In an unpublished paper by my former teacher, Dr. Alfred Emerson, which was read by Professor D. M. Robinson before the Archæological Institute of America at its Christmas meeting in Providence in 1910, and entitled _The Case of Kyniska_,[1897] the argument was made that the chariot was in miniature; that the statue of Kyniska was a portrait, because of the wording of the recovered epigram; and, lastly that the smallest of the so-called bronze dancers from the villa of the Pisos in Herculaneum, now in Naples, is a late reproduction of the statue at Olympia by Apellas. Emerson thinks that Pliny no doubt often visited the villa and may well have had these statues in mind when he mentioned Apellas as the author of several statues of women adorning themselves.[1898] The monument erected by Hiero, son of Deinomenes and brother and successor of king Gelo at Syracuse, who won two horse-races and a four-horse chariot victory at Olympia in Ols. 76, 77, 78 (= 476-468 B. C.),[1899] consisted of a bronze chariot, on which the charioteer was mounted, and on either side a race-horse with a jockey on each. Onatas made the chariot (and possibly the statue of the driver), while Kalamis sculptured the horses and jockeys. Such a division among sculptors was not uncommon at Olympia. Thus the Aeginetan artist Simon and the Argive Dionysios made a group in common for Phormis, which we have already mentioned, consisting of two horses and two charioteers.[1900] The Chian Pantias and the Aeginetan Philotimos made a group in common for Xenombrotos of Kos, victor in horse-racing, and for his son, the boy boxer Xenodikos, which consisted of statues of the man and the boy on horseback.[1901] Pliny mentions a four-horse chariot-group for which the elder Praxiteles made the charioteer and Kalamis the chariot, adding that Praxiteles did this out of kindness, not wishing it to be thought that Kalamis had failed in representing the man after succeeding in representing the horses.[1902]