196 VICTOR STATUES REPRESENTED IN MOTION. 
down upon by the eagle,! as Hylas drawn into the water by nymphs 
when he was filling his pitcher,” as a ball-player,? as a boy throwing 
a lasso,‘ as.a gable figure,® as a runner at the games, etc. Many of 
these interpretations are purely fanciful; the last is, perhaps, as good 
as any, though the strongly turned upper body seems not quite fitted 
toit. Ifit represents a runner, the sculptor has reproduced the well- 
known archaic pose. 
Tue STATUE OF THE RUNNER LaDAS. 
We shall next consider the famous statue of the runner Ladas by 
Myron, which is unfortunately known to us only from literary evidence, 
but which attained in antiquity an even greater fame than his nameless 
Diskobolos, since it portrayed even more tension than that wonderful 
work. Its fame was partly due to the picturesque story how the 
victory cost the runner his life, for he died of strain while on his way 
home to Sparta; it was also three in no less degree to the gests way in 
which the victor was depicted. : | 
Two fourth-century epigrams tell us of the statue. ‘The ie of these 
runs: (ee 
Aadas TO oTdd.oy €i0’ HaTO, ElTE OLeTTNH, 
ovde pacar duvaTov: dalwovioy TO TAXOS. 
[6 Wogos Hv voTAnyyos év ovat; Kal oTEpavovTo 
Adéas kal Kauvwy daxTvdov ov rpoéBy.|? 
The second epigram, naming Myron as the sculptor, runs: 
Guos Ens hbelywv Tov Unveuov, EuTrvoe Adoa, 
Ovyuov, ér’ axpoTaTw Tvevuate Oels dvuxXa, 
Tolov €xadkevoev ce Mipwr, éri tavTi xapakas 
owuate ILucatov mpocdokinvy orepavov. 
1By Lucas, Neue Jahrbuecher f. kl. Altertum, V, 1902, pp. 427 f; cf. Jh. oest. arch. Inst., 1X, - 
1906, pp. 273 f. 
2Formerly by G. Koerte, Jb., Dn 1896, pp. 11 f.; cf. the Pompeian wall- -painting, ibid., p. 15, 
fig. 2; he has since given up this view: see Sauer, J. c. 
sDe Ridder, op. cit.; the hands seem to have been placed wrong for this 1 interpreeariens though 
Helbig and Amelung find it possible. 
4Petersen, /b., XI, 1896, pp. 202 f.; such a motive was unknown to antiquity and is based on 
the wrong assumption that a marble hand holding a rope-like object, which was found in the same 
excavations, belongs to the statue: see Helbig, J. c. 
5Sauer, in the publication mentioned, believes the riddle best solved by assuming that the 
figure formerly was part of a gable group; see the reconstruction (by Luebke), p. 145, fig. 4. He 
dates it in the second half of the fifth century B. C., contemporary with the Jdolino. 
®The fleetness of Ladas was often extolled, especially by late Greek and Roman writers: P, 
III, 21.1; Plut., Praecip. ger. reip., 10; Catullus, LV, 25; Juvenal, XIII, 97; Martial, I], 
LXXXVI, 8, and XC, 5; Seneca, Ep., LX XXV, 4; Solinus, 7; etc. 
7A. Pl., VY, no. 53; hereliné 3 was added by Jacobs, and line 4 by Benndorf, from two parodies of 
the epigram in 4. G., XI, 86 and 119; in the first parody &\dos stands for Adéas and Iepuxdjjs for 
kauvwv. See Benndorf, de anthologiae Graecae Epigrammatis quae ad artes spectant, Diss. inaug., 
1862, pp. 13 f., and Kalkmann, Jb., X, 1895, pp. 76-77 and notes. Studniczka (see next note) 
reads line 4: Adéas, of 6’&AXou SdxrvAov ob mpoéBar. 
