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The horse is huge compared to its jockey, a boy only 84 centimeters (2.76 feet) tall and perhaps around ten years old. The bronze of the rear legs is thicker, indicating that they were the statue’s primary means of support. “This horse and his boy showcase a paradigm often seen in Hellenistic sculpture—the combination of Greek Classical ideals with added expression, drama, and energy.” Here, the bronze acts as a very expressive medium,” she writes, painting a striking image. The sculpture's head, now an icon of Hellenic culture, formed the subject of a Greek 500 drachma postage stamp (in use 1954–1977) and a 1,000 drachma banknote (first issue 1970, replaced in 1987). The sculpture was first discovered in 1926 and further excavated in 1928, at the site of a shipwreck that occurred no earlier than the middle of the second century BC.

The recovered sculptured fragments of the 4th-century rebuilding and a few from the earlier temple, which had been used in the rubble fill for the rebuilding, were assembled and displayed in the "Ephesus Room" of the British Museum. The horse dwarfs its jockey, a boy only 84 centimetres (2.76 ft) tall and perhaps 10 years old, possibly from Africa based on his physiognomy and original black patinated surface colouring. The bronze of the rear legs is thicker, indicating that they were the statue's primary means of support. The statue was reassembled, after restoration of the horse's tail and body, and it went on display at the National Archaeological Museum, Athens in 1972.

Athenagoras of Athens names Endoeus, a pupil of Daedalus, as sculptor of Artemis' main cult image. Alexander offered to pay for the temple's rebuilding; the Ephesians tactfully refused, saying "it would be improper for one god to build a temple to another", and eventually rebuilt it after his death, at their own expense. Pliny the Elder, seemingly unaware of the ancient continuity of the sacred site, claims that the new temple's architects chose to build it on marshy ground as a precaution against earthquakes, with lower foundation layers of fleeces and pounded charcoal. A new ebony or blackened grapewood cult statue was sculpted by Endoios,dand a naiskos to house it was erected east of the open-air altar. In the 7th century BCE, a flood destroyed the temple, depositing over half a meter of sand and flotsam over the original clay floor. The Temple of Artemis (artemisia) was located near the ancient city of Ephesus, about 75 kilometres (47 mi) south from the modern port city of İzmir, in Turkey.

• The Christian approach was at variance with the syncretistic approach of pagans to gods who were not theirs.
• Pausanias (c. 2nd century AD) reports another image and altar in the temple, dedicated to Artemis Protothronia (Artemis "of the first seat") and a gallery of images above this altar, including an ancient figure of Nyx (the primordial goddess of Night) by the sculptor Rhoecus (6th century BCE).
• “The horse has two legs lifted far off the ground, giving the impression that he gallops at full speed,” she writes.
• Pliny the Elder described a sculpture of Ephesian Artemis as being made of wood (a xoanon) and covered in gold and silver.
• It is a rare surviving original bronze statue from Ancient Greece and a rare example in Greek sculpture of a racehorse.

Greek Art in All Its Stunning Glory: The Jockey of Artemision

According to most scholars, the bronze represents Zeus, the thunder-god and king of gods, though it has also been suggested it might represent Poseidon. This masterpiece was discovered by fishermen who brought up the arm in 1926, and two years later a team of deep-sea divers recovered the rest of the statue. This was how many marvelous statues, created like this one to honor a god, ended up in the villas of wealthy Romans, who would show them off to their guests when entertaining. The Artemision Bronze, which is one of the best-known masterpieces of the museum, is believed to represent either Poseidon, the god of the sea, or Zeus, the king of the gods, in the act of throwing something. Evidence suggests that the oval objects were not intended to depict part of the goddess' anatomy at all.

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Pliny the Elder described a sculpture of Ephesian Artemis as being made of wood (a xoanon) and covered in gold and silver. It was part of a definitively Greek political and cultural identity, essential to the economic life of the region, and an excellent opportunity for young, unmarried Greeks of both sexes to seek out marriage partners. When Alexander conquered the Persians, his offer to finance the temple's second rebuilding was politely but firmly refused.jEphesian Artemis lent her city's diplomacy a powerful religious edge. On the whole, the Persians dealt fairly with 1win casino Ephesus, but removed some religious artifacts from Artemis' Temple to Sardis and brought Persian priests into her Ephesian cult; this was not forgiven. Once Persia ousted and replaced their Lydian overlord Croesus, the Ephesians played down his contribution to the temple's restoration.

Literary sources describe the temple's adornment by paintings, columns gilded with gold and silver, and religious works of renowned Greek sculptors Polyclitus, Pheidias, Cresilas, and Phradmon. The third temple was larger than the second; 137 m (450 ft) long by 69 m (225 ft) wide and 18 m (60 ft) high, with more than 127 columns. Herostratus' part in the temple's destruction has been questioned in modern scholarship. Plutarch remarks that Artemis was too preoccupied with Alexander's delivery to save her burning temple; he does not specify a cause for the fire. In Greek and Roman historical tradition, the temple's destruction coincided with the birth of Alexander the Great (around 20–21 July 356 BC).

A few further fragments of sculpture were found during the 1904–1906 excavations directed by David George Hogarth. At least some of the stone from the abandoned temple was used in construction of other buildings.A legend of the Late Middle Ages claims that some of the columns in the Hagia Sophia were taken from the Temple of Artemis at Ephesus, but there is no truth to this story. Cyril of Alexandria credited Archbishop of Constantinople John Chrysostom with destroying the temple, referring to him as "the destroyer of the demons and overthrower of the temple of Diana". After the city had been made Christian and the temple had been closed, the name of Artemis appears to have been erased from inscriptions throughout Ephesus. Ammonius of Alexandria comments on its closure, perhaps as early as 407 CE, or no later than the mid-5th century. According to the New Testament, the appearance of the first Christian missionary in Ephesus caused locals to fear for the temple's dishonor.

The temple was central to Ephesian life, as it had great political and social value to its citizens. This version of the temple lasted until 356 BCE, when it was burned down by an arsonist, popularly identified as Herostratus. A more elaborate reconstruction of the temple began around 550 BCE under the leadership of the Greek architect from Crete Chersiphron, funded by Croesus of Lydia. The original temple was among the Seven Wonders of the World and was burnt down in 356 BCE by Herostratos on the eve of the birth of Alexander the Great.

The fragmentary bronze statues of a horse, a boy, and a god were retrieved from a sunken ship, and after much study and restoration, the horse and boy were paired together as a single sculptural group. The Jockey of Artemision, a large Greek bronze sculpture of a young boy riding a horse, is a magnificent surviving statue from Ancient Greece and a rare example of a racehorse in Greek sculpture. The Jockey of Artemision – a bronze statue of a racehorse and its jockey – was recovered from the same shipwreck, and Seán Hemingway has suggested that the jockey and horse may have been looted from Corinth in 146 BC by the Roman general Mummius in the Achaean War and was on its way to Pergamon when lost. Its peripteral columns stood some 13 m (40 ft) high, in double rows that formed a wide ceremonial passage around the cella that housed the goddess's cult image.