Still more than in this statue the austere maidenliness of the goddess was elevated into noble, intellectual beauty in a figure of Athene placed on the Acropolis by the Lemnians; so much so that an old epigram instituted a comparison with the Aphrodite of Praxiteles of Cnidus, and calls Paris “a mere cow-driver for not giving the apple to Athene.” The still more famous colossal statue by Phidias, the Zeus at Olympia in Elis, was his last great work. It was made between B. C. 438, the date of the consecration of the Parthenon statue, and B. C. 432, the year of his death, at Elis. This was a seated statue of ivory and gold, 55 feet high, including the throne. Strabo remarks, that “if the god had risen he would have carried away the roof,” and the height of the interior was about 55 feet; the temple being built on the model of the Parthenon at Athens, which was 64 feet to the point of the pediment. The statue was seen in its temple by Paulus Æmilius in the second century B. C., who declared the god himself seemed present to him. Epictetus says that “it was considered a misfortune for any one to die without having seen the masterpiece of Phidias.” In the time of Julian the Apostate (A. D. 361-363) “it continued to receive the homage of Greece in spite of every kind of attack which the covert zeal of Constantine had made against polytheism, its temples, and its idols.” This is the last notice we possess giving authentic information of this grand statue. Phidias is said to have executed many other statues: thirteen in bronze from the booty of Marathon, consecrated at Delphi under Cimon—statues of Apollo, Athene, and Miltiades, with those ten heroes who had given their names to the ten Athenian tribes (Eponymi); an Athene for the city of Pellene in gold and ivory; another for the Platæans, of the spoils of Marathon, made of wood gilt, with the head, feet, and hands of Pentelic marble. “These,” M. Rochette says, “may be considered the productions of his youth.” The great national work of the time, however, was the Parthenon, and the ornamentation was entrusted to Phidias. Not that all the wonderful statues were executed by him alone. He had his pupils and associates. The most famous of these seems to have been Alcamenes, a versatile and imaginative disciple of his master. After him were Agoracritus and Pæonius. There were many others who assisted in the work. The outside of the temple was ornamented with three classes of sculpture: (1) The sculptures of the pediments, being independent statues resting on the cornices. (2) The groups of the metopes, ninety-two in number. These were in high relief. (3) The frieze around the upper border of the cella of the Parthenon contained a representation in low relief of the Panathenaic procession. All these classes of sculpture were in the highest style of the art.