72 GENERAL CHARACTERISTICS OF VICTOR STATUES AT OLYMPIA. 
seems also to make it a funereal figure. The powerful proportions 
of a perfectly developed athlete, displaying no tendency toward the 
representation of brute force, show that the man is idealized into 
the type of Hermes, the god of the palestra, rather than into the 
light-winged messenger of Olympos. ‘he Belvedere Hermes of the 
Vatican,! and a better one known as the Farnese Hermes of the British 
Museum,’ are noteworthy replicas of the type. ‘The latter carries the 
kerykeion in the left hand and wears sandals, with a small chlamys over 
the left arm and shoulder. These attributes show that Hermes was 
intended in this copy. Probably the original of these various replicas, 
a work dating from the end of the fourth century B. C., and ascribed to 
Praxiteles or his school in consequence of similarity in pose and build 
of body and head to the Hermes of Olympia, was intended to repre- 
sent Hermes. In the one from Andros, at least, the copyist intended to 
heroize a mortal under the typeof the ae Siinilare the statue known 
as the Standing Hermes in the Galleria delle Statue of the Vatican,’ which 
has the kerykeion and chlamys, whether its original represented Hermes, 
hero or mortal, has been made by the copyist to represent Hermes, 
the.god of athletics,.as the late attribute of wings in the hair proves. 
Other examples of dead men represented as Hermes are not uncommon. 
Thus a Greek grave-stele in Veronat shows the dead portrayed as a 
winged Hermes, and a similar figure appears on a stele from Tanagra.° 
The so-called Commodus in Mantua® is interpreted by Conze and 
Duetschke as the figure of a dead youth in Hermes’ guise. But this 
custom of representing defunct mortals as gods was less common in 
Roman art. .The bust. of a dead youth on a Roman grave-stone in 
Turin,’ set up in honor of L. Mussius, is a good example. Here the 
cock, sheep, and kerykeion, symbols of the god, show that the youth 
is represented as Hermes. 
Not only dead men, however, were heroized in this manner. It 
was not an uncommon practice in later Greece for living men, especially 
princes, to have their statues assimilated to types of gods and heroes, 

1Formerly known as the Antinous: M. W., II, Pl. 28, 307; Clarac, IV, Pl. 665, 1514; Reinach, 
Rép., I, 367,2 (with restored arms); von Mach, no. 192; Amelung, Vat., I], no. 53 (pp. shh f,) 
and Pl. 12; F. W.; no. 1218; Baum., I, pp. 675 f. and as Tok 
2B. M. Scultt., II, no.. 1599 and Pl. IV; Clarac, IV, Pl. 664, 1539; Reinach, Rép., II, 1, 149, RS 
Springer-Michaelis, p. 317, fig. 567. A Perreenondnie replica from Melos is described by F. W., 
1219; for a-replica of the head (on a torso which does not belong to it) in the Braccio Nuovo of Hie 
Vatican, see Amelung, Vat., I, no. 132 (p. 155) and Pl. 21; for others, see Koerte, 4. M., II, 
1878, pp. 98 f. . The heh a is given in B. M. Sculpt. as 6 ft. 7% in. (without the plinth). 
3Amelung, Vat., II, p. 656 and Pl. 61; Furtw., Mw., p. 361, fig. 48. It is a marble copy of an 
original bronze i? Myronian origin. Its height ‘A 1.98 meters (Amelung). 
4Duetschke, IV, no. 416; M. W., II, Pl. 30, 329. 
5Ibid.; no. 416; Koerte, 4. M., III, 1878, p.350, no. 72. 
6Duetschke, IV, no. 876; Clarac, 958, 2473; Conze, in 4. A., 1867, pp. 105-6. Here Conze 
gives a list of which three reliefs and one statue represent dead men as Hermes. 
7Duetschke, IV, no. 46; Conze, /. c., p. 106 (mentioned in preceding note). 
