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A Cypriote Votive Statue in the University Gallery at Minnesota

extant examples of archaic, life-sized, hollow-cast bronze kouroi offer any help.8 There is, however, one group of life-sized representations of the human torso made during the archaic period, namely bronze bell-corselets, on which the inverted, U-shaped line representing the lower boundary of the thorax and the external oblique is often a ridge in raised relief (pl. 21, figs. 3 and 4).9 These bellcorselets are made of hammered bronze with the raised relief of the anatomy done in repouss6. In spite of its marble medium, the U-shaped line on the front of the Cleveland torso has the appearance of being made by that means. The bell-corselets pictured in figures 3 and 4 were found in Thrace in a fifth century B.c. context; but in the last few years, several similar examples have been found at Olympia in mid-sixth century contexts which would make them roughly contemporary with the Cleveland torso.10 Perhaps that statue's strange, raised, U-shaped line indicating the lower boundary of the thorax and the external oblique shows the influence of mid-sixth century bell-corselets on marble sculpture. If so, it would not be the first time that the stylized anatomy on armor had influenced that on marble statues. In an earlier article, I stated that the sculptors of the Sounion Group of kouroi were deeply indebted to Greek armorers for the anatomical stylizations which they used on the torsos and legs of their statues. After all, those stylizations occur on bronze bell-corselets and greaves over one hundred years prior to the appearance of the first monumental stone kouroi.11 At that time it seemed clear to me that the anatomical forms found on bell-corselets and stone kouroi coincided only at that one chronological point, 615-590 B.C. Once the stone sculptor had borrowed everything he initially wanted from the armorer, he subsequently went his own way towards naturalism; while the armorer, for some reason, showed a tendency towards further abstractions in his rendering of anatomy on bell-corselets. This process continued throughout the sixth century until that type of corselet became obsolete in Greece proper somewhere around 500 B.C.12 The Cleveland torso seems to be an exception to this rule, and, as such, it is, to the best of my knowledge, unique. Of course not all of its anatomical features are abstract or paralleled by stylizations on contemporary bell-corselets, but it is on bell-corselets that the only parallels can be found for its strange inverted U-shaped ridge representing the lower boundary of the thorax and the external oblique. Since we have no definite idea as to who the sculptor was; where he came from; or in what context the statue was originally placed; the reason for the sculptor of the Cleveland torso's having been influenced by contemporary armor remains a mystery.