But the figure which we are accustomed to consider as properly belonging to Apollo did not originate even in the school of Polycletus and Myron,(1504) but was the creation of a later period; since both the coins of a date prior to the time of Alexander,(1505) and single heads, which must be referred to the same period,(1506) do not indeed preserve the features ascribed to the work of Canachus, but still are quite different from the most celebrated of the statues now extant, having broader cheeks, a shorter and thicker nose; in a word, the proportions are what the ancients termed _quadrate_, or square. It was not till the times of Scopas, Leochares, Praxiteles, and Timarchides, that the Apollo appeared whom we may call the twin-brother of Venus, so similar are the forms of both deities. The expression of inspiration and ecstasy, which several of the best statues exhibit, may also be shown to have first originated in the school of Scopas, since the earlier artists aimed rather at producing the appearance of tranquillity and composure than of transient excitement; and the exquisite taste with which these sculptors were able to express inspiration without extravagance, deserves the highest praise. Without detailing the particular productions of these and later artists, we shall only show how they may be best classified. The Apollo Callinicus of Belvedere stands by itself, swelling with the pride of victory:(1507) next comes the Apollo resting from the fight, with the right arm bent over the head, the left leaning on a pillar, holding the bow, which has evidently been used, or a cithara: being evidently a statue of the _resting Apollo_ (Ἀπόλλων ἀναπαυόμενος); but from the circumstance that a statue of this kind stood in the Lyceum at Athens(1508) it is usually called the “Apollo of the Lyceum:” then follows the Apollo Citharœdus (playing on the harp), either naked, in different positions, or covered with the Pythian stola, and in an almost theatrical attitude.(1509) It would be foreign to our subject to enter into details respecting this class of statues, and those derived from them, as the Sauroctonus, Nomius, &c.
19. Finally, we would endeavour to trace the influence of the worship of Apollo on the policy and philosophy of Greece, if the question did not embrace so wide a field, lying, as it does in great measure, beyond the confines of history. We may, however, select, from what has been already said, as proofs of the influence of this worship on political concerns, the armistice connected with the festivals of Apollo, the truce observed in the sacred places and roads, the soothing influence of the purifications for homicide, together with the idea of the punishing and avenging god, and the great influence of the oracles in the regulation of public affairs.(1510) It has, moreover, been frequently remarked how by its sanctity, by the dignified and severe character of its music, by all its symbols and rites, this worship endeavoured to lull the minds of individuals into a state of composure and security, consistently, however, with an occasional elevation to a state of ecstatic delight.