Voltaire, Rousseau and, 30. Walls, ancient process used in finishing, 153. Wardour Street, the portraits of, 152. Wax, the common vehicle of ancient painters, 144. “Weird Sisters,” the, but outward personifications of evil thoughts, 285. Welcker and Preller, cited, 59, 60. Wilkins, William, opinion of, on the Elgin marbles, 99. Wilson, Mr. Charles Heath, close examination of Michel Angelo’s frescoes by, 25. “Wisdom of Solomon,” the, cited, 150. Woman, superior to man in adjusting details, 259; unable to bear the remembrance of what she has gone through, 277. World, the, needs revolutionizing, 227. Xenocles of Cholargos, finishes the Temple of Initiation at Eleusis, 52. Xenophon, classes Polyclitus with Homer, Sophocles, and Zeuxis, as an artist, 89. Zacharias, figure of, by Michel Angelo, 27. Zagreus and Semele, 161. Zenobius, cited, 70. Zeus, chryselephantine statue of, by Phidias, 63, 59–63, 65, 81, 86, 98, 209; inscription on, 109. Zeus, the Temple of, at Olympia, 53. FOOTNOTES [1] Whether this inscription was placed there during the life of Phidias does not appear; but it is highly improbable, and not in harmony with the practice of the Greeks. [2] Themistius, Orat. adeum qui postulaverat ut ex tempore sermonem haberet. [3] τέκτονες, πλάσται, χαλκοτύποι, λιθουργοί, βαφεῖς, χρυσοῦ μαλακτῆρες καὶ ἐλέφαντος ζωγράφοι, ποικιλταῖ, τορευταῖ. This passage is generally cited as a statement by Plutarch that Phidias employed all these men; but in fact he is only urging, in justification of Pericles, and in answer to attacks made against him for expending such large sums of money in the public works, that these works gave employment to the enumerated classes of artists and mechanics. [4] The date of the birth of Pericles is unknown, but he began to take part in public affairs in B. C. 469, when he could not probably have been less than twenty-one years of age. This would place his birth at 490. He died in 429; and this reckoning would make him only sixty-one at his death. [5] A full transcript of these inscriptions will be found in Dr. Brunn’s _Geschichte der griechischen Künstler_, i. 249. [6] See Lysias’s Frag., Περὶ τοῦ τύπου; also, Müller’s _Ancient Art_, 360, and King’s _Antique Gems_. [7] “Non ex ebore tantum sciebat Phidias facere simulacrum, faciebat et ex ære. Si marmor illi, si adhuc viliorem materiam obtulisses, fecisset quale ex illa fieri optimum potuisset.”—Seneca, _Epist._ 86. [8] _Du Moulage en Plâtre chez les Anciens_, par M. Charles C. Perkins, correspondant de l’Académie des Beaux Arts, etc. Paris, 1869. [9] Pliny, _Nat. Hist._, lib. xxxv. ch. xii.