17. The simple Cippus of Apollo Agyieus did not represent any particular attribute, but was merely intended as a memorial of the presence of the protecting god.(1489) In endeavouring more fully to express his character, the symbols of power would naturally come next. His attributes of vengeance doubtless preceded those of mercy, although both, in fact, harmonized together: it must, however, have been long, before the surpassing beauty of the god (celebrated even in the Theogony of Hesiod) could be the subject of sculpture. The attribute, then, of strength, as also that of omniscience, the ancient Lacedæmonians wished to represent by the Apollo with four hands and four ears at Amyclæ.(1490) But the chief statue on the above spot was an image, which, besides the bow, bore a helmet and lance: of the same nature was also the statue on mount Thornax, the face of which had been gilded by the Lacedæmonians.(1491) The Megarians also consecrated at Delphi a statue of Apollo bearing a lance;(1492) and at Tenedos he was armed with the double hatchet,(1493) like the Labrandenian Zeus of the Carians.(1494) In a very ancient bas-relief, discovered by Dodwell on the mouth of a well at Corinth, and which we shall hereafter examine further, Apollo holds the cithara in his hand;(1495) his whole form too, as in all the ancient sculptures, is stouter and more manly than usual. 18. On inquiring concerning the artists of the most ancient symbolical statues of Apollo, we find that the Cretans were the first sculptors, as well as musicians, of that worship. From Crete, an ancient wooden statue of Apollo, of the rudest style of workmanship, was brought to Delphi:(1496) from hence, too (about Olymp. 50, 580 B.C.), there came Dipœnus and Scyllis the Dædalidæ, who made for the Sicyonians statues of Apollo, Artemis, Hercules, and Athene, of which we will speak hereafter. The Pythian oracle greatly interested itself in the labours of these artists; for when the envy of the native artists had driven them from Sicyon, it compelled the inhabitants to recall them. The managers of the temple of Delphi appear indeed to have been, from very early times, great patrons of the art of sculpture, particularly in brass. The subterranean temple at Pytho (the existence of which has been doubted, but, in my opinion, without sufficient grounds) was covered with brass, as were several treasuries of the ancient princes of Greece. The temples and courts were fitted with numerous tripods; caldrons, goblets, and arms of brass were there arranged promiscuously, from periods of the highest antiquity. There was also a knife used in sacrifice called the _Delphian knife_,(1497) nor do the singing golden Κηληδόνες, which Pindar represents as suspended from the roof of the brazen temple, seem to be a mere poetical fiction.