But the Cretan school of sculpture produced Tectæus and Angelion, who erected the celebrated, and probably colossal statue of Apollo at Delos, which (as was before mentioned) held the Graces in one hand and a bow in the other. With the same school also, though in a more distant degree, was connected Canachus of Sicyon, who, about the seventy-third Olympiad, made a famous bronze statue for the Didymæum,(1498) and one of wood for the Ismenium. From the accounts and various imitations of this work of art we are enabled to form some idea of its character. The god was represented with a manly form, his breast broad and prominent, the trunk square, the legs almost like pillars, and in a firm position, the left leg being a little advanced. The hair, encircled with a fillet, lay in slender twisted curls over the forehead; over each shoulder were three platted tresses, and behind the hair fell in a broad cluster down the back. The countenance nearly resembled those in the marbles of Ægina. In the right hand, which was stretched straight forward, was a fawn (an obscure symbol which we shall not here attempt to explain); the left, not quite so much elevated, grasped a bow. The whole must have had an awful and imposing appearance, conveying the idea of sublimity and dignity far more than of grace or loveliness.(1499) We cannot suppose the style of the colossal statue of Apollo to have been very different which, several Olympiads later, was modelled in brass by Calamis for Apollonia on the Pontus, and which was afterwards brought to Rome by Lucullus:(1500) nor that of Apollo Alexicacus, erected at Athens by the same artist at the beginning of the Peloponnesian war.(1501) The Apollo which Onatas of Ægina, the contemporary of Calamis, executed for the inhabitants of Pergamus, was a colossal statue displaying great beauty of form, and, as it appears, of a more youthful appearance than was common for statues of Apollo at that time.(1502) In this, Apollo was represented as καλλίτεκνος, as the beautiful son of Latona; under which name he was worshipped at Pergamus.(1503) It is not improbable that the union of strength and beauty so conspicuously exhibited in the ideal forms of the two children of Latona was suggested by the peculiar character of the Doric education; and that the artist represented the god as an Ephebus, whose skill in the chorus and on the field of battle was exactly equal.