56 GENERAL CHARACTERISTICS OF VICTOR STATUES AT OLYMPIA. 
number of Greek portraits in our museums, especially in Rome, is 
very great.1. From archaic times down to the middle of the fifth cen- 
tury B.C. we should not expect portraiture. In the earlier period, 
therefore, it is dificult to distinguish between statues of gods and those 
of men. In the great period of Greek art, from the time of Perikles 
on to that of Alexander, the general tendency of Greek sculpture was 
so ideal that portraits, when they existed, seem impersonal. ‘The 
later copyists of portraits also idealized them. ‘Thus Pliny, in speak- 
ing of Kresilas’ portrait of Perikles, says that this artist nobiles viros 
nobiliores fecit—in other words, that he idealized them.2 The por- 
traits of Alexander were especially idealized. In the first half of the 
fourth century we first hear of realistic portraiture. “Thus Demetrios, 
who flourished 380-360 B.C.,? made a “very beautiful” statue of a 
Corinthian general named Pelichos, which Lucian‘ says had a fat 
belly, bald head, hair floating in the wind, and prominent veins, “like 
the man himself. 35 Except for the hair eins description by the satirist 
seems to have been correct. At the end of the fourth century B.C. ana- 
tomical detail began to be shown in sculpture. Largely under the in- 
fluence of Lysippos, the personality of victors began to be emphasized 
in figure and face in a very realistic way. We can distinguish between 
such portraits of victors before and after the time of Lysippos.® Pliny’ 
says that Lysistratos, the brother of Lysippos, was the first to obtain 
portraits by making a plaster mould on the features and so to render 
likenesses exactly, as “‘previous artists had only tried to make them as 
beautiful as possible.’’ In any case, by the time of Lysippos realistie 
portraiture began to be emphasized. We see it at Olympia in the 
1Gardner, p. 165, cites Bernouilli, Griech. Ikonogr., 1901, as listing 26 known portraits of 
Euripides and 32 of Demosthenes, and calls attention to the fact that 870 plates in the 
Bruckmann series, Griech. und Roem. Portraets (ed. Brunn und Arndt), from 1891 on, are of 
Roman portraits. On the subject of Greco-Roman portraits, see also Bernouilli, Roem. [konogr., 
1882-94; Hekler, Greek and Roman Portraits, 1912; and the works of E. Q. Visconti, now anti- 
quated: Jconogr. gr. (Paris, 1808) and Iconogr. romana (Milan, 1818). ~ 
2X XXIV, 74. Pausanias mentions a portrait of Perikles without naming the artist, I, 25.1; 
cf. I. 28.2. The inscribed base was found in Athens in 1888: ’Apxatodoyexov AeAtiov, 1889, 
pp. 36f. (Lolling). A terminal portrait of Perikles, extant in several copies, has been identified 
as a copy of this work, e¢. g., one in the British Museum: B. M. Sculpt., I, no. 549; Furtw., Mp., 
Pl. VII, opp. p. 118 (profile, fig, 46, p.. 119); Hekler, op. cit., Pl. 4 a.; F. W., 481. Another 
replica is in the Vatican: Helbig, Fuehrer, I, 276, and Nachtraege, II, p. 471; Visconti, Iconogr. 
gr. I, Pl. XV; B. B., 156; Hekler, op. cit., Pl. 4b. However, Hitz.-Bluemn., I, p. 307, ad. 
loc. Paus., think that the word dvép.as used by Pausanias can not apply to a terminal bust; 
Furtw., Mp., p. 117, n. 4, says that the word does not necessarily mean a whole statue. Cf. 
Bernouilli, /b., XI, 1896, pp. 107 f.; Furtw., W/>., pp. 117 f. 
SSee 1s G. Bi, 627632 4Philopseudes, 18 f. SAtroavOpam Suovor, §18. 
6A good example of a Roman copy (from the age of Hadrian) of anoriginal iconic athlete statue 
in bronze from the end of the fourth century B. C., is a bearded head in the Museo Chiaramonti; 
its swollen ears and the deep furrow in the hair for the metal crown show that it is from the statue 
of a victor. See Amelung, Vat., I, p. 483, no. 257 and Tafelbd., I, Pl. 50; Arndt-Bruckmann, 
Gr. und Roem. Portr., Pls. 223-4. 
™XXXV, 153. Jex-Blake, p. 176, justly remarks that this invention had nothing to do with 
the custom of taking death-masks. 
