Phidias fled from Athens to Elis, where he was employed to execute a costly statue of the Olympian Jupiter, for the temple in Altis. This statue was the most renowned of all the works of Phidias. It was of colossal dimensions, being sixty feet in height; and seated on a throne; the head was crowned with olive; the right hand held a small statue of Victory, in gold and ivory; the left hand grasped a golden sceptre of exquisite workmanship, surmounted by an eagle; the sandals and mantle were also of the same material, the latter sculptured with every description of flowers and animals; the pedestal was also of gold, ornamented with a number of deities in bas-relief. In the front of the throne was a representation of the Sphynx carrying off the Theban youths; beneath these, the Fate of Niobe and her Children; and, on the pedestal joining the feet, the Contest of Hercules with the Amazons, embracing twenty-nine figures, among which was one intended to represent Theseus. On the hinder feet of the throne were four Victories, as treading in the dance. On the back of the throne, above the head of the god, were figures of the Hours and Graces; on the seat, Theseus warring with the Amazons, and Lions of gold. Its base, which was of gold, represented various groups of Divinities, among which were Jupiter and Juno, with the Graces leading on Mercury and Vesta; Cupid receiving Venus from the Sea; Apollo with Diana; Minerva with Hercules; and, below these, Neptune, and the Moon in her Chariot. On the base of the statue, was the inscription, _Phidias, the son of Charmidas, made me_.--Quintilian observes that this unparalleled work even added new feelings to the religion of Greece. It was without a rival in ancient times, all writers speaking of it as a production that none would even dare to imitate. There is a tradition connected with this celebrated work. Phidias, after the completion of his design, is said to have prayed Jupiter to favor him with some intimation of his approbation, whereupon a flash of lightning darted into the temple, and struck the pavement before him. This was hailed as a proof of divine favor, and a brazen urn or vase was placed upon the spot, which Pausanias mentions as existing in his time. PHIDIAS’ MODEL FOR THE OLYMPIAN JUPITER.