A simple image of a god may be regarded as a symbol. When the image has connected with it one or more figures to indicate the qualities or functions of the divinity, we have then, strictly speaking, an allegorical representation. Æsculapius was sometimes shown in the one way and sometimes in the other. Thus, he was occasionally to be seen at Rome, and elsewhere, in the form of a serpent; and, at the Epidaurian Grove, for example, as a man having in connection with him a serpent, a dog, and other things. As is implied in what I have just said, there was no set, invariable mode of portrayal of Æsculapius. This fact should be clearly understood. But let it not be supposed that it is by any means singular. It will occur to the well-informed reader that the same holds true in regard to Zeus, Apollo, Venus, and, indeed, all other divinities. Says Müller: “The so-called ideals of the Grecian gods are not types; they do not preclude the freedom of the artist; they rather contain the strongest impulse to new, genial creations.”[151] It is, perhaps, self-evident that a statue of a god must necessarily be quite ideal; and, of course, an ideal is without absolute permanency. Still, it remains true that in the case of Æsculapius, as well as that of every other deity, there was a more or less definite conventional way of representing him. This, however, was largely dependent on the presence of attributes. Thus, it would be not only inconsistent with custom, but almost futile, to attempt to delineate him without the presence of a serpent. The most magnificent representation of Æsculapius was the one at Epidaurus. A description of it has already been given. This fine work of art disappeared at an early day. The vandals could not be expected to spare it; the gold in its composition was fatal to its permanency. It was borne on coins of Epidaurus. According to Strabo,[152] a copy of it was taken to the Galatian town, Pessinus, not Rome, as is often said. Several other places were similarly favored. There was a very celebrated statue of Æsculapius at the renowned Asclepion of Pergamus, the production of the artist Pyromachus, as well as one similar to that of Epidaurus. It became the prevailing type in art. In it the god was represented as a mature man of benevolent expression, with his rather long hair bound with a fillet, and in his right hand he held a staff enwreathed with a serpent. He wore a himation[153] drawn tight over the left arm and breast. The whole right side from the waist up was uncovered. His attitude was that of a person ready to render assistance. “We can recognize,” says Müller, “the figure with tolerable certainty as the most usual representation of the god on numerous coins of Pergamus.”[154]