It is true that these early images attributed to Daedalus showed already a considerable advance on the shapeless or roughly shaped stocks or stones that had served as the most primitive objects of worship; but it was their resemblance to these rather than their difference from them that impressed the imagination of Pausanias. He appreciated them not so much as examples of an art that promised much for the future, but rather as linked with the past by the tradition of an immemorial sanctity. We find, in fact, that the rude early images remained the centres of state cult and official worship, as well as of popular veneration, long after the art of sculpture had become capable of providing their worshippers with more adequate embodiments of the gods they represented. It was the early image of Athena, not the Athena Parthenos by Phidias, that was annually washed in the sea, and for which the peplos was woven by the chosen women of Athens. The connection between art and religion is, in such a case, reduced to narrow limits; but, on the other hand, we hear of many instances where new statues of the gods were made as temple statues, to be the chief objects of worship and centres of cult. And this was sometimes done with the official sanction of the gods themselves, as expressed through the oracle of Delphi. The sanctity of the old image was sometimes transferred to the new one; a striking example of this is seen in the case of Artemis Brauronia on the Athenian Acropolis. It had been the custom for the garments presented to the goddess by her worshippers to be placed upon her primitive statue; and when a new and worthier representation of the goddess was placed in the temple in the fourth century, we are informed by inscriptions that dedicated garments were sometimes hung upon it, even though it was a statue from the hand of Praxiteles. It sometimes happened that the old and the new statues stood side by side in the same temple, or in adjacent temples, and they seem then to exemplify the two kinds of idolatry--the literal and the imaginative--the one being the actual subject of the rites ceremonially observed, and the other being the visible presentment of the deity, and helping the worshipper to concentrate his prayers and aspirations. Here the art of the sculptor had the fullest scope, and it is in such cases that he could, as Quintilian said of Phidias, "make some addition to the received religion."