142 VICTOR STATUES REPRESENTED AT REST. 
bronze we see that the latter was a subsequent rendition of the same 
original, and doubtless by some artist of lesser fame from the Poly- 
kleitan school, who was influenced by Attic art. 
But it is the interpretation of the [dolino which chiefly interests us 
here. While Longpérier called the similar Paris statuette a Mercure 
aptere, and the publisher of the statue from Kyrene called that copy 
a Hermes, yet Kekulé, Bulle, and most other archeologists have seen in 
the /dolino'an athlete. The inner surface of its outstretched right 
hand is left rough, and the fingers are in the same position as those of 
the Paris bronze. Such a position can be explained satisfactorily by 
restoring the hand with a kylix or a gua), such as was commonly used 
in libations. ‘The left hand is smooth and evidently empty, though 
Bulle restores it with a victor’s fillet, and so, following Kekulé, calls 
the statue that of a boy victor, who is bringing an offering to the altar 
in honor of his victory. [he marble statue in the Galleria delle Statue 
has the right forearm restored; in the Kyrene statue the right hand is 
preserved and has a thick object held downwards at a greater angle 
than in the Jdolino. The photograph does not let us judge deci- 
sively, but it seems to be too thick an object for the remnants of a 
kylix. A marble statue in the Barberini Palace, Rome,! which resem- 
bles the Idolino so closely as to be considered a copy of it, though with 
variations of pose and technique, has the arms broken off, and so adds 
nothing to the solution of the motive of the Jdolino. ‘The fact that a 
palm-stem stands beside the right leg, however, adds weight to the 
interpretation as victor. Furtwaengler interprets the Jdolino and kin- 
dred works as divinities. “Though boys serve at libations, he thinks 
they never perform the ritual act of pouring the libation.? That a 
libation-pourer should appear in the guise of a boy victor (that of 
Xenokles) he calls a genuine Argive trait. Svoronos, also, has recently 
tried to show that the Jdolino is not a victor,*? but represents the hero 
Herakles. He compares the figure with a fourth-century Pentelic 
marble relief in Athens,* which represents Herakles standing at the 
door of Hades and beside him a father leading his son up to the open 
air. [he pose of the figure of Herakles resembles that of the [dolino 
in a remarkable way. In the relief Herakles holds a kylix in the right 
hand? and a club in the left, and a lion skin is thrown over the left arm. 
Svoronos believes that the left hand in the relief explains the turning in 
of the left hand of the Jdolino—for he believes that the latter also held 
1Matz-Duhn, Ant. Bildw., no. 1111; Furtw., Mp., p. 287; Mw., p. 502. 
See material collected by Stephani, Comptes rendus dela commiss.impér.archéol., St. Peters- 
burg, 1873; cf. Fritze, de Libatione veterum Graecorum, Berl. Diss., 1893. 
II, pp. AGF 
4No. 2723; Svoronos, Tafelbd., II, Pl. CXXI (CI is a poor copy of it); Stais, Marbres et 
ae pp. 240-242 (0.45 meter high; 0.57 meter broad). Stais also regards it as an ex voto to 
erakles. 
*It is broken away, but its outline is clear. 
