plate on the statue's back of neck functioned as support for the Bronze's vertical position, a technique shared by two other fourth-century bronzes; the Marathon Boy and the Antikythera Youth. The curved body raised hip, smooth, and youthful anatomy are characteristics of a universal style—the fifth century B.C. developed these frameworks as a canonical expression of classical values. This form of expression went on through two and a half millennia, making dating and attribution challenging to determine with confidence. Despite slightly different interpretations, a collective agreement states that production can be dated to between the late fourth century and middle of the third century B.C. Collectors in Antiquity Many statues from Greek cities and sanctuaries moved into Roman possession by the second century B.C. Vast collections of the antique style flourished, various statuary were looted and repurposed for Roman decoration. Like many other bronzes, the Victorious Youth traveled across the ocean on its way to Italy for reinstallation, possibly in public areas or in private homes. Interpretation According to Jiri Frel, the stance and proportion of the Getty Bronze are similar to Lysippos's portrait of Demetrios Poliorketes (336-283 B.C.). The least controversial theory is that the strong calves emphasize his athletic abilities, making him an Olympic runner who held a victor's palm branch in his left arm. Claims state there are actual traces of palm after studying the statue. Interpreting the anatomy is important in identifying the statue, from the detail in the joints, delicate attention to the wrists and ends of fingers there is a youthful representation. Greek games functioned as a major aspect in Greek culture and art. During the second century A.D., athletic contests were consistent events in various cities throughout Greece. At Olympia, these games were categorized for men, youth and boys. The Panhellenic Games occurred at religious sanctuaries in honor of the gods; Delphi hosted Pythian games as gifts for Apollo and athletic events at Olympia for Zeus. These games included footraces, combat sports, pentathlon, horse racing, and chariot racing. Delphi involved singing and playing of instruments to these Panhellenic Games. The victors received wreaths of different leaves depending on the site location; laurel at Delphi, olive at Olympia, pine at Isthmia, and wild celery at Nemea. By understanding the specific wreaths worn by the winners, one could hypothesize which temple the statue would have housed. Jiri Frel in 1982 examines the statue associated with