We have already seen, by the testimony of Themistius, that Phidias was by no means rapid in his workmanship, but, on the contrary, slow and elaborate in his finish—just the opposite in these respects from Michel Angelo. This testimony of Themistius is borne out by all the ancient writers who speak of him. His style was a singular combination of the grand and colossal in design with the most minute and careful finish of all details. He had a peculiar grace and refinement in his art (χάρις τῆς τέχνης), says Dion Chrysostomus, who in another passage distinguishes him from all his predecessors by the delicate precision of his work (κατὰ τὴν ἀκρίβειαν τῆς ποιήσεως); τὸ ἀκριβές is also attributed to him by Demetrius, in his treatise on Elocution; and Dionysius of Halicarnassus celebrates his art as uniting these qualities of _finesse_ of workmanship with grandeur of design (τὸ σεμνὸν καὶ μεγαλότεχνον καὶ ἀξιωματικόν). The minute and almost excessive elaboration of his great works, as they are described by ancient authors, perfectly supports this judgment. Take, for instance, the Zeus at Olympia, or the Athena of the Parthenon—his two greatest statues in ivory and gold. Not content with carefully finishing the main figures, he chased and ornamented them, as well as all the accessories in every part, with the minute elaboration of a goldsmith. The surface of the mantle of Zeus was wrought over with living figures and flowers. Gold and gems were inserted. Cedar, ebony, and ivory were inlaid and overlaid, and the whole was exquisitely painted. Each leg of the throne on which Zeus sat was supported by four Victories dancing, and two men were in front. The two front legs were surmounted by groups representing a Theban youth seized by a sphinx, and beneath each of these groups were Phœbus and Artemis shooting at the children of Niobe; and still further on the legs were represented the battle of the Amazons and the comrades of Achelous. Over the back of the throne were three Graces on one side, and three Hours on the other. Four golden lions supported the footstool, and along its border was worked in relief or intaglio the battle of Theseus with the Amazons. The sides of the throne were ornamented with numerous figures representing various groups and actions—such as Helios mounting his chariot, Zeus and Charis, Zeus and Hera, Aphrodite and Eros, Phœbus and Artemis, Poseidon and Amphitrite, Athena and Heracles, and others. What wonderful elaboration expended on a mere accessory of this Colossus!