So far as we know it was Praxiteles who first attempted to realize in stone the popular ideal of the goddess, and certainly the Cnidian Aphrodite was better understood by the people of Greece as a type of this ideal than any work that preceded it. We can attach to it in our minds but very few of the Homeric and other legends surrounding the history of the goddess, but we can well imagine that a deity who was the subject of so much attention and so much prayer, could rest in the hearts of the people only as one with every supreme earthly charm, combined with a divine bearing and dignity. These qualities the Aphrodite of Praxiteles appears to have possessed, though it lacked the majesty and exclusiveness of the Parthenon gods.[45] Thus there was formed a type of beauty acceptable to the average human mind as an unsurpassable representation of an ideal woman: to the worshipper at the ancient shrines, a comprehensible goddess; to all other men the personification of sublime beauty. The fifth century goddess was left aside as beyond mortal reach, and from the time it left the sculptor's hands to this day, the Cnidian Venus has been regarded as a model for all that is true and beautiful in women. To the sculptor it is an everlasting beacon; to all men a crowning glory of human handiwork. And this notwithstanding that so far as we know, the original figure has long been lost, and we have preserved little more than records of its renown, a fair copy of it, and a single authentic example of the other work of the sculptor. But if we had the actual Aphrodite before us, it could not occupy a higher place in our minds than the goddess which our imagination builds upon this framework.