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- margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center; -}} -.figright200 {width: 200px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center; -} -@media handheld {.figright200 {width: 200px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center; -}} -.figright250 {width: 250px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center; -} -@media handheld {.figright250 {width: 250px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center; -}} -.figright300 {width: 300px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center;} - -@media handheld {.figright300 {width: 300px; - float: right; - clear: right; - margin-left: 1em; - margin-bottom: .5em; - margin-top: 1em; - margin-right: 0; - text-align: center;}} - - -/* Footnotes */ - - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -.poetry-container - { - text-align: center; - font-size: 90%; -} - -.poetry - { - display: inline-block; - text-align: left; - } - -.poetry .stanza -{ - margin: 0em 0em 0em 0em; -} - -.poetry .line -{ - margin: 0; - text-indent: -3em; - padding-left: 3em; -} - - - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Olympic Victor Monuments and Greek Athletic -Art, by Walter Woodburn Hyde - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Olympic Victor Monuments and Greek Athletic Art - -Author: Walter Woodburn Hyde - -Release Date: April 8, 2020 [EBook #61792] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK OLYMPIC VICTOR MONUMENTS *** - - - - -Produced by Turgut Dincer and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - - -<div class="figcenter"><a id="fr"></a> -<img src="images/frontis.jpg" alt="MARBLE HEAD FROM OLYMPIA MUSEUM AT OLYMPIA" width="350" height="533" /> -<div class="caption">MARBLE HEAD FROM OLYMPIA MUSEUM AT OLYMPIA</div> -</div> - -<hr /> - -<h1>OLYMPIC VICTOR MONUMENTS<br /> - -<small>AND</small><br /> - -GREEK ATHLETIC ART</h1> - -<p class="center">BY<br /> - -WALTER WOODBURN HYDE</p> - -<div class="figcenter"><a id="pm"></a> -<img src="images/pm.jpg" alt="Printer's mark" width="150" height="147" /> -</div> - -<p class="center"><span class="smcap">Published by the Carnegie Institution of Washington</span><br /> - -<span class="smcap">Washington, 1921</span><br /><br /> - -CARNEGIE INSTITUTION OF WASHINGTON<br /> - -<span class="smcap">Publication No. 268</span><br /><br /> - -<small>PRESS OF GIBSON BROTHERS, INC.<br /> -WASHINGTON, D. C.</small> -</p> - -<hr /> -<h2>PREFACE.</h2> - -<p>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 games. Since only meagre remnants -of these monuments have survived, the work is in the main concerned -with the attempt to reconstruct their various types and poses.</p> - -<p>The source-material on which the attempt is based has been -indicated fully in the text; it is of two kinds, literary and archæological. -To the former belong the explanatory inscriptions on the -bases of victor statues found at Olympia and elsewhere, many of which -agree verbally with epigrams preserved in the <i>Greek Anthologies</i>; the -incidental statements of various kinds and value found in the classical -writers and their scholiasts; and, above all, the detailed works of the -two imperial writers, the elder Pliny and Pausanias. Pliny’s account -of the Greek artists, which is inserted into his <i>Historia Naturalis</i> as a -digression (Books <span class="smcap">XXXIV-XXXVI</span>)—being artificially joined to the -history of mineralogy on the pretext of the materials used—is, -despite its uncritical and often untrustworthy character, one of our -chief mines of information about Greek sculptors and painters. The -portions of Pausanias’ <i>Description of Greece</i> which deal with Elis and -the monuments of Olympia (Books <span class="smcap">V-VI</span>), although they also evince -little real understanding of art, are of far more direct importance to -our subject, since they include a descriptive catalogue, doubtless -based upon personal observation, of the greater part of the athlete -monuments set up in the Altis at Olympia, the reconstruction of -which is the chief purpose of the present work.</p> - -<p>To the archæological sources, on the other hand, belong, first and -foremost, 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 Altis. To this small number I hope I have -added at least one marble fragment found at Olympia, the head of a -statue by Lysippos, the last great sculptor of Greece (<a href="#fr">Frontispiece</a> and -Fig. <a href="#f69">69</a>). To this second kind of sources belong also the statue bases -just mentioned, on many of which the extant footmarks enable us to -determine the poses of the statues themselves which once stood upon -them. Furthermore, an intimate knowledge of Greek athletic sculpture -in all its periods and phases is, of course, essential in treating a -problem of this nature. Here, as in the study of Greek sculpture in -general, where the destruction of original masterpieces, apart from the -few well-known but splendid exceptions, has been complete, 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 market.</p> - -<p><span class="pagenum"><a id="Page_iv">iv</a></span></p> - -<p>Finally, 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 statue, but also the representations of -various athlete figures on every sort of sculptured and painted work—vase-paintings, -wall-paintings, reliefs, gems, coins, etc.</p> - -<p>By using all such sources of information, it is possible to attain -tolerable certainty in reconstructing the various types and poses of -these lost monuments, and in identifying schools of athletic sculpture, -masters, and even individual statues. But it must be stated at the -outset that such identifications, from the very nature of the problem, -are at best tentative in character. The attempt to see in Roman -copies certain statues of athletes has often been made by archæologists. -However probable such identifications may seem, we must not forget -the simple fact that up to the present time not a single Roman copy -has been conclusively <i>proved</i> to be that of an Olympic victor statue. -Only as our knowledge of Greek sculpture is gradually extended by -discoveries of additional works of art, and by future researches, will it -be possible to attain an ever greater degree of probability. The further -identification of these important monuments, as that of masterpieces of -Greek sculpture generally, will thus remain one of the chief problems -for the future archæologist. In the present book, where the body of -material drawn upon is so immense and the scientific writings involved -are so voluminous, manifestly the author can lay no claim to an exhaustive -treatment. With due consciousness of the defects and -shortcomings of the work, 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 discussion.</p> - -<p>The plan of the book is easily seen by a glance at the table of contents. -After a preliminary chapter on the origin and development of -Greek athletic games in general and on the custom of conferring -athletic prizes on victors, 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 size, nudity, and hair-fashion, -their portrait or non-portrait features, and the standard of -beauty reached by some of them at least, as shown by the æsthetic -judgments of certain ancient writers and by the fragmentary originals -which have survived. 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 sculptors. -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 heroes.</p> - -<p>In Chapters III and IV, which are the most important in developing -the problem of reconstruction, a division has been made into two -great statuary groups: those in which the victor was represented at rest, -where the particular contest was indicated, if indicated at all, by very<span class="pagenum"><a id="Page_v">v</a></span> -general motives or by particular athletic attributes; and those in which -the victor was represented in movement, <i>i. e.</i>, in the characteristic pose -of the contest in which he won his victory.</p> - -<p>Chapter V relates chiefly to the monuments of hippodrome victors, -those in the various chariot-races and horse-races, and ends with a very -brief notice of non-athlete victor dedications—those of musicians.</p> - -<p>Chapter VI gives a stylistic analysis of what are conceived to be two -original marble heads from lost victor statues, one of which is ascribed -to Lysippos, the great bronze-founder and art-reformer of the fourth -century <span class="smcap lowercase">B. C.</span>, while the other is regarded as an early Hellenistic work -of eclectic tendencies. The publication of these marble heads and of -the oldest-dated victor statue, which is also of marble and which is -discussed in Chapter VII, reinforced by other evidence adduced in the -latter chapter, overthrows the belief that all victor statues were uniformly -made of bronze. The publication of the Olympia head also -controverts the usual assumption of archæologists that Lysippos -worked only in metal. The last chapter is concerned with a topographical -study of the original positions in the Altis of the various athlete -monuments discussed, and with a list of all the victor monuments -known to have been erected outside Olympia in various cities of the -ancient world. These last three chapters are based on papers which -have already appeared in the <i>American Journal of Archæology</i> (Chapters -VI, VII, and the first half of VIII) and in the <i>Transactions of the -American Philological Association</i> (the last half of Chapter VIII). Permission -to use them in the present book has been kindly granted to the -author by Dr. James A. Paton, former editor-in-chief of the <i>American -Journal of Archæology</i>, and by Professor Clarence P. Bill, the secretary -of the American Philological Association.</p> - -<p>Although it has been my aim throughout to present my own views in -regard to the various works of art under discussion, I must, of course, -acknowledge that the book is largely based upon the work and conclusions -of preceding scholars who have treated various phases of the -same subject. It would, however, be unnecessary and even impossible -here to acknowledge all the works laid directly or indirectly under -contribution in the composition of the book. Most of these have been -recorded in the footnotes.</p> - -<p>But I wish here to express, in a more general way, my indebtedness -to the standard histories of Greek sculpture, by Brunn, Collignon, -Gardiner, Lechat, Murray, Overbeck, Richardson, and others, which -must form the foundation of the knowledge of any one who writes on -any phase of the subject. Among these, two have been found especially -valuable: Bulle’s <i>Der schoene Mensch im Altertum</i>, which is justly noted -for its comprehensive views and sound judgments; and Furtwaengler’s -<i>Die Meisterwerke der griechischen Plastik</i>, which, although it has been -known to English readers in its enlarged edition by Miss Eugénie Sellers -for over a quarter of a century, is still prized for its extensive first<span class="pagenum"><a id="Page_vi">vi</a></span>hand -knowledge of the monuments and for its brilliant inductions, even -if the latter at times are carried too far.</p> - -<p>Perhaps my greatest debt has been to the excellent volume entitled -<i>Greek Athletic Sports and Festivals</i>, by E. Norman Gardiner, M. A., a -scholar whose practical knowledge of modern athletic sports and wide -familiarity with the ancient source material, both literary and monumental, -has well fitted him to deal afresh with the subject treated so -learnedly over three quarters of a century ago in Krause’s <i>Die Gymnastik -und Agonistik der Hellenen</i>. I have also constantly drawn upon -Gardiner’s collection of vase-paintings which illustrate athletic scenes.</p> - -<p>I should also note here several other works which have been of -great assistance in writing this book, such as Juethner’s <i>Ueber antike -Turngeraethe</i> and edition of Philostratos’ <i>de Arte gymnastica</i>, Reisch’s -<i>Griechische Weihgeschenke</i>, Rouse’s <i>Greek Votive Offerings</i>, and Foerster’s -<i>Die Sieger in den Olympischen Spielen</i>. The chronological list of -victors in the latter compilation was, in large part, the foundation of -my earlier work <i>de olympionicarum Statuis</i>.</p> - -<p>I have also received most valuable help from the standard catalogues -of modern museums, <i>e. g.</i>, those by Amelung, Dickins, Helbig, Kabbadias, -Lechat, Richter, de Ridder, Staïs, Svoronos, and especially the -admirable ones of the classical collections in the British Museum. I -regret that, owing to the recent war, some of the latest catalogues, those -especially of the smaller foreign museums, have not been available.</p> - -<p>For illustrative matter, I have made no effort to reproduce merely -striking works of art, but have, for the most part, presented well-known -works which readily illustrate the problems treated in the -text. I have availed myself of collections of photographs kindly placed -at my disposal by Professors Herbert E. Everett of the School of Fine -Arts of the University of Pennsylvania, D. M. Robinson of the Johns -Hopkins University, A. S. Cooley of the Moravian College at Bethlehem, -Pennsylvania, and Dr. Mary H. Swindler of Bryn Mawr College. -The various collections of plates and the books and journals from which -I have taken illustrations are duly noted in the List of Illustrations.</p> - -<p>In addition, I wish to thank the following corporations and individuals -for permission to reproduce plates and text-cuts from the works -cited: the Council of the Society for the Promotion of Hellenic Studies, -of London, for the use of four plates appearing in the <i>Journal of -Hellenic Studies</i> (Figs. <a href="#f44">44</a>, <a href="#f54">54</a>, <a href="#f55">55</a>, and <a href="#f59">59</a>); the Trustees of the British -Museum in London for seven plates from <i>Marbles and Bronzes in the -British Museum</i> (Pls. <a href="#p7A">7A</a>, <a href="#p17">17</a>, <a href="#p19">19</a>; Figs. <a href="#f14">14</a>, 28, <a href="#f31">31</a>, and <a href="#f35">35</a>); Professor E. -A. Gardiner and his publishers, Duckworth and Co., of London, for -two plates from <i>Six Greek Sculptors</i> (Pl. <a href="#p30">30</a>; Fig. <a href="#f71">71</a>); Mr. H. R. Hall, of -the British Museum, and his publisher, Philip Lee Warner, of London, -for one from <i>Aegean Archæology</i> (Fig. <a href="#f1">1</a>); Professor Allan Marquand, of -Princeton University, for one text-cut from the <i>American Journal of<span class="pagenum"><a id="Page_vii">vii</a></span> -Archæology</i> (Fig. <a href="#f49">49</a>), and Dr. J. M. Paton, former editor-in-chief, for -three other text-cuts from the same journal (Figs. <a href="#f70">70</a>, <a href="#f72">72</a>, <a href="#f79">79</a>).</p> - -<p>To the following I am also indebted for individual photographs: Dr. -J. N. Svoronos, Director of the Numismatic Museum, Athens, Greece, -for one of the oldest-dated statues of an Olympic victor (Fig. <a href="#f79">79</a>), which -has already appeared in the <i>American Journal of Archæology</i>; Dr. A. -Fairbanks, of the Museum of Fine Arts, Boston, for those of the statue -of a Charioteer(?) and of the fragmentary head of the <i>Oil-pourer</i> (Pl. -<a href="#p27">27</a>; Fig. <a href="#f23">23</a>); Dr. Edward Robinson, of the Metropolitan Museum of -Art, New York, for those of the fine Kresilæan and Praxitelian heads -(Pls. <a href="#p15">15</a>, <a href="#p20">20</a>), and of the bronze statuette of a diskobolos (Fig. <a href="#f46">46</a>); -Prof. Alice Walton, of Wellesley College, for one of the Polykleitan -athlete (Pl. <a href="#p13">13</a>); the Director of the Fogg Art Museum of Cambridge, -Mass., for that of the so-called <i>Meleager</i> (Fig. <a href="#f77">77</a>); Dr. S. B. Luce, -recently of the Museum of the University of Pennsylvania, for photographs -of two vase-paintings showing athletic scenes (Figs. <a href="#f50">50</a>, <a href="#f56">56</a>), and -Dr. Eleanor F. Rambo, formerly of the same Museum, for a copy of -the Knossos wall-painting (Pl. <a href="#p1">1</a>).</p> - -<p>A word might be added as to the spelling of Greek proper names. -Since consistency in this matter seems unattainable, I have adopted -the method outlined in the <i>British School Annual</i> (<span class="smcap">XV</span>, 1908–09, p. 402), -whereby the names of persons, places, buildings, festivals, etc., are -transliterated from the Greek forms, except those which have become -a part of the English language. But even here I have sometimes -deviated from the practice of using familiar English forms.</p> - -<p>In abbreviations of the names of journals (see pages <span class="smcap">XVI-XIX</span>) I -have largely conformed with the usage long recommended by the -<i>American Journal of Archæology.</i></p> - -<p>For convenience in identifying the many works of art, discussed or -mentioned in the text and foot-notes, I have constantly referred to -well-known collections of plates, such as those of Brunn-Bruckmann, -Bulle, Rayet, and von Mach. For further convenience, I have also -in most cases referred to the outline drawings of statues in Reinach’s -<i>Répertoire de la statuaire grecque et romaine</i>, and in some cases to the -older ones found in Clarac’s <i>Musée de sculpture antique et moderne</i>, -and in Mueller and Wieseler’s <i>Denkmaeler der alten Kunst</i>.</p> - -<p>In closing, I have the pleasant duty of thanking generally the many -friends who have given me valuable suggestions and assistance, especially -Professor Lane Cooper, of Cornell University, for reading the -proof-sheets of the entire work, and Professor Alfred Emerson, now of -Pittsburgh, Pennsylvania, my former teacher, for revising the list of -<i>Corrigenda</i>.</p> - -<p class="right"><span class="smcap">Walter Woodburn Hyde.</span></p> - -<p><span class="smcap">University of Pennsylvania.</span> -<i>Philadelphia, October, 1921.</i> -</p> -<hr /> -<p><span class="pagenum"><a id="Page_viii">viii-ix</a></span></p> - -<h2>CONTENTS.</h2> - -<table summary="contents" border="0"><tr> -<td class="tdc" colspan="2"><span class="smcap">Chapter I.</span></td> -</tr><tr> -<td class="tdr" colspan="2">PAGE</td> -</tr><tr> -<td class="tdl"><span class="smcap">Early Greek Games and Prizes</span></td><td class="tdr"><a href="#Page_1">1</a>-42</td> -</tr><tr><td class="tdl padl1"> -Sports in Crete</td><td class="tdr"><a href="#Page_1">1</a></td> -</tr><tr><td class="tdl padl1"> -Athletics in Homer</td><td class="tdr"><a href="#Page_7">7</a></td> -</tr><tr><td class="tdl padl1"> -Origin of Greek Games in the Cult of the Dead</td><td class="tdr"><a href="#Page_9">9</a></td> -</tr><tr><td class="tdl padl1"> -Early History of the Four National Games</td><td class="tdr"><a href="#Page_14">14</a></td> -</tr><tr><td class="tdl padl1"> -Early Prizes for Athletes</td><td class="tdr"><a href="#Page_18">18</a></td> -</tr><tr><td class="tdl padl1"> -Dedication of Athlete Prizes</td><td class="tdr"><a href="#Page_21">21</a></td> -</tr><tr><td class="tdl padl1"> -Dedication of Statues at Olympia and Elsewhere</td><td class="tdr"><a href="#Page_24">24</a></td> -</tr><tr><td class="tdl padl1"> -Honors Paid to Victors by their Native Cities</td><td class="tdr"><a href="#Page_32">32</a></td> -</tr><tr><td class="tdl padl1"> -Votive Character of Victor Dedications</td><td class="tdr"><a href="#Page_37">37</a></td> -</tr><tr><td class="tdl padl1"> -Miscellaneous Memorials to Victors</td><td class="tdr"><a href="#Page_40">40</a></td> -</tr><tr><td class="tdl padl1"> -Honorary Statues</td><td class="tdr"><a href="#Page_41">41</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter II.</span></td> -</tr><tr><td class="tdl"> -<span class="smcap">General Characteristics of Victor Statues at Olympia</span></td><td class="tdr"><a href="#Page_43">43</a>-98</td> -</tr><tr><td class="tdl padl1"> -Size of Victor Statues</td><td class="tdr"><a href="#Page_45">45</a></td> -</tr><tr><td class="tdl padl1"> -Nudity of Victor Statues</td><td class="tdr"><a href="#Page_47">47</a></td> -</tr><tr><td class="tdl padl1"> -The Athletic Hair-fashion</td><td class="tdr"><a href="#Page_50">50</a></td> -</tr><tr><td class="tdl padl1"> -Iconic and Aniconic Statues</td><td class="tdr"><a href="#Page_54">54</a></td> -</tr><tr><td class="tdl padl2"> -Portrait Statues</td><td class="tdr"><a href="#Page_55">55</a></td> -</tr><tr><td class="tdl padl2"> -Aniconic Statues</td><td class="tdr"><a href="#Page_58">58</a></td> -</tr><tr><td class="tdl padl1"> -Aesthetic Judgments of Classical Writers</td><td class="tdr"><a href="#Page_58">58</a></td> -</tr><tr><td class="tdl padl1"> -Greek Originals of Victor Statues</td><td class="tdr"><a href="#Page_62">62</a></td> -</tr><tr><td class="tdl padl1"> -Canons of Proportion</td><td class="tdr"><a href="#Page_65">65</a></td> -</tr><tr><td class="tdl padl1"><p class="indent2"> -Assimilation of Olympic Victor Statues to Types of Gods and Heroes</p></td><td class="tdr vertb"><a href="#Page_71">71</a></td> -</tr><tr><td class="tdl padl2"> -Athlete Statues Assimilated to Types of Hermes</td><td class="tdr"><a href="#Page_75">75</a></td> -</tr><tr><td class="tdl padl2"> -Athlete Statues Assimilated to Types of Apollo</td><td class="tdr"><a href="#Page_88">88</a></td> -</tr><tr><td class="tdl padl2"> -Athlete Statues Assimilated to Types of Herakles</td><td class="tdr"><a href="#Page_93">93</a></td> -</tr><tr><td class="tdl padl2"> -Athletes Represented as the Dioskouroi</td><td class="tdr"><a href="#Page_96">96</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter III.</span></td> -</tr><tr><td class="tdl"> -<span class="smcap">Victor Statues Represented at Rest</span></td><td class="tdr"><a href="#Page_99">99</a>-172</td> -</tr><tr><td class="tdl padl1"> -The Apollo Type</td><td class="tdr"><a href="#Page_100">100</a></td> -</tr><tr><td class="tdl padl1"> -The Affiliated Schools of Argos and Sikyon</td><td class="tdr"><a href="#Page_109">109</a></td> -</tr><tr><td class="tdl padl2"> -The School of Argos</td><td class="tdr"><a href="#Page_109">109</a></td> -</tr><tr><td class="tdl padl2"> -The School of Sikyon</td><td class="tdr"><a href="#Page_118">118</a></td> -</tr><tr><td class="tdl padl1"> -Aeginetan Sculptors</td><td class="tdr"><a href="#Page_122">122</a></td> -</tr><tr><td class="tdl padl1"> -Attic Sculptors</td><td class="tdr"><a href="#Page_126">126</a></td> -</tr><tr><td class="tdl padl1"> -General Motives of Statues at Rest</td><td class="tdr"><a href="#Page_130">130</a></td> -</tr><tr><td class="tdl padl2"> -Adoration and Prayer</td><td class="tdr"><a href="#Page_130">130</a></td> -</tr><tr><td class="tdl padl2"> -Anointing</td><td class="tdr"><a href="#Page_133">133</a></td> -</tr><tr><td class="tdl padl2"> -Oil-scraping</td><td class="tdr"><a href="#Page_135">135</a></td> -</tr><tr><td class="tdl padl2"> -Libation-pouring</td><td class="tdr"><a href="#Page_138">138</a></td> -</tr><tr><td class="tdl padl2"> -Resting after the Contest</td><td class="tdr"><a href="#Page_144">144</a></td> -</tr><tr><td class="tdl padl1"> -Attributes of Victor Statues</td><td class="tdr"><a href="#Page_147">147</a></td> -</tr><tr><td class="tdl padl1"> -Primary Attributes of Victor Statues</td><td class="tdr"><a href="#Page_148">148</a></td> -</tr><tr><td class="tdl padl2"> -The Victor Fillet</td><td class="tdr"><a href="#Page_148">148</a></td> -</tr><tr><td class="tdl padl2"> -Fillet-binders</td><td class="tdr"><a href="#Page_150">150</a></td> -</tr><tr><td class="tdl padl2"> -The Crown of Wild Olive</td><td class="tdr"><a href="#Page_155">155</a></td> -</tr><tr><td class="tdl padl2"> -The Palm-branch</td><td class="tdr"><a href="#Page_160">160</a></td> -</tr><tr><td class="tdl"> -Secondary Attributes of Victor Statues</td><td class="tdr"><a href="#Page_161">161</a></td> -</tr><tr><td class="tdl padl1"> -Hoplitodromoi</td><td class="tdr"><a href="#Page_161">161</a> -<span class="pagenum"><a id="Page_x">x</a></span></td> -</tr><tr><td class="tdl padl1"> -Pentathletes</td><td class="tdr"><a href="#Page_164">164</a></td> -</tr><tr><td class="tdl padl1"> -Boxers</td><td class="tdr"><a href="#Page_165">165</a></td> -</tr><tr><td class="tdl padl1"> -Wrestlers</td><td class="tdr"><a href="#Page_165">165</a></td> -</tr><tr><td class="tdl padl1"> -Caps for Boxers, Pancratiasts, and Wrestlers</td><td class="tdr"><a href="#Page_165">165</a></td> -</tr><tr><td class="tdl padl1"> -The Swollen Ear</td><td class="tdr"><a href="#Page_167">167</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter IV.</span></td> -</tr><tr><td class="tdl"> -<span class="smcap">Victor Statues Represented in Motion</span></td><td class="tdr"><a href="#Page_173">173</a>-256</td> -</tr><tr><td class="tdl padl1"> -The <i>Tyrannicides</i></td><td class="tdr"><a href="#Page_173">173</a></td> -</tr><tr><td class="tdl padl1"> -Antiquity of Motion Statues in Greece</td><td class="tdr"><a href="#Page_176">176</a></td> -</tr><tr><td class="tdl padl1"> -Pythagoras and Myron</td><td class="tdr"><a href="#Page_178">178</a></td> -</tr><tr><td class="tdl padl1"> -Motion Statues representing Victors in Various Contests</td><td class="tdr"><a href="#Page_188">188</a></td> -</tr><tr><td class="tdl padl2"> -Runners: Stadiodromoi, Diaulodromoi, Dolichodromoi</td><td class="tdr"><a href="#Page_190">190</a></td> -</tr><tr><td class="tdl padl2"> -The Statue of the Runner Ladas</td><td class="tdr"><a href="#Page_196">196</a></td> -</tr><tr><td class="tdl padl2"> -Statues of Boy Runners</td><td class="tdr"><a href="#Page_200">200</a></td> -</tr><tr><td class="tdl padl2"> -Hoplitodromoi</td><td class="tdr"><a href="#Page_203">203</a></td> -</tr><tr><td class="tdl padl2"> -Pentathletes</td><td class="tdr"><a href="#Page_210">210</a></td> -</tr><tr><td class="tdl padl2"> -Jumpers</td><td class="tdr"><a href="#Page_214">214</a></td> -</tr><tr><td class="tdl padl2"> -Diskoboloi</td><td class="tdr"><a href="#Page_218">218</a></td> -</tr><tr><td class="tdl padl2"> -Akontistai</td><td class="tdr"><a href="#Page_222">222</a></td> -</tr><tr><td class="tdl padl2"> -Wrestlers</td><td class="tdr"><a href="#Page_228">228</a></td> -</tr><tr><td class="tdl padl2"> -Boxers</td><td class="tdr"><a href="#Page_234">234</a></td> -</tr><tr><td class="tdl padl2"> -Pancratiasts</td><td class="tdr"><a href="#Page_246">246</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter V.</span></td> -</tr><tr><td class="tdl"> -<span class="smcap">Monuments of Hippodrome and Musical Victors</span></td><td class="tdr"><a href="#Page_257">257</a>-285</td> -</tr><tr><td class="tdl padl1"> -Programme of Hippodrome Events</td><td class="tdr"><a href="#Page_259">259</a></td> -</tr><tr><td class="tdl padl1"> -Representations of the Chariot-race</td><td class="tdr"><a href="#Page_262">262</a></td> -</tr><tr><td class="tdl padl1"> -Chariot-groups at Olympia</td><td class="tdr"><a href="#Page_264">264</a></td> -</tr><tr><td class="tdl padl1"> -Remains of Chariot-groups</td><td class="tdr"><a href="#Page_269">269</a></td> -</tr><tr><td class="tdl padl1"> -The <i>Apobates</i> Chariot-race</td><td class="tdr"><a href="#Page_272">272</a></td> -</tr><tr><td class="tdl padl1"> -Statues of Charioteers</td><td class="tdr"><a href="#Page_274">274</a></td> -</tr><tr><td class="tdl padl1"> -Dedications of Victors in the Horse-race at Olympia and Elsewhere</td><td class="tdr"><a href="#Page_278">278</a></td> -</tr><tr><td class="tdl padl1"> -Monuments Illustrating the Horse-race</td><td class="tdr"><a href="#Page_280">280</a></td> -</tr><tr><td class="tdl padl1"> -The <i>Apobates</i> Horse-race</td><td class="tdr"><a href="#Page_282">282</a></td> -</tr><tr><td class="tdl padl1"> -Dedications of Musical Victors at Olympia and Elsewhere</td><td class="tdr"><a href="#Page_283">283</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter VI.</span></td> -</tr><tr><td class="tdl"> -<span class="smcap">Two Marble Heads from Victor Statues</span></td><td class="tdr"><a href="#Page_286">286</a>-320</td> -</tr><tr><td class="tdl padl1"> -The Group of Daochos at Delphi, and Lysippos</td><td class="tdr"><a href="#Page_286">286</a></td> -</tr><tr><td class="tdl padl1"> -The <i>Apoxyomenos</i> of the Vatican, and Lysippos</td><td class="tdr"><a href="#Page_288">288</a></td> -</tr><tr><td class="tdl padl1"> -The <i>Agios</i> and the <i>Apoxyomenos</i> compared, and the Style of Lysippos</td><td class="tdr"><a href="#Page_289">289</a></td> -</tr><tr><td class="tdl padl1"> -The Head from Olympia</td><td class="tdr"><a href="#Page_293">293</a></td> -</tr><tr><td class="tdl padl1"> -The Olympia Head and that of the <i>Agias</i></td><td class="tdr"><a href="#Page_294">294</a></td> -</tr><tr><td class="tdl padl1"> -Identification of the Olympia Head</td><td class="tdr"><a href="#Page_298">298</a></td> -</tr><tr><td class="tdl padl1"> -The Dates of Philandridas and Lysippos</td><td class="tdr"><a href="#Page_300">300</a></td> -</tr><tr><td class="tdl padl1"> -Lysippos as a Worker in Marble, and Statue “Doubles”</td><td class="tdr"><a href="#Page_302">302</a></td> -</tr><tr><td class="tdl padl1"> -The Head of a Statue of a Boy from Sparta, and the Art of Skopas</td><td class="tdr"><a href="#Page_303">303</a></td> -</tr><tr><td class="tdl padl1"> -Comparison of the Tegea Heads and the Head from Sparta</td><td class="tdr"><a href="#Page_308">308</a></td> -</tr><tr><td class="tdl padl1"> -The Styles of Skopas and Lysippos Compared</td><td class="tdr"><a href="#Page_311">311</a></td> -</tr><tr><td class="tdl padl1"> -The Sparta Head Compared with that of the <i>Philandridas</i></td><td class="tdr"><a href="#Page_316">316</a></td> -</tr><tr><td class="tdl padl1"> -The Sparta Head an Eclectic Work and an Example of Assimilation</td><td class="tdr"><a href="#Page_318">318</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap"><span class="pagenum"><a id="Page_xi">xi</a></span>Chapter VII.</span></td> -</tr><tr><td class="tdl vertb"> -<p class="indent2"><span class="smcap">The Materials of Olympic Victor Monuments, and the Oldest-dated Victor -Statue</span></p></td><td class="tdr vertb"><a href="#Page_321">321</a>-338</td> -</tr><tr><td class="tdl padl1"> -The Case for Bronze</td><td class="tdr"><a href="#Page_321">321</a></td> -</tr><tr><td class="tdl padl1"> -The Case for Stone</td><td class="tdr"><a href="#Page_323">323</a></td> -</tr><tr><td class="tdl padl1"> -The Statue of Arrhachion at Phigalia</td><td class="tdr"><a href="#Page_326">326</a></td> -</tr><tr><td class="tdl padl1"> -Egyptian Influence on Early Greek Sculpture</td><td class="tdr"><a href="#Page_328">328</a></td> -</tr><tr><td class="tdl padl1"> -Early Victor Statues and the “Apollo” Type</td><td class="tdr"><a href="#Page_334">334</a></td> -</tr><tr><td class="tdc padt1" colspan="2"> -<span class="smcap">Chapter VIII.</span></td> -</tr><tr><td class="tdl"><p class="indent2"> -<span class="smcap">Positions of Victor Statues in the Altis; Olympic Victor Monuments Erected -Outside Olympia; Statistics of Olympic Victor Statuaries</span></p></td><td class="tdr vertb"><a href="#Page_339">339</a>-375</td> -</tr><tr><td class="tdl padl1"> -Statues Mentioned by Pausanias</td><td class="tdr"><a href="#Page_339">339</a></td> -</tr><tr><td class="tdl padl2"> -The First Ephodos of Pausanias</td><td class="tdr"><a href="#Page_341">341</a></td> -</tr><tr><td class="tdl padl2"> -The Second Ephodos of Pausanias</td><td class="tdr"><a href="#Page_348">348</a></td> -</tr><tr><td class="tdl padl1"> -Summary of Results</td><td class="tdr"><a href="#Page_352">352</a></td> -</tr><tr><td class="tdl padl1"> -Statues not Mentioned by Pausanias, but known from Recovered Bases</td><td class="tdr"><a href="#Page_353">353</a></td> -</tr><tr><td class="tdl padl1"> -Olympic Victor Monuments Erected Outside Olympia</td><td class="tdr"><a href="#Page_361">361</a></td> -</tr><tr><td class="tdl padl1"> -Summary of Results</td><td class="tdr"><a href="#Page_374">374</a></td> -</tr><tr><td class="tdl padl1"> -Statistics of Olympic Victor Statuaries</td><td class="tdr"><a href="#Page_375">375</a></td> -</tr></table> -<hr /> -<p><span class="pagenum"><a id="Page_xii">xii</a></span></p> - -<h2>LIST OF ILLUSTRATIONS.</h2> - -<table summary="illustrations" border="0"><tr> -<td class="tdc padl4">PLATES.</td><td class="tdr"><small>FACING PAGE</small></td> -</tr><tr> -<td class="tdl padl1"><p class="indent">Marble Head, from Olympia. Front view. Museum of Olympia. After <i>Bildw. v. Ol.</i>, -Tafelbd., Pl. <span class="smcap">LIV</span>, 3</p></td><td class="tdr vertb"><a href="#fr"><i>Frontispiece.</i></a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05">1. Bull-grappling Scene. Wall-painting, from Knossos. Museum of Candia. After -Photograph from copy in watercolor by Gilliéron in the Museum of Liverpool</p></td><td class="tdr vertb"><a href="#p1">2</a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05">2. Marble Statue of a Girl Runner. Vatican Museum, Rome. After Photograph by -Anderson</p></td><td class="tdr vertb"><a href="#p2">50</a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05">3. Bronze Head of an Olympic Victor. Glyptothek, Munich. After B. B., No. 8</p></td><td class="tdr vertb"><a href="#p3">62</a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05">4. Statue of the <i>Doryphoros</i>, from Pompeii, after Polykleitos. Museum of Naples. After -Photograph by Alinari</p></td><td class="tdr vertb"><a href="#p4">70</a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05">5. Statue of <i>Hermes</i>, from Andros. National Museum, Athens. After Photograph by -Rhomaïdes</p></td><td class="tdr vertb"><a href="#p5">72</a></td> -</tr><tr> -<td class="tdl"><p class="indent padl05"> -6. Statue of the <i>Standing Diskobolos</i>, after Naukydes (?). Vatican Museum, Rome. -After Photograph</p></td><td class="tdr vertb"><a href="#p6">76</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -7 A and B. Statues of so-called <i>Apollos</i>. A. The <i>Apollo Choiseul-Gouffier</i>. British Museum, -London. After <i>Marbles and Bronzes in the British Museum</i>, Pl. <span class="smcap">III</span> -B. The <i>Apollo-on-the-Omphalos</i>. National Museum, Athens. After Photograph -by Merlin</p></td><td class="tdr vertb"><a href="#p7A">90</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -8 A and B. Statues of so-called <i>Apollos</i>. A. The <i>Apollo of Tenea</i>. Glyptothek, Munich. -After Photograph by Bruckmann. B. <i>Argive Apollo</i>, from Delphi. Museum -of Delphi. After <i>Fouilles de Delphes</i>, IV, 1904, Pl. <span class="smcap">I</span></p></td><td class="tdr vertb"><a href="#p8A">102</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -9. Statue of an Athlete, by Stephanos. Villa Albani, Rome. After Photograph</p></td><td class="tdr vertb"><a href="#p9">114</a></td> -</tr><tr><td class="tdl"><p class="indent"> -10. Bronze statue of the <i>Praying Boy</i>. Museum of Berlin. After Photograph</p></td><td class="tdr vertb"><a href="#p10">132</a></td> -</tr><tr><td class="tdl"><p class="indent"> -11. Statue of so-called <i>Oil-pourer</i>. Glyptothek, Munich. After Photograph by Bruckmann</p></td><td class="tdr vertb"><a href="#p11">134</a></td> -</tr><tr><td class="tdl"><p class="indent"> -12. Statue of an <i>Apoxyomenos</i>. Uffizi Gallery, Florence. After B. B., No. 523</p></td><td class="tdr vertb"><a href="#p12">136</a></td> -</tr><tr><td class="tdl"><p class="indent"> -13. Statue of an Athlete, after Polykleitos. Farnsworth Museum, Wellesley College, -U. S. A. After Photograph</p></td><td class="tdr vertb"><a href="#p13">138</a></td> -</tr><tr><td class="tdl"><p class="indent"> -14. Bronze Statue known as the <i>Idolino</i>. Museo Archeologico, Florence. After B. B., -No. 274</p></td><td class="tdr vertb"><a href="#p14">142</a></td> -</tr><tr><td class="tdl"><p class="indent"> -15. Marble Head of an Athlete, after Kresilas (?). Metropolitan Museum, New York. -After Photograph</p></td><td class="tdr vertb"><a href="#p15">144</a></td> -</tr><tr><td class="tdl"><p class="indent"> -16. Bronze Statue of the <i>Seated Boxer</i>. Museo delle Terme, Rome. After <i>Ant. Denkm.</i>, I, <span class="smcap">I</span>, -1886, Pl. <span class="smcap">IV</span></p></td><td class="tdr vertb"><a href="#p16">146</a></td> -</tr><tr><td class="tdl"><p class="indent"> -17. Statue known as the <i>Farnese Diadoumenos</i>. British Museum, London. After <i>Marbles -and Bronzes in the British Museum</i>, Pl. <span class="smcap">VI</span></p></td><td class="tdr vertb"><a href="#p17">150</a></td> -</tr><tr><td class="tdl"><p class="indent"> -18. Statue of the <i>Diadoumenos</i>, from Delos. After Polykleitos. National Museum, -Athens. After Photograph by Alinari</p></td><td class="tdr vertb"><a href="#p18">152</a></td> -</tr><tr><td class="tdl"><p class="indent"> -19. Statue known as the <i>Westmacott Athlete</i>. British Museum, London. After <i>Marbles -and Bronzes in the British Museum</i>, Pl. <span class="smcap">XXII</span></p></td><td class="tdr vertb"><a href="#p19">156</a></td> -</tr><tr><td class="tdl"><p class="indent"> -20. Head of an Athlete, School of Praxiteles. Metropolitan Museum, New York. After -Photograph</p></td><td class="tdr vertb"><a href="#p20">168</a></td> -</tr><tr><td class="tdl"><p class="indent"> -21. Statue of <i>Diomedes with the Palladion</i>. Glyptothek, Munich. After Photograph</p></td><td class="tdr vertb"><a href="#p21">170</a></td> -</tr><tr><td class="tdl"><p class="indent"> -22. Statue of the <i>Diskobolos</i>, from Castel Porziano, after Myron. Museo delle Terme, -Rome. After Photograph by Anderson</p></td><td class="tdr vertb"><a href="#p22">184</a></td> -</tr><tr><td class="tdl"><p class="indent"> -23. Statue of the <i>Diskobolos</i>, after Myron. A bronzed Cast from the Statue in the -Vatican and Head from the Statue in the Palazzo Lancellotti, Rome. After -B. B., No. 566</p></td><td class="tdr vertb"><a href="#p23">186</a></td> -</tr><tr><td class="tdl"><p class="indent"> -24. Statue of a Kneeling Youth, from Subiaco. Museo delle Terme, Rome. After -Photograph by Anderson</p></td><td class="tdr vertb"><a href="#p24">196</a></td> -</tr><tr><td class="tdl"><p class="indent"> -25. Marble Group of Pancratiasts. Uffizi Gallery, Florence. After Photo, by Alinari</p></td><td class="tdr vertb"><a href="#p25">252</a></td> -</tr><tr><td class="tdl"><p class="indent"> -26. Racing Chariot and Horses. From an archaic b.-f. Hydria. Museum of Berlin. -After Gerhard, IV, Pls. <span class="smcap">CCXLIX-CCL</span></p></td><td class="tdr vertb"><a href="#p26">262</a></td> -</tr><tr><td class="tdl"><p class="indent"> -27. Statue of a Charioteer (?). Museum of Fine Arts, Boston. After Photo. by Coolidge</p></td><td class="tdr vertb"><a href="#p27">276</a></td> -</tr><tr><td class="tdl"><p class="indent"> -28. Statue of the Pancratiast Agias, from Delphi. Museum of Delphi. After <i>Fouilles de -Delphes</i>, IV, Pl. <span class="smcap">LXIII</span></p></td><td class="tdr vertb"><a href="#p28">286</a></td> -</tr><tr><td class="tdl"><p class="indent"> -29. Statue of the <i>Apoxyomenos</i>. After Lysippos or his School. Vatican Museum, Rome. -After B. B., No. 381</p></td><td class="tdr vertb"><a href="#p29">288</a></td> -</tr><tr><td class="tdl"><p class="indent"> -30. Statue of <i>Herakles</i>. Lansdowne House, London. After Gardner, <i>Sculpt.</i>, Pl. <span class="smcap">LVI</span></p></td><td class="tdr vertb"><a href="#p30">298</a></td> -</tr></table> -<hr /> -<p><span class="pagenum"><a id="Page_xiii">xiii</a></span></p> - -<table summary="plans" border="0"><tr> -<td class="tdc padl4">PLANS.</td><td class="tdr"><small>FACING<br />PAGE</small></td> -</tr><tr><td class="tdl"><p class="indent"> -A. The Altis at Olympia in the Greek Period (Third Century B. C.). After Doerpfeld, in -<i>Ergebnisse von Olympia, Karten und Plaene</i>, No. <span class="smcap">III</span></p></td><td class="tdr"><a href="#Page_376">376</a></td> -</tr><tr><td class="tdl"><p class="indent"> -B. The Altis at Olympia in the Roman Period (Second Century A. D.). After Doerpfeld, -in <i>Ergebnisse von Olympia, Karten und Plaene</i>, No. <span class="smcap">IV</span></p></td><td class="tdr"><a href="#Page_376">376</a></td> -</tr></table> -<hr /> - - -<table summary="illustrations" border="0"><tr> -<td class="tdc padl4">TEXT-FIGURES.</td><td class="tdr"><small>PAGE</small></td> -</tr><tr> -<td class="tdl"><p class="indent padl05"> -1. So-called <i>Boxer Vase</i>, from Hagia Triada. From a Cast (with handle restored) in the -Museum of Candia. After H. R. Hall, Aegean Archæology, Pl. <span class="smcap">XVI</span></p></td><td class="tdr"><a href="#f1">6</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -2. Bronze Statuette of a Victor, from Olympia. Museum of Olympia. After <i>Bronz. v. -Ol.</i>, Tafelbd., Pl. <span class="smcap">VIII</span>, No. 57</p></td><td class="tdr"><a href="#f2">28</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -3. Bronze Head of an Olympic Victor, from Beneventum. Louvre, Paris. After Photograph</p></td><td class="tdr"><a href="#f3">64</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -4. Bronze Head of an Olympic Victor, from Herculaneum. Museum of Naples. After -B. B., No. 323 (Right)</p></td><td class="tdr"><a href="#f4">65</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -5. Bronze Portrait-statue of a Hellenistic Prince. Museo delle Terme, Rome. After -Photograph by Alinari</p></td><td class="tdr"><a href="#f5">73</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -6. Bronze Statuette of <i>Hermes-Diskobolos</i>, found in the Sea off Antikythera. National -Museum, Athens. After Photograph by Rhomaïdes</p></td><td class="tdr"><a href="#f6">79</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -7. Bronze Statue of a Youth, found in the Sea off Antikythera. National Museum, Athens. -After Photograph by Rhomaïdes</p></td><td class="tdr"><a href="#f7">80</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -8. Statue of the so-called <i>Jason</i> (<i>Sandal-binder</i>). Louvre, Paris. After Photograph by -Giraudon</p></td><td class="tdr"><a href="#f8">86</a></td> -</tr><tr><td class="tdl"><p class="indent padl05"> -9. Statue of so-called <i>Apollo of Thera</i>. National Museum, Athens. After Photograph</p></td><td class="tdr"><a href="#f9">101</a></td> -</tr><tr><td class="tdl"><p class="indent"> -10. Statue of so-called <i>Apollo of Orchomenos</i>. National Museum, Athens. After Photograph</p></td><td class="tdr"><a href="#f10">102</a></td> -</tr><tr><td class="tdl"><p class="indent"> -11. Statue of so-called <i>Apollo</i>, from Mount Ptoion, Bœotia. National Museum, Athens. -After Photograph</p></td><td class="tdr"><a href="#f11">102</a></td> -</tr><tr><td class="tdl"><p class="indent"> -12. Statue of so-called <i>Apollo of Melos</i>. National Museum, Athens. After Photograph</p></td><td class="tdr"><a href="#f12">103</a></td> -</tr><tr><td class="tdl"><p class="indent"> -13. Statues of so-called <i>Apollos</i>, from Mount Ptoion. National Museum, Athens. After -Photograph</p></td><td class="tdr"><a href="#f13">104</a></td> -</tr><tr><td class="tdl"><p class="indent"> -14. Statue known as the <i>Strangford Apollo</i>. British Museum, London. After <i>Marbles and -Bronzes in the British Museum</i>, Pl. <span class="smcap">II</span></p></td><td class="tdr"><a href="#f14">105</a></td> -</tr><tr><td class="tdl"><p class="indent"> -15. Bronze Statuette of a Palæstra Victor, from the Akropolis. Akropolis Museum, -Athens. After Photograph</p></td><td class="tdr"><a href="#f15">108</a></td> -</tr><tr><td class="tdl"><p class="indent"> -16. Bronze Statuette, from Ligourió. Museum of Berlin. After <i>50stes Berliner Winckelmannsprogramm</i>, -1890, Pl. <span class="smcap">I</span> (Center and Left)</p></td><td class="tdr"><a href="#f16">112</a></td> -</tr><tr><td class="tdl"><p class="indent"> -17. Statue of an Ephebe, from the Akropolis. Akropolis Museum, Athens. After Photograph</p></td><td class="tdr"><a href="#f17">115</a></td> -</tr><tr><td class="tdl"><p class="indent"> -18. Head of an Ephebe, from the Akropolis. Akropolis Museum, Athens. After Photograph -by Rhomaïdes</p></td><td class="tdr"><a href="#f18">116</a></td> -</tr><tr><td class="tdl"><p class="indent"> -19. Bronze Statuette of Apollo, found in the Sea off Piombino. Louvre, Paris. After -Photograph by Giraudon</p></td><td class="tdr"><a href="#f19">119</a></td> -</tr><tr><td class="tdl"><p class="indent"> -20. Figure, from the East Pediment of the Temple on Aegina. Glypothek, Munich. -After Photograph by Bruckmann</p></td><td class="tdr"><a href="#f20">124</a></td> -</tr><tr><td class="tdl"><p class="indent"> -21. Two Figures, from the West Pediment of the Temple on Aegina. Glyptothek, -Munich. After Photograph by Bruckmann</p></td><td class="tdr"><a href="#f21">125</a></td> -</tr><tr><td class="tdl"><p class="indent"> -22. Archaic Marble Head of a Youth. Jacobsen Collection, Ny-Carlsberg Museum, -Copenhagen. After Arndt, <i>La Glyplothèque Ny-Carlsberg</i>, 1896, Pl. <span class="smcap">I</span></p></td><td class="tdr"><a href="#f22">128</a></td> -</tr><tr><td class="tdl"><p class="indent"> -23. Head of so-called <i>Oil-pourer</i>. Museum of Fine Arts, Boston. After Photograph</p></td><td class="tdr"><a href="#f23">134</a></td> -</tr><tr><td class="tdl"><p class="indent"> -24. Bronze Statuette of an Athlete. Louvre, Paris. After Furtwaengler, <i>Masterpieces</i>, -Pl. <span class="smcap">XIII</span></p></td><td class="tdr"><a href="#f24">139</a></td> -</tr><tr><td class="tdl"><p class="indent"> -25. Bronze Head of an Athlete, from Herculaneum. Museum of Naples. After B. B., No. -339 (Left)</p></td><td class="tdr"><a href="#f25">140</a></td> -</tr><tr><td class="tdl"><p class="indent"> -26. Marble Statue of an Athlete (?). National Museum, Athens. After Photograph</p></td><td class="tdr"><a href="#f26">143</a></td> -</tr><tr><td class="tdl"><p class="indent"> -27. Head from Statue of the <i>Seated Boxer</i> (Pl. <a href="#p16">16</a>). Museo delle Terme, Rome. After -Photograph by Anderson</p></td><td class="tdr"><a href="#f27">146</a></td> -</tr><tr><td class="tdl"><p class="indent"> -28. Statue of the <i>Diadoumenos</i>, from Vaison, after Polykleitos. British Museum, London. -After <i>Marbles and Bronzes in the British Museum</i>, Pl. <span class="smcap">IV</span></p></td><td class="tdr"><a href="#f28">153</a></td> -</tr><tr><td class="tdl"><p class="indent"><span class="pagenum"><a id="Page_xiv">xiv</a></span> -29. Head of the <i>Diadoumenos</i>, after Polykleitos. Albertinum, Dresden. After Furtwaengler, -<i>Masterpieces</i>, Pl. <span class="smcap">X</span></p></td><td class="tdr"><a href="#f29">154</a></td> -</tr><tr><td class="tdl"><p class="indent"> -30. Marble Heads of two Hoplitodromoi, from Olympia. Museum of Olympia. After -<i>Bildw. v. Ol.</i>, Tafelbd., Pl. <span class="smcap">VI</span>, 1–2 and 9–10</p></td><td class="tdr"><a href="#f30">162</a></td> -</tr><tr><td class="tdl"><p class="indent"> -31. Head of Herakles, from Genzano. British Museum, London. After <i>Marbles and -Bronzes in the British Museum</i>, Pl. <span class="smcap">XXI</span></p></td><td class="tdr"><a href="#f31">170</a></td> -</tr><tr><td class="tdl"><p class="indent"> -32. Statue of <i>Harmodios</i>. Museum of Naples. After B. B., No. 327</p></td><td class="tdr"><a href="#f32">174</a></td> -</tr><tr><td class="tdl"><p class="indent"> -33. Head of an Athlete, from Perinthos. Albertinum, Dresden. After B. B., No. 542 -(Right)</p></td><td class="tdr"><a href="#f33">180</a></td> -</tr><tr><td class="tdl"><p class="indent"> -34. Statue of the <i>Diskobolos</i>, after Myron. Vatican Museum, Rome. After Photograph</p></td><td class="tdr"><a href="#f34">185</a></td> -</tr><tr><td class="tdl"><p class="indent"> -35. Statue of the <i>Diskobolos</i>, after Myron. British Museum, London. After <i>Marbles and -Bronzes in the British Museum</i>, Pl. <span class="smcap">XLVII</span></p></td><td class="tdr"><a href="#f35">186</a></td> -</tr><tr><td class="tdl"><p class="indent"> -36. A and B. Athletic Scenes from a Bacchic Amphora in Rome. A. Stadiodromoi and -Leaper. B. Diskobolos and Akontistai. After Gerhard, IV, Pl. <span class="smcap">CCLIX</span></p></td><td class="tdr"><a href="#f36">192</a></td> -</tr><tr><td class="tdl"><p class="indent"> -37. Athletic Scenes from a Sixth-century B. C. Panathenaic Amphora. Stadiodromoi (Left) -and Dolichodromoi (Right). After <i>Mon. d. I.</i>, I, 1829–33, Pl. <span class="smcap">XXII</span>, 6 b, 7 b</p></td><td class="tdr"><a href="#f37">193</a></td> -</tr><tr><td class="tdl"><p class="indent"> -38. Statue of a Runner. Palazzo dei Conservatori, Rome. After Photograph by Anderson</p></td><td class="tdr"><a href="#f38">198</a></td> -</tr><tr><td class="tdl"><p class="indent"> -39. Statue of a Runner. Palazzo dei Conservatori, Rome. After Photograph by Anderson</p></td><td class="tdr"><a href="#f39">198</a></td> -</tr><tr><td class="tdl"><p class="indent"> -40. Statue of the so-called <i>Thorn-puller</i> (the <i>Spinario</i>). Palazzo dei Conservatori, Rome. -After B. B., No. 321</p></td><td class="tdr"><a href="#f40">200</a></td> -</tr><tr><td class="tdl"><p class="indent"> -41. Hoplitodromes. Scenes from a r.-f. Kylix. Museum of Berlin. After Gerhard, IV, -Pl. <span class="smcap">CCLXI</span></p></td><td class="tdr"><a href="#f41">205</a></td> -</tr><tr><td class="tdl"><p class="indent"> -42. Bronze Statuette of a Hoplitodrome (?). University Museum, Tuebingen. After <i>Jb.</i>, I, -1886, Pl. <span class="smcap">IX</span> (Right)</p></td><td class="tdr"><a href="#f42">206</a></td> -</tr><tr><td class="tdl"><p class="indent"> -43. Statue of the so-called <i>Borghese Warrior</i>. Louvre, Paris. After Photograph</p></td><td class="tdr"><a href="#f43">208</a></td> -</tr><tr><td class="tdl"><p class="indent"> -44. Pentathletes. Scene from a Panathenaic Amphora in the British Museum, London. -After <i>J. H. S.</i>, XXVII, 1907, Pl. <span class="smcap">XVIII</span></p></td><td class="tdr"><a href="#f44">211</a></td> -</tr><tr><td class="tdl"><p class="indent"> -45. Statue of a Boy Victor (the <i>Dresden Boy</i>). Albertinum, Dresden. After Furtwaengler, -<i>Masterpieces</i>, Pl. <span class="smcap">XII</span></p></td><td class="tdr"><a href="#f45">213</a></td> -</tr><tr><td class="tdl"><p class="indent"> -46. Bronze Statuette of a <i>Diskobolos</i>. Metropolitan Museum, New York. After -Photograph</p></td><td class="tdr"><a href="#f46">220</a></td> -</tr><tr><td class="tdl"><p class="indent"> -47. Bust of the <i>Doryphoros</i>, after Polykleitos, by Apollonios. Museum of Naples. After -Photograph by Alinari</p></td><td class="tdr"><a href="#f47">224</a></td> -</tr><tr><td class="tdl"><p class="indent"> -48. Statue of the <i>Doryphoros</i>, after Polykleitos. Vatican Museum, Rome. After Photograph -by Anderson</p></td><td class="tdr"><a href="#f48">225</a></td> -</tr><tr><td class="tdl"><p class="indent"> -49. Wrestling Scenes. From Obverse of an Amphora, by Andokides. Museum of Berlin. -After <i>A. J. A.</i>, XI, 1896, P. 11, Fig. 9</p></td><td class="tdr"><a href="#f49">230</a></td> -</tr><tr><td class="tdl"><p class="indent"> -50. Wrestling and Boxing Scenes. From a r.-f. Kylix. University of Pennsylvania Museum, -Philadelphia. After Photograph</p></td><td class="tdr"><a href="#f50">231</a></td> -</tr><tr><td class="tdl"><p class="indent"> -51. Bronze Statues of Wrestlers. Museum of Naples. After B. B., No. 354</p></td><td class="tdr"><a href="#f51">232</a></td> -</tr><tr><td class="tdl"><p class="indent"> -52. Bronze Arm of Statue of a Boxer, found in the Sea off Antikythera. National Museum, -Athens. After Svoronos, Pl. <span class="smcap">V</span>, No. 4</p></td><td class="tdr"><a href="#f52">237</a></td> -</tr><tr><td class="tdl"><p class="indent"> -53. Forearm with Glove. From the Statue of the <i>Seated Boxer</i> (Pl. <a href="#p16">16</a>). Museo delle Terme, -Rome. After Juethner, Fig. 62</p></td><td class="tdr"><a href="#f53">238</a></td> -</tr><tr><td class="tdl"><p class="indent"> -54. Boxing Scenes. From a r.-f. Kylix by Douris. British Museum, London. After -<i>J. H. S.</i>, XXVI, 1906, Pl. <span class="smcap">XII</span></p></td><td class="tdr"><a href="#f54">240</a></td> -</tr><tr><td class="tdl"><p class="indent"> -55. Boxing and Pankration Scenes. From a r.-f. Kylix. British Museum, London. After -<i>J. H. S.</i>, XXVI, Pl. <span class="smcap">XIII</span></p></td><td class="tdr"><a href="#f55">241</a></td> -</tr><tr><td class="tdl"><p class="indent"> -56. Boxing Scene. From a b.-f. Panathenaic Panel-amphora. University of Pennsylvania -Museum, Philadelphia. After Photograph</p></td><td class="tdr"><a href="#f56">242</a></td> -</tr><tr><td class="tdl"><p class="indent"> -57. Statue of a Boxer, from Sorrento. By Koblanos of Aphrodisias. Museum of Naples. -After B. B., No. 614</p></td><td class="tdr"><a href="#f57">242</a></td> -</tr><tr><td class="tdl"><p class="indent"> -58. Statue known as <i>Pollux</i>. Louvre, Paris. After Photograph by Giraudon</p></td><td class="tdr"><a href="#f58">245</a></td> -</tr><tr><td class="tdl"><p class="indent"> -59. Pankration Scene. From a Panathenaic Amphora by Kittos. British Museum, -London. After <i>J. H. S.</i>, XXVI, 1906, Pl. <span class="smcap">III</span></p></td><td class="tdr"><a href="#f59">248</a></td> -</tr><tr><td class="tdl"><p class="indent"> -60. Bronze Statuette of a Pancratiast (?), from Autun, France. Louvre, Paris. After -Bulle, Pl. 96 (Right)</p></td><td class="tdr"><a href="#f60">250</a></td> -</tr><tr><td class="tdl"><p class="indent"> -61. Bronze Head of a Boxer(?), from Olympia. A (Profile); B (Front). National Museum, -Athens. After <i>Bronz. v. Ol.</i>, Tafelbd., Pl. <span class="smcap">II</span>, 2a and 2</p></td><td class="tdr"><a href="#f61">254</a></td> -</tr><tr><td class="tdl"><p class="indent"><span class="pagenum"><a id="Page_xv">xv</a></span> -62. Bronze Foot of a Victor Statue, from Olympia. Museum of Olympia. After <i>Bronz. -v. Ol.</i>, Tafelbd., Pl. <span class="smcap">III</span>, 3</p></td><td class="tdr"><a href="#f62">253</a></td> -</tr><tr><td class="tdl"><p class="indent"> -63. Charioteer Mounting a Chariot. Bas-relief from the Akropolis. Akropolis Museum, -Athens. After Photograph</p></td><td class="tdr"><a href="#f63">270</a></td> -</tr><tr><td class="tdl"><p class="indent"> -64. <i>Apobates</i> and Chariot. Relief from the North Frieze of the Parthenon, Athens. -After Photograph</p></td><td class="tdr"><a href="#f64">273</a></td> -</tr><tr><td class="tdl"><p class="indent"> -65. Charioteer. Relief from the small Frieze of the Mausoleion, Halikarnassos. British -Museum, London. After Photograph</p></td><td class="tdr"><a href="#f65">274</a></td> -</tr><tr><td class="tdl"><p class="indent"> -66. Bronze Statue of the Delphi <i>Charioteer</i>. Museum of Delphi. After <i>Fouilles de Delphes</i>, -IV, Pl. <span class="smcap">L</span></p></td><td class="tdr"><a href="#f66">277</a></td> -</tr><tr><td class="tdl"><p class="indent"> -67. Horse-racer. From a Sixth-century B. C. b.-f. Panathenaic Vase. British Museum, -London. After Gerhard, IV, Pl. <span class="smcap">CCLVII</span> (Bottom).</p></td><td class="tdr"><a href="#f67">280</a></td> -</tr><tr><td class="tdl"><p class="indent"> -68. Head from the Statue of Agias (Pl. 28). Museum of Delphi. After <i>Fouilles de -Delphes</i>, IV, Pl. <span class="smcap">LXIV</span></p></td><td class="tdr"><a href="#f68">287</a></td> -</tr><tr><td class="tdl"><p class="indent"> -69. Marble Head, from Olympia. Three-quarters Front View (<i>Cf.</i> Frontispiece). -Museum of Olympia. After <i>Bildw. v. Ol.</i>, Tafelbd., Pl. <span class="smcap">LIV</span>, 4</p></td><td class="tdr"><a href="#f69">293</a></td> -</tr><tr><td class="tdl"><p class="indent"> -70. Profile Drawings of the Heads of the <i>Agias</i> and the <i>Philandridas</i>. After <i>A. J. A.</i>, -XI, 1907, p. 403, Fig. 6</p></td><td class="tdr"><a href="#f70">295</a></td> -</tr><tr><td class="tdl"><p class="indent"> -71. Head of the Statue of Herakles (Pl. 30). Lansdowne House, London. After Gardner, -<i>Sculpt.</i>, Pl. <span class="smcap">LVII</span></p></td><td class="tdr"><a href="#f71">298</a></td> -</tr><tr><td class="tdl"><p class="indent"> -72. Marble Head of a Boy, found near the Akropolis, Sparta. In Private Possession in -Philadelphia, U. S. A. After Photograph</p></td><td class="tdr"><a href="#f72">305</a></td> -</tr><tr><td class="tdl"><p class="indent"> -73. So-called Head of Herakles from Tegea, by Skopas. National Museum, Athens. -After <i>B. C. H.</i>, XXV, 1901, Pl. <span class="smcap">VII</span></p></td><td class="tdr"><a href="#f73">307</a></td> -</tr><tr><td class="tdl"><p class="indent"> -74. Attic Grave-relief, found in the Bed of the Ilissos, Athens. National Museum, -Athens. After A. Conze, <i>Attische Grabreliefs</i>, Pl. <span class="smcap">CCXI</span></p></td><td class="tdr"><a href="#f74">312</a></td> -</tr><tr><td class="tdl"><p class="indent"> -75. Statue of the so-called <i>Meleager</i>. Vatican Museum, Rome. After Photograph</p></td><td class="tdr"><a href="#f75">313</a></td> -</tr><tr><td class="tdl"><p class="indent"> -76. Head of the so-called <i>Meleager</i>. Villa Medici, Rome. After <i>Ant. Denkm.</i>, I, Pl. <span class="smcap">XI</span>, 2a</p></td><td class="tdr"><a href="#f76">314</a></td> -</tr><tr><td class="tdl"><p class="indent"> -77. Torso of the so-called <i>Meleager</i>. Fogg Art Museum, Cambridge, Mass. After Photograph</p></td><td class="tdr"><a href="#f77">315</a></td> -</tr><tr><td class="tdl"><p class="indent"> -78. Small Marble Torso of a Boy Victor, from Olympia. Museum of Olympia. After -<i>Bildw. v. Ol.</i>, Tafelbd., Pl. <span class="smcap">LVI</span>, 2</p></td><td class="tdr"><a href="#f78">325</a></td> -</tr><tr><td class="tdl"><p class="indent"> -79. Stone Statue of the Olympic Victor, Arrhachion, from Phigalia. In the Guards’ -House at Bassai (Phigalia). After Photograph</p></td><td class="tdr"><a href="#f79">327</a></td> -</tr><tr><td class="tdl"><p class="indent"> -80. Statues of Ra-nefer and Tepemankh, from Sakkarah. Museum of Cairo. After -Bulle, Pl. 5</p></td><td class="tdr"><a href="#f80">331</a></td> -</tr></table> -<hr /> -<p><span class="pagenum"><a id="Page_xvi">xvi</a></span></p> - -<h2>THE MOST COMMON ABBREVIATIONS USED IN THE NOTES.</h2> - -<table summary="abbreviations" border="0"><tr> -<td class="tdl"><i>A. A.</i></td><td class="tdl"><p class="indent2"><i>Archaeologischer Anzeiger</i>, Beiblatt zum Jahrbuch, 1889-.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Afr.</i></td><td class="tdl"><p class="indent2">S. Iulii Africani Ὀλυμπιάδων ἀναγραφή, <i>apud</i> Euseb., <i>Chron.</i>, ed. A. Schoene, -I, pp. 194–220. Berlin, 1875. See also Rutgers.</p> -</td></tr><tr><td class="tdl vertt"> -<i>A. G.</i></td><td class="tdl"><p class="indent2"><i>Anthologia Graeca</i>, cur. F. Jacobs, I-III. Leipsic, 1813–1817.</p> -</td></tr><tr><td class="tdl vertt"> -<i>A. Pl.</i></td><td class="tdl"><p class="indent2"><i>Anthologia Planudea</i>, in <i>A. G.</i>, II, 1814.</p> -</td></tr><tr><td class="tdl vertt"> -<i>A. J. A.</i></td><td class="tdl"><p class="indent2"><i>American Journal of Archæology</i>, 1st series, 1885–1896; 2d series, 1897-.</p> -</td></tr><tr><td class="tdl vertt"> -<i>A. M.</i></td><td class="tdl"><p class="indent2"><i>Mitteilungen des kaiserlich deutschen archaeologischen Instituts</i>, Athenische -Abteilung. Athens, 1876-.</p> -</td></tr><tr><td class="tdl vertt"> -Amelung, <i>Fuehrer</i></td><td class="tdl"><p class="indent2">W. Amelung, <i>Fuehrer durch die Antiken in Florenz</i>. Munich, 1897.</p> -</td></tr><tr><td class="tdl vertt"> -Amelung, <i>Vat.</i></td><td class="tdl"><p class="indent2">W. Amelung, <i>Die Skulpturen des Vatikanischen Museums</i>, Textbd., I-II: -Tafelbd., I-II. Berlin, 1903, 1908.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Annali</i></td><td class="tdl"><p class="indent2"><i>Annali dell’ Instituto di Corrispondenza archeologica.</i> Rome, 1829–1885.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Ant. Denkm.</i></td><td class="tdl"><p class="indent2"><i>Antike Denkmaeler</i>, herausgegeben vom kaiserlich deutschen archaeologischen -Institut. Berlin, 1886-.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Arch. Eph.</i></td><td class="tdl"><p class="indent2"> Ἀρχαιολογικὴ Ἐφημερίς. Athens, 3d Per., 1883-. (The title before -1910 was Ἐφημερὶς Ἀρχαιολογική.)</p> -</td></tr><tr><td class="tdl vertt"> -Arndt-Amelung</td><td class="tdl"><p class="indent2"><i>Photographische Einzelaufnahmen antiker Skulpturen</i> (with text). Munich, -1893–1902. Cited in German publications as <i>Einzelverkauf</i>.</p> -</td></tr><tr><td class="tdl vertt"> -<i>A. Z.</i></td><td class="tdl"><p class="indent2"><i>Archaeologische Zeitung.</i> Berlin, 1843–1885.</p> -</td></tr><tr><td class="tdl vertt"> -Baum.</td><td class="tdl"><p class="indent2">A. Baumeister, <i>Denkmaeler des klassischen Altertums</i>, I-III. Munich and -Leipsic, 1889.</p> -</td></tr><tr><td class="tdl vertt"> -B. B.</td><td class="tdl"><p class="indent2">Brunn-Bruckmann, <i>Denkmaeler griechischer und roemischer Skulptur</i>. -Munich, 1888. Text from No. 500 (1897-) by F. Arndt. (Plates cited -by number).</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. C. H.</i></td><td class="tdl"><p class="indent2"><i>Bulletin de Correspondance hellénique.</i> Paris, 1877-.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Bildw. v. Ol.</i></td><td class="tdl"><p class="indent2"><i>Olympia, Die Ergebnisse</i>, Text- und Tafelbd., III, <i>Die Bildwerke von Olympia -in Stein und Thon</i>. By G. Treu. Berlin, 1897.</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. M. Bronz.</i></td><td class="tdl"><p class="indent2"><i>Catalogue of the Bronzes, Greek, Roman, and Etruscan, in the British Museum.</i> -By H. B. Walters. London, 1899.</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. M. Sculpt.</i></td><td class="tdl"><p class="indent2"><i>Catalogue of Sculpture in the British Museum</i>, I-III. By A. H. Smith. -London, 1892–1904.</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. M. Vases</i></td><td class="tdl"><p class="indent2"><i>Catalogue of the Greek and Etruscan Vases in the British Museum.</i> I, <small>2</small>, II, -IV, by H. B. Walters; III, by C. H. Smith. London, 1893–1912.</p> -</td></tr><tr><td class="tdl vertt"> -Boeckh</td><td class="tdl"><p class="indent2">A. Boeckh, <i>Pindari Opera</i>, II, <i>Scholia</i>. Leipsic, 1819.</p> -</td></tr><tr><td class="tdl"> -<i>Bronz. v. Ol.</i></td><td class="tdl"><p class="indent2"><i>Olympia, Die Ergebnisse</i>, Text- und Tafelbd., IV, <i>Die Bronzen und die -uebrigen kleineren Funde von Olympia</i>. By A. Furtwaengler. Berlin, -1890.</p> -</td></tr><tr><td class="tdl vertt"> -Brunn</td><td class="tdl"><p class="indent2">H. Brunn, <i>Geschichte der griechischen Kuenstler</i>, I (Bildhauer). Brunswick, -1853. (Reprinted, Stuttgart, 1889).</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. S. A.</i></td><td class="tdl"><p class="indent2"><i>Annual of the British School at Athens.</i> London, 1894–1895-.</p> -</td></tr><tr><td class="tdl vertt"> -Bulle</td><td class="tdl"><p class="indent2">H. Bulle, <i>Der schoene Mensch im Altertum</i>. Second edition, Munich and -Leipsic, 1912. (= Vol. I of G. Hirth’s <i>Der Stil</i>.)</p> -</td></tr><tr><td class="tdl vertt"> -<i>B. Com. Rom.</i></td><td class="tdl"><p class="indent2"><i>Bulletino della Commissione Archeologica Comunale di Roma.</i> Rome, -1872-.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Bull. d. Inst.</i></td><td class="tdl"><p class="indent2"><i>Bulletino dell’ Instituto di Corrispondenza archeologica.</i> Rome, 1829–1885.</p> -</td></tr><tr><td class="tdl vertt"> -<i>C. I. A.</i></td><td class="tdl"><p class="indent2"><i>Corpus Inscriptionum Atticarum</i>, I-IV. Berlin, 1873–1897. (I, ed. A. -Kirchhoff; II, Pts. <small>1–4</small>, and IV, Pts. <small>1–2</small>, ed. U. Koehler; III, Pts. <small>1–2</small>, -ed. W. Dittenberger).</p> -</td></tr><tr><td class="tdl vertt"> -<i>C. I. G.</i></td><td class="tdl"><p class="indent2"><i>Corpus Inscriptionum Graecarum</i>, I-IV. Berlin, 1828–1877. (I-II, ed. -A. Boeckh; III, ed. J. Franz: IV, ed. E. Curtius and A. Kirchhoff.)</p> -</td></tr><tr><td class="tdl vertt"> -Clarac</td><td class="tdl"><p class="indent2">F. de Clarac, <i>Musée de sculpture antique et moderne</i>. Text, I-VI: Plates, -I-VI. Paris, 1826–1853. See also Reinach, <i>Rép.</i></p> -</td></tr><tr><td class="tdl vertt"> -Collignon</td><td class="tdl"><p class="indent2">M. Collignon, <i>Histoire de la sculpture grecque</i>, I-II. Paris, 1892, 1897.</p> -</td></tr><tr><td class="tdl vertt"> -<i>C. R. Acad. Inscr.</i></td><td class="tdl"><p class="indent2"><i>Comptes-Rendus de l’Académie des Inscriptions et Belles-Lettres.</i> Paris, -1857-.</p> -</td></tr><tr><td class="tdl vertt"> -Dar.-Sagl.</td><td class="tdl"><p class="indent2">C. Daremberg, E. Saglio, et E. Pottier, <i>Dictionnaire des antiquités grecques -et romaines</i>. Paris, 1877–1918.</p> -</td></tr><tr><td class="tdl vertt"> -Dickins</td><td class="tdl"><p class="indent2">G. Dickins, <i>Catalogue of the Akropolis Museum</i>, I (Archaic Sculpture). -Cambridge, 1912.</p> -</td></tr><tr><td class="tdl vertt"><span class="pagenum"><a id="Page_xvii">xvii</a></span> -Duetschke</td><td class="tdl"><p class="indent2">H. Duetschke, <i>Antike Bildwerke in Oberitalien</i>, I-IV. Leipsic, 1874–1880. -(Works of art cited by number.)</p> -</td></tr><tr><td class="tdl vertt"> -<i>F. H. G.</i></td><td class="tdl"><p class="indent2"><i>Fragmenta historiorum Graecorum</i>, coll. C. Muellerus, I-IV. Paris, -1841–1851.</p> -</td></tr><tr><td class="tdl vertt"> -Foerster</td><td class="tdl"><p class="indent2">H. Foerster, <i>Die Sieger in den Olympischen Spielen</i>. Wissenschaftliche -Beilage zum Programm des Gymnasiums zu Zwickau, 1891, 1892. -(The numbers refer to victors in chronological order.)</p> -</td></tr><tr><td class="tdl vertt"> -Frazer</td><td class="tdl"><p class="indent2">Sir J. G. Frazer, <i>Pausanias’s Description of Greece</i>, I-VI. London, 1898.</p> -</td></tr><tr><td class="tdl vertt"> -Froehner, <i>Notice</i></td><td class="tdl"><p class="indent2">W. Froehner, <i>Notice de la sculpture ant. du musée impérial du Louvre</i>. -Paris, 1869.</p> -</td></tr><tr><td class="tdl vertt"> -Furtw., <i>Mp.</i></td><td class="tdl"><p class="indent2">A. Furtwaengler, <i>Masterpieces of Greek Sculpture</i>. Translated and enlarged -from the following work, by Miss Eugénie Sellers (now Mrs. Strong). -London, 1895.</p> -</td></tr><tr><td class="tdl vertt"> -Furtw., <i>Mw.</i></td><td class="tdl"><p class="indent2">A. Furtwaengler, <i>Meisterwerke der griechischen Plastik</i>. Leipsic and Berlin, -1893.</p> -</td></tr><tr><td class="tdl vertt"> -F. W.</td><td class="tdl"><p class="indent2">C. Friederichs, <i>Bausteine zur Geschichte d. griech.-roem. Plastik</i>, 1868. -Revised edition, entitled Die Gipsabguesse antiker Bildwerke, by P. -Wolters. Berlin, 1885.</p> -</td></tr><tr><td class="tdl vertt"> -Gardiner</td><td class="tdl"><p class="indent2">E. Norman Gardiner, <i>Greek Athletic Sports and Festivals</i>. London, 1910.</p> -</td></tr><tr><td class="tdl vertt"> -Gardner, <i>Hbk.</i></td><td class="tdl"><p class="indent2">E. A. Gardner, <i>A Handbook of Greek Sculpture</i>. Second edition revised. -London, 1915.</p> -</td></tr><tr><td class="tdl vertt"> -Gardner, <i>Sculpt.</i></td><td class="tdl"><p class="indent2">E. A. Gardner, <i>Six Greek Sculptors</i>. London, 1910.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Gaz. arch.</i></td><td class="tdl"><p class="indent2"><i>Gazette archéologique</i>. Paris, 1875—.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Gaz. B.-A.</i></td><td class="tdl"><p class="indent2"><i>Gazette des Beaux-Arts.</i> Paris, Pér. I, 1859–1868; II, 1869–1888; III, -1889—.</p> -</td></tr><tr><td class="tdl vertt"> -Gerhard</td><td class="tdl"><p class="indent2">E. Gerhard, <i>Auserlesene Vasenbilder</i>, Vol. IV (<i>Alltagsleben</i>). Berlin, 1840.</p> -</td></tr><tr><td class="tdl vertt"> -Helbig, <i>Fuehrer</i></td><td class="tdl"><p class="indent2">W. Helbig, and others, <i>Fuehrer durch die oeffentlichen Sammlungen klassischer -Altertuemer in Rom</i>. Third edition, I-II. Leipsic, 1912, 1913.</p> -</td></tr><tr><td class="tdl vertt"> -Helbig, <i>Guide</i></td><td class="tdl"><p class="indent2"><i>Guide to the Public Collections of Classical Antiquities in Rome.</i> Translation -from the preceding work (1st ed.) by J. F. and F. Muirhead, I-II. -Leipsic, 1895, 1896.</p> -</td></tr><tr><td class="tdl vertt"> -Hitz.-Bluemn.</td><td class="tdl"><p class="indent2">H. Hitzig et H. Bluemner, <i>Pausaniae Graeciae Descriptio</i>. I-III (Each in -2 Parts). Leipsic, 1896–1907.</p> -</td></tr><tr><td class="tdl vertt"> -Hyde</td><td class="tdl"><p class="indent2">Gualterus (= Walter Woodburn) Hyde, <i>de olympionicarum Statuis a Pausania -commemoratis</i>. Halle, 1902; enlarged, 1903. Numbers cited refer -to victors in the order given by Pausanias.</p> -</td></tr><tr><td class="tdl vertt"> -<i>I. G.</i></td><td class="tdl"><p class="indent2"><i>Inscriptiones Graecae</i> (for contents and numbering of volumes, see <i>A. J. A.</i>, -IX, 1905, pp. 96–97).</p> -</td></tr><tr><td class="tdl vertt"> -<i>I. G. A.</i></td><td class="tdl"><p class="indent2"><i>Inscriptiones Graecae antiquissimae praeter Atticas in Attica repertas.</i> Ed. -H. Roehl. Berlin, 1882.</p> -</td></tr><tr><td class="tdl vertt"> -<i>I. G. B.</i></td><td class="tdl"><p class="indent2"><i>Inschriften griechischer Bildhauer.</i> Ed. E. Loewy. Leipsic, 1885.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Inschr. v. Ol.</i></td><td class="tdl"><p class="indent2"><i>Olympia, Die Ergebnisse</i>, Textbd., V, <i>Die Inschriften von Olympia</i>. By W. -Dittenberger and K. Purgold. Berlin, 1896.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Jb.</i></td><td class="tdl"><p class="indent2"><i>Jahrbuch des kaiserlich deutschen archaeologischen Instituts.</i> Berlin, 1886—.</p> -</td></tr><tr><td class="tdl vertt"> -Jex-Blake</td><td class="tdl"><p class="indent2">K. Jex-Blake and E. Sellers, <i>The Elder Pliny’s Chapters on the History of -Art</i> (chiefly Bks. XXXIV-XXXVI of the <i>Historia Naturalis</i>, cited as -<i>H. N.</i>). London and New York, 1896.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Jh. oest. arch. Inst.</i></td><td class="tdl"><p class="indent2"><i>Jahreshefte des oesterreichischen archaeologischen Institutes in Wien.</i> Vienna, -1898—.</p> -</td></tr><tr><td class="tdl vertt"> -<i>J. H. S.</i></td><td class="tdl"><p class="indent2"><i>Journal of Hellenic Studies.</i> London, 1880—.</p> -</td></tr><tr><td class="tdl"> -Joubin</td><td class="tdl"><p class="indent2">A. Joubin, <i>La Sculpture grecque entre les Guerres Médiques et l’Époque de -Périclès</i>. Paris, 1901.</p> -</td></tr><tr><td class="tdl vertt"> -Juethner</td><td class="tdl"><p class="indent2">J. Juethner, <i>Ueber antike Turngeraethe</i>. Vienna, 1896.</p> -</td></tr><tr><td class="tdl vertt"> -Juethner, <i>Ph.</i></td><td class="tdl"><p class="indent2">J. Juethner, <i>Philostratos ueber Gymnastik</i>. Leipsic and Berlin, 1909.</p> -</td></tr><tr><td class="tdl vertt"> -Kabbadias</td><td class="tdl"><p class="indent2">P. Kabbadias, Γλυπτὰ τοῦ Ἐθνικοῦ Μουσείου. Athens, 1890–1892.</p> -</td></tr><tr><td class="tdl vertt"> -Klein</td><td class="tdl"><p class="indent2">W. Klein, <i>Geschichte der griechischen Kunst</i>, I-III. Leipsic, 1904–1907.</p> -</td></tr><tr><td class="tdl vertt"> -Krause</td><td class="tdl"><p class="indent2">J. H. Krause, <i>Die Gymnastik und Agonistik der Hellenen</i>, I-II. Leipsic, 1841.</p> -</td></tr><tr><td class="tdl vertt"> -Lechat</td><td class="tdl"><p class="indent2">H. Lechat, <i>La Sculpture attique avant Phidias</i>. Paris, 1904.</p> -</td></tr><tr><td class="tdl vertt"> -Lechat, <i>Au Musée</i></td><td class="tdl"><p class="indent2">H. Lechat, <i>Au Musée de l’Acropole d’Athènes</i>. Lyon, 1903.</p> -</td></tr><tr><td class="tdl vertt"> -Mach, von</td><td class="tdl"><p class="indent2">E. von Mach, <i>A Handbook of Greek and Roman Sculpture</i>, I-II (Text and -University Prints). Boston, 1914.</p> -</td></tr><tr><td class="tdl vertt"><span class="pagenum"><a id="Page_xviii">xviii</a></span> -M. D.</td><td class="tdl"><p class="indent2">F. Matz and F. von Duhn, <i>Antike Bildwerke in Rom</i>., I-III. Leipsic, -1881–1882.</p> -</td></tr><tr><td class="tdl vertt"> -Michaelis</td><td class="tdl"><p class="indent2">A. Michaelis, <i>Ancient Marbles in Great Britain</i>. Translated from the German -by C. A. M. Fennell. Cambridge, 1882.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Mon. d. I.</i></td><td class="tdl"><p class="indent2"><i>Monumenti inediti dell’ Instituto di Corrispondenza archeologica.</i> Rome, -1829–1885.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Mon. ant.</i></td><td class="tdl"><p class="indent2"><i>Monumenti antichi publicati per cura della Reale Accademia dei Lincei.</i> -Rome, 1889—.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Mon. gr.</i></td><td class="tdl"><p class="indent2"><i>Monuments grecs publiés par l’Association pour l’Encouragement des Études -grecques en France</i>, 1872—. (Vol. I, containing reprints of articles -from 1872, appeared in 1881).</p> -</td></tr><tr><td class="tdl vertt"> -<i>Mon. Piot.</i></td><td class="tdl"><p class="indent2"><i>Monuments et Mémoires publiés par l’Académie des Inscriptions et Belles-Lettres.</i> -Fondation Eugène Piot. Paris, 1894—.</p> -</td></tr><tr><td class="tdl vertt"> -Murray</td><td class="tdl"><p class="indent2">A. S. Murray, <i>A History of Greek Sculpture</i>. Second edition, I-II. London, -1890.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Museum Marbles</i></td><td class="tdl"><p class="indent2"><i>A Description of the Ancient Marbles in the British Museum</i>, Pts. I-XI. -London, 1812–1861.</p> -</td></tr><tr><td class="tdl vertt"> -M. W.</td><td class="tdl"><p class="indent2">K. O. Mueller and F. Wieseler, <i>Denkmaeler der alten Kunst</i>. Goettingen, -1854–1877.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Not. Scav.</i></td><td class="tdl"><p class="indent2"><i>Notizie degli Scavi di Antichità comunicate alla Reale Accademia dei Lincei.</i> -Rome, 1876—.</p> -</td></tr><tr><td class="tdl vertt"> -Overbeck</td><td class="tdl"><p class="indent2">J. Overbeck, <i>Geschichte der griech. Plastik</i>. Fourth edition, I-II. Leipsic, -1893–1898.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Oxy. Pap.</i></td><td class="tdl"><p class="indent2"><i>The Oxyrhynchus Papyri</i>, ed. by B. P. Grenfell and A. S. Hunt, II, pp. 22 f. -London, 1899.</p> -</td></tr><tr><td class="tdl vertt"> -P.</td><td class="tdl"><p class="indent2"><i>Pausaniae Graeciae descriptio</i>, rec. F. Spiro, I-III. Leipsic, 1903.</p> -</td></tr><tr><td class="tdl vertt"> -Pauly-Wissowa</td><td class="tdl"><p class="indent2">G. Wissowa and W. Kroll, <i>Pauly’s Real-encyclopaedie der classischen Altertumswissenschaft</i>. -Stuttgart, 1894—.</p> -</td></tr><tr><td class="tdl vertt"> -Perrot-Chipiez</td><td class="tdl"><p class="indent2">G. Perrot and Ch. Chipiez, <i>Histoire de l’art dans l’antiquité</i>: VI (<i>La Grèce -primitive</i>); VIII, <i>La Grèce archaïque</i>. Paris, 1894, 1903.</p> -</td></tr><tr><td class="tdl vertt"> -Ph.</td><td class="tdl"><p class="indent2">Philostratos, <i>de Arte gymnastica</i>, ed. Juethner, 1909 (see Juethner, <i>Ph.</i>).</p> -</td></tr><tr><td class="tdl vertt"> -Pliny, <i>H. N.</i></td><td class="tdl"><p class="indent2">See Jex-Blake.</p> -</td></tr><tr><td class="tdl vertt"> -<i>P. l. G.</i></td><td class="tdl"><p class="indent2"><i>Poetae lyrici Graeci</i>, rec. Th. Bergk. Fourth edition, I-III. Leipsic, 1878–1882. -I, Pt. 1 = ed. 5, rec. O. Schroeder, 1900.</p> -</td></tr><tr><td class="tdl vertt"> -Rayet</td><td class="tdl"><p class="indent2">O. Rayet, ed. <i>Monuments de l’Art antique</i>, I-II. Paris, 1884.</p> -</td></tr><tr><td class="tdl vertt"> -Reinach, <i>Rép.</i></td><td class="tdl"><p class="indent2">S. Reinach, <i>Répertoire de la statuaire grecque et romaine</i>, I, second edition; -II, Pts. 1, 2, second edition; 111-IV, first edition. Paris 1904–1910. -I = Reprint of Clarac = <i>Clarac de poche</i>.</p> -</td></tr><tr><td class="tdl vertt"> -Reinach, <i>Têtes</i></td><td class="tdl"><p class="indent2">S. Reinach, <i>Recueil de têtes antiques ideales et idealisées</i>. Paris, 1903.</p> -</td></tr><tr><td class="tdl vertt"> -Reisch</td><td class="tdl"><p class="indent2">E. Reisch, <i>Griechische Weihgeschenke</i>. Vienna, 1890.</p> -</td></tr><tr><td class="tdl vertt"> -<i>R. Arch.</i></td><td class="tdl"><p class="indent2"><i>Revue Archéologique.</i> Paris, Sér. 1, 1844–1860; II, 1860–1882; III, 1883–1902; -IV, 1903—.</p> -</td></tr><tr><td class="tdl vertt"> -<i>R. Ét. Gr.</i></td><td class="tdl"><p class="indent2"><i>Revue des Études grecques.</i> Paris, 1888—.</p> -</td></tr><tr><td class="tdl vertt"> -Richardson</td><td class="tdl"><p class="indent2">R. B. Richardson, <i>A History of Greek Sculpture</i>. New York, 1911.</p> -</td></tr><tr><td class="tdl vertt"> -Ridder, de</td><td class="tdl"><p class="indent2">A. de Ridder, <i>Catalogue des bronzes trouves sur l’acropole d’Athenes</i>. Paris, -1896.</p> -</td></tr><tr><td class="tdl vertt"> -<i>R. M.</i></td><td class="tdl"><p class="indent2"><i>Mitteilungen des kaiserlich deutschen archaeologischen Instituts</i>, Roemische -Abteilung. Rome, 1886—.</p> -</td></tr><tr><td class="tdl vertt"> -Robert, <i>O. S.</i></td><td class="tdl"><p class="indent2">C. Robert, Die Ordnung der Olympischen Spiele und die Sieger der -75.-83. Olympiade: <i>Hermes</i>, XXXV, 1900, pp. 141 f.</p> -</td></tr><tr><td class="tdl vertt"> -Roscher, <i>Lex.</i></td><td class="tdl"><p class="indent2">W. H. Roscher, <i>Lexikon der griechischen und roemischen Mythologie</i>. -Leipsic, 1884—.</p> -</td></tr><tr><td class="tdl vertt"> -Rouse</td><td class="tdl"><p class="indent2">W. D. Rouse, <i>Greek Votive Offerings</i>. Cambridge, 1902.</p> -</td></tr><tr><td class="tdl vertt"> -Rutgers</td><td class="tdl"><p class="indent2">J. R. Rutgers, <i>S. Julii Africani</i> Ὀλυμπιάδων ἀναγραφή. Leyden, 1862.</p> -</td></tr><tr><td class="tdl vertt"> -Scherer</td><td class="tdl"><p class="indent2">Chr. Scherer, <i>de olympionicarum Statuis</i>, Diss. inaug., Goettingen, 1885.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Sitzb. Muen. Akad.</i></td><td class="tdl"><p class="indent2"><i>Sitzungsberichte der philosophisch-philologischen und der historischen Klasse -der koeniglich Bayerischen Akademie der Wissenschaften zu Muenchen.</i> -Munich, 1871—.</p> -</td></tr><tr><td class="tdl vertt"> -<i>Specimens</i></td><td class="tdl"><p class="indent2"><i>Specimens of Ancient Sculpture ... Selected from different Collections in -Great Britain by the Society of Dilettanti</i>, I-III. London, 1809–1835.</p> -</td></tr><tr><td class="tdl"><span class="pagenum"><a id="Page_xix">xix</a></span> -Springer-Michaelis</td><td class="tdl"><p class="indent2">A. Springer and A. Michaelis, <i>Handbuch der Kunstgeschichte</i>, I. <i>Das Altertum</i>. -Ninth edition. Leipsic, 1911.</p> -</td></tr><tr><td class="tdl vertt"> -<i>S. Q.</i></td><td class="tdl"><p class="indent2"><i>Die Antiken Schriftquellen zur Geschichte der bildenden Kuenste bei den -Griechen</i>, ed. J. Overbeck. Leipsic, 1868.</p> -</td></tr><tr><td class="tdl vertt"> -Staïs, <i>Marbres et Bronzes</i></td><td class="tdl"><p class="indent2">V. Staïs, <i>Marbres et Bronzes du Musée National d’Athènes</i>. Second edition. -Athens, 1910.</p> -</td></tr><tr><td class="tdl vertt"> -Svoronos</td><td class="tdl"><p class="indent2">J. N. Svoronos, <i>Das Athener National Museum</i>. Text and Plates, I-III. -Athens, 1908–1911.</p> -</td></tr></table> - -<p>Other abbreviations will be readily understood.</p> -<hr /> -<h2><i>CORRIGENDA.</i></h2> - -<p>Besides the following, there are a few other corrections which are so obvious that they scarcely -need to be listed.</p> - -<table summary="corrigenda" border="0"><tr> -<td class="tdr">Page 2,</td><td class="tdl"><p class="indent">note 1, <i>for</i> ragmentary <i>read</i> fragmentary. -</p></td></tr><tr><td class="tdr">10,</td><td class="tdl"><p class="indent">line 2, (and Index), <i>for</i> Archermoros <i>read</i> Archemoros. -</p></td></tr><tr><td class="tdr">14,</td><td class="tdl"><p class="indent">note 2, <i>after</i> 202f. <i>add</i> Dar.-Sagl., IV, i, pp. 194 f., list 34 local <i>Olympia</i>. -</p></td></tr><tr><td class="tdr">15,</td><td class="tdl"><p class="indent">line 6, <i>for</i> Dorian Eleans <i>read</i> Dorian allies, the Eleans. -</p></td></tr><tr><td class="tdr">24,</td><td class="tdl"><p class="indent">line 27, <i>for</i> 173 A. D. <i>read</i> 173 or 174 A. D. -</p></td></tr><tr><td class="tdr">26,</td><td class="tdl"><p class="indent">line 27, <i>for</i> archaistic <i>read</i> archaic. -</p></td></tr><tr><td class="tdr">31,</td><td class="tdl"><p class="indent">lines 8–9, <i>for Papyrus</i> read <i>Papyri</i>; line 20, <i>for</i> Aigira <i>read</i> Aigeira. -</p></td></tr><tr><td class="tdr vertt">46,</td><td class="tdl"><p class="indent">note 1, line 2, <i>add</i> The Solonian cubit of 444 mm. gives 17.53 inches, the finger .73 inch, -which makes Diagoros’ statue 6 feet 1.75 inches tall. -</p></td></tr><tr><td class="tdr">58,</td><td class="tdl"><p class="indent">note 2, <i>for</i> statues of all <i>read</i> statues by all. -</p></td></tr><tr><td class="tdr">60,</td><td class="tdl"><p class="indent">note 1, for <i>Vespes</i> read <i>Vespae</i>; note 5, for Koponios <i>read</i> Coponius. -</p></td></tr><tr><td class="tdr vertt">77,</td><td class="tdl"><p class="indent">line 18, <i>for</i> staute <i>read</i> statue; note 3, line 11, <i>for</i> Encrinomenos <i>read</i> Encrinomenus. -</p></td></tr><tr><td class="tdr">82,</td><td class="tdl"><p class="indent">lines 14–15, <i>for</i> in and not outside <i>read</i> outside and not inside. -</p></td></tr><tr><td class="tdr">83,</td><td class="tdl"><p class="indent">line 15, <i>for</i> Svonoros <i>read</i> Svoronos. -</p></td></tr><tr><td class="tdr">84,</td><td class="tdl"><p class="indent">line 2 (and Index, <i>s. v.</i> Ball-playing), for φανίνδα <i>read</i> φαινίνδα. -</p></td></tr><tr><td class="tdr">96,</td><td class="tdl"><p class="indent">note 1, line 6, for <i>Hermes</i> read <i>Herakles</i>. -</p></td></tr><tr><td class="tdr">110,</td><td class="tdl"><p class="indent">line 20, and note 1, line 9 (and Index), <i>for</i> Argeidas <i>read</i> Argeiadas. -</p></td></tr><tr><td class="tdr">128,</td><td class="tdl"><p class="indent">note 4, for <i>Glyptothek</i> read <i>Glyptothèque</i>. -</p></td></tr><tr><td class="tdr">131,</td><td class="tdl"><p class="indent">line 12 (and Index, <i>s. v.</i> Praxiteles), <i>for</i> ψελιομένη <i>read</i> ψελιουμένη. -</p></td></tr><tr><td class="tdr">149,</td><td class="tdl"><p class="indent">note 2, <i>for</i> ξωστήρ <i>read</i> ζωστήρ. -</p></td></tr><tr><td class="tdr">153,</td><td class="tdl"><p class="indent">line 3, <i>for</i> arms <i>read</i> hands. -</p></td></tr><tr><td class="tdr">166,</td><td class="tdl"><p class="indent">line 17, <i>for</i> Stronganoff <i>read</i> Stroganoff. -</p></td></tr><tr><td class="tdr">185,</td><td class="tdl"><p class="indent">lines 4 and 8, and 186, line 3, <i>for</i> Lancelotti <i>read</i> Lancellotti. -</p></td></tr><tr><td class="tdr">188,</td><td class="tdl"><p class="indent">note 8, line 3, <i>for</i> Perseus <i>read</i> Akrisios. -</p></td></tr><tr><td class="tdr">189,</td><td class="tdl"><p class="indent">note 1, for <i>Papyrus</i> read <i>Papyri</i>; <i>for</i> Beilage <i>read</i> Beilag. -</p></td></tr><tr><td class="tdr">191,</td><td class="tdl"><p class="indent">line 21, <i>for</i> eponymous <i>read</i> eponymus. -</p></td></tr><tr><td class="tdr">196,</td><td class="tdl"><p class="indent">line 25, and 197, note 2, <i>for</i> Θῦμον <i>read</i> Θυμόν. -</p></td></tr><tr><td class="tdr">210,</td><td class="tdl"><p class="indent">line 5, <i>for</i> αλμα <i>read</i> ἅλμα. -</p></td></tr><tr><td class="tdr">235,</td><td class="tdl"><p class="indent">note 1, line 2, <i>omit</i> as. -</p></td></tr><tr><td class="tdr">253,</td><td class="tdl"><p class="indent">line 27, <i>for</i> 1202 <i>read</i> 1204. -</p></td></tr><tr><td class="tdr">265, </td><td class="tdl"><p class="indent">line 14, <i>for</i> Paunasias <i>read</i> Pausanias. -</p></td></tr><tr><td class="tdr">268,</td><td class="tdl"><p class="indent">line 26 (and Index, <i>s. v.</i> Nikomachos and <i>Victoria</i>), for <i>sublimine</i> read <i>sublime</i>. -</p></td></tr><tr><td class="tdr">288,</td><td class="tdl"><p class="indent">line 10 (and Index), <i>for</i> Tenerari <i>read</i> Tenerani. -</p></td></tr><tr><td class="tdr">321,</td><td class="tdl"><p class="indent">line 29, <i>for</i> inventors <i>read</i> so-called inventors. -</p></td></tr><tr><td class="tdr">327,</td><td class="tdl"><p class="indent">line 3, <i>for</i> stautes <i>read</i> statues. -</p></td></tr><tr><td class="tdr">341,</td><td class="tdl"><p class="indent">line 33, <i>last word of line should be</i> δεξιᾷ. -</p></td></tr><tr><td class="tdr">348,</td><td class="tdl"><p class="indent">line 28, for <i>prothusis</i> read <i>prothysis</i>.</p></td> -</tr></table> -<hr /> - -<p><span class="pagenum"><a id="Page_1">1</a></span></p> - -<h2>CHAPTER I.<br /> - -<small>EARLY GREEK GAMES AND PRIZES.</small></h2> - -<p class="center"><span class="smcap">Plate 1 and Figures 1 and 2.</span></p> - -<p>Before attempting to trace historically the development of monuments -of victors in the gymnic and hippic contests at Olympia, and -before attempting to reconstruct their different types, it will be -useful to devote a preliminary chapter to the early history of Greek -athletics and victor prizes in general.</p> - -<p>It is a truism that the origin of Greek athletics is not to be found in -the recently discovered Aegean civilization of Crete, nor in the latest -phase of the same culture on Mycenæan sites of the mainland of Greece. -Their origin is not to be sought in the indigenous Mediterranean stock -which produced that culture, but rather among the northern invaders of -Greece, the fair-haired Achæans of the Homeric poems, and especially -among the later Dorians in the Peloponnesus. 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 sports. As -these invaders settled themselves most firmly in the Peloponnesus, Greek -athletics may be said to be chiefly the product of South Greece. It was -here that three of the four national festivals grew up—at Olympia, -Nemea, and on the Corinthian Isthmus. 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 -Spartans.<a id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">1</a></p> - -<h3>SPORTS IN CRETE.</h3> - -<p>Centuries before the Achæan civilization of Greece had bloomed, -there developed among the Minoans of Crete a passion for certain -acrobatic performances and for gymnastics. These Cretans, though -strongly influenced by Egypt and the East, did not borrow their love -of sport from outside any more than did the later Achæans. On the -walls of the tombs of Beni-Hasan on the Nile are pictured many athletic -sports, including a series of several hundred wrestling groups,<a id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">2</a> but -these sports did not influence, so far as we know, Cretan athletics. At -Knossos bull-grappling seems to have been the national sport, as we -see from the frescoes on the palace walls. In the absence of the horse, -which did not appear in early Aegean times in Crete, it is not difficult -to understand the development of gymnastic sports with bulls. At -Knossos a seal has been found which shows the rude drawing of a vessel -with rowers seated under a canopy, superimposed on which is drawn -the greater portion of a huge horse. In this design, dating from about -1600 <span class="smcap lowercase">B. C.</span> and synchronizing with the earlier part of the eighteenth -<span class="pagenum"><a id="Page_2">2</a></span>Egyptian dynasty, we doubtless see a graphic way of indicating the -cargo, and consequently a contemporary record, it may be, of the first -importation of horses from Libya into Crete.<a id="FNanchor_3"></a><a href="#Footnote_3" class="fnanchor">3</a></p> - -<p>The Cretan bull seems to have been a much larger animal than the -species found upon the island to-day.<a id="FNanchor_4"></a><a href="#Footnote_4" class="fnanchor">4</a> Bull-grappling at Knossos was -the sport of female as well as male toreadors. A fragmentary rectangular -fresco, dating from about 1500 <span class="smcap lowercase">B. C.</span> (Pl. <a href="#p1">1</a>), was discovered -there by Sir Arthur Evans in 1901 and is now in the Candia museum. -It is executed with extraordinary spirit and shows a huge bull rushing -forward with lowered head and tail straight out. A man is in the act -of turning a somersault on its back, his legs in the air, his arms grasping -the bull’s body and his head raised, looking back to the rear of the -animal, where a cowgirl is standing, holding out her arms to catch his -flying figure as soon as his feat is concluded. Another cowgirl, at the -extreme left, seems to be suspended from the bull’s horns, which pass -under her armpits, while she catches hold further up. However, she -is not being tossed, but is taking position preliminary to leaping over -the bull’s back. Both the man and the women wear striped boots and -bracelets; the women are apparently distinguished by their white skin, -short drawers, yellow sashes embroidered with red, and the red-and-blue -diadems around their brows.[5] On the opposite wall a similar scene -was pictured; among its stucco fragments was found the representation -of the arm and shoulder of a woman grasping a bull by the horns. The -fragmentary representation of another woman and man was also found.</p> - - -<div class="figcenter500"><p class="right">PLATE 1</p><a id="p1"></a> -<img src="images/i_fp002.jpg" alt="Bull-grappling Scene." width="500" height="281" /> -<div class="caption">Bull-grappling Scene. Wall-painting from Knossos. Museum of Candia. -</div></div> - -<p>A very similar scene has long been known from a fresco painting -from Tiryns, now in Athens.<a id="FNanchor_6"></a><a href="#Footnote_6" class="fnanchor">6</a> A bull is represented galloping to the -left, while a man<a id="FNanchor_7"></a><a href="#Footnote_7" class="fnanchor">7</a> clings to its horns with his right hand and is swept -<span class="pagenum"><a id="Page_3">3</a></span> -along with one foot lightly touching the bull’s back and the other -swung aloft. Most early writers interpreted this scene as a bull-hunt, -the artist having drawn the hunter above the bull through ignorance -of perspective. The execution is very inferior, three attempts -of the bungling painter being visible in the painting of the tail and -the front legs. Others saw in it the representation of an acrobat -showing his dexterity by leaping upon the back of an animal in full -career, recalling the description of such a trick in the Iliad, where Ajax -is represented as rushing over the plain like a man who, while driving -four horses, leaps from horse to horse.<a id="FNanchor_8"></a><a href="#Footnote_8" class="fnanchor">8</a> But this figure must take its -place side by side with the one from Knossos just described as another -bull-grappling scene. That such sports were not held in the open air, -but in an enclosed courtyard, is shown by the seal from Praisos now in -the Candia Museum, which depicts a man vaulting on the back of a -gigantic ox within a paved enclosure.<a id="FNanchor_9"></a><a href="#Footnote_9" class="fnanchor">9</a> Doubtless the theatral areas -discovered at Phaistos by the Italian Archæological Mission<a id="FNanchor_10"></a><a href="#Footnote_10" class="fnanchor">10</a> and at -Knossos by Sir Arthur Evans in 1903<a id="FNanchor_11"></a><a href="#Footnote_11" class="fnanchor">11</a> were not large enough for bull -scenes and were used merely for ceremonial dancing and perhaps for -the boxing matches to be described.<a id="FNanchor_12"></a><a href="#Footnote_12" class="fnanchor">12</a> Similar acrobats are doubtless -to be recognized in the two beautiful ivory statuettes, only 11.5 -inches in height, of so-called leapers, found by Dr. Evans at Knossos -in 1901.<a id="FNanchor_13"></a><a href="#Footnote_13" class="fnanchor">13</a> These masterpieces of the late Minoan II period represent -acrobats (one is probably a woman) darting through the air. “The -life, the freedom, the <i>élan</i> of these figures is nothing short of marvellous,” -writes Dr. Evans, who calls attention to the careful physical -training shown in their slender legs and in the muscles, 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 joints. They doubtless -formed a part of an ivory model of the bull-ring and are meant for -miniature toreadors, who were hung in the air by fine gold wires<a id="FNanchor_14"></a><a href="#Footnote_14" class="fnanchor">14</a> over -the backs of ivory bulls who stood on the solid ground. The heads of -the figures are thrown backwards, a posture suitable for such vaulters, -but not for leapers or divers. Minoan art culminated in these statuettes -and in certain stucco figures in half relief found also at Knossos. -Only a few fragments of these reliefs have survived, most of which were -decorative or architectonic in character, though among them were also<span class="pagenum"><a id="Page_4">4</a></span> -found human <i>disjecta membra</i> in high relief, such as the fragment of a -left forearm holding a horn, and not a pointed vase, as Dr. Evans -thought. Here the muscles are well indicated, though the veins are -exaggerated.<a id="FNanchor_15"></a><a href="#Footnote_15" class="fnanchor">15</a> This fragment may well be a part of the same bull-grappling -scenes as those in the frescoes, as also the life-like image of -a bull, the details of whose head, mouth, eyes, and nostrils are full of -expression, and whose muscles are perfectly indicated.</p> - -<p>When compared with the monuments described, the similarity of -details on the design of the Vapheio cups ornamented in repoussé, -the “most splendid specimens known of the work of the Minoan goldsmith,”<a id="FNanchor_16"></a><a href="#Footnote_16" class="fnanchor">16</a> -never again equalled until the Italian Renaissance, makes it -more than possible that here again we have scenes of bull-grappling -rather than of bull-hunting. On one cup is represented a quiet pastoral -scene—a man tying the legs of a bull with a rope, while two other -bulls stand near, amicably licking one another, and a third is quietly -grazing. On the other, however, are represented scenes of a very -different character. In the centre is a furious bull entangled in a net, -which is fastened to a tree; to the left a figure, doubtless a woman, is -holding on to a bull’s head, while a man has fallen on his head beside -the animal, both man and woman being dressed in the Cretan fashion. -A third bull rushes furiously by to the right. Most commentators -have seen bull-hunting scenes on both these cups. Thus, on the first -cup were represented three scenes in the drama of trapping a bull by -means of a tame decoy cow; to the right the bull is starting to go to the -rendezvous, while in the center the bull stands by the cow’s side and to -the left he is finally trapped and tied.<a id="FNanchor_17"></a><a href="#Footnote_17" class="fnanchor">17</a> On the other cup the furious -animal at the left was supposed to have thrown one hunter and to have -caught another on its horns. But Mosso’s interpretation of this design -seems to be the right one.<a id="FNanchor_18"></a><a href="#Footnote_18" class="fnanchor">18</a> The two persons struggling with the bull<span class="pagenum"><a id="Page_5">5</a></span> -have no lasso and so can hardly be hunters; besides, if the bull had impaled -a hunter with its horns, the hunter would have been represented -with his head up and not down. The figure is, however, uninjured and -holds on with its knee bent over one horn and its shoulder against the -other; it is merely, therefore, intended for a woman acrobat. The net -shown in the centre was never used for hunting wild bulls; more probably -it was intended as an obstacle in racing. The fallen man has been -standing on the netted bull, which, with the gymnast on its back, was -expected to have leaped over the net, but has not succeeded; consequently, -the acrobat has been tumbled over the bull’s head.</p> - -<p>This ancient Cretan sport seems to have been similar to that known -in Thessaly and elsewhere in historical days as τὰ ταυροκαθάψια.<a id="FNanchor_19"></a><a href="#Footnote_19" class="fnanchor">19</a> A -survival of it still persists to our day in certain parts of Italy, as, <i>e. g.</i>, -in the province of Viterbo.<a id="FNanchor_20"></a><a href="#Footnote_20" class="fnanchor">20</a></p> - -<p>Acrobatic feats of various sorts were attractive to the later Greeks -from the time of Homer down. We have already mentioned one -passage from the Iliad in which a driver of four horses leaps from horse -to horse in motion. On the shield of Achilles tumblers appeared among -the dancers on the dancing-place.<a id="FNanchor_21"></a><a href="#Footnote_21" class="fnanchor">21</a> Patroklos ironically remarks over -the body of Kebriones, as the charioteer falls headlong like a diver -from his chariot when hit by a missile, that there are tumblers -also among the Trojans.<a id="FNanchor_22"></a><a href="#Footnote_22" class="fnanchor">22</a> In later centuries the Athenians evinced a -great attraction to acrobatic feats. The story told of Hippokleides<a id="FNanchor_23"></a><a href="#Footnote_23" class="fnanchor">23</a> -reveals that high-born Athenians did not disdain to practice them. -They appear to have formed a sort of side-show attraction at the -Panathenaic festival, as such scenes occur frequently on Attic vases. -Thus on an early (imitation?) Panathenaic vase from Kameiros in the -Bibliothèque Nationale in Paris,<a id="FNanchor_24"></a><a href="#Footnote_24" class="fnanchor">24</a> there is represented behind the driver -a man standing on the back of a horse, armed with a helmet and two -shields, while in front another appears to be balancing himself on a pole.</p> - -<p>But such acrobatic scenes as those of Crete and later Greece can -not properly be classed as athletic. They betoken more the love of -excitement than of true sport. The only form of real athletics represented -on Minoan monuments, one which was classed in later Greece as -one of the national sports, was that of boxing, which seems to have been<span class="pagenum"><a id="Page_6">6</a></span> -the favorite gymnastic contest of the Cretans, as it always was of the -later Greeks. Boxing scenes appear on seals,<a id="FNanchor_25"></a><a href="#Footnote_25" class="fnanchor">25</a> on a steatite fragment -of a pyxis found in 1901 at Knossos and, in conjunction with a bull-grappling -<span class="figright200"><a id="f1"></a><img src="images/i_p006.jpg" width="200" height="370" alt="Boxer Vase" /> -<span class="caption"><span class="smcap">Fig. 1.</span>—So-called <i>Boxer Vase</i>, -from Hagia Triada (Cast). Museum of Candia.</span></span> -scene, on the so-called <i>Boxer -Vase</i> found by the Italians at Hagia Triada -(Fig. <a href="#f1">1</a>). The vase is a cone-shaped -rhyton of steatite, 18 inches high, originally -overlaid with gold foil. It belongs -to the best period of Cretan art, late -Minoan I.<a id="FNanchor_26"></a><a href="#Footnote_26" class="fnanchor">26</a> This vase alone, if no other -monumental evidence were at hand, would -suffice to show the physical prowess and -love of sport of the Minoans. Because -of its scenes of boxing and bull-grappling -Mosso calls it “the most complete monument -that we have of gymnastic exercise -in the Mediterranean civilization.”<a id="FNanchor_27"></a><a href="#Footnote_27" class="fnanchor">27</a> The -later Greek tradition of the high degree -of physical development attained by the -Cretans is proved by this monument.<a id="FNanchor_28"></a><a href="#Footnote_28" class="fnanchor">28</a></p> - -<p>The reliefs are arranged in four horizontal -zones.<a id="FNanchor_29"></a><a href="#Footnote_29" class="fnanchor">29</a> One of these, the second from -the top, represents a bull-grappling scene, -showing two racing bulls, upon the head -and horns of one of which a gymnast has -vaulted (not being tossed and helpless, -as most interpreters think).<a id="FNanchor_30"></a><a href="#Footnote_30" class="fnanchor">30</a> The other<span class="pagenum"><a id="Page_7">7</a></span> -three represent boxers in all attitudes of the prize-ring, hitting, -guarding, falling, and even kicking, as in the later Greek pankration. -Some are victorious, the left arm being extended on guard and the -right drawn back to strike; one (in the top zone) is ready to spring, -just as Hector was ready to spring on Achilles;<a id="FNanchor_31"></a><a href="#Footnote_31" class="fnanchor">31</a> others are prostrate -on the ground with their feet in the air. The violence of the action -recalls the boast of Epeios in the famous match in the Iliad that he -will break his adversary’s bones.<a id="FNanchor_32"></a><a href="#Footnote_32" class="fnanchor">32</a></p> - -<p>The method of attack by the right arm and defense by the left is -the same as that formerly used by English pugilists. In the topmost -zone the combatants wear helmets with visors, cheek-pieces, and horse-hair -plumes, and also shoes; in the third zone down the pugilists also -wear helmets, though of a different pattern, while the bottom zone -shows figures, perhaps youths, with bare heads. Some of the boxers -appear to wear boxing-gloves. 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 vanquished, -whose legs are in the air.</p> - -<p>A similar figure appears in relief on the fragment of a pyxis found at -Knossos.<a id="FNanchor_33"></a><a href="#Footnote_33" class="fnanchor">33</a> A youth with clenched fists stands with left arm extended -as if to ward off a blow, while his right arm is drawn back and rests on -his hip; below we see the bent knee of a prostrate figure, evidently that -of his vanquished opponent. The boxer has a wasp-like waist and -wears a metal girdle. His left leg is well modeled, the muscles not -being exaggerated.</p> - -<h3>ATHLETICS IN HOMER.</h3> - -<p>We have evidence, therefore, that the love of sport existed in Crete as -it has existed in all countries since. 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 Mycenæ and Tiryns on the mainland. This is an -independent argument for the view that the civilization of the mainland -was chiefly the product of the old Mediterranean stock, which -was finally conquered by the invading Achæans, who are represented -in Homer as skilled gymnasts. In Homer we are immediately conscious -of being in another world, for here we are in an atmosphere of -true athletics, which are fully developed and quite secular in character.<a id="FNanchor_34"></a><a href="#Footnote_34" class="fnanchor">34</a> -They are, however, wholly spontaneous, for there are as yet -neither meets nor organized training, neither stadia, gymnasia, nor -palæstræ; for such an organization of athletics did not exist until the -sixth century <span class="smcap lowercase">B. C.</span> But Homer’s account of the funeral games of<span class="pagenum"><a id="Page_8">8</a></span> -Patroklos is pervaded by a spirit of true athletics and has a perennial -attraction for every lover of sport. Walter Leaf says of the chariot-race, -which is the culminating feature of the description, that it is “a -piece of narrative as truthful in its characters as it is dramatic and -masterly in description.”<a id="FNanchor_35"></a><a href="#Footnote_35" class="fnanchor">35</a> Such a description could have been composed -only by a poet who belonged to a people long acquainted with -athletics and intensely interested in them. Nestor often speaks of a -remoter past, when the gods and heroes contended. Odysseus says he -could not have fought with Herakles nor Eurytos, heroes of the olden -time, “who contended with the immortal gods.” The Homeric warrior -was distinguished from the merchant by his knowledge of sport. Thus -Euryalos of the Phaiakians says in no complimentary tone to Odysseus: -“No truly, stranger, nor do I think thee at all like one that is skilled -in games ... rather art thou such an one as comes and goes in a -benched ship, a master of sailors that are merchantmen, one with a -memory for his freight, or that hath charge of a cargo homeward bound, -and of greedily gotten gains.”<a id="FNanchor_36"></a><a href="#Footnote_36" class="fnanchor">36</a> It is beside the point whether the -chief passages in the poems which relate to sports are late in origin or -not, even if they are later than 776 <span class="smcap lowercase">B. C.</span>, the traditional first Olympiad. -In any case the later poet merely followed an older tradition. At the -funeral games of Patroklos all the events are practical in character, -the natural amusements of men chiefly interested in war. They are, -however, not merely military, but are truly athletic. 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 then, as it was -always later the sport of kings and the rich.<a id="FNanchor_37"></a><a href="#Footnote_37" class="fnanchor">37</a> Boxing and wrestling -come next in importance, already occupying the position of preëminence -which they hold in the poems of Pindar. The foot-race between -Ajax, the son of Oileus, and Odysseus follows. Of the last four events, -three—the single combat between Ajax and Diomedes, the throwing of -the <i>solos</i>, and the contest in archery—are admitted to be late additions. -The last event of all, the casting of the spear, may be earlier, but we -know little about it, as the contest did not take place, Achilles yielding -the first prize to Agamemnon. Most of these later events are described -in a lifeless manner and have not the vim and compelling interest of -the earlier ones. Indeed the contest in archery seems to be treated -with a certain amount of ridicule, which shows the contempt of the -great nobles for so plebeian a sport. The armed contest, though it is<span class="pagenum"><a id="Page_9">9</a></span> -pictured in art certainly as early as the sixth century <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_38"></a><a href="#Footnote_38" class="fnanchor">38</a> never had a -place in the later Greek games.<a id="FNanchor_39"></a><a href="#Footnote_39" class="fnanchor">39</a> Jumping, an important part of the -later pentathlon, is mentioned but once in the poems, as a feature of -the sports of the Phaiakians. But the later pentathlon, as Gardiner -says, is certainly not suggested in Homer’s account, though many -have assumed it,<a id="FNanchor_40"></a><a href="#Footnote_40" class="fnanchor">40</a> merely because Nestor mentions his former contests -at Bouprasion in boxing, in running, in hurling the spear, and in the -chariot-race.<a id="FNanchor_41"></a><a href="#Footnote_41" class="fnanchor">41</a> This, however, is not the combination of contests -known much later as the pentathlon, in which the same contestants -had to compete in the series of events—running, jumping, wrestling, -diskos-throwing, and javelin-throwing.</p> - -<h3>ORIGIN OF GREEK GAMES IN THE CULT OF THE DEAD.</h3> - -<p>In these games described in the Iliad we see an example of the origin -of the later athletic festivals in the cult of the dead. Homer knows -only of funeral games<a id="FNanchor_42"></a><a href="#Footnote_42" class="fnanchor">42</a> and there is no trace in the poems of the later -athletic meetings held in honor of a god.<a id="FNanchor_43"></a><a href="#Footnote_43" class="fnanchor">43</a> However, 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 -celebrated. The oldest example of periodic funeral games in Greece -of which we have knowledge were those held in Arkadia in honor of the -dead Azan, the father of Kleitor and son of Arkas, at which prizes were -offered at least for horse-racing.<a id="FNanchor_44"></a><a href="#Footnote_44" class="fnanchor">44</a></p> - -<p>Though the origin of the four national religious festivals in Greece—at -Olympia, Delphi, Nemea, and on the Isthmus—is buried in a mass -of conflicting legend, certain writers agree in saying that all of them -were founded on funeral games, though they were later dedicated to<span class="pagenum"><a id="Page_10">10</a></span> -gods.<a id="FNanchor_45"></a><a href="#Footnote_45" class="fnanchor">45</a> Thus the Isthmian were instituted in honor of the dead Melikertes,<a id="FNanchor_46"></a><a href="#Footnote_46" class="fnanchor">46</a> -the Nemean in honor of Opheltes or Archemoros,<a id="FNanchor_47"></a><a href="#Footnote_47" class="fnanchor">47</a> the Pythian -in honor of the slain Python,<a id="FNanchor_48"></a><a href="#Footnote_48" class="fnanchor">48</a> the Olympian in honor of the hero Pelops.<a id="FNanchor_49"></a><a href="#Footnote_49" class="fnanchor">49</a> -To both Pindar and Bacchylides the Olympian games were associated -with the tomb of Pelops; Pausanias, on the other hand, records that the -ancient Elean writers ascribed their origin to the Idæan Herakles of -Crete.<a id="FNanchor_50"></a><a href="#Footnote_50" class="fnanchor">50</a> It was a common tradition that Herakles founded the games, -some writers saying that it was the Cretan, others that it was the -Greek hero, the son of Zeus and Alkmena.<a id="FNanchor_51"></a><a href="#Footnote_51" class="fnanchor">51</a></p> - -<p>Despite the variation in legends relative to the institution of the -four national games, we should not doubt the universal tradition that -all were funerary in origin. The tradition is confirmed by many lines -of argument: by the survival of funeral customs in their later rituals, -by the later custom of instituting funeral games in honor of dead -warriors both in antiquity and in modern times, and by the testimony -of early athletic art in Greece.<a id="FNanchor_52"></a><a href="#Footnote_52" class="fnanchor">52</a> We shall now briefly consider -these arguments.</p> - -<p><span class="pagenum"><a id="Page_11">11</a></span></p> - -<p>As an example of the survival of funeral customs in later ritual, -Pausanias says that the annual officers at Olympia, even in his day, sacrificed -a black ram to Pelops.<a id="FNanchor_53"></a><a href="#Footnote_53" class="fnanchor">53</a> 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 god. The scholiast on Pindar, <i>Ol.</i>, I, -146, 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 hero. Furthermore, all the contestants at Olympia sacrificed -first to Pelops and then to Zeus.<a id="FNanchor_54"></a><a href="#Footnote_54" class="fnanchor">54</a></p> - -<p>Funeral games were held in honor of departed warriors and eminent -men all over the Greek world and at all periods, from the legendary -games of Patroklos and Pelias and others to those celebrated at Thessalonika -in Valerian’s time.<a id="FNanchor_55"></a><a href="#Footnote_55" class="fnanchor">55</a> Thus Miltiades was honored by games -on the Thracian Chersonesus,<a id="FNanchor_56"></a><a href="#Footnote_56" class="fnanchor">56</a> Leonidas and Pausanias at Sparta,<a id="FNanchor_57"></a><a href="#Footnote_57" class="fnanchor">57</a> -Brasidas at Amphipolis,<a id="FNanchor_58"></a><a href="#Footnote_58" class="fnanchor">58</a> Timoleon at Syracuse,<a id="FNanchor_59"></a><a href="#Footnote_59" class="fnanchor">59</a> and Mausolos at -Halikarnassos.<a id="FNanchor_60"></a><a href="#Footnote_60" class="fnanchor">60</a> Alexander instituted games in honor of the dead -Hephaistion<a id="FNanchor_61"></a><a href="#Footnote_61" class="fnanchor">61</a> and the conqueror himself was honored in a similar way.<a id="FNanchor_62"></a><a href="#Footnote_62" class="fnanchor">62</a> -The <i>Eleutheria</i> were celebrated at Platæa at stated times in honor -of the soldiers who fell there against the Medes in 479 <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_63"></a><a href="#Footnote_63" class="fnanchor">63</a> 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 Kerameikos.<a id="FNanchor_64"></a><a href="#Footnote_64" class="fnanchor">64</a> Funeral games were also common -in Italy. We find athletic scenes decorating Etruscan tombs—including -boxing, wrestling, horse-racing, and chariot-racing.<a id="FNanchor_65"></a><a href="#Footnote_65" class="fnanchor">65</a> The Romans -borrowed their funeral games from Etruria as well as their gladiatorial -shows, which were doubtless also funerary in origin.<a id="FNanchor_66"></a><a href="#Footnote_66" class="fnanchor">66</a> Frazer cites -examples of the custom of instituting games in honor of dead warriors -among many modern peoples, Circassians, Chewsurs of the Caucasus,<span class="pagenum"><a id="Page_12">12</a></span> -Siamese, Kirghiz, in India, and among the North American Indian -tribes. Gardiner notes the Irish fairs in honor of a departed chief, -which existed from pagan days down to the last century.<a id="FNanchor_67"></a><a href="#Footnote_67" class="fnanchor">67</a></p> - -<p>The testimony of early Greek athletic art also points to the same -funerary origin of the games. 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 art, on the chest -of Kypselos dedicated in the Heraion at Olympia and on the throne of -Apollo at Amyklai in Lakonia, the latter being the work of the Ionian -sculptor Bathykles. Though both these works are lost, the description -of one of them at least, that of the chest, by Pausanias,<a id="FNanchor_68"></a><a href="#Footnote_68" class="fnanchor">68</a> is so detailed -and precise that the scenes represented upon it have been paralleled figure -for figure on early Ionian (especially Chalkidian) and Corinthian -vases, contemporary or later, and on Corinthian and Argive decorative -bronze reliefs. Many attempts have been made, therefore, to restore -the chest, and as more monuments become known, which throw -light on the composition and types, these attempts are constantly growing -in certainty, even though conjecture may continue to enter in.<a id="FNanchor_69"></a><a href="#Footnote_69" class="fnanchor">69</a></p> - -<p>The figures were wrought in relief, partly in ivory and gold and partly -in the cedar wood itself, deployed on its surface in a series of bands, -such as we commonly see on early vases. 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 sculpture. We have -already noted its use in the ivory acrobats from Crete, which were -made, perhaps, a thousand years before the chest.<a id="FNanchor_70"></a><a href="#Footnote_70" class="fnanchor">70</a> Out of the thirty-three -scenes depicted on its surface all but two or three were mythological, -and among these were scenes from the funeral games of Pelias, -including a two-horse chariot-race (P., §9), a boxing and wrestling<span class="pagenum"><a id="Page_13">13</a></span> -match (§10), a foot-race, quoit-throwing, and a victor represented as -being crowned (§10), and prize tripods (§11).</p> - -<p>The most valuable parallel to some of the scenes described by -Pausanias is found on the Amphiaraos vase in Berlin,<a id="FNanchor_71"></a><a href="#Footnote_71" class="fnanchor">71</a> dating from -the sixth century <span class="smcap lowercase">B. C.</span>, on which the wrestling match and chariot-race -correspond surprisingly well with the descriptions of Pausanias, -despite certain differences in detail. Another archaic vase depicts a -two-horse chariot-race and the parting of Amphiaraos and Eriphyle.<a id="FNanchor_72"></a><a href="#Footnote_72" class="fnanchor">72</a> -The scenes on this latter vase appear to have been copied from those -on the chest, and it is possible that the scenes on the Berlin vase had -the same origin.</p> - -<p>Funeral games are commonly pictured on early vases. Thus on a -proto-Attic amphora, discovered by the British School of Athens in -excavating the Gymnasion of Kynosarges, there are groups of wrestlers -and chariot-racers. The wrestling bout here, however, seems to be to -the death, as the victor has his adversary by the throat with both -hands. It may be a mythological scene, perhaps representing the bout -between Herakles and Antaios. A still earlier representation of funeral -games is shown by a Dipylon geometric vase from the Akropolis now in -Copenhagen, dating back possibly to the eighth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_73"></a><a href="#Footnote_73" class="fnanchor">73</a> On one -side two nude men, who have grasped each other by the arms, are -ready to stab one another with swords. This may represent, however, -as Gardiner suggests, only a mimic contest. On the other side are two -boxers standing between groups of warriors and dancers. A similar -scene in repoussé appears on a Cypriote silver vase from Etruria now in -the Uffizi in Florence.<a id="FNanchor_74"></a><a href="#Footnote_74" class="fnanchor">74</a> We should also, in this connection, note again -the reliefs representing funeral games, which appear on the sixth-century -sarcophagus from Klazomenai already mentioned.<a id="FNanchor_75"></a><a href="#Footnote_75" class="fnanchor">75</a> Here is -represented a combat of armed men; amid chariots stand groups of -men armed with helmets, shields, and spears, while flute-players stand -between them; at either end is a pillar with a prize vase upon it; against -one leans a naked man with a staff, doubtless intended to represent the -spirit of the deceased in whose honor the games are being held.</p> - -<p>Games in honor of the dead tended to become periodic. The tomb -of the honored warriors became a rallying-point for neighboring people,<span class="pagenum"><a id="Page_14">14</a></span> -who would convene to see the games. While some of these games -were destined never to transcend local importance, others developed -into the Panhellenic festivals. As the worship of ancestors became -metamorphosed into that of heroes, the games became part of hero -cults, which antedated those of the Olympian gods. But as the gods -gradually superseded the heroes in the popular religion, they usurped -the sanctuaries and the games held there, which had long been a part of -the earlier worship. We are not here concerned, however, with the -difficult question of the origin of funeral games. They may have taken -the place of earlier human sacrifices, which would explain the armed -fight at the games of Patroklos and its appearance on archaic vases -and sarcophagi; or they may have commemorated early contests of succession, -which would explain many mythical contests like the chariot-race -between Pelops and Oinomaos for Hippodameia, or the wrestling -match between Zeus and Kronos. In any case such games would -never have attained the importance which they did attain in Greece, -if it had not been for the athletic spirit and love of competition so characteristic -of the Hellenic race. Whatever their origin, therefore, there -is little doubt that out of them developed the great games of historic -Greece. The constant relationship between Greek religion and Greek -athletics can be explained in no other way.<a id="FNanchor_76"></a><a href="#Footnote_76" class="fnanchor">76</a></p> - -<h3>EARLY HISTORY OF THE FOUR NATIONAL GAMES.</h3> - -<p>By the beginning of the sixth century <span class="smcap lowercase">B. C.</span> the athletic spirit displayed -in the Homeric poems had given rise to the four national festivals—at -Olympia, Delphi, Nemea, and on the Isthmus. On these four, -many lesser games were modeled.<a id="FNanchor_77"></a><a href="#Footnote_77" class="fnanchor">77</a> The origin of all these, as we have -already remarked, is lost in a mass of legend. The myths of the origin -of Olympia are particularly conflicting. We are practically certain, -however, that Olympia as a sanctuary preceded the advent of the -Achæans into the Peloponnesus, and that the foundation of the games -preceded the coming of the Dorians, but was probably later than that -of the Achæans. The importance of the games dates from the time -after the Dorian invasion of the Peloponnesus, when the warring -peoples finally became pacified.<a id="FNanchor_78"></a><a href="#Footnote_78" class="fnanchor">78</a> For centuries Olympia was over<span class="pagenum"><a id="Page_15">15</a></span>shadowed -by Delphi and the Ionian festival on Delos. The importance -of the latter festival in the eighth and seventh centuries <span class="smcap lowercase">B. C.</span> is -shown by the Homeric Hymn to the Delian Apollo. Only by the beginning -of the seventh century had Olympia begun to gain its prestige. -The pre-Dorian Pisatai, in whose territory the sanctuary was situated, -probably controlled it early. The Dorian allies, the Eleans, whom legend had -King Oxylos lead into the Peloponnesus from Aitolia,<a id="FNanchor_79"></a><a href="#Footnote_79" class="fnanchor">79</a> tried to wrest -this control from the Pisatai, who, however, aided by religious reverence -for the sanctuary, were able to maintain their rights. On account -of the conflict the games languished, until finally a truce was made by -the two factions and the games were re-established under their common -management. This work was ascribed to Iphitos and Kleosthenes, -kings respectively of Elis and Pisa, and to Lykourgos of Sparta.<a id="FNanchor_80"></a><a href="#Footnote_80" class="fnanchor">80</a> -The dual control was not successful, as the jealous Pisatai constantly -tried to regain their old honor; but the Eleans, supported by the -Spartans, prevailed and finally, after the Persian wars, destroyed Pisa -and the other revolting cities of Triphylia and henceforth remained -in sole control. The restoration of the games under Iphitos and his -colleagues took place in 776 <span class="smcap lowercase">B. C.</span>, from which date the festival was -celebrated every fourth year, until it was finally abolished by the -Roman emperor Theodosius at the end of the fourth century <span class="smcap lowercase">A. D.</span> In -776 Koroibos of Elis won the foot-race and this was the first dated Olympiad -in the Olympian register,<a id="FNanchor_81"></a><a href="#Footnote_81" class="fnanchor">81</a> and from it, as Pausanias says,<a id="FNanchor_82"></a><a href="#Footnote_82" class="fnanchor">82</a> the -unbroken tradition of the Olympiads began. This history of Olympia -is very different from the orthodox mythical story told by Pausanias -and Strabo and based on the “ancient writings of the Eleans.”<a id="FNanchor_83"></a><a href="#Footnote_83" class="fnanchor">83</a> According -to it the games were originally instituted by the Eleans under -Oxylos and refounded by Iphitos, his descendant, together with -Lykourgos, still under the management of the Eleans. In Ol. 8 the -Pisatans invoked the aid of the Argive king Pheidon and dispossessed<span class="pagenum"><a id="Page_16">16</a></span> -the Eleans, but they lost the control of Olympia in the next Olympiad. -In Ol. 28 Elis, during a war with Dyme, allowed the Pisatans -to celebrate the games. Six Olympiads later the king of Pisa came to -Olympia with an army and took charge. The story leaves the Pisatans -in control from about Olympiads 30 to 51, but some time between -Ols. 48 and 52 the Eleans defeated Pisa and destroyed it, and henceforth -controlled the games. Such a story was manifestly a contrivance by -the later priests of Elis to justify their control of the games through a -prior claim. It is contradicted by all the evidence.<a id="FNanchor_84"></a><a href="#Footnote_84" class="fnanchor">84</a> The antiquity -of Olympia is known to us from the results of excavations and from its -religious history. The latest excavations on the site have disclosed the -remains of six prehistoric buildings with apsidal endings, below the -geometric stratum, upon the site of what used to be considered the -remnants of the great altar of Zeus.<a id="FNanchor_85"></a><a href="#Footnote_85" class="fnanchor">85</a> Such an inference is borne out -by many primitive features in the religious history of the sanctuary. -The altar of Kronos on the hill to the north of the Altis was earlier -than that of Zeus; an earth altar antedated that of Zeus, while a survival -of the earlier worship of the powers of the underworld is seen in -the custom, lasting through later centuries, of allowing only one woman, -the priestess of Demeter Chamyne, to witness the games. We also -know that the worship of the Pelasgian Hera antedated that of the -Hellenic Zeus; her temple, the Heraion, is the most ancient of which -the foundations still stand, a temple built of stone, wood, and sun-dried -bricks, whose origin is to be referred to the tenth, if not to the eleventh, -century <span class="smcap lowercase">B. C.</span><a id="FNanchor_86"></a><a href="#Footnote_86" class="fnanchor">86</a> We have already remarked that the worship of the hero -Pelops preceded that of the god Zeus.<a id="FNanchor_87"></a><a href="#Footnote_87" class="fnanchor">87</a> All such indications attest the -high antiquity of Olympia. That it is not mentioned in Homer, while -Delphi and Dodona are, only proves that in the poet’s time it was still -merely a local shrine. Not until the beginning of the sixth century <span class="smcap lowercase">B. C.</span> -did it attain the distinction, which it retained ever afterwards, of being -the foremost national festival of Hellas.<a id="FNanchor_88"></a><a href="#Footnote_88" class="fnanchor">88</a></p> - -<p>The periodical celebration of the three other national festivals -was not dated—except in legend—before the early years of the sixth -century <span class="smcap lowercase">B. C.</span>, though local festivals must have existed also on these -sites long before.<a id="FNanchor_89"></a><a href="#Footnote_89" class="fnanchor">89</a> The old music festival at Delphi, which finally was<span class="pagenum"><a id="Page_17">17</a></span> -held every eight years,<a id="FNanchor_90"></a><a href="#Footnote_90" class="fnanchor">90</a> was changed in 586 <span class="smcap lowercase">B. C.</span>, in consequence of the -Sacred War,<a id="FNanchor_91"></a><a href="#Footnote_91" class="fnanchor">91</a> into a Panhellenic festival celebrated thereafter every -four years (<i>pentaëteris</i>). It was under the presidency of the Amphiktyonic -League, which introduced athletic and equestrian events copied -from those at Olympia<a id="FNanchor_92"></a><a href="#Footnote_92" class="fnanchor">92</a> and replaced the older money prizes with the -simple bay wreath. About the same time the Nemean and Isthmian -games were instituted. The local games at Nemea, said to have been -founded by Adrastos in honor of a child, were reorganized some time -before 573 <span class="smcap lowercase">B. C.</span>, the first Nemead.<a id="FNanchor_93"></a><a href="#Footnote_93" class="fnanchor">93</a> Thereafter they were celebrated -every two years, in the second and fourth of the corresponding Olympiads.<a id="FNanchor_94"></a><a href="#Footnote_94" class="fnanchor">94</a> -They were administered in honor of Zeus by the small town -of Kleonai under Argive influence. The games were transferred to -Argos some time between 460 <span class="smcap lowercase">B. C.</span> and the close of the third century -<span class="smcap lowercase">B. C.</span> Centuries later, Hadrian revived the prestige of the games at -Argos. The games held on the Isthmus also originated as an old local -festival, which was revived in 586 or 582 <span class="smcap lowercase">B. C.</span> 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 Corinth. The geographical location of Corinth, the meeting-place of -East and West, involved it in many wars, and therefore the Isthmian -games never attained the prestige of the other national festivals; they -were held every two years in the spring of the second and fourth years -of the corresponding Olympiads and were administered by Corinth.<a id="FNanchor_95"></a><a href="#Footnote_95" class="fnanchor">95</a></p> - -<p>Besides the four national games, many Greek cities had purely local -ones, some of which originated in prehistoric days in honor of hero -cults, while others were founded at historical dates. Athens was -particularly favored in having many such local festivals. The most -important of these were the <i>Panathenaic</i> games in honor of Athena, -which developed from earlier annual <i>Athenaia</i> or <i>Panathenaia</i>. The -festival was remodeled, or perhaps founded, just before Peisistratos -seized the tyranny (561–560 <span class="smcap lowercase">B. C.</span>), possibly by Solon, who died 560–559 -<span class="smcap lowercase">B. C.</span> The name certainly points to the unity of Athens promoted by<span class="pagenum"><a id="Page_18">18</a></span> -Solon, if not to the earlier unification of the village communities of -Attika ascribed to Theseus. In any case, under Peisistratos it became -something more than a local festival, as the recitation of Homer -became a feature of it. Following the games at Delphi and Olympia, -the <i>Great Panathenaia</i> were held every four years (the third year of -each Olympiad) in the month of Hekatombaion (July), while the more -ancient annual festival continued yearly under the name of the <i>Little -Panathenaia</i>. There were musical, literary, and athletic contests. -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 matrons.<a id="FNanchor_96"></a><a href="#Footnote_96" class="fnanchor">96</a> This -procession is known to us in detail from the great Parthenon frieze. -The <i>Theseia</i> exemplify a festival whose origin can be definitely dated. -Kimon, the son of the hero of Marathon, in 469 <span class="smcap lowercase">B. C.</span>, discovered the -supposed bones of the national hero Theseus on the island of Skyros. -The Delphic oracle counseled the Athenians to place them in an honorable -resting-place. Perhaps there was a legend that the hero was -buried on Skyros; in any case a grave was found there which contained -the corpse of a warrior of great size, and this was brought back -to Athens as the actual remains of Theseus. Thereafter an annual festival -was celebrated by the Athenian <i>epheboi</i>, comprising military contests -and athletic events—stade, dolichos, and diaulos running races, -wrestling, boxing, pankration, hoplite running, etc. It began on the -sixth of Pyanepsion (October), and was followed by the <i>Epitaphia</i>, a -funeral festival in honor of national heroes and youths who had fallen -fighting for Athens.<a id="FNanchor_97"></a><a href="#Footnote_97" class="fnanchor">97</a> Athletic games were held at the <i>Herakleia</i> in -honor of Herakles at Marathon in the month of Metageitnion, and had -attained great popularity by the time of Pindar.<a id="FNanchor_98"></a><a href="#Footnote_98" class="fnanchor">98</a> The <i>Eleusinia</i>, in -honor of Demeter, took place annually in Athens in the month of -Boëdromion, when horse-races and musical and other contests were -held. This Attic festival claimed a greater antiquity even than -Olympia. The great national festivals encouraged these smaller -local ones, so that they attracted competitors from the whole Greek -world.</p> - -<h3>EARLY PRIZES FOR ATHLETES.</h3> - -<p>The prizes which were offered at the early games in Greece were -uniformly articles of value. Their value, however, was regarded not -so much in the light of rewards to the victors as proofs of the generous<span class="pagenum"><a id="Page_19">19</a></span> -spirit of the holders of the games, who thereby celebrated the dead in -whose honor the contest was held. In Homer’s account of the funeral -games of Patroklos, each contestant, whether victorious or not, received -a prize. In one case a prize was given where the contest was -not held. In the chariot-race five prizes were offered: for the winner a -slave girl and a tripod; for the second best a six-year-old mare in foal; -for the third a cauldron; for the fourth two talents of gold; and for the -last a two-handled cup.<a id="FNanchor_99"></a><a href="#Footnote_99" class="fnanchor">99</a> For the wrestling match the winner received -a tripod worth twelve oxen, while the vanquished received a skilled -slave woman worth four oxen.<a id="FNanchor_100"></a><a href="#Footnote_100" class="fnanchor">100</a> For the boxing match a mule was the -first prize and a two-handled cup the second.<a id="FNanchor_101"></a><a href="#Footnote_101" class="fnanchor">101</a> For the foot-race a -silver bowl of Sidonian make, an ox, and half a talent of gold were -the prizes.<a id="FNanchor_102"></a><a href="#Footnote_102" class="fnanchor">102</a></p> - -<p>Hesiod records his winning a tripod for a victory gained in singing -at the games of Amphidamas at Chalkis.<a id="FNanchor_103"></a><a href="#Footnote_103" class="fnanchor">103</a> Tripods were the commonest -prizes at all early games and it was not till later that they became -connected especially with Apollo’s worship. They were presented for all -sorts of contests, for chariot-racing,<a id="FNanchor_104"></a><a href="#Footnote_104" class="fnanchor">104</a> horse-racing,<a id="FNanchor_105"></a><a href="#Footnote_105" class="fnanchor">105</a> the foot-race,<a id="FNanchor_106"></a><a href="#Footnote_106" class="fnanchor">106</a> boxing,<a id="FNanchor_107"></a><a href="#Footnote_107" class="fnanchor">107</a> -and wrestling.<a id="FNanchor_108"></a><a href="#Footnote_108" class="fnanchor">108</a> They were presented at various games in honor -of different gods and heroes: <i>e. g.</i>, those in honor of Apollo at the <i>Triopia</i><a id="FNanchor_109"></a><a href="#Footnote_109" class="fnanchor">109</a> -and <i>Panionia</i> of Mykale;<a id="FNanchor_110"></a><a href="#Footnote_110" class="fnanchor">110</a> of Dionysos at Athens and Rhodes;<a id="FNanchor_111"></a><a href="#Footnote_111" class="fnanchor">111</a> -of Herakles at the <i>Herakleia</i> of Thebes and elsewhere;<a id="FNanchor_112"></a><a href="#Footnote_112" class="fnanchor">112</a> of Pelias;<a id="FNanchor_113"></a><a href="#Footnote_113" class="fnanchor">113</a> of -Patroklos.<a id="FNanchor_114"></a><a href="#Footnote_114" class="fnanchor">114</a> They were kept in temples dedicated to various gods: <i>e. g.</i>, -in those of Apollo at Delphi, at Amyklai,<a id="FNanchor_115"></a><a href="#Footnote_115" class="fnanchor">115</a> and on Delos,<a id="FNanchor_116"></a><a href="#Footnote_116" class="fnanchor">116</a> at the Ptoian -sanctuary<a id="FNanchor_117"></a><a href="#Footnote_117" class="fnanchor">117</a> and in the Ismenion at Thebes;<a id="FNanchor_118"></a><a href="#Footnote_118" class="fnanchor">118</a> in the temples of Zeus at -Olympia and Dodona;<a id="FNanchor_119"></a><a href="#Footnote_119" class="fnanchor">119</a> of Herakles at Thebes;<a id="FNanchor_120"></a><a href="#Footnote_120" class="fnanchor">120</a> at the Hierothesion in -Messene,<a id="FNanchor_121"></a><a href="#Footnote_121" class="fnanchor">121</a> etc. Later, because it served the Pythian priestess, the tripod -became a part of the Apolline cult and the special attribute of that -god.<a id="FNanchor_122"></a><a href="#Footnote_122" class="fnanchor">122</a> Gold and silver vessels and articles of bronze were everywhere -used as prizes. In early days bronze was very valuable. Pindar proves<span class="pagenum"><a id="Page_20">20</a></span> -this for games held in Achaia and Arkadia;<a id="FNanchor_123"></a><a href="#Footnote_123" class="fnanchor">123</a> and it continued to be used -in later times, as, <i>e. g.</i>, at the <i>Panathenaia</i>, where a hydria of bronze -was a prize in the torch-race.<a id="FNanchor_124"></a><a href="#Footnote_124" class="fnanchor">124</a> At the lesser games all sorts of articles -were offered, merely for their value. Thus a shield was offered at the -Argive <i>Heraia</i>,<a id="FNanchor_125"></a><a href="#Footnote_125" class="fnanchor">125</a> a bowl at the games in honor of Aiakos on Aegina,<a id="FNanchor_126"></a><a href="#Footnote_126" class="fnanchor">126</a> silver -cups at the Marathonian <i>Herakleia</i><a id="FNanchor_127"></a><a href="#Footnote_127" class="fnanchor">127</a> and at the Sikyonian <i>Pythia</i>,<a id="FNanchor_128"></a><a href="#Footnote_128" class="fnanchor">128</a> a -cloak at Pellene,<a id="FNanchor_129"></a><a href="#Footnote_129" class="fnanchor">129</a> apparently a cuirass at Argos,<a id="FNanchor_130"></a><a href="#Footnote_130" class="fnanchor">130</a> and jars of oil from -sacred trees at the <i>Panathenaia</i>.<a id="FNanchor_131"></a><a href="#Footnote_131" class="fnanchor">131</a> A kettle is mentioned in the Anthology;<a id="FNanchor_132"></a><a href="#Footnote_132" class="fnanchor">132</a> -an inscribed cauldron from Cumae, which was a prize at the -games there in honor of Onomastos, is in the British Museum,<a id="FNanchor_133"></a><a href="#Footnote_133" class="fnanchor">133</a> while -measures of barley and corn were prizes at the <i>Eleusinia</i>.<a id="FNanchor_134"></a><a href="#Footnote_134" class="fnanchor">134</a> While -presents of value continued to be given at the local games,<a id="FNanchor_135"></a><a href="#Footnote_135" class="fnanchor">135</a> a simple -wreath of leaves gradually came to be the prize offered the victor at the -great national festivals. Pausanias<a id="FNanchor_136"></a><a href="#Footnote_136" class="fnanchor">136</a> says that this was composed of wild -olive (κότινος) at Olympia, of laurel (δάφνη) at Delphi, of pine (πίτυς) -at the Isthmus, and of celery (σέλινον) at Nemea. Phlegon says that the -olive wreath was first used by Iphitos in Ol. 7 ( = 752 <span class="smcap lowercase">B. C.</span>), when it was -given to the Messenian runner Daïkles,<a id="FNanchor_137"></a><a href="#Footnote_137" class="fnanchor">137</a> and that for the preceding -Olympiads there was no crown.<a id="FNanchor_138"></a><a href="#Footnote_138" class="fnanchor">138</a> Probably before that date tripods -and other articles of value were the prizes at Olympia, as we know they -were elsewhere. Pausanias says that the wild olive came from the land -of the Hyperboreans.<a id="FNanchor_139"></a><a href="#Footnote_139" class="fnanchor">139</a> Pindar calls it merely olive (ἐλαία), and not -wild olive.<a id="FNanchor_140"></a><a href="#Footnote_140" class="fnanchor">140</a> 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 Attica.<a id="FNanchor_141"></a><a href="#Footnote_141" class="fnanchor">141</a> Phlegon also says that the first crown -came from Attika. In later days the Olympic wreaths were cut from -the “Olive of the Faircrown”;<a id="FNanchor_142"></a><a href="#Footnote_142" class="fnanchor">142</a> its branches were cut with a golden -sickle by a boy whose parents must be living;<a id="FNanchor_143"></a><a href="#Footnote_143" class="fnanchor">143</a> it grew at Olympia in a<span class="pagenum"><a id="Page_21">21</a></span> -spot near the so-called Pantheion,<a id="FNanchor_144"></a><a href="#Footnote_144" class="fnanchor">144</a> which was probably a grove behind -the temple of Zeus.<a id="FNanchor_145"></a><a href="#Footnote_145" class="fnanchor">145</a> The laurel prize at the Pythian games replaced -the older articles of value or money in 582 <span class="smcap lowercase">B. C.</span><a id="FNanchor_146"></a><a href="#Footnote_146" class="fnanchor">146</a> It came from Tempe -and was plucked by a boy whose parents must be living.<a id="FNanchor_147"></a><a href="#Footnote_147" class="fnanchor">147</a> The wreath is -seen on late Delphian coins of the imperial age.<a id="FNanchor_148"></a><a href="#Footnote_148" class="fnanchor">148</a> Lucian also states that -apples were given as prizes at Delphi.<a id="FNanchor_149"></a><a href="#Footnote_149" class="fnanchor">149</a> Wild celery was the prize at -the Isthmus in the time of Pindar.<a id="FNanchor_150"></a><a href="#Footnote_150" class="fnanchor">150</a> It was dried or withered to -differentiate it from the fresh celery used at Nemea.<a id="FNanchor_151"></a><a href="#Footnote_151" class="fnanchor">151</a> Later writers say -that the wreath was of the leaves of the pine,<a id="FNanchor_152"></a><a href="#Footnote_152" class="fnanchor">152</a> which was the tree sacred -to Poseidon. Probably pine leaves composed the older wreath, a practice -certainly revived again in later Roman imperial days;<a id="FNanchor_153"></a><a href="#Footnote_153" class="fnanchor">153</a> for while -on coins of Augustus and Nero celery is represented, those of Antoninus -Pius and Lucius Verus show pine.<a id="FNanchor_154"></a><a href="#Footnote_154" class="fnanchor">154</a> A row of pine trees lined -the approach to Poseidon’s sanctuary.<a id="FNanchor_155"></a><a href="#Footnote_155" class="fnanchor">155</a> The prize at Nemea was celery -and not parsley, as many wrongly interpret the wreath appearing on -Selinuntian coins.<a id="FNanchor_156"></a><a href="#Footnote_156" class="fnanchor">156</a> Pausanias also states that at most Greek games a -palm wreath was placed in the victor’s right hand.<a id="FNanchor_157"></a><a href="#Footnote_157" class="fnanchor">157</a> The palm as a -symbol of victory occurs first toward the end of the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_158"></a><a href="#Footnote_158" class="fnanchor">158</a></p> - -<h3>DEDICATION OF ATHLETE PRIZES.</h3> - -<p>Just as soldiers on returning from successful campaigns might dedicate -their spoils of victory, victors in athletic contests might consecrate -to the gods their prizes. In the Homeric poems we have no certain -evidence of such a custom. A Delphic tripod was ascribed to Diomedes -and possibly this was a prize won at the funeral games in honor -of Patroklos.<a id="FNanchor_159"></a><a href="#Footnote_159" class="fnanchor">159</a> The first literary example of such a dedication of which -we are certain is the prize tripod dedicated to the Helikonian Muses by<span class="pagenum"><a id="Page_22">22</a></span> -Hesiod.<a id="FNanchor_160"></a><a href="#Footnote_160" class="fnanchor">160</a> Frequently such dedications were tripods; thus a Pythian -tripod was dedicated to Herakles at Thebes by the Arkadian musician -Echembrotos in 586 <span class="smcap lowercase">B. C.</span>;<a id="FNanchor_161"></a><a href="#Footnote_161" class="fnanchor">161</a> a tripod was dedicated in the sixth century -<span class="smcap lowercase">B. C.</span> or perhaps earlier at Athens for some acrobatic or juggling trick;<a id="FNanchor_162"></a><a href="#Footnote_162" class="fnanchor">162</a> -a victorious boxer dedicated one at Thebes.<a id="FNanchor_163"></a><a href="#Footnote_163" class="fnanchor">163</a> It became customary by -the fifth century <span class="smcap lowercase">B. C.</span> for victors at the <i>Triopia</i> to offer prize tripods to -Apollo.<a id="FNanchor_164"></a><a href="#Footnote_164" class="fnanchor">164</a> Tripods or fragments of them have been found at Olympia<a id="FNanchor_165"></a><a href="#Footnote_165" class="fnanchor">165</a> -and elsewhere. Many other objects were also offered.<a id="FNanchor_166"></a><a href="#Footnote_166" class="fnanchor">166</a> Sometimes -a victor would dedicate the object by which he won his victory instead -of his prize, just as a soldier might dedicate his arms instead of -his spoils of war. Certain types of victors, <i>e. g.</i>, those especially in -running, the race in armor, singing, etc., would be excluded from -making such dedications owing to the nature of the contest. Pausanias<a id="FNanchor_167"></a><a href="#Footnote_167" class="fnanchor">167</a> -tells us, for instance, that twenty-five bronze shields were kept -in the temple of Zeus at Olympia for the use of hoplite runners, which -shows that these runners did not use all at least of their own armor. -In some cases diskoi were lent to pentathletes. Pausanias<a id="FNanchor_168"></a><a href="#Footnote_168" class="fnanchor">168</a> says that -three quoits were kept in the treasury of the Sikyonians at Olympia -for use in the pentathlon. There are, however, as we shall see, -instances of quoits being dedicated by victors. The pentathlete -might consecrate either his diskos, javelin, or jumping-weights.<a id="FNanchor_169"></a><a href="#Footnote_169" class="fnanchor">169</a> Perhaps -the huge red-sandstone block of the sixth century <span class="smcap lowercase">B. C.</span>, weighing -315 pounds and inscribed with the name and feat of Bybon, may have -been such an <i>ex voto</i>,<a id="FNanchor_170"></a><a href="#Footnote_170" class="fnanchor">170</a> since Pausanias says the contestants at Olympia -originally used stones for quoits.<a id="FNanchor_171"></a><a href="#Footnote_171" class="fnanchor">171</a> A stone, weighing 480 kilograms -(about 1,056 pounds), was found on Thera, inscribed “Eumastos raised -me from the ground.”<a id="FNanchor_172"></a><a href="#Footnote_172" class="fnanchor">172</a> Poplios (Publius) Asklepiades, who won the -pentathlon at Olympia in the third century <span class="smcap lowercase">A. D.</span>,<a id="FNanchor_173"></a><a href="#Footnote_173" class="fnanchor">173</a> dedicated a bronze -diskos to Zeus, showing the old custom was kept up till late. Many -bronze diskoi have been found in the excavations of the Altis.<a id="FNanchor_174"></a><a href="#Footnote_174" class="fnanchor">174</a> We -have instances of the dedication of jumping-weights (ἁλτῆρες).<a id="FNanchor_175"></a><a href="#Footnote_175" class="fnanchor">175</a> -Examples of dedicated strigils have been found at Olympia.<a id="FNanchor_176"></a><a href="#Footnote_176" class="fnanchor">176</a> Torches -were dedicated at Athens.<a id="FNanchor_177"></a><a href="#Footnote_177" class="fnanchor">177</a> Actors dedicated their masks,<a id="FNanchor_178"></a><a href="#Footnote_178" class="fnanchor">178</a> while<span class="pagenum"><a id="Page_23">23</a></span> -some of the ivory lyres and plectra conserved in the Parthenon were -probably offerings of musical victors at the Panathenaic games.<a id="FNanchor_179"></a><a href="#Footnote_179" class="fnanchor">179</a> -Equestrian victors dedicated their chariots, or models of them, and -their horses. These models might be large or small. We have notices -of large chariot-groups at Olympia of Kleosthenes,<a id="FNanchor_180"></a><a href="#Footnote_180" class="fnanchor">180</a> Gelo,<a id="FNanchor_181"></a><a href="#Footnote_181" class="fnanchor">181</a> and Hiero -of Syracuse;<a id="FNanchor_182"></a><a href="#Footnote_182" class="fnanchor">182</a> of small ones of Euagoras,<a id="FNanchor_183"></a><a href="#Footnote_183" class="fnanchor">183</a> Glaukon,<a id="FNanchor_184"></a><a href="#Footnote_184" class="fnanchor">184</a> Kyniska,<a id="FNanchor_185"></a><a href="#Footnote_185" class="fnanchor">185</a> and -Polypeithes.<a id="FNanchor_186"></a><a href="#Footnote_186" class="fnanchor">186</a> A large number of miniature models of chariots and -horses in bronze and terra cotta have been found at Olympia,<a id="FNanchor_187"></a><a href="#Footnote_187" class="fnanchor">187</a> some of -which have no wheels. Many very thin foil wheels have also been -found.<a id="FNanchor_188"></a><a href="#Footnote_188" class="fnanchor">188</a> Furtwaengler<a id="FNanchor_189"></a><a href="#Footnote_189" class="fnanchor">189</a> believes that these wheels are conventional -reductions of whole chariots. Some of them are cast<a id="FNanchor_190"></a><a href="#Footnote_190" class="fnanchor">190</a> and they are -generally four-spoked, but two mule-car wheels are five-spoked.<a id="FNanchor_191"></a><a href="#Footnote_191" class="fnanchor">191</a> -These various models are so common and of so little value, however, -that they may have had nothing to do with chariot-races.<a id="FNanchor_192"></a><a href="#Footnote_192" class="fnanchor">192</a></p> - -<p>Many great artists, <i>e. g.</i>, Kalamis,<a id="FNanchor_193"></a><a href="#Footnote_193" class="fnanchor">193</a> Euphranor,<a id="FNanchor_194"></a><a href="#Footnote_194" class="fnanchor">194</a> and Lysippos,<a id="FNanchor_195"></a><a href="#Footnote_195" class="fnanchor">195</a> are -known to have made chariot-groups and it is reasonable to assume that -some of these were votive in character. Besides dedications of chariot -victors, we find at Olympia also those of horse-racers. These were similarly -both large and small, with and without jockeys. Thus jockeys on -horseback by Kalamis stood on either side of Hiero’s chariot.<a id="FNanchor_196"></a><a href="#Footnote_196" class="fnanchor">196</a> Krokon -of Eretria, who won the horse-race at the end of the sixth century <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_197"></a><a href="#Footnote_197" class="fnanchor">197</a> -dedicated a small bronze horse at Olympia.<a id="FNanchor_198"></a><a href="#Footnote_198" class="fnanchor">198</a> The monument of the -sons of Pheidolas of Corinth,<a id="FNanchor_199"></a><a href="#Footnote_199" class="fnanchor">199</a> representing a horse on the top of a column, -must have been small. Pausanias, in mentioning the two statues<span class="pagenum"><a id="Page_24">24</a></span> -of the Spartan chariot victor Lykinos by Myron,<a id="FNanchor_200"></a><a href="#Footnote_200" class="fnanchor">200</a> says that one of -the horses which the victor brought to Olympia was not allowed to -enter the foal-race, and therefore was entered in the horse-race. This -story was probably told Pausanias by the Olympia guides and may -have arisen from the smallness of one of the horses in the monument.<a id="FNanchor_201"></a><a href="#Footnote_201" class="fnanchor">201</a> -The sculptors Kalamis,<a id="FNanchor_202"></a><a href="#Footnote_202" class="fnanchor">202</a> Kanachos,<a id="FNanchor_203"></a><a href="#Footnote_203" class="fnanchor">203</a> and Hegias<a id="FNanchor_204"></a><a href="#Footnote_204" class="fnanchor">204</a> are known to have -made groups representing horse-victors, and Pliny derives the whole -<i>genre</i> of equestrian monuments from the Greeks.<a id="FNanchor_205"></a><a href="#Footnote_205" class="fnanchor">205</a> Great numbers of -small figures of horses and riders have been excavated at Olympia<a id="FNanchor_206"></a><a href="#Footnote_206" class="fnanchor">206</a> -and elsewhere.<a id="FNanchor_207"></a><a href="#Footnote_207" class="fnanchor">207</a> Equestrian groups of various kinds were also known -outside Olympia. Thus Arkesilas IV of Kyrene offered a chariot model -at Delphi for a victory in 466 <span class="smcap">B. C</span>;<a id="FNanchor_208"></a><a href="#Footnote_208" class="fnanchor">208</a> the base found on the Akropolis -of Athens and inscribed with the name Onatas probably upheld such -a group;<a id="FNanchor_209"></a><a href="#Footnote_209" class="fnanchor">209</a> the equestrian statue of Isokrates on the Akropolis was -also probably a dedication for a victory in horse-racing.<a id="FNanchor_210"></a><a href="#Footnote_210" class="fnanchor">210</a></p> - -<h3>DEDICATION OF STATUES AT OLYMPIA AND ELSEWHERE.</h3> - -<p>Not only did equestrian contests and the pentathlon give the victor -an opportunity to represent the means by which he gained his prize, -but any victorious athlete could set up a statue of himself in his own -honor, which might either represent him in the characteristic attitude -of his contest (perhaps with its distinguishing attributes) or might be a -simple monument showing neither action nor attribute. This brings -us to the main subject of the present work—the discussion of the -different types of victor statues at Olympia.</p> - -<p>Of all the national games of Hellas, our knowledge of Olympia is -fullest, both because of the detailed account of its monuments by -Pausanias, who visited Elis in 173 or 174 <span class="smcap lowercase">A. D.</span>, and because of the systematic -excavation of the Altis by the German government in the seventies -of the last century. We shall not be concerned, except incidentally, -with monuments set up at the other national games, which are known -to us in no such degree as those of Olympia. The interest of Pausanias -in Delphi was almost entirely of a religious nature, and the lesser -renown of both Nemea and the Isthmus caused him to treat their topography -and monuments in a most summary manner. Though the <i>Pythia</i> -as a festival were second only to the <i>Olympia</i>, as an athletic meet<span class="pagenum"><a id="Page_25">25</a></span> -they scarcely equalled the <i>Nemea</i> or the <i>Isthmia</i>. From the earliest days -music was the chief competition at Delphi; the oldest and most important -event in the musical programme there all through Greek history was -the Hymn to Apollo, sung with the accompaniment of the lyre, in which -was celebrated the victory of the god over the Python. By 582 <span class="smcap lowercase">B. C.</span> singing -to the flute (αὐλῳδία) was also added, but was almost immediately -discontinued. In the same year a flute solo was also inaugurated.<a id="FNanchor_211"></a><a href="#Footnote_211" class="fnanchor">211</a> -In 558 <span class="smcap lowercase">B. C.</span> lyre-playing was introduced. Under the Roman Empire -poetic and dramatic competitions were prominent, but the date of -their introduction is not known. Pliny mentions contests in painting.<a id="FNanchor_212"></a><a href="#Footnote_212" class="fnanchor">212</a> -After music the equestrian contests were the most important, -even rivalling those of Olympia. By 586 <span class="smcap lowercase">B. C.</span>, as we have seen, athletic -events were inaugurated. The athletic importance of the games on -the Isthmus was inferior to that of Olympia and its religious character -to that of Delphi, though these games were the most frequented of all -the great national ones, because of the accessibility of the place and -its nearness to Corinth.<a id="FNanchor_213"></a><a href="#Footnote_213" class="fnanchor">213</a> The inferiority of the athletics here may be -judged by the fact that Solon assigned only 100 drachmæ to an Isthmian -victor, while 500 were given to one from Olympia.<a id="FNanchor_214"></a><a href="#Footnote_214" class="fnanchor">214</a> We have -little knowledge of these games through the great period of Greek -history, only a reference here and there to a victor.<a id="FNanchor_215"></a><a href="#Footnote_215" class="fnanchor">215</a> We know much -more of them under the Romans, when the prosperity of Corinth was -revived; at that time, however, there was little true interest in athletics. -Corinth then spent great sums in procuring wild animals for the arena.<a id="FNanchor_216"></a><a href="#Footnote_216" class="fnanchor">216</a> -Excavations have added little to our knowledge of these games.<a id="FNanchor_217"></a><a href="#Footnote_217" class="fnanchor">217</a> The -interest at Nemea in athletics was second only to that of Olympia.<a id="FNanchor_218"></a><a href="#Footnote_218" class="fnanchor">218</a> -While music was the most important feature at Delphi, and the Isthmian -games were attended chiefly for the attractions of the neighboring -Corinth, there was nothing but the games themselves to attract people -to the retired valley of Nemea. Athletic contests were the only -feature here until late times and great attention was paid to those of -boys.<a id="FNanchor_219"></a><a href="#Footnote_219" class="fnanchor">219</a> The records of the victors at these games are very scanty.<a id="FNanchor_220"></a><a href="#Footnote_220" class="fnanchor">220</a></p> -<p><span class="pagenum"><a id="Page_26">26</a></span></p> -<p>At all these three games victor monuments were set up, though in -no such profusion as at Olympia.</p> - -<p>Of those set up at Delphi, Pausanias shows his disdain by these -words: “As to the athletes and musical competitors who have attracted -no notice from the majority of mankind, I hold them hardly worthy -of attention; and the athletes who have made themselves a name have -already been set forth by me in my account of Elis.”<a id="FNanchor_221"></a><a href="#Footnote_221" class="fnanchor">221</a> He mentions -the statue of only one victor, that of Phaÿllos, who won at Delphi twice -in the pentathlon and once in running. A score or more of inscriptions -in honor of these men whom Pausanias treats so contemptuously have -been recovered. Some of them record offerings dedicated for victories, -though most of them record decrees passed by the Delphians, who voted -the victors not only wreaths of laurel, but seats of honor at the games -and other privileges.<a id="FNanchor_222"></a><a href="#Footnote_222" class="fnanchor">222</a> Victor statues seem to have stood outside the -sacred precinct at Delphi and not within it, as at Olympia, since Pausanias -mentions the sanctuary after mentioning the statue of Phaÿllos.<a id="FNanchor_223"></a><a href="#Footnote_223" class="fnanchor">223</a> -Other Greek and Roman writers give us stray hints of these statues. Thus, -Pliny mentions a statue at Delphi of a <i>pancratiastes</i> by Pythagoras of -Rhegion<a id="FNanchor_224"></a><a href="#Footnote_224" class="fnanchor">224</a> and says that Myron made <i>Delphicos pentathlos, pancratiastas</i>.<a id="FNanchor_225"></a><a href="#Footnote_225" class="fnanchor">225</a> -A scholion on Pindar<a id="FNanchor_226"></a><a href="#Footnote_226" class="fnanchor">226</a> mentions the helmeted statue of the hoplite runner -Telisikrates as standing in the precinct. Justin, in speaking of the -Gallic invasion of Delphi, mentions <i>statuasque cum quadrigis, quarum -ingens copia procul visebatur</i>, thus referring to large chariot-groups, -which would be very sightly on the slope of the precinct.<a id="FNanchor_227"></a><a href="#Footnote_227" class="fnanchor">227</a> An idea of -the beauty of such groups may be gathered from the remnant of one, -the bronze <i>Charioteer</i> discovered by the French excavators, which is one -of the most important archaic sculptures from antiquity (Fig. <a href="#f66">66</a>).<a id="FNanchor_228"></a><a href="#Footnote_228" class="fnanchor">228</a></p> - -<p>We know from the words of Pausanias<a id="FNanchor_229"></a><a href="#Footnote_229" class="fnanchor">229</a> that victor statues also stood -on the Isthmus, and we should assume the same for Nemea, though -in both places they must have been few in number. At the various -local games it was customary for victors to erect statues of themselves. -Thus we know of such dedications at the Bœotian games in Thebes,<a id="FNanchor_230"></a><a href="#Footnote_230" class="fnanchor">230</a> -at the Didymaion,<a id="FNanchor_231"></a><a href="#Footnote_231" class="fnanchor">231</a> and at the <i>Lykaia</i> in Arkadia.<a id="FNanchor_232"></a><a href="#Footnote_232" class="fnanchor">232</a> Many such -victor statues decorated different localities of Athens. Thus, on the<span class="pagenum"><a id="Page_27">27</a></span> -Akropolis, we know of the statues of the hoplite runner Epicharinos,<a id="FNanchor_233"></a><a href="#Footnote_233" class="fnanchor">233</a> -of the pancratiast Hermolykos,<a id="FNanchor_234"></a><a href="#Footnote_234" class="fnanchor">234</a> of a helmeted man by the sculptor -Kleoitas,<a id="FNanchor_235"></a><a href="#Footnote_235" class="fnanchor">235</a> of a παῖς κελητίζων representing Isokrates;<a id="FNanchor_236"></a><a href="#Footnote_236" class="fnanchor">236</a> in the Prytaneion, -of the statue of the pancratiast Autolykos.<a id="FNanchor_237"></a><a href="#Footnote_237" class="fnanchor">237</a> Lykourgos, the rhetor, mentions -victor statues in the agora of Athens.<a id="FNanchor_238"></a><a href="#Footnote_238" class="fnanchor">238</a> Some of these Athenian -statues may have been those of Olympic victors;<a id="FNanchor_239"></a><a href="#Footnote_239" class="fnanchor">239</a> and of victors certainly -Olympic we know of the statues of Kallias the pancratiast,<a id="FNanchor_240"></a><a href="#Footnote_240" class="fnanchor">240</a> of -the charioteer Hermokrates,<a id="FNanchor_241"></a><a href="#Footnote_241" class="fnanchor">241</a> and of the bronze mares of Kimon.<a id="FNanchor_242"></a><a href="#Footnote_242" class="fnanchor">242</a> Of -the statues of Nemean victors at Athens we know of that of Hegestratos, -victor in an unknown contest.<a id="FNanchor_243"></a><a href="#Footnote_243" class="fnanchor">243</a> Of Isthmian victors there we know of -that of the pancratiast Diophanes,<a id="FNanchor_244"></a><a href="#Footnote_244" class="fnanchor">244</a> and of other examples.<a id="FNanchor_245"></a><a href="#Footnote_245" class="fnanchor">245</a> We have -inscriptional record of the statues at Athens of a boy victor at the -<i>Panathenaia</i> and the <i>Thargelia</i> in chariot-racing,<a id="FNanchor_246"></a><a href="#Footnote_246" class="fnanchor">246</a> of a victor at the -<i>Pythia</i>, <i>Isthmia</i>, <i>Nemea</i>, and the <i>Panathenaia</i>,<a id="FNanchor_247"></a><a href="#Footnote_247" class="fnanchor">247</a> of one at the <i>Nemea</i> -and <i>Herakleia</i> at Thebes,<a id="FNanchor_248"></a><a href="#Footnote_248" class="fnanchor">248</a> of one at the <i>Eleusinia</i>,<a id="FNanchor_249"></a><a href="#Footnote_249" class="fnanchor">249</a> of one at the -<i>Panathenaia</i> and <i>Dionysia</i>,<a id="FNanchor_250"></a><a href="#Footnote_250" class="fnanchor">250</a> and of others at several games.<a id="FNanchor_251"></a><a href="#Footnote_251" class="fnanchor">251</a></p> - -<p>The erection of a statue in the Altis at Olympia was an honor which -the Elean officers in charge of the games<a id="FNanchor_252"></a><a href="#Footnote_252" class="fnanchor">252</a> gave to victors to glorify -their victory.<a id="FNanchor_253"></a><a href="#Footnote_253" class="fnanchor">253</a> Pliny, in a well-known passage of the <i>Historia Naturalis</i>,<a id="FNanchor_254"></a><a href="#Footnote_254" class="fnanchor">254</a> -says it was customary for all victors to set up statues, while Pausanias<a id="FNanchor_255"></a><a href="#Footnote_255" class="fnanchor">255</a> -says not all athletes did this, for “some of those who specially -distinguished themselves in the games ... have had no statues.” -This apparent contradiction in the statements of the two writers is to -be explained, as Dittenberger<a id="FNanchor_256"></a><a href="#Footnote_256" class="fnanchor">256</a> and others have pointed out, on the -ground that Pliny states the general privilege extended to the victor, -while Pausanias states its practical working out, since the setting up -of a statue was an undertaking which would be limited by the early -death, poverty, or some other disability of the victorious athlete. The -cost of making, transporting, and setting up a statue was considerable, -and very often a victor must have been too poor to do it. In such a -case he would often be contented to set up merely a statuette or small -<span class="pagenum"><a id="Page_28">28</a></span> -figure in bronze or marble. Several such bronze figures have been unearthed -at Olympia,<a id="FNanchor_257"></a><a href="#Footnote_257" class="fnanchor">257</a> one of which we reproduce in Fig. <a href="#f2">2</a>, and we have -many examples found outside the Altis: <i>e. g.</i>, a group of wrestlers,<a id="FNanchor_258"></a><a href="#Footnote_258" class="fnanchor">258</a> -<span class="figright200"><a id="f2"></a><img src="images/i_p028a.jpg" alt="Bronze Statuette of a Victor" width="200" height="288" /> -<span class="caption"><span class="smcap">Fig. 2.</span>—Bronze Statuette of a Victor, -from Olympia. Museum of Olympia.</span></span> -a boxer,<a id="FNanchor_259"></a><a href="#Footnote_259" class="fnanchor">259</a> and the arm of a quoit-thrower<a id="FNanchor_260"></a><a href="#Footnote_260" class="fnanchor">260</a> -from the Athenian Akropolis, -an archaic girl runner from -Dodona,<a id="FNanchor_261"></a><a href="#Footnote_261" class="fnanchor">261</a> an archaic statuette -from Delphi with a loin-cloth,<a id="FNanchor_262"></a><a href="#Footnote_262" class="fnanchor">262</a> -a bronze quoit-thrower dedicated -in the Kabeirion,<a id="FNanchor_263"></a><a href="#Footnote_263" class="fnanchor">263</a> the Tuebingen -bronze hoplite runner<a id="FNanchor_264"></a><a href="#Footnote_264" class="fnanchor">264</a> (Fig. <a href="#f42">42</a>), -and the statuette of a παῖς κέλης -from Dodona.<a id="FNanchor_265"></a><a href="#Footnote_265" class="fnanchor">265</a> We should also -mention the great number of statuettes -of diskos-throwers in modern -museums.<a id="FNanchor_266"></a><a href="#Footnote_266" class="fnanchor">266</a> 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 -Altis.<a id="FNanchor_267"></a><a href="#Footnote_267" class="fnanchor">267</a> Pausanias mentions several -monuments which were less -than life-size, <i>e. g.</i>, a horse among -the offerings of Phormis, which -he says was “much inferior in -size and shape to all other -statues of horses in the Altis,”<a id="FNanchor_268"></a><a href="#Footnote_268" class="fnanchor">268</a> -and the equestrian monuments already discussed. Even reliefs and -paintings, in some cases, were offered in lieu of larger monuments, -not only for reasons of economy, but also because they gave a better -representation of the contest. This custom was common at the<span class="pagenum"><a id="Page_29">29</a></span> -lesser games, especially at the <i>Panathenaia</i>.<a id="FNanchor_269"></a><a href="#Footnote_269" class="fnanchor">269</a> Pausanias mentions -painted iconic reliefs vowed by girl runners at the games in honor -of Hera at Olympia.<a id="FNanchor_270"></a><a href="#Footnote_270" class="fnanchor">270</a> On an Attic vase in Munich a victor is represented -as holding an iconic votive <i>pinax</i> in his hands.<a id="FNanchor_271"></a><a href="#Footnote_271" class="fnanchor">271</a> Pausanias -speaks of a painting by Timainetos at Athens, which represented a boy -carrying hydriæ,<a id="FNanchor_272"></a><a href="#Footnote_272" class="fnanchor">272</a> and one of a wrestler by the same artist in the -Pinakotheke on the Akropolis. Pliny mentions paintings, the works of -great masters, representing victors: thus the <i>currentes quadrigae</i> by the -elder Aristeides of Thebes,<a id="FNanchor_273"></a><a href="#Footnote_273" class="fnanchor">273</a> a <i>victor certamine gymnico palmam tenens</i> -by Eupompos,<a id="FNanchor_274"></a><a href="#Footnote_274" class="fnanchor">274</a> an athlete by Zeuxis,<a id="FNanchor_275"></a><a href="#Footnote_275" class="fnanchor">275</a> the victor Aratos with a trophy -by Leontiskos,<a id="FNanchor_276"></a><a href="#Footnote_276" class="fnanchor">276</a> an athlete by Protogenes,<a id="FNanchor_277"></a><a href="#Footnote_277" class="fnanchor">277</a> two hoplite runners by -Parrhasios,<a id="FNanchor_278"></a><a href="#Footnote_278" class="fnanchor">278</a> a <i>luctator tubicenque</i> by Antidotos and a warrior by the -same artist, in Athens,<a id="FNanchor_279"></a><a href="#Footnote_279" class="fnanchor">279</a> which represented a man fighting with a shield, -and a man anointing himself, the work of the painter Theoros.<a id="FNanchor_280"></a><a href="#Footnote_280" class="fnanchor">280</a></p> - -<p>Apparently the Hellanodikai allowed but one statue for each victory. -Aischines the Elean had two victories and two statues.<a id="FNanchor_281"></a><a href="#Footnote_281" class="fnanchor">281</a> Dikon of -Kaulonia and Syracuse had three victories and three statues.<a id="FNanchor_282"></a><a href="#Footnote_282" class="fnanchor">282</a> The -Spartan Lykinos had two victories and two statues by Myron, but we -have already said that the second statue was probably that of his -charioteer, the two forming part of an equestrian group.<a id="FNanchor_283"></a><a href="#Footnote_283" class="fnanchor">283</a> Kapros of -Elis won two victories and had as many statues.<a id="FNanchor_284"></a><a href="#Footnote_284" class="fnanchor">284</a> On the other hand -Troilos of Elis, who won in two events, had only one statue.<a id="FNanchor_285"></a><a href="#Footnote_285" class="fnanchor">285</a> Similarly -Arkesilaos of Sparta had two victories in the chariot-race and -only one statue.<a id="FNanchor_286"></a><a href="#Footnote_286" class="fnanchor">286</a> Xenombrotos of Cos, who appears to have won -once only, had, however, two monuments, one mentioned by Pausanias -and the other known to us from the recovered inscription.<a id="FNanchor_287"></a><a href="#Footnote_287" class="fnanchor">287</a> But this -last case seems to be the only known exception.</p> - -<p><span class="pagenum"><a id="Page_30">30</a></span></p> - -<p>When the victor was unable to set up his monument, whether because -of youth, poverty, early death, or other reason, sometimes the -privilege was utilized by a relative, a friend, or by his native city. In -any case it was a private affair with which the Elean officials had no -concern. We have examples, consequently, of the statue being set up -by the son,<a id="FNanchor_288"></a><a href="#Footnote_288" class="fnanchor">288</a> father (especially in recovered inscriptions after the time -of Augustus),<a id="FNanchor_289"></a><a href="#Footnote_289" class="fnanchor">289</a> mother,<a id="FNanchor_290"></a><a href="#Footnote_290" class="fnanchor">290</a> and brother;<a id="FNanchor_291"></a><a href="#Footnote_291" class="fnanchor">291</a> also several examples of statues -reared in honor of athletes by fellow citizens.<a id="FNanchor_292"></a><a href="#Footnote_292" class="fnanchor">292</a> There are cases -in which the trainer set up the statue.<a id="FNanchor_293"></a><a href="#Footnote_293" class="fnanchor">293</a> Frequently the native city -performed the duty, dedicating the statue either at Olympia or in the -victor’s city. Thus Oibotas, who won the stade-race in Ol. 6 ( = 756 -<span class="smcap lowercase">B. C.</span>), had a statue at Olympia which was erected by the Achæan state -out of deference to a command of the Delphian oracle in Ol. 80 ( = 460 -<span class="smcap lowercase">B. C.</span>).<a id="FNanchor_294"></a><a href="#Footnote_294" class="fnanchor">294</a> The statue of Agenor, by Polykleitos the Younger, a boy wrestler -from Thebes, was dedicated by the confederacy of Phokis, because -his father was a public friend of the nation.<a id="FNanchor_295"></a><a href="#Footnote_295" class="fnanchor">295</a> The boy runner Herodotos -of Klazomenai had a statue erected by his native town at Olympia -because he was the first victor from there.<a id="FNanchor_296"></a><a href="#Footnote_296" class="fnanchor">296</a> Philinos of Kos had a -statue set up by the people of Kos at Olympia “because of glory won,” -for he was victor five times in running at Olympia, four at Delphi, -four at Nemea, and eleven at the Isthmus.<a id="FNanchor_297"></a><a href="#Footnote_297" class="fnanchor">297</a> Hermesianax of Kolophon -had a statue at Olympia erected by his city.<a id="FNanchor_298"></a><a href="#Footnote_298" class="fnanchor">298</a> The pancratiast<span class="pagenum"><a id="Page_31">31</a></span> -Promachos of Pellene had two statues erected to him by his fellow citizens, -one at Olympia, the other in Pellene.<a id="FNanchor_299"></a><a href="#Footnote_299" class="fnanchor">299</a> We know of three state -dedications of statues at Olympia from inscriptions, those of Aristophon -of Athens,<a id="FNanchor_300"></a><a href="#Footnote_300" class="fnanchor">300</a> of Epitherses of Erythrai,<a id="FNanchor_301"></a><a href="#Footnote_301" class="fnanchor">301</a> and of Polyxenos by -the people of Zakynthos.<a id="FNanchor_302"></a><a href="#Footnote_302" class="fnanchor">302</a> Lichas of Sparta, at a date when the -Spartans were excluded from the games, entered his chariot in the -name of the Theban people, and Pausanias says that his victory was so -entered on the Elean register.<a id="FNanchor_303"></a><a href="#Footnote_303" class="fnanchor">303</a> We learn from the <i>OxyrhynchusPapyri</i> -that the public horse of the Argives won at Olympia in Ol. 75 -( = 480 <i>B. C.</i>) and the public chariot in Ol. 77 ( = 472 <i>B. C.</i>).<a id="FNanchor_304"></a><a href="#Footnote_304" class="fnanchor">304</a> In these -latter two cases the public was directly interested, and had there -been monuments erected to commemorate the victories they would -naturally have been set up by the state.</p> - -<p>It has been wrongly assumed that monuments of boy victors were -dedicated in the name of their parents or relatives.<a id="FNanchor_305"></a><a href="#Footnote_305" class="fnanchor">305</a> On the contrary, -we have examples dating back to the fifth century <span class="smcap lowercase">B. C.</span> of boys -setting up statues at Olympia. Thus the inscription from the base of -the statue of Tellon, who won in the boys’ boxing match in Ol. 77 ( = 472 -<span class="smcap lowercase">B. C.</span>), states that he dedicated his own statue.<a id="FNanchor_306"></a><a href="#Footnote_306" class="fnanchor">306</a> Pausanias says that -the Eleans allowed the boy wrestler Kratinos from Aigeira to erect a -statue of his trainer.<a id="FNanchor_307"></a><a href="#Footnote_307" class="fnanchor">307</a> Of course the boy might need assistance in the -undertaking, but this again was no concern of the Elean officials, who -granted the privilege to the victor and not to his relatives. Usually -the statue of a victor was erected soon after the victory. We have -some examples of the statue being erected immediately after the victory, -especially in the case of men victors. Thus Pausanias says that -the victor Eubotas of Kyrene, in consequence of a Libyan oracle foretelling -his victory in the foot-race, had his statue made before coming -to Olympia and erected it “the very day on which he was proclaimed -victor.”<a id="FNanchor_308"></a><a href="#Footnote_308" class="fnanchor">308</a> The famous Milo of Kroton spectacularly carried his statue -into the Altis on his back before he entered the contest.<a id="FNanchor_309"></a><a href="#Footnote_309" class="fnanchor">309</a> There are<span class="pagenum"><a id="Page_32">32</a></span> -also examples of statues being erected long after the victory, sometimes -centuries later. We have already mentioned that a statue was erected -to Oibotas in Ol. 80, though his victory was won in Ol. 6. Chionis, who -won in running races in Ols. 28–31 ( = 668–656 <span class="smcap lowercase">B. C.</span>) had a statue by -Myron erected to his memory Ol. 77 or 78 ( = 472 or 468 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_310"></a><a href="#Footnote_310" class="fnanchor">310</a> Cheilon -of Patrai, twice victor in wrestling between Ols. (?) 103 and 115 ( = 368 -and 320 <span class="smcap lowercase">B. C.</span>), had his statue set up after his death.<a id="FNanchor_311"></a><a href="#Footnote_311" class="fnanchor">311</a> Polydamas of -Skotoussa won his victory in the pankration in Ol. 93 ( = 408 <span class="smcap lowercase">B. C.</span>), but -his statue by Lysippos could not have been erected until many years -later.<a id="FNanchor_312"></a><a href="#Footnote_312" class="fnanchor">312</a> Glaukos, who won the boys’ boxing-match in Ol. 65 ( = 520 <span class="smcap lowercase">B. C.</span>), -had a statue by the Aeginetan sculptor Glaukias much later.<a id="FNanchor_313"></a><a href="#Footnote_313" class="fnanchor">313</a> In the -case of boy victors, 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 victory.<a id="FNanchor_314"></a><a href="#Footnote_314" class="fnanchor">314</a></p> - -<h3>HONORS PAID TO VICTORS BY THEIR NATIVE CITIES.</h3> - -<p>Since the victor was deemed the representative of the state, he often -received a more substantial reward than a statue erected at the cost of -his fellow citizens. The herald, in proclaiming his victory, proclaimed -also the name of his town, which thus shared in his success. At -Athens it was customary for a victor at the great games to receive a -reward of money. To encourage an interest in athletics there, Solon -established money prizes for victorious athletes. We have already said -that 100 drachmæ were given to a victor at the Isthmus, while 500 -were allotted to one at Olympia. Solon further ordained that victors -should eat at the Prytaneion at the public expense.<a id="FNanchor_315"></a><a href="#Footnote_315" class="fnanchor">315</a> Probably other -Greek states followed the Athenian custom. We know from an<span class="pagenum"><a id="Page_33">33</a></span> -inscription that the Panathenaic victors in the stade-race received 50 -amphoræ of oil, the pancratiast 40, and others 30.<a id="FNanchor_316"></a><a href="#Footnote_316" class="fnanchor">316</a> Later, in Rome, -victors had special privileges granted them, including maintenance -at the public expense, a privilege which Mæcenas advised the emperor -Augustus to limit to victors at Olympia, Delphi, and Rome.<a id="FNanchor_317"></a><a href="#Footnote_317" class="fnanchor">317</a> Augustus -in other ways enlarged the privileges of athletes.<a id="FNanchor_318"></a><a href="#Footnote_318" class="fnanchor">318</a> When we consider -the intimate connection between religion and athletics and the Panhellenic -fame of a victor at the great games, we can easily understand -the indignation of the native town when its athletes did anything dishonorable. -Sometimes a victor was bribed to appear as the citizen of -some other state. Thus Astylos of Kroton, who won in running -races in Ols. 73–76 ( = 488–476 <span class="smcap lowercase">B. C.</span>), had himself proclaimed in his last -two contests a Syracusan to please King Hiero. The citizens of his -native town burned his house and pulled down his statue, which had -been placed there in the temple of Hera.<a id="FNanchor_319"></a><a href="#Footnote_319" class="fnanchor">319</a> The Cretan Sotades, who -won the long running race in Ol. 99 ( = 384 <span class="smcap lowercase">B. C.</span>), was bribed at the next -Olympiad by the city of Ephesos to proclaim himself an Ephesian, and -was in consequence exiled.<a id="FNanchor_320"></a><a href="#Footnote_320" class="fnanchor">320</a> Dikon, a victor in running races at the -beginning of the fourth century <span class="smcap lowercase">B. C.</span>, proclaimed himself first a citizen -of Kaulonia, but later, “for a sum of money,” entered the men’s -contest as a Syracusan.<a id="FNanchor_321"></a><a href="#Footnote_321" class="fnanchor">321</a> Sometimes such attempts at bribery proved -unsuccessful. Thus the father of the boy boxer Antipatros of Miletos, -who won in Ol. 98 ( = 388 <span class="smcap lowercase">B. C.</span>), accepted a bribe from some Syracusans, -who were bringing an offering to Olympia from Dionysios, to let the -boy be proclaimed a Syracusan. But the boy himself refused the -bribe and had inscribed on his statue by the younger Polykleitos that -he was a Milesian, the first Ionian to dedicate a statue at Olympia.<a id="FNanchor_322"></a><a href="#Footnote_322" class="fnanchor">322</a> -The Spartan chariot victor Lichas has already been mentioned as -having entered his chariot in the name of Thebes. The reason was -that at the time the Spartans were excluded from entering the games at -Olympia. He won, and in his excitement tied a ribbon on his charioteer -with his own hands, thereby showing that the horses belonged to him -and not to Thebes. For this infraction of the rules he, though an aged -man, was punished by the umpires by scourging.<a id="FNanchor_323"></a><a href="#Footnote_323" class="fnanchor">323</a> A more disgraceful -act was selling out, of which we have two examples at Olympia. The -Thessalian Eupolos bribed his three adversaries in boxing to let him win. -All four were fined and from the money six bronze statues of Zeus, -known as <i>Zanes</i>, were erected at the entrance to the stadion, inscribed -with elegiac verses which warned future athletes against repeating such<span class="pagenum"><a id="Page_34">34</a></span> -attempts.<a id="FNanchor_324"></a><a href="#Footnote_324" class="fnanchor">324</a> More than fifty years later Kallippos, a pentathlete of -Athens, bribed his opponents and, being detected, all were fined and -from the money, finally collected from the recalcitrant Athenians -through the influence of the oracle at Delphi, six more <i>Zanes</i> were -erected.<a id="FNanchor_325"></a><a href="#Footnote_325" class="fnanchor">325</a> Straton (or Stratonikos), of Alexandria, won in wrestling -and the pankration on the same day in Ol. 178 ( = 68 <span class="smcap lowercase">B. C.</span>). In the -wrestling match he had two adversaries, Eudelos and Philostratos of -Rhodes. The latter had bribed Eudelos to sell out and, being detected, -had to pay a fine. Out of this money another <i>Zan</i> was set up and still -another at the cost of the Rhodians.<a id="FNanchor_326"></a><a href="#Footnote_326" class="fnanchor">326</a> In Ol. 192 ( = 12 <span class="smcap lowercase">B. C.</span>) and in Ol. -226 ( = 125 <span class="smcap lowercase">A. D.</span>), we hear of fines for such corruption out of which additional -<i>Zanes</i> were erected.<a id="FNanchor_327"></a><a href="#Footnote_327" class="fnanchor">327</a> In Ol. 201 ( = 25 <span class="smcap lowercase">A. D.</span>) Sarapion, a pancratiast -from Alexandria, 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 Olympia.<a id="FNanchor_328"></a><a href="#Footnote_328" class="fnanchor">328</a> In Ol. 218 ( = 93 <span class="smcap lowercase">A. D.</span>) -another Alexandrine, named Apollonios, was fined for arriving too -late for the games at Olympia. His excuse of being detained by winds -was found to be false, and it was discovered that he had been making -money on the games in Ionia.<a id="FNanchor_329"></a><a href="#Footnote_329" class="fnanchor">329</a></p> - -<p>Cases of bribery were known at other games. A third-century -<span class="smcap lowercase">B. C.</span> inscription from Epidauros records how three athletes were fined -one thousand staters each διὰ τὸ φθείρειν τοὺς ἀγῶνας.<a id="FNanchor_330"></a><a href="#Footnote_330" class="fnanchor">330</a> The venality -of Isthmian victors is shown by the account of a competitor who -promised a rival three thousand drachmæ to let him win and then, on -winning on his merits, refused to pay, though the defeated contestant -swore on the altar of Poseidon that he had been promised the amount.<a id="FNanchor_331"></a><a href="#Footnote_331" class="fnanchor">331</a> -The emperor Nero, in order to win in singing at the Isthmus, had to -resort to force. A certain Epeirote singer refused to withdraw unless -he received ten talents. Nero, to save himself from defeat, sent a band -of men who pummelled his antagonist so that he could not sing.<a id="FNanchor_332"></a><a href="#Footnote_332" class="fnanchor">332</a></p> - -<p>Often the home-coming of a victor at one of the national games was -the occasion for a public celebration. Sometimes the whole city turned -out to meet the hero.<a id="FNanchor_333"></a><a href="#Footnote_333" class="fnanchor">333</a> The victory was recorded on pillars, and poets -composed songs in its honor which were sung by choruses of girls and -boys. Sometimes a statue was set up in the agora or on the Akropolis.<span class="pagenum"><a id="Page_35">35</a></span> -In the cities of Magna Græcia and Sicily such adulation of Olympic -victors became at times very extravagant. Thus Exainetos of Akragas, -who won the stade-race in Ols. 91 and 92 ( = 416–412 <span class="smcap lowercase">B. C.</span>), was brought -into the city in a four-horse chariot drawn by his fellow-citizens, and -was escorted by 300 men in two-horse chariots drawn by white horses.<a id="FNanchor_334"></a><a href="#Footnote_334" class="fnanchor">334</a> -It is also in the West that we first hear of victors being worshipped as -heroes or gods, though the custom soon took root in Greece. It was -but natural to account for the great strength of famous athletes by -assigning to them divine origin and by worshipping them after death.<a id="FNanchor_335"></a><a href="#Footnote_335" class="fnanchor">335</a> -Philippos of Kroton, who won in an unknown contest about Ol. 65 -( = 520 <span class="smcap lowercase">B. C.</span>), had a <i>heroön</i> erected in his honor by the people of Egesta -in Sicily on account of his beauty, in which he surpassed all his contemporaries, -and he was worshipped after his death as a hero.<a id="FNanchor_336"></a><a href="#Footnote_336" class="fnanchor">336</a> The -famous boxer Euthymos of Lokroi Epizephyrioi, who won in Ols. 74, -76, 77 ( = 484, 476, 472 <span class="smcap lowercase">B. C.</span>), was worshipped even before his death -and was looked upon as the son of no earthly father, but of the river-god -Kaikinos.<a id="FNanchor_337"></a><a href="#Footnote_337" class="fnanchor">337</a> Fabulous feats were ascribed to him, <i>e. g.</i>, the expulsion -of the Black Spirit from Temessa.<a id="FNanchor_338"></a><a href="#Footnote_338" class="fnanchor">338</a> During and after his lifetime -sacrifices were offered in his honor.<a id="FNanchor_339"></a><a href="#Footnote_339" class="fnanchor">339</a> The equally famed boxer and -pancratiast Theagenes of Thasos, the opponent of Euthymos, who -won in Ols. 75 and 76 ( = 480 and 476 <span class="smcap lowercase">B. C.</span>), was heroized after his death.<a id="FNanchor_340"></a><a href="#Footnote_340" class="fnanchor">340</a> -The Thasians maintained that his father was Herakles.<a id="FNanchor_341"></a><a href="#Footnote_341" class="fnanchor">341</a> The boxer -Kleomedes of Astypalaia, who won in Ol. 71 ( = 496 <span class="smcap lowercase">B. C.</span>), was honored -as a hero after death.<a id="FNanchor_342"></a><a href="#Footnote_342" class="fnanchor">342</a> Having killed Ikkos, his opponent, he became -crazed with grief. Pausanias recounts his curious death.<a id="FNanchor_343"></a><a href="#Footnote_343" class="fnanchor">343</a> 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 illnesses.<a id="FNanchor_344"></a><a href="#Footnote_344" class="fnanchor">344</a> The life of a successful<span class="pagenum"><a id="Page_36">36</a></span> -athlete was looked upon as especially happy. In Aristophanes’ <i>Plutus</i>, -Hermes deserts the gods and serves Plutus “the presider over contests,” -thinking no service more profitable to the god of wealth than holding -contests in music and athletics.<a id="FNanchor_345"></a><a href="#Footnote_345" class="fnanchor">345</a> Plato thought an Olympic victor’s -life was the most blessed of all from a material point of view.<a id="FNanchor_346"></a><a href="#Footnote_346" class="fnanchor">346</a> In the -myth of Er the soul of Atalanta chooses the body of an athlete, on seeing -“the great rewards bestowed on an athlete.”<a id="FNanchor_347"></a><a href="#Footnote_347" class="fnanchor">347</a> The great Rhodian -pancratiast Dorieus, who won in Ols. 87, 88, 89 ( = 432–424 <span class="smcap lowercase">B. C.</span>), was -taken prisoner by Athens during the Peloponnesian war, but was freed -because of his exploits at Olympia.<a id="FNanchor_348"></a><a href="#Footnote_348" class="fnanchor">348</a> The honor in which a victor was -held may also be judged by the story of the Spartan ephor Cheilon, -who died of joy while embracing his victorious son Damagetos.<a id="FNanchor_349"></a><a href="#Footnote_349" class="fnanchor">349</a> -To quote from Ernest Gardner: “The extraordinary, almost superhuman -honours paid to the victors at the great national contests -made them a theme for the sculptor hardly less noble than gods and -heroes, and more adapted for the display of his skill, as trained by the -observation of those exercises which led to the victory.”<a id="FNanchor_350"></a><a href="#Footnote_350" class="fnanchor">350</a> Some of -the greatest artists were employed, and great poets from Simonides -of Keos down, including such names as Bacchylides and Pindar, were -employed in singing their praises. Although it must be confessed -that the majority of the artists of victor statues at Olympia are little -known or wholly unknown masters, Pausanias mentions among them -such renowned names as Hagelaïdas, Pythagoras, Kalamis, Myron, Polykleitos, -Lysippos, and possibly Pheidias. Certain other great names, -however, are absent from his lists, <i>e. g.</i>, Euphranor, Kresilas, Praxiteles, -and Skopas. Such extravagant reverence of Olympic and other victors -as we have outlined met, of course, with violent protests all through -Greek history, just as the excessive popularity of athletics has in our -time. The philosopher Xenophanes of Kolophon, who died 480 <span class="smcap lowercase">B. C.</span>, -was scandalized at the offering of divine honors to athletes.<a id="FNanchor_351"></a><a href="#Footnote_351" class="fnanchor">351</a> While he -denounced the popularity of athletics, Euripides later denounced the professionalism -which had begun to creep in after the middle of the fifth -century <span class="smcap lowercase">B. C.</span><a id="FNanchor_352"></a><a href="#Footnote_352" class="fnanchor">352</a> Plato, though a strong advocate of practical physical -training for war, was opposed to the vain spirit of competition in the -athletics of his day. He complained that professional athletes paid -excessive attention to diet, slept their lives away, and were in danger -of becoming brutalized.<a id="FNanchor_353"></a><a href="#Footnote_353" class="fnanchor">353</a> The last attack on professional athletics in -point of time was made in the second century <span class="smcap lowercase">A. D.</span> by Galen, in his<span class="pagenum"><a id="Page_37">37</a></span> -<i>Exhortation to the Arts</i>.<a id="FNanchor_354"></a><a href="#Footnote_354" class="fnanchor">354</a> In this essay the eminent physician contended -that the athlete was a benefit neither to himself nor to the state. -When we study the brutal portraits of prize-fighters on the contemporary -mosaics of the Baths of Caracalla at Rome, we can see to what -depths the old athletic ideal had sunk, and the justness of his rebuke.<a id="FNanchor_355"></a><a href="#Footnote_355" class="fnanchor">355</a></p> - -<h3>VOTIVE CHARACTER OF VICTOR DEDICATIONS.</h3> - -<p>That chariot and hippic monuments were votive in character can -scarcely be doubted. Pausanias distinguishes between gymnic victors -and equestrian ones.<a id="FNanchor_356"></a><a href="#Footnote_356" class="fnanchor">356</a> All authorities agree that equestrian monuments -were different in origin and character from those of other victors.<a id="FNanchor_357"></a><a href="#Footnote_357" class="fnanchor">357</a> -Gardiner believes that if the Olympic games developed out of a single -event, it was not the stade-race, but the chariot-race or heavy-armed-race. -He shows that the custom of making the stade runner eponymous -for the Olympiad is not earlier than the third century <span class="smcap lowercase">B. C.</span>, and did -not arise from the importance of that event, but from the accident of -its coming first on the program and first on the list of victors.<a id="FNanchor_358"></a><a href="#Footnote_358" class="fnanchor">358</a> Equestrian -monuments were dedicated at Olympia all through antiquity, -from the sixth century <span class="smcap lowercase">B. C.</span> to the second <span class="smcap lowercase">A. D.</span> The oldest was that of -the Spartan Euagoras already mentioned, who won in the chariot-race -three times in Ols. (?) 58–60 ( = 548–540 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_359"></a><a href="#Footnote_359" class="fnanchor">359</a> The latest dated -example is that of L. Minicius Natalis of Rome, who won in Ol. 227 -( = 129 <span class="smcap lowercase">A. D.</span>).<a id="FNanchor_360"></a><a href="#Footnote_360" class="fnanchor">360</a> Some of the inscriptions pertaining to equestrian groups -are in verse,<a id="FNanchor_361"></a><a href="#Footnote_361" class="fnanchor">361</a> while others are in prose.<a id="FNanchor_362"></a><a href="#Footnote_362" class="fnanchor">362</a> Most of them have the usual -dedicatory word ἀνέθηκε,<a id="FNanchor_363"></a><a href="#Footnote_363" class="fnanchor">363</a> or the formula Διὶ Ὀλυμπίῳ,<a id="FNanchor_364"></a><a href="#Footnote_364" class="fnanchor">364</a> while others -have the word ἔστησε<a id="FNanchor_365"></a><a href="#Footnote_365" class="fnanchor">365</a> and a few have no dedicatory word at all.<a id="FNanchor_366"></a><a href="#Footnote_366" class="fnanchor">366</a></p> - -<p>The question arises, then, whether ordinary victor monuments in -the Altis were votive in the sense that these equestrian ones were, or -merely honors granted to the victors. The crown of wild olive was -merely a temporary reward suiting the occasion of the victory. The -privilege of setting up a statue was granted in order to perpetuate -the fame of that occasion. In a well-known passage Pausanias<span class="pagenum"><a id="Page_38">38</a></span> -makes a sweeping generalization about monuments at Athens and -Olympia.<a id="FNanchor_367"></a><a href="#Footnote_367" class="fnanchor">367</a> He says that all objects on the Akropolis—including -statues—were ἀναθήματα or votive offerings, while some of those at -Olympia were dedicated to the god, but that the statues of athletes -were mere prizes of victory. In another passage<a id="FNanchor_368"></a><a href="#Footnote_368" class="fnanchor">368</a> also, in distinguishing -the various sorts of monuments at Olympia, he expressly -says that the statues of athletes were not devoted to Zeus, but were -marks of honor (ἐν ἄθλου λόγῳ) bestowed on the victors. These -statements of the Periegete have given rise to a good deal of fruitless -discussion. Furtwaengler follows Pausanias in saying that the right -of setting up statues was <i>ein wesentlicher Theil des Siegespreises</i>.<a id="FNanchor_369"></a><a href="#Footnote_369" class="fnanchor">369</a> -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 statues. Thus on that of the -boxer Euthymos are the words εἰκόνα δ’ ἔστησεν τήνδε βροτοῖς ἐσορᾶν.<a id="FNanchor_370"></a><a href="#Footnote_370" class="fnanchor">370</a> -Furtwaengler, therefore, has promulgated the theory that the victor -statues at Olympia were in no sense votive, though they were considered -to be the property of the god in whose grove they stood. He -cites the fact that the inscribed bases of such monuments down to the -first century <span class="smcap lowercase">B. C.</span>, with the exception of a few metrical epigrams, -make no mention of dedications, and that in these exceptions the -word ἀνέθηκε was added for metrical reasons,<a id="FNanchor_371"></a><a href="#Footnote_371" class="fnanchor">371</a> while during the same -centuries regular votive offerings (ἀναθῆματα) invariably have the -word ἀνέθηκε.<a id="FNanchor_372"></a><a href="#Footnote_372" class="fnanchor">372</a> One inscription, that from the base of the statue -of Euthymos of Lokroi, is both metrical and in prose;<a id="FNanchor_373"></a><a href="#Footnote_373" class="fnanchor">373</a> but it seems -to have been changed later in two places, the second line originally -ending in a pentameter, and the third line, with ἀνέθηκε, being -added afterwards.<a id="FNanchor_374"></a><a href="#Footnote_374" class="fnanchor">374</a> Also the prose inscription<a id="FNanchor_375"></a><a href="#Footnote_375" class="fnanchor">375</a> referred by Roehl to the<span class="pagenum"><a id="Page_39">39</a></span> -statue of the wrestler Milo is rejected by Dittenberger. The oldest -prose inscription which makes a votive offering out of a victor statue -at Olympia is that of Thaliarchos, who won his second victory in boxing -some time between 40 and 30 <span class="smcap lowercase">B. C.</span><a id="FNanchor_376"></a><a href="#Footnote_376" class="fnanchor">376</a> Then follow certain prose inscriptions -of imperial times.<a id="FNanchor_377"></a><a href="#Footnote_377" class="fnanchor">377</a> Dittenberger concludes that for four hundred -years there is no case of such a dedication.<a id="FNanchor_378"></a><a href="#Footnote_378" class="fnanchor">378</a> From the evidence of the -inscriptions from statue bases, therefore, it is clear that the distinction -made by Pausanias between honor and victor statues did not hold -good in his day, since the words ἀνάθημα and ἀνέθηκε were then -used on victor monuments at Olympia, as the inscriptions of the -imperial age just cited show, but that it did hold good for centuries -before the Roman period. Pausanias must have based his statement, -therefore, not on observation, but on the words of some earlier writer.<a id="FNanchor_379"></a><a href="#Footnote_379" class="fnanchor">379</a> -Furtwaengler’s reasoning has been followed pretty generally by archæologists.<a id="FNanchor_380"></a><a href="#Footnote_380" class="fnanchor">380</a> -While some, however, leave the question in doubt,<a id="FNanchor_381"></a><a href="#Footnote_381" class="fnanchor">381</a> others -are opposed to the idea that these statues were not votive. Thus R. -Schoell believes that the victor monuments were as truly ἀναθήματα -as the olive crowns.<a id="FNanchor_382"></a><a href="#Footnote_382" class="fnanchor">382</a> Reisch, who has discussed the question at -length,<a id="FNanchor_383"></a><a href="#Footnote_383" class="fnanchor">383</a> believes, in opposition to the earlier view of Furtwaengler, -that everything within the Altis must always <i>ipso facto</i> have been -regarded as dedications to the god. This would explain the frequent -omission of the name of the god, which would be superfluous, the victor -being content with inscribing his own name and the contest in which -he was victorious. Even the name of the contest does not always -appear.<a id="FNanchor_384"></a><a href="#Footnote_384" class="fnanchor">384</a> Reisch explains the omission of the formula ἀνέθηκε in -earlier inscriptions on the ground of epigrammatic brevity.<a id="FNanchor_385"></a><a href="#Footnote_385" class="fnanchor">385</a></p> - -<p>The truth must lie somewhere between the extremes represented by -the views of Furtwaengler and Reisch. Some athlete statues may have -been votive, while others were not. Thus Rouse argues<a id="FNanchor_386"></a><a href="#Footnote_386" class="fnanchor">386</a> that origi<span class="pagenum"><a id="Page_40">40</a></span>nally -all victor statues at Olympia were as truly votive as equestrian -groups, and as truly as those athlete statues continued to be, which were -dedicated in the victors’ native towns. Those inscribed with ἀνέθηκε at -Olympia must have been votive, for we should take the dedicator at his -word, instead of believing the formula to be added merely to make the -verse scan.<a id="FNanchor_387"></a><a href="#Footnote_387" class="fnanchor">387</a> There is no reason why an athlete should not dedicate -a statue of himself, representing himself as forever standing in the presence -of the god, as well as a diskos or jumping-weights; for it was customary -to make votive offerings representative of the events, and this -could be done best by presenting the athlete in a statue which showed -the characteristic attitude or the appropriate attributes. Rouse furthermore -believes that a change was slowly wrought in the course of -centuries, by which the original votive offering became a means of -self-glorification. Equestrian victors owed their victories not to themselves, -but to their horses, cars, drivers, and jockeys; in such cases the -group was a thing apart from the owner. Only seldom did such victors -dedicate statues of themselves alone. Even when the victor added -a statue of himself to the group, still it was the chariot and not the -statue which was emphasized.<a id="FNanchor_388"></a><a href="#Footnote_388" class="fnanchor">388</a> On the other hand the ordinary gymnic -victor relied on himself—on his strength, endurance, courage, and -other qualities; and in representing the contest the victor himself had -to be represented. Consequently, by the fifth century <span class="smcap lowercase">B. C.</span>, if not -earlier, the statues of athletes had become memorials of personal glory.</p> - -<h3>MISCELLANEOUS MEMORIALS TO VICTORS.</h3> - -<p>A statue was not the only memorial erected in honor of an Olympic -victor, though it was by far the commonest. We have already mentioned -the bronze inscribed diskos dedicated by the pentathlete P. -Asklepiades in the third century <span class="smcap lowercase">A. D.</span><a id="FNanchor_389"></a><a href="#Footnote_389" class="fnanchor">389</a> A green stone leaping-weight -inscribed with the name Κῳδίας appears to have been dedicated -by a victor.<a id="FNanchor_390"></a><a href="#Footnote_390" class="fnanchor">390</a> In two cases stelæ were set up in honor of victors.<a id="FNanchor_391"></a><a href="#Footnote_391" class="fnanchor">391</a> A<span class="pagenum"><a id="Page_41">41</a></span> -curious dedication was a bronze chapel, which the Sikyonian tyrant -Myron dedicated to Apollo at Olympia.<a id="FNanchor_392"></a><a href="#Footnote_392" class="fnanchor">392</a> In later days it became -part of the treasury of the Sikyonians.<a id="FNanchor_393"></a><a href="#Footnote_393" class="fnanchor">393</a> Outside Olympia various -monuments commemorating Olympic victors were set up. These will -be discussed in Chapter VIII.</p> - -<h3>HONORARY STATUES.</h3> - -<p>At Olympia, as elsewhere in Greece, statues were set up to men -<i>honoris causa</i>. Such statues would be dedicated by admirers, either -individuals or states. They were in no sense intended to honor the -god, though at Olympia they might be classed as ἀναθήματα, just as -victor statues, merely because they were erected in the sacred precinct. -They were granted to individuals not as a privilege, as victor statues -were, but as free gifts. Dio Chrysostom gives the difference between -victor statues—which he classes as ἀναθήματα—and such honor statues -in these words: ταῦτα (<i>i. e.</i>, victor statues) γάρ ἐστιν ἀναθήματα· -αἱ δ’ εἰκόνες τιμαί· κἀκεῖνα (victor statues) δέδοται τοῖς θεοῖς, ταῦτα δὲ -(honor statues) τοῖς ἀγαθοῖς ἀνδράσιν οἵπερ εἰσὶν ἔγγιστα αὐτῶν.<a id="FNanchor_394"></a><a href="#Footnote_394" class="fnanchor">394</a> 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 Antenor, -which were erected in 509 <span class="smcap lowercase">B. C.</span>, the year in which the tyrants were -expelled.<a id="FNanchor_395"></a><a href="#Footnote_395" class="fnanchor">395</a> He adds that a “refined ambition” led to a universal adoption -of the custom and that statues began to adorn public places everywhere -and later on even private houses. The custom grew apace in the -later history of Greece. Demetrios of Phaleron is said to have had -over three hundred statues erected in his honor during his short régime -of about a year in Athens. The Diadochoi and the Roman emperors -enthusiastically took over the custom. Pliny gives several Roman -examples of it.<a id="FNanchor_396"></a><a href="#Footnote_396" class="fnanchor">396</a></p> - -<p>At Olympia Pausanias mentions honorary statues erected to thirty-five -men for various reasons.<a id="FNanchor_397"></a><a href="#Footnote_397" class="fnanchor">397</a> To several of these men more than one -statue was erected.<a id="FNanchor_398"></a><a href="#Footnote_398" class="fnanchor">398</a> The greater number of these statues were erected -to kings and princes, to those of Sparta,<a id="FNanchor_399"></a><a href="#Footnote_399" class="fnanchor">399</a> Athens,<a id="FNanchor_400"></a><a href="#Footnote_400" class="fnanchor">400</a> Epeiros,<a id="FNanchor_401"></a><a href="#Footnote_401" class="fnanchor">401</a> Sicily,<a id="FNanchor_402"></a><a href="#Footnote_402" class="fnanchor">402</a><span class="pagenum"><a id="Page_42">42</a></span> -Macedonia, and Alexander’s Empire.<a id="FNanchor_403"></a><a href="#Footnote_403" class="fnanchor">403</a> One was erected in honor of -the philosopher Aristotle,<a id="FNanchor_404"></a><a href="#Footnote_404" class="fnanchor">404</a> one in honor of the rhetorician Gorgias of -Leontini,<a id="FNanchor_405"></a><a href="#Footnote_405" class="fnanchor">405</a> one in honor of a hunter,<a id="FNanchor_406"></a><a href="#Footnote_406" class="fnanchor">406</a> another in honor of a flute-player,<a id="FNanchor_407"></a><a href="#Footnote_407" class="fnanchor">407</a> -and many others in honor of public and private men. These statues -were set up for various reasons. 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 burial. Kylon had a -statue erected by the Aitolians because he freed the Eleans from the -tyranny of Aristotimos.<a id="FNanchor_408"></a><a href="#Footnote_408" class="fnanchor">408</a> Pythes of Abdera was thus honored by his -soldiers because of his military prowess.<a id="FNanchor_409"></a><a href="#Footnote_409" class="fnanchor">409</a> Philonides of Crete was, as -we learn from the recovered inscription on his statue base, the courier of -Alexander the Great.<a id="FNanchor_410"></a><a href="#Footnote_410" class="fnanchor">410</a> Pythokritos was honored for his flute-playing, -though he does not appear to have been a victor.<a id="FNanchor_411"></a><a href="#Footnote_411" class="fnanchor">411</a> The Palaians of -Kephallenia honored Timoptolis of Elis,<a id="FNanchor_412"></a><a href="#Footnote_412" class="fnanchor">412</a> and the Aitolians honored -the Elean Olaidas<a id="FNanchor_413"></a><a href="#Footnote_413" class="fnanchor">413</a> for unknown reasons. At least seven, if not -eight, of those thus honored with statues were Eleans. Some of the -men who had honor statues were also victors at Olympia, a fact which -would appear on the inscribed base. Thus Aratos, the son of Kleinias -of Sikyon, the statesman, had a statue erected to him by the Corinthians. -This was doubtless an honor statue, though Pausanias also says he was a -chariot-victor.<a id="FNanchor_414"></a><a href="#Footnote_414" class="fnanchor">414</a> On the other hand, the statue erected in honor of the -pentathlete Stomios was probably a victor monument, though Pausanias -says that its inscription records that he was an Elean cavalry -general who challenged the enemy to a duel, in which he was slain.<a id="FNanchor_415"></a><a href="#Footnote_415" class="fnanchor">415</a> In -some cases it is hard to decide whether the statue is honorary or victor -in character. In the course of time honor statues multiplied, while -those of athletes decreased. The recovered inscriptions on the latter -decrease steadily in the fourth and third centuries <span class="smcap lowercase">B. C.</span>, revive again -in the second and first, and decrease in the first Christian century. -They cease almost entirely after the middle of the second century <span class="smcap lowercase">A. D.</span></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_43">43</a></span></p> - -<h2>CHAPTER II.<br /> - -<small>GENERAL CHARACTERISTICS OF VICTOR STATUES -AT OLYMPIA.</small></h2> - -<p class="center"><span class="smcap">Plates 2–7 and Figures 3–8.</span></p> - -<p>Only a few insignificant remnants of the forest of victor statues -which once stood in the Altis at Olympia were unearthed by the German -excavators. Most of these statues already in antiquity had -been carried off to Italy,<a id="FNanchor_416"></a><a href="#Footnote_416" class="fnanchor">416</a> 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 Ages. Consequently -only here and there in modern museums can isolated fragments of -these originals be discovered, which have accidentally survived the -ravages of time and man.</p> - -<p>In the almost complete absence of originals, therefore, we depend -for our knowledge of them on a variety of sources. In attempting -to reconstruct them we have two main sources of information to -aid us, the literary and the archæological. To the former belong the -many inscriptions found on the statue bases recovered at Olympia, -which contain the name and native city of the victor, the athletic -contest in which his victory was won, and frequently some account of his -former athletic history; epigrams preserved in the Greek anthologies -and elsewhere, some of which agree with those inscribed on the statue -bases; more or less definite statements of scholiasts and the classical -writers in general, especially the detailed account of the monuments of -Olympia contained in the fifth and sixth books of the Ἑλλάδος περιήγησις -of Pausanias, who visited the Altis during the reign of Marcus Aurelius -Antoninus,<a id="FNanchor_417"></a><a href="#Footnote_417" class="fnanchor">417</a> and also the somewhat systematic treatment of Greek -sculptors and their works in the elder Pliny’s chapters on the History -of Art.<a id="FNanchor_418"></a><a href="#Footnote_418" class="fnanchor">418</a> To the latter source belong the remnants of statues in bronze -and marble found at Olympia, as well as the recovered bases, on many -of which the extant footmarks enable us to recover the pose of the<span class="pagenum"><a id="Page_44">44</a></span> -statues which formerly stood upon them. Finally, in reconstructing -these athlete statues, an intimate knowledge of Greek sculpture in all -its phases and periods is essential. Here, as in the general study of -Greek sculpture, where the destruction of originals has been almost -complete, we are largely dependent on Roman copies which were -executed by more or less skilled workmen, chiefly for wealthy Roman -patrons of art who wished to use them to decorate the public buildings, -baths, palaces, and villas of Rome and other Italian cities. A -careful study of these copies has evolved a series of groups, which have -been assigned with more or less probability to this or that artist.<a id="FNanchor_419"></a><a href="#Footnote_419" class="fnanchor">419</a> -Representations of the various poses of the athlete statues of Olympia -and elsewhere are found also on every sort of sculptured and painted -works—reliefs, vases, coins, gems—which are, therefore, valuable in -any attempt to reconstruct the attitude of a given statue.</p> - -<p>Taking into account all these sources of knowledge, it has been -possible to reach tolerable certainty in reconstructing the main types -of these victor monuments, and in identifying schools, masters, and -individual works. This identification of athlete statues, especially -those belonging to the fifth and fourth centuries <span class="smcap lowercase">B. C.</span>, among the -countless Roman works which people modern museums, has already -been achieved in many cases by archælogical investigations. 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 -ascriptions; especially that of Myron, who represented figures in rhythmic -action full of life and vigor; of the elder Polykleitos, who was a -master in representing standing figures at rest fashioned according to a -mathematical system of proportions; of Lysippos, who introduced a -new canon of proportions in opposition to that of his predecessor -Polykleitos, and who inaugurated the naturalistic tendency in Greek -art, which was destined to he carried to such unbecoming lengths in -succeeding centuries. The further identification of such statues, 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 extended, will be one of the most important tasks of -the archæologist in the future.</p> - -<p>Before discussing the appearance of individual types of these monuments, -we shall consider certain general characteristics common to all -of them. Long ago K. O. Mueller<a id="FNanchor_420"></a><a href="#Footnote_420" class="fnanchor">420</a> summed up the common features -of victor statues in these words: <i>Kurzgelocktes Haar, tuechtige Glieder, -eine kraeftige Ausbildung der Gestalt und verhaeltnissmaessig kleine -Koepfe characterisiren die ganze Gattung von Figuren; die zerschlagenen -Ohren und die hervorgetriebenen Muskeln insbesondere die Faustkaempfer<span class="pagenum"><a id="Page_45">45</a></span> -und Pankratiasten.</i> Though in the main this excellent summary still -holds good, we are now in a position to correct it in part and to add -other equally characteristic features to it. We shall briefly discuss, -therefore, in the light of recent investigations, certain of the characteristics -common to this <i>genre</i> of sculpture—the material and size of -these statues, their nudity and fashion of wearing the hair, their twofold -division into iconic and aniconic, their proportions, and, lastly, the -assimilation of their appearance to well-known types of hero or god.</p> - -<h3>SIZE OF VICTOR STATUES.</h3> - -<p>In another section<a id="FNanchor_421"></a><a href="#Footnote_421" class="fnanchor">421</a> we show that the overwhelming majority of the -statues in the Altis were of bronze, though other materials, stone -and wood, were also used in some cases. As to the size of these -statues, no hard and fast rule seems to have been followed, but -we may assume from the evidence at hand that they were in general -life-size.<a id="FNanchor_422"></a><a href="#Footnote_422" class="fnanchor">422</a> Lucian would have us believe that the Hellanodikai -did not allow victors to set up statues larger than life.<a id="FNanchor_423"></a><a href="#Footnote_423" class="fnanchor">423</a> We know, -however, that there were exceptions to such a rule. In all probability -the statue of Polydamas of Skotoussa by Lysippos, which Pausanias says -stood on a high pedestal, was larger than life-size, if we may conjecture -from its elevated position and the probable source of Pausanias’ remark -that he “was the tallest of men, if we except the so-called heroes and -the mortal race which preceded the heroes.”<a id="FNanchor_424"></a><a href="#Footnote_424" class="fnanchor">424</a> 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-size.<a id="FNanchor_425"></a><a href="#Footnote_425" class="fnanchor">425</a> The footprints on the base of the statue of the Rhodian -boxer Eukles by the Argive Naukydes are about 33 cm. long, and so the -statue was slightly over life-size.<a id="FNanchor_426"></a><a href="#Footnote_426" class="fnanchor">426</a> We know the actual size of at least -two of these Olympic statues. The scholiast on Pindar, <i>Ol.</i> VII, Argum., -on the basis of a fragment from Aristotle’s lost work on the Olympic -victors and one from the little-known writer Apollas Ponticus,<a id="FNanchor_427"></a><a href="#Footnote_427" class="fnanchor">427</a> says -that the statue of the Rhodian boxer Diagoras was 4 cubits and 5 fingers -<span class="pagenum"><a id="Page_46">46</a></span>tall,<a id="FNanchor_428"></a><a href="#Footnote_428" class="fnanchor">428</a> <i>i. e.</i>, about 6 feet 4.5 inches, somewhat over life-size.<a id="FNanchor_429"></a><a href="#Footnote_429" class="fnanchor">429</a> From -the same scholiast we learn that the statue of the son of Diagoras, -the pancratiast Damagetos, was 4 cubits high, or less than that of -the father by 5 fingers, and consequently just under 6 feet.<a id="FNanchor_430"></a><a href="#Footnote_430" class="fnanchor">430</a> The -footprints on the base of the statue of the boxer Aristion by the elder -Polykleitos are 29 cm. long, and so the statue was just life-size.<a id="FNanchor_431"></a><a href="#Footnote_431" class="fnanchor">431</a> There -are several examples of such life-size statues,<a id="FNanchor_432"></a><a href="#Footnote_432" class="fnanchor">432</a> while others are slightly -below life-size.<a id="FNanchor_433"></a><a href="#Footnote_433" class="fnanchor">433</a> The Polykleitan statue of a boxer in Kassel is under -life-size.<a id="FNanchor_434"></a><a href="#Footnote_434" class="fnanchor">434</a> The marble head of a statue found at Olympia, which we -ascribe to Philandridas, the Akarnanian pancratiast, by Lysippos, -(Frontispiece and Fig. <a href="#f69">69</a>) is also under life-size,<a id="FNanchor_435"></a><a href="#Footnote_435" class="fnanchor">435</a> as is also that of the -pancratiast Agias found at Delphi (Pl. <a href="#p27">27</a> and Fig. <a href="#f68">68</a>). These two are -in harmony with Pliny’s statement that Lysippos made the heads of -his statues relatively small.<a id="FNanchor_436"></a><a href="#Footnote_436" class="fnanchor">436</a> Perhaps this statement of Pliny was -the basis of the opinion of Mueller recorded above that “comparatively -small heads” characterize the whole <i>genre</i> of victor statues. -We have in the preceding chapter mentioned the marble fragments -of the statues of boy victors, two-fifths to two-thirds life-size, found at -Olympia.<a id="FNanchor_437"></a><a href="#Footnote_437" class="fnanchor">437</a> The two marble helmeted heads of the archaic period -found there, which we shall later ascribe to hoplite victors (Fig. <a href="#f30">30</a>), -are exactly life-size.<a id="FNanchor_438"></a><a href="#Footnote_438" class="fnanchor">438</a> Of the bronze fragments recovered at Olympia,<a id="FNanchor_439"></a><a href="#Footnote_439" class="fnanchor">439</a> -the head of a boxer of the fourth century <span class="smcap lowercase">B. C.</span> (Fig. <a href="#f61">61</a>, A and B) -is life-size,<a id="FNanchor_440"></a><a href="#Footnote_440" class="fnanchor">440</a> while the extraordinarily beautifully sculptured right arm -ascribed to a boy victor by Furtwaengler<a id="FNanchor_441"></a><a href="#Footnote_441" class="fnanchor">441</a> is a little under life-size.</p> - -<p><span class="pagenum"><a id="Page_47">47</a></span></p> - -<h3>NUDITY OF VICTOR STATUES.</h3> - -<p>Most of the victor statues at Olympia were nude.<a id="FNanchor_442"></a><a href="#Footnote_442" class="fnanchor">442</a> In the early -period all athletes wore the loin-cloth. Cretan frescoes show it was -the custom in the early Mediterranean world. The athletes of Homer -girded themselves on entering the games of Patroklos,<a id="FNanchor_443"></a><a href="#Footnote_443" class="fnanchor">443</a> and the girdle -appears in the earliest athletic scenes on vases.<a id="FNanchor_444"></a><a href="#Footnote_444" class="fnanchor">444</a> Throughout the historic -period, however, the Greeks entered their contests in complete nudity, -and this nudity naturally was carried over into athletic sculpture. -Pliny’s<a id="FNanchor_445"></a><a href="#Footnote_445" class="fnanchor">445</a> statement, <i>Graeca res nihil velare</i>, is, therefore, correct, despite -another of Philostratos to the effect that at Delphi, at the Isthmus, -and everywhere except at Olympia, the athlete wore the coarse mantle.<a id="FNanchor_446"></a><a href="#Footnote_446" class="fnanchor">446</a> -The beginning of the change from wearing the loin-cloth to -complete nudity was ascribed to an accident. The Megarian runner -Orsippos in the 15th Ol. ( = 720 <span class="smcap lowercase">B. C.</span>) dropped his loin-cloth -while running, either accidentally or because it impeded him.<a id="FNanchor_447"></a><a href="#Footnote_447" class="fnanchor">447</a> The -story was commemorated by an epigram, perhaps by Simonides, -which was inscribed on his tomb at Megara.<a id="FNanchor_448"></a><a href="#Footnote_448" class="fnanchor">448</a> A copy of this epigram -in the Megarian dialect, executed in late Roman or Byzantine times, -when the original had become illegible, was discovered at Megara in -1769 and shows that its original was the source of Pausanias’ remarks.<a id="FNanchor_449"></a><a href="#Footnote_449" class="fnanchor">449</a> -Philostratos says that athletes contended nude at Olympia, either because -of the summer heat or a mishap which befell the woman Pherenike -of Rhodes. She accompanied her son, the boy boxer Peisirhodos,<span class="pagenum"><a id="Page_48">48</a></span> -to Olympia disguised as a trainer, and in her joy at his victory she -leaped over the barrier and disclosed her sex.<a id="FNanchor_450"></a><a href="#Footnote_450" class="fnanchor">450</a> The practice does not -appear to have become universal with all athletes in all the competitions -at Olympia until some time after Orsippos’ day, 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 foreigners, -notably Asiatics, in boxing and wrestling matches.<a id="FNanchor_451"></a><a href="#Footnote_451" class="fnanchor">451</a> The -change is not illustrated in sculpture. The earliest victor statues, -<i>i. e.</i>, those of the “Apollo” type, are all nude. The nudity of this -type shows an essential difference between Greek and foreigner and -also between the later Greek and his rude ancestor. Plato gives the -use of the loin-cloth as an example of convention, by which what -seems peculiar to one generation becomes usual to another.<a id="FNanchor_452"></a><a href="#Footnote_452" class="fnanchor">452</a> We see -the change, however, in vase-paintings. The loin-cloth is common -on seventh-century vases, but is gradually left off in later ones.</p> - -<p>There were exceptions to the rule of nudity. Statues of charioteers -were usually partly or wholly dressed in the long chiton, a custom -explained in various ways.<a id="FNanchor_453"></a><a href="#Footnote_453" class="fnanchor">453</a> The Delphi bronze <i>Charioteer</i> (Fig. <a href="#f66">66</a>) -is a good example of a draped one. Another <i>auriga</i> almost nude -is shown on a decadrachm of Akragas in the British Museum, dating -from the end of the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_454"></a><a href="#Footnote_454" class="fnanchor">454</a> There are also several examples -of nude charioteers.<a id="FNanchor_455"></a><a href="#Footnote_455" class="fnanchor">455</a> The Olympic runners and athletes -generally were also bareheaded and barefoot. The only exceptions -were the hoplite-runners, who wore helmets, and possibly charioteers, -who wore sandals.<a id="FNanchor_456"></a><a href="#Footnote_456" class="fnanchor">456</a> Statues of women victors also were draped.<span class="pagenum"><a id="Page_49">49</a></span> -Though Ionian women could witness games,<a id="FNanchor_457"></a><a href="#Footnote_457" class="fnanchor">457</a> and Spartan girls took -part in athletic contests with boys,<a id="FNanchor_458"></a><a href="#Footnote_458" class="fnanchor">458</a> women were rigorously excluded -from crossing the Alpheios during the festival at Olympia.<a id="FNanchor_459"></a><a href="#Footnote_459" class="fnanchor">459</a> They -were allowed, however, to enter horses for the chariot-race and, if -victorious, to set up monuments.<a id="FNanchor_460"></a><a href="#Footnote_460" class="fnanchor">460</a> Only one woman was allowed to -witness the games, the priestess of the old earth cult of Demeter -Chamyne, who could sit at the altar in the stadion during the contests.<a id="FNanchor_461"></a><a href="#Footnote_461" class="fnanchor">461</a> -Pausanias notes but one exception of a woman infringing the rule of -admission, Pherenike, the mother of the Rhodian victor Peisirhodos -already mentioned. She was pardoned because her father, brothers, -and son were victors, but the umpires passed a law that thereafter -even trainers should be nude.<a id="FNanchor_462"></a><a href="#Footnote_462" class="fnanchor">462</a> While excluded from the games proper, -women had their own festival at Olympia in honor of Hera, which -was known as the <i>Heraia</i>. These games occurred every four years<a id="FNanchor_463"></a><a href="#Footnote_463" class="fnanchor">463</a> -and included a foot-race between virgins, in which the course -was one-sixth less than the stadion. The victress received an olive -crown and also a share of the cow sacrificed to Hera, and was -allowed to set up a painted picture of herself in the Heraion.<a id="FNanchor_464"></a><a href="#Footnote_464" class="fnanchor">464</a> -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 (Plate 2),<a id="FNanchor_465"></a><a href="#Footnote_465" class="fnanchor">465</a> since Pausanias says they ran with their hair<span class="pagenum"><a id="Page_50">50</a></span> -down and wore a tunic which reached to just above the knees, -leaving the right shoulder bare to the breast. That the statue represents -a girl runner seems certain,<a id="FNanchor_466"></a><a href="#Footnote_466" class="fnanchor">466</a> but that it can be referred -to one of the Olympic girl victresses is doubtful. The description of -Pausanias fits it in many respects, except that the chiton of the -statue is too short, and he does not mention the girdle just below the -bosom. Furthermore, he does not mention statues of girl victresses, -but only pictures. Nothing can be argued from the palm-branch on -the tree-stump, except that the Roman copyist thought it the statue -of a victress. It does not necessarily refer to a victress at Olympia, -for Pausanias elsewhere says that the palm-branch was given at many -contests.<a id="FNanchor_467"></a><a href="#Footnote_467" class="fnanchor">467</a> The statue represents a young girl leaning forward awaiting -the signal to start,<a id="FNanchor_468"></a><a href="#Footnote_468" class="fnanchor">468</a> but it is impossible to say to what games we should -refer it. There were girls’ contests in and out of Greece—such as at -the <i>Dionysia</i> in Sparta<a id="FNanchor_469"></a><a href="#Footnote_469" class="fnanchor">469</a> and in her colony Kyrene.<a id="FNanchor_470"></a><a href="#Footnote_470" class="fnanchor">470</a> Such games were -also held in the stadion of Domitian at Rome.<a id="FNanchor_471"></a><a href="#Footnote_471" class="fnanchor">471</a> In fact the Palatine -estate of the Barberini, from whom the Vatican acquired the statue, -embraced the area of the old stadion of Domitian on the Palatine. -It is probably of Doric workmanship, as it certainly represents a Dorian -victress, though not necessarily by a Peloponnesian sculptor.<a id="FNanchor_472"></a><a href="#Footnote_472" class="fnanchor">472</a></p> - -<h3>THE ATHLETIC HAIR-FASHION.</h3> - - -<div class="figcenter500"><p class="right">PLATE 2</p><a id="p2"></a> -<img src="images/i_fp050.jpg" width="500" height="853" alt="Marble Statue of a Girl Runner." /> -<div class="caption">Marble Statue of a Girl Runner. Vatican Museum, Rome.</div> -</div> - -<p>The assumption long held that short hair was always characteristic -of the athlete is incorrect.<a id="FNanchor_473"></a><a href="#Footnote_473" class="fnanchor">473</a> It is controverted equally by literary -evidence and by the monuments. The Homeric Greek took pride in -<span class="pagenum"><a id="Page_51">51</a></span>his long hair,<a id="FNanchor_474"></a><a href="#Footnote_474" class="fnanchor">474</a> and doubtless the contestants at the games of Patroklos -in the Iliad had long hair. Long hair was worn by some Athenians -throughout Athenian history. From the end of the fifth century <span class="smcap lowercase">B. C.</span>, -long hair was regarded as a mark of effeminacy<a id="FNanchor_475"></a><a href="#Footnote_475" class="fnanchor">475</a> and was regularly -worn only by the knights.<a id="FNanchor_476"></a><a href="#Footnote_476" class="fnanchor">476</a> Short hair was worn as a sign of mourning -in Athens from early days down.<a id="FNanchor_477"></a><a href="#Footnote_477" class="fnanchor">477</a> Only the slaves regularly wore -very short hair in the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_478"></a><a href="#Footnote_478" class="fnanchor">478</a> The change to short hair -in Athens was certainly due to the influence of the palæstra and to -athletics in general.<a id="FNanchor_479"></a><a href="#Footnote_479" class="fnanchor">479</a> We see just the opposite custom in vogue in -Sparta. There, according to the code of Lykourgos,<a id="FNanchor_480"></a><a href="#Footnote_480" class="fnanchor">480</a> men were compelled -to wear long hair and children short hair. Thus the heroes of -Leonidas entered the battle of Thermopylæ after combing their long -locks.<a id="FNanchor_481"></a><a href="#Footnote_481" class="fnanchor">481</a> After the Persian wars only children and men with laconizing -or aristocratic sympathies<a id="FNanchor_482"></a><a href="#Footnote_482" class="fnanchor">482</a> wore their hair long at Athens. When -boys arrived at the age of ἔφηβοι, they had their hair cut at the feast -of the οἰνιστήρια<a id="FNanchor_483"></a><a href="#Footnote_483" class="fnanchor">483</a> and dedicated it to a god.<a id="FNanchor_484"></a><a href="#Footnote_484" class="fnanchor">484</a> Soon after the Persian -war period, athletes wore their hair short. Before that time, the -wearing of long hair had already been discarded for obvious reasons in -wrestling.<a id="FNanchor_485"></a><a href="#Footnote_485" class="fnanchor">485</a> Similarly, in boxing and the pankration long hair was -in the way, 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 top, the so-called Attic κρωβύλος, the oftenest mentioned -manner of dressing the hair in Greek literature.<a id="FNanchor_486"></a><a href="#Footnote_486" class="fnanchor">486</a> The oldest notice<span class="pagenum"><a id="Page_52">52</a></span> -of this style of wearing the hair is found in a fragment of Asios.<a id="FNanchor_487"></a><a href="#Footnote_487" class="fnanchor">487</a> Herakleides -Ponticus<a id="FNanchor_488"></a><a href="#Footnote_488" class="fnanchor">488</a> says it was used up to the time of the Persian wars. -The <i>locus classicus</i> is in Thukydides, who says it was worn in his day by -old people only.<a id="FNanchor_489"></a><a href="#Footnote_489" class="fnanchor">489</a> Earlier young men wore it,<a id="FNanchor_490"></a><a href="#Footnote_490" class="fnanchor">490</a> but it went out of fashion -between 470 and 460 <span class="smcap lowercase">B. C.</span> 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 <i>cirrus</i>.<a id="FNanchor_491"></a><a href="#Footnote_491" class="fnanchor">491</a></p> - -<p>The monumental evidence bears out the literary. Thus, on old -Corinthian clay tablets freemen are represented with long hair, while -slaves have short hair.<a id="FNanchor_492"></a><a href="#Footnote_492" class="fnanchor">492</a> Hydrias from Caere (Cerveteri) and paintings -from Klazomenai show that the Ionians wore their hair short for the -first time in the sixth century <span class="smcap lowercase">B. C.</span>, the custom not becoming general -until the fifth. Older Spartan monuments represent the hair long.<a id="FNanchor_493"></a><a href="#Footnote_493" class="fnanchor">493</a> -Attic vases show long hair on men until the second half of the sixth -century <span class="smcap lowercase">B. C.</span>, when the black-figured vase masters began to represent -them with short hair, a custom becoming general in the first half of the -fifth. In statuary the <i>Diskobolos</i> of Myron (Pls. 21, 26, and Figs. 34, 35) -has short hair, and most statues of athletes before it have long hair, -while most after it have short. Before the time of the <i>Diskobolos</i>, b.-f. -and early r.-f. vase-painters often represented athletes with braided hair -in the fashion of the warriors on the Aegina pediments. When short -hair began to be used on athlete statues, these older braids were often -replaced by victor bands.<a id="FNanchor_494"></a><a href="#Footnote_494" class="fnanchor">494</a> We may roughly summarize by saying -that statues before the date of the <i>Diskobolos</i> which do not have long -hair are probably those of athletes and not of gods, and, in any case, -if they have braids bound up in the fashion of the κρωβύλος, they are -almost always statues of athletes.<a id="FNanchor_495"></a><a href="#Footnote_495" class="fnanchor">495</a> As for short hair on representations -of gods, Furtwaengler has shown that it appears only after the -middle of the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_496"></a><a href="#Footnote_496" class="fnanchor">496</a> Prior to that date the hair of divinities -fell over the neck and shoulders in curls, as in the statue of the -<i>Olympian Zeus</i> by Pheidias. By the time of Perikles, however, short -curly hair reached only to the nape of the neck on statues of Zeus,<span class="pagenum"><a id="Page_53">53</a></span> -and this style frequently appears on figures of the god on Attic vases -of that period. Dionysos has short hair for the first time on the -Parthenon frieze.<a id="FNanchor_497"></a><a href="#Footnote_497" class="fnanchor">497</a> Furtwaengler has shown that Pheidias did not -invent the short bound-up hair for goddess types, as we see it in -the <i>Lemnian Athena</i>, but that he borrowed it from works already -in existence.<a id="FNanchor_498"></a><a href="#Footnote_498" class="fnanchor">498</a> Though the style was unknown in the archaic period, -it appears on helmeted heads of Athena of the early fifth century -<span class="smcap lowercase">B. C.</span> showing Peloponnesian style—on coins, statuettes, reliefs, etc. -It appears in Attic art exclusively on bareheaded types of Athena -of the period just prior to that of the <i>Lemnia</i>.</p> - -<p>Bulle<a id="FNanchor_499"></a><a href="#Footnote_499" class="fnanchor">499</a> has gone carefully into the technique of the hair by different -Greek artists. In archaic times this was “<i>ein, man darf sagen, unmoegliches -Problem</i>.” The primitive means at the disposal of the -early artist made it impossible to render the hair naturally and hence -it was conventionalized. Two styles arose in archaic times, which -endured with modifications all through Greek art. The one was -the pictorial (<i>malerisch</i>), where only the general appearance of the -hair was represented, the merest necessary plastic form being added.<a id="FNanchor_500"></a><a href="#Footnote_500" class="fnanchor">500</a> -Painting here helped the shortcomings of the sculptor to some extent. -The second style was the plastic (<i>plastisch</i>), where individual locks -were attempted. The plastic use of light and shade made the use of -color now less necessary. Such examples as the <i>Korai</i> of the Akropolis -Museum and the Rampin head in the Louvre show the difficulty which -the early artist encountered in representing hair plastically. In the -Rampin head<a id="FNanchor_501"></a><a href="#Footnote_501" class="fnanchor">501</a> we see examples of three sorts of plastic hair treatment: -the pearl-string (<i>Perlschnuerre</i>) on the neck, grained hair (<i>Koerner</i>) in -the beard, and snail-volutes (<i>geperlte Schnecken</i>) on the forehead. None -of the three seems to belong integrally to the head, but each appears -to have been pasted on. The pearl-string fashion was first used in -the soft <i>poros</i> stone and was only later successfully transferred to -marble. During the severe style of Greek sculpture, both fashions, -pictorial and plastic, were used, as we see them in the pediment -groups from the temple of Zeus at Olympia. In the period of Pheidias -the plastic treatment was used almost exclusively, as we see in -the <i>Lemnian Athena</i>. In the next century impressionism came in, -though the plastic treatment still continued, for we see it in the -bronze work of Lysippos and the marble work of Praxiteles. The -old pictorial treatment was revived again in the later Hellenistic age.</p> - -<p><span class="pagenum"><a id="Page_54">54</a></span></p> - -<h3>ICONIC AND ANICONIC STATUES.</h3> - -<p>In a well-known passage Pliny says that “the ancients did not make -any statue of individuals unless they deserved immortality by some -distinction, originally by a victory at some sacred games, especially -those of Olympia, where it was the custom to dedicate statues of all -those who had conquered, and portrait statues if they had conquered -three times. These are called iconic.”<a id="FNanchor_502"></a><a href="#Footnote_502" class="fnanchor">502</a> Many solutions of this passage -have been offered. Older commentators, as Hirt and Visconti,<a id="FNanchor_503"></a><a href="#Footnote_503" class="fnanchor">503</a> -interpreted Pliny’s word <i>iconicas</i> as life-size statues. Scherer, however, -easily refuted this idea and showed that the adjective εἰκονικός, -though ambiguous in its meaning, had nothing to do with size, but -referred rather to an individual as opposed to a typical sense in relation -to statuary. In his explanation he referred to the words of Lessing -in the <i>Laokoön</i>: <i>es ist das Ideal eines gewissen Menschen, nicht das -Ideal eines Menschen ueberhaupt</i>.<a id="FNanchor_504"></a><a href="#Footnote_504" class="fnanchor">504</a> Nowadays all scholars agree that -Pliny’s word refers to portrait statues.<a id="FNanchor_505"></a><a href="#Footnote_505" class="fnanchor">505</a> However, Pliny’s dictum -about the right of setting up portrait statues is certainly open to doubt.<a id="FNanchor_506"></a><a href="#Footnote_506" class="fnanchor">506</a> -It can not have been true of monuments erected before the fourth -century <span class="smcap lowercase">B. C.</span>, when portrait statues were rare. Portraiture was a -form of realism and was a product of the later period of Greek art—especially -after the time of Lysippos. In the fourth century <span class="smcap lowercase">B. C.</span> -we find one well-attested exception to Pliny’s rule. The discovered -inscription from the base of a monument erected to the horse-racer -Xenombrotos of Cos,<a id="FNanchor_507"></a><a href="#Footnote_507" class="fnanchor">507</a> reads (fifth line): τοῖ[ος], ὁποῖο[ν] ὁ[ρ]ᾷς Ξεινόμβροτο[ς]. -These words indubitably point to a portrait statue. However,<span class="pagenum"><a id="Page_55">55</a></span> -neither the recovered epigram nor Pausanias indicates anything about -this victor being a τρισολυμπιονίκης, and consequently he appears -not to have merited a portrait statue.<a id="FNanchor_508"></a><a href="#Footnote_508" class="fnanchor">508</a> Pliny’s statement can be -explained in many ways: it may be apocryphal, or different usages -may have fitted different periods; or the rule may have held good only -for gymnic victors and not for equestrian ones, which, being strictly -votive in character, may not have been restricted to its operation.<a id="FNanchor_509"></a><a href="#Footnote_509" class="fnanchor">509</a></p> - -<h4><span class="smcap">Portrait Statues.</span></h4> - -<p>Pausanias mentions the monuments of several victors at Olympia -who were entitled to portrait statues on the strength of Pliny’s rule, -though we have no indication that they were so honored. Thus he -mentions the statues of Dikon,<a id="FNanchor_510"></a><a href="#Footnote_510" class="fnanchor">510</a> Sostratos,<a id="FNanchor_511"></a><a href="#Footnote_511" class="fnanchor">511</a> Philinos,<a id="FNanchor_512"></a><a href="#Footnote_512" class="fnanchor">512</a> and Gorgos.<a id="FNanchor_513"></a><a href="#Footnote_513" class="fnanchor">513</a> -The early fifth-century boxer Euthymos<a id="FNanchor_514"></a><a href="#Footnote_514" class="fnanchor">514</a> also won three victories, but -at a time before we should expect a portrait statue. The Periegete also -mentions several victors who won three or more times, though he does -not say that they had any statues, portrait or otherwise.<a id="FNanchor_515"></a><a href="#Footnote_515" class="fnanchor">515</a> Percy Gardner<a id="FNanchor_516"></a><a href="#Footnote_516" class="fnanchor">516</a> -has shown how erroneous is the prevailing view that the Greeks -neglected portraiture in their art and left it for the Romans to develop. -He shows that Greek artists of the third and second centuries <span class="smcap lowercase">B. C.</span> -left a great many portraits of the highest artistic value and that portraits -of Romans before the time of Augustus, and the best Roman -examples during the Empire, were made by Greek sculptors. The<span class="pagenum"><a id="Page_56">56</a></span> -number of Greek portraits in our museums, especially in Rome, is -very great.<a id="FNanchor_517"></a><a href="#Footnote_517" class="fnanchor">517</a> From archaic times down to the middle of the fifth century -<span class="smcap lowercase">B. C.</span> we should not expect portraiture. In the earlier period, -therefore, it is difficult to distinguish between statues of gods and those -of men. In the great period of Greek art, from the time of Perikles -on to that of Alexander, the general tendency of Greek sculpture was -so ideal that portraits, when they existed, seem impersonal. The -later copyists of portraits also idealized them. Thus Pliny, in speaking -of Kresilas’ portrait of Perikles, says that this artist <i>nobiles viros -nobiliores fecit</i>—in other words, that he idealized them.<a id="FNanchor_518"></a><a href="#Footnote_518" class="fnanchor">518</a> The portraits -of Alexander were especially idealized. In the first half of the -fourth century we first hear of realistic portraiture. Thus Demetrios, -who flourished 380–360 <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_519"></a><a href="#Footnote_519" class="fnanchor">519</a> made a “very beautiful” statue of a -Corinthian general named Pelichos, which Lucian<a id="FNanchor_520"></a><a href="#Footnote_520" class="fnanchor">520</a> says had a fat -belly, bald head, hair floating in the wind, and prominent veins, “like -the man himself.”<a id="FNanchor_521"></a><a href="#Footnote_521" class="fnanchor">521</a> Except for the hair this description by the satirist -seems to have been correct. At the end of the fourth century <span class="smcap lowercase">B. C.</span> anatomical -detail began to be shown in sculpture. Largely under the influence -of Lysippos, the personality of victors began to be emphasized -in figure and face in a very realistic way. We can distinguish between -such portraits of victors before and after the time of Lysippos.<a id="FNanchor_522"></a><a href="#Footnote_522" class="fnanchor">522</a> Pliny<a id="FNanchor_523"></a><a href="#Footnote_523" class="fnanchor">523</a> -says that Lysistratos, the brother of Lysippos, was the first to obtain -portraits by making a plaster mould on the features and so to render -likenesses exactly, as “previous artists had only tried to make them as -beautiful as possible.” In any case, by the time of Lysippos realistic -portraiture began to be emphasized. We see it at Olympia in the<span class="pagenum"><a id="Page_57">57</a></span> -later bronze pancratiast’s head found there (Fig. <a href="#f61">61</a>, A and B), and -in a still more revolting style in the <i>Seated Boxer</i> of the Museo delle -Terme (Pl. <a href="#p16">16</a>, and Fig. <a href="#f27">27</a>).</p> - -<p>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 honor. The real reason seems to have been that portraiture, -with its tendency to realism, subordinated beauty to that realism and -so conflicted with the Greek artistic ideal. The Thebans had a law -which forbade caricature and commanded artists to make their -statues more beautiful than the models. The Greeks worshiped -beauty and hated ugliness. Many games in Greece were held in honor -of personal beauty. Thus a contest of manly beauty among old men -(ἀγὼν εὐανδρίας) was a part of the Panathenaic games at Athens.<a id="FNanchor_524"></a><a href="#Footnote_524" class="fnanchor">524</a> -A contest of beauty among women, originating in the time of -Kypselos, king of Arkadia, was kept up until the time of Athenæus.<a id="FNanchor_525"></a><a href="#Footnote_525" class="fnanchor">525</a> -We hear of contests of beauty in Elis, at which three prizes were -given,<a id="FNanchor_526"></a><a href="#Footnote_526" class="fnanchor">526</a> and of similar ones on the islands of Tenedos and Lesbos.<a id="FNanchor_527"></a><a href="#Footnote_527" class="fnanchor">527</a> -The Crotonian Philippos, who won at Olympia in an unknown contest -about 520 <span class="smcap lowercase">B. C.</span>, was honored after his death by the people of Egesta -with a <i>heroön</i> and sacrifices because of his beauty.<a id="FNanchor_528"></a><a href="#Footnote_528" class="fnanchor">528</a> At Tanagra, in -Bœotia, the most beautiful ephebe was chosen to carry a ram on his -shoulders around the city wall at the festival of Hermes Kriophoros.<a id="FNanchor_529"></a><a href="#Footnote_529" class="fnanchor">529</a> -At Aigion in Achaia the most beautiful boy was anciently chosen to -be priest of Zeus.<a id="FNanchor_530"></a><a href="#Footnote_530" class="fnanchor">530</a> The most beautiful youths among the Spartans -and Cretans dedicated offerings to Eros before battle.<a id="FNanchor_531"></a><a href="#Footnote_531" class="fnanchor">531</a> These and -similar examples show the Greek feeling for beauty. The representation -of passion and violence was foreign to the spirit of the best Greek -art; it was rather the “quiet grandeur” (<i>Stille Groesse</i>) or “repose,” -of which Winckelmann made so much, that was characteristic of that -art. In Homer both men and gods, when wounded, shriek. Philoktetes, -in the drama of Sophokles, wails throughout a whole act, when -suffering from a gangrened foot. With the poets Zeus casts his thunderbolt -in anger, but Pheidias has him hold it quietly in his hand. So we -can see why portrait statues were rare at Olympia, where the representation -of manly beauty and vigor was the rule. They were ruled out,<span class="pagenum"><a id="Page_58">58</a></span> -not because of their increasing the honor accorded to the victor, but -rather because they honored his egotism.<a id="FNanchor_532"></a><a href="#Footnote_532" class="fnanchor">532</a></p> - -<h4><span class="smcap">Aniconic Statues.</span></h4> - -<p>Accordingly, since only victors who had won three or more contests -at Olympia could set up iconic statues, the great majority of statues -there represented some ideal type of common applicability, in which -there was no attempt to show the individual features of this or that -victor, but rather the typical athlete of muscular build. The older -statues were merely variations of a few types which were held to be -appropriate to the purpose. In process of time these few types in their -treatment of details gradually approached truth to nature; this was -especially characteristic of the Peloponnesian schools, which adopted -the <i>Doryphoros</i> of Polykleitos as their norm of proportions. Statues -of victors were the stock subject of the closely related schools of Argos -and Sikyon.<a id="FNanchor_533"></a><a href="#Footnote_533" class="fnanchor">533</a> Doubtless, as E. A. Gardner says,<a id="FNanchor_534"></a><a href="#Footnote_534" class="fnanchor">534</a> there existed at -Olympia itself a school of subordinate artists, who filled the regular -demand for victor statues. However, some of these statues, especially -those of the fifth and fourth centuries <span class="smcap lowercase">B. C.</span>, as we see them in originals -and in Roman copies, and read the æsthetic judgments of them in -Greek writers, were real works of art.</p> - -<h3>ÆSTHETIC JUDGMENTS OF CLASSICAL WRITERS.</h3> - -<p>The literary evidence for Greek sculpture is, for the most part, very -unsatisfactory. Though classical writers were uncritical and not fond -of analysis, still they have left us some useful opinions about works of -sculpture and painting. The history and criticism of sculpture began -in Greece, in the fourth century <span class="smcap lowercase">B. C.</span>, with the Peripatetics. Aristotle, -whose observations on painting and sculpture were slight, did not despise -the “mimetic” arts as did the Socrates of Plato.<a id="FNanchor_535"></a><a href="#Footnote_535" class="fnanchor">535</a> In the <i>Rhetoric</i><a id="FNanchor_536"></a><a href="#Footnote_536" class="fnanchor">536</a> -he speaks of the beautiful bodies of youths who trained as pentathletes, -since the varied exercises of the pentathlon made them so. We have a -similar opinion expressed by Xenophon in what is, perhaps, the most<span class="pagenum"><a id="Page_59">59</a></span> -interesting passage in Greek literature on criticism of art.<a id="FNanchor_537"></a><a href="#Footnote_537" class="fnanchor">537</a> He has -Sokrates go to the sculptor Kleito and compliment him on his power of -representing different physical types produced by various contests, -noting differences between statues of runners and wrestlers and between -those of boxers and pancratiasts. When asked how he makes statues -lifelike, Kleito has no answer, and the philosopher says it is by the imitation -of real men, <i>i. e.</i>, nature. He adds: “Must you not then imitate -the threatening eyes of those who are fighting and the triumphant -expression of those who are victorious?” Though some have thought -that these words refer to portrait statues, which were spoken of as a -matter of course at the beginning of the fourth century <span class="smcap lowercase">B. C.</span>, it is more -reasonable to suspect that Sokrates was speaking of the older sculptors—for -we may recognize Polykleitos in Kleito<a id="FNanchor_538"></a><a href="#Footnote_538" class="fnanchor">538</a>—and consequently that -he is not referring to portraiture. In the <i>Symposium</i> of Xenophon<a id="FNanchor_539"></a><a href="#Footnote_539" class="fnanchor">539</a> -Sokrates also complains that the long-distance runners (δολιχοδρόμοι) -have thick legs and narrow shoulders, while boxers have broad shoulders -and small legs, and he therefore recommends dancing as a better -exercise than athletics. As such differences in physique occur in vase-paintings -of the date, but not in statuary, the philosopher seems to be -speaking of athletics and not of sculpture. From these quotations -of Aristotle and Xenophon, we gather that the all-round development -of the pentathlon made beautiful athletes, and this beauty must have -been carried over into their statues. It is essentially the young man’s -contest,<a id="FNanchor_540"></a><a href="#Footnote_540" class="fnanchor">540</a> and some of the pentathlete victors at Olympia and elsewhere -were noted for their strength in after life. Thus Ikkos of Tarentum, -who won at Olympia in Ol. 76 ( = 476 <span class="smcap lowercase">B. C.</span>), was the best teacher of -gymnastics of his day.<a id="FNanchor_541"></a><a href="#Footnote_541" class="fnanchor">541</a> Gorgos of Elis was the only athlete to win -the pentathlon four times at Olympia, besides winning in two running -races.<a id="FNanchor_542"></a><a href="#Footnote_542" class="fnanchor">542</a> Another Elean, Stomios, who won three prizes at Olympia and -Nemea, later became a leader of cavalry and beat his enemy in single -combat.<a id="FNanchor_543"></a><a href="#Footnote_543" class="fnanchor">543</a> The Argive Eurybates, victor in the pentathlon at Nemea, -was very strong, and later, in a battle with the Aeginetans, killed three -opponents in single combats, but succumbed to the fourth.<a id="FNanchor_544"></a><a href="#Footnote_544" class="fnanchor">544</a> The Spar<span class="pagenum"><a id="Page_60">60</a></span>tans -and Krotonians seem to have been the best pentathletes.<a id="FNanchor_545"></a><a href="#Footnote_545" class="fnanchor">545</a> Noted -sculptors made statues of these athletes.<a id="FNanchor_546"></a><a href="#Footnote_546" class="fnanchor">546</a> Plato, in the <i>de Leg.</i>,<a id="FNanchor_547"></a><a href="#Footnote_547" class="fnanchor">547</a> has the -Athenian stranger praise Egyptian art because of its stationary character. -This bespeaks but little artistic insight for the philosopher, -though he was surrounded by the wonderful artistic creations of the end -of the great fifth century <span class="smcap lowercase">B. C.</span> The later classical writers were fond of -expressing criticisms of art. Thus Pasiteles, a Greek sculptor living in -Rome in the first century <span class="smcap lowercase">B. C.</span>, wrote five books on celebrated works of -art throughout the world.<a id="FNanchor_548"></a><a href="#Footnote_548" class="fnanchor">548</a> The opinions on art of the Roman Varro -appear in the pages of Pliny.<a id="FNanchor_549"></a><a href="#Footnote_549" class="fnanchor">549</a> Of all the ancient critics, Cicero was -perhaps the most superficial. In a passage in the <i>Brutus</i><a id="FNanchor_550"></a><a href="#Footnote_550" class="fnanchor">550</a> he gives -us his judgment of several sculptors. He finds the works of Kanachos -too rigid to imitate nature truthfully, while those of Kalamis, though -softer than those of Kanachos, are hard; Myron, though not completely -faithful to nature, produced beautiful works and Polykleitos was -quite perfect. The most trustworthy critic of sculpture in antiquity, -on the other hand, was certainly Lucian, as we see from many of his -utterances, especially from his account of an ideal statue, which combined -the highest excellences of several noted sculptures.<a id="FNanchor_551"></a><a href="#Footnote_551" class="fnanchor">551</a> His criticism -of Hegias, Kritios, and Nesiotes, to the effect that their works were -“concise, sinewy, hard, and exactly strained in their lines,” might have -been made in the presence of the group of the <i>Tyrannicides</i> (Fig. <a href="#f32">32</a>).<a id="FNanchor_552"></a><a href="#Footnote_552" class="fnanchor">552</a> -Unfortunately he touches the subject only casually, though he might -have written a fine history of Greek art. We must also refer to two -other imperial writers, the elder Pliny and Pausanias. Pliny’s abstracts -on art, though our chief ancient literary authority on Greek sculpture -and painting, are neither critical nor trustworthy. A careful analysis -of his chapters shows that he was a borrower many times removed, -though he seldom acknowledged it. 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 <i>Natural History</i>, -being joined on to it by a very artificial bond, for his abstract on -bronze statuary (Bk. XXXIV) is brought in merely to complete his -account of the metals. His knowledge of the older periods of Greek<span class="pagenum"><a id="Page_61">61</a></span> -art is small and his bias in favor of the two Sikyonian sculptors -Lysippos and Xenokrates is very evident. His worst mistakes are in -chronology. He puts Pythagoras after Myron, and both after Polykleitos, -while Hagelaïdas, who is made the teacher of Myron and -Polykleitos, lives on to the beginning of the Peloponnesian war. -His real criticism of sculpture is seen in his dictum of the <i>Laokoön</i> -group, that it is a “work superior to all the pictures and bronzes of -the world.”<a id="FNanchor_553"></a><a href="#Footnote_553" class="fnanchor">553</a> Our debt to Pausanias, especially for our knowledge -of the victor monuments at Olympia, is immense. 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 <i>Schriftquellen</i> -of Overbeck is concerned with him. However, he shows little -real understanding for art. His interest in statues is confined almost -entirely to those which are noted for their antiquity or sanctity, and -his account of them is usually the pivot around which he spins religious -or mythological stories. Throughout his work his chief interest is -religious; his interest in art for its own sake is very small. He devotes -many pages to the throne of Zeus at Olympia, and describes the temple -sculptures merely because the statue of Zeus is within. His detailed -account of the athlete statues in the Altis is made chiefly because of -his religious and antiquarian interest. Though imitating the style of -Herodotos, he does it badly, so that his book is without much charm. -In concluding this rough estimate of the ancient criticism of art, we -might mention the fragmentary information to be gathered from many -other writers, Dio Chrysostom, Quintilian,<a id="FNanchor_554"></a><a href="#Footnote_554" class="fnanchor">554</a> Plutarch, and others, -whose names occur frequently in the footnotes. All such references -to works of art in ancient writers are conveniently collected in the -great compilation of Overbeck so often quoted.<a id="FNanchor_555"></a><a href="#Footnote_555" class="fnanchor">555</a></p> - -<p>As for æsthetic judgments of the statues of victors at Olympia we -have a few direct hints from different writers. The epigram from the -base of the statue of the boy wrestler Theognetos by Ptolichos of -Aegina reads in part: Κάλλιστον μὲν ἰδεῖν, ἀθλεῖν δ’ οὐ χείρονα μόρ[φης].<a id="FNanchor_556"></a><a href="#Footnote_556" class="fnanchor">556</a> -Pliny says of the sculptor Mikon, who made the statue of the<span class="pagenum"><a id="Page_62">62</a></span> -Athenian pancratiast Kallias: <i>Micon athletis spectatur</i>.<a id="FNanchor_557"></a><a href="#Footnote_557" class="fnanchor">557</a> The same -writer says of the horses of Kalamis: <i>equis sine aemulo expressis</i>.<a id="FNanchor_558"></a><a href="#Footnote_558" class="fnanchor">558</a> -Kalamis with Onatas of Aegina made a chariot-group for the Syracusan -king Hiero.<a id="FNanchor_559"></a><a href="#Footnote_559" class="fnanchor">559</a> Pausanias, in mentioning the statue of the boxer -Euthymos by Pythagoras, says that it is καὶ θέας ἐς τὰ μάλιστα ἄξιος.<a id="FNanchor_560"></a><a href="#Footnote_560" class="fnanchor">560</a> -In mentioning the statue by the same sculptor of the wrestler Leontiskos, -he says: εἴπερ τις καὶ ἄλλος ἀγαθὸς τὰ ἐς πλαστικήν.<a id="FNanchor_561"></a><a href="#Footnote_561" class="fnanchor">561</a> Of the -Argive sculptor Naukydes he says, when speaking of the statue of the -wrestler Cheimon, that it is among the finest works of that artist.<a id="FNanchor_562"></a><a href="#Footnote_562" class="fnanchor">562</a> -In another passage, in which he describes the dedication of Phormis -at Olympia, he speaks of an ugly horse, which, besides being smaller -than other sculptured horses in the Altis, has “its tail cut off, and this -makes it still uglier.”<a id="FNanchor_563"></a><a href="#Footnote_563" class="fnanchor">563</a> However, here he is not so much interested in -its lack of beauty as in the curious fact which he adds, that despite -its ugliness this bronze mare attracted stallions.</p> - -<h3>GREEK ORIGINALS OF VICTOR STATUES.</h3> - - -<div class="figcenter500"><p class="right">PLATE 3</p><a id="p3"></a> -<img src="images/i_fp062.jpg" width="500" height="755" alt="Bronze Head of an Olympic Victor." /> -<div class="caption">Bronze Head of an Olympic Victor. Glyptothek, Munich.</div> -</div> - -<p>We are not, however, dependent upon such meagre scraps of evidence -from classical writers, nor upon contested Roman copies,<a id="FNanchor_564"></a><a href="#Footnote_564" class="fnanchor">564</a> for an idea -of the workmanship of some of the Olympic victor statues. 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 museums. 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 <span class="smcap lowercase">B. C.</span>, -which is now in the National Museum at Athens<a id="FNanchor_565"></a><a href="#Footnote_565" class="fnanchor">565</a> (Fig. <a href="#f61">61</a>, A and B). -Its only decoration, an olive crown whose leaves have disappeared, -proves it to be from the statue of a victor, and its wild locks, brutal -look, flattened nose, and wide mouth represent a naturalistic study of -the utmost strength and fineness, which could only have been produced -after the time of Lysippos. We shall discuss this remarkable -head more fully in Chapter IV. As examples of original victor -<span class="pagenum"><a id="Page_63">63</a></span> -monuments in European museums we shall mention three. The bronze -head of a boxer in the Glyptothek at Munich (Pl. <a href="#p3">3</a>) is an original of -the first rank.<a id="FNanchor_566"></a><a href="#Footnote_566" class="fnanchor">566</a> It is from a statue found near Naples in 1730, which -was later destroyed, and it probably represents the head of a boy of -about twelve years, a victor in boxing, to judge from the victor band -in the hair and the fact that the visible part of the right ear is swollen. -Like the head of the <i>Diadoumenos</i> of Polykleitos (Figs. 28, 29) this beautiful -head exemplifies fully the “ethical grace” or modesty<a id="FNanchor_567"></a><a href="#Footnote_567" class="fnanchor">567</a> so characteristic -of the best Greek art, and it certainly merits Furtwaengler’s praise -of being the “most precious treasure of the Glyptothek.”<a id="FNanchor_568"></a><a href="#Footnote_568" class="fnanchor">568</a> Another -head, found in Beneventum and now in the Louvre (Fig. <a href="#f3">3</a>)<a id="FNanchor_569"></a><a href="#Footnote_569" class="fnanchor">569</a> is a splendid -Greek original of the last decade of the fifth century <span class="smcap lowercase">B. C.</span>, and, as Mrs. -Strong says, should arouse in us a sense of what precious relics may still -lie hidden in our museums.<a id="FNanchor_570"></a><a href="#Footnote_570" class="fnanchor">570</a> The victor fillet in the hair, consisting of -two sprays of what seems to be wild olive (remnants of which appear -in front), shows that the statue must once have ornamented the Altis. -Like the one in Munich, this head shows Polykleitan inspiration tempered -by Attic influence.<a id="FNanchor_571"></a><a href="#Footnote_571" class="fnanchor">571</a> Lastly, the bronze head of a youth from the -<i>tablinum</i>, of the so-called villa of the Pisos at Herculaneum, now in -Naples,<a id="FNanchor_572"></a><a href="#Footnote_572" class="fnanchor">572</a> is, to judge from its technique, an excellent original Greek -work (Fig. <a href="#f4">4</a>). Here again the hair fillet shows it is from a victor statue, -though its provenience from Olympia can not be established.</p> - -<p><span class="pagenum"><a id="Page_64">64</a></span></p> - -<div class="figcenter400"><a id="f3"></a> -<img src="images/i_p064.jpg" width="400" height="539" alt="Bronze Head of an Olympic Victor." /> -<div class="caption"><span class="smcap">Fig. 3.</span>—Bronze Head of an Olympic Victor, from -Beneventum. Louvre, Paris.</div> -</div> - -<p>Such beautiful works of art as these last show the influence which -the great athletic festivals, and especially the Olympian, exerted on the -development of Greek sculpture. In the gymnastic training carried -on in the gymnasium and palæstra, which culminated in these festivals, -the Greek sculptor found an unrivaled opportunity to study the -naked human figure in its best muscular development and in every -pose. In fact, we may say with Furtwaengler that without athletics -Greek art would be inconceivable.<a id="FNanchor_573"></a><a href="#Footnote_573" class="fnanchor">573</a> To quote from another work of -the same scholar:</p> - -<blockquote> - -<p>“The gymnastically trained bodies of these slim boys and youths and vigorous -men are evidence of the ennobling effect of athletics. Presented in -complete nudity they are not faithful portraits from life, but motives or models -from the palæstra transformed and exalted to the highest ideal of physical -<span class="pagenum"><a id="Page_65">65</a></span>beauty and strength. They are the most splendid human beings that the -art of any period has created.”<a id="FNanchor_574"></a><a href="#Footnote_574" class="fnanchor">574</a></p></blockquote> - -<h3>CANONS OF PROPORTION.</h3> - -<p>In attempting to identify a given statue as the copy of a work by this -or that master, certain well-known canons of proportion, which were -taught and practiced by various Greek sculptors and schools, must be -taken into consideration.</p> - -<div class="figcenter400"><a id="f4"></a> -<img src="images/i_p065.jpg" width="400" height="498" alt="Bronze Head of an Olympic Victor" /> -<div class="caption"><span class="smcap">Fig. 4.</span>—Bronze Head of an Olympic Victor, from Herculaneum. -Museum of Naples.</div> -</div> - -<p>Greek art may, like Greek philosophy and poetry, be summarized -under the names of three qualities which constantly occur in classical -literature—συμμετρία, εὐρυθμία or ῥυθμός, and ἀναλογία.<a id="FNanchor_575"></a><a href="#Footnote_575" class="fnanchor">575</a> Symmetry -may be defined as “that technical regard for the placing of the parts to -the best advantage,” the symmetrical arrangement of the parts of<span class="pagenum"><a id="Page_66">66</a></span> -a statue or group of figures.<a id="FNanchor_576"></a><a href="#Footnote_576" class="fnanchor">576</a> Rhythm, following Vitruvius,<a id="FNanchor_577"></a><a href="#Footnote_577" class="fnanchor">577</a> is that -<i>tertium quid</i> which is indispensable to true art. Analogy (Latin <i>proportio</i>)<a id="FNanchor_578"></a><a href="#Footnote_578" class="fnanchor">578</a> -refers to the measured ratio of part to part in any given work -of art, whether in architecture, painting, or sculpture. Most scholars -nowadays interpret symmetry and analogy as the same thing. Pliny<a id="FNanchor_579"></a><a href="#Footnote_579" class="fnanchor">579</a> -says that <i>symmetria</i> has no Latin equivalent, and in several passages<a id="FNanchor_580"></a><a href="#Footnote_580" class="fnanchor">580</a> -keeps the Greek word, as does Vitruvius. Here Otto Jahn rightly -says <i>proportio</i> or <i>commensus</i> would have adequately translated it.<a id="FNanchor_581"></a><a href="#Footnote_581" class="fnanchor">581</a> -P. Gardner explains the word properly as “the proportion of one part -of the body as measured against another.”<a id="FNanchor_582"></a><a href="#Footnote_582" class="fnanchor">582</a> Brunn held that, as symmetry -was the relation of part to part in a statue at rest, rhythm expressed -this relationship in one represented in motion.<a id="FNanchor_583"></a><a href="#Footnote_583" class="fnanchor">583</a> The simplest -illustration of rhythm is seen in walking: when the right foot is advanced -the left arm swings out in rhythm, and so the balance of the body is -kept. Rhythm, therefore, has to do with balance in motion, and may -refer equally to cadence in poetry and music and to movement in -sculpture. An excellent example in sculpture is afforded by Myron’s -<i>Diskobolos</i> (Pls. 21, 22, and Figs. 34, 35), while the balancing of figures -on many Greek reliefs—especially on Attic funerary stelæ—illustrates -symmetry (<i>cf.</i> Fig. <a href="#f75">75</a>). Pliny characterizes certain artists by their -success in effecting symmetry and rhythm. Thus Myron surpassed -Polykleitos in being more rhythmic and in paying more attention -to symmetry.<a id="FNanchor_584"></a><a href="#Footnote_584" class="fnanchor">584</a> He says that Lysippos most diligently preserved -symmetry by bringing unthought-of innovations into the square canon -<span class="pagenum"><a id="Page_67">67</a></span>of earlier artists.<a id="FNanchor_585"></a><a href="#Footnote_585" class="fnanchor">585</a> Parrhasios was the first to introduce symmetry into -painting.<a id="FNanchor_586"></a><a href="#Footnote_586" class="fnanchor">586</a> Diogenes Laertios says that the sculptor Pythagoras was -the first to aim at rhythm as well as symmetry.<a id="FNanchor_587"></a><a href="#Footnote_587" class="fnanchor">587</a> In all such passages -it is clear that canons of proportion are meant.</p> - -<p>The doctrine of human proportions is very ancient, originating -in Egyptian art.<a id="FNanchor_588"></a><a href="#Footnote_588" class="fnanchor">588</a> It appears early in Greek architecture in the -proportions of columns and other members of a temple,<a id="FNanchor_589"></a><a href="#Footnote_589" class="fnanchor">589</a> and it -was soon transferred to sculpture. As Greek sculpture evolved on -traditional lines,<a id="FNanchor_590"></a><a href="#Footnote_590" class="fnanchor">590</a> we should assume that it paid attention to the -doctrine of proportions in the human figure, based on numerical -ratios, and that such a doctrine would vary from age to age in the -various schools of sculpture. Such an assumption is borne out by -both literary and archæological evidence. Toward the end of Hellenism -many writers refer to just such a measured basis of proportion in -Greek art.<a id="FNanchor_591"></a><a href="#Footnote_591" class="fnanchor">591</a> Archæologists have shown by the careful study of multitudes -of statues that such proportions exist in Greek sculpture. Thus -A. Kalkmann<a id="FNanchor_592"></a><a href="#Footnote_592" class="fnanchor">592</a> has proved that there are sets of ratios in the treatment -of the face used by successive schools of sculpture, which were canonical, -whether formulated or not. G. Fritsch<a id="FNanchor_593"></a><a href="#Footnote_593" class="fnanchor">593</a> has done for the whole body<span class="pagenum"><a id="Page_68">68</a></span> -what Kalkman has done for the face. In fact, anthropometry in -relation to Greek sculpture has now become an exact science.<a id="FNanchor_594"></a><a href="#Footnote_594" class="fnanchor">594</a></p> - -<p>The greatest artists—architects, painters, and sculptors—of all times -have taught and practised the doctrine that certain proportions are -beautiful, <i>e. g.</i>, the proportion of the height of the head or the length -of the foot to the whole body, or the length of parts of the head or body -to other parts. In modern times we have only to mention such names -as those of da Vinci, Duerer, Raphael Mengs, and Flaxman.<a id="FNanchor_595"></a><a href="#Footnote_595" class="fnanchor">595</a> In -Greek days there were many artists who formulated such canons of -proportions. Greek sculptors followed ratios of proportions so closely -that we have statues of various schools, which are distinguished by -fixed proportions of parts, such as the Old Attic, Old Argive, Polykleitan, -Argive-Sikyonian or Lysippan, etc. Some of these schools -used the foot as the common measure, while others used the palm, -finger, or other member.<a id="FNanchor_596"></a><a href="#Footnote_596" class="fnanchor">596</a> The earliest works on Greek art were treatises, -now lost, by artists in which they worked out their theories of the -principles underlying the proportions of the human figure.<a id="FNanchor_597"></a><a href="#Footnote_597" class="fnanchor">597</a> We shall -briefly consider a few of these canons, together with the usual pose of -body which conformed with them. The earliest Peloponnesian canon, -which we can analyze, was that followed by Hagelaïdas of Argos and his -school, a canon which was still used in the Polykleitan circle. Here -the weight of the body rested upon the left leg, while the right one was -slightly bent at the knee, its foot resting flat on the ground; the right -arm hung by the side and the left was usually in action, and the head -was slightly inclined to the left side; the shoulders were extraordinarily -broad in comparison with the hips, the right one being slightly raised. -These qualities produced a short stocky figure, firmly placed.<a id="FNanchor_598"></a><a href="#Footnote_598" class="fnanchor">598</a> In -the middle of the fifth century <span class="smcap lowercase">B. C.</span>, Polykleitos worked out a theory of -proportions in the form of a commentary on his famous statue known -as the <i>Doryphoros</i>. This canon was characterized by squareness and -massiveness of build. The weight of the body generally rested on the -right foot, while the left was drawn back, its foot touching the ground -with the ball only. Sometimes this pose was reversed, the left foot -carrying the body-weight, as in the three bases of statues by the master -found at Olympia (<i>i. e.</i>, those of the athletes Pythokles, Aristion, and<span class="pagenum"><a id="Page_69">69</a></span> -Kyniskos, to be discussed later), and in the works of some of his pupils, -notably in those of Naukydes, Daidalos, and Kleon.<a id="FNanchor_599"></a><a href="#Footnote_599" class="fnanchor">599</a> Euphranor, -who flourished, according to Pliny, in Ol. 104 ( = 364–361 <span class="smcap lowercase">B. C.</span>), and -wrote works on symmetry and color, was the “first” to master the -theory of symmetry.<a id="FNanchor_600"></a><a href="#Footnote_600" class="fnanchor">600</a> Pliny, however, found his bodies too slender -and his heads and limbs too large, a criticism of his painting which -must have been equally applicable to his sculpture. His canon did -not make much headway, as the majority of sculptors in his century -were still under the domination of the canon of Polykleitos. It was -left for Lysippos, in the second half of the fourth century <span class="smcap lowercase">B. C.</span>, finally -to break this domination of the great fifth-century sculptor. Pliny -quotes Douris as saying that he was the pupil of no man, 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 rules.<a id="FNanchor_601"></a><a href="#Footnote_601" class="fnanchor">601</a> His statues had smaller heads, and more slender -and less fleshy limbs, than those of his predecessors, in order that the -apparent height of the figure might be increased.<a id="FNanchor_602"></a><a href="#Footnote_602" class="fnanchor">602</a> While Polykleitos -made his heads one-seventh of the total height of the statue, Lysippos -made his one-eighth—if this change may be seen in the <i>Apoxyomenos</i> -(Pl. <a href="#p28">28</a>), which is certainly a work of his school, if not of the master -himself. Pliny further records his saying that while his predecessors -represented men as they were, Lysippos represented them as they -appeared to be. This means that Pliny regarded him as the first -impressionistic artist.<a id="FNanchor_603"></a><a href="#Footnote_603" class="fnanchor">603</a> Pliny mentions other artists who wrote on art, -and it is probable that theories of proportions formed the main element -of such works.<a id="FNanchor_604"></a><a href="#Footnote_604" class="fnanchor">604</a></p> - -<p>The best example of symmetry, <i>i. e.</i>, of the ratio of proportions, in -Greek sculpture is afforded by the <i>Doryphoros</i> of Polykleitos, which -Pliny says was called the <i>Canon</i>, and he adds that this sculptor was -the only one who embodied his art in a single work.<a id="FNanchor_605"></a><a href="#Footnote_605" class="fnanchor">605</a> The identity<span class="pagenum"><a id="Page_70">70</a></span> -of the canon with this statue seems to be attested by the anecdote told -of Lysippos that the <i>Doryphoros</i> was his master,<a id="FNanchor_606"></a><a href="#Footnote_606" class="fnanchor">606</a> and by Quintilian’s -statement that sculptors took it as a model.<a id="FNanchor_607"></a><a href="#Footnote_607" class="fnanchor">607</a> The best-preserved -copy of the <i>Doryphoros</i>, despite its rather lifeless character, is the -one discovered in Pompeii and now in Naples (Pl. <a href="#p4">4</a>).<a id="FNanchor_608"></a><a href="#Footnote_608" class="fnanchor">608</a> As other -late Roman copies do not conform to the identical proportions of this -copy, it is perhaps difficult to say exactly what the canon of Polykleitos -was. Possibly the original, if it had been preserved, would also -strike us as somewhat lifeless; but we must remember that the statue -was made merely to illustrate a theory of proportions. 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 mentioned. It is almost exactly 2 meters, or 6 feet 8 -inches, high.<a id="FNanchor_609"></a><a href="#Footnote_609" class="fnanchor">609</a> The length of the foot is 0.33 meter, or one-sixth of the -total height, while the length of the face is 0.20 meter, or one-tenth of -the height. E. Guillaume<a id="FNanchor_610"></a><a href="#Footnote_610" class="fnanchor">610</a> has made a careful analysis of it in reference -to Galen’s<a id="FNanchor_611"></a><a href="#Footnote_611" class="fnanchor">611</a> statement that Chrysippos found beauty in the proportion -of the parts, “of finger to finger, and of all the fingers to the -palm and wrist, and of these to the forearm, and of the forearm to -the upper arm, and of all the parts to each other, as they are set forth -in the canon of Polykleitos.” He has found that the palm, <i>i. e.</i>, the -breadth of the hand at the base of the fingers, is a common measure -of the proportions of the body. This palm is one-third the length of -the foot, one-sixth that of the lower leg, one-sixth that of the thigh, -and one-sixth that of the distance from the navel to the ear, etc. -Such a remarkable correspondence in measurements would seem to -show, if we had no other proofs, that the Naples statue reproduces -the canon of Polykleitos more closely than any other.</p> - -<div class="figcenter500"><p class="right">PLATE 4</p><a id="p4"></a> -<img src="images/i_fp070.jpg" width="500" height="825" alt="Statue of the Doryphoros" /> -<div class="caption">Statue of the <i>Doryphoros</i>, after Polykleitos. Museum of Naples.</div> -</div> - -<p>A good example of asymmetry is afforded by the so-called <i>Spinario</i> -of the Palazzo dei Conservatori in Rome<a id="FNanchor_612"></a><a href="#Footnote_612" class="fnanchor">612</a> (Fig. <a href="#f40">40</a>). This justly -prized statue shows more asymmetry, perhaps, than any other down to -its date—just before the middle of the fifth century <span class="smcap lowercase">B. C.</span> Though its -composition is such that there is no vantage-point from which it forms -<span class="pagenum"><a id="Page_71">71</a></span> -a harmonious whole, still its effect on the beholder is far from displeasing. -Such a creation shows that a Greek artist, even without -paying attention to the symmetrical arrangement of parts, could at -times produce an attractive piece of sculpture.</p> - -<h3>ASSIMILATION OF OLYMPIC VICTOR STATUES TO TYPES -OF GODS AND HEROES.</h3> - -<p>Since Greek art in the main was idealistic, we should not be surprised -to discover in athletic sculpture a tendency toward assimilating -victor statues to well-known types of gods or heroes, especially to those -of Hermes, Apollo, and Herakles, who presided over contests or gymnasia -and palæstræ. This phenomenon is only a further example of the -extraordinary, almost superhuman, honors which were paid to victors -at the great games. In the absence of sufficient means of identification, -it is often very difficult to distinguish with certainty between -statues of victors and those of the gods and heroes to whom they were -assimilated. This difficulty, as we shall see, is especially observable -in the case of Herakles. Even later antiquity recognized that statues -of athletes were sometimes confused with those of heroes, just as those -of heroes were with those of gods, as we learn from a passage in Dio -Chrysostom’s oration on Rhodian affairs.<a id="FNanchor_613"></a><a href="#Footnote_613" class="fnanchor">613</a> This difficulty is one of -the most perplexing problems that still face the student of Greek -sculpture.</p> - -<p>It was not an uncommon custom in Greece to heroize in this way an -ordinary dead man.<a id="FNanchor_614"></a><a href="#Footnote_614" class="fnanchor">614</a> One of the most striking instances of this custom -is afforded by the so-called <i>Hermes of Andros</i>, a statue found in a -grave-chamber on the island in 1833 and now in Athens<a id="FNanchor_615"></a><a href="#Footnote_615" class="fnanchor">615</a> (Pl. <a href="#p5">5</a>). It -has been a matter of dispute among archæologists whether this statue -represents the god Hermes or a mortal in his guise. Although Staïs<a id="FNanchor_616"></a><a href="#Footnote_616" class="fnanchor">616</a> -looks on it as <i>un problème peut-être à jamais insoluble</i>, there seems -little reason for doubting that it represents a defunct mortal. Its place -of finding in a tomb along with the statue of a woman of the Muse type, -which probably represents the man’s consort,<a id="FNanchor_617"></a><a href="#Footnote_617" class="fnanchor">617</a> the presence of a snake -on the adjacent tree trunk, the absence of sandals and kerykeion, and -the portrait—like features—all point to the conclusion that a man and -not a god is represented. The downcast, almost melancholy, look<span class="pagenum"><a id="Page_72">72</a></span> -seems also to make it a funereal figure. The powerful proportions -of a perfectly developed athlete, displaying no tendency toward the -representation of brute force, show that the man is idealized into -the type of Hermes, the god of the palæstra, rather than into the -light-winged messenger of Olympos. The <i>Belvedere Hermes</i> of the -Vatican,<a id="FNanchor_618"></a><a href="#Footnote_618" class="fnanchor">618</a> and a better one known as the <i>Farnese Hermes</i> of the British -Museum,<a id="FNanchor_619"></a><a href="#Footnote_619" class="fnanchor">619</a> are noteworthy replicas of the type. The latter carries the -kerykeion in the left hand and wears sandals, with a small chlamys over -the left arm and shoulder. These attributes show that Hermes was -intended in this copy. Probably the original of these various replicas, -a work dating from the end of the fourth century <span class="smcap lowercase">B. C.</span>, and ascribed to -Praxiteles or his school in consequence of similarity in pose and build -of body and head to the <i>Hermes</i> of Olympia, was intended to represent -Hermes. In the one from Andros, at least, the copyist intended to -heroize a mortal under the type of the god. Similarly, the statue known -as the <i>Standing Hermes</i> in the Galleria delle Statue of the Vatican,<a id="FNanchor_620"></a><a href="#Footnote_620" class="fnanchor">620</a> which -has the kerykeion and chlamys, whether its original represented Hermes, -hero or mortal, has been made by the copyist to represent Hermes, -the god of athletics, as the late attribute of wings in the hair proves. -Other examples of dead men represented as Hermes are not uncommon. -Thus a Greek grave-stele in Verona<a id="FNanchor_621"></a><a href="#Footnote_621" class="fnanchor">621</a> shows the dead portrayed as a -winged Hermes, and a similar figure appears on a stele from Tanagra.<a id="FNanchor_622"></a><a href="#Footnote_622" class="fnanchor">622</a> -The so-called <i>Commodus</i> in Mantua<a id="FNanchor_623"></a><a href="#Footnote_623" class="fnanchor">623</a> is interpreted by Conze and -Duetschke as the figure of a dead youth in Hermes’ guise. But this -custom of representing defunct mortals as gods was less common in -Roman art. The bust of a dead youth on a Roman grave-stone in -Turin,<a id="FNanchor_624"></a><a href="#Footnote_624" class="fnanchor">624</a> set up in honor of L. Mussius, is a good example. Here the -cock, sheep, and kerykeion, symbols of the god, show that the youth -is represented as Hermes.</p> - -<div class="figcenter500"><p class="right">PLATE 5</p><a id="p5"></a> -<img src="images/i_fp072.jpg" width="500" height="843" alt="Statue of Hermes" /> -<div class="caption">Statue of <i>Hermes</i>, from Andros. National Museum, Athens.</div></div> - -<p>Not only dead men, however, were heroized in this manner. It -was not an uncommon practice in later Greece for living men, especially -princes, to have their statues assimilated to types of gods and heroes, -<span class="pagenum"><a id="Page_73">73</a></span>a practice which was very common in imperial Rome.<a id="FNanchor_625"></a><a href="#Footnote_625" class="fnanchor">625</a> Thus many -of the Hellenistic princes were pleased to have their statues assimilated -to those of the heroic Alexander. One of the best examples of -this process is furnished by the original -<span class="figright200"><a id="f5"></a> -<img src="images/i_p073.jpg" width="200" height="457" alt="Bronze Portrait-statue -of a Hellenistic Prince" /> -<span class="caption"><span class="smcap">Fig. 5.</span>—Bronze Portrait-statue -of a Hellenistic Prince. Museo -delle Terme, Rome.</span></span> -bronze portrait statue of such a -prince, which was unearthed in Rome -in 1884 and is now in the Museo delle -Terme there (Fig. <a href="#f5">5</a>).<a id="FNanchor_626"></a><a href="#Footnote_626" class="fnanchor">626</a> It has been -identified as the portrait of several -kings of Macedon and elsewhere,<a id="FNanchor_627"></a><a href="#Footnote_627" class="fnanchor">627</a> -but the similarity of the head of the -statue to heads portrayed on Macedonian -coins is only superficial.<a id="FNanchor_628"></a><a href="#Footnote_628" class="fnanchor">628</a> All -that we can say is that this beautiful -work, representing the prince in -the heroic guise of a nude athlete of -about thirty years, belongs to the third -century <span class="smcap lowercase">B. C.</span>, the epoch following Lysippos. -The sculptor, wishing to combine -the ideal with the real, appears to -have copied the motive directly from -a bronze statue by Lysippos, which -represented Alexander leaning with his -left hand high on a staff.<a id="FNanchor_629"></a><a href="#Footnote_629" class="fnanchor">629</a> The pose -also recalls that of the third-century -<span class="smcap lowercase">B. C.</span> statue of Poseidon found on<span class="pagenum"><a id="Page_74">74</a></span> -Melos and now in Athens.<a id="FNanchor_630"></a><a href="#Footnote_630" class="fnanchor">630</a> The free leg, body, and head modeling -correspond so nearly with the <i>Apoxyomenos</i> (Pl. <a href="#p28">28</a>) that it was at -first called a work of Lysippos, but its lack of repose<a id="FNanchor_631"></a><a href="#Footnote_631" class="fnanchor">631</a> shows that it -must be a continuation of the work of that sculptor by some pupil, -who wished to outdo his master in both form and expression.</p> - -<p>Before discussing the subject of the assimilation of victor statues -to types of god and hero, we must make it clear that often, for certain -reasons, statues of athletes were later converted into those of gods, -and <i>vice versa</i>. Such examples of metamorphosing statues have nothing -to do with the process of assimilation under discussion. A few -examples will make this clear. An archaic bronze statuette from -Naxos,<a id="FNanchor_632"></a><a href="#Footnote_632" class="fnanchor">632</a> reproducing the type of the <i>Philesian Apollo</i> of Kanachos, -since it has the same position of hands as in the original, as we see -it later reproduced on coins of Miletos and in other copies,<a id="FNanchor_633"></a><a href="#Footnote_633" class="fnanchor">633</a> holds -an aryballos in the right hand instead of a fawn. As it is absurd to -represent Apollo with the bow in one hand and an oil-flask in the -other, it seems clear that in this statuette the copyist has converted a -well-known Apollo into an athlete by addition of an athletic attribute. -Famous statues were put to many different uses by later copyists. -Thus Furtwaengler has shown that the statue of the boy boxer Kyniskos -by Polykleitos at Olympia,<a id="FNanchor_634"></a><a href="#Footnote_634" class="fnanchor">634</a> which represented the athlete crowning -himself, was modified to represent various deities, heroes, etc. Thus -a copy from Eleusis of the fourth century <span class="smcap lowercase">B. C.</span>, because of its provenience -and the soft lines of the face, suggests a divinity, perhaps Triptolemos.<a id="FNanchor_635"></a><a href="#Footnote_635" class="fnanchor">635</a> -A copy of the same type in the Villa Albani (no. 222) has an -antique piece of a boar’s head on the nearby tree-stump and, consequently, -may represent Adonis or Meleager. A torso in the Museo -Torlonia (no. 22) represents Dionysos, another in the Museo delle -Terme has a mantle and caduceus and so represents Hermes, while -on coins of Commodus the same figure, with the lion’s skin and club, -represents Herakles.<a id="FNanchor_636"></a><a href="#Footnote_636" class="fnanchor">636</a> No ancient statue was used more extensively -as a model for other types than the famous <i>Doryphoros</i> of Polykleitos. -Furtwaengler<a id="FNanchor_637"></a><a href="#Footnote_637" class="fnanchor">637</a> has collected a long list of later conversions of this work -into statues both marble and bronze, statuettes, reliefs, etc., representing -Pan, Ares, Hermes, and in one case an ordinary mortal.<a id="FNanchor_638"></a><a href="#Footnote_638" class="fnanchor">638</a> Other<span class="pagenum"><a id="Page_75">75</a></span> -examples of the conversion of statues will be given in our treatment of -assimilation.</p> - -<h4><span class="smcap">Athlete Statues Assimilated to Types of Hermes.</span></h4> - -<p>Hermes was one of the principal ἐναγώνιοι or ἀγώνιοι θεοί, <i>i. e.</i>, -gods who presided over contests, or who were overseers of gymnasia -and palæstræ, or were teachers of gymnastics (γυμνάσται).<a id="FNanchor_639"></a><a href="#Footnote_639" class="fnanchor">639</a> Greek -writers often mention these athletic gods. Thus Aischylos<a id="FNanchor_640"></a><a href="#Footnote_640" class="fnanchor">640</a> often uses -the term, not in the sense of ἀγοραῖοι θεοί, “the great assembled -gods,” (ἀγὼν = ἀγορά),<a id="FNanchor_641"></a><a href="#Footnote_641" class="fnanchor">641</a> but in the sense of gods who presided over -contests.<a id="FNanchor_642"></a><a href="#Footnote_642" class="fnanchor">642</a> This is evident from the fact that Zeus, Apollo, Poseidon, -and Hermes are the gods especially mentioned by Aischylos in this -sense, and the first three correspond with the Olympian and Nemean -games (Zeus), the Pythian (Apollo), and the Isthmian (Poseidon), -while Hermes is concerned in them all. Thus the epithet ἀγώνιοι, -in the <i>Agamemnon</i> of Aischylos refers to Zeus,<a id="FNanchor_643"></a><a href="#Footnote_643" class="fnanchor">643</a> Apollo,<a id="FNanchor_644"></a><a href="#Footnote_644" class="fnanchor">644</a> and Hermes.<a id="FNanchor_645"></a><a href="#Footnote_645" class="fnanchor">645</a> -If the word referred to the twelve greater gods, as some have thought, -other deities more important than Hermes would have been included. -Elsewhere the word ἀγώνιος always refers to contests.<a id="FNanchor_646"></a><a href="#Footnote_646" class="fnanchor">646</a> Hermes was -worshipped at Athens and elsewhere as a god of contests.<a id="FNanchor_647"></a><a href="#Footnote_647" class="fnanchor">647</a> The agonistic -character of this god is shown by the fact that statues and altars -were erected to him all over Greece.<a id="FNanchor_648"></a><a href="#Footnote_648" class="fnanchor">648</a> He was sometimes coupled with -Herakles as the protector of contests,<a id="FNanchor_649"></a><a href="#Footnote_649" class="fnanchor">649</a> and the images of the two -often stood in gymnasia.<a id="FNanchor_650"></a><a href="#Footnote_650" class="fnanchor">650</a> A fragmentary votive relief of the second -century <span class="smcap lowercase">A. D.</span> is inscribed with a dedication to both by a certain Horarios, -victor in torch-racing.<a id="FNanchor_651"></a><a href="#Footnote_651" class="fnanchor">651</a> Athenian ephebes made offerings to -Hermes,<a id="FNanchor_652"></a><a href="#Footnote_652" class="fnanchor">652</a> and to Hermes and Herakles in common, after their training -was over. Thus Dorykleides of Thera, a victor in boxing and<span class="pagenum"><a id="Page_76">76</a></span> -the pankration at unknown games, dedicated a thank-offering to the -two.<a id="FNanchor_653"></a><a href="#Footnote_653" class="fnanchor">653</a> Hermes was early the god of youthful life and sports, especially -those of the palæstra. He is said to have founded wrestling<a id="FNanchor_654"></a><a href="#Footnote_654" class="fnanchor">654</a> and -inaugurated the sports of the palæstra.<a id="FNanchor_655"></a><a href="#Footnote_655" class="fnanchor">655</a> Pausanias mentions a -Gymnasion of Hermes at Athens<a id="FNanchor_656"></a><a href="#Footnote_656" class="fnanchor">656</a> and an altar of Hermes ἐναγώνιος -together with one of <i>Opportunity</i> (Καιρός) at the entrance to the -Stadion at Olympia.<a id="FNanchor_657"></a><a href="#Footnote_657" class="fnanchor">657</a> He says that the people of Pheneus in Arkadia -held games in his honor called the <i>Hermaia</i>,<a id="FNanchor_658"></a><a href="#Footnote_658" class="fnanchor">658</a> and he records the -defeat of the god by Apollo in running.<a id="FNanchor_659"></a><a href="#Footnote_659" class="fnanchor">659</a> 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 palæstra and gymnasium, -representing him as an athletic youth harmoniously developed by -gymnastic exercises. 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 type.</p> - -<div class="figcenter500"><p class="right">PLATE 6</p><a id="p6"></a> -<img src="images/i_fp076.jpg" width="500" height="853" alt="Statue of the Standing Diskobolos" /> -<div class="caption">Statue of the <i>Standing Diskobolos</i>, after Naukydes (?). Vatican -Museum, Rome.</div></div> - -<p>An excellent instance of this tendency seems to be afforded by the -so-called <i>Standing Diskobolos</i> in the Sala della Biga of the Vatican -(Pl. <a href="#p6">6</a>),<a id="FNanchor_660"></a><a href="#Footnote_660" class="fnanchor">660</a> known since its discovery by Gavin Hamilton in 1792. It -represents a youth who is apparently taking position for throwing the -diskos, the weight of the body resting on the left leg, the knees slightly -bent, the feet firmly planted, and the diskos held in the left hand, -just prior to its being passed to the right. This position is one -which immediately precedes that of Myron’s great statue. The bronze -original dates from the second half of the fifth century <span class="smcap lowercase">B. C.</span>, and has -been variously assigned to Myron by Brunn, to Alkamenes by Kekulé, -followed by Overbeck, Michaelis and Furtwaengler,<a id="FNanchor_661"></a><a href="#Footnote_661" class="fnanchor">661</a> and to Naukydes, -the brother and pupil of Polykleitos.<a id="FNanchor_662"></a><a href="#Footnote_662" class="fnanchor">662</a> The head of the Vatican statue -shows no trace of Peloponnesian art, but rather resembles Attic types -<span class="pagenum"><a id="Page_77">77</a></span>of the end of the fifth century <span class="smcap lowercase">B. C.</span> However, as we shall see, this head -does not appear to belong to the statue. Among the works of Alkamenes -Pliny mentions a bronze pentathlete,<a id="FNanchor_663"></a><a href="#Footnote_663" class="fnanchor">663</a> called the <i>Enkrinomenos</i>, -and this work has been identified with the statue under discussion.<a id="FNanchor_664"></a><a href="#Footnote_664" class="fnanchor">664</a> -Such an assumption is tenable only if the statue fits Pliny’s epithet. -This epithet appears to mean “undergoing a test,” and should refer -not to the statue, for we know nothing of any principle of selecting -statues, but to the athlete represented, the ἔγκρισις referring to the -selection of athletes before the contest.<a id="FNanchor_665"></a><a href="#Footnote_665" class="fnanchor">665</a> Pliny’s statue, then, presumably, -represented a pentathlete, not in action as the Vatican statue -does, but standing at rest before his judges. An all-round athlete -like a pentathlete would especially fit such an ordeal, and his statue, -albeit lighter and more graceful, would be an ideal one like the <i>Doryphoros</i> -of Polykleitos.<a id="FNanchor_666"></a><a href="#Footnote_666" class="fnanchor">666</a> We know how Alkamenes treated Hermes from -the bearded herma of that god found in Pergamon in 1903 and inscribed -with his name.<a id="FNanchor_667"></a><a href="#Footnote_667" class="fnanchor">667</a> Its massive features, broad forehead, and wide-opened -eyes bear no analogy to the head on the Vatican statue, nor to the one -with which Helbig would replace it. The ascription of the statue to -Naukydes is better founded. As the head of the statue is Attic and -not Argive, it is difficult to connect the work with a Peloponnesian -artist. However, the present head of the statue can not be shown to -belong to it, and no other replica has a head which can be proved to -belong to the body. A fragmentary replica of the statue, of good workmanship, -was found in Rome in 1910, and nearby a head, which must -belong to the torso.<a id="FNanchor_668"></a><a href="#Footnote_668" class="fnanchor">668</a> This head fits the Vatican statue better than the -head now on it, and certainly comes from the Polykleitan circle—both -head and body showing elements of Polykleitan style. This new -head represents the transition from Polykleitan art to that of the next -century, <i>i. e.</i>, to the head-types of Skopas, Praxiteles, and other Attic<span class="pagenum"><a id="Page_78">78</a></span> -masters. Presumably, then, in the original of this fragment and its -replicas, we have a famous statue—the one by Naukydes mentioned -by Pliny.<a id="FNanchor_669"></a><a href="#Footnote_669" class="fnanchor">669</a></p> - -<p>A more important question for our discussion is whether the Vatican -statue represents a victor (diskobolos) or Hermes. G. Habich has -argued that the pose of the statue, standing with the right foot advanced, -is not that of a diskobolos taking position. He quotes Kietz<a id="FNanchor_670"></a><a href="#Footnote_670" class="fnanchor">670</a> -to the effect that no vase-painting or other monument has the exact -position of this statue, and that the natural position for such a motive -is to advance the left foot.<a id="FNanchor_671"></a><a href="#Footnote_671" class="fnanchor">671</a> Moreover, the fingers of the right hand, -which are supposed especially to uphold the diskobolos theory, are -modern in all the replicas. On a coin of Amastris in Paphlagonia, -dating from the Antonines, and on one of Commodus struck at Philippopolis -in Thrace, a figure of Hermes is pictured, which, in all essentials, -reproduces the Vatican statue.<a id="FNanchor_672"></a><a href="#Footnote_672" class="fnanchor">672</a> 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 palæstra. Pliny’s words—if we omit or transpose -the first <i>et</i>—refer, therefore, to a statue of <i>Hermes-Diskobolos</i> and -to the <i>Ram-offerer</i> which stood on the Athenian Akropolis, to two, -therefore, and not to three different monuments. We should restore all -the replicas of the statue, then, with the caduceus, to represent Hermes -as gymnasiarch. Though this interpretation of the statue has found -opponents,<a id="FNanchor_673"></a><a href="#Footnote_673" class="fnanchor">673</a> the evidence is strong that in it and its replicas we have an -athlete in the guise of Hermes. If we think that the caduceus can not -be brought into harmony with the chief motive of the statue, 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 staff. This would make it an instance, not of -assimilation of type, but of conversion.</p> - -<p>A small bronze statuette standing upon a cylindrical base, which -was found in the sea off Antikythera (Cerigotto), reproduces almost<span class="pagenum"><a id="Page_79">79</a></span> -exactly the attitude of the statue of Naukydes (Fig. <a href="#f6">6</a>).<a id="FNanchor_674"></a><a href="#Footnote_674" class="fnanchor">674</a> Here the -left hand is stretched out horizontally at the elbow, but the right arm is -lost, so that we get no additional evidence as to the attribute carried. -Because of its correspondence with the aforementioned coins<a id="FNanchor_675"></a><a href="#Footnote_675" class="fnanchor">675</a> even in -detail, Bosanquet, followed by Svoronos, looks upon this “little masterpiece” -as a copy of the Argive master.</p> - -<div class="figcenter500"><a id="f6"></a> -<img src="images/i_p079.jpg" width="500" height="603" alt="Bronze Statuette of Hermes-Diskobolos" /> -<div class="caption"><span class="smcap">Fig. 6.</span>—Bronze Statuette of <i>Hermes-Diskobolos</i>, found in the Sea off -Antikythera. National Museum, Athens.</div> -</div> - -<p><span class="pagenum"><a id="Page_80">80</a></span></p> - -<p>The statue discovered in the ruins of Hadrian’s villa in 1742 and now -in the Capitoline Museum,<a id="FNanchor_676"></a><a href="#Footnote_676" class="fnanchor">676</a> which represents an ephebe nude, except -for a chlamys thrown around the middle of his body, standing in an -easy attitude with his left foot resting upon a rock and bending forward -with the right arm extended in a gesture, was formerly looked -<span class="figright250"><a id="f7"></a> -<img src="images/i_p080.jpg" width="250" height="424" alt="Bronze Statue of a Youth" /> -<span class="caption"><span class="smcap">Fig. 7.</span>—Bronze Statue of a Youth, -found in the Sea off Antikythera. -National Museum, Athens.</span></span> -upon as a resting pancratiast. -Because of its general likeness to -Praxitelean figures—the head is -especially like the Olympia <i>Hermes</i>—Furtwaengler -interpreted -the figure as that of Hermes Logios -or Agoraios, the god of eloquence, -and assigned it to an -artist near to Praxiteles. However, -it is probably nothing else -than an idealized portrait of the -age of Hadrian or the Antonines, -and represents an ephebe, probably -a victor, assimilated to the -type of Hermes.<a id="FNanchor_677"></a><a href="#Footnote_677" class="fnanchor">677</a></p> - -<p>Another example of assimilation -may be the much-discussed -bronze statue in the National -Museum at Athens, which was -accidentally discovered in 1901, -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 <span class="smcap lowercase">B. C.</span> (Fig. <a href="#f7">7</a>).<a id="FNanchor_678"></a><a href="#Footnote_678" class="fnanchor">678</a> -This statue, the best preserved -of the cargo, is a little over life<span class="pagenum"><a id="Page_81">81</a></span>size -and represents a nude youth standing with languid grace, the -weight of his body resting upon the left leg, while the right is slightly -bent and the right arm is extended horizontally, the hand holding a -round object now lost and variously interpreted. In short, the pose -strongly resembles that of the Vatican <i>Apoxyomenos</i> (Pl. <a href="#p29">29</a>). Opinions -as to the age and authorship of this statue have been very diverse, -ranging from the fifth century <span class="smcap lowercase">B. C.</span> down to Hellenistic times and -ascribing it to many masters and schools. Kabbadias, who published -it, in conjunction with the other objects, directly after their discovery,<a id="FNanchor_679"></a><a href="#Footnote_679" class="fnanchor">679</a> -thought it would prove to “rank as high among statues of bronze as does -the <i>Hermes</i> of Praxiteles among those of marble,” and characterized -it as “the most beautiful bronze statue that we possess.” Waldstein -praised it in no less exaggerated terms, and classed it along with the -<i>Charioteer</i> from Delphi (Fig. <a href="#f66">66</a>) as among the first Greek bronzes, -if not among the finest specimens of Greek sculpture.<a id="FNanchor_680"></a><a href="#Footnote_680" class="fnanchor">680</a> He followed -Kabbadias in assigning it to the fourth century <span class="smcap lowercase">B. C.</span> and in interpreting -it as Hermes. He at first ascribed it to Praxiteles or his school, but -later he thought it more Skopaic.<a id="FNanchor_681"></a><a href="#Footnote_681" class="fnanchor">681</a> Th. Reinach placed it in the early -fourth century <span class="smcap lowercase">B. C.</span>, but regarded it as the work of a sculptor influenced -by Polykleitos, naming the youthful Praxiteles or Euphranor.<a id="FNanchor_682"></a><a href="#Footnote_682" class="fnanchor">682</a> He -explained the pose as that of a man amusing a dog or a child with some -round object. A Greek scholar, A. S. Arvanitopoulos, assigned the -work to the fifth century <span class="smcap lowercase">B. C.</span> and to the Attic school, referring it -possibly to Alkamenes.<a id="FNanchor_683"></a><a href="#Footnote_683" class="fnanchor">683</a> However, as soon as the statue was properly -cleansed and pieced together, its early dating was seen to be untenable, -and its Hellenistic character became evident.<a id="FNanchor_684"></a><a href="#Footnote_684" class="fnanchor">684</a> E. A. Gardner found -little resemblance in the head to that of the Praxitelean <i>Hermes</i>, -but more in the treatment of hair and eyes to that of the <i>Lansdowne<span class="pagenum"><a id="Page_82">82</a></span> -Herakles</i> (Pl. <a href="#p30">30</a>, Fig. <a href="#f71">71</a>,), which he ascribes to Skopas.<a id="FNanchor_685"></a><a href="#Footnote_685" class="fnanchor">685</a> He saw in its -labored and even anatomical modeling similarity to the <i>Apoxyomenos</i> of -the Vatican and concluded that it was, therefore, later than the fourth -century <span class="smcap lowercase">B. C.</span>, being an eclectic piece disclosing influences of several -fourth-century sculptors, the work of an imitator especially of Praxiteles -and Skopas. K. T. Frost also assigned the work to the Hellenistic -age, but believed it was the statue of a god and not of a mortal, and -so followed Kabbadias and Waldstein in interpreting it as a Hermes -Logios.<a id="FNanchor_686"></a><a href="#Footnote_686" class="fnanchor">686</a> Gardner had interpreted it as probably the statue of an -athlete “in a somewhat theatrical pose,” though admitting it might -be a <i>genre</i> figure representing an athlete catching a ball, even if its -pose were against such an interpretation. In any case he was right -in saying that the pose, even if incapable of solution, was chosen by the -sculptor with a desire for display, as the centre of attraction is outside and not -inside the statue, and so is against the αὐτάρκεια of earlier works. -More recently, Bulle has asserted that it is not an original work at all, -but, as evinced by the hard treatment of the hair, merely a copy. He -also interprets it as a <i>Hermes</i>, restoring a kerykeion in the left hand, -and he likens its oratorical pose to that of the <i>Etruscan Orator</i> found -near Lago di Trasimeno in 1566 and now in the Museo Archeologico in -Florence, or the <i>Augustus</i> from Primaporta in the Vatican.<a id="FNanchor_687"></a><a href="#Footnote_687" class="fnanchor">687</a> For its date -he believes the statue marks the end of the Polykleitan “<i>Standmotif</i>” -(the breadth of the body showing Polykleitan influence, the head, -however, being too small and slender for the Argive master), and -the inception of the Lysippan (the free leg not drawn back, but -placed further out), as we see it in the <i>Apoxyomenos</i>. He concludes -that its author can not have been a great master.<a id="FNanchor_688"></a><a href="#Footnote_688" class="fnanchor">688</a> Doubtless, the -statue, which is the pride of the Athenian museum, is merely a -representative example of the kind of bronze statues made in great -numbers in the early Hellenistic age; but it shows the high degree of -excellence attained at that time by very mediocre artists.<a id="FNanchor_689"></a><a href="#Footnote_689" class="fnanchor">689</a></p> - -<p>Apart from its period, our chief interest in the statue is to determine -whether a god or a mortal is portrayed. As there are no certain -remnants of the round object held in the right hand, and no other<span class="pagenum"><a id="Page_83">83</a></span> -accessories, many interpretations have been possible. Especially the -gesture of the right arm has been the centre for such interpretations. -Some have looked upon this gesture as “transitory,” <i>i. e.</i>, the sweeping -gesture of an orator or god of orators, and this has led to the interpretation -of the statue as Hermes Logios.<a id="FNanchor_690"></a><a href="#Footnote_690" class="fnanchor">690</a> However, the round object -in the fingers is against this assumption. Others have therefore -regarded the gesture as “stationary,” <i>i. e.</i>, the figure is holding an -object in the hand, which is the main interest of the statue, and this -view has therefore also given rise to many different explanations. -Among mythological interpretations two have received careful attention. -Svoronos has reasoned most ingeniously that the statue represents -Perseus holding the head of Medusa in his hand, and finds a -similar type on coins, gems, and rings. Thus, almost the identical -pose of the statue is seen on an engraved stone in Florence, which -shows Perseus holding the Gorgon’s head, and Svoronos has restored -the bronze similarly.<a id="FNanchor_691"></a><a href="#Footnote_691" class="fnanchor">691</a> But certainly the right arm of the statue was -not intended to carry so great a weight. Others have seen in it the -statue of Paris by Euphranor, mentioned by Pliny as offering the apple -as prize of beauty to Aphrodite.<a id="FNanchor_692"></a><a href="#Footnote_692" class="fnanchor">692</a> But the statue scarcely reflects the -description of the <i>Paris</i> by Pliny. Other scholars have interpreted the -statue as that of a mortal. S. Reinach believes that it may be a youth -sacrificing.<a id="FNanchor_693"></a><a href="#Footnote_693" class="fnanchor">693</a> Kabbadias and E. A. Gardner admitted it might be the -statue of a ball-player as well as of Hermes. Since this latter interpretation -has become popular, let us consider its possibility at some length -in reference to ball-playing in antiquity. Now we know that ball-playing -(σφαιρίζειν, ἡ σφαιρικὴ τέχνη) was a favorite amusement of -the Greeks from the time of Nausikaa and her brothers in the Odyssey<a id="FNanchor_694"></a><a href="#Footnote_694" class="fnanchor">694</a> -to the end of Greek history, and that it was practiced at Rome -from the end of the Republic to the end of the Empire.<a id="FNanchor_695"></a><a href="#Footnote_695" class="fnanchor">695</a> It seems to -have been regarded less as a game than as a gymnastic exercise.<span class="pagenum"><a id="Page_84">84</a></span> -Its origin is ascribed to the Spartans and to others.<a id="FNanchor_696"></a><a href="#Footnote_696" class="fnanchor">696</a> A special sort of -ball-playing was known as φαινίνδα,<a id="FNanchor_697"></a><a href="#Footnote_697" class="fnanchor">697</a> and this is described in a treatise -by the physician Galen, of the second century <span class="smcap lowercase">A. D.</span>, in which he recommended -ball-playing as one of the best exercises.<a id="FNanchor_698"></a><a href="#Footnote_698" class="fnanchor">698</a> Because of his -ability in the art of ball-playing, Aristonikos of Karystos, the ball-player -of Alexander the Great, received Athenian citizenship and was -honored with a statue.<a id="FNanchor_699"></a><a href="#Footnote_699" class="fnanchor">699</a> The philosopher Ktesibios of Chalkis was -fond of the game.<a id="FNanchor_700"></a><a href="#Footnote_700" class="fnanchor">700</a> A special room, called the σφαιριστήριον, was a -part of the later gymnasium.<a id="FNanchor_701"></a><a href="#Footnote_701" class="fnanchor">701</a> The game was specially indulged in -at Sparta. Several inscriptions, mostly from the age of the Antonines, -commemorate victories by teams of ball-players there.<a id="FNanchor_702"></a><a href="#Footnote_702" class="fnanchor">702</a> The name -σφαιρεῖς was given to Spartan youths in the first year of manhood. -These competitions took place in the Δρόμος at Sparta.<a id="FNanchor_703"></a><a href="#Footnote_703" class="fnanchor">703</a> Though, -then, we should naturally expect statues of ball-players, like the one in -Athens of Aristonikos already mentioned, the calm mien of the Cerigotto -bronze and the direction of the gaze are certainly, as Th. Reinach said -earlier, against interpreting it as the statue of one engaged in so active -a sport. Von Mach, because of its voluptuous appearance, thought it -might represent merely a <i>bon vivant</i>. While Lechat interpreted it as -possibly an athlete receiving a crown from Nike,<a id="FNanchor_704"></a><a href="#Footnote_704" class="fnanchor">704</a> Arvanitopoulos would -have the right hand either hold a lekythion or be quite empty, and the -left a strigil, thus restoring the statue as an apoxyomenos. S. Reinach -would regard it merely as a funerary monument.</p> - -<p>In all this discrepancy of opinion it is not difficult to recognize -elements of both god and mortal blended. The resemblance in the -expression and features of the face to those of the Praxitelean <i>Hermes</i>, -even though superficial, as well as the pose of the right arm recall the -god; the muscular build of the figure fits either the god Hermes, in -his character of overseer of the sports of the palæstra, or an athlete. -It therefore seems reasonable to see in this Hellenistic statue of varied -artistic tendencies merely the representation of an athlete, perhaps of a -pentathlete, who is holding a crown or possibly an apple as a prize of -victory in the right hand, whose form and features have been assimilated -to those of Hermes.</p> - -<p>How the statue of an indisputable Hermes Logios, on the other hand, -appears, may be seen in the <i>Hermes Ludovisi</i> of the Museo delle Terme,<span class="pagenum"><a id="Page_85">85</a></span> -Rome,<a id="FNanchor_705"></a><a href="#Footnote_705" class="fnanchor">705</a> and in its replica in the Louvre. The original of this marble -copy, dating from the middle of the fifth century <span class="smcap lowercase">B. C.</span>, has been -variously ascribed to Pheidias,<a id="FNanchor_706"></a><a href="#Footnote_706" class="fnanchor">706</a> Myron,<a id="FNanchor_707"></a><a href="#Footnote_707" class="fnanchor">707</a> and others. In this statue -the petasos, chlamys, and kerykeion indicate the god, while the -position of the right arm raised toward the head<a id="FNanchor_708"></a><a href="#Footnote_708" class="fnanchor">708</a> and the earnest -expression of concentration in the face bespeak the god of oratory. -The careful replica of the statue, except the head, in the -Louvre, is the work of Kleomenes of Athens, a sculptor of the first -century <span class="smcap lowercase">B. C.</span> The copyist, however, has given to the original a -Roman portrait-head, whence it has been falsely called <i>Germanicus</i>.<a id="FNanchor_709"></a><a href="#Footnote_709" class="fnanchor">709</a> -The Paris statue, then, is merely another example of the conversion -of an original god-type, for the sculptor wished to represent a Roman -under the guise of Hermes Logios, since the inscribed tortoise shell -retained at the feet is a well-known attribute of the god.</p> - -<p>Another excellent example of a true Hermes head is the fine Polykleitan -one in the Museum of Fine Arts in Boston, which is a copy of a -well-known type represented by the <i>Boboli Hermes</i> in Florence and -other replicas.<a id="FNanchor_710"></a><a href="#Footnote_710" class="fnanchor">710</a> Though S. Reinach classed this head as Kresilæan,<a id="FNanchor_711"></a><a href="#Footnote_711" class="fnanchor">711</a> -its true Polykleitan character has been established,<a id="FNanchor_712"></a><a href="#Footnote_712" class="fnanchor">712</a> even if it does -not merit the praise formerly given it by Robinson, of being “easily -the best extant copy of a work by Polykleitos.”<a id="FNanchor_713"></a><a href="#Footnote_713" class="fnanchor">713</a></p> - -<p><span class="pagenum"><a id="Page_86">86</a></span></p> - -<p>The so-called <i>Jason</i> of the Louvre and its many replicas<a id="FNanchor_714"></a><a href="#Footnote_714" class="fnanchor">714</a> (Fig. <a href="#f8">8</a>) -probably represent athletes in the guise of Hermes. These statues -are copies of an original of the end of the fourth century <span class="smcap lowercase">B. C.</span>, when -<span class="figright300"><a id="f8"></a> -<img src="images/i_p086.jpg" width="300" height="560" alt="Statue of the so-called Jason" /> -<span class="caption"><span class="smcap">Fig. 8.</span>—Statue of the so-called <i>Jason</i> -(<i>Sandal-binder</i>). Louvre, Paris.</span></span> -the favorite motive originated—probably -with Lysippos—of -representing a figure, as in this -case, with one foot on a rock, -bending over and tying a sandal. -Since the replicas in Munich -and Paris extend both arms -to the right foot, while those in -London and Athens extend the -left arm over the breast, with -the hand resting on the right -knee, Klein has argued two different -versions of a common -type. He compares the former -with figures on the west frieze -of the Parthenon, the latter -with the well-known relief of -Nike tying her sandal, from -the Nike balustrade now in the -Akropolis Museum. The one -type he assigns to Lysippos, -the other (with both arms down) -to an earlier artist. However, -the proportions of both groups -agree with the Lysippan canon -and so we should assume only -one artist. 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 balustrade;<a id="FNanchor_715"></a><a href="#Footnote_715" class="fnanchor">715</a> but the<span class="pagenum"><a id="Page_87">87</a></span> -question as to who is represented by the type is worthy of careful -consideration. The statue in the Louvre at first was believed to -represent Cincinnatus called from the plough, but Winckelmann, -without evidence, gave it its present name of <i>Jason</i>. In recent -years it has been interpreted as Hermes tying on his sandals, his -head raised to hearken to the behest of Zeus before going forth -from Olympos on his duties as messenger. This interpretation was -based on the description of a statue of the god by Christodoros,<a id="FNanchor_716"></a><a href="#Footnote_716" class="fnanchor">716</a> and -the fact that the type conforms with a representation of Hermes on a -coin of Markianopolis in Mœsia.<a id="FNanchor_717"></a><a href="#Footnote_717" class="fnanchor">717</a> Arndt has argued from the coin -and from the motive of the statue that Hermes and not an athlete -is intended; thus the inclination of the head, he thinks, is not that of -an athlete looking out over the theatre, since the regard is not far off, -but merely upward; the presence of the chlamys and the sandals -also fits the god. He therefore refers the copies to a Hermes-type -originated by Lysippos. But Froehner’s idea that they represent -athletes, even if the type were invented for Hermes, is in line with -our idea of the assimilation of athlete types to that of Hermes. In -this connection it may be added that the head of an athlete in Turin,<a id="FNanchor_718"></a><a href="#Footnote_718" class="fnanchor">718</a> -dating from the late third or early second century <span class="smcap lowercase">B. C.</span>, is very similar -to that of the Louvre figure, and especially to the Fagan head in London. -The pose of an athlete binding on a sandal was doubtless chosen -by the sculptor merely to show the play of the muscles.</p> - -<p>Heads of Hermes are often found with victor fillets,<a id="FNanchor_719"></a><a href="#Footnote_719" class="fnanchor">719</a> and some of -these doubtless are from statues of victors. The beautiful fourth-century -<span class="smcap lowercase">B. C.</span> Parian marble head of a beardless youth in the British -Museum, known as the Aberdeen head,<a id="FNanchor_720"></a><a href="#Footnote_720" class="fnanchor">720</a> which resembles so -strongly the Praxitelean <i>Hermes</i>, although lacking its delicacy, may -be from a victor statue assimilated to the god, for holes show that -it once wore a metal wreath. In Roman days the <i>Doryphoros</i> -of Polykleitos, as we have seen, was adapted to represent Hermes, -and was set up in various palæstræ and gymnasia. The Naples -copy of the <i>Doryphoros</i> stood in the Palaistra of Pompeii,<a id="FNanchor_721"></a><a href="#Footnote_721" class="fnanchor">721</a> and statues -of ephebes carrying lances (hastae, δόρατα) and called <i>Achilleae</i> by -Pliny,<a id="FNanchor_722"></a><a href="#Footnote_722" class="fnanchor">722</a> which must have been largely copies of Polykleitos’ great -statue, were set up in gymnasia. A later type of Hermes-head often<span class="pagenum"><a id="Page_88">88</a></span> -appeared on bodies of the <i>Doryphoros</i>,<a id="FNanchor_723"></a><a href="#Footnote_723" class="fnanchor">723</a> while other statues, showing -the body of the <i>Doryphoros</i> draped with the chlamys,<a id="FNanchor_724"></a><a href="#Footnote_724" class="fnanchor">724</a> and many -torsos following the attitude and form of this statue, have the chlamys, -which shows that they were intended for the god.<a id="FNanchor_725"></a><a href="#Footnote_725" class="fnanchor">725</a> Hermes in the <i>Doryphoros</i> -pose, in a bronze of the British Museum,<a id="FNanchor_726"></a><a href="#Footnote_726" class="fnanchor">726</a> is probably intended -for an athlete. Furtwaengler has shown<a id="FNanchor_727"></a><a href="#Footnote_727" class="fnanchor">727</a> that the old Argive schema -of the boxer Aristion at Olympia by Polykleitos<a id="FNanchor_728"></a><a href="#Footnote_728" class="fnanchor">728</a> was used in the -master’s circle for statues of Hermes. The best preserved example -of a number of existing statues of this type is one in Lansdowne -House, London,<a id="FNanchor_729"></a><a href="#Footnote_729" class="fnanchor">729</a> in the pose of the Aristion, holding an object—probably -a kerykeion—in the hand and a chlamys over the left shoulder.</p> - -<h4><span class="smcap">Athlete Statues Assimilated to Types of Apollo.</span></h4> - -<p>Apollo figures in mythology as an athlete. In the Iliad, at the -opening of the boxing match between Epeios and Euryalos,<a id="FNanchor_730"></a><a href="#Footnote_730" class="fnanchor">730</a> he is -mentioned as the god of boxing, which refers, perhaps, to his presiding -over the education of youths (κουροτρόφος) and to his gift of manly -prowess. Pausanias records that he overcame Hermes in running and -Ares in boxing.<a id="FNanchor_731"></a><a href="#Footnote_731" class="fnanchor">731</a> He gives these victories of the god as the reason why -the flute played a Pythian air at the later pentathlon. Plutarch says -that the Delphians sacrificed to Apollo the boxer (πύκτης), and the Cretans -and Spartans to Apollo the runner (δρομαῖος).<a id="FNanchor_732"></a><a href="#Footnote_732" class="fnanchor">732</a> Apollo’s fight with -Herakles to wrest from the hero the stolen tripod of Delphi,<a id="FNanchor_733"></a><a href="#Footnote_733" class="fnanchor">733</a> which is -the subject of many surviving works of art,<a id="FNanchor_734"></a><a href="#Footnote_734" class="fnanchor">734</a> is outside the realm of<span class="pagenum"><a id="Page_89">89</a></span> -athletics. As with Hermes, it is often difficult to distinguish between -statues of Apollo and those of victors assimilated to his type. A -good instance of this doubt is afforded by the long and indecisive -discussion of the monument represented by several replicas, especially -by the <i>Choiseul-Gouffier</i> statue in the British Museum (Pl. <a href="#p7A">7A</a>), and -the so-called <i>Apollo-on-the-Omphalos</i> (Pl. <a href="#p7B">7B</a>) found in 1862 in the -ruins of the theatre of Dionysos at Athens, and now in the National -Museum there.<a id="FNanchor_735"></a><a href="#Footnote_735" class="fnanchor">735</a> The bronze original of these marble copies must -have been famous, to judge from the number of replicas of it. It has -been ascribed to many different artists—to Kalamis, Pythagoras, -Alkamenes, Pasiteles,<a id="FNanchor_736"></a><a href="#Footnote_736" class="fnanchor">736</a> to one on more, to another on less probability. As -A. H. Smith has pointed out, the <i>krobylos</i> treatment of the hair almost -certainly indicates an Attic sculptor of the first half of the fifth century -<span class="smcap lowercase">B. C.</span> But here again the main interest in these copies is to determine -whether the original represented Apollo or an athlete. The -connection between the Athens replica and the <i>omphalos</i> found with -it is all but disproved<a id="FNanchor_737"></a><a href="#Footnote_737" class="fnanchor">737</a> and can not be used as evidence that the -statue represents the god. However, the original has been called an -Apollo because of the presence of a quiver on certain of the copies. -Thus, while we have a tree-trunk beside the <i>Choiseul-Gouffier</i> example, -we have a quiver on the copy in the Palazzo Torlonia in Rome,<a id="FNanchor_738"></a><a href="#Footnote_738" class="fnanchor">738</a> and on a -similar statue in the Fridericianum in Kassel,<a id="FNanchor_739"></a><a href="#Footnote_739" class="fnanchor">739</a> and both tree and quiver -on the fragment of a leg from the Palatine now in the Museo delle Terme.<a id="FNanchor_740"></a><a href="#Footnote_740" class="fnanchor">740</a> -The Ventnor head in the British Museum<a id="FNanchor_741"></a><a href="#Footnote_741" class="fnanchor">741</a> has long locks suited to -Apollo, and the head from Kyrene there<a id="FNanchor_742"></a><a href="#Footnote_742" class="fnanchor">742</a> was actually found in a -temple of Apollo. It has also been pointed out that the head of -a similar figure, undoubtedly an Apollo, appears on a relief in the -Capitoline Museum,<a id="FNanchor_743"></a><a href="#Footnote_743" class="fnanchor">743</a> and a similar figure is found on a red-figured<span class="pagenum"><a id="Page_90">90</a></span> -krater in Bologna, which shows the god standing on a pillar with a -laurel wreath in the lowered left hand and a bowl in the right.<a id="FNanchor_744"></a><a href="#Footnote_744" class="fnanchor">744</a> On -coins of Athens, moreover, we see the figure of Apollo in a similar -attitude with a laurel wreath in the lowered right hand and a bow -in the left.<a id="FNanchor_745"></a><a href="#Footnote_745" class="fnanchor">745</a> From such evidence a good case for an Apollo has -been made out by many scholars—A. H. Smith, Winter,<a id="FNanchor_746"></a><a href="#Footnote_746" class="fnanchor">746</a> Helbig,<a id="FNanchor_747"></a><a href="#Footnote_747" class="fnanchor">747</a> -Conze,<a id="FNanchor_748"></a><a href="#Footnote_748" class="fnanchor">748</a> Furtwaengler,<a id="FNanchor_749"></a><a href="#Footnote_749" class="fnanchor">749</a> Schreiber,<a id="FNanchor_750"></a><a href="#Footnote_750" class="fnanchor">750</a> Dickins, and others. 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 god. -The attempt especially to connect it with the <i>Apollo Alexikakos</i> of -Kalamis<a id="FNanchor_751"></a><a href="#Footnote_751" class="fnanchor">751</a> must certainly fall, since the date is about the only thing -in its favor. In the long list of statues ascribed to this sculptor,<a id="FNanchor_752"></a><a href="#Footnote_752" class="fnanchor">752</a> -there is none of an athlete, and the <i>Choiseul-Gouffier</i> type, whether -it represents Apollo or an athlete, has a markedly athletic character. -If the Delphi <i>Charioteer</i> (Fig. <a href="#f66">66</a>) be ascribed to Kalamis, certainly -this type of statue can have nothing to do with him or his school. Nor -is the type at all identical with the <i>Alexikakos</i> appearing on coins of -Athens,<a id="FNanchor_753"></a><a href="#Footnote_753" class="fnanchor">753</a> in which the locks of hair, in the true archaic fashion of a -cultus statue, fall down over the god’s shoulders. Besides, the work -of Kalamis, characterized by λεπτότης and χάρις,<a id="FNanchor_754"></a><a href="#Footnote_754" class="fnanchor">754</a> must have been -of the delicate later archaic style of the transition period.</p> - -<table summary="PLATE 7A PLATE 7B" border="0"><tr> -<td><div class="figcenter250 padr1"><p>PLATE 7A</p><a id="p7A"></a> -<img src="images/i_fp090a.jpg" width="250" height="648" alt="Statue of the so-called Apollo Choiseul-Gouffier" /> -<div class="caption">Statue of the so-called <i>Apollo Choiseul-Gouffier</i>. -British Museum, London.</div></div></td> - -<td><div class="figcenter233 padl1"><p class="right">PLATE 7B</p><a id="p7B"></a> -<img src="images/i_fp090b.jpg" width="233" height="648" alt="Statue of the so-called Apollo-on-the-Omphalos" /> -<div class="caption">Statue of the so-called <i>Apollo-on-the-Omphalos</i>. -National Museum, Athens.</div></div></td> -</tr></table> - - -<p>Waldstein, however, has made a good case against the evidence -adduced for interpreting the original as Apollo and he believes that -the statue represents an athlete.<a id="FNanchor_755"></a><a href="#Footnote_755" class="fnanchor">755</a> The thongs thrown over the stump -in the <i>Choiseul-Gouffier</i> statue, doubtless those of a boxer, seem to -point to an athlete for that copy at least. The muscular form and -athletic coiffure of all the copies also point to the same conclusion, even -if Waldstein’s ascription of the original statue to the boxer Euthymos, -whose statue by Pythagoras of Rhegion stood in the Altis at Olympia,<a id="FNanchor_756"></a><a href="#Footnote_756" class="fnanchor">756</a> -is only a guess. Wolters thinks the <i>Choiseul-Gouffier</i> statue may -<span class="pagenum"><a id="Page_91">91</a></span>represent an athlete, but is against Waldstein’s ascription of the work -to Pythagoras.<a id="FNanchor_757"></a><a href="#Footnote_757" class="fnanchor">757</a></p> - -<p>Though differing in detail, the rendering of the hair, common to -all the replicas, is a purely athletic coiffure. The argument for -attributing the original to Apollo, based on the curls around the face, -is of no importance, since a similar coiffure appears on many ephebe -heads by various Attic masters of the same or a slightly earlier period. -The hair treatment on a little-known replica of the head in the British -Museum<a id="FNanchor_758"></a><a href="#Footnote_758" class="fnanchor">758</a> gives us an additional argument in determining whether -the original was an Apollo or not. On this head there are two corkscrew -curls side by side just back of the ears, which are so inorganically -attached and so unsuited to the style of head as to make us believe -that they were added by the copyist, even if their absence in other -copies were not proof enough of this fact. 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 attribute. The only other -Apolline attribute, the quiver on the copies in the Palazzo Torlonia<a id="FNanchor_759"></a><a href="#Footnote_759" class="fnanchor">759</a> -and Museo delle Terme, may have been added as a fortuitous adjunct -by the copyists, who were converting an original athlete statue into -one of Apollo. It may be added, also, that the quiver does not always -indicate the god, as we shall see in discussing the Delian <i>Diadoumenos</i> -(Pl. <a href="#p18">18</a>). When we consider, therefore, the athletic pose, the massive -outline and proportions, the high-arched chest, the muscular arms -and thighs, the accentuation of the veins,<a id="FNanchor_760"></a><a href="#Footnote_760" class="fnanchor">760</a> the fashion of the hair, -and the relatively small size of the head, together with the presence -of the boxing-thongs on the London example, it seems reasonable to -conclude that in this series of copies we may see an original athlete -statue, which in certain cases was later transformed into statues of -Apollo. Even if the original was actually an Apollo, its proportions -were far better suited to the patron of athletic exercises than to the -leader of a celestial choir.</p> - -<p>An instance of the similar use of the same type of head is shown -by the colossal statue of Apollo unearthed at Olympia.<a id="FNanchor_761"></a><a href="#Footnote_761" class="fnanchor">761</a> Here we see -the same coiffure as in the heads discussed, but the presence of the -remnants of a lyre indubitably shows that this copy was intended for<span class="pagenum"><a id="Page_92">92</a></span> -Apollo, and so it has been rightly assigned by Treu, not to the fifth, but -to a later century. When long hair was no longer the fashion for -athletes, a later artist might mistakenly think that the earlier plaits -were genuinely Apolline, though we know that they were common to -all early athletic art. Another head in the British Museum has been -ably discussed by Mrs. Strong,<a id="FNanchor_762"></a><a href="#Footnote_762" class="fnanchor">762</a> who shows that it comes from an -Apollo and not from an athlete statue. It is similar to an Apollo -pictured on a stater struck at Mytilene about 400 <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_763"></a><a href="#Footnote_763" class="fnanchor">763</a> and consequently, -like the statue from Olympia, it is merely an instance of -the process of converting an athlete statue into that of an Apollo.</p> - -<p>The marble copy of the <i>Diadoumenos</i> of Polykleitos, found on -the island of Delos in 1894, and now in the National Museum in -Athens<a id="FNanchor_764"></a><a href="#Footnote_764" class="fnanchor">764</a> (Pl. <a href="#p18">18</a>), has a chlamys and a quiver introduced on the marble -support against the right leg. Until recently these attributes were -regarded as the arbitrary introductions of the Hellenistic copyist, -who wished to convert the famous athlete statue into one of Apollo, -but lately it has been suggested that they belonged to the original -statue, which is assumed to have represented Apollo. Thus, Hauser -has propounded the theory that the <i>Diadoumenos</i> was originally an -Apollo.<a id="FNanchor_765"></a><a href="#Footnote_765" class="fnanchor">765</a> He does not believe that the Delian sculptor could have -transformed a short-haired athlete into an Apollo, since the typical -Apollo after the time of Praxiteles was never represented as athletic. -He later supported his theory that the <i>Diadoumenos</i> was originally an -Apollo by the evidence of a bronze statuette and a Delphian coin, and -reasserted his view that so virile a short-haired Apollo did not originate -with the later copyist, but in the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_766"></a><a href="#Footnote_766" class="fnanchor">766</a> Hauser’s argument -that Apollo was the original of the <i>Diadoumenos</i> seems as unsuccessful -as his contention that Polykleitos’ other great creation, the -<i>Doryphoros</i>, is to be classed as an <i>Achilles</i>.<a id="FNanchor_767"></a><a href="#Footnote_767" class="fnanchor">767</a> Loewy has sufficiently -opposed Hauser’s theory of the <i>Diadoumenos</i>, by showing that the palm-tree -prop in all the marble replicas of that statue points to athletic<span class="pagenum"><a id="Page_93">93</a></span> -victories.<a id="FNanchor_768"></a><a href="#Footnote_768" class="fnanchor">768</a> 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 god. His ascription of the -Polykleitan statue to the pentathlete Pythokles, the base of whose -statue at Olympia has been found,<a id="FNanchor_769"></a><a href="#Footnote_769" class="fnanchor">769</a> is doubtful. More recently Ada -Maviglia has shown the literary grounds for regarding the <i>Diadoumenos</i> -as an athlete, and not an Apollo.<a id="FNanchor_770"></a><a href="#Footnote_770" class="fnanchor">770</a></p> - -<p>The difficulty of distinguishing between statues of athletes and Apollo -is also shown by the very beautiful fifth century <span class="smcap lowercase">B. C.</span> Parian marble -head in Turin,<a id="FNanchor_771"></a><a href="#Footnote_771" class="fnanchor">771</a> which is certainly a copy of an original Greek bronze. -Furtwaengler, because of the hair, wrongly believed it the head of a -diadoumenos, and connected it with Kresilas,<a id="FNanchor_772"></a><a href="#Footnote_772" class="fnanchor">772</a> while Amelung and -Wace<a id="FNanchor_773"></a><a href="#Footnote_773" class="fnanchor">773</a> have found in it Attic and Polykleitan influences. The hair is -parted over the centre of the forehead, as in the <i>Diadoumenos</i> and -the <i>Doryphoros</i>, and in other works attributed to the Polykleitan -school, while the locks over the ears and the plaits wound round -the head have Attic analogues.<a id="FNanchor_774"></a><a href="#Footnote_774" class="fnanchor">774</a></p> - -<h4><span class="smcap">Athlete Statues Assimilated to Types of Herakles.</span></h4> - -<p>Herakles was the reputed founder of the games at Olympia.<a id="FNanchor_775"></a><a href="#Footnote_775" class="fnanchor">775</a> He -was a famous wrestler, Pausanias frequently mentioning his combats -with giants.<a id="FNanchor_776"></a><a href="#Footnote_776" class="fnanchor">776</a> He won in both wrestling and the pankration at Olympia.<a id="FNanchor_777"></a><a href="#Footnote_777" class="fnanchor">777</a> -In connection with the victory of Straton of Alexandria, who -won in these two events on the same day,<a id="FNanchor_778"></a><a href="#Footnote_778" class="fnanchor">778</a> Pausanias names three men -before him and three men after him who won in these events on the same<span class="pagenum"><a id="Page_94">94</a></span> -day.<a id="FNanchor_779"></a><a href="#Footnote_779" class="fnanchor">779</a> We learn their dates from Africanus.<a id="FNanchor_780"></a><a href="#Footnote_780" class="fnanchor">780</a> After the date of the last -of these victories, Ol. 204 ( = 37 <span class="smcap lowercase">A. D.</span>), the Elean umpires, in order to -check professionalism, refused to allow contestants to enter for both -events.<a id="FNanchor_781"></a><a href="#Footnote_781" class="fnanchor">781</a> To win the crown of wild olive in both these events was -therefore regarded as a great honor, and in the Olympic lists a special -note was made of such victors, who were called πρῶτος, δεύτερος, -τρίτος, κ. τ. λ., ἀφ’ Ἡρακλέους.<a id="FNanchor_782"></a><a href="#Footnote_782" class="fnanchor">782</a> They also received the title of -παράδοξος or παραδοξονίκης.<a id="FNanchor_783"></a><a href="#Footnote_783" class="fnanchor">783</a> Statues of Herakles, like those of Hermes -and Theseus, were commonly set up in gymnasia and palæstræ -throughout Greece,<a id="FNanchor_784"></a><a href="#Footnote_784" class="fnanchor">784</a> and it was but natural that Olympic victors, -especially those in the two events mentioned, should want their -statues assimilated to those of the hero. 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 Apollo. To quote Homolle: “<i>Maintes fois, comme pour la -tête d’Olympie, comme pour plusieurs autres encore, on peut se demander -si le personnage représenté est le héros luimême sous les traits d’un -athlête ou un athlête fait à l’image du héros</i>.”<a id="FNanchor_785"></a><a href="#Footnote_785" class="fnanchor">785</a> In reference to the -statue of Agias by Lysippos discovered at Delphi, which is an excellent -example of the assimilation process which we are discussing, he -continues: “<i>Ici en particulier, étant donnée la nature du monument, il est -permis de supposer que l’auteur ... ait voulu élever le personnage à la -hauteur idéale du type divin en qu’ Agias ait été assimilé à Héraclès</i>.”<a id="FNanchor_786"></a><a href="#Footnote_786" class="fnanchor">786</a></p> - -<p>We shall discuss a few examples of this process of assimilation to -types of Herakles. Our ascription of the head from Olympia mentioned -by Homolle, which was found in the ruins of the Gymnasion, to the<span class="pagenum"><a id="Page_95">95</a></span> -statue of the Akarnanian pancratiast Philandridas by Lysippos<a id="FNanchor_787"></a><a href="#Footnote_787" class="fnanchor">787</a> (<a href="#fr">Frontispiece</a> -and Fig. <a href="#f69">69</a>) will be discussed in a later chapter.<a id="FNanchor_788"></a><a href="#Footnote_788" class="fnanchor">788</a> The swollen -ears and hair-fillet might pass for hero or mortal, for in deciding -whether a given head represents Herakles or a victor, the ears are not -the deciding criterion, since many heroes had the “pancratiast” swollen -ear, as we shall see later. A good example of assimilation is seen in the -beautiful little marble head of a man, found in Athens and now in the -Glyptothek Ny-Carlsberg in Copenhagen, dating from the early Hellenistic -age.<a id="FNanchor_789"></a><a href="#Footnote_789" class="fnanchor">789</a> As traces of color remain in the hair, some have thought -that this head came from the reliefs on the “Alexander” sarcophagus -from Sidon, belonging to the body of a headless youth represented there. -Though the marble (Pentelic) and the dimensions would fit, it would be -the only head on the sarcophagus with a band in the hair, and so the -question can not be definitely decided.<a id="FNanchor_790"></a><a href="#Footnote_790" class="fnanchor">790</a> The head was at first called a -Herakles, though Furtwaengler rightly saw in it an ideal representation -of an athlete, even if the ears are not swollen. A bronze head of a youth -from Herculaneum, now in Naples, is evidently a part of the statue -of a victor or of Herakles.<a id="FNanchor_791"></a><a href="#Footnote_791" class="fnanchor">791</a> A Polykleitan ephebe head-type, with -rolled fillet around the hair and swollen ears, represented by replicas in -Naples, in Rome, and elsewhere, may represent a boxer in the guise of the -hero.<a id="FNanchor_792"></a><a href="#Footnote_792" class="fnanchor">792</a> In the Roman copy of the group of Herakles and Telephos in the -Museo Chiaramonti of the Vatican, Herakles, still the god, wears a fillet.<a id="FNanchor_793"></a><a href="#Footnote_793" class="fnanchor">793</a> -Similarly, a colossal head of mediocre workmanship in the Sala dei Busti -of the Vatican represents the hero with a fillet,<a id="FNanchor_794"></a><a href="#Footnote_794" class="fnanchor">794</a> while another head -in the Capitoline Museum, with fillet and swollen ears, seems to represent -Herakles as a victorious athlete.<a id="FNanchor_795"></a><a href="#Footnote_795" class="fnanchor">795</a> Many other heads in various -museums, which are commonly called heads of Herakles, may represent -athletes in the heroic guise. A good example is the Parian marble -terminal bust of the fourth century <span class="smcap lowercase">B. C.</span>, representing a young Herakles -wreathed with poplar, now in the British Museum (Fig. <a href="#f31">31</a>).<a id="FNanchor_796"></a><a href="#Footnote_796" class="fnanchor">796</a><span class="pagenum"><a id="Page_96">96</a></span> -In this head the ears are bruised. It seems to have been copied from -some well-known statue of Lysippan or Skopaic tendencies. Another -head in the British Museum shows the beardless hero, his hair encircled -by a diadem, and his ears broken and crushed.<a id="FNanchor_797"></a><a href="#Footnote_797" class="fnanchor">797</a> This almost -certainly comes from a victor statue. Many bronze statuettes in the -British Museum may be interpreted either as Herakles or as victors.<a id="FNanchor_798"></a><a href="#Footnote_798" class="fnanchor">798</a> -A bronze from Corfu represents a nude Herakles or an athlete, with -the left foot advanced and the left hand extended. The objects held in -both hands are lost, but the challenging pose and expression indicate -a boxer.<a id="FNanchor_799"></a><a href="#Footnote_799" class="fnanchor">799</a> Similarly a small bronze in Berlin, represented with a -fillet and in the walking pose, may be a Herakles or a victor.<a id="FNanchor_800"></a><a href="#Footnote_800" class="fnanchor">800</a> Duetschke -gives two examples of heads in the Uffizi, both of them having fillets, -and one of them having swollen ears, which may come from statues -of the hero or victors.<a id="FNanchor_801"></a><a href="#Footnote_801" class="fnanchor">801</a> Heads of the hero with the rolled fillet can not, -however, according to Furtwaengler, be classed as victors, since he -believes that this attribute was borrowed from the symposium, to -distinguish the glorified hero rejoicing in the celestial banquet.<a id="FNanchor_802"></a><a href="#Footnote_802" class="fnanchor">802</a></p> - -<h4><span class="smcap">Athletes Represented as the Dioskouroi.</span></h4> - -<p>Kastor is said to have won the foot-race and Polydeukes the boxing -match, at Olympia.<a id="FNanchor_803"></a><a href="#Footnote_803" class="fnanchor">803</a> They had an altar at the entrance to the Hippodrome -there,<a id="FNanchor_804"></a><a href="#Footnote_804" class="fnanchor">804</a> and were called “Starters of the Race” at Sparta.<a id="FNanchor_805"></a><a href="#Footnote_805" class="fnanchor">805</a> -A stadion, in which they were fabled to have contended, was shown in -Hermione, in Corinthia.<a id="FNanchor_806"></a><a href="#Footnote_806" class="fnanchor">806</a> Kastor was a famous horse-racer in Homer -and later writers,<a id="FNanchor_807"></a><a href="#Footnote_807" class="fnanchor">807</a> and Polydeukes a famous boxer,<a id="FNanchor_808"></a><a href="#Footnote_808" class="fnanchor">808</a> both being κατ’ -ἐξοχήν the rider and boxer respectively.<a id="FNanchor_809"></a><a href="#Footnote_809" class="fnanchor">809</a> Scenes showing Athena setting -garlands on victorious hoplite racers (?) appear on reliefs of the Dioskouroi -from Tarentum.<a id="FNanchor_810"></a><a href="#Footnote_810" class="fnanchor">810</a> An archaic Argive inscription tells how a -certain Aischylos won the stade-race four times and the hoplite-race<span class="pagenum"><a id="Page_97">97</a></span> -three times at Argos, for which he dedicated a slab to the Dioskouroi, -which depicted them in relief.<a id="FNanchor_811"></a><a href="#Footnote_811" class="fnanchor">811</a> An inscribed bronze quoit of the -sixth century <span class="smcap lowercase">B. C.</span> from Kephallenia(?), now in the British Museum, -was dedicated to the two heroes by Exoïdas for a victory (apparently -in the pentathlon).<a id="FNanchor_812"></a><a href="#Footnote_812" class="fnanchor">812</a> A bronze four-spoked wheel with a dedicatory -inscription in their honor was found at Argos, probably the remnant of a -monument erected for a chariot victory.<a id="FNanchor_813"></a><a href="#Footnote_813" class="fnanchor">813</a> Doubtless certain victor -statues were assimilated to them, though we have no direct evidence -of the fact. Ordinary dead men appeared in the guise of the Dioskouroi -on sepulchral reliefs, just as we have seen that in statuary they -were heroized into statues of Hermes. Thus a grave-relief in honor -of Pamphilos and Alexandros in Verona shows on the projecting lower -rim the two Dioskouroi, the figure to the right carrying a lance in the -right hand and holding the bridle of a horse in the left, while the figure -to the left holds a lance in the left hand and touches a horse’s head with -the right.<a id="FNanchor_814"></a><a href="#Footnote_814" class="fnanchor">814</a> A votive relief in the British Museum represents two youths -on horseback, who, despite the absence of the conical cap or pilleus, -are probably the Dioskouroi.<a id="FNanchor_815"></a><a href="#Footnote_815" class="fnanchor">815</a> Their short hair is bound with diadems, -which shows that the dead men may have been victors.</p> - -<p>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 athletes.</p> - -<p><span class="pagenum"><a id="Page_98">98</a></span></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_99">99</a></span></p> - -<h2>CHAPTER III.<br /> - -<small>VICTOR STATUES REPRESENTED AT REST.</small></h2> - -<p class="center"><span class="smcap">Plates 8–21 and Figures 9–31.</span></p> - -<p>We have seen<a id="FNanchor_816"></a><a href="#Footnote_816" class="fnanchor">816</a> 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 held. On many sites, especially at Olympia, -tiny statuettes of clay or bronze of very primitive technique have been -found in great numbers, which represent victors in many attitudes -and ways—as horsemen, warriors, charioteers, etc. By the sixth -century <span class="smcap lowercase">B. C.</span> this ancient custom, as we learn from literary, epigraphical, -and monumental sources, had developed, with the rapid progress -attained by the sculptor’s art, into the regular practice of erecting -life-size statues of athletes at the site of the games or in the native city -of the victor. Especially at Olympia hundreds of such monuments -were gradually collected, whose numbers and beauty must have exerted -an overwhelming impression on the visitor to the Altis. We shall now -begin the consideration of these monuments in detail.</p> - -<p>The victor statues at Olympia, as elsewhere, may be conveniently -divided into two main groups—those which represent the victor as -standing or seated at rest, before or after the contest, and those which -represent him in movement, <i>i. e.</i>, in some contest schema.<a id="FNanchor_817"></a><a href="#Footnote_817" class="fnanchor">817</a> Examples -of statues of athletes represented at rest are common in Greek athletic -sculpture. We need only mention the so-called <i>Oil-pourer</i> of Munich -(Pl. <a href="#p11">11</a>), who is represented as pouring oil over his body to make -his limbs more supple for the coming wrestling bout; the <i>Diadoumenos</i> -of Polykleitos (Pls. 17, 18, and Fig. <a href="#f28">28</a>), who is binding a victor fillet -around his head after a successful encounter; the <i>Apoxyomenos</i> of -the school of Lysippos (Pl. <a href="#p29">29</a>), representing an athlete scraping off -the oil and dirt from his body after his victory. In this class of -statues, which forms by far the greater number and shows the richer -motives, the poses are quiet and reserved, the figures are compact, -and the expression earnest and even thoughtful. As examples of -statues represented in movement we need only recall such well-known -works as the <i>Diskobolos</i> of Myron with its rhythmic lines and vivacious -expression (Pls. 22, 23, and Figs. 34, 35); the bronze wrestlers of -Naples, who are bending eagerly forward watching for a grip (Fig. <a href="#f51">51</a>); -or the artistically intertwined pancratiast group of Florence (Pl. <a href="#p25">25</a>).<span class="pagenum"><a id="Page_100">100</a></span> -Such monuments show us the varied poses, the choice of the critical -moment, the truth to life, and the masterly rhythm attained by certain -sculptors.</p> - -<h3>THE APOLLO TYPE.</h3> - -<p>In this chapter we shall confine ourselves almost entirely to the -statues of victors represented at rest, discussing those represented in -motion chiefly in the next. Most of the oldest statues at Olympia, -dating from a time when there were few variations in the sculptural -type, must have been represented at rest and in the schema of the so-called -“Apollos.” Ever since the discovery of the <i>Apollo of Thera</i> in -1836 (Fig. <a href="#f9">9</a>), this <i>genre</i> of sculpture, the most characteristic of the early -period, extending from the end of the seventh century <span class="smcap lowercase">B. C.</span> to the -time of the gable groups of Aegina, has been carefully studied. Though -we now know that the type passed equally well for gods and mortals,<a id="FNanchor_818"></a><a href="#Footnote_818" class="fnanchor">818</a> -we still keep the name, because of its familiarity and for the sake of -having a common designation. That this type actually represented -Olympic victors we have indubitable proof. Pausanias mentions the -stone victor statue of the pancratiast Arrhachion, dating from the first -half of the sixth century <span class="smcap lowercase">B. C.</span>, which stood in the agora of his native -town Phigalia. He describes it as archaic in pose, with the feet close -together and the arms hanging down the sides to the hips—the typical -“Apollo” schema.<a id="FNanchor_819"></a><a href="#Footnote_819" class="fnanchor">819</a> Moreover, this very statue has survived to our -time (Fig. <a href="#f79">79</a>).<a id="FNanchor_820"></a><a href="#Footnote_820" class="fnanchor">820</a> A study, therefore, of this type of statue will give us -an idea of how some of the early statues at Olympia looked.</p> - -<p>The “Apollo” statues,<a id="FNanchor_821"></a><a href="#Footnote_821" class="fnanchor">821</a> -because of differences in facial expression, -have been conveniently divided into two groups: those represented by -the examples from Thera, Melos, Volomandra, Tenea, etc., sometimes -named the “grinning” group, because the corners of the mouth are -turned upwards into the so-called “archaic smile,” and those represented -by the examples from Orchomenos, the precinct of Mount -Ptoion, and elsewhere, named the “stolid” group, because in them the -mouth forms a straight line.<a id="FNanchor_822"></a><a href="#Footnote_822" class="fnanchor">822</a> -There are, however, essential differences - -<span class="figright250"><a id="f9"></a> -<img src="images/i_p101.jpg" width="250" height="476" alt="Statue of so-called -Apollo of Thera" /> -<span class="caption"><span class="smcap">Fig. 9.</span>—Statue of so-called -<i>Apollo of Thera</i>. National Museum, Athens.</span></span> - -between the statues of each group. Thus, while some of both groups—<i>e. g.</i>, -the examples from Melos, Volomandra, and Orchomenos—have -square shoulders, most of the others have sloping ones. The type -gradually improved, as in each successive attempt the sculptor overcame -difficulties, until finally revolutionary changes had taken place<span class="pagenum"><a id="Page_101">101</a></span> -in the original form. This improvement is seen in the treatment of the -hair, in the modeling of the face and body, and in the proportions of the -statues. In a head of a statue from Mount Ptoion<a id="FNanchor_823"></a><a href="#Footnote_823" class="fnanchor">823</a>—which is broken -off at the neck—we seem to see the sculptor in wood making his first -attempt in stone. In the archaic example from Thera<a id="FNanchor_824"></a><a href="#Footnote_824" class="fnanchor">824</a> (Fig. <a href="#f9">9</a>) the arms -hang straight down close to the sides, as in the statue of Arrhachion, -being detached only slightly from the body at the elbows, showing that - - -the artist was afraid that they might -break off. In other examples, as in the -one from Orchomenos<a id="FNanchor_825"></a><a href="#Footnote_825" class="fnanchor">825</a> (Fig. <a href="#f10">10</a>) and one -from Mount Ptoion<a id="FNanchor_826"></a><a href="#Footnote_826" class="fnanchor">826</a> (Fig. <a href="#f11">11</a>), the space -between the arms and the body has become -larger, while in the example from -Melos<a id="FNanchor_827"></a><a href="#Footnote_827" class="fnanchor">827</a> (Fig. <a href="#f12">12</a>) only the hands are glued -to the thighs. In the “Apollo” found -at Tenea in 1846, and now in Munich<a id="FNanchor_828"></a><a href="#Footnote_828" class="fnanchor">828</a> -(Pl. <a href="#p8A">8A</a>), the arms are free, but the hands -are held fast to the body by the retention -of small marble bridges between -them and the thighs. The final step<span class="pagenum"><a id="Page_102">102</a></span> -has been taken in two examples from Mount Ptoion (Fig. <a href="#f13">13</a>), in -which the arms from the shoulders down are free from the bodies.<a id="FNanchor_829"></a><a href="#Footnote_829" class="fnanchor">829</a> -The bridges shown on the photograph in the figure to the left, which -connect the forearms with the thighs, are of plaster, being added at -the time the statue was set up in Athens.<a id="FNanchor_830"></a><a href="#Footnote_830" class="fnanchor">830</a> The figure to the right -is smaller and clearly discloses Aeginetan influence. The audacity -of the sculptor in entirely freeing the arms in both examples was -rewarded by the arms being broken off. Similarly, in the <i>Strangford -Apollo</i> of the British Museum (Fig. <a href="#f14">14</a>),<a id="FNanchor_831"></a><a href="#Footnote_831" class="fnanchor">831</a> the arms, which<span class="pagenum"><a id="Page_103">103</a></span> -hung loose from the shoulders, are broken away. The larger statue -from Mount Ptoion just mentioned also has the arms slightly crooked -at the elbows, the forearms being extended at an oblique angle to the -body. This represents an intermediate stage between the earlier -“Apollos,” in which the arms adhered vertically to the sides of the -body (as <i>e. g.</i>, in the ones from Orchomenos, -Thera, Melos, and Tenea), and the later -ones, in which the arms were bent, the forearms -being extended at right angles to the -body (see Figs. 15 and 19).<a id="FNanchor_832"></a><a href="#Footnote_832" class="fnanchor">832</a></p> - -<table summary="Fig. 10 Fig. 11" border="0"><tr> -<td class="tdc padr1"><div class="figcenter200"><a id="f10"></a> -<img src="images/i_p102a.jpg" width="200" height="401" alt="Statue of so-called -Apollo of Orchomenos" /> -<div class="caption"><span class="smcap">Fig. 10.</span>—Statue of so-called -<i>Apollo of Orchomenos</i>. National Museum, Athens.</div></div></td> - -<td class="tdc padl1"><div class="figcenter193"><a id="f11"></a> -<img src="images/i_p102b.jpg" width="193" height="401" alt="" /> -<div class="caption"><span class="smcap">Fig. 11.</span>—Statue of so-called <i>Apollo</i>, -from Mount Ptoion, Bœotia. National Museum, Athens.</div></div></td> -</tr></table> - -<p><span class="figright200"><a id="f12"></a> -<img src="images/i_p103.jpg" width="200" height="528" alt="Statue of so-called -Apollo of Melos." /> -<span class="caption"><span class="smcap">Fig. 12.</span>—Statue of so-called -<i>Apollo of Melos</i>. National Museum, Athens.</span></span> -The example from Thera shows the archaic -method of working in planes parallel -to front and side and at right angles to one -another, the corners of the square block being -merely rounded off. The outlines of -muscles are indicated by shallow grooves, -which do not affect the flatness of the surface, -and there is but little facial expression. -We see the chest outlined in some examples -from Aktion.<a id="FNanchor_833"></a><a href="#Footnote_833" class="fnanchor">833</a> -In the Melian example the -rectangular form is modified by cutting -away the sides obliquely in arms and body; -here there is more expression in the face, -and the treatment of the hair and the proportions -of the body are more developed. -In the example from Orchomenos we see a -great improvement in form. Here, as in -later Bœotian examples, the original rectangular -form of the example from Thera -has become round, so that a horizontal -cross-section through the waist is almost -circular; the muscles of the abdomen are -indicated and the skin is naturalistically -shown in the back and at the elbows. In -later Bœotian examples from Mount Ptoion, -which are directly developed from the Orchomenos -type,<a id="FNanchor_834"></a><a href="#Footnote_834" class="fnanchor">834</a> the form is lighter and the -proportions more graceful. In one example (Fig. <a href="#f13">13</a>, left) even the -veins are shown. In the example mentioned above as showing -Aeginetan influence, and dated about 500 <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_835"></a><a href="#Footnote_835" class="fnanchor">835</a> the muscles are -clearly marked, just as in the <i>Strangford</i> example and in the statues -from the temple at Aegina, showing that foreign art had been intro<span class="pagenum"><a id="Page_104">104</a></span>duced -into Bœotia by that time. In the example from Volomandra -in Attica,<a id="FNanchor_836"></a><a href="#Footnote_836" class="fnanchor">836</a> we see affinity to the examples from Thera and Melos, but -Attic softness in the carving of the shoulders and in the proportions. -In the <i>Apollo of Tenea</i> (Pl. <a href="#p8A">8A</a>), “by far the most beautiful preserved -statue of archaic sculpture,”<a id="FNanchor_837"></a><a href="#Footnote_837" class="fnanchor">837</a> a statue most carefully worked, we see a -Peloponnesian example of the beginning of the sixth or even of the end -of the seventh century <span class="smcap lowercase">B. C.</span> Here the sculptor has shown great care -in executing details and in the proportions. The eyes are not flat, but -convex, and are wide open as in most of the earlier examples. The -downward flow of the lines of the statue is striking, which is caused -by the sloping shoulders and the elongated triangular-shaped abdomen. -The slimness of the figure, with the contour of bones and muscles, is -remarkable at so early a date. The fashioning of the knees is detailed. -When we contrast this tall, slim, agile statue with the massively -square-built Argive type found at Delphi (Pl. <a href="#p8B">8B</a>), we find it reason<span class="pagenum"><a id="Page_105">105</a></span>able -to suspect that the <i>Apollo of Tenea</i> is an imported work, coming -probably from the islands.<a id="FNanchor_838"></a><a href="#Footnote_838" class="fnanchor">838</a> The two statues of (?) Kleobis and Biton, -discovered at Delphi in 1893 and 1894, and inscribed with the name -of the sculptor Polymedes of Argos, have added much to our knowledge -of early Argive sculpture (Pl. <a href="#p8B">8B</a>, -= Statue A).<a id="FNanchor_839"></a><a href="#Footnote_839" class="fnanchor">839</a> This Polymedes may have -been one of the predecessors acknowledged -by Eutelidas and Chrysothemis, among the -first victor statuaries known to us by name, -in the epigram preserved by Pausanias from -the base of the monument of Damaretos and -his son Theopompos at Olympia.<a id="FNanchor_840"></a><a href="#Footnote_840" class="fnanchor">840</a> The epigram, -in any case, implies that the reputation -of the Argive school in athletic sculpture -was already well established by the end -of the sixth century <span class="smcap lowercase">B. C.</span> These massively -built statues, dating from the beginning of -the sixth century <span class="smcap lowercase">B. C.</span>, outline the muscles -to a certain extent, even showing the line of -the false ribs by incised lines. They display, -however, but little detail in modeling, -except in the knees, where the artist has tried -to indicate the bones and muscles. The -features of the large heads are without -expression; the large eyes are flat and not -convex, as in the example from Tenea, -though the Argive artist was, perhaps, later -than the Corinthian one, and a long distance -removed from the later artist of the Ligourió bronze (Fig. <a href="#f16">16</a>), to be -discussed later.</p> - -<div class="figcenter500"><a id="f13"></a> -<img src="images/i_p104.jpg" width="500" height="531" alt="Statues of so-called Apollos" /> -<div class="caption"><span class="smcap">Fig. 13.</span>—Statues of so-called <i>Apollos</i> from Mount Ptoion. -National Museum, Athens.</div> -</div> - -<table summary="PLATE 8A,PLATE 8B" border="0"><tr> -<td class="tdc"><div class="figcenter250"><p>PLATE 8A</p><a id="p8A"></a> -<img src="images/i_fp104a.jpg" width="250" height="747" alt="" /> -<div class="caption">A. Statue of so-called <i>Apollo of -Tenea</i>. Glyptothek, Munich.</div></div></td> - -<td class="tdc"><div class="figcenter244"><p class="right">PLATE 8B</p><a id="p8B"></a> -<img src="images/i_fp104b.jpg" width="244" height="747" alt="" /> -<div class="caption padt1">So-called <i>Argive Apollo</i> from -Delphi. Museum of Delphi.</div></div></td> -</tr></table> - -<p><span class="figright200"> -<img src="images/i_p105.jpg" width="200" height="391" alt="Statue known as -the Strangford Apollo." /><a id="f14"></a> -<span class="caption"><span class="smcap">Fig. 14.</span>—Statue known as -the <i>Strangford Apollo</i>. British Museum, London.</span></span> -In all these “Apollos,” which have been found all over the Greek -world from Naukratis in Egypt to Ambrakia, and along the Asian<span class="pagenum"><a id="Page_106">106</a></span> -coast and on the Aegean Isles, the archaic artists have attempted, by -their modeling of the muscles, especially of the chest and abdomen, to -express trained strength. The heavy Argive examples, which may be -said to be the prototypes of the Ligourió bronze and of the <i>Doryphoros</i> -of Polykleitos (Pl. <a href="#p4">4</a> and Fig. <a href="#f48">48</a>), are in strong contrast with the lighter -type best represented by the example from Tenea. In the former, -with their big heads and shoulders and their powerful arms and legs, -we may see early boxers or pancratiasts; in the latter a long-limbed -runner, with powerful chest, but slim and supple legs. In the <i>Apollo -of Tenea</i> there is no flabbiness nor softness, and yet no emaciation. -We see very similar runners on Panathenaic vases. Between the two -extremes we have a long series, those from Mount Ptoion and elsewhere.</p> - -<p>We do not doubt that the early statues of athletes at Olympia showed -all the variations we have discussed in these “Apollos.” Of this type, -then, were the statues at Olympia of the Spartan Eutelidas, the oldest -mentioned by Pausanias,<a id="FNanchor_841"></a><a href="#Footnote_841" class="fnanchor">841</a> those of Phrikias of Pelinna in Thessaly,<a id="FNanchor_842"></a><a href="#Footnote_842" class="fnanchor">842</a> -and of Phanas of Pellene in Achæa,<a id="FNanchor_843"></a><a href="#Footnote_843" class="fnanchor">843</a> to whom, later on in this chapter, -we shall ascribe the two archaic marble helmeted heads found at -Olympia (Fig. <a href="#f30">30</a>), the wooden statues of Praxidamas and Rhexibios,<a id="FNanchor_844"></a><a href="#Footnote_844" class="fnanchor">844</a> -the statue of Kylon on the Akropolis of Athens,<a id="FNanchor_845"></a><a href="#Footnote_845" class="fnanchor">845</a> and that of Hetoimokles -at Sparta.<a id="FNanchor_846"></a><a href="#Footnote_846" class="fnanchor">846</a> The statue of the famous wrestler Milo of Kroton by -the sculptor Dameas, mentioned by Pausanias<a id="FNanchor_847"></a><a href="#Footnote_847" class="fnanchor">847</a> and described by Philostratos,<a id="FNanchor_848"></a><a href="#Footnote_848" class="fnanchor">848</a> -must also have conformed with the “Apollo” type, though it -showed a step in advance of the earlier ones by having its arms bent -at the elbow, the forearms being extended horizontally outward. This -statue needs a somewhat detailed account. The description of Philostratos -seems to have been founded on the account in Pausanias<a id="FNanchor_849"></a><a href="#Footnote_849" class="fnanchor">849</a> of Milo’s -prowess, which, in turn, may have arisen from the appearance of the -statue and the cicerone’s description. Philostratos says that it stood on<span class="pagenum"><a id="Page_107">107</a></span> -a quoit with the feet close together and with the left hand grasping a -pomegranate, the fingers of the right hand being extended straight out, -and a fillet encircling the brows.<a id="FNanchor_850"></a><a href="#Footnote_850" class="fnanchor">850</a> 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 Hera. This -would explain the priestly fillet and the pomegranate sacred to the goddess, -while the diskos, on which the statue rested, would be the shield -on which Hera’s priest stood when praying. Scherer, however, rightly -pointed out that the statue in the Altis was of Milo the victor and not -the priest. He therefore explained the diskos<a id="FNanchor_851"></a><a href="#Footnote_851" class="fnanchor">851</a> merely as a round -basis on which the statue, of the archaic “Apollo” type with its feet -close together, stood, and the <i>tainia</i> as a victor band. He followed -Philostratos in believing that the gesture of the right hand was one of -adoration.<a id="FNanchor_852"></a><a href="#Footnote_852" class="fnanchor">852</a> He looked upon the object in the left hand not as a -pomegranate at all, but as an alabastron, a toilet article adapted to -a victor. He, therefore, believed that the <i>Apollo</i> of the elder Kanachos -of Sikyon,<a id="FNanchor_853"></a><a href="#Footnote_853" class="fnanchor">853</a> the so-called <i>Philesian Apollo</i>,<a id="FNanchor_854"></a><a href="#Footnote_854" class="fnanchor">854</a> represented nude and holding -a tiny fawn in the right hand and a bow in the left, would give a good -idea of the pose of Milo’s statue.<a id="FNanchor_855"></a><a href="#Footnote_855" class="fnanchor">855</a> Hitzig and Bluemner believe this -explanation of Scherer probable, although they rightly disagree with him -in his exchanging the pomegranate for an alabastron, since Pausanias -expressly mentions a pomegranate in the hand of another victor statue -at Olympia.<a id="FNanchor_856"></a><a href="#Footnote_856" class="fnanchor">856</a> Pliny speaks of a male figure by Pythagoras, <i>mala ferentem -nudum</i>,<a id="FNanchor_857"></a><a href="#Footnote_857" class="fnanchor">857</a> and Lucian says apples were prizes at Delphi,<a id="FNanchor_858"></a><a href="#Footnote_858" class="fnanchor">858</a> and we -know that Milo was also a Pythian victor. 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 statue, and the -story of the strength of his fingers from the position of the fingers on it.</p> - -<p>We have seen in the “Apollo” statues a considerable variety of physical -types. In the sixth century <span class="smcap lowercase">B. C.</span> the artist was feeling his way and -was hampered by local school tendencies. At first he knew only how<span class="pagenum"><a id="Page_108">108</a></span> -to produce rigid statues in the conventional Egyptian attitude with -the arms glued to the sides, the two halves of the body being symmetrical -and the hips on the same level. He gradually improved on this -<span class="figright200"> -<img src="images/i_p108.jpg" width="200" height="461" alt="Bronze Statuette -of a Palæstra Victor." /><a id="f15"></a> -<span class="caption"><span class="smcap">Fig. 15.</span>—Bronze Statuette -of a Palæstra Victor, from -the Akropolis. Akropolis -Museum, Athens.</span></span> -model, making the position more elastic—as -in the statue of Milo—rightly indicating -bones and muscles and giving to the figure -natural proportions. Bulle has shown on -one plate<a id="FNanchor_859"></a><a href="#Footnote_859" class="fnanchor">859</a> three statuettes which illustrate -the improvements reached in bronze in various -parts of Greece by the end of the sixth -century <span class="smcap lowercase">B. C.</span> To the left is represented a -victorious palæstra gymnast—as is indicated -by the remnants of akontia in the hands—in -the Akropolis Museum (Fig. <a href="#f15">15</a>);<a id="FNanchor_860"></a><a href="#Footnote_860" class="fnanchor">860</a> in the -center is the Payne Knight statuette of the -British Museum,<a id="FNanchor_861"></a><a href="#Footnote_861" class="fnanchor">861</a> carrying a fawn in the -right hand, which is a copy of the <i>Philesian -Apollo</i> which stood in the Didymaion near -Miletos; to the right is Hermes with the -petasos, short-girded tunic, and winged sandals, -holding a ram in the left and probably -a kerykeion in the right hand.<a id="FNanchor_862"></a><a href="#Footnote_862" class="fnanchor">862</a> The attributes -of the three, then, attest respectively -a victor, Apollo, and Hermes. In all three -the arms are freed from the body, and the -muscles of the breast, chest, and abdomen -are indicated, though carelessly in the case -of the victor. The proportions of the three -vary greatly; the Attic victor has a large -head, broad shoulders, powerful chest, long -body, and short legs; the <i>Apollo</i> has long -legs, shorter though slimmer body, and small head;<a id="FNanchor_863"></a><a href="#Footnote_863" class="fnanchor">863</a> the <i>Hermes</i> has -a clearly outlined figure and shows the careful modeling so characteristic -of the schools of Argos and Sikyon in the fifth century <span class="smcap lowercase">B. C.</span> -Bulle shows that the further development of the “Apollo” type was -halted by the Argive school, which, while continuing the restful pose -of these figures, counteracted their rigidity by inclining the head to -the side and throwing the weight unevenly on the legs by lowering<span class="pagenum"><a id="Page_109">109</a></span> -one hip and further advancing one foot. The central line was no -longer vertical, but curved, and it was now possible to give greater -detail to chest and abdomen. Polykleitos finally perfected this curve -and threw back the left foot, resting the weight of the body on the -right—from which time on we have the regular scheme of “free” -and “rest” legs. Despite all these later improvements, Olympic victors -continued to set up statues in the rest attitude of the “Apollo” -type down perhaps into the third century <span class="smcap lowercase">B. C.</span> Such dedications -were the result both of school tendencies and economy, especially in -the case of equestrian victors, who frequently were content to use such -“actionless” statues in place of groups. We have only to mention -the monuments of Timon of Elis, whose statue was the work of the -Sikyonian Daidalos,<a id="FNanchor_864"></a><a href="#Footnote_864" class="fnanchor">864</a> and of Telemachos of Elis, whose statue was -made by the otherwise unknown sculptor Philonides.<a id="FNanchor_865"></a><a href="#Footnote_865" class="fnanchor">865</a></p> - -<p>Before systematically considering victor statues at Olympia and -elsewhere with general motives, <i>i. e.</i>, represented at rest, we shall now -rapidly sketch the development of athletic sculpture in four great -centres, Argos, Sikyon, Aegina, and Athens, even though some of the -works mentioned were represented in motion. Sculptors of other -schools known at Olympia will be treated incidentally in both this and -the following chapters.</p> - -<h3>THE AFFILIATED SCHOOLS OF ARGOS AND SIKYON.</h3> - -<p>While in general it is unprofitable to discuss sculptors who have not -surely left any example of their art behind, there are two early schools -of Peloponnesian sculpture, those of Argos and Sikyon, which, though -we may assign work to them only by conjecture, can not be summarily -passed over, owing to their great importance in the history of Greek -athletic art. The bronze used in their works was too valuable to -escape the barbarians, and, furthermore, the monotony, which must -have characterized early Peloponnesian sculpture, militated against -these works being reproduced to any great degree by later copyists.</p> - -<h4><span class="smcap">The School of Argos.</span></h4> - -<p>The Argive school was devoted mainly to athletic statuary. The -greatest name in old Argive art is that of Ageladas or Hagelaïdas,<a id="FNanchor_866"></a><a href="#Footnote_866" class="fnanchor">866</a> -<span class="pagenum"><a id="Page_110">110</a></span>the reputed teacher of Myron and Polykleitos, who lived from the third -quarter of the sixth century into the second quarter of the fifth century -<span class="smcap lowercase">B. C.</span> While his connection with Myron and Polykleitos is scarcely -to be doubted,<a id="FNanchor_867"></a><a href="#Footnote_867" class="fnanchor">867</a> 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 art. A scholion on Aristophanes’ <i>Ranae</i>, 504, dates -the statue known as the <i>Herakles Alexikakos</i> in the Attic deme Melite -by Hagelaïdas after the pestilence in Athens of 431–430 <span class="smcap lowercase">B. C.</span>, and makes -the Argive sculptor (Gelados = Hagelaïdas) the teacher of Pheidias. -As his statue of the Olympic victor Anochos commemorated a victory -won in Ol. 65 ( = 520 <span class="smcap lowercase">B. C.</span>), this late date is manifestly impossible.<a id="FNanchor_868"></a><a href="#Footnote_868" class="fnanchor">868</a> -Furthermore, a better tradition says that Hegias was the teacher of the -Attic master.<a id="FNanchor_869"></a><a href="#Footnote_869" class="fnanchor">869</a> Furtwaengler’s attempt to show that these two divergent -traditions were really in accord, by the assumption that Hegias -was the pupil of Hagelaïdas and that his art came from the latter—thus -explaining certain similarities in the work of Hagelaïdas and Pheidias,—does -not solve the problem.<a id="FNanchor_870"></a><a href="#Footnote_870" class="fnanchor">870</a> As the scholion is based on a good -tradition,<a id="FNanchor_871"></a><a href="#Footnote_871" class="fnanchor">871</a> the best solution of the difficulty is that of Kalkmann<a id="FNanchor_872"></a><a href="#Footnote_872" class="fnanchor">872</a> and -others, that the <i>Alexikakos</i> was the work of a younger Hagelaïdas, the -grandson of the famous master, by the intermediate Argeiadas. For -a lower limit to the activity of Hagelaïdas there seems to be no good -reason for distrusting the evidence that he made a bronze <i>Zeus</i> for the -Messenians to be set up at Naupaktos, whither they moved in 455 <span class="smcap lowercase">B. C.</span><a id="FNanchor_873"></a><a href="#Footnote_873" class="fnanchor">873</a> -This makes quite possible a period of collaboration of four or five years -at least between Polykleitos and Hagelaïdas.</p> - -<p><span class="pagenum"><a id="Page_111">111</a></span></p> - -<p>Pausanias mentions the monuments of three victors at Olympia by -Hagelaïdas: the statues of the pancratiast Timasitheos of Delphi, who -won two victories some time between Ols. (?) 65 and 67 (520 and 512 -<span class="smcap lowercase">B. C.</span>);<a id="FNanchor_874"></a><a href="#Footnote_874" class="fnanchor">874</a> of the runner Anochos of Tarentum, who won in the stade- and -double-race in Ols. 65 and (?) 66 ( = 520 and 516 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_875"></a><a href="#Footnote_875" class="fnanchor">875</a> and the chariot-group -of Kleosthenes of Epidamnos, who won in Ol. 66 ( = 516 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_876"></a><a href="#Footnote_876" class="fnanchor">876</a></p> - -<p>None of the works of Hagelaïdas at Olympia or elsewhere is known. -Messenian coins of the fourth century <span class="smcap lowercase">B. C.</span> show the motives of two of -his statues, that of his <i>Zeus Ithomatas</i> just mentioned as being made for -the Messenians,<a id="FNanchor_877"></a><a href="#Footnote_877" class="fnanchor">877</a> and the beardless <i>Zeus</i> παῖς at Aigion.<a id="FNanchor_878"></a><a href="#Footnote_878" class="fnanchor">878</a> However, -we infer the characteristics of his style from the bronze statuette in -Berlin which was found at Ligourió near Epidauros (Fig. <a href="#f16">16</a>).<a id="FNanchor_879"></a><a href="#Footnote_879" class="fnanchor">879</a> This -is undoubtedly an Argive work contemporary with the later period -of Hagelaïdas. Furtwaengler and Frost are right in looking upon it -as showing the prototype of the canon of Polykleitos. Though too -small to count as a characteristic work of the early Argive school, it -shows us that the style of that school was a short and stocky type, -similar to Aeginetan works, only somewhat fleshier and heavier. The -straight mouth and heavy chin, the treatment of the eyelids, and the -clumsy limbs are all archaic features to be expected in the period preceding -Polykleitos. The modeling is carefully executed, showing a -knowledge of anatomy. If such excellence is found in a statuette, we -can form some idea of the perfection of a statue by the master.</p> - -<div class="figcenter500"><a id="f16"></a> -<img src="images/i_p112.jpg" width="500" height="551" alt="" /> -<div class="caption"><span class="smcap">Fig. 16.</span>—Bronze Statuette, from Ligourió. Museum of Berlin.</div> -</div> - -<p>The bronze <i>Apollo</i> from Pompeii now in the Naples Museum,<a id="FNanchor_880"></a><a href="#Footnote_880" class="fnanchor">880</a> with -marble replicas in Mantua and Paris,<a id="FNanchor_881"></a><a href="#Footnote_881" class="fnanchor">881</a> shows us how Hagelaïdas treated -a god type, while the statue of an athlete by Stephanos will give us -<span class="pagenum"><a id="Page_112">112</a></span> -some idea of how he treated his victor statues, as it seems to have been -modeled after an athlete statue of the early fifth century <span class="smcap lowercase">B. C.</span>, perhaps -after a work by some pupil of the master. Stephanos belonged to the -school of Pasiteles, a group of sculptors flourishing at Rome at the end of -the Republic and the beginning of the Empire. They devoted themselves -to the reproduction of early fifth-century statues. They were not -ordinary copyists, for their works show individual mannerisms and a system -of proportions foreign to the originals. Thus their statues have the -square shoulders of the Argive school, but the slim bodies and slender legs -of the period of Lysippos and his scholars. Apart from such mannerisms, -then, in the male figure signed <i>Stephanos, pupil of Pasiteles</i>, -in the Villa Albani in Rome (Pl. <a href="#p9">9</a>),<a id="FNanchor_882"></a><a href="#Footnote_882" class="fnanchor">882</a> which reappears in a very similar -<span class="pagenum"><a id="Page_113">113</a></span> -statue in groups combined with a female figure of related style,<a id="FNanchor_883"></a><a href="#Footnote_883" class="fnanchor">883</a> or -with another male figure,<a id="FNanchor_884"></a><a href="#Footnote_884" class="fnanchor">884</a> we may see a copy of a bronze original -of the Argive school before Polykleitos. The standing motive and the -body forms are the same in both the Mantuan <i>Apollo</i> and the Stephanos -figure, although the former is more developed and the head type is -different in both; this shows that the two, while displaying the same -basic ideal, were not works of the same master.<a id="FNanchor_885"></a><a href="#Footnote_885" class="fnanchor">885</a> As the statue by -Stephanos has a fillet around the hair, it may well represent an ideal -athlete, who in the original held an aryballos or similar palæstra -attribute in the raised left hand. It is interesting to compare the copies -of this group with those of another representing mother and son, the -work of Menelaos, the pupil of Stephanos, which, though transferred -from Greek to Roman taste in respect of drapery and forms, is merely -a variation of the same theme without any heroic traits.<a id="FNanchor_886"></a><a href="#Footnote_886" class="fnanchor">886</a></p> - -<div class="figcenter500"><a id="p9"></a><p class="right">PLATE 9</p> -<img src="images/i_fp112.jpg" width="500" height="929" alt="Statue of an Athlete." /> -<div class="caption">Statue of an Athlete, by Stephanos. Villa Albani, Rome.</div> -</div> - -<p>The influence of Hagelaïdas can be easily traced in other schools -of art, especially in the Attic School and in the sculptures of the temple -of Zeus at Olympia, whether these latter be Peloponnesian in origin -or not. It will be convenient in this connection to discuss briefly the -style of these important sculptures, which we have already mentioned -several times. The statement of Pausanias,<a id="FNanchor_887"></a><a href="#Footnote_887" class="fnanchor">887</a> 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<a id="FNanchor_888"></a><a href="#Footnote_888" class="fnanchor">888</a>—was -not doubted until the discovery of the Olympia sculptures.<a id="FNanchor_889"></a><a href="#Footnote_889" class="fnanchor">889</a> -Then doubts arose both on chronological and stylistic grounds, and -now only a few archæologists would maintain that either artist had<span class="pagenum"><a id="Page_114">114</a></span> -anything to do with these groups. The style of the two gables (as -well as that of the metopes) is so similar that many have assigned them -to one and the same artist.<a id="FNanchor_890"></a><a href="#Footnote_890" class="fnanchor">890</a> They have been referred to many schools -from Ionia to Sicily, even including a local Elean one. Thus Brunn -assigned them to a North Greek-Thracian school; Flasch<a id="FNanchor_891"></a><a href="#Footnote_891" class="fnanchor">891</a> and (more -recently) Joubin<a id="FNanchor_892"></a><a href="#Footnote_892" class="fnanchor">892</a> to the Attic; Kekulé<a id="FNanchor_893"></a><a href="#Footnote_893" class="fnanchor">893</a> and Friedrichs-Wolters<a id="FNanchor_894"></a><a href="#Footnote_894" class="fnanchor">894</a> to a -West Greek (Sicilian) one, because of their similarity to the metopes of -temple E at Selinos; Furtwaengler<a id="FNanchor_895"></a><a href="#Footnote_895" class="fnanchor">895</a> to an Ionic one (Parian masters). -Most scholars, however, including K. Lange,<a id="FNanchor_896"></a><a href="#Footnote_896" class="fnanchor">896</a> Treu,<a id="FNanchor_897"></a><a href="#Footnote_897" class="fnanchor">897</a> Studniczka,<a id="FNanchor_898"></a><a href="#Footnote_898" class="fnanchor">898</a> -Collignon,<a id="FNanchor_899"></a><a href="#Footnote_899" class="fnanchor">899</a> and Overbeck,<a id="FNanchor_900"></a><a href="#Footnote_900" class="fnanchor">900</a> have referred them to Peloponnesian -sculptors.<a id="FNanchor_901"></a><a href="#Footnote_901" class="fnanchor">901</a></p> - -<p>To return to the art of Hagelaïdas: if we assume that the Ligourió -bronze comes from the school of that Argive master certain conclusions -must be drawn. The figure is archaic, but does not have the archaic -smile. In Athens at the end of the archaic period there was a reaction -against this smile, and doubtless the Athenian artists were strongly -influenced by Argive models. Thus an archaic bronze head of a youth, -found on the Akropolis and dating from about 480 <span class="smcap lowercase">B. C.</span>, shows a serious -mouth, a strong chin, heavy upper eyelids, and finely worked hair, -characteristics which we found in the Ligourió statuette. These -traits show that the statuette and the head were the forerunners of the -<i>Apollo</i> of the West Gable at Olympia. So finished a bronze as this -one from the Akropolis, at the beginning of the fifth century <span class="smcap lowercase">B. C.</span>, has -inclined Richardson to look upon it as “not improbably a work of<span class="pagenum"><a id="Page_115">115</a></span> -Hagelaïdas,”<a id="FNanchor_902"></a><a href="#Footnote_902" class="fnanchor">902</a> though here again Furtwaengler would ascribe it to -Hegias.<a id="FNanchor_903"></a><a href="#Footnote_903" class="fnanchor">903</a> The Parian marble statue of an ephebe found on the Akropolis -(Fig. <a href="#f17">17</a>)<a id="FNanchor_904"></a><a href="#Footnote_904" class="fnanchor">904</a>—one of the most beautiful recovered during the excavations -<span class="figright200"><a id="f17"></a> -<img src="images/i_p115.jpg" width="200" height="415" alt="Statue of an -Ephebe" /> -<span class="caption"><span class="smcap">Fig. 17.</span>—Statue of an -Ephebe, from the Akropolis. -Akropolis Museum, -Athens.</span></span> -there—shows the same Argive influence. -This statue is chronologically the first -masterpiece, thus far recovered, which marks -the break with archaism by having its head -turned slightly to one side.<a id="FNanchor_905"></a><a href="#Footnote_905" class="fnanchor">905</a> It has the -same pose as the <i>Athlete</i> by Stephanos and -probably represents a palæstra victor. The -head, with its heavy chin, and the muscular -body strikingly resemble the <i>Harmodios</i> (Fig. -32), which has led Furtwaengler and others -to ascribe it to Kritios or his school.<a id="FNanchor_906"></a><a href="#Footnote_906" class="fnanchor">906</a> At -the same time a similarity is seen between -this head and that of the <i>Apollo</i> of the West -Gable at Olympia, and so with Bulle and -others we ascribe it to the Argive school.</p> - -<p>One of the female statues (<i>Korai</i>) found on -the Akropolis, and approximately of the -same date as the ephebe, viz, the fragmentary -one consisting of head and bust and known -popularly as <i>la petite boudeuse</i>, shows the -same revolt against Ionism.<a id="FNanchor_907"></a><a href="#Footnote_907" class="fnanchor">907</a> In many -respects this statue is very different from -most of the other Akropolis <i>Korai</i>. The -eyes are not yet set back naturally, but the -appearance of depth is attained by thicken<span class="pagenum"><a id="Page_116">116</a></span>ing -the eyelids, quite in contrast with the modeling of the eyeball -in most of the other statues. The corners of the mouth turn down, -which gives it the appearance of pouting. This statue is also our first -example in sculpture of the so-called Greek profile—the nose continuing -the line of the forehead. 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 (Fig. <a href="#f18">18</a>),<a id="FNanchor_908"></a><a href="#Footnote_908" class="fnanchor">908</a> which may be dated a little later than the -Akropolis ephebe—about 470 <span class="smcap lowercase">B. C.</span> Because of its resemblance to the -<span class="figright300"><a id="f18"></a> -<img src="images/i_p116.jpg" width="300" height="387" alt="Head of an Ephebe." /> -<span class="caption"><span class="smcap">Fig. 18.</span>—Head of an Ephebe, from the -Akropolis. Akropolis Museum, Athens.</span></span> -<i>Apollo</i> of Olympia, its Attic-Peloponnesian -origin seems -clear.<a id="FNanchor_909"></a><a href="#Footnote_909" class="fnanchor">909</a> Its expression is comparable -with that of the <i>Kore</i> -just discussed—as it has the -same mouth, eyes, and nose, -both monuments showing the -reaction against the archaic -smile, which characterized the -Ionian period of Attic art. -This same Ionic reaction also -may be seen in the bronze -statuette of a diskobolos in the -Metropolitan Museum (Fig. -46),<a id="FNanchor_910"></a><a href="#Footnote_910" class="fnanchor">910</a> which resembles in style -that of the <i>Tyrannicides</i>, but -shows also Argive traits. -These Argive traits, small -head and slender limbs, are -easily seen by comparing this -statuette with the Ligourió -bronze.</p> - -<p>We have already mentioned -the monumental group of the -hoplite victor Damaretos and of the pentathlete Theopompos, which -was made about 500 <span class="smcap lowercase">B. C.</span> by the Argive sculptors Chrysothemis and -Eutelidas.<a id="FNanchor_911"></a><a href="#Footnote_911" class="fnanchor">911</a> These artists were known to later antiquity only by the -epigram inscribed on the base of this monument at Olympia, and the -probable dates of the two victories of Theopompos, Ols. (?) 69 and -70 ( = 504 and 500 <span class="smcap lowercase">B. C.</span>), show that they were contemporaries of<span class="pagenum"><a id="Page_117">117</a></span> -Hagelaïdas, and not, as formerly was believed, the forerunners of his -school.<a id="FNanchor_912"></a><a href="#Footnote_912" class="fnanchor">912</a></p> - -<p>Polykleitos, a Sikyonian by birth,<a id="FNanchor_913"></a><a href="#Footnote_913" class="fnanchor">913</a> migrated early to Argos to -become the pupil of Hagelaïdas, and became the great master of the -Argive school in the next generation after him. We have four statues -by him at Olympia. His earliest work probably was the statue of the -boxer Kyniskos of Mantinea, who won in Ol. (?) 80 ( = 460 <span class="smcap lowercase">B. C.</span>); he -made the statues of the Elean pentathlete Pythokles and of the Epidamnian -boxer Aristion, both of whom won their victories in Ol. 82 ( = 452 -<span class="smcap lowercase">B. C.</span>); and lastly he made the statue of the boy boxer Thersilochos from -Kerkyra, who won in Ol. (?) 87 ( = 432 <span class="smcap lowercase">B. C.</span>)<a id="FNanchor_914"></a><a href="#Footnote_914" class="fnanchor">914</a> The footprints on the -three recovered bases of the statues of the first three show that all were -represented at rest. Of Patrokles, the brother of Polykleitos, Pausanias -mentions no statues at Olympia, though Pliny says that he made athlete -statues.<a id="FNanchor_915"></a><a href="#Footnote_915" class="fnanchor">915</a> Of Naukydes,<a id="FNanchor_916"></a><a href="#Footnote_916" class="fnanchor">916</a> the nephew or brother of Polykleitos, we have -record of three athlete statues at Olympia: those of the wrestlers Cheimon -of Argos, who won in Ol. 83 ( = 448 <span class="smcap lowercase">B. C.</span>), and Baukis of Trœzen, -who won some time between Ols. (?) 85 and 90 ( = 440 and 420 <span class="smcap lowercase">B. C.</span>); -also one of the boxer Eukles of Rhodes, who won some time between -Ols. 90 and 93 ( = 420 and 408 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_917"></a><a href="#Footnote_917" class="fnanchor">917</a> A contemporary of Naukydes -was the sculptor Phradmon, who, according to Pliny, was a contemporary -of Polykleitos;<a id="FNanchor_918"></a><a href="#Footnote_918" class="fnanchor">918</a> he made the statue of the boy wrestler Amertas -of Elis, who won a victory some time between Ols. 84 and 90 ( = 444 -and 420 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_919"></a><a href="#Footnote_919" class="fnanchor">919</a> In the next century, Polykleitos Minor, the grandson -or grandnephew of the great Polykleitos, and the pupil of Naukydes,<a id="FNanchor_920"></a><a href="#Footnote_920" class="fnanchor">920</a><span class="pagenum"><a id="Page_118">118</a></span> -had three statues at Olympia: those of the boy boxer Antipatros of -Miletos, whose victory is given by Africanus as Ol. 98 ( = 388 <span class="smcap lowercase">B. C.</span>); -of the two boy wrestlers Agenor of Thebes, who won some time between -Ols. 93 and 103 ( = 408 and 368 <span class="smcap lowercase">B. C.</span>), and Xenokles of Mainalos, who -won some time between Ols. 94 and 100 ( = 404 and 380 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_921"></a><a href="#Footnote_921" class="fnanchor">921</a> The -inscribed base of the latter has been recovered and the footprints -show that the statue was represented at rest, the body resting equally -on both feet, the left slightly advanced. Andreas, a second-century <span class="smcap lowercase">B. C.</span> -Argive sculptor, made a statue at Olympia of the boy wrestler Lysippos -of Elis, who won some time between Ols. 149 and 157 ( = 184 and 152 -<span class="smcap lowercase">B. C.</span>).<a id="FNanchor_922"></a><a href="#Footnote_922" class="fnanchor">922</a></p> - -<h4><span class="smcap">The School of Sikyon.</span></h4> - -<p>The Sikyonian school of bronze founders was closely affiliated with -the one at Argos. Early in the archaic period the brothers Dipoinos -and Skyllis, sons or pupils of the mythical Daidalos of Crete, migrated -to Sikyon.<a id="FNanchor_923"></a><a href="#Footnote_923" class="fnanchor">923</a> A generation later another Cretan sculptor, Aristokles, -founded there an artist family which lasted through seven or eight -generations.<a id="FNanchor_924"></a><a href="#Footnote_924" class="fnanchor">924</a> His two grandsons Aristokles and Kanachos are known -to have collaborated with Hagelaïdas on a group of three Muses.<a id="FNanchor_925"></a><a href="#Footnote_925" class="fnanchor">925</a> -Many have seen in the small bronze found in the sea off Piombino, -Tuscany, and now in the Louvre (Fig. <a href="#f19">19</a>),<a id="FNanchor_926"></a><a href="#Footnote_926" class="fnanchor">926</a> a copy of the <i>Apollo Philesios</i>, -the best-known work of Kanachos. This gem of the bronze -art, in true archaic style, may very well represent the <i>Apollo</i>, which, -according to the description of Pliny<a id="FNanchor_927"></a><a href="#Footnote_927" class="fnanchor">927</a> and the evidence of Milesian -<span class="pagenum"><a id="Page_119">119</a></span> -copper coins of all periods,<a id="FNanchor_928"></a><a href="#Footnote_928" class="fnanchor">928</a> -had as attributes a fawn in the outstretched -right hand and a bow in the left. However, Overbeck,<a id="FNanchor_929"></a><a href="#Footnote_929" class="fnanchor">929</a> followed by von -Mach, believes that it is not a copy of Kanachos’ <i>Apollo</i>, but merely -<span class="figright200"><a id="f19"></a> -<img src="images/i_p119.jpg" width="200" height="440" alt="Bronze Statuette -of Apollo." /> -<span class="caption"><span class="smcap">Fig. 19.</span>—Bronze Statuette -of Apollo, found in the Sea -off Piombino. Louvre, -Paris.</span></span> -represents a boy assisting at a sacrifice, -and that the original held a cup in the -left hand and a saucer in the right. In -any case the statuette is too inaccurate to -give us more than the pose of the <i>Apollo</i> -of Kanachos, even if it were proved to be -a copy. It may be merely a reproduction -of the mythological type of Apollo, which -the artist himself followed, and so we can -not say definitely to what school it belongs. -The Payne Knight bronze in the -British Museum,<a id="FNanchor_930"></a><a href="#Footnote_930" class="fnanchor">930</a> which holds a tiny fawn -in the right hand, the bow originally in the -left hand being lost, has better pretensions, -perhaps, to be a copy of the <i>Apollo</i>. Another -archaic half life-size bronze, formerly -in the Palazzo Sciarra,<a id="FNanchor_931"></a><a href="#Footnote_931" class="fnanchor">931</a> is of a similar type, -though its style is different. Another -bronze statuette from Naxos, now in Berlin,<a id="FNanchor_932"></a><a href="#Footnote_932" class="fnanchor">932</a> -shows the same position of the hands, -but has an aryballos or pomegranate in the -right hand. We have already classed it as -an example of the conversion of an original -god-type into that of a victor. We might -also mention the mutilated torso found by -Holleaux at the sanctuary of Apollo Ptoios -in Bœotia (Fig. <a href="#f12">12</a>, right), which has a -similar pose to that of the statuette from -Piombino, and whose hair technique shows<span class="pagenum"><a id="Page_120">120</a></span> -that it is an imitation of a bronze work.<a id="FNanchor_933"></a><a href="#Footnote_933" class="fnanchor">933</a> However, as we shall see -later, it may be rather representative of the Aeginetan school of sculptors. -All these works may tell us of the general character of the -<i>Apollo</i>, but little of its style.<a id="FNanchor_934"></a><a href="#Footnote_934" class="fnanchor">934</a></p> - -<p>No athlete statue by Aristokles or his brother Kanachos is known -to have stood at Olympia. That the latter actually made victor -statues, however, is proved by Pliny’s statement (<i>l. c.</i>) that he made -<i>celetizontas pueros</i>. Of the later Sikyonian school we have twenty-seven -statues of victors made by eleven different sculptors, whose dates -range from near the end of the fourth down into the third century -<span class="smcap lowercase">B. C.</span>, of whom we shall give a chronological list. Alypos, the pupil -of the Argive Naukydes, had four statues at Olympia: those of the -wrestler Symmachos of Elis, of the boy boxer Neolaïdas of Pheneus, of -the boy wrestler Archedamos of Elis, and of the boy and man wrestler -Euthymenes of Mainalos, all of whom must have won their victories -some time between Ols. 94 and 104 ( = 404 and 364 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_935"></a><a href="#Footnote_935" class="fnanchor">935</a> Kanachos, -the Younger, made one statue, that of the boy boxer Bykelos of Sikyon, -who won some time between Ols. 92 and 105 ( = 412 and 360 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_936"></a><a href="#Footnote_936" class="fnanchor">936</a> -Olympos made the statue of the pancratiast Xenophon of Aigion, who -won some time between Ols. 95 and 105 ( = 400 and 360 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_937"></a><a href="#Footnote_937" class="fnanchor">937</a> The -sculptor Daidalos, the son and pupil of Patrokles, and probably the -nephew of Polykleitos, made four monuments for four victors: the -equestrian group of the Elean charioteer Timon and his son Aigyptos, a -victor in horse-racing, and statues of the Elean wrestler Aristodemos -and the stade-runner Eupolemos. Their victories fell between Ols. 96 -and 103 ( = 396 and 368 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_938"></a><a href="#Footnote_938" class="fnanchor">938</a> Damokritos made the statue of the Elean -boy boxer Hippos, who won between Ols. 96 and 107 ( = 396 and 352 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_939"></a><a href="#Footnote_939" class="fnanchor">939</a> -Kleon had five statues credited to him, all but one being of boy victors: -those of the boy runner Deinolochos of Elis, the pentathlete Hysmon -of Elis, the two boy boxers Kritodamos, and of Alketos of Kleitor, and<span class="pagenum"><a id="Page_121">121</a></span> -of the boy runner Lykinos of Heraia. Their victories fell between Ols. -94 and 103 ( = 404 and 368 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_940"></a><a href="#Footnote_940" class="fnanchor">940</a> The great Lysippos had the same -number of victor statues as Kleon, and also two honor statues at Olympia: -those of the equestrian victor Troilos of Elis, of the Akarnanian pancratiast -Philandridas, of the wrestler Cheilon of Patrai, of the pancratiast -Polydamas of Skotoussa, and of the hoplite-runner Kallikrates. -Their victories occurred between Ols. 102 and 115 ( = 372 and 320 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_941"></a><a href="#Footnote_941" class="fnanchor">941</a> -The son of Lysippos, Daïppos, made two statues, one for the Elean -boy boxer Kallon and the other for the Elean Nikandros, who won the -double foot-race. Their victories fell within the activity of the sculptor, -Ols. 115 and 125 ( = 320 and 280 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_942"></a><a href="#Footnote_942" class="fnanchor">942</a> Daitondas made the statue of -the Elean boy boxer Theotimos, who won his victory some time between -Ols. 116 and 120 ( = 316 and 300 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_943"></a><a href="#Footnote_943" class="fnanchor">943</a> Eutychides, the most famous -pupil of Lysippos, famed alike as a bronze founder, statuary, and painter, -carved the statue of the boy runner Timosthenes of Elis, who won some -time between Ols. 115 and 125 ( = 320 and 280 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_944"></a><a href="#Footnote_944" class="fnanchor">944</a> Pliny gives Ol. -121 ( = 296 <span class="smcap lowercase">B. C.</span>) as the <i>floruit</i> of this sculptor, which was probably -the date of the erection of his most famous work, the colossal bronze -<i>Tyche</i>, as tutelary deity of the city of Antioch on the Orontes, which -was founded by Seleukos I in Ol. 119.3 ( = 302 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_945"></a><a href="#Footnote_945" class="fnanchor">945</a> This shows that -Eutychides was already by that date a famed sculptor, having begun<span class="pagenum"><a id="Page_122">122</a></span> -his career by 330–320 <span class="smcap lowercase">B. C.</span> Kantharos, the pupil of Eutychides, -made the statues of the two boy wrestlers Kratinos of Aigira and -Alexinikos of Elis, who won their victories some time between Ols. -120 and 130 ( = 300 and 260 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_946"></a><a href="#Footnote_946" class="fnanchor">946</a></p> - -<h3>ÆGINETAN SCULPTORS.</h3> - -<p>We have but little left of the prominent early Aeginetan school -of bronze sculptors. Of Kallon, the earliest historical sculptor of the -school, the reputed pupil of Tektaios and Angelion (who in turn were -the pupils of Dipoinos and Skyllis), we have only literary evidence. -He was typical of archaic severity just prior to the era of transition, -and therefore should be compared with Hegias of Athens and Kanachos -of Sikyon. For Onatas, the most famous of the Aeginetan sculptors, -whose <i>floruit</i> was in the first half of the fifth century <span class="smcap lowercase">B. C.</span>, we have -evidence of many monuments at Olympia. Besides the colossal -<i>Herakles</i> dedicated by the Thasians,<a id="FNanchor_947"></a><a href="#Footnote_947" class="fnanchor">947</a> a <i>Hermes</i> dedicated by the -people of Pheneus,<a id="FNanchor_948"></a><a href="#Footnote_948" class="fnanchor">948</a> and a large group of nine statues of Greek heroes -standing on a curved base faced by a statue of Nestor on another, the -group being dedicated by the Achaians,<a id="FNanchor_949"></a><a href="#Footnote_949" class="fnanchor">949</a> he made a chariot and charioteer -to commemorate the victory of Hiero of Syracuse at Olympia in -468 <span class="smcap lowercase">B. C.</span>, for which monument Kalamis furnished two horses.<a id="FNanchor_950"></a><a href="#Footnote_950" class="fnanchor">950</a> Glaukias -made a bronze chariot for Hiero’s brother Gelo of Gela, who later -became tyrant of Syracuse, and who won a chariot victory in Ol. 73 -( = 488 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_951"></a><a href="#Footnote_951" class="fnanchor">951</a> This sculptor also excelled in fashioning statues of -boxers and pancratiasts, making the monuments of the boxers Philon -of Kerkyra and Glaukos of Karystos, and that of the renowned boxer -and pancratiast Theagenes of Thasos.<a id="FNanchor_952"></a><a href="#Footnote_952" class="fnanchor">952</a> The statue of Glaukos was -represented in the schema of one “sparring” (σκιαμαχῶν),<a id="FNanchor_953"></a><a href="#Footnote_953" class="fnanchor">953</a> and so -was in movement and not at rest. We have athlete statues by three -other Aeginetan sculptors at Olympia. Thus Ptolichos, the pupil of -the Sikyonian Aristokles, set up statues of the Aeginetan boy wrestler -Theognetos, who won in Ol. 76 ( = 476 <span class="smcap lowercase">B. C.</span>), and of the boy boxer -Epikradios of Mantinea, who won between Ols. (?) 72 and 74 ( = 492 and<span class="pagenum"><a id="Page_123">123</a></span> -484 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_954"></a><a href="#Footnote_954" class="fnanchor">954</a> Serambos made the statue of the boy boxer Agiadas of Elis, -who won between Ols. (?) 72 and 74;<a id="FNanchor_955"></a><a href="#Footnote_955" class="fnanchor">955</a> Philotimos made the horse for the -horse-racing victory of Xenombrotos of Kos, who won in Ol. (?) 83 ( = 448 -<span class="smcap lowercase">B. C.</span>).<a id="FNanchor_956"></a><a href="#Footnote_956" class="fnanchor">956</a> All of these sculptors appear to have used bronze exclusively, -and their art, though independent, showed a bias toward Peloponnesian -work. There are few examples left of this art. The bronze head of a -bearded warrior or hoplite victor found on the Akropolis, if we are justified -in classing it as Aeginetan and not Attic, shows the excellence which -we associate with this school.<a id="FNanchor_957"></a><a href="#Footnote_957" class="fnanchor">957</a> The delicate execution of its hair and -beard, as well as the strength and precision of this head, makes it not -unworthy of being ascribed to one of the best artists of the school, -perhaps to Onatas himself. The beardless bronze head discovered in -1756 in the villa of the Pisos in Herculaneum, now in Naples, has -also been assigned to Onatas, as its features are similar to those of the -one under discussion.<a id="FNanchor_958"></a><a href="#Footnote_958" class="fnanchor">958</a> The Tux bronze statuette of a hoplitodrome, -to be discussed in Ch. IV (Fig. <a href="#f42">42</a>), has also been assigned to an Aeginetan -master.<a id="FNanchor_959"></a><a href="#Footnote_959" class="fnanchor">959</a> The marble statue known as the <i>Strangford Apollo</i> in -the British Museum, already mentioned (Fig. <a href="#f14">14</a>),<a id="FNanchor_960"></a><a href="#Footnote_960" class="fnanchor">960</a> may show the characteristics -of the early school in marble, though it is impossible to say -whether it is a copy of a bronze original or a minor work in stone under -Aeginetan influence. The smaller “Apollo” from Mount Ptoion, already -discussed (Fig. <a href="#f13">13</a>, right),<a id="FNanchor_961"></a><a href="#Footnote_961" class="fnanchor">961</a> appears to show in exaggerated form the same -Aeginetan traits. However, we get out best notion of Aeginetan work -in marble from the gable statues in the Munich Museum, representing -Homeric warriors fighting, which adorned the temple of Aphaia in the -northeastern corner of the island. Their importance in this connection -calls for a brief account of them.</p> - -<div class="figcenter500"><a id="f20"></a> -<img src="images/i_p124.jpg" width="500" height="373" alt="Figure, from the East Pediment of the Temple on -Aegina." /><div class="caption"><span class="smcap">Fig. 20.</span>—Figure, from the East Pediment of the Temple on -Aegina. Glyptothek, Munich.</div></div> - -<p>Since the discovery of these groups by an international party of -Englishmen and Germans in 1811, and their restoration soon after their -arrival in Munich by the sculptor Thorwaldsen, many new fragments -<span class="pagenum"><a id="Page_124">124</a></span> -have been discovered by Furtwaengler during his excavations of the -temple site in 1901, and have been incorporated into the existing figures -in the Glyptothek. His reconstruction, though not definitive, is more -in accord with artistic probability than any that preceded.<a id="FNanchor_962"></a><a href="#Footnote_962" class="fnanchor">962</a> As we -should expect from the athletic tradition of the Aeginetan school of -sculpture just outlined, these sculptures represent finely trained nude -athletes, whose modeling shows great observation of nature, especially -in the treatment of muscles and veins. In fact it has been truly said -that anatomical knowledge was never expressed again in Greek art so -simply and naturally. The figures, without any excess of flesh, are -slightly under life-size, short and stocky—shoulders square, but the -waists slender and the legs long in proportion to the bodies—and withal -are very compact and full of strength. The figures of the two pediments -differ slightly, the eastern being more developed than the western. -Brunn, long ago, arguing from the stele of Aristion, which then -was the best example extant of archaic Attic art, showed how that -art was characterized by grace and dignity of effect, while Aeginetan -art was characterized by a finer study of nature. This generalization -is no longer a matter of inference, but of knowledge.</p> - -<p><span class="pagenum"><a id="Page_125">125</a></span></p> - -<div class="figcenter"><a id="f21"></a> -<img src="images/i_p125.jpg" width="500" height="333" alt="Two Figures, from the West Pediment of the Temple on Aegina." /> -<div class="caption"><span class="smcap">Fig. 21.</span>—Two Figures, from the West Pediment of the Temple on Aegina. -Glyptothek, Munich.</div></div> - -<p>These groups represent the highest period of Aeginetan art. They -have been dated anywhere from the end of the sixth century <span class="smcap lowercase">B. C.</span> down -to a period after the battle of Salamis.<a id="FNanchor_963"></a><a href="#Footnote_963" class="fnanchor">963</a> Probably a date just after that -battle is correct, as Aeginetans won prizes of valor there.<a id="FNanchor_964"></a><a href="#Footnote_964" class="fnanchor">964</a> Any attempt -to assign them to this or that artist is merely conjectural. The -general similarity in subject to that of the Delphi group by Onatas, -which represented the death in battle of Opis, the king of the barbarian -Iapygians, at the hands of the Tarentines,<a id="FNanchor_965"></a><a href="#Footnote_965" class="fnanchor">965</a> and the group at Olympia -already mentioned as representing a Trojan subject, 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 Kallon. But -we know both these sculptors only as bronze workers. 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 Glaukias, which we have -already mentioned. But on the whole, though they are violent, the -slight proportions of these athletic figures do not fit the appearance of -boxers and pancratiasts, which, as we have seen, formed the staple of -Aeginetan sculptors, but rather those of runners. We see a good -wrestler in the <i>Snatcher</i> of the East Gable (Fig. <a href="#f20">20</a>),<a id="FNanchor_966"></a><a href="#Footnote_966" class="fnanchor">966</a> and the corre<span class="pagenum"><a id="Page_126">126</a></span>sponding -figure in the right half of the same gable.<a id="FNanchor_967"></a><a href="#Footnote_967" class="fnanchor">967</a> The <i>Champion</i> of -the West gable (Fig. <a href="#f21">21</a>, left),<a id="FNanchor_968"></a><a href="#Footnote_968" class="fnanchor">968</a> of the finest Parian marble, represented -as lunging forward, pressing on the enemy armed with helm, spear, -and shield, would pass as a good example of a hoplitodrome, far freer -and more individual than the warrior from Dodona.</p> - -<h3>ATTIC SCULPTORS.</h3> - -<p>Owing to the Persian sack of the Athenian Akropolis in 480 and 479 -<span class="smcap lowercase">B. C.</span>, and the subsequent burial of works of art there and their rediscovery -by the excavations of 1885–1889, we know more of archaic Attic -sculpture (600–480 <span class="smcap lowercase">B. C.</span>) than of any other early school.<a id="FNanchor_969"></a><a href="#Footnote_969" class="fnanchor">969</a> We have -already mentioned certain Attic works which show the influence of -the severer Argive school—<i>la petite boudeuse</i>, the head of the yellow-haired -ephebe (Fig. <a href="#f18">18</a>), the Akropolis athlete statue (Fig. <a href="#f17">17</a>), etc.—which -was prominent at the beginning of the fifth century <span class="smcap lowercase">B. C.</span>, works -which can be attributed to Hegias, Kritios, and their associates. They -illustrate the reaction against Ionic taste, an influence which came -from Asia Minor and the islands, especially after the fall of the Lydian -Empire of Crœsus, and which for a time submerged native Attic art. -This Ionic art was characterized by great technical ability, and by -rich draperies and decorative effect. The archaic smile was its special -feature. Ionism is best represented by some of the Akropolis <i>Korai</i>.<a id="FNanchor_970"></a><a href="#Footnote_970" class="fnanchor">970</a> -In athletic art we see Ionism at its flood tide in the Rampin head found -in Athens in 1877, now in the Louvre, which corresponds in style -with some of the earlier female statues of the Akropolis.<a id="FNanchor_971"></a><a href="#Footnote_971" class="fnanchor">971</a> This head -has a more elaborate frisure than any of the female heads and, in fact, -the elaborate treatment of the hair of the crown and forehead is more -suitable to a female than a male statue. The beard is carefully plaited, -while traces of red seem to show that the mustache was painted on. -Similar traces of color appear on the beard and hair. The smiling<span class="pagenum"><a id="Page_127">127</a></span> -mouth, high ears, and almond eyes recall many archaic works, but -especially the <i>Apollo of Tenea</i> (Pl. <a href="#p8A">8A</a>). The garland of oak leaves -above the frisure of the forehead may suggest a victor,<a id="FNanchor_972"></a><a href="#Footnote_972" class="fnanchor">972</a> or perhaps a -priest or assistant on some religious embassy.<a id="FNanchor_973"></a><a href="#Footnote_973" class="fnanchor">973</a> The turning of the -neck—as in the ephebe statue of the Akropolis (Fig. <a href="#f17">17</a>)—shows a break -at this early time with archaism. Another work illustrating Ionism is -the fragment of a grave-stele found near the Dipylon gate in 1873 and -dating from the second half of the sixth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_974"></a><a href="#Footnote_974" class="fnanchor">974</a> It represents -the head of an athlete in profile, the youth holding a diskos in his left -hand, so placed that his head is projected upon it in relief as on a nimbus. -The top of the head is broken off, but we see the usual archaic -features in the face—the almond-shaped eye (in profile), big nose with -knob-like nostrils, thick lips with the archaic smile, retreating chin and -forehead, and high ear with a huge lobe. The neck and chin, however, -are full of grace and strength, as is also the slender thumb outlined -against the diskos. As the stele broadens downward,<a id="FNanchor_975"></a><a href="#Footnote_975" class="fnanchor">975</a> the figure appears -to have been represented with the feet apart, and so may have -represented a palæstra diskobolos on parade,<a id="FNanchor_976"></a><a href="#Footnote_976" class="fnanchor">976</a> and is, therefore, our -earliest representation of such an athlete. A similar dress-parade pose -is seen on the stele of Aristion in the National Museum at Athens, the -work of the sculptor Aristokles, which represents a warrior with a -spear in the left hand.<a id="FNanchor_977"></a><a href="#Footnote_977" class="fnanchor">977</a> Another torso of an ephebe in the Akropolis -Museum represents Ionic work from Paros.<a id="FNanchor_978"></a><a href="#Footnote_978" class="fnanchor">978</a> Another head, the so-called -Rayet head in the Jakobsen collection in Copenhagen, one of -the most remarkable specimens of Greek archaic art<a id="FNanchor_979"></a><a href="#Footnote_979" class="fnanchor">979</a> (Fig. <a href="#f22">22</a>), <span class="pagenum"><a id="Page_128">128</a></span> -somewhat later in date than the Rampin head, represents quite a different -tendency in Attic art. While the Rampin head represents Ionic -influence, this head represents pure Attic work untrammeled by foreign -influence, a true development of the old Attic sculpture in <i>poros</i>, -<span class="figright250"><a id="f22"></a> -<img src="images/i_p128.jpg" width="250" height="321" alt="Archaic Marble Head -of a Youth." /> -<span class="caption"><span class="smcap">Fig. 22.</span>—Archaic Marble Head -of a Youth. Jakobsen Collection, -Ny-Carlsberg Museum, Copenhagen.</span></span> -the best examples of which are to be -found in the decorative sculptures of -the Old Temple of Athena on the Akropolis, -enlarged by the Peisistratidai. -Comparing it with the head of the -<i>Athena</i> of the gable of that temple,<a id="FNanchor_980"></a><a href="#Footnote_980" class="fnanchor">980</a> -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 -head. The hair is pictorially treated -like a cap, traces of red appearing on it -as well as on the lips and eyes. The -Copenhagen and Rampin heads, together -with the famous portrait head -in the old Sabouroff collection,<a id="FNanchor_981"></a><a href="#Footnote_981" class="fnanchor">981</a> and the -head of a woman in the Louvre,<a id="FNanchor_982"></a><a href="#Footnote_982" class="fnanchor">982</a> form -our best examples of old Attic art outside -of the museums of Athens.<a id="FNanchor_983"></a><a href="#Footnote_983" class="fnanchor">983</a> The -swollen ears of the Jakobsen head show that it is from the funerary -statue of a victor, perhaps a boxer. Furtwaengler wrongly classed -it as a portrait head.<a id="FNanchor_984"></a><a href="#Footnote_984" class="fnanchor">984</a> A much discussed Attic work is the archaic relief -of a charioteer in the Akropolis Museum (Fig. <a href="#f63">63</a>).<a id="FNanchor_985"></a><a href="#Footnote_985" class="fnanchor">985</a> This was formerly -thought (<i>e. g.</i>, by Schrader) to be a block from the later Ionic frieze of -the old Hekatompedon which many believe survived the Persian sack, -but it is more likely a part of a frieze belonging to a small shrine or -altar. It represents a draped person entering a two-horse chariot -with the left foot, the hands outstretched to hold the reins, the head -and body leaning forward. Because of the <i>krobylos</i> treatment of the -hair, fitted for both sexes, and the long flowing robe, the sex has been -needlessly doubted, some calling it an Apollo or a mortal charioteer, -others an Athena or a Nike, even though the line of the breast, so far -as it is visible, shows no fullness, and the long chiton is common in<span class="pagenum"><a id="Page_129">129</a></span> -representations of male charioteers.<a id="FNanchor_986"></a><a href="#Footnote_986" class="fnanchor">986</a> However, for the appreciation -of the relief it is of no consequence whether the figure is male or -female. It may be merely a dedicatory offering of a Panathenaic -victor in chariot racing, very possibly assimilated to the type of Apollo,<a id="FNanchor_987"></a><a href="#Footnote_987" class="fnanchor">987</a> -as the god often appears in vase-paintings of the same period in similar -costume mounting a chariot.<a id="FNanchor_988"></a><a href="#Footnote_988" class="fnanchor">988</a> We shall discuss its interpretation -more fully later on.<a id="FNanchor_989"></a><a href="#Footnote_989" class="fnanchor">989</a> While Ionism was prone to represent richly -draped figures which concealed the form of the body, we see in this -relief, with its fine modeling, a suggestion of the form beneath the -folds of the garment, and so, perhaps, only another example of an -Attic master rebelling against alien influence.<a id="FNanchor_990"></a><a href="#Footnote_990" class="fnanchor">990</a></p> - -<p>At Olympia we have no names of Athenian sculptors prior to the -Persian war period. Kalamis helped Onatas with the monument of -King Hiero already mentioned. Mikon made a statue of a pancratiast, -Kallias of Athens, who won in Ol. 77 ( = 472 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_991"></a><a href="#Footnote_991" class="fnanchor">991</a> The great -Myron, of whom we shall speak at length in the next chapter, -made five statues of victors, which were erected between Ols. -77 and 84 ( = 472 and 444 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_992"></a><a href="#Footnote_992" class="fnanchor">992</a> Only four later Athenian artists -are mentioned: Silanion of the fourth century, who made statues for -three victors, whose victories ranged from Ols. 102 to 114 ( = 372 to -324 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_993"></a><a href="#Footnote_993" class="fnanchor">993</a> Polykles the Elder, who made the statue of the boy pancratiast -Amyntas of Eresos, who won in Ol. (?) 146 ( = 196 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_994"></a><a href="#Footnote_994" class="fnanchor">994</a> -Timarchides and Timokles, the sons of Polykles, who in common made -the statue of the boxer Agesarchos of Tritaia in Achaia, who won in -Ol. (?) 143 ( = 208 <span class="smcap lowercase">B. C.</span>)<a id="FNanchor_995"></a><a href="#Footnote_995" class="fnanchor">995</a></p> - -<p><span class="pagenum"><a id="Page_130">130</a></span></p> - -<h3>GENERAL MOTIVES OF STATUES AT REST.</h3> - -<p>The victor represented as standing at rest was often characterized -by general motives, such as praying, anointing or scraping himself, -offering libations, and the like. We shall now consider such motives -in detail.</p> - -<h4><span class="smcap">Adoration and Prayer.</span></h4> - -<p>Prayer was a common motive represented in votive monuments. -Pliny mentions many such works by Greek sculptors.<a id="FNanchor_996"></a><a href="#Footnote_996" class="fnanchor">996</a> The custom -of raising the arms in prayer is found all through Greek literature, -from Homer down.<a id="FNanchor_997"></a><a href="#Footnote_997" class="fnanchor">997</a> Pausanias says that the people of Akragas made -an offering in the form of bronze statues of boys placed on the walls -of the Altis, προτείνοντάς τε τὰς δεξιὰς καὶ εἰκασμένους εὐχομένοις τῷ θεῷ, -these statues being the work of Kalamis.<a id="FNanchor_998"></a><a href="#Footnote_998" class="fnanchor">998</a> In the Athenian Asklepieion -there were many τύποι καταμακτοὶ πρὸς πινακίῳ, among which -were representations of men and women in the praying attitude.<a id="FNanchor_999"></a><a href="#Footnote_999" class="fnanchor">999</a> -The motive was used at Olympia in victor statues, representing the -victor as raising the hand in prayer to invoke victory.<a id="FNanchor_1000"></a><a href="#Footnote_1000" class="fnanchor">1000</a> The statue -of the wrestler Milo, already discussed at length, shows that this -motive was employed at Olympia in the improved “Apollo” type in -the second half of the sixth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1001"></a><a href="#Footnote_1001" class="fnanchor">1001</a> From the next century -we may cite the statue of the Spartan chariot victor Anaxandros, -which was represented as “praying to the god,”<a id="FNanchor_1002"></a><a href="#Footnote_1002" class="fnanchor">1002</a> and the statues of -the Rhodian boxers Diagoras and Akousilaos, as we learn from a -scholion on Pindar,<a id="FNanchor_1003"></a><a href="#Footnote_1003" class="fnanchor">1003</a> which is based on a fragment of Aristotle<a id="FNanchor_1004"></a><a href="#Footnote_1004" class="fnanchor">1004</a> -and on one of Apollas.<a id="FNanchor_1005"></a><a href="#Footnote_1005" class="fnanchor">1005</a> Of the statue of Diagoras it says: τὴν -δεξιὰν ἀνατείνων χεῖρα, τὴν δὲ ἀριστερὰν εἰς ἑαυτὸν ἐπικλίνων; of -that of Akousilaos: τῇ μὲν ἀριστερᾷ ἱμάντα ἔχων πυκτινόν, τὴν δὲ δεξιὰν -ὡς πρὸς προσευχὴν ἀνατείνων.<a id="FNanchor_1006"></a><a href="#Footnote_1006" class="fnanchor">1006</a> The bronze statue from<span class="pagenum"><a id="Page_131">131</a></span> -Athens, now in the Antiquarium, Berlin,<a id="FNanchor_1007"></a><a href="#Footnote_1007" class="fnanchor">1007</a> 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 Akousilaos. -The same motive may have been used in the statue of the -chariot victress Kyniska, a princess of Sparta, whose statue along with -that of her charioteer and the chariot was the work of the sculptor -Apellas.<a id="FNanchor_1008"></a><a href="#Footnote_1008" class="fnanchor">1008</a> This is the interpretation of Furtwaengler,<a id="FNanchor_1009"></a><a href="#Footnote_1009" class="fnanchor">1009</a> based on a -passage in Pliny, which mentions statues of <i>adornantes se feminas</i><a id="FNanchor_1010"></a><a href="#Footnote_1010" class="fnanchor">1010</a> by -Apellas, which he reads <i>adorantes feminas</i>. However, <i>adornantes</i> may -be right, for in another passage, Pliny speaks of Praxiteles’ statue -of a ψελιουμένη, <i>i. e.</i>, of a woman clasping a bracelet on her arm.<a id="FNanchor_1011"></a><a href="#Footnote_1011" class="fnanchor">1011</a> -Two notable bronze statues will illustrate this motive of Olympic victor -statues. The statue found in 1502 at Zellfeld in Carinthia, now -in Vienna,<a id="FNanchor_1012"></a><a href="#Footnote_1012" class="fnanchor">1012</a> has been interpreted both as a Hermes Logios and a votive -statue in the attitude of prayer,<a id="FNanchor_1013"></a><a href="#Footnote_1013" class="fnanchor">1013</a> which latter interpretation the -inscription on the leg, giving a list of dedications,<a id="FNanchor_1014"></a><a href="#Footnote_1014" class="fnanchor">1014</a> favors. However, -Furtwaengler believes it a free imitation of an Argive victor statue, -though not in the Polykleitan style. Because of its similarity to the -<i>Idolino</i> (Pl. <a href="#p14">14</a>), he has ascribed its original to the sculptor Patrokles. -From technical considerations he believes it is not a Greek original -dedicated by Romans of a later period, but a Roman work (after -Patrokles) of the period of the inscription.<a id="FNanchor_1015"></a><a href="#Footnote_1015" class="fnanchor">1015</a> The bronze statue of the -<i>Praying Boy</i> in Berlin<a id="FNanchor_1016"></a><a href="#Footnote_1016" class="fnanchor">1016</a> (Pl. <a href="#p10">10</a>) is one of our most beautiful Greek -bronzes and comes from the circle of Lysippos.<a id="FNanchor_1017"></a><a href="#Footnote_1017" class="fnanchor">1017</a> We now know that<span class="pagenum"><a id="Page_132">132</a></span> -the uplifted arms of this statue, in which most scholars saw the Greek -attitude of prayer, are restorations which were probably made in the -time of Louis XIV, when the statue was in France. Of the original -motive we only can say that the action of the shoulders shows that both -arms were raised, but we do not know how far, or the position of the -hands. Monumental evidence shows that the hands in prayer should -have the palms turned away from the face instead of upwards, as in -the present statue, since the Greek position was the outgrowth of an -old apotropaic gesture, <i>i. e.</i>, one directed against an evil spirit. Mau’s -idea<a id="FNanchor_1018"></a><a href="#Footnote_1018" class="fnanchor">1018</a> that the figure represented a player catching a ball is certainly -inconsistent with the calm attitude of the statue. Furtwaengler -rejected it,<a id="FNanchor_1019"></a><a href="#Footnote_1019" class="fnanchor">1019</a> and he has restored the arms and hands on the basis of a -Berlin gem<a id="FNanchor_1020"></a><a href="#Footnote_1020" class="fnanchor">1020</a> and an <i>ex voto</i> relief found by the French excavators at -Nemea in 1884.<a id="FNanchor_1021"></a><a href="#Footnote_1021" class="fnanchor">1021</a> On this relief a youth crowned with a woolen fillet -is represented. On both relief and gem the figures are in the same -attitude, the arms raised over the head <i>manibus supinis</i>, which confirms -the restoration of the Berlin statue. Many other monuments -give the more usual attitude of prayer, not as in the relief and gem discussed, -but with only one hand extended as high as the breast. Older -writers thought that such monuments did not represent the gesture of -adoration, but one of <i>adlocutio</i>,<a id="FNanchor_1022"></a><a href="#Footnote_1022" class="fnanchor">1022</a> an opinion disproved by Pausanias’ -statement about the bronze statues of the Akragantines at Olympia, -already mentioned. We may cite a relief from Kleitor, now in Berlin,<a id="FNanchor_1023"></a><a href="#Footnote_1023" class="fnanchor">1023</a> -and a fine one of the fourth century <span class="smcap lowercase">B. C.</span> from Lamia (?),<a id="FNanchor_1024"></a><a href="#Footnote_1024" class="fnanchor">1024</a> as well as a -red-figured Etruscan stamnos in Vienna representing, probably, Ajax -praying before committing suicide.<a id="FNanchor_1025"></a><a href="#Footnote_1025" class="fnanchor">1025</a> We shall mention also two little -statuettes in New York which represent youths in the praying attitude.<a id="FNanchor_1026"></a><a href="#Footnote_1026" class="fnanchor">1026</a> -The first, dating from the second half of the fifth century <span class="smcap lowercase">B. C.</span>, -<span class="pagenum"><a id="Page_133">133</a></span> -and showing Polykleitan influence, represents a nude youth standing -erect with the forearms bent, showing that the two hands were extended -in prayer. The second, which dates from the first half of the -fifth century <span class="smcap lowercase">B. C.</span> (after the date of the Myronian <i>Diskobolos</i>), represents -a nude youth standing with the right hand raised to the lips in -an attitude usual in saluting a divinity, while the left is by the side, -with the palm to the front.</p> - - -<div class="figcenter500"><p class="right">PLATE 10</p><a id="p10"></a> -<img src="images/i_fp132.jpg" width="500" height="1022" alt="Bronze Statue of the Praying Boy" /> -<div class="caption">Bronze Statue of the <i>Praying Boy</i>. Museum of Berlin.</div> -</div> - -<h4><span class="smcap">Anointing.</span></h4> - -<p>Various familiar motives from the everyday life of the gymnasium -and palæstra were reproduced in the statues of athletes. One of -the commonest methods was to represent the victor anointing his body -with oil. The use of oil was indispensable in all athletic exercises, -in order to make the body and limbs more supple, and especially in -wrestling and the pankration, to make it difficult for one’s antagonist -to get a grip.<a id="FNanchor_1027"></a><a href="#Footnote_1027" class="fnanchor">1027</a> Pliny mentions a painting by Theoros, representing a -man <i>se inunguentem</i>,<a id="FNanchor_1028"></a><a href="#Footnote_1028" class="fnanchor">1028</a> which appears to have been a votive portrait of -an athlete. The motive was common in vase-paintings and statuary. -Several red-figured vases of the severe style, antedating the statues to -be considered, show from realistic representations of palæstra scenes -that it was customary for athletes to hold a round aryballos high in the -right hand and pour oil from it into the left, which was placed across -the body horizontally.<a id="FNanchor_1029"></a><a href="#Footnote_1029" class="fnanchor">1029</a> The same motive appears with variations in -statues.<a id="FNanchor_1030"></a><a href="#Footnote_1030" class="fnanchor">1030</a> Thus the statue of an ephebe in Petworth House, Sussex, -England,<a id="FNanchor_1031"></a><a href="#Footnote_1031" class="fnanchor">1031</a> a statue, as Furtwaengler says, to be praised more for its -excellent preservation than for its workmanship, represents an athlete, -who holds a globular aryballos in his right hand raised over the shoulder, -while the left arm is held across the abdomen. On the nearby tree-trunk -are small cylindrical objects which seem to be boxing pads. This -statue, and especially its head, have been regarded by Michaelis and -Furtwaengler as unmistakably Polykleitan in style.<a id="FNanchor_1032"></a><a href="#Footnote_1032" class="fnanchor">1032</a> Several other -copies of original statues representing athletes pouring oil have been -wrongly classed as replicas of one original,<a id="FNanchor_1033"></a><a href="#Footnote_1033" class="fnanchor">1033</a> though they merely have -essential features alike, due chiefly to the subject. First is the -famous statue in the Glyptothek known as the <i>Oelgiesser</i> (<i>Oil-pourer</i>), -a Roman copy of an Attic bronze of about the middle of the -<span class="pagenum"><a id="Page_134">134</a></span> -fifth century <span class="smcap lowercase">B. C.</span> (Pl. <a href="#p11">11</a>).<a id="FNanchor_1034"></a><a href="#Footnote_1034" class="fnanchor">1034</a> -Though the right arm and left hand are -lost, it is clear that the athlete held in his raised right hand an oil -flask, as in the Petworth statue.<a id="FNanchor_1035"></a><a href="#Footnote_1035" class="fnanchor">1035</a> Notwithstanding that the head -resembles the Praxitelian <i>Hermes</i>,<a id="FNanchor_1036"></a><a href="#Footnote_1036" class="fnanchor">1036</a> this does not show that the statue -is of fourth-century origin, for its original is older; it merely shows that -the art of Praxiteles was deeply rooted in that of his fifth-century -<span class="figright250"><a id="f23"></a> -<img src="images/i_p134.jpg" width="250" height="296" alt="Head of so-called Oil-pourer." /> -<span class="caption"><span class="smcap">Fig. 23.</span>—Head of so-called <i>Oil-pourer</i>. -Museum of Fine Arts, -Boston.</span></span> -predecessors. Because of its Attic -affiliations, Klein tried to identify -it with the Ἐγκρινόμενος of Alkamenes -mentioned by Pliny,<a id="FNanchor_1037"></a><a href="#Footnote_1037" class="fnanchor">1037</a> by amending -that title to Ἐγχριόμενος, -the “Anointer.” Brunn, however, -rightly saw the analogy of the body -forms to Myron’s <i>Marsyas</i>,<a id="FNanchor_1038"></a><a href="#Footnote_1038" class="fnanchor">1038</a> and -Furtwaengler and Bulle have ascribed -it to Lykios, the son and -pupil of that master, who worked -about 440 <span class="smcap lowercase">B. C.</span>, the approximate -date of the original of the statue. -A fragmentary head in the Boston -Museum of Fine Arts (Fig. <a href="#f23">23</a>),<a id="FNanchor_1039"></a><a href="#Footnote_1039" class="fnanchor">1039</a> -formerly in private possession in -England, is a copy of the same -original as the Munich statue. Its -special interest is that it is not an -exact copy of the original, as the -Munich statue is, but a freer one, -showing a fuller mouth, fleshier cheeks, and deeper-set eyes. While -the Munich statue is the dry work of a Roman copyist of Augustus’ -time, this head is by a far abler Greek copyist of the second century -<span class="smcap lowercase">B. C.</span> A torso in the Albertinum in Dresden, without a head,<a id="FNanchor_1040"></a><a href="#Footnote_1040" class="fnanchor">1040</a> is -<span class="pagenum"><a id="Page_135">135</a></span> -similar to the Munich statue, but hardly a replica. It probably -goes back to an original by an Attic master of the end of the fifth -or beginning of the fourth century <span class="smcap lowercase">B. C.</span> Other under life-size statues -related to this torso show the same motive.<a id="FNanchor_1041"></a><a href="#Footnote_1041" class="fnanchor">1041</a> A black-marble -statue found at Porto d’Anzio in 1758, and now in the Glyptothek,<a id="FNanchor_1042"></a><a href="#Footnote_1042" class="fnanchor">1042</a> -has the Polykleitan standing motive. The left arm, which is stretched -out, holds an oil flask in the hand, while the right arm is lowered. The -band, which the position of the fingers shows that the right hand probably -held, indicates it is the statue of a victor. A bronze statuette -from South Italy, now in the British Museum,<a id="FNanchor_1043"></a><a href="#Footnote_1043" class="fnanchor">1043</a> represents a nude -youth holding an alabastron in his right hand, while the left has -the palm open to receive the oil. The hair fashion (κρωβύλος) seems -to point to an Attic sculptor of about 470 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1044"></a><a href="#Footnote_1044" class="fnanchor">1044</a> The same motive -is found on terra-cotta statuettes from Myrina,<a id="FNanchor_1045"></a><a href="#Footnote_1045" class="fnanchor">1045</a> on reliefs,<a id="FNanchor_1046"></a><a href="#Footnote_1046" class="fnanchor">1046</a> and on -gems.<a id="FNanchor_1047"></a><a href="#Footnote_1047" class="fnanchor">1047</a></p> - -<div class="figcenter500"><a id="p11"></a><p class="right">PLATE 11</p> -<img src="images/i_fp134.jpg" width="500" height="874" alt="Statue of the so-called Oil-pourer" /> -<div class="caption">Statue of the so-called <i>Oil-pourer</i>. Glyptothek, Munich.</div> -</div> - -<h4><span class="smcap">Oil-scraping.</span></h4> - -<p>Another ordinary palæstra motive was employed in representing -the athlete after the contest, scraping oil and dirt from his body -and arms with the scraping-blade or strigil (στλεγγίς, <i>strigilis</i>).<a id="FNanchor_1048"></a><a href="#Footnote_1048" class="fnanchor">1048</a> -This motive is not uncommon on r.-f. vase-paintings of the fifth cen<span class="pagenum"><a id="Page_136">136</a></span>tury -<span class="smcap lowercase">B. C.</span><a id="FNanchor_1049"></a><a href="#Footnote_1049" class="fnanchor">1049</a> It was treated in sculpture by many masters. Pliny -mentions such statues of athletes <i>destringentes se</i> (ἀποξυόμενοι), by -Polykleitos, Lysippos, and Daidalos of Sikyon.<a id="FNanchor_1050"></a><a href="#Footnote_1050" class="fnanchor">1050</a> Perhaps the <i>perixyomenoi</i> -by Antignotos and Daïppos, the latter the son of Lysippos, had -the same motive.<a id="FNanchor_1051"></a><a href="#Footnote_1051" class="fnanchor">1051</a> Of the <i>Apoxyomenos</i> of Polykleitos we have no -authenticated copies in sculpture, 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 leg, the right being drawn -back (<i>i. e.</i>, in the attitude of the <i>Doryphoros</i>), the right forearm -extended, and the left holding a strigil. The similarity of these -gem-designs makes it certain that they are all derived from a well-known -work of art.<a id="FNanchor_1052"></a><a href="#Footnote_1052" class="fnanchor">1052</a> Perhaps the fine bronze statuette, dating from -the middle of the fifth century <span class="smcap lowercase">B. C.</span>, and now in the Loeb collection in -Munich, represents the pose of the <i>destringens se</i> by Polykleitos.<a id="FNanchor_1053"></a><a href="#Footnote_1053" class="fnanchor">1053</a> It -represents a nude youth resting the weight of the body on the soles -of both feet, the left one slightly advanced, and holding a strigil in -the raised right hand. The famous marble copy of an <i>Apoxyomenos</i> in -the Vatican<a id="FNanchor_1054"></a><a href="#Footnote_1054" class="fnanchor">1054</a> (Pl. <a href="#p29">29</a>), which, because of its long slim legs and graceful -ankles, might well represent a runner, has long been held to represent -the canon of Lysippos, as it exhibits proportions widely different -from those employed by Polykleitos, and agreeing with Pliny’s account -of Lysippos’ innovations.<a id="FNanchor_1055"></a><a href="#Footnote_1055" class="fnanchor">1055</a> However, 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 VI.<a id="FNanchor_1056"></a><a href="#Footnote_1056" class="fnanchor">1056</a></p> - -<div class="figcenter500"><p class="right">PLATE 12</p><a id="p12"></a> -<img src="images/i_fp136.jpg" width="500" height="847" alt="Statue of an Apoxyomenos." /> -<div class="caption">Statue of an <i>Apoxyomenos</i>. Uffizi Gallery, Florence.</div> -</div> - -<p>The same motive is exemplified by many existing statues, statuettes, -reliefs, etc. The marble statue of an athlete in the Uffizi, Florence, -<span class="pagenum"><a id="Page_137">137</a></span> -(Pl. <a href="#p12">12</a>),<a id="FNanchor_1057"></a><a href="#Footnote_1057" class="fnanchor">1057</a> a copy of an original of the end of the fifth century <span class="smcap lowercase">B. C.</span>, -wrongly restored as holding in both hands a vase at which the athlete -is looking down, was interpreted by Bloch as an ephebe pouring -oil from a lekythos held in the right hand into an aryballos held -in the left. This action for an athlete has been characterized by -Furtwaengler as “unparallelled, unclassical and, above all, absurd.” -Through recent discoveries we now know that it represents an apoxyomenos, -and that it should be restored with the left forearm close to -the thigh, and with the right crossing the abdomen diagonally in the -direction of the left hand. 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 original. The figure on the gem<a id="FNanchor_1058"></a><a href="#Footnote_1058" class="fnanchor">1058</a> holds -a strigil in both hands and is generally explained as scraping the dirt -from the left thigh; the light hand holds the handle and the left the -blade. A hydria, palm-branch, and crown are pictured to the right—showing -that the figure represents an athlete, just as the statue has the -swollen ears of one. The attention of the athlete in both monuments -is concentrated on the operation involved—a concentration reminding -us of Myron’s <i>Diskobolos</i>. While, however, in the latter work the -concentration is momentary, it is less transient in the Florence statue -and also in the Munich <i>Oil-pourer</i>. This pose is too conscious in the -Florentine statue to be the work of Myron. Arndt names no artist, -but as the similarity between the head of the statue and that of the -<i>Oil-pourer</i> is so marked, 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 sculptor, although the Uffizi statue is somewhat -later than the Munich one.<a id="FNanchor_1059"></a><a href="#Footnote_1059" class="fnanchor">1059</a> The original of the Florence statue -was famous, if we may judge by the existing number of replicas with -variations.<a id="FNanchor_1060"></a><a href="#Footnote_1060" class="fnanchor">1060</a></p> - -<p>Among statues showing the same motive and pose, we may note the -bronze statue of an athlete over life-size—pieced together from 234<span class="pagenum"><a id="Page_138">138</a></span> -fragments—found by the Austrians at Ephesos and now in Vienna.<a id="FNanchor_1061"></a><a href="#Footnote_1061" class="fnanchor">1061</a> -The subject, pose, and heavy proportions recall the Argive school of -Polykleitos, and its original has been assigned by Hauser to the Sikyonian -Daidalos, the son and pupil of Patrokles, who was the pupil of -Polykleitos. As further reproductions of the same type of figure, we -may cite a bronze statuette in Paris,<a id="FNanchor_1062"></a><a href="#Footnote_1062" class="fnanchor">1062</a> and a marble one found at -Frascati in 1896 and now in the Museum of Fine Arts, Boston.<a id="FNanchor_1063"></a><a href="#Footnote_1063" class="fnanchor">1063</a></p> - -<p>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 hand, which rests on the hip.<a id="FNanchor_1064"></a><a href="#Footnote_1064" class="fnanchor">1064</a> A beautiful marble -grave-relief, much mutilated, in the museum at Delphi,<a id="FNanchor_1065"></a><a href="#Footnote_1065" class="fnanchor">1065</a> which dates -from the middle of the fifth century <span class="smcap lowercase">B. C.</span>, represents a palæstra victor, -with his arms extended to the right, cleansing himself with a strigil, -which is held in the right hand, while a slave boy, holding the remnant -of an aryballos in his right hand, looks up at him from the right. The -careful anatomy of this relief may point to Pythagoras of Samos, as -its author, though we have no certain work of his, for it fits the description -of that artist by Pliny, who says that he was the first to express -sinews and veins.<a id="FNanchor_1066"></a><a href="#Footnote_1066" class="fnanchor">1066</a></p> - -<h4><span class="smcap">Libation-pouring.</span></h4> - -<div class="figcenter500"><p class="right">PLATE 13</p><a id="p13"></a> -<img src="images/i_fp138.jpg" width="500" height="856" alt="Statue of an Athlete" /> -<div class="caption">Statue of an Athlete, after Polykleitos. Farnsworth Museum, -Wellesley College, U. S. A.</div> -</div> - -<p>An original Greek bronze statuette in Paris (Fig. <a href="#f24">24</a>)<a id="FNanchor_1067"></a><a href="#Footnote_1067" class="fnanchor">1067</a> reproduces the -motive of the statue of the boy wrestler Xenokles by the sculptor -Polykleitos Minor at Olympia, as a comparison with the footprints on -the recovered base of the latter shows.<a id="FNanchor_1068"></a><a href="#Footnote_1068" class="fnanchor">1068</a> As the forms correspond with -those of the <i>Doryphoros</i> and <i>Diadoumenos</i>, and as its execution is so -<span class="pagenum"><a id="Page_139">139</a></span> -marvelous, Furtwaengler has ascribed the statuette to the circle of -Polykleitos’ pupils. The position of the right hand, which has the -thumbs drawn in, corresponds with that of the <i>Idolino</i> (Pl. <a href="#p14">14</a>), which -we are to discuss, and can best be explained by assuming that it -similarly held a kylix; the left hand carried a staff-like attribute. -<span class="figright250"><a id="f24"></a> -<img src="images/i_p139.jpg" width="250" height="478" alt="Bronze Statuette of an -Athlete." /> -<span class="caption"><span class="smcap">Fig. 24.</span>—Bronze Statuette of an -Athlete. Louvre, Paris.</span></span> -The head is bent and looks to the right. -Furtwaengler believed that, inasmuch -as the act of pouring a libation does not -occur in art or literature as an athletic -motive, the statuette represented a hero -or god. Many Roman marble copies -show the same motive and preserve -to us a Polykleitan work which corresponds -in all essentials with the -Louvre statuette.<a id="FNanchor_1069"></a><a href="#Footnote_1069" class="fnanchor">1069</a> We mention two, -the only ones of the type in which the -heads are on the trunks, one in the -Galleria delle Statue of the Vatican,<a id="FNanchor_1070"></a><a href="#Footnote_1070" class="fnanchor">1070</a> -the other in the Farnsworth Museum -at Wellesley College (Pl. <a href="#p13">13</a>).<a id="FNanchor_1071"></a><a href="#Footnote_1071" class="fnanchor">1071</a> These -copies represent a youth standing with -both feet flat upon the ground, the -weight of the body resting upon the -right one, while the left is turned a -little to the side. He is looking downwards -to the right. Doubtless we -should restore these copies after the -Paris bronze, with a kylix in the right -hand. The palm-branch in a similar -statue, to be mentioned further on, -shows that in all probability the origin -statue was that of an athlete; and -that he was a famous athlete is shown -by the number of copies of the torso and head.<a id="FNanchor_1072"></a><a href="#Footnote_1072" class="fnanchor">1072</a> A bronze head -<span class="pagenum"><a id="Page_140">140</a></span> -from Herculaneum (Fig. <a href="#f25">25</a>)<a id="FNanchor_1073"></a><a href="#Footnote_1073" class="fnanchor">1073</a> so strongly resembles in its forms the -type under discussion—which Furtwaengler has called the “Vatican -athlete standing at rest”<a id="FNanchor_1074"></a><a href="#Footnote_1074" class="fnanchor">1074</a>—and corresponds with it so closely in -its measurements, that it might be regarded as a copy of the same -original, if certain differences, not due to the copyist, did not rather -show that it comes from a closely allied work. This head shows -an intense melancholy, which has been explained by Furtwaengler -as due to the lack of skill on the part of the copyist, who fashioned -it slightly askew. Amelung very properly explains the absence of -the motive of libation-pouring in athletic art as merely a lacuna in -our sources.<a id="FNanchor_1075"></a><a href="#Footnote_1075" class="fnanchor">1075</a> If the original of these copies and variations represented<span class="pagenum"><a id="Page_141">141</a></span> -an athlete, he was certainly pouring a libation before victory; if a -warrior, he was doing the same thing before going on a campaign. -In the latter case the left hand should be restored with a spear.</p> - -<div class="figcenter300"><a id="f25"></a> -<img src="images/i_p140.jpg" width="300" height="411" alt="" /> -<div class="caption"><span class="smcap">Fig. 25.</span>—Bronze Head of an Athlete, from Herculaneum. -Museum of Naples.</div> -</div> - -<p>We must also place here the life-size original Greek bronze in Florence, -discovered at Pesaro, near Ancona, in 1530, and known from the -early eighteenth century as the <i>Idolino</i> (Pl. <a href="#p14">14</a>),<a id="FNanchor_1076"></a><a href="#Footnote_1076" class="fnanchor">1076</a> for its motive connects -it with the series just discussed. This is, perhaps, our finest -bronze statue from antiquity, as it represents the highest ideal of boy -beauty, just as the <i>Doryphoros</i> does of manly beauty. The chief -characteristics—the positions of the feet, head, and arms, though essentially -those of the statues discussed, offer certain differences. Thus -the left leg is placed more to one side and turned further outwards -than in the statue of Xenokles and kindred works; the left hand hangs -down at an angle to the leg differently from the others. In other -words, by comparing it with the Paris statuette, we see a slightly different -rhythm from that found in Polykleitan works. The <i>Idolino</i> has -been looked upon as Myronic by Kekulé,<a id="FNanchor_1077"></a><a href="#Footnote_1077" class="fnanchor">1077</a> Studniczka,<a id="FNanchor_1078"></a><a href="#Footnote_1078" class="fnanchor">1078</a> and hesitatingly -Klein,<a id="FNanchor_1079"></a><a href="#Footnote_1079" class="fnanchor">1079</a> while Mahler regarded it as Pheidian.<a id="FNanchor_1080"></a><a href="#Footnote_1080" class="fnanchor">1080</a> Furtwaengler, -however, by a careful analysis, has shown its Polykleitan characteristics—especially -the shape of the head and the features, and the -treatment of the hair, which reminds us of the Naples copy of the -<i>Doryphoros</i>. Owing to differences, however, he did not assign it to -the master himself, but suggested that it was the work of his pupil -Patrokles.<a id="FNanchor_1081"></a><a href="#Footnote_1081" class="fnanchor">1081</a> Bulle found the head Polykleitan, but the body Attic, -and assigned the figure to an unknown Attic sculptor working in -the Polykleitan circle. In this controversy on its style, a statue -found in 1916 in the excavations of the Baths at Kyrene should be of -use, 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 art.<a id="FNanchor_1082"></a><a href="#Footnote_1082" class="fnanchor">1082</a> By a comparison of this marble copy with the Florentine<span class="pagenum"><a id="Page_142">142</a></span> -bronze we see that the latter was a subsequent rendition of the same -original, and doubtless by some artist of lesser fame from the Polykleitan -school, who was influenced by Attic art.</p> - -<p>But it is the interpretation of the <i>Idolino</i> which chiefly interests us -here. While Longpérier called the similar Paris statuette a <i>Mercure -aptère</i>, and the publisher of the statue from Kyrene called that copy -a <i>Hermes</i>, yet Kekulé, Bulle, and most other archæologists have seen in -the <i>Idolino</i> an athlete. The inner surface of its outstretched right -hand is left rough, and the fingers are in the same position as those of -the Paris bronze. Such a position can be explained satisfactorily by -restoring the hand with a kylix or a φιάλη, such as was commonly used -in libations. The left hand is smooth and evidently empty, though -Bulle restores it with a victor’s fillet, and so, following Kekulé, calls -the statue that of a boy victor, who is bringing an offering to the altar -in honor of his victory. The marble statue in the Galleria delle Statue -has the right forearm restored; in the Kyrene statue the right hand is -preserved and has a thick object held downwards at a greater angle -than in the <i>Idolino</i>. The photograph does not let us judge decisively, -but it seems to be too thick an object for the remnants of a -kylix. A marble statue in the Barberini Palace, Rome,<a id="FNanchor_1083"></a><a href="#Footnote_1083" class="fnanchor">1083</a> which resembles -the <i>Idolino</i> so closely as to be considered a copy of it, though with -variations of pose and technique, has the arms broken off, and so adds -nothing to the solution of the motive of the <i>Idolino</i>. The fact that a -palm-stem stands beside the right leg, however, adds weight to the -interpretation as victor. Furtwaengler interprets the <i>Idolino</i> and kindred -works as divinities. Though boys serve at libations, he thinks -they never perform the ritual act of pouring the libation.<a id="FNanchor_1084"></a><a href="#Footnote_1084" class="fnanchor">1084</a> That a -libation-pourer should appear in the guise of a boy victor (that of -Xenokles) he calls a genuine Argive trait. Svoronos, also, has recently -tried to show that the <i>Idolino</i> is not a victor,<a id="FNanchor_1085"></a><a href="#Footnote_1085" class="fnanchor">1085</a> but represents the hero -Herakles. He compares the figure with a fourth-century Pentelic -marble relief in Athens,<a id="FNanchor_1086"></a><a href="#Footnote_1086" class="fnanchor">1086</a> which represents Herakles standing at the -door of Hades and beside him a father leading his son up to the open -air. The pose of the figure of Herakles resembles that of the <i>Idolino</i> -in a remarkable way. In the relief Herakles holds a kylix in the right -hand<a id="FNanchor_1087"></a><a href="#Footnote_1087" class="fnanchor">1087</a> and a club in the left, and a lion skin is thrown over the left arm. -Svoronos believes that the left hand in the relief explains the turning in -of the left hand of the <i>Idolino</i>—for he believes that the latter also held -<span class="pagenum"><a id="Page_143">143</a></span> -a club. We must, however, leave the final solution of the motive of the -<i>Idolino</i> and kindred works open, although inclining to the belief that -they represent a victor.</p> - -<div class="figcenter500"><p class="right">PLATE 14</p><a id="p14"></a> -<img src="images/i_fp142.jpg" width="500" height="847" alt="Bronze Statue known as the Idolino." /> -<div class="caption">Bronze Statue known as the <i>Idolino</i>. Museo Archeologico, Florence.</div> -</div> - -<p>A statue in Athens, which was found in 1888 in the Roman ruins at -the Olympieion, may represent a boy victor pouring a libation (Fig. -26).<a id="FNanchor_1088"></a><a href="#Footnote_1088" class="fnanchor">1088</a> -It is a poor Roman copy, dry and lifeless, -<span class="figright150"><a id="f26"></a> -<img src="images/i_p143.jpg" width="150" height="383" alt="Marble Statue -of an Athlete." /> -<span class="caption"><span class="smcap">Fig. 26.</span>—Marble Statue -of an Athlete(?). National Museum, -Athens.</span></span> -of a bronze original of the middle of the -fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1089"></a><a href="#Footnote_1089" class="fnanchor">1089</a> In this statue Mayer has -seen the motive, and probably the copy, of the -<i>Splanchnoptes</i> (Roaster of Entrails) by the -sculptor Styphax (or Styppax) of Cyprus, -which, according to Pliny,<a id="FNanchor_1090"></a><a href="#Footnote_1090" class="fnanchor">1090</a> represented Perikles’ -slave “roasting entrails and blowing hard -on the fire, to kindle it, till his cheeks swell.” -He thinks that the position of the broken -arms and a comparison of the figure with similar -ones on vases make the identification possible. -Von Salis concurs in his restoration and -interpretation and publishes a small statuette -in Athens from Dodona,<a id="FNanchor_1091"></a><a href="#Footnote_1091" class="fnanchor">1091</a> which has a similar -pose, and holds a three-pronged fork in the -left hand, which he believes should be restored -in the statue. Although statue and statuette -have much in common (<i>e. g.</i>, the position of -the breast and shoulders, the treatment of the -hair, etc.), which shows that both may be copies -of one original, the conception of the two is -somewhat different. The statue from Athens -represents a boy standing busily engaged at -the altar; the statuette represents one standing -at rest merely looking on, the fork not -being held in position for use.<a id="FNanchor_1092"></a><a href="#Footnote_1092" class="fnanchor">1092</a> In any case -the face of the Athens statue can not correspond -with Pliny’s description—<i>ignemque oris<span class="pagenum"><a id="Page_144">144</a></span> -pleni spiritu accendens</i>. Quite a different explanation of the statue is -possible—one which Mayer thought improbable. The right arm—broken -above the wrist—was raised to the height of the shoulder -and may have held an object in the hand; 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 other. The boy, -therefore, may have held a cup in the right hand and a branch or a -victor fillet in the left. Thus it may merely be another example of -a boy victor pouring a libation.</p> - -<p>Certain other statues have been mistaken either for libation-pourers -or oil-pourers, when they are really wine-pourers and have nothing to -do with the athletic motives under discussion. A good example is the -marble statue of a <i>Satyr</i> in Dresden,<a id="FNanchor_1093"></a><a href="#Footnote_1093" class="fnanchor">1093</a> which represents the youthful -demi-god lifting a can with his right hand, out of which he is pouring -wine into a drinking-horn held in the left. There are many copies of this -work,<a id="FNanchor_1094"></a><a href="#Footnote_1094" class="fnanchor">1094</a> a fact which shows that the original bronze was famous. An -attempt has therefore been made to identify it with the bronze <i>Satyr</i> of -Praxiteles mentioned by Pliny as the <i>Periboëtos</i> or “far-famed,”<a id="FNanchor_1095"></a><a href="#Footnote_1095" class="fnanchor">1095</a> which -seems to have been grouped with a <i>Dionysos</i> and a figure of <i>Drunkenness</i>—a -grouping which might fit the Dresden <i>Satyr</i>, since a second -figure should be imagined, for which the horn is being filled. However, -it differs stylistically so much from the <i>Hermes</i> of Olympia that the -ascription has been given up, though its graceful form shows Praxitelean -influence and certainly emanates from the fourth century <span class="smcap lowercase">B. C.</span></p> - -<div class="figcenter500"><p class="right">PLATE 15</p><a id="p15"></a> -<img src="images/i_fp144.jpg" width="500" height="706" alt="Marble Head of an Athlete." /> -<div class="caption">Marble Head of an Athlete, after Kresilas (?). Metropolitan -Museum, New York.</div> -</div> - -<h4><span class="smcap">Resting After the Contest.</span></h4> - -<p>A very favorite motive was to represent a victor, either standing or -seated, resting after the exertions of the contest (ἀναπαυόμενος). An -excellent example of this motive in a standing posture is the fourth-century -<span class="smcap lowercase">B. C.</span> statue of Attic workmanship found at Porto d’Anzio and -now in the Vatican,<a id="FNanchor_1096"></a><a href="#Footnote_1096" class="fnanchor">1096</a> which reproduces the type of the <i>Apollo Lykeios</i>.<a id="FNanchor_1097"></a><a href="#Footnote_1097" class="fnanchor">1097</a> -Many of the statues, by various sculptors, which represent the victor -standing at rest may be intended to represent him as resting after the -contest. The well-known head of a youth adorned with the victor’s -chaplet, and preserved in four copies in European museums, appears -to come from a statue which represented a victor in this manner. -<span class="pagenum"><a id="Page_145">145</a></span> -The best of these copies is in the collection of Lord Leconfield at Petworth -House, Sussex.<a id="FNanchor_1098"></a><a href="#Footnote_1098" class="fnanchor">1098</a> We should add a fifth, a Roman copy of the -head, in the Metropolitan Museum, New York (Pl. <a href="#p15">15</a>).<a id="FNanchor_1099"></a><a href="#Footnote_1099" class="fnanchor">1099</a> In these -copies the ears are not swollen, and a certain refinement and gentleness -show that the original was not from the statue of a boxer or pancratiast, -but from that of another type of athlete, perhaps a pentathlete. -Since Pliny mentions the statue of a <i>Doryphoros</i> by Kresilas,<a id="FNanchor_1100"></a><a href="#Footnote_1100" class="fnanchor">1100</a> and because -of its supposed Kresilæan style, Furtwaengler, albeit on slender -grounds, has attempted to identify the original of these heads with -that work.<a id="FNanchor_1101"></a><a href="#Footnote_1101" class="fnanchor">1101</a> The expression is certainly one of complete repose. On -the crown of the head, and on the left side over the fillet, is a rectangular -broken surface,<a id="FNanchor_1102"></a><a href="#Footnote_1102" class="fnanchor">1102</a> apparently the remnant of a support for the right arm, -which, as Conze thought, proves that the athlete stood with one arm -resting on the head, the hand hanging over the left side. Furtwaengler -admitted that such an attitude might be that of an apoxyomenos,<a id="FNanchor_1103"></a><a href="#Footnote_1103" class="fnanchor">1103</a> -but pointed out that the expression of the face in all the copies seems -too tranquil for such an interpretation. Since the victor was in repose -and the left arm required a slight support, he believed that this support -might have been an akontion. He therefore reconstructed the original -statue as that of a resting pentathlete, and assigned it to the great -Cretan contemporary of Pheidias, who worked in Athens.<a id="FNanchor_1104"></a><a href="#Footnote_1104" class="fnanchor">1104</a> The number -of replicas at least shows that the original was a famous work.</p> - -<div class="figcenter400"><a id="f27"></a> -<img src="images/i_p146.jpg" width="400" height="494" alt="Head from Statue of the Seated Boxer." /> -<div class="caption"><span class="smcap">Fig.</span> 27.—Head from Statue of the <i>Seated Boxer</i>. -Museo delle Terme, Rome.</div> -</div> - -<p>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 1884 and -now in the Museo delle Terme there (Pl. <a href="#p16">16</a> and Fig. <a href="#f27">27</a>).<a id="FNanchor_1105"></a><a href="#Footnote_1105" class="fnanchor">1105</a> This is a<span class="pagenum"><a id="Page_146">146</a></span> -masterpiece in the portrayal of brute strength in the most naturalistic -and revolting way. If we like to think of victors as having noble forms, -we are rudely startled on looking at this brutal prize-fighter. If we -compare it with works of the fifth and fourth centuries <span class="smcap lowercase">B. C.</span>, we see in -it, as in no other example of Greek sculpture, the great change which -professionalism had later wrought in the Greek ideal of athletics. Here -are massive proportions, bulging muscles, arms and legs hard and -muscle-bound. We can compare it only with the bronze head of a -boxer found at Olympia (Fig. <a href="#f61">61</a> A and B) of similar style and age.<a id="FNanchor_1106"></a><a href="#Footnote_1106" class="fnanchor">1106</a> But -there we have only the head, while here we have a complete statue -almost perfectly preserved, the only restorations being a portion of the -left thumb, a piece of the right flank, and the base.</p> - -<div class="figcenter500"><p class="right">PLATE 16</p><a id="p16"></a> -<img src="images/i_fp146.jpg" width="500" height="814" alt="Bronze Statue of the Seated Boxer." /> -<div class="caption">Bronze Statue of the <i>Seated Boxer</i>. Museo delle Terme, Rome.</div> -</div> - -<p>It represents a professional boxer, who is seated exhausted at the -close of the bout, the severity of which is indicated by every part of the -<span class="pagenum"><a id="Page_147">147</a></span> -body. He leans forward, his arms rest on his thighs, and his head, -sunk between his shoulders, is raised and turned to the right, as he -stupidly looks around at the applauding spectators. His nose is broken -and his ears are swollen and scars of the contest show on his face and -limbs. Beneath his retreating upper lip some of his teeth appear to -have been knocked out as the result of previous fights, while indications -of the recent struggle are to be seen in the blood dripping from his ears -and the deep lacerations in face and shoulder, which may have once -been filled with red paint to make his appearance even more realistic. -The right eye is swollen and the lower lid and the cheek imperceptibly -sink into each other. The mustache shows flecks of blood and the -swollen back of the right hand protrudes through the glove. His nose -is clotted with blood and he seems to be struggling to get his breath.</p> - -<p>Such realism and delight in depicting the hideous show that the work, -like the Olympia head, belongs to the Hellenistic age. The careful workmanship, -especially visible in the hair and beard and in the hair on the -chest<a id="FNanchor_1107"></a><a href="#Footnote_1107" class="fnanchor">1107</a>, proves that the statue is not a Roman copy, but a Greek original -of the beginning of the Hellenistic age, of the end of the fourth or beginning -of the third century <span class="smcap lowercase">B. C.</span> Nor is it a portrait, as Winter maintained,<a id="FNanchor_1108"></a><a href="#Footnote_1108" class="fnanchor">1108</a> -since it is an adaptation of a late type of Herakles. It certainly -is a victor statue from one of the great Greek games, and is, perhaps, -from Olympia itself. Since the head is turned toward the right shoulder -and the mouth is open, as if speaking, Wunderer tried, on the basis -of a passage in the history of Polybios,<a id="FNanchor_1109"></a><a href="#Footnote_1109" class="fnanchor">1109</a> to identify it with the statue -of the famous Theban boxer and pancratiast Kleitomachos at Olympia -by an unknown artist.<a id="FNanchor_1110"></a><a href="#Footnote_1110" class="fnanchor">1110</a> The historian states that Kleitomachos, -while fighting with the Egyptian Aristonikos, was angered by the -acclaim given the foreigner and, stepping aside, chided the spectators -for not cheering one who was fighting for the honor of Greece. The -speech caused a revulsion in the popular feeling, which helped, even -more than the fists of Kleitomachos, to vanquish Aristonikos. However, -the motive of the statue does not fit the incident, as the boxer -is not speaking, but breathing hard, nor is the seated posture that of -one haranguing a crowd. Moreover, the date of the Theban’s victory -is too late for the statue.<a id="FNanchor_1111"></a><a href="#Footnote_1111" class="fnanchor">1111</a></p> - -<h3>ATTRIBUTES OF VICTOR STATUES.</h3> - -<p>At the beginning of the fifth century <span class="smcap lowercase">B. C.</span> athletic training tended -to produce a uniform standard of physical development, which was<span class="pagenum"><a id="Page_148">148</a></span> -reflected in sculpture. At this date we do not find the divergence of -style which we saw in our review of the “Apollo” type of the sixth -century. Vase-paintings show the change better than sculpture. On -black-figured vases of the sixth century <span class="smcap lowercase">B. C.</span>, we see a good deal of -variety in groups of boxers and wrestlers, while on red-figured vases of -the early fifth century the number of types is far less. In sculpture, -however, differences in physical type did exist in the various schools at -the beginning of the fifth century. We have, for example, the heavy, -square-shouldered type in the <i>Apollo Choiseul-Gouffier</i> (Pl. <a href="#p7A">7A</a>), which -we have classed as a victor statue, and the tall, rawboned type in the -<i>Tyrannicides</i> by Kritios and Nesiotes (Fig. <a href="#f32">32</a>, <i>Harmodios</i>).<a id="FNanchor_1112"></a><a href="#Footnote_1112" class="fnanchor">1112</a> We have, -on the other hand, a very different physical type in the short, stocky -Aeginetan pedimental figures (Figs. 20 and 21). Between such extremes -there are, of course, many gradations. We might instance -the archaic bronze statuette of a diskobolos in the Metropolitan Museum -(Fig. <a href="#f46">46</a>).<a id="FNanchor_1113"></a><a href="#Footnote_1113" class="fnanchor">1113</a> However, notwithstanding the diversity in type, -it is often difficult to distinguish runners from wrestlers, boxers from -pentathletes. Thus few early fifth-century statues show the type of -runner as well as the <i>Apollo of Tenea</i> (Pl. <a href="#p8A">8A</a>), or that of a boxer -as well as the “<i>Apollo</i>” from Delphi (Pl. <a href="#p8B">8B</a>). The reason for this is -the ideal element, which entered into all these statues and which -was a reflection of the uniform development of athletics long before -specialization had set in. Out of this uniformity grew the canon of -Polykleitos, developed from that of Hagelaïdas.</p> - -<p>The sculptor of the sixth century <span class="smcap lowercase">B. C.</span> was incapable of differentiating -between god and mortal. This was especially the case, as we have -seen, with Apollo, as the “Apollo” type was a model of manly vigor. -In the early fifth century the sculptor had largely overcome this difficulty, -but still showed little diversity of type in treating statues of -different kinds of athletes. A method of differentiation which was -essential to athlete sculptors of the sixth century was found convenient -of retention by those of the fifth—<i>i. e.</i>, characterizing the statue -of the victor by some attribute, in order, on the one hand, to differentiate -it from the nude god or hero, and on the other to distinguish -between different types of victors.</p> - -<h3>PRIMARY ATTRIBUTES OF VICTOR STATUES.</h3> - -<h4><span class="smcap">The Victor Fillet.</span></h4> - -<p>In the first place, the sculptor would characterize the victor statue -as such. The easiest way to do this would be to represent it with a -fillet or chaplet (ταινία)<a id="FNanchor_1114"></a><a href="#Footnote_1114" class="fnanchor">1114</a> bound round the head, as we saw was the<span class="pagenum"><a id="Page_149">149</a></span> -case in the statue of Milo. This fillet was merely a band or riband of -wool which was given the Olympic victor in addition to the garland of -olive leaves, or the palm-branch, as a symbol of victory. Waldstein has -argued that this fillet originally was not an essential attribute of the -victor, but that the crown and palm were the prizes, and the fillet -merely a decoration used on various occasions, such as at symposia,<a id="FNanchor_1115"></a><a href="#Footnote_1115" class="fnanchor">1115</a> -which only later became a general athletic attribute.<a id="FNanchor_1116"></a><a href="#Footnote_1116" class="fnanchor">1116</a> Though the presence -of the fillet on statues should not, therefore, be proof that the -given statue is that of a victor,<a id="FNanchor_1117"></a><a href="#Footnote_1117" class="fnanchor">1117</a> there is no defense for the contention -of Passow<a id="FNanchor_1118"></a><a href="#Footnote_1118" class="fnanchor">1118</a> that the <i>tainia</i> was in no sense a symbol of victory, but -merely a toilet article among the gifts presented by the public to a -victor at the ovation of the crowning. Pausanias says that the victor -Lichas of Sparta was scourged by order of the umpires at Olympia -for having set the <i>tainia</i> on the head of his victorious charioteer.<a id="FNanchor_1119"></a><a href="#Footnote_1119" class="fnanchor">1119</a> -This is sufficient evidence that it was not a mere toilet article, but rather -a part of the official prize of victory. Similarly the <i>tainia</i> in the hand -of Nike upon the right hand of the statue of Zeus by Pheidias at -Olympia can not have been a toilet article.<a id="FNanchor_1120"></a><a href="#Footnote_1120" class="fnanchor">1120</a></p> - -<p>We have many examples from athletic sculpture of the use of the -fillet. Thus it appears on the bronze head of a boxer in the Glyptothek -(Pl. <a href="#p3">3</a>)<a id="FNanchor_1121"></a><a href="#Footnote_1121" class="fnanchor">1121</a> and on the bronze head from Herculaneum in Naples -(Fig. <a href="#f4">4</a>),<a id="FNanchor_1122"></a><a href="#Footnote_1122" class="fnanchor">1122</a> both of which have been discussed in Chapter II, as fragments -of Greek original statues of Olympic victors. It also appears on -the marble head of a youthful victor—not necessarily Olympic—from -the Akropolis,<a id="FNanchor_1123"></a><a href="#Footnote_1123" class="fnanchor">1123</a> which, because of the similarity in cheeks, mouth, and -eyes to heads on the metopes of the Parthenon, should be dated somewhere -between 450 and 440 <span class="smcap lowercase">B. C.</span> It occurs on the Olympia marble head<span class="pagenum"><a id="Page_150">150</a></span> -(Frontispiece and Fig. <a href="#f69">69</a>),<a id="FNanchor_1124"></a><a href="#Footnote_1124" class="fnanchor">1124</a> which we ascribe in Chapter VI to Lysippos, -and likewise on the statue of the pancratiast Agias in Delphi (Pl. <a href="#p28">28</a>, -Fig. <a href="#f68">68</a>). In most athlete heads the fillet is twisted into a knot at the -back of the head. In one case, on the Petworth head of a pentathlete -already discussed,<a id="FNanchor_1125"></a><a href="#Footnote_1125" class="fnanchor">1125</a> which, because of the curve of the neck, must come -from a statue represented at rest, it is not so tied, but is wound round -the head with the two ends tucked in and pushed through the fillet on -either side over the temples.<a id="FNanchor_1126"></a><a href="#Footnote_1126" class="fnanchor">1126</a> Though so practical an arrangement -as the latter must have been common enough in real life, this seems to -be the only example of its representation in sculpture.</p> - -<p>The fillet, instead of encircling the head, was sometimes held in the -hand, as in the case of the Spartan chariot victor Polykles at Olympia.<a id="FNanchor_1127"></a><a href="#Footnote_1127" class="fnanchor">1127</a> -A curious life-size statue of the Roman period, found in the Peiræus, -represents a nude boy holding in his right hand over the breast a bundle -of books and in the left an alabastron. The body is covered with -fillets—fifteen in all—which appear to have been prizes won in gymnic -contests, probably at the gymnasium or palæstra.<a id="FNanchor_1128"></a><a href="#Footnote_1128" class="fnanchor">1128</a></p> - -<h4><span class="smcap">Fillet-binders.</span></h4> - -<p>Statues representing victors binding fillets in their hair (<i>diadoumenoi</i>) -are common to all periods of Greek art.<a id="FNanchor_1129"></a><a href="#Footnote_1129" class="fnanchor">1129</a> We shall discuss -only two—those of Pheidias and of Polykleitos.</p> - -<div class="figcenter500"><p class="right">PLATE 17</p><a id="p17"></a> -<img src="images/i_fp150.jpg" width="500" height="863" alt="Statue known as the Farnese Diadoumenos." /> -<div class="caption">Statue known as the <i>Farnese Diadoumenos</i>. British Museum, London.</div> -</div> - -<p>Pausanias mentions a statue by Pheidias, representing a <i>Boy Binding -on a Fillet</i>, as standing in the Altis at Olympia.<a id="FNanchor_1130"></a><a href="#Footnote_1130" class="fnanchor">1130</a> Robert has -argued that this figure was the one of similar motive mentioned by -Pausanias as on the throne of Zeus there.<a id="FNanchor_1131"></a><a href="#Footnote_1131" class="fnanchor">1131</a> However, the figure on -the throne was very probably in relief and not in the round.<a id="FNanchor_1132"></a><a href="#Footnote_1132" class="fnanchor">1132</a> The cicerones -at Olympia seem to have been imposing on the periegete when -they said that a likeness to Pantarkes, the boy favorite of Pheidias, was -to be seen in the face of this figure on the throne. The mention of -Pantarkes has given rise to the usual identification of the παῖς ἀναδούμενος -with the victor statue of the Elean Pantarkes mentioned by -<span class="pagenum"><a id="Page_151">151</a></span>Pausanias as standing in the Altis.<a id="FNanchor_1133"></a><a href="#Footnote_1133" class="fnanchor">1133</a> However, the assumption<a id="FNanchor_1134"></a><a href="#Footnote_1134" class="fnanchor">1134</a> is -far-fetched and must be rejected, because Pausanias mentions the two -statues in two different parts of his <i>periegesis</i> of the Altis.<a id="FNanchor_1135"></a><a href="#Footnote_1135" class="fnanchor">1135</a> Of the -παῖς we know only the artist’s name. It was probably merely a votive -gift,<a id="FNanchor_1136"></a><a href="#Footnote_1136" class="fnanchor">1136</a> and the name of the person so honored was unknown to Pausanias. -Of the statue of the victor Pantarkes we know only the name, -and neither the artist nor the motive of the statue. It seems clear, -therefore, that we have to do with three distinct monuments: the boy -with the fillet, the throne figure by Pheidias, and the victor by an -unknown sculptor.<a id="FNanchor_1137"></a><a href="#Footnote_1137" class="fnanchor">1137</a></p> - -<p>The small marble statue in the British Museum known as the <i>Diadoumenos -Farnese</i><a id="FNanchor_1138"></a><a href="#Footnote_1138" class="fnanchor">1138</a> (Pl. <a href="#p17">17</a>), which is now almost universally regarded -as an Attic work,<a id="FNanchor_1139"></a><a href="#Footnote_1139" class="fnanchor">1139</a> has been assumed by many archæologists to be a -copy of Pheidias’ statue.<a id="FNanchor_1140"></a><a href="#Footnote_1140" class="fnanchor">1140</a> Since Pausanias tells us that a statue by -Pheidias stood in Olympia, representing an unknown boy binding a -fillet around his head, and since the style of the <i>Farnese</i> statue shows -great similarity in head and body forms and general bearing to certain -figures on the Parthenon frieze,<a id="FNanchor_1141"></a><a href="#Footnote_1141" class="fnanchor">1141</a> and its motive agrees with that of the -Olympia statue, it seems reasonable to see in this little work a copy of -the statue in the Altis by the great master. Furtwaengler and Bulle -have shown that the motive of this work was initiated by Pheidias and -not by Polykleitos, since the latter’s great statue was several years -younger than the work of Pheidias at Olympia. That Pheidias was -pleased with the motive is disclosed by the fact that he repeated it on -the throne of Zeus.</p> - -<p><span class="pagenum"><a id="Page_152">152</a></span></p> - -<div class="figcenter500"><p class="right">PLATE 18</p><a id="p18"></a> -<img src="images/i_fp152.jpg" width="500" height="803" alt="Statue of the Diadoumenos." /> -<div class="caption">Statue of the <i>Diadoumenos</i>, from Delos, after Polykleitos. -National Museum, Athens.</div> -</div> - -<p>The <i>Diadoumenos</i> of Polykleitos was little less famous than his <i>Doryphoros</i>, -if we may judge by the number of copies which have survived -and from literary notices of it.<a id="FNanchor_1142"></a><a href="#Footnote_1142" class="fnanchor">1142</a> In all the copies of this work we see -the well-known Polykleitan characteristics—powerful build, heavy proportions, -and fidelity to nature; but none of the ideal tendency prominent -in the works of Pheidias and his school, nor of the violent energy -characteristic of Myron’s art. In all of them the pose of the earlier -<i>Doryphoros</i> is retained, except that the arms are differently employed -and the build of the body is more slender. Pliny, despite his statement—which -is probably taken from some Greek authority—that -monotony was the characteristic of Polykleitos’ works (<i>paene ad unum -exemplum</i>),<a id="FNanchor_1143"></a><a href="#Footnote_1143" class="fnanchor">1143</a> emphasizes this slenderness by calling the <i>Doryphoros</i> -<i>viriliter puer</i>—Lessing’s <i>Juengling wie ein Mann</i>—and the <i>Diadoumenos</i> -<i>molliter juvenis</i>—a youth of gentle form. This judgment of -Pliny was difficult to understand so long as we had only the Vaison -copy of the <i>Diadoumenos</i> to study. The Delian copy showed that -supple grace was characteristic of the original, even if modified to suit -the taste of three centuries later. Although the body forms and the -attitudes of the <i>Doryphoros</i> and the <i>Diadoumenos</i> are very similar, -the head of the latter, usually assigned to Polykleitos, is of a different -type from that of the <i>Doryphoros</i>. While the head of the <i>Doryphoros</i> is -square in profile, flat on top, and long from front to back, that of the -<i>Diadoumenos</i> is rounder and softer and can best be explained on the -assumption that Polykleitos later in life came under Attic influence. -The copies of this work are many and varied.<a id="FNanchor_1144"></a><a href="#Footnote_1144" class="fnanchor">1144</a> For a long time the -marble copy in the British Museum found in 1862, at Vaison, France,<a id="FNanchor_1145"></a><a href="#Footnote_1145" class="fnanchor">1145</a> -was, despite its poor workmanship, considered our best copy (Fig. <a href="#f28">28</a>). -It was made perhaps five hundred years after the original, at a time -when sculpture was in its decline, and consequently can give us merely -a suggestion of the character of Polykleitos’ statue. As it is a direct -marble translation of the bronze, the muscular treatment appears exaggerated. -Another marble copy was found in 1894 by the French -excavators on the island of Delos, and is now in Athens (Pl. <a href="#p18">18</a>).<a id="FNanchor_1146"></a><a href="#Footnote_1146" class="fnanchor">1146</a> The -<span class="pagenum"><a id="Page_153">153</a></span> -Delian artist added a mantle and a quiver to the nearby tree-trunk and -thus converted an original victor statue into one of a god.<a id="FNanchor_1147"></a><a href="#Footnote_1147" class="fnanchor">1147</a> Though its -hands are lost, 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 head. As this -is a Hellenistic Greek copy, it comes far nearer to the original than the -<span class="figright250"><a id="f28"></a> -<img src="images/i_p153.jpg" width="250" height="420" alt="Statue of the Diadoumenos." /> -<span class="caption"><span class="smcap">Fig. 28.</span>—Statue of the <i>Diadoumenos</i>, -from Vaison, after Polykleitos. -British Museum, London.</span></span> -imperial Roman one from Vaison. -The lighter proportions and softer -modeling show the Attic influence -on Polykleitos’ later career, -although the fleshy forms are out -of harmony with his art and evidently -introduced by the copyist. -One of the best preserved and -most beautiful copies is the one in -the Prado at Madrid.<a id="FNanchor_1148"></a><a href="#Footnote_1148" class="fnanchor">1148</a> Although a -Roman copy, like the one in the -British Museum, it comes very near -the original because of the precision -in its details. There are many -good copies of the head alone.<a id="FNanchor_1149"></a><a href="#Footnote_1149" class="fnanchor">1149</a> -Marble heads in Kassel and Dresden, -evidently the works of Attic -sculptors, show the pure Polykleitan -traits. The one in Dresden<a id="FNanchor_1150"></a><a href="#Footnote_1150" class="fnanchor">1150</a> -(Fig. <a href="#f29">29</a>) surpasses all others in the -beauty of its finish, being a careful -and exact copy. The proportions -and structure of the head are -those of the <i>Doryphoros</i>, although -the surface is differently treated. -The Kassel head<a id="FNanchor_1151"></a><a href="#Footnote_1151" class="fnanchor">1151</a> is not so exact in -its details, but has more expression. -Furtwaengler rightly calls -it the better of the two as a work of art, but inferior as a copy. A -marble head in the British Museum<a id="FNanchor_1152"></a><a href="#Footnote_1152" class="fnanchor">1152</a> is a direct copy from the original<span class="pagenum"><a id="Page_154">154</a></span> -bronze, like the Vaison statue. The clear-cut eyelids and wiry hair -reproduce the original material, and its resemblance to the head of -the <i>Doryphoros</i> is greater than that of any other copy.</p> - -<p>A later variant of the statue is seen in a small terra-cotta statuette from -Smyrna in private possession in London.<a id="FNanchor_1153"></a><a href="#Footnote_1153" class="fnanchor">1153</a> -<span class="figright250"><a id="f29"></a> -<img src="images/i_p154.jpg" width="250" height="297" alt="Head of the Diadoumenos." /> -<span class="caption"><span class="smcap">Fig. 29.</span>—Head of the <i>Diadoumenos</i>, -after Polykleitos. Albertinum, -Dresden.</span></span> -It shows the Polykleitan type -so completely assimilated to the style -of Praxiteles that its genuineness -has been doubted. Perhaps, with -its Attic softness, it gives us a better -idea of the beauty of the original -than many of the other copies. -Finally, we must mention the -original bronze head of the fifth century -<span class="smcap lowercase">B. C.</span> in the Ashmolean Museum, -Oxford, recently published by Percy -Gardner.<a id="FNanchor_1154"></a><a href="#Footnote_1154" class="fnanchor">1154</a> This head, put together -from nine fragments, and restored as -that of a boy fillet-binder, and rivaling -in delicacy and beauty such -original bronzes as the Beneventum -head (Fig. <a href="#f3">3</a>) and the <i>Idolino</i> (Pl. -<a href="#p14">14</a>), not only gives us the best idea -of the technical ability attained by -bronze workers in the middle of the -fifth century <span class="smcap lowercase">B. C.</span>, but also helps us to -understand the ancient repute of Polykleitos’ athletes. Here the headband -and “starfish” arrangement of the hair have their close parallels -in the Dresden, Kassel, and British Museum heads already discussed, -which essentially reproduce the head of the Vaison statue (Fig. <a href="#f28">28</a>). -As Gardner points out, it closely agrees with the type of the -<i>Farnese Diadoumenos</i> (Pl. <a href="#p17">17</a>) only in one particular, the mode of tying -the knot. While the Vaison athlete is preparing to tie it, the Farnese -one has just finished the operation, the boy still holding the ends of the -fillet in his hands. But only the treatment of the hair, the eye, and the -ear offers a contrast. Despite these differences Gardner follows the older -view of Brunn in regarding the Vaison and Farnese types as two variants -of Polykleitan originals; but the pose, style, 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 Polykleitos. Though the heads of the -two are not so dissimilar, the pose, as Gardner also points out, is -quite different. The Vaison figure is represented as walking, <i>i. e.</i>, -in the very act of changing the weight of the body from one leg to the<span class="pagenum"><a id="Page_155">155</a></span> -other, while the Farnese athlete stands at rest with both feet flat upon -the ground. Gardner rightly regards this exquisite head not as the -original of the statue mentioned by Pliny, since the Vaison and Delian -copies show that the latter represented a fully developed man, somewhat -over life-size, and not a boy, but rather as a work of the Polykleitan -school, though he does not exclude the possibility that it may -come from one of the many boy athletes of the master.</p> - -<p>Furtwaengler connects with the <i>Diadoumenos</i> the statue of a youthful -boxer, slightly under life-size, which shows a similar motive. It -is known to us in two copies, one in Kassel,<a id="FNanchor_1155"></a><a href="#Footnote_1155" class="fnanchor">1155</a> the other in Lansdowne -House, London.<a id="FNanchor_1156"></a><a href="#Footnote_1156" class="fnanchor">1156</a> That it is a work of Polykleitos is shown by the -correspondence of its body forms with those of both the <i>Diadoumenos</i> -and the <i>Doryphoros</i>. A bronze statuette, dating from about 400 <span class="smcap lowercase">B. C.</span>, -in the Akropolis Museum, also repeats the motive without being an -exact copy.<a id="FNanchor_1157"></a><a href="#Footnote_1157" class="fnanchor">1157</a></p> - -<h4><span class="smcap">The Crown of Wild Olive.</span></h4> - -<p>The crown of wild olive<a id="FNanchor_1158"></a><a href="#Footnote_1158" class="fnanchor">1158</a> in the hair is another general but not customary -attribute of Olympic victor statues. Fewer sculptured heads -show it than show the <i>tainia</i>, and in most of these the leaves have fallen -off. Examples of its presence are afforded by the bronze head from -Beneventum (Fig. <a href="#f3">3</a>) in the Louvre,<a id="FNanchor_1159"></a><a href="#Footnote_1159" class="fnanchor">1159</a> and on the realistic bronze head -of a boxer found at Olympia (Fig. <a href="#f61">61</a> A and B).<a id="FNanchor_1160"></a><a href="#Footnote_1160" class="fnanchor">1160</a> A good illustration -of a boy victor crowning himself is on a fourth-century <span class="smcap lowercase">B. C.</span> -funerary relief, found in 1873 at the Dipylon gate, and now in the Athens -Museum.<a id="FNanchor_1161"></a><a href="#Footnote_1161" class="fnanchor">1161</a> The victor is holding or placing a crown of leaves on his -head. In the Museo delle Terme, Rome, is a mediocre headless copy -of an original statue of the end of the fifth century <span class="smcap lowercase">B. C.</span>, the work of an -artist of the Polykleitan school, the restoration of which as a victor -engaged in wreathing his head is probable.<a id="FNanchor_1162"></a><a href="#Footnote_1162" class="fnanchor">1162</a> A protuberance on the right -shoulder seems to have been left by the end of the <i>lemniskos</i> or ribbon<span class="pagenum"><a id="Page_156">156</a></span> -with which the wreath was adorned.<a id="FNanchor_1163"></a><a href="#Footnote_1163" class="fnanchor">1163</a> The left hand carried an attribute, -but probably not a palm-branch as Helbig assumed, since such -a branch, if of metal, would have left traces on the shoulder. The -same restoration has been proposed for another statue.<a id="FNanchor_1164"></a><a href="#Footnote_1164" class="fnanchor">1164</a> A crown on -the head, together with the remains of fingers near it, has been noticed -on a bronze statue of Eros, of Hellenistic workmanship, found off Tunis -in the sea,<a id="FNanchor_1165"></a><a href="#Footnote_1165" class="fnanchor">1165</a> which shows Polykleitan influence.</p> - - -<div class="figcenter400"><p class="right">PLATE 19</p><a id="p19"></a> -<img src="images/i_fp156.jpg" width="400" height="843" alt="Statue known as the Westmacott Athlete." /> -<div class="caption">Statue known as the <i>Westmacott Athlete</i>. British Museum, -London.</div></div> - -<p>The statue of a <i>Boy Crowning Himself</i>, which has survived in -many Roman copies and variant Greek originals, notably in the -so-called <i>Westmacott Athlete</i> of the British Museum (Pl. <a href="#p19">19</a>),<a id="FNanchor_1166"></a><a href="#Footnote_1166" class="fnanchor">1166</a> a fragmentary -statue of poorer workmanship in the Barracco collection -in Rome,<a id="FNanchor_1167"></a><a href="#Footnote_1167" class="fnanchor">1167</a> and a Greek copy from Eleusis now in the National -Museum in Athens,<a id="FNanchor_1168"></a><a href="#Footnote_1168" class="fnanchor">1168</a> and identified by many archæologists with the -statue of the boy boxer Kyniskos by Polykleitos at Olympia, should be -discussed here. While the <i>Westmacott Athlete</i> appears to be a copy -from the original bronze, the Barracco statue, though showing the -same pose, is unlike it in the treatment of hair and muscles, and with -its Attic head, seems to be a carelessly executed variant, more or less -Myronian in style, of the Polykleitan original. While its original may -be assigned to the end of the fifth century <span class="smcap lowercase">B. C.</span>, the Eleusis variant, -with its head differently placed, is not a Roman copy, but a Greek original -statue showing the Polykleitan motive carried into the soft Attic -style of the fourth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1169"></a><a href="#Footnote_1169" class="fnanchor">1169</a> A fine copy of the head alone is in -the possession of Sir Edgar Vincent, in his Constantinople collection.<a id="FNanchor_1170"></a><a href="#Footnote_1170" class="fnanchor">1170</a> -<span class="pagenum"><a id="Page_157">157</a></span> -This should be associated with another head in Dresden, both being -closely related to that of the <i>Westmacott Athlete</i>.<a id="FNanchor_1171"></a><a href="#Footnote_1171" class="fnanchor">1171</a> The best copy of the -head is in the Hermitage, in which the treatment of the hair approaches -nearest to that of the bronze original.<a id="FNanchor_1172"></a><a href="#Footnote_1172" class="fnanchor">1172</a> A marble head from Apollonia -in Epeiros, now in the British Museum, which so closely resembles the -head of the <i>Westmacott Athlete</i> that the missing sections of the neck and -shoulders were restored by a cast from the latter, is somewhat different -in style. For while the Westmacott head is a mechanical copy, this -Greek head is full of vigor, disclosing Attic characteristics of the early -fourth century <span class="smcap lowercase">B. C.</span>, and obviously is an Athenian imitation of the -original, like the statue from Eleusis.<a id="FNanchor_1173"></a><a href="#Footnote_1173" class="fnanchor">1173</a> A more remote variant is the -beautiful marble head formerly in the possession of Dr. Philip Nelson in -Liverpool, but now in America, which is not an exact copy of any -of the known variants, but so closely resembles the Capitoline type -of <i>Wounded Amazon</i>, assigned first by Otto Jahn and later by Furtwaengler -to Kresilas, that it must be by the same hand.<a id="FNanchor_1174"></a><a href="#Footnote_1174" class="fnanchor">1174</a> This head -also reminds us of that of the Kresilæan <i>Diomedes</i> of the Munich Glyptothek -(Pl. <a href="#p21">21</a>),<a id="FNanchor_1175"></a><a href="#Footnote_1175" class="fnanchor">1175</a> though the hair-treatment is Polykleitan.<a id="FNanchor_1176"></a><a href="#Footnote_1176" class="fnanchor">1176</a> Both show -a modification of Polykleitan forms under Attic influence. The numerous -fine copies indicate that the original was a well-known work. That -it was Polykleitan is clear from a study of the heads, which show a great -resemblance to that of the <i>Doryphoros</i>, and of the body forms, which -resemble those of both the <i>Doryphoros</i> and the <i>Diadoumenos</i>. While -some believe this original a work of Polykleitos himself,<a id="FNanchor_1177"></a><a href="#Footnote_1177" class="fnanchor">1177</a> others think -that it was by one of his pupils or successors, who imitated the -master’s early style. If the original, however, was not the statue of -Kyniskos, there is little evidence that it was by Polykleitos himself.</p> - -<p>The palm-trunk in the Westmacott copy certainly argues that the -original was an athlete statue. The gesture of the right hand has given -rise to different interpretations. The Barracco copy furnishes the -best evidence, as on it the right arm is preserved to the wrist, the hand -only being lost. Helbig at first (in the Barracco Catalogue) expressed -the opinion that the right hand might have held an oil-flask, from which -oil was being poured into the left. However, the position of the left -hand, as shown by the <i>puntello</i> on the left hip, must have been the same -as that on the Westmacott copy, <i>i. e.</i>, hanging close to the left side.<span class="pagenum"><a id="Page_158">158</a></span> -Helbig later (in the <i>Fuehrer</i>) explained the motive as that of a boy setting -a crown on his head, as in the bronze <i>Eros</i> already mentioned. This -interpretation, first suggested by Winnefeld,<a id="FNanchor_1178"></a><a href="#Footnote_1178" class="fnanchor">1178</a> has been the favorite one -among archæologists. But all sorts of other explanations of the motive -of the original have been offered, as that the athlete was scraping -his forehead or shoulders with the strigil,<a id="FNanchor_1179"></a><a href="#Footnote_1179" class="fnanchor">1179</a> that the statue represented -Narkissos looking into the pool and shading his eyes with his right -hand,<a id="FNanchor_1180"></a><a href="#Footnote_1180" class="fnanchor">1180</a> that it was an athlete standing at rest and holding an akontion -in his right hand—a theory harmonizing with the poise of the head, -but not with the turn of the wrist, which shows that the hand was -held downwards<a id="FNanchor_1181"></a><a href="#Footnote_1181" class="fnanchor">1181</a>—and that it was, in fact, the <i>nudus talo incessens</i> of -Pliny.<a id="FNanchor_1182"></a><a href="#Footnote_1182" class="fnanchor">1182</a> 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 be, -if it were setting a wreath on the head. 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 copies. That this -motive, moreover, was known to both Attic and Peloponnesian art -in the second half of the fifth century <span class="smcap lowercase">B. C.</span> is well attested. Thus we -see on the Parthenon frieze a youth crowning himself with one hand, -while holding the horse’s bridle with the other.<a id="FNanchor_1183"></a><a href="#Footnote_1183" class="fnanchor">1183</a> The pose of this -figure—especially the legs—recalls the Myronian <i>Oil-pourer</i> already -discussed (Pl. <a href="#p11">11</a>). On the other hand, one of the figures of the Ildefonso -group in Madrid, which is Polykleitan in style, represents a boy -wearing a wreath, a figure closely akin to the <i>Westmacott Athlete</i>, the -leg position being the same in both and the poise of the head nearly so, -although the arms are different, the left one being raised and the right -hanging down.<a id="FNanchor_1184"></a><a href="#Footnote_1184" class="fnanchor">1184</a> 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 fillet. The best explanation, then, of the <i>Westmacott -Athlete</i> and kindred works is that the motive of the original -was allied to that of the <i>Diadoumenos</i> of Polykleitos, though the modeling -is too soft for Polykleitos, showing that the copyists changed the -original of the Argive master to suit a later and different taste. Whereas -the <i>Diadoumenos</i> is tying on a victor’s fillet, the other is presumably -placing a victor’s wreath on his head. Certainly no better restoration<span class="pagenum"><a id="Page_159">159</a></span> -can be made for the Barracco copy. Furthermore, many other monuments, -which show a similar attitude, and which must be regarded as -very free imitations of the original, seem to show that the boy was -represented as placing a wreath on his head.<a id="FNanchor_1185"></a><a href="#Footnote_1185" class="fnanchor">1185</a></p> - -<p>Whether the original of the series was an actual victor statue at -Olympia or not is an interesting question. It has been repeatedly -suggested that it was the very statue of the boy boxer Kyniskos there, -mentioned by Pausanias, the base of which has been recovered.<a id="FNanchor_1186"></a><a href="#Footnote_1186" class="fnanchor">1186</a> 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 copies, which -argues a similar pose. The base shows that the left leg bore the weight -of the statue; it was slightly advanced and rested on the sole, while the -right leg was set back and rested on the ball only. Thus the statue of -Kyniskos was represented in the characteristic Polykleitan schema -of rest, except that the position of the legs is reversed from that of the -<i>Doryphoros</i>, <i>Diadoumenos</i>, <i>Amazon</i>, and other works of the master. -We might add that this same reversal appears on two other bases -found at Olympia, which held victor statues by the elder Polykleitos<a id="FNanchor_1187"></a><a href="#Footnote_1187" class="fnanchor">1187</a> -and one by the younger.<a id="FNanchor_1188"></a><a href="#Footnote_1188" class="fnanchor">1188</a> Moreover, the leg position of the canon -does not occur in the works of the master’s pupils Naukydes and Daidalos, -and only in one work of Kleon.<a id="FNanchor_1189"></a><a href="#Footnote_1189" class="fnanchor">1189</a> This shows that teacher and -pupils also used another motive, <i>i. e.</i>, the old canon of Hagelaïdas, -besides the one associated with the <i>Doryphoros</i>. The similarity in the -position of the feet on the Olympia base and in the series of statues -discussed has led some scholars, <i>e. g.</i>, Petersen and Collignon, to accept -the proposed identity. This similarity in foot position, the probability -that the statue on the basis was life-size, like those of the Westmacott -series, and the palm-tree support in the British Museum replica, all -pointing to a victor statue, make the identity well within the range of -possibility, but by no means certain. It is necessary only to rehearse -the objections to this view. In the first place the length of the foot -on the Olympia basis can not be accurately measured for purposes of -comparison. In the next place Polykleitos, as we have just seen, -made other statues of victors at Olympia with almost the identical -foot position of that of Kyniskos. Furthermore, 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 Pausanias.<a id="FNanchor_1190"></a><a href="#Footnote_1190" class="fnanchor">1190</a> It is<span class="pagenum"><a id="Page_160">160</a></span> -difficult, also, to understand why an imitative Attic sculptor of the -fourth century <span class="smcap lowercase">B. C.</span>, should make a copy of an Arkadian boy victor -statue for Eleusis. 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 Olympia. If the date of the victory of -Kyniskos were definitely fixed, the question of identity would be better -substantiated. By a process of exclusion, to be sure, Robert reached -the date Ol. 80 ( = 460 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1191"></a><a href="#Footnote_1191" class="fnanchor">1191</a> but other dates are possible. Under -these circumstances there seems to be little more than the possibility -that we have recovered an actual victor statue at Olympia in these -copies.<a id="FNanchor_1192"></a><a href="#Footnote_1192" class="fnanchor">1192</a></p> - -<h4><span class="smcap">The Palm-branch.</span></h4> - -<p>The palm-branch, either woven into a wreath or held in the hand, was -a victor attribute. Pausanias says that a crown of palm leaves was -common to many contests, and that the victor everywhere in Greece -carried a palm-branch in his right hand.<a id="FNanchor_1193"></a><a href="#Footnote_1193" class="fnanchor">1193</a> He refers the custom to -mythical times, tracing it back to the contest held by Theseus on Delos -in honor of Apollo.<a id="FNanchor_1194"></a><a href="#Footnote_1194" class="fnanchor">1194</a> Pliny mentions a painting by the Sikyonian Eupompos, -which represented a <i>victor certamine gymnico palmam tenens</i>.<a id="FNanchor_1195"></a><a href="#Footnote_1195" class="fnanchor">1195</a> -While Milchhoefer<a id="FNanchor_1196"></a><a href="#Footnote_1196" class="fnanchor">1196</a> believed that the motive of an athlete setting a -crown on his head with his right hand and holding a palm in his left, -which is repeated frequently and with variation in many works of -art, went back to this painting of Eupompos, Furtwaengler<a id="FNanchor_1197"></a><a href="#Footnote_1197" class="fnanchor">1197</a> goes further -in assuming that the painter derived the motive from the statue -of Polykleitos represented by the <i>Westmacott Athlete</i> and kindred -works just discussed. The pupils of the great sculptor appear to have -transferred his school from Argos to Sikyon, and were, therefore, associated -with Eupompos. This attribute of the palm, permanent in -bronze statues, has been broken off for the most part in marble ones. -We see it in an unfinished statue of a young athlete in the National -Museum, Athens, who holds the palm-branch in his hand. Here it -has survived, since the statue was only blocked out.<a id="FNanchor_1198"></a><a href="#Footnote_1198" class="fnanchor">1198</a> It is prominent<span class="pagenum"><a id="Page_161">161</a></span> -in the funerary stele from the Dipylon representing a victor, which -has been mentioned in a preceding section;<a id="FNanchor_1199"></a><a href="#Footnote_1199" class="fnanchor">1199</a> here the palm extends -from the left hand, which is held down close to the side, up to the shoulder. -We have already noted that the copyist added a palm-branch -to the stump placed beside the Vatican girl runner (Pl. <a href="#p2">2</a>). In the -<i>Choiseul-Gouffier Apollo</i> (Pl. <a href="#p7A">7A</a>) the left hand should doubtless be -restored with the palm-branch, because of the projecting notch of -marble on the side of the left leg near the knee.<a id="FNanchor_1200"></a><a href="#Footnote_1200" class="fnanchor">1200</a> A similar notch -appears also on the <i>Apollo-on-the-Omphalos</i> in Athens (Pl. <a href="#p7B">7B</a>), which -shows that the left hand held a long attribute, which was doubtless a -palm-branch. This attribute occurs frequently on vases.<a id="FNanchor_1201"></a><a href="#Footnote_1201" class="fnanchor">1201</a> We see -it on a marble statue found at Formiae and now in the Glyptothek -Ny-Carlsberg in Copenhagen, which shows the same motive as that -of the statue by Stephanos (Pl. <a href="#p9">9</a>), though in a freer style of execution. -Here the lowered right hand holds a palm-branch, which is shown in -low relief against the right arm.<a id="FNanchor_1202"></a><a href="#Footnote_1202" class="fnanchor">1202</a></p> - -<h3>SECONDARY ATTRIBUTES OF VICTOR STATUES.</h3> - -<p>In course of time the sculptor was not content to represent victor -statues merely as victors, but differentiated the various kinds of -victors by special attributes.</p> - -<div class="figcenter400"><a id="f30"></a> -<img src="images/i_p162.jpg" width="400" height="444" alt="Marble heads of two Hoplitodromoi" /> -<div class="caption"><span class="smcap">Fig. 30.</span>—Marble heads of two Hoplitodromoi, from Olympia. -Museum of Olympia.</div></div> - -<h3><span class="smcap">Hoplitodromoi.</span></h3> - -<p>Thus a hoplite victor would be represented with his usual weapons. -Pausanias, in mentioning the statue at Olympia of the hoplite runner -Damaretos of Heraia by the Argive sculptors Eutelidas and Chrysothemis, -says that it “has not only a shield, as the armed runners still -have, but also a helmet on his head and greaves on his legs.”<a id="FNanchor_1203"></a><a href="#Footnote_1203" class="fnanchor">1203</a> He adds -that the helmet and greaves were gradually abolished at Olympia and -elsewhere. We have seen that the statue of Damaretos was set up at -the beginning of the fifth century <span class="smcap lowercase">B. C.</span>, when his son Theopompos, the -pentathlete, won his second victory, the monuments of the two being -in common.<a id="FNanchor_1204"></a><a href="#Footnote_1204" class="fnanchor">1204</a> Toward the middle of the fifth century the hoplite victor -Mnaseas of Kyrene had a statue at Olympia, the work of Pythagoras -of Rhegion, which represented him as an armed man.<a id="FNanchor_1205"></a><a href="#Footnote_1205" class="fnanchor">1205</a> A Pythian -<span class="pagenum"><a id="Page_162">162</a></span> -victor, Telesikrates, of the fifth century <span class="smcap lowercase">B. C.</span>, had a statue at Delphi, which -represented him with a helmet.<a id="FNanchor_1206"></a><a href="#Footnote_1206" class="fnanchor">1206</a> We have actual remnants of two -hoplite victor statues of the sixth century <span class="smcap lowercase">B. C.</span>, in the two bearded and -helmeted life-size heads of Parian marble found at Olympia (Fig. <a href="#f30">30</a>, -a, b = A; c, d = B).<a id="FNanchor_1207"></a><a href="#Footnote_1207" class="fnanchor">1207</a> The younger of these heads (A), 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 relief,<a id="FNanchor_1208"></a><a href="#Footnote_1208" class="fnanchor">1208</a> or a shield -fragment with a siren’s wing upon it<a id="FNanchor_1209"></a><a href="#Footnote_1209" class="fnanchor">1209</a> and the fragment of a shield<span class="pagenum"><a id="Page_163">163</a></span> -edge<a id="FNanchor_1210"></a><a href="#Footnote_1210" class="fnanchor">1210</a> and right foot of fine workmanship,<a id="FNanchor_1211"></a><a href="#Footnote_1211" class="fnanchor">1211</a> I assigned long ago to the -statue of the Thessalian hoplitodrome Phrikias of Pelinna, who won -two victories in Ols. 68 and 69 ( = 508 and 504 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1212"></a><a href="#Footnote_1212" class="fnanchor">1212</a> R. Foerster had referred -this head to the statue of the hoplite runner Damaretos of Heraia, -whose monument, in common with that of his son, the pentathlete -Theopompos, was the work of the early Argive sculptors Chrysothemis -and Eutelidas.<a id="FNanchor_1213"></a><a href="#Footnote_1213" class="fnanchor">1213</a> But this fresh and vigorous head is not Peloponnesian, -but shows strongly marked Attic traits in its round face, full -cheeks, and soft lips, and in the rows of regularly wound locks of hair. -The arm and foot similarly disclose Attic softness and grace. Because -of its Attic character, Treu and Overbeck,<a id="FNanchor_1214"></a><a href="#Footnote_1214" class="fnanchor">1214</a> in opposition to Foerster, -ascribed it to the statue of the Elean hoplite victor Eperastos mentioned -by Pausanias.<a id="FNanchor_1215"></a><a href="#Footnote_1215" class="fnanchor">1215</a> Though the date of his victory is unknown, it certainly -fell some time after Ol. 111 ( = 336 <span class="smcap lowercase">B. C.</span>)—a date far too late for so -archaic a sculpture. Furtwaengler<a id="FNanchor_1216"></a><a href="#Footnote_1216" class="fnanchor">1216</a> referred this and the more archaic -head B to the group of Phormis at Olympia, mentioned by Pausanias.<a id="FNanchor_1217"></a><a href="#Footnote_1217" class="fnanchor">1217</a> -However, Treu<a id="FNanchor_1218"></a><a href="#Footnote_1218" class="fnanchor">1218</a> showed that there was no stylistic connection between -the two heads. The slightly more archaic head B, badly injured -from weathering, I have referred to the Achaian hoplitodrome -Phanas of Pellene, who won Ol. 67 ( = 512 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1219"></a><a href="#Footnote_1219" class="fnanchor">1219</a> In this carefully -executed head the hair and beard are arranged in small locks and the -archaic smile is prominent. While the younger head is Attic, this -one is unmistakably Peloponnesian; and while the former comes from -a statue represented at rest, the latter, because of the twist of the neck, -seems to have come from one represented in violent motion. For this -reason Wolters believed that it came from the statue of a warrior represented -as thrown to the ground and defending himself.</p> - -<p>The Myronic statue in the Palazzo Valentini, Rome, known as -<i>Diomedes</i>,<a id="FNanchor_1220"></a><a href="#Footnote_1220" class="fnanchor">1220</a> whose pose recalls the <i>Diskobolos</i>, may represent a hoplito<span class="pagenum"><a id="Page_164">164</a></span>drome, -because of its marked resemblance in attitude to the Tuebingen -bronze to be discussed in the next chapter (Fig. <a href="#f42">42</a>), and because of -the helmet on its head.<a id="FNanchor_1221"></a><a href="#Footnote_1221" class="fnanchor">1221</a></p> - -<h4><span class="smcap">Pentathletes.</span></h4> - -<p>Pentathletes were represented by attributes taken from three of the -five contests—jumping, and throwing the diskos and the javelin. All -these attributes appear in gymnasium scenes pictured on red-figured -vases. Thus a kylix of the severe style in Munich<a id="FNanchor_1222"></a><a href="#Footnote_1222" class="fnanchor">1222</a> gives us a general -picture of the exercises of the gymnasium. On the walls hang diskoi in -slings, strigils, leaping-weights, oil-flasks, sponges, and javelins. Archaic -leaping-weights (ἁλτῆρες) appeared in the hands of the statue of the -Elean Hysmon at Olympia by the Sikyonian sculptor Kleon.<a id="FNanchor_1223"></a><a href="#Footnote_1223" class="fnanchor">1223</a> Similarly, -a figure of <i>Contest</i> (Ἀγών) in the group set up there by Mikythos -had weights.<a id="FNanchor_1224"></a><a href="#Footnote_1224" class="fnanchor">1224</a> The offering of the people of Mende at Olympia very -nearly deceived Pausanias into thinking it the statue of a pentathlete, -because of its ancient <i>halteres</i>.<a id="FNanchor_1225"></a><a href="#Footnote_1225" class="fnanchor">1225</a> This shows that these weights -formed a regular attribute of pentathlete statues there. A relief from -Sparta<a id="FNanchor_1226"></a><a href="#Footnote_1226" class="fnanchor">1226</a> represents an athlete leaning on his spear and holding a pair -of leaping-weights in his right hand. There is a bronze statue of such -a victor in the Berlin Antiquarium.<a id="FNanchor_1227"></a><a href="#Footnote_1227" class="fnanchor">1227</a> <i>Halteres</i> hang on a tree-trunk -to the right of the statue of an athlete in the Pitti palace in Florence.<a id="FNanchor_1228"></a><a href="#Footnote_1228" class="fnanchor">1228</a> -The breast of a marble torso, less than life-size, of a boy statue found -at Olympia, shows that the hands were stretched forward, and very -possibly the objects which they held were leaping-weights.<a id="FNanchor_1229"></a><a href="#Footnote_1229" class="fnanchor">1229</a></p> - -<p>We have no direct literary reference to a victor statue at Olympia of a -pentathlete with the attributes of the diskos or javelin. That they -existed there, however, seems probable enough. Such a work as the -<i>Diskobolos</i> of Myron, which displays the youthful victor in its every -line, other statues, statuettes, reliefs, and vase-paintings, show us how -the artist represented the different steps in the casting of the quoit. -Similarly, the famous <i>Doryphoros</i> of Polykleitos, copies of which -have been identified in many museums (Pl. <a href="#p4">4</a> and Fig. <a href="#f48">48</a>), will give -us an idea how a javelin thrower might have been represented at rest. -The akontion or victor’s casting-spear, was, as we see from the Spartan<span class="pagenum"><a id="Page_165">165</a></span> -relief of a pentathlete just mentioned, about the height of a man. The -attitude of the diskobolos and doryphoros will be discussed at length -in the next chapter.</p> - -<h4><span class="smcap">Boxers.</span></h4> - -<p>The statue of a boxer would be sufficiently characterized by thongs, -which he might carry in his hand, as in the statue of the Rhodian -Akousilaos at Olympia,<a id="FNanchor_1230"></a><a href="#Footnote_1230" class="fnanchor">1230</a> or wound round his forearm, as in the statue of -a boxer in the Palazzo Albani, Rome,<a id="FNanchor_1231"></a><a href="#Footnote_1231" class="fnanchor">1231</a> or on a near-by prop, as on the -tree-stump beside the <i>Choiseul-Gouffier Apollo</i> in the British Museum -(Pl. <a href="#p7A">7A</a>).<a id="FNanchor_1232"></a><a href="#Footnote_1232" class="fnanchor">1232</a></p> - -<h4><span class="smcap">Wrestlers.</span></h4> - -<p>Long ago Scherer tried to show that the aryballos was a wrestler-attribute, -since oil was so important in wrestling.<a id="FNanchor_1233"></a><a href="#Footnote_1233" class="fnanchor">1233</a> He interpreted as -<i>aryballoi</i> the pomegranates mentioned by Pausanias as held in the -hands of the statues of the wrestlers Milo<a id="FNanchor_1234"></a><a href="#Footnote_1234" class="fnanchor">1234</a> and Theognetos<a id="FNanchor_1235"></a><a href="#Footnote_1235" class="fnanchor">1235</a> at Olympia, -assuming that the Periegete mistook oil-flasks for pomegranates -(ῥοιαί). But it hardly seems reasonable that such a small utensil, -which was used by athletes in general, could ever have been regarded -as a peculiar attribute of the wrestler. A similar attribute may have -been held in the outstretched hand of the half life-size archaic bronze -“Apollo” of the Sciarra Palace in Rome,<a id="FNanchor_1236"></a><a href="#Footnote_1236" class="fnanchor">1236</a> and it occurs on other -statues.<a id="FNanchor_1237"></a><a href="#Footnote_1237" class="fnanchor">1237</a></p> - -<h4><span class="smcap">Caps for Boxers, Pancratiasts, and Wrestlers.</span></h4> - -<p>Often the boxer and pancratiast (and even wrestler)<a id="FNanchor_1238"></a><a href="#Footnote_1238" class="fnanchor">1238</a> are represented -as wearing close-fitting caps, made up of thongs of leather or of solid<span class="pagenum"><a id="Page_166">166</a></span> -leather. This, however, can scarcely be called a determining attribute. -Our best example of such a cap is afforded by an athlete head dating from -the first half of the fifth century <span class="smcap lowercase">B. C.</span>, in the Capitoline Museum, Rome,<a id="FNanchor_1239"></a><a href="#Footnote_1239" class="fnanchor">1239</a> -formerly called a portrait of Juba II, who was the king of Numidia and -Mauretania from 25 <span class="smcap lowercase">B. C.</span> to 23 <span class="smcap lowercase">A. D.</span> This ascription was based on the -barbarous look of the head and the fact that another head, discovered in -the Gymnasion of Ptolemy in Athens and thought to resemble it, was -assumed to be that of Juba, since Pausanias mentions one of that prince -there.<a id="FNanchor_1240"></a><a href="#Footnote_1240" class="fnanchor">1240</a> It is rather the head of an athlete engaged in putting on a cap. -This cap consists of three transverse leather pieces crossing the head -from side to side, one over the forehead, one over the crown, and the -third over the occiput, all three converging above the ears. A fourth -strap fastens them together and is drawn over the crown from forehead -to occiput. In the complete statue doubtless the hands were raised -to the head, grasping the straps near the ears to fasten them. This is, -therefore, an anticipation of the later <i>Diadoumenos</i> motive. We see -it in a statuette formerly in the Stroganoff collection in Rome, but -now in private possession in England,<a id="FNanchor_1241"></a><a href="#Footnote_1241" class="fnanchor">1241</a> which represents an athlete -putting on a similar headdress. Though the arms of the statuette are -gone, remains of the two hands are seen touching the left ear and tying -the straps, one of which runs around the cranium above the swollen -right ear. 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 Conservatori, in Rome, which -represents an athlete washing his hands in a basin, which stands on a -tripod.<a id="FNanchor_1242"></a><a href="#Footnote_1242" class="fnanchor">1242</a> Here the cap is fastened by two bands, one around and the -other under the chin. An object in the upper left corner of the relief, -enclosed in a frame, appears to be a victor crown adorned with bow-knots. -Such caps, used in wrestling, would make it impossible for an -opponent to grasp the hair; in boxing and the pankration it would protect -the head from injury. We saw that such a cap was pictured on a<span class="pagenum"><a id="Page_167">167</a></span> -Munich kylix of the early fifth century <span class="smcap lowercase">B. C.</span> 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 reasons. The little -statuette from Autun now in the Louvre (Fig. <a href="#f60">60</a>), representing a pancratiast, -has a close-fitting cap. The ring at the top shows that this -statuette was hung up—perhaps being used as a weight in a Roman -scale, or perhaps for adornment. In later days boys while practising -in the palæstra, but never at the public games, wore ear-lappets -(ἀμφωτίδες or ἐπωτίδες) to protect their ears, not dissimilar to those -worn in our day for protection against the cold. We see them on a -marble head, formerly in the possession of Fabretti.<a id="FNanchor_1243"></a><a href="#Footnote_1243" class="fnanchor">1243</a></p> - -<h4><span class="smcap">The Swollen Ear.</span></h4> - -<p>We have lastly to speak of the swollen ear, which was an attribute -of victor statues, both primary and secondary, since it characterized -victors as such, and also early differentiated victors in various contests. -Swollen ears may have played a role as a characteristic attribute of -pugilists in early times.<a id="FNanchor_1244"></a><a href="#Footnote_1244" class="fnanchor">1244</a> We found them on the Rayet head in the -Jacobsen collection (Fig. <a href="#f22">22</a>), which belongs to the last quarter of the -sixth century <span class="smcap lowercase">B. C.</span> and comes from the funerary statue of an athlete, -probably a boxer. In course of time, however, they came to characterize -pancratiasts, wrestlers,<a id="FNanchor_1245"></a><a href="#Footnote_1245" class="fnanchor">1245</a> and athletes in general. The assumption, -then, that heads with swollen ears come from statues of boxers,<a id="FNanchor_1246"></a><a href="#Footnote_1246" class="fnanchor">1246</a> -and that the boxer was known throughout Greek history as the “man -with the crushed ear” is erroneous.<a id="FNanchor_1247"></a><a href="#Footnote_1247" class="fnanchor">1247</a> The earliest literary reference -to the bruised ear is in Plato.<a id="FNanchor_1248"></a><a href="#Footnote_1248" class="fnanchor">1248</a> The philosopher used the term slightingly -of those who imitated Spartan customs, especially Spartan -boxing. The Lacedæmonians never boxed scientifically, but fought -with bare fists and without rules. Literary evidence, furthermore, -shows that bruised ears did not play the part in boxing matches which -other bruised features of the face did—the eyes, nose, mouth, teeth, -and chin. Vase-paintings sustain this evidence, for we often see -bloody noses and cuts on the cheeks and chin, but no crushed ears.<a id="FNanchor_1249"></a><a href="#Footnote_1249" class="fnanchor">1249</a> -<span class="pagenum"><a id="Page_168">168</a></span> -In short, the crushed ear was merely a professional characteristic, a -realistic detail, common to athletes of various sorts, and, as we shall -see, to warriors, gods, and heroes. To quote Homolle: “<i>La bouffissure -des oreilles ellemême n’est pas un trait personnel, mais un caractère professionnel; -elle ne désigne pas Agias, mais en général le lutteur. Cette -déformation peut atteindre même un dieu, s’il a pratiqué les exercices -gymnastiques et passé sa vie dans les luttes</i>”.<a id="FNanchor_1250"></a><a href="#Footnote_1250" class="fnanchor">1250</a> It is found constantly on -athletic types of heads in sculpture, whether these represent gods or -mortals. A few examples will make this clear. The following heads -of athletes show the swollen ears: the bronze portrait head of a boxer -or pancratiast from Olympia, dating from the end of the fourth century -<span class="smcap lowercase">B. C.</span> or the beginning of the third (Fig. <a href="#f61">61</a> A and B);<a id="FNanchor_1251"></a><a href="#Footnote_1251" class="fnanchor">1251</a> the marble head -from the statue of the boxer Philandridas set up among the victor statues -at Olympia, the work of Lysippos (Frontispiece and Fig. <a href="#f69">69</a>);<a id="FNanchor_1252"></a><a href="#Footnote_1252" class="fnanchor">1252</a> the head -of the statue of the pancratiast Agias at Delphi (Pl. <a href="#p28">28</a> and Fig. <a href="#f68">68</a>) ;<a id="FNanchor_1253"></a><a href="#Footnote_1253" class="fnanchor">1253</a> -that of the <i>Seated Boxer</i> in the Museo delle Terme in Rome (Pl. <a href="#p16">16</a> and -Fig. <a href="#f27">27</a>);<a id="FNanchor_1254"></a><a href="#Footnote_1254" class="fnanchor">1254</a> that of the <i>Apoxyomenos</i> of the Uffizi in Florence (Pl. <a href="#p12">12</a>);<a id="FNanchor_1255"></a><a href="#Footnote_1255" class="fnanchor">1255</a> -the bronze head from an athlete statue found at Tarsos and now in Constantinople, -an Attic work of the end of the fifth century <span class="smcap lowercase">B. C.</span>;<a id="FNanchor_1256"></a><a href="#Footnote_1256" class="fnanchor">1256</a> the beautiful -bronze head of a boxer in the Glyptothek (Pl. <a href="#p3">3</a>);<a id="FNanchor_1257"></a><a href="#Footnote_1257" class="fnanchor">1257</a> the head of the -so-called <i>Apollo-on-the-Omphalos</i> in Athens (Pl. <a href="#p7B">7B</a>);<a id="FNanchor_1258"></a><a href="#Footnote_1258" class="fnanchor">1258</a> the athlete head -from Perinthos (Fig. <a href="#f33">33</a>);<a id="FNanchor_1259"></a><a href="#Footnote_1259" class="fnanchor">1259</a> the bronze copy of the head of the <i>Doryphoros</i>, -found in Herculaneum and now in Naples, by the Attic artist Apollonios -(Fig. <a href="#f47">47</a>);<a id="FNanchor_1260"></a><a href="#Footnote_1260" class="fnanchor">1260</a> the Ince-Blundell head in England, to be discussed; -four heads in Copenhagen;<a id="FNanchor_1261"></a><a href="#Footnote_1261" class="fnanchor">1261</a> the remarkably beautiful bust of -an athlete in the Metropolitan Museum, New York (Pl. <a href="#p20">20</a>), whose -rounded skull, oval face, projecting lower forehead, and dreamy, half-closed -eyes place it in the fourth century <span class="smcap lowercase">B. C.</span>, a work influenced by the -art of Praxiteles.<a id="FNanchor_1262"></a><a href="#Footnote_1262" class="fnanchor">1262</a></p> - -<div class="figcenter500"><p class="right">PLATE 20</p><a id="p20"></a> -<img src="images/i_fp168.jpg" width="500" height="772" alt="Head of an Athlete." /> -<div class="caption">Head of an Athlete, School of Praxiteles. Metropolitan Museum, New York.</div> -</div> - -<p><span class="pagenum"><a id="Page_169">169</a></span></p> - -<p>When we consider heads of gods and heroes we find the swollen ears -on a variety of types. We see them on the so-called <i>Borghese Warrior</i> -of the Louvre (Fig. <a href="#f43">43</a>),<a id="FNanchor_1263"></a><a href="#Footnote_1263" class="fnanchor">1263</a> formerly called a <i>Gladiator</i>, and on the -marble statue of Kresilæan style in Munich, which has been known -since Brunn’s interpretation as <i>Diomedes</i> (carrying off the Palladion -from Troy) (Pl. <a href="#p21">21</a>).<a id="FNanchor_1264"></a><a href="#Footnote_1264" class="fnanchor">1264</a> This latter statue is a careful, though inexact, -Hadrianic copy of a famous work and is shown to represent the hero, -and not an athlete, by the mantle thrown over the arm. Skill in -the boxing match, the roughest and most dangerous of sports, is as -appropriate to <i>Diomedes</i> as to Herakles himself. The crushed ears -appear on the Dresden replica of this statue, a cast from the Mengs -collection, the original of which was once probably in England,<a id="FNanchor_1265"></a><a href="#Footnote_1265" class="fnanchor">1265</a> but -do not appear on the poor copy in the Louvre.<a id="FNanchor_1266"></a><a href="#Footnote_1266" class="fnanchor">1266</a> They also appear on -the Myronian bust in the Riccardi Palace, Florence, which is a copy of -an original that was, perhaps, the forerunner of the Kresilæan -<i>Diomedes</i>.<a id="FNanchor_1267"></a><a href="#Footnote_1267" class="fnanchor">1267</a> Here again the garment thrown over the left shoulder -shows that a youthful hero, and not an athlete, is intended.</p> - -<p>On heads of Herakles the swollen ears are very common. The -first dated representation of the hero with battered ears appears to be - -<span class="figright250"><a id="f31"></a> -<img src="images/i_p170.jpg" width="250" height="300" alt="Head of Herakles." /> -<span class="caption"><span class="smcap">Fig. 31.</span>—Head of Herakles, from Genzano. -British Museum London.</span></span> - -on coins of Euagoras I, the king of Salamis in Cyprus during the years -410–374 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1268"></a><a href="#Footnote_1268" class="fnanchor">1268</a> We have several examples in sculpture from the fourth -century <span class="smcap lowercase">B. C.</span> Thus swollen ears and the victor fillet appear on the -Skopaic head in the Capitoline Museum.<a id="FNanchor_1269"></a><a href="#Footnote_1269" class="fnanchor">1269</a> Another example is the -terminal bust of the youthful hero found in 1777 at Genzano, and now -in the British Museum (Fig. <a href="#f31">31</a>).<a id="FNanchor_1270"></a><a href="#Footnote_1270" class="fnanchor">1270</a> This head wreathed with poplar<span class="pagenum"><a id="Page_170">170</a></span> -leaves, is probably a Græco-Roman copy of an original of the fourth -century <span class="smcap lowercase">B. C.</span>, by an artist of the school of Lysippos. In the group -representing Herakles and his son Telephos, a Roman copy in the -Museo Chiaramonti of the Vatican, -the hero is represented -with fillet and battered ears.<a id="FNanchor_1271"></a><a href="#Footnote_1271" class="fnanchor">1271</a> -A Parian marble head, encircled -by a crown, in the Glyptothek, -going back to a Lysippan -bronze original, seems to come -from the statue of the hero represented -as a victor.<a id="FNanchor_1272"></a><a href="#Footnote_1272" class="fnanchor">1272</a> Another -life-size head, of poor workmanship, -in the Chiaramonti collection -of the Vatican, sometimes -confused with the <i>Doryphoros</i> -head-type, seems to come from -a statue of Herakles, as shown -by the broken ears and rolled -fillet, the latter a well-known -attribute of the hero taken from -the symposium.<a id="FNanchor_1273"></a><a href="#Footnote_1273" class="fnanchor">1273</a> A much finer -replica is the bust from Herculaneum -now in Naples.<a id="FNanchor_1274"></a><a href="#Footnote_1274" class="fnanchor">1274</a> Swollen -ears appear also on heads of Ares. We may instance the helmeted -one in the Louvre,<a id="FNanchor_1275"></a><a href="#Footnote_1275" class="fnanchor">1275</a> and especially the replica in the Palazzo -Torlonia in Rome.<a id="FNanchor_1276"></a><a href="#Footnote_1276" class="fnanchor">1276</a> They are less prominent on a Parian marble head -of the god in the Glyptothek, which appears to be a copy of an original -of which the <i>Ares Ludovisi</i> is a more complete one.<a id="FNanchor_1277"></a><a href="#Footnote_1277" class="fnanchor">1277</a></p> - -<div class="figcenter500"><p class="right">PLATE 21</p><a id="p21"></a> -<img src="images/i_fp170.jpg" width="500" height="809" alt="Statue of Diomedes with the Palladion." /> -<div class="caption">Statue of <i>Diomedes with the Palladion</i>. Glyptothek, Munich.</div> -</div> - -<p>So far as we know, the statues of wrestlers, runners (except hoplitodromes), -and probably pancratiasts were not distinguished by special -attributes. In these cases the sculptor was obliged to express the -<span class="pagenum"><a id="Page_171">171</a></span> -type of contest in the figure itself. His problem, therefore, was to -represent the victor in the characteristic pose of the contest in which -he had won his victory, that is, by representing the statue as if in movement. -This brings us to the second division of our treatment of victor -statues, those which represented the victor not at rest, but in motion, -a scheme which, in course of time, was extended not only to victors -in wrestling and running, but to those in all contests, by representing -them in the very act of contending. The treatment of this class of -monuments will occupy the chief portion of Chapter IV.</p> - -<p><span class="pagenum"><a id="Page_172">172</a></span></p> - -<hr /> -<p><span class="pagenum"><a id="Page_173">173</a></span></p> - -<h2>CHAPTER IV.<br /> - -<small>VICTOR STATUES REPRESENTED IN MOTION.</small></h2> - -<p class="center"><span class="smcap">Plates 22–25 and Figures 32–62.</span></p> - -<p>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 -say. The statement of Cornelius Nepos that the statues of athletes -were first represented in movement in the fourth century <span class="smcap lowercase">B. C.</span>, 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 worthless.<a id="FNanchor_1278"></a><a href="#Footnote_1278" class="fnanchor">1278</a> Nor is the assumption of many archæologists<a id="FNanchor_1279"></a><a href="#Footnote_1279" class="fnanchor">1279</a> that this -advance in the plastic art was taken over into athletic sculpture soon -after the statues of the <i>Tyrannicides</i> were set up at Athens, which represented -them in the midst of their impetuous onslaught on Hipparchos, -to be relied upon. These statues, however, occupy so important -a place in the history of Greek sculpture that we shall consider them -briefly in this connection.</p> - -<h3>THE TYRANNICIDES.</h3> - -<p>The bronze statues of the popular heroes Harmodios and Aristogeiton, -by the sculptor Antenor, were, in all probability, set up in the -Athenian agora in 506–5 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1280"></a><a href="#Footnote_1280" class="fnanchor">1280</a> The group was carried off to Susa by -Xerxes in 480 <span class="smcap lowercase">B. C.</span>, and to replace it a new group, doubtless a free imitation -of the older one, and probably also of bronze, was set up in 477 -<span class="smcap lowercase">B. C.</span>, the work of the sculptors Kritios and Nesiotes.<a id="FNanchor_1281"></a><a href="#Footnote_1281" class="fnanchor">1281</a> Nearly a century -and a half later the stolen group was restored to Athens by Alexander -the Great<a id="FNanchor_1282"></a><a href="#Footnote_1282" class="fnanchor">1282</a> and the two continued to stand side by side in Athens -down to the time of Pausanias. Neither of these groups has survived -to our time, but a late Roman marble copy of one, somewhat over life<span class="pagenum"><a id="Page_174">174</a></span>size, -found in the ruins of Hadrian’s villa and now in Naples, gives us -a good idea of the original, despite restorations (Fig. <a href="#f32">32</a>, <i>Harmodios</i>).<a id="FNanchor_1283"></a><a href="#Footnote_1283" class="fnanchor">1283</a></p> - -<div class="figcenter"><a id="f32"></a> -<img src="images/i_p174.jpg" width="350" height="542" alt="Statue of Harmodios" /> -<div class="caption"><span class="smcap">Fig. 32.</span>—Statue of <i>Harmodios</i>. Museum of -Naples.</div></div> - -<p>The reconstruction of this group is aided by several minor works -of art, reliefs, vase-paintings, coins, lead marks, etc., the number -of which shows that it was a common subject for Athenian artists. -Botho Graef, by a careful study of the female statue found on the -Akropolis in 1886 and inscribed as the work of Antenor, has shown -that the stylistic contrast between it and the Naples group is too<span class="pagenum"><a id="Page_175">175</a></span> -great for the latter to be assigned to Antenor.<a id="FNanchor_1284"></a><a href="#Footnote_1284" class="fnanchor">1284</a> It is now, therefore, -the prevailing view that the Naples group reproduces the later -statues of Kritios and his associate.<a id="FNanchor_1285"></a><a href="#Footnote_1285" class="fnanchor">1285</a> We do not know, then, how the -older group looked, but we are certain that it was different from the -later one, for, in the years elapsing between the dates of the two, Attic -sculptors had become entirely free from the Ionic influence which we -discussed in the preceding chapter and which characterizes the female -statue of Antenor. Archaic stiffness, however, is still traceable in the -later group, for in the copy we see a work which is “concise, sinewy, -hard, and with strained lines,” in harmony with Lucian’s characterization -of the works of Hegias, Kritios, and Nesiotes.<a id="FNanchor_1286"></a><a href="#Footnote_1286" class="fnanchor">1286</a></p> - -<p>The restorations of the Naples group, though right in the main, make -us doubtful as to the exact pose of the original figures.<a id="FNanchor_1287"></a><a href="#Footnote_1287" class="fnanchor">1287</a> Harmodios -has new arms, new right leg, and left leg below the knee, while Aristogeiton -has a Lysippan head in place of the original bearded one, to -correspond better with that of his companion. His left arm, with -the drapery hanging down, has been put on at a wrong angle, as he -should be represented holding a scabbard in the left hand and a sword -in the right. On a vase fragment (oinochoe) in Boston<a id="FNanchor_1288"></a><a href="#Footnote_1288" class="fnanchor">1288</a> both heroes -are making the onset, the younger one (Harmodios) in front of the -other, but in the original statues, they were probably making the -onset abreast, something that the vase-painter could not represent.<a id="FNanchor_1289"></a><a href="#Footnote_1289" class="fnanchor">1289</a></p> - -<p>While the Akropolis ephebe, already discussed as showing Argive -influence (Fig. <a href="#f17">17</a>), still shows but little break with the law of “frontality” -formulated by J. Lange,<a id="FNanchor_1290"></a><a href="#Footnote_1290" class="fnanchor">1290</a> whereby an “imaginary line passing -through the skull, nose, backbone, and navel, dividing the body into -two symmetrical halves, is invariably straight, never bending to either -side,” the <i>Tyrannicides</i> have broken it completely. The ephebe has -his head slightly turned to one side, and, because of resemblances in -head and body to the figure of Harmodios, has been assigned to Kritios<span class="pagenum"><a id="Page_176">176</a></span> -or his school.<a id="FNanchor_1291"></a><a href="#Footnote_1291" class="fnanchor">1291</a> Another statue at rest ascribed to the same school is -the athlete in the Somzée collection, which reminds us of the Pelops -of the East Gable at Olympia.<a id="FNanchor_1292"></a><a href="#Footnote_1292" class="fnanchor">1292</a> We have record of one more statue -by Kritios himself, which was represented in motion only less violent -than that of the <i>Tyrannicides</i>. Pausanias saw on the Akropolis of -Athens a statue by him of the hoplite runner Epicharinos, which represented -the athlete in the attitude of one practicing starts, perhaps -in the very pose of the Tuebingen statuette (Fig. <a href="#f42">42</a>).<a id="FNanchor_1293"></a><a href="#Footnote_1293" class="fnanchor">1293</a></p> - -<p>In the statues of the <i>Tyrannicides</i>, then, which might pass equally -well for typical athletes of the time, we have examples of statues in -motion at the end of the sixth century <span class="smcap lowercase">B. C.</span>; for the same violent action -must have characterized the earlier group of Antenor as the later -one. 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 Nesiotes, but single figures still earlier. Thus the sculptor -Glaukias represented the Karystian boy boxer Glaukos in the act -of sparring with an imaginary opponent.<a id="FNanchor_1294"></a><a href="#Footnote_1294" class="fnanchor">1294</a> Though Glaukos won in -Ol. 65 ( = 520 <span class="smcap lowercase">B. C.</span>), his statue was set up later by his son, perhaps -as late as the end of the sixth century <span class="smcap lowercase">B. C.</span>, or the beginning of the -fifth, as the <i>floruit</i> of the sculptor would show.<a id="FNanchor_1295"></a><a href="#Footnote_1295" class="fnanchor">1295</a> This is the oldest -example attested by literary evidence of an athlete statue in motion at -Olympia. Whether Glaukias got his motive from Antenor’s <i>Tyrannicides</i>, -or whether his work was the older, we can not determine, but -it is safe to say that this <i>genre</i> of statuary must have existed at Olympia -long before, as we know it did elsewhere. The Rampin head, -already discussed as a fragment of a victor statue, 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 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1296"></a><a href="#Footnote_1296" class="fnanchor">1296</a></p> - -<h3>ANTIQUITY OF MOTION STATUES IN GREECE.</h3> - -<p>Apart from specifically athletic types, we know that statues in -motion, especially those representing winged figures, antedated the sixth -century <span class="smcap lowercase">B. C.</span> in Greece, and were, perhaps, coeval with the very origin -of Greek art.<a id="FNanchor_1297"></a><a href="#Footnote_1297" class="fnanchor">1297</a> We know that the oldest Egyptian art attempted to<span class="pagenum"><a id="Page_177">177</a></span> -render the human body in motion. We may instance the limestone -funerary statuette dating from the Old Kingdom, which represents a slave -woman grinding corn,<a id="FNanchor_1298"></a><a href="#Footnote_1298" class="fnanchor">1298</a> and similar figures found in the graves of Memphis. -In fact, the making of such statues ceased in Egyptian art after -the end of the Old Kingdom. While Assyro-Babylonian art represented -figures in motion only on reliefs, Cretan art, as we have seen in the first -chapter, showed the utmost skill in representing movement in figures in -the round. It used to be assumed that in Greek art motion statues -developed out of the archaic “Apollo” type through the gradual freeing -of legs and arms. Any such assumption is easily disproved by the -fact that figures in motion exist, which date back almost as far as figures -at rest. It is equally fallacious to argue that slight movement was -easier for the early artist to represent than violent movement, for just -the contrary was the case, so that in general the greater the movement -represented, the greater is the age of the given monument. Early vase-paintings -show that the early painter delighted in portraying free -movement.<a id="FNanchor_1299"></a><a href="#Footnote_1299" class="fnanchor">1299</a> It may be that the vase-painter preceded the sculptor -in portraying movement, for it was easier to effect this in two dimensions -than in three. But that statues in motion were already known -at the beginning of the sixth century <span class="smcap lowercase">B. C.</span>, at least, is shown by the -winged flying figure known as the <i>Nike</i> of Archermos,<a id="FNanchor_1300"></a><a href="#Footnote_1300" class="fnanchor">1300</a> unearthed on -the island of Delos by the French in 1877, which is a masterpiece of -early Chian sculpture, perhaps coeval with the statue dedicated to -Artemis by Nikandre of Naxos, found a year later on Delos,<a id="FNanchor_1301"></a><a href="#Footnote_1301" class="fnanchor">1301</a> even -though the latter appears more archaic. This earliest example of treating -a flying figure in Greek sculpture we find repeated almost unchanged -for a long time after, especially for <i>akroteria</i> figures on temples and in -the minor arts. We might mention the bronze statuette of the end of -the sixth century <span class="smcap lowercase">B. C.</span>, found on the Akropolis, which comes from the -edge of a vessel and represents a winged <i>Nike</i> springing through the<span class="pagenum"><a id="Page_178">178</a></span> -air, the legs in profile and the head and upper body turned to the front, -just as in the figure of Archermos.<a id="FNanchor_1302"></a><a href="#Footnote_1302" class="fnanchor">1302</a> Such figures completely disprove -the contention of Sikes that the Greek idea of a winged <i>Nike</i> did not -antedate the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1303"></a><a href="#Footnote_1303" class="fnanchor">1303</a> The early date of statues represented -in a lunging attitude, like the <i>Tyrannicides</i>, is also shown by the story -that Herakles destroyed his own statue by Daidalos in the agora of Elis, -because in the night he mistook it for an enemy lunging at him. The -scheme of combatants fighting with lances seems to have been native -to Rhodian art at the end of the seventh century <span class="smcap lowercase">B. C.</span>, for we see it -first on a painted terra-cotta plate in the British Museum, which -represents Hektor and Menelaos fighting for the body of Euphorbos.<a id="FNanchor_1304"></a><a href="#Footnote_1304" class="fnanchor">1304</a> -This pose was taken over into other arts, as we see it in the bronze -statuette of a warrior found in Dodona in 1880, now in the Antiquarium -in Berlin, which dates from the end of the sixth century <span class="smcap lowercase">B. C.</span>, or the beginning -of the fifth.<a id="FNanchor_1305"></a><a href="#Footnote_1305" class="fnanchor">1305</a> All these examples are sufficient to show that representing -the human figure in motion was an ancient motive in Greek art.</p> - -<h3>PYTHAGORAS AND MYRON.</h3> - -<p>Besides Kritios, 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 <span class="smcap lowercase">B. C.</span> Before proceeding -further we shall briefly consider their artistic activity.</p> - -<p>The attempt to ascribe something tangible to Pythagoras of Rhegion -has often been made.<a id="FNanchor_1306"></a><a href="#Footnote_1306" class="fnanchor">1306</a> Practically all we really know about him is -that he was celebrated for his statues of athletes. Pausanias mentions -seven statues at Olympia of victors who won in many different events, -in running (including the hoplite-race), wrestling, boxing, and the -chariot-race; and Pliny, in giving a list of his works, praises the statue -of a pancratiast at Delphi.<a id="FNanchor_1307"></a><a href="#Footnote_1307" class="fnanchor">1307</a> Thus Pausanias records the statues of<span class="pagenum"><a id="Page_179">179</a></span> -the Sicilian wrestler Leontiskos, who won two victories in Ols. 81 -and 82 ( = 456 and 452 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1308"></a><a href="#Footnote_1308" class="fnanchor">1308</a> of the boy boxer Protolaos of Mantinea, -who won in Ol. (?) 74 ( = 484 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1309"></a><a href="#Footnote_1309" class="fnanchor">1309</a> of the boxer Euthymos of Lokroi, -who won three times in Ols. 74, 76, 77 ( = 484, 476, 472 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1310"></a><a href="#Footnote_1310" class="fnanchor">1310</a> of Dromeus -of Stymphalos, who won the long foot-race (δόλιχος) twice in -Ols. (?) 80 and 81 ( = 460 and 456 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1311"></a><a href="#Footnote_1311" class="fnanchor">1311</a> of Astylos of Kroton, who won -the stade-race, the double foot-race (δίαυλος) three times, and the hoplite-race -twice in Ols. 73, 74, 75, 76 ( = 488–476 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1312"></a><a href="#Footnote_1312" class="fnanchor">1312</a> of the hoplite victor -Mnaseas of Kyrene, victor in Ol. 81 ( = 456 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_1313"></a><a href="#Footnote_1313" class="fnanchor">1313</a> and of the latter’s -son Kratisthenes, who won the chariot-race in Ol. (?) 83 ( = 448 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1314"></a><a href="#Footnote_1314" class="fnanchor">1314</a> -Some of these statues at Olympia must have been represented at rest, -while others appear to have been represented in motion. 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 rest, since Pausanias described it simply as -that of an ὁπλίτης ἀνήρ.<a id="FNanchor_1315"></a><a href="#Footnote_1315" class="fnanchor">1315</a> When we inquire into the style of Pythagoras -we do not find much that is definite to guide us. Besides the bare list -of his works, we have little except the statement of Diogenes Laertios -that he was the first to aim at rhythm and symmetry.<a id="FNanchor_1316"></a><a href="#Footnote_1316" class="fnanchor">1316</a> Nevertheless -many attempts have been made to identify his athlete statues with -existing copies. Waldstein’s interpretation of the <i>Choiseul-Gouffier</i> -statue in the British Museum (Pl. <a href="#p7A">7A</a>), and of the so-called <i>Apollo-on-the-Omphalos</i> -in Athens (Pl. <a href="#p7B">7B</a>), as copies of an original athlete statue, -is, as we have shown in the second chapter, well-founded, since the -muscular build and the coiffure of these statues betoken the athlete. -But his further attempt to show that the original was by Pythagoras, -and his identifying it with the statue of the boxer Euthymos at -Olympia, is not so reasonable.<a id="FNanchor_1317"></a><a href="#Footnote_1317" class="fnanchor">1317</a></p> - -<p>The attempt to ascribe the head of a pancratiast from Perinthos in -Dresden (Fig. <a href="#f33">33</a>)<a id="FNanchor_1318"></a><a href="#Footnote_1318" class="fnanchor">1318</a> to Pythagoras is not convincing, though Furtwaengler -has included it in his provisional Pythagorean group,<a id="FNanchor_1319"></a><a href="#Footnote_1319" class="fnanchor">1319</a> as he does the<span class="pagenum"><a id="Page_180">180</a></span> -boxer in the Louvre known as <i>Pollux</i> (Fig. <a href="#f58">58</a>),<a id="FNanchor_1320"></a><a href="#Footnote_1320" class="fnanchor">1320</a> the athlete of the Boboli -Gardens in Florence formerly called <i>Harmodios</i> by Benndorf,<a id="FNanchor_1321"></a><a href="#Footnote_1321" class="fnanchor">1321</a> and the -statue of an athlete of later style in Lansdowne House, London.<a id="FNanchor_1322"></a><a href="#Footnote_1322" class="fnanchor">1322</a> Other -<span class="figright250"><a id="f33"></a> -<img src="images/i_p180.jpg" width="250" height="331" alt="Head of an Athlete." /> -<span class="caption"><span class="smcap">Fig. 33.</span>—Head of an Athlete, -from Perinthos. Albertinum, -Dresden.</span></span> -scholars have also connected the Perinthos -head with Pythagoras.<a id="FNanchor_1323"></a><a href="#Footnote_1323" class="fnanchor">1323</a> Hermann -brought it into relation with the -bust in the Riccardi Palace in Florence, -which, despite its swollen ears, we have -already classed as representing a hero -and not an athlete, because of the -garment thrown over the shoulder.<a id="FNanchor_1324"></a><a href="#Footnote_1324" class="fnanchor">1324</a> -Furtwaengler tried to show that this -bust was Myronian in style, classing it -and the head of an athlete in Ince Blundell -Hall, Lancashire, England,<a id="FNanchor_1325"></a><a href="#Footnote_1325" class="fnanchor">1325</a> along -with that of the earlier <i>Diskobolos</i>, explaining -the acknowledged differences -in the three by Pliny’s statement that -Myron <i>primus multiplicasse veritatem -videtur</i>.<a id="FNanchor_1326"></a><a href="#Footnote_1326" class="fnanchor">1326</a> Arndt lists the Perinthos, -Riccardi, and Ince Blundell heads, together -with two others in the Jakobsen -collection in Copenhagen,<a id="FNanchor_1327"></a><a href="#Footnote_1327" class="fnanchor">1327</a> the head of -the so-called Pollux of the Louvre, a bearded head in Petrograd,<a id="FNanchor_1328"></a><a href="#Footnote_1328" class="fnanchor">1328</a> and -<span class="pagenum"><a id="Page_181">181</a></span> -the so-called head of <i>Peisistratos</i> in the Villa Albani, Rome,<a id="FNanchor_1329"></a><a href="#Footnote_1329" class="fnanchor">1329</a> as -works emanating from one school of sculptors—the differences being -explained by the many copyists. But to attempt to differentiate -within the group two different sculptors, Myron or Pythagoras, he -finds impossible, chiefly because we are dealing in every case with -copies and not with originals, and because in no case are we certain -that the head belongs to the torso on which it is set.<a id="FNanchor_1330"></a><a href="#Footnote_1330" class="fnanchor">1330</a> Still another -critic, A. Schober, classes together as more or less related works the -Riccardi, Ince Blundell, Perinthos, and Ny-Carlsberg heads, the Louvre -boxer (<i>Pollux</i>), Chinnery <i>Hermes</i> in the British Museum,<a id="FNanchor_1331"></a><a href="#Footnote_1331" class="fnanchor">1331</a> the Boboli -athlete, the athlete metamorphosed into a <i>Hermes</i> in the Loggia -Scoperta of the Vatican, and the Lansdowne athlete, and finds them -all Myronian. He believes the Perinthos head to be the prototype -of the Riccardi and Ince Blundell heads.<a id="FNanchor_1332"></a><a href="#Footnote_1332" class="fnanchor">1332</a></p> - -<p>In all this confusion of opinion as to the style of Pythagoras, and in -the absence of any fixed criterion of judgment furnished by an original -authenticated work, it seems hazardous to ascribe this or that sculpture -to this little-known artist. 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 century. We -may some day recover a genuine Pythagorean athlete statue, though -this is extremely improbable now that we have no more to expect from -Olympia and Delphi, where most of his statues appear to have stood. -But despite the difficulty, many identifications of his Olympia statues -have been suggested, some of which we shall now mention.</p> - -<p>As Pausanias says that the victor Mnaseas was surnamed <i>Libys</i>, the -Libyan, and that his statue was by Pythagoras, it may be that this is -the statue mentioned by Pliny in the words: <i>[Pythagoras] fecit ... -et Libyn, puerum tenentem tabellam eodem loco (= Olympiae) et mala -ferentem nudum.</i><a id="FNanchor_1333"></a><a href="#Footnote_1333" class="fnanchor">1333</a> However, in that case we can not connect the -words <i>Libyn</i> and <i>puerum</i>, since one represented a man and the other a -boy.<a id="FNanchor_1334"></a><a href="#Footnote_1334" class="fnanchor">1334</a> Consequently, Pliny is speaking of three different statues, and -not two, by this artist. Reisch believes that the statues of the boy -and the nude man were represented at rest,<a id="FNanchor_1335"></a><a href="#Footnote_1335" class="fnanchor">1335</a> the boy bearing a tablet -(<i>i. e.</i>, an iconic <span class="pagenum"><a id="Page_182">182</a></span>πινάκιον) in his hand, like the Athenian youth appearing -on a vase-painting in Munich.<a id="FNanchor_1336"></a><a href="#Footnote_1336" class="fnanchor">1336</a> Another scholar, L. von Urlichs, formerly -identified the boy carrying the tablet with the statue of Protolaos at -Olympia,<a id="FNanchor_1337"></a><a href="#Footnote_1337" class="fnanchor">1337</a> explaining the tablet as a means of characterizing the young -learner. He changed his theory later,<a id="FNanchor_1338"></a><a href="#Footnote_1338" class="fnanchor">1338</a> when, in consequence of the -discovery of the Corinthian tablets, he called it a votive tablet. His -son, H. L. von Urlichs, agreed with him because of a passage in the collection -of <i>Proverbs</i> by Zenobios, the sophist of Hadrian’s age,<a id="FNanchor_1339"></a><a href="#Footnote_1339" class="fnanchor">1339</a> according -to which the marble statue of <i>Nemesis</i> at Rhamnous by Pheidias’ -favorite pupil, the Parian sculptor Agorakritos,<a id="FNanchor_1340"></a><a href="#Footnote_1340" class="fnanchor">1340</a> held an apple-branch -in her left hand, from which a small tablet containing the artist’s name -was suspended, and also because certain coins of Syracuse and Catania -represent Nike as carrying a tablet hung by a ribbon, on which the coin-striker’s -name was engraved.<a id="FNanchor_1341"></a><a href="#Footnote_1341" class="fnanchor">1341</a> The same scholar further identified the -nude man carrying the apples with the statue of Dromeus at Olympia. -Since Pliny does not expressly say that the statue of the nude man was -at Olympia, even though the sense of the passage inclines us to think -it was, L. von Urlichs interprets the apples in the hand as an additional -prize at Delphi, and so makes the statue that of a Pythian victor.<a id="FNanchor_1342"></a><a href="#Footnote_1342" class="fnanchor">1342</a> -All such identifications are based on too uncertain premises.</p> - -<p>That Pythagoras did make statues in motion is proved by his statue -of a limping man at Syracuse mentioned by Pliny<a id="FNanchor_1343"></a><a href="#Footnote_1343" class="fnanchor">1343</a> in very realistic -terms. We know of other statues by him representing athletes in -motion only by inference. Thus, in the passage just quoted, Pliny says -that he surpassed Myron with his Delphian pancratiast, which appears, -inasmuch as Pliny merely calls the statue a pancratiast without mentioning -any attribute, to have been represented in the characteristic lunging -pose.<a id="FNanchor_1344"></a><a href="#Footnote_1344" class="fnanchor">1344</a> However, we can not say definitely, since the contemporary -statue of the pancratiast Kallias, by Mikon of Athens, was represented<span class="pagenum"><a id="Page_183">183</a></span> -in the attitude of rest, as we learn from the footprints on its recovered -base.<a id="FNanchor_1345"></a><a href="#Footnote_1345" class="fnanchor">1345</a> Pliny also says that Pythagoras surpassed with his Delphian -pancratiast his own statue of Leontiskos,<a id="FNanchor_1346"></a><a href="#Footnote_1346" class="fnanchor">1346</a> a statement which similarly -appears to mark the latter as a statue in motion. Reisch assumes -that the statue of Euthymos was in motion, since Pausanias says it -was an ἀνδριὰς θέας ἐς τὰ μάλιστα ἄξιος.<a id="FNanchor_1347"></a><a href="#Footnote_1347" class="fnanchor">1347</a> On the whole, then, we may -assume that Pythagoras was a sculptor who represented many of his -victors in the attitude of motion.</p> - -<p>Love of movement also characterized the artistic temperament of -Myron, even though we know that he represented gods, heroes, and even -athletes, at rest. Thus coins show that Athena in his <i>Marsyas</i> group -was represented as standing in a tranquil pose.<a id="FNanchor_1348"></a><a href="#Footnote_1348" class="fnanchor">1348</a> Similarly the Riccardi -bust in Florence, already discussed, which may be Myronian, -comes from a statue of a hero shown in an attitude of rest. Myron was -the first Greek sculptor to make his statues and groups self-sufficient,<a id="FNanchor_1349"></a><a href="#Footnote_1349" class="fnanchor">1349</a> -that is, he gave to them a concentration which does not allow the -spectator’s attention to wander. We readily see this new principle -in art when we compare the <i>Diskobolos</i> and the group of the <i>Tyrannicides</i>. -In the latter our attention is not concentrated, for a third figure, -that of the tyrant on whom the onset is being made, is required in imagination -to complete the group. We have no originals from Myron’s hand, -but we are in far better case in regard to his work than in regard to that -of Pythagoras, since we have unmistakable copies of two of his greatest -works, the <i>Marsyas</i> and the <i>Diskobolos</i>. In them there is little -trace of the archaic stiffness that is still visible in the <i>Tyrannicides</i>. -Both of these works are represented in violent action, and in both there -is complete concentration. While the <i>Diskobolos</i> represents a trained -palæstra athlete executing a graceful movement, the <i>Marsyas</i> represents -a wild Satyr of the woods, wholly untrained and controlled by -savage passions, in the moment of fear.<a id="FNanchor_1350"></a><a href="#Footnote_1350" class="fnanchor">1350</a> In the <i>Diskobolos</i> the face is<span class="pagenum"><a id="Page_184">184</a></span> -impassive, being little affected by the violent movement of the body—a -contrast only partly to be explained as due to the copyist; in the -<i>Marsyas</i>, on the contrary, there is complete harmony between the -facial expression and the violent action of the body.</p> - -<div class="figcenter500"><p class="right">PLATE 22</p><a id="p22"></a> -<img src="images/i_fp184.jpg" width="500" height="755" alt="Statue of the Diskobolos." /> -<div class="caption">Statue of the <i>Diskobolos</i>, from Castel Porziano, after Myron. -Museo delle Terme, Rome.</div></div> - -<p>Since we are chiefly dependent for our knowledge of Myron’s athletic -work on the marble copies of the <i>Diskobolos</i>, which represents a new era -in athletic art, and since this statue is perhaps the most famous athletic -statue of all times, it will be well to speak of it here at some length. -It is not, so far as we know, the statue of any particular victor, but -rather a study in athletic sculpture.<a id="FNanchor_1351"></a><a href="#Footnote_1351" class="fnanchor">1351</a> Of this work there are twelve full size -replicas and several statuettes. We shall discuss only those which -give us the best idea of the lost original. The most faithful copy is the -superb marble statue in the Palazzo Lancellotti, Rome, discovered on -the Esquiline in 1781 (head seen in Pl. <a href="#p23">23</a>).<a id="FNanchor_1352"></a><a href="#Footnote_1352" class="fnanchor">1352</a> As the head has never been -broken away from the body, this copy preserves the original pose, -whereas all other copies have the head turned in the wrong direction.<a id="FNanchor_1353"></a><a href="#Footnote_1353" class="fnanchor">1353</a> -The head and face preserve Attic proportions and the treatment of the -hair and muscles differs from that of the other copies, which disclose -later elements. The hair, in particular, shows signs of archaism, just -as it must have been treated in the original, as evinced by Pliny’s -criticism.<a id="FNanchor_1354"></a><a href="#Footnote_1354" class="fnanchor">1354</a> The most carefully worked copy, however, is the Parian -marble torso, which was found in 1906 at Castel Porziano, the site of -the ancient Laurentum, and is now in the Museo delle Terme, Rome -(Pl. <a href="#p22">22</a>).<a id="FNanchor_1355"></a><a href="#Footnote_1355" class="fnanchor">1355</a> This torso was already restored in antiquity. Since the -villa in which it was found was built in Augustus’ day and was restored -in the second century <span class="smcap lowercase">A. D.</span>, we have the approximate dates both of the -origin and restoration of the statue. A weak copy, discovered in Tivoli -in 1791, is in the Sala della Biga of the Vatican; the head, left arm, and -right leg below the knee have been restored, the head wrongly (Fig. -34).<a id="FNanchor_1356"></a><a href="#Footnote_1356" class="fnanchor">1356</a> A Græco-Roman copy discovered also in 1791, in Hadrian’s -<span class="pagenum"><a id="Page_185">185</a></span> -villa, is in the British Museum (Fig. <a href="#f35">35</a>).<a id="FNanchor_1357"></a><a href="#Footnote_1357" class="fnanchor">1357</a> Here the head, although -antique, belongs to another copy, and has been set upon the torso -wrongly, in such a way that the throat has two Adam’s apples. It -looks straight to the ground and not upward as in the Lancellotti copy. -There is a better replica of the torso in the Capitoline Museum, which -formerly belonged to the French sculptor Étienne Mounot (1658–1733), -who wrongly restored it as a falling warrior. It agrees in -accuracy with the Lancellotti copy, though it is dry and lifeless, and -is a better guide to the original than either the Vatican or British<span class="pagenum"><a id="Page_186">186</a></span> -Museum replicas.<a id="FNanchor_1358"></a><a href="#Footnote_1358" class="fnanchor">1358</a> A combination of these and other copies gives -us an excellent idea of the original bronze. In Pl. <a href="#p23">23</a> we give a -combination of the Vatican torso and the Lancellotti head from a cast -in Munich.<a id="FNanchor_1359"></a><a href="#Footnote_1359" class="fnanchor">1359</a> Perhaps a better combination is that given by Bulle<a id="FNanchor_1360"></a><a href="#Footnote_1360" class="fnanchor">1360</a> -from a cast made up of the delle Terme body, the Lancellotti head, -the right arm and the diskos from the Casa Buonarroti in Florence, -the feet from the British Museum copy and the fingers of the left hand -being freely restored.</p> - -<div class="figcenter400"><a id="f34"></a> -<img src="images/i_p185.jpg" width="400" height="569" alt="Statue of the Diskobolos" /> -<div class="caption"><span class="smcap">Fig. 34.</span>—Statue of the <i>Diskobolos</i>, after Myron. -Vatican Museum, Rome.</div> -</div> - -<div class="figcenter350"><a id="f35"></a> -<img src="images/i_p186.jpg" width="350" height="530" alt="Statue of the Diskobolos" /> -<div class="caption"><span class="smcap">Fig. 35.</span>—Statue of the <i>Diskobolos</i>, after -Myron. British Museum, London.</div> -</div> - -<div class="figcenter500"><p class="right">PLATE 23</p><a id="p23"></a> -<img src="images/i_fp186.jpg" width="500" height="728" alt="Statue of the Diskobolos." /> -<div class="caption">Statue of the <i>Diskobolos</i>, after Myron. A bronzed Cast from the Statue in the Vatican -and Head from the Statue in the Palazzo Lancellotti, Rome.</div></div> - -<p>The pose of the Lancellotti copy agrees with Lucian’s description of -the original: “Surely, said I, you do not speak of the quoit-thrower -who stoops in the attitude of one who is making his cast, turning round -<span class="pagenum"><a id="Page_187">187</a></span> -toward the hand that holds the quoit, and bending the other knee -gently beneath him, like one who will rise erect as he hurls the quoit?”<a id="FNanchor_1361"></a><a href="#Footnote_1361" class="fnanchor">1361</a> -That the head of the original was turned back as in the Lancellotti copy, -and not downwards, as in the Vatican, British Museum and other replicas, -is shown by this description, which is corroborated by two bronze -statuettes in Munich and Arolsen<a id="FNanchor_1362"></a><a href="#Footnote_1362" class="fnanchor">1362</a> and by a gem in the British Museum.<a id="FNanchor_1363"></a><a href="#Footnote_1363" class="fnanchor">1363</a> -Myron chose the most difficult, but at the same time the most characteristic, -moment in swinging the diskos, the moment which combines -the idea of rest and motion. The quoit has been swung back as far as -it will go. The momentary pause before it is hurled forward suggests -rest and at the same time implies motion, both that which has preceded -and that which is to follow. It is this short pause at the end of the -backward swing which the sculptor has fixed in the bronze. The right -arm is stretched backwards as far as possible and draws with it the -body with the left arm and head; in another instant the diskos will be -hurled and the tension on the right leg relaxed. The original statue -rested upon the right foot; the tree trunk is a necessary addition -to the marble copies. As Greek art was mostly characterized by -repose, we are not surprised that such a daring effect received the censure -of the ancient critics. Quintilian says that if any one blames the -statue for its labored effect, he is wrong, since the novelty and the difficulty -of the work are its chief merits.<a id="FNanchor_1364"></a><a href="#Footnote_1364" class="fnanchor">1364</a> For a statue of the transitional -stage of Greek sculpture it is remarkably bold; only in imagination can -we see the action by which the body has got into this position and by -which it will recover its equilibrium. It illustrates a principle laid -down by Lessing in the <i>Laokoön</i>: “Of ever changing nature the artist -can use only a single moment and this from a single point of view. And -as his work is meant to be looked at not for an instant, but with long -consideration, he must choose the most fruitful moment, and the most -fruitful point of view, that, to wit, which leaves the power of imagination -free.”<a id="FNanchor_1365"></a><a href="#Footnote_1365" class="fnanchor">1365</a></p> - -<p>Myron was the sculptor of five statues for four victors at Olympia, -one of a pancratiast, another of a boxer, a third of a runner, and two of -a victor in the hoplite-race and the chariot-race.<a id="FNanchor_1366"></a><a href="#Footnote_1366" class="fnanchor">1366</a> Pliny also says that<span class="pagenum"><a id="Page_188">188</a></span> -Myron made statues of pentathletes and pancratiasts at Delphi.<a id="FNanchor_1367"></a><a href="#Footnote_1367" class="fnanchor">1367</a> Thus -he showed as much versatility as Pythagoras in the representation of -victors in different contests. None of these statues has survived and the -identification of existing Roman copies with any of them is, of course, -highly problematical. Thus, a little further on we make the suggestion -that the statue of the boxer in the Louvre, commonly known as <i>Pollux</i> -(Fig. <a href="#f58">58</a>), may be, because of its Myronian character, the statue of the -unknown Arkadian boxer at Olympia mentioned by Pausanias (in connection -with the boy boxer Philippos) as the work of Myron.<a id="FNanchor_1368"></a><a href="#Footnote_1368" class="fnanchor">1368</a> Pliny, in -the passage just cited, also mentions statues of <i>pristae</i> by Myron, a -word which has given rise to many interpretations: <i>e. g.</i>, sea-monsters -(<i>pristes</i> or <i>pistres</i>), men working with a cross-cut saw (<i>pristae</i>), players at -see-saw (<i>pristae</i>?),<a id="FNanchor_1369"></a><a href="#Footnote_1369" class="fnanchor">1369</a> and boxers (<i>pyctae</i>).<a id="FNanchor_1370"></a><a href="#Footnote_1370" class="fnanchor">1370</a> The manuscripts are unanimous -for <i>pristae</i>, and hence it is probable that a realistic group by Myron is -meant, since Myron is often classed as a realist in opposition to Polykleitos, -the idealist. Long ago Dalecampius, followed in recent years -by Furtwaengler,<a id="FNanchor_1371"></a><a href="#Footnote_1371" class="fnanchor">1371</a> believed that these <i>pristae</i> formed a votive offering, -and H. L. von Urlichs has shown that a group of sawyers as the dedication -of some master-builder is quite in harmony with fifth-century traditions.<a id="FNanchor_1372"></a><a href="#Footnote_1372" class="fnanchor">1372</a> -H. Stuart Jones<a id="FNanchor_1373"></a><a href="#Footnote_1373" class="fnanchor">1373</a> connects the words <i>Perseum et pristas</i> of Pliny’s -text, and follows the theory of Mayer<a id="FNanchor_1374"></a><a href="#Footnote_1374" class="fnanchor">1374</a> that the carpenters or sawyers -were a part of a group, which represented the inclosure of Danaë and -Perseus in the chest.</p> - -<p>While the athletic statues in motion by Pythagoras and Myron -became models for later sculptors, especially in the following century,<a id="FNanchor_1375"></a><a href="#Footnote_1375" class="fnanchor">1375</a> -the rest statues of Polykleitos still remained in vogue in works by members -of his family and school down through the fourth century, as -we have seen in our treatment of the Argive-Sikyonian sculptors at -Olympia.</p> - -<h3>MOTION STATUES REPRESENTING VICTORS IN -VARIOUS CONTESTS.</h3> - -<p>We shall now review the types of victor statues, which reproduced in -their pose the various contests, <i>i. e.</i>, statues in motion. We shall find<span class="pagenum"><a id="Page_189">189</a></span> -it convenient to follow in the main the order of contests as they appear -on the Oxyrhynchus Papyrus<a id="FNanchor_1376"></a><a href="#Footnote_1376" class="fnanchor">1376</a>—the stade-race (στάδιον), double race -(δίαυλος), long race (δόλιχος), pentathlon (πένταθλον), wrestling, -(πάλη), boxing (πύξ), pankration (παγκράτιον), hoplite-race (ὁπλίτης), -chariot-race (τέθριππον), and horse-race (κέλης)—except that we shall -class the four running races (nos. 1, 2, 3, and 11) together and include -the three boys’ contests (παίδων στάδιον, πάλη, πύξ, nos. 8, 9, 10) under -the corresponding men’s events. The classification of competitors by -ages (ἡλικίαι), which varied at different festivals, will need a word of -explanation. While athletes at Nemea, the Isthmus, and Delphi were -divided into three classes, παῖδες, ἀγένειοι, and ἄνδρες,<a id="FNanchor_1377"></a><a href="#Footnote_1377" class="fnanchor">1377</a> at Olympia -they were divided into two, παῖδες and ἄνδρες.<a id="FNanchor_1378"></a><a href="#Footnote_1378" class="fnanchor">1378</a> At local competitions -there was a more elaborate classification. Thus at the Bœotian -<i>Erotidia</i>, boys were divided into younger and older;<a id="FNanchor_1379"></a><a href="#Footnote_1379" class="fnanchor">1379</a> at the games held -on the island of Chios there were five divisions, boys, younger, middle, -and older ephebes, and men;<a id="FNanchor_1380"></a><a href="#Footnote_1380" class="fnanchor">1380</a> and at the Athenian <i>Theseia</i>, the boys -were divided into first, second, and third classes, while an open contest -also existed for boys of any age.<a id="FNanchor_1381"></a><a href="#Footnote_1381" class="fnanchor">1381</a> Girls at the <i>Heraia</i> at Olympia -were similarly divided into three classes.<a id="FNanchor_1382"></a><a href="#Footnote_1382" class="fnanchor">1382</a> Plato proposed three classes -of athletes in his <i>Laws</i>—παιδικοί, ἄνδρες, and a third class, ἀγένειοι, -between boys and men.<a id="FNanchor_1383"></a><a href="#Footnote_1383" class="fnanchor">1383</a> The classification of athletes at Athens into -παῖδες and ἄνδρες, adopted by Boeckh, Dittenberger, and Dumont,<a id="FNanchor_1384"></a><a href="#Footnote_1384" class="fnanchor">1384</a> is -now the one generally followed. According to it the παῖδες were subdivided -into three classes, those τῆς πρώτης ἡλικίας, τῆς δευτέρας, and -τῆς τρίτης; and so the ἀγένειοι were merely the παῖδες της τρίτης -ἡλικίας. The boys, including the ἀγένειοι, ranged from 12 to 18 years -old; at 18 they became ἔφηβοι or ἄνδρες.<a id="FNanchor_1385"></a><a href="#Footnote_1385" class="fnanchor">1385</a> We have already seen that -the age of boy victors at Olympia was over 17 and under 20.<a id="FNanchor_1386"></a><a href="#Footnote_1386" class="fnanchor">1386</a></p> - -<p><span class="pagenum"><a id="Page_190">190</a></span></p> - -<p>As we have already remarked in an earlier chapter, we are mostly -indebted to Pausanias for our knowledge of the victor statues at Olympia.<a id="FNanchor_1387"></a><a href="#Footnote_1387" class="fnanchor">1387</a> -He mentions in his <i>periegesis</i> of the Altis 192 monuments, -which were erected to 187 victors.<a id="FNanchor_1388"></a><a href="#Footnote_1388" class="fnanchor">1388</a> Some of these victors won in more -than one contest, so that there are 258 different victories recorded in -all. In the following sections we shall see how these were distributed -among the various contests.</p> - -<h4><span class="smcap">Runners: Stadiodromoi, Diaulodromoi, Dolichodromoi.</span></h4> - -<p>Running races formed at all times a part of the Greek games and of -the exercises of the youth in the gymnasia and palæstræ. A scholiast -on Pindar<a id="FNanchor_1389"></a><a href="#Footnote_1389" class="fnanchor">1389</a> says that the running race had its origin in the first celebration -of the Eleusinian mysteries. It figures largely in mythology, -especially at Olympia, which also shows its antiquity.<a id="FNanchor_1390"></a><a href="#Footnote_1390" class="fnanchor">1390</a> In historic -times many varieties of running developed, but four chief ones were -practised at the great games.<a id="FNanchor_1391"></a><a href="#Footnote_1391" class="fnanchor">1391</a> First there was the simple stade-race -(στάδιον, δρόμος), which was merely the length of the stadion or 600 -Greek feet, corresponding with the running race of Homer.<a id="FNanchor_1392"></a><a href="#Footnote_1392" class="fnanchor">1392</a> Then there -was the double race (δίαυλος), twice as long as the preceding, to the -end of the course and back again.<a id="FNanchor_1393"></a><a href="#Footnote_1393" class="fnanchor">1393</a> The long race (δόλιχος, ὁ μακρὸς -δρόμος), which Philostratos derives from the institution of messenger -runners (<i>hemerodromoi</i>),<a id="FNanchor_1394"></a><a href="#Footnote_1394" class="fnanchor">1394</a> is variously given as seven, twelve, fourteen, -twenty, and twenty-four stades in length, <i>i. e.</i>, from about four-fifths -of a mile to nearly three miles.<a id="FNanchor_1395"></a><a href="#Footnote_1395" class="fnanchor">1395</a> Lastly there was the race in armor -(ὁπλιτοδρόμος,<a id="FNanchor_1396"></a><a href="#Footnote_1396" class="fnanchor">1396</a> ὁπλίτης,<a id="FNanchor_1397"></a><a href="#Footnote_1397" class="fnanchor">1397</a> ἀσπίς.<a id="FNanchor_1398"></a><a href="#Footnote_1398" class="fnanchor">1398</a>) The long race was instituted not so -much as a contest of fleetness as of endurance. At Olympia only men -were admitted, though there was such a race for boys at Delphi.<a id="FNanchor_1399"></a><a href="#Footnote_1399" class="fnanchor">1399</a> The<span class="pagenum"><a id="Page_191">191</a></span> -Cretans were famed in this style of running.<a id="FNanchor_1400"></a><a href="#Footnote_1400" class="fnanchor">1400</a> The race in armor, -which was a double race or two stades at Olympia, we shall discuss -further on. Probably the boys’ stade-race at Olympia was shorter -than that of the men. Plato, who gives the historic division of running -races outlined above, has the boys run one-half of the men’s course -and the ephebes (ἀγένειοι) two-thirds.<a id="FNanchor_1401"></a><a href="#Footnote_1401" class="fnanchor">1401</a> Just so Pausanias has the -girl runners at the Olympia <i>Heraia</i> run one-sixth of the men’s stadion.<a id="FNanchor_1402"></a><a href="#Footnote_1402" class="fnanchor">1402</a></p> - -<p>At Olympia, as at the <i>Panathenaia</i> in Athens and probably elsewhere, -the first event preceding all others was the stade-race. Pausanias -says that it was the oldest event at Olympia,<a id="FNanchor_1403"></a><a href="#Footnote_1403" class="fnanchor">1403</a> and it existed there -all through antiquity from the first recorded Olympiad ( = 776 <span class="smcap lowercase">B. C.</span>), -when Koroibos of Elis won.<a id="FNanchor_1404"></a><a href="#Footnote_1404" class="fnanchor">1404</a> But the notion generally held<a id="FNanchor_1405"></a><a href="#Footnote_1405" class="fnanchor">1405</a> that the -stade-race for men was honored above all other events at Olympia, -because the winner became ἐπώνυμος for the Olympiad and because his -name occurs in the lists of Africanus for every Olympiad, is incorrect. -In two passages Thukydides cites Olympic pancratiasts for dates,<a id="FNanchor_1406"></a><a href="#Footnote_1406" class="fnanchor">1406</a> -and in the earliest inscription which makes use of Olympiads for -chronology the later introduced pankration is the event used.<a id="FNanchor_1407"></a><a href="#Footnote_1407" class="fnanchor">1407</a> The -literary supremacy of Athens, where, at the <i>Panathenaia</i>, the stade-race -was the most important event, doubtless helped later in making -the stade runner at Olympia eponymous. This custom, however, was -not generally employed before the third century <span class="smcap lowercase">B. C.</span></p> - -<div class="figcenter500"><a id="f36"></a> -<img src="images/i_p192.jpg" width="500" height="776" alt="Athletic Scenes from a Bacchic Amphora" /> -<div class="caption"><span class="smcap">Fig. 36.</span>—Athletic Scenes from a Bacchic Amphora in Rome. A. Stadiodromoi -and Leaper. B. Diskobolos and Akontistai.</div> -</div> - -<div class="figcenter500"><a id="f37"></a> -<img src="images/i_p193.jpg" width="500" height="359" alt="Athletic Scenes from a Sixth-century B. C." /> -<div class="caption"><span class="smcap">Fig. 37.</span>—Athletic Scenes from a Sixth-century B. C. Panathenaic Amphora. -Stadiodromoi (left) and Dolichodromoi (right).</div> -</div> - -<p>Pausanias dates the introduction of the double foot-race at Olympia -in Ol. 14 ( = 724 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1408"></a><a href="#Footnote_1408" class="fnanchor">1408</a> He does not say when the long race was instituted, -but Eusebios says that it was in Ol. 15 ( = 720 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1409"></a><a href="#Footnote_1409" class="fnanchor">1409</a> The boys’ -stade-race was introduced there in Ol. 37 ( = 632 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1410"></a><a href="#Footnote_1410" class="fnanchor">1410</a> The hoplite-race -was inaugurated at the end of the sixth century <span class="smcap lowercase">B. C.</span>, in Ol. 65 -( = 520 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1411"></a><a href="#Footnote_1411" class="fnanchor">1411</a> Pausanias mentions 24 <i>stadiodromoi</i> at Olympia, who -<span class="pagenum"><a id="Page_192">192</a></span> -<span class="pagenum"><a id="Page_193">193</a></span> -won 32 victories, which makes this event third in importance, next -after boxing and wrestling. He mentions 7 victors in the double race -with 11 victories, and 5 victors in the long race with 8 victories. -He also mentions 12 hoplite victors with 14 victories. Consequently, -in all four running events there, he records 48 victors with 65 victories, -which brings the running races only to second place in importance -at Olympia, ranking next after boxing.<a id="FNanchor_1412"></a><a href="#Footnote_1412" class="fnanchor">1412</a> The ordinary sprinter or -<i>stadiodromos</i>, and the double sprinter, <i>diaulodromos</i> or <i>hoplitodromos</i>, -naturally ran differently from the endurance runner or <i>dolichodromos</i>. -Panathenaic vases clearly show this difference. Thus while the sprinter -swung his arms violently, spreading the fingers apart and touching -the ground only with his toes<a id="FNanchor_1413"></a><a href="#Footnote_1413" class="fnanchor">1413</a> (Figs. 36A and 37, left), the endurance -runner, who had to conserve his strength to the last, ran with a long -stride, holding his arms bent at the elbow and close to the body, his<span class="pagenum"><a id="Page_194">194</a></span> -fists doubled and his body slightly bent forward, its weight resting on -the ball of the foot, the heel being raised only a little. Thus Philostratos -says that the <i>dolichodromoi</i> ran with their hands extended -and with their fists balled, but that at the finish they also swung -their arms violently like wings.<a id="FNanchor_1414"></a><a href="#Footnote_1414" class="fnanchor">1414</a> The race (showing balled fists) is -seen on a Panathenaic amphora dating from the archonship of Nikeratos -(333 <span class="smcap lowercase">B. C.</span>), now in the British Museum, and on another of the -sixth century <span class="smcap lowercase">B. C.</span>, pictured in Fig. <a href="#f37">37</a> (right).<a id="FNanchor_1415"></a><a href="#Footnote_1415" class="fnanchor">1415</a> In the <i>diaulos</i> the -movement was less violent. Thus on an Athens vase inscribed, “I am -a diaulos runner,”<a id="FNanchor_1416"></a><a href="#Footnote_1416" class="fnanchor">1416</a> the movement is between that of a sprinter and -an endurance runner. It seems probable that this difference in the style -of running was similarly shown in sculpture.<a id="FNanchor_1417"></a><a href="#Footnote_1417" class="fnanchor">1417</a> We shall next consider -certain sculptural monuments which represent runners.</p> - -<p>The typical scheme for archaic and archaistic art was to represent -the runner with one knee nearly touching the ground, the upper log -forming a right angle with the lower, the other leg being perpendicular -to the upper. This scheme appears on many vases and reliefs and in -statuettes and statues.<a id="FNanchor_1418"></a><a href="#Footnote_1418" class="fnanchor">1418</a> This old method of depicting runners was kept -up by vase-painters down to the time of the red-figured masters.<a id="FNanchor_1419"></a><a href="#Footnote_1419" class="fnanchor">1419</a> We -see them on many reliefs, <i>e. g.</i>, on the Ionic-Greek reliefs on the three -archaic bronze tripods of the middle of the sixth century <span class="smcap lowercase">B. C.</span> in the possession -of Mr. James Loeb;<a id="FNanchor_1420"></a><a href="#Footnote_1420" class="fnanchor">1420</a> on a small bronze relief in the Metropolitan -Museum in New York which represents a winged Boreas;<a id="FNanchor_1421"></a><a href="#Footnote_1421" class="fnanchor">1421</a> and on the -marble funerary stele of the so-called dying hoplite runner found in -1902 near the Theseion, and now in the National Museum in Athens.<a id="FNanchor_1422"></a><a href="#Footnote_1422" class="fnanchor">1422</a> -Almost the same position as that of the figure on this Athenian relief is<span class="pagenum"><a id="Page_195">195</a></span> -seen in a small bronze in the Metropolitan Museum, whose primitive -features and solidly massed hair date it in the early part of the sixth -century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1423"></a><a href="#Footnote_1423" class="fnanchor">1423</a> Another slightly larger bronze in the same museum represents -Herakles running in a kneeling posture.<a id="FNanchor_1424"></a><a href="#Footnote_1424" class="fnanchor">1424</a> Because a spearman -is incongruous behind a bowman, Kalkmann<a id="FNanchor_1425"></a><a href="#Footnote_1425" class="fnanchor">1425</a> and Furtwaengler<a id="FNanchor_1426"></a><a href="#Footnote_1426" class="fnanchor">1426</a> have -interpreted the two kneeling figures near either end of the West gable -of the temple on Aegina as archaic runners (see Fig. <a href="#f21">21</a>, left). We may -further compare with these figures the positions, though not the -motives, of two others from the West gable at Olympia,<a id="FNanchor_1427"></a><a href="#Footnote_1427" class="fnanchor">1427</a> as well as -that of the kneeling bowman <i>Herakles</i> from the East gable of the -temple on Aegina.<a id="FNanchor_1428"></a><a href="#Footnote_1428" class="fnanchor">1428</a> In this connection we shall also mention the life-size -marble torso of a kneeling youth found in Nero’s villa at Subiaco -in 1884 and now in the Museo delle Terme, Rome (Pl. <a href="#p24">24</a>).<a id="FNanchor_1429"></a><a href="#Footnote_1429" class="fnanchor">1429</a> This -statue, representing a boy of delicate build apparently striding forward -with the right leg and bending the left so that the knee nearly touches -the ground, has been regarded by some scholars<a id="FNanchor_1430"></a><a href="#Footnote_1430" class="fnanchor">1430</a> as a runner, whose -pose copies the archaic manner, being historically the last example -known of its use in sculpture. The right shoulder is turned backward -and the head, now missing, was turned back and upwards; the right -arm is raised high and twisted about with the palm of the hand facing -backward, the left arm extended with its hand in some way related to -the right knee. The impression made on the spectator is that of a boy -bending aside as if to ward off some danger. It is an excellent piece of -work, evidently the marble copy of an original bronze. This has been variously -assigned to the fifth, fourth, and even later centuries <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_1431"></a><a href="#Footnote_1431" class="fnanchor">1431</a> and -interpreted in various ways<a id="FNanchor_1432"></a><a href="#Footnote_1432" class="fnanchor">1432</a>—as a Niobid,<a id="FNanchor_1433"></a><a href="#Footnote_1433" class="fnanchor">1433</a> as Ganymedes swooped<span class="pagenum"><a id="Page_196">196</a></span> -down upon by the eagle,<a id="FNanchor_1434"></a><a href="#Footnote_1434" class="fnanchor">1434</a> as Hylas drawn into the water by nymphs -when he was filling his pitcher,<a id="FNanchor_1435"></a><a href="#Footnote_1435" class="fnanchor">1435</a> as a ball-player,<a id="FNanchor_1436"></a><a href="#Footnote_1436" class="fnanchor">1436</a> as a boy throwing -a lasso,<a id="FNanchor_1437"></a><a href="#Footnote_1437" class="fnanchor">1437</a> as a gable figure,<a id="FNanchor_1438"></a><a href="#Footnote_1438" class="fnanchor">1438</a> as a runner at the games, etc. Many of -these interpretations are purely fanciful; the last is, perhaps, as good -as any, though the strongly turned upper body seems not quite fitted -to it. If it represents a runner, the sculptor has reproduced the well-known -archaic pose.</p> - -<h4><span class="smcap">The Statue of the Runner Ladas.</span></h4> - -<p>We shall next consider the famous statue of the runner Ladas by -Myron, which is unfortunately known to us only from literary evidence, -but which attained in antiquity an even greater fame than his nameless -<i>Diskobolos</i>, since it portrayed even more tension than that wonderful -work. Its fame was partly due to the picturesque story how the -victory cost the runner his life, for he died of strain while on his way -home to Sparta; it was also due in no less degree to the striking way in -which the victor was depicted.<a id="FNanchor_1439"></a><a href="#Footnote_1439" class="fnanchor">1439</a></p> - -<p>Two fourth-century epigrams tell us of the statue. The first of these -runs:</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="line">Λάδας τὸ στάδιον εἴθ’ ἥλατο, εἴτε διέπτη,</div> -<div class="line">οὐδὲ φράσαι δυνατόν· δαιμόνιον τὸ τάχος.</div> -<div class="line">[ὁ ψόφος ἦν ὕσπληγγος ἐν οὔασι, καὶ στεφανοῦτο</div> -<div class="line">Λάδας καὶ κάμνων δάκτυλον οὐ προέβη.]<a id="FNanchor_1440"></a><a href="#Footnote_1440" class="fnanchor">1440</a></div> -</div></div></div> - -<p>The second epigram, naming Myron as the sculptor, runs:</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="line">Οἷος ἔης φεύγων τὸν ὑπήνεμον, ἔμπνοε Λάδα,</div> -<div class="line">Θῦμον, ἐπ’ ἀκροτάτῳ πνεύματι θεὶς ὄνυχα,</div> -<div class="line">τοῖον ἐχάλκευσέν σε Μύρων, ἐπὶ παντὶ χαράξας</div> -<div class="line">σώματι Πισαίου προσδοκίην στεφάνου.</div> -</div></div></div> - -<div class="figcenter500"><p class="right">PLATE 24</p><a id="p24"></a> -<img src="images/i_fp196.jpg" width="500" height="672" alt="Statue of a Kneeling Youth." /> -<div class="caption">Statue of a Kneeling Youth, from Subiaco. Museo delle Terme, Rome.</div> -</div> - -<p><span class="pagenum"><a id="Page_197">197</a></span></p> - -<p>To these verses are added the following, which Benndorf thinks -belonged to another epigram on the same statue:</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="line">πλήρης ἐλπίδος ἐστίν, ἄκροις δ’ ἐπὶ χείλεσιν ἆσθμα</div> -<div class="line">ἐμφαίνει κοίλων ἔνδοθεν ἐκ λαγόνων.</div> -<div class="line">πηδήσει τάχα χαλκὸς ἐπὶ στέφος, οὐδὲ καθέξει</div> -<div class="line">ἁ βάσις· ὢ τέχνη πνεύματος ὠκυτέρα.<a id="FNanchor_1441"></a><a href="#Footnote_1441" class="fnanchor">1441</a></div> -</div></div></div> - -<p>Professor Ernest Gardner translates the two parts of the second -epigram as follows:</p> - -<p>“Like as thou wast in life, Ladas, breathing forth thy panting soul,<a id="FNanchor_1442"></a><a href="#Footnote_1442" class="fnanchor">1442</a> -on tip-toe, with every sinew at full strain, such hath Myron wrought -thee in bronze, stamping on thy whole body thy eagerness for the -victor’s crown of Pisa.”</p> - -<p>“He is filled with hope, and you may see the breath caught on his -lips from deep within his flanks; surely the bronze will leave its pedestal -and leap to the crown. Such art is swifter than the wind.”<a id="FNanchor_1443"></a><a href="#Footnote_1443" class="fnanchor">1443</a></p> - -<p>Even if part of the epigram is rhetorical, we can not doubt that Ladas -was represented in the final spurt just before he arrived at the goal. -His eagerness was not confined to the face—though the panting breath -could have been indicated by half opened lips, but was visible in the -whole body.<a id="FNanchor_1444"></a><a href="#Footnote_1444" class="fnanchor">1444</a> Whereas the girl runner of the Vatican (Pl. <a href="#p2">2</a>) is represented -at the beginning of the race, Myron’s statue represented Ladas -at the end of it. 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 <i>Diskobolos</i>. Mahler tried to identify the statue with -one of the Naples group of so-called runners (Fig. <a href="#f51">51</a>).<a id="FNanchor_1445"></a><a href="#Footnote_1445" class="fnanchor">1445</a> However, as -we shall see, these probably represent wrestlers, and not runners, and -neither of them shows any such tension as we should expect from the -description of the statue of Ladas. Though Foerster believes that the -statue of Ladas stood in Olympia, in honor of his victory in the long -race there,<a id="FNanchor_1446"></a><a href="#Footnote_1446" class="fnanchor">1446</a> we can not say definitely where it was.<a id="FNanchor_1447"></a><a href="#Footnote_1447" class="fnanchor">1447</a></p> - -<p><span class="pagenum"><a id="Page_198">198</a></span></p> - -<table summary="Fig. 38. Fig. 39."><tr> -<td class="tdc"><div class="figcenter250"><a id="f38"></a> -<img src="images/i_p198a.jpg" width="250" height="412" alt="Statue of a Runner." /> -<div class="caption"><span class="smcap">Fig. 38.</span>—Statue of a Runner. Palazzo -dei Conservatori, Rome.</div> -</div></td> - -<td class="tdc"><div class="figcenter250"><a id="f39"></a> -<img src="images/i_p198b.jpg" width="250" height="412" alt="Statue of a Runner." /> -<div class="caption"><span class="smcap">Fig. 39.</span>—Statue of a Runner. Palazzo -dei Conservatori, Rome.</div> -</div></td> -</tr></table> - -<p>Perhaps our best representation of runners is to be seen in the two -marble statues discovered near Velletri and now in the Palazzo dei -Conservatori, Rome (Figs. 38 and 39).<a id="FNanchor_1448"></a><a href="#Footnote_1448" class="fnanchor">1448</a> The hair and the sharp edges -of the modeling of the flesh, as well as the tree-stumps near the right -legs, show that these statues are copies of bronze originals. They were -at first interpreted as runners, but later were regarded as forming a -group of wrestlers, who were standing opposite one another and holding -their hands out for an opening. However, there is nothing in the pose -or the expression of these statues to show the tension of two opponents. -Moreover, they certainly never formed a group, for stylistic -differences reveal that they are copies of statues by different artists -who lived at different times; one belongs to the severe style of the last -quarter of the fifth century,<a id="FNanchor_1449"></a><a href="#Footnote_1449" class="fnanchor">1449</a> while the other, with its softer forms, -smaller head, and deeper-set eyes, is a product of the fourth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1450"></a><a href="#Footnote_1450" class="fnanchor">1450</a><span class="pagenum"><a id="Page_199">199</a></span> -The prominent edge of the chest is doubtless meant to indicate the hard -breathing of a runner.<a id="FNanchor_1451"></a><a href="#Footnote_1451" class="fnanchor">1451</a> Just in front of the tree-stump on the older -statue is to be seen a round hole in the plinth, which may have been -made for the end of a club held in the right hand, as such an object is -found in other works of art, notably in a statuette from Palermo, which -is the copy of a fifth-century <span class="smcap lowercase">B. C.</span> original, and on a second-century <span class="smcap lowercase">B. C.</span> -grave-stele from Crete.<a id="FNanchor_1452"></a><a href="#Footnote_1452" class="fnanchor">1452</a> Its use, however, is not certainly known.</p> - -<p>Furtwaengler, by an ingenious process of reasoning, argued that he -had recovered an actual statue of an Olympic runner in the so-called -<i>Alkibiades</i>, formerly in the Villa Mattei, but now in the Sala della Biga -of the Vatican.<a id="FNanchor_1453"></a><a href="#Footnote_1453" class="fnanchor">1453</a> This torso he ascribed to the sculptor Kresilas, because -of its likeness to the <i>Perikles</i> of that master, which once stood on the -Akropolis,<a id="FNanchor_1454"></a><a href="#Footnote_1454" class="fnanchor">1454</a> and to a marble torso in Naples representing a wounded -man ready to fall, which he thinks is a copy of the <i>Volneratus deficiens</i> -of Kresilas mentioned by Pliny.<a id="FNanchor_1455"></a><a href="#Footnote_1455" class="fnanchor">1455</a> The <i>Alkibiades</i> is very similar to the -Naples gladiator, though later in date; the bearded head, drawn-in -stomach, and muscular chest, and the veins in the upper arm are common -to both. The restorer of the Vatican statue has placed a helmet -under the right foot. But the deep-breathing chest may indicate a -runner, as we saw in the case of the statues of the Conservatori just -discussed. Furtwaengler has the body bend further forward, so that -the right foot may rest upon the ground and the glance be fixed upon -the goal, with the arms extended at the elbows, a position proved for -the right arm, at least, by the <i>puntello</i> above the hip. As the head<span class="pagenum"><a id="Page_200">200</a></span> -shows portrait-like features and only those athletes who had won three -victories had portrait statues, he has identified the original of the <i>Alkibiades</i> -with the statue of the famous stade-runner Krison of Himera, -who won his victories at Olympia just after the middle of the fifth -century <span class="smcap lowercase">B. C.</span>, the approximate date of the Vatican copy.<a id="FNanchor_1456"></a><a href="#Footnote_1456" class="fnanchor">1456</a> Such an -identification appears, however, to be too far-fetched to be convincing.</p> - -<h4><span class="smcap">Statues of Boy Runners.</span></h4> - -<div class="figcenter350"><a id="f40"></a> -<img src="images/i_p200.jpg" width="350" height="452" alt="Statue of the Thorn-puller." /> -<div class="caption"><span class="smcap">Fig. 40.</span>—Statue of the <i>Thorn-puller</i> (<i>Spinario</i>). -Palazzo dei Conservatori, Rome.</div> -</div> - -<p>Probably the statues of boy runners did not differ essentially from -those of men. That they were sometimes represented in motion is -shown by the footprints on the recovered base of the statue of Sosikrates -by an unknown artist. Here the right foot touched the ground -only with the front portion.<a id="FNanchor_1457"></a><a href="#Footnote_1457" class="fnanchor">1457</a> The view has often been expressed that -the bronze statue in the Palazzo dei Conservatori, Rome, known as the<span class="pagenum"><a id="Page_201">201</a></span> -<i>Spinario</i> (<i>Thorn-puller</i>) portrays a runner (Fig. <a href="#f40">40</a>).<a id="FNanchor_1458"></a><a href="#Footnote_1458" class="fnanchor">1458</a> It represents a boy, -from twelve to fifteen years old, seated upon a rock bending over and -engrossed in extracting a thorn from his left foot, which rests upon the -right knee. The severe hair treatment, low forehead, full cheeks, and -strong chin appear to show the ideal beauty of a boy of the period of -about 460 <span class="smcap lowercase">B. C.</span> The motive seems to have been inspired directly by -nature—witness the supple bend of the back, the delicate arms, the -naïve, though not too realistic, concentration of interest in the act portrayed. -Few pieces of ancient sculpture have given rise to more discussion -and extraordinary difference of opinion than this popular work. -One school of archæologists<a id="FNanchor_1459"></a><a href="#Footnote_1459" class="fnanchor">1459</a> believes it a late adaptation of a Hellenistic -original, a more accurate copy being the one in the British Museum, and -consequently views it as a purely <i>genre</i> statue impossible of conception -before Alexander’s time. According to this view the London copy was -an archaistic work of the time of Pasiteles. Another school, however, -including Helbig, Wolters, Kekulé, and many others, sees in the Roman -statue an original work of 460 to 450 <span class="smcap lowercase">B. C.</span>, chiefly because the face shows -great similarity to those of the statues of the Olympia gables (especially -to that of Apollo)<a id="FNanchor_1460"></a><a href="#Footnote_1460" class="fnanchor">1460</a>. According to this view the statue can not have -been a <i>genre</i> work, as such works of decorative character were of later -origin, but the motive must be sought in some definite incident—in -some myth or historical event. Thus it has been referred to the colonization -of the Ozolian Lokroi, 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 oracle. Many others, on the other hand, have seen in -its motive that of a boy victor in running, who has gained his victory -despite a thorn, which he is now pulling out, and who has dedicated his -statue to commemorate both the victory and the untoward circumstances -under which it was won. It has been assigned to various -sculptors and schools—to Myron, Pythagoras, and Kalamis, and to -Peloponnesian, Bœotian, and even Sicilian art.<a id="FNanchor_1461"></a><a href="#Footnote_1461" class="fnanchor">1461</a> The boy’s absorption -in his task certainly reminds us of the concentration so characteristic -of the <i>Diskobolos</i> of Myron. In determining its age and artistic<span class="pagenum"><a id="Page_202">202</a></span> -affiliations several things must be considered. In the first place, the -Roman statue is a copy, as the rock on which the boy sits is cast with the -figure, which would have been impossible in the fifth century <span class="smcap lowercase">B. C.</span> The -long hair on this copy, which is short on the one in the British Museum, -falls down the neck, but not over the cheeks, as it should on a head -which is thus bent downwards. Pasiteles almost certainly would have -tied it with a ribbon. This shows that the original was the work of an -artist who was used to making standing statues, and was not aware -of the change in the representation of the hair brought about by drooping -ones. Such considerations, in conjunction with the archaic facial -characteristics, almost certainly refer the original work to the fifth century -<span class="smcap lowercase">B. C.</span>, a date when <i>genre</i> statues, produced for adornment, did not -exist. Consequently a definite incident must be represented by it, -and it is quite possible that this incident should be sought in athletic -sculpture in the representation of a boy runner.</p> - -<p>The <i>Thorn-puller</i> became a model for many imitations from the -beginning of Hellenistic times on. These imitations tended to greater -realism and consequently to the debasement of the original conception, -for they were made to represent peasants, shepherds, satyrs, and -even negroes. The <i>motif</i> was also transferred to figures of girls, as, -<i>e. g.</i>, in the fragment of a terra-cotta statuette found in 1912 at Nida-Haddernheim.<a id="FNanchor_1462"></a><a href="#Footnote_1462" class="fnanchor">1462</a> -In the early Empire it was frequently copied in marble, -and again, during the Renaissance, the motive was used for small -bronzes.<a id="FNanchor_1463"></a><a href="#Footnote_1463" class="fnanchor">1463</a> Of Hellenistic copies, showing how the motive deteriorated, -we shall mention only two: the marble one found on the Esquiline, -in 1874, and known as the Castellani copy, now in the British Museum,<a id="FNanchor_1464"></a><a href="#Footnote_1464" class="fnanchor">1464</a> -the sculptor of which has made it into a truly <i>genre</i> fountain -figure by transforming the noble features of the beautiful Greek runner -into the snub nose and thick lips of a street Arab, and the still later -bronze statuette found near Sparta and now in the Paris collection -of Baron Edmund de Rothschild,<a id="FNanchor_1465"></a><a href="#Footnote_1465" class="fnanchor">1465</a> which represents the boy extracting -the thorn in anger.</p> - -<p>Similarly the so-called <i>Sandal-binder</i>—with replicas in Paris (Fig. <a href="#f8">8</a>), -London, Athens, Munich, and elsewhere, has been looked upon, without -decisive grounds, to be sure, as a runner who is tying on his sandals<span class="pagenum"><a id="Page_203">203</a></span> -after the race.<a id="FNanchor_1466"></a><a href="#Footnote_1466" class="fnanchor">1466</a> We have already discussed this statue in Chapter II, -in connection with the subject of assimilation.</p> - -<h4><span class="smcap">Hoplitodromoi.</span></h4> - -<p>The race in armor had a practical value in the training of soldiers, -and so became a popular sport, since it appealed not only to the trained -athlete, but to the citizen in general. It belonged to “mixed athletics,”<a id="FNanchor_1467"></a><a href="#Footnote_1467" class="fnanchor">1467</a> -<i>i. e.</i>, to competitions which were conducted under handicap conditions, -such as our obstacle races, and consequently it never attained the prestige -of the strictly athletic events. It came last among the gymnic -contests at Olympia and elsewhere,<a id="FNanchor_1468"></a><a href="#Footnote_1468" class="fnanchor">1468</a> being followed by the equestrian -events. It seems to have varied in different places in the distance -run, in the armor of the runner, and in the rules which governed the race. -At Olympia, as at Athens, it appears to have been a <i>diaulos</i> or a race of -two stadia.<a id="FNanchor_1469"></a><a href="#Footnote_1469" class="fnanchor">1469</a> The most strenuous race of the sort was run at the -<i>Eleutheria</i> at Platæa, where the contestants were completely enveloped -in armor<a id="FNanchor_1470"></a><a href="#Footnote_1470" class="fnanchor">1470</a> and were subject to peculiar rules. At Olympia the competitors -originally ran with helmets, greaves, and round shields, as -we infer from scenes on archaic vases and from the statement of Pausanias -that the statue of the first victor in this event, Damaretos of -Heraia, was represented with these arms.<a id="FNanchor_1471"></a><a href="#Footnote_1471" class="fnanchor">1471</a> In this passage Pausanias -adds that the Eleans and other Greeks later (ἀνὰ χρόνον) gave up the -greaves, and we find that they disappear on the vase-paintings.<a id="FNanchor_1472"></a><a href="#Footnote_1472" class="fnanchor">1472</a> Hauser -has shown that the vase-paintings, which, however, mostly illustrate -the Athenian practice, display a varied custom in respect of the use -of the greaves before about 520 <span class="smcap lowercase">B. C.</span>, the general use of them until about -450 <span class="smcap lowercase">B. C.</span>, and after that date their disuse.<a id="FNanchor_1473"></a><a href="#Footnote_1473" class="fnanchor">1473</a> The helmet disappeared<span class="pagenum"><a id="Page_204">204</a></span> -after the greaves, but the shield was never given up.<a id="FNanchor_1474"></a><a href="#Footnote_1474" class="fnanchor">1474</a> Thus the bronze -statue of Mnesiboulos of Elateia, a victor (σὺν τῇ ἀσπίδι) of Pausanias’ -day, which stood in “Runner Street” of his native city, appears to have -been represented with the shield.<a id="FNanchor_1475"></a><a href="#Footnote_1475" class="fnanchor">1475</a> It was for this reason that the event -was later sometimes called merely ἀσπίς.<a id="FNanchor_1476"></a><a href="#Footnote_1476" class="fnanchor">1476</a> The shields that appear -on the vases are always round and the helmets are Attic.<a id="FNanchor_1477"></a><a href="#Footnote_1477" class="fnanchor">1477</a> The gradual -reduction in the amount of the armor may have been a concession to -the regular athletes, who probably looked upon the contest as a spurious -sort of athletics. As for the style of the race, the hoplite runners seem -to have run somewhat as the stade and double-course runners, <i>i. e.</i>, -with their right hands up and their arms violently swinging.<a id="FNanchor_1478"></a><a href="#Footnote_1478" class="fnanchor">1478</a></p> - -<div class="figcenter500"><a id="f41"></a> -<img src="images/i_p205.jpg" width="500" height="694" alt="Hoplitodromes." /> -<div class="caption"><span class="smcap">Fig. 41.</span>—Hoplitodromes. Scenes from a r.-f. Kylix. Museum of Berlin.</div> -</div> - -<p>The picturesqueness of such a race appealed especially to vase-painters, -who have given us all the details of the event. The preparations for -the race are seen on a red-figured kylix from Vulci, now in Paris, ascribed -to Euphronios (Panaitios), on which one runner is donning his armor, -while others are practising preliminary runs.<a id="FNanchor_1479"></a><a href="#Footnote_1479" class="fnanchor">1479</a> The start is seen in the -right-hand figure depicted on a r.-f. kylix in Berlin (Fig. <a href="#f41">41</a>, a).<a id="FNanchor_1480"></a><a href="#Footnote_1480" class="fnanchor">1480</a> On -another r.-f. kylix we see a pair of hoplites, one slowing up before reaching -the central post, the other turning it.<a id="FNanchor_1481"></a><a href="#Footnote_1481" class="fnanchor">1481</a> The finish is seen on an -obscene r.-f. kylix from Vulci in the style of Brygos, in the British -Museum, where the bearded winner, with his helmet in his hand, looks -back on his rival, and the latter, apparently in disgust, drops his shield.<a id="FNanchor_1482"></a><a href="#Footnote_1482" class="fnanchor">1482</a> -The most complete illustration of the race is to be seen on the r.-f. Berlin -kylix just mentioned (Fig. <a href="#f41">41</a>, a, b, c.) Here on one side is a group of -three runners; the right-hand one is bending over, ready to start; the one -at the left is about to turn the central post, and the one in the centre, -who is turned in an opposite direction, is on the home stretch; on the -other side of the vase are three runners in full course, while another -appears on the interior of the vase.<a id="FNanchor_1483"></a><a href="#Footnote_1483" class="fnanchor">1483</a> Some vases seem to show that<span class="pagenum"><a id="Page_205">205</a></span> -the contest often had a semi-comic character, the variations in running -being used to amuse the spectators. Thus the shield might be dropped -and picked up again,<a id="FNanchor_1484"></a><a href="#Footnote_1484" class="fnanchor">1484</a> or it might be held in a peculiar manner.<a id="FNanchor_1485"></a><a href="#Footnote_1485" class="fnanchor">1485</a> This -comic element is brought out in the <i>Aves</i> of Aristophanes, in a scene in<span class="pagenum"><a id="Page_206">206</a></span> -which Peisthetairos, while observing the chorus of birds advancing with -their crests (λόφωσις), compares them with hoplite runners advancing -to begin the race.<a id="FNanchor_1486"></a><a href="#Footnote_1486" class="fnanchor">1486</a> The regular painter outdid the vase-painter -<span class="figright250"><a id="f42"></a> -<img src="images/i_p206.jpg" width="250" height="337" alt="Bronze Statuette -of a Hoplitodrome." /> -<span class="caption"><span class="smcap">Fig. 42.</span>—Bronze Statuette -of a Hoplitodrome (?). -University -Museum, Tuebingen.</span></span> -in representing the runner in violent -motion, if we may rely on -Pliny’s description of two paintings -of hoplites by Parrhasios.<a id="FNanchor_1487"></a><a href="#Footnote_1487" class="fnanchor">1487</a> -In one of these the runner was -represented as perspiring as he -ran, while in the other -he was represented as -having laid aside his -arms and panting so -realistically that the -observer seemed to -hear him.</p> - -<p>We have few representations of hoplitodromes -in sculpture. In the preceding chapter -we discussed the two marble helmeted -heads found at Olympia (Fig. <a href="#f30">30</a>), one of -which shows that the statue of which it was -a part was represented at rest, while the -other, because of the twist in the neck, seems -to have come from a statue which represented -the runner in violent motion. Pausanias saw -on the Athenian Akropolis the statue of the -hoplite runner Epicharinos, the work of the -sculptor Kritios, represented as practising -starts (ὁπλιτοδρομεῖν ἀσκήσαντος).<a id="FNanchor_1488"></a><a href="#Footnote_1488" class="fnanchor">1488</a> -In the well-known Tux bronze in the University -Museum at Tuebingen, we have a statuette -in which the position of the statue of Epicharinos -is probably reproduced. This little -bronze, which is only 0.16 meter tall (Fig. <a href="#f42">42</a>),<a id="FNanchor_1489"></a><a href="#Footnote_1489" class="fnanchor">1489</a> represents a bearded -man, entirely nude, except for the Attic helmet on his head, standing -with feet close together, knees slightly bent, and body inclined forward. -<span class="pagenum"><a id="Page_207">207</a></span>The right arm is extended, while the left, crooked at the elbow, rests -upon the hip. While Schwabe and Wolters, following the early -theory of Hirt and of the sculptor Dannecker, interpreted the bronze as -the figure of a charioteer, whose left hand was drawn back to hold the -reins and whose right was outstretched in a gesture intended to quiet -the horses, Hauser, de Ridder, Bulle, and many other archæologists -have interpreted it better as a hoplitodrome. The left arm, then, -carried a round shield, such as we have seen on Attic vases. The -next moment the right leg will be advanced, the shield, held back to -get a better start, will be pushed forward, and the runner will race -to the goal in a series of leaps, since the weight of the shield would -prevent him from following the more regular motion of the ordinary -runner. It probably represents, therefore, a hoplite runner, not in -the actual course, as Hauser thought, but practicing a preliminary -start, as de Ridder argued. If the figure represented a charioteer, the -legs would have been set farther apart, in order to give a firmer -position, and it would not be represented as standing on a base, nor -would it be wearing a helmet. The statuette stylistically belongs to -the opening years of the fifth century <span class="smcap lowercase">B. C.</span>, and may well be a free -imitation of a life-size original of such statues of hoplites as stood in -the Altis at Olympia. Despite the energy depicted in this figure, it -is rash to connect it with the Aeginetan sculptures, as Wolters and -Collignon have done, since a comparison between it and the <i>Champion</i> -of the East gable<a id="FNanchor_1490"></a><a href="#Footnote_1490" class="fnanchor">1490</a> will show great differences. Brunn ascribed the -original to Pythagoras; de Ridder, with reservations, to Kritios and -Nesiotes; while Bulle is more reasonable in referring it to an important -though unnamed artist of the early fifth century <span class="smcap lowercase">B. C.</span></p> - -<p>Hartwig has published a bronze statuette from Capua,<a id="FNanchor_1491"></a><a href="#Footnote_1491" class="fnanchor">1491</a> now in the -Imperial collection at Vienna, representing a nude youth with a crested -helmet on his head. There is no trace of a shield, 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 starting. -The so-called <i>Diomedes</i> of Myronian style in the Palazzo Valentini, -Rome,<a id="FNanchor_1492"></a><a href="#Footnote_1492" class="fnanchor">1492</a> whose stooping posture recalls the <i>Diskobolos</i> and accordingly -has been interpreted as one by Matz and von Duhn, more probably -also represents a hoplite-runner, as Furtwaengler maintained, because -of the similarity of its pose to that of the Tux bronze and because -of its helmeted head.<a id="FNanchor_1493"></a><a href="#Footnote_1493" class="fnanchor">1493</a></p> - -<p><span class="pagenum"><a id="Page_208">208</a></span></p> - -<div class="figcenter"><a id="f43"></a> -<img src="images/i_p208.jpg" width="350" height="538" alt="Statue of the so-called Borghese Warrior." /> -<div class="caption"><span class="smcap">Fig. 43.</span>—Statue of the so-called <i>Borghese Warrior</i>.<br /> -Louvre, Paris.</div> -</div> - -<p>Some other attempts to see hoplite runners in existing works of -sculpture have not been so successful. Thus Rayet’s attempt to resuscitate -the old interpretation of Quatremère de Quincy, who had explained -the statue of the so-called <i>Borghese Warrior</i> by Agasias of Ephesos -(Fig. <a href="#f43">43</a>) as that of a hoplitodrome just before reaching the goal, has -been recently revived again by Six.<a id="FNanchor_1494"></a><a href="#Footnote_1494" class="fnanchor">1494</a> This famous marble statue of the -Louvre, belonging to late Greek art, is an example of the last development -in the Argive-Sikyonian school, which for centuries had been<span class="pagenum"><a id="Page_209">209</a></span> -devoted to athletic sculpture.<a id="FNanchor_1495"></a><a href="#Footnote_1495" class="fnanchor">1495</a> Since the statue has no helmet, there -seems to be no valid reason for not adhering to the usual interpretation, -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 him, conceived of as seated upon a horse. The attitude and the -upward gaze are certainly not those of a runner. Though Collignon, -following Visconti, believes the figure to be one of a group, the man -actually defending himself against a horseman and covering himself -with his shield as he looks up, it is doubtful whether a second figure -ever existed. The artist seems to have contented himself with representing, -not a fight, but only a fighting pose. We are beginning to -understand that the Greek sculptor left something to the imagination -of the beholder.</p> - -<p>An attempt has also been made to see a dying hoplite runner in the -Parian marble archaic grave-relief in the National Museum in Athens, -which has already been mentioned as an example of the archaic scheme -of representing running.<a id="FNanchor_1496"></a><a href="#Footnote_1496" class="fnanchor">1496</a> It represents a beardless youth running in -a half-kneeling posture, even though the head is bent and turned in the -opposite direction. The eyes appear to be closed—due, perhaps, to the -faulty sculptor—and the two hands are touching the breast. While no -shield is represented (it is contended that its presence would nearly hide -the figure), still, because of the helmet and the position of the arm, which -latter is obviously that of a long-distance runner, Philios, followed by -Perrot-Chipiez and Bulle, explained it as the representation of a hoplite -runner who is expiring at the end of his course. They date it about 520 -<span class="smcap lowercase">B. C.</span>,<a id="FNanchor_1497"></a><a href="#Footnote_1497" class="fnanchor">1497</a> the date of the introduction of this race at Olympia. However, the -absence of the shield, to say nothing of the greaves, seems an insuperable -objection to such an hypothesis, as the shield was never omitted -in this race, but was invariably its symbol. Svoronos is therefore -more probably right in interpreting the relief as the monument of a -military runner (δρομοκῆρυξ), even if his dating (490–480 <span class="smcap lowercase">B. C.</span>) is somewhat -too late,<a id="FNanchor_1498"></a><a href="#Footnote_1498" class="fnanchor">1498</a> and if his identifying it with some particular messenger -(such as the Athenian runner Pheidippides, who ran to Sparta for aid -just prior to the battle of Marathon) is fanciful.</p> - -<p><span class="pagenum"><a id="Page_210">210</a></span></p> - -<h4><span class="smcap">Pentathletes.</span></h4> - -<p>The peculiar features of the pentathlon (πένταθλον) were the three -events, jumping, diskos-throwing, and javelin-throwing. All five events -are summed up in Simonides’ epigram on the pentathlete Diophon, -who won at Delphi and on the Isthmus, the second line of which -runs: ἅλμα, ποδωκείην, δίσκον, ἄκοντα, πάλην.<a id="FNanchor_1499"></a><a href="#Footnote_1499" class="fnanchor">1499</a></p> - -<p>The pentathlon did not exist in Homer’s time. Pindar expressly says -that it did not exist in heroic days, but that then a separate prize was -given for each feat.<a id="FNanchor_1500"></a><a href="#Footnote_1500" class="fnanchor">1500</a> At the games on Scheria, King Alkinoos boasts to -Odysseus of the superiority of his countrymen in πύξ τε παλαισμοσύνῃ τε -καὶ ἅλμασιν ἠδὲ πόδεσσιν.<a id="FNanchor_1501"></a><a href="#Footnote_1501" class="fnanchor">1501</a> The pentathlon for men was introduced at -Olympia at the same time as wrestling toward the end of the eighth century, -in Ol. 18 ( = 708 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1502"></a><a href="#Footnote_1502" class="fnanchor">1502</a> and the pentathlon for boys eighty years -later, in Ol. 38 ( = 628 <span class="smcap lowercase">B. C.</span>), only to be stopped soon after.<a id="FNanchor_1503"></a><a href="#Footnote_1503" class="fnanchor">1503</a> Pausanias -mentions fifteen victors at Olympia, who had statues erected in their -honor, for seventeen victories in the pentathlon, thus giving the pentathletes -sixth rank there in point of number.</p> - -<p>The b.-f. Bacchic amphora in Rome already discussed represents -four events out of the five: running, leaping, diskos-throwing, and -akontion-throwing (Figs. 36 A and 36 B).<a id="FNanchor_1504"></a><a href="#Footnote_1504" class="fnanchor">1504</a> On several Panathenaic -vases we find one or more events, and the three characteristic ones on -several, one of which we here reproduce (Fig. <a href="#f44">44</a>).<a id="FNanchor_1505"></a><a href="#Footnote_1505" class="fnanchor">1505</a></p> - -<p>The various events are common on r.-f. vases,<a id="FNanchor_1506"></a><a href="#Footnote_1506" class="fnanchor">1506</a> though these may -not represent the pentathlon contests, but merely gymnasium scenes,<span class="pagenum"><a id="Page_211">211</a></span> -showing that such contests were important. We have already said -that the pentathlon represented the whole physical training of Greek -youths; consequently the pentathlete was looked upon as the typical -athlete, being superior to all others in all-round development, even if -surpassed by them in certain special events. It was for this reason that -Polykleitos, in order to embody the principles of his athlete canon, -made a statue of a javelin-thrower (the <i>Doryphoros</i>) as the best -example of an all-round man.</p> - -<div class="figcenter"><a id="f44"></a> -<img src="images/i_p211.jpg" width="500" height="343" alt="" /> -<div class="caption"><span class="smcap">Fig. 44.</span>—Pentathletes. Scene from a Panathenaic Amphora in the<br /> -British Museum, London.</div> -</div> - -<p>None of the statues of pentathletes at Olympia has been recovered -with certainty in Roman copies. That some of them were represented -at rest is shown by the base of the statue of the victor Pythokles of -Elis, by the elder Polykleitos, which has been recovered.<a id="FNanchor_1507"></a><a href="#Footnote_1507" class="fnanchor">1507</a> This base -supported two different statues in succession. The feet of the earlier -one by Polykleitos were riveted into circular holes, and behind the right -foot on the upper surface of the base was inscribed the artist’s name, -while the victor’s appeared on the vertical front. This statue was later -removed and was replaced by another, whose pose was different, as we -see from the footmarks, which show that the feet were attached with -lead in hollows. Probably the old inscription was renewed in archaic<span class="pagenum"><a id="Page_212">212</a></span> -letters when this second statue was set up, the older letters being retained, -perhaps, to conceal the theft. The original statue was removed -by the first century <span class="smcap lowercase">B. C.</span>, or perhaps under Nero;<a id="FNanchor_1508"></a><a href="#Footnote_1508" class="fnanchor">1508</a> the new one was also -inscribed as the work of Polykleitos. A base of the Hadrianic or -Antonine age has been found in Rome, inscribed with the names Polykleitos -and Pythokles.<a id="FNanchor_1509"></a><a href="#Footnote_1509" class="fnanchor">1509</a> Since the footmarks do not agree with those -of either one of the Olympia statues, 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 Pythokles. Perhaps the statue on the -Roman base was the original one by Polykleitos removed from Olympia -to Rome, though it is possible that it was only a copy, the original -being elsewhere in Rome. While the later statue at Olympia had the -feet squarely on the ground, the original one stood on the right foot, -the left being drawn back and turned out, touching the ground only -with the ball. Hence the left knee must have turned outwards, a -natural position, if the head of the statue was turned slightly to the left. -In other words, this is the usual Polykleitan scheme. Furtwaengler -has made a strong though hardly convincing attempt to identify this -original statue with a copy surviving in two replicas at Rome and -Munich, which, as he believes, fit the conditions of the statue of -Pythokles.<a id="FNanchor_1510"></a><a href="#Footnote_1510" class="fnanchor">1510</a> These copies represent a nude youth standing with the -weight of the body on the right leg, the left drawn back and outwards. -The head is turned to the left, the right arm is held close to -the side (the hand, perhaps, once holding a fillet), and the left forearm -is outstretched from the elbow and holds an aryballos in the hand. -The two works are manifestly Polykleitan in style—the body, head, -and hair treatment resembling that of the <i>Doryphoros</i>. He assumed -that the feet corresponded in scale with the footmarks on the Olympia -base.</p> - -<p>Helbig, in the first edition of his <i>Fuehrer</i>, recognized the kinship between -the Vatican statuette and the <i>Doryphoros</i> of Polykleitos, and was -prone to accept Furtwaengler’s identification; but later on, in the third -edition, he ascribed the statuette only to the Polykleitan circle and -denied that its foot position corresponded with that of the Pythokles -base. Amelung also, while accepting its Polykleitan character, has -shown that the feet of the statuette are closer together than those on -the Olympia base and are placed at a slightly different angle. As for -the Munich statue, both Helbig and Amelung have ruled it out of the<span class="pagenum"><a id="Page_213">213</a></span> -evidence. The head, though similar to that of the statuette, also -discloses marked differences, and the legs of the two works do not -have the same pose. Loewy agrees with Amelung that the statue -of Pythokles conformed with the type of the <i>Diadoumenos</i>—especially -<span class="figright200"><a id="f45"></a> -<img src="images/i_p213.jpg" width="200" height="437" alt="Statue of a Boy -Victor." /> -<span class="caption"><span class="smcap">Fig. 45.</span>—Statue of a Boy -Victor (the <i>Dresden Boy</i>). -Albertinum, Dresden.</span></span> -with the Vaison copy (see Fig. <a href="#f28">28</a>)—and -with that of the <i>Doryphoros</i>.<a id="FNanchor_1511"></a><a href="#Footnote_1511" class="fnanchor">1511</a> We -can not, therefore, safely assume that the -statue of Pythokles has been recovered in -any existing copy.<a id="FNanchor_1512"></a><a href="#Footnote_1512" class="fnanchor">1512</a> A further variant of -the works just discussed should be mentioned -here—the beautiful marble statue -of a boy victor in Dresden, known as the -<i>Dresden Boy</i> (Fig. <a href="#f45">45</a>).<a id="FNanchor_1513"></a><a href="#Footnote_1513" class="fnanchor">1513</a> In this statue the -leg position is nearly like that indicated -by the marks on the Pythokles basis, -though the left foot is not set so far back -nor its tip so far out. The head is turned -to the left and slightly lowered, the right -arm hung to the side, and the left forearm -was outstretched, the hand doubtless -holding some athletic article, at which the -boy is looking down, perhaps a diskos<a id="FNanchor_1514"></a><a href="#Footnote_1514" class="fnanchor">1514</a> or -a fillet. This beautiful athlete statue has -many stylistic points in common with the -<i>Diadoumenos</i>, and shows similar Attic influence, -and its original may be referred -with Furtwaengler to the later period of -the master himself. It gives us an excellent -idea how Polykleitos may have made -his Olympia boy victors appear. A more -remote variant seems to be furnished by -a fourth-century <span class="smcap lowercase">B. C.</span> bronze statuette of a -youthful athlete in the Louvre.<a id="FNanchor_1515"></a><a href="#Footnote_1515" class="fnanchor">1515</a> Here the position of the feet, the<span class="pagenum"><a id="Page_214">214</a></span> -turn of the head, and the direction of the gaze are the same as in -the <i>Dresden Boy</i>. However, as the right arm is raised horizontally, -Furtwaengler believed that the right hand held a fillet which the -youth is letting fall into the palm of the left.</p> - -<p>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 -Aischines, who won two victories some time between Ols. 126 and 132 -( = 276 and 252 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1516"></a><a href="#Footnote_1516" class="fnanchor">1516</a> -These marks show that the statue represented the -victor in violent movement, since the left foot was turned outwards and -the right one was brought almost to the edge of the base.</p> - -<p>We shall next consider in some detail how the pentathlete may have -been represented at Olympia in the three characteristic contests of -jumping, diskos-throwing, and javelin-throwing. We have already discussed -the runner, and in a future section we shall discuss the wrestler, -both of whom contended in these events not only in the pentathlon, -but also in the corresponding independent competitions.</p> - -<h4><span class="smcap">Jumpers.</span></h4> - -<p>Jumping was a well-known contest in heroic days. In Homer, however, -it did not take place at the games of Patroklos, but only at those -held by King Alkinoos.<a id="FNanchor_1517"></a><a href="#Footnote_1517" class="fnanchor">1517</a> Quintus Smyrnæus has the Trojan heroes -contend in jumping,<a id="FNanchor_1518"></a><a href="#Footnote_1518" class="fnanchor">1518</a> and the contest goes back to mythology.<a id="FNanchor_1519"></a><a href="#Footnote_1519" class="fnanchor">1519</a> Though -Plato does not mention it, Aristotle does.<a id="FNanchor_1520"></a><a href="#Footnote_1520" class="fnanchor">1520</a> Later it became an essential -part of the pentathlon, though never an independent contest at -the great games. It was probably considered to be the most representative -feature of the pentathlon, perhaps because of the customary use -of the <i>halteres</i> in the physical exercises of the gymnasium. Jumping-weights -were, in fact, the special symbol of the pentathlon, and, as we -saw in the preceding chapter, were often the definitive attributes -indicated on statues of pentathletes.<a id="FNanchor_1521"></a><a href="#Footnote_1521" class="fnanchor">1521</a> We shall next discuss the -appearance and use of such jumping-weights. Their form is often a -sure indication of the date of a statue.</p> - -<p>Juethner has made a careful study of the different shapes of <i>halteres</i> -and his conclusions have been followed, for the most part, by Gardiner.<a id="FNanchor_1522"></a><a href="#Footnote_1522" class="fnanchor">1522</a> -The <i>halteres</i> do not appear in Homer, but were in existence at least by -the beginning of the sixth century <span class="smcap lowercase">B. C.</span>, and a little later they probably -appeared on pentathlete statues. To this period belongs the lead<span class="pagenum"><a id="Page_215">215</a></span> -weight from Eleusis now in Athens, whose inscription records that it was -dedicated by one Epainetos to commemorate his victory in jumping.<a id="FNanchor_1523"></a><a href="#Footnote_1523" class="fnanchor">1523</a> -On vase-paintings of the sixth and fifth centuries <span class="smcap lowercase">B. C.</span>, we see numerous -types, but two main ones. Early b.-f. vases show a semicircular piece -of metal or stone with a deep depression on one side for a finger grip, -the two club-like ends being equal (as in Figs. 36A and 44). In the -early fifth century <span class="smcap lowercase">B. C.</span>, a club-like type came in, which shows many -modifications in the size and shape of the ends.<a id="FNanchor_1524"></a><a href="#Footnote_1524" class="fnanchor">1524</a> In the fifth century -<span class="smcap lowercase">B. C.</span>, the second main type appeared, of an elongated semispherical -form, thickest in the middle and with the ends pointed or rounded. -These correspond with the “archaic” ones, which Pausanias saw on the -figure of <i>Agon</i> in the dedicatory group of Mikythos at Olympia<a id="FNanchor_1525"></a><a href="#Footnote_1525" class="fnanchor">1525</a> and -describes as forming half an elongated circle and so fastened as to let -the fingers pass through. We have two stone examples of this type: -one found at Corinth, now in the Polytechnic Institute in Athens,<a id="FNanchor_1526"></a><a href="#Footnote_1526" class="fnanchor">1526</a> in -which a hole is cut behind the middle for the fingers and thumbs, and -a more primitive single one from Olympia.<a id="FNanchor_1527"></a><a href="#Footnote_1527" class="fnanchor">1527</a> Philostratos divides the -Greek jumping-weights into “long” and “spherical,”<a id="FNanchor_1528"></a><a href="#Footnote_1528" class="fnanchor">1528</a> which Juethner -identifies with the two types just discussed. Gardiner, however, finds -this impossible, since Pausanias speaks of one type as “archaic,” and he -consequently thinks that these were no longer in use in the time of Philostratos. -After the fifth century <span class="smcap lowercase">B. C.</span> we have little evidence about -<i>halteres</i> until Roman days, when a cylindrical type appears on Roman -copies of Greek statues of athletes, on mosaics and wall-paintings.<a id="FNanchor_1529"></a><a href="#Footnote_1529" class="fnanchor">1529</a> -Thus it appears on the tree-trunk in two athlete statues in Dresden<a id="FNanchor_1530"></a><a href="#Footnote_1530" class="fnanchor">1530</a> and -the Pitti Gallery in Florence,<a id="FNanchor_1531"></a><a href="#Footnote_1531" class="fnanchor">1531</a> and on the Lateran athlete mosaic from -Tusculum of the imperial period.<a id="FNanchor_1532"></a><a href="#Footnote_1532" class="fnanchor">1532</a> In Roman days jumping-weights -were used for the most part in medical gymnastics, like our dumb-bells.<a id="FNanchor_1533"></a><a href="#Footnote_1533" class="fnanchor">1533</a></p> - -<p><span class="pagenum"><a id="Page_216">216</a></span></p> - -<p>Philostratos says that the jump was the most difficult part of the -pentathlon.<a id="FNanchor_1534"></a><a href="#Footnote_1534" class="fnanchor">1534</a> It never existed as an independent competition despite its -popularity in Greece. This popularity is attested by the frequency -with which it is depicted on vases from the sixth century <span class="smcap lowercase">B. C.</span> onward. -Here the jumper is regularly shown with weights, and we can assume that -many pentathlete statues were so represented, the sculptor ordinarily -copying the kind of weight which was in use in his own age. While -Philostratos in his day thought that the use of weights was merely to aid -in exercise, Aristotle long before had rightly understood that the -jumper could make a longer jump with than without them,<a id="FNanchor_1535"></a><a href="#Footnote_1535" class="fnanchor">1535</a> a fact -easily proved by the feats of modern jumpers. While the modern -record for the running broad jump is 25 feet 3 inches,<a id="FNanchor_1536"></a><a href="#Footnote_1536" class="fnanchor">1536</a> an English -athlete jumped 29 feet 7 inches with the use of 5-pound weights,<a id="FNanchor_1537"></a><a href="#Footnote_1537" class="fnanchor">1537</a> -and a German officer in full uniform jumped 23 feet from a springboard.<a id="FNanchor_1538"></a><a href="#Footnote_1538" class="fnanchor">1538</a> -The recorded jumps of Phaÿllos at Delphi and of Chionis at -Olympia, the former 55 feet and the latter 52, can not, however, be -explained as ordinary broad jumps, even if we assume that the Greek -jumper was far superior to the modern one. Such jumps would be impossible -even with springboards or raised platforms, and we have no -evidence that the Greeks used such devices. We might explain them -on the theory of triple jumps<a id="FNanchor_1539"></a><a href="#Footnote_1539" class="fnanchor">1539</a>—though the difficulty of such a solution -is very great—or simply as mistakes in the records. Thus the record of -Phaÿllos is found in a late epigram, in which this athlete is also said -to have thrown the diskos 105 feet.<a id="FNanchor_1540"></a><a href="#Footnote_1540" class="fnanchor">1540</a> That of Chionis is, to be sure, -given by Africanus.<a id="FNanchor_1541"></a><a href="#Footnote_1541" class="fnanchor">1541</a> But it is more than probable that νβʹ (52) of his -record should read κβʹ (22), since the Armenian Latin text reads <i>duos -et viginti cubitus</i>.<a id="FNanchor_1542"></a><a href="#Footnote_1542" class="fnanchor">1542</a></p> - -<p>Vase-paintings tell us how the <i>halteres</i> were used.<a id="FNanchor_1543"></a><a href="#Footnote_1543" class="fnanchor">1543</a> The jumper -swung them forward and upward until they were level with or higher -than the head; then he brought them down, bending the body forward -until the hands were below the knees, the jump taking place on -the return swing. We find the preliminary swing represented most -commonly on the vases;<a id="FNanchor_1544"></a><a href="#Footnote_1544" class="fnanchor">1544</a> we also see on them the top of the upward<span class="pagenum"><a id="Page_217">217</a></span> -swing,<a id="FNanchor_1545"></a><a href="#Footnote_1545" class="fnanchor">1545</a> the bottom of the downward swing,<a id="FNanchor_1546"></a><a href="#Footnote_1546" class="fnanchor">1546</a> the jumper in midair,<a id="FNanchor_1547"></a><a href="#Footnote_1547" class="fnanchor">1547</a> -and the moment just before alighting.<a id="FNanchor_1548"></a><a href="#Footnote_1548" class="fnanchor">1548</a> The act of landing is seen -on an Etruscan wall-painting from a tomb at Chiusi.<a id="FNanchor_1549"></a><a href="#Footnote_1549" class="fnanchor">1549</a> Running -jumps are the ones most commonly depicted.<a id="FNanchor_1550"></a><a href="#Footnote_1550" class="fnanchor">1550</a></p> - -<p>The representation of the jump, therefore, was specially adapted to -the vase-painter and not to the sculptor. If any movement in the -jump could have been represented to advantage in sculpture, it would -have been the early position in which the weights were swung forward -and upwards. This is the one represented on an incised bronze diskos -from Sicily now in the British Museum,<a id="FNanchor_1551"></a><a href="#Footnote_1551" class="fnanchor">1551</a> where an athlete, with his right -leg drawn back for the spring, is holding the weights in his outstretched -hands. A small finely modelled bronze statuette dating from the middle -of the fifth century <span class="smcap lowercase">B. C.</span>, in the Metropolitan Museum, New York, -may represent a jumper either just taking off, or perhaps just finishing -the jump.<a id="FNanchor_1552"></a><a href="#Footnote_1552" class="fnanchor">1552</a> The athlete is standing with his left foot advanced, his -knees bent back, and his body leaning forward, and is holding both arms -in front, the palms downwards. Such a concentrated attitude reminds -us strongly of Myron, under whose influence this statuette must have -been made. Some have interpreted it as the representation of a diver, -though the hands seem to be held too far apart and the body wrongly -poised for that position, as we see it in a statuette of a diver from Perugia.<a id="FNanchor_1553"></a><a href="#Footnote_1553" class="fnanchor">1553</a> -More likely a jumper is intended, as the attitude is very similar -to that depicted on several vases.<a id="FNanchor_1554"></a><a href="#Footnote_1554" class="fnanchor">1554</a> However, as the jumper has no<span class="pagenum"><a id="Page_218">218</a></span> -<i>halteres</i>, it can not represent a pentathlete, but must be an ordinary -gymnasium athlete.</p> - -<h4><span class="smcap">Diskoboloi.</span></h4> - -<p>The diskos-throw (δισκοβολία) goes back to mythology and heroic -days.<a id="FNanchor_1555"></a><a href="#Footnote_1555" class="fnanchor">1555</a> In Homer, at the games of Patroklos, Achilles casts a metal -mass called the σόλος.<a id="FNanchor_1556"></a><a href="#Footnote_1556" class="fnanchor">1556</a> This was the primitive type of diskos. Of -such early contests and feats of strength we have a good record in the -red-sandstone mass, weighing 143.5 kilograms ( = 315 pounds), which has -been found at Olympia, marked with a sixth-century inscription to the -effect that one Bybon threw it over his head.<a id="FNanchor_1557"></a><a href="#Footnote_1557" class="fnanchor">1557</a> There is nothing athletic, -however, about the use of such a stone or of the Homeric <i>solos</i>. -The diskos was also known to Homer.<a id="FNanchor_1558"></a><a href="#Footnote_1558" class="fnanchor">1558</a> It was of stone, and in Pindar -the heroes Nikeus, Kastor, and Iolaos still hurl the stone diskos instead -of the metal one of the poet’s day.<a id="FNanchor_1559"></a><a href="#Footnote_1559" class="fnanchor">1559</a> The stone diskos appears on sixth-century -vases as a white object,<a id="FNanchor_1560"></a><a href="#Footnote_1560" class="fnanchor">1560</a> but metal ones were introduced at -the end of the sixth century <span class="smcap lowercase">B. C.</span> A bronze one from Kephallenia (?) in -the British Museum has a sixth-century inscription in the Doric dialect -and in the alphabet of the Ionian Islands, which gives the dedication -of Exoïdas to the Dioskouroi.<a id="FNanchor_1561"></a><a href="#Footnote_1561" class="fnanchor">1561</a> Several others have been found in -different parts of Greece, especially at Olympia.<a id="FNanchor_1562"></a><a href="#Footnote_1562" class="fnanchor">1562</a> Pausanias says -that boys used a lighter diskos than men.<a id="FNanchor_1563"></a><a href="#Footnote_1563" class="fnanchor">1563</a></p> - -<p>While only unimportant monuments outside of vase-paintings illustrate -the jump, those illustrating the diskos-throw are rich and varied, -including not only vases, but statues, statuettes, small bronzes, reliefs, -coins, and gems.<a id="FNanchor_1564"></a><a href="#Footnote_1564" class="fnanchor">1564</a></p> - -<p>In his careful attempt at reconstructing the method of casting the -diskos, E. N. Gardiner has distinguished seven different positions,<span class="pagenum"><a id="Page_219">219</a></span> -which are illustrated by the monuments.<a id="FNanchor_1565"></a><a href="#Footnote_1565" class="fnanchor">1565</a> He shows that while the -swing of the quoit was always the same, <i>i. e.</i>, in a vertical and not -in a horizontal arc, and the throw was invariably made from a -position like that of Myron’s statue, the preliminary and certain -other movements varied. It will be well, before discussing representations -of the diskos-thrower in sculpture, very briefly to recapitulate -his summary of positions, using the evidence which he and -others have collected. First, the preliminary position or stance, -with three variations: either the position of the <i>Standing Diskobolos</i> -of the Vatican (Pl. <a href="#p6">6</a>), which occurs in bronzes, but not on vases; -or the position in which the diskobolos raises the quoit with the left -hand level with the shoulder, which occurs on vase-paintings;<a id="FNanchor_1566"></a><a href="#Footnote_1566" class="fnanchor">1566</a> or that -in which the diskos is held outwards in both hands level with the waist.<a id="FNanchor_1567"></a><a href="#Footnote_1567" class="fnanchor">1567</a> -From any of these stance positions, either with or without change -of feet, we reach the second position, in which the diskos is raised in -both hands and extended either horizontally to the front and level -with the head,<a id="FNanchor_1568"></a><a href="#Footnote_1568" class="fnanchor">1568</a> or held above the head.<a id="FNanchor_1569"></a><a href="#Footnote_1569" class="fnanchor">1569</a> Thirdly the diskos is swung -downwards and rests upon the right forearm, with either foot forward.<a id="FNanchor_1570"></a><a href="#Footnote_1570" class="fnanchor">1570</a> -This position leads up to that of Myron’s statue, in which the diskos is -swung as far back as possible (Pls. 22, 23, and Figs. 34, 35).<a id="FNanchor_1571"></a><a href="#Footnote_1571" class="fnanchor">1571</a> The fifth<span class="pagenum"><a id="Page_220">220</a></span> -position is the beginning of the forward swing, when the body is straightened.<a id="FNanchor_1572"></a><a href="#Footnote_1572" class="fnanchor">1572</a> -As the diskos swings downwards and the left foot advances, -the sixth position is reached.<a id="FNanchor_1573"></a><a href="#Footnote_1573" class="fnanchor">1573</a> Lastly the right foot is advanced after -the diskos is cast.<a id="FNanchor_1574"></a><a href="#Footnote_1574" class="fnanchor">1574</a></p> - -<p>A victor statue of a diskobolos -might conceivably have taken -<span class="figright250"><a id="f46"></a> -<img src="images/i_p220.jpg" width="250" height="445" alt="Bronze Statuette of a Diskobolos." /> -<span class="caption"><span class="smcap">Fig. 46.</span>—Bronze Statuette of a <i>Diskobolos</i>. -Metropolitan Museum, New York.</span></span> -any one of these seven positions. -We have already considered the -two statues, the <i>Standing Diskobolos</i> -of Naukydes in the Vatican -(Pl. <a href="#p6">6</a>) and that of Myron -(Pls. 22, 23, and Figs. 34, 35), -the two most important works -in sculpture to illustrate positions -of the throw. The statue -of Naukydes is not taking aim, -as Juethner maintains, nor looking -down the course. The head -is inclined a little to the right and -downwards, and the eyes are directed -to the ground only a short -distance away, thus measuring -the distance the left foot is to -be advanced, when the diskos -is finally swung forward for the -cast, which takes place off the -left and not off the right foot. -The right forearm is rightly -restored, as it thus appears -on bronzes which imitate this -stance.<a id="FNanchor_1575"></a><a href="#Footnote_1575" class="fnanchor">1575</a> -A different stance is -shown in a fine bronze statuette -in the Metropolitan Museum -(Fig. <a href="#f46">46</a>),<a id="FNanchor_1576"></a><a href="#Footnote_1576" class="fnanchor">1576</a> dating from about<span class="pagenum"><a id="Page_221">221</a></span> -480 <span class="smcap lowercase">B. C.</span> This little masterpiece of the transition period of Attic -art, still disclosing archaic traits, represents a diskobolos standing -firmly on both legs, the right being slightly advanced, and holding -with the left hand the diskos level with the head. That he is preparing -for intense action is seen by the way in which the toes catch -the ground. Though the right arm is broken off from below the -shoulder, we can infer from vase-paintings which show diskoboloi in -the same position<a id="FNanchor_1577"></a><a href="#Footnote_1577" class="fnanchor">1577</a> that it was lowered and bent at the elbow and -the hand left open. From this position the diskos will be raised -high above the head with both hands, as in a bronze in Athens,<a id="FNanchor_1578"></a><a href="#Footnote_1578" class="fnanchor">1578</a> -which illustrates Gardiner’s second position.</p> - -<p>The movement is carried a little further—showing the moment -of transition to the downward swing or third position—in a fifth-century -<span class="smcap lowercase">B. C.</span> bronze in the British Museum.<a id="FNanchor_1579"></a><a href="#Footnote_1579" class="fnanchor">1579</a> Here a nude, beardless -athlete is represented standing with the right foot advanced and holding -the diskos in both hands before him above the head. The right hand -grasps the quoit underneath and the left at the top.<a id="FNanchor_1580"></a><a href="#Footnote_1580" class="fnanchor">1580</a> The third position -is well illustrated by the tiny archaic bronze on the cover of a lebes -in the British Museum,<a id="FNanchor_1581"></a><a href="#Footnote_1581" class="fnanchor">1581</a> which represents a nude and beardless youth -standing with the left foot advanced and with the left hand raised, -while the right holds the diskos. Almost the same pose is also seen in -a small bronze in the Antiquarium, Berlin.<a id="FNanchor_1582"></a><a href="#Footnote_1582" class="fnanchor">1582</a></p> - -<p>Two archaic statuettes from the Akropolis, now in the National -Museum in Athens, and recently published, should be mentioned in this -connection.<a id="FNanchor_1583"></a><a href="#Footnote_1583" class="fnanchor">1583</a> The more archaic of these represents a youth in an attitude -which has been misunderstood. De Ridder interpreted it as a -dancing man, while Staïs thought it represented a youth walking along -with his left hand raised as if to ward off a blow. White, however,<span class="pagenum"><a id="Page_222">222</a></span> -showed that it (like another less perfect example from the Akropolis, -no. 6594) represents a diskobolos standing with the right foot advanced -and holding the diskos in front of the body with the right hand, resting -it against the flat of the forearm, while the left arm is raised above the -head. Thus it is another example illustrating the initial stage of Gardiner’s -third position. The other statuette, wrongly mounted, should, -according to White, be made to lean further forward; the knees are -bent, the body swung forward from the hips, the head thrown back and -upward, the right arm stretched forth with the flat of the forearm uppermost -and the left similarly placed. Gardiner and Staïs interpreted this -figure as a charioteer, and de Ridder as either a jumper, who has raised -his <i>halteres</i> preparatory to the leap, or a diskobolos. White has shown -that the position of the right arm proves it to be a diskobolos, represented -in a movement between Gardiner’s third and fourth positions, just prior -to that of Myron’s statue. De Ridder believed both statues to be Aeginetan, -but no. 6614, when compared with Myron’s statue, is certainly Attic, -and resemblances in the treatment of the hair, eyes, and mouth show -that both statuettes are of the same school. It has often been said that -Myron’s great statue had no predecessor, as it certainly had no successor. -Its fame was enhanced by the assumption that Myron passed at -one stride from such statues as the <i>Tyrannicides</i> to that complex work. -Such works, however, as these statuettes—especially no. 6614—show -that the preliminary problems had been solved on a humble scale before -Myron undertook his consummate work. Here, then, we have works by -artists who belonged to the very movement which produced Myron.</p> - -<p>For the last three positions analyzed by Gardiner (nos. 5, 6, 7) our -only illustrations appear to be vase-paintings.</p> - -<h4><span class="smcap">Akontistai.</span></h4> - -<p>Javelin-throwing (ἀκοντίζειν, ἀκοντισμός) was very old and was universal -in Greece, its origin being traced back to mythology.<a id="FNanchor_1584"></a><a href="#Footnote_1584" class="fnanchor">1584</a> Stassoff -tried to trace it to Oriental sources,<a id="FNanchor_1585"></a><a href="#Footnote_1585" class="fnanchor">1585</a> but inasmuch as no such contest -is shown on the monuments of Egypt or Assyria, Juethner is probably -right in assuming that it was Greek in origin. In Homer it was a separate -contest at the games of Patroklos.<a id="FNanchor_1586"></a><a href="#Footnote_1586" class="fnanchor">1586</a> Juethner has distinguished -two types of javelin-throwing in the historical period: one in which the -spear or akontion was pointed more or less upwards,<a id="FNanchor_1587"></a><a href="#Footnote_1587" class="fnanchor">1587</a> the other in which<span class="pagenum"><a id="Page_223">223</a></span> -it was held horizontally.<a id="FNanchor_1588"></a><a href="#Footnote_1588" class="fnanchor">1588</a> Only the former type is represented in -illustrations of purely athletic competitions, the latter type referring to -illustrations of the practical use of javelin-throwing, <i>i. e.</i>, in war or -in the chase. Vase-paintings of palæstra scenes almost invariably -show javelins with blunt points; the throwers’ heads are frequently -turned back before the throw, and there is no sign of any target. On -vase-paintings, however, which represent practical javelin-throwing -from horseback, the javelins are pointed. This proves that in athletic -contests the throw was for distance and not at a mark.<a id="FNanchor_1589"></a><a href="#Footnote_1589" class="fnanchor">1589</a> The javelin -used in Greek games had several names, ἄκων, ἀκόντιον, etc.<a id="FNanchor_1590"></a><a href="#Footnote_1590" class="fnanchor">1590</a> It was -about the height of a man, as we know from its appearance on a Spartan -relief,<a id="FNanchor_1591"></a><a href="#Footnote_1591" class="fnanchor">1591</a> and from many vase-paintings representing palæstra scenes -(Fig. <a href="#f44">44</a>). It was thrown by means of a thong (ἀγκύλη, Lat. <i>amentum</i>), -which was fastened near the centre and consisted of a detachable -leathern strip from 12 to 18 inches long. This was bound tight, with -a loop left, into which the thrower inserted his first and middle fingers.<a id="FNanchor_1592"></a><a href="#Footnote_1592" class="fnanchor">1592</a> -The method of casting is seen on many vases.<a id="FNanchor_1593"></a><a href="#Footnote_1593" class="fnanchor">1593</a> Gardiner has analyzed -three different positions from vase-paintings. Usually the throw was -made with a short run, though standing throws are also pictured.<a id="FNanchor_1594"></a><a href="#Footnote_1594" class="fnanchor">1594</a> -First the thrower extends the right arm back to its full length and, with -the left hand opposite the right breast, holds the end of the spear and<span class="pagenum"><a id="Page_224">224</a></span> -pushes it back, holding it downwards or horizontally.<a id="FNanchor_1595"></a><a href="#Footnote_1595" class="fnanchor">1595</a> Next he starts -to run, turning his body sidewise and extending his left arm to the -front. On a r.-f. Munich kylix<a id="FNanchor_1596"></a><a href="#Footnote_1596" class="fnanchor">1596</a> we see the first and second positions. -The youth on the left is steadying the javelin with the left hand, while -the one on the right has just let it go. A further turn of the body to -the right takes place and the right knee is bent, while the right shoulder -is dropped and the hand is turned outwards.<a id="FNanchor_1597"></a><a href="#Footnote_1597" class="fnanchor">1597</a> The actual cast is very -uncommon on vase-paintings, because of difficulty in representing it.<a id="FNanchor_1598"></a><a href="#Footnote_1598" class="fnanchor">1598</a></p> - -<p>Because of the assumed lack of sculptural monuments, Reisch<a id="FNanchor_1599"></a><a href="#Footnote_1599" class="fnanchor">1599</a> and -<span class="figleft250"><a id="f47"></a> -<img src="images/i_p224.jpg" width="250" height="308" alt="Bust of the Doryphoros." /> -<span class="caption"><span class="smcap">Fig. 47.</span>—Bust of the <i>Doryphoros</i>, -after Polykleitos, by Apollonios. -Museum of Naples.</span></span> -others have wrongly doubted -whether javelin-throwers were -represented in sculpture as victors. -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-paintings, -even if this contest, like -jumping, was better adapted to -the painter than to the sculptor. -Furthermore, we shall attempt to -show that such monuments actually -did exist.</p> - -<p>The best example of such a javelin-thrower -seems to be the <i>Doryphoros</i>, -the most famous statue of -Polykleitos, in which he illustrated -his canon of athletic forms. The -<i>Doryphoros</i> exists in many copies, -all of which agree fairly well in -style and proportions. K. Friedrichs, -in his monograph <i>Der Doryphoros des Polyklets</i>, which appeared -in 1863,<a id="FNanchor_1600"></a><a href="#Footnote_1600" class="fnanchor">1600</a> -was the first to show that the statue found in 1797 in the -Palaistra at Pompeii, and now in the Naples Museum (Pl. <a href="#p4">4</a>), was -a copy of the original bronze, as it shows all the peculiarities of the<span class="pagenum"><a id="Page_225">225</a></span> -master’s style known to us from tradition.<a id="FNanchor_1601"></a><a href="#Footnote_1601" class="fnanchor">1601</a> Mahler enumerates -7 statues, 17 torsos, and 36 heads copied from the original, and the fine, -but expressionless, Augustan bronze bust from the villa of the Pisos, -Herculaneum, inscribed as the work of the sculptor Apollonios, son -of Archios, of Athens, which is now in Naples (Fig. <a href="#f47">47</a>).<a id="FNanchor_1602"></a><a href="#Footnote_1602" class="fnanchor">1602</a> The best-preserved -<span class="figleft250"><a id="f48"></a> -<img src="images/i_p225.jpg" width="250" height="517" alt="Statue of the Doryphoros." /> -<span class="caption"><span class="smcap">Fig. 48.</span>—Statue of the <i>Doryphoros</i>, -after Polykleitos. -Vatican Museum, Rome.</span></span> -copy of the statue, the one in -Naples, is surpassed in workmanship by -the green basalt torso in the Uffizi Gallery -in Florence<a id="FNanchor_1603"></a><a href="#Footnote_1603" class="fnanchor">1603</a> and by the marble one -formerly in the possession of Count Pourtalès -in Berlin.<a id="FNanchor_1604"></a><a href="#Footnote_1604" class="fnanchor">1604</a> A poorer copy is to be -found in the Braccio Nuovo of the Vatican -(Fig. <a href="#f48">48</a>).<a id="FNanchor_1605"></a><a href="#Footnote_1605" class="fnanchor">1605</a> In these copies we see a -thick-set youth standing with the weight -of the body on the right leg, the left one -thrown back and touching the ground -only with the toes, seemingly ready to -advance, though the shoulders do not -partake of the walking action. He is -represented, therefore, at the moment -of transition from walking to a rest -position—in other words in a purely -theoretical pose—at rest, indeed, but -just ready again to advance.<a id="FNanchor_1606"></a><a href="#Footnote_1606" class="fnanchor">1606</a> His left -hand held a short <i>akontion</i> over the -shoulder and not the long spear (δόρυ), -whence the name <i>Doryphoros</i> or spear-bearer -is derived.<a id="FNanchor_1607"></a><a href="#Footnote_1607" class="fnanchor">1607</a> The head is turned -to the same side as the advanced foot, -which perhaps is an example of the -monotony in the work of the master -complained of by ancient critics; variety -would have been attained by turning it<span class="pagenum"><a id="Page_226">226</a></span> -in the opposite direction. In the carefully worked bronze original, which, -however, must have had an insignificant intellectual aspect, the apparently -simple problem—hitherto vainly attempted in Greek art—of representing -a man standing almost motionless, but full of life, was for the -first time solved. It is a long way from the motionless figures known -as “Apollos,” with their arms glued to the sides and their legs close -together, to this vigorous athlete. As we have already indicated, -Greek art developed the first step beyond the “Apollos” by further -advancing one leg of a statue and, it may be, extending one forearm -horizontally. 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 “free” and “rest” leg. At first the relaxation was slight, the -“free” leg not being intended to move forward, nor the parts of the body -to be much shifted. Polykleitos’ innovation consisted in having the -legs so placed, one behind the other, that the figure, while apparently -resting on one,<a id="FNanchor_1608"></a><a href="#Footnote_1608" class="fnanchor">1608</a> seemed to be advancing. On the ground of the -familiar passage in Pliny cited, it has been generally assumed that Polykleitos -introduced the walking motive into sculpture. However, this -motive was probably the invention of the earlier Argive school, borrowed -by Polykleitos for his canon, as seen in the statue of the so-called -<i>Munich King</i> (<i>Zeus</i>?), of the Glyptothek, which Furtwaengler has -shown to be a work of about 460 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1609"></a><a href="#Footnote_1609" class="fnanchor">1609</a></p> - -<p>Does the <i>Doryphoros</i> represent a pentathlete victor? Since Quintilian -says that it appears ready for war or for the exercises of the palæstra,<a id="FNanchor_1610"></a><a href="#Footnote_1610" class="fnanchor">1610</a> -Helbig and others have classed it as a warrior, perhaps one of the <i>Achilleae</i> -mentioned by Pliny<a id="FNanchor_1611"></a><a href="#Footnote_1611" class="fnanchor">1611</a> as set up in the Greek gymnasia. Furtwaengler -stressed the incorrectness of calling an athlete a <i>Doryphoros</i><a id="FNanchor_1612"></a><a href="#Footnote_1612" class="fnanchor">1612</a>—a -name originally given to an attendant bearing a lance (δόρυ), and -so inapplicable to the statue of Polykleitos, which represented not a -server, but an athlete carrying an akontion (witness the Berlin gem -already mentioned)—but later<a id="FNanchor_1613"></a><a href="#Footnote_1613" class="fnanchor">1613</a> concluded that an athlete statue with -the akontion might have been vaguely described in late art jargon as a -spear-bearer. Consequently he found probable the interpretation of the -various <i>doryphoroi</i> mentioned by Pliny<a id="FNanchor_1614"></a><a href="#Footnote_1614" class="fnanchor">1614</a> as victor statues, and thought -that the original of the <i>Doryphoros</i> of Polykleitos might very well<span class="pagenum"><a id="Page_227">227</a></span> -have represented an Olympic pentathlete, which was originally set up -at Argos, where it was also adopted for a figure on the heroic grave-relief -already mentioned, which represented the youth with a spear over -his shoulder standing beside a horse. Bulle also thinks that the statue -represented a victor athlete set up in some sacred spot.</p> - -<p>For its interpretation as the statue of a pentathlete victor, an added -proof is furnished by the discovery of a late Roman copy of it at Olympia.<a id="FNanchor_1615"></a><a href="#Footnote_1615" class="fnanchor">1615</a> -This may very well have been the dedication of an athlete of -late date—of the first century <span class="smcap lowercase">B. C.</span> or of the first <span class="smcap lowercase">A. D.</span>—who preferred -to be represented by a copy of the famous work of Polykleitos rather -than by a new statue. Treu’s contention that the torso is too large for -a victor statue,<a id="FNanchor_1616"></a><a href="#Footnote_1616" class="fnanchor">1616</a> because Lucian says that the Hellanodikai did not allow -statues of victors to be over life-size,<a id="FNanchor_1617"></a><a href="#Footnote_1617" class="fnanchor">1617</a> falls to the ground, since we know -that exceptions to the rule existed at Olympia.<a id="FNanchor_1618"></a><a href="#Footnote_1618" class="fnanchor">1618</a> He agrees with Collignon<a id="FNanchor_1619"></a><a href="#Footnote_1619" class="fnanchor">1619</a> -in interpreting it as a decorative statue, which surely involves -an anachronism in the middle of the fifth century <span class="smcap lowercase">B. C.</span>; and his argument -that its good preservation shows it to have been set up in an interior -room, perhaps of the Bouleuterion, in whose ruins it was found, adducing -this as additional evidence of its decorative character, is no proof, -since victor statues at Olympia seem sometimes to have been housed.<a id="FNanchor_1620"></a><a href="#Footnote_1620" class="fnanchor">1620</a> -Thus the theory that the <i>Doryphoros</i> represents a pentathlete victor -is well within the range of possibilities.</p> - -<p>Two bronze statuettes in the Metropolitan Museum,<a id="FNanchor_1621"></a><a href="#Footnote_1621" class="fnanchor">1621</a> New York, -belonging to the second half of the fifth century <span class="smcap lowercase">B. C.</span>, may be representations -on a small scale of pentathletes with the <i>akontion</i>. The first -shows a youth standing with the weight of the body on the left foot, the -right drawn slightly back. The left hand, held close to the side, may -have carried an akontion, the right arm being extended. The other, -more carelessly executed, represents a youth standing similarly with his -weight on the left foot, the right being drawn back. Here again the -left arm is hanging by the side, and probably held the same attribute as -the first statuette. The right arm is also bent at the elbow. A patera -may have been held in the outstretched hand of each. The square<span class="pagenum"><a id="Page_228">228</a></span> -build, short thighs, flat abdomen, long skull, and oval face are all -Polykleitan characteristics, and remind us of the series of kindred -works already discussed, which, as Furtwaengler believed, went back to -the original statue of the boy wrestler Xenokles at Olympia, the work -of the younger Polykleitos.<a id="FNanchor_1622"></a><a href="#Footnote_1622" class="fnanchor">1622</a></p> - -<h4><span class="smcap">Wrestlers.</span></h4> - -<p>Wrestling (πάλη) is perhaps the oldest, and in any case is the most -universal, of athletic sports. Wall-paintings at Beni-Hasan on the Nile, -dating from about 2000 <span class="smcap lowercase">B. C.</span>, show nearly all the grips and throws now -known.<a id="FNanchor_1623"></a><a href="#Footnote_1623" class="fnanchor">1623</a> Plato says that this sport was instituted in mythical times.<a id="FNanchor_1624"></a><a href="#Footnote_1624" class="fnanchor">1624</a> -In Greece its origin is lost in mythology.<a id="FNanchor_1625"></a><a href="#Footnote_1625" class="fnanchor">1625</a> The very name <i>palaistra</i>, -“wrestling school,” indicates the early importance of the contest. -It was one of the most popular of Greek sports from the time of Homer -down.<a id="FNanchor_1626"></a><a href="#Footnote_1626" class="fnanchor">1626</a> This popularity is shown by the frequency with which -it appears in mythology and art. Early b.-f. vases picture Herakles -wrestling with giants and monsters. Here we see the same holds -and throws as in the palæstra scenes on later r.-f. vases. The whole -history of coins down to imperial days shows such scenes. No other -exercise required so much strength and agility, and consequently wrestling -matches early became a part of the great games. At Olympia -wrestling was introduced in Ol. 18 ( = 708 <span class="smcap lowercase">B. C.</span>), the same year in which -the pentathlon was instituted.<a id="FNanchor_1627"></a><a href="#Footnote_1627" class="fnanchor">1627</a> The boys’ match appeared there less -than a century later in Ol. 37 ( = 632 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1628"></a><a href="#Footnote_1628" class="fnanchor">1628</a> Pausanias mentions -statues erected to 36 victors (for 45 victories), which makes this contest -second only in importance to boxing there.</p> - -<p>There were two sorts of wrestling in Greece, wrestling in the proper -sense (ὀρθὴ πάλη), where each tried to throw his antagonist to the -ground, making his shoulders touch three times, and ground wrestling<span class="pagenum"><a id="Page_229">229</a></span> -(κύλισις, ἁλίνδησις), where the fight was continued on the ground by -using every means, except biting and gouging, till one was exhausted. -The first kind was the only one used in the event called πάλη at Olympia, -as well as in the pentathlon; the other was used only in the pankration. -In this section we shall discuss only the first.<a id="FNanchor_1629"></a><a href="#Footnote_1629" class="fnanchor">1629</a> A recently -discovered papyrus of the second century <span class="smcap lowercase">A. D.</span>, containing brief -instructions for wrestling lessons intended to help the παιδοτρίβης, indicates -that every movement in the contest was systematically taught.<a id="FNanchor_1630"></a><a href="#Footnote_1630" class="fnanchor">1630</a> -The various positions used—grips and throws—are shown by many -monuments, vase-paintings, gems, coins,<a id="FNanchor_1631"></a><a href="#Footnote_1631" class="fnanchor">1631</a> statuettes, and statues. The -vases<a id="FNanchor_1632"></a><a href="#Footnote_1632" class="fnanchor">1632</a> especially illustrate the various holds assumed by wrestlers -during a bout—front (σύστασις), side (παράθεσις), wrist, arm, neck -(τραχηλίζειν), and body holds. Still others illustrate the various -throws—flying mare,<a id="FNanchor_1633"></a><a href="#Footnote_1633" class="fnanchor">1633</a> heave,<a id="FNanchor_1634"></a><a href="#Footnote_1634" class="fnanchor">1634</a> buttocks and cross-buttocks (ἕδραν -στρέφειν), and tripping (ὑποσκελίζειν). We here reproduce two such -paintings. The first, the obverse of a r.-f. amphora from Vulci, signed -by Andokides and now in Berlin (Fig. <a href="#f49">49</a>),<a id="FNanchor_1635"></a><a href="#Footnote_1635" class="fnanchor">1635</a> shows two positions. In -the central group the wrestler on the left side has grasped his opponent’s -left wrist with his right hand. The latter, however, has rendered -the grip useless by passing his own right hand behind his -opponent’s back and grasping his right arm just below the elbow. -In this way he keeps his opponent from turning round, which movement -would not have been possible if the latter had grasped him -by the upper arm. In the group of wrestlers to the right we see an -illustration of a body hold. Here a youthful athlete has lifted his -bearded antagonist clear off his feet preliminary to throwing him. -However, the one lifted from the ground has caught his foot around his<span class="pagenum"><a id="Page_230">230</a></span> -opponent’s leg, which is an illustration of tripping. On a r.-f. kylix -in the University of Pennsylvania Museum in Philadelphia (Fig. <a href="#f50">50</a>a),<a id="FNanchor_1636"></a><a href="#Footnote_1636" class="fnanchor">1636</a> -we see a body hold preparatory to the heave; here to the right are two -youths wrestling, and to the left stands a bearded trainer with his rod. -One wrestler has already lost his balance and is supporting himself -with both hands on the ground, while the other with his left hand holds -the other’s right arm down, and with his right prepares to throw him -over his head.</p> - -<div class="figcenter500"><a id="f49"></a> -<img src="images/i_p230.jpg" width="500" height="313" alt="" /> -<div class="caption"><span class="smcap">Fig. 49.</span>—Wrestling Scenes. From Obverse of an Amphora, by Andokides. -Museum of Berlin.</div> -</div> - -<div class="figcenter500"><a id="f50"></a> -<img src="images/i_p231.jpg" width="500" height="235" alt="" /> -<div class="caption"><span class="smcap">Fig. 50.</span>—Wrestling and Boxing Scenes. From a r.-f. Kylix. -University of Pennsylvania Museum, Philadelphia.</div> -</div> - -<div class="figcenter"><a id="f51"></a> -<img src="images/i_p232.jpg" width="500" height="359" alt="" /> -<div class="caption"><span class="smcap">Fig. 51.</span>—Bronze Statues of Wrestlers. Museum of Naples.</div> -</div> - -<p>From vase-paintings, then, we can see what positions the sculptor -might have used in representing groups of wrestlers. For the positions -of individual figures of wrestlers, we are guided by several -statues and small bronzes. The preliminary position (σύστασις) -seems to be best represented by the bronze statues of wrestling -boys discovered at Herculaneum in 1754, and now in the Museum of -Naples (Fig. <a href="#f51">51</a>).<a id="FNanchor_1637"></a><a href="#Footnote_1637" class="fnanchor">1637</a> These figures have been variously interpreted as<span class="pagenum"><a id="Page_231">231</a></span> -runners,<a id="FNanchor_1638"></a><a href="#Footnote_1638" class="fnanchor">1638</a> diskoboloi,<a id="FNanchor_1639"></a><a href="#Footnote_1639" class="fnanchor">1639</a> and wrestlers. Their attitude, bent forward -with outstretched hands, implies the utmost expectancy. If they -were runners, they would lean further forward; as they are standing, -they could not begin to run without loss of time in raising the heels of -the forward feet. If, on the other hand, they represented diskos-throwers -at the moment just subsequent to the throw, their right -feet would be advanced and not their left, in order to recover their -balance, as we have seen above in considering Gardiner’s seventh -position. The position of their arms, however, and the expression -of their faces make it almost certain that they are wrestlers eagerly -watching for an opening. The two statues certainly belong together, -and may have been set up as antagonists in the villa in whose ruins they -were found. F. Hauser was the first to show that the form of body -and head in both was the same.<a id="FNanchor_1640"></a><a href="#Footnote_1640" class="fnanchor">1640</a> While most critics believe that they -are Hellenistic in origin, Bulle is certainly right in showing that the body -ideal expressed is Lysippan—<i>i. e.</i>, long legs and slender trunk—even -if he goes too far in ascribing them to the master himself, basing his -conclusion chiefly on the similarity of their ears with those of the -<i>Apoxyomenos</i> (Pl. <a href="#p29">29</a>). A good illustration of a hand or wrist grip -is afforded by a small wrestler group, which decorates the rim of a -bronze bowl from Borsdorf.<a id="FNanchor_1641"></a><a href="#Footnote_1641" class="fnanchor">1641</a> This is a poorly wrought Etruscan work of -fifth-century <span class="smcap lowercase">B. C.</span> Greek origin. The two wrestlers have already gripped<span class="pagenum"><a id="Page_232">232</a></span> -and their heads are close together, though the lunge in each case is much -exaggerated. Similar are the two groups on the rim of a bronze bowl -in the Museum of Fine Arts, Boston.<a id="FNanchor_1642"></a><a href="#Footnote_1642" class="fnanchor">1642</a> A third-century <span class="smcap lowercase">B. C.</span> Etruscan -cista in the Metropolitan Museum,<a id="FNanchor_1643"></a><a href="#Footnote_1643" class="fnanchor">1643</a> has a handle on the lid in the form -of two nude wrestlers, whose bodies are inclined toward one another, -their heads in contact, and their arms locked behind their heads. -Groups of wrestlers in similar attitudes commonly appear as cista handles.<a id="FNanchor_1644"></a><a href="#Footnote_1644" class="fnanchor">1644</a> -A portion of a bronze group of wrestlers was dredged from the -sea near Kythera and is now in Athens.<a id="FNanchor_1645"></a><a href="#Footnote_1645" class="fnanchor">1645</a> The heave is represented -by a metope from the Theseion representing the wrestling bout -between Theseus and Kerkyon.<a id="FNanchor_1646"></a><a href="#Footnote_1646" class="fnanchor">1646</a> A later moment is seen in a bronze -wrestling-group in Paris.<a id="FNanchor_1647"></a><a href="#Footnote_1647" class="fnanchor">1647</a> The cross-buttocks is illustrated by a small -Hellenistic bronze group in the collection of James Loeb in Munich, of<span class="pagenum"><a id="Page_233">233</a></span> -which five other copies are known.<a id="FNanchor_1648"></a><a href="#Footnote_1648" class="fnanchor">1648</a> Here two athletes, one bearded -and the other beardless, are just ending the bout. The youth is in the -power of the man, who stands behind him and presses him down by -holding his arms backward. 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 wrestler. A good illustration of tripping is seen -in another related series of groups known to us in five bronze copies. -These represent a wrestler on the ground supporting himself on his -left arm, while over him stands the victor, whose left foot is twisted -around the other’s right. These groups are, like the preceding, also -Roman provincial copies of a Hellenistic original.<a id="FNanchor_1649"></a><a href="#Footnote_1649" class="fnanchor">1649</a> The two groups -are very similar, 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 knee. Both series seem to have been influenced -by the marble pancratiast group in the Uffizi (Pl. <a href="#p25">25</a>).<a id="FNanchor_1650"></a><a href="#Footnote_1650" class="fnanchor">1650</a> The head of -an athlete in the Museo delle Terme, Rome,<a id="FNanchor_1651"></a><a href="#Footnote_1651" class="fnanchor">1651</a> 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 adversary. The face is fourth-century -<span class="smcap lowercase">B. C.</span> Attic in character and the head may, therefore, come from -Euphranor’s circle. Pliny speaks of a panting wrestler (<i>luctator anhelans</i>) -by the statuary Naukeros, which must have exhibited the contestant -in intense movement.<a id="FNanchor_1652"></a><a href="#Footnote_1652" class="fnanchor">1652</a> It might have represented him after -victory, as in the painting of Parrhasios discussed above, which -pictured a hoplitodrome after the race, breathing hard.<a id="FNanchor_1653"></a><a href="#Footnote_1653" class="fnanchor">1653</a> Pliny also -mentions a painting of a wrestler by Antidotos without describing it.<a id="FNanchor_1654"></a><a href="#Footnote_1654" class="fnanchor">1654</a> -As we have already remarked, doubtless some of the <i>apoxyomenoi</i> -and <i>perixyomenoi</i> mentioned by Pliny were also wrestlers.</p> - -<p>Whether wrestling-groups were set up at Olympia is doubtful. Chariot-groups -were indeed common, but there is no reason why the<span class="pagenum"><a id="Page_234">234</a></span> -victorious wrestler should have had himself coupled with his defeated -opponent. Pausanias, moreover, mentions no such groups. We are -therefore safe in inferring that in most, if not in all, cases the wrestler -would content himself with a single statue, and this might represent -him in any position in which he was not actually interlocked with his -adversary. That such statues represented him both in repose and in -motion is attested by recovered bases. The footprints on the base of the -statue of the Elean wrestler Paianios, a victor of the early third century -<span class="smcap lowercase">B. C.</span>,<a id="FNanchor_1655"></a><a href="#Footnote_1655" class="fnanchor">1655</a> shows us that he was represented as standing in repose, the weight -of the body resting on the right leg, the left being drawn back and touching -the ground with the toes only. A hole in the base may have been -for a spear on which the victor’s hand rested, though the statue is not -that of a pentathlete. 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 -leg, the left being slightly advanced and to one side, though resting -flat on the ground. The head was probably turned a little to the right. -Thus the wrestler was poised ready to grip his adversary.<a id="FNanchor_1656"></a><a href="#Footnote_1656" class="fnanchor">1656</a> This statue -must have been a favorite among athlete monuments, since the same -motive appears in various Roman copies, which Furtwaengler assigns -to the immediate circle of the pupils of Polykleitos. The statue of -the Argive wrestler Cheimon by Naukydes may have represented him -in motion, since Pausanias, in mentioning two statues of the victor, -one in Olympia and the other in the temple of Concord at Rome, says -that they were among the most famous works of that sculptor. From -this encomium Reisch has assumed that the one at Olympia was -represented in lively motion.<a id="FNanchor_1657"></a><a href="#Footnote_1657" class="fnanchor">1657</a></p> - -<h4><span class="smcap">Boxers.</span></h4> - -<p>Boxing, like wrestling, was one of the oldest sports in Greece, as it -has been everywhere else. The fist is the simplest and most natural -of all weapons.<a id="FNanchor_1658"></a><a href="#Footnote_1658" class="fnanchor">1658</a> Boxing was popular already in Homer, matches being -described both in the Iliad and the Odyssey.<a id="FNanchor_1659"></a><a href="#Footnote_1659" class="fnanchor">1659</a> Homer speaks of it as -πυγμαχίη ἀλεγεινή,<a id="FNanchor_1660"></a><a href="#Footnote_1660" class="fnanchor">1660</a> and this “painful” character is also mentioned by<span class="pagenum"><a id="Page_235">235</a></span> -Xenophanes.<a id="FNanchor_1661"></a><a href="#Footnote_1661" class="fnanchor">1661</a> However, boxing was far older than epic poetry. We have -already seen that it was the only form of real athletics in Aegean Crete. -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 Ida. Here on a single concentric ring are seen two warriors, -armed like Assyrians with corslets, shields, and helmets, fighting with -doubled fists.<a id="FNanchor_1662"></a><a href="#Footnote_1662" class="fnanchor">1662</a> The high antiquity of boxing in Greece is also shown -by myths.<a id="FNanchor_1663"></a><a href="#Footnote_1663" class="fnanchor">1663</a> At Olympia Apollo is said to have beaten Ares,<a id="FNanchor_1664"></a><a href="#Footnote_1664" class="fnanchor">1664</a> and Polydeukes -won a victory there.<a id="FNanchor_1665"></a><a href="#Footnote_1665" class="fnanchor">1665</a> Apollo appears as the god of boxing in the -Iliad,<a id="FNanchor_1666"></a><a href="#Footnote_1666" class="fnanchor">1666</a> and the Delphians sacrificed to Apollo Πύκτης.<a id="FNanchor_1667"></a><a href="#Footnote_1667" class="fnanchor">1667</a> Herakles, -Polydeukes, Tydeus, and Theseus were all famed boxers; the latter -was said to have invented the art.<a id="FNanchor_1668"></a><a href="#Footnote_1668" class="fnanchor">1668</a> The historical boxing match -was introduced at Olympia in Ol. 23 ( = 688 <span class="smcap lowercase">B. C.</span>), and Onomastos of -Smyrna, the first victor, instituted the rules of the contest.<a id="FNanchor_1669"></a><a href="#Footnote_1669" class="fnanchor">1669</a> The -boys’ contest was instituted in Ol. 41 ( = 616 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1670"></a><a href="#Footnote_1670" class="fnanchor">1670</a> It was by far the -most popular contest there. Of the 192 monuments erected to 187 -victors mentioned by Pausanias, 56, or nearly one-third, were erected -to men and boy boxers for 63 victories.</p> - -<p>Greek boxing<a id="FNanchor_1671"></a><a href="#Footnote_1671" class="fnanchor">1671</a> is conveniently divided into two periods by the kind -of glove used in the matches. From Homer down to the end of the -fifth century <span class="smcap lowercase">B. C.</span>, soft gloves (ἱμάντες, ἱμάντες λεπτοί or μειλίχαι) were -used; from then to late Roman days the heavy gloves (σφαῖραι or ἱμάντες -ὀξεῖς) were the fashion. The weighted Roman cestus was not used -in the Greek contest. Before discussing representations of boxers -in art, we shall devote a few words to these two kinds of boxing-gloves, -which frequently give us the date of a given monument.<a id="FNanchor_1672"></a><a href="#Footnote_1672" class="fnanchor">1672</a> The Cretans -are thought to have worn boxing-gloves, as they seem to be visible -on the so-called <i>Boxer Vase</i> from Hagia Triada (Fig. <a href="#f1">1</a>). Here, on the -top and lower two rows, a leather gauntlet appears to cover the arm to -beyond the elbow, being padded over the fist and confined at the wrist -by a strap. Mosso derives the later Greek glove, which appears on -athlete statues, from this primitive thong.<a id="FNanchor_1673"></a><a href="#Footnote_1673" class="fnanchor">1673</a> In any case the antiquity<span class="pagenum"><a id="Page_236">236</a></span> -of the glove in Greece is attested by its origin being ascribed to the -myth of Amykos, king of the Bebrykes.<a id="FNanchor_1674"></a><a href="#Footnote_1674" class="fnanchor">1674</a> Gloves were already known to -Homer, who speaks of “well-cut thongs of ox-hide.”<a id="FNanchor_1675"></a><a href="#Footnote_1675" class="fnanchor">1675</a> They are not -mentioned in any detail before the time of Pausanias and Philostratos, -so that we are mostly dependent for our knowledge of them on the -monuments. The simplest form consisted of long, thin ox-hide thongs, -which were wound round the hands, the soft gloves (ἱμάντες μαλακώτεροι -or μειλίχαι) of later writers.<a id="FNanchor_1676"></a><a href="#Footnote_1676" class="fnanchor">1676</a> They were used, not to deaden -the blow, but to increase its force. Vase-paintings show that the thongs -were about 10 or 12 feet long before being wound.<a id="FNanchor_1677"></a><a href="#Footnote_1677" class="fnanchor">1677</a> On the exterior -of a r.-f. kylix from Vulci by Douris, in the British Museum, showing -chiefly boxing scenes, we see two youths standing before a <i>paidotribes</i> -preparing to put on the thongs (Fig. <a href="#f54">54</a>).<a id="FNanchor_1678"></a><a href="#Footnote_1678" class="fnanchor">1678</a> One of them is holding the -unwound thong in his outstretched hands. A similar figure appears -on the r.-f. vase in Philadelphia already discussed (Fig. <a href="#f50">50</a>b), which -represents a palæstra scene.<a id="FNanchor_1679"></a><a href="#Footnote_1679" class="fnanchor">1679</a> This scene has been wrongly interpreted -as an illustration of the game of σκαπέρδη described by Pollux<a id="FNanchor_1680"></a><a href="#Footnote_1680" class="fnanchor">1680</a> as a -sort of tug-of-war, the unwound thong being explained as the rope used -in this game,<a id="FNanchor_1681"></a><a href="#Footnote_1681" class="fnanchor">1681</a> and the hurling-sticks stuck in the ground at either end -as goals instead of akontia. A wound thong is seen hanging on the wall -to the left. Philostratos describes how the boxing thongs were put on,<a id="FNanchor_1682"></a><a href="#Footnote_1682" class="fnanchor">1682</a> -and vase-paintings illustrate the method.<a id="FNanchor_1683"></a><a href="#Footnote_1683" class="fnanchor">1683</a> The best example of the -thongs on statuary is afforded by the bronze arm found in the sea off -Antikythera (Cerigotto) (Fig. <a href="#f52">52</a>), which Svoronos<a id="FNanchor_1684"></a><a href="#Footnote_1684" class="fnanchor">1684</a> believes to be a remnant -of the statue of the Nemean victor Kreugas of Epidamnos, which<span class="pagenum"><a id="Page_237">237</a></span> -stood in the temple of Apollo Lykios in Argos.<a id="FNanchor_1685"></a><a href="#Footnote_1685" class="fnanchor">1685</a> Pausanias says that -Kreugas was crowned notwithstanding that he was killed by his adversary -Damoxenos, 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 statue: “In those days boxers did not yet -wear the sharp thong (ἱμὰς ὀξύς) on each wrist, but boxed with the soft -straps (μειλίχαις), which they fastened under the hollow of the hand in -order that the fingers might be left bare; these soft straps were thin -thongs (ἱμάντες λεπτοί) of raw cowhide, plaited together in an ancient -fashion.”<a id="FNanchor_1686"></a><a href="#Footnote_1686" class="fnanchor">1686</a> The strap allowed the ends of the fingers to project, and was -held together by a cord wound around the forearm, just as Philostratos -says. These μειλίχαι were used at the great games through the fifth -century <span class="smcap lowercase">B. C.</span>, and were continued in the palæstra in the fourth. Early -in the latter century the σφαῖραι mentioned by Plato<a id="FNanchor_1687"></a><a href="#Footnote_1687" class="fnanchor">1687</a> and other writers -appeared. We see them on Panathenaic vases of that century and on -Etruscan cistæ of the following one.<a id="FNanchor_1688"></a><a href="#Footnote_1688" class="fnanchor">1688</a> About the same time the regular -ἱμάντες ὀξεῖς came in,<a id="FNanchor_1689"></a><a href="#Footnote_1689" class="fnanchor">1689</a> but the old μειλίχαι or something similar -were still used in the exercises of the palæstra.<a id="FNanchor_1690"></a><a href="#Footnote_1690" class="fnanchor">1690</a></p> - -<div class="figcenter500"><a id="f52"></a> -<img src="images/i_p237.jpg" width="500" height="186" alt="" /> -<div class="caption"><span class="smcap">Fig. 52.</span>—Bronze Arm of Statue of a Boxer, found in the Sea off -Antikythera. National Museum, Athens.</div> -</div> - -<div class="figcenter350"><a id="f53"></a> -<img src="images/i_p238.jpg" width="350" height="386" alt="Forearm with Glove." /> -<div class="caption"><span class="smcap">Fig. 53.</span>—Forearm with Glove. From the Statue of -the <i>Seated Boxer</i> (Pl. <a href="#p16">16</a>). Museo delle Terme, -Rome.</div></div> - -<p>Our best illustration of these more formidable gloves on statuary is -the gauntlet clearly represented on the forearms of the <i>Seated Boxer</i><span class="pagenum"><a id="Page_238">238</a></span> -of the Museo delle Terme (Fig. <a href="#f53">53</a>). Here a close-fitting glove covers -each forearm, leaving the upper joints of the fingers free and the palm -open. It extends to above the wrist and ends in a rim of fur. Over it -are drawn three thick bands of leather, which cover the first joints of -the fingers and are fastened together on the outside of the hands with -metal clasps. A soft pad keeps these bands from chafing the fingers. -They are kept in place and the wrists are strengthened by two narrow -straps which are interlaced several times around hand and wrist. -Similar gloves appear on the Sorrento boxer in Naples (Fig. <a href="#f57">57</a>),<a id="FNanchor_1691"></a><a href="#Footnote_1691" class="fnanchor">1691</a> on the -bronze forearm of a statue from Herculaneum in Naples,<a id="FNanchor_1692"></a><a href="#Footnote_1692" class="fnanchor">1692</a> on a left fist -found in 1887 in the arena at Verona,<a id="FNanchor_1693"></a><a href="#Footnote_1693" class="fnanchor">1693</a> and on many other statues and -fragments. The last representation in art of this sort of glove appears -on the Roman relief in the Lateran, which dates from the time of -Trajan, and represents a fight between two pugilists.<a id="FNanchor_1694"></a><a href="#Footnote_1694" class="fnanchor">1694</a> The metal<span class="pagenum"><a id="Page_239">239</a></span> -cestus was a Roman invention. None of the late Greek writers—neither -Plutarch, nor Pausanias, nor Philostratos—makes any mention -of this loaded glove. The “sharp thongs” were enough to cause -all the injuries mentioned by the writers of the <i>Greek Anthology</i>.<a id="FNanchor_1695"></a><a href="#Footnote_1695" class="fnanchor">1695</a> -The cestus, perhaps used in the later gladiatorial shows in Greece, -but never in the great games there, gave the death blow to real -boxing. Virgil describes it and the vicious results of its use.<a id="FNanchor_1696"></a><a href="#Footnote_1696" class="fnanchor">1696</a></p> - -<p>There are fewer representations of boxing matches on vases than of -almost any other Greek sport, despite its great popularity. Gardiner -has collected a number of vase-paintings dating from the sixth to the -fourth centuries <span class="smcap lowercase">B. C.</span>, which illustrate the different positions assumed -by boxers in action—attack, slipping, ducking, and leg and arm movements. -We reproduce two from r.-f. kylikes in the British Museum. In -one by Douris (Fig. <a href="#f54">54</a>)<a id="FNanchor_1697"></a><a href="#Footnote_1697" class="fnanchor">1697</a> we have, besides the group already mentioned -of two athletes preparing to put on thongs, three pairs of boxers engaged -in a bout. In two groups one of the contestants is seen from behind; in -all three the boxers extend their left arms for guarding and draw the -right back for hitting—the fists being level with the shoulders. In one -group we see the beginning of the fight, in the other two the middle, -perhaps, and the end of it, respectively. In the last scene one contestant -has fallen to the ground on his knee, and his conqueror has -swung his right hand far back for a final blow, only to be stopped by -the other, who raises his finger in token of defeat. On the other vase -we see, besides a scene from the pankration, two pairs of boxers -sparring (Fig. <a href="#f55">55</a>).<a id="FNanchor_1698"></a><a href="#Footnote_1698" class="fnanchor">1698</a> Here in one group the contestants do not have -their fists doubled, but keep their fingers opened. On an Attic b.-f. -Panathenaic panel-amphora in the University Museum in Philadelphia -(Fig. <a href="#f56">56</a>),<a id="FNanchor_1699"></a><a href="#Footnote_1699" class="fnanchor">1699</a> we see bearded boxers sparring, while a boxer with -thongs in his right hand stands to the right, and a trainer with his rod -at the left. Statues of victorious boxers at Olympia were represented -either in motion, <i>i. e.</i>, probably in the position of sparring, or in repose, -like that of the boy boxer Kyniskos by the elder Polykleitos discussed in -the preceding chapter. The same foot position visible on the <i>Kyniskos</i> -base<a id="FNanchor_1700"></a><a href="#Footnote_1700" class="fnanchor">1700</a> occurs on two other Olympia bases, which, therefore, must have<span class="pagenum"><a id="Page_240">240</a></span> -supported Polykleitan statues represented in repose. One of these, in -the form of an <i>astragalos</i>, will be discussed further on in our treatment -of pancratiast statues; the other supported the statue of the boy boxer -Hellanikos of Lepreon, who won a victory in Ol. 89 ( = 424 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1701"></a><a href="#Footnote_1701" class="fnanchor">1701</a> In -this case the statue was also life-size, the left foot was firmly placed, and -the right was set back resting on the ball, the stride being a little longer -than in the case of the <i>Kyniskos</i>. Three other Olympia bases supported -statues of boxers represented in repose, those of the boy Tellon from -the Arkadian town Oresthasion,<a id="FNanchor_1702"></a><a href="#Footnote_1702" class="fnanchor">1702</a> of the Epidaurian Aristion by the<span class="pagenum"><a id="Page_241">241</a></span> -elder Polykleitos,<a id="FNanchor_1703"></a><a href="#Footnote_1703" class="fnanchor">1703</a> and of the Rhodian Eukles by Naukydes of the -Polykleitan circle.<a id="FNanchor_1704"></a><a href="#Footnote_1704" class="fnanchor">1704</a> Furtwaengler believed that a number of existing -statues of the Hermes type reproduced the statue of Aristion, because of -a similar foot position. Among them the Pentelic marble one in -Lansdowne House, London, is the best preserved, and most faithfully -reproduces the Polykleitan style.<a id="FNanchor_1705"></a><a href="#Footnote_1705" class="fnanchor">1705</a></p> - -<div class="figcenter500"><a id="f54"></a> -<img src="images/i_p240.jpg" width="500" height="501" alt="Boxing Scenes." /> -<div class="caption"><span class="smcap">Fig. 54.</span>—Boxing Scenes. From a r.-f. Kylix by Douris. British -Museum, London.</div> -</div> - -<div class="figcenter500"><a id="f55"></a> -<img src="images/i_p241.jpg" width="500" height="499" alt="Boxing and Pankration Scenes." /> -<div class="caption"><span class="smcap">Fig. 55.</span>—Boxing and Pankration Scenes. From a r.-f. Kylix. British -Museum, London.</div> -</div> - -<p><span class="pagenum"><a id="Page_242">242</a></span></p> - -<p>We may infer how a Polykleitan statue of a boxer at rest looked, from -the Roman copy of one in Kassel.<a id="FNanchor_1706"></a><a href="#Footnote_1706" class="fnanchor">1706</a> -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 right. The forearms are covered with -gloves, the right fist being raised for attack and the left for defense. -<span class="figright250"><a id="f57"></a> -<img src="images/i_p242b.jpg" width="250" height="507" alt="Statue of a Boxer." /> -<span class="caption"> -<span class="smcap">Fig. 57.</span>—Statue of a Boxer, -from Sorrento. By Koblanos -of Aphrodisias. Museum of -Naples.</span></span> -Another marble statue, representing a -boxer in repose, was found in a fragmentary -condition in Sorrento in 1888, and is -now in the National Museum at Naples -(Fig. <a href="#f57">57</a>).<a id="FNanchor_1707"></a><a href="#Footnote_1707" class="fnanchor">1707</a> -It is inscribed as the work of -Koblanos of Aphrodisias in Karia, whom -<span class="figleft250"><a id="f56"></a> -<img src="images/i_p242a.jpg" width="250" height="328" alt="Boxing Scene." /> -<span class="caption"><span class="smcap">Fig. 56.</span>—Boxing Scene. From a -b.-f. Panathenaic Panel-Amphora. -University of Pennsylvania Museum, -Philadelphia.</span></span> -we know as a copyist of the first century -<span class="smcap lowercase">A. D.</span>, and who was active in reproducing Greek works for the Roman -market.<a id="FNanchor_1708"></a><a href="#Footnote_1708" class="fnanchor">1708</a> The body forms are too badly injured for us accurately to<span class="pagenum"><a id="Page_243">243</a></span> -date the original from which this copy was made, but the head gives us -the clue, as its style appears to be a connecting link between that of -the seated statue of <i>Herakles</i>, in the Palazzo Altemps in Rome<a id="FNanchor_1709"></a><a href="#Footnote_1709" class="fnanchor">1709</a> and -the Munich <i>Oil-pourer</i> (Pl. <a href="#p11">11</a>),<a id="FNanchor_1710"></a><a href="#Footnote_1710" class="fnanchor">1710</a> as it shows affinity to both. Though -Sogliano referred it to the school of Lysippos and Juethner to the -beginning of the fourth century <span class="smcap lowercase">B. C.</span>, it shows indubitable Myronian -characteristics and may have been the work of Myron’s pupil Lykios, -who is known to us as an athlete sculptor.<a id="FNanchor_1711"></a><a href="#Footnote_1711" class="fnanchor">1711</a> In this statue the youth -is resting his weight on his right leg, the left, with full sole on the -ground, being turned to one side. The left forearm is extended outwards -and to the side, the head leaning toward the right leg—in other -words, the athlete is represented in an attitude similar to that of the -<i>Idolino</i> (Pl. <a href="#p14">14</a>). As there is an olive crown in the hair, it seems reasonable -to conclude that the original statue was that of an Olympic victor.</p> - -<p>By the beginning of the fifth century <span class="smcap lowercase">B. C.</span>, if not earlier, boxers were -represented in violent motion, as we saw in the case of the statue of the -boy boxer Glaukos, by the Aeginetan sculptor Glaukias,<a id="FNanchor_1712"></a><a href="#Footnote_1712" class="fnanchor">1712</a> represented in -the act of sparring (σκιαμαχῶν). Whether he was represented as facing -an imaginary antagonist or as merely punching a bag we can not say, -though the latter seems the more probable. The motive is depicted in -many art works, notably in the figure of a youth punching a bag which -hangs from a tree on the Ficoroni cista in the Museo Kircheriano, Rome,<a id="FNanchor_1713"></a><a href="#Footnote_1713" class="fnanchor">1713</a> -and in that of another represented on the so-called Peter cista in the -Museo Gregoriano Etrusco of the Vatican, whose engraved scenes show -exercises of the palæstra.<a id="FNanchor_1714"></a><a href="#Footnote_1714" class="fnanchor">1714</a> The same motive is seen also in a statuette -in the Museo Chiaramonti of the Vatican, which is proved to be that -of a boy boxer by the glove on the right hand.<a id="FNanchor_1715"></a><a href="#Footnote_1715" class="fnanchor">1715</a> Here the boy is represented -with the right foot far advanced and rising on the toes -of both feet, the right shoulder being drawn back, the right forearm -raised, and the left extended forwards. The marble torso of a copy -of the same original on a large scale is in Berlin.<a id="FNanchor_1716"></a><a href="#Footnote_1716" class="fnanchor">1716</a> While Amelung<span class="pagenum"><a id="Page_244">244</a></span> -believes that the original of both statuette and torso was a bronze -of the second half of the fourth century <span class="smcap lowercase">B. C.</span>, Furtwaengler thought that -the torso went back to the severe style of the fifth century, and that -this original once stood in Olympia, where it might have served as the -inspiration for a carelessly worked bronze statuette of a boxer found -there, which repeats the motive of the torso and similarly belongs to -the fifth century <span class="smcap lowercase">B. C.</span> (Fig. <a href="#f2">2</a>).<a id="FNanchor_1717"></a><a href="#Footnote_1717" class="fnanchor">1717</a> The Olympia statuette also has the -right foot advanced, the upper part of the body leans backward, and -the left arm with open palm is outstretched for defense, while the -right with balled fist is held up ready to strike. It certainly is a votive -offering of an Olympic victor—doubtless one of the small reductions, -which were not uncommonly erected for economy’s sake.<a id="FNanchor_1718"></a><a href="#Footnote_1718" class="fnanchor">1718</a> Whether -the Aeginetan Glaukias also made victor statues in repose is doubtful.</p> - -<p>Waldstein, on insufficient grounds, has argued that the so-called -<i>Strangford Apollo</i> in the British Museum (Fig. <a href="#f14">14</a>)<a id="FNanchor_1719"></a><a href="#Footnote_1719" class="fnanchor">1719</a> is a copy of the -statue at Olympia of the famous Thasian boxer and pancratiast -Theagenes by Glaukias. Its close observation of nature finds its -analogy in the statues of the Aeginetan pediment groups (see Figs. 20, -21). The statue of the boy boxer Athenaios of Ephesos, by an unknown -sculptor, was represented as lunging at his adversary, as we see -from the footmarks on the recovered base. The left foot was advanced -and turned outwards, while the right one touched the ground only with -the toes.<a id="FNanchor_1720"></a><a href="#Footnote_1720" class="fnanchor">1720</a> Similarly the statue of the boxer Damoxenidas by Nikodamos -of Arkadia was represented as about to strike. On its recovered -base the left foot stood solidly upon the ground, 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 stone.<a id="FNanchor_1721"></a><a href="#Footnote_1721" class="fnanchor">1721</a> The -statue of the Ionian boxer Epitherses by Pythokritos of Rhodes seems -to have had but one foot flat upon the ground, and consequently must -have been represented in motion, though we are not sure of the position -of the other, since one stone of the base is missing.<a id="FNanchor_1722"></a><a href="#Footnote_1722" class="fnanchor">1722</a></p> - -<p>The bronze plate from the base of the statue of the boy boxer -Philippos, an Azanian of Pellene, was found at Olympia and has been -referred to the end of the fourth or beginning of the third century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1723"></a><a href="#Footnote_1723" class="fnanchor">1723</a> -<span class="pagenum"><a id="Page_245">245</a></span> -However, since Pausanias says that Myron made the statue,<a id="FNanchor_1724"></a><a href="#Footnote_1724" class="fnanchor">1724</a> various -attempts have been made to reconcile the discrepancy in dates. Our -own solution is that the statue seen by Pausanias did not represent -Philippos at all, but some earlier unnamed Arkadian boxer, who was -contemporary with Myron.<a id="FNanchor_1725"></a><a href="#Footnote_1725" class="fnanchor">1725</a> Years later the Azanian boy Philippos -<span class="figright250"><a id="f58"></a> -<img src="images/i_p245.jpg" width="250" height="546" alt="Statue known as Pollux." /> -<span class="caption"><span class="smcap">Fig. 58.</span>—Statue known as <i>Pollux</i>. -Louvre, Paris.</span> -</span> -won a victory at Olympia and attached -the recovered epigram to the -old base, in which he implored Zeus -to let the ancient glory of Arkadia -be revived in him, and also a newer -one in which he said that he had restored -the statue of Myron.<a id="FNanchor_1726"></a><a href="#Footnote_1726" class="fnanchor">1726</a> Pausanias -saw the newer one, but omitted -to mention the older, which was probably -illegible from weathering. He -therefore thought that the original -Myronian statue used by Philippos -represented the latter victor.<a id="FNanchor_1727"></a><a href="#Footnote_1727" class="fnanchor">1727</a> The -words on the affixed plate beginning -ὧδε στὰς ὁ Πελασγὸς ἐπ’ Ἀλφειῷ ποκα -πύκτας κ. τ. λ., may refer to the position -of the boxer rather than to a -portrait of the victor.<a id="FNanchor_1728"></a><a href="#Footnote_1728" class="fnanchor">1728</a> We have -long ago hazarded the suggestion<a id="FNanchor_1729"></a><a href="#Footnote_1729" class="fnanchor">1729</a> -that the so-called <i>Pollux</i> of the -Louvre (Fig. <a href="#f58">58</a>),<a id="FNanchor_1730"></a><a href="#Footnote_1730" class="fnanchor">1730</a> whose body forms -recall the <i>Marsyas</i> and whose head -recalls the <i>Diskobolos</i>, may go back -to the statue of the unnamed Arkadian -by Myron.<a id="FNanchor_1731"></a><a href="#Footnote_1731" class="fnanchor">1731</a> But the uncertainty -which we have found in a -former section<a id="FNanchor_1732"></a><a href="#Footnote_1732" class="fnanchor">1732</a> in assigning this and -kindred works to Myron or to Pythagoras -leaves it only a suggestion.</p> - -<p><span class="pagenum"><a id="Page_246">246</a></span></p> - -<h4><span class="smcap">Pancratiasts.</span></h4> - -<p>The pankration (παγκράτιον)<a id="FNanchor_1733"></a><a href="#Footnote_1733" class="fnanchor">1733</a> was a combination of boxing and wrestling, -in which the contestants fought either standing, or prone on the -ground. While the wrestler merely tried to throw his opponent in a -series of bouts, the pancratiast continued the fight on the ground until -one or the other acknowledged defeat. The etymology of the word -shows that it was a contest in which every power of the contestants -was exerted to the utmost.<a id="FNanchor_1734"></a><a href="#Footnote_1734" class="fnanchor">1734</a> Strangling, pummeling, kicking, and, in -fact, everything but biting and gouging were allowed. Both Lucian<a id="FNanchor_1735"></a><a href="#Footnote_1735" class="fnanchor">1735</a> -and Philostratos<a id="FNanchor_1736"></a><a href="#Footnote_1736" class="fnanchor">1736</a> speak of the prohibition against biting and gouging, -which statements Gardiner thinks are quotations from the rules governing -the contest at Olympia, as they are twice quoted by Aristophanes.<a id="FNanchor_1737"></a><a href="#Footnote_1737" class="fnanchor">1737</a> -Philostratos, however, says that the Spartans allowed both -biting and gouging, but that the Eleans allowed only strangling. A -case of gouging the eye of an opponent with the thumb is seen on the -r.-f. kylix in the British Museum, already mentioned (Fig. <a href="#f55">55</a>).<a id="FNanchor_1738"></a><a href="#Footnote_1738" class="fnanchor">1738</a> Here -the official is rushing up with his rod to punish such a breach of the -rules. Philostratos calls the men’s pankration the “fairest” of contests -at Olympia, probably in reference to the impression made on the spectators -by the various positions of the contestants, who had to rely quite -as much on skill as on strength. Pindar wrote eight odes in praise -of this contest.<a id="FNanchor_1739"></a><a href="#Footnote_1739" class="fnanchor">1739</a> However, even though it was carefully regulated -at Olympia by rules, it was a dangerous sport—τὸ δεινὸν ἄεθλον ὅ -παγκράτιον καλέουσιν, in the words of the protesting philosopher Xenophanes.<a id="FNanchor_1740"></a><a href="#Footnote_1740" class="fnanchor">1740</a> -But it was never the brutal sport which some modern writers -have pictured it.<a id="FNanchor_1741"></a><a href="#Footnote_1741" class="fnanchor">1741</a> Plato, to be sure, kept it out of his ideal State,<a id="FNanchor_1742"></a><a href="#Footnote_1742" class="fnanchor">1742</a> -not, however, because of its brutality, but merely because its distinctive -feature, the struggle on the ground, was of no service in training -a soldier. The Greeks themselves considered the boxing match far -more dangerous. Inasmuch as gloves were not used in the pankration, -this seems reasonable.<a id="FNanchor_1743"></a><a href="#Footnote_1743" class="fnanchor">1743</a> We have in the preceding section men<span class="pagenum"><a id="Page_247">247</a></span>tioned -the epithets applied to boxing. Pausanias, in speaking of the -boxing match between Theagenes and Euthymos, says that the former -was too much wearied by that contest to enter the pankration, and was -in consequence compelled to pay a talent to the god and another to -Euthymos.<a id="FNanchor_1744"></a><a href="#Footnote_1744" class="fnanchor">1744</a> In speaking of another contest, between Kapros and -Kleitomachos, he records that the latter told the umpires that the -pankration should be brought on before he had received hurts from -boxing.<a id="FNanchor_1745"></a><a href="#Footnote_1745" class="fnanchor">1745</a> Artemidoros states that no wounds resulted from the -pankration.<a id="FNanchor_1746"></a><a href="#Footnote_1746" class="fnanchor">1746</a> However, death by strangulation was often the result of -the bout. Thus the pancratiast Arrhachion was crowned after he had -been throttled by his adversary, 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 grip.<a id="FNanchor_1747"></a><a href="#Footnote_1747" class="fnanchor">1747</a> Pausanias tells also how the -boxer Kreugas was slain by Damoxenos in the pankration at Nemea, -but adds that the body of the former was proclaimed victor.<a id="FNanchor_1748"></a><a href="#Footnote_1748" class="fnanchor">1748</a></p> - -<p>The pankration was not known to Homer, though later writers ascribed -its invention either to Theseus or Herakles, the typical mythical -examples of skill as opposed to brute force.<a id="FNanchor_1749"></a><a href="#Footnote_1749" class="fnanchor">1749</a> It was introduced at -Olympia in Ol. 33 ( = 648 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1750"></a><a href="#Footnote_1750" class="fnanchor">1750</a> long after the separate events, wrestling -and boxing, had appeared there. The boys’ contest was instituted -at Olympia in Ol. 145 ( = 200 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1751"></a><a href="#Footnote_1751" class="fnanchor">1751</a> though it had appeared -elsewhere much earlier.<a id="FNanchor_1752"></a><a href="#Footnote_1752" class="fnanchor">1752</a> It must have been a popular sport at -Olympia, since Pausanias records statues erected to twenty victors -for thirty victories in this contest.</p> - -<p>Vase-paintings<a id="FNanchor_1753"></a><a href="#Footnote_1753" class="fnanchor">1753</a> show many grips and throws of the pankration—the -flying mare, leg hold,<a id="FNanchor_1754"></a><a href="#Footnote_1754" class="fnanchor">1754</a> tilting backwards by holding the antagonist’s -foot, “chancery” (<i>i. e.</i> catching the adversary around the neck -with one arm and hitting his face with the other fist), stomach throw -(<i>i. e.</i>, seizing the adversary by the arms or shoulders and at the same time -planting one’s foot in the other’s stomach, and then throwing him over -one’s head),<a id="FNanchor_1755"></a><a href="#Footnote_1755" class="fnanchor">1755</a> jumping on the back of one’s opponent,<a id="FNanchor_1756"></a><a href="#Footnote_1756" class="fnanchor">1756</a> strangling, -wrestling and boxing combined, and kicking and boxing combined.<span class="pagenum"><a id="Page_248">248</a></span> -Ground wrestling is very commonly depicted on vases and especially -on gems, since such groups were adapted to oblong or oval spaces.<a id="FNanchor_1757"></a><a href="#Footnote_1757" class="fnanchor">1757</a> -We reproduce a pancratiast scene from a Panathenaic amphora of Kittos, -dating from the fourth century <span class="smcap lowercase">B. C.</span>, in the British Museum (Fig. -59).<a id="FNanchor_1758"></a><a href="#Footnote_1758" class="fnanchor">1758</a> This is a conventional representation of wrestling and boxing -combined. 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 -arm, a hopeless position, from which he can not escape. The -latter is either about to complete the neck hold (if it be an actual case -of “chancery”), or perhaps to hit him with his right hand. A third -pancratiast is looking on from the extreme right, while a <i>paidotribes</i>, -switch in hand, appears at the left. The fight on the ground is well -depicted on the r.-f. kylix of the British Museum already discussed as -showing boxing scenes (Fig. <a href="#f55">55</a>).<a id="FNanchor_1759"></a><a href="#Footnote_1759" class="fnanchor">1759</a></p> - -<div class="figcenter500"><a id="f59"></a> -<img src="images/i_p248.jpg" width="500" height="264" alt="Pankration Scene." /> -<div class="caption"><span class="smcap">Fig. 59.</span>—Pankration Scene. From a Panathenaic Amphora by Kittos. -British Museum, London.</div> -</div> - -<p>We have but few representations of pancratiasts in sculpture. The -preliminary sparring—known as ἀκροχειρισμός<a id="FNanchor_1760"></a><a href="#Footnote_1760" class="fnanchor">1760</a>—must have characterized -the statue of the Sikyonian pancratiast Sostratos at Olympia by an -unknown sculptor, since Pausanias says that this victor was known as -ὁ ἀκροχερσίτης, explaining the epithet as that of one who gained his<span class="pagenum"><a id="Page_249">249</a></span> -victories by seizing and bending his adversaries’ fingers, holding them -fast till he yielded.<a id="FNanchor_1761"></a><a href="#Footnote_1761" class="fnanchor">1761</a> Since a Delphian inscribed base<a id="FNanchor_1762"></a><a href="#Footnote_1762" class="fnanchor">1762</a> gives the same -number of victories as Pausanias, we infer that they were given also -on the Olympia base, the source of Pausanias’ information. Since -nothing is said, however, of Sostratos’ mode of fighting in the Delphi -inscription, Pausanias must have argued it from the pose of the statue. -The Sicilian wrestler Leontiskos of a century earlier, whose statue was -by Pythagoras, had, according to Pausanias, used similar tactics, for -“he vanquished his adversaries by bending back their fingers.”<a id="FNanchor_1763"></a><a href="#Footnote_1763" class="fnanchor">1763</a> These -cases show that statues of pancratiasts and wrestlers were frequently -represented in vigorous lunging attitudes as well as in groups. The -epigram on the base of the monument of the pancratiast Teisikrates -at Delphi shows that the statue was represented in a similar way.<a id="FNanchor_1764"></a><a href="#Footnote_1764" class="fnanchor">1764</a> -The same lunging attitude is also shown on the Halimous grave-relief.<a id="FNanchor_1765"></a><a href="#Footnote_1765" class="fnanchor">1765</a> -Sometimes the contest ended with the preliminary sparring, though -usually it developed into wrestling and boxing.</p> - -<div class="figcenter400"><a id="f60"></a> -<img src="images/i_p250.jpg" width="400" height="475" alt="Bronze Statuette of a Pancratiast." /> -<div class="caption"><span class="smcap">Fig. 60.</span>—Bronze Statuette of a Pancratiast (?), -from Autun, France. Louvre, Paris.</div> -</div> - -<p>A good representation of a pancratiast trying to kick his antagonist -seems to be furnished by the small bronze statuette from Autun, South -France, now in the Louvre (Fig. <a href="#f60">60</a>).<a id="FNanchor_1766"></a><a href="#Footnote_1766" class="fnanchor">1766</a> This statuette is of mediocre -workmanship, its hard muscles, imperfect proportions, and realism -showing that it comes from the Hellenistic period of Greek art. It -represents a bearded athlete, who holds his hands ready to strike and -his left foot raised apparently to kick his adversary’s leg. The foot is -just ready to return to its original position, so that the motive of this -poor little statuette discloses a transient period of time between two -movements, just as the <i>Diskobolos</i> and <i>Marsyas</i> of Myron did. We -have already noted<a id="FNanchor_1767"></a><a href="#Footnote_1767" class="fnanchor">1767</a> that on the head is a cap with a ring in the -top, by which it could be suspended as a decorative piece, or perhaps -as part of a steelyard. Hauser believes that this motive was -known to the elder Polykleitos and that this is the interpretation -of that sculptor’s statue of a <i>nudus talo incessens</i> mentioned by -Pliny, a statue which has formed the basis for much discussion -among archæologists.<a id="FNanchor_1768"></a><a href="#Footnote_1768" class="fnanchor">1768</a> The Plinian passage, therefore, is to be<span class="pagenum"><a id="Page_250">250</a></span> -translated as “the nude man attacking with his heel (<i>talo</i>)”—in other -words, it describes a statue represented as kicking, which was allowable -in the pankration. The manuscripts of Pliny all read <i>talo</i>, which -Benndorf<a id="FNanchor_1769"></a><a href="#Footnote_1769" class="fnanchor">1769</a> thought could be retained only by assuming that the naturalist -mistranslated his Greek source γυμνὸς ἀστραγάλῳ ἐπικείμενος, -translating the word ἐπικείμενος “standing upon,” as <i>incessens</i> “pursuing.” -He therefore assumed that Polykleitos’ statue stood upon an -astragalos (<i>talus</i>) basis, which he believed was the forerunner of the -statue of <i>Opportunity</i> (Καιρός) by Lysippos,<a id="FNanchor_1770"></a><a href="#Footnote_1770" class="fnanchor">1770</a> and he referred it to the -knuckle-bone basis found at Olympia.<a id="FNanchor_1771"></a><a href="#Footnote_1771" class="fnanchor">1771</a> Woelfflin,<a id="FNanchor_1772"></a><a href="#Footnote_1772" class="fnanchor">1772</a> however, has shown -that <i>talo incessens</i> can only mean “<i>mit einem Knochel nach Jemand -einwerfen</i>.” Following this, Furtwaengler showed<a id="FNanchor_1773"></a><a href="#Footnote_1773" class="fnanchor">1773</a> how impossible on<span class="pagenum"><a id="Page_251">251</a></span> -grammatical and other grounds it was to read <i>talo</i> in Benndorf’s sense, -since the passage then would mean “advancing towards” or “pursuing,” -by means of a knuckle-bone, which is manifestly nonsense. The word -could be only instrumental in use, as Woefflin said, <i>i. e.</i>, the weapon -by means of which the man was attacking. Furtwaengler, therefore, -followed Benndorf’s earlier alternative reading <i>telo</i>, assuming that -Pliny mistakenly wrote <i>talo</i> because he was influenced by the presence -of the same word in the passage immediately following: <i>duosque pueros -item nudos talis ludentes qui vocantur astragalizontes</i>.<a id="FNanchor_1774"></a><a href="#Footnote_1774" class="fnanchor">1774</a> But Hauser’s -interpretation of <i>talo</i> meets all the conditions better, since it keeps the -manuscript readings, makes grammatical Latin, and seems to be illustrated -by the statuette in question.</p> - -<p>Sometimes the statues of Olympic pancratiasts were represented at -rest with the weight of the body equally on both legs, as we see from the -recovered basis of the statue of the Athenian Kallias by the Athenian -sculptor Mikon.<a id="FNanchor_1775"></a><a href="#Footnote_1775" class="fnanchor">1775</a> Furtwaengler has identified a statue in the Somzée -Collection as a copy of this work.<a id="FNanchor_1776"></a><a href="#Footnote_1776" class="fnanchor">1776</a> The footprints on the recovered base -of the statue of the Rhodian Dorieus show that it was represented at -rest with one leg slightly advanced.<a id="FNanchor_1777"></a><a href="#Footnote_1777" class="fnanchor">1777</a> We have actual remnants of -statues of Olympic pancratiasts in the marble head found at Olympia, -which we are to assign to the statue of the Akarnanian Philandridas by -Lysippos, mentioned by Pausanias (Frontispiece and Fig. <a href="#f69">69</a>),<a id="FNanchor_1778"></a><a href="#Footnote_1778" class="fnanchor">1778</a> and the -beautiful statue of Agias discovered by the French at Delphi in 1894, -a work by the same sculptor (Pl. <a href="#p28">28</a> and Fig. <a href="#f68">68</a>).<a id="FNanchor_1779"></a><a href="#Footnote_1779" class="fnanchor">1779</a></p> - -<p>The struggle on the ground implies groups and not single statues. -Our best representation of such a group is furnished by the famous -marble one in the Uffizi, Florence (Pl. <a href="#p25">25</a>).<a id="FNanchor_1780"></a><a href="#Footnote_1780" class="fnanchor">1780</a> Though having no pretensions -to be a victor monument, this group is the most important -monument extant connected with the pankration, a fine anatomical -study from Hellenistic times, evincing the direct influence of Lysippos<span class="pagenum"><a id="Page_252">252</a></span> -in its proportions.<a id="FNanchor_1781"></a><a href="#Footnote_1781" class="fnanchor">1781</a> It shows affinity of design to certain sculptures -from the frieze of the Great Altar at Pergamon.<a id="FNanchor_1782"></a><a href="#Footnote_1782" class="fnanchor">1782</a> Pliny speaks of a -<i>symplegma</i> by Kephisodotos, the son of Praxiteles, at Pergamon, but -that group was of an erotic character and can not have had anything to -do with the Florentine one.<a id="FNanchor_1783"></a><a href="#Footnote_1783" class="fnanchor">1783</a> Unfortunately the group in question has -been much restored, though the restoration in the main is right. The -heads, though probably antique, do not seem to belong to the statues, -but both appear to be copies of the head of one of the Niobids, with -which group the pancratiasts were discovered in 1583. The right arm -of the uppermost athlete seems to have been wrongly restored; in any -case this athlete is not strangling his opponent. One youth has thrown -the other down on to his knee, and his left leg is intertwined with the -left leg of the other, and he is drawing back his arm to aim a blow. The -wrestler underneath supports himself upon his left arm, and the intention -of his opponent is to destroy this support by a blow of the fist, -which would bring the contest to a sudden conclusion, since the right -arm of the under youth is fast and he must defend himself with the -left. As Gardiner points out, such a situation is illustrated by Heliodoros’ -description of the match between Theagenes and an Aethiopian -champion.<a id="FNanchor_1784"></a><a href="#Footnote_1784" class="fnanchor">1784</a> The under man’s position, however, may suddenly change -and the issue yet be in his favor. Many writers have explained the -group as ordinary wrestlers,<a id="FNanchor_1785"></a><a href="#Footnote_1785" class="fnanchor">1785</a> but Gardiner has conclusively shown -that it belongs to the pankration, since in wrestling the contest is ended -when one of the contestants has been thrown, while here the struggle -is continuing on the ground.<a id="FNanchor_1786"></a><a href="#Footnote_1786" class="fnanchor">1786</a></p> - -<div class="figcenter500"><p class="right">PLATE 25</p><a id="p25"></a> -<img src="images/i_fp252.jpg" width="500" height="637" alt="Marble Group of Pancratiasts." /> -<div class="caption">Marble Group of Pancratiasts. Uffizi Gallery, Florence.</div> -</div> - -<p>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 is, he was the first professional strong -man.<a id="FNanchor_1787"></a><a href="#Footnote_1787" class="fnanchor">1787</a> The other six all came from the East. It has been suggested<a id="FNanchor_1788"></a><a href="#Footnote_1788" class="fnanchor">1788</a> -that the colossal <i>Farnese Herakles</i> found in Rome in the ruins of the -Baths of Caracalla in 1540 and now in Naples, inscribed as the work of -the Athenian Glykon, which represents the hero leaning wearily on his -<span class="pagenum"><a id="Page_253">253</a></span>club against a rock,<a id="FNanchor_1789"></a><a href="#Footnote_1789" class="fnanchor">1789</a> may represent the type of these professional strong -men, who called themselves the successors of Herakles. But such -a suggestion is as unfounded as the one already examined, which identifies -the original of the <i>Seated Boxer</i> of the Museo delle Terme (Pl. -<a href="#p16">16</a> and Fig. <a href="#f27">27</a>) with Kleitomachos of Thebes, the redoubtable opponent -of Kapros, since the dates in both cases are against such identifications. -The Farnese statue and other replicas of the same original<a id="FNanchor_1790"></a><a href="#Footnote_1790" class="fnanchor">1790</a> -obviously revert to a Lysippan original, though they are considerably -metamorphosed by the taste of a later age. Such big swollen muscles -at first sight appear to be alien to the sculptor of the graceful <i>Agias</i>, -but that the Naples copy by Glykon—who, from the inscription on the -base, must be referred to the first century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1791"></a><a href="#Footnote_1791" class="fnanchor">1791</a>—really represents the -work of Lysippos seems well established by the fact that a smaller copy, -though still over life-size, of poorer workmanship, in the Pitti Gallery -in Florence, is inscribed as Λυσίππου ἔργον.<a id="FNanchor_1792"></a><a href="#Footnote_1792" class="fnanchor">1792</a> This type of weary hero -appears in the <i>Telephos</i> group on the small Pergamene frieze, but is -even earlier, since the latter seems to have been borrowed from a statue -which is reproduced on a coin of Alexander, which was struck at least as -early as 300 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1793"></a><a href="#Footnote_1793" class="fnanchor">1793</a> The type of Herakles wearied by his superhuman -labors was inaugurated still earlier by Lysippos, who was fond of representing -the hero in many poses, seated and standing, resting and laboring. -We might mention his colossal bronze statue of Herakles, which -was set up in Tarentum and then carried to Rome and placed on the -Capitol by Q. Fabius Maximus, when Tarentum was captured in 209 -<span class="smcap lowercase">B. C.</span>, and was later transferred to the Hippodrome at Constantinople, -where it remained until the sack of that city by the Franks in -1202.<a id="FNanchor_1794"></a><a href="#Footnote_1794" class="fnanchor">1794</a> It is hazardous, therefore, to reject the evidence, and it will be -best to see in the original a genuine Lysippan work, as do Bulle, Overbeck, -von Mach, Schnaase,<a id="FNanchor_1795"></a><a href="#Footnote_1795" class="fnanchor">1795</a> and others, and so to make Glykon responsible -only for the exaggerations of his own copy. Thus we have to face -the fact of divergent styles in the great bronze founder of the fourth<span class="pagenum"><a id="Page_254">254</a></span> -century <span class="smcap lowercase">B. C.</span>, even if we admit with Richardson that “for our peace of -mind this statue might well have been sunk in the sea.”<a id="FNanchor_1796"></a><a href="#Footnote_1796" class="fnanchor">1796</a></p> - -<div class="figcenter"><a id="f61"></a> -<img src="images/i_p254.jpg" width="500" height="357" alt="" /> -<div class="caption"><span class="smcap">Fig. 61.</span>—Bronze Head of Boxer (?), from Olympia. National Museum, Athens.</div> -</div> - -<p>Long ago, I referred the life-size bronze portrait-like head of a boxer or -pancratiast found at Olympia, now in the Athens Museum (Figs. 61A -and B),<a id="FNanchor_1797"></a><a href="#Footnote_1797" class="fnanchor">1797</a> to one of two statues of the pancratiast Kapros mentioned -by Pausanias.<a id="FNanchor_1798"></a><a href="#Footnote_1798" class="fnanchor">1798</a> The remnant of a wild-olive crown in the hair proves -that it comes from the statue of an Olympic victor. Its bruised appearance -may, however, betoken the punishment administered by the -gloves of a boxer rather than by the bare fists of a pancratiast. That -Greek sculpture was not always ideal we have seen from the description -of the <i>Seated Boxer</i> of the Museo delle Terme (Pl. <a href="#p16">16</a> and Fig. <a href="#f27">27</a>). -This peculiarly life-like head is another example of the same realism; it -would be hard to name a more brutal and repellent piece from the whole -range of Greek sculpture. The profession of this bruiser is evident in -every feature, for the sculptor has betrayed it by the swollen ears, flat -nose, thick neck, swollen cheeks, projecting under lip, frowning brows, -and unkempt hair and beard. All these traits—especially the treatment -of the eyes—give to it the sullen gloomy look so characteristic -of boxers and pancratiasts.<a id="FNanchor_1799"></a><a href="#Footnote_1799" class="fnanchor">1799</a> The man appears to be awaiting the attack,<span class="pagenum"><a id="Page_255">255</a></span> -his contracted brows showing alert expectation, and his closed lips great -determination. Furtwaengler, Bulle, Flasch, and others have dated -it in the fourth century <span class="smcap lowercase">B. C.</span>, and are fain to see in it the work of -an artist of the immediate circle of Lysippos or Lysistratos;<a id="FNanchor_1800"></a><a href="#Footnote_1800" class="fnanchor">1800</a> but its -exaggerated realism seems rather to point to a later period, not earlier -than the third century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1801"></a><a href="#Footnote_1801" class="fnanchor">1801</a> The bronze foot of a victor statue also -found at Olympia (Fig. <a href="#f62">62</a>)<a id="FNanchor_1802"></a><a href="#Footnote_1802" class="fnanchor">1802</a> has been assigned by Furtwaengler to one of -the statues of Kapros, an ascription which we also have followed.<a id="FNanchor_1803"></a><a href="#Footnote_1803" class="fnanchor">1803</a> The -position of this foot shows—as an experiment with a living model has -disclosed—great movement, which makes it obvious that it comes from -a statue in lively motion, probably of a boxer or pancratiast. It belongs -to the statue of a strong man of coarse build; there is not the slightest -trace of unnecessary flesh on it, but the whole is vigorous muscle, even -the swollen veins being clearly visible in the photograph. While Furtwaengler -finds its stylistic parallels in the copies of the Pergamene -works of the third century <span class="smcap lowercase">B. C.</span>, <i>e. g.</i>, the <i>Dying Gaul</i> statues, the -material and form of the base fitting that period, Wolters emphasizes -its stylistic analogy to the bronze head just discussed.</p> - -<div class="figcenter"><a id="f62"></a> -<img src="images/i_p255.jpg" width="300" height="198" alt="Bronze Foot of a Victor Statue." /> -<div class="caption"><span class="smcap">Fig. 62.</span>—Bronze Foot of a Victor Statue, from -Olympia. Museum of Olympia.</div> -</div> - -<p>The monuments which represent equestrian victors will be left for -another chapter.</p> - -<p><span class="pagenum"><a id="Page_256">256</a></span></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_257">257</a></span></p> - -<h2>CHAPTER V.<br /> - -<small>MONUMENTS OF HIPPODROME AND MUSICAL -VICTORS.</small></h2> - -<p class="center"><span class="smcap">Plates 26–27 and Figures 63–67.</span></p> - -<p>In the preceding chapters we have considered the monuments of -victors in various gymnic contests, in which the victor won by his own -strength and skill. In the present chapter we shall be concerned -chiefly with the monuments set up by victors at Olympia in chariot- -and horse-races, in which the victory did not depend upon the athletic -prowess of the victor, but upon the skill of his charioteer or jockey and -the endurance of his horses.<a id="FNanchor_1804"></a><a href="#Footnote_1804" class="fnanchor">1804</a> Though such events were not in the -strict sense a part of Greek athletics, they formed a very important -feature of the festival at Olympia as elsewhere.<a id="FNanchor_1805"></a><a href="#Footnote_1805" class="fnanchor">1805</a> Indeed the four-horse -chariot-race was the most spectacular and brilliant event at Olympia. -Chariot-races, and to a less extent horse-races, were the sport only of -the rich—kings, princes, and nobles.<a id="FNanchor_1806"></a><a href="#Footnote_1806" class="fnanchor">1806</a> Thus victories were won in these -events at Olympia in the fifth century <span class="smcap lowercase">B. C.</span> by Hiero and Gelo, kings -of Syracuse, and Arkesilas IV of Kyrene; in the fourth, by Philip II -of Macedonia, and in Roman days by Tiberius, Germanicus, Nero, and -many others. Alkibiades in Ol. 91 ( = 416 <span class="smcap lowercase">B. C.</span>), <i>i. e.</i>, in the midst of the -great Peloponnesian war, entered seven chariots at Olympia and won -three prizes.<a id="FNanchor_1807"></a><a href="#Footnote_1807" class="fnanchor">1807</a> Sometimes a city entered a chariot or horse. Thus in -Ol. 77 ( = 472 <i>B. C.</i>) the public chariot of Argos, and in Ol. 75 ( = 480 -<span class="smcap lowercase">B. C.</span>) the public horse of the same city, won at Olympia.<a id="FNanchor_1808"></a><a href="#Footnote_1808" class="fnanchor">1808</a> Such entries -show not only the expense attending these contests, but also their -importance in the eyes of the Greeks.</p> - -<p>Hippodromes, chariot-races, and horse-races were very common in -Greece. A votive inscription in the museum at Sparta, dating from -near the middle of the fifth century <span class="smcap lowercase">B. C.</span>, enumerates sixty victories by -Damonon and his son Enymakratidas in both chariot- and horse-races -at eight different meets in or near Lakonia, and Damonon was merely<span class="pagenum"><a id="Page_258">258</a></span> -a local victor, unknown at Olympia.<a id="FNanchor_1809"></a><a href="#Footnote_1809" class="fnanchor">1809</a> Greeks of Sicily and Magna -Græcia were especially fond of such contests, as we see these constantly -represented on coins of different cities there from the beginning of the -fifth century <span class="smcap lowercase">B. C.</span> on.<a id="FNanchor_1810"></a><a href="#Footnote_1810" class="fnanchor">1810</a> However, only a few of the sites of these many -hippodromes are now known, and only one can be positively identified, -that mentioned by Pausanias on Mount Lykaios in Arkadia.<a id="FNanchor_1811"></a><a href="#Footnote_1811" class="fnanchor">1811</a> -The others are known from literary sources.<a id="FNanchor_1812"></a><a href="#Footnote_1812" class="fnanchor">1812</a> The one at Olympia was -destroyed in the course of centuries by the floods of the Alpheios, and its -exact location can not be determined, though we know in general that it -lay somewhere southeast of the Altis, between the river and the Stadion, -and surmise that it ran somewhat parallel to the latter.<a id="FNanchor_1813"></a><a href="#Footnote_1813" class="fnanchor">1813</a></p> - -<p>Its measurements, however, are known to us from a Greek metrological -parchment manuscript in the old Seraglio, Constantinople, which -dates from the eleventh century <span class="smcap lowercase">A. D.</span><a id="FNanchor_1814"></a><a href="#Footnote_1814" class="fnanchor">1814</a> According to it the length of the -course, <i>i. e.</i>, from the starting-point to turning-post and return, was -about 8 stades (1538 meters, 16 centimeters) or nearly 1 mile. One of -the two sides—which Pausanias says were of unequal length<a id="FNanchor_1815"></a><a href="#Footnote_1815" class="fnanchor">1815</a>—was 3 -stades and 1 plethron long. The breadth of the course at the starting-point -was 1 stade and 4 plethra. We are told, however, that only a -portion of the entire course, six stades, or about two-thirds of a mile, -was traversed in the various races.</p> - -<p>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 described.<a id="FNanchor_1816"></a><a href="#Footnote_1816" class="fnanchor">1816</a> But the first trace of such a contest goes<span class="pagenum"><a id="Page_259">259</a></span> -back to mythology, to the story of Pelops and Oinomaos contending -for the hand of the latter’s daughter Hippodameia.<a id="FNanchor_1817"></a><a href="#Footnote_1817" class="fnanchor">1817</a> This mythical -race began at the village of Pisa in Elis and ended at the altar of -Poseidon on the Isthmus of Corinth.<a id="FNanchor_1818"></a><a href="#Footnote_1818" class="fnanchor">1818</a> The chariot-race was the chief -if not the only event at the oldest funeral games in Greece, those mentioned -by Pausanias as held in honor of Azan, the son of Arkas, in -Arkadia.<a id="FNanchor_1819"></a><a href="#Footnote_1819" class="fnanchor">1819</a> It figured largely in mythology<a id="FNanchor_1820"></a><a href="#Footnote_1820" class="fnanchor">1820</a> and was represented in -many works of art.<a id="FNanchor_1821"></a><a href="#Footnote_1821" class="fnanchor">1821</a> At Olympia it was one of the earliest, and perhaps -the earliest, of the events. Pausanias says that the four-horse chariot-race -was introduced there in Ol. 25 ( = 680 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1822"></a><a href="#Footnote_1822" class="fnanchor">1822</a> but this may merely -mean, as Gardiner points out, the date of exchanging the older prehistoric -two-horse chariot for the one drawn by four horses. 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 horses, -which have been found there in a stratum extending below the foundations -of the Heraion.</p> - -<h3>PROGRAMME OF HIPPODROME EVENTS.</h3> - -<p>By the middle of the third century <span class="smcap lowercase">B. C.</span> the fully developed programme -of equestrian events at Olympia and elsewhere consisted of six -races, three for full-grown horses (τέλειοι), and three for colts (πῶλοι); -for each of these two classes there were a four-horse chariot-race (ἅρμα, -τέθριππον), a two-horse chariot-race (συνωρίς), and a horse-race (κέλης), -thus:</p> - -<p class="center"> -ἅρματι τελείῳ, συνωρίδι τελείᾳ, κέλητι τελείῳ.<br /> -ἅρματι πωλικῷ, συνωρίδι πωλικῇ, κέλητι πωλικῷ. -</p> - -<p>These six events comprised the ἀγὼν ἱππικός at Olympia, Delphi, -Nemea, Corinth, Athens, and elsewhere, as opposed to the ἀγὼν γυμνικός.<a id="FNanchor_1823"></a><a href="#Footnote_1823" class="fnanchor">1823</a> -The distinction between horses and colts was apparently a matter which -was decided by the Hellanodikai at Olympia. Thus, Pausanias -recounts how the Spartan victor Lykidas entered a pair of colts for -the chariot-race, and that one of them was rejected by the judges; -he thereupon entered both for the race with full-grown horses and<span class="pagenum"><a id="Page_260">260</a></span> -won it.<a id="FNanchor_1824"></a><a href="#Footnote_1824" class="fnanchor">1824</a> Though such a story does not fit the date of Lykidas, who -won before the colt-race was introduced at Olympia, it shows the -method of selection.<a id="FNanchor_1825"></a><a href="#Footnote_1825" class="fnanchor">1825</a> The race in which the chariot was drawn by -four full-grown horses (ἵππων τελείων δρόμος) was introduced, as we -have seen, in Ol. 25. The contestants drove twelve times round the -course, a distance of seventy-two stades or over eight miles.<a id="FNanchor_1826"></a><a href="#Footnote_1826" class="fnanchor">1826</a> Pausanias -mentions the monuments of eighteen such victors at Olympia -for nineteen victories. The race in which the chariot was drawn by -four colts (πώλων ἅρμα) was introduced in Ol. 99 ( = 384 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1827"></a><a href="#Footnote_1827" class="fnanchor">1827</a> and -extended eight times round the course, or about 5.5 miles.<a id="FNanchor_1828"></a><a href="#Footnote_1828" class="fnanchor">1828</a> Pausanias -mentions the monuments of only two such victors at Olympia.<a id="FNanchor_1829"></a><a href="#Footnote_1829" class="fnanchor">1829</a> -The race in which the chariot was drawn by pairs of full-grown horses -(συνωρίς) was introduced in Ol. 93 (408 <span class="smcap lowercase">B. C.</span>) and extended eight times -round the course.<a id="FNanchor_1830"></a><a href="#Footnote_1830" class="fnanchor">1830</a> Pausanias mentions but one victor in this event -at Olympia<a id="FNanchor_1831"></a><a href="#Footnote_1831" class="fnanchor">1831</a> and an Olympic victress who had a statue erected to -her in Sparta for such a victory.<a id="FNanchor_1832"></a><a href="#Footnote_1832" class="fnanchor">1832</a> This was probably the original -chariot-race at Olympia revived in Ol. 93, since the two-horse chariot -was the historical descendant of the Homeric war-chariot.<a id="FNanchor_1833"></a><a href="#Footnote_1833" class="fnanchor">1833</a> Panathenaic -vases show that this race existed at Athens in the sixth century -<span class="smcap lowercase">B. C.</span>, side by side with the four-horse chariot-race and horseback-race. -The earliest of these vases, the so-called Burgon vase in the British -Museum,<a id="FNanchor_1834"></a><a href="#Footnote_1834" class="fnanchor">1834</a> was a prize there for this event. The race in which the -chariot was drawn by a pair of colts (συνωρὶς πώλων) was introduced -at Olympia in the third century <span class="smcap lowercase">B. C.</span>, in Ol. 129 ( = 264 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1835"></a><a href="#Footnote_1835" class="fnanchor">1835</a> and -extended three times around the course. Pausanias mentions no -monument erected to a victor in this race. The horse-race (ἵππος -κέλης) was instituted in Ol. 33 ( = 648 <span class="smcap lowercase">B. C.</span>)<a id="FNanchor_1836"></a><a href="#Footnote_1836" class="fnanchor">1836</a>, and the foal-race (πῶλος -κέλης) nearly four centuries later, in Ol. 131 (256 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1837"></a><a href="#Footnote_1837" class="fnanchor">1837</a> Neither of<span class="pagenum"><a id="Page_261">261</a></span> -these races was known to Homer, for κελετίζειν in the Iliad,<a id="FNanchor_1838"></a><a href="#Footnote_1838" class="fnanchor">1838</a> as we -saw in Chapter I, refers only to the acrobatic feat of vaulting from -the back of one horse to that of another. Pausanias mentions monuments -erected to eight victors (for nine victories) in the regular horse-race -at Olympia. We conclude from a passage of his work<a id="FNanchor_1839"></a><a href="#Footnote_1839" class="fnanchor">1839</a> that -the riding-race consisted of one lap only or six stades, about two-thirds -of a mile. A mule chariot-race (ἀπήνη) was introduced in Ol. -70 ( = 500 <span class="smcap lowercase">B. C.</span>), and a trotting-race with mares (κάλπη) in Ol. 71 -( = 496 <span class="smcap lowercase">B. C.</span>), but both were abolished in Ol. 84 ( = 444 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1840"></a><a href="#Footnote_1840" class="fnanchor">1840</a> Pausanias -mentions one monument erected to an anonymous victor in -κάλπη, who won some time between Ols. 72 and 84 ( = 492 and 444 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1841"></a><a href="#Footnote_1841" class="fnanchor">1841</a> -He mentions the first victor in the mule-race, Thersias of Thessaly, -but this does not occur in his <i>periegesis</i> of the Altis.<a id="FNanchor_1842"></a><a href="#Footnote_1842" class="fnanchor">1842</a> Only three -other victors in this event are known to us, and they came from -Sicilian towns.<a id="FNanchor_1843"></a><a href="#Footnote_1843" class="fnanchor">1843</a></p> - -<p>Equestrian events were discontinued at Olympia in the first century -<span class="smcap lowercase">B. C.</span>, owing to the waning of interest in athletics in consequence of the -Roman conquest of Greece in 146 <span class="smcap lowercase">B. C.</span> They were revived thereafter -under the Empire only spasmodically and were destined finally to be -replaced by the amusements of the Roman circus. Thus we learn from -the Armenian version of Africanus that the chariot-race ceased at -Olympia in Ol. 178 ( = 68 <span class="smcap lowercase">B. C.</span>). It must, however, have been reinstated -toward the end of the century, since Tiberius Claudius Nero—afterwards -the Emperor Tiberius—won in Ol. 194 ( = 4 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1844"></a><a href="#Footnote_1844" class="fnanchor">1844</a> It again -went into disuse, since Africanus says that it, πάλαι κωλυθείς, was reintroduced -in Ol. 199 ( = 17 <span class="smcap lowercase">A. D.</span>, when Germanicus, the adopted son -of Tiberius, won.<a id="FNanchor_1845"></a><a href="#Footnote_1845" class="fnanchor">1845</a> Once more it was discontinued, and again renewed<span class="pagenum"><a id="Page_262">262</a></span> -in Ol. 222 ( = 109 <span class="smcap lowercase">A. D.</span>), according to the same authority, who, however, -does not name any victor for that date. Just when this discontinuance -took place, we can not say, but it was certainly after Ol. 211 -( = 65 <span class="smcap lowercase">A. D.</span>), when the emperor Nero is known to have won victories -in various kinds of chariot-races.<a id="FNanchor_1846"></a><a href="#Footnote_1846" class="fnanchor">1846</a> Three Olympiads before, an Elean, -Tiberios Klaudios Aphrodeisios, had also won the horse-race.<a id="FNanchor_1847"></a><a href="#Footnote_1847" class="fnanchor">1847</a></p> - -<h3>REPRESENTATIONS OF THE CHARIOT-RACE.</h3> - -<div class="figcenter500"><p class="right">PLATE 26</p><a id="p26"></a> -<img src="images/i_fp262.jpg" width="500" height="329" alt="Racing Chariot and Horses." /> -<div class="caption">Racing Chariot and Horses. From an archaic b.-f. Hydria. Museum of Berlin.</div> -</div> - -<p>Representations of the various chariot-races are commoner than -those of any other Olympic contest, appearing on vases, reliefs, coins, -and gems.<a id="FNanchor_1848"></a><a href="#Footnote_1848" class="fnanchor">1848</a> There seem to have been two distinct types of racing-chariot -in Greece.<a id="FNanchor_1849"></a><a href="#Footnote_1849" class="fnanchor">1849</a> The four-horse chariot was a modification of the -heroic two-horse war-chariot, which was a low car on two wheels, surmounted -by a box consisting of a high framework, open only at the -rear, and large enough to contain the chieftain and the charioteer. -The war-chariot was known to both Mycenæan Greece and Crete. -There is a relief of uncertain date in the Museum of Candia, which represents -a chariot and charioteer.<a id="FNanchor_1850"></a><a href="#Footnote_1850" class="fnanchor">1850</a> It is far superior to the type of chariots -appearing in relief on the gravestones found at Mycenæ,<a id="FNanchor_1851"></a><a href="#Footnote_1851" class="fnanchor">1851</a> though -the type on both is of the same general pattern, having the same box -and four-spoked wheels. On the Mycenæan reliefs the box seems to -rest directly upon the rim of the wheel, and the portrayal of a single -horse is very inartistic. On the Candia relief, however, there are at -least two horses discernible, and both the horses and the warrior, who -is about to mount the car, are lifelike. The Greek racing-car was much -lighter than the Homeric and Mycenæan war-chariot, and the box had -room only for the charioteer. It was drawn usually by four horses. -The Athenian type appears on Panathenaic vases throughout the whole -history of the manufacture of these vases,<a id="FNanchor_1852"></a><a href="#Footnote_1852" class="fnanchor">1852</a> and also on Macedonian -and Sicilian coins. On certain vases of later date the car is still lighter -and has larger wheels. One of the earliest racing-cars is seen on a -<span class="pagenum"><a id="Page_263">263</a></span>vase in the British Museum,<a id="FNanchor_1853"></a><a href="#Footnote_1853" class="fnanchor">1853</a> dating from the eighth century <span class="smcap lowercase">B. C.</span> It -seems to be a two-horse car, as we should expect at this early date, -though the artist has drawn but one horse. The charioteer is clothed -in a long chiton, a custom which was generally kept throughout the -history of the chariot-race. The regular two-horse type of chariot -appears on vases as a cart, 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 sides. The driver rests his feet on a footboard suspended -from the pole.<a id="FNanchor_1854"></a><a href="#Footnote_1854" class="fnanchor">1854</a> Perhaps this represents a peculiarly Athenian -type of chariot, since the two-horse chariot on coins of Philip II, son of -Amyntas and father of Alexander the Great, a victor at Olympia in -both horse-racing and charioteering, resembles the ordinary four-horse -car, and the driver stands instead of sits.<a id="FNanchor_1855"></a><a href="#Footnote_1855" class="fnanchor">1855</a> The mule-car was like the -two-horse chariot, as we see in representations of it on coins of Rhegion -and Messana.<a id="FNanchor_1856"></a><a href="#Footnote_1856" class="fnanchor">1856</a> The best illustrations of racing with four-horse cars -are afforded by coins of Sicilian cities.<a id="FNanchor_1857"></a><a href="#Footnote_1857" class="fnanchor">1857</a> We see an excellent representation -of such a race on a sixth-century <span class="smcap lowercase">B. C.</span> Panathenaic vase -recently found at Sparta, on which a chariot driven by a standing -charioteer is represented as passing a pillar on the right, and therefore -perhaps near the end of the race.<a id="FNanchor_1858"></a><a href="#Footnote_1858" class="fnanchor">1858</a> The harnessing of two horses to a -racing-car is seen on an archaic b.-f. hydria in Berlin (Pl. <a href="#p26">26</a>).<a id="FNanchor_1859"></a><a href="#Footnote_1859" class="fnanchor">1859</a> Here -a third horse appears, led by a nude youth, who is crowned, and who -therefore probably represents a victorious horse-racer. Several other -b.-f. vase-paintings showing four-horse chariots have been collected by -Gerhard.<a id="FNanchor_1860"></a><a href="#Footnote_1860" class="fnanchor">1860</a> However, we are not dependent upon vase-paintings and -coins to judge of the magnificence of Greek chariots of the historical -period, for we have actual remains of them—war-chariots, to be sure, -but not very unlike the ones used at the corresponding dates in Olympia. -Among these is the fine bronze <i>biga</i> found in the grave of an -Italian prince at Monteleone, Etruria, in 1902, and now one of the chief<span class="pagenum"><a id="Page_264">264</a></span> -treasures of the Metropolitan Museum in New York.<a id="FNanchor_1861"></a><a href="#Footnote_1861" class="fnanchor">1861</a> This is a war-chariot -of the beginning of the sixth century <span class="smcap lowercase">B. C.</span>, the only complete -ancient bronze chariot now known. The restored frame of wood is -sheathed with thin bronze plates richly ornamented with reliefs -in repoussé. Because of its form and its relationship to chariots -appearing on archaic Ionic monuments of Asia Minor, for example, -on the reliefs of sarcophagi from Klazomenai, and because of the -strong resemblance between its decorative designs and those of -archaic Italian monuments of Ionicizing style, Furtwaengler has -classed it as the product of Ionic Greek art. Professor Chase, on -the other hand, finds these decorations pure Etruscan in character, -comparing them with the reliefs on three bronze tripods in the possession -of Mr. James Loeb, which are dated some half a century later.<a id="FNanchor_1862"></a><a href="#Footnote_1862" class="fnanchor">1862</a> In -any case this chariot is “<i>das glaenzendste, vollstaendigste</i>” archaic -metal work yet recovered. In the British Museum there are considerable -remnants of the chariot-group of King Mausolos and his wife -Artemisia, which once stood on the apex of the Mausoleion at Halikarnassos, -the work, according to Pliny,<a id="FNanchor_1863"></a><a href="#Footnote_1863" class="fnanchor">1863</a> of Pythis (or Pytheos), the architect -and historian of the tomb.<a id="FNanchor_1864"></a><a href="#Footnote_1864" class="fnanchor">1864</a> Besides the figures of the royal pair, -we have the head of one horse, the hinder half of another, fragments -of still others, and one wheel of the chariot.<a id="FNanchor_1865"></a><a href="#Footnote_1865" class="fnanchor">1865</a></p> - -<h3>CHARIOT-GROUPS AT OLYMPIA.</h3> - -<p>Great artists were engaged to set up chariot-groups at Olympia and -elsewhere. Many of the <i>quadrigae</i> and <i>bigae</i> mentioned by Pliny as -the works of sculptors and painters must have been agonistic offerings.<a id="FNanchor_1866"></a><a href="#Footnote_1866" class="fnanchor">1866</a> -Aeginetan sculptors were especially in favor at Olympia. Thus Onatas, -in conjunction with the Athenian Kalamis, made a group for King -Hiero,<a id="FNanchor_1867"></a><a href="#Footnote_1867" class="fnanchor">1867</a> and Glaukias made another for Hiero’s brother Gelo;<a id="FNanchor_1868"></a><a href="#Footnote_1868" class="fnanchor">1868</a> Simon -made an equestrian group for Phormis,<a id="FNanchor_1869"></a><a href="#Footnote_1869" class="fnanchor">1869</a> and Philotimos made a statue -for the horse-racer Xenombrotos of Kos.<a id="FNanchor_1870"></a><a href="#Footnote_1870" class="fnanchor">1870</a> The oldest dedication by -a chariot victor at Olympia was the votive offering of Miltiades, the -son of Kypselos, of Athens, which consisted of an ivory horn of Amal<span class="pagenum"><a id="Page_265">265</a></span>theia, -inscribed with archaic letters and set up in the treasury of the -Sikyonians. Miltiades won his victory in Ol. (?) 54 ( = 564 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1871"></a><a href="#Footnote_1871" class="fnanchor">1871</a> The -next oldest dedication at Olympia was that of a chariot, without any -human figure, by the Spartan Euagoras, who won three victories in -Ols. (?) 58–60 ( = 548–540 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1872"></a><a href="#Footnote_1872" class="fnanchor">1872</a> This custom of dedicating merely -the model of a chariot continued sporadically into the third century -<span class="smcap lowercase">B. C.</span> Thus Polypeithes of Sparta, who won a victory near the end of -the sixth century <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_1873"></a><a href="#Footnote_1873" class="fnanchor">1873</a> dedicated a chariot, while a figure of his -father, the wrestler Kalliteles, stood beside it.<a id="FNanchor_1874"></a><a href="#Footnote_1874" class="fnanchor">1874</a> A Pythian victor, -Arkesilas IV, son of Battos IV, king of Kyrene, who won a victory in -the 31st Pythiad ( = 462 <span class="smcap lowercase">B. C.</span>), dedicated a chariot at Delphi.<a id="FNanchor_1875"></a><a href="#Footnote_1875" class="fnanchor">1875</a> At the -beginning of the fourth century <span class="smcap lowercase">B. C.</span> the Spartan princess Kyniska set -up “bronze horses less than life-size” in the pronaos of the temple of -Zeus at Olympia. The recovered base shows that Pausanias was right -about the size of this votive offering.<a id="FNanchor_1876"></a><a href="#Footnote_1876" class="fnanchor">1876</a> Theochrestos of Kyrene, who -won some time between Ols. (?) 100 and 122 ( = 380 and 292 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1877"></a><a href="#Footnote_1877" class="fnanchor">1877</a> -and Glaukon of Athens, who won in the third century <span class="smcap lowercase">B. C.</span>,<a id="FNanchor_1878"></a><a href="#Footnote_1878" class="fnanchor">1878</a> also set up -votive chariots. The recovered base of Glaukon’s chariot shows that it -was small. Sometimes a chariot victor, for economy’s sake, 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 -<span class="smcap lowercase">B. C.</span> Perhaps one of the oldest examples of such a dedication of which -we have record is that of the Elean Archidamas, who won a victory at -an unknown date, but certainly some time after Ol. 66 ( = 515 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_1879"></a><a href="#Footnote_1879" class="fnanchor">1879</a> -In the fifth century <span class="smcap lowercase">B. C.</span>, the Spartans Anaxandros<a id="FNanchor_1880"></a><a href="#Footnote_1880" class="fnanchor">1880</a> and Lykinos<a id="FNanchor_1881"></a><a href="#Footnote_1881" class="fnanchor">1881</a><span class="pagenum"><a id="Page_266">266</a></span> -dedicated merely statues of themselves. In the fourth century <span class="smcap lowercase">B. C.</span> the -Elean victors Timon,<a id="FNanchor_1882"></a><a href="#Footnote_1882" class="fnanchor">1882</a> whose monument was by Daidalos, Troilos, -whose monument was by Lysippos,<a id="FNanchor_1883"></a><a href="#Footnote_1883" class="fnanchor">1883</a> and Telemachos, whose statue -was by Philonides,<a id="FNanchor_1884"></a><a href="#Footnote_1884" class="fnanchor">1884</a> set up statues in honor of their victories. 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 ground. -This was probably the position of the statues of the other two victors -mentioned. The statue of the Spartan victor Polykles, surnamed -<i>Polychalkos</i>, stood in a singular group. He was represented as being -greeted on his return home by his children, one of whom held a small -grace-hoop in his hand, while the other was trying to snatch the victor -ribbon from his father’s hand.<a id="FNanchor_1885"></a><a href="#Footnote_1885" class="fnanchor">1885</a> 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-race.<a id="FNanchor_1886"></a><a href="#Footnote_1886" class="fnanchor">1886</a></p> - -<p>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 Syracuse, the group being the work of the Aeginetan Glaukias.<a id="FNanchor_1887"></a><a href="#Footnote_1887" class="fnanchor">1887</a> -The first instance of a victor dedicating his statue in a group -with chariot, horses, and charioteer, is that of Kleosthenes of Epidamnos, -the group being the work of the Argive Hagelaïdas.<a id="FNanchor_1888"></a><a href="#Footnote_1888" class="fnanchor">1888</a> Even the names -of the horses were inscribed on this monument.<a id="FNanchor_1889"></a><a href="#Footnote_1889" class="fnanchor">1889</a> The owner of the -chariot, to be sure, took the prize, but he felt that the victory was due to -the horses and driver, and so he associated them with himself in the -monument. Sometimes the victor acted as his own charioteer. Thus -the Spartan Damonon, already mentioned as the hero of many chariot -victories in and near Sparta, tells in the inscription appearing on his -votive relief that he was his own charioteer.<a id="FNanchor_1890"></a><a href="#Footnote_1890" class="fnanchor">1890</a> In the first <i>Isthmian -Ode</i> Pindar congratulates Herodotos of Thebes, who won the chariot-race -(?) in 458 <span class="smcap lowercase">B. C.</span>, on not entrusting his chariot to strangers, but driving<span class="pagenum"><a id="Page_267">267</a></span> -it himself.<a id="FNanchor_1891"></a><a href="#Footnote_1891" class="fnanchor">1891</a> Thrasyboulos seems to have driven his father’s car at the -victory commemorated by the sixth <i>Pythian Ode</i>, sung in honor of the -chariot victory of Xenokrates of Akragas in 490 <span class="smcap lowercase">B. C.</span> at Delphi. Karrhotos, -the charioteer of Arkesilas of Kyrene already mentioned, was -the latter’s brother-in-law.<a id="FNanchor_1892"></a><a href="#Footnote_1892" class="fnanchor">1892</a> Similarly Aigyptos appears to have ridden -his own horse at Olympia instead of entrusting it to a jockey.<a id="FNanchor_1893"></a><a href="#Footnote_1893" class="fnanchor">1893</a> Sophokles, -in the <i>Electra</i>, has the hero Orestes drive his own chariot at the -<i>Pythia</i>. Kyniska, the daughter of king Archidamas of Sparta, was the -first woman to enter the contests at the race-course and the first to win -an Olympic victory with her chariot.<a id="FNanchor_1894"></a><a href="#Footnote_1894" class="fnanchor">1894</a> Apart from the small votive -offering, already mentioned as standing in the temple of Zeus, she had -also a victor-group at Olympia, by the sculptor Apellas, consisting of -chariot, horses, charioteer, and herself. The rounded form of the -recovered base,<a id="FNanchor_1895"></a><a href="#Footnote_1895" class="fnanchor">1895</a> in connection with the description of Pausanias, permits -us to assume that the statue of the princess stood in front on the -projecting rounded portion of the pedestal. This is the contention of -Loewy, who opposes the theory of Furtwaengler<a id="FNanchor_1896"></a><a href="#Footnote_1896" class="fnanchor">1896</a> that the statue stood -away from the rest of the group, since Pausanias makes no mention of -such an arrangement. In any case, the charioteer in the group can not -have been separated from the car.</p> - -<p>In an unpublished paper by my former teacher, Dr. Alfred Emerson, -which was read by Professor D. M. Robinson before the Archæological -Institute of America at its Christmas meeting in Providence -in 1910, and entitled <i>The Case of Kyniska</i>,<a id="FNanchor_1897"></a><a href="#Footnote_1897" class="fnanchor">1897</a> the argument was made that -the chariot was in miniature; that the statue of Kyniska was a portrait, -because of the wording of the recovered epigram; and, lastly that -the smallest of the so-called bronze dancers from the villa of the Pisos -in Herculaneum, now in Naples, is a late reproduction of the statue at -Olympia by Apellas. 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 themselves.<a id="FNanchor_1898"></a><a href="#Footnote_1898" class="fnanchor">1898</a></p> - -<p>The monument erected by Hiero, son of Deinomenes and brother -and successor of king Gelo at Syracuse, who won two horse-races and -a four-horse chariot victory at Olympia in Ols. 76, 77, 78 ( = 476–468 -<span class="smcap lowercase">B. C.</span>),<a id="FNanchor_1899"></a><a href="#Footnote_1899" class="fnanchor">1899</a> consisted of a bronze chariot, on which the charioteer was -mounted, and on either side a race-horse with a jockey on each. Onatas -made the chariot (and possibly the statue of the driver), while Kalamis<span class="pagenum"><a id="Page_268">268</a></span> -sculptured the horses and jockeys. Such a division among sculptors -was not uncommon at Olympia. Thus the Aeginetan artist Simon and -the Argive Dionysios made a group in common for Phormis, which we -have already mentioned, consisting of two horses and two charioteers.<a id="FNanchor_1900"></a><a href="#Footnote_1900" class="fnanchor">1900</a> -The Chian Pantias and the Aeginetan Philotimos made a group in -common for Xenombrotos of Kos, victor in horse-racing, and for -his son, the boy boxer Xenodikos, which consisted of statues of the -man and the boy on horseback.<a id="FNanchor_1901"></a><a href="#Footnote_1901" class="fnanchor">1901</a> Pliny mentions a four-horse chariot-group -for which the elder Praxiteles made the charioteer and Kalamis -the chariot, adding that Praxiteles did this out of kindness, not wishing -it to be thought that Kalamis had failed in representing the man -after succeeding in representing the horses.<a id="FNanchor_1902"></a><a href="#Footnote_1902" class="fnanchor">1902</a></p> - -<p>In some of the Olympic chariot-groups doubtless the charioteer was -represented at the moment of entering the chariot or already in it. -Sometimes a figure of Nike took the place of the charioteer, in order -that the victor’s exploit might be more exalted. Thus Pausanias, in -mentioning the bronze chariot of Kratisthenes of Kyrene by Pythagoras -of Rhegion,<a id="FNanchor_1903"></a><a href="#Footnote_1903" class="fnanchor">1903</a> says that statues of Nike and Kratisthenes himself -are mounted upon the car. The Nike in some cases was replaced by -the figure of a young maiden, who stood beside the victor, as in the -cases of the Elean Timon<a id="FNanchor_1904"></a><a href="#Footnote_1904" class="fnanchor">1904</a> and the Macedonian Lampos.<a id="FNanchor_1905"></a><a href="#Footnote_1905" class="fnanchor">1905</a> Pliny notes -a similar example in reference to the chariot of Teisikrates, a Delphian -victor in the two-horse chariot-race.<a id="FNanchor_1906"></a><a href="#Footnote_1906" class="fnanchor">1906</a> The maiden in all these cases -may have been merely a Nike personified or a mortal.<a id="FNanchor_1907"></a><a href="#Footnote_1907" class="fnanchor">1907</a> Pliny records -that the painter Nikomachos, son and pupil of Aristeides, painted a -<i>Victoria quadrigam in sublime rapiens</i>.<a id="FNanchor_1908"></a><a href="#Footnote_1908" class="fnanchor">1908</a> The figure of Nike appears -often on reliefs. Thus on a terra-cotta sarcophagus from Klazomenai -we see a two-horse chariot driven by a boy, while alongside is a winged -female figure—Iris or Nike—mounting it.<a id="FNanchor_1909"></a><a href="#Footnote_1909" class="fnanchor">1909</a> The moment of victory is -shown on an Attic marble votive relief representing a four-horse chariot, -now in the British Museum. Here a figure of Nike is represented as<span class="pagenum"><a id="Page_269">269</a></span> -floating in the air and extending a wreath (now wanting) towards the -head of the charioteer, who is draped with a tunic girdled at the waist, -as he mounts the car. If the charioteer in this relief is a female (which -is doubtful), it may he the personification of the city to which the -winner belongs.<a id="FNanchor_1910"></a><a href="#Footnote_1910" class="fnanchor">1910</a> On a votive relief in Athens a horse is represented -as being crowned by Nike.<a id="FNanchor_1911"></a><a href="#Footnote_1911" class="fnanchor">1911</a> On a relief in Madrid Nike is represented as -driving a chariot.<a id="FNanchor_1912"></a><a href="#Footnote_1912" class="fnanchor">1912</a> A quadriga with a female figure, apparently Nike, -appears on a relief dedicated to Hermes and the Nymphs, which was -found in Phaleron.<a id="FNanchor_1913"></a><a href="#Footnote_1913" class="fnanchor">1913</a> Doubtless some of the chariot-groups at Olympia -represented movement—the start, the course, or the end of the race—as -do these and similar reliefs.<a id="FNanchor_1914"></a><a href="#Footnote_1914" class="fnanchor">1914</a> We should add that the figure of Nike -was not confined to equestrian monuments. On the Ficoroni cista in -Rome is represented the boxing match between Polydeukes and Amykos -among the Bebrykes. In the centre we see Amykos hanged to a tree by -the hands, while to the right stands Athena, and above her Nike is -flying with a crown and fillet of victory for Polydeukes.<a id="FNanchor_1915"></a><a href="#Footnote_1915" class="fnanchor">1915</a></p> - -<h3>REMAINS OF CHARIOT-GROUPS.</h3> - -<p>From this discussion of the literary evidence about the monuments -of chariot victors at Olympia and elsewhere, we shall turn to a brief -consideration of certain existing works of sculpture, reliefs and statues, -which will serve to illustrate the manner in which the sculptor represented -this class of victor monuments.</p> - -<div class="figcenter400"><a id="f63"></a> -<img src="images/i_p270.jpg" width="400" height="491" alt="Charioteer Mounting a Chariot." /> -<div class="caption"><span class="smcap">Fig. 63.</span>—Charioteer Mounting a Chariot. Bas-relief -from the Akropolis. Akropolis Museum, Athens.</div> -</div> - -<p>The motive of representing a figure in the act of mounting a chariot -is old. Amphiaraos was thus represented on the chest of Kypselos at -Olympia<a id="FNanchor_1916"></a><a href="#Footnote_1916" class="fnanchor">1916</a> and appears in a similar pose on the b.-f. Corinthian vase from -Cerveteri, now in Berlin, which we have already mentioned.<a id="FNanchor_1917"></a><a href="#Footnote_1917" class="fnanchor">1917</a> Among -reliefs we shall first discuss the Parian (?) marble one found in 1822 near -the Propylaia at Athens and now in the Akropolis Museum (Fig. <a href="#f63">63</a>).<a id="FNanchor_1918"></a><a href="#Footnote_1918" class="fnanchor">1918</a> -Here we see represented a robed figure stepping into a chariot, holding -the reins in the extended hands. This Attic work, perhaps dating from<span class="pagenum"><a id="Page_270">270</a></span> -the very beginning of the fifth century <span class="smcap lowercase">B. C.</span>, has long been admired for -its vigor and grace. Whether the figure is male or female, human or -divine, is still a matter of debate. The head is too badly weathered to -make the decision final. The upper part of the figure of Hermes (?) -on another fragment, which appears to come from the same relief and -which was found near the south wall of the Akropolis in 1859,<a id="FNanchor_1919"></a><a href="#Footnote_1919" class="fnanchor">1919</a> has -made it seem reasonable to call the charioteer a god, perhaps Apollo.<a id="FNanchor_1920"></a><a href="#Footnote_1920" class="fnanchor">1920</a> -The hair of Hermes and of the charioteer is arranged in the old -Attic <i>krobylos</i> fashion. This also makes it natural to interpret the<span class="pagenum"><a id="Page_271">271</a></span> -charioteer as male, despite the slender and delicate arms and hands, -which appear to be female.<a id="FNanchor_1921"></a><a href="#Footnote_1921" class="fnanchor">1921</a> But such effeminate male figures are not -unknown to Attic art, which was characterized by grace and softness.<a id="FNanchor_1922"></a><a href="#Footnote_1922" class="fnanchor">1922</a> -The line of the breast, however, shows no such fulness as archaic -masters were wont to give to female forms, and hence this figure may -very well be that of a male. Schrader has tried to refer the slab to the -frieze of the Old Temple of Athena, which, he believes, survived the -sack of the Akropolis by Xerxes,<a id="FNanchor_1923"></a><a href="#Footnote_1923" class="fnanchor">1923</a> thus assuming a chariot-frieze -similar to the later one appearing on the Mausoleion at Halikarnassos, -which antedated similar scenes on the Parthenon frieze by nearly a century. -As the Parthenon slabs represent mortal charioteers, who are -doubtless males, the relief may also represent a mortal. However, the -Akropolis relief may have had nothing to do with any temple frieze nor -with the adornment of a great altar of Athena, as Furtwaengler contended,<a id="FNanchor_1924"></a><a href="#Footnote_1924" class="fnanchor">1924</a> -but may be from a votive monument set up by a chariot -victor.<a id="FNanchor_1925"></a><a href="#Footnote_1925" class="fnanchor">1925</a></p> - -<p>We see a good representation in relief of a chariot-group on one side -of the arched roof of the so-called Chimæra tomb discovered by Sir -Charles Fellows at Xanthos in Lykia. Here is represented a chariot -drawn by four horses, in which stands a charioteer, with sleeved tunic -and Phrygian cap, and an armed figure. Because of the figure of the -Chimæra in the lower right-hand corner, the charioteer, despite the -absence of Pegasos, has been called Bellerophon.<a id="FNanchor_1926"></a><a href="#Footnote_1926" class="fnanchor">1926</a></p> - -<p><span class="pagenum"><a id="Page_272">272</a></span></p> - -<h3>THE APOBATES CHARIOT-RACE.</h3> - -<p>On the north frieze of the Parthenon there were originally at least 9 -four-horse chariot groups,<a id="FNanchor_1927"></a><a href="#Footnote_1927" class="fnanchor">1927</a> while on the south frieze there were 10 such -groups.<a id="FNanchor_1928"></a><a href="#Footnote_1928" class="fnanchor">1928</a> These various groups represent a ceremonial chariot-race -called the <i>apobates</i>, known at Athens and in Bœotia and a favorite -contest at the Panathenaic games.<a id="FNanchor_1929"></a><a href="#Footnote_1929" class="fnanchor">1929</a> This race preserved the tradition -of Homeric warfare, when the chieftain was driven to battle in his -chariot, but dismounted to fight, remounting only to pursue or avoid his -enemy. During the race, while the charioteer kept the horses at full -speed, the <i>apobates</i> dismounted, ran alongside the chariot, and mounted -again. In the last lap he dismounted and ran beside the chariot to -the goal.<a id="FNanchor_1930"></a><a href="#Footnote_1930" class="fnanchor">1930</a> In the North frieze we see the charioteer in the chariot, -and the <i>apobates</i>, armed with shield and helmet, either stepping down -from the chariot or standing beside it; while a third figure, a marshal, -stands nearby. Thus on slab XIV we see the <i>apobates</i> about to step -down; on slab XV he is standing up in the chariot; on slab XVII -(Fig. <a href="#f64">64</a>) he is leaning back, supporting himself by means of his right -hand, which grasps the chariot rail, and is just ready to step down; on slab -XXII he is remounting the chariot. In the scenes on the South frieze, -on the other hand, the <i>apobates</i> is not represented as dismounting, -but is standing either inside the chariot or by its side. The South -frieze, therefore, represents preparation or the beginning of the race, -while the North one represents the actual course. There is, therefore, -as Gardiner points out, no need to accept Michaelis’ theory that the -two friezes portray different motives, the North one representing the -<i>apobates</i> at the games and the South one representing war-chariots. -The double character of the race is shown by inscriptions which make -both charioteer and <i>apobates</i> equally victors. Many other reliefs show -the <i>apobates</i> dismounting. Thus, on a fragmentary relief found in 1886 -at the Amphiareion at Oropos and now in Athens,<a id="FNanchor_1931"></a><a href="#Footnote_1931" class="fnanchor">1931</a> we see a nude and -beardless youth standing in a chariot, which is moving rapidly to the -left. He has a helmet on his head and a shield in his left hand and<span class="pagenum"><a id="Page_273">273</a></span> -holds on to the rim of the chariot, as in the Parthenon frieze slab just -mentioned. To his right is a charioteer with his arms outstretched to -hold the reins. As this relief is obviously influenced by the Parthenon -frieze, it must stand midway between that frieze and the Hellenistic -relief to be described below. Another relief, found at Oropos in 1835<a id="FNanchor_1932"></a><a href="#Footnote_1932" class="fnanchor">1932</a> -and dating from the first half of the fourth century <span class="smcap lowercase">B. C.</span>, represents -a four-horse chariot moving to the left and containing two persons. -One is the charioteer, who has long waving hair and a short beard and -is clothed in the usual long tunic; the other is a nude <i>apobates</i>, who is -armed with helmet and shield and holds on to the rim of the chariot -with his right hand, the upper part of his body being inclined backwards, -the knees bent, and the shield held away from the body.<a id="FNanchor_1933"></a><a href="#Footnote_1933" class="fnanchor">1933</a> We -can not say whether these two reliefs from the Amphiareion represent -offerings of <i>apobatai</i>, who were victorious at races held in Oropos or -elsewhere in Bœotia, or represent the victorious Panathenaic <i>apobatai</i>. -They may well be <i>ex votos</i> to the hero Amphiaraos at the -games held in Oropos. We see an excellent illustration of an <i>apobates</i> -in the very act of dismounting on a Hellenistic votive relief discovered -in 1880 on the Akropolis, which dates from the end of the fourth century -<span class="smcap lowercase">B. C.</span><a id="FNanchor_1934"></a><a href="#Footnote_1934" class="fnanchor">1934</a> A marble relief, supposably from Herculaneum, but now<span class="pagenum"><a id="Page_274">274</a></span> -in Portugal,<a id="FNanchor_1935"></a><a href="#Footnote_1935" class="fnanchor">1935</a> represents a figure dressed in a long chiton. Wolters -suggests that it may represent an <i>apobates</i>, but the absence of the -usual armor makes it probable that a charioteer is intended. In -a future section we shall discuss the <i>apobates</i> in the horse-race at -Olympia known as κάλπη.</p> - -<div class="figcenter350"><a id="f64"></a> -<img src="images/i_p273.jpg" width="350" height="324" alt="Apobates and Chariot." /> -<div class="caption"><span class="smcap">Fig. 64.</span>—Apobates and Chariot. Relief from -the North Frieze of the Parthenon, Athens.</div> -</div> - -<div class="figcenter400"><a id="f65"></a> -<img src="images/i_p274.jpg" width="400" height="497" alt="Charioteer." /> -<div class="caption"><span class="smcap">Fig. 65.</span>—Charioteer. Relief from the small Frieze of -the Mausoleion, Halikarnassos. British Museum, London.</div></div> - -<h3>STATUES OF CHARIOTEERS.</h3> - -<p>The best-preserved slab from the small Parian marble chariot-frieze -from the Mausoleion of Halikarnassos, now in the British Museum, -represents a male figure standing in a chariot (Fig. <a href="#f65">65</a>).<a id="FNanchor_1936"></a><a href="#Footnote_1936" class="fnanchor">1936</a> -This long-haired -charioteer, dressed in a tunic which extends to the feet and is -girded at the waist, is leaning forward in an eager attitude. The folds<span class="pagenum"><a id="Page_275">275</a></span> -of his garment curved to the wind show the speed of his horses, and the -mutilated face discloses a look of intense excitement. The deep-set -eyes and overhanging brows recall the Tegea heads of Skopas (Fig. <a href="#f73">73</a>) -and the combatants pictured on the so-called <i>Alexander Sarcophagus</i> -discovered near Sidon in 1887 and now in Constantinople.<a id="FNanchor_1937"></a><a href="#Footnote_1937" class="fnanchor">1937</a> The pose -is so characteristic and spirited that it was copied by later artists on -reliefs and gems.<a id="FNanchor_1938"></a><a href="#Footnote_1938" class="fnanchor">1938</a> The same pose, forward inclination of the body, -half-opened mouth, and intense look seem to be reproduced in a statue -of the fourth century <span class="smcap lowercase">B. C.</span> now in the Museum of Fine Arts in Boston -(Pl. <a href="#p27">27</a>).<a id="FNanchor_1939"></a><a href="#Footnote_1939" class="fnanchor">1939</a> Robinson, because of the similarity of its head to certain -heads of Apollo published by Overbeck,<a id="FNanchor_1940"></a><a href="#Footnote_1940" class="fnanchor">1940</a> interpreted this statue as -Apollo starting to run. Von Mach, however, has pointed out that its -head bears a more striking resemblance to that of a <i>Kore</i> in Vienna.<a id="FNanchor_1941"></a><a href="#Footnote_1941" class="fnanchor">1941</a> -Klein interpreted it as a jumper, assuming that the two supports on the -legs were for the wrists, indicating that the arms were held downwards, -the hands, then, holding <i>halteres</i>. But von Mach makes it clear that -these supports are not parallel, as Klein thought, but that they diverge -outwards and consequently may have made the connection with the -sides of a chariot rim. Furthermore, the likeness to the figure on the -Mausoleion frieze (Fig. <a href="#f65">65</a>) makes it probable that we are here concerned -with a charioteer. The objection to this theory on the ground of -nudity is baseless. Though the conventional garb of the charioteer in -Greek art from the eighth century <span class="smcap lowercase">B. C.</span> onwards<a id="FNanchor_1942"></a><a href="#Footnote_1942" class="fnanchor">1942</a> was certainly a long, -close-fitting chiton, there are several examples in existence of nude -charioteers.<a id="FNanchor_1943"></a><a href="#Footnote_1943" class="fnanchor">1943</a> Similarly the objection that the artificial head-dress does -not belong to a charioteer is equally erroneous. Klein has shown that it<span class="pagenum"><a id="Page_276">276</a></span> -appears on several heads of boys, and, as von Mach says, it is certainly -no better suited to Apollo or a jumper than to a boy driving colts -in a chariot-race. 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 1858 and now in Berlin.<a id="FNanchor_1944"></a><a href="#Footnote_1944" class="fnanchor">1944</a> This is a Roman work seemingly -inspired by a Greek prototype, and has been interpreted variously as -the statue of <i>Bonus Eventus, Novus Annus</i>, and Dionysos. However, -here again the forward inclination of the body points to the interpretation -of a charioteer,<a id="FNanchor_1945"></a><a href="#Footnote_1945" class="fnanchor">1945</a> despite its nudity. The nude statue found -on the Esquiline in 1874 and now in the Palazzo dei Conservatori, -Rome, which has already been mentioned,<a id="FNanchor_1946"></a><a href="#Footnote_1946" class="fnanchor">1946</a> has been shown to be -that of a charioteer by a comparison with figures on Attic vases which -represent mortals and gods entering chariots, and with a figure on the -so-called <i>Satrap Sarcophagus</i> in Constantinople.<a id="FNanchor_1947"></a><a href="#Footnote_1947" class="fnanchor">1947</a> The youth is represented -as standing on his left foot; he places his right on the chariot -floor and extends his hands to hold the reins. The statue seems to be a -mediocre Roman copy of a Greek original bronze of about the middle -of the fifth century <i>B. C.</i>, as it shows certain traces of archaism. Furtwaengler -has assigned it to the sculptor Kalamis along with a closely -connected group of monuments.<a id="FNanchor_1948"></a><a href="#Footnote_1948" class="fnanchor">1948</a></p> - -<div class="figcenter500"><p class="right">PLATE 27</p><a id="p27"></a> -<img src="images/i_fp276.jpg" width="500" height="858" alt="Statue of a Charioteer (?)." /> -<div class="caption">Statue of a Charioteer (?). Museum of Fine Arts, Boston.</div> -</div> - -<p>Finally, in this connection, even though it has nothing to do with -monuments set up at Olympia, we shall discuss the life-size bronze -statue of the <i>Charioteer</i> discovered by the French in 1896 in the excavations -of Delphi, and now the cynosure of the village museum there. -(Fig. <a href="#f66">66</a>.)<a id="FNanchor_1949"></a><a href="#Footnote_1949" class="fnanchor">1949</a> This example of ripe archaic art is one of the finest -<span class="pagenum"><a id="Page_277">277</a></span>bronzes yet recovered in Greece. Its ancient fame is disclosed by the -fact that it was copied in many monuments down to the end of antiquity.<a id="FNanchor_1950"></a><a href="#Footnote_1950" class="fnanchor">1950</a> -The figure is clothed in a short-sleeved chiton, which reached -nearly to the ground, and is girded above the waist. With the figure -<span class="figright250"><a id="f66"></a> -<img src="images/i_p277.jpg" width="250" height="640" alt="Bronze Statue of the -Delphi Charioteer." /> -<span class="caption"><span class="smcap">Fig. 66.</span>—Bronze Statue of the -Delphi <i>Charioteer</i>. Museum of Delphi.</span></span> -were found also fragments of reins, -which were held in the extended -right hand, portions of three horses, -a chariot pole, and the left arm and -hand of a second figure, that of a -boy or woman, showing that the -<i>Charioteer</i> was part of a group. -The group rested on a base on -which was cut a two-line metrical -inscription, the ends of which are -preserved. The first line ends -Πολύζαλός μ’ ἀνέθηκεν. A part of -the inscription is lost and another -part, including the above words, is -written over the erased original, -which is still partly legible. The -original inscription gives the name of -the first dedicator as ending in ιλας. -From this ending Professor Washburn -recovers the name Ἀρκεσίλας. -He refers the original dedication -to Arkesilas IV of Kyrene,<a id="FNanchor_1951"></a><a href="#Footnote_1951" class="fnanchor">1951</a> and -identifies it with the group known -from Pausanias to have been dedicated -at Delphi by the people of -Kyrene, representing Battos and -the figure of Libya crowning him -in a chariot and the charioteer personified -as Kyrene outside, the whole -being the work of the Knossian -sculptor Amphion.<a id="FNanchor_1952"></a><a href="#Footnote_1952" class="fnanchor">1952</a> Svoronos<a id="FNanchor_1953"></a><a href="#Footnote_1953" class="fnanchor">1953</a> follows -Washburn’s suggestion and -identifies the <i>Charioteer</i> with Battos, -believing that the fragment of -the left arm found with the statue<span class="pagenum"><a id="Page_278">278</a></span> -is from the statue of Kyrene represented as a charioteer.<a id="FNanchor_1954"></a><a href="#Footnote_1954" class="fnanchor">1954</a> Ingenious -as the theory is, there are chronological difficulties in the way of -accepting it unreservedly. Thus Amphion’s pupil Pison worked on -the Spartan memorial of Aigospotamoi at Delphi in 404 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1955"></a><a href="#Footnote_1955" class="fnanchor">1955</a> Furthermore, -the ending ιλας may equally well refer to Anaxilas, the tyrant -of Rhegion, as the original dedicator,<a id="FNanchor_1956"></a><a href="#Footnote_1956" class="fnanchor">1956</a> in which case it seems reasonable -to assume that the group might have been the work of Pythagoras, -the great sculptor of Rhegion.<a id="FNanchor_1957"></a><a href="#Footnote_1957" class="fnanchor">1957</a> A Greek scholar believes that -the original dedicator was Gelo, and that his name was erased and -replaced by that of his brother Polyzalos; he consequently dates the -group shortly after Gelo’s death in 478 <span class="smcap lowercase">B. C.</span><a id="FNanchor_1958"></a><a href="#Footnote_1958" class="fnanchor">1958</a> He refers it to Glaukias -of Aegina, while Joubin<a id="FNanchor_1959"></a><a href="#Footnote_1959" class="fnanchor">1959</a> classes the <i>Charioteer</i> as an Attic work. -However, 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 work. Its deficiencies are as apparent -as its virtues. Thus the parallel folds of the chiton show little of -the form beneath; the feet are too flatly placed on the ground, and -the contour of the head and face is not altogether graceful.<a id="FNanchor_1960"></a><a href="#Footnote_1960" class="fnanchor">1960</a> Whatever -the original purpose of the group was, it may well have been -used by Polyzalos to honor the Pythian victory of his brother Hiero.<a id="FNanchor_1961"></a><a href="#Footnote_1961" class="fnanchor">1961</a> -From it, then, we can get, perhaps, an idea of the magnificence of -Hiero’s monument by Onatas and Kalamis at Olympia.</p> - -<h3>DEDICATIONS OF VICTORS IN THE HORSE-RACE AT -OLYMPIA AND ELSEWHERE.</h3> - -<p>The hippic victor at Olympia frequently dedicated merely the model -of his victorious horse without the jockey, just as the early chariot<span class="pagenum"><a id="Page_279">279</a></span> -victor dedicated a chariot without the charioteer. We have evidence of -several instances of this custom from the sixth century <span class="smcap lowercase">B. C.</span> on. Krokon -of Eretria dedicated a small horse of bronze in the Altis.<a id="FNanchor_1962"></a><a href="#Footnote_1962" class="fnanchor">1962</a> The -Corinthian Pheidolas dedicated a model of his horse alone, but for a -different reason.<a id="FNanchor_1963"></a><a href="#Footnote_1963" class="fnanchor">1963</a> The jockey who rode for him fell off at the start, -but the mare, named <i>Aura</i>, continued the race and reached the goal as -victor. The owner was allowed by the judges to set up a monument to -her. The sons of Pheidolas were also victors in the horse-race<a id="FNanchor_1964"></a><a href="#Footnote_1964" class="fnanchor">1964</a> and set -up a horse on a column with an epigram upon it—ἵππος ἐπὶ στήλῃ -πεποιημένος καὶ ἐπίγραμμά ἐστιν ἐπ’ αὐτῷ. Just how this monument -looked is doubtful. Pausanias may have seen the bronze horse of the -father Pheidolas, and nearby a column with a bas-relief representing -the horse of the sons;<a id="FNanchor_1965"></a><a href="#Footnote_1965" class="fnanchor">1965</a> or the horse may have stood on top of the column -in the round, since the epigram was ἐπ’ αὐτῷ (on the horse) and not -ἐπ’ αὐτῇ (on the stele).<a id="FNanchor_1966"></a><a href="#Footnote_1966" class="fnanchor">1966</a></p> - -<p>More frequently a jockey was seated upon the model of the horse, -just as we see frequently on vase-paintings. In the Olympic monument -of King Hiero already mentioned, 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-race.<a id="FNanchor_1967"></a><a href="#Footnote_1967" class="fnanchor">1967</a> Another Olympia -group represented the boy horse-racer Aigyptos on horseback, and his -father, the chariot victor Timon, standing beside him.<a id="FNanchor_1968"></a><a href="#Footnote_1968" class="fnanchor">1968</a> This is also a -case in which the victor (Aigyptos) acted as his own jockey. In the -group representing Xenombrotos of Kos, the horse-racer, and his son, -the boy boxer Xenodikos, by the Aeginetan Philotimos and the Chian -Pantias respectively, the boy was seated on a horse and the statue of -the father stood nearby.<a id="FNanchor_1969"></a><a href="#Footnote_1969" class="fnanchor">1969</a> The base of this group has been recovered, -large enough to have carried the two monuments.<a id="FNanchor_1970"></a><a href="#Footnote_1970" class="fnanchor">1970</a> Pliny says that the -sculptors Kanachos and Hegias made groups of horse-racers.<a id="FNanchor_1971"></a><a href="#Footnote_1971" class="fnanchor">1971</a> We have -seen that Pausanias mentions others by Kalamis and Daidalos. The -work of Kalamis, the immediate predecessor of Pheidias, an artist -noted for his grace and softness and as an unrivaled sculptor of horses,<a id="FNanchor_1972"></a><a href="#Footnote_1972" class="fnanchor">1972</a> -must have been excellent.</p> - -<p><span class="pagenum"><a id="Page_280">280</a></span></p> - -<h3>MONUMENTS ILLUSTRATING THE HORSE-RACE.</h3> - -<p>When we turn to the monuments which illustrate the horse-race, we -find as varied a number—vase-paintings, reliefs, coins, statuary, etc.—as -in the case of chariot victors.</p> - -<div class="figcenter500"><a id="f67"></a> -<img src="images/i_p280.jpg" width="500" height="318" alt="Horse-Racer." /> -<div class="caption"><span class="smcap">Fig. 67.</span>—Horse-Racer. From a Sixth-Century <span class="smcap lowercase">B. C.</span> b.-f. Panathenaic Vase. -British Museum, London.</div> -</div> - -<p>Vase-paintings show that the jockey was generally nude and rode -without stirrups or saddle. We see nude long-haired jockeys on -horseback with whips pictured on a sixth-century <span class="smcap lowercase">B. C.</span> Panathenaic -amphora in the British Museum.<a id="FNanchor_1973"></a><a href="#Footnote_1973" class="fnanchor">1973</a> One also appears on a silver tetradrachm -in the same museum, which commemorates the Olympic -victory of Philip II of Macedonia.<a id="FNanchor_1974"></a><a href="#Footnote_1974" class="fnanchor">1974</a> Here the victorious mounted -jockey has a palm in his hand, the symbol of his victory. On the other -hand, the jockey is sometimes represented as wearing a close-fitting -short-sleeved chiton. We see such a one on an archaic b.-f. Panathenaic -vase of the sixth century <span class="smcap lowercase">B. C.</span> in the British Museum (Fig. <a href="#f67">67</a>).<a id="FNanchor_1975"></a><a href="#Footnote_1975" class="fnanchor">1975</a> -In front of the mounted youth on this vase stands a herald in official -robes, from whose mouth issue the words “the horse of Dyneiketos is -victorious.” Behind the jockey is an attendant bearing a wreath -in his left hand and holding a prize tripod over his head. The short -chiton also appears on a horse-racer on the Amphiaraos vase.<a id="FNanchor_1976"></a><a href="#Footnote_1976" class="fnanchor">1976</a> We see -racing boys on a proto-Corinthian lekythos in the museum at Taranto,<span class="pagenum"><a id="Page_281">281</a></span> -with tripods as prizes.<a id="FNanchor_1977"></a><a href="#Footnote_1977" class="fnanchor">1977</a> A fine example of five nude horse-racers also -appears on a vase pictured in the Daremberg-Saglio Dictionary.<a id="FNanchor_1978"></a><a href="#Footnote_1978" class="fnanchor">1978</a> Here -one has fallen from his horse and is being dragged by the bridle.</p> - -<p>A boy on a galloping horse is shown on a terra-cotta relief from Thera.<a id="FNanchor_1979"></a><a href="#Footnote_1979" class="fnanchor">1979</a> -On a funerary marble relief from Sicily, now in the Museo Gregoriano, -Rome, a rider is represented urging his horse on with a whip.<a id="FNanchor_1980"></a><a href="#Footnote_1980" class="fnanchor">1980</a> An -Athenian relief shows victorious ephebes leading horses,<a id="FNanchor_1981"></a><a href="#Footnote_1981" class="fnanchor">1981</a> while another -from Athens shows a mounted boy.<a id="FNanchor_1982"></a><a href="#Footnote_1982" class="fnanchor">1982</a> Horsemen representing Athenian -knights appear on many slabs of the Parthenon frieze,<a id="FNanchor_1983"></a><a href="#Footnote_1983" class="fnanchor">1983</a> either mounted -or standing by their horses.</p> - -<p>The inscribed base of Onatas found on the Akropolis seems to have -borne the statue of a horse-racer.<a id="FNanchor_1984"></a><a href="#Footnote_1984" class="fnanchor">1984</a> The bronze statue of Isokrates at -Athens, which represented him as a παῖς κελητίζων, is mentioned by the -pseudo-Plutarch.<a id="FNanchor_1985"></a><a href="#Footnote_1985" class="fnanchor">1985</a> A bronze statuette in Athens from Dodona represents -an ephebe on a galloping horse.<a id="FNanchor_1986"></a><a href="#Footnote_1986" class="fnanchor">1986</a> A statue in the Palazzo Orlandi -in Florence represents a horse-rider.<a id="FNanchor_1987"></a><a href="#Footnote_1987" class="fnanchor">1987</a> In the Akropolis Museum -there are two monuments which we should mention in this connection. -One is the lower part of the statue of a nude rider on horseback, the -mutilated horse being represented as pawing the ground with its forefoot. -Closely resembling it in scale and finish, though more developed -in style, is another fragmentary statue of a horse without a rider, the -latter probably to be understood as standing in front of the horse, as in -some of the riders pictured on the Parthenon frieze. The two are good -examples of pre-Persian Attic sculpture.<a id="FNanchor_1988"></a><a href="#Footnote_1988" class="fnanchor">1988</a> A later example is the small -bronze statuette of an ephebe represented as a horseman (the horse is -lacking) discovered recently at the French excavations at Volubilis in -Morocco. This almost perfectly preserved work has been referred to<span class="pagenum"><a id="Page_282">282</a></span> -the first half of the fifth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1989"></a><a href="#Footnote_1989" class="fnanchor">1989</a> The position of the hands -holding the reins reminds us strongly of the Delphi <i>Charioteer</i> (Fig. <a href="#f66">66</a>). -The diadem in the hair shows that a victor is represented. A small -bronze statuette in the Loeb collection in Munich represents a boy -riding a prancing horse, which is standing on its hind legs. This vigorous, -but poorly finished, work is decorative in character and probably -once belonged to the crown of a candelabrum. It appears to be either -an Etruscan or early Roman work based on a Hellenistic original.<a id="FNanchor_1990"></a><a href="#Footnote_1990" class="fnanchor">1990</a></p> - -<h3>THE APOBATES HORSE-RACE.</h3> - -<p>In a previous section we discussed the <i>apobates</i> chariot-race run at -the Panathenaic games in Athens, in which the <i>apobates</i> leaped down -and ran to the goal abreast of the chariot. We shall now briefly speak -of a similar race at Olympia (the κάλπη) in which the rider leaped from -his mare in the last lap and ran with her to the goal.<a id="FNanchor_1991"></a><a href="#Footnote_1991" class="fnanchor">1991</a> There is no -certain illustration in sculpture or on vase-paintings of this race, but -Gardiner believes that something like it appears on coins of Tarentum, -on which a nude youth, armed with a small round shield, is represented -in the act of jumping from his horse.<a id="FNanchor_1992"></a><a href="#Footnote_1992" class="fnanchor">1992</a> The military character of this -race, like that of the <i>apobates</i> chariot-race discussed, is shown by the -shield held in the left hand of the dismounting horseman. Helbig has -shown that the Greek knight of the sixth century <span class="smcap lowercase">B. C.</span> was merely a -mounted infantryman, the successor of the Homeric warrior who used -his chariot merely for pursuit or flight, while actually fighting from the -ground.<a id="FNanchor_1993"></a><a href="#Footnote_1993" class="fnanchor">1993</a> Just so the knight rode to battle on his horse, but dismounted -when near the enemy, leaving the horse in charge of his squire, as the -Homeric chieftain left his chariot in charge of his charioteer. This old -custom of the heroic age survived not only in the Panathenaic chariot-race, -but also, for a few years in the fifth century <span class="smcap lowercase">B. C.</span>, in the Olympic -mare-race known as the κάλπη. 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 <span class="smcap lowercase">B. C.</span>, but it endured -for only a half century, from Ols. 71 to 84 ( = 496 to 444 <span class="smcap lowercase">B. C.</span>). The -corresponding chariot-race at Athens and elsewhere continued at least -to the end of the fourth century <span class="smcap">B. C.<span class="pagenum"><a id="Page_283">283</a></span></span></p> - -<h3>DEDICATIONS OF MUSICAL VICTORS AT OLYMPIA AND -ELSEWHERE.</h3> - -<p>In closing this chapter we shall say a few words about monuments -erected to trumpeters, heralds, and musical victors at Olympia, though -such contests had nothing to do with athletics.</p> - -<p>Contests for trumpeters and heralds were held in many parts of -Greece.<a id="FNanchor_1994"></a><a href="#Footnote_1994" class="fnanchor">1994</a> They were introduced at Olympia in Ol. 96 ( = 396 <span class="smcap lowercase">B. C.</span>), -when Timaios of Elis won as trumpeter and Krates of Elis as herald.<a id="FNanchor_1995"></a><a href="#Footnote_1995" class="fnanchor">1995</a> -Pausanias mentions an altar, near the entrance to the stadion, upon -which trumpeters and heralds stood when competing.<a id="FNanchor_1996"></a><a href="#Footnote_1996" class="fnanchor">1996</a> Such contests -seem to have been mere displays of lung power. Herodoros, for example, -who won as trumpeter at Olympia ten times in the last quarter -of the fourth and beginning of the third century <span class="smcap lowercase">B. C.</span><a id="FNanchor_1997"></a><a href="#Footnote_1997" class="fnanchor">1997</a>, could blow two -trumpets at once so loud that no one could stand near him.<a id="FNanchor_1998"></a><a href="#Footnote_1998" class="fnanchor">1998</a> To -perform such a feat he was said to be a very large man.<a id="FNanchor_1999"></a><a href="#Footnote_1999" class="fnanchor">1999</a> Diogenes, -son of Dionysios of Ephesos, won five victories in trumpeting at Olympia. -He was twice <i>periodonikes</i> and also won many other victories -at the Isthmus, Nemea, and elsewhere—eighty in all.<a id="FNanchor_2000"></a><a href="#Footnote_2000" class="fnanchor">2000</a> We have an -excellent bronze statuette of a trumpeter, which was found in the -Hieron of Athena Chalkioikos at Sparta, dating from the middle of -the fifth century <span class="smcap lowercase">B. C.</span>, about a century and a half before the event was -introduced at Olympia.<a id="FNanchor_2001"></a><a href="#Footnote_2001" class="fnanchor">2001</a> This “little masterpiece of Spartan art,” -whose style resembles that of the Olympia pediment sculptures, represents -a nude man standing, the left arm hanging by his side, while the -right is bent upwards to the mouth, where it held a tubular object -pointing upwards. Since the lips are tightly compressed, Dickins -has interpreted the object as a trumpet. A much damaged bronze -statuette in the British Museum represents a man playing on a long<span class="pagenum"><a id="Page_284">284</a></span> -trumpet-shaped instrument.<a id="FNanchor_2002"></a><a href="#Footnote_2002" class="fnanchor">2002</a> Trumpeters also appear now and then -on r.-f. Attic vases of the middle of the fifth century <span class="smcap lowercase">B. C.</span></p> - -<p>Music victors played a greater role at Delphi than elsewhere, since -music from the first was the chief interest there. Monuments to such -victors, though few in number, by little-known artists were set up there, -but they seem to have enjoyed the same meagre honor at Delphi as the -statues of athletic victors.<a id="FNanchor_2003"></a><a href="#Footnote_2003" class="fnanchor">2003</a> We have record of a statue of the Epizephyrian -Locrian <i>kitharoidos</i> Eunomos, set up in his native town in -honor of his Pythian victory over Ariston of Rhegion. Timaios says that -this monument showed a cicada seated on the singer’s lyre.<a id="FNanchor_2004"></a><a href="#Footnote_2004" class="fnanchor">2004</a> Whether -such monuments at Delphi or elsewhere were regarded as victor or -votive in character, we can not say.<a id="FNanchor_2005"></a><a href="#Footnote_2005" class="fnanchor">2005</a> Pausanias mentions several -statues of poets and musicians, mostly mythical, on Mount Helikon, -which were set up partly in consequence of victories won there or elsewhere.<a id="FNanchor_2006"></a><a href="#Footnote_2006" class="fnanchor">2006</a> -Of these the statue of the Thracian or Odrysian Thamyris -was represented as a blind man holding a broken lyre;<a id="FNanchor_2007"></a><a href="#Footnote_2007" class="fnanchor">2007</a> that of Arion -of Methymna as riding a dolphin;<a id="FNanchor_2008"></a><a href="#Footnote_2008" class="fnanchor">2008</a> that of Hesiod, seated, as holding a -lute on his knees; and that of the Thracian Orpheus with Telete at his -side and round about beasts in stone and bronze listening to his song. -Of the statue of the Argive Sakadas, Pausanias says that the sculptor, -not understanding Pindar’s poem on the victor, made the flutist -no bigger than the flute.<a id="FNanchor_2009"></a><a href="#Footnote_2009" class="fnanchor">2009</a> The epigram on the statue of the Sikyonian -flutist Bacchiadas, mentioned by Athenæus as standing on Mount -Helikon,<a id="FNanchor_2010"></a><a href="#Footnote_2010" class="fnanchor">2010</a> was votive in character. The inscribed base of the statue of -the <i>kitharoidos</i> Alkibios has been found on the Athenian Akropolis.<a id="FNanchor_2011"></a><a href="#Footnote_2011" class="fnanchor">2011</a> -Musical contests are pictured on many imitation Panathenaic vases, -and many Greek reliefs seem to have been set up in honor of such victors. -Among the latter we might instance the one in the Louvre representing -Apollo, Artemis, and Leto,<a id="FNanchor_2012"></a><a href="#Footnote_2012" class="fnanchor">2012</a> and another found in Sparta in -1885, which represents Artemis pouring a libation before Apollo.<a id="FNanchor_2013"></a><a href="#Footnote_2013" class="fnanchor">2013</a></p> - -<p>At Olympia flute-playing accompanied certain of the events of the -pentathlon. Pausanias says that the reason why the flute played a<span class="pagenum"><a id="Page_285">285</a></span> -Pythian air while the athletes jumped was that this air was sacred to -Apollo, who had beaten Hermes in running and Ares in boxing at -Olympia.<a id="FNanchor_2014"></a><a href="#Footnote_2014" class="fnanchor">2014</a> Thus on the chest of Kypselos a flutist was represented -as standing between Admetos and Mopsos at their boxing match.<a id="FNanchor_2015"></a><a href="#Footnote_2015" class="fnanchor">2015</a> -But the explanation given by Philostratos seems more sensible, -that leaping was a difficult contest, and that the flute stimulated the -jumpers.<a id="FNanchor_2016"></a><a href="#Footnote_2016" class="fnanchor">2016</a> At Argos, at the games in honor of Zeus Σθένιος, wrestlers -contended to the tune of the flute.<a id="FNanchor_2017"></a><a href="#Footnote_2017" class="fnanchor">2017</a> Many vase-paintings illustrate -flute-playing at the pentathlon.<a id="FNanchor_2018"></a><a href="#Footnote_2018" class="fnanchor">2018</a> At Olympia only a few monuments -were set up in honor of musical victors, and these seem to have been -statues erected <i>honoris causa</i>, instead of primarily for victories. An -example is that of the Sikyonian flutist Pythokritos, who won a victory -as αὐλητής in the sixth century <span class="smcap lowercase">B. C.</span><a id="FNanchor_2019"></a><a href="#Footnote_2019" class="fnanchor">2019</a> Pausanias says that his -monument was that of a small man with a flute wrought in relief on -an inscribed slab. The explanation of such a description probably is -that the size of the flute made the victor appear small, just as in the -case of the monument of Sakadas just mentioned.<a id="FNanchor_2020"></a><a href="#Footnote_2020" class="fnanchor">2020</a> We know that -artists, poets, prose writers, musicians, and actors all had an audience -at Olympia, and that statues were often erected there in honor -of such men, though these are not to be treated as victor monuments -and do not properly fall within the scope of the present work.<a id="FNanchor_2021"></a><a href="#Footnote_2021" class="fnanchor">2021</a></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_286">286</a></span></p> - -<h2>CHAPTER VI.<br /> - -<small>TWO MARBLE HEADS FROM VICTOR STATUES.<a id="FNanchor_2022"></a><a href="#Footnote_2022" class="fnanchor">2022</a></small></h2> - -<p class="center"><span class="smcap">Plates 28–30 and Figures 68–77.</span></p> - -<h3>THE GROUP OF DAOCHOS AT DELPHI, AND LYSIPPOS.</h3> - -<p>If in these later years our knowledge of Skopas has been greatly -augmented by the discovery of the Tegea heads (Fig. <a href="#f73">73</a>), that of -Lysippos has been almost revolutionized. With the discovery in 1894 -at Delphi of the group of statues dedicated by the Thessalian Daochos<a id="FNanchor_2023"></a><a href="#Footnote_2023" class="fnanchor">2023</a> -in honor of various members of his house, whose dates covered nearly -two centuries,<a id="FNanchor_2024"></a><a href="#Footnote_2024" class="fnanchor">2024</a> an entirely new impetus was given to the study of the -last of the great Greek sculptors. Homolle immediately recognized the -fourth-century origin of the group, and at first pronounced the statue -of Agias Lysippan;<a id="FNanchor_2025"></a><a href="#Footnote_2025" class="fnanchor">2025</a> later he saw in the types, poses, and proportions -of the group the mixed influences of Praxiteles, Skopas, and Lysippos, -but referred the <i>Agias</i> to the school of Skopas,<a id="FNanchor_2026"></a><a href="#Footnote_2026" class="fnanchor">2026</a> while still later he again -pronounced it Lysippan.<a id="FNanchor_2027"></a><a href="#Footnote_2027" class="fnanchor">2027</a> But its true character was not destined -to be long in doubt. When Erich Preuner<a id="FNanchor_2028"></a><a href="#Footnote_2028" class="fnanchor">2028</a> found almost the same -metrical inscription, which was on the base of the best preserved statue -of the group, that of Agias (Pl. <a href="#p28">28</a> and Fig. <a href="#f68">68</a>),<a id="FNanchor_2029"></a><a href="#Footnote_2029" class="fnanchor">2029</a> in the traveling journal -of Stackelberg,<a id="FNanchor_2030"></a><a href="#Footnote_2030" class="fnanchor">2030</a> copied from a base in Pharsalos, the Thessalian home of -<span class="pagenum"><a id="Page_287">287</a></span>Daochos, with the additional information that Lysippos of Sikyon -made the statue, our views of the work of that artist had to undergo a -thorough revision. For this discovery brought the <i>Agias</i>—if not the -others of the group—into direct relation to Lysippos by documentary -evidence, while the easily recognized Lysippan characteristics of the -statue—the slender body and limbs, the small head, the proportions -and pose—confirmed this connection on stylistic grounds. It became -clear that Daochos had set up a series of statues in honor of his ancestors -both at Pharsalos and Delphi. Whether the Thessalian group -was of bronze, as is generally held, owing to the widespread belief -that Lysippos worked only in metal, and the Delphian group was composed -of contemporary marble copies of those originals, will be discussed -further on. If the marble group was a copy, we may infer that -it reproduced the original statues, not mechanically and laboriously as -was often the case in Roman days, but accurately; for having employed -a noted artist in the one case, the dedicator would have desired an -accurate reproduction of the work in the other.</p> - -<p><span class="pagenum"><a id="Page_288">288</a></span></p> - -<div class="figcenter500"><p class="right">PLATE 28</p><a id="p28"></a> -<img src="images/i_fp286.jpg" width="500" height="838" alt="Statue of the Pancratiast Agias." /> -<div class="caption">Statue of the Pancratiast Agias, from Delphi. Museum of Delphi.</div> -</div> - -<div class="figcenter400"><a id="f68"></a> -<img src="images/i_p287.jpg" width="400" height="452" alt="Head from the Statue of Agias." /> -<div class="caption"><span class="smcap">Fig. 68.</span>—Head from the Statue of Agias (Pl. <a href="#p28">28</a>). -Museum of Delphi.</div> -</div> - -<div class="figcenter500"><p class="right">PLATE 29</p><a id="p29"></a> -<img src="images/i_fp288.jpg" width="500" height="771" alt="Statue of the Apoxyomenos." /> -<div class="caption">Statue of the <i>Apoxyomenos</i>, after Lysippos or his School. -Vatican Museum, Rome.</div> -</div> - -<h3>THE APOXYOMENOS OF THE VATICAN, AND LYSIPPOS.</h3> - -<p>But another statue, the <i>Apoxyomenos</i>, of the Vatican (Pl. <a href="#p29">29</a>),<a id="FNanchor_2031"></a><a href="#Footnote_2031" class="fnanchor">2031</a> ever -since its discovery by Canina in 1849, had held the honored place -of being regarded as the centre of the stylistic treatment of Lysippos. -Seldom has the discovery of a Roman copy of a Greek original proved -so important for the study of ancient sculpture as this athlete statue, -which was found in an appropriate place, in the ruins of a building, -which almost certainly was a Roman bath. Despite unimportant -restorations, the statue is well preserved. 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 -(XXXIV, 55), which refers to two works by Polykleitos, <i>destringentem -se et nudum talo incessentem</i>, as meaning one and the same monument.<a id="FNanchor_2032"></a><a href="#Footnote_2032" class="fnanchor">2032</a> -This slightly over life-size statue represents a nude athlete, who is standing -with legs far apart, employed in scraping the sand and oil from his -extended right arm with a strigil held in the left hand. This, as we saw -in Chapter III, was a common palæstra motive.<a id="FNanchor_2033"></a><a href="#Footnote_2033" class="fnanchor">2033</a> Despite certain portrait-like -features, this statue may not represent an individual victor, -but, like Myron’s great work, an athletic model. The words of Pliny,<a id="FNanchor_2034"></a><a href="#Footnote_2034" class="fnanchor">2034</a> -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 <i>destringentem -se</i>, and his statement in another passage<a id="FNanchor_2035"></a><a href="#Footnote_2035" class="fnanchor">2035</a> that Lysippos introduced -a new canon into art <i>capita minora faciendo quam antiqui, -corpora graciliora siccioraque, per quae proceritas signorum major videretur</i>, -<i>i. e.</i>, a canon of bodily proportions essentially different from -that of Polykleitos, seemed to have their best illustration in the slender -and graceful body and limbs, and noticeably small head of this statue. -It was, therefore, though admittedly a Roman work, long regarded -as a direct copy of the Lysippan original, and as faithfully representing -his style in every detail.<a id="FNanchor_2036"></a><a href="#Footnote_2036" class="fnanchor">2036</a> Such a view, of course, was founded entirely -on circumstantial evidence, and could not survive any positive evidence -to the contrary which might come to light in the future. G. F. Hill, in -speaking of the insufficient evidence on which the <i>Apoxyomenos</i> had -been accepted as the key to Lysippan style, rightly remarks: “It is more -scientific, until we acquire documentary evidence of excellent character, -<span class="pagenum"><a id="Page_289">289</a></span>to classify our extant examples of ancient art as representing tendencies -rather than men.”<a id="FNanchor_2037"></a><a href="#Footnote_2037" class="fnanchor">2037</a> The Lysippan character of the Vatican statue had not -been seriously attacked until the discovery of the <i>Agias</i>. Its original was -certainly a work worthy of Lysippos. Its rhythm, proportions, and fine -modeling have received praise of connoisseurs ever since its discovery. -Its difficult pose had been remarkably well executed. While appearing -at rest, the statue suggests vigorous action both by its supple limbs and -the suppressed excitement indicated by the partly opened lips, an excitement -befitting a victorious athlete. Perhaps it was the difficulty -of such a pose that best explains why the <i>Apoxyomenos</i> has left no other -copy.<a id="FNanchor_2038"></a><a href="#Footnote_2038" class="fnanchor">2038</a> The very excellence of the Vatican statue prejudiced us in -favor of regarding it as an illustration of Lysippos’ ideal of bodily proportions. -But we really knew very little of the original <i>Apoxyomenos</i>, -only what we gathered from Pliny, that Lysippos made such a statue -and that it was carried to Rome by M. Agrippa and was set up in front -of his Thermæ, whence it was removed by the enamored Tiberius to -his bed-chamber, only to be restored when the populace remonstrated. -As for the proportions of the supposed copy in question, they only -prove that this statue goes back to an original which was not earlier -than Lysippos, but not that it was by the master himself.<a id="FNanchor_2039"></a><a href="#Footnote_2039" class="fnanchor">2039</a> The discovery -of the <i>Agias</i> showed us at last on what slender foundations our -theory had been built. Despite certain well-marked similarities in the -pose, proportions, and relatively small head—characteristics which were -not even exclusively Lysippan, since they are just as prominent in certain -other works, <i>e. g.</i>, in the warriors of the Mausoleion frieze—between -the <i>Agias</i> and the <i>Apoxyomenos</i>, nevertheless just as striking differences -appear, which make it difficult to keep both statues as examples of the -artistic tendency of one and the same artist, even if we should assign -them to different periods of his career.</p> - -<h3>THE AGIAS AND THE APOXYOMENOS COMPARED, AND THE -STYLE OF LYSIPPOS.</h3> - -<p>These differences are most apparent in the surface modeling and -facial expression of the two works. In the <i>Agias</i> the muscles are not -over-emphasized in detail, 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 sculpture. In -the <i>Apoxyomenos</i>, on the other hand, we see an intentional display of -the new learning in the labored and detailed treatment of the muscles, -which disclose a knowledge of anatomy unknown before the Hellenistic -age. This academic treatment, culminating later in such realistic works -as the <i>Laocoön</i> and the <i>Farnese Herakles</i>, can hardly have antedated the -beginning of the third century <span class="smcap lowercase">B. C.</span>, when anatomy was studied by the<span class="pagenum"><a id="Page_290">290</a></span> -physicians Herophilos and Erasistratos, a date after the close of the -activity of Lysippos. We see no trace of this influence in the <i>Agias</i>. -Moreover, the face of the latter discloses the intense expression, which is -elsewhere seen only in works supposed to be by, or influenced by, Skopas, -which recalls what Plutarch<a id="FNanchor_2040"></a><a href="#Footnote_2040" class="fnanchor">2040</a> said of Lysippos’ portraits of Alexander, -that they reproduced his masculine and leonine air (αὐτοῦ τὸ ἀρρενωπὸν -καὶ λεοντῶδες); for a comparison of this face with that of the <i>Apoxyomenos</i>, -which exhibits the lifelessness and lack of expression so characteristic -of many early Hellenistic works, makes it still more evident -that we must be on our guard against assuming that both works are -representative of the same sculptor. The essential differences in -physical type and artistic execution between the two statues have -been well summarized by K. T. Frost in a letter published by Prof. -Percy Gardner in the latter’s treatment of the same subject.<a id="FNanchor_2041"></a><a href="#Footnote_2041" class="fnanchor">2041</a> After a -careful analysis of these differences, Frost closes by saying: “It is difficult -to believe that the two statues represent works by the same artist; -it is not only the type of man, but the way in which that type is expressed -which forms the contrast.” He compares the <i>Apoxyomenos</i> with -the <i>Borghese Warrior</i> (Fig. <a href="#f43">43</a>) as true products of the Hellenistic age.</p> - -<p>When we consider these differences between the two statues, we see -that our judgment of Lysippan art must depend on how we interpret -them. We may either flatly reject the <i>Apoxyomenos</i> and put the -<i>Agias</i> in its place as representing the norm of Lysippan art, or keep the -<i>Apoxyomenos</i> and reject the <i>Agias</i> as evidence; or lastly we may keep -both as characteristic works of two different periods in the artistic -career of Lysippos, explaining the differences as the result of influence -or of the lapse of years. A recent writer, to be sure, has cut the Gordian -knot by rejecting both statues, and placing the <i>Apoxyomenos</i> of -the Uffizi—which we have treated at length in a preceding chapter -(Pl. <a href="#p12">12</a>)—as the key to our knowledge of the art of Lysippos.<a id="FNanchor_2042"></a><a href="#Footnote_2042" class="fnanchor">2042</a> But -such a solution of the problem raises even more difficulties. Long -before the <i>Agias</i> came to light some critics, indeed, had doubted whether -the <i>Apoxyomenos</i> really represented the work of Lysippos, as its -Hellenistic character seemed evident. Thus, in 1877, Ulrich Koehler,<a id="FNanchor_2043"></a><a href="#Footnote_2043" class="fnanchor">2043</a> -following a still earlier judgment,<a id="FNanchor_2044"></a><a href="#Footnote_2044" class="fnanchor">2044</a> 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 copyist; -but even yet the school which long recognized the <i>Apoxyomenos</i> as the<span class="pagenum"><a id="Page_291">291</a></span> -norm of Lysippos has its supporters,<a id="FNanchor_2045"></a><a href="#Footnote_2045" class="fnanchor">2045</a> though many archæologists -have now supplanted the <i>Apoxyomenos</i> by the <i>Agias</i>.<a id="FNanchor_2046"></a><a href="#Footnote_2046" class="fnanchor">2046</a> Others, not -willing to renounce the <i>Apoxyomenos</i> as evidence, accept both it and -the <i>Agias</i> as characteristic works of the master, appealing to the length -of his career to explain the differences, and suggesting that in his youth -Lysippos was under the influence of Skopas, but later in life attained -independence, and followed a more anatomical rendering for his athlete -statues.<a id="FNanchor_2047"></a><a href="#Footnote_2047" class="fnanchor">2047</a> However, despite the fact that other artists must have influenced -Lysippos,<a id="FNanchor_2048"></a><a href="#Footnote_2048" class="fnanchor">2048</a> the <i>Agias</i> can not be shown to be a youthful work -of his, nor can the special influence of Skopas be shown to have been -that of master on pupil, but rather of one great master on another and -equally great contemporary. The difficulty about penetrating the obscurity -surrounding Lysippos comes largely from the fact that he borrowed -traits from several of his predecessors and contemporaries. The -influence of Polykleitos, Skopas, and Praxiteles, and especially of the -last two, as Homolle emphasized in his study of the Daochos group,<a id="FNanchor_2049"></a><a href="#Footnote_2049" class="fnanchor">2049</a> -can be certainly traced in the <i>Agias</i>. Fräulein Bieber, in a recent -article,<a id="FNanchor_2050"></a><a href="#Footnote_2050" class="fnanchor">2050</a> while denying that Lysippos had anything to do with the -Delphian group, tries to prove that one figure in it shows the influence -of Praxiteles, another that of Polykleitos, and a third that of Skopas. -She believes that the sculptor of the <i>Agias</i> had seen the original bronze -statue, the work of Lysippos, which stood in Pharsalos. However, we -may leave any such conclusion to one side, and judge between the -<i>Agias</i> and the <i>Apoxyomenos</i> solely on the merits of the two statues.</p> - -<p>The differences between them appear to us too great to be reconciled -on any such principles as those just rehearsed, for their style and tech<span class="pagenum"><a id="Page_292">292</a></span>nique -seem to represent two distinct periods of art. If one is to be -rejected, the connection of the <i>Agias</i> with Lysippos certainly rests on -better evidence than does the <i>Apoxyomenos</i>. By separating them completely, -it is possible both to assign to Lysippos the early date which -other evidence points to, and to remove the <i>Apoxyomenos</i> entirely from -the fourth century <span class="smcap lowercase">B. C.</span>, thus explaining its later modeling, comparatively -expressionless features, body-build (which shows the use of three -planes, instead of two), and other Hellenistic details. We should, then, -see in its original a work not by Lysippos at all, but by some pupil or -later member of his school, a work retaining merely traces of the style -of the master. In thus eliminating the <i>Apoxyomenos</i> we are justified -in following Homolle’s lead in assigning the statue of Agias to Lysippos, -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 bases, by which Wolters tries to prove that the inscription -on the base of the statue of Agias, and consequently the <i>Agias</i> -itself, antedate the inscription and dedication at Pharsalos.<a id="FNanchor_2051"></a><a href="#Footnote_2051" class="fnanchor">2051</a> We may, -therefore, until further discoveries prove the contrary, consider it as -the centre of our treatment of that sculptor. Whether the <i>Apoxyomenos</i> -is to be explained as emanating from the immediate environment -of Lysippos, or is to be regarded as a work illustrating the last phase of -his development, 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 <i>Agias</i>.<a id="FNanchor_2052"></a><a href="#Footnote_2052" class="fnanchor">2052</a></p> - -<p>As the <i>Agias</i> is a statue of a victor in the pankration, we can learn -from it how Lysippos represented such an athlete. In giving up the -<i>Apoxyomenos</i>, we must also give up statues of athletes which have -hitherto been assigned to Lysippos on the basis of their resemblance to -it, and the future ascription of statues of this class must be based on -stylistic resemblances to the statue of Agias. Thus, for example, we -should give up the statue of a youth in Berlin, and the two statues of -athletes represented in lunging attitudes in Dresden, which Furtwaengler, -on the basis of the <i>Apoxyomenos</i>, believed were copies of originals -by Lysippos,<a id="FNanchor_2053"></a><a href="#Footnote_2053" class="fnanchor">2053</a> and the Roman male head in Turin, published by A. J. B. -Wace,<a id="FNanchor_2054"></a><a href="#Footnote_2054" class="fnanchor">2054</a> whose original is somewhat later than that of the <i>Apoxyomenos</i>.<span class="pagenum"><a id="Page_293">293</a></span> -On the basis of the <i>Agias</i>, on the other hand, we may regard as Lysippan -the statue of an athlete in Copenhagen,<a id="FNanchor_2055"></a><a href="#Footnote_2055" class="fnanchor">2055</a> and perhaps the Parian marble -statue of an athlete from the Palazzo Farnese now in the British -Museum,<a id="FNanchor_2056"></a><a href="#Footnote_2056" class="fnanchor">2056</a> with copies in Paris and Rome.<a id="FNanchor_2057"></a><a href="#Footnote_2057" class="fnanchor">2057</a> This latter statue Furtwaengler -ascribed to the school of Kalamis of the fifth century <span class="smcap lowercase">B. C.</span>, -on account of the similarity of its style to that of the <i>Apollo-on-the-Omphalos</i> -(Fig. 7B) and of its motive to that of the <i>Lansdowne Herakles</i> -(Fig. <a href="#f71">71</a> and Pl. <a href="#p30">30</a>); however, A. H. Smith finds it very similar to the -<i>Agias</i>, and so rightly refers it to the fourth century <span class="smcap lowercase">B. C.</span></p> - -<h3>THE HEAD FROM OLYMPIA.</h3> - -<p>Impressed by its remarkable likeness to the head of the <i>Agias</i>, I -hazarded the opinion some years ago,<a id="FNanchor_2058"></a><a href="#Footnote_2058" class="fnanchor">2058</a> that the much discussed Pentelic -marble head from Olympia (<a href="#fr">Frontispiece</a> and Figure <a href="#f69">69</a>)<a id="FNanchor_2059"></a><a href="#Footnote_2059" class="fnanchor">2059</a> was Lysippan, -<span class="figright200"><a id="f69"></a> -<img src="images/i_p293.jpg" width="200" height="264" alt="Marble Head." /> -<span class="caption"><span class="smcap">Fig. 69.</span>—Marble Head, from -Olympia. Museum of -Olympia.</span></span> -and attempted to bring it into relation -with the statue of the Akarnanian pancratiast -(whose name I restored as Philandridas), -which Pausanias<a id="FNanchor_2060"></a><a href="#Footnote_2060" class="fnanchor">2060</a> says was the -work of Lysippos. Since then, after a -careful revision of the evidence, this earlier -opinion has become conviction, 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 himself. It will be our task briefly -to rehearse the reasons for making such -an ascription, despite the serious and -weighty objections which might be raised -against it.</p> - -<p>At first this head was ascribed with surprising -unanimity to the school of Praxiteles,<a id="FNanchor_2061"></a><a href="#Footnote_2061" class="fnanchor">2061</a> -and subsequently, after the discovery -of the Tegea heads, with almost -equal unanimity to that of Skopas. Treu, who first published the -head,<a id="FNanchor_2062"></a><a href="#Footnote_2062" class="fnanchor">2062</a> pointed out its near relationship to the <i>Hermes</i> of Praxiteles, -which appeared to him to be obvious, notwithstanding the injured con<span class="pagenum"><a id="Page_294">294</a></span>dition -of the chin, nose, mouth, and brows. He found the general proportions, -the shape of the cranium and forehead, and the form of the -cheeks and mouth the same in both, while the differences, such as the -deeper cut and wider opened eyes with their γοργόν expression, the -hair, and the fact that the head is harder, leaner, and bonier than that -of the <i>Hermes</i>, were all explained by the different character given to the -statue of a victor or Herakles. Many other archæologists, as Boetticher,<a id="FNanchor_2063"></a><a href="#Footnote_2063" class="fnanchor">2063</a> -Laloux and Monceaux,<a id="FNanchor_2064"></a><a href="#Footnote_2064" class="fnanchor">2064</a> and Furtwaengler,<a id="FNanchor_2065"></a><a href="#Footnote_2065" class="fnanchor">2065</a> have also seen sure signs of -the hand of Praxiteles or his school in the graceful attitude, delicate -chiseling, and finish of the work. Still others,<a id="FNanchor_2066"></a><a href="#Footnote_2066" class="fnanchor">2066</a> however, found every -characteristic of Skopas in this head. Even Treu in his later treatment -of the head found it more Skopaic than Praxitelian, and yet, by a careful -analysis,<a id="FNanchor_2067"></a><a href="#Footnote_2067" class="fnanchor">2067</a> he conclusively showed that the formation of the eyes, the -opening of the mouth, and the treatment of the hair were so different -in the heads from Tegea (and especially in that of the <i>Herakles</i>, Fig. <a href="#f73">73</a>) -as to preclude the possibility of assigning them and the head from -Olympia to the same sculptor, and so declared for some independent -sculptor among the contemporaries of Skopas. However, he did not -see Lysippos in this allied but independent artist, though he admitted -the resemblance of the head in question to that of the <i>Agias</i>, as also -Homolle,<a id="FNanchor_2068"></a><a href="#Footnote_2068" class="fnanchor">2068</a> Mahler,<a id="FNanchor_2069"></a><a href="#Footnote_2069" class="fnanchor">2069</a> and other critics have done.</p> - -<h3>THE OLYMPIA HEAD AND THAT OF THE AGIAS.</h3> - -<p>A detailed comparison of this head with that of the <i>Agias</i> will show -wherein the wonderful resemblance—so striking at first glance—consists -and will disclose its Lysippan character. Neither head is a portrait, -nor even individualized; the <i>Agias</i> could be no portrait, for Agias -was the great-grandfather of Daochos, who enlisted the services of his -contemporary Lysippos in erecting his statue, and he won his victory -in the pankration more than a century before this statue was set up.<a id="FNanchor_2070"></a><a href="#Footnote_2070" class="fnanchor">2070</a> -A glance at the head from Olympia also clearly discloses its ideal character; -for it is no portrait of Philandridas, but the victor κατ’ ἐξοχήν in -the pankration. The small head of the <i>Agias</i>—under life-size—first -arrests attention as the chief characteristic of the whole statue and -(taken with the other proportions of the body) as the chief mark of its -Lysippan origin. As Homolle says, it is not that small heads are not -found outside the school of Lysippos or before his day—for Myron can<span class="pagenum"><a id="Page_295">295</a></span> -furnish examples of them—but it is only with Lysippos and after him -that we see a conscious intention of having the proportions thus reduced. -Now the head from Olympia is also less than life-size,<a id="FNanchor_2071"></a><a href="#Footnote_2071" class="fnanchor">2071</a> but as -the head alone is preserved, we can only assume that the proportions -it bore to the body were similar to those we see in the statue of Agias. -The conformation of the crania of both is, as in Attic works, round, with -small, only slightly projecting occiputs, as opposed to the squareness of -Polykleitan heads, which are longer from front to back and flatter on -top—showing how Lysippos in this respect departed from the creator -of the <i>Doryphoros</i>. This cranial conformation is almost identical in the -two heads, as is clearly shown in Fig. <a href="#f70">70</a>, where one is drawn in profile -over the other.</p> - -<div class="figcenter400"><a id="f70"></a> -<img src="images/i_p295.jpg" width="400" height="203" alt="Profile Drawings of the Heads of the Agias." /> -<div class="caption"><span class="smcap">Fig. 70.</span>—Profile Drawings of the Heads of the <i>Agias</i> -and the <i>Philandridas</i>.</div> -</div> - -<p>The head of the <i>Agias</i> is turned slightly upward and to the left. -Treu found traces of the use of a file on the back of the neck of the head -from Olympia, which show from their position, what also was clear -from the muscles of the throat, that this head also was inclined somewhat -to the left and upward, possibly more than that of the <i>Agias</i>. -The outlines of the face—lean and bony in both—are oval, in the head -from Olympia somewhat broader, rounder, and fleshier toward the chin. -In both the forehead is remarkably low, with a low depression or crease -in the middle, and with a prominently projecting superciliary arcade, -which breaks the continuous line from forehead to nose very perceptibly. -This line is concave above and below, but convex at the projection -itself, though this is less prominent in the <i>Agias</i>. The powerful -framing of the eyes, which are deep-set and thrown into heavy shadows -by the projecting bony structure of the brows and the overhanging -masses of flesh, the eyeballs slightly raised and peering eagerly into the -far distance, the slight upward inclination of the head, and the -prominent forehead drawn together, all combine to give both heads<span class="pagenum"><a id="Page_296">296</a></span> -(though young and vigorous) a pensive, even a sad look of heroic dignity, -a look seemingly of one who takes no joy nor pleasure in victory, -though it is not mournful. This humid and pensive expression was -doubtless a characteristic of works of Lysippos—it was, as we know, -present in his portraits of Alexander—but he did not treat it with as -great intensity as did Skopas.</p> - -<p>The eyeballs in both heads are strongly arched, though the inner -angles are not so deep as in Skopaic heads; the raised upper lids -form a symmetrically narrow and sharply defined border over the eyeball, -and in neither head is this lid covered by a fold of skin at the outer -corners, as in the Tegea heads; the mass of flesh at the outer corners is -heavier in the head from Olympia, and the expression of the eyes is more -free and defiant than in the more meditative <i>Agias</i>. In both, the cheek -bones are high and prominent. The elegant contour of the lips of the -<i>Agias</i> is wholly wanting in the head from Olympia, in which the lips are -broken off, like the nose and the chin, but it is clear that the lips were -slightly parted, just showing the teeth—not, however, as in the Tegea -examples, as if the breath were being drawn with great effort. The -look of pensiveness is also increased by the open lips. The contour of -the jawbone is not so visible as in the <i>Agias</i>, where it is clearly discernible -beneath the closely drawn skin, giving the face a look of greater -leanness, as of an athlete in perfect training.</p> - -<p>In both heads the swollen and battered ears, though small, are prominent, -and in both the hair is closely cropped, as becomes the athlete. -The hair of the <i>Agias</i> does not show so much expression as is displayed -in that of some Lysippan heads, nor the fine detail we should expect -from Pliny’s statement that Lysippos made improvements in the -rendering of the hair<a id="FNanchor_2072"></a><a href="#Footnote_2072" class="fnanchor">2072</a>—for it is in great measure only sketched out. -In Lysippan portraits of Alexander the hair is generally expressively -treated, and this is often the case in early Hellenistic heads.<a id="FNanchor_2073"></a><a href="#Footnote_2073" class="fnanchor">2073</a> However, -we should not expect an elaborate treatment of the hair in the -statue of a pancratiast. The head from Olympia also shows great -simplicity in this regard. As in Skopaic heads, the hair is fashioned -into little ringlets ruffled straight up from the forehead in flat relief, -but here the curls are shorter and more tense. It covers the temples -and surrounds the ears as in the <i>Agias</i>, but it is not, as there, bounded -by a round, floating line across the forehead, nor divided into little -tufts modeled in relief radiating in concentric circles from the top of -the head. While lacking in detail, the hair of the <i>Agias</i> is treated -carefully, and with the greatest variety. Narrow bands, perhaps the -insignia of victory, despite their small size, encircle both heads; in -the <i>Agias</i> the band is dexterously used to heighten the effect of variety<span class="pagenum"><a id="Page_297">297</a></span> -in the hair by alternately flattening and swelling it here and there. In -neither head is there any sign of the use of the drill to work out the -tufts of the hair; only the chisel was used.<a id="FNanchor_2074"></a><a href="#Footnote_2074" class="fnanchor">2074</a></p> - -<p>Finally, the whole expression of these two ideal heads is one of force -and energy, of heroic dignity tempered by pensiveness and pathos, -which is, in the head from Olympia at least, even a little dramatic. -Both heads, while ideal, show close observation of nature in modeling -and expression; and both show the predilection of Lysippos for types in -which force and energy predominate, and his indifference to the softer -and more delicate types of manly beauty so characteristic of his contemporary, -Praxiteles.</p> - -<p>In the foregoing comparison, we have tacitly assumed that this marble -head is from an athlete statue, and, moreover, that it, as the <i>Agias</i>, -represents a victor in the pankration, though many have seen in it the -representation not of a victor, but of a youthful Herakles.<a id="FNanchor_2075"></a><a href="#Footnote_2075" class="fnanchor">2075</a> The swollen -ears and the band in the hair might pass equally well for either, just as -the fact that it was unearthed near the ruins of the Great Gymnasion (if -it were necessary to assume that the statue once stood there) might be -adduced as evidence for either interpretation; for statues of athletes -<span class="figright250"><a id="f71"></a> -<img src="images/i_p298.jpg" width="250" height="340" alt="Head of the Statue of -Herakles." /> -<span class="caption"><span class="smcap">Fig. 71.</span>—Head of the Statue of -Herakles (Pl. <a href="#p30">30</a>). Lansdowne -House, London.</span></span>as well as those of Herakles and Hermes (as we have shown in Ch. II)<a id="FNanchor_2076"></a><a href="#Footnote_2076" class="fnanchor">2076</a> -adorned palæstræ and gymnasia. 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 Herakles, on the assumption that statues -of victors in the Altis were uniformly of bronze, an assumption, however, -not supported by the facts, as will be shown in Chapter VII. So -some have seen the heroic features of the youthful hero in the γοργόν -of the eyes, the energetic forehead, closely cropped hair, muscular neck, -and almost challenging inclination of the head seemingly corresponding -with an energetic raising of the left shoulder.<a id="FNanchor_2077"></a><a href="#Footnote_2077" class="fnanchor">2077</a> 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 Herakles, since they formed -no personal characteristic, but only a professional one common to athletes -and to gods, if these latter were concerned with athletics.<a id="FNanchor_2078"></a><a href="#Footnote_2078" class="fnanchor">2078</a> Where -personal attributes are absent, it is often difficult, therefore, to determine -whether an ideal athlete or Herakles is intended, for it may be the -hero in the guise of the athlete, or an athlete in the guise of the hero. -The head under discussion, then, may furnish merely another illustration -of the process of assimilation of type which we have already discussed. -Thus it is not surprising that some have regarded this head as<span class="pagenum"><a id="Page_298">298</a></span> -that of a youthful Herakles. Yet such a view is wrong; for, apart from -all considerations which we shall adduce to identify it with the Akarnanian -pancratiast, and in the absence of distinguishing attributes, 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 -House, London (Pl. <a href="#p30">30</a> and -Fig. <a href="#f71">71</a>),<a id="FNanchor_2079"></a><a href="#Footnote_2079" class="fnanchor">2079</a> which Michaelis long ago -characterized as “unmistakably in -the spirit of Lysippos”—we can see -how fundamentally different is the -whole spiritual conception of the -two, and how differently an athlete -(even if highly idealized) and a -hero are treated by the same sculptor. -If we once recognize a victor -in the head from Olympia, then -the swollen ears, the fierce, barbarous -look of the eyes, and the half-painful -expression of the mouth, -all concur in convincing us that we -here have to do with a victor in -boxing or the pankration, the two -most brutal and dangerous contests.</p> - -<h3>IDENTIFICATION OF THE OLYMPIA HEAD.</h3> - -<div class="figcenter300"><p class="right">PLATE 30</p><a id="p30"></a> -<img src="images/i_fp298.jpg" width="300" height="689" alt="Statue of Herakles." /> -<div class="caption">Statue of Herakles. Lansdowne House, London.</div> -</div> - -<p>Having established, then, the Lysippan character of the head and -the probability that it comes from the statue of a boxer or pancratiast, -we shall next discuss the evidence for identifying it with one of the -monuments mentioned by Pausanias in his <i>periegesis</i> of the Altis. He -names only five statues of victors by Lysippos: those of Troilos,<a id="FNanchor_2080"></a><a href="#Footnote_2080" class="fnanchor">2080</a> victor -in the two- and four-horse chariot-races; of Philandridas<a id="FNanchor_2081"></a><a href="#Footnote_2081" class="fnanchor">2081</a> and of Polydamas,<a id="FNanchor_2082"></a><a href="#Footnote_2082" class="fnanchor">2082</a> -victors in the pankration; of Cheilon,<a id="FNanchor_2083"></a><a href="#Footnote_2083" class="fnanchor">2083</a> victor in wrestling, and of -Kallikrates,<a id="FNanchor_2084"></a><a href="#Footnote_2084" class="fnanchor">2084</a> victor in the hoplite-race. Of these, the only two which -can come into consideration are those of the two pancratiasts; and one -of these, that of Polydamas, can at once be eliminated; for this small -head can have had nothing to do with the pretentious monument mentioned -by Pausanias in these words: ὁ δὲ ἐπὶ τῷ βάθρῳ τῷ ὑψηλῷ -Λυσίππου μέν ἐστιν ἔργον, μέγιστος δὲ ἁπάντων ἐγένετο ἀνθρώπων, κ. τ. λ. -<span class="pagenum"><a id="Page_299">299</a></span> -Fragments of the base of this monument have been recovered, and it -stood in a part of the Altis<a id="FNanchor_2085"></a><a href="#Footnote_2085" class="fnanchor">2085</a> too far removed from the spot where the -statue of Philandridas stood, or from that where the marble head was -found. Our choice is limited to the statue of the Akarnanian, the tenth -in the series of 168 victors<a id="FNanchor_2086"></a><a href="#Footnote_2086" class="fnanchor">2086</a> named by Pausanias in his first <i>ephodos</i>.</p> - -<p>We can determine very closely the position of these first few statues -in the Altis. Pausanias begins his enumeration ἐν δεξιᾷ τοῦ ναοῦ τῆς -Ἥρας, in the northwest of the sacred enclosure.<a id="FNanchor_2087"></a><a href="#Footnote_2087" class="fnanchor">2087</a> He is often loose -in his employment of words to denote locations, and especially so in -that of the terms ἐν δεξιᾷ and ἐν ἀριστερᾷ, which must sometimes be -interpreted from the viewpoint of the spectator, and sometimes from -that of a given monument. We shall show in Chapter VIII that these -words in this connection must be taken as referring to the temple <i>pro -persona</i>, and consequently to the southern side of the Heraion. The -marble head was found in this neighborhood, in the wall of some late -Byzantine huts behind the southern end of the stadion-hall of the Great -Gymnasion, 23.50 meters north of its southeastern corner and 5 meters -east of its back wall,<a id="FNanchor_2088"></a><a href="#Footnote_2088" class="fnanchor">2088</a> and consequently very near the Heraion. Inasmuch -as the inscribed tablet from the base of the statue of Troilos,<a id="FNanchor_2089"></a><a href="#Footnote_2089" class="fnanchor">2089</a> -the sixth statue mentioned by Pausanias, and the inscribed base of the -monument of Kyniska,<a id="FNanchor_2090"></a><a href="#Footnote_2090" class="fnanchor">2090</a> the seventh, were both found in the ruins of the -Prytaneion nearby, and the basis of the statue of Sophios,<a id="FNanchor_2091"></a><a href="#Footnote_2091" class="fnanchor">2091</a> the twenty-second -in the series, was discovered also in this part of the Altis, in the -bed of the Kladeos,<a id="FNanchor_2092"></a><a href="#Footnote_2092" class="fnanchor">2092</a> we can conclude that all four monuments originally -stood near together, and in the order named by Pausanias, along -the southern side of the Heraion. The remarkably good preservation -of the surface of the marble head points to the fact that it was set up in -a sheltered place.<a id="FNanchor_2093"></a><a href="#Footnote_2093" class="fnanchor">2093</a> Furthermore, the unfinished condition of the back -hair, which is only roughly blocked out, so that not even the contour -of the locks is indicated, shows that the statue was intended to be set -up against a solid background, <i>i. e.</i>, in front of a wall, niche, or column.<a id="FNanchor_2094"></a><a href="#Footnote_2094" class="fnanchor">2094</a><span class="pagenum"><a id="Page_300">300</a></span> -From this fact we may conclude that the statue of Philandridas, and -perhaps those of some of the other victors first mentioned by Pausanias, -stood on the southern stylobate of the Heraion, over against the columns -of the peristyle.</p> - -<h3>THE DATES OF PHILANDRIDAS AND LYSIPPOS.</h3> - -<p>The date of the victory of Philandridas is not recorded, but it -probably must lie within the years of the activity of Lysippos, who -made the statue.<a id="FNanchor_2095"></a><a href="#Footnote_2095" class="fnanchor">2095</a> On the principle which has been sufficiently demonstrated -in my monograph <i>de olympionicarum Statuis</i>, that statues -of nearly contemporaneous victors were grouped together in the -Altis, as well as those of the same family and state, or those who had -been victorious in the same contest, I have already in that work<a id="FNanchor_2096"></a><a href="#Footnote_2096" class="fnanchor">2096</a> proposed -Ol. 102 or Ol. 103 ( = 372 or 368 <span class="smcap lowercase">B. C.</span>) as the probable date of his -victory, as his statue stands among those of victors, none of whom could -have won later than Ol. 104 ( = 364 <span class="smcap lowercase">B. C.</span>). The first six named by -Pausanias are Eleans and the dates of their victories fall between Ols. -94 and 104 ( = 404 and 364 <span class="smcap lowercase">B. C.</span>); the sixth, Troilos, is known to have -won his two victories in Ols. 102 and 103.<a id="FNanchor_2097"></a><a href="#Footnote_2097" class="fnanchor">2097</a> None of the next seven -Spartans—among whose statues that of Philandridas was placed—can -be dated later than Ol. 97 ( = 392 <span class="smcap lowercase">B. C.</span>), while most of them belong to -the close of the fifth century <span class="smcap lowercase">B. C.</span> Sostratos of Sikyon won in the same -contest in which Philandridas did in Ol. 104 ( = 364 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2098"></a><a href="#Footnote_2098" class="fnanchor">2098</a> and doubtless -his two other known victories should be assigned to the two succeeding -Olympiads. To bring Philandridas down as far as Ol. 107 -( = 352 <span class="smcap lowercase">B. C.</span>) is unwarranted, since no statue of so late a date stood in -this vicinity. On the other hand, to place his victory earlier than -Ol. 102, is also out of the question, owing to the inexpediency of dating -Lysippos so early. Doubtless, therefore, his statue by Lysippos was -placed in the Spartan group about the same time that the image of -Troilos, by the same sculptor, was placed among the Eleans. This is -an independent argument, then, for so early a date for Lysippos.<a id="FNanchor_2099"></a><a href="#Footnote_2099" class="fnanchor">2099</a></p> - -<p>Percy Gardner, in the discussion of the date of this artist,<a id="FNanchor_2100"></a><a href="#Footnote_2100" class="fnanchor">2100</a> has shown -how slight is the evidence for any date later than 320 <span class="smcap lowercase">B. C.</span> The date<span class="pagenum"><a id="Page_301">301</a></span> -of the second Olympic victory of Cheilon of Patrai, whose statue was -by Lysippos, can not be later than 320 <span class="smcap lowercase">B. C.</span><a id="FNanchor_2101"></a><a href="#Footnote_2101" class="fnanchor">2101</a> 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 Achæan people. He -infers the date of his death by reference to the date of Lysippos as -either 338 <span class="smcap lowercase">B. C.</span> (Chæroneia) or 322 <span class="smcap lowercase">B. C.</span> (Lamia). In another passage, -VII, 6.5, he says that the Olympic guide told him that Cheilon was -the only Achæan who fought at Lamia. Gardner justly remarks -that either of these dates, the two occasions in the lifetime of Lysippos -when the Achæans took part in an important war, fall within the -dates of the artist’s activity.<a id="FNanchor_2102"></a><a href="#Footnote_2102" class="fnanchor">2102</a> The dates of the two hoplite victories -of Kallikrates of Magnesia, on the Meander, whose statue was also -the work of Lysippos, must be left indeterminate.<a id="FNanchor_2103"></a><a href="#Footnote_2103" class="fnanchor">2103</a> Gardner also shows -that the wish not to separate Lysippos from the <i>Apoxyomenos</i> has been -the real reason which has influenced so many archæologists to extend -his activity to the end of the fourth century,<a id="FNanchor_2104"></a><a href="#Footnote_2104" class="fnanchor">2104</a> and to explain away -the evidence for an earlier date offered by the statue of Troilos, who -won his second victory in 368 <span class="smcap lowercase">B. C.</span> If we once for all give up the -<i>Apoxyomenos</i>, the difficulty of an early dating disappears, as does also -the theory that Skopas could have strongly influenced the youthful -Lysippos as a master would influence a pupil, and it becomes clear -that this influence must have been mutual, that of one great contemporary -upon another. Although Lysippos worked longer, as is attested -by his work for Alexander and his generals, he could have been but -little if any younger than either Skopas or Praxiteles, from both of -whom he learned. We have already quoted Homolle<a id="FNanchor_2105"></a><a href="#Footnote_2105" class="fnanchor">2105</a> as saying that -an analysis of the style of the <i>Agias</i> discloses the mixed influences of -Praxiteles and Skopas, as well as the independent work of Lysippos, -in the pose, proportions, and whole type of the figure.</p> - -<p>Lysippos was a great reformer in art, breaking away from Argive -and Polykleitan traditions, even though he called the <i>Doryphoros</i> as -well as Nature his master, and though the influence of Polykleitos is -visible in the body of the <i>Agias</i>, just as that of Skopas in the treatment -of its forehead, eyes, and mouth, and in the intensity of its expression. -Evidently he was strongly affected by the work of his great predeces<span class="pagenum"><a id="Page_302">302</a></span>sors -and contemporaries, but developed at the same time new and independent -tendencies. Thus the <i>Philandridas</i> must have been—just as -the lost statue of Troilos—an early work of the master, whereas the -<i>Agias</i> was the work of his mature genius. The difference between the -two can thus be explained by the lapse of time between them, and by -the influences that surrounded the youthful artist; but the similarities -between them are, at the same time, striking, and there is little resemblance -in either to the <i>Apoxyomenos</i>. This is another link in the -chain of evidence that the latter work could not have been produced -by the same artist; for artists do not radically change their style after -many years of work, and Lysippos must have been at least fifty -years old when he created the <i>Agias</i>.</p> - -<p>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 examine: whether the statues in the Altis were ever -made of marble, and whether Lysippos ever worked in that material. -The first of these questions will be left for the following chapter; the -second will be discussed in the present connection.</p> - -<h3>LYSIPPOS AS A WORKER IN MARBLE, AND -STATUE “DOUBLES.”</h3> - -<p>To regard a marble statue as an original work of Lysippos, who has -been looked upon almost universally as a sculptor in bronze exclusively, -seems at first sight to be baseless. Pliny certainly classed Lysippos -among the bronze-workers, for in the preface to his account of bronze-founders<a id="FNanchor_2106"></a><a href="#Footnote_2106" class="fnanchor">2106</a> -he tells us that this artist produced 1,500 statues, and doubtless -we are to infer that the historian regarded them all as being made -of metal. He further<a id="FNanchor_2107"></a><a href="#Footnote_2107" class="fnanchor">2107</a> speaks of Lysippos’ contributions to the (<i>ars</i>) -<i>statuaria</i>, and it seems clear that this term, as the modern title of Book -XXXIV, is to be taken in its narrow sense of sculpture in bronze as opposed -to <i>sculptura</i>,<a id="FNanchor_2108"></a><a href="#Footnote_2108" class="fnanchor">2108</a> that in marble. How firmly the belief is established -that Lysippos worked only in bronze can be seen from the following -words of Overbeck: “<i>Zu beginnen ist mit wiederholter Hervorhebung -der durchaus unzweifelhaften und wichtigen Tatsache dass Lysippos -ausschliesslich Erzgiesser war.</i>”<a id="FNanchor_2109"></a><a href="#Footnote_2109" class="fnanchor">2109</a> That Lysippos was preëminently a -bronze-worker, and that his ancient reputation was due chiefly to -his bronze work, can not be doubted. But to say that he never -essayed to produce works in marble, as so many other Greek artists<span class="pagenum"><a id="Page_303">303</a></span> -did who were famed as bronze-workers,<a id="FNanchor_2110"></a><a href="#Footnote_2110" class="fnanchor">2110</a> is, as one writer has lately -expressed it, a <i>kindisches Vorurtheil</i>.<a id="FNanchor_2111"></a><a href="#Footnote_2111" class="fnanchor">2111</a> That marble work was done -in his studio, if not by his hand, is well attested by the reliefs from -the base of the victor statue of Polydamas mentioned above, which -have been generally referred to Lysippos’ pupils.<a id="FNanchor_2112"></a><a href="#Footnote_2112" class="fnanchor">2112</a> These are too -damaged to be used as exact evidence of his style, but the legs of Polydamas -himself, in the central relief, so far as their contour can be made -out, are thin and sinewy, as we should expect in Lysippan work, and this -relief doubtless would have been regarded as the work of the master -himself, if it had not been taken for granted that he worked only in -bronze. But for the same assumption some critics would have seen -an original from the hand of Lysippos in the statue of Agias at least, -if not in the others of the Delphian group.<a id="FNanchor_2113"></a><a href="#Footnote_2113" class="fnanchor">2113</a> It will be interesting to -rehearse some of the arguments by which the statue of Agias has been -adjudged a copy.<a id="FNanchor_2114"></a><a href="#Footnote_2114" class="fnanchor">2114</a></p> - -<p>It has been generally assumed that the original group of statues at -Pharsalos was of bronze (though we have no proof that it may not have -been of marble), while the one at Delphi was copied almost, if not quite, -simultaneously in marble<a id="FNanchor_2115"></a><a href="#Footnote_2115" class="fnanchor">2115</a>—so faithfully, indeed, that even the proper -marble support to the figure of Agias was omitted. While Homolle -notes the absence of this support as evidence of the marble statue being -an exact copy of the original bronze, Gardner argues that this proves a free -imitation, where the support was not needed.<a id="FNanchor_2116"></a><a href="#Footnote_2116" class="fnanchor">2116</a> The inexact modeling -of the hair, since hair can not be rendered so perfectly in marble as in -bronze, has been adduced as a sign that the marble statue was a copy of -the bronze original. This in itself is a weak argument, since the slight -and sketchy treatment of the hair of the <i>Hermes</i> of Praxiteles—which is, -for the most part, merely blocked out<a id="FNanchor_2117"></a><a href="#Footnote_2117" class="fnanchor">2117</a>—might with just as good reason -be used as evidence that that statue is only a copy, especially as we know -that Praxiteles also worked in bronze.<a id="FNanchor_2118"></a><a href="#Footnote_2118" class="fnanchor">2118</a> The omission of the artist’s<span class="pagenum"><a id="Page_304">304</a></span> -signature on the base of the <i>Agias</i> has also been taken to indicate that -some pupil of Lysippos (Lysistratos, for example) did the work of transference -in the master’s studio under his supervision and doubtless from -his model.</p> - -<p>Despite all such arguments, which prove little, 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 Lysippos, as the -statue can not be said to be a first-rate work of art. But that it was made -under the direct supervision of Lysippos can hardly be questioned. It -seems reasonable to believe that Daochos, who employed the great -artist in the one case, would not have trusted a mere copyist in the other, -or one who was free to indulge his individual taste in details,<a id="FNanchor_2119"></a><a href="#Footnote_2119" class="fnanchor">2119</a> especially -as the statue was to be placed in so prominent a place as Delphi. He -probably gave the orders for the two statues at the same time, and -Lysippos must have had the oversight of the Delphian one. So it seems -best to regard the statue of Agias as a “double,” and not as a copy in -the later sense of the word. The custom of making such doubles goes -back at least to the middle of the sixth century <span class="smcap lowercase">B. C.</span> Thus the statue -of the <i>Delian Apollo</i> by Angelion and Tektaios, known as the “<i>Healer</i>” -(Οὔλιος),<a id="FNanchor_2120"></a><a href="#Footnote_2120" class="fnanchor">2120</a> had a “double” in both Delphi<a id="FNanchor_2121"></a><a href="#Footnote_2121" class="fnanchor">2121</a> and Athens.<a id="FNanchor_2122"></a><a href="#Footnote_2122" class="fnanchor">2122</a> Similarly the -<i>Philesian Apollo</i> of Branchidai near Miletos, by the elder Kanachos,<a id="FNanchor_2123"></a><a href="#Footnote_2123" class="fnanchor">2123</a> -had a double in Thebes known as the <i>Ismenian Apollo</i>, which Pausanias -says differed from the one in Miletos neither in form nor size, but only -in material, for it was of cedar-wood,<a id="FNanchor_2124"></a><a href="#Footnote_2124" class="fnanchor">2124</a> while the Milesian one was of -bronze. Furtwaengler<a id="FNanchor_2125"></a><a href="#Footnote_2125" class="fnanchor">2125</a> has demonstrated that contemporary doubles -of works by Polykleitos, Pheidias, and Praxiteles existed. The -case of the statues of the athlete Agias at Pharsalos and at Delphi -is paralleled by that of the Olympic victor Promachos, who had -statues, probably alike, both at Olympia and in his native city Pellene.<a id="FNanchor_2126"></a><a href="#Footnote_2126" class="fnanchor">2126</a> -A double of the base of the <i>Nike</i> of Paionios at Olympia was -discovered at Delphi,<a id="FNanchor_2127"></a><a href="#Footnote_2127" class="fnanchor">2127</a> and a fine head in the collection of Miss -Hertz in Rome is from the same original.<a id="FNanchor_2128"></a><a href="#Footnote_2128" class="fnanchor">2128</a> A Polykleitan head<span class="pagenum"><a id="Page_305">305</a></span> -in the British Museum, similar to that of the <i>Westmacott Athlete</i> -(Pl. <a href="#p19">19</a>), seems to be a contemporary replica of an original of the fifth -century <span class="smcap lowercase">B. C.</span><a id="FNanchor_2129"></a><a href="#Footnote_2129" class="fnanchor">2129</a> Such examples (and many more could be cited) show -the difference between contemporary “doubles” and the later copies -of Greek masterpieces. The former are Greek originals in a very -true sense, made, as we assume the <i>Agias</i> was, under the direct supervision -of noted sculptors. In this sense only the Delphian statue -should be called a copy.</p> - -<h3>HEAD OF A STATUE OF A BOY FROM SPARTA, AND THE -ART OF SKOPAS.</h3> - -<p>We shall next discuss the beautiful Pentelic marble head of a boy, -with a lion’s scalp drawn over the top so that the muzzle comes down -over the forehead, which is said to have been discovered near the -<span class="figright250"><a id="f72"></a> -<img src="images/i_p305.jpg" width="250" height="281" alt="Marble Head of a Boy," /> -<span class="caption"><span class="smcap">Fig. 72.</span>—Marble Head of a Boy, found -near the Akropolis, Sparta. In -Private Possession in Philadelphia, -U. S. A.</span> -</span> -Akropolis at Sparta in 1908 (Fig. -72). This head was for a time -in the University Museum, Philadelphia, -and later was exhibited -at the Boston Museum of Fine -Arts. At last accounts it was in -private possession in Philadelphia. -It has been published as -the head of a youthful Herakles -by my colleague, Professor W. N. -Bates, in the <i>American Journal -of Archæology</i>.<a id="FNanchor_2130"></a><a href="#Footnote_2130" class="fnanchor">2130</a> Of its style he -says: “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 sculptor; and that he was -Skopas there can be little doubt.” -He therefore concludes that it is -“probably a very good copy of a -lost work of Skopas.”<a id="FNanchor_2131"></a><a href="#Footnote_2131" class="fnanchor">2131</a> A little later, Dr. L. D. Caskey, of the -Museum in Boston, found these resemblances hardly close enough, -in view of the influence of Skopas on later Greek sculpture, to justify -so definite an attribution.<a id="FNanchor_2132"></a><a href="#Footnote_2132" class="fnanchor">2132</a> He found them confined to the upper part -of the face, while he believed that the lower portion resembled heads -which could be assigned to Praxiteles or his influence, and conse<span class="pagenum"><a id="Page_306">306</a></span>quently -he pronounced the head “an eclectic work in which features -borrowed from Skopas and Praxiteles have been combined with an -unusually successful effect.”</p> - -<p>As Dr. Bates points out, there is no recorded statue of Herakles by -Skopas which corresponds with this head. The stone one mentioned -by Pausanias as standing in the Gymnasion at Sikyon<a id="FNanchor_2133"></a><a href="#Footnote_2133" class="fnanchor">2133</a> has been thought -by the authors of the <i>Numismatic Commentary on Pausanias</i> to be -reproduced on a Sikyonian copper coin of the age of Geta, now in the -British Museum.<a id="FNanchor_2134"></a><a href="#Footnote_2134" class="fnanchor">2134</a> Many statues and busts scattered in European museums, -which represent a beardless Herakles and show Skopaic influence, -have been traced back to this original.<a id="FNanchor_2135"></a><a href="#Footnote_2135" class="fnanchor">2135</a> However, the coin represents -the hero wearing a wreath, and so, if it was copied from the original in -the Gymnasion, the latter could not have been the prototype of the -head under discussion.</p> - -<p>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 Tegea. -Besides those discovered in 1879, and now in the National Museum -in Athens,<a id="FNanchor_2136"></a><a href="#Footnote_2136" class="fnanchor">2136</a> two other male heads (in addition to the torso of a female -figure draped as an Amazon, and a head on the same scale which probably -belongs to it, as both are of Parian marble, representing probably -<i>Atalanta</i> of the East pediment) were discovered by M. Mendel in his -excavations of the temple of Athena Alea in 1900–1901, and referred to -the pedimental groups described by Pausanias.<a id="FNanchor_2137"></a><a href="#Footnote_2137" class="fnanchor">2137</a> As one of these (Fig.73) -is characterized by a lion’s scalp worn as a helmet, the hero’s face -fitting into the jaws, its teeth showing above his forehead, it has been -regarded as the head from a statue of Herakles, although Pausanias -mentions no such statue in his enumeration of the figures composing the -group of the Eastern pediment, and although it is difficult to explain -the presence of the hero in the group of the Western pediment, which -represented the battle between his son Telephos and Achilles. Mendel -considers this head to be inferior in workmanship to the others, and so -refers it to the school of Skopas rather than to the master himself, and -designates it “<i>un travail d’atelier</i>.” In describing it, however, he -says: “<i>tous ces caractères, qui sont ceux des têtes du Musée central, se<span class="pagenum"><a id="Page_307">307</a></span> -retrouvent dans nôtre tête d’Héraclés</i>.”<a id="FNanchor_2138"></a><a href="#Footnote_2138" class="fnanchor">2138</a> Here we have a head of a -youthful Herakles (or of some hero who has borrowed his attribute of -the lion’s skin—perhaps Telephos), which, if not by Skopas himself, -is still a work of his school reproducing all his characteristics; consequently, -of all these heads from Tegea, it is with this one chiefly -that we should compare the head from Sparta similarly covered with a -lion’s scalp.</p> - -<div class="figcenter300"><a id="f73"></a> -<img src="images/i_p307.jpg" width="300" height="323" alt="So-called Head of Herakles." /> -<div class="caption"><span class="smcap">Fig. 73.</span>—So-called Head of Herakles, from -Tegea, by Skopas. National Museum, -Athens.</div> -</div> - -<p>Though badly injured, it is still possible to see in this head of the -so-called <i>Herakles</i> found at Tegea, both in full view and in profile, the -characteristic Skopaic expression of passion, and to discover the means -by which the artist effected it. The expression is due in great measure -to the upward direction of the gaze, and to the heavy overshadowing -of the deep-set eyes. It is further enhanced by the contracted brow, -dilated nostril, and half-open, almost panting, mouth, whose parted lips -clearly disclose the teeth. The structure of the head is in keeping -with the strength of character portrayed; the skull is very deep from -front to back, and its framework is massive and bony; the face is broad -and short and the chin is heavy; everything emphasizes the impression -of a virile and muscular warrior violently engaged in the fray. The -subjects of the two pedimental groups—the Kalydonian boar hunt and -the battle between Achilles and Telephos—justified the expression of<span class="pagenum"><a id="Page_308">308</a></span> -unrestrained violence which we see in this and the other male heads, -and gave the sculptor an opportunity to represent his heroes in the -excitement of action and danger. To effect this intensity of expression -Skopas relied mainly on the treatment of the eye. In one of the heads -(the unhelmeted one in Athens) the gaze is not turned upwards as in the -<i>Herakles</i>, nor are the neck-muscles strained as in the others, and yet -the expression is even more violent than in them. Thus it is the modeling -of the flesh about the eye which is the real distinguishing feature -of Skopas’ work. In describing the helmeted head in Athens, E. A. -Gardner says:</p> - -<blockquote> - -<p>“The eyes are set very deep in their sockets, and heavily overshadowed, at -their inner corners, by the strong projection of the brow, which does not, -however, as in some later examples of a similar intention on the part of the -artist, meet the line of the nose at an acute angle, but arches away from it in a -bold curve. At the outer corners the eyes are also heavily overshadowed, here -by a projecting mass of flesh or muscle which overhangs and actually hides in -part the upper lid. 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 nature.”<a id="FNanchor_2139"></a><a href="#Footnote_2139" class="fnanchor">2139</a></p></blockquote> - -<h3>COMPARISON OF THE TEGEA HEADS AND THE -HEAD FROM SPARTA.</h3> - -<p>It is to the facial characteristics in the Tegea heads that Dr. Bates -calls attention in basing his argument for the Skopaic origin of the head -from Sparta: the forehead horizontally divided by a median line, the -swelling, prominent brow, the deep-set eyes with their narrow lids—only -2 mm. wide—embedded in the projecting flesh at the outer corners, -and the parted mouth. He also sees a resemblance in the small -round curls bunched together above the ears. But if there are resemblances -(especially in the modeling of the eyes) there are also great -differences observable in the Tegea heads and the one from Sparta. -Let us confine our comparison of the latter with the <i>Herakles</i> of the -Tegea pediment, though the comparison with any of the other male -heads would lead to substantially the same results.</p> - -<p>In the first place the structure of the two heads in question is very -different. As the head from Sparta is broken in two at the ears and the -whole back part is missing, we can not tell whether it had the great -depth of the one from Tegea. But of the massive, bony framework of the -latter there is little trace in the former. In the Tegea example we are -struck with the squareness of the head and the breadth of the central -part of the face; the sides do not gradually converge toward the middle, -but seem to form distinct planes. The distance between the eyes is -also in keeping with the breadth of the skull as measured between the -ears; the breadth of the face almost equals its length from the top of -the forehead to the chin, and this fact, together with the massive, promi<span class="pagenum"><a id="Page_309">309</a></span>nent -chin, gives an element of squareness to the whole.<a id="FNanchor_2140"></a><a href="#Footnote_2140" class="fnanchor">2140</a> On the other -hand, the head from Sparta has a long, narrow face whose sides softly -converge toward the middle in beautiful curves about the cheeks; its -cheek-bones are not so high nor so prominent as those of the other; it -ends in a delicate, almost effeminate chin, which slightly retreats and -gives the whole lower part of the face an oval structure, thus recalling -Praxiteles and fourth-century Attic works. The length of the face is -accentuated by the considerable height to which the head rises above -the forehead, in contrast with the flatness of the skull in the example -from Tegea. The eyes are not so wide-open; they are longer and not -so swollen nor compressed toward the centre; if we view the two heads -from the side, we see that the eye-socket in the Tegea head is larger and -appreciably deeper than in the one from Sparta.</p> - -<p>Apart from these surface differences in the structure of the head and -face, it is in the resultant expression that we see the greatest divergence -from the Skopaic type. This seems to me to be fundamentally different -in the Sparta head. In the <i>Herakles</i>, as in all the other Tegea male -heads, and even in those of the boar and the dogs, the really characteristic -feature, which differentiates them from all other works of Greek -sculpture, is the passionate intensity of their expression. The one -unforgettable impression left on the spectator by them all is this -expression of violent and unrestrained passion, which the sculptor has -succeeded in imparting to the marble. 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 sculpture; it is this which -explains Kallistratos’ characterization of his works as being κάτοχα καὶ -μεστὰ μανίας.<a id="FNanchor_2141"></a><a href="#Footnote_2141" class="fnanchor">2141</a> The head from Sparta shows only a little of this intensity. -Notwithstanding the similar upward gaze and slightly parted lips, the -intention of the artist seems to have been to portray the hero in an attitude -of expectancy, tempered by a look almost of calmness. The look -is deeply earnest, but not violent; it is even melancholy. It is this last -feature, the delicate and compelling melancholy of the face, which -impressed me most on first viewing it. This is further enhanced by -the full, soft modeling of the lower face, that gives to the whole a delicate, -almost effeminate character, which strongly reminds us of Praxitelean -heads. In fact, the shape of the lips and the modeling of the<span class="pagenum"><a id="Page_310">310</a></span> -flesh on either side of the mouth, together with the soft, dimpled chin, -have little in common with the massive strength and remarkable animation -of the Tegea heads. As Dr. Caskey has intimated, if we had -only the lower portion of the face for comparison, we should be inclined -to ascribe it to the influence of Praxiteles. If we considered the upper -part only, resemblances to Skopaic work seem well marked; but if we -take into account the expression of the face as a whole, we see that it lacks -the most essential of Skopaic features, the look of passionate intensity. -Consequently we shall find it difficult to bring the head into such close -relation to that artist; for here there is little analogy to the vigorous -warrior types of the Tegea pediments. For its quieter mien it might be -better to compare it with the head of Atalanta,<a id="FNanchor_2142"></a><a href="#Footnote_2142" class="fnanchor">2142</a> though none of the gentle -pathos or eagerness of the Sparta head is there visible. The <i>Atalanta</i>, -though full of vigorous life, utterly lacks the unrestrained passion so -characteristic of her brothers; her eyes are not so deeply set, nor so wide-open; -they are narrower and longer, and are not over-hung at the outer -corners by heavy masses of flesh.<a id="FNanchor_2143"></a><a href="#Footnote_2143" class="fnanchor">2143</a> In speaking of the absence of these -rolls of muscle, E. A. Gardner notes a curious peculiarity: “This is -a clearly marked, though delicately rounded, roll of flesh between the -brow and the upper eyelid, which is continued right round above the -inner corner of the eye, to join the swelling at the side of the nose, -which itself passes on into the cheek.”<a id="FNanchor_2144"></a><a href="#Footnote_2144" class="fnanchor">2144</a> He detects this same peculi<span class="pagenum"><a id="Page_311">311</a></span>arity -in certain other Skopaic heads, notably in the <i>Apollo</i> from the Mausoleion -and the <i>Demeter</i> from Knidos, though it is quite lacking in the -Tegea male heads. It all goes to show that Skopas was not strictly consistent -in his treatment of the eye. The lower face of the <i>Atalanta</i> is also -longer and more oval than that of the male heads, and thus shows Attic -rather than Peloponnesian influence. If it is difficult, then, to conceive -of the <i>Atalanta</i> and the male heads as the work of the same sculptor, the -contrast, both in structure and expression, between these two heads of -Herakles, the one from Tegea, the other from Sparta, makes it more -difficult to assume the same authorship for both; for here we can not -explain the difference as the contrast between the types of hero and -heroine; here we are comparing two heads which are supposedly of the -same hero.</p> - -<h3>THE STYLES OF SKOPAS AND LYSIPPOS COMPARED.</h3> - -<div class="figcenter350"><a id="f74"></a> -<img src="images/i_p312.jpg" width="350" height="541" alt="Attic Grave-Relief." /> -<div class="caption"><span class="smcap">Fig. 74.</span>—Attic Grave-Relief, found in the -Bed of the Ilissos, Athens. National -Museum, Athens.</div> -</div> - -<p>In view, then, of the differences enumerated I should hesitate to -assign a Skopaic origin to the head from Sparta. In the lower part of -the face, with its small mouth and delicate chin, I see signs only of -Praxitelean influence; in the upper part I am much more inclined to -see affinities to the art-tendencies of Lysippos, as we now know them -from the statue of Agias. In the present state of our knowledge it is -not difficult to separate works of Praxitelean origin from those of Skopas; -but it is a very different thing to distinguish those of Skopaic -origin from those of Lysippos; here the line distinguishing the two masters -is much finer and harder to draw. Before the discovery of the -Tegea heads, the deep-set eye,<a id="FNanchor_2145"></a><a href="#Footnote_2145" class="fnanchor">2145</a> prominent brow, and “breathing” mouth -were looked upon as characteristic features of Lysippos, as they were -known to us from representations of Alexander, especially on coins. -We now know that these traits belonged to Skopas to a much greater -extent. When the <i>Agias</i> was found, and before its true authorship had -been determined, Homolle, as we have seen, had at first classed it -as showing the manner of Lysippos, only later to see more of Skopas -than Lysippos in it. Such a conclusion was natural so long as we -regarded the <i>Apoxyomenos</i> as the key to Lysippan art. By assigning -these traits definitely to Skopas, we were compelled to view the work of -Lysippos as conventional and somewhat lifeless in comparison. But -with the assumption that the statue of Agias represented true Lysippan -characteristics, we were forced to recognize that the same traits -belonged to Lysippos also, though to a less degree, since the energy of -the Tegea heads was absent from the features of the <i>Agias</i> and their -fierceness was here replaced by a look of quiet melancholy. The study -of such allied works as the beautiful and excellently preserved <i>Lansdowne -Herakles</i> (Pl. <a href="#p30">30</a> and Fig. <a href="#f71">71</a>), the athlete on the Pentelic marble<span class="pagenum"><a id="Page_312">312</a></span> -stele found in the bed of the Ilissos in 1874, and now in the National -Museum in Athens (Fig. <a href="#f74">74</a>),<a id="FNanchor_2146"></a><a href="#Footnote_2146" class="fnanchor">2146</a> the so-called <i>Meleager</i> in the Vatican -(Fig. <a href="#f75">75</a>),<a id="FNanchor_2147"></a><a href="#Footnote_2147" class="fnanchor">2147</a> and other copies of the same original (<i>e. g.</i>, Figs. 76, 77), also -shows how closely the type of Lysippos approached that of Skopas. -Long ago I expressed the view<a id="FNanchor_2148"></a><a href="#Footnote_2148" class="fnanchor">2148</a> that these and similar works should be<span class="pagenum"><a id="Page_313">313</a></span> -assigned to Lysippos rather than to Skopas, to whom most critics had -referred them. Thus, after the discovery of the Tegea heads, scholarly -opinion began to follow the arguments of Furtwaengler in bringing -the <i>Lansdowne Herakles</i> into the sphere of Skopas.<a id="FNanchor_2149"></a><a href="#Footnote_2149" class="fnanchor">2149</a> But Michaelis, -as far back as 1882, commenting on the characteristically small head, -<span class="figright250"><a id="f75"></a> -<img src="images/i_p313.jpg" width="250" height="420" alt="Statue of the so-called Meleager." /> -<span class="caption"><span class="smcap">Fig. 75.</span>—Statue of the so-called <i>Meleager</i>. -Vatican Museum, Rome.</span> -</span> -short neck in comparison with the -mighty shoulders, and long legs in -proportion to the thick-set torso, -had declared: “Without doubt the -statue offers one of the finest specimens, -if not absolutely the best, of -a Herakles according to the conception -of Lysippos.”<a id="FNanchor_2150"></a><a href="#Footnote_2150" class="fnanchor">2150</a> Now opinion -varies again; only those who believe -that the <i>Agias</i> is Lysippan class the -<i>Herakles</i> as a Lysippan work.<a id="FNanchor_2151"></a><a href="#Footnote_2151" class="fnanchor">2151</a> Of -the <i>Meleager</i>, Graef<a id="FNanchor_2152"></a><a href="#Footnote_2152" class="fnanchor">2152</a> gives eighteen -copies besides the one in the Vatican. -This number shows how common an -adornment it was of Roman villas -and parks. Some of these copies -have a chlamys thrown over the -arm, <i>e. g.</i>, the Vatican example, -and belong to imperial times, while -others without the mantle, <i>e. g.</i>, the -torso in Berlin,<a id="FNanchor_2153"></a><a href="#Footnote_2153" class="fnanchor">2153</a> are older. In addition -to the Vatican example we reproduce -two other copies, the beautiful -Parian marble head now placed on -the trunk of a Praxitelean <i>Apollo</i> -in the gardens of the Medici in Rome -(Fig. <a href="#f76">76</a>),<a id="FNanchor_2154"></a><a href="#Footnote_2154" class="fnanchor">2154</a> and the statue without -arms or legs and without the chlamys, found in 1895 near Santa Mari<span class="pagenum"><a id="Page_314">314</a></span>nella, -30 miles from Rome, and since 1899 in the Fogg Art Museum -at Harvard University (Fig. <a href="#f77">77</a>),<a id="FNanchor_2155"></a><a href="#Footnote_2155" class="fnanchor">2155</a> one of the most beautiful of the -many replicas. At first the original of these copies was supposed to -be Lysippan, being identified with the <i>Venator</i> at Thespiai mentioned -by Pliny as the work of Euthykrates, the son and pupil of Lysippos,<a id="FNanchor_2156"></a><a href="#Footnote_2156" class="fnanchor">2156</a> -but after the discovery of the Tegea heads it was almost universally<span class="pagenum"><a id="Page_315">315</a></span> -referred to Skopas.<a id="FNanchor_2157"></a><a href="#Footnote_2157" class="fnanchor">2157</a> Here again the Skopaic group of Graef has been -broken by P. Gardner<a id="FNanchor_2158"></a><a href="#Footnote_2158" class="fnanchor">2158</a> and others, and the <i>Meleager</i>, like the <i>Herakles</i>, -has been given to Lysippos.</p> - -<div class="figcenter300"><a id="f76"></a> -<img src="images/i_p314.jpg" width="300" height="406" alt="Head of the so-called Meleager." /> -<div class="caption"><span class="smcap">Fig. 76.</span>—Head of the so-called <i>Meleager</i>. Villa -Medici, Rome.</div> -</div> - -<p>Let us analyze a little further wherein the difference between the -closely allied art of Skopas and Lysippos lies. We saw that it was -chiefly the formation of the eye and its surroundings which characterized -<span class="figright250"><a id="f77"></a> -<img src="images/i_p315.jpg" width="250" height="398" alt="Torso of the so-called -Meleager." /> -<span class="caption"><span class="smcap">Fig. 77.</span>—Torso of the so-called -<i>Meleager</i>. Fogg Art Museum, -Cambridge, U. S. A.</span></span> -Skopaic work—the depth of the -balls in their sockets, and the heavy -masses of flesh above the outer corners. -This was in harmony with -the breadth of brow and the massive -build of the Tegea heads. In -the <i>Agias</i> and similar works the -treatment of the eye is somewhat -different. The head of the <i>Agias</i> -is of slighter proportions than the -heads from Tegea; in conformity -with the Lysippan canon it is below -life-size, and consequently has no -such heavy overshadowing of the -outer corners of the eyes. Moreover, -as we shall see, this overshadowing -is also relatively less in -the statue of the Delphian athlete. -The formation of the eye is thus -described by E. A. Gardner:</p> - -<blockquote> - -<p>“The inner corners of the eye are -set very deep in the head and very -close together; the inner corners of the -eye-sockets form acute angles, running -up close to one another and leaving between -them only a narrow ridge for the -base of the nose; thus they offer a strong -contrast to the line of the brow, arching -away in a broad curve from the solid base of the nose and forming an -obtuse angle with it, such as we see in the Skopaic heads.”<a id="FNanchor_2159"></a><a href="#Footnote_2159" class="fnanchor">2159</a></p></blockquote> - -<p>The resultant expression is therefore somewhat different from that -of the heads from Tegea; while we still see animation and even intensity -in the face of the <i>Agias</i>, we see it in a modified degree. The far-away -look of the Tegea heads is still present, but it appears to be fixed -on a nearer object, and so the look of intensity is tempered; it is also -lightened by the fact that the overshadowing of the eyes at the outer -corners is less heavy. But even this latter so-called Skopaic trait, though<span class="pagenum"><a id="Page_316">316</a></span> -it is absent in the <i>Agias</i>, is certainly present in other Lysippan heads. -Besides being prominent in representations of Alexander the Great on -coins,<a id="FNanchor_2160"></a><a href="#Footnote_2160" class="fnanchor">2160</a> it is seen in busts of the conqueror, especially in the splendid one -from Alexandria in the British Museum.<a id="FNanchor_2161"></a><a href="#Footnote_2161" class="fnanchor">2161</a> In the latter example we see -just such heavy rolls of flesh as we note in the Skopaic heads. It shows -that this trait, introduced by Skopas, was used at times with equal effect -by Lysippos. We have already noted how in one example, at least, Skopas -himself laid it aside—in the <i>Atalanta</i>. 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 Skopas. -This trait complicates the whole problem of the style of the two masters.</p> - -<h3>THE SPARTA HEAD COMPARED WITH THAT OF THE -PHILANDRIDAS.</h3> - -<p>As the <i>Agias</i> is considered by most critics to be a contemporary copy -of the original statue at Pharsalos, perhaps it will be more just to compare -the head from Sparta under discussion with the original marble -head from Olympia, which we have ascribed in the earlier part of the -present chapter to the statue of Philandridas by Lysippos. Such a -comparison will, of course, show certain differences, but marked resemblances -as well. We shall see that these resemblances are confined to the -upper part of the face. In both we note the same low forehead with a -corresponding depression or crease across the middle; the similarly -bulging brow which breaks very perceptibly the continuous line from -forehead to nose, concave above and below and convex at the swelling -itself; the same powerfully framed and deep-set eyes thrown into shadows -by the projecting bony structure of the brows and the overhanging -masses of flesh. The eyeballs in both are similarly long and narrow, -though they are slightly arched in the <i>Philandridas</i> just as in the Tegea -heads, and not so close together as in the <i>Agias</i>, but their inner angles are -farther apart and not almost hidden by the flat bridge of the nose when -viewed straight from the front. In this respect they are strikingly like -those of the Sparta head.<a id="FNanchor_2162"></a><a href="#Footnote_2162" class="fnanchor">2162</a> The raised upper lids in both form symmetri<span class="pagenum"><a id="Page_317">317</a></span>cally -narrow and sharply defined borders over the eyeballs. These -borders, in each case, are not partially hidden by the folds of skin at -the outer corners, as they are in the Tegea heads; and yet the masses -of flesh projecting from the brows are almost as heavy as in the latter. -In both the heads from Olympia and Sparta the upper lids slightly -overlap the under at the outer corners. The eye-sockets in both seem -to be equally deep and the cheek-bones similarly high and prominent. -We remark in the <i>Philandridas</i> the gradual converging of the sides of -the face toward the middle, 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 heads. 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 discussion. In both, -the hair is treated in the same simple and sketchy manner, being fashioned -into little ringlets ruffled back from the temples in flat relief quite -in the Skopaic manner, even if the curls seem shorter and more tense.</p> - -<p>When we come to a consideration of the lower part of each face, we -immediately detect differences. While both faces end in an oval, -this is broader, heavier, and more bony in that of the <i>Philandridas</i>, -as we should expect in the case of a more mature man. Consequently -here the mouth is larger and firmer. The elegant contour of the lips -observable in the <i>Agias</i> is also found, to a less degree, in the head -from Sparta, whose lips are fuller and more sensuous, but can not be -traced in the <i>Philandridas</i> owing to the damaged condition of the mouth. -It is clear, however, that the lips of the latter were also slightly parted, -just showing the teeth, but not as in the Tegea heads, as if the breath -were being forced through them with great effort.</p> - -<p>It is, however, in the expression of these two faces that we see the -greatest resemblance. In the <i>Philandridas</i>, the powerful framing of -the eyes, the slightly upward gaze of the balls, and the contracted -forehead combine to give it a pensive, even melancholy, look of dignity, -a look seemingly of one who takes no joy or pleasure in victory, -though, as we have already mentioned,<a id="FNanchor_2163"></a><a href="#Footnote_2163" class="fnanchor">2163</a> it is earnest rather than -mournful. The almost identical treatment of the eye and its surroundings -gives the still more youthful head from Sparta a similar -expression. Homolle’s analysis of the expression of the face of the -<i>Agias</i> would apply with equal fitness to the mood portrayed in both -the heads we are discussing: “<i>L’expression qui résulte de ces divers traits, -c’est, dans une figure jeune et vigoureuse, un air pensif ou lassé, une -certaine mélancolie, qui ne va pas à la tristesse morne ou à la méditation -profonde, mais qui reste plus loin encore de la joie insouciante de -la vie et de la pure allégresse de la victoire</i>”.<a id="FNanchor_2164"></a><a href="#Footnote_2164" class="fnanchor">2164</a> Preuner remarked that<span class="pagenum"><a id="Page_318">318</a></span> -a verse of the epigram found on the base of the statue of Agias, -which runs καὶ σῶν οὐδείς πω στῆσε τροπαῖα χερῶν, is almost an exact -copy of the words of Herakles in the <i>Trachiniae</i> of Sophocles.<a id="FNanchor_2165"></a><a href="#Footnote_2165" class="fnanchor">2165</a> 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 glory. -They suggest with no less truth the expression of both the heads we -are discussing. This expression of pensiveness tinged with melancholy -is enhanced in both by the slightly parted lips. We can see -the same expression carried much further in many of the portraits of -Alexander which go back to originals by Lysippos, and we know from -Plutarch that this sculptor was chosen by the conqueror to make his -portraits, because Lysippos alone could combine his manly air with -the liquid and melting glance of his eyes.<a id="FNanchor_2166"></a><a href="#Footnote_2166" class="fnanchor">2166</a> But how different is the -delicately indicated pathos of these heads from the violent and unrestrained, -even panting, expression of the Tegea sculptures! Here -there is no trace of the μανία which Kallistratos said characterized -the works of Skopas. If it be objected that the expression of the -<i>Philandridas</i> is more dramatic than that of the head from Sparta, its -fierce, almost barbarous, look of defiance may well be explained by -the fact that here is represented a victor from Akarnania, a country -noted among the other Greek states for anything but culture and -refinement.</p> - -<h3>THE SPARTA HEAD AN ECLECTIC WORK AND AN EXAMPLE -OF ASSIMILATION.</h3> - -<p>It is, then, in consequence of these resemblances to Lysippan work, -and because of the differences between it and the Tegean heads, that I -am led to see more of Lysippos than of Skopas in this beautiful head -from Sparta. An analysis of its style permits us to discover in it the -mixed influences of Praxiteles, of Lysippos, and of Skopas. It seems -to me necessary, therefore, in view of this mixture of tendencies, to -regard it as an eclectic work, in which the unknown artist has combined -Lysippan and Praxitelean elements chiefly; and that he was also under -the influence of Skopas is evinced by the peculiarities mentioned in the -treatment of the eyes and hair;<a id="FNanchor_2167"></a><a href="#Footnote_2167" class="fnanchor">2167</a> but even in the modeling of the eyes, -I believe that his chief debt was to Lysippos. The fineness of surface -modeling, commented on by both Professor Bates and Dr. Caskey, -<span class="pagenum"><a id="Page_319">319</a></span>recalls the delicacy of execution in detail which is mentioned by Pliny -as characteristic of Lysippan art.<a id="FNanchor_2168"></a><a href="#Footnote_2168" class="fnanchor">2168</a> 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 masters.</p> - -<p>In the preceding account I have tacitly assumed with Professor Bates -that the head from Sparta represents a beardless Herakles. But, as -Dr. Caskey remarks, one might hesitate to accept this identification -if it were not for the attribute of the lion’s skin above the forehead, for -here there is little indication of the strength so characteristic of later -representations of the hero. Dr. Caskey, however, observes that a -head of Herakles, now in the British Museum, which some have -regarded as an original by Praxiteles, is even more boyish than this -one. However, it is very doubtful if the Sparta head should be referred -to a statue of Herakles at all. Pausanias mentions only three statues -of Herakles in Sparta, to any one of which it seems futile to try to refer -the head under discussion; thus in III, 14.6, he speaks of an ἄγαλμα -ἀρχαῖον to which the <i>Sphairians</i>, <i>i. e.</i>, lads entering on manhood, sacrificed, -as standing on the road to the Δρόμος, outside the city walls; in -the same book, 14.8, he says that an image of the hero stood at the end -of one of the two bridges across the moat to Plane-tree Grove, <i>i. e.</i>, -the boys’ exercise-ground; and again in this book, 15.3, he says that an -ἄγαλμα ὡπλισμένον of Herakles stood in the Herakleion close to the -city wall, whose attitude (σχῆμα), was suggested by the battle between -the hero and Hippokoön and his sons. The same writer enumerates -only three other statues of Herakles in Lakonia. One of these was in -the market-place of Gythion (III, 21.8), another in front of the walls of -Las beyond Gythion (III, 24.6), and the third on Mount Parnon near the -boundaries of Argolis, Lakonia, and Tegea (III, 10.6). The head under -discussion is more probably only one more example of the idealizing -tendency of athletic Greek art, which assimilated the type of victor to -that of god.<a id="FNanchor_2169"></a><a href="#Footnote_2169" class="fnanchor">2169</a> In the case of the <i>Agias</i> the sculptor plainly wished to -raise the victor to the ideal height of the hero. The same idealization -is visible in the head ascribed to the statue of Philandridas. In both -these heads the ears, while small, are battered and swollen; the -remains of the ears in the head from Sparta are too badly damaged to -indicate whether these were swollen or not. But even if they were -<span class="pagenum"><a id="Page_320">320</a></span> -preserved and were in that condition, they would not be a distinguishing -factor in determining whether the head belonged to the statue of a -victor or of Herakles. In our consideration of the Olympia head we -saw by a comparison with the <i>Lansdowne Herakles</i>, a statue universally -recognized as that of the hero, 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 sculptor. The same -might be said of the boyish head from Sparta, when compared with -a genuine head of Herakles. For this reason, and because of the -resemblance in expression between the <i>Philandridas</i> and the head -from Sparta, I am inclined to believe that the latter, instead of being -a representation of a youthful Herakles, is really the idealized portrait -of an athlete, probably that of a boy victor, either in the boxing or -wrestling match,<a id="FNanchor_2170"></a><a href="#Footnote_2170" class="fnanchor">2170</a> assimilated in form to that of the hero.<a id="FNanchor_2171"></a><a href="#Footnote_2171" class="fnanchor">2171</a></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_321">321</a></span></p> - -<h2>CHAPTER VII.<br /> - -<small>THE MATERIALS OF OLYMPIC VICTOR MONUMENTS, AND THE -OLDEST DATED VICTOR STATUE.<a id="FNanchor_2172"></a><a href="#Footnote_2172" class="fnanchor">2172</a></small></h2> - -<p class="center"><span class="smcap">Figures 78–80.</span></p> - -<p>It has been assumed pretty generally by archæologists that the victor -statues set up in the Altis at Olympia were uniformly of bronze. -Scherer, in his inaugural dissertation <i>de olympionicarum Statuis</i>, which -appeared in 1885, was the first to discuss the question fully,<a id="FNanchor_2173"></a><a href="#Footnote_2173" class="fnanchor">2173</a> and his -arguments and conclusions have been followed, for the most part, by -later investigators. Thus Dittenberger and Purgold state unequivocally -that these statues were “<i>ausnahmslos aus Bronze</i>”,<a id="FNanchor_2174"></a><a href="#Footnote_2174" class="fnanchor">2174</a> while more -recently Hitzig and Bluemner, in their great commentary on Pausanias, -have again pronounced the dictum that “<i>die Siegerstatuen waren durchweg -von Erz</i>”.<a id="FNanchor_2175"></a><a href="#Footnote_2175" class="fnanchor">2175</a> Others, however, have not been quite so sweeping -in their generalization. Thus Wolters believes that these statues, -because they were set up in the open, were “<i>der Regel nach</i>” of bronze,<a id="FNanchor_2176"></a><a href="#Footnote_2176" class="fnanchor">2176</a> -and Furtwaengler and Urlichs assume that they were “<i>fast ausschliesslich -aus Bronze</i>”.<a id="FNanchor_2177"></a><a href="#Footnote_2177" class="fnanchor">2177</a></p> - -<h3>THE CASE FOR BRONZE.</h3> - -<p>The arguments adduced by Scherer and others in defense of the contention -seem at first sight, although inferential in character, quite -conclusive. In the first place, it has been pointed out that all the -statuaries mentioned by Pausanias in his victor <i>periegesis</i>,<a id="FNanchor_2178"></a><a href="#Footnote_2178" class="fnanchor">2178</a> if recorded -at all in Pliny’s <i>Historia Naturalis</i>, appear there in the catalogue of -bronze founders as workers in bronze κατ’ ἐξοχήν, while none of them is -known exclusively as a sculptor in marble. As Hagelaïdas is the first -in point of time, who flourished from the third quarter of the sixth -century <span class="smcap lowercase">B. C.</span> to the second quarter of the fifth,<a id="FNanchor_2179"></a><a href="#Footnote_2179" class="fnanchor">2179</a> Scherer believed that all -statues from his date down—<i>posteriorum temporum</i>—were of bronze; -and as Rhoikos and Theodoros, the inventors of bronze founding, flourished -about Ols. 50 to 60 ( = 580 to 540 <span class="smcap lowercase">B. C.</span>),<a id="FNanchor_2180"></a><a href="#Footnote_2180" class="fnanchor">2180</a> he believed that bronze<span class="pagenum"><a id="Page_322">322</a></span> -might have been used up to their date. In the next place, the excavated -bases, which have been identified as those of victor monuments, -show footprints of bronze statues. Thirdly, actual bronze fragments, -indubitably belonging to victor statues (of which two are attested by -inscriptions), were found during the excavations of the Altis. These -consist of the following:</p> - -<p>(<i>a</i>) An inscribed convex piece of bronze of imperial times, “<i>anscheinend -vom Schenkel einer Bronzestatue herruehrend</i>.”<a id="FNanchor_2181"></a><a href="#Footnote_2181" class="fnanchor">2181</a></p> - -<p>(<i>b</i>) A similar inscribed fragment of the same period.<a id="FNanchor_2182"></a><a href="#Footnote_2182" class="fnanchor">2182</a></p> - -<p>(<i>c</i>) The remarkable life-size portrait head of a boxer or pancratiast, -which we have already discussed and reproduced (Fig. 61 A and B).<a id="FNanchor_2183"></a><a href="#Footnote_2183" class="fnanchor">2183</a></p> - -<p>(<i>d</i>) A foot of masterly workmanship (Fig. <a href="#f62">62</a>) ascribed by Furtwaengler<a id="FNanchor_2184"></a><a href="#Footnote_2184" class="fnanchor">2184</a> -to the end of the third century <span class="smcap lowercase">B. C.</span> Its position shows -that the statue of which it was a part was represented in motion, and -consequently it has been assigned to a victor statue.</p> - -<p>(<i>e</i>) A beautifully modeled right arm, somewhat under life-size, supposedly -from the statue of a boy victor.<a id="FNanchor_2185"></a><a href="#Footnote_2185" class="fnanchor">2185</a></p> - -<p>(<i>f</i>) A right lower leg of excellent workmanship, assigned by Furtwaengler -to the same period as fragment <i>e</i>.<a id="FNanchor_2186"></a><a href="#Footnote_2186" class="fnanchor">2186</a></p> - -<p>Still other bronze fragments of statues found at Olympia may -have belonged to statues of victors, especially to those of boys.<a id="FNanchor_2187"></a><a href="#Footnote_2187" class="fnanchor">2187</a> -The small number of such fragments recovered—Scherer wrongly -thought there was none—is explained by assuming that all of these -statues were of bronze, and consequently were destroyed by the barbarians -in their inroads into Greece during the early Middle Ages, -when this metal was much prized.<a id="FNanchor_2188"></a><a href="#Footnote_2188" class="fnanchor">2188</a> Another argument for believing -that these statues were of bronze is the silence of Pausanias concerning -the materials employed in them; for, in his enumeration of -192 such monuments, he mentions the material of only two statues, -those of the boxer Praxidamas of Aegina<a id="FNanchor_2189"></a><a href="#Footnote_2189" class="fnanchor">2189</a> and of the Opuntian pancratiast -Rhexibios,<a id="FNanchor_2190"></a><a href="#Footnote_2190" class="fnanchor">2190</a> and he mentions these because of their great -antiquity, peculiar position in the Altis apart from the others (near<span class="pagenum"><a id="Page_323">323</a></span> -the column of Oinomaos), and the fact that they were made of -wood.<a id="FNanchor_2191"></a><a href="#Footnote_2191" class="fnanchor">2191</a> Furthermore, in his book on <i>Achaia</i> there occurs this passage -in reference to the statue of the victor Promachos, which was set up in -the Gymnasion of Pellene: καὶ αὐτοῦ [Προμάχου] καὶ εἰκόνας ποιήσαντες -οἱ Πελληνεῖς τὴν μὲν ἐς Ὀλυμπίαν ἀνέθεσαν, τὴν δὲ ἐν τῷ γυμνασίῳ, λίθου -ταύτην καὶ οὐ χαλκοῦ.<a id="FNanchor_2192"></a><a href="#Footnote_2192" class="fnanchor">2192</a> Most critics have inferred from these last words, -“<i>the one in the Gymnasion being of stone and not of bronze</i>,” that, although -Pausanias says nothing about the material of statues of victors in the -Altis (barring the two just mentioned), by implication all these statues -were of bronze; and they point out the fact that other writers furnish -no evidence concerning the material used in them—an argument <i>ex -silentio</i> to the same effect. Besides these arguments many others have -been urged on purely a priori grounds; <i>e. g.</i>, that, since these statues -stood in the open air, subject to all kinds of weathering, they must -have been made of bronze;<a id="FNanchor_2193"></a><a href="#Footnote_2193" class="fnanchor">2193</a> that metal statues would have been cheaper -and more easily prepared than those of marble;<a id="FNanchor_2194"></a><a href="#Footnote_2194" class="fnanchor">2194</a> that the later Peloponnesian -schools of athletic sculpture, which were characterized by -their predilection for bronze-founding, would nowhere have been more -prominently in evidence than at Olympia; etc.</p> - -<p>Thus the case for the use of metal in these statues seems very well -substantiated, and, for the reasons given, it can not be reasonably -doubted that the vast majority of these monuments were made of -bronze. But that they were not exclusively of metal, and that there -were many exceptions to the general rule, not only can be conjectured -on good grounds, but can be proved by discoveries made at the excavations. -We shall briefly consider, then, each of the foregoing -arguments in turn, and see whether, in the light of the accumulated -evidence, they are really as well founded as they appear to be.</p> - -<h3>THE CASE FOR STONE.</h3> - -<p>As for the first point, that the statuaries mentioned by Pausanias -appear only in Pliny’s catalogue of bronze founders, we must remember -that Pausanias himself says<a id="FNanchor_2195"></a><a href="#Footnote_2195" class="fnanchor">2195</a> that he is making only a selection of the -victor monuments in the Altis, those of the more famous athletes.<span class="pagenum"><a id="Page_324">324</a></span> -Therefore, the 192 monuments (of 187 victors)<a id="FNanchor_2196"></a><a href="#Footnote_2196" class="fnanchor">2196</a> which he does mention -must be only a fraction of the multitude of such monuments which -once stood at Olympia. Pliny, to be sure, says that it was the custom for -all victors to set up statues in the Altis;<a id="FNanchor_2197"></a><a href="#Footnote_2197" class="fnanchor">2197</a> but this refers only to the privilege, -of which many victors could not or did not avail themselves on -account of poverty, early death, or for other reasons.<a id="FNanchor_2198"></a><a href="#Footnote_2198" class="fnanchor">2198</a> Still, the number -of such dedications must have been very great. Manifestly, therefore, -we should not base an argument on the number mentioned. There -must, then, have been many other artists employed at Olympia, some -of whom may well have been workers in marble. Besides, of the statuaries -actually named by Pausanias, many do not appear at all in -Pliny’s work, and many of these may have been sculptors exclusively -in stone. Of the names found in Pliny, six at least—Kalamis, Kanachos, -Eutychides, Myron, Polykles, and Timarchides—appear both -in the list of bronze-workers and in that of marble-sculptors.<a id="FNanchor_2199"></a><a href="#Footnote_2199" class="fnanchor">2199</a> Similarly, -in answer to the second argument that the excavated bases show -footprints of bronze statues, we must admit that only a fraction of the -bases which once supported statues in the Altis have been recovered. -Not one-fifth of the victors mentioned by Pausanias are known to us -through these bases.<a id="FNanchor_2200"></a><a href="#Footnote_2200" class="fnanchor">2200</a></p> - -<p>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 found; and it does not seem reasonable, in the light of the -evidence adduced by Treu, Furtwaengler, and others, to reject these -as fragments of actual victor statues. These fragments include the -following:<a id="FNanchor_2201"></a><a href="#Footnote_2201" class="fnanchor">2201</a></p> - -<p>(<i>a</i>, <i>b</i>) The two life-size archaic helmeted heads (Fig. <a href="#f30">30</a>) which we -have ascribed to hoplite victors.<a id="FNanchor_2202"></a><a href="#Footnote_2202" class="fnanchor">2202</a></p> - -<p>(<i>c</i>, <i>d</i>, <i>e</i>) Fragments of statues of boy victors: <i>c</i> = trunk with left -upper leg, three-fifths life-size (Fig. <a href="#f78">78</a>);<a id="FNanchor_2203"></a><a href="#Footnote_2203" class="fnanchor">2203</a> <i>d</i> = breast, one-half life-size;<a id="FNanchor_2204"></a><a href="#Footnote_2204" class="fnanchor">2204</a></p> - -<p><span class="pagenum"><a id="Page_325">325</a></span></p> - -<p><i>e</i> = upper part of legs of a statue, two-thirds life-size.<a id="FNanchor_2205"></a><a href="#Footnote_2205" class="fnanchor">2205</a> Besides these -Treu also adduces fragments of four different boy statues, all of which -are less than life-size.<a id="FNanchor_2206"></a><a href="#Footnote_2206" class="fnanchor">2206</a></p> - -<p>The reticence of Pausanias as to the material used in these statues -<span class="figright200"><a id="f78"></a> -<img src="images/i_p325.jpg" width="200" height="391" alt="Small Marble Torso -of a Boy Victor." /> -<span class="caption"><span class="smcap">Fig. 78.</span>—Small Marble Torso -of a Boy Victor, from Olympia. -Museum of Olympia.</span> -</span> -is merely in accord with his custom, -for he very rarely mentions the materials -of monuments, and apparently only -where monuments of bronze and stone -or other materials stand close together in a -circumscribed area, as for instance, in enumerating -the various monuments in the -Heraion at Olympia.<a id="FNanchor_2207"></a><a href="#Footnote_2207" class="fnanchor">2207</a> The only inference, -therefore, to be drawn from Pausanias’ -statement about the statue of -Promachos mentioned is that this particular -statue of a victor at Olympia was -of bronze. We are not justified in going -any further. Besides this stone statue at -Pellene we have other actual notices of -marble statues of Olympic victors outside -Olympia, as those of Arrhachion at Phigalia<a id="FNanchor_2208"></a><a href="#Footnote_2208" class="fnanchor">2208</a> -(Fig. <a href="#f79">79</a>) and of Agias by Lysippos -at Delphi (Pl. <a href="#p28">28</a> and Fig. <a href="#f68">68</a>). If -they existed outside Olympia, there is no -reason why they should not have existed -in the Altis also, <i>e. g.</i>, the Lysippan marble -head found there, which we assigned -in the preceding chapter to the Akarnanian -victor Philandridas (Frontispiece, -and Fig. <a href="#f69">69</a>). Many of the older statues, -like that of Arrhachion, conformed with the “Apollo” type, as we -have shown in Ch. III,<a id="FNanchor_5"></a><a href="#Footnote_5" class="fnanchor">5</a> and doubtless many such at Olympia were -of marble.</p> - -<p>Reinach’s argument that stone statues in Greece, because of their -patina of color, were intended to be placed under cover in the porticoes -or cellas of temples and elsewhere, while bronze ones were meant to -stand in the open air, has been sufficiently combatted by H. Lechat,<a id="FNanchor_2209"></a><a href="#Footnote_2209" class="fnanchor">2209</a><span class="pagenum"><a id="Page_326">326</a></span> -who argues that the use of paint in Greek architecture and on temple -sculptures proves the contrary. As the paint was burnt in, it was -reasonably durable, and if it did not prove so it was readily renewed. -At Olympia, among several examples, we may cite the marble <i>Nike</i> -of Paionios, which stood in the open in the space to the east of the temple -of Zeus<a id="FNanchor_2210"></a><a href="#Footnote_2210" class="fnanchor">2210</a> (see Plans A and B), while, on the other hand, a bronze -statue of Aphrodite stood within the Heraion.<a id="FNanchor_2211"></a><a href="#Footnote_2211" class="fnanchor">2211</a> The argument that -metal statues were cheaper than marble must also be questioned.<a id="FNanchor_2212"></a><a href="#Footnote_2212" class="fnanchor">2212</a> -In the earlier part of the present work we saw that, for economy’s -sake, many victors set up small bronze statuettes instead of statues at -Olympia, numbers of which have been recovered. That such dedications -were common elsewhere is shown by the countless athlete statuettes—especially -diskoboloi—which are to be found in all European -museums.<a id="FNanchor_2213"></a><a href="#Footnote_2213" class="fnanchor">2213</a> For similar reasons victors would choose in place of bronze -the less durable and cheaper stone, as in the cases of Arrhachion and -Promachos cited, or even wood, as in those of Rhexibios and Praxidamas. -Still others, especially boy victors, would set up small marble -statues, two-fifths to two-thirds life-size, as the fragments of the seven -examples collected by Treu and already enumerated above show.</p> - -<p>Thus we see that the contention that the victor statues at Olympia -were exclusively of bronze, in the light of the evidence adduced, is -untenable.</p> - -<h3>THE STATUE OF ARRHACHION AT PHIGALIA.</h3> - -<p>In his description of Arkadia, Pausanias mentions seeing the stone -statue of the pancratiast Arrhachion in the market-place of Phigalia. -He describes it as archaic, especially in pose, the feet being close together -and the arms hanging by the sides to the hips; and adds that he -was told that it once bore an inscription which had become illegible in -his day.<a id="FNanchor_2214"></a><a href="#Footnote_2214" class="fnanchor">2214</a> This Arrhachion won three victories at Olympia in the pan<span class="pagenum"><a id="Page_327">327</a></span>kration in Ols. 52–54 ( = 572–564 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_2215"></a><a href="#Footnote_2215" class="fnanchor">2215</a> Therefore his statue is one -of the oldest victor monuments of which we have record. At so early -a date, before individual types of victor statues had been developed, we -should expect, in harmony with the description of Pausanias, that this -statue would conform in style with the well-known archaic “Apollo” -type, the most characteristic of early Greek sculpture, which, as we -saw in Chapter III, is exemplified in the long series of statues found -all over the Greek world, the oldest class being represented by the -<span class="figright250"><a id="f79"></a> -<img src="images/i_p327.jpg" width="250" height="392" alt="Stone Statue of the Olympic -Victor Arrhachion." /> -<span class="caption"><span class="smcap">Fig. 79.</span>—Stone Statue of the Olympic -Victor Arrhachion, from Phigalia. -In the Guards’ House at -Bassai (Phigalia).</span> -</span> -example from Thera (Fig. <a href="#f9">9</a>), and one -of the youngest by that from Tenea -near Corinth (Pl. <a href="#p8A">8A</a>).</p> - -<p>In his commentary on the passage -of Pausanias, Sir J. G. Frazer records -that during a visit in May, 1890, -he saw a recently discovered archaic -stone statue in a field just outside -Pavlitsa, a village on the site of the -southeastern precincts of the old city -of Phigalia, some 2.5 miles from the -temple of Apollo Epikourios at Bassai. -He thought that this statue -agreed completely with Pausanias’ -description of Arrhachion’s, even to -the half-effaced inscription which he -transcribed from its breast just below -the neck.<a id="FNanchor_2216"></a><a href="#Footnote_2216" class="fnanchor">2216</a> Through the courtesy of -Dr. Svoronos, of the National Numismatic -Museum in Athens, I have been -able to procure a photograph of the -monument from K. Kouroniotis, -the Arkadian <i>Ephor</i> of antiquities stationed -at Bassai, and I present it herewith -(Fig. <a href="#f79">79</a>). The statue is now<span class="pagenum"><a id="Page_328">328</a></span> -cared for in the house of the temple guards. This statue, like all -other examples of the series, represents a nude youth standing in a stiff, -constrained attitude. It is badly mutilated and its surface is rough -from weathering. Besides having lost its head, arms, and the lower -part of the legs, it has been broken into two parts across the abdomen. -The ends of curls on either side of the neck, extending a few -inches over the breast, show that the head looked straight forward, -thus following the usual law of “frontality,”<a id="FNanchor_2217"></a><a href="#Footnote_2217" class="fnanchor">2217</a> which precluded any -turning of the body; for a median line drawn down through the -middle of the breastbone, the navel, and the αἰδοῖα would divide the -statue into two equal halves. The body shows the quadrangular form -of the earlier examples, the sculptor having worked in flat planes -at right angles to one another, with the corners merely rounded -off. The remains of arms broken off just below the shoulders show -that they must have hung close to the sides. The shoulders are -broad and square, and display none of the sloping lines characteristic -of other examples, as, <i>e. g.</i>, the one from Tenea. From the breast down -the body is slender, the hips being very narrow. The legs show the -usual flatness and the left one is slightly advanced, as is uniformly the -case in every one of the series. They are somewhat more separated -than in many other examples. The αἰδοῖα form a rude pyramidal mass, -not being differentiated as they are, <i>e. g.</i>, in the statues from Naxos and -Orchomenos<a id="FNanchor_2218"></a><a href="#Footnote_2218" class="fnanchor">2218</a> (Fig. <a href="#f10">10</a>). Some attempt at modeling is visible in the -muscles of the breast and lower abdomen. In general, it may be said -that the similarity in attitude of this statue to Egyptian works impresses -us, as it does in all the examples of early Greek sculpture. As -the subject of Oriental, especially Egyptian, influence on early Greek -art has given rise to very diverse views, we shall make a short digression -at this point to discuss this interesting question.</p> - -<h3>EGYPTIAN INFLUENCE ON EARLY GREEK SCULPTURE.</h3> - -<p>This question has been under discussion in all its bearings ever since -Brunn, in 1853, tried to demonstrate the originality of the Daidalian -ξόανα,<a id="FNanchor_2219"></a><a href="#Footnote_2219" class="fnanchor">2219</a> but, strangely enough, archæologists are not yet agreed as to -its proper settlement. While some emphasize the spontaneous origin -of Greek art, others quite as strongly advocate that the early Greek<span class="pagenum"><a id="Page_329">329</a></span> -sculptor, at least, copied Egyptian models.<a id="FNanchor_2220"></a><a href="#Footnote_2220" class="fnanchor">2220</a> Thus Furtwaengler, who -early assumed a Cretan origin for the “Apollo” type of statues,<a id="FNanchor_2221"></a><a href="#Footnote_2221" class="fnanchor">2221</a> later -became convinced that it developed in Ionia through Greek contact -with the colony of Naukratis in Egypt, which was founded in the -middle of the seventh century <span class="smcap lowercase">B. C.</span> He concluded that this plastic type -“<i>ist bekanntlich nichts als die Nachahmung des Haupttypus aegyptischer -statuarischer Kunst</i>”.<a id="FNanchor_2222"></a><a href="#Footnote_2222" class="fnanchor">2222</a> Similarly Collignon traces the archaic male -type to Egyptian influence, and assumes that this influence from the -Nile valley was exerted on the Greek artist before the latter half of -the seventh century <span class="smcap lowercase">B. C.</span><a id="FNanchor_2223"></a><a href="#Footnote_2223" class="fnanchor">2223</a> On the other hand, H. Lechat, in his review -of the evolution of Greek sculpture from its beginning, believes that -the early sculptor owed but little to Egypt or the East.<a id="FNanchor_2224"></a><a href="#Footnote_2224" class="fnanchor">2224</a> Deonna -entirely rejects the assumption of Egyptian influence, believing that -all the so-called characteristics of early Greek statues can be explained -as the result of natural evolution in Greece itself.<a id="FNanchor_2225"></a><a href="#Footnote_2225" class="fnanchor">2225</a> Von Mach also -completely excludes all foreign influence when he says: “In her sculpture -at least, Greece was independent of influence of any one of the -countries that can at all come under consideration in this connection, -Phœnicia, Assyria, and Egypt.”<a id="FNanchor_2226"></a><a href="#Footnote_2226" class="fnanchor">2226</a> But here, as in so many questions -about Greek art, the truth must lie between the two extremes.<a id="FNanchor_2227"></a><a href="#Footnote_2227" class="fnanchor">2227</a> The -economic conditions of early Greece certainly prove that the Greeks -were dependent on outside peoples in many ways, and there is no a -priori reason for denying this dependence in art. We clearly see Egyptian -influence, for example, in the ceiling of the treasury of Orchomenos,<a id="FNanchor_2228"></a><a href="#Footnote_2228" class="fnanchor">2228</a> -and that the Greeks learned many animal decorative forms as well as -a correct observation of nature from Assyrian art is clear, if we study -the best examples of the late period of that art, the reliefs from the -palace of Assurbanipal at Nineveh (Konyonjik), now in the British<span class="pagenum"><a id="Page_330">330</a></span> -Museum. Such decorative designs could be easily transmitted to the -Greeks by the Phœnicians on embroidered fabrics. It seems reasonable, -therefore, to assume that early Greek artists, especially in the -Greek colonies to the east and south of Greece, were acquainted with -earlier models and especially with those of Egypt. The Greeks themselves -of a later date recognized this debt to Egypt. This is shown -by many passages in Pausanias, which mention the similarity existing -between early Greek and Egyptian sculptures,<a id="FNanchor_2229"></a><a href="#Footnote_2229" class="fnanchor">2229</a> and by the curious -tale told by Diodoros about the Samian artist family of Rhoikos, according -to which the latter’s two sons made the two halves of the statue -of the <i>Pythian Apollo</i> for Samos separately, Telekles working in Samos -and Theodoros in Ephesos. When joined together the two parts -fitted exactly, just as if they had been made by one and the same artist. -Diodoros adds that τοῦτο δὲ τὸ γένος τῆς ἐργασίας παρὰ μὲν τοῖς Ἕλλησι -μηδαμῶς ἐπιτηδεύεσθαι, παρὰ δὲ τοῖς Αἰγυπτίοις μάλιστα συντελεῖσθαι.<a id="FNanchor_2230"></a><a href="#Footnote_2230" class="fnanchor">2230</a> -Such a story is valuable in that it shows that the later Greeks believed -that they had adopted the conventional Egyptian canon of proportions. -If we compare any of the “Apollo” statues with Egyptian -standing figures of any period of Egyptian art, as Bulle has done, the -resemblances in detail between the two types will be found to be very -striking. Thus from the Old Kingdom (Memphitic), which included -the first eight dynasties of Manetho,<a id="FNanchor_2231"></a><a href="#Footnote_2231" class="fnanchor">2231</a> we may cite the painted limestone -statue of Ra-nefer and the wooden one of Tepemankh in the Museum -of Cairo (Fig. <a href="#f80">80</a>), two men prominent in the fifth dynasty;<a id="FNanchor_2232"></a><a href="#Footnote_2232" class="fnanchor">2232</a> or -the wood statue of Ka-aper, the so-called <i>Sheik-el-Beled</i>, which represents -the apogee of Memphitic art, and that of his “wife,” without legs -or arms, the two statues being found similarly in a grave at Sakkarah -(Memphis), and now being in the same museum.<a id="FNanchor_2233"></a><a href="#Footnote_2233" class="fnanchor">2233</a> From the Middle -Kingdom, including the eleventh to the seventeenth dynasties,<a id="FNanchor_2234"></a><a href="#Footnote_2234" class="fnanchor">2234</a> we may -mention the painted statue found at Dahshur and now in Cairo, which -represents Horfuabra, the co-regent of Amenemhat III, who was one of<span class="pagenum"><a id="Page_331">331</a></span> -the kings of the twelfth dynasty.<a id="FNanchor_2235"></a><a href="#Footnote_2235" class="fnanchor">2235</a> From the New Empire, including -the eighteenth to the twentieth dynasties,<a id="FNanchor_2236"></a><a href="#Footnote_2236" class="fnanchor">2236</a> we cite the draped wood -statue of the priestess Tui, a gem of Egyptian art, which was found -in a grave near Gurna, and is now in the Louvre;<a id="FNanchor_2237"></a><a href="#Footnote_2237" class="fnanchor">2237</a> and lastly the draped -alabaster statue of Queen Amenerdis (or Amenartas) in Cairo, the wife -of the Aethiopian King Piankhi, who began to absorb Egypt by 721–722 -<span class="smcap lowercase">B. C.</span>, just before the twenty-fourth dynasty.<a id="FNanchor_2238"></a><a href="#Footnote_2238" class="fnanchor">2238</a> After the early dynasties, -the Egyptian type of statue was reduced to a fixed and mechanical -canon, which was used over and over again with lifeless monotony. In<span class="pagenum"><a id="Page_332">332</a></span> -all these statues, whose dates extend over a period of many centuries, -we note the same technical characteristics which are observable in the -Greek “Apollos,” with the exception that the latter are always nude -and lifelike. These characteristics may be summarized thus: long -hair falling down over the shoulders in a mass;<a id="FNanchor_2239"></a><a href="#Footnote_2239" class="fnanchor">2239</a> shoulders broad in comparison -with the hips; arms hanging down stiffly by the sides<a id="FNanchor_2240"></a><a href="#Footnote_2240" class="fnanchor">2240</a> or crooked -at the elbows;<a id="FNanchor_2241"></a><a href="#Footnote_2241" class="fnanchor">2241</a> hands closed, with the thumbs facing forward and -touching the ends of the index fingers; the left leg slightly advanced -and the soles placed flat on the ground; high ears,<a id="FNanchor_2242"></a><a href="#Footnote_2242" class="fnanchor">2242</a> and the upper body -and head turned straight to the front.<a id="FNanchor_2243"></a><a href="#Footnote_2243" class="fnanchor">2243</a> Only minor differences in the -two types appear. Thus the left foot is always further advanced in -the Egyptian than in the Greek statues, so that the former appear to -have less movement and life.<a id="FNanchor_2244"></a><a href="#Footnote_2244" class="fnanchor">2244</a> Since there is no trace of this type in -Mycenæan art it seems impossible not to conclude that in some way, -doubtless through Ionian sources, it was originally borrowed from -Egypt. The imitation of the Egyptian models, however, was never -slavishly done. The Greek artist immediately rendered the type his own -by making it nude,<a id="FNanchor_2245"></a><a href="#Footnote_2245" class="fnanchor">2245</a> and by transmuting the abstract lifeless schema -of the Egyptians into a highly individualized one characterized by life -and vigor.<a id="FNanchor_2246"></a><a href="#Footnote_2246" class="fnanchor">2246</a> This Egyptian influence, it must be remarked, was operative -only in the initial stage of Greek sculpture; it was soon lost, as the -Greek artist came to rely upon himself. F. A. Lange has truly said: -“<i>Die wahre Unabhaengigkeit der hellenischen Kultur ruht in ihrer Vollendung, -nicht in ihren Anfaengen</i>”.<a id="FNanchor_2247"></a><a href="#Footnote_2247" class="fnanchor">2247</a></p> - -<div class="figcenter400"><a id="f80"></a> -<img src="images/i_p331.jpg" width="400" height="517" alt="" /> -<div class="caption"><span class="smcap">Fig. 80.</span>—Statues of Ra-nefer and Tepemankh, -from Sakkarah. Museum of Cairo.</div> -</div> - -<p>After this digression we will return to the statue of Arrhachion. Dr. -Frazer was unable to decipher the inscription upon the breast with<span class="pagenum"><a id="Page_333">333</a></span> -certainty, but made out the following letters, the last four of which -are plainly visible in the photograph: ΕΥΝΛΙΑΔ. He believed them -to be archaic and the first instance of an inscription on this class of -statues. He thought that the name was that of a man, which favored -the view that the “Apollo” statues represented mortals rather than -gods. The letters form a combination manifestly not Greek, and so -may have no significance; it is even possible that they were engraved -in modern times.<a id="FNanchor_2248"></a><a href="#Footnote_2248" class="fnanchor">2248</a> In any case we have the statement of Pausanias -that the inscription was illegible in his day.</p> - -<p>There seems little doubt, then, that this mutilated and weather-worn -statue is the very one seen and described by Pausanias and referred -by him to the victor Arrhachion.<a id="FNanchor_2249"></a><a href="#Footnote_2249" class="fnanchor">2249</a> It is presented here for two reasons. -In the first place, it is the oldest dated Olympic victor statue in existence. -Only three older ones are recorded, and none of these has survived to our -time. These three are the statues of the Spartan Eutelidas at Olympia, -who won the boys’ wrestling and pentathlon matches in Ol. 38 ( = 628 -<span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2250"></a><a href="#Footnote_2250" class="fnanchor">2250</a> of the Athenian Kylon on the Akropolis, who won the double -running-race in Ol. 35 ( = 640 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2251"></a><a href="#Footnote_2251" class="fnanchor">2251</a> of the Spartan Hetoimokles at -Sparta, who won five times in wrestling at the beginning of the sixth -century <span class="smcap lowercase">B. C.</span><a id="FNanchor_2252"></a><a href="#Footnote_2252" class="fnanchor">2252</a> The statue of Oibotas of Dyme, who won the stade-race -in Ol. 6 ( = 756 <span class="smcap lowercase">B. C.</span>), was not set up until Ol. 80 ( = 460 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2253"></a><a href="#Footnote_2253" class="fnanchor">2253</a> -that of the Spartan Chionis, who won five running-races in Ols. 28–31 -( = 668–656 <span class="smcap lowercase">B. C.</span>), was made later by Myron.<a id="FNanchor_2254"></a><a href="#Footnote_2254" class="fnanchor">2254</a> Pausanias’ statement -(VI. 18.7) that the wooden statues of Praxidamas and Rhexibios, who -won in Ols. 59 and 61 respectively ( = 544 and 536 <span class="smcap lowercase">B. C.</span>), were the oldest -at Olympia, is of course incorrect. In the second place, the statue of -Arrhachion actually proves what has often been assumed, that some -of the statues classed as “Apollos” are really victor monuments. As -this question has provoked a good deal of discussion in recent years, -I will briefly review the arguments by which the opinion has gradually -gained acceptance.</p> - -<p><span class="pagenum"><a id="Page_334">334</a></span></p> - -<h3>EARLY VICTOR STATUES AND THE “APOLLO” TYPE.</h3> - -<p>As the earlier examples of the series were discovered under peculiar -circumstances, they gave no clue to their meaning. Thus the “Apollo” -of Naxos was found in the quarries of the island, while that from -Orchomenos (Fig. <a href="#f10">10</a>) was first seen in the convent of Skripou, its exact -provenience being unknown. From the first they were denominated -“Apollos,” chiefly because of their long hair<a id="FNanchor_2255"></a><a href="#Footnote_2255" class="fnanchor">2255</a> and nudity,<a id="FNanchor_2256"></a><a href="#Footnote_2256" class="fnanchor">2256</a> while the existence -of many small bronzes in the same schema dedicated to the god,<a id="FNanchor_2257"></a><a href="#Footnote_2257" class="fnanchor">2257</a> -and cult statues of similar pose appearing on vase- and wall-paintings,<a id="FNanchor_2258"></a><a href="#Footnote_2258" class="fnanchor">2258</a> -helped to make the identification more probable. Certain ancient -texts, describing archaic statues of Apollo in this pose, were also cited -as evidence, and it was pointed out that many of these statues were -actually found in or near sanctuaries of the god. Thus Diodoros, in -his description of the ξόανον of the <i>Pythian Apollo</i> made for the Samians -by Telekles and Theodoros, which we have already mentioned, says: -τὰς μὲν χεῖρας ἔχον παρατεταμένας, τὰ δὲ σκέλη διαβεβηκότα.<a id="FNanchor_2259"></a><a href="#Footnote_2259" class="fnanchor">2259</a> Probably -the gilded image by the Cretan Cheirisophos in the temple of Apollo -at Tegea was of this type.<a id="FNanchor_2260"></a><a href="#Footnote_2260" class="fnanchor">2260</a> The later type of “Apollo,” with the -arms extended at the elbows, was doubtless followed in the statue of -Apollo made for the Delians by Tektaios and Angelion,<a id="FNanchor_2261"></a><a href="#Footnote_2261" class="fnanchor">2261</a> and in the works -ascribed to Dipoinos and Skyllis and their school. It would be easy to -give an extended list of such “Apollo” statues found in sanctuaries.<a id="FNanchor_2262"></a><a href="#Footnote_2262" class="fnanchor">2262</a> -We might instance one from Naukratis, Egypt;<a id="FNanchor_2263"></a><a href="#Footnote_2263" class="fnanchor">2263</a> one from Delos;<a id="FNanchor_2264"></a><a href="#Footnote_2264" class="fnanchor">2264</a> two -from Aktion;<a id="FNanchor_2265"></a><a href="#Footnote_2265" class="fnanchor">2265</a> several from Mount Ptoion in Bœotia;<a id="FNanchor_2266"></a><a href="#Footnote_2266" class="fnanchor">2266</a> a copy of the -head of the <i>Choiseul-Gouffier</i> Apollo (Pl. <a href="#p7A">7A</a>) found in Kyrene.<a id="FNanchor_2267"></a><a href="#Footnote_2267" class="fnanchor">2267</a> Still -others have been found in <i>temenoi</i> of temples, <i>e. g.</i>, two in that of Apollo -at Naukratis,<a id="FNanchor_2268"></a><a href="#Footnote_2268" class="fnanchor">2268</a> and one in that of Aphrodite there.<a id="FNanchor_2269"></a><a href="#Footnote_2269" class="fnanchor">2269</a></p> - -<p><span class="pagenum"><a id="Page_335">335</a></span></p> - -<p>However, against this exclusive interpretation doubts have been -raised with ever-increasing precision, until now we can predicate with -certainty what Loeschke long ago assumed, that the more statues of the -series there are found, the less probable will it become that they should -all be ascribed to Apollo.<a id="FNanchor_2270"></a><a href="#Footnote_2270" class="fnanchor">2270</a> Conze and Michaelis first argued on the basis -of Pausanias’ description of Arrhachion’s statue that this type was -employed for victor statues.<a id="FNanchor_2271"></a><a href="#Footnote_2271" class="fnanchor">2271</a> Koerte’s objection to their view on -the ground of the long hair was refuted by Waldstein, who demonstrated -that athletes were not represented with short hair until after -the Persian wars; he pointed out that the archaic grave-figures of the -mortals Dermys and Kitylos discovered at Tanagra, which were sculptured -in a constrained attitude analogous to that of the “Apollos,” -had long hair.<a id="FNanchor_2272"></a><a href="#Footnote_2272" class="fnanchor">2272</a> We now know that the hair of some of the “Apollos” -is short, which shows the irrelevancy of this argument,<a id="FNanchor_2273"></a><a href="#Footnote_2273" class="fnanchor">2273</a> and we -also know that nudity characterizes many archaic statues of mortals. -Nor do we learn much from dedications, for we have examples of -statues of gods dedicated to other gods and even to goddesses.<a id="FNanchor_2274"></a><a href="#Footnote_2274" class="fnanchor">2274</a> -<i>Ex votos</i> were often more concerned with the dedicator than with -the god to whom the statue was dedicated. Doubtless the cult statues -portrayed on vase-paintings are actually those of Apollo, for at this -epoch other gods, such as Hermes and Dionysos, are bearded.<a id="FNanchor_2275"></a><a href="#Footnote_2275" class="fnanchor">2275</a></p> - -<p>Moreover, that a more advanced <i>schema</i> for representing the god -Apollo had already become fixed toward the end of the sixth century -<span class="smcap lowercase">B. C.</span>, we know from ancient descriptions of the statue of the god made -for the Delians by Tektaios and Angelion, which represented him in the -usual archaic attitude, <i>i. e.</i>, of the statue of Arrhachion, but with the -notable difference that the forearms were outstretched.<a id="FNanchor_2276"></a><a href="#Footnote_2276" class="fnanchor">2276</a> That this was -the recognized type in the early years of the fifth century <span class="smcap lowercase">B. C.</span>, is at<span class="pagenum"><a id="Page_336">336</a></span>tested -by the bronze statue of the god fashioned by the elder Kanachos -of Sikyon for Branchidai, the pose of which is known from several -statuettes and from a long series of Milesian coins.<a id="FNanchor_2277"></a><a href="#Footnote_2277" class="fnanchor">2277</a> For conservative -reasons this favorite pose was kept for cult statues even into the fourth -century <span class="smcap lowercase">B. C.</span>, as we learn from representations on coins of the golden -statue of the god set up in the inmost shrine of the temple at Delphi.<a id="FNanchor_2278"></a><a href="#Footnote_2278" class="fnanchor">2278</a> -But that many of the earlier examples of the “Apollo” series do represent -the god, should not be denied. We agree with Homolle that the old -appellation “Apollo,” after having received too much favor, has now -by reaction become censured too severely, and in general should still -be applied to those statues of the series which have been discovered in -or near sanctuaries of the god, and in the absence of any other indication -to the contrary, also to those which stand upon bases inscribed -with dedications to him.<a id="FNanchor_2279"></a><a href="#Footnote_2279" class="fnanchor">2279</a> 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 Constantinople.<a id="FNanchor_2280"></a><a href="#Footnote_2280" class="fnanchor">2280</a> The colossal statue found on the island of -Delos just south of the temple of Apollo,<a id="FNanchor_2281"></a><a href="#Footnote_2281" class="fnanchor">2281</a> and the huge torso discovered -in Megara<a id="FNanchor_2282"></a><a href="#Footnote_2282" class="fnanchor">2282</a> may be referred to the god, for their size favors an ascription -to a deity rather than to mortals. And many other examples of the type -found in sanctuaries may very well represent Apollo and other gods.<a id="FNanchor_2283"></a><a href="#Footnote_2283" class="fnanchor">2283</a></p> - -<p>That several of the series were also funerary in character is abundantly -proved by the fact that they were discovered in the neighborhood -of tombs. Thus the <i>Apollo of Tenea</i> (Pl. <a href="#p8A">8A</a>) decorated a tomb in the<span class="pagenum"><a id="Page_337">337</a></span> -necropolis of Tenea near Corinth.<a id="FNanchor_2284"></a><a href="#Footnote_2284" class="fnanchor">2284</a> Likewise the example from Thera -(Fig. <a href="#f9">9</a>) was found in a rock-cut niche.<a id="FNanchor_2285"></a><a href="#Footnote_2285" class="fnanchor">2285</a> Another, now in the British -Museum, was found in the <i>dromos</i> of a tomb on the island of Cyprus,<a id="FNanchor_2286"></a><a href="#Footnote_2286" class="fnanchor">2286</a> -while a fourth was unearthed from the necropolis of Megara Hyblaia in -Sicily.<a id="FNanchor_2287"></a><a href="#Footnote_2287" class="fnanchor">2287</a> The one found at Volomandra in Attika in 1900 was also found -in an old cemetery.<a id="FNanchor_2288"></a><a href="#Footnote_2288" class="fnanchor">2288</a> These furnish proof enough of the sepulchral -character of many of these statues. Such funerary monuments may, -of course, have been been set up also in memory of victors.</p> - -<p>We are now in a position, on the basis of Pausanias’ description of -Arrhachion’s statue and the actual monument itself, to maintain with -certainty what hitherto has been conjectured only, that although -some of these archaic sculptures represent Apollo and other gods, sepulchral -dedications, and <i>ex votos</i> in general, others were intended to -represent athletes also. Doubtless the other early victor monuments -recorded, such as the wooden statues of Praxidamas and Rhexibios, -and those of Eutelidas, Kylon, and Hetoimokles, already discussed in -Ch. III, conformed with the earlier type, while that of Milo, described -by Philostratos,<a id="FNanchor_2289"></a><a href="#Footnote_2289" class="fnanchor">2289</a> conformed with the later. Certain examples of the -series have already been ascribed to victors. Thus the marble head of -Attic workmanship found in or near Athens and known as the Rayet-Jacobsen -head (Fig. <a href="#f22">22</a>), has been referred to a pancratiast because of its -swollen and deformed ears.<a id="FNanchor_2290"></a><a href="#Footnote_2290" class="fnanchor">2290</a> Certain statuettes of the same pose as the -“Apollos” have been looked upon as copies of athlete statues.<a id="FNanchor_2291"></a><a href="#Footnote_2291" class="fnanchor">2291</a> So the -early doubts<a id="FNanchor_2292"></a><a href="#Footnote_2292" class="fnanchor">2292</a> as to the meaning of these archaic sculptures have been -resolved in many cases. We have added one well-attested example -to show that they sometimes represented victor monuments.</p> - -<p><span class="pagenum"><a id="Page_338">338</a></span></p> - -<hr /> - -<p><span class="pagenum"><a id="Page_339">339</a></span></p> - -<h2>CHAPTER VIII.<br /> - -<small>POSITIONS OF VICTOR STATUES IN THE ALTIS; OLYMPIC -VICTOR MONUMENTS ERECTED OUTSIDE OLYMPIA; STATISTICS -OF OLYMPIC VICTOR STATUARIES.<a id="FNanchor_2293"></a><a href="#Footnote_2293" class="fnanchor">2293</a></small></h2> - -<p class="center"><span class="smcap">Plans A and B.</span></p> - -<p>The first part of this final chapter is a special study in the topography -of the Altis at Olympia. It is an attempt to fix, more or less exactly, -the positions of victor statues erected there, so far as these can be determined -from the data furnished by Pausanias, and from the locations -of the inscribed fragmentary bases of the statues which have been recovered -during the excavations at Olympia.</p> - -<h3>STATUES MENTIONED BY PAUSANIAS.</h3> - -<p>We shall first attempt to give the positions of the statues mentioned -by Pausanias, who is our chief source of information. After describing -the votive offerings (ἀναθήματα) at the end of Book V, he begins -the enumeration of the monuments of “race-horses ... and -athletes and private individuals” at the beginning of Book VI.<a id="FNanchor_2294"></a><a href="#Footnote_2294" class="fnanchor">2294</a> This -description falls into two routes (ἔφοδοι), the first of which is concerned -with the statues of 168 victors,<a id="FNanchor_2295"></a><a href="#Footnote_2295" class="fnanchor">2295</a> and the second with those of 19.<a id="FNanchor_2296"></a><a href="#Footnote_2296" class="fnanchor">2296</a> Both -accounts also include many “honor” monuments erected to private -persons. The first route begins at the Heraion in the northwestern -part of the sacred enclosure, while the second begins—manifestly where -the first ends—at the Leonidaion at its southwestern corner, and -extends to a point near the so-called Great Altar of Zeus near the -centre of the Altis (see Plans A and B).<a id="FNanchor_2297"></a><a href="#Footnote_2297" class="fnanchor">2297</a> Besides these meagre indications -of his two routes furnished by Pausanias himself, we are -fortunate in knowing exactly the position of one statue, that of Telemachos, -the 122d victor mentioned, the base of which still stands <i>in situ</i> -near the South wall of the Altis, a little southeast of the temple of Zeus,<span class="pagenum"><a id="Page_340">340</a></span> -showing that the route passed before the eastern front of this temple -and thence westward to the Leonidaion. With these data and -with the help of some forty inscribed bases of statues and other monuments -mentioned by Pausanias, many of which were found in or near -their original positions, it is possible to trace yet more definitely his -routes. Several attempts have been made, since the German excavations, -to define topographically the positions of these statues, especially -by Hirschfeld,<a id="FNanchor_2298"></a><a href="#Footnote_2298" class="fnanchor">2298</a> Scherer,<a id="FNanchor_2299"></a><a href="#Footnote_2299" class="fnanchor">2299</a> Flasch,<a id="FNanchor_2300"></a><a href="#Footnote_2300" class="fnanchor">2300</a> Doerpfeld,<a id="FNanchor_2301"></a><a href="#Footnote_2301" class="fnanchor">2301</a> and the present writer.<a id="FNanchor_2302"></a><a href="#Footnote_2302" class="fnanchor">2302</a></p> - -<p>The position of several inscribed base-fragments of statues, corresponding -with Pausanias’ order of presentation, should alone be -sufficient to confute the doubts raised by some scholars that these -routes through the Altis were not topographical.<a id="FNanchor_2303"></a><a href="#Footnote_2303" class="fnanchor">2303</a> 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 monuments, -as both Hirschfeld and Scherer have done. Though here and -there this may have been true, still, generally speaking, we must conceive -of these statues as being strewn about the Altis in no other order -than that they stood in groups, and that these groups had only a general -direction; for we shall see that Pausanias sometimes returns to the -same spot without mentioning it and often leaves long spaces unnoticed. -Apart from the indication of such groups in the description itself, as -attested by the use of such words as παρά, ἐφεξῆς, μετά, πλησίον, ἀνάκειται -ἐπί, ἐγγύτατα, ὄπισθεν, μεταξύ, οὐ πόρρω, οὐ πρόσω, κ.τ.λ., I have -already shown in my previous work that it is possible to reconstruct -many other groups, for abundant proof is there given that statues of -nearly contemporaneous victors were often grouped together, as were -those of the same family or state, or those victorious in the same contest, -or those whose statues were made by the same artist.<a id="FNanchor_2304"></a><a href="#Footnote_2304" class="fnanchor">2304</a> So, in general, -we can group only certain statues in belts or “zones” around some building -or monument which is still <i>in situ</i>. Further than this we can seldom -go. W. Gurlitt has thus well expressed the difficulty of following -these routes of Pausanias: “<i>Jede folgende Statue ist nach der vorhergehenden -orientirt zu denken ... Beziehungen auf frueher oder spaeter -erwaehnte Monumente waren ueberfluessig ... wir sind ... auf<span class="pagenum"><a id="Page_341">341</a></span> -wenige Fixpunkte angewiesen und verfallen daher leicht in den Fehler, -die Wegrichtungen in den Plan zu schematisch einzuzeichnen.... -Das Hin und Her auf den viel verschlungenen Wegen der Altis koennen -wir nicht mehr controllieren</i>”.<a id="FNanchor_2305"></a><a href="#Footnote_2305" class="fnanchor">2305</a> In his description of the scattered -altars (V, 14.4–15.12), Pausanias had not the same problem to -meet as in that of the victor statues. As there was so little continuity -in describing the altars, which were strewn all over the Altis, he had -to introduce many other monuments to make their locations known; -but in the case of the victor statues there was great continuity, and -consequently such indications would have been superfluous.<a id="FNanchor_2306"></a><a href="#Footnote_2306" class="fnanchor">2306</a> And, in -general, owing to the number and variety of monuments crowded -together in the circumscribed area of the Altis, he was not compelled to -describe Olympia with such definite detail as Athens. That these -victor statues, however, are described in topographical order is not -only attested by the internal evidence of Pausanias’ words,<a id="FNanchor_2307"></a><a href="#Footnote_2307" class="fnanchor">2307</a> but also -by the finding of many of their bases in the order of his presentation. -With this introductory warning, let us take up the routes of Pausanias -in detail.</p> - -<h4><span class="smcap">The First Ephodos of Pausanias.</span></h4> - -<p>Pausanias begins his enumeration in the northeastern part of the -Altis: ἐν δεξιᾷ τοῦ ναοῦ τῆς Ἥρας<a id="FNanchor_2308"></a><a href="#Footnote_2308" class="fnanchor">2308</a>—words which have been the subject of -much discussion as to whether they are to be understood of the temple -<i>pro persona</i>, <i>i.e.</i>, the southern side,<a id="FNanchor_2309"></a><a href="#Footnote_2309" class="fnanchor">2309</a> or of the viewpoint of one facing it, -<i>i.e.,</i> the space (especially the northern or right hand half) before the eastern -front.<a id="FNanchor_2310"></a><a href="#Footnote_2310" class="fnanchor">2310</a> From the immediate whereabouts of Pausanias we get no -clue; for at the end of Book V (27.11) he says that he is in the middle of -the Altis, and yet in the following paragraph (27.12)—evidently added -as a transition from the account of the altars to that of the victors—he -mentions the trophy of the people of Mende, in Thrace, which he says -he nearly mistook for the statue of the pancratiast Anauchidas (131), and -this, as we shall see, stood near the South wall of the Altis far from the -centre. Doerpfeld’s contention, therefore, that Pausanias approached -the Heraion from this point, and that consequently the words ἐν δεξιᾷ -must refer to its eastern front, is untenable, and we are left dependent -on the meaning of these words as gathered from other passages -in Pausanias’ work. An examination of several such passages seems to<span class="pagenum"><a id="Page_342">342</a></span> -be convincing that they are used here of the Heraion <i>pro persona</i>.<a id="FNanchor_2311"></a><a href="#Footnote_2311" class="fnanchor">2311</a> -Furthermore, the finding of the inscribed tablet from the base of the -statue of Troilos (6) and the pedestal of that of Kyniska (7) in the ruins -of the Prytaneion, <i>i. e.</i>, not far from the western end of the Heraion, and -the base of that of Sophios (22) in the bed of the Kladeos still further -west,<a id="FNanchor_2312"></a><a href="#Footnote_2312" class="fnanchor">2312</a> makes it reasonable to conclude that the first statues mentioned -(VI, 1.3–3.7), those of the Spartan group (Kyniska-Lichas, 7–14), -all of the fifth century, <span class="smcap lowercase">B. C.</span>, flanked on either side by statues of the -fourth, mostly of Eleans (Symmachos-Troilos, 1–6, and Timosthenes-Eupolemos, -15–28), originally stood in the order named by Pausanias -along the southern front of the temple.<a id="FNanchor_2313"></a><a href="#Footnote_2313" class="fnanchor">2313</a></p> - -<p>Leaving the Heraion, we get no further fixed point until we arrive -opposite the eastern front of the temple of Zeus. For here around the -foundation of the statue of the <i>Eretrian Bull</i>—still <i>in situ</i> 32 meters east -of the northeastern corner of the temple (see Plans A and B)<a id="FNanchor_2314"></a><a href="#Footnote_2314" class="fnanchor">2314</a>—have -been found fragments of the pedestals of the statues of Narykidas (49) -and Hellanikos (65) to the south, of Kallias (50) and Eukles (52), -beneath that of Kallias, to the north, of Euthymos (56) and Charmides -(58) close together to the east.<a id="FNanchor_2315"></a><a href="#Footnote_2315" class="fnanchor">2315</a> So it is clear that the series of -statues from Narykidas to Charmides (49–58, P., VI, 6. 1–7.1) stood -in this neighborhood. Now the statues of the family of Diagoras, the -Rhodian athlete, stood together (59–63), as Pausanias says (VI, 7.1–2);<span class="pagenum"><a id="Page_343">343</a></span> -one of them, that of Eukles (52), seems to have been moved from its -original position later, as we learn from a scholiast on Pindar’s seventh -Olympian ode,<a id="FNanchor_2316"></a><a href="#Footnote_2316" class="fnanchor">2316</a> who, on the authority of the lost works of Aristotle -and Apollas on the Olympic victors,<a id="FNanchor_2317"></a><a href="#Footnote_2317" class="fnanchor">2317</a> enumerates these statues in an -order different from that adopted by Pausanias, showing that a change -in their positions must have taken place some time between the date of -Aristotle and that of the Periegete.<a id="FNanchor_2318"></a><a href="#Footnote_2318" class="fnanchor">2318</a> The statues of Alkainetos and his -son Hellanikos (64–65) must also have stood together. Inasmuch as -the victors from Euthymos to Lykinos (56–68) are, with one exception, -all pugilists or pancratiasts and of the fifth century <span class="smcap lowercase">B. C.</span>, they must -have been grouped together, with the family groups of Diagoras and -Alkainetos in the centre.<a id="FNanchor_2319"></a><a href="#Footnote_2319" class="fnanchor">2319</a> We may also add the statues of Dromeus -and Pythokles<a id="FNanchor_2320"></a><a href="#Footnote_2320" class="fnanchor">2320</a> (69–70) of nearly the same date, and we can also extend -the group in the other direction; for the same scholiast says that -the statue of Diagoras stood near that of the Spartan Lysandros (35 a).<a id="FNanchor_2321"></a><a href="#Footnote_2321" class="fnanchor">2321</a> -Pausanias (VI, 3.14 and 4.1) says that the statue of Lysandros stood -between those of Pyrilampes and Athenaios (35–36). Thus we can -conclude that the 36 statues (35–70, VI, 3.13–7.10) stood in the zone -of the <i>Eretrian Bull</i>, extending perhaps across the Altis to the vicinity -of the Echo Colonnade along its eastern boundary.</p> - -<p>It would follow, then, that the intervening statues from Oibotas to -Xenophon (29–34, P., VI, 3.8–3.13) stood somewhere between the -Heraion and the <i>Eretrian Bull</i>. It is idle to discuss the route between -these two monuments more definitely.<a id="FNanchor_2322"></a><a href="#Footnote_2322" class="fnanchor">2322</a></p> - -<p>Our next fixed point is the <i>Victory</i> of Paionios, whose foundation is -still standing in its original position, 37 meters due east of the southeast<span class="pagenum"><a id="Page_344">344</a></span> -corner of the temple of Zeus.<a id="FNanchor_2323"></a><a href="#Footnote_2323" class="fnanchor">2323</a> For, of the next few statues mentioned, -the base of that of Sosikrates (71) was found “somewhere” east of the -temple, that of Kritodamos (80) before the “Southeast Building,” -and that of Xenokles (85), 4 meters to the northeast of the <i>Victory</i> base, -presumably near its original position.<a id="FNanchor_2324"></a><a href="#Footnote_2324" class="fnanchor">2324</a> Pausanias groups the three -Arkadian athletes, Euthymenes-Kritodamos (78–80, P., VI, 8.5); then, -after naming four statues of victors from other states, he mentions two -more Arkadians together, Xenokles and Alketos (85–86, VI, 9.2); and -he continues by saying that the statues of the Argives Aristeus and -Cheimon (87–88, VI, 9.3) stood together. One more statue, that of -Phillen or Philys<a id="FNanchor_2325"></a><a href="#Footnote_2325" class="fnanchor">2325</a> of Elis (89), is named before he comes to the chariot -of Gelo. Thus we may conclude that the series of statues denoted by -the numbers 71–89 (P., VI, 8.1–9.4) stood to the south of the <i>Eretrian -Bull</i> in the parallel zone of the <i>Victory</i>.</p> - -<p>We next come to the series of statues mentioned between the chariots -of Gelo and Kleosthenes (90–99). The position of the bases of these -chariots is practically certain. In describing the statues of Zeus in Book -V, Pausanias says he is proceeding north from the Council-house (23.1), -and first mentions a statue of Zeus set up by the Greeks who fought -at Platæa; in describing the victor statues he says that the chariot -of Kleosthenes stands behind this statue of Zeus (P., VI, 10.6). After -describing the <i>Zeus</i> of Platæa, he mentions a bronze inscribed tablet as -standing in front of it (V, 23.4), which recorded the thirty years’ treaty -of peace between Sparta and Athens, and then says that the statue of the -<i>Zeus</i> of the Megarians stands near the chariot of Kleosthenes (23.5). -As he is proceeding north, this Megarian <i>Zeus</i> must have stood north -of the Platæan one; thus in one group we have the two statues of Zeus -and the chariot of Kleosthenes. Immediately to the north he next -mentions the chariot of the Syracusan tyrant Gelo (90), which he says -is near the statue of the <i>Zeus</i> of the Hyblæans (23.6). Now in coming -south, in the athlete <i>periegesis</i>, he names eight statues between these -chariots. Doerpfeld<a id="FNanchor_2326"></a><a href="#Footnote_2326" class="fnanchor">2326</a> has identified the base of the Platæan <i>Zeus</i> with a<span class="pagenum"><a id="Page_345">345</a></span> -large pedestal to the northwest of that of the victor Telemachos (122) -found <i>in situ</i> near the South Altis wall,<a id="FNanchor_2327"></a><a href="#Footnote_2327" class="fnanchor">2327</a> a position which is in harmony -with the description of the statues of Zeus; just behind it he has identified -two large foundations near together as those of the two chariots. -So the eight intervening statues stood here. Of the statues between -the chariot of Kleosthenes and the base of the statue of Telemachos, -the base of that of Tellon (102) was found in the East Byzantine wall -near the South Altis wall; that of Aristion (115) nearby, embedded in -the same wall; that of Akestorides (119), whose name I have inserted in -the lacuna in the text of Pausanias (VI, 13.7),<a id="FNanchor_2328"></a><a href="#Footnote_2328" class="fnanchor">2328</a> just northeast of the -base of Telemachos.<a id="FNanchor_2329"></a><a href="#Footnote_2329" class="fnanchor">2329</a> Thus the series of statues from that of Gelo to -that of Agathinos (90–121a, P., VI, 9.4–13.11) can be grouped in the -zone of the <i>Chariots</i>.</p> - -<p>As the fragment of the base of the statue of the Athenian pancratiast -Aristophon (123) was found near the base of Telemachos, but to the -east of it, and likewise that which supported the equestrian monument -of Xenombrotos and Xenodikos (133–134) still further to the east near -the Echo Colonnade,<a id="FNanchor_2330"></a><a href="#Footnote_2330" class="fnanchor">2330</a> we can conclude that the twenty-one statues from -Aristophon to Prokles (123–138, P., VI, 13.11–14.13), mostly of the -fifth century <span class="smcap lowercase">B. C.</span>, stood near the South Altis wall to the east (and not -to the west of the base of Telemachos, where all other investigators -have wrongly placed them),<a id="FNanchor_2331"></a><a href="#Footnote_2331" class="fnanchor">2331</a> and thus form a group which we can call -the zone of <i>Telemachos</i>. So we conclude that the long list of statues<span class="pagenum"><a id="Page_346">346</a></span> -from Pyrilampes to Prokles (35–138), nearly two-thirds of all those mentioned -in the first ἔφοδος of Pausanias, stood in the space to the east and -southeast of the temple of Zeus, grouped in the parallel zones of the -<i>Bull</i>, <i>Victory</i>, <i>Chariots</i>, and <i>Telemachos</i>.</p> - -<p>On the other hand, the statues beginning with the two of Aischines -(139) and extending to that of Philonides (154 a) (P., VI, 14.13–16.5) -must have stood to the west of the base of Telemachos and along the -South Terrace wall some 20 meters south of the temple of Zeus, where -many of the following pedestals were found in the order named by Pausanias: -that of Aischines (139) was found in the Council-house; that -of Archippos (140) nearby between the South Terrace wall and the -north wing of the Council-house; that of Epitherses (147) opposite the -sixth column of the temple from the west, some eleven paces from the -South Terrace wall, and the fragment of the base of the honor statue -of Antigonos (147 f) very near it; the bronze foot of one of the statues -of Kapros (150) was found in the South Terrace wall, 24.40 meters -from the southwest corner of the temple; and lastly, the base of the -“honor” statue of Philonides (154 a), Alexander’s courier, was found in -the southwest corner of the Altis at the extreme west end of the South -Terrace wall, almost, if not exactly, in its original position.<a id="FNanchor_2332"></a><a href="#Footnote_2332" class="fnanchor">2332</a> Thus -Pausanias, after coming south to the statue of Telemachos, first goes -eastward as far as the statue of Prokles, then returns, repassing the -two chariots on the way without remark, and then continues westward -to the southwestern corner of the Altis. All statues west of that of Telemachos -are of the fifth and fourth centuries <span class="smcap lowercase">B. C.</span>, with the exception of -one, that of Eutelidas (148), who won in Ol. 38. This is the oldest -statue in the Altis, despite Pausanias’ statement,<a id="FNanchor_2333"></a><a href="#Footnote_2333" class="fnanchor">2333</a> and it doubtless -originally stood in the area occupied later toward the middle of the -fifth century <span class="smcap lowercase">B. C.</span> by the temple of Zeus, but was then transferred to its -new position south of the temple.</p> - -<p>After the statue of Philonides, there are still 19 statues of victors -and “honor” men to dispose of in this first ἔφοδος, those from Brimias -to Glaukon (155–169, P., VI, 16.5–16.9). Of these statues, -the base of that of Leonidas of Naxos (155a), the founder of the great -building just outside the southwestern corner of the Altis named after -him, was discovered in a Byzantine wall before the eastern end of the -north front of that building, while that of Seleadas (159) was unearthed<span class="pagenum"><a id="Page_347">347</a></span> -within the ruins of the same building; the base which supported the -group-monument of Polypeithes and Kalliteles (160–161)—which, -owing to the early dates of their victories, some time between -Ols. (?) 66 and 70 ( = 516 and 500 <span class="smcap lowercase">B. C.</span>), must have stood originally -in the area later occupied by the temple of Zeus, like that of the -above-mentioned Eutelidas—a little to the south of the Byzantine -church, between the bases of the statues of Leonidas and Glaukon; -two fragments of the base of the statue of Deinosthenes (163) have -been found, one east of the apse of the church, the other in the -ruins of the Palaistra further north; and lastly, that of Glaukon, -built into late walls northwest of the church.<a id="FNanchor_2334"></a><a href="#Footnote_2334" class="fnanchor">2334</a> As the statue of Philonides -stood at the extreme western end of the South Altis wall, and -as most of these fragments were found in the vicinity of the Leonidaion, -it would be natural to conclude that the majority of these -later statues stood in the spaces just outside the West Altis wall. -But at the end of the first ἔφοδος (VI, 17.1) Pausanias says that he has -so far named statues “within the Altis”; hence most investigators -have placed these 19 statues either west of the temple of Zeus or in -the space at the southwestern corner of the Altis. A little further on -we shall see that many other victor statues, not mentioned by Pausanias, -stood just outside the West Altis wall, and it is doubtful whether -his words ἐν τῇ Ἄλτει (VI, 17.1) should be taken thus literally, -especially on any theory of his use of earlier accounts in the final compiling -of his own. If they were “within” the Altis, they could scarcely -have stood to the west or southwest of the temple of Zeus, for the -second ἔφοδος, as we shall see, passed there.</p> - -<p>A better alternative can be found. In describing the Leonidaion -(V, 15.2), Pausanias says that this building stood “outside the sacred -enclosure at the processional entrance into the Altis ... separated -from this entrance by a street; for what the Athenians call lanes, the -Eleans name streets.”<a id="FNanchor_2335"></a><a href="#Footnote_2335" class="fnanchor">2335</a> 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 -Altis, so that this West wall and row of pedestals form a <i>cul de sac</i><span class="pagenum"><a id="Page_348">348</a></span> -(see Plan B).<a id="FNanchor_2336"></a><a href="#Footnote_2336" class="fnanchor">2336</a> It is clear that no such row of statues would have -been placed leading up to a dead wall; therefore these statues must -have stood there before the wall was built, and must once have -formed the eastern boundary of a broad street skirting the eastern -side of the Leonidaion, which was twice as wide as later, when the -wall cut off half its breadth and made it a “lane,” though the older name -“street” was retained. The later Roman enlargement of the Altis -is well known. The long row of pedestals to the south of and parallel -to those already discussed as standing along the line of the South -Terrace wall, westward of the base of Telemachos, once constituted -the southern boundary of the “Processional Way” (ὁδὸς πομπική), -which ran from the Leonidaion to where it debouched into the Altis -at its southeastern corner. Originally outside the Altis, they were -later, together with the road itself, included in it. The pedestals, -then, in the above-mentioned <i>cul de sac</i>, and also the fourteen (among -them that of Metellus Macedonicus; see Plan B) that adorned the -south side of the Processional Way, may be the remains of some of -these last statues mentioned by Pausanias.</p> - -<h4><span class="smcap">The Second Ephodos of Pausanias.</span></h4> - -<p>We next come to the second ἔφοδος, which is introduced by these -words: Εἰ δὲ ἀπὸ τοῦ Λεωνιδαίου πρὸς τὸν βωμὸν τὸν μέγαν ἀφικέσθαι τῇ -δεξιᾷ θελήσειας, τοσάδε ἔστι σοὶ τῶν ἀνηκόντων ἐς μνήμην.<a id="FNanchor_2337"></a><a href="#Footnote_2337" class="fnanchor">2337</a> The Leonidaion, -the site of which was still in dispute till after the close of the -excavations, was finally identified by Treu<a id="FNanchor_2338"></a><a href="#Footnote_2338" class="fnanchor">2338</a> with the so-called <i>Suedwestbau</i>, -as had been already assumed by many investigators.<a id="FNanchor_2339"></a><a href="#Footnote_2339" class="fnanchor">2339</a> The -site of the Great Altar, however, is still undetermined. The elliptical -depression to the east of the Pelopion, whose dimensions (125 feet in -circumference) agree with the figures of Pausanias<a id="FNanchor_2340"></a><a href="#Footnote_2340" class="fnanchor">2340</a> for the <i>prothysis</i>,<span class="pagenum"><a id="Page_349">349</a></span> -or lowest stage of the altar, identified with it by most scholars,<a id="FNanchor_2341"></a><a href="#Footnote_2341" class="fnanchor">2341</a> must -now be given up since the more recent excavations of Doerpfeld, which -prove it to be the remains of two prehistoric dwelling houses with apse-like -ends.<a id="FNanchor_2342"></a><a href="#Footnote_2342" class="fnanchor">2342</a> Nor can the remains of walls lying between the Heraion and -the Pelopion, formerly supposed to be those of an altar, any longer be -referred to the Great Altar (as Puchstein and Wernicke referred them)<a id="FNanchor_2343"></a><a href="#Footnote_2343" class="fnanchor">2343</a> -since Doerpfeld’s recent discoveries. So we are dependent on the words -of Pausanias alone for its location, who says that it stood “equidistant -from the Pelopion and the sanctuary of Hera, but in front of both,”<a id="FNanchor_2344"></a><a href="#Footnote_2344" class="fnanchor">2344</a> -therefore somewhat northwest of the elliptical depression nearer the -centre of the Altis.<a id="FNanchor_2345"></a><a href="#Footnote_2345" class="fnanchor">2345</a> Our problem, then, is to find Pausanias’ route -between these two points, and here again, as at the beginning of the -first ἔφοδος, we must rightly interpret the words ἐν δεξιᾷ. Michaelis, -in his article on the use of ἐν δεξιᾷ and ἐν ἀριστερᾷ in Pausanias’ work, -made these words refer to the southern side of the Processional Way, -<i>i. e.</i>, to the side at the right of Pausanias, who was facing east after -arriving at the Leonidaion.<a id="FNanchor_2346"></a><a href="#Footnote_2346" class="fnanchor">2346</a> Thus the statues already mentioned -along the South Terrace wall (Aischines to Philonides, 139–154a) -would now be on his left side. On this interpretation both Hirschfeld -and Doerpfeld had the second ἔφοδος follow the Processional Way eastward -parallel to the first—thus including the line of pedestals, which -we have referred to the end of the first—and then, near the Council<span class="pagenum"><a id="Page_350">350</a></span>house, -curve northward in front of the temple of Zeus, which virtually -would be a repetition of the first ἔφοδος. On this theory Doerpfeld<a id="FNanchor_2347"></a><a href="#Footnote_2347" class="fnanchor">2347</a> -wrongly explained the first route as containing statues ἐν τῇ Ἄλτει, -while the second was outside the older Altis, and so, though equally -long, contained fewer statues. But against this interpretation it must -be urged that the Periegete is describing the Altis of his day, when the -road in question was included within its boundaries, and that the Great -Altar and the two last statues mentioned (187, 188) as standing near -the pillar of Oinomaos were always inside.<a id="FNanchor_2348"></a><a href="#Footnote_2348" class="fnanchor">2348</a> And neither this Processional -Way nor the space before the eastern front of the temple of Zeus -were localities for “unimportant mixed statues.”<a id="FNanchor_2349"></a><a href="#Footnote_2349" class="fnanchor">2349</a> Furthermore, 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<a id="FNanchor_2350"></a><a href="#Footnote_2350" class="fnanchor">2350</a>, -but would have said something like this: Εί δὲ ὀπίσω ἀναστρέψας ἀπὸ -τοῦ Λεωνιδαίου πρὸς τὸν βωμὸν αὐθις ἀφικέσθαι τῇ δεξιᾷ θελήσειας.<a id="FNanchor_2351"></a><a href="#Footnote_2351" class="fnanchor">2351</a> 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 terrace.<a id="FNanchor_2352"></a><a href="#Footnote_2352" class="fnanchor">2352</a> As -no building is mentioned on the way, and as the north side of the temple -would probably have been called ἀριστερὰ πλευρά (in accordance -with the usage discussed above in connection with the Heraion), and -as the Pelopion faces southwest, the words ἐν δεξιᾷ can refer only to the -right hand of Pausanias, <i>i. e.</i>, the right side of the road followed. If -we assume that these words originally stood after τοσάδε ἔστι σοί and -were transferred by a later copyist, the difficulty is resolved.<a id="FNanchor_2353"></a><a href="#Footnote_2353" class="fnanchor">2353</a></p> - -<p>Of the nineteen victor statues in this second route (170–188, VI, 17.1–18.7) -no bases have been found.<a id="FNanchor_2354"></a><a href="#Footnote_2354" class="fnanchor">2354</a> But of the three “honor” statues<span class="pagenum"><a id="Page_351">351</a></span> -included, one base, that of the rhetorician Gorgias of Leontini (184a), -was recovered 10 meters northeast of the temple of Zeus, and so probably -not very far from its original position;<a id="FNanchor_2355"></a><a href="#Footnote_2355" class="fnanchor">2355</a> for Pausanias mentions -only three more statues, before he comes to the last two in this ἔφοδος, -which two stood in this vicinity. The parts of the Altis to the west -and north of the temple were unimportant till the time of Alexander -the Great, and were, therefore, remarkably free of monuments. In the -whole description of Pausanias, we know of only three altars (those of -Aphrodite, the Seasons, and the Nymphs) and a wild olive tree (the -“Olive of the Beautiful Crown”) to the west of the temple (V, 15.3), -and only of the votive offerings of a certain Mikythos or Smikythos -to the north of it (V, 26.2).<a id="FNanchor_2356"></a><a href="#Footnote_2356" class="fnanchor">2356</a> As the statue of Gorgias stood among -the “unimportant mixed statues” already mentioned (184–186), these -must have stood somewhere north of the temple near its eastern end. -Finally, the two ancient wooden statues of Praxidamas and Rhexibios -(187–188, P., VI, 18.7) are mentioned by themselves as near the column -of Oinomaos, which Pausanias elsewhere<a id="FNanchor_2357"></a><a href="#Footnote_2357" class="fnanchor">2357</a> says stood near the Great -Altar of Zeus to the left of a road running south from it to the temple. -Pausanias, after describing these “mixed” statues, may have finally -left the route thus far followed and introduced these last two statues as -quite distinct from the second ἔφοδος.<a id="FNanchor_2358"></a><a href="#Footnote_2358" class="fnanchor">2358</a> But he does not seem to have -gone far from his route, for immediately after ending his account of the -victor statues, he begins his account of the Treasuries, which lay -beyond the Great Altar farther north.<a id="FNanchor_2359"></a><a href="#Footnote_2359" class="fnanchor">2359</a> (Plans A and B.)</p> - -<p>Thus Pausanias ends his second route somewhere short of the Great -Altar, and it appears after all to be only a continuation of the first, -forming with it one unbroken “<i>Rundgang</i>,” though in quite a different -sense of the word from that intended by Doerpfeld.</p> - -<p><span class="pagenum"><a id="Page_352">352</a></span></p> - -<h3>SUMMARY OF RESULTS.</h3> - -<p>From a study of these two routes, and a comparison of the dates -of the victorious athletes,<a id="FNanchor_2360"></a><a href="#Footnote_2360" class="fnanchor">2360</a> we can draw the following conclusions as to -the positions of the victor statues mentioned by Pausanias as standing -in the Altis at Olympia:</p> - -<p>1. The twenty-eight oldest statues—exclusive of the five already -mentioned as having been removed from the area of the later temple -of Zeus<a id="FNanchor_2361"></a><a href="#Footnote_2361" class="fnanchor">2361</a>—dating from Ol. 58 ( = 548 <span class="smcap lowercase">B. C.</span>, Pythokritos, 128 b) to Ol. -76 ( = 476 <span class="smcap lowercase">B. C.</span>, Theognetos, 83), <i>i. e.</i>, approximately down to the date -of the founding of the temple,<a id="FNanchor_2362"></a><a href="#Footnote_2362" class="fnanchor">2362</a> stood in the space between the eastern -front of the temple and the Echo Colonnade, or to the south of it near -the South Altis wall. Only one statue (that of Protolaos, 48) stood as -far north as the <i>Eretrian Bull</i>. Thus the southeastern part of the Altis -was the oldest part dedicated to victor statues.</p> - -<p>2. After this space was mostly filled, the next statues, those dating -from Ol. 77 ( = 472 <span class="smcap lowercase">B. C.</span>, Kallias, 50) to Ol. 93 ( = 408 <span class="smcap lowercase">B. C.</span>, Eubotas, 75), -<i>i. e.</i>, from about the time of the foundation of the temple to near the -date of the battle of Aigospotamoi, fifty-one in number, stood between -the Heraion and the <i>Victory</i> of Paionios; only one stood as far south -as the Altis wall, while seven stood around the <i>Chariots</i>, ten around -the <i>Victory</i>, twenty around the <i>Bull</i>, and the rest further north (including -176, 185 of the second ἔφοδος, which stood north of the eastern -end of the temple). Diagoras and his family (59–63), boxers and -pancratiasts, had their statues near the older famous boxer Euthymos -(56); Alkainetos and his sons (64–66), boxers, besides many other -pugilists, had theirs near the Diagorids; Tellon (102) had his near that -of his compatriot Epikradios (101); later Achæans had theirs near -that of their countryman Oibotas (29), and Spartans near that of Chionis -(111); some, as the three victors from Heraia (176, 177, 32),<a id="FNanchor_2363"></a><a href="#Footnote_2363" class="fnanchor">2363</a> stood -far apart only apparently, for the last one had his statue near the <i>Bull</i>, -and so not far from the other two, though these are named in the second -ἔφοδος.</p> - -<p>3. From near the date of the battle of Aigospotamoi, down to about -the birth of Alexander the Great, <i>i. e.</i>, from Ol. 94 to Ol. 106 ( = 404 to -356 <span class="smcap lowercase">B. C.</span>), thirty-six statues filled in the intervals left among these -older statues; fifteen stood near the Heraion; five between it and the -<i>Bull</i>, seven around the <i>Bull</i>, five around the <i>Victory</i>, one near the <i>Chariots</i>, -and three along the South Altis wall. Euthymenes and Kritodamos -(78, 80) had their monuments near that of their older countryman (79),<span class="pagenum"><a id="Page_353">353</a></span> -whose statue was made by Myron; the Ephesians, Pyrilampes and Athenaios -(35, 36), had their statues beside that of their benefactor Lysandros -(35 a).</p> - -<p>4. After Alexander’s time, in consequence of the recent building of -the Philippeion, Leonidaion, and Theekoleon to the west of the Altis, -the western side of the temple of Zeus (and, to a lesser extent, the -northern) became important, and henceforth statues surrounded the -temple on all sides. Of the thirty-three statues of this epoch, nine stood -to the west of the temple, four to the north, and seven to the south, -while the rest stood either to the east, or, perhaps, near the Heraion. -We shall see also that many later statues, known to us from inscriptions -only, stood outside the Altis, to the west and northwest.</p> - -<h3>STATUES NOT MENTIONED BY PAUSANIAS, BUT KNOWN -FROM RECOVERED BASES.</h3> - -<p>Having established these data, it is not difficult, from the positions -of the many inscribed fragmentary bases found at Olympia and referred -to victor statues not mentioned by Pausanias, from the approximate -dates of the victories as gained from the age of the inscriptions, -and by again employing the system of groups already mentioned, to -state quite definitely where many of these other statues stood. Pausanias, -who mentions 187 victors with 192 monuments in his two -ἔφοδοι, expressly states that he enumerates only those “who had some -title to fame or whose statues were better made.”<a id="FNanchor_2364"></a><a href="#Footnote_2364" class="fnanchor">2364</a> 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 <span class="smcap lowercase">B. C.</span> (although we -know from inscriptions that statues were set up far into the third century -<span class="smcap lowercase">A. D.</span>, at least)<a id="FNanchor_2365"></a><a href="#Footnote_2365" class="fnanchor">2365</a> have been subjects of much discussion, but hardly -concern us here.<a id="FNanchor_2366"></a><a href="#Footnote_2366" class="fnanchor">2366</a> The three latest statues of victors mentioned by -Pausanias, whose dates are fixed, may be given: those of Kleitomachos, -who won παγκράτιον and πύξ in Ols. 141 and 142 ( = 216 and 212 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2367"></a><a href="#Footnote_2367" class="fnanchor">2367</a><span class="pagenum"><a id="Page_354">354</a></span> -of Kapros, victor in παγκράτιον and πάλη in Ol. 142 ( = 212 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2368"></a><a href="#Footnote_2368" class="fnanchor">2368</a> and -of Akestorides, victor πώλων ἅρματι sometime between Ols. 142 and 144 -( = 212 and 204 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_2369"></a><a href="#Footnote_2369" class="fnanchor">2369</a> Still later statues of victors named by Pausanias, -whose dates can not be exactly determined, are those of -Sodamas, who won παίδων στάδιον some time between Ols. 142 and -145 ( = 212 and 200 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2370"></a><a href="#Footnote_2370" class="fnanchor">2370</a> of Amyntas, victor in παίδων παγκράτιον in -Ol. (?) 146 ( = 196 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2371"></a><a href="#Footnote_2371" class="fnanchor">2371</a> of Timon, victor in πένταθλον in Ols. 146 or -147 ( = 196 or 192 <span class="smcap lowercase">B. C.</span>);<a id="FNanchor_2372"></a><a href="#Footnote_2372" class="fnanchor">2372</a> and of Lysippos, victor in παίδων πάλη some -time between Ols. 149 and 157 ( = 184 and 152 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_2373"></a><a href="#Footnote_2373" class="fnanchor">2373</a> Of the first -century <span class="smcap lowercase">A. D.</span>, Pausanias mentions three victors without statues: -Artemidoros, who won παγκράτιον in Ol. 212 ( = 69 <span class="smcap lowercase">A. D.</span>);<a id="FNanchor_2374"></a><a href="#Footnote_2374" class="fnanchor">2374</a> Polites, -victor in στάδιον, δίαυλος and δόλιχος in Ol. 212;<a id="FNanchor_2375"></a><a href="#Footnote_2375" class="fnanchor">2375</a> and Hermogenes, victor -in στάδιον twice, δίαυλος once, and as ὁπλίτης thrice, in Ols. 215, 216, -217 ( = 81–89 <span class="smcap lowercase">A. D.</span>).<a id="FNanchor_2376"></a><a href="#Footnote_2376" class="fnanchor">2376</a> The words of Pliny, <i>Olympiae, ubi omnium qui -vicissent statuas dicari mos erat</i><a id="FNanchor_2377"></a><a href="#Footnote_2377" class="fnanchor">2377</a> refer, of course, as we have already -pointed out, only to the privilege and not to the actual fact, for many -victors would have no statues, as it was necessary for them or their -relatives or city-states to meet the expenses of their erection.<a id="FNanchor_2378"></a><a href="#Footnote_2378" class="fnanchor">2378</a> No -more is the rest of his statement to be taken literally, <i>i. e.</i>, that those -victors who were victorious three times had the right to erect portrait -statues in their honor; for we have, as has already been shown, at -least one exception.<a id="FNanchor_2379"></a><a href="#Footnote_2379" class="fnanchor">2379</a> Besides we know that portrait statues were -practically unknown before the fourth century <span class="smcap lowercase">B. C.</span> Most of the -victor statues were mere types—those of Hermes and Herakles being -common—without individualized features, simply representing the -various contests by position or some characteristic, <i>e. g.</i>, the helmet -and shield for “hoplite” victors.<a id="FNanchor_2380"></a><a href="#Footnote_2380" class="fnanchor">2380</a></p> - -<p>Five of these inscriptions have been referred to the sixth and fifth -centuries <span class="smcap lowercase">B. C.</span><a id="FNanchor_2381"></a><a href="#Footnote_2381" class="fnanchor">2381</a> Of these the inscribed base of Pantares was found near<span class="pagenum"><a id="Page_355">355</a></span> -the South Altis wall, and the statue must originally have stood east of -the temple of Zeus, near the chariot of Gelo (90), for these two were the -only victors from Gela, and won in the same kind of contest and at nearly -the same date.<a id="FNanchor_2382"></a><a href="#Footnote_2382" class="fnanchor">2382</a> The statues of Phrikias of Pelinna and Phanas of Pellene, -both representing victors in the heavy-armed race, to which I have -ascribed the two archaic marble heads (Fig. <a href="#f30">30</a>), the former found west of -the temple of Zeus and the latter to the south of it, must originally have -stood in the area of the later temple and then have been removed.<a id="FNanchor_2383"></a><a href="#Footnote_2383" class="fnanchor">2383</a> -That of an unknown victor, whose name ended in ... αδας,<a id="FNanchor_2384"></a><a href="#Footnote_2384" class="fnanchor">2384</a> the -two fragments of whose base were found, one near the Heraion and the -other to the east of the temple of Zeus, should have stood near the -statues of the only other pancratiasts of a similar age, either near those of -Dorieus (61), who won in Ols. 87 to 89 ( = 432 to 424 <span class="smcap lowercase">B. C.</span>), and Damagetos -(62), who won in Ols. 82 and 83 ( = 452 and 448 <span class="smcap lowercase">B. C.</span>), in the zone of the -<i>Bull</i>, or near that of Timasitheos (82), who won some time between Ols. -(?) 65 and 67 inclusive ( = 520 and 512 <span class="smcap lowercase">B. C.</span>), in the zone of the <i>Victory</i>. -Lastly, the second inscribed base of Xenombrotos (133), found near the -Council-house outside the South Altis wall, doubtless once stood near -the first (the epigram from which is preserved by Pausanias, VI, 14.12), -along this wall to the east of the base of Telemachos.<a id="FNanchor_2385"></a><a href="#Footnote_2385" class="fnanchor">2385</a></p> - -<p>No inscribed fragments of bases dating from the fourth century <span class="smcap lowercase">B. C.</span> -have been found.</p> - -<p>Beginning with the third century <span class="smcap lowercase">B. C.</span>, we shall see that most of the -recovered bases were found either in the western part of the Altis, in the -neighborhood of the Philippeion, Theekoleon, and Leonidaion, on both -sides of the West Altis wall, or still farther west and northwest, especially -in or near the Palaistra and Prytaneion. We have already seen -that most of the statues named by Pausanias dating from Alexander’s -time stood to the west (and north) of the temple of Zeus. As Pausanias -enumerates only statues ἐν δεξιᾷ of his route around the temple to the -Great Altar, these statues farther west and northwest are omitted -from his account. Of the four bases of statues referred to the third -century, all belong to Elean victors; three were found west and northwest -of the Prytaneion and beyond, showing that these statues once<span class="pagenum"><a id="Page_356">356</a></span> -stood in the vicinity of this building, and the fourth was found farther -south, by the Palaistra, where it probably stood. Thus the base of -the wrestler Nikarchos, son of Physsias, was found in a late wall west -of the Prytaneion;<a id="FNanchor_2386"></a><a href="#Footnote_2386" class="fnanchor">2386</a> that of the statue of an unknown victor, son of -Taurinos, was found at the southeast corner of the Palaistra;<a id="FNanchor_2387"></a><a href="#Footnote_2387" class="fnanchor">2387</a> that of -another unknown victor, the son of ... phinos, was found in the -<i>Nordwestgraben</i>;<a id="FNanchor_2388"></a><a href="#Footnote_2388" class="fnanchor">2388</a> the base of the statue of Thersonides, son of -Paianodoros, victor κέλητι πωλικῷ, was found northwest of the Prytaneion, -between the Roman baths and east hall of the Gymnasion.<a id="FNanchor_2389"></a><a href="#Footnote_2389" class="fnanchor">2389</a></p> - -<p>Of the four statues referred with certainty to the second century <span class="smcap lowercase">B. C.</span>, -all but one were found to the west of the Altis, in a region ranging from -the Philippeion, northwest of the temple of Zeus, to the Leonidaion -southwest of it. Two of them were found outside the West Altis wall, -between the Leonidaion and the Byzantine church. Thus the base of -the statue of D ... gonos, twice victor in πύξ, was found outside -the apse of the Byzantine church and west of the West Altis wall;<a id="FNanchor_2390"></a><a href="#Footnote_2390" class="fnanchor">2390</a> -the fragments of that of an unknown boy victor in wrestling or the -pankration were found in the East Byzantine wall;<a id="FNanchor_2391"></a><a href="#Footnote_2391" class="fnanchor">2391</a> that of an unknown -victor, συνωρίδι τελείᾳ (twice), and ἅρματι τελείῳ, was found -south of the Philippeion.<a id="FNanchor_2392"></a><a href="#Footnote_2392" class="fnanchor">2392</a> The fragment of the base of the statue of -another unknown victor in wrestling, the son of the Elean Aigyptos, -was found to the northeast of the Leonidaion.<a id="FNanchor_2393"></a><a href="#Footnote_2393" class="fnanchor">2393</a></p> - -<p>Of the seven bases referred to the second and first centuries <span class="smcap lowercase">B. C.</span>, -three were found in or near the Byzantine church, showing that such -statues may have stood in the Greek building which was later converted -into the church.<a id="FNanchor_2394"></a><a href="#Footnote_2394" class="fnanchor">2394</a> Two more were found near the southwest corner of -the Altis, and therefore may once have stood near the statue of Philonides, -which Pausanias mentions as standing in that vicinity. Two -others stood farther away, one inside the Prytaneion, the other northeast -of the temple of Zeus. Thus the base of an unknown victor, the -son of Aristotle, συνωρίδι πωλικῇ, was found in front of the north side -of the Byzantine church;<a id="FNanchor_2395"></a><a href="#Footnote_2395" class="fnanchor">2395</a> that of Aristodamos, the son of Aleximachos -of Elis, was found in the floor of the church;<a id="FNanchor_2396"></a><a href="#Footnote_2396" class="fnanchor">2396</a> that of an unknown victor -was found northeast of the temple of Zeus;<a id="FNanchor_2397"></a><a href="#Footnote_2397" class="fnanchor">2397</a> that of a victor συνωρίδι -πωλικῇ, whose name ended in ... chos, the son of the Elean<span class="pagenum"><a id="Page_357">357</a></span> -Nikodromos, was found southwest of the Altis before the West Altis -wall;<a id="FNanchor_2398"></a><a href="#Footnote_2398" class="fnanchor">2398</a> the base of two unknown victors from Elis were found respectively -in the Prytaneion<a id="FNanchor_2399"></a><a href="#Footnote_2399" class="fnanchor">2399</a> and northwest of the Byzantine church,<a id="FNanchor_2400"></a><a href="#Footnote_2400" class="fnanchor">2400</a> while -that of another Elean, Antigenes, the son of Jason, victor συνωρίδι -πωλικῇ, was found in the southwest corner of the Altis.<a id="FNanchor_2401"></a><a href="#Footnote_2401" class="fnanchor">2401</a></p> - -<p>The positions of the twenty-four bases (belonging to monuments -of twenty-two victors) with certainty referred to the first pre-Christian -century were very scattered. One large Pentelic marble -<i>bathron</i>, supporting the monuments of seven victors of the family of -Philistos, must have stood just south of the Philippeion, where most of -the fragments were found. The bases of the statues of two other sons -and a grandson of the same victor have been recovered, and doubtless -stood near by, thus forming a family group of ten, outnumbering that -of Diagoras (59–63 and 52) mentioned by Pausanias. The omission -of so important a monument in the description of the Periegete has, -of course, been used as an indication of his employment of earlier lists. -Of the other bases, two were found outside the South Altis wall, west -of the Council-house, and two east of it; two east of the temple of Zeus -(one of them that of the youthful Tiberius, afterwards Roman emperor, -which must have stood near the <i>Eretrian Bull</i>, where it was found); -one southwest of the temple, along the South Terrace wall, pointing -to a position among the statues there named by Pausanias; one east of -the Byzantine church, pointing to a position south of the Theekoleon, -two to the northwest of the Altis in the vicinity of the Prytaneion; while -the others were found scattered all the way from the northeastern part of -the Altis to the bed of the Kladeos. Thus over half (13) of these statue-bases -were found in the west and northwest of the Altis and beyond; -the space to the east of the temple of Zeus—called <i>frequentissimus -celeberrimusque</i> by Scherer—seems now not to have been greatly prized. -Most of these victories were gained in hippic contests. Horse-racing -had early been discontinued, but was revived at the end of the first -century <span class="smcap lowercase">B. C.</span>, when members of the imperial family, emulating the -earlier triumphs of the princes of Sicily and Macedonia, became competitors. -Thus Tiberius won in the chariot-race, and a few years later -his nephew Germanicus in the same event. The list of these bases of -victor statues of the first century <span class="smcap lowercase">B. C.</span> and their provenience follows. A -fragment of the base of the victor Agilochos, son of Nikeas of Elis, victor -κέλητι πωλικῷ, was found in the East Byzantine wall.<a id="FNanchor_2402"></a><a href="#Footnote_2402" class="fnanchor">2402</a> One fragment -of the <i>bathron</i> of the family group of the Elean Philistos,<a id="FNanchor_2403"></a><a href="#Footnote_2403" class="fnanchor">2403</a> victors in -hippic contests, was found southwest of the Pelopion, while four others<span class="pagenum"><a id="Page_358">358</a></span> -were discovered south of the Philippeion; the base of the statue of -Philonikos, a son of Philistos, was also found south of the Philippeion,<a id="FNanchor_2404"></a><a href="#Footnote_2404" class="fnanchor">2404</a> -and that of another unnamed son was discovered to the west -of the Prytaneion,<a id="FNanchor_2405"></a><a href="#Footnote_2405" class="fnanchor">2405</a> while the place of finding of that of Charops, the -son of Telemachos, has not been recorded.<a id="FNanchor_2406"></a><a href="#Footnote_2406" class="fnanchor">2406</a> The base of the monument -of Aristarchos was found east of the Byzantine church,<a id="FNanchor_2407"></a><a href="#Footnote_2407" class="fnanchor">2407</a> that of -Damaithidas, son of Menippos of Elis, a victor συνωρίδι πωλικῇ, west -of the Council-house (south building),<a id="FNanchor_2408"></a><a href="#Footnote_2408" class="fnanchor">2408</a> and that of Thrasymachos (or -Thrasymedes) in the <i>Nordostgraben</i>.<a id="FNanchor_2409"></a><a href="#Footnote_2409" class="fnanchor">2409</a> A fragment of the base of the -statue of Demokrates of Antioch in Karia was found in the bed of the -river Kladeos,<a id="FNanchor_2410"></a><a href="#Footnote_2410" class="fnanchor">2410</a> that of a victor whose name began with Demo..., -northeast of the Prytaneion,<a id="FNanchor_2411"></a><a href="#Footnote_2411" class="fnanchor">2411</a> while that of Thaliarchos, the son of -Soterichos of Elis, victor πὺξ παίδων καὶ ἀνδρῶν, was found east of the -Council-house.<a id="FNanchor_2412"></a><a href="#Footnote_2412" class="fnanchor">2412</a> Bases from two statues of Menedemos, son of Menedemos -of Elis, victor συνωρίδι πωλικῇ, were found, one east of the -temple of Zeus, the other inside the Heraion.<a id="FNanchor_2413"></a><a href="#Footnote_2413" class="fnanchor">2413</a> Lykomedes, the son of -Aristodemos of Elis, victor συνωρίδι πωλικῇ, also had two statues; the -base of one was found in front of the West Byzantine wall on the south -side of the temple of Zeus, that of the other in the <i>Westgraben</i>.<a id="FNanchor_2414"></a><a href="#Footnote_2414" class="fnanchor">2414</a> -The front part of the base of the statue of Archiadas, the son of Timolas -of Elis, who won κέλητι πωλικῷ, was discovered southwest of the temple -of Zeus, on the Terrace wall.<a id="FNanchor_2415"></a><a href="#Footnote_2415" class="fnanchor">2415</a> That of an unknown victor in the -δίαυλος, the son of ... krates of Miletos, was found near the <i>Osthalle</i>,<a id="FNanchor_2416"></a><a href="#Footnote_2416" class="fnanchor">2416</a> -while that inscribed with the name of Tiberius Claudius Nero -of Rome, who won a victory τεθρίππῳ just before the end of the century, -was found south of the <i>Eretrian Bull</i>.<a id="FNanchor_2417"></a><a href="#Footnote_2417" class="fnanchor">2417</a></p> - -<p>Nineteen inscribed base-fragments have been referred to the post-Christian -centuries, thirteen to the first, three to the second, and three -to the third. The spaces around the temple of Zeus (especially its -eastern front) are again the favorite ones. Thus the bases of three -statues were found east of the temple (one <i>in situ</i>), two near its southeastern -corner, three at the northeastern corner (one, that of Germanicus -Cæsar, the nephew of Tiberius, just to the north of the <i>Eretrian -Bull</i>, and so originally standing here near that of his uncle), while -another stood opposite the fifth column from the east on the north -side of the temple. Most of these statues must have been passed by -Pausanias in his first ἔφοδος, which is, perhaps, another evidence of -his dependence on older lists in compiling his own. Two other bases -were found to the southwest of the temple, one of them near its cor<span class="pagenum"><a id="Page_359">359</a></span>ner, -and the other nearer the corner of the Altis, <i>i. e.</i>, near the base of -the statue of Philonides (154a). Thus eleven statues stood near the -temple. Of the others, four were found in the vicinity of the Palaistra -(one inside <i>in situ</i>), one to the northeast of the Prytaneion, another -northeast of the Byzantine church, while the two remaining ones were -found in the eastern part of the Altis, near the entrance to the Stadion -and before the Echo Colonnade respectively. The base of the last -statue of a victor known to have been erected at Olympia, that of -Valerios Eklektos of Sinope, previously mentioned, was found <i>in situ</i> -in the Palaistra. We append a detailed list of these bases, giving the -provenience of each.</p> - -<p>Of the first century <span class="smcap lowercase">A. D.</span>, the fore part of the base of the monument -of Germanicus, son of Nero Claudius Drusus, was found east of the -temple of Zeus, north of the <i>Eretrian Bull</i>;<a id="FNanchor_2418"></a><a href="#Footnote_2418" class="fnanchor">2418</a> the base of that of Gnaios -Markios was found opposite the southeast corner of the temple;<a id="FNanchor_2419"></a><a href="#Footnote_2419" class="fnanchor">2419</a> that -of Markos Antonios Kallippos Peisanos, son of M. Antonios Alexion -of Elis, who won κέλητι πωλικῷ in Ol. 177 ( = 72 <span class="smcap lowercase">A. D.</span>), was found in -the West Byzantine wall at the southwest corner of the temple.<a id="FNanchor_2420"></a><a href="#Footnote_2420" class="fnanchor">2420</a> The -base of the monument of Polyxenos, son of Apollophanes of Zakynthos, -victor in πάλη παίδων, was discovered at the southwest corner of the -Altis far from its probable original location;<a id="FNanchor_2421"></a><a href="#Footnote_2421" class="fnanchor">2421</a> that of P. Kornelios -Ariston, son of Eirenaios of Ephesos, victor in παγκράτιον παίδων in -Ol. 207 = 49 <span class="smcap lowercase">A. D.</span>), in front of the north wall of the Palaistra;<a id="FNanchor_2422"></a><a href="#Footnote_2422" class="fnanchor">2422</a> the -marble plate from that of Tiberios Klaudios Aphrodeisios of Elis (?), -who won κέλητι τελείῳ in Ol. 208 ( = 53 <span class="smcap lowercase">A. D.</span>), was unearthed near its -semicircular base, which was found <i>in situ</i> east of the temple.<a id="FNanchor_2423"></a><a href="#Footnote_2423" class="fnanchor">2423</a> Four -fragments of the base of the monument of the boy pancratiast Nikanor, -son of Sokles of Ephesos, were recovered east of the temple, and -another one near its southeastern corner.<a id="FNanchor_2424"></a><a href="#Footnote_2424" class="fnanchor">2424</a> The base of that of Markos -Deida of Antioch, victor in πάλη παίδων in Ol. 219 ( = 97 <span class="smcap lowercase">A. D.</span>), -was found southeast of the temple;<a id="FNanchor_2425"></a><a href="#Footnote_2425" class="fnanchor">2425</a> that of an unknown victor in the -δίαυλος and as ὁπλίτης (three times) in the North Byzantine wall;<a id="FNanchor_2426"></a><a href="#Footnote_2426" class="fnanchor">2426</a> -that of Hermas, son of Ision of Antioch, a victor in παγκράτιον, -between the West Altis wall and the southeastern corner of the<span class="pagenum"><a id="Page_360">360</a></span> -Palaistra;<a id="FNanchor_2427"></a><a href="#Footnote_2427" class="fnanchor">2427</a> that of Diogenes, son of Dionysios of Ephesos, victor -σαλπίγγι five times, before the centre of the Echo Colonnade.<a id="FNanchor_2428"></a><a href="#Footnote_2428" class="fnanchor">2428</a> The -inscribed fragments of the bronze legs of the statues of two unknown -victors have also been excavated, the one near the starting-place in the -Stadion,<a id="FNanchor_2429"></a><a href="#Footnote_2429" class="fnanchor">2429</a> the other near the fifth column from the east on the north -side of the temple of Zeus.<a id="FNanchor_2430"></a><a href="#Footnote_2430" class="fnanchor">2430</a></p> - -<p>Of the second century <span class="smcap lowercase">A. D.</span>, we have the following bases: that of -Kasia M[nasithea], daughter of M. Betilenos (or Vetulenos) Laitos of -Elis, who won ἅρματι πωλικῷ, was found northeast of the Prytaneion;<a id="FNanchor_2431"></a><a href="#Footnote_2431" class="fnanchor">2431</a> -the upper part of the pedestal of the <i>quadriga</i> of L. Minicius Natalis -of Rome, victor ἅρματι τελείῳ in Ol. 227 ( = 129 <span class="smcap lowercase">A. D.</span>), was unearthed -in the east wall of the Palaistra.<a id="FNanchor_2432"></a><a href="#Footnote_2432" class="fnanchor">2432</a> The base of the statue erected to the -herald P. Ailios Artemas of Laodikeia (in Phrygia?) was found 20 meters -north of the northeastern corner of the temple of Zeus.<a id="FNanchor_2433"></a><a href="#Footnote_2433" class="fnanchor">2433</a></p> - -<p>Of the third century <span class="smcap lowercase">A. D.</span>, <i>i. e.</i>, after the time of Pausanias, we have -these bases: that of P. Ailios Alkandridas, son of Damokratidas of -Sparta, twice victor in (?) πάλη, was found northeast of the Byzantine -church;<a id="FNanchor_2434"></a><a href="#Footnote_2434" class="fnanchor">2434</a> that of Theopropos of Rhodes, who won κέλητι, was unearthed -east of the temple of Zeus, just south of the basis of the -<i>Nike</i> of Paionios;<a id="FNanchor_2435"></a><a href="#Footnote_2435" class="fnanchor">2435</a> the base of the statue of Valerios Eklektos of -Sinope, victor as κῆρυξ in Ols. 256, 258–260 ( = 245, 253–261 <span class="smcap lowercase">A. D.</span>), -was found <i>in situ</i> in the Palaistra.<a id="FNanchor_2436"></a><a href="#Footnote_2436" class="fnanchor">2436</a> We should add for this century -also the inscribed bronze diskos, the votive (not victor) offering of -Poplios (Publius) Asklepiades of Corinth, which was found 2.5 meters -south of the Southwest gate of the Altis.<a id="FNanchor_2437"></a><a href="#Footnote_2437" class="fnanchor">2437</a></p> - -<p>A study of these inscriptions shows that the practice of setting up -victor statues decreased in the fourth and third centuries <span class="smcap lowercase">B. C.</span>, but was<span class="pagenum"><a id="Page_361">361</a></span> -revived in the second and first, only to decrease again after the first -century <span class="smcap lowercase">A. D.</span> On the other hand, the inscriptions show that the number -of “honor” statues correspondingly increased. Of the later statues, -most were erected to Eleans; names of victors from Sicily and Italy, -and from the older Greek states, as Sparta and Athens, are rare, being -replaced by those from Asia Minor and the newer towns of the Greek -mainland. This falling off of interest in the games was largely due -to professionalism. In the second century <span class="smcap lowercase">B. C.</span>, we begin to read in -the inscriptions of περιοδονῖκαι, <i>i. e.</i>, victors winning prizes at all the -four national games, a sure indication of the professional spirit. Even -Pausanias mentions two such victors.<a id="FNanchor_2438"></a><a href="#Footnote_2438" class="fnanchor">2438</a></p> - -<p>From these inscribed base-fragments, we have knowledge of 61 victors -(63 monuments)<a id="FNanchor_2439"></a><a href="#Footnote_2439" class="fnanchor">2439</a> who had statues erected to them, though they -are not named in the lists of Pausanias. Of the 192 monuments mentioned -by Pausanias, 40 are known to us from recovered fragments of -bases and statues. So if we assume the same ratio between known and -unknown for those not mentioned by Pausanias, we should have the -proportion 40 : 192 : : 63 : <i>x</i>, where <i>x</i> would equal 302, making a grand -total of 494 monuments, which number can not be far from the actual -number of victor statues adorning the Altis.<a id="FNanchor_2440"></a><a href="#Footnote_2440" class="fnanchor">2440</a></p> - -<h3>OLYMPIC VICTOR MONUMENTS ERECTED OUTSIDE OLYMPIA.</h3> - -<p>In Chapter I, we showed that frequently statues or other monuments -were erected in their native towns as a part of the honor paid to Olympic -victors. 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 inscriptions.<a id="FNanchor_2441"></a><a href="#Footnote_2441" class="fnanchor">2441</a> These, like the statues in -the Altis, range in date from the seventh century <span class="smcap lowercase">B. C.</span> to the fourth -<span class="smcap lowercase">A. D.</span>, and offer still greater variety in the kinds of dedication. It will -be best to arrange the list as far as possible chronologically and in -numerical sequence, adding the authorities for the dates of the various -victories in the footnotes.<a id="FNanchor_2442"></a><a href="#Footnote_2442" class="fnanchor">2442</a></p> - -<p><span class="pagenum"><a id="Page_362">362</a></span></p> - -<p>Victors with monuments of the seventh century <span class="smcap lowercase">B. C.</span>:</p> - -<p>1. Chionis, of Sparta.<a id="FNanchor_2443"></a><a href="#Footnote_2443" class="fnanchor">2443</a> Besides his statue by Myron and the tablet -containing a list of his victories at Olympia mentioned by Pausanias -(VI, 13.2), the same writer records a similar tablet in Sparta, erected -near the royal tomb of the Agids, likewise set up by his townspeople -(III, 14.3). The Spartan tablet, like the monuments in his honor at -Olympia, was doubtless set up long after the victory, about Ols. 77 -or 78 ( = 472 or 468 <span class="smcap lowercase">B. C.</span>).</p> - -<p>2. Kylon, of Athens.<a id="FNanchor_2444"></a><a href="#Footnote_2444" class="fnanchor">2444</a> Pausanias records that a bronze statue of -this victor stood upon the Athenian Akropolis, erected, as he supposes, -in honor of his beauty and reputation as an Olympic victor (I, 28.1). -Kylon was the leader of the well-known conspiracy of 632 <span class="smcap lowercase">B. C.</span>, when -he tried to make himself tyrant of Athens.<a id="FNanchor_2445"></a><a href="#Footnote_2445" class="fnanchor">2445</a> Furtwaengler has proposed -the theory that this monument was not set up in honor of Kylon -by the Athenians, as Pausanias says, but that it was a dedication by -his family after his Olympic victory.<a id="FNanchor_2446"></a><a href="#Footnote_2446" class="fnanchor">2446</a> A. Schaefer,<a id="FNanchor_2447"></a><a href="#Footnote_2447" class="fnanchor">2447</a> however, more -justly believed that the statue was an expiatory offering for the massacre -of Kylon’s companions on the Akropolis,<a id="FNanchor_2448"></a><a href="#Footnote_2448" class="fnanchor">2448</a> set up in the time of Perikles, -the date of which would account for the “beauty” of the statue. -Still another scholar<a id="FNanchor_2449"></a><a href="#Footnote_2449" class="fnanchor">2449</a> believes that Pausanias’ remark was called forth -by the epigram on the statue.<a id="FNanchor_2450"></a><a href="#Footnote_2450" class="fnanchor">2450</a></p> - -<p>3. Hipposthenes, of Sparta.<a id="FNanchor_2451"></a><a href="#Footnote_2451" class="fnanchor">2451</a> Pausanias records that a temple was -dedicated to him in Sparta, where he received divine worship (III, 15.7). -It has been argued that the words of Pausanias (<i>l. c.</i>) show that Hipposthenes -here was worshiped only in the character of Poseidon, -whose epithet was ἵππιος (<i>cf.</i> P., I, 30.4).<a id="FNanchor_2452"></a><a href="#Footnote_2452" class="fnanchor">2452</a></p> - -<p class="p padt05">Of the sixth century <span class="smcap lowercase">B. C.</span>:</p> - -<p>4. Hetoimokles, son of Hipposthenes of Sparta.<a id="FNanchor_2453"></a><a href="#Footnote_2453" class="fnanchor">2453</a> Pausanias mentions -a statue of this victor at Sparta (III, 13.9).</p> - -<p><span class="pagenum"><a id="Page_363">363</a></span></p> - -<p>5. Arrhachion, of Phigalia.<a id="FNanchor_2454"></a><a href="#Footnote_2454" class="fnanchor">2454</a> Pausanias records the stone statue in -the archaic pose, and with weathered inscription, erected to this victor in -the market-place at Phigalia (VIII, 40.1), which we have discussed at -length in the preceding chapter (Fig. <a href="#f79">79</a>).</p> - -<p>6. Kimon, the son of Stesagoras, of Athens.<a id="FNanchor_2455"></a><a href="#Footnote_2455" class="fnanchor">2455</a> Aelian mentions -αἱ Κίμωνος ἵπποι χαλκαῖ, very true to the originals, in Athens,<a id="FNanchor_2456"></a><a href="#Footnote_2456" class="fnanchor">2456</a> which -seem to have been set up in honor of his three chariot victories at -Olympia. His first victory was won when he was in banishment at -the hands of the tyrant Peisistratos, son of Hippokrates. Having entered -his horses under the tyrant’s name for the second contest, he was -in consequence recalled, and a third time entered them and won under -his own name.<a id="FNanchor_2457"></a><a href="#Footnote_2457" class="fnanchor">2457</a> The pseudo-Andokides confuses this older Kimon -with the younger, when he calls the latter an Olympic victor.<a id="FNanchor_2458"></a><a href="#Footnote_2458" class="fnanchor">2458</a> Similarly -a scholiast on Aristophanes<a id="FNanchor_2459"></a><a href="#Footnote_2459" class="fnanchor">2459</a> confuses him with Megakles, who -won a victory τεθρίππῳ in Ol. 47 ( = 592 <span class="smcap lowercase">B. C.</span>).<a id="FNanchor_2460"></a><a href="#Footnote_2460" class="fnanchor">2460</a></p> - -<p>7. Philippos, son of Boutakides, of Kroton.<a id="FNanchor_2461"></a><a href="#Footnote_2461" class="fnanchor">2461</a> The people of Egesta -in Sicily erected a shrine over his grave in their town, and paid him -divine honors on account of his beauty, in which he surpassed all his -contemporaries.<a id="FNanchor_2462"></a><a href="#Footnote_2462" class="fnanchor">2462</a></p> - -<p class="p padt05">Of the fifth century <span class="smcap lowercase">B. C.</span>:</p> - -<p>8. Astylos, or Astyalos, of Kroton.<a id="FNanchor_2463"></a><a href="#Footnote_2463" class="fnanchor">2463</a> Besides mentioning his statue -by Pythagoras of Rhegion at Olympia, Pausanias in the same passage -(VI, 13.1) mentions another in the temple of Lakinian Hera near Kroton, -which his fellow-townsmen pulled down in anger, because he had<span class="pagenum"><a id="Page_364">364</a></span> -called himself a Syracusan in order to please the Sicilian tyrant Hiero.<a id="FNanchor_2464"></a><a href="#Footnote_2464" class="fnanchor">2464</a> -Collignon believes that the statue at Kroton was also a copy of the -work of Pythagoras at Olympia.<a id="FNanchor_2465"></a><a href="#Footnote_2465" class="fnanchor">2465</a></p> - -<p>9. Euthymos, son of Astykles, of Lokroi Epizephyrioi in South -Italy.<a id="FNanchor_2466"></a><a href="#Footnote_2466" class="fnanchor">2466</a> In addition to his statue at Olympia by Pythagoras, mentioned -by Pausanias (VI, 6.4–6),<a id="FNanchor_2467"></a><a href="#Footnote_2467" class="fnanchor">2467</a> we know of another statue by Pythagoras -set up in Lokroi in honor of this victor.<a id="FNanchor_2468"></a><a href="#Footnote_2468" class="fnanchor">2468</a> According to Kallimachos, -both statues were struck by lightning at the same time. Other writers -tell wondrous tales of this boxer.<a id="FNanchor_2469"></a><a href="#Footnote_2469" class="fnanchor">2469</a></p> - -<p>10. Theagenes, son of Timosthenes, of Thasos, one of the most -famous Olympic victors.<a id="FNanchor_2470"></a><a href="#Footnote_2470" class="fnanchor">2470</a> Besides his statue at Olympia by Glaukias -of Aegina (VI, 11.2 and 9), Pausanias says that he knows of many other -places in Greece and elsewhere where images of this victor were set up -(VI, 11.9), and records one at Thasos to which the Thasians sacrificed -as to a god (VI, 11.6). 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<a id="FNanchor_2471"></a><a href="#Footnote_2471" class="fnanchor">2471</a> and is mentioned by -Eusebios.<a id="FNanchor_2472"></a><a href="#Footnote_2472" class="fnanchor">2472</a> Lucian says that the statue cured fevers, just as did -that of Polydamas at Olympia.<a id="FNanchor_2473"></a><a href="#Footnote_2473" class="fnanchor">2473</a> Studniczka has argued that the -statues at Thasos and elsewhere were set up to honor the hero and not -the victor.<a id="FNanchor_2474"></a><a href="#Footnote_2474" class="fnanchor">2474</a></p> - -<p>11. Ladas, of Sparta.<a id="FNanchor_2475"></a><a href="#Footnote_2475" class="fnanchor">2475</a> Two fourth-century epigrams celebrate the -fleetness of Ladas, and the second names Myron as the statuary of a -bronze statue of him.<a id="FNanchor_2476"></a><a href="#Footnote_2476" class="fnanchor">2476</a> Pausanias mentions a statue of the same victor -in the temple of Apollo Lykios in Argos (II, 19.7). Whether the latter -statue was identical with the one named in the epigram can not be<span class="pagenum"><a id="Page_365">365</a></span> -finally determined.<a id="FNanchor_2477"></a><a href="#Footnote_2477" class="fnanchor">2477</a> Pausanias refers to a stadion of Ladas, situated -between Mantinea and Orchomenos in Arkadia, in which Ladas practiced -running (VIII, 12.5), and also to his grave between Belemina and Sparta -(III, 21.1).</p> - -<p>12. Kallias, son of Didymias of Athens.<a id="FNanchor_2478"></a><a href="#Footnote_2478" class="fnanchor">2478</a> Apart from his statue at -Olympia made by the Athenian painter and sculptor Mikon, mentioned -by Pausanias (VI, 6.1),<a id="FNanchor_2479"></a><a href="#Footnote_2479" class="fnanchor">2479</a> there was a dedication to him at Athens, -as we learn from the preserved inscription, which enumerates his -thirteen victories at Olympia and elsewhere.<a id="FNanchor_2480"></a><a href="#Footnote_2480" class="fnanchor">2480</a></p> - -<p>13. Diagoras, son of Damagetos, of Rhodes, the most famous of -Greek boxers.<a id="FNanchor_2481"></a><a href="#Footnote_2481" class="fnanchor">2481</a> In addition to his statue at Olympia by Kallikles, -son of Theokosmos of Megara, mentioned by Pausanias (VI, 7.1–2) -as standing among the group of statues of his sons and grandsons, we -learn from the scholiast on Pindar, <i>Ol.</i> VII, Argum., who quotes -Gorgon as his authority,<a id="FNanchor_2482"></a><a href="#Footnote_2482" class="fnanchor">2482</a> that this ode, which celebrated the Olympic -victory of Diagoras, was attached in golden letters to the walls of the -temple of Athena at Lindos.</p> - -<p>14. Agias, of Pharsalos.<a id="FNanchor_2483"></a><a href="#Footnote_2483" class="fnanchor">2483</a> We have already, in Ch. VI, discussed the -group of marble statues set up at Delphi by Daochos of Pharsalos in<span class="pagenum"><a id="Page_366">366</a></span> -honor of his ancestors who had won in various athletic contests, which -was discovered by the French excavators there in 1894. We there -mentioned that Preuner found the same metrical inscription which -appeared on the base of the statue of Agias, the best preserved of the -group (Pl. <a href="#p28">28</a> and Fig. <a href="#f68">68</a>), in the journal of Stackelberg,<a id="FNanchor_2484"></a><a href="#Footnote_2484" class="fnanchor">2484</a> who had -copied it in the early part of the nineteenth century from a base in Pharsalos -which has since disappeared. This Thessalian inscription contained -the additional words that Lysippos of Sikyon was the sculptor. -In both inscriptions the victories of Agias at Olympia and elsewhere -are noted. Thus we know of two statues of Agias, one at Delphi, the -other at Pharsalos, both presumably by Lysippos. Preuner also thinks -that a third statue may have stood in Olympia.</p> - -<p>15. Cheimon, of Argos.<a id="FNanchor_2485"></a><a href="#Footnote_2485" class="fnanchor">2485</a> In mentioning the statue of Cheimon at -Olympia by the sculptor Naukydes of Argos, Pausanias, in the same -passage (VI, 9.3), records another which once stood in Argos, but was -later removed to the temple of Peace in Rome.<a id="FNanchor_2486"></a><a href="#Footnote_2486" class="fnanchor">2486</a></p> - -<p>16. Leon, son of Antikleidas (or Antalkidas), of Sparta.<a id="FNanchor_2487"></a><a href="#Footnote_2487" class="fnanchor">2487</a> A fragment -of Polemon<a id="FNanchor_2488"></a><a href="#Footnote_2488" class="fnanchor">2488</a> mentions a statue of this victor. It may have stood in -Olympia, as Foerster without good grounds assumes, or it may have -stood elsewhere.</p> - -<p>17. Eubotas (Eubatas or Eubatos), of Kyrene.<a id="FNanchor_2489"></a><a href="#Footnote_2489" class="fnanchor">2489</a> Besides his statue -at Olympia recorded by Pausanias (VI, 8.3), we learn of another set -up at Kyrene by the victor’s wife for his devotion.<a id="FNanchor_2490"></a><a href="#Footnote_2490" class="fnanchor">2490</a></p> - -<p><span class="pagenum"><a id="Page_367">367</a></span></p> - -<p>18. Promachos, son of Dryon, of Pellene in Achaia.<a id="FNanchor_2491"></a><a href="#Footnote_2491" class="fnanchor">2491</a> Pausanias -not only mentions a bronze statue of this victor at Olympia (VI, 8.5–6), -but also records one of stone dedicated likewise by his townsmen in the -Old Gymnasion of Pellene (VII, 27.5).</p> - -<p class="p padt05">Of the fifth or fourth centuries <span class="smcap lowercase">B. C.</span>:</p> - -<p>19. An unknown victor, of Argos or (?) Tegea.<a id="FNanchor_2492"></a><a href="#Footnote_2492" class="fnanchor">2492</a> Aristotle mentions -an inscription from a statue of an Olympic victor in two passages of -his <i>Rhetoric</i>.<a id="FNanchor_2493"></a><a href="#Footnote_2493" class="fnanchor">2493</a> This epigram was repeated by Aristophanes of Byzantion,<a id="FNanchor_2494"></a><a href="#Footnote_2494" class="fnanchor">2494</a> -who wrongly ascribed it to Simonides.<a id="FNanchor_2495"></a><a href="#Footnote_2495" class="fnanchor">2495</a> Where this statue -stood can not be determined.</p> - -<p class="p padt05">Of the fourth century <span class="smcap lowercase">B. C.</span>:</p> - -<p>20. Kyniska, daughter of Archidamos I, of Sparta.<a id="FNanchor_2496"></a><a href="#Footnote_2496" class="fnanchor">2496</a> Pausanias, -before mentioning the monumental group at Olympia by Apellas of -Megara, which consisted of the statues of Kyniska and her charioteer -standing beside a huge bronze chariot and horses (VI. 1.6), and the -small bronze chariot by the same sculptor, set up in her honor in the -vestibule of the temple of Zeus (V, 12.5), records that there was a -shrine in Sparta at Plane-tree Grove, near the youths’ exercise ground, -erected to the heroine Kyniska (III, 15.1). This latter dedication, -therefore, was not properly a victor monument, though Pausanias in -the same book says that Kyniska was the first Greek woman to train -horses and to win a prize at Olympia (III, 8.1).</p> - -<p>21. Euryleonis, a victress of Sparta.<a id="FNanchor_2497"></a><a href="#Footnote_2497" class="fnanchor">2497</a> Pausanias says that she had -a statue in her native city near the so-called Σκήνωμα, “Tent” (III, -17.6). 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 ephors.<a id="FNanchor_2498"></a><a href="#Footnote_2498" class="fnanchor">2498</a></p> - -<p><span class="pagenum"><a id="Page_368">368</a></span></p> - -<p>22. Archias, son of Eukles, of Hybla.<a id="FNanchor_2499"></a><a href="#Footnote_2499" class="fnanchor">2499</a> An epigram in the <i>Greek -Anthology</i><a id="FNanchor_2500"></a><a href="#Footnote_2500" class="fnanchor">2500</a> speaks of a statue of this victor at Delphi.</p> - -<p>23. [Phil]okrates, son of Antiphon, of Athens (deme of Krioa).<a id="FNanchor_2501"></a><a href="#Footnote_2501" class="fnanchor">2501</a> -An inscribed base of the statue of this victor has been found in Athens.<a id="FNanchor_2502"></a><a href="#Footnote_2502" class="fnanchor">2502</a></p> - -<p>24. An unknown victor. An inscribed base, found near the Portico -of Attalos in Athens, records the victories of an unknown athlete at -several games, including one in the παγκράτιον ἀνδρῶν at Olympia.<a id="FNanchor_2503"></a><a href="#Footnote_2503" class="fnanchor">2503</a></p> - -<p>25. Phorystas, son of Thriax (or Triax), of (?) Tanagra.<a id="FNanchor_2504"></a><a href="#Footnote_2504" class="fnanchor">2504</a> The inscribed -base of the statue of this victor, giving Kaphisias of Bœotia as -the sculptor, has been discovered in the ruins of Tanagra.<a id="FNanchor_2505"></a><a href="#Footnote_2505" class="fnanchor">2505</a> His brother -Pammachos won παγκράτιον παίδων at Nemea, and had a statue at -Thebes, the work of Teisikrates, the inscribed base of which has been -recovered.<a id="FNanchor_2506"></a><a href="#Footnote_2506" class="fnanchor">2506</a></p> - -<p class="p padt05">Of the fourth or third centuries <span class="smcap lowercase">B. C.</span>:</p> - -<p>26. Aristophon, son of Lysinos, of Athens.<a id="FNanchor_2507"></a><a href="#Footnote_2507" class="fnanchor">2507</a> Besides his statue at -Olympia, set up at the cost of the people of Athens, mentioned by Pausanias -(VI, 13.11; <i>cf.</i> VI, 14.1), we have the inscription from the -base of another which was set up on the Athenian Akropolis.<a id="FNanchor_2508"></a><a href="#Footnote_2508" class="fnanchor">2508</a></p> - -<p>27. Attalos, father of King Attalos I,<a id="FNanchor_2509"></a><a href="#Footnote_2509" class="fnanchor">2509</a> of Pergamon.<a id="FNanchor_2510"></a><a href="#Footnote_2510" class="fnanchor">2510</a> The inscribed -base of his great victor monument, erected by Epigonos, has been dis- -covered at Pergamon.<a id="FNanchor_2511"></a><a href="#Footnote_2511" class="fnanchor">2511</a></p> - -<p class="p padt05">Of the second century <span class="smcap lowercase">B. C.</span>: none.</p> - -<p>Of the first century <span class="smcap lowercase">B. C.</span>: none.</p> - -<p><span class="pagenum"><a id="Page_369">369</a></span></p> - -<p>Of the first century <span class="smcap lowercase">A. D.</span>:</p> - -<p>28. Xenodamos, of Antikyra in Phokis.<a id="FNanchor_2512"></a><a href="#Footnote_2512" class="fnanchor">2512</a> Pausanias mentions a -bronze statue of this victor in the Old Gymnasion at Antikyra (X, -36.9). G. Hirschfeld<a id="FNanchor_2513"></a><a href="#Footnote_2513" class="fnanchor">2513</a> had objected to the statement of Pausanias, in -the passage cited, “that this was the only Olympiad omitted in the -Elean register,” because of its inconsistency with other passages which -state that in the 8th Olympiad,<a id="FNanchor_2514"></a><a href="#Footnote_2514" class="fnanchor">2514</a> in the 34th,<a id="FNanchor_2515"></a><a href="#Footnote_2515" class="fnanchor">2515</a> and in the 104th,<a id="FNanchor_2516"></a><a href="#Footnote_2516" class="fnanchor">2516</a> the -games were celebrated by intruders, and not by the Eleans, and -hence these Olympiads were regarded as invalid and were not entered -in the Elean registers. However, as Frazer points out,<a id="FNanchor_2517"></a><a href="#Footnote_2517" class="fnanchor">2517</a> the case with -Ol. 211 was different. It was doubtless celebrated by the Eleans -themselves and its validity was not questioned, but either it was -never entered in the register, or, if entered, was later struck out. -Africanus (<i>cf.</i> Philostratos)<a id="FNanchor_2518"></a><a href="#Footnote_2518" class="fnanchor">2518</a> says that the celebration of this Olympiad, -which should have fallen 65 <span class="smcap lowercase">A. D.</span>, was deferred two years to favor -Nero, who in 67 <span class="smcap lowercase">A. D.</span> received prizes in six events, including the ten-horse -chariot-race.<a id="FNanchor_2519"></a><a href="#Footnote_2519" class="fnanchor">2519</a> The Eleans, later being ashamed of thus favoring -the tyrant, probably removed Ol. 211 from the register after his death. -It may be that for the same reason statues of victors of that Olympiad -were not set up in the Altis, which would explain why that of Xenodamos -was set up in his native city, where Pausanias saw it. Not -finding his name in the Elean register, Pausanias would reason that -this victory fell in the disgraced Ol. 211.<a id="FNanchor_2520"></a><a href="#Footnote_2520" class="fnanchor">2520</a></p> - -<p>28a. Titos Phlabios Artemidoros, son of Artemidoros, of Adana in -Kilikia.<a id="FNanchor_2521"></a><a href="#Footnote_2521" class="fnanchor">2521</a> The inscribed marble tablet from the base of the statue which -this victor erected in Naples in honor of his father Artemidoros, son of -Athenodoros, is preserved. It contains a list of his own many victories -in παγκράτιον and πάλη in games held in Greece, Italy, Asia Minor, and -Egypt. Though the statue was erected to his father, the long inscription -shows that it was intended quite as much to celebrate his own -athletic prowess.<a id="FNanchor_2522"></a><a href="#Footnote_2522" class="fnanchor">2522</a></p> - -<p>29. Titos Phlabios Metrobios, son of Demetrios, of Iasos, Karia.<a id="FNanchor_2523"></a><a href="#Footnote_2523" class="fnanchor">2523</a> -The inscribed base of his statue has been found in Iasos.<a id="FNanchor_2524"></a><a href="#Footnote_2524" class="fnanchor">2524</a></p> - -<p><span class="pagenum"><a id="Page_370">370</a></span></p> - -<p>30. Sarapion, of Alexandria, Egypt.<a id="FNanchor_2525"></a><a href="#Footnote_2525" class="fnanchor">2525</a> Pausanias mentions two statues -of this victor, which stood on either side of the entrance to the -Gymnasion in Elis known as the Maltho. He adds that they were -erected by the Eleans in gratitude for the bestowal of corn in a time of -famine (VI, 23.6). He is not to be confounded with other victors of -the same name.<a id="FNanchor_2526"></a><a href="#Footnote_2526" class="fnanchor">2526</a></p> - -<p class="p padt05">Of the second century <span class="smcap lowercase">A. D.</span>:</p> - -<p>31. Markos Aurelios Demetrios, of Alexandria, Egypt.<a id="FNanchor_2527"></a><a href="#Footnote_2527" class="fnanchor">2527</a> His son, -M. Aurelios Asklepiades, dedicated a statue to him in Rome, the inscription -from the base of which has been recovered.<a id="FNanchor_2528"></a><a href="#Footnote_2528" class="fnanchor">2528</a></p> - -<p>32. Unknown victor, from Magnesia ad Sipylum, in Lydia.<a id="FNanchor_2529"></a><a href="#Footnote_2529" class="fnanchor">2529</a> His -statue in Magnesia is known from the recovered inscribed base.<a id="FNanchor_2530"></a><a href="#Footnote_2530" class="fnanchor">2530</a></p> - -<p>33. Kranaos or Granianos, of Sikyon.<a id="FNanchor_2531"></a><a href="#Footnote_2531" class="fnanchor">2531</a> Pausanias mentions a bronze -statue of this victor as standing in the precincts of the temple of -Asklepios, on the hill of Titane, near Sikyon (II, 11.8).</p> - -<p>34. Titos Ailios Aurelios Apollonios, of Tarsos.<a id="FNanchor_2532"></a><a href="#Footnote_2532" class="fnanchor">2532</a> A statue of this -victor stood in Athens, as we learn from its preserved inscribed base.<a id="FNanchor_2533"></a><a href="#Footnote_2533" class="fnanchor">2533</a></p> - -<p>35. Mnasiboulos, of Elateia in Phokis.<a id="FNanchor_2534"></a><a href="#Footnote_2534" class="fnanchor">2534</a> His fellow citizens erected -a bronze statue in honor of his repelling the robber horde of the<span class="pagenum"><a id="Page_371">371</a></span> -Kostobokoi, who overran Greece in the days of Pausanias (X, 34.5). -The statue stood in “Runner” street.</p> - -<p class="p padt05">Of the third century <span class="smcap lowercase">A. D.</span>:</p> - -<p>36. Aurelios Toalios, of (?) Oinoanda, Lykia.<a id="FNanchor_2535"></a><a href="#Footnote_2535" class="fnanchor">2535</a> The inscribed base -of the statue of this victor has been found in Oinoanda.<a id="FNanchor_2536"></a><a href="#Footnote_2536" class="fnanchor">2536</a></p> - -<p>37. Aurelios Metrodoros, of Kyzikos.<a id="FNanchor_2537"></a><a href="#Footnote_2537" class="fnanchor">2537</a> The inscribed base of his -statue was found in Kyzikos, and is now in Constantinople.<a id="FNanchor_2538"></a><a href="#Footnote_2538" class="fnanchor">2538</a></p> - -<p>38. Valerios Eklektos, of Sinope.<a id="FNanchor_2539"></a><a href="#Footnote_2539" class="fnanchor">2539</a> Besides his monument at Olympia, -which was erected immediately after 261 <span class="smcap lowercase">A. D.</span>,<a id="FNanchor_2540"></a><a href="#Footnote_2540" class="fnanchor">2540</a> we know, from an -inscription, of another statue dedicated to him in Athens some time -between 253 and 257 <span class="smcap lowercase">A. D.</span><a id="FNanchor_2541"></a><a href="#Footnote_2541" class="fnanchor">2541</a></p> - -<p class="p padt05">Of the fourth century <span class="smcap lowercase">A. D.</span>:</p> - -<p>39. Klaudios Rhouphos, also called Apollonios the Pisan, son of -Klaudios Apollonios, of Smyrna.<a id="FNanchor_2542"></a><a href="#Footnote_2542" class="fnanchor">2542</a> 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 Rome.<a id="FNanchor_2543"></a><a href="#Footnote_2543" class="fnanchor">2543</a></p> - -<p>40. Philoumenos, of Philadelphia, in Lydia.<a id="FNanchor_2544"></a><a href="#Footnote_2544" class="fnanchor">2544</a> The closing verse of -an inscription belonging to the base of his statue is preserved in Panodoros.<a id="FNanchor_2545"></a><a href="#Footnote_2545" class="fnanchor">2545</a> -Where the statue stood can not be determined.</p> - -<p class="p padt05">Of unknown dates:</p> - -<p>41. Ainetos, of (?) Amyklai.<a id="FNanchor_2546"></a><a href="#Footnote_2546" class="fnanchor">2546</a> Pausanias mentions the portrait -statue of this victor at Amyklai (III, 18. 7). He says that he expired -even while the crown was being placed on his head.</p> - -<p><span class="pagenum"><a id="Page_372">372</a></span></p> - -<p>42. Nikokles, of Akriai in Lakonia.<a id="FNanchor_2547"></a><a href="#Footnote_2547" class="fnanchor">2547</a> Pausanias mentions a monument -(μνῆμα) erected in his honor at Akriai, between the Gymnasion -and the sea-wall (III, 22.5).</p> - -<p>43. Aigistratos, son of Polykreon, of Lindos in Rhodes.<a id="FNanchor_2548"></a><a href="#Footnote_2548" class="fnanchor">2548</a> A statue -of this victor was set up at Lindos, as we learn from the preserved -inscription on its base found there.<a id="FNanchor_2549"></a><a href="#Footnote_2549" class="fnanchor">2549</a> He is called in the inscription -the first Lindian victor at Olympia.</p> - -<p>44. An unknown victor, of (?) Delphi.<a id="FNanchor_2550"></a><a href="#Footnote_2550" class="fnanchor">2550</a> The inscribed base of his -statue, with remains of the dedication, was found many years ago at -Delphi by Cockerell.<a id="FNanchor_2551"></a><a href="#Footnote_2551" class="fnanchor">2551</a></p> - -<p class="p padt05">We have records of other monuments erected to victors, but it is not -clear whether the victories recorded were won at Olympia or elsewhere. -We list the following three doubtful cases, which have already been -noted in earlier chapters:</p> - -<p>1. Epicharinos. Pausanias mentions the statue Ἐπιχαρίνου ὁπλιτοδρομεῖν -ἀσκήσαντος, by the sculptor Kritios, as standing upon the -Athenian Akropolis (I, 23.9). The inscribed base of this monument -was found in 1839, between the Propylaia and the Parthenon.<a id="FNanchor_2552"></a><a href="#Footnote_2552" class="fnanchor">2552</a> The -inscription states that the statue was the joint work of Kritios (thus -correcting the spelling Κριτίας of Pausanias) and Nesiotes. It was, -therefore, a work of the first half of the fifth century <span class="smcap lowercase">B. C.</span>, the date -of the sculptors of the <i>Tyrannicides</i> (Fig. <a href="#f32">32</a>). Ross added the word -ὁπλιτοδρόμος after the name in the inscription. Michaelis,<a id="FNanchor_2553"></a><a href="#Footnote_2553" class="fnanchor">2553</a> however, -has inserted the name of the victor’s father. Wilamowitz<a id="FNanchor_2554"></a><a href="#Footnote_2554" class="fnanchor">2554</a> went -further and assumed that Polemon, from whom Pausanias derived -the account, had already falsely restored the inscription and that the -statue did not represent Epicharinos, but another victor. This theory -has been rightly controverted by many scholars.<a id="FNanchor_2555"></a><a href="#Footnote_2555" class="fnanchor">2555</a> It is clear that -Pausanias got his information from the monument, and not from the -inscription.</p> - -<p>2. Hermolykos, son of Euthoinos or Euthynos. Pausanias mentions -the statue of the pancratiast Hermolykos as standing on the<span class="pagenum"><a id="Page_373">373</a></span> -Akropolis at Athens (I, 23.10). This was probably Hermolykos the -pancratiast, who is recorded by Herodotos as having distinguished -himself at the battle of Mykale in 479 <span class="smcap lowercase">B. C.</span>, and as having been afterwards -killed in battle at Kyrnos in Euboia and buried at Geraistos.<a id="FNanchor_2556"></a><a href="#Footnote_2556" class="fnanchor">2556</a> -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 1839, dedicated by -Hermolykos, the son of Diitrephes, the work of the sculptor Kresilas,<a id="FNanchor_2557"></a><a href="#Footnote_2557" class="fnanchor">2557</a> -and that the Periegete mistook the latter for the one mentioned by Herodotos.<a id="FNanchor_2558"></a><a href="#Footnote_2558" class="fnanchor">2558</a> -However, Frazer finds this explanation “arbitrary and highly -improbable,” and believes that the base in question supported the -statue of Diitrephes, pierced with arrows, also mentioned by Pausanias -(I, 23.3).<a id="FNanchor_2559"></a><a href="#Footnote_2559" class="fnanchor">2559</a> Kirchhoff distinguished not only the statue of Hermolykos -mentioned by Pausanias and the dedication of Hermolykos revealed by -the recovered base, but both of these from the statue of the wounded -man mentioned by Pliny (<i>H. N.</i>, XXXIV, 74). While J. Six assumed -that Hermolykos, son of Diitrephes, dedicated the Kresilæan statue in -honor of his grandfather Hermolykos, son of Euthoinos, and that Pausanias -wrongly gathered from the inscribed base that the statue represented -Diitrephes,<a id="FNanchor_2560"></a><a href="#Footnote_2560" class="fnanchor">2560</a> Furtwaengler believed that Diitrephes was the older -warrior of the name, mentioned by Thukydides,<a id="FNanchor_2561"></a><a href="#Footnote_2561" class="fnanchor">2561</a> and that Pausanias, -who knew nothing of him, wrongly connected his statue with the -younger one of that name.<a id="FNanchor_2562"></a><a href="#Footnote_2562" class="fnanchor">2562</a></p> - -<p>3. Isokrates, son of Theodoros, of Athens. The pseudo-Plutarch -mentions a bronze statue of Isokrates, in the form of a παῖς κελητίζων, -on the Athenian Akropolis.<a id="FNanchor_2563"></a><a href="#Footnote_2563" class="fnanchor">2563</a> As the orator was born in 436 <span class="smcap lowercase">B. C.</span>, -his youthful victory among the horse-racers must have occurred about -420 <span class="smcap lowercase">B. C.</span></p> - -<p><span class="pagenum"><a id="Page_374">374</a></span></p> - -<h3>SUMMARY OF RESULTS.</h3> - -<p>We have found, then, from the literary sources examined, that there -are at least 44 Olympic victors, to whom a total of 47 monuments were -erected outside Olympia.<a id="FNanchor_2564"></a><a href="#Footnote_2564" class="fnanchor">2564</a> These monuments were of various kinds—1 -inscribed tablet, 1 Pindaric ode engrossed on a temple wall, 3 -temples or shrines, 37 statues (one of them apparently iconic), bronze -horses (? quadriga), and 4 dedications which are not further described. -Thus the bulk of these monuments, as of those at Olympia, consisted -of statues. Of the 29 monuments erected to 27 victors in the pre-Christian -centuries, 3 were dedicated in the seventh,<a id="FNanchor_2565"></a><a href="#Footnote_2565" class="fnanchor">2565</a> 4 in the sixth, -13 (to 11 victors) in the fifth, 1 in the fifth or fourth, 6 in the fourth,<a id="FNanchor_2566"></a><a href="#Footnote_2566" class="fnanchor">2566</a> -1 in the fourth or third, and 1 in the third. There is no record of -such a dedication in the second and first centuries <span class="smcap lowercase">B. C.</span> Of the 14 -monuments erected to 13 victors known to belong to the post-Christian -centuries, 4 (to 3 victors) belong to the first, 5 to the second, 3 -to the third and 2 to the fourth; 4 others were set up to 4 victors -whose dates can not be determined. Of other monuments mentioned -(though not included in our figures) 3 may or may not have been -erected to Olympic victors. We find that the greatest number of -dedications was made in the fifth century <span class="smcap lowercase">B. C.</span>, just as we found was -the case in regard to those at Olympia.<a id="FNanchor_2567"></a><a href="#Footnote_2567" class="fnanchor">2567</a> Of these victors, 10 also -had monuments at Olympia. The total number of Olympic victor -monuments, therefore, at Olympia and elsewhere of which we have -record, amounts to 302.<a id="FNanchor_2568"></a><a href="#Footnote_2568" class="fnanchor">2568</a></p> - -<p><span class="pagenum"><a id="Page_375">375</a></span></p> - -<h3>STATISTICS OF OLYMPIC VICTOR STATUARIES.</h3> - -<p>In conclusion, we shall briefly summarize the number and dates of -the sculptors of Olympic victor monuments who are known to us from -all sources.<a id="FNanchor_2569"></a><a href="#Footnote_2569" class="fnanchor">2569</a> Pausanias names 52 such sculptors, who made 102 of the -192 monuments listed by him. Of the 42 “honor” statues erected in -the Altis to 35 men, Pausanias mentions only two sculptors, Lysippos, -who also appears among the victor statuaries, and Mikon of Syracuse, -who does not.<a id="FNanchor_2570"></a><a href="#Footnote_2570" class="fnanchor">2570</a> Pliny names 24, or nearly one-half of the athlete -sculptors mentioned by Pausanias.<a id="FNanchor_2571"></a><a href="#Footnote_2571" class="fnanchor">2571</a> No new name of an artist appears -either on the inscribed bases found at Olympia and referred to the -monuments recorded by Pausanias, or on the 63 bases discovered -there, which can not be so referred. Of the 52 sculptors known to us -from Pausanias and inscriptions, the dates can be assigned definitely -or approximately thus: of the seventh century <span class="smcap lowercase">B. C.</span>, none; of the sixth -century <span class="smcap lowercase">B. C.</span>, second half, 2; end, 2; of the end of the sixth and beginning -of the fifth centuries <span class="smcap lowercase">B. C.</span>, 1; of the fifth century <span class="smcap lowercase">B. C.</span>, first half, 9; -middle, 4; second half, 3; end, 2; of the fourth century <span class="smcap lowercase">B. C.</span>, first half, -11; middle, 1; second half, 2; end, 3; of the end of the fourth and -beginning of the third centuries <span class="smcap lowercase">B. C.</span>, 3; of the third century <span class="smcap lowercase">B. C.</span>, -first half, 1; second half, 1; end, 2; of the end of the third and beginning -of the second centuries <span class="smcap lowercase">B. C.</span>, 1; of the second century <span class="smcap lowercase">B. C.</span>, first half, 2. -No sculptor is named who lived certainly later than the second century -<span class="smcap lowercase">B. C.</span> In addition to these results, 1 sculptor can be assigned only -roughly to the period subsequent to Alexander the Great, and the epoch -of still another can not be determined. Of the 37 statues listed above -as erected to Olympic victors outside Olympia—<i>i. e.></i>, the major portion -of the whole number of 47 monuments of various sorts set up in honor -of 44 victors—the names of only four artists are known. Three of -these—Myron, Pythagoras of Rhegion, and Lysippos—also worked at -Olympia. The name, therefore, of only one new sculptor, Kaphisias -of Bœotia, who lived in the fourth century <span class="smcap lowercase">B. C.</span>, can be added from -this source, which makes the grand total of victor statuaries known -to us 53.</p> - -<p><span class="pagenum"><a id="Page_376">376</a></span></p> - -<div class="figcenter500"><p class="right">PLAN A</p> -<img src="images/i_plan_a.jpg" width="3422" height="2097" alt="" /> -<div class="caption">THE ALTIS AT OLYMPIA<br /> -<small>IN THE GREEK PERIOD<br /> -(THIRD CENTURY B. C.)<br /> -Adapted from Doerpfeld</small> -</div></div> - -<p class="center"><a href="images/i_plan_a.jpg">zoom</a></p> - -<div class="figcenter500"><p class="right">PLAN B</p> -<img src="images/i_plan_b.jpg" width="3388" height="2136" alt="" /> -<div class="caption">THE ALTIS AT OLYMPIA<br /> -<small>IN THE ROMAN PERIOD<br /> -(SECOND CENTURY A. D.)<br /> -Adapted from Doerpfeld</small> -</div></div> - -<p class="center"><a href="images/i_plan_b.jpg">zoom</a></p> -<hr /> - -<p><span class="pagenum"><a id="Page_377">377</a></span></p> - -<h2>FOOTNOTES</h2> - -<div class="footnote"> - -<p><a id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">1</span></a> <i>Cf.</i> Gardiner, pp. 8–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">2</span></a> See <i>infra</i>, p. 228 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_3"></a><a href="#FNanchor_3"><span class="label">3</span></a> <i>B. S. A.</i>, XI, 1904–5, fig. 7 and pp. 12–14. The horse -also appears on clay documents from Knossos with royal chariots and -also on tombstones and fragmentary frescoes of Mycenæ; for the -latter, see <i>Arch. Eph.</i>, 1887, Pl. XI. On the Libyan origin of the -first horses introduced into Greece, see W. Ridgeway, <i>The Origin and -Influence of the Thoroughbred Horse</i>, 1905, p. 480.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_4"></a><a href="#FNanchor_4"><span class="label">4</span></a> See the bull depicted on a seal from Praisos, to be -mentioned below: Angelo Mosso, <i>The Palaces of Crete</i>, 1907, p. 218, -fig. 98. The Italian Mission found at Hagia Triada the bones of a -gigantic bull, and Mosso (<i>cf.</i> p. 216, n. 1) found the remains of one -at Phaistos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_5"></a><a href="#FNanchor_5"><span class="label">5</span></a> <i>B. S. A.</i>, VII, 1900–1, pp. 94 f. and VIII, 1901–2, -p. 74; Mosso, <i>op. cit.</i>, pp. 216–218; H. R. Hall, <i>Anc. History of -the Near East</i>, 1913, Pl. IV., 2; Mrs. R. C. Bosanquet, <i>Days in -Attica</i>, 1914, Pl. II; Richter, <i>Hbk. of the Classical Collection of -the Metropolitan Museum of Art</i>, 1917, p. 23, fig. 13. As Dr. Evans’ -<i>Atlas</i> has not yet appeared, the plate in the text is taken from a -watercolor by Gilliéron, in the museum of Liverpool.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_6"></a><a href="#FNanchor_6"><span class="label">6</span></a> It has often been pictured and described: <i>e. g.</i>, -Schliemann, <i>Tiryns</i>, 1885, Pl. XIII; Schuchhardt, <i>Schliemann’s -Excavations</i>, 1891, pp. 119 f. and fig. 111; Tsountas-Manatt, <i>The -Mycenæan Age</i>, 1897, p. 51, fig. 12; Perrot-Chipiez, VI, p. 887, -fig. 439; Mosso, <i>op. cit.</i>, p. 220, fig. 100; H. B. Walters, <i>The -Art of the Greeks</i>, 1906, Pl. LIX; Springer-Michaelis, p. 113, -fig. 242; <i>Tiryns, Die Ergebn. d. Ausgrab. d deutsch. Instituts in -Athen</i>, II, 1912, Pl. XVIII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_7"></a><a href="#FNanchor_7"><span class="label">7</span></a> On analogy with the Knossos fresco this figure, because -of its white skin, should be that of a woman and not of a man, as the -usual color of the latter is red. However, the charioteers painted -white on frescoes discovered at Tiryns in 1910, which represent a -boar hunt (see Rodenwaldt, <i>A. M.</i>, XXXVI, 1911, pp. 198 f. and fig. -2, p. 201, restored; see also <i>Tiryns</i>, II, Pl. XII, in color) are -regarded by Hall as youths and not women. He remarks that in Egypt -young princes, who led the “sheltered life,” were often represented on -monuments as pale, though red was the more usual color: see Hall, <i>op. -cit.</i>, p. 58 and n. 1; <i>id.</i>, <i>Aegean Archæology</i>, 1914, p. -190 and fig. 74 on p. 192. Rodenwaldt interprets them as female: <i>l. -c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_8"></a><a href="#FNanchor_8"><span class="label">8</span></a> XV, 679 f. F. Marx, <i>Jb.</i>, IV, 1889, pp. 119 f., on the -analogy to certain coin types, saw in this fresco a representation of -river divinities.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_9"></a><a href="#FNanchor_9"><span class="label">9</span></a> Mosso, <i>op. cit.</i>, p. 298, fig. 98.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_10"></a><a href="#FNanchor_10"><span class="label">10</span></a> See Mosso, p. 311, fig. 153.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_11"></a><a href="#FNanchor_11"><span class="label">11</span></a> Here the paved space measures only about 30 by 40 feet -and the two tiers of seats would seat only 400 to 500 spectators: <i>B. -S. A.</i>, IX, 1902–03, p. 105, fig. 69; see Mosso, p. 315, -fig. 154, and Baikie, <i>The Sea Kings of Crete</i>, 1913, Pls. -XXI (before restoration), XXII (restored).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_12"></a><a href="#FNanchor_12"><span class="label">12</span></a> See Burrows, <i>The Discoveries in Crete</i>, 1907, p. 5. The -one at Knossos maybe the “choros” wrought by Daidalos for Ariadne: -<i>Iliad</i>, XVIII, 590–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_13"></a><a href="#FNanchor_13"><span class="label">13</span></a> <i>B. S. A.</i>, VIII, 1901–2, pp. 72–4, fig. 39 (arm); Pls. -II, III; Baikie, <i>op. cit.</i>, Pl. XIX; H. R. Hall, <i>Aegean Archæology</i>, -Pl. XXX, 2; Mosso, <i>op. cit.</i>, p. 222, fig. 102; <i>cf.</i> Burrows, <i>op. -cit.</i>, p. 21; Bulle, p. 49, fig. 7; Springer-Michaelis, p. 103, fig. -228.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_14"></a><a href="#FNanchor_14"><span class="label">14</span></a> Remains of copper wire with gold foil twisted around it -still adhere to the head of one statuette.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_15"></a><a href="#FNanchor_15"><span class="label">15</span></a> See Mosso, <i>op. cit.</i>, p. 221, fig. 101; <i>B. S. A.</i>, VII, -1900–01, p. 88.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_16"></a><a href="#FNanchor_16"><span class="label">16</span></a> Hall, <i>Aegean Archæology</i>, pp. 55–6. Though discovered in -1889 in a bee-hive tomb near Sparta, these famous cups are obviously -importations from Crete, the work of an artist of the late Minoan I -period. Similarly, the lion-hunt on the dagger-blade from Mycenæ is -akin to Cretan art, if not its product. These cups have been often -pictured: <i>e. g.</i>, <i>Arch. Eph.</i>, 1889, Pl. IX; Schuchhardt, Pl. III -(App., pp. 350 f.); <i>B. C. H.</i>, IV, 1891, Pls. XI-XII (in color), -XIII-XIV; Tsountas-Manatt, <i>op. cit.</i>, pp. 227–8, figs. 113–114; -Perrot-Chipiez, VI, Pl. XV (in color) and pp. 786–7, figs. 369–370; -H. B. Walters, <i>op. cit.</i>, Pl. V; Mosso, <i>op. cit.</i>, pp. 223 f., -figs. 103, a, b, and 104, a, b, c; Hall, <i>op. cit.</i>, Pl. XV. 1, -and <i>cf. id.</i>, <i>Ancient History of the Near East</i>, pp. 54–5, n. 1; -Springer-Michaelis, pp. 104–5, figs. 230 a, b; J. H. Breasted, <i>Ancient -Times</i>, 1916, fig. 140, opp. p. 234.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_17"></a><a href="#FNanchor_17"><span class="label">17</span></a> 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 Knossos: see Burrows, <i>op. cit.</i>, p. 88 -and <i>cf.</i> pp. 136–7. Here there are two successive scenes; first -the agrimi (wild goat) is startled and springs away; 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 strike: see Evans, -<i>Prehistoric Tombs of Knossos</i>, 1906, p. 57, fig. 59; <i>cf.</i> also bronze -inlaid dagger-blade from Mycenæ, showing hunting scenes on each face; -Perrot-Chipiez, VI, Pl. XVII, 1 (panther hunting wild ducks, in color), -XVIII, 3–4, (lion-hunt by men and lions chasing gazelles, in color); -<i>cf.</i> Tsountas-Manatt, <i>op. cit.</i>, pp. 200–2; Springer-Michaelis, Pl. -V, 2a, b, 3; Schuchhardt, <i>op. cit.</i>, p. 229, fig. 227; <i>cf.</i> Burrows, -<i>op. cit.</i>, p. 136.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_18"></a><a href="#FNanchor_18"><span class="label">18</span></a> <i>Op. cit.</i>, pp. 224–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_19"></a><a href="#FNanchor_19"><span class="label">19</span></a> See Boeckh, p. 319, on <i>Pyth.</i>, II, 78. The same word -occurs also in an inscription on a late relief from Smyrna, which -shows horsemen pursuing bulls, leaping on their backs and seizing -their horns; <i>C. I. G.</i>, II, 3212; also in an inscription from Sinope: -<i>ibid.</i>, III, 4157 (line 5); an inscription from Aphrodisias calls -such men ταυροκαθάπται; <i>ibid.</i>, II, Add., 2759b. The -evidence shows that Gardiner, p. 9, n. 2, is wrong in connecting the -<i>taurokathapsia</i> with the hunting-field instead of with the circus. -He cites the Smyrna relief above mentioned (in the Ashmolean Museum -at Oxford, no. 219), which, however, should be interpreted as an -acrobatic scene. See J. Baunack, <i>Rhein. Mus.</i>, XXXVIII, 1883, pp. 293 -f., who discusses bull-fighting in Thessaly and Rome and quotes five -inscriptions of Hellenic times to show that beast fights were common in -Asia Minor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_20"></a><a href="#FNanchor_20"><span class="label">20</span></a> <i>Cf.</i> Mosso, <i>op. cit.</i>, pp. 214–215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_21"></a><a href="#FNanchor_21"><span class="label">21</span></a> Iliad, XVIII, 605–6 (= Od., IV, 18–19).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_22"></a><a href="#FNanchor_22"><span class="label">22</span></a> Iliad, XVI, 742–50.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_23"></a><a href="#FNanchor_23"><span class="label">23</span></a> Hdt., VI, 129.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_24"></a><a href="#FNanchor_24"><span class="label">24</span></a> No. 243; see Salzmann, <i>Le Nécropole de Cameiros</i>, Pl. -LVII; Gardiner, p. 245, fig. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_25"></a><a href="#FNanchor_25"><span class="label">25</span></a> <i>E. g.</i>, on one found at Knossos in 1903: <i>B. S. A.</i>, IX, -1902–3, p. 57, and fig. 35 on p. 56. Here the attitude of the boxer -is almost identical with that on the pyxis to be described below. A -fuller design of the same sort may be seen on a seal from Hagia Triada -mentioned in <i>B. S. A.</i>, IX, p. 57, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_26"></a><a href="#FNanchor_26"><span class="label">26</span></a> Hall, <i>Aegean Archæology</i>, p. 33 (c. 1600 B. C.); for -description, <i>ibid.</i>, pp. 61–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_27"></a><a href="#FNanchor_27"><span class="label">27</span></a> <i>Op. cit.</i>, p. 211. In this respect it should be compared -with the relief on the archaic (sixth-century B. C.) Attic tripod vase -from Tanagra, now in Berlin, which shows scenes of boxing, wrestling, -and running: <i>A. Z.</i>, III, 1881, pp. 30 f. and Pls. III, IV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_28"></a><a href="#FNanchor_28"><span class="label">28</span></a> P., V, 8. 1, says Klymenos came from Crete fifty years -after Deukalion’s flood and held games at Olympia; <i>cf.</i> VI, 21.6. -Aristotle assigns the whole political and educational system of Sparta -to a Cretan origin: <i>Politics</i>, II, 10f., 1271b., f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_29"></a><a href="#FNanchor_29"><span class="label">29</span></a> See R. Paribeni, <i>Rendiconti della R. Accad. dei Lincei</i>, -XII, 1903, fasic. 70, p. 17; F. Halbherr, <i>ibid.</i>, XIV, 1905, pp. 365 -f., fig. 1; Burrows, <i>op. cit.</i>, Pl. 1; Mosso, <i>op. cit.</i>, p. 212. fig. -93; Hall, <i>Aegean Archæology</i>, Pl. XVI (from cast in Museum of Candia, -whence our plate); <i>cf. id.</i>, <i>Anc. Hist. Near East</i>, Pl. IV., 5. A -copy is in the Metropolitan Museum, New York: see <i>Hbk. of Classical -Collection</i>, p. 16, fig. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_30"></a><a href="#FNanchor_30"><span class="label">30</span></a> Detail of zone, Mosso, p. 213, fig. 94. The acrobat -wears just such striped boots and bracelets as the man and women on -the fresco from Knossos. The man binding the legs of the bull on the -Vapheio cup wears similar apparel. Similar scenes of gymnasts vaulting -over a bull’s back are seen on the seal of a bracelet found at Knossos -in 1902: <i>B. S. A.</i>, VIII, 1901–2, p. 18, fig. 43; Mosso, p. 214, fig. -95a; also on the intaglio of a ring in Athens: Mosso, p. 215, fig. 95b. -Scenes of gymnasts with bulls at rest are common on seal impressions: -<i>e. g.</i>, on one from Mycenæ in Athens, Mosso, p. 217, fig. 97; on the -one in Candia already mentioned, <i>ibid.</i>, fig. 98; <i>cf.</i> Bosanquet, -Excavations at Praisos, <i>B. S. A.</i>, VIII, p. 252, who believes the bull -has been surprised by a hunter.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_31"></a><a href="#FNanchor_31"><span class="label">31</span></a> Iliad, XXII, 308 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_32"></a><a href="#FNanchor_32"><span class="label">32</span></a> XXIII, 673.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_33"></a><a href="#FNanchor_33"><span class="label">33</span></a> <i>B. S. A.</i>, VII, 1900–1, fig. 31, pp. -95 and 96; copied by Gardiner, p. 10, fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_34"></a><a href="#FNanchor_34"><span class="label">34</span></a> We should bear in mind that the civilization -pictured in the Homeric poems antedates 1000 <span class="smcap lowercase">B. C.</span> -</p></div> - -<div class="footnote"> - -<p><a id="Footnote_35"></a><a href="#FNanchor_35"><span class="label">35</span></a> <i>The Iliad</i>,<sup>2</sup> 1900, II, p. 468.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_36"></a><a href="#FNanchor_36"><span class="label">36</span></a> Od., VIII, 158 f. (translated by Butcher and Lang).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_37"></a><a href="#FNanchor_37"><span class="label">37</span></a> Gardiner, p. 15, points out that there is no mention of -a chariot-race in the Odyssey, merely because Ithaca was not a land -“that pastureth horses,” nor had it “wide courses or meadowland.” The -plains of Thessaly and Argos, the homes of Achilles and Agamemnon -respectively, were, however, famed for their horses, and the plain -of Troy was large enough for the chariot-race. The only other -chariot-races mentioned in the Iliad are held in Elis: XI, 696 f.; -XXIII, 630 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_38"></a><a href="#FNanchor_38"><span class="label">38</span></a> <i>E. g.</i>, on certain sarcophagi: see Murray, <i>Sarcophagi -in the British Museum</i>, Pls. II, III (one from Klazomenai).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_39"></a><a href="#FNanchor_39"><span class="label">39</span></a> The true <i>hoplomachia</i> described by Homer and later -practised by the Mantineans and Kyreneans (<i>cf.</i> Athenæus, IV, 41, p. -154) should not be confounded, as Gardiner, p. 21, n. 3, remarks, with -the later competition of the same name held at the Athenian <i>Theseia</i> -and taught in the gymnasia, which was a purely military exercise like -fencing: Plato, <i>Laches</i>, 182B and <i>passim</i>; <i>Gorgias</i>, 456D; <i>de -Leg.</i>, 833E; <i>cf.</i> Dar.-Sagl., <i>s. v.</i> <i>Hoplomachia</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_40"></a><a href="#FNanchor_40"><span class="label">40</span></a> <i>E. g.</i>, Leaf, in his <i>Companion to the Iliad</i>, 1892, p. -380; <i>id.</i>, <i>The Iliad</i>, II, p. 417, note on line 621.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_41"></a><a href="#FNanchor_41"><span class="label">41</span></a> Iliad, XXIII, 634 f.; <i>ibid.</i>, 621–3, where Achilles -gives Nestor a prize because he will never again be able to contend in -boxing, wrestling, hurling the javelin, or running. In Od., VIII, 103 -and 128, leaping is substituted for chariot-racing.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_42"></a><a href="#FNanchor_42"><span class="label">42</span></a> <i>E. g.</i>, Iliad, XXII, 163–4: “The great prize ... of a -man that is dead”; XXIII, 630 f., where Nestor recalls victories in the -games held by the Epeians at Bouprasion in Elis at the funeral of the -local hero Amarynkeus. Bouprasion is also mentioned in Iliad, XI, 756, -in Nestor’s story of the war between the Pylians and Epeians and of -the war waged by his father Neleus on Augeas, for stealing four horses -which had been sent to Elis to contend for a tripod.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_43"></a><a href="#FNanchor_43"><span class="label">43</span></a> Examples of panegyric games in honor of gods are found -also in the Homeric Hymn to the Delian Apollo, I, 146 f.; in Pindar, -<i>Ol.</i>, IX. 6 (Zeus); P., VIII, 2.1 (Zeus) and schol.; and Hdt., I, 144 -(Apollo) and schol.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_44"></a><a href="#FNanchor_44"><span class="label">44</span></a> P., VIII, 4.5. For other examples of funeral games, see -references in Krause, p. 9, n. 3. He also shows that musical contests -were funerary in character.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_45"></a><a href="#FNanchor_45"><span class="label">45</span></a> The scholiast on Pindar, <i>Nem.</i>, Argum., Boeckh, p. 424 -B, and <i>Isthm.</i>, Argum., p. 514, calls the Nemean and Isthmian games -funerary; Clem. Alex., <i>Protrept.</i>, Ch. II, 34, 29 P. (quoted by -Eusebios, <i>Praep. evang.</i>, II, 6, 72 b. c.) says that all four great -games were funerary in origin.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_46"></a><a href="#FNanchor_46"><span class="label">46</span></a> P., I., 44.8; Clem. Alex., <i>Strom.</i>, I, Ch. 21, 137, 401 -P.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_47"></a><a href="#FNanchor_47"><span class="label">47</span></a> P., II, 15.2–3; Apollod., III, 6, 4; Hyginus, <i>Fab.</i>, -74; schol. on Pindar’s <i>Nem.</i>, Argum. Here the umpires wore mourning -garments because of the origin of the games; see Gardiner, p. 225.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_48"></a><a href="#FNanchor_48"><span class="label">48</span></a> Aristotle, <i>Peplos</i>, frag. = <i>F. H. G.</i>, II, p. 189, no. -282; Clem. Alex., <i>Protr.</i>, Ch. I, 2, 2 P. and Ch. II, 34, 29 P.; Hyg., -<i>Fab.</i>, 140. For a different story of the founding (to appease Apollo -for not protecting the temple when Delphi was invaded by Danaos), see -Augustine, <i>de Civ. Dei</i>, XVIII, 12; <i>cf.</i> schol. on Pind., <i>Pyth.</i>, -Argum.; Ovid, <i>Met.</i>, I, 445f. The <i>Pythia</i> were reorganized by the -Amphictyons as a funeral contest in honor of the soldiers who fell in -the first Sacred War.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_49"></a><a href="#FNanchor_49"><span class="label">49</span></a> <i>Cf.</i> P., V, 13.1–2; Clem. Alex., <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_50"></a><a href="#FNanchor_50"><span class="label">50</span></a> V, 7.6–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_51"></a><a href="#FNanchor_51"><span class="label">51</span></a> See Strabo, VIII, 3.30 (C.354–5); Pindar, <i>Ol.</i>, II, 3 -f.; VI, 67 f.; X, 25 f.; Diod., IV, 14 and V, 64. According to Pindar, -<i>ll. cc.</i> and the scholiast on <i>Ol.</i>, II, 2, 5, and 7, Boeckh, pp. -58–9, Herakles, the son of Zeus, instituted the games in honor of -Zeus; but Statius, <i>Theb.</i>, VI, 5 f., Solinus, I, 28 (ed. Mommsen), -Hyg., <i>Fab.</i>, 273. Clem. Alex., <i>Strom.</i>, I, Ch. 21, 137, say it was -in honor of Pelops. On the traditional connection of Herakles with -Olympia, see E. Curtius, <i>Abh. d. k. preuss. Akad. d. Wiss. zu Berlin, -philos.-histor. Kl.</i>, 1894, pp. 1098 f.; Busolt, <i>Griech. Gesch</i><sup>2</sup>, -1893, I, pp. 240 f. On legends of the early history of Olympia, see -Krause, <i>Olympia, oder Darstellung der grossen olympischen Spielen</i>, -1838, pp. 26 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_52"></a><a href="#FNanchor_52"><span class="label">52</span></a> <i>Cf.</i> Frazer, II, pp. 549–50; Krause, p. 9, n. 3; from -these two many of the following examples are taken. <i>Cf.</i> also Rouse, -pp. 4 and 10; Koerte, Die Entstehung der Olympionikenliste, <i>Hermes</i>, -XXXIX, 1904, pp. 224 f.; Krause, <i>Die Pythien, Nemeen und Isthmien</i>, -1841, pp. 9 f. (Pythian), 112 f. (Nemean), 170 f. (Isthmian); Gardiner, -pp. 27 f.; see also Ridgeway, <i>Origin of Tragedy</i>, 1910, pp. 36, 38, -and <i>cf.</i> <i>J. H. S.</i>, XXXI, 1911, p. <span class="smcap">XLVII</span>. 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 festival, and because of the inadequate -character of the literary evidence (the earliest mention of it being a -Delphic oracle quoted by Phlegon, <i>F. H. G.</i>, p. 604; <i>cf.</i> Clem. Alex., -<i>Protrept</i>, II, 34, p. 29), it has been attacked by F. M. Cornford -(in Miss Harrison’s <i>Themis</i>, pp. 212 f.) and others. These scholars -have tried to find the origin of the Olympic games rather in a ritual -contest of succession to the throne, the honors extended to a victor -being held to prove his kingly or divine character. The theory was -first proposed by A. B. Cook, The European Sky God, <i>Folk Lore</i>, 1904, -and has recently been elaborated by Frazer in his <i>Golden Bough</i>,<sup>3</sup> -III, pp. 89 f., who has attempted to harmonize it with his earlier -funeral theory. The inadequacy of the newer theory has been shown by E. -N. Gardiner, The Alleged Kingship of the Olympic Victor, <i>B. S. A.</i>, -XXII, 1916–18, pp. 85 f. For a review of his paper, see also <i>J. H. -S.</i>, XXXVIII, 1918, pp. <span class="smcap">XLVII</span>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_53"></a><a href="#FNanchor_53"><span class="label">53</span></a> V, 13.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_54"></a><a href="#FNanchor_54"><span class="label">54</span></a> According to the same scholiast, on 1. 149; Boeckh, p. -43.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_55"></a><a href="#FNanchor_55"><span class="label">55</span></a> <i>Cf.</i> <i>C. I. G.</i>, II, 1969, ἀγὼν ... ἐπιτάφιος -θεματικός.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_56"></a><a href="#FNanchor_56"><span class="label">56</span></a> Hdt., VI, 38.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_57"></a><a href="#FNanchor_57"><span class="label">57</span></a> P., III, 14.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_58"></a><a href="#FNanchor_58"><span class="label">58</span></a> Thukyd., V, 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_59"></a><a href="#FNanchor_59"><span class="label">59</span></a> Plut., <i>Timoleon</i>, 39; Diod. Sic., XVI, 90.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_60"></a><a href="#FNanchor_60"><span class="label">60</span></a> Aulus Gellius, X, 18.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_61"></a><a href="#FNanchor_61"><span class="label">61</span></a> Arrian, <i>Anabasis</i>, VII, 14. Games were held every four -years in honor of Antinoos, the favorite of Hadrian, at Mantinea: P., -VIII, 9.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_62"></a><a href="#FNanchor_62"><span class="label">62</span></a> Strabo, XIV, 1.31 (C. 644.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_63"></a><a href="#FNanchor_63"><span class="label">63</span></a> P., IX, 2, 5–6; he says that they were celebrated every -fourth year and that the chief prizes were for running.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_64"></a><a href="#FNanchor_64"><span class="label">64</span></a> Philostr., <i>Vit. Soph.</i>, II, p. 624; Heliod., <i>Aethiop.</i>, -I, 17; Aristotle, <i>Constit. of Athens</i>, 58; <i>cf.</i> P., I, 29.4. Games -were also held in the Academy in honor of Eurygyes: Hesych., <i>s. v.</i> -ἐπ’ Εὐρυγύῃ ἀγών.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_65"></a><a href="#FNanchor_65"><span class="label">65</span></a> Dennis, <i>Cities and Cemeteries of Etruria</i>,<sup>3</sup> 1883, I, p. -374 (Corneto); II, pp. 323 and 330 (Chiusi).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_66"></a><a href="#FNanchor_66"><span class="label">66</span></a> On the Etruscan origin of the <i>ludi funebres</i>, see -Val. Max., II, 4.4; Tertullian, <i>de Spect.</i>, 12; Servius <i>ad</i> Virg., -<i>Aen.</i>, X, 520. For the Etruscan origin of the <i>munera gladiatorum</i>, -see Tertull., <i>op. cit.</i>, 5; Athenæus, IV, 39 (quoting Nikolaos of -Damascus); <i>cf.</i> Strabo, V, 4.13 (C. 250). They were first introduced -into Rome in 264 B. C. in honor of D. Junius Brutus; Livy, XVI (Epit.); -and are frequently mentioned: <i>e. g.</i>, by Livy, XXIII, 30, 15; XXXI, -50, 4; XXXIX, 46, 2; XLI, 28, 11; Polyb., XXXII, 14, 5; Serv., <i>ad -Aen.</i>, III, 67 and V, 78; Suetonius, <i>Julius</i>, 26; etc. See Dar.-Sagl., -II, 2, pp. 1384 f., 1563 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_67"></a><a href="#FNanchor_67"><span class="label">67</span></a> Page 28; he quotes P. W. Joyce, <i>Social History of -Ireland</i>, II, pp. 435 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_68"></a><a href="#FNanchor_68"><span class="label">68</span></a> V, 17.5–19.10. The description of the throne (P., III, -18.9 f; <i>cf.</i> Apollodoros, I, 9.28) is merely summary, as Pausanias -only mentions the games represented on it without describing them in -detail.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_69"></a><a href="#FNanchor_69"><span class="label">69</span></a> The best reconstruction of the scenes on the chest is by -H. Stuart Jones: <i>J. H. S.</i>, XIV, 1894, pp. 30–80 and Pl. I (repeated -by Frazer, III, Pl. X, opp. p. 606). See also Robert, <i>Hermes</i>, XXIII, -1888, pp. 436 f.; Pernice, <i>Jb.</i>, III, 1888, pp. 365 f.; Studniczka, -<i>Jb.</i>, IX, 1894, pp. 52 f., n. 16; Collignon, I, pp. 93–100; Furtw., -<i>Mw.</i>, pp. 723–32. -</p> -<p> -The best attempt to reconstruct the scenes on the throne is by -Furtwaengler: <i>Mw.</i>, fig. 135, opposite p. 706; text, pp. 689–719; -<i>cf.</i> the best of the older attempts by Brunn, <i>Rhein. Mus.</i>, N. F., V, -1847, p. 325; <i>id.</i>, <i>Kunst bei Homer</i>, pp. 22 f.; <i>id.</i>, <i>Griech. -Kunstgesch.</i>, 1893, I, pp. 178 f. <i>Cf.</i> also Klein, <i>Arch.-epigr. Mitt. -aus Oesterr.-Ungarn</i>, IX, 1885, pp. 145 f.; against Klein, see Pernice, -as above, p. 369. <i>Cf.</i> Collignon, I, pp. 230–2; Murray, I, pp. 89 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_70"></a><a href="#FNanchor_70"><span class="label">70</span></a> If we followed Pausanias’ account that this was the very -chest made to save the infant Kypselos, father of Periandros and future -tyrant of Corinth, and that it was dedicated at Olympia by the Kypselid -family (for the story, see Hdt., V, 92), the chest would belong to the -eighth century B. C., and must have been dedicated before 586–5 B. -C., when the Kypselid dynasty ended at Corinth; see Busolt, <i>Griech. -Gesch.</i>,<sup>2</sup> I, pp. 638 and 657. However, the chest at Olympia had -nothing to do with the legendary one, but was merely a richly decorated -offering to the gods, the work of a Corinthian artist of the end of the -seventh or beginning of the sixth century B. C., and one who knew the -epic poems well.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_71"></a><a href="#FNanchor_71"><span class="label">71</span></a> <i>Vasen</i>, 1655; Perrot-Chipiez, IX, p. 637, fig. 348 -(departure of Amphiaraos); p. 639, fig. 349 (chariot-race); Gardiner, -p. 29, fig. 3; Frazer, III, p. 609, fig. 77; Baum. I, fig. 69; and see -Robert <i>Annali</i>, XLVI, 1874, pp. 82 f.; <i>Mon. d. I.</i>, X, 1874–1878, -Pls. IV, V. The discovery of this vase at Cerveteri (Caere) in 1872 -proved the Corinthian workmanship of the chest.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_72"></a><a href="#FNanchor_72"><span class="label">72</span></a> Micali, <i>Monumenti per servire all’historia degli antichi -popoli Italiani</i><sup>2</sup>, 1833, Pl. XCV; described by Jahn, <i>Archaeol. -Aufsaetze</i>, pp. 154 f. (quoted by Frazer, III, p. 610). For scenes -representing the departure of Amphiaraos and a four-horse chariot-race, -see also an Attic-Corinthian vase in Florence: Perrot-Chipiez, X, pp. -109 and 111, figs. 78, 79 ( = Thiersch, <i>Tyrrhenische Amphoren</i>, Pl. -IV); the latter also gives us the oldest representation of a Greek -stadion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_73"></a><a href="#FNanchor_73"><span class="label">73</span></a> <i>A. Z.</i> XLIII, 1885, Pl. VIII; Gardiner, p. 30, fig. 4 -(one side).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_74"></a><a href="#FNanchor_74"><span class="label">74</span></a> Cited by Gardiner, pp. 30–31; Inghirami, <i>Mon. Etr.</i>, -1821–1826, III, 19, 20; Schreiber, <i>Bilder-atlas</i>, Pl. XIII, 6; M. W., -I, Pl. LX, fig. 302b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_75"></a><a href="#FNanchor_75"><span class="label">75</span></a> Reproduced by Gardiner, p. 21, fig. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_76"></a><a href="#FNanchor_76"><span class="label">76</span></a> <i>Cf.</i> on this topic, Gardiner, pp. 31–2; <i>cf.</i> <i>B. S. -A.</i>, XXII, 1916–18, p. 86, where, in speaking of the disputed origin -of the custom of funeral games, he says: “It is at least conceivable -that it originated from different causes in different places and among -different peoples.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_77"></a><a href="#FNanchor_77"><span class="label">77</span></a> See a list of twenty-five local <i>Olympia</i> in Smith’s -<i>Dictionary of Antiquities</i>,<sup>3</sup> 1891, II, pp. 273 f., <i>s. v.</i> <i>Olympia</i>, -taken from Krause, <i>Olympia</i>, pp. 202 f. Dar.-Sagl., IV, i, pp. 194 f., list 34 local <i>Olympia</i>. Most of these lesser <i>Olympia</i> -are known to us only from inscriptions and coins. Peisistratos appears -to have founded annual <i>Olympia</i> at Athens, when he began to build the -Olympieion; Pindar seems to allude to them in <i>Nem.</i> II, 23 (<i>cf.</i> -schol. <i>ad loc.</i>); they were reorganized magnificently by Hadrian in A. -D. 131; Spartianus, <i>Vit. Hadriani</i>, 13. <i>Cf.</i> Gardiner, p. 229.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_78"></a><a href="#FNanchor_78"><span class="label">78</span></a> Lysias, <i>Paneg.</i>, notes this fact, when he says that -Herakles restored peace and unity by instituting the games. Pausanias -speaks similarly of the restoration of the games by Iphitos and -Lykourgos: V, 4.5 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_79"></a><a href="#FNanchor_79"><span class="label">79</span></a> P., V, 1.3; 3.6; Strabo, VIII, 3.33 (C.357).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_80"></a><a href="#FNanchor_80"><span class="label">80</span></a> The decree governing the festival was inscribed on a -diskos, which dates probably from the seventh century B. C., and was -preserved in the Heraion down to the time of Pausanias. On it the names -of Iphitos and Lykourgos were legible down to Aristotle’s day: P., V, -20.1; Plut., <i>Lycurgus</i>, I. 1. Phlegon, <i>F. H. G.</i>, III, p. 602, and a -scholion on Plato, <i>de Rep.</i>, 465 D, mention Kleosthenes; <i>cf.</i> Louis -Dyer, <i>Harvard Classical Studies</i>, 1908, pp. 40 f.; Gardiner, p. 43, n. -1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_81"></a><a href="#FNanchor_81"><span class="label">81</span></a> For a discussion of the sources and history of this -register, originally compiled near the end of the fifth century B. C. -by Hippias of Elis (Plut., <i>Numa</i>, I, 4; <i>cf.</i> Mahaffy, <i>J. H. S.</i>, II, -1881, pp. 164f.), and revised by various later writers from Aristotle -and Philochoros to Phlegon of Tralles and Julius Africanus, see -Juethner, <i>Ph.</i>, pp. 60–70. From it a complete list of stade-runners -was copied by the church-historian Eusebios from Africanus, who had -brought it down to 217 A. D.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_82"></a><a href="#FNanchor_82"><span class="label">82</span></a> V, 8.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_83"></a><a href="#FNanchor_83"><span class="label">83</span></a> Mentioned by P., V, 4.6 and elsewhere; for the mythical account see P., V, 7.6–8.5 (from -Herakles to Oxylos); V, 8.5, and V, 9.4 (revived under the presidency of Iphitos and the descendants -of Oxylos). Phlegon, <i>F. H. G.</i>, III, p. 603, says that the games were discontinued for 28 -Olympiads from the time of Herakles and Pelops to that of Koroibos. Velleius Paterculus, I, 8 -(ed. Halm), dates the revival under Iphitos, 793 B. C. Strabo, quoting Ephoros, says that the -Achæans controlled Olympia to the time of Oxylos; for his mythical account of the games, see -VIII, 3.33 (C. 357). On presidents of the games being elected from the Eleans, see P., V, 9.4–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_84"></a><a href="#FNanchor_84"><span class="label">84</span></a> Especially by Xenophon, <i>Hell.</i>, III, 2.31; VII, 4.28. Pausanias omits all evidence of the -part played by Kleosthenes in the truce. See Gardiner, pp. 44 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_85"></a><a href="#FNanchor_85"><span class="label">85</span></a> See Doerpfeld, <i>A. M.</i>, XXXIII, 1908, pp. 185 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_86"></a><a href="#FNanchor_86"><span class="label">86</span></a> Recently E. N. 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 B. C. He believes that the worship of Hera reached Olympia from Argos -later than that of Zeus, toward the end of the VIII century B. C., when he supposes the Heraion -was built as a joint temple to both deities; <i>B. S. A.</i>, XXII, 1916–18, pp. 85–86.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_87"></a><a href="#FNanchor_87"><span class="label">87</span></a> On his cult see P., V, 13.2, and scholion on Pindar, <i>Ol.</i> I, 146 and 149, Boeckh, p. 43. After -being reduced to the rank of hero, Pelops still kept his own precinct in the Altis throughout antiquity.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_88"></a><a href="#FNanchor_88"><span class="label">88</span></a> On the history of Olympia, see Gardiner, pp. 38 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_89"></a><a href="#FNanchor_89"><span class="label">89</span></a> For the legends connected with the origin of the three, see Krause, <i>Die Pythien, Nemeen und -Isthmien</i>, and the various articles in Dar.-Sagl.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_90"></a><a href="#FNanchor_90"><span class="label">90</span></a> Schol. on Pindar, <i>Pyth.</i>, Argum., Boeckh, p. 298.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_91"></a><a href="#FNanchor_91"><span class="label">91</span></a> On the Sacred or Krisaian War (590 B. C.), see Bury, <i>History of Greece</i>, 1913, pp. 158–9. The -first Pythiad was reckoned from 586 (not from 582 as Bury and others state): see Frazer, V, -p. 244; Boeckh, <i>Explic. ad Pind.</i>, <i>Ol.</i>, XII, pp. 206 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_92"></a><a href="#FNanchor_92"><span class="label">92</span></a> See Strabo, IX, 3.10, (C. 421); P., X, 7.4–5; schol. on Pind., <i>Pyth.</i>, Argum., Boeckh, p. 298. -Ovid’s idea (<i>Met.</i>, I, 445) that boxing, running, and chariot-racing existed from the first, is -wrong. On the Pythian games, see Gardiner, pp. 208 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_93"></a><a href="#FNanchor_93"><span class="label">93</span></a> On the Nemean games, see Gardiner, pp. 223–6. As no proper excavations have been made on -the site, our knowledge of the games is confined almost entirely to literary evidence.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_94"></a><a href="#FNanchor_94"><span class="label">94</span></a> P., II, 15.3, and VI, 16.4, mentions a winter celebration. The scholiast on Pindar’s <i>Nem.</i>, -Argum., Boeckh, pp. 424–5, says that it was a τριετής held on the 12th of the month Panemos, -and so it was a summer and not a winter celebration. On theories of two celebrations, see -Frazer, II, pp. 92–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_95"></a><a href="#FNanchor_95"><span class="label">95</span></a> They were not held in midsummer as some have maintained: see Thukyd., VIII, 9–10; Unger, -<i>Philologus</i>, XXXVII, 1877, 1–42; Nissen, <i>Rhein. Mus.</i>, XLII, 1887, pp. 46 f. On the Isthmian -games, see Gardiner, pp. 214 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_96"></a><a href="#FNanchor_96"><span class="label">96</span></a> For the nine-day celebration of the <i>Great Panathenaia</i>, see A. Mommsen, <i>Feste der Stadt Athen</i>, -1898, p. 153; <i>cf.</i> Gardiner, pp. 229 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_97"></a><a href="#FNanchor_97"><span class="label">97</span></a> See Mommsen, <i>op. cit.</i>, pp. 278 f., and <i>Heortologie</i>, 1864, pp. 269 f. In recent years victor lists -of the <i>Theseia</i> have been found: <i>C. I. G.</i>, II, 444–450, esp. 447; for two other fragments, see <i>A. M.</i>, -XXX, 1905, pp. 213 f, and <i>Beilag</i>, a and b (c = <i>C. I. G.</i>, above). For other lists of victors of local -games, see <i>A. M.</i>, XXVIII, 1903, pp. 338 f. (Oropos, Samos, Larisa). For vase-paintings of the -athletic exploits of Theseus, see Harrison, <i>Mythology and Monuments of Ancient Athens</i>, 1890, pp. -<span class="smcap">XCVIII</span> f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_98"></a><a href="#FNanchor_98"><span class="label">98</span></a> See <i>Ol.</i>, IX, 89; XIII, 110; <i>Pyth.</i>, VIII, 79.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_99"></a><a href="#FNanchor_99"><span class="label">99</span></a> Iliad, XXIII, 262–70; <i>cf.</i> XXII, 163–4, where the prizes were slave women and tripods.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_100"></a><a href="#FNanchor_100"><span class="label">100</span></a> <i>Ibid.</i>, 700–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_101"></a><a href="#FNanchor_101"><span class="label">101</span></a> <i>Ibid.</i>, 653–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_102"></a><a href="#FNanchor_102"><span class="label">102</span></a> <i>Ibid.</i>, 740–51.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_103"></a><a href="#FNanchor_103"><span class="label">103</span></a> <i>Op.</i>, 653–9; <i>cf. Scut.</i>, 312–13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_104"></a><a href="#FNanchor_104"><span class="label">104</span></a> Iliad, XI, 700; XXIII, 264; Hesiod, <i>Scut.</i>, 312. It is thus represented on a Dipylon vase: -<i>Mon. d. I.</i>, IX, 1869–73, Pl. XXXIX, 2; on the Corinthian vase representing the funeral games -of Pelias and Amphiaraos: <i>ibid.</i>, X, Pl. V B; on the François vase, and on many others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_105"></a><a href="#FNanchor_105"><span class="label">105</span></a> Iliad, XXII, 164; <i>cf.</i> Gerhard, IV, Pl. CCXLVII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_106"></a><a href="#FNanchor_106"><span class="label">106</span></a> Gerhard, IV, Pl. CCLVI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_107"></a><a href="#FNanchor_107"><span class="label">107</span></a> On an amphora by Nikosthenes: Klein, <i>Griech. Vasen mit Meistersignaturen</i>,<sup>2</sup> 1887, Pl. XXXI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_108"></a><a href="#FNanchor_108"><span class="label">108</span></a> Iliad, XXIII, 702, as above.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_109"></a><a href="#FNanchor_109"><span class="label">109</span></a> Hdt., I, 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_110"></a><a href="#FNanchor_110"><span class="label">110</span></a> Ion, <i>ap.</i> P., VII, 4.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_111"></a><a href="#FNanchor_111"><span class="label">111</span></a> Aristeid., I, p. 841 (ed. Dindorf).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_112"></a><a href="#FNanchor_112"><span class="label">112</span></a> Polemon <i>ap.</i> schol. on Pindar, <i>Ol.</i>, VII, 153, Boeckh, pp. 180–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_113"></a><a href="#FNanchor_113"><span class="label">113</span></a> On the above-mentioned Corinthian vase: <i>Mon. d. I.</i>, X, Pls. IV, V; on the chest of Kypselos: -P., V, 17.11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_114"></a><a href="#FNanchor_114"><span class="label">114</span></a> In the Iliad, as above.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_115"></a><a href="#FNanchor_115"><span class="label">115</span></a> P., III, 18.7–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_116"></a><a href="#FNanchor_116"><span class="label">116</span></a> <i>A. Z.</i>, XL, 1882, p. 333; <i>B. C. H.</i>, VI, 1882, p. 118.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_117"></a><a href="#FNanchor_117"><span class="label">117</span></a> <i>B. C. H.</i>, IX, 1885, p. 478.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_118"></a><a href="#FNanchor_118"><span class="label">118</span></a> P., IX, 10.4; Hdt., I, 92.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_119"></a><a href="#FNanchor_119"><span class="label">119</span></a> See Carapanos, <i>Dodone et ses Ruines</i>, 1878, pp. 40, 41, and 229, and Pl. XXIII, 2.2 <i>bis</i>, 3, 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_120"></a><a href="#FNanchor_120"><span class="label">120</span></a> P., X, 7.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_121"></a><a href="#FNanchor_121"><span class="label">121</span></a> P., IV, 32.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_122"></a><a href="#FNanchor_122"><span class="label">122</span></a> On the tripod, see Reisch, pp. 6–7 and 58–9; Rouse, pp. 150–1 and 355; most of the above -examples have been taken from these writers.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_123"></a><a href="#FNanchor_123"><span class="label">123</span></a> <i>Nem.</i>, X, 45 f.; <i>cf.</i> schol. on <i>Ol.</i>, VII, 153, Boeckh, pp. 180–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_124"></a><a href="#FNanchor_124"><span class="label">124</span></a> <i>C. I. A.</i>, II, <small>2</small>, 965. On the value of bronze, <i>cf.</i> Reisch, p. 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_125"></a><a href="#FNanchor_125"><span class="label">125</span></a> Schol. on Pindar, <i>Ol.</i>, VII, 152, Boeckh, p. 180.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_126"></a><a href="#FNanchor_126"><span class="label">126</span></a> <i>Ibid.</i>, <i>Ol.</i>, VII, 156, Boeckh, p. 181.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_127"></a><a href="#FNanchor_127"><span class="label">127</span></a> Pindar, <i>Ol.</i>, IX, 89–90.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_128"></a><a href="#FNanchor_128"><span class="label">128</span></a> <i>Ibid.</i>, <i>Nem.</i>, IX, 51; X, 43 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_129"></a><a href="#FNanchor_129"><span class="label">129</span></a> <i>Ibid.</i>, <i>Nem.</i>, X, 44; schol. on <i>Ol.</i>, XIII, 155 and VII, 156, Boeckh, pp. 288 and 156, and -<i>Explic. ad Olymp.</i>, IX, 102, p. 194.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_130"></a><a href="#FNanchor_130"><span class="label">130</span></a> <i>C. I. A.</i>, III, <span class="smcap">1</span>, 116.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_131"></a><a href="#FNanchor_131"><span class="label">131</span></a> Schol. on Pindar, <i>Nem.</i>, X, 64, Boeckh, p. 504; <i>cf.</i> <i>C. I. A.</i>, II, <small>2</small>, 965.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_132"></a><a href="#FNanchor_132"><span class="label">132</span></a> <i>A. G.</i>, XIII, 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_133"></a><a href="#FNanchor_133"><span class="label">133</span></a> <i>I. G. A.</i>, 525; <i>B. M. Bronzes</i>, 257.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_134"></a><a href="#FNanchor_134"><span class="label">134</span></a> For many of these examples, see Reisch, pp. 57 f. (and notes), and Rouse, pp. 150–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_135"></a><a href="#FNanchor_135"><span class="label">135</span></a> At the <i>Panathenaia</i> a golden crown was given the victorious harpist, a hydria to the torch-racer, -and an ox to the victor in the pyrrhic chorus: <i>C. I. A.</i>, II, <small>2</small>, 965. Weapons were given at -Delos: <i>C. I. G.</i>, II, 2360; a golden crown was given at the Pythian games in Delphi to the city -which furnished the finest sacrificial ox: Xenophon, <i>Hell.</i>, IV, 4.9; here also golden crowns and -arms were presented for soldiers’ contests: Xenophon, <i>ibid.</i>, III, 4.8 and IV, 2.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_136"></a><a href="#FNanchor_136"><span class="label">136</span></a> VIII, 48.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_137"></a><a href="#FNanchor_137"><span class="label">137</span></a> Foerster, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_138"></a><a href="#FNanchor_138"><span class="label">138</span></a> Frag., (= <i>F. H. G.</i>, III, p. 604).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_139"></a><a href="#FNanchor_139"><span class="label">139</span></a> V, 7.7; <i>cf.</i> Pindar, <i>Ol.</i>, III, 24 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_140"></a><a href="#FNanchor_140"><span class="label">140</span></a> <i>Ol.</i>, III, 13 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_141"></a><a href="#FNanchor_141"><span class="label">141</span></a> Pseudo-Aristot., <i>de mirab. Auscult.</i>, 51; schol. on Aristoph., <i>Plutus</i>, 586; Suidas, <i>s. v.</i> κοτίνου -στεφάνῳ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_142"></a><a href="#FNanchor_142"><span class="label">142</span></a> P., V, 15.3; <i>cf.</i> Theophrastos, <i>Hist. Plant.</i>, IV, 13, 2; Pliny, <i>H. N.</i>, XVI, 240.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_143"></a><a href="#FNanchor_143"><span class="label">143</span></a> Schol. on Pindar, <i>Ol.</i>, III, 60, Boeckh, p. 102.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_144"></a><a href="#FNanchor_144"><span class="label">144</span></a> Pseudo-Aristot., <i>l. c.</i>; schol. on Pindar, <i>Ol.</i>, III, 60, and VIII, 12, Boeckh, pp. 102 and 189.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_145"></a><a href="#FNanchor_145"><span class="label">145</span></a> Weniger, <i>Der heilige Oelbaum in Olympia</i>, 1895.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_146"></a><a href="#FNanchor_146"><span class="label">146</span></a> P., X, 7.5; <i>Marmor Parium</i>, 53 f. On the reason why the laurel was the prize for a Pythian -victory, see P., X, 7.8; <i>cf.</i> VIII, 48.2 (as above); schol. on Pindar, <i>Pyth.</i>, Argum., Boeckh, p. 298. -On the Delphian laurel, see also Pliny, <i>H. N.</i>, XV, 127; <i>Dio Cass.</i>, LXIII, 9. Virgil crowns his -victors with laurel: <i>Aen.</i>, V, 246 and 539.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_147"></a><a href="#FNanchor_147"><span class="label">147</span></a> Aelian, <i>Var. Hist.</i>, III, 1; schol. on Pindar, <i>Pyth.</i>, Argum., Boeckh, p. 298.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_148"></a><a href="#FNanchor_148"><span class="label">148</span></a> See Gardiner, p. 208, fig. 27, a coin in the British Museum: <i>B. M. Coins, Delphi</i>, 38.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_149"></a><a href="#FNanchor_149"><span class="label">149</span></a> <i>Anacharsis</i>, 9; see also <i>C. I. A.</i>, III, 116; Kaibel, <i>Epigrammata graeca</i>, 1878, no. 931.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_150"></a><a href="#FNanchor_150"><span class="label">150</span></a> <i>Nem.</i>, IV, 88; <i>Ol.</i>, XIII, 32 f.; <i>Isthm.</i>, II, 16, VIII, 64.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_151"></a><a href="#FNanchor_151"><span class="label">151</span></a> Schol. on Pindar, <i>Nem.</i>, Argum., Boeckh, p. 426.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_152"></a><a href="#FNanchor_152"><span class="label">152</span></a> <i>E. g.</i>, P., VIII, 48.2; <i>cf.</i> Plut., <i>Qaest. conviv.</i>, V, 3.3; <i>Timoleon</i>, 26.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_153"></a><a href="#FNanchor_153"><span class="label">153</span></a> Krause, <i>Die Pythien, Nemeen und Isthmien</i>, pp. 197 f.; schol. on <i>Isthm.</i>, Argum., Boeckh, p. 514.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_154"></a><a href="#FNanchor_154"><span class="label">154</span></a> See <i>B. M. Coins, Corinth</i>, 509–12; 564; 602–3 (603 = Gardiner, p. 214, fig. 28); 624; <i>cf.</i> <i>I. G.</i>, II, -1320, and Gardiner, p. 222, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_155"></a><a href="#FNanchor_155"><span class="label">155</span></a> P., II, 1.7. Curtius, <i>Peloponnesos</i>, II, p. 543, believes that the pine was not a fir, but the <i>Pinus -maritima</i>; Philippson, in the <i>Zeitschr. d. Gesellsch. fuer Erdkunde zu Berlin</i>, XXV, 1890, pp. 74 f., -believes that it was the <i>Pinus halepensis</i> Mill.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_156"></a><a href="#FNanchor_156"><span class="label">156</span></a> See Droysen, <i>Hermes</i>, XIV, 1879, p. 3; Head, <i>Historia Nummorum</i>, pp. 146 f.; Imhoof-Blumer -and O. Keller, <i>Tier- und Pflanzenbilder auf Muenzen und Gemmen</i>, Pl. VI, 8; VII, 2; IX, 9–12; -XXV, 19.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_157"></a><a href="#FNanchor_157"><span class="label">157</span></a> VIII, 48.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_158"></a><a href="#FNanchor_158"><span class="label">158</span></a> See Tarbell, <i>Class. Phil.</i>, III, pp. 264 f.; he traces its origin to Delos and its popularity to the -restoration of the Delian festival by the Athenians in 426 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_159"></a><a href="#FNanchor_159"><span class="label">159</span></a> Mentioned by Phanias, <i>ap.</i> Athen., VI, 21 (232 c.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_160"></a><a href="#FNanchor_160"><span class="label">160</span></a> <i>Op.</i>, 654 f.; <i>cf.</i> P., IX, 31.3. The spurious epigram in <i>A. G.</i>, VII, 53, may have been engraved -on this tripod set up in the temple on Mt. Helikon.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_161"></a><a href="#FNanchor_161"><span class="label">161</span></a> P., X, 7.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_162"></a><a href="#FNanchor_162"><span class="label">162</span></a> <i>C. I. A.</i>, IV, 373<sup>79</sup>; another is mentioned <i>ibid.</i>, I, 493.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_163"></a><a href="#FNanchor_163"><span class="label">163</span></a> Hdt., V, 60.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_164"></a><a href="#FNanchor_164"><span class="label">164</span></a> Hdt., I, 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_165"></a><a href="#FNanchor_165"><span class="label">165</span></a> <i>Bronz. v. Ol.</i>, pp. 72 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_166"></a><a href="#FNanchor_166"><span class="label">166</span></a> See Rouse, pp. 153 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_167"></a><a href="#FNanchor_167"><span class="label">167</span></a> V, 12.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_168"></a><a href="#FNanchor_168"><span class="label">168</span></a> VI, 19.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_169"></a><a href="#FNanchor_169"><span class="label">169</span></a> <i>Cf.</i> Rouse, p. 160 and Reisch, p. 62 and n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_170"></a><a href="#FNanchor_170"><span class="label">170</span></a> See Rouse, <i>l. c.</i>; for the inscription, <i>I. G. A.</i>, 370.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_171"></a><a href="#FNanchor_171"><span class="label">171</span></a> II, 29.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_172"></a><a href="#FNanchor_172"><span class="label">172</span></a> <i>I. G. A.</i>, XIII, 449; see discussion of both stones in <i>J. H. S.</i>, XXVII, 1907, pp. 2 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_173"></a><a href="#FNanchor_173"><span class="label">173</span></a> In Ol. 255 ( = 241 A. D.); Foerster, 739; <i>Inschr. v. Ol.</i>, 240–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_174"></a><a href="#FNanchor_174"><span class="label">174</span></a> See <i>Bronz. v. 0l.</i>, p. 179.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_175"></a><a href="#FNanchor_175"><span class="label">175</span></a> <i>E. g.</i>, the inscribed lead weight of the seventh or sixth centuries B. C., found at Eleusis and -dedicated by Epainetos: <i>C. I. A.</i>, IV, <small>2</small>, 422<sup>4</sup>; <i>cf. Arch. Eph.</i>, 1883, pp. 189–91.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_176"></a><a href="#FNanchor_176"><span class="label">176</span></a> <i>Bronz. v. Ol.</i>, Textbd., p. 180; Tafelbd., Pl. LXV, 1101 a.; <i>cf.</i> another from the Cyrenaica in -the British Museum: <i>B. M. Bronzes</i>, no. 326.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_177"></a><a href="#FNanchor_177"><span class="label">177</span></a> <i>C. I. G.</i>, I, 243; <i>C. I. A.</i>, III, 1, 124; <i>Rhein. Mus.</i>, XXXIV, 1879, p. 206; on prize torches, see -<i>A. G.</i>, VI, 100, and <i>cf.</i> Kaibel, <i>Epigr. gr.</i>, 1878, 943.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_178"></a><a href="#FNanchor_178"><span class="label">178</span></a> Kallim., XLIX; <i>A. G.</i>, VI, 311; <i>cf.</i> Reisch, pp. 62 and 145–6, figs. 13, 14; Rouse, pp. 162–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_179"></a><a href="#FNanchor_179"><span class="label">179</span></a> See Reisch, p. 62, and n. 4. The flutist Straton dedicated his flute at Thespiai in the third -century B. C.: <i>C. I. G. G. S.</i>, I, 1818; a harpist his harp at Athens: <i>C. I. A.</i>, III, 112.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_180"></a><a href="#FNanchor_180"><span class="label">180</span></a> P., VI, 10.6–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_181"></a><a href="#FNanchor_181"><span class="label">181</span></a> P., VI, 9.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_182"></a><a href="#FNanchor_182"><span class="label">182</span></a> P., VI, 12.1</p></div> - -<div class="footnote"> - -<p><a id="Footnote_183"></a><a href="#FNanchor_183"><span class="label">183</span></a> P., VI, 10.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_184"></a><a href="#FNanchor_184"><span class="label">184</span></a> P., VI, 16.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_185"></a><a href="#FNanchor_185"><span class="label">185</span></a> P., V, 12.5; the monument consisted of bronze horses only.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_186"></a><a href="#FNanchor_186"><span class="label">186</span></a> P., VI, 16.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_187"></a><a href="#FNanchor_187"><span class="label">187</span></a> <i>E. g.</i>, chariots and drivers, <i>Bronz. v. Ol.</i>, Tafelbd., Pl. XV, 248, 248a, 249, 250; Textbd., pp. -39–40; chariots without drivers, <i>ibid.</i>, Tafelbd., Pl. XV, 252, 252a, 253; Textbd., p. 40; charioteers -without chariots, <i>ibid.</i>, Pl. XVI, 251; Textbd., p. 40; horses belonging to two-wheeled chariots, -<i>ibid.</i>, Pl. XVI, 254, 254a; Textbd., pp. 40–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_188"></a><a href="#FNanchor_188"><span class="label">188</span></a> <i>Bronz. v. Ol.</i>, Tafelbd., Pl. XXV, 498 f.; Textbd., p. 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_189"></a><a href="#FNanchor_189"><span class="label">189</span></a> <i>Bronz. v. Ol.</i>, <i>l. c.</i>; he is followed by Reisch, p. 61; Rouse, p. 166, however, thinks that they -would have been an “artistic blunder.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_190"></a><a href="#FNanchor_190"><span class="label">190</span></a> <i>E. g.</i>, <i>Bronz. v. Ol.</i>, Tafelbd., Pl. XXV, 503 f.; Textbd., p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_191"></a><a href="#FNanchor_191"><span class="label">191</span></a> <i>Ibid.</i>, Pl. XXV, 510; some are older than the date of the introduction of the mule-car race, -Ol. 70 ( = 500 B. C.), and some may have been used as bases for animal figures: <i>e. g.</i>, Pl. XXV, 509; -Textbd., p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_192"></a><a href="#FNanchor_192"><span class="label">192</span></a> Rouse, p. 165, suggests, though without evidence, that they may have been offered before the -contest with a propitiatory sacrifice.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_193"></a><a href="#FNanchor_193"><span class="label">193</span></a> Pliny, <i>H. N.</i>, XXXIV, 71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_194"></a><a href="#FNanchor_194"><span class="label">194</span></a> <i>Ibid.</i>, XXXIV, 78: <i>fecit et quadrigas bigasque</i>, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_195"></a><a href="#FNanchor_195"><span class="label">195</span></a> <i>Ibid.</i>, XXXIV, 63 and 64: <i>fecit et quadrigas multorum generum</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_196"></a><a href="#FNanchor_196"><span class="label">196</span></a> P., VI, 12.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_197"></a><a href="#FNanchor_197"><span class="label">197</span></a> Either in Ol. 69 ( = 504 B. C.) or 70 ( = 500 B. C.) or before 67 ( = 512 B. C.): Hyde, 126; -Foerster, 778 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_198"></a><a href="#FNanchor_198"><span class="label">198</span></a> P., VI, 14.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_199"></a><a href="#FNanchor_199"><span class="label">199</span></a> The father won κέλητι in Ol. 66 or 67 ( = 516 or 512 B. C.): Hyde, 120; Foerster, 129 and -149a; P., VI, 13.9; the sons won in the same event in Ol. 68 ( = 508 B. C.): Hyde, 121, and -pp. 50–51; Foerster, 152; P., VI, 13.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_200"></a><a href="#FNanchor_200"><span class="label">200</span></a> VI, 2.1–2; he won in the heavy-armed race and in charioteering in Ols. (?) 83, 84, ( = 448, 444 -B. C.): Hyde, 12; Foerster, 211a; Foerster believes that the two statues represented Lykinos and -his charioteer, and that they stood in the chariot, which is not mentioned by Pausanias.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_201"></a><a href="#FNanchor_201"><span class="label">201</span></a> So Foerster, l. c.; see also Robert, O. S., p. 176; Rutgers, p. 144; and Klein, <i>Archaeol.-epigr. -Mitt, aus Oesterr.-Ungarn</i>, VII, 1883, p. 70. For an improbable view, see Brunn, I, p. 479.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_202"></a><a href="#FNanchor_202"><span class="label">202</span></a> P., VI, 12.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_203"></a><a href="#FNanchor_203"><span class="label">203</span></a> Pliny, <i>H. N.</i>, XXIV, 75.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_204"></a><a href="#FNanchor_204"><span class="label">204</span></a> <i>Ibid.</i>, XXXIV, 78.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_205"></a><a href="#FNanchor_205"><span class="label">205</span></a> <i>Ibid.</i>, XXXIV, 19.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_206"></a><a href="#FNanchor_206"><span class="label">206</span></a> <i>Bronz. v. Ol.</i>, Tafelbd., Pl. XV, 255–7; XVI, 258; Textbd., p. 41; terra-cotta horses, <i>ibid.</i>, -XVII, 267–75; Textbd., pp. 43–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_207"></a><a href="#FNanchor_207"><span class="label">207</span></a> See Rouse, p. 167.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_208"></a><a href="#FNanchor_208"><span class="label">208</span></a> Pindar, <i>Pyth.</i>, V, 34 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_209"></a><a href="#FNanchor_209"><span class="label">209</span></a> <i>C. I. A.</i>, IV, <small>2</small>, p. 89, 373<sup>99</sup>; <i>cf.</i> <i>Arch. Eph.</i>, 1887, p. 146 (inscribed base reproduced).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_210"></a><a href="#FNanchor_210"><span class="label">210</span></a> Mentioned by the pseudo-Plutarch, <i>Vit. X Orat.</i>, IV (Isokrates), 42, p. 839 c</p></div> - -<div class="footnote"> - -<p><a id="Footnote_211"></a><a href="#FNanchor_211"><span class="label">211</span></a> Pindar’s <i>Pyth.</i> XII celebrates the victory of Midas of Akragas in flute-playing; he won in -Pyth. 24 and 25 ( = 490 and 486 B. C.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_212"></a><a href="#FNanchor_212"><span class="label">212</span></a> <i>H. N.</i>, XXXV, 58; both at Corinth and Delphi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_213"></a><a href="#FNanchor_213"><span class="label">213</span></a> Strabo, VIII, 6. 20 (C. 378); Aristeid., <i>Isthm.</i>, 45; Livy, XXXIII, 32. Dio Chrysostom -has graphically described the crowds of spectators who still frequented the <i>Isthmia</i> in the first -century A. D.: <i>Orat.</i>, VII (Διογένης ἢ περὶ ἀρετῆς); VIII (Διογένης ἢ Ἰσθμικός); <i>cf.</i> Gardiner, p. 173.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_214"></a><a href="#FNanchor_214"><span class="label">214</span></a> Plutarch, <i>Solon</i>, 23; Diog. Laert., 1, 55: etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_215"></a><a href="#FNanchor_215"><span class="label">215</span></a> For a list of victors, see Krause, <i>Die Pythien, Nemeen und Isthmien</i>, pp. 209 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_216"></a><a href="#FNanchor_216"><span class="label">216</span></a> See Julian, <i>Epist.</i>, XXXV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_217"></a><a href="#FNanchor_217"><span class="label">217</span></a> See Monceaux on the excavation of the temple of Poseidon, <i>Gaz. arch.</i>, IX, 1884, pp. 358 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_218"></a><a href="#FNanchor_218"><span class="label">218</span></a> Lucian, <i>Nero</i>, 2, says Olympia was the “most athletic” of all; Bacchylides, XII, emphasizes -the athletic character of Nemea.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_219"></a><a href="#FNanchor_219"><span class="label">219</span></a> The boys’ pentathlon was introduced in the fifty-third Nemead ( = 467 B. C.) and the pankration -for boys earlier: <i>cf.</i> Pindar, <i>Nem.</i>, V (in honor of the boy pancratiast Pytheas of Aegina; -<i>cf.</i> Bacchylides, XIII); VII (in honor of the boy pentathlete Sogenes of Aegina, who won in -Nem. 54); IV and VI (in honor of two Aeginetan boy wrestlers). The horse-race for boys is -mentioned by P., VI, 16.4. Races in armor were also important: Ph., 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_220"></a><a href="#FNanchor_220"><span class="label">220</span></a> See Gardiner, pp. 223 f.; list of victors in Krause, <i>op. cit.</i>, pp. 147 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_221"></a><a href="#FNanchor_221"><span class="label">221</span></a> X, 9.2 (Frazer’s transl.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_222"></a><a href="#FNanchor_222"><span class="label">222</span></a> See Foucart and Wescher, <i>Inscriptions recueillies à Delphes</i>, 1863, no. 469; Haussoulier, <i>B. C. H.</i>, -VI, 1882, pp. 217 f.; Couve, <i>ibid.</i>, XVIII, 1894, pp. 70–100. One is in honor of the Corinthian -singer Aristonos, who composed a hymn to Apollo, found at Delphi: <i>ibid.</i>, XVII, 1893, pp. -563 f. A Samian flutist, Satyros, gained a prize without contest and recited a choral ode called -<i>Dionysos</i> in the stadion, and played an air from Euripides’ <i>Bacchae</i> on the lyre; <i>ibid.</i>, XVII, -pp. 84 f. Native towns erected statues to musical victors: <i>C. I. G.</i>, I., nos. 1719–20. One -inscription records the rules to be observed by runners, who could not drink new wine, etc.: -<i>J. H. S.</i>, XVI, 1896, p. 343 and <i>Berliner Philolog. Wochenschr.</i>, XVI, 1896, p. 831 (June 27); <i>cf.</i> -Frazer, V, p. 260. The base of a statue of a boy wrestler has been found: <i>A. Z.</i>, XXXI, 1874, p. 57.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_223"></a><a href="#FNanchor_223"><span class="label">223</span></a> X, 9.2–3; on Phaÿllos, see Foerster, 794 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_224"></a><a href="#FNanchor_224"><span class="label">224</span></a> <i>H. N.</i>, XXXIV, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_225"></a><a href="#FNanchor_225"><span class="label">225</span></a> <i>Ibid.</i>, §57.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_226"></a><a href="#FNanchor_226"><span class="label">226</span></a> On <i>Pyth.</i>, IX, Argum., Boeckh, p. 401 B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_227"></a><a href="#FNanchor_227"><span class="label">227</span></a> XXIV, 7.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_228"></a><a href="#FNanchor_228"><span class="label">228</span></a> To be discussed <i>infra</i>, in Ch. V.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_229"></a><a href="#FNanchor_229"><span class="label">229</span></a> II, 1.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_230"></a><a href="#FNanchor_230"><span class="label">230</span></a> <i>I. G. B.</i>, nos. 120, 133, 148.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_231"></a><a href="#FNanchor_231"><span class="label">231</span></a> <i>C. I. G.</i>, II, 2888.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_232"></a><a href="#FNanchor_232"><span class="label">232</span></a> P., VIII, 38.5; <i>cf.</i> Reisch, p. 39, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_233"></a><a href="#FNanchor_233"><span class="label">233</span></a> P., I, 23.9; <i>C. I. A.</i>, I, 376; <i>I. G. B.</i>, 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_234"></a><a href="#FNanchor_234"><span class="label">234</span></a> P., I, 23.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_235"></a><a href="#FNanchor_235"><span class="label">235</span></a> P., I, 24.3; <i>cf.</i> Reisch, p. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_236"></a><a href="#FNanchor_236"><span class="label">236</span></a> Pseudo-Plutarch, <i>Vit. X Orat.</i>, already mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_237"></a><a href="#FNanchor_237"><span class="label">237</span></a> P., I, 18.3 and IX, 32.8; <i>cf.</i> Pliny, <i>H. N.</i>, XXXIV, 79.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_238"></a><a href="#FNanchor_238"><span class="label">238</span></a> <i>Contra Leocr.</i>, p. 51 (ed. Reiske, p. 176.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_239"></a><a href="#FNanchor_239"><span class="label">239</span></a> <i>Cf.</i> Furtwaengler, <i>A. M.</i>, V, 1880, pp. 27 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_240"></a><a href="#FNanchor_240"><span class="label">240</span></a> <i>C. I. A.</i>, I, 419; he won in Ol.77 ( = 472 B. C.): <i>Oxy. Pap.</i>; Hyde, 50; Foerster, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_241"></a><a href="#FNanchor_241"><span class="label">241</span></a> <i>C. I. A.</i>, II, <small>3</small>, 1303.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_242"></a><a href="#FNanchor_242"><span class="label">242</span></a> Aelian, <i>Var. Hist.</i>, IX, 32. Reisch, p. 39, ascribes these to the monument of the older Kimon, -who won in chariot-racing three times at Olympia: Hdt., VI, 103; Plut., <i>Cato Major</i>, 5; Foerster, -124 and 132.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_243"></a><a href="#FNanchor_243"><span class="label">243</span></a> <i>C. I. A.</i>, II, <small>3</small>, 1300.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_244"></a><a href="#FNanchor_244"><span class="label">244</span></a> <i>Ibid.</i>, 1301; <i>cf.</i> <i>C. I. G.</i>, I, 233.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_245"></a><a href="#FNanchor_245"><span class="label">245</span></a> <i>Ibid.</i>, 1305, 1312.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_246"></a><a href="#FNanchor_246"><span class="label">246</span></a> <i>Ibid.</i>, 1302.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_247"></a><a href="#FNanchor_247"><span class="label">247</span></a> <i>Ibid.</i>, 1304.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_248"></a><a href="#FNanchor_248"><span class="label">248</span></a> <i>Ibid.</i>, 1323.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_249"></a><a href="#FNanchor_249"><span class="label">249</span></a> <i>Ibid.</i>, 1313.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_250"></a><a href="#FNanchor_250"><span class="label">250</span></a> <i>Ibid.</i>, 1314.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_251"></a><a href="#FNanchor_251"><span class="label">251</span></a> <i>Ibid.</i>, 1318–20.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_252"></a><a href="#FNanchor_252"><span class="label">252</span></a> The Ἑλλανοδίκαι, mentioned by P., V, 9. 4 f. and elsewhere; sometimes he calls them merely -οἱ Ἠλεῖοι: <i>e. g.</i>, VI, 13.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_253"></a><a href="#FNanchor_253"><span class="label">253</span></a> <i>E. g.</i>, P., VI, 13.9, says that the Eleans allowed Pheidolas to dedicate a statue of his mare; -in VI, 3.6, he says that they allowed the wrestler Kratinos to set up a statue of his trainer.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_254"></a><a href="#FNanchor_254"><span class="label">254</span></a> XXXIV, 16. See <i>infra</i>, pp. 54 and 354.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_255"></a><a href="#FNanchor_255"><span class="label">255</span></a> VI, 1.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_256"></a><a href="#FNanchor_256"><span class="label">256</span></a> <i>Inschr. v. Ol.</i>, p. 236.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_257"></a><a href="#FNanchor_257"><span class="label">257</span></a> <i>Bronz. v. Ol.</i>, Textbd., pp. 19 f. (nude youths with lost attributes so that they can not be named -with certainty); Tafelbd., Pl. VIII, 47 (the oldest); VII, 48 = F. W., 352 (Apollo, following Overbeck, -<i>Gr. Kunstmytk.</i>, III, <i>Apollon</i>, p. 35, fig. 6); VIII, 49 = F. W., 353; VIII, 51–4 and 57 (the -latter is a boxer of the fifth century B. C. = Fig. 2 in text); VI, 50; VI, 59 (right arm of a fifth-century -B. C. diskobolos); VI, 63 (right lower leg). Purgold, <i>Annali</i>, LVII, 1885, pp. 167 f., makes -these diskoboloi decorative in character.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_258"></a><a href="#FNanchor_258"><span class="label">258</span></a> De Ridder, no. 747.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_259"></a><a href="#FNanchor_259"><span class="label">259</span></a> <i>Ibid.</i>, no. 746.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_260"></a><a href="#FNanchor_260"><span class="label">260</span></a> <i>Ibid.</i>, no. 636.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_261"></a><a href="#FNanchor_261"><span class="label">261</span></a> Carapanos, <i>Dodone et ses Ruines</i>, 1878, Pl. XI, 1 and 1 <i>bis</i> (probably not Atalanta, as Carapanos -suggests on p. 31, no. 4).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_262"></a><a href="#FNanchor_262"><span class="label">262</span></a> <i>B. C. H.</i>, XXI, 1897, Pls. X and XI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_263"></a><a href="#FNanchor_263"><span class="label">263</span></a> <i>A. M.</i>, XV, 1890, p. 365.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_264"></a><a href="#FNanchor_264"><span class="label">264</span></a> <i>Jb.</i>, I, 1886, pp. 163 f., and Pl. IX; II, 1887, pp. 95 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_265"></a><a href="#FNanchor_265"><span class="label">265</span></a> Carapanos, <i>op. cit.</i>, Pl. XIII, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_266"></a><a href="#FNanchor_266"><span class="label">266</span></a> <i>E. g.</i>, see E. von Sacken, <i>Die antiken Bronzen des k. k. Muenz- und Antiken-Cabinetes in Wien</i>, -1871, Pl. 37, fig. 4, and Pl. 45, fig. 1; <i>cf.</i> <i>J. H. S.</i>, I, Pl. V, fig. 1, text, pp. 176–7. See lists, from -which many of the above examples are taken, in Reisch, p. 39, and Rouse, pp. 172 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_267"></a><a href="#FNanchor_267"><span class="label">267</span></a> The seven fragments collected by Treu, which are two-fifths to two-thirds life-size: <i>Bildw. v. -Ol.</i>, Tafelbd., Pl. LVI, 2, (= Fig. 78, <i>infra</i>) and Textbd., p. 216, no. 241; Tafelbd., Pl. LVI, 3, -4 and Textbd., p. 216, n. 4 and fig. 242.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_268"></a><a href="#FNanchor_268"><span class="label">268</span></a> V, 27.2–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_269"></a><a href="#FNanchor_269"><span class="label">269</span></a> Reisch, pp. 39 f., gives examples of these for chariot victories at the <i>Panathenaia</i> and the games -at Oropos, which latter were imitated from the <i>Panathenaia</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_270"></a><a href="#FNanchor_270"><span class="label">270</span></a> V, 16.3: καὶ δὴ ἀναθεῖναί σφισιν ἔστι γραψαμέναις εἰκόνας. Rouse, p. 167, n. 9, shows that -these words do not mean “statues of themselves with their names engraved on them,” as -Frazer translates, but painted reliefs.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_271"></a><a href="#FNanchor_271"><span class="label">271</span></a> Benndorf, <i>Griech. und Sicil. Vasenbilder</i>, I, Pl. IX, pp. 13 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_272"></a><a href="#FNanchor_272"><span class="label">272</span></a> I, 22.7. Reisch, p. 40, believes this represented a Panathenaic victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_273"></a><a href="#FNanchor_273"><span class="label">273</span></a> <i>H. N.</i>, XXXV, 99. <i>Cf.</i> E. Kroker, <i>Gleichnamige griechische Kuenstler</i>, 1883, p. 35.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_274"></a><a href="#FNanchor_274"><span class="label">274</span></a> <i>Ibid.</i>, §75.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_275"></a><a href="#FNanchor_275"><span class="label">275</span></a> <i>Ibid.</i>, §63.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_276"></a><a href="#FNanchor_276"><span class="label">276</span></a> <i>Ibid.</i>, §141.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_277"></a><a href="#FNanchor_277"><span class="label">277</span></a> <i>Ibid.</i>, §106.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_278"></a><a href="#FNanchor_278"><span class="label">278</span></a> <i>Ibid.</i>, §71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_279"></a><a href="#FNanchor_279"><span class="label">279</span></a> <i>Ibid.</i>, §130.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_280"></a><a href="#FNanchor_280"><span class="label">280</span></a> <i>Ibid.</i>, §144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_281"></a><a href="#FNanchor_281"><span class="label">281</span></a> P., VI, 14.13. He won the pentathlon twice some time between Ols. 126 and 132 ( = 276 and -252 B. C.): Hyde, 139; Foerster, 451 and 456; the inscription on one has been recovered: <i>Inschr. v. -Ol.</i>, 176.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_282"></a><a href="#FNanchor_282"><span class="label">282</span></a> P., VI, 3.11. His victories in running races occurred in Ols. (?) 95, (?) 97 and 99; ( = 400, 392 -and 384 B. C.): Afr.; Hyde, 33; Foerster, 307, 315, 316. The inscription from the base of one is -preserved in <i>A. G.</i>, XIII, 15.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_283"></a><a href="#FNanchor_283"><span class="label">283</span></a> P., VI, 2.1–2; Hyde, 12; Foerster, 211a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_284"></a><a href="#FNanchor_284"><span class="label">284</span></a> P., VI, 15.10; he won the pankration and wrestling match in Ol. 142 ( = 212 B. C.): Hyde, 150; -Foerster, 474, 475.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_285"></a><a href="#FNanchor_285"><span class="label">285</span></a> P., VI, 1.4; he won in the two- and four-horse chariot-races in Ols. 102, 103 ( = 372 and 368 -B. C.): Hyde, 6; Foerster, 338, 345; for the inscription on its base, see <i>Inschr. v. Ol.</i>, 166. P. Gardner, -in <i>J. H. S.</i>, XXV, 1905, p. 245, infers that he had only one victory, in 372 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_286"></a><a href="#FNanchor_286"><span class="label">286</span></a> P., VI, 2.2; he won in Ols. (?) 86, 87 ( = 436, 432 B. C.): Hyde, 13; Foerster, 250, 256.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_287"></a><a href="#FNanchor_287"><span class="label">287</span></a> P., VI, 14.12; <i>Inschr. v . Ol.</i>, 170; <i>ibid.</i>, no. 154 belongs to the victory mentioned by Pausanias. -He won κέλητι in Ol. (?) 83 ( = 448 B. C.): Hyde, 133; Foerster, 327.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_288"></a><a href="#FNanchor_288"><span class="label">288</span></a> <i>E. g.</i>, Deinomenes set up a chariot-group to his father Hiero: P., VI, 12.1; Glaukos had a -statue dedicated by his son: VI, 10.3; Menedemos set up a statue to his father of the same name: -<i>Inschr. v. Ol.</i>, 214; the sons of Hiero II, the son of Hierokles, of Syracuse, set up in honor of their -father two statues by the Syracusan statuary Mikon, one on horseback, the other on foot: P., VI, -12.2 f.; Hyde 105a and pp. 44–5; another of the same Hiero was set up at Olympia by his sons: -VI, 15.6; Hyde, 147a; these latter, however, are “honor” and not victor statues.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_289"></a><a href="#FNanchor_289"><span class="label">289</span></a> <i>E. g.</i>, Hermokrates dedicated a statue to his son Kleitomachos of Thebes: P., VI, 15.3 f.; -he won in pankration and boxing in Ols. 141 and 142 ( = 216, 212 B. C.): Hyde, 146; Foerster, -472, 476. The epigram by Alkaios (= Minor) of Messenia is preserved in <i>A. G.</i>, IX, 588. For -inscriptions after the time of Augustus, see <i>Inschr. v. Ol.</i>, 215 (Menedemos to his son of the same -name); 216 (Aristodemos to his son Lykomedes of Elis); Foerster, 550; <i>Inschr. v. Ol.</i>, 218 (Timolas -to his son Archiadas of Elis); Foerster, 535; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_290"></a><a href="#FNanchor_290"><span class="label">290</span></a> <i>E. g.</i>, Klaudia Kleodike to her son M. Antonios Kallipos Peisanos of Elis: <i>Inschr. v. Ol.</i>, 223; -Foerster, 568.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_291"></a><a href="#FNanchor_291"><span class="label">291</span></a> <i>E. g.</i>, Diodoros to his brother Nikanor of Ephesos: <i>Inschr. v. Ol.</i>, 227; he won the pankration -in Ol. 217 ( = 89 A. D.): Foerster, 666.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_292"></a><a href="#FNanchor_292"><span class="label">292</span></a> <i>E. g.</i>, Loukios Betilenos (= Vetulenus) set one up to T. Klaudios Aphrodeisios of Elis (?): -<i>Inschr. v. Ol.</i>, 226. He won κέλητι in Ol. 208 ( = 53 A. D.): Foerster, 634; two Eleans set up -statues, one, M. Antonios Peisanos, to Germanicus Caesar, adopted son of the Emperor Tiberius -(Foerster, 612), the other, Gnaios Markios, to Tiberius or Germanicus: <i>Inschr. v. Ol.</i>, 221 and 222.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_293"></a><a href="#FNanchor_293"><span class="label">293</span></a> <i>E. g.</i>, Mikon the trainer to an unknown Samian boxer: P., VI, 2.9; Hyde, 19 and pp. 29–30; -Foerster, 804.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_294"></a><a href="#FNanchor_294"><span class="label">294</span></a> P., VI, 3.8; <i>cf.</i> VII, 17.6 and 13 f.; Afr.; Hyde, 29; Foerster, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_295"></a><a href="#FNanchor_295"><span class="label">295</span></a> P., VI, 6.2; he won some time between Ols. (?) 93 and 103 ( = 408 and 368 B. C.): Hyde, 53; -Foerster, 355.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_296"></a><a href="#FNanchor_296"><span class="label">296</span></a> P., VI, 17.2; he won some time between Ols. (?) 114 and 132 ( = 324 and 252 B. C.): Hyde, -172; Foerster, 354.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_297"></a><a href="#FNanchor_297"><span class="label">297</span></a> P., VI, 17.2; two of the victories in the stade-race fell in Ols. 129 and 130 ( = 264 and 260 B. C.): -Afr.; Hyde, 173; Foerster, 440–2; 444–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_298"></a><a href="#FNanchor_298"><span class="label">298</span></a> P., VI, 17.4. He won the boys’ wrestling match some time between Ols. (?) 115 and 118 ( = 320 -and 308 B. C.): Hyde, 178; Foerster, 377.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_299"></a><a href="#FNanchor_299"><span class="label">299</span></a> For the one at Olympia, see P., VI, 8.5; for the one at Pellene, <i>id.</i>, VII, 27.5; he won in Ol. 94 -( = 396 B. C.): Hyde, 81; Foerster, 286. Similarly, Hiero II, King of Syracuse, had two statues -<i>honoris causa</i> at Olympia set up by his fellow citizens: P., VI, 15. 6; Hyde, 147a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_300"></a><a href="#FNanchor_300"><span class="label">300</span></a> <i>Inschr. v. Ol.</i>, 169; <i>cf.</i> P., VI, 13.11; he won the pankration some time between Ols. (?) 115 and -130 ( = 320 and 260 B. C.): Hyde, 123; Foerster, 758 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_301"></a><a href="#FNanchor_301"><span class="label">301</span></a> <i>Inschr. v. Ol.</i>, 186; <i>cf.</i> P., VI, 15.6; he won twice in boxing between Ols. (?) 144 and 147 ( = 204 -and 192 B. C.): Hyde, 147; Foerster, 510 and 512.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_302"></a><a href="#FNanchor_302"><span class="label">302</span></a> <i>Inschr. v. Ol.</i>, 224; he won the boys’ wrestling match in Roman days; Foerster, 823.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_303"></a><a href="#FNanchor_303"><span class="label">303</span></a> P., VI, 2.2–3; Thukydides, V, 49–50; he won in Ol. 90 ( = 420 B. C.): Hyde, 14; Foerster, -270.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_304"></a><a href="#FNanchor_304"><span class="label">304</span></a> Vol. II, p. 222.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_305"></a><a href="#FNanchor_305"><span class="label">305</span></a> So Scherer, p. 5. His evidence is from inscriptions of imperial days (<i>e. g.</i>, <i>Inschr. v. Ol.</i>, 218, -223, 227), when the dedicatory formula differed somewhat from that of earlier times.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_306"></a><a href="#FNanchor_306"><span class="label">306</span></a> <i>Inschr. v. Ol.</i>, 147–8; <i>cf.</i> P., VI, 10.9; <i>Oxy. Pap.</i>; Hyde, 102; Foerster, 237.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_307"></a><a href="#FNanchor_307"><span class="label">307</span></a> VI, 3.6. He won sometime between Ols. (?) 120 and 130 ( = 300 and 260 B. C.): Hyde, 27; -Foerster, 433.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_308"></a><a href="#FNanchor_308"><span class="label">308</span></a> VI, 8.3. He won the stade-race and the chariot-race in Ols. 93 and 104 ( = 408 and 364 B. C.) -respectively: Afr.; Hyde, 75; Foerster, 277, 350.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_309"></a><a href="#FNanchor_309"><span class="label">309</span></a> P., VI, 14.6; he won in wrestling matches six times in Ol. (?) 61, and in Ols. 62, 63, 64, 65, -66 ( = 536–516 B. C.): Hyde, 128; Foerster, 116, 122, 126, 131, 136, 141.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_310"></a><a href="#FNanchor_310"><span class="label">310</span></a> P., VI, 13.2; Afr.; Hyde, 111 and p. 48; Foerster, 39, 41–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_311"></a><a href="#FNanchor_311"><span class="label">311</span></a> P., VI, 4.6; Hyde, 41 and <i>cf.</i> p. 36; Foerster, 384, 392.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_312"></a><a href="#FNanchor_312"><span class="label">312</span></a> P., VI, 5.1.; VII, 27.6; Afr.; Hyde, 47; Foerster, 279.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_313"></a><a href="#FNanchor_313"><span class="label">313</span></a> P., VI, 10.1; Hyde, 93 and p. 42; Foerster, 137.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_314"></a><a href="#FNanchor_314"><span class="label">314</span></a> The age of boy victors at Olympia seems to have been 17–20: see <i>Inschr. v. Ol.</i>, 56, ll. II f. -(referring to the order of the <i>Augustalia</i>, or Σεβαστὰ ἰσολύμπια, celebrated in Naples, which -were modeled after those of Olympia, <i>cf.</i> <i>C. I. G.</i>, III, 5805). Archippos of Mytilene won the -crown for boxing at Olympia, Delphi, Nemea, and on the Isthmus among the men at not over -twenty years of age: P., VI, 15.1; <i>Inschr. v. Ol.</i>, 173; he won sometime between Ols. (?) 115 and -125 ( = 320 and 280 B. C.): Hyde, 140; Foerster, 757 (undated). Since Pausanias mentions this -as a remarkable record, we should suspect his statement that the boy runner Damiskos of -Messene was but twelve when he won the stade-race: VI, 2.10; he won Ol. 103 ( = 368 B. C.): -Afr.; Hyde, 20; Foerster, 343. Another victor, of unknown date, Nikasylos of Rhodes, was disqualified -when eighteen years old from entering the boys’ wrestling match because of his age, -and so entered that of the men: P., VI, 14.1–2; Hyde, 125; Foerster, 787. He died at twenty. -Such inconsistencies in Pausanias’ account show that the Hellanodikai exercised some discretion -in their judgment, taking into consideration not merely age, but size and strength.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_315"></a><a href="#FNanchor_315"><span class="label">315</span></a> On maintenance at the Prytaneion, see Plato, <i>de Rep.</i>, V, 465 D; <i>Apology</i>, 36 D; Plut., <i>Aristeides</i>, -27; Athenæus, VI, 32 (p. 237, quoting Timokles), and X, 6 (p. 414, quoting Xenophanes); -R. Schoell, Die Speisung im Prytaneion zu Athen, <i>Hermes</i>, VI, 1872, pp. 14 f. (and -Athenian inscription, pp. 30 f.) He concludes that this honor was given to Athenian victors -only in the chariot-race at Olympia, and in gymnic contests at the other great games. Solon -ordained that these meals be frugal, consisting of a barley loaf on common days and a wheaten -one on festival days: see Athenæus, IV, 14 (p. 137 e).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_316"></a><a href="#FNanchor_316"><span class="label">316</span></a> <i>C. I. A.</i>, II, <small>2</small>, 965.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_317"></a><a href="#FNanchor_317"><span class="label">317</span></a> Dio Cassius, LII, 30, 5–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_318"></a><a href="#FNanchor_318"><span class="label">318</span></a> Suet., <i>Octav.</i>, 45; <i>cf.</i> Gardiner, pp. 174–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_319"></a><a href="#FNanchor_319"><span class="label">319</span></a> P., VI, 13.1; Afr.; Hyde, 110; Foerster, 176–7, 181–2, 187–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_320"></a><a href="#FNanchor_320"><span class="label">320</span></a> P., VI, 18.6; Hyde, 186; Foerster, 317, 323.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_321"></a><a href="#FNanchor_321"><span class="label">321</span></a> P., VI, 3.11; Afr.; Hyde, 33; Foerster, 307, 315, 316.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_322"></a><a href="#FNanchor_322"><span class="label">322</span></a> P., VI, 2.6–7; Hyde, 16; Foerster, 309.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_323"></a><a href="#FNanchor_323"><span class="label">323</span></a> P., VI, 2.2–3; Thukyd., V, 49–50; Krause, <i>Olympia</i>, p. 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_324"></a><a href="#FNanchor_324"><span class="label">324</span></a> P., V, 21.3–4. Eupolos won in Ol. 98 ( = 388 B. C.): Foerster, 313. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_325"></a><a href="#FNanchor_325"><span class="label">325</span></a> P., V, 21.5; Kallipos won Ol. 112 ( = 332 B. C.): Foerster, 385.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_326"></a><a href="#FNanchor_326"><span class="label">326</span></a> P., V, 21.8 f.; on Straton, see Foerster, 570–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_327"></a><a href="#FNanchor_327"><span class="label">327</span></a> P., V, 21.16–17; see Foerster, 598 (for the Elean boy wrestler Polyktor, son of Damonikos); P., -V, 21.15; Foerster 684 (for the boxer Didas and his antagonist Sarapammon, both Egyptians). -On cases of bribery at Olympia, see Gardiner, pp. 134–5 and 174; Krause, <i>Olympia</i>, pp. 144 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_328"></a><a href="#FNanchor_328"><span class="label">328</span></a> P., V, 21.18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_329"></a><a href="#FNanchor_329"><span class="label">329</span></a> P., V, 21.12–14.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_330"></a><a href="#FNanchor_330"><span class="label">330</span></a> Dittenberger, <i>Sylloge Inscriptionum Graecarum</i>,<sup>2</sup> II, 689; Cavvadias (Kabbadias), <i>Fouilles -d’Épidaure</i>, I, 1891, p. 77, no. 238.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_331"></a><a href="#FNanchor_331"><span class="label">331</span></a> Ph., 45. He says that victories were bought and sold in his day and that the practice was -encouraged by trainers. <i>Cf.</i> Gardiner, p. 219.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_332"></a><a href="#FNanchor_332"><span class="label">332</span></a> Lucian, <i>Nero</i>, 9. <i>Cf.</i> Gardiner, pp. 218–219</p></div> - -<div class="footnote"> - -<p><a id="Footnote_333"></a><a href="#FNanchor_333"><span class="label">333</span></a> See Gardiner, p. 77.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_334"></a><a href="#FNanchor_334"><span class="label">334</span></a> Diod., XIII, 82; Foerster, 271 and 276. Suetonius says that Nero, on arriving in Naples -after his tour of Greece, made his entrance in a chariot drawn by white horses through a breach -in the city wall “according to the practice of victors at the Greek games,” 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 Maximus: <i>Nero</i>, 25. Though Plutarch says that -victors could tear down part of the city walls (<i>Quaest. conviv.</i>, II, 5.2), such extravagances seem to -have been introduced late and not to have belonged to the great days of Greek athletics.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_335"></a><a href="#FNanchor_335"><span class="label">335</span></a> <i>Cf.</i> Waldstein, <i>J. H. S.</i>, I, 1880, pp. 198–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_336"></a><a href="#FNanchor_336"><span class="label">336</span></a> Hdt., V, 47; <i>cf.</i> Eustath. on Hom., Iliad, III, p. 383, 43; Foerster, 138.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_337"></a><a href="#FNanchor_337"><span class="label">337</span></a> P., VI, 6.4 f.; Afr.; Hyde, 56; Foerster, 185, 195, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_338"></a><a href="#FNanchor_338"><span class="label">338</span></a> P., VI, 6.7–11; Strabo, VI, 1.5 (C. 255); Ael., <i>Var. Hist.</i>, VIII, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_339"></a><a href="#FNanchor_339"><span class="label">339</span></a> So Kallimachos <i>apud</i> Plin., <i>H. N.</i>, VII, 152 (= <i>S. Q.</i>, 494); he also states that two of his statues, -one at Lokroi, the other at Olympia, were struck by lightning on the same day.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_340"></a><a href="#FNanchor_340"><span class="label">340</span></a> P., VI, 11.8–9; <i>Oxy. Pap.</i>; Hyde, 104; Foerster, 191, 196.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_341"></a><a href="#FNanchor_341"><span class="label">341</span></a> P., VI, 11.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_342"></a><a href="#FNanchor_342"><span class="label">342</span></a> P., VI, 9.8; <i>cf.</i> Suidas, <i>s. v.</i> Κλεομήδης; Foerster, 162; <i>cf.</i> Hyde, 90a (though there was no -statue at Olympia).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_343"></a><a href="#FNanchor_343"><span class="label">343</span></a> VI, 9.6–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_344"></a><a href="#FNanchor_344"><span class="label">344</span></a> Thus P., VI, 11.9, says that statues of Theagenes were erected within and beyond Greece -and could heal sickness. Lucian says that in his day the statues of both Theagenes on Thasos -and of Polydamas of Skotoussa at Olympia cured fevers: <i>Deorum Concilium</i>, 12. Polydamas -won the pankration in Ol. 93 ( = 408 B. C.): Afr.; his statue by Lysippos was set up later: P., -VI, 5.1; Hyde, 47; Foerster, 279. Gardiner has recently called attention to the fact that the -evidence for the canonization of the five victors mentioned is mostly late, and he therefore -doubts if it had anything to do with their victories at Olympia: <i>B.S.A.</i>, XXII, 1916–18, pp. 96, 97.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_345"></a><a href="#FNanchor_345"><span class="label">345</span></a> Ll. 1161 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_346"></a><a href="#FNanchor_346"><span class="label">346</span></a> <i>De Rep.</i>, V, 465 D. E.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_347"></a><a href="#FNanchor_347"><span class="label">347</span></a> <i>De Rep.</i>, 620 B.; <i>cf.</i> Gardiner, pp. 129–130.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_348"></a><a href="#FNanchor_348"><span class="label">348</span></a> Xen., <i>Hell.</i>, I, 5.19; P., VI, 7.4 f.; Hyde, 61; Foerster, 258, 260, 262.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_349"></a><a href="#FNanchor_349"><span class="label">349</span></a> Damagetos won in boxing (?) in Ol. 56 ( = 556 B. C): Hermipp., <i>fr.</i> 14 (= <i>F. H. G.</i> III, p. 39); -<i>A. G.</i>, VII, 88; Pl., <i>H. N.</i>, VII, 119; Foerster, 108.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_350"></a><a href="#FNanchor_350"><span class="label">350</span></a> <i>Hbk.</i>, pp. 215–216.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_351"></a><a href="#FNanchor_351"><span class="label">351</span></a> <i>Ap.</i> Athenæum, X, 6 (pp. 413–14); Gardiner, p. 79, has given a translation of his protest.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_352"></a><a href="#FNanchor_352"><span class="label">352</span></a> <i>Ap.</i> Athen., X, 5 (p. 413).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_353"></a><a href="#FNanchor_353"><span class="label">353</span></a> <i>De Rep.</i>, 404 A.; 410 D. (<i>cf.</i> 535 D.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_354"></a><a href="#FNanchor_354"><span class="label">354</span></a> Προτρεπτικὸς λόγος ἐπὶ τὰς τέχνας. For translation, see Gardiner, p. 188.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_355"></a><a href="#FNanchor_355"><span class="label">355</span></a> See Secchi, <i>Mosaico Antoniniano</i>, and Baum., I, p. 223, fig. 174.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_356"></a><a href="#FNanchor_356"><span class="label">356</span></a> VI, 1.1: ποιήσασθαι καὶ ἵππων ἀγωνιστῶν μνήμην καὶ ἀνδρῶν ἀθλητῶν.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_357"></a><a href="#FNanchor_357"><span class="label">357</span></a> See Dittenberger, <i>Inschr. v. Ol.</i>, p. 239.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_358"></a><a href="#FNanchor_358"><span class="label">358</span></a> Pp. 272–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_359"></a><a href="#FNanchor_359"><span class="label">359</span></a> P., VI, 10.8; Hyde, 99 b and p. 44; Foerster, 77–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_360"></a><a href="#FNanchor_360"><span class="label">360</span></a> <i>Inschr. v. 0l.</i>, 236; Foerster, 686. It was the custom also at Delphi to dedicate chariots; -thus we have already mentioned that Arkesilas IV of Kyrene dedicated his chariot there after -a Pythian victory in Ol. 78.3 ( = 462 B. C.): Pindar, <i>Pyth.</i>, V, 34 f. An inscription tells us of a -bronze wheel being dedicated to the Dioskouroi: <i>I. G. A.</i>, p. 173, 43a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_361"></a><a href="#FNanchor_361"><span class="label">361</span></a> <i>E. g.</i>, <i>Inschr. v. Ol.</i>, 142 (Pantares); 160 (Kyniska).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_362"></a><a href="#FNanchor_362"><span class="label">362</span></a> <i>E. g.</i>, <i>ibid.</i>, 143 (Gelo); 178 (Glaukon); 190 (son of Aristotle); 191 (Agilochos); 194 (son of -Nikodromos); 197 (Antigenes); 217 (Lykomedes); 222 (Gnaios Markios); 233 (Kasia Mnasithea).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_363"></a><a href="#FNanchor_363"><span class="label">363</span></a> Thus <i>ibid.</i>, 142, 143, 236.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_364"></a><a href="#FNanchor_364"><span class="label">364</span></a> <i>Ibid.</i>, 178, 190 (supplied), 191 (supplied), 194, 197, 217, 227, 233 (supplied).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_365"></a><a href="#FNanchor_365"><span class="label">365</span></a> <i>Ibid.</i>, 160.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_366"></a><a href="#FNanchor_366"><span class="label">366</span></a> <i>Ibid.</i>, 177.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_367"></a><a href="#FNanchor_367"><span class="label">367</span></a> V, 21.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_368"></a><a href="#FNanchor_368"><span class="label">368</span></a> V, 25.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_369"></a><a href="#FNanchor_369"><span class="label">369</span></a> <i>A. M.</i>, V, 1880, p. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_370"></a><a href="#FNanchor_370"><span class="label">370</span></a> <i>Inschr. v. Ol.</i>, 144; here in the renewed inscription occurs also the word ἀνέθηκεν; Hyde, 56; -Foerster, 185, 195, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_371"></a><a href="#FNanchor_371"><span class="label">371</span></a> <i>L. c.</i>, p. 31, n. 1; here he gives a list of the metrical exceptions of the fifth century B. C.; from -inscriptions, that of Aineas, <i>A. Z.</i>, XXXV, 1877, p. 38, no. 86; Foerster, 244 (an inscription not -appearing in <i>Inschr. v. Ol.</i>), and Tellon, <i>A. Z.</i>, <i>ibid.</i>, p. 190, no. 91, and XXXVIII, 1880, p. 70 -(= <i>Inschr. v. Ol.</i>, 147–8); from Pausanias, that of Kleosthenes (wrongly Kleisthenes), VI, 10.6, -and Damarchos, VI, 8.2. The list should he corrected as follows. From inscriptions: Tellon, boy -boxer of Ol. 77 ( = 472 B. C.): <i>Oxy. Pap.</i>; P., VI, 10.9; <i>Inschr. v. Ol.</i>, 147–8; Hyde, 102; Foerster, -237; Kyniskos, boy boxer of Ol. (?) 80 ( = 460 B. C.): P., VI, 4.11; <i>Inschr. v. Ol.</i>, 149; Hyde, -45; Foerster, 255; Charmides, boy boxer of Ol. (?) 79 ( = 464 B. C.): P., VI, 7.1; <i>Inschr. v. Ol.</i>, -156 (renewed); Hyde, 58; Foerster, 763 (undated); ... krates, boy runner, Ol. (?) 93 ( = 408 -B. C.): <i>Inschr. v. Ol.</i>, 157; Foerster, 280. From Pausanias: Damarchos, boxer, who won before -Ol. 75 ( = 480 B. C.) or after Ol. 83 ( = 448 B. C.): VI, 8.2; Hyde, 74 and p. 38; Foerster, 452.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_372"></a><a href="#FNanchor_372"><span class="label">372</span></a> <i>E. g.</i>, the Cretan Philonides, courier of Alexander the Great, dedicated his portrait statue to the -god: <i>Inschr. v. Ol.</i>, 276; P., VI, 16.5; Hyde, 154 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_373"></a><a href="#FNanchor_373"><span class="label">373</span></a> <i>Inschr. v. Ol.</i>, 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_374"></a><a href="#FNanchor_374"><span class="label">374</span></a> So Dittenberger, and Furtwaengler (<i>l. c.</i>, p. 30, n. 2), following Roehl, <i>I. G. A.</i>, on no. 388; Roehl -believed that originally the word Lokroi or the name of the victor’s father appeared as the dedicator, -and later, because the victor wished to remove the expense from his city or because his father -died, Euthymos himself restored it; see discussion of Dittenberger, <i>Inschr. v. Ol.</i>, pp. 249–520. -The original inscription has ἔστησε.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_375"></a><a href="#FNanchor_375"><span class="label">375</span></a> <i>Inschr. v. Ol.</i>, 264; Roehl, <i>I. G. A.</i>, 589.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_376"></a><a href="#FNanchor_376"><span class="label">376</span></a> So Dittenberger, <i>Inschr. v. Ol.</i>, p. 241, and no. 213; <i>I. G. B.</i>, 72; Foerster, following the -earlier dating of Dittenberger (<i>A. Z.</i>, XXXV, 1877, p. 42, nos. 49–50), dates the two victories -later, in Ols. (?) 200, 203 ( = 21 and 33 A. D.); nos. 614 and 619.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_377"></a><a href="#FNanchor_377"><span class="label">377</span></a> <i>Inschr. v. Ol.</i>, 225, 228, 229–30, 231, 232.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_378"></a><a href="#FNanchor_378"><span class="label">378</span></a> <i>Op. cit.</i>, pp. 240–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_379"></a><a href="#FNanchor_379"><span class="label">379</span></a> Furtwaengler, <i>l. c.</i>, p. 30; Reisch, p. 37; Rouse, p. 167; Frazer, III, p. 624. Against the view -that victor statues were first called votive in Roman days, see Purgold, <i>A. Z.</i>, XXXIX, 1881, p. 89, -on no. 390 (= inscription of Glaukon = <i>Inschr. v. Ol.</i>, 178; however, he was a victor in chariot-racing).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_380"></a><a href="#FNanchor_380"><span class="label">380</span></a> <i>E. g.</i>, by Scherer, p. 5; Kuhnert, <i>Jahrb. fuer cl. Phil.</i>, Supplbd., XIV, 1885, p. 257, n. 7; Flasch, -in Baum., II, p. 1096; <i>cf.</i> Dittenberger-Purgold, <i>Inschr. v. Ol.</i>, p. 240; Frazer, III, pp. 623–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_381"></a><a href="#FNanchor_381"><span class="label">381</span></a> <i>E. g.</i>, Ziemann, <i>de Anathematis Graecis</i>, 1885, p. 54.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_382"></a><a href="#FNanchor_382"><span class="label">382</span></a> <i>Hermes</i>, XIII, 1878, p. 437, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_383"></a><a href="#FNanchor_383"><span class="label">383</span></a> Pp. 35 f.; followed by M. K. Welsh, <i>B. S. A.</i>, XI, 1904–5, pp. 33–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_384"></a><a href="#FNanchor_384"><span class="label">384</span></a> <i>E. g.</i>, Pythokles, who won the pentathlon in Ol. 82 ( = 452 B. C.), does not mention his contest -on the base (<i>Inschr. v. Ol.</i>, 162–3), nor does Pausanias give it (VI, 7.10); we learn it only from -the <i>Oxy. Pap.</i>: see Robert <i>O. S.</i>, p. 185; Hyde, 70; Foerster, 295.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_385"></a><a href="#FNanchor_385"><span class="label">385</span></a> On p. 36, n. 1, he points out that at Athens the usual dedication formula was omitted; <i>e. g.</i>, -in the inscription of the Isthmian victor Diophanes, <i>C. I. A.</i>, II, 3, 1301, and in that of a Panathenaic -victor, <i>ibid.</i>, 1302. The presence of the word in an Athenian inscription referring to -the Olympic victor Kallias rests on an uncertain restoration; <i>ibid.</i>, I, 419; he won Ol. 77 ( = 472 -B. C.): P., VI, 6.1; Hyde, 50; Foerster, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_386"></a><a href="#FNanchor_386"><span class="label">386</span></a> Pp. 167 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_387"></a><a href="#FNanchor_387"><span class="label">387</span></a> Both Reisch, p. 36, and Dittenberger, <i>op. cit.</i>, p. 240, agree also in opposing Furtwaengler’s -<i>Versnoth</i> explanation.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_388"></a><a href="#FNanchor_388"><span class="label">388</span></a> Thus Pausanias mentions the “chariot, horses, charioteer and Kyniska herself”: VI, 1.6. -Again he speaks of the “chariot and statue of Gelo”: VI, 9.4–5; in referring to the chariot of -Kleosthenes by Hagelaïdas he says: “Along with the statue of the chariot and horses, he [Kleosthenes] -dedicated statues of himself and the charioteer,” and even adds the names of the horses: -VI, 10.6. In VI, 18.1, he mentions the group of Kratisthenes as “the chariot, Nike mounting it, -and Kratisthenes”; in VI, 16.6 he speaks of “a small chariot and figure of the father of Polypeithes, -the wrestler Kalliteles”; etc. <i>Cf.</i> Dittenberger, <i>op. cit.</i>, pp. 239–40.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_389"></a><a href="#FNanchor_389"><span class="label">389</span></a> He won in Ol. 255 ( = 241 A. D.): Foerster, 739: <i>Inschr. v. Ol.</i>, 241.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_390"></a><a href="#FNanchor_390"><span class="label">390</span></a> No dedication, however, is inscribed on it: <i>I. G. A.</i>, 160; <i>Bronz. v. Ol.</i>, on no. 1101, p. 180.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_391"></a><a href="#FNanchor_391"><span class="label">391</span></a> Chionis, a famous runner from Sparta, had a tablet, which listed his victories, set up beside -his statue at Olympia: P., VI, 13.2; he won in Ols. 28–31 ( = 668–656 B. C.): Hyde, 111; Foerster, -39, 41–46. His statue was erected long after his death, in Ol. 77 or 78, and so probably the -stele also: Hyde, p. 48. Deinosthenes, who won the stade-race in Ol. 116 ( = 316 B. C.), had a -slab set up beside his statue at Olympia, on which was inscribed the distance between it and a -similar one in Sparta: P., VI, 16.8; Afr.; Hyde, 163; Foerster, 403.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_392"></a><a href="#FNanchor_392"><span class="label">392</span></a> He won the chariot-race in Ol. 33 ( = 648 B. C.): Foerster, 51.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_393"></a><a href="#FNanchor_393"><span class="label">393</span></a> P., VI, 19.2; on the mistake of Pausanias, see Flasch, in Baum., II, p. 1104 B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_394"></a><a href="#FNanchor_394"><span class="label">394</span></a> <i>Or.</i>, XXXI, 596 R ( = 328 M).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_395"></a><a href="#FNanchor_395"><span class="label">395</span></a> <i>H. N.</i>, XXXIV, 17.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_396"></a><a href="#FNanchor_396"><span class="label">396</span></a> <i>H. N.</i>, XXXIV, 23–4. The subject of portrait honorary statues at Athens has been treated by -L. B. Stenessen, <i>de Historia variisque Generibus statuarum iconicarum apud Athenienses</i>, Christiania, -1877; for all Greece by M. K. Welsh, Honorary Statues in Ancient Greece, <i>B. S. A.</i>, XI, -1904–5, pp. 32–49.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_397"></a><a href="#FNanchor_397"><span class="label">397</span></a> See list in Hyde, <i>Index</i> on p. V.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_398"></a><a href="#FNanchor_398"><span class="label">398</span></a> King Hiero of Syracuse had five: Hyde, 147 a (= three) and 105a (= two); Antigonos Monophthalmos -had three: Hyde, 103 d, 147 f, 151 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_399"></a><a href="#FNanchor_399"><span class="label">399</span></a> Archidamas III, son of Agesilaos: P., VI, 4.9; Hyde, 42 a; VI, 15.7; Hyde, 147 c; Areus, son -of Akrotatos, P., VI, 12.5; Hyde, 105 b; VI, 15.9; Hyde, 148 a: <i>Inschr. v. Ol.</i>, 308.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_400"></a><a href="#FNanchor_400"><span class="label">400</span></a> Demetrios Poliorketes, P., VI, 15.7; Hyde, 147 e; <i>Inschr. v. Ol.</i>, 304; VI, 16.3; Hyde, 152 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_401"></a><a href="#FNanchor_401"><span class="label">401</span></a> Pyrrhos: P., VI, 14.9; Hyde, 128 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_402"></a><a href="#FNanchor_402"><span class="label">402</span></a> Hiero II: P., VI, 12.2 f. (two statues set up by his sons: Hyde, 105 a); VI, 15.6 (three statues, -one set up by sons, two by fellow-citizens: Hyde, 147 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_403"></a><a href="#FNanchor_403"><span class="label">403</span></a> Philip II, son of Amyntas; Alexander the Great; Seleukos Nikator, son of Antiochos; Antigonos, -son of Philip, surnamed Monophthalmos; these four princes had statues together: P., VI, 11.1; -Hyde, 103 a, b, c, d. Antigonos had also other statues in different parts of the Altis: P., VI, 15.7; -Hyde, 147 f; <i>Inschr. v. Ol.</i>, 305; VI, 16.2; Hyde, 151 b. Antigonos Doson and Philip III had -statues together: P., VI, 16.3; Hyde, 152 a. The Syrian king Seleukos Nikator had another -statue at Olympia: P., VI, 16.2; Hyde, 151 c. Three of the Egyptian dynasty had statues: -Ptolemy Lagi, P., VI, 15.10; Hyde, 149 a; Philadelphus, P., VI, 17.3; Hyde, 173 a; and another -whose name is uncertain, P., VI, 16.9; Hyde, 166 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_404"></a><a href="#FNanchor_404"><span class="label">404</span></a> P., VI, 4.8; Hyde, 41 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_405"></a><a href="#FNanchor_405"><span class="label">405</span></a> P., VI, 17.7; Hyde, 184 a; <i>Inschr. v. Ol.</i>, 293.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_406"></a><a href="#FNanchor_406"><span class="label">406</span></a> P., VI, 15.7; Hyde, 147 d.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_407"></a><a href="#FNanchor_407"><span class="label">407</span></a> P., VI, 14.9–10; Hyde, 128 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_408"></a><a href="#FNanchor_408"><span class="label">408</span></a> P., VI, 14.11 Hyde, 128 c in Ol. (?) 127 ( = 272 B. C.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_409"></a><a href="#FNanchor_409"><span class="label">409</span></a> P., VI, 14.12; Hyde, 134 a; erected between Ols. (?) 103 and 115 ( = 368 and 320 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_410"></a><a href="#FNanchor_410"><span class="label">410</span></a> P., VI, 16.5; <i>Inschr. v. Ol.</i>, 276, 277; Hyde, 154 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_411"></a><a href="#FNanchor_411"><span class="label">411</span></a> P., VI, 14.9–10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_412"></a><a href="#FNanchor_412"><span class="label">412</span></a> P., VI, 15.7; Hyde, 147 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_413"></a><a href="#FNanchor_413"><span class="label">413</span></a> P., VI, 15.2; Hyde, 143 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_414"></a><a href="#FNanchor_414"><span class="label">414</span></a> VI, 12.5. The date of his victory is unknown, but fell probably in Ol. 134 or 135 ( = 244 -or 240 B. C.): Hyde, 105 c and pp. 44–5; Foerster, 463.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_415"></a><a href="#FNanchor_415"><span class="label">415</span></a> He won some time between Ols. (?) 99 and 102 ( = 384 and 372 B. C.): P., VI, 3.2–3; -Hyde, 23 and pp. 30–1; Foerster, 335.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_416"></a><a href="#FNanchor_416"><span class="label">416</span></a> On the ancient custom of carrying off votive offerings and images from vanquished foes, see -P., VIII, 46.2–4. He shows that Augustus only followed a long-established precedent. Pliny, -<i>H. N.</i>, XXXIV, 36, in speaking of the great number of statues plundered from Greece by -Mummius and the Luculli, quotes G. Licinius Mucianus (three times consul), who died before -77 B. C., to the effect that 73,000 statues were still to be seen at Rhodes in his time, and that -supposably as many more were yet to be found in Athens, Olympia, and Delphi.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_417"></a><a href="#FNanchor_417"><span class="label">417</span></a> At the beginning of his description of Elis (V, 1.2), Pausanias says that 217 years had passed -since the restoration of Corinth. As that event fell in 44 B. C., he was writing his fifth book in -174 A. D., <i>i. e.</i>, in the reign of Marcus Aurelius. With this date other chronological references -in his work agree. That the fifth book was written before the sixth is deduced from a comparison -of V, 14.6 with VI, 22.8 f. Though the sixth book, therefore, can not have been composed -earlier than 174 A. D., it may, of course, have been written much later. On the dates of the -various books, see Frazer, I, pp. xv f. On the great importance of Pausanias for the whole history -of Greek art, see C. Robert, <i>Pausanias als Schriftsteller</i>, 1909, p. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_418"></a><a href="#FNanchor_418"><span class="label">418</span></a> <i>Historia naturalis</i>, Bks. XXXIV-XXXVI (ed. Jex-Blake).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_419"></a><a href="#FNanchor_419"><span class="label">419</span></a> This process has never been carried further nor with greater insight than in Furtwaengler’s -great work, <i>Meisterwerke der griech. Plastik</i>, 1893.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_420"></a><a href="#FNanchor_420"><span class="label">420</span></a> In his <i>Handbuch der Archaeologie der Kunst</i>, 3d ed., 1848, by F. G. Welcker, p. 740.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_421"></a><a href="#FNanchor_421"><span class="label">421</span></a> Chapter VII, <i>infra</i>, pp. 321 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_422"></a><a href="#FNanchor_422"><span class="label">422</span></a> <i>Cf.</i> Furtwaengler-Urlichs, <i>Denkmaeler griech. und roem. Skulptur</i> (Handausgabe<sup>3</sup>), 1911, -p. 101.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_423"></a><a href="#FNanchor_423"><span class="label">423</span></a> <i>Pro. Imag.</i>, 11, pp. 490 f.: Ἀκούω ... μήδ’ Ὀλυμπίασιν ἐξεῖναι τοῖς νικῶσι μείζους τῶν σωμάτων -ἀνεστάναι τοὺς ἀνδριάντας, κ. τ. λ.; Scherer, pp. 10 f.; <i>Bildw. v. Ol.</i>, Textbd., p. 250.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_424"></a><a href="#FNanchor_424"><span class="label">424</span></a> VI, 5.1. On the statue, see E. Preuner, <i>Ein delphisches Weihgeschenck</i>, p. 26; for the recovered -sculptured base, see <i>Bildw. v. Ol.</i>, Textbd., pp. 209 f.; Tafelbd., Pl. LV. 1–3. Polydamas -won the pankration in Ol. 93 ( = 408 B. C.), but his statue was set up long after, in the time of -Lysippos: Afr.; Hyde, 47; Foerster, 279.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_425"></a><a href="#FNanchor_425"><span class="label">425</span></a> <i>Inschr. v. Ol.</i>, 146; <i>cf.</i> Scherer, pp. 10–11. He won in Ol. 77 ( = 472 B. C.): P., VI, 6.1; <i>Oxy. -Pap.</i>; Hyde, 50; Foerster, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_426"></a><a href="#FNanchor_426"><span class="label">426</span></a> <i>Inschr. v. Ol.</i>, 159 (renewed); <i>I. G. B.</i>, 86. Eukles won in Ols. (?) 90–93, ( = 420–408 B. C.): -P., VI, 6.2; Hyde, 52; Foerster, 297.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_427"></a><a href="#FNanchor_427"><span class="label">427</span></a> The lost work of Aristotle is mentioned by Diogenes Laertios, V, 26. For the scholiast, see -Boeckh, p. 158; and <i>F. H. G.</i>, II, p. 183 (= Aristotle, fragm. 264), IV., p. 307 (= Apollas, -fragm. 7).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_428"></a><a href="#FNanchor_428"><span class="label">428</span></a> Pollux, <i>Onomastikon</i>, II, 158, says that the cubit (πῆχυς) contains 24 δάκτυλοι or 6 παλασταί; it -was therefore 18.25 inches and the finger 0.7 inch long. The Solonian cubit of 444 mm. gives 17.53 inches, the finger .73 inch, -which makes Diagoros’ statue 6 feet 1.75 inches tall.Though the cubit was later lengthened -to about 2 feet, the old size was retained for measuring wood and stone: <i>cf.</i> Boeckh, <i>Metrologische -Untersuchungen</i>, 1838, p. 212.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_429"></a><a href="#FNanchor_429"><span class="label">429</span></a> Scherer, p. 11, gave its height as 6 feet and 5 inches.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_430"></a><a href="#FNanchor_430"><span class="label">430</span></a> Diagoras won in Ol. 79 ( = 464 B. C.): P., VI, 7.1; Hyde, 59; Foerster, 220; <i>cf.</i> <i>Inschr. v. Ol.</i>, 151 -(renewed); Damagetos in Ols. 82–3 ( = 452–448 B. C.): <i>Oxy. Pap.</i>; P., VI, 7.1; Hyde, 62; Foerster, -253; <i>cf.</i> <i>Inschr. v. Ol.</i>, 152.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_431"></a><a href="#FNanchor_431"><span class="label">431</span></a> <i>Inschr. v. Ol.</i>, 165 (renewed); he won Ol. 82 ( = 452 B. C.): <i>Oxy. Pap.</i>; P., VI, 13.6; Hyde, 115; -Foerster, 376.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_432"></a><a href="#FNanchor_432"><span class="label">432</span></a> <i>E. g.</i>, <i>Inschr. v. Ol.</i>, nos. 147–8, Tellon, who won the boys’ boxing match in Ol. 77 ( = 472 B. C.): -<i>Oxy. Pap.</i>; P., VI, 10.9; Hyde, 102; Foerster, 237; <i>ibid.</i>, 155 (renewed), Hellanikos, boy boxer, -who won in Ol. 89 ( = 424 B. C.): P., VI, 7.8; Hyde, 65; Foerster, 263; <i>ibid.</i>, 158, boxer Damoxenidas, -who won some time between Ols. 95 and 100 ( = 400 and 380 B. C.): P., VI, 6.3; Hyde, 54; -Foerster, 319; <i>ibid.</i>, 164, Xenokles, boy wrestler, who won some time between Ols. (?) 94 and -100 ( = 404 and 380 B. C.): P., VI, 9.2; Hyde, 85; Foerster, 308; <i>ibid.</i>, 177, Telemachos, chariot -victor some time between Ols. (?) 115 and 130 ( = 320 and 260 B. C.): P., VI, 13.11; Hyde, 122; -Foerster, 513.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_433"></a><a href="#FNanchor_433"><span class="label">433</span></a> <i>E. g.</i>, <i>Inschr. v. Ol.</i>, 182, Thrasonides, who won κέλητι πωλικῷ in the third century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_434"></a><a href="#FNanchor_434"><span class="label">434</span></a> Furtw., <i>Mp.</i>, p. 246, fig. 99; <i>Mw.</i>, p. 447, fig. 69. See p. 155.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_435"></a><a href="#FNanchor_435"><span class="label">435</span></a> See Chapter VI., <i>infra</i>, p. 295.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_436"></a><a href="#FNanchor_436"><span class="label">436</span></a> <i>H. N.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_437"></a><a href="#FNanchor_437"><span class="label">437</span></a> <i>Supra</i>, p. 28 and n. 1; <i>Bildw. v. Ol.</i>, Textbd., pp. 216 f.; Tafelbd., Pl. LVI, 2–4; <i>cf.</i> Furtwaengler, -<i>50stes Berl. Winckelmannsprogr.</i>, 1890, pp. 147 f.; <i>cf.</i> <i>infra</i>, Ch. VII, pp. 324–5, <i>c. d. e.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_438"></a><a href="#FNanchor_438"><span class="label">438</span></a> <i>Bildw. v. Ol.</i>, Textbd., pp. 29 f; Tafelbd., Pl. VI, 1–4, 9–10; <i>cf.</i> <i>infra</i>, pp. 162–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_439"></a><a href="#FNanchor_439"><span class="label">439</span></a> See <i>Inschr. v. Ol.</i>, pp. 234–5; <i>Bronz. v. Ol.</i>, Textbd., pp. 10–12; <i>cf.</i> <i>infra</i>, p. 322 and notes 1–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_440"></a><a href="#FNanchor_440"><span class="label">440</span></a> <i>Bronz. v. Ol.</i>, Textbd., pp. 10–11; Tafelbd., Pl. II, 2, 2<i>a</i>; F. W., no. 323; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_441"></a><a href="#FNanchor_441"><span class="label">441</span></a> <i>Bronz. v. Ol.</i>, Textbd., p. 12; Tafelbd., Pl. IV, 5, 5a; F. W., 325.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_442"></a><a href="#FNanchor_442"><span class="label">442</span></a> Furtw.-Urlichs, <i>Denkmaeler</i>, p. 104. On nudity and athletics, see the article by Furtwaengler, -Die Bedeutung der Gymnastik in der griech. Kunst, in <i>Saemann’s Monatschr. fuer paedagog. -Reform.</i>, 1905; W. Mueller, <i>Nacktheit und Entbloessung in der alt-orient. und aelteren griech. -Kunst</i>, Diss. inaug., Leipsic, 1906.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_443"></a><a href="#FNanchor_443"><span class="label">443</span></a> The boxer Euryalos “first put a cincture (ζῶμα) about him,” in his bout with Epeios: Iliad, -XXIII, 683. See also XXIII, 710; Od., XVIII, 67 and 76.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_444"></a><a href="#FNanchor_444"><span class="label">444</span></a> <i>E. g.</i>, wrestlers on a black-figured amphora in the Vatican: <i>J. H. S.</i>, XXV, 1905, p. 288, fig. 24; -boxers, runners, and a jumper on a b.-f. stamnos in the Bibliothèque Nationale at Paris (no. 252): -Gardiner, p. 418, fig. 142, from de Ridder, <i>Cat. des vases peints</i>, I, p. 160.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_445"></a><a href="#FNanchor_445"><span class="label">445</span></a> <i>H. N.</i>, XXXIV, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_446"></a><a href="#FNanchor_446"><span class="label">446</span></a> Ph., 17. This mantle was called τρίβων—the “worn,” hence was thin and coarse; Hermann-Bluemner, -<i>Griech. Privatalt.</i>, p. 175; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_447"></a><a href="#FNanchor_447"><span class="label">447</span></a> P., I, 44.1; Eustath., on Iliad, XXIII, 683, p. 1324, 12 f. Dionys. Hal., <i>Antiq. Rom.</i>, VII, 72, -says that it was the Spartan Akanthos, who won in a running race, <i>i. e.</i>, δόλιχος, in Ol. 16; so also -Afr.; see P., V, 8.6; Foerster, 17. Orsippos won the stade-race in Ol. 15: Afr.; Eustath., <i>l. c.</i>; -Dionys., <i>l. c.</i> Foerster, 16. But Didymos, schol. on Iliad, XXIII, 683, says that Orsippos won -in Ol. 32 ( = 652 B. C.); similarly <i>Etym. magn.</i>, p. 242, <i>s. v.</i> γυμνάσια; however, Boeckh, <i>Kleine -Schriften</i>, IV, p. 173, has shown that Ol. 15 is right. Isidoros, in a confused passage, <i>Orig.</i>, -XVIII, 17.2, says that athletes were early girded and dropped the loin-cloth in consequence of -a runner getting weary, whence a decree of the time of the archon Hippomenes at Athens (Ol. -14.2) allowed athletes to contend nude; the same story is told in the <i>Schol. Venet.</i> on the Iliad, -XXIII, 683; see Foerster, 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_448"></a><a href="#FNanchor_448"><span class="label">448</span></a> <i>A. G.</i>, App. 272; Cougny, <i>Anth. Pal.</i>, 1890, III (<i>App. nov.</i>), p. 4, no. 24; P., I, 44.1, says that -his tomb was near that of Koroibos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_449"></a><a href="#FNanchor_449"><span class="label">449</span></a> <i>C. I. G.</i>, I, 1050 (with Boeckh’s commentary on the loin-cloth); <i>C. I. G. G. S.</i>, 52; Kaibel, <i>Epigr. -Gr., ex lapid. conl.</i>, 1878, no. 843; Frazer, II, p. 538. The schol. on Thukyd., I, 6, quotes four -lines of it. The name was spelled Orrippos in the Megarian dialect.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_450"></a><a href="#FNanchor_450"><span class="label">450</span></a> Ph., 17. The story is told also by P., V, 6.7–8. Peisirhodos won in Ol. (?) 88 ( = 428 B. C.): -P., VI, 7.2; Hyde, 63; Foerster, 314. This brings the change near the end of the fifth century -B. C. For the spelling of the name of the victor, see Foerster, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_451"></a><a href="#FNanchor_451"><span class="label">451</span></a> I. 6. Here the historian is speaking of athletes in general; Dionysios, VII, 72 and P., I, 44.1, -speak only of runners. -</p> -<p> -Scherer, p. 20, n. 1 (following Krause, I, pp. 405 and 501, n. 18) thought that the words of Thukydides -(τὸ δὲ πάλαι) referred to the time antedating Ol. 15, and not later, and concluded that in -wrestling (introduced in Ol. 18 = 708 B. C.) and boxing (introduced in Ol. 23 = 688 B. C.) the -contestants were always nude. Boeckh, however, rightly concluded that the historian meant -that in Ol. 15 only the runners laid off the loin-cloth, while other athletes did so just before his -day: <i>C. I. G.</i>, I, p. 554.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_452"></a><a href="#FNanchor_452"><span class="label">452</span></a> <i>De Rep.</i>, 452 D. He says that the custom of nudity was introduced first by the Cretans and -then by the Spartans.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_453"></a><a href="#FNanchor_453"><span class="label">453</span></a> Thus von Mach says (p. 240): “They were dedicatory statues representing events that had -taken place in honor of the gods,” and adds that on such occasions persons were draped, except -where such drapery would cause inconvenience, <i>i. e.</i>, in gymnastic contests.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_454"></a><a href="#FNanchor_454"><span class="label">454</span></a> See Gardiner, p. 465, fig. 172.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_455"></a><a href="#FNanchor_455"><span class="label">455</span></a> <i>E. g.</i>, the statue in the Palazzo dei Conservatori, Rome: Helbig, <i>Fuehrer</i>, II, no. 973 (fig. 29, -p. 557, restored); <i>Guide</i>, 597 (fig. 28); Joubin, p. 134, fig. 40; Reinach, <i>Rép.</i>, II, <small>2</small>, 536.6; -<i>B. Com. Rom.</i>, XVI, 1888, Pls. XV, XVI, 1, 2, (two views) and XVIII (restored), pp. 335–365 -(G. Ghirardini).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_456"></a><a href="#FNanchor_456"><span class="label">456</span></a> Pollux, III, 155, wrongly states that runners wore soft leathern boots (ἐνδρομίδες); these never -appear on vases, as Krause, I, p. 362 and n. 5, and Gardiner, p. 273, point out, and were the -usual footwear of messengers. <i>Cf.</i> Mueller, <i>Arch. d. Kunst</i>, §363, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_457"></a><a href="#FNanchor_457"><span class="label">457</span></a> At Ephesos in Thukydides’ day: III, 104; earlier on Delos: Thukyd., <i>ibid.</i>, and Homeric Hymn -to the Delian Apollo, 146 f. Maidens and youths wrestled in the gymnasia on Chios: -Athenæus, XIII, 20 (p. 566 e.); <i>cf.</i> Boeckh, <i>C. I. G.</i>, II, text to no. 2214.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_458"></a><a href="#FNanchor_458"><span class="label">458</span></a> On athletic contests for women in Sparta, see Plutarch, <i>Lykourgos</i>, 14; Xen., <i>de Rep. lac.</i>, -I, 4. Aristoph., <i>Lysistr.</i>, 80 f., says that the beauty and color of the Lakonian woman Lampito -came from gymnastic exercises.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_459"></a><a href="#FNanchor_459"><span class="label">459</span></a> P., V, 6.7. He says that those who broke the Elean rule were thrown from Mount Typaion -(a rock south of the river). Their exclusion was doubtless due to a religious taboo and not to -modesty; Gardiner, p. 47. P., VI, 20.9, says that the restriction did not include maidens. As -there is no other reference about unmarried girls at Olympia, it is probable that girls were -not admitted; <i>cf.</i> Krause, <i>Olympia</i>, p. 54 and n. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_460"></a><a href="#FNanchor_460"><span class="label">460</span></a> <i>E. g.</i>, Kyniska, P., VI, 1.6, and other Spartan victresses, III, 8.1; Euryleonis, who won -in a two-horse chariot-race in Ol. (?) 103 ( = 368 B. C.): P., III, 17.6; Foerster, 344; Belistiche, -mistress of Ptolemy Philadelphus, was the first to win συνωρίδι πώλων in Ol. 129 ( = 264 B. C.): -P., V, 8.11; Foerster, 443; Theodota, daughter of the Elean Antiphanes, won ἅρματι πωλικῷ in -the first century B. C.: <i>Inschr. v. Ol.</i>, 203; Foerster, 547.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_461"></a><a href="#FNanchor_461"><span class="label">461</span></a> P., VI, 20.9. The inscribed marble base of a statue of one of these priestesses has been found -at Olympia: see <i>Inschr. v. Ol.</i>, 485.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_462"></a><a href="#FNanchor_462"><span class="label">462</span></a> See P., V, 6.7–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_463"></a><a href="#FNanchor_463"><span class="label">463</span></a> However, we do not know if they were held in the same year as that of the Olympic festival, or -at what time of the year. See L. Weniger, <i>Klio, Beitraege zur alten Geschichte</i>, V, 1905, pp. 22 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_464"></a><a href="#FNanchor_464"><span class="label">464</span></a> P., V, 162–4. These πίνακες were probably iconic (portrait) paintings. Holes have been -found on columns of the Heraion to which they may have been attached. On the girls’ race, -see B. B., text to no. 521 (Arndt).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_465"></a><a href="#FNanchor_465"><span class="label">465</span></a> It is a marble copy of an original bronze which is generally dated about 470 B. C., because -of archaic reminiscences in the head. It represents a girl of about 14 years. See Helbig, <i>Fuehrer</i>, I, -no. 364; <i>Guide</i>, 378, and references; F. W., 213; Bulle, pp. 304 f. Overbeck, II, p. 475, refers it -to the school of Pasiteles. It is pictured in B. B., no. 521; Bulle, 142; Baum., III, p. 2111, fig. -2362; Springer-Michaelis, p. 224, fig. 412; von Mach, 73; Amelung, <i>Museums of Rome</i>, I, fig. 74; -Reinach, <i>Rép.</i>, I, 527.6; Clarac, Pl. 864, 2199. A similar statue is the torso in Berlin: <i>Beschr. -der Skulpt.</i>, no. 229; and <i>cf.</i> Kekulé, <i>Annali</i>, XXXVI, 1865, p. 66 (who points out the resemblance -of the head of the Vatican statue to that of the figure by Stephanos, Pl. 12); Clarac, -Pl. 864, 2200. The height of the Vatican statue is given by Bulle as 1.56 meters. <i>Cf.</i> also a -statuette of a similar girl runner from Dodona: Rayet, I, Pl. 17, 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_466"></a><a href="#FNanchor_466"><span class="label">466</span></a> However, B. Schroeder believes that it is merely a victorious danseuse, and gives several -examples of dancers from vase-paintings and the lesser arts: <i>R. M.</i>, XXIV, 1909, pp. 109 ff. -(figs. 1–3). In all of these lively motion is expressed and the free foot is raised high from the ground. -When the curious little plat under the statue’s right foot (perhaps intended to represent the -starting-stone at the stadion) is removed, the position of the statue does not fit the dance; see -Bulle, p. 304, for discussion of this starting-stone.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_467"></a><a href="#FNanchor_467"><span class="label">467</span></a> VIII, 48.2; <i>cf.</i> Plut., <i>Quaest. conviv.</i>, VIII, 4, I, (p. 982).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_468"></a><a href="#FNanchor_468"><span class="label">468</span></a> Bulle compares it with the Tuebingen hoplite-runner (Fig. 42) ready to start, though the -quieter pose of the Vatican statue befits a girl rather than the impetuous energy of the man.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_469"></a><a href="#FNanchor_469"><span class="label">469</span></a> On the Διονυσίαδες, see P., III, 13.7; Hesychios, <i>s. v.</i>; <i>cf.</i> Theokr., XVIII, 22; Plut., <i>Lycurgus</i>, 14; -Pauly-Wissowa, <i>s. v.</i> <i>agones</i>, I, p. 847; Reisch, p. 46, n. 4. Pauly-Wissowa, <i>s. v.</i> χιτών (III, <small>2</small>, p. -2314) shows that the use of the chiton closed on one side was a Dorian, and especially a Spartan, -custom.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_470"></a><a href="#FNanchor_470"><span class="label">470</span></a> On the running race at Kyrene, <i>cf.</i> Boeckh, <i>Explic. ad Pind.</i>, <i>Pyth.</i>, IX, p. 328. Plato, in his -<i>de Leg.</i>, VIII, 833, D, E, ordained for girls the three running races (στάδιον, δίαυλος, and δόλιχος); -the youngest girls should run nude, the others (from 13 to 18) suitably dressed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_471"></a><a href="#FNanchor_471"><span class="label">471</span></a> Suet., <i>Domitian</i>, 4; Dio Cassius, LXVII, 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_472"></a><a href="#FNanchor_472"><span class="label">472</span></a> Arndt believes it is Myronian in character: B. B., text to 521.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_473"></a><a href="#FNanchor_473"><span class="label">473</span></a> See Waldstein, <i>J. H. S.</i>, I, 1880, pp. 170 f. On the style of wearing the hair in Greece, see the -following works: K. O. Mueller, <i>Handbuch d. Archaeol. d. Kunst</i><sup>3</sup>, pp. 474 f; Bluemner, <i>Leben u. -Sitten der Griechen</i>, I, pp. 76 f.; <i>Home Life of the Ancient Greeks</i> (transl. of preceding, by A. Zimmern), -1893, pp. 64 f; Dar.-Sagl., <i>s. v.</i> <i>coma</i> (Pottier), I, <small>2</small>, pp. 1355 f.; Pauly-Wissowa, VII, <small>2</small>, -pp. 2109 ff. (Bremer); Baum., I, pp. 615 f; Guhl-Koner-Engelmann, <i>Das Leben d. Gr. u. Roem.</i><sup>6</sup>, -1893, pp. 297 f; Amelung, <i>Gewandung d. Gr. u. Roem.</i>, 1903; Helbig, <i>Atti della R. Accad. dei -Lincei</i>, Ser. III, vol. V., pp. 1 f. (for the Homeric age).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_474"></a><a href="#FNanchor_474"><span class="label">474</span></a> <i>Cf.</i> the recurring epithet of Homer, κάρη κομόωντες Ἀχαῖοι; Helbig, <i>Das homerische Epos</i><sup>2</sup>, -p. 236, n. 3; for examples of long hair in the epic, <i>ibid.</i>, pp. 236 f. That the Homeric hair fell -free over the shoulders and not in any conventional order has been proved against Helbig by -H. Hofmann, <i>Jb. f. cl. Philol.</i>, Supplbd., XXVI, 1900, pp. 182 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_475"></a><a href="#FNanchor_475"><span class="label">475</span></a> Eurip., <i>Bacchae</i>, 455; Aristotle, <i>de Physiogn.</i>, 3, p. 38; pseudo-Phokylides, 212.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_476"></a><a href="#FNanchor_476"><span class="label">476</span></a> Aristoph., <i>Equit.</i>, 580 and cf. 1121; <i>Nubes</i>, 14; <i>Lysistrata</i>, 561; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_477"></a><a href="#FNanchor_477"><span class="label">477</span></a> Od., IV, 198; Euripides, <i>Alkestis</i>, 818–19; Aristoph., <i>Plut.</i>, 572; Plato, <i>Phaedo</i>, 89 C; Athenæus, -XV, 16 (p. 675 a); Hdt., I, 82; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_478"></a><a href="#FNanchor_478"><span class="label">478</span></a> Aristoph., <i>Aves</i>, 911.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_479"></a><a href="#FNanchor_479"><span class="label">479</span></a> Ph., <i>Imag.</i>, II, 32; Lucian, <i>Dial. meretr.</i>, V, 3 (p. 290); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_480"></a><a href="#FNanchor_480"><span class="label">480</span></a> Xen., <i>de Rep. lac.</i>, Ch. XI, 3; <i>cf.</i> Plut., <i>Apothegm. reg. et imperat.</i>, p. 754; and see Aristotle, -<i>Rhet.</i>, I, 9, p. 1397 a, 28; Plut., <i>Lysandros</i>, I; <i>Lykourgos</i>, 22; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_481"></a><a href="#FNanchor_481"><span class="label">481</span></a> Hdt., VII, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_482"></a><a href="#FNanchor_482"><span class="label">482</span></a> Aristoph., <i>Aves</i>, 1281–2: Lysias, XVI, 18; Lucian, <i>Auctio vitarum</i>, 2 (Pythagoreans).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_483"></a><a href="#FNanchor_483"><span class="label">483</span></a> Pollux, VI, 3.22; VIII, 9.107; Athenæus, XI, 88 (p. 494 f.): Hesychios, <i>s. v.</i> κουρεῶτις and -οἰνιστήρια; Photius, <i>Lex.</i>, p. 321.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_484"></a><a href="#FNanchor_484"><span class="label">484</span></a> Aischyl., <i>Choeph.</i>, 6; P., I, 37.3; at Delphi, Dio Chrys., <i>Or.</i>, XXXV, p. 67 R.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_485"></a><a href="#FNanchor_485"><span class="label">485</span></a> Eurip., <i>Bacchae</i>, 455.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_486"></a><a href="#FNanchor_486"><span class="label">486</span></a> Κρωβύλος and κόρυμβος are etymologically the same word: see Prellwitz, <i>Etymolog. Woerterbuch -d. griech. Sprache</i>. It used to be assumed that κόρυμβος referred to the similar coiffure of young -girls. On the κρωβύλος, see the following: K. O. Mueller, <i>op. cit.</i><sup>3</sup>, p. 476, 5; <i>id.</i>, <i>Die Dorier</i>, II, 266; -Conze, <i>Nuove memorie dell’ instituto archeol.</i>, pp. 408 f.; Helbig, <i>Comment. philolog. in honorem -Mommseni</i>, 1877, pp. 616 f., and <i>Rhein. Mus.</i>, XXXIV, 1879, pp. 484 f.; Schreiber, Der altattische -Krobylos, <i>A. M.</i>, VIII, 1883, pp. 246–273, and Pls. XI., XII.; <i>id.</i>, IX, 1884, pp. 232–254 and Pls. -IX, X; and after him, Perrot-Chipiez, VIII, p. 644, Collignon, I, p. 363, and de Villefosse, <i>Mon. -Piot</i>, I, 1894, p. 62; Klein, <i>Gesch. d. gr. Kunst</i>, I, p. 255; Studniczka, Krobylos und Tettiges, -<i>Jb.</i>, XI, 1896, pp. 248–291. Pauly-Wissowa, <i>l. c.</i>, pp. 2120 f.; Dar.-Sagl., I, <small>2</small>, pp. 1357–59 and -1571; etc. That the term κρωβύλος represented a way of wearing the hair and not a part of the -hair has been proved by Hauser: <i>Jh. oest. arch. Inst.</i>, 1906, Beiblatt, pp. 87 f. On other methods -of dressing the hair, see Pauly-Wissowa, <i>l. c.</i>, pp. 2112 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_487"></a><a href="#FNanchor_487"><span class="label">487</span></a> <i>Ap.</i> Athen., XII, 30 (p. 525).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_488"></a><a href="#FNanchor_488"><span class="label">488</span></a> <i>Ibid.</i>, 5 (p. 512 c).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_489"></a><a href="#FNanchor_489"><span class="label">489</span></a> I, 6; <i>cf.</i> Aristophanes, <i>Nubes</i>, 984 and schol.; <i>Equit.</i>, 1331.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_490"></a><a href="#FNanchor_490"><span class="label">490</span></a> See fragm. of Nikolaos of Damascus, (perhaps from the <i>Lydiaka</i> of Xanthos), <i>F. H. G.</i>, III, -p. 395, fragm. 62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_491"></a><a href="#FNanchor_491"><span class="label">491</span></a> See Krause, p. 541, n. 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_492"></a><a href="#FNanchor_492"><span class="label">492</span></a> See <i>Ant. Denkm.</i>, I, 1886, Pl. VIII, 3 b; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_493"></a><a href="#FNanchor_493"><span class="label">493</span></a> See hero reliefs in <i>A. M.</i>, II, 1877, Pls. XX-XXV. On early Corinthian vases, men are -represented regularly with long hair.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_494"></a><a href="#FNanchor_494"><span class="label">494</span></a> <i>E. g.</i>, on the bust of Apollo in the Glyptothek, Munich: von Mach, 449 (left); on the bearded -man (Dionysos?) in the British Museum: <i>id.</i>, 450 (right); and on the Apollo of Naples: <i>id.</i>, 448: -On the latter head the narrow band of the former two examples has become very broad.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_495"></a><a href="#FNanchor_495"><span class="label">495</span></a> <i>Cf.</i> Waldstein, <i>op. cit.</i>, p. 177.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_496"></a><a href="#FNanchor_496"><span class="label">496</span></a> <i>Mw.</i>, pp. 67 (on statues of Zeus, hair reaching the shoulders, a style later becoming typical -of that god); p. 407 (the Argive school gave short hair to heads of Zeus); <i>Mp.</i>, pp. 42 and -118; <i>cf.</i> <i>Mw.</i>, p. 273.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_497"></a><a href="#FNanchor_497"><span class="label">497</span></a> <i>Mw.</i>, p. 249. Furtwaengler gives an example of a short-haired Apollo of the school of -Euphranor, <i>ibid.</i>, p. 590.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_498"></a><a href="#FNanchor_498"><span class="label">498</span></a> <i>Mp.</i>, p. 16. <i>E. g.</i>, the Florentine gem: Furtwaengler, <i>Antike Gemmen</i>, 1900, Pl. XXXIX, -no. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_499"></a><a href="#FNanchor_499"><span class="label">499</span></a> Pp. 444 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_500"></a><a href="#FNanchor_500"><span class="label">500</span></a> A good example of this is seen on the <i>Apollo of Tenea</i> (Pl. 8 A).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_501"></a><a href="#FNanchor_501"><span class="label">501</span></a> Bulle, Pl. 225. He dates it in the middle of the sixth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_502"></a><a href="#FNanchor_502"><span class="label">502</span></a> <i>H. N.</i>, XXXIV, 16 (Jex-Blake’s transl.) The Latin of the last portion of this passage runs: -<i>Olympiae, ubi omnium qui vicissent statuas dicari mos erat, eorum vero qui ter ibi superavissent ex -membris ipsorum similitudine expressa, quas iconicas vocant.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_503"></a><a href="#FNanchor_503"><span class="label">503</span></a> Hirt, <i>Ueber das Bildniss der Alten</i>, 1814–15, p. 7; Visconti, <i>Iconographie grecque</i> (1st ed. Paris -1808, Milan, 1824–26), Discours prelim., p. VIII, n. 4. They argued from Lucian’s <i>pro Imag.</i>, -11, a passage already discussed <i>supra</i>, p. 45 and n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_504"></a><a href="#FNanchor_504"><span class="label">504</span></a> Scherer, pp. 9 f., and especially p. 13; Lessing, <i>Laokoön</i>, II, 13, made Pliny’s words a text -for a famous passage.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_505"></a><a href="#FNanchor_505"><span class="label">505</span></a> For the latest discussion of Pliny’s passage, see <i>Inschr. v. Ol.</i>, pp. 236 and 295–6 (the latter in -reference to the inscribed base of the statue of Xenombrotos to be discussed a few lines <i>infra</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_506"></a><a href="#FNanchor_506"><span class="label">506</span></a> Klein, quoted by Jex-Blake, p. 14, footnote to line 7, believes Pliny’s statement apocryphal, an -idea escaping all scholars except, perhaps, Bluemner in his commentary on the <i>Laokoön</i> (p. 503). -Evidently Pliny, or his source, is explaining the discrepancy between ideal and portrait -statues as the result of an improbable rule, since the ancients applied little historical criticism to -art, and hence did not distinguish between works representing types and those representing -individuals. Dio Chrysostom, in his treatise Περὶ κάλλους (<i>Orat.</i>, XXI, 1, p. 501 R), tries to -explain the difference between early and late statues on the ground of physical degeneration -in the latter.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_507"></a><a href="#FNanchor_507"><span class="label">507</span></a> <i>Inschr. v. Ol</i>, 170. He won in Ol. (?) 83 ( = 448 B. C.): P., VI, 14.12; Hyde, 133; Foerster, -327. This date follows the reasoning of Robert, <i>O. S.</i>, pp. 180 f. Pausanias, <i>l. c.</i>, mentions another -monument of the victor, the inscribed base of which has been found: <i>Inschr. v. Ol.</i>, 154, though -Dittenberger wrongly refers it to Damasippos: Foerster, 812; Hyde, pp. 53–4. The same authority -refers no. 170 to the middle of the fourth century B. C., or a couple of decades later, because -of the lettering and orthography. The monument of no. 170 must, therefore, have been set up -long after the victory—about a century later.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_508"></a><a href="#FNanchor_508"><span class="label">508</span></a> Dittenberger, <i>Inschr. v. Ol.</i>, p. 296, compares two other inscriptions with no. 170, viz, no. -174 (in which the words ὧδε στάς occur) and <i>C. I. G. G. S.</i>, I, 2470, l. 3 (where the words τοίας ἐκ -προβολᾶς occur). However, as he says, these two refer to the poses of the statues of gymnic -victors and not to portraits. Pausanias frequently uses the word εἰκών for ἀνδριάς (<i>e. g.</i>, III, -18.7) of a victor, but this seems to be no indication of a portrait statue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_509"></a><a href="#FNanchor_509"><span class="label">509</span></a> <i>Cf.</i> Dittenberger, <i>op. cit.</i>, p. 296. Hitz.-Bluemn., II, 2, p. 530, think the case of Xenombrotos -may simply be exceptional.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_510"></a><a href="#FNanchor_510"><span class="label">510</span></a> VI, 3.11–12; he was three times victor in running races in Ols. (?) 95, (?) 97, and 99 -( = 400, 392, 384 B. C.); the latter date is attested by Afr.: Hyde, 33; Foerster, 307, 315, 316. -For the epigram on the base of one of these statues, see <i>A. G.</i>, XIII, 15.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_511"></a><a href="#FNanchor_511"><span class="label">511</span></a> VI, 4.1; he was three times victor in the pankration in Ols. 104, (?) 105, (?) 106 ( = 364–356 -B. C.): Hyde, 37; Foerster, 349, 353, 359.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_512"></a><a href="#FNanchor_512"><span class="label">512</span></a> VI, 17.2; he was thrice victor in running races in Ols. 129, 130 ( = 264, 260 B. C.): Afr.; -Hyde, 173; Foerster, 440–2, 444–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_513"></a><a href="#FNanchor_513"><span class="label">513</span></a> VI, 15.9; he was four times victor in the pankration, once in hoplite running, and once in the -δίαυλος, at unknown dates: Hyde, 149; Foerster, 767–72. We can not say that his victories fell -at a date when iconic statues were in vogue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_514"></a><a href="#FNanchor_514"><span class="label">514</span></a> VI, 6.6; he won in Ols. 74, 76, 77 ( = 484, 476–2 B. C.): <i>Oxy. Pap.</i>; Hyde, 56; Foerster, 185, -195, 207; <i>Inschr. v. Ol.</i>, 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_515"></a><a href="#FNanchor_515"><span class="label">515</span></a> <i>E. g.</i>, VI, 13.3–4 and 8: Hermogenes, five times victor in running races in Ols. 215, 216, 217 -( = 81–89 A. D.): Afr.; Hyde, 111a; Foerster, 654–6, 659–660, 662–4; Polites, three times victor -in running races in Ol. 212 ( = 69 A. D.): Afr.; Hyde, 111b; Foerster, 648–50; Leonidas, four -times victor in running races in Ols. 154, 155, 156, 157 ( = 164–152 B. C.): Afr.; Hyde, 111c; Foerster, -495–7, 498–500, 502–4, 507–9; Tisandros, four times victor in boxing in Ols. (?) 60–3 ( = 540–528 -B. C.), at a date too early for portraiture: Hyde, 119a; Foerster, 115, 119, 123, 124. There -are other examples from the early fifth and the sixth centuries B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_516"></a><a href="#FNanchor_516"><span class="label">516</span></a> <i>Princ. Gr. Art</i>, Ch. XI (Portrait Sculpture), pp. 165 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_517"></a><a href="#FNanchor_517"><span class="label">517</span></a> Gardner, p. 165, cites Bernouilli, <i>Griech. Ikonogr.</i>, 1901, as listing 26 known portraits of -Euripides and 32 of Demosthenes, and calls attention to the fact that 870 plates in the -Bruckmann series, <i>Griech. und Roem. Portraets</i> (ed. Brunn und Arndt), from 1891 on, are of -Roman portraits. On the subject of Græco-Roman portraits, see also Bernouilli, <i>Roem. Ikonogr.</i>, -1882–94; Hekler, <i>Greek and Roman Portraits</i>, 1912; and the works of E. Q. Visconti, now antiquated: -<i>Iconogr. gr.</i> (Paris, 1808) and <i>Iconogr. romana</i> (Milan, 1818).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_518"></a><a href="#FNanchor_518"><span class="label">518</span></a> XXXIV, 74. Pausanias mentions a portrait of Perikles without naming the artist, I, 25.1; -<i>cf.</i> I. 28.2. The inscribed base was found in Athens in 1888: Ἀρχαιολογικὸν Δελτίον, 1889, -pp. 36 f. (Lolling). A terminal portrait of Perikles, extant in several copies, has been identified -as a copy of this work, <i>e. g.</i>, one in the British Museum: <i>B. M. Sculpt.</i>, I, no. 549; Furtw., <i>Mp.</i>, -Pl. VII, opp. p. 118 (profile, fig, 46, p. 119); Hekler, <i>op. cit.</i>, Pl. 4 a.; F. W., 481. Another -replica is in the Vatican: Helbig, <i>Fuehrer</i>, I, 276, and Nachtraege, II, p. 471; Visconti, <i>Iconogr. -gr.</i>, I, Pl. XV; B. B., 156; Hekler, <i>op. cit.</i>, Pl. 4 b. However, Hitz.-Bluemn., I, p. 307, <i>ad -loc.</i> Paus., think that the word ἀνδριάς used by Pausanias can not apply to a terminal bust; -Furtw., <i>Mp.</i>, p. 117, n. 4, says that the word does not necessarily mean a whole statue. <i>Cf.</i> -Bernouilli, <i>Jb.</i>, XI, 1896, pp. 107 f.; Furtw., <i>Mp.</i>, pp. 117 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_519"></a><a href="#FNanchor_519"><span class="label">519</span></a> See <i>I. G. B.</i>, 62, 63.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_520"></a><a href="#FNanchor_520"><span class="label">520</span></a> <i>Philopseudes</i>, 18 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_521"></a><a href="#FNanchor_521"><span class="label">521</span></a> Αὐτοανθρώπῳ ὅμοιον, §18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_522"></a><a href="#FNanchor_522"><span class="label">522</span></a> A good example of a Roman copy (from the age of Hadrian) of an original iconic athlete statue -in bronze from the end of the fourth century B. C., is a bearded head in the Museo Chiaramonti; -its swollen ears and the deep furrow in the hair for the metal crown show that it is from the statue -of a victor. See Amelung, <i>Vat.</i>, I, p. 483, no. 257 and Tafelbd., I, Pl. 50; Arndt-Bruckmann, -<i>Gr. und Roem. Portr.</i>, Pls. 223–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_523"></a><a href="#FNanchor_523"><span class="label">523</span></a> XXXV, 153. Jex-Blake, p. 176, justly remarks that this invention had nothing to do with -the custom of taking death-masks.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_524"></a><a href="#FNanchor_524"><span class="label">524</span></a> Xen., <i>Symp.</i>, IV, 17: θαλλοφόρους γὰρ τῇ Ἀθηνᾷ τοὺς καλοὺς γέροντας ἐκλέγονται κ. τ. λ.; -<i>cf.</i> Aristoph., <i>Vesp.</i>, 544, and Athen., XIII, 20 (p. 565) and scholion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_525"></a><a href="#FNanchor_525"><span class="label">525</span></a> XIII, 90 (p. 609 e, f); here he quotes a history of Arkadia by Nikias.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_526"></a><a href="#FNanchor_526"><span class="label">526</span></a> Athen., XIII, 20 (pp. 565 f and 566 a); <i>cf.</i>, Theophr., <i>apud</i> Athen., XIII, 90 (pp. 609 f, 610 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_527"></a><a href="#FNanchor_527"><span class="label">527</span></a> Athen., XIII, 90 (p. 610a): here Athenæus is also quoting Theophrastos. In XIII, 20 -(p. 565), he quotes Herakleides Lembos as saying that in Sparta the handsomest man and woman -were especially honored.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_528"></a><a href="#FNanchor_528"><span class="label">528</span></a> Hdt., V, 47; Eustath. <i>ad</i> Iliad, III, p. 383, 43; Foerster, 138.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_529"></a><a href="#FNanchor_529"><span class="label">529</span></a> P., IX, 22.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_530"></a><a href="#FNanchor_530"><span class="label">530</span></a> P., VII, 24.4; cf., VIII, 47.3, for a similar custom at Tegea.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_531"></a><a href="#FNanchor_531"><span class="label">531</span></a> See O. Mueller, <i>Die Dorier</i><sup>1</sup>, 1824, II, p. 238 (quoted by Krause, I, p. 37, n. 19). For references -to contests of beauty in Greece, see <i>ibid.</i>, pp. 33–38.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_532"></a><a href="#FNanchor_532"><span class="label">532</span></a> On this subject, see the recent essay by W. H. Goodyear, Lessing’s Essay on the Laocoön -and its Influence on the Criticism of Art and Literature, <i>Brooklyn Museum Quarterly</i>, Oct. -1917, pp. 228–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_533"></a><a href="#FNanchor_533"><span class="label">533</span></a> Thus we have Polykleitos of Argos and Patrokles, perhaps his brother; Naukydes of Argos -and Daidalos of Sikyon, sons of Patrokles; the younger Polykleitos—who called himself an Argive—the -brother of Naukydes; Alypos of Sikyon, the pupil of Naukydes; etc. Statues by all these -sculptors except Patrokles are known to have stood in Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_534"></a><a href="#FNanchor_534"><span class="label">534</span></a> <i>Hbk.</i><sup>2</sup>, p. 254.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_535"></a><a href="#FNanchor_535"><span class="label">535</span></a> His criticism of painting occurs in <i>Poet.</i>, 1448a, 5, 1450a, 26, and <i>Polit.</i>, V, 1340a, 35. In <i>Eth</i>., -VI, 1141a, 10, he says that Pheidias and Polykleitos were masters in marble and bronze respectively. -For a discussion of Aristotle’s æsthetics of painting and sculpture, see M. Carroll, in -<i>Publ. of Geo. Washington University</i>, Philol. and Lit. Series, I, <small>1</small> (Nov., 1905), pp. 1–10; and for -both Aristotle and Plato on art, see Kalkman, <i>50stes Berl. Winckelmannsprogr.</i>, 1890 (Proport. -des Gesichts), pp. 3 f. and notes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_536"></a><a href="#FNanchor_536"><span class="label">536</span></a> I, 5, 1361b; Oppian, <i>Kyneget.</i>, I, 89–90, speaks of the similarly well-developed bodies of hunters.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_537"></a><a href="#FNanchor_537"><span class="label">537</span></a> <i>Mem.</i>, III, 10.6–8. For his visit to the painter Parrhasios, see <i>ibid.</i>, 10.1–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_538"></a><a href="#FNanchor_538"><span class="label">538</span></a> Following the suggestion of Klein, II, p. 143, and W. L. Westermann, <i>Class. Rev.</i>, XIX, -1905, pp. 323–5. 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 -Athens. Plato frequently mentions Polykleitos by his full name: <i>e. g.</i>, <i>Protag.</i>, 328 C (sons -of Polykleitos), 311 C (Polykleitos and Pheidias). P. Gardner justly observes that the -statues of Polykleitos “however beautiful, are scarcely life-like:” <i>Prince. Gk. Art.</i>, p. 15, -n. 1; <i>Grammar</i>, p. 17.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_539"></a><a href="#FNanchor_539"><span class="label">539</span></a> II, 17: τὰ σκέλη μὲν παχύνονται, τοὺς ὤμους δὲ λεπτύνονται, κ. τ. λ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_540"></a><a href="#FNanchor_540"><span class="label">540</span></a> See schol. on Plato, <i>Amatores</i>, p. 135 E; <i>cf.</i> Epiktetos, <i>Encheir.</i>, Ch. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_541"></a><a href="#FNanchor_541"><span class="label">541</span></a> P., VI, 10.5; <i>Oxy. Pap.</i>; Hyde, 97; Foerster, 240; <i>cf.</i> Krause, <i>Olympia</i>, pp. 302 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_542"></a><a href="#FNanchor_542"><span class="label">542</span></a> His date is uncertain: P., VI, 15.9; Hyde, 149; Foerster, 767–772.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_543"></a><a href="#FNanchor_543"><span class="label">543</span></a> P., VI, 3.2; he won at Olympia some time between Ols. (?) 99 and 102 ( = 384 and 372 B. C.): -Hyde, 23; Foerster, 335.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_544"></a><a href="#FNanchor_544"><span class="label">544</span></a> P., I, 29.5: Hdt., VI, 92; IX, 75; <i>cf.</i> Krause, I, pp. 495–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_545"></a><a href="#FNanchor_545"><span class="label">545</span></a> <i>E. g.</i>, Phaÿllos of Kroton was famed for his fleetness, his jumping, and his throwing the diskos. -See Aristoph., <i>Acharn.</i>, 212; <i>Vespes</i>, 1206; <i>A. G.</i>, App. 297; <i>cf.</i> Hdt., VIII, 47; P., X, 9.2. He -won at Delphi only.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_546"></a><a href="#FNanchor_546"><span class="label">546</span></a> <i>E. g.</i>, Myron at Delphi: Pliny, <i>H. N.</i>, XXXIV, 57; Alkamenes, <i>ibid.</i>, XXXIV, 72; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_547"></a><a href="#FNanchor_547"><span class="label">547</span></a> 656 E, 657 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_548"></a><a href="#FNanchor_548"><span class="label">548</span></a> Pliny, <i>H. N.</i>, XXXVI, 39. These works were probably critical as well as descriptive.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_549"></a><a href="#FNanchor_549"><span class="label">549</span></a> <i>E. g.</i>, of Pasiteles, XXXVI, 39; of Arkesilaos, XXXVI, 41; of Koponios, <i>ibid.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_550"></a><a href="#FNanchor_550"><span class="label">550</span></a> 18(70). In this passage he also gives similar judgments on several painters. On Cicero -on art, see Grant Showerman, <i>Proceed. Amer. Philol. Ass’n</i>, XXXIV, 1903, pp. xxxv f. He -shows that Cicero’s references to art proceed from his instinct as a stylist and not from any -enthusiasm for art itself.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_551"></a><a href="#FNanchor_551"><span class="label">551</span></a> <i>Imag.</i>, 6, p. 464. His eclectic statue is made up of works by Praxiteles, Alkamenes, Pheidias, -and Kalamis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_552"></a><a href="#FNanchor_552"><span class="label">552</span></a> <i>Rhetorum praeceptor</i>, 9–10. He spells the two first names Ἡγησίας, Κράτης.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_553"></a><a href="#FNanchor_553"><span class="label">553</span></a> XXXVI, 37. For careful judgments of Pliny’s work, see Jex-Blake, pp. xci f.: Kalkmann, <i>Die -Quellen der Kunstgeschichte des Plinius</i>, 1898; Robert, <i>Archaeologische Maerchen</i>, 1886, pp. 28 f.; -F. Muenzer, <i>Hermes</i>, XXX, 1895, pp. 499 f. (and <i>Beitraege zur Kritik der Naturgesch. des Plinius</i>, -1897); Botsford and Sihler, <i>Hellenic Civilization</i>, 1915, pp. 551–8 (= Translation by Jex-Blake of -Pliny, XXXIV, 53–84 [sculptors], revised by E. G. Sihler); pp. 558–567 (= Pliny, XXXV, 15, -and 53–97 [painters], revised by E. G. S.). For short estimate of Pliny’s work, see Mackail, -<i>Latin Literatures</i>, 1895, p. 197.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_554"></a><a href="#FNanchor_554"><span class="label">554</span></a> See his characterization of the great Greek painters and sculptors in <i>Inst. Orat.</i>, XII, Ch. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_555"></a><a href="#FNanchor_555"><span class="label">555</span></a> Also in the work of H. Stuart Jones, <i>Select Passages from Anc. Writers Illustrative of the Hist. of -Gk. Sculpt.</i>, 1895; <i>cf.</i>, A history of classical writers on art from Xenokrates to Pliny, in Jex-Blake, -pp. xvi-xci; <i>cf.</i> Wilamowitz-Moellendorf, <i>Antigonos von Karystos</i> (Kiessling and Wilamowitz, -<i>Philolog. Untersuchungen</i>, IV, 1881), pp. 7 f.; P. Gardner, <i>Principles of Greek Art</i>, Ch. II, pp. 13 f. -(Ancient Critics on Art); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_556"></a><a href="#FNanchor_556"><span class="label">556</span></a> <i>A. Pl.</i>, 2; Bergk, <i>P. l. G.</i>, III<sup>4</sup>, no. 149, p. 498. Theognetos won in Ol. 76 ( = 476 B. C.): -P., VI, 9.1; <i>Oxy. Pap.</i>, Hyde, 83; Foerster, 193 and 193 N.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_557"></a><a href="#FNanchor_557"><span class="label">557</span></a> <i>H. N.</i>, XXXIV, 88. Kallias won in Ol. 77 ( = 472 B. C.): P., VI, 6.1; <i>Oxy. Pap.</i>; Hyde, 50; -Foerster, 208; <i>Inschr. v. Ol.</i>, no. 146.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_558"></a><a href="#FNanchor_558"><span class="label">558</span></a> <i>Ibid.</i>, XXXIV, 71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_559"></a><a href="#FNanchor_559"><span class="label">559</span></a> Kalamis made the horses and jockeys, Onatas the chariot: P., VI, 12.1; Hiero won twice in the -horse-race and once in the chariot-race in Ols. 76–78 ( = 476–468 B. C.): <i>Oxy. Pap.</i>; Hyde, 105; -Foerster, 199, 209, 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_560"></a><a href="#FNanchor_560"><span class="label">560</span></a> VI, 6.6. He won in Ols. 74, 76–7 ( = 484, 476–472 B. C.): <i>Oxy. Pap.</i>; Hyde, 56; Foerster, -185, 195, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_561"></a><a href="#FNanchor_561"><span class="label">561</span></a> VI, 4.4. He won in Ols. 81 and 82 ( = 456–452 B. C.): <i>Oxy. Pap.</i>; Hyde, 38; Foerster, 202, 203.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_562"></a><a href="#FNanchor_562"><span class="label">562</span></a> VI, 9.3. He won in Ol. 83 ( = 448 B. C.): <i>Oxy. Pap.</i>; Hyde, 88: Foerster, 285.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_563"></a><a href="#FNanchor_563"><span class="label">563</span></a> V, 27.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_564"></a><a href="#FNanchor_564"><span class="label">564</span></a> Bulle, p. 104, remarks that up to the present no single Roman copy can be <i>proved</i> to be -that of an Olympic victor statue. This fact must be constantly borne in mind.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_565"></a><a href="#FNanchor_565"><span class="label">565</span></a> No. 6439; Staïs, <i>Marbres et Bronzes</i>, pp. 299–300 and fig.; <i>Ausgr. v. Ol.</i>, V, Pls. XXI, -XXII, and p. 14; <i>Funde v. Ol.</i>, Pl. XXIII, and p. 16; <i>Bronz. v. Ol.</i>, Textbd., pp. 10–11; Tafelbd., -Pl. II, 2 and 2a; Boetticher, <i>Olympia</i>, Pl. XI, 1; Baum., p. 1104 00, figs. 1296, a and b; F. W., -no. 323; Bulle, 235 and fig. 154, on p. 501; von Mach, 482; B. B., 247.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_566"></a><a href="#FNanchor_566"><span class="label">566</span></a> Furtw.-Wolters, <i>Beschr. d. Glyptothek</i>,<sup>2</sup> 1910, no. 457, pp. 398 f.; Furtw., <i>Mp.</i>, p. 291; <i>Mw.</i>, -p. 507; F. W., no. 216; B. B., 8; Bulle, 207 (front and side); Kekulé, <i>A. Z.</i>, XLI, 1883, Pl. XIV, -3, p. 246; H. Schrader, <i>Jh. oest. arch. Inst.</i>, 1911, p. 74; Hauser, <i>R. M.</i>, X, 1895, pp. 103 f. -Kekulé, because of its similarity to the <i>Apollo</i> of the West Gable, derived it from the art of the -Olympia pediment sculptures; Flasch, <i>Verh. d. 29sten Philologenversamml.</i>, Innsbruck, 1874, -p. 162, and Brunn, <i>Beschr. d. Glypt.</i><sup>5</sup>, no. 302, and <i>Sitzb. Muen. Akad.</i>, 1892, p. 658, classed it as -Polykleitan; Bulle calls it Attic-Argive without Polykleitan influence, while Furtwaengler finds it -Polykleitan-Attic. The latter gives several replicas, two of green and black basalt respectively, -in the Museo delle Terme, and a marble head in the Museo Chiaramonti, no. 475. Bulle gives -the height of the Munich head as 0.23 meter.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_567"></a><a href="#FNanchor_567"><span class="label">567</span></a> Αἰδώς; <i>cf.</i> <i>decor</i>, applied to the work of Polykleitos by Quintilian: <i>Inst. Orat.</i>, XII, 9. 7–8; <i>cf.</i> also -Vitruvius, <i>de Arch.</i>, I, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_568"></a><a href="#FNanchor_568"><span class="label">568</span></a> Furtw.-Urlichs, <i>Denkm. d. gr. und roem. Skulpt.</i>, Hdausgabe,<sup>3</sup> 1911, p. 102, n. 1. He adds that -it is <i>das Ideal von Reinheit, Unschuld, liebenswuerdig edler Groesse, eines der herrlichsten griechischen -Originale, die uns erhalten sind</i>. It is photographed <i>ibid.</i>, figs. 30, 31. In the <i>Beschr. d. -Glypt.</i>, p. 399, he says it is <i>das edelste und vollendetste Werk, das die Glyptothek besitzt—ihr -kostbarster Schatz</i>, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_569"></a><a href="#FNanchor_569"><span class="label">569</span></a> Formerly in the Coll. Tyszkiewicz: B. B., 324, (two views); Bulle, 206 (two views); von Mach, -481 (two views); <i>Mon. Piot</i>, I, 1894, pp. 77 f. (E. Michon) and Pls. X, XI; S. Reinach, <i>Têtes</i>,[P2, looked in original] -Pl. 72 and p. 58; Kalkmann, Prop. d. Gesichts, p. 27 (vignette); Collignon, II, Frontispiece and -p. 169; Gardner, <i>Sculpt.</i>, Pl. XL; Furtw., <i>Mp.</i>, pp. 290–1 and Pl. XIV; <i>Mw.</i>, p. 507. The -best illustration of the head is given by de Ridder, <i>Les Bronzes antiques du Louvre</i>, I, 1913, Pl. I -(and text p. 8, on no. 4). It is 0.33 meter in height (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_570"></a><a href="#FNanchor_570"><span class="label">570</span></a> Preface to Furtw., <i>Mp.</i>, p. xiii.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_571"></a><a href="#FNanchor_571"><span class="label">571</span></a> So Furtw., <i>l. c.</i>; Bulle, however, sees in it only Attic work and finds it slightly coarser and -harder than the Munich head described.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_572"></a><a href="#FNanchor_572"><span class="label">572</span></a> Invent. 5633; <i>Bronzi d’Ercol.</i>, I, 73, 74; D. Comparetti e G. de Petra, <i>La Villa Ercolanese -dei Pisoni</i>, 1883, XI, 1; B. B., 323 (two views); Rayet, II, Pl. 67; Furtw., <i>Mp.</i>, p. 291; <i>Mw.</i>, -p. 508; the latter believes that it, like the preceding two heads, is Polykleitan and Attic.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_573"></a><a href="#FNanchor_573"><span class="label">573</span></a> <i>Bedeutung der Gymnastik in d. gr. Kunst</i>, 1905; <i>cf.</i> also Gardner, <i>Sculpt.</i>, p. 23, and <i>Hbk.</i>, p. 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_574"></a><a href="#FNanchor_574"><span class="label">574</span></a> Furtw.-Urlichs, <i>Denkmaeler</i>, already cited, p. 63, n. 3. (Translated under the title <i>Greek -and Roman Sculpture</i> by H. Taylor, 1914; p. 119.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_575"></a><a href="#FNanchor_575"><span class="label">575</span></a> See F. W. G. Foat, Anthropometry of Greek Statues, <i>J. H. S.</i>, XXXV, 1915, pp. 225 f. (p. 226).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_576"></a><a href="#FNanchor_576"><span class="label">576</span></a> Plato, <i>Phileb.</i>, 64 E, regarded μετριότης and συμμετρία as qualities of beauty and virtue; -<i>cf.</i> Aristotle, <i>Metaphys.</i>, X, 3.7, and <i>Nicom. Eth.</i>, V, 5.14, 1133b. Vitruvius, <i>de Arch.</i>, I, 2, makes -symmetry in architecture a quality of <i>eurythmia: Item symmetria est ex ipsius operis membris -conveniens consensus ex partibusque separatis ad universae figurae speciem ratae partis responsus</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_577"></a><a href="#FNanchor_577"><span class="label">577</span></a> I, 2: <i>Haec [eurythmia] efficitur, cum membra operis convenientia sunt, altitudinis ad latitudinem, -latitudinis ad longitudinem, et ad summam omnia respondent suae symmetriae</i>; <i>cf.</i> III, 1; -Lucian, <i>pro Imag.</i>, 14 (ῥυθμίζειν τὸ ἄγαλμα); Clem. Alex., <i>Paedagog.</i>, 3.11 and 64 (εὐρυθμὸς καὶ -καλὸς ἀνδριάς); Xen., <i>Mem.</i>, III, 10.9 (ῥυθμός, of corselets); Plut., <i>de Educ. puer.</i>, 11 (τῶν σωμάτων -εὐρυθμία); Diod., I, 97. 6 (ῥυθμὸς ἀνδριάντων, <i>i.e.</i>, rhythmic order or grace in statuary): <i>id.</i>, II, 56.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_578"></a><a href="#FNanchor_578"><span class="label">578</span></a> Vitruv., III, 1: <i><proportio>, quae graece ἀναλογία dicitur. Proportio est ratae partis membrorum -in omni opere totiusque commodulatio, ex qua ratio efficitur symmetriarum.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_579"></a><a href="#FNanchor_579"><span class="label">579</span></a> <i>H. N.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_580"></a><a href="#FNanchor_580"><span class="label">580</span></a> <i>Op. cit.</i>, <i>e. g.</i>, XXXV, 67 and 128.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_581"></a><a href="#FNanchor_581"><span class="label">581</span></a> Ueber die Kunsturteile bei Plinius, <i>Ber. ueber d. Verhandl. d. k. saechs. Ges. d. Wiss. zu Leipzig</i>, II, -1850, p. 131; <i>cf.</i> H. L. Urlichs, <i>Ueber griech. Kunstschriftsteller</i> (Diss. inaug., Wuerzburg, 1887).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_582"></a><a href="#FNanchor_582"><span class="label">582</span></a> <i>Principles of Greek Art</i>, 1914, p. 20 (= <i>Grammar of Greek Art</i>, 1905, p. 22).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_583"></a><a href="#FNanchor_583"><span class="label">583</span></a> Quoted by Gardner, <i>op. cit.</i>, p. 22 (= <i>Grammar</i>, p. 23), from two papers by H. Brunn, Ueber -tektonischen Styl in der griech. Plastik und Malerei, in <i>Sitzb. Muen. Akad.</i>, 1883, pp. 299 f., 1884, -pp. 507 f. Overbeck, I, pp. 266–277, explains rhythm in art as the <i>Ordnung der Bewegung</i>, in -accordance with the definition of Plato: τῇ δὴ τῆς κινήσεως τάξει ῥυθμὸς ὄνομα εἴη: <i>de Leg.</i>, 665 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_584"></a><a href="#FNanchor_584"><span class="label">584</span></a> <i>H. N.</i>, XXXIV, 58 (S. Q., 533): <i>Numerosior in arte quam Polyclitus et in symmetria diligentior</i>. -The interpretation of this disputed passage depends, of course, on the meaning of -<i>numerosior</i>, and whether we accept the curious statement of the manuscript that Myron surpassed -Poykleitos in symmetry, or, by omitting the <i>et</i> (with Sillig), make it mean just the contrary -and in harmony with the usual ancient view that symmetry was the salient characteristic of -Polykleitan art. The passage, then, would contrast the symmetry of Polykleitos with the -variety of Myron. This accords with Pliny’s use of <i>numerosus</i> elsewhere (<i>e. g.</i>, XXXV, 130 -and 138), which always refers to number. See Gardner, <i>Hbk.</i>, p. 275 (note).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_585"></a><a href="#FNanchor_585"><span class="label">585</span></a> <i>Op. cit.</i>, XXXIV, 65, he says: <i>Nova intactaque ratione quadratas veterum staturas permutando</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_586"></a><a href="#FNanchor_586"><span class="label">586</span></a> <i>Op. cit.</i>, XXXV, 67.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_587"></a><a href="#FNanchor_587"><span class="label">587</span></a> VIII. I. 47.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_588"></a><a href="#FNanchor_588"><span class="label">588</span></a> The Egyptians divided the front view of the body into 19 parts (or 21 parts and a quarter, -including the height of the head-dress): Diod., 1, 98. See Lepsius, <i>Monum. funéraires de -l’Égypte</i> (figure, reproduced in Dar.-Sagl, I, 2, p. 892, fig. 1125); <i>cf.</i> his <i>Descript. de l’Égypte</i>, -IV, LXII; Wilkinson, <i>History of Egypt</i>, p. 113, Pl. IV; these references are given by Foat, <i>op. -cit.</i>, p. 225, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_589"></a><a href="#FNanchor_589"><span class="label">589</span></a> Vitruv., I, 2. However, in thus following the statement of the Roman architect, it must be -said that the attempt to recover and establish such a canon in Greek architecture is still unproved. -The subject is complicated and has led to very different views. Thus, while many scholars -have defended the theory of the canon (<i>e. g.</i>, Pennethorne, <i>Geom. and Optics of Anc. Arch.</i>, 1878; -Penrose, in Whibley, <i>Comp. to Gk. Stud.</i><sup>1</sup>, 1905, pp. 220–1; Ferguson, <i>Hist. Arch.</i>, ed. 1887, I, p. -251; P. Gardner, <i>Princ. Gk. Art.</i>, p. 21; Statham, <i>Short Crit. Hist. Arch.</i>, 1912, p. 130), others are -opposed, and believe that design in Greek architecture was a matter of feeling, and that the orders -were first reduced to formulæ in Roman days (<i>e. g.</i>, A. K. Porter, <i>Med. Arch.</i>, 1909, I, 9; Goodyear, -<i>Greek Refinements, Studies in Temperamental Arch.</i>, 1912, esp. p. 83, quoting Joseph Hoffer from -<i>Wiener Bauzeitung</i>, 1838). See on the subject a recent article by my pupil, Dr. A. W. Barker, -in <i>A. J. A.</i>, XXII, 1918, pp. 1 f., in which the above and other references are given.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_590"></a><a href="#FNanchor_590"><span class="label">590</span></a> Gardner, <i>Sculpt.</i>, pp. 22–3, says: “Paradoxical as it may seem at first sight, the very freedom -of Greek sculpture is to a great extent due to its close adherence to tradition.” He shows how -the free play of imagination depends on external conditions and tradition.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_591"></a><a href="#FNanchor_591"><span class="label">591</span></a> <i>E. g.</i>, Vitruv., I, 2; especially these words: <i>Ut in hominis corpore e cubito, pede, palmo, digito, -ceterisque particulis (partibus) symmetria est eurythmiae qualitas</i>; also III, 1: <i>Pes vero altitudinis -corporis sextae</i> <<i>partis</i>>; <i>cubitum quartae; pectus item quartae</i>, etc. Also Philostr., <i>Imag.</i>, -Proem.; the third-century A. D. (?) treatise called <i>de Physiognomia</i>; St. Augustine, <i>de Civ. Dei</i>, -XV, 26. 1; the poet Martianus Capella, of the middle of the fifth century A. D., who says, -VII, 739: <i>septem corporis partes hominem perficiunt</i>; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_592"></a><a href="#FNanchor_592"><span class="label">592</span></a> Die Proportionen des Gesichts in der griechischen Kunst (= <i>53stes Berliner Wincklemanns programm</i>, -1893).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_593"></a><a href="#FNanchor_593"><span class="label">593</span></a> <i>Gestalt des Menschen</i>, in <i>Verh. d. Berl. Anthrop. Gesell.</i>, 1895. This work is based on the older -investigations of C. Schmidt, <i>Proportionsschluessel</i>, 1849, and of C. Carus, <i>Die Proportionslehre -der menschlichen Gestalt</i>, 1874. See also P. Richer, <i>Canon des proportions du corps humain</i>, -1893; E. Duhousset, Proportions artistiques et anthropométrie scientifique, <i>Gaz. B-A.</i>, III, Pér. -3, 1 90, pp. 59 f.; E. Guillaume, art. Canon, <i>Dict. de l’Acad. des B-A.</i>; E. Gebhard, in Dar.-Sagl., -I, 2, pp. 891–892; <i>cf.</i> Collignon, I, pp. 490 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_594"></a><a href="#FNanchor_594"><span class="label">594</span></a> F. W. G. Foat, <i>op. cit.</i>, offers a scheme or typical design, based on wide data, which will serve -as a universal basis for securing facts about any statue under examination.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_595"></a><a href="#FNanchor_595"><span class="label">595</span></a> On the influence of such canons of proportion on contemporary artists, see Balcarres, <i>Evolution -of Italian Sculpture</i>, p. 128.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_596"></a><a href="#FNanchor_596"><span class="label">596</span></a> <i>Cf.</i> Vitruvius, quoted above. The scholion on Pindar, <i>Ol.</i>, VII, Argum., Boeckh, p. 158, speaks -of πηχῶν τεσσάρων δακτύλων πέντε as the height of the statue of Diagoras at Olympia, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_597"></a><a href="#FNanchor_597"><span class="label">597</span></a> Vitruvius, <i>de Arch.</i>, VII, Praef., 14, lists writers who <i>praecepta symmetriarum conscripserunt</i>. -See V. Mortet, <i>Rev. Arch.</i>, Sér. IV, XIII, 1909, pp. 46 f, and figs. 1 and 2. In this -discussion of ancient canons he shows that the chief ratio was that of the head to the height of -the body; the proportion of 8 heads to the body was that adopted by da Vinci and J. Cousin: -7 to 8 is found in the figures of the Parthenon frieze; a little under 7 in the <i>Diadoumenos</i> of -Polykleitos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_598"></a><a href="#FNanchor_598"><span class="label">598</span></a> See Furtw., <i>Mp.</i>, pp. 49–52. As examples, he gives the statue of Apollo from the Tiber now in -the Museo delle Terme: <i>Mp.</i>, pp. 50–51, figs. 8 and 9; <i>cf.</i> <i>R. M.</i>, 1891, pp. 302, 377 and Pls. X-XII; -the Mantuan <i>Apollo</i>: <i>cf.</i> <i>50stes Berliner Winckelmannsprogr.</i>, p. 139, n. 61 (for replicas); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_599"></a><a href="#FNanchor_599"><span class="label">599</span></a> For Polykleitos’ canon, see Pliny, <i>H. N.</i>, XXXIV, 55; <i>S. Q.</i>, 953 f.; Furtw., <i>Mp.</i>, p. 249.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_600"></a><a href="#FNanchor_600"><span class="label">600</span></a> So Pliny, <i>op. cit.</i>, XXXV, 128; <i>cf.</i> J. Six, <i>Jb.</i>, XXIV, 1909, pp. 7 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_601"></a><a href="#FNanchor_601"><span class="label">601</span></a> <i>H. N.</i>, XXXIV, 61; see Jex-Blake, p. <span class="smcap">XLVIII</span>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_602"></a><a href="#FNanchor_602"><span class="label">602</span></a> <i>H. N.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_603"></a><a href="#FNanchor_603"><span class="label">603</span></a> However, other fourth-century artists, notably Praxiteles, used impressionism in the treatment -of the hair: see Bulle, pp. 444 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_604"></a><a href="#FNanchor_604"><span class="label">604</span></a> In XXXIV, 80, he mentions Menaichmos, who wrote on the toreutic art probably in the -fourth century B. C.; in XXXIV, 83 (<i>cf.</i> XXXV, 68), he mentions Xenokrates, of the school -of Lysippos, who wrote books on art; he is probably identical with an artist of the same name -known to us from inscriptions from Oropos and Elateia: <i>I. G. B.</i>, 135, a, b (Oropos), c (Elateia); -<i>Arch. Eph.</i>, 1892, 52 (Oropos); the identity is doubted by Jex-Blake, p. xx, n. 2. In XXXIV, -84 (<i>cf.</i> XXXV, 68) he speaks of Antigonos, who wrote on painting and who was employed by -Attalos I of Pergamon to work on the trophies of his victory over the Gauls. For Antigonos as -a writer on the criticism of art, see Wilamowitz-Moellendorf, <i>Antigonos von Karystos</i> (Kiessling -and Wilamowitz, <i>Philolog. Untersuchungen</i>, IV, 1881), Ch. I, pp. 7 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_605"></a><a href="#FNanchor_605"><span class="label">605</span></a> <i>H. N.</i>, XXXIV, 55. According to the exact words of Pliny, the <i>Canon</i> and the <i>Doryphoros</i> -were distinct works. It is probable, however, that Pliny’s words conceal the same statue under -two names, his commentary on each coming from a different source: see Furtw., <i>Mp.</i>, p. 229 -and n. 4; <i>Mw.</i>, p. 422 and n. 2; <i>cf.</i> Muenzer, <i>Hermes</i>, XXX, 1895, p. 530, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_606"></a><a href="#FNanchor_606"><span class="label">606</span></a> Cicero, <i>Brut.</i>, 86, 296. On the fame of the <i>Doryphoros</i>, see <i>id.</i>, <i>Orator</i>, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_607"></a><a href="#FNanchor_607"><span class="label">607</span></a> <i>Instit. Orat.</i>, V, 12.21. In Philon’s treatise περὶ βελοποιϊκῶν, IV, 2, we read: τὸ γὰρ εὖ παρὰ -μικρὸν διὰ πολλῶν ἀριθμῶν ἔφη γίνεσθαι, sc. Πολύκλειτος, (“Beauty,” he said, “was produced -from a small unit through a long chain of numbers”), a description which rightly characterizes -the <i>Doryphoros</i>. The system given by Vitruv., III, 1, hardly agrees with Polykleitan statues and -so has been connected by Kalkmann, though on insufficient grounds, with the canon of Euphranor: -see <i>50stes Berlin Winckelmannsprogr.</i>, 1890 (Proport. des Gesichts), pp. 43 f.; <i>cf.</i> H. Stuart Jones, -<i>op. cit.</i>, p. 129.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_608"></a><a href="#FNanchor_608"><span class="label">608</span></a> <i>Guida Museo Napoli</i>, no. 146; Collignon, I, Pl. XII, opp. p. 488; Bulle, 47 and analysis on -pp. 97–102.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_609"></a><a href="#FNanchor_609"><span class="label">609</span></a> Kalkmann, <i>op. cit.</i>, p. 53, gives the height as 1.98–1.99 m.; Bulle, p. 97 to no. 47, as 1.99 m.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_610"></a><a href="#FNanchor_610"><span class="label">610</span></a> In Rayet, I, Text to Pl. 29; reproduced in <i>Études d’art antique et moderne</i>, 1888, pp. 399 f.; -<i>cf.</i> also Collignon, I, pp. 492 f. and P. Gardner, <i>Principles of Greek Art</i>, pp. 21 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_611"></a><a href="#FNanchor_611"><span class="label">611</span></a> <i>De plac. Hipp. et Plat.</i>, 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_612"></a><a href="#FNanchor_612"><span class="label">612</span></a> B. B., 321; Helbig, <i>Fuehrer</i>, I, 956; <i>Guide</i>, 617; F. W., 215; to be discussed <i>infra</i>, pp. 201–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_613"></a><a href="#FNanchor_613"><span class="label">613</span></a> <i>Orat.</i>, XXXI, 89 f. (614 R).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_614"></a><a href="#FNanchor_614"><span class="label">614</span></a> In the present discussion we shall confine ourselves to the assimilation of mortal types to -those of athletic gods and heroes, omitting the larger question of assimilation to divine types -in general. A good example of the latter is afforded by P. VIII, 9.7–8. Here, in noting that -the Mantineans worshipped Antinoos as a god by the erection of a temple and the celebration -of mysteries and games, he says that images and paintings of the hero were in the Gymnasion -there, the latter Διονύσῳ μάλιστα εἰκασμέναι.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_615"></a><a href="#FNanchor_615"><span class="label">615</span></a> Kabbadias, no. 218; <i>Rev. Arch.</i>, III (1er Sér.), 1846, Pl. 53, fig. 2; Ph. Le Bas, <i>Voyage archéologique</i> -(ed. Reinach), Pl. CXVIII, p. 107; B. B., 18; von Mach, 191; F. W., 1220; Reinach., -<i>Rép.</i>, II, i, 149, 10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_616"></a><a href="#FNanchor_616"><span class="label">616</span></a> <i>Marbres et Bronzes</i>, p. 49.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_617"></a><a href="#FNanchor_617"><span class="label">617</span></a> Kabbadias, no. 219.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_618"></a><a href="#FNanchor_618"><span class="label">618</span></a> Formerly known as the <i>Antinous</i>: M. W., II, Pl. 28, 307; Clarac, IV, Pl. 665, 1514; Reinach, -<i>Rép.</i>, I, 367,2 (with restored arms); von Mach, no. 192; Amelung, <i>Vat.</i>, II, no. 53 (pp. 132 f.) -and Pl. 12; F. W., no. 1218; Baum., I, pp. 675 f. and fig. 737.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_619"></a><a href="#FNanchor_619"><span class="label">619</span></a> <i>B. M. Sculpt.</i>, III, no. 1599 and Pl. IV; Clarac, IV, Pl. 664, 1539; Reinach, <i>Rép.</i>, II, i, 149, 1; -Springer-Michaelis, p. 317, fig. 567. A corresponding replica from Melos is described by F. W., -1219; for a replica of the head (on a torso which does not belong to it) in the Braccio Nuovo of the -Vatican, see Amelung, <i>Vat.</i>, I, no. 132 (p. 155) and Pl. 21; for others, see Koerte, <i>A. M.</i>, III, -1878, pp. 98 f. The height is given in <i>B. M. Sculpt.</i> as 6 ft. 7–1/2 in. (without the plinth).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_620"></a><a href="#FNanchor_620"><span class="label">620</span></a> Amelung, <i>Vat.</i>, II, p. 656 and Pl. 61; Furtw., <i>Mw.</i>, p. 361, fig. 48. It is a marble copy of an -original bronze of Myronian origin. Its height is 1.98 meters (Amelung).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_621"></a><a href="#FNanchor_621"><span class="label">621</span></a> Duetschke, IV, no. 416; M. W., II, Pl. 30, 329.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_622"></a><a href="#FNanchor_622"><span class="label">622</span></a> <i>Ibid.</i>, no. 416; Koerte, <i>A. M.</i>, III, 1878, p. 350, no. 72.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_623"></a><a href="#FNanchor_623"><span class="label">623</span></a> Duetschke, IV, no. 876; Clarac, 958, 2473; Conze, in <i>A. A.</i>, 1867, pp. 105–6. Here Conze -gives a list of which three reliefs and one statue represent dead men as Hermes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_624"></a><a href="#FNanchor_624"><span class="label">624</span></a> Duetschke, IV, no. 46; Conze, <i>l. c.</i>, p. 106 (mentioned in preceding note).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_625"></a><a href="#FNanchor_625"><span class="label">625</span></a> <i>E. g.</i>, the well-known bust of the emperor Commodus -with the attributes of Hercules in the Palazzo -dei Conservatori, Rome: Helbig, <i>Fuehrer</i>, I, 930; -Baum., I, p. 398, fig. 432; Arndt-Bruckmann, <i>Griech. -u. roem. Portraets</i>, 230; Hekler, <i>Greek and Roman Portraits</i>, -1912, Pl. 270 a; Reinach, <i>Rép.</i>, II, <small>2</small>, 583, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_626"></a><a href="#FNanchor_626"><span class="label">626</span></a> <i>Not. Scav.</i>, 1885, p. 42; <i>Ant. Denkm.</i>, I, <span class="smcap">I</span>, 1886, -Pl. V; Bulle, 75 and fig. 27, p. 141; B. B., 246; Helbig, -<i>Fuehrer</i>, II., 1347, and references; Arndt-Bruckmann, -<i>Griech. u. roem. Portraets</i>, Pls. 358–360; Hekler, <i>Greek -and Roman Portraits</i>, Pls. 82–4; Collignon, II, p. 493, -fig. 257; Murray, <i>Hbk.</i> Gr. <i>Archæol.</i>, 1892, pp. 305 f., fig. 100; Lanciani, <i>Ruins and Excavations -of Anc. Rome</i>, 1897, Pl. on p. 303; Reinach, <i>Rép.</i>, II, 2, 548, 7; <i>cf.</i> Furtw., <i>Mp.</i>, p. 364, n. 2, and -<i>Mw.</i>, p. 597, n. 3. The height of the statue is 2.08 meters, or 2.37 meters to the hand (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_627"></a><a href="#FNanchor_627"><span class="label">627</span></a> <i>E. g.</i>, Philip V, Perseus, Alexander Balas (who usurped the Seleucid throne in 149 B. C.), -Demetrios I (Soter), of Syria (who reigned 162–150 B. C.), and Antiochos II, (Theos, who reigned -261–246 B. C.), have been suggested.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_628"></a><a href="#FNanchor_628"><span class="label">628</span></a> See Imhoof-Blumer, <i>Portraetkoepfe auf ant. Muenzen hellenischer und hellenisierter Voelker</i>, -1885, Pls. I, 6; III, 24; V, 21; VI, 29 and 31.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_629"></a><a href="#FNanchor_629"><span class="label">629</span></a> A small replica of this famous statue may probably be seen in the bronze statuette in the -Nelidoff collection: Wulff, <i>Alexander mit der Lanze</i>, 1898, Pls. I, II; Helbig, <i>Fuehrer</i>, II, p. 134, -fig. 35. On supposed replicas, see Bernouilli, <i>Das Bildniss Alex. d. Gr.</i>, p. 107; and Th. Schreiber, -Studien ueber das Bildniss Alex. d. Gr., <i>Abh. d. philolog.-histor. Cl. d. k. saechs. Gesellsch. d. Wissensch.</i>, -XXI, 1903, no. III, pp. 100 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_630"></a><a href="#FNanchor_630"><span class="label">630</span></a> Kabbadias, 235; Collignon, in <i>B. C. H.</i>, XIII, 1889, p. 498 and Pl. III; Bulle, 74.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_631"></a><a href="#FNanchor_631"><span class="label">631</span></a> <i>Cf.</i> the <i>Farnese Herakles</i>, Bulle, 72; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_632"></a><a href="#FNanchor_632"><span class="label">632</span></a> Collignon, I, p. 253, fig. 122; see below, p. 119 and note 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_633"></a><a href="#FNanchor_633"><span class="label">633</span></a> <i>E. g.</i>, in the <i>Payne Knight</i> bronze of the British Museum (<i>B. M. Bronz.</i>, no. 209 and -Pl. 1) and the <i>Sciarra</i> bronze (Collignon, I, p. 321, fig. 161; <i>R. M.</i>, II, 1887, Pls. IV, IVa, V), -which will be discussed in Ch. III, pp. 108, 119.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_634"></a><a href="#FNanchor_634"><span class="label">634</span></a> He won Ol. (?) 80 ( = 460 B. C.): P., VI, 4.11; Hyde, 45; Foerster, 255; <i>Inschr. v. Ol.</i> 149. -<i>Cf.</i> Furtw., <i>Mp.</i>, pp. 249 f.; <i>Mw.</i>, pp. 452 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_635"></a><a href="#FNanchor_635"><span class="label">635</span></a> <i>Mp.</i>, p. 255; an almost exact copy of the Eleusis statue is in the Museo Torlonia, no. 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_636"></a><a href="#FNanchor_636"><span class="label">636</span></a> Froehner, <i>Les medaillons de l’Empire romain</i>, 1878, p. 123; Furtw., <i>Mp.</i>, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_637"></a><a href="#FNanchor_637"><span class="label">637</span></a> <i>Mp.</i>, pp. 229 f., especially pp. 233 f.; <i>Mw.</i>, pp. 422 f., especially pp. 426 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_638"></a><a href="#FNanchor_638"><span class="label">638</span></a> On an Argive funerary relief: see <i>A. M.</i>, III, 1878, pp. 287 f. and Pl. XIII: this free adaptation -of the <i>Doryphoros</i> dates from the middle of the fourth century B. C.; it will be treated later on -in our discussion of the <i>Doryphoros</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_639"></a><a href="#FNanchor_639"><span class="label">639</span></a> <i>Cf.</i> Ph., 16, (the palæstra of Hermes, the first known); Babr., 48,5 (παλαιστρίτης θεός). A -trainer of professional athletes was called a γυμνάστης (a term sometimes applied to athletic -gods): Xen., <i>Mem.</i>, II, 1.20; Plato, <i>de Leg.</i>, 720 E; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_640"></a><a href="#FNanchor_640"><span class="label">640</span></a> <i>E. g.</i>, <i>Suppl.</i>, 189, 333; <i>Agam.</i>, 513.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_641"></a><a href="#FNanchor_641"><span class="label">641</span></a> As in Iliad, XV, 428; XVI, 500; XXIV, 1. Eustathius in a scholion on the latter passage -wrongly says that Aischylos called the ἀγοραῖοι θεοί “ἀγώνιοι θεοί.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_642"></a><a href="#FNanchor_642"><span class="label">642</span></a> As in Hesychios, who says ἀγώνιοι θεοὶ = οἱ τῶν ἀγώνων προεστῶτες.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_643"></a><a href="#FNanchor_643"><span class="label">643</span></a> 509, ὕπατος χώρας, “lord of Nemea.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_644"></a><a href="#FNanchor_644"><span class="label">644</span></a> <i>Ibid.</i>, ὁ Πύθιος ἄναξ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_645"></a><a href="#FNanchor_645"><span class="label">645</span></a> 515.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_646"></a><a href="#FNanchor_646"><span class="label">646</span></a> <i>E. g.</i> Plato, <i>de Leg.</i>, 783 A; Pindar, <i>Isthm.</i>, I, 60, <i>Ol.</i>, VI, 79, and <i>Pyth.</i>, II, 10 (of Hermes); -Soph., <i>Trach.</i>, 26 (of Zeus, the decider of contests); <i>C. I. G.</i>, II, 1421 (of Hermes); <i>cf.</i> also Simonides, -quoted by Athenæus, XI, 90 (p. 490); Aischyl., <i>fragm.</i> 384 (of Hermes); Aristoph., <i>Plut.</i>, -1161 (of Hermes); <i>C. I. G.</i>, I, 251; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_647"></a><a href="#FNanchor_647"><span class="label">647</span></a> See Preller-Robert, <i>Griech. Mythol.</i><sup>4</sup>, 1894, p. 415, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_648"></a><a href="#FNanchor_648"><span class="label">648</span></a> <i>Cf.</i> Krause, pp. 169 f.; Preller-Robert, <i>op. cit.</i>, pp. 415 f.; Urlichs, <i>Skopas</i>, p. 42; Nissen, -<i>Pompej. Stud.</i>, p. 168; Roscher, <i>Lex.</i>, I, 2, p. 2369; S. Eitrem, in Pauly-Wissowa, VIII, -pp. 786–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_649"></a><a href="#FNanchor_649"><span class="label">649</span></a> Pindar, <i>Nem.</i>, X, 52–3; <i>Oxy. Pap.</i>, VII, 1015, 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_650"></a><a href="#FNanchor_650"><span class="label">650</span></a> <i>E. g.</i>, at Messene, P., IV, 32.1 (along with that of Theseus).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_651"></a><a href="#FNanchor_651"><span class="label">651</span></a> <i>B. M. Sculpt.</i>, III, 2156; <i>C. I. G.</i>, I, 250, and Neubauer, <i>Hermes</i>, XI, 1876, p. 146, no. 12; -for the dedication of a torch to Hermes, see <i>A. G.</i>, VI, 100.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_652"></a><a href="#FNanchor_652"><span class="label">652</span></a> <i>C. I. A.</i>, II, 3, 1225–6; IV, 2, 1225b; 1226, b, c, d.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_653"></a><a href="#FNanchor_653"><span class="label">653</span></a> <i>Inschr. Gr. Insul.</i>, III (Thera), 390; <i>cf.</i> Cougny, <i>Epigr. Anth. Pal.</i>, III, 1890 (<i>Appendix nova</i>), -p. 26, no. 168.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_654"></a><a href="#FNanchor_654"><span class="label">654</span></a> Schol. on Pindar, <i>Ol.</i>, VI, 134, Boeckh, p. 148. He is represented as a wrestler in a bronze -group from Antioch, with wings in his hair: R. Foerster, <i>Jb.</i>, XIII, 1898, pp. 177 f., and Pl. XI -(to be discussed <i>infra.</i>, p. 233 and note 2).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_655"></a><a href="#FNanchor_655"><span class="label">655</span></a> Servius on Virgil’s <i>Aen.</i>, VIII, 138.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_656"></a><a href="#FNanchor_656"><span class="label">656</span></a> I, 2.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_657"></a><a href="#FNanchor_657"><span class="label">657</span></a> V, 14.9 (Ἑρμοῦ ... Ἐναγωνίου).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_658"></a><a href="#FNanchor_658"><span class="label">658</span></a> VIII, 14.10. An inscription (<i>Inschr. v. Ol.</i>, 184) records that a certain Akestorides of Alexandria -Troas (whose name is left out of the text of Pausanias, VI, 13.7) won a victory at Pheneus, -and this was probably at these games; on this victor, see Hyde, 119, and pp. 49–50.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_659"></a><a href="#FNanchor_659"><span class="label">659</span></a> V, 7.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_660"></a><a href="#FNanchor_660"><span class="label">660</span></a> Helbig, <i>Fuehrer</i>, I, no. 324; <i>Guide</i>, 331; B. B., 131; Bulle, 54; von Mach, 126 b; Baum., I, -p. 458, fig. 503; Reinach, <i>Rép.</i>, I, 526,8; Collignon, II. p. 124, fig. 60; Overbeck, I, pp. 380 f. and fig. -102; F. W., no. 465; <i>A. Z.</i>, XXIV, 1866, Pl. CCIX, 1–2, pp. 169 f. (Kekulé) and Pl. 209, 1, 2; -<i>Annali</i>, LI, 1879, pp. 207 f. (Brunn); <i>Jb.</i>, XIII, 1898, pp. 57 f. and fig. 1 (Habich); <i>J. H. S.</i>, -XXVIII, 1907, p. 25, fig. 13; <i>A. J. A.</i>, VII, 1903, pp. 445 f. (von Mach); Springer-Michaelis, -p. 268, fig. 482; replicas in the Louvre (photo Giraudon, no. 1209), London (<i>B. M. Sculpt.</i> -III, no. 1753), Duncombe Park, England (Michaelis, p. 295, no. 2), and elsewhere; for series, -see J. Six, <i>Gaz. arch.</i>, 1888, pp. 291 and Pl. 29, fig. 10 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_661"></a><a href="#FNanchor_661"><span class="label">661</span></a> <i>Mw.</i>, p. 122; also Smith, <i>B. M. Sculpt.</i>, III, no. 1753.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_662"></a><a href="#FNanchor_662"><span class="label">662</span></a> First by Visconti, <i>Mus. Pio Clem.</i>, III, p. 130; lately by G. Habich, <i>l. c.</i>, and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_663"></a><a href="#FNanchor_663"><span class="label">663</span></a> <i>H. N.</i>, XXXIV, 72; <i>S. Q.</i>, 826. It was the only bronze work which the sculptor is known to -have made, all his other works being in marble.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_664"></a><a href="#FNanchor_664"><span class="label">664</span></a> Kekulé (<i>l. c.</i>), Furtwaengler (<i>l. c.</i>), and others make the identification.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_665"></a><a href="#FNanchor_665"><span class="label">665</span></a> Long ago Turnebus (<i>Advers.</i>, 1580, p. 486) explained the word in the sense of ἔγκρισις ἀθλητῶν, -as used by Lucian, <i>pro Imag.</i>, 11; <i>cf.</i>, Cicero’s <i>probatio</i>, in his <i>de Off.</i>, I, 144. Most modern commentators, -however, refer the word to the statue, translating it “classical” or “chosen”: thus Urlichs, -<i>Chrest. Pl.</i>, 1857, p. 325; O. Jahn, Ueber die Kunsturteile des Plinius (<i>Ber. saechs. Ges. d. Wiss.</i>, -1850), p. 125; H. L. von Urlichs, <i>Blaetter f. d. bayr. Gymnasialsch.</i>, 1894, pp. 609 f., translates it -“klassisch” or “mustergueltig,” <i>i. e.</i>, serving as a pattern or standard. But the term was too well -known as an athletic one for it ever to have been applied to a statue. The present participle, -instead of the usual aorist (ἐγκριθείς), shows that Alkamenes’ statue represented an athlete in the -act of undergoing selection. The old emendation into ἐγχριόμενος has been recently defended by -Klein, <i>Praxiteles</i>, p. 50, who identifies Pliny’s statue with the Glyptothek <i>Oil-pourer</i> (Pl. 11); it -is discredited by the occurrence of the epithet <i>Encrinomenos</i> as a Roman proper name, <i>C. I. L.</i>, -V, <small>1</small>, 4429, which shows how familiar it was. See Jex-Blake, on the passage of Pliny.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_666"></a><a href="#FNanchor_666"><span class="label">666</span></a> <i>Cf.</i> Gardner, <i>Hbk.</i>, p. 345; Helbig, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_667"></a><a href="#FNanchor_667"><span class="label">667</span></a> It seems to be a Hadrianic copy of an original which stood on the Athenian Akropolis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_668"></a><a href="#FNanchor_668"><span class="label">668</span></a> Now in the Antiquarium, Rome: Helbig, <i>Fuehrer</i>, I, no. 1030; noted in <i>B. Com. Rom.</i>, -XXXVIII, 1910, p. 249, and fully discussed, <i>ibid.</i>, XXXIX, 1911, pp. 97 f. (L. Mariani), and -Pls. VI, VII (three views), and VIII (head, two views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_669"></a><a href="#FNanchor_669"><span class="label">669</span></a> <i>H. N.</i>, XXXIV, 80: <i>Naucydes Mercurio et discobolo et immolante arietem censetur</i>, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_670"></a><a href="#FNanchor_670"><span class="label">670</span></a> <i>Ueber den Diskoswurf bei den Griechen</i>, 1892, p. 55. However, von Mach discusses a r.-f. -deinos in the Museum of Fine Arts, Boston, which resembles the pose of the statue: <i>A. J. A.</i>, -VII, 1903, p. 447, fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_671"></a><a href="#FNanchor_671"><span class="label">671</span></a> As in a vase by Douris: <i>A. Z.</i>, 1883, Pl. II; Furtw., <i>Berliner Vasen</i>, no. 2283 A; also on a Hellenistic -gem in Berlin: Furtw., <i>Gemmen Katalog</i>, no. 6911. Philostr., <i>Imag.</i>, I, 24, says that the -left foot was advanced.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_672"></a><a href="#FNanchor_672"><span class="label">672</span></a> Coin of Amastris: Schlosser, <i>Numism. Zeitschr.</i> (Vienna), XXIII, 1891, p. 19, Pl. 2, no. 35; a -better reproduction by Imhoof-Blumer, in Sallet’s <i>Zeitschr. f. Numism.</i>, XX, 1897, p. 269, Pl. 10, -n. 2 (= Habich, p. 58, fig. 2); another in <i>B. M. Coins</i> (Pontus), Pl. XX, 7, pp. 87 and 21. On -this and the Thracian coin, see also Habich, Hermes Diskobolos auf Muenzen, in <i>Journ. internat. -d’arch, num.</i>, II, 1898, pp. 137 f. Habich gives a gem showing the god with a kerykeion in -the left hand, and a diskos in the right and with the right foot advanced: p. 61, fig. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_673"></a><a href="#FNanchor_673"><span class="label">673</span></a> <i>E. g.</i>, Michaelis, <i>Jb.</i>, XIII, 1898, pp. 175–6. He looks upon the statue simply as that of a -diskobolos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_674"></a><a href="#FNanchor_674"><span class="label">674</span></a> In the National Museum, Athens, no. 13399: Staïs, <i>Marb. et Bronz.</i>, pp. 353–354 and fig.; <i>Arch. -Eph.</i>, 1902, Pl. 17; Svoronos, Textbd., I, pp. 42–3; Tafelbd., I, Pl. VIII, no. 1; <i>J. H. S.</i>, XXI, -1901, p. 351 (Bosanquet). This statuette is 0.25 meter in height and the base 0.09 meter -(Svoronos).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_675"></a><a href="#FNanchor_675"><span class="label">675</span></a> Svoronos, p. 43, reproduces the coins of Amastris and Philippopolis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_676"></a><a href="#FNanchor_676"><span class="label">676</span></a> Stuart Jones, <i>Cat. Mus. Capitol.</i>, p. 288, no. 21 and Pl. 71; Helbig, <i>Fuehrer</i>, I, no. 858; <i>Guide</i>, -509; B. B., 387; Furtw., <i>Mp.</i>, p. 303 and n. 7; <i>Mw.</i>, p. 525 and n. 1; Clarac, II, 859, 2170; Reinach, -<i>Rép.</i>, I, 525, 1; Lange, <i>Motiv des aufgestuetzten Fusses</i>, 1879, pp. 13 f. Helbig speaks of a -replica in Paris, but confounds it with the type of the so-called <i>Sandal-binder</i> of the Louvre -(Fig. 8). The Capitoline statue is 1.845 meters in height (Stuart Jones).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_677"></a><a href="#FNanchor_677"><span class="label">677</span></a> The motive of the “aufgestuetztes Bein” is more likely Lysippan than Skopaic, as Furtwaengler -wrongly assumed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_678"></a><a href="#FNanchor_678"><span class="label">678</span></a> Svoronos, Textbd., I, pp. 18 f. (with bibliography of all the objects down to 1903, on p. 15, -n. 1.); Tafelbd., I, Pls. I and II (front and back); Staïs, <i>Marbres et Bronzes</i>, pp. 302–304 and -fig.; Bulle, 61; von Mach, 290; <i>J. H. S.</i>, XXIII, 1903, Pls. VIII (head), IX (body, three views); -H. B. Walters, <i>Art of the Greeks</i>, Pl. XVI; Gardner, <i>Sculpt.</i>, Pl. LXXVIII; for bibliographical -notice and discussion, see <i>A. J. A.</i>, V, 1901, p. 465, and VII, 1903, pp. 464–5; Springer-Michaelis, -p. 297, fig. 531; the best account of the statue in English is by Dr. A. S. Cooley, in <i>Record -of the Past</i>, II, 1903, pp. 207–13 (with two illustrations). It is 1.94 meters in height, <i>i. e.</i>, -slightly over life-size (Svoronos).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_679"></a><a href="#FNanchor_679"><span class="label">679</span></a> <i>J. H. S.</i>, XXI, 1901, pp. 205 f; he also briefly described all the bronzes found in <i>A. A.</i>, 1901, -pp. 17–19, (4 figs.), in <i>Rev. des Ét. gr.</i>, XIV, 1901, pp. 122–6 (5 figs.), and in <i>C. R. Acad. Inscr.</i>, -1901, pp. 58–63 (3 figs.) and 158–9 (3 Pls.). All the bronzes were published after cleansing in -<i>Arch. Eph.</i>, 1902, pp. 145 f., with Pls. 7–17 and figs. 1–18 in the text; see also Staïs, <i>Les trouvailles -dans la mer de Cythère</i>, 1905; the last publication of all the pieces is by Svoronos, Textbd., -I, pp. 1–86; Tafelbd., I, Pls. I-XX.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_680"></a><a href="#FNanchor_680"><span class="label">680</span></a> In his popular discussion of the bronzes in <i>Monthly Review</i>, June, 1901, pp. 110–127 (with -5 Pls., and 5 figs.). Similar praise is that of W. Klein, II, p. 403; he calls it <i>die wundervollste -aller uns erhaltenen Bronzestatuen des Altertums</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_681"></a><a href="#FNanchor_681"><span class="label">681</span></a> <i>London Illustrated News</i>, June 6, 1903 (with double-page plate).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_682"></a><a href="#FNanchor_682"><span class="label">682</span></a> <i>Gaz. d. B.-A.</i>, XXV, Pér. III, 1901, pp. 295–301 (with 3 figures).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_683"></a><a href="#FNanchor_683"><span class="label">683</span></a> In a monograph entitled Ὁ Ἔφηβος τῶν Ἀντικυθήρων (pp. 1–42, and 6 figs.), Athens, 1903.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_684"></a><a href="#FNanchor_684"><span class="label">684</span></a> It was restored by the French sculptor André, who covered it with putty to conceal the jointures -and the rivets which were used in welding the fragments together. He also colored it -to resemble bronze. The method used in the restoration is certainly open to objection, but not -to the extent asserted by certain scholars, <i>e. g.</i>, by von Mach, who asserts that no Greek statue -has received such unworthy treatment, and that the restoration makes it possible to refer the -statue to almost any age or admixture of influences: <i>Greek Sculpture, Its Spirit and Principles</i>, -p. 326. Much of the beauty of the statue, to be sure, is gone, but the style is not obscured. It -has been restored too full, which gives it a sensuous appearance. For the statue, before restoration, -see Svoronos, Textbd., p. 18, fig. 2; Staïs, <i>Marbres et Bronzes</i>, fig. on p. 304.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_685"></a><a href="#FNanchor_685"><span class="label">685</span></a> <i>J. H. S.</i>, XXIII, 1903, pp. 152 f.; <i>cf.</i> <i>Sculpt.</i>, pp. 244 f.; <i>Hbk.</i>, pp. 532 f. In Chap. VI of the -present work we shall follow the view which ascribes the <i>Herakles</i> to Lysippos: <i>infra</i>, pp. 298, 311. -The Praxitelean and Lysippan influences in the bronze under discussion are noted by Richardson, -p. 276.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_686"></a><a href="#FNanchor_686"><span class="label">686</span></a> <i>Ibid.</i>, pp. 217 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_687"></a><a href="#FNanchor_687"><span class="label">687</span></a> For the former, see Amelung, <i>Fuehrer</i>, 249; von Mach, 327; Reinach, I, 452, 2. On the hem -of the cloak is an Etruscan dedicatory inscription to one Metilius by his wife, containing the -name of Tenine Tuthines as the bronze-caster: see Corssen, <i>Sprache d. Etrusker</i>, I, pp. 712 f. -(quoted by von Mach). For the latter, see Helbig, <i>Fuehrer</i>, I, no. 5; <i>Guide</i>, 5; <i>Mon. d. I.</i>, VI and -VII, 1857–63, Pl. 84, 1; <i>Annali</i>, XXXV, 1863, pp. 432 f. (Koehler); Rayet, II, Pl. 71; B. B., 225; -Bernouilli, <i>Roem. Ikonogr.</i>, II, i, pp. 24 f., fig. 2; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_688"></a><a href="#FNanchor_688"><span class="label">688</span></a> Text on pp. 115 f.; Klein, <i>op. cit.</i>, pp. 403 f., believes that the enigma of its interpretation -remains unsolved. He looks upon it as, perhaps, a pre-Lysippan work, a sort of <i>Vorstufe</i> to -the <i>Apoxyomenos</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_689"></a><a href="#FNanchor_689"><span class="label">689</span></a> <i>Cf.</i> Gardner, <i>Hbk.</i>, p. 534.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_690"></a><a href="#FNanchor_690"><span class="label">690</span></a> On this gesture, see von Mach, <i>op. cit.</i>, pp. 325–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_691"></a><a href="#FNanchor_691"><span class="label">691</span></a> Textbd., I, figs. 13–14, pp. 26–7. For the gem, see <i>ibid.</i>, fig. 3, p. 22; Reinach, <i>Pierres gravées</i>, -Pl. 56, 34.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_692"></a><a href="#FNanchor_692"><span class="label">692</span></a> <i>H. N.</i>, XXXIV, 77. So Miss Bieber, <i>Jb.</i>, XXV, 1910, pp. 159 f., following the suggestion -of Staïs, <i>Marbres et Bronzes</i>, ed. I, 1907, pp. 254 f. (view reiterated in ed. 2, 1910, p. 304), and -Loeschke. Pliny says that the statue of Euphranor displayed every phase of Paris’ character, in -the triple aspect of judge of the goddesses, lover of Helen, and slayer of Achilles. On this statue, -of which we know so little, <i>cf.</i> the very different results reached by Furtwaengler (<i>Mp.</i>, pp. 357 f.; -<i>Mw.</i>, pp. 591–2) and Robert (<i>Hallisches Winckelmannsprogr.</i>, XIX, 1895, pp. 20 f.). Edw. -Vicars, in the <i>Pall Mall Magazine</i>, XIX, 1903, pp. 551 f., followed by Dr. Cooley, believes that -the bronze should be restored as Paris holding the apple of discord in the right hand.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_693"></a><a href="#FNanchor_693"><span class="label">693</span></a> <i>Suppl. de la Gaz. d. B.-A.</i>, 1901, pp. 68 f., and 76 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_694"></a><a href="#FNanchor_694"><span class="label">694</span></a> VI, 100 f.; VIII, 372 f.; in the latter connection it is an adjunct to the dance.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_695"></a><a href="#FNanchor_695"><span class="label">695</span></a> Athenæus, I, 44 (p. 24 b), quotes the Pergamene Karystios (= <i>F. H. G.</i>, IV, p. 359, fragm. -14) as saying that the women of Kerkyra played ball in his time. For Rome, <i>cf.</i> Hor., <i>Sat.</i>, II, -2.11; Suetonius, <i>Octav.</i>, 83; Pliny, <i>Ep.</i>, III, 1.8; Seneca, <i>de Brev. vit.</i>, 13; etc. On ball-playing, -see Grasberger, <i>Erziehung und Unterricht</i>, I, 1864, pp. 84 f.; L. Becq de Fouquières, <i>Les Jeux des -Anciens</i>,<sup>2</sup> 1873, Ch. IX, pp. 176–199.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_696"></a><a href="#FNanchor_696"><span class="label">696</span></a> Athen., I, 25 (p. 14 d, e).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_697"></a><a href="#FNanchor_697"><span class="label">697</span></a> Athen., I, 25–26 (pp. 14 f, 15 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_698"></a><a href="#FNanchor_698"><span class="label">698</span></a> In his περὶ τοῦ διὰ σμικρᾶς σφαίρας γυμνασίου. <i>Cf.</i> Sidon. Apoll., V, 17; Martial, IV, 19; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_699"></a><a href="#FNanchor_699"><span class="label">699</span></a> Athen., I, 34 (p. 19 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_700"></a><a href="#FNanchor_700"><span class="label">700</span></a> Athen., I, 26 (p. 15); <i>cf.</i>, Eustath., on Od., VI, 115, p. 1553; only the Milesians were opposed -to it: <i>id.</i>, on Od., VIII, 372, p. 1601.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_701"></a><a href="#FNanchor_701"><span class="label">701</span></a> Theophr., <i>Char.</i>, V, 9; Pliny, <i>Ep.</i>, II, 17.12 and V, 6.27; Suetonius, <i>Vit. Vespas.</i>, 20; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_702"></a><a href="#FNanchor_702"><span class="label">702</span></a> <i>B. S. A.</i>, X, 1903–4, pp. 63 f; <i>cf.</i>, XII, 1905–6, p. 387.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_703"></a><a href="#FNanchor_703"><span class="label">703</span></a> The σφαιρεῖς are mentioned in <i>C. I. G.</i>, I, 4, 1386, 1432; P., III, 14.6, mentions a statue of Herakles -there, to which these youths sacrificed. Mueller, <i>Die Dorier</i>, 4, 5, § 2, classed these competitions -as a sort of football.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_704"></a><a href="#FNanchor_704"><span class="label">704</span></a> <i>Rev. des Ét. gr.</i>, XIV, 1901, pp. 445–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_705"></a><a href="#FNanchor_705"><span class="label">705</span></a> Helbig, <i>Fuehrer</i>, II, no. 1299; B. B., 413; Bulle, 44; Arndt-Amelung, <i>Einzelaufnahmen</i>, III, -text to no. 1127; F. W., text to 1630; Rayet, II, text to Pl. 70, fig. on p. 5; Kekulé, <i>Die griech. -Skulpt.</i>,<sup>2</sup> fig. on p. 349 (the <i>Germanicus</i> on p. 348; <i>cf.</i> Bulle, p. 94, fig. 17); Loewy, <i>Griech. -Plastik</i>, Pl. 94, fig. 176 a, p. 80. The statue is 1.83 meters high (Bulle). Head alone in Overbeck, -II, p. 446, and <i>cf.</i> 456, n. 4; Arndt-Amelung, nos. 270–271. A fine herma-replica of the head -is at Broadlands, England: Michaelis, p. 219, no. 9; Furtwaengler, <i>Mp.</i>, p. 58, fig. 13 (three -views). A poorer copy is in the Uffizi, Florence: Duetschke, III, no. 13; Arndt-Amelung, -<i>Einzelaufnahmen</i>, 83–84.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_706"></a><a href="#FNanchor_706"><span class="label">706</span></a> Graef, <i>Aus der Anomia</i>, 1890, p. 69. Bulle finds the head similar to that of the <i>Lemnian Athena</i> -and the body to that of the <i>Farnese Anadoumenos</i> of the British Museum (= Bulle, no. 49). -Furtwaengler thinks that its relation to the <i>Lemnia</i> is not close enough to warrant us in assigning it -to Pheidias: <i>Mp.</i>, p. 57; <i>Mw.</i>, pp. 86 and 742. On the basis of a Phokaian coin (Berlin example, -<i>Mp.</i>, Pl. VI, 19; copy in British Museum, <i>B. M. Coins</i>, Ionia, IV, 23), which represents a -similar Hermes, he ascribes the statue to an Ionian artist and conjectures Telephanes -mentioned by Pliny, <i>H. N.</i>, XXXIV, 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_707"></a><a href="#FNanchor_707"><span class="label">707</span></a> Helbig finds the head Myronian, but the body unconnected with any of the well-known -artistic tendencies of his day.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_708"></a><a href="#FNanchor_708"><span class="label">708</span></a> As shown in the <i>Germanicus</i> copy; the right arm is wrongly restored in the Ludovisi statue. -In the <i>Germanicus</i> the arm is bowed more at the elbow, the hand reaching the level of the temples.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_709"></a><a href="#FNanchor_709"><span class="label">709</span></a> Froehner, pp. 213 f., no. 184 (and bibliography); F. W., 1630; Rayet, II, Pls. 69 (statue), -70 (head); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_710"></a><a href="#FNanchor_710"><span class="label">710</span></a> <i>A. J. A.</i>, XV, 1911, Pl. VI and pp. 215–16 (Caskey); <i>Jb.</i>, XXIV, 1909, Pls. I and II (from Munich -cast), pp. 1 f. (Sieveking). For the <i>Hermes</i> of the Boboli gardens, see <i>ibid.</i>, figs. 1 and 3, pp. -2 and 4; Arndt-Amelung., <i>Einzelauf.</i>, 103–105; Duetschke, II, no. 84; Furtw., <i>Mp.</i>, p. 230, <i>Mw.</i>, -p. 424. Another replica is in the Hermitage: Kieseritzky, <i>Kat.</i>, no. 179; Sieveking, figs. 4–5, p. 5; -<i>Mp.</i>, p. 290, <i>Mw.</i>, 506; another in the Torlonia Museum in Rome, no. 475: Sieveking, fig. 6, p. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_711"></a><a href="#FNanchor_711"><span class="label">711</span></a> <i>Gaz. d. B.-A.</i>, 1911, p. 251.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_712"></a><a href="#FNanchor_712"><span class="label">712</span></a> Furtwaengler, <i>Mp.</i>, p. 230 and <i>cf.</i> p. 290; <i>Mw.</i>, p. 424 and <i>cf.</i> p. 506.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_713"></a><a href="#FNanchor_713"><span class="label">713</span></a> See the <i>Annual Report of the Museum of Fine Arts</i>, 1898, p. 20. Mahler, <i>Polyklet u. seine -Schule</i>, p. 27, no. 34, wrongly thought that it was a replica of the <i>Doryphoros</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_714"></a><a href="#FNanchor_714"><span class="label">714</span></a> Froehner, no. 183, pp. 210 f. (bibliography on pp. 212–13; later bibliogr. in Klein, <i>Praxitel. -Stud.</i>, 1899, p. 4, n. 2); B. B., no. 67; von Mach, 238 b; Clarac, Pl. 309, no. 2046. Replica in Munich -(with a head of Apollo not belonging to the torso): Furtw.-Wolters, <i>Beschr. d. Glypt.</i><sup>2</sup>, -1910, 287 (with list of replicas); von Mach, 238a; Clarac, V, 814, 2048; Reinach, <i>Rép.</i>, I, 487, -7; Klein, pp. 4 f.; one in London, in Lansdowne House: Michaelis, pp. 464f., no. 85 and Pl. opp. -p. 464; Clarac, V, 814, 2048 A; Reinach, <i>Rép.</i>, I, 487, 6; one in the Vatican: Reinach, <i>Rép.</i>, I, -487, 5; head and torso in Athens: <i>ibid.</i>, II, i, 153, 10; <i>A. M.</i>, XI, 1886, Pl. IX (middle), pp. -362 f. (Studniczka); head in Copenhagen, formerly in the Borghese Coll., Rome: P. Arndt, -<i>Glypt. Ny-Carlsberg</i>, 1912, Pls. 128, 129, and text pp. 177 f., (fig. 95 = bronze restoration for the -municipal Museum in Stettin, combining the Lansdowne body and the Fagan head in the -British Museum; for the Fagan head see <i>B. M. Sculpt.</i>, III, 1785).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_715"></a><a href="#FNanchor_715"><span class="label">715</span></a> See von Mach, 170; R. Kekulé, <i>Die Reliefs an der Balustrade der Athena Nike</i>, with Pls. 1–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_716"></a><a href="#FNanchor_716"><span class="label">716</span></a> From the <i>Ekphrasis</i> of Christodoros, <i>A. G.</i>, II, <i>vv.</i> 297–302. It was first shown to be a statue -of Hermes by Lambeck, <i>de Mercurii statua</i>, Thorn, 1860.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_717"></a><a href="#FNanchor_717"><span class="label">717</span></a> Pick, <i>Die antiken Muenzen Nordgriechenlands</i>, I, Pl. XVI, 25; <i>cf.</i> Froehner, p. 211.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_718"></a><a href="#FNanchor_718"><span class="label">718</span></a> Duetschke, IV, no. 151; <i>J. H. S.</i>, XXVI, 1906, Pl. XVI, pp. 239 f. (Wace).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_719"></a><a href="#FNanchor_719"><span class="label">719</span></a> <i>E. g.</i>, <i>B. M. Bronzes</i>, nos. 1200, 1202, 1207; for a herm in the Braccio Nuovo of the Vatican, -after a fourth-century B. C. type, see Amelung, <i>Vat.</i>, I, p. 84, no. 65 and Pl. X.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_720"></a><a href="#FNanchor_720"><span class="label">720</span></a> <i>B. M. Sculpt.</i>, III, no. 1600 and Pi. III; <i>Jb.</i>, I, 1886, p. 54, and Pl. 5, and fig. 1 (Wolters); -Kalkmann, Proport. d. Gesichts, pp. 41 and 98; Furtw., <i>Mp.</i>, Pl. XVIII. opp. p. 346; for a full discussion -of this head, see the note by translator in <i>Mp.</i>, pp. 346–7. The head is 11–1/2 inches high -(<i>B. M. Sculpt.</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_721"></a><a href="#FNanchor_721"><span class="label">721</span></a> Nissen, <i>Pompej. Stud.</i>, p. 166.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_722"></a><a href="#FNanchor_722"><span class="label">722</span></a> <i>H. N.</i>, XXXIV, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_723"></a><a href="#FNanchor_723"><span class="label">723</span></a> <i>E. g.</i>, one in Paris, in the Cab. des Médailles, no. 3350; Clarac, 666 D, 1512 F.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_724"></a><a href="#FNanchor_724"><span class="label">724</span></a> <i>E. g.</i>, E. von Sacken, <i>Die ant. Bronzen des k. k. Muenz-und Antiken-Cabinetes in Wien</i>, 1871, -Pl. 10, 4; a bronze <i>Mercury</i> in Paris, in the Cab. des Méd., Coll. Oppermann (0.20 m. tall): Furtw., -<i>Mp.</i>, p. 233, fig. 94, and <i>Mw.</i>, p. 428, fig. 64; bronze statuette of Mercury in the British Museum -with chlamys over the left shoulder: <i>Mp.</i>, p. 232, fig. 93; <i>Mw.</i>, p. 427, fig. 63.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_725"></a><a href="#FNanchor_725"><span class="label">725</span></a> <i>Mp.</i>, p. 231, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_726"></a><a href="#FNanchor_726"><span class="label">726</span></a> <i>B. M. Bronzes</i>, no. 1217.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_727"></a><a href="#FNanchor_727"><span class="label">727</span></a> <i>Mp.</i>, pp. 288 f.; <i>Mw.</i>, pp. 502 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_728"></a><a href="#FNanchor_728"><span class="label">728</span></a> <i>Inschr. v. Ol.</i>, no. 165 (renewed); base pictured, <i>Mp.</i>, p. 288, fig. 123; <i>Mw.</i>, p. 503; fig. 90. -Furtwaengler had ascribed the statue of Aristion to the younger Polykleitos; this was disproved -by the date of Aristion’s victory, Ol. 82 ( = 452 B. C.), given by the <i>Oxy. Pap.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_729"></a><a href="#FNanchor_729"><span class="label">729</span></a> Michaelis, p. 446, no. 35; Clarac, V, 946, 2436 A; Furtw., <i>Mp.</i>, p. 289, fig. 124; <i>Mw.</i>, p. 504, -fig. 91.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_730"></a><a href="#FNanchor_730"><span class="label">730</span></a> XXIII, 660; <i>cf.</i> Od., XIX, 86: “By Apollo’s grace he hath so goodly a son”—meaning that -Apollo gave increase of physical strength to men, just as Artemis did to women. <i>Cf.</i> Hesiod, -<i>Theog.</i>, 346–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_731"></a><a href="#FNanchor_731"><span class="label">731</span></a> V, 7.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_732"></a><a href="#FNanchor_732"><span class="label">732</span></a> <i>Quaest. conviv.</i>, VIII, 4 (= p. 724 C, D.); here he also mentions a Gymnasion of Apollo at -Athens.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_733"></a><a href="#FNanchor_733"><span class="label">733</span></a> Told by many writers: <i>e. g.</i>, Apollod., II, 6.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_734"></a><a href="#FNanchor_734"><span class="label">734</span></a> P., X, 13.7, describes a group at Delphi representing Apollo and Hermes grasping the tripod -before the fight; in VIII, 37.1 he mentions the same subject on a marble relief at Lykosoura, and -in III, 21.8 says that Gythion was founded by the two after the contest, and that their images -stood in the agora there. The subject was represented in the gable of the Siphnian Treasury at -Delphi: Frazer, V, p. 274 (in connection with P., X, 11.2). Stephani enumerated 89 existing works -of art which represent this subject, of which 58 appear on black-figured, 18 on red-figured vases, -8 on marble reliefs, 3 on terra-cottas, and 2 on gems: <i>Comptes rendus de la comm. impér. archéol.</i>, -St. Petersburg, 1868, pp. 31 f.; Overbeck has added to the list: <i>Griech. Mythol.</i>, III, Apollon, -1889, pp. 391–415.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_735"></a><a href="#FNanchor_735"><span class="label">735</span></a> The <i>Choiseul-Gouffier</i> statue: <i>B. M. Sculpt.</i>, I, no. 209; <i>Marbles and Bronzes</i>, Pl. III; <i>Specimens</i>, -II, Pl. V; <i>Museum Marbles</i>, XI, Pl. 32; F. W., no. 221; <i>J. H. S.</i>, I, 1881, Pl. IV, and pp. -178 f., and <i>cf.</i>, II, 1882, pp. 332 f. (Waldstein); von Mach, Pl. 67; Collignon, I, p. 403, fig. 208; -Clarac, III, 482, 931 H, and p. 213: Reinach, <i>Rép.</i>, II, <small>1</small>, 85, 10; Conze, <i>Beitr. zur Gesch. d. gr. -Pl.</i><sup>2</sup>, 1869, Pl. VI; Springer-Michaelis, p. 234, fig. 429. The height of the statue is 5 feet, 10.5 -inches (<i>B. M. Sculpt.</i>). The <i>Apollo-on-the-Omphalos</i>: Kabbadias, 45; Staïs, <i>Marbres et Bronzes</i>, -pp. 23–24 and fig.; <i>J. H. S.</i>, I, Pl. V, fig. 3; Collignon, I, p. 405, fig. 209; B. B., 42; von Mach, -66; F. W., 219; Reinach, <i>Rép.</i>, II, <small>1</small>, 85, 7; Conze, <i>op. cit.</i>, Pls. III-V, and text, pp. 13 f.; Murray, -I, Pl. VIII, opp. p. 234 (both statues); torso in Munich, Arndt-Amelung, <i>Einzelauf.</i>, nos. 849–50; -for list of other copies, see <i>A. M.</i>, IX, 1884, pp. 239–40.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_736"></a><a href="#FNanchor_736"><span class="label">736</span></a> <i>Cf.</i> <i>B. M. Sculpt.</i>, I, no. 209 (A. H. Smith).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_737"></a><a href="#FNanchor_737"><span class="label">737</span></a> See Waldstein, p. 180; F. W., no. 219; <i>A. M.</i>, IX, 1884, p. 248.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_738"></a><a href="#FNanchor_738"><span class="label">738</span></a> Reinach, <i>Rép.</i>, II, <small>1</small>, 85, 9; M. D., I, p. 47, no. 179; <i>cf.</i> F. W., 219. Overbeck, <i>Griech. -Kunstmythol.</i>, III. <i>Apollon</i>, p. 162, fig. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_739"></a><a href="#FNanchor_739"><span class="label">739</span></a> <i>A. M.</i>, I, 1876, Pl. X, and pp. 178 f. (Kekulé); Bulle, 105 (Left) and p. 208, fig. 47.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_740"></a><a href="#FNanchor_740"><span class="label">740</span></a> Published in <i>J. H. S.</i>, XXVI, 1906, pp. 278–80 (Dickins); here, on p. 279, we have the fragment -photographed with the lower parts of the <i>Choiseul-Gouffier</i> and <i>Omphalos</i> copies on either -side; Dickins says that with the possible exception of the Athens statue this fragment shows -the best workmanship of all the copies. Helbig, <i>Fuehrer</i>, no. 1268.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_741"></a><a href="#FNanchor_741"><span class="label">741</span></a> <i>B. M. Sculpt.</i>, I, no. 211; it shows the <i>krobylos</i> best.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_742"></a><a href="#FNanchor_742"><span class="label">742</span></a> <i>B. M. Sculpt.</i>, I, no. 210.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_743"></a><a href="#FNanchor_743"><span class="label">743</span></a> Braun, <i>Vorschule d. Kunstmythol.</i>, Pl. V, (quoted by A. H. Smith).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_744"></a><a href="#FNanchor_744"><span class="label">744</span></a> <i>Mon. d. I.</i>, X, 1874–78, Pl. 54; discussed in <i>Annali</i>, L, 1878, pp. 61 f. (Brizio).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_745"></a><a href="#FNanchor_745"><span class="label">745</span></a> <i>Cf.</i> Helbig, <i>Fuehrer</i>, I, no. 859; Beulé, <i>Monnaies d’Athênes</i>, p. 271, quoted in <i>Jb.</i>, II, 1887, -p. 235, n. 54.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_746"></a><a href="#FNanchor_746"><span class="label">746</span></a> <i>Jb.</i>, II, pp. 234 f.; on p. 234, the Athens statue and the figure from the Bologna krater are -shown side by side.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_747"></a><a href="#FNanchor_747"><span class="label">747</span></a> <i>Fuehrer</i>, under no. 859 (the Capitoline replica), and especially under no. 1268.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_748"></a><a href="#FNanchor_748"><span class="label">748</span></a> <i>Beitraege zur Gesch. d. gr. Pl.</i><sup>2</sup>, p. 19.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_749"></a><a href="#FNanchor_749"><span class="label">749</span></a> Roscher, <i>Lex.</i>, I, p. 456.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_750"></a><a href="#FNanchor_750"><span class="label">750</span></a> <i>A. M.</i>, IX, 1884, p. 244.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_751"></a><a href="#FNanchor_751"><span class="label">751</span></a> Mentioned by P., I, 3.4; this view has been upheld by Conze, <i>l.c.</i>; Murray, I, p. 235; <i>cf.</i> Furtw., -<i>l. c.</i>, and on the artist, see his article in <i>Sitzb. Muen. Akad.</i>, 1907, pp. 160 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_752"></a><a href="#FNanchor_752"><span class="label">752</span></a> <i>S. Q.</i>, nos. 508–526.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_753"></a><a href="#FNanchor_753"><span class="label">753</span></a> Furtw., <i>l. c.</i>; the coin in the British Museum is pictured in <i>J. H. S.</i>, XXIV, 1904, p. 205, fig. 2. -Conze’s theory of identifying the type with the <i>Alexikakos</i> has been questioned among others -also by Overbeck: I, n. 226, to pp. 280 (on p. 301).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_754"></a><a href="#FNanchor_754"><span class="label">754</span></a> Dionys. Halic., <i>de Isocrate Judicium</i>, III, p. 542 (ed. Reiske); <i>S. Q.</i>, 531.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_755"></a><a href="#FNanchor_755"><span class="label">755</span></a> <i>Op. cit.</i>, especially p. 182.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_756"></a><a href="#FNanchor_756"><span class="label">756</span></a> P., VI, 6.6. He won in the early fifth century, in Ols. 74, 76, 77 ( = 484, 476, 472 B. C.): <i>Oxy. -Pap.</i>; Hyde, 56; Foerster, 185, 195, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_757"></a><a href="#FNanchor_757"><span class="label">757</span></a> F. W., nos. 219 and 221. Clarac, Text, Vol. III, p. 213, leaves it in doubt whether it be -Apollo or an athlete; however, he calls the Capitoline copy an athlete.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_758"></a><a href="#FNanchor_758"><span class="label">758</span></a> Published by Miss K. A. McDowall, <i>J. H. S.</i>, XXIV, 1904, pp. 203–7 and fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_759"></a><a href="#FNanchor_759"><span class="label">759</span></a> The untrustworthy character of the Torlonia copy has been shown by Overbeck, <i>Kunstmythologie</i>, -III, <i>Apollon</i>, pp. 109 and 162. The Roman copy in the Capitoline is also inferior, -and the legs are wrongly restored—for at that period in art there was little difference between -the free and the rest leg; see Helbig, <i>Fuehrer</i>, no. 859; Stuart Jones, <i>Cat. Mus. Capit.</i>, p. 287, -no. 20 and Pl. 69; Conze, <i>Beitraege zur Gesch. d. gr. Pl.</i><sup>2</sup>, Pl. VII; Clarac, 862, 2189; head in Arndt-Amelung, -<i>Einzelaufnahmen</i>, Serie II, 452–4, p. 35.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_760"></a><a href="#FNanchor_760"><span class="label">760</span></a> Waldstein ascribed the original to Pythagoras, partly because this artist was famed for the -detail of veins, sinews, and hair: see Pliny, <i>H. N.</i>, XXXIV, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_761"></a><a href="#FNanchor_761"><span class="label">761</span></a> <i>Bildw. v. Ol.</i>, Textbd., pp. 223 f.; Tafelbd., Pl. LVII, 3–5. The original height was 2.60 meters.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_762"></a><a href="#FNanchor_762"><span class="label">762</span></a> <i>Strena Helbigiana</i>, 1900, p. 293; discussed also by Miss McDowall (<i>l. c.</i> and fig. 3, p. 206); -a poor replica is in Munich: Furtw., <i>Mw.</i>, p. 115, and fig. 21.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_763"></a><a href="#FNanchor_763"><span class="label">763</span></a> <i>B. M. Coins, Troas</i>, etc., Pl. XXXII, 1; McDowall, <i>l. c.</i>, fig. 4, p. 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_764"></a><a href="#FNanchor_764"><span class="label">764</span></a> Bulle, 50, who gives the height 1.86 meters; von Mach, 115; Reinach, <i>Rép.</i>, II, <small>2</small>, 547, 9; -other references <i>infra</i>, on p. 152, n. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_765"></a><a href="#FNanchor_765"><span class="label">765</span></a> <i>Jh. oest. arch. Inst.</i>, VIII, 1905, pp. 42 f.; IX, 1906, pp. 279 f.; <i>cf.</i>, Furtw.-Urlichs, <i>Denkm.</i>, -pp. 105–6, n. 1 (Engl. ed., p. 120).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_766"></a><a href="#FNanchor_766"><span class="label">766</span></a> <i>Jh. oest. arch. Inst.</i>, XII, 1909, pp. 100 f. He thinks that the original may have been identical -with the statue of Ἀπόλλων ἀναδούμενος standing before the temple of Ares at Athens, P., I, -8.4, and that the παῖς ἀναδούμενος of Pheidias at Olympia, P. VI, 4.5, also may have been an -Apollo. He also interprets the figure of a charioteer entering a chariot on an Attic relief (Fig. 63), -to be discussed later, as an Apollo: <i>Jb.</i>, VII, 1892, pp. 54 f. For the relief, see B. B., 21; von -Mach, 56; F. W., no. 97; <i>infra</i>, pp. 269 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_767"></a><a href="#FNanchor_767"><span class="label">767</span></a> <i>Cf.</i>, Pliny, <i>H. N.</i>, XXXIV, 18 (<i>Achilleae</i>). On these “Achillean” statues (a generic name -for statues of athletes leaning on their spears, from Achilles, the typical hero of ephebes), see -Furtwaengler, <i>Jahrbuecher f. cl. Philol.</i>, Supplbd., IX, 1877, p. 47, n. 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_768"></a><a href="#FNanchor_768"><span class="label">768</span></a> <i>Jh. oest. arch. Inst.</i>, VIII, 1905, pp. 269 f. Miss McDowall, in the article already cited, -p. 204, has also argued that there is no necessary connection between the quiver slung over the -tree-support and Apollo.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_769"></a><a href="#FNanchor_769"><span class="label">769</span></a> <i>Inschr. v. Ol.</i>, 162–3; Loewy, <i>op. cit.</i>, X, 1907, pp. 326 f. Studniczka, <i>ibid.</i>, IX, 1906, pp. 311 f., -discusses the base and believes that the pose of the statue of Pythokles was the same as that of -the <i>Borghese Ares</i> of the Louvre (von Mach, 125; F. W., 1298; Reinach, <i>Rép.</i> I, 133, 1–3; etc.), -the weight on the left foot, <i>i. e.</i>, essentially different from the Polykleitan pose.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_770"></a><a href="#FNanchor_770"><span class="label">770</span></a> <i>R. M.</i>, XXVII, 1912, p. 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_771"></a><a href="#FNanchor_771"><span class="label">771</span></a> Duetschke, IV, no. 52 (= wrongly female); <i>J. H. S.</i>, XXVI, 1906, Pl. XV (three views), and -pp. 235 f. (Wace).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_772"></a><a href="#FNanchor_772"><span class="label">772</span></a> <i>Mp.</i>, p. 247; <i>Mw.</i>, pp. 448–449; he assigns it to the third quarter of the fifth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_773"></a><a href="#FNanchor_773"><span class="label">773</span></a> Amelung, <i>Rev. arch.</i>, II, 1904, p. 344.1; Wace, <i>l. c.</i>, p. 237.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_774"></a><a href="#FNanchor_774"><span class="label">774</span></a> Both Schreiber, <i>A. M.</i>, VIII, 1883, pp. 246 f., and Studniczka, <i>Jb.</i>, XI, 1896, pp. 255 f., -have shown that the hair arranged in the double plait, whether the κρωβύλος or not, is Attic, -and that similarly the mass of locks over the ears is common in Attic works.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_775"></a><a href="#FNanchor_775"><span class="label">775</span></a> P., V, 7.9. In V, 7.7, the Idæan Herakles is said to have first crowned his brother as victor -there; <i>cf.</i> V, 8.3–4. We have already (p. 10) spoken of the difference of opinion as to whether it -was the Cretan (Idæan) Herakles, or the more famous son of Zeus and Alkmena, who founded the -games. On the traditional connection of the hero with Olympia, see E. Curtius, <i>Sitzb. d. k. preuss. -Akad. d. Wiss. zu Berlin</i>, 1894, pp. 1098 f.; Busolt, <i>Gr. Gesch.</i>,<sup>2</sup> I, pp. 240 f.; Krause, <i>Olympia</i>, -pp. 26 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_776"></a><a href="#FNanchor_776"><span class="label">776</span></a> With the river-god Acheloos, III, 18.16 (the contest pictured in relief on the throne of Apollo -at Amyklai; <i>cf.</i> the same scene represented by the cedar-wood figures inlaid with gold on the -treasury of the Megarians at Olympia, VI, 19, 12); with Antaios, IX, 11.6 (pictured in the sculptures -of the gable of the Herakleion at Thebes); with Eryx, III, 16.4 and IV, 36.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_777"></a><a href="#FNanchor_777"><span class="label">777</span></a> P., V, 8.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_778"></a><a href="#FNanchor_778"><span class="label">778</span></a> P., V, 21.9; he won in Ol. 178 ( = 68 B. C.): Foerster, 570–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_779"></a><a href="#FNanchor_779"><span class="label">779</span></a> V, 21.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_780"></a><a href="#FNanchor_780"><span class="label">780</span></a> These victors were Kapros of Elis, who won in Ol. 124 ( = 212 B. C.): Hyde, 150; Foerster, 474, -475; he had two statues, the remains of which may have been recovered: see <i>Bronzen v. Ol.</i>, Tafelbd., -Pls. II, III; Aristomenes of Rhodes, who won in Ol. 156 ( = 156 B. C.): Foerster, 505–6; Protophanes -of Magnesia ad Maiandrum (ad Lethaeum in P., <i>l. c.</i>), who won in Ol. 172 ( = 92 B. C.): -Foerster, 538–9; Marion of Alexandria, who won in Ol. 182 ( = 52 B. C.): Foerster, 579–80; Aristeas -of Stratonikeia, who won in Ol. 198 ( = 13 A. D.): Foerster, 609–10; Nikostratos of Aigeai in -Kilikia, who won in Ol. 204 ( = 37 A. D.): Foerster, 621–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_781"></a><a href="#FNanchor_781"><span class="label">781</span></a> Two men entered later, but were disqualified: Sokrates, who won in wrestling (?) in Ol. 232 -( = 149 A. D.): Foerster, 704; and Aurelios Ailix, or Helix, of Phœnicia, who won the pankration -in Ol. 250 ( = 221 A. D.): Foerster, 734. See Dio Cassius, LXXIX, 10; Philostr., <i>Heroicus</i>, III, -13 (p. 147, ed. Kayser); <i>cf.</i> Ph., 46 and note by Juethner, <i>ad loc.</i> Ailix won in both events on the -same day at the Capitoline games in Rome, which no one had done before: Foerster, <i>l. c.</i> Frazer, -III, p. 625.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_782"></a><a href="#FNanchor_782"><span class="label">782</span></a> Such victors were numbered in two ways; some authorities in the way mentioned above, -<i>e. g.</i>, Dio Cassius, <i>l. c.</i>; others numbered them δεύτερος, τρίτος, κ. τ. λ., <i>e. g.</i>, Africanus; <i>cf.</i> Rutgers, -pp. 73 f. and n. 1, and p. 97 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_783"></a><a href="#FNanchor_783"><span class="label">783</span></a> See F. Kindscher, Die herakleischen Doppelsieger zu Olympia, <i>Jahn’s Archiv f. Phil. u. -Paedag.</i>, II, 1845, pp. 392–411.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_784"></a><a href="#FNanchor_784"><span class="label">784</span></a> P., IV, 32.1 (statues of the three in the Gymnasion at Messene). He mentions, IX, 11.7, a -Gymnasion and Stadion of the hero near the Herakleion in Thebes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_785"></a><a href="#FNanchor_785"><span class="label">785</span></a> <i>B. C. H.</i>, XXIII, 1899, pp. 455–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_786"></a><a href="#FNanchor_786"><span class="label">786</span></a> On the difficulty of distinguishing statues of victors from those of Herakles, see also Arndt, -<i>La Glypt. Ny-Carlsberg</i>, Text, p. 138, to Pl. 94.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_787"></a><a href="#FNanchor_787"><span class="label">787</span></a> P., VI, 2.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_788"></a><a href="#FNanchor_788"><span class="label">788</span></a> Ch. VI, pp. 293 f., especially pp. 298–299.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_789"></a><a href="#FNanchor_789"><span class="label">789</span></a> <i>La Glypt. Ny-Carlsberg</i>, Pl. 117 (three views). It was formerly in the Tyszkiewicz collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_790"></a><a href="#FNanchor_790"><span class="label">790</span></a> See Arndt, <i>l. c.</i> Furtwaengler believed the head Praxitelean: see Roscher, <i>Lex.</i>, I, <small>2</small>, p. 2166 -ll. 61 f. S. Reinach saw in it a <i>mélange</i> of Skopaic and Praxitelean elements: <i>Gaz. d. B.-A.</i>, 3, -Pér., XVI, 1896, II, p. 332 and fig. on p. 328; <i>Têtes</i>, Pl. 176, p. 139; he is followed by Arndt.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_791"></a><a href="#FNanchor_791"><span class="label">791</span></a> <i>Antichita di Ercolano, Bronzi</i>, I, Pls. 49 and 50; D. Comparetti e G. de Petra, <i>La Villa -Ercolanese dei Pisoni</i>, 1883, Pl. VII, 3, p. 261, 4; Rayet, II, Pl. 66; B. B., no. 364; F. W., 1302. -Similarly, the bronze head of a youth in Naples, with a rolled fillet, may be from the statue of a -victor or of the hero: Invent., 5594; B. B., 365.]</p></div> - -<div class="footnote"> - -<p><a id="Footnote_792"></a><a href="#FNanchor_792"><span class="label">792</span></a> For the Naples replica, see Comparetti e de Petra, <i>Villa Ercolan.</i>, Pl. XXI, 3; Furtw., <i>Mp.</i> -p. 234, fig. 95; <i>Mw.</i>, p. 430, fig. 65; poorer copy in the Museo Chiaramonti of the Vatican (no. -139): Helbig, <i>Guide</i>, 69; B. B., 338; another in Broadlands, England: Michaelis, p. 220, no. 10; -<i>Mp.</i>, p. 235, fig. 96; <i>Mw.</i>, p. 431, fig. 66. Graef had already conjectured the type to be that of a -Polykleitan <i>Herakles: R. M.</i>, IV, 1889, p. 215. He is followed by Furtwaengler, <i>Mp.</i>, p. 23.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_793"></a><a href="#FNanchor_793"><span class="label">793</span></a> Amelung., <i>Vat.</i>, I, p. 738, no. 636 and Pl. 79; Helbig, <i>Fuehrer</i>, I, no. 108; <i>Guide</i>, 113; B. B., -no. 609; Furtw., <i>Mp.</i>, p. 341, fig. 146 (head, on p. 342, fig. 147); <i>Mw.</i>, p. 575, fig. 109 (head, -on p. 577, fig. 110). The group is 2.12 meters high (Amelung.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_794"></a><a href="#FNanchor_794"><span class="label">794</span></a> Helbig, <i>Guide</i>, no. 242.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_795"></a><a href="#FNanchor_795"><span class="label">795</span></a> Helbig, <i>ibid.</i>, no. 470; <i>R. M.</i>, IV, 1889, p. 197, no. 12 (Skopaic).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_796"></a><a href="#FNanchor_796"><span class="label">796</span></a> It was found in Genzano: <i>B. M. Sculpt.</i>, III, no. 1731 and Pl. V, fig. 2; height, 1 foot, 4–7/8 -inches; for references, see <i>infra</i>, p. 169, n. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_797"></a><a href="#FNanchor_797"><span class="label">797</span></a> <i>B. M. Sculpt.</i>, III, no. 1732; <i>Specimens</i>, I, Pl. 57; <i>Museum Marbles</i>, III, Pl. 12. A similar -head, half portrait and half ideal, appears on coins of Macedonia. Such filleted heads as nos. -1733 and 1740 of <i>B. M. Sculpt.</i> are probably from statues of Herakles. The statuette of a seated -Herakles, <i>ibid.</i>, no. 1726, with the lion-skin and wearing a laurel wreath tied on with a fillet -(= Reinach, <i>Rép.</i>, II, <small>1</small>, p. 227, no. 3; <i>J. H. S.</i>, III, 1882, Pl. XXV.) and inscribed as the work -of Diogenes (<i>I. G. B.</i>, 361), recalls the description of the pose of the <i>Hermes Epitrapezios</i> made -by Lysippos for Alexander: Statius, <i>Silv.</i>, IV, 6; <i>cf.</i> Martial, IX, 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_798"></a><a href="#FNanchor_798"><span class="label">798</span></a> <i>B. M. Bronz.</i>, nos. 1254, 1276, 1292, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_799"></a><a href="#FNanchor_799"><span class="label">799</span></a> <i>B. M. Bronz.</i>, Pl. II (upper right-hand); text, no. 212.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_800"></a><a href="#FNanchor_800"><span class="label">800</span></a> Friedrichs, <i>Kleinere Kunst</i>, 1850; mentioned by Furtw., <i>Mw.</i>, p. 525, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_801"></a><a href="#FNanchor_801"><span class="label">801</span></a> III, nos. 9 and 19; no. 19 has swollen ears.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_802"></a><a href="#FNanchor_802"><span class="label">802</span></a> See Furtw., <i>Mp.</i>, pp. 234 and 236; <i>Mw.</i>, pp. 429 and 433. He gives as an example the Polykleitan -ephebe head-type discussed <i>supra</i>, p. 95.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_803"></a><a href="#FNanchor_803"><span class="label">803</span></a> P., V, 8.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_804"></a><a href="#FNanchor_804"><span class="label">804</span></a> P., V, 15.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_805"></a><a href="#FNanchor_805"><span class="label">805</span></a> P., III, 14.7 (ἀφετήριοι).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_806"></a><a href="#FNanchor_806"><span class="label">806</span></a> P., II, 34.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_807"></a><a href="#FNanchor_807"><span class="label">807</span></a> Iliad, III, 237 (= Od., XI, 300); Homeric Hymn to the Dioskouroi, XXXIII, 3; Pindar, <i>Isthm.</i>, -I, 16 f.; <i>Pyth.</i>, V. 9; etc. Kastor was famed also for throwing the quoit: Pindar, <i>Isthm.</i>, I, 25.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_808"></a><a href="#FNanchor_808"><span class="label">808</span></a> Iliad and Od., <i>ll. cc.</i>; Simonides, frag. 8 (<i>P. l. G.</i>, III, p. 390); Apoll. Rhod., <i>Argon.</i>, II, 1 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_809"></a><a href="#FNanchor_809"><span class="label">809</span></a> Apoll. Rhod., <i>op. cit.</i>, I, 146; Theokr., XXII, 2–3 and 34; Pindar, <i>Pyth.</i>, XI, 61–2; <i>Nem.</i>, X, -49–50; <i>Isthm.</i>, V, 32–3; etc.; various Roman poets: see Bethe, in Pauly-Wissowa, V, I, pp. 1092–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_810"></a><a href="#FNanchor_810"><span class="label">810</span></a> <i>R. M.</i>, XV, 1900, 1 f. (with illustrations).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_811"></a><a href="#FNanchor_811"><span class="label">811</span></a> <i>I. G. A.</i>, 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_812"></a><a href="#FNanchor_812"><span class="label">812</span></a> <i>B. M. Bronz.</i>, no. 3207; <i>C. I. G. G. S.</i>, III, 1, 649; <i>Rev. arch.</i>, Sér. 3, XVIII, 1891, Pl. 18, -and pp. 45 f. (Froehner); <i>Wochenschr. f. kl. Phil.</i>, VIII, 1891, p. 859; Gardiner, p. 317, fig. 73. -Froehner reads the name “Exotra,” that of a woman victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_813"></a><a href="#FNanchor_813"><span class="label">813</span></a> <i>I. G. A.</i>, 43 a (p. 173).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_814"></a><a href="#FNanchor_814"><span class="label">814</span></a> Duetschke, IV, no. 534. Another relief fragment in the Uffizi shows the upper part of the -two with horses, each wearing the chlamys and pilleus and carrying spears: Duetschke, III, 446.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_815"></a><a href="#FNanchor_815"><span class="label">815</span></a> <i>B. M. Sculpt.</i>, I, no. 780; <i>Museum Marbles</i>, II, Pl. 11; <i>cf.</i> a similar relief, no. 781. The relief -<i>ibid.</i>, III, no. 2206, supposedly representing Kastor, has been pronounced a modern forgery -by Treu: see F. W., 1006.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_816"></a><a href="#FNanchor_816"><span class="label">816</span></a> Ch. I, pp. 27 f. and 37 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_817"></a><a href="#FNanchor_817"><span class="label">817</span></a> This is the usual division of victor monuments: Scherer, pp. 21 f.; Hitz.-Bluemn., II, <small>2</small>, -p. 530; Furtw.-Urlichs, <i>Denkmaeler griech. und roem. Skulptur</i>, Handausgabe<sup>3</sup>, 1911, pp. 104 f. -(translation by H. Taylor, 1914, pp. 120 f.) Reisch, p. 40, divides <i>Siegerbilder in Motiven von -allgemeiner Geltung und Bilder in Motiven, die der speciellen Veranlassung der Weihung entlehnt -sind</i>—a division practically amounting to that of rest and motion statues, as we shall see.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_818"></a><a href="#FNanchor_818"><span class="label">818</span></a> Discussed <i>infra</i> in Ch. VII, pp. 334 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_819"></a><a href="#FNanchor_819"><span class="label">819</span></a> VIII, 40.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_820"></a><a href="#FNanchor_820"><span class="label">820</span></a> See <i>infra</i>, Ch. VII, pp. 327–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_821"></a><a href="#FNanchor_821"><span class="label">821</span></a> We know of one case, at least, where an “Apollo” (draped) was transferred to a relief—on a -column drum of the old Artemision in Ephesos, now in the British Museum: <i>J. H. S.</i>, X, 1889, -Pl. III, pp. 4 f., and figs. 4a, 5 (Murray); Overbeck, I, p. 106, fig. 9; Richardson, p. 53, fig. 16. -According to Herodotos, I, 92, most of these columns were the gifts of Crœsus, who reigned -560–546 B. C. On the whole series of “Apollos,” see W. Deonna, <i>Les Apollons archaïques</i>, -1909; <i>cf.</i> F. W., text to no. 14, pp. 9 f; <i>B. M. Sculpt.</i>, I, pp. 82–3, with references; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_822"></a><a href="#FNanchor_822"><span class="label">822</span></a> See Richardson, pp. 39 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_823"></a><a href="#FNanchor_823"><span class="label">823</span></a> Staïs, <i>Marbres et Bronzes</i>, pp. 11–12 and fig.; <i>B. C. H.</i>, -X, 1886, Pl. V (two views) and pp. 98 f. (Holleaux); -Collignon, I, p. 117, fig. 58; Deonna, <i>op. cit.</i>, p. 161, no. 35; -Richardson, p. 44, fig. 12. It is in the National Museum -at Athens, where most of the “Apollos” are to be found. -The sanctuary of Apollo Ptoios on Mount Ptoion, -Bœotia, is mentioned by P., IX, 23.6, Hdt., VIII, 135, -and other writers.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_824"></a><a href="#FNanchor_824"><span class="label">824</span></a> In Athens: Kabbadias, no. 8; Staïs, <i>Marbres et -Bronzes</i>, p. 10; Deonna, p. 227, no. 129; <i>A. M.</i>, III, -1878, Pl. VIII; Collignon, I, p. 132, fig. 66; Gardner, -<i>Hbk.</i>, p. 131, fig. 16; Richardson, p. 39, fig. 5; B. B., -no. 77C; von Mach, 12; Reinach, <i>Rép.</i>, II, <small>1</small>, 76, <small>10</small>; -F. W., 14; Springer-Michaelis, p. 172, fig. 336; Perrot-Chipiez, -VIII, p. 319, fig. 133.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_825"></a><a href="#FNanchor_825"><span class="label">825</span></a> Kabbadias, no. 9; Staïs, <i>Marbres et Bronzes</i>, pp. 9–10 -(1.27 m. high); <i>Annali</i>, XXXIII, 1861, pp. 79 f. and Pl. E; Deonna, <i>op. cit.</i>, p. 148, no. 26; <i>B. C. H.</i>, -V, 1881, Pl. IV, and pp. 319 f.; Collignon, I, p. 114, fig. 56; Overbeck, I, fig. 14; Gardner, -<i>Hbk.</i>, p. 166, fig. 29; Richardson, p. 40, fig. 8; B. B., 77A; von Mach, 11 b; Perrot-Chipiez, -VIII, p. 509, fig. 260; F. W., 43; Reinach, <i>Rép.</i>, II, <small>1</small>, 76, 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_826"></a><a href="#FNanchor_826"><span class="label">826</span></a> Kabbadias, no. 10; Staïs, <i>Marbres et Bronzes</i>, p. 8 (1.30 meters high); Deonna, p. 153, no. 28; <i>B. -C. H.</i>, X, 1886, Pl. IV, and p. 66 (Holleaux); Collignon, I, p. 196, fig. 92; von Mach, 15a (left); -Gardner, <i>Hbk.</i>, p. 168, fig. 30; B. B., 12 (left); Reinach, <i>Rép.</i>, II, <small>1</small>, 76, 7. In another found at -Mount Ptoion in 1903, the left arm is almost entirely broken away: <i>B. C. H.</i>, XXXI, 1907, -Pl. XX.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_827"></a><a href="#FNanchor_827"><span class="label">827</span></a> Staïs, <i>Marbres et Bronzes</i>, p. 10, no. 1558; Deonna, p. 217, no. 114, <i>B. C. H.</i>, XVI, 1892, Pl. -XVI (two views) and pp. 560 f. (Holleaux); von Mach, no. 13; Perrot-Chipiez, VIII, p. 321, -fig. 134; Gardner, <i>Hbk.</i>, p. 132, fig. 17; Richardson, p. 39, fig. 6; Reinach, <i>Rép.</i>, II, <small>1</small>, 76, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_828"></a><a href="#FNanchor_828"><span class="label">828</span></a> Furtw.-Wolters, <i>Beschreib. d. Glypt.</i>,<sup>2</sup> pp. 49 f., no. 47; Gardner, <i>Hbk.</i>, p. 158, fig. 26; -Gardiner, p. 87, fig. 7; Richardson, p. 40, fig. 7; B. B., no. I; Bulle, 37 (right); von Mach, 14; -Furtw.-Urlichs, <i>Denkm.</i>, Pl. I, pp. 3 f; <i>Mon. d. I.</i>, IV, 1847, Pl. XLIV; Baum., I, fig. 340; -Collignon, I, p. 202, fig. 96; Springer-Michaelis, p. 174, fig. 338; Perrot-Chipiez, VIII, p. 401, -figs. 187, 188; F. W., 49; Reinach, <i>Rép.</i>, II, <small>1</small>, 76, 2. It is 1.53 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_829"></a><a href="#FNanchor_829"><span class="label">829</span></a> Left: torso found in 1885: <i>B. C. H.</i>, XI, 1887, Pl. VIII, and pp. 185 f. (Holleaux); Collignon, -I, p. 198, fig. 49; Richardson, p. 41, fig. 9 (without the head); head found in 1903: <i>B. C. H.</i>, -XXXI, 1907, Pls. XVII-XVIII; entire figure, <i>ibid.</i>, Pl. XIX; text, pp. 187 f. (Mendel); -Kabbadias, 12; Staïs, <i>Marbres et Bronzes</i>, p. 9 and fig.; Deonna, p. 156, no. 30. Right: Staïs, -pp. 12–13, no. 20; Deonna, no. 35; Collignon, I, p. 315 and fig. 157 (two views); <i>B. C. H.</i>, XI, -1887, Pls. XIII and XIV, and pp. 275 f., and X, 1886, fig. VI (without head) and pp. 269 f.; -von Mach, 15b (right); Gardner, <i>Hbk.</i>, p. 169, fig. 31; Richardson, p. 42, fig. 10 (two views); -Reinach, <i>Rép.</i>, II, <small>1</small>, 77, 4 (without head); <i>cf.</i> II, <small>1</small>, 18, 4 and 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_830"></a><a href="#FNanchor_830"><span class="label">830</span></a> See Holleaux, <i>B. C. H.</i>, XI, p. 186, n. 1. Richardson, p. 41, wrongly thought that they -were of marble, explaining the preservation of the arms by their presence; the arms, however, -were formerly broken off and have since been readjusted to the statue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_831"></a><a href="#FNanchor_831"><span class="label">831</span></a> <i>B. M. Sculpt.</i>, I, no. 206; <i>Mon. d. I.</i>, IX, 1869–73, Pl. XLI; <i>Annali</i>, XLIV, 1872, pp. 181 f.; -B. B., 51; von Mach, 16; Overbeck, I, p. 237, fig. 61; F. W., 89; Reinach, <i>Rép.</i>, II, <small>1</small>, 81, 6. It is -3 feet 4 inches in height.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_832"></a><a href="#FNanchor_832"><span class="label">832</span></a> See Holleaux, <i>B. C. H.</i>, X, 1886, p. 271; XI, p. 186; and <i>cf.</i> Vischer, <i>Kleine Schriften</i>, II. -pp. 302 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_833"></a><a href="#FNanchor_833"><span class="label">833</span></a> B. B., no. 76.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_834"></a><a href="#FNanchor_834"><span class="label">834</span></a> See Holleaux, in <i>B. C. H.</i>, XI, 1887, p. 178.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_835"></a><a href="#FNanchor_835"><span class="label">835</span></a> From the inscription on its thigh.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_836"></a><a href="#FNanchor_836"><span class="label">836</span></a> In the Athens Museum; it dates from the middle of the sixth century B. C.: Staïs, <i>Marbres -et Bronzes</i>, p. 11, no. 1906 and fig. (1.78 m. high); Deonna, p. 133, no. 5; Perrot-Chipiez, -VIII, figs. 189–190; Kabbadias, <i>Arch. Eph.</i>, 1902, pp. 43 f. and Pls. 3 and 4; Bulle, no. 37 -(left), who gives its height as 1.79 meters.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_837"></a><a href="#FNanchor_837"><span class="label">837</span></a> See Furtw.-Urlichs, <i>Denkm.</i>, text to Pl. I, p. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_838"></a><a href="#FNanchor_838"><span class="label">838</span></a> Furtw.-Urlichs, <i>Denkm.</i>, p. 4, ascribe it to the Cretan sculptors Skyllis and Dipoinos, who -worked in Argos, Sikyon, and Corinth, or to their school.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_839"></a><a href="#FNanchor_839"><span class="label">839</span></a> Statue A: <i>Fouilles de Delphes</i>, IV, Pl. I; <i>B. C. H.</i>, XXIV, 1900, Pls. XIX-XXI (front, side, -and rear) and pp. 445 f. (Homolle); Gardner, <i>Hbk.</i>, p. 155, fig. 25; Gardiner, p. 89, fig. 8; -Springer-Michaelis, p. 174, fig. 337; Perrot-Chipiez, VIII, Pls. IX, X. Statue B (fragmentary): -<i>Fouilles de Delphes</i>, IV, p. 7, fig. 7; <i>B. C. H.</i>, XXIV, 1900, Pl. XVIII. See also the following: -<i>Gaz. B.-A.</i>, III Pér., XII, 1894, pp. 444–6; XIII, pp. 32 f.; <i>C. R. Acad. Inscr.</i>, 1894, p. 585; -especially Homolle, <i>l. c.</i>, pp. 445 f. (he exchanges B for A); <i>cf.</i> <i>A. J. A.</i>, 1895, p. 115; Reinach, -<i>Rép.</i>, II, <small>2</small>, 77, 6 and 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_840"></a><a href="#FNanchor_840"><span class="label">840</span></a> VI, 10.5; the epigram reads: -</p> -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="line">Εὐτελίδας καὶ Χρυσόθεμις τάδε ἔργα τέλεσσαν</div> -<div class="line">Ἀργεῖοι, τέχναν εἰδότες ἐκ προτέρων.</div> -</div></div></div> -<p> -Damaretos of Heraia won two victories in the heavy-armed race in Ols. 65, 66 ( = 520, 516 -B. C.); Theopompos two in the pentathlon in Ols. (?) 69, 70 ( = 504, 500 B. C.). Their monument -was one in common: Hyde, nos. 94, 95 and pp. 42 f.; Foerster, 135, 140 and 168, 169.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_841"></a><a href="#FNanchor_841"><span class="label">841</span></a> P., VI, 15.8; he won in the boys’ wrestling match and in the pentathlon in Ol. 38 ( = 628 -B. C.): Afr.; Hyde, 148; Foerster, 61, 62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_842"></a><a href="#FNanchor_842"><span class="label">842</span></a> Hoplite victor in Ol. 68 ( = 508 B. C.): Foerster, 151.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_843"></a><a href="#FNanchor_843"><span class="label">843</span></a> Victor in three running races on the same day (τριαστής) in Ol. 67 ( = 512 B. C.): Afr.; -Foerster, 144–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_844"></a><a href="#FNanchor_844"><span class="label">844</span></a> They won in boxing in Ol. 59 ( = 544 B. C.) and the pankration in Ol. 61 ( = 536 B. C.) -respectively: P., VI, 18.7; Hyde, 187, 188, and p. 56; Foerster, 113 and 120. Pausanias, <i>l. c.</i>, -wrongly says that they were the oldest statues at Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_845"></a><a href="#FNanchor_845"><span class="label">845</span></a> He won the double foot-race in Ol. 35 ( = 640 B. C.): Afr.; P., I, 28.1; Foerster, 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_846"></a><a href="#FNanchor_846"><span class="label">846</span></a> He won five victories in wrestling at the beginning of the sixth century B. C.: P., III, -13.9; Foerster, 86–90. The statue of Oibotas of Dyme, who won the stade-race in Ol. 6 ( = 756 -B. C.), was set up in Ol. 80 ( = 460 B. C.): Afr.; P., VI, 3.8; Hyde, 29; Foerster, 6; that of Chionis -of Sparta, who won seven running races in Ols. 28–31 ( = 668–656 B. C.), was made by -Myron, and consequently was erected in the fifth century B. C.: P., VI, 13.2; Afr.; Hyde, 111, -and p. 48; Foerster, 39, 41–6: these two, therefore, did not necessarily conform with the -“Apollo” type.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_847"></a><a href="#FNanchor_847"><span class="label">847</span></a> VI, 14.5 f; he won in Ol. (?) 61, and in Ols. 62, 63, 64, 65, 66 ( = 536–516 B. C.): Hyde, 128; -Foerster, 116, 122, 126, 131, 136, and 141; Afr. gives the second victory as Ol. 62; see Foerster, -122.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_848"></a><a href="#FNanchor_848"><span class="label">848</span></a> <i>Vit. Apoll. Tyan.</i>, IV, 28.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_849"></a><a href="#FNanchor_849"><span class="label">849</span></a> VI, 14.6–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_850"></a><a href="#FNanchor_850"><span class="label">850</span></a> Frazer, IV, p. 44, believes that this description may be imaginary, concocted from stories of -Milo’s feats of strength; but Hitz.-Bluemn., II, <small>2</small>, p. 601, cite Guttman, <i>de olympionicis apud -Philostratum</i>, p. 7, Matz, <i>de Philostr. in describ. imag. Fide</i>, p. 33, and Gurlitt, <i>Ueber Pausanias</i>, -1890, p. 413, as believing that it was based on the appearance of the statue. Scherer, pp. 23 f., -thought that Philostratos followed Pausanias in interpreting the attributes of the statue, and -that the latter got his idea of the strength of the victor from the statue or from a cicerone. -Pliny, <i>H. N.</i>, VII, 19, says of Milo: <i>Malum tenenti nemo digitum corrigebat</i>. Aelian mentions -Milo’s feat with the pomegranate in <i>Var. Hist.</i>, II, 24 and <i>de Nat. anim.</i>, VI, 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_851"></a><a href="#FNanchor_851"><span class="label">851</span></a> <i>Cf.</i> Philostr., <i>l. c.</i>, ll. 27, 28: καὶ τὸ μήπω διεστὼς τῇ ἀρχαίᾳ ἀγαλματοποιίᾳ προσκείσθω.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_852"></a><a href="#FNanchor_852"><span class="label">852</span></a> <i>Op. cit.</i>, p. 31.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_853"></a><a href="#FNanchor_853"><span class="label">853</span></a> <i>Cf.</i> P., VIII, 46.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_854"></a><a href="#FNanchor_854"><span class="label">854</span></a> Pliny, <i>H. N.</i>, XXXIV, 75.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_855"></a><a href="#FNanchor_855"><span class="label">855</span></a> For the type, see the Payne Knight bronze statuette in the British Museum: <i>B. M. Bronz.</i>, -no. 209 and Pl. I; Frazer, IV, p. 430, fig. 45; the same type appears on Milesian coins. <i>Cf.</i> -Brunn, I, 77. Frazer is against Scherer’s contention.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_856"></a><a href="#FNanchor_856"><span class="label">856</span></a> II, <small>2</small>, pp. 601–2. See P., VI, 9.1 (statue of Theognetos).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_857"></a><a href="#FNanchor_857"><span class="label">857</span></a> <i>H. N.</i>, XXXIV, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_858"></a><a href="#FNanchor_858"><span class="label">858</span></a> <i>Anachar.</i>, 9; <i>cf.</i> <i>A. G.</i>, IX, 357.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_859"></a><a href="#FNanchor_859"><span class="label">859</span></a> No. 38; <i>cf.</i> for the left-hand figure, p. 83, fig. 11 (side view).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_860"></a><a href="#FNanchor_860"><span class="label">860</span></a> <i>B. C. H.</i>, XVIII, 1894, pp. 44 f., Pls. V, VI (de Ridder); Perrot-Chipiez, VIII, p. 547, fig. 332; -A. de Ridder, no. 740, pp. 268–9, and Pls. III, IV. It is similar in pose to bronzes in the same -museum, nos. 736 (= de Ridder, Pl. II, <small>1</small>), 737 (= Pl. II, <small>3</small>), and 738 (= Pl. II, <small>2</small>). It is 0.27 -meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_861"></a><a href="#FNanchor_861"><span class="label">861</span></a> It will be considered later on in this chapter: p. 119 and n. 3. It is 0.185 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_862"></a><a href="#FNanchor_862"><span class="label">862</span></a> This statuette, showing Peloponnesian tendencies, is in the Museum of Fine Arts, Boston; -it is 0.25 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_863"></a><a href="#FNanchor_863"><span class="label">863</span></a> In the same way the pediment statues from Aegina differ from Attic works by straighter -lines and more compact forms.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_864"></a><a href="#FNanchor_864"><span class="label">864</span></a> He won a chariot victory some time between Ols. (?) 98 and 101 ( = 388 and 376 B. C.): P., -VI, 2.8; Hyde, 17 ( = 105 d; P., VI, 1.26); Foerster, 310.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_865"></a><a href="#FNanchor_865"><span class="label">865</span></a> He won in chariot-racing some time between Ols. (?) 115 and 130 ( = 320 and 260 B. C.): P., -VI, 13.11; Hyde, 122; Foerster, 513. The date is from the lettering on the recovered base: -<i>Inschr. v. Ol.</i>, 177; <i>cf.</i> Hyde, p. 51. On such statues, <i>cf.</i> Reisch, p. 41.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_866"></a><a href="#FNanchor_866"><span class="label">866</span></a> The spelling Ηαγελαιδας occurs on two blocks, d, e, from the Praxiteles bathron at Olympia: -<i>Inschr. v. Ol.</i>, 631 = <i>I. G. B.</i>, 30; for the whole Praxiteles bathron see <i>Inschr. v. Ol.</i>, 266. Dittenberger -and Purgold keep the reading Hagelaïdas. Possibly the spelling Ἁγελαίδα stands for -ὁ Ἀγελαίδα; the MSS. of Pliny read Hagelades; see <i>I. G. B.</i>, p. xviii, Add. to no. 30; Gardner, -<i>Hbk.</i>, p. 217, n. 1. On the sculptor, see Lechat, p. 380 and n. 4, and pp. 454 f.; Collignon, -I, pp. 316 f.; Joubin, pp. 14 f., 83 f., 92 f., etc.; Brunn, pp. 63 f.; Gardner, <i>Hbk.</i>, pp. 216 f.; and -especially Pfuhl, in Pauly-Wissowa, VII, pp. 2189 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_867"></a><a href="#FNanchor_867"><span class="label">867</span></a> For Myron, see Pliny, <i>H. N.</i>, XXXIV, 57. Furtwaengler, <i>Mp.</i>, p. 196, <i>Mw.</i>, 379–80, thinks -that the connection is not literally true, even if considerations of chronology are not against it, -and derives the story of Hagelaïdas teaching Myron from the similarity between the work of -the two. For Polykleitos, see Pliny, <i>H. N.</i>, XXXIV, 55. The tradition that Hagelaïdas was the -master of Polykleitos has been unreasonably assailed by many scholars: <i>e. g.</i>, by Robert, <i>Arch. -Maerchen</i>, 1886, p. 97; Mahler, <i>Polyklet u. s. Sch.</i>, 3912, pp. 6 f.; Klein, I, p. 340; <i>cf.</i> II, p. 143; -<i>cf.</i> Springer-Michaelis, I, p. 210. Furtwaengler, <i>Mp.</i>, p. 196, <i>Mw.</i>, p. 380, believes it impossible -because of chronological difficulties, and assumes a sculptor of an intermediate generation -as the teacher of Polykleitos; he, followed by Mahler, <i>l. c.</i>, and Klein, I, 340, names Argeiadas -(mentioned in <i>I. G. B.</i>, no. 30) as this intermediate artist. However, he admits that the -statement is true in a general sense, since Polykleitos developed his canon from that of -Hagelaïdas: <i>cf.</i> <i>50stes Berl. Winckelmannsprogr.</i>, p. 149; Pfuhl, however, p. 2192, has shown -that the relationship is perfectly possible.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_868"></a><a href="#FNanchor_868"><span class="label">868</span></a> To be mentioned <i>infra</i>, p. III and note 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_869"></a><a href="#FNanchor_869"><span class="label">869</span></a> Dio Chrysost., <i>de Hom. et Socr.</i>, 1; here Mueller amends the MSS. reading ΗΠΟΥ to -ΗΓΙΟΥ; E. A. Gardner, <i>Class. Rev.</i>, 1894, p. 70, wrongly reads Ἡγελάδου.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_870"></a><a href="#FNanchor_870"><span class="label">870</span></a> <i>Mp.</i>, pp. 53 and 196; <i>Mw.</i>, pp. 80–81, and 380.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_871"></a><a href="#FNanchor_871"><span class="label">871</span></a> Wilamowitz has shown that it comes from Apollonios, son of Chairis, who lived <i>circa</i> 100 -B. C., and that it goes back probably to the <i>Chronica</i> of Apollodoros of Athens, who lived in -the middle of the second century B. C.: <i>Aus Kydathen</i> (Kiessling and Wilamowitz, <i>Philolog. -Untersuchungen</i>, I, 1880), pp. 154 f. Kalkmann, in his <i>Quellen der Kunstgesch. d. Plinius</i>, -p. 41, believes that the date which is given by Pliny (XXXIV, 49) for the <i>floruit</i> of Hagelaïdas, -Ol. 87 ( = 423–429 B. C.), comes from the same Apollodoros.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_872"></a><a href="#FNanchor_872"><span class="label">872</span></a> <i>Op. cit.</i>, pp. 41 and 65 f.; Pfuhl, p. 2194. Brunn, <i>l. c.</i>, Overbeck, I, p. 140, and Robert, <i>l. c.</i>, -had assumed an earlier plague at the beginning of the fifth century B. C.; but the real occasion -for the dedication of the <i>Herakles</i> remains obscure.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_873"></a><a href="#FNanchor_873"><span class="label">873</span></a> P., IV, 33.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_874"></a><a href="#FNanchor_874"><span class="label">874</span></a> P., VI, 8.6; Hyde, 82; Foerster, 142, 148.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_875"></a><a href="#FNanchor_875"><span class="label">875</span></a> P., VI, 14.11; Hyde, 132; Foerster, 133, 134.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_876"></a><a href="#FNanchor_876"><span class="label">876</span></a> P., VI, 10.6 f.; Hyde, 99; Foerster, 143. There is no reason for following Brunn in his -contention that these statues were set up some time after the victories, as these dates fit the -chronology of the artist outlined above.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_877"></a><a href="#FNanchor_877"><span class="label">877</span></a> A fifth-century type of statue occurs on these coins, representing the god standing with the -left foot forward, the knee slightly bent, a thunderbolt held in the extended right hand and -an eagle in the extended left: <i>B. M. Coins</i>, Pelop., Pl. XXII, nos. 1 and 6; Hitz.-Bluemn., -I, <small>2</small>, Muenztafel, III, 20 and 12; Springer-Michaelis, I, p. 211, fig. 393; Collignon, I, p. 318, -figs. 158–159. Frickenhaus, quoted by Pfuhl, p. 2194, believes that the pose is seen also in -the small bronze pictured in <i>B. S. A.</i>, III, 1896–7, Pl. X, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_878"></a><a href="#FNanchor_878"><span class="label">878</span></a> P., VII, 24.4. See <i>B. M. Coins, Pelop.</i>, Pl. IV, nos. 12 and 17, and <i>cf.</i> 14; Hitz.-Bluemn., -II, <small>1</small>, Muenztafel, IV, 16–17; Svoronos, <i>Journ. int. d’arch. num.</i>, II, 1898, 302, Pl. 14, 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_879"></a><a href="#FNanchor_879"><span class="label">879</span></a> Furtwaengler, <i>50stes Berl. Winckelmannsprogr.</i>, 1890 (Eine argivische Bronze), pp. 152–153 -and Pl. I (3 views); from which plate Gardner, <i>Hbk.</i>, p. 221, fig. 49; Waldstein, <i>J. H. S.</i>, -XXIV, 1904, p. 131, fig. 1; Gardiner, p. 93, fig. 11; von Mach, 17 b; Reinach, <i>Rép.</i>, II, <small>1</small>, -85, 1; <i>cf.</i> Frost, <i>J. H. S.</i>, XXIII, 1903, pp. 223 f., and fig. 1, who compares its style and -pose with a later bronze statuette found off Cerigotto (<i>Arch. Eph.</i>, 1902, Pl. 14). Ligourió -is on the site of the ancient Lessa: Curtius, <i>Peloponnesos</i>, II, 1852, p. 418. The bronze without -the base is 135 millimeters high (Furtwaengler).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_880"></a><a href="#FNanchor_880"><span class="label">880</span></a> B. B., 302; Bulle, 43; Springer-Michaelis, p. 234, fig. 428; Furtw., <i>Mp.</i>, p. 52, fig. 10 -(upper part); <i>Mw.</i>, p. 79, fig. 3; Overbeck, II, p. 473, fig. 228 b. It is 1.60 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_881"></a><a href="#FNanchor_881"><span class="label">881</span></a> Listed by Furtwaengler, <i>50stes Berl. Winckelmannsprogr.</i>, p. 139, n. 61. For the relation of -these copies to each other, <i>id.</i>, <i>Berl. Philol. Wochenschr.</i>, XIV, 1894, pp. 81 f.; he ascribes them -to Hegias.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_882"></a><a href="#FNanchor_882"><span class="label">882</span></a> B. B., no. 301; Bulle, 41; von Mach, 321; Helbig, <i>Fuehrer</i>, II, 1846; <i>Guide</i>, 744; Baum., II, -p. 1191, fig. 1391; Collignon, II, p. 661, fig. 346; Overbeck, II, p. 473, fig. 228, a; Reinach, -<i>Rép.</i>, II, 2, 588, 9; F. W., 225; <i>A. Z.</i>, XXXVI, 1878, Pl. XV, and pp. 123 f.; <i>Annali</i>, -XXXVIII, 1865, Pl. D and pp. 58 f.; Kekulé, <i>Gruppe des Kuenstlers Menelaos in Villa Ludovisi</i>, -1870, Pl. II, 2, pp. 20 f.; Joubin, p. 87, fig. 15; Springer-Michaelis, p. 211, fig. 398. -The best copy of the head of the statue by Stephanos is in the Lateran Museum, Rome: see -Furtwaengler, <i>Mp.</i>, p. 217, fig. 92; <i>Mw.</i>, p. 405, fig. 62. The statue is 1.44 meters high (Bulle). -For the inscription on the tree-trunk, see <i>I. G. B.</i>, no. 374.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_883"></a><a href="#FNanchor_883"><span class="label">883</span></a> The best example is in Naples, the group being known, and probably correctly, since Winckelmann’s -day, as <i>Orestes</i> and <i>Elektra</i>: B. B., no. 306; Kekulé, <i>Gruppe d. Menelaos</i>, Pl. II, 1; Bulle, -141 (height 1.44 meters); Collignon, II, pp. 662, fig. 347; Gardner, <i>Hbk.</i>, p. 557, fig. 151; Clarac, -V, 836, 2093; Reinach, <i>Rép.</i>, I, 506.4. A sketch of the Naples <i>Orestes</i> and the Ligourió -bronze, showing their great resemblance, is given by Furtwaengler, <i>50stes Berl. Winckelmannsprogr.</i>, -p. 137. A replica of the female figure is cited by Michaelis as in Marbury Hall, England: -p. 503, no. 6; <i>cf.</i> Conze, <i>Beitraege zur Gesch. d. gr.</i> Pl.<sup>2</sup>, p. 25, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_884"></a><a href="#FNanchor_884"><span class="label">884</span></a> <i>E. g.</i>, the so-called group of <i>Orestes</i> and <i>Pylades</i> in the Louvre: von Mach, 323; Collignon, -II, p. 663, fig. 348; Reinach, <i>Rép.</i>, I, 161, 2 (= <i>Mercury</i> and <i>Vulcan</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_885"></a><a href="#FNanchor_885"><span class="label">885</span></a> Kalkmann, <i>53stes Berl. Winckelmannsprogr.</i>, 1893, pp. 77 f., thought that the Stephanos -figure went back to an original by Pythagoras, the rival of Myron, which Furtwaengler, <i>Mp.</i>, -p. 49, rightly characterizes as “wide of the mark”; Pfuhl, p. 2197, Bulle, and others regard its -ascription to the school of Hagelaïdas as probable, even if not capable of proof. Furtwaengler, -<i>50stes Berl. Winckelmannsprogr.</i>, p. 152, believes it was <i>vermutlich ein Werk des Meisters</i> (<i>i. e.</i>, -<i>Hagelaïdas</i>) <i>selbst</i>: on pp. 146–7 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 (Treu, <i>A. Z.</i>, XXXVIII, 1880, -p. 45)—because of its resemblance in pose to that of the Ligourió statuette—a Roman school -copy of an original bronze victor statue going back to Hagelaïdas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_886"></a><a href="#FNanchor_886"><span class="label">886</span></a> <i>E. g.</i>, the marble group formerly in the Boncompagni-Ludovisi collection, now in the -Museo delle Terme, Rome: Helbig, <i>Fuehrer</i>, II, 1314; <i>Guide</i>, 887; B. B., no. 309; von Mach, -322; Baum., II, p. 1193, fig. 1393; Springer-Michaelis, p. 454, fig. 834; Kekulé, <i>Die Gruppe -d. Menelaos</i>, Pl. I; Schreiber, <i>Bildw. d. Villa Ludovisi</i>, p. 89, no. 69; Collignon, II, p. 665, -fig. 349; F. W., 1560; Reinach, <i>Rép.</i>, I, 506, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_887"></a><a href="#FNanchor_887"><span class="label">887</span></a> V, 10.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_888"></a><a href="#FNanchor_888"><span class="label">888</span></a> Pliny, <i>H. N.</i>, XXXIV, 72, and XXXVI, 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_889"></a><a href="#FNanchor_889"><span class="label">889</span></a> See Brunn, pp. 236–7 and 244–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_890"></a><a href="#FNanchor_890"><span class="label">890</span></a> Loeschke (<i>Dorpaterprogr.</i>, 1887, p. 7, on the basis of an early suggestion of Furtwaengler -in <i>A. M.</i>, III, 1878, p. 194) and J. Six (<i>J. H. S.</i>, X, 1889, pp. 109 f.), assumed two sculptors -of the name of Alkamenes, ascribing the gable statues and that of <i>Hera</i> at Phaleron (mentioned -by P., I, 1.5) to the elder one. Furtwaengler later retracted the theory of two artists and -assumed but one (<i>Mp.</i>, p. 90, n. 3; <i>Mw.</i>, p. 122 and n. 6). Koepp has shown that the <i>Hera</i> is -of no use in dating, since the story of Pausanias that the temple of Hera was destroyed by the -Persians is an invention (<i>Jb.</i>, V, 1890, p. 277). The idea of an elder Alkamenes based on the -inscription on a herm recently found in Pergamon (<i>A. A.</i>, 1904, fig. on p. 76) has also -been refuted by Winter (<i>A. M.</i>, XXIX, 1904, pp. 208–211, and Pls. XVIII-XXI), who has -shown that the inscription and statue do not go so far back.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_891"></a><a href="#FNanchor_891"><span class="label">891</span></a> See Baum., pp. 1104 KK.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_892"></a><a href="#FNanchor_892"><span class="label">892</span></a> P. 243.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_893"></a><a href="#FNanchor_893"><span class="label">893</span></a> <i>A. Z.</i>, XLI, 1883, pp. 141 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_894"></a><a href="#FNanchor_894"><span class="label">894</span></a> No. 135.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_895"></a><a href="#FNanchor_895"><span class="label">895</span></a> <i>Arch. Stud. H. Brunn dargebr.</i>, pp. 67 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_896"></a><a href="#FNanchor_896"><span class="label">896</span></a> <i>A. M.</i>, VII, 1882, pp. 206 f. He also found the style of the two pediments unlike.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_897"></a><a href="#FNanchor_897"><span class="label">897</span></a> <i>A. Z.</i>, XXXIX, 1881, p. 78, n. (= Argive-Sikyonian); <i>cf.</i> <i>Bildw. v. Ol.</i>, Textbd., pp. 44–95; -Tafelbd., Pls. IX-XVII (East Gable), XXII-XXXI (West Gable).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_898"></a><a href="#FNanchor_898"><span class="label">898</span></a> <i>A. M.</i>, XII, 1887, pp. 374–5 (= Argive-Sikyonian); <i>cf.</i> <i>R. M.</i>, II, 1887, pp. 53 f., where he -excepts the four corner figures of the West Gable as Attic, because they are of Pentelic marble, -and not Parian, like the others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_899"></a><a href="#FNanchor_899"><span class="label">899</span></a> I, pp. 460–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_900"></a><a href="#FNanchor_900"><span class="label">900</span></a> I, p. 330 (= Elean).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_901"></a><a href="#FNanchor_901"><span class="label">901</span></a> For a discussion of the whole question of the artists, see Hitz.-Bluemn., II, i, pp. 329 f.; -Frazer, III, pp. 512 f. For a restoration of the two groups, see Treu, <i>Jb.</i>, III, 1888, Pls. 5, 6 -(West), and <i>ibid.</i>, IV, 1889, Pls. 8, 9 (East); whence Gardner, <i>Hbk.</i>, p. 246, figs, 57 and 56 -respectively; see also <i>Bildw. v. Ol.</i>, Tafelbd., Pls. XVIII-XXI; Textbd., pp. 114–137; Overbeck, -I, Pl. opp. p. 309; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_902"></a><a href="#FNanchor_902"><span class="label">902</span></a> Richardson, p. 101, fig. 49 (side), and p. 154 for the statement; Lechat, <i>Au Musée</i>, Pl. XVI; -Bulle, pp. 462–3, figs. 135, 136; B. B., no. 461 (middle row, bottom); <i>A. M.</i>, XII, 1887, pp. -372 f. (Studniczka); de Ridder, no. 467; Perrot-Chipiez, VIII, p. 679, fig. 347; it is 0.10 meter -high (Graef., <i>A. M.</i>, XV, 1890, p. 16, n. 1). For the figure of Apollo, see Bulle, no. 42; <i>Bildw. -v. Ol.</i>, Tafelbd., Pl. XXII, and Textbd., p. 69; von Mach, 86 (statue), 446 (head). The -original height was 3.10 meters (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_903"></a><a href="#FNanchor_903"><span class="label">903</span></a> <i>Mp.</i>, p. 53; <i>Mw.</i>, p. 80; <i>50stes Bert. Winckelmannsprogr.</i>, pp. 140–1 and 148.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_904"></a><a href="#FNanchor_904"><span class="label">904</span></a> The torso was found in 1865, the head in 1888: torso, <i>A. M.</i>, V, 1880, p. 20 and Pl. I, with -wrong head (Furtwaengler); head, <i>Arch. Eph.</i>, 1888, p. 81 and Pl. III; figure in outline, -Collignon, I, pp. 374–5, figs. 191–2; Dickins, no. 698, pp. 264 f.; B. B., 461 b; Bulle, 40 and -figs. 15, 14 on pp. 87–8 (from a cast); von Mach, 57; Overbeck, I, p. 205, fig. 48; Lechat, p. 452, -fig. 38; Reinach, <i>Rép.</i>, II, 2, 588, 1; Springer-Michaelis, p. 217, fig. 403; Furtwaengler, <i>A. A.</i>, -1889, p. 147, <i>Mw.</i>, pp. 76, n. 2, and 81; Wolters, <i>A. M.</i>, XIII, 1888, p. 226. Bulle dates it -toward 480 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_905"></a><a href="#FNanchor_905"><span class="label">905</span></a> The same turn appears in the sixth-century Rampin head: Collignon, I, p. 360, fig. 182. -It will be discussed later on, pp. 126–127.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_906"></a><a href="#FNanchor_906"><span class="label">906</span></a> Furtwaengler, <i>50stes Bert. Winckelmannsprogr.</i>, pp. 132 and 150; <i>Mp.</i>, p. 19; Dickins, p. 265.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_907"></a><a href="#FNanchor_907"><span class="label">907</span></a> It is a dedication by Euthydikos: Collignon, I, Pl. VI (right), opp. p. 356; von Mach, -no. 26 (right); Gardner, <i>Hbk.</i>, p. 212, fig. 47; Bulle, 240; Lechat, <i>Au Musée</i>, p. 367, fig. 37; -Perrot-Chipiez, VIII, p. 595, fig. 299; Richardson, p. 78, fig. 33; Springer-Michaelis, p. 207, -fig. 390. Bulle gives it as half life-size.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_908"></a><a href="#FNanchor_908"><span class="label">908</span></a> Dickins, pp. 248 f., no. 689; Bulle, no. 198; B. B., 460; von Mach, 440 and 443 (left); -Collignon, I, p. 362, fig. 184, and bibliog., note 3, p. 363; Overbeck, I, p. 206, fig. 49; Gardner, -<i>Hbk.</i>, p. 213, fig. 48; Lechat, p. 362 and <i>Au Musée</i>, p. 374, fig. 39; Furtw., <i>50stes Berl. Winckelmannsprogr.</i>, -p. 151; Perrot-Chipiez, VIII, Pl. XIV; <i>Arch. Eph.</i>, III, 1888, Pl. II. It is slightly -under life-size.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_909"></a><a href="#FNanchor_909"><span class="label">909</span></a> Here again Furtwaengler ascribes it to Hegias, whose art he derives from Hagelaïdas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_910"></a><a href="#FNanchor_910"><span class="label">910</span></a> Richter, <i>Greek, Etruscan, and Roman Bronzes in the Metropolitan Museum</i>, p. 49, fig. 78; -it will be discussed <i>infra</i> in Ch. IV, pp. 220–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_911"></a><a href="#FNanchor_911"><span class="label">911</span></a> See <i>supra</i>, p. 105 and n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_912"></a><a href="#FNanchor_912"><span class="label">912</span></a> On Chrysothemis, see Robert in Pauly-Wissowa, III, <small>2</small>, p. 2521; Brunn, pp. 61–2; Overbeck, -I, p. 140; Collignon, I, pp. 225 (= forerunners of Hagelaïdas and Polykleitos), and <i>cf.</i> p. 320. -On Eutelidas, see Pauly-Wissowa, VI, <small>1</small>, p. 1493.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_913"></a><a href="#FNanchor_913"><span class="label">913</span></a> Pliny, H. N., XXXIV, 55; others, <i>e. g.</i>, P., VI, 6.2, call him an Argive. He belonged to a -family of sculptors, some of whom worked in Sikyon and others in Argos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_914"></a><a href="#FNanchor_914"><span class="label">914</span></a> Kyniskos: P., VI, 4.11; Hyde, 45; Foerster, 255; <i>Inschr. v. Ol.</i>, 149; Pythokles: P., VI, 7.10; -<i>Oxy. Pap.</i>; Hyde, 70; Foerster, 295; <i>Inschr. v. Ol.</i>, 162–3; Aristion: P., VI, 13.6; <i>Oxy. Pap.</i>; -Hyde, 115; Foerster, 376; <i>Inschr. v. Ol.</i>, 165 (renewed); <i>I. G. B.</i>, 92; Thersilochos: P., VI, -13.6; Hyde, 114; Foerster, 369.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_915"></a><a href="#FNanchor_915"><span class="label">915</span></a> <i>H. N.</i>, XXXIV, 91. In the same book, § 72, Pliny mentions another pupil of Polykleitos, -Aristeides, as the fashioner of chariot-groups. Pausanias merely mentions him in connection -with improvements in the hippodrome at Olympia made by Kleoitas: VI, 20.14; see Pauly-Wissowa, -II, pp. 896–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_916"></a><a href="#FNanchor_916"><span class="label">916</span></a> Furtwaengler, <i>Mp.</i>, p. 226, makes Naukydes, Daidalos, and the younger Polykleitos sons -of Patrokles, the brother of the great Polykleitos. Naukydes and Daidalos describe themselves -as sons of Patrokles in two inscriptions: <i>I. G. B.</i>, 86 and 88. Pausanias, however, calls -Naukydes a brother of Polykleitos and son of Mothon: II, 22.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_917"></a><a href="#FNanchor_917"><span class="label">917</span></a> Cheimon: P., VI, 9.3; <i>Oxy. Pap.</i>; Hyde, 88; Foerster, 285; Baukis: P., VI, 8.4; Hyde, 77; -Foerster, 318; Eukles: P., VI, 6.2; Hyde, 52; Foerster, 297; <i>Inschr. v. Ol.</i>, 159 (renewed). -Naukydes’ activity extended from Ol. 83 to Ol. 95 ( = 448–400 B. C.): Hyde, p. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_918"></a><a href="#FNanchor_918"><span class="label">918</span></a> <i>H. N.</i>, XXXIV, 49.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_919"></a><a href="#FNanchor_919"><span class="label">919</span></a> P., VI, 8.1; Hyde, 72; Foerster, 268.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_920"></a><a href="#FNanchor_920"><span class="label">920</span></a> P., VI, 6.2, expressly distinguishes between the elder and younger Polykleitos; in speaking -of the statue of the boy wrestler Agenor, he says that Polykleitos, the pupil of Naukydes, -“not the one who made the statue of Hera,” fashioned it. Robert, <i>O. S.</i>, pp. 186 f., gives -his activity as Ols. 98 to 103 ( = 388–368 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_921"></a><a href="#FNanchor_921"><span class="label">921</span></a> Antipatros: P., VI, 2.6; Hyde, 16; Foerster, 309; Agenor: P., VI, 6.2; Hyde, 53; Foerster, -355; Xenokles: P., VI, 9.2; Hyde, 85; Foerster, 308; <i>Inschr. v. Ol.</i>, 164; <i>I. G. B.</i>, 90; Furtwaengler -wrongly ascribed the statue of Xenokles to the elder Polykleitos and that of Aristion -to the younger: <i>Mp.</i>, pp. 224–5. Loewy had already assumed the eider for Aristion, <i>Strena -Helbigiana</i>, p. 180, n. 4, and this was confirmed by the early dating of his victory in the <i>Oxy. -Pap.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_922"></a><a href="#FNanchor_922"><span class="label">922</span></a> P., VI, 16.7; Hyde, 162; Foerster, 515. On this sculptor, see Pauly-Wissowa, I, p. 2137; -<i>I. G. B.</i>, 475; <i>Inschr. v. Ol.</i>, 318; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_923"></a><a href="#FNanchor_923"><span class="label">923</span></a> Before 600 B. C.; Robert, in Pauly-Wissowa, V, pp. 1159 f.; <i>cf.</i> Collignon, I, pp. 131 and -222 f.; Overbeck, I, pp. 84 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_924"></a><a href="#FNanchor_924"><span class="label">924</span></a> P., VI, 9.1, f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_925"></a><a href="#FNanchor_925"><span class="label">925</span></a> Antipatros of Sidon, in <i>A. Pl.</i> (XVI), no. 220; on Aristokles, see Pauly-Wissowa, II, p. 937; -Robert, <i>Arch. Maerch.</i>, pp. 95 ff.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_926"></a><a href="#FNanchor_926"><span class="label">926</span></a> Longpérier, <i>Notice des bronzes antiques du Louvre</i>, I, 1868, no. 69; de Ridder, <i>Les bronzes -antiques du Louvre</i>, I, 1913, Pl. 2, <small>2</small>, and p. 7; B. B., no. 78; Collignon, I, Pl. V, opp. p. 312; -von Mach, 18 (two views); Overbeck, I, p. 235, fig. 60 (two views); Springer-Michaelis, p. -211, fig. 397; Perrot-Chipiez, VIII, Pl. XI; Reinach, <i>Rép.</i>, II, <small>1</small>, 84, 9. For bibliography, see -Deonna, <i>Les Apollons archaïques</i>, p. 274. It is only 3 feet 4 inches tall. The <i>Apollo Philesios</i>, -stolen from Miletos at the destruction of the city by Darius in 493 B. C. (Hdt., VI, 19; but -P., VIII, 46.3, and later writers wrongly say by Xerxes; see E. Meyer, <i>Gesch. d. Altertums</i>,<sup>2</sup> -1912, III, p. 309), was restored from Ekbatana in Media in 306 B. C. by Seleukos Nikator -(P., <i>l. c.</i>, and <i>cf.</i> I, 16.3). It is also mentioned by P., II, 10.5. The genuineness of the -Piombino statuette has been assailed, but Overbeck has proved it genuinely archaic: <i>Griech. -Kunstmyth.</i>, III, <i>Apollon</i>, 1889, pp. 22 f.; <i>cf.</i> <i>Gesch. d. gr. Pl.</i>, I, pp. 234 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_927"></a><a href="#FNanchor_927"><span class="label">927</span></a> <i>H. N.</i>, XXXIV, 75; <i>cf.</i> Jex-Blake <i>ad loc.</i>, p. 60. Pausanias mentions a cedar replica of the -<i>Apollo</i> at Thebes: II, 10.5 and IX, 10.2. See p. 336, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_928"></a><a href="#FNanchor_928"><span class="label">928</span></a> P. Gardner, <i>The Types of Greek Coins</i>, 1883, Pl. XV, nos. 15–16; Collignon, I, p. 312, figs. 153–155; -<i>cf.</i> B. Head, <i>Historia Nummorum</i><sup>2</sup>, 1911, p. 586; Overbeck, <i>Apollon</i>, pp. 23 f., and Muenztafel -I, nos. 22 f. Also on gems: see M. W., I, Pl. XV, no. 61; <i>B. M. Gems</i>, no. 720; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_929"></a><a href="#FNanchor_929"><span class="label">929</span></a> <i>L. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_930"></a><a href="#FNanchor_930"><span class="label">930</span></a> <i>B. M. Bronzes</i>, no. 209 and Pl. I (middle); <i>Specimens</i>, Pl. 12; <i>Annali</i>, VI, 1834, Pl. D, -fig. 4; Overbeck, I, p. 144, fig. 24, and <i>Apollon</i>, p. 24, fig. 5; Murray, I, p. 193, fig. 49; Rayet -et Thomas, <i>Milet et le golfe Latmique</i>, Pl. 28, 2; Collignon, I, p. 313, fig. 156; Dar.-Sagl., I, -p. 318, fig. 375; von Mach, 17 a; Springer-Michaelis, p. 183, fig. 350; Perrot-Chipiez, VIII, -p. 475, fig. 242; Reinach, <i>Rép.</i>, II, <small>1</small>, 80, 9; Fowler and Wheeler, <i>Hbk. of Greek Archæology</i>, -1909, p. 331, fig. 251; Furtwaengler, in Roscher, <i>Lex.</i>, I, <small>1</small>, p. 451; Frazer, IV, p. 430, fig. 45, -Bulle, 28 (middle). A modern copy is in the Antiquarium, Munich: F. W., 51. It is 0.185 -meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_931"></a><a href="#FNanchor_931"><span class="label">931</span></a> <i>R. M.</i>, II, 1887, pp. 90 f. (Studniczka) and Pls. IV, IV a, V; Collignon, I, p. 321, fig. 161; -Overbeck, I, p. 239, fig. 62; Michaelis in <i>A. Z.</i>, XXI, 1863, pp. 122 f. (Anzeiger). It is 1.11 -meters in height.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_932"></a><a href="#FNanchor_932"><span class="label">932</span></a> Collignon, I, p. 253, fig. 122; Overbeck, <i>Griech. Kunstmythol.</i>, III, <i>Apollon</i>, p. 36, fig. 8; -Fraenkel, in <i>A. Z.</i>, XXXVII, 1879, pp. 84–91, and Pl. 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_933"></a><a href="#FNanchor_933"><span class="label">933</span></a> The small bronze also found there, 0.155 meter high, belongs to the same series: <i>B. C. H.</i>, X, -1886, pp. 190 f., and Pl. IX. It greatly resembles the statuette from Naxos. For a list of -replicas of the statue of Kanachos, see Rayet, <i>Études d’archéologie et d’art</i>, p. 164; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_934"></a><a href="#FNanchor_934"><span class="label">934</span></a> On the style of Kanachos and the <i>Apollo</i>, see also Kekulé, <i>Sitzb. d. preuss. Akad. d. Wiss. -zu Berlin</i>, 1904, I, pp. 786–801; O. Mueller, <i>Kleine Schriften</i>, II, p. 537; F. W., to no. 51; -Brunn, pp. 74 f.; Collignon, I, pp. 310 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_935"></a><a href="#FNanchor_935"><span class="label">935</span></a> P., VI, 1.3 and 8.5; Hyde, 1, 2, 3, and 78; Foerster, 296, 300, 299, 290 and 305; on Alypos, -see Pauly-Wissowa, I, p. 1711; Brunn, p. 280; <i>B. C. H.</i>, XXI, 1897, pp. 287 f.; and <i>cf.</i> P., -X, 9.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_936"></a><a href="#FNanchor_936"><span class="label">936</span></a> P., VI, 13.7; Hyde, 116; Foerster, 291; on the sculptor, see Brunn, p. 277.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_937"></a><a href="#FNanchor_937"><span class="label">937</span></a> P., VI, 3.13; Hyde, 34; Foerster, 575; on the sculptor, see Brunn, pp. 292 and 419; <i>cf.</i> Hyde, -p. 34.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_938"></a><a href="#FNanchor_938"><span class="label">938</span></a> Timon and Aigyptos, who won some time between Ols. (?) 98 and 101: P., VI, 2.8; Hyde, 17, -18; Foerster, 310, 301; Aristodemos, Ol. 98: P., VI, 3.4; Hyde, 25; Foerster, 312; Eupolemos, -Ol. 96: Afr.; P., VI, 3.7; Hyde, 28; Foerster, 294. On Daidalos, see Pauly-Wissowa, IV, -pp. 2006 f.; Robert, <i>O. S.</i>, pp. 191 f.; Brunn, pp. 14 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_939"></a><a href="#FNanchor_939"><span class="label">939</span></a> P., VI, 3.5; Hyde, 26; Foerster, 325. On Damokritos, see Pauly-Wissowa, IV, p. 2070; -Brunn, p. 105.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_940"></a><a href="#FNanchor_940"><span class="label">940</span></a> Deinolochos: P., VI, 1.4; Hyde, 5; Foerster, 330; Hysmon: P., VI, 3.9; Hyde, 31; Foerster, -347; Kritodamos: P., VI, 8.5; Hyde, 80; Foerster, 337; <i>Inschr. v. Ol.</i>, 167; <i>I. G. B.</i>, no. 96; -Alketos: P., VI, 9.2; Hyde, 86; Foerster, 320; Lykinos: P., VI, 10.9; Hyde, 100; Foerster, -336. On Kleon, see Brunn, pp. 285; <i>I. G. B.</i>, to no. 95.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_941"></a><a href="#FNanchor_941"><span class="label">941</span></a> Troilos: P., VI, 1.4; Hyde, 6; Foerster, 338 and 345; <i>Inschr. v. Ol.</i>, 166; the dates of his two -victories, Ols. 102, 103, are known; Philandridas: P., VI, 2.1; Hyde, 10; Foerster, 393; his victory -fell either in Ol. 102 or Ol. 103; Cheilon: P., VI, 4.6–7; Hyde, 41; Foerster, 384 and 392; P., -because of the dating of Lysippos, inferred that this victor fell either at Chæroneia (338 B. C.) -or Lamia (322 B. C.), both of which dates fall within the working years of the sculptor; see -P. Gardner, <i>J. H. S.</i>, XXV, 1905, p. 246; Polydamas: P., VI, 5.1; Hyde, 47; Foerster, 279; -Africanus gives us the date of his victory as Ol. 93, though the statue was set up after the victor’s -death; Kallikrates, of Magnesia on the Mæander: P., VI, 17.3; Hyde, 175; Foerster, -390 and 397 (for two victories). Lysippos made two honor statues for Pythes of Abdera: -P., VI, 14.12; Hyde, 134 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_942"></a><a href="#FNanchor_942"><span class="label">942</span></a> Kallon: P., VI, 12.6; Hyde, 106; Foerster, 410; Nikandros: P., VI, 16.5; Hyde, 157; -Foerster, 408 and 413 (two victories). On the sculptor, see Pauly-Wissowa, IV, p. 2013; -Brunn, p. 407.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_943"></a><a href="#FNanchor_943"><span class="label">943</span></a> P., VI, 17.5; Hyde, 181; Foerster, 401. On Daitondas, see Robert in Pauly-Wissowa, IV, -p. 2015 (who dates the sculptor at the beginning of the third century B. C., because of an -inscribed base found at Delphi: <i>I. G. B.</i>, 97; <i>C. I. G. G. S.</i>, I, 2472); <i>cf.</i> Schmidt, <i>A. M.</i>, V, -1880, pp. 197–8, no. 58; <i>cf.</i> Brunn, p. 418.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_944"></a><a href="#FNanchor_944"><span class="label">944</span></a> P., VI, 2.6 f.; Hyde, 15; Foerster, 424.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_945"></a><a href="#FNanchor_945"><span class="label">945</span></a> <i>H. N.</i>, XXXIV, 51; <i>cf.</i> XXXIV, 78 (for his image of the Eurotas river); XXXV, 141 (as -painter). The <i>Tyche</i> is mentioned by P., VI, 2.7. Many copies of this work in marble, -bronze, and silver have been identified, especially a marble statuette in the Vatican: B. B., -no. 154; Helbig, <i>Fuehrer</i>, I, 362; F. W., 1396; von Mach, 256; etc. For a list of copies, see R. -Foerster, <i>Jb.</i>, XII, 1897, pp. 145 f.; <i>cf.</i> Amelung, <i>Fuehrer d. Florenz</i>, nos. 261–2; and P. Gardner, -<i>J. H. S.</i>, IX, 1888, pp. 75 f. and Pl. V (silver statuette). On the sculptor, see Robert in Pauly-Wissowa, -VI, pp. 1532–3; Brunn, I, pp. 411 f.; II, p. 157 (painter); Overbeck, II, pp. 172 f.; -Collignon II, pp. 485 f.; Murray<sup>2</sup>, II, pp. 354 f. Robert, <i>l. c.</i>, gives three other sculptors of -the same name; <i>cf.</i> <i>I. G. B.</i>, nos. 143 and 244–9; Homolle, <i>B. C. H.</i>, XVIII, 1894, pp. 336 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_946"></a><a href="#FNanchor_946"><span class="label">946</span></a> Kratinos: P., VI, 3.6; Hyde, 27; Foerster, 433; Alexinikos: P., VI, 17.7; Hyde, 184; Foerster, -438. On the sculptor, see Pliny, XXXIV, 85; Brunn, p. 415.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_947"></a><a href="#FNanchor_947"><span class="label">947</span></a> P., V, 25.12–13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_948"></a><a href="#FNanchor_948"><span class="label">948</span></a> P., V, 27.8 (= joint work of Onatas and Kalliteles).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_949"></a><a href="#FNanchor_949"><span class="label">949</span></a> P., V, 25.8 f. The base has been found <i>in situ</i> east of the temple of Zeus: <i>Ergebn. v. Ol.</i>, -Tafelbd., II, Pl. XVII, 12; Textbd., pp. 145 f. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_950"></a><a href="#FNanchor_950"><span class="label">950</span></a> P., VI, 12.1. Hiero won three victories in Ols. 76, 77, 78 ( = 476–468 B. C.): <i>Oxy. Pap.</i>, -Hyde, 105; Foerster, 199, 209, 215. The monument was dedicated in 467 B. C. after the death -of the king. For the sculptor, see Brunn, p. 88.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_951"></a><a href="#FNanchor_951"><span class="label">951</span></a> P., VI, 9.4–5; Hyde, 90; Foerster, 180; <i>Inschr. v. Ol.</i>, 143.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_952"></a><a href="#FNanchor_952"><span class="label">952</span></a> Philon: P., VI, 9.9; Hyde, 91; Foerster, 167 and 179; he won in Ols. (?) 72 and 73 ( = 492 -and 488 B. C.); Glaukos (boy boxer): P., VI, 10.1–3; Hyde, 93; Foerster, 137; he won in Ol. 65 -( = 520 B. C.), but his statue was set up by his son at the beginning of the fifth century -B. C.: Hyde, p. 42; Theagenes: P., VI, 11.2 f.; he won in Ols. 75 and 76 ( = 480 and 476 B. C.): -<i>Oxy. Pap.</i>, Hyde, 104; Foerster, 191, 196.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_953"></a><a href="#FNanchor_953"><span class="label">953</span></a> For the meaning of the word σκιαμαχεῖν, see <i>infra</i>, Ch. IV, p. 243 and n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_954"></a><a href="#FNanchor_954"><span class="label">954</span></a> Theognetos: P., VI, 9.1; <i>Oxy. Pap.</i>; Hyde, 83; Foerster, 193, 193 N; Epikradios: P., VI, -10.9; Hyde, 101; Foerster, 228.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_955"></a><a href="#FNanchor_955"><span class="label">955</span></a> P., VI, 10.9; Hyde, 103 and p. 44; Foerster, 519. On the sculptor, see Brunn, p. 96.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_956"></a><a href="#FNanchor_956"><span class="label">956</span></a> P., VI, 14.2; Hyde, 133; Foerster, 327. For the sculptor, see Brunn, p. 96.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_957"></a><a href="#FNanchor_957"><span class="label">957</span></a> Lechat, <i>Au Musée</i>, Pl. XV; <i>Arch. Eph.</i>, 1887, Pl. III and pp. 43 f.; Bulle, 226 (two views); -von Mach, 442, 443 (right); S. Reinach, <i>Têtes</i>, nos. 5 and 6; Overbeck, I, p. 198, fig. 44 (two -views); Collignon, I, p. 304, fig. 151; Perrot-Chipiez, VIII, pp. 526–7, figs. 271–2; E. A. -Gardner, <i>J. H. S.</i>, VIII, 1887, p. 191. While Overbeck and Lechat regard it as Attic, most -scholars call it Aeginetan. The helmet is separately made and fastened on. Bulle dates -it in the first decade of the fifth century B. C. It is 0.27 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_958"></a><a href="#FNanchor_958"><span class="label">958</span></a> Comparetti e de Petra, <i>La Villa Ercolanese dei Pisoni</i>, 1883, Pl. VII, 1, p. 260; Collignon, I, -p. 303, fig. 150; <i>Mon. d. I.</i>, IX, 1869–73, Pl. XVIII; Kekulé, <i>Annali</i>, XLII, 1870, pp. 263 f.; -von Mach, 441; F. W., 229; for its style, see Rayet, I, text to Pl. 26. Studniczka, <i>R. M.</i>, II, -1887, p. 105, n. 47, believes that the closely allied colossal marble head in the Museo Torlonia -(no. 501) in Rome is a copy of the colossal <i>Apollo</i> of Onatas at Pergamon, mentioned by P., -VIII, 42.7. The head of the <i>Zeus</i> found at Olympia (<i>Bronz. v. Ol.</i>, Pl. I, <small>1</small>, <small>1</small> a) has been -regarded as Aeginetan.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_959"></a><a href="#FNanchor_959"><span class="label">959</span></a> Collignon, I, p. 306; fig. 152 on p. 305.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_960"></a><a href="#FNanchor_960"><span class="label">960</span></a> <i>B. M. Sculpt.</i>, I, no. 206; etc. Brunn, <i>Sitzb. Muen. Akad.</i>, 1872, pp. 529 f., referred it to -the school of Kallon; <i>cf.</i> also Collignon, I, p. 302.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_961"></a><a href="#FNanchor_961"><span class="label">961</span></a> Gardner, <i>Hbk.</i>, p. 169, fig. 31; von Mach, no. 15 (right); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_962"></a><a href="#FNanchor_962"><span class="label">962</span></a> <i>Aegina, das Heiligtum der Aphaia</i>, 1906; see Tafelbd., II, Pls. 104 (West Gable), 105 -(East Gable), (the pediment groups in colors); whence Gardner, <i>Hbk.</i>, p. 226, Pls. 50–51; <i>cf.</i> -also Springer-Michaelis, pp. 214–15, figs. 400 (West Gable), 401 (East Gable); fig. 399 gives an -older arrangement of the West Gable statues, as set up in plaster in the Strasbourg Museum. -Since Furtwaengler’s death new attempts at reconstruction have been made, notably by P. -Wolters, <i>Aeginetische Beitraege</i>, and D. Mackenzie, in <i>B. S. A.</i>, XV, 1908–09, pp. 274 f. and -PI. XIX (East Gable). For various figures, see von Mach, nos. 78–83. See Furtwaengler-Wolters, -<i>Beschr. d. Glypt.</i><sup>2</sup>, pp. 95 f. and figs. 74 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_963"></a><a href="#FNanchor_963"><span class="label">963</span></a> While Overbeck dates them about 500 B. C., Furtwaengler, Bulle, Gardner, and others -date them about 480 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_964"></a><a href="#FNanchor_964"><span class="label">964</span></a> Hdt., VIII, 93.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_965"></a><a href="#FNanchor_965"><span class="label">965</span></a> P., X, 13. 10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_966"></a><a href="#FNanchor_966"><span class="label">966</span></a> Furtw., <i>op. cit.</i>, Tafelbd., Pl. 95, no. 82, and Textbd., pp. 248–9, and fig. 178 on p. 23; -B. B., no 26; Gardner, <i>Hbk.</i>, p. 229, fig. 52; it is from the north half of the gable.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_967"></a><a href="#FNanchor_967"><span class="label">967</span></a> Furtw., fig. 204, p. 248.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_968"></a><a href="#FNanchor_968"><span class="label">968</span></a> Furtw.-Wolters, <i>Beschr. d. Glyptothek</i>,<sup>2</sup> no. 78; Furtw., <i>op. cit.</i>, Tafelbd., Pl. 96, no. 32, and -Textbd., pp. 223–4; the figure on our plate to the right = Furtw.-Wolters, <i>Beschr.</i>, no. 77 and -Furtw., <i>op. cit.</i>, Pl. 96, no. 29, Textbd., p. 221. No. 78 should stand, however, in front of 77 as -arranged by Furtwaengler, <i>op. cit.</i>, 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_969"></a><a href="#FNanchor_969"><span class="label">969</span></a> 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 <i>A. M.</i>, XXVII, 1902, pp. 379 f.; Dickins, pp. 5 f. -The next year Mardonios destroyed the city by fire: Hdt., IX, 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_970"></a><a href="#FNanchor_970"><span class="label">970</span></a> See von Mach, 25 f.; Reinach, <i>Rép.</i>, II, <small>2</small>, pp. 635 f.; for details, Lechat, <i>Au Musée</i>, and -Schrader, <i>Die archaischen Marmorskulpturen im Akropolis-Museum zu Athen</i>, 1909. See also -Dickins, <i>op. cit.</i>; Perrot-Chipiez, pp. 574 f. and p. 577, fig. 289 (= <i>Au Musée</i>, fig. 26), and -p. 578, fig. 290 (= <i>Au Musée</i>, fig. 8); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_971"></a><a href="#FNanchor_971"><span class="label">971</span></a> <i>Mon. gr.</i>, VII, 1878 (publ. in vol. I, 1882), Pl. I and pp. 1–14 (A. Dumont); <i>Mon. Piot</i>, -VII, Pl. XIV, and pp. 146–7 (Lechat); Rayet, I, Pl. 18; Collignon, I, p. 360, fig. 182; Reinach, -<i>Têtes</i>, 3, 4; Bulle, 225; Perrot-Chipiez, VIII, p. 641, fig. 328.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_972"></a><a href="#FNanchor_972"><span class="label">972</span></a> So Richardson, p. 83, and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_973"></a><a href="#FNanchor_973"><span class="label">973</span></a> So Bulle; he dates it in the first half of the sixth century B. C., doubtless a little too early.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_974"></a><a href="#FNanchor_974"><span class="label">974</span></a> It is now in the National Museum at Athens: Kabbadias, no. 38; Staïs, <i>Marbres et Bronzes</i>, -p. 17; <i>Arch. Eph.</i>, 1874, p. 484 and Pl. 71, Γ, a (Koumanoudis); Sybel, <i>Kat. d. Skulpt. zu Athen</i>, -1881, no. 2904; von Mach, 351; Overbeck, I, p. 202, fig. 46; Collignon, I, p. 385, fig. 200; -F. W., 99; Conze, <i>Die attischen Grabreliefs</i>, I, 1890, Pl. IV, pp. 5–6; Kirchhoff and Curtius, -<i>Philolog. u. histor. Abh. d. k. Akad. d. Wiss. zu Berlin</i>, 1873, pp. 156 f. (and two illustrations, -one of a second fragment); Perrot-Chipiez, VIII, p. 664, fig. 342.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_975"></a><a href="#FNanchor_975"><span class="label">975</span></a> 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: <i>Arch. Eph.</i>, 1874, Pl. 71, Γ, b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_976"></a><a href="#FNanchor_976"><span class="label">976</span></a> The same motive occurs on vases: <i>e. g.</i>, Gerhard, I, Pl. XXII, and IV, Pl. CCLXXII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_977"></a><a href="#FNanchor_977"><span class="label">977</span></a> 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, <i>Marbres et Bronzes</i>, p. 15 and -fig. (2.40 m. high); Sybel, <i>op. cit.</i>, no. 3361; Overbeck, I, p. 200, fig. 45; Conze, <i>Die attischen -Grabreliefs</i>, I, Pl. II, 1, p. 4; B. B., no. 41 A; Baum., I, p. 341, fig. 358; Kekulé, <i>Die ant. Bildw. -im Theseion</i>, 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 <i>A. J. A.</i>, V, 1889, Pl. I and pp. 9 f. (Buck); Conze, <i>op. -cit.</i>, I, Pl. II, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_978"></a><a href="#FNanchor_978"><span class="label">978</span></a> Dickins, no. 692 and fig.; mentioned by Furtwaengler, <i>A. M.</i>, V, 1880, pp. 25 and 32; -discussed by R. Delbrueck, <i>ibid.</i>, XXV, 1900, pp. 373 f., Pls. XV, XVI (bottom).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_979"></a><a href="#FNanchor_979"><span class="label">979</span></a> <i>La Glypt. Ny-Carlsberg</i>, 1896, Pls. 1, 2 (and text by Arndt); Reinach, <i>Têtes</i>, Pls. 1, 2; -Rayet, <i>Mon. gr.</i>, VI, 1877 (publ. in vol. I, 1882), Pl. I; <i>id.</i>, <i>Ét. d’archéol. et d’art</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_980"></a><a href="#FNanchor_980"><span class="label">980</span></a> Collignon, I, p. 376, fig. 193; Bulle, fig. 128 on p. 440.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_981"></a><a href="#FNanchor_981"><span class="label">981</span></a> Brunn-Arndt, <i>Gr. und roem. Portraets</i>, Pls. XXIII-XXIV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_982"></a><a href="#FNanchor_982"><span class="label">982</span></a> <i>Gaz. arch.</i>, 1887, Pl. XI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_983"></a><a href="#FNanchor_983"><span class="label">983</span></a> <i>Cf.</i> Arndt, <i>La Glyptothèque Ny-Carlsberg</i>, text to nos. 1 and 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_984"></a><a href="#FNanchor_984"><span class="label">984</span></a> <i>Sammlung Sabouroff</i>, 1883, I, Einleitung, p. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_985"></a><a href="#FNanchor_985"><span class="label">985</span></a> 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, <i>A. M.</i>, XXX, 1905, pp. 305 -f., and Pl. XI. Other references are given <i>infra</i>, p. 269, n. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_986"></a><a href="#FNanchor_986"><span class="label">986</span></a> See Hauser, <i>Jb.</i>, VII, 1892, pp. 54 f., who discusses the question of the sex of the figure at -length.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_987"></a><a href="#FNanchor_987"><span class="label">987</span></a> So Hauser, <i>l. c.</i>; followed by Robinson, <i>Cat. Museum of Fine Arts in Boston</i>, no. 33.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_988"></a><a href="#FNanchor_988"><span class="label">988</span></a> <i>E. g.</i>, Gerhard, I, Pls. XX and XXI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_989"></a><a href="#FNanchor_989"><span class="label">989</span></a> See <i>infra</i>, Ch. V, pp. 269 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_990"></a><a href="#FNanchor_990"><span class="label">990</span></a> While Schrader (<i>op. cit.</i>, 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. (<i>op. cit.</i> p. 204), and believe that it represents a time near the close of Ionic influence -on Attic art.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_991"></a><a href="#FNanchor_991"><span class="label">991</span></a> P., VI, 6.1; <i>Oxy. Pap.</i>; Hyde, 50; Foerster, 208; <i>Inschr. v. Ol.</i>, 146.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_992"></a><a href="#FNanchor_992"><span class="label">992</span></a> 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; <i>Oxy. Pap.</i>; 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; <i>cf.</i> Foerster, 222 a, Hyde, 79 a; -<i>Inschr. v. Ol.</i>, 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 <i>infra</i>, p. 187, n. 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_993"></a><a href="#FNanchor_993"><span class="label">993</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_994"></a><a href="#FNanchor_994"><span class="label">994</span></a> P., VI, 4.5; Hyde, 40; Foerster, 494.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_995"></a><a href="#FNanchor_995"><span class="label">995</span></a> P., VI, 12.8 f.; Hyde, 109; Foerster, 529; <i>cf.</i> Robert, <i>Hermes</i>, XIX, 1884, pp. 306 f. -On the artist family of Polykles, his sons Timokles and Timarchides, Polykles Minor and -Timarchides Minor, see Robert, <i>l. c.</i>, pp. 300 f.; Hyde, pp. 45–47 and table on p. 46.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_996"></a><a href="#FNanchor_996"><span class="label">996</span></a> <i>E. g.</i>, <i>H. N.</i>, XXXIV, 73 (Boëdas); XXXIV, 78 (Euphranor); XXXIV, 90 (Sthennis). -In XXXIV, 91, he gives a list of artists who made statues of <i>sacrificantes</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_997"></a><a href="#FNanchor_997"><span class="label">997</span></a> In the Iliad, I, 450; VIII, 347; XV, 371; Aischylos, <i>Prom.</i>, 1005 (ὑπτιάσμασι χερῶν); etc. -On the attitude of prayer in Greek art, see L. Gurlitt, <i>A. M.</i>, VI, 1881, pp. 158 f. (who tries to -show that the gestures of prayer and adoration were distinct); Sittl, <i>Die Gebaerden der Gr. -und Roem.</i>, pp. 305 f.; <i>cf.</i> Conze, <i>Jb.</i>, I, 1886, pp. 1–13 (on the <i>Praying Boy</i> of Berlin, Pl. 10.) -See also Dar.-Sagl., I, pp. 80 f., <i>s. v.</i> <i>adoratio</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_998"></a><a href="#FNanchor_998"><span class="label">998</span></a> V, 25. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_999"></a><a href="#FNanchor_999"><span class="label">999</span></a> See article by P. Girard and J. Martha in <i>B. C. H.</i>, II, 1878, pp. 421 f. (lists of inventories -of objects consecrated there).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1000"></a><a href="#FNanchor_1000"><span class="label">1000</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1001"></a><a href="#FNanchor_1001"><span class="label">1001</span></a> Scherer agrees with Philostratos, <i>Vit. Apoll. Tyan.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1002"></a><a href="#FNanchor_1002"><span class="label">1002</span></a> P., VI, 1.7; he won in Ol. (?) 79 ( = 464 B. C.): Hyde, 8; Foerster, 233.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1003"></a><a href="#FNanchor_1003"><span class="label">1003</span></a> Ol. VII, Argum., Boeckh, p. 158.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1004"></a><a href="#FNanchor_1004"><span class="label">1004</span></a> Fragm. no. 264 (= <i>F. H. G.</i>, II, p. 183).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1005"></a><a href="#FNanchor_1005"><span class="label">1005</span></a> Fragm. no. 7 (= <i>F. H. G.</i>, IV, p. 307).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1006"></a><a href="#FNanchor_1006"><span class="label">1006</span></a> Diagoras won in Ol. 79 ( = 464 B. C.): P., VI, 7.1 f.; Hyde, 59; Foerster, 220; <i>Inschr. v. Ol.</i>, -151 (renewed). For the sculptor of the statue, Kallikles, see Robert, <i>O. S.</i>, pp. 194 f. On -Diagoras, see van Gelder, <i>Gesch. d. alt. Rhodier</i>, p. 435. Akousilaos won in Ol. 83 ( = 448 -B. C.): P., <i>l. c.</i>; <i>Oxy. Pap.</i>; Hyde, 60; Foerster, 252.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1007"></a><a href="#FNanchor_1007"><span class="label">1007</span></a> <i>Beschr. d. Skulpt.</i>, Inv. 6306; <i>A. M.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1008"></a><a href="#FNanchor_1008"><span class="label">1008</span></a> She won two victories in Ols. (?) 96, 97 ( = 396, 392 B. C.): P., VI, 1.6 f.; Hyde, 7; Foerster, -326, 333; <i>Inschr. v. Ol.</i>, 160 (here the name appears in the uncontracted form Ἀπελλέας).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1009"></a><a href="#FNanchor_1009"><span class="label">1009</span></a> <i>A. Z.</i>, XXXVII, 1879, pp. 151–2 (on no. 301 = <i>Inschr. v. Ol.</i>, 160); he is followed by Foerster, -<i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1010"></a><a href="#FNanchor_1010"><span class="label">1010</span></a> <i>H. N.</i>, XXXIV, 86.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1011"></a><a href="#FNanchor_1011"><span class="label">1011</span></a> XXXIV, 70. For the motive, see the small bronze in Kassel, representing Aphrodite: <i>Jb.</i>, -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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1012"></a><a href="#FNanchor_1012"><span class="label">1012</span></a> Described by R. von Schneider, Die Erzstatue vom Helenenberge, in <i>Jahrb. d. Samml. d. -oesterr. Kaiserhauses</i>, XV, 1893; illustrated by E. von Sacken, <i>Die ant. Bronz. d. k. k. Muenz.- -und Antiken-Cabinetes in Wien</i>, 1871, I, Pls. XXI-XXII, pp. 52 f., and <i>cf.</i> <i>A. M.</i>, VI, 1881 -p. 155 (Gurlitt).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1013"></a><a href="#FNanchor_1013"><span class="label">1013</span></a> <i>Cf.</i> F. W., 1562.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1014"></a><a href="#FNanchor_1014"><span class="label">1014</span></a> <i>C. I. L.</i>, III, <small>2</small>, 4815.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1015"></a><a href="#FNanchor_1015"><span class="label">1015</span></a> <i>Mp.</i>, p. 290; <i>Mw.</i>, pp. 506–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1016"></a><a href="#FNanchor_1016"><span class="label">1016</span></a> <i>Beschr. d. ant. Skulpt.</i>, no. 2 (for history and bibliography); B. B., 283; von Mach, 273; -Bulle, 64; Reinach, <i>Rép.</i>, I, 459, 4; <i>cf.</i> Conze, <i>Jb.</i>, I, 1886, pp. 1 f.; <i>ibid.</i>, pp. 217 (Furtwaengler); -<i>ibid.</i>, 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: <i>A. Z.</i>, XXXVIII, 1880, pp. 143 f. and Pl. XII, 1 (Flasch). The statue is 1.28 meters -high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1017"></a><a href="#FNanchor_1017"><span class="label">1017</span></a> Loewy, <i>R. M.</i>, XVI, 1901, pp. 391 f. and Pls. XVI-XVII, by a comparison with the -Vatican <i>Apoxyomenos</i> (Pl. 29), and the Naples resting <i>Hermes</i> (von Mach, 237; Reinach, -<i>Rép.</i>, I, 367, 1), has shown its Lysippan character; <i>cf.</i> also Mau, <i>l. c.</i> 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, <i>H. N.</i>, XXXIV, 73; similarly Amelung, in -Thieme-Becker, <i>Lex. d. bild. Kuenstler</i>, IV, p. 187, Gardner, <i>Hbk.</i>, p. 452, and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1018"></a><a href="#FNanchor_1018"><span class="label">1018</span></a> <i>R. M.</i>, XVII, 1902, pp. 101 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1019"></a><a href="#FNanchor_1019"><span class="label">1019</span></a> <i>Muenchner Allg. Ztg.</i>, 1902, Nov. 29, Beilage, no. 297; <i>cf.</i>, for his restoration of the arms, -<i>ibid.</i>, 1903, Beilage, no. 277, p. 445 (quoted by von Mach and Bulle, respectively).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1020"></a><a href="#FNanchor_1020"><span class="label">1020</span></a> <i>Jb.</i>, I, 1886, fig. on p. 217; reproduced in <i>A. A.</i>, 1904, p. 75 (Conze); also on coins, -<i>Jb.</i>, III, 1888, pp. 286 f. and Pl. IX (Imhoof-Blumer).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1021"></a><a href="#FNanchor_1021"><span class="label">1021</span></a> <i>Rev. arch.</i>, Sér. IV, II, 1903, pp. 205–10, 411–12 (Lechat), and Pl. XV; reproduced in <i>A. A.</i>, -<i>l. c.</i> Babelon, <i>C. R. Acad. Inscr.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1022"></a><a href="#FNanchor_1022"><span class="label">1022</span></a> <i>E. g.</i>, Levezow, <i>de juvenis adorantis Signo</i>, Berlin, 1808, p. 12; and Welcker, <i>Das akad. Mus. -zu Bonn</i>, p. 42 (quoted by Gurlitt, <i>op. cit.</i> in the next note, p. 157); <i>cf.</i> Scherer, pp. 32–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1023"></a><a href="#FNanchor_1023"><span class="label">1023</span></a> <i>A. M.</i>, VI, 1881, pp. 154 f. (Gurlitt), and Pl. V (from cast in Berlin): it is 2.18 meters high -and 1.11 meters broad.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1024"></a><a href="#FNanchor_1024"><span class="label">1024</span></a> In the National Museum, Athens; discussed by Kekulé, <i>Die antiken Bildwerke im Theseion -zu Athen</i>, 1869, no. 151; illustrated in <i>Exped. scientifique de Morée</i>, III, 1838, Pl. XLI (= from -Aegina).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1025"></a><a href="#FNanchor_1025"><span class="label">1025</span></a> See O. Jahn in <i>Annali</i>, XX, 1848, pp. 213 f. and Pl. K a (= Orestes); <i>A. Z.</i>, XXX, 1872, p. 60, -Pl. 46 (Heydemann); Gurlitt, <i>op. cit.</i>, p. 156; <i>cf.</i> Sophokles, <i>Aias</i>, 815 f., to explain the scene.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1026"></a><a href="#FNanchor_1026"><span class="label">1026</span></a> See Richter, <i>Gk., Etrusc., and Rom. Bronz. in the Metropolitan Museum</i>, 1918, no. 89 (7 inches -high) and fig. on p. 59; <i>Cat. Class. Coll.</i>, p. 115, fig. 73; published by Furtwaengler, <i>Sitzb. -Muen. Akad.</i>, 1905, II, p. 264, fig. 1 and Pl. IV (who considered it Etruscan and not Greek); -Reinach, <i>Rép.</i>, III, 24, 3. Richter, <i>op. cit.</i>, no. 79 (11–3/4 inches high), and figs. on p. 53 -(two views); <i>Cat. Class. Coll.</i>, p. 91, fig. 54; <i>Burlington Fine Arts Club, Cat. Anc. Gk. Art</i>, -1904, p. 46, no. 36, and Pl. LIII; Reinach, <i>Rép.</i>, IV, 370, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1027"></a><a href="#FNanchor_1027"><span class="label">1027</span></a> On the custom of athletes smearing themselves with oil and dust in the palæstra before -entering the wrestling match, see Lucian, <i>Anacharsis, sive de exercitationibus</i>, 28.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1028"></a><a href="#FNanchor_1028"><span class="label">1028</span></a> <i>H. N.</i>, XXXV, 144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1029"></a><a href="#FNanchor_1029"><span class="label">1029</span></a> Several cited by L. Bloch, <i>R. M.</i>, VII, 1892, pp. 88 f.; and especially one in <i>A. Z.</i>, -XXXVII, 1879, Pl. IV (red-figured krater by Euthymides from Capua, now in Berlin); -Hartwig, <i>Die griech. Meisterschalen</i>, 1893, p. 570. <i>Cf.</i> Furtw., <i>Mp.</i>, p. 259, <i>Mw.</i>, p. 466.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1030"></a><a href="#FNanchor_1030"><span class="label">1030</span></a> <i>Cf.</i> Brunn, <i>Annali</i>, LI, 1879, pp. 201 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1031"></a><a href="#FNanchor_1031"><span class="label">1031</span></a> Michaelis, pp. 601–2, no. 9; Bulle, p. 109, fig. 19; Furtw., <i>Mp.</i>, p. 257, fig. 107, <i>Mw.</i>, p. -465, fig. 77. It is 1.68 meters high (Michaelis).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1032"></a><a href="#FNanchor_1032"><span class="label">1032</span></a> It has the same foot position as that on the base of the statue of the boxer Kyniskos, by -Polykleitos: <i>Inschr. v. Ol.</i>, 149.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1033"></a><a href="#FNanchor_1033"><span class="label">1033</span></a> <i>E. g.</i>, by F. W., 462–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1034"></a><a href="#FNanchor_1034"><span class="label">1034</span></a> Furtw.-Wolters, <i>Beschr. d. Glypt.</i>,<sup>2</sup> no. 302; B. B., 132 (= front view, from cast), 134 -(left = back view), 135 (= head, from cast, two views); Bulle, 55; <i>Mon. d. I.</i>, XI, 1879–83, -Pl. VII; Brunn, <i>Annali</i>, LI, 1879, pp. 201 f. and Pl. ST, 1, 2; F. W., 462; Reinach, <i>Rép.</i>, -I, 522, 2; Clarac, V, 857, 2174; for replicas, Furtw., <i>Mw.</i>, p. 466, n. 4 and <i>Mp.</i>, 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1035"></a><a href="#FNanchor_1035"><span class="label">1035</span></a> 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1036"></a><a href="#FNanchor_1036"><span class="label">1036</span></a> Pointed out by Kekulé, <i>Ueber den Kopf des Praxitelischen Hermes</i>, 1881, p. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1037"></a><a href="#FNanchor_1037"><span class="label">1037</span></a> <i>H. N.</i>, XXXIV, 72; Klein, <i>Praxiteles</i>, 1898, p. 50; <i>id.</i>, <i>Arch.-epigr. Mitt. aus Oest.</i>, XIV, -1891, pp. 6–9. We have discussed it <i>supra</i>, p. 77.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1038"></a><a href="#FNanchor_1038"><span class="label">1038</span></a> For the <i>Marsyas</i> in the Lateran Museum in Rome, see Bulle, no. 95, and text, pp. 183 f., -and Helbig, <i>Fuehrer</i>, II, no. 1179. See Brunn, <i>op. cit.</i>, p. 204.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1039"></a><a href="#FNanchor_1039"><span class="label">1039</span></a> B. B., 557, text by Sieveking; described also by Furtwaengler, <i>Beschr. d. Glypt.</i>,<sup>2</sup> p. 313.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1040"></a><a href="#FNanchor_1040"><span class="label">1040</span></a> F. W., no. 463; <i>Annali</i>, LI, 1879, Pl. ST, 3; B. B., 133 (= front view), 134 (right = back view); -Furtw., <i>Mp.</i>, pp. 259–60, <i>Mw.</i>, pp. 467–8; for list of replicas of this torso, see <i>Mp.</i>, p. 259, -n. 9, <i>Mw.</i>, p. 467, n. 4. Brunn, <i>op. cit.</i>, p. 217, thought it a copy of the Munich statue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1041"></a><a href="#FNanchor_1041"><span class="label">1041</span></a> One in Turin, F. W., 464; Duetschke, IV, no. 82; two statuettes in the Vatican -(Braccio Nuovo), discussed by Bloch in <i>R. M.</i>, VII, 1892, pp. 93 f.; Helbig, <i>Guide</i>, nos. 42 -and 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1042"></a><a href="#FNanchor_1042"><span class="label">1042</span></a> Furtw.-Wolters, <i>Beschr. d. Glypt.</i>,<sup>2</sup> no. 458; Clarac, Pl. 858, 2175; Furtw., <i>Mp.</i>, pp. 263 f.; -<i>Mw.</i>, pp. 473 f. It is 1.54 meters high. A replica is in the Vatican: see Furtwaengler, <i>l. c.</i>; we -shall treat it later in reference to the statue of the pentathlete Pythokles; Hyde, 70; Foerster, -295; <i>Inschr. v. Ol.</i>, 162–3; see <i>infra</i>, p. 144 and n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1043"></a><a href="#FNanchor_1043"><span class="label">1043</span></a> <i>B. M. Bronzes</i>, no. 514, on p. 71, and Pl. XVI; <i>Specimens</i>, I, Pl. 15; Reinach, <i>Rép.</i>, II, -91, 7; <i>Mon. gr.</i>, II, no. 23, Pl. XV and p. 1 (ascribing it to the Argive school). It forms the -basis for a mirror.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1044"></a><a href="#FNanchor_1044"><span class="label">1044</span></a> Furtwaengler, <i>Sitzb. Muen. Akad.</i>, 1897, II, pp. 129 f. and Pl. 6 (influence of Kalamïs).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1045"></a><a href="#FNanchor_1045"><span class="label">1045</span></a> <i>B. C. H.</i>, X, 1886, pp. 393 f. (S. Reinach) and Pl. XII, 3 (this should be numbered XIV, 4; -see text); Pottier et Reinach, <i>Nécrop. de Myrina</i>, Pl. XLI, 3, pp. 450 f. It is 0.205 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1046"></a><a href="#FNanchor_1046"><span class="label">1046</span></a> <i>E. g.</i>, F. W., 1798; relief found in 1830 in Hermione, now in Athens; it is of the second -or third century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1047"></a><a href="#FNanchor_1047"><span class="label">1047</span></a> <i>E. g.</i>, on the stone of Gnaios: <i>Jb.</i>, III, 1888, pp. 315 f., no. 3; Pl. X, no. 12; Furtwaengler, -<i>Die antiken Gemmen</i>, 1900, Pl. L, no. 9, and Vol. II, p. 241; also on the gem pictured by Toelken, -<i>Erklaer. Verzeichn. d. ant. vertieft geschnittenen Steine d. preuss. Gemmensammlung</i>, 1835, -Klasse VI, 107 (= <i>Die ant. Gemmen</i>, Pl. XLIV, no. 24, and Vol. II, pp. 213); Furtwaengler, <i>Mp.</i>, -p. 260, n. 6, and <i>Mw.</i>, p. 468, n. 4, who mentions it, believes that these gems correspond more -nearly with the Dresden than with the Petworth athlete type.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1048"></a><a href="#FNanchor_1048"><span class="label">1048</span></a> 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, <small>2</small>, pp. 1532 f., <i>s. v.</i> <i>strigilis</i> (S. Dorigny); K. Friederichs, <i>Kleinere Kunst und Industrie im -Altertum</i>, 1871, pp. 88 f. Examples in the Metropolitan Museum, New York, are given by -Richter, in <i>Gk., Etr. and Rom. Bronzes</i>, nos. 855 f.; others (strigils and handles) are in the -British Museum: <i>B. M. Bronzes</i>, nos. 320–326, 665, and 2420–2454, and figs. 74–75, p. 319; on -the operation, see Kuppers, <i>Der Apoxyomenos des Lysippos</i>, 1874.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1049"></a><a href="#FNanchor_1049"><span class="label">1049</span></a> <i>E. g.</i>, on an amphora in Vienna: Schneider, <i>Arch.-epigr. Mitt. aus Oest.</i>, V, <small>1881</small>, p. 139, -Pl. IV; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, 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, <i>Designs from Greek Vases</i>, no. 58; -others on which the athlete is cleansing the strigil and not the body are given by Hartwig -in <i>Jh. oest. arch. Inst.</i>, 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, <i>ibid.</i>); 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, <i>Die greich. Meisterchalen</i>, pp. 24 f. and fig. 2a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1050"></a><a href="#FNanchor_1050"><span class="label">1050</span></a> <i>H. N.</i>, XXXIV, 55, 62 and 76, respectively.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1051"></a><a href="#FNanchor_1051"><span class="label">1051</span></a> Pliny, XXXIV, 86 and 87, respectively.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1052"></a><a href="#FNanchor_1052"><span class="label">1052</span></a> A list is given by Furtw., <i>Mp.</i>, p. 262, n. 2; <i>Mw.</i>, p. 471, n. 1; a gem from the Hermitage is -shown in <i>Mp.</i>, p. 262, fig. 109; <i>Mw.</i>, p. 471, fig. 79; = <i>Die antiken Gemmen</i>, Pl. XLIV, no. 19; -<i>cf.</i> also <i>ibid.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1053"></a><a href="#FNanchor_1053"><span class="label">1053</span></a> So J. Sieveking, <i>Die Bronzen der Samml. Loeb</i>, 1913, Pl. 11, pp. 27 f.; <i>cf.</i> <i>Burlington Fine -Arts Club, Cat. Anc. Gk. Art</i>, 1904, Pl. 50, B. 47, and von Duhn, <i>Sitzb. d. Heidelberger Akad. -d. W.</i>, Abt. 6, p. 9. It is 0.09 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1054"></a><a href="#FNanchor_1054"><span class="label">1054</span></a> Von Mach, 235; F. W., 1264; Reinach, <i>Rép.</i>, I, 515, 6 and 7; <i>cf.</i> II, <small>2</small>, 546, 2; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1055"></a><a href="#FNanchor_1055"><span class="label">1055</span></a> <i>H. N.</i>, XXXIV. 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1056"></a><a href="#FNanchor_1056"><span class="label">1056</span></a> <i>Infra</i>, pp. 288 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1057"></a><a href="#FNanchor_1057"><span class="label">1057</span></a> Amelung, <i>Fuehrer</i>, no. 25; Duetschke, III, 72 (1.93 meters high); B. B., 523–4 (text by -Arndt); Bulle, p. 116, fig. 21; <i>cf.</i> Helbig, <i>Guide</i>, I, pp. 26 f., on nos. 42 and 44 (statuettes); Benndorf, -<i>Jh. oest. arch. Inst.</i>, 1898, Beiblatt, pp. 66 f.; Klein, <i>Praxiteles</i>, pp. 51 f.; Furtw., <i>Mp.</i>, -pp. 261–2; <i>Mw.</i>, pp. 469–71; Bloch, <i>R. M.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1058"></a><a href="#FNanchor_1058"><span class="label">1058</span></a> <i>Die antiken Gemmen</i>, Pl. XLIV, no. 17, and text, II, p. 212; <i>Mp.</i>, p. 261, fig. 108; <i>Mw.</i>, p. -470, fig. 78; Hartwig, in <i>Berl. Phil. Wochenschr.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1059"></a><a href="#FNanchor_1059"><span class="label">1059</span></a> Arndt dates it about 400 B. C.; Furtwaengler ascribes it and the Dresden torso of the -<i>Oil-pourer</i>, already discussed, to an Attic master of the end of the fifth or beginning of the -fourth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1060"></a><a href="#FNanchor_1060"><span class="label">1060</span></a> Listed by Furtw., <i>Mp.</i>, p. 262, n. 1; <i>Mw.</i>, p. 470, n. 5. Especially the reduced mediocre -copy in the Braccio Nuovo of the Vatican: Helbig, <i>Guide</i>, no. 45; Clarac, 861, 2183; <i>R. M.</i>, -VII, 1892, pp. 92 f., and fig.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1061"></a><a href="#FNanchor_1061"><span class="label">1061</span></a> 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, <i>Jh. oest. arch. Inst.</i>, V, 1902, pp. 214 f. and fig. 68; Springer-Michaelis, -p. 297, fig. 530; <i>cf.</i> <i>A. J. A.</i>, VII, 1902, pp. 352–3, figs. 1 and 2. It is 1.925 meters -high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1062"></a><a href="#FNanchor_1062"><span class="label">1062</span></a> Babelon et Blanchet, <i>Cat. des bronzes antiques de la Biblioth. Nat.</i>, 1895, no. 934, p. 411; it is -0.075 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1063"></a><a href="#FNanchor_1063"><span class="label">1063</span></a> Discussed by P. Hartwig, <i>Jh. oest. arch. Inst.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1064"></a><a href="#FNanchor_1064"><span class="label">1064</span></a> It is in the Hamilton Coll.; see <i>B. M. Cat. Engraved Gems</i>, 1888, no. 335; <i>cf. ibid.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1065"></a><a href="#FNanchor_1065"><span class="label">1065</span></a> Bulle, no. 265; B. B., 601 (text by L. Curtius); H. Pomtow, <i>Beitr. z. Topogr. v. Delphi</i>, -Pl. XII; Homolle, <i>Société des Antiquaires de France</i>, Centennaire 1804–1904, Pl. XII. The -figures are life-size (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1066"></a><a href="#FNanchor_1066"><span class="label">1066</span></a> <i>H. N.</i>, XXXIV, 59: <i>Hic primus nervos et venas expressit</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1067"></a><a href="#FNanchor_1067"><span class="label">1067</span></a> In the Louvre: Longpérier, <i>Notice des bronzes antiques du Louvre</i>, I, 1868 (reprinted 1879), -no. 214; de Ridder, <i>Les bronzes antiques du Louvre</i>, I, 1913, Pl. 19, no. 183, and pp. 34 f.; Furtw., -<i>Mp.</i>, Pl. XIII, and p. 280, fig. 119; text, pp. 279 f.; <i>Mw.</i>, Pl. XXVIII, 3 (middle), and text, -pp. 492 f.; Reinach, <i>Rép.</i>, II, <small>2</small>, 588, 3. It is 0.21 meter high. For the same style and conception, -<i>cf.</i> a statuette from Cyprus in the Cesnola Collection, Metropolitan Museum, New York: -Richter, <i>Gk., Etruscan, and Roman Bronzes</i>, p. 57, fig. 87 (two views). Here the left leg is the -rest leg.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1068"></a><a href="#FNanchor_1068"><span class="label">1068</span></a> <i>Inschr. v. Ol.</i>, 164; base reproduced in <i>Mp.</i>, p. 279, fig. 118; <i>Mw.</i>, p. 491, fig. 85.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1069"></a><a href="#FNanchor_1069"><span class="label">1069</span></a> See list, Furtw., <i>Mp.</i>, pp. 281 f.; <i>Mw.</i>, p. 493; a completer one by Lippold, <i>Jb.</i>, XXIII, -1908, pp. 203–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1070"></a><a href="#FNanchor_1070"><span class="label">1070</span></a> Amelung, <i>Vat.</i>, II, pp. 414 f., no. 251, and Pl. 46; Furtw., <i>Mp.</i>, p. 281, fig. 120; <i>Mw.</i>, 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, <i>Vat.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1071"></a><a href="#FNanchor_1071"><span class="label">1071</span></a> Publ. by Miss A. Walton, <i>A. J. A.</i>, XXII, 1918, pp. 44 f., Pls. I, II, and figs. 1–5 in -the text; Matz-Duhn, <i>Ant. Bildw. in Rom.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1072"></a><a href="#FNanchor_1072"><span class="label">1072</span></a> Copies of the head-type are listed by Furtw., <i>Mp.</i>, p. 282; <i>Mw.</i>, pp. 494–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1073"></a><a href="#FNanchor_1073"><span class="label">1073</span></a> Invent., 5610; <i>Bronzi d’Ercolano</i>, I, Pls. 53–54, p. 187; Comparetti e de Petra, <i>Villa Ercolanese -dei Pisoni</i>, 7, 4; Furtw., <i>Mp.</i>, p. 284, figs. 121 a, b; <i>Mw.</i>, pp. 496–7, figs. 87–8; B. B., 339 -(left).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1074"></a><a href="#FNanchor_1074"><span class="label">1074</span></a> <i>Mp.</i>, p. 283; <i>Mw.</i>, p. 495.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1075"></a><a href="#FNanchor_1075"><span class="label">1075</span></a> Amelung, <i>Vat.</i>, II, p. 416.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1076"></a><a href="#FNanchor_1076"><span class="label">1076</span></a> In the Museo Archeologico: Amelung, <i>Fuehrer</i>, 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, <i>Rép.</i>, II, <small>2</small>, 588, 2; Furtw., <i>Mp.</i>, p. 285, fig. 122 -(head); <i>Mw.</i>, p. 499, fig. 89; Robinson, <i>Cat. Boston Museum of Fine Arts</i>, Suppl., no. 113; -Springer-Michaelis, p. 272, fig. 488. It is 1.48 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1077"></a><a href="#FNanchor_1077"><span class="label">1077</span></a> Ueber die Bronzestatue des sog. Idolino (<i>49stes Berl. Winckelmannsprogr.</i>, 1889), p. 10. He -classed it stylistically with the <i>Oil-pourer</i> of Munich and the <i>Standing Diskobolos</i> 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: <i>Beilage -zu den amtlichen Berichten aus den k. Kunstsamml.</i>, XVIII, no. 5, Juli, 1897, p. 73 (quoted by -Richardson, p. 161, n. 8).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1078"></a><a href="#FNanchor_1078"><span class="label">1078</span></a> <i>Festschr. f. Benndorf</i>, p. 175: here he assigns it not to Myron himself, but to his son.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1079"></a><a href="#FNanchor_1079"><span class="label">1079</span></a> II, p. 30; he also admits its Polykleitan features.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1080"></a><a href="#FNanchor_1080"><span class="label">1080</span></a> <i>Polyklet u. s. Sch.</i>, pp. 70 f., 1902; he assigns it to an artist of the master’s circle.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1081"></a><a href="#FNanchor_1081"><span class="label">1081</span></a> <i>Mp.</i>, 286; <i>Mw.</i>, p. 500.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1082"></a><a href="#FNanchor_1082"><span class="label">1082</span></a> <i>Cronaca</i>, pp. 29–30, fig. 2 (= <i>Supplemento di Bolletino d’Arte</i>, Roma, XII, Fasic. V-VIII) -1918 (Lucia Mariani). <i>Cf.</i> review in <i>A. J. A.</i>, XXIII, 1919, p. 319 and fig. 2; and also Mariani, -<i>Rend. della Reale Accad. dei Lincei</i>, XXVI, 1918, pp. 125–138, and fig. in text.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1083"></a><a href="#FNanchor_1083"><span class="label">1083</span></a> Matz-Duhn, <i>Ant. Bildw.</i>, no. 1111; Furtw., <i>Mp.</i>, p. 287; <i>Mw.</i>, p. 502.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1084"></a><a href="#FNanchor_1084"><span class="label">1084</span></a> See material collected by Stephani, <i>Comptes rendus de la commiss. impér. archéol.</i>, St. Petersburg, -1873; <i>cf.</i> Fritze, <i>de Libatione veterum Graecorum</i>, Berl. Diss., 1893.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1085"></a><a href="#FNanchor_1085"><span class="label">1085</span></a> II, pp. 416 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1086"></a><a href="#FNanchor_1086"><span class="label">1086</span></a> No. 2723; Svoronos, Tafelbd., II, Pl. CXXI (CI is a poor copy of it); Staïs, <i>Marbres et -Bronzes</i>, pp. 240–242 (0.45 meter high; 0.57 meter broad). Staïs also regards it as an <i>ex voto</i> to -Herakles.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1087"></a><a href="#FNanchor_1087"><span class="label">1087</span></a> It is broken away, but its outline is clear.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1088"></a><a href="#FNanchor_1088"><span class="label">1088</span></a> Kabbadias, 248; Staïs, <i>op. cit.</i>, p. 86; Arndt-Bruckmann, <i>Einzelaufnahmen</i>, 627 and 628 -(head alone); noticed in <i>A. A.</i>, 1889, p. 147, and <i>A. M.</i>, XIII, 1888, p. 231 (Wolters); <i>ibid.</i>, -XXXI, 1906, pp. 352 f. (von Salis); <i>Jb.</i>, 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1089"></a><a href="#FNanchor_1089"><span class="label">1089</span></a> Furtwaengler, <i>Mw.</i>, p. 378, n. 3 (<i>cf.</i> <i>Mp.</i>, p. 196, n. 1), p. 685, n. 2 and p. 737; he ascribes -it to Kalamis or his school.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1090"></a><a href="#FNanchor_1090"><span class="label">1090</span></a> <i>H. N.</i>, XXXIV, 81; statue also mentioned, <i>ibid.</i>, XXII, 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1091"></a><a href="#FNanchor_1091"><span class="label">1091</span></a> In the National Museum, no. 12; Staïs, <i>Marbres et Bronzes</i>, pp. 362, 363 and fig. (0.09 meter -high); three photographs, <i>A. M.</i>, XXXI, Pl. XXII; a poor photograph in Carapanos, <i>Dodone -et ses ruines</i>, 1878, Pl. XIV, 3, and p. 186.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1092"></a><a href="#FNanchor_1092"><span class="label">1092</span></a> In the statuette it is bent, but its original horizontal position is indicated by the position -of the hand.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1093"></a><a href="#FNanchor_1093"><span class="label">1093</span></a> Two copies: Hettner, <i>Die Bildw. d. koenigl. Antikensamml.</i>,<sup>4</sup> 1881, nos. 70, 88; F. W., 1217; -Furtw., <i>Mp.</i>, pp., 310–11, figs. 131–2; <i>Mw.</i>, pp. 534–5, figs. 97–8; Springer-Michaelis, p. 314, -fig. 562; Reinach, <i>Rép.</i>, II, <small>1</small>, 139, 5–6; M. W., II, 39, 459; Clarac, IV, 712, 1695.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1094"></a><a href="#FNanchor_1094"><span class="label">1094</span></a> Listed, <i>Mp.</i>, p. 310, n. 2; <i>Mw.</i>, p. 533, n. 3; one, formerly in the Museo Boncompagni-Ludovisi, -now in the Museo delle Terme, in Rome: Reinach, <i>Rép.</i>, II, <small>1</small>, 139, 7; B. B., 376; -Helbig, <i>Fuehrer</i>, II, 1308; Collignon, II, p. 265, fig. 131; von Mach, 197. The original must -have been of bronze.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1095"></a><a href="#FNanchor_1095"><span class="label">1095</span></a> <i>H. N.</i>, XXXIV, 69. For discussion, see F. W., note on p. 421 (to no. 1217).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1096"></a><a href="#FNanchor_1096"><span class="label">1096</span></a> In the Museo Chiaramonti, no. 297; Amelung, <i>Vat.</i>, I, p. 509 and II, Pl. 53; Clarac, 479, 916.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1097"></a><a href="#FNanchor_1097"><span class="label">1097</span></a> <i>Cf.</i> <i>Beschr. d. Skulpt. zu Berlin</i>, no. 44; a poor torso of the type is in the Museo Chiaramonti -of the Vatican: Amelung, <i>Vat.</i>, no. 295 and Pl. 52; Reinach, <i>Rép.</i>, II, <small>1</small>, 173, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1098"></a><a href="#FNanchor_1098"><span class="label">1098</span></a> Michaelis, p. 609, no. 24; <i>Specimens</i>, I, Pl. 30; <i>Mp.</i>, p. 163, fig. 65 (front), p. 162, fig. 64 -(profile), from an old cast from the Mengs Collection in Dresden; <i>Mw.</i>, Pl. XVI; other replicas, -<i>Mp.</i>, p. 161, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1099"></a><a href="#FNanchor_1099"><span class="label">1099</span></a> <i>Cat. Class. Coll.</i>, pp. 214–17, and fig. 130 on p. 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1100"></a><a href="#FNanchor_1100"><span class="label">1100</span></a> <i>H. N.</i>, XXXIV, 76: <i>Ctesilaus doryphoron et Amazonem volneratam (fecit)</i>. Bergk long ago -proposed to alter this name to Kresilas (<i>Zeitschr. fuer Alterthumswissensch.</i>, 1845, p. 962), -and was followed by Brunn (I, p. 261)—an emendation accepted by most recent investigators. -The argument derived from the <i>Amazon</i> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1101"></a><a href="#FNanchor_1101"><span class="label">1101</span></a> <i>Mp.</i>, pp. 161 f.; <i>Mw.</i>, pp. 332 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1102"></a><a href="#FNanchor_1102"><span class="label">1102</span></a> 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); <i>Bull. del. Inst.</i>, 1867, p. 33 (Helbig); -<i>Mon. d. I.</i>, IX, 1869–73, Pl. XXXVI; <i>Annali</i>, XLIII, 1871, pp. 279 f. (Conze); it is also -visible in the New York copy.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1103"></a><a href="#FNanchor_1103"><span class="label">1103</span></a> As on an Attic fifth-century B. C. grave-relief from the Peiræus: Staïs, <i>Marbres et Bronzes</i>, -p. 157 (who gives the height as 0.45 meter and the breadth as 0.32 meter); von Sybel, <i>Kat. d. -Skulpt. zu Athen.</i>, 1881, no. 171; <i>Annali</i>, XXXIV, 1862, p. 212; Conze, <i>Die Attischen Grabreliefs</i>, -no. 929 and Pl. CLXXX; F. W., 1017; for similar reliefs, see <i>Annali</i>, 1862, Pl. M.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1104"></a><a href="#FNanchor_1104"><span class="label">1104</span></a> Michaelis wrongly dated the original in the fourth century B. C.; Brunn first recognized -its fifth-century character: <i>Annali</i>, XLVII, 1875, p. 31 (<i>apud</i> Leop. Julius).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1105"></a><a href="#FNanchor_1105"><span class="label">1105</span></a> <i>Ant. Denkm.</i>, I, <small>1</small>, 1886, Pl. IV; B. B., no. 248; Bulle, 167; Collignon, II, p. 492, fig. 256; -Helbig, <i>Fuehrer</i>, II, 1350; <i>Guide</i>, 1051; Hekler, <i>Greek and Roman Portraits</i>, 1912, pp. 85–86; -Gardner, <i>Hbk.</i>, p. 536, fig. 146; Amelung, <i>Museums and Ruins of Rome</i>, I, fig. 156; <i>Not. Scav.</i>, -1885, p. 223; <i>Gaz. B.-A.</i>, XXXIII, Pér. 2, I, 1886, fig. on p. 427; Springer-Michaelis, p. 401, -fig. 743; Reinach, <i>Rép.</i>, II, <small>2</small>, 550, 10; Reinach classes it as an athlete or Herakles. It is -1.28 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1106"></a><a href="#FNanchor_1106"><span class="label">1106</span></a> Discussed <i>infra</i>, Ch. IV, pp. 254–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1107"></a><a href="#FNanchor_1107"><span class="label">1107</span></a> For this reason Helbig wrongly assigned it to about 400 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1108"></a><a href="#FNanchor_1108"><span class="label">1108</span></a> <i>Ueber die griech. Portraetkunst</i>, 1894, pp. 12 f. (and fig.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1109"></a><a href="#FNanchor_1109"><span class="label">1109</span></a> XXVII, 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1110"></a><a href="#FNanchor_1110"><span class="label">1110</span></a> <i>Philologus</i>, 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. <i>Cf.</i> Suidas, <i>s. v.</i> Κλειτόμαχος. His -statue was set up by his father, and his victory sung by Alkaios of Messenia: <i>A. G.</i>, IX, 588.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1111"></a><a href="#FNanchor_1111"><span class="label">1111</span></a> <i>Cf.</i> Petersen, <i>R. M.</i>, XIII, 1898, pp. 93–5; this theory of Wunderer is also rejected by -Hitz.-Bluemn., II, <small>2</small>, p. 609.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1112"></a><a href="#FNanchor_1112"><span class="label">1112</span></a> Erected about 477 B. C.; Bulle, 84 (<i>Aristogeiton</i>) and 85 (<i>Harmodios</i>); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1113"></a><a href="#FNanchor_1113"><span class="label">1113</span></a> Discussed <i>infra</i>, Ch. IV, pp. 220–1 and n. 5 on p. 220.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1114"></a><a href="#FNanchor_1114"><span class="label">1114</span></a> See Stephanos, <i>Lex.</i>, <i>s. vv.</i> ταινία, ταινίδιον, ταινόω. This victor fillet is mentioned by -Lucian in reference to the <i>Diadoumenos</i> of Polykleitos: <i>Philops.</i>, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1115"></a><a href="#FNanchor_1115"><span class="label">1115</span></a> Xen., <i>Symp.</i>, V, 9; Plato, <i>Symp.</i>, 212 E; it appears often on statues of Dionysos: <i>e. g.</i>, on -one in Furtwaengler’s <i>Samml. Sabouroff</i>, Pl. XXIII; Dionysos is called Χρυσομίτρης in Soph., -<i>Oed. Tyr.</i>, 209. The fillet was used as a breast-band for women’s dresses: Pollux, VII, 65; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1116"></a><a href="#FNanchor_1116"><span class="label">1116</span></a> <i>J. H. S.</i>, I, 1880, p. 177. In older days the athletic fillet was called μίτρα (Lat. <i>mitella</i>): -Pindar, <i>Ol.</i>, IX, 84; <i>Isthm.</i>, V, 62 (of wool); Boeckh, <i>Explic. ad Pind.</i>, 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: <i>A. G.</i>, XV, 44; -and for women’s headbands: Alkm., I; <i>cf.</i> Eurip., <i>Bacchae</i>, 833. Athletes on vase-paintings -representing palæstra scenes often wear the fillet: <i>e. g.</i>, 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., <i>Thesmophoriazusae</i>, -163. The home of the μίτρα appears to have been Asia, as it was commonly worn by -Asiatics: see Hdt., I, 195; VII, 62 (head-dress); Virgil, <i>Aen.</i>, IV, 216. We learn from Alkman -that it came from Lydia to Greece: fragm. 23, verses 67 f. On it, see Bekker, <i>Charikles</i>, -II, pp. 393 f., and Pauly-Wissowa, VII, <small>2</small>, p. 2033 (Bremer).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1117"></a><a href="#FNanchor_1117"><span class="label">1117</span></a> See F. W., on 322. It appears on the “Apollo” type of early sculpture, <i>e. g.</i>, on the “Apollo” -of Orchomenos (Fig. 7).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1118"></a><a href="#FNanchor_1118"><span class="label">1118</span></a> <i>Stud. z. Parthenon</i>, 1902, pp. 1 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1119"></a><a href="#FNanchor_1119"><span class="label">1119</span></a> VI, 2.2; Lichas won the chariot victory in Ol. 90 ( = 420 B. C.): Hyde, 14; Foerster, 270.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1120"></a><a href="#FNanchor_1120"><span class="label">1120</span></a> P., V, 11.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1121"></a><a href="#FNanchor_1121"><span class="label">1121</span></a> Bulle, no. 207; Furtw.-Wolters, <i>Besch.</i>,<sup>2</sup> 457; B. B., 8; here it was inlaid with silver.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1122"></a><a href="#FNanchor_1122"><span class="label">1122</span></a> This may, however, be merely the remains of a wreath of gold: see Rayet, II, text to no. 67 -(J. Martha).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1123"></a><a href="#FNanchor_1123"><span class="label">1123</span></a> Bulle, no. 202; Lechat, p. 482, fig. 44. It is 0.23 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1124"></a><a href="#FNanchor_1124"><span class="label">1124</span></a> <i>Bildw. v. Ol.</i>, Tafelbd., Pl. LIV; F. W., 322; Wolters thinks this is scarcely a victor fillet.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1125"></a><a href="#FNanchor_1125"><span class="label">1125</span></a> 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 <i>supra</i>, pp. 144–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1126"></a><a href="#FNanchor_1126"><span class="label">1126</span></a> Noted by Furtw., <i>Mp.</i>, p. 161.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1127"></a><a href="#FNanchor_1127"><span class="label">1127</span></a> P., VI, 1.7; he won in Ol. (?) 89 ( = 424 B. C.): Hyde, 9; Foerster, 796.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1128"></a><a href="#FNanchor_1128"><span class="label">1128</span></a> <i>A. M.</i>, XIX, 1894, pp. 137–9 (J. Ziehen); fig. in text. It is now in the Museum of the Peiræus -Gymnasion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1129"></a><a href="#FNanchor_1129"><span class="label">1129</span></a> On such representations in art, see Stephani, <i>Comptes rendus de la commission impériale -archéologique</i>, St. Petersburg, 1874, pp. 214–16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1130"></a><a href="#FNanchor_1130"><span class="label">1130</span></a> Παῖς ἀναδούμενος: VI, 4.5; <i>S. Q.</i>, 757.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1131"></a><a href="#FNanchor_1131"><span class="label">1131</span></a> <i>Hermes</i>, XXIII, 1888, pp. 444 f.; P., V, 11.3. Robert is followed by Kalkmann, <i>Pausanias -der Perieget</i>, 1886, pp. 90 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1132"></a><a href="#FNanchor_1132"><span class="label">1132</span></a> <i>Cf.</i> Frazer, IV, p. 11. Figures of athletes appear beneath the throne on vases: Overbeck, -<i>Griech. Kunstmythol.</i>, 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; <i>cf.</i> Gurlitt, <i>Ueber Pausanias</i>, -1890, p. 380.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1133"></a><a href="#FNanchor_1133"><span class="label">1133</span></a> VI, 10.6. Pantarkes won the boys’ wrestling match in Ol. 86 ( = 436 B. C.): Hyde, 98; Foerster, -254.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1134"></a><a href="#FNanchor_1134"><span class="label">1134</span></a> Amongst others it has been assumed by Loeschke, Der Tod des Pheidias (in <i>Histor. Untersuch. -zum Schaefer-Jubilaeum</i>, Bonn, 1882), p. 36; Schoell, <i>Sitzb. Muen. Akad.</i>, 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 (<i>de olympionicarum Statuis</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1135"></a><a href="#FNanchor_1135"><span class="label">1135</span></a> The παῖς ἀναδούμενος is mentioned between victors nos. 38 and 39, <i>i. e.</i>, in the Zone of the -<i>Eretrian Bull</i>, while Pantarkes (98) is mentioned among the statues in the Zone of the <i>Chariots</i>: see -<i>infra</i>, Ch. VIII, pp. 343 and 345, and Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1136"></a><a href="#FNanchor_1136"><span class="label">1136</span></a> <i>Cf.</i> Gurlitt, <i>Ueber Pausanias</i>, pp. 378 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1137"></a><a href="#FNanchor_1137"><span class="label">1137</span></a> <i>Cf.</i> Doerpfeld, <i>Baudenkmaeler v. Ol.</i>, p. 21 and n. 1; Furtw., <i>Mp.</i>, pp. 39–40; Frazer, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1138"></a><a href="#FNanchor_1138"><span class="label">1138</span></a> <i>B. M. Sculpt.</i>, I, no. 501; <i>Marbles and Bronzes</i>, Pl. VI; B. B., 271; Bulle, 49; von Mach, 117; -Springer-Michaelis, p. 259, fig. 461; F. W., 509; <i>Annali</i>, 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, <i>Rép.</i>, 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1139"></a><a href="#FNanchor_1139"><span class="label">1139</span></a> Brunn, following older writers such as Winckelmann, had pronounced it Polykleitan: <i>Annali</i>, -LI, 1879, pp. 218 f.; <i>cf.</i> Murray, I, pp. 313 f. and Pl. IX. Kekulé called it Myronian: <i>49stes -Berl. Winckelmannsprogr.</i>, 1889, p. 12; Gardner, <i>Sculpt.</i>, 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, <i>Annali</i>, LV, 1883, pp. 154 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1140"></a><a href="#FNanchor_1140"><span class="label">1140</span></a> So Bulle, Arndt (text to B. B., 271), Furtwaengler (<i>Mp.</i>, pp. 244–5; <i>Mw.</i>, pp. 444–5), Zimmerman -(in Knackfuss-Zimmermann, <i>Kunstgesch. des Altertums und des Mittelalters</i>, I, p. 152), and -many others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1141"></a><a href="#FNanchor_1141"><span class="label">1141</span></a> <i>Cf.</i> especially the resemblance of the statue to the youth on the West frieze: Michaelis, <i>Der -Parthenon</i>, Pl. V, no. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1142"></a><a href="#FNanchor_1142"><span class="label">1142</span></a> Pliny, <i>H. N.</i>, XXXIV, 55, praises it equally with the <i>Doryphoros</i>, 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: <i>ibid.</i>, VII, 126; <i>cf.</i> XXXV, 24 and 100. -A painting by Timomachos of Byzantium brought 80 talents: <i>ibid.</i>, XXXV, 136.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1143"></a><a href="#FNanchor_1143"><span class="label">1143</span></a> <i>H. N.</i>, XXXIV, 56; here he quotes Varro, who was drawing probably from Xenokrates of -Sikyon: see Jex-Blake, pp. xvi f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1144"></a><a href="#FNanchor_1144"><span class="label">1144</span></a> Listed by Furtwaengler, <i>Mp.</i>, pp. 239 f.; the torsos, by Petersen, <i>B. com. Rom.</i>, 1890, pp. 185 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1145"></a><a href="#FNanchor_1145"><span class="label">1145</span></a> <i>B. M. Sculpt.</i>, I, no. 500; <i>Marbles and Bronzes</i>, Pl. IV; B. B., 272; von Mach, 114; F. W., 508; -<i>Mon. d. I.</i>, X, 1874–78, Pl. XLIX (3 views); Rayet, I, Pl. 30; Collignon I, p. 479, fig. 253; Murray, -I, Pl. X; Reinach, <i>Rép.</i>, II, <small>2</small>, 547, 5. Michaelis, by a comparison with the <i>Doryphoros</i>, first showed -that it was a copy of the <i>Diadoumenos</i>: <i>Annali</i>, L, 1878, pp. 10 f. It is 6 ft. 1 in. tall (Smith).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1146"></a><a href="#FNanchor_1146"><span class="label">1146</span></a> Kabbadias, no. 1826; Bulle, 50; Gardner, <i>Sculpt.</i>, Pl. 35; von Mach, 115; <i>Mon. Piot</i>, III, -1896, pp. 137 f. (Couve), and Pls. XIV and XV; Staïs, <i>Marbres et Bronzes</i>, pp. 84–85 and fig.; -<i>B. C. H.</i>, 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, -<i>Rép.</i>, II, <small>2</small>, 547, 9. It is 1.86 meters high without the base (Couve).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1147"></a><a href="#FNanchor_1147"><span class="label">1147</span></a> Discussed <i>supra</i>, on pp. 92–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1148"></a><a href="#FNanchor_1148"><span class="label">1148</span></a> <i>Mon. Piot</i>, IV, Pls. VIII-IX; von Mach, no. 116 a; Furtw., <i>Mp.</i>, p. 241, fig. 98; <i>Mw.</i>, -p. 439, fig. 68 (who called it the most beautiful of all the copies); Reinach, <i>Rép.</i>, I, 475, 6. The -right arm is wrongly restored.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1149"></a><a href="#FNanchor_1149"><span class="label">1149</span></a> Listed by Furtwaengler, <i>Mp.</i>, pp. 240–2; <i>cf.</i> Gardner, <i>Sculpt.</i>, pp. 125 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1150"></a><a href="#FNanchor_1150"><span class="label">1150</span></a> Hettner, <i>Die Bildw. d. Antikensamml. zu Dresden</i>, pp. 80 and 86; <i>Annali</i>, XLIII, 1871, -Pl. V, pp. 281 f. (Conze); Furtw., <i>Mp.</i>, Pls. X and XI; <i>Mw.</i>, Pl. XXV; Gardner, <i>Sculpt.</i>, Pl. -36 (two views); F. W., 511.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1151"></a><a href="#FNanchor_1151"><span class="label">1151</span></a> B. B., no. 340; Conze, <i>Beitraege zur Geschichte d. griech. Pl.</i><sup>2</sup>, 1869, pp. 3 f., Pl. 2 (two views); -F. W., 510.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1152"></a><a href="#FNanchor_1152"><span class="label">1152</span></a> <i>B. M. Sculpt.</i>, III, no. 2729 (Addenda); <i>Mon. Piot</i>, III, p. 145 (Couve); <i>ibid.</i>, IV, p. 73 (Paris); -Gardner, <i>Sculpt.</i>, Pl. 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1153"></a><a href="#FNanchor_1153"><span class="label">1153</span></a> <i>J. H. S.</i>, VI, 1885, pp. 243 f. (Murray), and Pl. LXI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1154"></a><a href="#FNanchor_1154"><span class="label">1154</span></a> <i>J. H. S.</i>, XXXIX, 1919, pp. 69 f., and Pl. 1 (two views), and p. 232 (with illustration of -the palmette head-band).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1155"></a><a href="#FNanchor_1155"><span class="label">1155</span></a> <i>Mp.</i>, p. 246, fig. 99 (with original head); <i>Mw.</i>, p. 447, fig. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1156"></a><a href="#FNanchor_1156"><span class="label">1156</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1157"></a><a href="#FNanchor_1157"><span class="label">1157</span></a> <i>Mp.</i>, p. 246; <i>Mw.</i>, p. 448. It is 12 centimeters high (Furtwaengler).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1158"></a><a href="#FNanchor_1158"><span class="label">1158</span></a> κοτίνου στέφανος, P., VIII, 48.2; <i>cf.</i> <i>A. G.</i>, IX, 357; Aristoph., <i>Plut.</i>, 586; Theophr., <i>Hist. Plant.</i>, -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 (= <i>F. H. G.</i>, III, p. 604). Pindar says -that it was introduced from the land of the Hyperboreans by Herakles: <i>Ol.</i>, III, 14 f; Bacchylides -calls it Aetolian: VII, 50 (γλαυκὸν Αἰτωλίδος ἄνδημ’ ἐλαίας). It probably goes back to some -form of popular magic.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1159"></a><a href="#FNanchor_1159"><span class="label">1159</span></a> B. B., no. 324; here small leaves are still remaining over the forehead.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1160"></a><a href="#FNanchor_1160"><span class="label">1160</span></a> <i>Bronz. v. Ol.</i>, II, 2 and 2 a. Here the leaves have disappeared. See pp. 254–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1161"></a><a href="#FNanchor_1161"><span class="label">1161</span></a> <i>B. C. H.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1162"></a><a href="#FNanchor_1162"><span class="label">1162</span></a> Helbig, <i>Fuehrer</i>, II, 1241; <i>Guide</i>, 977. On the motive, see <i>Archaeol. Studien H. Brunn dargebr.</i>, -1893, pp. 62 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1163"></a><a href="#FNanchor_1163"><span class="label">1163</span></a> The λημνίσκος (Lat. <i>lemniscus</i>) 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; <i>A. G.</i>, XII, 123; Plut., <i>Sulla</i>, 27; Polyb., XVIII, 46 (where στέφανοι -and λημνίσκοι are differentiated, though they are usually interchangeable); <i>C. I. G.</i>, III, 5361; -<i>C. I. A.</i>, III, 74. Pliny says that it was of Etruscan origin, <i>H. N.</i>, XXI, 4, and that it was at -first made of wool or linden-bark and later of gold; <i>cf.</i> XVI, 25. It was used at Rome at feasts, as -a sign of special honor to guests: Plaut., <i>Pseudolus</i>, (line 1265); Livy, XXXIII, 33.2; Suet., <i>Nero</i>, -25. For the Roman use of the <i>lemniscus</i> for athletic victors and poets, <i>cf.</i> Cicero, <i>Or. pro Sext. -Roscio Amerino</i>, 35, 100; Ausonius, <i>Epist.</i>, XX, 6; etc. On the <i>lemniscus</i>, see Dar.-Sagl., III, <small>2</small>, -pp. 1099–1100.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1164"></a><a href="#FNanchor_1164"><span class="label">1164</span></a> <i>R. M.</i>, VI, 1891, p. 304, no. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1165"></a><a href="#FNanchor_1165"><span class="label">1165</span></a> <i>Mon. Piot</i>, XVII, 1909, Pls. II, III and pp. 29 f. (Merlin and Poinssot).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1166"></a><a href="#FNanchor_1166"><span class="label">1166</span></a> <i>B. M. Sculpt.</i>, III, no. 1754; B. B., 46; <i>Marbles and Bronzes</i>, Pl. XXII; Collignon, I, fig. 255, -on p. 500; Furtw., <i>Mp.</i>, p. 252, fig. 105; <i>Mw.</i>, p. 457, fig. 75 (back view); Springer-Michaelis, -p. 275, fig. 495; Reinach, <i>Rép.</i>, II, <small>2</small>, 546, 9. It is 4 ft. 11 in. high (Smith), <i>i. e.</i>, 1.48 meters.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1167"></a><a href="#FNanchor_1167"><span class="label">1167</span></a> Helbig, <i>Cat. Coll. Barracco</i>, no. 99, Pls. 38 and 38 a; <i>id.</i>, <i>Fuehrer</i>, I, 1083; sketches of the Westmacott -and Barracco copies in Kekulé, <i>49stes Berl. Winckelmannsprogr.</i>, 1889, Pl. IV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1168"></a><a href="#FNanchor_1168"><span class="label">1168</span></a> No. 254; <i>Arch. Eph.</i>, 1890, pp. 207 f. (Philios) and Pls. X and XI. Bulle, 51, gives the Westmacott -and Barracco examples side by side; in <i>J. H. S.</i>, XXXI, 1911, Pl. II, we have the Westmacott, -Barracco, and Eleusis copies together. Furtwaengler, <i>Mp.</i>, pp. 250 f., <i>Mw.</i>, pp. 453 f., -Helbig, <i>Cat. Coll. Barracco</i>, p. 36, and Petersen, <i>R. M.</i>, VIII, 1893, pp. 101 f., have added many -more torsos and heads as copies or variants of the original.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1169"></a><a href="#FNanchor_1169"><span class="label">1169</span></a> See Helbig, <i>Fuehrer</i>, 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: <i>Mp.</i>, p. 255 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1170"></a><a href="#FNanchor_1170"><span class="label">1170</span></a> <i>Burlington Fine Arts Club, Catalogue Anc. Gk. Art</i>, 1904, no. 45, Pl. XXXIII; Furtw., <i>Mp.</i>, -p. 251, fig. 103; <i>Mw.</i>, p. 454, fig. 73. It was formerly in the van Branteghem collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1171"></a><a href="#FNanchor_1171"><span class="label">1171</span></a> For the Dresden head, see <i>A. A.</i>, 1900, p. 107, figs. 1 a and 1 b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1172"></a><a href="#FNanchor_1172"><span class="label">1172</span></a> Furtw., <i>Mp.</i>, p. 252, fig. 104; <i>Mw.</i>, p. 455, fig. 74.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1173"></a><a href="#FNanchor_1173"><span class="label">1173</span></a> First published by F. H. Marshall, <i>J. H. S.</i>, XXIX, 1909, pp. 151–2 and figs. 1 a, b; more fully -by E. A. Gardner, <i>ibid.</i>, XXXI, 1911, pp. 21 f. and Pl. I and fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1174"></a><a href="#FNanchor_1174"><span class="label">1174</span></a> Nelson head: <i>J. H. S.</i>, XVIII, 1898, pp. 141 f., and Pl. XI; B. B., 544; Gardner, <i>Sculpt.</i>, Pl. -XXXIX; Capitoline <i>Amazon</i>: <i>Mp.</i>, p. 132, fig. 53 (restored); <i>Mw.</i>, p. 292, fig. 39. A head of the -Capitoline type has been wrongly placed on the Pheidian Mattei torso in the Vatican: <i>Mp.</i>, p. 133, -fig. 54 (head); <i>Mw.</i>, Pl. XI; B. B., 350; von Mach, 121; Reinach, <i>Rép.</i>, I, 483, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1175"></a><a href="#FNanchor_1175"><span class="label">1175</span></a> B. B., 128 (original and cast).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1176"></a><a href="#FNanchor_1176"><span class="label">1176</span></a> As, <i>e. g.</i>, in the bronze head of a victor in Naples, already discussed (Fig. 25); B. B., 339.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1177"></a><a href="#FNanchor_1177"><span class="label">1177</span></a> <i>E. g.</i>, Furtwaengler and Collignon; the latter, I, pp. 499–500.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1178"></a><a href="#FNanchor_1178"><span class="label">1178</span></a> <i>Hypnos</i>, pp. 30 f.; accepted by Wolters (<i>apud</i> Lepsius, <i>Griech. Marmorstudien</i>, p. 83, no. 164), -Treu (<i>A. A.</i>, 1889, p. 57), Collignon, Petersen, <i>l. c.</i>, Kekulé (<i>Idolino</i>, p. 13), Furtwaengler (<i>Mp.</i>, -pp. 252–3, <i>Mw.</i>, pp. 458–9 and 747), and others; see Philios, <i>op. cit.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1179"></a><a href="#FNanchor_1179"><span class="label">1179</span></a> <i>E. g.</i>, by Philios (<i>op. cit.</i>), Amelung (<i>Bert. Phil. Wochenschr.</i>, XXII, 1902, p. 273). This -scraping motive is seen in the bronze statuette in the Bibliothèque Nationale, no. 934.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1180"></a><a href="#FNanchor_1180"><span class="label">1180</span></a> 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, <i>Rendiconti della Reale Accad. dei Lincei</i>, 1892, -pp. 790 f.; refuted by Furtwaengler, Petersen, Helbig himself later (in the <i>Fuehrer</i>), and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1181"></a><a href="#FNanchor_1181"><span class="label">1181</span></a> Quoted by E. A. Gardner, <i>J. H. S.</i>, XXXI, pp. 25–6, as the theory of E. N. Gardiner.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1182"></a><a href="#FNanchor_1182"><span class="label">1182</span></a> <i>H. N.</i>, XXXIV, 55; for this theory, see Mahler, <i>Polyklet u. s. Sch.</i>, p. 50.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1183"></a><a href="#FNanchor_1183"><span class="label">1183</span></a> Michaelis, <i>Der Parthenon</i>, 1870, Block 131 (from the North frieze).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1184"></a><a href="#FNanchor_1184"><span class="label">1184</span></a> F. W., 1665; Furtw., <i>Mp.</i>, p. 256, fig. 106; <i>Mw.</i>, p. 463, fig. 76; M. W., Pl. 70, 879; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1185"></a><a href="#FNanchor_1185"><span class="label">1185</span></a> For list, see Furtw., <i>Mp.</i>, p. 254, n. 2. For a restoration of the original statue, see <i>ibid.</i>, p. 250, -fig. 102; <i>Mw.</i>, p. 453, fig. 72.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1186"></a><a href="#FNanchor_1186"><span class="label">1186</span></a> VI, 4.11; <i>Inschr. v. Ol.</i>, 149; <i>I. G. B.</i>, 50.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1187"></a><a href="#FNanchor_1187"><span class="label">1187</span></a> Those of the Elean pentathlete Pythokles: <i>Inschr. v. Ol.</i>, 162–3; <i>I. G. B.</i>, 91; and the Epidaurian -boxer Aristion: <i>Inschr. v. Ol.</i>, 165 (renewed); <i>I. G. B.</i>, 92. The feet of the Aristion were both flat -upon the ground.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1188"></a><a href="#FNanchor_1188"><span class="label">1188</span></a> That of the boy wrestler Xenokles of Mainalos: <i>Inschr. v. Ol.</i>, 164; <i>I. G. B.</i>, 90.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1189"></a><a href="#FNanchor_1189"><span class="label">1189</span></a> In one of the Olympia <i>Zanes</i>: <i>I. G. B.</i>, 95.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1190"></a><a href="#FNanchor_1190"><span class="label">1190</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1191"></a><a href="#FNanchor_1191"><span class="label">1191</span></a> <i>O. S.</i>, p. 186, on the basis of the <i>Oxy. Pap.</i>; followed by Hyde, 45. Foerster’s date, Ol. (?) 86 -( = 436 B. C.), follows the earlier dating of Polykleitos by Robert, <i>Arch. Maerchen</i>, 1886, p. 107, <i>i. e.</i>, -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 <i>Kyniskos</i> were his earliest statue, -it must have been erected some time after the victory. Furtwaengler dates the original of the -<i>Westmacott Athlete</i> about 440 B. C.: <i>Mp.</i>, p. 252.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1192"></a><a href="#FNanchor_1192"><span class="label">1192</span></a> 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” (<i>Mp.</i>, pp. 249–50).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1193"></a><a href="#FNanchor_1193"><span class="label">1193</span></a> VIII, 48.2; <i>cf.</i> Vitruv., <i>de Arch.</i>, IX, 1 (p. 212).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1194"></a><a href="#FNanchor_1194"><span class="label">1194</span></a> Homer mentions the palm: <i>e. g.</i>, Od., VI, 163; the various kinds of palm are given by Theophr., -<i>Hist. Plant.</i>, II, 6.6 and 8.4. Its fronds (σπάθαι, <i>cf.</i> Hdt., VII, 69) were formed into victory -crowns: Plut., <i>Quaest. conviv.</i>, VIII, 4, p. 723.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1195"></a><a href="#FNanchor_1195"><span class="label">1195</span></a> <i>H. N.</i>, XXXV, 75.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1196"></a><a href="#FNanchor_1196"><span class="label">1196</span></a> <i>Arch. Stud. H. Brunn dargehracht</i>, 1893, pp. 62 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1197"></a><a href="#FNanchor_1197"><span class="label">1197</span></a> <i>Mp.</i>, p. 256 and n. 1; <i>Mw.</i>, p. 462 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1198"></a><a href="#FNanchor_1198"><span class="label">1198</span></a> <i>Cf.</i> Waldstein, <i>J. H. S.</i>, I, 1880, p. 187, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1199"></a><a href="#FNanchor_1199"><span class="label">1199</span></a> <i>B. C. H.</i>, V, 1881, PI. III. See <i>supra</i>, p. 155.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1200"></a><a href="#FNanchor_1200"><span class="label">1200</span></a> So Waldstein, <i>l. c.</i>, p. 186.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1201"></a><a href="#FNanchor_1201"><span class="label">1201</span></a> <i>E. g.</i>, on a Panathenaic vase: <i>Mon. d. I.</i>, X, 1874–78, Pl. 48, e. g.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1202"></a><a href="#FNanchor_1202"><span class="label">1202</span></a> Mentioned by Helbig, <i>Guide</i>, 977; discussed by Arndt in <i>La Glyptothèque Ny-Carlsberg</i>, -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: <i>op. cit.</i>, fig. 13; <i>cf.</i> Furtwaengler, <i>Mw.</i>, 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, <i>Arch. -Stud. H. Brunn dargebracht</i>, pp. 62 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1203"></a><a href="#FNanchor_1203"><span class="label">1203</span></a> VI, 10.4. The scholiast on Pindar, <i>Pyth.</i>, IX, 1, Boeckh, p. 401, says that the hoplites ran -with bronze shields.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1204"></a><a href="#FNanchor_1204"><span class="label">1204</span></a> See <i>supra</i>, pp. 105, n. 3, and 116.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1205"></a><a href="#FNanchor_1205"><span class="label">1205</span></a> P., VI, 13.7. He won in Ol. 81 ( = 456 B. C.): <i>Oxy. Pap.</i>; Hyde, 117; Foerster, 184.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1206"></a><a href="#FNanchor_1206"><span class="label">1206</span></a> Schol. on Pindar, <i>Pyth.</i>, IX, Inscript. a. Boeckh, p. 401.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1207"></a><a href="#FNanchor_1207"><span class="label">1207</span></a> Head A: <i>Bildw. v. Ol.</i>, Textbd., pp. 29 f.; Tafelbd., Pl. VI, 1–4; <i>Ausgrab. v. Ol.</i>, V, 1881, pp. 12 f., -Pls. XVIII (front), XIX (side); F. W., 316; Overbeck, I, pp. 198–9 and <i>cf.</i> p. 178. Head B: -<i>Bildw.</i>, pp. 31 f., and Pl. VI, 9–10; <i>Ausgrab.</i>, p. 13; Overbeck, p. 178; F. W., 315.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1208"></a><a href="#FNanchor_1208"><span class="label">1208</span></a> <i>Bildw.</i>, Pl. VI, 5–6; fig. 30, on p. 30 in Textbd.; <i>Ausgrab.</i>, V, Pl. XIX, 4 and p. 12; F. W., 317.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1209"></a><a href="#FNanchor_1209"><span class="label">1209</span></a> <i>Bildw.</i>, Textbd., fig. 31, on p. 30.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1210"></a><a href="#FNanchor_1210"><span class="label">1210</span></a> <i>Bildw. v. Ol.</i>, Textbd., fig. 32, on p. 31.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1211"></a><a href="#FNanchor_1211"><span class="label">1211</span></a> <i>Ibid.</i>, pp. 31 f., and Pl. VI, 7–8; <i>Ausgrab. v. Ol.</i>, V, Pl. XIX, 5 and p. 12; F. W., 319. Both the -foot and arm are of Parian marble, like the head.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1212"></a><a href="#FNanchor_1212"><span class="label">1212</span></a> Hyde, pp. 42–4; <i>cf</i>. Foerster, 151, 155; he also won the stade-race at Delphi: Pindar, <i>Pyth.</i>, X, -12–16. Robert accepts my ascription: Pauly-Wissowa, VI, p. 1493. Liddell and Scott, <i>Lexicon</i>, -<i>s. v.</i> Φρικίας (= “Bristle”), believe this to be the name not of the victor but of his horse, so called -because of his long outstanding mane; <i>cf</i>. Herrmann, <i>Opuscula</i>, VII, 166 n. This is also the -interpretation of Sandys, <i>Odes of Pindar</i>, Loeb Library, 1915, p. 291, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1213"></a><a href="#FNanchor_1213"><span class="label">1213</span></a> P., VI, 10.4–5; R. Foerster, <i>Das Portraet in d. gr. Plastik</i>, 1882, p. 22, n. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1214"></a><a href="#FNanchor_1214"><span class="label">1214</span></a> Treu, A. Z., XXXVIII, 1880, pp. 48 f.; <i>Bildw. v. Ol.</i>, 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. -<i>Cf.</i> Overbeck, I, p. 198.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1215"></a><a href="#FNanchor_1215"><span class="label">1215</span></a> VI, 17.5; Hyde, 183 and p. 62; Foerster, 765 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1216"></a><a href="#FNanchor_1216"><span class="label">1216</span></a> <i>Preus. Jb.</i>, LI, p. 382; <i>cf.</i> <i>Sammlung Sabouroff</i>, Einleitung zu den Skulpturen, p. 5, n. 4; followed -by Flasch, Baum., II, p. 1104 U f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1217"></a><a href="#FNanchor_1217"><span class="label">1217</span></a> V, 27.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1218"></a><a href="#FNanchor_1218"><span class="label">1218</span></a> Textbd., pp. 31–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1219"></a><a href="#FNanchor_1219"><span class="label">1219</span></a> Hyde, <i>l. c.</i> For the date, see Afr; Foerster, 144–6; he was the first Olympic τριαστής, <i>i. e.</i>, he -gained victories in three events on the same day (stade-, double stade- and hoplite-races).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1220"></a><a href="#FNanchor_1220"><span class="label">1220</span></a> Matz-Duhn, <i>Ant. Bildw.</i>, no. 1097; here it is called a diskobolos; Clarac, 830, 2085; Furtwaengler, -<i>Mp.</i>, p. 204; <i>Mw.</i>, p. 392.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1221"></a><a href="#FNanchor_1221"><span class="label">1221</span></a> Hauser, <i>Jb.</i>, 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, -<i>l. c.</i>, regards the helmet as belonging to the head, while others believe it alien thereto.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1222"></a><a href="#FNanchor_1222"><span class="label">1222</span></a> No. 795; <i>A. Z.</i>, XXXVI, 1878, Pl. XI and pp. 58–71; Gardiner, p. 105, fig. 17; <i>cf.</i> another in -Copenhagen: Gerhard, IV, Pl. CCLXXXI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1223"></a><a href="#FNanchor_1223"><span class="label">1223</span></a> P., VI, 3.10; he won the pentathlon some time between Ols. 94 and 103 ( = 404 and 368 B. C.): -Hyde, 31; Foerster, 347.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1224"></a><a href="#FNanchor_1224"><span class="label">1224</span></a> P., V, 26.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1225"></a><a href="#FNanchor_1225"><span class="label">1225</span></a> V, 27.12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1226"></a><a href="#FNanchor_1226"><span class="label">1226</span></a> <i>A. Z.</i>, XLI, 1883, Pl. XIII, 2 and pp. 227–8 (Milchhoefer).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1227"></a><a href="#FNanchor_1227"><span class="label">1227</span></a> <i>Inventar</i>, no. 6306; mentioned by L. Gurlitt in <i>A. M.</i>, VI, 1881, p. 158.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1228"></a><a href="#FNanchor_1228"><span class="label">1228</span></a> Duetschke, II, no. 22; a very similar statue, no. 25, has no <i>halteres</i>; both are poor Roman copies.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1229"></a><a href="#FNanchor_1229"><span class="label">1229</span></a> <i>Bildw. v. Ol.</i>, p. 217; Tafelbd., Pl. LVI, 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1230"></a><a href="#FNanchor_1230"><span class="label">1230</span></a> So schol. on Pindar, <i>Ol.</i>, VII, Argum., Boeckh, p. 158. He won in Ol. 83 ( = 448 B. C.): <i>Oxy. -Pap.</i>; P., VI, 7.1 f.; Hyde, 60; Foerster, 252.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1231"></a><a href="#FNanchor_1231"><span class="label">1231</span></a> Matz-Duhn, <i>Ant. Bildw. in Rom.</i>, no. 1096; <i>J. H. S.</i>, II, 1881, p. 342, fig. 3. Thongs appear on -both forearms of the Polykleitan statue, copies of which are in Kassel (Furtw., <i>Mp.</i>, p. 246, fig. 99; -<i>Mw.</i>, 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 = <i>53stes Berl. Winckelmannsprogr.</i>, -1893, Pl. III); on the bronze statue of a boxer from Herculaneum in Naples; and on the delle -Terme <i>Seated Boxer</i> (Pl. 16); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1232"></a><a href="#FNanchor_1232"><span class="label">1232</span></a> So interpreted, and rightly, by Waldstein (<i>J. H. S.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1233"></a><a href="#FNanchor_1233"><span class="label">1233</span></a> P. 26 and n. 2; against him, Reisch, p. 43; Hitz-Bluemn., II, <small>2</small>, p. 577; etc. Oil-flasks of -various kinds—<i>lekythoi</i>, <i>aryballoi</i>, <i>alabastra</i>, <i>olpai</i>—are mentioned repeatedly by Greek writers; -<i>e. g.</i>, λήκυθος, by Homer, Od., VI, 79; Aristoph., <i>Plutus</i>, 810; ἀρύβαλλος, Aristoph., <i>Equites</i>, 1094; -Pollux, VII, 166 and X, 63; ἀλάβαστρον, Theokr., XV. 114; ὄλπη (of leather), Theokr., II, 156; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1234"></a><a href="#FNanchor_1234"><span class="label">1234</span></a> VI, 14.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1235"></a><a href="#FNanchor_1235"><span class="label">1235</span></a> VI, 9.1. Theognetos won in the boys’ wrestling match in Ol. 76 ( = 746 B. C.): <i>Oxy. Pap.</i>; -Hyde, 83; Foerster, 193 and 193 N.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1236"></a><a href="#FNanchor_1236"><span class="label">1236</span></a> We have already in the present chapter mentioned this “Apollo” in connection with the -statuette from Piombino (Fig. 19); Studniczka, <i>R. M.</i>, II, 1887, pp. 99–100, believed that it -represented a victor. See <i>supra</i>, p. 119.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1237"></a><a href="#FNanchor_1237"><span class="label">1237</span></a> <i>E. g.</i>, on the bronze statuette from Naxos, now in Berlin: see <i>supra</i>, p. 119 and n. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1238"></a><a href="#FNanchor_1238"><span class="label">1238</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1239"></a><a href="#FNanchor_1239"><span class="label">1239</span></a> Stuart Jones, <i>Cat.</i>, pp. 65–6, no. 8; Helbig, <i>Fuehrer</i>, I, 769; <i>Guide</i>, 418; B. B., 527 (and fig. -6 in text, by Arndt); Furtw., <i>Mp.</i>, p. 204, <i>Mw.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1240"></a><a href="#FNanchor_1240"><span class="label">1240</span></a> I, 17.2. Furtw., <i>Mp.</i>, 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 <i>Annali</i>, XXIX, 1857, Pl. E, no. 2, and p. 194; and Waille, <i>de Caesareae -Monumentis</i>, 1891, title page (vignette) and p. 92 (quoted by Helbig, <i>Guide</i>, <i>l. c.</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1241"></a><a href="#FNanchor_1241"><span class="label">1241</span></a> See B. B., text to no. 527, figs. 1, 2, 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1242"></a><a href="#FNanchor_1242"><span class="label">1242</span></a> Helbig, <i>Fuehrer</i>, I, 972; <i>Guide</i>, 595; <i>B. Com. Rom.</i>, 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, <i>La Glypt. Ny-Carlsberg</i>, 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, <i>Fuehrer</i>, II, 1405; Arndt, <i>op. cit.</i>, fig. 34; this is to be dated in the first century B. C., or -A. D., because of its inscription: <i>I. G. Sic. et Ital.</i>, no. 990.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1243"></a><a href="#FNanchor_1243"><span class="label">1243</span></a> See Fabretti, <i>de Columna Trajani</i>, p. 267; Gardiner, p. 433, fig. 149; Schreiber, <i>Bilderatlas</i>, -Pl. XXIV, no. 8. <i>Cf.</i> Krause, I, pp. 517 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1244"></a><a href="#FNanchor_1244"><span class="label">1244</span></a> <i>Cf.</i> Reisch, pp. 42–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1245"></a><a href="#FNanchor_1245"><span class="label">1245</span></a> <i>Cf.</i> Philostr., <i>Heroicus</i>, XII b (p. 315); τὰ δὲ ὦτα κατεαγὼς ἦν οὐχ ὑπὸ πάλης.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1246"></a><a href="#FNanchor_1246"><span class="label">1246</span></a> Thus Furtwaengler calls the Ince-Blundell head that of a boxer statue: <i>Mp.</i>, p. 173, and fig. -71 on p. 172; <i>Mw.</i>, p. 348, and fig. 44 on p. 347.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1247"></a><a href="#FNanchor_1247"><span class="label">1247</span></a> <i>Cf.</i> discussion by Gardiner, pp. 425–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1248"></a><a href="#FNanchor_1248"><span class="label">1248</span></a> <i>Gorgias</i>, 515 E; <i>Protag.</i>, 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., -<i>Fragm.</i>, 72; Pollux, II, 83 (whence Dindorf corrects the form ὠτοκαταξίας in Poll., IV, 144). For -references, see Krause, I, pp. 516–17; and <i>cf.</i> <i>J. H. S.</i>, XXVI, p. 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1249"></a><a href="#FNanchor_1249"><span class="label">1249</span></a> <i>E. g.</i>, on a fragment of a red-figured kylix in Berlin: <i>J. H. S.</i>, XXVI, p. 8, fig. 2; Hartwig, <i>Die -griech. Meisterschalen</i>, Textbd., p. 90, fig. 12; Gardiner, p. 438, fig. 153. Here one of the contestants -in the pankration is bleeding at the nose.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1250"></a><a href="#FNanchor_1250"><span class="label">1250</span></a> <i>B. C. H.</i>, XXIII, 1899, pp. 455; <i>cf.</i>, p. 457, where he speaks of <i>le detail réaliste de l’oreille -tuméfiée par les coups</i>. For the statue of Agias mentioned, see <i>infra</i>, Ch. VI, pp. 286 f., and Pl. -28 and fig. 68. <i>Cf.</i> on this subject also Neugebauer, Studien ueber Skopas (in <i>Beitraege zur -Kunstgesch.</i>, XXXIX, 1913, p. 35, n. 172).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1251"></a><a href="#FNanchor_1251"><span class="label">1251</span></a> <i>Bronz. v. Ol.</i>, Tafelbd., IV, Pl. II, 2, 2 a; F. W., 323; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1252"></a><a href="#FNanchor_1252"><span class="label">1252</span></a> See <i>infra</i>, Ch. VI., pp. 293 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1253"></a><a href="#FNanchor_1253"><span class="label">1253</span></a> <i>Fouilles de Delphes</i>, IV, Pls. LXIII-LXIV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1254"></a><a href="#FNanchor_1254"><span class="label">1254</span></a> <i>Ant. Denkm.</i>, I, <small>1</small>, 1886, Pl. IV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1255"></a><a href="#FNanchor_1255"><span class="label">1255</span></a> Duetschke, III, no. 72.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1256"></a><a href="#FNanchor_1256"><span class="label">1256</span></a> <i>Gaz. arch.</i>, VIII, Pl. I, and p. 85 (Rayet); F. W., 461.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1257"></a><a href="#FNanchor_1257"><span class="label">1257</span></a> B. B., no. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1258"></a><a href="#FNanchor_1258"><span class="label">1258</span></a> Bulle, no. 105 (right); and fig. 46 on p. 205.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1259"></a><a href="#FNanchor_1259"><span class="label">1259</span></a> <i>A. M.</i>, XVI, 1891, Pls. IV, V (two views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1260"></a><a href="#FNanchor_1260"><span class="label">1260</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1261"></a><a href="#FNanchor_1261"><span class="label">1261</span></a> <i>La Glypt. Ny-Carlsberg</i>, Pl. XXXVI (= copy of fifth century B. C.); XCIV (Herakles or -athlete, from the Tyszkiewicz coll., Skopasian in character; = Reinach, <i>Têtes</i>, Pls. CL, CLI); -XCV (similar to preceding, though later in style: <i>Têtes</i>, Pls. CLVI, CLVII); CXX (copy of head -of athlete of the fourth century B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1262"></a><a href="#FNanchor_1262"><span class="label">1262</span></a> <i>Cat. Class. Coll.</i>, pp. 228 f.; fig. 141 on p. 231. Miss Richter points out its affinity to the <i>Hermes</i> -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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1263"></a><a href="#FNanchor_1263"><span class="label">1263</span></a> Rayet, II, Pls. 64, 65 (head); B. B., 75; von Mach, 286; F. W., 1425; M. W., I, Pl. 48, 216; -Reinach, <i>Rép.</i>, I, 154, 1–4. Rayet calls the statue that of a hoplitodromos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1264"></a><a href="#FNanchor_1264"><span class="label">1264</span></a> Brunn, <i>Sitzb. Muen. Akad.</i>, 1892, pp. 651 f.; Furtw.-Wolters, <i>Beschr. d. Glypt.</i><sup>2</sup>, no. 304; B. B., -128 (left = original; right = cast); Furtw., <i>Mp.</i>, p. 147, fig. 60 (from a cast with modern restorations -omitted), and p. 150, fig. 61 (head, two views); text, pp. 146 ff.; <i>Mw.</i>, Pls. XII, XIII; -text, pp. 311 f.; Clarac, 871, 2219 and 633, 1438 A.; Gardner, <i>Sculpt.</i>, Pl. XVII (cast). Its -Kresilæan origin has been shown by Brunn (<i>l. c.</i>, pp. 660 and 673), Flasch (<i>Vortraege an der 41sten -Philologenversamml.</i>, 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).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1265"></a><a href="#FNanchor_1265"><span class="label">1265</span></a> Furtw., <i>Mp.</i>, p. 151, fig. 62; <i>Mw.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1266"></a><a href="#FNanchor_1266"><span class="label">1266</span></a> Froehner, <i>Notice</i>, 128; Bouillon, <i>Musée des antiques</i> (statues), Pls. II and III; Clarac, 314, 1438.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1267"></a><a href="#FNanchor_1267"><span class="label">1267</span></a> Duetschke, II, no. 163; Amelung, <i>Fuehrer</i>, 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 <i>Mp.</i>, p. 167, fig. 67; <i>cf.</i> text, p. 165, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1268"></a><a href="#FNanchor_1268"><span class="label">1268</span></a> Roscher, <i>Lex.</i>, I, <small>2</small>, p. 2163, fig.; Furtwaengler, <i>Mp.</i>, p. 155, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1269"></a><a href="#FNanchor_1269"><span class="label">1269</span></a> <i>R. M.</i>, IV, 1889, P. 197, no. 12 (B. Graef).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1270"></a><a href="#FNanchor_1270"><span class="label">1270</span></a> <i>B. M. Sculpt.</i>, III, 1731, and Pl. V, fig. 2; <i>Marbles and Bronzes</i>, Pl. XXI; <i>Museum Marbles</i>, -II, Pl. XLVI; <i>Specimens</i>, I, Pl. LX; Collignon, II, p. 240, fig. 120; Wolters, <i>Jb.</i>, 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, <i>R. M.</i>, 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; <i>cf.</i> S. Reinach, <i>Gaz. d. B-A.</i>, 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 <i>Lansdowne Herakles</i> (Pl. 30 and fig. 71), which we ascribe -to Lysippos in Ch. VI, pp. 298, 311, is easily apparent.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1271"></a><a href="#FNanchor_1271"><span class="label">1271</span></a> Amelung, <i>Vat.</i>, I, p. 738, no. 636 and II, Pl. 79; Helbig, <i>Fuehrer</i>, I, no. 108; <i>Guide</i>, 113; -B. B., 609; Furtw., <i>Mp.</i>, p. 341, fig. 146; p. 342, fig. 147 (head, two views); <i>Mw.</i>, p. 575, fig. -109 and p. 577, fig. 110.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1272"></a><a href="#FNanchor_1272"><span class="label">1272</span></a> Furtw.-Wolters, <i>Beschr., d. Glypt.</i>,<sup>2</sup> no. 245 (the so-called Lenbach head); Arndt-Bruckmann, -<i>Griech. und roem. Portraets</i>, Pls. 335–6. See Furtw.-Wolters, for replicas in the Louvre, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1273"></a><a href="#FNanchor_1273"><span class="label">1273</span></a> B. B., 338; Helbig, <i>Guide</i>, 69 (= boxer).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1274"></a><a href="#FNanchor_1274"><span class="label">1274</span></a> Comparetti e de Petra, <i>La Villa Ercolanese dei Pisoni</i>, 1883, Pl. XXI, 3; Furtw., <i>Mp.</i>, pp. 234 f. -and fig. 95; <i>Mw.</i>, pp. 428 f. and fig. 65. Both Furtwaengler (<i>l. c.</i>) and B. Graef (<i>R. M.</i>, 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 (<i>H. -N.</i>, XXXIV, 56) as at Rome. For other replicas of the type, see Furtw., <i>Mp.</i>, p. 234, n. 1; <i>Mw.</i>, -p. 429, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1275"></a><a href="#FNanchor_1275"><span class="label">1275</span></a> <i>A. A.</i>, 1889, pp. 57–8 (Treu, who referred it to Polykleitos); Furtw., <i>Mp.</i>, p. 92 and fig. -40; <i>Mw.</i>, p. 124 and Pl. VI (he called it Pheidian).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1276"></a><a href="#FNanchor_1276"><span class="label">1276</span></a> <i>Museo Torlonia</i>, Pl. 26, no. 104.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1277"></a><a href="#FNanchor_1277"><span class="label">1277</span></a> Furtw.-Wolters, <i>Beschr. d. Glypt.</i>,<sup>2</sup> no. 272; Arndt-Amelung, nos. 832 and 833 (text by Flasch).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1278"></a><a href="#FNanchor_1278"><span class="label">1278</span></a> <i>Chabrias</i>, 3: <i>Ex quo factum est ut postea athletae ceterique artifices his statibus in statuis ponendis -uterentur, in quibus victoriam essent adepti</i>; <i>cf.</i> 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., <i>Hell.</i>, V, 4.38 f. (though here Chabrias is not mentioned by name); Diod., XV, -32–33; Demosth., <i>Contra Lept.</i>, 75–76 (p. 479); <i>cf.</i> Aristotle, <i>Rhet.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1279"></a><a href="#FNanchor_1279"><span class="label">1279</span></a> <i>E. g.</i>, Reisch, p. 43.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1280"></a><a href="#FNanchor_1280"><span class="label">1280</span></a> 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, <i>H. N.</i>, XXXIV, 17, says that the -group was set up in the year in which the kings were expelled from Rome ( = 509 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1281"></a><a href="#FNanchor_1281"><span class="label">1281</span></a> P., I, 8.5; <i>cf.</i> <i>Marmor Parium</i>, l. 70 (= <i>C. I. G.</i>, II, 2374; <i>F. H. G.</i>, I, pp. 533 f., etc.), and -Lucian, <i>Philopseudes</i>, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1282"></a><a href="#FNanchor_1282"><span class="label">1282</span></a> Arrian, <i>Anab.</i>, III, 16.18 (he says it was of bronze); Pliny, <i>H. N.</i>, XXXIV, 70; restored by -Seleukos: Val. Max., II, 10, Extr. 1; by Antiochos: P., I, 8.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1283"></a><a href="#FNanchor_1283"><span class="label">1283</span></a> B. B., nos. 326 (<i>Aristogeiton</i>), 327 (<i>Harmodios</i>), and 328 (head of <i>Harmodios</i>, two views); -Bulle, 84, 85; von Mach, 58 (both statues) and 59 (<i>Aristogeiton</i>); Collignon, I, pp. 367 f. and -figs. 189 (group) and 190 (head of <i>Harmodios</i>); relief from Athens showing the group, <i>ibid.</i>, -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); <i>R. M.</i>, XXI, 1906, Pl. XI; F. W., 121–4; Reinach, <i>Rép.</i>, I, 530, 3 (<i>Harmodios</i>), -and 5 (<i>Aristogeiton</i>); <i>cf.</i> II, <small>2</small>, 541, 5 (group); Clarac V, 869, 2202 and 870, 2203 A; -head of <i>Harmodios</i>, <i>Annali</i>, XLVI, 1874, Pl. G. The height is about 2 meters (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1284"></a><a href="#FNanchor_1284"><span class="label">1284</span></a> <i>A. M.</i>, 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 <i>Ant. Denkm.</i>, I, <small>5</small>, 1890, Pl. 53, and pp. 42 f. -(Wolters); Overbeck, I, Pl. 25, opp. p. 152; <i>Les Musées d’Athènes</i>, I, Pl. VI; <i>Jb.</i>, II, 1887, pp. -135 f. (Studniczka), and Pl. X, 1 (head); von Mach, 28; Perrot-Chipiez, VIII, Pl. II.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1285"></a><a href="#FNanchor_1285"><span class="label">1285</span></a> However, some archæologists still favor Antenor for this group: <i>e. g.</i>, Wachsmuth, <i>Die Stadt -Athen</i>, I, pp. 170 f.; II, 393–8; Collignon; Lechat, <i>op. cit.</i>, and <i>cf.</i> <i>B. C. H.</i>, XVI, 1892, pp. 485–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1286"></a><a href="#FNanchor_1286"><span class="label">1286</span></a> <i>Rhet. praecept.</i>, 9: ἀπεσφιγμένα καὶ νευρώδη καὶ σκληρά, καὶ ἀκριβῶς ἀποτεταμένα ταῖς γραμμαῖς. -See Brunn, pp. 101–5; <i>cf.</i> Pliny, <i>H. N.</i>, XXXIV, 49.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1287"></a><a href="#FNanchor_1287"><span class="label">1287</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1288"></a><a href="#FNanchor_1288"><span class="label">1288</span></a> <i>Bulletin of Museum of Fine Arts</i>, III, 27; <i>R. M.</i>, XIX, 1904, p. 163, Pl. VI (Hauser).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1289"></a><a href="#FNanchor_1289"><span class="label">1289</span></a> A vase by Douris shows a warrior similar to <i>Aristogeiton</i>, but his onset is fiercer: Hartwig, -<i>Die griech. Meisterschalen</i>, 1893, Pl. XXI, and Textbd., pp. 206 f. For other representations in -art of the <i>Tyrannicides</i>, see Frazer, II, pp. 94 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1290"></a><a href="#FNanchor_1290"><span class="label">1290</span></a> <i>Darstellung des Menschen in der aelt. griech. Kunst</i>, 1899, p. xi; <i>cf.</i> Richardson, p. 120, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1291"></a><a href="#FNanchor_1291"><span class="label">1291</span></a> <i>Cf.</i> Dickins, p. 265 (quoting the view of Furtwaengler).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1292"></a><a href="#FNanchor_1292"><span class="label">1292</span></a> Furtwaengler, <i>Sammlung Somzée</i>, 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: <i>Bildw. v. Ol.</i> 146; -Hyde, 50; see <i>infra</i>, in the section on <i>Pancratiasts</i>, p. 251. For the <i>Pelops</i>, see <i>Bildw. v. Ol.</i>, -Tafelbd., Pl. IX, <small>2</small>, and XI, 1 (head).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1293"></a><a href="#FNanchor_1293"><span class="label">1293</span></a> I, 23.9. The inscribed base has been found: <i>C. I. A.</i>, I, 376; <i>I. G. B.</i>, 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1294"></a><a href="#FNanchor_1294"><span class="label">1294</span></a> P., VI, 10.1–3; Hyde, 93; Foerster, 137.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1295"></a><a href="#FNanchor_1295"><span class="label">1295</span></a> Ols. 72 to 76 ( = 492 to 476 B. C.); Hyde, p. 42.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1296"></a><a href="#FNanchor_1296"><span class="label">1296</span></a> <i>Cf.</i> Bulle, p. 493, on no. 225.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1297"></a><a href="#FNanchor_1297"><span class="label">1297</span></a> 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, <i>Fluegelgestalten der aeltesten -griech. Kunst</i>, Diss. inaug., 1881; F. Studniczka, <i>Die Siegesgoettin, Gesch. einer antiken Idealgestalt</i>, -1898; E. Curtius, <i>Die knieenden Figuren d. alt. griech. Kunst</i> (<i>29stes Berl. Winckelmannsprogr.</i>, -1869); Eadweard Muybridge, <i>Human Figure in Motion</i>, 1907; <i>cf.</i> also J. Lange, <i>op. cit.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1298"></a><a href="#FNanchor_1298"><span class="label">1298</span></a> In the Museo Archeologico, Florence: Bulle, no. 10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1299"></a><a href="#FNanchor_1299"><span class="label">1299</span></a> <i>Cf.</i> 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.: <i>A. Z.</i>, -XXXIX, 1881, pp. 30 f. (Loeschke) and Pls. 3 and 4. <i>Cf.</i> also scenes from the pentathlon on -a Panathenaic amphora of the sixth century B. C. in Leyden: <i>ibid.</i>, Pl. 9; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1300"></a><a href="#FNanchor_1300"><span class="label">1300</span></a> <i>B. C. H.</i>, 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, <i>Rép.</i>, II, <small>1</small>, 389, 5. Though -first called an <i>Artemis</i> by Homolle (because of its resemblance to the so-called Oriental winged -<i>Artemis</i> on a bronze relief from Olympia, von Mach, text, opp. p. 36, fig. 5), it has generally -been called a <i>Nike</i> since its first ascription by Furtwaengler (<i>A. Z.</i>, 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 (<i>A. M.</i>, XVI, 1891, pp. 182 f.), and others, have disputed the connection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1301"></a><a href="#FNanchor_1301"><span class="label">1301</span></a> Now in the National Museum, Athens: Kabbadias, no. 1; von Mach, 20; Springer-Michaelis, -p. 174, fig. 340; Richardson, p. 43, fig. 11; Reinach, <i>Rép.</i>, II, <small>2</small>, 645, 1. Its inscription should date -it about 600 B. C. It is over 6 feet in height (including the base: von Mach).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1302"></a><a href="#FNanchor_1302"><span class="label">1302</span></a> Bulle, pp. 157–8, fig. 33; de Ridder, no. 808. It is 0.123 meter high (Bulle). <i>Cf.</i> similar bronzes -<i>ibid.</i>, 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, <i>Griech. Vasenmalerei</i>, I, -pp. 209 f. and Pl. 41; <i>cf.</i> also the very similar pose on the small bronze statuette in the British -Museum of a winged <i>Nike</i> represented in violent motion: von Mach, 33; the marble torso of -another in Athens: <i>id.</i>, text, opp. p. 26, fig. 2; and the bronze winged <i>Gorgon</i> from Olympia -(0.12 meter high): <i>Bronz. v. Ol.</i>, Pl. VIII, no. 78, text, p. 25 (and for the type, <i>cf.</i> Roscher, <i>Lex.</i>, -art. Gorgonen in der Kunst, I, <small>2</small>, p. 1710, ll. 67 f.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1303"></a><a href="#FNanchor_1303"><span class="label">1303</span></a> <i>Nike of Archermos</i>, 1891.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1304"></a><a href="#FNanchor_1304"><span class="label">1304</span></a> Salzmann, <i>Nécropole de Camiros</i>, Pl. LIII; Bulle, pp. 161–2, fig. 35; <i>cf.</i> Brunn, <i>Griech. Kunstgeschichte</i>, -I, p. 142. Its diameter is 0.385 meter (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1305"></a><a href="#FNanchor_1305"><span class="label">1305</span></a> See R. Kekulé and H. Winnefeld, <i>Bronzen aus Dodona in den koenigl. Museen zu Berlin</i>, Pl. II -and pp. 13 f.; <i>A. Z.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1306"></a><a href="#FNanchor_1306"><span class="label">1306</span></a> For a full discussion of this sculptor, see Lechat, <i>Pythagoras de Rhegion</i>, 1905; <i>cf.</i> <i>S. Q.</i>, -§§ 489–507.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1307"></a><a href="#FNanchor_1307"><span class="label">1307</span></a> <i>H. N.</i>, XXXIV, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1308"></a><a href="#FNanchor_1308"><span class="label">1308</span></a> VI, 4.3; <i>Oxy. Pap.</i>; Hyde, 38; Foerster, 202, 203.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1309"></a><a href="#FNanchor_1309"><span class="label">1309</span></a> VI, 6.1; Hyde, 48; Foerster, 200.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1310"></a><a href="#FNanchor_1310"><span class="label">1310</span></a> VI, 6.4 f.; <i>Oxy. Pap.</i>; Hyde, 56; Foerster, 185, 195, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1311"></a><a href="#FNanchor_1311"><span class="label">1311</span></a> VI, 7.10; Hyde, 69; Foerster, 183, 189.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1312"></a><a href="#FNanchor_1312"><span class="label">1312</span></a> VI, 13.1; <i>Oxy. Pap.</i>; Pliny, <i>H. N.</i>, XXXIV, 59; Hyde, 110; Foerster, 176–7; 181–2; 187–8; -<i>Inschr. v. Ol.</i>, 145.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1313"></a><a href="#FNanchor_1313"><span class="label">1313</span></a> VI, 13.7; <i>Oxy. Pap.</i>; Hyde, 117; Foerster, 184.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1314"></a><a href="#FNanchor_1314"><span class="label">1314</span></a> VI, 18.1; Hyde, 185; Foerster, 193a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1315"></a><a href="#FNanchor_1315"><span class="label">1315</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1316"></a><a href="#FNanchor_1316"><span class="label">1316</span></a> VIII, 47; <i>S. Q.</i>, 507. Diogenes repeats the tradition that there were two sculptors of the -name, one from Rhegion, the other from Samos; also Pliny, <i>H. N.</i>, XXXIV, 59–60.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1317"></a><a href="#FNanchor_1317"><span class="label">1317</span></a> <i>J. H. S.</i>, II, 1881, pp. 332 f.; <i>cf.</i> his <i>Essays on the Art of Pheidias</i>, 1885, p. 323. The recovered -base of Euthymos’ statue has no footmarks: <i>Inschr. v. Ol.</i>, 144. Waldstein is followed in his -ascription of the statues to Euthymos by Urlichs, <i>Arch. Analekt.</i>, 1885, p. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1318"></a><a href="#FNanchor_1318"><span class="label">1318</span></a> B. B., no. 542 (two views); Furtw. <i>Mp.</i>, p. 171, fig. 70; <i>A. M.</i>, XVI, 1891, pp. 313 f. and Pls. IV, -and V (two views), (P. Hermann).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1319"></a><a href="#FNanchor_1319"><span class="label">1319</span></a> <i>Mp.</i>, pp. 171–2; <i>Mw.</i>, pp. 345–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1320"></a><a href="#FNanchor_1320"><span class="label">1320</span></a> <i>Mon. d. I</i>., X, 1874–78, Pl. II (head); <i>Annali</i>, XLVI, 1874, Pl. L. Arndt, <i>La Glypt. Ny-Carlsberg</i>, -p. 62, doubts if the head belongs to the torso.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1321"></a><a href="#FNanchor_1321"><span class="label">1321</span></a> Duetschke, II, no. 77 (= one of two statues); <i>Mon. d. I.</i>, VIII, 1864–68, Pl. XLVI, 6–8, and -<i>Annali</i>, XXXIX, 1867, pp. 304 f. (Benndorf); Arndt-Amelung, nos. 96–98; <i>cf.</i> <i>A. Z.</i>, XXVII, -1869, pp. 106 f. and Pl. 24, 2 (Benndorf, <i>Tyrannicides</i> on a Panathenaic amphora in the British -Museum, etc.), and XXXII, 1875, pp. 163 f. (Duetschke, group of two statues); Reinach, <i>Rép.</i> -II, 2, 541, 6. Both Duetschke (<i>A. Z.</i>, <i>l. c.</i>) and Furtwaengler (<i>Berl. Philol. Wochenschr.</i>, VIII, -1888, p. 1448) have shown that it represents an athlete.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1322"></a><a href="#FNanchor_1322"><span class="label">1322</span></a> Michaelis, p. 446, no. 36; Clarac, V, 856, 2180. Furtwaengler believes the statue later in -style than the Louvre boxer.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1323"></a><a href="#FNanchor_1323"><span class="label">1323</span></a> <i>E. g.</i>, P. Hermann, <i>op. cit.</i>, pp. 332–3; Arndt, text to B. B., no. 542.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1324"></a><a href="#FNanchor_1324"><span class="label">1324</span></a> B. B., no. 361; Amelung, <i>Fuehrer</i>, 210; Duetschke, II, 163; Furtw., <i>Mp.</i>, pp. 165 f. and fig. 66 -(two views); <i>Mw.</i>, 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 <i>Diomedes</i> of Kresilas known to us from copies in Munich (Pl. XXI); <i>Mw.</i>, pp. 311 f. and -Pls. XII, XIII; <i>Mp.</i>, pp. 146 f. and figs. 60 (body), and 61 (head, two views); B. B., 128; Brunn, <i>Sitzb. -Muen. Akad.</i>, 1892, pp. 651 f.; in Paris: Froehner, <i>Notice</i>, no. 128; Clarac, 314, 1438; and -elsewhere. See <i>supra</i> p. 169.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1325"></a><a href="#FNanchor_1325"><span class="label">1325</span></a> Michaelis, p. 367, no. 152; <i>Mp.</i>, p. 172, fig. 71; <i>Mw.</i>, p. 347, fig. 44; A. Z., XXXI, 1874, Pl. III; -F. W., 459. Kekulé was the first to class it as Myronian: <i>Ueber d. Kopf des Praxitel. Hermes</i>, -p. 12, 1 (quoted by F. W., <i>l. c.</i>). Graef curiously found it Pheidian: <i>Aus d. Anomia</i>, p. 69, 63.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1326"></a><a href="#FNanchor_1326"><span class="label">1326</span></a> <i>H. N.</i>, XXXIV, 58; <i>cf.</i> <i>Mp.</i>, p. 173.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1327"></a><a href="#FNanchor_1327"><span class="label">1327</span></a> <i>La Glypt.</i> <i>Ny-Carlsberg</i>, Pl. XXXVI and p. 60; the other, unpublished, is mentioned <i>ibid.</i> 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: <i>ibid.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1328"></a><a href="#FNanchor_1328"><span class="label">1328</span></a> Kieseritzky, <i>Kat. d. Ermitage</i>, 1901, p. 27, no. 68; Furtw., <i>Mp.</i>, p. 177, fig. 74; <i>Mw.</i>, p. 353 fig. 46 -(two views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1329"></a><a href="#FNanchor_1329"><span class="label">1329</span></a> <i>Mp.</i>, p. 176, fig. 73; <i>Mw.</i>, Pl. XX (two views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1330"></a><a href="#FNanchor_1330"><span class="label">1330</span></a> Text to B. B., no. 542; <i>La Glypt. Ny-Carlsberg</i>, text to Pl. XXXVI, p. <small>60</small>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1331"></a><a href="#FNanchor_1331"><span class="label">1331</span></a> <i>B. M. Sculpt.</i>, 1603, Pl. V, fig. 1; B. B., 224; F. W., 460.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1332"></a><a href="#FNanchor_1332"><span class="label">1332</span></a> <i>A. M.</i>, XXXVI, 1911, pp. 193 f., and Pl. VII (Athleten Kopf in Athen).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1333"></a><a href="#FNanchor_1333"><span class="label">1333</span></a> <i>H. N.</i>, XXXIV, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1334"></a><a href="#FNanchor_1334"><span class="label">1334</span></a> Brunn, pp. 133–4, connected <i>Libyn</i> and <i>puerum</i>, and believed that only one statue was meant by -Pliny’s sentence, identical with Pausanias’ statue of Mnaseas. Stuart Jones, <i>Select Passages from -Anc. Writers Illustrative of the History of Gk. Sculpt.</i>, 1895, p. 57, makes two alterations in Pliny’s -text, inserting <i>et</i> between <i>Libyn</i> and <i>puerum</i>, and replacing <i>tabellam</i> of the MSS. with <i>flagellum</i>. -The boy holding the whip, then, is Mnaseas’ son Kratisthenes, the chariot victor mentioned by -P., VI, 18.1. Stuart Jones follows Furtwaengler (<i>Jahrbuecher fuer Class. Philol.</i>, 1876, p. 509) in -having Pliny translate παῖδα of his Greek authority by <i>puerum</i> instead of <i>filium</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1335"></a><a href="#FNanchor_1335"><span class="label">1335</span></a> P. 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1336"></a><a href="#FNanchor_1336"><span class="label">1336</span></a> Cat. no. 51; Benndorf, <i>Griech. und Sicilische Vasenbilder</i>, I, pp. 13 f. and Pl. IX.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1337"></a><a href="#FNanchor_1337"><span class="label">1337</span></a> In his <i>Chrestomathia Pliniana</i>, 1857, p. 320.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1338"></a><a href="#FNanchor_1338"><span class="label">1338</span></a> <i>Rheinisches Museum</i>, XLIV, 1889, pp. 264 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1339"></a><a href="#FNanchor_1339"><span class="label">1339</span></a> Antigonos of Karystos, <i>apud</i> Zen., V, 82 (passage given by Jex-Blake, p. xxxix and n. 2).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1340"></a><a href="#FNanchor_1340"><span class="label">1340</span></a> Ancient writers differed as to the authorship of the statue. Thus P. (I, 33.3), Mela (<i>de Situ -orbis</i>, II, 3.6), Tzetzes (S. Q., 838–9), and Zenobios (<i>l. c.</i>), say that it was Pheidias, while Pliny -(<i>H. N.</i>, 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: <i>B. M. Sculpt.</i>, 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.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1341"></a><a href="#FNanchor_1341"><span class="label">1341</span></a> See his Ueber einige Werke des Kuenstlers Pythagoras, in <i>Verhandl. d. 40sten Versamml. -deutscher Philologen u. Schulmaenner in Goerlitz</i>, Leipsic, 1890 (pp. 329–336), p. 334.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1342"></a><a href="#FNanchor_1342"><span class="label">1342</span></a> <i>Archaeolog. Analekten</i>, 1885, p. 9. Lucian, <i>Anachar.</i>, 9, says that apples formed a part of the -Delphic prize; Dromeus is also known to us as a Pythian victor. In <i>Chrest. Plin.</i>, p. 320, L. von -Urlichs had identified the <i>nudus</i> as Meilanion or Hippomenes with the apples with which he had -beaten Atalanta; see <i>S. Q.</i>, § 499, note a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1343"></a><a href="#FNanchor_1343"><span class="label">1343</span></a> <i>H. N.</i>, XXXIV, 59: <i>Syracusis autem claudicantem, cuius ulceris dolorem sentire etiam spectantes -videntur</i>. Gronovius, following Lessing, <i>Laokoön</i>, Ch. 2, identified it with a wounded -Philoktetes: see Bluemner, <i>Comm. zu Lessing’s Laokoön</i>, pp. 508 f.; the words <i>cuius ... videntur</i> -seem to have been derived from <i>A. Pl.</i>, IV, 112, 1.4 (which refers to a bronze statue of Philoktetes): -<i>cf.</i> Brunn, p. 134 and Jex-Blake, <i>ad loc.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1344"></a><a href="#FNanchor_1344"><span class="label">1344</span></a> <i>Cf.</i> Benndorf, <i>Anz. d. Wiener Akad.</i>, 1887, p. 92; von Sybel, <i>Weltgesch. d. Kunst</i>, p. 139.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1345"></a><a href="#FNanchor_1345"><span class="label">1345</span></a> <i>Inschr. v. Ol.</i>, 146; Kallias won Ol. 77 ( = 472 B. C.): <i>Oxy. Pap.</i>; P., VI, 6.1; Hyde, 50; Foerster, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1346"></a><a href="#FNanchor_1346"><span class="label">1346</span></a> 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, <i>Rheinisches Museum</i>, -XLIV, 1889, p. 261.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1347"></a><a href="#FNanchor_1347"><span class="label">1347</span></a> P. 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1348"></a><a href="#FNanchor_1348"><span class="label">1348</span></a> L. von Sybel, <i>Athena und Marsyas, Bronzemuenze des Berliner Museums</i>, 1879.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1349"></a><a href="#FNanchor_1349"><span class="label">1349</span></a> This characteristic is expressed by the word αὐτάρκεια; <i>cf.</i> Plato, <i>Phil.</i>, 67 A; Aristotle, <i>Eth. -Nicom.</i>, 1, 7.5–6 ( = 1097 b); etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1350"></a><a href="#FNanchor_1350"><span class="label">1350</span></a> Marble copy of the <i>Marsyas</i> was found in 1823 on the Esquiline and is now in the Lateran -Museum, Rome: Helbig, <i>Fuehrer</i>, 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, <i>Rép.</i>, II, <small>1</small>, -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. <i>Cf.</i> another copy of the head of Parian marble in the Museo -Barracco, Rome: Helbig, I, 1104; Reinach, <i>Têtes</i>, 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, <i>H. N.</i>, XXXIV, 57, and -P., I, 24. 1: <i>B. M. Bronzes</i>, 269; <i>Gaz. Arch.</i>, 1879, Pls. XXXIV-V and pp. 241 f.; <i>A. Z.</i>, XXXVII, -1879, Pl. VIII (two views), pp. 91 f.; Rayet, I, Pl. 34; von Mach, 656; Reinach, <i>Rép.</i>, II, <small>1</small>, 51, -nos. 5 and 7. It is 0.75 meter high. For other representations, see G. Hirschfeld, Athena und -Marsyas, <i>32stes Berl. Winckelmannsprogr.</i>, 1872, Pls. I and II. For a copy of the head of Athena -in Dresden, see B. B., 591 (three views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1351"></a><a href="#FNanchor_1351"><span class="label">1351</span></a> Walter Pater, in his <i>Greek Studies</i> (in the essay on The Age of Athletic Prizemen), ed. 1895, -pp. 309 f., calls the <i>Diskobolos</i> a work of <i>genre</i>. However, the <i>Diskobolos</i> can hardly be called a -decorative statue, <i>i. e.</i>, “a work merely imitative of the detail of actual life.” On p. 313 he -rightly classes the <i>Doryphoros</i> as an “academic” work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1352"></a><a href="#FNanchor_1352"><span class="label">1352</span></a> It was formerly in the Palazzo Massimi alla Colonna, and hence is often called the Massimi -<i>Diskobolos</i>: B. B., no. 567, <i>cf.</i> 256 (head from cast); von Mach, 63; Collignon, I, Pl. XI, opp. -p. 472; H. B. Walters, <i>The Art of the Greeks</i>, 1906, Pl. XXX; Gardner, <i>Sculpt.</i>, Pl. XIII (head from -cast); Overbeck, I, fig. 74, opp. p. 274; Reinach, <i>Rép.</i>, I, 527, 1; for description, see M. D., 1098.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1353"></a><a href="#FNanchor_1353"><span class="label">1353</span></a> Furtwaengler, <i>Mp.</i>, pp. 168 f., <i>Mw.</i>, pp. 341 f., lists three other copies of the head: one in Basel -(<i>cf.</i> Kalkmann, Proport. des. Gesichts., <i>53stes Berl. Winckelmannsprogr.</i>, 1893, pp. 73–74); one at -Catajo (<i>Mp.</i>, fig. 68; <i>Mw.</i>, fig. 43; Arndt-Amelung, nos. 54–55); and one in Berlin (<i>Mp.</i>, fig. 69).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1354"></a><a href="#FNanchor_1354"><span class="label">1354</span></a> H. N., XXXIV, 58: <i>(Myron) videtur ... capillum quoque et pubem non emendatius fecisse -quam rudis antiquitas instituisset.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1355"></a><a href="#FNanchor_1355"><span class="label">1355</span></a> B. B., nos. 631, 632 (restored from bronzed cast; text by Rizzo); Bulle, 98; Helbig, <i>Fuehrer</i>, II, -1363; <i>Boll. d’Arte</i>, I, 1907, pp. 1 f. and Pls. I-III; <i>cf.</i> <i>Zeitschr. fuer bild. Kunst</i>, 1907, pp. 185 f. -It is pieced together from fourteen fragments; the fragment of the right lower leg was found in -1910. Height to right shoulder, 1.53 meters (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1356"></a><a href="#FNanchor_1356"><span class="label">1356</span></a> Helbig, <i>Fuehrer</i>, I, 326; <i>Guide</i>, 333; von Mach, 62; Collignon, I, p. 473, n. 1; F. W., 451; -Reinach, <i>Rép.</i>, II, <small>2</small>, 545, 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1357"></a><a href="#FNanchor_1357"><span class="label">1357</span></a> <i>B. M. Sculpt.</i>, I, no. 250; von Mach. 61; <i>Specimens</i>, I, Pl. XXIX; <i>Museum Marbles</i>, XI, -Pl. XLIV; <i>Marbles and Bronzes of the British Museum</i>, Pl. XLVII; F. W., 452; Reinach, -<i>Rép.</i>, I, 525, 5; Clarac, V, 860, 2194 B. It is 5 feet 5 inches tall (Smith).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1358"></a><a href="#FNanchor_1358"><span class="label">1358</span></a> H. Stuart Jones, <i>Museo Capitolino Cat.</i>, 1912, no. 50, p. 123, and Pl. 21; Helbig, <i>Fuehrer</i>, I, -788; <i>Guide</i>, 446; Clarac, V, 858 A, 2212. It is 1.48 meters high from lower edge of base to the -right hand (Jones).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1359"></a><a href="#FNanchor_1359"><span class="label">1359</span></a> B. B., no. 566; von Mach, 64; Gardner, <i>Sculpt.</i>, PI. XI; Gardiner, p. 96, fig. 13 (from a copy of -the Munich cast in the Ashmolean Museum, Oxford).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1360"></a><a href="#FNanchor_1360"><span class="label">1360</span></a> Pl. no. 97; <i>cf.</i> Gardner, <i>Sculpt.</i>, Pl. XII, and Furtw.-Urlichs, <i>Denkmaeler</i>, Pl. XXXIII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1361"></a><a href="#FNanchor_1361"><span class="label">1361</span></a> <i>Philopseudes</i>, 18; <i>S. Q.</i>, §544; translation of H. Stuart Jones, <i>Select Passages from Ancient -Writers Illustrative of the History of Greek Sculpture</i>, p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1362"></a><a href="#FNanchor_1362"><span class="label">1362</span></a> For the late Roman one in the Munich Antiquarium, see B. B., text to Pl. 567, fig. 1; F. W., -453; for the one in Arolsen, see F. W., 1786.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1363"></a><a href="#FNanchor_1363"><span class="label">1363</span></a> <i>B. M. Gems</i>, no. 742, Pl. G; also given in <i>B. M. Sculpt.</i>, I, p. 91, fig. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1364"></a><a href="#FNanchor_1364"><span class="label">1364</span></a> <i>Inst. orat.</i>, II, 13.10: <i>Quid tam distortum et elaboratum quam est ille discobolos Myronis? si -quis tamen, ut parum rectum, improbet opus, nonne ab intellectu artis abfuerit, in qua vel -praecipue laudabilis est ipsa illa novitas ac difficultas?</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1365"></a><a href="#FNanchor_1365"><span class="label">1365</span></a> Translation by G. F. Hill, in his <i>One Hundred Masterpieces of Sculpture from the Sixth Century -B. C. to the Time of Michelangelo</i>, 1909, p. 10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1366"></a><a href="#FNanchor_1366"><span class="label">1366</span></a> Enumerated above in Ch. III (Attic Sculptors), p. 129, n. 7. The Spartan Lykinos had -two statues: P., VI, 2.1. As he won in both the hoplite-race and chariot-race, Foerster, 211 a, -assumed that the two statues represented victor and charioteer, and that they stood upon the -quadriga, which Pausanias does not mention. I follow Robert, <i>O. S.</i>, p. 172, however, in assuming -that the two statues represented the victor in the two events.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1367"></a><a href="#FNanchor_1367"><span class="label">1367</span></a> <i>H. N.</i>, XXXIV, 57.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1368"></a><a href="#FNanchor_1368"><span class="label">1368</span></a> VI, 8.5; Hyde, 79 (Arkadian) and 79a (Philippos), and commentary on pp. 39 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1369"></a><a href="#FNanchor_1369"><span class="label">1369</span></a> The interpretation of Murray, <i>Class. Rev.</i>, I, 1887, pp. 3–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1370"></a><a href="#FNanchor_1370"><span class="label">1370</span></a> The emendation of Loeschke, <i>Dorpaterprogr.</i>, 1880, p. 9; accepted by Reisch, p. 44, n. 3, Richardson, -p. 151, and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1371"></a><a href="#FNanchor_1371"><span class="label">1371</span></a> <i>Der Dornauszieher und der Knabe mit der Gans</i>, 1876, p. 89, n. 30.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1372"></a><a href="#FNanchor_1372"><span class="label">1372</span></a> Quoted by Jex-Blake, Add. to p. 46, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1373"></a><a href="#FNanchor_1373"><span class="label">1373</span></a> <i>Select Passages from Anc. Writers Illustrative of the History of Gk. Sculpt.</i>, p. 66.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1374"></a><a href="#FNanchor_1374"><span class="label">1374</span></a> Mayer, in <i>A. M.</i>, XVI, 1891, pp. 246 f., showed that on vase-paintings of Myron’s time and -on coins of Elaia, Aeolis, a woman is often represented as standing in the chest, while two men, -Perseus and the carpenter, stand beside it.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1375"></a><a href="#FNanchor_1375"><span class="label">1375</span></a> <i>E. g.</i>, the statue of the boy boxer Athenaios of Ephesos was represented in motion, <i>i. e.</i>, in the -act of sparring, as we see from the footprints on the recovered base: <i>Inschr. v. Ol.</i>, 168; he won -some time between Ols. (?) 93 and 103 ( = 384 and 368 B. C.): P., VI, 4.1; Hyde, 36; Foerster, 419.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1376"></a><a href="#FNanchor_1376"><span class="label">1376</span></a> See Grenfell and Hunt, <i>Oxyrhynchus Papyrus</i>, II, 1899, pp. 222 f.; Robert, <i>O. S.</i>, Beilage, -opp. p. 192; Diels, <i>Hermes</i>, XXXVI, 1901, pp. 72 f.; Koerte, <i>ibid.</i>, XXXIX, 1904, pp. 224 f.; -Weniger, <i>Klio</i> (<i>Beitraege zur alten Gesch.</i>), IV, pp. 125 f.; V, pp. 1 f. and 184 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1377"></a><a href="#FNanchor_1377"><span class="label">1377</span></a> Late inscriptions mention “Pythian” and “Isthmian boys”: see F. M. Mie, <i>Quaestiones agonisticae -ad Olympia pertinentes</i>, Diss. inaug., 1888, p. 48; Dittenberger, <i>Sylloge</i>,<sup>2</sup> II, nos. 677–8; the -ἀγένειοι and ἄνδρες at Nemea are mentioned by Pindar, <i>Ol.</i>, VIII, 54. The boys in these contests -were probably aged 12–16, the ἀγένειοι, 16–20 (<i>cf.</i> Roberts-Gardner, <i>Greek Epigraphy</i>, II, -p. 166), and the men over 20 years old.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1378"></a><a href="#FNanchor_1378"><span class="label">1378</span></a> For Olympia, see P., VI, 2.10; 6.1; 14.1–2; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1379"></a><a href="#FNanchor_1379"><span class="label">1379</span></a> <i>C. I. G.</i>, I, 1590.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1380"></a><a href="#FNanchor_1380"><span class="label">1380</span></a> Dittenberger, <i>op. cit.</i>, II, no. 524: ἐφήβων νεωτέρων, μέσων, πρεσβυτέρων.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1381"></a><a href="#FNanchor_1381"><span class="label">1381</span></a> <i>I. G.</i>, II, 444. For the <i>Panathenaia</i>, see Suidas, <i>s. v.</i> Παναθήναια; Mommsen, <i>Heortologie</i>, -1864, p. 141; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1382"></a><a href="#FNanchor_1382"><span class="label">1382</span></a> P., V, 16.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1383"></a><a href="#FNanchor_1383"><span class="label">1383</span></a> <i>De Leg.</i>, VIII, 833 C, D.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1384"></a><a href="#FNanchor_1384"><span class="label">1384</span></a> <i>C. I. G.</i>, inscriptions relating to ephebes, <i>e. g.</i>, I, 232; 1590; Dittenberger, <i>de Ephebis atticis</i>, -1863, p. 24; Dumont, <i>Essai sur l’Ephébie attique</i>, 1876, pp. 215–16. This classification is followed -by E. Pottier, <i>B. C. H.</i>, V, 1881, p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1385"></a><a href="#FNanchor_1385"><span class="label">1385</span></a> Bussemaker, in Dar.-Sagl., I, Pt. <small>1</small>, <i>s. v.</i> <i>athleta</i>, p. 517 (also quoted by Pottier), proposed the -division into παῖδες, 12–16 years old, ἀγένειοι, 16–20, and ἄνδρες, from 20 on. Pollux, VIII, 105, -and Harpokration, <i>s. v.</i> ἐπιδιετές, give the ephebe age as 18–20; Xen., <i>Cyr.</i>, 1, 2.8, puts the age -at 16 or 17 for the Persians.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1386"></a><a href="#FNanchor_1386"><span class="label">1386</span></a> See <i>Inschr. v. Ol.</i>, 56. On the whole subject, see Krause, pp. 262 f., especially p. 263, n. 3; -Gardiner, pp. 271–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1387"></a><a href="#FNanchor_1387"><span class="label">1387</span></a> VI, 1.3 to VI, 18.7. We also know of 61 other victors with 63 monuments from inscribed -base fragments recovered at Olympia; these will be treated <i>infra</i> in Ch. VIII, pp. 353 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1388"></a><a href="#FNanchor_1388"><span class="label">1388</span></a> See Ch. VIII, <i>infra</i>, p. 339 and notes 3–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1389"></a><a href="#FNanchor_1389"><span class="label">1389</span></a> On <i>Ol.</i>, IX, 150, Boeckh, p. 228; <i>cf.</i> <i>Etym. magn.</i>, <i>s. v.</i> στάδιον, p. 743, 25.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1390"></a><a href="#FNanchor_1390"><span class="label">1390</span></a> Thus Apollo beat Hermes in running at Olympia, P., V, 7.10; the Idæan Herakles instituted a -race among his brothers, P., V, 7.7; and Endymion set his sons to run, and so instituted the boys’ -running race there, P., V, 1.4. The running race appears in the Boread legend, Ph.,3; pseudo-Dio -Chrysost., XXXVII, p. 296 (Dindorf); it was represented on the Kypselos chest: P., V, 17.10, and -appears on many archaic vases. On the age of the event, see Grasberger, <i>Erziehung und Unterricht</i>, -I, 1864, p. 310 and III, 1881, p. 199. The Cretans and the Lacedæmonians sacrificed to -Apollo δρομαῖος: Plut., <i>Quaest. conviv.</i>, VIII, 4.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1391"></a><a href="#FNanchor_1391"><span class="label">1391</span></a> See Ph., 3, for the four running races; <i>cf.</i>, Plato, <i>de Leg.</i>, 833 A, B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1392"></a><a href="#FNanchor_1392"><span class="label">1392</span></a> Iliad, XXIII, 740 f.; Od., VIII, 120 f. (in l. 121 it is called δρόμος). In some historic games, -the stade-race remained the only event; <i>e. g.</i>, at the <i>Hermaia</i> on Salamis: <i>C. I. G.</i>, I, 108. For -the stade-race, see P., I, 44.1; III, 14.3; IV, 4.5, etc. On its origin, see Ph., 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1393"></a><a href="#FNanchor_1393"><span class="label">1393</span></a> Schol. on Aristoph., <i>Aves</i>, 292 (ed. J. W. White, 1914); P., V, 8.6. On its origin, see Ph., 6 and -<i>cf.</i> Krause, pp. 345 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1394"></a><a href="#FNanchor_1394"><span class="label">1394</span></a> Ch. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1395"></a><a href="#FNanchor_1395"><span class="label">1395</span></a> Suidas, <i>s. v.</i> δόλιχος; schol. on Aristophanes, <i>Aves</i>, 292 (= seven stadia); Boeckh, <i>C. I. G.</i>, I, -no. 1515, p. 703 (= ordinarily seven stadia); schol. on Soph., <i>Electra</i>, 691. See Krause, I, p. 348, -n. 13; Grasberger, <i>op. cit.</i>, I, pp. 312 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1396"></a><a href="#FNanchor_1396"><span class="label">1396</span></a> Poll., III, 151; schol. on Aristoph., <i>Acharn.</i>, 214; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1397"></a><a href="#FNanchor_1397"><span class="label">1397</span></a> P., <i>passim</i>; <i>Oxy. Pap.</i>; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1398"></a><a href="#FNanchor_1398"><span class="label">1398</span></a> Ph., 7. For two theories of its origin, see <i>ibid.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1399"></a><a href="#FNanchor_1399"><span class="label">1399</span></a> P., X, 7.5; Krause, <i>Die Pythien, Nemeen, und Isthmien</i>, pp. 136 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1400"></a><a href="#FNanchor_1400"><span class="label">1400</span></a> <i>Cf.</i> Plato, <i>de Leg.</i>, I, p. 625 E. Thus the Cretans Ergoteles and Sotades won the distance -race twice each; Ergoteles in Ols. 77 and 79 ( = 472 and 464 B. C.): P., VI, 4.11; <i>Oxy. Pap.</i>; Hyde, -46; Foerster, 206, 213; Sotades in Ols. 99, 100 ( = 384, 380 B. C.): P., VI, 18.6; Hyde, 186; Foerster, -317, 323. The Cretan Philonides, courier of Alexander the Great, had an honor statue at Olympia: -P., VI, 16.5; Hyde, 154a. At the games at Trapezous over sixty Cretans entered: Xen., -<i>Anab.</i>, IV, 8, 27; <i>cf.</i> Krause, pp. 352 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1401"></a><a href="#FNanchor_1401"><span class="label">1401</span></a> <i>De Leg.</i>, VIII, 833 C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1402"></a><a href="#FNanchor_1402"><span class="label">1402</span></a> V, 16.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1403"></a><a href="#FNanchor_1403"><span class="label">1403</span></a> V, 8.6; <i>cf.</i> IV, 4.5; VIII, 26.4. His statement about the antiquity of the event is corroborated -by Plutarch, <i>Quaest. conviv.</i>, V, 2.12, Ph. (= only event until Ol. 14), and Eusebios, <i>Chronika</i>, I, -p. 193 (ed. Schoene). Gardiner, p. 52, believes that if the Olympic games developed from a -single event, it was probably not from the stade-race, but from either the fight in armor or the -chariot-race.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1404"></a><a href="#FNanchor_1404"><span class="label">1404</span></a> P., V, 8.6, etc.; Foerster, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1405"></a><a href="#FNanchor_1405"><span class="label">1405</span></a> Discussed by Gardiner, pp. 52 and 272–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1406"></a><a href="#FNanchor_1406"><span class="label">1406</span></a> III, 8 (= Dorieus of Rhodes, who won his second victory in Ol. 88 ( = 428 B. C.): P., VI, 7.1; -Hyde, 61; Foerster, 260); V, 49 (= Androsthenes of Mainalos, who won his first victory in Ol. 90, -= 420 B. C.: P., VI, 6.1; Hyde, 51; Foerster, 267).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1407"></a><a href="#FNanchor_1407"><span class="label">1407</span></a> Dittenberger, <i>Sylloge</i><sup>2</sup>, I, no. 256 (= Agesidamos of Messenia, who won in Ol. 140, = 220 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1408"></a><a href="#FNanchor_1408"><span class="label">1408</span></a> V, 8.6; confirmed by Ph., 12, and Eusebios, <i>Chron.</i>, I, p. 193 (ed. Schoene).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1409"></a><a href="#FNanchor_1409"><span class="label">1409</span></a> <i>L. c.</i>; corroborated by Ph., 12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1410"></a><a href="#FNanchor_1410"><span class="label">1410</span></a> P., V, 8.9; Eusebios agrees with Pausanias, but Philostratos says Ol. 46 ( = 596 B. C.), <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1411"></a><a href="#FNanchor_1411"><span class="label">1411</span></a> P., V, 8.10; <i>cf.</i> III, 14.3. It was introduced at Delphi in 498 B. C.: see Gardiner, p. 70.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1412"></a><a href="#FNanchor_1412"><span class="label">1412</span></a> On running races, see Krause, I, pp. 337 f.; Gardiner, Ch. XIII, pp. 270 f.; Dar.-Sagl., I, Pt. <small>2</small>, -pp. 1643 f.; Grasberger, <i>Erziehung und Unterricht</i>, I, pp. 312 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1413"></a><a href="#FNanchor_1413"><span class="label">1413</span></a> Fig. <small>37</small> left = <i>Mon. d. I.</i>, I, 1829–33, Pl. XXII, 6b; <i>cf. ibid.</i>, <small>4</small>b, and X, 1874–78, Pl. XLVIII, f, -and Panathenaic amphora in Dar.-Sagl., I, Pt. <small>2</small>, p. 1643, fig. 2229. Fig. 36A = Gerhard, IV, Pl. -CCLIX, 1. Also <i>cf.</i> a sixth-century B. C. amphora in Munich, no. 498: <i>Mon. d. I.</i>, X, Pl. -XLVIII, m; Gardiner, p. 281, fig. 52; Perrot-Chipiez, X, p. 129, fig. 92 (right); a fourth-century -Panathenaic amphora: Gardiner, p. 283, fig. 53, from Stephani, <i>Comptes rendus de la comm. impér. -archéol.</i>, St. Petersburg, 1876, Atlas, Pl. I.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1414"></a><a href="#FNanchor_1414"><span class="label">1414</span></a> Ph., 32: οἷον πτερούμενοι ὑπο τῶν χειρῶν.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1415"></a><a href="#FNanchor_1415"><span class="label">1415</span></a> The first = <i>B. M. Vases</i>, B 609; Gardiner, p. 280, fig. 51; <i>Mon. d. I.</i>, X, 1874–78, Pl. XLVIII, -e, 4; G. F. Hill, <i>Illustrations of School Classics</i>, 1903, fig. 390; the second (Fig. 37, right) = <i>Mon. -d. I.</i>, I, 1829–33, Pl. XXII, 7b; Gardiner, p. 279, fig. 50; Dar.-Sagl., p. 1644, fig. 2230. <i>Cf.</i> -another in <i>Mon. d. I.</i>, X, Pl. XLVIII, f, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1416"></a><a href="#FNanchor_1416"><span class="label">1416</span></a> National Museum, no. 761.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1417"></a><a href="#FNanchor_1417"><span class="label">1417</span></a> <i>Cf.</i> Reisch, p. 46.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1418"></a><a href="#FNanchor_1418"><span class="label">1418</span></a> On this mode of representing runners, see Schmidt in <i>Muenchener archaeol. Studien zum Andenken -A. Furtwaengler dargebracht</i>, 1909, pp. 249 f. (especially p. 257).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1419"></a><a href="#FNanchor_1419"><span class="label">1419</span></a> See Kalkmann, <i>Jb.</i>, X, 1895, pp. 56 f, and fig. 4, p. 56 (= Gerhard, IV, 256; Murray, <i>Designs from -Greek Vases</i>, V, 18) two runners; the interior of the same vase also represents such a runner: p. 61, -fig. 7. <i>Cf.</i> also p. 58, fig. 5 (= Murray, X, 37; <i>Mon. d. I.</i>, IV, 1844–48, Pl. XXXIII), representing -Hermes on a r.-f. vase of the severe style; also p. 59, fig. 6; etc. Also <i>cf.</i> Juethner, p. 41, fig. 36a (a -later r.-f. kylix in Munich, no. 803 A), showing a pentathlete running with an <i>akontion</i>. The following -b.-f. vases, which show representations of such archaic runners, are taken from Perrot-Chipiez, -X, 1914: the proto-Attic amphora of Nettos, p. 71, fig. 63 (= <i>Ant. Denkm.</i>, I, Text, -p. 46); cup from Aegina, p. 77, fig. 68 (= <i>A. Z.</i>, XL, 1882, Pl. IX); Corinthian amphora, p. 103, -fig. 74 (= Pottier, <i>Vases antiques</i>, Pl. LIX, E 855); the Gorgon on the François Vase, p. 165, fig. -108 (from Furtw.-Reichhold, <i>Griech. Vasenmalerei</i>, Pls. I-III); on neck of an amphora by Pamphaios -in the Louvre, p. 388, fig. 233 (= Pottier, <i>op. cit.</i>, Pl. LXXXVIII).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1420"></a><a href="#FNanchor_1420"><span class="label">1420</span></a> Discussed (wrongly, I think, as Etruscan) by G. H. Chase: <i>A. J. A.</i>, XII, 1908, pp. 287 f., -Pls. VIII-XVIII (especially XII-XVIII); Pl. XV = Richardson, p. 69, fig. 27.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1421"></a><a href="#FNanchor_1421"><span class="label">1421</span></a> Richter, <i>Greek, Etruscan, and Roman Bronzes</i>, no. 46, fig. on p. 30; <i>Museum Bull.</i>, 1911 -(April), pp. 92 f., and fig. 5 (Richter); it is 4–5/8 inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1422"></a><a href="#FNanchor_1422"><span class="label">1422</span></a> No. 1959. It will be discussed in our treatment of hoplitodromes <i>infra</i>, p. 209 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1423"></a><a href="#FNanchor_1423"><span class="label">1423</span></a> Richter, no. 16, fig. on p. 10; <i>Mus. Bull.</i>, 1909 (May), p. 78 (Robinson); it is 2–7/8 inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1424"></a><a href="#FNanchor_1424"><span class="label">1424</span></a> Richter, no. 62, fig. on p. 43; Mus. Bull., 1913 (Dec.), pp. 268 f. and fig. 7 (Richter); it is 3–1/16 -inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1425"></a><a href="#FNanchor_1425"><span class="label">1425</span></a> <i>Op. cit.</i>, pp. 65 and 74.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1426"></a><a href="#FNanchor_1426"><span class="label">1426</span></a> <i>Aegina, das Heiligtum der Aphaia</i>, Pl. XCVI, nos. 32 and 3; in the Glyptothek these are nos. -78 and 82; see von Mach, Pl. 78 (middle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1427"></a><a href="#FNanchor_1427"><span class="label">1427</span></a> The Lapith G and the boy P: Treu, <i>Jb.</i>, III, 1888, pp. 117 f., Pl. V (= Q and F in the new -arrangement on Pl. VI); Kalkmann, <i>op. cit.</i>, p. 75.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1428"></a><a href="#FNanchor_1428"><span class="label">1428</span></a> Bulle, 180; it is 0.79 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1429"></a><a href="#FNanchor_1429"><span class="label">1429</span></a> <i>Ant. Denkm.</i>, I, Pt. <small>5</small>, 1890, Pl. LVI (text, pp. 45–46, by Winter); B. B., no. 249; Bulle, 92 -(two views) and 93; von Mach, 226; Helbig, <i>Fuehrer</i>, II, no. 1353; <i>Guide</i>, 1063; Collignon, II, p. -361, fig. 184; Gardiner, <i>Sculpt.</i>, Pl. LXXIII; Reinach, <i>Rép.</i>, II, <small>2</small>, 419, 7. It is 1 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1430"></a><a href="#FNanchor_1430"><span class="label">1430</span></a> <i>E. g.</i>, Kalkmann, <i>Jb.</i>, X, 1895, pp. 46 f., Pl. I and fig. I in text; he defends this view, <i>ibid.</i>, -XI, 1896, pp. 197 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1431"></a><a href="#FNanchor_1431"><span class="label">1431</span></a> To the fifth by Kalkmann, Bulle, Furtwaengler (<i>Sitzb. Muen. Akad.</i>, 1907, Pt. II, pp. 219–220, -= Hadrianic copy), and others; to the fourth by Winter, Collignon, and von Mach; Collignon, II, -pp. 359 f., connects it stylistically with the so-called <i>Ilioneus</i> of the Glyptothek, represented in a -similar pose (= Furtw.-Wolters, <i>Beschr.</i>,<sup>2</sup> 270; B. B., 432; F. W., 1263), and with the <i>Hypnos</i> in -the Prado, Madrid (= Huebner, <i>Die ant. Bildw. in Madrid</i>, no. 39; Furtw., <i>Mw.</i>, pp. 648 f.; Collignon, -II, p. 357, fig. 181; F. W., 1287; for small replicas in bronze, see Winnefeld, <i>Hypnos</i>, -p. 8, n. 2), and assigns all three to the fourth century B. C. and to Skopaic art. Amelung -assigns the Subiaco youth to Hellenistic times: <i>Mus. and Ruins of Rome</i>, I, fig. 60.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1432"></a><a href="#FNanchor_1432"><span class="label">1432</span></a> For a list of ten such interpretations, see de Ridder, <i>Rev. arch.</i>, XXXI, Sér. 3, 1897, p. 265, -n. 5; and B. Sauer, Der Knabe von Subiaco, <i>Festgabe H. Bluemner ueberreicht</i>, 1914, pp. 143 f., -and note <small>1</small> on p. 143.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1433"></a><a href="#FNanchor_1433"><span class="label">1433</span></a> <i>E. g.</i>, by Bulle; Brizio, <i>Ausonia</i>, I, 1906, p. 21; <i>cf.</i> Winter, <i>l. c.</i>; etc. If a Niobid, he was probably -wounded in the neck (<i>cf.</i> the one in Milan) and formed part of a group.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1434"></a><a href="#FNanchor_1434"><span class="label">1434</span></a> By Lucas, <i>Neue Jahrbuecher f. kl. Altertum</i>, V, 1902, pp. 427 f; <i>cf.</i> <i>Jh. oest. arch. Inst.</i>, IX, -1906, pp. 273 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1435"></a><a href="#FNanchor_1435"><span class="label">1435</span></a> Formerly by G. Koerte, <i>Jb.</i>, XI, 1896, pp. 11 f.; <i>cf.</i> the Pompeian wall-painting, <i>ibid.</i>, p. 15, -fig. 2; he has since given up this view: see Sauer, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1436"></a><a href="#FNanchor_1436"><span class="label">1436</span></a> De Ridder, <i>op. cit.</i>, the hands seem to have been placed wrong for this interpretation, though -Helbig and Amelung find it possible.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1437"></a><a href="#FNanchor_1437"><span class="label">1437</span></a> Petersen, <i>Jb.</i>, XI, 1896, pp. 202 f.; such a motive was unknown to antiquity and is based on -the wrong assumption that a marble hand holding a rope-like object, which was found in the same -excavations, belongs to the statue: see Helbig, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1438"></a><a href="#FNanchor_1438"><span class="label">1438</span></a> Sauer, in the publication mentioned, believes the riddle best solved by assuming that the -figure formerly was part of a gable group; see the reconstruction (by Luebke), p. 145, fig. 4. He -dates it in the second half of the fifth century B. C., contemporary with the <i>Idolino</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1439"></a><a href="#FNanchor_1439"><span class="label">1439</span></a> The fleetness of Ladas was often extolled, especially by late Greek and Roman writers: P, -III, 21.1; Plut., <i>Praecip. ger. reip.</i>, 10; Catullus, LV, 25; Juvenal, XIII, 97; Martial, II, -LXXXVI, 8, and XC, 5; Seneca, <i>Ep.</i>, LXXXV, 4; Solinus, 7; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1440"></a><a href="#FNanchor_1440"><span class="label">1440</span></a> <i>A. Pl.</i>, IV, no. 53; here line 3 was added by Jacobs, and line 4 by Benndorf, from two parodies of -the epigram in <i>A. G.</i>, XI, 86 and 119; in the first parody ἄλλος stands for Λάδας and Περικλῆς for -κάμνων. See Benndorf, <i>de anthologiae Graecae Epigrammatis quae ad artes spectant</i>, Diss. inaug., -1862, pp. 13 f., and Kalkmann, <i>Jb.</i>, X, 1895, pp. 76–77 and notes. Studniczka (see next note) -reads line 4: Λάδας, οἱ δ’ ἄλλοι δάκτυλον οὐ προέβαν.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1441"></a><a href="#FNanchor_1441"><span class="label">1441</span></a> <i>A. Pl.</i>, IV, 54. Benndorf corrects the Mss. reading of the last half of l. 2 as νεῦρα ταθεὶς ὄνυχι; -others read the whole line: θυνὸν [= δρόμον] ἐπ’ ἀκροτάτῳ σκάμματι θεὶς ὄνυχα. On the two epigrams, -see Studniczka, Myron’s Ladas, <i>Ber. saechs. Gesellsch. d. Wiss., Philolog.-histor. Cl.</i>, 52, 1900, -pp. 329 f. (especially pp. 333 f.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1442"></a><a href="#FNanchor_1442"><span class="label">1442</span></a> Reading φυσῶν ... θυμόν for φεύγων ... Θῦμον, “flying from wind-footed Thymos,” -of Jacobs. On possible readings, see Studniczka, <i>l. c.</i>, pp. 337 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1443"></a><a href="#FNanchor_1443"><span class="label">1443</span></a> <i>Sculpt.</i>, p. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1444"></a><a href="#FNanchor_1444"><span class="label">1444</span></a> See Kalkmann, <i>op. cit.</i>, pp. 77–8; Reisch, p. 44; <i>cf.</i> Gercke, <i>Jb.</i>, VIII, 1893, p. 115, on the -meaning of the words πνεῦμα and ἆσθμα.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1445"></a><a href="#FNanchor_1445"><span class="label">1445</span></a> <i>Polyklet u. s. Sch.</i>, p. 17; von Mach, no. 289; B. B., 354.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1446"></a><a href="#FNanchor_1446"><span class="label">1446</span></a> No. 249, 249 a; he fixes his victory in Ol. (?) 85 ( = 440 B. C.), because of the late dating of -Myron by Pliny, <i>H. N.</i>, XXXIV, 49 (<i>floruit</i> Ol. 90 = 420 B. C.: <i>cf.</i> Brunn, I, 142 f.); Furtwaengler -dated his activity within the first half of the fifth century B. C.: <i>Mp.</i>, p. 182; Robert provisionally -dates the victory of Ladas in Ol. (?) 76 ( = 476 B. C.), though he finds that Ols. 80 and 81 ( = 460 and -456 B. C.) are possible: see <i>O. S.</i>, p. 184; here he dates the sculptor (?) 476–444 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1447"></a><a href="#FNanchor_1447"><span class="label">1447</span></a> <i>Cf. infra</i>, Ch. VIII, p. 365, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1448"></a><a href="#FNanchor_1448"><span class="label">1448</span></a> Helbig, <i>Fuehrer</i>, I, nos. 913, 914; <i>Guide</i>, 573, 574; <i>B. Com. Rom.</i>, IV, 1876, Pls. IX-X, pp. 68 f.; -B. B., 353 (right and left); Reinach, <i>Rép.</i>, II, <small>2</small>, 540, 4, and for the torso, see II, <small>2</small>, 541, 3 (= <i>B. -Com. Rom.</i>, Pl. XI).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1449"></a><a href="#FNanchor_1449"><span class="label">1449</span></a> Helbig, 914.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1450"></a><a href="#FNanchor_1450"><span class="label">1450</span></a> Helbig, 913.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1451"></a><a href="#FNanchor_1451"><span class="label">1451</span></a> So Furtwaengler, <i>Mp.</i>, p. 128, n. 1, <i>Mw.</i>, p. 285, n. 3, and Helbig (3d ed.); on the other hand, -Reisch (p. 46), B. B., and formerly Helbig (in the first edition of his <i>Guide</i>), have regarded them as -wrestlers.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1452"></a><a href="#FNanchor_1452"><span class="label">1452</span></a> The statuette and relief are pictured in <i>Mon. ant.</i>, XI, 1901, Pl. XXVI, 2, and pp. 402 f. The -statuette also in Arndt-Amelung, <i>Einzelaufnahmen</i>, no. 552, and Reinach, <i>Rép.</i>, II, <small>2</small>, 540, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1453"></a><a href="#FNanchor_1453"><span class="label">1453</span></a> <i>Mp.</i>, pp. 126 f., and fig. 51; <i>Mw.</i>, pp. 284 f., fig. 38; here the restored parts have been removed -and his own restoration is given in an outline drawing. See also B. B., no. 129; Helbig, <i>Fuehrer</i>, I, -322; Clarac, 837, 2099.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1454"></a><a href="#FNanchor_1454"><span class="label">1454</span></a> Mentioned by P., I, 28.2 and I, 25.1; the inscribed base has been found (see Lolling, -Ἀρχαιολογικὸν Δελτίον, 1889, p. 35, n. 2). The <i>Perikles</i> is exemplified by two inscribed copies: a -terminal bust in London: <i>B. M. Sculpt.</i>, I, no. 549 and fig. 23 on p. 289; <i>Ancient Marbles in the -British Museum</i>, 1815, Pl. XXXII; <i>A. Z.</i>, XXVI, 1868, Pl. II, fig. 1 and pp. 1 f. (Conze); Furtw., -<i>Mp.</i>, pp. 117 f., Pl. VII and fig. 46 (profile); <i>Mw.</i>, Pl. IX and pp. 270 f.; F. W., 481; a terminal -bust in the Vatican: Visconti, <i>Iconogr. gr.</i>, 1824–26, I, Pl. XV and p. 178; B. B., no. 156; Helbig, -<i>Fuehrer</i>, I, 276; Arndt-Bruckmann, <i>Griech. u. roem. Portraets</i>, 413, 414: Bernouilli, <i>Griech. -Ikonogr.</i>, I, Pl. XI, p. 108; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1455"></a><a href="#FNanchor_1455"><span class="label">1455</span></a> <i>H. N.</i>, XXXIV, 74; in this passage Pliny also mentions an <i>Olympius Pericles</i>. The Naples -statue has been wrongly restored as a gladiator; it is pictured, minus the restorations, in <i>Mp.</i>, p. 125, -fig. 50; <i>Mw.</i>, p. 282, fig. 37; <i>cf.</i> Clarac, 870, 2210 and 872, 2210. Furtwaengler connects this statue -with the bronze one of a certain Diitrephes pierced with arrows, which Pausanias saw on the -Akropolis, I, 23.3; a basis found there, inscribed with the name Kresilas, supported a votive -offering of Hermolykos, the son of Diitrephes, to Athena: <i>I. G. B.</i>, 46; <i>C. I. A.</i>, I, 402 (Kirchhoff, -who opposes the connection); <i>cf.</i> p. 373. The base shows that a figure stood upon it in the pose of -another figure, which appears on a white-faced Attic lekythos in the Cab. des Médailles in Paris -(<i>Mp.</i>, p. 124, fig. 48), which Furtwaengler believes a free rendering of the Kresilæan statue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1456"></a><a href="#FNanchor_1456"><span class="label">1456</span></a> In Ols. 83, 84, 85 ( = 448–440 B. C.): Afr.; Foerster, 239, 245, 248. Krison is mentioned by -Plato, <i>Protag.</i>, 335 E, and <i>de Leg.</i>, VIII, 840 A; Aristophanes of Byzantion (<i>apud</i> Zonaras, I, p. 451, -and <i>apud</i> Hesych., <i>s. v.</i> Γρίσων); Plut., <i>de adul. et amici Discr.</i>, 16; and <i>de Tranqu. anim.</i>, 12; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1457"></a><a href="#FNanchor_1457"><span class="label">1457</span></a> <i>Inschr. v. Ol.</i>, 157. He won Ol. (?) 80 ( = 460 B. C.): P. VI, 8.1; Hyde, 71; Foerster, 280.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1458"></a><a href="#FNanchor_1458"><span class="label">1458</span></a> B. B., no. 321; Bulle, 164, and fig. 93 on pp. 361–2 (cast on round base in Erlangen); von Mach -72; Collignon, I, p. 417, fig. 215; Rayet, I, Pl. 35; Helbig, <i>Fuehrer</i>, I, 956; <i>Guide</i>, 617; Zielinski, -<i>Rhein. Mus.</i>, XXXIX, 1884, pp. 116 f. (who refers the original possibly to Strongylion); F. W., 215. -For replicas, see <i>Gaz. Arch.</i>, 1881, p. 130; Rayet, text to Pl. 35; and Furtwaengler, <i>Der Dornauszieher -und der Knabe mit der Gans</i>, 1876, pp. 7 f; Reinach, <i>Rép.</i>, 1, 344, 6. It was called a runner -first by Visconti, <i>Opere varie</i>, 1827–31, IV, Pl. XXIII, pp. 163 f., who has been followed by -Collignon, Zielinski, Rayet, Reisch (p. 46), Richardson (p. 144), and others. It is 0.80 meter -high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1459"></a><a href="#FNanchor_1459"><span class="label">1459</span></a> <i>E. g.</i>, Overbeck, II, pp. 182–185, and notes 10–24 on p. 186. On p. 183, fig. 186, he gives illustrations -of the three principal copies—the marble one in the British Museum (a), the bronze statuette -in Baron Rothschild’s collection in Paris (b), and the Capitoline bronze in Rome (c). He -brings it into relation with the sculptor Boëthos, who is known to have made seated <i>genre</i> figures -of boys, <i>e. g.</i>, one in the Heraion at Olympia, P., V., 17. 4 (= S. Q., 1596).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1460"></a><a href="#FNanchor_1460"><span class="label">1460</span></a> Von Mach, no. 86; <i>cf.</i> Kekulé, <i>A. Z.</i>, XLI, 1883, p. 244, and F. W., 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1461"></a><a href="#FNanchor_1461"><span class="label">1461</span></a> See <i>B. M. Sculpt.</i>, III, pp. 109–110.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1462"></a><a href="#FNanchor_1462"><span class="label">1462</span></a> See K. Woelke, Dornauszieher-Maedchen, <i>Jb.</i>, XXIX, 1914, pp. 17–25, figs. 1, 2, etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1463"></a><a href="#FNanchor_1463"><span class="label">1463</span></a> <i>E. g.</i>, bronze statuettes, formerly in the Dreyfus collection in Paris, dating from the second half -of the fifteenth century: Bulle, p. 364, fig. 94; <i>Mon. Piot</i>, XVI, 1909, Pl. XII, 3 (nos. 2, 3 = Italian -bronzes of the same subject in the Louvre and in the collection of Charles Haviland; see text, by -G. Migeon, pp. 95 f.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1464"></a><a href="#FNanchor_1464"><span class="label">1464</span></a> <i>B. M. Sculpt.</i>, III, no. 1755 and Pl. VIII; <i>Mon. d. I.</i>, X, 1874–78, Pl. XXX; <i>Annali</i>, XLVIII, -1876, Pl. N (and pp. 124 f); <i>A. Z.</i>, XXXV, 1877, p. 127, and XXXVII, 1879, p. 19, Pls. II, -III; Rayet, Pl. 36; von Mach, 284; Bulle, p. 365, fig. 95; Reinach, <i>Rép.</i>, II, <small>1</small>, 144, 2. It is -0.63 meter high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1465"></a><a href="#FNanchor_1465"><span class="label">1465</span></a> <i>Gaz. arch.</i>, 1881, Pls. IX-XI; Collignon, I, p. 420, fig. 216; Rayet, text to no. 36; Reinach, -<i>Rép.</i>, II, <small>1</small>, 143, 7. It is 9.5 inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1466"></a><a href="#FNanchor_1466"><span class="label">1466</span></a> See Lange, <i>Das Motif des aufgestuetzten Fusses</i>, 1879, pp. 9 f.; Reisch, p. 46, n. 5; B. B., no. 67 -(Paris copy); von Mach, 238a (Munich copy), 238b (Louvre copy). See <i>supra</i>, pp. 86–87.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1467"></a><a href="#FNanchor_1467"><span class="label">1467</span></a> See E. N. Gardiner, <i>J. H. S.</i>, XXIII, 1903, p. 281; on the race, see Gardiner, pp. 285–91, and -<i>J. H. S.</i>, <i>l. c.</i>, pp. 280 f.; Krause, I, pp. 353–359; Dar.-Sagl., I, Pt. <small>2</small>, p. 1644; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1468"></a><a href="#FNanchor_1468"><span class="label">1468</span></a> At Olympia, P., III, 14.3; Plut., <i>Quaest. conviv.</i>, II, 5; Artemidoros, <i>Oneirokritika</i>, I, 63; Heliod., -<i>Aethiop.</i>, IV., <i>init.</i>; <i>Oxy. Pap.</i>; at Delphi, Krause, <i>Die Pythien, Nemeen, und Isthmien</i>, 1841, p. 26, -no. 4; at the <i>Panathenaia</i>, Mommsen, <i>Feste d. Stadt Athen</i>, 1898, p. 70. On its origin, see Ph., 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1469"></a><a href="#FNanchor_1469"><span class="label">1469</span></a> P., II, 11.8; X, 34.5. In the first passage Pausanias speaks of a victor who won the <i>diaulos</i> -twice—once γυμνός, the second time σὺν τῇ ἀσπίδι. De Ridder, <i>B. C. H.</i>, XXI, 1897, pp. 211 f., -discusses Hauser’s futile argument (<i>Jb.</i>, II, 1887, pp. 95 f.) that the hoplite-runner covered the -stadion four times, the first and fourth with helmet and shield, the second and third without the -shield, and conclusively shows that the race was a <i>diaulos</i>. For Athens, see Aristoph., <i>Aves</i>, -291 f., and scholion. The race was four stades long at Nemea: <i>cf.</i> Ph., 7, and Juethner’s note -(p. 196).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1470"></a><a href="#FNanchor_1470"><span class="label">1470</span></a> Ph., 8; <i>cf.</i> also 24.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1471"></a><a href="#FNanchor_1471"><span class="label">1471</span></a> VI, 10.4. In V, 12.8 he says that 25 shields for this race were officially kept in the nave of the -temple of Zeus.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1472"></a><a href="#FNanchor_1472"><span class="label">1472</span></a> We see shield, helmet, and greaves on the vase pictured in Dar.-Sagl., I, <small>2</small>, p. 1644, fig. 2231; -Baum., III, p. 2110, fig. 2360; on the b.-f. vases in Gerhard, IV, Pls. CCLVII, CCLVIII, and -CCLXIII; on the b.-f. vases pictured in Schreiber, <i>Bilderatlas</i>, Pl. XXII, figs. 3 (sixth century -B. C., = Gerhard, IV, Pl. CCLVIII) and 5 (= amphora in the British Museum: <i>B. M. Vases</i>, II, -B 608); we see no greaves on the r.-f. kylix in Berlin (Fig. 41); <i>cf.</i> Krause, pp. 354 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1473"></a><a href="#FNanchor_1473"><span class="label">1473</span></a> <i>Jb.</i>, II, 1887, pp. 95 f.; X, 1895, pp. 199 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1474"></a><a href="#FNanchor_1474"><span class="label">1474</span></a> P., VI, 10.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1475"></a><a href="#FNanchor_1475"><span class="label">1475</span></a> P., X, 34.5. Mnesiboulos won stade- and hoplite-races at Olympia in Ol. 235 ( = 161 A. D.): -Afr.; Foerster, 712–713; <i>cf.</i> Hitz.-Bluemn., II, <small>2</small>, p. 582. He was also περιοδονίκης in both events.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1476"></a><a href="#FNanchor_1476"><span class="label">1476</span></a> <i>E. g.</i>, by Ph., 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1477"></a><a href="#FNanchor_1477"><span class="label">1477</span></a> A bronze helmet found at Olympia, recently in the possession of the Bishop of Lincoln, is -pictured in <i>J. H. S.</i>, II, 1881, Pl. XI, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1478"></a><a href="#FNanchor_1478"><span class="label">1478</span></a> <i>E. g.</i>, on the vase in Dar.-Sagl., I, <small>2</small>, p. 1644, fig. 2231; on the Panathenaic vase in the British -Museum, already mentioned, dating from the second half of the fourth century B. C.: <i>B. M. Vases</i>, -II, B. 608; = Gardiner, p. 290, fig. 58; = <i>Mon. d. I.</i>, X, 1874–78, Pl. XLVIII, e, 3; = Baum, III, -p. 2110, fig. 2361; here the runners are running with the feet flat on the ground.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1479"></a><a href="#FNanchor_1479"><span class="label">1479</span></a> In the Cabinet des Médailles of the Bibliothèque Nationale, no. 523; Hartwig, <i>Die griech. -Meisterschalen</i>, 1893, pp. 132–142, Pls. XV, 2 and XVI; Gardiner, p. 286, fig. 54, and <i>J. H. S.</i>, -XXIII, p. 278, fig. 7; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, I, p. 427, no. 58.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1480"></a><a href="#FNanchor_1480"><span class="label">1480</span></a> No. 2307; Gerhard, IV, Pl. CCLXI; <i>J. H. S.</i>, XXIII, p. 277, fig. 6; Gardiner, p. 288, fig. 56; -Dar.-Sagl., II, <small>2</small>, p. 1644, fig. 2232; <i>Jb.</i>, II, 1887, p. 105; <i>cf.</i> similar runners on a r.-f. kylix in the -British Museum, E 22: Murray, <i>Designs from Greek Vases</i>, no. 18; Hoppin, <i>Hbk.</i>, I, p. 372, no. 21.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1481"></a><a href="#FNanchor_1481"><span class="label">1481</span></a> <i>J. H. S.</i>, XXIII, 1903, p. 278, fig. 8; Gardiner, p. 287, fig. 55. It was formerly in Berlin.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1482"></a><a href="#FNanchor_1482"><span class="label">1482</span></a> E 818; <i>J. H. S.</i>, <i>l. c.</i>, p. 285, fig. 12; Gardiner, p. 289, fig. 57; noted by Hartwig, <i>Die griech. -Meisterschalen</i>, p. 373, no. 8; Hoppin, <i>Hbk.</i>, I, p. 134, no. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1483"></a><a href="#FNanchor_1483"><span class="label">1483</span></a> For a reconstruction of the various phases of the armed-race from vase-paintings, see <i>J. H. S.</i>, -<i>l. c.</i>, p. 279, fig. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1484"></a><a href="#FNanchor_1484"><span class="label">1484</span></a> See Gardiner, p. 291 and <i>J. H. S.</i>, <i>l. c.</i>, pp. 284 f. Perhaps this is the explanation of a kylix -in Berlin (no. 4039), reproduced by Furtwaengler in <i>Samml. Sabouroff</i>, I, Pl. LIII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1485"></a><a href="#FNanchor_1485"><span class="label">1485</span></a> <i>E. g.</i>, on a r.-f. kylix in Munich (no. 1240); <i>J. H. S.</i>, <i>l. c.</i>, p. 284, fig. 11; Gardiner, p. 292, fig. 59. -This painting represents a palæstra scene, as is shown by the sponges on the wall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1486"></a><a href="#FNanchor_1486"><span class="label">1486</span></a> 291.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1487"></a><a href="#FNanchor_1487"><span class="label">1487</span></a> <i>H. N.</i>, XXXV, 71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1488"></a><a href="#FNanchor_1488"><span class="label">1488</span></a> I, 23.9. In 1838 the inscribed base of this statue was found, the inscription being: Ἐπι[χ]αρῖνος -[ἀνέ]θηκεν ὁ ... Κριτίος καὶ Νης[ι]ώτης ἐπο[ιησ]άτην: <i>C. I. A.</i>, I, 376; Loewy, <i>I. G. B.</i>, 39. -This shows that Pausanias got his information about the pose from the statue itself and not from -the inscription. It also gives us the right spelling of the artist’s name.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1489"></a><a href="#FNanchor_1489"><span class="label">1489</span></a> First published, long after it had passed from the possession of Herr Tux to the University Collection, -by Gruneisen in Schorn’s <i>Kunstblatt</i>, 1835, pp. 21 f., and separately the same year. See -also Hauser in <i>Jb.</i>, II, 1887, pp. 95–107; L. Schwabe, <i>Jb.</i>, I, 1886, pp. 163 f., Pl. IX (= three -views); de Ridder, <i>B. C. H.</i>, XXI, 1897, pp. 211 f. (reviewed in <i>A. J. A.</i>, II, 1898, pp. 268 f.); -Collignon, I, p. 305, fig. 152; Bulle, no. 89 (two views); Springer-Michaelis, p. 217, fig. 403a; -Brunn, <i>Griech. Kunstgesch.</i>, 1893, II, p. 249 f.; F. W., 90; Rouse, p. 174, n. 1; Reinach, <i>Rép.</i>, II, <small>2</small>, -543, 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1490"></a><a href="#FNanchor_1490"><span class="label">1490</span></a> Bulle, no. 86.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1491"></a><a href="#FNanchor_1491"><span class="label">1491</span></a> <i>Jh. oest. arch. Inst.</i>, V, 1902, pp. 165–70 and Pl. IV (three views). It was probably made in -Campania. It is 0.07 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1492"></a><a href="#FNanchor_1492"><span class="label">1492</span></a> M. D., 1097; Clarac, 830, 2085.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1493"></a><a href="#FNanchor_1493"><span class="label">1493</span></a> Furtw., <i>Mp.</i>, p. 204, and n. 4; <i>Mw.</i>, p. 392, and n. 4. He believes that the helmet is not alien -to the statue as some think, but points out that the head, which is much restored and is akin to -the <i>Perseus</i>, is wrongly attached to the body. Hauser, <i>Jb.</i>, II, 1887, p. 101, n. 24, because of the -tree-trunk, does not believe that the statue represents a hoplite-runner; but Furtwaengler shows -that the tree-trunk offers no objection to restoring a shield to the statue.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1494"></a><a href="#FNanchor_1494"><span class="label">1494</span></a> Rayet, II, Pls. 64, 65 (head); B. B., no. 75; Bulle, 88; von Mach, 286; Reinach, <i>Rép.</i>, I, 154 -1–4; M. W., I, Pl. 48, 216; F. W., 1425; H. B. Walters, <i>The Art of the Greeks</i>, Pl. XLIX; Gardner, -<i>Hbk.</i>, p. 513, fig. 136; J. Six, <i>De Beteekenis van het Leelijke in de Grieksche Kunst</i>, p. 29; his theory has -been contested by Kalkman, <i>Jb.</i>, X, 1895, p. 64 and n. 50. The statue is 1.55 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1495"></a><a href="#FNanchor_1495"><span class="label">1495</span></a> Bulle, and also Klein (III, pp. 265 f.), believe that Agasias was no mere copyist, while Amelung -(Becker-Thieme, <i>Lex. d. bild. Kuenstler</i>, I, 113) classes him as one. The inscription on the -base of the statue dates it about 100 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1496"></a><a href="#FNanchor_1496"><span class="label">1496</span></a> No. 1959; <i>Arch. Eph.</i>, 1904, pp. 43–56 (Philios) and Pl. I; Perrot-Chipiez, VIII, pp. 648–51 and -fig. 333; Staïs, <i>Marbres et Bronzes</i>, Pl. on p. 20; Svoronos, I, pp. 89–96, and Tafelbd., I, Pl. XXVI -(upper left corner); Bulle, 263; E. Schmidt, <i>Muenchner archaeol. Stud. zum Andenken A. Furtwaengler</i>, -p. 254 and fig. 351; Lechat, p. 206, fig. 25. Its dimensions are 1.01 meters high and 0.72 -meter broad. See p. 194.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1497"></a><a href="#FNanchor_1497"><span class="label">1497</span></a> Bulle dates it loosely after the middle of the sixth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1498"></a><a href="#FNanchor_1498"><span class="label">1498</span></a> He shows that a similar type appears on Athenian dekadrachmai, which were struck soon after -the date of the battle of Marathon, in any case before 480 B. C.; <i>cf.</i> Babelon, <i>Journ. Int. -d’arch. Num.</i>, 1905.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1499"></a><a href="#FNanchor_1499"><span class="label">1499</span></a> <i>A. Pl.</i>, I, 3, v. 2, and <i>P. l. G.</i>, III, no. 153, p. 500. <i>Cf.</i> also the epigram quoted by Eustathius, -in the scholion on the Iliad, XXIII, 621, p. 1320, and one by Lucilius, <i>A. G.</i>, XI, no. 84. -The five events are repeatedly mentioned by Greek writers: Ph., 3, 11, etc.; Artemidoros, -<i>Oneir.</i>, I, 55; many scholiasts, <i>e. g.</i>, on Pindar, <i>Isthm.</i>, 1, 35, Boeckh, p. 519, and Soph., <i>Electra</i>, 691. -On the event, see P. Gardner, <i>J. H. S.</i>, I, pp. 210 f.; Gardiner, Ch. XVII, pp. 359 f.; <i>id.</i>, <i>J. H. S.</i>, -XXIII, 1903, pp. 54 f. (The Method of Deciding the Pentathlon); E. Myers, <i>J. H. S.</i>, II, 1881, -pp. 217 f.; F. Fedde, <i>Der Fuenfkampf d. Hellenen</i>, 1888, and <i>Ueber den Fuenfkampf d. Hellenen</i>, -1889; Heinrich, <i>Ueber das Pentathlon d. Griechen</i>, 1892; Pinder, <i>Ueber den Fuenfkampf d. -Hellenen</i>, 1867; Krause, I, pp. 476–497, and 921 f.; Bluemner, in Baum., I, pp. 512 f; Legrand, in -Dar.-Sagl., IV, <small>1</small>, pp. 804 f., <i>s. v.</i> <i>Quinquertium</i>. On the order of events and method of deciding -the victory, see Gardiner, pp. 362 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1500"></a><a href="#FNanchor_1500"><span class="label">1500</span></a> <i>Isthm.</i>, I, 26–27.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1501"></a><a href="#FNanchor_1501"><span class="label">1501</span></a> Od., VIII, 103. In line 129 he mentions the diskos. Boxing was never a part of the later -pentathlon.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1502"></a><a href="#FNanchor_1502"><span class="label">1502</span></a> P., V, 8. 7; Philostratos, 12; in Ch. 3 he says that it was introduced by Jason.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1503"></a><a href="#FNanchor_1503"><span class="label">1503</span></a> P., V, 9. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1504"></a><a href="#FNanchor_1504"><span class="label">1504</span></a> Gerhard, IV, Pl. CCLIX. See <i>supra</i>, p. 192.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1505"></a><a href="#FNanchor_1505"><span class="label">1505</span></a> It represents jumping, javelin-throwing, and diskos-throwing; it is a Panathenaic vase of the -sixth century B. C. in the British Museum: B 134; <i>J. H. S.</i>, XXVII, 1907, Pl. XVIII; Gardiner, -p. 360, fig. 107; <i>cf.</i> these three events pictured on another amphora of similar date in Leyden: -<i>A. Z.</i>, XXXIX, 1881, Pl. IX; Gardiner, p. 361, fig. 108. A gymnasium scene (<i>i. e.</i>, figures of a -jumper, diskobolos, and apparently an akontistes) appears on a r.-f. vase-painting by Douris: -see Pottier, <i>Douris et les Peintres de Vases grecs</i>, 1904 (engl. ed. 1909), fig. 6; Perrot-Chipiez, X, -p. 549, fig. 315.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1506"></a><a href="#FNanchor_1506"><span class="label">1506</span></a> In addition to those cited we may add the vase in the British Museum, B 142 (= diskos-throwing -and javelin-throwing); one in Munich, no. 656 (= javelin-throwing and jumping); two others -in the British Museum, B 136 and 602 (= diskos-throwing); another there, B 605 (= javelin-throwing); -etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1507"></a><a href="#FNanchor_1507"><span class="label">1507</span></a> <i>Inschr. v. Ol.</i>, 162, 163; <i>I. G. B.</i>, 91; upper surface outlined in Furtw., <i>Mp.</i>, p. 263, fig. 110; -<i>Mw.</i>, p. 472, fig. 80. For the discussion of Pythokles, see <i>Mp.</i>, pp. 262 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1508"></a><a href="#FNanchor_1508"><span class="label">1508</span></a> Furtwaengler believed in the first century B. C.; Dittenberger and Purgold, in the first -century A. D.: <i>cf.</i> <i>Inschr. v. Ol.</i>, p. 284.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1509"></a><a href="#FNanchor_1509"><span class="label">1509</span></a> Gatti, <i>B. Com. Rom.</i>, XIX, 1891, pp. 280 f., Pl. X, 1; <i>cf.</i> Petersen, <i>R. M.</i>, VI, 1891, pp. 304 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1510"></a><a href="#FNanchor_1510"><span class="label">1510</span></a> Statuette in the Braccio Nuovo of the Vatican: Helbig, <i>Fuehrer</i>, I, 32; <i>Guide</i>, 43; Amelung, <i>Vat.</i>, -I, no. 101 on p. 116, and Pls. XVI, XVII; Furtw., <i>Mp.</i>, p. 264, fig. 111; <i>Mw.</i>, p. 474, fig. 81; Reinach, -<i>Rép.</i>, II, <small>2</small>, 549, 2; Clarac, 861, 2184; a black marble statue found at Porto d’ Anzio in 1758, now -in the Glyptothek: Furtwaengler-Wolters, <i>Beschr. d. Glypt.</i>,<sup>2</sup> no. 458; Clarac, 858, 2175; it is 1.54 -meters high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1511"></a><a href="#FNanchor_1511"><span class="label">1511</span></a> <i>Wiener Studien</i>, XXIV, 1902, pp. 398 f.; he is, therefore, against the Pythokles ascription; see -also Studniczka in <i>Jh. oest. arch. Inst.</i>, 1906, p. 131.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1512"></a><a href="#FNanchor_1512"><span class="label">1512</span></a> <i>Cf.</i> also Hitz.-Bluemn., II, <small>2</small>, pp. 570 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1513"></a><a href="#FNanchor_1513"><span class="label">1513</span></a> Hettner, <i>Die Bildw. d. kgl. Antikensamml. zu Dresden</i>, no. 90 (= a doryphoros); Furtw., <i>Mp.</i>, Pl. -XII (whence our plate) and fig. 112 (head from cast, two views), on p. 267; discussion, pp. 265 f; -<i>Mw.</i>, Pls. XXVI, XXVII (the head from a cast and the restored left forearm omitted) and text, -pp. 475 f.; Clarac, 948, 2437. Furtwaengler mentions three other copies of the statue and three -of the head.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1514"></a><a href="#FNanchor_1514"><span class="label">1514</span></a> On a fourth-century B. C. Panathenaic prize vase we see an athlete in a similar pose holding a -diskos in his left hand: <i>Mon. d. I.</i>, X, 1874–78, Pl. XLVIII, g, 10 (quoted by Furtwaengler, <i>Mp.</i>, -p. 266, n. 6).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1515"></a><a href="#FNanchor_1515"><span class="label">1515</span></a> Formerly in the Coll. Pourtalès, and then in the Coll. Gréau: W. Froehner, <i>Cat. des bronzes -antiques de la Collection Gréau</i>, 1885, Pl. XXXII, p. 204, no. 964; de Ridder, <i>Les Bronzes antiques -du Louvre</i>, I, 1913, Pl. 19, no. 184, and p. 34; Mahler, <i>Polyklet und seine Schule</i>, pp. 57 f. and -fig. 13; Furtwaengler, <i>Mp.</i>, p. 278, <i>Mw.</i>, p. 490; Reinach, <i>Rép.</i>, II, <small>2</small>, 546, 3. It is 0.218 meter -high. Froehner had interpreted the statuette as that of an oil-pourer, though the position of the -hands is against it.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1516"></a><a href="#FNanchor_1516"><span class="label">1516</span></a> P., VI, 14.13; Hyde, 139 and pp. 54–55; Foerster, 451, 456; <i>Inschr. v. Ol.</i>, 176.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1517"></a><a href="#FNanchor_1517"><span class="label">1517</span></a> Od., VIII, 103 and 128. On jumping, see Krause, I, pp. 383 f.; Gardiner, Ch. XIV, pp. 295 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1518"></a><a href="#FNanchor_1518"><span class="label">1518</span></a> IV, 465 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1519"></a><a href="#FNanchor_1519"><span class="label">1519</span></a> <i>Cf.</i> Stesichoros, <i>apud</i> Athenaeum, IV, 72 (pp. 172 f.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1520"></a><a href="#FNanchor_1520"><span class="label">1520</span></a> <i>De Incessu animalium</i>, Ch. 3 (p. 705 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1521"></a><a href="#FNanchor_1521"><span class="label">1521</span></a> As, <i>e. g.</i>, on the statues at Olympia of the Elean pentathlete Anauchidas (P., V, 27.12) and -Hysmon (P., VI, 3.10). See <i>supra</i>, p. 164.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1522"></a><a href="#FNanchor_1522"><span class="label">1522</span></a> Juethner, <i>Antike Turngeraete</i>, pp. 3–13; Gardiner, Ch. XIV, pp. 295 f. and <i>J. H. S.</i>, XXIV, -1904, pp. 179 f., (especially pp. 181 f.). The following section is taken chiefly from these two -sources. <i>Cf.</i> also <i>Bronz. v. Ol.</i>, pp. 180–1; Pinder, <i>A. A.</i>, 1864, pp. 230 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1523"></a><a href="#FNanchor_1523"><span class="label">1523</span></a> National Museum, no. 9075; <i>Arch. Eph.</i>, 1883, fig. on p. 190; Juethner, fig. 1; Gardiner, p. 298, -fig. 60. The inscription = <i>C. I. A.</i>, IV, 422<sup>4</sup>. This weight is 4.5 inches long with concave sides -and weighs 4 lbs. 2 oz.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1524"></a><a href="#FNanchor_1524"><span class="label">1524</span></a> <i>E. g.</i>, one of lead, in the British Museum: <i>J. H. S.</i>, XXIV, 1904, p. 182; Gardiner, p. 299, -fig. 61 c. It weighs 2 lbs. 5 oz.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1525"></a><a href="#FNanchor_1525"><span class="label">1525</span></a> V, 26.3; the group dates from the second half of the fifth century B. C.: see <i>Inschr. v. Ol.</i>, nos. -267–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1526"></a><a href="#FNanchor_1526"><span class="label">1526</span></a> <i>Arch. Eph.</i>, 1883, fig. on p. 104; Juethner, fig. 8; Gardiner, p. 300, fig. 62; Schreiber, <i>Bilderatlas</i>, -Pl. XXII, fig. 10. It is 10 inches long. (The illustrations show one weight seen from three sides.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1527"></a><a href="#FNanchor_1527"><span class="label">1527</span></a> <i>Bronz. v. Ol.</i>, p. 180, fig. 1101; Juethner, fig. 9; Gardiner, p. 299, fig. 61a (from cast in the British -Museum). It is probably of diorite and is 11.5 inches long, and weighs over 10 pounds.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1528"></a><a href="#FNanchor_1528"><span class="label">1528</span></a> Ch. 55; <i>cf.</i> Lucian, <i>Anach.</i>, 27 (καὶ μολυβδίνας χειροπληθεῖς ἐν ταῖν χεροῖν ἔχοντες, <i>i. e.</i>, cylindrical); -<i>Etym. magn.</i>, p. 71, 20.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1529"></a><a href="#FNanchor_1529"><span class="label">1529</span></a> Such is the limestone <i>halter</i> from Kameiros, Rhodes, in the British Museum; <i>B. M. Guide to -Gk. and Rom. Life</i>, 1908, fig. 41; Gardiner, p. 299, fig. 61 b. It is 7.5 inches long.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1530"></a><a href="#FNanchor_1530"><span class="label">1530</span></a> Juethner, fig. 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1531"></a><a href="#FNanchor_1531"><span class="label">1531</span></a> Duetschke, II, 22.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1532"></a><a href="#FNanchor_1532"><span class="label">1532</span></a> <i>Mon. d. I.</i>, VI, VII, 1857–63, Pl. LXXXII; <i>Annali</i>, XXXV, 1863, pp. 397 f.; Gardiner, -p. 177, fig. 22.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1533"></a><a href="#FNanchor_1533"><span class="label">1533</span></a> See Caelius Aurelianus, <i>de Morb. acut. et chron.</i>, V, 2.38 (= of the early ? fifth century A. D.). -The imperial physicians recommended them: see Galen and Antyllos, <i>apud</i> Oribasium, <i>Coll. -Medicin.</i>, ed. Bussemaker et Daremberg, 1851, VI, 14 and 34, respectively; see Krause, I, pp. 395 -f., and Juethner, p. 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1534"></a><a href="#FNanchor_1534"><span class="label">1534</span></a> Ch. 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1535"></a><a href="#FNanchor_1535"><span class="label">1535</span></a> <i>De Incessu anim.</i>, Ch. 3 (p. 705a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1536"></a><a href="#FNanchor_1536"><span class="label">1536</span></a> Made by E. O. Gourdin, in Cambridge, U. S. A., July 23, 1921.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1537"></a><a href="#FNanchor_1537"><span class="label">1537</span></a> See <i>J. H. S.</i>, II, 1881, p. 218, n. 1; the jump took place at Chester in 1854; here is also -recorded a standing jump of 13 ft. 7 in. with 23-lb. weights, at Manchester in 1875.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1538"></a><a href="#FNanchor_1538"><span class="label">1538</span></a> Mentioned by Pinder, <i>Ueber d. Fuenfkampf d. Hellenen</i> (quoted by Juethner, p. 16).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1539"></a><a href="#FNanchor_1539"><span class="label">1539</span></a> So Fedde, p. 22. A record of 49 ft. 3 in. (hop, skip, and jump) was made at Harwich in 1861: -<i>J. H. S.</i>, II, p. 281, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1540"></a><a href="#FNanchor_1540"><span class="label">1540</span></a> <i>A. Pl.</i>, 297; <i>cf.</i> schol. on Aristophanes, <i>Acharn.</i>, 213, and other evidence gathered by Gardiner, -in <i>J. H. S.</i>, XXIV, 1904, pp. 70 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1541"></a><a href="#FNanchor_1541"><span class="label">1541</span></a> Rutgers, p. 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1542"></a><a href="#FNanchor_1542"><span class="label">1542</span></a> On the controversy about these jumps, see Gardiner, Fedde, <i>ll. cc.</i>, and <i>A. A.</i>, 1900, pp. 104–6 -(Kueppers, Diels, and Stengel). On Greek jumping, see also Krause, I, pp. 383 f.; Pinder, pp. -108 f.; Fedde, pp. 14 f.; Grasberger, <i>Erziehung und Unterricht</i>, I, pp. 303 f.; Girard, <i>L’éducation -athénienne</i>, 1889, pp. 200 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1543"></a><a href="#FNanchor_1543"><span class="label">1543</span></a> See Gardiner’s summary in <i>J. H. S.</i>, XXIV, 1904, p. 189.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1544"></a><a href="#FNanchor_1544"><span class="label">1544</span></a> <i>E. g.</i>, on a r.-f. pelike in the British Museum: <i>B. M. Vases</i>, E 427; <i>J. H. S.</i>, XXIV, 1904, -p. 185, fig. 6; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1545"></a><a href="#FNanchor_1545"><span class="label">1545</span></a> <i>E. g.</i>, on a r.-f. krater in Copenhagen (?): <i>Annali</i>, XVIII, 1846, Pl. M; Gardiner, p. 303, fig. 64; -<i>J. H. S.</i>, <i>l. c.</i>, p. 185, fig. 7 (left-hand figure).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1546"></a><a href="#FNanchor_1546"><span class="label">1546</span></a> <i>E. g.</i>, on a r.-f. kylix in Bologna: <i>J. H. S.</i>, <i>l. c.</i>, p. 186, fig. 8; Gardiner, p. 304, fig. 65; Juethner, -fig. 16; on interior of an early r.-f. vase, signed by Chelis, in the Louvre, G 15: Pottier, <i>Vases antiques</i>, -Pl. 89; Perrot-Chipiez, X, p. 366, fig. 211.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1547"></a><a href="#FNanchor_1547"><span class="label">1547</span></a> <i>E. g.</i>, on a r.-f. kylix from Orvieto, formerly in the Bourguignon Coll. in Naples, but now in -Boston: <i>A. Z.</i>, XLII, 1884, p. 243 (Meier), Pl. XVI, 2b; Reinach, <i>Rép. vases peints</i>, I, p. 454, -1, 5, 6; <i>J. H. S.</i>, <i>l. c.</i>, p. 183, fig. 3; Gardiner, p. 305, fig. 66 (interior showing diskobolos, <i>ibid.</i>, -p. 326, fig. 80 = <i>J. H. S.</i>, XXVII, 1907, p. 20, fig. 9); Juethner, p. 15, fig. 14; Girard, <i>L’éduc. -athén.</i>, pp. 201, 207, figs. 22 and 27; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, p. 423, no. 44; Dar.-Sagl., -III, <small>1</small>, p. 5, fig. 3691, IV, <small>2</small>, p. 1055, fig. 6083.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1548"></a><a href="#FNanchor_1548"><span class="label">1548</span></a> <i>E. g.</i>, on a b.-f. imitation Corinthian amphora in the British Museum: <i>B. M. Vases</i>, B 48; -middle figure is given in <i>J. H. S.</i>, <i>l. c.</i>, p. 183, fig. 4; Gardiner, p. 306, fig. 67; Juethner, fig. 15 -(three figures).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1549"></a><a href="#FNanchor_1549"><span class="label">1549</span></a> Inghirami, <i>Mus. Chius.</i>, Pl. CXXV (quoted by Gardiner).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1550"></a><a href="#FNanchor_1550"><span class="label">1550</span></a> <i>E. g.</i>, on a Panathenaic amphora in Leyden: <i>J. H. S.</i>, XXVII, 1907 p. 260; on a later r.-f. -kylix of Euphronios: Klein, <i>Euphronios</i><sup>2</sup>, 1887, p. 306; <i>J. H. S.</i>, XXIV, 1904, p. 188, fig. 9; -Gardiner, p. 307, fig. 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1551"></a><a href="#FNanchor_1551"><span class="label">1551</span></a> <i>B. M. Bronzes</i>, 248, p. 26, fig. 10 (right); <i>Gaz. arch.</i>, 1875, Pl. XXXV, p. 131; Schreiber, <i>Bilderatlas</i>, -Pl. XXII, no. 15; Murray, <i>Hbk. Gk. Archæology</i>, 1892, p. 123, fig. 53. The diskos is 8.25 inches -in diameter and is to be dated about 500 B. C. On the other side is represented a jumper, with -measuring cord in his hands, measuring his leap. A similar figure appears on a metrological -relief at Oxford: <i>J. H. S.</i>, IV, 1883, Pl. XXXV, p. 335.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1552"></a><a href="#FNanchor_1552"><span class="label">1552</span></a> Richter, <i>Greek, Etruscan, and Roman Bronzes</i>, no. 81, fig. on p. 54 (three views); <i>Burlington -Fine Arts Club, Cat. Anc. Gk. Art</i>, 1904, p. 46, no. 37; Reinach, <i>Rép.</i>, IV, 345, 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1553"></a><a href="#FNanchor_1553"><span class="label">1553</span></a> Reinach, <i>Rép.</i>, II, <small>2</small>, 543, 7 (quoted by Miss Richter).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1554"></a><a href="#FNanchor_1554"><span class="label">1554</span></a> <i>E. g.</i>, the jumper with <i>halteres</i> on the British Museum pelike already mentioned, E 427; see -p. 216, n. 10; a still closer resemblance is found in a jumper without <i>halteres</i> on a r.-f. pelike -discussed in <i>J. H. S.</i>, XXIII, 1903, p. 272; Gardiner, p. 309, fig. 69.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1555"></a><a href="#FNanchor_1555"><span class="label">1555</span></a> Krause, I, pp. 439 f. <i>E. g.</i>, Apollo unintentionally slays Hyakinthos while contending with -him in diskos-throwing: Euripides, <i>Helena</i>, 1469 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1556"></a><a href="#FNanchor_1556"><span class="label">1556</span></a> Iliad, XXIII, 826 f. Later imitators of Homer use the word also: <i>e. g.</i>, Apoll. Rhod., III, 1366.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1557"></a><a href="#FNanchor_1557"><span class="label">1557</span></a> <i>Inschr. v. Ol.</i>, 717; <i>I. G. A.</i>, 370; Juethner, pp. 22–23. A larger block of volcanic rock weighing -480 kilograms has been found at Santorin with an inscription dating from about 500 B. C. stating -that one Eumastas lifted it from the ground: <i>I. G.</i>, XIII, no. 449. See <i>J. H. S.</i>, XXVII, 1907, -p. 2. Such a scene is depicted on the interior of a r.-f. kylix in the Louvre, G 96; <i>J. H. S.</i>, <i>l. c.</i>, -fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1558"></a><a href="#FNanchor_1558"><span class="label">1558</span></a> Od., IV, 626 and VIII, 186 f. The diskos-throw was well known as a measure: <i>e. g.</i>, Il., XXIII, -431. Scholiasts tried to show the difference between the <i>solos</i> and the diskos: see Juethner, pp. 19 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1559"></a><a href="#FNanchor_1559"><span class="label">1559</span></a> <i>Ol.</i>, X, 72; <i>Isthm.</i>, I, 25.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1560"></a><a href="#FNanchor_1560"><span class="label">1560</span></a> <i>E. g.</i>, on a b.-f. amphora in the British Museum: <i>B. M. Vases</i>, B 271; <i>J. H. S.</i>, XXVII, Pl. I; -Gardiner, p. 314, fig. 71; <i>cf.</i> the Panathenaic amphora, B 134 (= Fig. 44); <i>J. H. S.</i>, XXVII, -Pl. XVIII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1561"></a><a href="#FNanchor_1561"><span class="label">1561</span></a> <i>B. M. Bronzes</i>, no. 3207; Gardiner, p. 317, fig. 73; <i>Rev. arch.</i>, XVIII, 1891, Pl. XVIII, p. 45. -It is 6.5 inches in diameter. The inscription is written retrograde.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1562"></a><a href="#FNanchor_1562"><span class="label">1562</span></a> See list of fifteen in <i>J. H. S.</i>, XXVII, p. 6; Gardiner, p. 316; eight of these are from Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1563"></a><a href="#FNanchor_1563"><span class="label">1563</span></a> I, 35.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1564"></a><a href="#FNanchor_1564"><span class="label">1564</span></a> Furtwaengler shows that there are numerous representations of Myron’s <i>Diskobolos</i> on gems: -<i>Die antiken Gemmen</i>, <i>e. g.</i>, Pls. XLIV, nos. 26, 27, and LXVI, 8; <i>cf.</i> also a gem in the British -Museum: <i>B. M. Gems</i>, 742 and Pl. 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1565"></a><a href="#FNanchor_1565"><span class="label">1565</span></a> <i>J. H. S.</i>, XXVII, 1907, pp. 1 f., Pls. I-III, summary on p. 36; <i>Greek Athl. Sports</i>, Ch. XV, pp. -313 f. <i>Cf.</i> also E. Pernice, <i>Jb.</i>, XXIII, 1908, Zum Diskoswurf, pp. 94 f., who corrects and -augments the evidence furnished by Gardiner’s article in the <i>J. H. S.</i> On the diskos and mode -of casting, see also Juethner, pp. 18–36; Krause, I, pp. 442 f.; Grasberger, <i>Erziehung und Unterricht</i>, -I, pp. 321 f.; <i>Gaz. arch.</i>, 1888, pp. 291 f. (J. Six); Dar.-Sagl., II, <small>1</small>, pp. 277 f.; Fedde, <i>Der -Fuenfkampf der Hellenen</i>, pp. 37 f.; Girard, <i>L’éduc. athén.</i>, pp. 201 f.; Kietz, <i>Der Diskoswurf -bei den Griechen</i>, 1892, pp. 15 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1566"></a><a href="#FNanchor_1566"><span class="label">1566</span></a> <i>E. g.</i>, on a lekythos from Eretria: <i>J. H. S.</i>, XXVII, p. 23, fig. 12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1567"></a><a href="#FNanchor_1567"><span class="label">1567</span></a> <i>E. g.</i>, on a b.-f. Attic lekythos in the British Museum: <i>B. M. Vases</i>, B 576; <i>J. H. S.</i>, <i>l. c.</i>, Pl. II; -Gardiner, p. 328, fig. 82; on a r.-f. kylix: <i>J. H. S.</i>, p. 26, fig. 15; Gerhard, IV, Pl. CCXCIV, no. 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1568"></a><a href="#FNanchor_1568"><span class="label">1568</span></a> <i>E. g.</i>, on the reverse of a r.-f. kylix in the British Museum signed by Pheidippos: <i>B. M. Vases</i>, -III, Pl. I, E 6; <i>J. H. S.</i>, <i>l. c.</i>, p. 13, fig. 3; Gardiner, p. 323, fig. 76; Perrot-Chipiez, X, p. 368, fig. -214; on a b.-f. kelebe in the British Museum: <i>B. M. Vases</i>, E 361; Gardiner, p. 324, fig. 77; on an -Attic b.-f. panel-amphora in the University of Pennsylvania Museum, Philadelphia: <i>Museum -Journal</i>, VI, No. 4 (Dec., 1915), fig. 90, p. 170; <i>A. J. A.</i>, XX, 1916, p. 440, fig. 4; (the obverse of -this vase, representing a boxing scene, is given in our Fig. 56); on a b.-f. amphora pictured by Gerhard, -IV, Pl. CCLX., and Pernice, <i>l. c.</i>, fig. on p. 98. The left foot is generally forward in this -position: <i>e. g.</i>, on a r.-f. kylix in Munich, no. 795; <i>J. H. S.</i>, <i>l. c.</i>, p. 26, fig. 14; the right is forward -on two b.-f. vases: Gerhard, Pls. CCLIX, 2 (= our Pl. 36 B), and CCLX. On a r.-f. -amphora in Naples (Pernice, fig. on p. 96), a youth is represented holding the diskos with the -right hand on the shoulder, against which his face is silhouetted as in the famous archaic relief -from the Dipylon gate discussed <i>supra</i>, Ch. III, p. 127.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1569"></a><a href="#FNanchor_1569"><span class="label">1569</span></a> <i>E. g.</i>, on the amphora pictured by Pernice, p. 99.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1570"></a><a href="#FNanchor_1570"><span class="label">1570</span></a> The left is forward on a r.-f. krater of Amasis from Corneto: <i>J. H. S.</i>, XXVII, p. 16, fig. 5; -Hartwig, <i>Die griech. Meisterschalen</i>, p. 416, fig. 56a; Gardiner, p. 324, fig. 78; the right is forward -on a r.-f. pelike in the British Museum: <i>B. M. Vases</i>, E 395; <i>J. H. S.</i>, <i>l. c.</i>, Pl. III; Gardiner, p. -325, fig. 79. The left is drawn back in a fifth-century B. C. bronze: <i>J. H. S.</i>, <i>l. c.</i>, p. 18, fig. 7; <i>Burlington -Fine Arts Club, Cat. Anc. Gk. Art</i>, 1904, Pl. L. Another example is found on a r.-f. kylix -in Paris: <i>J. H. S.</i>, <i>l. c.</i>, p. 27, fig. 17; Hartwig, <i>Die griech. Meisterschalen</i>, Pl. LXIII, 2; Gardiner, -p. 331, fig. 85.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1571"></a><a href="#FNanchor_1571"><span class="label">1571</span></a> For variations, see early fifth-century B. C. coins of Kos in the British Museum: <i>J. H. S.</i>, <i>l. c.</i>, -p. 30, fig. 19; Gardiner, p. 332, fig. 86.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1572"></a><a href="#FNanchor_1572"><span class="label">1572</span></a> <i>E. g.</i>, on a Panathenaic amphora in Naples: <i>J. H. S.</i>, XXVII, 1907, p. 32, fig. 20; Juethner, fig. -31; Gardiner, p. 333, fig. 87; on a b.-f. hydria in the British Museum: <i>B. M. Vases</i>, E 164; <i>J. H. S.</i>, -<i>l. c.</i>, p. 32, fig. 21; Gardiner, p. 334, fig. 88.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1573"></a><a href="#FNanchor_1573"><span class="label">1573</span></a> <i>E. g.</i>, on a r.-f. kylix in Boulogne: <i>J. H. S.</i>, <i>l. c.</i>, p. 34, fig. 23; Gardiner, p. 335, fig. 89; Hoppin, -<i>Hbk. Attic r.-f. Vases</i>, I, p. 370, no. 11; <i>cf.</i> Beazley, <i>Attic r.-f. Vases in Amer. Mus.</i>, 1918, no. 19 -(= ascribed to Euergides).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1574"></a><a href="#FNanchor_1574"><span class="label">1574</span></a> <i>E. g.</i>, on the kylix just mentioned (the figure to the right).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1575"></a><a href="#FNanchor_1575"><span class="label">1575</span></a> <i>E. g.</i>, the archaic Pourtalès bronze: Panofka, <i>Cabinet Pourtalès</i>, Pl. XIII, 3; Reinach, <i>Rép.</i>, II, -<small>2</small>, 545, 3; <i>cf.</i> also another in the Antiquarium in Berlin: <i>Inventar</i>, no. 8570; <i>A. A.</i>, 1904, p. 36, -n. 7 and fig. on p. 35. The latter is 0.10 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1576"></a><a href="#FNanchor_1576"><span class="label">1576</span></a> <i>Mus. Bull.</i>, III, Feb., 1908, pp. 31–36; Richter, <i>Greek, Roman, and Etruscan Bronzes</i>, no. 78, -p. 49 (three views); <i>Cat. Class. Coll.</i>, pp. 89–90, figs. 52 and 53 (side views); Gardiner, p. 329, -fig. 83. It is 9.25 inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1577"></a><a href="#FNanchor_1577"><span class="label">1577</span></a> <i>E. g.</i>, on a r.-f. krater in the Ashmolean Museum, Oxford, no. 561; on another in Munich: <i>cf.</i> -J. D. Beazley, <i>J. H. S.</i>, XXXI, 1911, Pl. VIII, 2; both quoted by Miss Richter, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1578"></a><a href="#FNanchor_1578"><span class="label">1578</span></a> In the National Museum, no. 7412; Staïs, <i>Marbres et Bronzes</i>, p. 321 and fig. on p. 270. It -was found in the sanctuary of the Kabeiroi in Bœotia and is 0.19 meter high. <i>Cf.</i> a similar -position on a r.-f. amphora in Munich painted by Euthymides: no. 374; published by Hoppin, -<i>Euthymides and his Fellows</i>, 1917, Pl. II; Furtwaengler-Reichhold, <i>Griech. Vasenmalerei</i>, -Pl. LXXXI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1579"></a><a href="#FNanchor_1579"><span class="label">1579</span></a> <i>B. M. Bronzes</i>, no. 675; <i>J. H. S.</i>, XXVII, p. 22, fig. 11; Murray<sup>2</sup>, 1, p. 274, fig. 59; Gardiner, -p. 330, fig. 84; Reinach, <i>Rép.</i>, II, <small>2</small>, 544, 10. It is 6.5 inches tall.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1580"></a><a href="#FNanchor_1580"><span class="label">1580</span></a> <i>Cf.</i> also two very rude bronzes in the British Museum representing diskoboloi: <i>B. M. Bronzes</i>, -nos. 502 (diskos held up in right hand), 504 (diskos in right hand), the first 3.37 inches tall, the -other 4.87 inches; the latter has a fillet in the hair and so represents a victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1581"></a><a href="#FNanchor_1581"><span class="label">1581</span></a> <i>B. M. Bronzes</i>, no. 559; <i>J. H. S.</i>, <i>l. c.</i>, p. 17, fig. 6. As the whole lebes is only 18.5 inches tall, -this lid figure is very small.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1582"></a><a href="#FNanchor_1582"><span class="label">1582</span></a> <i>A. A.</i>, 1904, p. 36, fig. 8. <i>Inventar</i>, no. 8569. It is 0.115 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1583"></a><a href="#FNanchor_1583"><span class="label">1583</span></a> Published by H. G. E. White in <i>J. H. S.</i>, XXXVI, 1916, pp. 16 f., Pls. I, II and 3 figs, in text. -Pl. I is the more archaic: Museum no. 6615; <i>Arch. Eph.</i>, 1883, p. 86; Staïs, <i>Marbres et Bronzes</i>, -p. 267; de Ridder, pp. 281–2, no. 757, and fig. 265. Pl. II is the less archaic: Museum no. 6614; -<i>Arch. Eph.</i>, 1883, p. 46; <i>J. H. S.</i>, X, 1889, pp. 268–9 (E. A. Gardiner); Staïs, <i>op. cit.</i>, p. 267; -de Ridder, pp. 275–7, no. 750, and fig. 257.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1584"></a><a href="#FNanchor_1584"><span class="label">1584</span></a> Pliny, <i>H. N.</i>, VII, 201, traces its origin to Aetolus, son of Mars. Phrastor won a victory in -such a contest at Olympia: Pindar, <i>Ol.</i>, X, 71. See Krause, pp. 465 f.; Juethner, pp. 36 f.; Gardiner, -Ch. XVI, pp. 338 f.; <i>id.</i>, <i>J. H. S.</i>, XXVII, 1907, pp. 258 f.; Dar-Sagl., I, <small>1</small>, pp. 226 f.; Pauly-Wissowa, -I, pp. 1183 f. (Reisch); Girard, <i>L’éduc. athén.</i>, pp. 203 f.; Grasberger, <i>Erziehung und -Unterricht</i>, I, pp. 327 f., and III, pp. 168 f.; etc. In the following account we are chiefly indebted -to Juethner and Gardiner.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1585"></a><a href="#FNanchor_1585"><span class="label">1585</span></a> See Stassoff <i>apud</i> Stephani, <i>Comptes rendus de la comm. impér. archaéol.</i>, St. Petersburg, 1872, -p. 302. <i>Cf.</i> Juethner, <i>Ph.</i>, p. 64.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1586"></a><a href="#FNanchor_1586"><span class="label">1586</span></a> Iliad, XXIII, 884 f.; <i>cf.</i> 637.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1587"></a><a href="#FNanchor_1587"><span class="label">1587</span></a> The athletic style appears on many vases, especially on r.-f. ones; see <i>infra</i>, pp. 223–4 and notes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1588"></a><a href="#FNanchor_1588"><span class="label">1588</span></a> The javelin is held horizontally by the warrior on the interior of a b.-f. kylix in the British -Museum: <i>B. M. Vases</i>, B 380; <i>J. H. S.</i>, XXVII, p. 252, fig. 2; Gardiner, p. 342, fig. 93. It was commonly -held slopingly over the shoulder level with the head in representations of the athletic style; -<i>e. g.</i>, the second athlete from the left in the sixth-century B. C. b.-f. Panathenaic amphora in the -British Museum (Fig. 44): <i>B. M. Vases</i>, B 134; <i>cf.</i> also a similar figure on the sixth-century -B. C. amphora in Leyden: <i>A. Z.</i>, XXXIX, 1881, Pl. IX; Gardiner, p. 361, fig. 108.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1589"></a><a href="#FNanchor_1589"><span class="label">1589</span></a> At Athens as early as the fifth century B. C. there were practical javelin contests from horseback -with a target, and such contests kept up in Thessaly to the time of Hadrian: Gardiner, -pp. 356–8. Throwing the javelin at a target from horseback is seen on a Panathenaic -amphora in the British Museum: Gardiner, p. 357, fig. 106; <i>J. H. S.</i>, XXVII, Pl. XX. Pindar -mentions javelin-throwing three times, and in each case the throw was for distance: <i>Nem.</i>, VII, -70–1; <i>Isthm.</i>, II, 35; <i>Pyth.</i>, I, 44. Lucian, in a passage referring to the pentathlon at Olympia, -says that athletes competed for distance: <i>Anacharsis</i>, 27. On this question, see Juethner, pp. 54 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1590"></a><a href="#FNanchor_1590"><span class="label">1590</span></a> Hesychios calls it ἀποτομάς, <i>s. v.</i>; see also Pollux, X, 64.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1591"></a><a href="#FNanchor_1591"><span class="label">1591</span></a> <i>A. Z.</i>, XLI, 1883, Pl. XIII, 2, and <i>cf.</i> p. 228 (Milchhoefer).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1592"></a><a href="#FNanchor_1592"><span class="label">1592</span></a> See Juethner, figs. 34, 35, 36 on pp. 40–41 (representing akontistai holding the javelin in one -hand and the <i>amentum</i> in the other). Fastening the thong is commonly depicted on vases: <i>e. g.</i>, -a youth seated on the ground attaching the <i>amentum</i> is pictured on a r.-f. hydria in the British -Museum: <i>B. M. Vases</i>, E 164; <i>J. H. S.</i>, XXVII, p. 32, fig. 25; Gardiner, p. 334, fig. 88; <i>B. C. H.</i>, -XXIII, 1899, p. 164, fig. 3; on a r.-f. kylix in Wuerzburg (no. 432), a youth is seen winding the -<i>amentum</i> around the akontion, drawing one end of the thong tight by means of his left foot: -Juethner, p. 42, fig. 37; Gardiner, p. 340, fig. 91; Dar.-Sagl., III, <small>1</small>, p. 599, fig. 4116; Hoppin, <i>Hbk. -Attic r.-f. Vases</i>, I, p. 93, no. 7. On a r.-f. amphora from Vulci attributed to Euthymides, and now -in the British Museum, we see an akontistes holding the spear pointed to the ground and drawing -the <i>amentum</i> tight preparatory to the throw: <i>B. M. Vases</i>, E 256; <i>J. H. S.</i>, XXVII, Pl. XIX; -Gardiner, p. 348, fig. 99; Hoppin, <i>Euthymides and his Fellows</i>, p. 49, Pls. IX, XI; <i>id.</i>, <i>Hbk.</i>, I, -pp. 442–3, no. 19. For the various methods of attaching the <i>amentum</i>, see collection of drawings -from vases in Gardiner, p. 341, fig. 92 = <i>J. H. S.</i>, XXVII, p. 250, fig. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1593"></a><a href="#FNanchor_1593"><span class="label">1593</span></a> See <i>J. H. S.</i>, XXVII, pp. 262 f.; Gardiner, pp. 350 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1594"></a><a href="#FNanchor_1594"><span class="label">1594</span></a> <i>E. g.</i>, on a r.-f. kylix in Rome: <i>J. H. S.</i>, XXVII, p. 266, fig. 14; Gardiner, p. 354, fig. 104; -Juethner, p. 48, fig. 43.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1595"></a><a href="#FNanchor_1595"><span class="label">1595</span></a> Downwards in the r.-f. amphora in the British Museum, mentioned above, E 256.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1596"></a><a href="#FNanchor_1596"><span class="label">1596</span></a> No. 2667 (Jahn, no. 562 A); <i>J. H. S.</i>, XXVII, 1907, p. 262, fig. 9; Gardiner, p. 349, fig. 100; -Juethner, p. 47, fig. 41; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, p. 198, no. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1597"></a><a href="#FNanchor_1597"><span class="label">1597</span></a> <i>E. g.</i>, on a r.-f. kylix in the Torlonia collection: <i>J. H. S.</i>, XXVII, p. 264, fig. 11; Gardiner, p. 351, -fig. 102; Juethner, p. 58, fig. 49.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1598"></a><a href="#FNanchor_1598"><span class="label">1598</span></a> <i>E. g.</i>, badly done on the Munich kylix mentioned, no. 2667; also on a r.-f. kylix of Panaitios -from Vulci in Munich, no. 2637 (Jahn, no. 795): <i>A. Z.</i>, XXXVI, 1878, p. 66, Pl. XI (= Reinach, -<i>Rép. vases peints</i>, I, p. 422, 2); <i>J. H. S.</i>, XXVII, p. 264, fig. 12; Gardiner, p. 105, fig. 17; Schreiber, -<i>Bilderatlas</i>, Pl. XXI, 3; Baum., I, p. 613, fig. 672; Hoppin, <i>Hbk.</i>, p. 426, no. 54; Dar.-Sagl., II, <small>2</small>, -p. 1452, fig. 3478; IV, <small>2</small>, p. 1056, fig. 6086; on a r.-f. amphora in Munich (Jahn, no. 408): <i>J. H. S.</i>, -XXVII, p. 265, fig. 13; Gardiner, p. 353, fig. 103; Furtwaengler-Reichhold, <i>Griech. Vasenmalerei</i>, -Pl. XLV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1599"></a><a href="#FNanchor_1599"><span class="label">1599</span></a> P. 48.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1600"></a><a href="#FNanchor_1600"><span class="label">1600</span></a> See <i>23stes Berl. Winckelmannsprogr.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1601"></a><a href="#FNanchor_1601"><span class="label">1601</span></a> B. B., no. 273; Bulle, 47, and pp. 97–102 and fig. 18; von Mach, 113; Collignon, I, pp. 488 f. -and Pl. XII; Rayet, I, Pl. 29; Gardner, <i>Sculpt.</i>, Pl. XXXIV; Springer-Michaelis, p. 276, fig. -496; F. W., 503.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1602"></a><a href="#FNanchor_1602"><span class="label">1602</span></a> <i>Polyklet u. s. Schule</i>, 1902. For the Apollonios bust, see B. B., no. 336; F. W., 505. An almost -identical bust—except for a wide fillet around the locks and shoulders—was found in the <i>tablinum</i> -of the same villa (<i>Invent.</i>, no. 6164). Many of these heads doubtless come from busts or -statues which decorated gymnasia and palæstræ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1603"></a><a href="#FNanchor_1603"><span class="label">1603</span></a> Duetschke, III, no. 535 (0.81 meter high).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1604"></a><a href="#FNanchor_1604"><span class="label">1604</span></a> F. W., 507; <i>cf.</i> Rayet, I, text to Pl. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1605"></a><a href="#FNanchor_1605"><span class="label">1605</span></a> No. 293; Amelung, <i>Museums and Ruins of Rome</i>, I, pp. 7 f.; <i>id.</i>, <i>Vat.</i>, I, no. 126 on p. 151 and -Pl. 19; Helbig, <i>Fuehrer</i>, I, 45; <i>Guide</i>, I, 58; Reinach, <i>Rép.</i>, II, <small>2</small>, 545, 10. It is 2.11 meters high -(Amelung). <i>Cf.</i> Loewy, <i>Lysipp und Seine Stellung in der gr. Plastik</i>, pp. 5–7 and 23–4; Hauser, -<i>Jh. oest. arch. Inst.</i>, XII, 1909, pp. 104–14. For other replicas, see Furtw., <i>Mp.</i>, pp. 228 f.; -<i>Mw.</i>, pp. 421 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1606"></a><a href="#FNanchor_1606"><span class="label">1606</span></a> Mahler, <i>op. cit.</i>, p. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1607"></a><a href="#FNanchor_1607"><span class="label">1607</span></a> As we see from the careful copy on a Berlin gem: Helbig, <i>Fuehrer</i>, I, p. 31, fig. 3; <i>Guide</i>, I, p. 35, -fig. 4; and on a funerary relief in Argos: <i>A. M.</i>, III, 1878, pp. 287 f. and Pl. XIII (Furtwaengler); -B. B., 279A; Collignon, I, p. 491, fig. 250; F. W., 504; <i>cf.</i> <i>Annali</i>, LI, 1879, p. 219 (Brunn); -Mitchell, <i>Hist. Anc. Sculpt.</i>, 1883, p. 386 and fig. 176.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1608"></a><a href="#FNanchor_1608"><span class="label">1608</span></a> The <i>uno crure insistere</i> of Pliny, <i>H. N.</i>, XXXIV, 56. Here Pliny quotes Varro to the effect -that Polykleitos’ statues were almost exactly after the same type (<i>paene ad unum exemplum</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1609"></a><a href="#FNanchor_1609"><span class="label">1609</span></a> See <i>Mp.</i>, pp. 212 f. and figs. 90 and 91 (head, two views); <i>Mw.</i>, pp. 403 f., and Pls. XXIV, -XXV. For the statue, see also Furtw.-Wolters, <i>Beschr. d. Glypt.</i><sup>2</sup>, no. 295 (= god or athlete); -Kekulé, <i>Jb.</i>, III, 1888, p. 37 and Pl. 1 (= Polykleitan and Zeus); B. B., 122.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1610"></a><a href="#FNanchor_1610"><span class="label">1610</span></a> <i>De instit. Orat.</i>, V, 12.21.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1611"></a><a href="#FNanchor_1611"><span class="label">1611</span></a> <i>H. N.</i>, XXXIV, 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1612"></a><a href="#FNanchor_1612"><span class="label">1612</span></a> <i>A. M.</i>, III, 1878, p. 292, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1613"></a><a href="#FNanchor_1613"><span class="label">1613</span></a> <i>Mp.</i>, pp. 163 and 228; <i>Mw.</i>, p. 420.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1614"></a><a href="#FNanchor_1614"><span class="label">1614</span></a> <i>E. g.</i>, that of Ktesilaos (= Kresilas; see below) in <i>H. N.</i>, XXXIV, 76; of Polykleitos, <i>ibid.</i>, 55, and -of Aristodemos, <i>ibid.</i>, 86.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1615"></a><a href="#FNanchor_1615"><span class="label">1615</span></a> This torso is of Pentelic marble, like many of the later victor statues at Olympia, and is fleshier -than the Naples and Vatican copies: <i>Bildw. v. Ol.</i>, Textbd., p. 250 and fig. 284 (back view); -Tafelbd., Pl. LXII, I; Furtw., <i>Mp.</i>, p. 228, <i>Mw.</i>, p. 420. It is in the Museum at Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1616"></a><a href="#FNanchor_1616"><span class="label">1616</span></a> The Naples copy is 1.99 meters high; see Kalkmann, Die Proport. des Gesichts in d. gr. Kunst, -<i>53stes Berl. Winckelmannsprogr.</i>, 1893, p. 53; the Olympia torso is 1.10 meters high for the preserved -part (Treu).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1617"></a><a href="#FNanchor_1617"><span class="label">1617</span></a> <i>Pro Imag.</i>, 11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1618"></a><a href="#FNanchor_1618"><span class="label">1618</span></a> <i>E. g.</i>, the statue of Polydamas, P., VI, 5.1; the base of the statue of Kallias, <i>Inschr. v. Ol.</i>, -no. 146; of Eukles, <i>ibid.</i>, no. 159; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1619"></a><a href="#FNanchor_1619"><span class="label">1619</span></a> Collignon, I, p. 490; he believed that the original statue by Polykleitos stood in a Gymnasion -at Argos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1620"></a><a href="#FNanchor_1620"><span class="label">1620</span></a> <i>Cf. infra</i>, Ch. VIII, p. 342 and n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1621"></a><a href="#FNanchor_1621"><span class="label">1621</span></a> Richter, <i>Greek, Etruscan, and Roman Bronzes</i>, nos. 87 (pp. 56 f., and fig., showing front and back, -on p. 57; <i>cf.</i> <i>Cat. Class. Coll.</i>, p. 114, fig. 72; it is from Cyprus), and 88 (fig. on p. 58; <i>Mus. Bull.</i>, -Dec., 1913, p. 270, Richter). No. 87 is 6.25 inches tall; 88 is 5.56 inches.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1622"></a><a href="#FNanchor_1622"><span class="label">1622</span></a> <i>Mp.</i>, pp. 279 f. Furtwaengler wrongly ascribed the statue of Xenokles to the elder Polykleitos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1623"></a><a href="#FNanchor_1623"><span class="label">1623</span></a> See the fine drawings of these and other groups from tomb no. 17 (of Khety) in Champollion, -<i>Monuments de l’Égypte et de la Nubie</i>, 1845, IV, Pls. CCCLXXII-CCCLXXVIII; Pl. CCCLXXIII, -3 = Perrot-Chipiez, I, p. 793, fig. 521; CCCLXXIV, 4 = <i>ibid.</i>, p. 792, fig. 520. Another -scene from the tomb of Nevothph is pictured in Champollion, Pl. CCCLXIV, I. See also -<i>Arch. Survey of Egypt, Beni Hasan</i>, Pt. II, 1894, Pl. XV; <i>cf.</i> a poor reproduction of several scenes -in Springer-Michaelis, p. 27, fig. 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1624"></a><a href="#FNanchor_1624"><span class="label">1624</span></a> <i>De Leg.</i>, VII, 796 A, B, C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1625"></a><a href="#FNanchor_1625"><span class="label">1625</span></a> Philostr., <i>Imag.</i>, II, 32 (p. 857), ascribes its origin to Hermes’ daughter Palaistra; Apollodoros, II, -4.9, says that the same god’s son Autolykos was the teacher of Herakles. Pausanias, I, 39.3, says -that the systematic instruction in the art began with Theseus. Eustathius, schol. on <i>Il.</i>, XXIII, -p. 1327, says that Kerkyon discovered it. In a scholion on Pindar, <i>Nem.</i>, V, 49, Boeckh, p. 465, -Pherekydes and Polemon are quoted as saying that Theseus’ charioteer Phorbas invented the art, -and Istros is quoted as saying that Athena taught Theseus. At Olympia Herakles was a victor -in wrestling: P., V, 8.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1626"></a><a href="#FNanchor_1626"><span class="label">1626</span></a> Ajax (Telamon) and Odysseus contended in a wrestling bout which ended in a draw: Il., XXIII, -710–734; in line 701, and in Od., VIII, 126, it is called παλαισμοσύνη ἀλεγεινή; it appears among the -Phaiakians in Od., VIII, 103, 246. It was pictured along with boxing on the shield of Herakles -by Hesiod: <i>Scut.</i>, 302 (= ἑλκηδόν).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1627"></a><a href="#FNanchor_1627"><span class="label">1627</span></a> P., V, 8.7; Ph., 12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1628"></a><a href="#FNanchor_1628"><span class="label">1628</span></a> P., V, 8.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1629"></a><a href="#FNanchor_1629"><span class="label">1629</span></a> On rules and representations of wrestling in literature and art, see especially E. N. Gardiner, -<i>J. H. S.</i>, XXV, 1905, pp. 14–31; pp. 263–293, and Pls. XI and XII; <i>id.</i>, <i>Greek Athl. Sports</i>, Ch. -XVIII, pp. 372–401; <i>cf.</i> Krause, I, pp. 400 f; Grasberger, <i>Erziehung u. Unterricht</i>, I, pp. 345 f. An -excellent account of a wrestling match is found in the oldest Greek prose romance, the <i>Aethiopica</i> -of Heliodoros, X, 31 f.; <i>cf.</i> also the fine account of a bout between Diomedes and Aias in Quintus -Smyrnæus: IV, 215 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1630"></a><a href="#FNanchor_1630"><span class="label">1630</span></a> Grenfell and Hunt, <i>Oxy. Pap.</i>, III, 466; discussed by Juethner, with part of the text and translation, -in his edition of the <i>de Arte gymn.</i> of Philostratos, p. 26. On the method of selecting -antagonists at Olympia, the number engaged, byes, etc., see Gardiner, pp. 374–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1631"></a><a href="#FNanchor_1631"><span class="label">1631</span></a> For coins in the British Museum, see Gardiner, p. 373, fig. 109, a, b, c (from Aspendos, -of the fifth and fourth centuries B. C.), d (from Herakleia in Lucania, of the fourth), e, f (from -Syracuse, of about 400 B. C.), g (from Alexandria of the time of Antoninus Pius); see also <i>id.</i>, -<i>J. H. S.</i>, XXV, p. 271, fig. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1632"></a><a href="#FNanchor_1632"><span class="label">1632</span></a> See especially, Gardiner, <i>ll. cc.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1633"></a><a href="#FNanchor_1633"><span class="label">1633</span></a> Described by Lucian, <i>Anach.</i>, 24.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1634"></a><a href="#FNanchor_1634"><span class="label">1634</span></a> Described by Quintus Smyrnæus, IV, 215 f. and Nonnos, XXXVII, 553 f.; discussed in <i>J. H. S.</i>, -XXV, pp. 25 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1635"></a><a href="#FNanchor_1635"><span class="label">1635</span></a> No. 2159; <i>A. J. A.</i>, XI, 1896, p. 11, fig. 9; <i>J. H. S.</i>, XXV, p. 270, fig. 8; Gardiner, p. 386, fig. -116; Furtwaengler-Reichhold, <i>Die griech. Vasenmalerei</i>, III, pp. 73 f., and Pl. CXXXIII; Gerhard, -<i>Trinkschalen und Gefaesse des k. Museums zu Berlin und anderer Sammlungen</i>, 1848–50, -Pls. XIX, XX; Overbeck, <i>Griech. Kunstmythol.</i>, III, <i>Apollon</i>, p. 400, n. 1 and Pl. XXIV, 2; W. -Klein, <i>Die griech. Vasen mit Meistersignaturen</i><sup>2</sup>, 1886, no. 4; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, I, -p. 32, Pl. on p. 33.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1636"></a><a href="#FNanchor_1636"><span class="label">1636</span></a> No. 2444; <i>Trans. Univ. Penn. Mus.</i>, II, 1906–1907, Pl. XXXV, a, and pp. 140 f. (W. N. -Bates); J. D. Beazley, <i>Attic r.-f. Vases in Amer. Museums</i>, 1918, p. 111 (Lysis, Laches, and -Lykos group); Gardiner, p. 392, fig. 122.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1637"></a><a href="#FNanchor_1637"><span class="label">1637</span></a> <i>Invent.</i>, 5626–5627; B. B., 354; Comparetti e de Petra, <i>La Villa Ercolanese dei Pisoni</i>, 1883, -Pl. XV, 2 and 3; Bulle, 91; Gardiner, p. 378, fig. 110 (= one statue); von Mach, 289; Reinach, -<i>Rép.</i>, II, <small>2</small>, 541 (= one statue); etc. They appear to be boys of about sixteen, and consequently -may represent contestants in the πάλη παίδων. The statues are 1.18 meters high (Bulle). The -advanced foot in no. 5626 is wrongly restored.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1638"></a><a href="#FNanchor_1638"><span class="label">1638</span></a> Kalkmann, <i>Jb.</i>, X, 1895, p. 64, n. 49 (dolichodromoi).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1639"></a><a href="#FNanchor_1639"><span class="label">1639</span></a> <i>Cf.</i> Gardiner, p. 382.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1640"></a><a href="#FNanchor_1640"><span class="label">1640</span></a> <i>Jb.</i>, IV, 1889, pp. 116, n. 8; <i>cf.</i> Benndorf, <i>Jh. oest. arch. Inst.</i>, IV, 1901, pp. 172–3 and n. 12. -Mahler wrongly thought that the heads were different: <i>Polyklet u. s. Schule</i>, p. 18; he assigned -one to the fifth century B. C., the other to the influence of Praxiteles. Benndorf believed the -two figures to be copies of one statue, later used to make a group.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1641"></a><a href="#FNanchor_1641"><span class="label">1641</span></a> Bulle, no, 90; in the Landesmuseum of Darmstadt: see Adamy, <i>Archaeol. Samml. des grossherz. -Hess. Museums</i>, 1897, p. 21, no. 19. The figures are only 0.075 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1642"></a><a href="#FNanchor_1642"><span class="label">1642</span></a> Bulle, p. 179, fig. 40; Reinach, <i>Rép.</i>, IV, 318, 2; for other similar ones, <i>cf. ibid.</i>, II, <small>2</small>, 539, 2 -(cover of a cista from Praeneste), 5 (in the Louvre), 6 (in Vienna = E. von Sacken, <i>Die ant. Bronz. -d. k. k. Muenz-und Ant.-Cabinetes in Wien</i>, 1871, Pl. XLV, 7), and III, 155, 3 (in Forman Collection, -London).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1643"></a><a href="#FNanchor_1643"><span class="label">1643</span></a> Richter, <i>Greek, Etruscan, and Roman Bronzes</i>, no. 124 and fig. on p. 79; it is 4.5 inches high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1644"></a><a href="#FNanchor_1644"><span class="label">1644</span></a> <i>E. g.</i>, Walters, <i>B. M. Bronzes</i>, no. 639; <i>Mon. d. I.</i>, X, 1877, Pl. XLV, 1 a.; Babelon et Blanchet, -<i>Cat. des bronzes antiques de la Bibl. Nationale</i>, 1895, no. 935.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1645"></a><a href="#FNanchor_1645"><span class="label">1645</span></a> Παναθήναια, II, Plates.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1646"></a><a href="#FNanchor_1646"><span class="label">1646</span></a> Gardiner, p. 395, fig. 126; <i>J. H. S.</i>, XXV, p. 286, fig. 23; Gardner, <i>Hbk.</i>, p. 328, fig. 81.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1647"></a><a href="#FNanchor_1647"><span class="label">1647</span></a> Gardiner, p. 396, fig. 127; Clarac, 802, 2014.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1648"></a><a href="#FNanchor_1648"><span class="label">1648</span></a> J. Sieveking, <i>Die Bronzen der Samml. Loeb</i>, 1913, pp. 52–4 and Pl. XXI; it is 0.165 meter high. -Others there listed include one in the British Museum: <i>J. H. S.</i>, XXV, 1905, Pl. XI, b (front -and back), and text on p. 288; Gardiner p. 398, fig. 129; another from Vienne in Bonn; two in -Paris, in the de Clercq and Warrocqué collections respectively; and a fifth, whose location is -unknown. All are of rough Roman workmanship, either of the second or first centuries B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1649"></a><a href="#FNanchor_1649"><span class="label">1649</span></a> See Petersen in <i>R. M.</i>, XV, 1900, pp. 158 f.; Klein, III, pp. 309 f.; Sieveking, <i>op. cit.</i>, p. 53, n. 1. -The copies are in Florence (<i>Galleria di Firenze</i>, III, Pl. 123, 2; Reinach, <i>Rép.</i>, II, <small>2</small>, 538, 5); in St. -Petersburg (<i>Comptes rendus de la comm. impér. archéol.</i>, St. Petersburg, 1867, Pl. I, pp. 5 f., text -by Stephani; <i>J. H. S.</i>, XXV, 1905, p. 290, fig. 25; Gardiner, p. 399, fig. 130; Reinach, <i>Rép.</i>, II, -<small>2</small>, 538, 1 and 3); in Constantinople, from Antioch (<i>Jb.</i>, XIII, 1898, Pl. XI and pp. 177 f., Foerster; -<i>Rev. arch.</i>, XXXV, 1899, Pl. XVIII, pp. 207 f., Joubin; <i>J. H. S.</i>, 1905, p. 291, fig. 26; Gardiner, -p. 400, fig. 131); in the Louvre, from Egypt (no. 361; <i>Jb.</i>, XVI, 1901, fig. on p. 51; Reinach, -<i>Rép.</i>, II, <small>1</small>, 234, 2); and in the British Museum (<i>B. M. Bronzes</i>, 853 and Pl. XXVII, middle one -below). In the St. Petersburg copy the arms of the victor are changed around.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1650"></a><a href="#FNanchor_1650"><span class="label">1650</span></a> Duetschke, III, 547; Bulle, 184; von Mach, 288; F. W., 1426; Reinach, <i>Rép.</i>, I, 523, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1651"></a><a href="#FNanchor_1651"><span class="label">1651</span></a> Helbig, <i>Fuehrer</i>, II, 1382 (= Attic); <i>Jb.</i>, XXV, 1910, Pl. VII, and pp. 171 f. (Bieber = Euphranor); -<i>cf.</i> <i>R. M.</i>, VI, 1891, p. 304, n. 2 (Petersen = Skopaic); Furtw., <i>Mw.</i>, p. 515, n. 4 (= Skopaic).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1652"></a><a href="#FNanchor_1652"><span class="label">1652</span></a> <i>H. N.</i>, XXXIV, 80.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1653"></a><a href="#FNanchor_1653"><span class="label">1653</span></a> <i>H. N.</i>, XXXV, 71; so Reisch, p. 45, n. 5. See <i>supra</i>, p. 206.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1654"></a><a href="#FNanchor_1654"><span class="label">1654</span></a> <i>H. N.</i>, XXXV, 130. It was probably votive in character.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1655"></a><a href="#FNanchor_1655"><span class="label">1655</span></a> Ol. 141 ( = 216 B. C.): P., VI, 16.9; Hyde, 167; Foerster, 471; <i>Inschr. v. Ol.</i>, 179.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1656"></a><a href="#FNanchor_1656"><span class="label">1656</span></a> <i>Inschr. v. Ol.</i>, 164; drawing of the base also in Furtw., <i>Mp.</i>, p. 279, fig. 118; <i>Mw.</i>, p. 491, fig. 85. -The inscription dates from the end of the fifth or beginning of the fourth century B. C., which -shows that the statue was the work of the younger Polykleitos. Xenokles won sometime -between Ols. (?) 94 and 100 ( = 404 and 380 B. C.): P., VI,9.2; Hyde, 85 and p. 41; Foerster, 308.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1657"></a><a href="#FNanchor_1657"><span class="label">1657</span></a> Pp. 45–6; he won in Ol. 83 ( = 448 B. C.): <i>Oxy. Pap.</i>; P., VI, 9.3; Hyde, 88; Foerster, 285.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1658"></a><a href="#FNanchor_1658"><span class="label">1658</span></a> <i>Cf.</i> Lucretius, V, 1282: <i>arma antiqua manus ungues dentesque fuerunt</i>; Hor., <i>Sat.</i>, I, 3.101; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1659"></a><a href="#FNanchor_1659"><span class="label">1659</span></a> Between Epeios and Euryalos, Il., XXIII, 653 f.; Odysseus and Iros, Od., XVIII, 1 f.; <i>cf.</i> -the match between Entellus and Dares in Virgil, <i>Aen.</i>, V, 362 f.; Polydeukes and Amykos in -Theokr., XXII, 80 f.; and in Apollon. Rhod., <i>Argon.</i>, II, 67 f. For the Homeric and Virgilian -matches, see <i>Fencing, Boxing, and Wrestling</i>, 1889 (Badminton Library), pp. 125 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1660"></a><a href="#FNanchor_1660"><span class="label">1660</span></a> Il., XXIII, 653; he uses the same epithet of wrestling, <i>ibid.</i>, 701, and Od., VIII, 126. Eustath. -<i>ad</i> Il., XXIII, p. 1322, speaks of the πύκτης τλησίπονος.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1661"></a><a href="#FNanchor_1661"><span class="label">1661</span></a> πυκτοσύνη ἀλγινόεσσα: frag. 19, l. 4 (= <i>Philos. Fragm.</i>, ed. Didot, I, p. 104 = Athen., X, 6, p. -414a). Apollon. Rhod. calls it ἀπηνέα πυγμαχίην, II, 76–7. The parts injured were -especially the nose, ears, cheeks, chin, and teeth; <i>cf.</i> Krause, p. 516 and n. 18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1662"></a><a href="#FNanchor_1662"><span class="label">1662</span></a> See Orsi, <i>Museo Ital. di antich. class.</i>, II, Pl. V, p. 808; <i>cf.</i> Juethner, pp. 65–6, and Frothingham, -<i>A. J. A.</i>, IV, 1888, P. 444.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1663"></a><a href="#FNanchor_1663"><span class="label">1663</span></a> See Krause, pp. 497 f. Ph., 9, says that it was an invention of the Spartans and was first used -among the Bebrykes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1664"></a><a href="#FNanchor_1664"><span class="label">1664</span></a> P., V, 7.10; <i>cf.</i> Plut., <i>Quaest. conviv.</i>, VIII, 4.4 (which speaks of victories of Apollo in boxing).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1665"></a><a href="#FNanchor_1665"><span class="label">1665</span></a> P., V, 8.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1666"></a><a href="#FNanchor_1666"><span class="label">1666</span></a> XXIII, 660.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1667"></a><a href="#FNanchor_1667"><span class="label">1667</span></a> Plut., <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1668"></a><a href="#FNanchor_1668"><span class="label">1668</span></a> The schol. on Pindar, <i>Nem.</i>, V, 89, Boeckh, p. 465, says that Theseus instituted the art of boxing.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1669"></a><a href="#FNanchor_1669"><span class="label">1669</span></a> P., V, 8. 7; Afr., <i>s. v.</i> Onomastos; Ph., 12; <i>Homeric Hymn to Apollo</i>, 149; <i>cf.</i> Foerster, 28. The -date is also given by Ph., <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1670"></a><a href="#FNanchor_1670"><span class="label">1670</span></a> P., V. 8. 9; Ph., 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1671"></a><a href="#FNanchor_1671"><span class="label">1671</span></a> See K. T. Frost, <i>J. H. S.</i>, XXVI, 1906, pp. 213f; Gardiner, Ch. XIX, pp. 402 f.; Krause, pp. 497 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1672"></a><a href="#FNanchor_1672"><span class="label">1672</span></a> See Krause, I, pp. 502 f.; Juethner, pp. 65 f.; Gardiner, pp. 403 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1673"></a><a href="#FNanchor_1673"><span class="label">1673</span></a> Mosso, <i>The Palaces of Crete</i>, 1907, p. 339, and fig. 160 on p. 341. Orsi, <i>l. c.</i>, believes the -object over the fists in the bronze shield fragment from Mount Ida to be part of a glove, though -Juethner rejects this view, interpreting it merely as an ornament.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1674"></a><a href="#FNanchor_1674"><span class="label">1674</span></a> Schol. on Plato, <i>de Leg.</i>, VIII, 796 A; Clem. Alexandr., Strom., I, 16.76.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1675"></a><a href="#FNanchor_1675"><span class="label">1675</span></a> ἱμάντας ἐϋτμήτους βοὸς ἀγραύλοιο: Il., XXIII, 684. In the Odyssey Iros and Odysseus fight with -bare fists.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1676"></a><a href="#FNanchor_1676"><span class="label">1676</span></a> <i>E. g.</i>, P., VI, 23.4 and VIII, 40. 3; Apoll. Rhod., <i>Argon.</i>, II, 52–53; <i>cf.</i> Plato, <i>de Leg.</i>, VIII, 830 B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1677"></a><a href="#FNanchor_1677"><span class="label">1677</span></a> <i>E. g.</i>, on a r.-f. kylix in the British Museum: <i>B. M. Vases</i>, E 63, and Pl. III; Juethner, p. 68, -fig. 54; Gardiner, p. 403, fig. 132; it represents boxers with bundles of thongs in their hands -standing before an official.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1678"></a><a href="#FNanchor_1678"><span class="label">1678</span></a> <i>B. M. Vases</i>, E 39; <i>J. H. S.</i>, XXVI, Pl. XII; Gardiner, p. 404, fig. 133; Juethner, p. 66, fig. 53; -Hoppin, <i>Hbk. Attic r.-f. Vases</i>, p. 237, Pl. On the interior of another a youth is seen, thongs in -hand, standing before an altar: Murray, <i>Designs from Gk. Vases in the British Museum</i>, Pl. VI, 24.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1679"></a><a href="#FNanchor_1679"><span class="label">1679</span></a> Museum no. 2444; <i>Trans. Univ. Penn. Mus.</i>, II, 1906–1907, Pl. XXXV, b. and p. 142 (text by -W. N. Bates).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1680"></a><a href="#FNanchor_1680"><span class="label">1680</span></a> IX, 116. A similar game is mentioned by Plato, <i>Theaet.</i>, XXVII ( = 181 A). On both games, see -Krause, pp. 323 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1681"></a><a href="#FNanchor_1681"><span class="label">1681</span></a> Juethner, pp. 69 f., rightly explains such objects as boxing thongs.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1682"></a><a href="#FNanchor_1682"><span class="label">1682</span></a> Ch. 10; <i>cf.</i> P., VIII, 40.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1683"></a><a href="#FNanchor_1683"><span class="label">1683</span></a> <i>E. g.</i>, on the kylix just mentioned, E 39; on a r.-f. amphora in Munich (Jahn, no. 411B): Hartwig, -<i>Die griech. Meisterschalen</i>, p. 410. fig. 55; on the interior of a r.-f. kylix in Munich, no. 1156: -Juethner, p. 70, fig. 56; and on the interior of the r.-f. kylix in the British Museum to be discussed, -E 78 (= Fig. 55): Murray, <i>Designs from Gr. Vases in the B. M.</i>, Pl. XIV, 55; Juethner, p. 72, -fig. 58; Gardiner, p. 406, fig. 134; on a r.-f. amphora in the Hofmuseum in Vienna by Epiktetos we -see (figure at the left) a boxer who is just finishing tying the thongs on his left hand and wrist: -Dar-Sagl., IV, <small>1</small>, p. 755, fig. 5854; Schneider, <i>Arch.-epigr. Mitt. aus Oesterr.</i>, V, 1881, pp. 139 f., -and Pl. IV; Hoppin, <i>Hbk. Attic r.-f. Vases</i>, p. 334, no. 25, and Pl. on p. 335.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1684"></a><a href="#FNanchor_1684"><span class="label">1684</span></a> Tafelbd., Pl. V, no. 4; Textbd., p. 35.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1685"></a><a href="#FNanchor_1685"><span class="label">1685</span></a> P., VIII, 40.5; <i>cf.</i> II, 20. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1686"></a><a href="#FNanchor_1686"><span class="label">1686</span></a> VIII, 40.3. <i>Cf.</i> the statues of Damoxenos and Kreugas by Canova in the Gabinetto di Canova -of the Vatican, to see in how exaggerated a way a modern sculptor has interpreted the boxing -bout of these famous athletes: Helbig, <i>Fuehrer</i>, <span class="smcap">I</span>, nos. 136, 137; <i>Guide</i>, 139, 140; Pistolesi, <i>Il -Vaticano Descritto</i>, IV, 91.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1687"></a><a href="#FNanchor_1687"><span class="label">1687</span></a> <i>De Leg.</i>, VIII, 830 B; Plut., <i>de Profectibus in virtute</i>, IX (80 B); Pollux, III, 150; Bekker, -<i>Anecd. gr.</i>, 1814–1821, I, P. 62, l. 25.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1688"></a><a href="#FNanchor_1688"><span class="label">1688</span></a> <i>E. g.</i>, on an amphora in the British Museum: <i>B. M. Vases</i>, B 607; <i>Mon. d. I.</i>, X, 1874–78, -Pl. XLVIII, e 2; Gardiner, p. 407, fig. 135; Juethner, p. 83, fig. 67; on the Ficoroni Cista in the -Museo Kircheriano, Rome: Helbig, <i>Fuehrer</i>, II, 1752; <i>Guide</i>, 437; Juethner, p. 82, fig. 66, a, c. On -this cista, see F. Behn, Die ficoronische Cista, <i>Arch. Studie</i>, 1907; O. Jahn, <i>Die ficoronische Cista</i>, -1852; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1689"></a><a href="#FNanchor_1689"><span class="label">1689</span></a> Late writers generally use the terms σφαῖραι and ἱμάντες ὀξεῖς interchangeably.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1690"></a><a href="#FNanchor_1690"><span class="label">1690</span></a> <i>E. g.</i>, ἐπίσφαιρα in Plut., <i>Praecept. ger. resp.</i>, 32 ( = 825 e).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1691"></a><a href="#FNanchor_1691"><span class="label">1691</span></a> Juethner, p. 78, fig. 63; Gardiner, p. 409, fig. 137. For this and the delle Terme glove, see -Huelsen, <i>R. M.</i>, IV, 1889, pp. 175 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1692"></a><a href="#FNanchor_1692"><span class="label">1692</span></a> Juethner, p. 79, fig. 54.; <i>Antichi di Ercolano</i>, Bronzi, II, pp. 411 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1693"></a><a href="#FNanchor_1693"><span class="label">1693</span></a> In the Museo Civico there; mentioned by Juethner, p. 78.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1694"></a><a href="#FNanchor_1694"><span class="label">1694</span></a> Helbig, <i>Fuehrer</i>, II, 1145; <i>Guide</i>, 625; Baum., I, p. 524, fig. 566; Juethner, p. 85, fig. 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1695"></a><a href="#FNanchor_1695"><span class="label">1695</span></a> The word μύρμηκες, <i>A. G.</i>, XI, 78, may be merely a comic name for the gloves—certain protuberances -(“metal studs” or “nails” = Liddell and Scott, <i>s. v.</i> looking like warts (μυρμηκίαι); <i>cf.</i> -Pollux, III, 150.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1696"></a><a href="#FNanchor_1696"><span class="label">1696</span></a> <i>Aen.</i>, V, 404–5; 468–71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1697"></a><a href="#FNanchor_1697"><span class="label">1697</span></a> <i>B. M. Vases</i>, E 39; <i>J. H. S.</i>, XXVI, 1906, Pl. XII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1698"></a><a href="#FNanchor_1698"><span class="label">1698</span></a> <i>B. M. Vases</i>, E 78; <i>J. H. S.</i>, XXVI, Pl. XIII; Gardiner, p. 436, fig. 151.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1699"></a><a href="#FNanchor_1699"><span class="label">1699</span></a> <i>Mus. Journ.</i>, VI, no. 4 (Dec., 1915), p. 169, fig. 89; text by Dr. S. B. Luce, who believes this -class of vases to be a prototype of the “Nolan” vases; another “Nolan” amphora is given, <i>ibid.</i>, -fig. 90 (also published in <i>A. J. A.</i>, XX, 1916, p. 440, fig. 4), which shows a diskobolos, who is -holding a diskos in a way similar to that on a r.-f. kelebe in the British Museum (<i>B. M. Vases</i>, -B 361; Gardiner, p. 324, fig. 77). On the division of Attic b.-f. amphoræ into “panel-amphoræ” -and “red-bodied amphoræ,” see H. B. Walters, <i>Hist. Anc. Pottery, Greek, Etruscan, and Roman</i>, -1905, I, pp. 160–62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1700"></a><a href="#FNanchor_1700"><span class="label">1700</span></a> <i>Inschr. v. Ol.</i>, 149.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1701"></a><a href="#FNanchor_1701"><span class="label">1701</span></a> <i>Inschr. v. Ol.</i>, 155 (renewed); the date of the victory is given by P., VI, 7.8; Hyde, 65; Foerster, -263.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1702"></a><a href="#FNanchor_1702"><span class="label">1702</span></a> <i>Inschr. v. Ol.</i>, 147, 148. The statue stood equally on both feet, the left being slightly advanced. -He won in Ol. 77 ( = 472 B. C.): <i>Oxy. Pap.</i>; P., VI, 10.9; Hyde, 102; Foerster, 237.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1703"></a><a href="#FNanchor_1703"><span class="label">1703</span></a> <i>Inschr. v. Ol.</i>, 165 (renewed); base drawn in outline in Furtw., <i>Mp.</i>, p. 288, fig. 123; <i>Mw.</i>, -p. 503, fig. 90. He won in Ol. 82 ( = 452 B. C.): <i>Oxy. Pap.</i>; P., VI, 13.6; Hyde, 115; Foerster, 376. -Here the body weight rested upon the left foot, the right being flat on the ground and turned to -one side, <i>i. e.</i>, in the old scheme of Hagelaïdas and his school.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1704"></a><a href="#FNanchor_1704"><span class="label">1704</span></a> <i>Inschr. v. Ol.</i>, 159 (renewed); <i>I. G. B.</i>, 86. This statue was in the same attitude as that of -Aristion and was slightly over life-size. He won some time between Ols. (?) 90 and 93 ( = 420 -and 408 B. C.): P., VI, 6.2; Hyde, 52; Foerster, 297.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1705"></a><a href="#FNanchor_1705"><span class="label">1705</span></a> Michaelis, p. 446, no. 35; Clarac V, 946, 2436 A (wrongly = Antinous). See Furtw., <i>Mp.</i>, -pp. 288 f. (and fig. 124); <i>Mw.</i>, pp. 503 f. (and fig. 91). Height 1.75 meters (Michaelis).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1706"></a><a href="#FNanchor_1706"><span class="label">1706</span></a> Furtw., <i>Mp.</i>, p. 246, fig. 99; <i>Mw.</i>, p. 447, fig. 69; a headless copy in Lansdowne House: -Michaelis, p. 438, 3; Clarac, V, 851, 2180 A. Here the present head is of different marble from -the torso and does not belong to it; the body forms recall those of the <i>Doryphoros</i>. It is 1.49 -meters high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1707"></a><a href="#FNanchor_1707"><span class="label">1707</span></a> <i>Not. Scav.</i>, 1888, pp. 289 f. (Barracco); <i>Atti dell’ Accad. di Napoli</i>, 1889, pp. 35 f. (Sogliano); -<i>R. M.</i>, IV, 1889, pp. 179 f. (Huelsen); Kalkmann, Die Proport. d. Gesichts in d. gr. Kunst, -<i>53stes Berl. Winckelmannsprogr.</i>, 1893, Pl. III (profile and front views), and fig. on p. 68 (head); -B. B., no. 614 (statue), 615 (head, two views); Juethner, p. 84; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1708"></a><a href="#FNanchor_1708"><span class="label">1708</span></a> Furtwaengler (<i>Statuenkopien im Altertum</i>) and Sogliano (<i>l. c.</i>) date the statue in the period of -Augustus.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1709"></a><a href="#FNanchor_1709"><span class="label">1709</span></a> B. B., no. 613; Kalkmann, Die Prop. des Gesichts, Pls. I (statue) and II (head, two views).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1710"></a><a href="#FNanchor_1710"><span class="label">1710</span></a> B. B., nos. 132, 134–5; F. W., 462.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1711"></a><a href="#FNanchor_1711"><span class="label">1711</span></a> Pl., <i>H. N.</i>, XXXIV, 50 and 79. For this view, see text to B. B., no. 614. Furtwaengler had -suggested Lykios as the sculptor of the <i>Oil-pourer</i>: <i>Mp.</i>, p. 259.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1712"></a><a href="#FNanchor_1712"><span class="label">1712</span></a> Though winning in Ol. 65 ( = 520 B. C.), his statue was set up later by his son: P., VI, 10.1–3; -Hyde, 93 and p. 42; Foerster, 137. The word σκιαμαχεῖν (lit. “to fight in the shade,” and hence -to practice in the gymnasium) is used synonymously with χειρονομεῖν in the sense “to spar:” Plato, -<i>de Leg.</i>, VIII, 830 C; P., VI, 10.3; Pollux, III, 150; etc. <i>Cf.</i> Paul’s phrase in <i>I Corinthians</i>, 9, 26. -A derived meaning is “to fight with a shadow”: <i>e. g.</i>, Plato, <i>Apol.</i>, 18 D; etc. Dio Chrysostom, <i>Or.</i>, -XXXII (367 M), speaks of χειρονομοῦντες as gymnasium practisers. See Krause, pp. 510 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1713"></a><a href="#FNanchor_1713"><span class="label">1713</span></a> The κώρυκος was such a bag used by athletes: <i>cf.</i> the proverb, πρὸς κώρυκον γυμνάζεσθαι, “to labor -in vain”: Diog., 7, 54. The Ficoroni cista has been mentioned <i>supra</i>, p. 237, n. 4. The description -and use of the bag are given by Ph., 57.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1714"></a><a href="#FNanchor_1714"><span class="label">1714</span></a> Helbig, <i>Fuehrer</i>, I, 704; <i>Guide</i>, II, 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1715"></a><a href="#FNanchor_1715"><span class="label">1715</span></a> Amelung, <i>Vat.</i>, I, 372 B, pp. 554–5 and Pl. LVIII; Clarac, 883, 2256. It is 0.535 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1716"></a><a href="#FNanchor_1716"><span class="label">1716</span></a> <i>Beschr.</i>, no. 469; Overbeck, <i>Griech. Kunstmyth.</i>, III, <i>Apollon</i>, pp. 218 f. and fig. 14 (restored), -interpreted the torso as that of an Apollo; but the Phrygian coin there pictured (Muenztafel, IV, -31), of the time of Lucius Verus, may merely show that the motive later was transferred to the god.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1717"></a><a href="#FNanchor_1717"><span class="label">1717</span></a> <i>Bronzen v. Ol.</i>, Textbd., pp. 21–2; Tafelbd., Pl. VIII, no. 57. It is only 0.112 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1718"></a><a href="#FNanchor_1718"><span class="label">1718</span></a> <i>E. g.</i>, <i>Bronzen v. Ol.</i>, Pl. VIII, nos. 51–54 (statuettes); Pl. VI, nos. 59 and 63 (arm and right -lower leg respectively); <i>cf.</i> Reisch, p. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1719"></a><a href="#FNanchor_1719"><span class="label">1719</span></a> <i>J. H. S.</i>, I, 1880, p. 199. See B. B., no. 51; F. W., 89; etc. Theagenes won in Ols. 75, 76 -( = 480, 476 B. C.): <i>Oxy. Pap.</i>; P., VI, 11.2 f.; Hyde, 104; Foerster, 191, 196.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1720"></a><a href="#FNanchor_1720"><span class="label">1720</span></a> <i>Inschr. v. Ol.</i>, 168. He won some time between Ols. (?) 99 and 103 ( = 384 and 368 B. C.): P., -VI, 4.1; Hyde, 36; Foerster, 419.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1721"></a><a href="#FNanchor_1721"><span class="label">1721</span></a> <i>Inschr. v. Ol.</i>, 158; <i>I. G. B.</i>, 98; he won some time between Ols. (?) 95 and 100 ( = 400 and 380 -B. C.): P., VI, 6.3; Hyde, 54; Foerster, 319.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1722"></a><a href="#FNanchor_1722"><span class="label">1722</span></a> <i>Inschr. v. Ol.</i>, 186; <i>I. G. B.</i>, 176. He won two victories in boxing some time between Ols. (?) 144 -and 147 ( = 204 and 192, B. C.): P., VI, 15.6; Hyde, 147; Foerster, 510, 512 (who dates the artist -toward the middle of the second century B. C.; but I have followed the earlier dating of Hiller von -Gaertringen, <i>Woch. f. kl. Philol.</i>, X, 1893, p. 856, which date has been accepted by Dittenberger).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1723"></a><a href="#FNanchor_1723"><span class="label">1723</span></a> <i>Inschr. v. Ol.</i>, 174.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1724"></a><a href="#FNanchor_1724"><span class="label">1724</span></a> VI., 8.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1725"></a><a href="#FNanchor_1725"><span class="label">1725</span></a> See Hyde, <i>de olymp. Stat.</i>, pp. 39–41. There -Ol. 80 or 84 ( = 460 or 444 B. C.) has been suggested -for the original victory.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1726"></a><a href="#FNanchor_1726"><span class="label">1726</span></a> Philippos won some time between Ols. (?) 119 and 125 ( = 304 and 280 B. C.): Hyde, 79 a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1727"></a><a href="#FNanchor_1727"><span class="label">1727</span></a> Hitz.-Bluemn., II, <small>2</small>, p. 575, in discussing my solution of the difficulty, call it “<i>sinnreich, aber -doch ungemein kompliziert</i>,” and the assumption that a victor would use an older statue of a fellow -countryman to celebrate his own victory “<i>sehr bedenklich</i>.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1728"></a><a href="#FNanchor_1728"><span class="label">1728</span></a> <i>Cf.</i> Dittenberger, <i>Inschr. v. Ol.</i>, p. 296.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1729"></a><a href="#FNanchor_1729"><span class="label">1729</span></a> <i>Op. cit.</i>, p. 41. See also <i>supra</i>, p. 188.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1730"></a><a href="#FNanchor_1730"><span class="label">1730</span></a> <i>Mon. d. I.</i>, X, 1874–78, Pl. II (head, two views); <i>Annali</i>, XLVI, 1874, Pl. L and pp. 51 f. -(Brizio); Photo. Giraudon, no. 1207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1731"></a><a href="#FNanchor_1731"><span class="label">1731</span></a> Furtwaengler sees in this statue a work by Pythagoras: <i>Mp.</i>, p. 171 f.; <i>Mw.</i>, pp. 345 f.; Brizio, -<i>l. c.</i>, ascribes it to Hagelaïdas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1732"></a><a href="#FNanchor_1732"><span class="label">1732</span></a> <i>Supra</i>, pp. 180–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1733"></a><a href="#FNanchor_1733"><span class="label">1733</span></a> On the pankration, see Gardiner, Ch. XX, pp. 435 f.; <i>id.</i>, <i>J. H. S.</i>, XXVI, 1906, pp. 4 f. and -Pls. III-V; Krause, I, pp. 534 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1734"></a><a href="#FNanchor_1734"><span class="label">1734</span></a> For the etymology, see Plato, <i>Euthydem.</i>, 271 C, D; definition, Pollux III, 150; Plut., <i>Quaest. -conviv.</i>, II, 4 (containing also fanciful etymologies of πάλη); <i>cf.</i> Philostr., <i>Imag.</i>, II, 6 (containing -a full account of the contest in the description of the death of Arrhachion); <i>cf.</i> schol. on -Plato, <i>de Rep.</i>, I, 338 C, D.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1735"></a><a href="#FNanchor_1735"><span class="label">1735</span></a> <i>Vita Demonactis</i>, 49 (against biting).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1736"></a><a href="#FNanchor_1736"><span class="label">1736</span></a> <i>L. c.</i> (against biting and gouging).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1737"></a><a href="#FNanchor_1737"><span class="label">1737</span></a> <i>Aves</i>, 442–3; <i>Pax</i>, 898–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1738"></a><a href="#FNanchor_1738"><span class="label">1738</span></a> E 78; another example is seen on a r.-f. kylix in Baltimore: Gardiner, p. 437, fig. 152; <i>J. H. S.</i>, -XXVI, p. 9, fig. 3; Hartwig, <i>Die griech. Meisterschalen</i>, Pl. LXIV; Perrot-Chipiez, X, p. 629, fig. 350.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1739"></a><a href="#FNanchor_1739"><span class="label">1739</span></a> <i>Nem.</i>, II, III, V; <i>Isthm.</i>, IV, V, VI, VII, VIII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1740"></a><a href="#FNanchor_1740"><span class="label">1740</span></a> Frag. 19, l. 5 (<i>ap.</i> Athenæum, X, 6 = 414 a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1741"></a><a href="#FNanchor_1741"><span class="label">1741</span></a> <i>E. g.</i>, Mahaffy, in his <i>Old Greek Life</i>, 1886, p. 56; see Gardiner, pp. 435–7, in refutation of -such an exaggerated view.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1742"></a><a href="#FNanchor_1742"><span class="label">1742</span></a> <i>De Leg.</i>, VIII, 832 E; 834 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1743"></a><a href="#FNanchor_1743"><span class="label">1743</span></a> Older writers, <i>e. g.</i>, Faber, <i>Agonisticon</i> (published in 1592), I, 9, p. 1828, thought that the glove -was used, an opinion long ago refuted by Krause, I, p. 539, n. 2. Waldstein, <i>J. H. S.</i>, I, 1880, -p. 185, wrongly says that the pancratiast sometimes wore gloves. Pausanias does not mention -them, nor do we see them on any of the vase-paintings.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1744"></a><a href="#FNanchor_1744"><span class="label">1744</span></a> VI, 6.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1745"></a><a href="#FNanchor_1745"><span class="label">1745</span></a> VI, 15.5. <i>Cf.</i> also V, 17.10, where, in describing the boxing match between Admetos and -Mopsos represented on the chest of Kypselos, he says οἱ δὲ ἀποτετολμηκότες πυκτεύειν—a hint of -the dangerous character of boxing.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1746"></a><a href="#FNanchor_1746"><span class="label">1746</span></a> <i>Oneir.</i>, 1, 62. This, at best, seems to be an exaggeration.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1747"></a><a href="#FNanchor_1747"><span class="label">1747</span></a> Philostr., <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1748"></a><a href="#FNanchor_1748"><span class="label">1748</span></a> VIII, 40.3–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1749"></a><a href="#FNanchor_1749"><span class="label">1749</span></a> To Theseus: schol. on Pindar, <i>Nem.</i>, V, 89, Boeckh, p. 465; <i>cf.</i> schol. on <i>Nem.</i>, III, 27, Boeckh, -p. 442; to Herakles: P., V, 8.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1750"></a><a href="#FNanchor_1750"><span class="label">1750</span></a> P., V, 8.8; Ph., 12; and Afr.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1751"></a><a href="#FNanchor_1751"><span class="label">1751</span></a> P., V, 8.11; Ph., 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1752"></a><a href="#FNanchor_1752"><span class="label">1752</span></a> <i>E. g.</i>, at Nemea; Pindar composed <i>Nem.</i>, V, in honor of the boy Pytheas of Aegina, who -won in (?) 485 B. C.; it was introduced at Delphi in the 61st Pythiad: P., X, 7.8; at the Isthmus -in mythical times: P., V, 2.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1753"></a><a href="#FNanchor_1753"><span class="label">1753</span></a> Collected by Gardiner, <i>op. cit.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1754"></a><a href="#FNanchor_1754"><span class="label">1754</span></a> Described by Lucian, <i>Anachar.</i>, I.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1755"></a><a href="#FNanchor_1755"><span class="label">1755</span></a> This throw is depicted on the walls of the tombs of Beni-Hasan on the Nile and is practised -to-day by the Japanese; it is described by Dio Cassius, LXXI, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1756"></a><a href="#FNanchor_1756"><span class="label">1756</span></a> Κλιμακισμός: described by Soph., <i>Trachiniae</i>, 520 f., and the schol.; see also Ovid, <i>Met.</i>, IX, 51. -<i>Cf.</i> <i>J. H. S.</i>, XXVI, 1906, pp. 15–16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1757"></a><a href="#FNanchor_1757"><span class="label">1757</span></a> <i>E. g.</i>, on four Græco-Roman gems in the British Museum pictured in <i>J. H. S.</i>, XXVI, p. 10, -fig. 4; Gardiner, p. 447, fig. 162.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1758"></a><a href="#FNanchor_1758"><span class="label">1758</span></a> <i>B. M. Vases</i>, B 604; <i>J. H. S.</i>, XXVI, Pl. III; Gardiner, p. 442, fig. 157.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1759"></a><a href="#FNanchor_1759"><span class="label">1759</span></a> E 78.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1760"></a><a href="#FNanchor_1760"><span class="label">1760</span></a> Mentioned by Plato, <i>Alcibiades</i>, I, 107 E; Ph., 50; Pollux, III, 150; Suidas, <i>s. v.</i> ἀκροχειρίζεσθαι -and <i>s. v.</i> Σώστρατος; Lucian, <i>Lexiphanes</i>, 5; <i>de Saltatione</i>, 10; Reisch, <i>ap.</i> Pauly-Wissowa, I, p. 1197; -Hitz.-Bluemn., II, <small>2</small>, p. 548; Grasberger, <i>Erziehung und Unterricht</i>, I, pp. 349–50; Krause, I, pp. -421 f., 510 f.; <i>J. H. S.</i>, XXVI, pp. 13–15, where Gardiner discusses the word in ancient writers -and concludes that it had nothing to do with wrestling, but only with boxing (both the separate -event and part of the pankration), and meant “to spar lightly with an opponent for practice.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1761"></a><a href="#FNanchor_1761"><span class="label">1761</span></a> He won three victories in Ols. (?) 104, (?) 105, and 106 ( = 364–356 B. C.): P., VI, 4.1; Hyde, 37; -Foerster, 349, 353, 359. This explanation of Pausanias has been accepted by Krause and most -modern authorities, but is found untenable by Gardiner, who bases his interpretation, not on Pausanias, -but on the accurate definition of Suidas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1762"></a><a href="#FNanchor_1762"><span class="label">1762</span></a> <i>B. C. H.</i>, VI, 1882, pp. 446 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1763"></a><a href="#FNanchor_1763"><span class="label">1763</span></a> He won in Ols. 81 and 82 ( = 456 and 452 B. C.): <i>Oxy. Pap.</i>; P., VI, 4.3; Hyde, 38; Foerster, -202, 203; <i>cf.</i> Pliny, <i>H. N.</i>, XXXIV, 59. He was probably merely represented in the preliminary -tactics of getting a grip.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1764"></a><a href="#FNanchor_1764"><span class="label">1764</span></a> See Reisch, p. 46; <i>I. G. B.</i>, 120.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1765"></a><a href="#FNanchor_1765"><span class="label">1765</span></a> <i>Anz. d. Wiener Akad.</i>, 1887, pp. 86 f. (Benndorf); Reisch, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1766"></a><a href="#FNanchor_1766"><span class="label">1766</span></a> A. de Ridder, <i>Les bronzes antiques du Louvre</i>, I, 1913, Pl. 63, no. 1067, and p. 131 (= pancratiast); -<i>Rev. arch.</i>, 1869, II, p. 292; Bulle, no. 96 (right); Reinach, <i>Rép.</i>, II, <small>2</small>, 543, 4. It is 0.275 -meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1767"></a><a href="#FNanchor_1767"><span class="label">1767</span></a> See <i>supra</i>, p. 167.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1768"></a><a href="#FNanchor_1768"><span class="label">1768</span></a> <i>H. N.</i>, XXXIV, 55. Hauser, <i>Jh. oest. arch. Inst.</i>, XII, 1909, pp. 116 f. His reasoning is accepted -by Bulle.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1769"></a><a href="#FNanchor_1769"><span class="label">1769</span></a> <i>Ges. Stud. zur Kunstgesch.</i>, Festschr. fuer A. Springer, 1885, pp. 260.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1770"></a><a href="#FNanchor_1770"><span class="label">1770</span></a> See <i>S. Q.</i>, 1463–67.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1771"></a><a href="#FNanchor_1771"><span class="label">1771</span></a> <i>Bildw. v. Ol.</i>, Tafelbd., Pl. LV, 4–5; Textbd., pp. 212 f., and fig. 239; F. W., no. 336; <i>cf.</i> Immerwahr, -<i>Kulte und Mythen Arkadiens</i>, I, 1891, p. 288.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1772"></a><a href="#FNanchor_1772"><span class="label">1772</span></a> <i>Archiv fuer lateinische Lexikographie u. Grammatik</i>, IX, 1894, 1, pp. 109 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1773"></a><a href="#FNanchor_1773"><span class="label">1773</span></a> <i>Mp.</i>, p. 249, n. 2; <i>Mw.</i>, pp. 451–2; he adduced two passages from Ovid’s <i>Met.</i>, XIV, 402 (<i>saevisque -parant incessere telis</i>), and XIII, 566–7 (<i>telorum lapidumque incessere iactu coepit</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1774"></a><a href="#FNanchor_1774"><span class="label">1774</span></a> This explanation has been followed by Treu, <i>Bildw. v. Ol.</i>, <i>l. c.</i>; Sittl, <i>Parerga zur alten Kunstgesch.</i>, -p. 24; Klein, II, pp. 362 f.; Jex-Blake, p. 235; and others.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1775"></a><a href="#FNanchor_1775"><span class="label">1775</span></a> <i>Inschr. v. Ol.</i>, 146; <i>I. G. B.</i>, 41. He won in Ol. 77 ( = 472 B. C.): <i>Oxy. Pap.</i>; P., VI, 6.1; Hyde, -50; Foerster, 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1776"></a><a href="#FNanchor_1776"><span class="label">1776</span></a> <i>Collection Somzée</i>, 1897, Pls. 3–5; see Hyde, to no. 50, on p. 8. Its quiet and reserved pose -recalls that of the <i>Pelops</i> of the East gable of the temple of Zeus at Olympia (<i>Bildw. v. Ol.</i>, -Tafelbd., Pl. IX, 2; Textbd., pp. 46 f.). Because of its archaic grace, though it shows no trace -of archaic stiffness, it might even be referred to the school of Kritios and Nesiotes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1777"></a><a href="#FNanchor_1777"><span class="label">1777</span></a> <i>Inschr. v. Ol.</i>, 153; <i>I. G. B.</i>, 29. He won the pankration in Ols. 87, 88, 89 ( = 432–424 B. C.); -P., VI, 7.1; Hyde, 61; Foerster, 258, 260, 262.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1778"></a><a href="#FNanchor_1778"><span class="label">1778</span></a> VI, 2.1; to be discussed <i>infra</i>, Ch. VI, pp. 293 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1779"></a><a href="#FNanchor_1779"><span class="label">1779</span></a> <i>B. C. H.</i>, XXI, 1897, pp. 592 f. Agias was not only a victor at Delphi three times, at Nemea -five times, and at the Isthmus five times, but was also an Olympic victor in the pankration, -Ol. (?) 80 ( = 460 B. C.): see inscription, <i>B. C. H.</i>, <i>l. c.</i>, p. 593, and for the date of the Olympic -victory, K. K. Smith, in <i>Class. Philol.</i>, V, 1910, pp. 169 f.; <i>cf.</i> <i>A. J. A.</i>, XIII, 1909, pp. 447 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1780"></a><a href="#FNanchor_1780"><span class="label">1780</span></a> Duetschke, III, no. 547; Amelung, <i>Fuehrer</i>, 66; B. B., 431; Bulle, 184; von Mach, 288; F. W., -1426; Reinach, <i>Rép.</i>, I, 523, I; Clarac, V, 858 A, 2176; M. W., I, XXXVI, 149; <i>J. H. S.</i>, XXVI, -1906, p. 19; Gardiner, p. 449, fig. 163. The group is 0.98 meter high and 0.71 meter broad -(Duetschke).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1781"></a><a href="#FNanchor_1781"><span class="label">1781</span></a> Bulle dates it at the beginning of the third century B. C.; both he and Amelung believe it to -be the work of a follower of Lysippos; see also B. Graef, <i>Jb.</i>, IX, 1894, pp. 119 f., who believes that -the original heads of the group are preserved, the one still on the under pancratiast, the other on -the statue of a Niobid in the Uffizi (Duetschke, III, no. 253), the head now on the upper pancratiast -being a modern copy of it. See Amelung’s reply in <i>A. A.</i>, 1894, pp. 192 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1782"></a><a href="#FNanchor_1782"><span class="label">1782</span></a> <i>E. g.</i>, von Mach, Pls. 265 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1783"></a><a href="#FNanchor_1783"><span class="label">1783</span></a> <i>H. N.</i>, XXXVI, 24; see note <i>ad loc.</i> by Jex-Blake.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1784"></a><a href="#FNanchor_1784"><span class="label">1784</span></a> <i>Aeth.</i>, X, 31, 32; quoted in full by Krause, II, pp. 912 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1785"></a><a href="#FNanchor_1785"><span class="label">1785</span></a> Duetschke, Wolters, von Mach, and Lucas (the latter in <i>Jb.</i>, XIX, 1904, pp. 127 f. and figs.) -thought that the wrestling groups on the Roman mosaic of the Imperial period found in Tusculum -in 1862 were influenced by the Florence group: <i>Mon. d. I.</i>, VI, VII, 1857–63, Pl. LXXXII; -<i>Annali</i>, XXXV, 1863, pp. 397 f.; Schreiber, <i>Bilderatlas</i>, Pl. XXIII, 10; Gardiner, p. 177, fig. 22.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1786"></a><a href="#FNanchor_1786"><span class="label">1786</span></a> <i>J. H. S.</i>, XXV, 1905, p. 30.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1787"></a><a href="#FNanchor_1787"><span class="label">1787</span></a> He won in Ol. 142 ( = 212 B. C.): P., VI, 15.10; <i>cf.</i> V., 21.10; Hyde, 150; Foerster, 474, 475.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1788"></a><a href="#FNanchor_1788"><span class="label">1788</span></a> <i>E. g.</i>, by Gardiner, p. 146.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1789"></a><a href="#FNanchor_1789"><span class="label">1789</span></a> Bulle, no. 72; B. B., 285; von Mach, 236; Collignon, II, p. 427, fig. 222; Overbeck, II, p. 448, -fig. 221; F. W., 1265; M. W., 1, Pl. XXXVIII, 152; Reinach, <i>Rép.</i>, I, 465, 1, 2, 3; Clarac, V, 789, -1978; Gardiner, p. 147, fig. 21; etc. It is 3.17 meters high (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1790"></a><a href="#FNanchor_1790"><span class="label">1790</span></a> An excellent one is in the Uffizi: Amelung, <i>Fuehrer</i>, 40; Reinach, <i>Rép.</i>, I, 474, 1; a colossal -replica was found in the sea off Antikythera: <i>Arch. Eph.</i>, 1902, Suppl., Pl. B, 7; one in the Pitti -Gallery will be mentioned immediately.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1791"></a><a href="#FNanchor_1791"><span class="label">1791</span></a> <i>I. G. B.</i>, 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1792"></a><a href="#FNanchor_1792"><span class="label">1792</span></a> Duetschke, II, no. 36; Amelung, <i>Fuehrer</i>, p. 134; B. B., 284; M. W., XXXVIII, 151; Reinach, -<i>Rép.</i>, II, <small>1</small>, 210, 5. For the inscription, see <i>I. G. B.</i>, 506; it has been needlessly attacked as a forgery—an -ancient one by Winckelmann, <i>Mon. Inediti</i>, pp. LXXVI f., and a modern one by Maffei, -<i>Ars critica</i>, III, <small>1</small>, p. 76 (both quoted by Duetschke), and more recently by Stephani, <i>Der ausruhende -Herakles</i>, pp. 164 f. The inscription is at least as old as the sixteenth century, as it is -mentioned by Flaminius Vacca (see Duetschke).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1793"></a><a href="#FNanchor_1793"><span class="label">1793</span></a> <i>Numism. Chron.</i>, Sér. 3, III, 1883, Pl. I, 5, p. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1794"></a><a href="#FNanchor_1794"><span class="label">1794</span></a> Mentioned by Strabo, VI, 3.1 (= C. 278), and described by the late writer Niketas, <i>Chron. de -signis Constant.</i>, 5 (who wrongly calls Lysippos Lysimachos).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1795"></a><a href="#FNanchor_1795"><span class="label">1795</span></a> <i>Gesch. d. bild. Kuenste</i>, II<sup>2</sup>, PP. 245 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1796"></a><a href="#FNanchor_1796"><span class="label">1796</span></a> P. 234.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1797"></a><a href="#FNanchor_1797"><span class="label">1797</span></a> <i>Bronz. v. Ol.</i>, Tafelbd., Pl. II, 2a and 2; Textbd., pp. 10–11; F. W., 323.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1798"></a><a href="#FNanchor_1798"><span class="label">1798</span></a> <i>De olymp. Stat.</i>, p. 56.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1799"></a><a href="#FNanchor_1799"><span class="label">1799</span></a> On the “<i>finsterer Blick</i>” of this class of victor monuments, see Furtw., <i>Mp.</i>, p. 173; <i>Mw.</i>, p. 348; -and <i>Bronz. v. Ol.</i>, Text, pp. 10–11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1800"></a><a href="#FNanchor_1800"><span class="label">1800</span></a> Thus Furtwaengler assigns it to the statue of the Akarnanian pancratiast (Philandridas) -mentioned by Pausanias, VI, 2.1; see <i>Bronz. v. Ol.</i>, p. 11. I have assigned an earlier marble -head to Philandridas, <i>infra</i>, pp. 293 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1801"></a><a href="#FNanchor_1801"><span class="label">1801</span></a> So Overbeck, II, p. 168; Hitz.-Bluemn., II, 2, p. 534; F. W., <i>l. c.</i>; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1802"></a><a href="#FNanchor_1802"><span class="label">1802</span></a> <i>Bronz. v. Ol.</i>, Tafelbd., Pl. III, 3, 3a; Textbd., pp. 11–12; F. W., no. 324.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1803"></a><a href="#FNanchor_1803"><span class="label">1803</span></a> <i>De olymp. Stat.</i>, p. 56.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1804"></a><a href="#FNanchor_1804"><span class="label">1804</span></a> <i>Cf.</i> P., VI, 20, 13: ἐπίδειξις ἐπιστήμης τε ἡνιόχων καὶ ἵππων ὠκύτητος; Pindar, <i>Ol.</i>, III, 36 f.: -θαητὸν ἀγῶνα ... ἀνδρῶν τ’ ἀρετᾶς πέρι καὶ ῥιμφαρμάτου διφρηλασίας.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1805"></a><a href="#FNanchor_1805"><span class="label">1805</span></a> On the hippodrome and its events at Olympia and elsewhere, see A. Martin, in Dar.-Sagl., III, -<small>1</small>, 1900, pp. 193 f. (art. <i>Hippodromos</i>); on the chariot, Saglio, <i>ibid.</i>, I, <small>2</small>, pp. 1633 f. (art. -<i>Currus</i>); K. Schneider, in Pauly-Wissowa, VIII, pp. 1735 f.; Julius, in Baum., I, pp. 692 f.; Pollack, -<i>Hippodromica</i>, Diss. inaug., 1890; Gardiner, Ch. XXI, pp. 451 f.; Krause, I, pp. 557 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1806"></a><a href="#FNanchor_1806"><span class="label">1806</span></a> See Isokrates, XVI (<i>de Bigis</i>), 33 (p. 353 c); Xenophon, <i>de Re equestr.</i>, II, <small>1</small>; Aristotle, <i>Politics</i>, -VI, 3.2 ( = 1289 b 35), VIII, 7.1 ( = 1321 a 11); Plut., <i>de Adul. et Amic.</i>, Chs. 7 and 16 (latter quoting -Karneades). On the expense of horse-breeding (ἱπποτροφία), see also Xen., <i>Ages.</i>, I, 23; <i>id.</i>, -<i>Oecon.</i>, II, 6; Plut., <i>Ages.</i>, XX, 1; Pindar, <i>Isthm.</i>, II, 38; IV, 29; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1807"></a><a href="#FNanchor_1807"><span class="label">1807</span></a> The first, second, and fourth, according to Thukyd., VI, 16; the first, second and third, according -to Eurip., <i>fragm.</i> 3 (= <i>P. l. G.</i>, II, p. 266), and Isokr., <i>de Bigis</i>, 34 (p. 353 d). See Foerster, 275.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1808"></a><a href="#FNanchor_1808"><span class="label">1808</span></a> See <i>Oxy. Pap.</i>, II, p. 222.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1809"></a><a href="#FNanchor_1809"><span class="label">1809</span></a> Besides 24 victories of both in various running races. The older part of the inscription (with -a chariot-group in relief) was discovered by Leake: see <i>Travels in the Morea</i>, 1830, II, p. 521, and -Pl. 71 (at the end of III); better reproduction by Dressler and Milchhoefer, <i>A. M.</i>, II, 1877, -pp. 318 f.; <i>I. G. A.</i>, 79; Tod, <i>Sparta Museum Cat.</i>, no. 440. The newer portion is discussed in <i>B. -S. A.</i>, XIII, 1906–07, pp. 174 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1810"></a><a href="#FNanchor_1810"><span class="label">1810</span></a> See Hill, <i>Coins of Sicily</i>, pp. 43 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1811"></a><a href="#FNanchor_1811"><span class="label">1811</span></a> VIII, 38.5; see <i>Exped. scientif. en Morée</i>, 1831–1838, II, p. 37, and Pls. XXXIII, XXXIV. -It was 240 by 105 meters in extent, though the actual course was probably only a stade long.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1812"></a><a href="#FNanchor_1812"><span class="label">1812</span></a> See list in Pauly-Wissowa, VIII, pp. 1743–4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1813"></a><a href="#FNanchor_1813"><span class="label">1813</span></a> Described by P., V, 15.5 f., and VI, 20.10 f. For its position, see Doerpfeld, <i>Ergebn. v. Ol.</i>, I, -p. 78; Curtius u. Adler, <i>Olympia und Umgegend</i>, 1882, p. 30; Boetticher, <i>Olympia: Das Fest u. -seine Staette</i><sup>2</sup>, 1886, p. 119; G. Herrmann, <i>de Hippodromo olympiaco</i>, 1839 (= <i>Opusc.</i>, VII, pp. 388). -Five attempts at reconstruction are given by Hitz.-Bluemn., II, <small>2</small>, pp. 643 f., and Pl. VI: those of -Visconti (1796); A. Hirt (<i>Gesch. d. Baukunst bei d. Alten</i>, 1827, III, pp. 148 f., and Pl. XX, 8; -reproduced in Baum., I, p. 693, fig. 750; Smith, <i>Dict. Antiq.</i><sup>3</sup>, 1890, I, p. 963; Frazer, IV, p. 83, -fig. 6); Lehndorff (<i>Hippodromos</i>, 1876); Pollack (<i>op cit.</i>, p. 52); Wernicke (<i>Jb.</i>, IX, 1894, p. 199). -To these should be added those of A. Martin (<i>op. cit.</i>, p. 198, fig. 3844); Weniger (<i>Klio</i>, IX, 1909, -p. 303, the <i>aphesis</i> transcribed by Gardiner, p. 453, fig. 164). See also Guhl u. Koner, <i>Das Leben -d. Gr. u. Roem.</i><sup>6</sup>, 1893, pp. 233 f. and Fig. 271 (= restoration of Pollack), and <i>cf.</i> Krause, I, -p. 150, n. 9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1814"></a><a href="#FNanchor_1814"><span class="label">1814</span></a> See Blass, in <i>Hermes</i>, XXIII, 1888, p. 222 (n. 1); R. Schoene, <i>A. A.</i>, 1897, pp. 77–8; <i>id.</i>, <i>Jb.</i>, -XII, 1897, pp. 150 f. (Neue Angaben ueber den Hippodrom zu Olympia); Gaspar, in article on -<i>Olympia</i> in Dar.-Sagl., IV, <small>1</small>, p. 177 and n. 5; Frazer, V, p. 617; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1815"></a><a href="#FNanchor_1815"><span class="label">1815</span></a> VI, 20.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1816"></a><a href="#FNanchor_1816"><span class="label">1816</span></a> Il., XXIII, 262–650. The four-horse chariot-race fills more than one and one-half times as -many verses as the seven other contests combined (vv. 651–897). Homer’s description was often -imitated by later poets, especially by Sophokles, <i>Electra</i>, 698–763 (race at Delphi); Nonnos, -<i>Dionys.</i>, XXXVII, 103–484; Quintus Smyrnæus, IV, 500–595; Statius, <i>Theb.</i>, VI, 274–527; etc. -Hesiod describes a race as wrought on Herakles’ shield: <i>Scut.</i>, 305 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1817"></a><a href="#FNanchor_1817"><span class="label">1817</span></a> P., V, 10.6–7; VI, 21.6–7; VIII, 14.10–11; etc.; Pindar, <i>Ol.</i>, I, 67 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1818"></a><a href="#FNanchor_1818"><span class="label">1818</span></a> Diod., IV, 73.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1819"></a><a href="#FNanchor_1819"><span class="label">1819</span></a> VIII, 4.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1820"></a><a href="#FNanchor_1820"><span class="label">1820</span></a> <i>E. g.</i>, Nestor won at the games of Amarynkeus, Iliad, XXIII, 630 f. On such myths, see -Krause, I, pp. 558 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1821"></a><a href="#FNanchor_1821"><span class="label">1821</span></a> <i>E. g.</i>, the race between Pelops and Oinomaos was represented on the chest of Kypselos, P., V, -17.7, and in the sculptures on the East gable of the temple of Zeus at Olympia, P., V, 10.6–7. -It appears also on many early vases: <i>e. g.</i>, on the François vase in Florence and the Amphiaraos -vase in Berlin. For the latter, see <i>Mon. d. I.</i>, X, 1874–78, Pls. IV-V; <i>Annali</i>, XLVI, 1874, pp. 82 f. -(Robert); Gardiner, p. 29, fig. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1822"></a><a href="#FNanchor_1822"><span class="label">1822</span></a> V, 8.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1823"></a><a href="#FNanchor_1823"><span class="label">1823</span></a> See Plato, <i>de Rep.</i>, III, 19 (= 412 B); Isokr., <i>de Bigis</i>, 33 (p. 353 c); Dio Cassius, LII, 30; -Hdt., I, 167; Andok., 4, 26 (<i>Contra Alcib.</i>); Soph., <i>Electra</i>, 698; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1824"></a><a href="#FNanchor_1824"><span class="label">1824</span></a> VI, 2.2; he won in the hoplite-race and chariot-race in Ols. (?) 83, 84 ( = 448, 444 B. C.): Hyde, -12; Foerster, 211 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1825"></a><a href="#FNanchor_1825"><span class="label">1825</span></a> Foerster thinks that the story arose from the small size of one of the horses in the monument -of Lykidas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1826"></a><a href="#FNanchor_1826"><span class="label">1826</span></a> These and the following figures are given in the Constantinople MS. The length of the four-horse -chariot-race there given agrees with passages in Pindar (<i>Ol.</i>, II, 50; III, 33; VI, 75; <i>cf.</i> -<i>Pyth.</i>, V, 33, for Delphi) and the scholiasts (on <i>Ol.</i>, III, 59, Boeckh, p. 102, and <i>Pyth.</i>, V, 39, -Boeckh, p. 380). See also Pollack, <i>Hippodromica</i>, pp. 103 f., and Gardiner, p. 457.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1827"></a><a href="#FNanchor_1827"><span class="label">1827</span></a> P., V, 8.10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1828"></a><a href="#FNanchor_1828"><span class="label">1828</span></a> Length stated by the MS. and by a scholiast on Pindar, <i>Pyth.</i>, V, 39, Boeckh, p. 380.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1829"></a><a href="#FNanchor_1829"><span class="label">1829</span></a> Those of Troilos of Elis, who won in Ol. 103 ( = 368 B. C.): P., VI, 1.4; Hyde, 6; Foerster, 345; -<i>Inschr. v. Ol.</i>, 166; and of Akestorides of Alexandria in the Troad, who won between Ols. 142 and -144 ( = 212 and 204 B. C.): P., VI, 13.7; Hyde, 119 and pp. 49–50; Foerster, 501; <i>Inschr. v. Ol.</i>, 184.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1830"></a><a href="#FNanchor_1830"><span class="label">1830</span></a> For the date, see P., V, 8.10; Xen., <i>Hell.</i>, I, 2.1; for the event, Krause, I, pp. 567 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1831"></a><a href="#FNanchor_1831"><span class="label">1831</span></a> Troilos, already mentioned, who won in Ol. 102 ( = 372 B. C.) and had a statue by Lysippos: -P., VI, 1.4; Hyde, 6; Foerster, 338.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1832"></a><a href="#FNanchor_1832"><span class="label">1832</span></a> Euryleonis: P., III, 17.6; Foerster, 344.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1833"></a><a href="#FNanchor_1833"><span class="label">1833</span></a> The συνωρίς was introduced at Delphi in 398 B. C., while the ἅρμα τέλειον was introduced there -in 582 B. C.: see Dar.-Sagl., III, <small>1</small>, p. 202, for these and other dates of equestrian events at -the Pythian games.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1834"></a><a href="#FNanchor_1834"><span class="label">1834</span></a> <i>B. M. Vases</i>, B 130.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1835"></a><a href="#FNanchor_1835"><span class="label">1835</span></a> The date is given in the Armenian version of Afr.; <i>cf.</i> also P., V, 8.11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1836"></a><a href="#FNanchor_1836"><span class="label">1836</span></a> P., V, 8.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1837"></a><a href="#FNanchor_1837"><span class="label">1837</span></a> P., V, 8.11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1838"></a><a href="#FNanchor_1838"><span class="label">1838</span></a> XV, 679–84; Hesiod, <i>Scut.</i>, 285 f. On myths relating to it, see Krause, I, p. 582, n. 1. We -read of <i>equi desultorii</i> at the games inaugurated by Cæsar in Rome: Sueton., <i>Julius</i>, 39. See -<i>supra</i>, p. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1839"></a><a href="#FNanchor_1839"><span class="label">1839</span></a> VI, 13.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1840"></a><a href="#FNanchor_1840"><span class="label">1840</span></a> P., V, 9.1. Polemon, frag. 21 (= <i>F. H. G.</i>, III, p. 122), <i>apud</i> schol. on Pindar, <i>Ol.</i>, V, Argum. -(Boeckh, p. 117), says that the κάλπη ceased in Ol. 84 ( = 444 B. C.), if we accept Boeckh’s correction -πδʹ for οδʹ. A scholiast on Pindar, <i>Ol.</i>, V, lines 6 and 19 (Boeckh, pp. 119 and 122) says Ol. 85 -( = 440 B. C.); another on <i>Ol.</i>, VI, Argum. (Boeckh, p. 129), says Ol. 85 or Ol. 86. But Ol. 85 may -be reconciled with Pausanias’ and Polemon’s date by assuming that the proclamation of abolition -fell in Ol. 84, but that the event was first omitted in Ol. 85; see Bentley, <i>Diss. upon the -Epistles of Phalaris</i>, p. 200 (ed. W. Wagner).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1841"></a><a href="#FNanchor_1841"><span class="label">1841</span></a> VI, 9.2; Hyde, 84.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1842"></a><a href="#FNanchor_1842"><span class="label">1842</span></a> V, 9.1; he won Ol. 70 ( = 500 B. C.); Foerster, 157.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1843"></a><a href="#FNanchor_1843"><span class="label">1843</span></a> Anaxilas of Rhegion, whose victory fell sometime between Ols. (?) 70 and 76 ( = 500 and 476 -B. C.), and was celebrated by Simonides, frag. 7 (= <i>P. l. G.</i>, III, p. 390); Agesias of Syracuse, -whose victory fell Ol. (?) 77 ( = 472 B. C.), and was celebrated by Pindar, <i>Ol.</i>, VI; and Psaumis of -Kamarina, whose victory, falling Ol. (?) 81 ( = 456 B. C.), was sung by the pseudo-Pindar, <i>Ol.</i>, V -(= <i>P. l. G.</i>, I, pp. 109 f.); he also won in the chariot-race in Ol. (?) 82 ( = 452 B. C.), a victory -sung by Pindar in <i>Ol.</i>, IV. See Foerster, nos. 173, 210, 234, and 238.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1844"></a><a href="#FNanchor_1844"><span class="label">1844</span></a> <i>Inschr. v. Ol.</i>, 220, 221; Foerster, 601.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1845"></a><a href="#FNanchor_1845"><span class="label">1845</span></a> The corrupt text of Africanus is here corrected by Gelzer, <i>S. Jul. Afr. und die byzant. Chronographie</i>, -1880, I, pp. 168 f. Gardiner, p. 165, n. 3, wrongly gives the victory of Germanicus as -Ol. 194, thus confusing it with that of Tiberius.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1846"></a><a href="#FNanchor_1846"><span class="label">1846</span></a> Foerster, 642–647.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1847"></a><a href="#FNanchor_1847"><span class="label">1847</span></a> Ol. 208 ( = 53 A. D.); Foerster, 634.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1848"></a><a href="#FNanchor_1848"><span class="label">1848</span></a> Most of the gems representing such contests, however, refer to the Roman circus.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1849"></a><a href="#FNanchor_1849"><span class="label">1849</span></a> For illustrations of the two, see Dar.-Sagl., I, <small>2</small>, pp. 1636 f., figs. 2203 f., and <i>cf.</i> Gardiner, -pp. 458 f.; an excellent illustration of a four-horse chariot and driver is seen on an Attic-Corinthian -goblet (dinos) in the Louvre: Perrot-Chipiez, X, Pl. II, opp. p. 116; also several at rest and -racing on the <i>François Vase</i>: Perrot-Chipiez, X, p. 141, fig. 93, p. 154, fig. 101 (= Furtw.-Reichhold, -<i>Griech. Vasenmalerei</i>, 1904–1912, Pls. III, 10, and XI-XII.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1850"></a><a href="#FNanchor_1850"><span class="label">1850</span></a> Von Mach, no. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1851"></a><a href="#FNanchor_1851"><span class="label">1851</span></a> See, <i>e. g.</i>, P. Gardner, <i>Sculptured Tombs of Hellas</i>, 1896, figs. 18–20.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1852"></a><a href="#FNanchor_1852"><span class="label">1852</span></a> C. Smith, <i>B. S. A.</i>, III, 1896–7, pp. 183 f., dates these prize amphoræ from the middle of the -sixth to the close of the fourth centuries B. C., as the last of the series is dated 313 B. C. In this -article he publishes a mosaic found on Delos (Pl. XVI, a) and dating from the early second century -B. C., which reproduces a Panathenaic amphora with an illustration of a chariot-race—the -latest date at which either a prize-amphora (or picture of one) can be proved to have been used. -He believes (p. 187) that it is the representation of an amphora won long before by the ancestor -of the owner of the mosaic, carefully preserved in his family.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1853"></a><a href="#FNanchor_1853"><span class="label">1853</span></a> <i>B. M. Guide to Greek and Roman Life</i>, 1908, p. 200.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1854"></a><a href="#FNanchor_1854"><span class="label">1854</span></a> <i>E. g.</i>, on a Panathenaic amphora in the British Museum, dating from the sixth century B. C.: -<i>B. M. Vases</i>, B 132; Gardiner, p. 458, fig. 166; <i>cf.</i> also a silver tetradrachm from Rhegion in the -British Museum, from the early fifth century B. C.: Gardiner, p. 460, fig. 168.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1855"></a><a href="#FNanchor_1855"><span class="label">1855</span></a> Philip won κέλητι in Ol. 106 ( = 356 B. C.): Plut., <i>Alex.</i>, 3 and 4; <i>cf.</i> Justin, XII, 16, 6; ἅρματι -twice at unknown dates: Foerster, 360, 364, 370. As we have no record of a victory by him -συνωρὶδι, the two-horse chariot appearing on his coins (<i>e. g.</i>, a gold stater in the British Museum, -Gardiner, p. 459, fig. 167, right) may refer to unrecorded victories, or else may be interpreted -(with Gardiner) as a pun on his name.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1856"></a><a href="#FNanchor_1856"><span class="label">1856</span></a> <i>E. g.</i>, on a silver tetradrachm of Rhegion in the British Museum: Gardiner, p. 460, fig. 168. -This and other coins commemorate the victory in this event of the Rhegion prince Anaxilas, -already mentioned: Aristotle, frag. 228a, <i>ap.</i> Pollux, V, 73 (= <i>F. H. G.</i>, II, p. 173); Foerster, 173.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1857"></a><a href="#FNanchor_1857"><span class="label">1857</span></a> <i>E. g.</i>, a decadrachm of Akragas (dating from the end of the fifth century B. C.) and another of -Syracuse (from the beginning of the fourth century B. C.) in the British Museum; reproduced by -Gardiner, p. 465, fig. 172.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1858"></a><a href="#FNanchor_1858"><span class="label">1858</span></a> <i>B. S. A.</i>, XIII, 1906–7, Pl. V; Gardner, p. 456, fig. 165.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1859"></a><a href="#FNanchor_1859"><span class="label">1859</span></a> Gerhard, IV, Pls. CCXLIX and CCL; Dar.-Sagl., <i>l. c.</i>, fig. 2219. It was formerly in Lucien -Bonaparte’s collection.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1860"></a><a href="#FNanchor_1860"><span class="label">1860</span></a> <i>A. V.</i>, Pls. CCLI-CCLIV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1861"></a><a href="#FNanchor_1861"><span class="label">1861</span></a> B. B., 586–7 and figs. 1–14 (text by Furtwaengler); Richter, <i>Greek, Etruscan, and Roman -Bronzes in the Metropolitan Museum</i>, 1915, pp. 17 f., no. 40, and figs.; P. Ducati, <i>Jh. oest. arch. -Inst.</i>, XII, 1909, pp. 74 f.; J. Offord, <i>R. Arch.</i>, Sér. IV, III, 1904, pp. 305–7 and Pls. VII-IX, -etc. Closely allied in style to its decorative designs are fragments of another chariot found at -Perugia and now distributed among the Perugia, Munich, and British Museums: Petersen, <i>A. M.</i>, -X, 1894, pp. 253 f.; B. B., 588–589. <i>Cf.</i> also fragments of similar technique from Capua: -Froehner, <i>Cat. de la Collection Dutuit</i>, 1897–1901, II, p. 199, no. 250, and Pls. 190–195.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1862"></a><a href="#FNanchor_1862"><span class="label">1862</span></a> <i>A. J. A.</i>, XII, 1908, pp. 312 f., with plates and figures.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1863"></a><a href="#FNanchor_1863"><span class="label">1863</span></a> <i>H. N.</i>, XXXVI, 31.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1864"></a><a href="#FNanchor_1864"><span class="label">1864</span></a> Vitruv., <i>de Arch.</i>, VII (Praef.), §§ 12–13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1865"></a><a href="#FNanchor_1865"><span class="label">1865</span></a> See <i>B. M. Sculpt.</i>, II, nos. 1000–1005 and Pl. XVI; for discussion of the group, <i>J. H. S.</i>, XXX, -1910, pp. 133–162 (J. B. K. Preedy).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1866"></a><a href="#FNanchor_1866"><span class="label">1866</span></a> <i>E. g.</i>, XXXIV, 71 (<i>Calamis et alias quadrigas bigasque fecit se impari, equis sine aemulo expressis</i>); -XXXV, 99 (<i>Aristides ... pinxit et currentes quadrigas</i>); XXXIV, 78 (Euphranor); -64 (<i>Lysippus ... fecit et quadrigas multorum generum</i>); 66 (Euthykrates); 80 (Pyromachos); -88 (Menogenes); 86 (Aristodemos).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1867"></a><a href="#FNanchor_1867"><span class="label">1867</span></a> P., VI, 12.1; to be mentioned <i>infra</i>, p. 279.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1868"></a><a href="#FNanchor_1868"><span class="label">1868</span></a> P., VI, 9.4–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1869"></a><a href="#FNanchor_1869"><span class="label">1869</span></a> P., V, 27.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1870"></a><a href="#FNanchor_1870"><span class="label">1870</span></a> P., VI, 14.12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1871"></a><a href="#FNanchor_1871"><span class="label">1871</span></a> P., VI, 10.8 and 19.6, and <i>cf.</i> 10.8; Hdt., VI, 36; Hyde, 99a and p. 44; Foerster, 105. Pausanias -here confuses this elder Miltiades with the son of Kimon, as does also the pseudo-Andok., IV, 33.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1872"></a><a href="#FNanchor_1872"><span class="label">1872</span></a> P., VI, 10.8; <i>cf.</i> Hdt., VI, 103; Hyde, 99b and p. 44; Foerster, 77–79.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1873"></a><a href="#FNanchor_1873"><span class="label">1873</span></a> Some time between Ols. (?) 68 and 70 ( = 508 and 500 B. C.): P., VI, 16.6; Hyde, 160 and -pp. 58–9; Foerster, 797 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1874"></a><a href="#FNanchor_1874"><span class="label">1874</span></a> Kalliteles won some time between Ols. (?) 66 and 68 ( = 516 and 508 B. C.): <i>Inschr. v. Ol.</i>, 632; -Hyde, 161; Foerster, 774 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1875"></a><a href="#FNanchor_1875"><span class="label">1875</span></a> Pindar, <i>Pyth.</i>, V, 34 f.; date given by schol. on <i>Pyth.</i>, IV, Argum., Boeckh, p. 342. Pindar’s -<i>Pyth.</i>, IV and V celebrate this victory. The same scholiast also records a chariot-victory of -Arkesilas at Olympia in Ol. 80 ( = 460 B. C.); Foerster, 229.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1876"></a><a href="#FNanchor_1876"><span class="label">1876</span></a> P., V, 12.5; <i>Inschr. v. Ol.</i>, 634; <i>I. G. B.</i>, 100. Kyniska won two chariot-victories in Ols. (?) 96, -97 ( = 396, 392 B. C.), and for them also had an equestrian group set up in the Altis, the work -of the Megarian artist Apellas, which we shall discuss later: P., VI, 1.6 f.; Hyde, 7; Foerster, -326, 333; see <i>infra</i>, p. 267.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1877"></a><a href="#FNanchor_1877"><span class="label">1877</span></a> P., VI, 12.7; Hyde, 108; Foerster, 801 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1878"></a><a href="#FNanchor_1878"><span class="label">1878</span></a> He won some time between Ols. (?) 128 and 137 ( = 268 and 232 B. C.): P., VI, 1.9; Hyde, -169; Foerster, 446; <i>Inschr. v. Ol.</i>, 178.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1879"></a><a href="#FNanchor_1879"><span class="label">1879</span></a> P., VI, 17.5; <i>cf.</i> 10.6–8. In the latter passage (§8) Pausanias says that Kleosthenes, who won -in Ol. 66, was the first to dedicate his statue together with a chariot and horses and the statue of a -charioteer. Foerster, 38, following Westermann, believes that Archidamas is the name which has -fallen out of Phlegon, fragm. 4 (= <i>F. H. G.</i>, III, p. 605), that of a victor from Dyspontion in Elis, -and therefore wrongly gives the date of the victory as Ol. 27 ( = 672 B. C.); for a refutation of -this view and an indeterminate date, see Hyde, 182 and p. 62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1880"></a><a href="#FNanchor_1880"><span class="label">1880</span></a> He won Ol. (?) 79 ( = 464 B. C.): P., VI, 1.7; Hyde, 8; Foerster, 233.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1881"></a><a href="#FNanchor_1881"><span class="label">1881</span></a> He won in two events, the hoplite-race and charioteering, in Ols. (?) 83, 84 ( = 448, 444 B. C.): -P., VI, 2.1–2; Hyde, 12; Foerster, 211A. Perhaps one of his two statues by Myron represented -his charioteer (so Foerster), though more probably the two statues represented the victor for his -two victories.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1882"></a><a href="#FNanchor_1882"><span class="label">1882</span></a> He won some time between Ols. (?) 98 and 101 ( = 388 and 376 B. C.): P., VI, 2.8; Hyde, 17; -Foerster, 310; his statue stood beside that of his son Aigyptos on horseback; the latter won κέλητι -about the date of his father’s victory: P., VI, 2.8; Hyde 18; Foerster, 301. The two monuments -were by the Sikyonian Daidalos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1883"></a><a href="#FNanchor_1883"><span class="label">1883</span></a> He won συνωρίδι καὶ τεθρίππῳ in Ols. 102, 103 ( = 372, 368 B. C.): P., VI, 1.4; Hyde, 6; Foerster, -338, 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1884"></a><a href="#FNanchor_1884"><span class="label">1884</span></a> He won some time between Ols. (?) 115 and 130 ( = 320 and 260 B. C.): P., VI, 13.11; Hyde, -122; Foerster, 513: <i>Inschr. v. Ol.</i>, 177.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1885"></a><a href="#FNanchor_1885"><span class="label">1885</span></a> Polykles won in Ol. (?) 89 ( = 424 B. C.): P., VI, 1.7; Hyde, 9; Foerster, 796 (undated). For -this athletic <i>genre</i> group, see Hitz.-Bluemn., II, <small>2</small>, p. 534. On children’s hoops (τρόχοι) see -L. Becq de Fouquières, <i>Les Jeux des Anciens</i><sup>2</sup>, 1873, Ch. VIII, pp. 159 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1886"></a><a href="#FNanchor_1886"><span class="label">1886</span></a> 1, 96 (quoting Ephoros, fragm. 106 = <i>F. H. G.</i>, 1, pp. 262–3). Periandros won a chariot victory -at Olympia at the end of the seventh or beginning of the sixth century B. C.: Foerster, 80, who -assumes that it was a statue of Zeus, and not of Periandros.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1887"></a><a href="#FNanchor_1887"><span class="label">1887</span></a> Gelo won in Ol. 73 ( = 488 B. C.): P., VI, 9.4; Hyde, 90; Foerster, 180; <i>Inschr. v. Ol.</i>, 143. This -inscription on the recovered base and another from the base of the monument of Pantarkes, who -won apparently in the chariot-race at the end of the sixth century B. C. (<i>Inschr. v. Ol.</i>, 142; Foerster, -149), are the two oldest inscriptions known of chariot victors at Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1888"></a><a href="#FNanchor_1888"><span class="label">1888</span></a> He won Ol. 66 ( = 516 B. C.): P., VI, 10.6–7; Hyde, 99; Foerster, 143.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1889"></a><a href="#FNanchor_1889"><span class="label">1889</span></a> P., VI, 10.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1890"></a><a href="#FNanchor_1890"><span class="label">1890</span></a> We have mentioned the inscribed relief <i>supra</i>, pp. 257 and 258, and n. 1 -on p. 258.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1891"></a><a href="#FNanchor_1891"><span class="label">1891</span></a> Line 15.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1892"></a><a href="#FNanchor_1892"><span class="label">1892</span></a> Pindar, <i>Pyth.</i>, V, 26. For the above examples, see also Gardiner, p. 463.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1893"></a><a href="#FNanchor_1893"><span class="label">1893</span></a> P., VI, 2.8; he was represented on horseback.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1894"></a><a href="#FNanchor_1894"><span class="label">1894</span></a> P., III, 8.1; <i>cf.</i> VI, 1.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1895"></a><a href="#FNanchor_1895"><span class="label">1895</span></a> <i>Inschr. v. Ol.</i>, 160; Loewy, <i>I. G. B.</i>, 99; see <i>A. G.</i>, XIII, 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1896"></a><a href="#FNanchor_1896"><span class="label">1896</span></a> <i>A. Z.</i>, XXXVII, 1879, p. 151.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1897"></a><a href="#FNanchor_1897"><span class="label">1897</span></a> Noted in <i>A. J. A.</i>, XV, 1911, p. 60.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1898"></a><a href="#FNanchor_1898"><span class="label">1898</span></a> <i>H. N.</i>, XXXIV, 86: <i>et adornantes se feminas</i>. For the five larger bronze figures, see Inv., 5604–5, -5619–21; for the smaller sixth figure, usually known as the <i>Praying Child</i>, see Inv., 5603. All six -are pictured in E. R. Barker’s <i>Buried Herculaneum</i>, 1908, Figs. 18–19.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1899"></a><a href="#FNanchor_1899"><span class="label">1899</span></a> P., VI, 12.1; <i>cf.</i> VIII, 42.9–10; <i>Oxy. Pap.</i>; Hyde, 105; Foerster, 199, 209, and 215. Pindar -celebrates the victory of 476 B. C. in his first <i>Olympian ode</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1900"></a><a href="#FNanchor_1900"><span class="label">1900</span></a> P., V, 27.2. See <i>supra</i>, pp. 28, 62, and 163.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1901"></a><a href="#FNanchor_1901"><span class="label">1901</span></a> P., VI, 14.12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1902"></a><a href="#FNanchor_1902"><span class="label">1902</span></a> <i>H. N.</i>, XXXIV, 71. On the basis of this and other references, Reisch built up a theory that -there was also a fourth-century B. C. Kalamis, the contemporary of the younger Praxiteles: -<i>Jh. oest. arch. Inst.</i>, IX, 1906, pp. 199 f. He was followed by Amelung (<i>R. M.</i>, XXI, 1906, -pp. 285 and 287) and Studniczka (<i>Abh. d. k. saechs. Gesellsch. d. Wiss., philolog.-histor. Klasse</i>, -XXV, no. IV, 1907, pp. 5 f.). 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 -contemporary, the elder Praxiteles: <i>Sitzb. Muen. Akad.</i>, 1907, pp. 160 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1903"></a><a href="#FNanchor_1903"><span class="label">1903</span></a> P., VI, 18.1. Kratisthenes won Ol. (?) 83 ( = 448 B. C.): Hyde, 185; Foerster, 193 A.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1904"></a><a href="#FNanchor_1904"><span class="label">1904</span></a> P., VI, 12.6; Hyde, 105d. The same Timon is mentioned again: P., VI, 2.8; Hyde, 17. This -monument may have been set up for a second victory or even for the victory mentioned by Pausanias, -VI, 2.8; however, I have classed it as an honor dedication, assuming two monuments: -Hyde, p. 45.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1905"></a><a href="#FNanchor_1905"><span class="label">1905</span></a> Lampos won some time after Ol. (?) 105 ( = 360 B. C.): P., VI, 4.10; Hyde, 44; Foerster, 420. -Philippi, the native city of Lampos, was founded in Ol. 105 by Philip, father of Alexander, on the -site of an older town, Krenides.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1906"></a><a href="#FNanchor_1906"><span class="label">1906</span></a> <i>H. N.</i>, XXXIV, 89; it was by the statuary Piston.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1907"></a><a href="#FNanchor_1907"><span class="label">1907</span></a> Reisch, p. 49, believes that she represented a <i>Nike apteros</i>; Rouse, p. 164, also believes that -such figures were Victories.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1908"></a><a href="#FNanchor_1908"><span class="label">1908</span></a> <i>H. N.</i>, XXXV, 108.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1909"></a><a href="#FNanchor_1909"><span class="label">1909</span></a> <i>Ant. Denkm.</i>, I, <small>4</small>, 1889, Pl. XLIV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1910"></a><a href="#FNanchor_1910"><span class="label">1910</span></a> <i>B. M. Sculpt.</i>, I, 814; <i>Museum Marbles</i>, IX, Pl. XXXVIII, fig. 2. A. H. Smith (<i>op. cit.</i>, no. 814; -<i>cf.</i> <i>Guide to Græco-Roman Sculpt.</i>, I, no. 176) also mentions another similar votive tablet in the -British Museum. It is mounted on a pilaster and represents the visit of Dionysos to Ikarios. -Such tablets seem to have been commonly dedicated by agonistic victors.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1911"></a><a href="#FNanchor_1911"><span class="label">1911</span></a> Schoene, <i>Griech. Reliefs</i>, 1872, Pl. XVIII, fig. 80; F. W., 1142; von Sybel, <i>Kat. d. Skulpt. zu -Athen</i>, 1881, no. 7014. Here only the arms and wings of Nike are left.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1912"></a><a href="#FNanchor_1912"><span class="label">1912</span></a> E. Huebner, <i>Die antiken Bildw. in Madrid</i>, 1862, 241, 559; <i>Annali</i>, XXXIV, 1862, Pl. G., and -p. 103; Reisch, p. 51.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1913"></a><a href="#FNanchor_1913"><span class="label">1913</span></a> <i>Arch. Eph.</i>, 1893, pp. 128 f. (Kabbadias) and Pl. IX; Rouse, p. 177.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1914"></a><a href="#FNanchor_1914"><span class="label">1914</span></a> <i>Cf.</i> Reisch, pp. 49–50; Rouse, p. 176.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1915"></a><a href="#FNanchor_1915"><span class="label">1915</span></a> Helbig, <i>Fuehrer</i>, II, 1752; <i>Guide</i>, I, 437.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1916"></a><a href="#FNanchor_1916"><span class="label">1916</span></a> P., V, 17.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1917"></a><a href="#FNanchor_1917"><span class="label">1917</span></a> Frazer, III, p. 609, fig. 77; etc. See <i>supra</i>, p. 13 and n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1918"></a><a href="#FNanchor_1918"><span class="label">1918</span></a> We have already discussed the style and date of this relief in Ch. III, pp. 128–9. For the relief, -see Dickins, no. 1342 and illustration on p. 275; von Sybel, <i>Kat. d. Skulpt. zu Athen</i>, no. 5039; -Baum., I, p. 342, fig. 359; Studniczka, <i>Jb.</i>, XI, 1896, p. 265, fig. 7; Perrot-Chipiez, VIII, p. 664, -fig. 342; B. B., 21; von Mach, 56; Collignon, I, pp. 378 f. and fig. 194; Overbeck, I, p. 203 and -fig. 47; Le Bas, <i>Voyage archeol.</i> (Reinach’s ed.), pp. 50–51 and Pl. I; F. W., 97; cast in British -Museum, <i>B. M. Sculpt.</i>, I, no. 155. A small piece of the adjacent slab to the right (found on the -eastern slope of the Akropolis in 1859–1860), fitting the main block exactly, shows two horses’ -tails and one hind leg and proves that the chariot was represented at rest.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1919"></a><a href="#FNanchor_1919"><span class="label">1919</span></a> This fragment contains a head whose pointed beard and petasos have been thought to indicate -the god: Dickins, no. 1343; Collignon, I, p. 378, fig. 195; von Mach, fig. 11, opp. p. 58; Conze, -<i>Nuove Memorie dell’ Instituto</i>, II, pp. 408 f. and Pl. XIII A; F. W., 96.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1920"></a><a href="#FNanchor_1920"><span class="label">1920</span></a> So O. Hauser, <i>Jb.</i>, VII, 1892, pp. 54 f.; he is followed by Robinson, <i>Cat. of Museum of Fine -Arts, Boston</i>, no. 33. J. Braun, <i>Gesch. d. Kunst</i>, 1858, II, pp. 188 and 549 (quoted by F. W.), -Conze, <i>op. cit.</i>, Michaelis, <i>Der Parthenon</i>, 1870, p. 123, Helbig, <i>Das homerische Epos</i><sup>2</sup>, 1887, -p. 179 and n. 11, Springer-Michaelis, pp. 207–8 (and fig. 389), Dickins, and many others, also -interpret the figure as male.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1921"></a><a href="#FNanchor_1921"><span class="label">1921</span></a> This coiffure, however, appears on several female heads: <i>e. g.</i>, on the Harpy monument, F. W., -127 f. Knapp (<i>Nike in d. Vasenmalerei</i>, p. 10), Brunn (<i>Sitzb. Muen. Akad.</i>, 1870, II, pp. 213 f.), -W. Mueller (<i>Quaestiones vestiariae</i>, 1890, p. 44), Collignon, Overbeck, Friedrichs-Wolters, Reisch -(p. 49), and many others call the figure of the charioteer female.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1922"></a><a href="#FNanchor_1922"><span class="label">1922</span></a> <i>E. g.</i>, the headless draped statue, resembling the <i>Korai</i>, in the Akropolis Museum: B. B., 551.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1923"></a><a href="#FNanchor_1923"><span class="label">1923</span></a> <i>A. M.</i>, XXX, 1905, pp. 305 f. (especially 321) and Pls. XI, XII (the rebuilding of the temple -referred to the time of Peisistratos). He also (p. 320) favors the well-known view of Doerpfeld -(<i>A. M.</i>, XII, 1887, pp. 25–61, 190–211; XV, 1890, pp. 420–439) that the Hekatompedon or Old -Temple of Athena, rebuilt by the Athenians shortly after the Persian wars, existed not only -down to 406 B. C., when Xenophon says that it was burnt (<i>Hell.</i>, I, 6), but down at least -to the time of Pausanias. This view is held by J. Harrison, <i>Mythology and Monuments of -Ancient Athens</i>, 1890, pp. 505 f., Dickins, <i>l. c.</i>, and many archæologists. It has been rejected -by many others, <i>e. g.</i>, Petersen (<i>A. M.</i>, XII, pp. 62–72), Wernicke (<i>ibid.</i>, pp. 184–189), and <i>in -extenso</i> Frazer (<i>J. H. S.</i>, XIII, 1892–1893, pp. 153–187; reprinted in his edition of Pausanias, -II, pp. 553–82). Murray, I, p. 143 and fig. 35, referred the relief to one of the metopes of the -Old Temple of Athena.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1924"></a><a href="#FNanchor_1924"><span class="label">1924</span></a> <i>Sitzb. Muen. Akad.</i>, 1906, II, pp. 147 f.; <i>cf.</i> also <i>ibid.</i>, 1905, pp. 433 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1925"></a><a href="#FNanchor_1925"><span class="label">1925</span></a> Springer-Michaelis (<i>l. c.</i>) think that it may represent a chariot victor; similarly Purgold (<i>Arch. -Eph.</i>, 1885, p. 251). Boetticher (<i>Die Akropolis</i>, 1888, pp. 85–6) believes that it represents a -Panathenaic victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1926"></a><a href="#FNanchor_1926"><span class="label">1926</span></a> In the British Museum: <i>B. M. Sculpt.</i>, II, 951 and Pl. XIII; Sir Charles Fellows, <i>An Account of -Discoveries in Lycia</i>, 1841, p. 166. The Chimæra may be introduced as a heraldic device of the -owner of the tomb (Smith). Bellerophon appears on Pegasos on a relief from a rock tomb of -Pinara: <i>B. M. Sculpt.</i>, I, 760. We should also compare with these the reliefs found by Fellows -at Xanthos and now in the British Museum. They show a two-horse chariot with a seated -charioteer (F. W., 131; Murray, I, Pl. IV), a two-horse chariot with a charioteer and a seated -man (F. W., 133; Murray, Pl. III), and a young rider (F. W., 134). See Fellows, pp. 172, 176; -Murray, I, pp. 124 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1927"></a><a href="#FNanchor_1927"><span class="label">1927</span></a> Michaelis, <i>Der Parthenon</i>, 1870, slabs XI-XXIII; <i>B. M. Sculpt.</i>, I, no. 325. The charioteers on -slabs XII and XIV have long, close-fitting tunics.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1928"></a><a href="#FNanchor_1928"><span class="label">1928</span></a> Michaelis, <i>op. cit.</i>, slabs XXIV-XXXIV; <i>B. M. Sculpt.</i>, no. 327.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1929"></a><a href="#FNanchor_1929"><span class="label">1929</span></a> Theophrastos, <i>ap.</i> Harpokr., <i>s. v.</i> ἀποβάτης), says that it was peculiar to Athens and Bœotia, but -there is evidence of its existence elsewhere, <i>e. g.</i>, at Aphrodisias in Karia (<i>C. I. G.</i>, II, no. 2758, G. -col. IV, line 3, p. 507, and C. col. IV, l. 3), Naples (<i>ibid.</i>, no. 5807, l. 4), Rome (<i>C. I. L.</i>, VI, <small>2</small>, 10047, -b, line 8 = <i>pedibus ad quadrigam</i>), etc. On the race at the <i>Panathenaia</i>, see Michaelis, <i>op. cit.</i>, pp. -324 f.; Mommsen, <i>Heortologie</i>, 1864, pp. 153 f., and <i>Die Feste d. Stadt Athen im Altertum</i>, 1898, pp. -89 f.; and for the race in general, Pauly-Wissowa, I, pp. 2814 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1930"></a><a href="#FNanchor_1930"><span class="label">1930</span></a> For a description of the race, see Bekker, <i>Anecd. gr.</i>, I, pp. 425–6 and <i>Dionys. Halikarn.</i>, VII, 73, -2–3; the former account says that the <i>apobates</i> mounted the chariot in full course by setting his foot -on the wheel and dismounted again; the latter only that he dismounted in the last lap; the two are -apparently describing different moments of the same race.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1931"></a><a href="#FNanchor_1931"><span class="label">1931</span></a> National Museum, no. 1391; Svoronos, II, pp. 340–1, Tafelbd., Pl. LVI (right); noted in -<i>A. M.</i>, XII, 1887, p. 146, no. 1; Staïs, <i>Marbres et Bronzes</i>, p. 237 and fig.; <i>Arch. Eph.</i>, 1910, -pp. 251 f.; Reisch, p. 51. Staïs gives the measurements as 0.60 meter high and 0.36 meter broad.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1932"></a><a href="#FNanchor_1932"><span class="label">1932</span></a> <i>A. M.</i>, III, 1878, pp. 410–14, no. 193 (Koerte); <i>Mon. d. I.</i>, IV, 1844–48, Pl. 5; <i>Annali</i>, Pl. XVI, -1844, pp. 166 f. (F. J. Welcker), and Pl. E.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1933"></a><a href="#FNanchor_1933"><span class="label">1933</span></a> A third relief from Oropos, showing the same subject, is in Berlin (no. 725): see Furtwaengler, -<i>Samml. Sabouroff</i>, I, Pl. XXVI (and text, on the subject of the race).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1934"></a><a href="#FNanchor_1934"><span class="label">1934</span></a> <i>B. C. H.</i>, VII, 1883, Pl. XVII and pp. 458 f. (Collignon); Gardiner, p. 238, fig. 34; F. W., 1836.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1935"></a><a href="#FNanchor_1935"><span class="label">1935</span></a> Its antiquity has been questioned by Kekulé, who is quoted by F. W.; see on no. 1838.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1936"></a><a href="#FNanchor_1936"><span class="label">1936</span></a> <i>B. M. Sculpt.</i>, II, 1037, Pl. XVIII; von Mach, 231; <i>Ant. Denkm.</i>, II, <small>2</small>, 1893–4, Pl. XVIII, 0; -Collignon, II, p. 327, fig. 165; Newton, <i>Travels and Discoveries in the Levant</i>, 1865, II, p. 133, -Pl. XVI; Gardner, <i>Hbk.</i>, p. 430, fig. 111. It is 2 feet 1.5 inches high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1937"></a><a href="#FNanchor_1937"><span class="label">1937</span></a> For the sarcophagus, see the work of Hamdy Bey and Th. Reinach, <i>Une nécropole royale à -Sidon</i>, 1892; Text, pp. 272 f., and Pls. XXIII-XXVIII, XXX-XXXI, XXXIV-XXXVII; -also Studniczka, <i>Jb.</i>, IX, 1894, pp. 211 f. (who assigned it to Lysippos’ pupil, Eutychides); -Judeich, <i>ibid.</i>, X, 1895, pp. 165 f. and figs. 1–6; <i>J. H. S.</i>, XIX, 1899, pp. 273 f.; Gardner, <i>Hbk.</i>, -pp. 466 f. and fig. 124 (= Hamdy-Bey et Reinach, Pl. XXIX); von Mach, 379–83; Richardson, -p. 242, fig. 116; Springer-Michaelis, p. 348, fig. 627; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1938"></a><a href="#FNanchor_1938"><span class="label">1938</span></a> We see it, <i>e. g.</i>, on the cuirass of the statue of <i>Augustus</i> in the Vatican: von Mach, no. 418.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1939"></a><a href="#FNanchor_1939"><span class="label">1939</span></a> Von Mach, no. 232; Robinson, <i>Report of the Trustees of the Museum of Fine Arts</i>, 1897, pp. 18–19; -Klein, <i>Praxitelische Studien</i> (= Suppl. to his <i>Praxiteles</i>), 1899, p. 1; in n. 1 Klein says that the -statue was found in the Tiber.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1940"></a><a href="#FNanchor_1940"><span class="label">1940</span></a> <i>Griech. Kunstmythol.</i>, III, <i>Apollon</i>, pp. 149 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1941"></a><a href="#FNanchor_1941"><span class="label">1941</span></a> Noted by Klein, <i>op. cit.</i>, figs. 5 and 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1942"></a><a href="#FNanchor_1942"><span class="label">1942</span></a> <i>E. g.</i>, on the vase in the British Museum, discussed in <i>Guide to Greek and Roman Life</i>, 1908, -p. 200. Here the driver stands clothed in the regular chiton like that on the <i>Charioteer</i> from Delphi. -(Fig. 66.) We see similarly clothed charioteers on various r.-f. vases: <i>e. g.</i>, on those pictured by -Gerhard, IV, Pls. CCLI-CCLIII; on those enumerated by Hauser, <i>Jb.</i>, VII, 1892, p. 60 (including -some r.-f. ones, <i>e. g.</i>, the fifth-century B. C. one from Corneto by Euxithoos and Oltos = Baum., -III, Pl. XCIII, 2 and p. 2141). Hauser also adds the draped charioteer in the <i>Helios</i> group from -the Great Pergamene Altar relief (pictured in Baum., II, Pl. XXXIX, and pp. 1255–6). The -general statement of W. Mueller (<i>Quaestiones vestiariae</i>, Goettingen, 1880, p. 44), <i>nam aurigae -semper fere longa tunica sola vestiti sunt</i>, is, of course, correct.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1943"></a><a href="#FNanchor_1943"><span class="label">1943</span></a> <i>E. g.</i>, the statue in the Palazzo dei Conservatori to be mentioned <i>infra</i>, p. 276; also other examples -in Reinach, <i>Rép.</i>, II, <small>2</small>, 536, 6 (in Rome: <i>B. Com. Rom.</i>, I, 1888, Pl. XV) and 7 (in Athens: <i>Jb.</i>, I, -1886, p. 173; Staïs, <i>op. cit.</i>, p. 221). We see nude charioteers entering two four-horse chariots on a r.-f. -lebes, formerly in the collection of Lucien Bonaparte, now in Munich: Gerhard, IV, Pl. CCLIV -(below).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1944"></a><a href="#FNanchor_1944"><span class="label">1944</span></a> Von Mach, no. 274; Reinach, <i>Rép.</i>, II, <small>2</small>, 488, 7: <i>A. Z.</i>, XVIII, 1860, pp. 1 f. (Friedrichs) and -Pls. CXXXIII, CXXXIV; <i>Bonner Jb.</i>, XXVI, Pl. IV. It is 4 ft. 7 in. tall and represents a boy -of about 14.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1945"></a><a href="#FNanchor_1945"><span class="label">1945</span></a> Friedrichs, though at first, because of the crown on the hair, interpreting it as a <i>Bonus Eventus</i> -(<i>A. Z.</i>, XVIII, 1860, pp. 1 f.), later (<i>Beschr. d. Skulpt.</i>, no. 4, pp. 5–6) called it a charioteer.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1946"></a><a href="#FNanchor_1946"><span class="label">1946</span></a> <i>B. Com. Rom.</i>, XVI, 1888, Pls. XV, XVI, 1, 2 (pp. 335 f.); Joubin, pp. 134 f., and fig. 40; -Helbig, <i>Fuehrer</i>, I, 973 (restored on p. 557, fig. 29); <i>Guide</i>, 597 (restored on p. 442, fig. 28); Furtw., -<i>Mp.</i>, pp. 81–82; <i>Mw.</i>, pp. 115–116; Reinach, <i>Rép.</i>, II, <small>2</small>, 536, 6. Mentioned <i>supra</i>, p. 275, n. 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1947"></a><a href="#FNanchor_1947"><span class="label">1947</span></a> Hamdy Bey and Th. Reinach, <i>Une nécropole royale à Sidon</i>, Pl. XXII, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1948"></a><a href="#FNanchor_1948"><span class="label">1948</span></a> Including the <i>Hestia Giustiniani</i> in the Museo Torlonia, Rome: B. B., 491; von Mach, 75; -the so-called <i>Aspasia</i> head, with copies in Paris (Photo Giraudon, no. 1219) and Berlin (<i>A. Z.</i>, -XXXV, 1877, Pl. VIII, two views), and the <i>Apollo-on-the-Omphalos</i> in Athens (Pl. 7B); he assigns -the later related <i>Athena</i> in the Villa Albani to Praxias, the pupil of Kalamis and contemporary -of Pheidias: F. W., 524; <i>Mp.</i>, p. 78, figs. 29 and 30 (head); <i>Mw.</i>, pp. 112–113, figs. 19 and 20 -(head). However, as Richardson points out, pp. 137 and 207, the <i>Hestia</i> bears a strong resemblance -to the East gable figures at Olympia, especially to those of <i>Sterope</i> and <i>Hippodameia</i>, -and to several female statues in Copenhagen: Arndt, <i>La Glypt. Ny-Carlsberg</i>, Pls. VII (= Joubin, -p. 161, fig. 53), XXXVIII, and fig. 3 on p. 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1949"></a><a href="#FNanchor_1949"><span class="label">1949</span></a> <i>C. R. Acad. Inscr.</i>, 1896, pp. 178, 186, 362, 388, and Pls. I, II; <i>A. A.</i>, 1896, pp. 173 f. (with -fig.); Homolle, in <i>Mon. Piot</i>, IV, 1897, Pls. XV, XVI, pp. 169 f.; <i>id.</i>, <i>B. C. H.</i>, XXI, 1897, pp. 579, -581–3; <i>Fouilles de Delphes</i>, IV, 1904, Pls. XLIX, L (4 views); Bulle, 199 and fig. 134 on p. 460; -von Mach, 60; H. B. Walters, <i>Art of the Anc. Greeks</i>, 1906, Pl. XXVIII; Gardner, <i>Sculpt.</i>, pp. -49 f. and Pls. VIII, IX; G. F. Hill, <i>One Hundred Masterpieces of Sculpture</i>, 1909, pp. 7–8 and -Pl. V; Springer-Michaelis, p. 225, fig. 482; Robinson, <i>Cat. Mus. Fine Arts in Boston</i>, Suppl., pp. -1 f., no. 85; cast in British Museum, <i>B. M. Sculpt.</i>, III, 2688; Reinach, <i>Rép.</i>, II, <small>2</small>, 536, 1. It is -5 feet 10.75 inches high (A. H. Smith) or 1.80 meters (Bulle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1950"></a><a href="#FNanchor_1950"><span class="label">1950</span></a> See Svoronos, p. 131, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1951"></a><a href="#FNanchor_1951"><span class="label">1951</span></a> O. M. Washburn, <i>Berl. Philol. Wochenschr.</i>, -XXV, 1905, cols. 1358 f.; <i>A. J. A.</i>, X, 1906, -pp. 151–3; XII, 1908, pp. 198–208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1952"></a><a href="#FNanchor_1952"><span class="label">1952</span></a> P., X, 15.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1953"></a><a href="#FNanchor_1953"><span class="label">1953</span></a> <i>L. c.</i>, and <i>Berl. Philol. Wochenschr.</i>, 1905, -col. 1549.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1954"></a><a href="#FNanchor_1954"><span class="label">1954</span></a> Lechat, <i>Rev. Arch.</i>, XI, 1908, pp. 126 f., Furtw., <i>Sitzb. Muen. Akad.</i>, 1907, II, pp. 157 f., -Studniczka, <i>Jb.</i>, XXII, 1907, pp. 133 f., and others, support Washburn’s view.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1955"></a><a href="#FNanchor_1955"><span class="label">1955</span></a> P., X, 9.7–8; <i>cf.</i> VI, 3.5, where Amphion is called the pupil of Ptolichos, the pupil of Kritios.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1956"></a><a href="#FNanchor_1956"><span class="label">1956</span></a> So von Duhn, <i>A. M.</i>, XXXI, 1906, pp. 421 f.; a conclusion also reached independently by -E. A. Gardner, <i>Sculpt.</i>, p. 51.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1957"></a><a href="#FNanchor_1957"><span class="label">1957</span></a> So von Duhn, Gardner, and Mahler; the latter in <i>Jh. oest. arch. Inst.</i>, III, 1900, pp. 142 f. -Furtwaengler, <i>l. c.</i>, found von Duhn’s view that the <i>Charioteer</i> is an original work of Pythagoras -untenable. He also combated his interpretation of πολύζαλος as a proper name, preferring -the suggestion of Washburn that it might be an adjective. However, in a former article (<i>Sitzb. -Muen. Akad.</i>, 1897, pp. 129 f.) he had emphasized the similarity between the statue and a bronze -statuette in London (<i>B. M. Bronzes</i>, 515 and Pl. XVI; <i>Sitzb.</i>, <i>l. c.</i>, Pl. V, two views) which he -believed was almost certainly a product of Magna Græcia. He found the style of the <i>Charioteer</i> -Ionic-Attic without Peloponnesian affiliations, and referred it to Amphion or to some unknown -artist of the circle of Kritios and Nesiotes. For a similar view, see Homolle, <i>Mon. Piot</i>, IV, -1897, p. 207. Pottier (<i>ap.</i> Homolle, <i>l. c.</i>) assigned it to Kalamis. <i>Cf.</i> also Lechat, <i>Pythagoras de -Rhegion</i>, 1905, p. 100.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1958"></a><a href="#FNanchor_1958"><span class="label">1958</span></a> A. D. Keramopoullos, <i>A. M.</i>, XXXIV, 1909, pp. 33 f. Homolle, <i>op. cit.</i>, pp. 176 f., and -O. Schroeder, <i>A. A.</i>, 1902, pp. 12 f., had also referred it to Gelo’s dedication.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1959"></a><a href="#FNanchor_1959"><span class="label">1959</span></a> P. 152.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1960"></a><a href="#FNanchor_1960"><span class="label">1960</span></a> See G. F. Hill, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_1961"></a><a href="#FNanchor_1961"><span class="label">1961</span></a> Besides the Olympic victories already recorded, Hiero also won the chariot-race at Delphi in -Pythiad 29 ( = 470 B. C.), and the horse-race there twice in Pythiads 26 and 27 ( = 482 and 478 -B. C.); he also won a chariot-race probably at the Theban <i>Iolaia</i> in (?) 475 B. C.; Pindar celebrates -the four victories in <i>Pyth.</i>, I-III; Bergk, <i>P. l. G.</i>,<sup>5</sup> I, pp. 175 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1962"></a><a href="#FNanchor_1962"><span class="label">1962</span></a> P., VI, 14.4; he won either before Ol. 67 ( = 512 B. C.) or in Ols. 69 or 70 ( = 504 or 500 B. C.): -Hyde, 126 and p. 52; Foerster, 778 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1963"></a><a href="#FNanchor_1963"><span class="label">1963</span></a> He won κέλητι in Ols. 66 or 67 ( = 516 or 512 B. C.): P., VI, 13.9; Hyde, 120; Foerster, 129, -149a (two victories).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1964"></a><a href="#FNanchor_1964"><span class="label">1964</span></a> They won in Ol. 68 ( = 508 B. C.): P., VI, 13.10; Hyde, 121; Foerster, 152.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1965"></a><a href="#FNanchor_1965"><span class="label">1965</span></a> So Hyde, pp. 50–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1966"></a><a href="#FNanchor_1966"><span class="label">1966</span></a> So Hitz.-Bluemn., II, <small>2</small>, p. 598.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1967"></a><a href="#FNanchor_1967"><span class="label">1967</span></a> P., VI, 12.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1968"></a><a href="#FNanchor_1968"><span class="label">1968</span></a> P., VI, 2.8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1969"></a><a href="#FNanchor_1969"><span class="label">1969</span></a> Xenombrotos won in Ol. (?) 83 ( = 448 B. C.): Hyde, 133 (following Robert, <i>O. S.</i>, pp. 180–181); -Foerster, 327; Xenodikos in Ol. (?) 84 ( = 444 B. C.): Hyde, 134; Foerster, 332.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1970"></a><a href="#FNanchor_1970"><span class="label">1970</span></a> <i>Inschr. v. Ol.</i>, 154; <i>I. G. A.</i>, 552a; Robert, <i>O. S.</i>, pp. 179–81. However, Kirchhoff referred this base -to the statue of a runner: <i>A. Z.</i>, XXXIX, 1881, p. 84; and Dittenberger to the victor D[amasi]ppos, -who won in some running race at an unknown date: Foerster, 812. Robert read the mutilated -inscription ἐλάσιππος (“horse-driving”) instead of the proper name Δαμάσιππος.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1971"></a><a href="#FNanchor_1971"><span class="label">1971</span></a> <i>H. N.</i>, XXXIV, 75 and 78 (<i>celetizontes pueri</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1972"></a><a href="#FNanchor_1972"><span class="label">1972</span></a> Pliny, XXXIV, 71.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1973"></a><a href="#FNanchor_1973"><span class="label">1973</span></a> <i>B. M. Vases</i>, B 133; Gardiner, p. 461, fig. 169; see also a Panathenaic amphora pictured in -Perrot-Chipiez, X, p. 129, fig. 92 (left).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1974"></a><a href="#FNanchor_1974"><span class="label">1974</span></a> Gardiner, p. 459, fig. 167 (left). He won κέλητι in Ol. 106 ( = 356 B. C.): Plut., <i>Alex.</i>, 3; Foerster, -360. <i>Cf.</i> a similar jockey on horseback on a coin of Tarentum: Head, <i>Guide to the Principal -Gold and Silver Coins ... in the British Museum</i>, Pl. XXIV, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1975"></a><a href="#FNanchor_1975"><span class="label">1975</span></a> <i>B. M. Vases</i>, B 144; Gerhard, IV, Pl. CCXLVII (lower half); Gardiner, p. 243, fig. 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1976"></a><a href="#FNanchor_1976"><span class="label">1976</span></a> See <i>supra</i>, p. 13 and n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1977"></a><a href="#FNanchor_1977"><span class="label">1977</span></a> Mentioned in <i>J. H. S.</i>, XIV, 1894, p. 66 (H. Stuart Jones).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1978"></a><a href="#FNanchor_1978"><span class="label">1978</span></a> III, i, p. 200, fig. 3846 (from Dubois-Maisonneuve, <i>Introd. à l’Étude des vases</i>, Pl. XLIII); -others are there mentioned, <i>e. g.</i>, <i>Mon. d. I.</i>, I, 1829–33, Pl. XXII, 3b and II, 1834–38, -Pl. XXXII (bottom).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1979"></a><a href="#FNanchor_1979"><span class="label">1979</span></a> <i>B. C. H.</i>, V, 1881, pp. 436 f., with figure (Collignon). This and the following three reliefs are -mentioned by Rouse, p. 176.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1980"></a><a href="#FNanchor_1980"><span class="label">1980</span></a> F. W., 1206, formerly interpreted as Alexander and Boukephalos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1981"></a><a href="#FNanchor_1981"><span class="label">1981</span></a> Von Sybel, <i>Kat. d. Skulpt. zu Athen</i>, 1881, no. 307.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1982"></a><a href="#FNanchor_1982"><span class="label">1982</span></a> Von Duhn, in <i>A. Z.</i>, XXXV, 1877, pp. 167, no. 89 (<i>cf.</i> no. 88).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1983"></a><a href="#FNanchor_1983"><span class="label">1983</span></a> On the North frieze, Michaelis, <i>Der Parthenon</i>, 1870, Tafelbd., slabs XXIV-XLII; <i>B. M. -Sculpt.</i>, I, 325, pp. 175 f.; West frieze, Michaelis, slabs II, IV, VI-VII, IX-XI; <i>B. M. Sculpt.</i>, -326, pp. 179–80; South frieze, Michaelis, slabs I, III, X-XVI, XXII-XXIII; <i>B. M. Sculpt.</i>, 327, -pp. 181–85.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1984"></a><a href="#FNanchor_1984"><span class="label">1984</span></a> <i>C. I. A.</i>, IV, 2, 373, line 99; <i>cf.</i> Studniczka, <i>Arch. Eph.</i>, 1887, p. 146.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1985"></a><a href="#FNanchor_1985"><span class="label">1985</span></a> <i>Vit. X Orat.</i>, 42 (p. 839b); he says that it stood in the ball-court of the maidens known as <i>arrephoroi</i>. -Pausanias, I, 18.8, also mentions a statuette of Isokrates on a column near the Olympieion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1986"></a><a href="#FNanchor_1986"><span class="label">1986</span></a> Carapanos, <i>Dodone et ses ruines</i>, 1877, p. 183 and Pl. XIII, 1; Reinach, <i>Rép.</i>, II, <small>2</small>, 527, 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1987"></a><a href="#FNanchor_1987"><span class="label">1987</span></a> Arndt-Amelung, <i>Einzelaufnahmen</i>, no. 242.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1988"></a><a href="#FNanchor_1988"><span class="label">1988</span></a> Dickins, nos. 700, found in 1887 (height 1.12 meters, length of fragment 0.76 meter) and 697 -(height 1.13 meters); Winter, Archaische Reiterbilder von der Akropolis, <i>Jb.</i>, VIII, 1893, pp. 135–156, -figs. 13a and b, 14a and b; Collignon, I, pp. 358–9, figs. 180 and 181; Schrader, <i>Arch. Marmor-Skulpt. -im Akropolis-Museum zu Athen</i>, 1909, p. 81, figs. 72–3 (assuming a Chian sculptor for -no. 700); B. B., 459; no. 700 = Perrot-Chipiez, VIII, p. 639, fig. 327; 697 = <i>ibid.</i>, p. 637, fig. 326. -Winter, in the article cited, gives fourteen cuts of such archaic horse monuments.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1989"></a><a href="#FNanchor_1989"><span class="label">1989</span></a> See preliminary account by Th. Reinach in <i>C. R. Acad. Inscr.</i>, 1919, (Jan.-Feb.), pp. 56–59 -and fig. on p. 58. It is 49 centimeters high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1990"></a><a href="#FNanchor_1990"><span class="label">1990</span></a> J. Sieveking, <i>Die Bronz. d. Samml. Loeb</i>, 1913, p. 70, Pl. 29; it is 0.12 meter high. An exact copy -is in the Cabinet des Médailles in Paris; Babelon et Blanchet, <i>Cat. des bronzes ant. de la -Bibliothèque Nationale</i>, 1893, no. 893. For further examples of horsemen in bronze and marble, -see Reinach, <i>Rép.</i>, II, <small>2</small>, pp. 527–533.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1991"></a><a href="#FNanchor_1991"><span class="label">1991</span></a> The race is described by P., V, 9.2; <i>cf.</i> Plutarch, <i>Quaest. conviv.</i>, V, 2 (675 C.) For possible -examples in sculpture, see Reinach, <i>Rép.</i>, II, <small>2</small>, pp. 532–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1992"></a><a href="#FNanchor_1992"><span class="label">1992</span></a> <i>E. g.</i>, on a silver stater of the early third century B. C. from Tarentum in the British Museum: -Gardiner, p. 462, fig. 170 (right).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1993"></a><a href="#FNanchor_1993"><span class="label">1993</span></a> <i>Les</i> ἱππεῖς <i>athéniens</i>, 1902 (<i>Extrait des Mémoires de l’Acad. des Inscr. et Belles-Lettres</i>, Vol. -XXXVII). <i>Cf.</i> Gardiner, pp. 71–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1994"></a><a href="#FNanchor_1994"><span class="label">1994</span></a> <i>Heralds</i> (κήρυκες), trumpeters (σαλπισταί), flutists (αὐληταί), cithara-players (κιθαρισταί), -and those who sang with them (κιθαρῳδοί), are mentioned as victors in many inscriptions: <i>e. g.</i>, -at Oropos, <i>C. I. G. G. S.</i>, I, nos. 419–20; at Tanagra, <i>ibid.</i>, 540; at Plataiai, <i>ibid.</i>, 1667; at -Thespiai, <i>ibid.</i>, 1760 and 1773; on Mt. Helikon, <i>ibid.</i>, 1776; at Akraiphia, <i>ibid.</i>, 2727; at Koroneia, -<i>ibid.</i>, 2871; etc. <i>Cf.</i> Frazer, III, p. 628. Also on Samos: see inscription discussed in -<i>J. H. S.</i>, VII, 1886, p. 150.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1995"></a><a href="#FNanchor_1995"><span class="label">1995</span></a> Afr.; Foerster, nos. 302 (Timaios) and 303 (Krates); they are not mentioned by Pausanias -in his account of the introduction of various contests at Olympia, V, 8.6 f. Lucian mentions the -contests of heralds at Olympia: <i>de morte Peregrini</i>, 32.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1996"></a><a href="#FNanchor_1996"><span class="label">1996</span></a> V, 22.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1997"></a><a href="#FNanchor_1997"><span class="label">1997</span></a> Nestor (<i>F. H. G.</i>, II, p. 485<sup>*</sup>, quoted by Athenæus, X, 7, p. 415a) says that he was <i>periodonikes</i> -ten times, while Pollux (IV, 89) says seven times. For the dates of the victories, which fell -some time between Ols. (?) 113 and 122 ( = 328 and 292 B. C.), see Foerster, nos. 395, 399, 402, -404, 406, 411, 415, 422, 425, and 428.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1998"></a><a href="#FNanchor_1998"><span class="label">1998</span></a> Athen., X, 7 (p. 414e).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_1999"></a><a href="#FNanchor_1999"><span class="label">1999</span></a> Amarantos of Alexandria, <i>apud</i> Athen., <i>l. c.</i>, says that he was 3.5 ells in height; Pollux, <i>l. c.</i>, four -ells. Athenæus relates examples of his voracity.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2000"></a><a href="#FNanchor_2000"><span class="label">2000</span></a> For the inscribed basis of his statue at Olympia, see <i>Inschr. v. Ol.</i>, 232; <i>cf.</i> Foerster, 815–19 -(undated). The inscription appears to belong to the first century A. D.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2001"></a><a href="#FNanchor_2001"><span class="label">2001</span></a> <i>B. S. A.</i>, XIII, 1906–7, pp. 146–7 (Dickins) and fig. 3; <i>cf.</i> <i>A. J. A.</i>, XIII, 1909, p. 83 and fig. 6. -It is 0.131 meter high.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2002"></a><a href="#FNanchor_2002"><span class="label">2002</span></a> <i>B. M. Bronzes</i>, 223 (quoted by Dickins, <i>l. c.</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2003"></a><a href="#FNanchor_2003"><span class="label">2003</span></a> See P., X, 9.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2004"></a><a href="#FNanchor_2004"><span class="label">2004</span></a> Fragm. 65 (= <i>F. H. G.</i>, I, 207, quoted by Strabo, VI, 1.9, C. 260). For the story about his -victory, see Timaios, Strabo, <i>l. c.</i>, Clemens Alexandr., <i>Protrept.</i>, I, p. 2, and poetically in <i>A. G.</i>, -VI, 54 (Paulus Silentiarius), and IX, 584.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2005"></a><a href="#FNanchor_2005"><span class="label">2005</span></a> <i>Cf.</i> Reisch, p. 52.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2006"></a><a href="#FNanchor_2006"><span class="label">2006</span></a> IX, 30. 2 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2007"></a><a href="#FNanchor_2007"><span class="label">2007</span></a> In another passage, X, 7. 2, Pausanias says that Thamyris won a prize for singing at the -Pythian games; he also mentions a painting of him by Polygnotos: X, 30. 8. On Thamyris, <i>cf.</i> -also P., IV, 33. 3 and 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2008"></a><a href="#FNanchor_2008"><span class="label">2008</span></a> For the story of the poet Arion and the dolphin, see P. III, 25. 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2009"></a><a href="#FNanchor_2009"><span class="label">2009</span></a> In X, 7. 4, Pausanias says that Sakadas won in flute-playing at Delphi three times, the first in -the third year of Ol. 48 ( = 585 B. C.). In another passage, II, 22.8, he says that Sakadas was -the first to play the “Pythian tune” on the flute. For a description of this tune, see Pollux, IV, -84, and Strabo, IX, 3.10 (C. 421).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2010"></a><a href="#FNanchor_2010"><span class="label">2010</span></a> XIV, 24 (p. 629a).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2011"></a><a href="#FNanchor_2011"><span class="label">2011</span></a> <i>C. I. A.</i>, I, 357.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2012"></a><a href="#FNanchor_2012"><span class="label">2012</span></a> Froehner, <i>Notice</i>, no. 16; Clarac, 122, 342; M. W., I, Pl. 13, 46; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2013"></a><a href="#FNanchor_2013"><span class="label">2013</span></a> <i>A. M.</i>, XII, 1887, pp. 378 f. (Wolters) and Pl. XII.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2014"></a><a href="#FNanchor_2014"><span class="label">2014</span></a> V, 7.10; <i>cf.</i> Plutarch, <i>de Musica</i>, 26. Athenæus, IV, 39 (p. 154a), 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 flute.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2015"></a><a href="#FNanchor_2015"><span class="label">2015</span></a> P., V, 17. 10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2016"></a><a href="#FNanchor_2016"><span class="label">2016</span></a> Ph., 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2017"></a><a href="#FNanchor_2017"><span class="label">2017</span></a> Plut., <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2018"></a><a href="#FNanchor_2018"><span class="label">2018</span></a> See Pinder, <i>Ueber den Fuenfkampf d. Hellenen</i>, 1867, pp. 97 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2019"></a><a href="#FNanchor_2019"><span class="label">2019</span></a> He won sometime between Ols. (?) 58 and 62 ( = 548 and 532 B. C.): P., VI, 14.9–10; Hyde, -128b and p. 52. He also won six victories at Delphi and fluted at the pentathlon: <i>cf.</i> P., <i>l. c.</i> -and Ph., 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2020"></a><a href="#FNanchor_2020"><span class="label">2020</span></a> So Hitz.-Bluemn., II, <small>2</small>, p. 604. An example, on the other hand, of a very small man erecting a -large statue is that of the poet Lucius Accius, whose statue was set up in the temple of the Camenae -in Rome: Pliny, <i>H. N.</i>, XXXIV, 19; <i>cf.</i> Bernouilli, <i>Roem. Ikonogr.</i>, I, p. 289.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2021"></a><a href="#FNanchor_2021"><span class="label">2021</span></a> <i>E. g.</i>, to Aristotle of Stagira: P., VI, 4.8; Hyde, 41b; to Gorgias of Leontini: P., VI, 17.7; -Hyde, 184a; <i>Inschr. v. Ol.</i>, 293; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2022"></a><a href="#FNanchor_2022"><span class="label">2022</span></a> The first part of the present chapter appeared under the caption, Lysippus as a Worker in -Marble, in <i>A. J. A.</i>, 2d Series, XI, 1907, pp. 396–416, and figs. 1–6; the second part, entitled, -The Head of a Youthful Heracles from Sparta, appeared <i>ibid.</i>, XVIII, 1914, pp. 462–478, and -fig. 1. Both parts have been rewritten. The author is indebted to the former editor-in-chief, -Dr. James M. Paton, for permission to use the original papers in writing the present chapter.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2023"></a><a href="#FNanchor_2023"><span class="label">2023</span></a> First noted by Homolle, <i>Gaz. B.-A.</i>, XII, 1894, III Sér., pp. 452 f.; <i>id.</i>, <i>B. C. H.</i>, XXI, 1897, -pp. 592 f.; <i>id.</i>, <i>ibid.</i>, XXIII, 1899, pp. 421 f.; <i>id.</i>, <i>Rev. Arch.</i>, 1900, p. 383; P. Gardner, <i>J. H. S.</i>, -XXV, 1905, pp. 234 f. (The Apoxyomenos of Lysippos). For a good summary and a new identification -of the figures of the group (without discussing the style), see Miss E. M. Gardner and -K. K. Smith, <i>A. J. A.</i>, XIII, 1909, pp. 447 f. (Pl. XIV and 21 text-cuts).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2024"></a><a href="#FNanchor_2024"><span class="label">2024</span></a> The group was composed of nine statues: three of athletes, those of the brothers Agias, a pancratiast, -Telemachos, a wrestler, and Agelaos, a boy runner; four statesmen, and the son of the -dedicator, and one unknown: <i>B. C. H.</i>, XXI, pp. 592 f.; <i>Sitzb. Muen. Akad.</i>, 1913, III, no. 4, -pp. 45–46.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2025"></a><a href="#FNanchor_2025"><span class="label">2025</span></a> <i>Gaz. B.-A.</i>, XII, 1894, p. 452: “<i>un des meilleures exemples de la manière de Lysippe</i>.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2026"></a><a href="#FNanchor_2026"><span class="label">2026</span></a> <i>B. C. H.</i>, XXI, 1897, p. 598.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2027"></a><a href="#FNanchor_2027"><span class="label">2027</span></a> <i>B. C. H.</i>, XXIII, 1899, pp. 470–1: “<i>L’auteur de la statue d’Agias ... ne peut être -cherché que dans l’école de Lysippe ou dans sa dépendance immédiate....</i>” On p. 472 he says -that in the <i>Agias</i> we have a statue “<i>qui approche aussi près que possible d’un original de Lysippe</i>.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2028"></a><a href="#FNanchor_2028"><span class="label">2028</span></a> <i>Ein delphisches Weihgeschenck</i>, 1900; for the inscription referring to the statue of Agias, see -<i>B. C. H.</i>, XXI, 1897, pp. 592–593. Preuner’s ingenious theory was based on a combination of the -inscriptions on the bases of the group.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2029"></a><a href="#FNanchor_2029"><span class="label">2029</span></a> <i>Fouilles de Delphes</i>, IV, 1904, Pls. LXIII (full length), LXIV (head); statue of Sisyphos I, -Pl. LXV; Sisyphos II, LXVIII (= <i>B. C. H.</i>, XXIII, Pl. IX); Agelaos (= <i>B. C. H.</i>, XXIII, Pl. IX). -For the <i>Agias</i>, see also <i>B. C. H.</i>, XXIII, 1899, Pls. X (head, two views) and XI (statue); von Mach, -234; Springer-Michaelis, p. 336, fig. 596; Reinach, <i>Rép.</i>, II, <small>2</small>, 549, 11 (before the discovery of the -lower legs). The name is to be spelled either Agias or Hagias; the former has now become usual.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2030"></a><a href="#FNanchor_2030"><span class="label">2030</span></a> Baron Otto Magnus von Stackelberg (1760–1836) visited Pharsalos in September 1811.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2031"></a><a href="#FNanchor_2031"><span class="label">2031</span></a> In the Braccio Nuovo: Amelung, <i>Vat.</i>, I, p. 86, no. 67 and Pl. XI; Helbig, <i>Fuehrer</i>, I, no. 23; -<i>Guide</i>, I, no. 31; B. B., 281 (head = 487); Bulle, 62 (head = 213); and reconstruction in a bronzed -cast on a high pedestal in the Museum of the University of Erlangen, <i>ibid.</i>, pp. 117–18, fig. 22, a, -b, c (<i>cf.</i> <i>Muenchner Jb. f. bild. Kunst.</i>, 1906, p. 36); von Mach, 235; Baum., II, p. 843, fig. 925; -<i>Mon. d. I.</i>, V, 1849–53, Pl. XIII; Rayet, II, Pl. 47 (text by Collignon); Overbeck, II, p. 157, -fig. 182; Collignon, II, p. 415, fig. 218; Furtw.-Urlichs, <i>Denkm.</i>, Pl. XXXIV and pp. 107–10; -Springer-Michaelis, p. 337, fig. 603; Reinach, <i>Rép.</i>, II, <small>2</small>, 546, 2; Clarac, V, 848B, 2168A; F. W., -1264; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2032"></a><a href="#FNanchor_2032"><span class="label">2032</span></a> <i>Cf.</i> F. W., p. 449, paragraph 2 of the notes. E. Braun (<i>Annali</i>, L, 1850, pp. 223 f.) first identified -the statue with Lysippos’ <i>Apoxyomenos</i>; <i>cf.</i> also Brunn (<i>Bulletino d. Inst.</i>, 1851, p. 91).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2033"></a><a href="#FNanchor_2033"><span class="label">2033</span></a> <i>Cf.</i> Becker, <i>Gallus</i>,<sup>3</sup> III, p. 108; and especially J. Kueppers, Der Apoxyomenos des Lysippos, in -<i>Progr. des Bonner Gymnas.</i>, 1869.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2034"></a><a href="#FNanchor_2034"><span class="label">2034</span></a> <i>H. N.</i>, XXXIV, 62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2035"></a><a href="#FNanchor_2035"><span class="label">2035</span></a> <i>Ibid.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2036"></a><a href="#FNanchor_2036"><span class="label">2036</span></a> Especially its surface modeling was supposed to confirm Pliny’s criticism of the master: -<i>op. cit.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2037"></a><a href="#FNanchor_2037"><span class="label">2037</span></a> <i>One Hundred Masterpieces of Sculpture</i>, 1909, p. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2038"></a><a href="#FNanchor_2038"><span class="label">2038</span></a> Unless we except the Athenian torso to be mentioned <i>infra</i>, p. 290, n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2039"></a><a href="#FNanchor_2039"><span class="label">2039</span></a> <i>Cf.</i> Tarbell, <i>Congress of Arts and Sciences</i>, St. Louis, 1904, III, p. 614.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2040"></a><a href="#FNanchor_2040"><span class="label">2040</span></a> <i>De Alex. Magn. fort. aut virt.</i>, <i>Orat.</i> II, 2 (p. 335, b, c); <i>S. Q.</i>, no. 1479.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2041"></a><a href="#FNanchor_2041"><span class="label">2041</span></a> <i>J. H. S.</i>, XXIII, p. 130, n. 28; it is also quoted by Gardner, <i>Sculpt.</i>, pp. 220–1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2042"></a><a href="#FNanchor_2042"><span class="label">2042</span></a> See Ada Maviglia, <i>L’attività artistica di Lisippo ricostruita su nuova base</i>, 1914. For the Uffizi -statue, see <i>supra</i>, pp. 136–137.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2043"></a><a href="#FNanchor_2043"><span class="label">2043</span></a> In his discussion of the Athenian torso, which he believed was another copy of the original -of the Vatican statue: <i>A. M.</i>, II, 1877, pp. 57–8, Pl. IV; Reinach, <i>Rép.</i>, II, <small>2</small>, 819, 1. This torso -had the left leg free, while the Vatican one had the right one free; it is also dry and hard in its -technique.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2044"></a><a href="#FNanchor_2044"><span class="label">2044</span></a> That of Emil Braun, in <i>Annali</i>, L, 1850, p. 249.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2045"></a><a href="#FNanchor_2045"><span class="label">2045</span></a> <i>E. g.</i>, Loewy, <i>R. M.</i>, XVI, 1901, p. 392. Furtwaengler, <i>Sitzb. Muen. Akad.</i>, 1904, II, p. 379, -n. 1, says that the <i>Agias</i> “<i>dem Lysipp gaenzlich ferne steht</i>,” and assigns it to an Athenian artist.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2046"></a><a href="#FNanchor_2046"><span class="label">2046</span></a> Especially the Gardner brothers: P. Gardner, <i>J. H. S.</i>, XXIII, 1903, pp. 130–131 (where he -identifies the <i>Apoxyomenos</i> with the <i>Perixyomenos</i> of Daïppos, the son or pupil of Lysippos, a -work mentioned by Pliny, <i>H. N.</i>, XXXIV, 87); <i>ibid.</i>, XXV, 1905, pp. 234 f., especially p. 236 (on -pp. 255 f. he dates the <i>Apoxyomenos</i> just after 300 B. C., though ultimately deriving it from the -school of Lysippos); <i>id.</i>, <i>Class. Rev.</i>, 1913, p. 56; E. A. Gardner, <i>Sculpt.</i>, p. 222; <i>Hbk.</i>, p. 443. T. L. -Shear, <i>A. J. A.</i>, XX, 1916, p. 292, makes the <i>Agias</i> the centre of his treatment of Lysippos. Still -others who think that the two statues can not be by the same sculptor are cited by Wolters, -<i>Sitzb. Muen. Akad.</i>, 1913, III, no. 4, p. 44, n. 3. See also F. Paulson, <i>Delphi</i>, 1920, pp. 288–289.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2047"></a><a href="#FNanchor_2047"><span class="label">2047</span></a> <i>E. g.</i>, Collignon, <i>Lysippe</i>, p. 31; Amelung, <i>R. M.</i>, XX, 1905, pp. 144 f.; <i>id.</i>, <i>Vat.</i>, I, p. 87 -(where he says that the <i>Agias</i> offers the closest analogies in style to the <i>Apoxyomenos</i>); Michaelis, -<i>Die archaeol. Entdeckungen des 19ten Jahrh.</i>, 1906, p. 276; <i>A Century of Archæological Discoveries</i> -(transl. of preceding, by Bettina Kahnweiler, 1908), p. 323; <i>id.</i>, Springer-Michaelis, p. 335; for -others, <i>cf.</i> Wolters, <i>l. c.</i>, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2048"></a><a href="#FNanchor_2048"><span class="label">2048</span></a> Pliny, <i>H. N.</i>, XXXIV, 61 (= S. Q. no. 1444), quotes Douris as saying that Lysippos was the -pupil of no artist. He tells how the painter Eupompos advised the sculptor as a boy <i>naturam -ipsam imitandam, esse non artificem</i>. Such a judgment, of course, can not be literally true, as -every artist is to a large extent a child of his age and circumstances. <i>Cf.</i> Jex-Blake, pp. xlviii f., -for the anecdotal character of Pliny’s statement. That the statement comes, perhaps, from -Eupompos is the view of Kalkmann, <i>Quellen der Kunstgeschichte des Plinius</i>, 1898, p. 165.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2049"></a><a href="#FNanchor_2049"><span class="label">2049</span></a> <i>B. C. H.</i>, XXI, 1897, p. 598; <i>id.</i>, XXIII, 1899, p. 471; <i>cf.</i> T. L. Shear, <i>A. J. A.</i>, <i>l. c.</i> On the relation -of Skopas to Lysippos, see P. Gardner, <i>J. H. S.</i>, XXIII, 1903, pp. 126 f., and E. A. Gardner, -<i>Sculpt.</i>, p. 198. The influence of Skopas is especially observable in Lysippos’ treatment of forehead -and eyes and in the consequent intensity of expression.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2050"></a><a href="#FNanchor_2050"><span class="label">2050</span></a> <i>Jb.</i>, XXV, 1910, pp. 172–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2051"></a><a href="#FNanchor_2051"><span class="label">2051</span></a> See Wolters, <i>l. c.</i>, pp. 45 f. Most scholars have followed the contention of Preuner that the -statue at Pharsalos was the older: <i>e. g.</i>, Kern, <i>I. G.</i>, IX, <small>2</small>, 249.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2052"></a><a href="#FNanchor_2052"><span class="label">2052</span></a> <i>Cf.</i> Hill, <i>op. cit.</i>, p. 39.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2053"></a><a href="#FNanchor_2053"><span class="label">2053</span></a> <i>Mp.</i>, p. 364 and n. 2; <i>Mw.</i>, p. 597 and n. 3; for the Berlin athlete, see <i>Beschr. d. ant. Skulpt.</i>, -no. 471; for a copy of the Berlin head in the Museo delle Terme, Rome, see Helbig, <i>Fuehrer</i>, II, -1380 <i>bis</i>; <i>Jb.</i>, XXVI, 1911, p. 278, n. 1; and <i>cf.</i> <i>R. M.</i>, XX, 1905, pp. 147 f., figs. 5–7; for the Dresden -statues, see Hettner, <i>Bildw. d. kgl. Antiken-samml.</i>, nos. 245–6; one of these has a beardless head, -which is analogous to a more beautiful head in Copenhagen: <i>La Glypt. Ny-Carlsberg</i>, no. 1072. Of -this head, which is earlier than that of the <i>Apoxyomenos</i>, Furtwaengler says that it is “one of the -finest and most purely Lysippan works in existence.” In <i>Mp.</i>, p. 338, he mentions a bronze -statuette of Hermes from Athens now in Berlin (Invent. 6305) “in the swinging posture of the -<i>Apoxyomenos</i>,” and says that it is of the purest Lysippan style.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2054"></a><a href="#FNanchor_2054"><span class="label">2054</span></a> <i>J. H. S.</i>, XXVI, 1906, pp. 239–40 and Pl. XVI; Duetschke, IV, 151.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2055"></a><a href="#FNanchor_2055"><span class="label">2055</span></a> <i>La Glypt. Ny-Carlsberg</i>, no. 240; Mahler ascribes this work to Lysippos: <i>Polykl. u. s. Sch.</i>, 1902, -p. 153, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2056"></a><a href="#FNanchor_2056"><span class="label">2056</span></a> <i>B. M. Sculpt.</i>, 1747, p. 102; <i>Mp.</i>, p. 298 and fig. 126; <i>Mw.</i>, pp. 515 and 517 and fig. 93; <i>cf.</i> -Mrs. Strong, in <i>Strena Helbigiana</i>, 1900, p. 297. It is 6 ft. 8 in. high without the plinth (Smith).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2057"></a><a href="#FNanchor_2057"><span class="label">2057</span></a> A better copy is the torso in the Louvre, <i>Photo Giraudon</i>, no. 1289; a head is in the Lateran, -no. 891.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2058"></a><a href="#FNanchor_2058"><span class="label">2058</span></a> <i>De olymp. Stat.</i>, Halle, 1902, and enlarged, 1903, pp. 27 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2059"></a><a href="#FNanchor_2059"><span class="label">2059</span></a> <i>Bildw. v. Ol.</i>, Tafelbd., Pl. LIV, 3–4, and Textbd., p. 209, fig. 237; <i>Ausgr. v. Ol.</i>, V, 1881, Pl. XX.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2060"></a><a href="#FNanchor_2060"><span class="label">2060</span></a> VI, 2.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2061"></a><a href="#FNanchor_2061"><span class="label">2061</span></a> The head is still exhibited at Olympia in the same room as the <i>Hermes</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2062"></a><a href="#FNanchor_2062"><span class="label">2062</span></a> <i>A. Z.</i>, XXXVIII, 1880, p. 114; <i>cf.</i>, <i>Ausgr. v. Ol.</i>, V, pp. 13–14.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2063"></a><a href="#FNanchor_2063"><span class="label">2063</span></a> <i>Olympia</i><sup>2</sup>, 1886, pp. 343 f. and Pl. XVI (right).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2064"></a><a href="#FNanchor_2064"><span class="label">2064</span></a> <i>Restauration d’Olympie</i>, 1889, p. 137.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2065"></a><a href="#FNanchor_2065"><span class="label">2065</span></a> In Roscher, <i>Lex.</i>, I, <small>2</small>, <i>s. v.</i> Herakles, p. 2166.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2066"></a><a href="#FNanchor_2066"><span class="label">2066</span></a> <i>E. g.</i>, Graef, <i>R. M.</i>, IV, 1889, pp. 189–226, especially p. 217; von Sybel, in <i>Luetzow’s Zeitschr. -fuer bild. Kunst</i>, N. F., II, pp. 253 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2067"></a><a href="#FNanchor_2067"><span class="label">2067</span></a> <i>Bildw. v. Ol.</i>, pp. 209 and n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2068"></a><a href="#FNanchor_2068"><span class="label">2068</span></a> <i>B. C. H.</i>, XXIII, 1899, pp. 456–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2069"></a><a href="#FNanchor_2069"><span class="label">2069</span></a> <i>Polyklet u. seine Schule</i>, p. 149.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2070"></a><a href="#FNanchor_2070"><span class="label">2070</span></a> Preuner (<i>op. cit.</i>, p. 12) dates the dedication 339–331 B. C.; Homolle (B. C. H., XVIII, 1899, -p. 440) more closely, 338–334 B. C. Preuner dates Agias’ victory about 450 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2071"></a><a href="#FNanchor_2071"><span class="label">2071</span></a> Treu, <i>Bildw. v. Ol.</i>, p. 208, gives these measurements: height with neck, 0.270 meter; height -of head alone, 0.215 meter; breadth of face, 0.127 meter; height of face, 0.155 meter.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2072"></a><a href="#FNanchor_2072"><span class="label">2072</span></a> <i>H. N.</i>, XXXIV, 65.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2073"></a><a href="#FNanchor_2073"><span class="label">2073</span></a> The hair, however, of the <i>Apoxyomenos</i> is an exception, for, even if worked out with some care, -it is devoid of expression.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2074"></a><a href="#FNanchor_2074"><span class="label">2074</span></a> The use of the drill is seen in the Praxitelian <i>Hermes</i>, but is not seen in the Tegea heads, nor is -it common in the first half of the fourth century B. C.: <i>cf.</i> Furtwaengler, <i>Mp.</i>, p. 309.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2075"></a><a href="#FNanchor_2075"><span class="label">2075</span></a> So Treu, <i>Bildw. v. Ol.</i>, p. 208 (though formerly in <i>A. Z.</i>, XXXVIII, 1880, p. 114, he called -it a pancratiast with Herakles features); Reisch, p. 43, n. 1; Flasch, in Baum., p. 1104 00; Furtwaengler, -in Roscher’s <i>Lex.</i>, <i>s. v.</i> Herakles, I, <small>2</small>, p. 2166; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2076"></a><a href="#FNanchor_2076"><span class="label">2076</span></a> See pp. 75 and 94.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2077"></a><a href="#FNanchor_2077"><span class="label">2077</span></a> <i>E. g.</i>, Treu, <i>Bildw. v. Ol.</i>, pp. 208 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2078"></a><a href="#FNanchor_2078"><span class="label">2078</span></a> <i>Supra</i>, pp. 167 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2079"></a><a href="#FNanchor_2079"><span class="label">2079</span></a> Michaelis, pp. 451 f., no. 61; <i>Specimens</i>, I, Pl. XL; Furtwaengler, <i>Mp.</i>, p. 297, fig. 125, <i>Mw.</i>, -p. 516, fig. 92; Graef, <i>R. M.</i>, IV, 1889, pp. 189 f., and Pls. VIII-IX; Springer-Michaelis, p. 336, -fig. 600; Clarac, V, 788, 1973; etc. It was found in 1790 in the ruins of Hadrian’s villa at Tivoli.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2080"></a><a href="#FNanchor_2080"><span class="label">2080</span></a> VI, 1.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2081"></a><a href="#FNanchor_2081"><span class="label">2081</span></a> VI, 2.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2082"></a><a href="#FNanchor_2082"><span class="label">2082</span></a> VI, 5.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2083"></a><a href="#FNanchor_2083"><span class="label">2083</span></a> VI, 4.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2084"></a><a href="#FNanchor_2084"><span class="label">2084</span></a> VI, 17.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2085"></a><a href="#FNanchor_2085"><span class="label">2085</span></a> East of the temple of Zeus; see <i>infra</i>, Ch. VIII, p. 342, n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2086"></a><a href="#FNanchor_2086"><span class="label">2086</span></a> See list in Hyde, pp. 3 f. Here nos. 91 and 136 refer to the same victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2087"></a><a href="#FNanchor_2087"><span class="label">2087</span></a> VI, 1.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2088"></a><a href="#FNanchor_2088"><span class="label">2088</span></a> <i>Bildw. v. Ol.</i>, p. 209. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2089"></a><a href="#FNanchor_2089"><span class="label">2089</span></a> P., VI, 1.4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2090"></a><a href="#FNanchor_2090"><span class="label">2090</span></a> P., VI, 1.6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2091"></a><a href="#FNanchor_2091"><span class="label">2091</span></a> P., VI, 3.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2092"></a><a href="#FNanchor_2092"><span class="label">2092</span></a> See <i>Inschr. v. Ol.</i>, nos. 166 (Troilos), 160 (Kyniska), 172 (Sophios). See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2093"></a><a href="#FNanchor_2093"><span class="label">2093</span></a> This fact, together with its place of finding not far from the Great Gymnasion, led Treu to -believe that the statue once adorned the interior of the exercise-place of the athletes: <i>Bildw. v. -Ol.</i>, p. 209.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2094"></a><a href="#FNanchor_2094"><span class="label">2094</span></a> The Praxitelian <i>Hermes</i> similarly shows an unfinished treatment of the back hair; in fact the -entire back of the statue is carelessly done (<i>Bildw. v. Ol.</i>, p. 203, fig. 233), though chisel-rasps show -a subsequent attempt to better it. This condition led Treu at first (<i>Ausgrab. v. Ol.</i>, V, p. 10; followed -by Furtwaengler, <i>Mp.</i>, p. 308, n. 7; <i>Mw.</i>, p. 531, n. 3) to believe that the statue was made -at Olympia with regard to its position in the Heraion. Later (<i>Bildw. v. Ol.</i>, pp. 204–5) Treu -believed that this merely indicated that the statue was intended to stand against a wall; and -since the present base is not the original one (see Bulle, <i>apud</i> Purgold, <i>Ergebnisse v. Ol.</i>, II, pp. -157 f.), that the statue was not originally meant for the temple, but was moved thither, perhaps -in Nero’s day; <i>cf.</i> also Wernicke, <i>Jb.</i>, IX, 1894, pp. 108 f. For the <i>Hermes</i>, mentioned by P., -V, 17.3, and found in the cella of the Heraion on May 8, 1877, see <i>Bildw. v. Ol.</i>, Tafelbd., Pls. -XLIX-LIII; Textbd., pp. 194 f. and figs. 225–234.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2095"></a><a href="#FNanchor_2095"><span class="label">2095</span></a> However, Lysippos made the statue of Polydamas of Skotoussa, who won the pankration in -Ol. 93 ( = 408 B. C.), many years after the victory: see P., VI, 5.1; Hyde, 47; Foerster, 279; -H. L. von Urlichs, <i>Ueber Griech. Kunstschriftsteller</i>, Diss. inaug., 1887, p. 26.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2096"></a><a href="#FNanchor_2096"><span class="label">2096</span></a> P. 27.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2097"></a><a href="#FNanchor_2097"><span class="label">2097</span></a> <i>Inschr. v. Ol.</i>, 166; <i>cf.</i> P., VI, 1. 4 (both victories wrongly in Ol. 102); Hyde, 6; Foerster, 338 -and 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2098"></a><a href="#FNanchor_2098"><span class="label">2098</span></a> Date given by P., VI, 4.2. See Hyde, 37; Foerster, 349, 353, 359.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2099"></a><a href="#FNanchor_2099"><span class="label">2099</span></a> For the earlier dating of Lysippos, see Winter, <i>Jb.</i>, VII, 1892, p. 169 (who begins the artist’s -activity with the seventies), Treu, <i>Bildw. v. Ol.</i>, p. 211, and Milchhoefer, <i>Arch. Stud. fuer -H. Brunn</i>, p. 66, n. 2; see also Hyde, pp. 26–7, (who gives the sculptor’s artistic activity as Ols. -103–115 = 368–320 B. C.); E. A. Gardner, <i>Sculpt.</i>, pp. 216–217, who dates his activity 366–316 -B. C.; P. Gardner, <i>infra</i>, next note.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2100"></a><a href="#FNanchor_2100"><span class="label">2100</span></a> <i>J. H. S.</i>, XXV, 1905, pp. 243–249; on p. 245 he says: “There is some evidence for work by -Lysippos at a later date than B. C. 320. And if he were born, as seems probable, about B. C. -390, he may well have accepted commissions, to be executed mainly by his pupils, for several -years after 320.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2101"></a><a href="#FNanchor_2101"><span class="label">2101</span></a> P., VI, 4, 6–7; Hyde, 41; Foerster, 384 and 392, who, on the basis of <i>I. G. B.</i>, p. 75, to no. 93b, -dates the victories Ols. (?) 112 and 113 ( = 332 and 328 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2102"></a><a href="#FNanchor_2102"><span class="label">2102</span></a> <i>L. c.</i>, p. 246.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2103"></a><a href="#FNanchor_2103"><span class="label">2103</span></a> P., VI, 17, 3; Hyde, 175; Foerster, 390 and 397 (= Ols. ? 113 and 114, = 328 and 324 B. C. on -the basis of <i>I. G. B.</i>, p. 75).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2104"></a><a href="#FNanchor_2104"><span class="label">2104</span></a> <i>E. g.</i>, Furtwaengler, who gives 350–300 B. C. as the period of his artistic activity: <i>Mw.</i>, p. 523, -n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2105"></a><a href="#FNanchor_2105"><span class="label">2105</span></a> <i>B. C. H.</i>, XXI, 1897, p. 598 (and copied in XXIII, 1899, p. 422). The <i>Agias</i> is but slightly -later than the <i>Hermes</i>, if we accept Furtwaengler’s dating for the latter, about 343 B. C.: <i>Mp.</i>, -pp. 307–308; <i>Mw.</i>, pp. 529–531. Brunn had regarded the <i>Hermes</i> as a youthful work of Praxiteles: -<i>Deutsche Rundschau</i>, VIII, 1882, pp. 188 f. Purgold, <i>Aufsaetze E. Curtius gewidmet</i>, -pp. 233 f., and S. Reinach, <i>Gaz. Arch.</i>, 1887, p. 282, n. 9, had assigned it to the year 363 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2106"></a><a href="#FNanchor_2106"><span class="label">2106</span></a> <i>H. N.</i>, XXXIV, 37.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2107"></a><a href="#FNanchor_2107"><span class="label">2107</span></a> <i>Ibid.</i>, 61 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2108"></a><a href="#FNanchor_2108"><span class="label">2108</span></a> The two are contrasted in XXXV, 156: <i>[Varro] laudat et Pasitelen qui plasticen matrem caela -turae et statuariae scalpturaeque (= sculpturae) dixit</i>, etc. <i>Cf. infra</i>, Ch. VII, p. 324, n. 4. They are -also contrasted in XXXVI, 15. <i>Sculptura</i> is the modern title of Bk. XXXVI.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2109"></a><a href="#FNanchor_2109"><span class="label">2109</span></a> II, p. 150. See also Bulle, p. 137. Amongst recent writers who oppose this view are Koepp, -<i>Ueber d. Bildnisse Alex. d. Gr.</i>, p. 29, and Preuner, <i>op. cit.</i>, pp. 46–7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2110"></a><a href="#FNanchor_2110"><span class="label">2110</span></a> Thus the Sikyonian Kanachos worked in marble, bronze, gold and ivory, and cedar-wood: -Pliny, <i>H. N.</i>, XXXIV, 50 and 75; XXXVI, 41; P., II, 10.5; IX, 10.2; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2111"></a><a href="#FNanchor_2111"><span class="label">2111</span></a> F. Spiro, <i>Woch. f. kl. Philologie</i>, XXI, 1904, col. 792 (in his review of my <i>de olymp. Stat. a -Paus. commem.</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2112"></a><a href="#FNanchor_2112"><span class="label">2112</span></a> See <i>Bildw. v. Ol.</i>, Tafelbd., Pl. LV, 1–3; Textbd., pp. 209 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2113"></a><a href="#FNanchor_2113"><span class="label">2113</span></a> This is substantially Preuner’s view: <i>op. cit.</i>, pp. 39–40 and 46–47; the later view of P. Wolters -that the Delphi group was older than the statue at Pharsalos has already been mentioned -<i>supra</i>, p. 292; see <i>Sitzb. Muen. Akad.</i>, 1913, III, no. 4, pp. 44–45.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2114"></a><a href="#FNanchor_2114"><span class="label">2114</span></a> In <i>A. J. A.</i>, XI, 1907, pp. 414–16, I argued that the statue of Agias was an original and not a -copy; in the present work this view is somewhat modified.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2115"></a><a href="#FNanchor_2115"><span class="label">2115</span></a> So Homolle, <i>B. C. H.</i>, XXIII, 1899, pp. 445 and 459; S. Reinach, <i>C. R. Acad. Inscr.</i>, 1900, pp. -8 f.; H. Lechat, <i>Rev. des Études anciennes</i>, II, 1900, pp. 195 f.; Gardner, <i>Hbk.</i>, p. 441; P. Gardner, -<i>J. H. S.</i>, XXIII, p. 127; <i>cf.</i> Preuner, <i>op. cit.</i>, p. 38; etc. Homolle, <i>l. c.</i>, p. 471, says that if the -<i>Agias</i> is a copy, “<i>c’est celui d’une copie authentique immédiate, contemporaine du modèle</i>.” The -view that the Delphi group was not original is well expressed by P. Wolters, <i>l. c.</i>, p. 50, who says -that “<i>niemand die delphischen Statuen fuer Originale des Lysippos erklaeren wird</i>.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2116"></a><a href="#FNanchor_2116"><span class="label">2116</span></a> <i>Hbk.</i>, p. 441, n. 2; only two small marble props, reaching to the calves, support the ankles.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2117"></a><a href="#FNanchor_2117"><span class="label">2117</span></a> This treatment gives the impression of texture and profusion; see Furtwaengler, <i>Mp.</i>, p. 309.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2118"></a><a href="#FNanchor_2118"><span class="label">2118</span></a> Pliny, <i>H. N.</i>, XXXIV, 69–71 (list of bronze works).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2119"></a><a href="#FNanchor_2119"><span class="label">2119</span></a> Mechanically exact copies were unknown in the fourth century B. C. Furtwaengler has shown -that such copies began to be made in the second century B. C., or possibly at the end of the third, -and became common only in the first: <i>Ueber Statuencopien im Altertum</i>, 1896.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2120"></a><a href="#FNanchor_2120"><span class="label">2120</span></a> It is mentioned by Pausanias, IX, 35.3, and the Surname “<i>Oulios</i>” by Strabo, XIV, 1.6 (C. -635); it is described by Plutarch, <i>de Musica</i>, 14 ( = 1136 A), and Macrobius, <i>Sat.</i>, I, 1713.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2121"></a><a href="#FNanchor_2121"><span class="label">2121</span></a> Schol. on Pindar, <i>Ol.</i>, XIV, 16, Boeckh, p. 293.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2122"></a><a href="#FNanchor_2122"><span class="label">2122</span></a> Bekker, <i>Anecd. gr.</i>, p. 299, 8–9; <i>cf.</i> Athen., X, 24 (p. 424 f.). It appears on Athenian coins -also: see Frazer, V, p. 174, figs. 8–9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2123"></a><a href="#FNanchor_2123"><span class="label">2123</span></a> P., VIII, 46.3; Pliny, <i>H. N.</i>, XXXIV, 75. <i>Cf.</i> Brunn, I, pp. 74 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2124"></a><a href="#FNanchor_2124"><span class="label">2124</span></a> P., IX, 10.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2125"></a><a href="#FNanchor_2125"><span class="label">2125</span></a> <i>Op. cit.</i> The transference to the minor arts—reliefs, coins, gems and vase-paintings—was, -of course, especially common at all times. See also F. Hauser, <i>Die neu-attischen Reliefs</i>, 1889, -and Flasch, <i>A. Z.</i>, XXXVI, 1878, p. 119.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2126"></a><a href="#FNanchor_2126"><span class="label">2126</span></a> P., VI, 8.5 and VII, 27.5. He won the pankration in Ol. 94 ( = 404 B. C.): Hyde, 81; Foerster, -286.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2127"></a><a href="#FNanchor_2127"><span class="label">2127</span></a> <i>B. C. H.</i>, XXI, 1897, pp. 616–20 (Homolle).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2128"></a><a href="#FNanchor_2128"><span class="label">2128</span></a> See Amelung, <i>R. M.</i>, IX, 1894, pp. 162 f. and Pl. VII. <i>Cf.</i>, Treu, <i>Bildw. v. Ol.</i>, pp. 190–191, -and fig. 222 B, on pp. 188–189.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2129"></a><a href="#FNanchor_2129"><span class="label">2129</span></a> <i>J. H. S.</i>, XXIX, 1909, pp. 151–2, fig. 1 a and b (F. H. Marshall).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2130"></a><a href="#FNanchor_2130"><span class="label">2130</span></a> XIII, 1909, pp. 151–7, with Pl. IV and figs. 1–3 (A head of Heracles in the style of Scopas.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2131"></a><a href="#FNanchor_2131"><span class="label">2131</span></a> <i>Ibid.</i>, pp. 156 and 157.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2132"></a><a href="#FNanchor_2132"><span class="label">2132</span></a> <i>Museum of Fine Arts Bulletin</i>, VIII, no. 46 (Aug., 1910), p. 26.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2133"></a><a href="#FNanchor_2133"><span class="label">2133</span></a> II, 10.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2134"></a><a href="#FNanchor_2134"><span class="label">2134</span></a> F. Imhoof-Blumer and P. Gardner, p. 30 (reprinted from articles which appeared in the -<i>J. H. S.</i>, VI-VIII, 1885–1887).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2135"></a><a href="#FNanchor_2135"><span class="label">2135</span></a> Discussed by Graef, <i>R. M.</i>, IV, 1889, pp. 189–226. For the coin, see <i>ibid.</i>, pp. 212–14.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2136"></a><a href="#FNanchor_2136"><span class="label">2136</span></a> For the two heads of heroes, see Kabbadias, pp. 154 f., nos. 179, 180; Staïs, <i>Marbres et Bronzes</i>, -p. 33; B. B., no. 44; Collignon, II, pp. 239, figs. 118 and 119; <i>Ant. Denkm.</i>, I, <small>3</small>, 1888, Pl. XXXV, -2–3, 4–5 (from casts); Milchhoefer, <i>A. M.</i>, IV, 1879, pp. 133–4, nos. 24–25; G. Treu, <i>A. Z.</i>, -XXXVIII, 1880, pp. 98 f.; Luetzow, <i>Zeitschr. f. bild. Kunst</i>, XVII, 1882, pp. 322 f.; Baum., III, -pp. 1667 f. and figs. 1733 and 1734; von Sybel, <i>Weltgesch. d. Kunst</i>, pp. 255 f.; Springer-Michaelis, -p. 306, figs. 544, a, b; Gardner, <i>Hbk.</i>, p. 412, fig. 105; von Mach, 469.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2137"></a><a href="#FNanchor_2137"><span class="label">2137</span></a> VIII, 45.6–7; see Mendel, <i>B. C. H.</i>, XXV, 1901, pp. 257 f., and Pls. IV, V (= head of Atalanta?), -VI (= torso of Atalanta?), VII, VIII (= heads of Herakles); Gardner, <i>Hbk.</i>, p. 416, fig. 106, has -reconstructed the <i>Atalanta</i> from Pls. IV and VI just mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2138"></a><a href="#FNanchor_2138"><span class="label">2138</span></a> <i>L. c.</i>, p. 259. The head has been restored by a German sculptor, and the chin appears to have -been made too retreating: see <i>Encyl. Brit.</i>, 11th ed., vol. XII, <i>s. v.</i> “Greek Art,” Pl. III, fig. 63.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2139"></a><a href="#FNanchor_2139"><span class="label">2139</span></a> From his Atalanta of Tegea, in <i>J. H. S.</i>, XXVI, 1906, pp. 172–3, quoted in part by Dr. -Bates, <i>l. c.</i>, pp. 155–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2140"></a><a href="#FNanchor_2140"><span class="label">2140</span></a> It was chiefly the preponderance of the lower part of the face over the upper, in consequence -of the large chin and strongly marked cheek-bones, that led Treu to predicate Peloponnesian rather -than Attic influence in the Tegea heads: <i>A. M.</i>, VI, 1881, p. 408. He found them Polykleitan -in character, as did also Graef, <i>l. c.</i>, p. 210, Furtwaengler, <i>Mp.</i>, p. 523, and Collignon, II, p. -238. L. R. Farnell, however, long ago combated the theory of Peloponnesian influence, and -found analogies in fifth-century Attic works of the time of Pheidias, as well as in works from the -beginning of the fourth century B. C.: see <i>J. H. S.</i>, VII, 1886, pp. 114 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2141"></a><a href="#FNanchor_2141"><span class="label">2141</span></a> <i>Descriptiones stat.</i>, B (in <i>Philostrati opera</i>, ed. Kayser, p. 891). He also says (<i>ibid.</i>) that Skopas -ὥσπερ ἔκ τινος ἐπιπνοίας κινηθεὶς εἰς τὴν τοῦ ἀγάλματος δημιουργίαν τὴν θεοφορίαν ἐφῆκε. The words -with which Diodoros (Fragm. 1, Bk. XXVI) characterized Praxiteles, as ὁ καταμίξας ἄκρως τοῖς -λιθίνοις ἔργοις τὰ τῆς ψυχῆς πάθη, apply much better to Skopas, for Praxiteles’ “emotions of the -soul” are mood and temperament rather than emotion and passion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2142"></a><a href="#FNanchor_2142"><span class="label">2142</span></a> <i>B. C. H.</i>, XXV, 1901, Pls. IV-V.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2143"></a><a href="#FNanchor_2143"><span class="label">2143</span></a> The same overhanging masses of flesh, which we see in the male heads, are, however, visible in -several other female heads attributed to Skopas: <i>e. g.</i>, in the colossal one called <i>Artemisia</i> from -the Eastern pediment of the Mausoleion: Gardner, <i>Sculpt.</i>, Pl. LIX; in the head of an <i>Aphrodite</i> -found in the sea off Laurion: <i>J. H. S.</i>, XV, 1895, pp. 194f. and fig. (Aphrodite ?); in the -head of a goddess found south of the Akropolis (and in the copy of it in Berlin): Gardner, <i>Hbk.</i>, -p. 457, fig. 119; and in the Dresden statuette of a <i>Mænad</i>: Treu, <i>Mélanges Perrot</i>, Pl. V; Gardner, -<i>Sculpt.</i>, Pl. LII; etc.; they are also plainly visible in the <i>Demeter of Knidos</i>: Gardner, -<i>Sculpt.</i>, Pl. LIII; etc. These heads are discussed by Gardner, <i>Sculpt.</i>, pp. 190f., and are ascribed -by him to Skopas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2144"></a><a href="#FNanchor_2144"><span class="label">2144</span></a> <i>J. H. S.</i>, XXVI, 1906, p. 174. Gardner (<i>ibid.</i>) does not explain this contrast in expression -between the <i>Atalanta</i> and the surrounding heroes on the analogy of the contrast in the calmness of -<i>Apollo</i> among the struggling <i>Lapiths</i> from the Olympia pediment, since the action in the torso of -<i>Atalanta</i> shows that she was no mere spectator. He finds the explanation rather in the sex and youth -of the heroine; for this reason he thinks that the sculptor did not represent her as sharing equally -with the others the passion of the combat. He finds a truer analogy in the contrast between calm -and passion in the <i>Lapiths</i> and <i>Centaurs</i> of the Parthenon metopes, where the human and bestial -are thus distinguished; just so the heroine-goddess is here distinguished from her human companions. -He also supposes that Skopas was not ready thus early in his career (just after 395 B. C., -when the temple of Athena Alea was destroyed by fire) to apply his new extreme of expression to -female heads. However, it must not be overlooked that these male heads—because of their -marked individuality—presuppose a more mature genius, and so can just as well be assigned to -the period of the Arkadian revival of 370 B. C. It has recently been seriously disputed whether -the <i>Atalanta</i> should be assigned at all to the Eastern pediment, where the French excavators placed -it; thus Cultrera has looked upon it as an akroterion figure, while Thiersch and Neugebauer -have identified it with a single figure representing <i>Nike</i>. See Cultrera, <i>Atti dell’ Accad. dei -Lincei</i>, 1910, pp. 22f.; H. Thiersch, Zum Problem des Tegeatempels, <i>Jb.</i>, XXVIII, 1913, p. -270; Neugebauer, <i>Studien ueber Skopas</i>, Leipsic, 1913; the latter has argued that the head and -torso do not belong together, while Dugas has maintained the older view, that the turn and -position of the neck fit the torso: <i>Rev. de l’art anc. et mod.</i>, 1911, pp. 9f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2145"></a><a href="#FNanchor_2145"><span class="label">2145</span></a> 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 hidden.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2146"></a><a href="#FNanchor_2146"><span class="label">2146</span></a> Kabbadias, I, p. 416, no. 869; Staïs, <i>Marbres et Bronzes</i>, pp. 168 f. and fig.; Conze, <i>Griech. -Grabreliefs</i>, IX, 1897, no. 1055 and Pl. CCXI; B. B., 469; Bulle, 267; von Mach, 369; P. Gardner, -<i>Sculptured Tombs of Hellas</i>, 1896, Pl. XIV and p. 152; Gardner, <i>Sculpt.</i>, Pl. LXV and p. 208; -Graef, <i>R. M.</i>, IV, 1889, pp. 199 f.; von Sybel, <i>Weltgesch. d. Kunst</i>, fig. 204; <i>id.</i>, <i>Zeitschr. f. bild. -Kunst</i>, N. F., II, p. 293; <i>cf.</i> Wolters, <i>A. M.</i>, XVIII, 1893, p. 6. It is 1.68 meters in height and -1.07 in breadth (Staïs). The likeness of the head of the athlete in this relief to that of the <i>Agias</i> -is striking.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2147"></a><a href="#FNanchor_2147"><span class="label">2147</span></a> It was formerly in the Sala di Meleagro, but was later removed to the Sala degli animali; Helbig, -<i>Fuehrer</i>, I, 128, and Nachtrag; <i>Guide</i>, I, p. 78, no. 133; Amelung, <i>Vat.</i>, II, p. 33, no. 10, and -Pls. II and XII; B. B., 386; von Mach, 216; <i>id.</i>, <i>Greek Sculpture, Its Spirit and Principles</i>, 1903, -pp. 279 f.; Bulle, p. 484, fig. 145; <i>Ant. Denkm.</i>, I, <small>4</small>, 1889, Pl. XL, 1a, 1b (head); Graef, <i>R. M.</i>, -IV, pp. 218 f.; Reinach, <i>Rép.</i>, 1, 479, 2; Clarac, 805, 2021. It is 2.10 meters high (Amelung).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2148"></a><a href="#FNanchor_2148"><span class="label">2148</span></a> <i>De olymp. Stat.</i>, p. 28.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2149"></a><a href="#FNanchor_2149"><span class="label">2149</span></a> <i>Mp.</i>, 296 f.; <i>cf.</i> Homolle, <i>B. C. H.</i>, XXIII, 1899, p. 450, n. 2. Furtwaengler thought that the -head was Attic and believed that it was the direct successor of the Munich <i>Oil-pourer</i> (Pl. 11), -the <i>Standing Diskobolos</i> of the Vatican (Pl. 6), the Florence <i>Apoxyomenos</i> (Pl. 12), and analogous -to the Ilissos relief (Fig. 74), two bronze heads from Herculaneum (a = F. W., 1302, and Comparetti -e de Petra, <i>La Villa Ercol.</i>, Pl. VII, 3; b = <i>ibid.</i>, Pl. X, 2), and other works; Graef, <i>op. cit.</i>, p. 199, -and Gardner, <i>Sculpt.</i>, pp. 198–9, regard it as Skopasian; Kalkmann, Die Proport. d. Gesichts -in d. gr. Kunst, <i>53stes Berl. Winckelmannsprogr.</i>, p. 60, n. 3, believes that it shows Polykleitan -influence.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2150"></a><a href="#FNanchor_2150"><span class="label">2150</span></a> <i>Ancient Marbles in Great Britain</i>, p. 451.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2151"></a><a href="#FNanchor_2151"><span class="label">2151</span></a> P. Gardner, <i>J. H. S.</i>, XXIII, 1903, p. 128 (<i>cf.</i> XXV, 1895, p. 240), has called it “definitely a -Lysippic work”; similarly Cultrera, Una Statua di Ercole, <i>Mem. della R. Accad. dei Lincei</i>, p. 188; -recently, T. L. Shear, <i>A. J. A.</i>, XX, 1916, pp. 297–298.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2152"></a><a href="#FNanchor_2152"><span class="label">2152</span></a> <i>Op. cit.</i>, pp. 219 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2153"></a><a href="#FNanchor_2153"><span class="label">2153</span></a> Von Mach, 214; Reinach, <i>Rép.</i>, I, 484, 1; another in Copenhagen: Furtw.-Urlichs, <i>Denkm.</i>, -Pl. XXXII (opp. p. 98); a head is also in the Ny-Carlsberg collection there: <i>La Glypt. Ny-Carlsberg</i>, -no. 362 and Pl. 100.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2154"></a><a href="#FNanchor_2154"><span class="label">2154</span></a> <i>Ant. Denkm.</i>, I, <small>4</small>, 1889, Pl. XL, 2a, 2b, p. 29 (Petersen); Collignon, II, p. 250, fig. 127; Bulle, -212 and fig. 144, on p. 481; Furtw., <i>Mp.</i>, Pl. XV. For the <i>Apollo</i> torso, see M. D., I, no. 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2155"></a><a href="#FNanchor_2155"><span class="label">2155</span></a> Mentioned in <i>Not. Scav.</i>, 1895, p. 196, and figs. 1–2, and in <i>R. M.</i>, X, p. 92 (Petersen); briefly -described by R. Norton, <i>Harvard Graduates’ Magazine</i>, VIII, 1900 (June), pp. 485 f.; von Mach, -215; Reinach, <i>Rép.</i>, II, <small>2</small>, 555, 6. <i>Cf.</i> <i>A. J. A.</i>, IV, 1900, p. 275 and V, 1901, pp. 29 f. (latter = -abstract of paper by von Mach). The Cambridge copy was found about 300 feet from the spot -where the Berlin copy was discovered.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2156"></a><a href="#FNanchor_2156"><span class="label">2156</span></a> <i>H. N.</i>, XXXIV, 66; in the text, <i>et Alexandrum Thespiis venatorem</i>, it is best to understand -<i>venatorem</i> as an appositive, therefore indicating a statue of Alexander as hunter. As the boar -(in the bronze original no support was necessary) is a Roman accessory like the chlamys, it is best -to call the work under discussion not <i>Meleager</i>, but merely hunter and dog (so Furtw.-Urlichs, -<i>Denkm.</i>, <i>l. c.</i>). It was probably dedicated by a successful hunter to Artemis, or else it was a grave-monument, -as such figures are common on sarcophagi: see Robert, <i>Ant. Sarcoph. Reliefs</i>, IV, Pls. -XLVII, 154, and XLIX, 155, pp. 188 f.; and also on Attic grave-reliefs: <i>e. g.</i>, on the Ilissos relief -mentioned above (Fig. 74).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2157"></a><a href="#FNanchor_2157"><span class="label">2157</span></a> Furtw., <i>Mp.</i>, pp. 304–5; Furtw.-Urlichs, Amelung, Helbig, von Mach, Arndt, E. Sellers-Strong -(see introduction to Furtw., <i>Mp.</i>, p. <span class="smcap">XIII</span>), etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2158"></a><a href="#FNanchor_2158"><span class="label">2158</span></a> <i>J. H. S.</i>, XXIII, 1903, pp. 128–129.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2159"></a><a href="#FNanchor_2159"><span class="label">2159</span></a> <i>Sculpt.</i>, p. 219.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2160"></a><a href="#FNanchor_2160"><span class="label">2160</span></a> <i>Cf.</i> P. Gardner, <i>Types of Greek Coins</i>, 1883, Pl. XII, 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2161"></a><a href="#FNanchor_2161"><span class="label">2161</span></a> Pl. LXIX in <i>Six Greek Sculptors</i>. E. A. Gardner (p. 226) is doubtless right in believing that -this form of brow was a personal peculiarity of Alexander, as it recurs so often in his portraits. -It is seen in the head of Alexander on the sarcophagus from Sidon (either by a pupil of Lysippos or -by some sculptor under his influence), the reliefs from which portray the same subject as the bronze -group by Lysippos in Delphi mentioned by Pliny, <i>H. N.</i>, XXXIV, 64, dedicated by Krateros on -the occasion narrated by Plutarch, <i>Vita Alex. Magni</i>, 40, who states that the group was executed -conjointly with Leochares: see Hamdy Bey et Th. Reinach, <i>Une nécropole royale à Sidon</i>, 1892, Pl. -XXXIII, no. 6 (reproduced by Gardner, <i>Sculpt.</i>, Pl. LXXI). So far as I know, it occurs in Lysippan -work to a prominent degree only in likenesses of Alexander. We know that Lysippos created -the Alexander-type of head, as he alone could reproduce his manly and leonine air (<i>cf.</i> Plut., <i>de -Alex. M. fortuna aut virtute</i>, <i>oratio</i> II, 2, = p. 335). It is, to a less extent, present in the Azara head in -the Louvre, which, owing to its likeness to the head of the <i>Apoxyomenos</i>, used to be taken as the -nearest copy of the original by Lysippos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2162"></a><a href="#FNanchor_2162"><span class="label">2162</span></a> It should be observed that the axis of the right eye in the head from Sparta droops slightly, -which causes the eyeball to turn in. This seems to me to be merely the result of imperfect -skill in modeling. It has a tendency to give to the face a look of greater intensity.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2163"></a><a href="#FNanchor_2163"><span class="label">2163</span></a> See <i>supra</i>, pp. 295–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2164"></a><a href="#FNanchor_2164"><span class="label">2164</span></a> <i>B. C. H.</i> XXIII, 1899, p. 455. Furtwaengler, <i>Bronz. v. Ol.</i>, pp. 10 f., has shown that it was a -favorite device to represent boxers and pancratiasts with a sombre look (“<i>der finstere Blick</i>”).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2165"></a><a href="#FNanchor_2165"><span class="label">2165</span></a> 1102:κοὐδεὶς τροπαῖ’ ἔστησε τῶν ἐμῶν χερῶν.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2166"></a><a href="#FNanchor_2166"><span class="label">2166</span></a> In the passage already cited from <i>de Alex. Magn. fort. aut virtute</i>, Orat. II, 2, (= p. 385c); ... -καὶ τῶν ὀμμάτων τὴν διάχυσιν καὶ ὑγρότητα, κ. τ. λ.; <i>cf.</i> also his <i>Vita Alex. Magni</i>, IV (= p. 666), -... τὴν ὑγρότητα τῶν ὀμμάτων.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2167"></a><a href="#FNanchor_2167"><span class="label">2167</span></a> The hair of the head from Sparta, like that of the <i>Agias</i> and the <i>Philandridas</i>, has not the expression -displayed in some Lysippan heads (notably in portraits of Alexander), nor the detail which we -should expect from Pliny’s statement that Lysippos excelled in his treatment of hair (<i>H. N.</i>, -XXXIV, 65; see next note). But the <i>Agias</i> and the <i>Philandridas</i> represent pancratiasts, and -here we should not expect such expression. In the <i>Agias</i>, the hair, even if lacking in detail, is -treated carefully and with variety.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2168"></a><a href="#FNanchor_2168"><span class="label">2168</span></a> <i>H. N.</i>, XXXIV, 65: <i>propriae huius videntur esse argutiae operum custoditae in minimis -quoque rebus</i>. Here the word <i>argutiae</i> means “subtlety,” rather than “animation,” as given in -Harper’s Latin Dictionary.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2169"></a><a href="#FNanchor_2169"><span class="label">2169</span></a> 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 Alexander, but existed in -Greece from the early fifth century B. C., at least. The case of heroizing the Thasian Theagenes, -who won at Olympia in boxing and the pankration in Ols. 75 and 76 ( = 480 and 475 B. C.), has -been discussed with similar ones in Ch. I, p. 35. But the fact that a victor wanted his statue to be -more or less assimilated to the ideal type of the hero, whom he regarded as his athletic prototype -and ideal, does not mean that he had any idea of looking upon himself as a god.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2170"></a><a href="#FNanchor_2170"><span class="label">2170</span></a> This would explain the simple, even sketchy, treatment of the closely cropped hair, just as in -the <i>Agias</i> and the <i>Philandridas</i>. 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 Herakles. -The slightly fierce expression of the face, augmented by the already noted imperfection in the -modeling of the right eyeball, recalls the γοργόν look characteristic of boxers and pancratiasts; -<i>cf. supra</i>, p. 317, n. 2. On the threatening eyes of contestants in general, see Xenophon, <i>Mem.</i>, -III, 10, 6–8, and <i>supra</i>, p. 59. -</p> -<p> -The head appears to me to be that of a boy of about sixteen years; its style is too early for a -victor in the boys’ pankration, as this event was not introduced at Olympia until the 145th -Olympiad ( = 200 B. C.): see Paus., V, 8.11 and Ph., 13. The wrestling match for boys was introduced -in 01. 37 ( = 632 B. C.): see Paus., V, 8.9, and Afr. Boys were first allowed to box in Ol. -41 ( = 616 B. C.): see Paus., <i>ibid.</i> (though Philostratos, 13, gives two traditions, Ols. 41 and 60).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2171"></a><a href="#FNanchor_2171"><span class="label">2171</span></a> We have record of only one statue of a victor set up in Sparta, that of the wrestler -Hetoimokles, who won at the beginning of the sixth century B. C.: see Paus., III, 13.9, and <i>cf. -infra</i>, Ch. VIII, p. 362, no. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2172"></a><a href="#FNanchor_2172"><span class="label">2172</span></a> In the present chapter I have partly rewritten two articles which have appeared in the <i>A. J. -A.</i>; the first, entitled, Were Olympic Victor Statues Exclusively of Bronze?, in vol. XIX, 2d Ser., -1915, pp. 57–62; the second, The Oldest Dated Victor Statue, in vol. XVIII, 2d Ser., 1914, pp. -156–164 and Fig. I. I am indebted to Dr. J. M. Paton, former editor-in-chief, for permission -to use them in the present work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2173"></a><a href="#FNanchor_2173"><span class="label">2173</span></a> On p. 16 he says: <i>id unum dubitari non potest quin Olympionicarum statuae posteriorum temporum -omnes ad unam aeneae fuerint</i>; on p. 17 he again says: <i>fieri non potest quin existimemus -illas statuas omnes ex aere factas fuisse</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2174"></a><a href="#FNanchor_2174"><span class="label">2174</span></a> <i>Inschr. v. Ol.</i>, p. 235.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2175"></a><a href="#FNanchor_2175"><span class="label">2175</span></a> II, <small>2</small>, p. 530 (note on P., VI, 1.1).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2176"></a><a href="#FNanchor_2176"><span class="label">2176</span></a> F. W., under no. 213, p. 101.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2177"></a><a href="#FNanchor_2177"><span class="label">2177</span></a> <i>Denkm.</i><sup>3</sup>, p. 101; Engl. ed., p. 117.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2178"></a><a href="#FNanchor_2178"><span class="label">2178</span></a> VI, 1.1–18.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2179"></a><a href="#FNanchor_2179"><span class="label">2179</span></a> Pauly-Wissowa, VII, pp. 2189 f.; and <i>cf.</i> Brunn, I, p. 72. See <i>supra</i>, Ch. III, School of Argos, -pp. 109–110.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2180"></a><a href="#FNanchor_2180"><span class="label">2180</span></a> Brunn, I, p. 34; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2181"></a><a href="#FNanchor_2181"><span class="label">2181</span></a> The inscription gives a fragmentary enumeration of various victories: <i>Inschr. v. Ol.</i>, 234, p. 346; -see <i>infra</i>, Ch. VIII, p. 360 and n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2182"></a><a href="#FNanchor_2182"><span class="label">2182</span></a> <i>Inschr. v. Ol.</i>, 235, pp. 346–347; see <i>infra</i>, Ch. VIII, p. 360 and n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2183"></a><a href="#FNanchor_2183"><span class="label">2183</span></a> Ch. IV, pp. 254–5; <i>Bronz. v. Ol.</i>, pp. 10–11; Tafelbd., Pl. II, 2, 2a; F. W., 322; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2184"></a><a href="#FNanchor_2184"><span class="label">2184</span></a> <i>Bronz. v. Ol.</i>, pp. 11–12; Tafelbd., Pl. III, 3, 3a; F. W., 324. See <i>supra</i>, p. 255.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2185"></a><a href="#FNanchor_2185"><span class="label">2185</span></a> <i>Bronz. v. Ol.</i>, p. 12; Tafelbd., Pl. IV, 5, 5a. Furtwaengler assigned it to a statue “<i>freien -Stiles</i>.” <i>Cf.</i> F. W., 325.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2186"></a><a href="#FNanchor_2186"><span class="label">2186</span></a> <i>Bronz. v. Ol.</i>, p. 22; Tafelbd., Pl. VI, no. 63. Even the veins are here indicated.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2187"></a><a href="#FNanchor_2187"><span class="label">2187</span></a> <i>Bronz. v. Ol.</i>, pp. 12–13; Tafelbd., Pl. IV, nos. 6, 7, 8, 10, 11, etc., and see text on p. 16. In -this connection we have omitted bronze fragments in modern museums known to have once -stood in the Altis, <i>e. g.</i>, the head from Beneventum (Fig. 3) in the Louvre: B. B., 324; von -Mach, 481. These have been already discussed in Ch. II, pp. 62 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2188"></a><a href="#FNanchor_2188"><span class="label">2188</span></a> E. Curtius, <i>Peloponnesos</i>, 1851–2, I, p. 85; II, pp. 16 and 96, n. 14; F. Dahn, Die Germanen in -Griechenland, in <i>A. Z.</i>, XL, 1882, pp. 128 f. Of course, long before the barbarians entered Greece -many of the best of these statues had been removed to Italy by Roman generals and emperors, -especially Nero, and others were destroyed in various ways.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2189"></a><a href="#FNanchor_2189"><span class="label">2189</span></a> He won in Ol. 59 ( = 544 B. C.): P., VI, 18.7; Hyde, 187; Foerster, 113.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2190"></a><a href="#FNanchor_2190"><span class="label">2190</span></a> He won in Ol. 61 ( = 536 B. C.): P., <i>l. c.</i>; Hyde, 188; Foerster, 120.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2191"></a><a href="#FNanchor_2191"><span class="label">2191</span></a> That of Rhexibios was of fig-wood and that of Praxidamas of cypress, and consequently less -decayed than the other. We know that cypress-wood was largely used for the early ξόανα because -of its hardness and durability: <i>e. g.</i>, the gilded statue in Ephesos, mentioned by Xenophon, <i>Anab.</i>, -V, 3.12. Theophrastos speaks of the durability of this wood: <i>de Plant. hist.</i>, V, 4.2 (χρονιώτατα -δοκεῖ τὰ κυπαρίττινα εἶναι). <i>Cf.</i> Hehn, <i>Kulturpflanzen und Haustiere</i><sup>6</sup>, 1894, pp. 276 f.; H. -Bluemner, <i>Technologie und Terminologie d. Gewerbe und Kuenste bei Griechen und Roemern</i>, 1879, -II, pp. 257 f.; Hitz.-Bluemn., II, <small>2</small>, p. 625.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2192"></a><a href="#FNanchor_2192"><span class="label">2192</span></a> VII, 27.5. Scherer also, p. 18, n. 4, adduces a passage from the work of the second-century -A. D. rhetorician Aristeides, κατὰ τῶν ἐξορχ., II, p. 544 (ed. Dindorf), which he thinks points to -the exclusive use of metal for victor statues: τοὺς ἐπὶ στεφανιτῶν ἀγώνων σκεψώμεθα, οἷον τὸν Δωριέα -... καὶ πάντας, ὦν εἰκόνες χαλκαί; he also refers to a passage in Dio Chrysost., <i>Orat.</i>, XXVIII, -A, p. 531 R (289 M).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2193"></a><a href="#FNanchor_2193"><span class="label">2193</span></a> F. W., no. 213, p. 101; Scherer, p. 18, n. 3; Vischer, <i>Aesthetik</i>, III, §607, p. 377; and <i>cf.</i> S. -Reinach, <i>R. Ét. Gr.</i>, XX, p. 413.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2194"></a><a href="#FNanchor_2194"><span class="label">2194</span></a> See Koehler, <i>Gesam. Schriften</i> (ed. Stephani), VI, p. 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2195"></a><a href="#FNanchor_2195"><span class="label">2195</span></a> VI, 1.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2196"></a><a href="#FNanchor_2196"><span class="label">2196</span></a> See Hyde, <i>op. cit.</i>, Catalogue, pp. 3–24. There 188 victors are listed, Philon of Corcyra -appearing twice, nos. 91 and 136.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2197"></a><a href="#FNanchor_2197"><span class="label">2197</span></a> <i>H. N.</i>, XXXIV, 16.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2198"></a><a href="#FNanchor_2198"><span class="label">2198</span></a> P., VI, 1.1, says that not all victors set up statues. This has been discussed in Ch. I, p. 27.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2199"></a><a href="#FNanchor_2199"><span class="label">2199</span></a> Pliny differentiates carefully between <i>ars sculptura</i> (<i>i. e.</i>, sculpture in stone) and <i>ars statuaria</i> -(<i>i. e.</i>, in bronze): thus Bk. XXXIV of the <i>H. N.</i> is concerned with the latter, Bk. XXXVI with -the former. In XXXVI, 15, he says that <i>sculptura</i> is the older, and that both bronze statuary and -painting began with Pheidias in Ol. 83 ( = 448–445 B. C.), a statement which is inconsistent with -XXXIV, 83, where he speaks of Theodoros (of the middle or second half of the sixth century -B. C.) as casting a likeness of himself in bronze. But it is well known that Pliny in his long work -quotes from a variety of sources, without any attempt to reconcile them.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2200"></a><a href="#FNanchor_2200"><span class="label">2200</span></a> Gurlitt, <i>Ueber Pausanias</i>, p. 414, says, less correctly, one-sixth. Forty inscribed bases may be -referred to victor statues mentioned by Pausanias, while 63 others have been referred to victor -statues not mentioned by him: see <i>infra</i>, Ch. VIII, pp. 340 f., 353 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2201"></a><a href="#FNanchor_2201"><span class="label">2201</span></a> Taken from Treu’s account in <i>Bildw. v. Ol.</i>, pp. 29–34 and 216–218.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2202"></a><a href="#FNanchor_2202"><span class="label">2202</span></a> Chapter III, <i>supra</i>, pp. 162–3; <i>a</i> = <i>Bildw. v. Ol.</i>, Tafelbd., Pl. VI, 1–4 (with fragments, <i>ibid.</i>, -5–6, 7–8, and figs. 30–32 in the text); <i>b</i> = <i>ibid.</i>, Pl. VI, 9–10.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2203"></a><a href="#FNanchor_2203"><span class="label">2203</span></a> Textbd., p. 216, fig. 241; Tafelbd., Pl. LVI, 2. Furtwaengler, despite the size and material of -this torso, ascribed it to the statue of a boy victor: <i>50stes Berl. Winckelmannsprogr.</i>, 1890, pp. -147–148; similarly Treu, <i>l. c.</i>; both refer it to the fifth century B. C. and to a Peloponnesian -sculptor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2204"></a><a href="#FNanchor_2204"><span class="label">2204</span></a> Tafelbd., Pl. LVI, 3; F. W., 330.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2205"></a><a href="#FNanchor_2205"><span class="label">2205</span></a> Tafelbd., Pl. LVI. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2206"></a><a href="#FNanchor_2206"><span class="label">2206</span></a> P. 216, n. 4 and fig. 242; <i>a</i> = buttocks; <i>b</i> = right upper leg; <i>c</i> = bent upper leg with knee; <i>d</i> = -upper arm bent at elbow.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2207"></a><a href="#FNanchor_2207"><span class="label">2207</span></a> V, 17.3; here he enumerates images of ivory and gold, the marble <i>Hermes</i> of Praxiteles, an -<i>Aphrodite</i> in bronze. Similarly, in II, 17.6, he mentions dedications, of different materials, in the -Heraion of Argos; in I, 26.3, he mentions a bronze statue of Olympiodoros at Delphi dedicated -by the Phokians, but says nothing of the material of two statues at Athens, where most of the -offerings were marble; in I, 28.1, he speaks of a bronze statue of Kylon on the Akropolis; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2208"></a><a href="#FNanchor_2208"><span class="label">2208</span></a> P., VIII, 40.1; to be discussed in the second part of the present chapter, pp. 326 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2209"></a><a href="#FNanchor_2209"><span class="label">2209</span></a> <i>R. Ét. Anc.</i>, X, 1908, pp. 161 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2210"></a><a href="#FNanchor_2210"><span class="label">2210</span></a> <i>Bildw. v. Ol.</i>, Tafelbd., Pls. XLVI-XLVIII; Textbd., pp. 182 f. and Figs. 210 f.; and <i>Ergebnisse</i>, -II (<i>Baudenkmaeler</i>), Pl. XCIII (basis) and pp. 153–5; <i>cf.</i> P., V, 26.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2211"></a><a href="#FNanchor_2211"><span class="label">2211</span></a> P., V, 17.3 (already mentioned on p. 325, n. 3).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2212"></a><a href="#FNanchor_2212"><span class="label">2212</span></a> See Treu, <i>Bildw. v. Ol.</i>, p. 216. To-day marble is far commoner than bronze for artistic work; -the reverse was true in antiquity. Many varieties of bronze—a combination of copper and tin in -varying proportions—were named from places where it was manufactured: <i>e. g.</i>, Corinthian, -Delian (the favorite with Myron), Aeginetan (the favorite with Polykleitos), etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2213"></a><a href="#FNanchor_2213"><span class="label">2213</span></a> <i>Cf.</i> Furtwaengler, <i>Bronz. v. Ol.</i>, pp. 21–2; <i>50stes Berl. Winckelmannsprogr.</i>, p. 147; Reisch, p. -39. Good examples are the Tuebingen bronze hoplitodrome discussed in Ch. IV, pp. 206 f. -(Fig. 42) and the παῖς κέλης from Dodona (Carapanos, <i>Dodone et ses Ruines</i>, Pl. XIII. 1). For -diskoboloi, see E. von Sacken, <i>Die ant. Bronzen des k. k. Muenz- und Antiken-Cabinetes in Wien</i>, -1871, Pls, XXXV, 1, XXXVII, 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2214"></a><a href="#FNanchor_2214"><span class="label">2214</span></a> VIII, 40.1: Φιγαλεῦσι δὲ ἀνδριάς ἐστιν ἐπὶ τῆς ἀγορᾶς Ἀρ<ρα> χίωνος τοῦ παγκρατιαστοῦ, τά -τε ἄλλα ἀρχαῖος καὶ οὐχ ἥκιστα ἐπὶ τῷ σχήματι· οὐ διεστᾶσι μὲν πολὺ οἱ πόδες, καθεῖνται δὲ παρὰ -πλευρὰν αἱ χεῖρες ἄχρι τῶν γλουτῶν. πεποίηται μὲν δὴ ἡ εἰκὼν λίθου, λέγουσι δὲ καὶ ἐπίγραμμα ἐπ’ -αὐτὴν γραφῆναι. καὶ τοῦτο μὲν ἠφάνιστο ὑπὸ τοῦ χρόνου, κ.τ.λ. -</p> -<p> -On the various spellings of the name, Arrhachion, Arrhachon, Arrhichion, etc., see critical -note in Rutgers, p. 19, and Foerster, no. 103.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2215"></a><a href="#FNanchor_2215"><span class="label">2215</span></a> Both Africanus (see Rutgers, <i>l. c.</i>), and Pausanias (<i>l. c.</i>) date the third victory. Pausanias -and Philostratos, 21, place the other two victories in the Ols. just preceding. <i>Cf.</i> Rutgers, -p. 20, n. 1, and Foerster, nos. 98, 101, 103. The story how Arrhachion expired at the moment -of victory, throttled by his adversary, whose toe he succeeded in putting out of joint, is told by -Africanus, Pausanias (VIII, 40.2), and Philostratos (<i>Imag.</i>, II, 6 = p. 411); Pausanias also mentions -that the body was crowned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2216"></a><a href="#FNanchor_2216"><span class="label">2216</span></a> Frazer, IV, pp. 391–2; III, pp. 40–1. The statue has otherwise not been published. In all -probability it is the same one listed by Waldemar Deonna, in his <i>Les Apollons archaïques</i>, Geneva, -1909, p. 187, no. 79. This was seen at Phigalia in 1891 by M. Chamonard and notices of it are -to be found in the following works: <i>B. C. H.</i>, XV, 1891, pp. 440 and 448; <i>Chroniques d’Orient</i>, -II, p. 36; <i>R. Ét. gr.</i>, 1892, p. 127; Mueller, <i>Nacktheit und Entbloessung in d. altoriental. und -aelteren griech. Kunst</i>, Diss. inaug., 1906, p. 100; Rouse, p. 307. -</p> -<p> -Pausanias’ description of Arrhachion’s statue is discussed by the following: Scherer, pp. 16 and -23; Iwan v. Mueller, <i>Handbuch</i>, VI, p. 530: Dumont, <i>Mélanges d’ Arch.</i>, p. 53; Lange, <i>Darstellung -des Menschen in der aelteren griech. Kunst</i>, 1899; Brunn, <i>Griech. Kunstgesch.</i>, II, p. 73; Overbeck, -<i>Griech. Kunstmythol.</i>, III, <i>Apollon</i>, p. 12, no. 9; Klein, p. 146; Reisch, p. 40; Collignon, I, -p. 117, n. 1, and <i>B. C. H.</i>, V, 1881, p. 321; <i>cf.</i> Deonna, <i>op. cit.</i>, p. 13, n. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2217"></a><a href="#FNanchor_2217"><span class="label">2217</span></a> See Lange, <i>op. cit.</i>, pp. XI f., who states the formula, which we have already given <i>supra</i>, Ch. -IV, p. 175, <i>cf.</i> Loewy, <i>Die Naturwiedergabe in der aelteren griech. Kunst</i>, 1900, pp. 25, 27; <i>id.</i>, -<i>Lysipp und seine Stellung in der griech. Kunst</i>, pp. 17–18. On the pose, <i>cf.</i> S. Reinach, <i>Manuel -de Philologie classique</i> (ed. 2), 1907, II, p. 91 n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2218"></a><a href="#FNanchor_2218"><span class="label">2218</span></a> Deonna, <i>op. cit.</i>, p. 85, says that the size of the αἰδοῖα is an indication of archaism, as the earlier -artists exaggerated them in order to show the sex better. Figs. 7 (example from the Kerameikos) -and 72 (example from Delphi), on pp. 132 and 179 respectively of his work, resemble our statue -in this feature.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2219"></a><a href="#FNanchor_2219"><span class="label">2219</span></a> I, pp. 21 f.; <i>cf.</i> <i>Rhein. Mus.</i>, N. F., X, 1856, pp. 153 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2220"></a><a href="#FNanchor_2220"><span class="label">2220</span></a> See bibliography in Collignon, I, pp. 117–18; <i>cf.</i> G. Kieseritzky, <i>Jb.</i>, VII, 1892, pp. 182 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2221"></a><a href="#FNanchor_2221"><span class="label">2221</span></a> <i>A. Z.</i>, XL, 1882, pp. 55 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2222"></a><a href="#FNanchor_2222"><span class="label">2222</span></a> <i>Mw.</i>, p. 712.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2223"></a><a href="#FNanchor_2223"><span class="label">2223</span></a> I, pp. 117–19; more fully in <i>Gaz. Arch.</i>, 1886, pp. 235 f.; <i>cf.</i> also his later treatment in <i>Mon. -Piot</i>, XX, 1913, pp. 5 f.; he assumes less influence in the corresponding archaic draped female -type. <i>Cf.</i> also, for a similar view, F. W., p. 11 (to no. 14); von Sybel, <i>Weltgesch. d. Kunst</i>, p. 114; -Kieseritzky, <i>l. c.</i>; Loewy, <i>Jh. oest. arch. Inst.</i>, XII, 1909, pp. 243 f.; <i>cf.</i> <i>id.</i>, <i>ibid.</i>, XIV, 1911, -pp. 1 f,; <i>id.</i>, <i>Griech. Plastik</i>, 1911, p. 5. While Loewy believes Egyptian influence reached Greece -via Crete, Poulson believes that it came via Phœnicia: see the latter’s <i>Der Orient u. d. fruehgriech. -Kunst</i>, 1912, and <i>cf.</i> his article in <i>Berl. Philol. Wochenschr.</i>, XXXIV, 1914, cols. 61 f.; -Richardson, p. 39; E. Kroker, <i>Jb.</i>, I, 1886, pp. 114 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2224"></a><a href="#FNanchor_2224"><span class="label">2224</span></a> <i>Gaz. B.-A.</i>, XXI, 1899, pp. 177 f.; 313 f.; for a similar view, see also Overbeck, I, pp. 37 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2225"></a><a href="#FNanchor_2225"><span class="label">2225</span></a> <i>Les Apollons archaïques</i>, pp. 21 f.; <i>id.</i>, <i>L’Archéologie, sa valeur, ses methodes</i>, II, pp. 193 f.; -<i>id.</i>, L’influence égyptienne sur l’attitude du type statuaire debout dans l’archaïsme grec, in <i>Festgabe -H. Bluemner ueberreicht</i>, 1914, pp. 102–142.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2226"></a><a href="#FNanchor_2226"><span class="label">2226</span></a> <i>Greek Sculpture, Its Spirit and Principles</i>, 1903, p. 84. On p. 324, however, he admits Oriental -influence on the Greek minor arts, especially that of Assyria on early vases.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2227"></a><a href="#FNanchor_2227"><span class="label">2227</span></a> So Pottier, <i>B. C. H.</i>, XVIII, 1894, pp. 408 f.; <i>cf.</i> Gardner, <i>Hbk.</i>, pp. 47 f.; <i>Sculpt.</i>, pp. 17 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2228"></a><a href="#FNanchor_2228"><span class="label">2228</span></a> Schliemann, <i>Orchomenos</i>, Pl. I (restored); Perrot-Chipiez, VIII, p. 543, fig. 220 (fragment), -(restored on p. 544, fig. 221, from Schliemann); Springer-Michaelis, p. 115, fig. 246; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2229"></a><a href="#FNanchor_2229"><span class="label">2229</span></a> <i>E. g.</i>, I, 42.5; II, 19.3; VII, 5.5; <i>cf.</i> IV, 32.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2230"></a><a href="#FNanchor_2230"><span class="label">2230</span></a> I, 98.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2231"></a><a href="#FNanchor_2231"><span class="label">2231</span></a> Bulle dates the Old Kingdom from the 30th to the 25th centuries B. C. But early Egyptian -dates are too unsettled to be discussed here. For a tabular view of the chronology of the Egyptian -dynasties as given by different scholars—Sethe, Meyer, Petrie, Breasted, Maspero, etc., -see <i>Encycl. Brit.</i>, eleventh ed., vol. IX, p. 79 (in the article on Egypt, Chronology and History, -by R. S. Poole and F. Ll. Griffith). Breasted, <i>A History of Egypt</i><sup>2</sup>, 1916, chart on p. 21, dates -dynasties I-VI, 3400–2475 B. C.; XI-XVII, 2160–1580 B. C.; XVIII-(part of) XX, 1580–1150 -B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2232"></a><a href="#FNanchor_2232"><span class="label">2232</span></a> Both are given by Bulle, Pl. 5; <i>cf.</i> <i>id.</i>, Pl. 37 (“Apollos” of Tenea and Volomandra); Ra-nefer, -in Maspero, <i>Art in Egypt</i>, 1912, p. 82, fig. 148; Perrot-Chipiez, I, 1882, p. 655, fig. 436; Tepemankh, -in Maspero, p. 84, fig. 155, and in Perrot-Chipiez, p. 678, fig. 461. The statue of Ra-nefer -is 1.73 meters tall, that of Tepemankh 1.66 meters.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2233"></a><a href="#FNanchor_2233"><span class="label">2233</span></a> Ka-aper in Bulle, Pls. 6 and 7 (two views of the head); von Bissing, <i>Denkm. aegypt. Skulpt.</i>, -I, 1914, Pl. XI; Perrot-Chipiez, I, p. 11, fig. 7; Maspero, <i>op. cit.</i>, p. 83, figs. 151, 152; <i>id.</i>, <i>Manual -of Egyptian Archæology</i>, 1895, p. 218, fig. 188, and p. 221, fig. 191. The “wife,” in Bulle, Pl. 9 -(two views); Maspero, p. 83, fig. 154; <i>id.</i>, <i>Manual</i>, p. 222, fig. 192.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2234"></a><a href="#FNanchor_2234"><span class="label">2234</span></a> Breasted, <i>A History of Egypt</i><sup>2</sup>, <i>l. c.</i>, dates dynasties XI-XII, 2160–1788 B. C.; the Hyksos, -dynasties XIII-XVII, 1788–1580 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2235"></a><a href="#FNanchor_2235"><span class="label">2235</span></a> Bulle. Pls. 11 (two views) and 12 (head); von Bissing, <i>op. cit.</i>, I, Pl. XL, A (left); Maspero, <i>Art -in Egypt</i>, p. 110, figs. 203–204.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2236"></a><a href="#FNanchor_2236"><span class="label">2236</span></a> We should add to the New Empire the Deltaic dynasties, from the twenty-first on. Breasted, -<i>l. c.</i>, assigns to the New Empire dynasties XVIII-XIX and part of XX, 1580–1150 B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2237"></a><a href="#FNanchor_2237"><span class="label">2237</span></a> Bulle, Pl. 17 (left); Maspero, <i>Hist. anc. des peuples de l’Orient classique</i>, II, p. 531; <i>id.</i>, <i>Art in -Egypt</i>, p. 201, fig. 390 (= the Lady Naï); <i>Mon. Piot</i>, II, 1895, Pls. II-IV.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2238"></a><a href="#FNanchor_2238"><span class="label">2238</span></a> Bulle, Pl. 17 (right); von Bissing, II, Pl. LXIV; Maspero, <i>Hist.</i>, III, pp. 503–504 and Pl. II; -<i>id.</i>, <i>Art in Egypt</i>, p. 238, fig. 455; Perrot-Chipiez, I, p. 714, fig. 481 (profile). Though the face is -lifeless, the bust and lower trunk are delicately modeled.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2239"></a><a href="#FNanchor_2239"><span class="label">2239</span></a> We see the Egyptian treatment of the hair especially marked in the upper part of a stone -“Apollo” discovered at Eleutherna in Crete, which is now in the Candia Museum: <i>Rendiconti -della R. Accad. dei Lincei</i>, 1891, p. 599 (Loewy); <i>Rev. Arch.</i>, 1893, Pls. III-IV (Joubin); Gardner, -<i>Hbk.</i>, p. 147, fig. 21; Perrot-Chipiez, p. 431, fig. 208; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2240"></a><a href="#FNanchor_2240"><span class="label">2240</span></a> <i>E. g.</i>, in the statue of Ra-nefer.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2241"></a><a href="#FNanchor_2241"><span class="label">2241</span></a> <i>E. g.</i>, in the statue of the <i>Sheik-el-Beled</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2242"></a><a href="#FNanchor_2242"><span class="label">2242</span></a> High-placed ears are common to many archaic Greek works other than the “Apollos.” They -persist even in some of the figures on the Parthenon frieze.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2243"></a><a href="#FNanchor_2243"><span class="label">2243</span></a> On these common characteristics, see Richardson, p. 39; <i>cf.</i> H. N. Fowler, <i>History of Sculpture</i>, -1916, pp. 59–60; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2244"></a><a href="#FNanchor_2244"><span class="label">2244</span></a> Pottier, <i>op. cit.</i>, p. 414, assumes a religious reason for the left foot being advanced in both -types. For another, natural explanation, see Homolle, <i>de antiquiss. Dianae Simul.</i>, p. 95, -quoted by Collignon, I, p. 118, n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2245"></a><a href="#FNanchor_2245"><span class="label">2245</span></a> The Greeks first copied the type in statuettes: <i>e. g.</i>, alabaster figurines from Naukratis: W. -Flinders Petrie, <i>Naukratis</i><sup>2</sup>, 1888, I, Pls. 1, 3, 4; G. Kieseritzky, <i>Jb.</i>, VII, 1892, Pl. VI (with head, -three views); <i>ibid.</i> p. 189 (figure in Boston). Pottier, <i>op. cit.</i>, p. 409, cites two alabaster examples -from Egypt (probably from Naukratis) which are nude, and on Pl. XVII, he reproduces four terra-cotta -draped figurines in the Louvre, of Phœnician manufacture, similar to Egyptian works. -The nudity of the “Apollos” marks the distinction between Greek and barbarian art.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2246"></a><a href="#FNanchor_2246"><span class="label">2246</span></a> Brunn, in his <i>Kunst bei Homer</i>, 1868, quoted by Gardner, <i>Hbk.</i>, p. 47, showed by a very true -analogy the way in which the Greek artist became an imitator. The Greeks borrowed their alphabet -from Phœnicia, but wrote Greek and not Phœnician with it; just so the Greek artist borrowed -the alphabet of art from Egypt, but with it wrote his own language of art.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2247"></a><a href="#FNanchor_2247"><span class="label">2247</span></a> <i>Gesch. des Materialismus</i>,<sup>3</sup> I, p. 127 (quoted by F. W., on p. 12).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2248"></a><a href="#FNanchor_2248"><span class="label">2248</span></a> This is the view of K. Kouroniotis, who carefully examined them. I quote his words incorporated -in Dr. Svoronos’ letter to me of Dec. 29, 1911: τὰ γράμματα ἐπὶ τοῦ κορμοῦ, νομίζω -ὅτι δὲ ἔχουσι καμμίαν σημασίαν, ἴσως δὲ μάλιστα εἶνε τὰ χαράγματα νέου τινός. -</p> -<p> -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 -B. C.: see <i>Inschr. v. Ol.</i>, p. 235. Dittenberger and Purgold have referred two inscribed convex -bronze fragments found in the Altis to the flanks of victor statues set up in imperial times: <i>ibid.</i>, -nos. 234–5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2249"></a><a href="#FNanchor_2249"><span class="label">2249</span></a> Only one other victor from Phigalia is known, Narykidas, who won πάλῃ some time in -the first half of the fourth century B. C., as the mutilated epigram and artist’s name found upon -fragments of the pedestal of his statue at Olympia attest, a date out of the question for our statue: -see <i>Inschr. v. Ol.</i>, no. 161: <i>cf.</i> P., VI, 6, 1; Foerster, no. 324.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2250"></a><a href="#FNanchor_2250"><span class="label">2250</span></a> P., VI, 15.8; Hyde, 148; Foerster, 61, 62.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2251"></a><a href="#FNanchor_2251"><span class="label">2251</span></a> P., I, 28.1; <i>cf.</i> for the date, Foerster, no. 55. See <i>infra</i>, p. 362.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2252"></a><a href="#FNanchor_2252"><span class="label">2252</span></a> P., III, 13.9; Foerster, nos. 86–90. See <i>infra</i>, p. 362.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2253"></a><a href="#FNanchor_2253"><span class="label">2253</span></a> P., VI, 3.8; Hyde, 29; Foerster, 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2254"></a><a href="#FNanchor_2254"><span class="label">2254</span></a> P., VI, 13.2; it was accordingly set up about Ols. 77–8 ( = 472–468 B. C.): see Hyde, no. 111, -and <i>cf.</i> p. 48; Foerster, 39, 41–46. See <i>infra</i>, p. 362.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2255"></a><a href="#FNanchor_2255"><span class="label">2255</span></a> The god was so described in the Homeric Hymn to the Delian Apollo, v. 134, and that to -the Pythian Apollo, v. 272. On the grounds of long hair and nudity G. Koerte identified the example -from Orchomenos: see his article, Die Antiken Skulpturen aus Boeotien, <i>A. M.</i>, III, 1878, -pp. 305 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2256"></a><a href="#FNanchor_2256"><span class="label">2256</span></a> So Vitet, <i>Gaz. B.-A.</i>, XII, 1862, p. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2257"></a><a href="#FNanchor_2257"><span class="label">2257</span></a> See list in Deonna, <i>Les Apollons archaïques</i>, p. 13, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2258"></a><a href="#FNanchor_2258"><span class="label">2258</span></a> <i>E. g.</i>, on an amphora from Vienne: see <i>Annali</i>, XXI, 1849, Pl. D., and pp. 159 f.; on another -from Nola, now in the British Museum: <i>B. M. Vases</i>, III, p. 230, E 336; <i>cf.</i> also <i>ibid.</i>, E 313; on -a wall-painting from Pompeii: <i>A. Z.</i>, XL, 1882, p. 58; on a marble bas-relief in the Palazzo -Corsini in Florence: Duetschke, II, p. 114, no. 283. These examples represent the god only.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2259"></a><a href="#FNanchor_2259"><span class="label">2259</span></a> I, 98. <i>Cf.</i> Brunn, <i>Griech. Kunstgesch.</i>, II, p. 76, and <i>Griech. Kuenstler</i>, I, pp. 36–37, no. 11; -Mueller, <i>Nacktheit und Entbloessung in d. altorient. und aelteren griech. Kunst</i>, Diss. inaug., -1906, pp. 112 and 122; Roscher, <i>Lex.</i>, I, <i>s. v.</i> Apollon, p. 450; Overbeck, I, pp. 38 and 78.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2260"></a><a href="#FNanchor_2260"><span class="label">2260</span></a> P., VIII, 53. 7–8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2261"></a><a href="#FNanchor_2261"><span class="label">2261</span></a> P., II, 32. 5; <i>cf.</i> IX, 35. 3; described by Plut., <i>de Musica</i>, 14 (p. 1136); <i>cf.</i> <i>Annali</i>, XXXVI, -1864, p. 254; etc. Discussed <i>infra</i>, p. 335 and n. 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2262"></a><a href="#FNanchor_2262"><span class="label">2262</span></a> See list in <i>B. M. Sculpt.</i>, I, pp. 81 f. (from which we have taken some of the following examples).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2263"></a><a href="#FNanchor_2263"><span class="label">2263</span></a> Petrie, <i>Naukratis</i>, I, Pl. 1, fig. 4.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2264"></a><a href="#FNanchor_2264"><span class="label">2264</span></a> <i>A. Z.</i>, XL, 1882, p. 323.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2265"></a><a href="#FNanchor_2265"><span class="label">2265</span></a> Deonna, <i>op. cit.</i>, nos. 1, 2; <i>cf.</i> <i>Gaz. Arch.</i>, 1886, p. 235.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2266"></a><a href="#FNanchor_2266"><span class="label">2266</span></a> See Deonna, nos. 28 f.; <i>B. C. H.</i>, X, 1886, pp. 66 f.; B. B., 12; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2267"></a><a href="#FNanchor_2267"><span class="label">2267</span></a> <i>B. M. Sculpt.</i>, no. 210.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2268"></a><a href="#FNanchor_2268"><span class="label">2268</span></a> <i>B. M. Sculpt.</i>, nos. 202 (torso = Petrie, <i>Naukratis</i>, I, Pl. I, fig. 9) and 204 (torso = <i>Naukratis</i>, I, -Pl. I, fig. 3).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2269"></a><a href="#FNanchor_2269"><span class="label">2269</span></a> <i>Ibid.</i>, no. 203 (= <i>Naukratis</i>, II, Pl. XIV, fig. 13).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2270"></a><a href="#FNanchor_2270"><span class="label">2270</span></a> See <i>A. M.</i>, IV, 1879, p. 304.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2271"></a><a href="#FNanchor_2271"><span class="label">2271</span></a> <i>See</i> Rapporto d’un viaggio nella Grecia nel 1860, in <i>Annali</i>, XXXIII, 1861, p. 80.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2272"></a><a href="#FNanchor_2272"><span class="label">2272</span></a> <i>J. H. S.</i>, I, 1880, pp. 168 f., already quoted. For the monument of Dermys and Kitylos, see -<i>Gaz. Arch.</i>, 1878, Pl. 29; <i>A. M.</i>, III, 1878, Pl. XIV; F. W., 44.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2273"></a><a href="#FNanchor_2273"><span class="label">2273</span></a> On the subject of hair on “Apollo” statues, see Overbeck, <i>Griech. Kunstmythol.</i>, III, <i>Apollon</i>, -p. 14 (<i>cf.</i> note f); and <i>cf.</i> Milchhoefer, <i>A. Z.</i>, XXXIX, 1881, p. 54, who discards this feature as a -criterion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2274"></a><a href="#FNanchor_2274"><span class="label">2274</span></a> For examples, see Deonna, <i>Les Apollons archaïques</i>, p. 12, n. 4 and n. 5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2275"></a><a href="#FNanchor_2275"><span class="label">2275</span></a> <i>Cf.</i> the colossal bearded statue of Dionysos found in the quarries on Naxos (Komiaki), described -by Deonna, p. 221. In a preceding note (p. 334, n. 4) we have already listed examples of the type -of Apollo appearing on vases, etc.; see <i>B. M. Sculpt.</i>, I, p. 82.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2276"></a><a href="#FNanchor_2276"><span class="label">2276</span></a> The date of these sculptors is fixed by that of their pupil, the Aeginetan Kallon, who lived at -the beginning of the fifth century B. C.; <i>cf.</i> Akropolis inscription, <i>I. G. B.</i>, no. 27. This statue is -mentioned by P., IX, 35. 3, as holding the <i>Graces</i> in one hand. Plutarch, who cites Antikles and -Istros as his authorities, gives a better description of it in <i>de Musica</i>, 14; he says that it held the -bow in the right hand and the <i>Graces</i> playing on musical instruments in the left. A scholion on -Pindar, <i>Ol.</i>, XIV, 16, Boeckh, p. 293, mentions such an image of Apollo in Delphi, manifestly a -copy of the Delian one. Both the scholiast and Macrobius, <i>Saturnalia</i>, 1, 17. 13, place the bow -in the left hand and the <i>Graces</i> in the right, an arrangement confirmed by Athenian coins which -are copied from the replica of the statue in Athens (Bekker, <i>Anecdota gr.</i>, I, p. 299, ll. 8–9). -Frazer, V, p. 174, figs. 8–9, reproduces two of these coins.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2277"></a><a href="#FNanchor_2277"><span class="label">2277</span></a> This image, known as the <i>Philesian Apollo</i>, already discussed on pp. 118f., is described by Pliny, -<i>H. H.</i>, XXXIV, 75. It was made between 494 and 479 B. C.: see Frazer, IV, pp. 429–30. It is copied -on Milesian coins, which represent the god nude, holding a stag in the right hand and a bow in the -left: see Overbeck, <i>Griech. Mythol.</i>, III, <i>Apollon</i>, Muenztafel I, 22 f. P., IX, 10.2, mentions a -cedar replica of the statue in Thebes. In the British Museum is a bronze, the so-called -Payne Knight statuette, a copy of the one on the coins; it is reproduced by Frazer, <i>l. c.</i>, p. 430, -fig. 45 (= <i>B. M. Bronzes</i>, no. 209); Frazer mentions as other copies a statuette in Berlin, -described in <i>A. Z.</i>, XXXVII, 1879, pp. 84–91, and one from the Ptoian sanctuary, described in -<i>B. C. H.</i>, X, 1886, pp. 190–6, and Pl. IX. On Milesian reliefs, see one published by Kekulé von -Stradonitz, Ueber d. Apoll. des Kanachos, <i>Sitzb. Berl. Akad. d. Wiss.</i>, 1904, I, fig. on p. 787, and -p. 797, and another by Th. Wiegand, Siebenter vorlaeufiger Bericht ueber Ausgrabungen in -Milet und Didyma (<i>Abh. Berl. Akad. d. Wiss., Philosoph.-histor. Cl.</i>, 1911), p. 21.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2278"></a><a href="#FNanchor_2278"><span class="label">2278</span></a> Mentioned by P., X, 24. 5, and Philochoros, in <i>F. H. G.</i>, I, fragm. 22 on p. 387. Imperial Delphic -coins from the time of Hadrian on represent the god nude with outstretched arms; such -coin-types may be copies of this statue; <i>cf.</i> Frazer, V, p. 352.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2279"></a><a href="#FNanchor_2279"><span class="label">2279</span></a> See <i>B. C. H.</i>, XII, 1888, p. 468.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2280"></a><a href="#FNanchor_2280"><span class="label">2280</span></a> In the Ottoman Museum, Invent. no. 374; Reinach, <i>Rép.</i>, II, <small>1</small>, 78, 2. It is described by -Mendel, in <i>B. C. H.</i>, XXVI, 1902, pp. 467 f.; <i>cf.</i> Deonna, <i>Les Apollons archaïques</i>, p. 226, no. 127.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2281"></a><a href="#FNanchor_2281"><span class="label">2281</span></a> See Deonna, pp. 191 f., no. 81 and figs. 84–90; <i>cf.</i> Annali, XXXVI, 1864, p. 253 (Michaelis).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2282"></a><a href="#FNanchor_2282"><span class="label">2282</span></a> <i>Ibid.</i>, pp. 185 f., no. 77 and fig. 82.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2283"></a><a href="#FNanchor_2283"><span class="label">2283</span></a> <i>E. g.</i>, the two colossal statues from Cape Sounion discovered by Staïs in 1906 in front of the -ruins of the temple of Poseidon, and now in Athens, possibly meant for the Dioskouroi: see -Deonna, pp. 135–8, nos. 7–8 and figs. 14–17; for one, see <i>A. M.</i>, XXXI, 1906, pp. 363–4; Deonna, -no. 7, pp. 135 and 347; Staïs, <i>Marbres et Bronzes</i>, no. 2720, pp. 6–7 and fig.; Gardner, <i>Hbk.</i>, p. -197, fig. 40; it is 3.05 meters high (Staïs); two from Delphi, called either Kleobis and Biton, or -the Dioskouroi by Homolle, <i>B. C. H.</i>, XXIV, 1900, pp. 445 = B) and 446 (= A), and 450 f.; -Homolle here has the letters changed; his B = <i>Fouilles de Delphes</i>, IV, 1 (= our A, = Pl. 8B); see -Deonna, pp. 176–8, nos. 65–6, figs. 66–9; see list of statues from sanctuaries of Apollo and other -gods, <i>ibid.</i>, pp. 18–19.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2284"></a><a href="#FNanchor_2284"><span class="label">2284</span></a> See Milchhoefer, <i>A. Z.</i>, XXXIX, 1881, pp. 54–55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2285"></a><a href="#FNanchor_2285"><span class="label">2285</span></a> See Loeschke, <i>A. M.</i>, IV, 1879, p. 304; <i>cf.</i> Furtwaengler, <i>A. Z.</i>, XL, 1882, p. 57; Hiller von -Gaertringen, <i>Thera</i>, III, 1904, p. 285; Ross, <i>Reisen auf d. griech. Inseln des Aegaeischen Meeres</i>, -I, 1840, p. 8.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2286"></a><a href="#FNanchor_2286"><span class="label">2286</span></a> See Deonna, <i>Les Apollons archaïques</i>, pp. 238–9, no. 141; <i>B. M. Sculpt.</i>, 207 (= torso).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2287"></a><a href="#FNanchor_2287"><span class="label">2287</span></a> Deonna, p. 247, no. 155. This is one of the most recent of the series and belongs to the end -of the sixth or beginning of the fifth century B. C.: Orsi, <i>Monumenti antichi</i>, I, pp. 789 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2288"></a><a href="#FNanchor_2288"><span class="label">2288</span></a> Bulle, 37 (left).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2289"></a><a href="#FNanchor_2289"><span class="label">2289</span></a> <i>Vit. Apoll. Tyan.</i>, IV, 28; see <i>supra</i>, pp. 106–7. Scherer, <i>op. cit.</i>, pp. 23 ff., thought that this -statue conformed with the type of the <i>Apollo</i> of Kanachos already mentioned. Reisch, p. 40, -rightly believes that it had “<i>noch geschlossene Beine, aber geloeste Arme</i>,” <i>i. e.</i>, like the <i>Apollo</i> of -Tektaios and Angelion already discussed.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2290"></a><a href="#FNanchor_2290"><span class="label">2290</span></a> Arndt, <i>La Glyptothèque Ny-Carlsberg</i>, pp. 1–2 and Pls. I-II; Deonna, pp. 143–4, no. 21. It has -been ascribed to different artists of the last quarter of the sixth century B. C.: Lechat, <i>Au -Musée de l’Acropole</i>, pp. 359–60; Klein, I, p. 246 f.; we have already discussed it on pp. 127–8. -E. A. Gardner, <i>J. H. S.</i>, VIII, 1887, p. 190, refers some of the statues found at the Ptoian sanctuary -to athletes, but Holleaux believes that these statues represent Apollo: <i>B. C. H.</i>, X, 1886, -p. 68; <i>cf.</i> also Staïs, <i>Marbres et Bronzes</i>, p. 8. W. Vischer, <i>Kleine Schriften</i>, II, 1878, p. 307, -admits that some of the “Apollos” can be athletes, as Conze and Michaelis had done: <i>Annali</i>, -XXXIII, 861, p. 80.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2291"></a><a href="#FNanchor_2291"><span class="label">2291</span></a> See Deonna, p. 253.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2292"></a><a href="#FNanchor_2292"><span class="label">2292</span></a> Thus Scherer, p. 22, n. 3, and Reisch, p. 40, leave the question unsettled; Gardner, <i>Hbk.</i>, -p. 98, n. 1, thinks that the material for a decision as to a given statue, whether of this god or -that, or of a worshiper or athlete, hardly exists; Collignon, <i>Mythol. figurée de la Grèce</i>, p. 84, -recognizes that these statues stood for both gods and athletes; Hitz.-Bluemn., III, <small>1</small>, p. 262, -think that the type passes equally well for gods and sepulchral statues; Overbeck, I, pp. 114–115, and -F. W., p. 11, believe that it represents a general scheme for athletes, sepulchral statues, and Apollos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2293"></a><a href="#FNanchor_2293"><span class="label">2293</span></a> The first part of this chapter appeared, under the title The Positions of Victor Statues at Olympia, -in <i>A. J. A.</i>, XVI, 2d Ser., 1912, pp. 203–229, with Plan; the second part, entitled, Greek Literary -Notices of Olympic Victor Monuments outside Olympia, appeared in <i>Trans. Amer. Philol. Assn.</i>, -XLII, 1912, pp. 53–67. I am indebted to Dr. J. M. Paton, former editor-in-chief of the <i>A. J. A.</i>, -for permission to use the former, and to Prof. Clarence Bill, the present secretary of the American -Philological Association, for permission to use the latter. Only slight changes have been made -in the original articles for the present work. The summary of the last section, Statistics of -Olympic Victor Statuaries, is revised from my note published in <i>Proceedings of the American -Philological Association</i>, XLIV, 1913, pp. xxx-xxxi. I am also indebted to Professor Bill for -permission to use it in the present work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2294"></a><a href="#FNanchor_2294"><span class="label">2294</span></a>ἵππων ἀγωνιστῶν ... καὶ ἀνδρῶν ἀθλητῶν τε καὶ ἰδιωτῶν ὁμοίως (VI, 1.1).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2295"></a><a href="#FNanchor_2295"><span class="label">2295</span></a> VI, Chs. 1–16. 169 in my <i>de olympionicarum Statuis</i>: Philon of Kerkyra, who had two -statues, is there named twice, under nos. 91 and 136.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2296"></a><a href="#FNanchor_2296"><span class="label">2296</span></a> VI, Chs. 17–18.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2297"></a><a href="#FNanchor_2297"><span class="label">2297</span></a> See <i>Ergebn. v. Ol.</i>, Karten u. Plaene, 1899, III, IV (Doerpfeld); <i>cf.</i> also H. Luckenbach, <i>Olympia -und Delphi</i>, 1904, p. 11, fig. 5 (= <i>A. J. A.</i>, XVI, 1912, p. 204, fig. 1).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2298"></a><a href="#FNanchor_2298"><span class="label">2298</span></a> <i>A. Z.</i>, XL, 1882, pp. 119 f. (and Sketch-plan).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2299"></a><a href="#FNanchor_2299"><span class="label">2299</span></a> Pp. 45 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2300"></a><a href="#FNanchor_2300"><span class="label">2300</span></a> In Baum., II, pp. 1094 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2301"></a><a href="#FNanchor_2301"><span class="label">2301</span></a> <i>Olympia, Ergebnisse</i>, Textbd., I (<i>Topographie und Geschichte</i>), pp. 87 f.; <i>cf.</i> <i>A. M.</i>, XIII, 1888, -pp. 335 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2302"></a><a href="#FNanchor_2302"><span class="label">2302</span></a> <i>De olymp. Stat.</i>, Ch. III, pp. 63 f. The outline therein forms the basis of the present treatment. -The numbers of the victors from the catalogue of that work, showing the order of presentation -by Pausanias, are here retained in parentheses: <i>e. g.</i>, Telemachos (122). A letter after the number -indicates either that an adjacent “honor” statue, <i>e. g.</i>, Philonides (154a), stood next to a victor -statue, <i>e. g.</i>, Menalkeas (154), or that no statue is mentioned.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2303"></a><a href="#FNanchor_2303"><span class="label">2303</span></a> <i>E. g.</i>, Kalkmann, <i>Pausanias der Perieget</i>, 1886, p. 88.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2304"></a><a href="#FNanchor_2304"><span class="label">2304</span></a> <i>E. g.</i>, nos. 1, 3, 4, 5, 6 were Eleans; 7–9 and 11–14 were Spartans; 17–18 and 23–26 were -Eleans; 45 and 48–49, 51, 54, 57 were Arkadians; 6–9 and 11–14 were victors in chariot-races; -30, 34, 37, 40 were pancratiasts; 25–28 had statues by Sikyonian artists; 39–40 had statues by -Athenian artists; 59–63 formed a family group; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2305"></a><a href="#FNanchor_2305"><span class="label">2305</span></a> <i>Ueber Pausanias</i>, 1890, p. 393.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2306"></a><a href="#FNanchor_2306"><span class="label">2306</span></a> The lack of continuity in describing the altars led R. Heberdey, <i>Eranos Vindobonensis</i>, 1893, -pp. 39 f., (Die Olympische Altarperiegese des Pausanias), to conclude wrongly that Pausanias -took over bodily from an earlier work his enumeration of the altars, only here and there interposing -a remark of his own, as <i>e. g.</i>, V, 15. 2, where he parenthetically describes the Leonidaion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2307"></a><a href="#FNanchor_2307"><span class="label">2307</span></a> <i>E. g.</i>, the statue of the Akarnanian boxer (10) stood among those of Spartan victors (7–14); -Eukles (52), a grandson of Diagoras, had his statue away from his family group (59–63); the two -statues of Timon (17 and 105 d) stood in different parts of the Altis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2308"></a><a href="#FNanchor_2308"><span class="label">2308</span></a> VI, 1.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2309"></a><a href="#FNanchor_2309"><span class="label">2309</span></a> So Furtwaengler, <i>A. Z.</i>, XXXVII, 1879, p. 146; Treu, <i>ibid.</i>, p. 207; Flasch, Hirschfeld, and -Scherer, in the works already cited.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2310"></a><a href="#FNanchor_2310"><span class="label">2310</span></a> So Doerpfeld, <i>l. c.</i>, p. 88; Michaelis, <i>A. Z.</i>, XXXIV, 1876, p. 164; Hitz.-Bluemn., II, <small>2</small>, p. 531; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2311"></a><a href="#FNanchor_2311"><span class="label">2311</span></a> Hyde, p. 64. I here append three such passages: in V, 24.3, in speaking of the statue of the -<i>Zeus</i> of the Lacedæmonians, he says that it τοῦ ναοῦ δέ ἐστιν ἐν δεξιᾷ τοῦ μεγάλου Ζεὺς πρὸς ἀνατολὰς -ἡλίου, <i>i. e.</i>, at the southeast corner of the temple near where the pedestal was found (<i>cf.</i> <i>Inschr. -v. Ol.</i>, 252, and <i>Olympia, Ergebn.</i>, Textbd., I, p. 86); in V, 26.2, in speaking of the offerings of Mikythos, -he says that they stood παρὰ δὲ τοῦ ναοῦ τοῦ μεγάλου τὴν ἐν ἀριστερᾷ πλεύραν, <i>i. e.</i>, on the -northern side of the temple of Zeus, where most authorities find their foundations (<i>cf.</i> <i>Inschr. v. Ol.</i>, -267–269, and Flasch, <i>op. cit.</i>, p. 1093); in VIII, 38.2, he says that Mount Lykaion is ἐν ἀριστερᾷ -δὲ τοῦ ἱεροῦ τῆς Δεσποίνης, <i>i. e.</i>, to the north of that temple. <i>Cf.</i> also V, 21.2. Professor Bluemner, -reviewing my monograph <i>de olymp. Stat.</i>, in the <i>Berl. Philol. Wochenschr.</i>, XXIV, 1904, -col. 1382, objects to my interpretation of ἐν δεξιᾷ, and admits not one but three possibilities: (<i>a</i>) -of the temple <i>pro persona</i>, <i>i. e.</i>, its south side; (<i>b</i>) of a spectator facing the chief, <i>i. e.</i>, east front, -the northern half of the space before it; (<i>c</i>) of a spectator with his back to this front, <i>i. e.</i>, the -southern half of this space. But if Pausanias had meant either of the two latter, he would have -said πρὸ τοῦ ναοῦ, as in VIII, 37.2, κατὰ τὸν ναόν, <i>cf.</i> V, 15.3, or ἀντικρὺ τοῦ ναοῦ, <i>cf.</i> V, 27.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2312"></a><a href="#FNanchor_2312"><span class="label">2312</span></a> For locations of bases, see <i>Insch. v. Ol.</i>, nos. 166 (Troilos), 160 (Kyniska), 172 (Sophios). Because -of the finds in the Prytaneion both Hirschfeld and Scherer started this ἔφοδος west of the -Heraion.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2313"></a><a href="#FNanchor_2313"><span class="label">2313</span></a> From the unfinished condition of the back of the Lysippan marble head from the statue -of Philandridas (10), as well as its excellent surface preservation (Frontispiece and Fig. 69), -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 peristyle: <i>supra</i>, p. 300.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2314"></a><a href="#FNanchor_2314"><span class="label">2314</span></a> See <i>Inschr. v. Ol.</i>, no. 248; <i>cf.</i> P., V, 27.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2315"></a><a href="#FNanchor_2315"><span class="label">2315</span></a> See <i>Inschr. v. Ol.</i>, nos. 161 (Narykdas); 146 (Kallias); 159 (Eukles); 144 (Euthymos); 156 -(Charmides); 155 (Hellanikos). Other bases of statues which must have stood in this vicinity -have also been found, far from their original positions: <i>i. e.</i>, those of Athenaios (36), 56 meters west -of the Leonidaion; of Polydamas (47), fragments 26 meters southeast of the Echo Hall; of Diagoras -(59), five fragments near the Metroon; of Damagetos (62), in the Leonidaion; of Dorieus (61), near -the <i>Victory</i> of Paionios; of Kyniskos (45), inside the Byzantine church; of Damoxenidas (54), near -the Heraion. See <i>Inschr. v. Ol.</i>, nos. 168 (Athenaios), 151 (Diagoras), 152 (Damagetos), 153 (Dorieus), -149 (Kyniskos), 158 (Damoxenidas); for the sculptured base of Polydamas (47), see <i>Bildw. -v. Ol.</i>, Tafelbd., PI. LV, 1–3; Textbd., pp. 209 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2316"></a><a href="#FNanchor_2316"><span class="label">2316</span></a> Argum., Boeckh, pp. 157–8. Pausanias names them in the order: Diagoras, Akousilaos, -Dorieus, Damagetos, Peisirhodos. The scholiast names them in the order: Diagoras, Damagetos, -Dorieus, Akousilaos, Eukles, Peisirhodos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2317"></a><a href="#FNanchor_2317"><span class="label">2317</span></a> See for Aristotle, <i>F. H. G.</i>, II, p. 183, fragm. 264. Apollas Ponticus is little known: <i>cf.</i> <i>F. H. G.</i>, -IV, p. 307, fragm. 7; he probably copied from Aristotle’s work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2318"></a><a href="#FNanchor_2318"><span class="label">2318</span></a> This is Dittenberger’s explanation, <i>Inschr. v. Ol.</i>, nos. 151 and 159; and also that of Robert, -<i>O. S.</i>, p. 195, Scherer, p. 49, and Gurlitt, <i>op. cit.</i>, p. 411; Purgold, however, <i>Inschr. v. Ol.</i>, p. 262, -has tried to reconcile the two accounts on the theory of no change.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2319"></a><a href="#FNanchor_2319"><span class="label">2319</span></a> However, Kalkmann, <i>Pausanias der Perieget</i>, p. 90, thinks that the two groups of Diagoras -and Alkainetos stood apart.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2320"></a><a href="#FNanchor_2320"><span class="label">2320</span></a> The base of the statue of Pythokles was found between the Heraion and the Pelopion: see -<i>Inschr. v. Ol.</i>, 162–163.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2321"></a><a href="#FNanchor_2321"><span class="label">2321</span></a> Gurlitt, <i>Ueber Pausanias</i>, p. 412, assumed the possibility of the existence of two different -statues of Lysandros, one 35 a, and the other somewhere after Charmides (58) in the family group -of Diagoras; Kalkmann, <i>op. cit.</i>, p. 105 and note 4, explains the discrepancy between the scholiast -and Pausanias on the theory that the latter borrowed from older lists; Purgold, <i>Aufsaetze E. -Curtius gewidmet</i>, pp. 238 f., assumed but one statue of Lysandros.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2322"></a><a href="#FNanchor_2322"><span class="label">2322</span></a> Scherer, p. 51 (<i>cf.</i> Plan opposite p. 56), and Flasch, <i>l. c.</i>, p. 1095, note 1, proposed a route south from -the Heraion to the west of the so-called Great Altar site, while Hirschfeld, <i>l. c.</i>, p. 119, made -it run to the east of it. Doerpfeld, <i>op. cit.</i>, p. 88, starting east of the Heraion, made the route run -first to the west along the south side of the temple, and thence around the western side of the -Pelopion, and so across to the <i>Eretrian Bull</i>; Michaelis, <i>l. c.</i>, p. 164, with the same starting-point, -had it bear first to the east parallel with the Treasury Terrace, and thence south. See Plans A -and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2323"></a><a href="#FNanchor_2323"><span class="label">2323</span></a> See <i>Inschr. v. Ol.</i>, no. 259, and <i>Ol., Ergebn.</i>, Textbd., II, pp. 153–155, etc.; <i>cf.</i> P., V, 26.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2324"></a><a href="#FNanchor_2324"><span class="label">2324</span></a> See <i>Inschr. v. Ol.</i>, nos. 157 (So[si]krates; for the restoration of the name, see Hyde, p. 37); 167 -(Kritodamos); 164 (Xenokles). The plate from the pedestal of the statue of the unknown Arkadian -victor (79) was found far away from this point, in the Palaistra. We have shown (<i>supra</i>, pp. -244–5,) that the statue of Philippos (79a), mentioned by Pausanias as the work of Myron (<i>cf.</i> VI, -8.5), was probably only that of this older unknown Arkadian, later used for Philippos, who won -some time between Ols. (?) 119 and 125 ( = 304 and 280 B. C.); see <i>Inschr. v. Ol.</i>, no. 174; <i>cf.</i> Hyde, -<i>op. cit.</i>, pp. 39–41.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2325"></a><a href="#FNanchor_2325"><span class="label">2325</span></a> On the name, see Hyde, p. 42.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2326"></a><a href="#FNanchor_2326"><span class="label">2326</span></a> See <i>Ol., Ergebn.</i>, Textbd., I, p. 86, and <i>cf.</i> II, p. 78. A slit in the lower step of the base of the -<i>Zeus</i> may have contained the tablet mentioned by P., V, 23.4. Three of the four inscribed -blocks of Gelo’s chariot base were found in the Palaistra: <i>Inschr. v. Ol.</i>, under no. 143. -</p> -<p> -For Doerpfeld’s identification of the Council-house (Bouleuterion) with the tripartite building -south of the temple of Zeus just outside the South Altis wall, see <i>Ausgrab. zu Ol.</i>, IV, 1878–1879, -pp. 40–46, and <i>Olympia, Ergebn.</i>, Textbd., II, pp. 76–79. Others, on the basis of a passage in Xenophon’s -<i>Hell.</i>, VII, 4.31, wrongly place it near the Prytaneion in the northwestern part of the -Altis. <i>Cf.</i> Frazer, III, pp. 636 f., and Doerpfeld, <i>l. c.</i>, pp. 78 f. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2327"></a><a href="#FNanchor_2327"><span class="label">2327</span></a> See <i>Inschr. v. Ol.</i>, no. 177. It stands on the south edge of the South Terrace wall between its -gateway and the later East Byzantine wall of the Altis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2328"></a><a href="#FNanchor_2328"><span class="label">2328</span></a> Hyde, pp. 49 f., where I assume that the passage VI, 13.8 is a digression, and that the name -of a victor has dropped out at the end of 13.7. There I have inserted, from a recovered inscription, -the name of Akestorides of Alexandria Troas, placing his statue next to that of Agemachos -(118) of similar date, the only other Asiatic in this part of the Altis. Foerster, 501, dates -Akestorides wrongly in the second century B. C. (on the basis of Furtwaengler, <i>A. M.</i>, V, 1880, -p. 30, n. 2, end), although the inscription from the base is referred by Dittenberger to the end of -the third; Agemachos won in Ol. 147 ( = 192 B. C.); I have therefore dated Akestorides tentatively -between Ol. (?) 142 and Ol. (?) 144 ( = 212 and 204 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2329"></a><a href="#FNanchor_2329"><span class="label">2329</span></a> See <i>Inschr. v. Ol.</i>, 147, 148 (Tellon, inscription renewed in the first century B. C.); 165 (Aristion); -184 (Akestorides). -</p> -<p> -Roehl (<i>I. G. A.</i>, no. 355 and Add., p. 182) referred an inscription on two marble fragments found -in 1879 (<i>cf.</i> <i>A. Z.</i>, XXXVII, 1879, p. 161, no. 312), one found near the Heraion, the other east of -the temple of Zeus, to the victor Agiadas (103); Dittenberger (<i>cf.</i> <i>Inschr. v. Ol.</i>, no. 150) and others -have rightly rejected this ascription. Similarly the inscribed base of the statue of Areus (105 b), -son of Akrotatos, King of Sparta, found in the Heraion (see <i>Inschr. v. Ol.</i>, no. 308), belongs -rather to the second statue of Areus (148 a) dedicated by Ptolemy Philadelphus; <i>cf.</i> Hyde, pp. -44–45. I have also referred the second inscription of the artist Pythagoras (<i>Inschr. v. Ol.</i>, no. -145) found in the Leonidaion, to the statue of Astylos (110), because of its similarity to that -on the base of the statue of Euthymos (56) likewise by Pythagoras: <i>ibid.</i>, pp. 47–48.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2330"></a><a href="#FNanchor_2330"><span class="label">2330</span></a> See <i>Inschr. v. Ol.</i>, nos. 169 (Aristophon), 154 (Xenombrotos and Xenodikos), following Robert’s -ascription, <i>O. S.</i>, 1900, pp. 179 f.; a second epigram referring to Xenombrotos alone (<i>Inschr. -v. Olymp.</i>, no. 170) must belong to a second monument not mentioned by Pausanias; <i>cf.</i> Hyde, -p. 53.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2331"></a><a href="#FNanchor_2331"><span class="label">2331</span></a> <i>E. g.</i>, Furtwaengler, <i>A. Z.</i>, XXXVII, 1879, p. 140 (quoted by Dittenberger); Frazer, IV, p. 43.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2332"></a><a href="#FNanchor_2332"><span class="label">2332</span></a> See <i>Inschr. v. Ol.</i>, nos. 176 (Aischines; see Foerster, no. 451), 173 (Archippos), 186 (Epitherses), -304 (Antigonos); [a fragment of the base of the statue of Demetrios (147 e) was also found, -the exact location not being recorded, no. 305]; 276 (Philonides; a second mutilated copy of this -inscription was found nearby built into a late wall north of the Byzantine church; see no. 277); -Pausanias (VI, 15.10) mentions two statues of Kapros. For the bronze foot (Fig. 62) of one of -them, see <i>supra</i>, p. 255 and n. 3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2333"></a><a href="#FNanchor_2333"><span class="label">2333</span></a> VI, 18.7. He gives this honor to Praxidamas and Rhexibios (187–188), who won in Ols. 59 -and 61 ( = 544 and 536 B. C.) respectively. We have already pointed out that the statue of Oibotas -(29), who won in Ol. 6 ( = 756 B. C.), was set up in Ol. 80 ( = 460 B. C.) by the Achæans (VI, 3.8).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2334"></a><a href="#FNanchor_2334"><span class="label">2334</span></a> See <i>Inschr. v. Ol.</i>, nos. 294 (Leonidas; <i>cf.</i> <i>A. M.</i>, XIII, 1888, p. 322, note 1, Treu); 183 (Seleadas; -this is my own ascription; see Hyde, p. 58; Dittenberger wrongly restored the name as Σέλευκος); -632 (Polypeithes and Kalliteles); 171 (Deinosthenes); 178 (Glaukon; his monument was a little -bronze chariot, not a statue, thus imitating earlier sixth-century victor dedications, like that -of Kyniska (7); no. 296 is another inscription from a statue of Glaukon dedicated by Ptolemy -Euergetes.) -</p> -<p> -The pedestal of the statue of Paianios (167) was found behind the south side of the Echo Colonnade -and therefore far removed (<i>Inschr. v. Ol.</i>, no. 179); Pausanias again mentions Paianios in VI, -15.10. Another pedestal (no. 632), found south of the west end of the Byzantine church, has -been referred by Purgold to the statue of Lysippos (162): <i>cf.</i> <i>A. Z.</i>, XXXIX, 1881, pp. 85 f., -no. 387. Hitz.-Bluemn., II, 2, p. 615, and others have rejected the ascription.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2335"></a><a href="#FNanchor_2335"><span class="label">2335</span></a> Διέστηκε δὲ ἀγυιὰν ἀπὸ τῆς ἐσόδου τῆς πομπικῆς, τοὺς γὰρ δὴ ὑπὸ Ἀθηναίων καλουμένους -στενωποὺς ἀγυιὰς ὀνομάζουσιν οἱ Ἠλεῖοι.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2336"></a><a href="#FNanchor_2336"><span class="label">2336</span></a> See <i>A. M.</i>, XIII, 1888, pp. 327–336 and Pl. VII (Die Altis Mauer in Olympia). On the -west of the Altis are the ruins of two parallel walls, the inner Greek, the outer Roman; the original -South wall of the Altis ran along the line of the South Terrace wall, the later Roman wall -(dating from Nero’s time) to the south of it. Thus in Pausanias’ day, the ἔσοδος πομπική was -opposite the Leonidaion. In two other passages, however, it appears to be at the southeast corner -of the Altis (V, 15.7; VI, 20.7). R. Heberdey (in <i>Eranos Vindobonensis</i>, 1893, pp. 34–47) -explains this discrepancy by saying that Pausanias, in mentioning the southwestern entrance, -is writing from his own observation after the Roman extension, and in the other passages is -copying from other writers who wrote before that extension. Doerpfeld’s explanation, however, -is better: in the Roman extension a gate was built at the southwest corner of the new West wall -superseding the older southeast entrance. Processions still passed along the same way, but were -now <i>inside</i> the Altis, the great gateway of Nero at the southeast corner being given up after his -death. <i>Cf.</i> Frazer, III, pp. 570–572; Hitz.-Bluemn., II, 2, pp. 375–6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2337"></a><a href="#FNanchor_2337"><span class="label">2337</span></a> P., VI, 17.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2338"></a><a href="#FNanchor_2338"><span class="label">2338</span></a> <i>A. M.</i>, XIII, 1888, pp. 317–326 (Die Bauinschrift des Leonidaions zu Olympia); and <i>cf.</i> -<i>Inschr. v. Ol.</i>, no. 651, and <i>Olympia, Ergebn.</i>, Textbd., II, <i>Die Baudenkmaeler</i>, pp. 83–93, and -Tafelbd., Pls. LXII-LXVI (R. Borrmann).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2339"></a><a href="#FNanchor_2339"><span class="label">2339</span></a> <i>E. g.</i>, K. Lange, <i>Haus und Halle</i>, 1885, pp. 331 f; Hirschfeld, <i>A. Z.</i>, XL, 1882, p. 121; Flasch, -in Baum., II, pp. 1095 and 1104 K. Others placed it elsewhere: <i>e. g.</i>, Curtius-Adler, <i>Olympia und -Umgegend</i>, 1882, pp. 23 f.; Scherer, <i>op. cit.</i>, pp. 55 f. (and Plan), identified it with the “<i>South-east -Building</i>,” where he had this second ἔφοδος begin.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2340"></a><a href="#FNanchor_2340"><span class="label">2340</span></a> V, 13.9. For full account of the altar, see V, 13.8–11.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2341"></a><a href="#FNanchor_2341"><span class="label">2341</span></a> Thus Curtius, Altaere v. Ol., <i>Abhandl. d. k. Preuss. Akad. d. Wiss. zu Berlin</i>, 1882, p. 4 -(= <i>Gesammelte Abhandlungen</i>, 1894, II, pp. 42 f.); Adler, <i>A. A</i>., 1894, p. 85; <i>ibid.</i>, 1895, pp. 108 f. -(<i>cf.</i> his reconstruction in <i>Olympia, Ergebn.</i>, Tafelbd., II, Pl. CXXXII and Textbd., II, pp. 210 f.); -Curtius-Adler, <i>Olympia u. Umgegend</i>, p. 35; Flasch, <i>op. cit.</i>, p. 1067 (<i>cf.</i> <i>Funde v. Ol.</i>, pp. 238–239); -Boetticher, <i>Olympia</i><sup>2</sup>, 1886, pp. 190 f. (and Plan); Furtwaengler, <i>Bronzen v. Olympia</i>, p. 4; -Hirschfeld, <i>op. cit.</i>, p. 119 (= Plan); Scherer, <i>op. cit.</i>, p. 56 (with Plan); Trendelenburg, <i>Der grosse -Altar des Zeus in Olympia</i>, 1902, pp. 17 f.; Doerpfeld, <i>Olympia, Ergebn.</i>, Textbd., II (<i>Baudenkmaeler</i>) -p. 162, (<i>cf.</i> I, p. 82, where he admits the possibility that it may have stood further -northwest, nearer the Heraion); Frazer, III, p. 556; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2342"></a><a href="#FNanchor_2342"><span class="label">2342</span></a> See <i>A. M.</i>, XXXIII, 1908, pp. 185–192 (Olympia in praehistorischer Zeit); <i>cf.</i> <i>Year’s Work -in Classical Studies</i>, III, 1908, p. 12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2343"></a><a href="#FNanchor_2343"><span class="label">2343</span></a> For Puchstein’s location and form of the altar of Zeus, see <i>A. A.</i>, 1893, p. 22; <i>ibid.</i>, 1895, p. 107; -<i>Jb.</i>, XI, 1896, pp. 53 f. (with “oblong” reconstruction by Koldewey, pp. 76–77); for Wernicke’s -view, see <i>Jb.</i>, IX, 1894, pp. 93 f. This view was already refuted by Adler, <i>A. A.</i>, 1895, p. 108, and -Doerpfeld, <i>Ergebn. v. Ol.</i>, Textbd., II, pp. 162 f. Doerpfeld later referred these remains also to -prehistoric houses (<i>cf.</i> preceding note)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2344"></a><a href="#FNanchor_2344"><span class="label">2344</span></a> V, 13.8. The exact site of the Pelopion is given in V, 13.1 (see Plans A and B). Wernicke, -(<i>l. c.</i>, pp. 94 f.) placed the older altar of Zeus (who was at first worshiped in common with Hera) -between the Heraion and Pelopion (as Puchstein also did). He believed that later, however, after -the building of the temple of Zeus and the Pelopion, the altar was moved east of both and stood -somewhere northwest of the elliptical depression, where Pausanias saw it. He explained the lack -of remains on the theory that the Christians would completely destroy this, the chief pagan altar. -But it is difficult to see why the few Christian settlers in this out of the way place should have -shown any such anger. Doerpfeld (<i>Ergebn. v. Ol.</i>, Textbd., II, <i>Baudenkmaeler</i>, p. 163) suggested that -it may have stood south of the <i>Exedra</i> of Herodes Attikos, where its site must certainly be sought.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2345"></a><a href="#FNanchor_2345"><span class="label">2345</span></a> Hitz.-Bluemn., II, i, p. 359, rightly say that the words of Pausanias point to a place in the -Altis where there are neither foundations nor ashes. Since it is incredible that the Christians -should have destroyed it so completely, they assume that Pausanias made a mistake in his directions. -Their conclusion that the elliptical depression best fits the conditions is untenable now.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2346"></a><a href="#FNanchor_2346"><span class="label">2346</span></a> <i>Op. cit.</i>, p. 164.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2347"></a><a href="#FNanchor_2347"><span class="label">2347</span></a> See <i>A. M.</i>, XIII, 1888, pp. 335–336, and <i>Ergebn.</i>, Textbd., I, p. 88. In the latter he says: “<i>Zu -unserer Verwunderung sehen wir, dass der zweite Teil die ununterbrochene Fortsetzung des ersten -Teiles ist, also in Wirklichkeit nur eine Ephodos, nur ein einziger Rundgang.</i>”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2348"></a><a href="#FNanchor_2348"><span class="label">2348</span></a> This pillar stood between the Great Altar and the temple of Zeus: P., V, 20. 6.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2349"></a><a href="#FNanchor_2349"><span class="label">2349</span></a> Ἀνδριάντας δὲ ἀναμεμιγμένους οὐκ ἐπιφα <νέ> σιν ἄγαν ἀναθήμασιν, κ. τ. λ., -(VI, 17.7); again in VI, 18.2 he says that he discovered the statue of Anaximenes “by searching” (ἀνευρών).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2350"></a><a href="#FNanchor_2350"><span class="label">2350</span></a> Similarly, on arriving at the statue of Telemachos, he moved first to the east and then returned -(passing the chariot of Kleosthenes) before proceeding west, without mentioning it: see <i>supra</i>, -p. 345.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2351"></a><a href="#FNanchor_2351"><span class="label">2351</span></a> On analogy with V, 15.1. See Hyde, p. 68.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2352"></a><a href="#FNanchor_2352"><span class="label">2352</span></a> The Terrace wall can still be traced before the western front of the temple and also to the northeast -of it; <i>cf.</i> Treu, <i>A. Z.</i>, XXXVI, 1878, p. 36: “<i>So umgab denn vermutlich einst den ganzen -Tempel eine statuenbekroente Terrasse.</i>” Hitz.-Bluemn., II, 2, p. 619, suppose such a road to -the west and north of the temple, but would interpret it as being ἐν ἀριστερᾷ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2353"></a><a href="#FNanchor_2353"><span class="label">2353</span></a> <i>Cf.</i> Hyde, p. 70. Hitz.-Bluemn. (see preceding note) rejected this textual change of mine as unnecessary, -and followed Hirschfeld and Doerpfeld in having Pausanias return along the south side -of the temple of Zeus. I proposed this change by analogy with the text of V, 24.1, V, 21.2, and -other passages.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2354"></a><a href="#FNanchor_2354"><span class="label">2354</span></a> The bronze tablet of Demokrates (170), found south of the southwest corner of the temple of -Zeus, did not belong to his victor statue, but to a base which stood probably inside the temple: -<i>Inschr. v. Ol.</i> no. 39. Also the archaic marble helmeted head and arm with the remains of a shield -attached (see <i>Bildw. v. Ol.</i>, Tafelbd., Pl. VI, 1–4, and 5–6), the head being found west of the temple -and the arm before the gate of the Pelopion, wrongly ascribed by Treu (<i>A. Z.</i>, XXXVIII, 1880, -pp. 48 f., and <i>Bildw. v. Ol.</i>, III, pp. 33–34) and Overbeck (I, pp. 198 f., and p. 178) to Eperastos -(183), I have referred to an older hoplite, Phrikias of Pelinna (Foerster, nos. 151, 155): see Hyde, -p. 43, and <i>supra</i>, Ch. III, pp. 162–3 and Fig. 30a, b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2355"></a><a href="#FNanchor_2355"><span class="label">2355</span></a> See <i>Inschr. v. Ol.</i>, no. 293.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2356"></a><a href="#FNanchor_2356"><span class="label">2356</span></a> See <i>Inschr. v. Ol.</i>, nos. 267–269. The supposed foundation was found thirty feet north of the -temple; <i>cf.</i> Frazer, III, pp. 646 f.; etc.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2357"></a><a href="#FNanchor_2357"><span class="label">2357</span></a> V, 20.6 f. A large foundation, between the pedestal of Dropion, King of the Paionians, -<i>Inschr. v. Ol.</i>, no. 303, (see Plans A and B), and the pedestal of the <i>Eretrian Bull</i>, may have formed -part of the house of Oinomaos (<i>cf.</i> Curtius-Adler, <i>op. cit.</i>, p. 40; Flasch, <i>l. c.</i>, p. 1074). Wernicke, -(<i>Jb.</i>, IX, 1894, p. 95), however, refers it to the oval depression called the Great Altar site. Doerpfeld -(<i>Ergebn. v. Ol.</i>, Textbd., I, p. 82) is opposed to this view and places it further north, near -the Metroon.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2358"></a><a href="#FNanchor_2358"><span class="label">2358</span></a> This is Kalkmann’s theory (<i>op. cit.</i>, p. 89), who calls this section (VI, 18.7) the “<i>letzter Trumpf</i>,” -an addition having no connection with the second ἔφοδος. He compares it with V, 24.9, where -Pausanias, after ending the <i>periegesis</i> of the altars, adds one more, that of “Zeus Horkios,” which -stood in the Council House, though he had already passed this point twice without mentioning the -fact. Kalkmann also compares it with V, 27.12 (the transition to the account of the victor -statues). Gurlitt (<i>op. cit.</i>, p. 392) explains this last section, <i>i. e.</i>, V, 27.12, as due to a later -revision of Pausanias’ work.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2359"></a><a href="#FNanchor_2359"><span class="label">2359</span></a> VI, 19.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2360"></a><a href="#FNanchor_2360"><span class="label">2360</span></a> See the Catalogue in my <i>de olymp. Stat.</i>, (pp. 3 f.) for dates; and <i>cf. ibid.</i>, Ch. IV, pp. 72 f., for -results. The summaries are made only on the basis of the 153 monuments which can be exactly -or approximately dated.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2361"></a><a href="#FNanchor_2361"><span class="label">2361</span></a> Eutelidas (148), Praxidamas (18), Rhexibios (188), Polypeithes and Kalliteles (160–161).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2362"></a><a href="#FNanchor_2362"><span class="label">2362</span></a> On the date of the temple of Zeus (?468–456 B. C.), <i>cf.</i> Doerpfeld, <i>Ol., Ergebn.</i>, Textbd., II, -pp. 19. f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2363"></a><a href="#FNanchor_2363"><span class="label">2363</span></a> Enation (176) is simply called an Arkadian by P., VI, 17.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2364"></a><a href="#FNanchor_2364"><span class="label">2364</span></a> VI, 1.2, and <i>cf.</i> his words in VI, 17.1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2365"></a><a href="#FNanchor_2365"><span class="label">2365</span></a> The last dated victor statue at Olympia, known from inscriptions, is that of Valerios -Eklektos of Sinope, four times victor as herald, winning in Ols. 256, 258, 259, 260 ( = 245, 253–261 -A. D.): Foerster, 741–744. Philoumenos of Philadelphia in Lydia, victor in wrestling (?) in -Ol. (?) 288 ( = 373 A. D.), Foerster, 750, had a statue, as we learn from the conclusion of an -epigram preserved by Panodoros in Cramer’s <i>Anecd. gr. Parisiensia</i>, 1839–41, II, p. 155, 17 f.; <i>cf.</i> -<i>Inscr. Graecae metricae</i>, ed. Preger, 1891, no. 133. It may have been in Olympia.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2366"></a><a href="#FNanchor_2366"><span class="label">2366</span></a> On his use of older lists of victors and especially of the Elean register, see P. Hirt, <i>de -Fontibus Pausaniae in Eliacis</i> (Greifswald, 1878), pp. 12 f.; Mie, <i>Quaestiones agonisticae</i> -(Rostock, 1888), pp. 17 f.; Kalkmann, <i>Pausanias der Perieget</i>, pp. 72 f. and 103 f.; Gurlitt, <i>Ueber -Pausanias</i>, p. 426, note 43; Robert, <i>Hermes</i>, XXIII, 1888, pp. 444 f.; Hirschfeld, <i>A. Z.</i>, XL, 1882, -pp. 105 and 111; J. Juethner, <i>Philostratos ueber Gymnastik</i>, pp. 60–74 (Elean register), and 109 f.; -Gardiner, p. 50. Pausanias frequently mentions such sources himself, especially the Elean -register: <i>e. g.</i>, III, 21.1; V, 2.19; VI, 2.3. Hirschfeld (<i>l. c.</i>, pp. 105 and 113) and others have -unreasonably doubted whether Pausanias ever visited Olympia at all.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2367"></a><a href="#FNanchor_2367"><span class="label">2367</span></a> Hyde, 146; Foerster, 472, 476; P., VI, 15.3 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2368"></a><a href="#FNanchor_2368"><span class="label">2368</span></a> Hyde, 150; Foerster, 474, 475; P., VI, 15.10 (two statues).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2369"></a><a href="#FNanchor_2369"><span class="label">2369</span></a> Hyde, 119 and pp. 49–50; Foerster, 501; P., VI, 13.7, and <i>Inschr. v. Ol.</i>, 184.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2370"></a><a href="#FNanchor_2370"><span class="label">2370</span></a> Hyde, 42; Foerster, 800; P., VI, 4.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2371"></a><a href="#FNanchor_2371"><span class="label">2371</span></a> Hyde, 40; Foerster, 494; P., VI, 4.5.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2372"></a><a href="#FNanchor_2372"><span class="label">2372</span></a> Hyde, 152; Foerster, 391; P., VI, 16.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2373"></a><a href="#FNanchor_2373"><span class="label">2373</span></a> Hyde, 162; Foerster, 515; P., VI, 6.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2374"></a><a href="#FNanchor_2374"><span class="label">2374</span></a> Hyde, 125a; Foerster, 651; P., VI, 14.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2375"></a><a href="#FNanchor_2375"><span class="label">2375</span></a> Hyde, 111b; Foerster, 648–650; P., VI, 13.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2376"></a><a href="#FNanchor_2376"><span class="label">2376</span></a> Hyde, 111a; Foerster, 654–6, 659, 660, 662–664; P., VI, 13.3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2377"></a><a href="#FNanchor_2377"><span class="label">2377</span></a> <i>H. N.</i>, XXXIV, 16. See <i>supra</i>, pp. 27 and 54.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2378"></a><a href="#FNanchor_2378"><span class="label">2378</span></a> <i>Cf.</i> <i>Inschr. v. Ol.</i>, p. 235. P., VI, 1.1, distinctly states that not all victors had statues, adding -that some of the most distinguished had none.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2379"></a><a href="#FNanchor_2379"><span class="label">2379</span></a> Thus the epigram on the base of a monument of Xenombrotos (133; <i>cf.</i> P., VI, 14.12) states -that it was a portrait of the victor: <i>Inschr. v. Ol.</i>, 170. We have, however, aside from this -inscription, no record that he was a victor more than once. See <i>supra</i>, pp. 54–5. On the basis -of three or more victories, several victors should have had portrait statues: <i>e. g.</i>, Foerster, 60, 86, -144, 351, 358, 495, 603, 741, 815.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2380"></a><a href="#FNanchor_2380"><span class="label">2380</span></a> Discussed <i>supra</i>, Ch. II, p. 58.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2381"></a><a href="#FNanchor_2381"><span class="label">2381</span></a> For dates, places of finding, and contests, references are constantly made by number to Dittenberger, -<i>Inschr. v. Ol.</i>; the number of each victor is given also from Foerster’s lists, which, though -incomplete, are the best that have yet appeared. Where the exact dates are known they are -cited from Foerster; otherwise, the probable dating of the inscription as given by Dittenberger is -followed. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2382"></a><a href="#FNanchor_2382"><span class="label">2382</span></a> See <i>Inschr. v. Ol.</i>, 142 (Pantares, son of Menekrates of Gela); Foerster, 149, = Ol. (?) 67 ( = 572 -B. C.); Gelo won in Ol. 73 ( = 488 B. C.): Foerster, 180.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2383"></a><a href="#FNanchor_2383"><span class="label">2383</span></a> Phrikias won twice, in Ols. 68 and 69 ( = 508 and 504 B. C.): Foerster, 151 and 155. Phanas -was three times victor on the same day (τριαστής), in the στάδιον, δίαυλος and as ὁπλίτης, in Ol. -67 ( = 512 B. C.): Foerster, 144–146. For the ascriptions, see <i>supra</i>, pp. 162–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2384"></a><a href="#FNanchor_2384"><span class="label">2384</span></a> <i>Inschr. v. Ol.</i>, 150. Roehl (<i>I. G. A.</i>, 355 and Add., p. 182) wrongly ascribed it to Agiadas (103), -boy boxer of Elis, whose statue was by the Aeginetan Serambos (P., VI, 10.9). His victory should -fall between Ols. 72 and 74 inclusive ( = 492 and 484 B. C.): Hyde, p. 44. Foerster, 519, following -Roehl and Gurlitt (<i>op. cit.</i>, pp. 369 and 419), who placed Serambos in the second century B. C., -referred the victory of Agiadas to Ol. (?) 161 ( = 136 B. C.). Robert, <i>O. S.</i>, p. 181, identifies the -inscription with Epitimiadas mentioned in the <i>Oxy. Pap.</i> as victor in παγκράτιον in Ol. 78 ( = 468 -B. C.). Dittenberger and Loewy (latter in <i>I. G. B.</i>, 416) refer the inscription to the first half or -middle of the fifth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2385"></a><a href="#FNanchor_2385"><span class="label">2385</span></a> <i>Inschr. v. Ol.</i>, 170; <i>cf.</i> Hyde, p. 53.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2386"></a><a href="#FNanchor_2386"><span class="label">2386</span></a> <i>Inschr. v. Ol.</i>, no. 175; Foerster, 375. Foerster’s proposed dating of this victor, Ol. 110 ( = 340 -B. C.), is wrong.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2387"></a><a href="#FNanchor_2387"><span class="label">2387</span></a> <i>Ibid.</i>, no. 180.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2388"></a><a href="#FNanchor_2388"><span class="label">2388</span></a> <i>Ibid.</i>, no. 181.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2389"></a><a href="#FNanchor_2389"><span class="label">2389</span></a> <i>Ibid.</i>, no. 182.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2390"></a><a href="#FNanchor_2390"><span class="label">2390</span></a> <i>Ibid.</i>, no. 185.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2391"></a><a href="#FNanchor_2391"><span class="label">2391</span></a> <i>Ibid.</i>, no. 187.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2392"></a><a href="#FNanchor_2392"><span class="label">2392</span></a> <i>Ibid.</i>, no. 188.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2393"></a><a href="#FNanchor_2393"><span class="label">2393</span></a> <i>Ibid.</i>, no. 189.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2394"></a><a href="#FNanchor_2394"><span class="label">2394</span></a> This Greek building dates from the first half of the fifth century B. C. <i>Cf.</i> F. Adler, <i>Ol., -Ergebn.</i>, Textbd., II (<i>Die Baudenkmaeler</i>), pp. 93–105 (especially 98 f.), and Flasch, in Baum., -pp. 1070–1 and 1104 M f., both of whom identify it with the workshop of Pheidias (P., V, 15.1); -Curtius, Die Altaere v. Ol., <i>Abhandl. d. k. Preuss. Akad. d. Wiss. zu Berlin</i>, 1882, p. 20 -(= <i>Gesamm. Abhandl.</i>, 1894, II, pp. 57 f.), refers it to the Theekoleon, generally identified with -the easternmost of the two buildings further north. See Plans A and B.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2395"></a><a href="#FNanchor_2395"><span class="label">2395</span></a> <i>Inschr. v. Ol.</i>, no. 190.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2396"></a><a href="#FNanchor_2396"><span class="label">2396</span></a> <i>Ibid.</i>, no. 192.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2397"></a><a href="#FNanchor_2397"><span class="label">2397</span></a> <i>Ibid.</i>, no. 193.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2398"></a><a href="#FNanchor_2398"><span class="label">2398</span></a> <i>Inschr. v. Ol.</i>, no. 194; Foerster, 484.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2399"></a><a href="#FNanchor_2399"><span class="label">2399</span></a> <i>Ibid.</i>, no. 195.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2400"></a><a href="#FNanchor_2400"><span class="label">2400</span></a> <i>Ibid.</i>, no. 196.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2401"></a><a href="#FNanchor_2401"><span class="label">2401</span></a> <i>Ibid.</i>, no. 197; Foerster, 808 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2402"></a><a href="#FNanchor_2402"><span class="label">2402</span></a> <i>Ibid.</i>, no. 191; Foerster, 807 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2403"></a><a href="#FNanchor_2403"><span class="label">2403</span></a> <i>Ibid.</i>, nos. 198–204; see Foerster, 542–547; one of the group, Telemachos, son of Leon, had -another statue at Olympia: <i>Inschr. v. Ol.</i>, 406.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2404"></a><a href="#FNanchor_2404"><span class="label">2404</span></a> <i>Inschr. v. Ol.</i>, no. 205; Foerster, 822 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2405"></a><a href="#FNanchor_2405"><span class="label">2405</span></a> <i>Ibid.</i>, no. 206; Foerster, 828 (undated).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2406"></a><a href="#FNanchor_2406"><span class="label">2406</span></a> <i>Ibid.</i>, no. 207.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2407"></a><a href="#FNanchor_2407"><span class="label">2407</span></a> <i>Ibid.</i>, no. 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2408"></a><a href="#FNanchor_2408"><span class="label">2408</span></a> <i>Ibid.</i>, no. 209; Foerster, 482.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2409"></a><a href="#FNanchor_2409"><span class="label">2409</span></a> <i>Ibid.</i>, no. 210.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2410"></a><a href="#FNanchor_2410"><span class="label">2410</span></a> <i>Ibid.</i>, no. 211.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2411"></a><a href="#FNanchor_2411"><span class="label">2411</span></a> <i>Ibid.</i>, no. 212.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2412"></a><a href="#FNanchor_2412"><span class="label">2412</span></a> <i>Ibid.</i>, no. 213; Foerster, 614, 619.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2413"></a><a href="#FNanchor_2413"><span class="label">2413</span></a> <i>Ibid.</i>, nos. 214, 215.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2414"></a><a href="#FNanchor_2414"><span class="label">2414</span></a> <i>Ibid.</i>, nos. 216, 217; Foerster, 550.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2415"></a><a href="#FNanchor_2415"><span class="label">2415</span></a> <i>Ibid.</i>, no. 218; Foerster, 535 (= Ol. ? 171 = 96 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2416"></a><a href="#FNanchor_2416"><span class="label">2416</span></a> <i>Ibid.</i>, no. 219; Foerster, 593; he won in Ol. 190 ( = 20 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2417"></a><a href="#FNanchor_2417"><span class="label">2417</span></a> <i>Ibid.</i>, no. 220; Foerster, 601, who dates the victory in Ol. (?) 194 ( = 4 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2418"></a><a href="#FNanchor_2418"><span class="label">2418</span></a> <i>Inschr. v. Ol.</i>, no. 221; Foerster, 612. He won τεθρίππῳ in Ol. 199 ( = 17 A. D.); his statue was -set up by M. Antonios Peisanos.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2419"></a><a href="#FNanchor_2419"><span class="label">2419</span></a> <i>Ibid.</i>, no. 222; Foerster, 585, 587. He won two victories (perhaps after 17 A. D.) in an unknown -contest; Foerster dates them Ols. (?) 184 and 185 ( = 44 and 40 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2420"></a><a href="#FNanchor_2420"><span class="label">2420</span></a> <i>Ibid.</i>, no. 223; Foerster, 568; his statue was erected by his mother, Klaudia Kleodike.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2421"></a><a href="#FNanchor_2421"><span class="label">2421</span></a> <i>Ibid.</i>, no. 224; Foerster, 823 (undated); his statue was set up by his native state.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2422"></a><a href="#FNanchor_2422"><span class="label">2422</span></a> <i>Ibid.</i>, no. 225; Foerster,632. The base contained two epigrams by T. Klaudios Thessalos, of -Kos: E. Cougny, <i>Epigramm. Anth. Pal.</i>, III, 1890 (<i>Appendix nova</i>), p. 26, no. 169.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2423"></a><a href="#FNanchor_2423"><span class="label">2423</span></a> <i>Ibid.</i>, 226; Foerster, 634. His statue was erected by L. Betilenos Phloros, of Elis.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2424"></a><a href="#FNanchor_2424"><span class="label">2424</span></a> <i>Ibid.</i>, no. 227; Foerster, 666; he won Ol. 217 ( = 89 A. D.). His brother Diodoros set up the -statue. The victor was an ἔφεδρος; see A. E. J. Holwerda, <i>A. Z.</i>, XXXVIII, 1880, pp. 171 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2425"></a><a href="#FNanchor_2425"><span class="label">2425</span></a> <i>Ibid.</i>, 228; Foerster, 671.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2426"></a><a href="#FNanchor_2426"><span class="label">2426</span></a> <i>Ibid.</i>, nos. 229, 230 (newer inscription); <i>I. G. B.</i>, 125; Foerster, 624–625. He was a περιοδονίκης -and won in Ols. (?) 205 and 207 ( = 41 and 49 A. D.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2427"></a><a href="#FNanchor_2427"><span class="label">2427</span></a> <i>Inschr. v. Ol.</i>, no. 231; Foerster, 595 and 597. Foerster dates his two Olympic victories in -Ols. (?) 191 and 192 ( = 16 and 12 B. C.). Hermas was περιοδονίκης twice, and also gained victories -besides at the Nemean and other games.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2428"></a><a href="#FNanchor_2428"><span class="label">2428</span></a> <i>Ibid.</i>, no. 232; Foerster, 815–819 (undated). He was twice περιοδονίκης and won besides at -the Isthmus, Nemea, and at other games—eighty victories in all.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2429"></a><a href="#FNanchor_2429"><span class="label">2429</span></a> <i>Ibid.</i>, no. 234 and p. 346; he won in either πάλη or παγκράτιον.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2430"></a><a href="#FNanchor_2430"><span class="label">2430</span></a> <i>Ibid.</i>, no. 235 and pp. 346–347. These bronze fragments have been noted in our list of surviving -fragments of victor statues, Ch. VII, p. 322.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2431"></a><a href="#FNanchor_2431"><span class="label">2431</span></a> <i>Ibid.</i>, no. 233 (name restored from no. 440, line 4). On her father, see Foerster, under no. 634.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2432"></a><a href="#FNanchor_2432"><span class="label">2432</span></a> <i>Ibid.</i>, 236; Foerster, 686. Both Gurlitt, <i>op. cit.</i>, p. 421, and Foerster think that this monument -is mentioned by P., V, 20.8 (that of a Roman senator). Dittenberger is against this view, and the -place of finding also is against it. On the victor’s full name and that of his father, see Foerster, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2433"></a><a href="#FNanchor_2433"><span class="label">2433</span></a> <i>Ibid.</i>, no. 237; Foerster, 692. He won at Olympia in Ol. 229 ( = 137 A. D.), and the inscription -names many other victories elsewhere.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2434"></a><a href="#FNanchor_2434"><span class="label">2434</span></a> <i>Ibid.</i>, no. 238; Foerster, 679 and 681, who dates the victories in Ols. (?) 224 and 225 ( = 117 -and 121 A. D.), while Dittenberger dates them in the next century. He was twice περιοδονίκης: -see Foerster, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2435"></a><a href="#FNanchor_2435"><span class="label">2435</span></a> <i>Ibid.</i>, no. 239; Foerster, 746 (date = end of second or third centuries B. C.). For the epigram, -see also Cougny, Epigramm. Anth. Pal., III (<i>Appendix nova</i>), p. 46, n. 284.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2436"></a><a href="#FNanchor_2436"><span class="label">2436</span></a> <i>Ibid.</i>, nos. 242–243; Foerster, 741–744. He was a τρισπερίοδος, <i>i. e.</i>, three times περιοδονίκης. -For his other victories outside Olympia, see Foerster, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2437"></a><a href="#FNanchor_2437"><span class="label">2437</span></a> <i>Ibid.</i>, nos. 240–241; Foerster, 739. Asklepiades won the πένταθλον in Ol. 255 ( = 241 A. D.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2438"></a><a href="#FNanchor_2438"><span class="label">2438</span></a> Philinos, son of Hegepolis of Kos (173), won 24 victories, 5 at Olympia, 4 at Delphi, 4 at Nemea, -11 at the Isthmus, mostly in the στάδιον, he was, therefore, four times περιοδονίκης. He won in -Ols. 129 and 130 ( = 264 and 260 B. C.): <i>cf.</i> P., VI, 17.2 and Foerster, 441 and 442; Leonidas of -Rhodes (111c) was τριαστής in the four different Ols. 154–157 ( = 164–152 B. C.), winning 12 -races: <i>cf.</i> P., VI, 13.4, and Foerster, 495–497, 498–500, 502–504, 507–509.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2439"></a><a href="#FNanchor_2439"><span class="label">2439</span></a> Omitting the votive bronze diskos of the victor P. Asklepiades of Corinth mentioned above.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2440"></a><a href="#FNanchor_2440"><span class="label">2440</span></a> Foerster, pp. 26–30, records the names of 634 Olympic victors who are known to us from all -available sources.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2441"></a><a href="#FNanchor_2441"><span class="label">2441</span></a> Sepulchral monuments are either entirely excluded or mentioned only incidentally. The tombs -of nine Olympic victors are known from various sources.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2442"></a><a href="#FNanchor_2442"><span class="label">2442</span></a> The dating of victories in the present section will necessitate certain repetitions of dates already -given elsewhere in this work. While heretofore dates have been referred usually to the compilations -of Foerster and Hyde, the original authorities for them will be cited in this section.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2443"></a><a href="#FNanchor_2443"><span class="label">2443</span></a> Chionis, (= Charmis in Afr.), according to P., III, 14.3, won seven victories at Olympia: four in -the στάδιον, in Ols. 28 to 31 ( = 668 to 656 B. C.); 1–4 = Afr.; 1 = P., IV, 23.4; 2 = IV, 23.10; -3 = VIII, 39.3; three in the δίαυλος, probably in Ols. (?) 29–31: see Rutgers, p. 11, n. 4, and -pp. 10–11; Hyde, 111 and p. 48; Foerster, 39, 41–46.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2444"></a><a href="#FNanchor_2444"><span class="label">2444</span></a> Kylon won the δίαυλος in Ol. 35 ( = 640 B. C.): Afr.; <i>cf.</i> Rutgers p. 13; Foerster, 55.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2445"></a><a href="#FNanchor_2445"><span class="label">2445</span></a> Hdt., V, 71; Thukyd., I, 126; Plut., <i>Solon</i>, 12.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2446"></a><a href="#FNanchor_2446"><span class="label">2446</span></a> <i>A. M.</i>, V, 1880, p. 27 and n. 1. Kuhnert, <i>Jahrb. f. classische Philol.</i>, Supplbd., XIV, 1885, pp. -278 f., and n. 2, agrees with Furtwaengler, and thinks that it was set up long after the death of -Kylon, and that it is possible that the name of the conspirator became mixed with that of an -Athenian victor of the same name, but of later date.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2447"></a><a href="#FNanchor_2447"><span class="label">2447</span></a> <i>A. Z.</i>, XXIV, 1866, pp. 183 f.; he is followed by Frazer, II, p. 348.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2448"></a><a href="#FNanchor_2448"><span class="label">2448</span></a> Thukyd., I, 134.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2449"></a><a href="#FNanchor_2449"><span class="label">2449</span></a> Loeschke, <i>A. M.</i>, IV, 1879, p. 295, n. 1.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2450"></a><a href="#FNanchor_2450"><span class="label">2450</span></a> See also Hitz.-Bluemn., I, <small>1</small>, pp. 299–300.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2451"></a><a href="#FNanchor_2451"><span class="label">2451</span></a> His six victories in πάλη are mentioned by P., III, 13.9; he won πάλη παίδων in Ol. 37 ( = 632 -B. C.): P., V, 8.9; Afr.; πάλη ἀνδρῶν in Ols. 39–43 ( = 624–608 B. C.): Afr.; Foerster, 60, 64, 66, -68, 71, 73. He is mentioned by Ph., I.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2452"></a><a href="#FNanchor_2452"><span class="label">2452</span></a> See Wide, <i>Lakonische Kulte</i>, 1893, pp. 38 f.; Hitz.-Bluemn., I, <small>2</small>, pp. 792–3.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2453"></a><a href="#FNanchor_2453"><span class="label">2453</span></a> Pausanias, III, 13.9, mentions his five victories in πάλη. He must have won after his father’s -victories, and so at the beginning of the sixth century B. C. Rutgers, pp. 109 f., conjectures -that the first victory was πάλη παίδων; Foerster, 86–90.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2454"></a><a href="#FNanchor_2454"><span class="label">2454</span></a> Arrhachion (on various spellings of the name, <i>cf.</i> Rutgers, p. 19) won thrice in the παγκράτιον -in Ols. 52–54 ( = 572–564 B. C.). The third victory is recorded by Afr. and P., VIII, 40.1; the -first two by P., <i>l. c.</i> <i>Cf.</i> also Ph., 21. Foerster, 98, 101, 103. See <i>supra</i>, pp. 326 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2455"></a><a href="#FNanchor_2455"><span class="label">2455</span></a> He had the nickname <i>Koalemos</i>: Plut., <i>Cimon</i>, 4. He won two victories τεθρίππῳ in Ols. 62 -and 64 ( = 532 and 524 B. C.); his horses, under the name of Peisistratos, won in the same event -in Ol. 63 ( = 528 B. C.): Hdt., VI, 103; they were buried in front of the city beyond the so-called -“Hollow Way,” opposite the tomb of Kimon; Hdt., <i>l. c.</i>; Plutarch, <i>Cato Major</i>, 5. <i>Cf.</i> Aelian, <i>de -Animal</i>., XII, 40, where he says that the mares of Miltiades—meaning Kimon—were buried in -the Kerameikos. See Foerster, 124, 128 and 132.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2456"></a><a href="#FNanchor_2456"><span class="label">2456</span></a> <i>Var. Hist.</i>, IX, 32.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2457"></a><a href="#FNanchor_2457"><span class="label">2457</span></a> Hdt., VI, 103.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2458"></a><a href="#FNanchor_2458"><span class="label">2458</span></a> IV, 33.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2459"></a><a href="#FNanchor_2459"><span class="label">2459</span></a> On <i>Nubes</i>, 64.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2460"></a><a href="#FNanchor_2460"><span class="label">2460</span></a> Foerster, 85.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2461"></a><a href="#FNanchor_2461"><span class="label">2461</span></a> He won in an unknown contest. He accompanied Dorieus, the younger brother of Kleomenes I -of Sparta, on his futile expedition to Sicily, and died there: Hdt., V, 47. Kleomenes began to reign -in 519 B. C., and the Sicilian expedition occurred about 510 B. C.; Foerster, 138, therefore dates -the victory of Philippos about Ol. 65 ( = 520 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2462"></a><a href="#FNanchor_2462"><span class="label">2462</span></a> Hdt., V, 47; Eustath., on Iliad, Bk. III (p. 383, 43).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2463"></a><a href="#FNanchor_2463"><span class="label">2463</span></a> Astylos (on variations of the name, see Rutgers, pp. 32 f.) won victories in στάδιον and δίαυλος -in three successive Ols.: P., VI, 13.1: στάδιον in Ols. 73–75 ( = 488–480 B. C.): 1 = Afr., and Dionys. -Hal., VIII, 1; 2 = Afr., and Dionys., VIII, 77; 3 = Afr., Dionys., IX, 1, and Diod. Sic., XI, 1. So the -victories in δίαυλος, 1, 2, 3, must have been in the same Ols. The <i>Oxy. Pap.</i> also names Astylos a -victor twice as ὁπλίτης, in Ols. 75 and 76 ( = 480 and 476 B. C.). So Grenfell and Hunt thought that -P. had mixed the victories in δίαυλος and as ὁπλίτης; Robert, <i>O. S.</i>, pp. 163 f., however, supports P., -and thinks that Astylos won eight victories, the victories in δίαυλος and στάδιον all preceding Ol. 76, -as other names appear here in the <i>Oxy. Pap.</i> Astylos, therefore, won three victories in Ol. 75, one -in Ol. 76, and the other four in Ols. 73–74. <i>Cf.</i> Rutgers, pp. 32, 34–35; Foerster, 176–177, 181–182, -187–188; Hyde, 110.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2464"></a><a href="#FNanchor_2464"><span class="label">2464</span></a> Rutgers, p. 34, n. 1 (<i>cf.</i> Robert, <i>O. S.</i>, p. 164) has shown that the tyrant named Hiero by Pausanias -should be Gelo; <i>cf.</i> Hertzberg, <i>Gesch. v. Hellas u. Rom</i>, I, 1879, p. 181; Foerster, 181–2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2465"></a><a href="#FNanchor_2465"><span class="label">2465</span></a> I, pp. 409–410; Pliny, <i>H. N.</i>, XXXIV, 59, calls the statue of Astylos that of a <i>stadiodromos</i>.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2466"></a><a href="#FNanchor_2466"><span class="label">2466</span></a> Euthymos won πύξ three times in Ols. 74, 76, and 77 ( = 484, 476, and 472 B. C.): 1 = P., VI, 6.5; -2 and 3 = P., VI, 6.6 and <i>Oxy. Pap.</i> <i>Cf.</i> Rutgers, pp. 34, 38, 41; Foerster, 185, 195, 207; -Robert, <i>O. S.</i>, pp. 167, 184 f.; Hyde, 56.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2467"></a><a href="#FNanchor_2467"><span class="label">2467</span></a> Inscribed base found: see <i>Inschr. v. Ol.</i>, 144; <i>I. G. B.</i>, 23; <i>I. G. A.</i>, 1882, 388.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2468"></a><a href="#FNanchor_2468"><span class="label">2468</span></a> See Kallimachos, <i>apud</i> Plin., <i>H. N.</i>, VII, 152.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2469"></a><a href="#FNanchor_2469"><span class="label">2469</span></a> Strabo, VI, 1.5 (= C. 255); Aelian, <i>Var. Hist.</i>, VIII, 18; Suidas, <i>s. v.</i> Εὔθυμος; P., VI, 6. 7–11. -<i>Cf.</i> also E. Curtius on the Olympia base, <i>A. Z.</i>, XXXVI, 1878, p. 83, no. 127. On the legend of -the statue, see Eusebios, <i>Praep. evang.</i>, V, 34.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2470"></a><a href="#FNanchor_2470"><span class="label">2470</span></a> Theagenes won πύξ in Ol. 75 ( = 480 B. C.): P., VI, 6.5; <i>Oxy.Pap.</i>; and παγκράτιον in Ol. 76 -( = 476 B. C.): P., VI, 11.4; <i>Oxy. Pap.</i>; he was twice περιοδονίκης and won many victories elsewhere, -carrying off 1400 crowns, according to P., VI, 11.5, and 1200, according to Plut., <i>Praec. -reipub. ger.</i>, 15, p. 811 D. <i>Cf.</i> Rutgers, pp. 36, 38; Foerster, 191, 196; Hyde, 104. Dio Chrys., -<i>Orat.</i>, XXXI, p. 339 M, wrongly mentions three Olympic victories.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2471"></a><a href="#FNanchor_2471"><span class="label">2471</span></a> <i>Op. cit.</i>, p. 340 M.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2472"></a><a href="#FNanchor_2472"><span class="label">2472</span></a> <i>Praep. evang.</i>, V, 34.7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2473"></a><a href="#FNanchor_2473"><span class="label">2473</span></a> <i>Deor. Conc.</i>, 12; <i>cf.</i> P., VI, 11.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2474"></a><a href="#FNanchor_2474"><span class="label">2474</span></a> <i>Sitzb. Muen. Akad.</i>, 1900, p. 332, n. 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2475"></a><a href="#FNanchor_2475"><span class="label">2475</span></a> Ladas won δόλιχος in Ol. (?) 76 ( = 476 B. C.): Robert, <i>O. S.</i>, p. 165, because of an older -dating for Myron, 480–444 B. C., necessitated by the <i>Oxy. Pap.</i> (see also <i>ibid.</i>, p. 184). Foerster, -249, has given Ol. (?) 85 ( = 440 B. C.) as the date of the victory, on the basis of the earlier -dating of Myron, 460–420 B. C.; <i>cf., e. g.</i>, Brunn, 1, p. 142; Bergk, <i>P. l. G.</i>, III, p. 473, no 125 and -note, and Rutgers p. 107.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2476"></a><a href="#FNanchor_2476"><span class="label">2476</span></a> <i>A. Pl.</i>, nos. 53, 54; see <i>supra</i>, Ch. IV, pp. 196–197.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2477"></a><a href="#FNanchor_2477"><span class="label">2477</span></a> Foerster assumed that the statue by Myron stood in Olympia. Against this view, see Furtwaengler -(<i>Mw.</i>, p. 379, n. 5), Kalkmann (<i>Jb.</i>, X, 1895, p. 56, and XI, 1896, p. 197), Studniczka -(article cited in note on Theagenes preceding), Brunn (<i>Sitzb. Muen. Akad.</i>, 1880, pp. 474 f.). -Benndorf (<i>de anthol. Gr. Epigram.</i>, 1862, 15, n. 1) thought it more probable that the statue stood -formerly at Olympia, but in the time of Pausanias was in Rome. Thus it is best to assume two -statues, the one in Argos not by Myron. Brunn (p. 475) showed that Ladas was a Spartan because -of P., III, 21. I and VIII, 12.5; Benndorf (<i>op. cit.</i>, p. 13) thought that he was an Argive. Kuhnert -(<i>Jahrbuecher f. cl. Philol.</i>, Supplbd., XIV, p. 269 n. 13) argued that the Argive statue was set up -by the Argive state, an improbable assumption if Ladas were a Spartan. A different Ladas is -the stade runner from Aigion, mentioned by P., III, 21.1, and X, 23.14.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2478"></a><a href="#FNanchor_2478"><span class="label">2478</span></a> Kallias won παγκράτιον in Ol. 77 ( = 472 B. C.): P. V, 9.3. He was περιοδονίκης: <i>C. I. A.</i>, I, 419. -<i>Cf.</i> Foerster, 208; Hyde, 50. Three other Athenian victors at Olympia named Kallias are -known: Kallias, son of Pheinippos, won κέλητι in Ol. 54 ( = 564 B. C.): Foerster, 104; Rutgers, p. -21; Kallias, son of Hipponikos, grandson of preceding, won τεθρίππῳ thrice in Ol. (?) 74, and Ols. -83, 84 ( = 484, 448, 444 B. C.): Foerster, 186 a, 242, 247; Rutgers, p. 142; Kallias, mentioned -by Polyb., XXVIII, 16, won παγκράτιον in the second century B. C.: <i>cf.</i> Foerster, under no. 208.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2479"></a><a href="#FNanchor_2479"><span class="label">2479</span></a> Inscribed base found: <i>Inschr. v. Ol.</i>, 146; <i>I. G. B.</i>, 41.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2480"></a><a href="#FNanchor_2480"><span class="label">2480</span></a> <i>C. I. A.</i>, I, 419. The painter Mikon, mentioned by Pliny, <i>H. N.</i>, XXXV, 59, is also named -by him as a sculptor of athlete statues: <i>op. cit.</i>, XXXIV, 88; he is also known from an inscription -found on the Akropolis at Athens: <i>C. I. A.</i>, I, 418; <i>I. G. B.</i>, 42.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2481"></a><a href="#FNanchor_2481"><span class="label">2481</span></a> Diagoras won πύξ in Ol. 79 ( = 464 B. C.): schol. on Pindar, <i>Ol.</i>, VII, Argum., Boeckh, p. 157, -and <i>Oxy. Pap.</i> He was περιοδονίκης, and his other victories are mentioned by Pindar and the scholiast -on the ode cited. On Diagoras, see H. van Gelder, <i>Geschichte der alten Rhodier</i>, 1900, p. 435; -on Kallikles, see Robert, <i>O. S.</i>, pp. 194 f. <i>Cf.</i> Rutgers, p. 43; Foerster, 220; Hyde, 59.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2482"></a><a href="#FNanchor_2482"><span class="label">2482</span></a> Boeckh, p. 157 and <i>cf.</i> p. 159; <i>F. H. G.</i>, IV, p. 410 (= Gorgon, fragm. 3).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2483"></a><a href="#FNanchor_2483"><span class="label">2483</span></a> Agias was περιοδονίκης. The date of his victory in the παγκράτιον at Olympia can not be determined -exactly. Although the dedication of Daochos occurred in the latter half of the fourth -century B. C., the time of Lysippos (Preuner = between 339 and 331 B. C.: see <i>Ein delphisches Weihgeschenk</i>, -1900, p. 12; Homolle dates it more closely between 338 and 334 B. C.; <i>B. C. H.</i>, XXIII, -1899, 440), the victory of Agias fell over a century earlier. Homolle proposed 428 B. C. as the -<i>floruit</i> of Agias, but gave no date for his victory at Olympia; Preuner (p. 17) sets the victory -before the middle of the fifth century B. C.; K. K. Smith (<i>Class. Phil.</i>, 1910, pp. 169–174) -has proposed Ol. 80 ( = 460 B. C.), the only lacuna for παγκράτιον in the <i>Oxy. Pap.</i>; however, -Robert (<i>O. S.</i>, p. 183) has placed Timodemos of Acharnai in that place. Foerster, 214, dates -Timodemos Ol. (?) 78 ( = 468 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2484"></a><a href="#FNanchor_2484"><span class="label">2484</span></a> <i>Pharsalos</i>, p. 28. See <i>supra</i>, pp. 286–287.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2485"></a><a href="#FNanchor_2485"><span class="label">2485</span></a> Cheimon won πάλη in Ol. 83 ( = 448 B. C.): <i>Oxy. Pap.</i>; <i>cf.</i> Robert, <i>O. S.</i>, pp. 171 and 191; -Hyde, no. 88. Foerster, 285, had proposed Ol. (?) 94 ( = 404 B. C.), on the basis of the older -dating of Naukydes = 423–390 B. C. (see Robert, <i>Arch. Maerchen</i>, 1886, p. 107). Kalkmann, -<i>Pausanias der Perieget</i>, 1886, p. 192, n. 1, thought that the statue at Olympia and the one at -Rome were identical; Gurlitt, <i>Ueber Pausanias</i>, 1890, pp. 374 and 423, n. 38 a, has shown that -the assumption is unfounded.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2486"></a><a href="#FNanchor_2486"><span class="label">2486</span></a> The temple of Peace was built by Vespasian (between A. D. 70 and 75) east of the <i>Forum -Augusti</i>. Pliny (<i>H. N.</i>, XXXIV, 84, and XXXV, 102) mentions works of art in it; Josephus -(<i>de Bell. Judaico</i>, VII, 5.7) also describes it.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2487"></a><a href="#FNanchor_2487"><span class="label">2487</span></a> Leon, according to Eustathius, on Iliad, II, 851 (= p. 361, 10), won τεθρίππῳ in Ol. 85 ( = 440 -B. C.). This date is followed by Schubart, Pausanias und seine Anklaeger, <i>Jb. f. cl. Philol.</i>, -XXX, 1884, p. 99, and Preger, <i>Inscript. Gr. metricae ex scriptoribus praeter anthologiam collectae</i>, -(Lipsiae, 1891), on no. 128. He won in Ol. 89 ( = 424 B. C.), according to Polemon (fragm. 22), the -date followed by Foerster, 264 and 264 N. Foerster places Arkesilaos of Sparta ( = 250) as -victor τεθρίππῳ in Ol. (?) 85; Hyde (13) places Arkesilaos either in Ol. 86 or Ol. 87, leaving -Ol. 85 free for Leon. Polemon (fragm. 22) calls Leon the “father of Antikleidas”; Preger, <i>op. -cit.</i>, p. 49, proposes the “son of Antikleidas,” thus having Leon win with his father’s chariot. -Bergk, <i>P. l. G.</i>, III, p. 40, note, changed the name to Antalkidas.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2488"></a><a href="#FNanchor_2488"><span class="label">2488</span></a> Fragm., 22 (= schol. on Euripides, <i>Hippolytus</i>, 230); see <i>F. H. G.</i>, III, p. 122; <i>cf.</i> <i>P. l. G.</i>, <i>l. c.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2489"></a><a href="#FNanchor_2489"><span class="label">2489</span></a> Eubotas (on the name, <i>cf.</i> Hitz.-Bluemn., II, <small>2</small>, pp. 573–574) won στάδιον in Ol. 93 ( = 408 -B. C.): Afr.; Xen., <i>Hell.</i>, I, 2.10; Diodoros, XIII, 68.1; and τεθρίππῳ in Ol. 104 ( = 304 B. C.): -P., VI, 8.3 and <i>cf.</i> VI, 4.2; Foerster, 277, 350; Hyde, 75. Pausanias (VI, 8.3) says that his -Olympia statue was made before his victory. Ol. 104 was a non-Olympiad; see on no. 28 <i>infra</i> -(Xenodamos), p. 369 and notes.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2490"></a><a href="#FNanchor_2490"><span class="label">2490</span></a> Aelian, <i>Var. Hist.</i>, X, 2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2491"></a><a href="#FNanchor_2491"><span class="label">2491</span></a> Promachos won παγκράτιον in Ol. 94 ( = 404 B. C.): see Rutgers, p. 56, n. 4, who gives this date -on the basis of P., VII, 27.6, and Ph., 22. <i>Cf.</i> Foerster, 286; Hyde, 81.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2492"></a><a href="#FNanchor_2492"><span class="label">2492</span></a> He won in an unknown contest, either in the fifth or the fourth century B. C.: Preger, <i>op. -cit.</i>, no. 144, on the basis of the epigram. <i>Cf.</i> Foerster, 293a; Foerster, in another place, -under no. 159, wrongly refers this same epigram (which he there ascribes to Simonides) to another -unknown victor of Argos who won in some gymnic contest, some time between Ols. 65 and 76 -( = 527 and 476 B. C.), the dates of Simonides’ sojourn in Greece (<i>cf.</i> K. Sittl, <i>Gesch. d. griech. Litt.</i>, -1884–1887, III, pp. 59 f.). It can, however, refer to but one victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2493"></a><a href="#FNanchor_2493"><span class="label">2493</span></a> I, 7, p. 1365a and I, 9, p. 1367b.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2494"></a><a href="#FNanchor_2494"><span class="label">2494</span></a> <i>Ap.</i> Eustath., on Od., XIV, 350 (= p. 1761, 25).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2495"></a><a href="#FNanchor_2495"><span class="label">2495</span></a> See G. Kaibel, Quaestiones Simonideae, <i>Rhein. Mus.</i>, XXVIII, 1873, pp. 452–3. <i>Cf.</i> -<i>P. l. G.</i>, III, p. 503; fragm. 163 (Simonides).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2496"></a><a href="#FNanchor_2496"><span class="label">2496</span></a> Kyniska won τεθρίππῳ twice in Ols. (?) 96 and 97 ( = 396 and 392 B. C.): see Hyde, 7, on the -basis of Robert, <i>O. S.</i>, p. 195; Foerster, 326 and 333, proposed Ols. (?) 100 and 101 ( = 380 and -376 B. C.) on the basis of the inscription found at Olympia (<i>Inschr. v. Ol.</i>, 160; <i>I. G. B.</i>, no. 99 and -p. <span class="smcap">XXI</span>). <i>Cf.</i> Rutgers, pp. 143–144.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2497"></a><a href="#FNanchor_2497"><span class="label">2497</span></a> She won συνωρίδι some time near the middle of the fourth century B. C.; Foerster, 344, dates -the victory Ol. (?) 103 ( = 368 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2498"></a><a href="#FNanchor_2498"><span class="label">2498</span></a> Curtius, <i>Peloponnesos</i>, II, 1852, p. 313, n. 29; for King Pausanias, see Thukyd., I, 134.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2499"></a><a href="#FNanchor_2499"><span class="label">2499</span></a> Archias won as κῆρυξ in three successive Olympiads: Pollux, IV, 92; the epigram says (ὃς -τρὶς ἐκάρυξεν). Foerster, 351, 356, 361; he proposes (see under no. 351) Ols. (?) 104–106 ( = 364–356 -B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2500"></a><a href="#FNanchor_2500"><span class="label">2500</span></a> <i>A. Pl.</i>, 372; also in Pollux, IV, 92.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2501"></a><a href="#FNanchor_2501"><span class="label">2501</span></a> [Phil]okrates won συνωρίδι about the middle of the fourth century B. C. (see Koehler on the -inscription cited in the following note). Foerster, 365, proposes Ol. (?) 107 ( = 352 B. C.)</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2502"></a><a href="#FNanchor_2502"><span class="label">2502</span></a> <i>C. I. A.</i>, II, <small>3</small>, 1303; see L. Ross, <i>Die Demen von Attika</i>, 1846, pp. 80 and 111.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2503"></a><a href="#FNanchor_2503"><span class="label">2503</span></a> <i>C. I. A.</i>, II, <small>3</small>, 1319; Le Bas, <i>Voyage archéologique</i>, I, <i>Attique</i>, no. 595. The inscription appears -to belong to the fourth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2504"></a><a href="#FNanchor_2504"><span class="label">2504</span></a> Phorystas won as κῆρυξ some time toward the end of the fourth century B. C., <i>i. e.</i>, in the time -of the artist Kaphisias: see Loewy, on the inscription cited in the following note. Foerster, -405, proposes Ol. (?) 117 ( = 312 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2505"></a><a href="#FNanchor_2505"><span class="label">2505</span></a> <i>C. I. G.</i>, I, 1582; Kaibel, <i>Epigr. Gr. ex lapid. conlecta</i>, 1878, no. 938; Loewy, <i>I. G. B.</i>, 119; Collitz -and Bechtel, <i>Samml. d. gr. Dialekt-Inschr.</i>, 1883–90, no. 945.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2506"></a><a href="#FNanchor_2506"><span class="label">2506</span></a> <i>I. G. B.</i>, 120. See Foerster, under no. 405.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2507"></a><a href="#FNanchor_2507"><span class="label">2507</span></a> Aristophon won παγκράτιον some time between Ols. (?) 115 and 130 ( = 320 and 260 B. C.), -as we infer from the date of the inscription from the base of his statue at Olympia: see <i>Inschr. v. -Ol.</i>, no. 169. <i>Cf.</i> Hyde, 123 and p. 51. Foerster, 758 (following Rutgers, p. 122) had left the -victory undated.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2508"></a><a href="#FNanchor_2508"><span class="label">2508</span></a> <i>C. I. A.</i>, II, <small>3</small>, 1475. See Ross, <i>Die Demen von Attika</i>, no. 70; Le Bas, <i>Attique</i>, no. 115.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2509"></a><a href="#FNanchor_2509"><span class="label">2509</span></a> Strabo, XII, 4.2 (= C. 624).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2510"></a><a href="#FNanchor_2510"><span class="label">2510</span></a> Attalos won ἅρματι πώλων some time during the reign of his older brother Philetairos, founder -of the Attalid dynasty, <i>i. e.</i>, between Ols. 124 and 129 ( = 284 and 264 B. C.): see Foerster, 436. -An epigram of the philosopher Arkesilaos of Pitane (mentioned by Foerster), celebrating the -chariot-race of this Attalos, is preserved by Diog. Laert., IV, 6.30; <i>cf.</i> Fraenkel on the inscription, -no. 10 (see next note).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2511"></a><a href="#FNanchor_2511"><span class="label">2511</span></a> <i>Inschr v. Pergamon</i> (ed. Fraenkel), 1890, I, nos. 10–12; <i>cf.</i> <i>I. G. B.</i>, no. 157.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2512"></a><a href="#FNanchor_2512"><span class="label">2512</span></a> He won παγκράτιον ἀνδρῶν in Ol. 211 ( = 67 A. D.): P., X, 36.9.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2513"></a><a href="#FNanchor_2513"><span class="label">2513</span></a> <i>A. Z.</i>, XL, 1882, p. 110.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2514"></a><a href="#FNanchor_2514"><span class="label">2514</span></a> P., VI, 22.2.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2515"></a><a href="#FNanchor_2515"><span class="label">2515</span></a> <i>Ibid.</i></p></div> - -<div class="footnote"> - -<p><a id="Footnote_2516"></a><a href="#FNanchor_2516"><span class="label">2516</span></a> P., VI, 22.3; 4.2; <i>cf.</i> 8.3 (where Eubotas won τεθρίππῳ, no. 17 <i>supra</i>).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2517"></a><a href="#FNanchor_2517"><span class="label">2517</span></a> V, pp. 454–455; <i>cf.</i> Hitz.-Bluemn., III, <small>2</small>, p. 829.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2518"></a><a href="#FNanchor_2518"><span class="label">2518</span></a> <i>Vit. Apoll. Tyan.</i>, V, 7.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2519"></a><a href="#FNanchor_2519"><span class="label">2519</span></a> Suetonius, <i>Nero</i>, 24; Dio Cassius, LXIII, 14. Foerster, 642–647.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2520"></a><a href="#FNanchor_2520"><span class="label">2520</span></a> <i>Cf.</i> also Schubart, Pausanias u. seine Anklaeger, <i>Jb. f. cl. Philologie</i>, XXIX, 1883, pp. 472 f.; -Brunn, <i>ibid.</i>, XXX, 1884, p. 24; and Foerster, 641 and under no. 638.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2521"></a><a href="#FNanchor_2521"><span class="label">2521</span></a> T. Phlabios Artemidoros won παγκράτιον twice. He was also περιοδονίκης. The <i>Magna Capitolia</i>, -in which he was also victor, were instituted by Domitian in 86 A. D.; Foerster, 657, 661, -proposes Ols. (?) 215 and 216 ( = 81 and 85 A. D.) for the two victories.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2522"></a><a href="#FNanchor_2522"><span class="label">2522</span></a> <i>C. I. G.</i>, III, 5806; Kaibel, <i>Inscript. Gr. Sicil. et Ital.</i>, 1890, no. 746.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2523"></a><a href="#FNanchor_2523"><span class="label">2523</span></a> T. Phlabios Metrobios won δόλιχος, first of his countrymen, in Ol. 217 ( = 89 A. D.): <i>cf.</i> -Boeckh on the inscription (see next note) and Rutgers, p. 91, n. 2; Foerster, 665. He was also -περιοδονίκης and won δόλιχος at the <i>Capitolia</i> in Rome, as “first of all men.”</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2524"></a><a href="#FNanchor_2524"><span class="label">2524</span></a> <i>C. I. G.</i>, II, 2682.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2525"></a><a href="#FNanchor_2525"><span class="label">2525</span></a> Sarapion won πὺξ παίδων in Ol. 217 ( = 89 A. D.): P., VI, 23.6. <i>Cf.</i> Foerster, 667; Rutgers, -p. 91, n. 3, who doubts whether Sarapion was an Olympic victor, though Pausanias says that -he was.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2526"></a><a href="#FNanchor_2526"><span class="label">2526</span></a> <i>I. e.</i>, Sarapion, from Alexandria, who won στάδιον in Ol. 204 ( = 37 A. D.): Afr.; Foerster, 620; -Rutgers, p. 86; another Sarapion, from Alexandria, who, Pausanias (V. 21.18) says, came to -Olympia in Ol. 201 ( = 25 A. D.) to enter the παγκράτιον, but ran away the day before the contest -and was fined for cowardice; Sarapion of Magnesia ad Sipylum, victor in an unknown contest -and at an unknown date, known from an inscription from Tralles: <i>C. I. G.</i>, II, 2933; Foerster, 824; -Rutgers, p. 156.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2527"></a><a href="#FNanchor_2527"><span class="label">2527</span></a> M. Aurelios Demetrios won παγκράτιον some time before his son’s victory in the same contest -in Ol. 240 ( = 181 A. D.), as we learn from the inscription mentioned in the next note; <i>cf.</i> -Rutgers, p. 96; Foerster, 719. Foerster, 682, therefore proposes Ol. (?) 225 ( = 121 A. D.) for -the father’s victory; <i>cf.</i> Rutgers, p. 122. Both father and son were περιοδονῖκαι. The father -was called ὁ παράδοξος.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2528"></a><a href="#FNanchor_2528"><span class="label">2528</span></a> <i>C. I. G.</i>, III, 5912, 5913, and 5914; Kaibel, <i>Inscript. Gr. Sicil. et Ital.</i>, 1102–1104.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2529"></a><a href="#FNanchor_2529"><span class="label">2529</span></a> This victor won πάλη ἀνδρῶν, first of his countrymen, in Ol. 229 ( = 137 A. D.); date from -the inscription (see next note); Foerster, 691.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2530"></a><a href="#FNanchor_2530"><span class="label">2530</span></a> <i>B. C. H.</i>, XI, 1887, pp. 80 f. (P. Foucart).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2531"></a><a href="#FNanchor_2531"><span class="label">2531</span></a> Kranaos won στάδιον in Ol. 231 ( = 145 A. D.): Afr.; and πένταθλον twice, δίαυλος once, and as -ὁπλίτης once, according to Pausanias (II, 11.8), but in unknown Olympiads: Foerster, 697, -702–703, 707–708. He dates the four last victories in Ols. (?) 232 and 233 ( = 149 and 153 A. D.). -</p> -<p> -Most writers have identified the Granianos of Pausanias with Kranaos of Africanus, as both are -from Sikyon; <i>cf.</i> Rutgers, p. 94 and n. 1. Kalkmann, <i>Pausanias der Perieget</i>, p. 74, note 6, however, -is doubtful of the identification.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2532"></a><a href="#FNanchor_2532"><span class="label">2532</span></a> T. Ailios Aurelios Apollonios won as κῆρυξ during the reign of Antoninus Pius ( = 138–161 -A. D.): <i>cf.</i> Dittenberger on the inscription (see next note). Foerster, 700, proposes Ol. (?) -231 ( = 145 A. D.). He was περιοδονίκης.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2533"></a><a href="#FNanchor_2533"><span class="label">2533</span></a> <i>C. I. A.</i>, III, 120 (Dittenberger).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2534"></a><a href="#FNanchor_2534"><span class="label">2534</span></a> Mnasiboulos won στάδιον in Ol. 235 ( = 161 A. D.): Afr., and P., X, 34.5; and as ὁπλίτης in -Ol. 235: P., <i>ibid.</i> He was περιοδονίκης in both events: Foerster, nos. 712–713. His son of the same -name had a statue in the temple of Athena Kranaia at Elateia, whose marble inscribed plate has -been recovered: see <i>B. C. H.</i>, XI, 1887, p. 342, no. 13 (P. Paris).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2535"></a><a href="#FNanchor_2535"><span class="label">2535</span></a> Aurelios Toalios won (?) παγκράτιον twice in the time of Alexander Severus ( = 222–235 A. D.): -see Holleaux and Paris on the inscription (see next note). Foerster, 735–736, proposes Ols. (?) -251 and 252 ( = 225 and 229 A. D.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2536"></a><a href="#FNanchor_2536"><span class="label">2536</span></a> <i>B. C. H.</i>, X, 1886, pp. 233 f., no. 13.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2537"></a><a href="#FNanchor_2537"><span class="label">2537</span></a> Aurelios Metrodorus won παγκράτιον about the time of Alexander Severus (see Boeckh, on the -inscription mentioned in the next note). Foerster, 737, proposes Ol. (?) 253 ( = 233 A. D.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2538"></a><a href="#FNanchor_2538"><span class="label">2538</span></a> <i>C. I. G.</i>, III, 3676.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2539"></a><a href="#FNanchor_2539"><span class="label">2539</span></a> Valerios Eklektos won as κῆρυξ four times in Ols. 256, 258, 259, and 260 ( = 245, 253, 257, and -261 A. D.): see inscription mentioned in the next note; Foerster, 741–744. He was περιοδονίκης -thrice (= τρισπερίοδος), and won 80 crowns in various games.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2540"></a><a href="#FNanchor_2540"><span class="label">2540</span></a> <i>Inschr. v. Ol.</i>, 242–243; <i>A. Z.</i>, XXXVIII, 1880, pp. 164 f., no. 369.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2541"></a><a href="#FNanchor_2541"><span class="label">2541</span></a> <i>C. I. A.</i>, III, 129 (Dittenberger).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2542"></a><a href="#FNanchor_2542"><span class="label">2542</span></a> Klaudios Rhouphos won (?) πάλη or (?) πύξ or (?) παγκράτιον near the beginning of the fourth -century A. D. (see Kaibel and the inscription mentioned in the next note); Foerster, 748–749, -and Rutgers, p. 154. He was twice περιοδονίκης.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2543"></a><a href="#FNanchor_2543"><span class="label">2543</span></a> <i>C. I. G.</i>, III, 5910; Kaibel, <i>Inscript. Gr. Sicil. et Ital.</i>, no. 1107, p. 299.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2544"></a><a href="#FNanchor_2544"><span class="label">2544</span></a> Philoumenos won (?) πάλη, according to Rutgers, p. 98, n. 3, either in Ol. 288 ( = 373 A. D.) or -<i>certe non multo prius</i> (on the basis of the passage in Panodoros cited in the following note). He -is also mentioned in a Roman inscription given by Rutgers, <i>ibid.</i> Foerster, 750.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2545"></a><a href="#FNanchor_2545"><span class="label">2545</span></a> <i>Ap.</i> Cramer, <i>Anecd. gr. Parisiensia</i>, 1839–41, II, p. 155, 17 (quoted by Foerster); Preger, -<i>Inscr. Gr. metricae</i>, no. 133.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2546"></a><a href="#FNanchor_2546"><span class="label">2546</span></a> Ainetos was victor in πένταθλον. <i>Cf.</i> Rutgers, p. 112; Foerster, 754, who wrongly gives the -contest as πύξ.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2547"></a><a href="#FNanchor_2547"><span class="label">2547</span></a> Nikokles, according to Pausanias, <i>l. c.</i>, won five prizes in running δρόμος in two Olympiads. -Foerster, under nos. 788–792, explains these words by arranging victories in δίαυλος, δόλιχος, and -as ὁπλίτης in one Olympiad, and two of these contests in the next; none of them could have been -in στάδιον, since his name does not appear in Africanus. <i>Cf.</i> Rutgers, pp. 105–106, 107, and 126. -Le Bas long ago (<i>R. arch.</i>, II, 1845, p. 220) connected a restored inscription with this victor.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2548"></a><a href="#FNanchor_2548"><span class="label">2548</span></a> Aigistratos won πάλη παίδων: Foerster, 806.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2549"></a><a href="#FNanchor_2549"><span class="label">2549</span></a> <i>C. I. G.</i>, II, 2527.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2550"></a><a href="#FNanchor_2550"><span class="label">2550</span></a> He won in an unknown contest and was three times περιοδονίκης, gaining 35 crowns at various -games. <i>Cf.</i> Foerster, 825–827.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2551"></a><a href="#FNanchor_2551"><span class="label">2551</span></a> <i>C. I. G.</i>, I, 1715.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2552"></a><a href="#FNanchor_2552"><span class="label">2552</span></a> Ross, <i>Arch. Aufsaetze</i>, 1855–1861, I, pp. 163 f; <i>C. I. A.</i>, I, 376; <i>I. G. B.</i>, 39; E. S. Roberts, <i>An -Introduction to Greek Epigraphy</i>, I, 1887, 68a.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2553"></a><a href="#FNanchor_2553"><span class="label">2553</span></a> <i>Rhein. Mus.</i>, XVI, 1861, p. 224.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2554"></a><a href="#FNanchor_2554"><span class="label">2554</span></a> <i>Hermes</i>, XII, 1877, p. 345 and n. 29.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2555"></a><a href="#FNanchor_2555"><span class="label">2555</span></a> <i>E. g.</i>, by R. Schoell, <i>Hermes</i>, XIII, 1878, p. 437; <i>cf.</i> Gurlitt, <i>Ueber Pausanias</i>, pp. 158 f., Loewy -on the inscription, and Hitz.-Bluemn., I, <small>1</small>, p. 261.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2556"></a><a href="#FNanchor_2556"><span class="label">2556</span></a> IX, 105.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2557"></a><a href="#FNanchor_2557"><span class="label">2557</span></a> <i>C. I. A.</i>, I, 402; <i>I. G. B.</i>, 46; Ross, <i>Arch. Aufsaetze</i>, I, pp 168 f. This is possibly to be connected -with the statue of the <i>Volneratus deficiens</i> mentioned by Pliny, <i>H. N.</i>, XXXIV, 74. See <i>supra</i>, -p. 199. However, the lettering is not later than 444 B. C., while Diitrephes is known to have -been living as late as 411: Thukyd., VIII, 64.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2558"></a><a href="#FNanchor_2558"><span class="label">2558</span></a> Th. Bergk, <i>Zeitschr. f. d. Altertumswissensch.</i>, III, 1845, pp. 961 f.; Wilamowitz, <i>Hermes</i>, XII, -1877, p. 346; Furtwaengler, <i>A. M.</i>, V, 1880, p. 28 and n. 2; <i>cf.</i>, however, Gurlitt, <i>op. cit.</i>, pp. 159 f.; -Robert, Die Marathonschlacht in der Poikile und Weiteres ueber Polygnot, <i>18stes Hallisches -Winckelmannsprogr.</i>, 1895, p. 22; Hitz.-Bluemn., I, <span class="smcap">i</span>, pp. 255 f. and 262 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2559"></a><a href="#FNanchor_2559"><span class="label">2559</span></a> II, p. 289; <i>cf. ibid.</i>, pp. 275 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2560"></a><a href="#FNanchor_2560"><span class="label">2560</span></a> <i>Jb.</i>, VII, 1892, pp. 185 f. <i>Cf.</i> the remarks of Gercke, <i>ibid.</i>, VIII, 1893, pp. 113 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2561"></a><a href="#FNanchor_2561"><span class="label">2561</span></a> III, 75; IV, 119 and 129.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2562"></a><a href="#FNanchor_2562"><span class="label">2562</span></a> <i>Mw.</i>, pp. 278 f.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2563"></a><a href="#FNanchor_2563"><span class="label">2563</span></a> <i>Vit. X Orat.</i>, IV (Isokrates), 42, (p. 839 c.) It was in the ball-court of the Arrephoroi. The -same author, IV, 41, (839b), also mentions a bronze statue (with inscription) of Isokrates set -up by the orator’s adopted son Aphareus. See <i>supra</i>, pp. 24 and 281. I assume that these two -passages refer to one and the same monument.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2564"></a><a href="#FNanchor_2564"><span class="label">2564</span></a> Three victors, Ladas (no. 11), Agias (no. 14), and Sarapion (no. 30), had two statues each. -Theagenes (no. 10) had several, according to Pausanias, who, however, mentions only one -definitely. We have omitted from our total the statue set up by T. Phlabios Artemidoros (28a) -to his father.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2565"></a><a href="#FNanchor_2565"><span class="label">2565</span></a> We have here included the tablet of Chionis at Sparta (no. 1), a victor of the seventh century -B. C., whose monument, however, was erected in the fifth century B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2566"></a><a href="#FNanchor_2566"><span class="label">2566</span></a> Including the two Lysippan statues of Agias, a victor of the fifth century, B. C.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2567"></a><a href="#FNanchor_2567"><span class="label">2567</span></a> Of the 192 monuments referred to 187 victors mentioned by Pausanias in his victor <i>periegesis</i> -at Olympia, only 153, belonging to 148 victors, can be exactly or approximately dated. Of these, -33 monuments (referred to 32 victors) belong to the epoch prior to the approximate date of the -founding of the temple of Zeus, <i>i. e.</i>, prior to Ol. 77 ( = 472 B. C.); 51 monuments (referred to 50 -victors) from this date on, to the approximate date of the battle of Aigospotamoi (B. C. 404), -<i>i. e.</i>, down to Ol. 93 ( = 408 B. C.); 36 monuments (referred to 34 victors) from then on, to about -the time of the birth of Alexander the Great, <i>i. e.</i>, to Ol. 106 ( = 356 B. C.); and 33 monuments -(referred to 32 victors) from that date, to the close of the description of the athlete <i>periegesis</i>, i<i>. e.</i>, -from Ols. 107 to 149 ( = 352 to 184 B. C.). See Hyde, <i>op. cit.</i>, Ch. IV, pp. 72 sq., and <i>supra</i>, -pp. 352–3. (In my victor lists, <i>op. cit.</i>, pp. 3–24, I have enumerated 188 victors; however, Philon -of Kerkyra is listed twice, nos. 91 and 136, for two different statues.) Of these 153 monuments, -nearly one-half (<i>i. e.</i>, 74) belong properly to the fifth century (Ols. 70 to 94 = 500 to 404 B. C.).</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2568"></a><a href="#FNanchor_2568"><span class="label">2568</span></a> Pausanias mentions 192 (referred to 187 victors, as above); we have found in the present -chapter that 63 others (referred to 61 victors) are known from inscribed base fragments found at -Olympia; and that 47 (referred to 44 victors) are known from literary sources as having stood -elsewhere. If we deduct 10 victors who had monuments both at Olympia and elsewhere, we -have a grand total of 282 victors, in whose honor these 302 monuments of various kinds were -erected.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2569"></a><a href="#FNanchor_2569"><span class="label">2569</span></a> See Hyde, pp. v-vi, for an alphabetic list of sculptors mentioned by Pausanias, or known from -the recovered bases of statues at Olympia. See <i>supra</i>, p. 339, n. 1, end.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2570"></a><a href="#FNanchor_2570"><span class="label">2570</span></a> Lysippos made two statues <i>honoris causa</i> for Pythes, son of Andromachos, of Abdera: P., VI, -14.12; Hyde, 134a. Mikon made two statues for King Hiero of Syracuse, one represented on foot -and the other on horseback, which I have classed as “honor” statues: P., VI, 12.2; Hyde, 105a. -All the “honor” statues at Olympia named by Pausanias are listed in the work cited, on p. v.</p></div> - -<div class="footnote"> - -<p><a id="Footnote_2571"></a><a href="#FNanchor_2571"><span class="label">2571</span></a> <i>H. N.</i>, Bk. XXXIV, <i>passim</i>. One other sculptor, Kratinos, named by Pausanias, is noted by -Pliny as a painter only: <i>ibid.</i>, XXXV, 140 and 147.</p></div> - -<h2>INDEX.</h2> - -<ul class="IX"><li> -Aberdeen head, <a href="#Page_87">87</a>.</li><li> - -Academy, festival in honor of Athenian soldiers at the, <a href="#Page_11">11</a>.</li><li> - -Achæans, games among, <a href="#Page_20">20</a>;<ul><li> -in Homer, <a href="#Page_1">1</a>, <a href="#Page_7">7</a>;</li><li> -origin of sports among, <a href="#Page_1">1</a>.</li></ul></li><li> - -Achaia, erects victor statue at Olympia, <a href="#Page_30">30</a>;<ul><li> -Pausanias’ account of, 323.</li></ul></li><li> - -<i>Achilleae</i>, definition of, 92, note <a href="#Page_6">6</a>;<ul><li> -statues, 87, 226.</li></ul></li><li> - -Achilles, casts <i>solos</i> at games of Patroklos, <a href="#Page_218">218</a>;<ul><li> -fights with Telephos, on Tegea pediment, <a href="#Page_306">306</a>, <a href="#Page_307">307</a>;</li><li> -shield of, <a href="#Page_5">5</a>;</li><li> -yields prize to Agamemnon, 8.</li></ul></li><li> - -Acrobats, among Athenians, <a href="#Page_5">5</a>;<ul><li> -in Crete, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;</li><li> -in Homer, <a href="#Page_5">5</a>;</li><li> -in modern Italy, <a href="#Page_5">5</a>;</li><li> -in Thessaly, <a href="#Page_5">5</a>;</li><li> -at Tiryns, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;</li><li> -on Vapheio cups, 5.</li></ul></li><li> - -Actors, statues of victorious, at Olympia, <a href="#Page_285">285</a>.</li><li> - -<i>Adlocutio</i>, gesture of, <a href="#Page_132">132</a>.</li><li> - -Admetos, boxing match with Mopsos, on chest of Kypselos, <a href="#Page_285">285</a>.</li><li> - -Adonis(?), statue of, <a href="#Page_74">74</a>.</li><li> - -<i>Adorantes se feminae</i>, statues by Apellas, <a href="#Page_131">131</a>.</li><li> - -Adoration and prayer, as athletic motives, <a href="#Page_130">130f</a>.</li><li> - -Aegean civilization, <a href="#Page_1">1f</a>.;<ul><li> -unathletic character of, 7.</li></ul></li><li> - -Aegina, games on, <a href="#Page_20">20</a>;<ul><li> -date of gable statues from temple of Aphaia, <a href="#Page_125">125</a>;</li><li> -gable statues from temple of Aphaia, <a href="#Page_123">123f</a>.;</li><li> -influence of sculptors on “Apollo” statues, <a href="#Page_102">102</a>;</li><li> -kneeling Herakles, from East gable, <a href="#Page_195">195</a>;</li><li> -movement in gable statues, <a href="#Page_176">176</a>;</li><li> -observation of nature in, <a href="#Page_244">244</a>;</li><li> -runners, from West gable, <a href="#Page_195">195</a>;</li><li> -sculptors from, <a href="#Page_122">122f</a>.;</li><li> -sculptors in favor at Olympia, <a href="#Page_264">264</a>;</li><li> -temple of Aphaia on, <a href="#Page_123">123f</a>.</li></ul></li><li> - -Aeginetans, at battle of Salamis, <a href="#Page_125">125</a>.</li><li> - -Aelian, on bronze horses of Kimon, <a href="#Page_363">363</a>.</li><li> - -Aesthetic judgments of classical writers, <a href="#Page_58">58</a>.</li><li> - -Africanus, list of stade victors in, <a href="#Page_191">191</a>;<ul><li> -on omission of 211th Olympiad, 369.</li></ul></li><li> - -Agamemnon, prize of, <a href="#Page_8">8</a>;<ul><li> -the <i>Agamemnon</i> of Aischylos, 75.</li></ul></li><li> - -Agasias, sculptor, <a href="#Page_208">208</a>.</li><li> - -Agathinos, statue at Olympia, <a href="#Page_345">345</a>.</li><li> - -Age, classification of Greek athletes by, <a href="#Page_189">189</a>;<ul><li> -in Plato’s <i>Republic</i>, 189.</li></ul></li><li> - -Ageladas; see Hagelaïdas, <a href="#Page_190">190</a>.</li><li> - -Agenor, statue at Olympia, <a href="#Page_30">30</a>, <a href="#Page_118">118</a>.</li><li> - -Agesarchos, statue at Olympia, <a href="#Page_129">129</a>.</li><li> - -Agiadas, statue at Olympia, <a href="#Page_123">123</a>.</li><li> - -Agias, statue at Delphi, <a href="#Page_46">46</a>, <a href="#Page_365">365</a>, <a href="#Page_366">366</a>;<ul><li> -statue at Pharsalos, <a href="#Page_366">366</a>;</li><li> -careless finish of Delphian statue, <a href="#Page_304">304</a>;</li><li> -compared with <i>Apoxyomenos</i> of Vatican, <a href="#Page_289">289</a>;</li><li> -compared with <i>Farnese Herakles</i>, <a href="#Page_253">253</a>;</li><li> -epigram on base of statue, <a href="#Page_328">328</a>;</li><li> -as example of assimilation, <a href="#Page_94">94</a>;</li><li> -fillet on, <a href="#Page_150">150</a>;</li><li> -as statue “double,” <a href="#Page_304">304</a>;</li><li> -as statue of a pancratiast, <a href="#Page_292">292</a>;</li><li> -supplants <i>Apoxyomenos</i> as norm of Lysippos, <a href="#Page_290">290</a>, <a href="#Page_291">291f</a>.;</li><li> -swollen ear of, <a href="#Page_168">168</a>;</li><li> -why considered copy, <a href="#Page_303">303f</a>., 316.</li></ul></li><li> - -Agids, tomb in Sparta, <a href="#Page_362">362</a>.</li><li> - -Agilochos, statue at Olympia, <a href="#Page_357">357</a>.</li><li> - -<i>Agon</i> (<i>Contest</i>), figure in group of Mikythos, <a href="#Page_164">164</a>, <a href="#Page_215">215</a>.</li><li> - -Agorakritos, sculptor, <a href="#Page_182">182</a>.</li><li> - -Agrippa, M., removes the <i>Apoxyomenos</i> to Rome, <a href="#Page_289">289</a>.</li><li> - -Aiakos, games in honor of, <a href="#Page_20">20</a>.</li><li> - -Aigion, boy from, chosen as priest for his beauty, <a href="#Page_57">57</a>.</li><li> - -Aigistratos, Olympic victor statue at Lindos, <a href="#Page_372">372</a>.</li><li> - -Aigospotamoi, battle of, <a href="#Page_352">352</a>;<ul><li> -memorial at Delphi, 278.</li></ul></li><li> - -Aigyptos, equestrian monument at Olympia, <a href="#Page_120">120</a>, <a href="#Page_267">267</a>, <a href="#Page_279">279</a>.</li><li> - -Ainetos, statue at Amyklai, <a href="#Page_371">371</a>.</li><li> - -Aischines, statue at Olympia, <a href="#Page_29">29</a>, <a href="#Page_214">214</a>, <a href="#Page_346">346</a>.</li><li> - -Aischylos, on ἀγώνιοι θεοί, <a href="#Page_75">75</a>;<ul><li> -<i>Agamemnon</i> of, 75.</li></ul></li><li> - -Aischylos, victor relief, in honor of the Dioskouroi, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>.</li><li> - -Ajax, acrobatic feat of, <a href="#Page_3">3</a>;<ul><li> -combat with Diomedes, <a href="#Page_8">8</a>;</li><li> -on r.-f. Etruscan stamnos, 132.</li></ul></li><li> - -Akarnania, <a href="#Page_318">318</a>.</li><li> - -Akastos, games of, depicted on chest of Kypselos and on throne of Apollo at Amyklai, <a href="#Page_12">12</a>.</li><li> - -Akestorides, statue at Olympia, <a href="#Page_345">345</a>, <a href="#Page_354">354</a>.</li><li> - -Akontistai; see Javelin-throwers. - -Akousilaos, statue at Olympia, <a href="#Page_130">130</a>, <a href="#Page_165">165</a>.</li><li> - -Akragas, bronze statue dedicated at Olympia by people of, <a href="#Page_130">130</a>;<ul><li> -decadrachm of, 48.</li></ul></li><li> - -Akropolis at Athens, Aeginetan bronze head from, <a href="#Page_123">123</a>;<ul><li> -Argive bronze head from, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>;</li><li> -athlete statue from, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>;</li><li> -chariot-race relief from, <a href="#Page_128">128</a>;</li><li> -ephebe head, yellow-haired, from, <a href="#Page_116">116</a>;</li><li> -excavations of, <a href="#Page_126">126</a>;</li><li> -Hermes relief from, <a href="#Page_270">270</a>;</li><li> -Korai from, <a href="#Page_115">115</a>, <a href="#Page_126">126</a>;</li><li> -<i>la petite boudeuse</i> from, <a href="#Page_115">115</a>;</li><li> -pre-Persian sculptures from, <a href="#Page_126">126f.</a>;</li><li> -Old Temple of Athena on, 128, 271.</li></ul></li><li> - -<i>Akroteria</i>, winged figures as, <a href="#Page_177">177</a>.</li><li> - -Aktion, “Apollos” from, <a href="#Page_103">103</a>, <a href="#Page_334">334</a>.</li><li> - -Alabastron, on statue of Milo at Olympia, <a href="#Page_107">107</a>.</li><li> - -Alexander the Great, bust of, from Alexandria, <a href="#Page_316">316</a>;<ul><li> -coin of, showing Herakles, <a href="#Page_253">253</a>;</li><li> -funeral games in honor of, <a href="#Page_11">11</a>;</li><li> -head of, in Copenhagen, from sarcophagus, <a href="#Page_95">95</a>;</li><li> -institutes funeral games for Hephaistion, <a href="#Page_11">11</a>;</li><li> -portraits of, <a href="#Page_56">56</a>;</li><li> -portraits of, by Lysippos, <a href="#Page_290">290</a>, <a href="#Page_311">311</a>, <a href="#Page_316">316</a>;</li><li> -pensiveness in portraits of, <a href="#Page_318">318</a>;</li><li> -statue of, by Lysippos, 73.</li></ul></li><li> - -<i>Alexander Sarcophagus</i>, so-called, in Constantinople, <a href="#Page_275">275</a>.</li><li> - -Alexinikos, statue at Olympia, <a href="#Page_122">122</a>.</li><li> - -Alkainetos, statue at Olympia, <a href="#Page_343">343</a>, <a href="#Page_352">352</a>.</li><li> - -Alkamenes, and <i>Choiseul-Gouffier Apollo</i> type, <a href="#Page_89">89</a>;<ul><li> -<i>Enkrinomenos</i> of, <a href="#Page_134">134</a>;</li><li> -and Olympia gable statues, <a href="#Page_113">113</a>;</li><li> -and <i>Standing Diskobolos</i>, 76.</li></ul></li><li> - -Alkandridas, P. Ailios, statue at Olympia, <a href="#Page_360">360</a>.</li><li> - -Alketos, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_344">344</a>.</li><li> - -<span class="pagenum"><a id="Page_378">378</a></span> - -Alki, temple of Apollo at, <a href="#Page_336">336</a>.</li><li> - -Alkibiades, victor at Olympia, <a href="#Page_257">257</a>;<ul><li> -so-called <i>Alkibiades</i> of the Vatican, 199.</li></ul></li><li> - -Alkibios, base of statue of, from Akropolis, <a href="#Page_284">284</a>.</li><li> - -Alkinoos, King of Scheria, <a href="#Page_210">210</a>.</li><li> - -Alkmena, <a href="#Page_10">10</a>.</li><li> - -Alpheios, river at Olympia, <a href="#Page_49">49</a>, <a href="#Page_258">258</a>.</li><li> - -Altars, at Olympia: of Aphrodite, <a href="#Page_351">351</a>;<ul><li> -near Stadion, <a href="#Page_283">283</a>;</li><li> -of Nymphs, <a href="#Page_351">351</a>;</li><li> -of Seasons, <a href="#Page_351">351</a>;</li><li> -scattered positions of, <a href="#Page_341">341</a>;</li><li> -of Zeus; see Great Altar of Zeus.</li></ul></li><li> - -Altis at Olympia, East Byzantine wall of, <a href="#Page_345">345</a>, <a href="#Page_357">357</a>;<ul><li> -erection of statues in, <a href="#Page_27">27</a>, <a href="#Page_99">99</a>;</li><li> -excavation of, <a href="#Page_24">24</a>;</li><li> -honor statues in, <a href="#Page_339">339</a>;</li><li> -location of earliest statues in, <a href="#Page_299">299</a>;</li><li> -North Byzantine wall of, <a href="#Page_359">359</a>;</li><li> -<i>periegesis</i> of Pausanias in, <a href="#Page_151">151</a>, <a href="#Page_298">298</a>;</li><li> -positions of victor statues in, 339f.;</li><li> -processional entrance of, <a href="#Page_347">347</a>;</li><li> -processional way of, <a href="#Page_348">348</a>;</li><li> -Roman enlargement of, <a href="#Page_348">348</a>;</li><li> -routes (ἔφοδοι) of Pausanias in, <a href="#Page_339">339f</a>.;</li><li> -South Terrace wall of, <a href="#Page_346">346</a>;</li><li> -South wall of, <a href="#Page_339">339</a>, <a href="#Page_341">341</a>, <a href="#Page_345">345</a>, <a href="#Page_347">347</a>, <a href="#Page_352">352</a>, <a href="#Page_357">357</a>;</li><li> -Southwest gate of, <a href="#Page_360">360</a>;</li><li> -statues “within,” <a href="#Page_347">347</a>;</li><li> -topography of, <a href="#Page_339">339</a>;</li><li> -West Byzantine wall of, <a href="#Page_358">358</a>;</li><li> -West wall of, <a href="#Page_347">347</a>, <a href="#Page_355">355f</a>.</li></ul></li><li> - -Alypos, sculptor, <a href="#Page_120">120</a>.</li><li> - -Amaltheia, ivory horn of, at Olympia, <a href="#Page_264">264</a>, <a href="#Page_265">265</a>.</li><li> - -Amastris, coin of, showing figure of Hermes, <a href="#Page_78">78</a>.</li><li> - -Amazon, of Polykleitos, <a href="#Page_159">159</a>;<ul><li> -torso of Atalanta from Tegea pediment, draped as, 306.</li></ul></li><li> - -Ambrakia, <a href="#Page_105">105</a>.</li><li> - -Amelung, W., on supposed absence of libation-pouring in athletic art, <a href="#Page_140">140</a>;<ul><li> -on head in Turin, <a href="#Page_93">93</a>;</li><li> -on statuette in Vatican, 212, 244.</li></ul></li><li> - -Amenartas; see Amenerdis. - -Amenerdis, Egyptian queen, statue of, <a href="#Page_331">331</a>.</li><li> - -Amenemhat III, co-regent of Horfuabra, <a href="#Page_330">330</a>.</li><li> - -Amentum; see Thong. - -Amertas, statue of, at Olympia, <a href="#Page_117">117</a>.</li><li> - -Amphiaraos vase, in Berlin, <a href="#Page_13">13</a>, <a href="#Page_269">269</a>, <a href="#Page_280">280</a>;<ul><li> -Amphiaraos, on chest of Kypselos, <a href="#Page_269">269</a>;</li><li> -reliefs in honor of, 273.</li></ul></li><li> - -Amphiareion, at Oropos, <a href="#Page_272">272</a>, <a href="#Page_273">273</a>.</li><li> - -Amphidamas, games of, <a href="#Page_19">19</a>.</li><li> - -Amphiktyonic League, <a href="#Page_17">17</a>.</li><li> - -Amphion, sculptor, <a href="#Page_277">277</a>.</li><li> - -Amphipolis, games at, <a href="#Page_11">11</a>.</li><li> - -Amyklai, temple of Apollo at, <a href="#Page_19">19</a>.</li><li> - -Amykos, boxing match of, with Polydeukes, <a href="#Page_269">269</a>;<ul><li> -invention of boxing-gloves ascribed to, 236.</li></ul></li><li> - -Amyntas, statue at Olympia, <a href="#Page_129">129</a>, <a href="#Page_354">354</a>.</li><li> - -Analogy, in Greek art, <a href="#Page_66">66</a>.</li><li> - -Anatomy, knowledge of, in Greek sculpture, <a href="#Page_56">56</a>;<ul><li> -in Aeginetan gable statues, <a href="#Page_124">124</a>;</li><li> -in Ligourió bronze, <a href="#Page_111">111</a>;</li><li> -studied in Alexandria, 289.</li></ul></li><li> - -Anauchidas, statue at Olympia, <a href="#Page_341">341</a>.</li><li> - -Anaxandros, statue at Olympia, <a href="#Page_130">130</a>, <a href="#Page_266">266</a>.</li><li> - -Anaxilas, as dedicator of Delphi <i>Charioteer</i>, <a href="#Page_278">278</a>.</li><li> - -Ancestors, worship of, in Greece, <a href="#Page_14">14</a>.</li><li> - -Ancient writings of the Eleans, <a href="#Page_15">15</a>.</li><li> - -Andokides, vase-painter, <a href="#Page_229">229</a>, <a href="#Page_230">230</a>.</li><li> - -Andreas, sculptor, <a href="#Page_118">118</a>.</li><li> - -Angelion, sculptor, <a href="#Page_122">122</a>, <a href="#Page_304">304</a>, <a href="#Page_334">334</a>.<ul><li> -See also Tektaios.</li></ul></li><li> - -Aniconic statues, <a href="#Page_58">58</a>.</li><li> - -Anochos, statue at Olympia, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.</li><li> - -Anointing, as athletic motive, <a href="#Page_133">133f</a>. - -Antaios, bout with Herakles, on proto-Attic amphora, <a href="#Page_13">13</a>.</li><li> - -Antenor, sculptor, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>.</li><li> - -Anthologies, Greek, <a href="#Page_43">43</a>, <a href="#Page_239">239</a>, <a href="#Page_368">368</a>.</li><li> - -Anthropometry in Greek sculpture, <a href="#Page_68">68</a>.</li><li> - -Antidotos, painter, <a href="#Page_29">29</a>, <a href="#Page_233">233</a>.</li><li> - -Antigenes, statue at Olympia, <a href="#Page_357">357</a>.</li><li> - -Antignotos, sculptor, <a href="#Page_136">136</a>.</li><li> - -Antigonos, statue at Olympia, <a href="#Page_346">346</a>.</li><li> - -Antikythera, bronze statue of youth from sea near, <a href="#Page_80">80f</a>.;<ul><li> -statuette from sea near, 78, 79.</li></ul></li><li> - -Antioch, date of founding of, <a href="#Page_121">121</a>.</li><li> - -Antipatros, statue at Olympia, <a href="#Page_118">118</a>;<ul><li> -father of, bribed by Syracuse, 33.</li></ul></li><li> - -Antoninus Pius, coins of, showing pine, <a href="#Page_21">21</a>.</li><li> - -Apellas, sculptor, <a href="#Page_131">131</a>, <a href="#Page_267">267</a>, <a href="#Page_367">367</a>.</li><li> - -Aphaia, temple of, on Aegina, <a href="#Page_123">123f</a>. - -Aphrodeisios, Tiberios Klaudios, statue at Olympia, <a href="#Page_359">359</a>;<ul><li> -victor in horse-race, 262.</li></ul></li><li> - -Aphrodite, altar at Olympia, <a href="#Page_351">351</a>;<ul><li> -statue in Heraion at Olympia, <a href="#Page_326">326</a>;</li><li> -temple at Naukratis, 334.</li></ul></li><li> - -<i>Apobates</i>, chariot-race, <a href="#Page_272">272f</a>.;<ul><li> -armor worn in, <a href="#Page_272">272</a>, <a href="#Page_273">273</a>;</li><li> -known at Athens and in Bœotia, <a href="#Page_273">273</a>;</li><li> -preserves tradition of Homeric warfare, <a href="#Page_272">272</a>;</li><li> -on reliefs, <a href="#Page_272">272</a>;</li><li> -<i>apobates</i>, horse-race, at Olympia, <a href="#Page_282">282f</a>.</li></ul></li><li> - -Apollas, lost work of, on Olympic victors, <a href="#Page_45">45</a>, <a href="#Page_130">130</a>, <a href="#Page_343">343</a>.</li><li> - -Apollo, as athlete, <a href="#Page_88">88</a>;<ul><li> -beaten in running, <a href="#Page_76">76</a>;</li><li> -beats Ares in boxing, <a href="#Page_88">88</a>, <a href="#Page_235">235</a>, <a href="#Page_285">285</a>;</li><li> -beats Hermes in running, <a href="#Page_88">88</a>, <a href="#Page_285">285</a>;</li><li> -as charioteer, <a href="#Page_129">129</a>, <a href="#Page_270">270</a>;</li><li> -combat with Herakles, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>;</li><li> -cult statue of, represented on vases, <a href="#Page_335">335</a>;</li><li> -as god of boxing at Delphi, <a href="#Page_235">235</a>;</li><li> -as god of boxing in Homer, <a href="#Page_235">235</a>;</li><li> -as god of contests, <a href="#Page_75">75</a>;</li><li> -as god of youth, <a href="#Page_88">88</a>;</li><li> -hymn to, <a href="#Page_25">25</a>;</li><li> -on coins of Athens, <a href="#Page_90">90</a>;</li><li> -on relief in Capitoline, <a href="#Page_89">89</a>;</li><li> -on relief with Artemis and Leto, in Louvre, <a href="#Page_284">284</a>;</li><li> -tripods in worship of, <a href="#Page_19">19</a>.</li><li> -Statues: <i>Apollo Alexikakos</i>, by Kalamis, <a href="#Page_90">90</a>;</li><li> -from temple of Apollo at Alki, <a href="#Page_336">336</a>;</li><li> -from Delos, <a href="#Page_334">334</a>, <a href="#Page_335">335</a>;</li><li> -colossal, from Delos, <a href="#Page_336">336</a>;</li><li> -from Mausoleion, <a href="#Page_311">311</a>;</li><li> -colossal, from Olympia, <a href="#Page_91">91</a>;</li><li> -<i>Philesian Apollo</i>, by elder Kanachos, <a href="#Page_107">107</a>, <a href="#Page_118">118</a>, <a href="#Page_336">336</a>;</li><li> -from Porto d’Anzio, <a href="#Page_144">144</a>;</li><li> -Praxitelian, in Medici Gardens, Rome, <a href="#Page_313">313</a>;</li><li> -from West gable, Olympia, 114–116.</li><li> -Statuettes: bronze from Naxos, in Berlin, <a href="#Page_74">74</a>, <a href="#Page_119">119</a>;</li><li> -Payne Knight bronze, British Museum, <a href="#Page_108">108</a>, <a href="#Page_119">119</a>;</li><li> -bronze, from Piombino, Louvre, <a href="#Page_118">118</a>;</li><li> -Sciarra bronze, Rome, <a href="#Page_119">119</a>.</li><li> -Temples: of Apollo Lykios, <a href="#Page_364">364</a>;</li><li> -at Bassai, <a href="#Page_327">327</a>;</li><li> -at Naukratis, 334.</li></ul></li><li> - -“Apollo,” type of, in sculpture, <a href="#Page_100">100f</a>.;<ul><li> -Aeginetan influence on, <a href="#Page_102">102</a>;</li><li> -<i>Choiseul-Gouffier</i>, <a href="#Page_89">89f</a>., <a href="#Page_91">91</a>, <a href="#Page_148">148</a>;</li><li> -funerary in character, <a href="#Page_336">336</a>, <a href="#Page_337">337</a>;</li><li> -“grinning” and “stolid” groups, <a href="#Page_100">100</a>;</li><li> -name “Apollo,” <a href="#Page_337">337</a>;</li><li> -name rightly applied to -<span class="pagenum"><a id="Page_379">379</a></span> -statues found in sanctuaries of Apollo, 334–336;</li><li> -nudity of, <a href="#Page_48">48</a>;</li><li> -represents early victor statues, <a href="#Page_334">334f</a>.;</li><li> -<i>on-the-Omphalos</i>, <a href="#Page_89">89f</a>., <a href="#Page_168">168</a>.</li><li> -Statues of: from Aktion, <a href="#Page_103">103</a>, <a href="#Page_334">334</a>;<ul><li> -from Cyprus, <a href="#Page_337">337</a>;</li><li> -from Delphi, <a href="#Page_148">148</a>;</li><li> -colossal, from Megara, <a href="#Page_336">336</a>;</li><li> -from Melos, <a href="#Page_100">100f</a>.;</li><li> -from Mount Ptoion, 100–103, <a href="#Page_120">120</a>, <a href="#Page_123">123</a>, <a href="#Page_334">334</a>;</li><li> -from Naukratis, <a href="#Page_334">334</a>;</li><li> -from Naxos, <a href="#Page_328">328</a>, <a href="#Page_334">334</a>;</li><li> -from Orchomenos, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_328">328</a>, <a href="#Page_334">334</a>;</li><li> -from Pompeii, <a href="#Page_111">111</a>;</li><li> -from Tenea, <a href="#Page_100">100f</a>., <a href="#Page_127">127</a>, <a href="#Page_148">148</a>, <a href="#Page_327">327</a>, <a href="#Page_328">328</a>, <a href="#Page_336">336</a>;</li><li> -from Thera, <a href="#Page_100">100f</a>., <a href="#Page_327">327</a>, <a href="#Page_337">337</a>;</li><li> -from Volomandra, 100, 104, 337.</li></ul></li></ul></li><li> - -Apollonia, head from, <a href="#Page_157">157</a>.</li><li> - -Apollonios, sculptor, <a href="#Page_168">168</a>, <a href="#Page_224">224</a>;<ul><li> -quoted by Philostratos, 107.</li></ul></li><li> - -Apollonios, T. Ailios Aurelios, Olympic victor, statue at Athens, <a href="#Page_370">370</a>.</li><li> - -Apollonios, victor at Olympia, fined by the umpires, <a href="#Page_34">34</a>.</li><li> - -<i>Apoxyomenos</i>, the, after Lysippos, <a href="#Page_74">74</a>;<ul><li> -statue in Vatican, <a href="#Page_136">136</a>, <a href="#Page_288">288f</a>.;</li><li> -pose of, <a href="#Page_81">81</a>, <a href="#Page_99">99</a>;</li><li> -regarded formerly as center of stylistic treatment of Lysippos, <a href="#Page_288">288</a>;</li><li> -so regarded by some scholars now, <a href="#Page_291">291</a>;</li><li> -present doubts of, <a href="#Page_290">290</a>;</li><li> -display of anatomical knowledge in, <a href="#Page_289">289</a>;</li><li> -compared with the <i>Agias</i>, <a href="#Page_289">289f</a>.;</li><li> -as work of Lysippos’ school, <a href="#Page_292">292</a>;</li><li> -of third century B. C., <a href="#Page_292">292</a>;</li><li> -<i>Apoxyomenos</i> of Polykleitos, <a href="#Page_136">136</a>;</li><li> -statue in Uffizi as, 136, 137, 168.</li></ul></li><li> - -Apples, prizes at Delphi, <a href="#Page_21">21</a>, <a href="#Page_107">107</a>, <a href="#Page_182">182</a>.</li><li> - -Aratos, statesman, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -Aratos, victor, painting of, <a href="#Page_29">29</a>.</li><li> - -Archaism, break with, in the statue of the ephebe from the Akropolis, <a href="#Page_115">115</a>.</li><li> - -Archedamos, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Archemoros, <a href="#Page_10">10</a>.</li><li> - -Archery, in Homer, <a href="#Page_8">8</a>.</li><li> - -Archiadas, statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Archias, victor statue at Delphi, <a href="#Page_368">368</a>.</li><li> - -Archidamas, chariot victor, statue at Olympia, <a href="#Page_265">265</a>.</li><li> - -Archidamas III, King of Sparta, statues at Olympia, <a href="#Page_42">42</a>.</li><li> - -Archippos, statue at Olympia, <a href="#Page_346">346</a>.</li><li> - -Ares, beaten by Apollo in boxing, <a href="#Page_235">235</a>, <a href="#Page_285">285</a>;<ul><li> -<i>Doryphoros</i> of Polykleitos converted into Ares, <a href="#Page_74">74</a>;</li><li> -head of, in Munich, <a href="#Page_170">170</a>;</li><li> -helmeted head of, in Louvre, <a href="#Page_170">170</a>;</li><li> -Ludovisi statue of, <a href="#Page_170">170</a>;</li><li> -swollen ears on heads of, 170.</li></ul></li><li> - -Argeiadas, sculptor, <a href="#Page_110">110</a>.</li><li> - -Argive “Apollos” from Delphi, <a href="#Page_104">104</a>, <a href="#Page_106">106</a>;<ul><li> -Argive and Sikyonian canons, 68.</li></ul></li><li> - -Argos, canon of early sculptors of, <a href="#Page_68">68</a>;<ul><li> -characteristics of sculptors of, <a href="#Page_116">116</a>;</li><li> -Nemean games held at, <a href="#Page_17">17</a>;</li><li> -prizes at, <a href="#Page_20">20</a>;</li><li> -public chariot of, victorious at Olympia, <a href="#Page_31">31</a>, <a href="#Page_257">257</a>;</li><li> -public horse of, victorious at Olympia, <a href="#Page_31">31</a>, <a href="#Page_257">257</a>;</li><li> -school of sculptors from, <a href="#Page_58">58</a>, <a href="#Page_109">109f</a>., <a href="#Page_105">105</a>;</li><li> -schools of Argos and Sikyon, <a href="#Page_109">109f</a>.;</li><li> -square shoulders of canon of sculptors from, 112.</li></ul></li><li> - -Arion, victor statue on Helikon, <a href="#Page_284">284</a>.</li><li> - -Aristarchos, statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Aristeides, the Elder, painter, <a href="#Page_29">29</a>.</li><li> - -Aristeus, statue, at Olympia, <a href="#Page_344">344</a>.</li><li> - -Aristion, statue at Olympia, 46, 88, 117, 159 and note <a href="#Page_3">3</a>, <a href="#Page_240">240</a>, <a href="#Page_345">345</a>.</li><li> - -Aristion, stele of, <a href="#Page_124">124</a>, <a href="#Page_127">127</a>.<ul><li> -See Aristokles.</li></ul></li><li> - -Aristodamos, statue at Olympia, <a href="#Page_356">356</a>.</li><li> - -Aristodemos, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Aristogeiton, statue of, <a href="#Page_173">173f</a>.<ul><li> -See also Harmodios and <i>Tyrannicides</i>.</li></ul></li><li> - -Aristokles, Cretan sculptor of Sikyon, <a href="#Page_118">118</a>, <a href="#Page_120">120</a>.</li><li> - -Aristokles, sculptor of Aristion stele, <a href="#Page_127">127</a>.</li><li> - -Ariston, of Rhegion, kitharoidos, <a href="#Page_284">284</a>.</li><li> - -Ariston, P. Kornelios, statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -Aristonikos of Egypt, beaten at Olympia, <a href="#Page_147">147</a>.</li><li> - -Aristonikos of Karystos, ball-player, <a href="#Page_84">84</a>.</li><li> - -Aristophanes, <a href="#Page_36">36</a>, <a href="#Page_246">246</a>;<ul><li> -scholia on, 110, 363.</li></ul></li><li> - -Aristophanes, of Byzantion, <a href="#Page_367">367</a>.</li><li> - -Aristophon, statue at Olympia, <a href="#Page_31">31</a>, <a href="#Page_345">345</a>, <a href="#Page_368">368</a>;<ul><li> -at Athens, 368.</li></ul></li><li> - -Aristotimos, <a href="#Page_42">42</a>.</li><li> - -Aristotle, honor statue at Olympia, <a href="#Page_42">42</a>;<ul><li> -lost work of, on Olympic victors, <a href="#Page_45">45</a>, <a href="#Page_130">130</a>, <a href="#Page_343">343</a>;</li><li> -on inscribed base of statue of unknown Olympic victor, <a href="#Page_367">367</a>;</li><li> -on jumping, <a href="#Page_214">214</a>;</li><li> -on jumping-weights, <a href="#Page_216">216</a>;</li><li> -in praise of “mimetic” arts, 58.</li></ul></li><li> - -Arkadia, funeral games in, <a href="#Page_9">9</a>, <a href="#Page_20">20</a>;<ul><li> -Pausanias’ description of, <a href="#Page_326">326</a>;</li><li> -statue of unnamed boxer from, at Olympia, 245.</li></ul></li><li> - -Arkas, father of Azan, <a href="#Page_9">9</a>.</li><li> - -Arkesilaos, of Sparta, statue at Olympia, <a href="#Page_29">29</a>.</li><li> - -Arkesilas IV, of Kyrene, chariot victor at Olympia <a href="#Page_257">257</a>;<ul><li> -chariot model at Delphi, <a href="#Page_24">24</a>, <a href="#Page_265">265</a>, <a href="#Page_267">267</a>;</li><li> -as dedicator of the Delphi <i>Charioteer</i>, 277.</li></ul></li><li> - -Arm, right, of boy victor, from Olympia, <a href="#Page_46">46</a>;<ul><li> -bronze right arm from statue of Olympic victor, 322.</li></ul></li><li> - -Armed contest, in early Greek art, 8–9.</li><li> - -Armor, race in; see Hoplite-race. - -Arndt, P., on so-called <i>Jason</i>, of Louvre, <a href="#Page_87">87</a>;<ul><li> -on the Perinthos and allied heads, 180.</li></ul></li><li> - -Arolsen, statuette of diskobolos in, <a href="#Page_187">187</a>.</li><li> - -Arrhachion, crowned after death, <a href="#Page_247">247</a>;<ul><li> -statue at Phigalia, <a href="#Page_100">100</a>, <a href="#Page_325">325</a>, <a href="#Page_326">326f</a>., <a href="#Page_328">328</a>, <a href="#Page_335">335</a>, <a href="#Page_337">337</a>, <a href="#Page_363">363</a>;</li><li> -inscription on, <a href="#Page_333">333</a>;</li><li> -one of oldest victor statues, <a href="#Page_327">327</a>, <a href="#Page_333">333</a>;</li><li> -three victories of <a href="#Page_327">327</a>;</li><li> -throttled by adversary, 247.</li></ul></li><li> - -<i>Ars statuaria</i>, defined by Pliny, <a href="#Page_302">302</a>.</li><li> - -Artemas, P. Ailios, statue at Olympia, <a href="#Page_360">360</a>.</li><li> - -Artemidoros, Olympic victor, <a href="#Page_354">354</a>.</li><li> - -Artemidoros, T. Phlabios, statue in Naples, <a href="#Page_369">369</a>.</li><li> - -Artemis, on Sparta relief, <a href="#Page_284">284</a>.</li><li> - -Artemisia, chariot-group of, <a href="#Page_264">264</a>.</li><li> - -Artists, statues of, at Olympia, <a href="#Page_285">285</a>.</li><li> - -Arvanitopoullos, A. S., on bronze statue of youth found in sea off Antikythera, <a href="#Page_81">81</a>, <a href="#Page_84">84</a>.</li><li> - -Aryballos, <a href="#Page_74">74</a>, <a href="#Page_119">119</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_212">212</a>;<ul><li> -on vase-paintings, <a href="#Page_133">133</a>;</li><li> -wrongly as wrestler attribute, 165.</li></ul></li><li> - -Ashmolean Museum, Oxford, head of <i>Diadoumenos</i> in, <a href="#Page_154">154</a>.</li><li> - -Asiatics, wear loin-cloth, <a href="#Page_48">48</a>.</li><li> - -Asios, fragment of, <a href="#Page_52">52</a>.</li><li> - -<span class="pagenum"><a id="Page_380">380</a></span> - -Asklepiades, M. Aurelios, dedicates statue in Rome to father, <a href="#Page_370">370</a>.</li><li> - -Asklepiades, P., dedicates bronze diskos at Olympia, <a href="#Page_22">22</a>, <a href="#Page_360">360</a>.</li><li> - -Asklepieion, the, at Athens, statues in, <a href="#Page_130">130</a>.</li><li> - -Asklepios, temple at Sikyon, <a href="#Page_370">370</a>.</li><li> - -Assimilation of statues of men to god and hero types, <a href="#Page_71">71f</a>.;<ul><li> -of Olympic victor statues, <a href="#Page_71">71f</a>.;</li><li> -to types of Apollo, <a href="#Page_88">88f</a>.;</li><li> -of the Dioskouroi, <a href="#Page_96">96f</a>.;</li><li> -of Herakles, <a href="#Page_93">93f</a>., <a href="#Page_319">319</a>;</li><li> -of Hermes, <a href="#Page_75">75f</a>.</li></ul></li><li> - -Assurbanipal, reliefs from palace of, at Nineveh, <a href="#Page_330">330</a>.</li><li> - -Assyro-Babylonian art, reliefs of, represented in motion, <a href="#Page_177">177</a>;<ul><li> -influence on early Greek art, 329.</li></ul></li><li> - -Astragalos, base in form of, at Olympia, <a href="#Page_240">240</a>.</li><li> - -Astylos, bribed by Hiero of Syracuse, <a href="#Page_33">33</a>;<ul><li> -statue at Kroton, <a href="#Page_33">33</a>, <a href="#Page_363">363</a>;</li><li> -at Olympia, 179, 363.</li></ul></li><li> - -Asymmetry, example of, <a href="#Page_70">70</a>.</li><li> - -Atalanta, soul of, chooses body of athlete, in Plato’s myth of Er, <a href="#Page_36">36</a>;<ul><li> -statue of, from Tegea, 306, 310, 316.</li></ul></li><li> - -Athena, Alea, temple at Tegea, <a href="#Page_306">306</a>;<ul><li> -Chalkioikos, hieron of, in Sparta, <a href="#Page_283">283</a>;</li><li> -helmeted heads of, <a href="#Page_53">53</a>;</li><li> -<i>Lemnia</i>, <a href="#Page_53">53</a>;</li><li> -Old Temple of, on Akropolis, <a href="#Page_128">128</a>, <a href="#Page_271">271</a>;</li><li> -on relief from Tarentum, 96.</li></ul></li><li> - -Athenæus, <a href="#Page_57">57</a>, <a href="#Page_284">284</a>.</li><li> - -<i>Athenaia</i>; see <i>Panathenaia</i>. - -Athenaios, statue at Olympia, <a href="#Page_244">244</a>, <a href="#Page_343">343</a>, <a href="#Page_353">353</a>.</li><li> - -Athens, athletes at, divided into two classes according to age, <a href="#Page_189">189</a>;<ul><li> -coins of, showing Apollo, <a href="#Page_90">90</a>;</li><li> -statues of victors in, 26–27;</li><li> -Gymnasion of Ptolemy at, 166.</li></ul></li><li> - -Athletes: barefoot and bareheaded, <a href="#Page_48">48</a>;<ul><li> -head of, in Capitoline called Juba II, <a href="#Page_166">166</a>;</li><li> -head of, in Metropolitan Museum, showing swollen ears, <a href="#Page_168">168</a>;</li><li> -statue of, in Copenhagen resembling the <i>Agias</i>, <a href="#Page_293">293</a>;</li><li> -statue found at Ephesos, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>;</li><li> -two statues in lunging attitude, in Dresden, <a href="#Page_292">292</a>;</li><li> -statue from Palazzo Farnese, now in London, <a href="#Page_293">293</a>;</li><li> -statue of late style in Lansdowne House, London, <a href="#Page_180">180</a>;</li><li> -statues of, adorn palæstræ and gymnasia, <a href="#Page_297">297</a>;</li><li> -statues of, assimilated to types of Apollo, <a href="#Page_88">88f</a>.;</li><li> -of the Dioskouroi, 96–97;</li><li> -of Herakles, <a href="#Page_93">93f</a>.;</li><li> -of Hermes, <a href="#Page_75">75f</a>.;</li><li> -bronze statuette in Louvre, 213, 214; etc.</li></ul></li><li> - -Athletics, origin and early history of Greek, <a href="#Page_1">1f</a>.;<ul><li> -in Crete, <a href="#Page_1">1f</a>.;</li><li> -at Delphi, <a href="#Page_25">25</a>;</li><li> -in Homer, <a href="#Page_7">7f</a>.;</li><li> -athletics and Greek religion, <a href="#Page_14">14</a>;</li><li> -influence on sculpture, <a href="#Page_64">64</a>;</li><li> -athletic funeral scene on a Cypriote silver vase from Etruria, <a href="#Page_13">13</a>;</li><li> -Argive-Sikyonian school of athletic sculptors, <a href="#Page_1">1</a>, <a href="#Page_109">109f</a>.</li></ul></li><li> - -Attalos, base of victor statue of Attalos, father of Attalos I, at Pergamon, <a href="#Page_368">368</a>;<ul><li> -Portico of, in Athens, 368.</li></ul></li><li> - -Attic sculptors, <a href="#Page_126">126f</a>.;<ul><li> -characteristics of, <a href="#Page_128">128</a>;</li><li> -examples of pre-Persian sculptures, <a href="#Page_281">281</a>;</li><li> -influence on Polykleitos, <a href="#Page_152">152</a>, <a href="#Page_153">153</a>;</li><li> -old Attic canon of proportions, 68.</li></ul></li><li> - -Attributes of victor statues, <a href="#Page_147">147f</a>.;<ul><li> -primary, <a href="#Page_148">148f</a>.;</li><li> -secondary <a href="#Page_161">161f</a>.</li></ul></li><li> - -Augustus, coins of, showing celery, <a href="#Page_21">21</a>;<ul><li> -enlarges privileges of athletes in Rome, <a href="#Page_33">33</a>;</li><li> -statue from Primaporta, 82.</li></ul></li><li> - -Aura, victorious mare of Pheidolas, <a href="#Page_279">279</a>.</li><li> - -Aurelius, M. Antoninus, <a href="#Page_43">43</a>.</li><li> - -Authors; see Poets, Prose-writers. - -Autolykos, statue in Athens, <a href="#Page_27">27</a>.</li><li> - -Autun, statuette of pancratiast from, in Louvre, <a href="#Page_167">167</a>, <a href="#Page_250">250</a>.</li><li> - -<i>Aves</i>, the, of Aristophanes, quoted, <a href="#Page_206">206</a>.</li><li> - -Azan, games of, in Arkadia, <a href="#Page_9">9</a>, <a href="#Page_259">259</a>.</li><li> - -Bacchiadas, flutist, statue on Helikon, <a href="#Page_284">284</a>.</li><li> - -Bacchylides, <a href="#Page_10">10</a>, <a href="#Page_36">36</a>.</li><li> - -Ball-playing (σφαιρίζειν), in antiquity, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>;<ul><li> -game known as φανίνδα, <a href="#Page_84">84</a>;</li><li> -Spartan origin of, 84.</li></ul></li><li> - -Barbarians, invade Greece in Middle Ages, <a href="#Page_322">322</a>;<ul><li> -destroy victor statues at Olympia, 43.</li></ul></li><li> - -Barberini Palace, Rome, statue in, <a href="#Page_142">142</a>;<ul><li> -estate of the Barberini, 50.</li></ul></li><li> - -Barracco Collection, Rome, athlete statue in, <a href="#Page_156">156</a>.</li><li> - -Bases; see Victor statue bases. - -Bassai, temple of Apollo Epikourios at, <a href="#Page_327">327</a>.</li><li> - -Bates, W. N., on interpretation of head of boy statue from Sparta, <a href="#Page_305">305</a>.</li><li> - -Bathykles, sculptor, <a href="#Page_12">12</a>.</li><li> - -Battos of Kyrene, group of, dedicated at Delphi, <a href="#Page_277">277</a>.</li><li> - -Baukis, statue at Olympia, <a href="#Page_117">117</a>.</li><li> - -Beauty, contest of, among women, in Arkadia, <a href="#Page_57">57</a>;<ul><li> -in Elis, <a href="#Page_57">57</a>;</li><li> -on Lesbos, <a href="#Page_57">57</a>;</li><li> -at Panathenaic games, Athens, <a href="#Page_57">57</a>;</li><li> -on Tenedos, <a href="#Page_57">57</a>;</li><li> -games in honor of, <a href="#Page_57">57</a>;</li><li> -Greek worship of, <a href="#Page_57">57</a>;</li><li> -youth chosen for, at Tanagra, 57.</li></ul></li><li> - -Bellerophon, on Chimæra tomb, Xanthos, <a href="#Page_271">271</a>.</li><li> - -<i>Belvedere Hermes</i>, statue in Vatican, <a href="#Page_72">72</a>.</li><li> - -Beneventum, head from, in Louvre, <a href="#Page_63">63</a>.</li><li> - -Beni-Hasan, Egypt, wall-paintings at, <a href="#Page_1">1</a>, <a href="#Page_228">228</a>.</li><li> - -Benndorf, on Boboli athlete in Florence, <a href="#Page_180">180</a>;<ul><li> -on epigram relative to Ladas, <a href="#Page_197">197</a>;</li><li> -on Pliny’s <i>nudus talo incessens</i> of Polykleitos, 250.</li></ul></li><li> - -Bieber, Fräulein, on various artistic tendencies in the Daochos group, <a href="#Page_291">291</a>.</li><li> - -<i>Bigae</i> and <i>quadrigae</i>, mentioned by Pliny, <a href="#Page_264">264</a>.</li><li> - -Biting, prohibited in pankration, <a href="#Page_246">246</a>.</li><li> - -Biton (?), statue of, from Delphi, <a href="#Page_105">105</a>.</li><li> - -Bloch, on the Uffizi <i>Apoxyomenos</i>, <a href="#Page_137">137</a>.</li><li> - -Boboli athlete in Florence, <a href="#Page_180">180</a>;<ul><li> -<i>Hermes</i>, 85.</li></ul></li><li> - -Boeckh, on division of athletes according to age at Athens, <a href="#Page_189">189</a>.</li><li> - -Boëdromion, month of, <a href="#Page_18">18</a>.</li><li> - -Bœotian games in Thebes, statues erected for, <a href="#Page_26">26</a>.</li><li> - -Boetticher, on Praxitelian origin of head from Olympia, <a href="#Page_294">294</a>.</li><li> - -Bologna, r.-f. krater in, <a href="#Page_90">90</a>.</li><li> - -<i>Bonus Eventus</i> (?), statue found in Rhine, <a href="#Page_276">276</a>.</li><li> - -Boreas, winged, on relief in Metropolitan Museum, <a href="#Page_194">194</a>.</li><li> - -<i>Borghese Warrior</i> (<i>Gladiator</i>), statue by Agasias, <a href="#Page_169">169</a>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a>, <a href="#Page_290">290</a>.</li><li> - -Borsdorf, bronze bowl from, <a href="#Page_231">231</a>.</li><li> - -Bosanquet, R. C., on bronze statuette found in sea off Antikythera, <a href="#Page_79">79</a>.</li><li> - -<i>Boudeuse, la petite</i>, statue from Akropolis, <a href="#Page_115">115</a>.</li><li> - -<span class="pagenum"><a id="Page_381">381</a></span> - -Bouleuterion; see Council-house.</li><li> - -Bouprasion, Nestor contends at, <a href="#Page_9">9</a>.</li><li> - -Bow, attribute of <i>Philesian Apollo</i>, <a href="#Page_119">119</a>.</li><li> - -<i>Boxer Vase</i>, from Hagia Triada, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_235">235</a>.</li><li> - -Boxers, bases of statues of, at Olympia, <a href="#Page_240">240</a>, <a href="#Page_241">241</a>;<ul><li> -bearded, on University of Pennsylvania Panathenaic amphora, <a href="#Page_239">239</a>;</li><li> -between groups of warriors and dancers on an eighth century B. C. vase, <a href="#Page_13">13</a>;</li><li> -boxer known as “man with crushed ear,” <a href="#Page_167">167</a>;</li><li> -on <i>Boxer Vase</i>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>;</li><li> -bronze head of boxer or pancratiast, from Olympia, <a href="#Page_146">146</a>, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>, <a href="#Page_322">322</a>;</li><li> -on bronze shield from Mount Ida, <a href="#Page_235">235</a>;</li><li> -caps of, <a href="#Page_165">165f</a>.;</li><li> -head in Munich, with swollen ears, <a href="#Page_63">63</a>, <a href="#Page_168">168</a>;</li><li> -positions of, on vases, <a href="#Page_239">239</a>;</li><li> -<i>pyctae</i> (?), by Myron, <a href="#Page_188">188</a>;</li><li> -on pyxis, from Knossos, <a href="#Page_7">7</a>;</li><li> -on r.-f. kylix in the British Museum, <a href="#Page_239">239</a>;</li><li> -on r.-f. kylix of Douris, <a href="#Page_239">239</a>;</li><li> -<i>Seated Boxer</i>, of Museo delle Terme, <a href="#Page_145">145f</a>.;</li><li> -statues of, represented in motion, <a href="#Page_243">243</a>;</li><li> -statue of, with <i>Diadoumenos</i> motive, <a href="#Page_155">155</a>;</li><li> -statue in Kassel, <a href="#Page_242">242</a>;</li><li> -statue in Lansdowne House, London, <a href="#Page_155">155</a>;</li><li> -statue in Palazzo Albani, Rome, <a href="#Page_165">165</a>;</li><li> -statue from Sorrento, <a href="#Page_242">242</a>;</li><li> -statuette of, from Olympia, <a href="#Page_28">28</a>, <a href="#Page_244">244</a>;</li><li> -swollen ear of, 240, 241.</li></ul></li><li> - -Boxing, <a href="#Page_234">234f</a>.;<ul><li> -antiquity of, <a href="#Page_235">235</a>;</li><li> -in Crete, <a href="#Page_3">3</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_235">235</a>;</li><li> -in Homer, <a href="#Page_8">8</a>, <a href="#Page_234">234</a>;</li><li> -invented by Theseus, <a href="#Page_235">235</a>;</li><li> -more dangerous than pankration, <a href="#Page_246">246</a>;</li><li> -most popular sport at Olympia, <a href="#Page_235">235</a>;</li><li> -one of oldest sports, <a href="#Page_234">234</a>;</li><li> -when introduced at Olympia, <a href="#Page_235">235</a>;</li><li> -boys’ contest, when introduced at Olympia, <a href="#Page_235">235</a>;</li><li> -painful character of, <a href="#Page_234">234f</a>.;</li><li> -two periods of, <a href="#Page_235">235</a>;</li><li> -at Sparta, <a href="#Page_167">167</a>;</li><li> -on vases, 239.</li></ul></li><li> - -Boxing-gloves, <a href="#Page_235">235f</a>.;<ul><li> -on <i>Boxer Vase</i>, <a href="#Page_7">7</a>, <a href="#Page_235">235</a>;</li><li> -in Crete, <a href="#Page_235">235</a>;</li><li> -in Homer, <a href="#Page_235">235</a>;</li><li> -described by Pausanias and Philostratos, <a href="#Page_236">236</a>;</li><li> -forms of, <a href="#Page_236">236</a>;</li><li> -heavy (σφαῖραι or ἱμάντες ὀξεῖς), <a href="#Page_235">235f</a>.;</li><li> -soft (ἱμάντες λεπτοί or μειλίχαι) <a href="#Page_235">235f</a>.;</li><li> -method of putting on, <a href="#Page_236">236</a>;</li><li> -not used in pankration, <a href="#Page_246">246</a>;</li><li> -soft, on bronze arm found in sea off Antikythera, <a href="#Page_236">236</a>;</li><li> -on fist from Verona, <a href="#Page_238">238</a>;</li><li> -on forearms of <i>Seated Boxer</i> of the Museo delle Terme, <a href="#Page_237">237</a>, <a href="#Page_238">238</a>;</li><li> -on statue from Herculaneum, <a href="#Page_238">238</a>;</li><li> -on statue from Sorrento, 238.</li></ul></li><li> - -<i>Boy Binding on a Fillet</i> (ἀναδούμενος), by Pheidias, <a href="#Page_150">150</a>.</li><li> - -<i>Boy Crowning Himself</i>, copies of statue of, identified with statue of Kyniskos at Olympia, <a href="#Page_156">156</a>;<ul><li> -on funerary relief, 155.</li></ul></li><li> - -Boy victors, statues of, at Olympia, <a href="#Page_31">31</a>;<ul><li> -fragments of, <a href="#Page_324">324</a>, <a href="#Page_325">325</a>;</li><li> -less than life-size, <a href="#Page_46">46</a>;</li><li> -boy victor (?) from Sparta, head from statue of, <a href="#Page_305">305f</a>.;</li><li> -as case of assimilation, <a href="#Page_319">319f</a>.;</li><li> -as an eclectic work, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>;</li><li> -chiefly Lysippan, <a href="#Page_311">311</a>, <a href="#Page_318">318</a>;</li><li> -compared with head of Philandridas, <a href="#Page_316">316</a>;</li><li> -surface modeling of, 318.</li></ul></li><li> - -Branchidai, <a href="#Page_304">304</a>, <a href="#Page_336">336</a>.</li><li> - -Brasidas, games in honor of, <a href="#Page_11">11</a>.</li><li> - -Bribery, of Olympic victors, <a href="#Page_33">33</a>;<ul><li> -at Epidauros, the Isthmus, etc., 34.</li></ul></li><li> - -Brimias, statue at Olympia, <a href="#Page_346">346</a>.</li><li> - -Bronze, used for victor statues, <a href="#Page_321">321f</a>.;<ul><li> -more expensive than marble, <a href="#Page_323">323</a>, <a href="#Page_326">326</a>;</li><li> -bronze and stone monuments together, 323.</li></ul></li><li> - -Brunn, on Aeginetan art, <a href="#Page_124">124</a>;<ul><li> -on archaic Attic art, <a href="#Page_124">124</a>;</li><li> -on Daidalian ξόανα, <a href="#Page_328">328</a>;</li><li> -on the <i>Oil-pourer</i> in Munich, <a href="#Page_134">134</a>;</li><li> -on Olympia pediment groups, <a href="#Page_114">114</a>;</li><li> -on <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>;</li><li> -on symmetry and rhythm, <a href="#Page_66">66</a>;</li><li> -on Tux bronze, <a href="#Page_207">207</a>;</li><li> -on the Vaison and Farnese types of the <i>Diadoumenos</i>, 154.</li></ul></li><li> - -<i>Brutus</i>, the, of Cicero, <a href="#Page_60">60</a>.</li><li> - -Brygos, r.-f. kylix in style of, <a href="#Page_204">204</a>.</li><li> - -Bull, in Crete, <a href="#Page_1">1f</a>.;<ul><li> -zone of the, at Olympia, 355.</li></ul></li><li> - -Bulle, on boxer head from Olympia, <a href="#Page_255">255</a>;<ul><li> -on bronze statue of youth found in sea off Antikythera, <a href="#Page_82">82</a>;</li><li> -on the Polykleitan <i>Diadoumenos</i>, <a href="#Page_151">151</a>;</li><li> -on <i>Doryphoros</i>, <a href="#Page_227">227</a>;</li><li> -on dying hoplite relief, <a href="#Page_209">209</a>;</li><li> -on Egyptian influence on early Greek sculpture, <a href="#Page_330">330</a>;</li><li> -on ephebe statue from Akropolis, <a href="#Page_115">115</a>;</li><li> -on <i>Farnese Herakles</i>, <a href="#Page_253">253</a>;</li><li> -on hair technique of Greek sculptors, <a href="#Page_53">53</a>;</li><li> -on the <i>Idolino</i>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>;</li><li> -on the <i>Oil-pourer</i>, <a href="#Page_134">134</a>;</li><li> -on Tux bronze, <a href="#Page_207">207</a>;</li><li> -on statues of two wrestlers, from Herculaneum, 231.</li></ul></li><li> - -Bull-grappling, in Crete, <a href="#Page_2">2f</a>.;<ul><li> -in Tiryns, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;</li><li> -on Vapheio cups, <a href="#Page_355">355</a>;</li><li> -in Thessaly, <a href="#Page_5">5</a>;</li><li> -in Viterbo, 5.</li></ul></li><li> - -Bull-ring, ivory model of, from Knossos, <a href="#Page_3">3</a>.</li><li> - -Burgon vase, <a href="#Page_260">260</a>.</li><li> - -Bybon, inscribed <i>solos</i> of, from Olympia, <a href="#Page_22">22</a>, <a href="#Page_218">218</a>.</li><li> - -Bykelos, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Byzantine church, the, at Olympia, <a href="#Page_347">347</a>, <a href="#Page_356">356f</a>. - -Byzantine walls, at Olympia, <a href="#Page_345">345</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>.</li><li> - -Caere (Cerveteri), Amphiaraos vase from, 13 and note <a href="#Page_1">1</a>;<ul><li> -hydrias from, 52.</li></ul></li><li> - -Candia, Museum at, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>.</li><li> - -Canina, discovers the <i>Apoxyomenos</i> of the Vatican, <a href="#Page_288">288</a>.</li><li> - -Canon, of Polykleitos, <a href="#Page_69">69</a>.</li><li> - -Canons of proportions, <a href="#Page_65">65f</a>. - -Cap, of boxers and pancratiasts, <a href="#Page_165">165f</a>.;<ul><li> -on athlete head called Juba II, <a href="#Page_166">166</a>;</li><li> -on relief in Rome, <a href="#Page_166">166</a>;</li><li> -on Munich kylix, 166–167;</li><li> -on statuette from Autun, 167.</li></ul></li><li> - -Capua, bronze statuette from, <a href="#Page_207">207</a>.</li><li> - -Caracalla, baths of, <a href="#Page_252">252</a>.</li><li> - -Caricature, Theban law against, <a href="#Page_57">57</a>.</li><li> - -Casa Buonarroti, Florence, arm of <i>Diskobolos</i> from, <a href="#Page_186">186</a>.</li><li> - -Caskey, L. D., on Sparta head of boy athlete, <a href="#Page_305">305</a>, <a href="#Page_306">306</a>, <a href="#Page_310">310</a>, <a href="#Page_319">319</a>.</li><li> - -Castel Porziano, copy of <i>Diskobolos</i> from, <a href="#Page_184">184</a>.</li><li> - -Castellani copy of <i>Spinario</i>, <a href="#Page_202">202</a>.</li><li> - -Catania, coins of, showing <i>Nike</i>, <a href="#Page_182">182</a>.</li><li> - -Cauldron, as early prize, from Cumae, <a href="#Page_20">20</a>.</li><li> - -Celery, fresh, used for wreaths at Nemea, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>;<ul><li> -wild, used for wreaths at the Isthmus, 21.</li></ul></li><li> - -<i>Celetizontes pueri</i>, of Kanachos, <a href="#Page_120">120</a>.</li><li> - -Cerveteri; see Caere. - -Cestus, described by Virgil, <a href="#Page_239">239</a>;<ul><li> -metal, invented by Romans, <a href="#Page_238">238</a>, <a href="#Page_239">239</a>;</li><li> -not mentioned by late Greek writers, <a href="#Page_239">239</a>;</li><li> -not used in Greek contests, 235.</li></ul></li><li> - -<span class="pagenum"><a id="Page_382">382</a></span> - -Chabrias, general, statue of, <a href="#Page_173">173</a>.</li><li> - -Chæroneia, battle of, <a href="#Page_301">301</a>.</li><li> - -Chalkis, <a href="#Page_19">19</a>.</li><li> - -<i>Champion</i>, the, of East gable of temple on Aegina, <a href="#Page_207">207</a>;<ul><li> -of West gable, 126.</li></ul></li><li> - -Chamyne; see Demeter. - -Chancery, hold in pankration, <a href="#Page_247">247</a>, <a href="#Page_248">248</a>.</li><li> - -Chaplet, as victor attribute, <a href="#Page_148">148</a>.</li><li> - -Chariots, Athenian type on vases, <a href="#Page_262">262</a>;<ul><li> -on Cretan relief, <a href="#Page_262">262</a>;</li><li> -war-chariot in Crete and at Mycenæ, <a href="#Page_262">262</a>;</li><li> -on Mycenæan tombstones, <a href="#Page_262">262</a>;</li><li> -dedication of, <a href="#Page_22">22</a>;</li><li> -descendant of Homeric war-chariot, <a href="#Page_260">260</a>;</li><li> -four-horse, <a href="#Page_262">262</a>;</li><li> -four-horse, on vases, <a href="#Page_263">263</a>;</li><li> -four-horse, on marble relief, <a href="#Page_268">268</a>, <a href="#Page_269">269</a>;</li><li> -miniature models of, at Olympia, <a href="#Page_23">23</a>;</li><li> -war-chariot from Monteleone, in Metropolitan Museum, <a href="#Page_263">263</a>;</li><li> -two-horse, on vases, <a href="#Page_263">263</a>;</li><li> -two types of Greek racing-chariot, <a href="#Page_262">262</a>;</li><li> -on eighth century B. C. vase, <a href="#Page_263">263</a>;</li><li> -zone of, at Olympia, 345, 346, 352.</li></ul></li><li> - -Charioteers, statues of, <a href="#Page_274">274f</a>.;<ul><li> -close-fitting chiton of, <a href="#Page_275">275</a>;</li><li> -long chiton of, <a href="#Page_48">48</a>, <a href="#Page_263">263</a>, <a href="#Page_273">273</a>, <a href="#Page_274">274</a>;</li><li> -nude, <a href="#Page_48">48</a>, <a href="#Page_275">275</a>, <a href="#Page_276">276</a>;</li><li> -statue of, in Boston, <a href="#Page_275">275</a>;</li><li> -statue of, at Delphi, <a href="#Page_48">48</a>, <a href="#Page_81">81</a>, <a href="#Page_90">90</a>, <a href="#Page_276">276f</a>.;</li><li> -inscription on, <a href="#Page_277">277</a>;</li><li> -part of a group, <a href="#Page_277">277</a>;</li><li> -copies of, <a href="#Page_277">277</a>;</li><li> -deficiencies of, <a href="#Page_278">278</a>;</li><li> -Gelo as dedicator of, <a href="#Page_278">278</a>;</li><li> -as Aeginetan, <a href="#Page_278">278</a>;</li><li> -as Attic work, <a href="#Page_278">278</a>;</li><li> -assigned to Pythagoras, <a href="#Page_278">278</a>;</li><li> -statue of, from Esquiline, <a href="#Page_276">276</a>;</li><li> -statue of (?) found in Rhine near Xanten, <a href="#Page_276">276</a>;</li><li> -relief of, mounting chariot, from Akropolis, 128, 269.</li></ul></li><li> - -Chariot-groups, at Olympia, <a href="#Page_264">264f</a>;<ul><li> -remains of, 269.</li></ul></li><li> - -Chariot-race, antiquity at Olympia, <a href="#Page_259">259</a>;<ul><li> -common in Greece, <a href="#Page_257">257f</a>.;</li><li> -most brilliant event at Olympia and elsewhere, <a href="#Page_257">257</a>;</li><li> -one of earliest events at Olympia, <a href="#Page_259">259</a>;</li><li> -with two colts συνωρὶς πώλων, at Olympia, <a href="#Page_260">260</a>;</li><li> -harnessing of two horses, on b.-f. hydria, <a href="#Page_263">263</a>;</li><li> -groups, remains at Olympia, <a href="#Page_269">269</a>;</li><li> -with four colts πώλων ἅρμα, at Olympia, when introduced, <a href="#Page_260">260</a>;</li><li> -with four horses τέθριππον or ἵππων τελείων δρόμος, when introduced at Olympia, <a href="#Page_259">259</a>, <a href="#Page_260">260</a>;</li><li> -four-horse τέθριππον, on Panathenaic vase from Sparta, <a href="#Page_263">263</a>;</li><li> -length of race with four colts at Olympia, <a href="#Page_260">260</a>;</li><li> -length of race with four full-grown horses at Olympia, <a href="#Page_260">260</a>;</li><li> -with mules ἀπήνη, when introduced at Olympia, <a href="#Page_261">261</a>;</li><li> -at oldest funeral games, in Arkadia, <a href="#Page_259">259</a>;</li><li> -oldest monument of, at Olympia, <a href="#Page_264">264</a>, <a href="#Page_265">265</a>;</li><li> -origin of in mythical times, <a href="#Page_259">259</a>;</li><li> -originally with two horses, <a href="#Page_260">260</a>;</li><li> -when stopped at Olympia, <a href="#Page_261">261</a>;</li><li> -sport of wealthy, <a href="#Page_257">257</a>;</li><li> -representations, common on vases, <a href="#Page_262">262f</a>.;</li><li> -trotting-race with mares κάλπη, <a href="#Page_261">261</a>, <a href="#Page_282">282</a>.</li><li> -See <i>Apobates</i>, chariot-race.</li></ul></li><li> - -Chariot victors, dedicate chariot-groups at Olympia, <a href="#Page_264">264f</a>.;<ul><li> -dedicate models of chariots at Olympia, <a href="#Page_265">265</a>;</li><li> -dedicate statues at Olympia, <a href="#Page_265">265</a>;</li><li> -act as own charioteers, 266–267.</li></ul></li><li> - -Charmides, statue at Olympia, <a href="#Page_342">342</a>.</li><li> - -Charops, statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Chase, G. H., on bronze tripods in Loeb collection, 194, note <a href="#Page_7">7</a>;<ul><li> -on Monteleone chariot, 264.</li></ul></li><li> - -Cheilon, ephor of Sparta, died of joy at Olympia, <a href="#Page_36">36</a>.</li><li> - -Cheilon, date of second victory of, <a href="#Page_301">301</a>;<ul><li> -fights at Lamia, <a href="#Page_301">301</a>;</li><li> -statue at Olympia, 32, 121, 298.</li></ul></li><li> - -Cheimon, statue at Argos, <a href="#Page_366">366</a>;<ul><li> -at Olympia, 117, 234, 344, 366.</li></ul></li><li> - -Cheirisophos, sculptor, <a href="#Page_334">334</a>.</li><li> - -Chewsurs, of the Caucasus, funeral games among, <a href="#Page_11">11</a>.</li><li> - -Chimæra tomb, so-called, at Xanthos, <a href="#Page_271">271</a>.</li><li> - -Chinnery <i>Hermes</i>, head, <a href="#Page_181">181</a>.</li><li> - -Chionis, statue at Olympia, <a href="#Page_32">32</a>, <a href="#Page_333">333</a>, <a href="#Page_352">352</a>, <a href="#Page_362">362</a>;<ul><li> -tablet of, at Sparta, <a href="#Page_362">362</a>;</li><li> -record jump of, at Olympia, 216.</li></ul></li><li> - -Chios, early sculpture of, 177; games on, <a href="#Page_189">189</a>.</li><li> - -Chisel, used in hair of the <i>Agias</i> and <i>Philandridas</i>, <a href="#Page_297">297</a>.</li><li> - -Chiton, conventional dress of charioteers, <a href="#Page_275">275</a>.</li><li> - -Chiusi, wall-painting from, <a href="#Page_217">217</a>.</li><li> - -Chlamys, on statues of Meleager, <a href="#Page_313">313</a>.</li><li> - -<i>Choiseul-Gouffier Apollo</i>, statue known as, <a href="#Page_89">89f</a>.;<ul><li> -replica of head in British Museum, <a href="#Page_91">91</a>;</li><li> -replica of head, from Kyrene <a href="#Page_334">334</a>;</li><li> -thongs on tree-trunk nearby, 165.</li></ul></li><li> - -Chorus, of boys and girls, in honor of victors, <a href="#Page_34">34</a>.</li><li> - -Christodoros, description of statue of Hermes by, <a href="#Page_87">87</a>.</li><li> - -Chrysippos, quoted by Galen, <a href="#Page_70">70</a>.</li><li> - -Chrysothemis, sculptor, <a href="#Page_105">105</a>, <a href="#Page_116">116</a>.</li><li> - -Cicero, as art critic, <a href="#Page_60">60</a>.</li><li> - -Cincinnatus, <a href="#Page_87">87</a>.</li><li> - -Circassians, funeral games among, <a href="#Page_11">11</a>.</li><li> - -Circus, Roman, hair-fashion of athletes at, <a href="#Page_52">52</a>;<ul><li> -finally supersedes equestrian contests of Olympia, 261.</li></ul></li><li> - -Cloak, prize at Pellene, <a href="#Page_20">20</a>.</li><li> - -Club, on Cretan grave-relief, <a href="#Page_199">199</a>;<ul><li> -on statuette from Palermo, 199.</li></ul></li><li> - -Cockerell, on dedication from Delphi, <a href="#Page_372">372</a>.</li><li> - -Coins: of Antoninus Pius, showing pine, <a href="#Page_21">21</a>;<ul><li> -of Alexander the Great, showing Herakles, <a href="#Page_253">253</a>;</li><li> -of Athens, showing Apollo, <a href="#Page_90">90</a>;</li><li> -of Augustus, showing celery, <a href="#Page_21">21</a>;</li><li> -of Catania, showing Nike, <a href="#Page_182">182</a>;</li><li> -of Commodus as Hercules, <a href="#Page_74">74</a>;</li><li> -of Delphi, showing Apollo, <a href="#Page_92">92</a>, <a href="#Page_336">336</a>;</li><li> -of Euagoras I, King of Salamis in Cyprus, showing swollen ears, <a href="#Page_169">169</a>;</li><li> -of Geta, <a href="#Page_306">306</a>;</li><li> -of Lucius Verus, <a href="#Page_21">21</a>;</li><li> -of Markianopolis, <a href="#Page_87">87</a>;</li><li> -of Messana, showing mule-car, <a href="#Page_263">263</a>;</li><li> -of Messene, <a href="#Page_111">111</a>;</li><li> -of Miletos, <a href="#Page_74">74</a>, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>, <a href="#Page_336">336</a>;</li><li> -of Nero, <a href="#Page_21">21</a>;</li><li> -of Philip II, King of Macedon, showing victorious jockey with palm-branch, <a href="#Page_280">280</a>;</li><li> -of Philippopolis, <a href="#Page_78">78</a>;</li><li> -of Rhegion, showing mule-car, <a href="#Page_263">263</a>;</li><li> -of Selinos, showing celery wreath, <a href="#Page_21">21</a>;</li><li> -of Sicily, showing racing chariots, <a href="#Page_262">262</a>, <a href="#Page_263">263</a>;</li><li> -of Syracuse, showing Nike with tablet, <a href="#Page_182">182</a>;</li><li> -of Tarentum, showing <i>apobates</i> horse-race, <a href="#Page_282">282</a>;</li><li> -showing poses of Olympic victor statues, <a href="#Page_44">44</a>;</li><li> -showing scenes of wrestling, 228.</li></ul></li><li> - -Collignon, M., on statue of Astylos, at Kroton, <a href="#Page_364">364</a>;<ul><li> -on so-called <i>Borghese Warrior</i>, <a href="#Page_209">209</a>;</li><li> -on the <i>Doryphoros</i> of Polykleitos, <a href="#Page_227">227</a>;</li><li> -on Egyptian -<span class="pagenum"><a id="Page_383">383</a></span> -influence on early Greek sculpture, <a href="#Page_329">329</a>;</li><li> -on identification of the statue of Kyniskos, <a href="#Page_159">159</a>;</li><li> -on the Olympia gable sculptures, <a href="#Page_114">114</a>;</li><li> -on Tux bronze, 207.</li></ul></li><li> - -Color, on early Attic sculpture, <a href="#Page_126">126</a>.</li><li> - -Commodus, statue in Mantua, <a href="#Page_72">72</a>;<ul><li> -coins of, showing him as Hercules, 74.</li></ul></li><li> - -Concentration (αύτάρκεια), in Greek statues, <a href="#Page_82">82</a>;<ul><li> -in Myron’s statues, <a href="#Page_183">183</a>;</li><li> -in the <i>Diskobolos</i>, 137, 201.</li></ul></li><li> - -Concord, temple of, Rome, <a href="#Page_234">234</a>.</li><li> - -Constantinople, sack of, by Franks, <a href="#Page_253">253</a>.</li><li> - -<i>Contest</i> (<i>Agon</i>), figure of, in Mikythos group at Olympia, <a href="#Page_164">164</a>, <a href="#Page_215">215</a>.</li><li> - -Conversion of athlete statues into those of gods, <a href="#Page_74">74</a>.</li><li> - -Conze, A., on “Apollo” type as representing victors, <a href="#Page_335">335</a>;<ul><li> -on <i>Choiseul-Gouffier</i> statue type, <a href="#Page_90">90</a>;</li><li> -on statue of Commodus at Mantua, 72.</li></ul></li><li> - -Copenhagen, heads in Ny-Carlsberg collection at, with swollen ears, <a href="#Page_168">168</a>.</li><li> - -Corfu, bronze from, <a href="#Page_96">96</a>.</li><li> - -Corinth, clay tablets from, <a href="#Page_52">52</a>, <a href="#Page_182">182</a>;<ul><li> -festival at Isthmus of, <a href="#Page_1">1</a>;</li><li> -meeting-place of East and West, <a href="#Page_17">17</a>;</li><li> -near Isthmian games, <a href="#Page_25">25</a>;</li><li> -end of tyranny at, 17.</li></ul></li><li> - -Corn-grinding slave woman, Egyptian statuette of, <a href="#Page_177">177</a>.</li><li> - -Council-house (Bouleuterion), at Olympia, <a href="#Page_227">227</a>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>, <a href="#Page_355">355</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>.</li><li> - -Cow, sacrificed to Hera at the <i>Heraia</i>, Olympia, <a href="#Page_49">49</a>.</li><li> - -Cowardice, case of, at Olympia, <a href="#Page_34">34</a>.</li><li> - -Crete, acrobats of, <a href="#Page_2">2</a>;<ul><li> -center of Aegean civilization, <a href="#Page_1">1</a>;</li><li> -costumes of men and women acrobats, <a href="#Page_2">2</a>, <a href="#Page_4">4</a>;</li><li> -Cretan youths dedicate offerings to Eros, <a href="#Page_57">57</a>;</li><li> -Cretan youths sacrifice to Apollo, the runner, <a href="#Page_88">88</a>;</li><li> -famed in the long race, <a href="#Page_191">191</a>;</li><li> -motion figures from, <a href="#Page_3">3</a>;</li><li> -origin of sports in, <a href="#Page_1">1</a>;</li><li> -physical development in, <a href="#Page_6">6</a>;</li><li> -sports in, <a href="#Page_1">1f</a>.</li></ul></li><li> - -Crœsus, fall of empire of, <a href="#Page_126">126</a>.</li><li> - -Cross-buttocks, throw in wrestling, <a href="#Page_229">229</a>;<ul><li> -shown in small bronze group in the Loeb Collection, 232, 233.</li></ul></li><li> - -Crown of wild olive, as temporary reward for victor, <a href="#Page_37">37</a>, <a href="#Page_155">155f</a>. - -Cuirass (?), prize at Argos, <a href="#Page_20">20</a>.</li><li> - -Cumae, inscribed cauldron from, as prize, <a href="#Page_20">20</a>.</li><li> - -Cures, effected by victor statues, <a href="#Page_35">35</a>.</li><li> - -Curtius, E., on the Σκήνωμα in Sparta, <a href="#Page_367">367</a>.</li><li> - -Cypriote silver vase in repoussé from Etruria, in Florence, <a href="#Page_13">13</a>.</li><li> - -Daidalian ξόανα, <a href="#Page_328">328</a>.</li><li> - -Daidalos, of Crete, mythical sculptor, <a href="#Page_118">118</a>.</li><li> - -Daidalos, of Sikyon, sculptor, <a href="#Page_109">109</a>, <a href="#Page_120">120</a>, <a href="#Page_138">138</a>, <a href="#Page_266">266</a>, <a href="#Page_279">279</a>;<ul><li> -Daidalos and canon of Polykleitos, <a href="#Page_69">69</a>;</li><li> -statues of <i>destringentes se</i> by, <a href="#Page_136">136</a>;</li><li> -leg position of statues of, 159.</li></ul></li><li> - -Daïkles, victor, <a href="#Page_20">20</a>.</li><li> - -Daïppos, sculptor, statues at Olympia, <a href="#Page_121">121</a>;<ul><li> -<i>perixyomenoi</i> by, 136.</li></ul></li><li> - -Daitondas, sculptor, <a href="#Page_121">121</a>.</li><li> - -Dalecampius, on Myron’s <i>pristae</i>, 188. - -Damagetos, statue at Olympia, <a href="#Page_36">36</a>, <a href="#Page_46">46</a>, <a href="#Page_355">355</a>.</li><li> - -Damaithidas, statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Damaretos, statue at Olympia, <a href="#Page_105">105</a>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_161">161</a>, <a href="#Page_203">203</a>.</li><li> - -Dameas, sculptor, <a href="#Page_116">116</a>.</li><li> - -Damokritos, sculptor, <a href="#Page_120">120</a>.</li><li> - -Damonon, hippodrome victories of, in and near Lakonia, <a href="#Page_257">257</a>;<ul><li> -acts as own charioteer, 266.</li></ul></li><li> - -Damoxenidas, statue at Olympia, <a href="#Page_44">44</a>.</li><li> - -Damoxenos, slays Kreugas in pankration at Nemea, <a href="#Page_237">237</a>, <a href="#Page_247">247</a>.</li><li> - -Danaë and Perseus, in a chest, <a href="#Page_188">188</a>.</li><li> - -Dancers, bronze, from Herculaneum, identified with statue of Kyniska, <a href="#Page_267">267</a>;<ul><li> -ceremonial of, at Knossos, <a href="#Page_3">3</a>;</li><li> -on shield of Achilles, 5.</li></ul></li><li> - -Daochos, dedicates statuary group at Pharsalos and Delphi, <a href="#Page_286">286f</a>. - -Dead, cult of, as origin of Greek games, <a href="#Page_9">9f</a>. - -Dedication, of athletic prizes, <a href="#Page_21">21f</a>.;<ul><li> -formulæ at Olympia, 37.</li></ul></li><li> - -Deida, M., statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -Deinolochos, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Deinosthenes, statue at Olympia, <a href="#Page_347">347</a>.</li><li> - -<i>Delian Apollo</i>, of Angelion and Tektaios, <a href="#Page_304">304</a>;<ul><li> -“doubles” of, in Athens and Delphi, 304.</li></ul></li><li> - -Delos, Apollo from, <a href="#Page_334">334</a>;<ul><li> -colossal Apollo from, <a href="#Page_336">336</a>;</li><li> -copy of <i>Diadoumenos</i> from, <a href="#Page_92">92f</a>., <a href="#Page_152">152</a>, <a href="#Page_153">153</a>;</li><li> -Ionian festival on, <a href="#Page_15">15</a>;</li><li> -contests of Theseus in honor of Apollo on, <a href="#Page_160">160</a>;</li><li> -tripods in temple of Apollo on, 9.</li></ul></li><li> - -Delphi, “Apollos” from, <a href="#Page_104">104</a>;<ul><li> -athletes divided into three classes according to age, <a href="#Page_189">189</a>;</li><li> -coins of, showing Apollo, <a href="#Page_92">92</a>, <a href="#Page_336">336</a>;</li><li> -coins of, showing laurel wreath, <a href="#Page_21">21</a>;</li><li> -contests at, <a href="#Page_25">25</a>;</li><li> -athletic, <a href="#Page_25">25</a>;</li><li> -dramatic, <a href="#Page_25">25</a>;</li><li> -equestrian, <a href="#Page_25">25</a>;</li><li> -flute solo, <a href="#Page_25">25</a>;</li><li> -lyre-playing, <a href="#Page_25">25</a>;</li><li> -music, as chief contest at, <a href="#Page_25">25</a>;</li><li> -painting, <a href="#Page_25">25</a>;</li><li> -poetry, <a href="#Page_25">25</a>;</li><li> -singing, <a href="#Page_25">25</a>;</li><li> -decrees of, to athletes, <a href="#Page_26">26</a>;</li><li> -Delphians sacrifice to Apollo the boxer, <a href="#Page_88">88</a>;</li><li> -festival at, <a href="#Page_9">9</a>;</li><li> -inscribed bases of victor monuments from, <a href="#Page_26">26</a>;</li><li> -mentioned by Homer, <a href="#Page_9">9</a>;</li><li> -oracle at, <a href="#Page_18">18</a>, <a href="#Page_30">30</a>, <a href="#Page_34">34</a>;</li><li> -religious interest of Pausanias in, <a href="#Page_24">24</a>;</li><li> -statue of pancratiast at, <a href="#Page_26">26</a>;</li><li> -statuette of victor from, <a href="#Page_28">28</a>;</li><li> -temple of Apollo at, <a href="#Page_336">336</a>;</li><li> -tripods in temple of Apollo at, <a href="#Page_19">19</a>;</li><li> -victor monuments at, <a href="#Page_26">26</a>;</li><li> -victor grave-relief from, 138.</li></ul></li><li> - -Demeter, the <i>Eleusinia</i> in honor of, <a href="#Page_18">18</a>;<ul><li> -Chamyne, priestess of, admitted to Olympia, <a href="#Page_16">16</a>;</li><li> -of Knidos, statue of, 311.</li></ul></li><li> - -Demetrios, M. Aurelios, Olympic victor statue in Rome, <a href="#Page_370">370</a>.</li><li> - -Demetrios of Phaleron, honor statues in Athens, <a href="#Page_41">41</a>.</li><li> - -Demetrios, sculptor, <a href="#Page_56">56</a>.</li><li> - -Demokrates, statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Deonna, W., against Egyptian influence on early Greek sculpture, <a href="#Page_329">329</a>.</li><li> - -Dermys and Kitylos, grave-figures of, from Tanagra, <a href="#Page_335">335</a>.</li><li> - -<i>Destringentes se</i>, statues mentioned by Pliny, <a href="#Page_136">136</a>.</li><li> - -Diadoumenoi, or fillet-binders, <a href="#Page_150">150f</a>. - -<i>Diadoumenos</i>, of Pheidias, <a href="#Page_150">150f</a>.;<ul><li> -older than that of Polykleitos, <a href="#Page_151">151</a>;</li><li> -motive of, <a href="#Page_151">151</a>;</li><li> -Farnese copy, <a href="#Page_151">151</a>;</li><li> - -<span class="pagenum"><a id="Page_384">384</a></span> - -of Polykleitos, <a href="#Page_152">152f</a>.;</li><li> -as example of rest statue, <a href="#Page_99">99</a>;</li><li> -as example of “ethical grace,” <a href="#Page_63">63</a>;</li><li> -leg position of, <a href="#Page_159">159</a>;</li><li> -copy of, from Delos, <a href="#Page_92">92f</a>., <a href="#Page_152">152</a>, <a href="#Page_153">153</a>;</li><li> -other copies of, <a href="#Page_152">152f</a>.;</li><li> -head-style of, <a href="#Page_152">152</a>;</li><li> -British Museum head of, <a href="#Page_153">153</a>, <a href="#Page_154">154</a>;</li><li> -Dresden head of, <a href="#Page_153">153</a>;</li><li> -Kassel head of, <a href="#Page_153">153</a>;</li><li> -statuette from Smyrna, <a href="#Page_154">154</a>;</li><li> -on throne of Zeus at Olympia, <a href="#Page_150">150</a>;</li><li> -pose of Vaison and Farnese copies, 155.</li></ul></li><li> - -Diagoras, most famous Greek boxer, <a href="#Page_365">365</a>;<ul><li> -statue at Olympia, <a href="#Page_130">130</a>, <a href="#Page_365">365</a>;</li><li> -size of, <a href="#Page_45">45</a>;</li><li> -family group of, 342, 343, 352.</li></ul></li><li> - -Diaulodromos, or double sprinter, <a href="#Page_193">193</a>;<ul><li> -on Athens inscribed vase, 194.</li></ul></li><li> - -Dickins, G., on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_90">90</a>;<ul><li> -on statuette of trumpeter from Sparta, 283.</li></ul></li><li> - -Didymaion, near Miletos, <a href="#Page_108">108</a>;<ul><li> -statues at, 26.</li></ul></li><li> - -Diitrephes, statue on Akropolis, 199 and note <a href="#Page_5">5</a>, <a href="#Page_373">373</a>.</li><li> - -Dikon, three statues at Olympia, <a href="#Page_29">29</a>, <a href="#Page_55">55</a>;<ul><li> -bribed by Syracuse, 33.</li></ul></li><li> - -Dio Chrysostom, on art, <a href="#Page_61">61</a>;<ul><li> -on confusing athlete and hero statues, <a href="#Page_71">71</a>;</li><li> -on difference between victor and honor statues, <a href="#Page_41">41</a>;</li><li> -on Theagenes’ statue at Thasos, 364.</li></ul></li><li> - -Diodoros, on Egyptian influence on early Greek sculpture, <a href="#Page_330">330</a>;<ul><li> -on proportion in Egyptian statuary, 67, note <a href="#Page_4">4</a>;</li><li> -on family of the artist Rhoikos of Samos, <a href="#Page_330">330</a>;</li><li> -on <i>Pythian Apollo</i> by Telekles and Theodoros, 334.</li></ul></li><li> - -Diogenes, five times victor in trumpeting, at Olympia, <a href="#Page_283">283</a>;<ul><li> -base of statue at Olympia, 360.</li></ul></li><li> - -Diogenes Laertios, on gold statue vowed by Periandros, <a href="#Page_266">266</a>;<ul><li> -on Pythagoras, 67, 179.</li></ul></li><li> - -Diomedes, as boxer, <a href="#Page_169">169</a>;<ul><li> -Delphic tripod ascribed to, <a href="#Page_21">21</a>;</li><li> -single combat of, with Ajax, <a href="#Page_8">8</a>;</li><li> -statue known as, in Munich, <a href="#Page_157">157</a>, <a href="#Page_169">169</a>;</li><li> -statue known as, in Palazzo Valentini, Rome, 163, 207.</li></ul></li><li> - -<i>Dionysia</i>, games at the, in Kyrene, <a href="#Page_50">50</a>;<ul><li> -at Sparta, <a href="#Page_50">50</a>;</li><li> -statue of victor at, in Athens, 27.</li></ul></li><li> - -Dionysios, sculptor, <a href="#Page_268">268</a>.</li><li> - -Dionysios, tyrant of Syracuse, <a href="#Page_33">33</a>.</li><li> - -Dionysos, bearded type of, <a href="#Page_335">335</a>;<ul><li> -short hair of, on Parthenon frieze, <a href="#Page_53">53</a>;</li><li> -statue of, in group, <a href="#Page_144">144</a>;</li><li> -statue of (?), found in Rhine near Xanten, <a href="#Page_276">276</a>;</li><li> -tripods in honor of, at Athens and Rhodes, 19.</li></ul></li><li> - -Diophanes, statue at the Isthmus, <a href="#Page_27">27</a>.</li><li> - -Diophon, pentathlete, epigram on, <a href="#Page_210">210</a>.</li><li> - -Dioskouroi, athlete statues assimilated to, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>;<ul><li> -diskos dedicated to, by Exoïdas, <a href="#Page_218">218</a>;</li><li> -on grave-relief in Verona, <a href="#Page_97">97</a>;</li><li> -relief of, from Tarentum, <a href="#Page_96">96</a>;</li><li> -on votive relief in London, 97.</li></ul></li><li> - -Dipoinos, sculptor, <a href="#Page_118">118</a>, <a href="#Page_122">122</a>, <a href="#Page_334">334</a>.<ul><li> -See also Skyllis.</li></ul></li><li> - -Dipylon geometric vase from Akropolis, in Copenhagen, showing funeral games, <a href="#Page_13">13</a>.</li><li> - -Diskoboloi, statuettes of, <a href="#Page_28">28</a>, <a href="#Page_218">218f</a>;<ul><li> -bronze statuette in London, <a href="#Page_221">221</a>;</li><li> -bronze statuette in Metropolitan Museum, <a href="#Page_116">116</a>, <a href="#Page_148">148</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>;</li><li> -on cover of lebes in London, 221.</li></ul></li><li> - -<i>Diskobolos</i>, the, of Myron, <a href="#Page_184">184f</a>.;<ul><li> -cast of, from various copies, <a href="#Page_186">186</a>;</li><li> -concentration of (αυτάρκεια) <a href="#Page_137">137</a>, <a href="#Page_183">183</a>, <a href="#Page_201">201</a>;</li><li> -copies of <a href="#Page_184">184f</a>.;</li><li> -copy of, in Capitoline, <a href="#Page_185">185</a>;</li><li> -from Castel Porziano, <a href="#Page_184">184</a>;</li><li> -in Lancellotti Palace, Rome, <a href="#Page_184">184</a>;</li><li> -Græco-Roman copy from Tivoli, in London, <a href="#Page_184">184</a>, <a href="#Page_185">185</a>;</li><li> -in Vatican, from Tivoli, <a href="#Page_184">184</a>;</li><li> -on a gem, <a href="#Page_187">187</a>;</li><li> -as example of a diskos-thrower, <a href="#Page_164">164</a>;</li><li> -as example of rhythm, <a href="#Page_66">66</a>;</li><li> -Lucian’s description of, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>;</li><li> -moment chosen by Myron in, <a href="#Page_187">187</a>;</li><li> -pose of, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>;</li><li> -predecessors of, <a href="#Page_222">222</a>;</li><li> -Quintilian on, <a href="#Page_187">187</a>;</li><li> -relief of, from Dipylon, <a href="#Page_127">127</a>;</li><li> -represents trained athlete, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>;</li><li> -right arm of, from Casa Buonarroti, Florence, <a href="#Page_186">186</a>;</li><li> -short hair of, <a href="#Page_52">52</a>;</li><li> -small bronze in Berlin, <a href="#Page_221">221</a>;</li><li> -statuettes in Munich and Arolsen, <a href="#Page_187">187</a>;</li><li> -compared with <i>Tyrannicides</i>, <a href="#Page_183">183</a>.</li><li> -See also <i>Standing Diskobolos</i>.</li></ul></li><li> - -Diskoi, bronze, from the Altis, <a href="#Page_22">22</a>, <a href="#Page_218">218</a>;<ul><li> -dedication of bronze, <a href="#Page_22">22</a>;</li><li> -kept in Sikyonian treasury at Olympia, for use of pentathletes, <a href="#Page_22">22</a>;</li><li> -on r.-f. vase in Munich, <a href="#Page_164">164</a>;</li><li> -diskos, as attribute of pentathlete statues, <a href="#Page_164">164</a>;</li><li> -bronze, from Sicily, <a href="#Page_217">217</a>;</li><li> -inscribed, of Asklepiades, <a href="#Page_40">40</a>;</li><li> -inscribed, of Exoïdas, from Kephallenia (?), <a href="#Page_97">97</a>, <a href="#Page_218">218</a>;</li><li> -known to Homer, <a href="#Page_218">218</a>;</li><li> -lighter for boys than for men, 218.</li></ul></li><li> - -Diskos-throwing (δισκοβολία), goes back to mythology, <a href="#Page_218">218</a>;<ul><li> -shown by statues, statuettes, reliefs, vase-paintings, etc., <a href="#Page_164">164</a>, <a href="#Page_218">218</a>;</li><li> -seven positions of, given by Gardiner, <a href="#Page_218">218f</a>.;</li><li> -record throw of Phaÿllos in, discussed, 216.</li></ul></li><li> - -Dittenberger, W., on division of athletes at Athens, according to age, <a href="#Page_189">189</a>;<ul><li> -on Pliny, <a href="#Page_27">27</a>;</li><li> -on votive character of inscriptions on victor statue-bases, at Olympia, <a href="#Page_39">39</a>;</li><li> -Dittenberger and Purgold, on exclusive use of bronze for Olympic victor statues, 321.</li></ul></li><li> - -Diver (?), statuette of, from Perugia, <a href="#Page_217">217</a>.</li><li> - -Dodona, bronze statuette from, <a href="#Page_143">143</a>;<ul><li> -bronze statuette of ephebe on horseback from, <a href="#Page_28">28</a>, <a href="#Page_281">281</a>;</li><li> -bronze statuette of warrior from, <a href="#Page_126">126</a>, <a href="#Page_178">178</a>;</li><li> -mentioned by Homer, <a href="#Page_16">16</a>;</li><li> -tripods in temple of Zeus at, 19.</li></ul></li><li> - -Doerpfeld, W., on base of the Platæan <i>Zeus</i> at Olympia, <a href="#Page_344">344</a>;<ul><li> -on bases of victors found in South wall of Altis, <a href="#Page_347">347</a>;</li><li> -on beginning of Pausanias’ first route in the Altis, <a href="#Page_341">341</a>;</li><li> -on excavations at site so-called of Great Altar of Zeus at Olympia, <a href="#Page_349">349</a>;</li><li> -on positions of victor statues in the Altis, <a href="#Page_340">340</a>;</li><li> -on second route of Pausanias in the Altis, <a href="#Page_351">351</a>;</li><li> -on statues, ἐν τῇ Ἄλτει, 350.</li></ul></li><li> - -Dolichodromos, endurance runner, <a href="#Page_193">193</a>.</li><li> - -Domitian, stadion at Rome, <a href="#Page_50">50</a>.</li><li> - -Dorians, the, <a href="#Page_1">1</a>.</li><li> - -Dorieus, prisoner at Athens, <a href="#Page_36">36</a>;<ul><li> -victor statue at Olympia, 355.</li></ul></li><li> - -Dorykleidas, victor dedication to Herakles and Hermes by, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>.</li><li> - -Doryphoroi, mentioned by Pliny, <a href="#Page_226">226</a>.</li><li> - -<i>Doryphoros</i>, of Kresilas, <a href="#Page_145">145</a>;<ul><li> -of Polykleitos, <a href="#Page_77">77</a>, <a href="#Page_224">224f</a>.;</li><li> -as an <i>Achilles</i>, <a href="#Page_92">92</a>;</li><li> -converted into -<span class="pagenum"><a id="Page_385">385</a></span> -god-type, <a href="#Page_74">74</a>;</li><li> -converted into Hermes, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>;</li><li> -compared with <i>Diadoumenos</i>, <a href="#Page_152">152</a>;</li><li> -copy at Olympia, <a href="#Page_227">227</a>;</li><li> -green basalt torso in Florence, <a href="#Page_225">225</a>;</li><li> -marble torso formerly in Pourtalès Collection, <a href="#Page_225">225</a>;</li><li> -from Pompeii, its measurements, <a href="#Page_70">70</a>;</li><li> -copy in Vatican, <a href="#Page_225">225</a>;</li><li> -etymology and use of word, <a href="#Page_225">225</a>, <a href="#Page_226">226</a>;</li><li> -head from Herculaneum, by Apollonios, <a href="#Page_168">168</a>;</li><li> -as highest ideal of manly beauty, <a href="#Page_141">141</a>;</li><li> -as example of javelin-thrower, <a href="#Page_164">164</a>;</li><li> -leg position of, <a href="#Page_159">159</a>;</li><li> -as master of Lysippos, <a href="#Page_70">70</a>, <a href="#Page_301">301</a>;</li><li> -as norm of proportions, <a href="#Page_58">58</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</li><li> -original as pentathlete victor statue, <a href="#Page_227">227</a>;</li><li> -pose of, <a href="#Page_225">225</a>;</li><li> -style of head of, <a href="#Page_152">152</a>;</li><li> -as victor statue, 226, 227.</li></ul></li><li> - -Double foot-race (δίαυλος), <a href="#Page_190">190</a>;<ul><li> -date of introduction at Olympia, 191.</li></ul></li><li> - -“Doubles” of statues, <a href="#Page_304">304</a>, <a href="#Page_305">305</a>.</li><li> - -Douris, on Lysippos, <a href="#Page_69">69</a>.</li><li> - -Douris, vase-painter, r.-f. kylix by, <a href="#Page_239">239</a>.</li><li> - -Dramatic contests, at Delphi, <a href="#Page_25">25</a>.</li><li> - -<i>Dresden Boy</i>, the, statue in Dresden, <a href="#Page_213">213</a>.</li><li> - -Dromeus, statue at Olympia, <a href="#Page_179">179</a>, <a href="#Page_343">343</a>;<ul><li> -identified with <i>mala ferens nudus</i>, of Pliny, 182.</li></ul></li><li> - -<i>Drunkenness</i>, statue of, <a href="#Page_144">144</a>.</li><li> - -Duerer, Albrecht, on proportions, <a href="#Page_68">68</a>.</li><li> - -Duetschke, on the Mantuan <i>Commodus</i>, <a href="#Page_72">72</a>.</li><li> - -Dumont, on division of athletes at Athens by age, <a href="#Page_189">189</a>.</li><li> - -Dying hoplite runner, relief of, in Athens, <a href="#Page_194">194</a>, <a href="#Page_209">209</a>.</li><li> - -Dying Gaul statues, <a href="#Page_255">255</a>.</li><li> - -Dyneiketos, victor, represented on r.-f. Panathenaic -vase, <a href="#Page_280">280</a>.</li><li> - -Ear, swollen, as attribute of victor statues, <a href="#Page_167">167f</a>.;<ul><li> -as professional characteristic of athlete and god statues, <a href="#Page_168">168</a>;</li><li> -on various heads, <a href="#Page_168">168</a>;</li><li> -on heads of gods and heroes, <a href="#Page_169">169f</a>.</li></ul></li><li> - -Ear-lappets (ἀμφωτίδες, ἐπωτίδες), on marble head, <a href="#Page_167">167</a>;<ul><li> -worn by boys in the palæstra, 167.</li></ul></li><li> - -Echembrotos, musician, dedicates a tripod to Herakles <a href="#Page_22">22</a>.</li><li> - -Echo Colonnade, at Olympia, <a href="#Page_343">343</a>, <a href="#Page_345">345</a>, <a href="#Page_352">352</a>, <a href="#Page_358">358</a>, <a href="#Page_360">360</a>.</li><li> - -Egesta, Sicily, <a href="#Page_35">35</a>;<ul><li> -honors Philippos, victor, with a heroön, 57.</li></ul></li><li> - -Egypt, division of, into Old and Middle Kingdoms, and New Empire, 330–331.</li><li> - -Egyptian art, proportions in, 67 and note <a href="#Page_4">4</a>;<ul><li> -adopted by Greeks, <a href="#Page_330">330</a>;</li><li> -becomes fixed, <a href="#Page_331">331</a>;</li><li> -influence of, on early Greek art, <a href="#Page_328">328f</a>., <a href="#Page_332">332</a>;</li><li> -Egyptian statues, characteristics of, <a href="#Page_332">332</a>;</li><li> -compared with Greek, 332.</li></ul></li><li> - -Eklektos, Valerios, statue at Athens, <a href="#Page_371">371</a>;<ul><li> -at Olympia, 359, 360, 371.</li></ul></li><li> - -Elean register, <a href="#Page_31">31</a>;<ul><li> -school of sculpture, <a href="#Page_114">114</a>;</li><li> -umpires, 94.</li></ul></li><li> - -Eleans, led by Oxylos from Aitolia, <a href="#Page_15">15</a>.</li><li> - -<i>Electra</i>, of Sophokles, quoted, <a href="#Page_267">267</a>.</li><li> - -<i>Eleusinia</i>, the, <a href="#Page_18">18</a>;<ul><li> -prizes at, <a href="#Page_20">20</a>;</li><li> -statue of victor in Athens, 27.</li></ul></li><li> - -Eleusis, copy of statue of Kyniskos (?) from, <a href="#Page_74">74</a>, <a href="#Page_156">156</a>.</li><li> - -<i>Eleutheria</i>, games at Platæa, 11, 203. - -Emerson, A., on statue of Kyniska, <a href="#Page_267">267</a>.</li><li> - -Energy, as characteristic of Myron’s statues, <a href="#Page_152">152</a>.</li><li> - -<i>Enkrinomenos</i>, statue by Alkamenes, <a href="#Page_77">77</a>, <a href="#Page_134">134</a>.</li><li> - -Enymakratidas, hippodrome victories of, in Lakonia, <a href="#Page_257">257</a>.</li><li> - -Epainetos, inscribed jumping-weight of, from Eleusis, <a href="#Page_215">215</a>.</li><li> - -Epeios, boxing-match with Euryalos, <a href="#Page_7">7</a>, <a href="#Page_88">88</a>.</li><li> - -Epeirote singer, pummelled by order of Nero, <a href="#Page_34">34</a>.</li><li> - -Eperastos, victor at Olympia, <a href="#Page_163">163</a>.</li><li> - -Ephebe, head of, with yellow hair, from Akropolis, <a href="#Page_116">116</a>;<ul><li> -statue from Akropolis, <a href="#Page_115">115</a>, <a href="#Page_175">175</a>;</li><li> -statue from Hadrian’s villa, assimilated to Hermes, <a href="#Page_80">80</a>;</li><li> -victorious ephebes leading horses, on Athenian relief, <a href="#Page_281">281</a>;</li><li> -ephebes (ἀγένειοι), 189.</li></ul></li><li> - -<i>Ephodoi</i> (ἔφοδοι), or routes of Pausanias, in the Altis, <a href="#Page_339">339</a>, <a href="#Page_341">341f</a>., <a href="#Page_348">348f</a>. - -Epicharinos, statue on Akropolis, <a href="#Page_27">27</a>, <a href="#Page_176">176</a>, <a href="#Page_179">179</a>, <a href="#Page_206">206</a>, <a href="#Page_372">372</a>.</li><li> - -Epidauros, inscription from, <a href="#Page_34">34</a>.</li><li> - -Epigonos, erects monument to Attalos, <a href="#Page_368">368</a>.</li><li> - -Epigrams, on Olympic victor statue bases, <a href="#Page_43">43</a>.</li><li> - -Epikradios, statue at Olympia, <a href="#Page_122">122</a>, <a href="#Page_352">352</a>.</li><li> - -<i>Epitaphia</i>, festival at Athens, <a href="#Page_18">18</a>.</li><li> - -Epitherses, statue at Olympia, <a href="#Page_31">31</a>, <a href="#Page_244">244</a>, <a href="#Page_346">346</a>.</li><li> - -Eponymus victor, at Olympia, <a href="#Page_191">191</a>.</li><li> - -Equestrian contests, at Delphi, <a href="#Page_25">25</a>;<ul><li> -at Olympia, replaced by amusements of Roman circus, <a href="#Page_261">261</a>;</li><li> -revived at Olympia under Empire, <a href="#Page_261">261</a>.</li><li> -See also Chariot-race, Horse-race.</li></ul></li><li> - -Er, myth of, in Plato’s <i>Republic</i>, <a href="#Page_36">36</a>.</li><li> - -Erasistratos, physician at Alexandria, <a href="#Page_290">290</a>.</li><li> - -<i>Eretrian Bull</i>, the, at Olympia, <a href="#Page_342">342</a>, <a href="#Page_352">352</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>;<ul><li> -zone of, at Olympia, 343.</li></ul></li><li> - -Eriphyle, on archaic vase, <a href="#Page_13">13</a>.</li><li> - -Eros, offerings to, <a href="#Page_57">57</a>;<ul><li> -bronze statue from Tunis, 156, 158.</li></ul></li><li> - -<i>Erotidia</i>, division of athletes at the Bœotian, according to age, <a href="#Page_189">189</a>.</li><li> - -Etruria, funeral games of, borrowed by Romans, <a href="#Page_11">11</a>;<ul><li> -athletic scenes from tombs of, 11.</li></ul></li><li> - -<i>Etruscan Orator</i>, statue in Florence, <a href="#Page_82">82</a>.</li><li> - -Euagoras I, King of Salamis, in Cyprus, coins of, showing swollen ears, <a href="#Page_169">169</a>.</li><li> - -Euagoras of Sparta, chariot-group of, at Olympia, <a href="#Page_23">23</a>, <a href="#Page_37">37</a>, <a href="#Page_265">265</a>.</li><li> - -Eubotas, statue at Kyrene, <a href="#Page_366">366</a>;<ul><li> -at Olympia, 31, 352, 366.</li></ul></li><li> - -Eudelos, of Rhodes, adversary of Straton, at Olympia, <a href="#Page_34">34</a>.</li><li> - -Eukles, statue at Olympia, <a href="#Page_45">45</a>, <a href="#Page_117">117</a>, <a href="#Page_241">241</a>, <a href="#Page_342">342</a>, <a href="#Page_343">343</a>.</li><li> - -Eumastas, inscribed stone of, from Thera, 218, note <a href="#Page_3">3</a>.</li><li> - -Eunomos, kitharoidos, statue in honor of Pythian victory, <a href="#Page_284">284</a>.</li><li> - -Euphorbos, on painted terra-cotta plate, <a href="#Page_178">178</a>.</li><li> - -Euphranor, sculptor, <a href="#Page_23">23</a>, <a href="#Page_36">36</a>, <a href="#Page_69">69</a>;<ul><li> -books of, on symmetry, <a href="#Page_69">69</a>;</li><li> -canon of, <a href="#Page_69">69</a>;</li><li> -head of athlete statue from circle of, 233.</li></ul></li><li> - -Euphronios, r.-f. kylix by, <a href="#Page_204">204</a>.</li><li> - -Eupolemos, statue at Olympia, 120, 342.c - -Eupolos, bribes three adversaries at Olympia and all four are fined, <a href="#Page_33">33</a>.</li><li> -<span class="pagenum"><a id="Page_386">386</a></span> - -Eupompos, painter, <a href="#Page_29">29</a>, <a href="#Page_69">69</a>, <a href="#Page_160">160</a>.</li><li> - -Euripides, protests against professionalism in athletics, <a href="#Page_36">36</a>.</li><li> - -Euryalos, <a href="#Page_8">8</a>, <a href="#Page_88">88</a>.</li><li> - -Eurybates, pentathlete, <a href="#Page_59">59</a>.</li><li> - -Euryleonis, victress, statue at Sparta, <a href="#Page_367">367</a>.</li><li> - -Eurytos, <a href="#Page_8">8</a>.</li><li> - -Eusebios, on statue of Theagenes, <a href="#Page_364">364</a>.</li><li> - -Eutelidas, sculptor, <a href="#Page_105">105</a>, <a href="#Page_116">116</a>.</li><li> - -Eutelidas, victor statue at Olympia, <a href="#Page_106">106</a>, <a href="#Page_333">333</a>, <a href="#Page_337">337</a>, <a href="#Page_346">346</a>.</li><li> - -Euthykrates, sculptor, <a href="#Page_314">314</a>.</li><li> - -Euthymenes, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_344">344</a>, <a href="#Page_352">352</a>.</li><li> - -Euthymos, boxing match with Theagenes, <a href="#Page_247">247</a>;<ul><li> -son of river god Kaikinos, <a href="#Page_35">35</a>;</li><li> -statue at Lokroi Epizephyrioi, <a href="#Page_364">364</a>;</li><li> -statue at Olympia, <a href="#Page_55">55</a>, <a href="#Page_62">62</a>, <a href="#Page_90">90</a>, <a href="#Page_179">179</a>, <a href="#Page_183">183</a>, <a href="#Page_342">342</a>, <a href="#Page_352">352</a>;</li><li> -inscribed base from, <a href="#Page_38">38</a>;</li><li> -statue at Olympia identified by Waldstein with <i>Choiseul-Gouffier Apollo</i> type, 179.</li></ul></li><li> - -Eutychides, sculptor and painter, <a href="#Page_121">121</a>, <a href="#Page_324">324</a>.</li><li> - -Evans, A., on ivory statuettes from Knossos, <a href="#Page_3">3</a>;<ul><li> -on stucco reliefs from Knossos, 4.</li></ul></li><li> - -Exainetos, victor, drawn into native city by fellow-citizens, <a href="#Page_35">35</a>.</li><li> - -<i>Exhortation to the Arts</i>, work by Galen cited, <a href="#Page_37">37</a>.</li><li> - -Exoïdas, bronze diskos of, <a href="#Page_97">97</a>, <a href="#Page_218">218</a>.</li><li> - -Eye, almond-shaped, in archaic art, <a href="#Page_127">127</a>;<ul><li> -in the <i>Agias</i>, <a href="#Page_315">315</a>;</li><li> -in Skopaic heads, <a href="#Page_308">308</a>, <a href="#Page_311">311f</a>.;</li><li> -treatment of, by Lysippos, <a href="#Page_311">311f</a>.</li></ul></li><li> - -Fabius Maximus, carries off colossal Herakles from Tarentum to Rome, <a href="#Page_253">253</a>.</li><li> - -Fagan head, the, in British Museum, <a href="#Page_87">87</a>.</li><li> - -<i>Farnese Diadoumenos</i>, statue in British Museum, <a href="#Page_151">151f</a>., <a href="#Page_154">154</a>;<ul><li> -compared with <i>Diadoumenos</i> from Vaison, 154.</li></ul></li><li> - -<i>Farnese Herakles</i>, statue in Naples, <a href="#Page_252">252</a>, <a href="#Page_253">253</a>;<ul><li> -of Lysippan origin, <a href="#Page_253">253</a>;</li><li> -as realistic work, 289.</li></ul></li><li> - -<i>Farnese Hermes</i>, statue in British Museum, <a href="#Page_72">72</a>.</li><li> - -Farnsworth Museum, Wellesley, Mass., statue of athlete in, <a href="#Page_139">139</a>.</li><li> - -Fawn, as attribute of <i>Philesian Apollo</i>, <a href="#Page_119">119</a>.</li><li> - -Fellows, C., discovers Chimæra tomb at Xanthos, <a href="#Page_271">271</a>.</li><li> - -Fevers, cured by victor statues, <a href="#Page_364">364</a>.</li><li> - -Ficoroni cista, in Rome, <a href="#Page_243">243</a>, <a href="#Page_269">269</a>.</li><li> - -Fierce expression (γοργόν), of Philandridas head from Olympia, <a href="#Page_294">294</a>, <a href="#Page_297">297</a>;<ul><li> -threatening look of athletes mentioned by Sokrates, 59.</li></ul></li><li> - -File, use of, on Philandridas head, <a href="#Page_295">295</a>.</li><li> - -Fillet, victor, <a href="#Page_168">168f</a>.;<ul><li> -on victor statues, <a href="#Page_149">149f</a>.;</li><li> -on statue from Piræus, <a href="#Page_150">150</a>;</li><li> -in hand of victor, <a href="#Page_150">150</a>;</li><li> -on heads, <a href="#Page_96">96</a>;</li><li> -as symposium attribute, <a href="#Page_149">149</a>;</li><li> -rolled, on heads of Herakles, <a href="#Page_170">170</a>.</li><li> -See <i>Tainia</i>.</li></ul></li><li> - -Fillet-binders, or diadoumenoi, <a href="#Page_150">150f</a>. - -Fine, paid by Theagenes, <a href="#Page_247">247</a>.</li><li> - -Finger, as common measure in proportions, <a href="#Page_68">68</a>.</li><li> - -Flasch, A. F., on bronze head of a boxer from Olympia, <a href="#Page_255">255</a>;<ul><li> -on the Olympia gable sculptures, <a href="#Page_114">114</a>;</li><li> -on positions of victor statues in Altis, 340.</li></ul></li><li> - -Flaxman, John, sculptor, on proportions, <a href="#Page_68">68</a>.</li><li> - -Flute-playing, at Delphi, <a href="#Page_25">25</a>;<ul><li> -accompanies pentathlon, at Olympia, <a href="#Page_284">284</a>;</li><li> -on vases, 285.</li></ul></li><li> - -Flutists, statues of victorious, <a href="#Page_284">284</a>;<ul><li> -honor statue of, <a href="#Page_42">42</a>;</li><li> -on chest of Kypselos, 285.</li></ul></li><li> - -Flying mare, throw in pankration, <a href="#Page_247">247</a>;<ul><li> -throw in wrestling, 229.</li></ul></li><li> - -Foal-race, at Olympia, <a href="#Page_260">260</a>.</li><li> - -Foerster, H., on location of statue of Ladas, <a href="#Page_197">197</a>;<ul><li> -on statue of Leon, 366.</li></ul></li><li> - -Foerster, R., on head of hoplitodrome, from Olympia, <a href="#Page_163">163</a>.</li><li> - -Foot, as common measure in proportions, <a href="#Page_68">68</a>;<ul><li> -bronze, from victor statue at Olympia, <a href="#Page_255">255</a>, <a href="#Page_322">322</a>;</li><li> -left, forward in Egyptian and early Greek statues, 332.</li></ul></li><li> - -Footmarks, on bases of victor statues, at Olympia, <a href="#Page_43">43</a>.</li><li> - -Foot-race, the, at games of Patroklos, <a href="#Page_8">8</a>;<ul><li> -at the <i>Heraia</i>, at Olympia, <a href="#Page_49">49</a>.</li><li> -See Stade-race.</li></ul></li><li> - -Forearm, fragment of, with horn, in relief, <a href="#Page_4">4</a>.</li><li> - -Fragments, bronze, of victor statues, from Olympia, <a href="#Page_322">322</a>;<ul><li> -marble, from Olympia, <a href="#Page_324">324</a>;</li><li> -bronze, of boy victor statues from Olympia, <a href="#Page_322">322</a>;</li><li> -marble, of boy victor statues from Olympia, 324, 325.</li></ul></li><li> - -Frascati, statuette from, in Boston, <a href="#Page_138">138</a>.</li><li> - -Frazer, J. G., on Arrhachion’s statue, <a href="#Page_327">327</a>;<ul><li> -on funeral games, <a href="#Page_11">11</a>;</li><li> -on omission of Olympiad 211 from Elean register, <a href="#Page_369">369</a>;</li><li> -on statue of Diitrephes, Athens, 373.</li></ul></li><li> - -“Free” leg, motive in sculpture, <a href="#Page_109">109</a>, <a href="#Page_226">226</a>.</li><li> - -Friedrichs, K., on identifying <i>Doryphoros</i> from Pompeii, <a href="#Page_224">224</a>.</li><li> - -Friedrichs-Wolters, on Olympia gable sculptures, <a href="#Page_114">114</a>.</li><li> - -Fritsch, G., on body proportions in Greek sculpture, <a href="#Page_67">67</a>.</li><li> - -Froehner, W., on the <i>Jason</i> of the Louvre, <a href="#Page_87">87</a>.</li><li> - -“Frontality,” law of, formulated, <a href="#Page_175">175</a>, <a href="#Page_328">328</a>.</li><li> - -Frost, K. T., on bronze statue of youth found in sea off Antikythera, <a href="#Page_82">82</a>;<ul><li> -on differences between the <i>Agias</i> and <i>Apoxyomenos</i>, <a href="#Page_290">290</a>;</li><li> -on Ligourió bronze, 111.</li></ul></li><li> - -Funeral games, on archaic vases, <a href="#Page_13">13</a>;<ul><li> -attested by early Greek art, <a href="#Page_12">12</a>;</li><li> -on Dipylon vase, in Copenhagen, <a href="#Page_13">13</a>;</li><li> -in honor of Azan, 9; in honor of eminent men, <a href="#Page_11">11</a>;</li><li> -in honor of Patroklos, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</li><li> -origin of, <a href="#Page_14">14</a>;</li><li> -periodic, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>;</li><li> -on sarcophagus from Klazomenai, <a href="#Page_13">13</a>;</li><li> -funeral customs survive in later ritual, 11.</li></ul></li><li> - -Funerary reliefs, Attic, <a href="#Page_66">66</a>.</li><li> - -Furtwaengler, A., on Akropolis chariot relief, <a href="#Page_271">271</a>;<ul><li> -on the <i>Alkibiades</i> of Vatican, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>;</li><li> -on the <i>Apoxyomenos</i> of Uffizi, <a href="#Page_137">137</a>;</li><li> -on the <i>Apoxyomenos</i> of Vatican, <a href="#Page_136">136</a>;</li><li> -on Aristion’s statue, <a href="#Page_88">88</a>, <a href="#Page_241">241</a>;</li><li> -on athlete head in Copenhagen, <a href="#Page_95">95</a>;</li><li> -on athlete statue in British Museum, <a href="#Page_293">293</a>;</li><li> -on bronze head of a boxer in Glyptothek, <a href="#Page_63">63</a>;</li><li> -on bronze head of a boxer from Olympia, <a href="#Page_255">255</a>;</li><li> -on bronze foot from Olympia, <a href="#Page_255">255</a>;</li><li> -on bronze head from Akropolis, <a href="#Page_115">115</a>;</li><li> -on bronze statuette in Louvre, <a href="#Page_139">139</a>;</li><li> -on <i>Choiseul-Gouffier Apollo</i> type, <a href="#Page_90">90</a>;</li><li> -on statue of -<span class="pagenum"><a id="Page_387">387</a></span> -Diitrephes, on Akropolis, <a href="#Page_373">373</a>;</li><li> -on so-called <i>Diomedes</i>, of Palazzo Valentini, Rome, <a href="#Page_207">207</a>;</li><li> -on doryphoroi of Pliny, <a href="#Page_226">226</a>;</li><li> -on term doryphoros, <a href="#Page_226">226</a>;</li><li> -on Dresden athlete statues, <a href="#Page_292">292</a>;</li><li> -on <i>Dresden Boy</i>, <a href="#Page_213">213</a>;</li><li> -on Egyptian influence on “Apollo” type, <a href="#Page_329">329</a>;</li><li> -on ephebe statue from Akropolis, <a href="#Page_115">115</a>;</li><li> -on erecting statues of victors at Olympia, <a href="#Page_38">38</a>;</li><li> -on Esquiline charioteer, <a href="#Page_276">276</a>;</li><li> -on Eupompos’ painting of Olympic victor, <a href="#Page_160">160</a>;</li><li> -on excavations at Aegina, <a href="#Page_124">124</a>;</li><li> -on Hagelaïdas, <a href="#Page_110">110</a>;</li><li> -on <i>Idolino</i>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>;</li><li> -on influence of athletics on Greek art, <a href="#Page_64">64</a>;</li><li> -on Kassel boxer, <a href="#Page_155">155</a>;</li><li> -on Kassel head of Polykleitos’ <i>Diadoumenos</i>, <a href="#Page_153">153</a>;</li><li> -on kneeling figures from West gable at Olympia, <a href="#Page_195">195</a>;</li><li> -on Kresilæan athlete head, <a href="#Page_145">145</a>;</li><li> -on statue of Kylon, on Akropolis, <a href="#Page_362">362</a>;</li><li> -on statue of Kyniska, at Olympia, <a href="#Page_131">131</a>;</li><li> -on Kyniska’s victor group at Olympia, <a href="#Page_267">267</a>;</li><li> -on Kyniskos’ statue, <a href="#Page_74">74</a>;</li><li> -on <i>Lansdowne Herakles</i>, <a href="#Page_313">313</a>;</li><li> -on libation-pouring, <a href="#Page_139">139</a>;</li><li> -on Ligourió bronze, <a href="#Page_111">111</a>;</li><li> -on marble head in Turin, <a href="#Page_93">93</a>;</li><li> -on Monteleone chariot in Metropolitan Museum, <a href="#Page_264">264</a>;</li><li> -on motive of Pheidias’ <i>Diadoumenos</i>, <a href="#Page_151">151</a>;</li><li> -on Munich <i>Oil-pourer</i>, <a href="#Page_134">134</a>;</li><li> -on <i>Munich King</i>, (?), <a href="#Page_226">226</a>;</li><li> -on Myron’s <i>pristae</i>, <a href="#Page_188">188</a>;</li><li> -on <i>nudus talo incessens</i> of Polykleitos, <a href="#Page_250">250</a>, <a href="#Page_251">251</a>;</li><li> -on Olympia gable sculptures, <a href="#Page_114">114</a>;</li><li> -on Petworth ephebe, <a href="#Page_133">133</a>;</li><li> -on Pheidias’ hair treatment in goddess heads, <a href="#Page_53">53</a>;</li><li> -on Philandridas head, <a href="#Page_294">294</a>;</li><li> -on Pythagoras, <a href="#Page_179">179</a>, <a href="#Page_180">180</a>;</li><li> -on Pythokles’ statue, <a href="#Page_212">212</a>;</li><li> -on Rayet head, <a href="#Page_128">128</a>;</li><li> -on Riccardi bust in Florence, <a href="#Page_180">180</a>;</li><li> -on right arm of boy victor, from Olympia, <a href="#Page_46">46</a>;</li><li> -on rolled fillet, <a href="#Page_96">96</a>;</li><li> -on short and long hair of god heads, <a href="#Page_52">52</a>;</li><li> -on Somzée athlete, <a href="#Page_251">251</a>;</li><li> -on sparring motive in Berlin torso, <a href="#Page_244">244</a>;</li><li> -on <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>;</li><li> -on statue from Carinthia, <a href="#Page_131">131</a>;</li><li> -on statue “doubles,” <a href="#Page_304">304</a>;</li><li> -on statue of youth in Berlin, <a href="#Page_292">292</a>;</li><li> -on tin-foil wheels, from Olympia, <a href="#Page_23">23</a>;</li><li> -on two heads of hoplitodromes from Olympia, <a href="#Page_163">163</a>;</li><li> -on use of marble in Olympic victor statues, <a href="#Page_324">324</a>;</li><li> -on “Vatican athlete at rest,” <a href="#Page_140">140</a>;</li><li> -Furtwaengler and Urlichs, on use of bronze for Olympic victor statues, 321.</li></ul></li><li> - -Galen, on ball-playing, <a href="#Page_84">84</a>;<ul><li> -on the <i>Doryphoros</i>, <a href="#Page_70">70</a>;</li><li> -protests against professionalism in athletics, 36, 37.</li></ul></li><li> - -Games, early Greek, <a href="#Page_1">1f</a>.;<ul><li> -origin of, in cult of dead, <a href="#Page_9">9f</a>.;</li><li> -origin of four national, <a href="#Page_9">9</a>;</li><li> -early history of, <a href="#Page_14">14f</a>.;</li><li> -local, <a href="#Page_17">17f</a>.</li></ul></li><li> - -Ganymedes, identified with statue of youth from Subiaco, <a href="#Page_195">195</a>.</li><li> - -Gardiner, E. N., on <i>apobates</i> horse-race, <a href="#Page_282">282</a>;<ul><li> -on colossal <i>Farnese Herakles</i>, <a href="#Page_252">252</a>;</li><li> -on diskos-throwing, <a href="#Page_218">218f</a>.;</li><li> -on earliest event at Olympia, <a href="#Page_37">37</a>;</li><li> -on Irish fairs, <a href="#Page_12">12</a>;</li><li> -on origin of four-horse chariot-race at Olympia, <a href="#Page_259">259</a>;</li><li> -on positions in javelin-throwing, <a href="#Page_223">223</a>;</li><li> -on rules of pankration, <a href="#Page_246">246</a>;</li><li> -on shapes of jumping-weights, <a href="#Page_214">214</a>;</li><li> -on Uffizi pancratiast group, 252.</li></ul></li><li> - -Gardner, E. A., on the <i>Agias</i>, <a href="#Page_303">303</a>;<ul><li> -on artist school at Olympia, <a href="#Page_58">58</a>;</li><li> -on bronze statue of youth found in sea off Antikythera, <a href="#Page_81">81</a>;</li><li> -on contrast between the <i>Atalanta</i> and other Tegea heads, 310, note <a href="#Page_3">3</a>;</li><li> -on epigram from statue of Ladas, <a href="#Page_197">197</a>;</li><li> -on eye treatment in the <i>Agias</i>, <a href="#Page_315">315</a>;</li><li> -on eye treatment in the <i>Atalanta</i> from Tegea, <a href="#Page_310">310</a>;</li><li> -on honors paid to victors, <a href="#Page_36">36</a>;</li><li> -on helmeted head from Tegea, <a href="#Page_308">308</a>.</li></ul></li><li> - -Gardner, P., on date of Lysippos <a href="#Page_300">300</a>, <a href="#Page_301">301</a>;<ul><li> -on Greek portraiture, <a href="#Page_55">55</a>;</li><li> -on head of <i>Diadoumenos</i> of Polykleitos, in Oxford, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>;</li><li> -on the <i>Meleager</i> and <i>Lansdowne Herakles</i> as Lysippan, <a href="#Page_315">315</a>;</li><li> -quotes K. T. Frost on the <i>Agias</i> and the <i>Apoxyomenos</i>, <a href="#Page_290">290</a>;</li><li> -on symmetry, <a href="#Page_66">66</a>.</li></ul></li><li> - -Gelados; see Hagelaïdas. - -Gelo, chariot-group at Olympia, <a href="#Page_23">23</a>, <a href="#Page_122">122</a>, <a href="#Page_257">257</a>, <a href="#Page_264">264</a>, <a href="#Page_266">266</a>, <a href="#Page_344">344</a>, <a href="#Page_355">355</a>;<ul><li> -as dedicator of Delphi <i>Charioteer</i>, <a href="#Page_278">278</a>.</li></ul></li><li> - -Gem, showing <i>Apoxyomenos</i> of Polykleitos, <a href="#Page_136">136</a>;<ul><li> -showing <i>Diskobolos</i>, <a href="#Page_187">187</a>;</li><li> -showing Perseus and Gorgon’s head, <a href="#Page_83">83</a>;</li><li> -showing poses of Olympic victor statues, <a href="#Page_214">214</a>.</li></ul></li><li> - -Genzano, bust of Herakles from, <a href="#Page_169">169</a>, <a href="#Page_170">170</a>.</li><li> - -Geraistos, Euboea, <a href="#Page_373">373</a>.</li><li> - -Gerhard, E., on vases showing four-horse chariots, <a href="#Page_263">263</a>.</li><li> - -<i>Germanicus</i>, statue so-called, <a href="#Page_85">85</a>.</li><li> - -Germanicus Caesar, victor in chariot race at Olympia, <a href="#Page_257">257</a>, <a href="#Page_261">261</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>.</li><li> - -Germans, excavations of Olympia by, <a href="#Page_43">43</a>.</li><li> - -Gestures, “transitory” and “stationary,” <a href="#Page_83">83</a>.</li><li> - -Geta, coin of, <a href="#Page_306">306</a>.</li><li> - -Girl runner, statue in Vatican, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>;<ul><li> -statuette from Dodona, <a href="#Page_28">28</a>.</li></ul></li><li> - -Gladiatorial shows, borrowed from Etruria by Romans, <a href="#Page_11">11</a>.</li><li> - -Glaukias, sculptor, <a href="#Page_32">32</a>, <a href="#Page_122">122</a>, <a href="#Page_125">125</a>, <a href="#Page_176">176</a>, <a href="#Page_243">243</a>, <a href="#Page_244">244</a>, <a href="#Page_264">264</a>, <a href="#Page_266">266</a>, <a href="#Page_278">278</a>.</li><li> - -Glaukon, chariot-group at Olympia, <a href="#Page_23">23</a>, <a href="#Page_265">265</a>, <a href="#Page_347">347</a>.</li><li> - -Glaukos, statue at Olympia, <a href="#Page_32">32</a>, <a href="#Page_122">122</a>, <a href="#Page_125">125</a>, <a href="#Page_176">176</a>, <a href="#Page_243">243</a>.</li><li> - -Glykon, sculptor, <a href="#Page_252">252</a>, <a href="#Page_253">253</a>.</li><li> - -Gods, statues of, dedicated to other gods and goddesses, <a href="#Page_335">335</a>;<ul><li> -worship of, supersedes that of heroes, <a href="#Page_14">14</a>.</li></ul></li><li> - -Goldsmiths, in Crete, <a href="#Page_4">4</a>.</li><li> - -Gorgias, honor statue at Olympia, <a href="#Page_42">42</a>, <a href="#Page_351">351</a>.</li><li> - -Gorgon, on Pindar’s VIIth Olympic ode, <a href="#Page_365">365</a>.</li><li> - -Gorgos, statue at Olympia, <a href="#Page_55">55</a>, <a href="#Page_59">59</a>.</li><li> - -Gouging, prohibited in pankration, <a href="#Page_246">246</a>;<ul><li> -shown on r.-f. kylix, <a href="#Page_246">246</a>.</li></ul></li><li> - -Graef, B., on Antenor’s female statue from Akropolis <a href="#Page_174">174</a>;<ul><li> -on copies of original of <i>Lansdowne Herakles</i>, <a href="#Page_313">313</a>;</li><li> -Skopaic group of, <a href="#Page_315">315</a>.</li></ul></li><li> - -Grain, as prize at the <i>Eleusinia</i>, <a href="#Page_20">20</a>.</li><li> - -Grained-hair technique, <a href="#Page_53">53</a>.</li><li> - -Granianos; see Kranaos.</li><li> -<span class="pagenum"><a id="Page_388">388</a></span> - -Grave-relief, fragment from Dipylon, <a href="#Page_127">127</a>.</li><li> - -Great Altar; see Zeus, Great Altar of. - -Greaves, early attribute of hoplitodromoi, <a href="#Page_161">161</a>;<ul><li> -later discarded, <a href="#Page_203">203</a>.</li></ul></li><li> - -Greece, dependent on outside peoples in early art, <a href="#Page_329">329</a>;<ul><li> -debt to Orient, <a href="#Page_330">330</a>;</li><li> -Roman conquest of, <a href="#Page_261">261</a>.</li></ul></li><li> - -Greek anthologies, see Anthologies, Greek. - -Greek and Egyptian statues compared, <a href="#Page_332">332</a>.</li><li> - -“Grinning” group, of so-called “Apollo” statues, <a href="#Page_100">100</a>.</li><li> - -Guillaume, E., on measurements of <i>Doryphoros</i>, <a href="#Page_70">70</a>.</li><li> - -Gurlitt, W., on Pausanias’ routes in Altis, <a href="#Page_340">340</a>.</li><li> - -Gymnasia, absent in Homer, <a href="#Page_7">7</a>;<ul><li> -statues of athletes in, <a href="#Page_297">297</a>;</li><li> -statues of athletic gods in, <a href="#Page_75">75</a>, <a href="#Page_94">94</a>.</li></ul></li><li> - -Gymnasiarch, Hermes as, <a href="#Page_78">78</a>.</li><li> - -Gymnasion, Great, at Olympia, <a href="#Page_297">297</a>, <a href="#Page_299">299</a>, <a href="#Page_356">356</a>.</li><li> - -Gymnasium, scene from, on r.-f. kylix, <a href="#Page_164">164</a>.</li><li> - -Gythion, statue of Herakles, at, <a href="#Page_319">319</a>.</li><li> - -Habich, G., on <i>Standing Diskobolos</i>, <a href="#Page_78">78</a>.</li><li> - -Hadrian, revives Nemean games at Argos, <a href="#Page_17">17</a>;<ul><li> -villa of, at Tivoli, <a href="#Page_80">80</a>, <a href="#Page_174">174</a>.</li></ul></li><li> - -Hagelaïdas. sculptor, <a href="#Page_36">36</a>;<ul><li> -canon of, <a href="#Page_68">68</a>, <a href="#Page_148">148</a>, <a href="#Page_159">159</a>;</li><li> -chariot-group of Kleosthenes, at Olympia, by, <a href="#Page_266">266</a>;</li><li> -date of, <a href="#Page_61">61</a>, <a href="#Page_321">321</a>;</li><li> -teacher of Myron and Polykleitos, <a href="#Page_61">61</a>, <a href="#Page_110">110</a>;</li><li> -teacher of Pheidias, <a href="#Page_110">110</a>;</li><li> -called Gelados by scholiast on Aristophanes’ <i>Ranae</i>, <a href="#Page_110">110</a>.</li></ul></li><li> - -Hair-fashion, athletic, <a href="#Page_50">50f</a>.;<ul><li> -Bulle on hair, <a href="#Page_53">53</a>;</li><li> -ephebes dedicate hair to a god, <a href="#Page_51">51</a>;</li><li> -grained style, <a href="#Page_53">53</a>;</li><li> -on Hellenistic heads, <a href="#Page_296">296</a>.</li><li> -Long, at Athens, after Persian Wars, <a href="#Page_51">51</a>;</li><li> -long, on athletes, before Persian Wars, <a href="#Page_335">335</a>;</li><li> -braided, by boxers and pancratiasts, <a href="#Page_51">51</a>;</li><li> -discarded in wrestling, <a href="#Page_51">51</a>;</li><li> -in Homer, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>;</li><li> -on monuments, <a href="#Page_52">52</a>;</li><li> -on old Attic vases, <a href="#Page_52">52</a>;</li><li> -as sign of effeminacy, <a href="#Page_51">51</a>;</li><li> -at Sparta, <a href="#Page_51">51</a>;</li><li> -at Thermopylæ, <a href="#Page_51">51</a>;</li><li> -worn by knights, <a href="#Page_51">51</a>;</li><li> -long and short, on god statues, <a href="#Page_52">52</a>;</li><li> -pearl-string style of, <a href="#Page_53">53</a>;</li><li> -pictorial treatment of, <a href="#Page_53">53</a>.</li><li> -Short hair, on “Apollo” statues, <a href="#Page_335">335</a>;</li><li> -short, on athletes, after Persian Wars, <a href="#Page_51">51</a>, <a href="#Page_335">335</a>;</li><li> -on children, at Sparta, <a href="#Page_51">51</a>;</li><li> -on early vases, <a href="#Page_52">52</a>;</li><li> -on monuments, <a href="#Page_52">52</a>;</li><li> -not characteristic of athletes, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>;</li><li> -as sign of mourning, at Athens, <a href="#Page_51">51</a>;</li><li> -of slaves, <a href="#Page_51">51</a>;</li><li> -sketchy treatment, on <i>Hermes</i> of Praxiteles, <a href="#Page_303">303</a>;</li><li> -snail-volute style of, <a href="#Page_53">53</a>.</li><li> -See <i>Krobylos</i>.</li></ul></li><li> - -Halikarnassos, funeral games at, <a href="#Page_11">11</a>;<ul><li> -chariot-group from Mausoleion at, <a href="#Page_244">244</a>.</li></ul></li><li> - -Halimous, grave-relief from Attic deme of, <a href="#Page_249">249</a>.</li><li> - -<i>Halteres</i>; see Jumping-weights. - -Hamilton, Gavin, <a href="#Page_76">76</a>.</li><li> - -Harmodios, statue of, <a href="#Page_148">148</a>, <a href="#Page_173">173f</a>.<ul><li> -See also Aristogeiton and <i>Tyrannicides</i>.</li></ul></li><li> - -Hartwig. P., on bronze statuette from Capua, <a href="#Page_207">207</a>.</li><li> - -Hauser, F., on Autun statuette of pancratiast, <a href="#Page_249">249</a>–251;<ul><li> -on armor worn in hoplite-race, <a href="#Page_203">203</a>;</li><li> -on bronze athlete statue from Ephesos, <a href="#Page_138">138</a>;</li><li> -on bronze wrestlers from Herculaneum, <a href="#Page_231">231</a>;</li><li> -on Delian <i>Diadoumenos</i>, <a href="#Page_92">92</a>;</li><li> -on Tux bronze, <a href="#Page_207">207</a>.</li></ul></li><li> - -Head-dress, artificial, on charioteers, <a href="#Page_275">275</a>, <a href="#Page_276">276</a>.</li><li> - -“Healer,” epithet of the <i>Delian Apollo</i>, <a href="#Page_304">304</a>.</li><li> - -Heave, in wrestling, <a href="#Page_229">229</a>;<ul><li> -bronze wrestler-group in Paris, showing, <a href="#Page_232">232</a>;</li><li> -on metope of Theseion, <a href="#Page_232">232</a>;</li><li> -on r.-f. kylix, <a href="#Page_230">230</a>.</li></ul></li><li> - -Hegestratos, statue at Athens, <a href="#Page_27">27</a>.</li><li> - -Hegias, sculptor, <a href="#Page_110">110</a>, <a href="#Page_126">126</a>, <a href="#Page_175">175</a>, <a href="#Page_279">279</a>;<ul><li> -compared with Kallon, <a href="#Page_122">122</a>;</li><li> -criticism of, by Lucian, <a href="#Page_60">60</a>.</li></ul></li><li> - -Hekatompedon, the, on Akropolis, <a href="#Page_128">128</a>.</li><li> - -Hektor, <a href="#Page_7">7</a>.</li><li> - -Helbig, W., on Barracco athlete statue, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>;<ul><li> -on <i>Choiseul-Gouffier Apollo</i>, <a href="#Page_90">90</a>;</li><li> -on <i>Doryphoros</i> of Polykleitos, <a href="#Page_226">226</a>;</li><li> -on funerary relief, from Dipylon, <a href="#Page_156">156</a>;</li><li> -on Greek knights, <a href="#Page_282">282</a>;</li><li> -on head of <i>Standing Diskobolos</i>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>;</li><li> -on <i>Spinario</i>, <a href="#Page_201">201</a>;</li><li> -on Vatican statuette, <a href="#Page_212">212</a>.</li></ul></li><li> - -Helikon, Mount, statues of poets and musicians on, <a href="#Page_284">284</a>;<ul><li> -tripod on, dedicated by Hesiod, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>.</li></ul></li><li> - -Heliodoros, description of wrestling-match by, <a href="#Page_252">252</a>.</li><li> - -Hellanikos, statue at Olympia, <a href="#Page_240">240</a>, <a href="#Page_342">342</a>, <a href="#Page_343">343</a>.</li><li> - -Hellanodikai, the, at Olympia, <a href="#Page_27">27</a> and n. <a href="#Page_20">20</a>, <a href="#Page_29">29</a>, <a href="#Page_45">45</a>, <a href="#Page_227">227</a>, <a href="#Page_259">259</a>.</li><li> - -Hellenistic Prince, statue of a, <a href="#Page_73">73</a>;<ul><li> -assimilated to type of Alexander, <a href="#Page_73">73</a>.</li></ul></li><li> - -Helmets, on <i>Boxer Vase</i> from Crete, <a href="#Page_7">7</a>;<ul><li> -as early attributes of hoplite runners, <a href="#Page_161">161</a>;</li><li> -of hoplite runners, <a href="#Page_48">48</a>.</li></ul></li><li> - -<i>Hemerodromoi</i>, institution of, <a href="#Page_190">190</a>.</li><li> - -Hephaistion, funeral games in honor of, <a href="#Page_11">11</a>.</li><li> - -Hera, temple of Lakinian, near Kroton, <a href="#Page_363">363</a>;<ul><li> -worship of, at Olympia, earlier than that of Zeus, <a href="#Page_16">16</a>.</li><li> -See <i>Heraion</i>.</li></ul></li><li> - -<i>Heraia</i>, the, games at Argos, <a href="#Page_20">20</a>;<ul><li> -games at Olympia, <a href="#Page_49">49</a>;</li><li> -girls at, divided into three classes, <a href="#Page_189">189</a>;</li><li> -reliefs vowed by girl runners at, <a href="#Page_29">29</a>;</li><li> -running race for girls at, <a href="#Page_191">191</a>.</li></ul></li><li> - -Heraion, the, at Olympia, <a href="#Page_16">16</a>, <a href="#Page_259">259</a>, <a href="#Page_299">299</a>, <a href="#Page_341">341</a>, <a href="#Page_342">342</a>, <a href="#Page_343">343</a>, <a href="#Page_349">349</a>, <a href="#Page_352">352</a>, <a href="#Page_353">353</a>, <a href="#Page_358">358</a>;<ul><li> -monuments inside of, <a href="#Page_325">325</a>.</li></ul></li><li> - -<i>Herakleia</i>, the, at Marathon, <a href="#Page_18">18</a>, <a href="#Page_20">20</a>;<ul><li> -at Thebes and elsewhere, <a href="#Page_19">19</a>, <a href="#Page_27">27</a>.</li></ul></li><li> - -Herakleides Ponticus, on the <i>krobylos</i> hair-fashion, <a href="#Page_52">52</a>.</li><li> - -Herakleion, the, at Sparta, <a href="#Page_319">319</a>.</li><li> - -Herakles, as boxer, <a href="#Page_169">169</a>, <a href="#Page_235">235</a>;<ul><li> -of Crete, <a href="#Page_10">10</a>;</li><li> -destroys statue of self at Elis, <a href="#Page_178">178</a>;</li><li> -as father of athlete Theagenes, <a href="#Page_35">35</a>;</li><li> -first to win pankration and wrestling on same day, <a href="#Page_252">252</a>;</li><li> -as founder of Olympic games, <a href="#Page_10">10</a>, <a href="#Page_93">93</a>;</li><li> -Herakles and Hermes, as protectors of contests, <a href="#Page_75">75</a>;</li><li> -as inventor of pankration, <a href="#Page_247">247</a>;</li><li> -at Marathon, <a href="#Page_18">18</a>;</li><li> -in Odyssey, <a href="#Page_8">8</a>;</li><li> -plants olive at Olympia, <a href="#Page_20">20</a>;</li><li> -son of Zeus and Alkmena, <a href="#Page_10">10</a>;</li><li> -in Sophokles’ <i>Trachiniae</i>, <a href="#Page_318">318</a>;</li><li> -tripods in honor of, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>;</li><li> -as wrestler, <a href="#Page_13">13</a>, <a href="#Page_93">93</a>, <a href="#Page_228">228</a>.</li></ul></li><li> - -Herakles, heads of: beardless, in British Museum, <a href="#Page_96">96</a>;<ul><li> -of boy athlete from Sparta so interpreted, <a href="#Page_305">305</a>;</li><li> -boyish, in British Museum, <a href="#Page_319">319</a>;</li><li> -bust from Genzano, <a href="#Page_95">95</a>;</li><li> -bust from Herculaneum, <a href="#Page_170">170</a>;</li><li> -colossal filleted, in Vatican, <a href="#Page_95">95</a>;</li><li> -from Tegea pediment, <a href="#Page_306">306</a>–311;</li><li> -marble, in Munich, <a href="#Page_170">170</a>;</li><li> -Philandridas head so interpreted, <a href="#Page_297">297</a>;</li><li> -showing swollen ears, <a href="#Page_169">169</a>;</li><li> -with rolled fillets, <a href="#Page_96">96</a>.</li><li> -<span class="pagenum"><a id="Page_389">389</a></span> -Statues of: <i>Alexikakos</i>, by Hagelaïdas, <a href="#Page_110">110</a>;<ul><li> -colossal, by Lysippos, <a href="#Page_253">253</a>;</li><li> -colossal, by Onatas, <a href="#Page_122">122</a>;</li><li> -in group with Telephos, in Vatican, <a href="#Page_70">70</a>, <a href="#Page_95">95</a>;</li><li> -in gymnasia and palæstræ, <a href="#Page_94">94</a>, <a href="#Page_297">297</a>;</li><li> -kneeling, from East gable from Aegina, <a href="#Page_195">195</a>;</li><li> -as knee-runner, bronze in Metropolitan Museum, <a href="#Page_195">195</a>;</li><li> -Kyniskos, converted into type of, <a href="#Page_74">74</a>;</li><li> -in Lakonia, <a href="#Page_319">319</a>;</li><li> -in Palazzo Altemps, Rome, <a href="#Page_243">243</a>;</li><li> -by Skopas, <a href="#Page_306">306</a>;</li><li> -victor statues assimilated to, <a href="#Page_354">354f</a>.</li></ul></li> -</ul></li><li> - -Heralds, contests of, when introduced at Olympia, <a href="#Page_283">283</a>;<ul><li> -statues of, at Olympia, <a href="#Page_283">283</a>.</li></ul></li><li> - -Herculaneum, bronze head from, in Naples, <a href="#Page_63">63</a>, <a href="#Page_140">140</a>.</li><li> - -Hercules, guild of athletes of, in Rome, <a href="#Page_371">371</a>.</li><li> - -<i>Hermaia</i>, the, games at Pheneus, <a href="#Page_76">76</a>.</li><li> - -Hermann, G., on Perinthos head, <a href="#Page_180">180</a>.</li><li> - -Hermas, base of statue of, at Olympia, <a href="#Page_359">359</a>.</li><li> - -Hermes, altar of, ἐναγώνιος, at Olympia, <a href="#Page_76">76</a>;<ul><li> -beaten by Apollo in running at Olympia, <a href="#Page_285">285</a>;</li><li> -founder of wrestling, <a href="#Page_76">76</a>;</li><li> -god of youth and sports, <a href="#Page_75">75</a>;</li><li> -gymnasion of, at Athens, <a href="#Page_76">76</a>;</li><li> -one of athletic gods, <a href="#Page_75">75</a>;</li><li> -“presider over contests,” <a href="#Page_36">36</a>;</li><li> -head, in Boston, <a href="#Page_85">85</a>;</li><li> -bearded herma, by Alkamenes, <a href="#Page_77">77</a>;</li><li> -bearded type, <a href="#Page_335">335</a>;</li><li> -compared with Philandridas head, <a href="#Page_293">293</a>, <a href="#Page_294">294</a>;</li><li> -hair-treatment of, <a href="#Page_303">303</a>;</li><li> -on relief fragment from Athens, <a href="#Page_270">270</a>.</li><li> -Statues: from Andros, <a href="#Page_71">71f</a>.;<ul><li> -in gymnasia and palæstræ, <a href="#Page_94">94</a>;</li><li> -in Lansdowne House, <a href="#Page_88">88</a>, <a href="#Page_241">241</a>;</li><li> -Logios or Agoraios, <a href="#Page_80">80</a>, <a href="#Page_82">82</a>, <a href="#Page_84">84</a>, <a href="#Page_131">131</a>;</li><li> -Ludovisi, <a href="#Page_84">84</a>;</li><li> -by Onatas, at Olympia, <a href="#Page_122">122</a>;</li><li> -by Praxiteles, at Olympia, <a href="#Page_72">72</a>, <a href="#Page_144">144</a>;</li><li> -victor statues assimilated to type of, <a href="#Page_181">181</a>, <a href="#Page_354">354</a>;</li><li> -statuette of, in Boston, <a href="#Page_108">108</a>;</li><li> -bronze, in British Museum, <a href="#Page_88">88</a>.</li></ul></li></ul></li><li> - -<i>Hermes-Diskobolos</i>, statue by Naukydes, <a href="#Page_78">78</a>.</li><li> - -Hermes Kriophoros, festival at Tanagra, <a href="#Page_57">57</a>.</li><li> - -Hermesianax, statue at Olympia, <a href="#Page_30">30</a>.</li><li> - -Hermione, stadion at, <a href="#Page_96">96</a>.</li><li> - -Hermitage, copy of head of boy athlete in, <a href="#Page_157">157</a>.</li><li> - -Hermogenes, victor at Olympia, <a href="#Page_354">354</a>.</li><li> - -Hermokrates, statue at Athens, <a href="#Page_27">27</a>.</li><li> - -Hermolykos, statue on Akropolis, <a href="#Page_27">27</a>, <a href="#Page_372">372</a>, <a href="#Page_373">373</a>.</li><li> - -Herodoros, trumpeter at Olympia, <a href="#Page_283">283</a>.</li><li> - -Herodotos, historian, on Hermolykos, pancratiast, <a href="#Page_373">373</a>;<ul><li> -style of, imitated by Pausanias, <a href="#Page_61">61</a>.</li></ul></li><li> - -Herodotos, of Klazomenai, statue at Olympia, <a href="#Page_30">30</a>.</li><li> - -Herodotos, of Thebes, as his own charioteer, <a href="#Page_266">266</a>, <a href="#Page_267">267</a>.</li><li> - -Heroes, nine Greek, on curved base at Olympia, <a href="#Page_122">122</a>.</li><li> - -Heroizing, custom of, in sculpture, <a href="#Page_71">71</a>.</li><li> - -Herophilos, physician at Alexandria, <a href="#Page_290">290</a>.</li><li> - -Hertz, Miss, copy of head of <i>Nike</i> by Paionios in collection of, Rome, <a href="#Page_304">304</a>.</li><li> - -Hesiod, wins tripod at Chalkis, <a href="#Page_19">19</a>;<ul><li> -dedicates tripod to muses on Helikon, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>;</li><li> -victor statue of, on Helikon, <a href="#Page_284">284</a>.</li></ul></li><li> - -Hetoimokles, statue at Sparta, <a href="#Page_106">106</a>, <a href="#Page_333">333</a>, <a href="#Page_337">337</a>, <a href="#Page_362">362</a>.</li><li> - -Hiero, chariot-group at Olympia, <a href="#Page_23">23</a>, <a href="#Page_122">122</a>, <a href="#Page_257">257</a>, <a href="#Page_264">264</a>, <a href="#Page_267">267</a>, <a href="#Page_278">278</a>, <a href="#Page_279">279</a>;<ul><li> -Pythian victory of, <a href="#Page_278">278</a>;</li><li> -tyrant of Syracuse, <a href="#Page_362">362</a>.</li></ul></li><li> - -Hierothesion, the, at Messene, <a href="#Page_19">19</a>.</li><li> - -Hill, G. F., on <i>Apoxyomenos</i> and Lysippos, <a href="#Page_288">288</a>, <a href="#Page_289">289</a>.</li><li> - -Hipparchos, tyrant of Athens, <a href="#Page_173">173</a>.</li><li> - -Hippodameia, <a href="#Page_14">14</a>, <a href="#Page_259">259</a>.</li><li> - -Hippodrome races, at Olympia, non-athletic, <a href="#Page_257">257</a>;<ul><li> -programme of, <a href="#Page_259">259f</a>.;</li><li> -horses and colts distinguished in, <a href="#Page_259">259</a>.</li><li> -See Chariot-race and Horse-race.</li></ul></li><li> - -Hippodromes, common in Greece, <a href="#Page_257">257f</a>.;<ul><li> -at Constantinople, <a href="#Page_253">253</a>;</li><li> -at Olympia, <a href="#Page_258">258</a>.</li></ul></li><li> - -Hippokleides, <a href="#Page_5">5</a>.</li><li> - -Hippos, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Hipposthenes, victor, temple dedicated to, at Sparta, <a href="#Page_362">362</a>.</li><li> - -Hirschfeld, G., on locations of victor statues in Altis, <a href="#Page_340">340</a>;<ul><li> -on omission of Olympiad <a href="#Page_211">211</a> from Elean register, <a href="#Page_369">369</a>.</li></ul></li><li> - -Hirt, A., on Pliny’s “iconic” (iconicus = εἰκονικός) statues, <a href="#Page_54">54</a>;<ul><li> -on Tux bronze, <a href="#Page_207">207</a>.</li></ul></li><li> - -<i>Historia Naturalis</i>, of Pliny, <a href="#Page_60">60</a>, <a href="#Page_321">321</a>, and <i>passim</i>. - -Hitzig-Bluemner, on exclusive use of bronze in Olympic victor statues, <a href="#Page_321">321</a>;<ul><li> -on statue of Milo, at Olympia, <a href="#Page_107">107</a>.</li></ul></li><li> - -Holleaux, M., on “Apollo” torso from Mount Ptoion, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>.</li><li> - -Home-coming of Olympic victors, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>.</li><li> - -Homer, athletics in, <a href="#Page_7">7f</a>.;<ul><li> -does not mention Olympia, <a href="#Page_16">16</a>;</li><li> -κελετίζειν in, <a href="#Page_3">3</a>, <a href="#Page_261">261</a>;</li><li> -makes men and gods shriek, <a href="#Page_57">57</a>;</li><li> -on painful character of boxing, <a href="#Page_234">234</a>;</li><li> -warrior in, <a href="#Page_8">8</a>.</li></ul></li><li> - -Homolle, Th., on appellation “Apollo,” <a href="#Page_336">336</a>;<ul><li> -on artistic influences in the <i>Agias</i>, <a href="#Page_291">291</a>, <a href="#Page_301">301</a>;</li><li> -assigns the <i>Agias</i> to Lysippos, <a href="#Page_292">292</a>, <a href="#Page_311">311</a>;</li><li> -on expression of face of the <i>Agias</i>, <a href="#Page_317">317</a>;</li><li> -on group of Daochos at Delphi, <a href="#Page_286">286</a>;</li><li> -on resemblance between Philandridas head and that of the <i>Agias</i>, <a href="#Page_294">294</a>;</li><li> -on small heads outside school of Lysippos, <a href="#Page_294">294</a>;</li><li> -on differentiating statues of Herakles and victors, <a href="#Page_94">94</a>;</li><li> -on swollen ears of athlete statues, <a href="#Page_168">168</a>.</li></ul></li><li> - -Honor statues, at Olympia, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_339">339f</a>. - -Honors, extraordinary, paid to victors, <a href="#Page_32">32f</a>., <a href="#Page_71">71</a>.</li><li> - -Hoplite-race (ὁπλίτης), <a href="#Page_190">190f</a>.;<ul><li> -belongs to mixed athletics, <a href="#Page_203">203</a>;</li><li> -called ἀσπίς, <a href="#Page_190">190</a>, <a href="#Page_204">204</a>;</li><li> -date of introduction at Olympia, <a href="#Page_191">191</a>;</li><li> -as diaulos at Olympia and Athens, <a href="#Page_203">203</a>;</li><li> -finish of, on a r.-f. kylix, <a href="#Page_204">204</a>;</li><li> -in full armor at the <i>Eleutheria</i>, at Platæa, <a href="#Page_203">203</a>;</li><li> -last in gymnic contests at Olympia and elsewhere, <a href="#Page_203">203</a>;</li><li> -most complete representation of, on a r.-f. kylix in Berlin, <a href="#Page_204">204</a>;</li><li> -preparations for, on a r.-f. kylix by Euphronios, <a href="#Page_204">204</a>;</li><li> -racers in, turning central post, on r.-f. kylix in Berlin, <a href="#Page_204">204</a>;</li><li> -round shields and Attic helmets used in, <a href="#Page_204">204</a>;</li><li> -semi-comic character of, on vases, <a href="#Page_205">205</a>;</li><li> -start of, on a r.-f. kylix in Berlin, <a href="#Page_204">204</a>;</li><li> -weapons used in, <a href="#Page_203">203</a>.</li></ul></li><li> - -Hoplitodromoi, attributes of, <a href="#Page_161">161</a> f.;<ul><li> -so-called dying hoplite runner on grave-relief from Athens, <a href="#Page_149">149</a>, <a href="#Page_209">209</a>;</li><li> -statues of, in motion, <a href="#Page_203">203f</a>.;</li><li> -two heads from statues of, <a href="#Page_46">46</a>, <a href="#Page_162">162f</a>., <a href="#Page_324">324</a>;</li><li> -paintings of, by Parrhasios, <a href="#Page_206">206</a>;</li><li> -Tux bronze of, <a href="#Page_206">206f</a>.</li></ul></li><li> -<span class="pagenum"><a id="Page_390">390</a></span> - -Horarios, inscribed votive relief of, <a href="#Page_75">75</a>.</li><li> - -Horfuabra, statue from Dahshur, Egypt, <a href="#Page_330">330</a>.</li><li> - -Horse, crowned by Nike, on votive relief from Athens, <a href="#Page_269">269</a>;<ul><li> -imported into Crete from Libya, <a href="#Page_1">1</a>;</li><li> -models of miniature horses at Olympia, <a href="#Page_23">23</a>.</li></ul></li><li> - -Horse-race (ἵππος κέλης): common in Greece, <a href="#Page_257">257f</a>.;<ul><li> -horses and colts distinguished in, <a href="#Page_259">259</a>;</li><li> -length of course at Olympia, <a href="#Page_261">261</a>;</li><li> -monuments, illustrating, <a href="#Page_280">280f</a>.;</li><li> -sport of the rich, <a href="#Page_257">257</a>;</li><li> -when introduced at Olympia, <a href="#Page_260">260</a>;</li><li> -race known as the <i>apobates</i>, at Olympia, <a href="#Page_282">282f</a>.</li></ul></li><li> - -Horse-racers: bronze statuette of, from Dodona, <a href="#Page_281">281</a>;<ul><li> -bronze statuette of, in Loeb collection, <a href="#Page_282">282</a>;</li><li> -bronze statuette of, from Volubilis, Morocco, <a href="#Page_281">281</a>;</li><li> -dedications of, at Olympia, <a href="#Page_23">23</a>, <a href="#Page_278">278f</a>.;</li><li> -on funerary relief, from Sicily, <a href="#Page_281">281</a>;</li><li> -on galloping horse, on terra-cotta relief from Thera, <a href="#Page_281">281</a>;</li><li> -mounted, on Athens relief, <a href="#Page_281">281</a>;</li><li> -nude, on vases, <a href="#Page_281">281</a>;</li><li> -small figures of, from Olympia, <a href="#Page_24">24</a>;</li><li> -statue of, in Florence, <a href="#Page_281">281</a>;</li><li> -two fragments of statues of, from Akropolis, <a href="#Page_281">281</a>;</li><li> -victorious racer leading-horse, on Athenian relief, <a href="#Page_281">281</a>.</li></ul></li><li> - -Human sacrifice, as origin of funerary games, <a href="#Page_14">14</a>.</li><li> - -Hunter, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -Hyblæans, the <i>Zeus</i> of the, at Olympia, <a href="#Page_344">344</a>.</li><li> - -Hydriæ, from Caere (Cerveteri), <a href="#Page_52">52</a>;<ul><li> -bronze, as prize at the <i>Panathenaia</i>, <a href="#Page_20">20</a>.</li></ul></li><li> - -Hylas, identified with statue of youth from Subiaco, <a href="#Page_196">196</a>.</li><li> - -Hyperboreans, home of wild olive among, <a href="#Page_20">20</a>.</li><li> - -Hysmon, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_164">164</a>.</li><li> - -Iapygians, King of the, <a href="#Page_125">125</a>.</li><li> - -Iconic and aniconic statues, <a href="#Page_54">54f</a>. - -Ida, Mount, grotto of Zeus in, <a href="#Page_235">235</a>.</li><li> - -Idealism, in Greek art, <a href="#Page_56">56</a>, <a href="#Page_71">71</a>;<ul><li> -idealism and realism, <a href="#Page_57">57</a>.</li></ul></li><li> - -Identification of athlete statues in Roman copies, <a href="#Page_44">44</a>.</li><li> - -<i>Idolino</i>, the, statue in Florence, <a href="#Page_131">131</a>, <a href="#Page_139">139</a>, <a href="#Page_141">141f</a>.;<ul><li> -as highest ideal of boyish beauty, <a href="#Page_141">141</a>;</li><li> -interpretation of, <a href="#Page_142">142f</a>.</li></ul></li><li> - -Ikkos, slain by Kleomedes, <a href="#Page_35">35</a>;<ul><li> -as teacher of gymnastics, <a href="#Page_59">59</a>.</li></ul></li><li> - -Ildefonso group, in Madrid, <a href="#Page_158">158</a>.</li><li> - -Iliad, games of Patroklos in, <a href="#Page_9">9</a>.</li><li> - -Ilissos, river in Attica, <a href="#Page_20">20</a>;<ul><li> -relief from, <a href="#Page_312">312</a>.</li></ul></li><li> - -Impressionism, in hair technique, by Greek artists, <a href="#Page_53">53</a>;<ul><li> -by Lysippos, <a href="#Page_69">69</a>.</li></ul></li><li> - -Ince Blundell head of athlete, <a href="#Page_167">167</a>, note <a href="#Page_4">4</a>, <a href="#Page_168">168</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>.</li><li> - -Indians, the, of North America, funeral games among, <a href="#Page_12">12</a>.</li><li> - -Information, sources of, in reconstruction of Olympic victor statues, <a href="#Page_43">43</a>.</li><li> - -Inscriptions, earliest, using pankration for dates, <a href="#Page_191">191</a>;<ul><li> -on pillars, in honor of victors, <a href="#Page_34">34</a>;</li><li> -on victor statue bases at Olympia, <a href="#Page_43">43</a>.</li></ul></li><li> - -Iolaos, hurls stone diskos, <a href="#Page_218">218</a>.</li><li> - -Ionia, passes Egyptian influence to Greek sculptors, <a href="#Page_332">332</a>;<ul><li> -school of sculpture from, <a href="#Page_114">114</a>;</li><li> -women of, witness games, <a href="#Page_49">49</a>.</li></ul></li><li> - -Ionians, short hair with, <a href="#Page_52">52</a>.</li><li> - -Ionism, in Greek art, <a href="#Page_115">115f</a>., <a href="#Page_126">126</a>, <a href="#Page_129">129</a>, <a href="#Page_175">175</a>;<ul><li> -reaction against, <a href="#Page_116">116</a>, <a href="#Page_126">126</a>.</li></ul></li><li> - -Iphitos, restores Olympic games, <a href="#Page_15">15</a>.</li><li> - -<i>Ismenian Apollo</i>, the, statue in Thebes, <a href="#Page_304">304</a>.</li><li> - -Ismenion, the, at Thebes, tripods in, <a href="#Page_19">19</a>.</li><li> - -Isokrates, statue on Akropolis, <a href="#Page_24">24</a>, <a href="#Page_27">27</a>, <a href="#Page_281">281</a>, <a href="#Page_373">373</a>.</li><li> - -Isthmian festival, athletes divided into three classes according to age at, <a href="#Page_189">189</a>;<ul><li> -beast contests at, <a href="#Page_25">25</a>;</li><li> -excavations on site of, <a href="#Page_25">25</a>;</li><li> -famed in Roman days, <a href="#Page_25">25</a>;</li><li> -funerary origin of, <a href="#Page_9">9</a>;</li><li> -history and administration of, <a href="#Page_17">17</a>;</li><li> -inferior to Olympia, <a href="#Page_25">25</a>;</li><li> -later in honor of a god, <a href="#Page_9">9</a>;</li><li> -in honor of Melikertes, <a href="#Page_10">10</a>;</li><li> -most frequented, <a href="#Page_25">25</a>;</li><li> -statue of victor at, in Athens, <a href="#Page_27">27</a>;</li><li> -statues of victors at, on Isthmus, <a href="#Page_26">26</a>.</li></ul></li><li> - -Italian Archæological Mission, <a href="#Page_3">3</a>.</li><li> - -Italy, funeral games, in ancient, <a href="#Page_11">11</a>.</li><li> - -Jahn, O., on symmetry, <a href="#Page_66">66</a>;<ul><li> -on the <i>Wounded Amazon</i> of Capitoline, <a href="#Page_157">157</a>.</li></ul></li><li> - -<i>Jason</i>, statue so-called, of Louvre, <a href="#Page_86">86</a>.</li><li> - -Javelin (ἀκόντιον), <a href="#Page_164">164</a>, <a href="#Page_165">165</a>;<ul><li> -as athletic attribute, <a href="#Page_108">108</a>, <a href="#Page_164">164</a>;</li><li> -Greek names for, <a href="#Page_223">223</a>;</li><li> -size of, <a href="#Page_223">223</a>;</li><li> -on vase-paintings, <a href="#Page_164">164</a>, <a href="#Page_223">223</a>.</li></ul></li><li> - -Javelin-throwers (ἀκοντισταί), <a href="#Page_222">222f</a>.;<ul><li> -two bronze statuettes of, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>;</li><li> -on Spartan relief, <a href="#Page_223">223</a>.</li></ul></li><li> - -Javelin-throwing, <a href="#Page_222">222f</a>.;<ul><li> -athletic type of, <a href="#Page_223">223</a>;</li><li> -for distance, <a href="#Page_223">223</a>;</li><li> -from horseback, on vase-paintings, <a href="#Page_223">223</a>;</li><li> -at games of Patroklos, <a href="#Page_222">222</a>;</li><li> -origin of, mythical, <a href="#Page_222">222</a>;</li><li> -positions in, <a href="#Page_223">223f</a>.;</li><li> -positions, given by E. N. Gardiner, <a href="#Page_223">223</a>;</li><li> -practical, in war and the chase, <a href="#Page_223">223</a>;</li><li> -in sculpture, <a href="#Page_224">224</a>;</li><li> -two types of, <a href="#Page_222">222</a>, <a href="#Page_223">223</a>.</li></ul></li><li> - -Jockey, nude, on vase-paintings, <a href="#Page_280">280</a>;<ul><li> -in short-sleeved chiton, on b.-f. Panathenaic vase, <a href="#Page_280">280</a>.</li></ul></li><li> - -Jones, H. Stuart, on Pliny’s <i>Perseus et pristae of Myron</i>, <a href="#Page_188">188</a>.</li><li> - -Joubin, A., on Delphi <i>Charioteer</i>, <a href="#Page_278">278</a>;<ul><li> -on Olympia gable sculptures, <a href="#Page_114">114</a>.</li></ul></li><li> - -Juba II, King of Numidia, <a href="#Page_166">166</a>.</li><li> - -Juethner, J., on Greek origin of javelin-throwing, <a href="#Page_222">222</a>;<ul><li> -on shapes of jumping-weights, <a href="#Page_214">214f</a>.;</li><li> -on <i>Standing Diskobolos</i>, <a href="#Page_220">220</a>;</li><li> -on statue of boxer from Sorrento, <a href="#Page_243">243</a>.</li></ul></li><li> - -Jumping, <a href="#Page_214">214f</a>.;<ul><li> -adapted to painter and not to sculptor, <a href="#Page_217">217</a>;</li><li> -ancient records in, <a href="#Page_216">216</a>;</li><li> -modern records in, with and without weights, <a href="#Page_216">216</a>;</li><li> -modern record in, front spring-board, <a href="#Page_216">216</a>;</li><li> -most difficult feature of pentathlon, <a href="#Page_216">216</a>;</li><li> -most representative feature of pentathlon, <a href="#Page_214">214</a>;</li><li> -in Odyssey, <a href="#Page_9">9</a>, <a href="#Page_214">214</a>;</li><li> -as part of pentathlon, <a href="#Page_214">214</a>;</li><li> -popularity of, <a href="#Page_216">216</a>;</li><li> -spring-board not used in Greece in, <a href="#Page_216">216</a>;</li><li> -various moments in, depicted on vases, <a href="#Page_216">216</a>, <a href="#Page_217">217</a>;</li><li> -with weights, <a href="#Page_216">216</a>, <a href="#Page_217">217</a>.</li></ul></li><li> - -Jumping-weights (ἁλτῆρες), <a href="#Page_214">214f</a>.;<ul><li> -as attribute of pentathletes, <a href="#Page_164">164</a>;</li><li> -on bronze statue in Berlin, <a href="#Page_164">164</a>;</li><li> -dedications of, <a href="#Page_22">22</a>;</li><li> -forms of, <a href="#Page_214">214f</a>.;</li><li> -club-like form, <a href="#Page_215">215</a>;</li><li> -semispherical, <a href="#Page_215">215</a>;</li><li> -forms of, divided by Philostratos, <a href="#Page_215">215</a>;</li><li> -<span class="pagenum"><a id="Page_391">391</a></span> -shown on vases, <a href="#Page_215">215</a>;</li><li> -on mosaic in Lateran, <a href="#Page_215">215</a>;</li><li> -not in Homer, <a href="#Page_214">214</a>;</li><li> -on r.-f. kylix in Munich, <a href="#Page_164">164</a>;</li><li> -on relief from Sparta, <a href="#Page_164">164</a>;</li><li> -on Roman copies of Greek athlete statues, <a href="#Page_215">215</a>;</li><li> -on statue of Hysmon, at Olympia, <a href="#Page_164">164</a>;</li><li> -on statues in Dresden and Florence, <a href="#Page_215">215</a>;</li><li> -stone, from Corinth and Olympia, <a href="#Page_215">215</a>;</li><li> -on tree-trunk beside statue, <a href="#Page_164">164</a>;</li><li> -use of, according to Aristotle and Philostratos, <a href="#Page_216">216</a>;</li><li> -use of, in medical gymnastics, <a href="#Page_21">21</a>;</li><li> -use of, according to vase-paintings, <a href="#Page_216">216</a>.</li></ul></li><li> - -Justin, on chariot-groups at Delphi, <a href="#Page_26">26</a>.</li><li> - -Ka-aper, wood statue of, in Cairo, <a href="#Page_330">330</a>;<ul><li> -statue of “wife” of, so-called, in Cairo, <a href="#Page_330">330</a>.</li></ul></li><li> - -Kabbadias, P., on bronze statue of youth found in sea off Antikythera, <a href="#Page_81">81</a>.</li><li> - -Kabeirion, statuette from, <a href="#Page_28">28</a>.</li><li> - -Kalamis, sculptor, <a href="#Page_36">36</a>, <a href="#Page_324">324</a>;<ul><li> -Kalamis and <i>Choiseul-Gouffier Apollo</i> type, <a href="#Page_89">89</a>;</li><li> -characterized, <a href="#Page_90">90</a>, <a href="#Page_279">279</a>;</li><li> -chariot-groups by, <a href="#Page_23">23</a>;</li><li> -criticism of, by Cicero, <a href="#Page_60">60</a>;</li><li> -horse-groups by, <a href="#Page_24">24</a>, <a href="#Page_279">279</a>;</li><li> -horses by, characterized by Pliny, <a href="#Page_62">62</a>;</li><li> -jockeys on horseback by, <a href="#Page_23">23</a>;</li><li> -Kalamis and nude charioteer from Esquiline, <a href="#Page_276">276</a>;</li><li> -Kalamis and Onatas, <a href="#Page_219">219</a>, <a href="#Page_264">264</a>, <a href="#Page_267">267</a>, <a href="#Page_268">268</a>;</li><li> -Kalamis and Praxiteles, <a href="#Page_268">268</a>;</li><li> -as predecessor of Pheidias, <a href="#Page_279">279</a>;</li><li> -statues at Olympia by, set up by the Akragantines, <a href="#Page_130">130</a>;</li><li> -Kalamis as unrivalled sculptor of horses, <a href="#Page_279">279</a>.</li></ul></li><li> - -Kalkmann, A., on <i>Herakles Alexikakos</i> of Hagelaïdas, <a href="#Page_110">110</a>;<ul><li> -on kneeling figures from West gable of temple on Aegina, <a href="#Page_195">195</a>;</li><li> -on proportions of face in Greek sculpture, <a href="#Page_67">67</a>.</li></ul></li><li> - -Kallias, statue at Athens, <a href="#Page_27">27</a>, <a href="#Page_182">182</a>, <a href="#Page_183">183</a>, <a href="#Page_365">365</a>;<ul><li> -statue at Olympia, <a href="#Page_45">45</a>, <a href="#Page_129">129</a>, <a href="#Page_251">251</a>, <a href="#Page_352">352</a>, <a href="#Page_365">365</a>.</li></ul></li><li> - -Kallikles, sculptor, <a href="#Page_365">365</a>.</li><li> - -Kallikrates, dates of victories of, at Olympia, <a href="#Page_301">301</a>;<ul><li> -statue at Olympia, <a href="#Page_121">121</a>, <a href="#Page_298">298</a>.</li></ul></li><li> - -Kallimachos, on statues of Euthymos being struck by lightning, <a href="#Page_364">364</a>.</li><li> - -Kallippos, bribes opponents and is fined, <a href="#Page_34">34</a>.</li><li> - -Kallistratos, characterizes Skopas, <a href="#Page_309">309</a>.</li><li> - -Kalliteles, statue at Olympia, <a href="#Page_265">265</a>, <a href="#Page_347">347</a>.</li><li> - -Kallon, sculptor, <a href="#Page_122">122</a>, <a href="#Page_125">125</a>.</li><li> - -Kallon, victor, statue at Olympia, <a href="#Page_121">121</a>.</li><li> - -Kalydonian boar hunt, represented in Tegea pediment group, <a href="#Page_307">307</a>.</li><li> - -Kanachos, the Elder, sculptor, <a href="#Page_24">24</a>, <a href="#Page_118">118</a>, <a href="#Page_120">120</a>, <a href="#Page_279">279</a>, <a href="#Page_324">324</a>, <a href="#Page_336">336</a>;<ul><li> -<i>celetizontes pueri</i>, by, <a href="#Page_120">120</a>;</li><li> -compared with Kallon, <a href="#Page_122">122</a>;</li><li> -criticism of, by Cicero, <a href="#Page_60">60</a>.</li></ul></li><li> - -Kanachos, the Younger, sculptor, <a href="#Page_120">120</a>.</li><li> - -Kantharos, sculptor, <a href="#Page_122">122</a>.</li><li> - -Kaphisias, sculptor, <a href="#Page_368">368</a>, <a href="#Page_375">375</a>.</li><li> - -Kapros, boxing-match with Kleitomachos, <a href="#Page_247">247</a>;<ul><li> -bronze foot from statue of, <a href="#Page_255">255</a>, <a href="#Page_346">346</a>;</li><li> -first to win pankration and wrestling at Olympia on same day, <a href="#Page_252">252</a>;</li><li> -Kapros and bronze boxer head from Olympia, <a href="#Page_254">254</a>;</li><li> -two statues at Olympia, <a href="#Page_29">29</a>, <a href="#Page_342">342</a>, <a href="#Page_354">354</a>.</li></ul></li><li> - -Karrhotos, charioteer, <a href="#Page_267">267</a>.</li><li> - -Kasia Mnasithea, statue base at Olympia, <a href="#Page_360">360</a>.</li><li> - -Kassel, statue of Apollo in, <a href="#Page_360">360</a>;<ul><li> -statue of boxer in, <a href="#Page_46">46</a>, <a href="#Page_155">155</a>;</li><li> -head of <i>Diadoumenos</i> of Polykleitos in, <a href="#Page_153">153</a>, <a href="#Page_154">154</a>.</li></ul></li><li> - -Kastor, victor in foot-race at Olympia, <a href="#Page_96">96</a>;<ul><li> -as horse-racer, <a href="#Page_96">96</a>;</li><li> -hurls stone diskos, <a href="#Page_218">218</a>.</li></ul></li><li> - -Kebriones, <a href="#Page_5">5</a>.</li><li> - -Kekulé, on the <i>Idolino</i>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>;<ul><li> -on Olympia gable sculptures, <a href="#Page_114">114</a>;</li><li> -on the <i>Spinario</i>, <a href="#Page_201">201</a>;</li><li> -on the <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>.</li></ul></li><li> - -Kephisodotos, sculptor, <a href="#Page_252">252</a>.</li><li> - -Kerameikos, Athens, <a href="#Page_11">11</a>.</li><li> - -Keramopoullos, A. D., on the Delphi <i>Charioteer</i>, <a href="#Page_278">278</a>.</li><li> - -Kerykeion, symbol of Hermes, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_78">78</a>, <a href="#Page_82">82</a>, <a href="#Page_88">88</a>, etc. - -Kettle, prize at early games, <a href="#Page_20">20</a>.</li><li> - -Kicking, allowed in pankration, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>.</li><li> - -Kietz, on the <i>Standing Diskobolos</i>, <a href="#Page_78">78</a>.</li><li> - -Kimon, son of Miltiades, <a href="#Page_18">18</a>.</li><li> - -Kimon, son of Stesagoras, bronze mares of, at Athens, <a href="#Page_27">27</a>, <a href="#Page_363">363</a>.</li><li> - -Kirchhoff, A., on statue of Hermolykos on Akropolis, <a href="#Page_373">373</a>.</li><li> - -Kirghiz, the, of India, funeral games among, <a href="#Page_12">12</a>.</li><li> - -Kittos, boxing and wrestling scenes on Panathenaic amphora of, <a href="#Page_248">248</a>.</li><li> - -Kitylos and Dermys, grave-figures of, from Tanagra, <a href="#Page_335">335</a>.</li><li> - -Kladeos, the, river at Olympia, <a href="#Page_299">299</a>, <a href="#Page_342">342</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>.</li><li> - -Klazomenai, paintings from, <a href="#Page_52">52</a>;<ul><li> -reliefs from, <a href="#Page_264">264</a>, <a href="#Page_268">268</a>.</li></ul></li><li> - -Klein, W., on the Boston <i>Charioteer</i> (?), <a href="#Page_275">275</a>;<ul><li> -on the <i>Idolino</i>, <a href="#Page_141">141</a>;</li><li> -on the <i>Jason</i> of Louvre, <a href="#Page_86">86</a>;</li><li> -on the <i>Oil-pourer</i> of Munich, <a href="#Page_134">134</a>.</li></ul></li><li> - -Kleito; see Polykleitos. - -Kleitomachos, statue at Olympia, <a href="#Page_353">353</a>;<ul><li> -identified wrongly with the <i>Seated Boxer</i> of Museo delle Terme, Rome, <a href="#Page_253">253</a>;</li><li> -story of, from Polybios, <a href="#Page_147">147</a>, <a href="#Page_247">247</a>.</li></ul></li><li> - -Kleitor, son of Azan, <a href="#Page_9">9</a>.</li><li> - -Kleitor, relief from, <a href="#Page_132">132</a>.</li><li> - -Kleobis (?), statue of, from Delphi, <a href="#Page_105">105</a>.</li><li> - -Kleoitas, sculptor, <a href="#Page_27">27</a>.</li><li> - -Kleomedes, heroized at death, <a href="#Page_35">35</a>.</li><li> - -Kleomenes, sculptor, <a href="#Page_85">85</a>.</li><li> - -Kleon, sculptor, <a href="#Page_69">69</a>, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>, <a href="#Page_164">164</a>;<ul><li> -leg position of statues by, <a href="#Page_159">159</a>.</li></ul></li><li> - -Kleonai, <a href="#Page_17">17</a>.</li><li> - -Kleosthenes, King of Pisa, <a href="#Page_15">15</a>.</li><li> - -Kleosthenes, of Epidamnos, chariot-group of, at Olympia, <a href="#Page_23">23</a>, <a href="#Page_266">266</a>, <a href="#Page_344">344</a>, <a href="#Page_345">345</a>.</li><li> - -Knee-runners, on bronze tripod reliefs, <a href="#Page_194">194</a>;<ul><li> -on small bronze relief in Metropolitan Museum, <a href="#Page_194">194</a>;</li><li> -on marble relief of dying hoplite runner, <a href="#Page_194">194</a>;</li><li> -on small bronzes, <a href="#Page_195">195</a>;</li><li> -on vases, <a href="#Page_194">194</a>;</li><li> -statue of kneeling youth from Subiaco, <a href="#Page_195">195</a>.</li></ul></li><li> - -Knights, Helbig on Greek, <a href="#Page_282">282</a>;<ul><li> -Homeric method of, fighting from chariot, <a href="#Page_272">272</a>, <a href="#Page_282">282</a>;</li><li> -on Parthenon frieze, <a href="#Page_281">281</a>.</li></ul></li><li> - -Knossos, bull-grappling at, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>;<ul><li> -ivory statuettes from, <a href="#Page_3">3</a>;</li><li> -paved inclosure at, <a href="#Page_3">3</a>;</li><li> -reliefs from, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>;</li><li> -seal from, showing huge horse, <a href="#Page_1">1</a>;</li><li> -theatral area at, <a href="#Page_3">3</a>;</li><li> -toreadors on wall-paintings from, <a href="#Page_1">1</a>, <a href="#Page_3">3</a>.</li></ul></li><li> -<span class="pagenum"><a id="Page_392">392</a></span> - -Koblanos, sculptor, <a href="#Page_242">242</a>.</li><li> - -Kodias (Κῳδίας), jumping-weight of, <a href="#Page_40">40</a>.</li><li> - -Koehler, U., on the <i>Apoxyomenos</i> of Vatican, <a href="#Page_290">290</a>.</li><li> - -Koerte, on name “Apollo” for early statues, <a href="#Page_335">335</a>.</li><li> - -<i>Korai</i>, statues of, on Akropolis, <a href="#Page_53">53</a>, <a href="#Page_115">115</a>.</li><li> - -Koroibos, victor in first recorded Olympiad, <a href="#Page_15">15</a>, <a href="#Page_191">191</a>.</li><li> - -Kostobokoi, barbarian invaders of Greece, <a href="#Page_370">370</a>, <a href="#Page_371">371</a>.</li><li> - -Kouroniotis, K., letter of, quoted <a href="#Page_327">327</a>.</li><li> - -Kranaos, or Granianos, statue near Sikyon, <a href="#Page_370">370</a>.</li><li> - -Krates, victor as herald at Olympia, <a href="#Page_283">283</a>.</li><li> - -Kratinos, statue at Olympia, <a href="#Page_122">122</a>;<ul><li> -set up by trainer of, <a href="#Page_31">31</a>.</li></ul></li><li> - -Kratisthenes, chariot-group of, at Olympia, <a href="#Page_179">179</a>, <a href="#Page_268">268</a>.</li><li> - -Kresilas, sculptor, <a href="#Page_36">36</a>, <a href="#Page_93">93</a>;<ul><li> -the <i>Alkibiades</i> of Vatican ascribed to, by Furtwaengler, <a href="#Page_199">199</a>;</li><li> -<i>Doryphoros</i> by, <a href="#Page_145">145</a>;</li><li> -portrait of Perikles by, <a href="#Page_56">56</a>;</li><li> -statue of the <i>Wounded Amazon</i> by, <a href="#Page_157">157</a>.</li></ul></li><li> - -Kresilæan athlete head, five copies of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>.</li><li> - -Kreugas, crowned after death, <a href="#Page_247">247</a>;<ul><li> -killed in boxing match, <a href="#Page_236">236</a>, <a href="#Page_247">247</a>;</li><li> -statue at Argos, <a href="#Page_236">236</a>, <a href="#Page_237">237</a>.</li></ul></li><li> - -Krison, statue ascribed to, by Furtwaengler, <a href="#Page_200">200</a>.</li><li> - -Kritios, sculptor, <a href="#Page_115">115</a>, <a href="#Page_126">126</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>;<ul><li> -criticism of, by Lucian, <a href="#Page_60">60</a>;</li><li> -Kritios and Tux bronze <a href="#Page_207">207</a>.</li></ul></li><li> - -Kritodamos, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_344">344</a>, <a href="#Page_352">352</a>.</li><li> - -<i>Krobylos</i>, old Attic hair-fashion, <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_89">89</a>, <a href="#Page_128">128</a>, <a href="#Page_135">135</a>, <a href="#Page_270">270</a>.</li><li> - -Krokon, dedicates small bronze horse at Olympia, <a href="#Page_23">23</a>, <a href="#Page_279">279</a>.</li><li> - -Kronos, altar of, at Olympia, <a href="#Page_16">16</a>;<ul><li> -wrestling match of, with Zeus, <a href="#Page_14">14</a>.</li></ul></li><li> - -Krotonians, famed as pentathletes, <a href="#Page_60">60</a>.</li><li> - -Ktesibios, philosopher, on ball-playing, <a href="#Page_84">84</a>.</li><li> - -Kylon, conspiracy of, in Athens, <a href="#Page_362">362</a>;<ul><li> -statue on Akropolis, <a href="#Page_106">106</a>, <a href="#Page_333">333</a>, <a href="#Page_337">337</a>, <a href="#Page_362">362</a>.</li></ul></li><li> - -Kylon, of Elis, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -Kyniska, bronze horses of, at Olympia, <a href="#Page_265">265</a>, <a href="#Page_267">267</a>;<ul><li> -chariot-group of, at Olympia, <a href="#Page_23">23</a>, <a href="#Page_131">131</a>, <a href="#Page_267">267</a>, <a href="#Page_299">299</a>, <a href="#Page_342">342</a>, <a href="#Page_367">367</a>;</li><li> -first woman to enter and win chariot-race at Olympia, <a href="#Page_267">267</a>, <a href="#Page_367">367</a>;</li><li> -shrine in honor of, at Sparta, <a href="#Page_367">367</a>.</li></ul></li><li> - -Kyniskos, statue at Olympia, <a href="#Page_74">74</a>, <a href="#Page_117">117</a>, <a href="#Page_239">239</a>;<ul><li> -copies of (?), <a href="#Page_156">156f</a>., <a href="#Page_159">159</a>;</li><li> -foot position on base of statue of, <a href="#Page_239">239</a>;</li><li> -date of victory, <a href="#Page_160">160</a>.</li></ul></li><li> - -Kynosarges, Attic amphora from Gymnasion of, <a href="#Page_13">13</a>.</li><li> - -Kypselos, chest of, at Olympia, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>.</li><li> - -Kypselos, King of Arkadia, <a href="#Page_57">57</a>.</li><li> - -Kyrene, the <i>Dionysia</i> at, <a href="#Page_50">50</a>;<ul><li> -head from, <a href="#Page_89">89</a>;</li><li> -personified as charioteer in Delphi group, <a href="#Page_277">277</a>, <a href="#Page_278">278</a>;</li><li> -statue found in baths of, <a href="#Page_141">141</a>.</li></ul></li><li> - -Kyrnos, battle of, <a href="#Page_373">373</a>.</li><li> - -Ladas, of Sparta, fleetness of, <a href="#Page_364">364</a>;<ul><li> -grave of, <a href="#Page_365">365</a>;</li><li> -stadion in honor of, <a href="#Page_365">365</a>;</li><li> -statue in Argos, <a href="#Page_364">364</a>;</li><li> -statue of, by Myron, <a href="#Page_196">196f</a>., <a href="#Page_364">364</a>;</li><li> -compared with that of girl runner of Vatican, <a href="#Page_197">197</a>;</li><li> -epigrams on statue of, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>;</li><li> -pose of, <a href="#Page_197">197</a>;</li><li> -story of death of, <a href="#Page_196">196</a>.</li></ul></li><li> - -Lakonia, statues of Herakles in, <a href="#Page_319">319</a>.</li><li> - -Laloux and Monceaux, on Philandridas head, <a href="#Page_294">294</a>.</li><li> - -Lamia, date of battle of, <a href="#Page_301">301</a>;<ul><li> -relief from, <a href="#Page_132">132</a>.</li></ul></li><li> - -Lampos, chariot-group at Olympia, <a href="#Page_268">268</a>.</li><li> - -<i>Lancellotti</i> (or <i>Massimi</i>) <i>Diskobolos</i>, <a href="#Page_184">184</a> and note 2. - -Lange, F. A., on Egyptian influence on early Greek culture, <a href="#Page_332">332</a>.</li><li> - -Lange, J., on law of “frontality,” <a href="#Page_175">175</a>, <a href="#Page_328">328</a>;<ul><li> -on Olympia gable sculptures, <a href="#Page_114">114</a>.</li></ul></li><li> - -<i>Lansdowne Herakles</i>, statue, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>;<ul><li> -ascribed to Myron, <a href="#Page_181">181</a>;</li><li> -head of, compared with that of Philandridas, <a href="#Page_298">298</a>;</li><li> -regarded as Lysippan, <a href="#Page_298">298</a>, <a href="#Page_311">311</a>;</li><li> -regarded as Skopaic, <a href="#Page_313">313</a>.</li></ul></li><li> - -<i>Laokoön</i>, the, group, Pliny’s praise of, <a href="#Page_61">61</a>;<ul><li> -as realistic work, <a href="#Page_289">289</a>;</li><li> -of Lessing, <a href="#Page_54">54</a>, <a href="#Page_187">187</a>.</li></ul></li><li> - -Las, statue of Herakles near, <a href="#Page_319">319</a>.</li><li> - -Lasso, boy throwing, wrongly identified with statue of kneeling youth from Subiaco, <a href="#Page_196">196</a>.</li><li> - -Lateran, athlete mosaic in, <a href="#Page_215">215</a>;<ul><li> -boxers on relief in, <a href="#Page_238">238</a>.</li></ul></li><li> - -Laurel, as prize at Delphi, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>.</li><li> - -Laurentum, now Castel Porziano, <a href="#Page_184">184</a>.</li><li> - -Leaf, W., on chariot-race in the Iliad, <a href="#Page_8">8</a>.</li><li> - -Leaping-weights; see Jumping-weights. - -Lechat, on bronze statue found in sea off Antikythera, <a href="#Page_84">84</a>;<ul><li> -on evolution of Greek sculpture, <a href="#Page_329">329</a>;</li><li> -on the housing of stone statues, <a href="#Page_325">325</a>.</li></ul></li><li> - -Leg, right lower, fragment of victor statue, <a href="#Page_322">322</a>;<ul><li> -leg holds in pankration, <a href="#Page_247">247</a>;</li><li> -“free” and “rest” legs, as motives in sculpture, <a href="#Page_109">109</a>, <a href="#Page_226">226</a>.</li></ul></li><li> - -Lekythion, athletic attribute, <a href="#Page_84">84</a>.</li><li> - -Lekythos, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>.</li><li> - -<i>Lemnian Athena</i>, the, statue in Dresden, <a href="#Page_53">53</a>.</li><li> - -<i>Lemniskos</i>, <a href="#Page_155">155</a>, <a href="#Page_156">156</a>.</li><li> - -Leon, statue of, <a href="#Page_366">366</a>.</li><li> - -Leonidaion, the, (<i>Suedwestbau</i>), at Olympia, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>, <a href="#Page_346">346</a>, <a href="#Page_347">347</a>, <a href="#Page_348">348</a>, <a href="#Page_350">350</a>, <a href="#Page_353">353</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>.</li><li> - -Leonidas, at Thermopylæ, <a href="#Page_51">51</a>;<ul><li> -funeral games in honor of, <a href="#Page_11">11</a>.</li></ul></li><li> - -Leonidas, of Naxos, statue at Olympia, <a href="#Page_346">346</a>, <a href="#Page_347">347</a>.</li><li> - -Leontiskos, painter, <a href="#Page_29">29</a>.</li><li> - -Leontiskos, of Sicily, statue at Olympia, <a href="#Page_62">62</a>, <a href="#Page_179">179</a>, <a href="#Page_183">183</a>, <a href="#Page_249">249</a>.</li><li> - -Lessing, characterization of <i>Diadoumenos</i> and <i>Doryphoros</i> by, <a href="#Page_152">152</a>;<ul><li> -on most fruitful moment to be chosen by artist, <a href="#Page_178">178</a>.</li><li> -See <i>Laokoön</i>.</li></ul></li><li> - -Libation-pourer, statue of, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>.</li><li> - -Libation-pouring, <a href="#Page_138">138f</a>. - -Libya, figure in Delphi group, <a href="#Page_277">277</a>;<ul><li> -oracle of, <a href="#Page_31">31</a>.</li></ul></li><li> - -Lichas, statue at Olympia, <a href="#Page_31">31</a>, <a href="#Page_342">342</a>;<ul><li> -scourged by umpires, <a href="#Page_33">33</a>, <a href="#Page_149">149</a>.</li></ul></li><li> - -Life, athlete, happy, <a href="#Page_36">36</a>.</li><li> - -Lifelike statues, <a href="#Page_59">59</a>.</li><li> - -Life-size statues at Olympia, <a href="#Page_46">46</a>.</li><li> - -Ligourió, bronze statuette from, <a href="#Page_105">105</a>, <a href="#Page_111">111</a>, <a href="#Page_114">114</a>.</li><li> - -<i>Limping Man</i>, the, statue at Syracuse, <a href="#Page_182">182</a>.</li><li> - -Lindos, temple of Athena at, <a href="#Page_345">345</a>.</li><li> - -Loeb collection, Munich, bronze group of wrestlers in, <a href="#Page_232">232</a>, <a href="#Page_233">233</a>;<ul><li> -bronze statuette in, <a href="#Page_136">136</a>;</li><li> -bronze statuette of boy-rider in, <a href="#Page_282">282</a>;</li><li> -three bronze tripods in, <a href="#Page_194">194</a>, <a href="#Page_264">264</a>.</li></ul></li><li> - -Loeschke, G. L., on appellation “Apollo” for early statues, <a href="#Page_335">335</a>;<ul><li> -on statue of Kylon on Akropolis, <a href="#Page_362">362</a> and note 7.</li></ul></li><li> - -Loewy, E., on Delian <i>Diadoumenos</i>, <a href="#Page_92">92</a>;<ul><li> -on group of Kyniska, at Olympia, <a href="#Page_267">267</a>;</li><li> -on style of statue of Pythokles, at Olympia, <a href="#Page_213">213</a>.</li></ul></li><li> -<span class="pagenum"><a id="Page_393">393</a></span> - -Loin-cloth, of athletes, <a href="#Page_47">47</a>;<ul><li> -absence of, on Cretan frescoes, <a href="#Page_47">47</a>;</li><li> -worn by Asiatics, <a href="#Page_48">48</a>;</li><li> -in Homer, <a href="#Page_47">47</a>;</li><li> -on early vases, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>;</li><li> -dropped first by Orsippos of Megara, <a href="#Page_47">47</a>;</li><li> -Plato on, <a href="#Page_48">48</a>;</li><li> -used by boxers and wrestlers, <a href="#Page_48">48</a>.</li></ul></li><li> - -Lokroi, Ozolian, colonization of the, <a href="#Page_201">201</a>.</li><li> - -Lokros, ancestor of the Ozolian Lokroi, <a href="#Page_201">201</a>.</li><li> - -Longpérier, H. A., on bronze statuette in Paris, <a href="#Page_142">142</a>.</li><li> - -Long race (δόλιχος), at Olympia, <a href="#Page_190">190</a>;<ul><li> -boys admitted to, at Delphi, <a href="#Page_190">190</a>;</li><li> -men admitted to, at Olympia, <a href="#Page_190">190</a>.</li></ul></li><li> - -Lucian, on apples as prizes at Delphi, <a href="#Page_21">21</a>, <a href="#Page_107">107</a>;<ul><li> -on art criticism, <a href="#Page_60">60</a>;</li><li> -criticism of Hegias, Kritios, and Nesiotes, by, <a href="#Page_175">175</a>;</li><li> -description of <i>Diskobolos</i> by, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>;</li><li> -ideal statue of, <a href="#Page_60">60</a>;</li><li> -on life-size victor statues, <a href="#Page_45">45</a>, <a href="#Page_227">227</a>;</li><li> -on prohibition against biting and gouging in pankration, <a href="#Page_246">246</a>;</li><li> -on statue of Pelichos, <a href="#Page_56">56</a>;</li><li> -on statue of Theagenes on Thasos, <a href="#Page_364">364</a>.</li></ul></li><li> - -Lucius Verus, coins of, <a href="#Page_21">21</a>.</li><li> - -<i>Luctator anhelans</i>, painting of, by Naukeros, <a href="#Page_233">233</a>.</li><li> - -<i>Lykaia</i>, the, statues at the games of, <a href="#Page_26">26</a>.</li><li> - -Lykaios, Mount, in Arkadia, hippodrome on, <a href="#Page_258">258</a>.</li><li> - -Lykidas, of Sparta, enters colts as full-grown horses at Olympia, <a href="#Page_259">259</a>.</li><li> - -Lykinos, of Elis, statue at Olympia, <a href="#Page_343">343</a>.</li><li> - -Lykinos, of Heraia, statue at Olympia, <a href="#Page_121">121</a>.</li><li> - -Lykinos, of Sparta, two statues at Olympia, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>, <a href="#Page_265">265</a>, <a href="#Page_266">266</a>.</li><li> - -Lykios, sculptor, <a href="#Page_134">134</a>, <a href="#Page_243">243</a>.</li><li> - -Lykomedes, bases of two statues at Olympia, <a href="#Page_358">358</a>.</li><li> - -Lykourgos, of Sparta, <a href="#Page_15">15</a>, <a href="#Page_51">51</a>.</li><li> - -Lykourgos, rhetorician, <a href="#Page_27">27</a>.</li><li> - -Lyre-playing, at Delphi, <a href="#Page_25">25</a>.</li><li> - -Lyres, in Parthenon, <a href="#Page_23">23</a>.</li><li> - -Lysandros, statue at Olympia, <a href="#Page_343">343</a>.</li><li> - -Lysippos, of Elis, victor statue of, by Andreas, <a href="#Page_118">118</a>, <a href="#Page_354">354</a>.</li><li> - -Lysippos, sculptor, <a href="#Page_36">36</a>, <a href="#Page_375">375</a>;<ul><li> -as art reformer, <a href="#Page_301">301</a>;</li><li> -borrows from other sculptors, <a href="#Page_291">291</a>;</li><li> -canon of, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_136">136</a>, <a href="#Page_288">288</a>;</li><li> -characteristics of, <a href="#Page_311">311</a>;</li><li> -chariot-groups by, <a href="#Page_23">23</a>;</li><li> -circle of, <a href="#Page_131">131</a>, <a href="#Page_255">255</a>;</li><li> -as court sculptor of Alexander, <a href="#Page_296">296</a>, <a href="#Page_318">318</a>;</li><li> -criticism of, by Pliny, <a href="#Page_61">61</a>;</li><li> -date of, <a href="#Page_300">300f</a>.;</li><li> -dates of Lysippos, Skopas, and Praxiteles, <a href="#Page_301">301</a>;</li><li> -divergent style of, <a href="#Page_253">253</a>;</li><li> -follows <i>Doryphoros</i> and nature, <a href="#Page_301">301</a>;</li><li> -improvements in hair technique by, <a href="#Page_53">53</a>, <a href="#Page_296">296</a>;</li><li> -influence of, on realism, <a href="#Page_56">56</a>;</li><li> -influenced by Skopas, <a href="#Page_291">291</a>, <a href="#Page_301">301</a>;</li><li> -inscription on base of statue in Pharsalos by, <a href="#Page_287">287</a>;</li><li> -<i>Lansdowne Herakles</i> ascribed to, <a href="#Page_313">313</a>;</li><li> -Lysippos and Skopas compared, <a href="#Page_311">311f</a>.;</li><li> -Lysippos and type of weary Herakles, <a href="#Page_253">253</a>;</li><li> -makes 1500 statues, <a href="#Page_302">302</a>;</li><li> -Philandridas head at Olympia, by, <a href="#Page_298">298</a>;</li><li> -portraiture after time of, <a href="#Page_54">54</a>;</li><li> -poses of statues of, <a href="#Page_44">44</a>;</li><li> -regarded exclusively as bronze founder, <a href="#Page_302">302</a>;</li><li> -statue of Agias by, <a href="#Page_286">286</a>, <a href="#Page_366">366</a>;</li><li> -statues of <i>destringentes se</i>, by, <a href="#Page_136">136</a>;</li><li> -statues of, at Olympia, <a href="#Page_121">121</a>, <a href="#Page_266">266</a>;</li><li> -surpasses earlier artists in symmetry, <a href="#Page_66">66</a>;</li><li> -as worker in marble, <a href="#Page_302">302f</a>.</li></ul></li><li> - -Lysistratos, sculptor, first to make plaster moulds from face, <a href="#Page_56">56</a>, <a href="#Page_255">255</a>, <a href="#Page_304">304</a>. - -Macedon, coins of, showing racing chariots, <a href="#Page_262">262</a>;<ul><li> -kings of, <a href="#Page_73">73</a>;</li><li> -princes of, as horse-racers, <a href="#Page_357">357</a>.</li></ul></li><li> - -Mach, E. von, against oriental influence on Greek sculpture, <a href="#Page_329">329</a>;<ul><li> -on bronze statue of youth found in sea off Antikythera, <a href="#Page_84">84</a>;</li><li> -on the <i>Charioteer</i> (?) in Boston, <a href="#Page_275">275</a>, <a href="#Page_276">276</a>;</li><li> -on original of <i>Farnese Herakles</i>, <a href="#Page_253">253</a>.</li></ul></li><li> - -Madrid, copy of <i>Diadoumenos</i> in, <a href="#Page_153">153</a>;<ul><li> -Ildefonso group in, <a href="#Page_153">153</a>.</li></ul></li><li> - -Mæcenas, and victor privileges in Rome, <a href="#Page_33">33</a>.</li><li> - -Magna Græcia, cities of, honor victors, <a href="#Page_35">35</a>;<ul><li> -fond of hippodrome contests, <a href="#Page_258">258</a>.</li></ul></li><li> - -Magnesia ad Sipylum, victor statue base from, <a href="#Page_370">370</a>.</li><li> - -Mahler, A., on copies of <i>Doryphoros</i>, <a href="#Page_224">224</a>;<ul><li> -on identifying statue of Ladas, <a href="#Page_197">197</a>;</li><li> -on the <i>Idolino</i>, <a href="#Page_141">141</a>;</li><li> -on resemblance between head of the <i>Agias</i> and Philandridas, <a href="#Page_294">294</a>.</li></ul></li><li> - -Maiden, figure of, in chariot-groups, <a href="#Page_268">268</a>.</li><li> - -Maltho, gymnasium in Elis, <a href="#Page_370">370</a>.</li><li> - -Manetho, Egyptian dynasties of, <a href="#Page_330">330</a>.</li><li> - -Mantua, statue of Apollo in, <a href="#Page_111">111</a>.</li><li> - -Marathon, battle of, <a href="#Page_18">18</a>, <a href="#Page_209">209</a>;<ul><li> -<i>Herakleia</i>, the, at, <a href="#Page_18">18</a>.</li></ul></li><li> - -Marble, less expensive than bronze, <a href="#Page_28">28</a>;<ul><li> -some victor statues made of, at Olympia, <a href="#Page_324">324</a>.</li></ul></li><li> - -Markianopolis, coin of, <a href="#Page_87">87</a>.</li><li> - -Markios, Gnaios, base of statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -<i>Marsyas</i>, the, statue by Myron, <a href="#Page_134">134</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>.</li><li> - -Masks, dedication of, <a href="#Page_22">22</a>.</li><li> - -<i>Massimi Diskobolos</i>; see <i>Lancellotti Diskobolos</i>. - -Materials of Olympic victor statues, <a href="#Page_321">321f</a>. - -Matz and von Duhn, on so-called <i>Diomedes</i>, in Palazzo Valentini, Rome, <a href="#Page_207">207</a>.</li><li> - -Mau, A., on the <i>Praying Boy</i> of Berlin, <a href="#Page_132">132</a>.</li><li> - -Mausoleion, Halikarnassos, chariot frieze from, <a href="#Page_271">271</a>, <a href="#Page_289">289</a>;<ul><li> -chariot-group from, <a href="#Page_264">264</a>;</li><li> -small chariot frieze from, <a href="#Page_274">274</a>, <a href="#Page_275">275</a>.</li></ul></li><li> - -Mausolos, games in honor of, <a href="#Page_11">11</a>.</li><li> - -Maviglia, Ada, on <i>Diadoumenos</i> of Delos, <a href="#Page_93">93</a>;<ul><li> -rejects the <i>Apoxyomenos</i> and the <i>Agias</i> as evidence of style of Lysippos, <a href="#Page_290">290</a>.</li></ul></li><li> - -Mayer, M., on athlete (?) statue from Olympieion, <a href="#Page_143">143</a>;<ul><li> -on Myron’s <i>pristae</i>, <a href="#Page_188">188</a>.</li></ul></li><li> - -Medes, the, <a href="#Page_11">11</a>.</li><li> - -Mediterranean culture, <a href="#Page_1">1</a>;<ul><li> -gymnastic exercises in, <a href="#Page_6">6</a>;</li><li> -origin of Greek athletics in, <a href="#Page_7">7</a>.</li></ul></li><li> - -Megakles, victor at Olympia, <a href="#Page_363">363</a>.</li><li> - -Megara, colossal torso of “Apollo” from, <a href="#Page_336">336</a>.</li><li> - -Megara Hyblaia, Sicily, necropolis in, <a href="#Page_337">337</a>;<ul><li> -statue of Zeus of, at Olympia, <a href="#Page_344">344</a>.</li></ul></li><li> - -Meleager, head of, on Praxitelian trunk in Medici Gardens, Rome, <a href="#Page_313">313</a>;<ul><li> -statue of, in Fogg Museum, Boston, <a href="#Page_314">314</a>;</li><li> -statue of, in Vatican, <a href="#Page_312">312</a>;</li><li> -statue of Kyniskos converted into, <a href="#Page_74">74</a>.</li></ul></li><li> - -Melikertes, <a href="#Page_10">10</a>.</li><li> - -Melite, deme of, <a href="#Page_110">110</a>.</li><li> - -Melos, “Apollo” from, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>.</li><li> - -Memorials, miscellaneous, of victors, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>.</li><li> - -Memphis, motion statuettes from, <a href="#Page_177">177</a>;<ul><li> -art of, <a href="#Page_330">330</a>.</li></ul></li><li> - -Mende, offering of people of, at Olympia, <a href="#Page_164">164</a>, <a href="#Page_341">341</a>.</li><li> - -Mendel, M., excavations of, at Tegea, <a href="#Page_306">306</a>;<ul><li> -on head of Herakles, from Tegea, <a href="#Page_306">306</a>, <a href="#Page_307">307</a>.</li></ul></li><li> - -Menedemos, bases of two statues at Olympia, <a href="#Page_358">358</a>.</li><li> -<span class="pagenum"><a id="Page_394">394</a></span> - -Menelaos, sculptor, <a href="#Page_113">113</a>.</li><li> - -Mengs, Raphael, painter, cast from collection of, showing swollen ears, <a href="#Page_169">169</a>;<ul><li> -on proportions, <a href="#Page_68">68</a>.</li></ul></li><li> - -Messana, coins of, showing mule-car, <a href="#Page_263">263</a>.</li><li> - -Messene, coins of, <a href="#Page_111">111</a>;<ul><li> -hierothesion at, <a href="#Page_19">19</a>.</li></ul></li><li> - -Messenians, of Naupaktos, <a href="#Page_110">110</a>.</li><li> - -Metageitnion, month of, <a href="#Page_18">18</a>.</li><li> - -Metellus Macedonicus, base of statue at Olympia, <a href="#Page_348">348</a>.</li><li> - -Metrobios, T. Phlabios (Flavius), base of statue at Iasos, <a href="#Page_369">369</a>.</li><li> - -Metrodoros, Aurelios, base of statue at Kyzikos, <a href="#Page_371">371</a>.</li><li> - -Michaelis, A., on <i>apobates</i> chariot-race on Parthenon frieze, <a href="#Page_272">272</a>;<ul><li> -on base of statue of Epicharinos, on Akropolis, <a href="#Page_372">372</a>;</li><li> -on use of ἐν δεξιᾷ and ἐν ἀριστερᾷ by Pausanias, <a href="#Page_349">349</a>;</li><li> -on <i>Lansdowne Herakles</i>, <a href="#Page_298">298</a>, <a href="#Page_313">313</a>;</li><li> -on Petworth ephebe statue, <a href="#Page_133">133</a>;</li><li> -on the <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>;</li><li> -Michaelis, A., and Conze, A., on “Apollo” type as victor statues, <a href="#Page_335">335</a>.</li></ul></li><li> - -Middle Kingdom, Egypt, dates of, <a href="#Page_330">330</a> and note <a href="#Page_6">6</a>;<ul><li> -sculptures of, <a href="#Page_330">330</a>.</li></ul></li><li> - -Mikon, of Athens, sculptor, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_129">129</a>.</li><li> - -Mikon, of Syracuse, sculptor, <a href="#Page_375">375</a>.</li><li> - -Mikythos, or Smikythos, group dedicated at Olympia by, <a href="#Page_215">215</a>, <a href="#Page_351">351</a>.</li><li> - -Milchhoefer, A., on painting by Eupompos, <a href="#Page_160">160</a>.</li><li> - -Miletos, coins of, <a href="#Page_74">74</a>, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>, <a href="#Page_336">336</a>.</li><li> - -Military runner (δρομοκῆρυξ), <a href="#Page_209">209</a>.</li><li> - -Milo, statue at Olympia, <a href="#Page_31">31</a>, <a href="#Page_106">106f</a>., <a href="#Page_130">130</a>, <a href="#Page_165">165</a>, <a href="#Page_337">337</a>.</li><li> - -Miltiades, games in honor of, on Thracian Chersonesos, <a href="#Page_11">11</a>.</li><li> - -Miltiades, son of Kypselos, votive offering at Olympia, <a href="#Page_264">264</a>, <a href="#Page_265">265</a>.</li><li> - -Minoans, the, of Crete, <a href="#Page_1">1</a>;<ul><li> -influenced by Orient, <a href="#Page_1">1</a>;</li><li> -love of sports among, <a href="#Page_6">6</a>.</li><li> -See Crete.</li></ul></li><li> - -Mnaseas, statue at Olympia, <a href="#Page_161">161</a>, <a href="#Page_179">179</a>, <a href="#Page_181">181</a>.</li><li> - -Mnesiboulos, statue in Elateia, <a href="#Page_204">204</a>, <a href="#Page_371">371</a>.</li><li> - -Monceaux; see Laloux and Monceaux. - -Mopsos, boxing match with Admetos, <a href="#Page_285">285</a>.</li><li> - -Mosaic, athlete, in Lateran, Rome, <a href="#Page_215">215</a>.</li><li> - -Mosso, A., on <i>Boxer Vase</i>, <a href="#Page_6">6</a>;<ul><li> -on origin of Greek boxing-glove, <a href="#Page_235">235</a>;</li><li> -on Vapheio cups, <a href="#Page_4">4</a>.</li></ul></li><li> - -Motion statues, antiquity of, in Greece, <a href="#Page_176">176f</a>.;<ul><li> -in Assyro-Babylonian art, <a href="#Page_177">177</a>;</li><li> -in Cretan art, <a href="#Page_177">177</a>;</li><li> -in Egyptian art, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>;</li><li> -in Greece, not developed out of “Apollo” statue type, <a href="#Page_177">177</a>;</li><li> -on early vases, <a href="#Page_177">177</a>;</li><li> -victor statues in, <a href="#Page_173">173f</a>.;</li><li> -victor statues in various contests, <a href="#Page_188">188f</a>.</li></ul></li><li> - -Motives, general, of statues in motion, <a href="#Page_188">188f</a>.;<ul><li> -at rest, <a href="#Page_130">130f</a>.</li></ul></li><li> - -Mounot, Étienne, sculptor, <a href="#Page_185">185</a>.</li><li> - -Mueller, K. O., on common features of victor statues, <a href="#Page_44">44</a>.</li><li> - -Mule-car, on Rhegian and Messanian coins, <a href="#Page_263">263</a>.</li><li> - -Mule-race (ἀπήνη); see Chariot-race with mules. - -<i>Munich King</i>, statue so-called, <a href="#Page_226">226</a>.</li><li> - -Muscles, in Cretan art, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>.</li><li> - -Muses, group of, by Hagelaïdas, Arostokles and Kanachos, <a href="#Page_118">118</a>.</li><li> - -Musical contests, dedications for, at Olympia and elsewhere, <a href="#Page_283">283f</a>.;<ul><li> -at Delphi, <a href="#Page_25">25</a>;</li><li> -honor dedications for, at Olympia, <a href="#Page_285">285</a>;</li><li> -monuments for, victor or votive in character, <a href="#Page_284">284</a>;</li><li> -at Olympia, non-athletic, <a href="#Page_283">283</a>, <a href="#Page_285">285</a>, represented on imitation Panathenaic vases, <a href="#Page_284">284</a>;</li><li> -on reliefs, <a href="#Page_284">284</a>;</li><li> -victors in, at Delphi, <a href="#Page_284">284</a>;</li><li> -victor statues for musicians, on Helikon, <a href="#Page_284">284</a>.</li></ul></li><li> - -Mussius, L., gravestone of, <a href="#Page_72">72</a>.</li><li> - -Mycenæ, <a href="#Page_1">1</a>, <a href="#Page_7">7</a>;<ul><li> -lack of athletic scenes at, <a href="#Page_8">8</a>;</li><li> -no Egyptian influence on art of, <a href="#Page_332">332</a>.</li></ul></li><li> - -Mykale, battle of, <a href="#Page_373">373</a>.</li><li> - -Myrina, terra-cotta statuettes from, <a href="#Page_135">135</a>.</li><li> - -Myron, sculptor, <a href="#Page_183">183f</a>., <a href="#Page_324">324</a>, <a href="#Page_353">353</a>, <a href="#Page_375">375</a>;<ul><li> -αὐτάρκεια of, <a href="#Page_183">183</a>;</li><li> -criticism of, by Cicero, <a href="#Page_60">60</a>;</li><li> -by Pliny, <a href="#Page_180">180</a>, <a href="#Page_184">184</a>;</li><li> -dated by Pliny, <a href="#Page_61">61</a>;</li><li> -love of movement of, <a href="#Page_183">183</a>;</li><li> -Myron and <i>Hermes Ludovisi</i>, <a href="#Page_85">85</a>;</li><li> -Myron and Pythagoras, difficulty of separating works of, <a href="#Page_181">181</a>, <a href="#Page_245">245</a>;</li><li> -Myron and <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>;</li><li> -Olympic victor statues by, <a href="#Page_129">129</a>, <a href="#Page_187">187f</a>., <a href="#Page_245">245</a>, <a href="#Page_333">333</a>;</li><li> -poses of victor statues by, <a href="#Page_44">44</a>;</li><li> -pupil of Hagelaïdas, <a href="#Page_110">110</a>;</li><li> -as realist, <a href="#Page_188">188</a>;</li><li> -statue of Ladas by, <a href="#Page_196">196f</a>.;</li><li> -surpasses Polykleitos in rhythm and symmetry, <a href="#Page_66">66</a>;</li><li> -versatility of, <a href="#Page_188">188</a>;</li><li> -victor statues at Delphi by, <a href="#Page_26">26</a>, <a href="#Page_188">188</a>.</li></ul></li><li> - -Myron, tyrant of Sikyon, dedicates bronze chapel at Olympia, <a href="#Page_41">41</a>.</li><li> - -Mytilene, statue from, <a href="#Page_92">92</a>.</li><li> - -Narkissos, <a href="#Page_158">158</a>.</li><li> - -Narykidas, base of statue at Olympia, <a href="#Page_342">342</a>.</li><li> - -Natalis, L. Minikios (Minicius), equestrian monument at Olympia, <a href="#Page_37">37</a>.</li><li> - -<i>Natural History</i>, of Pliny; see <i>Historia Naturalis</i>. - -Naturalism, in Greek Art, <a href="#Page_44">44</a>.</li><li> - -Naukratis, Egypt, <a href="#Page_105">105</a>, <a href="#Page_329">329</a>, <a href="#Page_334">334</a>.</li><li> - -Naukydes, sculptor, <a href="#Page_76">76</a>, <a href="#Page_117">117</a>, <a href="#Page_120">120</a>;<ul><li> -leg position of statues by, <a href="#Page_159">159</a>;</li><li> -Naukydes and <i>Standing Diskobolos</i>, <a href="#Page_76">76f</a>.;</li><li> -Naukydes and canon of Polykleitos, <a href="#Page_69">69</a>;</li><li> -statue of Cheimon by, characterized by Pausanias, <a href="#Page_62">62</a>.</li></ul></li><li> - -Naupaktos, <a href="#Page_110">110</a>.</li><li> - -Nausikaa, <a href="#Page_83">83</a>.</li><li> - -Naxos, “Apollo” from, <a href="#Page_328">328</a>, <a href="#Page_334">334</a>;<ul><li> -bronze statuette from, <a href="#Page_74">74</a>, <a href="#Page_119">119</a>;</li><li> -statue of Nikandre from, <a href="#Page_177">177</a>.</li></ul></li><li> - -Nelson, Philip, head in collection of, <a href="#Page_157">157</a>.</li><li> - -Nemea, athletes at, divided into three classes, by ages, <a href="#Page_189">189</a>;<ul><li> -athletic contests at, <a href="#Page_25">25</a>;</li><li> -athletic interest of, secondary to that of Olympia, <a href="#Page_25">25</a>;</li><li> -boy contests at, <a href="#Page_25">25</a>;</li><li> -festival at, <a href="#Page_1">1</a>;</li><li> -founded by Adrastos, <a href="#Page_17">17</a>;</li><li> -held every two years, <a href="#Page_17">17</a>;</li><li> -in honor of Opheltes or Archermoros, <a href="#Page_10">10</a>;</li><li> -later in honor of a god, <a href="#Page_9">9</a>;</li><li> -origin of, <a href="#Page_9">9</a>;</li><li> -records of victors at, <a href="#Page_21">21</a>;</li><li> -relief from, <a href="#Page_132">132</a>;</li><li> -retired valley of, <a href="#Page_25">25</a>;</li><li> -revived by Hadrian, <a href="#Page_17">17</a>;</li><li> -statues of victors at, <a href="#Page_26">26</a>;</li><li> -statues of victors at, in Athens, <a href="#Page_27">27</a>;</li><li> -summarily treated by Pausanias, <a href="#Page_24">24</a>;</li><li> -transferred to Argos, <a href="#Page_17">17</a>;</li><li> -under Argive influence, <a href="#Page_17">17</a>;</li><li> -the <i>Nemea</i> of Thebes, <a href="#Page_27">27</a>.</li></ul></li><li> -<span class="pagenum"><a id="Page_395">395</a></span> - -Nemead, first dated, <a href="#Page_17">17</a>.</li><li> - -<i>Nemesis</i>, statue by Agorakritos at Rhamnous, <a href="#Page_182">182</a>.</li><li> - -Neolaïdas, statue at Olympia, <a href="#Page_120">120</a>.</li><li> - -Nepos, on first date of representing athlete statues in motion, <a href="#Page_173">173</a>.</li><li> - -Nero, coins of, <a href="#Page_21">21</a>;<ul><li> -uses force to win at the <i>Isthmia</i>, <a href="#Page_34">34</a>;</li><li> -villa of, at Subiaco, <a href="#Page_195">195</a>;</li><li> -wins chariot-races at Olympia, <a href="#Page_257">257</a>, <a href="#Page_262">262</a>, <a href="#Page_369">369</a>.</li></ul></li><li> - -Nesiotes, sculptor, criticism of, by Lucian, <a href="#Page_60">60</a>.</li><li> - -Nestor, <a href="#Page_8">8</a>;<ul><li> -contests at Bouprasion, <a href="#Page_9">9</a>;</li><li> -statue at Olympia, by Onatas, <a href="#Page_122">122</a>.</li></ul></li><li> - -Net, on Vapheio cup, <a href="#Page_5">5</a>.</li><li> - -New Empire, Egypt, dates of, <a href="#Page_331">331</a> and note <a href="#Page_2">2</a>;<ul><li> -sculptures of, <a href="#Page_331">331</a>.</li></ul></li><li> - -Nida-Haddernheim, terra-cotta statuette from, <a href="#Page_202">202</a>.</li><li> - -Nikandre, statue of, <a href="#Page_177">177</a>.</li><li> - -Nikandros, statue at Olympia, <a href="#Page_121">121</a>.</li><li> - -Nikanor, fragment of base of statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -Nikarchos, base of statue at Olympia, <a href="#Page_356">356</a>.</li><li> - -<i>Nike</i>, the, of Archermos, <a href="#Page_177">177</a>;<ul><li> -bronze figurine from Akropolis, <a href="#Page_177">177</a>;</li><li> -as charioteer, <a href="#Page_268">268</a>;</li><li> -on Ficoroni cista, <a href="#Page_269">269</a>;</li><li> -on hand of statue of Olympian Zeus, at Olympia, <a href="#Page_149">149</a>;</li><li> -on Nike balustrade from Akropolis, <a href="#Page_86">86</a>;</li><li> -on relief in Madrid, <a href="#Page_269">269</a>;</li><li> -on relief from Phaleron, <a href="#Page_269">269</a>;</li><li> -on sarcophagus from Klazomenai, <a href="#Page_268">268</a>.</li><li> -See also Paionios, the <i>Nike</i> of.</li></ul></li><li> - -Nikeratos, date of archonship of, <a href="#Page_194">194</a>.</li><li> - -Nikeus, casts stone diskos, <a href="#Page_218">218</a>.</li><li> - -Nikodamos, sculptor, <a href="#Page_244">244</a>.</li><li> - -Nikokles, victor monument at Akriai, <a href="#Page_372">372</a>.</li><li> - -Nikomachos, painter, <a href="#Page_268">268</a>;<ul><li> -<i>Victoria quadrigam in sublime rapiens</i> by, <a href="#Page_268">268</a>.</li></ul></li><li> - -Nineveh, reliefs from, <a href="#Page_330">330</a>.</li><li> - -Niobid, identified with statue of youth from Subiaco, <a href="#Page_195">195</a>.</li><li> - -<i>Nordostgraben</i>, the, at Olympia, <a href="#Page_358">358</a>.</li><li> - -<i>Nordwestgraben</i>, the, at Olympia, <a href="#Page_356">356</a>.</li><li> - -North Greek-Thracian school of sculpture, <a href="#Page_114">114</a>.</li><li> - -Noses, bloody, on vase-paintings, <a href="#Page_167">167</a>.</li><li> - -<i>Novus Annus</i> (?), nude statue found in Rhine identified as, <a href="#Page_276">276</a>.</li><li> - -Nudity, characteristic of archaic statues, <a href="#Page_335">335</a>;<ul><li> -as essential difference between Greek and foreigner, <a href="#Page_48">48</a>;</li><li> -not observed by charioteers, <a href="#Page_48">48</a>;</li><li> -of victor statues, <a href="#Page_47">47f</a>.</li></ul></li><li> - -<i>Nudus talo incessens</i>, statue by Polykleitos, <a href="#Page_158">158</a>, <a href="#Page_249">249</a>, <a href="#Page_250">250</a>;<ul><li> -statuette from Autun showing the Polykleitan motive, <a href="#Page_249">249</a>, <a href="#Page_250">250</a>.</li></ul></li><li> - -Numismatic commentary on Pausanias, <a href="#Page_306">306</a>.</li><li> - -Ny-Carlsberg Museum, Copenhagen, archaic head of youth in, <a href="#Page_128">128</a>;<ul><li> -two heads in, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>; etc.</li></ul></li><li> - -Nymphs, altar at Olympia, <a href="#Page_351">351</a>.</li><li> - -Odysseus, <a href="#Page_8">8</a>.</li><li> - -Oibotas, statue at Olympia, <a href="#Page_30">30</a>, <a href="#Page_32">32</a>, <a href="#Page_333">333</a>, <a href="#Page_343">343</a>, <a href="#Page_351">351</a>.</li><li> - -Oil, used in wrestling, <a href="#Page_165">165</a>.</li><li> - -Oil-flask, on r.-f. kylix in Munich, <a href="#Page_164">164</a>.</li><li> - -<i>Oil-pourer</i>, bronze statuette of, from South Italy, <a href="#Page_135">135</a>;<ul><li> -statue so-called, in Munich, <a href="#Page_99">99</a>, <a href="#Page_133">133f</a>., <a href="#Page_137">137</a>;</li><li> -as Attic work, <a href="#Page_137">137</a>;</li><li> -head in Boston, copy of original of, <a href="#Page_134">134</a>;</li><li> -pose of, <a href="#Page_158">158</a>;</li><li> -torso in Dresden as variant of, <a href="#Page_134">134</a>, <a href="#Page_135">135</a>.</li></ul></li><li> - -Oil-pouring, on gems, reliefs and terra-cotta statuettes, <a href="#Page_135">135</a>.</li><li> - -Oil-scraping, as athletic motive, <a href="#Page_135">135f</a>. - -Oinoanda, base of victor statue from, <a href="#Page_371">371</a>.</li><li> - -Oinomaos, chariot-race with Pelops, <a href="#Page_14">14</a>, <a href="#Page_259">259</a>;<ul><li> -column at Olympia, <a href="#Page_323">323</a>, <a href="#Page_350">350</a>, <a href="#Page_351">351</a>.</li></ul></li><li> - -Olaidas, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -Old Kingdom, Egypt, dates of, <a href="#Page_330">330</a> and note <a href="#Page_3">3</a>;<ul><li> -sculptures of, <a href="#Page_330">330</a>.</li></ul></li><li> - -Olive, crown of, as prize at Olympia, <a href="#Page_155">155f</a>.;<ul><li> -of “Fair Crown,” at Olympia, <a href="#Page_20">20</a>, <a href="#Page_351">351</a>;</li><li> -wild, <a href="#Page_20">20</a>.</li></ul></li><li> - -Olympia, account of monuments at, by Pausanias, <a href="#Page_24">24</a>;<ul><li> -age of boy victors at, <a href="#Page_189">189</a>;</li><li> -antiquity of, from excavations and religious history, <a href="#Page_16">16</a>;</li><li> -athletes at, divided into two classes, by ages, <a href="#Page_189">189</a>;</li><li> -boxer head from, <a href="#Page_62">62</a>;</li><li> -celebrated every four years, <a href="#Page_15">15</a>;</li><li> -controlled by Eleans alone after Persian wars, <a href="#Page_15">15</a>;</li><li> -early controlled by Pisa, <a href="#Page_15">15</a>;</li><li> -early overshadowed by Delphi and Delos, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>;</li><li> -founded before Dorian invasion, <a href="#Page_14">14</a>;</li><li> -funeral origin of, <a href="#Page_9">9</a>;</li><li> -German excavations at, <a href="#Page_43">43</a>;</li><li> -history of, <a href="#Page_14">14</a>;</li><li> -held in honor of a god, <a href="#Page_9">9</a>;</li><li> -held in honor of Pelops, <a href="#Page_10">10</a>;</li><li> -importance of, from seventh century B. C., <a href="#Page_15">15</a>;</li><li> -later controlled by Pisa and Elis, <a href="#Page_15">15</a>;</li><li> -prehistoric buildings at, <a href="#Page_16">16</a>, <a href="#Page_349">349</a>;</li><li> -sacrifices at, to Pelops and Zeus, <a href="#Page_11">11</a>;</li><li> -as sanctuary prior to advent of Achæans, <a href="#Page_14">14</a>;</li><li> -style of head of athlete (Philandridas) from, <a href="#Page_293">293f</a>.;</li><li> -style of gable statues from, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>;</li><li> -traditional history of, by Pausanias and Strabo, <a href="#Page_15">15</a>;</li><li> -two figures from West gable of temple of Zeus from, <a href="#Page_195">195</a>;</li><li> -victor statues in Altis at, <a href="#Page_26">26</a>; etc.</li></ul></li><li> - -Olympia register, <a href="#Page_15">15</a>.</li><li> - -Olympiad, first dated, <a href="#Page_15">15</a>;<ul><li> -traditional first, <a href="#Page_8">8</a>;</li><li> -the 8th, 34th, 104th, 211th, omitted from Elean register, <a href="#Page_369">369</a>.</li></ul></li><li> - -Olympieion, statue from ruins of, <a href="#Page_143">143</a>.</li><li> - -Olympos, sculptor, <a href="#Page_120">120</a>.</li><li> - -<i>Omphalos</i>, from Athens, <a href="#Page_89">89</a>.</li><li> - -Onatas, sculptor, <a href="#Page_122">122</a>;<ul><li> -group of Opis at Delphi by, <a href="#Page_125">125</a>;</li><li> -inscribed base from Akropolis, <a href="#Page_24">24</a>, <a href="#Page_281">281</a>;</li><li> -Onatas and East gable statues from temple on Aegina, <a href="#Page_125">125</a>;</li><li> -Onatas and Kalamis, <a href="#Page_129">129</a>, <a href="#Page_264">264</a>;</li><li> -works of, at Olympia, <a href="#Page_122">122</a>, <a href="#Page_267">267</a>.</li></ul></li><li> - -Onomastos, games of, at Cumae, <a href="#Page_20">20</a>.</li><li> - -Onomastos, of Smyrna, institutes boxing rules at Olympia, <a href="#Page_235">235</a>.</li><li> - -Opheltes, <a href="#Page_10">10</a>.</li><li> - -Opis, group of, at Delphi, by Onatas, <a href="#Page_125">125</a>.</li><li> - -<i>Opportunity</i> (Καιρός), altar at Olympia, <a href="#Page_76">76</a>;<ul><li> -statue by Lysippos, <a href="#Page_250">250</a>.</li></ul></li><li> - -Orchomenos, “Apollo” from, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_328">328</a>, <a href="#Page_334">334</a>;<ul><li> -ceiling of treasury of, <a href="#Page_329">329</a>.</li></ul></li><li> - -Orestes, as his own charioteer, <a href="#Page_267">267</a>.</li><li> - -Oriental influence on early Greek art, <a href="#Page_328">328f</a>. - -Originals of victor statues at Olympia, <a href="#Page_62">62f</a>., <a href="#Page_322">322</a>.</li><li> - -Orpheus and Telete, victor group on Helikon, <a href="#Page_284">284</a>.</li><li> - -Orsippos, first athlete to drop the loin-cloth, <a href="#Page_47">47</a>.</li><li> - -<i>Osthalle</i>, the, at Olympia, <a href="#Page_358">358</a>.</li><li> -<span class="pagenum"><a id="Page_396">396</a></span> - -Overbeck, J., on <i>Farnese Herakles</i>, <a href="#Page_253">253</a>;<ul><li> -on head of hoplitodromos from Olympia, <a href="#Page_163">163</a>;</li><li> -on heads of Apollo, <a href="#Page_275">275</a>;</li><li> -on Lysippos as exclusively a bronze founder, <a href="#Page_302">302</a>;</li><li> -on Olympia sculptures, <a href="#Page_114">114</a>;</li><li> -on Piombino statuette, <a href="#Page_119">119</a>;</li><li> -<i>Schriftquellen</i> of, <a href="#Page_61">61</a>;</li><li> -on <i>Standing Diskobolos</i>, <a href="#Page_76">76</a>.</li></ul></li><li> - -Oxylos, King of Dorian Eleans, <a href="#Page_15">15</a>.</li><li> - -<i>Oxyrhynchus Papyri</i>, the, <a href="#Page_31">31</a>;<ul><li> -order of contestants at Olympia in, <a href="#Page_189">189</a>.</li></ul></li><li> - -Paianios, statue at Olympia, <a href="#Page_234">234</a>.</li><li> - -Paidotribes, or trainer of athletes, <a href="#Page_229">229</a>, <a href="#Page_236">236</a>, <a href="#Page_248">248</a>.</li><li> - -Paint, used on sculptures, <a href="#Page_326">326</a>.</li><li> - -Painting, competition in, at Delphi, <a href="#Page_25">25</a>.</li><li> - -Paintings, as victor monuments, <a href="#Page_28">28</a>.</li><li> - -Paionios, sculptor, <a href="#Page_113">113</a>;<ul><li> -the <i>Nike</i> of, at Olympia, <a href="#Page_326">326</a>, <a href="#Page_343">343</a>, <a href="#Page_344">344</a>, <a href="#Page_352">352</a>, <a href="#Page_360">360</a>;</li><li> -replica of, at Delphi, <a href="#Page_304">304</a>;</li><li> -replica of head of, in Rome, <a href="#Page_304">304</a>.</li></ul></li><li> - -Palæstra, absent in Homer, <a href="#Page_7">7</a>;<ul><li> -palæstra gymnast, statuette of, <a href="#Page_108">108</a>;</li><li> -origin of name, <a href="#Page_228">228</a>;</li><li> -statues of athletes in, <a href="#Page_297">297</a>;</li><li> -statues of athletic gods in, <a href="#Page_75">75</a>, <a href="#Page_94">94</a>.</li></ul></li><li> - -Palaistra, the, at Olympia, <a href="#Page_347">347</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_359">359</a>, <a href="#Page_360">360</a>, etc.;<ul><li> -at Pompeii, <a href="#Page_224">224</a>.</li></ul></li><li> - -Palatine, the, at Rome, <a href="#Page_50">50</a>;<ul><li> -fragment of leg of statue from, <a href="#Page_89">89</a>.</li></ul></li><li> - -Palladion, carried off by Diomedes, <a href="#Page_169">169</a>.</li><li> - -Palm, the, as common measure in proportions, <a href="#Page_68">68</a>.</li><li> - -Palm-branch, on so-called <i>Apollo-on-the-Omphalos</i> and <i>Apollo Choiseul-Gouffier</i>, <a href="#Page_161">161</a>;<ul><li> -in hand of victorious jockey on coin of Philip II, <a href="#Page_280">280</a>;</li><li> -on statue from Formiae, <a href="#Page_161">161</a>;</li><li> -on statue of girl runner in Vatican, <a href="#Page_161">161</a>;</li><li> -on stele from Dipylon, <a href="#Page_161">161</a>;</li><li> -on unfinished statue of athlete in Athens, <a href="#Page_160">160</a>;</li><li> -on vases, <a href="#Page_161">161</a>;</li><li> -as victor attribute, <a href="#Page_50">50</a>, <a href="#Page_160">160f</a>.</li></ul></li><li> - -Palm-wreath, common to many games, <a href="#Page_21">21</a>, <a href="#Page_160">160</a>.</li><li> - -Pammachos, statue at Thebes, <a href="#Page_368">368</a>.</li><li> - -Pamphilos, grave-relief of, in Vienna, <a href="#Page_97">97</a>.</li><li> - -Pan, <i>Doryphoros</i> converted into, <a href="#Page_74">74</a>.</li><li> - -<i>Panathenaia</i>, the; see Panathenaic games. - -Panathenaic amphoræ, runners on, <a href="#Page_106">106</a>, <a href="#Page_194">194</a>;<ul><li> -four-horse chariot on, from Sparta, <a href="#Page_263">263</a>;</li><li> -Dyneiketos, victor, on, <a href="#Page_280">280</a>; etc.</li></ul></li><li> - -Panathenaic games, Great, Athens, acrobatic feats at, <a href="#Page_20">20</a>;<ul><li> -contest of beauty at, <a href="#Page_57">57</a>;</li><li> -dedication of victor in chariot-race at, <a href="#Page_129">129</a>;</li><li> -held every fourth year, <a href="#Page_18">18</a>;</li><li> -hydria as prize at, <a href="#Page_20">20</a>;</li><li> -jars of oil as prizes at, <a href="#Page_20">20</a>;</li><li> -money as prizes at, <a href="#Page_33">33</a>;</li><li> -origin of, <a href="#Page_17">17</a>;</li><li> -paintings dedicated by victors at, <a href="#Page_29">29</a>;</li><li> -remodeled by Solon, <a href="#Page_17">17</a>;</li><li> -statue of boy victor at, in Athens, <a href="#Page_27">27</a>.[s/b ;]</li><li> -Little, annual Athenian festival, <a href="#Page_18">18</a>.</li></ul></li><li> - -Pancratiasts, <a href="#Page_246">246f</a>.;<ul><li> -bronze statuette of, from Autun, <a href="#Page_249">249</a>;</li><li> -cap of, <a href="#Page_165">165f</a>.;</li><li> -ear of, as no criterion of athlete statues, <a href="#Page_95">95</a>;</li><li> -group of, in Florence, <a href="#Page_99">99</a>, <a href="#Page_233">233</a>, <a href="#Page_251">251f</a>.;</li><li> -head of, from Olympia, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>;</li><li> -in sculpture, <a href="#Page_170">170</a>, <a href="#Page_248">248</a>.</li></ul></li><li> - -Pan-hellenic fame of victors at four national games, <a href="#Page_33">33</a>.</li><li> - -<i>Panionia</i>, the, festival at Mykale, <a href="#Page_19">19</a>. - -Pankration(παγκράτιον), Artemidoros on, <a href="#Page_247">247</a>;<ul><li> -biting and gouging allowed at Sparta in, <a href="#Page_246">246</a>;</li><li> -boys’ contest introduced at Olympia, <a href="#Page_247">247</a>;</li><li> -boys’ contests outside Olympia, <a href="#Page_247">247</a>;</li><li> -as combination of boxing and wrestling, <a href="#Page_246">246</a>;</li><li> -contrasted with wrestling, <a href="#Page_246">246</a>;</li><li> -as dangerous sport, <a href="#Page_246">246</a>;</li><li> -eight Pindaric odes in honor of, <a href="#Page_246">246</a>;</li><li> -etymology of word, <a href="#Page_246">246</a>;</li><li> -“fairest” of contests, <a href="#Page_246">246</a>;</li><li> -fight on ground, <a href="#Page_248">248</a>;</li><li> -grips and throws shown on vases, <a href="#Page_247">247</a>;</li><li> -introduced at Olympia, <a href="#Page_247">247</a>;</li><li> -invented by Theseus or Herakles, <a href="#Page_247">247</a>;</li><li> -not in Homer, <a href="#Page_247">247</a>;</li><li> -not so brutal as popularly believed, <a href="#Page_246">246</a>;</li><li> -often ended with preliminary sparring, <a href="#Page_249">249</a>;</li><li> -often resulted in death, <a href="#Page_247">247</a>;</li><li> -pankration and wrestling on same day, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>;</li><li> -popularity of, at Olympia, <a href="#Page_247">247</a>;</li><li> -rules of, <a href="#Page_246">246</a>.</li></ul></li><li> - -Panodoros, <a href="#Page_371">371</a>.</li><li> - -Pantares, statue at Olympia, <a href="#Page_354">354</a>.</li><li> - -Pantarkes, favorite of Pheidias, <a href="#Page_150">150</a>.</li><li> - -Pantarkes, victor statue at Olympia, <a href="#Page_150">150</a>, <a href="#Page_151">151</a>.</li><li> - -Pantheion, the, at Olympia, <a href="#Page_21">21</a>.</li><li> - -Pantias, sculptor, <a href="#Page_268">268</a>, <a href="#Page_279">279</a>.</li><li> - -Papyrus, containing wrestling instructions, <a href="#Page_229">229</a>.</li><li> - -Paris, statue by Euphranor, <a href="#Page_83">83</a>.</li><li> - -Parnon, Mount, statue of Herakles on, <a href="#Page_319">319</a>.</li><li> - -Paros, torso of ephebe from Akropolis, work of sculptor from, <a href="#Page_127">127</a>.</li><li> - -Parrhasios, painter, <a href="#Page_29">29</a>, <a href="#Page_67">67</a>, <a href="#Page_206">206</a>.</li><li> - -Parsley, not used as prize wreath at Nemea, <a href="#Page_21">21</a>.</li><li> - -Parthenon, frieze of the, <a href="#Page_18">18</a>, <a href="#Page_53">53</a>, <a href="#Page_86">86</a>, <a href="#Page_151">151</a>;<ul><li> -Athenian knights on, <a href="#Page_281">281</a>;</li><li> -chariot scenes on, <a href="#Page_271">271</a>;</li><li> -representing <i>apobates</i> race, <a href="#Page_272">272</a>;</li><li> -youth crowning self on, <a href="#Page_158">158</a>;</li><li> -metopes of, <a href="#Page_149">149</a>.</li></ul></li><li> - -Pasiteles, sculptor, <a href="#Page_60">60</a>, <a href="#Page_112">112</a>;<ul><li> -Pasiteles and <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_89">89</a>;</li><li> -Pasiteles and <i>Spinario</i>, <a href="#Page_201">201</a>, <a href="#Page_202">202</a>.</li></ul></li><li> - -Patrokles, sculptor, <a href="#Page_117">117</a>, <a href="#Page_120">120</a>, <a href="#Page_131">131</a>, <a href="#Page_138">138</a>, <a href="#Page_141">141</a>.</li><li> - -Patroklos, contests at funeral games of, <a href="#Page_8">8</a>;<ul><li> -funeral games of, in Iliad, <a href="#Page_7">7f</a>., <a href="#Page_11">11</a>, <a href="#Page_51">51</a>;</li><li> -tripods in honor of, <a href="#Page_19">19</a>.</li></ul></li><li> - -Pausanias, King of Sparta, flees from ephors, <a href="#Page_367">367</a>;<ul><li> -funeral games in honor of, at Sparta, <a href="#Page_11">11</a>.</li></ul></li><li> - -Pausanias, the <i>Periegete</i>, on art, <a href="#Page_61">61</a>;<ul><li> -description of Greece by, <a href="#Page_43">43</a>;</li><li> -description of victor statues in Altis by, <a href="#Page_339">339</a>;</li><li> -on girl runners at the <i>Heraia</i> at Olympia, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>;</li><li> -on honor and victor statues, <a href="#Page_39">39</a>;</li><li> -mentions only part of victor statues in Altis, <a href="#Page_324">324</a>;</li><li> -on origin of Olympic games, <a href="#Page_15">15</a>;</li><li> -<i>periegesis</i> of Altis by, <a href="#Page_190">190</a>;</li><li> -on reason for Pythian air being played at pankration, <a href="#Page_284">284</a>, <a href="#Page_285">285</a>;</li><li> -routes (ἔφοδοι) of, in Altis, <a href="#Page_339">339</a>, <a href="#Page_341">341f</a>., <a href="#Page_348">348f</a>.;</li><li> -on similarity between Greek and Egyptian sculptures, <a href="#Page_330">330</a>;</li><li> -on statue of Euthymos, at Olympia, <a href="#Page_183">183</a>;</li><li> -use of words ἐν ἀριστερᾷ and ἐν δεξιᾷ by, <a href="#Page_299">299</a>;</li><li> -on victor statues of poets and musicians on Helikon, <a href="#Page_284">284</a>;</li><li> -on votive character of victor statues at Athens and Olympia, <a href="#Page_38">38</a>; etc.</li></ul></li><li> - -Payne Knight bronze statuette, so-called, in British Museum, <a href="#Page_108">108</a>, <a href="#Page_119">119</a>.</li><li> - -Peace, temple of, in Rome, <a href="#Page_366">366</a>.</li><li> -<span class="pagenum"><a id="Page_397">397</a></span> - -Pearl-string hair technique, <a href="#Page_53">53</a>.</li><li> - -Peisanos, M. Antonios Kallippos, statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -Peisirhodos, victor at Olympia, <a href="#Page_47">47</a>, <a href="#Page_49">49</a>.</li><li> - -Peisistratidai, <a href="#Page_128">128</a>.</li><li> - -Peisistratos, tyrant, <a href="#Page_363">363</a>;<ul><li> -head of, so-called, <a href="#Page_181">181</a>.</li></ul></li><li> - -Peisthetairos, in <i>Aves</i> of Aristophanes, <a href="#Page_206">206</a>.</li><li> - -Pelias, funeral games of, <a href="#Page_11">11</a>;<ul><li> -on chest of Kypselos, <a href="#Page_12">12</a>;</li><li> -tripods in honor of, <a href="#Page_19">19</a>.</li></ul></li><li> - -Pelichos, statue of, <a href="#Page_56">56</a>.</li><li> - -Pelopion, the, at Olympia, <a href="#Page_348">348</a>, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>, <a href="#Page_357">357</a>.</li><li> - -Peloponnesian sculptors, <a href="#Page_109">109f</a>., <a href="#Page_114">114</a>.</li><li> - -Pelops, chariot-race with Oinomaos, <a href="#Page_14">14</a>, <a href="#Page_259">259</a>;<ul><li> -contestants at Olympia sacrifice to, <a href="#Page_11">11</a>;</li><li> -Olympian games in honor of, <a href="#Page_10">10</a>;</li><li> -Peloponnesian boys lashed at altar of, <a href="#Page_11">11</a>;</li><li> -statue of, in East gable, temple of Zeus at Olympia, <a href="#Page_176">176</a>;</li><li> -worship of, at Olympia, preceded that of Zeus, <a href="#Page_16">16</a>.</li></ul></li><li> - -Pensive expression, in portraits of Alexander, <a href="#Page_296">296</a>.</li><li> - -<i>Pentaëteris</i>, or four-year festival, <a href="#Page_17">17</a>.</li><li> - -Pentathletes, attributes of, <a href="#Page_164">164</a>, <a href="#Page_165">165</a>;<ul><li> -statues in motion, <a href="#Page_210">210f</a>.;</li><li> -statues at rest, <a href="#Page_164">164</a>;</li><li> -on vases, <a href="#Page_164">164</a>.</li></ul></li><li> - -Pentathlon, the, accompanied by flute, <a href="#Page_284">284</a>;<ul><li> -all-round development from, <a href="#Page_59">59</a>, <a href="#Page_211">211</a>;</li><li> -boys’, introduced at Olympia, <a href="#Page_210">210</a>;</li><li> -events in, on r.-f. vases, <a href="#Page_210">210</a>;</li><li> -five events of, <a href="#Page_9">9</a>, <a href="#Page_210">210</a>;</li><li> -diskos throwing, <a href="#Page_218">218f</a>.;</li><li> -javelin throwing, <a href="#Page_222">222f</a>.;</li><li> -jumping, <a href="#Page_214">214f</a>.;</li><li> -jumping most difficult part of, <a href="#Page_216">216</a>;</li><li> -jumping-weights used in, <a href="#Page_214">214</a>;</li><li> -men’s introduced at Olympia, <a href="#Page_210">210</a>;</li><li> -not in Homer, <a href="#Page_9">9</a>, <a href="#Page_210">210</a>;</li><li> -Pythian air played at, <a href="#Page_285">285</a>.</li></ul></li><li> - -Pergamon, dying Gaul statues from, <a href="#Page_255">255</a>;<ul><li> -frieze of Great Altar at, <a href="#Page_252">252</a>;</li><li> -small frieze from, <a href="#Page_253">253</a>.</li></ul></li><li> - -Periandros, tyrant, gold statue vowed by, <a href="#Page_266">266</a>;<ul><li> -refounds Isthmian games, <a href="#Page_17">17</a>.</li></ul></li><li> - -<i>Periboëtos</i>, statue of satyr known as the, <a href="#Page_144">144</a>.</li><li> - -Perikles, <a href="#Page_52">52</a>, <a href="#Page_362">362</a>;<ul><li> -portrait of, by Kresilas, <a href="#Page_56">56</a>, <a href="#Page_199">199</a>;</li><li> -statue of slave of, <a href="#Page_143">143</a>.</li></ul></li><li> - -Perinthos, head from, <a href="#Page_179">179</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>;<ul><li> -prototype of Riccardi and Ince Blundell heads, <a href="#Page_181">181</a>.</li></ul></li><li> - -Peripatetics, criticism of Greek sculpture by the, <a href="#Page_58">58</a>.</li><li> - -<i>Perixyomenoi</i>, statues of, <a href="#Page_136">136</a>.</li><li> - -Perrot and Chipiez, on so-called dying hoplite relief, <a href="#Page_209">209</a>.</li><li> - -Perseus and head of Medusa, on engraved gem, <a href="#Page_83">83</a>;<ul><li> -Perseus and Danaë, in a chest, <a href="#Page_188">188</a>.</li></ul></li><li> - -Persian Wars, <a href="#Page_51">51</a>;<ul><li> -sack of Akropolis during, <a href="#Page_126">126</a>.</li></ul></li><li> - -Perugia, statuette of diver (?) from, <a href="#Page_217">217</a>.</li><li> - -Pesaro, the <i>Idolino</i> found at, <a href="#Page_141">141</a>.</li><li> - -Petasos, as attribute of Hermes, <a href="#Page_108">108</a>, <a href="#Page_207">207</a>, note 1, etc. - -Peter cista, the, in Vatican, <a href="#Page_243">243</a>.</li><li> - -Petersen E., on Kyniskos’ statue, <a href="#Page_159">159</a>;<ul><li> -on Pythokles’ statue base, <a href="#Page_212">212</a>.</li></ul></li><li> - -Petrograd, head of athlete in, <a href="#Page_180">180</a>; etc. - -Petworth House, Sussex, Kresilæan head of athlete in, <a href="#Page_145">145</a>;<ul><li> -statue of ephebe in, <a href="#Page_133">133</a>.</li></ul></li><li> - -Phaistos, theatral area at, <a href="#Page_3">3</a>.</li><li> - -Phanas, head ascribed to, <a href="#Page_163">163</a>;<ul><li> -statue at Olympia, <a href="#Page_106">106</a>, <a href="#Page_355">355</a>.</li></ul></li><li> - -Pharsalos, home of Daochos, <a href="#Page_286">286</a>;<ul><li> -statue base of the <i>Agias</i> at, <a href="#Page_303">303</a>.</li></ul></li><li> - -Phaÿllos, record diskos-throw of, <a href="#Page_216">216</a>;<ul><li> -record jump of, <a href="#Page_216">216</a>;</li><li> -statue at Delphi, <a href="#Page_26">26</a>.</li></ul></li><li> - -Pheidias, <a href="#Page_36">36</a>, <a href="#Page_110">110</a>;<ul><li> -goddess types of, <a href="#Page_53">53</a>;</li><li> -ideal tendency of, <a href="#Page_152">152</a>;</li><li> -relation of, to <i>Diadoumenos Farnese</i>, <a href="#Page_151">151</a>;</li><li> -relation of, to <i>Hermes Ludovisi</i>, <a href="#Page_85">85</a>;</li><li> -statue of boy crowning himself at Olympia by, <a href="#Page_150">150f</a>.</li></ul></li><li> - -Pheidippides, runner, <a href="#Page_209">209</a>.</li><li> - -Pheidolas, sons of, monument at Olympia, <a href="#Page_23">23</a>, <a href="#Page_279">279</a>.</li><li> - -Pheidon, king of Argos, <a href="#Page_15">15</a>.</li><li> - -Pheneus, games at, <a href="#Page_76">76</a>.</li><li> - -Pherenike, mother of Peisirhodos, <a href="#Page_47">47</a>, <a href="#Page_49">49</a>.</li><li> - -Phigalia, victor statue of Arrhachion in market-place of, <a href="#Page_326">326</a>.</li><li> - -Philandridas, date of victory of, <a href="#Page_300">300</a>;<ul><li> -head from statue of, at Olympia, by Lysippos, identified, <a href="#Page_293">293f</a>.;</li><li> -head called youthful Herakles by some, <a href="#Page_297">297</a>;</li><li> -compared with head of boy athlete from Sparta, <a href="#Page_316">316f</a>.;</li><li> -crushed ear of, <a href="#Page_168">168</a>;</li><li> -location of, in Altis, <a href="#Page_300">300</a>;</li><li> -under life-size, <a href="#Page_46">46</a>.</li></ul></li><li> - -<i>Philesian Apollo</i>, of elder Kanachos, <a href="#Page_74">74</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_118">118</a>–120, <a href="#Page_336">336</a> and note <a href="#Page_1">1</a>;<ul><li> -“double” of, in Thebes, <a href="#Page_304">304</a>.</li></ul></li><li> - -Philinos, statue at Olympia, <a href="#Page_30">30</a>, <a href="#Page_55">55</a>.</li><li> - -Philios, D., on dying hoplite relief, so-called, <a href="#Page_209">209</a>.</li><li> - -Philip II, king of Macedon, coin of, showing victorious jockey with palm-branch, <a href="#Page_280">280</a>;<ul><li> -coins of, showing Athenian type of chariot, <a href="#Page_263">263</a>;</li><li> -equestrian victor at Olympia, <a href="#Page_257">257</a>, <a href="#Page_263">263</a>.</li></ul></li><li> - -Philippeion, the, at Olympia, <a href="#Page_353">353</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>.</li><li> - -Philippopolis, coin of, <a href="#Page_78">78</a>.</li><li> - -Philippos, of Kroton, Olympic victor, heroön of, at Egesta, <a href="#Page_35">35</a>, <a href="#Page_57">57</a>, <a href="#Page_363">363</a>.</li><li> - -Philippos, of Pellene, inscribed bronze plate from victor statue base at Olympia, <a href="#Page_244">244f</a>. - -Philistos, monument base at Olympia, <a href="#Page_357">357</a>.</li><li> - -Phillen, or Philys, statue at Olympia, <a href="#Page_344">344</a>.</li><li> - -Philon, statue at Olympia, <a href="#Page_122">122</a>.</li><li> - -Philonides, courier of Alexander, honor statue at Olympia, <a href="#Page_42">42</a>, <a href="#Page_346">346</a>, <a href="#Page_356">356</a>, <a href="#Page_359">359</a>.</li><li> - -Philonides, sculptor, <a href="#Page_109">109</a>, <a href="#Page_266">266</a>.</li><li> - -Philonikos, base of statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Philokrates, base of statue at Olympia, <a href="#Page_368">368</a>.</li><li> - -Philoktetes, in Sophokles’ drama, the <i>Philoctetes</i>, <a href="#Page_59">59</a>.</li><li> - -Philostratos, of Rhodes, adversary of Straton at Olympia, <a href="#Page_34">34</a>.</li><li> - -Philostratos, on athletes wearing coarse mantle, <a href="#Page_47">47</a>;<ul><li> -on Eleans allowing strangling in pankration, <a href="#Page_246">246</a>;</li><li> -on jumping-weights, <a href="#Page_215">215</a>, <a href="#Page_216">216</a>;</li><li> -on method of putting on boxing thongs, <a href="#Page_236">236</a>;</li><li> -on omitted 211th Olympiad, <a href="#Page_369">369</a>;</li><li> -on pankration as “fairest of contests,” <a href="#Page_246">246</a>;</li><li> -on prohibition against biting and gouging in pankration, <a href="#Page_246">246</a>;</li><li> -on reason for nudity of Olympic athletes, <a href="#Page_47">47</a>;</li><li> -on Spartans allowing biting and gouging in pankration, <a href="#Page_246">246</a>;</li><li> -on statue of Milo, <a href="#Page_106">106</a>, <a href="#Page_337">337</a>;</li><li> -on style of long race, <a href="#Page_194">194</a>;</li><li> -on reason for Pythian air being played at pentathlon, <a href="#Page_285">285</a>.</li></ul></li><li> - -Philotimos, sculptor, <a href="#Page_123">123</a>, <a href="#Page_264">264</a>, <a href="#Page_268">268</a>, <a href="#Page_279">279</a>.</li><li> - -Philoumenos, inscription from base of statue of, <a href="#Page_371">371</a>.</li><li> -<span class="pagenum"><a id="Page_398">398</a></span> - -Philys; see Phillen.</li><li> - -Phlegon, on olive crown, <a href="#Page_20">20</a>.</li><li> - -Phœnicians, the, transmit Assyrian and Egyptian designs to Greece, <a href="#Page_330">330</a>.</li><li> - -Phokis, confederacy of, sets up statue at Olympia, <a href="#Page_30">30</a>.</li><li> - -Phormis, offering at Olympia, <a href="#Page_28">28</a>, <a href="#Page_62">62</a>, <a href="#Page_163">163</a>, <a href="#Page_264">264</a>.</li><li> - -Phorystas, base of statue from Tanagra, <a href="#Page_368">368</a>.</li><li> - -Phradmon, sculptor, <a href="#Page_117">117</a>.</li><li> - -Phrikias, head ascribed to, <a href="#Page_162">162</a>, <a href="#Page_163">163</a>, <a href="#Page_353">353</a>;<ul><li> -statue at Olympia, <a href="#Page_106">106</a>.</li></ul></li><li> - -Phrixos, on shield relief, <a href="#Page_162">162</a>.</li><li> - -Physical differences, in athletes, <a href="#Page_59">59</a>.</li><li> - -Piankhi, King of Aethiopia and invader of Egypt, <a href="#Page_331">331</a>.</li><li> - -Pictorial hair technique, <a href="#Page_53">53</a>.</li><li> - -Pinakotheke, the, at Athens, <a href="#Page_29">29</a>.</li><li> - -Pinax, of victresses at the <i>Heraia</i>, at Olympia, <a href="#Page_49">49</a>;<ul><li> -votive on Attic vase, <a href="#Page_29">29</a>;</li><li> -πινάκιον, iconic, <a href="#Page_182">182</a>.</li></ul></li><li> - -Pindar, on boxing and wrestling, <a href="#Page_8">8</a>;<ul><li> -on connection of Pelops with Olympia, <a href="#Page_10">10</a>;</li><li> -on early value of bronze, <a href="#Page_19">19</a>;</li><li> -on non-existence of the pentathlon in heroic days, <a href="#Page_210">210</a>;</li><li> -ode on flutist Sakadas, <a href="#Page_284">284</a>;</li><li> -scholia on, <a href="#Page_26">26</a>, <a href="#Page_130">130</a>, <a href="#Page_190">190</a>;</li><li> -seventh Olympic ode of, <a href="#Page_343">343</a>;</li><li> -sings praises of victors, <a href="#Page_36">36</a>;</li><li> -sixth Pythian ode of, <a href="#Page_267">267</a>;</li><li> -writes eight odes in praise of pankration, <a href="#Page_246">246</a>.</li></ul></li><li> - -Pine, the, at the Isthmus, <a href="#Page_21">21</a>;<ul><li> -wreath of, at the Isthmus, <a href="#Page_20">20</a>;</li><li> -at Nemea, <a href="#Page_21">21</a>.</li></ul></li><li> - -Piombino, bronze statuette from, <a href="#Page_118">118</a>.</li><li> - -Pison, sculptor, <a href="#Page_278">278</a>.</li><li> - -Plane-tree Grove, Sparta, <a href="#Page_319">319</a>, <a href="#Page_367">367</a>.</li><li> - -Plastic hair technique, <a href="#Page_53">53</a>.</li><li> - -Platæa, the <i>Eleutheria</i> at, <a href="#Page_11">11</a>.</li><li> - -Platæan <i>Zeus</i>, the, statue at Olympia, <a href="#Page_344">344</a>.</li><li> - -Plato, on boys’ stade-race, <a href="#Page_191">191</a>;<ul><li> -divides athletes into three classes, <a href="#Page_189">189</a>;</li><li> -on Egyptian art, <a href="#Page_60">60</a>;</li><li> -on happy life of victors, <a href="#Page_36">36</a>;</li><li> -on length of stade-race for boys, <a href="#Page_191">191</a>;</li><li> -on length of stade-race for ephebes, <a href="#Page_191">191</a>;</li><li> -on loin-cloth, <a href="#Page_48">48</a>;</li><li> -mentions σφαῖραι, <a href="#Page_237">237</a>;</li><li> -on mythical origin of wrestling, <a href="#Page_228">228</a>;</li><li> -omits pankration in his ideal state, <a href="#Page_246">246</a>;</li><li> -protests against competition in athletics, <a href="#Page_36">36</a>;</li><li> -on swollen ear of athletes, <a href="#Page_167">167</a>.</li></ul></li><li> - -Plectra, in Parthenon, <a href="#Page_23">23</a>.</li><li> - -Pliny, on Alkamenes’ <i>Enkrinomenos</i>, <a href="#Page_77">77</a>;<ul><li> -on the <i>Apoxyomenos</i> of Lysippos, <a href="#Page_289">289</a>;</li><li> -on art, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</li><li> -on custom of setting up statues of victors at Olympia, <a href="#Page_27">27</a>, <a href="#Page_324">324</a>, <a href="#Page_354">354</a>;</li><li> -on Euphranor’s canon, <a href="#Page_69">69</a>;</li><li> -on Eutychides, sculptor, <a href="#Page_121">121</a>;</li><li> -on Greek origin of equestrian monuments, <a href="#Page_24">24</a>;</li><li> -<i>Historia Naturalis</i> of, <a href="#Page_43">43</a>, <a href="#Page_321">321</a>;</li><li> -on iconic statues, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>;</li><li> -on Kanachos’ statue of the <i>Philesian Apollo</i>, <a href="#Page_118">118</a>;</li><li> -on Kanachos’ <i>celetizontes pueri</i>, <a href="#Page_120">120</a>;</li><li> -on Kresilas’ portrait of Perikles, <a href="#Page_56">56</a>;</li><li> -on Lysippos’ proportions, <a href="#Page_46">46</a>;</li><li> -on Lysistratos making portraits from plaster moulds, <a href="#Page_56">56</a>;</li><li> -on monotony in the art of Polykleitos, <a href="#Page_152">152</a>, <a href="#Page_226">226</a>;</li><li> -on Myron, <a href="#Page_184">184</a>;</li><li> -on nudity of athletes, <a href="#Page_47">47</a>;</li><li> -on the <i>nudus talo incessens</i> of Polykleitos, <a href="#Page_249">249</a>, <a href="#Page_250">250</a>;</li><li> -on representing victors by paintings, <a href="#Page_29">29</a>;</li><li> -on the sculptor Apellas, <a href="#Page_267">267</a>;</li><li> -on the <i>Splanchnoptes</i> of Styphax, <a href="#Page_143">143</a>;</li><li> -on statue of pancratiast at Delphi by Pythagoras, <a href="#Page_26">26</a>;</li><li> -on statue represented in prayer, <a href="#Page_130">130</a>;</li><li> -on statue of victors by Myron at Delphi, <a href="#Page_26">26</a>;</li><li> -on symmetry, <a href="#Page_66">66</a>; etc.</li></ul></li><li> - -Plutarch, on Apollo as boxer, <a href="#Page_88">88</a>;<ul><li> -on art, <a href="#Page_61">61</a>;</li><li> -on portraits of Alexander by Lysippos, <a href="#Page_290">290</a>, <a href="#Page_328">328</a>.</li></ul></li><li> - -<i>Plutus</i>, the, of Aristophanes, quoted, <a href="#Page_36">36</a>.</li><li> - -Poetic competitions at Delphi, <a href="#Page_25">25</a>.</li><li> - -Poets, statues on Helikon, <a href="#Page_284">284</a>;<ul><li> -statues at Olympia, <a href="#Page_285">285</a>.</li></ul></li><li> - -Polemon, on statue of Leon, <a href="#Page_366">366</a>;<ul><li> -on statue of Epicharinos, <a href="#Page_372">372</a>.</li></ul></li><li> - -Polites, victor at Olympia, <a href="#Page_354">354</a>.</li><li> - -<i>Pollux</i>, describes game of σκαπέρδη, <a href="#Page_236">236</a>.</li><li> - -Pollux; see Polydeukes. - -Pollux, the statue in Louvre, so-called, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_188">188</a>, <a href="#Page_245">245</a>.</li><li> - -Polybios, on Kleitomachos, boxer of Thebes, <a href="#Page_147">147</a>.</li><li> - -<i>Polychalchos</i>, surname of Spartan victor Polykles, <a href="#Page_266">266</a>.</li><li> - -Polydamas, relief from base of statue of, <a href="#Page_303">303</a>;<ul><li> -statue of, at Olympia, by Lysippos, <a href="#Page_32">32</a>, <a href="#Page_45">45</a>, <a href="#Page_121">121</a>, <a href="#Page_298">298</a>, <a href="#Page_299">299</a>;</li><li> -statue of, cures fevers, <a href="#Page_364">364</a>.</li></ul></li><li> - -Polydeukes, boxing-match with Amykos on Ficoroni cista, <a href="#Page_269">269</a>;<ul><li> -as famed boxer, <a href="#Page_235">235</a>;</li><li> -wins boxing match at Olympia, <a href="#Page_96">96</a>, <a href="#Page_235">235</a>.</li></ul></li><li> - -Polykleitos, the Elder, sculptor, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>;<ul><li> -<i>Apoxyomenos</i> of, <a href="#Page_136">136</a>;</li><li> -called Kleito by Sokrates, in Xenophon’s <i>Memorabilia</i>, <a href="#Page_59">59</a>;</li><li> -canon of, <a href="#Page_68">68</a>, <a href="#Page_111">111</a>, <a href="#Page_136">136</a>, <a href="#Page_148">148</a>, <a href="#Page_288">288</a>;</li><li> -characteristics of, <a href="#Page_152">152</a>;</li><li> -date of, by Pliny, <a href="#Page_61">61</a>;</li><li> -<i>destringentesse</i> of, <a href="#Page_136">136</a>, <a href="#Page_288">288</a>;</li><li> -<i>Diadoumenos</i> of, <a href="#Page_152">152</a>, <a href="#Page_154">154</a>;</li><li> -<i>Doryphoros</i> of, <a href="#Page_211">211</a>, <a href="#Page_224">224f</a>.;</li><li> -as idealist, <a href="#Page_188">188</a>;</li><li> -influence of, on Lysippos, <a href="#Page_291">291</a>;</li><li> -influenced by Attic art, <a href="#Page_152">152</a>;</li><li> -innovation of, in statue poses, <a href="#Page_226">226</a>;</li><li> -monotony of, <a href="#Page_152">152</a>, <a href="#Page_226">226</a>;</li><li> -poses of victor statues of, <a href="#Page_44">44</a>;</li><li> -pupil of Hagelaïdas, <a href="#Page_110">110</a>;</li><li> -pupils of, <a href="#Page_139">139</a>;</li><li> -victor statues of, <a href="#Page_36">36</a>.</li></ul></li><li> - -Polykleitos, the Younger, sculptor, statues of victors at Olympia by, <a href="#Page_30">30</a>, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>.</li><li> - -Polykles, the Elder, sculptor, <a href="#Page_129">129</a>, <a href="#Page_324">324</a>.</li><li> - -Polykles, victor group at Olympia, <a href="#Page_150">150</a>, <a href="#Page_266">266</a>.</li><li> - -Polymedes, sculptor, <a href="#Page_105">105</a>.</li><li> - -Polypeithes, chariot-group at Olympia, <a href="#Page_23">23</a>, <a href="#Page_265">265</a>, <a href="#Page_347">347</a>.</li><li> - -Polyxenos, statue at Olympia, <a href="#Page_359">359</a>.</li><li> - -Polyzalos, brother of Gelo, <a href="#Page_278">278</a>.</li><li> - -Pomegranate, attribute of victor statues, <a href="#Page_107">107</a>, <a href="#Page_165">165</a>.</li><li> - -Pompeii, <i>Doryphoros</i> of Polykleitos found at, <a href="#Page_70">70</a>;<ul><li> -Palaistra at, <a href="#Page_87">87</a>.</li></ul></li><li> - -Poros sculptures, <a href="#Page_53">53</a>, <a href="#Page_128">128</a>.</li><li> - -Porto d’Anzio, statue from, <a href="#Page_135">135</a>, <a href="#Page_144">144</a>.</li><li> - -Portraiture, Greek, <a href="#Page_54">54</a>, <a href="#Page_55">55f</a>.;<ul><li> -privilege of erecting portrait statues at Olympia, <a href="#Page_57">57</a>, <a href="#Page_354">354</a>;</li><li> -privilege rarely given, <a href="#Page_57">57</a>;</li><li> -realistic, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>.</li></ul></li><li> - -Poseidon, altar at Isthmus, <a href="#Page_259">259</a>;<ul><li> -god of contests, <a href="#Page_75">75</a>;</li><li> -pine sacred to, <a href="#Page_21">21</a>;</li><li> -sanctuary at Isthmus, <a href="#Page_21">21</a>;</li><li> -statue from Melos, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>;</li><li> -surnamed ἵππιος, at Sparta, <a href="#Page_362">362</a>.</li></ul></li><li> -<span class="pagenum"><a id="Page_399">399</a></span> - -Poses, of victor statues, found on various sculptured and painted works, <a href="#Page_44">44</a>;<ul><li> -general, of victor statues at rest, <a href="#Page_130">130f</a>.;</li><li> -general, of victor statues in motion, <a href="#Page_188">188f</a>.</li></ul></li><li> - -Poulsen, F., on the <i>Agias</i>, <a href="#Page_291">291</a>, note <a href="#Page_2">2</a>.</li><li> - -Prado, copy of <i>Diadoumenos</i> of Polykleitos in the, Madrid, <a href="#Page_153">153</a>.</li><li> - -Praisos, seal from, <a href="#Page_3">3</a>.</li><li> - -Praxidamas, wood statue at Olympia, <a href="#Page_106">106</a>, <a href="#Page_322">322</a>, <a href="#Page_326">326</a>, <a href="#Page_333">333</a>, <a href="#Page_337">337</a>, <a href="#Page_351">351</a>.</li><li> - -Praxiteles, sculptor, <a href="#Page_36">36</a>, <a href="#Page_80">80</a>;<ul><li> -the <i>Agias</i> of Lysippos influenced by, <a href="#Page_291">291</a>;</li><li> -art of, rooted in fifth century B. C., <a href="#Page_134">134</a>;</li><li> -as bronze worker, <a href="#Page_303">303</a>;</li><li> -delicate male types of, <a href="#Page_297">297</a>;</li><li> -hair technique of, <a href="#Page_53">53</a>;</li><li> -head-type of, <a href="#Page_77">77</a>, <a href="#Page_309">309</a>;</li><li> -Praxiteles and boy athlete head from Sparta, <a href="#Page_305">305</a>, <a href="#Page_311">311</a>;</li><li> -Praxiteles and Kalamis, chariot-group by, <a href="#Page_268">268</a>;</li><li> -Praxiteles and Philandridas head from Olympia, <a href="#Page_293">293</a>;</li><li> -Praxiteles and Skopas differentiated, <a href="#Page_311">311</a>;</li><li> -statue of a ψελιουμένη by, <a href="#Page_131">131</a>.</li></ul></li><li> - -Prayer, as motive in votive monuments, <a href="#Page_130">130</a>;<ul><li> -position of hands in Greek, <a href="#Page_132">132</a>;</li><li> -statue of youth represented in, from Carinthia, <a href="#Page_131">131</a>;</li><li> -statue of youth represented in, Berlin, <a href="#Page_131">131</a>;</li><li> -statuette of youth represented in, Metropolitan Museum, <a href="#Page_132">132</a>, <a href="#Page_133">133</a>.</li></ul></li><li> - -<i>Praying Boy</i>, the, statue so-called, in Berlin, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>.</li><li> - -Preuner, E., on inscription from statue base in Pharsalos, <a href="#Page_286">286</a>, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>, <a href="#Page_363">363</a>.</li><li> - -<i>Pristae</i>, by Myron, <a href="#Page_188">188</a>.</li><li> - -Prizes, on chest of Kypselos, <a href="#Page_13">13</a>;<ul><li> -at contests of beauty, <a href="#Page_57">57</a>;</li><li> -early athlete, <a href="#Page_18">18f</a>.;</li><li> -at games of Azan, <a href="#Page_9">9</a>;</li><li> -at games of Patroklos, <a href="#Page_19">19</a>.</li></ul></li><li> - -Processional entrance, the, of the Altis, <a href="#Page_347">347</a>.</li><li> - -Processional way, the, of the Altis, <a href="#Page_348">348</a>, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>.</li><li> - -Professionalism in athletics, at Olympia, <a href="#Page_361">361</a>;<ul><li> -protests against, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>.</li></ul></li><li> - -Profile, first example of Greek, <a href="#Page_116">116</a>.</li><li> - -Prokles, statue at Olympia, <a href="#Page_345">345</a>, <a href="#Page_346">346</a>.</li><li> - -Promachos, statues at Olympia and Pellene, <a href="#Page_31">31</a>, <a href="#Page_304">304</a>, <a href="#Page_323">323</a>, <a href="#Page_325">325</a>, <a href="#Page_326">326</a>, <a href="#Page_367">367</a>.</li><li> - -<i>Proportio</i>, in Greek art, <a href="#Page_66">66</a>.</li><li> - -Proportions, canons of, <a href="#Page_65">65f</a>.;<ul><li> -in Egyptian art, <a href="#Page_67">67</a>;</li><li> -Fritsch on, of body, <a href="#Page_67">67</a>;</li><li> -Kalkmann on, of face, <a href="#Page_67">67</a>.</li></ul></li><li> - -Prose writers, statues at Olympia, <a href="#Page_285">285</a>.</li><li> - -Protogenes, athlete painted by, <a href="#Page_29">29</a>.</li><li> - -Protolaos, statue at Olympia, <a href="#Page_179">179</a>, <a href="#Page_352">352</a>.</li><li> - -Prytaneion, the, in Athens, victors eat at public expense at, <a href="#Page_32">32</a>;<ul><li> -the, in Olympia, <a href="#Page_299">299</a>, <a href="#Page_342">342</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>, <a href="#Page_360">360</a>.</li></ul></li><li> - -Psammetichos, tyrant of Corinth, <a href="#Page_17">17</a>.</li><li> - -Pseudo-Andokides, <a href="#Page_363">363</a>.</li><li> - -Pseudo-Plutarch, on statue of Isokrates at Athens, <a href="#Page_24">24</a> and note 11, <a href="#Page_27">27</a> and note <a href="#Page_4">4</a>, <a href="#Page_281">281</a>, <a href="#Page_373">373</a>.</li><li> - -Ptoion, Mount, statues of “Apollo” from, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_334">334</a>;<ul><li> -tripods in temple of Apollo on, <a href="#Page_19">19</a>.</li></ul></li><li> - -Ptolemy, Gymnasion at Athens, <a href="#Page_166">166</a>.</li><li> - -Ptolichos, sculptor, <a href="#Page_61">61</a>, <a href="#Page_122">122</a>.</li><li> - -Puchstein, O., on location of Great Altar of Zeus at Olympia, <a href="#Page_349">349</a>. - -Pummeling, allowed in pankration, <a href="#Page_246">246</a>.</li><li> - -Pyanepsion, month of, <a href="#Page_18">18</a>.</li><li> - -Pyrilampes, statue at Olympia, <a href="#Page_343">343</a>, <a href="#Page_346">346</a>, <a href="#Page_353">353</a>.</li><li> - -Pythagoras, sculptor, <a href="#Page_138">138</a>, <a href="#Page_178">178f</a>., <a href="#Page_364">364</a>, <a href="#Page_375">375</a>;<ul><li> -dated by Pliny, <a href="#Page_61">61</a>;</li><li> -first to aim at rhythm and symmetry, <a href="#Page_67">67</a>, <a href="#Page_179">179</a>;</li><li> -first to express sinews and veins, <a href="#Page_138">138</a>;</li><li> -Pythagoras and <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_89">89</a>;</li><li> -Pythagoras and Delphi <i>Charioteer</i>, <a href="#Page_278">278</a>;</li><li> -Pythagoras and Myron, <a href="#Page_181">181</a>, <a href="#Page_245">245</a>;</li><li> -Pythagoras and Tux bronze, <a href="#Page_207">207</a>;</li><li> -statue of Delphic pancratiast by, <a href="#Page_26">26</a>, <a href="#Page_178">178</a>, <a href="#Page_182">182</a>;</li><li> -statue of <i>mala ferens nudus</i> by, <a href="#Page_107">107</a>;</li><li> -style of, <a href="#Page_179">179</a>;</li><li> -victor statues at Olympia, by, <a href="#Page_36">36</a>, <a href="#Page_62">62</a>, <a href="#Page_161">161</a>, <a href="#Page_178">178f</a>., <a href="#Page_268">268</a>.</li></ul></li><li> - -Pytheos, see Pythis. - -Pythes, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -<i>Pythia</i>, the, festival at Delphi, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>;<ul><li> -as athletic meet, inferior to Nemea and Isthmia, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>;</li><li> -as festival, second to Olympia, <a href="#Page_24">24</a>;</li><li> -in honor of the Python, <a href="#Page_10">10</a>;</li><li> -statue of victor at, in Athens, <a href="#Page_27">27</a>.</li><li> -See Delphi.</li></ul></li><li> - -Pythian air, played at pentathlon, <a href="#Page_88">88</a>, <a href="#Page_285">285</a>.</li><li> - -<i>Pythian Apollo</i>, the, statue of, <a href="#Page_330">330</a>, <a href="#Page_334">334</a>.</li><li> - -Pythis, or Pytheos, architect, <a href="#Page_264">264</a>.</li><li> - -Python, the, at Delphi, <a href="#Page_10">10</a>, <a href="#Page_25">25</a>.</li><li> - -Pythokles, replicas of statues of, <a href="#Page_212">212f</a>.;<ul><li> -statue of, at Olympia, <a href="#Page_93">93</a>, <a href="#Page_117">117</a>, <a href="#Page_159">159</a> and note 3, <a href="#Page_211">211</a>, <a href="#Page_212">212</a>, <a href="#Page_343">343</a>.</li></ul></li><li> - -Pythokritos, flutist, honor statue at Olympia, <a href="#Page_42">42</a>, <a href="#Page_285">285</a>, <a href="#Page_352">352</a>.</li><li> - -Pythokritos, sculptor, <a href="#Page_244">244</a>.</li><li> - -Pyxis, from Knossos, <a href="#Page_7">7</a>.</li><li> - -<i>Quadrigae</i>, mentioned by Pliny, <a href="#Page_264">264</a>.<ul><li> -See Chariot-race.</li></ul></li><li> - -Quatremère de Quincy, on <i>Borghese Warrior</i>, <a href="#Page_208">208</a>.</li><li> - -“Quiet grandeur” (<i>stille Grosse</i>) of Greek Art, <a href="#Page_57">57</a>.</li><li> - -Quintilian, on art, <a href="#Page_61">61</a>;<ul><li> -on the <i>Doryphoros</i> of Polykleitos, <a href="#Page_70">70</a>, <a href="#Page_226">226</a>;</li><li> -on the <i>Diskobolos</i> of Myron, <a href="#Page_187">187</a>.</li></ul></li><li> - -Quintus Smyrnæus, on jumping among the Trojans, <a href="#Page_214">214</a>.</li><li> - -Quiver, on Torlonia copy of the <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_89">89</a>.</li><li> - -Quoit; see Diskos. - -<i>Ram-offerer</i>, statue by Naukydes, <a href="#Page_78">78</a>.</li><li> - -Rampin head, of Louvre, <a href="#Page_126">126</a>, <a href="#Page_128">128</a>, <a href="#Page_176">176</a>;<ul><li> -hair technique of, <a href="#Page_53">53</a>.</li></ul></li><li> - -Ra-nefer, limestone statue in Cairo, <a href="#Page_330">330</a>.</li><li> - -Rayet, on <i>Borghese Warrior</i>, <a href="#Page_208">208</a>.</li><li> - -Rayet-Jacobsen head, so-called, in Copenhagen, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, <a href="#Page_167">167</a>, <a href="#Page_337">337</a>.</li><li> - -Realism in Greek art, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_146">146f</a>.;<ul><li> -in Greek portraiture, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>.</li></ul></li><li> - -Reconstruction of Olympic victor statues, <a href="#Page_43">43f</a>. - -Reinach, S., on bronze statue of youth from Antikythera, <a href="#Page_83">83</a>;<ul><li> -on stone statues being placed under cover, <a href="#Page_325">325</a>.</li></ul></li><li> - -Reinach, Th., on bronze statue of youth found in sea off Antikythera, <a href="#Page_81">81</a>.</li><li> - -Reisch, E., on javelin-throwers in sculpture, <a href="#Page_224">224</a>;<ul><li> -on Pliny’s <i>puer tenens tabellam</i> and <i>malaferens nudus</i>, <a href="#Page_181">181</a>;</li><li> -<span class="pagenum"><a id="Page_400">400</a></span> -on statue of Euthymos at Olympia, <a href="#Page_183">183</a>;</li><li> -on votive character of Olympic victor statues, <a href="#Page_39">39</a>.</li></ul></li><li> - -Reliefs, of akontistai, from Sparta, <a href="#Page_223">223</a>;<ul><li> -Amphiaraos, <a href="#Page_273">273</a>;</li><li> -<i>apobates</i> chariot race, <a href="#Page_272">272</a>;</li><li> -Apollo, Artemis, and Leto, in Louvre, <a href="#Page_284">284</a>;</li><li> -Aristion, <a href="#Page_124">124</a>, <a href="#Page_127">127</a>;</li><li> -Boreas, in Metropolitan Museum, <a href="#Page_194">194</a>;</li><li> -boxers, in Lateran, <a href="#Page_238">238</a>;</li><li> -boy crowning self, <a href="#Page_155">155</a>;</li><li> -boxer, on bronze shield, from Mount Ida, Crete, <a href="#Page_235">235</a>;</li><li> -cap, in Rome, <a href="#Page_166">166</a>;</li><li> -charioteer, from Akropolis, <a href="#Page_128">128</a>;</li><li> -charioteer mounting chariot, <a href="#Page_269">269</a>;</li><li> -chariots, from Crete, <a href="#Page_262">262</a>;</li><li> -Dermys and Kitylos, from Tanagra, <a href="#Page_335">335</a>;</li><li> -Dioskouroi, set up by Aischylos, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>;</li><li> -Dioskouroi, in London, <a href="#Page_97">97</a>;</li><li> -from Dipylon, <a href="#Page_156">156</a>;</li><li> -diskobolos, from Dipylon, <a href="#Page_127">127</a>;</li><li> -dying hoplite, from Athens, <a href="#Page_194">194</a>, <a href="#Page_209">209</a>;</li><li> -four-horse chariot, <a href="#Page_268">268</a>, <a href="#Page_269">269</a>;</li><li> -funerary, from Tanagra, <a href="#Page_72">72</a>;</li><li> -funerary, from Athens, <a href="#Page_66">66</a>;</li><li> -from Halimous, <a href="#Page_249">249</a>;</li><li> -Hermes, fragment from Athens, <a href="#Page_270">270</a>;</li><li> -hoplite runners, from Tarentum, <a href="#Page_96">96</a>;</li><li> -horse crowned by Nike, from Athens, <a href="#Page_269">269</a>;</li><li> -horseman, from Athens, <a href="#Page_281">281</a>;</li><li> -horse-racer, from Sicily, <a href="#Page_281">281</a>;</li><li> -horse-racer from Thera, <a href="#Page_281">281</a>;</li><li> -horse-racer leading horse, from Athens, <a href="#Page_281">281</a>;</li><li> -jumping-weights, from Sparta, <a href="#Page_164">164</a>;</li><li> -from Klazomenai, <a href="#Page_264">264</a>, <a href="#Page_268">268</a>;</li><li> -from Kleitor, <a href="#Page_132">132</a>;</li><li> -from Knossos, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>;</li><li> -from Lamia, <a href="#Page_132">132</a>;</li><li> -from Loeb collection, Munich, <a href="#Page_194">194</a>;</li><li> -from Nemea, <a href="#Page_132">132</a>;</li><li> -palæstra victor, from Delphi, <a href="#Page_138">138</a>;</li><li> -in honor of Pamphilos and Alexandros, in Verona, <a href="#Page_97">97</a>;</li><li> -showing poses of victor statues, <a href="#Page_44">44</a>;</li><li> -as victor monuments, <a href="#Page_28">28</a>;</li><li> -war-chariots, from Mycenæ, <a href="#Page_262">262</a>.</li></ul></li><li> - -Religion and Greek athletics, <a href="#Page_14">14</a>.</li><li> - -Remnants of victor statues at Olympia, <a href="#Page_43">43</a>.</li><li> - -Renaissance, the, <a href="#Page_4">4</a>;<ul><li> -bronze copies of <i>Spinario</i> from period of, <a href="#Page_202">202</a>.</li></ul></li><li> - -“Repose” of Greek art, <a href="#Page_57">57</a>.</li><li> - -“Rest” leg, motive in sculpture, <a href="#Page_109">109</a>.</li><li> - -Resting after contest, athletic motive, <a href="#Page_144">144</a>.</li><li> - -Rewards, money, of victors at Athens, <a href="#Page_32">32</a>.</li><li> - -Rhamnous, the <i>Nemesis</i> of Agorakritos at, <a href="#Page_182">182</a>.</li><li> - -Rhegion, Anaxilas, tyrant of, <a href="#Page_278">278</a>;<ul><li> -coins of, showing mule-car, <a href="#Page_263">263</a>.</li></ul></li><li> - -<i>Rhetoric</i>, the, of Aristotle, <a href="#Page_58">58</a>;<ul><li> -inscribed base of Olympic victor mentioned in, <a href="#Page_367">367</a>.</li></ul></li><li> - -Rhexibios, wood statue at Olympia, <a href="#Page_106">106</a>, <a href="#Page_332">332</a>, <a href="#Page_326">326</a>, <a href="#Page_337">337</a>, <a href="#Page_351">351</a>;<ul><li> -wrongly called oldest at Olympia by Pausanias, <a href="#Page_333">333</a>.</li></ul></li><li> - -Rhodes, scene of fighting combatants, in art of, <a href="#Page_178">178</a>;<ul><li> -tripods in honor of Dionysos at, <a href="#Page_19">19</a>;</li><li> -<i>Zan</i> at Olympia, set up by, <a href="#Page_34">34</a>.</li></ul></li><li> - -Rhoikos, bronze founder, date of, <a href="#Page_321">321</a>;<ul><li> -family of, <a href="#Page_330">330</a>.</li><li> -See also Telekles and Theodoros.</li></ul></li><li> - -Rhouphos, Klaudios (Rufus, Claudius), statue in Rome, <a href="#Page_371">371</a>.</li><li> - -Rhythm, definition of, <a href="#Page_66">66</a>;<ul><li> -in Greek Art, <a href="#Page_66">66</a>.</li></ul></li><li> - -Riccardi head, <a href="#Page_169">169</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_183">183</a>.</li><li> - -Richardson, R. B., on bronze head from Akropolis, <a href="#Page_114">114</a>;<ul><li> -on <i>Farnese Herakles</i>, <a href="#Page_253">253</a>, <a href="#Page_254">254</a>.</li></ul></li><li> - -Richter, G., on statuette of diskobolos in Metropolitan Museum, <a href="#Page_220">220</a> and note 5. - -Ridder, A. de, on Tux bronze, <a href="#Page_207">207</a>;<ul><li> -on two statuettes of diskoboloi from Akropolis, <a href="#Page_221">221</a>, <a href="#Page_222">222</a>.</li></ul></li><li> - -Robert, C., on <i>Diadoumenos</i> of Pheidias, <a href="#Page_150">150f</a>.;<ul><li> -on date of victor Kyniskos, <a href="#Page_160">160</a>.</li></ul></li><li> - -Robinson, D. M., <a href="#Page_267">267</a>.</li><li> - -Robinson, E., on <i>Charioteer</i> (?), in Boston, <a href="#Page_275">275</a>;<ul><li> -on head of Hermes, in Boston, <a href="#Page_85">85</a>; etc.</li></ul></li><li> - -Roehl, H., on inscription referred to statue of Milo, <a href="#Page_38">38</a>.</li><li> - -Roman copies of victor statues, on, <a href="#Page_44">44</a>;<ul><li> -no copy proved to be of victor statue, <a href="#Page_160">160</a>;</li><li> -on Roman patrons of art, <a href="#Page_44">44</a>.</li></ul></li><li> - -Ross, L., on inscribed base from statue of Epicharinos, <a href="#Page_372">372</a>.</li><li> - -Rothschild, E. de, bronze copy of <i>Spinario</i>, in Paris collection of, <a href="#Page_202">202</a>.</li><li> - -Rouse, W. D., on votive character of victor statues at Olympia, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>.</li><li> - -Routes, of Pausanias in the Altis; see <i>Ephodoi</i>. - -Runners, difference in style of various, shown by vase-paintings, <a href="#Page_193">193</a>, <a href="#Page_194">194</a>;<ul><li> -on Panathenaic amphoræ, <a href="#Page_106">106</a>, <a href="#Page_194">194</a>;</li><li> -represented as running with bent knee, <a href="#Page_194">194</a>;</li><li> -statues of boy, <a href="#Page_200">200f</a>.;</li><li> -statues of, from Velletri, in Rome, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>;</li><li> -statues of, without special attributes, <a href="#Page_170">170</a>.</li></ul></li><li> - -Running race (δρόμος), various kinds of, <a href="#Page_190">190f</a>.;<ul><li> -in mythology, <a href="#Page_190">190</a>;</li><li> -number of victors in, named by Pausanias, <a href="#Page_193">193</a>;</li><li> -origin of, at Eleusis, <a href="#Page_190">190</a>;</li><li> -part of all Greek games and exercises, <a href="#Page_190">190</a>.</li><li> -See Double foot-race, Hoplite-race, Long race, Stade-race.</li></ul></li><li> - -Sabouroff collection, head from, <a href="#Page_128">128</a>.</li><li> - -Sacred war, the, <a href="#Page_17">17</a>.</li><li> - -Sakadas, flutist, statue of, <a href="#Page_284">284</a>.</li><li> - -Salamis, Aeginetans at battle of, <a href="#Page_125">125</a>;<ul><li> -date of battle of, <a href="#Page_125">125</a>.</li></ul></li><li> - -Salis, A. von, on statue from Olympieion, <a href="#Page_143">143</a>.</li><li> - -Salutation, attitude of, to a divinity, in statuette in Metropolitan Museum, <a href="#Page_133">133</a>.</li><li> - -<i>Sandal-binder</i>, statue of, so-called, with copies, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>.</li><li> - -Sandal-binding, motive of, originates with Lysippos, <a href="#Page_86">86</a>.</li><li> - -Sandals, worn by charioteers, <a href="#Page_48">48</a>.</li><li> - -Santa Marinella, statue from, in Fogg Art Museum, Cambridge, Mass., <a href="#Page_314">314</a>.</li><li> - -Sarapion, flees adversary and is fined, <a href="#Page_34">34</a>;<ul><li> -two statues in Elis, <a href="#Page_370">370</a>.</li></ul></li><li> - -<i>Satrap Sarcophagus</i>, so-called, in Constantinople, <a href="#Page_276">276</a>.</li><li> - -<i>Satyr</i>, of Praxiteles, called <i>Periboëtos</i>, <a href="#Page_144">144</a>;<ul><li> -statue of, in Dresden, <a href="#Page_144">144</a>.</li></ul></li><li> - -Sawyers (?) (<i>pristae</i>), group by Myron, <a href="#Page_188">188</a>.</li><li> - -Scarab, chalcedony, in British Museum, <a href="#Page_138">138</a>.</li><li> - -Schaefer, A., on statue of Kylon on Akropolis, <a href="#Page_362">362</a>.</li><li> - -Scherer, Chr., on exclusive use of bronze in Olympic victor statues, <a href="#Page_321">321</a>;<ul><li> -on “iconic” statues of Pliny, <a href="#Page_54">54</a>;</li><li> -on Milo’s statue at Olympia, <a href="#Page_107">107</a>;</li><li> -on positions of victor statues at Olympia, <a href="#Page_340">340</a>.</li></ul></li><li> - -Scheria, games on, <a href="#Page_210">210</a>.</li><li> - -Schnaase, on <i>Farnese Herakles</i>, <a href="#Page_253">253</a>.</li><li> -<span class="pagenum"><a id="Page_401">401</a></span> - -Schober, A., on Perinthos and allied heads, <a href="#Page_181">181</a>.</li><li> - -Schoell, R., on votive character of victor monuments, <a href="#Page_39">39</a>.</li><li> - -Scholiasts, statements of, on victor statues at Olympia, <a href="#Page_43">43</a>.</li><li> - -Schrader, H., on Attic relief from the Akropolis, <a href="#Page_271">271</a>.</li><li> - -Schreiber, T., on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_90">90</a>.</li><li> - -Schwabe, L., on Tux bronze, <a href="#Page_207">207</a>.</li><li> - -Sciarra bronze, statuette so-called, in Rome, <a href="#Page_119">119</a>.</li><li> - -Scraper; see Strigil. - -Sculptors, of Olympic victor statues, <a href="#Page_36">36</a>;<ul><li> -statistics of, <a href="#Page_375">375</a>.</li></ul></li><li> - -<i>Sculptura</i>, definition of, from Pliny, <a href="#Page_302">302</a>.</li><li> - -Sculpture, Greek, after Persian Wars, <a href="#Page_278">278</a>;<ul><li> -ancient criticism of, <a href="#Page_58">58f</a>.;</li><li> -evolution of, on traditional lines, <a href="#Page_67">67</a>;</li><li> -knowledge of, necessary in reconstructing Olympic victor statues, <a href="#Page_44">44</a>.</li></ul></li><li> - -Sea-monsters (?) (<i>pristes</i>), group by Myron, <a href="#Page_188">188</a>.</li><li> - -Seasons, altar at Olympia, <a href="#Page_351">351</a>.</li><li> - -<i>Seated Boxer</i>, statue of the, in Museo delle Terme, Rome, <a href="#Page_145">145f</a>., <a href="#Page_168">168</a>;<ul><li> -realism of, <a href="#Page_57">57</a>, <a href="#Page_254">254</a>.</li></ul></li><li> - -See-saw (?) (<i>pristae</i>?), group by Myron, <a href="#Page_188">188</a>.</li><li> - -Seleados, base of statue at Olympia, <a href="#Page_346">346</a>.</li><li> - -Seleukos I, date of founding Antioch by, <a href="#Page_121">121</a>.</li><li> - -Selinos, coins of, showing celery wreath, <a href="#Page_21">21</a>;<ul><li> -temple E at, <a href="#Page_114">114</a>.</li></ul></li><li> - -Sellers, Eugénie; see Strong, Mrs. Eugénie. - -Selling out, examples at Olympia, <a href="#Page_33">33</a>.</li><li> - -Seraglio, Old, manuscript from the, <a href="#Page_258">258</a>.</li><li> - -Serambos, sculptor, <a href="#Page_123">123</a>.</li><li> - -Shadow-fighting; see Sparring. - -<i>Sheik-el-Beled</i>, the; see Ka-aper, statue of. - -Shield, as attribute of hoplitodromoi, <a href="#Page_161">161</a>;<ul><li> -as prize at Argive <i>Heraia</i>, <a href="#Page_21">21</a>;</li><li> -25 bronze ones kept in temple of Zeus for Olympic hoplite runners, <a href="#Page_22">22</a>.</li></ul></li><li> - -Siamese, funeral games among, <a href="#Page_12">12</a>.</li><li> - -Sicily, cities of, honor victors, <a href="#Page_35">35</a>;<ul><li> -coins of, showing racing chariots, <a href="#Page_262">262</a>, <a href="#Page_263">263</a>;</li><li> -Greeks of, fond of hippodrome contests, <a href="#Page_258">258</a>;</li><li> -princes of, as victors at Olympia, <a href="#Page_357">357</a>;</li><li> -school of sculpture of, <a href="#Page_114">114</a>.</li></ul></li><li> - -Sidon, <i>Alexander Sarcophagus</i> from, in Constantinople, <a href="#Page_275">275</a>;<ul><li> -<i>Satrap Sarcophagus</i> from, in Constantinople, <a href="#Page_276">276</a>.</li></ul></li><li> - -Sikyon, athletic school of sculptors from, <a href="#Page_58">58</a>, <a href="#Page_118">118f</a>.</li><li> - -Sikyonians, treasury of, at Olympia, <a href="#Page_41">41</a>, <a href="#Page_265">265</a>.</li><li> - -Silanion, sculptor, <a href="#Page_129">129</a>.</li><li> - -Silver bowl, as prize at games of Patroklos, <a href="#Page_19">19</a>;<ul><li> -silver cups, as prizes at Sikyonian Pythian games, <a href="#Page_20">20</a>.</li></ul></li><li> - -Simon, sculptor, <a href="#Page_264">264</a>, <a href="#Page_268">268</a>.</li><li> - -Simonides, of Keos, <a href="#Page_36">36</a>, <a href="#Page_47">47</a>, <a href="#Page_210">210</a>.</li><li> - -Singing, competition in, at Delphi, <a href="#Page_25">25</a>.</li><li> - -Single-combat, between Ajax and Diomedes, in Iliad, <a href="#Page_8">8</a>.</li><li> - -Six, J., on <i>Borghese Warrior</i>, <a href="#Page_208">208</a>;<ul><li> -on statue of Hermolykos on Akropolis, <a href="#Page_373">373</a>.</li></ul></li><li> - -Size of victor statues, <a href="#Page_45">45f</a>. - -<i>Skenoma</i> (Σκήνωμα), the, at Sparta, <a href="#Page_367">367</a>.</li><li> - -Skopas, sculptor, <a href="#Page_36">36</a>;<ul><li> -characteristics of, <a href="#Page_311">311</a>;</li><li> -head in style of, in Capitoline Museum, Rome, <a href="#Page_169">169</a>;</li><li> -head-type of, <a href="#Page_77">77</a>;</li><li> -influence on the <i>Agias</i>, <a href="#Page_291">291</a>;</li><li> -intense expression of, <a href="#Page_307">307</a>;</li><li> -Kallistratos on, <a href="#Page_309">309</a>;</li><li> -knowledge of, recently augmented, <a href="#Page_286">286</a>;</li><li> -as master of expression of passion, <a href="#Page_309">309</a>;</li><li> -Philandridas head wrongly ascribed to, <a href="#Page_293">293</a>;</li><li> -Skopas and boy athlete head from Sparta, <a href="#Page_305">305</a>;</li><li> -Skopas and Lysippos compared, <a href="#Page_311">311f</a>., <a href="#Page_315">315</a>;</li><li> -style of, from Tegea heads, <a href="#Page_306">306</a>.</li></ul></li><li> - -Skripou, convent of, <a href="#Page_334">334</a>.</li><li> - -Skyllis, sculptor, <a href="#Page_122">122</a>, <a href="#Page_334">334</a>.<ul><li> -See also Dipoinos.</li></ul></li><li> - -Skyros, <a href="#Page_18">18</a>.</li><li> - -Slings for diskoi, on r.-f. vase, <a href="#Page_164">164</a>.</li><li> - -Smikythos; see Mikythos. - -Smile, in archaic sculpture, <a href="#Page_100">100</a>, <a href="#Page_126">126</a>.</li><li> - -Smith, A. H., on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>;<ul><li> -on athlete statue from Palazzo Farnese, Rome, in British Museum, <a href="#Page_293">293</a>.</li></ul></li><li> - -Snail-volute, hair technique, <a href="#Page_53">53</a>.</li><li> - -<i>Snatcher</i>, the, from East gable, temple of Aegina, <a href="#Page_125">125</a>.</li><li> - -Sodamas, statue at Olympia, <a href="#Page_354">354</a>.</li><li> - -Sogliano, A., on boxer statue from Sorrento, <a href="#Page_243">243</a>.</li><li> - -Sokrates, philosopher, condemns “mimetic” arts, <a href="#Page_58">58</a>;<ul><li> -on physical development of runners and boxers, <a href="#Page_59">59</a>;</li><li> -visit of, to sculptor Kleito, <a href="#Page_59">59</a>.</li></ul></li><li> - -Sokrates, victor; see Sosikrates. - -Solon, assigns money prizes to Olympic and Isthmian victors, <a href="#Page_25">25</a>, <a href="#Page_32">32</a>.</li><li> - -<i>Solos</i>, throwing of, in Iliad, <a href="#Page_8">8</a>;<ul><li> -as type of diskos, <a href="#Page_218">218</a>.</li></ul></li><li> - -Somzée Collection, athlete from the, <a href="#Page_176">176</a>, <a href="#Page_251">251</a>.</li><li> - -Songs, in honor of victors, <a href="#Page_34">34</a>.</li><li> - -Sophios, statue at Olympia, <a href="#Page_299">299</a>, <a href="#Page_342">342</a>.</li><li> - -Sophokles, <i>Trachiniae</i> of, <a href="#Page_318">318</a>.</li><li> - -Sorrento, statue of boxer from, by Koblanos, <a href="#Page_242">242</a>.</li><li> - -Sosikrates (or Sokrates), victor statue of, at Olympia, <a href="#Page_200">200</a>, <a href="#Page_344">344</a>.</li><li> - -Sostratos, dates of Olympic victories of, <a href="#Page_300">300</a>;<ul><li> -inscribed base from statue, at Delphi, <a href="#Page_249">249</a>;</li><li> -statue at Olympia, <a href="#Page_55">55</a>;</li><li> -surnamed ἀκροχερσίτης, <a href="#Page_248">248</a>, <a href="#Page_249">249</a>.</li></ul></li><li> - -Sotades, Olympic victor, bribed and exiled, <a href="#Page_33">33</a>.</li><li> - -Southeast Building, the, at Olympia, <a href="#Page_344">344</a>.</li><li> - -Sparring, preliminary, called ἀκροχερισμός in boxing and pankration, <a href="#Page_248">248</a> and note <a href="#Page_4">4</a>;<ul><li> -depicted on Ficoroni cista in Rome, <a href="#Page_243">243</a>;</li><li> -depicted on Peter cista in Rome, <a href="#Page_243">243</a>;</li><li> -as motive of boxer statues, <a href="#Page_243">243</a>;</li><li> -as motive of statuette of boxer in Vatican, <a href="#Page_243">243</a>;</li><li> -as motive of marble torso in Berlin, <a href="#Page_243">243</a>;</li><li> -preliminary in pankration, <a href="#Page_248">248</a>;</li><li> -called σκιαμαχεῖν (to shadow-fight), in boxing, <a href="#Page_122">122</a>, <a href="#Page_243">243</a> and note 4.</li></ul></li><li> - -Sparta, Akropolis, of, <a href="#Page_305">305</a>;<ul><li> -<i>Dionysia</i> at, <a href="#Page_50">50</a>;</li><li> -Δρόμος at, <a href="#Page_309">309</a>;</li><li> -funeral games at, in honor of Leonidas and Pausanias, <a href="#Page_11">11</a>;</li><li> -head of statue of boy from, <a href="#Page_305">305f</a>.;</li><li> -Σκήνωμα at, <a href="#Page_367">367</a>.</li></ul></li><li> - -Spartans, allow biting and gouging in pankration, <a href="#Page_246">246</a>;<ul><li> -ball-playing among, <a href="#Page_84">84</a>;</li><li> -as boxers, <a href="#Page_167">167</a>;</li><li> -boxing of, in Plato, <a href="#Page_167">167</a>;</li><li> -excluded from Olympia on certain Olympiads, <a href="#Page_31">31</a>;</li><li> -girls contest with boys, <a href="#Page_49">49</a>;</li><li> -physical exercise among, <a href="#Page_1">1</a>;</li><li> -sacrifice to Apollo the Runner, <a href="#Page_88">88</a>;</li><li> -<span class="pagenum"><a id="Page_402">402</a></span> -youths dedicate offerings to Eros in contest of beauty, <a href="#Page_57">57</a>.</li></ul></li><li> - -Spear, casting of, at games of Patroklos, <a href="#Page_8">8</a>.</li><li> - -Sphairians (σφαιρεῖς), title of Spartan youths, <a href="#Page_84">84</a>, <a href="#Page_319">319</a>.</li><li> - -<i>Spinario</i>, the, statue in Rome, <a href="#Page_201">201f</a>.;<ul><li> -as example of asymmetry, <a href="#Page_70">70</a>;</li><li> -imitations of original of, <a href="#Page_202">202</a>.</li></ul></li><li> - -<i>Splanchnoptes</i>, statue of, by Styphax, <a href="#Page_143">143</a>.</li><li> - -Sponges, shown on r.-f. kylix, <a href="#Page_164">164</a>.</li><li> - -Springboard, not used in Greek jumping, <a href="#Page_216">216</a>.</li><li> - -Stackelberg, O. von, traveling journal of, <a href="#Page_286">286</a>, <a href="#Page_366">366</a>.</li><li> - -Stade-race (δρόμος, στάδιον), <a href="#Page_190">190f</a>.;<ul><li> -first event at Olympia and at the <i>Panathenaia</i>, <a href="#Page_191">191</a>;</li><li> -for boys, introduced at Olympia, <a href="#Page_191">191</a>;</li><li> -the oldest (?) event at Olympia, <a href="#Page_191">191</a>;</li><li> -victor in, eponymous at Olympia, <a href="#Page_37">37</a>;</li><li> -wrongly regarded as chief event at Olympia, <a href="#Page_191">191</a>.</li></ul></li><li> - -Stadia, absent in Homer, <a href="#Page_7">7</a>.</li><li> - -Stadion, the, at Olympia, <a href="#Page_258">258</a>, <a href="#Page_359">359</a>, <a href="#Page_360">360</a>.</li><li> - -Staïs, V., on <i>Hermes of Andros</i>, <a href="#Page_71">71</a>;<ul><li> -on two statuettes of diskoboloi from Akropolis, <a href="#Page_221">221</a>, <a href="#Page_222">222</a>.</li></ul></li><li> - -Stamnos, r.-f., from Etruria, in Vienna, <a href="#Page_132">132</a>.</li><li> - -Standard of physical development uniform in fifth century B. C., <a href="#Page_147">147f</a>. - -<i>Standing Diskobolos</i>, the statue in Vatican, <a href="#Page_76">76f</a>.;<ul><li> -pose of, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>;</li><li> -replica of, <a href="#Page_77">77</a>.</li></ul></li><li> - -<i>Standing Hermes</i>, the, statue in Vatican, <a href="#Page_72">72</a>.</li><li> - -“<i>Stand-motif</i>,” Polykleitan, <a href="#Page_82">82</a>.</li><li> - -“Starters of the race,” epithets of Kastor and Polydeukes at Sparta, <a href="#Page_96">96</a>.</li><li> - -Stassoff, on supposed Oriental origin of javelin-throwing, <a href="#Page_222">222</a>.</li><li> - -Statuettes, of ivory acrobats, from Knossos, <a href="#Page_3">3</a>;<ul><li> -akontistai, two bronze, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>;</li><li> -Apollo, from Naxos, in Berlin, <a href="#Page_74">74</a>, <a href="#Page_119">119</a>;</li><li> -Apollo (Payne Knight), in British Museum, <a href="#Page_108">108</a>, <a href="#Page_119">119</a>;</li><li> -Apollo, from Piombino, in Louvre, <a href="#Page_118">118</a>;</li><li> -Apollo, from Palazzo Sciarra, Rome, <a href="#Page_119">119</a>;</li><li> -apoxyomenos, in Loeb collection, Munich, <a href="#Page_136">136</a>;</li><li> -athlete, archaic, from Delphi, <a href="#Page_28">28</a>;</li><li> -athlete, from Ligourió, <a href="#Page_105">105</a>, <a href="#Page_111">111</a>, <a href="#Page_114">114</a>;</li><li> -athlete, in Louvre, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>;</li><li> -boxer, from Akropolis, <a href="#Page_28">28</a>;</li><li> -boxer, from Corfu, in British Museum, <a href="#Page_96">96</a>;</li><li> -boxer, from Olympia, <a href="#Page_28">28</a>, <a href="#Page_244">244</a>;</li><li> -boxer, in Vatican Museum, <a href="#Page_243">243</a>;</li><li> -diadoumenos, terra cotta from Smyrna, in London, <a href="#Page_154">154</a>;</li><li> -diadoumenos, from Akropolis, <a href="#Page_155">155</a>;</li><li> -diskoboloi, <a href="#Page_28">28</a>, <a href="#Page_218">218f</a>.;</li><li> -diskoboloi, two bronze, from Akropolis, <a href="#Page_222">222</a>;</li><li> -diskoboloi, group in Loeb collection, Munich <a href="#Page_232">232</a>, <a href="#Page_233">233</a>;</li><li> -diskobolos, in Berlin, <a href="#Page_221">221</a>;</li><li> -diskobolos, in British Museum, <a href="#Page_221">221</a>;</li><li> -diskobolos, from cover of lebes, in British Museum, <a href="#Page_221">221</a>;</li><li> -diskobolos, from the Kabeirion, <a href="#Page_28">28</a>;</li><li> -diskobolos, in Metropolitan Museum, <a href="#Page_220">220</a>, <a href="#Page_221">221</a>;</li><li> -girl runner, from Dodona, <a href="#Page_28">28</a>;</li><li> -girl extracting thorn, terra cotta from Nida-Haddernheim, <a href="#Page_202">202</a>;</li><li> -Herakles or victor, in Berlin, <a href="#Page_96">96</a>;</li><li> -Herakles, or victors, in British Museum, <a href="#Page_96">96</a>;</li><li> -<i>Hermes Diskobolos</i>, from sea off Antikythera, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>;</li><li> -hoplitodrome, from Capua, in Vienna, <a href="#Page_207">207</a>;</li><li> -hoplitodrome, Tux bronze, in Tuebingen, <a href="#Page_28">28</a>;</li><li> -horse-racer, from Dodona, <a href="#Page_28">28</a>, <a href="#Page_281">281</a>;</li><li> -horse-racer, in Loeb collection, Munich, <a href="#Page_282">282</a>;</li><li> -horse-racer, from Volubilis, <a href="#Page_281">281</a>;</li><li> -horse-racers, from Olympia, <a href="#Page_24">24</a>;</li><li> -oil-pourer, from S. Italy, in British Museum, <a href="#Page_135">135</a>;</li><li> -oil-pourers, terra cottas from Myrina, <a href="#Page_135">135</a>;</li><li> -pancratiast, from Autun, in Louvre, <a href="#Page_249">249f</a>.;</li><li> -praying boys, two bronze, in Metropolitan Museum, <a href="#Page_132">132</a>, <a href="#Page_133">133</a>;</li><li> -sacrificer, from Dodona, <a href="#Page_143">143</a>;</li><li> -trumpeter, from Sparta, <a href="#Page_283">283</a>;</li><li> -warrior, from Dodona, <a href="#Page_126">126</a>;</li><li> -wrestlers, group from Akropolis, <a href="#Page_28">28</a>;</li><li> -wrestlers, group in Loeb Collection, Munich, <a href="#Page_232">232</a>;</li><li> -statuettes in motion, from Egyptian art, <a href="#Page_177">177</a>;</li><li> -in Paris and Rome, showing motive of statue of Xenokles, <a href="#Page_138">138</a>, <a href="#Page_139">139</a>.</li></ul></li><li> - -Stelæ, in honor of victors, <a href="#Page_40">40</a>.</li><li> - -Stephanos, sculptor, statue by, <a href="#Page_111">111f</a>. - -“Stolid” group of so-called “Apollo” statues, <a href="#Page_100">100</a>.</li><li> - -Stomach throw, in pankration, <a href="#Page_247">247</a>.</li><li> - -Stomios, famous pentathlete, <a href="#Page_59">59</a>;<ul><li> -statue of, at Olympia, <a href="#Page_42">42</a>.</li></ul></li><li> - -Stone, used in Olympic victor statues, <a href="#Page_323">323f</a>. - -Strabo, on origin of Olympic games, <a href="#Page_15">15</a>.</li><li> - -<i>Strangford Apollo</i>, the, statue in British Museum, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_123">123</a>, <a href="#Page_244">244</a>.</li><li> - -Strangling, allowed in pankration, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>.</li><li> - -Straton, Olympic victor, <a href="#Page_34">34</a>, <a href="#Page_93">93</a>.</li><li> - -Strigil, or scraper (στλεγγίς), used by athletes as a common palæstra attribute, <a href="#Page_135">135</a>, <a href="#Page_138">138</a>, <a href="#Page_288">288</a>.</li><li> - -Stroganoff, statuette formerly in Collection, <a href="#Page_166">166</a>.</li><li> - -Strong, Mrs. Eugénie (<i>née</i> Sellers), on Apollo head, in British Museum, <a href="#Page_92">92</a>;<ul><li> -on Beneventum head, in Louvre, <a href="#Page_63">63</a>.</li></ul></li><li> - -Studniczka, F., on the gable statues from Olympia, <a href="#Page_114">114</a>;<ul><li> -on the <i>Idolino</i>, <a href="#Page_141">141</a>;</li><li> -on statues of Theagenes, <a href="#Page_364">364</a>.</li></ul></li><li> - -Styphax (or Styppax), sculptor, <a href="#Page_143">143</a>.</li><li> - -Subiaco, statue of kneeling youth from, <a href="#Page_195">195</a>;<ul><li> -date and interpretation of, <a href="#Page_195">195</a>, <a href="#Page_196">196</a>.</li></ul></li><li> - -Succession, contests of, as explanation of funerary games, <a href="#Page_14">14</a>.</li><li> - -<i>Suedwestbau</i>; see Leonidaion. - -Svoronos, J. N., on bronze arm found in sea off Antikythera, <a href="#Page_236">236</a>;<ul><li> -on bronze statue of youth found in sea off Antikythera, <a href="#Page_83">83</a>;</li><li> -on bronze statuette found in sea off Antikythera, <a href="#Page_79">79</a>;</li><li> -on Delphi <i>Charioteer</i>, <a href="#Page_277">277</a>;</li><li> -on dying hoplite relief, from Athens, <a href="#Page_209">209</a>;</li><li> -on the <i>Idolino</i>, <a href="#Page_142">142</a>.</li></ul></li><li> - -Swollen ear, as attribute of victor statues, <a href="#Page_167">167f</a>.;<ul><li> -not a determining distinction between heads of athletes and Herakles, <a href="#Page_297">297</a>, <a href="#Page_319">319</a>, <a href="#Page_320">320</a>;</li><li> -on various heads of athletes, gods, and heroes, <a href="#Page_168">168f</a>.</li></ul></li><li> - -Symmachos, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_342">342</a>.</li><li> - -Symmetry, in Greek art, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>;<ul><li> -Pliny and Vitruvius on, <a href="#Page_66">66</a>.</li></ul></li><li> - -<i>Symplegma</i>, group representing a, by Kephisodotos, <a href="#Page_252">252</a>.</li><li> - -<i>Symposium</i>, of Xenophon, <a href="#Page_59">59</a>.</li><li> -<span class="pagenum"><a id="Page_403">403</a></span> - -Syracuse, coins of, representing Nike with tablet, <a href="#Page_182">182</a>;<ul><li> -funeral games at, in honor of Timoleon, <a href="#Page_11">11</a>;</li><li> -Hiero and Gelo, kings of, <a href="#Page_257">257</a>.</li></ul></li><li> - -<i>Tainia</i>, or fillet, as victor attribute, <a href="#Page_148">148f</a>. - -Tanagra, ephebe chosen at, for his beauty, <a href="#Page_57">57</a>;<ul><li> -grave-stele from, <a href="#Page_72">72</a>.</li></ul></li><li> - -Tarentum (Taras), captured by Q. Fabius Maximus, <a href="#Page_253">253</a>;<ul><li> -coins of, showing <i>apobates</i> horse-racers, <a href="#Page_282">282</a>.</li></ul></li><li> - -Tarsos, athlete head from, <a href="#Page_168">168</a>.</li><li> - -Tegea, excavations at temple of Athena at, <a href="#Page_306">306</a>;<ul><li> -heads from gable of temple at, <a href="#Page_306">306</a>;</li><li> -heads from, compared with small frieze from Mausoleion, <a href="#Page_275">275</a>;</li><li> -heads from, compared with boy athlete head from Sparta, <a href="#Page_305">305</a>;</li><li> -torso of the <i>Amazon</i> from, <a href="#Page_306">306</a>.</li></ul></li><li> - -Teisikrates, chariot victor, at Delphi, <a href="#Page_268">268</a>.</li><li> - -Teisikrates, pancratiast, inscribed base of statue of, from Delphi, <a href="#Page_249">249</a>.</li><li> - -Teisikrates, Theban sculptor, <a href="#Page_368">368</a>.</li><li> - -Tektaios, sculptor, <a href="#Page_122">122</a>, <a href="#Page_304">304</a>, <a href="#Page_334">334</a>, <a href="#Page_335">335</a>.<ul><li> -See also Angelion.</li></ul></li><li> - -Telekles, sculptor, <a href="#Page_330">330</a>, <a href="#Page_334">334</a>.<ul><li> -See also Rhoikos and Theodoros.</li></ul></li><li> - -Telemachos, base of statue at Olympia, <a href="#Page_346">346</a>, <a href="#Page_348">348</a>, <a href="#Page_355">355</a>;<ul><li> -statue at Olympia, <a href="#Page_109">109</a>, <a href="#Page_266">266</a>, <a href="#Page_339">339</a>, <a href="#Page_345">345</a>;</li><li> -zone of, at Olympia, <a href="#Page_345">345</a>, <a href="#Page_346">346</a>.</li></ul></li><li> - -Telephos, battle with Achilles, in Tegea pediment, <a href="#Page_306">306</a>;<ul><li> -in group, on small frieze from Pergamon, <a href="#Page_253">253</a>;</li><li> -in group, in Vatican, <a href="#Page_95">95</a>.</li></ul></li><li> - -Telesikrates, hoplite victor, statue at Delphi, <a href="#Page_26">26</a>, <a href="#Page_162">162</a>.</li><li> - -Tellon, base of statue at Olympia, <a href="#Page_240">240</a>, <a href="#Page_345">345</a>;<ul><li> -statue at Olympia, <a href="#Page_31">31</a>, <a href="#Page_352">352</a>.</li></ul></li><li> - -Temessa, Black Spirit of, <a href="#Page_35">35</a>.</li><li> - -Tempe, vale of, as home of laurel, <a href="#Page_21">21</a>.</li><li> - -Temple, spoken of as <i>pro persona</i>, <a href="#Page_299">299</a>.</li><li> - -Tenea, “Apollo” of, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, <a href="#Page_127">127</a>, <a href="#Page_327">327</a>, <a href="#Page_336">336</a>;<ul><li> -“Apollo” of, as runner, <a href="#Page_148">148</a>;</li><li> -necropolis of, <a href="#Page_337">337</a>.</li></ul></li><li> - -Tenerani, sculptor, <a href="#Page_288">288</a>.</li><li> - -Tepemankh, wood statue in Cairo, <a href="#Page_330">330</a>.</li><li> - -Terrace wall, South, at Olympia, <a href="#Page_346">346</a>, <a href="#Page_348">348</a>, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>.</li><li> - -Tetradrachm, silver, in honor of Olympic victory of Philip II, <a href="#Page_280">280</a>.</li><li> - -Thaliarchos, base of statue of, <a href="#Page_358">358</a>;<ul><li> -oldest prose inscription making an Olympic victor statue votive, <a href="#Page_39">39</a>.</li></ul></li><li> - -Thamyris, victor statue on Helikon, <a href="#Page_284">284</a>.</li><li> - -<i>Thargelia</i>, the, statue of boy victor at, <a href="#Page_27">27</a>.</li><li> - -Thasos, statue of Theagenes on, <a href="#Page_364">364</a>;<ul><li> -temple of Apollo at Alki on, <a href="#Page_336">336</a>.</li></ul></li><li> - -Theagenes, Olympic victor, boxing match with Euthymos, <a href="#Page_247">247</a>;<ul><li> -heroized after death, <a href="#Page_35">35</a>;</li><li> -statue at Olympia, <a href="#Page_122">122</a>, <a href="#Page_244">244</a>, <a href="#Page_364">364</a>;</li><li> -story of statue on Thasos, <a href="#Page_364">364</a>;</li><li> -too wearied by boxing to enter pankration, <a href="#Page_247">247</a>;</li><li> -wrestling match with Aethiopian, <a href="#Page_252">252</a>.</li></ul></li><li> - -Theekoleon, the, at Olympia, <a href="#Page_353">353</a>, <a href="#Page_355">355</a>, <a href="#Page_357">357</a>.</li><li> - -Theochrestos, chariot dedicated at Olympia, <a href="#Page_265">265</a>.</li><li> - -Theodoros, bronze founder, <a href="#Page_321">321</a>, <a href="#Page_330">330</a>, <a href="#Page_334">334</a>.<ul><li> -See also Rhoikos and Telekles.</li></ul></li><li> - -Theodosius, Roman emperor, abolishes Olympic games, <a href="#Page_15">15</a>.</li><li> - -Theognetos, statue at Olympia, <a href="#Page_61">61</a>, <a href="#Page_165">165</a>, <a href="#Page_352">352</a>.</li><li> - -Theopompos, statue at Olympia, <a href="#Page_161">161</a>.</li><li> - -Theopropos, base of statue at Olympia, <a href="#Page_360">360</a>.</li><li> - -Theoros, painter, <a href="#Page_29">29</a>, <a href="#Page_133">133</a>.</li><li> - -Theotimos, statue at Olympia, <a href="#Page_121">121</a>.</li><li> - -Thera, “Apollo” of, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_327">327</a>, <a href="#Page_337">337</a>.</li><li> - -Thermæ, the, of M. Agrippa, Rome, <a href="#Page_289">289</a>.</li><li> - -Thermopylæ, battle of, <a href="#Page_51">51</a>.</li><li> - -Thersias, first victor in mule-race at Olympia, <a href="#Page_261">261</a>.</li><li> - -Thersilochos, statue at Olympia, <a href="#Page_117">117</a>.</li><li> - -Thersonides, base of statue from Olympia, <a href="#Page_356">356</a>.</li><li> - -<i>Theseia</i>, the, <a href="#Page_18">18</a>;<ul><li> -boys at, divided into three classes, <a href="#Page_189">189</a>.</li></ul></li><li> - -Theseus, <a href="#Page_18">18</a>;<ul><li> -contest of, on Delos, in honor of Apollo, <a href="#Page_160">160</a>;</li><li> -as inventor of boxing, <a href="#Page_235">235</a>;</li><li> -as inventor of pankration, <a href="#Page_247">247</a>;</li><li> -statues of, in gymnasia and palæstræ, <a href="#Page_94">94</a>;</li><li> -Theseus and Kerkyon, on metope of Theseion, <a href="#Page_232">232</a>.</li></ul></li><li> - -Thessalonika, funeral games at, <a href="#Page_11">11</a>.</li><li> - -Thessaly, bull-grappling sport in, <a href="#Page_5">5</a>.</li><li> - -Thong (ἀγκύλη, <i>amentum</i>), of javelin, <a href="#Page_223">223</a>.</li><li> - -<i>Thorn-puller</i>; see <i>Spinario</i>. - -Thorwaldsen, sculptor, restores Aegina gable statues, <a href="#Page_123">123</a>.</li><li> - -Thracian Chersonesos, games on, <a href="#Page_11">11</a>.</li><li> - -Thrasyboulos, drives father’s car at Delphi, <a href="#Page_267">267</a>.</li><li> - -Thrasymachos (or Thrasymedes), base of statue at Olympia, <a href="#Page_358">358</a>.</li><li> - -Threatening look of victor statues, <a href="#Page_59">59</a>.</li><li> - -Thukydides, on Diitrephes, <a href="#Page_373">373</a>;<ul><li> -on <i>krobylos</i> hair-fashion, <a href="#Page_52">52</a>;</li><li> -on loin-cloth of athletes, <a href="#Page_48">48</a>;</li><li> -on refuge of King Pausanias, <a href="#Page_367">367</a>;</li><li> -uses pancratiasts for dating, <a href="#Page_191">191</a>.</li></ul></li><li> - -Tiberius, Roman emperor, base of statue at Olympia, <a href="#Page_357">357</a>, <a href="#Page_358">358</a>;<ul><li> -chariot victor at Olympia, <a href="#Page_261">261</a>;</li><li> -enamored of the <i>Apoxyomenos</i> of Lysippos, <a href="#Page_289">289</a>.</li></ul></li><li> - -Tilting, hold in pankration, <a href="#Page_247">247</a>.</li><li> - -Timainetos, painter, <a href="#Page_29">29</a>.</li><li> - -Timaios, first victor in trumpeting at Olympia, <a href="#Page_283">283</a>.</li><li> - -Timaios, historian, <a href="#Page_284">284</a>.</li><li> - -Timarchides, sculptor, <a href="#Page_129">129</a>, <a href="#Page_324">324</a>.</li><li> - -Timasitheos, statue at Olympia, <a href="#Page_111">111</a>, <a href="#Page_355">355</a>.</li><li> - -Timokles, sculptor, <a href="#Page_129">129</a>.</li><li> - -Timoleon, funeral games in honor of, at Syracuse, <a href="#Page_11">11</a>.</li><li> - -Timon, chariot victor, statue in equestrian group, <a href="#Page_120">120</a>, <a href="#Page_266">266</a>, <a href="#Page_268">268</a>, <a href="#Page_279">279</a>.</li><li> - -Timon, pentathlete, statue at Olympia, <a href="#Page_109">109</a>, <a href="#Page_354">354</a>.</li><li> - -Timoptolis, honor statue at Olympia, <a href="#Page_42">42</a>.</li><li> - -Timosthenes, statue at Olympia, <a href="#Page_121">121</a>, <a href="#Page_342">342</a>.</li><li> - -Tiryns, fresco from, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;<ul><li> -lack of athletic scenes at, <a href="#Page_8">8</a>.</li></ul></li><li> - -Titus, baths at Rome, <a href="#Page_371">371</a>.</li><li> - -Toalios, Aurelios, base of victor statue at Oinoanda, <a href="#Page_371">371</a>.</li><li> - -Torches, dedications of, <a href="#Page_22">22</a>.</li><li> - -Toreadors, paintings of, male and female, at Knossos, <a href="#Page_1">1</a>, <a href="#Page_3">3</a>.</li><li> - -Torlonia, Palazzo, Rome, copy of <i>Choiseul-Gouffier Apollo</i> statue type in, <a href="#Page_89">89</a>;<ul><li> -head of <i>Ares</i> in, <a href="#Page_170">170</a>.</li></ul></li><li> - -<i>Trachiniae</i>, of Sophokles, <a href="#Page_318">318</a>.</li><li> -<span class="pagenum"><a id="Page_404">404</a></span> - -Trainers at Olympia, nude, <a href="#Page_49">49</a>.</li><li> - -Treasuries, the, at Olympia, <a href="#Page_351">351</a>.</li><li> - -Treu, G., on colossal Apollo from Olympia, <a href="#Page_92">92</a>;<ul><li> -on copy of <i>Doryphoros</i> of Polykleitos, at Olympia, <a href="#Page_227">227</a>;</li><li> -on gable statues from temple of Zeus, Olympia, <a href="#Page_114">114</a>;</li><li> -on head of hoplite runner from Olympia, <a href="#Page_163">163</a>;</li><li> -identifies Leonidaion, at Olympia, <a href="#Page_348">348</a>;</li><li> -on Philandridas head, <a href="#Page_293">293</a>, <a href="#Page_294">294</a>;</li><li> -on use of marble in Olympic victor statues, <a href="#Page_324">324</a>, <a href="#Page_326">326</a>.</li></ul></li><li> - -<i>Triopia</i>, the, at Mykale, <a href="#Page_19">19</a>.</li><li> - -Triphylia, <a href="#Page_15">15</a>.</li><li> - -Tripods, as early prizes, <a href="#Page_19">19</a>;<ul><li> -found at Olympia and elsewhere, <a href="#Page_22">22</a>;</li><li> -in honor of various gods and heroes, <a href="#Page_19">19</a>;</li><li> -reliefs on bronze, in Loeb collection, Munich, <a href="#Page_194">194</a>.</li></ul></li><li> - -Tripping, in wrestling, <a href="#Page_229">229</a>;<ul><li> -shown by five bronze groups, <a href="#Page_233">233</a>.</li></ul></li><li> - -Triptolemos (?), statue of Kyniskos converted into, <a href="#Page_74">74</a>.</li><li> - -Troilos, dates of victories at Olympia, <a href="#Page_300">300</a>, <a href="#Page_301">301</a>;<ul><li> -statue at Olympia, <a href="#Page_29">29</a>, <a href="#Page_121">121</a>, <a href="#Page_266">266</a>, <a href="#Page_298">298</a>;</li><li> -tablet from base of statue of, <a href="#Page_299">299</a>, <a href="#Page_342">342</a>.</li></ul></li><li> - -Trotting-race with mares (κάλπη), introduced at Olympia, <a href="#Page_261">261</a>;<ul><li> -why introduced, <a href="#Page_282">282</a>.</li></ul></li><li> - -Trumpeters, on Attic vases, <a href="#Page_284">284</a>;<ul><li> -bronze statuette of, from Sparta, <a href="#Page_283">283</a>;</li><li> -contests of, introduced at Olympia, <a href="#Page_283">283</a>;</li><li> -statues at Olympia, <a href="#Page_283">283</a>.</li></ul></li><li> - -Tuebingen bronze; see Tux bronze. - -Tui, wood statue of, in Louvre, <a href="#Page_331">331</a>.</li><li> - -Tumblers, among Athenians, <a href="#Page_5">5</a>;<ul><li> -among Trojans, <a href="#Page_5">5</a>;</li><li> -on shield of Achilles, <a href="#Page_5">5</a>.</li></ul></li><li> - -Turin, head of athlete in, <a href="#Page_87">87</a>;<ul><li> -marble head of Apollo in, <a href="#Page_93">93</a>;</li><li> -Roman grave-stone from, <a href="#Page_72">72</a>.</li></ul></li><li> - -Tux bronze, statuette of hoplitodromos (?), in University Museum, Tuebingen, <a href="#Page_28">28</a>, <a href="#Page_123">123</a>, <a href="#Page_164">164</a>, <a href="#Page_206">206</a>, <a href="#Page_207">207</a>.</li><li> - -<i>Tyche</i>, statue by Eutychides, at Antioch, <a href="#Page_121">121</a>.</li><li> - -Types, various, of Olympic victor statues, <a href="#Page_44">44</a>, <a href="#Page_99">99f</a>., <a href="#Page_173">173f</a>.; etc. - -<i>Tyrannicides</i>, the, group by Kritios and Nesiotes, <a href="#Page_60">60</a>, <a href="#Page_148">148</a>, <a href="#Page_173">173f</a>.;<ul><li> -break with law of “frontality,” <a href="#Page_175">175</a>;</li><li> -as first examples of honor statues, <a href="#Page_41">41</a>;</li><li> -group of, returned from Susa by Alexander, <a href="#Page_173">173</a>;</li><li> -reconstruction of, from reliefs, vase-paintings, etc., <a href="#Page_174">174</a>;</li><li> -represented on oinochoe in Boston, <a href="#Page_175">175</a>;</li><li> -sculptors of, <a href="#Page_173">173f</a>., <a href="#Page_372">372</a>;</li><li> -<i>Tyrannicides</i> and <i>Diskobolos</i> compared, <a href="#Page_183">183</a>.</li></ul></li><li> - -Umpires, at Olympia, <a href="#Page_149">149</a>.<ul><li> -See also Hellanodikai.</li></ul></li><li> - -Uncritical judgments of ancient writers on art, <a href="#Page_58">58</a>.</li><li> - -Uniformity, standard of, in physical development in fifth century B. C., <a href="#Page_147">147f</a>. - -Urlichs, H. L. von, on <i>pristae</i> of Myron, <a href="#Page_188">188</a>;<ul><li> -on <i>puer tenens tabellam</i> of Pythagoras, <a href="#Page_182">182</a>.</li></ul></li><li> - -Urlichs, L. von, on <i>mala ferens nudus</i>, mentioned by Pliny, <a href="#Page_182">182</a>;<ul><li> -on <i>puer tenens tabellam</i> of Pythagoras, <a href="#Page_182">182</a>.</li></ul></li><li> - -Vaison <i>Diadoumenos</i> of Polykleitos, <a href="#Page_152">152</a>.</li><li> - -Valerian, Roman emperor, <a href="#Page_11">11</a>.</li><li> - -Vapheio, cups from, <a href="#Page_4">4</a>. - -Varro, opinions of, on art, <a href="#Page_60">60</a>.</li><li> - -Vase-paintings, showing poses of Olympic victor statues, <a href="#Page_44">44</a>.</li><li> - -“Vatican athlete standing at rest,” so-called, <a href="#Page_140">140</a>.</li><li> - -Veins, shown in Cretan art, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>.</li><li> - -<i>Venator</i>, statue of, by Euthykrates, <a href="#Page_314">314</a>.</li><li> - -Ventnor head in British Museum, <a href="#Page_89">89</a>.</li><li> - -Verona, grave-relief in, <a href="#Page_72">72</a>.</li><li> - -Victor fillets, <a href="#Page_52">52</a>.</li><li> - -Victor statues, assimilated to types of gods and heroes, <a href="#Page_71">71f</a>.;<ul><li> -bases of, from Altis, <a href="#Page_43">43</a>, <a href="#Page_353">353f</a>.;</li><li> -carried off to Italy, <a href="#Page_43">43</a>;</li><li> -dedication of, an old Greek custom, <a href="#Page_99">99</a>;</li><li> -dedication at Olympia and elsewhere, <a href="#Page_24">24f</a>.;</li><li> -distinguished from statues of gods and heroes, <a href="#Page_71">71</a>;</li><li> -general characteristics of, <a href="#Page_43">43f</a>.;</li><li> -groups of, in Altis, <a href="#Page_300">300</a>, <a href="#Page_340">340</a>;</li><li> -hair-fashion of, <a href="#Page_50">50f</a>.;</li><li> -life-size, examples of, <a href="#Page_46">46</a>;</li><li> -materials of, <a href="#Page_321">321f</a>.;</li><li> -in motion, <a href="#Page_173">173f</a>.;</li><li> -nudity of, <a href="#Page_47">47f</a>.;</li><li> -<i>periegesis</i> of, in the Altis, by Pausanias, <a href="#Page_321">321</a>;</li><li> -positions of, in Altis, <a href="#Page_339">339f</a>., <a href="#Page_352">352</a>;</li><li> -remnants of, <a href="#Page_43">43</a>, <a href="#Page_62">62f</a>.;</li><li> -at rest, <a href="#Page_99">99f</a>.;</li><li> -set up at Olympia, long after victory, <a href="#Page_32">32</a>;</li><li> -set up at Olympia, soon after victory, <a href="#Page_31">31</a>;</li><li> -set up at Olympia by relatives of victor, by native city of victor, by fellow-citizens of victor, <a href="#Page_30">30</a>;</li><li> -set up by trainers, <a href="#Page_30">30</a>;</li><li> -set up outside Olympia, <a href="#Page_361">361f</a>.;</li><li> -size of, <a href="#Page_45">45f</a>.;</li><li> -statuaries of, <a href="#Page_375">375</a>;</li><li> -two classes of, <a href="#Page_99">99</a>;</li><li> -zones of, at Olympia, <a href="#Page_340">340</a>.</li></ul></li><li> - -Victor statuettes, set up at Olympia, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>;<ul><li> -on Akropolis, <a href="#Page_28">28</a>.</li></ul></li><li> - -<i>Victoria quadrigam in sublime rapiens</i>, painting by Nikomachos, <a href="#Page_268">268</a>.</li><li> - -Victors, special privileges of, at Rome, <a href="#Page_33">33</a>;<ul><li> -<i>Victor certamine gymnico palmam tenens</i>, painting of, by Eupompos, <a href="#Page_160">160</a>;</li><li> -victor, represented as crowned, on chest of Kypselos, <a href="#Page_13">13</a>;</li><li> -victor in wrestling and pankration on same day, called παράδοξος or παραδοξονίκης, <a href="#Page_94">94</a>;</li><li> -victors at four national games, called περιοδονῖκαι, <a href="#Page_361">361</a>.</li></ul></li><li> - -<i>Victory</i>, of Paionios; see Paionios, <i>Nike</i> of;<ul><li> -zone of, at Olympia, <a href="#Page_344">344</a>, <a href="#Page_355">355</a>.</li></ul></li><li> - -Vincent, Edgar, head of athlete in Collection of, <a href="#Page_156">156</a>.</li><li> - -Vinci, Leonardo da, on body proportions, <a href="#Page_68">68</a>.</li><li> - -Visconti, on so-called <i>Borghese Warrior</i>, <a href="#Page_209">209</a>;<ul><li> -on Pliny’s “iconic” statues, <a href="#Page_54">54</a>.</li></ul></li><li> - -Viterbo, bull-grappling in province of, <a href="#Page_5">5</a>.</li><li> - -Vitruvius, on analogy, rhythm, and symmetry, in Greek art, <a href="#Page_66">66</a>.</li><li> - -<i>Volneratus deficiens</i>, the, statue by Kresilas, <a href="#Page_199">199</a>.</li><li> - -Volomandra, “Apollo” from, <a href="#Page_100">100</a>, <a href="#Page_104">104</a>, <a href="#Page_337">337</a>.</li><li> - -Volubilis, Morocco, French excavations at, <a href="#Page_281">281</a>.</li><li> - -Votive offerings (ἀναθήματα), mentioned by Pausanias, <a href="#Page_339">339</a>;<ul><li> -victor monuments as, <a href="#Page_37">37</a>.</li></ul></li><li> - -Wace, A. J. B., on Parian marble male head in Turin, of athlete or Apollo, <a href="#Page_93">93</a>;<ul><li> -on Roman male head in Turin, resembling the <i>Apoxyomenos</i> of Lysippan school, <a href="#Page_292">292</a>.</li></ul></li><li> - -Waldstein (Walston), C., on appellation “Apollo” for early athlete statues, <a href="#Page_335">335</a>;<ul><li> -on bronze -<span class="pagenum"><a id="Page_405">405</a></span> -statue of youth found in sea off Antikythera, <a href="#Page_81">81</a>;</li><li> -on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_90">90</a>, <a href="#Page_179">179</a>;</li><li> -on the <i>Strangford Apollo</i>, <a href="#Page_244">244</a>;</li><li> -on victor fillet, <a href="#Page_149">149</a>.</li></ul></li><li> - -Walking motive in sculpture, not Polykleitan in origin, <a href="#Page_226">226</a>.</li><li> - -Walston, C.; see Waldstein, C. - -Warrior, or hoplitodromos, bronze head from Akropolis, <a href="#Page_123">123</a>.</li><li> - -Washburn, O. M., on Delphi <i>Charioteer</i>, <a href="#Page_277">277</a>, <a href="#Page_278">278</a>.</li><li> - -Wernicke, K., on Great Altar of Zeus at Olympia, <a href="#Page_349">349</a>.</li><li> - -<i>Westgraben</i>, the, at Olympia, <a href="#Page_358">358</a>.</li><li> - -<i>Westmacott Athlete</i>, the, <a href="#Page_156">156f</a>., <a href="#Page_158">158</a>, <a href="#Page_305">305</a>.</li><li> - -Wheels, four-spoked, one dedicated at Argos, <a href="#Page_97">97</a>;<ul><li> -tin-foil, dedicated at Olympia, <a href="#Page_23">23</a>.</li></ul></li><li> - -White, H. G. E., on two statuettes of diskoboloi from Akropolis, <a href="#Page_221">221</a>, <a href="#Page_222">222</a>.</li><li> - -Wilamowitz, U. von (Wilamowitz-Moellendorf), on inscribed base of statue of Epicharinos on Akropolis, <a href="#Page_372">372</a>.</li><li> - -Winckelmann, J., on character of Greek Art, <a href="#Page_57">57</a>;<ul><li> -on <i>Jason</i> of Louvre, <a href="#Page_87">87</a>.</li></ul></li><li> - -Wine-pourers, statues of, <a href="#Page_144">144</a>.</li><li> - -Winged figures, represented in motion before sixth century B. C., <a href="#Page_176">176f</a>. - -Winnefeld, H., on <i>Westmacott Athlete</i> statue type, <a href="#Page_158">158</a>.</li><li> - -Winter, F., on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_90">90</a>;<ul><li> -on the <i>Seated Boxer</i> of Museo delle Terme, <a href="#Page_147">147</a>.</li></ul></li><li> - -Woelfflin, E., on <i>nudus talo incessens</i> of Polykleitos, <a href="#Page_250">250</a>, <a href="#Page_251">251</a>.</li><li> - -Wolters, P., on bronze foot from Olympia, <a href="#Page_255">255</a>;<ul><li> -on <i>Choiseul-Gouffier Apollo</i> statue type, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>;</li><li> -on head of hoplitodrome, from Olympia, <a href="#Page_163">163</a>;</li><li> -on inscribed base of the <i>Agias</i>, <a href="#Page_292">292</a>;</li><li> -on <i>Spinario</i>, <a href="#Page_201">201</a>;</li><li> -on Tux bronze, <a href="#Page_207">207</a>;</li><li> -on use of bronze in Olympic victor statues, <a href="#Page_321">321</a>.</li></ul></li><li> - -Woman, statue of Muse type, from Andros, <a href="#Page_71">71</a>;<ul><li> -head in Louvre, <a href="#Page_128">128</a>.</li></ul></li><li> - -Women, admitted to chariot-race at Olympia, <a href="#Page_49">49</a>;<ul><li> -excluded from Olympia, <a href="#Page_49">49</a>;</li><li> -victress statues of, draped, <a href="#Page_48">48</a>;</li><li> -admitted to the <i>Heraia</i>, Olympia, <a href="#Page_49">49</a>.</li></ul></li><li> - -Worship of victors after death, <a href="#Page_35">35</a>.</li><li> - -<i>Wounded Amazon</i>, statue in Capitoline Museum, <a href="#Page_151">151</a>.</li><li> - -<i>Wounded Man</i>, the, statue of; see <i>Volneratus deficiens</i>. - -Wreath of leaves, as prize at various games. - -Wrestlers, attributes of statues of, <a href="#Page_165">165</a>;<ul><li> -bronze group of, in Paris, <a href="#Page_232">232</a>;</li><li> -bronze statue in Naples, <a href="#Page_99">99</a>;</li><li> -five copies of bronze group of, showing tripping, <a href="#Page_233">233</a>;</li><li> -group of, on bronze bowl from Borsdorf, showing hand grip, <a href="#Page_231">231</a>, <a href="#Page_232">232</a>;</li><li> -groups of, on cista handles, <a href="#Page_232">232</a>;</li><li> -groups of, on Etruscan cista in Metropolitan Museum, <a href="#Page_231">231</a>;</li><li> -group of, at Olympia (?), <a href="#Page_233">233f</a>.;</li><li> -paintings of wrestlers by Naukeros, and by Antidotos, <a href="#Page_233">233</a>;</li><li> -part of group of, found in sea off Antikythera, <a href="#Page_232">232</a>;</li><li> -small bronze group of, in Loeb Collection, showing cross-buttocks, <a href="#Page_232">232</a>;</li><li> -statues of, at Olympia, <a href="#Page_234">234</a>;</li><li> -statues of, without special attributes, <a href="#Page_170">170</a>;</li><li> -two bronze statues of, from Herculaneum showing front hold, <a href="#Page_230">230</a>, <a href="#Page_231">231</a>;</li><li> -two groups of, on rim of bronze bowl, in Boston, <a href="#Page_232">232</a>.</li></ul></li><li> - -Wrestling (πάλη), <a href="#Page_228">228f</a>.;<ul><li> -bout between Theseus and Kerkyon, on metope of Theseion, <a href="#Page_232">232</a>;</li><li> -cap used in, <a href="#Page_166">166</a>;</li><li> -depicted on proto-Attic amphora, <a href="#Page_13">13</a>;</li><li> -for boys, introduced at Olympia, <a href="#Page_228">228</a>;</li><li> -at games of Patroklos, <a href="#Page_8">8</a>;</li><li> -ground wrestling, on gems and vases, <a href="#Page_248">248</a>;</li><li> -holds in, on vases (arm, body, front, neck, side, wrist), <a href="#Page_229">229</a>;</li><li> -introduced at Olympia, <a href="#Page_228">228</a>;</li><li> -oldest(?) of athletic sports, <a href="#Page_228">228</a>;</li><li> -one of most popular sports, <a href="#Page_228">228</a>;</li><li> -positions in, on various monuments, <a href="#Page_229">229</a>;</li><li> -on r.-f. kylix, in Philadelphia, <a href="#Page_230">230</a>;</li><li> -scenes in, on r.-f. vase, by Andokides, <a href="#Page_230">230</a>;</li><li> -throws in, on vases (buttocks, cross-buttocks, flying mare, heave, tripping), <a href="#Page_229">229</a>;</li><li> -two kinds of, upright (ὀρθὴ πάλη), ground (κύλισις), <a href="#Page_228">228</a>, <a href="#Page_229">229</a>;</li><li> -victors in wrestling and pankration on same day, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>;</li><li> -on wall-paintings at Beni-Hasan, Egypt, <a href="#Page_1">1</a>, <a href="#Page_228">228</a>;</li><li> -wrestling and boxing on Panathenaic amphora of Kittos, <a href="#Page_248">248</a>;</li><li> -wrestling and boxing in pankration, <a href="#Page_247">247</a>;</li><li> -wrestling and pankration contrasted, <a href="#Page_246">246</a>.</li></ul></li><li> - -Wunderer, C., on the <i>Seated Boxer</i> of Museo delle Terme, <a href="#Page_147">147</a>.</li><li> - -Xanten, bronze statue of boy found in Rhine near, <a href="#Page_276">276</a>.</li><li> - -Xanthos, Chimæra tomb at, <a href="#Page_271">271</a>.</li><li> - -Xenodamos, statue at Antikythera, <a href="#Page_369">369</a>.</li><li> - -Xenodikos, statue at Olympia, <a href="#Page_279">279</a>, <a href="#Page_345">345</a>.</li><li> - -Xenokles, base of statue at Olympia, <a href="#Page_234">234</a>, <a href="#Page_344">344</a>;<ul><li> -copies of statue of, <a href="#Page_228">228</a>, <a href="#Page_234">234</a>;</li><li> -motive of statue of, <a href="#Page_138">138</a>, <a href="#Page_139">139</a>;</li><li> -statue at Olympia, by Polykleitos the Younger, <a href="#Page_118">118</a>.</li></ul></li><li> - -Xenokrates, of Akragas, chariot victor at Delphi, <a href="#Page_267">267</a>.</li><li> - -Xenokrates, sculptor, <a href="#Page_61">61</a>.</li><li> - -Xenombrotos, base of statue at Olympia, <a href="#Page_345">345</a>;<ul><li> -base of second statue at Olympia, <a href="#Page_355">355</a>;</li><li> -portrait statue of, at Olympia, <a href="#Page_54">54</a>;</li><li> -statue at Olympia, by Philotimos, <a href="#Page_122">122</a>, <a href="#Page_264">264</a>, <a href="#Page_279">279</a>;</li><li> -two monuments of, at Olympia, <a href="#Page_29">29</a>.</li></ul></li><li> - -Xenophanes, philosopher, on dangerous character of pankration, <a href="#Page_246">246</a>;<ul><li> -on painful character of boxing, <a href="#Page_235">235</a>;</li><li> -protest of, against reverencing victors, <a href="#Page_36">36</a>.</li></ul></li><li> - -Xenophon, historian, on athletics, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>;<ul><li> -<i>Symposium</i> of, <a href="#Page_59">59</a>.</li></ul></li><li> - -Xenophon, of Aigion, statue at Olympia, <a href="#Page_120">120</a>, <a href="#Page_343">343</a>.</li><li> - -Xerxes, carries off the <i>Tyrannicides</i> to Susa, <a href="#Page_173">173</a>;<ul><li> -sacks Akropolis, <a href="#Page_271">271</a>.</li></ul></li><li> - -Xoana (ξόανα), Daidalian, <a href="#Page_328">328</a>.</li><li> -<span class="pagenum"><a id="Page_406">406</a></span> - -Youth, bronze head of, from Akropolis, <a href="#Page_114">114</a>;<ul><li> -bronze head of, from Herculaneum, <a href="#Page_95">95</a>;</li><li> -bronze statue of, found in sea off Antikythera, <a href="#Page_80">80f</a>., <a href="#Page_82">82f</a>.;</li><li> -Polykleitan statue of, crowning himself, <a href="#Page_155">155</a>;</li><li> -youth with tablet, on Munich vase, <a href="#Page_182">182</a>.</li></ul></li><li> - -<i>Zanes</i>, statues of Zeus, so-called, near entrance to Stadion, at Olympia, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>.</li><li> - -Zenobios, <a href="#Page_182">182</a>.</li><li> - -Zeus, contestants at Olympia sacrifice to, <a href="#Page_11">11</a>;<ul><li> -diadoumenos on throne of, at Olympia, <a href="#Page_150">150</a>, <a href="#Page_151">151</a>;</li><li> -father of Herakles, <a href="#Page_10">10</a>;</li><li> -games in honor of, at Argos, <a href="#Page_285">285</a>;</li><li> -Great Altar of, at Olympia, <a href="#Page_339">339</a>, <a href="#Page_349">349</a>, <a href="#Page_350">350</a>, <a href="#Page_351">351</a>, <a href="#Page_355">355</a>;</li><li> -Nemean games in honor of, <a href="#Page_17">17</a>;</li><li> -as one of the gods presiding over contests, <a href="#Page_75">75</a>;</li><li> -sculptures from pediments of temple of, at Olympia, <a href="#Page_53">53</a>, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>;</li><li> -site of Great Altar of, at Olympia, <a href="#Page_348">348f</a>.;</li><li> -statues of Hyblæan, at Olympia, <a href="#Page_344">344</a>;</li><li> -of Megarian, at Olympia, <a href="#Page_344">344</a>;</li><li> -of Olympian, by Pheidias, <a href="#Page_52">52</a>;</li><li> -of Platæan, at Olympia, <a href="#Page_344">344</a>;</li><li> -of Zeus Ithomatas, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>;</li><li> -of Zeus παῖς, at Aigion, <a href="#Page_111">111</a>;</li><li> -with short hair, <a href="#Page_52">52</a>;</li><li> -temple of, at Olympia, <a href="#Page_342">342</a>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>, <a href="#Page_347">347</a>, <a href="#Page_350">350</a>, <a href="#Page_351">351</a>, <a href="#Page_352">352</a>, <a href="#Page_353">353</a>, <a href="#Page_355">355</a>, <a href="#Page_356">356</a>, <a href="#Page_358">358</a>, <a href="#Page_359">359</a>, <a href="#Page_360">360</a>;</li><li> -throne of, at Olympia, described by Pausanias, <a href="#Page_61">61</a>;</li><li> -worship of, at Olympia, later than that of Hera, <a href="#Page_16">16</a>;</li><li> -wrestling match of, with Kronos, <a href="#Page_14">14</a>.</li></ul></li><li> - -Zeuxis, painter, <a href="#Page_29">29</a>.</li><li> - -Zones, of victor statues at Olympia, <a href="#Page_340">340</a>;<ul><li> -of the <i>Chariots</i>, <a href="#Page_345">345</a>, <a href="#Page_346">346</a>;</li><li> -of the (<i>Eretrian</i>) <i>Bull</i>, <a href="#Page_343">343</a>, <a href="#Page_346">346</a>;</li><li> -of <i>Telemachos</i>, <a href="#Page_345">345</a>, <a href="#Page_346">346</a>;</li><li> -of the <i>Victory</i>, <a href="#Page_344">344</a>, <a href="#Page_346">346</a>.</li></ul></li> -</ul> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Olympic Victor Monuments and Greek -Athletic Art, by Walter Woodburn Hyde - -*** END OF THIS PROJECT GUTENBERG EBOOK OLYMPIC VICTOR MONUMENTS *** - -***** This file should be named 61792-h.htm or 61792-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/7/9/61792/ - -Produced by Turgut Dincer and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - 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