quadrangular form of the earlier examples, the sculptor having worked in flat planes at right angles to one another, with the corners merely rounded off. The remains of arms broken off just below the shoulders show that they must have hung close to the sides. The shoulders are broad and square, and display none of the sloping lines characteristic of other examples, as, _e. g._, the one from Tenea. From the breast down the body is slender, the hips being very narrow. The legs show the usual flatness and the left one is slightly advanced, as is uniformly the case in every one of the series. They are somewhat more separated than in many other examples. The αἰδοῖα form a rude pyramidal mass, not being differentiated as they are, _e. g._, in the statues from Naxos and Orchomenos[2218] (Fig. 10). Some attempt at modeling is visible in the muscles of the breast and lower abdomen. In general, it may be said that the similarity in attitude of this statue to Egyptian works impresses us, as it does in all the examples of early Greek sculpture. As the subject of Oriental, especially Egyptian, influence on early Greek art has given rise to very diverse views, we shall make a short digression at this point to discuss this interesting question. EGYPTIAN INFLUENCE ON EARLY GREEK SCULPTURE. This question has been under discussion in all its bearings ever since Brunn, in 1853, tried to demonstrate the originality of the Daidalian ξόανα,[2219] but, strangely enough, archæologists are not yet agreed as to its proper settlement. While some emphasize the spontaneous origin of Greek art, others quite as strongly advocate that the early Greek sculptor, at least, copied Egyptian models.[2220] Thus Furtwaengler, who early assumed a Cretan origin for the “Apollo” type of statues,[2221] later became convinced that it developed in Ionia through Greek contact with the colony of Naukratis in Egypt, which was founded in the middle of the seventh century B. C. He concluded that this plastic type “_ist bekanntlich nichts als die Nachahmung des Haupttypus aegyptischer statuarischer Kunst_”.[2222] Similarly Collignon traces the archaic male type to Egyptian influence, and assumes that this influence from the Nile valley was exerted on the Greek artist before the latter half of the seventh century B. C.[2223] On the other hand, H. Lechat, in his review of the evolution of Greek sculpture from its beginning, believes that the early sculptor owed but little to Egypt or the East.[2224] Deonna entirely rejects the assumption of Egyptian influence, believing that all the so-called characteristics of early Greek statues can be explained as the result of natural evolution in Greece itself.[2225] Von Mach also completely excludes all foreign influence when he says: “In her sculpture at least, Greece was independent of influence of any one of the countries that can at all come under consideration in this connection, Phœnicia, Assyria, and Egypt.”[2226] But here, as in