THE APOLLO TYPE. 103 
hung loose from the shoulders, are broken away. The larger statue 
from Mount Ptoion just mentioned also has the arms slightly crooked 
at the elbows, the forearms being extended at an oblique angle to the 
body. This represents an intermediate stage between the earlier 
“Apollos,” in which the arms adhered vertically to the sides of the 
body (as e. g., in the ones from Orchomenos, 
Thera, Melos, and Tenea), and the later 
ones, in which the arms were bent, the fore- 
arms being extended at right angles to the 
body (see Figs. 15 and 19).} 
The example from Thera shows the ar- 
chaic method of working in planes parallel 
to front and side and at right angles to one 
another, the corners of the square block be- 
ing merely rounded off. The outlines of 
muscles are indicated by shallow grooves, 
which do not affect the flatness of the sur- 
face, and there is but little facial expression. 
We see the chest outlined in some examples 
from Aktion.2. In the Melian example the 
rectangular form is modified by cutting 
away the sides obliquely in arms and body; 
here there is more expression in the face, 
and the treatment of the hair and the pro- 
portions of the body are more developed. 
In the example from Orchomenos we see a 
great improvement in form. Here, as in 
later Boeotian examples, the original rec- 
tangular form of the example from Thera 
has become round, so that a horizontal 
cross-section through the waist is almost 
circular; the muscles of the abdomen are 
indicated and the skin is naturalistically 
shown in the back and at the elbows. In Fic. 12.—Statue of so- 
later Boeotianexamples from Mount Ptoion, called Apollo of Melos. 
: ; National Museum, Ath- 
which are directly developed from the Or- eng. 
chomenos type,’ the form is lighter and the 
proportions more graceful. In one example (Fig. 13, left) even the 
veins are shown. In the example mentioned above as showing 
Aeginetan influence, and dated about 500 B.C.,4 the muscles are 
clearly marked, just as in the Strangford example and in the statues 
from the temple at Aegina, showing that foreign art had been intro- 

1See Holleaux, B. C. H., X, 1886, p. 271; XI, p. 186; and cf. Vischer, Kleine Schriften, II, 
pp.002 t. *B2- he no. 76, 
4See Holleaux, in B. C. H., XI, 1887, p. 178. 4From the inscription on its thigh. 
