268 MONUMENTS OF HIPPODROME AND MUSICAL VICTORS. 
sculptured the horses and jockeys. Such a division among sculptors 
was not uncommon at Olympia. ‘Thus the Aeginetan artist Simon and 
the Argive Dionysios made a group in common for Phormis, which we 
have already mentioned, consisting of two horses and two charioteers.} 
The Chian Pantias and the Aeginetan Philotimos made a group in 
common for Xenombrotos of Kos, victor in horse-racing, and for 
his son, the boy boxer Xenodikos, which consisted of statues of the 
man and the boy on horseback.? Pliny mentions a four-horse chariot- 
group for which the elder Praxiteles made the charioteer and Kalamis 
the chariot, adding that Praxiteles did this out of kindness, not wish- 
ing it to be thought that Kalamis had failed in representing the man 
after succeeding in representing the horses.°® 
In some of the Olympic chariot-groups doubtless the charioteer was 
represented at the moment of entering the chariot or already in it. 
Sometimes a figure of Nike took the place of the charioteer, in order 
that the victor’s exploit might be more exalted. ‘Thus Pausanias, in 
mentioning the bronze chariot of Kratisthenes of Kyrene by Pythag- 
oras of Rhegion,’ says that statues of Nike and Kratisthenes himself 
are mounted upon the car. ‘The Nike in some cases was replaced by 
the figure of a young maiden, who stood beside the victor, as in the 
cases of the Elean Timon’ and the Macedonian Lampos.* Pliny notes 
a similar example in reference to the chariot of Teisikrates, a Delphian 
victor in the two-horse chariot-race.”. The maiden in all these cases 
may have been merely a Nike personified or a mortal.* Pliny records 
that the painter Nikomachos, son and pupil of Aristeides, painted a 
Victoria quadrigam in sublimine rapiens.2 ‘The figure of Nike appears 
often on reliefs. Thus on a terra-cotta sarcophagus from Klazomenai 
we see a two-horse chariot driven by a boy, while alongside is a winged 
female fgure—Iris or Nike—mounting it.1° The moment of victory is 
shown on an Attic marble votive relief representing a four-horse chariot, 
now in the British Museum. Here a figure of Nike is represented as 
1P.,V,27.2. See supra, pp. 28, 62, and 163. * aP Vi, l4cige 
3H. N.. XXXIV, 71. On the basis of this and other references, Reisch built up a theory that 
there was also a fourth-century B. C. Kalamis, the contemporary of the younger Praxiteles: 
Jh. oest. arch. Inst., 1X, 1906, pp. 199 f. He was followed by Amelung (R. M., XXI, 1906, 
pp. 285 and 287) and Studniczka (A4bh. d. k. saechs. Gesellsch. d. Wiss., philolog.-histor. Klasse, 
XXV, no. IV, 1907, pp. 5 f.). Furtwaengler has shown the weakness of such an argument and 
has rightly referred the monument mentioned by Pliny to the great Kalamis and his younger 
contemporary, the elder Praxiteles: Sitzb. Muen. Akad., 1907, pp. 160 f. 
4P., VI, 18.1. Kratisthenes won Ol. (?) 83 (=448 B. C.): Hyde, 185; Foerster, 193A. 
®P., VI, 12.6; Hyde, 105d. The same Timon is mentioned again: P., V1, 2.8; Hyde, 17. This 
monument may have been set up for a second victory or even for the victory mentioned by Paus- 
anias, VI, 2.8; however, I have classed it as an honor dedication, assuming two monuments: 
Hyde, p. 45. 
®Lampos won some time after Ol. (?) 105 (=360 B. C.): P., VI, 4.10; Hyde, 44; Foerster, 420. 
Philippi, the native city of Lampos, was founded in Ol. 105 by Philip, father of Alexander, on the 
site of an older town, Krenides. 7H. N., XXXIV, 89; it was by the statuary Piston. 
8Reisch, p. 49, believes that she represented a Nike apteros; Rouse, p. 164, also believes that 
such figures were Victories. 9H, N., XX XV, 108. 104nt. Denkm., I, 4, 1889, Pl. XLIV. 
