C., should make a copy of an Arkadian boy victor statue for Eleusis. And lastly we must not forget that up to the present time not a single Roman copy has been conclusively identified with that of a victor statue at Olympia. If the date of the victory of Kyniskos were definitely fixed, the question of identity would be better substantiated. By a process of exclusion, to be sure, Robert reached the date Ol. 80 (= 460 B. C.),[1191] but other dates are possible. Under these circumstances there seems to be little more than the possibility that we have recovered an actual victor statue at Olympia in these copies.[1192] THE PALM-BRANCH. The palm-branch, either woven into a wreath or held in the hand, was a victor attribute. Pausanias says that a crown of palm leaves was common to many contests, and that the victor everywhere in Greece carried a palm-branch in his right hand.[1193] He refers the custom to mythical times, tracing it back to the contest held by Theseus on Delos in honor of Apollo.[1194] Pliny mentions a painting by the Sikyonian Eupompos, which represented a _victor certamine gymnico palmam tenens_.[1195] While Milchhoefer[1196] believed that the motive of an athlete setting a crown on his head with his right hand and holding a palm in his left, which is repeated frequently and with variation in many works of art, went back to this painting of Eupompos, Furtwaengler[1197] goes further in assuming that the painter derived the motive from the statue of Polykleitos represented by the _Westmacott Athlete_ and kindred works just discussed. The pupils of the great sculptor appear to have transferred his school from Argos to Sikyon, and were, therefore, associated with Eupompos. This attribute of the palm, permanent in bronze statues, has been broken off for the most part in marble ones. We see it in an unfinished statue of a young athlete in the National Museum, Athens, who holds the palm-branch in his hand. Here it has survived, since the statue was only blocked out.[1198] It is prominent in the funerary stele from the Dipylon representing a victor, which has been mentioned in a preceding section;[1199] here the palm extends from the left hand, which is held down close to the side, up to the shoulder. We have already noted that the copyist added a palm-branch to the stump placed beside the Vatican girl runner (Pl. 2). In the _Choiseul-Gouffier Apollo_ (Pl. 7A) the left hand should doubtless be restored with the palm-branch, because of the projecting notch of marble on the side of the left leg near the knee.[1200] A similar notch appears also on the _Apollo-on-the-Omphalos_ in Athens (Pl. 7B), which shows that the left hand held a long attribute, which was doubtless a palm-branch. This attribute occurs frequently on vases.[1201] We see it on a marble statue found at Formiae and now in the Glyptothek Ny-Carlsberg in Copenhagen, which shows the same motive as that of the statue by Stephanos (Pl. 9), though in a freer style of execution.