Chapter 9 No.9

PELASGIAN ARCHITECTURE.-The term Pelasgian is applied to various structures of massive masonry found in different parts of Greece, Italy, and Asia Minor. The origin of these works was a mystery to the earliest Hellenes, who ascribed them to a race of giants called Cyclops; hence the name Cyclopean that also attaches to them.

These works exhibit three well-defined stages of development. In the earliest and rudest structures the stones are gigantic in size and untouched by the chisel; in the next oldest the stones are worked into irregular polygonal blocks; while in the latest the blocks are cut into rectangular shapes and laid in regular courses. The walls of the old citadels or castles of several Grecian cities exhibit specimens of this primitive architecture (see p. 90).

ORDERS OF ARCHITECTURE.-There are three styles, or orders, of Grecian architecture-the Doric, the Ionic, and the Corinthian. They are distinguished from one another chiefly by differences in the proportions and ornamentation of the column.

[Illustration: DORIC CAPITAL.]

[Illustration: IONIC CAPITAL.]

The Doric column is without a base, and has a simple and massive capital.

At first the Doric temples of the Greeks were almost as massive as the

Egyptian temples, but later they became more refined.

The Ionic column is characterized by the spiral volutes of the capital. This form was borrowed from the Assyrians, and was principally employed by the Greeks of Ionia, whence its name.

The Corinthian order is distinguished by its rich capital, formed of acanthus leaves. This type is made up of Egyptian, Assyrian, and Grecian elements. The addition of the acanthus leaves is said to have been suggested to the artist Callimachus by the pretty effect of a basket surrounded by the leaves of an acanthus plant, upon which it had accidentally fallen.

The entire structure was made to harmonize with its supporting columns. The general characteristics of the several orders are well portrayed by the terms we use when we speak of the "stern" Doric, the "graceful" Ionic, and the "ornate" Corinthian.

[Illustration: CORINTHIAN CAPITAL.]

TEMPLE OF DIANA AT EPHESUS.-The temple of Diana at Ephesus was regarded as one of the wonders of the world. The original structure was commenced about the beginning of the sixth century B.C., and, according to Pliny, was one hundred and twenty years in process of building. Croesus gave liberally of his wealth to ornament the shrine.

In the year 356 B.C., on the same night, it is said, that Alexander was born, an ambitious youth, named Herostratus, fired the building, simply to immortalize his name. Alexander offered to rebuild the temple, provided that he be allowed to inscribe his name upon it. The Ephesians gracefully declined the proposal by replying that it was not right for one deity to erect a temple to another. Alexander was obliged to content himself with placing within the shrine his own portrait by Apelles-a piece of work which cost $30,000. The value of the gifts to the temple was beyond all calculation: kings and states vied with one another in splendid donations. Painters and sculptors were eager to have their masterpieces assigned a place within its walls, so that it became a great national gallery of paintings and statuary.

So inviolable was the sanctity of the temple that at all times, and especially in times of tumult and danger, property and treasures were carried to it as a safe repository. [Footnote: The Grecian temples were, in a certain sense, banks of deposit. They contained special chambers or vaults for the safe-keeping of valuables. The heaps of gold and silver relics discovered by Di Cesnola at Sunium, in the island of Cyprus, were found in the secret subterranean vaults of a great temple. The priests often loaned out on interest the money deposited with them, the revenue from this source being added to that from the leased lands of the temple and from the tithes of war booty, to meet the expenses of the services of the shrine. Usually the temple property in Greece was managed solely by the priests; but the treasure of the Parthenon at Athens formed an exception to this rule. The treasure here belonged to the state, and was controlled and disposed of by the vote of the people. Even the personal property of the goddess, the gold drapery of the statue (see p. 185), which was worth about $600,000, could be used in case of great need, but it must be replaced in due time, with a fair interest.] But the riches of the sanctuary proved too great a temptation to the Roman emperor Nero. He risked incurring the anger of the great Diana, and robbed the temple of many statues and a vast amount of gold. Later (in 262 A.D.), the barbarian Goths enriched themselves with the spoils of the shrine, and left it a ruin.

THE DELPHIAN TEMPLE.-The first temple erected at Delphi over the spot whence issued the mysterious vapors (see p. 105) was a rude wooden structure. In the year 548 B.C., the temple then standing was destroyed by fire. All the cities and states of Hellas contributed to its rebuilding. Even the king of Egypt, Amasis, sent a munificent gift. More than half a million of dollars was collected; for the temple was to exceed in magnificence anything the world had yet seen. It will be recalled that the Athenian Alcm?onid? were the contractors who undertook the rebuilding of the shrine (see p. 122).

The temple was crowded with the spoils of many battle-fields, with the rich gifts of kings, and with rare works of art. Like the temple at Ephesus, the Delphian shrine, after remaining for many years secure, through the awe and reverence which its oracle inspired, suffered frequent spoliation. The greed of conquerors overcame all religious scruples. The Phocians robbed the temple of a treasure equivalent, it is estimated, to more than $10,000,000 with us (see p. 160); and Nero plundered it of five hundred bronze images. But Constantine (emperor of Rome 306-337 A.D., and founder of Constantinople) was the Nebuchadnezzar who bore off the sacred vessels and many statues as trophies to his new capital then rising on the Hellespont.

THE ATHENIAN ACROPOLIS AND THE PARTHENON.-In the history of art there is no other spot in the world possessed of such interest as the flat-topped rock, already described, which constituted the Athenian Acropolis. We have seen that in early times the eminence was used as a stronghold. But by the fifth century B.C. the city had slipped down upon the plain, and the summit of the rock was consecrated to the temples and the worship of the deities, and came to be called "the city of the gods." During the period of Athenian supremacy, especially in the Periclean Age, Hellenic genius and piety adorned this spot with temples and statues that all the world has pronounced to be faultless specimens of beauty and taste.

[Illustration: ATHENIAN YOUTH IN PROCESSION. (From the Frieze of the

Parthenon.)]

The most celebrated of the buildings upon the Acropolis was the Parthenon, the "Residence of the virgin-goddess Athena." This is considered the finest specimen of Greek architecture. It was designed by the architect Ictinus, but the sculptures that adorned it were the work of the celebrated Phidias. [Footnote: The subject of the wonderful frieze running round the temple was the procession which formed the most important feature of the Athenian festival known as the Great Panathen?a, which was celebrated every four years in honor of the patron-goddess of Athens. The larger part of the frieze is now in the British Museum, the Parthenon having been despoiled of its coronal of sculptures by Lord Elgin. Read Lord Byron's The Curse of Minerva. To the poet, Lord Elgin's act appeared worse than vandalism.] It was built in the Doric order, of marble from the neighboring Pentelicus. After standing for more than two thousand years, and having served successively as a Pagan temple, a Christian church, and a Mohammedan mosque, it finally was made to serve as a Turkish powder-magazine, in a war with the Venetians, in 1687. During the progress of this contest a bomb fired the magazine, and more than half of this masterpiece of ancient art was shivered into fragments. The front is nearly perfect, and is the most prominent feature of the Acropolis at the present time.

[Illustration: RESTORATION OF THE ACROPOLIS OF ATHENS.]

THE MAUSOLEUM AT HALICARNASSUS.-This structure was another of the Seven Wonders of the World. It was a monumental tomb designed to preserve the memory of Mausolus, king of Caria, who died 353 B.C. Its erection was prompted by the love and grief of his wife Artemisia. The combined genius of the most noted artists of the age executed the wish of the queen. It is the traditions of this beautiful structure that have given the world a name for all magnificent monuments raised to perpetuate the memory of the dead.

THEATRES.-The most noted of Greek theatres was the Theatre of Dionysus at Athens, which was the model of all the others. It was semi-circular in form, and was partly cut in the rock on the southeastern slope of the Acropolis, the Greeks in the construction of their theatres generally taking advantage of a hillside. There were about one hundred rows of seats, the lowest one, bordering the orchestra, consisting of sixty-seven marble arm-chairs. The structure would hold thirty thousand spectators.

[Illustration: THE THEATRE OF DIONYSUS AT ATHENS. (Restored by G.

Rehlender.)]