It was at one time thought that these nude standing figures all represented Apollo.  It is now certain that Apollo was sometimes intended, but equally certain that the same type was used for men.  Greek sculpture had not yet learned to differentiate divine from human beings The so-called “Apollo” of Tenea (Fig. 79), probably in reality a grave-statue representing the deceased, was found on the site of the ancient Tenea, a village in the territory of Corinth.  It is unusually well preserved, there being nothing missing except the middle portion of the right arm, which has been restored.  This figure shows great improvement over his fellow from Thera.  The rigid attitude, to be sure, is preserved unchanged, save for a slight bending of the arms at the elbows; and we meet again the prominent eyes, cheek-bones, and chin, and the smiling mouth.  But the arms are much more detached from the sides and the modeling of the figure generally is much more detailed.  There are still faults in plenty, but some parts are rendered very well, particularly the lower legs and feet, and the figure seems alive.  The position of the feet, flat upon the ground and parallel to one another, shows us how to complete in imagination the “Apollo” of Thera and other mutilated members of the series.  Greek sculpture even in its earliest period could not limit itself to single standing figures.  The desire to adorn the pediments of temples and temple-like buildings gave use to more complex compositions.  The earliest pediment sculptures known were found on the Acropolis of Athens in the excavations of 1885-90 (see page 147) The most primitive of these is a low relief of soft poros (see page 78), representing Heracles slaying the many-headed hydra.  Somewhat later, but still very rude, is the group shown in Fig. 80, which once occupied the right-hand half of a pediment.  The material here is a harder sort of poros, and the figures are practically in the round, though on account of the connection with the background the work has to be classed as high relief.  We see a triple monster, or rather three monsters, with human heads and trunks and arms the human bodies passing into long snaky bodies coiled together.  A single pair of wings was divided between the two outermost of the three beings, while snakes’ heads, growing out of the human bodies, rendered the aspect of the group still more portentous.  The center of the pediment was probably occupied by a figure of Zeus, hurling his thunderbolt at this strange enemy.  We have therefore here a scene from one of the favorite subjects of Greek art at all periods—­the gigantomachy, or battle of gods and giants.  Fig. 81 gives a better idea of the nearest of the three heads. [Footnote:  It is doubtful whether this head belongs where it is placed in Fig 80, or in another pediment-group, of which fragments have been found.] It was completely covered with a crust of paint, still pretty well preserved.  The flesh was red; the hair, moustache, and beard, blue; the irises of the eyes, green; the eyebrows, edges of the eyelids, and pupils, black.  A considerable quantity of early poros sculptures was found on the Athenian Acropolis.  These were all liberally painted.  The poor quality of the material was thus largely or wholly concealed.