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

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

1050 H. N., XXXIV, 55, 62 and 76, respectively.

1051 Pliny, XXXIV, 86 and 87, respectively.

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

1053 So J. Sieveking, Die Bronzen der Samml. Loeb, 1913, Pl. 11, pp. 27 f.; cf. Burlington Fine Arts Club, Cat. Anc. Gk. Art, 1904, Pl. 50, B. 47, and von Duhn, Sitzb. d. Heidelberger Akad. d. W., Abt. 6, p. 9. It is 0.09 meter high.

1054 Von Mach, 235; F. W., 1264; Reinach, Rép., I, 515, 6 and 7; cf. II, 2, 546, 2; etc.

1055 H. N., XXXIV. 65.

1056 Infra, pp. 288 f.

1057 Amelung, Fuehrer, no. 25; Duetschke, III, 72 (1.93 meters high); B. B., 523–4 (text by Arndt); Bulle, p. 116, fig. 21; cf. Helbig, Guide, I, pp. 26 f., on nos. 42 and 44 (statuettes); Benndorf, Jh. oest. arch. Inst., 1898, Beiblatt, pp. 66 f.; Klein, Praxiteles, pp. 51 f.; Furtw., Mp., pp. 261–2; Mw., pp. 469–71; Bloch, R. M., VII, 1892, pp. 81 F., and fig. on p. 83 and Pl. III (head, two views). The right underarm and hand and the left underarm and part of the hand, the vase, and the basis, are all modern restorations.

1058 Die antiken Gemmen, Pl. XLIV, no. 17, and text, II, p. 212; Mp., p. 261, fig. 108; Mw., p. 470, fig. 78; Hartwig, in Berl. Phil. Wochenschr., XVII, Jan. 2, 1897, p. 31, corrects the mistake of Furtwaengler and Amelung that the athlete on the gem is cleansing the thigh and not the strigil itself.

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

1060 Listed by Furtw., Mp., p. 262, n. 1; Mw., p. 470, n. 5. Especially the reduced mediocre copy in the Braccio Nuovo of the Vatican: Helbig, Guide, no. 45; Clarac, 861, 2183; R. M., VII, 1892, pp. 92 f., and fig.

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

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

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

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

1065 Bulle, no. 265; B. B., 601 (text by L. Curtius); H. Pomtow, Beitr. z. Topogr. v. Delphi, Pl. XII; Homolle, Société des Antiquaires de France, Centennaire 1804–1904, Pl. XII. The figures are life-size (Bulle).

1066 H. N., XXXIV, 59: Hic primus nervos et venas expressit.

1067 In the Louvre: Longpérier, Notice des bronzes antiques du Louvre, I, 1868 (reprinted 1879), no. 214; de Ridder, Les bronzes antiques du Louvre, I, 1913, Pl. 19, no. 183, and pp. 34 f.; Furtw., Mp., Pl. XIII, and p. 280, fig. 119; text, pp. 279 f.; Mw., Pl. XXVIII, 3 (middle), and text, pp. 492 f.; Reinach, Rép., II, 2, 588, 3. It is 0.21 meter high. For the same style and conception, cf. a statuette from Cyprus in the Cesnola Collection, Metropolitan Museum, New York: Richter, Gk., Etruscan, and Roman Bronzes, p. 57, fig. 87 (two views). Here the left leg is the rest leg.

1068 Inschr. v. Ol., 164; base reproduced in Mp., p. 279, fig. 118; Mw., p. 491, fig. 85.

1069 See list, Furtw., Mp., pp. 281 f.; Mw., p. 493; a completer one by Lippold, Jb., XXIII, 1908, pp. 203–8.

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

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

1072 Copies of the head-type are listed by Furtw., Mp., p. 282; Mw., pp. 494–5.

1073 Invent., 5610; Bronzi d’Ercolano, I, Pls. 53–54, p. 187; Comparetti e de Petra, Villa Ercolanese dei Pisoni, 7, 4; Furtw., Mp., p. 284, figs. 121 a, b; Mw., pp. 496–7, figs. 87–8; B. B., 339 (left).

1074 Mp., p. 283; Mw., p. 495.

1075 Amelung, Vat., II, p. 416.

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

1077 Ueber die Bronzestatue des sog. Idolino (49stes Berl. Winckelmannsprogr., 1889), p. 10. He classed it stylistically with the Oil-pourer of Munich and the Standing Diskobolos of the Vatican, which Brunn had called Myronic. He later, however, renounced his Myronic theory and merely called it Attic, because of its resemblance to figures on the Parthenon frieze: Beilage zu den amtlichen Berichten aus den k. Kunstsamml., XVIII, no. 5, Juli, 1897, p. 73 (quoted by Richardson, p. 161, n. 8).

1078 Festschr. f. Benndorf, p. 175: here he assigns it not to Myron himself, but to his son.

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

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

1081 Mp., 286; Mw., p. 500.

1082 Cronaca, pp. 29–30, fig. 2 (= Supplemento di Bolletino d’Arte, Roma, XII, Fasic. V-VIII) 1918 (Lucia Mariani). Cf. review in A. J. A., XXIII, 1919, p. 319 and fig. 2; and also Mariani, Rend. della Reale Accad. dei Lincei, XXVI, 1918, pp. 125–138, and fig. in text.

1083 Matz-Duhn, Ant. Bildw., no. 1111; Furtw., Mp., p. 287; Mw., p. 502.

1084 See material collected by Stephani, Comptes rendus de la commiss. impér. archéol., St. Petersburg, 1873; cf. Fritze, de Libatione veterum Graecorum, Berl. Diss., 1893.

1085 II, pp. 416 f.

1086 No. 2723; Svoronos, Tafelbd., II, Pl. CXXI (CI is a poor copy of it); Staïs, Marbres et Bronzes, pp. 240–242 (0.45 meter high; 0.57 meter broad). Staïs also regards it as an ex voto to Herakles.

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

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

1089 Furtwaengler, Mw., p. 378, n. 3 (cf. Mp., p. 196, n. 1), p. 685, n. 2 and p. 737; he ascribes it to Kalamis or his school.

1090 H. N., XXXIV, 81; statue also mentioned, ibid., XXII, 44.

1091 In the National Museum, no. 12; Staïs, Marbres et Bronzes, pp. 362, 363 and fig. (0.09 meter high); three photographs, A. M., XXXI, Pl. XXII; a poor photograph in Carapanos, Dodone et ses ruines, 1878, Pl. XIV, 3, and p. 186.

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

1093 Two copies: Hettner, Die Bildw. d. koenigl. Antikensamml.,⁴ 1881, nos. 70, 88; F. W., 1217; Furtw., Mp., pp., 310–11, figs. 131–2; Mw., pp. 534–5, figs. 97–8; Springer-Michaelis, p. 314, fig. 562; Reinach, Rép., II, 1, 139, 5–6; M. W., II, 39, 459; Clarac, IV, 712, 1695.

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

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

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

1097 Cf. Beschr. d. Skulpt. zu Berlin, no. 44; a poor torso of the type is in the Museo Chiaramonti of the Vatican: Amelung, Vat., no. 295 and Pl. 52; Reinach, Rép., II, 1, 173, 2.

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

1099 Cat. Class. Coll., pp. 214–17, and fig. 130 on p. 215.

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

1101 Mp., pp. 161 f.; Mw., pp. 332 f.

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

1103 As on an Attic fifth-century B. C. grave-relief from the Peiræus: Staïs, Marbres et Bronzes, p. 157 (who gives the height as 0.45 meter and the breadth as 0.32 meter); von Sybel, Kat. d. Skulpt. zu Athen., 1881, no. 171; Annali, XXXIV, 1862, p. 212; Conze, Die Attischen Grabreliefs, no. 929 and Pl. CLXXX; F. W., 1017; for similar reliefs, see Annali, 1862, Pl. M.

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

1105 Ant. Denkm., I, 1, 1886, Pl. IV; B. B., no. 248; Bulle, 167; Collignon, II, p. 492, fig. 256; Helbig, Fuehrer, II, 1350; Guide, 1051; Hekler, Greek and Roman Portraits, 1912, pp. 85–86; Gardner, Hbk., p. 536, fig. 146; Amelung, Museums and Ruins of Rome, I, fig. 156; Not. Scav., 1885, p. 223; Gaz. B.-A., XXXIII, Pér. 2, I, 1886, fig. on p. 427; Springer-Michaelis, p. 401, fig. 743; Reinach, Rép., II, 2, 550, 10; Reinach classes it as an athlete or Herakles. It is 1.28 meters high (Bulle).

1106 Discussed infra, Ch. IV, pp. 254–5.

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

1108 Ueber die griech. Portraetkunst, 1894, pp. 12 f. (and fig.).

1109 XXVII, 9.

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

1111 Cf. Petersen, R. M., XIII, 1898, pp. 93–5; this theory of Wunderer is also rejected by Hitz.-Bluemn., II, 2, p. 609.

1112 Erected about 477 B. C.; Bulle, 84 (Aristogeiton) and 85 (Harmodios); etc.

1113 Discussed infra, Ch. IV, pp. 220–1 and n. 5 on p. 220.

1114 See Stephanos, Lex., s. vv. ταινία, ταινίδιον, ταινόω. This victor fillet is mentioned by Lucian in reference to the Diadoumenos of Polykleitos: Philops., 18.

1115 Xen., Symp., V, 9; Plato, Symp., 212 E; it appears often on statues of Dionysos: e. g., on one in Furtwaengler’s Samml. Sabouroff, Pl. XXIII; Dionysos is called Χρυσομίτρης in Soph., Oed. Tyr., 209. The fillet was used as a breast-band for women’s dresses: Pollux, VII, 65; etc.

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

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

1118 Stud. z. Parthenon, 1902, pp. 1 f.

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

1120 P., V, 11.1.

1121 Bulle, no. 207; Furtw.-Wolters, Besch.,² 457; B. B., 8; here it was inlaid with silver.

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

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

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

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

1126 Noted by Furtw., Mp., p. 161.

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

1128 A. M., XIX, 1894, pp. 137–9 (J. Ziehen); fig. in text. It is now in the Museum of the Peiræus Gymnasion.

1129 On such representations in art, see Stephani, Comptes rendus de la commission impériale archéologique, St. Petersburg, 1874, pp. 214–16.

1130 Παῖς ἀναδούμενος: VI, 4.5; S. Q., 757.

1131 Hermes, XXIII, 1888, pp. 444 f.; P., V, 11.3. Robert is followed by Kalkmann, Pausanias der Perieget, 1886, pp. 90 f.

1132 Cf. Frazer, IV, p. 11. Figures of athletes appear beneath the throne on vases: Overbeck, Griech. Kunstmythol., Pl. I, 9 and 16; Gerhard, I, Pl. VII. Flasch has tried to show that the throne figure did not represent Pantarkes: Baum., II, p. 1099, 2; cf. Gurlitt, Ueber Pausanias, 1890, p. 380.

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

1134 Amongst others it has been assumed by Loeschke, Der Tod des Pheidias (in Histor. Untersuch. zum Schaefer-Jubilaeum, Bonn, 1882), p. 36; Schoell, Sitzb. Muen. Akad., 1888, I, p. 37 (Der Prozess des Pheidias). Foerster, p. 19, n. 1, is against the identification. The παῖς ἀναδούμενος is omitted in my victor lists (de olympionicarum Statuis).

1135 The παῖς ἀναδούμενος is mentioned between victors nos. 38 and 39, i. e., in the Zone of the Eretrian Bull, while Pantarkes (98) is mentioned among the statues in the Zone of the Chariots: see infra, Ch. VIII, pp. 343 and 345, and Plans A and B.

1136 Cf. Gurlitt, Ueber Pausanias, pp. 378 f.

1137 Cf. Doerpfeld, Baudenkmaeler v. Ol., p. 21 and n. 1; Furtw., Mp., pp. 39–40; Frazer, l. c.

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

1139 Brunn, following older writers such as Winckelmann, had pronounced it Polykleitan: Annali, LI, 1879, pp. 218 f.; cf. Murray, I, pp. 313 f. and Pl. IX. Kekulé called it Myronian: 49stes Berl. Winckelmannsprogr., 1889, p. 12; Gardner, Sculpt., p. 128, finds it unrelated to Polykleitos and defends its Attic origin. Everything about it—except the mode of tying the fillet—differs from the copies of Polykleitos’ statue, and especially the pose. Against Brunn’s view, see Michaelis, Annali, LV, 1883, pp. 154 f.

1140 So Bulle, Arndt (text to B. B., 271), Furtwaengler (Mp., pp. 244–5; Mw., pp. 444–5), Zimmerman (in Knackfuss-Zimmermann, Kunstgesch. des Altertums und des Mittelalters, I, p. 152), and many others.

1141 Cf. especially the resemblance of the statue to the youth on the West frieze: Michaelis, Der Parthenon, Pl. V, no. 9.

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

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

1144 Listed by Furtwaengler, Mp., pp. 239 f.; the torsos, by Petersen, B. com. Rom., 1890, pp. 185 f.

1145 B. M. Sculpt., I, no. 500; Marbles and Bronzes, Pl. IV; B. B., 272; von Mach, 114; F. W., 508; Mon. d. I., X, 1874–78, Pl. XLIX (3 views); Rayet, I, Pl. 30; Collignon I, p. 479, fig. 253; Murray, I, Pl. X; Reinach, Rép., II, 2, 547, 5. Michaelis, by a comparison with the Doryphoros, first showed that it was a copy of the Diadoumenos: Annali, L, 1878, pp. 10 f. It is 6 ft. 1 in. tall (Smith).

1146 Kabbadias, no. 1826; Bulle, 50; Gardner, Sculpt., Pl. 35; von Mach, 115; Mon. Piot, III, 1896, pp. 137 f. (Couve), and Pls. XIV and XV; Staïs, Marbres et Bronzes, pp. 84–85 and fig.; B. C. H., XIX, 1895, pp. 460 f. (account of the Delian excavations by L. Couve) and Pl. VIII (the statue in its surroundings at the excavations); Springer-Michaelis, p. 277, fig. 498; Reinach, Rép., II, 2, 547, 9. It is 1.86 meters high without the base (Couve).

1147 Discussed supra, on pp. 92–3.

1148 Mon. Piot, IV, Pls. VIII-IX; von Mach, no. 116 a; Furtw., Mp., p. 241, fig. 98; Mw., p. 439, fig. 68 (who called it the most beautiful of all the copies); Reinach, Rép., I, 475, 6. The right arm is wrongly restored.

1149 Listed by Furtwaengler, Mp., pp. 240–2; cf. Gardner, Sculpt., pp. 125 f.

1150 Hettner, Die Bildw. d. Antikensamml. zu Dresden, pp. 80 and 86; Annali, XLIII, 1871, Pl. V, pp. 281 f. (Conze); Furtw., Mp., Pls. X and XI; Mw., Pl. XXV; Gardner, Sculpt., Pl. 36 (two views); F. W., 511.

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

1152 B. M. Sculpt., III, no. 2729 (Addenda); Mon. Piot, III, p. 145 (Couve); ibid., IV, p. 73 (Paris); Gardner, Sculpt., Pl. 37.

1153 J. H. S., VI, 1885, pp. 243 f. (Murray), and Pl. LXI.

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

1155 Mp., p. 246, fig. 99 (with original head); Mw., p. 447, fig. 69.

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

1157 Mp., p. 246; Mw., p. 448. It is 12 centimeters high (Furtwaengler).

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