Again, Pausanias tells us that of the two marble statues called Pronaoi at the entrance of the Ismenion, that representing Athena was made by Scopas, and the other of Hermes was made by Phidias. These so-called Pronaoi were statues standing at the entrance of the building, opposite each other, a chief decorative ornament to the façade. Is it not strange that the statue on one side should be made by Phidias, and the opposite pedestal remain unoccupied until the time of Scopas, nearly a century later? Is it not plain that the temple would not have been considered finished until both statues were placed there? And is it probable that the Greeks would have allowed it to remain thus incomplete for a century? Besides, does it not seem singular, in view of the fact that Phidias was peculiarly celebrated for his statues of Athena, while Scopas was celebrated for his heroic figures and demigods, that the Athena should have been assigned to Scopas, and the Hermes to Phidias? When we also add the fact that these statues were in marble,—a material in which, as we shall presently see, Phidias certainly worked only exceptionally, if he ever worked at all, while Scopas was a worker in marble,—it will, I think, be pretty clear that Pausanias is mistaken in attributing this statue of Hermes to Phidias. Again, “The Golden Throne” must probably be considered as a name for the Athena of the Parthenon, since there is no golden throne of which we have any knowledge ever made by Phidias. In like manner it is most probable that the Athena mentioned by Pliny as being in Rome near the temple of Julian, and dedicated by Paulus Æmilius, was the Athena Lemnia in bronze, taken from the Acropolis. These statues, which are reckoned as four, must therefore in all probability be considered as only two. There remains one other statue in the list which certainly must be struck out—the Horse-Tamer, still existing in Rome at the present day, under the name of “Il Colosso di Monte Cavallo.” This statue, or rather group, stands on the Quirinal Hill, and on its pedestal are inscribed the words “Opus Phidiæ.” It is cited by Dr. Smith in his Dictionary as a work of Phidias, and he thinks it may be the “altrum colossicon nudum” of which Pliny speaks. But Pliny cited this “colossicon nudum” in his chapter on bronze works; and as this is in marble, he could not have referred to it. Independent of all other considerations, however, there is one simple fact that makes it almost impossible that it could have been the work of Phidias, though curiously enough this simple fact has apparently escaped the observation of critics. It is, that the cuirass which supports the group is a Roman cuirass and not a Greek cuirass, such as Phidias would necessarily have made.