But no one at all well acquainted with the religious feelings and artistic tendencies of the Greeks will expect that portraits thus erected will be portraits in any modern or naturalistic sense, at all events until after the fourth century. When an honorary statue was erected in the neighbourhood of a temple or set up in a market-place in the likeness of some statesman or poet or athlete, it would represent the actual features of the person so commemorated, in the manner in which the sculptors of the time understood the art of portraiture. Greater vagueness and generality always in Greece characterized the sepulchral portrait. It was a radical feeling of the Greek mind that he who died put away the accidents of his personal individuality, and became in some degree a mere phase of the deity of the lower world. Thus, though he would not lose what was most essential in his personality, sex, youth or age, warlike or peaceful character, and the like, he would become typical of a class rather than individual, _the_ warrior, the athlete, or the girl, rather than a particular man or woman. Besides this deep-seated tendency, it must often have happened that the sculptor who made the effigy had scarcely seen the person to be represented, and was quite incapable of making from memory a life-like portrait, whereas taking a mould from the dead face was a process invented, we are told[156], by Lysistratus, brother of Lysippus, the contemporary of Alexander the Great, and unknown at an earlier period. [Illustration: FIG. 51. PORTRAIT FROM TOMB, THERA[157].] We find in Greece proper as early as the sixth century portrait statues from tombs. Male figures stand naked, female figures are closely wrapped in archaic drapery. It is very probable that some of the stiff archaic statues of men which figure in the earlier chapters of the histories of Greek sculpture really come from tombs. They commonly pass under the name of Apollo, as the Apollo of Thera, of Orchomenus, of Tenea, and so forth. But at the very early stage of Greek art to which they belong, the figures of gods and men were distinguished one from the other rather by circumstance and attribute than by any marked feature of the statues themselves. And thus some writers[158] have maintained that these so-called Apollos are really portraits of athletes. In regard to one of them, the Apollo of Thera, Professor Loeschcke has argued from its find-spot, in the neighbourhood of the rocky cemetery of that island, that it probably stood on a tomb. To bring before the eyes of the reader the character of these early portrait-statues I have given an engraving of the head of this statue (Fig. 51). The long locks fall over the shoulders, and the hair over the forehead is close curled in the decorative Ionian fashion. The upturned corners of the mouth, and the almost Chinese obliquity of the eyes, are well-known features of the most primitive art of Greece.