the body, we see in this relief, with its fine modeling, a suggestion of the form beneath the folds of the garment, and so, perhaps, only another example of an Attic master rebelling against alien influence.[990] At Olympia we have no names of Athenian sculptors prior to the Persian war period. Kalamis helped Onatas with the monument of King Hiero already mentioned. Mikon made a statue of a pancratiast, Kallias of Athens, who won in Ol. 77 (= 472 B. C.).[991] The great Myron, of whom we shall speak at length in the next chapter, made five statues of victors, which were erected between Ols. 77 and 84 (= 472 and 444 B. C.).[992] Only four later Athenian artists are mentioned: Silanion of the fourth century, who made statues for three victors, whose victories ranged from Ols. 102 to 114 (= 372 to 324 B. C.);[993] Polykles the Elder, who made the statue of the boy pancratiast Amyntas of Eresos, who won in Ol. (?) 146 (= 196 B. C.);[994] Timarchides and Timokles, the sons of Polykles, who in common made the statue of the boxer Agesarchos of Tritaia in Achaia, who won in Ol. (?) 143 (= 208 B. C.)[995] GENERAL MOTIVES OF STATUES AT REST. The victor represented as standing at rest was often characterized by general motives, such as praying, anointing or scraping himself, offering libations, and the like. We shall now consider such motives in detail. ADORATION AND PRAYER. Prayer was a common motive represented in votive monuments. Pliny mentions many such works by Greek sculptors.[996] The custom of raising the arms in prayer is found all through Greek literature, from Homer down.[997] Pausanias says that the people of Akragas made an offering in the form of bronze statues of boys placed on the walls of the Altis, προτείνοντάς τε τὰς δεξιὰς καὶ εἰκασμένους εὐχομένοις τῷ θεῷ, these statues being the work of Kalamis.[998] In the Athenian Asklepieion there were many τύποι καταμακτοὶ πρὸς πινακίῳ, among which were representations of men and women in the praying attitude.[999] The motive was used at Olympia in victor statues, representing the victor as raising the hand in prayer to invoke victory.[1000] The statue of the wrestler Milo, already discussed at length, shows that this motive was employed at Olympia in the improved “Apollo” type in the second half of the sixth century B. C.[1001] From the next century we may cite the statue of the Spartan chariot victor Anaxandros, which was represented as “praying to the god,”[1002] and the statues of the Rhodian boxers Diagoras and Akousilaos, as we learn from a scholion on Pindar,[1003] which is based on a fragment of Aristotle[1004] and on one of Apollas.[1005] Of the statue of Diagoras it says: τὴν δεξιὰν ἀνατείνων χεῖρα, τὴν δὲ ἀριστερὰν εἰς ἑαυτὸν ἐπικλίνων; of that of Akousilaos: τῇ μὲν ἀριστερᾷ ἱμάντα ἔχων πυκτινόν, τὴν δὲ δεξιὰν ὡς πρὸς προσευχὴν ἀνατείνων.[1006] The bronze statue from Athens, now in the Antiquarium, Berlin,[1007] which represents a nude boy with the