[34] Plutarch, Periklês, c. 16: the indication of time, however, is vague.
[35] Plato, Gorgias, p. 455, with Scholia; Plutarch, Periklês, c. 13: Forchhammer, Topographie von Athen, in Kieler Philologische Studien, pp. 279-282.
[36] Isokratês, Orat. vii: Areopagit. p. 153. c. 27.
[37] See Dikæarchus, Vit. Græciæ, Fragm. ed. Fuhr. p. 140: compare the description of Platæa in Thucydidês, ii, 3.
All the older towns now existing in the Grecian islands are put together in this same manner,—narrow, muddy, crooked ways,—few regular continuous lines of houses: see Ross, Reisen in den Griechischen Inseln, Letter xxvii, vol. ii, p. 20.
[38] Aristotle, Politic. ii, 5, 1; Xenophon, Hellen. ii, 4, 1; Harpokration, v, Ἱπποδάμεια.
The new scheme upon which the Peiræus was laid out, was not without its value as one visible proof of the naval grandeur of Athens. But the buildings in Athens and on the acropolis formed the real glory of the Periklêan age. A new theatre, termed the Odeon, was constructed for musical and poetical representations at the great Panathenaic solemnity; next, the splendid temple of Athênê, called the Parthenon, with all its masterpieces of decorative sculpture and reliefs; lastly, the costly portals erected to adorn the entrance of the acropolis, on the western side of the hill, through which the solemn processions on festival days were conducted. It appears that the Odeon and the Parthenon were both finished between 445 and 437 B.C.: the Propylæa somewhat later, between 437 and 431 B.C., in which latter year the Peloponnesian war began.[40] Progress was also made in restoring or reconstructing the Erechtheion, or ancient temple of Athênê Polias, the patron goddess of the city,—which had been burnt in the invasion of Xerxes; but the breaking out of the Peloponnesian war seems to have prevented the completion of this, as well as of the great temple of Dêmêter, at Eleusis, for the celebration of the Eleusinian mysteries,—that of Athênê, at Sunium,—and that of Nemesis, at Rhamnus. Nor was the sculpture less memorable than the architecture: three statues of Athênê, all by the hand of Pheidias, decorated the acropolis,—one colossal, forty-seven feet high, of ivory, in the Parthenon,[41]—a second of bronze, called the Lemnian Athênê,—a third of colossal magnitude, also in bronze, called Athênê Promachos, placed between the Propylæa and the Parthenon, and visible from afar off, even to the navigator approaching Peiræus by sea.