We can picture the great statue of Zeus, possibly the most remarkable creation of the sculptor’s art in Greece. The features of the “Father of the Gods” are majestic, yet not unkindly; the arms and the upper parts of the body are fashioned from the gleaming ivory, the lower limbs being wrapped in the golden mantle. In the days of Pausanias there was a building outside the sacred Grove, which was still treasured by the people of Elis as the workshop in which, for five years, the sculptor wrought the image piece by piece. “Why,” says Pausanias, “the god himself bore witness to the art of Phidias. For when the image was completed Phidias prayed that the god would give a sign if the work was to his mind, and straightway, they say, the god hurled a thunderbolt into the ground at the spot where the bronze urn stood down to my time.” This second-century Baedeker has given us the greater part of our knowledge of the works of antiquity, which are now lost or survive only in Roman copies. He described the statue of Zeus by Phidias thus: “The god is seated on a throne: he is made of gold and ivory: on his head is a wreath made in imitation of sprays of olive. In his right hand he carries a Victory, also of ivory and gold: she wears a ribbon, and on her head a wreath. In the left hand of the god is a sceptre, curiously wrought in all the metals: the bird perched on the sceptre is the eagle. The sandals of the god are of gold and so is his robe. On the robe are wrought figures of animals and the lily flowers. The throne is adorned with gold and precious stones, also with ebony and ivory; and there are figures painted and images wrought on it.” The statue of Hera in the temple between Argos and Mycenæ was the work of Polyclitus. It was erected after 423 B.C., when it was necessary to rebuild the shrine of the goddess owing to the burning of the older temple. The goddess was seated on her throne; the crown on her head was decorated with a design of the Graces and the Seasons in relief. Ivory was used to represent the flesh of the “white-armed” goddess, and her rich garments were elaborately decorated with gold, the finish of every detail being even more complete than was the case with the work of Phidias. If the statue of Hera was second to that of Zeus in its suggestion of god-like majesty and repose, it was nevertheless remarkable for its stately beauty. The head, as would be expected from the hand of Polyclitus, was noticeable for the absolute symmetry of every feature. The ripples of hair falling on either side of the central parting gave an impression of dignified calm to the face of the goddess.