[1043] B. M. Bronzes, no. 514, on p. 71, and Pl. XVI; Specimens, I, Pl. 15; Reinach, Rép., II, 91, 7; Mon. gr., II, no. 23, Pl. XV and p. 1 (ascribing it to the Argive school). It forms the basis for a mirror.
[1044] Furtwaengler, Sitzb. Muen. Akad., 1897, II, pp. 129 f. and Pl. 6 (influence of Kalamïs).
[1045] B. C. H., X, 1886, pp. 393 f. (S. Reinach) and Pl. XII, 3 (this should be numbered XIV, 4; see text); Pottier et Reinach, Nécrop. de Myrina, Pl. XLI, 3, pp. 450 f. It is 0.205 meter high.
[1046] E. g., F. W., 1798; relief found in 1830 in Hermione, now in Athens; it is of the second or third century B. C.
[1047] E. g., on the stone of Gnaios: Jb., III, 1888, pp. 315 f., no. 3; Pl. X, no. 12; Furtwaengler, Die antiken Gemmen, 1900, Pl. L, no. 9, and Vol. II, p. 241; also on the gem pictured by Toelken, Erklaer. Verzeichn. d. ant. vertieft geschnittenen Steine d. preuss. Gemmensammlung, 1835, Klasse VI, 107 (= Die ant. Gemmen, Pl. XLIV, no. 24, and Vol. II, pp. 213); Furtwaengler, Mp., p. 260, n. 6, and Mw., p. 468, n. 4, who mentions it, believes that these gems correspond more nearly with the Dresden than with the Petworth athlete type.
[1048] The strigil was a curved blade hollowed out inside with both edges sharp; the general form remained largely the same from the sixth century B. C., down into Roman days, though the curve and the handle changed. The commonest were of bronze or iron: see Dar.-Sagl., IV, 2, pp. 1532 f., s. v. strigilis (S. Dorigny); K. Friederichs, Kleinere Kunst und Industrie im Altertum, 1871, pp. 88 f. Examples in the Metropolitan Museum, New York, are given by Richter, in Gk., Etr. and Rom. Bronzes, nos. 855 f.; others (strigils and handles) are in the British Museum: B. M. Bronzes, nos. 320–326, 665, and 2420–2454, and figs. 74–75, p. 319; on the operation, see Kuppers, Der Apoxyomenos des Lysippos, 1874.
[1049] E. g., on an amphora in Vienna: Schneider, Arch.-epigr. Mitt. aus Oest., V, 1881, p. 139, Pl. IV; Hoppin, Hbk. Attic r.-f. Vases, I. p. 334, no. 25 and Pl. (right-hand fig.); on a kylix formerly in possession of Lucien Bonaparte, now in the British Museum, E 83: Gerhard, IV, Pl. CCLXXVII, 2 (left-hand figure), and p. 50; Murray, Designs from Greek Vases, no. 58; others on which the athlete is cleansing the strigil and not the body are given by Hartwig in Jh. oest. arch. Inst., IV, 1901, p. 154 and figs. 178 (Peleus on krater from Bologna), 179 (athlete on B. M. vase mentioned above, E. 83, third figure from left, middle row), 180 (cup in Rome, Museo Gregoriano), 181 (jug, ibid.); Hartwig, pp. 153–4, mentions an athlete on a cup in the Museo Papa Giulio, Rome. For the motive of an apoxyomenos on a vase in the Louvre, see Hartwig, Die greich. Meisterchalen, pp. 24 f. and fig. 2a.
[1050] H. N., XXXIV, 55, 62 and 76, respectively.
[1051] Pliny, XXXIV, 86 and 87, respectively.
[1052] A list is given by Furtw., Mp., p. 262, n. 2; Mw., p. 471, n. 1; a gem from the Hermitage is shown in Mp., p. 262, fig. 109; Mw., p. 471, fig. 79; = Die antiken Gemmen, Pl. XLIV, no. 19; cf. also ibid., no. 18; Hartwig, in the article cited in note 1 above, adds two more gems showing an athlete in a similar position, in the Boston Museum of Fine Arts: p. 155, figs. 183, 184. Here the youth, as Hartwig against the interpretation of Furtwaengler makes clear, is cleansing the strigil and not his body.