47. P., VI, 20.9, says that the restriction did not include maidens.

As there is no other reference about unmarried girls at Olympia, it is probable that girls were not admitted; _cf._ Krause, _Olympia_, p. 54 and n. 9. [460] _E. g._, Kyniska, P., VI, 1.6, and other Spartan victresses, III, 8.1; Euryleonis, who won in a two-horse chariot-race in Ol. (?) 103 (= 368 B. C.): P., III, 17.6; Foerster, 344; Belistiche, mistress of Ptolemy Philadelphus, was the first to win συνωρίδι πώλων in Ol. 129 (= 264 B. C.): P., V, 8.11; Foerster, 443; Theodota, daughter of the Elean Antiphanes, won ἅρματι πωλικῷ in the first century B. C.: _Inschr. v. Ol._, 203; Foerster, 547. [461] P., VI, 20.9. The inscribed marble base of a statue of one of these priestesses has been found at Olympia: see _Inschr. v. Ol._, 485. [462] See P., V, 6.7-8. [463] However, we do not know if they were held in the same year as that of the Olympic festival, or at what time of the year. See L. Weniger, _Klio, Beitraege zur alten Geschichte_, V, 1905, pp. 22 f. [464] P., V, 162-4. These πίνακες were probably iconic (portrait) paintings. Holes have been found on columns of the Heraion to which they may have been attached. On the girls’ race, see B. B., text to no. 521 (Arndt). [465] It is a marble copy of an original bronze which is generally dated about 470 B. C., because of archaic reminiscences in the head. It represents a girl of about 14 years. See Helbig, _Fuehrer_, I, no. 364; _Guide_, 378, and references; F. W., 213; Bulle, pp. 304 f. Overbeck, II, p. 475, refers it to the school of Pasiteles. It is pictured in B. B., no. 521; Bulle, 142; Baum., III, p. 2111, fig. 2362; Springer-Michaelis, p. 224, fig. 412; von Mach, 73; Amelung, _Museums of Rome_, I, fig. 74; Reinach, _Rép._, I, 527.6; Clarac, Pl. 864, 2199. A similar statue is the torso in Berlin: _Beschr. der Skulpt._, no. 229; and _cf._ Kekulé, _Annali_, XXXVI, 1865, p. 66 (who points out the resemblance of the head of the Vatican statue to that of the figure by Stephanos, Pl. 12); Clarac, Pl. 864, 2200. The height of the Vatican statue is given by Bulle as 1.56 meters. _Cf._ also a statuette of a similar girl runner from Dodona: Rayet, I, Pl. 17, 3. [466] However, B. Schroeder believes that it is merely a victorious danseuse, and gives several examples of dancers from vase-paintings and the lesser arts: _R. M._, XXIV, 1909, pp. 109 ff. (figs. 1-3). In all of these lively motion is expressed and the free foot is raised high from the ground. When the curious little plat under the statue’s right foot (perhaps intended to represent the starting-stone at the stadion) is removed, the position of the statue does not fit the dance; see Bulle, p. 304, for discussion of this starting-stone. [467] VIII, 48.2; _cf._ Plut., _Quaest. conviv._, VIII, 4, I, (p. 982). [468] Bulle compares it with the Tuebingen hoplite-runner (Fig. 42) ready to start, though the quieter pose of the Vatican statue befits a girl rather than the impetuous energy of the man. [469] On the Διονυσίαδες, see P., III, 13.7; Hesychios, _s. v._; _cf._ Theokr., XVIII, 22; Plut., _Lycurgus_, 14; Pauly-Wissowa, _s. v._ _agones_, I, p. 847; Reisch, p. 46, n. 4. Pauly-Wissowa, _s. v._ χιτών (III, 2, p. 2314) shows that the use of the chiton closed on one side was a Dorian, and especially a Spartan, custom. [470] On the running race at Kyrene, _cf._ Boeckh, _Explic. ad Pind._, _Pyth._, IX, p. 328. Plato, in his _de Leg._, VIII, 833, D, E, ordained for girls the three running races (στάδιον, δίαυλος, and δόλιχος); the youngest girls should run nude, the others (from 13 to 18) suitably dressed. [471] Suet., _Domitian_, 4; Dio Cassius, LXVII, 8. [472] Arndt believes it is Myronian in character: B. B., text to 521. [473] See Waldstein, _J. H. S._, I, 1880, pp. 170 f. On the style of wearing the hair in Greece, see the following works: K. O. Mueller, _Handbuch d. Archaeol. d. Kunst_^3, pp. 474 f; Bluemner, _Leben u. Sitten der Griechen_, I, pp. 76 f.; _Home Life of the Ancient Greeks_ (transl. of preceding, by A. Zimmern), 1893, pp. 64 f; Dar.-Sagl., _s. v._ _coma_ (Pottier), I, 2, pp. 1355 f.; Pauly-Wissowa, VII, 2, pp. 2109 ff. (Bremer); Baum., I, pp. 615 f; Guhl-Koner-Engelmann, _Das Leben d. Gr. u. Roem._^6, 1893, pp. 297 f; Amelung, _Gewandung d. Gr. u. Roem._, 1903; Helbig, _Atti della R. Accad. dei Lincei_, Ser. III, vol. V., pp. 1 f. (for the Homeric age). [474] _Cf._ the recurring epithet of Homer, κάρη κομόωντες Ἀχαῖοι; Helbig, _Das homerische Epos_^2, p. 236, n. 3; for examples of long hair in the epic, _ibid._, pp. 236 f. That the Homeric hair fell free over the shoulders and not in any conventional order has been proved against Helbig by H. Hofmann, _Jb. f. cl. Philol._, Supplbd., XXVI, 1900, pp. 182 f. [475] Eurip., _Bacchae_, 455; Aristotle, _de Physiogn._, 3, p. 38; pseudo-Phokylides, 212. [476] Aristoph., _Equit._, 580 and _cf._ 1121; _Nubes_, 14; _Lysistrata_, 561; etc. [477] Od., IV, 198; Euripides, _Alkestis_, 818-19; Aristoph., _Plut._, 572; Plato, _Phaedo_, 89 C; Athenæus, XV, 16 (p. 675 a); Hdt., I, 82; etc. [478] Aristoph., _Aves_, 911. [479] Ph., _Imag._, II, 32; Lucian, _Dial. meretr._, V, 3 (p. 290); etc. [480] Xen., _de Rep. lac._, Ch. XI, 3; _cf._ Plut., _Apothegm. reg. et imperat._, p. 754; and see Aristotle, _Rhet._, I, 9, p. 1397 a, 28; Plut., _Lysandros_, I; _Lykourgos_, 22; etc. [481] Hdt., VII, 208. [482] Aristoph., _Aves_, 1281-2: Lysias, XVI, 18; Lucian, _Auctio vitarum_, 2 (Pythagoreans). [483] Pollux, VI, 3.22; VIII, 9.107; Athenæus, XI, 88 (p. 494 f.): Hesychios, _s. v._ κουρεῶτις and οἰνιστήρια; Photius, _Lex._, p. 321. [484] Aischyl., _Choeph._, 6; P., I, 37.3; at Delphi, Dio Chrys., _Or._, XXXV, p. 67 R. [485] Eurip., _Bacchae_, 455. [486] Κρωβύλος and κόρυμβος are etymologically the same word: see Prellwitz, _Etymolog. Woerterbuch d. griech. Sprache_. It used to be assumed that κόρυμβος referred to the similar coiffure of young girls. On the κρωβύλος, see the following: K. O. Mueller, _op. cit._^3, p. 476, 5; _id._, _Die Dorier_, II, 266; Conze, _Nuove memorie dell’ instituto archeol._, pp. 408 f.; Helbig, _Comment. philolog. in honorem Mommseni_, 1877, pp. 616 f., and _Rhein. Mus._, XXXIV, 1879, pp. 484 f.; Schreiber, Der altattische Krobylos, _A. M._, VIII, 1883, pp. 246-273, and Pls. XI., XII.; _id._, IX, 1884, pp. 232-254 and Pls. IX, X; and after him, Perrot-Chipiez, VIII, p. 644, Collignon, I, p. 363, and de Villefosse, _Mon. Piot_, I, 1894, p. 62; Klein, _Gesch. d. gr. Kunst_, I, p. 255; Studniczka, Krobylos und Tettiges, _Jb._, XI, 1896, pp. 248-291. Pauly-Wissowa, _l. c._, pp. 2120 f.; Dar.-Sagl., I, 2, pp. 1357-59 and 1571; etc. That the term κρωβύλος represented a way of wearing the hair and not a part of the hair has been proved by Hauser: _Jh. oest. arch. Inst._, 1906, Beiblatt, pp. 87 f. On other methods of dressing the hair, see Pauly-Wissowa, _l. c._, pp. 2112 f. [487] _Ap._ Athen., XII, 30 (p. 525). [488] _Ibid._, 5 (p. 512 c). [489] I, 6; _cf._ Aristophanes, _Nubes_, 984 and schol.; _Equit._, 1331. [490] See fragm. of Nikolaos of Damascus, (perhaps from the _Lydiaka_ of Xanthos), _F. H. G._, III, p. 395, fragm. 62. [491] See Krause, p. 541, n. 6. [492] See _Ant. Denkm._, I, 1886, Pl. VIII, 3 b; etc. [493] See hero reliefs in _A. M._, II, 1877, Pls. XX-XXV. On early Corinthian vases, men are represented regularly with long hair. [494] _E. g._, on the bust of Apollo in the Glyptothek, Munich: von Mach, 449 (left); on the bearded man (Dionysos?) in the British Museum: _id._, 450 (right); and on the Apollo of Naples: _id._, 448: On the latter head the narrow band of the former two examples has become very broad. [495] _Cf._ Waldstein, _op. cit._, p. 177. [496] _Mw._, pp. 67 (on statues of Zeus, hair reaching the shoulders, a style later becoming typical of that god); p. 407 (the Argive school gave short hair to heads of Zeus); _Mp._, pp. 42 and 118; _cf._ _Mw._, p. 273. [497] _Mw._, p. 249. Furtwaengler gives an example of a short-haired Apollo of the school of Euphranor, _ibid._, p. 590. [498] _Mp._, p. 16. _E. g._, the Florentine gem: Furtwaengler, _Antike Gemmen_, 1900, Pl. XXXIX, no. 29. [499] Pp. 444 f. [500] A good example of this is seen on the _Apollo of Tenea_ (Pl. 8 A). [501] Bulle, Pl. 225. He dates it in the middle of the sixth century B. C. [502] _H. N._, XXXIV, 16 (Jex-Blake’s transl.) The Latin of the last portion of this passage runs: _Olympiae, ubi omnium qui vicissent statuas dicari mos erat, eorum vero qui ter ibi superavissent ex membris ipsorum similitudine expressa, quas iconicas vocant._ [503] Hirt, _Ueber das Bildniss der Alten_, 1814-15, p. 7; Visconti, _Iconographie grecque_ (1st ed. Paris 1808, Milan, 1824-26), Discours prelim., p. VIII, n. 4. They argued from Lucian’s _pro Imag._, 11, a passage already discussed _supra_, p. 45 and n. 3. [504] Scherer, pp. 9 f., and especially p. 13; Lessing, _Laokoön_, II, 13, made Pliny’s words a text for a famous passage. [505] For the latest discussion of Pliny’s passage, see _Inschr. v. Ol._, pp. 236 and 295-6 (the latter in reference to the inscribed base of the statue of Xenombrotos to be discussed a few lines _infra_). [506] Klein, quoted by Jex-Blake, p. 14, footnote to line 7, believes Pliny’s statement apocryphal, an idea escaping all scholars except, perhaps, Bluemner in his commentary on the _Laokoön_ (p. 503). Evidently Pliny, or his source, is explaining the discrepancy between ideal and portrait statues as the result of an improbable rule, since the ancients applied little historical criticism to art, and hence did not distinguish between works representing types and those representing individuals. Dio Chrysostom, in his treatise Περὶ κάλλους (_Orat._, XXI, 1, p. 501 R), tries to explain the difference between early and late statues on the ground of physical degeneration in the latter. [507] _Inschr. v. Ol_, 170. He won in Ol. (?) 83 (= 448 B. C.): P., VI, 14.12; Hyde, 133; Foerster, 327. This date follows the reasoning of Robert, _O. S._, pp. 180 f. Pausanias, _l. c._, mentions another monument of the victor, the inscribed base of which has been found: _Inschr. v. Ol._, 154, though Dittenberger wrongly refers it to Damasippos: Foerster, 812; Hyde, pp. 53-4. The same authority refers no. 170 to the middle of the fourth century B. C., or a couple of decades later, because of the lettering and orthography. The monument of no. 170 must, therefore, have been set up long after the victory—about a century later. [508] Dittenberger, _Inschr. v. Ol._, p. 296, compares two other inscriptions with no. 170, viz, no. 174 (in which the words ὧδε στάς occur) and _C. I. G. G. S._, I, 2470, l. 3 (where the words τοίας ἐκ προβολᾶς occur). However, as he says, these two refer to the poses of the statues of gymnic victors and not to portraits. Pausanias frequently uses the word εἰκών for ἀνδριάς (_e. g._, III, 18.7) of a victor, but this seems to be no indication of a portrait statue. [509] _Cf._ Dittenberger, _op. cit._, p. 296. Hitz.-Bluemn., II, 2, p. 530, think the case of Xenombrotos may simply be exceptional. [510] VI, 3.11-12; he was three times victor in running races in Ols. (?) 95, (?) 97, and 99 (= 400, 392, 384 B. C.); the latter date is attested by Afr.: Hyde, 33; Foerster, 307, 315, 316. For the epigram on the base of one of these statues, see _A. G._, XIII, 15. [511] VI, 4.1; he was three times victor in the pankration in Ols. 104, (?) 105, (?) 106 (= 364-356 B. C.): Hyde, 37; Foerster, 349, 353, 359. [512] VI, 17.2; he was thrice victor in running races in Ols. 129, 130 (= 264, 260 B. C.): Afr.; Hyde, 173; Foerster, 440-2, 444-5. [513] VI, 15.9; he was four times victor in the pankration, once in hoplite running, and once in the δίαυλος, at unknown dates: Hyde, 149; Foerster, 767-72. We can not say that his victories fell at a date when iconic statues were in vogue. [514] VI, 6.6; he won in Ols. 74, 76, 77 (= 484, 476-2 B. C.): _Oxy. Pap._; Hyde, 56; Foerster, 185, 195, 207; _Inschr. v. Ol._, 144. [515] _E. g._, VI, 13.3-4 and 8: Hermogenes, five times victor in running races in Ols. 215, 216, 217 (= 81-89 A. D.): Afr.; Hyde, 111a; Foerster, 654-6, 659-660, 662-4; Polites, three times victor in running races in Ol. 212 (= 69 A. D.): Afr.; Hyde, 111b; Foerster, 648-50; Leonidas, four times victor in running races in Ols. 154, 155, 156, 157 (= 164-152 B. C.): Afr.; Hyde, 111c; Foerster, 495-7, 498-500, 502-4, 507-9; Tisandros, four times victor in boxing in Ols. (?) 60-3 (= 540-528 B. C.), at a date too early for portraiture: Hyde, 119a; Foerster, 115, 119, 123, 124. There are other examples from the early fifth and the sixth centuries B. C. [516] _Princ. Gr. Art_, Ch. XI (Portrait Sculpture), pp. 165 f. [517] Gardner, p. 165, cites Bernouilli, _Griech. Ikonogr._, 1901, as listing 26 known portraits of Euripides and 32 of Demosthenes, and calls attention to the fact that 870 plates in the Bruckmann series, _Griech. und Roem. Portraets_ (ed. Brunn und Arndt), from 1891 on, are of Roman portraits. On the subject of Græco-Roman portraits, see also Bernouilli, _Roem. Ikonogr._, 1882-94; Hekler, _Greek and Roman Portraits_, 1912; and the works of E. Q. Visconti, now antiquated: _Iconogr. gr._ (Paris, 1808) and _Iconogr. romana_ (Milan, 1818). [518] XXXIV, 74. Pausanias mentions a portrait of Perikles without naming the artist, I, 25.1; _cf._ I. 28.2. The inscribed base was found in Athens in 1888: Ἀρχαιολογικὸν Δελτίον, 1889, pp. 36 f. (Lolling). A terminal portrait of Perikles, extant in several copies, has been identified as a copy of this work, _e. g._, one in the British Museum: _B. M. Sculpt._, I, no. 549; Furtw., _Mp._, Pl. VII, opp. p. 118 (profile, fig, 46, p. 119); Hekler, _op. cit._, Pl. 4 a.; F. W., 481. Another replica is in the Vatican: Helbig, _Fuehrer_, I, 276, and Nachtraege, II, p. 471; Visconti, _Iconogr. gr._, I, Pl. XV; B. B., 156; Hekler, _op. cit._, Pl. 4 b. However, Hitz.-Bluemn., I, p. 307, _ad loc._ Paus., think that the word ἀνδριάς used by Pausanias can not apply to a terminal bust; Furtw., _Mp._, p. 117, n. 4, says that the word does not necessarily mean a whole statue. _Cf._ Bernouilli, _Jb._, XI, 1896, pp. 107 f.; Furtw., _Mp._, pp. 117 f. [519] See _I. G. B._, 62, 63. [520] _Philopseudes_, 18 f. [521] Αὐτοανθρώπῳ ὅμοιον, §18. [522] A good example of a Roman copy (from the age of Hadrian) of an original iconic athlete statue in bronze from the end of the fourth century B. C., is a bearded head in the Museo Chiaramonti; its swollen ears and the deep furrow in the hair for the metal crown show that it is from the statue of a victor. See Amelung, _Vat._, I, p. 483, no. 257 and Tafelbd., I, Pl. 50; Arndt-Bruckmann, _Gr. und Roem. Portr._, Pls. 223-4. [523] XXXV, 153. Jex-Blake, p. 176, justly remarks that this invention had nothing to do with the custom of taking death-masks. [524] Xen., _Symp._, IV, 17: θαλλοφόρους γὰρ τῇ Ἀθηνᾷ τοὺς καλοὺς γέροντας ἐκλέγονται κ. τ. λ.; _cf._ Aristoph., _Vesp._, 544, and Athen., XIII, 20 (p. 565) and scholion. [525] XIII, 90 (p. 609 e, f); here he quotes a history of Arkadia by Nikias. [526] Athen., XIII, 20 (pp. 565 f and 566 a); _cf._, Theophr., _apud_ Athen., XIII, 90 (pp. 609 f, 610 a). [527] Athen., XIII, 90 (p. 610a): here Athenæus 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. [528] Hdt., V, 47; Eustath. _ad_ Iliad, III, p. 383, 43; Foerster, 138. [529] P., IX, 22.1. [530] P., VII, 24.4; _cf._, VIII, 47.3, for a similar custom at Tegea. [531] See O. Mueller, _Die Dorier_^1, 1824, II, p. 238 (quoted by Krause, I, p. 37, n. 19). For references to contests of beauty in Greece, see _ibid._, pp. 33-38. [532] On this subject, see the recent essay by W. H. Goodyear, Lessing’s Essay on the Laocoön and its Influence on the Criticism of Art and Literature, _Brooklyn Museum Quarterly_, Oct. 1917, pp. 228-9. [533] Thus we have Polykleitos of Argos and Patrokles, perhaps his brother; Naukydes of Argos and Daidalos of Sikyon, sons of Patrokles; the younger Polykleitos—who called himself an Argive—the brother of Naukydes; Alypos of Sikyon, the pupil of Naukydes; etc. Statues by all these sculptors except Patrokles are known to have stood in Olympia. [534] _Hbk._^2, p. 254. [535] His criticism of painting occurs in _Poet._, 1448a, 5, 1450a, 26, and _Polit._, V, 1340a, 35. In _Eth_., VI, 1141a, 10, he says that Pheidias and Polykleitos were masters in marble and bronze respectively. For a discussion of Aristotle’s æsthetics of painting and sculpture, see M. Carroll, in _Publ. of Geo. Washington University_, Philol. and Lit. Series, I, 1 (Nov., 1905), pp. 1-10; and for both Aristotle and Plato on art, see Kalkman, _50stes Berl. Winckelmannsprogr._, 1890 (Proport. des Gesichts), pp. 3 f. and notes. [536] I, 5, 1361b; Oppian, _Kyneget._, I, 89-90, speaks of the similarly well-developed bodies of hunters. [537] _Mem._, III, 10.6-8. For his visit to the painter Parrhasios, see _ibid._, 10.1-5. [538] Following the suggestion of Klein, II, p. 143, and W. L. Westermann, _Class. Rev._, XIX, 1905, pp. 323-5. The latter gives several examples of similarly shortened forms of names and believes the passage in Xenophon emphasizes the fact that Polykleitos was employed at Athens. Plato frequently mentions Polykleitos by his full name: _e. g._, _Protag._, 328 C (sons of Polykleitos), 311 C (Polykleitos and Pheidias). P. Gardner justly observes that the statues of Polykleitos “however beautiful, are scarcely life-like:” _Prince. Gk. Art._, p. 15, n. 1; _Grammar_, p. 17. [539] II, 17: τὰ σκέλη μὲν παχύνονται, τοὺς ὤμους δὲ λεπτύνονται, κ. τ. λ. [540] See schol. on Plato, _Amatores_, p. 135 E; _cf._ Epiktetos, _Encheir._, Ch. 29. [541] P., VI, 10.5; _Oxy. Pap._; Hyde, 97; Foerster, 240; _cf._ Krause, _Olympia_, pp. 302 f. [542] His date is uncertain: P., VI, 15.9; Hyde, 149; Foerster, 767-772. [543] P., VI, 3.2; he won at Olympia some time between Ols. (?) 99 and 102 (= 384 and 372 B. C.): Hyde, 23; Foerster, 335. [544] P., I, 29.5: Hdt., VI, 92; IX, 75; _cf._ Krause, I, pp. 495-6. [545] _E. g._, Phaÿllos of Kroton was famed for his fleetness, his jumping, and his throwing the diskos. See Aristoph., _Acharn._, 212; _Vespes_, 1206; _A. G._, App. 297; _cf._ Hdt., VIII, 47; P., X, 9.2. He won at Delphi only. [546] _E. g._, Myron at Delphi: Pliny, _H. N._, XXXIV, 57; Alkamenes, _ibid._, XXXIV, 72; etc. [547] 656 E, 657 A. [548] Pliny, _H. N._, XXXVI, 39. These works were probably critical as well as descriptive. [549] _E. g._, of Pasiteles, XXXVI, 39; of Arkesilaos, XXXVI, 41; of Koponios, _ibid._ [550] 18(70). In this passage he also gives similar judgments on several painters. On Cicero on art, see Grant Showerman, _Proceed. Amer. Philol. Ass’n_, XXXIV, 1903, pp. xxxv f. He shows that Cicero’s references to art proceed from his instinct as a stylist and not from any enthusiasm for art itself. [551] _Imag._, 6, p. 464. His eclectic statue is made up of works by Praxiteles, Alkamenes, Pheidias, and Kalamis. [552] _Rhetorum praeceptor_, 9-10. He spells the two first names Ἡγησίας, Κράτης. [553] XXXVI, 37. For careful judgments of Pliny’s work, see Jex-Blake, pp. xci f.: Kalkmann, _Die Quellen der Kunstgeschichte des Plinius_, 1898; Robert, _Archaeologische Maerchen_, 1886, pp. 28 f.; F. Muenzer, _Hermes_, XXX, 1895, pp. 499 f. (and _Beitraege zur Kritik der Naturgesch. des Plinius_, 1897); Botsford and Sihler, _Hellenic Civilization_, 1915, pp. 551-8 (= Translation by Jex-Blake of Pliny, XXXIV, 53-84 [sculptors], revised by E. G. Sihler); pp. 558-567 (= Pliny, XXXV, 15, and 53-97 [painters], revised by E. G. S.). For short estimate of Pliny’s work, see Mackail, _Latin Literatures_, 1895, p. 197. [554] See his characterization of the great Greek painters and sculptors in _Inst. Orat._, XII, Ch. 9. [555] Also in the work of H. Stuart Jones, _Select Passages from Anc. Writers Illustrative of the Hist. of Gk. Sculpt._, 1895; _cf._, A history of classical writers on art from Xenokrates to Pliny, in Jex-Blake, pp. xvi-xci; _cf._ Wilamowitz-Moellendorf, _Antigonos von Karystos_ (Kiessling and Wilamowitz, _Philolog. Untersuchungen_, IV, 1881), pp. 7 f.; P. Gardner, _Principles of Greek Art_, Ch. II, pp. 13 f. (Ancient Critics on Art); etc. [556] _A. Pl._, 2; Bergk, _P. l. G._, III^4, no. 149, p. 498. Theognetos won in Ol. 76 (= 476 B. C.): P., VI, 9.1; _Oxy. Pap._, Hyde, 83; Foerster, 193 and 193 N. [557] _H. N._, XXXIV, 88. Kallias won in Ol. 77 (= 472 B. C.): P., VI, 6.1; _Oxy. Pap._; Hyde, 50; Foerster, 208; _Inschr. v. Ol._, no. 146. [558] _Ibid._, XXXIV, 71. [559] Kalamis made the horses and jockeys, Onatas the chariot: P., VI, 12.1; Hiero won twice in the horse-race and once in the chariot-race in Ols. 76-78 (= 476-468 B. C.): _Oxy. Pap._; Hyde, 105; Foerster, 199, 209, 215. [560] VI, 6.6. He won in Ols. 74, 76-7 (= 484, 476-472 B. C.): _Oxy. Pap._; Hyde, 56; Foerster, 185, 195, 207. [561] VI, 4.4. He won in Ols. 81 and 82 (= 456-452 B. C.): _Oxy. Pap._; Hyde, 38; Foerster, 202, 203. [562] VI, 9.3. He won in Ol. 83 (= 448 B. C.): _Oxy. Pap._; Hyde, 88: Foerster, 285. [563] V, 27.3. [564] Bulle, p. 104, remarks that up to the present no single Roman copy can be _proved_ to be that of an Olympic victor statue. This fact must be constantly borne in mind. [565] No. 6439; Staïs, _Marbres et Bronzes_, pp. 299-300 and fig.; _Ausgr. v. Ol._, V, Pls. XXI, XXII, and p. 14; _Funde v. Ol._, Pl. XXIII, and p. 16; _Bronz. v. Ol._, Textbd., pp. 10-11; Tafelbd., Pl. II, 2 and 2a; Boetticher, _Olympia_, Pl. XI, 1; Baum., p. 1104 00, figs. 1296, a and b; F. W., no. 323; Bulle, 235 and fig. 154, on p. 501; von Mach, 482; B. B., 247. [566] Furtw.-Wolters, _Beschr. d. Glyptothek_,^2 1910, no. 457, pp. 398 f.; Furtw., _Mp._, p. 291; _Mw._, p. 507; F. W., no. 216; B. B., 8; Bulle, 207 (front and side); Kekulé, _A. Z._, XLI, 1883, Pl. XIV, 3, p. 246; H. Schrader, _Jh. oest. arch. Inst._, 1911, p. 74; Hauser, _R. M._, X, 1895, pp. 103 f. Kekulé, because of its similarity to the _Apollo_ of the West Gable, derived it from the art of the Olympia pediment sculptures; Flasch, _Verh. d. 29sten Philologenversamml._, Innsbruck, 1874, p. 162, and Brunn, _Beschr. d. Glypt._^5, no. 302, and _Sitzb. Muen. Akad._, 1892, p. 658, classed it as Polykleitan; Bulle calls it Attic-Argive without Polykleitan influence, while Furtwaengler finds it Polykleitan-Attic. The latter gives several replicas, two of green and black basalt respectively, in the Museo delle Terme, and a marble head in the Museo Chiaramonti, no. 475. Bulle gives the height of the Munich head as 0.23 meter. [567] Αἰδώς; _cf._ _decor_, applied to the work of Polykleitos by Quintilian: _Inst. Orat._, XII, 9. 7-8; _cf._ also Vitruvius, _de Arch._, I, 2. [568] Furtw.-Urlichs, _Denkm. d. gr. und roem. Skulpt._, Hdausgabe,^3 1911, p. 102, n. 1. He adds that it is _das Ideal von Reinheit, Unschuld, liebenswuerdig edler Groesse, eines der herrlichsten griechischen Originale, die uns erhalten sind_. It is photographed _ibid._, figs. 30, 31. In the _Beschr. d. Glypt._, p. 399, he says it is _das edelste und vollendetste Werk, das die Glyptothek besitzt—ihr kostbarster Schatz_, etc. [569] Formerly in the Coll. Tyszkiewicz: B. B., 324, (two views); Bulle, 206 (two views); von Mach, 481 (two views); _Mon. Piot_, I, 1894, pp. 77 f. (E. Michon) and Pls. X, XI; S. Reinach, _Têtes_, Pl. 72 and p. 58; Kalkmann, Prop. d. Gesichts, p. 27 (vignette); Collignon, II, Frontispiece and p. 169; Gardner, _Sculpt._, Pl. XL; Furtw., _Mp._, pp. 290-1 and Pl. XIV; _Mw._, p. 507. The best illustration of the head is given by de Ridder, _Les Bronzes antiques du Louvre_, I, 1913, Pl. I (and text p. 8, on no. 4). It is 0.33 meter in height (Bulle). [570] Preface to Furtw., _Mp._, p. xiii. [571] So Furtw., _l. c._; Bulle, however, sees in it only Attic work and finds it slightly coarser and harder than the Munich head described. [572] Invent. 5633; _Bronzi d’Ercol._, I, 73, 74; D. Comparetti e G. de Petra, _La Villa Ercolanese dei Pisoni_, 1883, XI, 1; B. B., 323 (two views); Rayet, II, Pl. 67; Furtw., _Mp._, p. 291; _Mw._, p. 508; the latter believes that it, like the preceding two heads, is Polykleitan and Attic. [573] _Bedeutung der Gymnastik in d. gr. Kunst_, 1905; _cf._ also Gardner, _Sculpt._, p. 23, and _Hbk._, p. 215. [574] Furtw.-Urlichs, _Denkmaeler_, already cited, p. 63, n. 3. (Translated under the title _Greek and Roman Sculpture_ by H. Taylor, 1914; p. 119.) [575] See F. W. G. Foat, Anthropometry of Greek Statues, _J. H. S._, XXXV, 1915, pp. 225 f. (p. 226). [576] Plato, _Phileb._, 64 E, regarded μετριότης and συμμετρία as qualities of beauty and virtue; _cf._ Aristotle, _Metaphys._, X, 3.7, and _Nicom. Eth._, V, 5.14, 1133b. Vitruvius, _de Arch._, I, 2, makes symmetry in architecture a quality of _eurythmia: Item symmetria est ex ipsius operis membris conveniens consensus ex partibusque separatis ad universae figurae speciem ratae partis responsus_. [577] I, 2: _Haec [eurythmia] efficitur, cum membra operis convenientia sunt, altitudinis ad latitudinem, latitudinis ad longitudinem, et ad summam omnia respondent suae symmetriae_; _cf._ III, 1; Lucian, _pro Imag._, 14 (ῥυθμίζειν τὸ ἄγαλμα); Clem. Alex., _Paedagog._, 3.11 and 64 (εὐρυθμὸς καὶ καλὸς ἀνδριάς); Xen., _Mem._, III, 10.9 (ῥυθμός, of corselets); Plut., _de Educ. puer._, 11 (τῶν σωμάτων εὐρυθμία); Diod., I, 97. 6 (ῥυθμὸς ἀνδριάντων, _i. e._, rhythmic order or grace in statuary): _id._, II, 56.4. [578] Vitruv., III, 1: _, quae graece ἀναλογία dicitur. Proportio est ratae partis membrorum in omni opere totiusque commodulatio, ex qua ratio efficitur symmetriarum._ [579] _H. N._, XXXIV, 65. [580] _Op. cit., _e. g._ _Op. cit._, XXXV, 67 and 128. [581] Ueber die Kunsturteile bei Plinius, _Ber. ueber d. Verhandl. d. k. saechs. Ges. d. Wiss. zu Leipzig_, II, 1850, p. 131; _cf._ H. L. Urlichs, _Ueber griech. Kunstschriftsteller_ (Diss. inaug., Wuerzburg, 1887). [582] _Principles of Greek Art_, 1914, p. 20 (= _Grammar of Greek Art_, 1905, p. 22). [583] Quoted by Gardner, _op. cit._, p. 22 (= _Grammar_, p. 23), from two papers by H. Brunn, Ueber tektonischen Styl in der griech. Plastik und Malerei, in _Sitzb. Muen. Akad._, 1883, pp. 299 f., 1884, pp. 507 f. Overbeck, I, pp. 266-277, explains rhythm in art as the _Ordnung der Bewegung_, in accordance with the definition of Plato: τῇ δὴ τῆς κινήσεως τάξει ῥυθμὸς ὄνομα εἴη: _de Leg._, 665 A. [584] _H. N._, XXXIV, 58 (S. Q., 533): _Numerosior in arte quam Polyclitus et in symmetria diligentior_. The interpretation of this disputed passage depends, of course, on the meaning of _numerosior_, and whether we accept the curious statement of the manuscript that Myron surpassed Poykleitos in symmetry, or, by omitting the _et_ (with Sillig), make it mean just the contrary and in harmony with the usual ancient view that symmetry was the salient characteristic of Polykleitan art. The passage, then, would contrast the symmetry of Polykleitos with the variety of Myron. This accords with Pliny’s use of _numerosus_ elsewhere (_e. g._, XXXV, 130 and 138), which always refers to number. See Gardner, _Hbk._, p. 275 (note). [585] _Op. cit._, XXXIV, 65, he says: _Nova intactaque ratione quadratas veterum staturas permutando_. [586] _Op. cit._, XXXV, 67. [587] VIII. I. 47. [588] The Egyptians divided the front view of the body into 19 parts (or 21 parts and a quarter, including the height of the head-dress): Diod., 1, 98. See Lepsius, _Monum. funéraires de l’Égypte_ (figure, reproduced in Dar.-Sagl, I, 2, p. 892, fig. 1125); _cf._ his _Descript. de l’Égypte_, IV, LXII; Wilkinson, _History of Egypt_, p. 113, Pl. IV; these references are given by Foat, _op. cit._, p. 225, n. 1. [589] Vitruv., I, 2. However, in thus following the statement of the Roman architect, it must be said that the attempt to recover and establish such a canon in Greek architecture is still unproved. The subject is complicated and has led to very different views. Thus, while many scholars have defended the theory of the canon (_e. g._, Pennethorne, _Geom. and Optics of Anc. Arch._, 1878; Penrose, in Whibley, _Comp. to Gk. Stud._^1, 1905, pp. 220-1; Ferguson, _Hist. Arch._, ed. 1887, I, p. 251; P. Gardner, _Princ. Gk. Art._, p. 21; Statham, _Short Crit. Hist. Arch._, 1912, p. 130), others are opposed, and believe that design in Greek architecture was a matter of feeling, and that the orders were first reduced to formulæ in Roman days (_e. g._, A. K. Porter, _Med. Arch._, 1909, I, 9; Goodyear, _Greek Refinements, Studies in Temperamental Arch._, 1912, esp. p. 83, quoting Joseph Hoffer from _Wiener Bauzeitung_, 1838). See on the subject a recent article by my pupil, Dr. A. W. Barker, in _A. J. A._, XXII, 1918, pp. 1 f., in which the above and other references are given. [590] Gardner, _Sculpt._, pp. 22-3, says: “Paradoxical as it may seem at first sight, the very freedom of Greek sculpture is to a great extent due to its close adherence to tradition.” He shows how the free play of imagination depends on external conditions and tradition. [591] _E. g._, Vitruv., I, 2; especially these words: _Ut in hominis corpore e cubito, pede, palmo, digito, ceterisque particulis (partibus) symmetria est eurythmiae qualitas_; also III, 1: _Pes vero altitudinis corporis sextae_ <_partis_>; _cubitum quartae; pectus item quartae_, etc. Also Philostr., _Imag._, Proem.; the third-century A. D. (?) treatise called _de Physiognomia_; St. Augustine, _de Civ. Dei_, XV,