Probably the first important work executed by Phidias at Athens was the colossal bronze image of Minerva, which stood on the Acropolis. It was nearly seventy feet in height, and was visible twenty miles out at sea. It was erected by the Athenians, in memory of their victory over the Persians, with the spoils of Marathon. A smaller bronze statue, on the same model, was also erected on the Acropolis. But the greatest of the works of Phidias at Athens was the ivory and gold statue of Minerva in the Parthenon, erected with the booty taken at Salamis. It was forty feet high, representing the goddess, "not with her shield raised as the vigorous champion of her people, but as a peaceful, protecting, and victory-giving divinity." Phidias was now called to Elis, and there he executed his crowning work, the gold and ivory statue of Jupiter at Olympia. "The father of the gods and of men was seated on a splendid throne in the cella of his Olympic temple, his head encircled with a golden olive-wreath; in his right hand he held Nikè, who bore a fillet of victory in her hands and a golden wreath on her head; in his left hand rested the richly-decorated sceptre." The throne was adorned with gold and precious stones, and on it were represented many celebrated scenes. "From this immeasurable exuberance of figures," says LÜBKE, "rose the form of the highest Hellenic divinity, grand and solemn and wonderful in majesty. Phidias had represented him as the kindly father of gods and men, and also as the mighty ruler in Olympus. As he conceived his subject he must have had in his mind those lines of Homer, in which Jupiter graciously grants the request of Thetis: 'As thus he spake, the son of Saturn gave The nod with his dark brows. The ambrosial curls Upon the sovereign one's immortal head Were shaken, and with them the mighty Mount Olympus trembled.'" [Footnote: Iliad, I., 528-580. Bryant's translation.] While the art of painting was early developed in Greece, certainly as far back as 718 B.C., the first painter of renown was Polygno'tus, of Tha'sos, who went to Athens about 463 B.C., and established there what was called "the Athenian school" of painting. Aristotle called him "the painter of character," as he was the first to give variety to the expression of the countenance, and ease and grace to the outlines of figures or the flow of drapery. He painted many battle scenes, and with his contemporaries, Diony'sius of Col'oplon, Mi'con, and others, he embellished many of the public buildings in Athens, and notably the Temple of Theseus, with representations of figures similar to those of the sculptor. About 404 B.C. painting reached a farther degree of excellence in the hands of Apollodo'rus, a native of Athens, who developed the principles of light and shade and gave to the art a more dramatic range. Of this school Zeux'is, Parrha'sius, and Timan'thes became the chief masters. PARRHASIUS.