In The Winter’s Tale, we can see how biblical and classical materials mingled and interacted in Shakespeare’s mind. The final scene is taken from the most famous story of animation of a work of art in the Western tradition: the Pygmalion story from Ovid’s Metamorphoses. But the status as well as the aptness of this ending has been questioned. It is not in the source-text, and Simon Forman does not mention it in his contemporary account. This has led some critics to see this final scene as an addition, not part of the original conception of the play. When however, we see the biblical allusions built into the texture of the play from the end of its second Act on, we can see how deeply, if subtly, the ending is prepared for, and we can also understand its significance within the great question of art versus nature in the play.