PRIMARY ATTRIBUTES OF VICTOR STATUES. 149 
case in the statue of Milo. This fillet was merely a band or riband of 
wool which was given the Olympic victor in addition to the garland of 
olive leaves, or the palm-branch, as a symbol of victory. Waldstein has 
argued that this fillet penal was not an essential attribute of the 
victor, but that the crown and palm were the prizes, and the fillet 
wud a decoration used on various occasions, such as at symposia,! 
which only later became a general athletic Ariniburee Though the pres- 
ence of the fillet on statues should not, therefore, be proof that the 
given statue is that of a victor,’ there is no defense for the contention 
of Passow‘ that the tainia was in no sense a symbol of victory, but 
merely a toilet article among the gifts presented by the public to a 
victor at the ovation of the crowning. Pausanias says that the victor 
Lichas of Sparta was scourged by order of the umpires at Olympia 
for having set the tainia on the head of his victorious charioteer.® 
This is sufficient evidence that it was not a mere toilet article, but rather 
a part of the official prize of victory. Similarly the tainza in the hand 
of Nike upon the right hand of the statue of Zeus by Pheidias at 
Olympia can not have been a toilet article.® 
We have many examples from athletic sculpture of the use of the 
fillet. ‘Thus it appears on the bronze head of a boxer in the Glypto- 
thek (PI. 3)7 and on the bronze head from Herculaneum in Naples 
(Fig. 4),° both of which have been discussed in Chapter II, as frag- 
ments of Greek original statues of Olympic victors. It also appears on 
the marble head of a youthful victor—not necessarily Olympic—from 
the Akropolis,? which, because of the similarity in cheeks, mouth, and 
eyes to heads on the metopes of the Parthenon, should be dated some- 
where between 450 and 440 B.C. It occurs on the Olympia marble head 
!Xen., Symp., V, 9; Plato, Symp., 212 E; it appears often on statues of Dionysos: e. g., on 
one in Furtwaengler’s Samml. Sabouroff, Pl. XXIII; Dionysos is called Xpvcopuirpys in Soph., 
Oed. Tyr., 209. The fillet was used as a breast-band for women’s dresses: Pollux, VII, 65; etc. 
2]. H. S., I, 1880, p. 177. In older days the athletic fillet was called pirpa (Lat. mitella): 
Pindar, Ol., [X, 84; Isthm.,V, 62 (of wool); Boeckh, Explic. ad Pind., p.193. Inthe Iliad pirpa 
was the kilt or apron worn around the waist under the cuirass (a wornp being worn outside): 
IV, 137; IV, 187; V, 857; etc. It was used also later as a wrestler’s girdle: 4. G., XV, 44; 
and for women’s headbands: Alkm., I; cf. Eurip., Bacchae, 833. Athletes on vase-paintings 
representing palastra scenes often wear the fillet: ¢.g., the wrestlers and other athletes on the 
Philadelphia r.-f. kylix pictured in Fig. 50, have red bands in their hair. Later the pirpa 
was specially used of women; if of men, it was a sign of effeminacy: Aristoph., Thesmophori- 
azusae, 163. The home of the pitpa appears to have been Asia, as it was commonly worn by 
Asiatics: see Hdt., I, 195; VII, 62 (headdress); Virgil, 4en., 1V, 216. Welearn from Alkman 
that it came from Lydia to Greece: fragm. 23, verses 67 f. On it, see Bekker, Charikles, 
II, pp. 393 f., and Pauly-Wissowa, VII, 2, p. 2033 (Bremer). 
3See F. W., on 322. It appears on the ‘‘Apollo” type of early sculpture, ¢. g., on the “Apollo 
ie] 
of Orchomenos (Fig. 7). 4Stud. x. Parthenon, 1902, pp. 1 f. 
5VI, 2.2; Lichas won the chariot victory in Ol. 90 (=420 B. C.): Hyde, 14; Foerster, 270. 
Shen Ver) 
7Bulle, no. 207; Furtw.-Wolters, Besch.,? 457; B. B., 8; here it was inlaid with silver, 
8This may, however, be merely the remains of a wreath of gold: see Rayet, II, text to no. 67 
(1. Martha). *Bulle, no. 202; Lechat, p. 482, fig. 44. It is 0.23 meter high (Bulle). 
