WRESTLERS. 235 
which five other copies are known.! Here two athletes, one bearded 
and the other beardless, are just ending the bout. The youth is in the 
power of the man, who stands behind him and presses him down by 
holding his arms backward. All the other replicas differ from the Loeb 
example in that the victor has both legs and not one in front of the right 
leg of the vanquished wrestler. A good illustration of tripping is seen 
in another related series of groups known to us in five bronze copies. 
These represent a wrestler on the ground supporting himself on his 
left arm, while over him stands the victor, whose left foot is twisted 
around the other’s right. ‘These groups are, like the preceding, also 
Roman provincial copies of a Hellenistic original.2, The two groups 
are very similar, the only real difference being that the vanquished 
wrestler in the second series still has his left arm free and holds him- 
self up on his right knee. Both series seem to have been influenced 
by the marble pancratiast group in the Uffizi (Pl. 25).2 The head of 
an athlete in the Museo delle Terme, Rome, shows by its strongly 
projecting neck that it comes from the statue either of a runner ready 
to start or of a wrestler about to grip his adversary. The face is fourth- 
century B.C. Attic in character and the head may, therefore, come from 
Euphranor’s circle. Pliny speaks of a panting wrestler (/uctator anhe- 
lans) by the statuary Naukeros, which must have exhibited the con- 
testant in intense movement.’ It might have represented him after 
victory, as in the painting of Parrhasios discussed above, which 
pictured a hoplitodrome after the race, breathing hard.® Pliny also 
mentions a painting of a wrestler by Antidotos without describing it.7 
As we have already remarked, doubtless some of the apoxyomenoi 
and perixyomenot mentioned by Pliny were also wrestlers. 
Whether wrestling-groups were set up at Olympia is doubtful. Char- 
lot-groups were indeed common, but there is no reason why the 
1J. Sieveking, Die Bronzen der Samml. Loeb, 1913, pp. 52-4 and Pl. XXJ; it is 0.165 meter high. 
Others there listed include one in the British Museum: /. H. S., XXV, 1905, Pl. XI, b (front 
and back), and text on p. 288; Gardiner p. 398, fig. 129; another from Vienne in Bonn; two in 
Paris, in the de Clercq and Warrocqué collections respectively; and a fifth, whose location is 
unknown. All are of rough Roman workmanship, either of the second or first centuries B. C. 
2See Petersen in R. M., XV, 1900, pp. 158 f.; Klein, III, pp. 309 f.; Sieveking, op. cit., p. 53, n. 1. 
The copies are in Florence (Galleria di Firenze, III, Pl. 123, 2; Reinach, Rép., I, 2, 538, 5); in St. 
Petersburg (Comptes rendus dela comm. impér. archéol., St. Petersburg, 1867, Pl. I, pp. 5 f., text 
by Stephani; J. H. S., XXV, 1905, p. 290, fig. 25; Gardiner, p. 399, fig. 130; Reinach, Rép., II, 
2, 538, 1 and 3);in Constantinople, from Antioch (Jd., XIII, 1898, Pl. XI and pp. 177f., Foerster; 
Rev. arch., XX XV, 1899, Pl. XVIII, pp. 207 f., Joubin; J. H. S., 1905, p. 291, fig. 26; Gardiner, 
p. 400, fig. 131); in the Louvre, from Egypt (no. 361; Jb., XVI, 1901, fig. on p. 51; Reinach, 
Rép., Il, 1, 234, 2); and in the British Museum (B. M. Bronzes, 853 and Pl. XXVII, middle one 
below). In the St. Petersburg copy the arms of the victor are changed around. 
3Duetschke, III, 547; Bulle, 184; von Mach, 288; F. W., 1426; Reinach, Rép., I, 523, i. 
4Helbig, Fuehrer, 11, 1382 (=Attic); J/b., XXV, 1910, Pl. VII, and pp. 171 f. (Bieber = Euphra- 
nor); cf. R. M., VI, 1891, p. 304, n. 2 (Petersen=Skopaic); Furtw., Mw., p.515,n. 4(=Skopaic). 
5H. N., XXXIV, 80. 
6H. N., XXXV, 71; so Reisch, p. 45, n. 5. See supra, p. 206. 
7H. N., XXXV, 130. It was probably votive in character. 
