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Updated: June 27, 2025
No well nurtured youth, on seeing the statue of Jupiter Olympius at Pisa, wishes that he were a Pheidias, or that he were a Polykleitus on seeing the statue of Juno at Argos, nor yet while he takes pleasure in poetry, does he wish that he were an Anakreon, a Philetas, or an Archilochus; for it does not necessarily follow that we esteem the workman because we are pleased with the work.
Polycleitos was much praised by the Romans Quintilian and Cicero, who nevertheless, held that though he surpassed the beauty of man in nature, yet he did not approach the beauty of the gods. It was reserved for Pheidias to portray the highest conceptions of divinity of which the Greek mind was capable in his statues of Athene in the Parthenon at Athens, and the Zeus of Olympus.
The time was ripe, for the artistic progress of the people had been no less marked than their political. The same long training in valor and temperance which gave Athens her statesmen, Aristides and Pericles, gave her her artists and poets also. Pericles became president of the city in 444 B.C., just at the time when the decorative arts were approaching perfection under Pheidias.
If we raise our voices, she too will stretch her limbs and, like her sister, shudder into sensibility with sighs. Only we must not wake her; for he who fashioned her, has told us that her sleep of stone is great good fortune. Both of these women are large and brawny, unlike the Fates of Pheidias in their muscular maturity.
Indeed, when we consider the immense number of figures employed, it becomes evident that not even all the sculptures of the pediments can have been executed entirely by Pheidias, who was already probably well advanced in life when he began the Parthenon decorations; yet all the sculptures were the work of Pheidias or of pupils working under him, and although traces may be found of the influence of other artists, of Myron, for example, in the freedom and naturalness of the action in the figures of the frieze, yet all the decorations of the Parthenon may fairly be said to belong to the Pheidian school of sculpture.
It seems scarcely possible that it should not have sprung from the inspiration of his example. The last of the great sculptors of Greece was Lysippos of Sikyou. He differed from Pheidias on the one hand and from Polycleitos on the other.
On the other hand, all the girls go with the fisher-folk in their love of the Madonna. "Ah yes, signore," laughs a maiden whose Greek face might have served Pheidias for a model, "San Costanzo is our protector, but he is old and the Madonna is young, so young and so pretty, signore, and she is my protectress."
No copy of this statue survives, and hence a description of it must be largely conjectural, made up from hints gleaned from Athenian coins. Pheidias sculptured other statues of Athene, but none so wonderful as the Athene Parthenos, which, with the Olympian Zeus, was the wonder and admiration of the Greek world.
But if he has any knowledge of Jacobean busts on monuments, he will probably agree with me in saying, "This effigy, though executed by somebody who was not a Pheidias, and who perhaps worked merely from descriptions, is, at all events, Jacobean."
The earlier sculpture confines itself to broad, central lines of heroic and divine character, as in the two masterpieces of Pheidias. The latter dealt in great elaboration with the details and elements of the stories and characters that formed its subjects, as in the Niobe group, or the Laocoon, to be mentioned later.
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