though the modeling is too soft for Polykleitos, showing that the copyists changed the original of the Argive master to suit a later and different taste. Whereas the _Diadoumenos_ is tying on a victor’s fillet, the other is presumably placing a victor’s wreath on his head. Certainly no better restoration can be made for the Barracco copy. Furthermore, many other monuments, which show a similar attitude, and which must be regarded as very free imitations of the original, seem to show that the boy was represented as placing a wreath on his head.[1185] Whether the original of the series was an actual victor statue at Olympia or not is an interesting question. It has been repeatedly suggested that it was the very statue of the boy boxer Kyniskos there, mentioned by Pausanias, the base of which has been recovered.[1186] The external evidence for the identity consists altogether in the similarity in the position of the feet on this base and in the series of copies, which argues a similar pose. The base shows that the left leg bore the weight of the statue; it was slightly advanced and rested on the sole, while the right leg was set back and rested on the ball only. Thus the statue of Kyniskos was represented in the characteristic Polykleitan schema of rest, except that the position of the legs is reversed from that of the _Doryphoros_, _Diadoumenos_, _Amazon_, and other works of the master. We might add that this same reversal appears on two other bases found at Olympia, which held victor statues by the elder Polykleitos[1187] and one by the younger.[1188] Moreover, the leg position of the canon does not occur in the works of the master’s pupils Naukydes and Daidalos, and only in one work of Kleon.[1189] This shows that teacher and pupils also used another motive, _i. e._, the old canon of Hagelaïdas, besides the one associated with the _Doryphoros_. The similarity in the position of the feet on the Olympia base and in the series of statues discussed has led some scholars, _e. g._, Petersen and Collignon, to accept the proposed identity. This similarity in foot position, the probability that the statue on the basis was life-size, like those of the Westmacott series, and the palm-tree support in the British Museum replica, all pointing to a victor statue, make the identity well within the range of possibility, but by no means certain. It is necessary only to rehearse the objections to this view. In the first place the length of the foot on the Olympia basis can not be accurately measured for purposes of comparison. In the next place Polykleitos, as we have just seen, made other statues of victors at Olympia with almost the identical foot position of that of Kyniskos. Furthermore, it seems very unlikely that so celebrated an original as that of these many replicas could have been standing in the Altis so late as the time of Pausanias.[1190] It is difficult, also, to understand why an imitative Attic sculptor of the fourth century B.