finding a new field in the commemoration of athletes. And this work, while still prompted by the best inspirations of Greek religion, was so far secular as to relax those hieratic bonds in which the art of Egypt had remained bound. A pancratiast named Arrachion, victorious at Olympia in Ol. 50 (564 B.C.), was commemorated by a stone statue which Pausanias mentions (viii. 40, 1) as of archaic type (σχῆμα), and which seems to have been of the same general character as the Apollo of Tenea now at Munich[1]. Praxidamas, a boxer of Aegina (544 B.C.), and Rhexibius of Opus (536 B.C.), were commemorated by statues in wood. Earlier still (about 580 B.C.) the Argives had dedicated at Delphi portrait-statues (εἰκόνες, Her. i. 31) of Cleobis and Biton, on account of their eminent piety (ὡς ἀνδρῶν ἀρίστων). About 520 B.C. Entelidas and Chrysothemis, sculptors of the Argive school, wrought statues of two Olympian victors, Demarchus and Theopompus.
§ 24. Pindar, in a striking passage, recognizes Sculpture and Poetry as sister arts employed in the commemoration of the athlete's fame, and contrasts the immobility of the statue with the wide diffusion of the poem (Nem. v. i); οὐκ ἀνδριαντοποιός εἰμ', | ὥστ' ἐλινύσοντά μ' ἐργάζεσθαι ἀγάλματ' ἐπ' αὐτᾶς βαθμίδος | ἑσταότ', ἀλλ' ἐπὶ πάσας ὁλκάδος ἔν τ' ἀκάτῳ, γλυκεῖ' ἀοιδά, | στεῖχ' ἀπ' Αἰγίνας. "No sculptor I, to fashion images that shall stand idly on one pedestal for aye: no, go thou forth from
- ↑ See Perry's Greek and Roman Sculpture, p. 57.
