the Messenians of Naupactus from the spoil of the enemy--presumably the Spartan garrison captured by Cleon at Sphacteria. If, therefore, Pausanias is right in his account of the authorship of the Olympian pediments, both these sculptors must have made extraordinarily rapid progress in their art or have adopted a consciously archaic style for the pediments. So much for the named sculptors of the period. We have several other works which obviously belong to the same date. The fine portrait bust of Pericles[57] is, no doubt, a copy from the statue by Cresilas. I have said above that portraiture is rare in the fifth century. The extraordinary significance of Pericles in the art of the period is one reason for this exception. Moreover, it is, after all, scarcely a portrait in the Cromwellian sense, but rather an idealised type of the soldier statesman: so far from breaking, it notably illustrates the rule of idealism in the fifth century. It was said that all the portraits of Pericles represented him in a helmet to _conceal_ his inordinately long head, which is a frequent subject of wit to Aristophanes. Typical of the period too are the Eleusinian relief,[58] the Ludovisi reliefs,[59] and the Mourning Athena.[60] The glorious bronze bust of a Boy Victor depicted in our photogravure is one of the rare original bronzes of the great period. It is part of a full-length statue, the bust being a modern restoration, and it is of great value to students of ancient bronze workmanship. The eyeballs, when the statue was first found at Naples in 1730, were inlaid with silver and the pupils with granite. The lips are gilded, and there was silver and gold on the diadem. The boy pulling a thorn out of his foot (the “Spinario”) belongs to a slightly earlier period and is closely akin to the Running Girl in style. It is a charmingly graceful and boyish figure, quite free from self-consciousness. We notice that though the body is skilfully wrought, the head is obviously wrong, for the long hair of the bent head would hang about his face.[61] Natural and pleasant as the pose is, it is no mere genre study, done to please the artist’s fancy because his eye had caught the pretty attitude of the child in the gymnasium. That was not how artists worked at this early period. The “Spinario” must, I think, have a story behind him: some one had won the boys’ foot-race in spite of a thorn in his foot, and this is the record of his pluck.