Myron was the sculptor of five statues for four victors at Olympia, one of a pancratiast, another of a boxer, a third of a runner, and two of a victor in the hoplite-race and the chariot-race.[1366] Pliny also says that Myron made statues of pentathletes and pancratiasts at Delphi.[1367] Thus he showed as much versatility as Pythagoras in the representation of victors in different contests. None of these statues has survived and the identification of existing Roman copies with any of them is, of course, highly problematical. Thus, a little further on we make the suggestion that the statue of the boxer in the Louvre, commonly known as _Pollux_ (Fig. 58), may be, because of its Myronian character, the statue of the unknown Arkadian boxer at Olympia mentioned by Pausanias (in connection with the boy boxer Philippos) as the work of Myron.[1368] Pliny, in the passage just cited, also mentions statues of _pristae_ by Myron, a word which has given rise to many interpretations: _e. g._, sea-monsters (_pristes_ or _pistres_), men working with a cross-cut saw (_pristae_), players at see-saw (_pristae_?),[1369] and boxers (_pyctae_).[1370] The manuscripts are unanimous for _pristae_, and hence it is probable that a realistic group by Myron is meant, since Myron is often classed as a realist in opposition to Polykleitos, the idealist. Long ago Dalecampius, followed in recent years by Furtwaengler,[1371] believed that these _pristae_ formed a votive offering, and H. L. von Urlichs has shown that a group of sawyers as the dedication of some master-builder is quite in harmony with fifth-century traditions.[1372] H. Stuart Jones[1373] connects the words _Perseum et pristas_ of Pliny’s text, and follows the theory of Mayer[1374] that the carpenters or sawyers were a part of a group, which represented the inclosure of Danaë and Perseus in the chest. While the athletic statues in motion by Pythagoras and Myron became models for later sculptors, especially in the following century,[1375] the rest statues of Polykleitos still remained in vogue in works by members of his family and school down through the fourth century, as we have seen in our treatment of the Argive-Sikyonian sculptors at Olympia. MOTION STATUES REPRESENTING VICTORS IN VARIOUS CONTESTS.