man standing almost motionless, but full of life, was for the first time solved. It is a long way from the motionless figures known as “Apollos,” with their arms glued to the sides and their legs close together, to this vigorous athlete. As we have already indicated, Greek art developed the first step beyond the “Apollos” by further advancing one leg of a statue and, it may be, extending one forearm horizontally. The next step was to place one foot slightly sidewise and thus relieve it of the weight of the body—the well-known scheme of the “free” and “rest” leg. At first the relaxation was slight, the “free” leg not being intended to move forward, nor the parts of the body to be much shifted. Polykleitos’ innovation consisted in having the legs so placed, one behind the other, that the figure, while apparently resting on one,[1608] seemed to be advancing. On the ground of the familiar passage in Pliny cited, it has been generally assumed that Polykleitos introduced the walking motive into sculpture. However, this motive was probably the invention of the earlier Argive school, borrowed by Polykleitos for his canon, as seen in the statue of the so-called _Munich King_ (_Zeus_?), of the Glyptothek, which Furtwaengler has shown to be a work of about 460 B. C.[1609] Does the _Doryphoros_ represent a pentathlete victor? Since Quintilian says that it appears ready for war or for the exercises of the palæstra,[1610] Helbig and others have classed it as a warrior, perhaps one of the _Achilleae_ mentioned by Pliny[1611] as set up in the Greek gymnasia. Furtwaengler stressed the incorrectness of calling an athlete a _Doryphoros_[1612]—a name originally given to an attendant bearing a lance (δόρυ), and so inapplicable to the statue of Polykleitos, which represented not a server, but an athlete carrying an akontion (witness the Berlin gem already mentioned)—but later[1613] concluded that an athlete statue with the akontion might have been vaguely described in late art jargon as a spear-bearer. Consequently he found probable the interpretation of the various _doryphoroi_ mentioned by Pliny[1614] as victor statues, and thought that the original of the _Doryphoros_ of Polykleitos might very well have represented an Olympic pentathlete, which was originally set up at Argos, where it was also adopted for a figure on the heroic grave-relief already mentioned, which represented the youth with a spear over his shoulder standing beside a horse. Bulle also thinks that the statue represented a victor athlete set up in some sacred spot.