We do not doubt that the early statues of athletes at Olympia showed all the variations we have discussed in these “Apollos.” Of this type, then, were the statues at Olympia of the Spartan Eutelidas, the oldest mentioned by Pausanias,[841] those of Phrikias of Pelinna in Thessaly,[842] and of Phanas of Pellene in Achæa,[843] to whom, later on in this chapter, we shall ascribe the two archaic marble helmeted heads found at Olympia (Fig. 30), the wooden statues of Praxidamas and Rhexibios,[844] the statue of Kylon on the Akropolis of Athens,[845] and that of Hetoimokles at Sparta.[846] The statue of the famous wrestler Milo of Kroton by the sculptor Dameas, mentioned by Pausanias[847] and described by Philostratos,[848] must also have conformed with the “Apollo” type, though it showed a step in advance of the earlier ones by having its arms bent at the elbow, the forearms being extended horizontally outward. This statue needs a somewhat detailed account. The description of Philostratos seems to have been founded on the account in Pausanias[849] of Milo’s prowess, which, in turn, may have arisen from the appearance of the statue and the cicerone’s description. Philostratos says that it stood on a quoit with the feet close together and with the left hand grasping a pomegranate, the fingers of the right hand being extended straight out, and a fillet encircling the brows.[850] Philostratos has Apollonios explain the attributes of the statue on the ground that the people of Kroton represented their famous victor in the guise of a priest of Hera. This would explain the priestly fillet and the pomegranate sacred to the goddess, while the diskos, on which the statue rested, would be the shield on which Hera’s priest stood when praying. Scherer, however, rightly pointed out that the statue in the Altis was of Milo the victor and not the priest. He therefore explained the diskos[851] merely as a round basis on which the statue, of the archaic “Apollo” type with its feet close together, stood, and the _tainia_ as a victor band. He followed Philostratos in believing that the gesture of the right hand was one of adoration.[852] He looked upon the object in the left hand not as a pomegranate at all, but as an alabastron, a toilet article adapted to a victor. He, therefore, believed that the _Apollo_ of the elder Kanachos of Sikyon,[853] the so-called _Philesian Apollo_,[854] represented nude and holding a tiny fawn in the right hand and a bow in the left, would give a good idea of the pose of Milo’s statue.[855] Hitzig and Bluemner believe this explanation of Scherer probable, although they rightly disagree with him in his exchanging the pomegranate for an alabastron, since Pausanias expressly mentions a pomegranate in the hand of another victor statue at Olympia.[856] Pliny speaks of a male figure by Pythagoras, _mala ferentem nudum_,[857] and Lucian says apples were prizes at Delphi,[858] and we know that Milo was also a Pythian victor.