We have no direct literary reference to a victor statue at Olympia of a pentathlete with the attributes of the diskos or javelin. That they existed there, however, seems probable enough. Such a work as the _Diskobolos_ of Myron, which displays the youthful victor in its every line, other statues, statuettes, reliefs, and vase-paintings, show us how the artist represented the different steps in the casting of the quoit. Similarly, the famous _Doryphoros_ of Polykleitos, copies of which have been identified in many museums (Pl. 4 and Fig. 48), will give us an idea how a javelin thrower might have been represented at rest. The akontion or victor’s casting-spear, was, as we see from the Spartan relief of a pentathlete just mentioned, about the height of a man. The attitude of the diskobolos and doryphoros will be discussed at length in the next chapter. BOXERS. The statue of a boxer would be sufficiently characterized by thongs, which he might carry in his hand, as in the statue of the Rhodian Akousilaos at Olympia,[1230] or wound round his forearm, as in the statue of a boxer in the Palazzo Albani, Rome,[1231] or on a near-by prop, as on the tree-stump beside the _Choiseul-Gouffier Apollo_ in the British Museum (Pl. 7A).[1232] WRESTLERS. Long ago Scherer tried to show that the aryballos was a wrestler-attribute, since oil was so important in wrestling.[1233] He interpreted as _aryballoi_ the pomegranates mentioned by Pausanias as held in the hands of the statues of the wrestlers Milo[1234] and Theognetos[1235] at Olympia, assuming that the Periegete mistook oil-flasks for pomegranates (ῥοιαί). But it hardly seems reasonable that such a small utensil, which was used by athletes in general, could ever have been regarded as a peculiar attribute of the wrestler. A similar attribute may have been held in the outstretched hand of the half life-size archaic bronze “Apollo” of the Sciarra Palace in Rome,[1236] and it occurs on other statues.[1237] CAPS FOR BOXERS, PANCRATIASTS, AND WRESTLERS.