GENERAL MOTIVES OF STATUES AT REST. 131 
Athens, now in the Antiquarium, Berlin,! which represents a 
nude boy with the right hand raised as if in prayer and the left 
lowered and holding a leaping-weight—therefore a pentathlete— 
seems to correspond with this description of the statue of Akousi- 
laos. The same motive may have been used in the statue of the 
chariot victress Kyniska, a princess of Sparta, whose statue along with 
that of her charioteer and the chariot was the work of the sculptor 
Apellas.* This is the interpretation of Furtwaengler,? based on a 
passage in Pliny, which mentions statues of adornantes se feminas* by 
Apellas, which he reads adorantes feminas. However, adornantes may 
be right, for in another passage, Pliny speaks of Praxiteles’ statue 
of a We\vouevn, 1. ¢.. of a woman clasping a bracelet on her arm.°® 
Two notable bronze statues will illustrate this motive of Olympic vic- 
tor statues. The statue found in 1502 at Zellfeld in Carinthia, now 
in Vienna,® has been interpreted both as a Hermes Logios and a votive 
statue in the attitude of prayer,’ which latter interpretation the 
inscription on the leg, giving a list of dedications,* favors. However, 
Furtwaengler believes it a free imitation of an Argive victor statue, 
though not in the Polykleitan style. Because of its similarity to the 
Idolino (Pl. 14), he has ascribed its original to the sculptor Patrokles. 
From technical considerations he believes it is not a Greek original 
dedicated by Romans of a later period, but a Roman work (after 
Patrokles) of the period of the inscription.” ‘The bronze statue of the 
Praying Boy in Berlin’® (PI. 10) is one of our most beautiful Greek 
bronzes and comes from the circle of Lysippos.’"* We now know that 
1Beschr. d. Skulpt., Inv. 6306; 4. M., VI, 1881, p. 158. Rouse, p. 171, following Scherer, 
pp. 31 f., doubts if this statue represents the attitude of any of the Olympic victor statues. 
2She won two victories in Ols. (?) 96, 97 (=396, 392 B. C.): P., VI, 1.6f.; Hyde, 7; Foerster, 
326, 333; Inschr. v. Ol., 160 (here the name appears in the uncontracted form ’AzeAéas). 
34. Z., XX XVII, 1879, pp. 151-2 (on no. 301=Inschr. v. Ol., 160); he is followed by Foer- 
ster, J. c. 4H. N., XXXIV, 86. 
5X XXIV, 70. Forthe motive, see the small bronze in Kassel, representing Aphrodite: /d., 
LX, 1894, Pl. LX (two views), and pp. 248-50 (W. Klein), though its connection with Praxiteles 
must not be pressed; also bronze statuette in British Museum: Bulle, 1, pp. 332 f., and fig. 81. 
6Described by R. von Schneider, Die Erzstatue vom Helenenberge, in Jahrb. d. Sammi. d. 
oesterr. Kaiserhauses, XV, 1893; illustrated by E. von Sacken, Die ant. Bronz. d. k. k. Muenz.- 
und Antiken-Cabinetes in Wien, 1871, 1, Pls. XXI-XXII, pp. 52f., and cf. 4. M., VI, 1881 
a9 Gurlitt). 
; ae - W., a SC le Tis 2, 4815: 9Mp., p. 290; Mw.; pp. 506-7. 
Beschr. d. ant. Skulpt., no. 2 (for history and bibliography); B. B., 283; von Mach, 273; 
Bulle, 64; Reinach, Rép., I, 459, 4; cf. Conze, Jd., I, 1886, pp. | f.; 2b1d., pp. 217 (Furt- 
waengler); ibid., pp. 219 f. (Puchstein); Springer-Michaelis, p. 341, fig. 614. A similar atti- 
tude of prayer appears on the figure of Phineus on a r.-f. Attic amphora in the British 
Museum: J. Z., XX XVIII, 1880, pp. 143 f. and Pl. XII,1(Flasch). The statue is 1.28 meters 
high (Bulle). 
ULoewy, R. M., XVI, 1901, pp. 391 f. and Pls. XVI-XVI, by a comparison with the 
Vatican Apoxyomenos (Pl. 29), and the Naples resting Hermes (von Mach, 237; Reinach, 
Rép., I, 367, 1), has shown its Lysippan character; cf. also Mau, freain next note, Bulle, and 
others, who refer it to the same school; Bulle assigns it possibly to Boédas, the pupil of 
Lysippos, who made a praying figure: Pliny, H. N., XXXIV, 73; similarly Amelung, in 
Thieme-Becker, Lex. d. bild. Kuenstler, IV, p. 187, Gardner, Hbk., p. 452, and others. 
