ivory and pure gold, ivory being used for the flesh, gold for the robe and armour, which was studded with precious stones.
Nowhere was there so marvellous a statue as this of the goddess Athene wrought by Pheidias, save perchance the Zeus at Olympia, which was also moulded by the famous sculptor.
The statue of Zeus had a strange power over those who gazed upon it.
'Let a man sick and weary in his soul, who has passed through many distresses and sorrows, whose pillow is unvisited by kindly sleep, stand in front of this image; he will, I deem, forget all the terrors and troubles of human life.'
Close to the Parthenon was an older temple, built not in the Doric but in the Ionic style of architecture. It, too, was sacred to Athene and also to Poseidon.
This temple, which was called the Erechtheum, was held in awe and reverence by the Athenians, for in it was kept an ancient wooden image of the goddess. So ancient was this 'most holy idol' of the people that it looked more like a rough block of wood than a carved figure. The holy olive tree, too, was there, which the Persians had cut down, but which they had been unable to kill, as well as the living snake, the symbol of the presence of the goddess.
The Erechtheum was to the Athenians a shrine, in which lay hidden the story of their past, the Parthenon was to them a sign of the power and the splendour of the age of Pericles.
On the western side of the Acropolis rose a magnificent marble wall called the Propylaea. The marble had been pierced at intervals to make five great gateways, the centre one being for chariots, those on either side leading by steps to the Parthenon. Through these gateways the Athenians marched in solemn procession on their feast days.
A great theatre, sacred to the god Dionysus, was finished in the age of Pericles, and an Odeon or great hall of music was added to it, where contests of song and music were held.
