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Updated: June 27, 2025
Pheidias lived in the golden age of Athenian art. The victory of Greece against Persia had been due in large measure to Athens, and the results of the political success fell largely to her. It is true the Persians had held the ground of Athens for weeks, and when, after the victory of Salamis, the people returned to their city, they found it in ruins.
For Pheidias of the earlier century, we have in Plato's time Praxiteles, whose carved gods are lounging and pretty nincom well, mortals; "they sink," says the Encyclopedia, "to the human level, or indeed, sometimes almost below it. They have grace and charm in a supreme degree, but the element of awe and reverence is wanting."
He possessed traditional moral standards whereby to judge the actions of historical contemporaries; he could praise or blame his politicians with a good conscience. For the Parthenon creators he had no sure norm. The standards were not yet evolved. Pheidias was a talented fellow-citizen a hewer in stone by profession: what could he know of the relations of Pheidias to posterity?
To a man of such supreme genius the circumstances in which he found himself, rather than any particular technical facility, determined the course of his career, and in another age and another country he might have been a Pheidias or a Newton, a Shakespeare or a Beethoven.
These scenes, in perfection of finish, in grace, and in design, were far in advance of the two made, as it has been said, by Giotto, in one of which Apelles, standing for painting, is working with his brush, while in the other Pheidias, representing sculpture, is labouring with his chisel.
So highly did the Pisans prize their fellow-townsman's pulpit that a law was passed and guardians were appointed for its preservation much in the same way as the Zeus of Pheidias was consigned to the care of the Phaidruntai. Niccola Pisano founded a school.
The fame of Pheidias himself, however, rested very largely on three great pieces of art work: The Athene Promachos, the Athene Parthenos, and the Olympian Zeus. The first of these was a work of Pheidias's youth. It represented the goddess standing gazing toward Athens lovingly and protectingly. She held a spear in one hand, the other supported a buckler. The statue was nine feet high.
Such works combine considerable variety in execution with a general similarity so great that a superficial observer does not see their differences. Public opinion in London seems to hold that Pheidias made the whole of the pediments and the frieze of the Parthenon; though in some cases contiguous figures are so markedly various amid the general likeness as to prove separate hands.
Gazing at Michael Angelo's prophets in the Sistine Chapel, we are indeed in contact with ideas originally religious. But the treatment of these ideas is purely, broadly human, on a level with that of the sculpture of Pheidias.
The human form in the work of Pheidias wore a joyous and sedate serenity; in that of Michael Angelo it is turbid with a strange and awful sense of inbreathed agitation. Through the figure-language of the one was spoken the pagan creed, bright, unperturbed, and superficial. The sculpture of the Parthenon accomplished the transfiguration of the natural man.
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