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, 2212. It is 1.48 meters high from lower edge of base to the right hand (Jones).

1359 B. B., no. 566; von Mach, 64; Gardner, Sculpt., PI. XI; Gardiner, p. 96, fig. 13 (from a copy of the Munich cast in the Ashmolean Museum, Oxford).

1360 Pl. no. 97; cf. Gardner, Sculpt., Pl. XII, and Furtw.-Urlichs, Denkmaeler, Pl. XXXIII.

1361 Philopseudes, 18; S. Q., §544; translation of H. Stuart Jones, Select Passages from Ancient Writers Illustrative of the History of Greek Sculpture, p. 69.

1362 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.

1363 B. M. Gems, no. 742, Pl. G; also given in B. M. Sculpt., I, p. 91, fig. 5.

1364 Inst. orat., II, 13.10: 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?

1365 Translation by G. F. Hill, in his One Hundred Masterpieces of Sculpture from the Sixth Century B. C. to the Time of Michelangelo, 1909, p. 10.

1366 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, O. S., p. 172, however, in assuming that the two statues represented the victor in the two events.

1367 H. N., XXXIV, 57.

1368 VI, 8.5; Hyde, 79 (Arkadian) and 79a (Philippos), and commentary on pp. 39 f.

1369 The interpretation of Murray, Class. Rev., I, 1887, pp. 3–4.

1370 The emendation of Loeschke, Dorpaterprogr., 1880, p. 9; accepted by Reisch, p. 44, n. 3, Richardson, p. 151, and others.

1371 Der Dornauszieher und der Knabe mit der Gans, 1876, p. 89, n. 30.

1372 Quoted by Jex-Blake, Add. to p. 46, 1.

1373 Select Passages from Anc. Writers Illustrative of the History of Gk. Sculpt., p. 66.

1374 Mayer, in A. M., 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.

1375 E. g., the statue of the boy boxer Athenaios of Ephesos was represented in motion, i. e., in the act of sparring, as we see from the footprints on the recovered base: Inschr. v. Ol., 168; he won some time between Ols. (?) 93 and 103 ( = 384 and 368 B. C.): P., VI, 4.1; Hyde, 36; Foerster, 419.

1376 See Grenfell and Hunt, Oxyrhynchus Papyrus, II, 1899, pp. 222 f.; Robert, O. S., Beilage, opp. p. 192; Diels, Hermes, XXXVI, 1901, pp. 72 f.; Koerte, ibid., XXXIX, 1904, pp. 224 f.; Weniger, Klio (Beitraege zur alten Gesch.), IV, pp. 125 f.; V, pp. 1 f. and 184 f.

1377 Late inscriptions mention “Pythian” and “Isthmian boys”: see F. M. Mie, Quaestiones agonisticae ad Olympia pertinentes, Diss. inaug., 1888, p. 48; Dittenberger, Sylloge,² II, nos. 677–8; the ἀγένειοι and ἄνδρες at Nemea are mentioned by Pindar, Ol., VIII, 54. The boys in these contests were probably aged 12–16, the ἀγένειοι, 16–20 (cf. Roberts-Gardner, Greek Epigraphy, II, p. 166), and the men over 20 years old.

1378 For Olympia, see P., VI, 2.10; 6.1; 14.1–2; etc.

1379 C. I. G., I, 1590.

1380 Dittenberger, op. cit., II, no. 524: ἐφήβων νεωτέρων, μέσων, πρεσβυτέρων.

1381 I. G., II, 444. For the Panathenaia, see Suidas, s. v. Παναθήναια; Mommsen, Heortologie, 1864, p. 141; etc.

1382 P., V, 16.2.

1383 De Leg., VIII, 833 C, D.

1384 C. I. G., inscriptions relating to ephebes, e. g., I, 232; 1590; Dittenberger, de Ephebis atticis, 1863, p. 24; Dumont, Essai sur l’Ephébie attique, 1876, pp. 215–16. This classification is followed by E. Pottier, B. C. H., V, 1881, p. 69.

1385 Bussemaker, in Dar.-Sagl., I, Pt. 1, s. v. athleta, 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, s. v. ἐπιδιετές, give the ephebe age as 18–20; Xen., Cyr., 1, 2.8, puts the age at 16 or 17 for the Persians.