STATUES OF CHARIOTEERS. 275 
of his garment curved to the wind show the speed of his horses, and the 
mutilated face discloses a look of intense excitement. The deep-set 
eyes and overhanging brows recall the Tegea heads of Skopas (Fig. 73) 
and the combatants pictured on the so-called Alexander Sarcophagus 
discovered near Sidon in 1887 and now in Constantinople.!_ The pose 
is so characteristic and spirited that it was copied by later artists on 
reliefs and gems.” [The same pose, forward inclination of the body, 
half-opened mouth, and intense look seem to be reproduced in a statue 
of the fourth century B. C. nowin the Museum of Fine Arts in Boston 
(Pl. 27). Robinson, because of the similarity of its head to certain 
heads of Apollo published by Overbeck,‘ interpreted this statue as 
Apollo starting to run. Von Mach, however, has pointed out that its 
head bears a more striking resemblance to that of a Kore in Vienna.® 
Klein interpreted it as a jumper, assuming that the two supports on the 
legs were for the wrists, indicating that the arms were held downwards, 
the hands, then, holding halteres. But von Mach makes it clear that 
these supports are not parallel, as Klein thought, but that they diverge 
outwards and consequently may have made the connection with the 
sides of achariot rim. Furthermore, the likeness to the figure on the 
Mausoleion frieze (Fig.65) makes it probable that we are here concerned 
with a charioteer. The objection to this theory on the ground of 
nudity is baseless. “Though the conventional garb of the charioteer in 
Greek art from the eighth century B.C. onwards® was certainly a long, 
close-fitting chiton, there are several examples in existence of nude 
charioteers.’ Similarly the objection that the artificial head-dress does 
not belong to a charioteer is equally erroneous. Klein has shown that it 
1For the sarcophagus, see the work of Hamdy Bey and Th. Reinach, Une nécropole royale a 
Sidon, 1892; Text, pp. 272 f., and Pls. XXIJI-XXVIII, XXX-XXXI, XXXIV-XXXVII; 
also Studniczka, /b., IX, 1894, pp. 211 f. (who assigned it to Lysippos’ pupil, Eutychides); 
Judeich, zbid., X, 1895, pp. 165 f. and figs.-1-6; J. H. S., XIX, 1899, pp. 273 f.; Gardner, Hbk., 
pp. 466 f. and fig. 124 (=Hamdy-Bey et Reinach, Pl. XXIX); von Mach, 379-83; Richardson, 
p. 242, fig. 116; Springer-Michaelis, p. 348, fig. 627; etc. 
2We see it, ¢. g., on the cuirass of the statue of Augustus in the Vatican: von Mach, no. 418. 
3Von Mach, no. 232; Robinson, Report of the Trustees of the Museum of Fine Arts, 1897, pp. 18-19; 
Klein, Praxitelische Studien (=Suppl. to his Praxiteles), 1899, p. 1; in n. 1 Klein says that the 
statue was found in the Tiber. ) 
4Griech. Kunstmythol., III, Apollon, pp. 149 f. 5Noted by Klein, op cit., figs. 5 and 7. 
6#. g., on the vase in the British Museum, discussed in Guide to Greek and Roman Life, 1908, 
p. 200. Herethe driver stands clothed in the regular chiton like that on the Charioteer from Delphi. 
(Fig. 66.) Wesee similarly clothed charioteers on various r.-f. vases: ¢. g., on those pictured by 
Gerhard, IV, Pls. CCLI-CCLIII; on those enumerated by Hauser, Jb., VII, 1892, p. 60 (including 
some r.-f. ones, ¢. g., the fifth-century B.C. one from Corneto by Euxithoos and Oltos=Baum., 
III, Pl. XCIII, 2 and p. 2141). Hauser also adds the draped charioteer in the Helios group from 
the Great Pergamene Altar relief (pictured in Baum., II, Pl. XX XIX, and pp. 1255-6). The 
general statement of W. Mueller (Quaestiones vestiariae, Goettingen, 1880, p. 44), nam aurigae 
semper fere longa tunica sola vestiti sunt, is, of course, correct. 
7E. g., the statue in the Palazzo dei Conservatori to be mentioned infra, p. 276; also other examples 
in Reinach, Rép., II, 2, 536, 6 (in Rome: B. Com. Rom., I, 1888, Pl. XV) and 7 (in Athens: /d., I, 
1886, p. 173; Stais, op cit., p. 221). Wesee nude charioteers entering two four-horse chariots ona r.-f. 
lebes, formerly in the collection of Lucien Bonaparte, now in Munich: Gerhard, IV, Pl. CCLIV 
(below). 
