Some theorists have seen in art only an extension of the “play instinct,” just a liberation of superfluous vitality and energies, as it were a rehearsing for life.  This is not our view, but into all art, in so far as it is a cutting off of motor reactions, there certainly enters an element of recreation.  It is interesting to note that to the Greek mind religion was specially connected with the notion rather of a festival than a fast.  Thucydides[43] is assuredly by nature no reveller, yet religion is to him mainly a “rest from toil.”  He makes Perikles say:  “Moreover, we have provided for our spirit by many opportunities of recreation, by the celebration of games and sacrifices throughout the year.”  To the anonymous writer known as the “Old Oligarch” the main gist of religion appears to be a decorous social enjoyment.  In easy aristocratic fashion he rejoices that religious ceremonials exist to provide for the less well-to-do citizens suitable amusements that they would otherwise lack.  “As to sacrifices and sanctuaries and festivals and precincts, the People, knowing that it is impossible for each man individually to sacrifice and feast and have sacrifices and an ample and beautiful city, has discovered by what means he may enjoy these privileges.”

* * * * *

In the procession of the Panathenaia all Athens was gathered together, but—­and this is important—­for a special purpose, more primitive than any great political or social union.  Happily this purpose is clear; it is depicted in the central slab of the east end of the frieze (Fig. 5).  A priest is there represented receiving from the hands of a boy a great peplos or robe.  It is the sacred robe of Athena woven for her and embroidered by young Athenian maidens and offered to her every five years.  The great gold and ivory statue in the Parthenon itself had no need of a robe; she would scarcely have known what to do with one; her raiment was already of wrought gold, she carried helmet and spear and shield.  But there was an ancient image of Athena, an old Madonna of the people, fashioned before Athena became a warrior maiden.  This image was rudely hewn in wood, it was dressed and decked doll-fashion like a May Queen, and to her the great peplos was dedicated.  The peplos was hoisted as a sail on the Panathenaic ship, and this ship Athena had borrowed from Dionysos himself, who went every spring in procession in a ship-car on wheels to open the season for sailing.  To a seafaring people like the Athenians the opening of the sailing season was all-important, and naturally began not at midsummer but in spring.

[Illustration:  Fig. 5.]