It is perhaps easier to realise the feeling of a primitive people about this matter in the case of a sacred building than in that of the actual image of a god. A temple does not, indeed--in Greece, at least--belong to the earliest phase of cult; for it is the dwelling of the god, and its form, based on that of a human dwelling-house, implies an anthropomorphic imagination. We find, however, in Homer that the gods are actually thought of as inhabiting their temples and preferring one to another, Athena going to Athens and Aphrodite to Paphos as her chosen abode. It was clearly desirable for every city to gain this special favour; and an obvious way to do this was to make the dwelling-place attractive in itself to the deity. This might be done not merely by the abundance of sacrifices, but also by the architectural beauty of the building itself, and by the richness of the offerings it contained. Here was, therefore, a very practical reason for making the dwelling of the god as sumptuous and beautiful as possible, in order that he might be attracted to live in it and to give his favour and protection to those that dwelt around it. Doubtless, as religious ideas advanced and the conception of the nature of the gods became higher, there came the notion that they did not dwell in houses made with hands; yet a Greek temple, just like a mediaeval cathedral, might be made beautiful as a pleasing service and an honour to the deity to whom it was dedicated; and there was a continuous tradition in practice from the lower conception to the higher, nor is it easy to draw the line at any particular stage between the two.