Besides the objects already mentioned, the Erechtheum contained a number of very ancient relics. There you were shown the marks of Poseidon’s trident on the rock; there were spoils taken from the Persians; an old wooden Hermes dedicated by Cecrops, a chariot by Dædalus, a lamp by Callimachus kept perpetually burning, and above all the ancient wooden image of Athena Polias. Dörpfeld maintains that the old temple of Athena Polias was left standing even after the Erechtheum was completed. If that were true we should have to believe that the architect deliberately projected his unnecessary Caryatid porch right into [Illustration: FIG. 1. THE TEMPLE OF NIKÉ APTEROS [THE WINGLESS VICTORY] FIG. 2. THE CARYATID PORCH OF THE ERECHTHEUM _English Photo Co., Athens_ PLATE XLIX] the blank wall of the older temple, where it could not be seen and could scarcely be passed, for it encroaches right over the stylobate of the old colonnade. I have only mentioned some of the wonderful objects on the sacred rock. When Pausanias saw it, it was crowded from end to end with works of art, sacred or commemorative. No profane person inhabited it. It was to the Acropolis that the attention of Pericles and his artists was first directed when the time came to beautify Athens. In the city below you would be struck with the plainness of the private houses, presenting no decorative aspect whatever to the narrow and tortuous streets. They were all of one story, with a roof sloping inwards to an open colonnade, round which the rooms were grouped. The agora was the centre of commercial and social life. Close by were some famous porticoes or cloisters, shady and cool to lounge in. In the Royal Portico the “king archon” sat to do his business, mostly connected with religion. Here the Council of the Areopagus met in later days. Here Socrates conversed, and here he was tried for impiety. Ancient laws were inscribed upon the walls of it. The Portico of Freedom contained statues and celebrated frescoes painted by Euphranor in the fourth century. The Decorated Portico (Stoa Poikilē) in the agora was even more famous for its historical and mythological pictures, including one of the battle of Marathon by Panainos, and one by the master Polygnotus of the taking of Troy. It was in this Stoa that Zeno developed in later times his Stoic philosophy. All these pictures have perished utterly, but we can still see reflections of them in the vase-paintings of the day.