ,olympia
 can not be determined exactly4         
,although the  dedication of ,daochos   
occurred in the latter half of the      
fourth century  ,b4 ,c41 the time of    
,lysippos 7,preuner  between #cci and   
#cca ,b4 ,c43 see  ,ein delphisches     
,weihgeschenk1 #aijj1 p4 #ab2 ,homolle  
dates it more  closely between #cch and 
#ccd ,b4 ,c42 ,b4 ,c4 ,h41 ,,xxiii1     
#ahii1 #ddj71 the  victory of ,agias    
fell over a century earlier4 ,homolle   
proposed #dbh  ,b4 ,c4 as the floruit of
 ,agias1 but gave no date for his       
victory at  ,olympia2 ,preuner 7p4 #ag7 
sets the victory before the middle of   
the  fifth century ,b4 ,c42 ,k4 ,k4     
,smith 7,class4 ,phil41 #aiaj1 pp4      
#afi-agd7  has proposed ,ol4 #hj 7 #dfj 
,b4 ,c471 the only lacuna for  in  the  
,oxy4 ,pap42 however1 ,robert 7,o4 ,s41 
p4 #ahc7 has placed ,timodemos  of      
,acharnai in that place4 ,foerster1     

#bad1 dates ,timodemos ,ol4 787 #gh 7   
#dfh ,b4 ,c474    #bdhd ,pharsalos1 p4  
#bh4 ,see supra1 pp4 #bhf-bhg4    #bdhe 
,cheimon won  in ,ol4 #hc 7 #ddh ,b4    
,c473 ,oxy4 ,pap42 cf4  ,robert1 ,o4    
,s41 pp4 #aga and #aia2 ,hyde1 no4 #hh4 
,foerster1 #bhe1 had  proposed ,ol4 787 
#id 7 #djd ,b4 ,c471 on the basis of the
 older dating of  ,naukydes  #dbc-cij   
,b4 ,c4 7see ,robert1 ,arch4 ,maerchen1 
#ahhf1 p4 #ajg74  ,kalkmann1 ,pausanias 
der ,perieget1 #ahhf1 p4 #aib1 n4 #a1   
thought that  the statue at ,olympia and
 the one at ,rome were identical2       
,gurlitt1  ,ueber ,pausanias1 #ahij1 pp4
 #cgd and #dbc1 n4 #ch a1 has shown that
 the  assumption is unfounded4    #bdhf 
,the temple of ,peace was built by      
,vespasian 7between ,a4 ,d4 #gj and     
#ge7 east of the ,forum ,augusti4 ,pliny
 7,h4 ,n41 ,,xxxiv1 #hd1 and ,,xxxv1    
#ajb7 mentions works of art in it2      
,josephus 7de ,bell4 ,judaico1 ,,vii1   
#e4g7 also describes it4    #bdhg ,leon1
 according to ,eustathius1 on ,iliad1   

,,ii1 #hea 7 p4 #cfa1  #aj71 won  in    
,ol4 #he 7 #ddj ,b4 ,c474 ,this date is 
followed by  ,schubart1 ,pausanias und  
seine ,anklaeger1 ,jb4 f4 cl4 ,philol41 
,,xxx1  #ahhd1 p4 #ii1 and ,preger1     
,inscript4 ,gr4 metricae ex scriptoribus
  praeter anthologiam collectae1        
7,lipsiae1 #ahia71 on no4 #abh4 ,he won 
in ,ol4 #hi 7 #dbd ,b4 ,c471 according  
to ,polemon 7fragm4 #bb71 the date      
followed by ,foerster1 #bfd and #bfd ,n4
 ,foerster places ,arkesilaos of        
,sparta 7 #bej7 as victor  in ,ol4 787  
#he2 ,hyde 7#ac7 places  ,arkesilaos    
either in ,ol4 #hf or ,ol4 #hg1 leaving 
,ol4 #he free for ,leon4  ,polemon      
7fragm4 #bb7 calls ,leon the 8father of 
,antikleidas02 ,preger1  op4 cit41 p4   
#di1 proposes the 8son of ,antikleidas10
 thus having ,leon  win with his        
father's chariot4 ,bergk1 ,p4 l4 ,g41   
,,iii1 p4 #dj1 note1  changed the name  
to ,antalkidas4    #bdhh ,fragm41 #bb 7 
schol4 on ,euripides1 ,hippolytus1      
#bcj72 see ,f4  ,h4 ,g41 ,,iii1 p4 #abb2

 cf4 ,p4 l4 ,g41 l4 c4    #bdhi ,eubotas
 7on the name1 cf4 ,hitz4-,bluemn41     
,,ii1 #b1 pp4 #egc-egd7  won  in ,ol4   
#ic 7 #djh ,b4 ,c473 ,afr42 ,xen41      
,hell41 ,i1 #b4aj2  ,diodoros1 ,,xiii1  
#fh4a2 and  in ,ol4 #ajd 7 #cjd ,b4     
,c473 ,p41 ,,vi1  #h4c and cf4 ,,vi1    
#d4b2 ,foerster1 #bgg1 #cej2 ,hyde1 #ge4
 ,pausanias 7,,vi1  #h4c7 says that his 
,olympia statue was made before his     
victory4 ,ol4 #ajd  was a non-,olympiad2
 see on no4 #bh infra 7,xenodamos71 p4  
#cfi and notes4    #bdij ,aelian1 ,var4 
,hist41 ,x1 #b4    #bdia ,promachos won 
in ,ol4 #id 7 #djd ,b4 ,c473 see        
,rutgers1  p4 #ef1 n4 #d1 who gives this
 date on the basis of ,p41 ,,vii1 #bg4f1
 and  ,ph41 #bb4 ,cf4 ,foerster1 #bhf2  
,hyde1 #ha4    #bdib ,he won in an      
unknown contest1 either in the fifth or 
the  fourth century ,b4 ,c43 ,preger1   
op4 cit41 no4 #add1 on the basis of  the
 epigram4 ,cf4 ,foerster1 #bic;a2       
,foerster1 in another place1 under  no4 
#aei1 wrongly refers this same epigram  

7which he there ascribes to  ,simonides7
 to another unknown victor of ,argos who
 won in some gymnic  contest1 some time 
between ,ols4 #fe and #gf 7 #ebg and    
#dgf ,b4 ,c471 the  dates of ,simonides'
 sojourn in ,greece 7cf4 ,k4 ,sittl1    
,gesch4 d4  griech4 ,litt41 #ahhd-ahhg1 
,,iii1 pp4 #ei f474 ,it can1 however1   
refer to  but one victor4    #bdic ,i1  
#g1 p4 #acfe;a and ,i1 #i1 p4 #acfg;b4  
#bdid ,ap4 ,eustath41 on ,od41 ,,xiv1   
#cej 7 p4 #agfa1 #be74    #bdie ,see ,g4
 ,kaibel1 ,quaestiones ,simonideae1     
,rhein4 ,mus41 ,,xxviii1  #ahgc1 pp4    
#deb-c4 ,cf4 ,p4 l4 ,g41 ,,iii1 p4 #ejc2
 fragm4 #afc 7,simonides74    #bdif     
,kyniska won  twice in ,ols4 787 #if and
 #ig 7 #cif and #cib  ,b4 ,c473 see     
,hyde1 #g1 on the basis of ,robert1 ,o4 
,s41 p4 #aie2 ,foerster1  #cbf and #ccc1
 proposed ,ols4 787 #ajj and #aja 7 #chj
 and #cgf ,b4 ,c47 on the  basis of the 
inscription found at ,olympia 7,inschr4 
v4 ,ol41 #afj2 ,i4  ,g4 ,b41 no4 #ii and
 p4 ,,xxi74 ,cf4 ,rutgers1 pp4 #adc-add4

    #bdig ,she won  some time near the  
middle of the fourth century  ,b4 ,c42  
,foerster1 #cdd1 dates the victory ,ol4 
787 #ajc 7 #cfh ,b4 ,c474    #bdih      
,curtius1 ,peloponnesos1 ,,ii1 #aheb1 p4
 #cac1 n4 #bi2 for ,king  ,pausanias1   
see ,thukyd41 ,i1 #acd4    #bdii        
,archias won as  in three successive    
,olympiads3 ,pollux1 ,,iv1  #ib2 the    
epigram says 7  74 ,foerster1 #cea1     
#cef1 #cfa2 he  proposes 7see under no4 
#cea7 ,ols4 787 #ajd-ajf 7 #cfd-cef ,b4 
,c474    #bejj ,a4 ,pl41 #cgb2 also in  
,pollux1 ,,iv1 #ib4    #beja            
,philokrates won  about the middle of   
the fourth  century ,b4 ,c4 7see        
,koehler on the inscription cited in the
 following  note74 ,foerster1 #cfe1     
proposes ,ol4 787 #ajg 7 #ceb ,b4 ,c47  
#bejb ,c4 ,i4 ,a41 ,,ii1 #c1 #acjc2 see 
,l4 ,ross1 ,die ,demen von ,attika1     
#ahdf1 pp4 #hj and #aaa4    #bejc ,c4   
,i4 ,a41 ,,ii1 #c1 #acai2 ,le ,bas1     
,voyage archologique1 ,i1  ,attique1 no4
 #eie4 ,the inscription appears to      

belong to the fourth  century ,b4 ,c4   
#bejd ,phorystas won as  some time      
toward the end of the fourth  century   
,b4 ,c41 i4 e41 in the time of the      
artist ,kaphisias3 see ,loewy1  on the  
inscription cited in the following note4
 ,foerster1 #dje1 proposes  ,ol4 787    
#aag 7 #cab ,b4 ,c474    #beje ,c4 ,i4  
,g41 ,i1 #aehb2 ,kaibel1 ,epigr4 ,gr4 ex
 lapid4 conlecta1  #ahgh1 no4 #ich2     
,loewy1 ,i4 ,g4 ,b41 #aai2 ,collitz and 
,bechtel1 ,samml4 d4  gr4               
,dialekt-,inschr41 #ahhc-ij1 no4 #ide4  
#bejf ,i4 ,g4 ,b41 #abj4 ,see ,foerster1
 under no4 #dje4    #bejg ,aristophon   
won  some time between ,ols4 787 #aae   
and #acj  7 #cbj and #bfj ,b4 ,c471 as  
we infer from the date of the           
inscription  from the base of his statue
 at ,olympia3 see ,inschr4 v4 ,ol41 no4 
#afi4  ,cf4 ,hyde1 #abc and p4 #ea4     
,foerster1 #geh 7following ,rutgers1 p4 
#abb7  had left the victory undated4    
#bejh ,c4 ,i4 ,a41 ,,ii1 #c1 #adge4 ,see
 ,ross1 ,die ,demen von ,attika1 no4    

#gj2 ,le ,bas1 ,attique1 no4 #aae4      
#beji ,strabo1 ,,xii1 #d4b 7 ,c4 #fbd74 
#beaj ,attalos won   some time during   
the reign of his older  brother         
,philetairos1 founder of the ,attalid   
dynasty1 i4 e41 between  ,ols4 #abd and 
#abi 7 #bhd and #bfd ,b4 ,c473 see      
,foerster1 #dcf4 ,an epigram  of the    
philosopher ,arkesilaos of ,pitane      
7mentioned by ,foerster71  celebrating  
the chariot-race of this ,attalos1 is   
preserved by ,diog4  ,laert41 ,,iv1     
#f4cj2 cf4 ,fraenkel on the inscription1
 no4 #aj 7see next  note74    #beaa     
,inschr v4 ,pergamon 7ed4 ,fraenkel71   
#ahij1 ,i1 nos4 #aj-ab2 cf4  ,i4 ,g4    
,b41 no4 #aeg4    #beab ,he won   in    
,ol4 #baa 7 #fg ,a4 ,d473 ,p41 ,x1      
#cf4i4    #beac ,a4 ,z41 ,,xl1 #ahhb1 p4
 #aaj4    #bead ,p41 ,,vi1 #bb4b4       
#beae ,ibid4    #beaf ,p41 ,,vi1 #bb4c2 
#d4b2 cf4 #h4c 7where ,eubotas won 1 no4
 #ag  supra74    #beag ,v1 pp4 #ded-dee2
 cf4 ,hitz4-,bluemn41 ,,iii1 #b1 p4     
#hbi4    #beah ,vit4 ,apoll4 ,tyan41 ,v1

 #g4    #beai ,suetonius1 ,nero1 #bd2   
,dio ,cassius1 ,,lxiii1 #ad4 ,foerster1 
#fdb-fdg4    #bebj ,cf4 also ,schubart1 
,pausanias u4 seine ,anklaeger1 ,jb4 f4 
cl4  ,philologie1 ,,xxix1 #ahhc1 pp4    
#dgb f42 ,brunn1 ibid41 ,,xxx1 #ahhd1 p4
 #bd2  and ,foerster1 #fda and under no4
 #fch4    #beba ,t4 ,phlabios           
,artemidoros won  twice4 ,he was also  4
 ,the ,magna ,capitolia1 in which he was
 also victor1 were  instituted by       
,domitian in #hf ,a4 ,d42 ,foerster1    
#feg1 #ffa1 proposes ,ols4  787 #bae and
 #baf 7 #ha and #he ,a4 ,d47 for the two
 victories4    #bebb ,c4 ,i4 ,g41 ,,iii1
 #ehjf2 ,kaibel1 ,inscript4 ,gr4 ,sicil4
 et ,ital41  #ahij1 no4 #gdf4    #bebc  
,t4 ,phlabios ,metrobios won 1 first of 
his countrymen1 in  ,ol4 #bag 7 #hi ,a4 
,d473 cf4 ,boeckh on the inscription    
7see next note7  and ,rutgers1 p4 #ia1  
n4 #b2 ,foerster1 #ffe4 ,he was also    
and  won  at the ,capitolia in ,rome1 as
 8first of all men40    #bebd ,c4 ,i4   
,g41 ,,ii1 #bfhb4    #bebe ,sarapion won

   in ,ol4 #bag 7 #hi ,a4 ,d473 ,p41    
,,vi1 #bc4f4  ,cf4 ,foerster1 #ffg2     
,rutgers1 p4 #ia1 n4 #c1 who doubts     
whether ,sarapion  was an ,olympic      
victor1 though ,pausanias says that he  
was4    #bebf ,i4 e41 ,sarapion1 from   
,alexandria1 who won  in ,ol4 #bjd  7   
#cg ,a4 ,d473 ,afr42 ,foerster1 #fbj2   
,rutgers1 p4 #hf2 another ,sarapion1    
from ,alexandria1 who1 ,pausanias 7,v4  
#ba4ah7 says1 came to ,olympia in  ,ol4 
#bja 7 #be ,a4 ,d47 to enter the 1 but  
ran away the day  before the contest and
 was fined for cowardice2 ,sarapion of  
,magnesia  ad ,sipylum1 victor in an    
unknown contest and at an unknown date1 
known  from an inscription from         
,tralles3 ,c4 ,i4 ,g41 ,,ii1 #bicc2     
,foerster1 #hbd2  ,rutgers1 p4 #aef4    
#bebg ,m4 ,aurelios ,demetrios won  some
 time before his son's  victory in the  
same contest in ,ol4 #bdj 7 #aha ,a4    
,d471 as we learn from  the inscription 
mentioned in the next note2 cf4         
,rutgers1 p4 #if2  ,foerster1 #gai4     

,foerster1 #fhb1 therefore proposes ,ol4
 787 #bbe 7 #aba ,a4  ,d47 for the      
father's victory2 cf4 ,rutgers1 p4 #abb4
 ,both father and  son were 4 ,the      
father was called  4    #bebh ,c4 ,i4   
,g41 ,,iii1 #eiab1 #eiac1 and #eiad2    
,kaibel1 ,inscript4 ,gr4  ,sicil4 et    
,ital41 #aajb-aajd4    #bebi ,this      
victor won  1 first of his countrymen1  
in ,ol4 #bbi  7 #acg ,a4 ,d472 date from
 the inscription 7see next note72       
,foerster1 #fia4    #becj ,b4 ,c4 ,h41  
,,xi1 #ahhg1 pp4 #hj f4 7,p4 ,foucart74 
#beca ,kranaos won  in ,ol4 #bca 7 #ade 
,a4 ,d473 ,afr42 and   twice1  once1 and
 as  once1 according to  ,pausanias     
7,,ii1 #aa4h71 but in unknown           
,olympiads3 ,foerster1 #fig1 #gjb-gjc1  
#gjg-gjh4 ,he dates the four last       
victories in ,ols4 787 #bcb and #bcc 7  
#adi and #aec ,a4 ,d474    ,most writers
 have identified the ,granianos of      
,pausanias with ,kranaos  of ,africanus1
 as both are from ,sikyon2 cf4 ,rutgers1
 p4 #id and n4 #a4  ,kalkmann1          

,pausanias der ,perieget1 p4 #gd1 note  
#f1 however1 is doubtful  of the        
identification4    #becb ,t4 ,ailios    
,aurelios ,apollonios won as  during the
 reign of  ,antoninus ,pius 7 #ach-afa  
,a4 ,d473 cf4 ,dittenberger on the      
inscription  7see next note74 ,foerster1
 #gjj1 proposes ,ol4 787 #bca 7 #ade ,a4
 ,d474 ,he  was 4    #becc ,c4 ,i4 ,a41 
,,iii1 #abj 7,dittenberger74    #becd   
,mnasiboulos won  in ,ol4 #bce 7 #afa   
,a4 ,d473 ,afr41 and ,p41  ,x1 #cd4e2   
and as  in ,ol4 #bce3 ,p41 ibid4 ,he was
   in both events3 ,foerster1 nos4      
#gab-gac4 ,his son of the same name had 
a statue in the temple of ,athena       
,kranaia at ,elateia1 whose marble      
inscribed plate has been recovered3 see 
,b4 ,c4 ,h41 ,,xi1 #ahhg1 p4 #cdb1  no4 
#ac 7,p4 ,paris74    #bece ,aurelios    
,toalios won 787  twice in the time of  
,alexander ,severus 7 #bbb-bce ,a4 ,d473
 see ,holleaux and ,paris on the        
inscription 7see next note74 ,foerster1 
#gce-gcf1 proposes ,ols4 787 #bea  and  

#beb 7 #bbe and #bbi ,a4 ,d474    #becf 
,b4 ,c4 ,h41 ,x1 #ahhf1 pp4 #bcc f41 no4
 #ac4    #becg ,aurelios ,metrodorus won
  about the time of ,alexander  ,severus
 7see ,boeckh1 on the inscription       
mentioned in the next note74  ,foerster1
 #gcg1 proposes ,ol4 787 #bec 7 #bcc ,a4
 ,d474    #bech ,c4 ,i4 ,g41 ,,iii1     
#cfgf4    #beci ,valerios ,eklektos won 
as  four times in ,ols4 #bef1 #beh1     
#bei1  and #bfj 7 #bde1 #bec1 #beg1 and 
#bfa ,a4 ,d473 see inscription mentioned
  in the next note2 ,foerster1 #gda-gdd4
 ,he was  thrice 7  71 and won #hj      
crowns in various games4    #bedj       
,inschr4 v4 ,ol41 #bdb-bdc2 ,a4 ,z41    
,,xxxviii1 #ahhj1 pp4 #afd f41  no4     
#cfi4    #beda ,c4 ,i4 ,a41 ,,iii1 #abi 
7,dittenberger74    #bedb ,klaudios     
,rhouphos won 787  or 787  or 787   near
 the beginning of the fourth century ,a4
 ,d4 7see ,kaibel and the  inscription  
mentioned in the next note72 ,foerster1 
#gdh-gdi1 and  ,rutgers1 p4 #aed4 ,he   
was twice 4    #bedc ,c4 ,i4 ,g41 ,,iii1

 #eiaj2 ,kaibel1 ,inscript4 ,gr4 ,sicil4
 et ,ital41  no4 #aajg1 p4 #bii4        
#bedd ,philoumenos won 787 1 according  
to ,rutgers1 p4 #ih1 n4 #c1  either in  
,ol4 #bhh 7 #cgc ,a4 ,d47 or certe non  
multo prius 7on the  basis of the       
passage in ,panodoros cited in the      
following note74 ,he  is also mentioned 
in a ,roman inscription given by        
,rutgers1 ibid4  ,foerster1 #gej4       
#bede ,ap4 ,cramer1 ,anecd4 gr4         
,parisiensia1 #ahci-da1 ,,ii1 p4 #aee1  
#ag  7quoted by ,foerster72 ,preger1    
,inscr4 ,gr4 metricae1 no4 #acc4        
#bedf ,ainetos was victor in 4 ,cf4     
,rutgers1 p4 #aab2  ,foerster1 #ged1 who
 wrongly gives the contest as 4    #bedg
 ,nikokles1 according to ,pausanias1 l4 
c41 won five prizes  in running  in two 
,olympiads4 ,foerster1 under nos4       
#ghh-gib1  explains these words by      
arranging victories in 1 1 and as   in  
one ,olympiad1 and two of these contests
 in the next2 none  of them could have  
been in 1 since his name does not appear

 in  ,africanus4 ,cf4 ,rutgers1 pp4     
#aje-ajf1 #ajg1 and #abf4 ,le ,bas long 
ago  7,r4 arch41 ,,ii1 #ahde1 p4 #bbj7  
connected a restored inscription with   
this victor4    #bedh ,aigistratos won  
3 ,foerster1 #hjf4    #bedi ,c4 ,i4 ,g41
 ,,ii1 #bebg4    #beej ,he won in an    
unknown contest and was three times 1   
gaining #ce crowns at various games4    
,cf4 ,foerster1 #hbe-hbg4    #beea ,c4  
,i4 ,g41 ,i1 #agae4    #beeb ,ross1     
,arch4 ,aufsaetze1 #ahee-ahfa1 ,i1 pp4  
#afc f2 ,c4 ,i4 ,a41  ,i1 #cgf2 ,i4 ,g4 
,b41 #ci2 ,e4 ,s4 ,roberts1 ,an         
,introduction to ,greek  ,epigraphy1 ,i1
 #ahhg1 #fh;a4    #beec ,rhein4 ,mus41  
,,xvi1 #ahfa1 p4 #bbd4    #beed ,hermes1
 ,,xii1 #ahgg1 p4 #cde and n4 #bi4      
#beee ,e4 g41 by ,r4 ,schoell1 ,hermes1 
,,xiii1 #ahgh1 p4 #dcg2 cf4  ,gurlitt1  
,ueber ,pausanias1 pp4 #aeh f41 ,loewy  
on the inscription1 and                 
,hitz4-,bluemn41 ,i1 #a1 p4 #bfa4       
#beef ,,ix1 #aje4    #beeg ,c4 ,i4 ,a41 
,i1 #djb2 ,i4 ,g4 ,b41 #df2 ,ross1      

,arch4 ,aufsaetze1  ,i1 pp #afh f4 ,this
 is possibly to be connected with the   
statue of the  ,volneratus deficiens    
mentioned by ,pliny1 ,h4 ,n41 ,,xxxiv1  
#gd4 ,see  supra1 p4 #aii4 ,however1 the
 lettering is not later than #ddd ,b4   
,c41  while ,diitrephes is known to have
 been living as late as #daa3 ,thukyd41 
,,viii1 #fd4    #beeh ,th4 ,bergk1      
,zeitschr4 f4 d4 ,altertumswissensch41  
,,iii1 #ahde1  pp4 #ifa f42 ,wilamowitz1
 ,hermes1 ,,xii1 #ahgg1 p4 #cdf2        
,furtwaengler1 ,a4  ,m41 ,v1 #ahhj1 p4  
#bh and n4 #b2 cf41 however1 ,gurlitt1  
op4 cit41  pp4 #aei f42 ,robert1 ,die   
,marathonschlacht in der ,poikile und   
,weiteres  ueber ,polygnot1 #ahstes     
,hallisches ,winckelmannsprogr41 #ahie1 
p4 #bb2  ,hitz4-,bluemn41 ,i1 ,i1 pp4   
#bee f4 and #bfb f4    #beei ,,ii1 p4   
#bhi2 cf4 ibid41 pp4 #bge f4    #befj   
,jb41 ,,vii1 #ahib1 pp4 #ahe f4 ,cf4 the
 remarks of ,gercke1  ibid41 ,,viii1    
#ahic1 pp4 #aac f4    #befa ,,iii1 #ge2 
,,iv1 #aai and #abi4    #befb ,mw41 pp4 

#bgh f4    #befc ,vit4 ,x ,orat41 ,,iv  
7,isokrates71 #db1 7p4 #hci c47 ,it was 
in the  ball-court of the ,arrephoroi4  
,the same author1 ,,iv1 #da1 7#hci;b71  
also  mentions a bronze statue 7with    
inscription7 of ,isokrates set up by the
  orator's adopted son ,aphareus4 ,see  
supra1 pp4 #bd and #bha4 ,i assume  that
 these two passages refer to one and the
 same monument4    #befd ,three victors1
 ,ladas 7no4 #aa71 ,agias 7no4 #ad71 and
 ,sarapion 7no4  #cj71 had two statues  
each4 ,theagenes 7no4 #aj7 had several1 
according to  ,pausanias1 who1 however1 
mentions only one definitely4 ,we have  
omitted  from our total the statue set  
up by ,t4 ,phlabios ,artemidoros 7#bh;a7
 to  his father4    #befe ,we have here 
included the tablet of ,chionis at      
,sparta 7no4 #a71  a victor of the      
seventh century ,b4 ,c41 whose monument1
 however1 was  erected in the fifth     
century ,b4 ,c4    #beff ,including the 
two ,lysippan statues of ,agias1 a      
victor of the  fifth century1 ,b4 ,c4   

#befg ,of the #aib monuments referred to
 #ahg victors mentioned by  ,pausanias  
in his victor periegesis at ,olympia1   
only #aec1 belonging  to #adh victors1  
can be exactly or approximately dated4  
,of these1 #cc  monuments 7referred to  
#cb victors7 belong to the epoch prior  
to the  approximate date of the founding
 of the temple of ,zeus1 i4 e41 prior   
to ,ol4 #gg 7 #dgb ,b4 ,c472 #ea        
monuments 7referred to #ej victors7 from
  this date on1 to the approximate date 
of the battle of ,aigospotamoi  7,b4 ,c4
 #djd71 i4 e41 down to ,ol4 #ic 7 #djh  
,b4 ,c472 #cf monuments  7referred to   
#cd victors7 from then on1 to about the 
time of the birth  of ,alexander the    
,great1 i4 e41 to ,ol4 #ajf 7 #cef ,b4  
,c472 and #cc  monuments 7referred to   
#cb victors7 from that date1 to the     
close of the  description of the athlete
 periegesis1 i4 e41 from ,ols4 #ajg to  
#adi  7 #ceb to #ahd ,b4 ,c474 ,see     
,hyde1 op4 cit41 ,ch4 ,,iv1 pp4 #gb sq41
 and  supra1 pp4 #ceb-c4 7,in my victor 

lists1 op4 cit41 pp4 #c-bd1 ,i have     
enumerated #ahh victors2 however1       
,philon of ,kerkyra is listed twice1    
nos4 #ia and #acf1 for two different    
statues47 ,of these #aec monuments1     
nearly one-half 7i4 e41 #gd7 belong     
properly to the fifth century  7,ols4   
#gj to #id  #ejj to #djd ,b4 ,c474      
#befh ,pausanias mentions #aib 7referred
 to #ahg victors1 as above72  we have   
found in the present chapter that #fc   
others 7referred to #fa  victors7 are   
known from inscribed base fragments     
found at ,olympia2 and  that #dg        
7referred to #dd victors7 are known from
 literary sources as  having stood      
elsewhere4 ,if we deduct #aj victors who
 had monuments both  at ,olympia and    
elsewhere1 we have a grand total of #bhb
 victors1 in  whose honor these #cjb    
monuments of various kinds were erected4
    #befi ,see ,hyde1 pp4 v-vi1 for an  
alphabetic list of sculptors  mentioned 
by ,pausanias1 or known from the        
recovered bases of statues at  ,olympia4

 ,see supra1 p4 #cci1 n4 #a1 end4       
#begj ,lysippos made two statues honoris
 causa for ,pythes1 son of              
,andromachos1 of ,abdera3 ,p41 ,,vi1    
#ad4ab2 ,hyde1 #acd;a4 ,mikon made two  
statues for ,king ,hiero of ,syracuse1  
one represented on foot and the  other  
on horseback1 which ,i have classed as  
8honor0 statues3 ,p41 ,,vi1  #ab4b2     
,hyde1 #aje;a4 ,all the 8honor0 statues 
at ,olympia named by ,pausanias  are    
listed in the work cited1 on p4 v4      
#bega ,h4 ,n41 ,bk4 ,,xxxiv1 passim4    
,one other sculptor1 ,kratinos1  named  
by ,pausanias1 is noted by ,pliny as a  
painter only3 ibid41 ,,xxxv1  #adj and  
#adg4          ,,index4        ,aberdeen
 head1 #hg4      ,academy1 festival in  
honor of ,athenian soldiers at the1 #aa4
      ,achans1 games among1 #bj2      in
 ,homer1 #a1 #g2      origin of sports  
among1 #a4      ,achaia1 erects victor  
statue at ,olympia1 #cj2                
,pausanias' account of1 #cbc4           
,achilleae1 definition of1 #ib1 note #f2

      statues1 #hg1 #bbf4               
,achilles1 casts solos at games of      
,patroklos1 #bah2      fights with      
,telephos1 on ,tegea pediment1 #cjf1    
#cjg2      shield of1 #e2      yields   
prize to ,agamemnon1 #h4      ,acrobats1
 among ,athenians1 #e2      in ,crete1  
#b1 #c2      in ,homer1 #e2      in     
modern ,italy1 #e2      in ,thessaly1   
#e2      at ,tiryns1 #b1 #c2      on    
,vapheio cups1 #e4      ,actors1 statues
 of victorious1 at ,olympia1 #bhe4      
,adlocutio1 gesture of1 #acb4           
,admetos1 boxing match with ,mopsos1 on 
chest of ,kypselos1 #bhe4               
,adonis7871 statue of1 #gd4             
,adorantes se feminae1 statues by       
,apellas1 #aca4      ,adoration and     
prayer1 as athletic motives1 #acj;f4    
,aegean civilization1 #a;f42            
unathletic character of1 #g4            
,aegina1 games on1 #bj2      date of    
gable statues from temple of ,aphaia1   
#abe2      gable statues from temple of 
,aphaia1 #abc;f42      influence of     

sculptors on 8,apollo0 statues1 #ajb2   
kneeling ,herakles1 from ,east gable1   
#aie2      movement in gable statues1   
#agf2      observation of nature in1    
#bdd2      runners1 from ,west gable1   
#aie2      sculptors from1 #abb;f42     
sculptors in favor at ,olympia1 #bfd2   
temple of ,aphaia on1 #abc;f4           
,aeginetans1 at battle of ,salamis1     
#abe4      ,aelian1 on bronze horses of 
,kimon1 #cfc4      ,aesthetic judgments 
of classical writers1 #eh4              
,africanus1 list of stade victors in1   
#aia2      on omission of #baath        
,olympiad1 #cfi4      ,agamemnon1 prize 
of1 #h2      the ,agamemnon of          
,aischylos1 #ge4      ,agasias1         
sculptor1 #bjh4      ,agathinos1 statue 
at ,olympia1 #cde4      ,age1           
classification of ,greek athletes by1   
#ahi2      in ,plato's ,republic1 #ahi4 
,ageladas2 see ,hageladas1 #aij4        
,agenor1 statue at ,olympia1 #cj1 #aah4 
,agesarchos1 statue at ,olympia1 #abi4  
,agiadas1 statue at ,olympia1 #abc4     

,agias1 statue at ,delphi1 #df1 #cfe1   
#cff2      statue at ,pharsalos1 #cff2  
careless finish of ,delphian statue1    
#cjd2      compared with ,apoxyomenos of
 ,vatican1 #bhi2      compared with     
,farnese ,herakles1 #bec2      epigram  
on base of statue1 #cbh2      as example
 of assimilation1 #id2      fillet on1  
#aej2      as statue 8double10 #cjd2    
as statue of a pancratiast1 #bib2       
supplants ,apoxyomenos as norm of       
,lysippos1 #bij1 #bia;f42      swollen  
ear of1 #afh2      why considered copy1 
#cjc;f41 #caf4      ,agids1 tomb in     
,sparta1 #cfb4      ,agilochos1 statue  
at ,olympia1 #ceg4      ,agon           
7,contest71 figure in group of          
,mikythos1 #afd1 #bae4                  
,agorakritos1 sculptor1 #ahb4           
,agrippa1 ,m41 removes the ,apoxyomenos 
to ,rome1 #bhi4      ,aiakos1 games in  
honor of1 #bj4      ,aigion1 boy from1  
chosen as priest for his beauty1 #eg4   
,aigistratos1 ,olympic victor statue at 
,lindos1 #cgb4      ,aigospotamoi1      

battle of1 #ceb2      memorial at       
,delphi1 #bgh4      ,aigyptos1          
equestrian monument at ,olympia1 #abj1  
#bfg1 #bgi4      ,ainetos1 statue at    
,amyklai1 #cga4      ,aischines1 statue 
at ,olympia1 #bi1 #bad1 #cdf4           
,aischylos1 on  1 #ge2      ,agamemnon  
of1 #ge4      ,aischylos1 victor relief1
 in honor of the ,dioskouroi1 #if1 #ig4 
,ajax1 acrobatic feat of1 #c2           
combat with ,diomedes1 #h2      on r4-f4
 ,etruscan stamnos1 #acb4               
,akarnania1 #cah4      ,akastos1 games  
of1 depicted on chest of ,kypselos and  
on throne      of ,apollo at ,amyklai1  
#ab4      ,akestorides1 statue at       
,olympia1 #cde1 #ced4      ,akontistai2 
see ,javelin-throwers4      ,akousilaos1
 statue at ,olympia1 #acj1 #afe4        
,akragas1 bronze statue dedicated at    
,olympia by people of1 #acj2            
decadrachm of1 #dh4      ,akropolis at  
,athens1 ,aeginetan bronze head from1   
#abc2      ,argive bronze head from1    
#aad1 #aae2      athlete statue from1   

#aae1 #abg2      chariot-race relief    
from1 #abh2      ephebe head1           
yellow-haired1 from1 #aaf2              
excavations of1 #abf2      ,hermes      
relief from1 #bgj2      ,korai from1    
#aae1 #abf2      la petite boudeuse     
from1 #aae2      pre-,persian sculptures
 from1 #abf;f42      ,old ,temple of    
,athena on1 #abh1 #bga4      ,akroteria1
 winged figures as1 #agg4      ,aktion1 
8,apollos0 from1 #ajc1 #ccd4            
,alabastron1 on statue of ,milo at      
,olympia1 #ajg4      ,alexander the     
,great1 bust of1 from ,alexandria1 #caf2
      coin of1 showing ,herakles1 #bec2 
funeral games in honor of1 #aa2         
head of1 in ,copenhagen1 from           
sarcophagus1 #ie2      institutes       
funeral games for ,hephaistion1 #aa2    
portraits of1 #ef2      portraits of1 by
 ,lysippos1 #bij1 #caa1 #caf2           
pensiveness in portraits of1 #cah2      
statue of1 by ,lysippos1 #gc4           
,alexander ,sarcophagus1 so-called1 in  
,constantinople1 #bge4      ,alexinikos1

 statue at ,olympia1 #abb4              
,alkainetos1 statue at ,olympia1 #cdc1  
#ceb4      ,alkamenes1 and              
,choiseul-,gouffier ,apollo type1 #hi2  
,enkrinomenos of1 #acd2      and        
,olympia gable statues1 #aac2      and  
,standing ,diskobolos1 #gf4             
,alkandridas1 ,p4 ,ailios1 statue at    
,olympia1 #cfj4      ,alketos1 statue at
 ,olympia1 #abj1 #cdd4      ,alki1      
temple of ,apollo at1 #ccf4             
,alkibiades1 victor at ,olympia1 #beg2  
so-called ,alkibiades of the ,vatican1  
#aii4      ,alkibios1 base of statue of1
 from ,akropolis1 #bhd4      ,alkinoos1 
,king of ,scheria1 #baj4      ,alkmena1 
#aj4      ,alpheios1 river at ,olympia1 
#di1 #beh4      ,altars1 at ,olympia3 of
 ,aphrodite1 #cea2      near ,stadion1  
#bhc2      of ,nymphs1 #cea2      of    
,seasons1 #cea2      scattered positions
 of1 #cda2      of ,zeus2 see ,great    
,altar of ,zeus4      ,altis at         
,olympia1 ,east ,byzantine wall of1     
#cde1 #ceg2      erection of statues in1

 #bg1 #ii2      excavation of1 #bd2     
honor statues in1 #cci2      location of
 earliest statues in1 #bii2      ,north 
,byzantine wall of1 #cei2               
periegesis of ,pausanias in1 #aea1 #bih2
      positions of victor statues in1   
#cci;f42      processional entrance of1 
#cdg2      processional way of1 #cdh2   
,roman enlargement of1 #cdh2      routes
 77 of ,pausanias in1 #cci;f42          
,south ,terrace wall of1 #cdf2          
,south wall of1 #cci1 #cda1 #cde1 #cdg1 
#ceb1 #ceg2      ,southwest gate of1    
#cfj2      statues 8within10 #cdg2      
topography of1 #cci2      ,west         
,byzantine wall of1 #ceh2      ,west    
wall of1 #cdg1 #cee;f4      ,alypos1    
sculptor1 #abj4      ,amaltheia1 ivory  
horn of1 at ,olympia1 #bfd1 #bfe4       
,amastris1 coin of1 showing figure of   
,hermes1 #gh4      ,amazon1 of          
,polykleitos1 #aei2      torso of       
,atalanta from ,tegea pediment1 draped  
as1 #cjf4      ,ambrakia1 #aje4         
,amelung1 ,w41 on supposed absence of   

libation-pouring in athletic art1       
#adj2      on head in ,turin1 #ic2      
on statuette in ,vatican1 #bab1 #bdd4   
,amenartas2 see ,amenerdis4             
,amenerdis1 ,egyptian queen1 statue of1 
#cca4      ,amenemhat ,,iii1 co-regent  
of ,horfuabra1 #ccj4      ,amentum2 see 
,thong4      ,amertas1 statue of1 at    
,olympia1 #aag4      ,amphiaraos vase1  
in ,berlin1 #ac1 #bfi1 #bhj2            
,amphiaraos1 on chest of ,kypselos1     
#bfi2      reliefs in honor of1 #bgc4   
,amphiareion1 at ,oropos1 #bgb1 #bgc4   
,amphidamas1 games of1 #ai4             
,amphiktyonic ,league1 #ag4             
,amphion1 sculptor1 #bgg4               
,amphipolis1 games at1 #aa4             
,amyklai1 temple of ,apollo at1 #ai4    
,amykos1 boxing match of1 with          
,polydeukes1 #bfi2      invention of    
boxing-gloves ascribed to1 #bcf4        
,amyntas1 statue at ,olympia1 #abi1     
#ced4      ,analogy1 in ,greek art1 #ff4
      ,anatomy1 knowledge of1 in ,greek 
sculpture1 #ef2      in ,aeginetan gable

 statues1 #abd2      in ,ligouri bronze1
 #aaa2      studied in ,alexandria1     
#bhi4      ,anauchidas1 statue at       
,olympia1 #cda4      ,anaxandros1 statue
 at ,olympia1 #acj1 #bff4               
,anaxilas1 as dedicator of ,delphi      
,charioteer1 #bgh4      ,ancestors1     
worship of1 in ,greece1 #ad4            
,ancient writings of the ,eleans1 #ae4  
,andokides1 vase-painter1 #bbi1 #bcj4   
,andreas1 sculptor1 #aah4               
,angelion1 sculptor1 #abb1 #cjd1 #ccd4  
,see also ,tektaios4      ,aniconic     
statues1 #eh4      ,anochos1 statue at  
,olympia1 #aaj1 #aaa4      ,anointing1  
as athletic motive1 #acc;f4             
,antaios1 bout with ,herakles1 on       
proto-,attic amphora1 #ac4              
,antenor1 sculptor1 #agd1 #age4         
,anthologies1 ,greek1 #dc1 #bci1 #cfh4  
,anthropometry in ,greek sculpture1 #fh4
      ,antidotos1 painter1 #bi1 #bcc4   
,antigenes1 statue at ,olympia1 #ceg4   
,antignotos1 sculptor1 #acf4            
,antigonos1 statue at ,olympia1 #cdf4   

,antikythera1 bronze statue of youth    
from sea near1 #hj;f42      statuette   
from sea near1 #gh1 #gi4      ,antioch1 
date of founding of1 #aba4              
,antipatros1 statue at ,olympia1 #aah2  
father of1 bribed by ,syracuse1 #cc4    
,antoninus ,pius1 coins of1 showing     
pine1 #ba4      ,apellas1 sculptor1     
#aca1 #bfg1 #cfg4      ,aphaia1 temple  
of1 on ,aegina1 #abc;f4                 
,aphrodeisios1 ,tiberios ,klaudios1     
statue at ,olympia1 #cei2      victor in
 horse-race1 #bfb4      ,aphrodite1     
altar at ,olympia1 #cea2      statue in 
,heraion at ,olympia1 #cbf2      temple 
at ,naukratis1 #ccd4      ,apobates1    
chariot-race1 #bgb;f42      armor worn  
in1 #bgb1 #bgc2      known at ,athens   
and in ,botia1 #bgc2      preserves     
tradition of ,homeric warfare1 #bgb2    
on reliefs1 #bgb2      apobates1        
horse-race1 at ,olympia1 #bhb;f4        
,apollas1 lost work of1 on ,olympic     
victors1 #de1 #acj1 #cdc4      ,apollo1 
as athlete1 #hh2      beaten in running1

 #gf2      beats ,ares in boxing1 #hh1  
#bce1 #bhe2      beats ,hermes in       
running1 #hh1 #bhe2      as charioteer1 
#abi1 #bgj2      combat with ,herakles1 
#hh1 #hi2      cult statue of1          
represented on vases1 #cce2      as god 
of boxing at ,delphi1 #bce2      as god 
of boxing in ,homer1 #bce2      as god  
of contests1 #ge2      as god of youth1 
#hh2      hymn to1 #be2      on coins of
 ,athens1 #ij2      on relief in        
,capitoline1 #hi2      on relief with   
,artemis and ,leto1 in ,louvre1 #bhd2   
tripods in worship of1 #ai4             
,statues3 ,apollo ,alexikakos1 by       
,kalamis1 #ij2        from temple of    
,apollo at ,alki1 #ccf2        from     
,delos1 #ccd1 #cce2        colossal1    
from ,delos1 #ccf2        from          
,mausoleion1 #caa2        colossal1 from
 ,olympia1 #ia2        ,philesian       
,apollo1 by elder ,kanachos1 #ajg1 #aah1
 #ccf2        from ,porto d',anzio1     
#add2        ,praxitelian1 in ,medici   
,gardens1 ,rome1 #cac2        from ,west

 gable1 ,olympia1 #aad-aaf4             
,statuettes3 bronze from ,naxos1 in     
,berlin1 #gd1 #aai2         ,payne      
,knight bronze1 ,british ,museum1 #ajh1 
#aai2         bronze1 from ,piombino1   
,louvre1 #aah2         ,sciarra bronze1 
,rome1 #aai4         ,temples3 of       
,apollo ,lykios1 #cfd2         at       
,bassai1 #cbg2         at ,naukratis1   
#ccd4      8,apollo10 type of1 in       
sculpture1 #ajj;f42        ,aeginetan   
influence on1 #ajb2                     
,choiseul-,gouffier1 #hi;f41 #ia1 #adh2 
funerary in character1 #ccf1 #ccg2      
8grinning0 and 8stolid0 groups1 #ajj2   
name 8,apollo10 #ccg2        name       
rightly applied to statues found in     
sanctuaries of ,apollo1 #ccd-ccf2       
nudity of1 #dh2        represents early 
victor statues1 #ccd;f42                
on-the-,omphalos1 #hi;f41 #afh4         
,statues of3 from ,aktion1 #ajc1 #ccd2  
from ,cyprus1 #ccg2         from        
,delphi1 #adh2         colossal1 from   
,megara1 #ccf2         from ,melos1     

#ajj;f42         from ,mount ,ptoion1   
#ajj-ajc1 #abj1 #abc1 #ccd2         from
 ,naukratis1 #ccd2         from ,naxos1 
#cbh1 #ccd2         from ,orchomenos1   
#ajj1 #aja1 #ajc1 #cbh1 #ccd2           
from ,pompeii1 #aaa2         from       
,tenea1 #ajj;f41 #abg1 #adh1 #cbg1 #cbh1
 #ccf2         from ,thera1 #ajj;f41    
#cbg1 #ccg2         from ,volomandra1   
#ajj1 #ajd1 #ccg4      ,apollonia1 head 
from1 #aeg4      ,apollonios1 sculptor1 
#afh1 #bbd2      quoted by              
,philostratos1 #ajg4      ,apollonios1  
,t4 ,ailios ,aurelios1 ,olympic victor1 
statue at ,athens1 #cgj4                
,apollonios1 victor at ,olympia1 fined  
by the umpires1 #cd4      ,apoxyomenos1 
the1 after ,lysippos1 #gd2      statue  
in ,vatican1 #acf1 #bhh;f42      pose   
of1 #ha1 #ii2      regarded formerly as 
center of stylistic treatment of        
,lysippos1 #bhh2      so regarded by    
some scholars now1 #bia2      present   
doubts of1 #bij2      display of        
anatomical knowledge in1 #bhi2          

compared with the ,agias1 #bhi;f42      
as work of ,lysippos' school1 #bib2     
of third century ,b4 ,c41 #bib2         
,apoxyomenos of ,polykleitos1 #acf2     
statue in ,uffizi as1 #acf1 #acg1 #afh4 
,apples1 prizes at ,delphi1 #ba1 #ajg1  
#ahb4      ,aratos1 statesman1 honor    
statue at ,olympia1 #db4      ,aratos1  
victor1 painting of1 #bi4               
,archaism1 break with1 in the statue of 
the ephebe from the ,akropolis1         
#aae4      ,archedamos1 statue at       
,olympia1 #abj4      ,archemoros1 #aj4  
,archery1 in ,homer1 #h4                
,archiadas1 statue at ,olympia1 #ceh4   
,archias1 victor statue at ,delphi1     
#cfh4      ,archidamas1 chariot victor1 
statue at ,olympia1 #bfe4               
,archidamas ,,iii1 ,king of ,sparta1    
statues at ,olympia1 #db4               
,archippos1 statue at ,olympia1 #cdf4   
,ares1 beaten by ,apollo in boxing1     
#bce1 #bhe2      ,doryphoros of         
,polykleitos converted into ,ares1 #gd2 
head of1 in ,munich1 #agj2      helmeted

 head of1 in ,louvre1 #agj2             
,ludovisi statue of1 #agj2      swollen 
ears on heads of1 #agj4      ,argeiadas1
 sculptor1 #aaj4      ,argive 8,apollos0
 from ,delphi1 #ajd1 #ajf2      ,argive 
and ,sikyonian canons1 #fh4      ,argos1
 canon of early sculptors of1 #fh2      
characteristics of sculptors of1 #aaf2  
,nemean games held at1 #ag2      prizes 
at1 #bj2      public chariot of1        
victorious at ,olympia1 #ca1 #beg2      
public horse of1 victorious at ,olympia1
 #ca1 #beg2      school of sculptors    
from1 #eh1 #aji;f41 #aje2      schools  
of ,argos and ,sikyon1 #aji;f42         
square shoulders of canon of sculptors  
from1 #aab4      ,arion1 victor statue  
on ,helikon1 #bhd4      ,aristarchos1   
statue at ,olympia1 #ceh4               
,aristeides1 the ,elder1 painter1 #bi4  
,aristeus1 statue1 at ,olympia1 #cdd4   
,aristion1 statue at ,olympia1 #df1 #hh1
 #aag1 #aei and note #c1 #bdj1 #cde4    
,aristion1 stele of1 #abd1 #abg4        
,see ,aristokles4      ,aristodamos1    

statue at ,olympia1 #cef4               
,aristodemos1 statue at ,olympia1 #abj4 
,aristogeiton1 statue of1 #agc;f4       
,see also ,harmodios and ,tyrannicides4 
,aristokles1 ,cretan sculptor of        
,sikyon1 #aah1 #abj4      ,aristokles1  
sculptor of ,aristion stele1 #abg4      
,ariston1 of ,rhegion1 kitharoidos1     
#bhd4      ,ariston1 ,p4 ,kornelios1    
statue at ,olympia1 #cei4               
,aristonikos of ,egypt1 beaten at       
,olympia1 #adg4      ,aristonikos of    
,karystos1 ball-player1 #hd4            
,aristophanes1 #cf1 #bdf2      scholia  
on1 #aaj1 #cfc4      ,aristophanes1 of  
,byzantion1 #cfg4      ,aristophon1     
statue at ,olympia1 #ca1 #cde1 #cfh2    
at ,athens1 #cfh4      ,aristotimos1    
#db4      ,aristotle1 honor statue at   
,olympia1 #db2      lost work of1 on    
,olympic victors1 #de1 #acj1 #cdc2      
on inscribed base of statue of unknown  
,olympic victor1 #cfg2      on jumping1 
#bad2      on jumping-weights1 #baf2    
in praise of 8mimetic0 arts1 #eh4       

,arkadia1 funeral games in1 #i1 #bj2    
,pausanias' description of1 #cbf2       
statue of unnamed boxer from1 at        
,olympia1 #bde4      ,arkas1 father of  
,azan1 #i4      ,arkesilaos1 of ,sparta1
 statue at ,olympia1 #bi4               
,arkesilas ,,iv1 of ,kyrene1 chariot    
victor at ,olympia #beg2      chariot   
model at ,delphi1 #bd1 #bfe1 #bfg2      
as dedicator of the ,delphi ,charioteer1
 #bgg4      ,arm1 right1 of boy victor1 
from ,olympia1 #df2      bronze right   
arm from statue of ,olympic victor1     
#cbb4      ,armed contest1 in early     
,greek art1 #h-i4      ,armor1 race in2 
see ,hoplite-race4      ,arndt1 ,p41 on 
so-called ,jason1 of ,louvre1 #hg2      
on the ,perinthos and allied heads1     
#ahj4      ,arolsen1 statuette of       
diskobolos in1 #ahg4      ,arrhachion1  
crowned after death1 #bdg2      statue  
at ,phigalia1 #ajj1 #cbe1 #cbf;f41 #cbh1
 #cce1 #ccg1 #cfc2      inscription on1 
#ccc2      one of oldest victor statues1
 #cbg1 #ccc2      three victories of    

#cbg2      throttled by adversary1 #bdg4
      ,ars statuaria1 defined by ,pliny1
 #cjb4      ,artemas1 ,p4 ,ailios1      
statue at ,olympia1 #cfj4               
,artemidoros1 ,olympic victor1 #ced4    
,artemidoros1 ,t4 ,phlabios1 statue in  
,naples1 #cfi4      ,artemis1 on ,sparta
 relief1 #bhd4      ,artemisia1         
chariot-group of1 #bfd4      ,artists1  
statues of1 at ,olympia1 #bhe4          
,arvanitopoullos1 ,a4 ,s41 on bronze    
statue of youth found in sea off        
,antikythera1 #ha1 #hd4      ,aryballos1
 #gd1 #aai1 #acg1 #ach1 #bab2      on   
vase-paintings1 #acc2      wrongly as   
wrestler attribute1 #afe4               
,ashmolean ,museum1 ,oxford1 head of    
,diadoumenos in1 #aed4      ,asiatics1  
wear loin-cloth1 #dh4      ,asios1      
fragment of1 #eb4      ,asklepiades1 ,m4
 ,aurelios1 dedicates statue in ,rome to
 father1 #cgj4      ,asklepiades1 ,p41  
dedicates bronze diskos at ,olympia1    
#bb1 #cfj4      ,asklepieion1 the1 at   
,athens1 statues in1 #acj4              

,asklepios1 temple at ,sikyon1 #cgj4    
,assimilation of statues of men to god  
and hero types1 #ga;f42      of ,olympic
 victor statues1 #ga;f42      to types  
of ,apollo1 #hh;f42      of the         
,dioskouroi1 #if;f42      of ,herakles1 
#ic;f41 #cai2      of ,hermes1 #ge;f4   
,assurbanipal1 reliefs from palace of1  
at ,nineveh1 #ccj4                      
,assyro-,babylonian art1 reliefs of1    
represented in motion1 #agg2            
influence on early ,greek art1 #cbi4    
,astragalos1 base in form of1 at        
,olympia1 #bdj4      ,astylos1 bribed by
 ,hiero of ,syracuse1 #cc2      statue  
at ,kroton1 #cc1 #cfc2      at ,olympia1
 #agi1 #cfc4      ,asymmetry1 example   
of1 #gj4      ,atalanta1 soul of1       
chooses body of athlete1 in ,plato's    
myth of ,er1 #cf2      statue of1 from  
,tegea1 #cjf1 #caj1 #caf4      ,athena1 
,alea1 temple at ,tegea1 #cjf2          
,chalkioikos1 hieron of1 in ,sparta1    
#bhc2      helmeted heads of1 #ec2      
,lemnia1 #ec2      ,old ,temple of1 on  

,akropolis1 #abh1 #bga2      on relief  
from ,tarentum1 #if4      ,athenus1 #eg1
 #bhd4      ,athenaia2 see ,panathenaia4
      ,athenaios1 statue at ,olympia1   
#bdd1 #cdc1 #cec4      ,athens1 athletes
 at1 divided into two classes according 
to age1 #ahi2      coins of1 showing    
,apollo1 #ij2      statues of victors   
in1 #bf-bg2      ,gymnasion of ,ptolemy 
at1 #aff4      ,athletes3 bare-foot and 
bare-headed1 #dh2      head of1 in      
,capitoline called ,juba ,,ii1 #aff2    
head of1 in ,metropolitan ,museum1      
showing swollen ears1 #afh2      statue 
of1 in ,copenhagen resembling the       
,agias1 #bic2      statue found at      
,ephesos1 #acg1 #ach2      two statues  
in lunging attitude1 in ,dresden1 #bib2 
statue from ,palazzo ,farnese1 now in   
,london1 #bic2      statue of late style
 in ,lansdowne ,house1 ,london1 #ahj2   
statues of1 adorn palstr and gymnasia1  
#big2      statues of1 assimilated to   
types of ,apollo1 #hh;f42      of the   
,dioskouroi1 #if-ig2      of ,herakles1 

#ic;f42      of ,hermes1 #ge;f42        
bronze statuette in ,louvre1 #bac1 #bad2
 etc4      ,athletics1 origin and early 
history of ,greek1 #a;f42      in       
,crete1 #a;f42      at ,delphi1 #be2    
in ,homer1 #g;f42      athletics and    
,greek religion1 #ad2      influence on 
sculpture1 #fd2      athletic funeral   
scene on a ,cypriote silver vase from   
,etruria1 #ac2      ,argive-,sikyonian  
school of athletic sculptors1 #a1       
#aji;f4      ,attalos1 base of victor   
statue of ,attalos1 father of ,attalos  
,i1 at      ,pergamon1 #cfh2            
,portico of1 in ,athens1 #cfh4          
,attic sculptors1 #abf;f42              
characteristics of1 #abh2      examples 
of pre-,persian sculptures1 #bha2       
influence on ,polykleitos1 #aeb1 #aec2  
old ,attic canon of proportions1 #fh4   
,attributes of victor statues1 #adg;f42 
primary1 #adh;f42      secondary #afa;f4
      ,augustus1 coins of1 showing      
celery1 #ba2      enlarges privileges of
 athletes in ,rome1 #cc2      statue    

from ,primaporta1 #hb4      ,aura1      
victorious mare of ,pheidolas1 #bgi4    
,aurelius1 ,m4 ,antoninus1 #dc4         
,authors2 see ,poets1 ,prose-writers4   
,autolykos1 statue in ,athens1 #bg4     
,autun1 statuette of pancratiast from1  
in ,louvre1 #afg1 #bej4      ,aves1 the1
 of ,aristophanes1 quoted1 #bjf4        
,azan1 games of1 in ,arkadia1 #i1 #bei4 
,bacchiadas1 flutist1 statue on         
,helikon1 #bhd4      ,bacchylides1 #aj1 
#cf4      ,ball-playing 771 in          
antiquity1 #hc1 #hd2      game known as 
1 #hd2      ,spartan origin of1 #hd4    
,barbarians1 invade ,greece in ,middle  
,ages1 #cbb2      destroy victor statues
 at ,olympia1 #dc4      ,barberini      
,palace1 ,rome1 statue in1 #adb2        
estate of the ,barberini1 #ej4          
,barracco ,collection1 ,rome1 athlete   
statue in1 #aef4      ,bases2 see       
,victor statue bases4      ,bassai1     
temple of ,apollo ,epikourios at1 #cbg4 
,bates1 ,w4 ,n41 on interpretation of   
head of boy statue from ,sparta1 #cje4  

,bathykles1 sculptor1 #ab4      ,battos 
of ,kyrene1 group of1 dedicated at      
,delphi1 #bgg4      ,baukis1 statue at  
,olympia1 #aag4      ,beauty1 contest   
of1 among women1 in ,arkadia1 #eg2      
in ,elis1 #eg2      on ,lesbos1 #eg2    
at ,panathenaic games1 ,athens1 #eg2    
on ,tenedos1 #eg2      games in honor   
of1 #eg2      ,greek worship of1 #eg2   
youth chosen for1 at ,tanagra1 #eg4     
,bellerophon1 on ,chimra tomb1 ,xanthos1
 #bga4      ,belvedere ,hermes1 statue  
in ,vatican1 #gb4      ,beneventum1 head
 from1 in ,louvre1 #fc4                 
,beni-,hasan1 ,egypt1 wall-paintings at1
 #a1 #bbh4      ,benndorf1 on ,boboli   
athlete in ,florence1 #ahj2      on     
epigram relative to ,ladas1 #aig2       
on ,pliny's nudus talo incessens of     
,polykleitos1 #bej4      ,bieber1       
,frulein1 on various artistic tendencies
 in the ,daochos group1     #bia4       
,bigae and quadrigae1 mentioned by      
,pliny1 #bfd4      ,biting1 prohibited  
in pankration1 #bdf4      ,biton 7871   

statue of1 from ,delphi1 #aje4          
,bloch1 on the ,uffizi ,apoxyomenos1    
#acg4      ,boboli athlete in ,florence1
 #ahj2      ,hermes1 #he4      ,boeckh1 
on division of athletes according to age
 at ,athens1 #ahi4      ,bodromion1     
month of1 #ah4      ,botian games in    
,thebes1 statues erected for1 #bf4      
,boetticher1 on ,praxitelian origin of  
head from ,olympia1 #bid4      ,bologna1
 r4-f4 krater in1 #ij4      ,bonus      
,eventus 7871 statue found in ,rhine1   
#bgf4      ,boreas1 winged1 on relief in
 ,metropolitan ,museum1 #aid4           
,borghese ,warrior 7,gladiator71 statue 
by ,agasias1 #afi1 #bjh1 #bji1          
#bij4      ,borsdorf1 bronze bowl from1 
#bca4      ,bosanquet1 ,r4 ,c41 on      
bronze statuette found in sea off       
,antikythera1 #gi4      ,boudeuse1 la   
petite1 statue from ,akropolis1 #aae4   
,bouleuterion2 see ,council-house4      
,bouprasion1 ,nestor contends at1 #i4   
,bow1 attribute of ,philesian ,apollo1  
#aai4      ,boxer ,vase1 from ,hagia    

,triada1 #f1 #g1 #bce4      ,boxers1    
bases of statues of1 at ,olympia1 #bdj1 
#bda2      bearded1 on ,university of   
,pennsylvania ,panathenaic amphora1     
#bci2      between groups of warriors   
and dancers on an eighth century ,b4 ,c4
        vase1 #ac2      boxer known as  
8man with crushed ear10 #afg2      on   
,boxer ,vase1 #f1 #g2      bronze head  
of boxer or pancratiast1 from ,olympia1 
#adf1 #bed1 #bee1        #cbb2      on  
bronze shield from ,mount ,ida1 #bce2   
caps of1 #afe;f42      head in ,munich1 
with swollen ears1 #fc1 #afh2           
positions of1 on vases1 #bci2           
pyctae 7871 by ,myron1 #ahh2      on    
pyxis1 from ,knossos1 #g2      on r4-f4 
kylix in the ,british ,museum1 #bci2    
on r4-f4 kylix of ,douris1 #bci2        
,seated ,boxer1 of ,museo delle ,terme1 
#ade;f42      statues of1 represented in
 motion1 #bdc2      statue of1 with     
,diadoumenos motive1 #aee2      statue  
in ,kassel1 #bdb2      statue in        
,lansdowne ,house1 ,london1 #aee2       

statue in ,palazzo ,albani1 ,rome1 #afe2
      statue from ,sorrento1 #bdb2      
statuette of1 from ,olympia1 #bh1 #bdd2 
swollen ear of1 #bdj1 #bda4             
,boxing1 #bcd;f42      antiquity of1    
#bce2      in ,crete1 #c1 #e1 #f1 #g1   
#bce2      in ,homer1 #h1 #bcd2         
invented by ,theseus1 #bce2      more   
dangerous than pankration1 #bdf2        
most popular sport at ,olympia1 #bce2   
one of oldest sports1 #bcd2      when   
introduced at ,olympia1 #bce2      boys'
 contest1 when introduced at ,olympia1  
#bce2      painful character of1        
#bcd;f42      two periods of1 #bce2     
at ,sparta1 #afg2      on vases1 #bci4  
,boxing-gloves1 #bce;f42      on ,boxer 
,vase1 #g1 #bce2      in ,crete1 #bce2  
in ,homer1 #bce2      described by      
,pausanias and ,philostratos1 #bcf2     
forms of1 #bcf2      heavy 7 or  71     
#bce;f42      soft 7  or 7 #bce;f42     
method of putting on1 #bcf2      not    
used in pankration1 #bdf2      soft1 on 
bronze arm found in sea off             

,antikythera1 #bcf2      on fist from   
,verona1 #bch2      on forearms of      
,seated ,boxer of the ,museo delle      
,terme1 #bcg1 #bch2      on statue from 
,herculaneum1 #bch2      on statue from 
,sorrento1 #bch4      ,boy ,binding on a
 ,fillet 771 by ,pheidias1 #aej4        
,boy ,crowning ,himself1 copies of      
statue of1 identified with statue       
of ,kyniskos at ,olympia1 #aef2      on 
funerary relief1 #aee4      ,boy        
victors1 statues of1 at ,olympia1 #ca2  
fragments of1 #cbd1 #cbe2      less than
 life-size1 #df2      boy victor 787    
from ,sparta1 head from statue of1      
#cje;f42      as case of assimilation1  
#cai;f42      as an eclectic work1 #cg1 
#ch2      chiefly ,lysippan1 #caa1 #cah2
      compared with head of             
,philandridas1 #caf2      surface       
modeling of1 #cah4      ,branchidai1    
#cjd1 #ccf4      ,brasidas1 games in    
honor of1 #aa4      ,bribery1 of        
,olympic victors1 #cc2      at          
,epidauros1 the ,isthmus1 etc41 #cd4    

,brimias1 statue at ,olympia1 #cdf4     
,bronze1 used for victor statues1       
#cba;f42      more expensive than       
marble1 #cbc1 #cbf2      bronze and     
stone monuments together1 #cbc4         
,brunn1 on ,aeginetan art1 #abd2      on
 archaic ,attic art1 #abd2      on      
,daidalian 1 #cbh2      on the          
,oil-pourer in ,munich1 #acd2      on   
,olympia pediment groups1 #aad2      on 
,standing ,diskobolos1 #gf2      on     
symmetry and rhythm1 #ff2      on ,tux  
bronze1 #bjg2      on the ,vaison and   
,farnese types of the ,diadoumenos1     
#aed4      ,brutus1 the1 of ,cicero1    
#fj4      ,brygos1 r4-f4 kylix in style 
of1 #bjd4      ,bull1 in ,crete1 #a;f42 
zone of the1 at ,olympia1 #cee4         
,bulle1 on boxer head from ,olympia1    
#bee2      on bronze statue of youth    
found in sea off ,antikythera1 #hb2     
on the ,polykleitan ,diadoumenos1 #aea2 
on ,doryphoros1 #bbg2      on dying     
hoplite relief1 #bji2      on ,egyptian 
influence on early ,greek sculpture1    

#ccj2      on ephebe statue from        
,akropolis1 #aae2      on ,farnese      
,herakles1 #bec2      on hair technique 
of ,greek sculptors1 #ec2      on the   
,idolino1 #ada1 #adb2      on the       
,oil-pourer1 #acd2      on ,tux bronze1 
#bjg2      on statues of two wrestlers1 
from ,herculaneum1 #bca4                
,bull-grappling1 in ,crete1 #b;f42      
in ,tiryns1 #b1 #c2      on ,vapheio    
cups1 #cee2      in ,thessaly1 #e2      
in ,viterbo1 #e4      ,bull-ring1 ivory 
model of1 from ,knossos1 #c4            
,burgon vase1 #bfj4      ,bybon1        
inscribed solos of1 from ,olympia1 #bb1 
#bah4      ,bykelos1 statue at ,olympia1
 #abj4      ,byzantine church1 the1 at  
,olympia1 #cdg1 #cef;f4      ,byzantine 
walls1 at ,olympia1 #cde1 #ceg1 #ceh1   
#cei4        ,caere 7,cerveteri71       
,amphiaraos vase from1 #ac and note #a2 
hydrias from1 #eb4      ,candia1 ,museum
 at1 #b1 #c4      ,canina1 discovers the
 ,apoxyomenos of the ,vatican1 #bhh4    
,canon1 of ,polykleitos1 #fi4           

,canons of proportions1 #fe;f4          
,cap1 of boxers and pancratiasts1       
#afe;f42      on athlete head called    
,juba ,,ii1 #aff2      on relief in     
,rome1 #aff2      on ,munich kylix1     
#aff-afg2      on statuette from ,autun1
 #afg4      ,capua1 bronze statuette    
from1 #bjg4      ,caracalla1 baths of1  
#beb4      ,caricature1 ,theban law     
against1 #eg4      ,casa ,buonarroti1   
,florence1 arm of ,diskobolos from1     
#ahf4      ,caskey1 ,l4 ,d41 on ,sparta 
head of boy athlete1 #cje1 #cjf1 #caj1  
#cai4      ,castel ,porziano1 copy of   
,diskobolos from1 #ahd4      ,castellani
 copy of ,spinario1 #bjb4      ,catania1
 coins of1 showing ,nike1 #ahb4         
,cauldron1 as early prize1 from ,cumae1 
#bj4      ,celery1 fresh1 used for      
wreaths at ,nemea1 #bj1 #ba2      wild1 
used for wreaths at the ,isthmus1 #ba4  
,celetizontes pueri1 of ,kanachos1 #abj4
      ,cerveteri2 see ,caere4           
,cestus1 described by ,virgil1 #bci2    
metal1 invented by ,romans1 #bch1 #bci2 

not mentioned by late ,greek writers1   
#bci2      not used in ,greek contests1 
#bce4      ,chabrias1 general1 statue   
of1 #agc4      ,chroneia1 battle of1    
#cja4      ,chalkis1 #ai4               
,champion1 the1 of ,east gable of temple
 on ,aegina1 #bjg2      of ,west gable1 
#abf4      ,chamyne2 see ,demeter4      
,chancery1 hold in pankration1 #bdg1    
#bdh4      ,chaplet1 as victor          
attribute1 #adh4      ,chariots1        
,athenian type on vases1 #bfb2      on  
,cretan relief1 #bfb2      war-chariot  
in ,crete and at ,mycen1 #bfb2      on  
,mycenan tombstones1 #bfb2              
dedication of1 #bb2      descendant of  
,homeric war-chariot1 #bfj2             
four-horse1 #bfb2      four-horse1 on   
vases1 #bfc2      four-horse1 on marble 
relief1 #bfh1 #bfi2      miniature      
models of1 at ,olympia1 #bc2            
war-chariot from ,monteleone1 in        
,metropolitan ,museum1 #bfc2            
two-horse1 on vases1 #bfc2      two     
types of ,greek racing-chariot1 #bfb2   

on eighth century ,b4 ,c4 vase1 #bfc2   
zone of1 at ,olympia1 #cde1 #cdf1 #ceb4 
,charioteers1 statues of1 #bgd;f42      
close-fitting chiton of1 #bge2      long
 chiton of1 #dh1 #bfc1 #bgc1 #bgd2      
nude1 #dh1 #bge1 #bgf2      statue of1  
in ,boston1 #bge2      statue of1 at    
,delphi1 #dh1 #ha1 #ij1 #bgf;f42        
inscription on1 #bgg2      part of a    
group1 #bgg2      copies of1 #bgg2      
deficiencies of1 #bgh2      ,gelo as    
dedicator of1 #bgh2      as ,aeginetan1 
#bgh2      as ,attic work1 #bgh2        
assigned to ,pythagoras1 #bgh2          
statue of1 from ,esquiline1 #bgf2       
statue of 787 found in ,rhine near      
,xanten1 #bgf2      relief of1 mounting 
chariot1 from ,akropolis1 #abh1 #bfi4   
,chariot-groups1 at ,olympia1 #bfd;f42  
remains of1 #bfi4      ,chariot-race1   
antiquity at ,olympia1 #bei2      common
 in ,greece1 #beg;f42      most         
brilliant event at ,olympia and         
elsewhere1 #beg2      one of earliest   
events at ,olympia1 #bei2      with two 

colts 7 71 at ,olympia1 #bfj2           
harnessing of two horses1 on b4-f4      
hydria1 #bfc2      groups1 remains at   
,olympia1 #bfi2      with four colts 7  
71 at ,olympia1 when introduced1 #bfj2  
with four horses 7 or   71 when         
introduced        at ,olympia1 #bei1    
#bfj2      four-horse 771 on            
,panathenaic vase from ,sparta1 #bfc2   
length of race with four colts at       
,olympia1 #bfj2      length of race with
 four full-grown horses at ,olympia1    
#bfj2      with mules 771 when          
introduced at ,olympia1 #bfa2      at   
oldest funeral games1 in ,arkadia1 #bei2
      oldest monument of1 at ,olympia1  
#bfd1 #bfe2      origin of in mythical  
times1 #bei2      originally with two   
horses1 #bfj2      when stopped at      
,olympia1 #bfa2      sport of wealthy1  
#beg2      representations1 common on   
vases1 #bfb;f42      trotting-race with 
mares 771 #bfa1 #bhb4      ,see         
,apobates1 chariot-race4      ,chariot  
victors1 dedicate chariot-groups at     

,olympia1 #bfd;f42      dedicate models 
of chariots at ,olympia1 #bfe2          
dedicate statues at ,olympia1 #bfe2     
act as own charioteers1 #bff-bfg4       
,charmides1 statue at ,olympia1 #cdb4   
,charops1 statue at ,olympia1 #ceh4     
,chase1 ,g4 ,h41 on bronze tripods in   
,loeb collection1 #aid1 note #g2      on
 ,monteleone chariot1 #bfd4             
,cheilon1 ephor of ,sparta1 died of joy 
at ,olympia1 #cf4      ,cheilon1 date of
 second victory of1 #cja2      fights at
 ,lamia1 #cja2      statue at ,olympia1 
#cb1 #aba1 #bih4      ,cheimon1 statue  
at ,argos1 #cff2      at ,olympia1 #aag1
 #bcd1 #cdd1 #cff4      ,cheirisophos1  
sculptor1 #ccd4      ,chewsurs1 of the  
,caucasus1 funeral games among1 #aa4    
,chimra tomb1 so-called1 at ,xanthos1   
#bga4      ,chinnery ,hermes1 head1     
#aha4      ,chionis1 statue at ,olympia1
 #cb1 #ccc1 #ceb1 #cfb2      tablet of1 
at ,sparta1 #cfb2      record jump of1  
at ,olympia1 #baf4      ,chios1 early   
sculpture of1 #agg2 games on1 #ahi4     

,chisel1 used in hair of the ,agias and 
,philandridas1 #big4      ,chiton1      
conventional dress of charioteers1 #bge4
      ,chiusi1 wall-painting from1 #bag4
      ,chlamys1 on statues of ,meleager1
 #cac4      ,choiseul-,gouffier ,apollo1
 statue known as1 #hi;f42      replica  
of head in ,british ,museum1 #ia2       
replica of head1 from ,kyrene #ccd2     
thongs on tree-trunk nearby1 #afe4      
,chorus1 of boys and girls1 in honor of 
victors1 #cd4      ,christodoros1       
description of statue of ,hermes by1    
#hg4      ,chrysippos1 quoted by ,galen1
 #gj4      ,chrysothemis1 sculptor1     
#aje1 #aaf4      ,cicero1 as art critic1
 #fj4      ,cincinnatus1 #hg4           
,circassians1 funeral games among1 #aa4 
,circus1 ,roman1 hair-fashion of        
athletes at1 #eb2      finally          
supersedes equestrian contests of       
,olympia1 #bfa4      ,cloak1 prize at   
,pellene1 #bj4      ,club1 on ,cretan   
grave-relief1 #aii2      on statuette   
from ,palermo1 #aii4      ,cockerell1 on

 dedication from ,delphi1 #cgb4         
,coins3 of ,antoninus ,pius1 showing    
pine1 #ba2      of ,alexander the       
,great1 showing ,herakles1 #bec2      of
 ,athens1 showing ,apollo1 #ij2      of 
,augustus1 showing celery1 #ba2      of 
,catania1 showing ,nike1 #ahb2      of  
,commodus as ,hercules1 #gd2      of    
,delphi1 showing ,apollo1 #ib1 #ccf2    
of ,euagoras ,i1 ,king of ,salamis in   
,cyprus1 showing swollen ears1 #afi2    
of ,geta1 #cjf2      of ,lucius ,verus1 
#ba2      of ,markianopolis1 #hg2       
of ,messana1 showing mule-car1 #bfc2    
of ,messene1 #aaa2      of ,miletos1    
#gd1 #aah1 #aai1 #ccf2      of ,nero1   
#ba2      of ,philip ,,ii1 ,king of     
,macedon1 showing victorious jockey with
        palm-branch1 #bhj2      of      
,philippopolis1 #gh2      of ,rhegion1  
showing mule-car1 #bfc2      of         
,selinos1 showing celery wreath1 #ba2   
of ,sicily1 showing racing chariots1    
#bfb1 #bfc2      of ,syracuse1 showing  
,nike with tablet1 #ahb2      of        

,tarentum1 showing apobates horse-race1 
#bhb2      showing poses of ,olympic    
victor statues1 #dd2      showing scenes
 of wrestling1 #bbh4      ,collignon1   
,m41 on statue of ,astylos1 at ,kroton1 
#cfd2      on so-called ,borghese       
,warrior1 #bji2      on the ,doryphoros 
of ,polykleitos1 #bbg2      on ,egyptian
 influence on early ,greek sculpture1   
#cbi2      on identification of the     
statue of ,kyniskos1 #aei2      on the  
,olympia gable sculptures1 #aad2      on
 ,tux bronze1 #bjg4      ,color1 on     
early ,attic sculpture1 #abf4           
,commodus1 statue in ,mantua1 #gb2      
coins of1 showing him as ,hercules1 #gd4
      ,concentration 771 in ,greek      
statues1 #hb2      in ,myron's statues1 
#ahc2      in the ,diskobolos1 #acg1    
#bja4      ,concord1 temple of1 ,rome1  
#bcd4      ,constantinople1 sack of1 by 
,franks1 #bec4      ,contest 7,agon71   
figure of1 in ,mikythos group at        
,olympia1 #afd1 #bae4      ,conversion  
of athlete statues into those of gods1  

#gd4      ,conze1 ,a41 on 8,apollo0 type
 as representing victors1 #cce2      on 
,choiseul-,gouffier statue type1 #ij2   
on statue of ,commodus at ,mantua1 #gb4 
,copenhagen1 heads in ,ny-,carlsberg    
collection at1 with swollen ears1       
#afh4      ,corfu1 bronze from1 #if4    
,corinth1 clay tablets from1 #eb1 #ahb2 
festival at ,isthmus of1 #a2            
meeting-place of ,east and ,west1 #ag2  
near ,isthmian games1 #be2      end of  
tyranny at1 #ag4      ,corn-grinding    
slave woman1 ,egyptian statuette of1    
#agg4      ,council-house               
7,bouleuterion71 at ,olympia1 #bbg1     
#cdd1 #cdf1 #cdi1 #cej1 #cee1      #ceg1
 #ceh4      ,cow1 sacrificed to ,hera at
 the ,heraia1 ,olympia1 #di4            
,cowardice1 case of1 at ,olympia1 #cd4  
,crete1 acrobats of1 #b2      center of 
,aegean civilization1 #a2      costumes 
of men and women acrobats1 #b1 #d2      
,cretan youths dedicate offerings to    
,eros1 #eg2      ,cretan youths         
sacrifice to ,apollo1 the runner1 #hh2  

famed in the long race1 #aia2           
motion figures from1 #c2      origin of 
sports in1 #a2      physical development
 in1 #f2      sports in1 #a;f4          
,crsus1 fall of empire of1 #abf4        
,cross-buttocks1 throw in wrestling1    
#bbi2      shown in small bronze group  
in the ,loeb ,collection1 #bcb1 #bcc4   
,crown of wild olive1 as temporary      
reward for victor1 #cg1 #aee;f4         
,cuirass 7871 prize at ,argos1 #bj4     
,cumae1 inscribed cauldron from1 as     
prize1 #bj4      ,cures1 effected by    
victor statues1 #ce4      ,curtius1 ,e41
 on the  in ,sparta1 #cfg4              
,cypriote silver vase in repouss from   
,etruria1 in ,florence1 #ac4            
,daidalian 1 #cbh4      ,daidalos1 of   
,crete1 mythical sculptor1 #aah4        
,daidalos1 of ,sikyon1 sculptor1 #aji1  
#abj1 #ach1 #bff1 #bgi2      ,daidalos  
and canon of ,polykleitos1 #fi2         
statues of destringentes se by1 #acf2   
leg position of statues of1 #aei4       
,dakles1 victor1 #bj4      ,dappos1     

sculptor1 statues at ,olympia1 #aba2    
perixyomenoi by1 #acf4      ,daitondas1 
sculptor1 #aba4      ,dalecampius1 on   
,myron's pristae1 #ahh4      ,damagetos1
 statue at ,olympia1 #cf1 #df1 #cee4    
,damaithidas1 statue at ,olympia1 #ceh4 
,damaretos1 statue at ,olympia1 #aje1   
#aaf1 #aag1 #afa1 #bjc4      ,dameas1   
sculptor1 #aaf4      ,damokritos1       
sculptor1 #abj4      ,damonon1          
hippodrome victories of1 in and near    
,lakonia1 #beg2      acts as own        
charioteer1 #bff4      ,damoxenidas1    
statue at ,olympia1 #dd4                
,damoxenos1 slays ,kreugas in pankration
 at ,nemea1 #bcg1 #bdg4      ,dana and  
,perseus1 in a chest1 #ahh4             
,dancers1 bronze1 from ,herculaneum1    
identified with statue of ,kyniska1     
#bfg2      ceremonial of1 at ,knossos1  
#c2      on shield of ,achilles1 #e4    
,daochos1 dedicates statuary group at   
,pharsalos and ,delphi1 #bhf;f4         
,dead1 cult of1 as origin of ,greek     
games1 #i;f4      ,dedication1 of       

athletic prizes1 #ba;f42      formul at 
,olympia1 #cg4      ,deida1 ,m41 statue 
at ,olympia1 #cei4      ,deinolochos1   
statue at ,olympia1 #abj4               
,deinosthenes1 statue at ,olympia1 #cdg4
      ,delian ,apollo1 of ,angelion and 
,tektaios1 #cjd2      8doubles0 of1 in  
,athens and ,delphi1 #cjd4      ,delos1 
,apollo from1 #ccd2      colossal       
,apollo from1 #ccf2      copy of        
,diadoumenos from1 #ib;f41 #aeb1 #aec2  
,ionian festival on1 #ae2      contests 
of ,theseus in honor of ,apollo on1     
#afj2      tripods in temple of ,apollo 
on1 #i4      ,delphi1 8,apollos0 from1  
#ajd2      athletes divided into three  
classes according to age1 #ahi2         
coins of1 showing ,apollo1 #ib1 #ccf2   
coins of1 showing laurel wreath1 #ba2   
contests at1 #be2        athletic1 #be2 
dramatic1 #be2        equestrian1 #be2  
flute solo1 #be2        lyre-playing1   
#be2        music1 as chief contest at1 
#be2        painting1 #be2              
poetry1 #be2        singing1 #be2       

decrees of1 to athletes1 #bf2           
,delphians sacrifice to ,apollo the     
boxer1 #hh2      festival at1 #i2       
inscribed bases of victor monuments     
from1 #bf2      mentioned by ,homer1 #i2
      oracle at1 #ah1 #cj1 #cd2         
religious interest of ,pausanias in1    
#bd2      statue of pancratiast at1 #bf2
      statuette of victor from1 #bh2    
temple of ,apollo at1 #ccf2      tripods
 in temple of ,apollo at1 #ai2          
victor monuments at1 #bf2      victor   
grave-relief from1 #ach4      ,demeter1 
the ,eleusinia in honor of1 #ah2        
,chamyne1 priestess of1 admitted to     
,olympia1 #af2      of ,knidos1 statue  
of1 #caa4      ,demetrios1 ,m4          
,aurelios1 ,olympic victor statue in    
,rome1 #cgj4      ,demetrios of         
,phaleron1 honor statues in ,athens1    
#da4      ,demetrios1 sculptor1 #ef4    
,demokrates1 statue at ,olympia1 #ceh4  
,deonna1 ,w41 against ,egyptian         
influence on early ,greek sculpture1    
#cbi4      ,dermys and ,kitylos1        

grave-figures of1 from ,tanagra1 #cce4  
,destringentes se1 statues mentioned by 
,pliny1 #acf4      ,diadoumenoi1 or     
fillet-binders1 #aej;f4                 
,diadoumenos1 of ,pheidias1 #aej;f42    
older than that of ,polykleitos1 #aea2  
motive of1 #aea2      ,farnese copy1    
#aea2      of ,polykleitos1 #aeb;f42    
as example of rest statue1 #ii2      as 
example of 8ethical grace10 #fc2        
leg position of1 #aei2      copy of1    
from ,delos1 #ib;f41 #aeb1 #aec2        
other copies of1 #aeb;f42               
head-style of1 #aeb2      ,british      
,museum head of1 #aec1 #aed2            
,dresden head of1 #aec2      ,kassel    
head of1 #aec2      statuette from      
,smyrna1 #aed2      on throne of ,zeus  
at ,olympia1 #aej2      pose of ,vaison 
and ,farnese copies1 #aee4              
,diagoras1 most famous ,greek boxer1    
#cfe2      statue at ,olympia1 #acj1    
#cfe2      size of1 #de2      family    
group of1 #cdb1 #cdc1 #ceb4             
,diaulodromos1 or double sprinter1 #aic2

      on ,athens inscribed vase1 #aid4  
,dickins1 ,g41 on ,choiseul-,gouffier   
,apollo statue type1 #ij2      on       
statuette of trumpeter from ,sparta1    
#bhc4      ,didymaion1 near ,miletos1   
#ajh2      statues at1 #bf4             
,diitrephes1 statue on ,akropolis1 #aii 
and note #e1 #cgc4      ,dikon1 three   
statues at ,olympia1 #bi1 #ee2          
bribed by ,syracuse1 #cc4      ,dio     
,chrysostom1 on art1 #fa2      on       
confusing athlete and hero statues1 #ga2
      on difference between victor and  
honor statues1 #da2      on ,theagenes' 
statue at ,thasos1 #cfd4      ,diodoros1
 on ,egyptian influence on early ,greek 
sculpture1 #ccj2      on proportion in  
,egyptian statuary1 #fg1 note #d2       
on family of the artist ,rhoikos of     
,samos1 #ccj2      on ,pythian ,apollo  
by ,telekles and ,theodoros1 #ccd4      
,diogenes1 five times victor in         
trumpeting1 at ,olympia1 #bhc2      base
 of statue at ,olympia1 #cfj4           
,diogenes ,laertios1 on gold statue     

vowed by ,periandros1 #bff2      on     
,pythagoras1 #fg1 #agi4      ,diomedes1 
as boxer1 #afi2      ,delphic tripod    
ascribed to1 #ba2      single combat of1
 with ,ajax1 #h2      statue known as1  
in ,munich1 #aeg1 #afi2      statue     
known as1 in ,palazzo ,valentini1 ,rome1
 #afc1 #bjg4      ,dionysia1 games at   
the1 in ,kyrene1 #ej2      at ,sparta1  
#ej2      statue of victor at1 in       
,athens1 #bg4      ,dionysios1 sculptor1
 #bfh4      ,dionysios1 tyrant of       
,syracuse1 #cc4      ,dionysos1 bearded 
type of1 #cce2      short hair of1 on   
,parthenon frieze1 #ec2      statue of1 
in group1 #add2      statue of 7871     
found in ,rhine near ,xanten1 #bgf2     
tripods in honor of1 at ,athens and     
,rhodes1 #ai4      ,diophanes1 statue at
 the ,isthmus1 #bg4      ,diophon1      
pentathlete1 epigram on1 #baj4          
,dioskouroi1 athlete statues assimilated
 to1 #if1 #ig2      diskos dedicated to1
 by ,exodas1 #bah2      on grave-relief 
in ,verona1 #ig2      relief of1 from   

,tarentum1 #if2      on votive relief in
 ,london1 #ig4      ,dipoinos1 sculptor1
 #aah1 #abb1 #ccd4      ,see also       
,skyllis4      ,dipylon geometric vase  
from ,akropolis1 in ,copenhagen1 showing
 funeral      games1 #ac4               
,diskoboloi1 statuettes of1 #bh1        
#bah;f42      bronze statuette in       
,london1 #bba2      bronze statuette in 
,metropolitan ,museum1 #aaf1 #adh1 #bbj1
 #bba2      on cover of lebes in        
,london1 #bba4      ,diskobolos1 the1 of
 ,myron1 #ahd;f42      cast of1 from    
various copies1 #ahf2      concentration
 of 77 #acg1 #ahc1 #bja2      copies of 
#ahd;f42      copy of1 in ,capitoline1  
#ahe2        from ,castel ,porziano1    
#ahd2        in ,lancellotti ,palace1   
,rome1 #ahd2        ,grco-,roman copy   
from ,tivoli1 in ,london1 #ahd1 #ahe2   
in ,vatican1 from ,tivoli1 #ahd2        
on a gem1 #ahg2      as example of a    
diskos-thrower1 #afd2      as example of
 rhythm1 #ff2      ,lucian's description
 of1 #ahf1 #ahg2      moment chosen by  

,myron in1 #ahg2      pose of1 #bai1    
#bbj2      predecessors of1 #bbb2       
,quintilian on1 #ahg2      relief of1   
from ,dipylon1 #abg2      represents    
trained athlete1 #ahc1 #ahd2      right 
arm of1 from ,casa ,buonarroti1         
,florence1 #ahf2      short hair of1    
#eb2      small bronze in ,berlin1 #bba2
      statuettes in ,munich and         
,arolsen1 #ahg2      compared with      
,tyrannicides1 #ahc4      ,see also     
,standing ,diskobolos4      ,diskoi1    
bronze1 from the ,altis1 #bb1 #bah2     
dedication of bronze1 #bb2      kept in 
,sikyonian treasury at ,olympia1 for use
 of pentathletes1 #bb2      on r4-f4    
vase in ,munich1 #afd2      diskos1 as  
attribute of pentathlete statues1 #afd2 
bronze1 from ,sicily1 #bag2             
inscribed1 of ,asklepiades1 #dj2        
inscribed1 of ,exodas1 from ,kephallenia
 7871 #ig1 #bah2      known to ,homer1  
#bah2      lighter for boys than for    
men1 #bah4      ,diskos-throwing 771    
goes back to mythology1 #bah2      shown

 by statues1 statuettes1 reliefs1       
vase-paintings1 etc41 #afd1        #bah2
      seven positions of1 given by      
,gardiner1 #bah;f42      record throw of
 ,phallos in1 discussed1 #baf4          
,dittenberger1 ,w41 on division of      
athletes at ,athens1 according to age1  
#ahi2      on ,pliny1 #bg2      on      
votive character of inscriptions on     
victor statue-bases1        at ,olympia1
 #ci2      ,dittenberger and ,purgold1  
on exclusive use of bronze for ,olympic 
victor statues1 #cba4      ,diver 7871  
statuette of1 from ,perugia1 #bag4      
,dodona1 bronze statuette from1 #adc2   
bronze statuette of ephebe on horse-back
 from1 #bh1 #bha2      bronze statuette 
of warrior from1 #abf1 #agh2            
mentioned by ,homer1 #af2      tripods  
in temple of ,zeus at1 #ai4             
,doerpfeld1 ,w41 on base of the ,platan 
,zeus at ,olympia1 #cdd2      on bases  
of victors found in ,south wall of      
,altis1 #cdg2      on beginning of      
,pausanias' first route in the ,altis1  

#cda2      on excavations at site       
so-called of ,great ,altar of ,zeus at  
,olympia1        #cdi2      on positions
 of victor statues in the ,altis1 #cdj2 
on second route of ,pausanias in the    
,altis1 #cea2      on statues1   1 #cej4
      ,dolichodromos1 endurance runner1 
#aic4      ,domitian1 stadion at ,rome1 
#ej4      ,dorians1 the1 #a4            
,dorieus1 prisoner at ,athens1 #cf2     
victor statue at ,olympia1 #cee4        
,dorykleidas1 victor dedication to      
,herakles and ,hermes by1 #ge1 #gf4     
,doryphoroi1 mentioned by ,pliny1 #bbf4 
,doryphoros1 of ,kresilas1 #ade2      of
 ,polykleitos1 #gg1 #bbd;f42      as an 
,achilles1 #ib2      converted into     
god-type1 #gd2      converted into      
,hermes1 #hg1 #hh2      compared with   
,diadoumenos1 #aeb2      copy at        
,olympia1 #bbg2      green basalt torso 
in ,florence1 #bbe2      marble torso   
formerly in ,pourtals ,collection1 #bbe2
      from ,pompeii1 its measurements1  
#gj2      copy in ,vatican1 #bbe2       

etymology and use of word1 #bbe1 #bbf2  
head from ,herculaneum1 by ,apollonios1 
#afh2      as highest ideal of manly    
beauty1 #ada2      as example of        
javelin-thrower1 #afd2      leg position
 of1 #aei2      as master of ,lysippos1 
#gj1 #cja2      as norm of proportions1 
#eh1 #fh1 #fi1 #gj2      original as    
pentathlete victor statue1 #bbg2        
pose of1 #bbe2      style of head of1   
#aeb2      as victor statue1 #bbf1 #bbg4
      ,double foot-race 771 #aij2       
date of introduction at ,olympia1 #aia4 
8,doubles0 of statues1 #cjd1 #cje4      
,douris1 on ,lysippos1 #fi4             
,douris1 vase-painter1 r4-f4 kylix by1  
#bci4      ,dramatic contests1 at       
,delphi1 #be4      ,dresden ,boy1 the1  
statue in ,dresden1 #bac4      ,dromeus1
 statue at ,olympia1 #agi1 #cdc2        
identified with mala ferens nudus1 of   
,pliny1 #ahb4      ,drunkenness1 statue 
of1 #add4      ,duerer1 ,albrecht1 on   
proportions1 #fh4      ,duetschke1 on   
the ,mantuan ,commodus1 #gb4            

,dumont1 on division of athletes at     
,athens by age1 #ahi4      ,dying       
hoplite runner1 relief of1 in ,athens1  
#aid1 #bji4      ,dying ,gaul statues1  
#bee4      ,dyneiketos1 victor1         
represented on r4-f4 ,panathenaic vase1 
#bhj4        ,ear1 swollen1 as attribute
 of victor statues1 #afg;f42      as    
professional characteristic of athlete  
and god statues1 #afh2      on various  
heads1 #afh2      on heads of gods and  
heroes1 #afi;f4      ,ear-lappets 71 71 
on marble head1 #afg2      worn by boys 
in the palstra1 #afg4      ,echembrotos1
 musician1 dedicates a tripod to        
,herakles #bb4      ,echo ,colonnade1 at
 ,olympia1 #cdc1 #cde1 #ceb1 #ceh1 #cfj4
      ,egesta1 ,sicily1 #ce2      honors
 ,philippos1 victor1 with a heron1 #eg4 
,egypt1 division of1 into ,old and      
,middle ,kingdoms1 and ,new ,empire1    
#ccj-cca4      ,egyptian art1           
proportions in1 #fg and note #d2        
adopted by ,greeks1 #ccj2      becomes  
fixed1 #cca2      influence of1 on early

 ,greek art1 #cbh;f41 #ccb2             
,egyptian statues1 characteristics of1  
#ccb2      compared with ,greek1 #ccb4  
,eklektos1 ,valerios1 statue at ,athens1
 #cga2      at ,olympia1 #cei1 #cfj1    
#cga4      ,elean register1 #ca2        
school of sculpture1 #aad2      umpires1
 #id4      ,eleans1 led by ,oxylos from 
,aitolia1 #ae4      ,electra1 of        
,sophokles1 quoted1 #bfg4               
,eleusinia1 the1 #ah2      prizes at1   
#bj2      statue of victor in ,athens1  
#bg4      ,eleusis1 copy of statue of   
,kyniskos 787 from1 #gd1 #aef4          
,eleutheria1 games at ,plata1 #aa1 #bjc4
      ,emerson1 ,a41 on statue of       
,kyniska1 #bfg4      ,energy1 as        
characteristic of ,myron's statues1     
#aeb4      ,enkrinomenos1 statue by     
,alkamenes1 #gg1 #acd4                  
,enymakratidas1 hippodrome victories of1
 in ,lakonia1 #beg4      ,epainetos1    
inscribed jumping-weight of1 from       
,eleusis1 #bae4      ,epeios1           
boxing-match with ,euryalos1 #g1 #hh4   

,epeirote singer1 pummelled by order of 
,nero1 #cd4      ,eperastos1 victor at  
,olympia1 #afc4      ,ephebe1 head of1  
with yellow hair1 from ,akropolis1 #aaf2
      statue from ,akropolis1 #aae1     
#age2      statue from ,hadrian's villa1
 assimilated to ,hermes1 #hj2           
victorious ephebes leading horses1 on   
,athenian relief1 #bha2      ephebes 771
 #ahi4      ,ephodoi 771 or routes of   
,pausanias1 in the ,altis1 #cci1        
#cda;f41      #cdh;f4      ,epicharinos1
 statue on ,akropolis1 #bg1 #agf1 #agi1 
#bjf1 #cgb4      ,epidauros1 inscription
 from1 #cd4      ,epigonos1 erects      
monument to ,attalos1 #cfh4             
,epigrams1 on ,olympic victor statue    
bases1 #dc4      ,epikradios1 statue at 
,olympia1 #abb1 #ceb4      ,epitaphia1  
festival at ,athens1 #ah4               
,epitherses1 statue at ,olympia1 #ca1   
#bdd1 #cdf4      ,eponymus victor1 at   
,olympia1 #aia4      ,equestrian        
contests1 at ,delphi1 #be2      at      
,olympia1 replaced by amusements of     

,roman circus1 #bfa2      revived at    
,olympia under ,empire1 #bfa4      ,see 
also ,chariot-race1 ,horse-race4        
,er1 myth of1 in ,plato's ,republic1    
#cf4      ,erasistratos1 physician at   
,alexandria1 #bij4      ,eretrian ,bull1
 the1 at ,olympia1 #cdb1 #ceb1 #ceg1    
#ceh1 #cei2      zone of1 at ,olympia1  
#cdc4      ,eriphyle1 on archaic vase1  
#ac4      ,eros1 offerings to1 #eg2     
bronze statue from ,tunis1 #aef1 #aeh4  
,erotidia1 division of athletes at the  
,botian1 according to age1 #ahi4        
,etruria1 funeral games of1 borrowed by 
,romans1 #aa2      athletic scenes from 
tombs of1 #aa4      ,etruscan ,orator1  
statue in ,florence1 #hb4      ,euagoras
 ,i1 ,king of ,salamis1 in ,cyprus1     
coins of1 showing swollen ears1         
#afi4      ,euagoras of ,sparta1        
chariot-group of1 at ,olympia1 #bc1 #cg1
 #bfe4      ,eubotas1 statue at ,kyrene1
 #cff2      at ,olympia1 #ca1 #ceb1     
#cff4      ,eudelos1 of ,rhodes1        
adversary of ,straton1 at ,olympia1 #cd4

      ,eukles1 statue at ,olympia1 #de1 
#aag1 #bda1 #cdb1 #cdc4      ,eumastas1 
inscribed stone of1 from ,thera1 #bah1  
note #c4      ,eunomos1 kitharoidos1    
statue in honor of ,pythian victory1    
#bhd4      ,euphorbos1 on painted       
terra-cotta plate1 #agh4                
,euphranor1 sculptor1 #bc1 #cf1 #fi2    
books of1 on symmetry1 #fi2      canon  
of1 #fi2      head of athlete statue    
from circle of1 #bcc4      ,euphronios1 
r4-f4 kylix by1 #bjd4      ,eupolemos1  
statue at ,olympia1 #abj1 #cdb4         
,eupolos1 bribes three adversaries at   
,olympia and all four are fined1        
#cc4      ,eupompos1 painter1 #bi1 #fi1 
#afj4      ,euripides1 protests against 
professionalism in athletics1 #cf4      
,euryalos1 #h1 #hh4      ,eurybates1    
pentathlete1 #ei4      ,euryleonis1     
victress1 statue at ,sparta1 #cfg4      
,eurytos1 #h4      ,eusebios1 on statue 
of ,theagenes1 #cfd4      ,eutelidas1   
sculptor1 #aje1 #aaf4      ,eutelidas1  
victor statue at ,olympia1 #ajf1 #ccc1  

#ccg1 #cdf4      ,euthykrates1 sculptor1
 #cad4      ,euthymenes1 statue at      
,olympia1 #abj1 #cdd1 #ceb4             
,euthymos1 boxing match with ,theagenes1
 #bdg2      son of river god ,kaikinos1 
#ce2      statue at ,lokroi             
,epizephyrioi1 #cfd2      statue at     
,olympia1 #ee1 #fb1 #ij1 #agi1 #ahc1    
#cdb1 #ceb2      inscribed base from1   
#ch2      statue at ,olympia identified 
by ,waldstein with ,choiseul-,gouffier  
,apollo type1 #agi4      ,eutychides1   
sculptor and painter1 #aba1 #cbd4       
,evans1 ,a41 on ivory statuettes from   
,knossos1 #c2      on stucco reliefs    
from ,knossos1 #d4      ,exainetos1     
victor1 drawn into native city by       
fellow-citizens1 #ce4      ,exhortation 
to the ,arts1 work by ,galen cited1 #cg4
      ,exodas1 bronze diskos of1 #ig1   
#bah4      ,eye1 almond-shaped1 in      
archaic art1 #abg2      in the ,agias1  
#cae2      in ,skopaic heads1 #cjh1     
#caa;f42      treatment of1 by          
,lysippos1 #caa;f4        ,fabius       

,maximus1 carries off colossal ,herakles
 from ,tarentum to ,rome1      #bec4    
,fagan head1 the1 in ,british ,museum1  
#hg4      ,farnese ,diadoumenos1 statue 
in ,british ,museum1 #aea;f41 #aed2     
compared with ,diadoumenos from ,vaison1
 #aed4      ,farnese ,herakles1 statue  
in ,naples1 #beb1 #bec2      of         
,lysippan origin1 #bec2      as         
realistic work1 #bhi4      ,farnese     
,hermes1 statue in ,british ,museum1    
#gb4      ,farnsworth ,museum1          
,wellesley1 ,mass41 statue of athlete   
in1 #aci4      ,fawn1 as attribute of   
,philesian ,apollo1 #aai4      ,fellows1
 ,c41 discovers ,chimra tomb at         
,xanthos1 #bga4      ,fevers1 cured by  
victor statues1 #cfd4      ,ficoroni    
cista1 in ,rome1 #bdc1 #bfi4            
,fierce expression 771 of ,philandridas 
head from ,olympia1 #bid1      #big2    
threatening look of athletes mentioned  
by ,sokrates1 #ei4      ,file1 use of1  
on ,philandridas head1 #bie4            
,fillet1 victor1 #afh;f42      on victor

 statues1 #adi;f42      on statue from  
,pirus1 #aej2      in hand of victor1   
#aej2      on heads1 #if2      as       
symposium attribute1 #adi2      rolled1 
on heads of ,herakles1 #agj4      ,see  
,tainia4      ,fillet-binders1 or       
diadoumenoi1 #aej;f4      ,fine1 paid by
 ,theagenes1 #bdg4      ,finger1 as     
common measure in proportions1 #fh4     
,flasch1 ,a4 ,f41 on bronze head of a   
boxer from ,olympia1 #bee2      on the  
,olympia gable sculptures1 #aad2      on
 positions of victor statues in ,altis1 
#cdj4      ,flaxman1 ,john1 sculptor1 on
 proportions1 #fh4      ,flute-playing1 
at ,delphi1 #be2      accompanies       
pentathlon1 at ,olympia1 #bhd2      on  
vases1 #bhe4      ,flutists1 statues of 
victorious1 #bhd2      honor statue of1 
#db2      on chest of ,kypselos1 #bhe4  
,flying mare1 throw in pankration1 #bdg2
      throw in wrestling1 #bbi4         
,foal-race1 at ,olympia1 #bfj4          
,foerster1 ,h41 on location of statue of
 ,ladas1 #aig2      on statue of ,leon1 

#cff4      ,foerster1 ,r41 on head of   
hoplitodrome1 from ,olympia1 #afc4      
,foot1 as common measure in proportions1
 #fh2      bronze1 from victor statue at
 ,olympia1 #bee1 #cbb2      left1       
forward in ,egyptian and early ,greek   
statues1 #ccb4      ,footmarks1 on bases
 of victor statues1 at ,olympia1 #dc4   
,foot-race1 the1 at games of ,patroklos1
 #h2      at the ,heraia1 at ,olympia1  
#di4      ,see ,stade-race4             
,forearm1 fragment of1 with horn1 in    
relief1 #d4      ,fragments1 bronze1 of 
victor statues1 from ,olympia1 #cbb2    
marble1 from ,olympia1 #cbd2            
bronze1 of boy victor statues from      
,olympia1 #cbb2      marble1 of boy     
victor statues from ,olympia1 #cbd1     
#cbe4      ,frascati1 statuette from1 in
 ,boston1 #ach4      ,frazer1 ,j4 ,g41  
on ,arrhachion's statue1 #cbg2      on  
funeral games1 #aa2      on omission of 
,olympiad #baa from ,elean register1    
#cfi2      on statue of ,diitrephes1    
,athens1 #cgc4      8,free0 leg1 motive 

in sculpture1 #aji1 #bbf4               
,friedrichs1 ,k41 on identifying        
,doryphoros from ,pompeii1 #bbd4        
,friedrichs-,wolters1 on ,olympia gable 
sculptures1 #aad4      ,fritsch1 ,g41 on
 body proportions in ,greek sculpture1  
#fg4      ,froehner1 ,w41 on the ,jason 
of the ,louvre1 #hg4      8,frontality10
 law of1 formulated1 #age1 #cbh4        
,frost1 ,k4 ,t41 on bronze statue of    
youth found in sea off ,antikythera1    
#hb2      on differences between the    
,agias and ,apoxyomenos1 #bij2      on  
,ligouri bronze1 #aaa4      ,funeral    
games1 on archaic vases1 #ac2           
attested by early ,greek art1 #ab2      
on ,dipylon vase1 in ,copenhagen1 #ac2  
in honor of ,azan1 #i2 in honor of      
eminent men1 #aa2      in honor of      
,patroklos1 #h1 #i2      origin of1 #ad2
      periodic1 #ac1 #ad2      on       
sarcophagus from ,klazomenai1 #ac2      
funeral customs survive in later ritual1
 #aa4      ,funerary reliefs1 ,attic1   
#ff4      ,furtwaengler1 ,a41 on        

,akropolis chariot relief1 #bga2      on
 the ,alkibiades of ,vatican1 #aii1     
#bjj2      on the ,apoxyomenos of       
,uffizi1 #acg2      on the ,apoxyomenos 
of ,vatican1 #acf2      on ,aristion's  
statue1 #hh1 #bda2      on athlete head 
in ,copenhagen1 #ie2      on athlete    
statue in ,british ,museum1 #bic2       
on bronze head of a boxer in            
,glyptothek1 #fc2      on bronze head of
 a boxer from ,olympia1 #bee2      on   
bronze foot from ,olympia1 #bee2      on
 bronze head from ,akropolis1 #aae2     
on bronze statuette in ,louvre1 #aci2   
on ,choiseul-,gouffier ,apollo type1    
#ij2      on statue of ,diitrephes1 on  
,akropolis1 #cgc2      on so-called     
,diomedes1 of ,palazzo ,valentini1      
,rome1 #bjg2      on doryphoroi of      
,pliny1 #bbf2      on term doryphoros1  
#bbf2      on ,dresden athlete statues1 
#bib2      on ,dresden ,boy1 #bac2      
on ,egyptian influence on 8,apollo0     
type1 #cbi2      on ephebe statue from  
,akropolis1 #aae2      on erecting      

statues of victors at ,olympia1 #ch2    
on ,esquiline charioteer1 #bgf2      on 
,eupompos' painting of ,olympic victor1 
#afj2      on excavations at ,aegina1   
#abd2      on ,hageladas1 #aaj2      on 
,idolino1 #ada1 #adb2      on influence 
of athletics on ,greek art1 #fd2      on
 ,kassel boxer1 #aee2      on ,kassel   
head of ,polykleitos' ,diadoumenos1     
#aec2      on kneeling figures from     
,west gable at ,olympia1 #aie2      on  
,kresilan athlete head1 #ade2      on   
statue of ,kylon1 on ,akropolis1 #cfb2  
on statue of ,kyniska1 at ,olympia1     
#aca2      on ,kyniska's victor group at
 ,olympia1 #bfg2      on ,kyniskos'     
statue1 #gd2      on ,lansdowne         
,herakles1 #cac2      on                
libation-pouring1 #aci2      on ,ligouri
 bronze1 #aaa2      on marble head in   
,turin1 #ic2      on ,monteleone chariot
 in ,metropolitan ,museum1 #bfd2      on
 motive of ,pheidias' ,diadoumenos1     
#aea2      on ,munich ,oil-pourer1 #acd2
      on ,munich ,king1 7871 #bbf2      

on ,myron's pristae1 #ahh2      on nudus
 talo incessens of ,polykleitos1 #bej1  
#bea2      on ,olympia gable sculptures1
 #aad2      on ,petworth ephebe1 #acc2  
on ,pheidias' hair treatment in goddess 
heads1 #ec2      on ,philandridas head1 
#bid2      on ,pythagoras1 #agi1 #ahj2  
on ,pythokles' statue1 #bab2      on    
,rayet head1 #abh2      on ,riccardi    
bust in ,florence1 #ahj2      on right  
arm of boy victor1 from ,olympia1 #df2  
on rolled fillet1 #if2      on short and
 long hair of god heads1 #eb2      on   
,somze athlete1 #bea2      on sparring  
motive in ,berlin torso1 #bdd2      on  
,standing ,diskobolos1 #gf2      on     
statue from ,carinthia1 #aca2      on   
statue 8doubles10 #cjd2      on statue  
of youth in ,berlin1 #bib2      on      
tin-foil wheels1 from ,olympia1 #bc2    
on two heads of hoplitodromes from      
,olympia1 #afc2      on use of marble in
 ,olympic victor statues1 #cbd2      on 
8,vatican athlete at rest10 #adj2       
,furtwaengler and ,urlichs1 on use of   

bronze for ,olympic victor              
statues1 #cba4        ,galen1 on        
ball-playing1 #hd2      on the          
,doryphoros1 #gj2      protests against 
professionalism in athletics1 #cf1 #cg4 
,games1 early ,greek1 #a;f42      origin
 of1 in cult of dead1 #i;f42      origin
 of four national1 #i2      early       
history of1 #ad;f42      local1 #ag;f4  
,ganymedes1 identified with statue of   
youth from ,subiaco1 #aie4              
,gardiner1 ,e4 ,n41 on apobates         
horse-race1 #bhb2      on colossal      
,farnese ,herakles1 #beb2      on       
diskos-throwing1 #bah;f42      on       
earliest event at ,olympia1 #cg2      on
 ,irish fairs1 #ab2      on origin of   
four-horse chariot-race at ,olympia1    
#bei2      on positions in              
javelin-throwing1 #bbc2      on rules of
 pankration1 #bdf2      on shapes of    
jumping-weights1 #bad2      on ,uffizi  
pancratiast group1 #beb4      ,gardner1 
,e4 ,a41 on the ,agias1 #cjc2      on   
artist school at ,olympia1 #eh2      on 

bronze statue of youth found in sea off 
,antikythera1 #ha2      on contrast     
between the ,atalanta and other ,tegea  
heads1 #caj1        note #c2      on    
epigram from statue of ,ladas1 #aig2    
on eye treatment in the ,agias1 #cae2   
on eye treatment in the ,atalanta from  
,tegea1 #caj2      on honors paid to    
victors1 #cf2      on helmeted head from
 ,tegea1 #cjh4      ,gardner1 ,p41 on   
date of ,lysippos #cjj1 #cja2      on   
,greek portraiture1 #ee2      on head of
 ,diadoumenos of ,polykleitos1 in       
,oxford1 #aed1 #aee2      on the        
,meleager and ,lansdowne ,herakles as   
,lysippan1 #cae2      quotes ,k4 ,t4    
,frost on the ,agias and the            
,apoxyomenos1 #bij2      on symmetry1   
#ff4      ,gelados2 see ,hageladas4     
,gelo1 chariot-group at ,olympia1 #bc1  
#abb1 #beg1 #bfd1 #bff1 #cdd1 #cee2     
as dedicator of ,delphi ,charioteer1    
#bgh4      ,gem1 showing ,apoxyomenos of
 ,polykleitos1 #acf2      showing       
,diskobolos1 #ahg2      showing ,perseus

 and ,gorgon's head1 #hc2      showing  
poses of ,olympic victor statues1 #bad4 
,genzano1 bust of ,herakles from1 #afi1 
#agj4      ,geraistos1 ,euboea1 #cgc4   
,gerhard1 ,e41 on vases showing         
four-horse chariots1 #bfc4              
,germanicus1 statue so-called1 #he4     
,germanicus ,caesar1 victor in chariot  
race at ,olympia1 #beg1 #bfa1 #ceg1     
#ceh1 #cei4      ,germans1 excavations  
of ,olympia by1 #dc4      ,gestures1    
8transitory0 and 8stationary10 #hc4     
,geta1 coin of1 #cjf4      ,girl runner1
 statue in ,vatican1 #di1 #ej2          
statuette from ,dodona1 #bh4            
,gladiatorial shows1 borrowed from      
,etruria by ,romans1 #aa4               
,glaukias1 sculptor1 #cb1 #abb1 #abe1   
#agf1 #bdc1 #bdd1 #bfd1 #bff1 #bgh4     
,glaukon1 chariot-group at ,olympia1    
#bc1 #bfe1 #cdg4      ,glaukos1 statue  
at ,olympia1 #cb1 #abb1 #abe1 #agf1     
#bdc4      ,glykon1 sculptor1 #beb1     
#bec4      ,gods1 statues of1 dedicated 
to other gods and goddesses1 #cce2      

worship of1 supersedes that of heroes1  
#ad4      ,goldsmiths1 in ,crete1 #d4   
,gorgias1 honor statue at ,olympia1 #db1
 #cea4      ,gorgon1 on ,pindar's       
,v,i,ith ,olympic ode1 #cfe4            
,gorgos1 statue at ,olympia1 #ee1 #ei4  
,gouging1 prohibited in pankration1     
#bdf2      shown on r4-f4 kylix1 #bdf4  
,graef1 ,b41 on ,antenor's female statue
 from ,akropolis1 #agd2      on copies  
of original of ,lansdowne ,herakles1    
#cac2      ,skopaic group of1 #cae4     
,grain1 as prize at the ,eleusinia1 #bj4
      ,grained-hair technique1 #ec4     
,granianos2 see ,kranaos4               
,grave-relief1 fragment from ,dipylon1  
#abg4      ,great ,altar2 see ,zeus1    
,great ,altar of4      ,greaves1 early  
attribute of hoplitodromoi1 #afa2       
later discarded1 #bjc4      ,greece1    
dependent on outside peoples in early   
art1 #cbi2      debt to ,orient1 #ccj2  
,roman conquest of1 #bfa4      ,greek   
anthologies1 see ,anthologies1 ,greek4  
,greek and ,egyptian statues compared1  

#ccb4      8,grinning0 group1 of        
so-called 8,apollo0 statues1 #ajj4      
,guillaume1 ,e41 on measurements of     
,doryphoros1 #gj4      ,gurlitt1 ,w41 on
 ,pausanias' routes in ,altis1 #cdj4    
,gymnasia1 absent in ,homer1 #g2        
statues of athletes in1 #big2           
statues of athletic gods in1 #ge1 #id4  
,gymnasiarch1 ,hermes as1 #gh4          
,gymnasion1 ,great1 at ,olympia1 #big1  
#bii1 #cef4      ,gymnasium1 scene from1
 on r4-f4 kylix1 #afd4      ,gythion1   
statue of ,herakles1 at1 #cai4          
,habich1 ,g41 on ,standing ,diskobolos1 
#gh4      ,hadrian1 revives ,nemean     
games at ,argos1 #ag2      villa of1 at 
,tivoli1 #hj1 #agd4      ,hageladas4    
sculptor1 #cf2      canon of1 #fh1 #adh1
 #aei2      chariot-group of            
,kleosthenes1 at ,olympia1 by1 #bff2    
date of1 #fa1 #cba2      teacher of     
,myron and ,polykleitos1 #fa1 #aaj2     
teacher of ,pheidias1 #aaj2      called 
,gelados by scholiast on ,aristophanes' 
,ranae1 #aaj4      ,hair-fashion1       

athletic1 #ej;f42      ,bulle on hair1  
#ec2      ephebes dedicate hair to a    
god1 #ea2      grained style1 #ec2      
on ,hellenistic heads1 #bif4      ,long1
 at ,athens1 after ,persian ,wars1 #ea2 
long1 on athletes1 before ,persian      
,wars1 #cce2      braided1 by boxers and
 pancratiasts1 #ea2      discarded in   
wrestling1 #ea2      in ,homer1 #ej1    
#ea2      on monuments1 #eb2      on old
 ,attic vases1 #eb2      as sign of     
effeminacy1 #ea2      at ,sparta1 #ea2  
at ,thermopyl1 #ea2      worn by        
knights1 #ea2      long and short1 on   
god statues1 #eb2      pearl-string     
style of1 #ec2      pictorial treatment 
of1 #ec4      ,short hair1 on 8,apollo0 
statues1 #cce2      short1 on athletes1 
after ,persian ,wars1 #ea1 #cce2      on
 children1 at ,sparta1 #ea2      on     
early vases1 #eb2      on monuments1    
#eb2      not characteristic of         
athletes1 #ej1 #ea2      as sign of     
mourning1 at ,athens1 #ea2      of      
slaves1 #ea2      sketchy treatment1 on 

,hermes of ,praxiteles1 #cjc2           
snail-volute style of1 #ec4      ,see   
,krobylos4      ,halikarnassos1 funeral 
games at1 #aa2      chariot-group from  
,mausoleion at1 #bdd4      ,halimous1   
grave-relief from ,attic deme of1 #bdi4 
,halteres2 see ,jumping-weights4        
,hamilton1 ,gavin1 #gf4      ,harmodios1
 statue of1 #adh1 #agc;f4      ,see also
 ,aristogeiton and ,tyrannicides4       
,hartwig1 ,p41 on bronze statuette from 
,capua1 #bjg4      ,hauser1 ,f41 on     
,autun statuette of pancratiast1        
#bdi-bea2      on armor worn in         
hoplite-race1 #bjc2      on bronze      
athlete statue from ,ephesos1 #ach2     
on bronze wrestlers from ,herculaneum1  
#bca2      on ,delian ,diadoumenos1 #ib2
      on ,tux bronze1 #bjg4             
,head-dress1 artificial1 on charioteers1
 #bge1 #bgf4      8,healer10 epithet of 
the ,delian ,apollo1 #cjd4      ,heave1 
in wrestling1 #bbi2      bronze         
wrestler-group in ,paris1 showing1 #bcb2
      on metope of ,theseion1 #bcb2     

on r4-f4 kylix1 #bcj4      ,hegestratos1
 statue at ,athens1 #bg4      ,hegias1  
sculptor1 #aaj1 #abf1 #age1 #bgi2       
compared with ,kallon1 #abb2            
criticism of1 by ,lucian1 #fj4          
,hekatompedon1 the1 on ,akropolis1 #abh4
      ,hektor1 #g4      ,helbig1 ,w41 on
 ,barracco athlete statue1 #aeg1 #aei2  
on ,choiseul-,gouffier ,apollo1 #ij2    
on ,doryphoros of ,polykleitos1 #bbf2   
on funerary relief1 from ,dipylon1 #aef2
      on ,greek knights1 #bhb2      on  
head of ,standing ,diskobolos1 #gg1 #gh2
      on ,spinario1 #bja2      on       
,vatican statuette1 #bab4      ,helikon1
 ,mount1 statues of poets and musicians 
on1 #bhd2      tripod on1 dedicated by  
,hesiod1 #ba1 #bb4      ,heliodoros1    
description of wrestling-match by1 #beb4
      ,hellanikos1 statue at ,olympia1  
#bdj1 #cdb1 #cdc4      ,hellanodikai1   
the1 at ,olympia1 #bg and n4 #bj1 #bi1  
#de1 #bbg1 #bei4      ,hellenistic      
,prince1 statue of a1 #gc2              
assimilated to type of ,alexander1 #gc4 

,helmets1 on ,boxer ,vase from ,crete1  
#g2      as early attributes of hoplite 
runners1 #afa2      of hoplite runners1 
#dh4      ,hemerodromoi1 institution of1
 #aij4      ,hephaistion1 funeral games 
in honor of1 #aa4      ,hera1 temple of 
,lakinian1 near ,kroton1 #cfc2          
worship of1 at ,olympia1 earlier than   
that of ,zeus1 #af4      ,see ,heraion4 
,heraia1 the1 games at ,argos1 #bj2     
games at ,olympia1 #di2      girls at1  
divided into three classes1 #ahi2       
reliefs vowed by girl runners at1 #bi2  
running race for girls at1 #aia4        
,heraion1 the1 at ,olympia1 #af1 #bei1  
#bii1 #cda1 #cdb1 #cdc1 #cdi1 #ceb1     
#cec1        #ceh2      monuments inside
 of1 #cbe4      ,herakleia1 the1 at     
,marathon1 #ah1 #bj2      at ,thebes and
 elsewhere1 #ai1 #bg4      ,herakleides 
,ponticus1 on the krobylos hair-fashion1
 #eb4      ,herakleion1 the1 at ,sparta1
 #cai4      ,herakles1 as boxer1 #afi1  
#bce2      of ,crete1 #aj2      destroys
 statue of self at ,elis1 #agh2      as 

father of athlete ,theagenes1 #ce2      
first to win pankration and wrestling on
 same day1 #beb2      as founder of     
,olympic games1 #aj1 #ic2      ,herakles
 and ,hermes1 as protectors of contests1
 #ge2      as inventor of pankration1   
#bdg2      at ,marathon1 #ah2      in   
,odyssey1 #h2      plants olive at      
,olympia1 #bj2      son of ,zeus and    
,alkmena1 #aj2      in ,sophokles'      
,trachiniae1 #cah2      tripods in honor
 of1 #ai1 #bb2      as wrestler1 #ac1   
#ic1 #bbh4      ,herakles1 heads of3    
beardless1 in ,british ,museum1 #if2    
of boy athlete from ,sparta so          
interpreted1 #cje2      boyish1 in      
,british ,museum1 #cai2      bust from  
,genzano1 #ie2      bust from           
,herculaneum1 #agj2      colossal       
filleted1 in ,vatican1 #ie2      from   
,tegea pediment1 #cjf-caa2      marble1 
in ,munich1 #agj2      ,philandridas    
head so interpreted1 #big2      showing 
swollen ears1 #afi2      with rolled    
fillets1 #if4        ,statues of3       

,alexikakos1 by ,hageladas1 #aaj2       
colossal1 by ,lysippos1 #bec2           
colossal1 by ,onatas1 #abb2        in   
group with ,telephos1 in ,vatican1 #gj1 
#ie2        in gymnasia and palstr1 #id1
 #big2        kneeling1 from ,east gable
 from ,aegina1 #aie2        as          
knee-runner1 bronze in ,metropolitan    
,museum1 #aie2        ,kyniskos1        
converted into type of1 #gd2        in  
,lakonia1 #cai2        in ,palazzo      
,altemps1 ,rome1 #bdc2        by        
,skopas1 #cjf2        victor statues    
assimilated to1 #ced;f4      ,heralds1  
contests of1 when introduced at         
,olympia1 #bhc2      statues of1 at     
,olympia1 #bhc4      ,herculaneum1      
bronze head from1 in ,naples1 #fc1 #adj4
      ,hercules1 guild of athletes of1  
in ,rome1 #cga4      ,hermaia1 the1     
games at ,pheneus1 #gf4      ,hermann1  
,g41 on ,perinthos head1 #ahj4          
,hermas1 base of statue of1 at ,olympia1
 #cei4      ,hermes1 altar of1 1 at     
,olympia1 #gf2      beaten by ,apollo in

 running at ,olympia1 #bhe2      founder
 of wrestling1 #gf2      god of youth   
and sports1 #ge2      gymnasion of1 at  
,athens1 #gf2      one of athletic gods1
 #ge2      8presider over contests10    
#cf2      head1 in ,boston1 #he2        
bearded herma1 by ,alkamenes1 #gg2      
bearded type1 #cce2      compared with  
,philandridas head1 #bic1 #bid2         
hair-treatment of1 #cjc2      on relief 
fragment from ,athens1 #bgj4            
,statues3 from ,andros1 #ga;f42         
in gymnasia and palstr1 #id2        in  
,lansdowne ,house1 #hh1 #bda2           
,logios or ,agoraios1 #hj1 #hb1 #hd1    
#aca2        ,ludovisi1 #hd2        by  
,onatas1 at ,olympia1 #abb2        by   
,praxiteles1 at ,olympia1 #gb1 #add2    
victor statues assimilated to type of1  
#aha1 #ced2        statuette of1 in     
,boston1 #ajh2        bronze1 in        
,british ,museum1 #hh4                  
,hermes-,diskobolos1 statue by          
,naukydes1 #gh4      ,hermes            
,kriophoros1 festival at ,tanagra1 #eg4 

,hermesianax1 statue at ,olympia1 #cj4  
,hermione1 stadion at1 #if4             
,hermitage1 copy of head of boy athlete 
in1 #aeg4      ,hermogenes1 victor at   
,olympia1 #ced4      ,hermokrates1      
statue at ,athens1 #bg4                 
,hermolykos1 statue on ,akropolis1 #bg1 
#cgb1 #cgc4      ,herodoros1 trumpeter  
at ,olympia1 #bhc4      ,herodotos1     
historian1 on ,hermolykos1 pancratiast1 
#cgc2      style of1 imitated by        
,pausanias1 #fa4      ,herodotos1 of    
,klazomenai1 statue at ,olympia1 #cj4   
,herodotos1 of ,thebes1 as his own      
charioteer1 #bff1 #bfg4      ,heroes1   
nine ,greek1 on curved base at ,olympia1
 #abb4      ,heroizing1 custom of1 in   
sculpture1 #ga4      ,herophilos1       
physician at ,alexandria1 #bij4         
,hertz1 ,miss1 copy of head of ,nike by 
,paionios in collection of1 ,rome1      
#cjd4      ,hesiod1 wins tripod at      
,chalkis1 #ai2      dedicates tripod to 
muses on ,helikon1 #ba1 #bb2      victor
 statue of1 on ,helikon1 #bhd4          

,hetoimokles1 statue at ,sparta1 #ajf1  
#ccc1 #ccg1 #cfb4      ,hiero1          
chariot-group at ,olympia1 #bc1 #abb1   
#beg1 #bfd1 #bfg1 #bgh1 #bgi2           
,pythian victory of1 #bgh2      tyrant  
of ,syracuse1 #cfb4      ,hierothesion1 
the1 at ,messene1 #ai4      ,hill1 ,g4  
,f41 on ,apoxyomenos and ,lysippos1     
#bhh1 #bhi4      ,hipparchos1 tyrant of 
,athens1 #agc4      ,hippodameia1 #ad1  
#bei4      ,hippodrome races1 at        
,olympia1 non-athletic1 #beg2           
programme of1 #bei;f42      horses and  
colts distinguished in1 #bei4      ,see 
,chariot-race and ,horse-race4          
,hippodromes1 common in ,greece1        
#beg;f42      at ,constantinople1 #bec2 
at ,olympia1 #beh4      ,hippokleides1  
#e4      ,hippos1 statue at ,olympia1   
#abj4      ,hipposthenes1 victor1 temple
 dedicated to1 at ,sparta1 #cfb4        
,hirschfeld1 ,g41 on locations of victor
 statues in ,altis1 #cdj2      on       
omission of ,olympiad #baa from ,elean  
register1 #cfi4      ,hirt1 ,a41 on     

,pliny's 8iconic0 7iconicus  7 statues1 
#ed2      on ,tux bronze1 #bjg4         
,historia ,naturalis1 of ,pliny1 #fj1   
#cba1 and passim4                       
,hitzig-,bluemner1 on exclusive use of  
bronze in ,olympic victor statues1      
#cba2      on statue of ,milo1 at       
,olympia1 #ajg4      ,holleaux1 ,m41 on 
8,apollo0 torso from ,mount ,ptoion1    
#aai1 #abj4      ,home-coming of        
,olympic victors1 #cd1 #ce4      ,homer1
 athletics in1 #g;f42      does not     
mention ,olympia1 #af2       in1 #c1    
#bfa2      makes men and gods shriek1   
#eg2      on painful character of       
boxing1 #bcd2      warrior in1 #h4      
,homolle1 ,th41 on appellation          
8,apollo10 #ccf2      on artistic       
influences in the ,agias1 #bia1 #cja2   
assigns the ,agias to ,lysippos1 #bib1  
#caa2      on expression of face of the 
,agias1 #cag2      on group of ,daochos 
at ,delphi1 #bhf2      on resemblance   
between ,philandridas head and that of  
the ,agias1        #bid2      on small  

heads outside school of ,lysippos1 #bid2
      on differentiating statues of     
,herakles and victors1 #id2      on     
swollen ears of athlete statues1 #afh4  
,honor statues1 at ,olympia1 #da1 #db1  
#cci;f4      ,honors1 extraordinary1    
paid to victors1 #cb;f41 #ga4           
,hoplite-race 771 #aij;f42      belongs 
to mixed athletics1 #bjc2      called 1 
#aij1 #bjd2      date of introduction at
 ,olympia1 #aia2      as diaulos at     
,olympia and ,athens1 #bjc2      finish 
of1 on a r4-f4 kylix1 #bjd2      in full
 armor at the ,eleutheria1 at ,plata1   
#bjc2      last in gymnic contests at   
,olympia and elsewhere1 #bjc2      most 
complete representation of1 on a r4-f4  
kylix in ,berlin1 #bjd2                 
preparations for1 on a r4-f4 kylix by   
,euphronios1 #bjd2      racers in1      
turning central post1 on r4-f4 kylix in 
,berlin1 #bjd2      round shields and   
,attic helmets used in1 #bjd2           
semi-comic character of1 on vases1 #bje2
      start of1 on a r4-f4 kylix in     

,berlin1 #bjd2      weapons used in1    
#bjc4      ,hoplitodromoi1 attributes   
of1 #afa f42      so-called dying       
hoplite runner on grave-relief from     
,athens1 #adi1 #bji2      statues of1 in
 motion1 #bjc;f42      two heads from   
statues of1 #df1 #afb;f41 #cbd2         
paintings of1 by ,parrhasios1 #bjf2     
,tux bronze of1 #bjf;f4      ,horarios1 
inscribed votive relief of1 #ge4        
,horfuabra1 statue from ,dahshur1       
,egypt1 #ccj4      ,horse1 crowned by   
,nike1 on votive relief from ,athens1   
#bfi2      imported into ,crete from    
,libya1 #a2      models of miniature    
horses at ,olympia1 #bc4                
,horse-race 7 73 common in ,greece1     
#beg;f42      horses and colts          
distinguished in1 #bei2      length of  
course at ,olympia1 #bfa2               
monuments1 illustrating1 #bhj;f42       
sport of the rich1 #beg2      when      
introduced at ,olympia1 #bfj2      race 
known as the apobates1 at ,olympia1     
#bhb;f4      ,horse-racers3 bronze      

statuette of1 from ,dodona1 #bha2       
bronze statuette of1 in ,loeb           
collection1 #bhb2      bronze statuette 
of1 from ,volubilis1 ,morocco1 #bha2    
dedications of1 at ,olympia1 #bc1       
#bgh;f42      on funerary relief1 from  
,sicily1 #bha2      on galloping horse1 
on terra-cotta relief from ,thera1 #bha2
      mounted1 on ,athens relief1 #bha2 
nude1 on vases1 #bha2      small figures
 of1 from ,olympia1 #bd2      statue of1
 in ,florence1 #bha2      two fragments 
of statues of1 from ,akropolis1 #bha2   
victorious racer leading-horse1 on      
,athenian relief1 #bha4      ,human     
sacrifice1 as origin of funerary games1 
#ad4      ,hunter1 honor statue at      
,olympia1 #db4      ,hyblans1 the ,zeus 
of the1 at ,olympia1 #cdd4      ,hydri1 
from ,caere 7,cerveteri71 #eb2          
bronze1 as prize at the ,panathenaia1   
#bj4      ,hylas1 identified with statue
 of youth from ,subiaco1 #aif4          
,hyperboreans1 home of wild olive among1
 #bj4      ,hysmon1 statue at ,olympia1 

#abj1 #afd4        ,iapygians1 ,king of 
the1 #abe4      ,iconic and aniconic    
statues1 #ed;f4      ,ida1 ,mount1      
grotto of ,zeus in1 #bce4               
,idealism1 in ,greek art1 #ef1 #ga2     
idealism and realism1 #eg4              
,identification of athlete statues in   
,roman copies1 #dd4      ,idolino1 the1 
statue in ,florence1 #aca1 #aci1        
#ada;f42      as highest ideal of boyish
 beauty1 #ada2      interpretation of1  
#adb;f4      ,ikkos1 slain by           
,kleomedes1 #ce2      as teacher of     
gymnastics1 #ei4      ,ildefonso group1 
in ,madrid1 #aeh4      ,iliad1 games of 
,patroklos in1 #i4      ,ilissos1 river 
in ,attica1 #bj2      relief from1 #cab4
      ,impressionism1 in hair technique1
 by ,greek artists1 #ec2      by        
,lysippos1 #fi4      ,ince ,blundell    
head of athlete1 #afg1 note #d1 #afh1   
#ahj1 #aha4      ,indians1 the1 of      
,north ,america1 funeral games among1   
#ab4      ,information1 sources of1 in  
reconstruction of ,olympic victor       

statues1      #dc4      ,inscriptions1  
earliest1 using pankration for dates1   
#aia2      on pillars1 in honor of      
victors1 #cd2      on victor statue     
bases at ,olympia1 #dc4      ,iolaos1   
hurls stone diskos1 #bah4      ,ionia1  
passes ,egyptian influence to ,greek    
sculptors1 #ccb2      school of         
sculpture from1 #aad2      women of1    
witness games1 #di4      ,ionians1 short
 hair with1 #eb4      ,ionism1 in ,greek
 art1 #aae;f41 #abf1 #abi1 #age2        
reaction against1 #aaf1 #abf4           
,iphitos1 restores ,olympic games1 #ae4 
,ismenian ,apollo1 the1 statue in       
,thebes1 #cjd4      ,ismenion1 the1 at  
,thebes1 tripods in1 #ai4               
,isokrates1 statue on ,akropolis1 #bd1  
#bg1 #bha1 #cgc4      ,isthmian         
festival1 athletes divided into three   
classes according to age        at1     
#ahi2      beast contests at1 #be2      
excavations on site of1 #be2      famed 
in ,roman days1 #be2      funerary      
origin of1 #i2      history and         

administration of1 #ag2      inferior to
 ,olympia1 #be2      later in honor of a
 god1 #i2      in honor of ,melikertes1 
#aj2      most frequented1 #be2         
statue of victor at1 in ,athens1 #bg2   
statues of victors at1 on ,isthmus1 #bf4
      ,italian ,archological ,mission1  
#c4      ,italy1 funeral games1 in      
ancient1 #aa4        ,jahn1 ,o41 on     
symmetry1 #ff2      on the ,wounded     
,amazon of ,capitoline1 #aeg4           
,jason1 statue so-called1 of ,louvre1   
#hf4      ,javelin 771 #afd1 #afe2      
as athletic attribute1 #ajh1 #afd2      
,greek names for1 #bbc2      size of1   
#bbc2      on vase-paintings1 #afd1     
#bbc4      ,javelin-throwers 771        
#bbb;f42      two bronze statuettes of1 
#bbg1 #bbh2      on ,spartan relief1    
#bbc4      ,javelin-throwing1 #bbb;f42  
athletic type of1 #bbc2      for        
distance1 #bbc2      from horseback1 on 
vase-paintings1 #bbc2      at games of  
,patroklos1 #bbb2      origin of1       
mythical1 #bbb2      positions in1      

#bbc;f42      positions1 given by ,e4   
,n4 ,gardiner1 #bbc2      practical1 in 
war and the chase1 #bbc2      in        
sculpture1 #bbd2      two types of1     
#bbb1 #bbc4      ,jockey1 nude1 on      
vase-paintings1 #bhj2      in           
short-sleeved chiton1 on b4-f4          
,panathenaic vase1 #bhj4      ,jones1   
,h4 ,stuart1 on ,pliny's ,perseus et    
pristae of ,myron1 #ahh4      ,joubin1  
,a41 on ,delphi ,charioteer1 #bgh2      
on ,olympia gable sculptures1 #aad4     
,juba ,,ii1 ,king of ,numidia1 #aff4    
,juethner1 ,j41 on ,greek origin of     
javelin-throwing1 #bbb2      on shapes  
of jumping-weights1 #bad;f42      on    
,standing ,diskobolos1 #bbj2      on    
statue of boxer from ,sorrento1 #bdc4   
,jumping1 #bad;f42      adapted to      
painter and not to sculptor1 #bag2      
ancient records in1 #baf2      modern   
records in1 with and without weights1   
#baf2      modern record in1 front      
spring-board1 #baf2      most difficult 
feature of pentathlon1 #baf2      most  

representative feature of pentathlon1   
#bad2      in ,odyssey1 #i1 #bad2       
as part of pentathlon1 #bad2            
popularity of1 #baf2      spring-board  
not used in ,greece in1 #baf2           
various moments in1 depicted on vases1  
#baf1 #bag2      with weights1 #baf1    
#bag4      ,jumping-weights 771 #bad;f42
      as attribute of pentathletes1     
#afd2      on bronze statue in ,berlin1 
#afd2      dedications of1 #bb2         
forms of1 #bad;f42      club-like form1 
#bae2      semispherical1 #bae2         
forms of1 divided by ,philostratos1     
#bae2      shown on vases1 #bae2      on
 mosaic in ,lateran1 #bae2      not in  
,homer1 #bad2      on r4-f4 kylix in    
,munich1 #afd2      on relief from      
,sparta1 #afd2      on ,roman copies of 
,greek athlete statues1 #bae2      on   
statue of ,hysmon1 at ,olympia1 #afd2   
on statues in ,dresden and ,florence1   
#bae2      stone1 from ,corinth and     
,olympia1 #bae2      on tree-trunk      
beside statue1 #afd2      use of1       

according to ,aristotle and             
,philostratos1 #baf2      use of1 in    
medical gymnastics1 #ba2      use of1   
according to vase-paintings1 #baf4      
,justin1 on chariot-groups at ,delphi1  
#bf4        ,ka-aper1 wood statue of1 in
 ,cairo1 #ccj2      statue of 8wife0 of1
 so-called1 in ,cairo1 #ccj4            
,kabbadias1 ,p41 on bronze statue of    
youth found in sea off ,antikythera1    
#ha4      ,kabeirion1 statuette from1   
#bh4      ,kalamis1 sculptor1 #cf1 #cbd2
      ,kalamis and ,choiseul-,gouffier  
,apollo type1 #hi2      characterized1  
#ij1 #bgi2      chariot-groups by1 #bc2 
criticism of1 by ,cicero1 #fj2          
horse-groups by1 #bd1 #bgi2      horses 
by1 characterized by ,pliny1 #fb2       
jockeys on horseback by1 #bc2           
,kalamis and nude charioteer from       
,esquiline1 #bgf2      ,kalamis and     
,onatas1 #bai1 #bfd1 #bfg1 #bfh2        
,kalamis and ,praxiteles1 #bfh2      as 
predecessor of ,pheidias1 #bgi2         
statues at ,olympia by1 set up by the   

,akragantines1 #acj2      ,kalamis as   
unrivalled sculptor of horses1 #bgi4    
,kalkmann1 ,a41 on ,herakles ,alexikakos
 of ,hageladas1 #aaj2      on kneeling  
figures from ,west gable of temple on   
,aegina1 #aie2      on proportions of   
face in ,greek sculpture1 #fg4          
,kallias1 statue at ,athens1 #bg1 #ahb1 
#ahc1 #cfe2      statue at ,olympia1    
#de1 #abi1 #bea1 #ceb1 #cfe4            
,kallikles1 sculptor1 #cfe4             
,kallikrates1 dates of victories of1 at 
,olympia1 #cja2      statue at ,olympia1
 #aba1 #bih4      ,kallimachos1 on      
statues of ,euthymos being struck by    
lightning1 #cfd4      ,kallippos1 bribes
 opponents and is fined1 #cd4           
,kallistratos1 characterizes ,skopas1   
#cji4      ,kalliteles1 statue at       
,olympia1 #bfe1 #cdg4      ,kallon1     
sculptor1 #abb1 #abe4      ,kallon1     
victor1 statue at ,olympia1 #aba4       
,kalydonian boar hunt1 represented in   
,tegea pediment group1 #cjg4            
,kanachos1 the ,elder1 sculptor1 #bd1   

#aah1 #abj1 #bgi1 #cbd1 #ccf2           
celetizontes pueri1 by1 #abj2           
compared with ,kallon1 #abb2            
criticism of1 by ,cicero1 #fj4          
,kanachos1 the ,younger1 sculptor1 #abj4
      ,kantharos1 sculptor1 #abb4       
,kaphisias1 sculptor1 #cfh1 #cge4       
,kapros1 boxing-match with              
,kleitomachos1 #bdg2      bronze foot   
from statue of1 #bee1 #cdf2      first  
to win pankration and wrestling at      
,olympia on same day1 #beb2      ,kapros
 and bronze boxer head from ,olympia1   
#bed2      two statues at ,olympia1 #bi1
 #cdb1 #ced4      ,karrhotos1           
charioteer1 #bfg4      ,kasia           
,mnasithea1 statue base at ,olympia1    
#cfj4      ,kassel1 statue of ,apollo   
in1 #cfj2      statue of boxer in1 #df1 
#aee2      head of ,diadoumenos of      
,polykleitos in1 #aec1 #aed4            
,kastor1 victor in foot-race at         
,olympia1 #if2      as horse-racer1 #if2
      hurls stone diskos1 #bah4         
,kebriones1 #e4      ,kekul1 on the     

,idolino1 #ada1 #adb2      on ,olympia  
gable sculptures1 #aad2      on the     
,spinario1 #bja2      on the ,standing  
,diskobolos1 #gf4      ,kephisodotos1   
sculptor1 #beb4      ,kerameikos1       
,athens1 #aa4      ,keramopoullos1 ,a4  
,d41 on the ,delphi ,charioteer1 #bgh4  
,kerykeion1 symbol of ,hermes1 #ga1 #gb1
 #gh1 #hb1 #hh1 etc4      ,kettle1 prize
 at early games1 #bj4      ,kicking1    
allowed in pankration1 #bdf1 #bdg4      
,kietz1 on the ,standing ,diskobolos1   
#gh4      ,kimon1 son of ,miltiades1    
#ah4      ,kimon1 son of ,stesagoras1   
bronze mares of1 at ,athens1 #bg1 #cfc4 
,kirchhoff1 ,a41 on statue of           
,hermolykos on ,akropolis1 #cgc4        
,kirghiz1 the1 of ,india1 funeral games 
among1 #ab4      ,kittos1 boxing and    
wrestling scenes on ,panathenaic amphora
 of1 #bdh4      ,kitylos and ,dermys1   
grave-figures of1 from ,tanagra1 #cce4  
,kladeos1 the1 river at ,olympia1 #bii1 
#cdb1 #ceg1 #ceh4      ,klazomenai1     
paintings from1 #eb2      reliefs from1 

#bfd1 #bfh4      ,klein1 ,w41 on the    
,boston ,charioteer 7871 #bge2      on  
the ,idolino1 #ada2      on the ,jason  
of ,louvre1 #hf2      on the ,oil-pourer
 of ,munich1 #acd4      ,kleito2 see    
,polykleitos4      ,kleitomachos1 statue
 at ,olympia1 #cec2      identified     
wrongly with the ,seated ,boxer of      
,museo delle ,terme1        ,rome1 #bec2
      story of1 from ,polybios1 #adg1   
#bdg4      ,kleitor1 son of ,azan1 #i4  
,kleitor1 relief from1 #acb4            
,kleobis 7871 statue of1 from ,delphi1  
#aje4      ,kleoitas1 sculptor1 #bg4    
,kleomedes1 heroized at death1 #ce4     
,kleomenes1 sculptor1 #he4      ,kleon1 
sculptor1 #fi1 #abj1 #aba1 #afd2        
leg position of statues by1 #aei4       
,kleonai1 #ag4      ,kleosthenes1 ,king 
of ,pisa1 #ae4      ,kleosthenes1 of    
,epidamnos1 chariot-group of1 at        
,olympia1 #bc1 #bff1 #cdd1      #cde4   
,knee-runners1 on bronze tripod reliefs1
 #aid2      on small bronze relief in   
,metropolitan ,museum1 #aid2      on    

marble relief of dying hoplite runner1  
#aid2      on small bronzes1 #aie2      
on vases1 #aid2      statue of kneeling 
youth from ,subiaco1 #aie4              
,knights1 ,helbig on ,greek1 #bhb2      
,homeric method of1 fighting from       
chariot1 #bgb1 #bhb2      on ,parthenon 
frieze1 #bha4      ,knossos1            
bull-grappling at1 #a1 #b2      ivory   
statuettes from1 #c2      paved         
inclosure at1 #c2      reliefs from1 #c1
 #d2      seal from1 showing huge horse1
 #a2      theatral area at1 #c2         
toreadors on wall-paintings from1 #a1   
#c4      ,koblanos1 sculptor1 #bdb4     
,kodias 771 jumping-weight of1 #dj4     
,koehler1 ,u41 on the ,apoxyomenos of   
,vatican1 #bij4      ,koerte1 on name   
8,apollo0 for early statues1 #cce4      
,korai1 statues of1 on ,akropolis1 #ec1 
#aae4      ,koroibos1 victor in first   
recorded ,olympiad1 #ae1 #aia4          
,kostobokoi1 barbarian invaders of      
,greece1 #cgj1 #cga4      ,kouroniotis1 
,k41 letter of1 quoted #cbg4            

,kranaos1 or ,granianos1 statue near    
,sikyon1 #cgj4      ,krates1 victor as  
herald at ,olympia1 #bhc4               
,kratinos1 statue at ,olympia1 #abb2    
set up by trainer of1 #ca4              
,kratisthenes1 chariot-group of1 at     
,olympia1 #agi1 #bfh4      ,kresilas1   
sculptor1 #cf1 #ic2      the ,alkibiades
 of ,vatican ascribed to1 by            
,furtwaengler1 #aii2      ,doryphoros   
by1 #ade2      portrait of ,perikles by1
 #ef2      statue of the ,wounded       
,amazon by1 #aeg4      ,kresilan athlete
 head1 five copies of1 #add1 #ade4      
,kreugas1 crowned after death1 #bdg2    
killed in boxing match1 #bcf1 #bdg2     
statue at ,argos1 #bcf1 #bcg4           
,krison1 statue ascribed to1 by         
,furtwaengler1 #bjj4      ,kritios1     
sculptor1 #aae1 #abf1 #agc1 #agd2       
criticism of1 by ,lucian1 #fj2          
,kritios and ,tux bronze #bjg4          
,kritodamos1 statue at ,olympia1 #abj1  
#cdd1 #ceb4      ,krobylos1 old ,attic  
hair-fashion1 #ea1 #eb1 #hi1 #abh1 #ace1

 #bgj4      ,krokon1 dedicates small    
bronze horse at ,olympia1 #bc1 #bgi4    
,kronos1 altar of1 at ,olympia1 #af2    
wrestling match of1 with ,zeus1 #ad4    
,krotonians1 famed as pentathletes1 #fj4
      ,ktesibios1 philosopher1 on       
ball-playing1 #hd4      ,kylon1         
conspiracy of1 in ,athens1 #cfb2        
statue on ,akropolis1 #ajf1 #ccc1 #ccg1 
#cfb4      ,kylon1 of ,elis1 honor      
statue at ,olympia1 #db4      ,kyniska1 
bronze horses of1 at ,olympia1 #bfe1    
#bfg2      chariot-group of1 at         
,olympia1 #bc1 #aca1 #bfg1 #bii1 #cdb1  
#cfg2      first woman to enter and win 
chariot-race at ,olympia1 #bfg1 #cfg2   
shrine in honor of1 at ,sparta1 #cfg4   
,kyniskos1 statue at ,olympia1 #gd1     
#aag1 #bci2      copies of 7871 #aef;f41
 #aei2      foot position on base of    
statue of1 #bci2      date of victory1  
#afj4      ,kynosarges1 ,attic amphora  
from ,gymnasion of1 #ac4      ,kypselos1
 chest of1 at ,olympia1 #ab1 #ac4       
,kypselos1 ,king of ,arkadia1 #eg4      

,kyrene1 the ,dionysia at1 #ej2         
head from1 #hi2      personified as     
charioteer in ,delphi group1 #bgg1 #bgh2
      statue found in baths of1 #ada4   
,kyrnos1 battle of1 #cgc4        ,ladas1
 of ,sparta1 fleetness of1 #cfd2        
grave of1 #cfe2      stadion in honor   
of1 #cfe2      statue in ,argos1 #cfd2  
statue of1 by ,myron1 #aif;f41 #cfd2    
compared with that of girl runner of    
,vatican1 #aig2      epigrams on statue 
of1 #aif1 #aig2      pose of1 #aig2     
story of death of1 #aif4      ,lakonia1 
statues of ,herakles in1 #cai4          
,laloux and ,monceaux1 on ,philandridas 
head1 #bid4      ,lamia1 date of battle 
of1 #cja2      relief from1 #acb4       
,lampos1 chariot-group at ,olympia1     
#bfh4      ,lancellotti 7or ,massimi7   
,diskobolos1 #ahd and note #b4          
,lange1 ,f4 ,a41 on ,egyptian influence 
on early ,greek culture1 #ccb4          
,lange1 ,j41 on law of 8frontality10    
#age1 #cbh2      on ,olympia gable      
sculptures1 #aad4      ,lansdowne       

,herakles1 statue1 #ha1 #hb2            
ascribed to ,myron1 #aha2      head of1 
compared with that of ,philandridas1    
#bih2      regarded as ,lysippan1 #bih1 
#caa2      regarded as ,skopaic1 #cac4  
,laokon1 the1 group1 ,pliny's praise of1
 #fa2      as realistic work1 #bhi2     
of ,lessing1 #ed1 #ahg4      ,las1      
statue of ,herakles near1 #cai4         
,lasso1 boy throwing1 wrongly identified
 with statue of kneeling youth      from
 ,subiaco1 #aif4      ,lateran1 athlete 
mosaic in1 #bae2      boxers on relief  
in1 #bch4      ,laurel1 as prize at     
,delphi1 #bj1 #ba4      ,laurentum1 now 
,castel ,porziano1 #ahd4      ,leaf1    
,w41 on chariot-race in the ,iliad1 #h4 
,leaping-weights2 see ,jumping-weights4 
,lechat1 on bronze statue found in sea  
off ,antikythera1 #hd2      on evolution
 of ,greek sculpture1 #cbi2      on the 
housing of stone statues1 #cbe4         
,leg1 right lower1 fragment of victor   
statue1 #cbb2      leg holds in         
pankration1 #bdg2      8free0 and 8rest0

 legs1 as motives in sculpture1 #aji1   
#bbf4      ,lekythion1 athletic         
attribute1 #hd4      ,lekythos1 #acg1   
#ach4      ,lemnian ,athena1 the1 statue
 in ,dresden1 #ec4      ,lemniskos1     
#aee1 #aef4      ,leon1 statue of1 #cff4
      ,leonidaion1 the1 7,suedwestbau71 
at ,olympia1 #cci1 #cdj1 #cdf1 #cdg1    
#cdh1      #cej1 #cec1 #cee1 #cef4      
,leonidas1 at ,thermopylae1 #ea2        
funeral games in honor of1 #aa4         
,leonidas1 of ,naxos1 statue at         
,olympia1 #cdf1 #cdg4      ,leontiskos1 
painter1 #bi4      ,leontiskos1 of      
,sicily1 statue at ,olympia1 #fb1 #agi1 
#ahc1 #bdi4      ,lessing1              
characterization of ,diadoumenos and    
,doryphoros by1 #aeb2      on most      
fruitful moment to be chosen by artist1 
#agh4      ,see ,laokon4                
,libation-pourer1 statue of1 #adc1 #add4
      ,libation-pouring1 #ach;f4        
,libya1 figure in ,delphi group1 #bgg2  
oracle of1 #ca4      ,lichas1 statue at 
,olympia1 #ca1 #cdb2      scourged by   

umpires1 #cc1 #adi4      ,life1 athlete1
 happy1 #cf4      ,lifelike statues1    
#ei4      ,life-size statues at         
,olympia1 #df4      ,ligouri1 bronze    
statuette from1 #aje1 #aaa1 #aad4       
,limping ,man1 the1 statue at ,syracuse1
 #ahb4      ,lindos1 temple of ,athena  
at1 #cde4      ,loeb collection1        
,munich1 bronze group of wrestlers in1  
#bcb1 #bcc2      bronze statuette in1   
#acf2      bronze statuette of boy-rider
 in1 #bhb2      three bronze tripods in1
 #aid1 #bfd4      ,loeschke1 ,g4 ,l41 on
 appellation 8,apollo0 for early        
statues1 #cce2      on statue of ,kylon 
on ,akropolis1 #cfb and note #g4        
,loewy1 ,e41 on ,delian ,diadoumenos1   
#ib2      on group of ,kyniska1 at      
,olympia1 #bfg2      on style of statue 
of ,pythokles1 at ,olympia1 #bac4       
,loin-cloth1 of athletes1 #dg2          
absence of1 on ,cretan frescoes1 #dg2   
worn by ,asiatics1 #dh2      in ,homer1 
#dg2      on early vases1 #dg1 #dh2     
dropped first by ,orsippos of ,megara1  

#dg2      ,plato on1 #dh2      used by  
boxers and wrestlers1 #dh4      ,lokroi1
 ,ozolian1 colonization of the1 #bja4   
,lokros1 ancestor of the ,ozolian       
,lokroi1 #bja4      ,longprier1 ,h4 ,a41
 on bronze statuette in ,paris1 #adb4   
,long race 771 at ,olympia1 #aij2       
boys admitted to1 at ,delphi1 #aij2     
men admitted to1 at ,olympia1 #aij4     
,lucian1 on apples as prizes at ,delphi1
 #ba1 #ajg2      on art criticism1 #fj2 
criticism of ,hegias1 ,kritios1 and     
,nesiotes1 by1 #age2      description of
 ,diskobolos by1 #ahf1 #ahg2      ideal 
statue of1 #fj2      on life-size victor
 statues1 #de1 #bbg2      on prohibition
 against biting and gouging in          
pankration1 #bdf2      on statue of     
,pelichos1 #ef2      on statue of       
,theagenes on ,thasos1 #cfd4            
,lucius ,verus1 coins of1 #ba4          
,luctator anhelans1 painting of1 by     
,naukeros1 #bcc4      ,lykaia1 the1     
statues at the games of1 #bf4           
,lykaios1 ,mount1 in ,arkadia1          

hippodrome on1 #beh4      ,lykidas1 of  
,sparta1 enters colts as full-grown     
horses at ,olympia1 #bei4      ,lykinos1
 of ,elis1 statue at ,olympia1 #cdc4    
,lykinos1 of ,heraia1 statue at         
,olympia1 #aba4      ,lykinos1 of       
,sparta1 two statues at ,olympia1 #bd1  
#bi1 #bfe1 #bff4      ,lykios1 sculptor1
 #acd1 #bdc4      ,lykomedes1 bases of  
two statues at ,olympia1 #ceh4          
,lykourgos1 of ,sparta1 #ae1 #ea4       
,lykourgos1 rhetorician1 #bg4           
,lyre-playing1 at ,delphi1 #be4         
,lyres1 in ,parthenon1 #bc4             
,lysandros1 statue at ,olympia1 #cdc4   
,lysippos1 of ,elis1 victor statue of1  
by ,andreas1 #aah1 #ced4      ,lysippos1
 sculptor1 #cf1 #cge2      as art       
reformer1 #cja2      borrows from other 
sculptors1 #bia2      canon of1 #fh1    
#fi1 #acf1 #bhh2      characteristics   
of1 #caa2      chariot-groups by1 #bc2  
circle of1 #aca1 #bee2      as court    
sculptor of ,alexander1 #bif1 #cah2     
criticism of1 by ,pliny1 #fa2      date 

of1 #cjj;f42      dates of ,lysippos1   
,skopas1 and ,praxiteles1 #cja2         
divergent style of1 #bec2      follows  
,doryphoros and nature1 #cja2           
improvements in hair technique by1 #ec1 
#bif2      influence of1 on realism1    
#ef2      influenced by ,skopas1 #bia1  
#cja2      inscription on base of statue
 in ,pharsalos by1 #bhg2      ,lansdowne
 ,herakles ascribed to1 #cac2           
,lysippos and ,skopas compared1 #caa;f42
      ,lysippos and type of weary       
,herakles1 #bec2      makes #aejj       
statues1 #cjb2      ,philandridas head  
at ,olympia1 by1 #bih2      portraiture 
after time of1 #ed2      poses of       
statues of1 #dd2      regarded          
exclusively as bronze founder1 #cjb2    
statue of ,agias by1 #bhf1 #cff2        
statues of destringentes se1 by1 #acf2  
statues of1 at ,olympia1 #aba1 #bff2    
surpasses earlier artists in symmetry1  
#ff2      as worker in marble1 #cjb;f4  
,lysistratos1 sculptor1 first to make   
plaster moulds from face1 #ef1 #bee1    

#cjd4        ,macedon1 coins of1 showing
 racing chariots1 #bfb2      kings of1  
#gc2      princes of1 as horse-racers1  
#ceg4      ,mach1 ,e4 von1 against      
oriental influence on ,greek sculpture1 
#cbi2      on bronze statue of youth    
found in sea off ,antikythera1 #hd2     
on the ,charioteer 787 in ,boston1 #bge1
 #bgf2      on original of ,farnese     
,herakles1 #bec4      ,madrid1 copy of  
,diadoumenos in1 #aec2      ,ildefonso  
group in1 #aec4      ,mcenas1 and victor
 privileges in ,rome1 #cc4      ,magna  
,grcia1 cities of1 honor victors1 #ce2  
fond of hippodrome contests1 #beh4      
,magnesia ad ,sipylum1 victor statue    
base from1 #cgj4      ,mahler1 ,a41 on  
copies of ,doryphoros1 #bbd2      on    
identifying statue of ,ladas1 #aig2     
on the ,idolino1 #ada2      on          
resemblance between head of the ,agias  
and ,philandridas1 #bid4      ,maiden1  
figure of1 in chariot-groups1 #bfh4     
,maltho1 gymnasium in ,elis1 #cgj4      
,manetho1 ,egyptian dynasties of1 #ccj4 

,mantua1 statue of ,apollo in1 #aaa4    
,marathon1 battle of1 #ah1 #bji2        
,herakleia1 the1 at1 #ah4      ,marble1 
less expensive than bronze1 #bh2        
some victor statues made of1 at         
,olympia1 #cbd4      ,markianopolis1    
coin of1 #hg4      ,markios1 ,gnaios1   
base of statue at ,olympia1 #cei4       
,marsyas1 the1 statue by ,myron1 #acd1  
#ahc1 #ahd4      ,masks1 dedication of1 
#bb4      ,massimi ,diskobolos2 see     
,lancellotti ,diskobolos4               
,materials of ,olympic victor statues1  
#cba;f4      ,matz and von ,duhn1 on    
so-called ,diomedes1 in ,palazzo        
,valentini1      ,rome1 #bjg4      ,mau1
 ,a41 on the ,praying ,boy of ,berlin1  
#acb4      ,mausoleion1 ,halikarnassos1 
chariot frieze from1 #bga1 #bhi2        
chariot-group from1 #bfd2      small    
chariot frieze from1 #bgd1 #bge4        
,mausolos1 games in honor of1 #aa4      
,maviglia1 ,ada1 on ,diadoumenos of     
,delos1 #ic2      rejects the           
,apoxyomenos and the ,agias as evidence 

of style        of ,lysippos1 #bij4     
,mayer1 ,m41 on athlete 787 statue from 
,olympieion1 #adc2      on ,myron's     
pristae1 #ahh4      ,medes1 the1 #aa4   
,mediterranean culture1 #a2             
gymnastic exercises in1 #f2      origin 
of ,greek athletics in1 #g4             
,megakles1 victor at ,olympia1 #cfc4    
,megara1 colossal torso of 8,apollo0    
from1 #ccf4      ,megara ,hyblaia1      
,sicily1 necropolis in1 #ccg2           
statue of ,zeus of1 at ,olympia1 #cdd4  
,meleager1 head of1 on ,praxitelian     
trunk in ,medici ,gardens1 ,rome1 #cac2 
statue of1 in ,fogg ,museum1 ,boston1   
#cad2      statue of1 in ,vatican1 #cab2
      statue of ,kyniskos converted     
into1 #gd4      ,melikertes1 #aj4       
,melite1 deme of1 #aaj4      ,melos1    
8,apollo0 from1 #ajj1 #aja1 #ajc1 #ajd4 
,memorials1 miscellaneous1 of victors1  
#dj1 #da4      ,memphis1 motion         
statuettes from1 #agg2      art of1     
#ccj4      ,mende1 offering of people   
of1 at ,olympia1 #afd1 #cda4            

,mendel1 ,m41 excavations of1 at ,tegea1
 #cjf2      on head of ,herakles1 from  
,tegea1 #cjf1 #cjg4      ,menedemos1    
bases of two statues at ,olympia1 #ceh4 
,menelaos1 sculptor1 #aac4      ,mengs1 
,raphael1 painter1 cast from collection 
of1 showing swollen ears1        #afi2  
on proportions1 #fh4      ,messana1     
coins of1 showing mule-car1 #bfc4       
,messene1 coins of1 #aaa2               
hierothesion at1 #ai4      ,messenians1 
of ,naupaktos1 #aaj4      ,metageitnion1
 month of1 #ah4      ,metellus          
,macedonicus1 base of statue at         
,olympia1 #cdh4      ,metrobios1 ,t4    
,phlabios 7,flavius71 base of statue at 
,iasos1 #cfi4      ,metrodoros1         
,aurelios1 base of statue at ,kyzikos1  
#cga4      ,michaelis1 ,a41 on apobates 
chariot-race on ,parthenon frieze1 #bgb2
      on base of statue of ,epicharinos1
 on ,akropolis1 #cgb2      on use of    
and   by ,pausanias1 #cdi2      on      
,lansdowne ,herakles1 #bih1 #cac2       
on ,petworth ephebe statue1 #acc2       

on the ,standing ,diskobolos1 #gf2      
,michaelis1 ,a41 and ,conze1 ,a41 on    
8,apollo0 type as victor statues1       
#cce4      ,middle ,kingdom1 ,egypt1    
dates of1 #ccj and note #f2             
sculptures of1 #ccj4      ,mikon1 of    
,athens1 sculptor1 #fa1 #fb1 #abi4      
,mikon1 of ,syracuse1 sculptor1 #cge4   
,mikythos1 or ,smikythos1 group         
dedicated at ,olympia by1 #bae1 #cea4   
,milchhoefer1 ,a41 on painting by       
,eupompos1 #afj4      ,miletos1 coins   
of1 #gd1 #aah1 #aai1 #ccf4              
,military runner 771 #bji4      ,milo1  
statue at ,olympia1 #ca1 #ajf;f41 #acj1 
#afe1 #ccg4      ,miltiades1 games in   
honor of1 on ,thracian ,chersonesos1    
#aa4      ,miltiades1 son of ,kypselos1 
votive offering at ,olympia1 #bfd1 #bfe4
      ,minoans1 the1 of ,crete1 #a2     
influenced by ,orient1 #a2      love of 
sports among1 #f4      ,see ,crete4     
,mnaseas1 statue at ,olympia1 #afa1     
#agi1 #aha4      ,mnesiboulos1 statue in
 ,elateia1 #bjd1 #cga4      ,monceaux2  

see ,laloux and ,monceaux4      ,mopsos1
 boxing match with ,admetos1 #bhe4      
,mosaic1 athlete1 in ,lateran1 ,rome1   
#bae4      ,mosso1 ,a41 on ,boxer ,vase1
 #f2      on origin of ,greek           
boxing-glove1 #bce2      on ,vapheio    
cups1 #d4      ,motion statues1         
antiquity of1 in ,greece1 #agf;f42      
in ,assyro-,babylonian art1 #agg2       
in ,cretan art1 #agg2      in ,egyptian 
art1 #agf1 #agg2      in ,greece1 not   
developed out of 8,apollo0 statue type1 
#agg2      on early vases1 #agg2        
victor statues in1 #agc;f42      victor 
statues in various contests1 #ahh;f4    
,motives1 general1 of statues in motion1
 #ahh;f42      at rest1 #acj;f4         
,mounot1 tienne1 sculptor1 #ahe4        
,mueller1 ,k4 ,o41 on common features of
 victor statues1 #dd4      ,mule-car1 on
 ,rhegian and ,messanian coins1 #bfc4   
,mule-race 772 see ,chariot-race with   
mules4      ,munich ,king1 statue       
so-called1 #bbf4      ,muscles1 in      
,cretan art1 #c1 #d4      ,muses1 group 

of1 by ,hageladas1 ,arostokles and      
,kanachos1 #aah4      ,musical contests1
 dedications for1 at ,olympia and       
elsewhere1 #bhc;f42      at ,delphi1    
#be2      honor dedications for1 at     
,olympia1 #bhe2      monuments for1     
victor or votive in character1 #bhd2    
at ,olympia1 non-athletic1 #bhc1 #bhe1  
represented on imitation                
,panathenaic vases1 #bhd2      on       
reliefs1 #bhd2      victors in1 at      
,delphi1 #bhd2      victor statues for  
musicians1 on ,helikon1 #bhd4           
,mussius1 ,l41 gravestone of1 #gb4      
,mycen1 #a1 #g2      lack of athletic   
scenes at1 #h2      no ,egyptian        
influence on art of1 #ccb4      ,mykale1
 battle of1 #cgc4      ,myrina1         
terra-cotta statuettes from1 #ace4      
,myron1 sculptor1 #ahc;f41 #cbd1 #cec1  
#cge2       of1 #ahc2      criticism of1
 by ,cicero1 #fj2      by ,pliny1 #ahj1 
#ahd2      dated by ,pliny1 #fa2        
love of movement of1 #ahc2      ,myron  
and ,hermes ,ludovisi1 #he2      ,myron 

and ,pythagoras1 difficulty of          
separating works of1 #aha1 #bde2        
,myron and ,standing ,diskobolos1 #gf2  
,olympic victor statues by1 #abi1       
#ahg;f41 #bde1 #ccc2      poses of      
victor statues by1 #dd2      pupil of   
,hageladas1 #aaj2      as realist1 #ahh2
      statue of ,ladas by1 #aif;f42     
surpasses ,polykleitos in rhythm and    
symmetry1 #ff2      versatility of1     
#ahh2      victor statues at ,delphi by1
 #bf1 #ahh4      ,myron1 tyrant of      
,sikyon1 dedicates bronze chapel at     
,olympia1 #da4      ,mytilene1 statue   
from1 #ib4        ,narkissos1 #aeh4     
,narykidas1 base of statue at ,olympia1 
#cdb4      ,natalis1 ,l4 ,minikios      
7,minicius71 equestrian monument at     
,olympia1 #cg4      ,natural ,history1  
of ,pliny2 see ,historia ,naturalis4    
,naturalism1 in ,greek ,art1 #dd4       
,naukratis1 ,egypt1 #aje1 #cbi1 #ccd4   
,naukydes1 sculptor1 #gf1 #aag1 #abj2   
leg position of statues by1 #aei2       
,naukydes and ,standing ,diskobolos1    

#gf;f42      ,naukydes and canon of     
,polykleitos1 #fi2      statue of       
,cheimon by1 characterized by           
,pausanias1 #fb4      ,naupaktos1 #aaj4 
,nausikaa1 #hc4      ,naxos1 8,apollo0  
from1 #cbh1 #ccd2      bronze statuette 
from1 #gd1 #aai2      statue of         
,nikandre from1 #agg4      ,nelson1     
,philip1 head in collection of1 #aeg4   
,nemea1 athletes at1 divided into three 
classes1 by ages1 #ahi2      athletic   
contests at1 #be2      athletic interest
 of1 secondary to that of ,olympia1 #be2
      boy contests at1 #be2             
festival at1 #a2      founded by        
,adrastos1 #ag2      held every two     
years1 #ag2      in honor of ,opheltes  
or ,archermoros1 #aj2      later in     
honor of a god1 #i2      origin of1 #i2 
records of victors at1 #ba2      relief 
from1 #acb2      retired valley of1 #be2
      revived by ,hadrian1 #ag2         
statues of victors at1 #bf2      statues
 of victors at1 in ,athens1 #bg2        
summarily treated by ,pausanias1 #bd2   

transferred to ,argos1 #ag2      under  
,argive influence1 #ag2      the ,nemea 
of ,thebes1 #bg4      ,nemead1 first    
dated1 #ag4      ,nemesis1 statue by    
,agorakritos at ,rhamnous1 #ahb4        
,neoladas1 statue at ,olympia1 #abj4    
,nepos1 on first date of representing   
athlete statues in motion1 #agc4        
,nero1 coins of1 #ba2      uses force to
 win at the ,isthmia1 #cd2      villa   
of1 at ,subiaco1 #aie2      wins        
chariot-races at ,olympia1 #beg1 #bfb1  
#cfi4      ,nesiotes1 sculptor1         
criticism of1 by ,lucian1 #fj4          
,nestor1 #h2      contests at           
,bouprasion1 #i2      statue at         
,olympia1 by ,onatas1 #abb4      ,net1  
on ,vapheio cup1 #e4      ,new ,empire1 
,egypt1 dates of1 #cca and note #b2     
sculptures of1 #cca4                    
,nida-,haddernheim1 terra-cotta         
statuette from1 #bjb4      ,nikandre1   
statue of1 #agg4      ,nikandros1 statue
 at ,olympia1 #aba4      ,nikanor1      
fragment of base of statue at ,olympia1 

#cei4      ,nikarchos1 base of statue at
 ,olympia1 #cef4      ,nike1 the1 of    
,archermos1 #agg2      bronze figurine  
from ,akropolis1 #agg2      as          
charioteer1 #bfh2      on ,ficoroni     
cista1 #bfi2      on hand of statue of  
,olympian ,zeus1 at ,olympia1 #adi2     
on ,nike balustrade from ,akropolis1    
#hf2      on relief in ,madrid1 #bfi2   
on relief from ,phaleron1 #bfi2      on 
sarcophagus from ,klazomenai1 #bfh4     
,see also ,paionios1 the ,nike of4      
,nikeratos1 date of archonship of1 #aid4
      ,nikeus1 casts stone diskos1 #bah4
      ,nikodamos1 sculptor1 #bdd4       
,nikokles1 victor monument at ,akriai1  
#cgb4      ,nikomachos1 painter1 #bfh2  
,victoria quadrigam in sublime rapiens  
by1 #bfh4      ,nineveh1 reliefs from1  
#ccj4      ,niobid1 identified with     
statue of youth from ,subiaco1 #aie4    
,nordostgraben1 the1 at ,olympia1 #ceh4 
,nordwestgraben1 the1 at ,olympia1 #cef4
      ,north ,greek-,thracian school of 
sculpture1 #aad4      ,noses1 bloody1 on

 vase-paintings1 #afg4      ,novus      
,annus 7871 nude statue found in ,rhine 
identified as1 #bgf4      ,nudity1      
characteristic of archaic statues1 #cce2
      as essential difference between   
,greek and foreigner1 #dh2      not     
observed by charioteers1 #dh2      of   
victor statues1 #dg;f4      ,nudus talo 
incessens1 statue by ,polykleitos1 #aeh1
 #bdi1 #bej2      statuette from ,autun 
showing the ,polykleitan motive1 #bdi1  
#bej4      ,numismatic commentary on    
,pausanias1 #cjf4      ,ny-,carlsberg   
,museum1 ,copenhagen1 archaic head of   
youth in1 #abh2      two heads in1 #ahj1
 #aha2 etc4      ,nymphs1 altar at      
,olympia1 #cea4        ,odysseus1 #h4   
,oibotas1 statue at ,olympia1 #cj1 #cb1 
#ccc1 #cdc1 #cea4      ,oil1 used in    
wrestling1 #afe4      ,oil-flask1 on    
r4-f4 kylix in ,munich1 #afd4           
,oil-pourer1 bronze statuette of1 from  
,south ,italy1 #ace2      statue        
so-called1 in ,munich1 #ii1 #acc;f41    
#acg2      as ,attic work1 #acg2        

head in ,boston1 copy of original of1   
#acd2      pose of1 #aeh2      torso in 
,dresden as variant of1 #acd1 #ace4     
,oil-pouring1 on gems1 reliefs and      
terra-cotta statuettes1 #ace4           
,oil-scraping1 as athletic motive1      
#ace;f4      ,oinoanda1 base of victor  
statue from1 #cga4      ,oinomaos1      
chariot-race with ,pelops1 #ad1 #bei2   
column at ,olympia1 #cbc1 #cej1 #cea4   
,olaidas1 honor statue at ,olympia1 #db4
      ,old ,kingdom1 ,egypt1 dates of1  
#ccj and note #c2      sculptures of1   
#ccj4      ,olive1 crown of1 as prize at
 ,olympia1 #aee;f42      of 8,fair      
,crown10 at ,olympia1 #bj1 #cea2        
wild1 #bj4      ,olympia1 account of    
monuments at1 by ,pausanias1 #bd2       
age of boy victors at1 #ahi2            
antiquity of1 from excavations and      
religious history1 #af2      athletes   
at1 divided into two classes1 by ages1  
#ahi2      boxer head from1 #fb2        
celebrated every four years1 #ae2       
controlled by ,eleans alone after       

,persian wars1 #ae2      early          
controlled by ,pisa1 #ae2      early    
overshadowed by ,delphi and ,delos1 #ad1
 #ae2      founded before ,dorian       
invasion1 #ad2      funeral origin of1  
#i2      ,german excavations at1 #dc2   
history of1 #ad2      held in honor of a
 god1 #i2      held in honor of ,pelops1
 #aj2      importance of1 from seventh  
century ,b4 ,c41 #ae2      later        
controlled by ,pisa and ,elis1 #ae2     
prehistoric buildings at1 #af1 #cdi2    
sacrifices at1 to ,pelops and ,zeus1    
#aa2      as sanctuary prior to advent  
of ,achans1 #ad2      style of head of  
athlete 7,philandridas7 from1 #bic;f42  
style of gable statues from1 #aac1 #aad2
      traditional history of1 by        
,pausanias and ,strabo1 #ae2      two   
figures from ,west gable of temple of   
,zeus from1 #aie2      victor statues in
 ,altis at1 #bf2 etc4      ,olympia     
register1 #ae4      ,olympiad1 first    
dated1 #ae2      traditional first1 #h2 
the #hth1 #cdth1 #ajdth1 #baath1 omitted

 from ,elean register1 #cfi4            
,olympieion1 statue from ruins of1 #adc4
      ,olympos1 sculptor1 #abj4         
,omphalos1 from ,athens1 #hi4           
,onatas1 sculptor1 #abb2      group of  
,opis at ,delphi by1 #abe2              
inscribed base from ,akropolis1 #bd1    
#bha2      ,onatas and ,east gable      
statues from temple on ,aegina1 #abe2   
,onatas and ,kalamis1 #abi1 #bfd2       
works of1 at ,olympia1 #abb1 #bfg4      
,onomastos1 games of1 at ,cumae1 #bj4   
,onomastos1 of ,smyrna1 institutes      
boxing rules at ,olympia1 #bce4         
,opheltes1 #aj4      ,opis1 group of1 at
 ,delphi1 by ,onatas1 #abe4             
,opportunity 771 altar at ,olympia1 #gf2
      statue by ,lysippos1 #bej4        
,orchomenos1 8,apollo0 from1 #ajj1 #aja1
 #ajc1 #cbh1 #ccd2      ceiling of      
treasury of1 #cbi4      ,orestes1 as his
 own charioteer1 #bfg4      ,oriental   
influence on early ,greek art1 #cbh;f4  
,originals of victor statues at         
,olympia1 #fb;f41 #cbb4      ,orpheus   

and ,telete1 victor group on ,helikon1  
#bhd4      ,orsippos1 first athlete to  
drop the loin-cloth1 #dg4               
,osthalle1 the1 at ,olympia1 #ceh4      
,overbeck1 ,j41 on ,farnese ,herakles1  
#bec2      on head of hoplitodromos from
 ,olympia1 #afc2      on heads of       
,apollo1 #bge2      on ,lysippos as     
exclusively a bronze founder1 #cjb2     
on ,olympia sculptures1 #aad2      on   
,piombino statuette1 #aai2              
,schriftquellen of1 #fa2      on        
,standing ,diskobolos1 #gf4             
,oxylos1 ,king of ,dorian ,eleans1 #ae4 
,oxyrhynchus ,papyri1 the1 #ca2         
order of contestants at ,olympia in1    
#ahi4        ,paianios1 statue at       
,olympia1 #bcd4      ,paidotribes1 or   
trainer of athletes1 #bbi1 #bcf1 #bdh4  
,paint1 used on sculptures1 #cbf4       
,painting1 competition in1 at ,delphi1  
#be4      ,paintings1 as victor         
monuments1 #bh4      ,paionios1         
sculptor1 #aac2      the ,nike of1 at   
,olympia1 #cbf1 #cdc1 #cdd1 #ceb1 #cfj2 

replica of1 at ,delphi1 #cjd2           
replica of head of1 in ,rome1 #cjd4     
,palstra1 absent in ,homer1 #g2         
palstra gymnast1 statuette of1 #ajh2    
origin of name1 #bbh2      statues of   
athletes in1 #big2      statues of      
athletic gods in1 #ge1 #id4             
,palaistra1 the1 at ,olympia1 #cdg1     
#cee1 #cef1 #cei1 #cfj1 etc42      at   
,pompeii1 #bbd4      ,palatine1 the1 at 
,rome1 #ej2      fragment of leg of     
statue from1 #hi4      ,palladion1      
carried off by ,diomedes1 #afi4         
,palm1 the1 as common measure in        
proportions1 #fh4      ,palm-branch1 on 
so-called ,apollo-on-the-,omphalos and  
,apollo        ,choiseul-,gouffier1     
#afa2      in hand of victorious jockey 
on coin of ,philip ,,ii1 #bhj2      on  
statue from ,formiae1 #afa2      on     
statue of girl runner in ,vatican1 #afa2
      on stele from ,dipylon1 #afa2     
on unfinished statue of athlete in      
,athens1 #afj2      on vases1 #afa2     
as victor attribute1 #ej1 #afj;f4       

,palm-wreath1 common to many games1 #ba1
 #afj4      ,pammachos1 statue at       
,thebes1 #cfh4      ,pamphilos1         
grave-relief of1 in ,vienna1 #ig4       
,pan1 ,doryphoros converted into1 #gd4  
,panathenaia1 the2 see ,panathenaic     
games4      ,panathenaic amphor1 runners
 on1 #ajf1 #aid2      four-horse chariot
 on1 from ,sparta1 #bfc2                
,dyneiketos1 victor1 on1 #bhj2 etc4     
,panathenaic games1 ,great1 ,athens1    
acrobatic feats at1 #bj2      contest of
 beauty at1 #eg2      dedication of     
victor in chariot-race at1 #abi2        
held every fourth year1 #ah2      hydria
 as prize at1 #bj2      jars of oil as  
prizes at1 #bj2      money as prizes at1
 #cc2      origin of1 #ag2              
paintings dedicated by victors at1 #bi2 
remodeled by ,solon1 #ag2      statue of
 boy victor at1 in ,athens1 #bg4s_/b 2  
,little1 annual ,athenian festival1 #ah4
      ,pancratiasts1 #bdf;f42           
bronze statuette of1 from ,autun1 #bdi2 
cap of1 #afe;f42      ear of1 as no     

criterion of athlete statues1 #ie2      
group of1 in ,florence1 #ii1 #bcc1      
#bea;f42      head of1 from ,olympia1   
#bed1 #bee2      in sculpture1 #agj1    
#bdh4      ,pan-hellenic fame of victors
 at four national games1 #cc4           
,panionia1 the1 festival at ,mykale1    
#ai4      ,pankration 771 ,artemidoros  
on1 #bdg2      biting and gouging       
allowed at ,sparta in1 #bdf2      boys' 
contest introduced at ,olympia1 #bdg2   
boys' contests outside ,olympia1 #bdg2  
as combination of boxing and wrestling1 
#bdf2      contrasted with wrestling1   
#bdf2      as dangerous sport1 #bdf2    
eight ,pindaric odes in honor of1 #bdf2 
etymology of word1 #bdf2      8fairest0 
of contests1 #bdf2      fight on ground1
 #bdh2      grips and throws shown on   
vases1 #bdg2      introduced at         
,olympia1 #bdg2      invented by        
,theseus or ,herakles1 #bdg2      not in
 ,homer1 #bdg2      not so brutal as    
popularly believed1 #bdf2      often    
ended with preliminary sparring1 #bdi2  

often resulted in death1 #bdg2          
pankration and wrestling on same day1   
#ic1 #id2      popularity of1 at        
,olympia1 #bdg2      rules of1 #bdf4    
,panodoros1 #cga4      ,pantares1 statue
 at ,olympia1 #ced4      ,pantarkes1    
favorite of ,pheidias1 #aej4            
,pantarkes1 victor statue at ,olympia1  
#aej1 #aea4      ,pantheion1 the1 at    
,olympia1 #ba4      ,pantias1 sculptor1 
#bfh1 #bgi4      ,papyrus1 containing   
wrestling instructions1 #bbi4           
,paris1 statue by ,euphranor1 #hc4      
,parnon1 ,mount1 statue of ,herakles on1
 #cai4      ,paros1 torso of ephebe from
 ,akropolis1 work of sculptor from1     
#abg4      ,parrhasios1 painter1 #bi1   
#fg1 #bjf4      ,parsley1 not used as   
prize wreath at ,nemea1 #ba4            
,parthenon1 frieze of the1 #ah1 #ec1    
#hf1 #aea2      ,athenian knights on1   
#bha2      chariot scenes on1 #bga2     
representing apobates race1 #bgb2       
youth crowning self on1 #aeh2           
metopes of1 #adi4      ,pasiteles1      

sculptor1 #fj1 #aab2      ,pasiteles and
 ,choiseul-,gouffier ,apollo statue     
type1 #hi2      ,pasiteles and          
,spinario1 #bja1 #bjb4      ,patrokles1 
sculptor1 #aag1 #abj1 #aca1 #ach1 #ada4 
,patroklos1 contests at funeral games   
of1 #h2      funeral games of1 in       
,iliad1 #g;f41 #aa1 #ea2      tripods in
 honor of1 #ai4      ,pausanias1 ,king  
of ,sparta1 flees from ephors1 #cfg2    
funeral games in honor of1 at ,sparta1  
#aa4      ,pausanias1 the ,periegete1 on
 art1 #fa2      description of ,greece  
by1 #dc2      description of victor     
statues in ,altis by1 #cci2      on girl
 runners at the ,heraia at ,olympia1    
#di1 #ej2      on honor and victor      
statues1 #ci2      mentions only part of
 victor statues in ,altis1 #cbd2      on
 origin of ,olympic games1 #ae2         
periegesis of ,altis by1 #aij2      on  
reason for ,pythian air being played at 
pankration1 #bhd1 #bhe2      routes 77  
of1 in ,altis1 #cci1 #cda;f41 #cdh;f42  
on similarity between ,greek and        

,egyptian sculptures1 #ccj2      on     
statue of ,euthymos1 at ,olympia1 #ahc2 
use of words   and   by1 #bii2      on  
victor statues of poets and musicians on
 ,helikon1 #bhd2      on votive         
character of victor statues at ,athens  
and ,olympia1 #ch2 etc4      ,payne     
,knight bronze statuette1 so-called1 in 
,british ,museum1 #ajh1 #aai4           
,peace1 temple of1 in ,rome1 #cff4      
,pearl-string hair technique1 #ec4      
,peisanos1 ,m4 ,antonios ,kallippos1    
statue at ,olympia1 #cei4               
,peisirhodos1 victor at ,olympia1 #dg1  
#di4      ,peisistratidai1 #abh4        
,peisistratos1 tyrant1 #cfc2      head  
of1 so-called1 #aha4                    
,peisthetairos1 in ,aves of             
,aristophanes1 #bjf4      ,pelias1      
funeral games of1 #aa2      on chest of 
,kypselos1 #ab2      tripods in honor   
of1 #ai4      ,pelichos1 statue of1 #ef4
      ,pelopion1 the1 at ,olympia1 #cdh1
 #cdi1 #cej1 #ceg4      ,peloponnesian  
sculptors1 #aji;f41 #aad4      ,pelops1 

chariot-race with ,oinomaos1 #ad1 #bei2 
contestants at ,olympia sacrifice to1   
#aa2      ,olympian games in honor of1  
#aj2      ,peloponnesian boys lashed at 
altar of1 #aa2      statue of1 in ,east 
gable1 temple of ,zeus at ,olympia1     
#agf2      worship of1 at ,olympia1     
preceded that of ,zeus1 #af4            
,pensive expression1 in portraits of    
,alexander1 #bif4      ,pentateris1 or  
four-year festival1 #ag4                
,pentathletes1 attributes of1 #afd1     
#afe2      statues in motion1 #baj;f42  
statues at rest1 #afd2      on vases1   
#afd4      ,pentathlon1 the1 accompanied
 by flute1 #bhd2      all-round         
development from1 #ei1 #baa2      boys'1
 introduced at ,olympia1 #baj2          
events in1 on r4-f4 vases1 #baj2        
five events of1 #i1 #baj2      diskos   
throwing1 #bah;f42      javelin         
throwing1 #bbb;f42      jumping1        
#bad;f42      jumping most difficult    
part of1 #baf2      jumping-weights used
 in1 #bad2      men's introduced at     

,olympia1 #baj2      not in ,homer1 #i1 
#baj2      ,pythian air played at1 #bhe4
      ,pergamon1 dying ,gaul statues    
from1 #bee2      frieze of ,great ,altar
 at1 #beb2      small frieze from1 #bec4
      ,periandros1 tyrant1 gold statue  
vowed by1 #bff2      refounds ,isthmian 
games1 #ag4      ,peribotos1 statue of  
satyr known as the1 #add4               
,perikles1 #eb1 #cfb2      portrait of1 
by ,kresilas1 #ef1 #aii2      statue of 
slave of1 #adc4      ,perinthos1 head   
from1 #agi1 #ahj1 #aha2      prototype  
of ,riccardi and ,ince ,blundell heads1 
#aha4      ,peripatetics1 criticism of  
,greek sculpture by the1 #eh4           
,perixyomenoi1 statues of1 #acf4        
,perrot and ,chipiez1 on so-called dying
 hoplite relief1 #bji4      ,perseus and
 head of ,medusa1 on engraved gem1 #hc2 
,perseus and ,dana1 in a chest1 #ahh4   
,persian ,wars1 #ea2      sack of       
,akropolis during1 #abf4      ,perugia1 
statuette of diver 787 from1 #bag4      
,pesaro1 the ,idolino found at1 #ada4   

,petasos1 as attribute of ,hermes1 #ajh1
 #bjg1 note #a1 etc4      ,peter cista1 
the1 in ,vatican1 #bdc4      ,petersen1 
,e41 on ,kyniskos' statue1 #aei2      on
 ,pythokles' statue base1 #bab4         
,petrograd1 head of athlete in1 #ahj2   
etc4      ,petworth ,house1 ,sussex1    
,kresilan head of athlete in1 #ade2     
statue of ephebe in1 #acc4              
,phaistos1 theatral area at1 #c4        
,phanas1 head ascribed to1 #afc2        
statue at ,olympia1 #ajf1 #cee4         
,pharsalos1 home of ,daochos1 #bhf2     
statue base of the ,agias at1 #cjc4     
,phallos1 record diskos-throw of1 #baf2 
record jump of1 #baf2      statue at    
,delphi1 #bf4      ,pheidias1 #cf1 #aaj2
      goddess types of1 #ec2      ideal 
tendency of1 #aeb2      relation of1 to 
,diadoumenos ,farnese1 #aea2            
relation of1 to ,hermes ,ludovisi1 #he2 
statue of boy crowning himself at       
,olympia by1 #aej;f4      ,pheidippides1
 runner1 #bji4      ,pheidolas1 sons of1
 monument at ,olympia1 #bc1 #bgi4       

,pheidon1 king of ,argos1 #ae4          
,pheneus1 games at1 #gf4                
,pherenike1 mother of ,peisirhodos1 #dg1
 #di4      ,phigalia1 victor statue of  
,arrhachion in market-place of1 #cbf4   
,philandridas1 date of victory of1 #cjj2
      head from statue of1 at ,olympia1 
by ,lysippos1 identified1 #bic;f42      
head called youthful ,herakles by some1 
#big2      compared with head of boy    
athlete from ,sparta1 #caf;f42          
crushed ear of1 #afh2      location of1 
in ,altis1 #cjj2      under life-size1  
#df4      ,philesian ,apollo1 of elder  
,kanachos1 #gd1 #ajg1 #ajh1 #aah-abj1   
#ccf and        note #a2      8double0  
of1 in ,thebes1 #cjd4      ,philinos1   
statue at ,olympia1 #cj1 #ee4           
,philios1 ,d41 on dying hoplite relief1 
so-called1 #bji4      ,philip ,,ii1 king
 of ,macedon1 coin of1 showing          
victorious jockey with                  
palm-branch1 #bhj2      coins of1       
showing ,athenian type of chariot1 #bfc2
      equestrian victor at ,olympia1    

#beg1 #bfc4      ,philippeion1 the1 at  
,olympia1 #cec1 #cee1 #cef1 #ceg1 #ceh4 
,philippopolis1 coin of1 #gh4           
,philippos1 of ,kroton1 ,olympic victor1
 heron of1 at ,egesta1 #ce1 #eg1        
#cfc4      ,philippos1 of ,pellene1     
inscribed bronze plate from victor      
statue base      at ,olympia1 #bdd;f4   
,philistos1 monument base at ,olympia1  
#ceg4      ,phillen1 or ,philys1 statue 
at ,olympia1 #cdd4      ,philon1 statue 
at ,olympia1 #abb4      ,philonides1    
courier of ,alexander1 honor statue at  
,olympia1 #db1 #cdf1 #cef1      #cei4   
,philonides1 sculptor1 #aji1 #bff4      
,philonikos1 base of statue at ,olympia1
 #ceh4      ,philokrates1 base of statue
 at ,olympia1 #cfh4      ,philoktetes1  
in ,sophokles' drama1 the ,philoctetes1 
#ei4      ,philostratos1 of ,rhodes1    
adversary of ,straton at ,olympia1 #cd4 
,philostratos1 on athletes wearing      
coarse mantle1 #dg2      on ,eleans     
allowing strangling in pankration1 #bdf2
      on jumping-weights1 #bae1 #baf2   

on method of putting on boxing thongs1  
#bcf2      on omitted #baath ,olympiad1 
#cfi2      on pankration as 8fairest of 
contests10 #bdf2      on prohibition    
against biting and gouging in           
pankration1 #bdf2      on reason for    
nudity of ,olympic athletes1 #dg2       
on ,spartans allowing biting and gouging
 in pankration1 #bdf2      on statue of 
,milo1 #ajf1 #ccg2      on style of long
 race1 #aid2      on reason for ,pythian
 air being played at pentathlon1 #bhe4  
,philotimos1 sculptor1 #abc1 #bfd1 #bfh1
 #bgi4      ,philoumenos1 inscription   
from base of statue of1 #cga4           
,philys2 see ,phillen4      ,phlegon1 on
 olive crown1 #bj4      ,phnicians1 the1
 transmit ,assyrian and ,egyptian       
designs to ,greece1 #ccj4      ,phokis1 
confederacy of1 sets up statue at       
,olympia1 #cj4      ,phormis1 offering  
at ,olympia1 #bh1 #fb1 #afc1 #bfd4      
,phorystas1 base of statue from         
,tanagra1 #cfh4      ,phradmon1         
sculptor1 #aag4      ,phrikias1 head    

ascribed to1 #afb1 #afc1 #cec2          
statue at ,olympia1 #ajf4      ,phrixos1
 on shield relief1 #afb4      ,physical 
differences1 in athletes1 #ei4          
,piankhi1 ,king of ,aethiopia and       
invader of ,egypt1 #cca4      ,pictorial
 hair technique1 #ec4      ,pinakotheke1
 the1 at ,athens1 #bi4      ,pinax1 of  
victresses at the ,heraia1 at ,olympia1 
#di2      votive on ,attic vase1 #bi2   
1 iconic1 #ahb4      ,pindar1 on boxing 
and wrestling1 #h2      on connection of
 ,pelops with ,olympia1 #aj2      on    
early value of bronze1 #ai2      on     
non-existence of the pentathlon in      
heroic days1 #baj2      ode on flutist  
,sakadas1 #bhd2      scholia on1 #bf1   
#acj1 #aij2      seventh ,olympic ode   
of1 #cdc2      sings praises of victors1
 #cf2      sixth ,pythian ode of1 #bfg2 
writes eight odes in praise of          
pankration1 #bdf4      ,pine1 the1 at   
the ,isthmus1 #ba2      wreath of1 at   
the ,isthmus1 #bj2      at ,nemea1 #ba4 
,piombino1 bronze statuette from1 #aah4 

,pison1 sculptor1 #bgh4      ,plane-tree
 ,grove1 ,sparta1 #cai1 #cfg4           
,plastic hair technique1 #ec4           
,plata1 the ,eleutheria at1 #aa4        
,platan ,zeus1 the1 statue at ,olympia1 
#cdd4      ,plato1 on boys' stade-race1 
#aia2      divides athletes into three  
classes1 #ahi2      on ,egyptian art1   
#fj2      on happy life of victors1 #cf2
      on length of stade-race for boys1 
#aia2      on length of stade-race for  
ephebes1 #aia2      on loin-cloth1 #dh2 
mentions 1 #bcg2      on mythical origin
 of wrestling1 #bbh2      omits         
pankration in his ideal state1 #bdf2    
protests against competition in         
athletics1 #cf2      on swollen ear of  
athletes1 #afg4      ,plectra1 in       
,parthenon1 #bc4      ,pliny1 on        
,alkamenes' ,enkrinomenos1 #gg2      on 
the ,apoxyomenos of ,lysippos1 #bhi2    
on art1 #fj1 #fa2      on custom of     
setting up statues of victors at        
,olympia1 #bg1 #cbd1 #ced2      on      
,euphranor's canon1 #fi2      on        

,eutychides1 sculptor1 #aba2      on    
,greek origin of equestrian monuments1  
#bd2      ,historia ,naturalis of1 #dc1 
#cba2      on iconic statues1 #ed1 #ee2 
on ,kanachos' statue of the ,philesian  
,apollo1 #aah2      on ,kanachos'       
celetizontes pueri1 #abj2      on       
,kresilas' portrait of ,perikles1 #ef2  
on ,lysippos' proportions1 #df2      on 
,lysistratos making portraits from      
plaster moulds1 #ef2      on monotony in
 the art of ,polykleitos1 #aeb1 #bbf2   
on ,myron1 #ahd2      on nudity of      
athletes1 #dg2      on the nudus talo   
incessens of ,polykleitos1 #bdi1 #bej2  
on representing victors by paintings1   
#bi2      on the sculptor ,apellas1     
#bfg2      on the ,splanchnoptes of     
,styphax1 #adc2      on statue of       
pancratiast at ,delphi by ,pythagoras1  
#bf2      on statue represented in      
prayer1 #acj2      on statue of victors 
by ,myron at ,delphi1 #bf2      on      
symmetry1 #ff2 etc4      ,plutarch1 on  
,apollo as boxer1 #hh2      on art1 #fa2

      on portraits of ,alexander by     
,lysippos1 #bij1 #cbh4      ,plutus1    
the1 of ,aristophanes1 quoted1 #cf4     
,poetic competitions at ,delphi1 #be4   
,poets1 statues on ,helikon1 #bhd2      
statues at ,olympia1 #bhe4              
,polemon1 on statue of ,leon1 #cff2     
on statue of ,epicharinos1 #cgb4        
,polites1 victor at ,olympia1 #ced4     
,pollux1 describes game of 1 #bcf4      
,pollux2 see ,polydeukes4      ,pollux1 
the statue in ,louvre1 so-called1 #ahj1 
#aha1 #ahh1 #bde4      ,polybios1 on    
,kleitomachos1 boxer of ,thebes1 #adg4  
,polychalchos1 surname of ,spartan      
victor ,polykles1 #bff4      ,polydamas1
 relief from base of statue of1 #cjc2   
statue of1 at ,olympia1 by ,lysippos1   
#cb1 #de1 #aba1 #bih1 #bii2      statue 
of1 cures fevers1 #cfd4                 
,polydeukes1 boxing-match with ,amykos  
on ,ficoroni cista1 #bfi2      as famed 
boxer1 #bce2      wins boxing match at  
,olympia1 #if1 #bce4      ,polykleitos1 
the ,elder1 sculptor1 #aag1 #aah2       

,apoxyomenos of1 #acf2      called      
,kleito by ,sokrates1 in ,xenophon's    
,memorabilia1 #ei2      canon of1 #fh1  
#aaa1 #acf1 #adh1 #bhh2                 
characteristics of1 #aeb2      date of1 
by ,pliny1 #fa2      destringentesse of1
 #acf1 #bhh2      ,diadoumenos of1 #aeb1
 #aed2      ,doryphoros of1 #baa1       
#bbd;f42      as idealist1 #ahh2        
influence of1 on ,lysippos1 #bia2       
influenced by ,attic art1 #aeb2         
innovation of1 in statue poses1 #bbf2   
monotony of1 #aeb1 #bbf2      poses of  
victor statues of1 #dd2      pupil of   
,hageladas1 #aaj2      pupils of1 #aci2 
victor statues of1 #cf4                 
,polykleitos1 the ,younger1 sculptor1   
statues of victors at ,olympia by1      
#cj1 #aag1 #aah4      ,polykles1 the    
,elder1 sculptor1 #abi1 #cbd4           
,polykles1 victor group at ,olympia1    
#aej1 #bff4      ,polymedes1 sculptor1  
#aje4      ,polypeithes1 chariot-group  
at ,olympia1 #bc1 #bfe1 #cdg4           
,polyxenos1 statue at ,olympia1 #cei4   

,polyzalos1 brother of ,gelo1 #bgh4     
,pomegranate1 attribute of victor       
statues1 #ajg1 #afe4      ,pompeii1     
,doryphoros of ,polykleitos found at1   
#gj2      ,palaistra at1 #hg4           
,poros sculptures1 #ec1 #abh4           
,porto d',anzio1 statue from1 #ace1     
#add4      ,portraiture1 ,greek1 #ed1   
#ee;f42      privilege of erecting      
portrait statues at ,olympia1 #eg1 #ced2
      privilege rarely given1 #eg2      
realistic1 #ef1 #eg4      ,poseidon1    
altar at ,isthmus1 #bei2      god of    
contests1 #ge2      pine sacred to1 #ba2
      sanctuary at ,isthmus1 #ba2       
statue from ,melos1 #gc1 #gd2           
surnamed 1 at ,sparta1 #cfb4            
,poses1 of victor statues1 found on     
various sculptured and painted          
works1 #dd2      general1 of victor     
statues at rest1 #acj;f42      general1 
of victor statues in motion1 #ahh;f4    
,poulsen1 ,f41 on the ,agias1 #bia1 note
 #b4      ,prado1 copy of ,diadoumenos  
of ,polykleitos in the1 ,madrid1 #aec4  

,praisos1 seal from1 #c4                
,praxidamas1 wood statue at ,olympia1   
#ajf1 #cbb1 #cbf1 #ccc1 #ccg1 #cea4     
,praxiteles1 sculptor1 #cf1 #hj2        
the ,agias of ,lysippos influenced by1  
#bia2      art of1 rooted in fifth      
century ,b4 ,c41 #acd2      as bronze   
worker1 #cjc2      delicate male types  
of1 #big2      hair technique of1 #ec2  
head-type of1 #gg1 #cji2                
,praxiteles and boy athlete head from   
,sparta1 #cje1 #caa2      ,praxiteles   
and ,kalamis1 chariot-group by1 #bfh2   
,praxiteles and ,philandridas head from 
,olympia1 #bic2      ,praxiteles and    
,skopas differentiated1 #caa2           
statue of a  by1 #aca4      ,prayer1 as 
motive in votive monuments1 #acj2       
position of hands in ,greek1 #acb2      
statue of youth represented in1 from    
,carinthia1 #aca2      statue of youth  
represented in1 ,berlin1 #aca2          
statuette of youth represented in1      
,metropolitan ,museum1 #acb1 #acc4      
,praying ,boy1 the1 statue so-called1 in

 ,berlin1 #aca1 #acb4      ,preuner1    
,e41 on inscription from statue base in 
,pharsalos1 #bhf1 #cag1        #cah1    
#cfc4      ,pristae1 by ,myron1 #ahh4   
,prizes1 on chest of ,kypselos1 #ac2    
at contests of beauty1 #eg2      early  
athlete1 #ah;f42      at games of ,azan1
 #i2      at games of ,patroklos1 #ai4  
,processional entrance1 the1 of the     
,altis1 #cdg4      ,processional way1   
the1 of the ,altis1 #cdh1 #cdi1 #cej4   
,professionalism in athletics1 at       
,olympia1 #cfa2      protests against1  
#cf1 #cg4      ,profile1 first example  
of ,greek1 #aaf4      ,prokles1 statue  
at ,olympia1 #cde1 #cdf4                
,promachos1 statues at ,olympia and     
,pellene1 #ca1 #cjd1 #cbc1 #cbe1 #cbf1  
#cfg4      ,proportio1 in ,greek art1   
#ff4      ,proportions1 canons of1      
#fe;f42      in ,egyptian art1 #fg2     
,fritsch on1 of body1 #fg2              
,kalkmann on1 of face1 #fg4      ,prose 
writers1 statues at ,olympia1 #bhe4     
,protogenes1 athlete painted by1 #bi4   

,protolaos1 statue at ,olympia1 #agi1   
#ceb4      ,prytaneion1 the1 in ,athens1
 victors eat at public expense at1 #cb2 
the1 in ,olympia1 #bii1 #cdb1 #cee1     
#cef1 #ceg1 #ceh1 #cei1 #cfj4           
,psammetichos1 tyrant of ,corinth1 #ag4 
,pseudo-,andokides1 #cfc4               
,pseudo-,plutarch1 on statue of         
,isokrates at ,athens1 #bd and note #aa1
 #bg      and note #d1 #bha1 #cgc4      
,ptoion1 ,mount1 statues of 8,apollo0   
from1 #ajj1 #aja1 #ajb1 #ajc1 #ccd2     
tripods in temple of ,apollo on1 #ai4   
,ptolemy1 ,gymnasion at ,athens1 #aff4  
,ptolichos1 sculptor1 #fa1 #abb4        
,puchstein1 ,o41 on location of ,great  
,altar of ,zeus at ,olympia1 #cdi4      
,pummeling1 allowed in pankration1 #bdf4
      ,pyanepsion1 month of1 #ah4       
,pyrilampes1 statue at ,olympia1 #cdc1  
#cdf1 #cec4      ,pythagoras1 sculptor1 
#ach1 #agh;f41 #cfd1 #cge2      dated by
 ,pliny1 #fa2      first to aim at      
rhythm and symmetry1 #fg1 #agi2         
first to express sinews and veins1 #ach2

      ,pythagoras and                   
,choiseul-,gouffier ,apollo statue type1
 #hi2      ,pythagoras and ,delphi      
,charioteer1 #bgh2      ,pythagoras and 
,myron1 #aha1 #bde2      ,pythagoras and
 ,tux bronze1 #bjg2      statue of      
,delphic pancratiast by1 #bf1 #agh1     
#ahb2      statue of mala ferens nudus  
by1 #ajg2      style of1 #agi2          
victor statues at ,olympia1 by1 #cf1    
#fb1 #afa1 #agh;f41 #bfh4      ,pytheos1
 see ,pythis4      ,pythes1 honor statue
 at ,olympia1 #db4      ,pythia1 the1   
festival at ,delphi1 #af1 #ag2      as  
athletic meet1 inferior to ,nemea and   
,isthmia1 #bd1 #be2      as festival1   
second to ,olympia1 #bd2      in honor  
of the ,python1 #aj2      statue of     
victor at1 in ,athens1 #bg4      ,see   
,delphi4      ,pythian air1 played at   
pentathlon1 #hh1 #bhe4      ,pythian    
,apollo1 the1 statue of1 #ccj1 #ccd4    
,pythis1 or ,pytheos1 architect1 #bfd4  
,python1 the1 at ,delphi1 #aj1 #be4     
,pythokles1 replicas of statues of1     

#bab;f42      statue of1 at ,olympia1   
#ic1 #aag1 #aei and note #c1 #baa1 #bab1
 #cdc4      ,pythokritos1 flutist1 honor
 statue at ,olympia1 #db1 #bhe1 #ceb4   
,pythokritos1 sculptor1 #bdd4           
,pyxis1 from ,knossos1 #g4              
,quadrigae1 mentioned by ,pliny1 #bfd4  
,see ,chariot-race4      ,quatremre de  
,quincy1 on ,borghese ,warrior1 #bjh4   
8,quiet grandeur0 7stille ,grosse7 of   
,greek ,art1 #eg4      ,quintilian1 on  
art1 #fa2      on the ,doryphoros of    
,polykleitos1 #gj1 #bbf2      on the    
,diskobolos of ,myron1 #ahg4            
,quintus ,smyrnus1 on jumping among the 
,trojans1 #bad4      ,quiver1 on        
,torlonia copy of the                   
,choiseul-,gouffier ,apollo statue type1
      #hi4      ,quoit2 see ,diskos4    
,ram-offerer1 statue by ,naukydes1 #gh4 
,rampin head1 of ,louvre1 #abf1 #abh1   
#agf2      hair technique of1 #ec4      
,ra-nefer1 limestone statue in ,cairo1  
#ccj4      ,rayet1 on ,borghese         
,warrior1 #bjh4      ,rayet-,jacobsen   

head1 so-called1 in ,copenhagen1 #abg1  
#abh1 #afg1 #ccg4      ,realism in      
,greek art1 #ef1 #eg1 #adf;f42      in  
,greek portraiture1 #ef1 #eg4           
,reconstruction of ,olympic victor      
statues1 #dc;f4      ,reinach1 ,s41 on  
bronze statue of youth from             
,antikythera1 #hc2      on stone statues
 being placed under cover1 #cbe4        
,reinach1 ,th41 on bronze statue of     
youth found in sea off ,antikythera1    
#ha4      ,reisch1 ,e41 on              
javelin-throwers in sculpture1 #bbd2    
on ,pliny's puer tenens tabellam and    
malaferens nudus1 #aha2      on statue  
of ,euthymos at ,olympia1 #ahc2      on 
votive character of ,olympic victor     
statues1 #ci4      ,reliefs1 of         
akontistai1 from ,sparta1 #bbc2         
,amphiaraos1 #bgc2      apobates chariot
 race1 #bgb2      ,apollo1 ,artemis1 and
 ,leto1 in ,louvre1 #bhd2               
,aristion1 #abd1 #abg2      ,boreas1 in 
,metropolitan ,museum1 #aid2            
boxers1 in ,lateran1 #bch2      boy     

crowning self1 #aee2      boxer1 on     
bronze shield1 from ,mount ,ida1 ,crete1
 #bce2      cap1 in ,rome1 #aff2        
charioteer1 from ,akropolis1 #abh2      
charioteer mounting chariot1 #bfi2      
chariots1 from ,crete1 #bfb2            
,dermys and ,kitylos1 from ,tanagra1    
#cce2      ,dioskouroi1 set up by       
,aischylos1 #if1 #ig2      ,dioskouroi1 
in ,london1 #ig2      from ,dipylon1    
#aef2      diskobolos1 from ,dipylon1   
#abg2      dying hoplite1 from ,athens1 
#aid1 #bji2      four-horse chariot1    
#bfh1 #bfi2      funerary1 from         
,tanagra1 #gb2      funerary1 from      
,athens1 #ff2        from ,halimous1    
#bdi2      ,hermes1 fragment from       
,athens1 #bgj2      hoplite runners1    
from ,tarentum1 #if2      horse crowned 
by ,nike1 from ,athens1 #bfi2           
horseman1 from ,athens1 #bha2           
horse-racer1 from ,sicily1 #bha2        
horse-racer from ,thera1 #bha2          
horse-racer leading horse1 from ,athens1
 #bha2      jumping-weights1 from       

,sparta1 #afd2      from ,klazomenai1   
#bfd1 #bfh2      from ,kleitor1 #acb2   
from ,knossos1 #c1 #d2      from ,lamia1
 #acb2      from ,loeb collection1      
,munich1 #aid2      from ,nemea1 #acb2  
palstra victor1 from ,delphi1 #ach2     
in honor of ,pamphilos and ,alexandros1 
in ,verona1 #ig2      showing poses of  
victor statues1 #dd2      as victor     
monuments1 #bh2      war-chariots1 from 
,mycen1 #bfb4      ,religion and ,greek 
athletics1 #ad4      ,remnants of victor
 statues at ,olympia1 #dc4              
,renaissance1 the1 #d2      bronze      
copies of ,spinario from period of1     
#bjb4      8,repose0 of ,greek art1 #eg4
      8,rest0 leg1 motive in sculpture1 
#aji4      ,resting after contest1      
athletic motive1 #add4      ,rewards1   
money1 of victors at ,athens1 #cb4      
,rhamnous1 the ,nemesis of ,agorakritos 
at1 #ahb4      ,rhegion1 ,anaxilas1     
tyrant of1 #bgh2      coins of1 showing 
mule-car1 #bfc4      ,rhetoric1 the1 of 
,aristotle1 #eh2      inscribed base of 

,olympic victor mentioned in1 #cfg4     
,rhexibios1 wood statue at ,olympia1    
#ajf1 #ccb1 #cbf1 #ccg1 #cea2           
wrongly called oldest at ,olympia by    
,pausanias1 #ccc4      ,rhodes1 scene of
 fighting combatants1 in art of1 #agh2  
tripods in honor of ,dionysos at1 #ai2  
,zan at ,olympia1 set up by1 #cd4       
,rhoikos1 bronze founder1 date of1 #cba2
      family of1 #ccj4      ,see also   
,telekles and ,theodoros4               
,rhouphos1 ,klaudios 7,rufus1           
,claudius71 statue in ,rome1 #cga4      
,rhythm1 definition of1 #ff2      in    
,greek ,art1 #ff4      ,riccardi head1  
#afi1 #ahj1 #aha1 #ahc4                 
,richardson1 ,r4 ,b41 on bronze head    
from ,akropolis1 #aad2      on ,farnese 
,herakles1 #bec1 #bed4      ,richter1   
,g41 on statuette of diskobolos in      
,metropolitan ,museum1 #bbj and         
note #e4      ,ridder1 ,a4 de1 on ,tux  
bronze1 #bjg2      on two statuettes of 
diskoboloi from ,akropolis1 #bba1 #bbb4 
,robert1 ,c41 on ,diadoumenos of        

,pheidias1 #aej;f42      on date of     
victor ,kyniskos1 #afj4      ,robinson1 
,d4 ,m41 #bfg4      ,robinson1 ,e41 on  
,charioteer 7871 in ,boston1 #bge2      
on head of ,hermes1 in ,boston1 #he2    
etc4      ,roehl1 ,h41 on inscription   
referred to statue of ,milo1 #ch4       
,roman copies of victor statues1 on1    
#dd2      no copy proved to be of victor
 statue1 #afj2      on ,roman patrons of
 art1 #dd4      ,ross1 ,l41 on inscribed
 base from statue of ,epicharinos1 #cgb4
      ,rothschild1 ,e4 de1 bronze copy  
of ,spinario1 in ,paris collection of1  
#bjb4      ,rouse1 ,w4 ,d41 on votive   
character of victor statues at ,olympia1
 #ci1 #dj4      ,routes1 of ,pausanias  
in the ,altis2 see ,ephodoi4            
,runners1 difference in style of        
various1 shown by vase-paintings1 #aic1 
#aid2      on ,panathenaic amphor1 #ajf1
 #aid2      represented as running with 
bent knee1 #aid2      statues of boy1   
#bjj;f42      statues of1 from          
,velletri1 in ,rome1 #aih1 #aii2        

statues of1 without special attributes1 
#agj4      ,running race 771 various    
kinds of1 #aij;f42      in mythology1   
#aij2      number of victors in1 named  
by ,pausanias1 #aic2      origin of1 at 
,eleusis1 #aij2      part of all ,greek 
games and exercises1 #aij4      ,see    
,double foot-race1 ,hoplite-race1 ,long 
race1 ,stade-race4        ,sabouroff    
collection1 head from1 #abh4            
,sacred war1 the1 #ag4      ,sakadas1   
flutist1 statue of1 #bhd4      ,salamis1
 ,aeginetans at battle of1 #abe2        
date of battle of1 #abe4      ,salis1   
,a4 von1 on statue from ,olympieion1    
#adc4      ,salutation1 attitude of1 to 
a divinity1 in statuette in             
,metropolitan       ,museum1 #acc4      
,sandal-binder1 statue of1 so-called1   
with copies1 #hf1 #hg1 #bjb1 #bjc4      
,sandal-binding1 motive of1 originates  
with ,lysippos1 #hf4      ,sandals1 worn
 by charioteers1 #dh4      ,santa       
,marinella1 statue from1 in ,fogg ,art  
,museum1 ,cambridge1 ,mass41 #cad4      

,sarapion1 flees adversary and is fined1
 #cd2      two statues in ,elis1 #cgj4  
,satrap ,sarcophagus1 so-called1 in     
,constantinople1 #bgf4      ,satyr1 of  
,praxiteles1 called ,peribotos1 #add2   
statue of1 in ,dresden1 #add4           
,sawyers 787 7pristae71 group by ,myron1
 #ahh4      ,scarab1 chalcedony1 in     
,british ,museum1 #ach4      ,schaefer1 
,a41 on statue of ,kylon on ,akropolis1 
#cfb4      ,scherer1 ,chr41 on exclusive
 use of bronze in ,olympic victor       
statues1         #cba2      on 8iconic0 
statues of ,pliny1 #ed2      on ,milo's 
statue at ,olympia1 #ajg2      on       
positions of victor statues at ,olympia1
 #cdj4      ,scheria1 games on1 #baj4   
,schnaase1 on ,farnese ,herakles1 #bec4 
,schober1 ,a41 on ,perinthos and allied 
heads1 #aha4      ,schoell1 ,r41 on     
votive character of victor monuments1   
#ci4      ,scholiasts1 statements of1 on
 victor statues at ,olympia1 #dc4       
,schrader1 ,h41 on ,attic relief from   
the ,akropolis1 #bga4      ,schreiber1  

,t41 on ,choiseul-,gouffier ,apollo     
statue type1 #ij4      ,schwabe1 ,l41 on
 ,tux bronze1 #bjg4      ,sciarra       
bronze1 statuette so-called1 in ,rome1  
#aai4      ,scraper2 see ,strigil4      
,sculptors1 of ,olympic victor statues1 
#cf2      statistics of1 #cge4          
,sculptura1 definition of1 from ,pliny1 
#cjb4      ,sculpture1 ,greek1 after    
,persian ,wars1 #bgh2      ancient      
criticism of1 #eh;f42      evolution of1
 on traditional lines1 #fg2             
knowledge of1 necessary in              
reconstructing ,olympic victor statues1 
#dd4      ,sea-monsters 787 7pristes71  
group by ,myron1 #ahh4      ,seasons1   
altar at ,olympia1 #cea4      ,seated   
,boxer1 statue of the1 in ,museo delle  
,terme1 ,rome1 #ade;f41 #afh2           
realism of1 #eg1 #bed4      ,see-saw 787
 7pristae871 group by ,myron1 #ahh4     
,seleados1 base of statue at ,olympia1  
#cdf4      ,seleukos ,i1 date of        
founding ,antioch by1 #aba4             
,selinos1 coins of1 showing celery      

wreath1 #ba2      temple ,e at1 #aad4   
,sellers1 ,eugnie2 see ,strong1 ,mrs4   
,eugnie4      ,selling out1 examples at 
,olympia1 #cc4      ,seraglio1 ,old1    
manuscript from the1 #beh4              
,serambos1 sculptor1 #abc4              
,shadow-fighting2 see ,sparring4        
,sheik-el-,beled1 the2 see ,ka-aper1    
statue of4      ,shield1 as attribute of
 hoplitodromoi1 #afa2      as prize at  
,argive ,heraia1 #ba2      #be bronze   
ones kept in temple of ,zeus for        
,olympic hoplite runners1        #bb4   
,siamese1 funeral games among1 #ab4     
,sicily1 cities of1 honor victors1 #ce2 
coins of1 showing racing chariots1 #bfb1
 #bfc2      ,greeks of1 fond of         
hippodrome contests1 #beh2      princes 
of1 as victors at ,olympia1 #ceg2       
school of sculpture of1 #aad4           
,sidon1 ,alexander ,sarcophagus from1 in
 ,constantinople1 #bge2      ,satrap    
,sarcophagus from1 in ,constantinople1  
#bgf4      ,sikyon1 athletic school of  
sculptors from1 #eh1 #aah;f4            

,sikyonians1 treasury of1 at ,olympia1  
#da1 #bfe4      ,silanion1 sculptor1    
#abi4      ,silver bowl1 as prize at    
games of ,patroklos1 #ai2      silver   
cups1 as prizes at ,sikyonian ,pythian  
games1 #bj4      ,simon1 sculptor1 #bfd1
 #bfh4      ,simonides1 of ,keos1 #cf1  
#dg1 #baj4      ,singing1 competition   
in1 at ,delphi1 #be4                    
,single-combat1 between ,ajax and       
,diomedes1 in ,iliad1 #h4      ,six1    
,j41 on ,borghese ,warrior1 #bjh2       
on statue of ,hermolykos on ,akropolis1 
#cgc4      ,size of victor statues1     
#de;f4      ,skenoma 771 the1 at        
,sparta1 #cfg4      ,skopas1 sculptor1  
#cf2      characteristics of1 #caa2     
head in style of1 in ,capitoline        
,museum1 ,rome1 #afi2      head-type of1
 #gg2      influence on the ,agias1     
#bia2      intense expression of1 #cjg2 
,kallistratos on1 #cji2      knowledge  
of1 recently augmented1 #bhf2      as   
master of expression of passion1 #cji2  
,philandridas head wrongly ascribed to1 

#bic2      ,skopas and boy athlete head 
from ,sparta1 #cje2      ,skopas and    
,lysippos compared1 #caa;f41 #cae2      
style of1 from ,tegea heads1 #cjf4      
,skripou1 convent of1 #ccd4             
,skyllis1 sculptor1 #abb1 #ccd4         
,see also ,dipoinos4      ,skyros1 #ah4 
,slings for diskoi1 on r4-f4 vase1 #afd4
      ,smikythos2 see ,mikythos4        
,smile1 in archaic sculpture1 #ajj1     
#abf4      ,smith1 ,a4 ,h41 on          
,choiseul-,gouffier ,apollo statue type1
 #hi1 #ij2      on athlete statue from  
,palazzo ,farnese1 ,rome1 in ,british   
,museum1 #bic4      ,snail-volute1 hair 
technique1 #ec4      ,snatcher1 the1    
from ,east gable1 temple of ,aegina1    
#abe4      ,sodamas1 statue at ,olympia1
 #ced4      ,sogliano1 ,a41 on boxer    
statue from ,sorrento1 #bdc4            
,sokrates1 philosopher1 condemns        
8mimetic0 arts1 #eh2      on physical   
development of runners and boxers1 #ei2 
visit of1 to sculptor ,kleito1 #ei4     
,sokrates1 victor2 see ,sosikrates4     

,solon1 assigns money prizes to ,olympic
 and ,isthmian victors1 #be1 #cb4       
,solos1 throwing of1 in ,iliad1 #h2     
as type of diskos1 #bah4      ,somze    
,collection1 athlete from the1 #agf1    
#bea4      ,songs1 in honor of victors1 
#cd4      ,sophios1 statue at ,olympia1 
#bii1 #cdb4      ,sophokles1 ,trachiniae
 of1 #cah4      ,sorrento1 statue of    
boxer from1 by ,koblanos1 #bdb4         
,sosikrates 7or ,sokrates71 victor      
statue of1 at ,olympia1 #bjj1 #cdd4     
,sostratos1 dates of ,olympic victories 
of1 #cjj2      inscribed base from      
statue1 at ,delphi1 #bdi2      statue at
 ,olympia1 #ee2      surnamed 1 #bdh1   
#bdi4      ,sotades1 ,olympic victor1   
bribed and exiled1 #cc4      ,southeast 
,building1 the1 at ,olympia1 #cdd4      
,sparring1 preliminary1 called  in      
boxing and pankration1        #bdh and  
note #d2      depicted on ,ficoroni     
cista in ,rome1 #bdc2      depicted on  
,peter cista in ,rome1 #bdc2      as    
motive of boxer statues1 #bdc2      as  

motive of statuette of boxer in         
,vatican1 #bdc2      as motive of marble
 torso in ,berlin1 #bdc2                
preliminary in pankration1 #bdh2        
called  7to shadow-fight71 in boxing1   
#abb1 #bdc and note #d4      ,sparta1   
,akropolis1 of1 #cje2      ,dionysia at1
 #ej2       at1 #cji2      funeral games
 at1 in honor of ,leonidas and          
,pausanias1 #aa2      head of statue of 
boy from1 #cje;f42       at1 #cfg4      
,spartans1 allow biting and gouging in  
pankration1 #bdf2      ball-playing     
among1 #hd2      as boxers1 #afg2       
boxing of1 in ,plato1 #afg2             
excluded from ,olympia on certain       
,olympiads1 #ca2      girls contest with
 boys1 #di2      physical exercise      
among1 #a2      sacrifice to ,apollo the
 ,runner1 #hh2      youths dedicate     
offerings to ,eros in contest of beauty1
 #eg4      ,spear1 casting of1 at games 
of ,patroklos1 #h4      ,sphairians 771 
title of ,spartan youths1 #hd1 #cai4    
,spinario1 the1 statue in ,rome1        

#bja;f42      as example of asymmetry1  
#gj2      imitations of original of1    
#bjb4      ,splanchnoptes1 statue of1 by
 ,styphax1 #adc4      ,sponges1 shown on
 r4-f4 kylix1 #afd4      ,spring-board1 
not used in ,greek jumping1 #baf4       
,stackelberg1 ,o4 von1 traveling journal
 of1 #bhf1 #cff4      ,stade-race 71 71 
#aij;f42      first event at ,olympia   
and at the ,panathenaia1 #aia2      for 
boys1 introduced at ,olympia1 #aia2     
the oldest 787 event at ,olympia1 #aia2 
victor in1 eponymus at ,olympia1 #cg2   
wrongly regarded as chief event at      
,olympia1 #aia4      ,stadia1 absent in 
,homer1 #g4      ,stadion1 the1 at      
,olympia1 #beh1 #cei1 #cfj4      ,stas1 
,v41 on ,hermes of ,andros1 #ga2      on
 two statuettes of diskoboloi from      
,akropolis1 #bba1 #bbb4      ,stamnos1  
r4-f41 from ,etruria1 in ,vienna1 #acb4 
,standard of physical development       
uniform in fifth century ,b4 ,c41       
#adg;f4      ,standing ,diskobolos1 the 
statue in ,vatican1 #gf;f42      pose   

of1 #bai1 #bbj2      replica of1 #gg4   
,standing ,hermes1 the1 statue in       
,vatican1 #gb4      8,stand-motif10     
,polykleitan1 #hb4      8,starters of   
the race10 epithets of ,kastor and      
,polydeukes at ,sparta1 #if4            
,stassoff1 on supposed ,oriental origin 
of javelin-throwing1 #bbb4              
,statuettes1 of ivory acrobats1 from    
,knossos1 #c2      akontistai1 two      
bronze1 #bbg1 #bbh2      ,apollo1 from  
,naxos1 in ,berlin1 #gd1 #aai2          
,apollo 7,payne ,knight71 in ,british   
,museum1 #ajh1 #aai2      ,apollo1 from 
,piombino1 in ,louvre1 #aah2            
,apollo1 from ,palazzo ,sciarra1 ,rome1 
#aai2      apoxyomenos1 in ,loeb        
collection1 ,munich1 #acf2      athlete1
 archaic1 from ,delphi1 #bh2            
athlete1 from ,ligouri1 #aje1 #aaa1     
#aad2      athlete1 in ,louvre1 #bac1   
#bad2      boxer1 from ,akropolis1 #bh2 
boxer1 from ,corfu1 in ,british ,museum1
 #if2      boxer1 from ,olympia1 #bh1   
#bdd2      boxer1 in ,vatican ,museum1  

#bdc2      diadoumenos1 terra cotta from
 ,smyrna1 in ,london1 #aed2             
diadoumenos1 from ,akropolis1 #aee2     
diskoboloi1 #bh1 #bah;f42               
diskoboloi1 two bronze1 from ,akropolis1
 #bbb2      diskoboloi1 group in ,loeb  
collection1 ,munich #bcb1 #bcc2         
diskobolos1 in ,berlin1 #bba2           
diskobolos1 in ,british ,museum1 #bba2  
diskobolos1 from cover of lebes1 in     
,british ,museum1 #bba2      diskobolos1
 from the ,kabeirion1 #bh2              
diskobolos1 in ,metropolitan ,museum1   
#bbj1 #bba2      girl runner1 from      
,dodona1 #bh2      girl extracting      
thorn1 terra cotta from                 
,nida-,haddernheim1 #bjb2      ,herakles
 or victor1 in ,berlin1 #if2            
,herakles1 or victors1 in ,british      
,museum1 #if2      ,hermes ,diskobolos1 
from sea off ,antikythera1 #gh1 #gi2    
hoplitodrome1 from ,capua1 in ,vienna1  
#bjg2      hoplitodrome1 ,tux bronze1 in
 ,tuebingen1 #bh2      horse-racer1 from
 ,dodona1 #bh1 #bha2      horse-racer1  

in ,loeb collection1 ,munich1 #bhb2     
horse-racer1 from ,volubilis1 #bha2     
horse-racers1 from ,olympia1 #bd2       
oil-pourer1 from ,s4 ,italy1 in ,british
 ,museum1 #ace2      oil-pourers1 terra 
cottas from ,myrina1 #ace2              
pancratiast1 from ,autun1 in ,louvre1   
#bdi;f42      praying boys1 two bronze1 
in ,metropolitan ,museum1 #acb1 #acc2   
sacrificer1 from ,dodona1 #adc2         
trumpeter1 from ,sparta1 #bhc2          
warrior1 from ,dodona1 #abf2            
wrestlers1 group from ,akropolis1 #bh2  
wrestlers1 group in ,loeb ,collection1  
,munich1 #bcb2      statuettes in       
motion1 from ,egyptian art1 #agg2       
in ,paris and ,rome1 showing motive of  
statue of ,xenokles1 #ach1 #aci4        
,stel1 in honor of victors1 #dj4        
,stephanos1 sculptor1 statue by1 #aaa;f4
      8,stolid0 group of so-called      
8,apollo0 statues1 #ajj4      ,stomach  
throw1 in pankration1 #bdg4             
,stomios1 famous pentathlete1 #ei2      
statue of1 at ,olympia1 #db4            

,stone1 used in ,olympic victor statues1
 #cbc;f4      ,strabo1 on origin of     
,olympic games1 #ae4      ,strangford   
,apollo1 the1 statue in ,british        
,museum1 #ajb1 #ajc1 #abc1 #bdd4        
,strangling1 allowed in pankration1     
#bdf1 #bdg4      ,straton1 ,olympic     
victor1 #cd1 #ic4      ,strigil1 or     
scraper 771 used by athletes as a common
 palstra      attribute1 #ace1 #ach1    
#bhh4      ,stroganoff1 statuette       
formerly in ,collection1 #aff4          
,strong1 ,mrs4 ,eugnie 7ne ,sellers71 on
 ,apollo head1 in ,british              
,museum1 #ib2      on ,beneventum head1 
in ,louvre1 #fc4      ,studniczka1 ,f41 
on the gable statues from ,olympia1     
#aad2      on the ,idolino1 #ada2       
on statues of ,theagenes1 #cfd4         
,styphax 7or ,styppax71 sculptor1 #adc4 
,subiaco1 statue of kneeling youth from1
 #aie2      date and interpretation of1 
#aie1 #aif4      ,succession1 contests  
of1 as explanation of funerary games1   
#ad4      ,suedwestbau2 see ,leonidaion4

      ,svoronos1 ,j4 ,n41 on bronze arm 
found in sea off ,antikythera1 #bcf2    
on bronze statue of youth found in sea  
off ,antikythera1 #hc2      on bronze   
statuette found in sea off ,antikythera1
 #gi2      on ,delphi ,charioteer1 #bgg2
      on dying hoplite relief1 from     
,athens1 #bji2      on the ,idolino1    
#adb4      ,swollen ear1 as attribute of
 victor statues1 #afg;f42      not a    
determining distinction between heads of
 athletes and ,herakles1        #big1   
#cai1 #cbj2      on various heads of    
athletes1 gods1 and heroes1 #afh;f4     
,symmachos1 statue at ,olympia1 #abj1   
#cdb4      ,symmetry1 in ,greek art1    
#fe1 #ff2      ,pliny and ,vitruvius on1
 #ff4      ,symplegma1 group            
representing a1 by ,kephisodotos1 #beb4 
,symposium1 of ,xenophon1 #ei4          
,syracuse1 coins of1 representing ,nike 
with tablet1 #ahb2      funeral games   
at1 in honor of ,timoleon1 #aa2         
,hiero and ,gelo1 kings of1 #beg4       
,tainia1 or fillet1 as victor attribute1

 #adh;f4      ,tanagra1 ephebe chosen   
at1 for his beauty1 #eg2                
grave-stele from1 #gb4      ,tarentum   
7,taras71 captured by ,q4 ,fabius       
,maximus1 #bec2      coins of1 showing  
apobates horse-racers1 #bhb4            
,tarsos1 athlete head from1 #afh4       
,tegea1 excavations at temple of ,athena
 at1 #cjf2      heads from gable of     
temple at1 #cjf2      heads from1       
compared with small frieze from         
,mausoleion1 #bge2      heads from1     
compared with boy athlete head from     
,sparta1 #cje2      torso of the ,amazon
 from1 #cjf4      ,teisikrates1 chariot 
victor1 at ,delphi1 #bfh4               
,teisikrates1 pancratiast1 inscribed    
base of statue of1 from ,delphi1 #bdi4  
,teisikrates1 ,theban sculptor1 #cfh4   
,tektaios1 sculptor1 #abb1 #cjd1 #ccd1  
#cce4      ,see also ,angelion4         
,telekles1 sculptor1 #ccj1 #ccd4        
,see also ,rhoikos and ,theodoros4      
,telemachos1 base of statue at ,olympia1
 #cdf1 #cdh1 #cee2      statue at       

,olympia1 #aji1 #bff1 #cci1 #cde2       
zone of1 at ,olympia1 #cde1 #cdf4       
,telephos1 battle with ,achilles1 in    
,tegea pediment1 #cjf2      in group1 on
 small frieze from ,pergamon1 #bec2     
in group1 in ,vatican1 #ie4             
,telesikrates1 hoplite victor1 statue at
 ,delphi1 #bf1 #afb4      ,tellon1 base 
of statue at ,olympia1 #bdj1 #cde2      
statue at ,olympia1 #ca1 #ceb4          
,temessa1 ,black ,spirit of1 #ce4       
,tempe1 vale of1 as home of laurel1 #ba4
      ,temple1 spoken of as pro persona1
 #bii4      ,tenea1 8,apollo0 of1 #ajj1 
#aja1 #ajc1 #ajd1 #aje1 #ajf1 #abg1     
#cbg1 #ccf2      8,apollo0 of1 as       
runner1 #adh2      necropolis of1 #ccg4 
,tenerani1 sculptor1 #bhh4              
,tepemankh1 wood statue in ,cairo1 #ccj4
      ,terrace wall1 ,south1 at         
,olympia1 #cdf1 #cdh1 #ceg1 #ceh4       
,tetradrachm1 silver1 in honor of       
,olympic victory of ,philip ,,ii1 #bhj4 
,thaliarchos1 base of statue of1 #ceh2  
oldest prose inscription making an      

,olympic victor statue votive1 #ci4     
,thamyris1 victor statue on ,helikon1   
#bhd4      ,thargelia1 the1 statue of   
boy victor at1 #bg4      ,thasos1 statue
 of ,theagenes on1 #cfd2      temple of 
,apollo at ,alki on1 #ccf4              
,theagenes1 ,olympic victor1 boxing     
match with ,euthymos1 #bdg2             
heroized after death1 #ce2      statue  
at ,olympia1 #abb1 #bdd1 #cfd2          
story of statue on ,thasos1 #cfd2       
too wearied by boxing to enter          
pankration1 #bdg2      wrestling match  
with ,aethiopian1 #beb4                 
,theekoleon1 the1 at ,olympia1 #cec1    
#cee1 #ceg4      ,theochrestos1 chariot 
dedicated at ,olympia1 #bfe4            
,theodoros1 bronze founder1 #cba1 #ccj1 
#ccd4      ,see also ,rhoikos and       
,telekles4      ,theodosius1 ,roman     
emperor1 abolishes ,olympic games1 #ae4 
,theognetos1 statue at ,olympia1 #fa1   
#afe1 #ceb4      ,theopompos1 statue at 
,olympia1 #afa4      ,theopropos1 base  
of statue at ,olympia1 #cfj4            

,theoros1 painter1 #bi1 #acc4           
,theotimos1 statue at ,olympia1 #aba4   
,thera1 8,apollo0 of1 #ajj1 #aja1 #ajc1 
#ajd1 #cbg1 #ccg4      ,therm1 the1 of  
,m4 ,agrippa1 ,rome1 #bhi4              
,thermopyl1 battle of1 #ea4             
,thersias1 first victor in mule-race at 
,olympia1 #bfa4      ,thersilochos1     
statue at ,olympia1 #aag4               
,thersonides1 base of statue from       
,olympia1 #cef4      ,theseia1 the1 #ah2
      boys at1 divided into three       
classes1 #ahi4      ,theseus1 #ah2      
contest of1 on ,delos1 in honor of      
,apollo1 #afj2      as inventor of      
boxing1 #bce2      as inventor of       
pankration1 #bdg2      statues of1 in   
gymnasia and palstr1 #id2      ,theseus 
and ,kerkyon1 on metope of ,theseion1   
#bcb4      ,thessalonika1 funeral games 
at1 #aa4      ,thessaly1 bull-grappling 
sport in1 #e4      ,thong 71 amentum71  
of javelin1 #bbc4      ,thorn-puller2   
see ,spinario4      ,thorwaldsen1       
sculptor1 restores ,aegina gable        

statues1 #abc4      ,thracian           
,chersonesos1 games on1 #aa4            
,thrasyboulos1 drives father's car at   
,delphi1 #bfg4      ,thrasymachos 7or   
,thrasymedes71 base of statue at        
,olympia1 #ceh4      ,threatening look  
of victor statues1 #ei4                 
,thukydides1 on ,diitrephes1 #cgc2      
on krobylos hair-fashion1 #eb2      on  
loin-cloth of athletes1 #dh2      on    
refuge of ,king ,pausanias1 #cfg2       
uses pancratiasts for dating1 #aia4     
,tiberius1 ,roman emperor1 base of      
statue at ,olympia1 #ceg1 #ceh2         
chariot victor at ,olympia1 #bfa2       
enamored of the ,apoxyomenos of         
,lysippos1 #bhi4      ,tilting1 hold in 
pankration1 #bdg4      ,timainetos1     
painter1 #bi4      ,timaios1 first      
victor in trumpeting at ,olympia1 #bhc4 
,timaios1 historian1 #bhd4              
,timarchides1 sculptor1 #abi1 #cbd4     
,timasitheos1 statue at ,olympia1 #aaa1 
#cee4      ,timokles1 sculptor1 #abi4   
,timoleon1 funeral games in honor of1 at

 ,syracuse1 #aa4      ,timon1 chariot   
victor1 statue in equestrian group1     
#abj1 #bff1 #bfh1 #bgi4      ,timon1    
pentathlete1 statue at ,olympia1 #aji1  
#ced4      ,timoptolis1 honor statue at 
,olympia1 #db4      ,timosthenes1 statue
 at ,olympia1 #aba1 #cdb4      ,tiryns1 
fresco from1 #b1 #c2      lack of       
athletic scenes at1 #h4      ,titus1    
baths at ,rome1 #cga4      ,toalios1    
,aurelios1 base of victor statue at     
,oinoanda1 #cga4      ,torches1         
dedications of1 #bb4      ,toreadors1   
paintings of1 male and female1 at       
,knossos1 #a1 #c4      ,torlonia1       
,palazzo1 ,rome1 copy of                
,choiseul-,gouffier ,apollo statue type 
in1 #hi2      head of ,ares in1 #agj4   
,trachiniae1 of ,sophokles1 #cah4       
,trainers at ,olympia1 nude1 #di4       
,treasuries1 the1 at ,olympia1 #cea4    
,treu1 ,g41 on colossal ,apollo from    
,olympia1 #ib2      on copy of          
,doryphoros of ,polykleitos1 at         
,olympia1 #bbg2      on gable statues   

from temple of ,zeus1 ,olympia1 #aad2   
on head of hoplite runner from ,olympia1
 #afc2      identifies ,leonidaion1 at  
,olympia1 #cdh2      on ,philandridas   
head1 #bic1 #bid2      on use of marble 
in ,olympic victor statues1 #cbd1 #cbf4 
,triopia1 the1 at ,mykale1 #ai4         
,triphylia1 #ae4      ,tripods1 as early
 prizes1 #ai2      found at ,olympia and
 elsewhere1 #bb2      in honor of       
various gods and heroes1 #ai2           
reliefs on bronze1 in ,loeb collection1 
,munich1 #aid4      ,tripping1 in       
wrestling1 #bbi2      shown by five     
bronze groups1 #bcc4      ,triptolemos  
7871 statue of ,kyniskos converted into1
 #gd4      ,troilos1 dates of victories 
at ,olympia1 #cjj1 #cja2      statue at 
,olympia1 #bi1 #aba1 #bff1 #bih2        
tablet from base of statue of1 #bii1    
#cdb4      ,trotting-race with mares 771
 introduced at ,olympia1 #bfa2      why 
introduced1 #bhb4      ,trumpeters1 on  
,attic vases1 #bhd2      bronze         
statuette of1 from ,sparta1 #bhc2       

contests of1 introduced at ,olympia1    
#bhc2      statues at ,olympia1 #bhc4   
,tuebingen bronze2 see ,tux bronze4     
,tui1 wood statue of1 in ,louvre1 #cca4 
,tumblers1 among ,athenians1 #e2        
among ,trojans1 #e2      on shield of   
,achilles1 #e4      ,turin1 head of     
athlete in1 #hg2      marble head of    
,apollo in1 #ic2      ,roman grave-stone
 from1 #gb4      ,tux bronze1 statuette 
of hoplitodromos 7871 in ,university    
,museum1      ,tuebingen1 #bh1 #abc1    
#afd1 #bjf1 #bjg4      ,tyche1 statue by
 ,eutychides1 at ,antioch1 #aba4        
,types1 various1 of ,olympic victor     
statues1 #dd1 #ii;f41 #agc;f42 etc4     
,tyrannicides1 the1 group by ,kritios   
and ,nesiotes1 #fj1 #adh1 #agc;f42      
break with law of 8frontality10 #age2   
as first examples of honor statues1 #da2
      group of1 returned from ,susa by  
,alexander1 #agc2      reconstruction   
of1 from reliefs1 vase-paintings1 etc41 
#agd2      represented on oinochoe in   
,boston1 #age2      sculptors of1       

#agc;f41 #cgb2      ,tyrannicides and   
,diskobolos compared1 #ahc4             
,umpires1 at ,olympia1 #adi4      ,see  
also ,hellanodikai4      ,uncritical    
judgments of ancient writers on art1    
#eh4      ,uniformity1 standard of1 in  
physical development in fifth century   
,b4 ,c41 #adg;f4      ,urlichs1 ,h4 ,l4 
von1 on pristae of ,myron1 #ahh2      on
 puer tenens tabellam of ,pythagoras1   
#ahb4      ,urlichs1 ,l4 von1 on mala   
ferens nudus1 mentioned by ,pliny1 #ahb2
      on puer tenens tabellam of        
,pythagoras1 #ahb4        ,vaison       
,diadoumenos of ,polykleitos1 #aeb4     
,valerian1 ,roman emperor1 #aa4         
,vapheio1 cups from1 #d4      ,varro1   
opinions of1 on art1 #fj4               
,vase-paintings1 showing poses of       
,olympic victor statues1 #dd4           
8,vatican athlete standing at rest10    
so-called1 #adj4      ,veins1 shown in  
,cretan art1 #c1 #d4      ,venator1     
statue of1 by ,euthykrates1 #cad4       
,ventnor head in ,british ,museum1 #hi4 

,verona1 grave-relief in1 #gb4          
,victor fillets1 #eb4      ,victor      
statues1 assimilated to types of gods   
and heroes1 #ga;f42      bases of1 from 
,altis1 #dc1 #cec;f42      carried off  
to ,italy1 #dc2      dedication of1 an  
old ,greek custom1 #ii2      dedication 
at ,olympia and elsewhere1 #bd;f42      
distinguished from statues of gods and  
heroes1 #ga2      general               
characteristics of1 #dc;f42      groups 
of1 in ,altis1 #cjj1 #cdj2              
hair-fashion of1 #ej;f42      life-size1
 examples of1 #df2      materials of1   
#cba;f42      in motion1 #agc;f42       
nudity of1 #dg;f42      periegesis of1  
in the ,altis1 by ,pausanias1 #cba2     
positions of1 in ,altis1 #cci;f41 #ceb2 
remnants of1 #dc1 #fb;f42      at rest1 
#ii;f42      set up at ,olympia1 long   
after victory1 #cb2      set up at      
,olympia1 soon after victory1 #ca2      
set up at ,olympia by relatives of      
victor1 by native city of victor1       
by fellow-citizens of victor1 #cj2      

set up by trainers1 #cj2      set up    
outside ,olympia1 #cfa;f42      size of1
 #de;f42      statuaries of1 #cge2      
two classes of1 #ii2      zones of1 at  
,olympia1 #cdj4      ,victor statuettes1
 set up at ,olympia1 #bg1 #bh2      on  
,akropolis1 #bh4      ,victoria         
quadrigam in sublime rapiens1 painting  
by ,nikomachos1 #bfh4      ,victors1    
special privileges of1 at ,rome1 #cc2   
,victor certamine gymnico palmam tenens1
 painting of1 by ,eupompos1        #afj2
      victor1 represented as crowned1 on
 chest of ,kypselos1 #ac2      victor in
 wrestling and pankration on same day1  
called  or        1 #id2      victors at
 four national games1 called 1 #cfa4    
,victory1 of ,paionios2 see ,paionios1  
,nike of2      zone of1 at ,olympia1    
#cdd1 #cee4      ,vincent1 ,edgar1 head 
of athlete in ,collection of1 #aef4     
,vinci1 ,leonardo da1 on body           
proportions1 #fh4      ,visconti1 on    
so-called ,borghese ,warrior1 #bji2     
on ,pliny's 8iconic0 statues1 #ed4      

,viterbo1 bull-grappling in province of1
 #e4      ,vitruvius1 on analogy1       
rhythm1 and symmetry1 in ,greek art1    
#ff4      ,volneratus deficiens1 the1   
statue by ,kresilas1 #aii4              
,volomandra1 8,apollo0 from1 #ajj1 #ajd1
 #ccg4      ,volubilis1 ,morocco1       
,french excavations at1 #bha4           
,votive offerings 771 mentioned by      
,pausanias1 #cci2      victor monuments 
as1 #cg4        ,wace1 ,a4 ,j4 ,b41 on  
,parian marble male head in ,turin1 of  
athlete or        ,apollo1 #ic2      on 
,roman male head in ,turin1 resembling  
the ,apoxyomenos of ,lysippan           
school1 #bib4      ,waldstein           
7,walston71 ,c41 on appellation         
8,apollo0 for early athlete             
statues1 #cce2      on bronze           
statue of youth found in sea off        
,antikythera1 #ha2      on              
,choiseul-,gouffier ,apollo statue type1
 #ij1 #agi2      on the ,strangford     
,apollo1 #bdd2      on victor fillet1   
#adi4      ,walking motive in sculpture1

 not ,polykleitan in origin1 #bbf4      
,walston1 ,c42 see ,waldstein1 ,c4      
,warrior1 or hoplitodromos1 bronze head 
from ,akropolis1 #abc4      ,washburn1  
,o4 ,m41 on ,delphi ,charioteer1 #bgg1  
#bgh4      ,wernicke1 ,k41 on ,great    
,altar of ,zeus at ,olympia1 #cdi4      
,westgraben1 the1 at ,olympia1 #ceh4    
,westmacott ,athlete1 the1 #aef;f41     
#aeh1 #cje4      ,wheels1 four-spoked1  
one dedicated at ,argos1 #ig2           
tin-foil1 dedicated at ,olympia1 #bc4   
,white1 ,h4 ,g4 ,e41 on two statuettes  
of diskoboloi from ,akropolis1 #bba1    
#bbb4      ,wilamowitz1 ,u4 von         
7,wilamowitz-,moellendorf71 on inscribed
 base of      statue of ,epicharinos on 
,akropolis1 #cgb4      ,winckelmann1    
,j41 on character of ,greek ,art1 #eg2  
on ,jason of ,louvre1 #hg4              
,wine-pourers1 statues of1 #add4        
,winged figures1 represented in motion  
before sixth century ,b4 ,c41 #agf;f4   
,winnefeld1 ,h41 on ,westmacott ,athlete
 statue type1 #aeh4      ,winter1 ,f41  

on ,choiseul-,gouffier ,apollo statue   
type1 #ij2      on the ,seated ,boxer of
 ,museo delle ,terme1 #adg4             
,woelfflin1 ,e41 on nudus talo incessens
 of ,polykleitos1 #bej1 #bea4           
,wolters1 ,p41 on bronze foot from      
,olympia1 #bee2      on                 
,choiseul-,gouffier ,apollo statue type1
 #ij1 #ia2      on head of hoplitodrome1
 from ,olympia1 #afc2      on inscribed 
base of the ,agias1 #bib2      on       
,spinario1 #bja2      on ,tux bronze1   
#bjg2      on use of bronze in ,olympic 
victor statues1 #cba4      ,woman1      
statue of ,muse type1 from ,andros1 #ga2
      head in ,louvre1 #abh4            
,women1 admitted to chariot-race at     
,olympia1 #di2      excluded from       
,olympia1 #di2      victress statues of1
 draped1 #dh2      admitted to the      
,heraia1 ,olympia1 #di4      ,worship of
 victors after death1 #ce4      ,wounded
 ,amazon1 statue in ,capitoline ,museum1
 #aea4      ,wounded ,man1 the1 statue  
of2 see ,volneratus deficiens4          

,wreath of leaves1 as prize at various  
games4      ,wrestlers1 attributes of   
statues of1 #afe2      bronze group of1 
in ,paris1 #bcb2      bronze statue in  
,naples1 #ii2      five copies of bronze
 group of1 showing tripping1 #bcc2      
group of1 on bronze bowl from ,borsdorf1
 showing hand grip1 #bca1 #bcb2         
groups of1 on cista handles1 #bcb2      
groups of1 on ,etruscan cista in        
,metropolitan ,museum1 #bca2      group 
of1 at ,olympia 7871 #bcc;f42           
paintings of wrestlers by ,naukeros1 and
 by ,antidotos1 #bcc2      part of group
 of1 found      in sea off ,antikythera1
 #bcb2      small bronze group of1 in   
,loeb ,collection1 showing              
cross-buttocks1        #bcb2            
statues of1 at ,olympia1 #bcd2          
statues of1 without special attributes1 
#agj2      two bronze statues of1 from  
,herculaneum showing front hold1 #bcj1  
#bca2      two groups of1 on rim of     
bronze bowl1 in ,boston1 #bcb4          
,wrestling 771 #bbh;f42      bout       

between ,theseus and ,kerkyon1 on metope
 of ,theseion1 #bcb2      cap used in1  
#aff2      depicted on proto-,attic     
amphora1 #ac2      for boys1 introduced 
at ,olympia1 #bbh2      at games of     
,patroklos1 #h2      ground wrestling1  
on gems and vases1 #bdh2      holds in1 
on vases 7arm1 body1 front1 neck1 side1 
wrist71 #bbi2      introduced at        
,olympia1 #bbh2      oldest787 of       
athletic sports1 #bbh2      one of most 
popular sports1 #bbh2      positions in1
 on various monuments1 #bbi2      on    
r4-f4 kylix1 in ,philadelphia1 #bcj2    
scenes in1 on r4-f4 vase1 by ,andokides1
 #bcj2      throws in1 on vases         
7buttocks1 cross-buttocks1 flying mare1 
heave1        tripping71 #bbi2      two 
kinds of1 upright 7 71 ground 771 #bbh1 
#bbi2      victors in wrestling and     
pankration on same day1 #ic1 #id2       
on wall-paintings at ,beni-,hasan1      
,egypt1 #a1 #bbh2      wrestling and    
boxing on ,panathenaic amphora of       
,kittos1 #bdh2      wrestling and boxing

 in pankration1 #bdg2      wrestling and
 pankration contrasted1 #bdf4           
,wunderer1 ,c41 on the ,seated ,boxer of
 ,museo delle ,terme1 #adg4             
,xanten1 bronze statue of boy found in  
,rhine near1 #bgf4      ,xanthos1       
,chimra tomb at1 #bga4      ,xenodamos1 
statue at ,antikythera1 #cfi4           
,xenodikos1 statue at ,olympia1 #bgi1   
#cde4      ,xenokles1 base of statue at 
,olympia1 #bcd1 #cdd2      copies of    
statue of1 #bbh1 #bcd2      motive of   
statue of1 #ach1 #aci2      statue at   
,olympia1 by ,polykleitos the ,younger1 
#aah4      ,xenokrates1 of ,akragas1    
chariot victor at ,delphi1 #bfg4        
,xenokrates1 sculptor1 #fa4             
,xenombrotos1 base of statue at         
,olympia1 #cde2      base of second     
statue at ,olympia1 #cee2      portrait 
statue of1 at ,olympia1 #ed2      statue
 at ,olympia1 by ,philotimos1 #abb1     
#bfd1 #bgi2      two monuments of1 at   
,olympia1 #bi4      ,xenophanes1        
philosopher1 on dangerous character of  

pankration1 #bdf2      on painful       
character of boxing1 #bce2      protest 
of1 against reverencing victors1 #cf4   
,xenophon1 historian1 on athletics1 #eh1
 #ei2      ,symposium of1 #ei4          
,xenophon1 of ,aigion1 statue at        
,olympia1 #abj1 #cdc4      ,xerxes1     
carries off the ,tyrannicides to ,susa1 
#agc2      sacks ,akropolis1 #bga4      
,xoana 771 ,daidalian1 #cbh4            
,youth1 bronze head of1 from ,akropolis1
 #aad2      bronze head of1 from        
,herculaneum1 #ie2      bronze statue   
of1 found in sea off ,antikythera1      
#hj;f41 #hb;f42      ,polykleitan statue
 of1 crowning himself1 #aee2      youth 
with tablet1 on ,munich vase1 #ahb4     
,zanes1 statues of ,zeus1 so-called1    
near entrance to ,stadion1      at      
,olympia1 #cc1 #cd4      ,zenobios1     
#ahb4      ,zeus1 contestants at        
,olympia sacrifice to1 #aa2             
diadoumenos on throne of1 at ,olympia1  
#aej1 #aea2      father of ,herakles1   
#aj2      games in honor of1 at ,argos1 

#bhe2      ,great ,altar of1 at         
,olympia1 #cci1 #cdi1 #cej1 #cea1 #cee2 
,nemean games in honor of1 #ag2      as 
one of the gods presiding over contests1
 #ge2      sculptures from pediments of 
temple of1 at ,olympia1 #ec1 #aac1 #aad2
      site of ,great ,altar of1 at      
,olympia1 #cdh;f42      statues of      
,hyblan1 at ,olympia1 #cdd2        of   
,megarian1 at ,olympia1 #cdd2        of 
,olympian1 by ,pheidias1 #eb2        of 
,platan1 at ,olympia1 #cdd2        of   
,zeus ,ithomatas1 #aaj1 #aaa2        of 
,zeus 1 at ,aigion1 #aaa2        with   
short hair1 #eb2      temple of1 at     
,olympia1 #cdb1 #cdd1 #cdf1 #cdg1 #cej1 
#cea1 #ceb1 #cec1 #cee1        #cef1    
#ceh1 #cei1 #cfj2      throne of1 at    
,olympia1 described by ,pausanias1 #fa2 
worship of1 at ,olympia1 later than that
 of ,hera1 #af2      wrestling match of1
 with ,kronos1 #ad4      ,zeuxis1       
painter1 #bi4      ,zones1 of victor    
statues at ,olympia1 #cdj2      of the  
,chariots1 #cde1 #cdf2      of the      

7,eretrian7 ,bull1 #cdc1 #cdf2      of  
,telemachos1 #cde1 #cdf2      of the    
,victory1 #cdd1 #cdf4