ANTIQUITY OF MOTION STATUES IN GREECE. vars 
render the human body in motion. We may instance the limestone 
funerary statuette dating from the Old Kingdom, which represents aslave 
woman grinding corn,’ and similar figures found in the graves of Mem- 
phis. In fact, the making of such statues ceased in Egyptian art after 
the end of the Old Kingdom. While Assyro-Babylonian art represented 
figures in motion only on reliefs, Cretan art, as we have seen in the first 
chapter, showed the utmost skill in representing movement in figures in 
the round. It used to be assumed that in Greek art motion statues 
developed out of the archaic “‘ Apollo” type through the gradual freeing 
of legs and arms. Any such assumption is easily disproved by the 
fact that figures in motion exist, which date back almost as far as fig- 
ures atrest. Itis equally fallacious to argue that slight movement was 
easier for the early artist to represent than violent movement, for just 
the contrary was the case, so that in general the greater the movement 
represented, the greater is the age of the given monument. Early vase- 
paintings show that the early painter delighted in portraying free 
movement.” It may be that the vase- -painter preceded the sculptor 
in portraying movement, for it was easier to effect this in two dimen- 
sions than in three. But that statues in motion were already known 
at the beginning of the sixth century B. C., at least, is shown by the 
winged flying figure known as the Nike of Archermos,’ unearthed on 
the island of Delos by the French in 1877, which is a masterpiece of 
early Chian sculpture, perhaps coeval with the statue dedicated to 
Artemis by Nikandre of Naxos, found a year later on Delos,‘ even 
though the latter appears more archaic. ‘This earliest example of treat- 
ing a flying figure in Greek sculpture we find repeated almost unchanged 
for a long time after, especially for akroteria figures on temples and in 
the minor arts. We might mention the bronze statuette of the end of 
the sixth century B. C., found on the Akropolis, which comes from the 
edge of a vessel and represents a winged Nike springing through the 
1I[n the Museo Archeologico, Florence: Bulle, no. 10. 
2Cf. the realistic scenes of wrestling, boxing, and running, in relief on the archaic Attic tripod 
vase from Tanagra now in Berlin, dating from the second half of the sixth century B. C.: 4. Z., 
XXXIX, 1881, pp. 30 f. (Loeschke) and Pls. 3 and 4. Cf. also scenes from the pentathlon on 
a Panathenaic amphora of the sixth century B. C. in Leyden: ibid., Pl. 9; etc. 
3B. C. H., III, 1879, pp. 393 f. and Pls. VI-VII (Homolle), and V, 1881, pp. 272 f. (Homolle, on 
the artist and his father Mikkiades); von Mach, no. 32 (restored in the text opp. p. 26, fig. 1); 
Richardson, p. 51, fig. 15; Perrot-Chipiez, VIII, pp. 300-1, figs. 122-3 and Treu’s restoration, p. 303, 
fig. 125; restored in Springer-Michaelis, p. 187, fig. 358; Reinach, Rép., I, 1, 389, 5. Though 
first called an Artemis by Homolle (because of its resemblance to the so-called Oriental winged 
Artemis on a bronze relief from Olympia, von Mach, text, opp. p. 36, fig. 5), it has generally 
been called a Nike since its first ascription by Furtwaengler (4. Z., XL, 1882, pp. 324 f.), and 
brought into connection with a base in two parts found near the statue on Delos in 1880 and 
1881, inscribed with the names of Archermos and his father Mikkiades. If the connection with 
the base were certain, the statue should be referred to the beginning of the sixth century B. C.; 
B. Sauer (4. M., XVI, 1891, pp. 182 f.), and others, have disputed the connection. 
4Now in the National Museum, Athens: Kabbadias, no. 1; von Mach, 20; Springer-Michaelis, 
p. 174, fig. 340; Richardson, p. 43, fig. 11; Reinach, Rép., II, 2, 645, 1. Its inscription should date 
it about 600 B.C. It is over 6 feet in height (including the base: von Mach). 
