men, filled with the generous ardor of youth, and inspired by the nature of their task, should have stirred in him an answering enthusiasm. It gives us a thrill of pleasure to read in the list of these youths the name of the great tragic poet, Euripides, who began life as a painter, and in whose plays we find more than one reference to the art. It cannot be thought unreasonable to suppose that two such intelligences as these must have had an attraction for one another, and that, as in the case of Dante and Giotto, the great poet and the great artist would be drawn together by a likeness in their taste and aims. Phidias studied his art first at Athens, with a native sculptor, Hegias, of whom we know nothing except from books. Later, he went to Argos, and there put himself under the instruction of Ageladas, a worker chiefly in bronze, and very famous in his time, of whom, however, nothing remains but the memory of a few of his more notable works. For us, his own works forgotten, he remains in honor as the teacher of Myron, of Polycletus, and of Phidias, the three chief sculptors of the next generation to his own. On leaving the workshop of Ageladas, Phidias executed several statues that brought him prominently before the public. For Delphi, he made a group of thirteen figures in bronze, to celebrate the battle of Marathon and apotheosize the heroes of Attica. In this group, Miltiades was placed in the centre, between Athena, the tutelary goddess of Athens, and Apollo, the guardian of Delphi; while on each side were five Athenian heroes, Theseus and Codrus with others, arranged in a semicircle. This important work was paid for by Athens out of her share in the spoils of Marathon. Another important commission executed by Phidias was a statue of Athena made for her temple at Platæa, and paid for with the eighty talents raised by the contributions of the other Grecian states as a reward for the splendid services of the Platæans at Marathon, where they played somewhat the same part as the Prussians at the battle of Waterloo. The head, hands, and feet of this statue were of marble, but the drapery was of gold; so arranged, probably, as in the case of the great statue of Athena designed later by Phidias for the Parthenon, as to be removable from the marble core at pleasure. Phidias made so many statues of the virgin goddess Athena, that his name became associated with hers, as at a later day that of Raphael was with the Virgin Mary. In the first period of his artistic career, moved perhaps by his patriotic gratitude for her intervention in behalf of his native state, he had represented the goddess as a warlike divinity, as here at Platæa; but in his later conceptions, as in a statue made for the Athenians of Lemnos, Athena appeared invested with milder attributes, and with a graceful and winning type of beauty.