326 MATERIALS OF OLYMPIC VICTOR MONUMENTS. 
who argues that the use of paint in Greek architecture and on temple 
sculptures proves the contrary. As the paint was burnt in, it was 
reasonably durable, and if it did not prove so it was readily renewed. 
At Olympia, among several examples, we may cite the marble Nike 
of Paionios, which stood in the open in the space to the east of the tem- 
ple of Zeus! (see Plans A and B), while, on the other hand, a bronze 
statue of Aphrodite stood within the Heraion.? The argument that 
metal statues were cheaper than marble must also be questioned.’ 
In the earlier part of the present work we saw that, for economy’s 
sake, many victors set up small bronze statuettes instead of statues at 
Olympia, numbers of which have been recovered. ‘That such dedica- 
tions were common elsewhere is shown by the countless athlete stat- 
uettes—especially diskoboloi—which are to be found in all European 
museums.‘ For similar reasons victors would choose in place of bronze 
the less durable and cheaper stone, as in the cases of Arrhachion and 
Promachos cited, or even wood, as in those of Rhexibios and Praxida- 
mas. Still others, especially boy victors, would set up small marble 
statues, two-fifths to two-thirds life-size, as the fragments of the seven 
examples collected by Treu and already enumerated above show. 
Thus we see that the contention that the victor statues at Olympia 
were exclusively of bronze, in the light of the evidence adduced, is 
untenable. 
THE STATUE OF ARRHACHION AT PHIGALIA. 
In his description of Arkadia, Pausanias mentions seeing the stone 
statue of the pancratiast Arrhachion in the market-place of Phigalia. 
He describes it as archaic, especially in pose, the feet being close to- 
gether and the arms hanging by the sides to the hips; and adds that he 
was told that it once bore an inscription which had become illegible in 
his day.’ This Arrhachion won three victories at Olympia in the pan- 
1Bildw. v. Ol., Tafelbd., Pls. XLVI-XLVIII; Textbd., pp. 182 f. and Figs. 210 f.; and Ergeb- 
nisse, I] (Baudenkmaeler), Pl. XCIII (basis) and pp. 153-5; cf. P., V, 26.1. 
2P., V, 17.3 (already mentioned on p. 325, n. 3). 
See Treu, Bildw.v. Ol., p.216. To-day marble is far commoner than bronze for artistic work; 
the reverse was true in antiquity. Many varieties of bronze—a combination of copper and tin in 
varying proportions—were named from places where it was manufactured: e. g., Corinthian, 
Delian (the favorite with Myron), Aeginetan (the favorite with Polvkleitos), etc. 
‘Cf. Furtwaengler, Bronz. v. Ol., pp. 21-2; sostes Berl. Winckelmannsprogr., p. 147; Reisch, p. 
39. Good examples are the Tuebingen bronze hoplitodrome discussed in Ch. IV, pp. 206 f. 
(Fig. 42) and the zais xé\ns from Dodona (Carapanos, Dodone et ses Ruines, Pl. XIII. 1). For 
diskoboloi, see E. von Sacken, Die ant. Bronzen des k. k. Muenz- und Antiken-Cabinetes in Wien, 
1871, Pls, XXXVI XXKVIL 4 
*VITI, 40.1: Bryaredor 68 avdprds éorw emt rhs dyopas ’Ap<pa> xlwvos Tod rayKpatacTod, TA 
Te &\Na apxaios Kal ovx iKicTa él TE oxhyate ob SuecTaor pev TOAD ol Tbd¢es, KaDeivTar 5é Tapa 
mevpay al xeipes dxpiTav yovTGv. memolnrar pev 5% Heikev AlOov, Neyover 5é Kal éwiypaupa em’ 
alrHy ypapivat. Kai rodTo pév hpaviocto brd TOD Xpovov, K.T.A. 
On the various spellings of the name, Arrhachion, Arrhachon, Arrhichion, etc., see critical 
note in Rutgers, p. 19, and Foerster, no. 103. 
