involve us in hopeless difficulties. Neither portraits nor biographies belong to the fifth century, so wholly was the individual merged in the community. Later centuries had to provide them, and invent them.
The number of works credibly assigned to Pheidias amounts to twenty-four. He was specially famed for his divine statues. He was able to practise for his chryselephantine work on what is termed an acrolithic image—that is, of gilt wood and marble—for little Platæa. He worked also in bronze. At Olympia he made a statue of the boy victor Pantarkes, whom he loved. For the Athenian Acropolis he made two other statues of Athena, one the colossal bronze figure which faced the visitor as he passed through the Propylæa on to the sacred citadel. Her spear was visible above the roofs to the sailors at sea, and it is so represented on the coins of the city. It was a work of his early years, executed for Kimon. It was removed to Constantinople, and the