Hellenistic Portraits, McFadden 1951George H. McFadden

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39 to commemorate the event. There was found at Olympia part of the inscription for the base of the statue which was set up probably very soon afterwards as the lettering itself would indi- 40 cate. If Lysippus was active as early as 368 B.C. he would have been about 86 if he lived to see Seleukos at the age of 55. We conclude that if the Naples bust is a copy of a work of Lysippus, it can hardly be a portrait of the king. Gardner, although he believes that the original of the Apoxyomenos, belonged to the school of Lysippus, thinks the [handwritten: 11] anatomical knowledge and boldness of perspective [handwritten: ^] should place it as late as the 3rd century. The realism of the Naples bust should place it to a period not earlier than 300 B.C. and probably a little later and it may well belong to the same school. It is possible certainly, that the Naples bust is a representation of Seleukos. We do not know, however, whether it is even a royal portrait, and a comparison of the bust with the coin portraiture does not seem to be such as to warrant the identification. If it were not for the close correspondence between the two in the lines of the face, it is somewhat doubtful whether the likeness between them would ever have been noticed. It is only with much hesitation in view of the high authority behind it, that I discard the name of Seleukos as the subject of this fine portrait. 41a 338) identified as a portrait of Lysimachos by Wolters as There is a fine marble head in the Vatican (Saladei Busti 41 b 42 , and as Demetrios Poliorketes Alexander the Great by Six