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The issue is the representation of the invisible and immaterial god in the mode of a material image. In the new movement of Christian religion there is besides the polemic against cult-images also continuity in the framework of ancient religion. In regard to the relation between god (“father”) and man-god (“son”) the ancient theory on the relation between god and image is used as an argument for the Christology. But also in Christian ritual practice there is some continuity with the cult of the Greek gods. The chapter looks in particular at the influence of Pheidias’ statue of Zeus.

This chapter addresses the circumstances surrounding the production of monumental new statues of deities in precious materials (such as gold and ivory) in fifth- and fourth-century B.C. Greece. Most famous are the statues of Pheidias—Athena Parthenos and Zeus Olympios—but neither these, nor others (e.g., Aphaia at Aigina, Hera at Argos, Dionysos at Athens, Artemis Laphria at Kalydon) resulted from the needs of new cults. Rather they supplemented older, more venerable statues of lesser materials and/or scale that stood in adjacent temples or even, on occasion, were moved off to the side in the very same temple while the new works received prominent central placement. This chapter seeks to analyze specifically the possible motivations behind and reactions to the supplementation of numinous ancient “cult” statues that often possessed some divine pedigree—such as having fallen from the heavens or been dedicated by a legendary hero—by massive new works fashioned by renowned artists at great expense by mortal artists and explores the role of inter-state competition through the iconography of the precious.

This chapter looks at a number of problems of technique and interpretation posed by the four cult-statue-bases produced by Pheidias and his chief pupils, Alkamenes and Agorakritos. Pheidias led the way with his base for the Athena Parthenos in the Parthenon, completed just before the dedication of the statue in 438. This was followed by his own base for the Zeus at Olympia. The figures on Pheidias' base at Olympia were metalwork, those on the bases of his pupils were carved in marble; the evidence on the Parthenos base is inconclusive. The scenes are remarkable for their lack of narrative. The myths were recognised thanks to the names of the figures presumably painted on the background.