Considering these prodigious achievements in the field of art only as they bear upon Athenian and Grecian history, they are phenomena of extraordinary importance. When we read the profound impression which they produced upon Grecian spectators of a later age, we may judge how immense was the effect upon that generation which saw them both begun and finished. In the year 480 B.C., Athens had been ruined by the occupation of Xerxes: since that period, the Greeks had seen, first, the rebuilding and fortifying of the city on an enlarged scale,—next, the addition of Peiræus with its docks and magazines,—thirdly, the junction of the two by the long walls, thus including the most numerous concentrated population, wealth, arms, ships, etc., in Greece,[43]—lastly, the rapid creation of so many new miracles of art,—the sculptures of Pheidias as well as the paintings of the Thasian painter, Polygnôtus, in the temple of Theseus, and in the portico called Pœkilê. Plutarch observes[44] that the celerity with which the works were completed was the most remarkable circumstance connected with them; and so it probably might be, in respect to the effect upon the contemporary Greeks. The gigantic strides by which Athens had reached her maritime empire were now immediately succeeded by a series of works which stamped her as the imperial city of Greece, gave to her an appearance of power even greater than the reality, and especially put to shame the old-fashioned simplicity of Sparta.[45] The cost was doubtless prodigious, and could only have been borne at a time when there was a large treasure in the acropolis, as well as a considerable tribute annually coming in: if we may trust a computation which seems to rest on plausible grounds, it cannot have been much less than three thousand talents in the aggregate,—about six hundred and ninety thousand pounds.[46] The expenditure of so large a sum was, of course, the source of great private gain to the contractors, tradesmen, merchants, artisans of various descriptions, etc., concerned in it: in one way or another, it distributed itself over a large portion of the whole city. And it appears that the materials employed for much of the work were designedly of the most costly description, as being most consistent with the reverence due to the gods: marble was rejected as too common for the statue of Athênê, and ivory employed in its place;[47] while the gold with which it was surrounded weighed not less than forty talents.[48] A large expenditure for such purposes, considered as pious towards the gods, was at the same time imposing in reference to Grecian feeling, which regarded with admiration every variety of public show and magnificence, and repaid by grateful deference the rich men who indulged in it. Periklês knew well that the visible splendor of the city, so new to all his contemporaries, would cause her great real power to appear even greater than its reality, and would thus