136 VICTOR STATUES REPRESENTED AT REST. 
tury B.C.! It was’ treated in sculpture by many masters. Pliny 
mentions such ‘statues of athletes destringentes se (amovduevot), by 
Polykleitos, Lysippos, and Daidalos of Sikyon.? Perhaps the perixy- _ 
omenoi by Antignotos and Daippos, the latter the son of Lysippos, had 
the same motive.’ Of the Apoxyomenos of Polykleitos. we have no 
authenticated copies in sculpture, though Furtwaengler believes that 
he has found: reminiscences of it on gems which represent a youth 
resting the weight of his body on the left leg, the right being drawn 
back (i. ¢., in the attitude of the Doryphoros), the right forearm 
extended, and the left holding a strigil. The. similarity of these 
gem-designs makes it certain that they are all derived from a well- 
known work of art.4 Perhaps the fine bronze statuette, dating from 
the middle of the fifth century B. C., and now in the Loeb collection in 
Munich, represents the pose of the destringens se-by Polykleitos.> It 
represents a nude youth resting the weight of the body on the soles 
of both feet, the left one slightly advanced, and holding a strigil in 
the raised Hott hand. ‘The famous marble copy of an Apoxyomenos in 
the Vatican® (Pl. 29), which, because of its long slim legs and graceful 
ankles, might well represent a runner, has long been held to: repre- 
sent the canon of Lysippos, as it exhibits proportions widely different 
from those employed by Polykleitos, and agreeing with Pliny’s account 
of Lysippos’ innovations.’ However, the doubts arising in recent 
years as to whether this statue is a copy of Lysippos’ statue or a later 
work will be considered at length in Chapter VI.° 
‘The same motive is exemplified by many existing statues, statuettes, 
reliefs, etc. The marble statue of an athlete in the Uffizi, Florence, 

LE. g., on an amphora in Vienna: Schneider, Arch.-epigr. Mitt. aus Oest., V, 1881, p. 139, 
Pl. 1¥; Hoppin, Hbk. Attic r.-f. Vases, 1. p. 334, no. 25 and Pl. (right-hand fig.);-on a kylix 
formerly in possession of Lucien Bonaparte, now in the British Museum, E 83: Gerhard, IV, 
Pl. CCLX XVII, 2 (left-hand figure), and p. 50; Murray, Designs from Greek Vases, no. 58; 
others on which the athlete is cleansing the strigil and not the body are given by Hartwig 
in Jh. oest. arch. Inst., 1V, 1901, p. 154 and figs. 178 (Peleus on krater from Bologna), 179 
(athlete on B.. M. vase-mentioned above, E 83, third figure from left, middle row), 180 (cup 
in Rome, Museo Gregoriano), 181 (jug, ibid.); Hartwig, pp. 153-4, mentions an athlete on 
a cup in the Muséo Papa Giulio, Rome. For the motive of an apoxyomenos on a vase in 
the Louvre, see Hartwig, Die greich. Meisterchalen, pp. 24 f. and fig. 2a. 
2H :N:, XXXIV, 55, 62 ahd 76, respectively. 
ap ling. XXXIV, 86:and 87, respectively. 
‘A list is given by Furtw., Mp., p. 262, n. 2; Mw., p. 471, n.1;.a gem from the Hermitage i Is 
shown in M>p., p. 262, fig. 109; Mw., p. 471, fig. 79; = Die antiken Gemmen, Pl. XLIV, no. 19; 
cf. also ibid., no. 18; Hartwig, in the areiele cited in note 1 above, adds two more gems showing 
an athlete in a similar position, in the Boston Museum of Fine Arts: p. 155, figs. 183, 184. Here 
the youth, as Hartwig against the interpretation of Furtwaengler makes clear, is cleansing 
the strigil and not his body. 
®So-J. Sieveking, Die Bronzen der Samml. Loeb, 1913, Pl. 11, pp. 27 f.; of. Burlington Fine 
Arts Club, Cat. Anc. Gk. Art, 1904, Pl. 50, B. 47, and von Duhn, Sitzb. a Heidelberger Akad. 
d. W., Abt. 6.%pr Oe. Ftis 0.09 meter high. 
°Von Mach, 235; F. W., 1264; Reinach, Rép., I, 515, 6 and 7; cf. II, 2, 546, 2; etc. 
THN S. XXXIV, 65. 8Infra, pp. 288 f. 
