Dio Chrysostomus writes: "No one who has seen Phidias' Zeus, is capable of forming any other image of the god.... A man, whose soul is troubled, oppressed by the many cares and griefs life offers, so that he would no longer be refreshed by sweet slumber, must I think, while confronting this statue, forget everything that is gloomy and terrible. Thus, Phidias, hast thou designed and executed thy work. Such light and grace animate thy art." Phidias had created his statue of the god according to the image of the Homeric verse, where Zeus grants the entreaty of the imploring Thetis: “He spoke, and awful bends his sable brows, Shakes his ambrosial curls, and gives the nod, The stamp of fate and sanction of the god: High heaven, with trembling the dread signal took And all Olympus to the centre shook.” POPE. Phidias' Zeus was represented seated on a throne; his left hand held the sceptre, his right bore a goddess of victory. Among all the statues of Zeus that have been preserved, the bust of Otricoli seems to approach most nearly to the ideal of Phidias. There is no absolutely accurate copy; but the descriptions given us by the ancient authors, as well as two coins from Elis, carefully described by Overbeck and Friedländer, afford a succession of by no means unimportant points. The bust in Claudia’s boudoir may be imagined a duplicate of Otricoli’s Jupiter--only approximating somewhat more closely to the separate features of the original. CHAPTER VIII. It was past midnight. The Christians of the Subura had once more assembled in the quarry between the Appian and the Labicanian Ways. Among them stood Quintus, who had joined the congregation to-day for the first time. The subterranean hall--not the small square vault where Eurymachus had taken refuge, but a large oval space, whose natural roof was here and there supported by pillars of artificial construction--was lighted by a lamp with five arms, which hung from the smoke-blackened vault. On each side, close to the wall, a natural ledge of tufa served for seats. These were given up to women and girls, mostly very humbly dressed, while the men occupied the farther end of the hall, some standing, some sitting on wooden stools, and some squatting on the ground. Quintus was leaning, with eager, glistening eyes, against a pillar that was so built into a wall as to form a semicircular niche at one end of the hall, and opposite to him, against the corresponding pillar, stood Thrax Barbatus, his sinewy arms crossed over his breast.