Question: The statue of the god of ideal balance found at Mantua is an early variant of what statue type?

full_context: Document 1: Discobolus: The Discobolus of Myron (``discus thrower '', Greek: Δισκοβόλος, Diskobólos) is a Greek sculpture completed at the start of the Classical Period, figuring a youthful ancient Greek athlete throwing discus, circa 460 -- 450 BC. The original Greek bronze is lost but the work is known through numerous Roman copies, both full - scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the Palombara Discobolus, and smaller scaled versions in bronze.
Document 2: Apollo of Mantua: The Apollo of Mantua and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type-piece, the first example discovered, is named for its location at Mantua; the type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polyclitus but more archaic. The Apollo held the "cythara" against his extended left arm, of which in the Louvre example ("illustration") a fragment of one twisting scrolling horn upright remains against his biceps.
Document 3: Mandolin: Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations.
Document 4: Hellenistic period: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.
Document 5: Apollo: From his eastern origin Apollo brought the art of inspection of "symbols and omina" (σημεία και τέρατα : semeia kai terata), and of the observation of the omens of the days. The inspiration oracular-cult was probably introduced from Anatolia. The ritualism belonged to Apollo from the beginning. The Greeks created the legalism, the supervision of the orders of the gods, and the demand for moderation and harmony. Apollo became the god of shining youth, the protector of music, spiritual-life, moderation and perceptible order. The improvement of the old Anatolian god, and his elevation to an intellectual sphere, may be considered an achievement of the Greek people.
Document 6: Capitoline Venus: The Capitoline Venus is a type of statue of Venus, specifically one of several "Venus Pudica" (modest Venus) types (others include the Venus de' Medici type), of which several examples exist. The type ultimately derives from the Aphrodite of Cnidus. The Capitoline Venus and her variants are recognisable from the position of the arms—standing after a bath, Venus begins to cover her breasts with her right hand, and her groin with her left hand.
Document 7: The Goat Amalthea with the Infant Jupiter and a Faun: The Goat Amalthea with the Infant Jupiter and a Faun is the earliest known work by the Italian artist Gian Lorenzo Bernini. Produced sometime between 1609 and 1615, the sculpture is now in the Borghese Collection at the Galleria Borghese in Rome.
Document 8: Apollo: It seems an oracular cult existed in Delphi from the Mycenaean ages. In historical times, the priests of Delphi were called Labryaden, "the double-axe men", which indicates Minoan origin. The double-axe, labrys, was the holy symbol of the Cretan labyrinth. The Homeric hymn adds that Apollo appeared as a dolphin and carried Cretan priests to Delphi, where they evidently transferred their religious practices. Apollo Delphinios was a sea-god especially worshiped in Crete and in the islands, and his name indicates his connection with Delphi and the holy serpent Delphyne ("womb").[citation needed] Apollo's sister Artemis, who was the Greek goddess of hunting, is identified with Britomartis (Diktynna), the Minoan "Mistress of the animals". In her earliest depictions she is accompanied by the "Mister of the animals", a male god of hunting who had the bow as his attribute. His original name is unknown, but it seems that he was absorbed by the more popular Apollo, who stood by the virgin "Mistress of the Animals", becoming her brother.
Document 9: Apollo: As the patron of Delphi (Pythian Apollo), Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was also seen as a god who could bring ill-health and deadly plague. Amongst the god's custodial charges, Apollo became associated with dominion over colonists, and as the patron defender of herds and flocks. As the leader of the Muses (Apollon Musegetes) and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became a common attribute of Apollo. Hymns sung to Apollo were called paeans.
Document 10: Apollo: The cult centers of Apollo in Greece, Delphi and Delos, date from the 8th century BCE. The Delos sanctuary was primarily dedicated to Artemis, Apollo's twin sister. At Delphi, Apollo was venerated as the slayer of Pytho. For the Greeks, Apollo was all the Gods in one and through the centuries he acquired different functions which could originate from different gods. In archaic Greece he was the prophet, the oracular god who in older times was connected with "healing". In classical Greece he was the god of light and of music, but in popular religion he had a strong function to keep away evil. Walter Burkert discerned three components in the prehistory of Apollo worship, which he termed "a Dorian-northwest Greek component, a Cretan-Minoan component, and a Syro-Hittite component."
Document 11: Discobolus: The Discobolus of Myron ("discus thrower", , "Diskobólos") is a Greek sculpture completed at the start of the Classical Period, figuring a youthful ancient Greek athlete throwing discus, circa 460–450 BC. The original Greek bronze is lost but the work is known through numerous Roman copies, both full-scale ones in marble, which was cheaper than bronze, such as the first to be recovered, the "Palombara Discobolus", and smaller scaled versions in bronze.
Document 12: Apollo: Kouros (male youth) is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo. The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in ideal forms that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of ideal balance and order. His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: γνῶθι σεαυτόν (gnōthi seautón="know thyself") and μηδὲν ἄγαν (mēdén ágan, "nothing in excess"), and ἐγγύα πάρα δ'ἄτη (eggýa pára d'atē, "make a pledge and mischief is nigh").
Document 13: Apollo: In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.
Document 14: Apollo: Apollo (Attic, Ionic, and Homeric Greek: Ἀπόλλων, Apollōn (GEN Ἀπόλλωνος); Doric: Ἀπέλλων, Apellōn; Arcadocypriot: Ἀπείλων, Apeilōn; Aeolic: Ἄπλουν, Aploun; Latin: Apollō) is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The ideal of the kouros (a beardless, athletic youth), Apollo has been variously recognized as a god of music, truth and prophecy, healing, the sun and light, plague, poetry, and more. Apollo is the son of Zeus and Leto, and has a twin sister, the chaste huntress Artemis. Apollo is known in Greek-influenced Etruscan mythology as Apulu.
Document 15: Mandolin: In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan.
ground_truth: Apollo Citharoedus
sub_queries: Who was the immortal god of ideal balance? Answer: Apollo
Apollo of Mantua >> based on Answer: Apollo Citharoedus