Apollodorus[118] says, ‘After him (Poseidon) came Athena, and having made Kekrops witness of her seizure, she planted the olive which is now shown in the Pandroseion.’ A ‘seizure’ indeed, and not from Poseidon but from the elder goddess Pandrosos. Athena is manifestly an interloper; why should Pandrosos have other people’s olive trees planted in _her_ precinct? The olive is but one of the many ‘tokens’ or attributes that Athena wrested to herself. It was there before her, Kekrops quite rightly holds it in his hand. The olive-tree grew in the Pandroseion, it also grew in the older Erechtheion. Herodotus[119] says, ‘There is on this Acropolis a temple of Erechtheus, who is called earth-born, and in it are an olive-tree and a sea which, according to the current tradition among the Athenians, Poseidon and Athenaia planted as tokens when they contended for the country.’ There is no discrepancy, the Pandroseion must have been included in the older Erechtheion. By a most happy chance, among the fragments of decorative sculpture left us is one on which is carved ‘the holy bloom of the olive,’ in three delicate sprays. The real sacred olive was old and stunted and crooked[120], but the artist went his own way. The fragments are grouped together in a conjectural restoration[121] in Fig. 20. All that is certain is that we have a Doric building and adjacent to it the wall of a precinct over which the olive is growing. Against the wall of the building is the figure of a woman in purple, wearing peplos and himation. Against the wall of the precinct once stood a man. Only one leg of him is left. The two figures might be part of a procession. The woman, standing full face, _may_ belong to the same composition, but this is not certain. She wears a red chiton and bluish-green himation. On her head is a pad (τύλη), for she is carrying some burden. One of her arms is lifted to support it. We think instinctively of the Arrephoroi. The figure, though very rudely hewn, has something of the lovely seriousness of the other ‘maidens.’ The whole composition may have belonged to a pediment of the earlier Erechtheion, but its pictorial character makes it more probably a votive relief for dedication there, and representing some scene of worship at the ancient shrine. * * * * * Within the older Erechtheion we have further (_b_) A cistern or ‘sea,’ called after Erechtheus. With it may be taken (_c_) A trident-mark, sacred to Poseidon. Fortunately about the position of these two sacred things there is no doubt. Underneath the pavement of the westernmost chamber (_c_) of the present Erechtheion is a large cistern[122] hewn in the rock, and at A in the North porch are the marks of the trident. [Illustration: FIG. 20.]