We have few representations of hoplitodromes in sculpture. In the preceding chapter we discussed the two marble helmeted heads found at Olympia (Fig. 30), one of which shows that the statue of which it was a part was represented at rest, while the other, because of the twist in the neck, seems to have come from a statue which represented the runner in violent motion. Pausanias saw on the Athenian Akropolis the statue of the hoplite runner Epicharinos, the work of the sculptor Kritios, represented as practising starts (ὁπλιτοδρομεῖν ἀσκήσαντος).[1488] In the well-known Tux bronze in the University Museum at Tuebingen, we have a statuette in which the position of the statue of Epicharinos is probably reproduced. This little bronze, which is only 0.16 meter tall (Fig. 42),[1489] represents a bearded man, entirely nude, except for the Attic helmet on his head, standing with feet close together, knees slightly bent, and body inclined forward. The right arm is extended, while the left, crooked at the elbow, rests upon the hip. While Schwabe and Wolters, following the early theory of Hirt and of the sculptor Dannecker, interpreted the bronze as the figure of a charioteer, whose left hand was drawn back to hold the reins and whose right was outstretched in a gesture intended to quiet the horses, Hauser, de Ridder, Bulle, and many other archæologists have interpreted it better as a hoplitodrome. The left arm, then, carried a round shield, such as we have seen on Attic vases. The next moment the right leg will be advanced, the shield, held back to get a better start, will be pushed forward, and the runner will race to the goal in a series of leaps, since the weight of the shield would prevent him from following the more regular motion of the ordinary runner. It probably represents, therefore, a hoplite runner, not in the actual course, as Hauser thought, but practicing a preliminary start, as de Ridder argued. If the figure represented a charioteer, the legs would have been set farther apart, in order to give a firmer position, and it would not be represented as standing on a base, nor would it be wearing a helmet. The statuette stylistically belongs to the opening years of the fifth century B. C., and may well be a free imitation of a life-size original of such statues of hoplites as stood in the Altis at Olympia. Despite the energy depicted in this figure, it is rash to connect it with the Aeginetan sculptures, as Wolters and Collignon have done, since a comparison between it and the _Champion_ of the East gable[1490] will show great differences. Brunn ascribed the original to Pythagoras; de Ridder, with reservations, to Kritios and Nesiotes; while Bulle is more reasonable in referring it to an important though unnamed artist of the early fifth century B. C.