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The School of Sikyon.

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The Sikyonian school of bronze founders was closely affiliated with the one at Argos. Early in the archaic period the brothers Dipoinos and Skyllis, sons or pupils of the mythical Daidalos of Crete, migrated to Sikyon.923 A generation later another Cretan sculptor, Aristokles, founded there an artist family which lasted through seven or eight generations.924 His two grandsons Aristokles and Kanachos are known to have collaborated with Hagelaïdas on a group of three Muses.925 Many have seen in the small bronze found in the sea off Piombino, Tuscany, and now in the Louvre (Fig. 19),926 a copy of the Apollo Philesios, the best-known work of Kanachos. This gem of the bronze art, in true archaic style, may very well represent the Apollo, which, according to the description of Pliny927 and the evidence of Milesian copper coins of all periods,928 had as attributes a fawn in the outstretched right hand and a bow in the left. However, Overbeck,929 followed by von Mach, believes that it is not a copy of Kanachos’ Apollo, but merely Fig. 19.—Bronze Statuette of Apollo, found in the Sea off Piombino. Louvre, Paris. represents a boy assisting at a sacrifice, and that the original held a cup in the left hand and a saucer in the right. In any case the statuette is too inaccurate to give us more than the pose of the Apollo of Kanachos, even if it were proved to be a copy. It may be merely a reproduction of the mythological type of Apollo, which the artist himself followed, and so we can not say definitely to what school it belongs. The Payne Knight bronze in the British Museum,930 which holds a tiny fawn in the right hand, the bow originally in the left hand being lost, has better pretensions, perhaps, to be a copy of the Apollo. Another archaic half life-size bronze, formerly in the Palazzo Sciarra,931 is of a similar type, though its style is different. Another bronze statuette from Naxos, now in Berlin,932 shows the same position of the hands, but has an aryballos or pomegranate in the right hand. We have already classed it as an example of the conversion of an original god-type into that of a victor. We might also mention the mutilated torso found by Holleaux at the sanctuary of Apollo Ptoios in Bœotia (Fig. 12, right), which has a similar pose to that of the statuette from Piombino, and whose hair technique shows that it is an imitation of a bronze work.933 However, as we shall see later, it may be rather representative of the Aeginetan school of sculptors. All these works may tell us of the general character of the Apollo, but little of its style.934

No athlete statue by Aristokles or his brother Kanachos is known to have stood at Olympia. That the latter actually made victor statues, however, is proved by Pliny’s statement (l. c.) that he made celetizontas pueros. Of the later Sikyonian school we have twenty-seven statues of victors made by eleven different sculptors, whose dates range from near the end of the fourth down into the third century B.C., of whom we shall give a chronological list. Alypos, the pupil of the Argive Naukydes, had four statues at Olympia: those of the wrestler Symmachos of Elis, of the boy boxer Neolaïdas of Pheneus, of the boy wrestler Archedamos of Elis, and of the boy and man wrestler Euthymenes of Mainalos, all of whom must have won their victories some time between Ols. 94 and 104 ( = 404 and 364 B.C.).935 Kanachos, the Younger, made one statue, that of the boy boxer Bykelos of Sikyon, who won some time between Ols. 92 and 105 ( = 412 and 360 B.C.).936 Olympos made the statue of the pancratiast Xenophon of Aigion, who won some time between Ols. 95 and 105 ( = 400 and 360 B.C.).937 The sculptor Daidalos, the son and pupil of Patrokles, and probably the nephew of Polykleitos, made four monuments for four victors: the equestrian group of the Elean charioteer Timon and his son Aigyptos, a victor in horse-racing, and statues of the Elean wrestler Aristodemos and the stade-runner Eupolemos. Their victories fell between Ols. 96 and 103 ( = 396 and 368 B.C.).938 Damokritos made the statue of the Elean boy boxer Hippos, who won between Ols. 96 and 107 ( = 396 and 352 B.C.).939 Kleon had five statues credited to him, all but one being of boy victors: those of the boy runner Deinolochos of Elis, the pentathlete Hysmon of Elis, the two boy boxers Kritodamos, and of Alketos of Kleitor, and of the boy runner Lykinos of Heraia. Their victories fell between Ols. 94 and 103 ( = 404 and 368 B.C.).940 The great Lysippos had the same number of victor statues as Kleon, and also two honor statues at Olympia: those of the equestrian victor Troilos of Elis, of the Akarnanian pancratiast Philandridas, of the wrestler Cheilon of Patrai, of the pancratiast Polydamas of Skotoussa, and of the hoplite-runner Kallikrates. Their victories occurred between Ols. 102 and 115 ( = 372 and 320 B.C.).941 The son of Lysippos, Daïppos, made two statues, one for the Elean boy boxer Kallon and the other for the Elean Nikandros, who won the double foot-race. Their victories fell within the activity of the sculptor, Ols. 115 and 125 ( = 320 and 280 B.C.).942 Daitondas made the statue of the Elean boy boxer Theotimos, who won his victory some time between Ols. 116 and 120 ( = 316 and 300 B.C.).943 Eutychides, the most famous pupil of Lysippos, famed alike as a bronze founder, statuary, and painter, carved the statue of the boy runner Timosthenes of Elis, who won some time between Ols. 115 and 125 ( = 320 and 280 B.C.).944 Pliny gives Ol. 121 ( = 296 B.C.) as the floruit of this sculptor, which was probably the date of the erection of his most famous work, the colossal bronze Tyche, as tutelary deity of the city of Antioch on the Orontes, which was founded by Seleukos I in Ol. 119.3 ( = 302 B.C.).945 This shows that Eutychides was already by that date a famed sculptor, having begun his career by 330–320 B.C. Kantharos, the pupil of Eutychides, made the statues of the two boy wrestlers Kratinos of Aigira and Alexinikos of Elis, who won their victories some time between Ols. 120 and 130 ( = 300 and 260 B.C.).946

Olympic Victor Monuments and Greek Athletic Art

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