It was this temple of Libon’s that became, soon after its completion, the casket which held the _chef d’œuvre_ of Phidias, the colossal statue of Jupiter carved in ivory and gold, of which Quintilian observes that it added a new religious feeling to Greece. The story is well known how Phidias, being asked by his nephew Panænus, a painter, who assisted him in the decoration of the temple, how he could have conceived that air of divinity which he had expressed in the face of this noble statue, replied that he had copied it from Homer’s description of the god. Jupiter was presented naked to his waist, but draped from his girdle down. The significance of this was that the great Jove, knowing himself to be of heavenly origin, thought it best to conceal himself in part only from man. He was also given a beard for the reason that the Greeks, clinging to the Oriental notion, believed that beards carried with them an air of majesty; an idea, by the way, which was not shared in by the Romans, who spoke with derision of their bearded forefathers, and permitted the wearing of beards only to those who were in disgrace, and to poor philosophers, who probably, like our poor modern poets, found a visit to the barber’s an unnecessary and expensive luxury. Rome during these early times, and before she had awakened to the cultivation of the arts at home, was prone to borrow from Greece the talent of which she was in need. It was about this time that we find the first record of such a call made by Rome upon her eastern neighbor for architects. The demand was answered by the two architectural sculptors Damophilus and Gorgasus, who were imported by the Dictator Posthumius to erect two temples in Rome, one to Castor and Pollux or, as some authorities assert, to Liber and Libera (Bacchus and Proserpine), which stood near the Forum and Temple of Vesta, and the other to Ceres, on the slope of the Aventine hill, near the Circus. These temples were vowed by Posthumius, in his battle with the Latins, 496 B.C., and were dedicated by Viscellinus some years later. Before closing this chapter, in which the attempt is made to gather together some of the earlier architects of Greece, it may be as well to include within it a number of such artists who though not rising to the highest fame, or who were not connected with the most elegant buildings of their time, nevertheless had the good fortune to have their names preserved in history.