Olympic Victor Monuments and Greek Athletic Art by Walter Woodburn Hyde

between these heads and that of the _Lansdowne Herakles_ (Pl. 30 and fig. 71), which we ascribe to Lysippos in Ch. VI, pp. 298, 311, is easily apparent. [1271] Amelung, _Vat._, I, p. 738, no. 636 and II, Pl. 79; Helbig, _Fuehrer_, I, no. 108; _Guide_, 113; B. B., 609; Furtw., _Mp._, p. 341, fig. 146; p. 342, fig. 147 (head, two views); _Mw._, p. 575, fig. 109 and p. 577, fig. 110. [1272] Furtw.-Wolters, _Beschr., d. Glypt._,^2 no. 245 (the so-called Lenbach head); Arndt-Bruckmann, _Griech. und roem. Portraets_, Pls. 335-6. See Furtw.-Wolters, for replicas in the Louvre, etc. [1273] B. B., 338; Helbig, _Guide_, 69 (= boxer). [1274] Comparetti e de Petra, _La Villa Ercolanese dei Pisoni_, 1883, Pl. XXI, 3; Furtw., _Mp._, pp. 234 f. and fig. 95; _Mw._, pp. 428 f. and fig. 65. Both Furtwaengler (_l. c._) and B. Graef (_R. M._, IV, 1889, pp. 215 and 202) have shown the Polykleitan origin of the type. The former believes that it may have been copied from a statue of Herakles by the master, which is mentioned by Pliny (_H. N._, XXXIV, 56) as at Rome. For other replicas of the type, see Furtw., _Mp._, p. 234, n. 1; _Mw._, p. 429, n. 1. [1275] _A. A._, 1889, pp. 57-8 (Treu, who referred it to Polykleitos); Furtw., _Mp._, p. 92 and fig. 40; _Mw._, p. 124 and Pl. VI (he called it Pheidian). [1276] _Museo Torlonia_, Pl. 26, no. 104. [1277] Furtw.-Wolters, _Beschr. d. Glypt._,^2 no. 272; Arndt-Amelung, nos. 832 and 833 (text by Flasch). [1278] _Chabrias_, 3: _Ex quo factum est ut postea athletae ceterique artifices his statibus in statuis ponendis uterentur, in quibus victoriam essent adepti_; _cf._ Diod., XV, 33, 4 (who speaks of “statues”). This statue was erected in Athens after his campaign to aid Thebes against Agesilaos in 378 B. C.: Xen., _Hell._, V, 4.38 f. (though here Chabrias is not mentioned by name); Diod., XV, 32-33; Demosth., _Contra Lept._, 75-76 (p. 479); _cf._ Aristotle, _Rhet._, III, 10.7. Chabrias seems to have been the first to order his troops to assume a kneeling posture when receiving the charge of the enemy. These tactics when used against Agesilaos were so favorably regarded by the Athenians that his statues were represented in the attitude of kneeling. [1279] _E. g._, Reisch, p. 43. [1280] See Joubin, p. 46. It probably took place under the restored democracy of Kleisthenes. The assassination of Hipparchos took place in 514 B. C. Pliny, _H. N._, XXXIV, 17, says that the group was set up in the year in which the kings were expelled from Rome (= 509 B. C.). [1281] P., I, 8.5; _cf._ _Marmor Parium_, l. 70 (= _C. I. G._, II, 2374; _F. H. G._, I, pp. 533 f., etc.), and Lucian, _Philopseudes_, 18. [1282] Arrian, _Anab._, III, 16.18 (he says it was of bronze); Pliny, _H. N._, XXXIV, 70; restored by Seleukos: Val. Max., II, 10, Extr. 1; by Antiochos: P., I, 8.5. [1283] B. B., nos. 326 (_Aristogeiton_), 327 (_Harmodios_), and 328 (head of _Harmodios_, two views); Bulle, 84, 85; von Mach, 58 (both statues) and 59 (_Aristogeiton_); Collignon, I, pp. 367 f. and figs. 189 (group) and 190 (head of _Harmodios_); relief from Athens showing the group, _ibid._, p. 369, fig. 88; Overbeck, I, p. 155, fig. 27; Baum., I. p. 340, fig. 357; Lechat, pp. 444-5, figs. 36, 37 (restored by Michaelis); _R. M._, XXI, 1906, Pl. XI; F. W., 121-4; Reinach, _Rép._, I, 530, 3 (_Harmodios_), and 5 (_Aristogeiton_); _cf._ II, 2, 541, 5 (group); Clarac V, 869, 2202 and 870, 2203 A; head of _Harmodios_, _Annali_, XLVI, 1874, Pl. G. The height is about 2 meters (Bulle). [1284] _A. M._, XV, 1890, pp. 1 f.; followed by Overbeck, I, pp. 152 f.; Frazer, II, p. 98. The difference is not only noticeable in the head structure and treatment of the hair, but in the whole character of the work. While Antenor’s work is stiff and lifeless, the Naples group is full of vigor. For the statue of Antenor (in the Akropolis Museum), see _Ant. Denkm._, I, 5, 1890, Pl. 53, and pp. 42 f. (Wolters); Overbeck, I, Pl. 25, opp. p. 152; _Les Musées d’Athènes_, I, Pl. VI; _Jb._, II, 1887, pp. 135 f. (Studniczka), and Pl. X, 1 (head); von Mach, 28; Perrot-Chipiez, VIII, Pl. II. [1285] However, some archæologists still favor Antenor for this group: _e. g._, Wachsmuth, _Die Stadt Athen_, I, pp. 170 f.; II, 393-8; Collignon; Lechat, _op. cit._, and _cf._ _B. C. H._, XVI, 1892, pp. 485-9. [1286] _Rhet. praecept._, 9: ἀπεσφιγμένα καὶ νευρώδη καὶ σκληρά, καὶ ἀκριβῶς ἀποτεταμένα ταῖς γραμμαῖς. See Brunn, pp. 101-5; _cf._ Pliny, _H. N._, XXXIV, 49. [1287] The best restoration is that of Meier in bronzed plaster in the Ducal Museum in Brunswick: Bulle, p. 172, figs. 38, a, b, c; here Aristogeiton has received a bearded head. For another restoration, in the Museum of Strasbourg, see Springer-Michaelis, p. 216, fig. 402, a, b. [1288] _Bulletin of Museum of Fine Arts_, III, 27; _R. M._, XIX, 1904, p. 163, Pl. VI (Hauser). [1289] A vase by Douris shows a warrior similar to _Aristogeiton_, but his onset is fiercer: Hartwig, _Die griech. Meisterschalen_, 1893, Pl. XXI, and Textbd., pp. 206 f. For other representations in art of the _Tyrannicides_, see Frazer, II, pp. 94 f. [1290] _Darstellung des Menschen in der aelt. griech. Kunst_, 1899, p. xi; _cf._ Richardson, p. 120, n. 2. [1291] _Cf._ Dickins, p. 265 (quoting the view of Furtwaengler). [1292] Furtwaengler, _Sammlung Somzée_, 1897, Pl. III. He ascribes it to Mikon and identifies it with the statue of the pancratiast Kallias at Olympia whose base has been found: _Bildw. v. Ol._ 146; Hyde, 50; see _infra_, in the section on _Pancratiasts_, p. 251. For the _Pelops_, see _Bildw. v. Ol._, Tafelbd., Pl. IX, 2, and XI, 1 (head). [1293] I, 23.9. The inscribed base has been found: _C. I. A._, I, 376; _I. G. B._, 39. [1294] P., VI, 10.1-3; Hyde, 93; Foerster, 137. [1295] Ols. 72 to 76 (= 492 to 476 B. C.); Hyde, p. 42. [1296] _Cf._ Bulle, p. 493, on no. 225. [1297] On the origin and early development of motion figures in Greek art, see Bulle, pp. 157 f., and the works cited on p. 674 (notes to p. 158); especially, J. Langbehn, _Fluegelgestalten der aeltesten griech. Kunst_, Diss. inaug., 1881; F. Studniczka, _Die Siegesgoettin, Gesch. einer antiken Idealgestalt_, 1898; E. Curtius, _Die knieenden Figuren d. alt. griech. Kunst_ (_29stes Berl. Winckelmannsprogr._, 1869); Eadweard Muybridge, _Human Figure in Motion_, 1907; _cf._ also J. Lange, _op. cit._ [1298] In the Museo Archeologico, Florence: Bulle, no. 10. [1299] _Cf._ the realistic scenes of wrestling, boxing, and running, in relief on the archaic Attic tripod vase from Tanagra now in Berlin, dating from the second half of the sixth century B. C.: _A. Z._, XXXIX, 1881, pp. 30 f. (Loeschke) and Pls. 3 and 4. _Cf._ also scenes from the pentathlon on a Panathenaic amphora of the sixth century B. C. in Leyden: _ibid._, Pl. 9; etc. [1300] _B. C. H._, III, 1879, pp. 393 f. and Pls. VI-VII (Homolle), and V, 1881, pp. 272 f. (Homolle, on the artist and his father Mikkiades); von Mach, no. 32 (restored in the text opp. p. 26, fig. 1); Richardson, p. 51, fig. 15; Perrot-Chipiez, VIII, pp. 300-1, figs. 122-3 and Treu’s restoration, p. 303, fig. 125; restored in Springer-Michaelis, p. 187, fig. 358; Reinach, _Rép._, II, 1, 389, 5. Though first called an _Artemis_ by Homolle (because of its resemblance to the so-called Oriental winged _Artemis_ on a bronze relief from Olympia, von Mach, text, opp. p. 36, fig. 5), it has generally been called a _Nike_ since its first ascription by Furtwaengler (_A. Z._, XL, 1882, pp. 324 f.), and brought into connection with a base in two parts found near the statue on Delos in 1880 and 1881, inscribed with the names of Archermos and his father Mikkiades. If the connection with the base were certain, the statue should be referred to the beginning of the sixth century B. C.; B. Sauer (_A. M._, XVI, 1891, pp. 182 f.), and others, have disputed the connection. [1301] Now in the National Museum, Athens: Kabbadias, no. 1; von Mach, 20; Springer-Michaelis, p. 174, fig. 340; Richardson, p. 43, fig. 11; Reinach, _Rép._, II, 2, 645, 1. Its inscription should date it about 600 B. C. It is over 6 feet in height (including the base: von Mach). [1302] Bulle, pp. 157-8, fig. 33; de Ridder, no. 808. It is 0.123 meter high (Bulle). _Cf._ similar bronzes _ibid._, nos. 799-814, and also a flying harpy on a sixth-century B. C. Ionic vase in the University Museum in Wuerzburg: Bulle, pp. 159-160, fig. 34; Furtw.-Reichhold, _Griech. Vasenmalerei_, I, pp. 209 f. and Pl. 41; _cf._ also the very similar pose on the small bronze statuette in the British Museum of a winged _Nike_ represented in violent motion: von Mach, 33; the marble torso of another in Athens: _id._, text, opp. p. 26, fig. 2; and the bronze winged _Gorgon_ from Olympia (0.12 meter high): _Bronz. v. Ol._, Pl. VIII, no. 78, text, p. 25 (and for the type, _cf._ Roscher, _Lex._, art. Gorgonen in der Kunst, I, 2, p. 1710, ll. 67 f.). [1303] _Nike of Archermos_, 1891. [1304] Salzmann, _Nécropole de Camiros_, Pl. LIII; Bulle, pp. 161-2, fig. 35; _cf._ Brunn, _Griech. Kunstgeschichte_, I, p. 142. Its diameter is 0.385 meter (Bulle). [1305] See R. Kekulé and H. Winnefeld, _Bronzen aus Dodona in den koenigl. Museen zu Berlin_, Pl. II and pp. 13 f.; _A. Z._, XL, 1882, Pl. I and pp. 23-27 (Engelmann); Rayet, I, Pl. 17 (S. Reinach); Bulle, 83 (right). As the figure is only 0.143 meter tall, it seems to have decorated the rim of a bronze bowl. It may be later than the Tuebingen bronze (Fig. 42) and is certainly of a different school. The presence of a breastplate proves that it is meant for a warrior and not for a hoplitodrome. [1306] For a full discussion of this sculptor, see Lechat, _Pythagoras de Rhegion_, 1905; _cf._ _S. Q._, §§ 489-507. [1307] _H. N._, XXXIV, 59. [1308] VI, 4.3; _Oxy. Pap._; Hyde, 38; Foerster, 202, 203. [1309] VI, 6.1; Hyde, 48; Foerster, 200. [1310] VI, 6.4 f.; _Oxy. Pap._; Hyde, 56; Foerster, 185, 195, 207. [1311] VI, 7.10; Hyde, 69; Foerster, 183, 189. [1312] VI, 13.1; _Oxy. Pap._; Pliny, _H. N._, XXXIV, 59; Hyde, 110; Foerster, 176-7; 181-2; 187-8; _Inschr. v. Ol._, 145. [1313] VI, 13.7; _Oxy. Pap._; Hyde, 117; Foerster, 184. [1314] VI, 18.1; Hyde, 185; Foerster, 193a. [1315] Reisch, p. 43, n. 4, wrongly assumed this to be one of the oldest statues of Pythagoras, since the same sculptor made the statue of the son Kratisthenes; but the son’s victory was probably only two Olympiads later than that of the father, as we have seen. [1316] VIII, 47; _S. Q._, 507. Diogenes repeats the tradition that there were two sculptors of the name, one from Rhegion, the other from Samos; also Pliny, _H. N._, XXXIV, 59-60. [1317] _J. H. S._, II, 1881, pp. 332 f.; _cf._ his _Essays on the Art of Pheidias_, 1885, p. 323. The recovered base of Euthymos’ statue has no footmarks: _Inschr. v. Ol._, 144. Waldstein is followed in his ascription of the statues to Euthymos by Urlichs, _Arch. Analekt._, 1885, p. 9. [1318] B. B., no. 542 (two views); Furtw. _Mp._, p. 171, fig. 70; _A. M._, XVI, 1891, pp. 313 f. and Pls. IV, and V (two views), (P. Hermann). [1319] _Mp._, pp. 171-2; _Mw._, pp. 345-6. [1320] _Mon. d. I_., X, 1874-78, Pl. II (head); _Annali_, XLVI, 1874, Pl. L. Arndt, _La Glypt. Ny-Carlsberg_, p. 62, doubts if the head belongs to the torso. [1321] Duetschke, II, no. 77 (= one of two statues); _Mon. d. I._, VIII, 1864-68, Pl. XLVI, 6-8, and _Annali_, XXXIX, 1867, pp. 304 f. (Benndorf); Arndt-Amelung, nos. 96-98; _cf._ _A. Z._, XXVII, 1869, pp. 106 f. and Pl. 24, 2 (Benndorf, _Tyrannicides_ on a Panathenaic amphora in the British Museum, etc.), and XXXII, 1875, pp. 163 f. (Duetschke, group of two statues); Reinach, _Rép._ II, 2, 541, 6. Both Duetschke (_A. Z._, _l. c._) and Furtwaengler (_Berl. Philol. Wochenschr._, VIII, 1888, p. 1448) have shown that it represents an athlete. [1322] Michaelis, p. 446, no. 36; Clarac, V, 856, 2180. Furtwaengler believes the statue later in style than the Louvre boxer. [1323] _E. g._, P. Hermann, _op. cit._, pp. 332-3; Arndt, text to B. B., no. 542. [1324] B. B., no. 361; Amelung, _Fuehrer_, 210; Duetschke, II, 163; Furtw., _Mp._, pp. 165 f. and fig. 66 (two views); _Mw._, pp. 339 f. and Pl. XVII (from a cast); F. W., 458. For three replicas of the Riccardi type, see Arndt, text to B. B., 542. Furtwaengler believed this head a prototype of the _Diomedes_ of Kresilas known to us from copies in Munich (Pl. XXI); _Mw._, pp. 311 f. and Pls. XII, XIII; _Mp._, pp. 146 f. and figs. 60 (body), and 61 (head, two views); B. B., 128; Brunn, _Sitzb. Muen. Akad._, 1892, pp. 651 f.; in Paris: Froehner, _Notice_, no. 128; Clarac, 314, 1438; and elsewhere. See _supra_ p. 169. [1325] Michaelis, p. 367, no. 152; _Mp._, p. 172, fig. 71; _Mw._, p. 347, fig. 44; A. Z., XXXI, 1874, Pl. III; F. W., 459. Kekulé was the first to class it as Myronian: _Ueber d. Kopf des Praxitel. Hermes_, p. 12, 1 (quoted by F. W., _l. c._). Graef curiously found it Pheidian: _Aus d. Anomia_, p. 69, 63. [1326] _H. N._, XXXIV, 58; _cf._ _Mp._, p. 173. [1327] _La Glypt._ _Ny-Carlsberg_, Pl. XXXVI and p. 60; the other, unpublished, is mentioned _ibid._ He also adds the cast of a lost original statue of a boxer in the Royal Academy of Fine Arts in Copenhagen, whose head belongs stylistically to the same series: _ibid._, pp. 60-61, and figs. 30 (head), 31-32 (body). If the head and body belong together it is the only statuary type of the group. [1328] Kieseritzky, _Kat. d. Ermitage_, 1901, p. 27, no. 68; Furtw., _Mp._, p. 177, fig. 74; _Mw._, p. 353 fig. 46 (two views). [1329] _Mp._, p. 176, fig. 73; _Mw._, Pl. XX (two views). [1330] Text to B. B., no. 542; _La Glypt. Ny-Carlsberg_, text to Pl. XXXVI, p. 60. [1331] _B. M. Sculpt._, 1603, Pl. V, fig. 1; B. B., 224; F. W., 460. [1332] _A. M._, XXXVI, 1911, pp. 193 f., and Pl. VII (Athleten Kopf in Athen). [1333] _H. N._, XXXIV, 59. [1334] Brunn, pp. 133-4, connected _Libyn_ and _puerum_, and believed that only one statue was meant by Pliny’s sentence, identical with Pausanias’ statue of Mnaseas. Stuart Jones, _Select Passages from Anc. Writers Illustrative of the History of Gk. Sculpt._, 1895, p. 57, makes two alterations in Pliny’s text, inserting _et_ between _Libyn_ and _puerum_, and replacing _tabellam_ of the MSS. with _flagellum_. The boy holding the whip, then, is Mnaseas’ son Kratisthenes, the chariot victor mentioned by P., VI, 18.1. Stuart Jones follows Furtwaengler (_Jahrbuecher fuer Class. Philol._, 1876, p. 509) in having Pliny translate παῖδα of his Greek authority by _puerum_ instead of _filium_. [1335] P. 44. [1336] Cat. no. 51; Benndorf, _Griech. und Sicilische Vasenbilder_, I, pp. 13 f. and Pl. IX. [1337] In his _Chrestomathia Pliniana_, 1857, p. 320. [1338] _Rheinisches Museum_, XLIV, 1889, pp. 264 f. [1339] Antigonos of Karystos, _apud_ Zen., V, 82 (passage given by Jex-Blake, p. xxxix and n. 2). [1340] Ancient writers differed as to the authorship of the statue. Thus P. (I, 33.3), Mela (_de Situ orbis_, II, 3.6), Tzetzes (S. Q., 838-9), and Zenobios (_l. c._), say that it was Pheidias, while Pliny (_H. N._, XXXVI, 17) and Strabo (IX, I. 17, C. 396) say Agorakritos. A fragment of the colossal head of the statue came to the British Museum in 1820: _B. M. Sculpt._, I, p. 460; also fragments of the figure on the base, described by P., I, 33.7, were found in 1890 and are now in the National Museum in Athens: Kabbadias, 203-14; Frazer, II, p. 457, fig. 40. [1341] See his Ueber einige Werke des Kuenstlers Pythagoras, in _Verhandl. d. 40sten Versamml. deutscher Philologen u. Schulmaenner in Goerlitz_, Leipsic, 1890 (pp. 329-336), p. 334. [1342] _Archaeolog. Analekten_, 1885, p. 9. Lucian, _Anachar._, 9, says that apples formed a part of the Delphic prize; Dromeus is also known to us as a Pythian victor. In _Chrest. Plin._, p. 320, L. von Urlichs had identified the _nudus_ as Meilanion or Hippomenes with the apples with which he had beaten Atalanta; see _S. Q._, § 499, note a. [1343] _H. N._, XXXIV, 59: _Syracusis autem claudicantem, cuius ulceris dolorem sentire etiam spectantes videntur_. Gronovius, following Lessing, _Laokoön_, Ch. 2, identified it with a wounded Philoktetes: see Bluemner, _Comm. zu Lessing’s Laokoön_, pp. 508 f.; the words _cuius ... videntur_ seem to have been derived from _A. Pl._, IV, 112, 1.4 (which refers to a bronze statue of Philoktetes): _cf._ Brunn, p. 134 and Jex-Blake, _ad loc._ [1344] _Cf._ Benndorf, _Anz. d. Wiener Akad._, 1887, p. 92; von Sybel, _Weltgesch. d. Kunst_, p. 139. [1345] _Inschr. v. Ol._, 146; Kallias won Ol. 77 (= 472 B. C.): _Oxy. Pap._; P., VI, 6.1; Hyde, 50; Foerster, 208. [1346] In the Plinian passage Leontiskos figures rather as an artist, probably through Pliny’s misunderstanding of some Greek sentence in his authority; see L. von Urlichs, _Rheinisches Museum_, XLIV, 1889, p. 261. [1347] P. 44. [1348] L. von Sybel, _Athena und Marsyas, Bronzemuenze des Berliner Museums_, 1879. [1349] This characteristic is expressed by the word αὐτάρκεια; _cf._ Plato, _Phil._, 67 A; Aristotle, _Eth. Nicom._, 1, 7.5-6 (= 1097 b); etc. [1350] Marble copy of the _Marsyas_ was found in 1823 on the Esquiline and is now in the Lateran Museum, Rome: Helbig, _Fuehrer_, II, 1179; Rayet, I, Pl. 33; B. B., 208; Bulle, 95; von Mach, 65a; Baum., II, p. 1002, fig. 1210; Collignon, I, pp. 467 f. and fig. 234; F. W., 454; Reinach, _Rép._, II, 1, 15, 6. It is 1.95 meters high (Bulle). It is wrongly restored and only the head can be considered approximately faithful to the original. _Cf._ another copy of the head of Parian marble in the Museo Barracco, Rome: Helbig, I, 1104; Reinach, _Têtes_, pp. 53 f. and Pls. LXVI-LXVII; F. W., 455. A fourth-century B. C. bronze statuette from Patras, now in the British Museum, appears also to give the motive of the original group in Athens mentioned by Pliny, _H. N._, XXXIV, 57, and P., I, 24. 1: _B. M. Bronzes_, 269; _Gaz. Arch._, 1879, Pls. XXXIV-V and pp. 241 f.; _A. Z._, XXXVII, 1879, Pl. VIII (two views), pp. 91 f.; Rayet, I, Pl. 34; von Mach, 656; Reinach, _Rép._, II, 1, 51, nos. 5 and 7. It is 0.75 meter high. For other representations, see G. Hirschfeld, Athena und Marsyas, _32stes Berl. Winckelmannsprogr._, 1872, Pls. I and II. For a copy of the head of Athena in Dresden, see B. B., 591 (three views). [1351] Walter Pater, in his _Greek Studies_ (in the essay on The Age of Athletic Prizemen), ed. 1895, pp. 309 f., calls the _Diskobolos_ a work of _genre_. However, the _Diskobolos_ can hardly be called a decorative statue, _i. e._, “a work merely imitative of the detail of actual life.” On p. 313 he rightly classes the _Doryphoros_ as an “academic” work. [1352] It was formerly in the Palazzo Massimi alla Colonna, and hence is often called the Massimi _Diskobolos_: B. B., no. 567, _cf._ 256 (head from cast); von Mach, 63; Collignon, I, Pl. XI, opp. p. 472; H. B. Walters, _The Art of the Greeks_, 1906, Pl. XXX; Gardner, _Sculpt._, Pl. XIII (head from cast); Overbeck, I, fig. 74, opp. p. 274; Reinach, _Rép._, I, 527, 1; for description, see M. D., 1098. [1353] Furtwaengler, _Mp._, pp. 168 f., _Mw._, pp. 341 f., lists three other copies of the head: one in Basel (_cf._ Kalkmann, Proport. des. Gesichts., _53stes Berl. Winckelmannsprogr._, 1893, pp. 73-74); one at Catajo (_Mp._, fig. 68; _Mw._, fig. 43; Arndt-Amelung, nos. 54-55); and one in Berlin (_Mp._, fig. 69). [1354] H. N., XXXIV, 58: _(Myron) videtur ... capillum quoque et pubem non emendatius fecisse quam rudis antiquitas instituisset._ [1355] B. B., nos. 631, 632 (restored from bronzed cast; text by Rizzo); Bulle, 98; Helbig, _Fuehrer_, II, 1363; _Boll. d’Arte_, I, 1907, pp. 1 f. and Pls. I-III; _cf._ _Zeitschr. fuer bild. Kunst_, 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). [1356] Helbig, _Fuehrer_, I, 326; _Guide_, 333; von Mach, 62; Collignon, I, p. 473, n. 1; F. W., 451; Reinach, _Rép._, II, 2, 545, 5. [1357] _B. M. Sculpt._, I, no. 250; von Mach. 61; _Specimens_, I, Pl. XXIX; _Museum Marbles_, XI, Pl. XLIV; _Marbles and Bronzes of the British Museum_, Pl. XLVII; F. W., 452; Reinach, _Rép._, I, 525, 5; Clarac, V, 860, 2194 B. It is 5 feet 5 inches tall (Smith). [1358] H. Stuart Jones, _Museo Capitolino Cat._, 1912, no. 50, p. 123, and Pl. 21; Helbig, _Fuehrer_, I, 788; _Guide_, 446; Clarac, V, 858 A,