ASSIMILATION OF OLYMPIC VICTOR STATUES. 71 
represent an athlete, but is against Waldstein’ s ascription of the work 
to Pythagoras.} 
Though differing 1 in detail, phe rendering of the hair, common to 
all the replicas, is a purely athletic coiffure. The argument for 
attributing the original to Apollo, based on the curls around the face, 
is of no importance, since a similar coiffure appears on many ephebe 
heads by various Attic masters of the same or a slightly earlier period. 
The hair treatment on a little-known replica of the head in the British 
Museum? gives us an additional argument in determining whether 
the original was an Apollo or not. On this head there are two cork- 
screw curls side by side just back of the ears, which are so inorganically 
attached and so unsuited to the style of head as to make us believe 
that they were added by the copyist, even if their absence in other 
copies were not proof enough of this fact. Apparently the copyist 
adopted a well-known type of athlete and tried to convert it into an 
Apollo by the use of this Apolline hair attribute. The only other 
Apolline attribute, the quiver on the copies in the Palazzo Torlonia?® 
and Museo delle Terme, may have been added as a fortuitous adjunct 
by the copyists, who were converting an original athlete statue into 
one of Apollo. It may be added, also, that the quiver does not always 
indicate the god, as we shall seein discussing the Delian Diadoumenos 
(Pl. 18). When we consider, therefore, the athletic pose, the massive 
outline and proportions, the high-arched chest, the muscular arms 
and thighs, the accentuation of the veins,‘ the fashion of the hair, 
and the relatively small size of the head, together with the presence 
of the boxing-thongs on the London example, it seems reasonable to 
conclude that in this series of copies we may see an original athlete 
statue, which in certain cases was later transformed into statues of 
Apollo. Even if the original was actually an Apollo, its proportions 
were far better suited to the patron of athletic exercises than to the 
leader of a celestial choir. 
An instance of the similar use of the same type of head is shown 
by the colossal statue of Apollo unearthed at Olympia. Here we see 
the same coiffure as in the heads discussed, but the presence of the 
remnants of a lyre indubitably shows that this copy was intended for 

1F, W., nos. 219 and 221. Clarac, Text, Vol. III, p. 213, leaves it in doubt whether it be 
Apollo or an athlete; however, he calls the Capitoline copy an athlete. 
2Published by Miss K. A. McDowall, J. H. S., XXIV, 1904, pp. 203-7 and fig. 1. 
8The untrustworthy character of the Torlonia copy has been shown by Overbeck, Kunst- 
mythologie, III, Apollon, pp. 109 and 162. The Roman copy in the Capitoline is also inferior, 
and the legs are wrongly restored—for at that period in art there was little difference between 
the free and the rest leg; see Helbig, Fuehrer, no. 859; Stuart Jones, Cat. Mus. Capit., p. 287, 
no. 20 and Pl. 69; Conze, Beitraege zur Gesch. d. gr. Pl.2, Pl. VII; Clarac, 862, 2189; head in Arndt- 
Amelung, Einzelaufnahmen, Serie II, 452-4, p. 35. 
4Waldstein ascribed the original to Pythagoras, partly because this artist was famed for the 
detail of veins, sinews, and hair: see Pliny, H. N., XXXIV, 59. 
>Bildw. v. Ol., Textbd., pp. 223 f.; Tafelbd., Pl. LVII, 3-5. The original height was 2.60 meters. 
