his body being inclined backwards, the knees bent, and the shield held away from the body.[1933] We can not say whether these two reliefs from the Amphiareion represent offerings of _apobatai_, who were victorious at races held in Oropos or elsewhere in Bœotia, or represent the victorious Panathenaic _apobatai_. They may well be _ex votos_ to the hero Amphiaraos at the games held in Oropos. We see an excellent illustration of an _apobates_ in the very act of dismounting on a Hellenistic votive relief discovered in 1880 on the Akropolis, which dates from the end of the fourth century B. C.[1934] A marble relief, supposably from Herculaneum, but now in Portugal,[1935] represents a figure dressed in a long chiton. Wolters suggests that it may represent an _apobates_, but the absence of the usual armor makes it probable that a charioteer is intended. In a future section we shall discuss the _apobates_ in the horse-race at Olympia known as κάλπη. [Illustration: FIG. 64.—Apobates and Chariot. Relief from the North Frieze of the Parthenon, Athens.] [Illustration: FIG. 65.—Charioteer. Relief from the small Frieze of the Mausoleion, Halikarnassos. British Museum, London.] STATUES OF CHARIOTEERS. The best-preserved slab from the small Parian marble chariot-frieze from the Mausoleion of Halikarnassos, now in the British Museum, represents a male figure standing in a chariot (Fig. 65).[1936] This long-haired charioteer, dressed in a tunic which extends to the feet and is girded at the waist, is leaning forward in an eager attitude. The folds of his garment curved to the wind show the speed of his horses, and the mutilated face discloses a look of intense excitement. The deep-set eyes and overhanging brows recall the Tegea heads of Skopas (Fig. 73) and the combatants pictured on the so-called _Alexander Sarcophagus_ discovered near Sidon in 1887 and now in Constantinople.[1937] The pose is so characteristic and spirited that it was copied by later artists on reliefs and gems.[1938] The same pose, forward inclination of the body, half-opened mouth, and intense look seem to be reproduced in a statue of the fourth century B. C. now in the Museum of Fine Arts in Boston (Pl. 27).[1939] Robinson, because of the similarity of its head to certain heads of Apollo published by Overbeck,[1940] interpreted this statue as Apollo starting to run. Von Mach, however, has pointed out that its head bears a more striking resemblance to that of a _Kore_ in Vienna.[1941] Klein interpreted it as a jumper, assuming that the two supports on the legs were for the wrists, indicating that the arms were held downwards, the hands, then, holding _halteres_. But von Mach makes it clear that these supports are not parallel, as Klein thought, but that they diverge outwards and consequently may have made the connection with the sides of a chariot rim. Furthermore, the likeness to the figure on the Mausoleion frieze (Fig. 65) makes it probable that we are here concerned with