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F. B. Tarbell, A History of Ancient Greek Art
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Page 4
Speculation has been busy in attempting to connect other statues that have been preserved to us with the name of Phidias. The most probable case that has yet been made out concerns two closely similar marble figures in Dresden, one of which is shown in Fig. 119. The head of this statue is missing, but its place has been supplied by a cast of a head in Bologna, which has been proved to be another copy from the same original. This proof, about which there seems to be no room for question, is due to Professor Furtwangler,[2] who argues further that the statue as thus restored is a faithful copy of the Lemnian Athena of Phidias, a bronze work which stood on the Athenian Acropolis.
[2] "Masterpieces of Greek Sculpture" pages 4 ff.
The proof of this depends upon (1) the resemblance in the standing position and in the drapery of this figure to the Athena of the Parthenon, and (2) the fact that Phidias is known to have made a statue of Athena (thought to be the Lemnian Athena) without a helmet on the head – an exceptional, though not wholly unique, representation in sculpture in the round.
If this demonstration be thought insufficient, there cannot, at all events, be much doubt that we have here the copy of an original of about the middle of the fifth century. The style is severely simple, as we ought to expect of a religious work of that period. The virginal face, conceived and wrought with ineffable refinement, is as far removed from sensual charm as from the ecstasy of a Madonna. The goddess does not reveal herself as one who can be "touched with a feeling of our infirmities"; but by the power of her pure, passionless beauty she sways our minds and hearts.
Next Chapter:
The Parthenon 
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Reference address : https://ellopos.net/elpenor/greek-texts/ancient-greece/history-of-ancient-greek-art-38.asp?pg=4
