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 two other bases, and the cornice or cymatium. The treasury of the Cnidians at Delphi was Ionic, judging by the carved ornament enriching the cornice and architraves, and in the Naxian votive column we have another early example of an early voluted capital.

The tombs of Tantalais, near Smyrna, and of Alyattes, near Sardis, belong to the same date as those we shall find in Etruria. The Harpy tomb, now in the British Museum, built after 547, is the predecessor of many other Lycian tombs of the 5th and 4th centuries, to which we return. As already pointed out, in the temple of Hera at Olympia (10th century ), we find the complete plan of an hexastyle peripteral Greek temple, where columns originally in wood supported a wood architrave and superstructure protected by terra-cotta plaques and roofed over with tiles. The temple of Apollo at Syracuse, and the temple at Corinth (7th century ) represent the earliest examples in stone, and in the temple of Poseidon at Paestum (6th century) are preserved the columns of the cella which carried the ceiling and roof. The structural development therefore of the temple was completed, and no great constructional improvements reveal themselves after 550 The next century would seem to have been chiefly directed to the beautifying and refining of the features already prescribed, and it was the traditional respect for, and the conservative adherence to, the older type, which led the architects to the production of such masterpieces as the Parthenon and the Erechtheum, which would have been impossible but for the careful and logical progression of preceding centuries.

The (q.v.) at Athens represents the highest type of perfection, not only in its conception but in its realization. It is only necessary here to give a general description. It was designed by Ictinus in collaboration with Callicrates, and built on the south side of the Acropolis on a foundation carried down to the solid rock. The temple, commenced in 454 and completed in 438, was of the Doric order and raised on a stylobate of three steps; it had eight columns in front and rear and was surrounded by a peristyle, there being twenty columns on the flanks. It contained two divisions; the eastern chamber was originally known as the Hekatompedos (temple of 100 ft.), that being the dimension of the cella of the ancient temple which it was built to replace. The chamber on the western side was called the Parthenon (i.e. chamber of the virgin). All the principal lines of the building had delicate curves. The entablature rose about 3 in. in the middle to correct an optical illusion caused by the sloping lines of the pediment, which gave to the horizontal cornice the appearance of having sunk in the centre. The stylobate had therefore to be similarly curved so that the columns should be all of the same height. The columns are not all equidistant, those nearer the angle being closer together than the others, which gave a greater appearance of strength to the temple; this was increased by a slight inclination inwards of all the columns. In order to correct another optical illusion, which causes the shaft of a column, when it diminishes as it rises, and is formed with absolute straight lines, to appear hollow or concave, an increment known as the entasis was given to the column, about one-third up the shaft. The columns were not monoliths, like those of the earliest stone temples mentioned above; they were built in several drums, so closely fitted together that the joint would be imperceptible but for the slight discoloration of the marble. The setting of the lowest drum of these columns on the curved stylobate, with the slight inclination of the column, must have been a work of an extraordinary nature, only possible with such a material as Pentelic marble. The cella or naos was built to enshrine the chryselephantine statue of Athena by Pheidias. In order to carry the ceiling and roof there was a range of columns on each side of the cella returning round the end. These columns probably carried an upper range as in the temple of Poseidon at Paestum. The tympana of the two pediments and all the metopes were enriched with the finest sculpture, and were realized, designed, and executed by Pheidias and his pupils. On the upper part of the cella wall and under the peristyle was the Panathenaic frieze, of which, as also of the other sculptures, the British Museum possesses the finest examples.

The (q.v.), designed by Mnesicles and built 437–432, was the only entrance to the Acropolis. It was of the Doric order, and consisted of a portico of six columns, the two centre ones being wider apart, to allow of the road through, up which the chariots and beasts for sacrifices ascended. The columns carrying the marble ceiling of the vestibule were of the Ionic order; beyond them the wall was pierced by three doorways, and on the other side and facing east was another portico of six columns. The front entrance was flanked on the left hand by a chamber known as the Pinacotheca, and on the right by a chamber intended probably to be a replica but subsequently curtailed in size in consequence of the proximity of another temple.

The Erechtheum on the north side of the Acropolis occupied the site of three older shrines, which may account for its irregular plan. The eastern portion was the temple of Athena Polias, with a portico of six columns of the Ionic order. At a lower level on the north side was a portico of six columns (four in front and two at the sides) leading to the shrine of Erechtheus; the west front of this shrine had originally a frontispiece of four columns in antis raised on a podium; subsequently during the Roman occupation these columns were taken down and reproduced as semi-detached columns with windows between. On the west side was a court in which was the olive tree and the shrine of Pandrosus (Pandroseion). At the south-west angle was the well-known portico or tribune of the Caryatides. There was a small entrance through the podium at the side, and stairs leading down to the shrine of Erechtheus.

The only other building remaining on the Acropolis is the temple of Niké Apteros, raised on a lofty substructure south-west of the propylaea. It also was of the Ionic order, and belonged to the type known as “amphiprostyle,” with a portico of four columns in the front and rear but no peristyle. The term “apteros” applied to the temple and not to the goddess of victory.

In 430, shortly after the completion of the Parthenon, Ictinus was employed to design the temple of Apollo Epicurius, at Bassae, in Arcadia. This temple externally was of the Doric order, but, being built in local stone, no attempt was made to introduce those refinements which are found in the Parthenon. In the rear of the cella is a second sanctuary with a doorway facing east; it was probably the site of an ancient temple which had to be preserved, and this may account for the fact that the temple runs north and south. The cella is flanked by five columns of the Ionic order which are conntected by spur walls to the cella wall. These columns carry an architrave, frieze richly sculptured with figure subjects, cornice and wall above rising to the roof. There was no ceiling therefore, and the interior was probably lighted through pierced Parian marble tiles, of which three examples were found. The Corinthian capital found on the site is supposed by Cockerell to have belonged to the shaft between the two cellas.

The same architect, Ictinus, was employed in 420 to rebuild the hall of the mysteries at Eleusis on a larger scale. The hall was 185 ft. square, and its ceiling and roof were carried by seven rows of columns with six in each row. The propylaea, which gave access to the sacred enclosure at Eleusis, was copied from the propylaea at Athens. The so-called lesser propylaea had some connexion with the mysteries.

The temple of Zeus at Olympia had much in common with the Parthenon, being nearly contemporaneous, built to enshrine a second chryselephantine statue by Pheidias, and in plan having a similar arrangement of columns inside the cella; the lower range of columns (according to Pausanias) supported a gallery round, so that privileged visitors could approach nearer to the statue. The temple, however, was built in the local conglomerate stone covered with a thin coat of stucco and painted.

Of circular temples there are two examples known, the Philippeion at Olympia and the Tholos at Epidaurus. The latter had, inside the cella, a peristyle of Corinthian columns, the capitals of which are of great beauty and represent in their design the transition