206 VICTOR STATUES REPRESENTED IN MOTION. 
which Peisthetairos, while observing the chorus of birds advancing with 
their crests (Adgwots), compares them with hoplite runners advanc- 
ing to begin the race.!. The regular painter outdid the vase-painter 
in representing the runner in vio- 
lent motion, if we may rely on 
Pliny’s description of two paint- 
ings of hoplites by Parrhasios.? 
In one of these the runner was 
represented as perspiring as he 
ran, while in the other 
he was represented as 
having laid aside his 
arms and panting so 
realistically that the 
observer seemed to 
hear him. 
We have few representations of hoplito- 
dromes in sculpture. In the preceding chap- 
ter we discussed the two marble helmeted 
heads found at Olympia (Fig. 30), one of 
which shows that the statue of which it was 
a part was represented at rest, while the 
other, because of the twist in the neck, seems 
to have come from a statue which represented 
the runner in violent motion. Pausanias saw 
on the Athenian Akropolis the statue of the 
hoplite runner Epicharinos, the work of the 
sculptor Kritios, represented as practising 
starts (ém\tTodpouety daoxnoartos).® In the 
well-known Tux bronze in the University 
Museum at Tuebingen, we have a statuette uette | OF a aue as 
ees : drome(?). University 
in which the position of the statue of Epi- Museum, Tuebingen. 
charinos is probably reproduced. This little 
bronze, which is only 0.16 meter tall (Fig. 42),4 represents a bearded 
man, entirely nude, except for the Attic helmet on his head, standing 
with feet close together, knees slightly bent, and body inclined forward. 




Fic. 42.— Bronze Stat- 
1291, 2H ON XX RV Te 
3T, 23.9. In 1838 the inscribed base of this statue was found, the inscription being: ’Ezu[x]apivos 
PavelOncey 6. . . Koptrtos cat Naol[tlmrns érolunolarnv: C. I. A., I, 376; Loewy, I. G. B., 39. 
This shows that Pausanias got his information about the pose from the statue itself and not from 
the inscription. It also gives us the right spelling of the artist’s name. 
‘First published, long after it had passed from the possession of Herr Tux to the University Col- 
lection, by Gruneisen in Schorn’s Kunstblatt, 1835, pp. 21 f., and separately the same year. See 
also Hauser in Jb., II, 1887, pp. 95-107; L. Schwabe, /Jb., I, 1886, pp. 163 f., Pl. IX (=three 
views); de Ridder, B. C. H., XXI, 1897, pp. 211 f. (reviewed in 4. J. A., II, 1898, pp. 268 f.); 
Collignon, I, p. 305, fig. 152; Bulle, no. 89 (two views); Springer-Michaelis, p. 217, fig. 403a; 
ee Griech. Kunstgesch., 1893, Il, p. 249 f.; F. W., 90; Rouse, p. 174, n. 1; Reinach, Rép., II, 2, 
