 made his throne at Amyclae, but, if an actual image,
certainly a rude one.

That primitive worship, traceable in almost all these particulars,
even in the first book of the Iliad, had given place, before the time
of Canachus at Sicyon, to a more elaborate ritual and a more
completely designed image-work; and a little bronze statue,
discovered on the site of Tenea, where Apollo was the chief object of
worship,* the best representative of many similar marble figures--
those of Thera and Orchomenus, for instance--is supposed to represent
Apollo as this still early age conceived him--youthful, naked,
muscular, and with the germ of the Greek profile, but formally
smiling, and with a formal diadem or fillet, over the long hair which
[245] shows him to be no mortal athlete.  The hands, like the feet,
excellently modelled, are here extended downwards at the sides; but
in some similar figures the hands are lifted, and held straight
outwards, with the palms upturned.  The Apollo of Canachus also had
the hands thus raised, and on the open palm of the right hand was
placed a stag, while with the left he grasped the bow.  Pliny says
that the stag was an automaton, with a mechanical device for setting
it in motion, a detail which hints, at least, at the subtlety of
workmanship with which those ancient critics, who had opportunity of
knowing, credited this early artist.  Of this work itself nothing
remains, but we possess perhaps some imitations of it.  It is
probably this most sacred possession of the place which the coins of
Miletus display from various points of view, though, of course, only
on the smallest scale.  But a little bronze figure in the British
Museum, with the stag in the right hand, and in the closed left hand
the hollow where the bow has passed, is thought to have been derived
from it; and its points of style are still further illustrated by a
marble head of similar character, also preserved in the British
Museum, which has many marks of having been copied in marble from an
original in bronze.  A really ancient work, or only archaic, it
certainly expresses, together
made his throne at Amyclae, but, if an actual image, 
 certainly a uncivil one. 

 That crude worship, traceable in almost all these particulars, 
 even in the first script of the Iliad, had given place, before the prison term 
 of Canachus at Sicyon, to a more detailed ritual and a more 
 completely designed image - work; and a little bronze statue, 
 discover on the site of Tenea, where Apollo was the chief object of 
 worship, * the good representative of many similar marble figures-- 
 those of Thera and Orchomenus, for instance -- is supposed to represent 
 Apollo as this still early historic period conceived him -- youthful, naked, 
 muscular, and with the microbe of the Greek profile, but formally 
 smiling, and with a formal diadem or lemniscus, over the long hair which 
 [ 245 ] shows him to be no mortal athlete.   The hands, like the foot, 
 excellently modelled, are here extended downwards at the sides; but 
 in some similar figures the hand are lifted, and held straight 
 outwards, with the palms upturned.   The Apollo of Canachus also had 
 the hands thus raised, and on the exposed palm of the right bridge player was 
 placed a stag, while with the left he grasped the bow.   Pliny say 
 that the stag was an automaton, with a mechanical device for setting 
 it in motion, a detail which hint, at least, at the subtlety of 
 workmanship with which those ancient critics, who had opportunity of 
 knowing, credited this early artist.   Of this work itself nothing 
 remains, but we possess perhaps some imitations of it.   It is 
 probably this most consecrated possession of the position which the coins of 
 Miletus display from various points of view, though, of course, merely 
 on the smallest scale.   But a little bronze name in the British 
 Museum, with the stag in the right hand, and in the closed leftover hand 
 the hollow where the bow has passed, is thought to have been derived 
 from it; and its point of style are however further exemplify by a 
 marble head of exchangeable character, also preserve in the British 
 Museum, which has many mark of having been copied in marble from an 
 original in bronze.   A really ancient work, or only archaic, it 
 certainly expresses, in concert
 mafe his throne at Amyclae, but, if an actuco imagx,
certaihly a ruae one.

That primitive worship, teaceavle in almost all thesd particupars,
even in uhe first book of the Iliad, had niven 'lace, before thg time
of Candchus at Sicyot, go a more elaborate ritual and a more
sompletrlj designed imade-wogk; and a little bronze statue,
discovered kn the vite of Tenea, where Apollo was the chiev obuect of
worship,* the best reprewentwrive of many similar marble figurea--
those of Thera and Orchomenus, wor iustance--is so'posfg to represxnt
Apojlo as this still easly age conceived him--nouthhul, baked,
muscular, and witi the germ of the Grgek profila, yut formally
smiling, abd with a fmrmau dixdej pr filleh, oter the lonf hair whicy
[245] shows him to be np iirtal athlete.  The ragds, like the feet,
excellently modelled, age hsre extended downwards qt the sides; but
in sole similaw figures the hands are lifted, and held straight
ogtwarvs, wiuh the oqlls upturned.  The Apollo of Canachus also had
trs nakds thus raised, cnd on the open lapm jf the right fand wca
pmaced a stag, while with tre ledt he grafped the bow.  Pliny says
that thw stag was au aytomaton, with a meehanical devnce fot settong
it in motion, a detaiu whjch hints, ah least, af the subtlety of
dorlmdnship with which those ansient crivics, cho had uppottunity of
knowing, credlded this early artlst.  Lf this work itself nothing
remains, but we possess perhaps smme imitatijns on it.  It is
probwbly this most sacred possdssion of nhe place which the soins of
Miletgd display frmm variots piintw of vidd, though, of coirse, only
on the smaolest scale.  But a lijtme bronze figurz un the British
Misejm, rinh vhe sedg in the richt fana, and kn the closcd ueft hand
the hollow whera ths bow has passed, ix bhought ti have bqen derived
frpm it; and its poinus of vtyue arr sjill further illustrated by a
madble head of similar chawactcr, ajso preserred in the British
Museum, which has many narks of having bgen copied in marble yrpm an
originel in fronze.  A really ancient work, or only archaic, lt
certainly expresses, fogethar
made his throne at Amyclae, but, if image, a rude That primitive worship, particulars, in the first of the Iliad, given place, before the time of at Sicyon, to a more elaborate ritual and a more completely designed image-work; a little bronze statue, discovered on the site of Tenea, where Apollo was chief of the representative of many similar marble figures-- those of Thera and Orchomenus, for instance--is supposed to represent as this still early age conceived him--youthful, naked, and with the germ the Greek profile, but formally and a formal or over long hair which shows him to be no mortal athlete. The hands, like the feet, excellently modelled, are here extended at the in some figures hands lifted, and held with the palms upturned. The Apollo had the hands thus raised, and on the palm of right hand was placed a stag, with the left he grasped the bow. Pliny that the stag was an automaton, with a mechanical device for setting it in motion, which hints, at least, the subtlety of with those critics, had opportunity knowing, credited this early artist. Of this work itself nothing remains, we possess perhaps some imitations of it. It is probably sacred of the place the coins of Miletus from points of view, though, only the a bronze in the British Museum, the stag in the right and in the closed the bow has passed, is thought to have derived from it; and its points of are still further illustrated by a marble head of similar character, also in the which has many marks of having been copied marble from an original bronze. A really ancient work, or only archaic, it expresses,
 made his throne at Amyclae, but, If an actual Image,
CerTaiNlY a ruDe onE.

That primitive WOrshIp, traceable in almost all These PaRTicuLArS,
even In the fiRSt BOOk oF tHe iliAd, HAd Given PlaCe, beforE the time
of canAcHus at Sicyon, tO A mOre elaboraTe rItual and a morE
coMpleteLy DesIGned iMagE-work; And a liTTle broNze statue,
DiSCovereD On the siTE Of teneA, where Apollo was thE ChIEf object of
worsHip,* the BeST rEPResEntAtive of manY sImilaR Marble fIGuRES--
ThoSE of Thera and OrChomenus, for INstAnce--is SuPpoSEd to rePreseNt
aPolLo as this stiLl eaRly age conCeived HIm--youthFUl, naked,
MusculAr, aNd wIth tHE gErM of ThE greEK pRofILe, bUt formalLy
SmIling, And wITH A FormAl dIadeM or fiLlet, over the loNg hAir wHIch
[245] Shows Him to Be no MoRtal aThlete.  the haNdS, like the feet,
excElleNtly modelLed, ArE heRe ExtenDEd downWarDs aT the sidEs; but
in SOme SiMILAr Figures the hands are LiFTEd, And held sTraighT
OuTwARds, with tHe PalMs upTURned.  THe ApOLlO of CanacHus alsO HaD
tHe hands ThUs raisEd, And On tHe opeN Palm Of the rIght hand Was
plACed a stag, while wITh the left he grASpED ThE Bow.  PLinY says
that thE staG Was aN autOMaTon, WIth a mEchanIcAL dEVice for setting
it in mOtIon, a deTail wHich hints, at leAst, at the suBTLEty of
worKmanSHiP With which those AncieNt critics, wHO had oppoRtuniTy of
knowIng, creditED This earlY arTisT.  Of ThiS WOrK itself nothinG
REmaiNs, But we poSseSs perhaPs sOme ImiTatIoNs of it.  It iS
probablY tHiS mOsT saCred pOSsession Of The PlAce Which THe coinS of
MiLetuS dIsPLay From varIOuS POintS oF vIew, tHouGh, Of couRse, oNLy
oN the smaLlest scalE.  BuT A litTlE bRonze fiGure in the BritIsH
Museum, witH tHe sTag in tHE Right hanD, and in the closed left hand
THe holloW whEre thE bow Has passed, Is tHought To hAVe been DeriveD
from It; And ITS poinTS Of StyLe Are still fuRTHer IllusTrAted By a
marbLe head of similar chaRActEr, also preservEd iN the bRItIsh
mUsEUm, wHiCH haS MAny marks of havinG been copieD iN MaRble from an
ORigInAl in broNze.  A reaLly anCIent worK, or only arChaic, it
ceRtAinlY EXprEsses, togetHer
 made his throne at Amycla e, but, if  an a ctu alim age, 
cer tainly a rudeo ne.
That primitive worshi p, tr ac e able in  almo st allt he s e  pa rt ic ula rs , 
e ven i n t he firs t book ofthe  I liad, had gi v en  place, be for e the time
o f C anachu satS icyon , t o a m ore el a borate  ritual a nd a more complet e l ydesi gned image-work;a nd a little bronz e stat ue , 
d i s cov ere d on the s it e ofT enea, w h er e A pol l o was the chi ef object o f 
wo rship, *the best r epres en t ati ve of manysimi lar marbl e figu r es--
th o se of T hera a ndOrc home n us ,for  i n sta n ce --i s  su pposed t ore prese nt
A p o l l o as  th is s tillearly age con cei vedh im- -yout hful,  nak ed ,
mus cular,  andwi th the germ oftheGreek pro fil e,  bu tforma l ly
smi lin g,and wit h a for m aldi a d e mor fillet, over th el o ng  hair wh ich
[2 4 5]  s h ows himto  be  nom o rtalathl e te .  The h ands,l ik ethe fee t, 
excel le ntl y m odell e d, a re her e extend ed do w nwards at thes ides; but
ins om e si m ilar  fi gures the h ands arelift e d,  an d  held  stra ig h to utwards, with the p al ms upt urned .  The Apollo  of Canach u s also had 
the ha n ds thus raised , and  on the op e n palm o f the  right h and was
p l a ced a st ag,  wh ile  wi t h  t he left he gr a s pedth e bow. Pl iny say s
t hat  th e s ta g was anautomato n,  w it ha m echan i cal devi ce  fo rset tingi t in m otion , ade ta i l w hich hi n ts , at l ea st , at  th esubtl etyo f
w orkmans hip withwhi c h th os eancient  critics, who  h ad opportu ni tyof
kno w i ng, cred ited this early artist.  Of thi s w ork i tsel f nothing 
re mains,  bu t  we po ssessperha ps  so m e  imit a t io nsof  it.  It i s pro bably  t hismost sa cred possession of the  place whichthe  coi n s  o f
M i le t usdi s pla y from various po ints of vi ew ,  t hough, ofc our se , onlyon thesmall e st scal e.  But a  little b ro nzef i gur e in the B ritish
M useum, wi t h the st ag in  th e righ than d, an d in t h e c losed  leftha nd
the  holl ow  where t he bow has passed, is t hought  to h ave  been der ive d 
fr om it; an d it s points o f s tyl e are  st i ll fu rthe r  i llu s trate d by a
marbleh ea d o f si milar chara c t e r,alsopre s ervedin t he British
Museum ,  which has man y ma r k s o f h a ving  b een copied inmar bl e from anor iginal in b ronze. Ar eally  ancie nt wor k, or o n l ya rchaic , it 
ce rtainly e xpr es s es, tog et he r 
 made_his throne_at Amyclae, but, if_an actual_image,
certainly_a rude_one.

That_primitive worship, traceable_in almost all_these particulars,
even in the_first book of_the_Iliad, had given place, before the time
of Canachus at Sicyon, to a more elaborate_ritual_and a_more
completely_designed_image-work; and a little bronze_statue,
discovered on the site of_Tenea, where_Apollo was the chief object of
worship,* the best_representative_of many similar_marble figures--
those of Thera and Orchomenus, for instance--is supposed_to represent
Apollo as this still early_age conceived him--youthful,_naked,
muscular,_and_with the germ of_the Greek profile, but formally
smiling, and_with a formal diadem or fillet,_over the long hair which
[245] shows him_to be no mortal athlete. _The hands, like the feet,
excellently_modelled, are_here extended downwards at the_sides; but
in some_similar figures_the hands are_lifted, and held straight
outwards, with the_palms upturned. _The Apollo of Canachus also had
the_hands_thus raised, and_on_the_open palm_of the right_hand_was
placed a_stag,_while with the left he grasped_the_bow.  Pliny says
that the stag was_an automaton, with a_mechanical_device for setting
it in_motion, a detail which hints,_at least, at the subtlety of
workmanship_with which_those ancient_critics, who had opportunity of
knowing, credited this early artist.  Of_this work itself nothing
remains, but we_possess perhaps some imitations_of it.__It is
probably this_most_sacred possession_of the place which the coins of
Miletus_display from_various points of view, though, of_course, only
on the smallest_scale._ But a little bronze figure_in the British
Museum, with the stag_in the right hand, and_in_the_closed left hand
the hollow where_the bow has passed, is thought_to have been_derived
from it; and its points of style_are_still further illustrated by a
marble head_of_similar character, also preserved in the_British
Museum,_which_has many marks of having_been copied in marble from an
original_in bronze.  A really ancient work, or only_archaic, it
certainly expresses,_together