sures of Greece from Delos, and lavishing them in gilding their city, and ornamenting it with statues and temples that cost a thousand talents, as a proud and vain woman tricks herself out with jewels. (Plutarch's Life of Pericles.) The temple of Minerva, at Sunium, was probably by Ictinus; but one of the happiest efforts of this architect was the temple of Apollo Epicurius, in Arcadia, still nearly entire. The peculiarities found in it we will shortly detail. The front has six columns, and instead of thirteen in each flank (the usual number) there are fifteen. In the interior, buttresses on each side, to the number of six, return inwards from the walls of the cell, each ending in semicircular pilasters of the Ionic order. These seem to have been brought up for the facility of supporting the roof, which was of stone. With the exception of the temple of Minerva at Tegea, its reputation for beauty was such, that it surpassed, if that be a true test, all other buildings in the Peloponnesus. Its situation is about three or four miles from the ruins of Phigalia, on an elevated part of Mount Cotylus, commanding a splendid landscape, which is terminated by the sea in the distance. 151. About 370 B.C., Epaminondas restored the Messenians to independence, and built the city of Messene. The ruins still extant prove that the art at that period had not materially declined. Its walls, in many parts, are entire, and exhibit a fine example of Grecian military architecture in their towers and gates. At no distant time from the age in question the portico of Philip of Macedon, at least his name is inscribed on it, shows that the Doric order had undergone a great change in its proportions. This portico must have been erected about 338 B.C., and after it the Ionic order seems to have been more favoured and cultivated. The last example of the Doric is perhaps the portico of Augustus, at Athens. 152. Before proceeding to the investigation of the Ionic order, it may here, perhaps, be as well to speak of the proportions between the length and breadth of temples, as compared with the rules given by Vitruvius (book iv. chap. 4.), that the length of a temple shall be double its breadth, and the cell itself in length one fourth part more than the breadth, including the wall in which the doors are placed. Though in the Greek examples these proportions are approximated, an exact conformity with the rule is not observed in any. The length, for instance, of the temple of Jupiter, at Selinus, is to the breadth as 2.05 to 1; in the temple of Theseus, as 2.3 to 1; and from the mean of six examples of the Doric order, selected in Greece and Sicily, is 2.21 to 1. If the flanks be regulated in length by making the number of intercolumniations exactly double those in front, it will be immediately seen that the proportions of Vitruvius are obtained on a line passing through the axes of the columns. But as in most of the Greek temples the central intercolumniation in front is wider than the rest, the length of the temple would necessarily be less than twice the width. In the earlier specimens of the Doric order the length is certainly, as above mentioned in the temple of Jupiter at Selinus, very nearly in accordance with the rule; but in order to counteract the effect of the central intercolumniation being wider, the number of columns, instead of intercolumniations on the flank, is made exactly double those in front. In the later examples, however, as in the temples of Theseus and the Parthenon, and some others, the number of intercolumniations on the flank was made double the number of columns in the front, whence the number of columns on the flanks was double the number of those in front and one more; so that the proportion became nearly in the ratio of 2.3 to 1. The simplicity which flowed from these arrangements in the Grecian temples was such that it seems little more than arithmetical architecture,-so symmetrical that from the three data, the diameter of the column, the width of the intercolumniation, and the number of columns in front, all the other parts might be found. 153. The IONIC order, at first chiefly confined to the states of Asia Minor, appears to have been coeval with the Doric order. The most ancient example of it on record is the temple of Juno, at Samos. Herodotus (Euterpe) says, it was one of the most stupendous edifices erected by the Greeks. In the Ionian Antiquities (2d edit. vol. i. c. 5.) is to be found an account of its ruins. It was erected about 540 years B. C., by Rhacus and Theodorus, two natives of the island. The octastyle temple of Bacchus, at Teos, in whose praise Vitruvius was lavish, shows by its ruins that the old master of our art was well capable of appreciating the beauties of an edifice. Hermogenes, of Alabanda, was its architect, and he seems to have been the promoter of a great change in the taste of his day. Vitruvius (lib. iv. c. 3.) tells us that Hermogenes, "after having prepared a large quantity of marble for a Doric temple, changed his mind, and, with the materials collected, made it of the Ionic order, in honour of Bacchus." We are bound, however, to observe upon this, that the story is not confirmed by any other writer. It is probable that this splendid building was raised after the Persian invasion; for, according to Strabo (lib. xiv.), all the sacred edifices of the Ionian cities, Ephesus excepted, were destroyed by Xerxes. Besides this octastyle temple, those of Apollo Didymæus, near Miletus, built about 376 B.C., and of Minerva Polias, at Priene, dedicated by Alexander of Macedon, are the chief temples of this order of much fame in the colonies. We shall therefore confine our remaining remarks to the three Ionic temples at Athens, and shall, as in the Doric order, subjoin a synoptical view of their detail. 154. We here see that the Ionic column varies in height from eight diameters and nearly a quarter to nearly nine and a half, and the upper diameter in width between and The dissimilarity of the capitals renders it impossible to compare them. The mean height of the entablature is about a fourth of the height of the whole order. The height of the Grecian Ionic cornice may be generally considered as two-ninths of the whole entablature. 155. The age of the double temple of Minerva Polias (fig. 102.) and Erectheus has not been accurately ascertained. From the earliest times these personages were held in high veneration by the Athenians, and it is more than likely that a confusion has arisen between the ancient and modern edifices. The former was partially destroyed by Xerxes, and there is no certainty that the latter was restored by Pericles. 156. In the bases applied to the order in the Athenian buildings there are two tori, with a scotia or trochilus between them, a fillet below and above the scotia separating it from the tori. The upper fillet generally coincides with a vertical line let fall from the extreme projection of the upper torus. In the temple on the Ilyssus the lower fillet projects about half the distance between the hollow of the scotia and the extremity of the inferior torus. The height of the two tori and scotia are nearly equal, and a bead is placed on the upper torus for the reception of the shaft of the column. The temples of Erectheus and that on the Ilyssus have the lower tori of their bases uncut, whilst the upper ones are fluted horiThe zontally. In that of Minerva Polias, the upper torus is sculptured with a guilloche. base just described is usually denominated the ATTIC BASE, though also used in the colonies. The bases, however, of the temples of Minerva Polias at Priene, and of Apollo Didymæus near Miletus, are very differently formed. 157. The VOLUTE, the great distinguishing feature of the order, varies considerably in the different examples. In the edifices on the Ilyssus and at Priene, as well as in that of Apollo Didymæus, the volute has only one channel between the revolutions of the spiral; whilst in those of Erectheus and Minerva Polias, at Athens, each volute is furnished with two distinct spirals and channels. In the temple on the Ilyssus, the capital is terminated a little below the eye of the volute; in the others it reaches below the volutes, and is deThe number of flutes, which on the plan corated with honeysuckle flowers and foliage. are usually elliptical, is twenty-four, and they are separated by fillets from each other. some examples they descend into the apophyge of the shaft. In 158. The tomb of Theron, at Agrigentum, in which Ionic columns and capitals are crowned with a Doric entablature, has, by some, been quoted as an example of the Ionic order; but we do not believe it to be of any antiquity, and, if it were, it is so anomalous a specimen that it would be useless to pursue any inquiry into its foundation. 159. In the antæ or pilasters of this order, as well as of the Doric, their capitals differ in profile from the columns, and are never decorated with volutes. Their breadth is usually less than a diameter of the column, and they are not diminished. 160. The highest degree of refinement of Greek architecture is exhibited in its examples We have, in a preof the Corinthian order, whose distinguishing feature is its capital. ceding page (139), given Vitruvius's account of its origin; but we much doubt whether Callimachus was its inventor. 161. The capitals of Egyptian columns are so close upon the invention, that we apprehend it was only a step or two in advance of what had previously been done. The palm leaf, lotus flower, and even volutes, had been used in similar situations in Egypt, and the contour of the lotus flower itself bears no small resemblance to the bell of the Corinthian capital. use. 162. We are inclined to assign the period of the latter part of the Peloponnesian war as that in which the order first came into We find from Pausanias (Arcad. c. 45.) that Scopas, the celebrated architect of Paros, rebuilt the temple of Minerva at Tegæa, which was destroyed by fire about 400 years B.C., and that, according to that author, it was the largest and most beautiful edifice in the Peloponnesus. The cell, which was hypæthral, was surrounded by two ranks of Doric columns, which were surmounted The peristyle of this temple by others of the Corinthian order. was Ionic. 163. The delicacy of formation of this order has, doubtless, subjected its examples to earlier destruction and decay than have attended the other orders: hence our knowledge of it is almost confined to the examples we meet of it in the Tower of the Winds, and the Choragic monument of Lysicrates (fig. 103.), both at Athens; the former whereof can scarcely be considered Corinthian, It was erected about 330 years and the latter not very strictly so. These Choragic B. C., as appears from the inscription on the frieze. buildings, usually of small dimensions, were erected in honour of those who, as choragi or leaders of the chorus in the musical games, were honoured with the prize, which was a tripod. The following are the proportions observed in the Choragic monument of LyFig. 103. CHORAGIC MONUMENT OF sicrates: LYSICRATES. Height of columns in English feet 11-637 Height of columns in terms of lower diameter 10.318 1.216 Upper diameter of shaft in terms of the lower diameter 0.833 Height of the architrave in terms of the lower diameter 0.850 0.483 0.833 Total height of entablature in terms of the lower diameter 2.166 From which it appears that the entablature is less than a fifth of the total height of the order. The intercolumniations are 2.200 diameters. The base is little different from that used in the Ionic order. 164. In the ornaments applied for the decoration of the sacred edifices of the Greeks, F 3 they imitated the real and symbolical objects used in their worship. Thus, at the temple of Apollo at Teos, the lyre, tripod, and griffin occur; in the Temple of the Winds at Athens, the winds are personified on the walls; the Choragic monument of Lysicrates exhibits the consequences of a contempt of music; on the temple of Victory, at the entrance of the Acropolis, was recorded, on the very spot, the assault and repulsion of the Amazons; the Lapitha are vanquished again in the temple of Theseus, the founder of the city; and lastly, in the Parthenon is brought before the eye, on a belt round the cell of the temple, the Panathenaic procession, which, issuing from the door of the cell, biennially perambulated the edifice, whilst its pediment perpetuates the contest between Neptune and Minerva for the honour of naming the city, and calls to remembrance the words of Cicero," De quorum," (Atheniensium,) "urbis possessione, propter pulchritudinem etiam inter deos certamen fuisse proditum est," &c. In the capitals of the Corinthian examples just noticed the leaves are those of the olive, a tree sacred to the tutelary goddess of Athens, and on that account as well as its beauty of form and simplicity adopted by a people whose consistency in art has never been excelled. 165. Besides the method of supporting an entablature by means of columns, the employment of figures was adopted, as in the temples of Erectheus and Minerva Polias before mentioned (see fig. 102.). They were called Caryatides; and their origin, according to the account of it by Vitruvius (lib. i. c. 1.), was that Carya, a city of Peloponnesus, having assisted the Persians against the Grecian states, the latter, when the country was freed from their invaders, turned their arms against the Caryans, captured their city, put the males to the sword, and led the women into captivity. The architects of the time, to perpetuate the ignominy of the people, substituted statues of these women for columns in their porticoes, faithfully copying their ornaments and drapery. It is, however, certain that the origin of their application for architectural purposes is of far higher antiquity than the invasion of Greece by the Persians, and in the above account Vitruvius is not corroborated by any other writer. Herodotus (Polymnia), indeed, observes that some of the states whom he enumerates sent the required offering of salt and water to Xerxes; but no mention is made of Carya, whose conduct, if punished in such an extraordinary manner, would have been too curious a matter to have been passed over in silence. Whether the use of statues to perform the office of columns travelled into Greece from India or from Egypt, we will not pretend to determine. Both, however, will furnish examples of their application. In the latter country we find them employed in the tomb of King Osymandyas (Diodorus, tom. i. f. 56. Wesseling). Diodorus also, speaking of Psammeticus, says that having obtained the whole kingdom, he built a propylæum on the east side of the temple to the god at Memphis, which temple he encircled with a wall; and in this propylæum, instead of columns, substituted colossal statues (KOλOTTOùs iñoσтσas) twelve cubits in height. 166. The application of statues and representations of animals is a prominent feature in the architecture of Egypt, whereof the temple at Ibsambul is a striking example, though in that the figures do not absolutely carry the entablature (see fig. 71.). In India many in stances of this use of statues occur, as in the excavations of the temple near Vellore described by Sir C. Mallet (Asiat. Res. vol. vi.), wherein heads of lions, elephants, and imaginary animals apparently support the roof of the cave of Jugnath Subba; and at Elephanta, where colossal statues are ranged along the sides as high as the underside of the entablature (see fig. 39.). But as the settlement of the claims of either of these countries to the invention is not our object, we shall proceed to consider how they obtained in Greece the name that has been applied to them long before the period of which Vitruvius speaks. 167. Kapúa, the nut tree (Nur juglans), which Plutarch (Sympos. lib. ii.) says received its name from its effect (kápos, sopor) on the senses, was that into which Bacchus, after cohabitation with her, transformed Carya, one of the three daughters of Dion, king of Laconia, by his wife Iphitea. The other daughters, Orphe and Lyco, were turned into stones for having too closely watched their sister's intercourse with the lover. Diana, from whom the Lacedemonians learnt this story, was on that account, as well perhaps as the excellence of the fruit of the tree, therefore worshipped by them under the name of Diana Caryatis. (Servius, note on 8th Ecl. of Virgil, edit. Burman.) Another account, however, not at all affecting the hypothesis, is given of the name of Diana Caryatis in one of the old commentators of Statius (Barthius, lib. iv. v. 225.). It is as follows. Some virgins threatened with danger whilst celebrating the rites of the goddess, took refuge under the branches of a nut tree (kapva), in honour and perpetuation whereof they raised a temple to Diana Caryatis. If this, however, be an allusion to the famous interposition of Aristomenes in protecting some Spartan virgins taken by his soldiers, it is not quite borne out by the words of Diodorus. Salmasius (Exercit. Pliniana, f. 603. et seq.) says, that Diana was worshipped at Carya, near Sparta, under the name of Diana Caryatis; and that at her temple and statue the Lacedemonian virgins had an anniversary festival, with dancing, according to the custom of the country. 168. But to return more closely to the subject, we will give the words of Pausanias (Laco nics) on the temple to the goddess at Carya. "The third turning to the right leads to Carya, and the sanctuary of Diana; for the neighbourhood of Carya is sacred to that goddess and her nymphs. The statue of Diana Caryatis is in the open air; and in this place the Lacedemonian virgins celebrate an anniversary festival with the old custom of the dance." Kuhnius on the passage in question, after reference to Hesychius, says, "Caryatides etiam dicuntur Lacænæ saltantes, sinistrâ ansatæ, uti solebant Caryatides puellæ in honorem Dianæ," 169. From the circumstances above mentioned, we think it may be fairly concluded that the statues called Caryatides were originally applied to or used about the temples of Diana; and that instead of representing captives or persons in a state of ignominy, they were in fact representations of the virgins engaged in the worship of that goddess. It is probable that after their first introduction other figures, in buildings appropriated to other divinities, were gradually employed; as in the Pandroseum (attached to the temple of Minerva Polias), Fig. 104. Fig. 105. for instance, where they may be representations of the virgins called Canephora, who assisted in the Panathenaic procession. Fig. 104. is a representation of one of those used in the Pandroseum (see also fig. 102.); and fig. 105. is from the Townley collection, now in the British Museum. Piranesi conjectured that this last, with others, supported the entablature of an ancient Roman building restored by him from some fragments found near the spot where they were discovered, which is rather more than a mile beyond the Capo di Bove, near Rome. Four of the statues were found; and on one of the three, purchased by Cardinal Albani, the following inscription was found: ·- ΚΡΙΤΩΝ ΚΑΙ ΝΙΚΟΛΑΟΣ ENOITN; showing that it was the work of Greek artists. 170. The republican spirit of Greece tended to repress all appearance of luxury in their private dwellings. The people seem to have thrown all their power into the splendour and magnificence of their temples; and it was not till a late period that their houses received much attention. Except in the open courts of them, it is difficult to conceive any application of the orders. It is certain that they frequently consisted of more than one story; but beyond this all is conjecture. In the time of Demosthenes (Orat. adv. Aristocratem) the private houses had begun to be increased in extent; and the description of them by Vitruvius, who knew Athens well, proves that they then erected on an extent implying vast luxury. 171. Within the last few years discoveries have been made at Athens, which would lead us to the belief that it was the practice of the Greeks to paint in party colours every portion of their temples, and that in violently contrasted colours. This has received the name of polychrome architecture. It is rather strange that no ancient writer has spoken of the practice, and the only way to account for the omission is by supposing it to have been so common that no one thought of mentioning it. From the information of M. Schaubert, the government architect at Athens, it appears that every part of the surface of the Parthenon had a coating of paint. That the coffers of the ceiling were painted, and its frieze ornamented with a fret in colours, was, he observes, known; but the whole building, he continues, as well as other temples, was thickly painted, in the metopæ, in the pediment, on the drapery of the figures, on the capitals, and on all the mouldings. So that, as he says with great simplicity, with its mouldings and carvings variously coloured, the simple Doric temple of Theseus was in effect richer than the most gorgeous example of Corinthian; and it would be worth the trouble to restore with accuracy a polychrome temple. From M. Quast (Mittheilungen über Alt und Neu Athen, Berlin, 1834), we learn that the colour was not used in a fluid state merely for the purpose of staining the marble, but in a thick coat, so that the material was completely covered; and that in the temple of Theseus this is more traceable than in any other. Though the colours, that of blue smalt more especially, have left but a grey crust, yet their original tone is still apparent. In this building deep blues and reds are the predominant colours, so as to relieve one another. The corona was deep blue, and the gutte of a brown red; the foliage of the cymatium was alternately streaked with blue and red, the ground being green, which colour is applied to the small leaves on some of the lesser mouldings. Some of the coffers are coloured of a red inclining to purple, on which the ornament is given; others exhibit a blue ground, with red stars. The architrave of the portico was a bright red; the figures in the frieze were painted in their proper natural colours: traces of the colour show that the walls were green. It was not discovered that in the columns more than the arrises of the flutes were painted, although the echinus was. We do not doubt the accuracy of MM. Semper and Quast; but after all it is possible that all this painting may have been executed at a period much later than that of the buildings themselves. 172. The most ancient theatres of Greece were constructed in a temporary manner; but the little security from accident they afforded to a large concourse of persons soon made the Greeks more cautious for their security, and led to edifices of stone, which, in the end, ex |