Page:Anecdotes of painters, engravers, sculptors and architects, and curiosities of art (IA anecdotesofpaint01spoo).pdf/183

 *cing twenty-nine figures, among which was one intended to represent Theseus. On the hinder feet of the throne were four Victories, as treading in the dance. On the back of the throne, above the head of the god, were figures of the Hours and Graces; on the seat, Theseus warring with the Amazons, and Lions of gold. Its base, which was of gold, represented various groups of Divinities, among which were Jupiter and Juno, with the Graces leading on Mercury and Vesta; Cupid receiving Venus from the Sea; Apollo with Diana; Minerva with Hercules; and, below these, Neptune, and the Moon in her Chariot. On the base of the statue, was the inscription, Phidias, the son of Charmidas, made me.—Quintilian observes that this unparalleled work even added new feelings to the religion of Greece. It was without a rival in ancient times, all writers speaking of it as a production that none would even dare to imitate. There is a tradition connected with this celebrated work. Phidias, after the completion of his design, is said to have prayed Jupiter to favor him with some intimation of his approbation, whereupon a flash of lightning darted into the temple, and struck the pavement before him. This was hailed as a proof of divine favor, and a brazen urn or vase was placed upon the spot, which Pausanias mentions as existing in his time.

PHIDIAS' MODEL FOR THE OLYMPIAN JUPITER.

Phidias, being asked how he could conceive that air of divinity which he had expressed in the face