206 ARTISTS AND AUTHORS ias, to make the Acropolis the seat and centre of the new and splendid city that was to arise under his administration. The first great undertaking was the build- ing of a temple to Athena Parthenos, Athena the Virgin, a design believed to have been suggested to Pericles by Phidias. The plans were intrusted to Ictinus, an Athenian, one of the best architects of the day ; but the general control and superintendence of the work were given to Phidias. As the building rose to completion, workmen in all branches of the arts flocked to Athens from every part of Greece and were given full employment by Phidias in the decoration and furnishing of the temple. The taste of Phidias controlled the whole scheme of decoration applied to the building, into which color entered, no doubt, to a much greater extent than was formerly believed. Even after time and the destructive hand of man have done their worst, there still remain sufficient traces of color to prove that the sculpture, and the whole upper part of the temple, were painted in bright but harmonious colors, and that metal ornaments and accessories accented the whole scheme with glittering points of light reflected from their shining surfaces. The sculptures with which the Parthenon was adorned by Phidias, and which were executed under his immediate superintendence, consisted of two great groups that filled the eastern and western pediments ; of groups of two figures each in the ninety-two metopes or panels above the outer row of columns ; and, finally, the famous frieze that ran completely round the temple itself, just below the ceiling of the colonnade, and at a height of about thirty-nine feet from the floor. The subject of the group that filled the eastern pediment, the one above the entrance door of the temple, was the birth of Athena. Just how the event was represented we do not know because quite half the group, including the princi- pal figures, disappeared very early in our era, and no description of them remains in any ancient or modern writer. The group in the western pediment repre- sented the contest between Athena and Poseidon for the dominion over Attica. According to the legend, the strife between the two divinities took place in an assembly of the gods on the Acropolis, who were to determine which of the two contestants should be the protector of the city. To prove his power, Poseidon struck the rock with his trident, and a salt spring leaped forth, as if the sea itself had obeyed the call of its lord. Athena struck the ground, and an olive-tree sprang up, the emblem of peace and of the victories of commerce, and the as- sembly awarded the prize to her. The goddess having thus received the sover- eignty of Athens, it was but natural that a day should be set apart for her spe- cial honor, and a festival instituted to commemorate the great event. This was the greater Panathenaia, or All Athenians Day, which was celebrated every fourth year in honor of the goddess, and which, as its name implies, was taken part in by all the people of the city. It occurred in the early summer and lasted five days. On the fifth day, it closed with a procession which went through all the chief streets of the city and wound its way up the Great Stairway to the Acropolis, bearing the peplos or embroidered robe woven by young virgin ladies of Athens, chosen from the highest families, and known for their skill in this
