74 GENERAL CHARACTERISTICS OF VICTOR STATUES AT OLYMPIA. 
Melos and now in Athens.! The free leg, body, and head modeling 
correspond so nearly with the 4poxyomenos (Pl. 28) that it was at 
first called a work of Lysippos, but its lack of repose? 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. 
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 vice versa. Such examples of metamorphosing statues have noth- 
ing to do with the process of assimilation under discussion. A few 
examples will make this clear.: An archaic bronze statuette from 
Naxos,® reproducing the type of the Philesian Apollo of Kanachos, 
since it has the same position of hands as in the original, as we see 
it later reproduced on coins of Mailetos and in other copies,* 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- eran 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 Kynis- 
kos by Polykleitos at Olympia,’ which represented the athlete crown- 
ing himself, was modified to represent various deities, heroes, etc. Thus 
a copy from Eleusis of the fourthcentury B. C., Resetciy of its provenience 
and the soft lines of the face, suggests a Aivinien perhaps Triptole- 
mos. 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, conse- 
quently, may represent Adonis or Meleager. A torso in che 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.’ No ancient statue was used more extensively 
as a model for other types than the famous Doryphoros of Polykleitos. 
Furtwaengler® has collected a long list of later conversions of this work 
into statues both marble and bronze, statuettes, reliefs, etc., represent- 
ing Pan, Ares, Hermes, and in one case an ordinary mortal.? Other 
1K abbadias, 235; Collignon, in B. C. H., XIII, 1889, p. 498 and Pl. III; Bulle, 74. 
°Cf. the Farnese Herakles, Bulle, 72; etc. 
8Collignon, I, p. 253, fig. 122; see below, p. 119 and note 5. 
4E. g., in the Payne Knight bronze of the British Museum (B. M. Bronz., no. 209 and 
Pl, 1) and the Sciarra bronze (Collignon, I, p. 321, fig. 161; R. M., II, 1887, Pls. IV, IVa, V), 
which will be discussed in Ch. III, pp. 108, 119. 
‘He won Ol. (?) 80 (=460 B. C.): P., VI, 4.11; Hyde, 45; Foerster, 255; Inschr. v. Ol. 149. 
Cf. Furtw., Mp., pp. 249 f.; Mw., pp. 452 f. 
°Mp., p. 255; an almost exact copy of the Eleusis statue is in the Museo Torlonia, no. 37. 
’Froehner, Les medaillons de l’Empire romain, 1878, p. 123; Furtw., Mo., lee, 
8Mp., pp. 229 f., especially pp. 233 f.; Mw., pp. 422 f., especially pp. 426 £. 
°On an Argive funerary relief: see 4. M.,, III, 1878, pp. 287 f. and Pl. XIII: this free adaptation 
of the Doryphoros dates from the middle of the fourth century B. C.; it will be treated later on 
in our discussion of the Doryphoros. 


