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DELYANNIS

preservation than could be possible if they had been long exposed to the air. The earlier treasury was probably destroyed either by earthquake or by the percolation of water through the terracing. The Cnidian treasury stands on the south side of the way farther west. This building was originally surmised by the excavators to be the Siphnian treasury, but further evidence led them to change their opinion. The treasury was raised on a quadrangular structure, supported on its south side by the Hellenico, and built of tufa. The lower courses are left rough and were most likely hidden. A small distyle Ionic temple of marble stood on this substructure. The sculpture from this treasury, which ornamented its frieze and pediment, is of great interest in the history of the development of the art, and the fragments of architectural mouldings are of great delicacy and beauty. The whole work is perhaps the most perfect example we possess of the transitional style of the early 5th century. Standing back somewhat from the path just as it bends round up the hill is the Theban treasury. Farther north, where the path turns again, is the Athenian treasury. This structure, which was in the form of a small Doric temple in antis, appears to have suffered from the building above it having been shaken down by an earthquake. There can be no doubt about the identity of the building, for the basis on which it stands bears the remains of the dedicatory inscription, stating that it was erected from the spoils of Marathon. Almost all the sculptured metopes are in the museum, and are of the highest interest to the student of archaic art. The famous inscriptions with hymns to Apollo accompanied by musical notation were found on stones belonging to this treasury. Above the Athenian treasury is an open space, in which is a rock which has been identified as the Sibyl’s rock. It has steps hewn in it, and has a cleft. The ground round it has been left rough like the space on the Acropolis at Athens identified as the ancient altar of Athena. Here too was placed the curious column, with many flutes and an Ionic capital, on which stood the colossal sphinx, dedicated by the Naxians, that has been pieced together and placed in the museum. A little farther on, but below the Sacred Way, is another open space, of circular form, which is perhaps the dXa)9 or sacred threshing-floor on which the drama of the slaying of the Python by Apollo was periodically performed. Opposite this space, and backed against the beautifully jointed polygonal wall which has for some time been known, and which supports the terrace on which the temple stands, is the colonnade of the Athenians. A dedicatory inscription runs along the face of the top step, and has been the subject of much dispute. Both the forms of the letters and the style of the architecture show that the colonnade cannot date, as Pausanias says, from the time of the Peloponnesian War; M. Homolle now assigns it to the end of the 6 th century. The polygonal terrace wall at the back, on being cleared, proves to be covered with inscriptions, most of them concerning the manumission of slaves. After rounding the east end of the terrace wall, the Sacred Way turns northward, leaving the Great Altar, dedicated by the Chians, on the left. After passing the altar, it turns to the left again at right angles, and so enters the space in front of the temple. Remains of offerings found in this region include those dedicated by the Cyrenians and by the Corinthians. The site of the temple itself carries the remains of successive structures. Of that built by the Alcmaeonids in the 6th century b.c. considerable remains have been found, some in the foundations of the later temple and some lying where they were thrown by the earthquake. The sculptures found have

been assigned to this building, probably to the gables, as they are archaic in character, and show a remarkable resemblance to the sculptures from the pediment of the early temple of Athena at Athens. The existing foundations are these of the temple built in the 4th century. They give no certain information as to the sacred cleft and other matters relating to the oracle. Though there are great hollow spaces in the structure of the foundations, these appear merely to have been intended to save material, and not to have been put to any religious or other use. Up in the north-eastern corner of the precinct, standing at the foot of the cliffs, are the remains of the interesting Cnidian Lesche or Clubhouse. It was a long narrow building accessible only from the south, and the famous paintings were probably disposed around the walls so as to meet in the middle of the north side. Some scanty fragments of the lower part of the frescoed walls have survived; but they are not enough to give any information as to the work of Polygnotus. At the north-western corner of the precinct is the theatre, one of the best preserved in Greece. The foundations of the stage are extant, as well as the orchestra, and the walls and seats of the auditorium. There are thirtythree tiers of seats in seven sets, and a paved diazoma. The sculptures from the stage front, now in the museum, have the labours of Heracles as their subject. The date of the theatre is probably early 2nd century B.c. The stadium lies, as Pausanias says, in the highest part of the city to the north-west. It stands on a narrow plateau of ground supported on the south-east by a terrace wall. The seats have been cleared, and are in a state of extraordinary preservation. A few of those at the east end are hewn in the rock. Ho trace of the marble seats mentioned by Pausanias has been found, but they have probably been carried off for lime or building, as they could easily be removed. An immense number of inscriptions have been found in the excavations, and many works of art, including a bronze charioteer, which is one of the most admirable statues preserved from ancient times. Provisional accounts of the excavations have appeared during the excavations in the Bulletin de Correspondence Hellenique. A summary is given in Prazer, Pausanias, vol. v. For the works of art discovered see Archaeology. ^ (jR ) Delyarmis, Theodore (1826 ), Greek statesman, was born at Kalavrytra, Peloponnesus, in 1826. He studied law at Athens, and in 1843 entered the Ministry of the Interior. In 1862 he began to take an important part in politics after the deposition of King Otho. In 1867 he was Minister at Paris. On his return to Athens he became a member of successive cabinets in various capacities, and rapidly collected a party round him consisting of those who opposed his great rival, Tricoupis. In the so-called “ (Ecumenical Ministry ” of 1877 he voted for war with Turkey, and on its fall he entered the cabinet of Koumoundoros as Minister for Foreign Affairs. He was a representative of Greece at the Berlin Congress in 1878. From this time forward, and particularly after 1882, when Tricoupis again came into power at the head of a strong party, the duel between these two statesmen was the leading feature of Greek politics (see Greece, History). Delyannis first formed a cabinet in 1885, and his warlike policy resulted in the intervention of the Powers, who eventually blockaded the Piraeus and other ports, and this brought about his downfall. He returned to power in 1890, with a radical programme, but his failure to deal with the financial crisis produced a conflict between him and the king, and his disrespectful attitude resulted in his summary dismissal in 1892. Delyannis, by his demagogic behaviour, evidently expected the public to side with him; but at the elections he was badly beaten. In 1895, how-