202 VICTOR STATUES REPRESENTED IN MOTION. 
affiliations several things must be considered. In the first place, the 
Roman statue is acopy, as the rockon which the boy sits is cast with the 
figure, which would have been impossible in the fifth century B.C. The 
long hair on this copy, which is short on the one in the British Museum, 
falls down the neck, but not over the cheeks, as it should on a head 
which is thus bent downwards. Pasiteles almost certainly would have 
tied it with a ribbon. This shows that the original was the work of an 
artist who was used to making standing statues, and was not aware 
of the change in the representation of the hair brought about by droop- 
ing ones. Such considerations, in conjunction with the archaic facial 
characteristics, almost certainly refer the original work to the fifth cen- 
tury B.C., a date when genre statues, produced for adornment, did not 
exist. Consequently a definite incident must be represented by it, 
and it is quite possible that this incident should be sought in athletic 
sculpture in the representation of a boy runner. 
The Thorn-puller became a model for many imitations from the 
beginning of Hellenistic times on. ‘These imitations tended to greater 
realism and consequently to the debasement of the original conception, 
for they were made to represent peasants, shepherds, satyrs, and 
even negroes. ‘The motif was also transferred to figures-of girls, as, 
e. g., in the fragment of a terra-cotta statuette found in 1912 at Nida- 
Haddernheim.! In the early Empire it was frequently copied in marble, 
and again, during the Renaissance, the motive was used for small 
bronzes.?. Of Hellenistic copies, showing how the motive deteriorated, 
we shall mention only two: the marble one found on the Esquiline, 
in 1874, and known as the Castellani copy, now in the British Mu- 
seum,® the sculptor of which has made it into a truly genre fountain 
figure by transforming the noble features of the beautiful Greek runner 
into the snub nose and thick lips of a street Arab, and the still later 
bronze statuette found near Sparta and now in the Paris collection 
of Baron Edmund de Rothschild,‘ which represents the boy extracting 
the thorn in anger. 
Similarly the so-called Sandal-binder—with replicas in Paris (Fig. 8), 
London, Athens, Munich, and elsewhere, has been looked upon, with- 
out decisive grounds, to be sure, as a runner who is tying on his sandals 
1See K. Woelke, Dornauszieher-Maedchen, /b., X XIX, 1914, pp. 17-25, figs. 1, 2, ete. 
2’. g., bronze statuettes, formerly inthe Dreyfus collection in Paris, dating from the second half 
of the fifteenth century: Bulle, p. 364, fig. 94; Mon. Piot, XVI, 1909, Pl. XII, 3 (nos. 2, 3 =Italian 
bronzes of the same subject in the Louvre and in the collection of Charles Haviland; see text, by 
G. Migeon, pp. 95 f.). 
3B. M. Sculpt., HI, no. 1755 and Pl. VIII; Mon. d. I., X, 1874-78, Pl. XXX; Annali, XLVIII, 
1876, Pl. N (and pp. 124f);-4..Z., XXXV, 1877, p. 127, and XX XVII, 1879, p. 19, Pls: LT; 
IIT; Rayet, Pl. 36; von Mach, 284; Bulle, p. 365, fig. 95; Reinach, Rép., II, 1, 144,2. Itis 
0.63 meter high (Bulle). 
4Gaz. arch., 1881, Pls. IX-XI; Collignon, I, p. 420, fig. 216; Rayet, text to no. 36; Reinach, 
Rép., II, 1, 143, 7. It is 9.5 inches tall. 
