Idolatry--the worship of images--is almost always used by us in a bad sense, owing, no doubt, chiefly to the usage of the word in the Jewish scriptures. Mr. Ruskin, in his chapter on the subject in his _Aratra Pentelici_, points out that it may also be used in a good sense, though he prefers to use the word imagination in this meaning. There is doubtless a frequent tendency to failure to "Look through the sign to the thing signified," but there is no essential reason why the contemplation of a beautiful statue, embodying a worthy conception of the deity, should not be as conducive to a state of worship and communion as is an impressive ritual or ceremony, or any other aid to devotion. This view of the matter is expressed by some later Greek writers; in earlier times it was probably unconsciously present, though it is hardly to be found in contemporary literature. But it was only by slow stages that art came to do so direct a service to religious ideas; in more primitive times its relation was more subordinate. The worship or service of images, even in the highest ages of Greek civilisation, was much more associated with primitive and comparatively inartistic figures than with the masterpieces of sculpture; and even where these masterpieces were actually objects of worship it was often from the inheritance of a sanctity transferred to them from an earlier image rather than for their own artistic qualities. It does not, indeed, follow that the influence of the great sculptors upon the religious ideals of the people was a negligible quality; we have abundant evidence, both direct and indirect, that it was very great. But it was exercised chiefly by following and ennobling traditional notions rather than by daring innovation, and therefore can only be understood in relation to the general development both of religious conceptions and of artistic facility. Here we shall be mainly concerned with art as an expression of the religious ideals and aspirations of the people, and as an influence upon popular and educated opinions and conceptions of the gods. But we must not forget that it is also valuable to us as a record of myths and beliefs, and of ritual and customs associated with the worship of the gods. This is the case, above all, with reliefs and vase-paintings. In them we often find representations which do not merely illustrate ancient literature, but supplement and modify the information we derive from classical writers. The point of view of the artist is often not the same as that of the poet or historian, and it is frequently nearer to that of the people, and therefore a help in any attempt to understand popular beliefs. The representations of the gods which we find in such works do not often embody any lofty ideals or subtle characterisation; but they show us the traditional and easily recognisable figures in which the gods usually occurred to the imagination of the Greek people.