130 VICTOR STATUES REPRESENTED AT REST. 
GENERAL MOTIVES OF STATUES AT REST. 
The victor represented as standing at rest was often characterized 
by general motives, such as praying, anointing or scraping himself, 
offering libations, and the like. We shall now consider such motives 
in detail. 
ADORATION AND PRAYER. 
Prayer was a common motive represented in votive monuments. 
Pliny mentions many such works by Greek sculptors.1 The cus- 
tom of raising the arms in prayer is found all through Greek literature, 
from Homer down.? Pausanias says that the people of Akragas made 
an offering in the form of bronze statues of boys placed on the walls 
of the Altis, mporetvovras Te Tas OeELas Kal eikacpevous evVXOMEVOLS TH DEC), 
these statues being the work of Kalamis.2 In the Athenian Askle- 
pieion there were many 7U7ol KaTauaKkTol mpds TLvaKiw, among which 
were representations of men and women in the praying attitude.’ 
The motive was used at Olympia in victor statues, representing the 
victor as raising the hand in prayer to invoke victory.®> ‘The statue 
of the wrestler Milo, already discussed at length, shows that this 
motive was employed at Olympia in the improved “Apollo” type in 
the second half of the sixth century B.C.6 From the next century 
we may cite the statue of the Spartan chariot victor Anaxandros, 
which was represented as “praying to the god,’”’ and the statues of 
the Rhodian boxers Diagoras and Akousilaos, as we learn from a 
scholion on Pindar,’ which is based on a fragment of Aristotle® 
and on one of Apollas.!° Of the statue of Diagoras it says: rp 
deEtay avaretyvwy xeipa, Thy b6€ apiorepay eis éavTov émtKALYwr; Of 
that of Akousilaos: 7H wév apiorepa iwavta Exwy muKtivov, THY de 
deEvav’ Ws mpos mpocevynv avareivwy.' The bronze statue from 
1F. g., H. N., XXXIV, 73 (Boédas); XXXIV, 78 (Euphranor); XXXIV, 90 (Sthennis). 
In XXXIV, 91, he gives a list of artists who made statues of sacrificantes. 
2In the Iliad, I, 450; VIII, 347; XV, 371; Aischylos, Prom., 1005 (Srridopact xepGv); etc. 
On the attitude of prayer in Greek art, see L. Gurlitt, 4. M., VI, 1881, pp. 158 f. (who tries to 
show that the gestures of prayer and adoration were distinct); Sittl, Die Gebaerden der Gr. 
und Roem., pp. 305 f.; cf. Conze, Jb., I, 1886, pp. 1-13 (on the Praying Boy of Berlin, Pl. 10.) 
See also Dar.-Sagl., I, pp. 80 f., 5. v. adoratio. VS 2S NSe 
4See article by P. Girard and J. Martha in B. C. H., II, 1878, pp. 421 f. (lists of inventories 
of objects consecrated there). 
Scherer, p. 33, shows that the gesture in such statues was meant to invoke victory rather 
than to pay thanks for one that had been gained. 
®Scherer agrees with Philostratos, Vit. Apoll. Tyan., IV, 28, that the gesture of the right 
hand of the statue was one of prayer, and argues from it that many similar statues existed 
there: p. 31. Rouse wrongly assumes that all such statues were votive: p. 170. 
7P., VI, 1.7; he won in OL. (?) 79 (= 464 B. C.): Hyde, 8; Foerster, 233. 
8Ol. VII, Argum., Boeckh, p. 158. °*Fragm. no. 264 (=F. HaG@ile pee ae 
0K ragm. 0., /1(== eal eee peo UA: 
4Diagoras won in Ol. 79 (=464 B. C.): P., VI, 7.1 f.; Hyde, 59; Foerster, 220; Inschr. v. OL., 
151 (renewed). For the sculptor of the statue, Kallikles, see Robert, O. S., pp. 194f. On 
Diagoras, see van Gelder, Gesch. d. alt. Rhodier, p. 435. Akousilaos won in Ol. 83 (=448 
B.C.): P., 1. c.; Oxy. Pap.; Hyde, 60; Foerster, 252. 
