assemblies. To the north is seen the craggy eminence of the Areopagus, and on the north-east is the Acropolis towering high above the scene, "the crown and glory of the whole."

The most important buildings of the Agora are the Porticoes or cloisters, the most remarkable of which are the Stoa Basileios, or Portico of the king; the Stoa Eleutherius, or Portico of the Jupiter of Freedom; and the Stoa Pœcile, or Painted Porch. These Porticoes were covered walks, the roof being supported by columns, at least on one side, and by solid masonry on the other. Such shaded walks are almost indispensable in the south of Europe, where the people live much in the open air, and they afford a grateful protection from the heat of the sun, as well as a shelter from the rain. Seats were also provided where the loungers might rest, and the philosophers and rhetoricians sit down for intellectual conversation. The "Stoic" school of philosophy derived its name from the circumstance that its founder, Zeno, used to meet and converse with his disciples under one of these porticoes,--the Stoa Pœcile. These porticoes were not only built in the most magnificent style of architecture, but adorned with paintings and statuary by the best masters. On the roof of the Stoa Basileios were statues of Theseus and the Day. In front of the Stoa Eleutherius was placed the divinity to whom it was dedicated; and within were allegorical paintings, celebrating the rise of "the fierce democracy." The Stoa Pœcile derived its name from the celebrated paintings which adorned its walls, and which were almost exclusively devoted to the representation of national subjects, as the contest of Theseus with the Amazons, the more glorious struggle at Marathon, and the other achievements of the Athenians; here also were suspended the shields of the Scionæans of Thrace, together with those of the Lacedemonians, taken at the island of Sphacteria.

It is beyond our purpose to describe all the public edifices,--the temples, gymnasia, and theatres which crowd the Ceramic area, and that portion of the city lying to the west and south of the Acropolis. Our object is, if possible, to convey to the reader some conception of the ancient splendor and magnificence of Athens; to revive the scenes amidst which the Athenians daily moved, and which may be presumed to have exerted a powerful influence upon the manners, the taste, the habits of thought, and the entire character of the Athenian people. To secure this object we need only direct attention to the Acropolis, which was crowded with the monuments of Athenian glory, and exhibited an amazing concentration of all that was most perfect in art, unsurpassed in excellence, and unrivalled in richness and splendor. It was "the peerless gem of Greece, the glory and pride of art, the wonder and envy of the world."

The western side of the Acropolis, which furnished the only access to the summit of the hill, was about 168 feet in breadth; an opening so narrow that, to the artists of Pericles, it appeared practicable to fill up the space with a single building, which, in serving the purpose of a gateway to the Acropolis, should also contribute to adorn, as well as fortify the citadel. This work, the greatest achievement of civil architecture in Athens, which rivalled the Parthenon in felicity of execution, and surpassed it in boldness and originality of design, consisted of a grand central colonnade closed by projecting wings. This incomparable edifice, built of Pentelic marble, received the name of Propylæa from its forming the vestibule to the five-fold gates by which the citadel was entered. In front of the right wing there stood a small Ionic temple of pure white marble, dedicated to Niké Apteros (Wingless Victory).

A gigantic flight of steps conducted from the five-fold gates to the platform of the Acropolis, which was, in fact, one vast composition of architecture and sculpture dedicated to the national glory. Here stood the Parthenon, or temple of the Virgin Goddess, the glorious temple which rose in the proudest period of Athenian history to the honor of Minerva, and which ages have only partially effaced. This magnificent temple, "by its united excellences of materials, design, and decoration, internal as well as external, has been universally considered the most perfect which human genius ever planned and executed. Its dimensions were sufficiently large to produce an impression of grandeur and sublimity, which was not disturbed by any obtrusive subdivision of parts; and, whether viewed at a small or greater distance, there was nothing to divert the mind of the spectator from contemplating the unity as well as majesty of mass and outline; circumstances which form the first and most remarkable characteristic of every Greek temple erected during the purer ages of Grecian taste and genius." ¹⁴

Footnote 14: (return) Leake's "Topography of Athens," p. 209 et seq.

It would be impossible to convey any just and adequate conception of the artistic decorations of this wonderful edifice. The two pediments of the temple were decorated with magnificent compositions of statuary, each consisting of about twenty entire figures of colossal size; the one on the western pediment representing the birth of Minerva, and the other, on the eastern pediment, the contest between that goddess and Neptune for the possession of Attica. Under the outer cornice were ninety-two groups, raised in high relief from tablets about four feet square, representing the victories achieved by her companions. Round the inner frieze was presented the procession of the Parthenon on the grand quinquennial festival of the Panathenæa. The procession is represented as advancing in two parallel columns from west to east; one proceeding along the northern, the other along the southern side of the temple; part facing inward after turning the angle of the eastern front, and part meeting towards the centre of that front.

The statue of the virgin goddess, the work of Phidias, stood in the eastern chamber of the cella, and was composed of ivory and gold. It had but one rival in the world, the Jupiter Olympus of the same famous artist. On the summit or apex of the helmet was placed a sphinx, with griffins on either side. The figure of the goddess was represented in an erect martial attitude, and clothed in a robe reaching to the feet. On the breast was a head of Medusa, wrought in ivory, and a figure of Victory about four cubits high. The goddess held a spear in her hand, and an ægis lay at her feet, while on her right, and near the spear, was a figure of a serpent, believed to represent that of Erichthonius.

According to Pliny, the entire height of the statue was twenty-six cubits (about forty feet), and the artist, Phidias, had ingeniously contrived that the gold with which the statue was encrusted might be removed at pleasure. The battle of the Centaurs and Lapithæ was carved upon the sandals; the battle of the Amazons was represented on the ægis which lay at her feet, and on the pedestal was sculptured the birth of Pandora.

The temple of Erechtheus, the most ancient structure in Athens, stood on the northern side of the Acropolis. The statue of Zeus Polieus stood between the Propylæa and the Parthenon. The brazen colossus of Minerva, cast from the spoils of Marathon, appears to have occupied the space between the Erechtheium and the Propylæa, near the Pelasgic or northern wall. This statue of the tutelary divinity of Athens and Attica