100 VICTOR STATUES REPRESENTED AT REST. 
Such monuments show us the varied poses, the choice of the critical 
moment, the truth to life, and the masterly rhythm attained by cer- 
tain sculptors. 
THE APOLLOVLYEE: 
In this chapter we shall confine ourselves almost entirely to the 
statues of victors represented at rest, discussing those represented in 
motion chiefly in the next. Most of the oldest statues at Olympia, 
dating from a time when there were few variations in the sculptural 
type, must have been represented at rest and in the schema of the so- 
called ‘“Apollos.”” Ever since the discovery of the Apollo of Thera in 
1836 (Fig. 9), this genre of sculpture, the most characteristic of the early 
period, extending from the end of the seventh century B.C. to the 
time of the gable groups of Aegina, has been carefully studied. “Though 
we now know that the type passed equally well for gods and mortals,! 
we still keep the name, because of its familiarity and for the sake of 
having a common designation. ‘That this type actually represented 
Olympic victors ‘we have indubitable proof. Pausanias mentions the 
stone victor statue of the pancratiast Arrhachion, dating from the first 
half of the sixth century B. C., which stood in the agora of his native 
town Phigalia. He describes it as archaic in pose, with the feet close 
together and the arms hanging down the sides to the hips—the typical 
“Apollo” schema.? Moreover, this very statue has survived to our 
time (Fig. 79). A study, therefore, of this type of statue will give us 
an idea of how some of the early statues at Olympia looked. 
The “Apollo” statues,* because of differences in facial expression, 
have been conveniently divided into two groups: those represented by 
the examples from Thera, Melos, Volomandra, Tenea, etc., sometimes 
named the “grinning” group, because the corners of the mouth are 
turned upwards into the so-called “archaic smile,” and those repre- 
sented by the examples from Orchomenos, the precinct of Mount 
Ptoion, and elsewhere, named the “‘stolid”’ group, because in them the 
mouth forms a straight line.» There are, however, essential differences 
between the statues of each group. Thus, while some of both groups— 
e. g., the examples from Melos, Volomandra, and Orchomenos—have 
square shoulders, most of the others have sloping ones. The type 
gradually improved, as in each successive attempt the sculptor over- 
came difficulties, until finally revolutionary changes had taken place 
1Discussed infra in Ch. VII, pp. 334 f. 2V ITI, 40.1. 3See infra, Ch. VII, pp. 327-8. 
_ 4We know of one case, at least, where an ‘‘Apollo” (draped) was transferred to a relief—on a 
column drum of the old Artemision in Ephesos, now in the British Museum: J. H. S., X, 1889, 
Pl. III, pp. 4 f., and figs. 4a, 5 (Murray); Overbeck, I, p. 106, fig. 9; Richardson, p. 53, fig. 16. 
According to Herodotos, I, 92, most of these columns were the gifts of Croesus, who reigned 
560-546 B. C. On the whole series of “Apollos,” see W. Deonna, Les Apollons archaiques, 
1909; cf. F. W., text to no. 14, pp. 9 f; B. M. Sculpt., I, pp. 82-3, with references; etc. 
5See Richardson, pp. 39 f. 
