In such a stage of religious belief or imagination it is clearly of high importance that the image of any deity should be pleasing to that deity, and thereby attract his presence and serve as a ready channel of communication with him. From the point of view of art, it would seem at first sight that the result would be a desire to make the image as beautiful as possible, and as worthy an embodiment of the deity as the sculptor could devise. This doubtless was the result in the finest period of art in Greece, and it involved, as we shall see, a great deal of reciprocal influence on the part of religion and art. But in earlier times the case is not so simple; and even in statues of the fifth century it is not easy to understand the conditions under which the sculptor worked without some reference to the historical development that lay behind him. Before the rise of sculpture in Greece, images of the gods, some of them only rudely anthropomorphic, had long been objects of worship; and it was by no means safe in religious matters to depart too rashly from the forms consecrated by tradition. This was partly owing to the feeling that when a certain form had been accepted, and a certain means of communication had worked for a long time satisfactorily, it was a dangerous thing to make a change which might not be agreeable to the powers concerned, and which might, so to speak, break the established connection. But while hieratic conservatism tended to preserve forms and formulae almost for what we may call magic reasons, there was also a sentiment about the matter which gave popular support to the tendency. Thus Pausanias probably expresses a common feeling when he says that the images made by Daedalus, "though somewhat strange in aspect, yet seem to be distinguished by something in them of the divine."