narrow, crooked streets remained; the influence of Themistocles, The city
in the classical
period. who aimed at transferring the capital to the Peiraeus, was probably directed against any costly scheme of restoration, except on the Acropolis. The period of Cimon’s administration, however, especially the interval between his victory on the Eurymedon and his ostracism (468–461 B.C.), was marked by great architectural activity in the lower city as well as on the citadel. To his time may be referred many of the buildings around the Agora (probably rebuilt on the former sites) and elsewhere, and the passage, or δρόμος, from the Agora to the Dipylon flanked by long porticos. The Theseum or temple of Theseus, which lay to the east of the Agora near the Acropolis, was built by Cimon: here he deposited the bones of the national hero which he brought from Scyros about 470 B.C. The only building in the city which can with certainty be assigned to the administration of Pericles is the Odeum, beneath the southern declivity of the Acropolis, a structure mainly of wood, said to have been built in imitation of the tent of Xerxes: it was used for musical contests and the rehearsal of plays. Of the various temples in which statues by Pheidias, Alcamenes and other great sculptors are known to have been placed, no traces have yet been discovered; excavation has not been possible in a large portion of the lower city, which has always been inhabited. The only extant structures of the classical period are the Hephaesteum, the Dionysiac theatre, and the choragic monument of Lysicrates. The remains of a small Ionic temple which were standing by the Ilissus in the time of Stuart have disappeared.
The Hephaesteum, the so-called Theseum, is situated on a slight eminence, probably the Colonus Agoraeus, to the west of the Agora. The best preserved Greek temple in the world, it possesses no record of its origin; the The Hephae-
steum or Theseum. style of its sculptures and architecture leads to the conclusion that it was built about the same time as the Parthenon; it seems to have been finished by 421 B.C. It has been known as the Theseum since the middle ages, apparently because some of its sculptures represent the exploits of Theseus, but the Theseum was an earlier sanctuary on the east of the Agora (see above). The building has been supposed by Curtius, Wachsmuth and others to be the Heracleum in Melite, but its identification with the temple of Hephaestus and Athena seen in this neighbourhood by Pausanias (i. 14. 6), though not established, may be regarded as practically certain, notwithstanding the difficulty presented by the subjects of the sculptures, which bear no relation to Hephaestus. The temple is a Doric peripteral hexastyle in antis, with 13 columns at the sides; its length is 104 ft., its breadth 45½ ft., its height, to the top of the pediment, 33 ft. The sculptures of the pediments have been completely lost, but their design has been ingeniously reconstructed by Sauer. The frieze of the entablature contains sculptures only in the metopes of the east front and in those of the sides immediately adjoining it; the frontal metopes represent the labours of Heracles, the lateral the exploits of Theseus. As in the Parthenon, there is a sculptured zophoros above the exterior of the cella walls; this, however, extends over the east and west fronts only and the east ends of the sides; the eastern zophoros represents a battle-scene with seated deities on either hand, the western a centauromachia. The temple is entirely of Pentelic marble, except the foundations and lowest step of the stylobate, which are of Peiraic stone, and the zophoros of the cella, which is in Parian marble. The preservation of the temple is due to its conversion into a church in the middle ages.
The Dionysiac theatre, situated beneath the south side of the Acropolis, was partly hollowed out from its declivity. The representation of plays was perhaps transferred to this spot from the early Orchestra in the Agora at the The Dionysiac theatre and Asclepieum. beginning of the 5th century B.C.; it afterwards superseded the Pnyx as the meeting-place of the Ecclesia. The site, which had been accurately determined by Leake, was explored by Strack in 1862, and the researches subsequently undertaken by the Greek Archaeological Society were concluded in 1879. It was not, however, till 1886 that traces of the original circular Greek orchestra were pointed out by Dörpfeld. The arrangements of the stage and orchestra as we now see them belong to Roman times; the cavea or auditorium dates from the administration of the orator Lycurgus (337–323 B.C.), and nothing is left of the theatre in which the plays of Sophocles were acted save a few small remnants of polygonal masonry. These, however, are sufficient to mark out the circuit of the ancient orchestra, on which the subsequently built proscenia encroached. The oldest stage-building was erected in the time of Lycurgus; it consisted of a rectangular hall with square projections (παρασκήνια) on either side; in
