GENERAL MOTIVES OF STATUES AT REST. 147 
body. He leans forward, his arms rest on his thighs, and his head, 
sunk between his shoulders, is raised and turned to the right, as he 
stupidly looks around at the applauding spectators. His nose is broken 
and his ears are swollen and scars of the contest show on his face and 
limbs. Beneath his retreating upper lip some of his teeth appear to 
have been knocked out as the result of previous fights, while indications 
of the recent struggle are to be seen in the blood dripping from his ears 
and the deep lacerations in face and shoulder, which may have once 
been filled with red paint to make his appearance even more realistic. 
The right eye is swollen and the lower lid and the cheek imperceptibly 
sink into each.other. The mustache shows flecks of blood and the 
swollen back of the right hand protrudes through the glove. His nose 
is clotted with blood and he seems to be struggling to get his breath. 
Such realism and delight in depicting the hideous show that the work, 
like the Olympia head, belongs to the Hellenistic age. The careful work- 
manship, especially visible in the hair and beard and in the hair on the 
chest', proves that the statue is not a Roman copy, but a Greek original 
of the beginning of the Hellenistic age, of the end of the fourth or begin- 
ning of the third century B.C. Nor is it a portrait, as Winter main- 
tained,” since it is an adaptation of a late type of Herakles. It certainly 
is a victor statue from one of the great Greek games, and is, perhaps, 
from Olympia itself. Since the head is turned toward the right shoulder 
and the mouth is open, as if speaking, Wunderer tried, on the basis 
of a passage in the history of Polybios,? to identify it with the statue 
of the famous Theban boxer and pancratiast Kleitomachos at Olympia 
by an unknown artist.4 The historian states that Kleitomachos, 
while fighting with the Egyptian Aristonikos, was angered by the 
acclaim given the foreigner and, stepping aside, chided the spectators 
for not cheering one who was fighting for the honor of Greece. The 
speech caused a revulsion in the popular feeling, which helped, even 
more than the fists of Kleitomachos, to vanquish Aristonikos. How- 
ever, the motive of the statue does not fit the incident, as the boxer 
is not speaking, but breathing hard, nor is the seated posture that of 
one haranguing acrowd. Moreover, the date of the Theban’s victory 
is too late for the statue.5 
ALURIBUTES. OF VICTOR STATUES. 
At the beginning of the fifth century B.C. athletic training tended 
to produce a uniform standard of physical development, which was 
1For this reason Helbig wrongly assigned it to about 400 B. C. 
2Ueber die griech. Portraetkunst, 1894, pp. 12 f. (and fig.). SX XVII, 9. 
4Philologus, LVII (N. F., XI), pp. 1 f. and 649 f. Kleitomachos won in Ols. 141, 142 (=216, 
212 B. C.): P., VI, 15.3; Hyde, 146; Foerster, 472, 476. (Cf. Suidas, s. v. KXecréuaxos. His 
statue was set up by his father, and his victory sung by Alkaios of Messenia: 4. G., IX, 588. 
5Cf. Petersen, R. M., XIII, 1898, pp. 93-5; this theory of Wunderer is also rejected by 
Hitz.-Bluemn., II, 2, p. 609. 
