THE ATHLETIC HAIR-FASHION. 53 
and this style frequently appears on figures of the god on Attic vases 
of that period. Dionysos has short hair for the first time on the 
Parthenon frieze.1 Furtwaengler has shown that Pheidias did not 
invent the short bound-up hair for goddess types, as we see it in 
the Lemnian Athena, but that he borrowed it from works already 
in existence.” Though the style was unknown in the archaic period, 
it appears on helmeted heads of Athena of the eatly fifth century 
B. C. showing Peloponnesian style—on coins, statuettes, reliefs, etc. 
It appears in Attic art exclusively on bareheaded types of Athena 
of the period just prior to that of the Lemnia. 
Bulle® has gone carefully into the technique of the hair by different 
Greek artists. In archaic times this was ‘“‘ein, man darf sagen, un- 
moegliches Problem.” ‘The primitive means at the disposal of the 
early artist made it impossible to render the hair naturally and hence 
it was conventionalized. ‘Two styles arose in archaic times, which 
endured with modifications all through Greek art. The one was 
the pictorial (malerisch), where only the general appearance of the 
hair was represented, the merest necessary plastic form being added.! 
Painting here helped the shortcomings of the sculptor to some extent. 
The second style was the plastic (plastisch), where individual locks 
were attempted. ‘The plastic use of light and shade made the use of 
color now less necessary. Such examples as the Korai of the Akropolis 
Museum and the Rampin head in the Louvre show the difficulty which 
the early artist encountered in representing hair plastically. In the 
Rampin head® we see examples of three sorts of plastic hair treatment: 
the pearl-string (Perlschnuerre) on the neck, grained hair (Koerner) in 
the beard, and snail-volutes (geperlte Schnecken) on the forehead. None 
of the three seems to belong integrally to the head, but each appears 
to have been pasted on. ‘The pearl-string fashion was first used in 
the soft poros stone and was only later successfully transferred to 
marble. During the severe style of Greek sculpture, both fashions, 
pictorial and plastic, were used, as we see them in the pediment 
groups from the temple of Zeus at Olympia. In the period of Phei- 
dias the plastic treatment was used almost exclusively, as we see in 
the Lemnian Athena. In the next century impressionism came in, 
though the plastic treatment still continued, for we see it in the 
bronze work of Lysippos and the marble work of Praxiteles. The 
old pictorial treatment was revived again in the later Hellenistic age. 
1Mw., p. 249. Furtwaengler gives an example of a short-haired Apollo of the school of 
Euphranor, ibid., p. 590. 
*M>p., p. 16. E. g., the Florentine gem: Furtwaengler, Antike Gemmen, 1900, Pl. XXXIX, 
no. 29. 
8Pp. 444 f. 
44 good example of this is seen on the Apollo of Tenea (Pl. 8 A). 
5Bulle, Pl. 225. He dates it in the middle of the sixth century B. C. 
