252 VICTOR STATUES REPRESENTED IN MOTION. 
in its proportions.! It shows affinity of design to certain sculptures 
from the frieze of the Great Altar at Pergamon.? Pliny speaks of a 
symplegma by Kephisodotos, the son of Praxiteles, at Pergamon, but 
that group was of an erotic character and can not have had anything to 
do with the Florentine one.? Unfortunately the group in question has 
been much restored, though the restoration in the main is right. The 
heads, though probably antique, do not seem to belong to the statues, 
but both appear to be copies of the head of one of the Niobids, with 
which group the pancratiasts were discovered in 1583. ‘The right arm 
of the uppermost athlete seems to have been wrongly restored; in any 
case this athlete is not strangling his opponent. One youth has thrown 
the other down on to his knee, and his left leg is intertwined with the 
left leg of the other, and he is drawing back his armto aimablow. ‘The 
wrestler underneath supports himself upon his left arm, and the inten- 
tion of his opponent is to destroy this support by a blow of the fist, 
which would bring the contest to a sudden conclusion, since the right 
arm of the under youth is fast and he must defend himself with the 
left. As Gardiner points out, such a situation is illustrated by Helio- 
doros’ description of the match between Theagenes and an Aethiopian 
champion.’ ‘The under man’s position, however, may suddenly change 
and the issue yet be in his favor. Many writers have explained the 
group as ordinary wrestlers,> but Gardiner has conclusively shown 
that it belongs to the pankration, since in wrestling the contest 1s ended 
when one of the contestants has been thrown, while here the struggle 
is continuing on the ground.® 
Kapros of Elis was the first of seven Olympic victors to emulate the 
-fabled feat of Herakles by winning the pankration and wrestling 
matches on the same day—that is, he was the first professional strong 
man.’ ‘The other six all came from the East. It has been suggested® 
that the colossal Farnese Herakles found in Rome in the ruins of the 
Baths of Caracalla in 1540 and now in Naples, inscribed as the work of 
the Athenian Glykon, which represents the hero leaning wearily on his 
1Bulle dates it at the beginning of the third century B. C.; both he and Amelung believe it to 
be the work of a follower of Lysippos; see also B. Graef, Jb., LX, 1894, pp. 119 f., who believes that’ 
the original heads of the group are preserved, the one still on the under pancratiast, the other on 
the statue of a Niobid in the Uffizi (Duetschke, III, no. 253), the head now on the upper pan- 
cratiast being a modern copy of it. See Amelung’s reply in 4. 4., 1894, pp. 192 f. 
2. g.. von Mach, Pls. 265 f. 
371, N., XXXVI, 24; see note ad loc. by Jex-Blake. 
4Aeth., X, 31, 32; quoted in full by Krause, II, pp. 912 f. 
>Duetschke, Wolters, von Mach, and Lucas (the latter in Jb., XTX, 1904, pp. 127f. and figs.) 
thought that the wrestling groups on the Roman mosaic of the Imperial period found in Tus- 
culum in 1862 were influenced by the Florence group: Mon. d.I., VI, VII, 1857-63, Pl. LX XXII; 
Annali, XX XV, 1863, pp. 397 f.; Schreiber, Bilderatlas, Pl. XXIII, 10; Gardiner, p. 177, fig. 22. 
S/F Dalek Vs Lg ep: 
7He won in OL. 142 (=212 B.C.):P., VI, 15.10; cf. V., 21.10; Hyde, 150; Foerster, 474, 475. 
8F. g., by Gardiner, p. 146. 
