The Erechtheium, which is only partly visible at the back on the left of the picture, was the most sacred temple of Athens. It was the burial-place of Erechtheus, who was regarded not only as the founder of this temple, but also of the religion of Athena in Athens. Beside the heaven-descended statue of Athena Polias which was kept here, there was the sacred olive-tree which Athena had called forth from the earth when she was contending for the possession of Attica; here, too, was the well of salt water which Poseidon (or Neptune) made by striking the spot with his trident, and several other sacred objects (Fig. 52). [Illustration: FIG. 52.--THE ERECHTHEIUM. _Athens._ (RESTORED.)] This beautiful temple was built in the Ionic style, and is very interesting because it is so different in form from every other Greek temple of which we know. This is partly due to the fact that it was built where the ground was not level, one portion of it being eight feet higher than another. A second reason for its irregularity may be that it required to be divided into more cells or apartments than other Greek temples in order to arrange the different sacred objects within its walls. A very considerable portion of this temple is still standing. The frieze, of which but little remains, was of black marble, upon which there were figures in white marble. The Erechtheium is certainly a splendid example of the Attic-Ionic style, and the eye rests upon it with admiration; but its half-pillars and caryatides, its various porches and luxuriant detail of form and ornament, are less effective as a whole than is the Parthenon in its pure Doric architecture. An interesting fact about Greek architecture is that the marbles used were painted in high colors. There is a theory, which may or may not be true, that the custom first arose in the same way as the shape of the Doric entablature, from the imitation of wooden buildings. The wood was painted to preserve it, and when stone began to be substituted, the architects, accustomed to bright effects, colored the marbles to look like wood. Whether this is the true origin of the custom or not, it is certain that the custom prevailed. The lower parts of the pillars of a Doric temple were usually stained a light golden-brown tint; the triglyphs and the mutules, or brackets beneath the cornices, were a rich blue; the trunnels, or wooden pins, were red or gilded; the metopes had a dark red background, against which the bas-reliefs with which they were ornamented stood out in strong contrast, while the frieze and cornice were richly painted with garlands and leaves. So highly colored a building would seem less out of place amid the varied landscape of Greece than under our colder skies, and it is difficult for us to form any just idea of the splendid appearance it must have presented.