[1133] VI, 10.6. Pantarkes won the boys’ wrestling match in Ol. 86 ( = 436 B. C.): Hyde, 98; Foerster, 254.
[1134] Amongst others it has been assumed by Loeschke, Der Tod des Pheidias (in Histor. Untersuch. zum Schaefer-Jubilaeum, Bonn, 1882), p. 36; Schoell, Sitzb. Muen. Akad., 1888, I, p. 37 (Der Prozess des Pheidias). Foerster, p. 19, n. 1, is against the identification. The παῖς ἀναδούμενος is omitted in my victor lists (de olympionicarum Statuis).
[1135] The παῖς ἀναδούμενος is mentioned between victors nos. 38 and 39, i. e., in the Zone of the Eretrian Bull, while Pantarkes (98) is mentioned among the statues in the Zone of the Chariots: see infra, Ch. VIII, pp. 343 and 345, and Plans A and B.
[1136] Cf. Gurlitt, Ueber Pausanias, pp. 378 f.
[1137] Cf. Doerpfeld, Baudenkmaeler v. Ol., p. 21 and n. 1; Furtw., Mp., pp. 39–40; Frazer, l. c.
[1138] B. M. Sculpt., I, no. 501; Marbles and Bronzes, Pl. VI; B. B., 271; Bulle, 49; von Mach, 117; Springer-Michaelis, p. 259, fig. 461; F. W., 509; Annali, L, 1878, Pl. A and pp. 20 f. (two views) (Michaelis); Clarac, V, 858 C, 2189 A; M. W., I, Pl. 31, fig. 136; Reinach, Rép., I, 524, 2. The palm-trunk shows that the Roman artist intended to represent a victor in his copy. It is 4 ft. 10.25 in. high (Smith); 1.48 meters (Bulle).
[1139] Brunn, following older writers such as Winckelmann, had pronounced it Polykleitan: Annali, LI, 1879, pp. 218 f.; cf. Murray, I, pp. 313 f. and Pl. IX. Kekulé called it Myronian: 49stes Berl. Winckelmannsprogr., 1889, p. 12; Gardner, Sculpt., p. 128, finds it unrelated to Polykleitos and defends its Attic origin. Everything about it—except the mode of tying the fillet—differs from the copies of Polykleitos’ statue, and especially the pose. Against Brunn’s view, see Michaelis, Annali, LV, 1883, pp. 154 f.
[1140] So Bulle, Arndt (text to B. B., 271), Furtwaengler (Mp., pp. 244–5; Mw., pp. 444–5), Zimmerman (in Knackfuss-Zimmermann, Kunstgesch. des Altertums und des Mittelalters, I, p. 152), and many others.
[1141] Cf. especially the resemblance of the statue to the youth on the West frieze: Michaelis, Der Parthenon, Pl. V, no. 9.
[1142] Pliny, H. N., XXXIV, 55, praises it equally with the Doryphoros, and says that 100 talents were paid for it; in another passage he says that a like sum was paid by King Attalos for a picture of Dionysos by the Theban painter Aristeides: ibid., VII, 126; cf. XXXV, 24 and 100. A painting by Timomachos of Byzantium brought 80 talents: ibid., XXXV, 136.