Tall and graceful, with slender flexible limbs, the youth stands in an attitude of rest, scraping his right arm. In his fingers is the die which marks his number in the race. His body rests upon one leg, but so light is his poise that he is ready to change his position momentarily. Neither attitude nor countenance shows any sense of exhaustion, only that delicious fatigue which makes rest so enjoyable. [Illustration: D. Anderson, Photo. John Andrew & Son, Sc. THE APOXYOMENOS _Vatican Gallery, Rome_] There is a passage in the Greek poet Aristophanes' comedy of the Clouds, in which a speaker urges upon a young man the life of the gymnasium. "Fresh and fair in beauty-bloom," he says, "you shall pass your days in the wrestling-ground, or run races beneath the sacred olive trees, crowned with white reed, in company with a pure-hearted friend, smelling of bindweed, and leisure hours, and the white poplar that sheds her leaves, rejoicing in the prime of spring when the plane tree whispers to the lime." This is the kind of life typified in the figure of our statue,[14] a side of Greek life which no one can overlook if he would understand the genius of the Greek nation. [14] The application of this passage to the Apoxyomenos is made by J. A. Symonds in his _Greek Poets_. It must not be supposed that our statue represents an actual individual. It is not a portrait, but an imaginary typical figure. It is true that portrait statues of athletes were made in great numbers, as we shall note again in another chapter. It was indeed this practical experience among athletes that led sculptors to see what a perfect human figure ought to be. In the study of many different forms they developed an idea of a type common to all and uniting all the perfections. Certain sculptors figured out what they regarded as the true proportions of the ideal human form. One of these was Lysippus, who is believed to have executed this statue as an illustration of his theories. We note as the special characteristics of his ideal figure that it is tall, with slim light limbs, and a rather small head, about one eighth the total height. We may now see how such a statue as the Apoxyomenos was a preparatory study for statues of the gods. The gods were to be represented in the most perfect human forms which it was possible to conceive, and by working out typical figures like this, forms were found worthy of the noblest subjects. Thus the proportions discovered by Lysippus were peculiarly appropriate for the lighter, fleeter gods, as Apollo and Hermes. Lysippus executed his works entirely in bronze, and the statue reproduced in our illustration is a marble copy of the original, which was long since lost. VI HEAD OF THE APOLLO BELVEDERE