For its interpretation as the statue of a pentathlete victor, an added proof is furnished by the discovery of a late Roman copy of it at Olympia.[1615] This may very well have been the dedication of an athlete of late date—of the first century B. C. or of the first A. D.—who preferred to be represented by a copy of the famous work of Polykleitos rather than by a new statue. Treu’s contention that the torso is too large for a victor statue,[1616] because Lucian says that the Hellanodikai did not allow statues of victors to be over life-size,[1617] falls to the ground, since we know that exceptions to the rule existed at Olympia.[1618] He agrees with Collignon[1619] in interpreting it as a decorative statue, which surely involves an anachronism in the middle of the fifth century B. C.; and his argument that its good preservation shows it to have been set up in an interior room, perhaps of the Bouleuterion, in whose ruins it was found, adducing this as additional evidence of its decorative character, is no proof, since victor statues at Olympia seem sometimes to have been housed.[1620] Thus the theory that the _Doryphoros_ represents a pentathlete victor is well within the range of possibilities. Two bronze statuettes in the Metropolitan Museum,[1621] New York, belonging to the second half of the fifth century B. C., may be representations on a small scale of pentathletes with the _akontion_. The first shows a youth standing with the weight of the body on the left foot, the right drawn slightly back. The left hand, held close to the side, may have carried an akontion, the right arm being extended. The other, more carelessly executed, represents a youth standing similarly with his weight on the left foot, the right being drawn back. Here again the left arm is hanging by the side, and probably held the same attribute as the first statuette. The right arm is also bent at the elbow. A patera may have been held in the outstretched hand of each. The square build, short thighs, flat abdomen, long skull, and oval face are all Polykleitan characteristics, and remind us of the series of kindred works already discussed, which, as Furtwaengler believed, went back to the original statue of the boy wrestler Xenokles at Olympia, the work of the younger Polykleitos.[1622] WRESTLERS.