[1293] I, 23.9. The inscribed base has been found: C. I. A., I, 376; I. G. B., 39.
[1294] P., VI, 10.1–3; Hyde, 93; Foerster, 137.
[1295] Ols. 72 to 76 ( = 492 to 476 B. C.); Hyde, p. 42.
[1296] Cf. Bulle, p. 493, on no. 225.
[1297] On the origin and early development of motion figures in Greek art, see Bulle, pp. 157 f., and the works cited on p. 674 (notes to p. 158); especially, J. Langbehn, Fluegelgestalten der aeltesten griech. Kunst, Diss. inaug., 1881; F. Studniczka, Die Siegesgoettin, Gesch. einer antiken Idealgestalt, 1898; E. Curtius, Die knieenden Figuren d. alt. griech. Kunst (29stes Berl. Winckelmannsprogr., 1869); Eadweard Muybridge, Human Figure in Motion, 1907; cf. also J. Lange, op. cit.
[1298] In the Museo Archeologico, Florence: Bulle, no. 10.
[1299] Cf. the realistic scenes of wrestling, boxing, and running, in relief on the archaic Attic tripod vase from Tanagra now in Berlin, dating from the second half of the sixth century B. C.: A. Z., XXXIX, 1881, pp. 30 f. (Loeschke) and Pls. 3 and 4. Cf. also scenes from the pentathlon on a Panathenaic amphora of the sixth century B. C. in Leyden: ibid., Pl. 9; etc.
[1300] B. C. H., III, 1879, pp. 393 f. and Pls. VI-VII (Homolle), and V, 1881, pp. 272 f. (Homolle, on the artist and his father Mikkiades); von Mach, no. 32 (restored in the text opp. p. 26, fig. 1); Richardson, p. 51, fig. 15; Perrot-Chipiez, VIII, pp. 300–1, figs. 122–3 and Treu’s restoration, p. 303, fig. 125; restored in Springer-Michaelis, p. 187, fig. 358; Reinach, Rép., II, 1, 389, 5. Though first called an Artemis by Homolle (because of its resemblance to the so-called Oriental winged Artemis on a bronze relief from Olympia, von Mach, text, opp. p. 36, fig. 5), it has generally been called a Nike since its first ascription by Furtwaengler (A. Z., XL, 1882, pp. 324 f.), and brought into connection with a base in two parts found near the statue on Delos in 1880 and 1881, inscribed with the names of Archermos and his father Mikkiades. If the connection with the base were certain, the statue should be referred to the beginning of the sixth century B. C.; B. Sauer (A. M., XVI, 1891, pp. 182 f.), and others, have disputed the connection.
[1301] Now in the National Museum, Athens: Kabbadias, no. 1; von Mach, 20; Springer-Michaelis, p. 174, fig. 340; Richardson, p. 43, fig. 11; Reinach, Rép., II, 2, 645, 1. Its inscription should date it about 600 B. C. It is over 6 feet in height (including the base: von Mach).
[1302] Bulle, pp. 157–8, fig. 33; de Ridder, no. 808. It is 0.123 meter high (Bulle). Cf. similar bronzes ibid., nos. 799–814, and also a flying harpy on a sixth-century B. C. Ionic vase in the University Museum in Wuerzburg: Bulle, pp. 159–160, fig. 34; Furtw.-Reichhold, Griech. Vasenmalerei, I, pp. 209 f. and Pl. 41; cf. also the very similar pose on the small bronze statuette in the British Museum of a winged Nike represented in violent motion: von Mach, 33; the marble torso of another in Athens: id., text, opp. p. 26, fig. 2; and the bronze winged Gorgon from Olympia (0.12 meter high): Bronz. v. Ol., Pl. VIII, no. 78, text, p. 25 (and for the type, cf. Roscher, Lex., art. Gorgonen in der Kunst, I, 2, p. 1710, ll. 67 f.).