Marble Head of an Athlete, after Kresilas (?). Metropolitan Museum, New York.]
A very favorite motive was to represent a victor, either standing or seated, resting after the exertions of the contest (ἀναπαυόμενος). An excellent example of this motive in a standing posture is the fourth-century B. C. statue of Attic workmanship found at Porto d’Anzio and now in the Vatican,[1096] which reproduces the type of the _Apollo Lykeios_.[1097] Many of the statues, by various sculptors, which represent the victor standing at rest may be intended to represent him as resting after the contest. The well-known head of a youth adorned with the victor’s chaplet, and preserved in four copies in European museums, appears to come from a statue which represented a victor in this manner. The best of these copies is in the collection of Lord Leconfield at Petworth House, Sussex.[1098] We should add a fifth, a Roman copy of the head, in the Metropolitan Museum, New York (Pl. 15).[1099] In these copies the ears are not swollen, and a certain refinement and gentleness show that the original was not from the statue of a boxer or pancratiast, but from that of another type of athlete, perhaps a pentathlete. Since Pliny mentions the statue of a _Doryphoros_ by Kresilas,[1100] and because of its supposed Kresilæan style, Furtwaengler, albeit on slender grounds, has attempted to identify the original of these heads with that work.[1101] The expression is certainly one of complete repose. On the crown of the head, and on the left side over the fillet, is a rectangular broken surface,[1102] apparently the remnant of a support for the right arm, which, as Conze thought, proves that the athlete stood with one arm resting on the head, the hand hanging over the left side. Furtwaengler admitted that such an attitude might be that of an apoxyomenos,[1103] but pointed out that the expression of the face in all the copies seems too tranquil for such an interpretation. Since the victor was in repose and the left arm required a slight support, he believed that this support might have been an akontion. He therefore reconstructed the original statue as that of a resting pentathlete, and assigned it to the great Cretan contemporary of Pheidias, who worked in Athens.[1104] The number of replicas at least shows that the original was a famous work.