168 VICTOR STATUES REPRESENTED AT REST. 
In short, the crushed ear was merely a professional characteristic, a 
realistic detail, common to athletes of various sorts, and, as we shall 
see, to warriors, gods, and heroes. ‘To quote Homolle: “‘La bouffissure 
des oreilles elleméme nest pas un trait personnel, mais un caractére pro- 
fessionnel; elle ne désigne pas Agias, mais en général le lutteur. Cette 
déformation peut atteindre méme un dieu, s'il a pratiqué les exercices 
gymnastiques et passé sa vie dans les luttes”.1 It is found constantly on 
athletic types of heads in sculpture, whether these represent gods or 
mortals. A few examples will make this clear. The following heads 
of athletes show the swollen ears: the bronze portrait head of a boxer 
or pancratiast from Olympia, dating from the end of the fourth century 
B. C. or the beginning of the third (Fig. 61 A and B);? the marble head 
from the statue of the boxer Philandridas set up among the victor statues 
at Olympia, the work of Lysippos (Frontispiece and Fig. 69);? the head 
of the statue of the pancratiast Agias at Delphi (Pl. 28 and Fig. 68); 
that of the Seated Boxer in the Museo delle Terme in Rome (PI. 16 and 
Fig. 27);° that of the Apoxyomenos of the Uffizi in Florence (PI. 12);° 
the bronze head from an athlete statue found at Tarsos and now in Con- 
stantinople, an Attic work of the end of the fifth century B. C.;7 the beau- 
tiful bronze head of a boxer in the Glyptothek (Pl. 3);8 the head of the 
so-called Apollo-on-the-Omphalos in Athens (Pl. 7 B);° the athlete head 
from Perinthos (Fig. 33);!°the bronze copy of the head of the Doryphoros, 
found in Herculaneum and now in Naples, by the Attic artist Apol- 
lonios (Fig. .47);4 the Ince-Blundell head in England, to be dis- 
cussed; four heads in Copenhagen;” the remarkably beautiful bust of 
an neletes in the Metropolitan Museum, New York (PI. 20), whose 
rounded skull, oval face, projecting lower forehead, and dreamy, half- 
closed eyes place it in the fourth century B. C., a work influenced by the 
art of Praxiteles." 
1B. C. H., XXIII, 1899, pp. 455; cf., p. 457, where he speaks of le detail réaliste de Toreille 
tuméfiée par les coups. For the statue of Agias mentioned, see infra, Ch. VI, pp. 286 f., and PI. 
28 and fig. 68. Cf. on this subject also Neugebauer, Studien ueber Skopas (in Beitracge mur 
Kunstgesch., XXXIX, 1913, p..35, n. 172). 
*Bronz. v..Ol., Tafelbd., IV, Pl. Il, 2, 2.a;-F..W., 323; etc. 3See infra, Ch. VI., pp..293 f. 
*Foutlles de Denes IV, Pls. LXIII-LXIV. 
5Ant. Denkm., 1,1, 1886, Pl. IV. 6Duetschke, III, no. 72. 
"Gaz. arch., VIII, PL. I, and p. 85 (Rayet); F. W., 461. 8B. B., no. 8. 
*Bulle,. no. "105 (right); and fig. 46 on p. 205. 104, M., XVI, 1891, Pls. IV, V (two views). 
UF W., 505; Collignon, I, p. 495, fig. 252. As the tice ears do not occur on other Se oe 
they are nee Adulstless a eesti eearicl by a late artist. 
La Glypt. Ny-Carlsberg, Pl. XXXVI (=copy of fifth century B. C.); XCIV (Hecxkles’ or 
athlete, from the Tyszkiewicz coll., Skopasian in character; =Reinach, Tétes, Pls. CL, CLI); 
XCV (similar to preceding, though. later in style: Tétes, Pls. CLVI, CLVII); CXX (copy of head 
of athlete of the fourth century B. C.). 
13Cat. Class. Coll., pp. 228 f.; fig. 141 on p.231. Miss Richter points out its affinity to the Hermes 
and assigns it to the med ee influence of Praxiteles. This fragment of a statue appears 
to have been trimmed into its present shape in modern times. Miss Richter’s statement (p. 230) 
that swollen ears are a characteristic which applies in representations of heroes to Herakles alone 
is contradicted by what we shall say below about heads of Diomedes. 
