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With the growing naturalism even portrait statues became possible. For instance, after the dismissal of the sons of Pisistratus, a group in honour of Harmodius and Aristogiton, who had headed an insurrection against the tyrant, was erected in the Agora by their democratic admirers. When this was carried off by Xerxes, it was replaced by a group, the work of Critius and Nesiotes, a marble copy of which can be seen in the National Museum at Naples. We have chosen the statue of “ssss1” as an illustration of the earliest Greek iconic statuary. It will be seen that it entirely lacks the ideality of treatment which was to be the leading characteristic of the art fifty years later.

The magnificent full length “ssss1,” reins in hand, excavated by the French Expedition at Delphi, is not only the finest pre-Phidian bronze in existence, but marks the “border line between dying archaism and the vigorous life of free naturalism.” The statue may have formed part of a chariot group set up as a dedicatory offering by Polyzalus, the brother of Hieron of Syracuse, in honour of a victory in the games at Delphi. The entire work portrayed a high-born youth, waiting in a chariot at the starting-post. A companion was at his side, grooms, no doubt, standing at the horses’ heads. The driver’s chiton is gathered across the shoulders by a curious arrangement of threads, run through the stuff in order to prevent the loose garment fluttering in the wind. It dates from about 470 b.c. The bronze is representative of the highest achievements of Greek art before the advent of the three great sculptors of the fifth century. Traces of archaic workmanship are most noticeable in the face and drapery. The arms and the feet, however, are beautifully natural.