,,in ,,the  ,,land ,,of ,,temples  ,,by 
,,joseph ,,pennell  ,illustration3      
colophon  ,,london3 ,,william           
,,heinemann     ,,joseph ,,pennell',s   
,,pictures ,,in ,,the ,,land ,,of       
,,temples     ,,joseph ,,pennell',s     
,,pictures ,,of ,,the ,,panama ,,canal4 
,,fifth ,,edition4  ,reproductions of a 
series of ,lithographs made by him on   
the ,isthmus of ,panama1 together with  
,impressions and ,notes by the ,artist4 
,price #es4 net4  ,,the ,,life ,,of     
,,james ,,mcneill ,,whistler  ,by ,e4   
,r4 and ,j4 ,,pennell4  ,fifth and      
,revised ,edition1 with #if pp4 of      
,illustrations4 ,pott #dto4 ,price #abs4
 #f;d4 net4  ,,london3 ,,william        
,,heinemann4  ,copies of the lithographs
 reproduced in this volume1 limited to  
fifty proofs each1 size #af by #bb in41 
may be obtained through the ,publisher1 
at #c #c #j net each4     ,,joseph      
,,pennell',s ,,pictures ,,in ,,the      
,,land ,,of ,,temples  ,,reproductions  
,,of ,a ,,series ,,of ,,lithographs     

,,made ,,by ,,him ,,in ,,the ,,land ,,of
 ,,temples1 ,,march-,,june #aiac1       
,,together ,,with ,,impressions ,,and   
,,notes ,,by ,,the ,,artist             
,illustration3 colophon  ,,london3      
,,william ,,heinemann ,,philadelphia3   
,j4 ,b4 ,,lippincott ,,go4  ,,copyright 
,,london3 ,,william ,,heinemann4 #aiae4 
,,to ,r4 ,m4 ,,dawkins  ,,late          
,,director ,,of ,,the ,,british ,,school
 ,,at ,,athens ,,who ,,showed ,,me      
,,where ,i ,,should ,,find ,,the        
,,temples  ,,printed ,,in ,,great       
,,britain ,,by ,b4 ,,clay ,,and ,,sons1 
,,ltd41 ,,brunswick ,,street1 ,,stamford
 ,,street1 ,s4,e41 ,,and ,,bungay1      
,,suffolk4     ,,notes--,,on ,,my       
,,lithographs ,,in ,,the ,,land ,,of    
,,temples   ,i ,,went to ,greece for two
 reasons4 ,first1 because ,i wanted to  
see ,greece and what remained of her    
glory--to see if the greatest work of   
the past impressed me as much as the    
greatest work of the present--and to try
 to find out which was the greater--the 

more inspiring4 ,and second1 ,i went    
because ,i was told by a ,boston        
authority that ,i was nothing but a     
ragtime sketcher1 couldn't see ,greek   
art and couldn't draw it if ,i did4  ,i 
have been there--and did what ,i saw in 
my own way4 ,to me ,greece was wonderful
 and was beautiful1 but anyone can see  
that--and can rave over it with         
appropriate quotations from appropriate 
authors4 ,i know no ,greek and have     
scarce read a translation4 ,i say this  
regretfully--,i wish ,i had--,i should  
have seen more4 ,i know1 however1 if ,i 
had not before seen the greatest art of 
the rest of ,europe1 ,i could not have  
been so moved as ,i was by what ,i saw  
in the ,land of ,temples1 the land      
whence we have derived most of our      
ideas1 ideals1 and inspirations4  ,i    
drew the things that interested me--and 
it was1 and is1 a great delight to me to
 be told by those who have1 some of     
them1 spent their lives studying ,greeks
 and ,greece1 that ,i have given the    

character of the country4 ,what         
impressed me most was the great feeling 
of the ,greeks for site in placing their
 temples and shrines in the             
landscape--so that they not only became 
a part of it1 but it leads up to them4  
,and though the same architectural forms
 were used1 each temple was so placed   
that it told from afar by sea or land1 a
 goal for pilgrims--a shrine for        
worshippers to draw near to--yet each   
had a character of its own--always the  
same1 yet ever differing4 ,i know1 ,i am
 sorry to say1 little of proportion1 of 
scale1 of heights1 of lengths1 but what 
,i saw1 with my own eyes1 was the way   
these monuments were part of the        
country--never stuck about              
anyhow--always composed--always         
different--and they were built with     
grand ideas of composition1             
impressiveness1 and arrangement4 ,has   
there been any change in the black      
forest before ,aegina--the 8wine dark   
sea0 at ,sunium--the 8shining rocks0 at 

,delphi--the grim cliffs of the         
,acropolis8--these prove in their       
various ways that the ,greeks were great
 artists4  ,these were the things ,i    
saw4 ,had ,i known more ,i might have   
seen less--for it seems to me that most 
artists who have gone to ,greece have   
been so impressed with what they have   
been told to see1 that--there are1 of   
course1 great exceptions--they have     
looked at the land with a foot-rule1 a  
translation1 and a dictionary1 and they 
have often been interfered with by these
 aids4 ,i went ignorant of where to     
go--or what to see4 ,when ,i got to     
,athens ,i fell among friends1 who      
answered my only question that 8,i      
wanted to see temples that stood up40   
,they told me where they were--and there
 they were4 ,and for this information1  
which resulted in my seeing these sites 
and making these lithographs1 ,i want to
 thank many people1 but above all ,mr4  
,r4 ,m4 ,dawkins1 late ,director of the 
,british ,school at ,athens1 who1 now   

that he has seen the work1 agrees with  
others that it has something of the     
character and romance of the country4   
,if it has those qualities1 they are    
what ,i went out to see--and having seen
 them--and ,i have tried to express     
them--,i know ,i can see more1 if ,i    
have the chance in the future in the    
,wonder of ,work of my time1 for in our 
great works to-day we are only carrying 
on the tradition of the great works of  
the past4 ,i have seen both1 and it is  
so4  ,,joseph ,,pennell4     ,,list ,,of
 ,,illustrations  ,,the ,,illustrations 
,,start ,,at ,,taormina1 ,,proceed      
,,around ,,sicily--,,thence ,,to        
,,italy1 ,,and ,,are ,,continued ,,in   
,,greece4  ,,aetna ,,over ,,taormina ,i 
,,the ,,theatre1 ,,segesta ,,ii  ,,the  
,,temple ,,over ,,the ,,ca,,on1         
,,segesta ,,iii  ,,from ,,temple ,,to   
,,temple1 ,,girgenti ,,iv  ,,the        
,,columns ,,of ,,castor ,,and ,,pollux1 
,,girgenti ,v  ,,sunrise ,,behind ,,the 
,,temple ,,of ,,concord1 ,,girgenti ,,vi

  ,,the ,,temple ,,by ,,the ,,sea2      
,,temple ,,of ,,concord1 ,,girgenti     
,,vii  ,,the ,,temple ,,of ,,concord    
,,on ,,the ,,wall ,,from ,,within1      
,,girgenti ,,viii  ,,the ,,temple ,,of  
,,concord ,,on ,,the ,,wall ,,from      
,,without1 ,,girgenti ,,ix  ,,columns   
,,of ,,the ,,temple ,,of ,,juno1        
,,girgenti ,x  ,,the ,,temples ,,on     
,,the ,,wall1 ,,girgenti ,,xi  ,,the    
,,temple ,,of ,,juno ,,from ,,below1    
,,girgenti ,,xii  ,,paestum4 ,,morning  
,,mist ,,xiii  ,,paestum4 ,,evening     
,,xiv  ,,corinth ,,towards ,,the ,,gulf 
,,xv  ,,acro-,,corinth ,,from ,,corinth 
,,xvi  ,,olympia ,,from ,,the ,,hillside
 ,,xvii  ,,the ,,temple ,,of ,,jupiter4 
,,evening ,,xviii  ,,the ,,acropolis    
,,from ,,the ,,temple ,,of ,,jupiter1   
,,athens ,,xix  ,,the ,,way ,,up ,,the  
,,acropolis ,,xx  ,,down ,,from ,,the   
,,acropolis ,,xxi  ,,sunrise ,,over     
,,the ,,acropolis ,,xxii  ,,storm       
,,behind ,,the ,,acropolis ,,xxiii      
,,the ,,propylaea1 ,,athens ,,xxiv      

,,the ,,portico ,,of ,,the ,,parthenon  
,,xxv  ,,the ,,parthenon ,,from ,,the   
,,gateway ,,xxvi  ,,the ,,fa,,ade ,,of  
,,the ,,parthenon4 ,,sunset ,,xxvii     
,,the ,,fallen ,,column1 ,,athens       
,,xxviii  ,,the ,,little ,f,,te1        
,,athens ,,xxix  ,,the ,,great ,f,,te1  
,,athens ,,xxx  ,,the ,,temple ,,of     
,,nike1 ,,athens ,,xxxi  ,,the ,,temple 
,,of ,,nike ,,from ,,mars ,,hill1       
,,athens ,,xxxii  ,,the ,,odeon1        
,,athens ,,xxxiii  ,,the ,,street ,,of  
,,the ,,tombs1 ,,athens ,,xxxiv         
,,eleusis4 ,,the ,,pavement ,,of ,,the  
,,temple ,,xxxv  ,,aegina ,,xxxvi       
,,aegina ,,on ,,its ,,mountain ,,top    
,,xxxvii  ,,the ,,shining ,,rocks1      
,,delphi ,,xxxviii  ,,the ,,treasury    
,,of ,,athens1 ,,delphi ,,xxxix  ,,the  
,,wine ,,dark ,,sea4 ,,sunium ,,xl      
,,introduction4   ,,it is a happy thing 
that the ,greek race came into being1   
because they showed the world once at   
least what is meant by a man4 ,the ideal
 ,greek virtue  means1 that all parts   

and faculties of the man are in         
proportion1 each trained to perfection  
and all under control of the will3 body1
 mind1 and spirit1 each has its due     
place4 ,elsewhere we see one of these in
 excess4 ,thus the ,indian philosopher  
soars in the highest regions of         
speculation1 and sees great truths1 but 
they intoxicate him3 he does not bring  
them to the test of daily life1 nor does
 he check them by reason4 ,the ,hebrew  
prophet has his vision of one ,god1 and 
in rapt devotion prostrates himself     
below the dignity of manhood4 ,the      
,roman deals with practical politics and
 material civilisation2 he has a genius 
for organizing1 and for combining the   
rule of the best with the freedom and   
direct influence of all3 he1 however1   
despises the spirit and the imagination4
 ,in our own day1 what is called science
 arrogates almost divine honours to the 
faculty for measuring and observing1 and
 neglects both the religious instinct   
and the philosopher's theoric2 nor is   

this ideal less deadly than the ,roman's
 to imagination and the sense of beauty4
 ,in modern times also1 each person     
strives to excel in some one specialty1 
mental or bodily2 and if there is any   
feeling at all for proportion it is the 
proportion of a group1 while the members
 of the group are 1 excessive in one way
 and defective in the others4 ,but the  
,greek aimed at perfect proportion for  
the man2 and his ideal was1 that the    
man's will should use all the faculties 
to some worthy end4 ,his body is to be  
trained by music and gymnastic3 the aim 
of the first being grace and beauty2 of 
the second1 strength2 of the whole1     
health and joy in all bodily uses4 ,his 
mind is to be trained by poetry1        
oratory1 and philosophy2 his spirit by  
the worship of the gods1 in which all   
that was best in his life is            
concentrated into a noble ritual4 ,such 
would be the life of the ordinary       
,greek2 the greater intellects would    
look beyond the ritual to the essence2  

and we have ample evidence to show that 
their ideals were as high as any that   
have been known to other peoples4       
,aeschylus dealt with the same problems 
that baffled the ,hebrew prophets1      
divine justice and mercy1 and the       
immutable moral law2 ,plato's           
speculation took him into regions where 
logic and formal philosophy had to be   
cast aside2 ,pheidias by his art added a
 new dignity to godhead4#a  ,nowhere is 
the ,greek 1 their sense of restraint   
and proportion1 shown better than in    
their architecture3 and this both in the
 method of growth and in the final      
results4 ,the ,doric style has grown out
 of a wooden building4 ,when and how the
 first steps were taken1 we do not know1
 nor whether the ,doric be directly     
descended from the ,mycenan style1 as   
,perrot and ,chipiez will have it4      
,there is this great difference3 that   
the ,mycenan and ,cretan columns are    
like a ,doric column reversed1 the thick
 end upmost1 and they show none of the  

,greek refinements to which we shall    
come later4 ,a simpler origin is        
possible3 for to-day the traveller may  
see1 in the verandah of some wayside    
cottage 7,homer's ' 7 a primitive ,doric
 column1 some bare tree-trunk with a    
chunk of itself for capital1 supporting 
a primitive architrave of the same sort4
 ,in the ,doric order1 other traces of  
woodwork are left in the stone1 such as 
the triglyphs1 or beam-ends1 with round 
pegs beneath1 or the gouged flutings of 
the column itself4 ,and we have direct  
evidence in the history of the ,olympian
 ,herum2 where we are told that the     
columns were once of wood1 and that     
stone columns were put in place of these
 as they decayed1 one of the ancient oak
 columns being preserved down to the    
time of ,pausanias4 ,the early          
architects would seem to have been      
nervous as to how much weight stone     
would bear1 so that their columns are   
very thick and set close together2 in   
fact1 less than one diameter apart4 ,by 

degrees they learnt from experience1 but
 the changes were slow and careful4 ,the
 plan of the temple always remained the 
same1 and there is little variation in  
the number of pillars at each end1 or in
 any of the general features4 ,as in    
statuary1 here also they kept to their  
tradition as much as they could1 and got
 their effects with the least possible  
change4 ,but what effects6 ,compare the 
heavy masses of ,corinth or ,pstum with 
the airy grace of the ,parthenon1 and   
measure the infinite delicacy of the    
changes which produce this effect4 ,the 
builders found out that straight lines  
do not look straight1 and that if the   
lines of a building do not look         
straight1 the building looks as if it is
 going to topple over and fall4 ,a      
column which decreases upwards in       
straight lines looks to the eye concave2
 and this illusion they tried to correct
 by making the columns bulge from the   
top about one third down1 and then      
decreased this curve towards the bottom4

 ,the first attempts gave too much      
convex curving1 but this again was      
corrected until the architect found     
perfection3 yet the differences measured
 in inches are small4 ,again1 each      
column was inclined slightly inwards1   
because a column that stands quite      
straight looks as though it were        
inclined out-wards2 and the stylobate1  
upon which the columns stand1 is curved 
from each end upwards to the centre4    
,other adjustments were necessary in the
 abacus and capital1 to make all        
harmonious2 and we may say that there   
was hardly a straight line in the       
building4 ,sculpture and ornament were  
adjusted to the eye in the same way2 and
 it would seem that the effect of the   
whole building also was judged not      
alone1 but in connection with the lines 
of the landscape--that background of    
hills1 always noble but never           
over-powering1 which is found all over  
the ,greek world4 ,for instance1 in the 
,parthenon certain minute corrections   

were made because of the way in which   
the sun's rays fell on it4 ,these       
adjustments have been measured and      
tabulated--or at least a great many of  
them1 for there are doubtless many we do
 not notice1 and the building is a      
ruin--but they show a delicacy of sense 
which is nothing short of miraculous4   
,these builders1 however1 were not only 
artists with miraculous keenness of     
sense1 but members of a true            
trade-guild1 with its accumulated wisdom
 handed down from generation to         
generation1 and themselves were men who 
worked with their own hands4 ,neither   
could they have built the ,parthenon    
with books of logarithms in an office2  
nor can we ever have noble buildings    
again so long as the architect and the  
builder are not one4 ,every common      
workman must have had his share of this 
traditional skill4 ,indeed1 inscriptions
 lately discovered show that the        
building of the ,parthenon went on after
 ,pheidias was banished2 so that the    

sculptures which are the wonder of the  
world must have been done in part at    
least without their designer4 ,but even 
without such evidence1 the perfection of
 every detail of building1 the fitting  
of the joints1 the strength and finish  
of each part1 is enough to show what the
 ,athenian workman was like4    #a      
,quintilian1 ,inst4 ,orat4 xii41 #aj1   
#i4 ,olympium in ,elide       ,jovem 444
 cuius pulchritudo adiecisse aliquid    
etiam recept relligioni       videtur3  
adeo maiestas operis deum quavit4  ,but 
we must remember also that the stones   
that remain are only ruins4 ,even in    
these we may trace many of the          
perfections of the ancient artist2 but  
if we could see them as they were1 we   
should see1 not stones bleached and     
weathered1 but buildings resplendent    
with colour and gold4 ,columns1         
capitals1 architraves1 all were a blaze 
of colour1 decorated with graceful      
patterns and painted to match the blue  
sea and the golden sunlight4 ,and now   

for us ,sunium is a white ghost like the
 light of the moon1 the ,parthenon a    
rose in decay4  ,we may not now feel the
 want of what is lost4 ,the hills once  
covered with forest trees are bare1 the 
countryside is untilled and empty1 and  
these ruins are invested with a         
sentimental charm in the thought of what
 has been lost4 ,the traveller is in the
 mood of ,sulpicius as he consoles      
,cicero for his daughter's death4       
8,returning from ,asia1 as my voyage    
took me from ,aegina towards ,megara1 ,i
 began to survey the regions round      
about3 behind me was ,aegina1 before me 
,megara1 to the right ,peiraeus1 to the 
left ,corinth1 all cities at one time   
prosperous and flourishing1 but now they
 lay prone and ruined before my eyes4   
,and ,i began thus to ponder within     
myself3 #8,ah6 shall we frail creatures 
resent the death of one of ourselves1   
seeing that our life must needs be full 
short1 when in one place so many dead   
cities lie before us8'0 ,indeed the     

,greek cities are most aptly compared to
 humanity4 ,there never was anything    
grandiose about them1 nothing monstrous 
like the empire of ,china1 no desire to 
thrust ,greek manners or religions upon 
the rest of the world1 no attempt to    
monopolize trade even by honest methods4
 ,they wished to live and let live1     
loved and hated fiercely1 but like men2 
and if they must die they did not whine 
about it--indeed1 for their country's   
sake they held it glorious to die4 ,and 
now they are gone1 and their place knows
 them no more1 no one can feel that     
touch of triumph that ,shelley felt over
 his ,ozymandias4 ,they have left behind
 them everywhere a poignant regret1 such
 as one feels for a very dear friend    
gone for ever4 ,most strong is this     
feeling when our steps wander over some 
desolate spot1 once a populous city1    
such as ,pstum or ,myndos4 ,i mention   
,myndos because there the contrast is   
most vividly brought out by the second  
idyll of ,theocritus4 ,there is the old 

harbour1 there is the ring of the city  
walls a mile across1 and the whole space
 between is brushwood and stones4 ,yet  
from this city sailed to ,cos opposite  
the hot-blooded youth whom ,simaitha    
loved1 whose story is told in the poet's
 words of passion4 ,and these cities1   
once so full of life and happiness1 are 
a desert now4 ,even the new ,greece1    
which rose from the ashes of the old not
 a hundred years ago1 which has sprung  
into new life and honour within the last
 few months1 cannot console us for the  
,greece that is gone4 ,the quick        
intelligence is still here1 the courage1
 the idealism2 but ,greece can hardly   
escape the corruption of the modern     
world1 with its grasping after wealth2  
and the sincerity of the ancient spirit 
exists chiefly amongst peasants and     
fishermen4 ,a false and pedantic way of 
thought is spreading from the schools   
and the newspapers1 which must spoil the
 people unless the efforts of a few wise
 and longsighted men shall prevail4     

,the pictures in this volume follow     
roughly the history of the ,doric style4
 ,in ,olympia lies the floor of the     
,herum1 most ancient of all existing    
,greek temples1 built before #ajjj      
,b4,c4 ,unhappily this view tells us    
nothing of what it looked like3         
earthquake and flood1 and the hand of   
man1 have done all they could to        
destroy4 ,the temples in ,sicily and    
,magna ,grcia1 with ,corinth1 belong to 
the earliest stage known to us4 ,corinth
 was built about #fej2 the temples of   
,athena at ,syracuse1 now the cathedral1
 and of ,zeus at ,selinus 7which are not
 represented here7 are as old or older4 
,segesta comes next1 in the early sixth 
century2 and in the same century temples
 at ,girgenti 7,agrigentum71 ,aegina1   
and ,pstum4 ,the temple of ,zeus at     
,olympia was built between #dfi and     
#deg1 the ,parthenon #ded-dch1 ,sunium  
and ,eleusis about the same time1 and   
two buildings at ,pstum4 ,the theatres  
belong to a later date1 and the         

,corinthian temple of ,zeus ,olympian at
 ,athens1 begun by ,peisistratus1 was   
not finished until the time of ,hadrian4
  ,olympia is the epitome of the ,greek 
race1 as the forum is of the ,roman     
dominion3 the ,roman ideal being law1   
order1 and government2 the ,greek1 all  
the powers of man at their best1 used   
and enjoyed in the holy precinct of     
their great ,god4 ,the difference is    
shown at once1 in that the ,olympian    
assembly was enforced by no lawgiver1   
but the voluntary gathering of men of   
one blood1 who for a set time laid aside
 all their quarrels1 and remembered that
 they were marked off by a great gulf   
from all other men4 ,they came for no   
material gain3 their prize was not      
dominion and power1 nor wealth and      
trade1 but the crown of wild olive and  
glory incorruptible4 ,elis1 a state     
small and insignificant politically1 had
 the honour of presiding over these     
games2 no man might compete save those  
of pure ,hellenic blood1 and no woman   

might approach them4 ,and here1 every   
four years1 from a time before the      
beginning of history1 the men of ,greece
 met1 kings and potentates competing    
with private men1 high and low1 rich and
 poor1 all acknowledging the one tie    
greater than all others4 ,the           
celebrations lasted all through the     
glorious days of ,greece1 and until the 
glory of ,greece had long departed1 and 
they were abolished for ever in #cid    
,a4,d4 by ,theodosius4 ,art and         
literature formed no part of the        
contests1 which were nearly all         
athletic2 but painters and other artists
 exhibited their works there1 and it was
 common for orators and philosophers to 
recite3 ,herodotus is said to have read 
his history at the festival4  ,the      
picture is taken from the small hill of 
,kronos3 we look over the site of       
,hera's temple to the great temple of   
,zeus4 ,to the left1 out of sight1 is   
the entrance to the racecourse4 ,just   
beneath us1 under the hill1 is a row of 

small shrines called ,treasuries1 which 
mighty states and monarchs had built to 
contain their own chief offerings4 ,in  
the distance is the river ,alpheius4 ,we
 cannot imagine how this plain looked   
when it was the encampment of thousands1
 covered with booths1 and full of goodly
 men and horses2 the crowds1 the        
processions1 the feastings1 litany and  
sacrifice2 but every man must feel the  
same thrill as when he stands in        
,westminster ,hall1 or ,st4 ,sophia at  
,constantinople3 for here have passed   
all the great men of the ,greek race4   
,if the games show the physical side of 
the ,greeks1 the theatre above all shows
 the intellectual4 ,while they invented1
 and perfected1 nearly all kinds of     
literary art1 it is the theatre that    
touched their life most closely1 and    
most fully gave scope for their genius4 
,this also grew out of religion1 and was
 always a part of their religion4 ,but  
the ,greek gods were no puritans4 ,they 
exacted awe and worship1 and they       

punished the impious2 but they were     
genial good fellows1 who might be       
thought1 without blasphemy1 to share in 
the happiness of their people--indeed1  
took it in good part when they were the 
subject of rollicking jests4 ,in the    
theatre1 ,aeschylus found room for his  
profound religious feeling1 ,euripides  
for his scepticism1 ,sophocles for a    
mirror of the mind of man1 ,aristophanes
 for his political and social satire and
 his merry fun4 ,every town and even    
hamlet must have its theatre4 ,a        
suitable place could be found almost    
anywhere in the hill country--that is1  
in almost all parts of ,greece          
proper--before any buildings needed to  
be put up4 ,then the hillsides were cut 
into seats1 as at ,argos and ,segesta1  
or seats ranged around in a semicircle1 
and carried on when it was necessary by 
means of retaining walls4 ,below them   
was a round space for dancing1 and      
beyond this the stage4 ,there is a      
controversy whether the ,greeks ever    

used a raised stage before the ,roman   
conquest2 probably they did1 but at any 
rate all existing theatres had them4    
,vitruvius 7who wrote about #bj ,a4,d47 
says that the ,greek stage was higher   
and narrower than the ,roman2 and the   
stage at ,taormina has been built1 or   
rebuilt1 in the ,roman way4  ,it is     
proper to say this1 but the onlooker    
will think little now of the stage1 or  
indeed of the actors and the play1 in   
view of one of those scenes which can   
never be forgotten4 ,the sight of ,etna 
over the stage1 with his rolling steam1 
absorbs the whole force of imagination4 
,etna is tremendous4 ,beneath ,etna     
,hephaistos had one of his forges1 as at
 ,lipara1 ,imbros1 and ,lemnos2 and that
 smoke you see shows that his workmen   
are forging the thunder-bolts of ,zeus4 
,the very name of ,volcano is           
,hephaistos himself4 ,or is it the giant
 ,typhoeus1 defeated by ,zeus in the    
battle of gods and giants1 and buried   
beneath the mountain1 who by his        

struggles causes the earth thus to      
heave1 and these fiery streams to pour  
forth8 ,what wonder that the pious made 
offerings of incense at the top6 ,was it
 really true that ,empedocles1 that     
great philospher and healer1 whose      
intellectual pride seems almost to claim
 divine honours1 cast himself into the  
crater1 that he might seem to have been 
swept away by the gods8 ,probably it was
 not true3 but the story shows how the  
mountain worked on men's imaginations4  
,if the theatre of ,segesta has no ,etna
 behind it1 the surroundings to the eye 
are in other ways grand4 ,it is seated  
upon the acropolis hill1 whence a view  
can be taken at once of that corner of  
,sicily which was held by the mysterious
 ,elymians1 with their citadel and      
sanctuary of ,eryx4 ,segesta was founded
 by a people who wanted protection1 and 
feared the sea4 ,but1 like the rest of  
,sicily1 it came under ,greek influence2
 and its buildings1 the two temples and 
the theatre1 are ,greek4 ,this small    

town has played a part in history3 it   
was the bone of contention which led    
,athens to interfere with ,syracuse1 and
 so on to her ruin4 ,the columns of the 
temple are unfinished1 the fluting has  
never been done4 ,there is something    
that moves the sympathy in these        
unfinished places4 ,no doubt the city   
was overwhelmed in some catastrophe1    
which perhaps left it quite desolate in 
the old cruel way4 ,so the blocks of the
 ,pinacotheca on the ,athenian acropolis
 still keep the knobs which were used in
 mounting them2 they were never cut off1
 for ,athens fell4 ,so1 most striking of
 all1 there lies in the quarry near     
,baalbek an enormous block of stone1    
seventy-seven feet long by fifteen and  
fourteen1 squared and ready1 one end    
tilted for moving2 but it was never     
moved3 there it has lain perhaps for    
three thousand years1 and there it will 
lie till the world ends4  ,girgenti1    
,agrigentum1 ,akragas1 called by ,pindar
   1 fairest of mortal cities2 lofty    

,akragas1 in ,virgil's words1 spreading 
her walls so wide1 mother of            
high-spirited horses--      8,arduus    
inde ,acragas ostentat maxima longe     
,moenia1 magnanimum quondam generator   
equorum0--  although late founded in    
,greek history 7,b4,c4 #ehb71 is set on 
a hilltop like some primaeval acropolis4
 ,two rocky hills1 with a space of level
 land between1 were enclosed within a   
wall six miles round2 below this the    
land slopes gently to the sea2 the whole
 lies between two rivers4 ,the existing 
remains1 and the modern town1 lie on one
 of the two hills4 ,akragas calls up    
only one name from the memory4 ,phalaris
 the ,tyrant and his brazen bull4 ,but  
,empedocles was born here4 ,the great   
temple of ,zeus ,polieus1 which         
,phalaris was said to have built1 has   
perished1 and those that remain cannot  
be certainly identified4 ,one is called 
after ,concord1 but the ,latin name     
cannot have properly belonged to it4    
,the pictures here show some of the     

wonderful effects1 which vary from hour 
to hour in this land of colour and      
sunlight4 ,but the glory of ,girgenti is
 the grouping of its remains3 wall1     
temples1 and rocks4 ,if we could see the
 city as it was1 it may well have been  
4 ,but in #djf1 the ,carthaginians      
descended upon it1 and starved out the  
people4 ,all who could go migrated to   
,gela2 the rest were massacred1 and the 
city sacked4 ,from this blow it never   
recovered1 although it was afterwards   
inhabited4  ,pstum1 the ,greek          
,poseidonia1 is one of those cities that
 have no history2 at least1 this city   
played no great part in ancient history 
and gave the world no great men4 ,but   
,pstum was not happy4 ,it had its day1  
from the foundation in the seventh      
century for some two hundred years2 but 
it fell early into the hands of the     
barbaric ,lucanians4 ,after this it     
existed1 but it never became great4 ,we 
know ,pstum for its roses1 biferi       
rosaria ,psti1 which flower twice a year

 in ,may and ,november2 and until       
lately1 for its loneliness and          
desolation4 ,not a living soul was there
 in the circuit of the city walls1      
nothing but a bare plain with hundreds  
of flowering grasses1 and the great     
temples in their grandeur4 ,all its     
charm is gone now3 a factory stains the 
sky with its smoke1 and the modern      
world1 whose god is its belly1 has put  
its foul mark upon the quietude of      
,pstum4 ,those who saw ,pstum when it   
was one of the most impressive sights in
 the world1 will be careful not to go   
thither again4  ,corinth1 on the other  
hand1 takes us back to the heart of the 
ancient world4 ,from time immemorial    
,corinth was a great place4 ,it lay on  
the high-road of the seas1 in the time  
when voyagers hugged the coasts4        
,traders from ,asia and ,phnicia would  
not ply to ,italy and ,spain along the  
open sea when they could go from island 
to island and along the sheltered waters
 of the two gulfs3 all these must ship  

their goods across the ,isthmus1 and the
 ,isthmus was dominated by the          
impregnable rock of ,corinth4 ,thus the 
masters of ,corinth could levy tolls on 
all commerce3 they grew rich1 as in     
older days ,troy did1 and later         
,constantinople1 because they lay across
 a trade route4 ,here was built the     
first ,greek navy of war-ships3 here    
were the rich and powerful tyrants2 here
 was worshipped ,poseidon1 with his     
famous ,isthmian games1 and ,phoenician 
,aphrodite4 ,a few years ago1 the       
precinct of ,poseidon was dug out1 and  
there appeared a mass of votive tablets1
 on which we may see the daily life of  
,corinth in the seventh century before  
,christ4 ,pre-eminent amongst all the   
scenes are those of the potter's trade3 
the pottery is seen being made on the   
wheel1 baked in the furnace1 and loaded 
into the ships for export to ,italy and 
elsewhere4 ,corinth reminds us of some  
of the best stories of ,herodotus3      
,cypselus and his chest1 ,arion and the 

dolphins1 and that attractive           
scatterbrain ,hippocleides1 who at      
,sicyon hard by danced away his         
marriage1 and did not care one jot4 ,no 
great man of letters ever came out of   
,corinth1 no poet and no orator2 but    
,corinthian bronze was famous1 and the  
city was full of works of art4 ,when    
,mummius sacked ,corinth and left it    
desolate1 he made his famous bargain    
with the contractors who removed the    
spoil3 if they damaged any of the works 
of art1 they were to replace them with  
others as good4 ,corinth was afterwards 
rebuilt2 all will remember ,st4 ,paul's 
connection with the city1 and the riot  
when ,gallic was governor of ,achaia4   
,the ,acrocorinthus is one of the most  
magnificent sights in the world3 it has 
the common quality of the ,greek        
mountains1 grandeur without excessive   
size2 but standing as it does isolated  
from other hills1 and visible           
everywhere1 from ,athens to ,parnassus1 
its effect on the imagination is never  

to be forgotten4 ,its height is not far 
short of #bjjj feet1 and it is crowned  
with a fortress as it has been all      
through history4 ,from the summit we see
 the whole centre of ,greece2 even the  
,parthenon itself1 the centre of ,greek 
artistic achievement4 ,here too is the  
sacred spring ,peirene1 struck out by   
the hoof of ,pegasus4  ,the view here   
given towards the gulf shows ,parnassus 
in the distance1 like a ghost4  ,athens 
is the heart of ,greece1 and ,greece is 
the soul of mankind4 ,no man who loves  
what is beautiful1 or who admires what  
is noble1 can fail to feel at home in   
,athens4 ,here in this little plain1    
girt with purple mountains1 lived those 
men who discovered human reason1 who    
showed how to express man's greatest    
ideas1 who pitted courage and intellect 
against brute force1 who for a few short
 years lived the fullest life possible  
for mankind3 we have lived on their     
thoughts ever since4  ,the beauties of  
the place have been often sung3 they are

 summed up in one immortal phrase1 8city
 of the violet crown40 ,the continued   
changes of colour1 especially towards   
evening1 in that clear air1 with sea and
 cloud and mountain1 make the scene a   
continual delight4 ,in the midst of this
 fertile plain rises the sharp peak of  
,lycabettus1 and beside it the          
buttressed ,acropolis1 from which the   
temples grow like flowers4 ,and from    
every side this is a landmark3 whether  
from ,aegina opposite1 or from some     
frontier fortress like ,phyle1 or even  
from ,acrocorinth1 this rock1 not high  
in itself1 stands out to the view1 and  
makes us remember ,athens4 ,here1 more  
easily than anywhere1 can we see how the
 ,greek architect saw each building as  
part of a whole4 ,i have already spoken 
of the refinements of the ,parthenon1   
and how it is set with regard to the    
sunlight3 but the ,parthenon is only one
 of a group of temples4 ,there yet      
remain a great part of the ,erechtheum1 
the oldest shrine on the ,acropolis1 and

 site of the ,king's house before       
history began3 and a little shrine of   
,victory1 built on a bastion of the     
rock4 ,but there were others2 and the   
whole precinct was entered by the       
,propylaea1 which also remains in part1 
to which led a flight of steps4 ,the    
idea of this gateway was a stroke of    
genius4 ,the visitor entering by it saw 
the whole mass of buildings as it were  
framed by the marble pillars and        
architrave2 and if he turned1 he looked 
out through the same frame upon the     
plain and the sea1 the strait of        
,salamis1 with the island beyond it4    
,the rock falls steep under the gate1 so
 there is nothing to bar this view1     
which must have reminded the ,athenian  
of the great past every time he looked  
forth from it4 ,to the right1 as one    
looks out of this gateway1 lies the spur
 of the ,areopagus1 seat of that most   
ancient court and council1 upon which   
place ,st4 ,paul told the ,athenians of 
the ,unknown ,god4 ,to the left1 but not

 visible1 is the precinct of ,dionysus1 
with the theatre4 ,straight ahead1 the  
ancient ,athenian would see the long    
walls joining his city to ,peiraeus and 
the sea1 where in fortified harbours lay
 his mighty fleets4 ,over the           
market-place westward he could see the  
,dipylon ,gate with its place of tombs1 
and the sacred way leading to ,eleusis  
and the ,mysteries4 ,eastward lies      
,hymettus with its honey-bees2          
northwards ,lycabettus1 where the       
,persian host was first sighted pouring 
over the hillside1 and beyond it        
,pentelicon1 that looks down on         
,marathon plain2 north-westwards are the
 hills of ,acharnae1 where the fires of 
the invading ,spartans were first seen  
in that war which ended the greatness of
 ,athens4 ,and all round about are caves
 and clefts and shrines that belonged to
 the immemorial religion of the place1  
each linked with memories1 many with    
immortal works of literature4 ,we can no
 longer know the magnificence of the    

past2 but we can name many of the things
 that were seen there1 from the         
description of ,pausanias which has come
 down to us4  ,up this slope1 once in   
every four years1 after the games1 came 
the great procession of the ,panathens1 
which is portrayed for us on the frieze 
of the ,parthenon itself4 ,was there    
ever such a picture of beauty and       
strength and life8 ,there went the      
victors1 crowned and rejoicing2 the     
flower of the ,athenian cavalry1 such   
men and such horses as the world can    
show no finer 7see them on the          
,parthenon frieze671 all the chief      
soldiers and statesmen1 elders bearing  
branches of olive1 the fairest of       
,athenian women with baskets upon their 
heads1 and the sacred robe to be offered
 to the most ancient and reverend image 
of ,pallas1 borne as the sail of the    
,panathenaic ship4 ,the whole scene is  
portrayed upon the sculptured frieze of 
the ,parthenon4 ,one of the plates in   
this book represents the modern idea of 

a religious festival1 and the hundreds  
of dotted figures give a far-away notion
 what this great day must have looked   
like4 ,but how faint6 ,these dark-clad  
forms have not a hint of the gorgeous   
colour of the ancient world4 ,on the    
,acropolis1 too1 was held the feast of  
,brauronian ,artemis1 when the little   
,athenian maidens dressed up in         
bearskins for some mysterious ceremony4 
,here was the mark of ,poseidon's       
trident1 under the ,erechtheum2 here was
 ,athena's sacred olive-tree1 and her   
snakes4 ,and the whole place crowded    
with statues and offerings1 and         
inscriptions carved on stone1 treaties  
of peace1 and records of honour--the    
history of ,athens open for all to read4
  ,the story of the ,athenian ,acropolis
 is unique amongst its fellows1 while at
 the same time it sums up the history of
 the ,greek states4 ,it is unique1      
because here alone1 it seems1 a state   
existed from the beginning to the end   
without violent interference4 ,many     

,greek sites were occupied in the       
,pelasgian age1 when ,crete was mistress
 of the ,aegean1 and later when its     
place was taken by ,mycen and the cities
 of the mainland3 but the country was   
swept later by the ,achaeans1 and after 
them by the ,dorians1 who naturally     
chose the more fertile and wealthy      
places to stay in4 ,so the ,acropolis   
was the site of a royal palace and a    
,pelasgian settlement2 but the ancient  
population was here never displaced1 it 
was only added to and changed gradually4
 ,attica did not tempt the invader as   
other plains did2 nor did her rulers    
grow too rich and destroy each other for
 greed2 but her land was the refuge of  
strangers4 ,her ancient civilisation and
 art remained untouched by the ravages  
of war1 and her people always prided    
themselves on being --born of the very  
soil4 ,perhaps this unbroken tradition  
explains the prominence of ,athens in   
the arts4 ,here too1 the worship of     
,athena joined the older worship of     

,poseidon1 without rooting it up1 and   
both flourished side by side4 ,then came
 the great dynasty of the tyrants1      
,peisistratus and his family1 who made  
the city magnificent with buildings and 
engineering works1 and attracted to     
their court the finest intellects of    
their day4 ,the huge underground        
aqueduct which has lately been dug out  
belongs to this time1 the sixth century 
before ,christ4 ,peisistratus is        
followed by ,solon and the reign of law3
 and when the barbarian came1 it was    
,athens who barred his path and drove   
him back at ,marathon and at ,salamis4  
,xerxes burnt the city1 but he did not  
destroy ,athens1 for the people had left
 it for the time2 and when they         
returned1 they built up their           
fortifications with the ruins of their  
temples and monuments1 as they may still
 be seen piled slab on drum by the      
visitor of to-day4 ,xerxes burnt all he 
found1 but he only cleared the ground   
for a finer art1 which at once filled   

the empty spaces with buildings and     
monuments of a nobler kind1 the remains 
of which we now see4 ,great names now   
stand out in plenty1 ,miltiades1        
,themistocles and ,aristeides1 ,pericles
 and ,pheidias and ,ictinus2 ,plato over
 yonder in the olive groves of          
,academeia1 ,aeschylus and ,sophocles1  
,euripides and ,aristophanes in the     
theatre or the winepress2 ,socrates     
walking the streets1 or conversing in   
agora or gymnasium2 ,demosthenes moving 
men's minds in the ,pnyx4 ,when ,athens 
fell1 her conqueror spared her with a   
generosity not usual in those days2 so  
it came about that her buildings        
remained for many hundreds of years1 and
 the ,parthenon even lasted through the 
devastating ruin of the ,turks1 until a 
,venetian shell dropped upon it and blew
 it up 7#afhg74 ,there is no use in     
trying to record what the ,acropolis of 
,athens calls to mind3 it is the best of
 what educated men know4  ,fair and     
goodly in life1 the ,athenians were also

 fair in death4 ,without the gate1 on   
the sacred road to ,eleusis1 lies the   
place of tombs4 ,not bare slabs are     
these1 nor broken columns2 here are no  
wreaths of artificial flowers1 no       
ugliness and gloom1 for the tombs are   
monuments of grace4 ,many1 indeed1 are  
quite simple1 in shape of vases or the  
like2 but others show delicate reliefs1 
with the dead in their habit as they    
lived--the woman at her toilet1 the     
warrior on his horse1 or one seated in a
 chair and clasping hands with his      
friends as they say1 ,fare you well6    
,the inscriptions are as simple as they 
can be3 no sentiment and no preaching1  
but a manly acceptance of fate1 an      
honest regret for life1 or the bare     
name4 ,the reader who wishes to learn   
how the ,greek looked on death1 would do
 well to read the epitaphs in the ,greek
 anthology4 ,here in the place of tombs 
we cannot fail to remember that scene   
which ,thucydides describes3 how in each
 year of the war the bodies of those    

slain were buried with public honour1   
and ,pericles or some notable man       
pronounced their eulogy2 and in that    
speech of ,pericles we may read in brief
 the ideal of the ,athenian4  ,from this
 place led forth the ,sacred ,way1 over 
the hills to ,eleusis1 where perhaps    
more than anywhere else in the ,greek   
world those higher emotions were aroused
 which we associate with religion4 ,in  
the ritual these were lacking2 and      
philosophy was sceptical rather than    
religious1 except with a rare soul now  
and then1 a ,socrates or a ,plato1 with 
whom feeling and intellect seem to be   
fused into one force4 ,but the          
,eleusinian mysteries gave what both    
philosophy and ritual lacked4 ,they were
 mysteries in so far that no one might  
reveal them unlawfully2 but not in the  
sense of a riddle or a concealment1 for 
all ,greeks might qualify for admission4
 ,the ancient mysteries recall more the 
,freemasons than anything else we know4 
,their origin is lost in darkness1 and  

they lasted long after all else in      
,greece was dead1 when ,alaric the ,goth
 in #cif did what ,goths do in all      
ages--destroyed1 but built not up4      
,there were rites of purification1 and  
two stages of initiation2 first1 usually
 as a child1 and later into the higher  
grades as a man or woman4 ,there were   
two ,mysteries3 the ,lesser1 celebrated 
by the ,ilissos bank and close under the
 ,acropolis1 being usually a preliminary
 to the ,greater at ,eleusis4 ,what the 
mysteries were1 we know not3 the secret 
has been kept1 although ,clement of     
,alexandria was initiated before he     
became a ,christian1 and he tells us    
whatever he thinks will discredit them4 
,undoubtedly1 they included dramatic    
representations1 which struck awe and   
admiration into the observers2 but the  
inner meaning of these was known only to
 the ,hierophant1 who revealed it to    
those whom he thought fit to receive it4
 ,and now the gorgeous ceremony is over1
 priests and worshippers have for ever  

gone1 and nothing remains but the       
pavement of the temple1 with a tiny     
church of the ,virgin perched on a bluff
 above it4  ,aegina1 like all else in   
,greece1 is small1 only about forty     
square miles2 yet ,aegina has left her  
mark on history4 ,here1 according to the
 tradition1 ,pheidon1 tyrant of ,argos1 
first struck coins in ,greece4 ,whether 
it was so or not1 ,aegina was a centre  
of trade very early1 and founded a      
famous city1 ,naucratis1 in ,north      
,africa1 ,cydonia in ,crete1 and another
 in ,umbria3 the ,aeginetan tortoise1   
the ,athenian owl1 and the ,corinthian  
horse were the three types of coins best
 known to the ,greek world1 passing     
everywhere as good4 ,aegina was also    
famous for the arts1 especially         
sculpture4 ,before the ,persian wars    
,aegina came into conflict with ,athens3
 ,pericles called it the eyesore of the 
,peiraeus1 before it was conquered and  
colonised by ,athenian settlers4 ,the   
temple which still remains1 was not in  

the chief town1 but in a lonely spot    
amidst the wild woods4 ,it was sacred to
 ,aphaia1 not to ,zeus--so ,furtwngler  
infers from inscriptions found          
there--but we know nothing of its       
building4 ,the pediments1 which appear  
to represent scenes from the ,trojan    
wars1 are remarkable in the history of  
sculpture2 they are now at ,munich4     
,close by the beach at which we land is 
a small rocky islet1 upon which lives a 
lonely hermit in a hut made with his own
 hands4 ,if at ,eleusis we think of     
exalted religious emotion1 ,delphi puts 
every man in awe4 ,well was the spot    
chosen for the most famous oracle of    
antiquity3 it needs no help of man to   
show the powrer of ,god4 ,but here1 as  
everywhere in ,greece1 the awe is not   
too great for humanity to bear3 it is   
not the crushing sense of impotence in  
the face of natural forces that one     
feels in the ,alps or the ,himalayas1 it
 is the awe that may be felt for a being
 both mighty and kindly4 ,human beings  

may live here and be happy2 they may    
mount above the cleft and the shining   
rocks1 and still live and be            
happy--indeed1 those uplands were the   
scene of many a merry revel when the    
,greeks worshipped their gods4 ,but the 
great black rocks above ,delphi1        
themselves only the foot of the approach
 to ,parnassus1 are awful enough to make
 them a fit habitation for a god4 ,i    
shall never forget my first visit to    
,delphi4 ,it was winter3 ,i rode from   
,lebadeia to ,arachova over the rocky   
and precipitous paths1 and past the     
,cloven ,way where dipus slew ,laius1   
through a blinding storm of rain and    
snow4 ,next morning the sky was clear as
 in springtime1 and a bright sun        
shining1 and a short ride brought us to 
the top of the valley1 whence could be  
seen a plain covered with olive trees   
which seemed from that height like a    
flood rolling up the valley from the    
plain4 ,but ,delphi's rock was grim and 
gloomy as ever over this bright scene4  

,in ,delphi was an oracle from time     
immemorial2 the legends told of it show 
that the ,greeks found one already on   
the spot4 ,according to the ,homeric    
,hymn1 which we may rationalise if we   
like1 ,apollo found the place possessed 
by a huge serpent1 which he slew1 and as
 the body rotted 77 the place got the   
name of ,pytho4 ,here was the ,omphalos1
 or navel-stone1 marking the centre of  
the earth2 and the sacred spring        
,castalian rose between the cleft rocks4
 ,the ,pythia1 or priestess1 would seat 
herself on a tripod over a chasm within 
the temple1 and her ravings contained   
the god's answer2 but it must be        
interpreted by the prophet1 who stood by
 her side4 ,since the oracle was        
consulted by great and small1 the       
priests were able to exercise a strong  
influence on politics2 and their        
influence was generally for good1 until 
the mind1 of ,greece outgrew oracles4   
,recorded answers do not explain the    
repute of the oracle1 or its influence2 

and the tablets that have actually been 
found here and at ,dodona are mostly    
questions on personal or trivial        
subjects4 ,perhaps that was the most    
far-reaching of its behests when ,sparta
 was commanded to free ,athens from her 
tyrants2 and its most noteworthy        
revelation1 that ,socrates was the      
wisest of men4 ,one of ,herodotus's best
 stories tells how ,crsus consulted the 
oracle1 and what came of it4 ,twice     
,delphi was miraculously saved from     
pillage3 once when the army of ,xerxes  
was driven back by falling rocks1 and   
once when a storm beat off the ,gauls4  
,philip made it a pretext for           
interfering in the affairs of ,greece2  
but then he would have found a pretext  
somewhere in any case4 ,the ,pythian    
,games were celebrated here every two   
years4 ,sulla plundered the treasures1  
and so did ,nero2 ,constantine carried  
off what he could find to               
,constantinople1 where one still stands3
 the base of the golden tripod dedicated

 after the defeat of the ,persians1     
three bronze snakes intertwining1 and   
engraved with the names of ,greek tribes
 who took part4 ,the oracle lost its    
high standing about the time of the     
,peloponnesian ,war1 but it continued to
 be consulted1 until it was silenced by 
,theodosius4  ,pausanias gives a        
description of the chief things to be   
seen in this holy place4 ,before the    
excavations1 a ,greek village covered   
the site2 but now this has been removed1
 we can tread on the ancient pavement1  
and see the places where many of the    
objects once stood4 ,here1 as at        
,olympia1 the great states had their    
treasuries1 one of which has been built 
up out of its fragments4  ,high above   
,delphi1 on a mountain that rises out of
 the uplands1 not far from the peaks of 
,parnassus1 is the ,corycian cave1      
famous in legend1 sacred to ,pan and the
 ,nymphs2 here and hereabouts were      
celebrated the revels of ,dionysus1     
which readers of the ,ion will remember4

  ,the temple of ,olympian ,zeus at     
,athens was begun by ,peisistratus1 and 
partly built1 but it was never finished 
in its original ,doric style4 ,antiochus
 ,epiphanes planned it afresh1 and a    
,roman architect1 ,cossutius1 partly    
built it in the ,corinthian style4      
,probably the columns that now stand    
were put up by him2 some of the remains 
of this earlier building are used as    
foundations for these4 ,when ,antiochus 
died 7,b4,c4 #afd71 it was left again   
unfinished1 until ,hadrian finished it4 
,these columns are regarded as the      
finest specimens of the ,corinthian     
style4 ,rich as the effect of this style
 is1 it does not satisfy eye and mind as
 the ,doric does1 or indeed the ,ionic3 
of all things1 leaves are least suitable
 to the nature of stone4  ,sunium1      
founded in the ,peloponnesian ,war to   
protect the corn-ships1 was near the    
silver-mines2 it was an important       
fortress1 but its prosperity did not    
last long4 ,the temple was dedicated to 

,athena4 ,here the salt sea winds have  
made the columns white1 in contrast to  
the rose-pink of the ,parthenon4     ,i 
,,aetna ,,over ,,taormina  ,i ,,aetna   
,,over ,,taormina  ,,for years ,i wanted
 to make this drawing--and for days     
after ,i reached ,taormina ,i had to    
wait before ,i could make it3 for a     
curtain of mist hung over the sea and   
land4 ,then suddenly in all its glory   
the great white1 snowy cone1 borne on   
clouds1 came forth above the sea and    
shore4 ,and ,hiroshige and ,claude and  
,turner never imagined or dreamt of     
anything so glorious--and ,i had it all 
to myself1 for it was tea-time4         
,illustration     ,,ii  ,,the ,,theatre1
 ,,segesta  ,,ii ,,the ,,theatre1       
,,segesta  ,,nothing1 not even          
,taormina1 is more magnificent than the 
set scene of the ,theatre2 how poor and 
mean must have been the forgotten       
mummers6 ,the scene will exist till the 
end of time--even though scarce anyone  
climbs the mountain-side and1 fagged    

out1 drops in one of the thousands of   
empty seats hewn in the living rock1    
which will never again be filled4       
,illustration     ,,iii  ,,the ,,temple 
,,over ,,the ,,ca,,on1 ,,segesta  ,,iii 
,,the ,,temple ,,over ,,the ,,ca,,on1   
,,segesta  ,,everyone advised me to go  
to ,segesta1 and ,i am glad ,i went2 but
 ,i should never have known how         
wonderfully the ,greeks made            
architectural compositions if ,i had not
 seen the ,grand ,caon4 ,there ,i saw   
,nature's compositions3 here was one    
made by man--finer1 though not so       
big--for bigness has nothing to do with 
art4  ,illustration     ,,iv  ,,from    
,,temple ,,to ,,temple1 ,,girgenti  ,,iv
 ,,from ,,temple ,,to ,,temple1         
,,girgenti  ,,not only are the lines of 
the hills1 looking toward the sea1      
perfect1 but the builders of these1 as  
of all the temples1 took advantage of   
the lines in the landscape1 making the  
temple the focus of a great composition2
 an art no longer practised2 but the    

temples of the gods of ,greece were more
 important than the notions of local    
politicians and land-owners and         
architects4  ,illustration     ,v  ,,the
 ,,columns ,,of ,,castor ,,and ,,pollux1
 ,,girgenti  ,v ,,the ,,columns ,,of    
,,castor ,,and ,,pollux1 ,,girgenti     
,,this is not a restoration1 but a      
re-building4 ,the rebuilders worked     
better than they knew1 and made a       
delightful--and popular--subject for    
every artist who goes to ,girgenti4     
,illustration     ,,vi  ,,sunrise       
,,behind ,,the ,,temple ,,of ,,concord1 
,,girgenti  ,,vi ,,sunrise ,,behind     
,,the ,,temple ,,of ,,concord1          
,,girgenti  ,,the ,land of ,temples is  
the land of effects--and they must be   
seized when they are seen4 ,i had no    
idea of making this drawing2 but as ,i  
reached the temple1 the sun rose behind 
it1 and ,i never saw it so huge1 so     
mighty1 as that morning4 ,so ,i drew    
it--or tried to--while the effect       
lasted4  ,illustration     ,,vii  ,,the 

,,temple ,,by ,,the ,,sea--,,temple ,,of
 ,,concord1 ,,girgenti  ,,vii ,,the     
,,temple ,,by1 ,,the ,,sea--,,temple    
,,of ,,concord1 ,,girgenti  ,i ,,have   
never seen long1 level lines of temple1 
land1 and sea so harmonise and work into
 a great composition as at ,girgenti4   
,illustration     ,,viii  ,,the ,,temple
 ,,of ,,concord ,,on ,,the ,,wall ,,from
 ,,within1 ,,girgenti  ,,viii ,,the     
,,temple ,,of ,,concord ,,on ,,the      
,,wall ,,from ,,within1 ,,girgenti      
,,how it piles up6 ,what a perfect goal 
for the pilgrim2 so noble is the sight1 
he must in awe have mounted to it on his
 knees4  ,illustration     ,,ix  ,,the  
,,temple ,,of ,,concord ,,on ,,the      
,,wall ,,from ,,without1 ,,girgenti     
,,ix  ,,the ,,temple ,,of ,,concord ,,on
 ,,the ,,wall ,,from ,,without1         
,,girgenti  ,,when the glow of the      
sunset falls on it1 and when the shadows
 block out the great rifts in the       
walls--walls which are like cliffs--and 
when the tourists and archaeologists    

have gone to dress for dinner and left  
one alone1 one learns in the silence    
that the ,greeks were divine artists4   
,illustration     ,x  ,,columns ,,of    
,,the ,,temple ,,of ,,juno1 ,,girgenti  
,x  ,,columns ,,of ,,the ,,temple ,,of  
,,juno1 ,,girgenti  ,,as the sun sinks  
into the silent sea1 these battered1    
beaten columns take on a dignity which  
proves how impressive this temple was   
when their art was a living thing4 ,only
 from within comes a voice1 in ,english 
or ,american1 which proves that art is  
dead--,greek art4  ,illustration3       
,,xi  ,,the ,,temples ,,on ,,the ,,wall1
 ,,girgenti  ,,xi ,,the ,,temples ,,on  
,,the ,,wall1 ,,girgenti  ,,there they  
stand on the outer walls1 the long line 
of them--and there are more than ,i have
 drawn2 but how magnificently they      
stand--these everlasting monuments to   
great art4  ,illustration     ,,xii     
,,the ,,temple ,,of ,,juno ,,from       
,,below1 ,,girgenti  ,,xii ,,the        
,,temple ,,of ,,juno ,,from ,,below1    

,,girgenti  ,,out of the dark river-bed 
and the huge boulders3 some real1 some  
blocks that have fallen from the wall   
above1 slid down the high scarred hill  
and come to rest in confusion at the    
bottom4 ,above the shattered wall       
silently stand in the pale morning light
 the long line of pillars of the temple4
 ,and all the while ,i drew1 the        
,sicilian glared at me from behind the  
great rocks1 and ,i was glad when ,i had
 finished and could come away4          
,illustration     ,,xiii  ,,paestum4    
,,morning ,,mist  ,,xiii ,,paestum4     
,,morning ,,mist  ,,when1 after a night 
of horrors at the inn of ,pstum1 ,i rose
 before day1 the temples were veiled in 
mist2 the fences were lost2 the factory 
chimney had vanished--the guardians were
 asleep--the place seemed far away2 but 
soon a motor hooted and an engine       
whistled1 the mists vanished1 the       
guardians came out1 the tourists flocked
 in2 the sadness1 the loneliness of     
,pstum are gone with the malaria and the

 buffaloes--only the mosquitoes remain4 
,illustration     ,,xiv  ,,paestum4     
,,evening  ,,xiv ,,paestum4 ,,evening   
,,only in the mists of the morning and  
the glow of the evening is ,pstum       
impressive any more4 ,it is dignified1  
but the mystery and melancholy have     
gone4  ,illustration     ,,xv  ,,corinth
 ,,towards ,,the ,,gulf  ,,xv ,,corinth 
,,towards ,,the ,,gulf  ,,here the      
builders had tried for a wonderful      
scheme1 and worked it out wonderfully1  
light against light--the glittering     
temple against the gleaming sea--the    
rigid1 solid lines of the building      
telling against the faint1 far-away1    
half-revealed1 half-concealed           
silhouettes in form and colour of the   
mountains2 over whose sides the         
cloud-shadows slowly moved4 ,on one side
 my countrymen have built a shanty where
 they lived while excavating2 on the    
other is a bare barrack1 in which they  
have stored the stuff they have found4  
,from the village ,square1 this museum  

completely hides the temple2 but ,greece
 was so much finer before it was        
discovered by archaeologists--or by most
 of them--for most of them have no      
feeling at all for the art they have dug
 up4  ,illustration     ,,xvi           
,,acro-,,corinth ,,from ,,corinth  ,,xvi
 ,,acro-,,corinth ,,from ,,corinth      
,,the way the great mountains pile up   
behind the great temple is most         
impressive4  ,illustration     ,,xvii   
,,olympia ,,from ,,the ,,hillside       
,,xvii ,,olympia ,,from ,,the ,,hillside
  ,,the ,olympian groves are a fraud2   
they are mere bushes and only hide the  
temples amid which they sprout2 but by  
dodging around the hillside one can see 
how finely the temples were placed and  
how lovely were the lines of the        
meandering river backed by the          
beautiful1 ever-changing coloured       
mountains4  ,illustration     ,,xviii   
,,the ,,temple ,,of ,,jupiter4 ,,evening
  ,,xviii ,,the ,,temple ,,of ,,jupiter4
 ,,evening  ,,night was falling as ,i   

was coming back from drawing by the     
river ,ilissos4 ,the subject was the    
most impressive ,i saw in the ,land of  
,temples1 and in the gathering darkness 
,i drew it as well as ,i could4         
,illustration     ,,xix  ,,the          
,,acropolis ,,from ,,the ,,temple ,,of  
,,jupiter1 ,,athens  ,,xix ,,the        
,,acropolis ,,from ,,the ,,temple ,,of  
,,jupiter1 ,,athens  ,,there is as much 
charm in the clearness of the day as in 
the mystery of the night1 in the ,land  
of ,temples4 ,and though ,i only moved  
from one side of the columns to the     
other1 when ,i drew the ,temple of      
,jupiter1 ,evening1 the composition is  
as different as the effect4             
,illustration     ,,xx  ,,the ,,way ,,up
 ,,to ,,the ,,acropolis  ,,xx ,,the     
,,way ,,up ,,to ,,the ,,acropolis  ,,the
 fragment of the steps that is left     
shows how imposing the whole must have  
been4 ,in making this lithograph ,i     
could not help noting--though ,i did not
 put them in--the endless races that    

mounted2 and although the costume of    
each group changed1 and often the       
nationality and language1 there was     
almost always someone amongst them who  
could read the ancient ,greek of the    
tablets built into the wall2 and always 
the whole party seemed to under-stand   
it4 ,but the modern ,greek is1 ,i       
imagine1 the greatest reader in the     
world--at any rate of newspapers4       
,illustration     ,,xxi  ,,down ,,from  
,,the ,,acropolis  ,,xxi ,,down ,,from  
,,the ,,acropolis  ,,between ,athens1   
the pavement of the ,temple of ,nike1   
and the roof of the ,temple of ,theseus1
 there is a great gulf fixed1 and this  
gives an amazing idea of height and     
depth2 and beyond1 stretching to the    
mountains1 with the feeling of the sea  
beyond that1 is the sacred way4 ,it is  
the way to ,eleusis and the ,sea4 ,from 
the road1 as it mounts the distant      
hills1 the way leads straight to the    
,acropolis1 which grows more and more   
impressive and imposing as you approach1

 till modern ,athens hides it4          
,illustration     ,,xxii  ,,sunrise     
,,over ,,the ,,acropolis  ,,xxii        
,,sunrise ,,over ,,the ,,acropolis      
,,every morning the sun1 coming in at my
 bedroom window1 woke me when it touched
 the topmost part of the ,parthenon2 and
 then the light spread down to the      
battlements1 then to the cliffs1 showing
 the horrid caves and strong ribs over  
and upon which the fortress temples     
stand2 and by the time the sun had      
reached the forum1 the forum woke up and
 all the beauty fled--till another day4 
,illustration     ,,xxiii  ,,storm      
,,behind ,,the ,,acropolis  ,,xxiii     
,,storm ,,behind ,,the ,,acropolis      
,,and when the clouds of a spring       
afternoon gather behind the ,acropolis1 
you realise why it was built on that    
barren rock3 because the builders saw it
 would be the most impressive shrine on 
this earth4  ,illustration     ,,xxiv   
,,the ,,propylaea1 ,,athens  ,,xxiv     
,,the ,,propylaea2 ,,athens  ,,this is  

pure architecture2 it interested me4 ,i 
tried to draw it1 as it looked to me2   
but no draughtsman--no painter1         
either--will ever get that wondrous warm
 glow which seems to come from within   
the walls and suffuse them with light   
and colour4  ,illustration     ,,xxv    
,,the ,,portico ,,of ,,the ,,parthenon  
,,xxv ,,the ,,portico ,,of ,,the        
,,parthenon  ,,this is the greatest     
architectural art in the world4         
,illustration     ,,xxvi  ,,the         
,,parthenon ,,from ,,the ,,gateway      
,,xxvi ,,the ,,parthenon ,,from ,,the   
,,gateway  ,,did these temples always   
grow out of the bare rock as now1 or was
 the rock1 too1 overlaid with marble    
pavements8 ,it must have been1 for it is
 incredible that people with such a     
sense of beauty should have built such  
beautiful things on a stone pile4       
,illustration     ,,xxvii  ,,the        
,,fa,,ade ,,of ,,the ,,parthenon4       
,,sunset  ,,xxvii ,,the ,,fa,,ade ,,of  
,,the ,,parthenon4 ,,sunset  ,,just as  

the bell rings at sunset1 from between a
 rift in the clouds of the spring       
evening the last ray of the setting sun 
strikes the pediment of the ,parthenon4 
,and against the black clouds over the  
mountains1 it is transfigured1 and then 
slowly one leaves--turning from the     
wonder of man's work to the wonder of   
,god's sunset1 and the wonder of the    
afterglow over ,eleusis4  ,illustration 
,,xxviii  ,,the ,,fallen ,,column1      
,,athens  ,,xxviii ,,the ,,fallen       
,,column1 ,,athens  ,,on either side of 
the ,parthenon the columns thrown down  
by the explosion of a powder magazine   
within1 are lying1 not as they fell1 but
 each section carefully rolled into its 
proper place4 ,the disorder at ,olympia1
 when earthquakes destroyed the temples1
 is far more convincing and impressive1 
for there the columns lie in confusion1 
here in archaeological order4           
,illustration     ,,xxix  ,,the ,,little
 ,f,,te1 ,,athens  ,,xxix ,,the ,,little
 ,f,,te1 ,,athens  ,a ,,little fte of   

some sort was being held at the little  
church by the little river1 and the way 
to it was lined with them that sold     
things2 beyond was the rocky river-bed2 
then the ,temple of ,jupiter2 and away  
above all1 the ,acropolis--framed in by 
the black trees1 the most romantic      
subject ,i ever saw4  ,illustration     
,,xxx  ,,the ,,great ,f,,te1 ,,athens   
,,xxx ,,the ,,great ,f,,te1 ,,athens    
,,on the afternoon of ,st4 ,george's    
,day ,i wandered out of the city up to  
the ,acropolis1 and found the whole     
plain and the approaches crowded2 while 
the stairs were black with people1 and  
so were the lofty platforms4 ,the fte   
that afternoon1 as ,i saw it from ,mars 
,hill1 was more real than any           
restoration or imaginations4     ,,xxxi 
,,the ,,temple ,,of ,,nike1 ,,athens    
,,xxxi ,,the ,,temple ,,of ,,nike1      
,,athens  ,,one has but to cross to the 
other side of the ,propylaea from the   
top of the steps--from the great        
platform and altar before the wall1 to  

find an equally inspiring--or           
inspired--arrangement4 ,for there is no 
accident in these compositions4 ,the way
 the line of the sea cuts blue against  
the white temple walls and shows through
 the columns at either end1 and the way 
the nearer hill of ,lycabettus piles up 
dark against the shining base on which  
the temple stands and that is accented1 
too1 by the one dark note of the        
theatre--though it is later that one    
sees these arrangements were not        
accidents4 ,these things were all       
thought out by the builders of ,temples4
  ,illustration     ,,xxxii  ,,the      
,,temple ,,of ,,nike ,,from ,,mars      
,,hill1 ,,athens  ,,xxxii ,,the ,,temple
 ,,of ,,nike ,,from ,,mars ,,hill1      
,,athens  ,,this is the grandest        
grouping of the ,acropolis4 ,the way in 
which the whole1 in solemn square       
masses1 piles up--the temple dominating 
all--is marvellous4 ,it is finer1 ,i am 
sure1 in ruin1 than ever it was in      
perfection4  ,illustration     ,,xxxiii 

,,the ,,odeon1 ,,athens  ,,xxxiii ,,the 
,,odeon1 ,,athens  ,,looking down from  
the ,acropolis1 one sees the            
theatre--even the ,greeks mostly placed 
the theatre before the temple4 ,but what
 ,i saw that afternoon was a school of  
small ,greek boys studying and reciting 
in the ,odeon1 because the school had   
been taken for barracks4 ,but as a      
soldier said to me1 ,mars was more real 
to him than the ,turks he had been      
fighting4  ,illustration     ,,xxxiv    
,,the ,,street ,,of ,,the ,,tombs1      
,,athens  ,,xxxiv ,,the ,,street ,,of   
,,the ,,tombs1 ,,athens  ,,to be buried 
under the shadow1 or in sight of the    
,acropolis must have been glorious4     
,nowhere else is there such a decorative
 arrangement of death4  ,illustration   
,,xxxv  ,,eleusis3 ,,the ,,pavement ,,of
 ,,the ,,temple  ,,xxxv ,,eleusis3 ,,the
 ,,pavement ,,of ,,the ,,temple  ,,swept
 away is everything1 mysteries and      
all--all that remains is the great      
pavement on which stand the stumps of   

columns2 yet ,i doubt if it was finer   
ever4 ,and the long drive out over the  
sacred way1 the long1 quiet day2 and the
 long drive back1 with the ,acropolis   
growing more and more majestic in the   
twilight1 were perfect4  ,illustration  
,,xxxvi  ,,aegina  ,,xxxvi ,,aegina     
,,only at ,aegina1 so far as ,i have    
seen1 is there a real--yet it is so     
beautiful it seems unreal--forest in    
,greece4 ,nowhere in the world do the   
trees in dense1 deep shade so cover the 
slopes that lead down1 almost black1 to 
the deep blue sea2 and where have ,i    
ever seen such a contrast between the   
bosky woods and the barren cliffs that  
tower above them8 ,and all this is but a
 background for one of the most         
beautiful temples in this beautiful     
land1 placed perfectly1 by the greatest 
artists of the past1 in the most        
exquisite landscape4 ,yet the guardian  
told me ,i was the third person who had 
visited ,aegina between ,january and    
,april last year4  ,illustration        

,,xxxvii  ,,aegina ,,on ,,its ,,mountain
 ,,top  ,,xxxvii ,,aegina ,,on ,,its    
,,mountain ,,top  ,,as1 after the long  
ride across the island1 ever climbing1  
one comes from the dense wood1 suddenly 
in front is the splendid pile1 on either
 side the forest1 beyond the sea2 and in
 the airy distance1 ,athens and the     
,acropolis4  ,illustration     ,,xxxviii
  ,,the ,,shining ,,rocks1 ,,delphi     
,,xxxviii ,,the ,,shining ,,rocks1      
,,delphi  ,,after ,i had made this      
drawing1 after ,i had had it transferred
 to stone and printed1 ,i showed it to  
the ,director of the ,greek ,school1 and
 he said3 8,why1 you have drawn the     
,shining ,rocks40 ,all ,i tried to do   
was to draw ,delphi and the rocks behind
 the ruins4 ,that in the light the rocks
 did shine was nothing to me1 save that 
they showed the way the cliffs were     
built up4 ,i have since learned1        
however1 that ,i have shown one the     
great things of ,greece4  ,illustration 
,,xxxix  ,,the ,,treasury ,,oe ,,athens1

 ,,delphi  ,,xxxix ,,the ,,treasury ,,of
 ,,athens1 ,,delphi  ,,the ,treasury is 
a restoration2 but1 even so1 it is      
charming1 standing by the rough paved   
way1 which is bordered by the           
semi-circular seats1 placed always with 
the most wonderful views before them1   
and backed by the black mountains1 up   
whose sides wind trails leading1 in the 
spring1 to the clouds4 ,the loneliness  
of the land1 and the hugeness of the    
temples and theatres built to hold the  
people who are no longer there1 was     
intensified last year when all the      
able-bodied men had gone to the war1 and
 the land was desolate1  ,illustration  
,,xl  ,,the ,,wine-,,dark ,,sea1        
,,sunium  ,,xl ,,the ,,wine-,,dark      
,,sea1 ,,sunium  ,,from without and from
 within1 either bright against the dark 
waters1 or dark against the bright sea1 
the ,temple of ,poseidon piles up4 ,one 
could stay on that mud-swept1 sun-beaten
 headland for months2 but without a     
camp1 one can only stay a day4          

,illustration