176 VICTOR STATUES REPRESENTED IN MOTION. 
or his school.’ Another statue at rest ascribed to the same school is 
the athlete in the Somzée collection, which reminds us of the Pelops 
of the East Gable at Olympia.2 We have record of one more statue 
by Kritios himself, which was represented in motion only less violent 
than that of the 7yrannicides. Pausanias saw on the Akropolis of 
Athens a statue by him of the hoplite runner Epicharinos, which rep- 
resented the athlete in the attitude of one practicing starts, perhaps 
in the very pose of the Tuebingen statuette (Fig. 42). 
In the statues of the Tyrannicides, then, which might pass equally 
well for typical athletes of the time, we have examples of statues in 
motion at the end of the sixth century B.C.; for the same violent action 
must have characterized the earlier group of Antenor as the later 
one. We have seen that the Aeginetan sculptors not only made pedi- 
ment groups in action at a date not later than that of the group by 
Kritios and Nesiotes, but single figures still earlier. “Thus the sculp- 
tor Glaukias represented the Karystian boy boxer Glaukos in the act 
of sparring with an imaginary opponent. Though Glaukos won in 
Ol. 65 (=520 B.C.), his statue was set up later by his son, perhaps 
as late as the end of the sixth century B.C., or the beginning of the 
fifth, as the floruit of the sculptor would show.® ‘This is the oldest 
example attested by literary evidence of an athlete statue in motion at 
Olympia. Whether Glaukias got his motive from Antenor’s T'yran- 
nicides, or whether his work was the older, we can not determine, but 
it is safe to say that this genre of statuary must have existed at Olym- 
pia long before, as we know it did elsewhere. The Rampin head, 
already discussed as a fragment of a victor statue, shows by the 
turn of its neck that athlete statues represented in motion existed 
at least as far back as the first half of the sixth century B. C.° 
ANTIQUITY OF MOTION STATUES IN GREECE, 
Apart from specifically athletic types, we know that statues in 
motion, especially those representing winged figures, antedated the sixth 
century B. C. in Greece, and were, perhaps, coeval with the very origin 
of Greek art.” We know that the oldest Egyptian art attempted to 
1Cf. Dickins, p. 265 (quoting the view of Furtwaengler). 
*Furtwaengler, Sammlung Somzée, 1897, Pl. III. He ascribes it to Mikon and identifies it with 
the statue of the pancratiast Kallias at Olympia whose base has been found: Bildw. v. Ol. 146; 
Hyde, 50; see infra, in the section on Pancratiasts, p. 251. For the Pelops, see Bildw. v. Ol., 
Tafelbd., Pl. IX, 2, and XI, 1 (head). 
3], 23.9. Theinscribed base has been found: C. J. 4., 1, 376; J. G. B., 39. 
4P., VI, 10. 1-3; Hyde, 93; Foerster, 137. 
5Ols. 72 to 76 (=492 to 476 B.C.); Hyde, p. 42. 6Cf. Bulle, p. 493, on no. 225. 
7On the origin and early development of motion figures in Greek art, see Bulle, pp. 157 f., and 
the works cited on p. 674 (notes to p. 158); especially, J. Langbehn, Fluegelgestalten der aeltesten 
griech. Kunst, Diss. inaug., 1881; F. Studniczka, Die Siegesgoettin, Gesch. einer antiken Ideal- 
gestalt, 1898; E. Curtius, Die knieenden Figuren d. alt. griech. Kunst (29stes Berl. Winckelmanns- 
progr., 1869); Eadweard Muybridge, Human Figure in Motion, 1907; cf. also J. Lange, op. cit. 
