The small sculpture group, rather like an ancient doll's house or a diorama, has been restored from several fragments. It is thought to have decorated the pediment of an unknown Archaic building on the Athens Acropolis, perhaps the theoretical building known as "Temple A", which may have stood in the area now occupied by the Erechtheion. Another sculpture group of similar size and date, depicting the Apotheosis of Herkales (Acropolis Museum, Inv. No. Acr. 9), may have decorated the pediment at the other end of the same building.

It was first restored the German archaeologist Theodor Wiegand (1864-1936), whose work was continued by Rudolf Heberdey (1864-1936) of the Austrian Archaeological Institute at Athens. The pediment sculptures consist of figures in front of a projecting building or porch covered by a tiled hip roof (i.e with a sloping side where a pediment would be), which is supported at the front by a long wall to the left of the doorway. Above part of a wall (described as a precinct wall) to the left of the porch are fragments of an incised olive tree (hence the name "Olive Tree Pediment").

Only one female figure and fragments of two other females and a male have survived, but the scene probably included a number of others. The torso of one female is affixed to the wall left of the doorway, and the legs of another, wearing an ankle-length gown with geometric decoration, stand to the right of the porch. Only the relief of part of the male's bare leg can be seen at the left of the fragment of wall left of the porch.

The most complete figure is the free-standing sculpture of a woman, who in the reconstruction stands in the doorway, facing outwards. On her head is a disc which has been interpreted as a cushion, and her left arm appears to be raised. This has led to theories that she was either a hydriaphoros (water jug carrier), with her left hand steadying a jug she carried on her cushioned head, or an early Caryatid supporting the roof.

The hydriaphoros theory led to the building being interpreted as a fountain house, which then led to the scene being seen as depicting Troilus being ambushed by Achilles as he watered his horses. The male figure was thus thought to be Troilus (see Homer part 2). It has been argued that this story has no apparent relevance to the Acropolis or the mythological history of Athens, which provided the subjects for much of the building decoration on the Acropolis in the Archaic and Classical periods. However, the story of Herakles being introduced to the Olympian gods (the Apotheosis of Herkales) and other subjects, such as the birth of Pandora on the base of Pheidias' statue of Athena Parthenos, were likewise not directly connected with the Acropolis.

The fragments of the relief are badly worn, and the gender and identification of the charioteer have long been subjects of debate; Apollo, Artemis, Athena and a Panathenaic victor have been suggested. The figure, wearing a himation (cloak) over a long, sleeved chiton (tunic), steps on to the chariot with the left foot while holding the reigns with both hands. The hair is bound in a krobylos (κρώβυλος), an elaborate hairstyle popular during the Archaic period. The rear legs of the horses and four tails can be seen.

1. Pausanias on the Erechtheion

"There is also a building called the Erechtheum. Before the entrance is an altar of Zeus the Most High, on which they never sacrifice a living creature but offer cakes, not being wont to use any wine either. Inside the entrance are altars, one to Poseidon, on which in obedience to an oracle they sacrifice also to Erechtheus, the second to the hero Butes, and the third to Hephaestus. On the walls are paintings representing members of the clan Butadae. There is also inside - the building is double - sea-water in a cistern. This is no great marvel, for other inland regions have similar wells, in particular Aphrodisias in Caria. But this cistern is remarkable for the noise of waves it sends forth when a south wind blows. On the rock is the outline of a trident. Legend says that these appeared as evidence in support of Poseidon's claim to the land.

Both the city and the whole of the land are alike sacred to Athena; for even those who in their parishes have an established worship of other gods nevertheless hold Athena in honour. But the most holy symbol, that was so considered by all many years before the unification of the parishes, is the image of Athena which is on what is now called the Acropolis, but in early days the Polis (City). A legend concerning it says that it fell from heaven; whether this is true or not I shall not discuss.

A golden lamp for the goddess was made by Callimachus. Having filled the lamp with oil, they wait until the same day next year, and the oil is sufficient for the lamp during the interval, although it is alight both day and night. The wick in it is of Carpasian flax, the only kind of flax which is fire-proof, and a bronze palm above the lamp reaches to the roof and draws off the smoke. The Callimachus who made the lamp, although not of the first rank of artists, was yet of unparalleled cleverness, so that he was the first to drill holes through stones, and gave himself the title of Refiner of Art, or perhaps others gave the title and he adopted it as his.

In the temple of Athena Polias (Of the City) is a wooden Hermes, said to have been dedicated by Cecrops, but not visible because of myrtle boughs. The votive offerings worth noting are, of the old ones, a folding chair made by Daedalus, Persian spoils, namely the breastplate of Masistius, who commanded the cavalry at Plataea, and a scimitar said to have belonged to Mardonius. Now Masistius I know was killed by the Athenian cavalry. But Mardonius was opposed by the Lacedaemonians and was killed by a Spartan; so the Athenians could not have taken the scimitar to begin with, and furthermore the Lacedaemonians would scarcely have suffered them to carry it off.

About the olive they have nothing to say except that it was testimony the goddess produced when she contended for their land. Legend also says that when the Persians fired Athens the olive was burnt down, but on the very day it was burnt it grew again to the height of two cubits.

Adjoining the temple of Athena is the temple of Pandrosus, the only one of the sisters to be faithful to the trust."

2. The Erechtheion frieze reliefs

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