AKONTISTAI. 225 
masters style known to us from tradition.1. Mahler enumerates 
7 statues, 17 torsos, and 36 heads copied from the original, and the fine, 
but expressionless, Augustan bronze bust from the villa of the Pisos, 
Herculaneum, inscribed as the work of the sculptor Apollonios, son 
of Archios, of Athens, which is now in Naples (Fig. 47).2. The best- 
preserved copy of the statue, the one in 
Naples, is surpassed in workmanship by 
the green basalt torso in the Uffizi Gal- 
lery in Florence’ and by the marble one 
formerly in the possession of Count Pour- 
talés in Berlin. A poorer copy is to be 
found in the Braccio Nuovo of the Vati- 
can (Fig. 48).° In these copies we see a 
thick-set youth standing with the weight 
of the body on the right leg, the left one 
thrown back and touching the ground 
only with the toes, seemingly ready to 
advance, though the shoulders do not 
partake of the walking action. He is 
represented, therefore, at the moment 
of transition from walking to a rest 
position—in other words in a_ purely 
theoretical pose—at rest, indeed, but 
just ready again to advance.’ His left 
hand held a short akontion over the 
shoulder and not the long spear (édpv), 
whence the name Doryphoros or spear- 
bearer is derived.’ The head is turned 
to the same side as the advanced foot, 
ce which perhaps is an example of the 
Fic. 48.—Statue of the Dory- monotony in the work of the master 
phoros, after Polykleitos. complained of by ancient critics; variety 
Vatican Museum; Rome. would have been attained by turning it 


1B. B., no. 273; Bulle, 47, and pp. 97-102 and fig. 18; von Mach, 113; Collignon, I, pp. 488 f. 
and Pl. XII; Rayet, I, Pl. 29; Gardner, Sculpt., Pl. XXXIV; Springer-Michaelis, p. 276, fig. 
496; F. W., 503. 
*Polyklet u.s. Schule, 1902. For the Apollonios bust, see B. B., no. 336; F. W., 505. An almost 
identical bust—except for a wide fillet around the locks and shoulders—was found in the tablinum 
of the same villa (Jnvent., no. 6164). Many of these heads doubtless come from busts or 
statues which decorated gymnasia and palzstre. 
3Duetschke, III, no. 535 (0.81 meter high). 4F, W., 507; cf. Rayet, I, text to Pl. 29. 
5No. 293; Amelung, Museums and Ruins of Rome, I, pp. 7 f.; id., Vat., 1, no. 126 on p. 151 and 
Pl. 19; Helbig, Fuehrer, I, 45; Guide, I, 58; Reinach, Rép., II, 2, 545, 10. It is 2.11 meters high 
(Amelung). Cf. Loewy, Lysipp und Seine Stellung in der gr. Plastik, pp. 5-7 and 23-4; Hauser, 
Sh. oest. arch. Inst., XII, 1909, pp. 104-14. For other replicas, see Furtw., W/p., pp. 228 f.; 
Mw., pp. 421 f. 6Mahler, op. cit., p. 29. 
7As we see from the careful copy on a Berlln gem: Helbig, Fuehrer, I, p. 31, fig. 3; Guide, I, p. 35, 
fig. 4; and on a funerary relief in Argos: 4. M., III, 1878, pp. 287 f. and Pl. XIII (Furtwaengler); 
B. B., 279A; Collignon, I, p. 491, fig. 250; F. W., 504; cf. Annali, LI, 1879, p. 219 (Brunn); 
Mitchell, Hist. Anc. Sculpt., 1883, p. 386 and fig. 176. 
