108 VICTOR STATUES REPRESENTED AT REST. 
to produce rigid statues in the conventional Egyptian attitude with 
the arms glued to the sides, the two halves of the body being symmet- 
rical and the hips on the same level. He gradually improved on this 
model, making the position more elastic—as 
in the statue of Milo—rightly indicating 
bones and muscles and giving to the figure 
natural proportions. Bulle has shown on 
one plate! three statuettes which illustrate 
the improvements reached in bronze in vari- 
ous parts of Greece by the end of the sixth 
century B.C. To the left is represented a 
victorious palzstra gymnast—as 1s indicated 
by the remnants of akontia in the hands— 
in the Akropolis Museum (Fig. 15);? in the 
center is the Payne Knight statuette of the 
British Museum,’ carrying a fawn in the 
right hand, which is a copy of the Philesian 
A pollo which stood in the Didymaion near 
Miletos; to.the right is Hermes with the 
petasos, short-girded tunic, and winged san- 
dals, holding a ram in the left and probably 
a kerykeion in the right hand.‘ The attri- 
butes of the three, then, attest respectively 
a victor, Apollo, and Hermes. In all three 
the arms are freed from the body, and the 
muscles of the breast, chest, and abdomen 
are indicated, though carelessly in the case 
of the victor. The proportions of the three 
| : erie of a Palestra Victor, from 
vary greatly; the Attic victor has a large 44¢ Akropolisiem anes 
head, broad shoulders, powerful chest, long jis Museum, Athens. 
body, and short legs; the Apollo has. long 
legs, shorter though slimmer body, and small head;> the Hermes has 
a clearly outlined figure and shows the careful modeling so character- 
istic of the schools of Argos and Sikyon in the fifth century B.C. 
Bulle shows that the further development of the “Apollo” type was 
halted by the Argive school, which, while continuing the restful pose 
of these figures, counteracted their rigidity by inclining the head to 
the side and throwing the weight unevenly on the legs by lowering 

Fic. 15 —Bronze Statuette 
INo. 38; cf. for the left-hand figure, p. 83, fig. 11 (side view). 
2B. C. H., XVIII, 1894, pp. 44 f., Pls. V, VI (de Ridder); Perrot-Chipiez, VIII, p. 547, fig. 332; 
A. de Ridder, no. 740, pp. 268-9, and Pls. III, 1V. It is similar in pose to bronzes in the same 
museum, nos. 736 (=de Ridder, Pl. II, 1), 737:(=PIl. II, 3), and 738 (=Pli 1], 2)eltise 
meter high (Bulle). 
3Tt will be considered later on in this chapter: p. 119 andn.3. Itis0.185 meter high (Bulle). 
*This statuette, showing Peloponnesian tendencies, is in the Museum of Fine Arts, Boston; 
it is 0.25 meter high (Bulle). 
5In the same way the pediment statues from Aegina differ from Attic works by straiehees 
lines and more compact forms. 
