On heads of Herakles the swollen ears are very common. The first dated representation of the hero with battered ears appears to be on coins of Euagoras I, the king of Salamis in Cyprus during the years 410-374 B. C.[1268] We have several examples in sculpture from the fourth century B. C. Thus swollen ears and the victor fillet appear on the Skopaic head in the Capitoline Museum.[1269] Another example is the terminal bust of the youthful hero found in 1777 at Genzano, and now in the British Museum (Fig. 31).[1270] This head wreathed with poplar leaves, is probably a Græco-Roman copy of an original of the fourth century B. C., by an artist of the school of Lysippos. In the group representing Herakles and his son Telephos, a Roman copy in the Museo Chiaramonti of the Vatican, the hero is represented with fillet and battered ears.[1271] A Parian marble head, encircled by a crown, in the Glyptothek, going back to a Lysippan bronze original, seems to come from the statue of the hero represented as a victor.[1272] Another life-size head, of poor workmanship, in the Chiaramonti collection of the Vatican, sometimes confused with the _Doryphoros_ head-type, seems to come from a statue of Herakles, as shown by the broken ears and rolled fillet, the latter a well-known attribute of the hero taken from the symposium.[1273] A much finer replica is the bust from Herculaneum now in Naples.[1274] Swollen ears appear also on heads of Ares. We may instance the helmeted one in the Louvre,[1275] and especially the replica in the Palazzo Torlonia in Rome.[1276] They are less prominent on a Parian marble head of the god in the Glyptothek, which appears to be a copy of an original of which the _Ares Ludovisi_ is a more complete one.[1277] [Illustration: FIG. 31.—Head of Herakles, from Genzano. British Museum London.] [Illustration: PLATE 21 Statue of _Diomedes with the Palladion_. Glyptothek, Munich.] So far as we know, the statues of wrestlers, runners (except hoplitodromes), and probably pancratiasts were not distinguished by special attributes. In these cases the sculptor was obliged to express the type of contest in the figure itself. His problem, therefore, was to represent the victor in the characteristic pose of the contest in which he had won his victory, that is, by representing the statue as if in movement. This brings us to the second division of our treatment of victor statues, those which represented the victor not at rest, but in motion, a scheme which, in course of time, was extended not only to victors in wrestling and running, but to those in all contests, by representing them in the very act of contending. The treatment of this class of monuments will occupy the chief portion of Chapter IV. CHAPTER IV. VICTOR STATUES REPRESENTED IN MOTION. PLATES 22-25 AND FIGURES 32-62.