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They have made her a goddess, those great painters; they have produced a mythus, and personified in native loveliness that bride of the sea, their love, their lady. The beauty of Venetian women and the glory of Venetian empire find their meeting point in her, and live as the spirit of Athens lived in Pallas Promachos.
The fame of Pheidias himself, however, rested very largely on three great pieces of art work: The Athene Promachos, the Athene Parthenos, and the Olympian Zeus. The first of these was a work of Pheidias's youth. It represented the goddess standing gazing toward Athens lovingly and protectingly. She held a spear in one hand, the other supported a buckler. The statue was nine feet high.
Democrates halted at the menacing light in her eyes. All the fear had gone out of them. Athena Promachos, “Mistress of Battles,” must have stood in that awful beauty when aroused. Did the goddess teach her in that dread moment of her power over the will of the orator? Glaucon was still standing motionless, helpless, his last appeal having ended in mute resignation to inevitable fate.
"Thou alone art young, O Cora; thou alone art pure, O Virgin; thou alone art healthy, O Hygeia; thou alone art strong, O Victory! Thou keepest the cities, O Promachos; thou hast the blood of Mars in thee, O Area; peace is thy aim, O Pacifica!
Above are the new marble buildings of the Parthenon, rich with the statues and bas-reliefs of Phidias and his scholars, gleaming white against the blue sky, with the huge bronze statue of Athene Promachos, fifty feet in height, towering up among the temples and colonnades. In front, and far below, gleams the blue sea, and Salamis beyond.
The same anomaly in scale occurred in the Akropolis at Athens, where the vast figure of Athene Promachos must have reduced the beautiful Caryatides of the Erechtheum to insignificance. M. Choisy makes a gallant effort to show that this want of relationship in scale, and also in the siting of the temples, was deliberate and considered.
The exactness and finish of detail were as remarkable as the grandeur of the proportions. Another of the famous works of Phidias was a colossal bronze statue of Athene Promachos, sixty feet in height, on the Acropolis between the Propylaea and the Parthenon.
It represented the goddess, armed, and in a warlike attitude, from which it derived its name, Athena Promachos: Athena, the leader of the battle. With its pedestal it stood about seventy feet high, towering above the roof of the Parthenon, the gilded point of the brazen spear held by the goddess flashing back the sun to the ships as in approaching Athens they rounded the promontory of Sunium.
You must have seen the Parthenon and Athene Promachos which navigators distinguish far out at sea long before they can descry Athens; the wonderful procession of horses in the metopes; the prodigious works of Phidias. How I long to see all that! When a ship comes into port from Greece I run away from the pottery and spend whole days in the taverns with the mariners.
What other state in Hellas sends so many and sets better men within them? Athens still lives, though her Acropolis be wrapped in flames. ‘Strong-hearted men and naught else are warp and woof of a city.’ Do you forget Alcæus’s word so soon, O Boaster from Corinth? Yes, by Athena Promachos, Mistress of Battles, while those nine score ships ride on the deep, I have a city fairer, braver, than yours.
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