The whole argument of Visconti thus falls to the ground with the facts by which he attempts to support it. There remain for us to consider the marble statues ascribed to Phidias by Pausanias, which are as follows: 1st, The Nemesis at Rhamnus; 2d, The Hermes at the entrance of the Ismenium at Thebes; 3d, The Aphrodite Urania at Athens, near the Ceramicus. We have already seen that the Nemesis at Rhamnus was not the work of Phidias, but of Agoracritos; that Pausanias disagrees with other authorities in attributing it to Phidias; and that the name of Agoracritos was inscribed upon it as its author. This, therefore, must be rejected. In the next place, as to the marble Hermes at the entrance to the Ismenium. This statue, as we have seen, was a decorative entrance statue standing before the temple; and its pendant, Athena, according to Pausanias, was the work of Scopas, who died a century later. The one pedestal could scarcely be left unoccupied for a century, yet this must have been the case if Pausanias is right; and for reasons which have already been given, this statue is, to say the least, not without very grave doubts. No other author speaks of it, and it rests solely on the authority of Pausanias, who lived more than six centuries after Phidias. There remains, then, the Aphrodite Urania. Pausanias is the sole authority for considering this statue the work of Phidias; and as, being in marble, it would be the only one ascribed to him upon which there are not either the gravest doubts as to his authorship or the clearest indications that he was not the author, we should accept it with caution. Can we trust Pausanias? He certainly does not agree with other writers as to the authorship of various statues. The statue of Athena at Elis, attributed by him to Phidias, Pliny says is by Kolotes. The Mother of the Gods, said by him to be a work of Phidias, is, according to Pliny, the work of Agoracritos. The Æsculapius at Epidaurus, given by him to Thrasymedes, is given by Athenagoras to Phidias. In respect of the Nemesis, he is clearly mistaken. Pausanias wrote long after Pliny, when facts were still more obscured by time. Tradition changes names; transmutes facts, and tends always to give great names to nameless works. He was a traveler in Greece in the age of Marcus Aurelius, when the arts, even in Rome, were in their decline; and he only reports what he sees and hears. He does not pretend to be a critic or a connoisseur in art. He was not one; and his accounts of the great statues in Greece are singularly dry and meagre. He would naturally be told who was the author of this, that, and the other statue that he saw; and he seems to have taken common report without a question, just as a traveler in Rome without particular knowledge or interest in art would accept the authorship of the Colossi in the Quirinal, and without hesitation follow the tradition and ascribe them in his book to Phidias and Praxiteles. If he were always accurate in