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Men sat in helpless silence, while many a soul, as the gaze wandered up to the temple-crowned Acropolis, asked once, yes twice, “Is not the yoke of Persia preferable to that?” Then after the silence broke the clamour of voices. “The other seers! Do all agree with Xenagoras? Stand forth! stand forth!” Hegias, the “King Archon,” chief of the state religion, took the Bema.
All of these statues are evidence of the rapid progress which Greek sculpture was making in the fifth century against the demands of hieratic conventionality. The contemporary Athenian school boasted the names of Hegias, Critios, and Nesiotes.
Pheidias was an Athenian by birth, the son of Charmides. He studied first under Hegias, then under Ageladas the Argive. He became the most famous sculptor of his time, and when Pericles wanted a director for his great monumental works at Athens, he summoned Pheidias.
It cannot be thought unreasonable to suppose that two such intelligences as these must have had an attraction for one another, and that, as in the case of Dante and Giotto, the great poet and the great artist would be drawn together by a likeness in their taste and aims. Phidias studied his art first at Athens, with a native sculptor, Hegias, of whom we know nothing except from books.
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