PREFACE. Vv 
general motives or by particular athletic attributes; and those in which 
the victor was represented in movement, 7. ¢., in the characteristic pose 
of the contest in which he won his victory. 
Chapter V relates chiefly to the monuments of hippodrome victors, 
those in the various chariot-races and horse-races, and ends with a very 
brief notice of non-athlete victor dedications—those of musicians. 
Chapter VI gives a stylistic analysis of what are conceived to be two 
original marble heads from lost victor statues, one of which is ascribed 
to Lysippos, the great bronze-founder and drt-reformer of the fourth 
century B.C., while the other is regarded as an early Hellenistic work 
of eclectic tendencies. ‘The publication of these marble heads and of 
the oldest-dated victor statue, which is also of marble and which is 
discussed in Chapter VII, reinforced by other evidence adduced in the 
latter chapter, overthrows the belief that all victor statues were uni- 
formly made of bronze. The publication of the Olympia head also 
controverts the usual assumption of archzologists that Lysippos 
worked only in metal. The last chapter is concerned with a topo- 
graphical study of the original positions in the Altis of the various ath- 
lete monuments discussed, and with a list of all the victor monuments 
known to have been erected outside Olympia in various cities of the 
ancient world. These last three chapters are based on papers which 
have already appeared inthe American Journal of Archeology (Chap- 
ters VI, VII, and the first half of VIII) and in the Transactions of the 
American Philological Association (the last half of Chapter VIII). Per- 
mission to use them in the present book has been kindly granted to the 
author by Dr. James A. Paton, former editor-in-chief of the American 
Journal of Archeology, and by Professor Clarence P. Bill, the secretary 
of the American Philological Association. 
Although it has been my aim throughout to present my own views in 
regard to the various works of art under discussion, I must, of course, 
acknowledge that the book is largely based upon the work and con- 
clusions of preceding scholars who have treated various phases of the 
same subject. It would, however, be unnecessary and even impossible 
here to acknowledge all the works laid directly or indirectly under 
contribution in the composition of the book. Most of these have been 
recorded in the foot-notes. 
But I wish here to express, in a more general way, my indebtedness 
to the standard histories of Greek sculpture, by Brunn, Collignon, 
Gardiner, Lechat, Murray, Overbeck, Richardson, and others, which 
must form the foundation of the knowledge of any one who writes on 
any phase of the subject. Among these, two have been found especially 
valuable: Bulle’s Der schoene Mensch im Altertum, which is justly noted 
for its comprehensive views and sound judgments; and Furtwaengler’s 
Die Meisterwerke der griechischen Plastik, which, although it has been 
known to English readers in its enlarged edition by Miss Eugenie Sellers 
for over a quarter of a century, is still prized for its extensive first- 
