Pheidias introduced his own portrait and that of Pericles on the shield of his Parthenos statue.
But among the Greeks themselves the two works of Pheidias which far outshone all others, and were the basis of his fame, were the colossal figures in gold and ivory of Zeus at Olympia and of Athena Parthenos at Athens, both of which belong to about the middle of the 5th century.
There are many stately figures in the Roman and other museums which clearly belong to the same school as the Parthenos; but they are copies of the Roman age, and not to be trusted in point of style.
Already it had been robbed of many of its works of art, among them the Athena Promachos and the Parthenos of Pheidias, for the adornment of Constantinople, and further spoliation took place when the church of St Sophia was built in A.D.
(1) Athena Parthenos, in the Parthenon.
38 a statuette of Athena Parthenos, a replica of the work of Pheidias.
29); this was the fashion in which the Athena Parthenos of Pheidias was draped.
The reliefs from the frieze of the temple of Apollo at Bassae, now in the British Museum), vases and sarcophagus reliefs; at Athens it was represented on the shield of the statue of Athena Parthenos, on wall-paintings in the Theseum and in the Poikile Stoa.
It is probable that the face, neck, arms and feet were of ivory, while the rest of the figure was draped in gold, Like the Olympian Zeus of Pheidias, Hera was seated on an elaborately decorated throne, holding in her left hand the sceptre, surmounted in her case by the cuckoo (as that of Zeus had an eagle), and in her right, instead of an elaborate figure of Victory (such as the Athena Parthenos and the Olympian Zeus held), simply a pomegranate.