SCULPTURE. dl 
good. An ingenious symbolism represented the different aspects in which 
Apollo was regarded by the contrast of the weapons and the lyre, the 
bent and the unbent bow, &c. This god was a favorite subject with the 
great artists who immediately preceded Phidias. On the whole Apollo was 
then represented as of a more mature and manly form than afterwards, with 
stronger and stouter limbs, a rounder, shorter face, an expression rather 
earnest and energetic than amiable and charming, and mostly unclothed 
except when appearing as leader of the Muses. The slender shape, the 
longish oval head, and animated expression of the features were first given to 
Apollo by the younger Attic school. The statues of Apollo may be divided, 
according to the idea which predominates in them, into the following classes : 
1. The Apollo Callinicus, who strides away with anger not yet entirely 
allayed from his vanquished opponent. Of this kind is the Pythian Apollo 
or Apollo of Belvedere, so called because it formerly stood in the Cortile di 
Belvedere (pl. 6, jig. 2). It was found near the harbor of Antium, and is of 
Lycian marble ; it seems to have been copied from a statue in bronze, which. 
is rendered probable by the entire disposition of the chlamys (short cloak). 
The left fore-arm and the fingers of the right hand have been supplied, and 
also some portions of the legs. 2. The Apollo reposing after battle, with his 
right arm thrown over his head and beside him his closed quiver. Of this 
kind is the beautiful Apollino in Florence. 3. The Apollo playing the lyre, 
who appears very variously costumed. A statue of this sort is in the Museo 
Borbonico. 4. As the Pythian Agonistes, clothed in a solemn and gorgeous 
costume and wearing the Pythian stola; such is the Apollo in the Vatican, 
after Scopas. 
jf. Artenns. The Diana of the Romans is the Grecian Artemis. Her 
character, like that of her brother Apollo, has two phases; she being some- 
times regarded as a combating or hunting, and at other times as a life-giving 
and light-dispensing goddess. In the olden style she constantly appears 
in long and elegant drapery, which displays her full, blooming form. 
Afterwards, when Scopas, Praxiteles, and others had developed her ideal, 
Artemis appeared, like Apollo, slender and light-footed, with hips and 
breast without the fulness of womanhood ; her face is that of Apollo, only 
more delicate, rounder, and less strongly marked. Her dress is a Doric 
chiton (tunic), usually girt high. The shoes of the huntress are those of 
Crete, which protected the foot all round. Asa huntress, or as a combatant, 
Artemis in the better statues is represented sometimes in the act of drawing 
an arrow from her quiver, and sometimes as on the point of shooting it. 
The huntress Artemis is likewise guardian of wild beasts, and then she 
appears accompanied by a sacred doe. Pl. 4, jig. 7, is copied from a 
statue in Versailles, now in the Louvre, where Diana is represented as a 
huntress, slenderly and delicately but powerfully formed, with the horned doe 
by her side, and adorned with a stephana (fillet or wreath). As tutelary deity 
of the temple of Ephesus, Artemis appears in an Asiatic Amazon costume. 
g. Lephestus. A mighty god, the god of fire, was Hepheestus, the 
Vulean of the Romans, a consort of Aphrodite; but he was not able to 
maintain his dignity either in poetry or in the plastic art. The former 
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