144 VICTOR STATUES REPRESENTED AT REST. 
pleni spiritu accendens. Quite a different explanation of the statue is 
possible—one which Mayer thought improbable. The right arm— 
broken above the wrist—was raised to the height of the shoulder 
and may have held an object in the hand; the left arm—broken off 
below the shoulder—seems to have been held close to the body and 
appears to have corresponded in movement with the other. ‘The boy, 
therefore, may have held a cup in the right hand and a branch or a 
victor fillet in the left. Thus it may merely be another example of 
a boy victor pouring a libation. 
Certain other statues have been mistaken either for libation-pourers 
or oil-pourers, when they are really wine-pourers and have nothing to 
do with the athletic motives under discussion. A good example is the 
marble statue of a Satyr in Dresden,! which represents the youthful 
demi-god lifting a can with his right hand, out of which he is pouring 
wine into a drinking-horn held in the left. ‘There are many copies of this 
work,? a fact which shows that the original bronze was famous. An 
attempt has therefore been made to identify it with the bronze Satyr of 
Praxiteles mentioned by Pliny as the Periboetos or “‘far-famed, ’* which 
seems to have been grouped with a Dionysos and a figure of Drunken- 
ness—a grouping which might fit the Dresden Satyr, since a second 
figure should be imagined, for which the horn is being filled. However, 
it differs stylistically so much from the Hermes of Olympia that the 
ascription has been given up, though its graceful form shows Praxit- 
elean influence and certainly emanates from the fourth century B. C. 
REsTING AFTER THE CONTEST. 
A very favorite motive was to represent a victor, either standing or 
seated, resting after the exertions of the contest (avamavouevos). An 
excellent example of this motive in a standing posture is the fourth- 
century B.C. statue of Attic workmanship found at Porto d’Anzio and 
now in the Vatican,* which reproduces the type of the Apollo Lykeios.§ 
Many of the statues, by various sculptors, which represent the victor 
standing at rest may be intended to represent him as resting after the 
contest. “The well-known head of a youth adorned with the victor’s 
chaplet, and preserved in four copies in European museums, appears 
to come from a statue which represented a victor in this manner. 


'T'wo copies: Hettner, Die Bildw. d. koenigl. Antikensamml,,4 1881, nos. 70, 88; F. W., 1217; 
Furtw., Mp., pp., 310-11, figs. 131-2; Mw., pp. 534-5, figs. 97-8; Springer-Michaelis, p. 314, 
fig. 562; Reinach, Rép., II, 1, 139, 5-6; M. W., II, 39, 459; Clarac, IV, 712, 1695. 
"Listed, Mp., p. 310, n. 2; Mw., p. 533, n. 3; one, formerly in the Museo Boncompagni- 
Ludovisi, now in the Museo delle Terme, in Rome: Reinach, Rég., U1, 1, 139, 73 Bee ae 
Helbig, Fuehrer, 11, 1308; Collignon, II, p. 265, fig. 131; von Mach, 197. The original must 
have been of bronze. 
°H. N., XXXIV, 69. For discussion, see F. W., note on p. 421 (to no. 1217). 
‘In the Museo Chiaramonti, no. 297; Amelung, Vat., I, p. 509 and II, Pl. 53; Clarac, 479, 916. 
°Cf. Beschr. d. Skulpt. su Berlin, no. 44; a poor torso of the type is in the Museo Chiara- 
monti of the Vatican: Amelung, Vat., no. 295 and Pl. 52; Reinach, Réo., I oe 
