ICONIC AND ANICONIC STATUES. aye 
later bronze pancratiast’s head found there (Fig. 61, A and B), and 
- a still more revolting style in the Seated Boxer of the Museo delle 
Terme (PI. 16, and Fig. 27). 
The reason why the privilege of erecting portrait statues was given 
so seldom to Olympic victors was probably not because it was a highly 
esteemed honor. ‘The real reason seems to have been that portraiture, 
with its tendency to realism, subordinated beauty to that realism and 
so conflicted with the Greek artistic ideal. The Thebans had a law 
which forbade caricature and commanded artists to make their 
statues more beautiful than the models. The Greeks worshiped 
beauty and hated ugliness. Many games in Greece were held in honor 
of personal beauty. Thus a contest of manly beauty among old men 
(a4youv evavdpias) was a part of the Panathenaic games at Athens.? 
A contest of beauty among women, originating in the time of 
Kypselos, king of Arkadia, was kept up until the time of Athenzus.’ 
We hear of contests of beauty in Elis, at which three prizes were 
given,’ and of similar ones on the islands of Tenedos and Lesbos.* 
The Crotonian Philippos, who won at Olympia in an unknown contest 
about 520 B. C., was honored after his death by the people of Egesta 
with a heroon and sacrifices because of his beauty.® At Tanagra, in 
Beeotia, the most beautiful ephebe was chosen to carry a ram on his 
shoulders around the city wall at the festival of Hermes Kriophoros.*® 
At Aigion in Achaia the most beautiful boy was anciently chosen to 
be priest of Zeus.’ The most beautiful youths among the Spartans 
and Cretans dedicated offerings to Eros before battle.’ These and 
similar examples show the Greek feeling for beauty. The representa- 
tion of passion and violence was foreign to the spirit of the best Greek 
art; it was rather the ‘‘quiet grandeur” (Stille Groesse) or “repose,” 
of which Winckelmann made so much, that was characteristic of that 
art. In Homer both men and gods, when wounded, shriek. Philok- 
tetes, in the drama of Sophokles, wails thoughout a whole act, when 
suffering from a gangrened foot. With the poets Zeus casts his thun- 
-derbolt in anger, but Pheidias has him hold it quietlyin his hand. So we 
can see why portrait statues were rare at Olympia, where the represen- 
tation of manly beauty and vigor was the rule. They were ruled out, 
1Xen., Symp., IV, 17: @addogdpous yao tH ’A@nva rods Kadods yépovras éxA€yovrar K. T. X.; 
cf. Aristoph., Vesp., 544, and Athen., XIII, 20 (p. 565) and scholion. 
»  ?XIIT, 90 (p. 609 e, f); here he quotes a history of Arkadia by Nikias. 
’Athen., XIII, 20 (pp. 565 f and 566); cf., Theophr., apud Athen., XIII, 90 (pp. 609 f, 610 a). 
4Athen., XIII, 90 (p. 610a): here Athenzus is also quoting Theophrastos. In XIII, 20 
(p. 565), he quotes Herakleides Lembos as saying that in Sparta the handsomest man and woman 
were especially honored. 
*Hdt., V, 47; Eustath. ad Iliad, III, p. 383, 43; Foerster, 138. 
Srl Xy 22. I. 
7P., VII, 24.4; cf., VIII, 47.3, for a similar custom at Tegea. 
8See O. Mueller, Die Dorier', 1824, II, p. 238 (quoted by Krause, I, p. 37, n. 19). For refer- 
ences to contests of beauty in Greece, see ibid., pp. 33-38. 
