i) VICTOR STATUES REPRESENTED IN MOTION. 
showed that it (like another less perfect example from the Akropolis, 
no. 6594) represents a diskobolos standing with the right foot advanced 
and holding the diskos in front of the body with the right hand, resting 
it against the flat of the forearm, while the left arm is raised above the 
head. ‘Thus it is another example illustrating the initial stage of Gar- 
diner’s third position. ‘The other statuette, wrongly mounted, should, 
according to White, be made to lean further forward; the knees are 
bent, the body swung forward from the hips, the head thrown back and 
upward, the right arm stretched forth with the flat of the forearm upper- 
most and the left similarly placed. Gardiner and Stais interpreted this 
figure as a charioteer, and de Ridder as either a jumper, who has raised 
his halteres preparatory to the leap, or a diskobolos. White has shown 
that the position of the right arm proves it to bea diskobolos, represented 
in a movement between Gardiner’s third and fourth positions, just prior 
tothatof Myron’s statue. De Ridder believed both statues to be Aegine- 
tan, but no. 6614, when compared with Myron’s statue, is certainly Attic, 
and resemblances in the treatment of the hair, eyes, and mouth show 
that both statuettes are of the same school. It has often been said that 
Myron’s great statue had no predecessor, as it certainly had no succes- 
sor. Its fame was enhanced by the assumption that Myron passed at 
one stride from such statues as the Tyrannicides to that complex work. 
Such works, however, as these statuettes—especially no. 6614—show 
that the preliminary problems had been solved on a humble scale before 
Myron undertook his consummate work. Here,then, we have works by 
artists who belonged to the very movement which produced Myron. 
For the last three positions analyzed by Gardiner (nos. 5, 6, 7) our 
only illustrations appear to be vase-paintings. 
AKONTISTAI. 
Javelin-throwing (axovTifew, akovticuds) was very old and was uni- 
versal in Greece, its origin being traced back to mythology. Stassoff 
tried to trace it to Oriental sources,? but inasmuch as no such contest 
is shown on the monuments of Egypt or Assyria, Juethner 1 is probably 
right in assuming that it was Greek in origin. In Homer it was a sepa- 
rate contest at the games of Patroklos.* Juethner has distinguished 
two types of javelin-throwing in the historical period: one in which the 
spear or akontion was pointed more or less upwards,’ the other in which 
1Pliny, H. N., VII, 201, traces its origin to Aetolus, son of Mars. Phrastor won a victory in 
such a contest at Olympia: Pindar, Ol., X, 71. See Krause, pp. 465 f.; Juethner, pp. 36 f.; Gardi- 
ner, Ch. XVI, pp. 338 f.; id., J. H. S., XXVII, 1907, pp. 258 f.; Dar-Sagl., I, 1, pp. 226 f.; Pauly- 
Wissowa, I, pp. 1183 f. (Reisch); Girard, L’éduc. athén., pp. 203 f.; Grasberger, Erziehung und 
Unterricht, I, pp. 327 f., and III, pp. 168 f.; etc. In the following account we are chiefly indebted 
to Juethner and Gardiner. 
*See Stassoff apud Stephani, Comptes rendus de la comm. impér. archaéol., St. Petersburg, 1872, 
p. 302. Cf. Juethner, Ph., p. 64. 3Tliad, XXIII, 884 f.; cf. 637. 
‘The athletic style appears on many vases, especially on r.-f. ones; see infra, pp. 223-4 and notes. 
