(4) Gold and ivory. Chryselephantine statues, i.e., statues of
gold and ivory, must, from the costliness of the materials, have
been always comparatively rare. Most of them, though not all, were
temple-images, and the most famous ones were of colossal size. We
are very imperfectly informed as to how these figures were made.
The colossal ones contained a strong framework of timbers and
metal bars, over which was built a figure of wood. To this the
gold and ivory were attached, ivory being used for flesh and gold
for all other parts. The gold on the Athena of the Parthenon (cf.
page 186) weighed a good deal over a ton. But costly as these
works were, the admiration felt for them seems to have been
untainted by any thought of that fact.

(5) Terra-cotta. This was used at all periods for small figures, a
few inches high, immense numbers of which have been preserved to
us. But large terra-cotta figures, such as were common in Etruria,
were probably quite exceptional in Greece.

Greek sculpture may be classified, according to the purposes which
it served, under the following heads:

(1) Architectural sculpture. A temple could hardly be considered
complete unless it was adorned with more or less of sculpture. The
chief place for such sculpture was in the pediments and especially
in the principal or eastern pediment. Relief-sculpture might be
applied to Doric metopes or an Ionic frieze. And finally, single
statues or groups might be placed, as acroteria, upon the apex and
lower corners of a pediment. Other sacred buildings besides
temples might be similarly adorned. But we hear very little of