166 VICTOR STATUES REPRESENTED AT. REST. 
leather. This, however, can scarcely be called a determining attribute. 
Our best example of such a cap is afforded by an athlete head dating from 
the first half of the fifth century B.C., in the Capitoline Museum, Rome,} 
formerly called a portrait of Juba II, who was the king of Numidia and 
Mauretania from 25 B.C. to 23 A.D. ‘This ascription was based on the 
barbarous look of the head and the fact that another head, discovered in 
the Gymnasion of Ptolemy in Athens and thought to resemble it, was 
assumed to be that of Juba, since Pausanias mentions one of that prince 
there.?2. It is rather the head of an athlete engaged in putting on a cap. 
This cap consists of three transverse leather pieces crossing the head 
from side to side, one over the forehead, one over the crown, and the 
third over the occiput, all three converging above the ears. A fourth 
strap fastens them together and is drawn over the crown from forehead 
to occiput. In the complete statue doubtless the hands were raised 
to the head, grasping the straps near the ears to fastenthem. This is, 
therefore, an anticipation of the later Diadoumenos motive. We see 
it in a statuette formerly in the Stronganoff collection in Rome, but 
now in private possession in England,* which represents an athlete 
putting on a similar head-dress. “Though the arms of the statuette are 
gone, remains of the two hands are seen touching the left ear and tying 
the straps, one of which runs around the cranium above the swollen 
right ear. With this complicated head-dress we may compare the 
close-fitting cap—evidently of leather—pictured on an archaistic 
Greek votive ‘relief in the Palazzo dei Conservatori, in Rome, which 
represents an athlete washing his hands in a basin, which stands on a 
tripod. Here the cap is fastened by two bands, one around and the 
other under the chin. An object in the upper left corner of the relief, 
enclosed in a frame, appears to be a victor crown adorned with bow- 
knots. Such caps, used in wrestling, would make it impossible for an 
opponent to grasp the hair; in boxing and the pankration it would pro- 
tect the head from injury. We saw that such a cap was pictured on a 
1Stuart Jones, Cat., pp. 65-6, no. 8; Helbig, Fuehrer, I, 769; Guide, 418; B. B., 527 (and fig. 
6 in text, by Arndt); Furtw., Mp., p. 204, Mw., p. 392. Helbig finds it Myronian, while Furt- 
waengler considers it Attic, but non-Myronic; for a copy in Stockholm, see B. B., figs. 7, 8, 9, in 
the text to no. 527. 
2], 17.2. Furtw., Mp., p. 204, n. 6, shows that the Athens head bears no resemblance to the 
Capitoline. Furthermore, heads on coins of Juba differ from both and show no trace of the 
complicated head-dress. A marble head from Shershel (=Czsarea) seems to be an authentic 
portrait of Juba II: see Annali, X XIX, 1857, Pl. E, no. 2, and p. 194; and Waille, de Caesareae 
Monumentis, 1891, title page (vignette) and p. 92 (quoted by Helbig, Guide, I. c.). 
aSee Be B.;- text to no: 527,.hgs. 1) 2,13: 
4Helbig, Fuehrer, I, 972; Guide, 595; B. Com. Rom., XII, 1884, Pl. XXIII, pp. 245-253. The 
meaning is explained by a similar archaistic Parian marble relief in Wilton House, Wiltshire, 
England, where the youth stands before a statue of Zeus, washing his hands preparatory to making 
a thank-offering to the god who gave him victory: see Michaelis, p. 680, no. 48 and wood-cut 
on p. 681; Arndt, La Glypt. Ny-Carlsberg, text, fig. 335 Py W., 239:;.1ts inscription is not genuine. 
The same archaistic traits are seen on a votive relief to Tene ect in the Museo delle Terme: 
Helbig, Fuehrer, II, 1405; Arndt, op. cit., fig. 34; this is to be dated in the first century B. C., or 
A. D., because of its inscription: J. G. Sic. et Ital., no. 990. 
