Let us now consider the next sentence, in which he says, “Hic et similitudinem reddere instituit, ante eum quam pulcherrimum facere studebant.” This certainly has nothing to do with casting. It is very important as throwing a reflex light on the previous sentence. The whole stress of the passage is to bring out the fact that Lysistratus made portraits. He used a peculiar process, perhaps, but his specialty was that he made portraits from life (“imaginem hominis e facie ipsa”), which he worked up in wax (“emendare cera”); and not only this, but his portraits were exact likenesses (“similitudinem reddere instituit”), and not merely ideal figures like those of the artists who preceded him (“ante eum quam pulcherrimum facere studebant”). A slight glimpse at the history of the art will clear up this matter. In the early period of sculpture, only statues of divinities were made, and up to a comparatively late time these archaic figures were copied for religious and superstitious reasons, and the old formal hieratic type was strictly observed. It was not until the 58th Olympiad that iconic statues began to be made in honor of the victors in the national games, and these for the greater part were rather portraits of the peculiarities of general physical developments than of the face. Portrait statues of distinguished men now began to be made, but they were very few in number, and only exceptionally allowed by the state. The first iconic statues, representing Harmodius and Aristogeiton, were made in 509 B. C. by Antenor. Phidias followed (480 to 432 B. C.), and during his period the grand style was in its culmination, and for the most part divinities or demigods only were thought worthy subjects for a great sculptor. Iconic statues were, however, executed during this period, and among the legendary heroes and divinities who formed the subjects of the thirteen statues erected at Delphi and executed by Phidias out of the Persian spoils, the portrait of Miltiades was allowed,[11] but the erection of public portrait statues was very rarely permitted, and the introduction by Phidias of his own portrait and that of Pericles among the combatants wrought upon the shield of his ivory and gold statue of Athena occasioned a prosecution against him for impiety. It is said that Phidias, in his statue of a youth binding his hair with a fillet, made the portrait of Pantarces, an Elean who was enamored of the great sculptor, and who obtained the victory at the Olympian games in the 86th Olympiad (B. C. 435). But this story, which is given by Pausanias, rests, even by his own account, purely on tradition, and was apparently founded upon a supposed resemblance between Pantarces and the statue. Portraiture in its true sense, however, now began, and soon after the death of Phidias, about the 90th Olympiad, Demetrius obtained celebrity as a portrait sculptor. He seems to have been the first to introduce the realistic school of portraiture, copying so