The beautiful head of Jupiter found in the cella deserves more than a passing mention. In order to appreciate its character we may view it in contrast with the Otricoli Zeus, with which it is closely related. In both heads we feel the lack of that majestic simplicity, that ineffable and godlike calm, which rested on the features of the Zeus of Phidias. Here man has much more obviously made God in his own image; the face shows less of the ideal, with more of human energy and passion. [Illustration: Fig. 21.--Bust of Zeus from Otricoli, now in the Vatican Museum. After Tafel 130 of the Brunn-Bruckmann Denkmaeler.] It is not for us to decide whether the Otricoli mask is from the school of Praxiteles, or shows more of the influence of Lysippus; it is sufficient here to notice that the type was developed in the second half of the fourth century B.C., the century after Phidias. The similarity between these two examples of the type is apparent at first glance. The shape of the two heads is, in general, the same, and there is the same profusion of hair and beard, symbolic of power; but the differences in detail are striking. In the Otricoli Zeus the peculiar shape of the forehead--prominent in the middle up to the roots of the hair and retreating at the sides--seems to suggest, not so much the power of a world-encompassing and lofty intellect, as absorption in great, unfathomable thoughts. In the lines of the massive face irresistible force of will is revealed, and the capability of fierce passion lurks beneath the projecting lower part of the forehead and uneven eyebrows, threatening like a thundercloud. But for the moment all is deep repose, and the lids seem partly closed over eyes that look downwards, as if not concerned with seeing. The sculptor has conceived of Zeus as the occult power of nature, alike the origin and law of all things, or as the personification of the heavens veiled by impenetrable mists. [Illustration: Fig. 22.--Bust of Jupiter found at Pompeii. Naples Museum.] Great force of will is seen also in the face of the Pompeian god; but it is will dominated by alert and all-embracing mind. The forehead expands in a broad arch; the eyes, wide open, look out with full vision under sharply cut brows. Here we have no secret brooding; a powerful yet clearly defined and comprehensible personality is stamped upon features carved in bold, free lines. And this personality is not lost in mystical self-contemplation; the god is following with closest attention the course of events in some far distant place, affairs that in the next moment may require his intervention; excitement and expectancy are seen in the raised upper lip. The ideal of this artist was the wise and powerful king, whose watchful and all-protecting eye sees to the furthest limits of his kingdom. Surely this variation of the Otricoli type must have been conceived in a monarchical period, the period when the Greek world was ruled by the successors of Alexander.