The symbolism of the statue of the Goddess Athina Parthenos in the temple of Parthenon on the Acropolis of Athens The chryselefantine statue of Athina Parthenos, inside the temple of Parthenon on the mount Acropolis P a r t h e n o s  is the state of virginity and this is the adjective, which describes the statue of Athina in her temple. Athina has remained Parthenos, that is a virgin forever, since the quality of wisdom is absolute and, as such, it cannot accept any contact of any kind from the other gender. Wisdom leaves no children, since it never changes. Its perfection has eternity as its mate. The statue was created by the most famous of artists, the sculptor Phidias between 447 - 438 B.C. The statue was made of ivory and gold. The nude parts of the figure were made of ivory, the gold for the draperies and accessories, the whole being erected on a wooden core. Although the statue was destroyed during the Byzantine years, two or three copies have been preserved and some literary information, allow us to have a fair idea of it, in spite of their immeasurable inferiority. The most reliable copy is the one found at the Varvakion to be seen in the National Museum of Athens. The total height of the statue was extremely impressive, due not only to its size, but also to the materials used. The size was 12 mt. high including the 2 mts. base. The statue itself was 10 mts., the sole of the sandals was 1,80 mt., the shield 5 mt. the the small statue of Victory 1,80 mt. she holds in her wright hand, as per the Greek archeologist Pan. Kavvadias, who has written a 4 volume work based on his findings from 1887 - 1907 A.C. The cost of the gold was exhorbitant, as the gold used for the statue exceeded the one ton and 140 kgs. Phidias placed the valuable material in such a way, that in case of need for war expenses or to nourish the citizens of Athens, the gold could be removed and used according to the circumstances. The goddess stood on a sculptured plinth holding out on her right hand a winged Victory. Her left hand rested on her shield. Between her left leg and the shield her favoured serpent was standing high, the Erechthonios. On her head was an elaborate helmet with a sphinx in the center, between two winged horses/ Pegasus. On her chest was the head of the Meduse, the Gorgonion, surrounded by a fringe of serpents. On her feet she wore ornamental sandals. Part of this description is contained in Pausanias travelling work “Ellados Periigisis” Pallas Athina wore over her long chiton or tunic, the  p e p l o s  or mantle, which played such an important part at the yearly annual Panathinaic ceremony. The impression that the statue of the Goddess produced to the very few visitors, which were allowed to enter her temple was that of an immense awe and admiration. The tinted ivory of her face, the sparkling eyes, the golden drapes and the ornamental attibutes were gorgeous. It should be noted that in the ancient Greek temples only the priests were allowed entrance, in order to duly accommodate the statue and perform and attend the ceremonies of the god according to the established dates of the yearly calendar. The temple was considered as the terrestrial residence of the God and, therefore, no humans were allowed in. The materials of the statue, ivory and gold in the exterior as well as wood in the interior, were not chosen due to the high cost of ivory and gold on the outside and to the low cost of wood in the inside. The reason for the use of the materials by far exceeds our imagination. Ancient Greeks, our ancestors had a very ancient knowledge, through which they knew how to give life to the statues. This information has been given to us by Jean Mallinger. In his work published in Paris, Niclaus, 1946, concerning “Ploutarch’s esoteric secrets” he left us a small but important work, where he explains the ritual, through which the priests had the knowledge to transfuse from the Gods their subtle energies to the statue. Ploutarchos was the High Priest in the temple of Apollo in Delphi for more than 25 years, from 70 A.C. to 95. A.C., therefore, he was in full possession of the relative secret rituals. To the purpose of giving life to the statues, the latter were in general carved on wood, because the wood, belonging to the living kingdom of plants, could absorb the finest of energies from the higher kingdom of the immortals. The same reasoning applied, not only to the wood, but also to the ivory, which, belonging to the animal world, formed the nude parts of the statue in question. On the other hand the gold, the finest metal on earth, was fit to imprison the finest of energies and not let them scatter in the surroundings. We should think that the materials used were in opposition of what happens to-day, when they are used to produce electricity. Gold is a good conductor for electricity, whilst a bad one for the fine energies transferred from the divinity. Accordingly, wood is a bad conductor of electricity, whilst a good for keeping inside the subtle essence of the divine energies. This is why in later times the statues, having powerful forces from within, were either totally destroyed or crippled by the order of the Christian Byzantine Emperors, who feared the intrinsic forces of the statues.