Alexander the Great
Physical appearance

Historical sources frequently give conflicting accounts of Alexander's appearance, and the earliest sources are the most scant in their detail. During his lifetime, Alexander carefully curated his image by commissioning works from famous and great artists of the time. This included commissioning sculptures by Lysippos, paintings by Apelles and gem engravings by Pyrgoteles. Ancient authors recorded that Alexander was so pleased with portraits of himself created by Lysippos that he forbade other sculptors from crafting his image; scholars today, however, find the claim dubious. Nevertheless, Andrew Stewart highlights the fact that artistic portraits, not least because of who they are commissioned by, are always partisan, and that artistic portrayals of Alexander "seek to legitimize him (or, by extension, his Successors), to interpret him to their audiences, to answer their critiques, and to persuade them of his greatness", and thus should be considered within a framework of "praise and blame", in the same way sources such as praise poetry are. Despite those caveats, Lysippos's sculpture, famous for its naturalism, as opposed to a stiffer, more static pose, is thought to be the most faithful depiction.

Curtius Rufus, a Roman historian from the first century AD, who wrote the Histories of Alexander the Great, gives this account of Alexander sitting on the throne of Darius III:

Then Alexander seating himself on the royal throne, which was far too high for his bodily stature. Therefore, since his feet did not reach its lowest step, one of the royal pages placed a table under his feet.

Both Curtius and Diodorus report a story that when Darius III 's mother, Sisygambis, first met Alexander and Hephaestion, she assumed that the latter was Alexander because he was the taller and more handsome of the two.

The Greek biographer Plutarch (c. 45 – c. 120 AD) discusses the accuracy of his depictions:

The outward appearance of Alexander is best represented by the statues of him which Lysippus made, and it was by this artist alone that Alexander himself thought it fit that he should be modelled. For those peculiarities which many of his successors and friends afterwards tried to imitate, namely, the poise of the neck, which was bent slightly to the left, and the melting glance of his eyes, this artist has accurately observed. Apelles, however, in painting him as wielder of the thunder-bolt, did not reproduce his complexion, but made it too dark and swarthy. Whereas he was of a fair colour, as they say, and his fairness passed into ruddiness on his breast particularly, and in his face. Moreover, that a very pleasant odour exhaled from his skin and that there was a fragrance about his mouth and all his flesh, so that his garments were filled with it, this we have read in the Memoirs of Aristoxenus.

Historians have understood the detail of the pleasant fragrance attributed to Alexander as stemming from a belief in ancient Greece that pleasant scents are characteristic of gods and heroes.

The Alexander Mosaic and contemporary coins portray Alexander with "a straight nose, a slightly protruding jaw, full lips and eyes deep set beneath a strongly pronounced forehead". He is also described as having a slight upward tilt of his head to the left.

The ancient historian Aelian (c. 175 – c. 235 AD), in his Varia Historia (12.14), describes Alexander's hair color as " ξανθὴν " (xanthín), which at the time, could mean yellowish, brownish or reddish. It is sometimes claimed that Alexander had one blue and one brown eye, referring to the Alexander Romance, which is however a fictional account that also claims Alexander "had sharp teeth like fangs" and "did not look like Philip or Olympias". Reconstruction, based on remaining traces of paint of the original polychromy on his sarcophagus, indicates that he was depicted with brown eyes and chestnut brown hair.
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