(_a_) Among the different materials in which sculptors have executed images of gods, wood is one of the most ancient. A trunk, a post at the top of which a head can be indicated, such was the beginning. Among the earliest examples of the temple image many are of wood, but the material was also used even in the days of Pheidias. The colossal Minerva of Pheidias at Plataea was mainly carved from wood which was gilded, the head, hands, and feet being of marble[189]; Myron, too[190], executed a Hecate out of wood here with only one head and body, and no doubt for Aegina, where Hecate was most revered and a festival took place annually in her honour, a festival which the Aeginetans maintained the Thracian Orpheus had inaugurated for them. Generally speaking, wood, when it is not covered over with gilding or some other precious material, by reason of its texture and the grain of it, appears too fine a material for works of importance and more appropriate to smaller figures, for which purpose it was frequently used in the Middle Ages, and is still thus utilized nowadays. (_b_) Other materials of most importance are _ivory_, associated with _gold_, founded _bronze_ and _marble._ (_α_) As is well known, Pheidias employed ivory and gold for his masterpieces, such as his Olympian Zeus, and also for his famous colossal Athene in the Acropolis of Athens, who carried on her hand an image of Victory, itself being larger than life-size. The nude portions of the body were made out of sheets of ivory, the drapery and mantle from gold plates, which could be removed. This type of workmanship in yellowish ivory and gold dates from a period in which statues were coloured, a kind of representation which steadily approximated to the one colour tone of bronze and marble. Ivory is an extremely pure material, smooth and without the granular character of marble, and, moreover, costly. And among the Athenians the costliness of the statues of their gods was itself of importance. The Pallas at Plataea had merely a superficial gilding, that at Athens solid metal plates. The statues had to be both of colossal size and of the richest material. Quatremère de Quincy has written a masterly work upon these works, upon the "toreutic" of the ancients. "Toreutic"--τορεύειν, τόρευμα--is primarily applicable to figures whose lines are brought out by engraving in metal, or cutting of some kind such as cut stones; one uses the expression, however, to indicate entire works or parts of entire works in metal, which are executed by means of moulds and the founder's art, that is, not by means of engraving, then, still more remotely from the original meaning, of superb figures on earthenware utensils, and finally in the widest sense of mouldings[191] on bronze. Quatremère's researches have particularly been directed to the technical aspect of the execution; he calculates what must have been the size of the plates made of elephants' tusks, and, among other