EARLY VICTOR STATUES AND THE “SAPOLLO ‘TYPE. 335 
However, against this exclusive interpretation doubts have been 
raised with ever-increasing precision, until now we can predicate with 
certainty what Loeschke long ago assumed, that the more statues of the 
series there are found, the less probable will it become that they should 
all be ascribed to Apollo.! Conze and Michaelis first argued on the basis 
of Pausanias’ description of Arrhachion’s statue that this type was 
employed for victor statues.” Koerte’s objection to their view on 
the ground of the long hair was refuted by Waldstein, who demon- 
strated that athletes were not represented with short hair until after 
the Persian wars; he pointed out that the archaic grave-figures of the 
mortals Dermys and Kitylos discovered at T'anagra, which were sculp- 
tured in a constrained attitude analogous to that of the “‘Apollos,” 
had long hair. We now know that the hair of some of the “Apollos” 
is short, which shows the irrelevancy of this argument,‘ and we 
also know that nudity characterizes many archaic statues of mortals. 
Nor do we learn much from dedications, for we have examples of 
statues of gods dedicated to other gods and even to goddesses.*® 
Ex votos were often more concerned with the dedicator than with 
the god to whom the statue was dedicated. Doubtless the cult statues 
portrayed on vase-paintings are actually those of Apollo, for at this 
epoch other gods, such as Hermes and Dionysos, are bearded.°® 
Moreover, that a more advanced schema for representing the god 
Apollo had already become fixed toward the end of the sixth century 
B. C., we know from ancient descriptions of the statue of the god made 
for fie Delians by Tektaios and Angelion, which represented him in the 
usual archaic attitude, 7. ¢., of the statue of Arrhachion, but with the 
notable difference that the forearms were outstretched.’ ‘That this was 
the recognized type in the early years of the fifth century B.C., 1s at- 

See 4. M., IV, 1879, p. 304. 
2See Rapporto d’un viaggio nella Grecia nel 1860, in Annali, XX XIII, 1861, p. 80. 
3]. H. S., I, 1880, pp. 168 f., already quoted. For the monument of Dermys and Kitylos, see 
Gaz. Arch., 1878, Pl. 29; A. M., III, 1878, Pl. XIV; F. W., 44. 
4On the subject of hair on “‘Apollo” statues, see Overbeck, Griech. Kunstmythol., 111, Apollon, 
p. 14 (cf. note f); and cf. Milchhoefer, 4. Z., XX XIX, 1881, p. 54, who discards this feature as a 
criterion. 
:k®For examples, see Deonna, Les Apollons archaiques, p. 12, n.4 and n. 5. 
6Cf. the colossa! bearded statue of Dionysos found in the quarries on Naxos (Komiak1), described 
by Deonna, p. 221. Ina preceding note (p. 334, n. 4) we have already listed examples of the type 
of Apollo appearing on vases, etc.; see B. M. Sculpt., I, p. 82. 
7The date of these sculptors is fixed by that of their pupil, the Aeginetan Kallon, who lived at 
the beginning of the fifth century B. C.; cf. Akropolis inscription, J. G. B.,no. 27. This statue is 
mentioned by P., IX, 35. 3, as holding the Graces inone hand. Plutarch, who cites Antikles and 
Istros as his authorities, gives a better description of it in de Musica, 14; he says that it held the 
bow in the right hand and the Graces playing on musical instruments in the left. A scholion on 
Pindar, Ol., XIV, 16, Boeckh, p. 293, mentions such an image of Apollo in Delphi, manifestly a 
copy brehe Delian one. Both the scholiast and Macrobius, Saturnalia, 1, 17. 13, place the bow 
in the left hand and the Graces in the right, an arrangement confirmed by Athenian coins which 
are copied from the replica of the statue in Athens (Bekker, Anecdota gr., I, p. 299, ll. 8-9). 
Frazer, V, p. 174, figs. 8-9, reproduces two of these coins. 
