THE AFFILIATED SCHOOLS OF ARGOS AND SIKYON. 109 
one hip and further advancing one foot. The central line was no 
longer vertical, but curved, and it was now possible to give greater 
detail to chest and abdomen. Polykleitos finally perfected this curve 
and threw back the left foot, resting the weight of the body on the 
right—from which time on we have the regular scheme of “free”’ 
and “‘rest”’ legs. Despite all these later improvements, Olympic vic- 
tors continued to set up statues in the rest attitude of the ‘‘Apollo”’ 
type down perhaps into the third century B.C. Such dedications 
were the result both of school tendencies and economy, especially in 
the case of equestrian victors, who frequently were content to use such 
“‘actionless”’ statues in place of groups. We have only to mention 
the monuments of Timon of Elis, whose statue was the work of the 
Sikyonian Daidalos,! and of Telemachos of Elis, whose statue was 
made by the otherwise unknown sculptor Philonides.? 
Before systematically considering victor statues at Olympia and 
elsewhere with general motives, 7. ¢., represented at rest, we shall now 
rapidly sketch the development of athletic sculpture in four great 
centres, Argos, Sikyon, Aegina, and Athens, even though some of the 
works mentioned were represented in motion. Sculptors of other 
schools known at Olympia will be treated incidentally in both this and 
the following chapters. 
THE AFFILIATED SCHOOLS OF ARGOS AND SIKYON. 
While in general it is unprofitable to discuss sculptors who have not 
surely left any example of their art behind, there are two early schools 
of Peloponnesian sculpture, those of Argos and Sikyon, which, though 
we may assign work to them only by conjecture, can not be summarily 
passed over, owing to their great importance in the history of Greek 
athletic art. The bronze used in their works was too valuable to 
escape the barbarians, and, furthermore, the monotony, which must 
have characterized early Peloponnesian sculpture, militated against 
these works being reproduced to any great degree by later copyists. 
THE ScHOOL oF ARGOS. 
The Argive school was devoted mainly to athletic statuary. The 
greatest name in old Argive art is that of Ageladas or Hagelaidas,’ 
1He won a chariot victory some time between Ols. (?) 98 and 101 (=388 and 376 B.C.): P., 
VI,2.8; Hyde, 17 (=105 d; P., VI, 1.26); Foerster, 310. 
2He won in chariot-racing some time between Ols. (?) 115 and 130 (=320 and 260 B.C.): P., 
VI, 13.11; Hyde, 122; Foerster, 513. The date is from the lettering on the recovered base: 
Inschr. v. Ol., 177; cf. Hyde, p. 51. On such statues, cf. Reisch, p. 41. 
8The spelling HayeAacdas occurs on two blocks, d, e, from the Praxiteles bathron at Olympia: 
Inschr. v. Ol., 631=1. G. B., 30; for the whole Praxiteles bathron see Jnschr. v. Ol., 266. Ditten- 
berger and Purgold keep the reading Hagelaidas. Possibly the spelling “AveAaiéda stands for 
6’Ayedaléa; the MSS. of Pliny read Hagelades; see J. G. B., p. xviii, Add. to no. 30; Gard- 
ner, Hbk., p.217,n. 1. On the sculptor, see Lechat, p. 380 and n. 4, and pp. 454 f.; Collignon, 
I, pp. 316 f.; Joubin, pp. 14 f., 83 f., 92 f., etc.; Brunn, pp. 63 f.; Gardner, Hbk., pp. 216 f.; and 
especially Pfuhl, in Pauly-Wissowa, VII, pp. 2189 f. 
