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to be seen by the art of the creator, but dissoluble by the nature of their matter. Plato also bears witness to this argument; "for 'the heaven," he says, "and world which we have named, has partaken of many <and> blessed things from the father, but yet indeed it has also partaken of body; whence it is impossible for it to be without a share of change." If, therefore, while admiring the heaven and the elements for their art, I do not worship them as gods, knowing the principle of dissolution which is over them, of which I know men are the creators, how can I call these things gods? But consider briefly with me (for it is necessary for one making a defense to provide more accurate reasonings, both concerning the names, that they are rather new, and concerning the images, that they have come into being yesterday and the day before, so to speak; and you also know these things more worthily, as you are conversant with the ancients in all things and above all men); I say, then, that Orpheus and Homer and Hesiod are the ones who gave both genealogies and names to those who are called gods by them. Herodotus also bears witness: "For I think Hesiod and Homer were four hundred years older than I, and not more; and these are they who composed a theogony for the Greeks, and gave the gods their epithets, and distributed their honors and arts, and indicated their forms." But as for the images, so long as the plastic art and painting and statuary did not yet exist, they were not even thought of; but when Saurias the Samian and Craton the Sicyonian and Cleanthes the Corinthian and the Corinthian maid came into being, and shadow-drawing was invented by Saurias, who traced a horse in the sun, and painting by Craton, who painted in outline the shadows of a man and a woman on a whitened tablet, -and from the maid the art of modeling figures in clay was invented (for being in love with someone, she traced his shadow on the wall as he slept, and then her father, delighted with the exactness of the likeness—for he was a potter—embossed the outline and filled it in with clay; the mold is still preserved in Corinth to this day), -and after these came Daedalus, and Theodorus and Smilis, who further invented statuary and plastic art. So short, then, is the time for the images and the business concerning idols, that one can name the craftsman of each god. For the image of Artemis in Ephesus, and that of Athena (or rather Athela, for she is without a nipple, as the more mystical say) the ancient one made from the olive tree, and the Seated one, were wrought by Endoeus, a pupil of Daedalus, the Pythian is the work of Theodorus and Telecles, and the Delian and the Artemis are the art of Tectaeus and Angelion, the Hera in Samos and in Argos are the hands of Smilis, and the rest of the idols Phidias'; the Aphrodite in Cnidus is another art of Praxiteles, the Asclepius in Epidaurus is the work of Phidias. To speak concisely, not one of them has escaped not being by

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ἰδεῖν τῇ τοῦ δημιουργοῦ τέχνῃ, ἀλλὰ λυτὰ τῇ τῆς ὕλης φύσει. μαρτυρεῖ δὲ τῷ λόγῳ τούτῳ καὶ Πλάτων· "ὃν" γὰρ "οὐρανόν", φησί, "καὶ κόσμον ἐπωνομάκαμεν, πολλῶν μὲν μετέσχηκε <καὶ> μακαρίων παρὰ τοῦ πατρός, ἀτὰρ οὖν δὴ κεκοινώνηκε <καὶ> σώματος· ὅθεν αὐτῷ μεταβολῆς ἀμοίρῳ τυγχάνειν ἀδύνατον." εἰ τοίνυν θαυμάζων τὸν οὐρανὸν καὶ τὰ στοιχεῖα τῆς τέχνης οὐ προσκυνῶ αὐτὰ ὡς θεοὺς εἰδὼς τὸν ἐπ' αὐτοῖς τῆς λύσεως λόγον, ὧν οἶδα ἀνθρώπους δημιουργούς, πῶς ταῦτα προσείπω θεούς; Σκέψασθε δέ μοι διὰ βραχέων (ἀνάγκη δὲ ἀπολογούμενον ἀκριβεστέρους παρέχειν τοὺς λογισμοὺς καὶ περὶ τῶν ὀνομάτων, ὅτι νεώτερα, καὶ περὶ τῶν εἰκόνων, ὅτι χθὲς καὶ πρῴην γεγόνασιν ὡς λόγῳ εἰπεῖν· ἴστε δὲ καὶ ὑμεῖς ταῦτα ἀξιολογώτερον ὡς ἂν ἐν πᾶσιν καὶ ὑπὲρ πάντας τοῖς παλαιοῖς συγγιγνόμενοι)· φημὶ οὖν Ὀρφέα καὶ Ὅμηρον καὶ Ἡσίοδον εἶναι τοὺς καὶ γένη καὶ ὀνόματα δόντας τοῖς ὑπ' αὐτῶν λεγομένοις θεοῖς. μαρτυρεῖ δὲ καὶ Ἡρόδοτος· "Ἡσίοδον γὰρ καὶ Ὅμηρον ἡλικίην τετρακοσίοισι ἔτεσι δοκέω πρεσβυτέρους ἐμοῦ γενέσθαι, καὶ οὐ πλείοσι· οὗτοι δέ εἰσιν οἱ ποιήσαντες θεογονίην Ἕλλησι καὶ τοῖσι θεοῖσι τὰς ἐπωνυ μίας δόντες καὶ τιμάς τε καὶ τέχνας διελόντες καὶ εἴδεα αὐτῶν σημήναντες." αἱ δ' εἰκόνες μέχρι μήπω πλαστικὴ καὶ γραφικὴ καὶ ἀνδριαντοποιητικὴ ἦσαν, οὐδὲ ἐνομίζοντο· Σαυρίου δὲ τοῦ Σαμίου καὶ Κράτωνος τοῦ Σικυωνίου καὶ Κλεάνθους τοῦ Κορινθίου καὶ κόρης Κορινθίας ἐπιγενομένων καὶ σκιαγραφίας μὲν εὑρεθείσης ὑπὸ Σαυρίου ἵππον ἐν ἡλίῳ περιγράψαντος, γραφικῆς δὲ ὑπὸ Κράτωνος ἐν πίνακι λελευκωμένῳ σκιὰς ἀνδρὸς καὶ γυναικὸς ἐναλείψαντος, -ἀπὸ δὲ τῆς κόρης ἡ κοροπλαθικὴ εὑρέθη (ἐρωτικῶς γάρ τινος ἔχουσα περιέγραψεν αὐτοῦ κοιμωμένου ἐν τοίχῳ τὴν σκιάν, εἶθ' ὁ πατὴρ ἡσθεὶς ἀπαραλλάκτῳ οὔσῃ τῇ ὁμοιότητι- κέραμον δὲ εἰργάζετο-ἀναγλύψας τὴν περιγραφὴν πηλῷ προσ ανεπλήρωσεν· ὁ τύπος ἔτι καὶ νῦν ἐν Κορίνθῳ σῴζεται), -τούτοις δὲ ἐπιγενόμενοι ∆αίδαλος, Θεόδωρος, Σμῖλις ἀνδριαντοποιητικὴν καὶ πλαστικὴν προσεξεῦρον. ὁ μὲν δὴ χρόνος ὀλίγος τοσοῦτος ταῖς εἰκόσι καὶ τῇ περὶ τὰ εἴδωλα πραγματείᾳ, ὡς ἔχειν εἰπεῖν τὸν ἑκάστου τεχνίτην θεοῦ. τὸ μὲν γὰρ ἐν Ἐφέσῳ τῆς Ἀρτέμιδος καὶ τὸ τῆς Ἀθηνᾶς (μᾶλλον δὲ Ἀθηλᾶς· ἀθήλη γὰρ ὡς οἱ μυστικώτερον οὕτω γὰρ) τὸ ἀπὸ τῆς ἐλαίας τὸ παλαιὸν καὶ τὴν Καθημένην Ἔνδοιος εἰργάσατο μαθητὴς ∆αιδάλου, ὁ δὲ Πύθιος ἔργον Θεο δώρου καὶ Τηλεκλέους καὶ ὁ ∆ήλιος καὶ ἡ Ἄρτεμις Τεκταίου καὶ Ἀγγελίωνος τέχνη, ἡ δὲ ἐν Σάμῳ Ἥρα καὶ ἐν Ἄργει Σμίλιδος χεῖρες καὶ Φειδίου τὰ λοιπὰ εἴδωλα ἡ Ἀφροδίτη ἐν Κνίδῳ ἑτέρα Πραξιτέλους τέχνη, ὁ ἐν Ἐπιδαύρῳ Ἀσκληπιὸς ἔργον Φειδίου. συνελόντα φάναι, οὐδὲν αὐτῶν διαπέφευγεν τὸ μὴ ὑπ'