judge him as archaic work, you must allow, when you criticise the stiffness of his hair, for the use of tinting and the crown of gilt bay-leaves which once passed through the hollow underneath his hair. You will perceive that there is something wrong with the angle of his eyelids, which meet without overlapping. Sculptors of the next generation learnt to correct that, but they never conceived a grander figure of the sort of god that a gentleman and a Spartiate might fitly worship. Of course this is not a temple image; it is only one detail of a piece of ornament under the gable at the back of a temple, but it is the conception of a great artist. After that they began to think too much about the beauty of Apollo and young athletes in general, worshipping both with extravagant devotion. Hermes as a more graceful and sensuous young god began to supplant Apollo in the favour of Art. At last we get to the dandified young swell with the elaborate coiffure and the studied [Ilustration: PLATE XV. “APOLLO,” FROM ORCHOMENUS _English Photo Co., Athens_] theatrical pose, the Apollo Belvedere, who seemed to our great-grandfathers the most perfect of Greek statues, though he was carved to suit a decadent taste in the days when Greece had lost the very memory of manliness. Another conflicting, but, I believe, equally Dorian type of Apollo represents him in the flowing and almost feminine robes of a musician. This is Apollo the artist, not the athlete, the Apollo who leads the choir of Muses on Parnassus.