The fifth century BCE, in Athens, was a time of great prosperity and culture. Democracy became the new government. In 449 BCE, after years of war, the unsuccessful Persians made peace, and in 445 BCE the hostilities with Sparta (Athens' long time rival) subsided. The conclusion of warfare left Athens with unnecessary money from the Delian league. Pericles, General of Athens, used this money to complete the rebuilding and beautification of Athens; with Phidias as artistic supervisor. The concrete symbol of this rebirth is the Parthenon, a temple to Athena, the patron Goddess of Athens. Standing tall and proud on top of the Acropolis, it was the largest temple of its kind on the Greek peninsula. Construction began in 447 BCE and was finished shortly thereafter in 438 BCE. (Kebric, p.142-143) The sacred and the secular meet at the Parthenon, symbolizing Athens' piety and greatness. The sheer size and quality of the Parthenon is a specific statement about how Athenians viewed themselves and how they wished to be viewed in fifth century BCE Greece. The Parthenon stands as a symbol of the strength, superiority, and power of Athens and is, in fact, a form of propaganda.
             All aspects of the Parthenon unite to serve as one clear message about the strength and power of 5th century BCE Athens. Although in antiquity there was much debate over the lavishness of the Parthenon, Pericles legitimized the luxury of the Parthenon by asserting his beliefs in the power of democracy:
             The materials to be used are marble, bronze, ivory, gold, ebony, and
             cypress woods; the crafts required to work such materials are those of
             the carpenter, molder, bronzeworker, mason and sculptor, dyer,
             worker in gold and ivory, painter, embroiderer, metal-inlayer, and
             the providers and transporters of these- merchants, sailors, and
             pilots by sea; and by land, wagonmakers, cattlebreeders, and drovers.
             There are a...