of Argos, made by the chief Argive master Polyclitus, is the great goddess of the city, just as Athena is of Athens. She was represented as the bride of Zeus, who annually renewed her maidenhood at the great Argive festival of the divine marriage; and we cannot doubt that Polyclitus expressed in this statue, which was hardly less famous than the masterpieces of Phidias, all the essential features of the great religious ideals that underlay this primitive rite. His Hera had neither the warlike nor the intellectual and spiritual characteristics of the Attic Athena; but she was the goddess of womanly grace and beauty in the bride, and embodied that perfection of physical form which Argive art sought also in its athletic figures, and which was in a sense a part of the religion that found expression in the great athletic games. Some gods--Apollo, for example--seem in fifth-century statues to have a more individual character. Just as in earlier times the name Apollo serves to cover a multitude of statues of which some may be meant to represent individual men, so even in the age of Phidias we sometimes meet with a figure of athletic type or of youthful beauty as to which it is possible to doubt whether it is an Apollo; this may be partly the result of the great popularity of the type in all ages of Greek sculpture which led to its more rapid development and earlier individualisation. But the Apollo of this period is never the mere dreamy youth of later time; it has been well said that he is the god who, in the mythical athletic contest, could surpass Hermes in the foot-race and Ares in boxing; the embodiment of all-round physical and intellectual excellence, the combination of music and gymnastic, which again brings us back to a national Hellenic ideal. Throughout the representations of the gods in the art of the fifth century we find the same essential character. They embody in themselves the expression, by means of the most perfect physical forms, of the qualities attributed to the god himself, or given by him to his worshippers. They are no impersonal abstraction of these qualities, but are real and living beings, in whom these qualities exist to a degree impossible for a mere mortal. But, on the other hand, they have nothing of the passions and emotions, the weaknesses and imperfections of mortal nature. In this they are inconsistent, perhaps, with that Homeric presentment of the gods which the greatest artists consciously set before themselves. But we cannot wonder that an age of such clear and lofty intellectual and moral perceptions should have rejected what it felt to be unworthy in the current notions of the gods, and should have selected only what it felt to be truly divine. Art did not, however, remain very long upon its highest level of religious feeling; but in Greece, by a fortunate coincidence, the age of the greatest religious ideals was also that of the highest perfection of physical type in art