The building followed a typical Roman Forum architectural style, having only one entrance with a propylon of Corinthian order, a high surrounding wall with protruding niches (oikoi, exedrae) at its long sides, an inner courtyard surrounded by columns and a decorative oblong pool in the middle. The library was on the eastern side where rolls of papyrus “books” were kept. Adjoining halls were used as reading rooms, and the corners served as lecture halls.
The most famous example is the Acropolis of Athens, which, by reason of its historical associations and the several famous buildings erected upon it (most notably the Parthenon), is known without qualification as the Acropolis. Although originating in the mainland of Greece, use of the acropolis model quickly spread to Greek colonies such as the Dorian Lato on Crete during the Archaic Period.
According to the historian Pedley, “the work…was carried out under the supervision of Phidias. In fact, Plutarch says that Phidias was in charge of the whole of Pericles’ scheme” (251). Hundreds of artisans, metal workers, craftspeople, painters, woodcarvers, and literally thousands of unskilled labourers worked on the Acropolis. Phidias created a gold and ivory statue of Athena which stood either in the Parthenon, known as the Temple of Athena Parthenos (‘Athena the Virgin’ in Greek), or in the centre of the Acropolis near the smaller temple of Athena. During the Panathenaic festival, celebrants would carry a new robe to the ancient wooden cult statue of Athena, housed in the Erechtheion.
Hephaestus was the patron god of metal working and craftsmanship.
After the battle of Plataea, the Greeks swore never to rebuild their sanctuaries destroyed by the Persians during their invasion of Greece, but to leave them in ruins, as a perpetual reminder of the war. The Athenians directed their funds towards rebuilding their economy and strengthening their influence in the Delian League.