So lavish was the artist of his skill and labour in the construction of the statue that even the soles of Athena’s [Illustration: THE PROPYLÆA FROM THE NORTHERN EDGE OF THE PLATFORM (STYLOBATE) OF THE PARTHENON The steps of the stylobate below run in perspective along the left-hand side of the drawing. Over the drums of the fallen columns of the Parthenon, which strew the ground to the right, we see the whole east side of the Propylæa; above it are the olive groves of the Kephissus and the mountains of Daphni, with a glimpse of the Bay of Salamis.] sandals were embellished with carving. On the front of the pedestal also there was a picture of the mythical creation of Pandora in the presence of twenty divinities. The statue expressed the Hellenic aspirations of Pheidias as an artist and of Pericles as a statesman; and, as if to commemorate their harmonious influence, the great sculptor covertly introduced into the relief on the outside of Athena’s shield his own portrait and that of his friend--the former in the guise of a bald-headed old man lifting up a stone with both hands, the latter as a warrior fighting with an Amazon, his face partially concealed by his raised hand holding a spear. On this account some of Pheidias’ enemies brought against him a charge of impiety, founded upon an old law which forbade the setting up in sacred places of the images of living men. They had previously tried to ruin him by accusing him of embezzling part of the gold entrusted to him, but the charge had been triumphantly refuted by the actual weighing of the gold on the image, which was found to correspond exactly to the amount assigned for this object. Unfortunately the charge of impiety could not be so easily refuted, and, in spite of Pericles’ advocacy, Pheidias was compelled to pay a heavy fine and was thrown into prison, from which he does not appear to have been ever set free.