Here, too, as in the case of the Zeus, it is difficult for us to avoid the error of regarding the statue as a mere philosophical abstraction, an impersonation of the qualities it represents. Athena in later art, as set up in libraries and museums, was doubtless such an impersonation, just as she is in modern art unreal and comparatively uninteresting. But the Athenian believed intensely in the existence of his goddess. He believed that the ceremonies connected with her ancient image were necessary to the continuance of her favour to her city and people, and that the new temples and statues set up in her honour would still further delight her and ensure her protection and her abode among her grateful worshippers. The statue by Phidias within the Parthenon offered not merely that form in which she would choose to appear if she showed herself to mortal eyes, but actually showed her form as she had revealed it to the sculptor. To look upon such an image helped the worshipper as much as--perhaps more than--any service or ritual to bring himself into communion with the goddess, and to fit himself, as a citizen of her chosen city, to carry out her will in contributing his best efforts to its supremacy in politics, in literature, and in art. If a work of art could have this actual influence upon religious emotion, and through it upon practical life, it may be said to have attained the utmost that any human effort can achieve in the service of God. The religious influence of art in the fifth century is, as we have seen, closely associated with the state; the Athena Parthenos and the Olympian Zeus appealed to their worshippers as citizens of Athens and as members of the privileged Hellenic race. It would be easy to trace a similar character in almost all the great statues of gods that are recorded as belonging to this period. Thus the Dionysus of Alcamenes is not the dreamy god of wine and pleasure that we find at a later age, but an august figure, bearded and enthroned, the giver of the riches of the earth and the wine, the god in whose honour all the great Dionysian festivals were held; the same sculptor's Hermes is the guardian of ways and gates, the giver of increase to flocks, not the youthful and athletic messenger of the gods. Hephaestus, too, especially when associated with Athena, is the patron and teacher of all handicrafts, himself the ideal artisan, practical and genial, but with none of his godhead lost in a too human individuality; even his lameness--characteristic of the smith in all folk-lore--is lightly indicated, not dwelt on as an interesting motive. Various statues of particular gods may, of course, emphasise one side or another of their functions. Athena may be worshipped and represented as goddess of Victory or of Health; but here, too, it is usually some recognised state cult that underlies the representation. Outside Athens we find the same conditions. To take only one instance, the colossal gold and ivory Hera