RUNNERS. 199 
The prominent edge of the chest is doubtless meant to indicate the hard 
breathing of a runner.’ Just in front of the tree-stump on the older 
statue is to be seen a round hole in the plinth, which may have been 
made for the end of a club held in the right hand, as such an object is 
found in other works of art, notably in a statuette from Palermo, which 
is the copy of a fifth-century B.C. original, and on a second-century B.C. 
grave-stele from Crete.? Its use, however, is not certainly known. 
Furtwaengler, by an ingenious process of reasoning, argued that he 
had recovered an actual statue of an Olympic runner in the so-called 
Alkibiades, formerly in the Villa Mattei, but now in the Sala della Biga 
of the Vatican.’ ‘This torso he ascribed tothe sculptor Kresilas, because 
of its likeness to the Perikles of that master, which once stood on the 
Akropolis,? and to a marble torso in Naples representing a wounded 
man ready to fall, which he thinks 1s a copy of the Volneratus deficiens 
of Kresilas mentioned by Pliny.®> The Alkibiades is very similar to the 
Naples gladiator, though later in date; the bearded head, drawn-in 
stomach, and muscular chest, and the veins in the upper arm are com- 
mon to both. The restorer of the Vatican statue has placed a helmet 
under the right foot. But the deep-breathing chest may indicate a 
runner, as we saw in the case of the statues of the Conservatori just 
discussed. Furtwaengler has the body bend further forward, so that 
the right foot may rest upon the ground and the glance be fixed upon 
the goal, with the arms extended at the elbows, a position proved for 
the right arm, at least, by the puntello above the hip. As the head 
1So Furtwaengler, M>., p. 128, n. 1, Mw., p. 285, n.3, and Helbig (3d ed.); on the other hand, 
Reisch (p. 46), B. B., and formerly Helbig (in the first edition of his Guide), have regarded them as 
wrestlers. 
2The statuette and relief are pictured in Mon. ant., XI, 1901, Pl. XXVI, 2, and pp. 402 f, - The 
statuette also in Arndt-Amelung, Linzelaufnahmen, no. 552, and Reinach, Rép., II, 2, 540, 6. 
3M >., pp. 126f., and fig. 51; Mw., pp. 284 f., fig. 38; here the restored parts have been removed 
and his own restoration is given in an outline drawing. See also B. B., no. 129; Helbig, Fuehrer, I, 
B22 Clarac, 037, 2099. 
4Mentioned by P., I, 28.2 and I, 25.1; the inscribed base has been found (see Lolling, 
*Apxawodoy kor AedXtlov, 1889, p.35,n.2). The Peritklesis exemplified by two inscribed copies: a 
terminal bust in London: B. M. Sculpt., I, no: 549 and fig. 23 on p. 289; Ancient Marbles in the 
British Museum, 1815, Pl. XXXII; 4. Z., XXVI, 1868, Pl. II, fig. 1 and pp. 1 f. (Conze); Furtw., 
M>., pp. 117 f., Pl. VII and fig. 46 (profile); Mzw., Pl. LX and pp. 270f.; F. W., 481; a terminal 
bust in the Vatican: Visconti, Jconogr. gr., 1824-26, I, Pl. XV and p. 178; B. B., no. 156; Helbig, 
Fuehrer, 1, 276; Arndt-Bruckmann, Griech. u. roem. Portraets, 413, 414: Bernouilli, Griech. 
Tkonogr., I, Pl. XI, p. 108; etc. 
5H, N., XXXIV, 74; in this passage Pliny also mentions an Olympius Pericles. The Naples 
statue has been wrongly restored as a gladiator; it is pictured, minus the restorations, in V., p.125, 
fig. 50; Mw., p. 282, fig. 37; cf. Clarac, 870, 2210 and 872, 2210. Furtwaengler connects this statue 
with the bronze one of a certain Diitrephes pierced with arrows, which Pausanias saw on the 
Akropolis, I, 23.3; a basis found there, inscribed with the name Kresilas, supported a votive 
offering of Hermolykos, the son of Diitrephes, to Athena: J. G. B., 46; C. I. 4., 1, 402 (Kirchhoff, 
who opposes the connection); cf. p.373. The base shows that a figure stood upon it in the pose of 
another figure, which appears on a white-faced Attic lekythos in the Cab. des Medailles in Paris 
(Mp., p. 17%, fig. 48), which Furtwaengler believes a free rendering of the Kresilzan statue. 
