Part 13

[968] Furtw.-Wolters, _Beschr. d. Glyptothek_,^2 no. 78; Furtw., _op. cit._, Tafelbd., Pl. 96, no. 32, and Textbd., pp. 223-4; the figure on our plate to the right = Furtw.-Wolters, _Beschr._, no. 77 and Furtw., _op. cit._, Pl. 96, no. 29, Textbd., p. 221. No. 78 should stand, however, in front of 77 as arranged by Furtwaengler, _op. cit._, Tafelbd., Pl. 104, and both should be placed in the south half of the West Pediment and not in the north. For the two figures in Fig. 21, see also von Mach, 78 (middle and right). For another figure (armed with helmet, shield, and spear) from the East Gable, see Bulle, 86 = Furtw.-Wolters, no. 86 (formerly no. 56).

[969] Recently these sculptures, and especially the limestone (λίθος πώρινος) fragments, have been dated from 490 B. C., rather than from [480] see Svoronos, I, p. 92. The Akropolis was destroyed by Xerxes in 480 B. C., but it is problematical if with the completeness recorded by Hdt., VIII, 53; see Doerpfeld in _A. M._, XXVII, 1902, pp. 379 f.; Dickins, pp. 5 f. The next year Mardonios destroyed the city by fire: Hdt., IX, 13.

[970] See von Mach, 25 f.; Reinach, _Rép._, II, 2, pp. 635 f.; for details, Lechat, _Au Musée_, and Schrader, _Die archaischen Marmorskulpturen im Akropolis-Museum zu Athen_, 1909. See also Dickins, _op. cit._; Perrot-Chipiez, pp. 574 f. and p. 577, fig. 289 (= _Au Musée_, fig. 26), and p. 578, fig. 290 (= _Au Musée_, fig. 8); etc.

[971] _Mon. gr._, VII, 1878 (publ. in vol. I, 1882), Pl. I and pp. 1-14 (A. Dumont); _Mon. Piot_, VII, Pl. XIV, and pp. 146-7 (Lechat); Rayet, I, Pl. 18; Collignon, I, p. 360, fig. 182; Reinach, _Têtes_, 3, 4; Bulle, 225; Perrot-Chipiez, VIII, p. 641, fig. 328.

[972] So Richardson, p. 83, and others.

[973] So Bulle; he dates it in the first half of the sixth century B. C., doubtless a little too early.

[974] It is now in the National Museum at Athens: Kabbadias, no. 38; Staïs, _Marbres et Bronzes_, p. 17; _Arch. Eph._, 1874, p. 484 and Pl. 71, Γ, a (Koumanoudis); Sybel, _Kat. d. Skulpt. zu Athen_, 1881, no. 2904; von Mach, 351; Overbeck, I, p. 202, fig. 46; Collignon, I, p. 385, fig. 200; F. W., 99; Conze, _Die attischen Grabreliefs_, I, 1890, Pl. IV, pp. 5-6; Kirchhoff and Curtius, _Philolog. u. histor. Abh. d. k. Akad. d. Wiss. zu Berlin_, 1873, pp. 156 f. (and two illustrations, one of a second fragment); Perrot-Chipiez, VIII, p. 664, fig. 342.

[975] The breadth of 14 inches at top would become 30 inches at bottom. A second fragment, apparently belonging to the first, contains a part of the leg: _Arch. Eph._, 1874, Pl. 71, Γ, b.

[976] The same motive occurs on vases: _e. g._, Gerhard, I, Pl. XXII, and IV, Pl. CCLXXII.

[977] This very low relief is the most perfect of the older Attic grave-stelæ, and dates from the second half of the sixth century B. C.: Kabbadias, no. 29; Staïs, _Marbres et Bronzes_, p. 15 and fig. (2.40 m. high); Sybel, _op. cit._, no. 3361; Overbeck, I, p. 200, fig. 45; Conze, _Die attischen Grabreliefs_, I, Pl. II, 1, p. 4; B. B., no. 41 A; Baum., I, p. 341, fig. 358; Kekulé, _Die ant. Bildw. im Theseion_, no. 363; Springer-Michaelis, p. 195, fig. 371; F. W., no. 101. Overbeck dates it at the beginning of the fifth century B. C.; Richardson, p. 91 and fig. 43, about 525 B. C. For a duplicate stele from Ikaria, see _A. J. A._, V, 1889, Pl. I and pp. 9 f. (Buck); Conze, _op. cit._, I, Pl. II, 2.

[978] Dickins, no. 692 and fig.; mentioned by Furtwaengler, _A. M._, V, 1880, pp. 25 and 32; discussed by R. Delbrueck, _ibid._, XXV, 1900, pp. 373 f., Pls. XV, XVI (bottom).

[979] _La Glypt. Ny-Carlsberg_, 1896, Pls. 1, 2 (and text by Arndt); Reinach, _Têtes_, Pls. 1, 2; Rayet, _Mon. gr._, VI, 1877 (publ. in vol. I, 1882), Pl. I; _id._, _Ét. d’archéol. et d’art_, pp. 1-8 and Pl. I; Collignon, I, pp. 361, fig. 183; B. B., no. 116; Bulle, 197; Perrot-Chipiez, VIII, p. 643, fig. 329.

[980] Collignon, I, p. 376, fig. 193; Bulle, fig. 128 on p. 440.

[981] Brunn-Arndt, _Gr. und roem. Portraets_, Pls. XXIII-XXIV.

[982] _Gaz. arch._, 1887, Pl. XI.

[983] _Cf._ Arndt, _La Glyptothèque Ny-Carlsberg_, text to nos. 1 and 2.

[984] _Sammlung Sabouroff_, 1883, I, Einleitung, p. 5.

[985] Found in two fragments in 1822 and 1859-60: Dickins, no. 1342, pp. 275 ff., and fig.; B. B., 21; von Mach, 56; Overbeck, I, p. 203 and fig. 47; H. Schrader, _A. M._, XXX, 1905, pp. 305 f., and Pl. XI. Other references are given _infra_, p. 269, n. 9.

[986] See Hauser, _Jb._, VII, 1892, pp. 54 f., who discusses the question of the sex of the figure at length.

[987] So Hauser, _l. c._; followed by Robinson, _Cat. Museum of Fine Arts in Boston_, no. 33.

[988] _E. g._, Gerhard, I, Pls. XX and XXI.

[989] See _infra_, Ch. V, pp. 269 f.

[990] While Schrader (_op. cit._, p. 313) dates it in the last quarter of the sixth century B. C., Dickins finds it earlier than the remnants of the sculptures of the Hekatompedon and, because of the delicate carving of the drapery and hair, despite its Attic features, calls it “typically Ionian in its elaboration of detail.” However, I follow Overbeck’s date at the beginning of the fifth century B. C. (_op. cit._ p. 204), and believe that it represents a time near the close of Ionic influence on Attic art.

[991] P., VI, 6.1; _Oxy. Pap._; Hyde, 50; Foerster, 208; _Inschr. v. Ol._, 146.

[992] Of the Spartan hoplite and chariot victor Lykinos, who won two victories in Ols. (?) 83 and 84 (= 448 and 444 B. C.): P., VI, 2.1; Hyde, 12; Foerster, 211 N; of the pancratiast Timanthes of Kleonai, who won in Ol. 81 (= 456 B. C.): P., VI, 8.4; _Oxy. Pap._; Hyde, 76; Foerster, 232; of the unknown Arkadian boxer, mentioned by P., VI, 8.5, who won in Ol. 80 or Ol. 84 (= 460 or 444 B. C.): Hyde, 79, and pp. 39-41; _cf._ Foerster, 222 a, Hyde, 79 a; _Inschr. v. Ol._, 174; of the Spartan runner Chionis, who won in Ols. 28, 29, 30, 31 (= 668-656 B. C.), but his statue was erected in Ol. 77 or 78 (= 472 or 468 B. C.): P., VI, 13.2; Afr.; Hyde, 111 and p. 48; Foerster, 39, 41-6. On two statues of Lykinos, see _infra_, p. 187, n. 6.

[993] Of the Elean boxer Satyros, who won two victories in Ols. (?) 102, 103 (= 372, 368 B. C.): P., VI, 4.5; Hyde, 39; Foerster, 342, 348; of the boy boxers Telestas and Damaretos of Messene, who won some time between Ols. 102 and 114 (= 372 and 324 B. C.): P., VI, 14.4; Hyde, 127; Foerster, 378; and P., VI, 14.11; Hyde, 130; Foerster, 373. On the sculptor, see Hyde, p. 35.

[994] P., VI, 4.5; Hyde, 40; Foerster, 494.

[995] P., VI, 12.8 f.; Hyde, 109; Foerster, 529; _cf._ Robert, _Hermes_, XIX, 1884, pp. 306 f. On the artist family of Polykles, his sons Timokles and Timarchides, Polykles Minor and Timarchides Minor, see Robert, _l. c._, pp. 300 f.; Hyde, pp. 45-47 and table on p. 46.

[996] _E. g._, _H. N._, XXXIV, 73 (Boëdas); XXXIV, 78 (Euphranor); XXXIV, 90 (Sthennis). In XXXIV, 91, he gives a list of artists who made statues of _sacrificantes_.

[997] In the Iliad, I, 450; VIII, 347; XV, 371; Aischylos, _Prom._, 1005 (ὑπτιάσμασι χερῶν); etc. On the attitude of prayer in Greek art, see L. Gurlitt, _A. M._, VI, 1881, pp. 158 f. (who tries to show that the gestures of prayer and adoration were distinct); Sittl, _Die Gebaerden der Gr. und Roem._, pp. 305 f.; _cf._ Conze, _Jb._, I, 1886, pp. 1-13 (on the _Praying Boy_ of Berlin, Pl. 10.) See also Dar.-Sagl., I, pp. 80 f., _s. v._ _adoratio_.

[998] V, 25. 5.

[999] See article by P. Girard and J. Martha in _B. C. H._, II, 1878, pp. 421 f. (lists of inventories of objects consecrated there).

[1000] Scherer, p. 33, shows that the gesture in such statues was meant to invoke victory rather than to pay thanks for one that had been gained.

[1001] Scherer agrees with Philostratos, _Vit. Apoll. Tyan._, IV, 28, that the gesture of the right hand of the statue was one of prayer, and argues from it that many similar statues existed there: p. 31. Rouse wrongly assumes that all such statues were votive: p. 170.

[1002] P., VI, 1.7; he won in Ol. (?) 79 (= 464 B. C.): Hyde, 8; Foerster, 233.

[1003] Ol. VII, Argum., Boeckh, p. 158.

[1004] Fragm. no. 264 (= _F. H. G._, II, p. 183).

[1005] Fragm. no. 7 (= _F. H. G._, IV, p. 307).

[1006] Diagoras won in Ol. 79 (= 464 B. C.): P., VI, 7.1 f.; Hyde, 59; Foerster, 220; _Inschr. v. Ol._, 151 (renewed). For the sculptor of the statue, Kallikles, see Robert, _O. S._, pp. 194 f. On Diagoras, see van Gelder, _Gesch. d. alt. Rhodier_, p. 435. Akousilaos won in Ol. 83 (= 448 B. C.): P., _l. c._; _Oxy. Pap._; Hyde, 60; Foerster, 252.

[1007] _Beschr. d. Skulpt._, Inv. 6306; _A. M._, VI, 1881, p. 158. Rouse, p. 171, following Scherer, pp. 31 f., doubts if this statue represents the attitude of any of the Olympic victor statues.

[1008] She won two victories in Ols. (?) 96, 97 (= 396, 392 B. C.): P., VI, 1.6 f.; Hyde, 7; Foerster, 326, 333; _Inschr. v. Ol._, 160 (here the name appears in the uncontracted form Ἀπελλέας).

[1009] _A. Z._, XXXVII, 1879, pp. 151-2 (on no. 301 = _Inschr. v. Ol._, 160); he is followed by Foerster, _l. c._

[1010] _H. N._, XXXIV, 86.

[1011] XXXIV, 70. For the motive, see the small bronze in Kassel, representing Aphrodite: _Jb._, IX, 1894, Pl. IX (two views), and pp. 248-50 (W. Klein), though its connection with Praxiteles must not be pressed; also bronze statuette in British Museum: Bulle, 1, pp. 332 f., and fig. 81.

[1012] Described by R. von Schneider, Die Erzstatue vom Helenenberge, in _Jahrb. d. Samml. d. oesterr. Kaiserhauses_, XV, 1893; illustrated by E. von Sacken, _Die ant. Bronz. d. k. k. Muenz.- und Antiken-Cabinetes in Wien_, 1871, I, Pls. XXI-XXII, pp. 52 f., and _cf._ _A. M._, VI, 1881 p. 155 (Gurlitt).

[1013] _Cf._ F. W., 1562.

[1014] _C. I. L._, III, 2, 4815.

[1015] _Mp._, p. 290; _Mw._, pp. 506-7.

[1016] _Beschr. d. ant. Skulpt._, no. 2 (for history and bibliography); B. B., 283; von Mach, 273; Bulle, 64; Reinach, _Rép._, I, 459, 4; _cf._ Conze, _Jb._, I, 1886, pp. 1 f.; _ibid._, pp. 217 (Furtwaengler); _ibid._, pp. 219 f. (Puchstein); Springer-Michaelis, p. 341, fig. 614. A similar attitude of prayer appears on the figure of Phineus on a r.-f. Attic amphora in the British Museum: _A. Z._, XXXVIII, 1880, pp. 143 f. and Pl. XII, 1 (Flasch). The statue is 1.28 meters high (Bulle).

[1017] Loewy, _R. M._, XVI, 1901, pp. 391 f. and Pls. XVI-XVII, by a comparison with the Vatican _Apoxyomenos_ (Pl. 29), and the Naples resting _Hermes_ (von Mach, 237; Reinach, _Rép._, I, 367, 1), has shown its Lysippan character; _cf._ also Mau, _l. c._ in next note, Bulle, and others, who refer it to the same school; Bulle assigns it possibly to Boëdas, the pupil of Lysippos, who made a praying figure: Pliny, _H. N._, XXXIV, 73; similarly Amelung, in Thieme-Becker, _Lex. d. bild. Kuenstler_, IV, p. 187, Gardner, _Hbk._, p. 452, and others.

[1018] _R. M._, XVII, 1902, pp. 101 f.

[1019] _Muenchner Allg. Ztg._, 1902, Nov. 29, Beilage, no. 297; _cf._, for his restoration of the arms, _ibid._, 1903, Beilage, no. 277, p. 445 (quoted by von Mach and Bulle, respectively).

[1020] _Jb._, I, 1886, fig. on p. 217; reproduced in _A. A._, 1904, p. 75 (Conze); also on coins, _Jb._, III, 1888, pp. 286 f. and Pl. IX (Imhoof-Blumer).

[1021] _Rev. arch._, Sér. IV, II, 1903, pp. 205-10, 411-12 (Lechat), and Pl. XV; reproduced in _A. A._, _l. c._ Babelon, _C. R. Acad. Inscr._, 1904, p. 203, thought that the stele represented a seer in liturgic attitude as on certain coins of Sikyon; he argued, therefore, that the Berlin statue did not represent an athlete.

[1022] _E. g._, Levezow, _de juvenis adorantis Signo_, Berlin, 1808, p. 12; and Welcker, _Das akad. Mus. zu Bonn_, p. 42 (quoted by Gurlitt, _op. cit._ in the next note, p. 157); _cf._ Scherer, pp. 32-3.

[1023] _A. M._, VI, 1881, pp. 154 f. (Gurlitt), and Pl. V (from cast in Berlin): it is 2.18 meters high and 1.11 meters broad.

[1024] In the National Museum, Athens; discussed by Kekulé, _Die antiken Bildwerke im Theseion zu Athen_, 1869, no. 151; illustrated in _Exped. scientifique de Morée_, III, 1838, Pl. XLI (= from Aegina).

[1025] See O. Jahn in _Annali_, XX, 1848, pp. 213 f. and Pl. K a (= Orestes); _A. Z._, XXX, 1872, p. 60, Pl. 46 (Heydemann); Gurlitt, _op. cit._, p. 156; _cf._ Sophokles, _Aias_, 815 f., to explain the scene.

[1026] See Richter, _Gk., Etrusc., and Rom. Bronz. in the Metropolitan Museum_, 1918, no. 89 (7 inches high) and fig. on p. 59; _Cat. Class. Coll._, p. 115, fig. 73; published by Furtwaengler, _Sitzb. Muen. Akad._, 1905, II, p. 264, fig. 1 and Pl. IV (who considered it Etruscan and not Greek); Reinach, _Rép._, III, 24, 3. Richter, _op. cit._, no. 79 (11-3/4 inches high), and figs. on p. 53 (two views); _Cat. Class. Coll._, p. 91, fig. 54; _Burlington Fine Arts Club, Cat. Anc. Gk. Art_, 1904, p. 46, no. 36, and Pl. LIII; Reinach, _Rép._, IV, 370, 6.

[1027] On the custom of athletes smearing themselves with oil and dust in the palæstra before entering the wrestling match, see Lucian, _Anacharsis, sive de exercitationibus_, 28.

[1028] _H. N._, XXXV, 144.

[1029] Several cited by L. Bloch, _R. M._, VII, 1892, pp. 88 f.; and especially one in _A. Z._, XXXVII, 1879, Pl. IV (red-figured krater by Euthymides from Capua, now in Berlin); Hartwig, _Die griech. Meisterschalen_, 1893, p. 570. _Cf._ Furtw., _Mp._, p. 259, _Mw._, p. 466.

[1030] _Cf._ Brunn, _Annali_, LI, 1879, pp. 201 f.

[1031] Michaelis, pp. 601-2, no. 9; Bulle, p. 109, fig. 19; Furtw., _Mp._, p. 257, fig. 107, _Mw._, p. 465, fig. 77. It is 1.68 meters high (Michaelis).

[1032] It has the same foot position as that on the base of the statue of the boxer Kyniskos, by Polykleitos: _Inschr. v. Ol._, 149.

[1033] _E. g._, by F. W., 462-4.

[1034] Furtw.-Wolters, _Beschr. d. Glypt._,^2 no. 302; B. B., 132 (= front view, from cast), 134 (left = back view), 135 (= head, from cast, two views); Bulle, 55; _Mon. d. I._, XI, 1879-83, Pl. VII; Brunn, _Annali_, LI, 1879, pp. 201 f. and Pl. ST, 1, 2; F. W., 462; Reinach, _Rép._, I, 522, 2; Clarac, V, 857, 2174; for replicas, Furtw., _Mw._, p. 466, n. 4 and _Mp._, p. 259, n. 4; Duetschke, IV, pp. 53 f. on no. 82; etc. It is 1.93 meters high with the plinth, 1.80 meters without (Furtw.-Wolters).

[1035] The right arm is wrongly restored in the Munich statue; its proper restoration is given in a cast in Brunswick: Bulle, p. 112, fig. 20. Bulle, however, says that the Munich statue may be that of a boxer and not of an oil-pourer (wrestler).

[1036] Pointed out by Kekulé, _Ueber den Kopf des Praxitelischen Hermes_, 1881, p. 8.

[1037] _H. N._, XXXIV, 72; Klein, _Praxiteles_, 1898, p. 50; _id._, _Arch.-epigr. Mitt. aus Oest._, XIV, 1891, pp. 6-9. We have discussed it _supra_, p. 77.

[1038] For the _Marsyas_ in the Lateran Museum in Rome, see Bulle, no. 95, and text, pp. 183 f., and Helbig, _Fuehrer_, II, no. 1179. See Brunn, _op. cit._, p. 204.

[1039] B. B., 557, text by Sieveking; described also by Furtwaengler, _Beschr. d. Glypt._,^2 p. 313.

[1040] F. W., no. 463; _Annali_, LI, 1879, Pl. ST, 3; B. B., 133 (= front view), 134 (right = back view); Furtw., _Mp._, pp. 259-60, _Mw._, pp. 467-8; for list of replicas of this torso, see _Mp._, p. 259, n. 9, _Mw._, p. 467, n. 4. Brunn, _op. cit._, p. 217, thought it a copy of the Munich statue.

[1041] One in Turin, F. W., 464; Duetschke, IV, no. 82; two statuettes in the Vatican (Braccio Nuovo), discussed by Bloch in _R. M._, VII, 1892, pp. 93 f.; Helbig, _Guide_, nos. 42 and 44.

[1042] Furtw.-Wolters, _Beschr. d. Glypt._,^2 no. 458; Clarac, Pl. 858, 2175; Furtw., _Mp._, pp. 263 f.; _Mw._, pp. 473 f. It is 1.54 meters high. A replica is in the Vatican: see Furtwaengler, _l. c._; we shall treat it later in reference to the statue of the pentathlete Pythokles; Hyde, 70; Foerster, 295; _Inschr. v. Ol._, 162-3; see _infra_, p. 144 and n. 4.

[1043] _B. M. Bronzes_, no. 514, on p. 71, and Pl. XVI; _Specimens_, I, Pl. 15; Reinach, _Rép._, II, 91, 7; _Mon. gr._, II, no. 23, Pl. XV and p. 1 (ascribing it to the Argive school). It forms the basis for a mirror.

[1044] Furtwaengler, _Sitzb. Muen. Akad._, 1897, II, pp. 129 f. and Pl. 6 (influence of Kalamïs).

[1045] _B. C. H._, X, 1886, pp. 393 f. (S. Reinach) and Pl. XII, 3 (this should be numbered XIV, 4; see text); Pottier et Reinach, _Nécrop. de Myrina_, Pl. XLI, 3, pp. 450 f. It is 0.205 meter high.

[1046] _E. g._, F. W., 1798; relief found in 1830 in Hermione, now in Athens; it is of the second or third century B. C.

[1047] _E. g._, on the stone of Gnaios: _Jb._, III, 1888, pp. 315 f., no. 3; Pl. X, no. 12; Furtwaengler, _Die antiken Gemmen_, 1900, Pl. L, no. 9, and Vol. II, p. 241; also on the gem pictured by Toelken, _Erklaer. Verzeichn. d. ant. vertieft geschnittenen Steine d. preuss. Gemmensammlung_, 1835, Klasse VI, 107 (= _Die ant. Gemmen_, Pl. XLIV, no. 24, and Vol. II, pp. 213); Furtwaengler, _Mp._, p. 260, n. 6, and _Mw._, p. 468, n. 4, who mentions it, believes that these gems correspond more nearly with the Dresden than with the Petworth athlete type.

[1048] The strigil was a curved blade hollowed out inside with both edges sharp; the general form remained largely the same from the sixth century B. C., down into Roman days, though the curve and the handle changed. The commonest were of bronze or iron: see Dar.-Sagl., IV, 2, pp. 1532 f., _s. v._ _strigilis_ (S. Dorigny); K. Friederichs, _Kleinere Kunst und Industrie im Altertum_, 1871, pp. 88 f. Examples in the Metropolitan Museum, New York, are given by Richter, in _Gk., Etr. and Rom. Bronzes_, nos. 855 f.; others (strigils and handles) are in the British Museum: _B. M. Bronzes_, nos. 320-326, 665, and 2420-2454, and figs. 74-75, p. 319; on the operation, see Kuppers, _Der Apoxyomenos des Lysippos_, 1874.

[1049] _E. g._, on an amphora in Vienna: Schneider, _Arch.-epigr. Mitt. aus Oest._, V, 1881, p. 139, Pl. IV; Hoppin, _Hbk. Attic r.-f. Vases_, I. p. 334, no. 25 and Pl. (right-hand fig.); on a kylix formerly in possession of Lucien Bonaparte, now in the British Museum, E 83: Gerhard, IV, Pl. CCLXXVII, 2 (left-hand figure), and p. 50; Murray, _Designs from Greek Vases_, no. 58; others on which the athlete is cleansing the strigil and not the body are given by Hartwig in _Jh. oest. arch. Inst._, IV, 1901, p. 154 and figs. 178 (Peleus on krater from Bologna), 179 (athlete on B. M. vase mentioned above, E. 83, third figure from left, middle row), 180 (cup in Rome, Museo Gregoriano), 181 (jug, _ibid._); Hartwig, pp. 153-4, mentions an athlete on a cup in the Museo Papa Giulio, Rome. For the motive of an apoxyomenos on a vase in the Louvre, see Hartwig, _Die greich. Meisterchalen_, pp. 24 f. and fig. 2a.

[1050] _H. N._, XXXIV, 55, 62 and 76, respectively.

[1051] Pliny, XXXIV, 86 and 87, respectively.

[1052] A list is given by Furtw., _Mp._, p. 262, n. 2; _Mw._, p. 471, n. 1; a gem from the Hermitage is shown in _Mp._, p. 262, fig. 109; _Mw._, p. 471, fig. 79; = _Die antiken Gemmen_, Pl. XLIV, no. 19; _cf._ also _ibid._, no. 18; Hartwig, in the article cited in note 1 above, adds two more gems showing an athlete in a similar position, in the Boston Museum of Fine Arts: p. 155, figs. 183, 184. Here the youth, as Hartwig against the interpretation of Furtwaengler makes clear, is cleansing the strigil and not his body.

[1053] So J. Sieveking, _Die Bronzen der Samml. Loeb_, 1913, Pl. 11, pp. 27 f.; _cf._ _Burlington Fine Arts Club, Cat. Anc. Gk. Art_, 1904, Pl. 50, B. 47, and von Duhn, _Sitzb. d. Heidelberger Akad. d. W._, Abt. 6, p. 9. It is 0.09 meter high.

[1054] Von Mach, 235; F. W., 1264; Reinach, _Rép._, I, 515, 6 and 7; _cf._ II, 2, 546, 2; etc.

[1055] _H. N._, XXXIV. 65.

[1056] _Infra_, pp. 288 f.

[1057] Amelung, _Fuehrer_, no. 25; Duetschke, III, 72 (1.93 meters high); B. B., 523-4 (text by Arndt); Bulle, p. 116, fig. 21; _cf._ Helbig, _Guide_, I, pp. 26 f., on nos. 42 and 44 (statuettes); Benndorf, _Jh. oest. arch. Inst._, 1898, Beiblatt, pp. 66 f.; Klein, _Praxiteles_, pp. 51 f.; Furtw., _Mp._, pp. 261-2; _Mw._, pp. 469-71; Bloch, _R. M._, VII, 1892, pp. 81 F., and fig. on p. 83 and Pl. III (head, two views). The right underarm and hand and the left underarm and part of the hand, the vase, and the basis, are all modern restorations.

[1058] _Die antiken Gemmen_, Pl. XLIV, no. 17, and text, II, p. 212; _Mp._, p. 261, fig. 108; _Mw._, p. 470, fig. 78; Hartwig, in _Berl. Phil. Wochenschr._, XVII, Jan. 2, 1897, p. 31, corrects the mistake of Furtwaengler and Amelung that the athlete on the gem is cleansing the thigh and not the strigil itself.

[1059] Arndt dates it about 400 B. C.; Furtwaengler ascribes it and the Dresden torso of the _Oil-pourer_, already discussed, to an Attic master of the end of the fifth or beginning of the fourth century B. C.

[1060] Listed by Furtw., _Mp._, p. 262, n. 1; _Mw._, p. 470, n. 5. Especially the reduced mediocre copy in the Braccio Nuovo of the Vatican: Helbig, _Guide_, no. 45; Clarac, 861, 2183; _R. M._, VII, 1892, pp. 92 f., and fig.

[1061] Bulle, no. 60 (who dates it in the middle of the fourth century B. C., and considers it a copy of an original statue); Hauser, _Jh. oest. arch. Inst._, V, 1902, pp. 214 f. and fig. 68; Springer-Michaelis, p. 297, fig. 530; _cf._ _A. J. A._, VII, 1902, pp. 352-3, figs. 1 and 2. It is 1.925 meters high (Bulle).

[1062] Babelon et Blanchet, _Cat. des bronzes antiques de la Biblioth. Nat._, 1895, no. 934, p. 411; it is 0.075 meter high.

[1063] Discussed by P. Hartwig, _Jh. oest. arch. Inst._, IV, 1901, pp. 151-9, figs. 176 and 177 (four views of statuette), and Pls. V-VI (two views of the head). Without its base it is 0.679 meter high.

[1064] It is in the Hamilton Coll.; see _B. M. Cat. Engraved Gems_, 1888, no. 335; _cf. ibid._, no. 432, a cut scarab from the Blacas Coll., representing a nude athlete seated on a rock, holding a lekythos and strigil suspended from the right hand.

[1065] Bulle, no. 265; B. B., 601 (text by L. Curtius); H. Pomtow, _Beitr. z. Topogr. v. Delphi_, Pl. XII; Homolle, _Société des Antiquaires de France_, Centennaire 1804-1904, Pl. XII. The figures are life-size (Bulle).

[1066] _H. N._, XXXIV, 59: _Hic primus nervos et venas expressit_.

[1067] In the Louvre: Longpérier, _Notice des bronzes antiques du Louvre_, I, 1868 (reprinted 1879), no. 214; de Ridder, _Les bronzes antiques du Louvre_, I, 1913, Pl. 19, no. 183, and pp. 34 f.; Furtw., _Mp._, Pl. XIII, and p. 280, fig. 119; text, pp. 279 f.; _Mw._, Pl. XXVIII, 3 (middle), and text, pp. 492 f.; Reinach, _Rép._, II, 2, 588, 3. It is 0.21 meter high. For the same style and conception, _cf._ a statuette from Cyprus in the Cesnola Collection, Metropolitan Museum, New York: Richter, _Gk., Etruscan, and Roman Bronzes_, p. 57, fig. 87 (two views). Here the left leg is the rest leg.

[1068] _Inschr. v. Ol._, 164; base reproduced in _Mp._, p. 279, fig. 118; _Mw._, p. 491, fig. 85.

[1069] See list, Furtw., _Mp._, pp. 281 f.; _Mw._, p. 493; a completer one by Lippold, _Jb._, XXIII, 1908, pp. 203-8.

[1070] Amelung, _Vat._, II, pp. 414 f., no. 251, and Pl. 46; Furtw., _Mp._, p. 281, fig. 120; _Mw._, p. 494, fig. 86; Clarac, 856, 2168. As the head and torso are of different marbles, we really have parts of two copies of the same original. In reconstructing the statue, another copy in the Galleria delle Statue is better: Amelung, _Vat._, II, pp. 583 f., no. 392 and Pl. 56; it has a head of Septimius Severus upon it; the position of its feet is almost exactly that of the statue of Xenokles mentioned.

[1071] Publ. by Miss A. Walton, _A. J. A._, XXII, 1918, pp. 44 f., Pls. I, II, and figs. 1-5 in the text; Matz-Duhn, _Ant. Bildw. in Rom_, no. 1000; von Duhn doubts whether the head belongs to the trunk. The statue was acquired by Wellesley College in 1905 from a Roman dealer.

[1072] Copies of the head-type are listed by Furtw., _Mp._, p. 282; _Mw._, pp. 494-5.

[1073] Invent., 5610; _Bronzi d’Ercolano_, I, Pls. 53-54, p. 187; Comparetti e de Petra, _Villa Ercolanese dei Pisoni_, 7, 4; Furtw., _Mp._, p. 284, figs. 121 a, b; _Mw._, pp. 496-7, figs. 87-8; B. B., 339 (left).

[1074] _Mp._, p. 283; _Mw._, p. 495.

[1075] Amelung, _Vat._, II, p. 416.

[1076] In the Museo Archeologico: Amelung, _Fuehrer_, no. 268 (and bibliography); B. B., 274-77; Bulle, 52-53 and 204-5 (head); von Mach, 123 (front and back views); Collignon, I, pp. 479 f. and figs. 247 (statue), 248 (head); Reinach, _Rép._, II, 2, 588, 2; Furtw., _Mp._, p. 285, fig. 122 (head); _Mw._, p. 499, fig. 89; Robinson, _Cat. Boston Museum of Fine Arts_, Suppl., no. 113; Springer-Michaelis, p. 272, fig. 488. It is 1.48 meters high (Bulle).

[1077] Ueber die Bronzestatue des sog. Idolino (_49stes Berl. Winckelmannsprogr._, 1889), p. 10. He classed it stylistically with the _Oil-pourer_ of Munich and the _Standing Diskobolos_ of the Vatican, which Brunn had called Myronic. He later, however, renounced his Myronic theory and merely called it Attic, because of its resemblance to figures on the Parthenon frieze: _Beilage zu den amtlichen Berichten aus den k. Kunstsamml._, XVIII, no. 5, Juli, 1897, p. 73 (quoted by Richardson, p. 161, n. 8).

[1078] _Festschr. f. Benndorf_, p. 175: here he assigns it not to Myron himself, but to his son.

[1079] II, p. 30; he also admits its Polykleitan features.

[1080] _Polyklet u. s. Sch._, pp. 70 f., 1902; he assigns it to an artist of the master’s circle.

[1081] _Mp._, 286; _Mw._, p. 500.

[1082] _Cronaca_, pp. 29-30, fig. 2 (= _Supplemento di Bolletino d’Arte_, Roma, XII, Fasic. V-VIII) 1918 (Lucia Mariani). _Cf._ review in _A. J. A._, XXIII, 1919, p. 319 and fig. 2; and also Mariani, _Rend. della Reale Accad. dei Lincei_, XXVI, 1918, pp. 125-138, and fig. in text.

[1083] Matz-Duhn, _Ant. Bildw._, no. 1111; Furtw., _Mp._, p. 287; _Mw._, p. 502.

[1084] See material collected by Stephani, _Comptes rendus de la commiss. impér. archéol._, St. Petersburg, 1873; _cf._ Fritze, _de Libatione veterum Graecorum_, Berl. Diss., 1893.

[1085] II, pp. 416 f.

[1086] No. 2723; Svoronos, Tafelbd., II, Pl. CXXI (CI is a poor copy of it); Staïs, _Marbres et Bronzes_, pp. 240-242 (0.45 meter high; 0.57 meter broad). Staïs also regards it as an _ex voto_ to Herakles.

[1087] It is broken away, but its outline is clear.

[1088] Kabbadias, 248; Staïs, _op. cit._, p. 86; Arndt-Bruckmann, _Einzelaufnahmen_, 627 and 628 (head alone); noticed in _A. A._, 1889, p. 147, and _A. M._, XIII, 1888, p. 231 (Wolters); _ibid._, XXXI, 1906, pp. 352 f. (von Salis); _Jb._, VIII, 1893, pp. 224 f., fig. 3 (restored), and Pl. IV (Mayer). It may be one of the statues seen by Pausanias in the temenos: I, 18.6. It is 1.50 meters high without the plinth (Mayer).

[1089] Furtwaengler, _Mw._, p. 378, n. 3 (_cf._ _Mp._, p. 196, n. 1), p. 685, n. 2 and p. 737; he ascribes it to Kalamis or his school.

[1090] _H. N._, XXXIV, 81; statue also mentioned, _ibid._, XXII, 44.

[1091] In the National Museum, no. 12; Staïs, _Marbres et Bronzes_, pp. 362, 363 and fig. (0.09 meter high); three photographs, _A. M._, XXXI, Pl. XXII; a poor photograph in Carapanos, _Dodone et ses ruines_, 1878, Pl. XIV, 3, and p. 186.

[1092] In the statuette it is bent, but its original horizontal position is indicated by the position of the hand.

[1093] Two copies: Hettner, _Die Bildw. d. koenigl. Antikensamml._,^4 1881, nos. 70, 88; F. W., 1217; Furtw., _Mp._, pp., 310-11, figs. 131-2; _Mw._, pp. 534-5, figs. 97-8; Springer-Michaelis, p. 314, fig. 562; Reinach, _Rép._, II, 1, 139, 5-6; M. W., II, 39, 459; Clarac, IV, 712, 1695.

[1094] Listed, _Mp._, p. 310, n. 2; _Mw._, p. 533, n. 3; one, formerly in the Museo Boncompagni-Ludovisi, now in the Museo delle Terme, in Rome: Reinach, _Rép._, II, 1, 139, 7; B. B., 376; Helbig, _Fuehrer_, II, 1308; Collignon, II, p. 265, fig. 131; von Mach, 197. The original must have been of bronze.

[1095] _H. N._, XXXIV, 69. For discussion, see F. W., note on p. 421 (to no. 1217).

[1096] In the Museo Chiaramonti, no. 297; Amelung, _Vat._, I, p. 509 and II, Pl. 53; Clarac, 479, 916.

[1097] _Cf._ _Beschr. d. Skulpt. zu Berlin_, no. 44; a poor torso of the type is in the Museo Chiaramonti of the Vatican: Amelung, _Vat._, no. 295 and Pl. 52; Reinach, _Rép._, II, 1, 173, 2.

[1098] Michaelis, p. 609, no. 24; _Specimens_, I, Pl. 30; _Mp._, p. 163, fig. 65 (front), p. 162, fig. 64 (profile), from an old cast from the Mengs Collection in Dresden; _Mw._, Pl. XVI; other replicas, _Mp._, p. 161, n. 3.

[1099] _Cat. Class. Coll._, pp. 214-17, and fig. 130 on p. 215.

[1100] _H. N._, XXXIV, 76: _Ctesilaus doryphoron et Amazonem volneratam (fecit)_. Bergk long ago proposed to alter this name to Kresilas (_Zeitschr. fuer Alterthumswissensch._, 1845, p. 962), and was followed by Brunn (I, p. 261)—an emendation accepted by most recent investigators. The argument derived from the _Amazon_ of Kresilas, mentioned by Pliny, XXXIV, 53, and apparently repeated in the present passage, is strong. Jex-Blake, however, finds the name Ktesilaos a good Greek formation, though uncommon: see his note on p. 62.

[1101] _Mp._, pp. 161 f.; _Mw._, pp. 332 f.

[1102] It is plainly visible in the example from Petworth House, and in the poor one lately in the possession of the Roman dealer Abbati: B. B., 84 (from cast); _Bull. del. Inst._, 1867, p. 33 (Helbig); _Mon. d. I._, IX, 1869-73, Pl. XXXVI; _Annali_, XLIII, 1871, pp. 279 f. (Conze); it is also visible in the New York copy.

[1103] As on an Attic fifth-century B. C. grave-relief from the Peiræus: Staïs, _Marbres et Bronzes_, p. 157 (who gives the height as 0.45 meter and the breadth as 0.32 meter); von Sybel, _Kat. d. Skulpt. zu Athen_, 1881, no. 171; _Annali_, XXXIV, 1862, p. 212; Conze, _Die Attischen Grabreliefs_, no. 929 and Pl. CLXXX; F. W., 1017; for similar reliefs, see _Annali_, 1862, Pl. M.

[1104] Michaelis wrongly dated the original in the fourth century B. C.; Brunn first recognized its fifth-century character: _Annali_, XLVII, 1875, p. 31 (_apud_ Leop. Julius).

[1105] _Ant. Denkm._, I, 1, 1886, Pl. IV; B. B., no. 248; Bulle, 167; Collignon, II, p. 492, fig. 256; Helbig, _Fuehrer_, II, 1350; _Guide_, 1051; Hekler, _Greek and Roman Portraits_, 1912, pp. 85-86; Gardner, _Hbk._, p. 536, fig. 146; Amelung, _Museums and Ruins of Rome_, I, fig. 156; _Not. Scav._, 1885, p. 223; _Gaz. B.-A._, XXXIII, Pér. 2, I, 1886, fig. on p. 427; Springer-Michaelis, p. 401, fig. 743; Reinach, _Rép._, II, 2, 550, 10; Reinach classes it as an athlete or Herakles. It is 1.28 meters high (Bulle).

[1106] Discussed _infra_, Ch. IV, pp. 254-5.

[1107] For this reason Helbig wrongly assigned it to about 400 B. C.

[1108] _Ueber die griech. Portraetkunst_, 1894, pp. 12 f. (and fig.).

[1109] XXVII, 9.

[1110] _Philologus_, LVII (N. F., XI), pp. 1 f. and 649 f. Kleitomachos won in Ols. 141, 142 (= 216, 212 B. C.): P., VI, 15.3; Hyde, 146; Foerster, 472, 476. _Cf._ Suidas, _s. v._ Κλειτόμαχος. His statue was set up by his father, and his victory sung by Alkaios of Messenia: _A. G._, IX, 588.

[1111] _Cf._ Petersen, _R. M._, XIII, 1898, pp. 93-5; this theory of Wunderer is also rejected by Hitz.-Bluemn., II, 2, p. 609.

[1112] Erected about 477 B. C.; Bulle, 84 (_Aristogeiton_) and 85 (_Harmodios_); etc.

[1113] Discussed _infra_, Ch. IV, pp. 220-1 and n. 5 on p. 220.

[1114] See Stephanos, _Lex._, _s. vv._ ταινία, ταινίδιον, ταινόω. This victor fillet is mentioned by Lucian in reference to the _Diadoumenos_ of Polykleitos: _Philops._, 18.

[1115] Xen., _Symp._, V, 9; Plato, _Symp._, 212 E; it appears often on statues of Dionysos: _e. g._, on one in Furtwaengler’s _Samml. Sabouroff_, Pl. XXIII; Dionysos is called Χρυσομίτρης in Soph., _Oed. Tyr._, 209. The fillet was used as a breast-band for women’s dresses: Pollux, VII, 65; etc.

[1116] _J. H. S._, I, 1880, p. 177. In older days the athletic fillet was called μίτρα (Lat. _mitella_): Pindar, _Ol._, IX, 84; _Isthm._, V, 62 (of wool); Boeckh, _Explic. ad Pind._, p. 193. In the Iliad μίτρα was the kilt or apron worn around the waist under the cuirass (a ζωστήρ being worn outside): IV, 137; IV, 187; V, 857; etc. It was used also later as a wrestler’s girdle: _A. G._, XV, 44; and for women’s headbands: Alkm., I; _cf._ Eurip., _Bacchae_, 833. Athletes on vase-paintings representing palæstra scenes often wear the fillet: _e. g._, the wrestlers and other athletes on the Philadelphia r.-f. kylix pictured in Fig. 50, have red bands in their hair. Later the μίτρα was specially used of women; if of men, it was a sign of effeminacy: Aristoph., _Thesmophoriazusae_, 163. The home of the μίτρα appears to have been Asia, as it was commonly worn by Asiatics: see Hdt., I, 195; VII, 62 (headdress); Virgil, _Aen._, IV, 216. We learn from Alkman that it came from Lydia to Greece: fragm. 23, verses 67 f. On it, see Bekker, _Charikles_, II, pp. 393 f., and Pauly-Wissowa, VII, 2, p. 2033 (Bremer).

[1117] See F. W., on 322. It appears on the “Apollo” type of early sculpture, _e. g._, on the “Apollo” of Orchomenos (Fig. 7).

[1118] _Stud. z. Parthenon_, 1902, pp. 1 f.

[1119] VI, 2.2; Lichas won the chariot victory in Ol. 90 (= 420 B. C.): Hyde, 14; Foerster, 270.

[1120] P., V, 11.1.

[1121] Bulle, no. 207; Furtw.-Wolters, _Besch._,^2 457; B. B., 8; here it was inlaid with silver.

[1122] This may, however, be merely the remains of a wreath of gold: see Rayet, II, text to no. 67 (J. Martha).

[1123] Bulle, no. 202; Lechat, p. 482, fig. 44. It is 0.23 meter high (Bulle).

[1124] _Bildw. v. Ol._, Tafelbd., Pl. LIV; F. W., 322; Wolters thinks this is scarcely a victor fillet.

[1125] This head, in the possession of Lord Leconfield, is a replica of the same original as the one in the Metropolitan Museum (Pl. 15); Michaelis, p. 609, no. 24. See discussion _supra_, pp. 144-5.

[1126] Noted by Furtw., _Mp._, p. 161.

[1127] P., VI, 1.7; he won in Ol. (?) 89 (= 424 B. C.): Hyde, 9; Foerster, 796.

[1128] _A. M._, XIX, 1894, pp. 137-9 (J. Ziehen); fig. in text. It is now in the Museum of the Peiræus Gymnasion.

[1129] On such representations in art, see Stephani, _Comptes rendus de la commission impériale archéologique_, St. Petersburg, 1874, pp. 214-16.

[1130] Παῖς ἀναδούμενος: VI, 4.5; _S. Q._, 757.

[1131] _Hermes_, XXIII, 1888, pp. 444 f.; P., V, 11.3. Robert is followed by Kalkmann, _Pausanias der Perieget_, 1886, pp. 90 f.

[1132] _Cf._ Frazer, IV, p. 11. Figures of athletes appear beneath the throne on vases: Overbeck, _Griech. Kunstmythol._, Pl. I, 9 and 16; Gerhard, I, Pl. VII. Flasch has tried to show that the throne figure did not represent Pantarkes: Baum., II, p. 1099, 2; _cf._ Gurlitt, _Ueber Pausanias_, 1890, p. 380.

[1133] VI, 10.6. Pantarkes won the boys’ wrestling match in Ol. 86 (= 436 B. C.): Hyde, 98; Foerster, 254.

[1134] Amongst others it has been assumed by Loeschke, Der Tod des Pheidias (in _Histor. Untersuch. zum Schaefer-Jubilaeum_, Bonn, 1882), p. 36; Schoell, _Sitzb. Muen. Akad._, 1888, I, p. 37 (Der Prozess des Pheidias). Foerster, p. 19, n. 1, is against the identification. The παῖς ἀναδούμενος is omitted in my victor lists (_de olympionicarum Statuis_).

[1135] The παῖς ἀναδούμενος is mentioned between victors nos. 38 and 39, _i. e._, in the Zone of the _Eretrian Bull_, while Pantarkes (98) is mentioned among the statues in the Zone of the _Chariots_: see _infra_, Ch. VIII, pp. 343 and 345, and Plans A and B.

[1136] _Cf._ Gurlitt, _Ueber Pausanias_, pp. 378 f.

[1137] _Cf._ Doerpfeld, _Baudenkmaeler v. Ol._, p. 21 and n. 1; Furtw., _Mp._, pp. 39-40; Frazer, _l. c._

[1138] _B. M. Sculpt._, I, no. 501; _Marbles and Bronzes_, Pl. VI; B. B., 271; Bulle, 49; von Mach, 117; Springer-Michaelis, p. 259, fig. 461; F. W., 509; _Annali_, L, 1878, Pl. A and pp. 20 f. (two views) (Michaelis); Clarac, V, 858 C, 2189 A; M. W., I, Pl. 31, fig. 136; Reinach, _Rép._, I, 524, 2. The palm-trunk shows that the Roman artist intended to represent a victor in his copy. It is 4 ft. 10.25 in. high (Smith); 1.48 meters (Bulle).

[1139] Brunn, following older writers such as Winckelmann, had pronounced it Polykleitan: _Annali_, LI, 1879, pp. 218 f.; _cf._ Murray, I, pp. 313 f. and Pl. IX. Kekulé called it Myronian: _49stes Berl. Winckelmannsprogr._, 1889, p. 12; Gardner, _Sculpt._, p. 128, finds it unrelated to Polykleitos and defends its Attic origin. Everything about it—except the mode of tying the fillet—differs from the copies of Polykleitos’ statue, and especially the pose. Against Brunn’s view, see Michaelis, _Annali_, LV, 1883, pp. 154 f.

[1140] So Bulle, Arndt (text to B. B., 271), Furtwaengler (_Mp._, pp. 244-5; _Mw._, pp. 444-5), Zimmerman (in Knackfuss-Zimmermann, _Kunstgesch. des Altertums und des Mittelalters_, I, p. 152), and many others.

[1141] _Cf._ especially the resemblance of the statue to the youth on the West frieze: Michaelis, _Der Parthenon_, Pl. V, no. 9.

[1142] Pliny, _H. N._, XXXIV, 55, praises it equally with the _Doryphoros_, and says that 100 talents were paid for it; in another passage he says that a like sum was paid by King Attalos for a picture of Dionysos by the Theban painter Aristeides: _ibid._, VII, 126; _cf._ XXXV, 24 and 100. A painting by Timomachos of Byzantium brought 80 talents: _ibid._, XXXV, 136.

[1143] _H. N._, XXXIV, 56; here he quotes Varro, who was drawing probably from Xenokrates of Sikyon: see Jex-Blake, pp. xvi f.

[1144] Listed by Furtwaengler, _Mp._, pp. 239 f.; the torsos, by Petersen, _B. com. Rom._, 1890, pp. 185 f.

[1145] _B. M. Sculpt._, I, no. 500; _Marbles and Bronzes_, Pl. IV; B. B., 272; von Mach, 114; F. W., 508; _Mon. d. I._, X, 1874-78, Pl. XLIX (3 views); Rayet, I, Pl. 30; Collignon I, p. 479, fig. 253; Murray, I, Pl. X; Reinach, _Rép._, II, 2, 547, 5. Michaelis, by a comparison with the _Doryphoros_, first showed that it was a copy of the _Diadoumenos_: _Annali_, L, 1878, pp. 10 f. It is 6 ft. 1 in. tall (Smith).

[1146] Kabbadias, no. 1826; Bulle, 50; Gardner, _Sculpt._, Pl. 35; von Mach, 115; _Mon. Piot_, III, 1896, pp. 137 f. (Couve), and Pls. XIV and XV; Staïs, _Marbres et Bronzes_, pp. 84-85 and fig.; _B. C. H._, XIX, 1895, pp. 460 f. (account of the Delian excavations by L. Couve) and Pl. VIII (the statue in its surroundings at the excavations); Springer-Michaelis, p. 277, fig. 498; Reinach, _Rép._, II, 2, 547, 9. It is 1.86 meters high without the base (Couve).

[1147] Discussed _supra_, on pp. 92-3.

[1148] _Mon. Piot_, IV, Pls. VIII-IX; von Mach, no. 116 a; Furtw., _Mp._, p. 241, fig. 98; _Mw._, p. 439, fig. 68 (who called it the most beautiful of all the copies); Reinach, _Rép._, I, 475, 6. The right arm is wrongly restored.

[1149] Listed by Furtwaengler, _Mp._, pp. 240-2; _cf._ Gardner, _Sculpt._, pp. 125 f.

[1150] Hettner, _Die Bildw. d. Antikensamml. zu Dresden_, pp. 80 and 86; _Annali_, XLIII, 1871, Pl. V, pp. 281 f. (Conze); Furtw., _Mp._, Pls. X and XI; _Mw._, Pl. XXV; Gardner, _Sculpt._, Pl. 36 (two views); F. W., 511.

[1151] B. B., no. 340; Conze, _Beitraege zur Geschichte d. griech. Pl._^2, 1869, pp. 3 f., Pl. 2 (two views); F. W., 510.

[1152] _B. M. Sculpt._, III, no. 2729 (Addenda); _Mon. Piot_, III, p. 145 (Couve); _ibid._, IV, p. 73 (Paris); Gardner, _Sculpt._, Pl. 37.

[1153] _J. H. S._, VI, 1885, pp. 243 f. (Murray), and Pl. LXI.

[1154] _J. H. S._, XXXIX, 1919, pp. 69 f., and Pl. 1 (two views), and p. 232 (with illustration of the palmette head-band).

[1155] _Mp._, p. 246, fig. 99 (with original head); _Mw._, p. 447, fig. 69.

[1156] Michaelis, p. 438, no. 3; Clarac, V, 851, 2180 A (headless); it is 1.49 meters high (Michaelis). He believes that it originally was an oil-pourer.

[1157] _Mp._, p. 246; _Mw._, p. 448. It is 12 centimeters high (Furtwaengler).

[1158] κοτίνου στέφανος, P., VIII, 48.2; _cf._ _A. G._, IX, 357; Aristoph., _Plut._, 586; Theophr., _Hist. Plant._, IV, 13.2. The custom of using the olive crown is probably very ancient, despite Phlegon’s statement that it was introduced in Ol. 7 (= 752 B. C.): frag. 1 (= _F. H. G._, III, p. 604). Pindar says that it was introduced from the land of the Hyperboreans by Herakles: _Ol._, III, 14 f; Bacchylides calls it Aetolian: VII, 50 (γλαυκὸν Αἰτωλίδος ἄνδημ’ ἐλαίας). It probably goes back to some form of popular magic.

[1159] B. B., no. 324; here small leaves are still remaining over the forehead.

[1160] _Bronz. v. Ol._, II, 2 and 2 a. Here the leaves have disappeared. See pp. 254-5.

[1161] _B. C. H._, V, 1881, Pl. III, text, pp. 65 f. (Pottier). Here is listed a number of funerary reliefs representing athletes, which list could easily be enlarged.

[1162] Helbig, _Fuehrer_, II, 1241; _Guide_, 977. On the motive, see _Archaeol. Studien H. Brunn dargebr._, 1893, pp. 62 f.

[1163] The λημνίσκος (Lat. _lemniscus_) was merely the woolen fillet by which chaplets were fastened on; Hesychios says it is a Syracusan word; in any case it is used only by Roman writers and Greek writers of the Roman age; _A. G._, XII, 123; Plut., _Sulla_, 27; Polyb., XVIII, 46 (where στέφανοι and λημνίσκοι are differentiated, though they are usually interchangeable); _C. I. G._, III, 5361; _C. I. A._, III, 74. Pliny says that it was of Etruscan origin, _H. N._, XXI, 4, and that it was at first made of wool or linden-bark and later of gold; _cf._ XVI, 25. It was used at Rome at feasts, as a sign of special honor to guests: Plaut., _Pseudolus_, (line 1265); Livy, XXXIII, 33.2; Suet., _Nero_, 25. For the Roman use of the _lemniscus_ for athletic victors and poets, _cf._ Cicero, _Or. pro Sext. Roscio Amerino_, 35, 100; Ausonius, _Epist._, XX, 6; etc. On the _lemniscus_, see Dar.-Sagl., III, 2, pp. 1099-1100.

[1164] _R. M._, VI, 1891, p. 304, no. 3.

[1165] _Mon. Piot_, XVII, 1909, Pls. II, III and pp. 29 f. (Merlin and Poinssot).

[1166] _B. M. Sculpt._, III, no. 1754; B. B., 46; _Marbles and Bronzes_, Pl. XXII; Collignon, I, fig. 255, on p. 500; Furtw., _Mp._, p. 252, fig. 105; _Mw._, p. 457, fig. 75 (back view); Springer-Michaelis, p. 275, fig. 495; Reinach, _Rép._, II, 2, 546, 9. It is 4 ft. 11 in. high (Smith), _i. e._, 1.48 meters.

[1167] Helbig, _Cat. Coll. Barracco_, no. 99, Pls. 38 and 38 a; _id._, _Fuehrer_, I, 1083; sketches of the Westmacott and Barracco copies in Kekulé, _49stes Berl. Winckelmannsprogr._, 1889, Pl. IV.

[1168] No. 254; _Arch. Eph._, 1890, pp. 207 f. (Philios) and Pls. X and XI. Bulle, 51, gives the Westmacott and Barracco examples side by side; in _J. H. S._, XXXI, 1911, Pl. II, we have the Westmacott, Barracco, and Eleusis copies together. Furtwaengler, _Mp._, pp. 250 f., _Mw._, pp. 453 f., Helbig, _Cat. Coll. Barracco_, p. 36, and Petersen, _R. M._, VIII, 1893, pp. 101 f., have added many more torsos and heads as copies or variants of the original.

[1169] See Helbig, _Fuehrer_, I, 1083. Its soft expression and forms led Furtwaengler to derive it from the Praxitelean circle, from the period when Praxiteles was influenced by Polykleitos, and to believe that it represented a divinity, perhaps Triptolemos: _Mp._, p. 255 and n. 2.

[1170] _Burlington Fine Arts Club, Catalogue Anc. Gk. Art_, 1904, no. 45, Pl. XXXIII; Furtw., _Mp._, p. 251, fig. 103; _Mw._, p. 454, fig. 73. It was formerly in the van Branteghem collection.

[1171] For the Dresden head, see _A. A._, 1900, p. 107, figs. 1 a and 1 b.

[1172] Furtw., _Mp._, p. 252, fig. 104; _Mw._, p. 455, fig. 74.

[1173] First published by F. H. Marshall, _J. H. S._, XXIX, 1909, pp. 151-2 and figs. 1 a, b; more fully by E. A. Gardner, _ibid._, XXXI, 1911, pp. 21 f. and Pl. I and fig. 1.

[1174] Nelson head: _J. H. S._, XVIII, 1898, pp. 141 f., and Pl. XI; B. B., 544; Gardner, _Sculpt._, Pl. XXXIX; Capitoline _Amazon_: _Mp._, p. 132, fig. 53 (restored); _Mw._, p. 292, fig. 39. A head of the Capitoline type has been wrongly placed on the Pheidian Mattei torso in the Vatican: _Mp._, p. 133, fig. 54 (head); _Mw._, Pl. XI; B. B., 350; von Mach, 121; Reinach, _Rép._, I, 483, 1.

[1175] B. B., 128 (original and cast).

[1176] As, _e. g._, in the bronze head of a victor in Naples, already discussed (Fig. 25); B. B., 339.

[1177] _E. g._, Furtwaengler and Collignon; the latter, I, pp. 499-500.

[1178] _Hypnos_, pp. 30 f.; accepted by Wolters (_apud_ Lepsius, _Griech. Marmorstudien_, p. 83, no. 164), Treu (_A. A._, 1889, p. 57), Collignon, Petersen, _l. c._, Kekulé (_Idolino_, p. 13), Furtwaengler (_Mp._, pp. 252-3, _Mw._, pp. 458-9 and 747), and others; see Philios, _op. cit._

[1179] _E. g._, by Philios (_op. cit._), Amelung (_Bert. Phil. Wochenschr._, XXII, 1902, p. 273). This scraping motive is seen in the bronze statuette in the Bibliothèque Nationale, no. 934.

[1180] This is inconsistent with the position of the hand in the Barracco copy, which is too far from the head. This was an older view of Helbig, _Rendiconti della Reale Accad. dei Lincei_, 1892, pp. 790 f.; refuted by Furtwaengler, Petersen, Helbig himself later (in the _Fuehrer_), and others.

[1181] Quoted by E. A. Gardner, _J. H. S._, XXXI, pp. 25-6, as the theory of E. N. Gardiner.

[1182] _H. N._, XXXIV, 55; for this theory, see Mahler, _Polyklet u. s. Sch._, p. 50.

[1183] Michaelis, _Der Parthenon_, 1870, Block 131 (from the North frieze).

[1184] F. W., 1665; Furtw., _Mp._, p. 256, fig. 106; _Mw._, p. 463, fig. 76; M. W., Pl. 70, 879; etc.

[1185] For list, see Furtw., _Mp._, p. 254, n. 2. For a restoration of the original statue, see _ibid._, p. 250, fig. 102; _Mw._, p. 453, fig. 72.

[1186] VI, 4.11; _Inschr. v. Ol._, 149; _I. G. B._, 50.

[1187] Those of the Elean pentathlete Pythokles: _Inschr. v. Ol._, 162-3; _I. G. B._, 91; and the Epidaurian boxer Aristion: _Inschr. v. Ol._, 165 (renewed); _I. G. B._, 92. The feet of the Aristion were both flat upon the ground.

[1188] That of the boy wrestler Xenokles of Mainalos: _Inschr. v. Ol._, 164; _I. G. B._, 90.

[1189] In one of the Olympia _Zanes_: _I. G. B._, 95.

[1190] On the Kyniskos basis there are no traces, as on that of Pythokles, to show that the original had been removed from the Altis and replaced by a copy long before Pausanias visited Olympia.

[1191] _O. S._, p. 186, on the basis of the _Oxy. Pap._; followed by Hyde, 45. Foerster’s date, Ol. (?) 86 (= 436 B. C.), follows the earlier dating of Polykleitos by Robert, _Arch. Maerchen_, 1886, p. 107, _i. e._, before the discovery of the Oxyrhynchus Papyrus; see Foerster, 255. Robert later dated the birth of the sculptor about Ol. 75.4 (= 477 B. C.). Thus, even if the _Kyniskos_ were his earliest statue, it must have been erected some time after the victory. Furtwaengler dates the original of the _Westmacott Athlete_ about 440 B. C.: _Mp._, p. 252.

[1192] Bulle, Furtwaengler, E. A. Gardner, and others find the assumption of identity not completely convincing. Thus Furtwaengler looks upon the identification as “no far-fetched theory,” but says: “Unfortunately, however, absolute certainty can scarcely be attained” (_Mp._, pp. 249-50).

[1193] VIII, 48.2; _cf._ Vitruv., _de Arch._, IX, 1 (p. 212).

[1194] Homer mentions the palm: _e. g._, Od., VI, 163; the various kinds of palm are given by Theophr., _Hist. Plant._, II, 6.6 and 8.4. Its fronds (σπάθαι, _cf._ Hdt., VII, 69) were formed into victory crowns: Plut., _Quaest. conviv._, VIII, 4, p. 723.

[1195] _H. N._, XXXV, 75.

[1196] _Arch. Stud. H. Brunn dargehracht_, 1893, pp. 62 f.

[1197] _Mp._, p. 256 and n. 1; _Mw._, p. 462 and n. 2.

[1198] _Cf._ Waldstein, _J. H. S._, I, 1880, p. 187, n. 1.

[1199] _B. C. H._, V, 1881, PI. III. See _supra_, p. 155.

[1200] So Waldstein, _l. c._, p. 186.

[1201] _E. g._, on a Panathenaic vase: _Mon. d. I._, X, 1874-78, Pl. 48, e, g.

[1202] Mentioned by Helbig, _Guide_, 977; discussed by Arndt in _La Glyptothèque Ny-Carlsberg_, text to Pls. XXI-IV. Arndt believes that the right arm with the palm in the hand is modern, like the head and left arm; they are of a different marble from the torso. The torso is a replica of a statue in the Villa Albani, Rome: _op. cit._, fig. 13; _cf._ Furtwaengler, _Mw._, p. 738 (= god type). On representing athletes in the act of placing wreaths on their heads with the right hand and holding palm-branches in the left, see Milchhoefer, and others, in the work already cited, _Arch. Stud. H. Brunn dargebracht_, pp. 62 f.

[1203] VI, 10.4. The scholiast on Pindar, _Pyth._, IX, 1, Boeckh, p. 401, says that the hoplites ran with bronze shields.

[1204] See _supra_, pp. 105, n. 3, and 116.

[1205] P., VI, 13.7. He won in Ol. 81 (= 456 B. C.): _Oxy. Pap._; Hyde, 117; Foerster, 184.

[1206] Schol. on Pindar, _Pyth._, IX, Inscript. a. Boeckh, p. 401.

[1207] Head A: _Bildw. v. Ol._, Textbd., pp. 29 f.; Tafelbd., Pl. VI, 1-4; _Ausgrab. v. Ol._, V, 1881, pp. 12 f., Pls. XVIII (front), XIX (side); F. W., 316; Overbeck, I, pp. 198-9 and _cf._ p. 178. Head B: _Bildw._, pp. 31 f., and Pl. VI, 9-10; _Ausgrab._, p. 13; Overbeck, p. 178; F. W., 315.

[1208] _Bildw._, Pl. VI, 5-6; fig. 30, on p. 30 in Textbd.; _Ausgrab._, V, Pl. XIX, 4 and p. 12; F. W., 317.

[1209] _Bildw._, Textbd., fig. 31, on p. 30.

[1210] _Bildw. v. Ol._, Textbd., fig. 32, on p. 31.

[1211] _Ibid._, pp. 31 f., and Pl. VI, 7-8; _Ausgrab. v. Ol._, V, Pl. XIX, 5 and p. 12; F. W., 319. Both the foot and arm are of Parian marble, like the head.

[1212] Hyde, pp. 42-4; _cf_. Foerster, 151, 155; he also won the stade-race at Delphi: Pindar, _Pyth._, X, 12-16. Robert accepts my ascription: Pauly-Wissowa, VI, p. 1493. Liddell and Scott, _Lexicon_, _s. v._ Φρικίας (= “Bristle”), believe this to be the name not of the victor but of his horse, so called because of his long outstanding mane; _cf_. Herrmann, _Opuscula_, VII, 166 n. This is also the interpretation of Sandys, _Odes of Pindar_, Loeb Library, 1915, p. 291, n. 1.

[1213] P., VI, 10.4-5; R. Foerster, _Das Portraet in d. gr. Plastik_, 1882, p. 22, n. 5.

[1214] Treu, A. Z., XXXVIII, 1880, pp. 48 f.; _Bildw. v. Ol._, p. 34 and n. 2. He explained the shield device of the ram and Phrixos by the fact that Eperastos traced his descent from that hero. _Cf._ Overbeck, I, p. 198.

[1215] VI, 17.5; Hyde, 183 and p. 62; Foerster, 765 (undated).

[1216] _Preus. Jb._, LI, p. 382; _cf._ _Sammlung Sabouroff_, Einleitung zu den Skulpturen, p. 5, n. 4; followed by Flasch, Baum., II, p. 1104 U f.

[1217] V, 27.7.

[1218] Textbd., pp. 31-2.

[1219] Hyde, _l. c._ For the date, see Afr; Foerster, 144-6; he was the first Olympic τριαστής, _i. e._, he gained victories in three events on the same day (stade-, double stade- and hoplite-races).

[1220] Matz-Duhn, _Ant. Bildw._, no. 1097; here it is called a diskobolos; Clarac, 830, 2085; Furtwaengler, _Mp._, p. 204; _Mw._, p. 392.

[1221] Hauser, _Jb._, II, 1887, p. 101, n. 24, points out its resemblance to the Tuebingen bronze, but because of the tree-trunk does not regard it as a representation of a hoplitodrome. Furtwaengler, _l. c._, regards the helmet as belonging to the head, while others believe it alien thereto.

[1222] No. 795; _A. Z._, XXXVI, 1878, Pl. XI and pp. 58-71; Gardiner, p. 105, fig. 17; _cf._ another in Copenhagen: Gerhard, IV, Pl. CCLXXXI.

[1223] P., VI, 3.10; he won the pentathlon some time between Ols. 94 and 103 (= 404 and 368 B. C.): Hyde, 31; Foerster, 347.

[1224] P., V, 26.3.

[1225] V, 27.12.

[1226] _A. Z._, XLI, 1883, Pl. XIII, 2 and pp. 227-8 (Milchhoefer).

[1227] _Inventar_, no. 6306; mentioned by L. Gurlitt in _A. M._, VI, 1881, p. 158.

[1228] Duetschke, II, no. 22; a very similar statue, no. 25, has no _halteres_; both are poor Roman copies.

[1229] _Bildw. v. Ol._, p. 217; Tafelbd., Pl. LVI, 3.

[1230] So schol. on Pindar, _Ol._, VII, Argum., Boeckh, p. 158. He won in Ol. 83 (= 448 B. C.): _Oxy. Pap._; P., VI, 7.1 f.; Hyde, 60; Foerster, 252.

[1231] Matz-Duhn, _Ant. Bildw. in Rom_, no. 1096; _J. H. S._, II, 1881, p. 342, fig. 3. Thongs appear on both forearms of the Polykleitan statue, copies of which are in Kassel (Furtw., _Mp._, p. 246, fig. 99; _Mw._, p. 447, fig. 69), and on a headless one in Lansdowne House (Michaelis, p. 438, no. 3; Clarac, 851, 2180 A); similarly on the Lysippan boxer by Koblanos found at Sorrento, and now in Naples (Fig. 57; Kalkmann, Die Proport, des Gesichts in d. gr. Kunst = _53stes Berl. Winckelmannsprogr._, 1893, Pl. III); on the bronze statue of a boxer from Herculaneum in Naples; and on the delle Terme _Seated Boxer_ (Pl. 16); etc.

[1232] So interpreted, and rightly, by Waldstein (_J. H. S._, I, 1880, p. 186), and others; Juethner, pp. 68-9, thinks that the object here represented is a victor fillet, being too short for thongs.

[1233] P. 26 and n. 2; against him, Reisch, p. 43; Hitz-Bluemn., II, 2, p. 577; etc. Oil-flasks of various kinds—_lekythoi_, _aryballoi_, _alabastra_, _olpai_—are mentioned repeatedly by Greek writers; _e. g._, λήκυθος, by Homer, Od., VI, 79; Aristoph., _Plutus_, 810; ἀρύβαλλος, Aristoph., _Equites_, 1094; Pollux, VII, 166 and X, 63; ἀλάβαστρον, Theokr., XV. 114; ὄλπη (of leather), Theokr., II, 156; etc.

[1234] VI, 14.6.

[1235] VI, 9.1. Theognetos won in the boys’ wrestling match in Ol. 76 (= 746 B. C.): _Oxy. Pap._; Hyde, 83; Foerster, 193 and 193 N.

[1236] We have already in the present chapter mentioned this “Apollo” in connection with the statuette from Piombino (Fig. 19); Studniczka, _R. M._, II, 1887, pp. 99-100, believed that it represented a victor. See _supra_, p. 119.

[1237] _E. g._, on the bronze statuette from Naxos, now in Berlin: see _supra_, p. 119 and n. 5.

[1238] Boy wrestlers especially wore caps in the palæstræ, but not at the games; we see them on the wrestler group in the palæstra scene on the r.-f. kylix in Munich (no. 795) already mentioned.

[1239] Stuart Jones, _Cat._, pp. 65-6, no. 8; Helbig, _Fuehrer_, I, 769; _Guide_, 418; B. B., 527 (and fig. 6 in text, by Arndt); Furtw., _Mp._, p. 204, _Mw._, p. 392. Helbig finds it Myronian, while Furtwaengler considers it Attic, but non-Myronic; for a copy in Stockholm, see B. B., figs. 7, 8, 9, in the text to no. 527.

[1240] I, 17.2. Furtw., _Mp._, p. 204, n. 6, shows that the Athens head bears no resemblance to the Capitoline. Furthermore, heads on coins of Juba differ from both and show no trace of the complicated head-dress. A marble head from Shershel (= Cæsarea) seems to be an authentic portrait of Juba II: see _Annali_, XXIX, 1857, Pl. E, no. 2, and p. 194; and Waille, _de Caesareae Monumentis_, 1891, title page (vignette) and p. 92 (quoted by Helbig, _Guide_, _l. c._).

[1241] See B. B., text to no. 527, figs. 1, 2, 3.

[1242] Helbig, _Fuehrer_, I, 972; _Guide_, 595; _B. Com. Rom._, XII, 1884, Pl. XXIII, pp. 245-253. The meaning is explained by a similar archaistic Parian marble relief in Wilton House, Wiltshire, England, where the youth stands before a statue of Zeus, washing his hands preparatory to making a thank-offering to the god who gave him victory: see Michaelis, p. 680, no. 48 and wood-cut on p. 681; Arndt, _La Glypt. Ny-Carlsberg_, text, fig. 33; F. W., 239; its inscription is not genuine. The same archaistic traits are seen on a votive relief to Zeus Xenios in the Museo delle Terme: Helbig, _Fuehrer_, II, 1405; Arndt, _op. cit._, fig. 34; this is to be dated in the first century B. C., or A. D., because of its inscription: _I. G. Sic. et Ital._, no. 990.

[1243] See Fabretti, _de Columna Trajani_, p. 267; Gardiner, p. 433, fig. 149; Schreiber, _Bilderatlas_, Pl. XXIV, no. 8. _Cf._ Krause, I, pp. 517 f.

[1244] _Cf._ Reisch, pp. 42-3.

[1245] _Cf._ Philostr., _Heroicus_, XII b (p. 315); τὰ δὲ ὦτα κατεαγὼς ἦν οὐχ ὑπὸ πάλης.

[1246] Thus Furtwaengler calls the Ince-Blundell head that of a boxer statue: _Mp._, p. 173, and fig. 71 on p. 172; _Mw._, p. 348, and fig. 44 on p. 347.

[1247] _Cf._ discussion by Gardiner, pp. 425-6.

[1248] _Gorgias_, 515 E; _Protag._, 342 B. In the latter passage he says: καὶ οἱ μὲν ὦτά τε κατάγνυνται μιμούμενοι αὐτούς, καὶ ἱμάντας περιειλίττονται καὶ φιλογυμναστοῦσι καὶ βραχείας ἀναβολὰς φοροῦσιν, κ. τ. λ. The boxer’s swollen ears are mentioned by Theokritos, XXII, 45. The word ὠτοκάταξις seems to have meant a boxer whose ears were battered by the gloves: Aristoph., _Fragm._, 72; Pollux, II, 83 (whence Dindorf corrects the form ὠτοκαταξίας in Poll., IV, 144). For references, see Krause, I, pp. 516-17; and _cf._ _J. H. S._, XXVI, p. 13.

[1249] _E. g._, on a fragment of a red-figured kylix in Berlin: _J. H. S._, XXVI, p. 8, fig. 2; Hartwig, _Die griech. Meisterschalen_, Textbd., p. 90, fig. 12; Gardiner, p. 438, fig. 153. Here one of the contestants in the pankration is bleeding at the nose.

[1250] _B. C. H._, XXIII, 1899, pp. 455; _cf._, p. 457, where he speaks of _le detail réaliste de l’oreille tuméfiée par les coups_. For the statue of Agias mentioned, see _infra_, Ch. VI, pp. 286 f., and Pl. 28 and fig. 68. _Cf._ on this subject also Neugebauer, Studien ueber Skopas (in _Beitraege zur Kunstgesch._, XXXIX, 1913, p. 35, n. 172).

[1251] _Bronz. v. Ol._, Tafelbd., IV, Pl. II, 2, 2 a; F. W., 323; etc.

[1252] See _infra_, Ch. VI., pp. 293 f.

[1253] _Fouilles de Delphes_, IV, Pls. LXIII-LXIV.

[1254] _Ant. Denkm._, I, 1, 1886, Pl. IV.

[1255] Duetschke, III, no. 72.

[1256] _Gaz. arch._, VIII, Pl. I, and p. 85 (Rayet); F. W., 461.

[1257] B. B., no. 8.

[1258] Bulle, no. 105 (right); and fig. 46 on p. 205.

[1259] _A. M._, XVI, 1891, Pls. IV, V (two views).

[1260] F. W., 505; Collignon, I, p. 495, fig. 252. As the swollen ears do not occur on other copies, they are here doubtless a modification by a late artist.

[1261] _La Glypt. Ny-Carlsberg_, Pl. XXXVI (= copy of fifth century B. C.); XCIV (Herakles or athlete, from the Tyszkiewicz coll., Skopasian in character; = Reinach, _Têtes_, Pls. CL, CLI); XCV (similar to preceding, though later in style: _Têtes_, Pls. CLVI, CLVII); CXX (copy of head of athlete of the fourth century B. C.).

[1262] _Cat. Class. Coll._, pp. 228 f.; fig. 141 on p. 231. Miss Richter points out its affinity to the _Hermes_ and assigns it to the immediate influence of Praxiteles. This fragment of a statue appears to have been trimmed into its present shape in modern times. Miss Richter’s statement (p. 230) 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 Diomedes.

[1263] Rayet, II, Pls. 64, 65 (head); B. B., 75; von Mach, 286; F. W., 1425; M. W., I, Pl. 48, 216; Reinach, _Rép._, I, 154, 1-4. Rayet calls the statue that of a hoplitodromos.

[1264] Brunn, _Sitzb. Muen. Akad._, 1892, pp. 651 f.; Furtw.-Wolters, _Beschr. d. Glypt._^2, no. 304; B. B., 128 (left = original; right = cast); Furtw., _Mp._, p. 147, fig. 60 (from a cast with modern restorations omitted), and p. 150, fig. 61 (head, two views); text, pp. 146 ff.; _Mw._, Pls. XII, XIII; text, pp. 311 f.; Clarac, 871, 2219 and 633, 1438 A.; Gardner, _Sculpt._, Pl. XVII (cast). Its Kresilæan origin has been shown by Brunn (_l. c._, pp. 660 and 673), Flasch (_Vortraege an der 41sten Philologenversamml._, 1891, p. 9, quoted by Furtwaengler), Loeschke and Studniczka (quoted by Furtwaengler) and Furtwaengler. It also shows Myronic traces. It stands 1.86 meters (without the base).

[1265] Furtw., _Mp._, p. 151, fig. 62; _Mw._, Pl. XIV and p. 313. This and a head in private possession in England, B. B., 543 (three views), are the best and truest copies of the lost original.

[1266] Froehner, _Notice_, 128; Bouillon, _Musée des antiques_ (statues), Pls. II and III; Clarac, 314, 1438.

[1267] Duetschke, II, no. 163; Amelung, _Fuehrer_, 210; B. B., 361; F. W., 458. It will be discussed further on in Ch. IV, pp. 180 f. The Berlin replica is given in _Mp._, p. 167, fig. 67; _cf._ text, p. 165, n. 2.

[1268] Roscher, _Lex._, I, 2, p. 2163, fig.; Furtwaengler, _Mp._, p. 155, n. 2.

[1269] _R. M._, IV, 1889, P. 197, no. 12 (B. Graef).

[1270] _B. M. Sculpt._, III, 1731, and Pl. V, fig. 2; _Marbles and Bronzes_, Pl. XXI; _Museum Marbles_, II, Pl. XLVI; _Specimens_, I, Pl. LX; Collignon, II, p. 240, fig. 120; Wolters, _Jb._, I, 1886, Pl. V, fig. 2 and p. 54. Two other copies of the same original are the one in the Capitoline Museum, Rome, and one found in 1876 on the Quirinal and now in the Palazzo dei Conservatori there. B. Graef, _R. M._, IV, 1889, p. 189 f, and Pls. VIII (Capitoline bust) and IX (Quirinal bust), attributes the type to Skopas; he is followed by Collignon, II, p. 240, n. 1; _cf._ S. Reinach, _Gaz. d. B-A._, 3d Per., III, 1890, pp. 338 and 340. Wolters tried to show that it was Praxitelian. But the similarity between these heads and that of the _Lansdowne Herakles_ (Pl. 30 and fig. 71), which we ascribe to Lysippos in Ch. VI, pp. 298, 311, is easily apparent.

[1271] Amelung, _Vat._, I, p. 738, no. 636 and II, Pl. 79; Helbig, _Fuehrer_, I, no. 108; _Guide_, 113; B. B., 609; Furtw., _Mp._, p. 341, fig. 146; p. 342, fig. 147 (head, two views); _Mw._, p. 575, fig. 109 and p. 577, fig. 110.

[1272] Furtw.-Wolters, _Beschr., d. Glypt._,^2 no. 245 (the so-called Lenbach head); Arndt-Bruckmann, _Griech. und roem. Portraets_, Pls. 335-6. See Furtw.-Wolters, for replicas in the Louvre, etc.

[1273] B. B., 338; Helbig, _Guide_, 69 (= boxer).

[1274] Comparetti e de Petra, _La Villa Ercolanese dei Pisoni_, 1883, Pl. XXI, 3; Furtw., _Mp._, pp. 234 f. and fig. 95; _Mw._, pp. 428 f. and fig. 65. Both Furtwaengler (_l. c._) and B. Graef (_R. M._, IV, 1889, pp. 215 and 202) have shown the Polykleitan origin of the type. The former believes that it may have been copied from a statue of Herakles by the master, which is mentioned by Pliny (_H. N._, XXXIV, 56) as at Rome. For other replicas of the type, see Furtw., _Mp._, p. 234, n. 1; _Mw._, p. 429, n. 1.

[1275] _A. A._, 1889, pp. 57-8 (Treu, who referred it to Polykleitos); Furtw., _Mp._, p. 92 and fig. 40; _Mw._, p. 124 and Pl. VI (he called it Pheidian).

[1276] _Museo Torlonia_, Pl. 26, no. 104.

[1277] Furtw.-Wolters, _Beschr. d. Glypt._,^2 no. 272; Arndt-Amelung, nos. 832 and 833 (text by Flasch).

[1278] _Chabrias_, 3: _Ex quo factum est ut postea athletae ceterique artifices his statibus in statuis ponendis uterentur, in quibus victoriam essent adepti_; _cf._ Diod., XV, 33, 4 (who speaks of “statues”). This statue was erected in Athens after his campaign to aid Thebes against Agesilaos in 378 B. C.: Xen., _Hell._, V, 4.38 f. (though here Chabrias is not mentioned by name); Diod., XV, 32-33; Demosth., _Contra Lept._, 75-76 (p. 479); _cf._ Aristotle, _Rhet._, III, 10.7. Chabrias seems to have been the first to order his troops to assume a kneeling posture when receiving the charge of the enemy. These tactics when used against Agesilaos were so favorably regarded by the Athenians that his statues were represented in the attitude of kneeling.

[1279] _E. g._, Reisch, p. 43.

[1280] See Joubin, p. 46. It probably took place under the restored democracy of Kleisthenes. The assassination of Hipparchos took place in 514 B. C. Pliny, _H. N._, XXXIV, 17, says that the group was set up in the year in which the kings were expelled from Rome (= 509 B. C.).

[1281] P., I, 8.5; _cf._ _Marmor Parium_, l. 70 (= _C. I. G._, II, 2374; _F. H. G._, I, pp. 533 f., etc.), and Lucian, _Philopseudes_, 18.

[1282] Arrian, _Anab._, III, 16.18 (he says it was of bronze); Pliny, _H. N._, XXXIV, 70; restored by Seleukos: Val. Max., II, 10, Extr. 1; by Antiochos: P., I, 8.5.

[1283] B. B., nos. 326 (_Aristogeiton_), 327 (_Harmodios_), and 328 (head of _Harmodios_, two views); Bulle, 84, 85; von Mach, 58 (both statues) and 59 (_Aristogeiton_); Collignon, I, pp. 367 f. and figs. 189 (group) and 190 (head of _Harmodios_); relief from Athens showing the group, _ibid._, p. 369, fig. 88; Overbeck, I, p. 155, fig. 27; Baum., I. p. 340, fig. 357; Lechat, pp. 444-5, figs. 36, 37 (restored by Michaelis); _R. M._, XXI, 1906, Pl. XI; F. W., 121-4; Reinach, _Rép._, I, 530, 3 (_Harmodios_), and 5 (_Aristogeiton_); _cf._ II, 2, 541, 5 (group); Clarac V, 869, 2202 and 870, 2203 A; head of _Harmodios_, _Annali_, XLVI, 1874, Pl. G. The height is about 2 meters (Bulle).

[1284] _A. M._, XV, 1890, pp. 1 f.; followed by Overbeck, I, pp. 152 f.; Frazer, II, p. 98. The difference is not only noticeable in the head structure and treatment of the hair, but in the whole character of the work. While Antenor’s work is stiff and lifeless, the Naples group is full of vigor. For the statue of Antenor (in the Akropolis Museum), see _Ant. Denkm._, I, 5, 1890, Pl. 53, and pp. 42 f. (Wolters); Overbeck, I, Pl. 25, opp. p. 152; _Les Musées d’Athènes_, I, Pl. VI; _Jb._, II, 1887, pp. 135 f. (Studniczka), and Pl. X, 1 (head); von Mach, 28; Perrot-Chipiez, VIII, Pl. II.

[1285] However, some archæologists still favor Antenor for this group: _e. g._, Wachsmuth, _Die Stadt Athen_, I, pp. 170 f.; II, 393-8; Collignon; Lechat, _op. cit._, and _cf._ _B. C. H._, XVI, 1892, pp. 485-9.

[1286] _Rhet. praecept._, 9: ἀπεσφιγμένα καὶ νευρώδη καὶ σκληρά, καὶ ἀκριβῶς ἀποτεταμένα ταῖς γραμμαῖς. See Brunn, pp. 101-5; _cf._ Pliny, _H. N._, XXXIV, 49.

[1287] The best restoration is that of Meier in bronzed plaster in the Ducal Museum in Brunswick: Bulle, p. 172, figs. 38, a, b, c; here Aristogeiton has received a bearded head. For another restoration, in the Museum of Strasbourg, see Springer-Michaelis, p. 216, fig. 402, a, b.

[1288] _Bulletin of Museum of Fine Arts_, III, 27; _R. M._, XIX, 1904, p. 163, Pl. VI (Hauser).

[1289] A vase by Douris shows a warrior similar to _Aristogeiton_, but his onset is fiercer: Hartwig, _Die griech. Meisterschalen_, 1893, Pl. XXI, and Textbd., pp. 206 f. For other representations in art of the _Tyrannicides_, see Frazer, II, pp. 94 f.

[1290] _Darstellung des Menschen in der aelt. griech. Kunst_, 1899, p. xi; _cf._ Richardson, p. 120, n. 2.

[1291] _Cf._ Dickins, p. 265 (quoting the view of Furtwaengler).

[1292] Furtwaengler, _Sammlung Somzée_, 1897, Pl. III. He ascribes it to Mikon and identifies it with the statue of the pancratiast Kallias at Olympia whose base has been found: _Bildw. v. Ol._ 146; Hyde, 50; see _infra_, in the section on _Pancratiasts_, p. 251. For the _Pelops_, see _Bildw. v. Ol._, Tafelbd., Pl. IX, 2, and XI, 1 (head).

[1293] I, 23.9. The inscribed base has been found: _C. I. A._, I, 376; _I. G. B._, 39.

[1294] P., VI, 10.1-3; Hyde, 93; Foerster, 137.

[1295] Ols. 72 to 76 (= 492 to 476 B. C.); Hyde, p. 42.

[1296] _Cf._ Bulle, p. 493, on no. 225.

[1297] On the origin and early development of motion figures in Greek art, see Bulle, pp. 157 f., and the works cited on p. 674 (notes to p. 158); especially, J. Langbehn, _Fluegelgestalten der aeltesten griech. Kunst_, Diss. inaug., 1881; F. Studniczka, _Die Siegesgoettin, Gesch. einer antiken Idealgestalt_, 1898; E. Curtius, _Die knieenden Figuren d. alt. griech. Kunst_ (_29stes Berl. Winckelmannsprogr._, 1869); Eadweard Muybridge, _Human Figure in Motion_, 1907; _cf._ also J. Lange, _op. cit._

[1298] In the Museo Archeologico, Florence: Bulle, no. 10.

[1299] _Cf._ the realistic scenes of wrestling, boxing, and running, in relief on the archaic Attic tripod vase from Tanagra now in Berlin, dating from the second half of the sixth century B. C.: _A. Z._, XXXIX, 1881, pp. 30 f. (Loeschke) and Pls. 3 and 4. _Cf._ also scenes from the pentathlon on a Panathenaic amphora of the sixth century B. C. in Leyden: _ibid._, Pl. 9; etc.

[1300] _B. C. H._, III, 1879, pp. 393 f. and Pls. VI-VII (Homolle), and V, 1881, pp. 272 f. (Homolle, on the artist and his father Mikkiades); von Mach, no. 32 (restored in the text opp. p. 26, fig. 1); Richardson, p. 51, fig. 15; Perrot-Chipiez, VIII, pp. 300-1, figs. 122-3 and Treu’s restoration, p. 303, fig. 125; restored in Springer-Michaelis, p. 187, fig. 358; Reinach, _Rép._, II, 1, 389, 5. Though first called an _Artemis_ by Homolle (because of its resemblance to the so-called Oriental winged _Artemis_ on a bronze relief from Olympia, von Mach, text, opp. p. 36, fig. 5), it has generally been called a _Nike_ since its first ascription by Furtwaengler (_A. Z._, XL, 1882, pp. 324 f.), and brought into connection with a base in two parts found near the statue on Delos in 1880 and 1881, inscribed with the names of Archermos and his father Mikkiades. If the connection with the base were certain, the statue should be referred to the beginning of the sixth century B. C.; B. Sauer (_A. M._, XVI, 1891, pp. 182 f.), and others, have disputed the connection.

[1301] Now in the National Museum, Athens: Kabbadias, no. 1; von Mach, 20; Springer-Michaelis, p. 174, fig. 340; Richardson, p. 43, fig. 11; Reinach, _Rép._, II, 2, 645, 1. Its inscription should date it about 600 B. C. It is over 6 feet in height (including the base: von Mach).

[1302] Bulle, pp. 157-8, fig. 33; de Ridder, no. 808. It is 0.123 meter high (Bulle). _Cf._ similar bronzes _ibid._, nos. 799-814, and also a flying harpy on a sixth-century B. C. Ionic vase in the University Museum in Wuerzburg: Bulle, pp. 159-160, fig. 34; Furtw.-Reichhold, _Griech. Vasenmalerei_, I, pp. 209 f. and Pl. 41; _cf._ also the very similar pose on the small bronze statuette in the British Museum of a winged _Nike_ represented in violent motion: von Mach, 33; the marble torso of another in Athens: _id._, text, opp. p. 26, fig. 2; and the bronze winged _Gorgon_ from Olympia (0.12 meter high): _Bronz. v. Ol._, Pl. VIII, no. 78, text, p. 25 (and for the type, _cf._ Roscher, _Lex._, art. Gorgonen in der Kunst, I, 2, p. 1710, ll. 67 f.).

[1303] _Nike of Archermos_, 1891.

[1304] Salzmann, _Nécropole de Camiros_, Pl. LIII; Bulle, pp. 161-2, fig. 35; _cf._ Brunn, _Griech. Kunstgeschichte_, I, p. 142. Its diameter is 0.385 meter (Bulle).

[1305] See R. Kekulé and H. Winnefeld, _Bronzen aus Dodona in den koenigl. Museen zu Berlin_, Pl. II and pp. 13 f.; _A. Z._, XL, 1882, Pl. I and pp. 23-27 (Engelmann); Rayet, I, Pl. 17 (S. Reinach); Bulle, 83 (right). As the figure is only 0.143 meter tall, it seems to have decorated the rim of a bronze bowl. It may be later than the Tuebingen bronze (Fig. 42) and is certainly of a different school. The presence of a breastplate proves that it is meant for a warrior and not for a hoplitodrome.

[1306] For a full discussion of this sculptor, see Lechat, _Pythagoras de Rhegion_, 1905; _cf._ _S. Q._, §§ 489-507.

[1307] _H. N._, XXXIV, 59.

[1308] VI, 4.3; _Oxy. Pap._; Hyde, 38; Foerster, 202, 203.

[1309] VI, 6.1; Hyde, 48; Foerster, 200.

[1310] VI, 6.4 f.; _Oxy. Pap._; Hyde, 56; Foerster, 185, 195, 207.

[1311] VI, 7.10; Hyde, 69; Foerster, 183, 189.

[1312] VI, 13.1; _Oxy. Pap._; Pliny, _H. N._, XXXIV, 59; Hyde, 110; Foerster, 176-7; 181-2; 187-8; _Inschr. v. Ol._, 145.

[1313] VI, 13.7; _Oxy. Pap._; Hyde, 117; Foerster, 184.

[1314] VI, 18.1; Hyde, 185; Foerster, 193a.

[1315] Reisch, p. 43, n. 4, wrongly assumed this to be one of the oldest statues of Pythagoras, since the same sculptor made the statue of the son Kratisthenes; but the son’s victory was probably only two Olympiads later than that of the father, as we have seen.

[1316] VIII, 47; _S. Q._, 507. Diogenes repeats the tradition that there were two sculptors of the name, one from Rhegion, the other from Samos; also Pliny, _H. N._, XXXIV, 59-60.

[1317] _J. H. S._, II, 1881, pp. 332 f.; _cf._ his _Essays on the Art of Pheidias_, 1885, p. 323. The recovered base of Euthymos’ statue has no footmarks: _Inschr. v. Ol._, 144. Waldstein is followed in his ascription of the statues to Euthymos by Urlichs, _Arch. Analekt._, 1885, p. 9.

[1318] B. B., no. 542 (two views); Furtw. _Mp._, p. 171, fig. 70; _A. M._, XVI, 1891, pp. 313 f. and Pls. IV, and V (two views), (P. Hermann).

[1319] _Mp._, pp. 171-2; _Mw._, pp. 345-6.

[1320] _Mon. d. I_., X, 1874-78, Pl. II (head); _Annali_, XLVI, 1874, Pl. L. Arndt, _La Glypt. Ny-Carlsberg_, p. 62, doubts if the head belongs to the torso.

[1321] Duetschke, II, no. 77 (= one of two statues); _Mon. d. I._, VIII, 1864-68, Pl. XLVI, 6-8, and _Annali_, XXXIX, 1867, pp. 304 f. (Benndorf); Arndt-Amelung, nos. 96-98; _cf._ _A. Z._, XXVII, 1869, pp. 106 f. and Pl. 24, 2 (Benndorf, _Tyrannicides_ on a Panathenaic amphora in the British Museum, etc.), and XXXII, 1875, pp. 163 f. (Duetschke, group of two statues); Reinach, _Rép._ II, 2, 541, 6. Both Duetschke (_A. Z._, _l. c._) and Furtwaengler (_Berl. Philol. Wochenschr._, VIII, 1888, p. 1448) have shown that it represents an athlete.

[1322] Michaelis, p. 446, no. 36; Clarac, V, 856, 2180. Furtwaengler believes the statue later in style than the Louvre boxer.

[1323] _E. g._, P. Hermann, _op. cit._, pp. 332-3; Arndt, text to B. B., no. 542.

[1324] B. B., no. 361; Amelung, _Fuehrer_, 210; Duetschke, II, 163; Furtw., _Mp._, pp. 165 f. and fig. 66 (two views); _Mw._, pp. 339 f. and Pl. XVII (from a cast); F. W., 458. For three replicas of the Riccardi type, see Arndt, text to B. B., 542. Furtwaengler believed this head a prototype of the _Diomedes_ of Kresilas known to us from copies in Munich (Pl. XXI); _Mw._, pp. 311 f. and Pls. XII, XIII; _Mp._, pp. 146 f. and figs. 60 (body), and 61 (head, two views); B. B., 128; Brunn, _Sitzb. Muen. Akad._, 1892, pp. 651 f.; in Paris: Froehner, _Notice_, no. 128; Clarac, 314, 1438; and elsewhere. See _supra_ p. 169.

[1325] Michaelis, p. 367, no. 152; _Mp._, p. 172, fig. 71; _Mw._, p. 347, fig. 44; A. Z., XXXI, 1874, Pl. III; F. W., 459. Kekulé was the first to class it as Myronian: _Ueber d. Kopf des Praxitel. Hermes_, p. 12, 1 (quoted by F. W., _l. c._). Graef curiously found it Pheidian: _Aus d. Anomia_, p. 69, 63.

[1326] _H. N._, XXXIV, 58; _cf._ _Mp._, p. 173.

[1327] _La Glypt._ _Ny-Carlsberg_, Pl. XXXVI and p. 60; the other, unpublished, is mentioned _ibid._ He also adds the cast of a lost original statue of a boxer in the Royal Academy of Fine Arts in Copenhagen, whose head belongs stylistically to the same series: _ibid._, pp. 60-61, and figs. 30 (head), 31-32 (body). If the head and body belong together it is the only statuary type of the group.

[1328] Kieseritzky, _Kat. d. Ermitage_, 1901, p. 27, no. 68; Furtw., _Mp._, p. 177, fig. 74; _Mw._, p. 353 fig. 46 (two views).

[1329] _Mp._, p. 176, fig. 73; _Mw._, Pl. XX (two views).

[1330] Text to B. B., no. 542; _La Glypt. Ny-Carlsberg_, text to Pl. XXXVI, p. 60.

[1331] _B. M. Sculpt._, 1603, Pl. V, fig. 1; B. B., 224; F. W., 460.

[1332] _A. M._, XXXVI, 1911, pp. 193 f., and Pl. VII (Athleten Kopf in Athen).

[1333] _H. N._, XXXIV, 59.

[1334] Brunn, pp. 133-4, connected _Libyn_ and _puerum_, and believed that only one statue was meant by Pliny’s sentence, identical with Pausanias’ statue of Mnaseas. Stuart Jones, _Select Passages from Anc. Writers Illustrative of the History of Gk. Sculpt._, 1895, p. 57, makes two alterations in Pliny’s text, inserting _et_ between _Libyn_ and _puerum_, and replacing _tabellam_ of the MSS. with _flagellum_. The boy holding the whip, then, is Mnaseas’ son Kratisthenes, the chariot victor mentioned by P., VI, 18.1. Stuart Jones follows Furtwaengler (_Jahrbuecher fuer Class. Philol._, 1876, p. 509) in having Pliny translate παῖδα of his Greek authority by _puerum_ instead of _filium_.

[1335] P. 44.

[1336] Cat. no. 51; Benndorf, _Griech. und Sicilische Vasenbilder_, I, pp. 13 f. and Pl. IX.

[1337] In his _Chrestomathia Pliniana_, 1857, p. 320.

[1338] _Rheinisches Museum_, XLIV, 1889, pp. 264 f.

[1339] Antigonos of Karystos, _apud_ Zen., V, 82 (passage given by Jex-Blake, p. xxxix and n. 2).

[1340] Ancient writers differed as to the authorship of the statue. Thus P. (I, 33.3), Mela (_de Situ orbis_, II, 3.6), Tzetzes (S. Q., 838-9), and Zenobios (_l. c._), say that it was Pheidias, while Pliny (_H. N._, XXXVI, 17) and Strabo (IX, I. 17, C. 396) say Agorakritos. A fragment of the colossal head of the statue came to the British Museum in 1820: _B. M. Sculpt._, I, p. 460; also fragments of the figure on the base, described by P., I, 33.7, were found in 1890 and are now in the National Museum in Athens: Kabbadias, 203-14; Frazer, II, p. 457, fig. 40.

[1341] See his Ueber einige Werke des Kuenstlers Pythagoras, in _Verhandl. d. 40sten Versamml. deutscher Philologen u. Schulmaenner in Goerlitz_, Leipsic, 1890 (pp. 329-336), p. 334.

[1342] _Archaeolog. Analekten_, 1885, p. 9. Lucian, _Anachar._, 9, says that apples formed a part of the Delphic prize; Dromeus is also known to us as a Pythian victor. In _Chrest. Plin._, p. 320, L. von Urlichs had identified the _nudus_ as Meilanion or Hippomenes with the apples with which he had beaten Atalanta; see _S. Q._, § 499, note a.

[1343] _H. N._, XXXIV, 59: _Syracusis autem claudicantem, cuius ulceris dolorem sentire etiam spectantes videntur_. Gronovius, following Lessing, _Laokoön_, Ch. 2, identified it with a wounded Philoktetes: see Bluemner, _Comm. zu Lessing’s Laokoön_, pp. 508 f.; the words _cuius ... videntur_ seem to have been derived from _A. Pl._, IV, 112, 1.4 (which refers to a bronze statue of Philoktetes): _cf._ Brunn, p. 134 and Jex-Blake, _ad loc._

[1344] _Cf._ Benndorf, _Anz. d. Wiener Akad._, 1887, p. 92; von Sybel, _Weltgesch. d. Kunst_, p. 139.

[1345] _Inschr. v. Ol._, 146; Kallias won Ol. 77 (= 472 B. C.): _Oxy. Pap._; P., VI, 6.1; Hyde, 50; Foerster, 208.

[1346] In the Plinian passage Leontiskos figures rather as an artist, probably through Pliny’s misunderstanding of some Greek sentence in his authority; see L. von Urlichs, _Rheinisches Museum_, XLIV, 1889, p. 261.

[1347] P. 44.

[1348] L. von Sybel, _Athena und Marsyas, Bronzemuenze des Berliner Museums_, 1879.

[1349] This characteristic is expressed by the word αὐτάρκεια; _cf._ Plato, _Phil._, 67 A; Aristotle, _Eth. Nicom._, 1, 7.5-6 (= 1097 b); etc.

[1350] Marble copy of the _Marsyas_ was found in 1823 on the Esquiline and is now in the Lateran Museum, Rome: Helbig, _Fuehrer_, II, 1179; Rayet, I, Pl. 33; B. B., 208; Bulle, 95; von Mach, 65a; Baum., II, p. 1002, fig. 1210; Collignon, I, pp. 467 f. and fig. 234; F. W., 454; Reinach, _Rép._, II, 1, 15, 6. It is 1.95 meters high (Bulle). It is wrongly restored and only the head can be considered approximately faithful to the original. _Cf._ another copy of the head of Parian marble in the Museo Barracco, Rome: Helbig, I, 1104; Reinach, _Têtes_, pp. 53 f. and Pls. LXVI-LXVII; F. W., 455. A fourth-century B. C. bronze statuette from Patras, now in the British Museum, appears also to give the motive of the original group in Athens mentioned by Pliny, _H. N._, XXXIV, 57, and P., I, 24. 1: _B. M. Bronzes_, 269; _Gaz. Arch._, 1879, Pls. XXXIV-V and pp. 241 f.; _A. Z._, XXXVII, 1879, Pl. VIII (two views), pp. 91 f.; Rayet, I, Pl. 34; von Mach, 656; Reinach, _Rép._, II, 1, 51, nos. 5 and 7. It is 0.75 meter high. For other representations, see G. Hirschfeld, Athena und Marsyas, _32stes Berl. Winckelmannsprogr._, 1872, Pls. I and II. For a copy of the head of Athena in Dresden, see B. B., 591 (three views).

[1351] Walter Pater, in his _Greek Studies_ (in the essay on The Age of Athletic Prizemen), ed. 1895, pp. 309 f., calls the _Diskobolos_ a work of _genre_. However, the _Diskobolos_ can hardly be called a decorative statue, _i. e._, “a work merely imitative of the detail of actual life.” On p. 313 he rightly classes the _Doryphoros_ as an “academic” work.

[1352] It was formerly in the Palazzo Massimi alla Colonna, and hence is often called the Massimi _Diskobolos_: B. B., no. 567, _cf._ 256 (head from cast); von Mach, 63; Collignon, I, Pl. XI, opp. p. 472; H. B. Walters, _The Art of the Greeks_, 1906, Pl. XXX; Gardner, _Sculpt._, Pl. XIII (head from cast); Overbeck, I, fig. 74, opp. p. 274; Reinach, _Rép._, I, 527, 1; for description, see M. D., 1098.

[1353] Furtwaengler, _Mp._, pp. 168 f., _Mw._, pp. 341 f., lists three other copies of the head: one in Basel (_cf._ Kalkmann, Proport. des. Gesichts., _53stes Berl. Winckelmannsprogr._, 1893, pp. 73-74); one at Catajo (_Mp._, fig. 68; _Mw._, fig. 43; Arndt-Amelung, nos. 54-55); and one in Berlin (_Mp._, fig. 69).

[1354] H. N., XXXIV, 58: _(Myron) videtur ... capillum quoque et pubem non emendatius fecisse quam rudis antiquitas instituisset._