The Project Gutenberg eBook of Olympic Victor Monuments, by Walter Woodburn Hyde.

2187 Bronz. v. Ol., 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, e. g., 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.

2188 E. Curtius, Peloponnesos, 1851–2, I, p. 85; II, pp. 16 and 96, n. 14; F. Dahn, Die Germanen in Griechenland, in A. Z., 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.

2189 He won in Ol. 59 ( = 544 B. C.): P., VI, 18.7; Hyde, 187; Foerster, 113.

2190 He won in Ol. 61 ( = 536 B. C.): P., l. c.; Hyde, 188; Foerster, 120.

2191 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: e. g., the gilded statue in Ephesos, mentioned by Xenophon, Anab., V, 3.12. Theophrastos speaks of the durability of this wood: de Plant. hist., V, 4.2 (χρονιώτατα δοκεῖ τὰ κυπαρίττινα εἶναι). Cf. Hehn, Kulturpflanzen und Haustiere⁶, 1894, pp. 276 f.; H. Bluemner, Technologie und Terminologie d. Gewerbe und Kuenste bei Griechen und Roemern, 1879, II, pp. 257 f.; Hitz.-Bluemn., II, 2, p. 625.

2192 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., Orat., XXVIII, A, p. 531 R (289 M).

2193 F. W., no. 213, p. 101; Scherer, p. 18, n. 3; Vischer, Aesthetik, III, §607, p. 377; and cf. S. Reinach, R. Ét. Gr., XX, p. 413.

2194 See Koehler, Gesam. Schriften (ed. Stephani), VI, p. 345.

2196 See Hyde, op. cit., Catalogue, pp. 3–24. There 188 victors are listed, Philon of Corcyra appearing twice, nos. 91 and 136.

2197 H. N., XXXIV, 16.

2198 P., VI, 1.1, says that not all victors set up statues. This has been discussed in Ch. I, p. 27.

2199 Pliny differentiates carefully between ars sculptura (i. e., sculpture in stone) and ars statuaria (i. e., in bronze): thus Bk. XXXIV of the H. N. is concerned with the latter, Bk. XXXVI with the former. In XXXVI, 15, he says that sculptura 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.

2200 Gurlitt, Ueber Pausanias, 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 infra, Ch. VIII, pp. 340 f., 353 f.

2201 Taken from Treu’s account in Bildw. v. Ol., pp. 29–34 and 216–218.

2202 Chapter III, supra, pp. 162–3; a = Bildw. v. Ol., Tafelbd., Pl. VI, 1–4 (with fragments, ibid., 5–6, 7–8, and figs. 30–32 in the text); b = ibid., Pl. VI, 9–10.

2203 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: 50stes Berl. Winckelmannsprogr., 1890, pp. 147–148; similarly Treu, l. c.; both refer it to the fifth century B. C. and to a Peloponnesian sculptor.

2204 Tafelbd., Pl. LVI, 3; F. W., 330.

2205 Tafelbd., Pl. LVI. 4.

2206 P. 216, n. 4 and fig. 242; a = buttocks; b = right upper leg; c = bent upper leg with knee; d = upper arm bent at elbow.

2207 V, 17.3; here he enumerates images of ivory and gold, the marble Hermes of Praxiteles, an Aphrodite 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.

2208 P., VIII, 40.1; to be discussed in the second part of the present chapter, pp. 326 f.

2209 R. Ét. Anc., X, 1908, pp. 161 f.

2210 Bildw. v. Ol., Tafelbd., Pls. XLVI-XLVIII; Textbd., pp. 182 f. and Figs. 210 f.; and Ergebnisse, II (Baudenkmaeler), Pl. XCIII (basis) and pp. 153–5; cf. P., V, 26.1.

2211 P., V, 17.3 (already mentioned on p. 325, n. 3).

2212 See Treu, Bildw. v. Ol., 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: e. g., Corinthian, Delian (the favorite with Myron), Aeginetan (the favorite with Polykleitos), etc.

2213 Cf. Furtwaengler, Bronz. v. Ol., pp. 21–2; 50stes Berl. Winckelmannsprogr., 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, Dodone et ses Ruines, Pl. XIII. 1). For diskoboloi, see E. von Sacken, Die ant. Bronzen des k. k. Muenz- und Antiken-Cabinetes in Wien, 1871, Pls, XXXV, 1, XXXVII, 4.

2214 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.

On the various spellings of the name, Arrhachion, Arrhachon, Arrhichion, etc., see critical note in Rutgers, p. 19, and Foerster, no. 103.

2215 Both Africanus (see Rutgers, l. c.), and Pausanias (l. c.) date the third victory. Pausanias and Philostratos, 21, place the other two victories in the Ols. just preceding. Cf. 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 (Imag., II, 6 = p. 411); Pausanias also mentions that the body was crowned.

2216 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 Les Apollons archaïques, 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: B. C. H., XV, 1891, pp. 440 and 448; Chroniques d’Orient, II, p. 36; R. Ét. gr., 1892, p. 127; Mueller, Nacktheit und Entbloessung in d. altoriental. und aelteren griech. Kunst, Diss. inaug., 1906, p. 100; Rouse, p. 307.

Pausanias’ description of Arrhachion’s statue is discussed by the following: Scherer, pp. 16 and 23; Iwan v. Mueller, Handbuch, VI, p. 530: Dumont, Mélanges d’ Arch., p. 53; Lange, Darstellung des Menschen in der aelteren griech. Kunst, 1899; Brunn, Griech. Kunstgesch., II, p. 73; Overbeck, Griech. Kunstmythol., III, Apollon, p. 12, no. 9; Klein, p. 146; Reisch, p. 40; Collignon, I, p. 117, n. 1, and B. C. H., V, 1881, p. 321; cf. Deonna, op. cit., p. 13, n. 4.

2217 See Lange, op. cit., pp. XI f., who states the formula, which we have already given supra, Ch. IV, p. 175, cf. Loewy, Die Naturwiedergabe in der aelteren griech. Kunst, 1900, pp. 25, 27; id., Lysipp und seine Stellung in der griech. Kunst, pp. 17–18. On the pose, cf. S. Reinach, Manuel de Philologie classique (ed. 2), 1907, II, p. 91 n. 2.

2218 Deonna, op. cit., 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.

2219 I, pp. 21 f.; cf. Rhein. Mus., N. F., X, 1856, pp. 153 f.

2220 See bibliography in Collignon, I, pp. 117–18; cf. G. Kieseritzky, Jb., VII, 1892, pp. 182 f.

2221 A. Z., XL, 1882, pp. 55 f.

2223 I, pp. 117–19; more fully in Gaz. Arch., 1886, pp. 235 f.; cf. also his later treatment in Mon. Piot, XX, 1913, pp. 5 f.; he assumes less influence in the corresponding archaic draped female type. Cf. also, for a similar view, F. W., p. 11 (to no. 14); von Sybel, Weltgesch. d. Kunst, p. 114; Kieseritzky, l. c.; Loewy, Jh. oest. arch. Inst., XII, 1909, pp. 243 f.; cf. id., ibid., XIV, 1911, pp. 1 f,; id., Griech. Plastik, 1911, p. 5. While Loewy believes Egyptian influence reached Greece via Crete, Poulson believes that it came via Phœnicia: see the latter’s Der Orient u. d. fruehgriech. Kunst, 1912, and cf. his article in Berl. Philol. Wochenschr., XXXIV, 1914, cols. 61 f.; Richardson, p. 39; E. Kroker, Jb., I, 1886, pp. 114 f.; etc.

2224 Gaz. B.-A., XXI, 1899, pp. 177 f.; 313 f.; for a similar view, see also Overbeck, I, pp. 37 f.

2225 Les Apollons archaïques, pp. 21 f.; id., L’Archéologie, sa valeur, ses methodes, II, pp. 193 f.; id., L’influence égyptienne sur l’attitude du type statuaire debout dans l’archaïsme grec, in Festgabe H. Bluemner ueberreicht, 1914, pp. 102–142.

2226 Greek Sculpture, Its Spirit and Principles, 1903, p. 84. On p. 324, however, he admits Oriental influence on the Greek minor arts, especially that of Assyria on early vases.

2227 So Pottier, B. C. H., XVIII, 1894, pp. 408 f.; cf. Gardner, Hbk., pp. 47 f.; Sculpt., pp. 17 f.; etc.

2228 Schliemann, Orchomenos, 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.

2229 E. g., I, 42.5; II, 19.3; VII, 5.5; cf. IV, 32.1.

2231 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 Encycl. Brit., eleventh ed., vol. IX, p. 79 (in the article on Egypt, Chronology and History, by R. S. Poole and F. Ll. Griffith). Breasted, A History of Egypt², 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.

2232 Both are given by Bulle, Pl. 5; cf. id., Pl. 37 (“Apollos” of Tenea and Volomandra); Ra-nefer, in Maspero, Art in Egypt, 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.

2233 Ka-aper in Bulle, Pls. 6 and 7 (two views of the head); von Bissing, Denkm. aegypt. Skulpt., I, 1914, Pl. XI; Perrot-Chipiez, I, p. 11, fig. 7; Maspero, op. cit., p. 83, figs. 151, 152; id., Manual of Egyptian Archæology, 1895, p. 218, fig. 188, and p. 221, fig. 191. The “wife,” in Bulle, Pl. 9 (two views); Maspero, p. 83, fig. 154; id., Manual, p. 222, fig. 192.

2234 Breasted, A History of Egypt², l. c., dates dynasties XI-XII, 2160–1788 B. C.; the Hyksos, dynasties XIII-XVII, 1788–1580 B. C.

2235 Bulle. Pls. 11 (two views) and 12 (head); von Bissing, op. cit., I, Pl. XL, A (left); Maspero, Art in Egypt, p. 110, figs. 203–204.

2236 We should add to the New Empire the Deltaic dynasties, from the twenty-first on. Breasted, l. c., assigns to the New Empire dynasties XVIII-XIX and part of XX, 1580–1150 B. C.

2237 Bulle, Pl. 17 (left); Maspero, Hist. anc. des peuples de l’Orient classique, II, p. 531; id., Art in Egypt, p. 201, fig. 390 (= the Lady Naï); Mon. Piot, II, 1895, Pls. II-IV.

2238 Bulle, Pl. 17 (right); von Bissing, II, Pl. LXIV; Maspero, Hist., III, pp. 503–504 and Pl. II; id., Art in Egypt, 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.

2239 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: Rendiconti della R. Accad. dei Lincei, 1891, p. 599 (Loewy); Rev. Arch., 1893, Pls. III-IV (Joubin); Gardner, Hbk., p. 147, fig. 21; Perrot-Chipiez, p. 431, fig. 208; etc.

2240 E. g., in the statue of Ra-nefer.

2241 E. g., in the statue of the Sheik-el-Beled.

2242 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.

2243 On these common characteristics, see Richardson, p. 39; cf. H. N. Fowler, History of Sculpture, 1916, pp. 59–60; etc.

2244 Pottier, op. cit., p. 414, assumes a religious reason for the left foot being advanced in both types. For another, natural explanation, see Homolle, de antiquiss. Dianae Simul., p. 95, quoted by Collignon, I, p. 118, n. 3.

2245 The Greeks first copied the type in statuettes: e. g., alabaster figurines from Naukratis: W. Flinders Petrie, Naukratis², 1888, I, Pls. 1, 3, 4; G. Kieseritzky, Jb., VII, 1892, Pl. VI (with head, three views); ibid. p. 189 (figure in Boston). Pottier, op. cit., 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.

2246 Brunn, in his Kunst bei Homer, 1868, quoted by Gardner, Hbk., 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.

2247 Gesch. des Materialismus,³ I, p. 127 (quoted by F. W., on p. 12).

2248 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.

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 Inschr. v. Ol., 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: ibid., nos. 234–5.

2249 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 Inschr. v. Ol., no. 161: cf. P., VI, 6, 1; Foerster, no. 324.

2250 P., VI, 15.8; Hyde, 148; Foerster, 61, 62.

2251 P., I, 28.1; cf. for the date, Foerster, no. 55. See infra, p. 362.

2252 P., III, 13.9; Foerster, nos. 86–90. See infra, p. 362.

2253 P., VI, 3.8; Hyde, 29; Foerster, 6.

2254 P., VI, 13.2; it was accordingly set up about Ols. 77–8 ( = 472–468 B. C.): see Hyde, no. 111, and cf. p. 48; Foerster, 39, 41–46. See infra, p. 362.

2255 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, A. M., III, 1878, pp. 305 f.

2256 So Vitet, Gaz. B.-A., XII, 1862, p. 29.

2257 See list in Deonna, Les Apollons archaïques, p. 13, n. 1.

2258 E. g., on an amphora from Vienne: see Annali, XXI, 1849, Pl. D., and pp. 159 f.; on another from Nola, now in the British Museum: B. M. Vases, III, p. 230, E 336; cf. also ibid., E 313; on a wall-painting from Pompeii: A. Z., 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.

2259 I, 98. Cf. Brunn, Griech. Kunstgesch., II, p. 76, and Griech. Kuenstler, I, pp. 36–37, no. 11; Mueller, Nacktheit und Entbloessung in d. altorient. und aelteren griech. Kunst, Diss. inaug., 1906, pp. 112 and 122; Roscher, Lex., I, s. v. Apollon, p. 450; Overbeck, I, pp. 38 and 78.

2260 P., VIII, 53. 7–8.

2261 P., II, 32. 5; cf. IX, 35. 3; described by Plut., de Musica, 14 (p. 1136); cf. Annali, XXXVI, 1864, p. 254; etc. Discussed infra, p. 335 and n. 7.

2262 See list in B. M. Sculpt., I, pp. 81 f. (from which we have taken some of the following examples).

2263 Petrie, Naukratis, I, Pl. 1, fig. 4.

2264 A. Z., XL, 1882, p. 323.

2265 Deonna, op. cit., nos. 1, 2; cf. Gaz. Arch., 1886, p. 235.

2266 See Deonna, nos. 28 f.; B. C. H., X, 1886, pp. 66 f.; B. B., 12; etc.

2267 B. M. Sculpt., no. 210.

2268 B. M. Sculpt., nos. 202 (torso = Petrie, Naukratis, I, Pl. I, fig. 9) and 204 (torso = Naukratis, I, Pl. I, fig. 3).

2269 Ibid., no. 203 (= Naukratis, II, Pl. XIV, fig. 13).

2270 See A. M., IV, 1879, p. 304.

2271 See Rapporto d’un viaggio nella Grecia nel 1860, in Annali, XXXIII, 1861, p. 80.

2272 J. H. S., I, 1880, pp. 168 f., already quoted. For the monument of Dermys and Kitylos, see Gaz. Arch., 1878, Pl. 29; A. M., III, 1878, Pl. XIV; F. W., 44.

2273 On the subject of hair on “Apollo” statues, see Overbeck, Griech. Kunstmythol., III, Apollon, p. 14 (cf. note f); and cf. Milchhoefer, A. Z., XXXIX, 1881, p. 54, who discards this feature as a criterion.

2274 For examples, see Deonna, Les Apollons archaïques, p. 12, n. 4 and n. 5.

2275 Cf. 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 B. M. Sculpt., I, p. 82.

2276 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.; cf. Akropolis inscription, I. G. B., no. 27. This statue is mentioned by P., IX, 35. 3, as holding the Graces in one hand. Plutarch, who cites Antikles and Istros as his authorities, gives a better description of it in de Musica, 14; he says that it held the bow in the right hand and the Graces playing on musical instruments in the left. A scholion on Pindar, Ol., 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, Saturnalia, 1, 17. 13, place the bow in the left hand and the Graces in the right, an arrangement confirmed by Athenian coins which are copied from the replica of the statue in Athens (Bekker, Anecdota gr., I, p. 299, ll. 8–9). Frazer, V, p. 174, figs. 8–9, reproduces two of these coins.

2277 This image, known as the Philesian Apollo, already discussed on pp. 118f., is described by Pliny, H. H., 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, Griech. Mythol., III, Apollon, 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, l. c., p. 430, fig. 45 (= B. M. Bronzes, no. 209); Frazer mentions as other copies a statuette in Berlin, described in A. Z., XXXVII, 1879, pp. 84–91, and one from the Ptoian sanctuary, described in B. C. H., X, 1886, pp. 190–6, and Pl. IX. On Milesian reliefs, see one published by Kekulé von Stradonitz, Ueber d. Apoll. des Kanachos, Sitzb. Berl. Akad. d. Wiss., 1904, I, fig. on p. 787, and p. 797, and another by Th. Wiegand, Siebenter vorlaeufiger Bericht ueber Ausgrabungen in Milet und Didyma (Abh. Berl. Akad. d. Wiss., Philosoph.-histor. Cl., 1911), p. 21.

2278 Mentioned by P., X, 24. 5, and Philochoros, in F. H. G., 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; cf. Frazer, V, p. 352.

2279 See B. C. H., XII, 1888, p. 468.

2280 In the Ottoman Museum, Invent. no. 374; Reinach, Rép., II, 1, 78, 2. It is described by Mendel, in B. C. H., XXVI, 1902, pp. 467 f.; cf. Deonna, Les Apollons archaïques, p. 226, no. 127.

2281 See Deonna, pp. 191 f., no. 81 and figs. 84–90; cf. Annali, XXXVI, 1864, p. 253 (Michaelis).

2282 Ibid., pp. 185 f., no. 77 and fig. 82.

2283 E. g., 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 A. M., XXXI, 1906, pp. 363–4; Deonna, no. 7, pp. 135 and 347; Staïs, Marbres et Bronzes, no. 2720, pp. 6–7 and fig.; Gardner, Hbk., p. 197, fig. 40; it is 3.05 meters high (Staïs); two from Delphi, called either Kleobis and Biton, or the Dioskouroi by Homolle, B. C. H., XXIV, 1900, pp. 445 = B) and 446 (= A), and 450 f.; Homolle here has the letters changed; his B = Fouilles de Delphes, 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, ibid., pp. 18–19.

2284 See Milchhoefer, A. Z., XXXIX, 1881, pp. 54–55.

2285 See Loeschke, A. M., IV, 1879, p. 304; cf. Furtwaengler, A. Z., XL, 1882, p. 57; Hiller von Gaertringen, Thera, III, 1904, p. 285; Ross, Reisen auf d. griech. Inseln des Aegaeischen Meeres, I, 1840, p. 8.

2286 See Deonna, Les Apollons archaïques, pp. 238–9, no. 141; B. M. Sculpt., 207 (= torso).

2287 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, Monumenti antichi, I, pp. 789 f.

2288 Bulle, 37 (left).

2289 Vit. Apoll. Tyan., IV, 28; see supra, pp. 106–7. Scherer, op. cit., pp. 23 ff., thought that this statue conformed with the type of the Apollo of Kanachos already mentioned. Reisch, p. 40, rightly believes that it had “noch geschlossene Beine, aber geloeste Arme,” i. e., like the Apollo of Tektaios and Angelion already discussed.