A Smaller History of Greece [50]
centre, and probably occupied the site of an earlier temple destroyed by the Persians. It was entirely of Pentelic marble, on a rustic basement of ordinary limestone, and its architecture, which was of the Doric order, was of the purest kind. Its dimensions were about 228 feet in length, 101 feet in breadth, and 66 feet in height to the top of the pediment. It consisted of a cella, surrounded by a peristyle. The cella was divided into two chambers of unequal size, the eastern one of which was about 98 feet long, and the western one about 43 feet. The ceiling of both these chambers was supported by rows of columns. The whole building was adorned with the most exquisite sculptures, executed by various artists under the direction of Phidias. These consisted of, 1. The sculptures in the tympana of the pediments (I.E. the inner portion of the triangular gable ends of the roof above the two porticoes), each of which was filled with about 24 colossal figures. The group in the eastern or principal front represented the birth of Athena from the head of Zeus, and the western the contest between Athena and Poseidon (Neptune) for the land of Attica. 2. The metopes between the triglyphs in the frieze of the entablature (I.E. the upper of the two portions into which the space between the columns and the roof is divided) were filled with sculptures in high relief, representing a variety of subjects relating to Athena herself, or to the indigenous heroes of Attica. Each tablet was 4 feet 3 inches square. Those on the south side related to the battle of the Athenians with the Centaurs. One of the metopes is figured below. 3. The frieze which ran along outside the wall of the cella, and within the external columns which surround the building, at the same height and parallel with the metopes, was sculptured with a representation of the Panathenaic festival in very low relief. This frieze was 3 feet 4 inches in height, and 520 feet in length. A small portion of the frieze is also figured below. A large number of the slabs of the frieze, together with sixteen metopes from the south side, and several of the statues of the pediments, were brought to England by Lord Elgin, of whom they were purchased by the nation and deposited in the British Museum.
But the chief wonder of the Parthenon was the colossal statue of the Virgin Goddess executed by Phidias himself, which stood in the eastern or principal chamber of the cella. It was of the sort called CHRYSELEPHANTINE, a kind of work said to have been invented by Phidias in which ivory was substituted for marble in those parts which were uncovered, while the place of the real drapery was supplied with robes and other ornaments of solid gold. Its height, including the base, was nearly 40 feet. It represented the goddess standing, clothed with a tunic reaching to the ankles, with a spear in her left hand, and an image of Victory in her right.
The Acropolis was adorned with another colossal figure of Athena, in bronze, also the work of Phidias. It stood in the open air, nearly opposite the Propylaea, and was one of the first objects seen after passing through the gates of the latter. With its pedestal it must have stood about 70 feet high, and consequently towered above the roof of the Parthenon, so that the point of its spear and the crest of its helmet were visible off the promontory of Sunium to ships approaching Athens. It was called the "Athena Promachus," because it represented the goddess armed, and in the very attitude of battle.
The only other monument on the summit of the Acropolis which it is necessary to describe is the Erechtheum, or temple of Erechtheus. The traditions respecting Erechtheus vary, but according to one set of them he was identical with the god Poseidon. He was worshipped in his temple under the name of Poseidon Erechtheus, and from the earliest times was associated with Athena as one of the two protecting deities of Athens. The original Erechtheum was burnt by the Persians, but the new temple was erected on the ancient site. This could
But the chief wonder of the Parthenon was the colossal statue of the Virgin Goddess executed by Phidias himself, which stood in the eastern or principal chamber of the cella. It was of the sort called CHRYSELEPHANTINE, a kind of work said to have been invented by Phidias in which ivory was substituted for marble in those parts which were uncovered, while the place of the real drapery was supplied with robes and other ornaments of solid gold. Its height, including the base, was nearly 40 feet. It represented the goddess standing, clothed with a tunic reaching to the ankles, with a spear in her left hand, and an image of Victory in her right.
The Acropolis was adorned with another colossal figure of Athena, in bronze, also the work of Phidias. It stood in the open air, nearly opposite the Propylaea, and was one of the first objects seen after passing through the gates of the latter. With its pedestal it must have stood about 70 feet high, and consequently towered above the roof of the Parthenon, so that the point of its spear and the crest of its helmet were visible off the promontory of Sunium to ships approaching Athens. It was called the "Athena Promachus," because it represented the goddess armed, and in the very attitude of battle.
The only other monument on the summit of the Acropolis which it is necessary to describe is the Erechtheum, or temple of Erechtheus. The traditions respecting Erechtheus vary, but according to one set of them he was identical with the god Poseidon. He was worshipped in his temple under the name of Poseidon Erechtheus, and from the earliest times was associated with Athena as one of the two protecting deities of Athens. The original Erechtheum was burnt by the Persians, but the new temple was erected on the ancient site. This could