182 VICTOR STATUES REPRESENTED IN MOTION, 
on avase-paintingin Munich.! Anotherscholar, L. von Urlichs, formerly 
identified the boy carrying the tablet with the statue of Protolaos at 
Olympia,” explaining the tablet as a means of characterizing the young 
learner. He changed his theory later,’ when, in consequence of the 
discovery of the Corinthian tablets, he called it a votive tablet. His 
son, H. L. von Urlichs, agreed with him because of a passage in the col- 
lection of Proverbs by Zenobios, the sophist of Hadrian’s age,‘ accord- 
ing to which the marble statue of Nemesis at Rhamnous by Pheidias’ 
favorite pupil, the Parian sculptor Agorakritos,® held an apple-branch 
in her left hand, from which a small tablet containing the artist’s name 
was suspended, and also because certain coins of Syracuse and Catania 
represent Nike as carrying a tablet hung by a ribbon, on which the coin- 
striker’s name was engraved.® ‘The same scholar further identified the 
nude man carrying the apples with the statue of Dromeus at Olympia. 
Since Pliny does not expressly say that the statue of the nude man was 
at Olympia, even though the sense of the passage inclines us to think 
it was, L. von Urlichs interprets the apples in the hand as an addi- 
tional prize at Delphi, and so makes the statue that of a Pythian vic- 
tor.’ All such identifications are based on too uncertain premises. 
That Pythagoras did make statues in motion is proved by his statue 
of a limping man at Syracuse mentioned by Pliny? in very realistic 
terms. We know of other statues by him representing athletes in 
motion only by inference. ‘Thus, in the passage just quoted, Pliny says 
that he surpassed Myron with his Delphian pancratiast, which appears, 
inasmuchas Pliny merely calls thestatue a pancratiast without mention- 
ing any attribute, to have been represented in the characteristic lung- 
ing pose.? However, we can not say definitely, since the contemporary 
statue of the pancratiast Kallias, by Mikon of Athens, was represented 
1Cat. no. 51; Benndorf, Griech. und Sicilische Vasenbilder, I, pp. 13 f. and Pl. IX. | 
In his Chrestomathia Pliniana, 1857, p. 320. 3Rheinisches Museum, XLIV, 1889, pp. 264 f. 
4Antigonos of Karystos, apud Zen., V, 82 (passage given by Jex-Blake, p. xxxix and n. 2). 
’Ancient writers differed as to the authorship of the statue. Thus P. (I, 33.3), Mela (de Situ 
orbis, II, 3.6), Tzetzes (S. Q., 838-9), and Zenobios (J. c.), say that 1t was Pheidias, while Pliny 
(H. N., XXXVI, 17) and Strabo (IX, I. 17, C. 396) say Agorakritos. A fragment of the colossal 
head of the statue came to the British Museum in 1820: B. M. Sculpt., 1, p. 460; also fragments 
of the figure on the base, described by P., I, 33. 7, were found in 1890 and are now in the National 
Museum in Athens: Kabbadias, 203-14; Frazer, II, p. 457, fig. 40. 
®See his Ueber einige Werke des Kuenstlers Pythagoras, in Verhandl. d. 40sten Versammil. 
deutscher Philologen u. Schulmaenner in Goerlitz, Leipsic, 1890 (pp. 329-336), p. 334. 
7Archaeolog. Analekten, 1885, p.9. Lucian, Anachar., 9, says that apples formed a part of the 
Delphic prize; Dromeus is also known to us as a Pythian victor. In Chrest. Plin., p. 320, L. von 
Urlichs had identified the nudus as Meilanion or Hippomenes with the apples with which he had 
beaten Atalanta; see S. Q., §499, note a. 
8H. N., XXXIV, 59: Syracusis autem claudicantem, cuius ulceris dolorem sentire etiam spec- 
tantes wdentur. Gronovius, following Lessing, Laokoon, Ch. 2, identified it with a wounded 
Philoktetes: see Bluemner, Comm. zu Lessing’s Laokoén, pp. 508 f.; the words cuius . . . videntur 
seem to have been derived from A. Pl., IV, 112, 1. 4 (which refers to a bronze statue of Philok- 
tetes): cf. Brunn, p. 134 and Jex-Blake, ad loc. 
°Cf. Benndorf, Anz. d. Wiener Akad., 1887, p.92; von Sybel, Weltgesch. d. Kunst, p. 139. 
