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 Thucydides, with all his reticence as to art, is doubtless a faithful interpreter of the spirit in which that work was done, when he makes Pericles speak of the abiding monuments which will attest to all posterity the achievements of that age. This feeling was not prompted merely by Athenian patriotism; Athens was the city which the Persian invader, bent on avenging Sardis, had twice laid in ruins. The fact that Athens should have risen from its ashes in unrivalled strength and grace was, as Pericles might well feel, the most impressive of all testimonies to the victory of Hellene over barbarian.

When Pericles reached his full power the port of Athens was already a handsome town, with regular streets, spacious porticoes, large open spaces and perfectly equipped harbours. But the Upper City—Athens proper—with which the Peiraeus was connected by the long walls, remained comparatively poor in ornament. It still showed some traces of the haste with which it had been rebuilt after the Persian wars. Now, under the guiding influence of Pericles, architects, sculptors, and painters combined in adorning it. That which gave its distinctive stamp to their work was, ultimately, the great idea which animated them. Its inspiration was the idea of the Imperial City, Athens, as represented and defended by the goddess Athena; the Athens which, with the aid of gods and heroes, had borne the foremost part in rolling back the tide of barbarian invasion.

In no other instance which history records, has art of a supreme excellence sprung from a motive at