224 VICTOR STATUES REPRESENTED IN MOTION. 
pushes it back, holding it downwards or horizontally.!_ Next he starts 
to run, turning his body sidewise and extending his left arm to the 
front. On ar.-f. Munich kylix? we see the first and second positions. 
The youth on the left is steadying the javelin with the left hand, while 
the one on the right has just let it go. A further turn of the body to 
the right takes place and the right knee 1s bent, while the right shoulder 
is dropped and the hand is turned outwards.* ‘The actual cast is very 
uncommon on vase-paintings, because of difficulty in representing it.‘ 
Because of the assumed lack of sculptural monuments, Reisch® and 
others have wrongly doubted 
whether javelin-throwers were 
represented in sculpture as victors. 
There certainly isnoa priori reason 
why athletic sculptors might not 
have made statues in any one of 
the three poses which Gardiner 
has distinguished on vase-paint- 
ings, even if this contest, like 
jumping, was better adapted to 
the painter than to the sculptor. 
Furthermore, we shall attempt to 
show that such monuments ac- 
tually did exist. 
The best example of such a jave- 
lin-thrower seems to be the Dory- 
phoros, the most famous statue of 
Polykleitos,in which he illustrated 
his canon of athletic forms. The 
Doryphoros exists in many copies, 
all of which agree fairly well in 
style and proportions. K. Fried- 
richs, in his monograph Der Doryphoros des Polyklets, which appeared 
in 1863,° was the first to show that the statue found in 1797 in the 
Palaistra at Pompei, and now in the Naples Museum (PI. 4), was 
a copy of the original bronze, as it shows all the peculiarities of the 

Fic. 47.—Bust of the Doryphoros, 
after Polykleitos, by Apollonios. 
Museum of Naples. 
1Downwards in the r.-f. amphora in the British Museum, mentioned above, E 256. 
2No. 2667 (Jahn, no. 562 A); J. H. S., X XVII, 1907, p. 262, fig. 9; Gardiner, p. 349, fig. 100; 
Juethner, p. 47, fig. 41; Hoppin, Hbdk. Attic r.-f. Vases, p. 198, no. 8. 
3F.g.,on ar.-f. kylix in the Torlonia collection: J. H. S., XXVII, p. 264, fig. 11; Gardiner, p. 351, 
fig. 102; Juethner, p. 58, fig. 49. 
4E. g., badly done on the Munich kylix mentioned, no. 2667; also on a r.-f. kylix of Panaitios 
from Vulci in Munich, no. 2637 (Jahn, no. 795): 4. Z., XXXVI, 1878, p. 66, Pl. XI (=Reinach, 
Rép. vases peints, 1, p. 422, 2); J. H.S., XXVII, p. 264, fig. 12; Gardiner, p. 105, fig. 17; Schreiber, 
Bilderatlas, P\. XXI1, 3; Baum., I, p. 613, fig. 672; Hoppin, Hbk., p. 426, no. 54; Dar.-Sagl., II, 2, 
p. 1452, fig. 3478; IV, 2, p. 1056, fig. 6086; on a r.-f. amphorain Munich (Jahn, no. 408): J. H. S., 
XXVII, p. 265, fig. 13; Gardiner, p. 353, fig. 103; Furtwaengler-Reichhold, Griech. Vasenmaleret, 
PiAday 5P. 48, 6See 23stes Berl. Winckelmannsprogr. 
