,transcriber's ,note    ,italic text    
displayed as3 italic                    
,illustration3 ,,trophonius ,,slaying   
,,agamedes ,,at ,,the ,,treasury ,,of   
,,hyrieus4            ,,some ,,old      
,,masters    ,,of ,,greek               
,,architecture      ,by ,,harry         
,,douglas      ,,curator ,,of           
,illustration3 ,decoration    ,,kellogg 
,,terrace      ,illustration3           
,decoration      ,,published ,,at ,,the 
,,quarter-,,oak    ,,great ,,barrington1
    ,,mass41 #ahii ,illustration3       
,decoration            ,copyright1      
#ahii1    ,,by ,,harry ,,douglas4       
,illustration3 ,decoration              
,,to ,,edward    ,,francis    ,,searles 
,,whose ,,appreciation ,,of ,,the       
,,harmonies ,,of ,,art1 ,,and    ,,whose
 ,,high ,,ideals ,,of ,,architecture    
,,have ,,found    ,,expression ,,in     
,,many ,,enduring ,,forms1 ,,this ,,book
 ,,is    ,,respectfully ,,inscribed4    
,illustration3 ,decoration              
,,preface      ,the temptation to       

wander1 with all the recklessness of an 
amateur1  into the traditions of the    
best architecture1 which necessarily    
could  be found only in the history of  
early ,hellenic art1 awakened in the    
author a desire to ascertain who were   
the individual artists primarily        
responsible for those architectural     
standards1 which have been accepted     
without rival since their creation4 ,the
 search led to some surprise  when it   
was found how little was known or       
recorded of them1 and how  great        
appeared to be the indifference in which
 they were held by nearly  all the      
writers upon ancient art1 as well as by 
their contemporary  historians and      
biographers4 ,the author therefore has  
gone into the  field of history1        
tradition and fable1 with a basket on   
his arm1 as it  were1 to cull some of   
the rare and obscure flowers of this    
artistic  family1 dropping into the     
basket also such facts directly or      
indirectly  associated with the         

architects of ancient ,greece1 or their 
art1 as  interested him personally4 ,the
 basket is here set down1 containing1   
if nothing more1 at least a brief       
allusion to no less than eighty-two     
architects of antiquity4 ,the fact is   
perfectly appreciated that many  fine   
specimens may have been overlooked2 that
 scant justice has been  done those     
gathered1 and that the basket is far too
 small to contain  all that so rich a   
field could offer4    ,this book1       
therefore1 aims at nothing more than a  
superficial glance  at the subject1 and 
the author will be content if he has    
accomplished  anything toward bringing  
those great geniuses of a noble art into
 a  little modern light1 who have been  
left very much to themselves in one  of 
the gloomiest chambers of a deep        
obscurity4          ,,contents          
,,page      #a4 ,,popular ,,appreciation
 ,,of ,,architects1                     
#a      #b4 ,,mythical ,,and ,,archaic  
,,architects ,,and        ,,builders1   

#bd      #c4 ,,originators ,,of ,,the   
8,,three ,,orders10                     
#di      #d4 ,,early ,,grecian          
,,architects1                           
#fc      #e4 ,,architectural ,,epoch    
,,of ,,pericles1                        
#ij      #f4 ,,architects ,,of ,,the    
,,age ,,of ,,pericles1                  
#ajc      #g4 ,,later ,,greek           
,,architects1                           
#acf      #h4 ,,alexandrian ,,era1 ,,and
 ,,roman ,,spoliation1                  
#adh      #i4 ,,alexandrian             
,,architects1                           
#afd      ,,index ,,of ,,architects     
,,and ,,architectural ,,sculptors1      
#ahe          ,,chapter ,i4    ,,the    
,,popular ,,appreciation ,,of           
,,architects4      ,of all the fine arts
 none more completely answers for its   
raison  d'tre than architecture4 ,in    
this art alone do we find the harmonious
  mingling of sthetical fancy with      
utilitarian purpose4 ,it is this        
feature of usefulness that completes its

 well-rounded perfection1  rather than  
detracts from it1 and dignifies its     
mission of existence4  ,architecture1 in
 its capacity to draw to its enrichment 
the other  arts1 may be compared to the 
polished orator1 whose purpose is to    
sway the judgment of his audience by    
forensic effort1 embellishing  his      
language with the flowers of rhetoric1  
adapting his gestures to  graceful      
emphasis1 and controlling his voice to  
suit the light and  shade of his        
thought4 ,so sculpture has been         
stimulated by architecture  and has     
contributed to its ornamentation2       
painting has been invoked to  the       
highest accomplishments1 and music has  
awakened within its walls  voice and    
harmony4 8,the progress of other arts   
depends on that of  architecture10 ,sir 
,william ,chambers very truly says4     
8,when building  is encouraged1         
painting1 sculpture1 gardening and all  
other decorative  arts flourish of      
course1 and these have an influence on  

manufactures1  even to the minutest     
mechanic productions2 for design is of  
universal  advantage1 and stamps a value
 on the most trifling performance40     
,it is perhaps not a little odd that    
despite its pre-eminent importance1  and
 the high rank which it has ever        
assumed1 from that early time when  the 
first rays of dawning civilization began
 to warm the latent germs  of culture   
and refinement in human nature1 to the  
present day1 it is  the only art that   
has not1 with very rare and isolated    
exceptions1  stamped renown upon those  
who have practised it as a profession1  
and  lifted the artist into the lasting 
remembrance and gratitude of the        
admirers of his works4 ,how greatly the 
painter1 the sculptor1 the  musician1   
are identified with their arts1 and the 
products of their  brush1 chisel or pen6
 how great has been their praise1 how   
lasting and  unstinted the esteem in    
which they have been held6 but how      
reserved  has been the applause that has

 encouraged the architect who has given 
to the world the grand and noble results
 of his skill and genius1 and  how soon 
he himself has been forgotten6 ,it      
happens only too often that  it is the  
name of the distinguished painter that  
stamps the value of  his canvas rather  
than the merits of the picture itself4  
,the title  of a beautiful piece of     
sculptured marble is not asked with     
greater  eagerness than that of the     
artist who created it4 ,bach and        
,beethoven  and ,mozart are played and  
sung to the popular audiences rather    
than  their fugues1 their sonatas and   
their symphonies4    ,but what is known 
of the artists who have reared the      
greatest monuments  of enduring         
architecture8 ,their personality1 and   
even their names1  appear to have faded 
from popular recollection4 ,this seems  
to have  been the fact from the earliest
 days of the art in ,greece and ,rome   
to the present time4 ,the exceptions are
 so rare1 throughout all the            

intervening ages1 and the waving        
prominence of the art1 that they might  
almost be numbered upon the fingers of a
 single hand4    ,the reader1 if he is  
not a professional architect1 or an     
amateur who  has read deeply in his     
favorite subject1 can arrive at the     
truth of  this seemingly exaggerated    
statement1 if he will lay aside this    
book  for a moment and try to recall the
 names of the designers of some of  the 
more conspicuous monuments of           
architecture he has visited at home  or 
abroad4    8,i will erect such a        
building1 but ,i will hang it up in the 
air10  exclaimed ,michael ,angelo when  
he saw the dome of the ,pantheon at     
,rome4  ,the reader may remember this   
boast of the great ,renaissance genius1 
the  fulfilment of it in the colossal   
dome of ,st4 ,peter's1 and be satisfied 
that his memory has captured one        
architect of celebrity4 ,if the         
beautiful ,florentine campanile of      
,giotto looms up in his recollection  he

 will think at once also of that early  
artist1 but perhaps not more  so in     
connection with that ornate tower than  
in association with the                 
,pre-,raphaelites4 ,of course1 he will  
not overlook ,inigo ,jones1 whose  very 
name is stamped upon the memory by      
reason of its peculiarity1  or ,sir     
,christopher ,wren1 the creator of ,st4 
,paul's1 and the ,british  idol4 ,if he 
is an admirer of the picturesque        
architecture of ,venetian  churches and 
palaces1 the ,italian ,palladio may not 
escape him2 and  if of ,french          
,renaissance1 the ,louvre faade will    
possibly suggest  ,perrault1 and the    
,parisian roofs ,mansard4 ,if he is a   
native of our  8,modern ,athens10 of    
course1 the peril in which the classic  
front of  the ,state ,house rested for a
 time1 at the hands of a fin de sicle   
legislature1 will not permit him to     
forget ,bulfinch1 and ,trinity ,church  
will bring to memory the only           
,richardson4 ,but aside from a few names

  such as have been mentioned1 with     
possibly a sprinkling of others  fixed  
in the memory1 by incident or           
association1 the average reader1        
however well acquainted he may be with  
the numerous luminaries of the  other   
arts1 will be unable to say who was     
responsible for the beauty  and nobility
 of many buildings that have            
individualized the cities and  towns of 
their location to the art-loving world4 
,who1 for example1  can tell of the     
authors of the cathedrals at ,milan and 
,siena1 ,cologne  and ,strassburg1      
,rheims and ,amiens1 ,wells and         
,litchfield2 the ,giralda  at ,seville2 
the ,church of the ,invalides at ,paris2
 the ,strozzi ,palace  at ,florence2 the
 ,henry ,,vii4 chapel at ,westminster   
,abbey2 the much and  justly admired    
south faade of the old ,city ,hall in   
,new ,york2 ,grace  ,church in that     
city2 the ,capitol building in          
,washington1 or that model  of colonial 
architecture in ,america1 the ,executive

 ,mansion8    ,it is not1 however1 the  
purpose to here speculate too           
extensively upon  the apparent lack of  
justice on the part of the general      
public which  has been done the         
architects of all climes and times1 but 
to gather  together a few facts         
concerning the ,old ,masters of early   
,grecian  architecture that are not     
popularly known1 and recall some of the 
leading lights of that art so inimitably
 practised by the ,hellenic  people     
during their progress from archaic      
darkness to the zenith of  their sthetic
 culture4    ,it is but repeating a     
well-worn truth to say that the         
influence of  the early ,grecian        
architects upon the followers of their  
art in all  countries of recognized     
civilized enlightenment1 throughout the 
ages  that have succeeded them1 has been
 an almost dominant one4 ,robert  ,adam1
 the architectural authority in the time
 of ,george ,,iii41 says1  in the       
introduction to his work on the ruins of

 the palace of the  ,emperor            
,diocletian3 8,the buildings of the     
ancients are in architecture  what the  
works of nature are with respect to the 
other arts3 they  serve as models which 
we should imitate and as standards by   
which we  ought to judge2 for this      
reason they who aim at eminence1 either 
in  the knowledge or practice of        
architecture1 find it necessary to view 
with their own eyes the works of the    
ancients which remain1 that they  may   
catch from them those ideas of grandeur 
and beauty which nothing1  perhaps1 but 
such an observation can suggest40    ,it
 is equally true that no country that   
has experienced an evolution  in        
intelligence and culture1 during the    
twenty-five hundred years that  have    
fled since the time of ,pericles1 has   
succeeded in introducing any  new school
 of architecture1 that has not been     
compelled to draw upon  ancient ,greece 
for many of the most important and      
essential features of  the art it could 

only modify1 but never wholly re-create4
    ,the ,gothic1 or pointed-arch style1
 that sprung into such beautiful  being 
in the thirteenth century1 and reigned a
 queen within the  ,christian countries 
of ,europe for several centuries        
thereafter1 came  more nearly answering 
for an original scheme of architecture  
than  perhaps any other of equal        
importance1 and yet had it been deprived
 of  the ,grecian props that helped to  
sustain it1 it must have fallen to the  
ground4    ,in the ,gothic the effort   
was made to incline the inherited       
principles  of architecture more closely
 toward the spiritual progress of the   
people1 but when at last it had run its 
course1 and was dethroned1  owing to a  
realization of the fact that even a     
closer allegiance  to classic models    
could be made to answer still better    
spiritual  requirements1 how completely 
did the artistic temperament of the     
people  revert to ,greece and ,rome1 as 
the light of their returning inspiration

  and truth appeared with the dawn of   
the sixteenth century4 ,renaissance     
architecture and ,renaissance art swept 
,europe like a wave1 and the  people    
turned with reactionary enthusiasm to   
the ancient standards of  art1 as they  
did to the study of classic authors1 and
 to the writing of  even ,greek and     
,latin verses4    ,the debt of          
gratitude1 therefore1 which posterity   
has owed the  originators in ancient    
,greece of the three noble orders of    
architecture--namely1 the ,doric1 ,ionic
 and ,corinthian--can scarcely  be      
overestimated1 for it is to those three 
orders or styles that  all subsequent   
architects have turned for the          
fundamental truths of  their art4 ,they 
may not have followed each or all with  
conventional  strictness2 but they have 
not succeeded in escaping from borrowing
 many  of the features there            
everlastingly fixed by the unerring     
geniuses of  classic times4             
8,famous ,greece6      ,that source of  

art1 and cultivated thought1      ,which
 they to ,rome1 and ,romans hither      
brought40    ,the uses to which the     
,greek and ,roman architectural forms1  
principles  and ornaments have been put 
since the birth of the ,renaissance have
  broadened largely1 and would seem to  
preclude any possibility of their  ever 
again falling into even partial         
desuetude4 ,it is not only in  the more 
pretentious buildings1 monuments and    
ornamental structures  that abound so   
plentifully in the populous and wealthy 
cities that  classic models and features
 are so liberally employed1 but even the
  unpretentious and simple rural homes  
cannot escape their use4 ,what  is more 
common than the ,doric mutule or        
,corinthian modillion1 so  frequently   
seen in the cornices of modern houses1  
or the ,ionic dentils  that show their  
teeth below a piazza roof or over the   
door casing of a  colonial dwelling8    
,the various combinations of the fret1  
the egg and  dart1 the bead and fillet1 

the honeysuckle1 the acanthus and many  
other  ,grecian motifs of ornamentation1
 are met with constantly1 not only in   
buildings of a public or private nature1
 but in furniture and fresco1  in       
interior decoration1 and in enhancing   
the attractiveness of almost  any       
article of use or ornament4 ,even the   
simple ogee moulding1 which is          
employed1 if nowhere else1 about the    
door panels of the humblest abode1  is  
classic in its origin1 and had its      
archetype in the entablatures  of those 
stately and beautiful temples dedicated 
to the pagan gods of  ancient ,greece4  
,it must not be inferred1 however1 that 
all the individual features  employed in
 the ,greek orders found their birth in 
the brains of  ,hellenic architects4    
,sir ,jeremy ,bentham says3             
8,from ,egypt arts their progress made  
to ,greece1       ,wrapt in the fable of
 the ,golden ,fleece40    ,this         
statement1 however1 though poetical1 is 
much too sweeping to be  literally      

correct as to architecture4 ,the ,greeks
 borrowed a little--a  very little--not 
only from the ,egyptians1 but from the  
,assyrians1 the  ,chaldeans1 the        
,persians1 and other western ,asiatic   
races as well2 but  so altered what they
 had borrowed1 so refined it and        
entwined it with  original conceptions  
of their own1 that the captive features 
could  have returned again to their     
native lands without fear of detection4 
,indeed as to the origin of some of the 
architectural features which  the       
,greeks are supposed to have taken from 
the countries of a more  unrefined      
people to the south and east of them1   
and especially as to  the volute1 so    
conspicuous in the ,ionic capital1 which
 is supposed to  have been a ,persian   
conception1 there is much dispute4      
,professor ,t4 ,roger ,smith1 of        
,london1 very truly observes3 8,we      
cannot  put a finger upon any feature of
 ,egyptian1 ,assyrian or ,persian       
architecture the influence of which has 

survived to the present day1  except    
such as were adopted by the ,greeks4 ,on
 the other hand1 there is  no feature1  
no ornament1 nor even any principle of  
design which the  ,greek architects     
employed that can be said to have now   
become obsolete40    ,in discussing the 
three primary orders of which mention   
has been  made1 and to which he adds the
 ,tuscan and ,composite1 both of        
,italian  or ,roman origin1 and closely 
dependent upon the original three1 ,sir 
,william ,chambers remarks3 8,the       
ingenuity of man has hitherto not  been 
able to produce a sixth order1 though   
large premiums have been  offered1 and  
numerous attempts been made by men of   
first-rate talents1  to accomplish it4  
,such is the fettered human imagination1
 such the  scanty store of its ideas1   
that ,doric1 ,ionic and ,corinthian have
 ever  floated uppermost1 and all that  
has been produced amounts to nothing    
more than different arrangements and    
combinations of their parts1 with  some 

trifling deviations scarcely deserving  
notice2 the whole tending  generally    
more to diminish than to increase the   
beauty of the ancient  orders4444 ,the  
suppression of parts of the ancient     
orders1 with a view  to produce novelty1
 has of late years been practised among 
us with  full as little success2 and    
although it is not wished to restrain   
sallies of imagination1 nor to          
discourage genius from attempting to    
invent1 yet it is apprehended that      
attempts to alter the primary forms     
invented by the ancients1 and           
established by the concurring           
approbation  of many ages1 must ever be 
attended with dangerous consequences1   
must  always be difficult1 and seldom1  
if ever1 successful40 ,thus is seen the 
marvellous discretion and judgment      
exercised by the ,grecian architects  in
 selecting from contemporary art that   
alone which was best to  perpetuate1 and
 thus is well expressed in the statement
 of indisputable  fact1 a tribute to    

their originality and creative genius4  
,and who were these ,old ,masters of    
classic architecture--older in point  of
 service to their art by thousands of   
years than ,giotto and ,raphael  and    
,michael ,angelo and ,inigo ,jones and  
,sir ,christopher ,wren1 and many       
others who might be mentioned1 and who  
in campanile and cathedral1  in public  
building and private palace1 in monument
 and mausoleum1  have proved themselves 
justly entitled to the laurels with     
which they  have been crowned1 but who  
nevertheless are but disciples of       
,hellenic  and ,roman masters8 ,where do
 we find the biographies of the original
  ,old ,masters of architecture         
recorded8 ,where can we turn to read of 
their lives1 of their deeds and         
achievements1 of their aspirations  and 
ambitions1 of their shortcomings and    
their foibles8 ,where are  written down 
those anecdotes and incidents of        
personal interest1 so  entertaining in  
association with their works or their   

art8 ,what1 in  fact1 were their names8 
,there is comparatively little recorded 
of the  lives of the ,greek and ,roman  
architects with which to answer these   
questions2 strange as it may appear1    
even their names are unfamiliar1  and in
 many important instances are forgotten 
altogether4 ,among that  large galaxy of
 brilliant men which ,greece in her     
prime produced1 who  figured prominently
 in almost every walk of life1 who were 
great in  war and in peace1 in          
philosophy and poetry1 in satire and    
history1  in oratory and valor1 and as  
great1 if not greater than in all1 in   
statuary and sculpture--a galaxy        
clinging to the memory in all ages of   
human progress1 because never excelled1 
the name of a ,grecian architect  is a  
strange sound1 and does not ring in     
tune1 if it is ever heard at  all1 with 
the names enrolled upon the list of     
,greek immortals4    ,the sculptors and 
statuaries of ancient ,greece are       
especially well  remembered in the      

popular mind1 and ,myron and ,phidias   
and ,praxiteles  and ,polycletus call   
for no introduction to the ordinarily   
informed  lover of art2 not so the      
designer of the ,parthenon or the       
,temple of  ,theseus1 or the            
,erechtheum1 or the ,choragic monument  
of ,lysicrates4 ,it  is strange that the
 artist who modelled or chiselled a bull
 or a cow  or a ,faun or a nude ,venus1 
or any pagan god or goddess1 however    
much  we may praise the excellence of   
his skill1 should be remembered by      
posterity1 while the artist1 his        
contemporary1 who designed the most     
beautiful and graceful buildings of all 
time1 which in their glory were  the    
pride of their people1 and which in     
their decay and ruin are still  the     
loadstones that attract pilgrims from   
the most distant lands1 is  forgotten1  
and1 it would appear1 denied almost the 
humblest mention4  ,can it not be said  
of the ,grecian architects1 as well as  
the ,grecian  sculptors1 that under the 

magic of their touch 8,stones leap'd to 
form1  and rocks began to live08 ,were  
not the temples they reared in all  the 
pride of surpassing beauty1 which       
tempted the sculptor's caress  on frieze
 and pediment1 and which gave shelter to
 those works of the  statuary's art     
which ,shakespeare recalls so vividly   
when he draws the  simile3              
8,they spake not a word4      ,but1 like
 dumb statues1 or unbreathing stones1   
,stared at each other1 and look'd deadly
 pale10    as much entitled to give     
immortality to their creators as the    
works1  however competitive1 of other   
branches of art to their authors8 ,and  
still so incidentally and indifferently 
have the historians and  biographers of 
their time alluded to the ,grecian      
architects1 that  little or nothing is  
to be found to quench that desire to    
know of them  personally1 which an      
interest in their grand achievements may
 well  awaken4    ,did we not know it to
 be otherwise1 we might think that they1

 too1  were like the poor architect of  
whom ,goethe speaks3 8,he is employed   
in lavishing all the luxury of his fancy
 upon halls from which he  is to be ever
 excluded1 and display his ingenuity in 
bestowing the  utmost convenience upon  
apartments he must not enjoy40 ,but it  
does not  appear that any social        
discrimination was exercised against the
 ,greek  architects to cast a shadow    
upon their present or future fame4      
,it is popularly believed that the great
 buildings of the ancient world  were   
very long in the process of             
construction--that they1 in fact1 took  
many decades and sometimes even hundreds
 of years to complete4 ,if this  were   
true it might in a measure explain the  
obscurity in which their  architects    
have been left1 inasmuch as the original
 designer of the  building might have   
been forgotten ere the last of his      
successors had  finished the work he had
 undertaken4 ,but this is not altogether
 the  fact4 ,even the pyramid of        

,cheops--that colossal marvel of the    
creative  genius of man--we are informed
 by some authorities took but thirty    
years to construct1 ten of which were   
given to the building of a  road leading
 to the site of the pyramid1 for the    
greater facility in  handling the huge  
blocks of stone to be used4 ,neither    
were the temples  and public edifices of
 ,greece and ,rome1 as a rule1 long in  
building1  being generally undertaken   
and finished during the influential     
period  of a public man's career1 or the
 reign of a single emperor4 ,there      
were1 of course1 exceptions to this     
rule1 as1 for example1 the temple  of   
,apollo at ,delphi1 that erected to     
,diana at ,ephesus1 and that  dedicated 
to ,jupiter at ,athens2 but in nearly   
all such instances it  will be found    
that the temples were destroyed and     
rebuilt during the  long interval which 
is supposed to have passed from the time
 when  their foundations were first     
laid1 to that which found them again in 

all respects completed structures2 or1  
if not destroyed and the work           
undertaken anew1 the delay was caused by
 some political influence which         
contributed to check the continuous     
prosecution of the work1 implying  no   
procrastination on the part of the      
original builders4 ,but even in  the    
most of such cases the names of the     
various architects who were  from time  
to time associated with the work are at 
least known1 if their  biographies are  
not more fully recorded4    ,it may be  
stated broadly that both the ,greeks and
 the ,romans were  rapid builders when  
the size of their edifices is taken into
 account4  ,especially is this true of  
the time of ,pericles1 if we are to     
believe  the testimony of ,plutarch3    
8,every architect strived to surpass the
  magnificence of design with the       
elegance of execution1 yet still  the   
most wonderful circumstance was the     
expedition with which they  the         
buildings were completed4 ,many         

edifices1 each of which seemed  to      
require the labor of successive ages1   
were finished during the  administration
 of one prosperous man40 ,and the great 
biographer also  adds3 8444 ,hence we   
have the more reason to wonder that the 
structures  raised by ,pericles should  
be built in so short a time1 and yet    
built  for ages1 for each of them as    
soon as finished had the venerable air  
of antiquity2 so now they are old they  
have the freshness of a modern          
building4 ,a bloom is diffused over them
 which preserves their aspect           
untarnished by time1 as if they were    
animated by a spirit of perpetual  youth
 and unfading elegance40    ,another    
mistaken idea is that the sculptors of  
ancient times were also  architects4    
,some instances occur where1 like the   
,italian1 ,michael  ,angelo1 a prominent
 sculptor of ,greece or ,rome1 made     
architecture one  of his                
accomplishments1 but they were not as   
numerous as they are  supposed to have  

been1 and the rule seems to be the      
reverse3 that the  sculptors of         
antiquity had no technical knowledge of 
architecture1 and  that the arts were   
quite as distinctly practised as        
professions in  early times as they are 
to-day4    ,there remains to be         
presented only one other reason for the 
indifference shown the early architects 
by their contemporary writers  and      
public1 which is so well expressed by an
 ,english historian in his  discussion  
of the ,coliseum at ,rome1 that it may  
well be quoted as a  type of the excuse 
offered by apologists of the same class3
 8,the name  of the architect to whom   
the great work of the ,coliseum was     
entrusted  has not come down to us4#a   
,the ancients seem themselves to have   
regarded this name as a matter of little
 interest2 nor in fact do they          
generally care to specify the authorship
 of their most illustrious  buildings4  
,the reason is obvious4 ,the forms of   
ancient art in this  department were    

almost wholly conventional1 and the     
limits of design  within which they were
 executed gave little room for the      
display of  original taste and special  
character4444 ,it is only in periods of 
eclecticism and ,renaissance1 when the  
taste of the architect has wider  scope 
and may lead the eye instead of         
following it1 that interest  attaches to
 his personal merit4 ,thus it is that   
the ,coliseum1 the most  conspicuous    
type of ,roman civilization1 the        
monument which divides  the admiration  
of strangers in modern ,rome with ,st4  
,peter's itself1  is nameless and       
parentless1 while every stage in the    
construction  of the great ,christian   
temple1 the creation of a modern        
revival1 is  appropriated with jealous  
care to its special claimants40 ,in     
other  words1 the pupil is a fitter     
artist to awaken the personal interest  
of  those who admire his works than his 
master2 and the revived imitation  of   
more consequence to the public than the 

original model4 ,if this  were true1 why
 should the ,coliseum1 8the most        
conspicuous type of  ,roman             
civilization10 upon which the pilgrims  
of the ,north1 as we are  informed by   
,gibbon1 based the longevity of ,rome   
itself1 when in their  rude enthusiasm  
they gave expression to the proverb1    
8,as long as the  ,coliseum stands1     
,rome shall stand2 when the ,coliseum   
falls1 ,rome will  fall2 when ,rome     
falls1 the world will fall10 divide the 
admiration of  the stranger with ,st4   
,peter's8 ,should it not1 rather1 be    
subordinate  to the ,christian cathedral
 of ,bramante1 ,raphael and ,michael    
,angelo8  ,is there not a touch of the  
reductio ad absurdum in this argument8  
,such reasoning does not seem to be     
quite obvious upon other grounds  as    
well4 ,if it is the fact that the       
ancients regarded the names of  their   
architects as of little interest1 and   
their buildings as wholly  conventional1
 why does ,vitruvius speak of four of   

the principal temples  of ,greece as    
8having raised their architects to the  
summit of renown08  ,why is it that     
,rhcus and ,theodorus1 ,ictinus1        
,mnesicles1 ,dinocrates1  ,detrianus1   
,apollodorus and many other             
architects--to whom more  particular    
mention will be made later--are         
remembered in ancient history  with more
 or less circumstantiality1 not only in 
association with their  works--all      
conventional1 if we are to accept this  
writer's judgment--but  also on account 
of their individual merit1 while the    
architects of the  buildings which      
departed most from that same            
conventionality1 both in  plan and      
detail1 as1 for example1 the            
,erechtheum1 the original ,odeon  of    
,pericles and even the ,coliseum itself1
 where3        8,firm ,doric pillars    
formed the solid base1       ,the fair  
,corinthian crown the higher space1     
,and all below is strength1 and all     
above is grace10    are lost in the     

ocean of oblivion8    ,do not our modern
 authors overlook the fact that the     
architects of  their own age share1 as a
 rule1 in the same popular indifference1
 and  that the period of revival is no  
exception to the period of inception2   
that the one has inherited from the     
other not only the forms and  principles
 of its art1 but the same neglect of its
 artists8    ,whether this is true or   
not1 the fact must remain and be        
accepted with  patience or impatience1  
as we please1 that there is little      
preserved  for us by the ancient writers
 in respect to their architects4 ,two   
rather conspicuous exceptions1 however1 
occur to this general rule in  respect  
to ,pausanias1 the ,lydian1 and         
,vitruvius ,pollio1 the ,roman4         
,pausanias lived toward the close of the
 second century after ,christ4  ,he was 
a great traveller and a close observer1 
his observations having  been confined  
principally to works of art1 such as    
public buildings1  temples and statues1 

which he mentions in direct and simple  
language4  ,he visited most of the      
states of ,greece at a time when that   
country  was still rich in her treasures
 of art1 and what he has to say of what 
he saw there would tend to indicate that
 while he was by no means a  critic or a
 connoisseur1 he was still a faithful   
and minute recorder of  what appealed to
 his taste or excited his curiosity4    
,vitruvius1 however1 was not only a     
writer on architecture1 but a           
professional architect as well1 who     
resided in ,rome about a century        
earlier than ,pausanias1 or in the time 
of ,augustus4 ,he is practically  the   
only writer of his time who has given us
 technical information  concerning the  
ancient buildings4 ,vitruvius wrote his 
treatises upon  architecture at a very  
advanced age1 and1 it would appear1 much
 in  defence of the pure ,greek models  
which were even in that time being      
corrupted4 ,the frankness with which he 
hopes for fame by reason of his  book1  

and exposes his poverty as well as the  
unprofessional practices  of his brother
 architects1 is not the least attractive
 feature of his  discourse3 8,but ,i1   
,csar10 he exclaims1 8have not sought to
 amass  wealth by the practice of my    
art1 having been contented with a small 
fortune and reputation1 than desirous of
 abundance accompanied by a  want of    
reputation4 ,it is true ,i have acquired
 but little1 yet ,i still  hope1 by this
 publication1 to become known to        
posterity4 ,neither is it  wonderful    
that ,i am known to but few4 ,other     
architects canvass and  go about        
soliciting employment1 but my preceptors
 instilled into me  a sense of the      
propriety of being requested and not of 
requesting to  be entrusted1 inasmuch   
the ingenuous man will blush and feel   
shame in  asking a favour2 for the      
givers of a favour1 and not the         
receivers1  are courted4 ,what must he  
suspect who is solicited by another to  
be  entrusted with the expenditure of   

his money1 but that it is done for  the 
sake of gain and emolument8 ,hence1 the 
ancients entrusted their  works to those
 architects only who were of good       
family1 and well  brought up1 thinking  
it better to trust the modest than the  
bold and  arrogant man4 ,these artists  
only instructed their own children or   
relations1 having regard to their       
integrity1 so that property might be    
safely committed to their charge4 ,when1
 therefore1 ,i see this noble  science  
in the hands of the unlearned and       
unskilful of men1 not only  ignorant of 
architecture1 but of everything relative
 to buildings1 ,i  cannot blame         
proprietors who1 relying on their own   
intelligence1 are  their own architects2
 since1 if the business is to be        
conducted by the  unskilful1 there is at
 least more satisfaction in laying out  
money at  one's own pleasure rather than
 at that of another person40            
,vitruvius also epitomized in his books 
on architecture much that had  been     

written prior to his time by his        
professional brethren of ,greece  and   
,rome1 and so preserved something of    
what otherwise might have been  entirely
 lost4    ,allusion has been made to    
these two writers with some             
particularity1  for the reason that they
 will be more quoted than any others in 
the  course of this volume1 but it must 
not be inferred that they are alone     
responsible for all the knowledge which 
has come down to us respecting  the     
,greek and ,roman architects1 little and
 unsatisfactory as it is4    ,although  
it has been shown that the historians   
and biographers of  ancient ,greece made
 no attempt to treat architects with    
especial favor1  it would not be just1  
however1 to close this chapter without  
quoting  from ,homer to prove that lie1 
at least1 could rank them as among those
  who1 by serving the people in the     
highest sense1 were entitled to  unusual
 hospitality3        8444 ,what man goes
 ever forth       ,to bid a stranger to 

his house1 unless       ,the stranger be
 of those whose office is       ,to     
serve the people1 be he seer1 or leech1 
,or architect1 or poet heaven-inspired1 
,whose song is gladly heard84440        
,,footnotes3    #a ,there is an old     
ecclesiastical tradition1 which is much 
doubted1  that the architect of the     
,coliseum was a ,christian by the name  
of  ,gaudentius1 who suffered martyrdom 
in its arena1 and that the services  of 
thousands of ,jews contributed to its   
erection4          ,,chapter ,,ii4      
,,the ,,mythical ,,and ,,archaic        
,,architects ,,and ,,builders4          
,history does not probe so deeply into  
the earliest annals of the races  that  
inhabited the ,peloponnesian peninsula1 
that it does not show them  to have been
 pre-eminent as builders2 nor does it   
follow the ancient  ,greek people       
throughout the long ages that spanned   
their evolution and  decadence1 that it 
does not find them in all the stages    
through which  they passed1 leaving at  

least some of their walls1 temples or   
monuments  to resist the ravages of all 
time1 and the decaying influences of the
  elements4 ,they built1 therefore1 not 
only well1 but perhaps better than  they
 knew1 and have proved that if the      
creations of their intellects  were     
immortal1 as we know1 the works of their
 hands were not altogether  perishable4 
,the ,pelasgic tribes1 who were the     
first of which there is any record to   
have inhabited ,greece1 were great      
wall-builders1 and past-masters of      
defensive architecture in those early   
ages4 ,although we may not have  the    
names of the individual architects among
 them1 we have their racial  works still
 before us to evidence the fact that    
whoever the architects  were1 they knew 
their business eminently well4 ,the     
,acropolis at ,athens  possesses the    
finest example that remains of ,pelasgic
 mural work1 in  the fortified retaining
 wall which surrounds it1 and which is  
sometimes  called after the race that   

built it1 the ,pelasgicum4    ,it is    
claimed also by some authorities that   
the ,pelasgi were the  original         
architects and builders of the 8,long   
,walls0 that connected  ,athens with her
 seaport gates1 and of such parts of the
 peribolus as  were not the authentic   
work of the builders under ,themistocles
 and  ,cimon1 and subsequent architects 
to be hereafter mentioned4    ,the      
,cyclopes1 who belonged to ,pelasgic    
times1 were likewise remarkable         
wall-builders1 lending their name to a  
kind of mural work in a manner  original
 with them1 and having the attributes of
 great solidity and  endurance4 ,the    
ruins of houses and other structures    
erected by them  have been found also at
 ,tiryus and ,mycen1 on the plain of    
,argos4    ,speaking of the circuit wall
 at ,tiryus1 ,pausanias describes it as 
being 8composed of unwrought stones1    
each of which is so large that a  team  
of mules cannot even shake the smallest 
one20 and of ,mycen1 the  more important

 city1 a short distance from ,tiryus1   
where the circular  treasury of ,atreus 
and other evidences of ,cyclopean       
architecture have  been excavated by    
,dr4 ,henry ,schliemann1 ,euripides asks
 the question3  8,do you call the city  
of ,perseus the handiwork of the        
,cyclopes80    ,modern archologists are 
inclined to the opinion that the        
,cyclopean  builders were not1 as       
originally supposed1 the one-eyed giants
 whom  ,ulysses encountered in his      
voyages1 as related in the ,homeric     
legends1  but an entirely distinct      
,thracian tribe1 which derived its name 
from  king ,cyclops4 ,after being       
expelled from ,thrace1 where were their 
early  homes1 they migrated to ,crete   
and ,lycia2 thence following the        
fortunes  of ,prtus1 and giving him     
protection with the gigantic walls which
  they constructed as against ,acrisius1
 his twin brother1 who was very         
quarrelsome1 as twin brothers not often 
are4    ,these ,cyclopean walls1 which  

are still to be found throughout        
,greece1  as already stated1 and also in
 some parts of ,italy1 were made of     
huge1 uncut polygonous stones1 sometimes
 twenty or thirty feet wide1  piled upon
 each other without cement1 frequently  
irregularly1 with  smaller stones       
filling up the interstices1 but         
occasionally in regular  horizontal     
rows4 ,there were1 in fact1 not only    
several kinds of these  walls1 but      
several eras in which they were built as
 well4    ,it is not1 however1 the      
intention here to discuss the nature and
 extent  of the ,pelasgic and ,cyclopean
 constructions1 it being sufficient to  
recall the fact that so far as the      
,pelasgians generally are concerned1    
they were not only the progenitors of   
most of the early architectural         
monuments of eastern ,europe1 but were  
skilled in the arts and learned  in the 
fables of the gods as well1 bequeathing 
both religious rites and  many arts to  
their children1 the ,greeks4 ,it remains

 only to add1 also1  that so closely    
were they identified with the art of    
building that it  is believed their very
 name is derived from their leading     
pursuit1  for it is thought that the    
term ,pelasgi may be interpreted to mean
  8stone-builders0 or 8stone-workers40  
,in this allusion to the ,pelasgians as 
builders1 it was stated at the  outset  
that the names of the individual        
architects among them are  not known2   
this was perhaps unfair to acus1 if he  
can be ranked as  an architect1 and who 
is classed as a ,pelasgian1 although of 
divine  parentage4    acus was a son of 
,jupiter by gina1 daughter of the river 
god1 ,asopus1  and1 like the            
,cyclopeans1 he was particularly expert 
in the matter of  walls4 ,he was as well
 a very just and pious individual or    
myth1 who  was frequently called upon to
 hold the scales of justice1 not only   
as between mortals1 but also immortals4 
,he was born on the ,island  of gina1   
the temporary residence of his mother1  

after whom it was  named4 ,at the time  
of his birth the island was uninhabited4
 ,this very  unpleasant condition of    
isolation for the mother and son was    
quickly  remedied by ,jupiter1 who      
changed the ants that abounded there    
into men1  placing acus over them as    
king4    acus always kept on the very   
best of terms with the gods1            
propitiating  them in many ways1 and at 
last becoming a great favorite with     
them4  ,indeed1 so strong was his       
influence in celestial circles that at  
one  time when ,greece was afflicted    
with a drought1 in consequence of a     
murder that had been committed1 the     
,delphic oracle declared that  the only 
person who could help the situation at  
all was acus4 ,he  was accordingly      
appealed to and persuaded to petition   
the gods for  relief4 ,the result was   
that his petition was favorably         
answered4 acus  thereupon erected a     
temple to ,zeus ,panhellenius on ,mount 
,panhellenion  to show his gratitude1   

and possibly to keep himself in that    
position  where he might trespass upon  
the good-nature of his heavenly friends 
again at some future time1 should there 
be necessity4    acus surrounded his    
island with high walls to protect his   
people  against pirates4 ,it is probable
 that these walls attracted the         
admiration of ,apollo and ,neptune1 and 
prompted them to retain the             
professional services of their builder  
to assist them in erecting  the walls of
 ,troy4 ,but here it was that acus      
failed1 for as one  diamond can only be 
accurately judged when placed in        
comparison with  another diamond1 so    
acus1 however successful he may have    
been as a  wall-builder by himself1 was 
outclassed when he came into competition
  with the occult knowledge of ,apollo  
and ,neptune4    ,the story is that when
 the ,trojan walls were completed1 three
 dragons  appeared and rushed upon them 
to test their strength4 ,the two dragons
  which attacked those parts of the     

walls built by the celestial  associates
 of acus had their heads broken for     
their pains1 but the one  which flew at 
the mortal's share of the work made a   
hole in the wall  which let it into the 
city4 ,apollo at once prophesied that   
,troy would  eventually fall through the
 hands of the acids1 which prophecy1 of 
course1 proved true4 ,whether this      
failure had anything to do with the     
future of acus or not1 it would be      
difficult to say1 but the fact is  that 
after his death he became one of the    
three judges in ,hades1 with  special   
jurisdiction over the ,europeans1 which 
necessarily insured his  being          
overworked until the end of time4       
,with a people possessed of so large and
 varied an assortment of  deities1      
suited to every possible human need and 
shade of mortal  endeavor1 it would be  
strange indeed if there was not some    
mythical or  legendary character among  
the ,greek gods to preside over         
architecture1  if not as a distinct art1

 at all events in association with some 
of its  kindred branches4 ,that the     
,greeks did not ignore such a necessity 
is  found to have been the case1 and the
 great ,ddalus rises most admirably  to 
the occasion in personifying the early  
infancy of architecture as  well as     
sculpture and wood-carving4    ,ddalus1 
like most of his spiritual relations and
 associates1 led a  life of much romance
 and adventure1 not unmixed with        
hardship and  trial4 ,he was either a   
native ,athenian or ,cretan1 a point    
upon which  there is some dispute1 as   
well as upon another involving his      
parentage4  ,it is perhaps sufficient to
 know that ,ddalus flourished in the age
 of  ,minos and ,theseus1 and was       
introduced more or less into the legends
  pertaining to those two early         
characters4    ,it is upon ,ddalus that 
responsibility must rest for the first  
introduction of jealousy into the       
personality of artists1 a vice1  by the 
way1 which they have never been quite   

able to shake off from  his time to the 
present4 ,ddalus was rather sorely      
afflicted with  this unfortunate trait1 
and to its early exhibition is due much 
of  his subsequent misfortune4 ,it was  
in connection with his devotion to      
sculpture that his jealousy first       
involved him in trouble4 ,he became     
very expert as a carver generally1 and  
undertook to instruct his nephew        
,perdix in the art4 ,in due time and    
under the careful tutorage of his       
uncle1 ,perdix also became proficient1  
and in a moment of inspiration  is said 
to have invented that very useful tool  
of the mechanic1 the  saw4 ,this it was 
that excited ,ddalus1 who1 in a fit of  
jealous rage1  threw his nephew over the
 ,pelasgic walls of the ,acropolis1     
killing him  instantly as he supposed4  
,ddalus was1 of course1 condemned to    
death for this unseemly and  cruel      
manifestation of envy1 but managed to   
escape and fly to ,crete4  ,there his   
professional reputation had preceded    

him1 and he obtained  the friendship of 
king ,minos4 ,in ,crete he developed his
 latent  architectural skill1 and built 
a very elaborate and intricate dwelling 
for the hideous monster ,minotaur1 since
 known as the celebrated  labyrinth at  
,cnossus4 ,the story of how ,theseus1   
with the connivance of  ,ariadne1 the   
charming daughter of ,minos1 slew this  
monster1 is one of  the most thrilling  
of the mythological legends1 and is     
quite familiar4    ,just how ,ddalus    
incurred the displeasure of ,minos does 
not seem to  be very clearly stated by  
the early authorities4 ,it appears that 
he  was in some way entangled with the  
creation of a wooden cow1 also with     
,pasipha1 the wife of ,minos1 and even  
with the birth of the horrible          
,minotaur4 ,possibly it may have been   
,minos who this time became jealous4    
,however that may be1 the friendship    
which had existed between ,ddalus  and  
the king finally became strained1 and   
the former was compelled to  fly the    

country1 which he did in a very literal 
way1 as king ,minos  had seized all the 
ships on the coast of the island1       
cutting off1  in consequence1 the only  
means of escape4 ,the architect1        
however1  possessed much ingenuity and  
inventive genius of his own1 even to a  
more marked degree than that manifested 
by the nephew he had dropped  over the  
,athenian precipice1 and with the aid of
 some feathers1 a  little wax1 and      
,pasipha1 who secretly contributed her  
assistance1 he  manufactured a pair of  
wings for himself1 and another pair for 
his son1  ,icarus1 who was with him at  
the time4 ,thus it will be seen that the
  first flying machines were invented by
 an architect4    ,illustration3 ,,the  
,,flight ,,of ,d,,dalus ,,and ,,icarus4 
,when the father and son started for    
,sicily1 over the gean sea1 like  a pair
 of huge birds1 ,ddalus flew            
conservatively and cautiously1 being    
careful not to rise too near the sun1   
where it was supposed by the  ancients  

to be very hot2 but ,icarus1 with the   
spirit of youth and the  enjoyment of   
the exhilaration consequent upon the    
novelty of his method  of locomotion1   
gave a deaf ear to the protests of his  
father1 and1 in  emulation of ,apollo1  
soared so high that the sun melted the  
wax in his  wings4 ,his feathers flew   
off1 and down he dropped into the waves 
below4  ,he was drowned1 and that part  
of the gean sea into which he fell was  
afterward called the ,icarian sea1 in   
commemoration of this unfortunate       
accident1 which ,darwin has so well     
described in verse3        8444 ,with   
melting wax and loosened strings1       
,sunk hapless ,icarus on unfaithful     
wings2       ,headlong he rushed through
 the affrighted air1       ,with limbs  
distorted and dishevelled hair2         
,his scattered plumage danced upon the  
wave1       ,and sorrowing ,nereids     
decked his watery grave4       ,o'er his
 pale corse their pearly sea-flowers    
shed1       ,and strewed with crimson   

moss his marble bed2       ,struck in   
their coral towers the passing bell1    
,and wide in ocean tolled his echoing   
knell40    ,ddalus1 who could not stop  
to rescue his son1 continued steadily   
on his course1 and1 attempting no       
experiments with his frail wings1       
finally landed safely in ,sicily1 where 
he established himself again1           
professionally1 under the royal         
patronage of ,cocalus1 king of the      
,sicani4 ,here he did most excellent    
work1 until king ,minos1 his old  enemy1
 found him out1 and began to make it    
unpleasant for him again4  ,minos1      
hearing that ,ddalus was in ,sicily1    
sailed with a great fleet to  that      
island1 but fortunately for the         
architect1 his enemy was murdered  as   
soon as he arrived there by ,cocalus or 
his daughter4 ,in the mean  time        
,ddalus1 anticipating the trouble that  
was in store for him1 again  made an    
escape1 this time to ,sardinia1 where he
 tarried a while1 but  finally visited  

other countries1 notably ,egypt4        
,these are the substantial facts of     
,ddalus's career1 as contained in  the  
earlier legends1 but later ,greek       
writers tell a much more fanciful  and  
improbable story of his life1 which     
there is no urgent necessity  to        
believe1 as the one mentioned is quite  
fanciful enough and probably  more      
authentic4 ,they say1 among other       
things1 that ,ddalus was an  astrologer1
 and that he taught his son that        
science1 who1 soaring above  plain      
truths1 lost his wits and was drowned in
 an abyss of difficulties4    ,ddalus   
may have been an astrologer and may have
 been other things as  well1 but that he
 was an architect cannot be doubted from
 the fact that  so many buildings are   
ascribed to him4 ,among his works may be
 mentioned  the ,colymbethra1 or        
reservoir in ,sicily1 from which the    
river ,alabon  flowed into the sea2     
another an impregnable city near        
,agrigentum1 in  which was the royal    

palace of ,cocalus2 still another a cave
 in the  territory of ,selinus1 in which
 the vapor arising from a subterranean  
fire was received in such a way as to   
answer for a vapor bath4 ,he  enlarged  
the summit of ,mount ,eryx for a        
foundation for the temple of  ,venus1   
and he is said to have been the author  
of the temples of ,apollo  at ,capua and
 ,cum1 and the temple of ,artemis       
,britomartis in ,crete4 ,in  ,egypt he  
was the architect of a very beautiful   
propylum1 or vestibule  to the temple of
 ,hephstus at ,memphis1 for which he was
 rewarded by  being permitted to erect  
in it a statue of himself1 the work of  
his own  hands4    ,as a sculptor he    
also executed many works of art--but the
 architectural  side of his career can  
only be considered here4 ,it will not be
 out  of place1 however1 to mention some
 of the inventions ascribed to him  to  
assist the mechanic4 ,it is claimed for 
him that he was an expert  carpenter1   
having been taught that trade by        

,minerva1 and that he  originated the   
axe1 the plumb-line1 the auger and glue4
    ,ddalus1 in fact1 seems to have     
personified the earliest ,grecian  art1 
and his name1 which1 when translated1   
signifies 8ingenious10 or  8inventive10 
stands for that period in ,greece when  
form and shape and  expression were     
given inanimate substances by the use of
 tools and  mechanical appliances4      
,when ,ddalus threw his nephew over the 
high walls of the ,acropolis1  and      
naturally thought that he had killed    
him--an opinion in which it  is apparent
 the people of ,athens shared--he was   
very much mistaken1  for ,minerva1 the  
patron goddess of the city1 realizing   
what a great  mistake it would be to    
allow so bright and promising a young   
man to go  to an early death1 exercised 
her magic1 and saved him by changing the
  falling artisan into a bird1 which was
 given his name1 8,perdix10 or1 as      
translated1 ,partridge4    ,to ,perdix1 
who was especially skilful as a worker  

in wood1 is  attributed1 in addition to 
the invention of the saw1 suggested to  
him by the backbone of a fish or the    
teeth of a serpent1 it would be         
difficult to say which1 the chisel1 the 
compasses and the potter's  wheel4      
,whether he invented any of these things
 after he became a  partridge or not is 
another mythical uncertainty1 but       
probably not1 as  his changed condition 
and feathers would have made it very    
awkward for  him to have done so1       
although most anything was possible in  
those days4    ,perdix is also called   
,talos by some writers1 and ,pausanias  
mentions him  by still another name1    
,calos1 and states that after his death 
he was  buried somewhere on the road    
leading from the theatre in ,athens to  
the  ,acropolis4    ,it might be        
interesting1 but certainly a task beyond
 the scope of  this book1 to mention all
 the mythical personages of the archaic 
or  early period of ,grecian art1 who   
were in a way more or less remote1      

responsible for special features of     
artistic treatment that graced  the     
buildings of that time1 such1 for       
instance1 as ,dibutades1 who was  the   
first to make masks on the edges of     
gutter tiles4 ,dibutades was  a         
sculptor1 and the idea which he         
originated is said to have been         
suggested to him by seeing his daughter 
trace the lines of her lover's  profile 
around the shadow which it cast upon a  
wall4 ,he filled in the  lines with     
clay1 and1 moulding it to the face1 gave
 to the world the  art of modelling4    
,among the artists belonging to the     
,ddalien1 or legendary period of        
,greece1 who may be classed more        
distinctively as architects1 however1   
were ,polycritus1 who had to do with the
 building of the town of  ,tanagra by   
,poemander1 and ,pteras1 who was        
supposed to have been the  architect of 
the second temple to ,apollo at ,delphi4
 ,the legend is that  the first temple  
was made of branches of the wild laurel 

from ,tempe1  and that ,pteras          
constructed the second of wax and bees' 
wings--rather  an unsubstantial building
 material1 it might be inferred4        
,eucheir1 a  painter1 and ,chersiphron  
and ,smilis1 architects and statuaries1 
are  also of this traditional period1   
and were representative of skill in     
their arts4    ,all these names1        
however1 although supposed to have been 
originally  purely mythological1 were   
probably later assumed by or given to   
mortals  who were specially expert in   
the particular branch of art which the  
name taken suggested4 ,these            
individuals1 to complicate matters1 no  
doubt1 became entangled with the early  
mythological stories1 and  finally lost 
their identity completely1 or to such an
 extent as to make  it quite impossible 
to separate the fact from the fiction in
 their  respective cases4    ,an        
illustration of such a confusion is to  
be found in respect to the  architects1 
,rhcus and ,theodorus1 who had to do    

with the building of  the temple of     
,hera at ,samos1 for the worship of     
which goddess ,samos was  celebrated1   
and who1 in association with ,smilis1   
were the architects of  the labyrinth at
 ,lemnos4    ,the writers who have      
mentioned these artists are quite       
numerous1 and  have so differed in      
respect to their dates1 and confounded  
the accounts  of their careers and      
achievements1 that it is difficult to   
sift  anything like a satisfactory story
 from the confusion created4 ,the  most 
probable deduction that has been made1  
however1 is that ,rhcus  flourished     
about #fdj ,b4,c41 and was a son of     
,phileas of ,samos2 that  ,theodorus1   
the architect1 was his son1 and that    
another ,theodorus1 a  statuary1        
sometimes mistaken for the architect1   
was a nephew of the  architect          
,theodorus1 the son of ,telecles1 also a
 gifted sculptor1 and a  grandson of    
,rhcus4    ,the temple of ,hera1 alluded
 to as the work of the father and son1  

was three hundred and forty-four feet   
long by one hundred and sixty  feet     
wide1 and1 according to the             
8,antiquities of ,ionia10 a decastyle1  
dipteral structure1 or possessed of a   
double row of columns composed of  ten  
columns in each row4 ,pausanias thinks  
that the temple was of very  great      
antiquity1 a fact apparent to him from  
the statue of ,hera which  it contained1
 which was made by ,smilis1 of wood1 as 
were the early  statues of ,greece4     
,the ,lemnian labyrinth1 according to   
,pliny1 contained fifty columns  and    
innumerable statues1 and had very       
remarkable massive gates1  so delicately
 poised that a child might open or shut 
them4 ,modern  travellers have had      
difficulty in finding any trace of this 
labyrinth1  although there is little    
doubt that it once existed4 ,it is not  
to be  classed with the more visionary  
labyrinth in which the ,minotaur was    
caged4    ,it is claimed for both ,rhcus
 and ,theodorus that they were the first

  to invent the art of casting statues  
in bronze or iron1 but as this  art was 
known before their time by the          
,phnicians1 it is likely that  they were
 responsible for nothing more than      
having introduced it into  ,greece4     
,this is probably true also of other    
early mythical characters  of ,greece1  
to whom is attributed certain inventions
 in the arts which  have been found     
since to have existed much earlier than 
their time in  ,egypt or elsewhere4     
,theodorus is also credited with having 
been the architect of the old  ,scias at
 ,sparta1 and of having advised the use 
of charcoal beneath the  foundation of  
the temple dedicated to ,artemis1 at    
,ephesus1 as a remedy  against the      
dampness of the site4 ,theodorus was a  
great admirer of  his father and of the 
temple to ,hera1 which they built       
together4 ,he  attested his appreciation
 of the latter by writing a book        
descriptive  of it4    ,as for ,smilis1 
who belongs to the mythical period1 and 

whose name when  translated stands for  
8a knife for carving wood10 or 8a       
sculptor's  chisel10 he is also         
accredited with having been the first to
 devise  the art of modelling in clay4  
,he is to be classed more as a sculptor 
than an architect1 but of an inferior   
standing to ,ddalus4 ,in fact1 his  only
 connection with architecture1 according
 to ,pliny1 seems to have  been his     
association with ,rhcus and ,theodorus  
in the building of the  labyrinth at    
,lemnos4 ,it is possible that even here 
he was employed more  in the line of a  
sculptor than in lending any            
professional assistance  as an          
architect4    ,pausanias mentions a     
pupil of ,theodorus of ,samos1 who1 it  
would appear1  achieved considerable    
distinction both as an architect and    
sculptor1  but more especially in the   
latter capacity4 ,his name is given as  
,gitiadas1 and his birthplace as        
,lacedmon1 where he flourished about    
#gbd ,b4,c41 as stated by some          

authorities1 but much later according   
to others4 ,the architectural work for  
which he receives credit was  the temple
 of ,athena ,polionchos at ,sparta1     
which1 it is said1 was  constructed     
entirely of bronze4 ,it also contained a
 bronze statue  of the goddess of       
,gitiadas's own workmanship1 and many   
bas-reliefs  representing the labors of 
,hercules1 the exploits of the          
,tyndarids1  ,hephstus releasing his    
mother from her chains1 the ,nymphs     
arming  ,perseus for the expedition     
against ,medusa1 and other mythological 
subjects1 all executed in the same      
metal4 ,this extensive use of bronze    
suggested the name 8,brazen ,house10    
which was given the temple4 ,it would   
seem that ,gitiadas was possessed of    
other accomplishments1 and served       
,minerva with equal distinction as a    
poet1 writing his poems all in the      
,doric dialect4    ,a still stranger    
compte of fact and fable1 of hypothesis 
and  conjecture1 of celestial and       

terrestrial biography1 is to be found in
  the accounts of the brothers ,agamedes
 and ,trophonius1 who were the          
architects of the great temple of       
,apollo at ,delphi1 and of the treasury 
of ,hyrieus1 king of ,hyria in ,botia4  
,the temple to the beautiful and        
accomplished son of ,jupiter and        
,latona1  the god of music and prophecy1
 as well as other things of equal or    
less  consequence1 was the fourth to be 
erected upon the same site on ,mount    
,parnassus1 in the ancient city of      
,delphi1 known to the older poets as    
,pytho1 a name derived from the serpent 
,python which ,apollo slew4 ,in  this   
temple1 which was the first of the four 
to be built with stone1  the others     
having been constructed out of the      
branches of the bay tree  and other     
equally perishable materials1 dwelt the 
much respected and  frequently consulted
 ,delphic ,oracle4 ,the spot in the     
temple from which  the prophetic vapor  
issued to inspire the priestess with    

second sight  was said to be the central
 point of the earth1 and that where the 
two  eagles despatched by ,jupiter to   
ascertain that point met and fell4      
,pythia1 the priestess of ,apollo1 who  
gave mouth to the oracles1 sat on  a    
sacred tripod placed over the opening   
from which the vapor issued1  and gave  
forth her words of wisdom in prose or   
poetry as the occasion  demanded4 ,if in
 prose1 her prognostications would be   
immediately  verified1 and if in verse  
some time must elapse before they could 
be  fulfilled4 ,pythia was not always on
 duty1 but could be consulted only  on  
certain days during the month of ,busius
 in the spring4    ,there is no doubt   
but that she made some very remarkable  
prophecies1  but1 alas6 it is also      
recorded that1 like some of the         
political oracles  of these degenerate  
times1 her prophetic vision was not     
infrequently  influenced by 8a previous 
interview40 ,a notable case of this kind
 was  that in which the ,alemonid were  

entangled2 who for political reasons    
and effect rebuilt the same temple after
 it was destroyed by fire in  the year  
#edh ,b4,c41 as we shall see later4     
,but we have drifted from the subject4  
,it is claimed by some that  ,agamedes  
was the son of ,stymphalus1 who was     
murdered and had his body  cut up in    
pieces1 and a grandson of the old       
ancestor of the ,arcadian  ,arcas1 who  
in turn was a son of ,zeus4 ,others say 
that the father of  ,agamedes was       
,apollo1 and his mother was ,epicaste1  
and still others  are of the opinion    
that his parents were none other than   
,zeus himself  and ,iocaste1 another    
name for ,epicaste1 and that ,trophonius
 was his  son4 ,all this genealogy is1  
however1 disturbed if we accept the more
  probable one1 that he was a son of    
,erginus1 king of ,orchomenus1 and  that
 he was a brother of ,trophonius4 ,by   
the way1 ,trophonius is also  said to   
have been a son of ,apollo4 ,when these 
two young men attained  to manhood they 

became very expert in the art of        
building temples  to the gods and       
palaces for kings4 ,thus having         
established enviable  reputations in    
their profession1 they were retained to 
plan and  supervise the works mentioned4
    ,it is in respect to these          
architects that the first authentic     
account  of a misunderstanding as to    
professional compensation is related4   
,it must not be thought that because    
some of the early architects  were      
related to the nobility of ,mount       
,olympus1 they were any the  less       
mercenary than are architects in our own
 time1 or were any more  inclined to    
work for nothing than are their         
professional descendants of  to-day4    
,plutarch tells us that ,agamedes and   
,trophonius1 after working hard upon    
the ,delphic temple1 and not receiving  
any pay1 began to lose faith in  the    
mortals who were backing the            
undertaking4 ,as they grew more and     
more dubious about their compensation1  

and possibly having notes or  bills to  
meet1 they finally decided to appeal    
directly to ,apollo1 in  whose          
glorification the shrine had been built4
    ,apollo1 who was consulted through  
the ,delphic ,oracle1 informed them     
that he must have time to think the     
matter over4 ,in other words1 he  could 
not be hurried in his decision1 but     
would give them an answer  at the end of
 seven days4 ,it is not unlikely that   
the ,oracle saw an  occasion here where 
it might be a matter of financial       
prudence to  consult with the other side
 before rendering a decision4 ,however  
that  may be1 the two architects were   
told that ,apollo wished that they      
should spend the intervening time in    
8festive indulgence40 ,thinking  from   
this1 quite naturally1 that they were in
 the good graces of the  god1 and       
suspecting no ungodly duplicity1        
,agamedes and ,trophonius set  about to 
enjoy themselves according to the most  
liberal interpretation  of their        

instructions4 ,the result was that at   
the end of the seventh  day they were   
found dead in their beds1 whether from  
too much festivity  on their part or too
 much duplicity on the part of the      
,oracle1 no one  knows1 but the         
inference is conclusive that as they    
were dead it was  not necessary to give 
them the professional compensation they 
had been  so anxiously demanding4       
,cicero tells the story a little        
differently1 and eliminates the         
question of compensation from it4 ,he   
says that they consulted ,apollo  to    
know what in his opinion was 8best for  
man08 ,this being a much  easier        
question to handle1 ,apollo took but    
three days to answer it1 but  the       
consequences of the consultation to poor
 ,agamedes and ,trophonius  were quite  
as disastrous4 ,it may be that1 taking  
everything into  consideration1 it is   
best for man to be dead1 but most       
architects don't  think so1 and had     
,agamedes and ,trophonius anticipated   

such an answer1  it is probable that    
they would have asked no questions4     
,pausanias relates an altogether        
different legend and connects it with   
the treasury of ,hyrieus1 which         
,agamedes and ,trophonius built1 instead
  of with the temple of ,apollo4 ,the   
story by ,pausanias would tend to show  
that these architects were even more    
mercenary than ,plutarch has given  us  
to understand they were4    ,it seems   
that in constructing the treasury they  
contrived to have a  stone so placed    
that it could be taken away from the    
outside of the  building at any time1   
and thus offer an entrance to the       
vaults4 ,no one  of course had any      
knowledge of this secret entrance but   
themselves4 ,in  consequence1 after the 
building was finished1 and it was used  
for the  purpose for which it was       
intended1 these two covetous brothers   
carried  away from time to time goodly  
portions of the treasure as it was      
deposited4 ,the king soon heard that    

there was a leak in his treasury1  and  
that he was losing money rapidly4 ,he   
was naturally annoyed and much          
perplexed when he found that the locks  
and seals of his treasure house         
remained intact and uninjured4 ,he      
thereupon set a trap to catch the       
thief4 ,just what kind of a trap it was 
is not explained1 but after some  little
 time ,agamedes was caught1 and         
,trophonius1 finding his brother        
ensnared1 cut off his head1 to save his 
own1 doubtless1 and prevent the         
discovery of his association in the     
robbery4 ,this very unfraternal act  of 
,trophonius was not allowed to go       
unpunished1 however1 and ,apollo1 or    
some other god1 caused him to be        
swallowed up in the grove of ,lebadea4  
,pausanias further states that ,erginus1
 the father of ,agamedes1 was  known as 
the 8,protector of ,labor10 that        
,trophonius was called the              
8,nourisher10 and that ,agamedes had the
 reputation of being the 8,very         

,prudent ,one40 ,there can be no doubt  
about ,agamedes's prudence1 such as  it 
was4    ,trophonius1 it appears1 had a  
still further career after his death1 as
  an oracle1 conducting his business    
from the spot where he was swallowed  up
 in ,lebadea4 ,he was especially        
prophetic in matters relating to        
futurity4 ,those desiring to consult him
 were conducted to a cavern1  and       
furnished with a ladder1 by means of    
which they could descend  into it4 ,they
 were then given the information for    
which they were in  quest1 either by    
means of their eyes1 or their ears1 or  
such of their  senses as the occasion   
seemed best to suggest4 ,some say that  
one of  these visitors1 after having    
gone into the cave1 and being treated in
  this way by the oracle1 returned never
 to smile again2 but ,pausanias         
contradicts the story4    ,there is     
another belief in regard to these       
architects which must be  simply alluded
 to4 ,it is that ,agamedes and          

,trophonius were deities of  the        
,pelasgian times2 that ,trophonius was a
 giver of food from the bosom  of the   
earth1 and for that reason was          
worshipped in a cavern1 and that        
,agamedes was not the wretched thief of 
,pausanias1 but1 on the contrary1  a    
very generous character1 who gave       
liberally from underground  granaries4  
,a parallel to the story of the robbery 
of the treasury of ,hyrieus by          
,agamedes and ,trophonius is told by    
,herodotus in respect to the two sons   
of the builder of the treasury of the   
,egyptian king ,rhampsinitus4 ,these    
two young men1 it seems1 were also      
caught1 while pilfering1 in a trap1     
described with great circumstantiality  
by the 8,father of ,history40           
,,chapter ,,iii4    ,,the ,,originators 
,,of ,,the ,,three ,,orders4      ,who  
were the originators of the three great 
and primary orders of  ,grecian         
architecture is still a question which  
the discussion of the  legendary and    

mythical architects1 which has been     
briefly entered into1  has not answered4
 ,it may be assumed inferentially that  
as the earliest  of the ,greek temples  
which have been referred to as the works
 of the  progeny of the gods were in the
 ,doric style1 the pagan deities of     
,greece may claim some share of credit  
for having introduced that noble  design
 to the world4 ,the ,ionic and          
,corinthian styles1 however1 are  still 
to be accounted for1 and as there is    
good ground to assume that  they made   
their advent into architectural art at  
much later dates no  celestial origin   
can be claimed for them4    ,vitruvius1 
in relating his account of the origin of
 all three orders1  alludes more        
directly to the birth of the ,doric1 and
 tells a story  so picturesque and      
entertaining of the other two that      
although  recognizing how well it may be
 known to the professional architect1 it
  is difficult to resist the temptation 
to give it here entire3    8,dorus1 the 

son of ,hellen1 and the nymph ,orseis1  
reigned over the whole  of ,achaia and  
,peloponnesus1 and built at ,argos1 an  
ancient city1 on a  spot sacred to      
,juno1 a temple which happened to be of 
this order4 ,after  this many temples   
similar to it sprung up in the other    
parts of ,achaia1  though the           
proportions which should be preserved in
 it were not as yet  settled4    8,but  
afterward when the ,athenians1 by the   
advice of the ,delphic ,oracle  in a    
general assembly of the different states
 of ,greece1 sent over into  ,asia      
thirteen colonies at once1 and appointed
 a governor or leader  to each1         
reserving the chief command for ,ion1   
the son of ,xuthus and  ,creusa1 whom   
the ,delphic ,apollo had acknowledged as
 son1 that person  led them over into   
,asia1 and occupied the borders of      
,caria1 and there  built the great      
cities of ,ephesus1 ,miletus1 ,myus     
7which was long since  destroyed by     
inundation1 and its sacred rites and    

suffrages transferred  by the ,ionians  
to the inhabitants of ,miletus71        
,priene1 ,samos1 ,teos1  ,colophon1     
,chios1 ,erythr1 ,phoca1 ,clazomen1     
,lebedos and ,melite4 ,the  last1 as a  
punishment for the arrogance of its     
citizens1 was detached  from the other  
states in a war levied pursuant to the  
directions of  a general council2 and in
 its place1 as a mark of favor toward   
,king  ,attalus and ,arsino1 the city of
 ,smyrna was admitted into the number   
of ,ionian states1 which received the   
appellation of ,ionian from their       
leader ,ion1 after the ,carians and     
,leleg had been driven out4    8,in this
 country1 allotting different spots for 
sacred purposes1 they  began to erect   
temples1 the first of which was         
dedicated to ,apollo  ,panionios1 and   
resembled that which they had seen in   
,achaia1 and they  gave it the name of  
,doric1 because they had first seen that
 species in  the cities of ,doria4 ,as  
they wished to erect this temple with   

columns1  and had not a knowledge of the
 proper proportions of them1 nor knew   
the  way in which they ought to be      
constructed1 so as at the same time to  
be  both fit to carry the superincumbent
 weight and to produce a beautiful      
effect1 they measured a man's foot1 and1
 finding its length the sixth  part of  
his height1 they gave the column a      
similar proportion--that is1  they made 
its height1 including the capital1 six  
times the thickness  of the shaft1      
measured at the base4 ,thus the ,doric  
order obtained its  proportion1 its     
strength1 and its beauty from the human 
figure4    8,under similar notions they 
afterward built the temple of ,diana1   
but  in that1 seeking a new proportion1 
they used the female figure as  the     
standard2 and for the purpose of        
producing a more lofty effect  they     
first made it eight times its thickness 
in height4 ,under it they  placed a     
base1 after the manner of a shoe to the 
foot2 they also added  volutes to its   

capital1 like graceful1 curling hair1 on
 each side1 and  the front they         
ornamented with cymatia and festoons in 
the place of  hair4 ,on the shafts they 
sunk channels1 which bear a resemblance 
to the  folds of a matronal garment4    
,thus two orders were invented1 one of a
  masculine character1 without ornament1
 the other bearing a character  which   
resembled the delicacy1 ornament and    
proportion of a female4    8,the        
successors of these people1 improving in
 taste1 and preferring a  more slender  
proportion1 assigned seven diameters to 
the height of the  ,doric column and    
eight and a half to the ,ionic4 ,that   
species1 of which  the ,ionians were the
 inventors1 has received the appellation
 of ,ionic4    ,illustration3 ,,the     
,,origin ,,of ,,the ,,corinthian        
,,capital4    8,the third species1 which
 is called ,corinthian1 resembles in its
  character the graceful and elegant    
appearance of a virgin1 in whom1  from  
her tender age1 the limbs are of a more 

delicate form1 and whose  ornaments     
should be unobtrusive4 ,the invention of
 the capital of this  order is said to  
be founded on the following occurrence3 
,a ,corinthian  virgin1 of a            
marriageable age1 fell a victim to a    
violent disorder4  ,after her interment 
her nurse1 collecting in a basket those 
articles  to which she had shown a      
partiality when alive1 carried them to  
her  tomb1 and placed a tile on the     
basket for the longer preservation  of  
its contents4 ,the basket was           
accidentally placed on the root of  an  
acanthus plant1 which1 pressed by the   
weight1 shot forth1 toward  spring1 its 
stems and large foliage1 and in the     
course of its growth  reached the angles
 of the tile1 and thus formed volutes at
 the  extremities4 ,callimachus1 who for
 his great ingenuity and taste was      
called by the ,athenians ,catetechnos1  
happening at this time to pass by  the  
tomb1 observed the basket and the       
delicacy of the foliage which           

surrounded it4 ,pleased with the form   
and novelty of the combination1 he      
constructed from the hint thus afforded 
columns of this species in the  country 
about ,corinth40    ,the comments of    
,sir ,henry ,wotton in his 8,elements of
 ,architecture10  written in ,england   
during the latter part of the sixteenth 
century1  upon this legendary account of
 the source of the three orders given   
by ,vitruvius1 are sufficiently         
attractive and quaint in language and   
spelling to warrant their being quoted  
also3    8,the ,dorique order is the    
gravest that hath been received into    
civil  use1 preserving in comparison of 
those that follow a more masculine      
aspect and little trimmer than the      
,tuscan that went before1 save a  sober 
garnishment now and then of lions' heads
 in the cornice and  of triglyph and    
metopes always in the frize4444 ,to     
discern him  will be a piece rather of  
good heraldry than of architecture1 for 
he is knowne by his place when he is in 

company and by the peculiar  ornament of
 his frize1 before mentioned1 when he is
 alone4444 ,the  ,ionique order doth    
represent a kind of feminine            
slenderness2 yet1  saith ,vitruvius1 not
 like a housewife1 but in a decent      
dressing hath  much of the matrone4444  
,best known by his trimmings for the    
bodie  of this columne is perpetually   
chaneled1 like a thick-pleighted  gowne4
 ,the capitall1 dressed on each side1   
not much unlike women's  wires1 in a    
spiral wreathing1 which they call the   
,ionian voluta4444  ,the ,corinthian is 
a columne lasciviously decked like a    
courtezan1 and  therefore in much       
participating 7as all inventions do7 of 
the place  where they were first born1  
,corinth having beene1 without          
controversie1  one of the wantonest     
towns in the world40    ,as for the     
,composite order1 which1 as has been    
already stated1 is but a  mixture of the
 ,ionic and ,corinthian1 it would seem  
that ,sir ,henry has  very little       

patience4 ,he says with a contempt which
 he makes little  effort to conceal3    
8,the last is the compounded order1 his 
name  being a briefe of his nature3 for 
his pillar is nothing in effect but  a  
medlie1 or an amasse of all the         
preceding ornaments1 making  a new kinde
 of stealth1 and though the most richly 
tricked1 yet the  poorest in this1 that 
he is a borrower of his beautie40       
,there are those who in relentless      
search for truth at the expense of      
sentiment and poetry would spoil the    
pretty story which ,vitruvius tells  of 
the invention of the ,corinthian capital
 by claiming for ,egypt the  distinction
 of being the mother-country of the     
order1 and ascribing to  that form of   
the ,egyptian capital that bells out    
toward the abacus1 and  which is        
surrounded by open lotus leaves1 as the 
archetype of the last  of the three     
,grecian orders4 ,there is1 however1    
more probability to the  story of       
,callimachus than there is similarity   

between the ,egyptian and  ,corinthian  
capitals1 in our opinion4    ,if we     
accept ,callimachus as the originator of
 the ,corinthian1 although  there does  
not appear any name of an architect to  
receive the  individual credit for the  
invention of the ,doric order1 we may as
 well  accept the deduction which       
,vitruvius draws in respect to          
,hermogenes1  an ,ionian architect1 who 
is said to have flourished about #fjj   
,b4,c41  and credit him at the same time
 with being the first to introduce  the 
feminine proportions and attributes into
 his art1 and with having  perfected1 if
 he did not originate1 the queenly      
,ionic order4    8,when ,hermogenes was 
employed to erect the temple of ,bacchus
 at  ,teos10 says ,vitruvius1 8the      
marble was prepared for one in the      
,doric  style2 but the architect changed
 his mind1 from the idea that other     
proportions1 afterward called ,ionic1   
were more suitable for the  purpose1    
almost inducing the inference that      

,hermogenes was the inventor  of those  
delicate proportions2 he appears        
unquestionably to have  displayed great 
skill and ingenuity in all his designs1 
and to have  entertained the opinion    
that sacred buildings should not be     
constructed  with ,doric proportions1 as
 they obliged the adoption of false and 
incongruous arrangements40    ,another  
fact which ,vitruvius does not touch    
upon might tend to point  to ,hermogenes
 as the originator of the ,ionic order4 
,he was a native of  ,alabanda in       
,caria1 and if it is true1 as some      
authorities believe1 the  volute was an 
ornament in early use in ,asia ,minor1  
he was doubtless  familiar with it2 and1
 appreciating its graceful              
possibilities1  introduced it into the  
matronly ,ionic4    ,hermogenes is      
conceded to have been one of the most   
celebrated  architects of antiquity4 ,in
 addition to the temple of ,bacchus     
which  he designed for ,teos1 one of the
 eastern ,ionian cities1 and the        

birthplace of ,anacreon1 as well as     
other noted ancient characters1 he      
erected in the city of ,magnesia1 in    
,lydia1 a temple to ,diana in the       
,doric order4 ,about each of these      
temples he wrote a book1 both of which  
were still in existence in the time of  
,augustus4 ,in one he described  the    
temple to ,diana as a pseudodipteral1 or
 false dipteral temple1 a  form which he
 invented4 ,it is called false or       
imperfect because of  the economy of the
 inside row of columns on each of the   
long sides of  the cell1 the outside row
 being allowed to remain4 ,the effect   
from a  distance was the same as a      
double row1 while considerable expense  
was  saved4 ,the temple to ,bacchus he  
described as a monopterus1 or a round   
temple1 having neither walls nor cell1  
but merely a roof sustained by  columns4
    ,hermogenes's great ambition appears
 to have been a desire to foster  and   
encourage the use of the ,ionic order in
 preference to the ,doric  for temple   

construction4 ,in this opinion he was   
later sustained by  ,tarchesius1 another
 writer on architecture1 who may be     
dated as  sometime later than #dgj      
,b4,c41 and by ,pytheus1 whom we shall  
meet again  as one of the architects of 
the tomb of ,mausolus4    ,although     
,vitruvius mentions the origin of the   
,corinthian order in close  connection  
with that of the ,doric and ,ionic1 it  
must be borne in mind  that             
,callimachus1 whom he credits with the  
,corinthian1 was a much  later artist   
than ,hermogenes4 ,the use of the       
,corinthian column by the  architect    
,scopas in the temple of ,athene at     
,tegea in #cif ,b4,c41 has led  to the  
inference that ,callimachus must have   
lived prior to that date1  and the fact 
that he gave to that style of           
architecture the appellation  of        
,corinthian1 that he was a native of    
,corinth4 ,lbke1 in his 8,outlines  of  
the ,history of ,art10 however1 does not
 give to ,callimachus the full  and     

undisputed credit for originating the   
,corinthian style1 claiming  that the   
order existed before his time1 although 
he does not mention  when or where4     
,lbke would interpret the story of      
,callimachus and the  basket as meaning 
that it was he who gave to the capital  
its final  perfection4 ,it is somewhat  
strange also that although ,callimachus 
is  conceded to have been the first to  
develop this order1 if he did not       
absolutely invent it1 there is no       
mention of any building having been     
designed by him in the ,corinthian      
style4    ,there seems to be little     
dispute over the fact that ,callimachus 
was  neither as a sculptor nor an       
architect to be placed in the van of the
  distinguished artists of early        
,greece4 ,as a sculptor1 in which       
capacity  he is best known by his works1
 his style was stilted and artificial1  
rendered so by the artist's disposition 
to be finicky and fastidious in  his    
execution4 ,indeed1 he is said to have  

been unwearied in polishing  and        
perfecting1 and to have sacrificed the  
grand and sublime in the  exercise of   
too great refinement and purity4        
,callimachus was never  satisfied with  
himself1 and possibly on that account   
others were not  satisfied with him1 as 
a certain degree of self-esteem is      
necessary  to invite public approval4   
,the ,greeks gave him a name1 based upon
 his  peculiarities1 which ,pliny has   
translated as 8,calumniator ,sui40 ,his 
faculty for invention was evidenced in  
other respects also1 as he is  credited 
with having originated the art of boring
 marble1 and ,pausanius  describes a    
golden lamp which he invented1 and which
 he dedicated to  ,athene1 which when   
filled with oil burned exactly a year   
without going  out4    ,it may be said  
broadly of the ,grecian people in their 
employment of  the three grand orders of
 architecture that the first            
two--namely1 the  ,doric and            
,ionic--more closely harmonized with the

 dignity and nobility  of their national
 character4 ,in fact1 ,greece arrived at
 the pinnacle  of her civilization and  
brought her philosophy of human         
existence not  only in theory1 but in   
practice1 to its highest ideals before  
the  ,corinthian order of architecture  
appeared to claim a share in her        
artistic reputation4 ,the stately       
solidity of the ,doric and the graceful 
purity of the ,ionic lent the perfection
 of architectural framework to  the     
mental strength and loftiness of ideal  
of the ,hellenic people4 ,they  seemed  
to accord with the philosophy that was  
originally preached from  under the     
shadow of their pediments and           
entablatures4 ,we can almost  see the   
doubting and mystified ,theon stepping  
from the ,doric portico  where ,zeno    
held forth1 to compare that             
philosopher's stoical dogmas  with the  
doctrines of ,prudence preached in the  
,ionic-encompassed garden  of ,epicurus1
 by a philosopher ever destined to be   

misconstrued and  wrongfully            
interpreted4    8,all learning is       
useful10 taught ,epicurus2 8all the     
sciences are  curious2 all the arts are 
beautiful2 but more useful1 more curious
  and more beautiful is the perfect     
knowledge and perfect government  of    
ourselves4 ,though a man should read the
 heavens1 unravel their  laws and their 
revolutions2 though he should dive into 
the mysteries  of matter1 and expound   
the phenomena of the earth and air2     
though he  should be conversant with all
 the writings and sayings and actions of
  the dead2 though he should hold the   
pencil of ,parrhasius1 the chisel  of   
,polycletus or the lyre of ,pindar2     
though he should be one or all of  these
 things1 yet not know the secret springs
 of his own mind1 the  foundation of his
 opinions1 the motives of his actions2  
if he hold  not the rein over his       
passions2 if he have not cleared the    
mist of  all prejudice from his         
understanding2 if he have not rubbed off

 all  intolerance from his judgments2 if
 he know not to weigh his own actions   
and the actions of others in the balance
 of justice1 that man hath not          
knowledge1 nor1 though he be a man of   
science1 a man of learning or  an       
artist1 he is not a sage4 ,he must sit  
down patient at the feet of             
,philosophy4 ,with all his learning he  
hath yet to learn1 and perhaps a  harder
 task1 he hath to unlearn40    ,the     
,corinthian order1 on the other hand1   
notwithstanding all its  charm1 beauty  
and variety1 seemed to lack that        
steadfastness of  character which bound 
so firmly the other two orders to the   
hearts of  the ,grecian people1 and was 
never admitted into their fullest trust 
and confidence4 ,indeed1 it is generally
 conceded that the ,corinthian  model   
grew in favor as the architectural art  
of ,greece declined2 and  only when     
,greece1 losing her autonomy1 began to  
lose her ambition and  intellectual     
greatness and independence4 ,it reached 

its fullest vogue  with the later or    
,greco-,roman architects1 who sacrificed
 much of purity  in art for lavish and  
sightly display4 ,with the ,greeks the  
,corinthian  was sparingly employed1 and
 generally called upon for their smaller
  and less important buildings2 on the  
other hand1 with the ,romans1  enriched 
by additional features and ornamentation
 of their own1 it  became the favorite  
order1 not alone for portico and temple1
 but for  public and private buildings  
of every nature4    ,illustration3      
,three columns          ,,chapter ,,iv4 
,,early ,,grecian ,,architects4      ,in
 the year #edh ,b4,c4 the great temple  
to ,apollo at ,delphi1 the work  of the 
legendary architects ,agamedes and      
,trophonius1 was destroyed by  fire4 ,of
 the four temples to the same deity that
 had been reared upon  the same site1   
this was the first in which marble was  
employed as a  building material4       
,naturally the question will present    
itself1 how  could a temple built of    

marble be destroyed by fire8 ,the answer
 is1  that while the main walls of the  
cell and the columns1 entablatures1     
pediments and other exposed parts of the
 early ,greek temples were built  of    
marble1 stone or sun-dried bricks1 the  
roofs were generally of wood1  and were 
heavily timbered1 sometimes calling for 
great strength to  support marble tiles4
 ,much of the interior building material
 was also  of wood1 as well as the      
statuary with which the earlier temples 
were  lavished and enriched4 ,thus if   
fire was started within the building1   
either by accident or1 as not           
infrequently happened1 by the hand of an
  incendiary1 there was sufficient      
combustible material for it to feed     
upon and to heat the entire structure1  
reducing the otherwise enduring  marble 
to crumbling lime4    ,the temple of    
,apollo having been thus destroyed1 the 
much revered  and highly respected      
,oracle was left without shelter and a  
place of  business4 ,this state of      

things of course could not long be      
allowed to  continue1 and the           
,amphictyons1 a legislative body1 having
 under its  special care the ,delphic   
temple1 at once came to the front and   
ordered  a new temple built at a cost of
 about #cjj1jjj4 ,one-fourth of this sum
  was to be paid by the ,delphians and  
the remaining three-fourths were to  be 
contributed by the other cities of      
,greece and those nations which  were in
 the habit of consulting the ,oracle--a 
very proper distribution  of the        
expense1 considering how extensive and  
widespread was the renown  and          
appreciation of the priestess4 ,amasis1 
,king of ,egypt1 volunteered  a thousand
 talents of alumina1 thus showing what  
his feelings were in  the matter1 and   
the ,alcmonid1 one of the oldest and    
most aristocratic  families of ,athens1 
undertook the contract1 it is hinted1   
mainly for  political reasons4 ,this may
 be true1 as they were much involved in 
local politics1 especially with the     

banishment of ,pisistratus1 the  tyrant1
 and they may have seen an opportunity  
in the rebuilding of  this temple to    
make themselves very popular4 ,they     
certainly went about  it in the right   
way to achieve such a result1 and did   
actually gain  much influence by their  
generosity and the broadminded manner in
 which  they disregarded the strict     
terms of the contract to do handsomer   
and  better work than it called for4    
,one particular illustration of their   
liberality has attracted the attention  
of the historian3 it was the  building  
of the temple in ,parian marble1 instead
 of ,porine stone4 ,while  the ,alcmonid
 were prosecuting the work in this      
generous spirit1 they  did not neglect  
their fallen enemies1 the ,pisistratid1 
and threw out  occasional innuendoes to 
the effect that the ,pisistratid could  
tell  more about the origin of the fire 
that destroyed the late temple than     
they evidently cared to1 thereby        
intimating a crime as against their     

rivals that it might have been difficult
 to have proved4 ,they even won  the    
,oracle to their side by similar simple 
and ingenuous methods1 with  the result 
that ever afterward the ,oracle did not 
hesitate to speak a  kind word for the  
,alcmonid and favor their native city1  
,athens4    ,the architect of this new  
temple was ,spintharus1 a ,corinthian4  
,as  nothing further seems to be known  
of him1 we have been somewhat           
particular to mention the importance of 
this work1 to show that  ,spintharus was
 an artist who stood very high in his   
profession at  the time4 ,but as the    
temple was one of the longest in process
 of  construction1 taking about         
seventy-two years to complete1 it is not
  likely that ,spintharus lived to enjoy
 the full fruition of his work4    ,it  
may be of interest to add that no       
structure of its kind throughout  all   
,greece was made the depository of      
richer or more extensive treasure  than 
this temple to ,apollo at ,delphi1 a    

fact not to be marvelled at  if we do   
not lose sight of the ,oracle4 ,we have 
already seen how it  excited the        
cupidity of the brothers ,agamedes and  
,trophonius4 ,what they  appropriated to
 themselves from the rich vaults of its 
predecessor was1  however1 comparatively
 insignificant to the wholesale         
robberies that  went on from time to    
time of the fifth temple designed by    
,spintharus4  ,herodotus says that the  
wealth of ,delphi was better known to   
the  ,persian ,xerxes than were the     
contents of his own palace1 and that    
after  forcing the pass of ,thermopyl he
 detached a portion of his army to      
capture ,delphi4 ,it failed to do so1   
only through the interposition  of the  
,oracle or some other deity4 ,many years
 afterward the ,phocians  plundered the 
temple of what might be represented by  
#aj1fjj1jjj of our  money4 ,still later 
the ,gauls also made a rich haul1 which 
the ,romans  afterward found in their   
city of ,tolosa unexpended1 probably    

because  there was so much of it2 and   
,nero is said to have taken from it five
  hundred bronze statues at one time4   
,but these robberies fade into          
insignificance when the insult heaped   
upon the ,delphians and their ,oracle by
 ,constantine the ,great is  recalled4  
,this ,roman vandal not only removed the
 sacred ,tripod and  ,brazen ,column    
which supported it1 but degenerated     
their use to the  adornment of the      
hippodrome of the new city he built on  
the ,bosphorus4  ,the ,brazen ,column   
may still be seen in ,constantinople1   
but the sacred  ,tripod has disappeared 
forever4 ,there is a little story       
connected with  a first disappearance of
 the ,tripod that may be worth the      
telling4 ,it  was lost at sea1 but      
afterward recovered by some fishermen4  
,when ,pythia  was asked to decide to   
whom it should be given1 her answer was 
that it  should be bestowed upon the    
wisest man in ,greece4 ,accordingly it  
was  sent to ,thales of ,miletos4 ,he1  

however1 was too modest to retain it1   
and passed it over to ,bias as a wiser  
man2 ,bias was also embarrassed  by the 
selection1 and presented it to another  
of the ,grecian sages2 he  to still     
another1 and so on1 until it had made   
the circuit of pretty  much every person
 in ,greece with any claim at all to    
superior wisdom4  ,finally1 however1 it 
came back once more to ,thales1 who     
successfully  ended its itinerary by    
dedicating it to the ,delphic ,apollo4  
,one of the earliest of the great       
temples to be erected in the ,ionic     
order was that begun in the ,ionian city
 of ,ephesus in ,asiatic ,greece  by    
,ctesiphon1 a ,cretan architect born in 
,cnossus1 and his son1  ,metagenes4     
,this temple was erected to the glory of
 the many-breasted  and mummy-like      
appearing ,artemis1 a goddess peculiar  
to the ,ephesians1  whom the ,greek     
colonists there doubtless inherited from
 the ,asiatic  races that preceded them 
in their ,ionian settlement4 ,there was 

nothing  of the graceful1 virgin-like   
characteristics of ,apollo's sister1 the
  ,arcadian ,artemis1 in this ,ephesian 
goddess1 but the ,ionian ,greeks were   
quite partial to her1 attended her with 
eunuch priests1 and built in  her honor 
this temple1 so grand and magnificent   
that it was regarded as  one of the     
seven wonders of the world4    ,before  
alluding to some of the interesting     
facts that have been  preserved         
concerning the early history of this    
great temple it may  not be out of place
 to touch upon a custom which prevailed 
in ,ephesus  in respect to the          
employment of architects1 which         
,vitruvius relates4  ,he says3 8,in the 
magnificent and spacious ,grecian city  
of ,ephesus an  ancient law was made by 
the ancestors of the inhabitants1 hard  
in its  nature1 but nevertheless        
equitable4 ,when an architect was       
entrusted  with the execution of a      
public work1 an estimate thereof being  
lodged  in the hands of a magistrate1   

his property was held as security until 
the work was finished4 ,if1 when        
finished1 the expense did not exceed    
the estimate1 he was complimented with  
decrees and honors4 ,so when  the excess
 did not amount to more than a fourth   
part of the original  estimate1 it was  
defrayed by the public1 and no          
punishment was  inflicted4 ,but when    
more than one-fourth the estimate was   
exceeded1 he  was required to pay the   
excess out of his own pocket40    ,the  
honest ,vitruvius almost sighs as he    
adds3 8,would to ,god that such  a law  
existed among the ,roman people1 not    
only in respect to their  public1 but   
also of their private buildings1 for    
then the unskilful  could not commit    
their depredations with impunity1 and   
those who were  most skilful in the     
intricacies of the art would follow the 
profession6  ,proprietors would not be  
led into an extravagant expenditure1 so 
as  to cause ruin2 architects           
themselves1 from the dread of           

punishment1  would be more careful in   
their calculations1 and the proprietor  
would  complete his building for that   
sum or a little more1 which he could    
afford to expend4 ,those who can        
conveniently expend a given sum on  any 
work with the pleasing expectation of   
seeing it completed would  cheerfully   
add one-fourth more2 but when they find 
themselves burdened  with the addition  
of half or even more than half of the   
expense  originally contemplated1 losing
 their spirits and sacrificing what has 
already been laid out1 they incline to  
desist from its completion40    ,there  
are1 perhaps1 some people even at the   
present time who can be  found to echo  
these sentiments of ,vitruvius1 and     
exclaim3 ,would to ,god  that such a law
 existed among the ,american people1    
especially in ,new  ,york and ,chicago6 
,theodorus of ,samos1 it will be        
remembered1 laid the foundation of the  
temple to ,artemis of ,ephesus in the   
year #fjj ,b4,c4 ,to guard against the  

destruction of the temple by            
earthquakes1 a marshy site was chosen1  
and ,theodorus insured a firm           
foundation1 by using charcoal1 which was
  rammed down solidly1 and then covered 
with fleeces of wool4 ,ctesiphon  and   
his son did not1 however1 begin the     
superstructure until about  forty years 
later4    ,the dimensions of the        
building were very extensive1 and       
although  the architecture was full of  
grandeur1 grace and beauty were not     
sacrificed4 ,the length was four hundred
 and twenty-five feet2 the  width two   
hundred and twenty feet4 ,one hundred   
and twenty-seven  ,parian marble        
columns1 each sixty feet in height1     
surrounded the cell  in double rows1    
sixteen appearing in the front and rear 
faades1 and  forty each on the sides4   
,herodotus states that most of these    
columns  were presented by the rich     
,crsus1 and some by other kings4 ,the   
cell1  according to some authorities1   
was devoid of a roof1 but ,mr4 ,wood1   

in his 8,discoveries at ,ephesus10      
indicates otherwise4 ,the whole         
edifice1 both exteriorly and interiorly1
 presented great richness and           
elaboration of carving4 ,the shafts of  
the columns in front of the  building   
were carved in relief1 in three broad   
bands1 to nearly half  their height1 and
 those in the rear1 in one band1 to     
about one-quarter  of their height4 ,the
 frieze and pediments were also worked  
out by the  chisel of the sculptor in   
designs of great and imposing beauty4   
,many of the stones used in the building
 were very massive4 ,an idea  of how    
huge some of these blocks were may be   
gathered from the fact  that the        
architrave alone contained pieces of    
marble thirty feet  long1 and that      
,ctesiphon and ,metagenes were forced to
 invent special  machinery and          
contrivances to convey the stones for   
the columns to the  building from the   
quarry eight miles distant4 ,vitruvius  
explains these  contrivances as follows3

 8,he ,ctesiphon made a frame of four   
pieces  of timber1 two of which were    
equal in length to the shafts of the    
columns1 and were held together by the  
two transverse pieces4 ,in each  end of 
the shaft he inserted iron pivots1 whose
 ends were dovetailed  thereinto1 and   
run with lead4 ,the pivots worked in    
gudgeons fastened  to the timber frame1 
whereto were attached oaken shafts4 ,the
 pivots  having a free revolution in the
 gudgeons1 when the oxen were attached  
and drew the frame1 the shafts rolled   
round1 and might have been  conveyed to 
any distance4 ,the shafts having been   
thus transported1 the  entablatures were
 to be removed1 when ,metagenes1 the son
 of ,ctesiphon1  applied the principle  
upon which the shafts had been conveyed 
to  the removal of those also4 ,he      
constructed wheels about twelve feet  in
 diameter1 and fixed the ends of the    
blocks of stone whereof the  entablature
 was composed into them2 pivots and     
gudgeons were then  prepared to receive 

them in the manner just described1 so   
that when the  oxen drew the machine the
 pivots1 turning in the gudgeons1 caused
 the  wheels to revolve1 and thus the   
blocks1 being enclosed like axles in    
the wheels1 were brought to the work    
without delay4 ,an example of this      
species of machine may be seen in the   
rolling stone used for smoothing  the   
walks in palstr4 ,but the method would  
not have been practicable  for any      
considerable distance4 ,from the        
quarries to the temple is a  length of  
not more than eight thousand feet1 and  
the interval is a  plain without any    
declivity4 ,within our own time1 when   
the base of the  colossal statue of     
,apollo in the temple of that god was   
decayed through  age1 to prevent the    
fall and destruction of it1 a contract  
for a base  from the same quarry was    
made with ,ponius4 ,it was twelve feet  
long1  eight feet wide1 and six feet    
high4 ,ponius1 driven to an expedient1  
did not use the same as ,metagenes did1 

but constructed a machine for  the      
purpose by a different application of   
the same principle4 ,he made  two wheels
 about fifteen feet in diameter1 and    
fitted the ends of the  stone into these
 wheels4 ,to connect the two wheels he  
framed into them1  round their          
circumference1 small pieces of two      
inches square1 not more  than one foot  
apart1 each extending from one wheel to 
the other1 and  thus enclosing the      
stone4 ,round these bars a rope was     
coiled1 to which  the traces of the oxen
 were made fast1 and as it was drawn out
 the  stone rolled by means of the      
wheels2 but the machine1 by its constant
  swerving from a direct1               
straightforward path1 stood in need of  
constant  rectification1 so that ,ponius
 was at last without money for the      
completion of his contract40 ,the       
uninitiated who have speculated as  to  
how the ancients succeeded in moving and
 transporting considerable  distances   
such huge blocks of stone1 without the  

assistance of our  modern machinery and 
contrivances1 are given in this         
quotation from  ,vitruvius some hint as 
to the ingenuity and inventive ability  
of the  early architects and builders4  
,the temple1 however1 was slow in       
building1 and ,ctesiphon and ,metagenes1
  after writing a book on their great   
architectural work1 passed away in  due 
course of time4 ,their places were      
filled by other architects1 of  whom    
there is no record1 but ,demetrius1 a   
priest of ,diana1 together  with        
,daphnis and ,peonius1 ,ephesian        
architects1 finally completed  the work 
some two hundred and twenty years after 
it was begun by  ,ctesiphon and his son4
 ,in the course of that long interval1  
,scopas1 an  architectural sculptor of  
,paros1 of whom there will be more to   
relate  as we go on1 contributed one    
column1 which was regarded as so        
beautiful  that it was accepted as a    
model for those that followed4          
,together with its architectural        

glories1 the interior was made a        
depository for many of the finest works 
of the great artists of  antiquity1 and 
,scopas is said to have introduced      
,caryatides here4 ,this  is doubted1 but
 he certainly furnished a very grand    
statue of ,hecate2  and ,praxiteles1    
with his almost equally gifted son1     
adorned the shrine4    ,tradition       
relates that upon the very night that   
the great ,alexander was  born1 the     
,ephesian temple was destroyed by fire1 
through the rapacious  greed for        
notoriety of one ,herostratus4 ,this    
antique fire-bug1 when  put to the      
torture for his crime1 confessed that   
his only object was  to gain immortality
 for his name1 an ambition which he     
succeeded in  accomplishing through the 
stupidity of the states-general of      
,asiatic  ,greece4 ,they decreed that   
the name of ,herostratus should never be
  mentioned1 and of course it always    
was1 as all the contemporary  historians
 felt impelled to record the fact that a

 man by the name of  ,herostratus was   
not to be mentioned1 and to give the    
reasons therefor1  and much more about  
,herostratus which1 had there been no   
decree1 might  have been left unsaid4   
,the result was and has been that a     
crank of  antiquity has lived by name   
for twenty-five hundred years1 and is   
quite  likely to live for as many more4 
,when ,alexander the ,great reached     
maturity1 doubtless feeling the         
depression consequent upon having his   
advent into the world which  he was     
destined to dominate1 associated with   
the destruction of so  magnificent a    
temple to the ,asiatic ,diana1 offered1 
it is said1 to pay  the cost of its     
restoration1 provided--there is         
frequently a proviso  coupled with these
 liberal offers--provided his name      
should be inscribed  on the new edifice4
 ,while the ,ephesians were made glad by
 the offer1  they did not readily fall  
in with the proviso4 ,the cleverness of 
their diplomatic reply1 however1        

appealed to the susceptible side of     
,alexander's human nature1 and effected 
a compromise4 ,they told the            
,macedonian that 8it was not right for a
 god to make offerings to gods40    ,the
 architect for the new temple was the   
great favorite of ,alexander  and his   
fellow-countryman1 ,dinocrates1 who it  
is said rebuilt the  edifice on even a  
more extravagant scale than was the     
first4 ,much of  the marble and         
sculpturing of the old temple entered   
into the new1  and the painters1        
statuaries and sculptors of the time    
again lavished  upon it their best art4 
,the walls were embellished from time to
 time  by ,parrhasius and ,apelles2 and 
,timarete1 the first female artist of   
note of whom there is any record1       
contributed a picture of the honored    
,artemis4 ,it is related that the       
folding doors or gates of this new      
temple were made of cypress that had    
been allowed to season for four         
generations1 and that when the pieces of

 cypress wood were glued  together the  
glue was allowed to remain for four     
years to harden4  ,mutianus1 a ,roman   
architect1 states that when he found    
them1 which was  four hundred years     
afterward1 they were as fresh and       
beautiful as when  new4    ,some remains
 of the splendor of this pagan temple   
are still doing  architectural duty4    
,the great dome of the beautiful        
,byzantine church  of ,santa ,sophia in 
,constantinople1 now a ,turkish mosque1 
is supported  by columns of green       
jasper1 brought from the ,ephesian      
temple by the  ,roman ,emperor          
,justinian1 and two of the pillars in   
the cathedral at  ,pisa are also from   
the same source4    ,there is some      
confusion as to the works of art and    
decorations  associated respectively    
with the two temples just described     
which  it would be vain to attempt to   
clear up1 believing that it matters  but
 little1 inasmuch as it is not likely   
that ,herostratus could have  destroyed 

completely the first temple1 and that   
the services of  ,dinocrates were       
engaged more in the line of making good 
the damage  done than in erecting an    
entirely new edifice4 ,the upper        
colonnades of  ,corinthian columns1     
however1 which ,mr4 ,wood shows as      
appearing in the  interior of the       
temple1 are clearly the work of         
,dinocrates4    ,demetrius1 the priest  
of ,diana1 and his associates1 ,peonius 
and  ,daphnis1 the three architects who 
completed the first ,artemesian  temple1
 having flourished over two hundred     
years after the foundation  of that     
structure was laid1 are not1 of course1 
to be classed among the  earlier of the 
,grecian architects1 and1 properly1     
should not be treated  under this       
heading2 but as they are all grouped    
together in the  erection of another    
great ,asiatic-,greek temple1 and are   
not further met  with1 it may be just as
 well to add what there is in respect to
 them at  this time4    ,the temple     

referred to was that dedicated to       
,apollo in the ,ionian city  of         
,miletus1 not far distant from the scene
 of the joint labors of  these          
architects at ,ephesus4 ,its order was  
also ,ionic1 and although  not as large 
as that to ,artemis1 it could have been 
very little1 if  any1 inferior to it in 
columnar effect and general impressive  
beauty1  if not grandeur4 ,it was three 
hundred and two feet in length by one   
hundred and sixty-four feet in width1   
and1 like the temple at ,ephesus1  was  
surrounded by double rows of columns1   
each column1 however1 being  sixty-three
 feet in height4 ,indeed1 ,strabo1 the  
celebrated ,roman  traveller and        
geographer1 who visited the ruins of the
 temple during  the first century before
 the ,christian era1 testifies that 8it 
is the  greatest of all temples10 and   
adds that it remained without a roof    
8in consequence of its bigness02 but    
this allusion to its roofless  condition
 is probably due to the fact that the   

building was never  wholly completed4   
,pausanias also gives it high praise1   
and speaks of  it as one of the wonders 
of ,ionia1 and ,vitruvius numbers it 8as
 one of  the four temples which had     
raised their architects to the summit of
  renown0#b--;a renown1 it would seem1  
that has been very much begrudged  them1
 as the literature of their time        
furnishes practically no data in  regard
 to them personally1 and what estimate  
can be formed of them is  wholly based  
upon the importance of their works4     
,peonius1 we are told1 was an ,ephesian1
 but as to even the nativity  of the    
other two architects we are in the dark1
 although ,daphnis is  supposed to have 
been a ,miletian4 ,there is also some   
little uncertainty  as to the exact date
 when they exercised their profession1  
but it is  probably safe to say that it 
was sometime within the first half of   
the  fourth century before ,christ4     
,two columns of the great temple to     
,apollo have stood proudly against  the 

attacks of time1 and although scarred by
 their long battles1 are  yet evidencing
 the glories of a structure of which    
they were once but  an insignificant    
part4    ,in the year #eee ,b4,c4 there 
lived four architects1 to whose skill   
was  entrusted the building of a temple 
that should be in all respects  worthy  
to stand for the respect due the        
dignity1 power and extreme  longevity of
 the great ,olympian ,zeus--the king-god
 of the ,greeks4    ,the foundation for 
this shrine was laid in the time of     
,pisistratus1  a tyrant of ,athens1 who 
contributed several architectural works 
to  that city1 but whose several        
banishments greatly interrupted their   
building4 ,this was particularly the    
case with the great temple to ,zeus4    
,however1 it was sufficiently advanced  
for ,pisistratus to dedicate  it before 
he fell from power4 ,it has been stated 
that it was due to  the genuine dislike 
which the ,athenians felt for           
,pisistratus and his  sons1 who         

succeeded him1 that four hundred years  
were allowed to flow  by before the     
temple was finished4 ,this is hardly    
just to a ruler of  great loyalty to his
 native city1 and of unquestioned       
integrity in the  discharge of his      
public duties4 ,it is more probable that
 the delay  was due to the animosity of 
the rival ,athenian family of ,alcmonid1
  who1 piqued by jealousy1 fanned a     
flame of opposition to the works of     
,pisistratus that continued for several 
centuries4    ,antistates1              
,antimachides1 ,calleschros and ,porinus
 were the four  architects engaged by   
,pisistratus1 who1 like their           
professional  brothers employed on the  
temples of ,diana1 ,apollo and ,ceres1  
were1  according to ,vitruvius1 entitled
 to immortality for the grandeur of     
their works1 but about whom there is no 
other information to be given4    ,this 
temple to ,jupiter was not built upon   
the ,acropolis at ,athens1 like  that to
 the patron goddess of the city1        

,minerva1 but upon a raised  peribolos  
within the city below1 and on the site  
of an earlier temple  to the same god1  
erected in the time of ,deucalion1 but  
which had  perished from the ravages of 
ages4    ,it was like most of the early 
,doric temples1 of peripteral           
construction1 or surrounded by columns  
on all four sides4 ,aristotle1  who saw 
it before it was finished1 was so much  
impressed by its size  that he compared 
it to the ,pyramids2 and one of his     
scholars remarked  that 8though         
unfinished1 it called forth             
astonishment1 and when  finished would  
be unexcelled40    ,perseus1 king of    
,macedonia1 and ,antiochus ,epiphanes of
 ,syria 7#agf-afd  ,b4,c47 finally      
finished the cell and placed the        
,corinthian columns of  the portico1    
employing for the purpose a ,roman      
architect of great skill  by the name of
 ,cossutius4 ,it was then1 probably1    
that ,livy made the  remark 8that among 
so many temples this is the only one    

worthy of a  god40    ,sylla1 however1  
when he laid siege to ,athens1 some     
forty years later1  robbed the temple   
most unmercifully1 carrying away with   
him many  of the columns to ,rome4 ,but 
his work of destruction was more than   
compensated for by his successor1       
,hadrian1 two hundred years still       
later1 under the immediate direction of 
the celebrated ,roman architect1  ,luigi
 ,cannia4 ,hadrian1 in his love of great
 architectural effects1 was  inspired to
 beautify the peribolos with a peristyle
 one hundred rods  in length1 and his   
architect contributed a new section to  
the temple  itself1 and added three     
grand vestibules4    ,the sacred        
enclosure1 after ,hadrian had finished  
it1 which had a  circumference of about 
twenty-three hundred feet1 was          
ornamented by  statues1 contributed in  
great numbers by different cities4 ,the 
length  of the temple at this time1     
according to ,stuart1 was1 upon the     
upper  step1 three hundred and          

fifty-four feet1 and its breadth one    
hundred  and seventy-one feet4 ,the     
columns1 which surrounded the cell1 now 
all  ,corinthian1 numbered one hundred  
and twenty-four1 all of ,pentelican     
marble1 of which there are sixteen still
 standing4 ,in the pronaos1 or  inner   
portico1 ,hadrian caused to be placed   
four statues of himself1 two  in        
,thracian and two in ,egyptian marble1  
which were1 perhaps1 three more  than a 
moderately modest man might have felt   
necessary4    ,another gorgeous temple  
to the great ,jupiter was begun about   
five  years later than that at ,athens  
by the architect ,libon1 an ,eleian1 in 
,olympia1 which ,lysias speaks of as    
8the fairest spot in ,greece40 ,in      
,olympia the spiritual and physical     
natures of the ,grecian people may  be  
said to have combined in the perfection 
of development4 ,here the  glories of   
the body1 the capabilities of the finest
 muscular strength  and athletic action1
 were exhibited in gymnasium and        

stadion1 and here  the religious spirit 
of the people arose to the fullest      
intensity1 and  as though doubly        
inspired by the action and strength of  
the perfect  body1 found expression in  
temple and sanctuary4    ,so great was  
the reward1 so enthusiastic the         
reception accorded the  champions in the
 athletic games of ,olympia1 that they  
call forth a  protest from the sensitive
 ,vitruvius1 who seems to feel that the 
honors  conferred upon them should have 
been reserved for the literary lights   
of the time4 8,the ancestors of the     
,greeks10 he complains1 8held the       
celebrated wrestlers who were victors in
 the ,olympic1 ,pythian1 ,isthmian  and 
,nemean games in such esteem that1      
decorated with the palm and  crown1 they
 were not only publicly thanked1 but    
were also1 in their  triumphant return  
to their respective homes1 borne to     
their cities and  countries in          
four-horse chariots1 and were allowed   
pensions for life  from the public      

revenue4 ,when ,i consider these        
circumstances1 ,i cannot  help thinking 
it strange that similar honors1 or even 
greater1 are  not decreed to those      
authors who are of lasting service to   
mankind4  ,such certainly ought to be   
the case2 for the wrestler1 by training1
  merely hardens his own body for the   
conflict2 a writer1 however1 not  only  
cultivates his own mind1 but affords    
every one else the same  opportunity1 by
 laying down precepts for acquiring     
knowledge and  exciting the talents of  
his reader40    ,so attractive was this 
spot on the banks of the ,alpheus in    
,ellis1 in  natural charm1 as well as in
 the purposes for which it was visited1 
that it is here1 as nowhere else in     
,greece1 with the possible exception  of
 the ,acropolis at ,athens1 the ,grecian
 architects lavished their  best skill  
and best illustrated their appreciation 
of the fact1  that the effect of fine   
buildings is greatly augmented by       
grouping  them gracefully together in   

one place1 producing1 as it were1 an    
architectural picture4 8,many objects10 
says ,pausanias1 8may a man see  in     
,greece1 and many things may he hear    
that are worthy of admiration1  but     
above them all the doings at ,eleusis   
and the sights at ,olympia have         
somewhat in them of a soul divine40     
,the worship of ,zeus was an old worship
 in ,olympia1 so that when ,libon  was  
entrusted with authority to erect a new 
temple to that deity1 out  of the spoils
 taken in subjugating the ,pisans and   
other neighboring  cities which had     
revolted from the ,eleans1 he gave free 
reign to his  art1 and produced a ,doric
 temple which rivalled that in ,athens1 
though  not as large4    ,pausanias     
informs us that the ,olympian temple was
 two hundred and  thirty feet long1     
ninety-five feet wide and sixty-eight   
feet high2  that it was surrounded by   
marble columns and covered with marble  
cut  in the form of tiles4 ,the front   
and rear pediments were adorned with    

sculpture1 as well as the metopes of the
 frieze4 ,the interior was of  two      
orders of columns supporting lofty      
galleries1 through which there  was a   
passage to the throne of ,jove          
8glittering with gold and gems40    ,it 
was this temple of ,libon's that became1
 soon after its completion1  the casket 
which held the chef d'uvre of ,phidias1 
the colossal  statue of ,jupiter carved 
in ivory and gold1 of which ,quintilian 
observes that it added a new religious  
feeling to ,greece4 ,the story is  well 
known how ,phidias1 being asked by his  
nephew ,pannus1 a painter1  who assisted
 him in the decoration of the temple1   
how he could have  conceived that air of
 divinity which he had expressed in the 
face  of this noble statue1 replied that
 he had copied it from ,homer's         
description of the god4 ,jupiter was    
presented naked to his waist1  but      
draped from his girdle down4 ,the       
significance of this was that  the great
 ,jove1 knowing himself to be of        

heavenly origin1 thought it  best to    
conceal himself in part only from man4  
,he was also given a  beard for the     
reason that the ,greeks1 clinging to the
 ,oriental notion1  believed that beards
 carried with them an air of majesty2 an
 idea1 by  the way1 which was not shared
 in by the ,romans1 who spoke with      
derision  of their bearded forefathers1 
and permitted the wearing of beards     
only to those who were in disgrace1 and 
to poor philosophers1 who  probably1    
like our poor modern poets1 found a     
visit to the barber's an  unnecessary   
and expensive luxury4    ,rome during   
these early times1 and before she had   
awakened to the  cultivation of the arts
 at home1 was prone to borrow from      
,greece the  talent of which she was in 
need4 ,it was about this time that we   
find  the first record of such a call   
made by ,rome upon her eastern neighbor 
for architects4 ,the demand was answered
 by the two architectural  sculptors    
,damophilus and ,gorgasus1 who were     

imported by the ,dictator  ,posthumius  
to erect two temples in ,rome1 one to   
,castor and ,pollux  or1 as some        
authorities assert1 to ,liber and       
,libera 7,bacchus and  ,proserpine71    
which stood near the ,forum and ,temple 
of ,vesta1 and the  other to ,ceres1 on 
the slope of the ,aventine hill1 near   
the ,circus4  ,these temples were vowed 
by ,posthumius1 in his battle with the  
,latins1  #dif ,b4,c41 and were         
dedicated by ,viscellinus some years    
later4    ,before closing this chapter1 
in which the attempt is made to gather  
together some of the earlier architects 
of ,greece1 it may be as well to        
include within it a number of such      
artists who though not rising to the    
highest fame1 or who were not connected 
with the most elegant buildings  of     
their time1 nevertheless had the good   
fortune to have their names  preserved  
in history4    ,pliny tells a rather    
amusing and interesting account of such 
an  architect by the name of ,bupalus1  

who probably flourished about the  year 
#ebd ,b4,c4 ,he is said to have come    
from a very old family of  artists who  
exercised the art of the statuary from  
the beginning of  the ,olympiads2 but as
 ,pliny simply speaks of him as an      
architect and  artist1 but does not     
mention any building attributed to his  
skill1 he  becomes a subject for notice 
only in connection with the ,iambic poet
  ,hipponax1 whom he used his art to    
torment4 ,pliny relates that ,bupalus   
and his brother ,athenis amused         
themselves by making caricatures of the 
satirical poet4 ,hipponax was           
undersized1 thin and ugly1 and probably1
  like the modern poet ,pope1 suffered  
his physical defects to give him  a     
cynical view of life4 ,the caricatures  
of the playful ,bupalus and  ,athenis   
naturally affected unpleasantly his     
amour propre1 and he  employed the      
weapon at his command1 his ironical pen1
 to strike back at  his tormentors1 with
 the result that he gave them a good pen

 lashing  in a satirical poem1 in which 
he also chastised his ,ionian brethren  
for  what he considered their effeminate
 luxury4 ,in the same poem1 also1  he   
did not spare his own parents1 and it is
 said that he even had the  temerity to 
ridicule the gods4    ,there is1 of     
course1 always some one to start the    
story that a woman is  at the source of 
all the infirmities that any            
particularly conspicuous  man suffers   
from1 and there are those who claim that
 ,bupalus did not  originate the        
trouble1 but that it started through the
 fact that the  architect had a very    
beautiful daughter of whom ,hipponax was
 greatly  enamored4 ,like the earlier   
,iambic poet ,archilochus1 who got into 
a  similar scrape1 the girl's father    
refused to permit his daughter to  marry
 a poor little withered poet1 with the  
result that the poet's life  was ever   
after embittered4 ,how very bitter      
,hipponax became1 especially  against   
the ladies1 is illustrated by a remark  

which is attributed  to him3 8,there    
are10 he said1 8only two happy days in  
the life of a  married man--that in     
which he receives his wife1 and that in 
which he  carries out her corpse40      
,after his death ,leonidas of ,tarentum1
 in an elegant epigram1 warned          
travellers not to pass too near his     
tomb1 lest they rouse the sleeping      
wasp4 ,the grave of ,hipponax1 by the   
way1 instead of being covered with  ivy 
and roses1 like that of a mild poet1 was
 planted with thorns and  thistles4     
,pausanias mentions several of these    
more obscure architects4 ,agnaptus  was 
one1 who built a porch in the ,altis1 or
 wall at ,olympia1 called  afterward by 
the ,eleans the 8porch of ,agnaptus10   
and ,antiphilus1  ,pothus and ,megacles 
were three other waifs on our sea of    
oblivion4  ,they were responsible for   
the ,treasury of the ,carthaginians also
  at ,olympia4 ,pyrrhus1 with his two   
sons1 ,lacrates and ,hermon1 built  the 
,olympian ,treasury of the ,epidamnians4

 ,there were ten of these  ,treasuries1 
by the way1 raised by different states1 
which were not only  architecturally    
very beautiful1 but which contained     
statues and other  offerings of great   
value4    ,strabo mentions an architect 
and sculptor by the name of ,hermocreon1
  who designed a gigantic and beautiful 
altar at ,parium on the ,propontis  in  
,asia ,minor2 and ,eurycles1 a ,spartan 
architect1 who built the baths  at      
,corinth1 and 8adorned them with        
beautiful marbles10 must not be         
overlooked1 although he may have been of
 a much later date4      ,,footnotes3   
#b ,the other three temples which       
,vitruvius praised thus highly were     
those to ,diana at ,ephesus1 ,jupiter   
,olympus at ,athens1 and ,ceres at      
,eleusis4          ,,chapter ,v4        
,,the ,,architectural ,,epoch ,,of      
,,pericles4      ,the age of ,pericles  
was so distinctively an era in the      
advancement of  the arts1 especially    
architecture1 not alone in the city     

where ,athene  shed her divine          
intelligence and tutelary influence with
 generous  favor1 but throughout all the
 ,hellenic states1 and has left so many 
models and criterions for the architects
 of all time to follow1 that a  few     
words in reference to ,pericles himself 
and the sculptor ,phidias1  into whose  
hands he entrusted the direction of his 
public buildings  and the adornment of  
,athens1 may be admissible1 before we   
consider  the architectural geniuses who
 sprung forward to meet the great       
requirements of the time4    ,pericles  
was a descendant of that noble and      
refined1 if sometimes  unfortunate1     
house of ,alcmonid1 which did so much   
for the ,delphic  temple of ,apollo1 and
 a son of ,xanthippus1 the victor of    
,mycale1  and ,agariste1 niece of       
,cleisthenes1 founder of the later      
,athenian  constitution4 ,the date of   
his birth is not known1 but that he     
early  evinced a leaning toward the fine
 arts and philosophy is recorded4       

,under ,pythocleides he studied music1  
under ,damon political science1  under  
,zeno philosophy2 but it remained for   
the erudite ,anaxagoras to  give the    
final burnish to his character and      
thought4 ,he was therefore1  both by    
birth and disposition1 as well as       
cultivation1 possessed of  a mind       
singularly comprehensive in its grasp of
 the advantages which  the arts of peace
 could contribute to the progress of his
 people1 and  naturally turned his      
attention to their exploitation and     
development1  when he became dominant in
 the year #ddd ,b4,c4 ,his rule of peace
 lasted  but thirteen years1 or until   
the breaking out of the ,peloponnesian  
war1  but was crowded with numerous     
artistic and architectural triumphs4    
,that he may have gone a step too far in
 the encouragement of pleasure  and the 
peaceful virtues among a people of      
warlike antecedents and a  future before
 them of foreordained defence and       
conquest1 if not final  defeat1 may be a

 subject for speculation2 but that he   
gave an impetus  to literature and art1 
and by the fervent warmth of his        
patronage  fostered the growth of genius
 in a way that had not been equalled    
before his time1 and which has never    
been excelled since1 is the  principal  
reason1 doubtless1 for his immortality4 
,his head was abnormally long1 a defect 
which the artists of his  time          
invariably corrected with a helmet when 
painting or sculpturing  his portrait1  
and the contemporaneous comic poets and 
satirists as  continually ridiculed in  
verse and jest4 ,speaking of his        
eloquence  and powers of persuasion1    
,thucydides relates a pleasant story in 
respect to his dexterity in this regard4
 ,when ,archidamus1 king of the         
,lacedmonians1 asked ,thucydides whether
 he or ,pericles was the better         
wrestler1 he replied3 8,when ,i have    
thrown him and given him a fair  fall1  
he1 by persisting that he had no fall1  
gets the better of me1 and  makes the   

bystanders1 in spite of their own eyes1 
believe him40 ,but in  other respects   
his physique was well proportioned and  
his bearing noble  and commanding4 ,his 
manner was dignified and reserved1 his  
eloquence  strong1 fearless and         
convincing1 and his general appearance  
such as to  inspire the people to       
compliment him with the name 8,olympian 
,zeus10  a character in which his       
portrait was also painted by his        
favorite1  ,phidias4    ,an ,english    
writer well says that the age of        
,pericles was 8the milky  way of great  
men10 for it was certainly clouded to   
whiteness with  intellectual stars4 ,the
 names associated with this era are not 
only  among the most celebrated in all  
,grecian history1 but among the most    
renowned that have sprung forward in the
 history of all the world4  ,poets1     
philosophers1 dramatists1 musicians1    
sculptors1 painters1  architects1 not   
only arose in great numbers under his   
fostering  encouragement1 but to the    

highest eminence in their respective    
avocations4 ,in fact1 it seems as though
 the human plant that had  long been    
growing1 strengthening and broadening   
upon ,hellenic soil  had suddenly sprung
 into the fullest flower and enveloped  
itself in  intellectual beauty4    ,the 
,athens which we so frequently see      
pictured in all her restored            
architectural grace and grandeur1 the   
,athens which from her ,acropolis  of   
chiselled white so proudly surveys the  
gean sea and surrounding  plains1 is the
 ,athens of ,pericles1 noblest of all   
cities in the  pursuits of virtue1 of   
beauty and contentment1 and in the pure 
realization of that happiness which the 
practice of the arts alone can  afford4 
,the budding of ,athenian architectural 
magnificence may be said to have  begun 
under ,themistocles and ,cimon1 the     
immediate predecessors of  ,pericles1   
but not to have ripened and flowered in 
its perfection until  his advent into   
power4 ,then it was that the task of    

building a city in  every way worthy of 
the people who had proved their prowess 
before the  ,persian hosts in war1 and  
who in peace could delight in the       
musical  poems of ,homer1 was pushed to 
a speedy realization with enthusiasm4   
,nothing in all the biography of        
,pericles has contributed so greatly  to
 the perpetuity of his fame as this     
attention which he gave to the          
development of the architectural        
magnificence of ,athens4 8,that which   
gave most pleasure and ornament to the  
city of ,athens10 says ,plutarch1  8and 
the greatest admiration and even        
astonishment to all strangers1  and that
 which now is ,greece's only evidence   
that the power she  boasts of and her   
ancient wealth are no romance or idle   
story1 was  his construction of the     
public and sacred buildings4 ,the       
materials  were stone1 brass1 ivory1    
gold1 ebony and cypress-wood2 the       
artisans  that wrought and fashioned    
them were smiths and carpenters1        

moulders1  founders and braziers1       
stone-cutters1 dyers1 goldsmiths1       
ivory-workers1  painters1 embroiderers1 
turners2 those again that conveyed them 
to  the town for use1 merchants and     
mariners and ship-masters by sea2  and  
by land1 cartwrights1 cattle breeders1  
wagoners1 rope-makers1  flax-workers1   
shoemakers and leather-dressers1        
road-makers1 miners4  ,and every trade  
in the same nature1 as a captain in an  
army has his  particular company of     
soldiers under him1 had its own hired   
company of  journeymen and laborers     
belonging to it banded together as in   
array1  to be1 as it were1 the          
instrument and body for the performance 
of the  service4 ,thus1 to say all in a 
word1 the occasions and services of     
these public works distributed plenty   
through every age and condition40       
8,architecture10 says ,robert ,adam1 8in
 a particular manner depends upon  the  
patronage of the great1 as they alone   
are able to execute what  the architect 

plans40 ,this being so1 the architects  
of his time had  in ,pericles a patron  
in every way worthy their best efforts4 
,indeed1  so ambitious was he to grace  
the city of his nativity with all the   
beauties of architecture that his       
enemies found here a pretext for        
censure1 and complained that he spent   
too much of the public treasure  for    
such a purpose4 ,he met the criticism1  
however1 with the argument  that those  
who pursued the arts of war should not  
be the only ones  to receive support at 
the expense of the state1 but that those
 who  possessed the skill and industry  
of true artists and artisans were  quite
 as much entitled to public             
encouragement and support as the        
soldier4    ,this answer for a time     
appeased the clamor of the opposition1  
which  had been set up against what they
 would lead the people to believe was   
extravagance and wastefulness on the    
part of ,pericles4 ,but it soon  broke  
out again4 ,when finally it became no   

longer bearable1 ,pericles  addressed   
his accusers and said3 8,if you think   
that ,i have expended  too much let the 
money be charged to my account1 not     
yours1 only let  the new edifices be    
inscribed with my name and not that of  
the people  of ,athens40 ,it is to the  
credit of the ,athenians that their     
pride was  touched by the words of their
 ruler and their cupidity restrained4   
,they at once replied that ,pericles    
might spend as much of their money  as  
he pleased1 and they even went further1 
and insisted that he should  not spare  
the public treasury in the least4 ,like 
all great men1  ,pericles was assailed  
in a variety of ways4 ,when his enemies 
did not  accomplish their purpose in    
bringing him to public disgrace by one  
method of assault1 they tried another4  
,we have seen how they failed in  one   
instance2 another was similar in        
accusing him1 in complicity with        
,phidias1 of appropriating to his own   
use the public treasure1 donated  to pay

 for the golden plates on the           
chryselephantine statues of the         
latter's creation4 ,but this charge also
 not proving successful1 they  attacked 
his religious character1 strange as it  
may appear1 when it is  remembered how  
deeply he was interested in erecting    
temples of pagan  worship4 ,but he      
survived the slanders of his time and   
continued his  aims and purposes in     
life1 content1 doubtless1 that posterity
 should  judge him aright1 as did the   
majority of the people of his own time4 
,his last words are perhaps the best    
epitome of his life's work3 8,no        
,athenian ever put on black through me40
    ,teleclides has put into verse the  
great surrender which the ,athenian     
people appeared finally to make to      
,pericles of their rights in peace  and 
war3        8,the tribute of the cities1
 and1 with them1 the cities too1        
,to do with them as he pleases1 and     
undo2       ,to build up1 if he likes1  
stone walls around a town2       ,and1  

again1 if so he likes1 to pull them     
down2       ,their treaties and         
alliances1 power1 empire1 peace and war1
       ,their wealth and their success  
forevermore40    ,as already stated1 in 
no branch of the arts did the age of    
,pericles  make a deeper and more       
lasting impression than in that of      
architecture4  ,although the ,doric     
order was employed many hundred years   
before his  time1 and the ,ionic        
scarcely less many1 yet the finest types
 of each  and the examples of these     
orders which stand for their most       
perfect and  artistic development are to
 be found in the ,acropolis at ,athens  
in the  time of ,pericles1 the          
,parthenon serving as the criterion of  
one and the  ,erechtheum as the model of
 the other4 ,that these orders should   
have  been brought to such perfection   
and endowed with their crowning dignity 
and grace1 must alone prove without     
further argument1 if need be1 that  the 
architectural talent and artistic sense 

of the age was incomparable4    ,the    
part which the great sculptor ,phidias  
played in the art drama of  his time has
 been already alluded to1 but not       
sufficiently1 perhaps1 to  exclude a    
further reference to him4    ,the       
comparison has often been made between  
,phidias and the talented  revivalist of
 the fifteenth century1 ,michael        
,angelo1 and a casual  consideration of 
the two eminent artists would indicate  
that it was a  proper one4 ,they were   
both sculptors1 both painters1 both     
engravers  7,phidias of gems71 but they 
were not both architects1 as is         
erroneously  assumed4 ,as to the        
respective degrees of talent which each 
manifested  toward the branches of art  
which he professed1 they also differed  
widely4 ,in sculpture the school of     
,michael ,angelo will not outlive that  
of ,phidias1 but in painting1 especially
 in its application to mural            
decoration1 the ,greek must bow to the  
,italian4 ,in architecture also         

,phidias possessed none of the technical
 knowledge and skill which in  ,michael 
,angelo enabled him to suspend the great
 dome of ,st4 ,peter's  8as if in the   
air10 and which was so important a      
factor in his long  artistic career1    
manifested in other ways as well1 and   
gaining for him  perpetual applause4    
,however1 the two artists may be well   
compared1  inasmuch that they both      
created epochs of their own2 and both   
excelled  in exhibiting a noble         
understanding as to the high and exalted
  possibilities of art that has never   
been equalled4    ,phidias's            
comprehensive grasp of broad artistic   
effects had as much  to do1 probably1   
with gaining for him the favor of       
,pericles as his  technical skill4      
,quintilian calls him the 8,sculptor of 
the gods40  ,he realized the greatness  
of large things and could calculate     
their  power in influencing the         
imagination and understanding4 ,he was  
once  invited1 together with his        

contemporary artist1 ,alcamenes1 to     
design a  statue of ,minerva1 destined  
to be placed upon a high column4 ,when  
both  statues were finished and         
exhibited1 that made by ,alcamenes was  
at once  preferred on account of its    
elegance of finish1 while that by       
,phidias  was rejected as being rough   
and crude4 ,phidias1 however1 insisted  
that each should be shown from the high 
pinnacle upon which it might  ultimately
 be placed4 ,when this was done all the 
elegant graces of  the statue of        
,alcamenes were lost to sight1 as well  
also the apparent  roughness of that by 
,phidias1 which now took on the perfect 
proportions  he had foreseen4 ,this     
story will serve to illustrate the      
breadth of his  artistic discernment4   
,of all the artists of his time1        
,phidias was by far the best gifted to  
have placed in his hands1 by ,pericles1 
the supervision of the public  buildings
 of ,athens1 and to have entrusted to   
his discretion and  judgment the        

planning1 posing and arranging of the   
grand architectural  mise en scne1 which
 his patron had determined should be set
 there4  ,if ,phidias did not draw the  
actual plans of a building or other     
structure1 his judgment could indicate  
its order1 its location and such  other 
characteristics it should possess to    
harmonize with the features  with which 
it was to be associated4 ,he could group
 the majestic masonry  of his time in   
grand display1 could beautify it with   
his own chisel1  and could form and     
mould the complete architectural        
picture4 ,if he was  not the architect  
of the ,parthenon1 he at least enhanced 
its effect  with the magnificence of his
 sculpturings and designs in the metopes
  of the frieze and the tympanums of the
 pediments1 some of which are  still to 
be seen among the 8,elgin marbles0 in   
the ,british ,museum1  of which ,canova 
remarked they would alone compensate for
 a visit to  ,england4 ,it is not       
improbable1 also1 that he may have      

suggested the  ,caryatides of the       
,erechtheum1 and proved to the          
,egyptians1 from whom  the architectural
 idea was borrowed1 how far more        
beautifully and  gracefully such figures
 could be carved in ,athens than on the 
banks of  the ,nile4    ,there can be no
 doubt as to the value of statuary1     
which was the  special province of      
,phidias1 in enhancing the ensemble of  
,grecian  architectural grouping1 and   
particularly valuable was the colossal  
figure of ,minerva ,promachus in        
contributing to the grandiose effect of 
the ,athenian ,acropolis4 ,this noble   
work of ,phidias was seventy feet  high 
and made entirely of bronze1 said to    
have been taken from the  ,medes1 who   
disembarked at ,marathon4 ,the colossal 
goddess stood exposed1  and in a        
position where1 in looking far away over
 the gean sea1 she  might be an         
inspiration to the returning ,athenian  
mariner1 and where1  in glancing from   
her lofty eminence1 8she seemed1 by her 

attitude and  her accoutrements1 to     
promise protection to the city beneath  
her1 and  to bid defiance to her        
enemies40    ,another architectural     
statue1 if it may be called such1 was   
that of  the same goddess1 in gold and  
ivory1 which dominated the interior of  
the ,parthenon4 ,this work of ,phidias1 
second only in beauty and size  to the  
chryselephantine statue of ,jupiter at  
,olympia1 is said to  have cost         
#dfe1jjj4 ,the figure of ,minerva was   
forty feet in height1  and was presented
 standing in a tunic which reached to   
her feet4 ,a  casque covered her head1  
her right hand held a spear1 and her    
left a  figure of ,victory4 ,the        
exquisite workmanship of the carving on 
the  buckler resting at the feet of the 
deity came near involving ,pericles  and
 ,phidias in another web of trouble1 for
 it was asserted that the  sculptor had 
introduced his own portrait and that of 
his patron among  the combatants of a   
battle between the ,athenians and       

,amazons1 there  portrayed4 ,the        
captious objection was set up that such 
a liberty was  insulting to ,athene4    
,phidias1 as related by some writers1   
was cast  into prison for this act of   
impiety1 and died there4 ,others claim1 
however1 that this was not so1 but that 
,phidias1 before sentence could  be     
passed1 fled to ,elis1 where he at once 
entered upon the work of  modelling the 
great statue of the ,olympian ,jupiter4 
,in respect to both statues1 he was     
implicated with ,pericles1 as accused   
by his enemies1 with pilfering the gold 
donated for their construction4  ,these 
various accusations have led to         
considerable confusion in respect  to   
much of his personal history and final  
end1 and although it was  proved by     
removing the gold plates and weighing   
them1 that he was not  guilty of the    
alleged crime1 it is very probable that 
his death was as  much due to           
disappointed hopes and mortification    
consequent upon the  false charge as it 

was to any public executioner of the    
time4          ,,chapter ,,vi4    ,,the 
,,architects ,,of ,,the ,,age ,,of      
,,pericles4      ,it is not the         
intention1 in recalling some of the more
 conspicuous  architects who flourished 
in the time of ,pericles1 to confine    
them to  those only who were directly in
 his employ1 but to group together all  
who became prominent factors in the     
architectural development of that  age1 
both for some years before and after    
,pericles's reign of power4    ,to have 
carried forward the many important works
 which the great leader  instituted1 and
 which were advanced with a precision   
and rapidity  remarkable for that or any
 other time1 considering their size and 
importance1 the skill and services of   
many architects were brought  naturally 
into requisition4 ,as a result we have  
the record of an  unusually large number
 of such artists1 and in respect to a   
few some  little specific data relating 
to their lives4 ,the architects1        

however1  of many of the most important 
works are unknown4    ,if we approach   
,athens1 like the ,attic mariner of old1
 through the  ,pirus1 one of its sea    
gates1 we are attracted at once to the  
beautiful  architectural display which  
this seaport town1 some five or six     
miles distant from the ,grecian         
metropolis1 presents4 ,the entrance to  
the harbor was ornamented with two      
lions1 and the harbor-basin was  fringed
 with magnificent colonnades and        
porticos1 which disguised the           
warehouses and bazaars4 ,within the town
 were numerous temples1 two  theatres   
and other buildings of artistic effect  
and merit4    ,the road to ,athens lay  
between massive fortified walls having a
 width  of fifteen feet at the top1 and 
built to a height of sixty feet4 ,they  
were known as the 8,long ,walls10 and   
they enclosed a space about the  ,pirus1
 said by ,thucydides to have been not   
less than one hundred and  twenty-four  
stadia in circumference1 or about       

fifteen miles4    ,it is only just to   
state that the walls which led from     
,athens to  ,pirus1 as well as those    
which connected it with the other sea   
gates  of ,munychia and ,phalerus1 were 
originally planned and partly executed  
under ,themistocles and ,cimon4         
,themistocles intended to construct     
these  walls to a height of one hundred 
and twenty feet2 but ,pericles deemed   
this entirely unnecessary1 and cut the  
height in two1 as we have seen4  ,he    
also added a third wall between that    
running to the north of the  ,piran     
fortifications and that reaching to the 
,phalerum4 ,socrates  speaks of having  
heard ,pericles mention this wall to the
 people4    ,the architects for much of 
this massive mural work were ,hippodamus
  and ,callicrates1 and because         
,pericles did not hurry them to the same
  extent that he hurried others engaged 
in perhaps less important1 if  more     
decorative1 undertakings1 ,cratinus1 the
 satirist1 ridiculed the  slowness of   

the work1 while aiming a sly shaft of   
irony at ,pericles's  oratorical gifts3 
8,stones upon stones the orator has     
pil'd       ,with swelling words1 but   
words will build no walls40             
,hippodamus was one of the geniuses of  
his day1 and has been called  the 8,wren
 of his age40 ,perhaps it would be more 
fitting to speak of  ,sir ,christopher  
,wren as the ,hippodamus of his time1   
inasmuch as the  architectural          
achievements of the ,greek were on a    
much more magnificent  scale than those 
of the ,englishman4 ,among some of the  
conspicuous works  credited to him was  
the grand ,athenian ,agora1 or ,forum1  
which was made  up of a rich assemblage 
of colonnades1 temples1 altars and      
statues1 all  taking his name as the    
,hippodama4 ,but whether he is to be    
credited  with being more especially a  
civil engineer than an architect may be 
inferred from his work at the ,pirus and
 in laying out entire cities4    ,he was
 called the 8,excentric ,architect0     

doubtless because he mingled  with the  
practice of his profession a desire to  
be considered as  thoroughly versed in  
all the physical sciences1 a personal   
affectation  which caused him to be     
ranked among the sophists4 ,it is       
claimed that it  was against ,hippodamus
 that ,aristophanes aimed much of his   
wit4    ,hippodamus was the son of      
,euryphon of ,miletus1 one of the most  
famous  of the ,greek physicians and    
among the first to have knowledge of the
  difference between the veins and      
arteries1 and the uses of each4 ,as  to 
his early education and advantages we   
are not informed1 he being  referred to 
by early writers only in a professional 
way4    ,besides his employment upon the
 8,long ,walls10 the ,agora and other   
edifices1 ,pericles engaged his talents1
 as we have intimated1 in laying  out   
the port of ,pirus1 which he did1 with  
broad streets and avenues  intersecting 
each other at right angles across the   
city4 ,this plan of  street construction

 he also introduced in other cities of  
,greece and  her colonies with which he 
had to do1 especially at ,thur on the   
site  of the ancient ,sybaris1 which he 
visited with the ,athenian colonists1   
and later at ,rhodes4 ,this             
last-mentioned city1 which in the age of
  ,pericles was one of the most         
beautiful1 regular and prosperous of the
  times1 was almost wholly the work of  
,hippodamus4    ,callicrates1 who       
assisted ,hippodamus with the 8,long    
,walls10 was also an  associate of      
,ictinus1 perhaps the greatest architect
 of his time1 in  the building of the   
,parthenon on the ,athenian ,acropolis4 
,the architect  ,callicrates should not 
be mistaken for the ,lacedmonian        
sculptor of  the same name who achieved 
great celebrity for his skill in carving
  the most minute objects1 and of whom  
it is related that he made ants  and    
other insects in ivory which were so    
very small that their limbs  could not  
be distinguished by the naked eye4 ,this

 seems all the more  remarkable when it 
is remembered that the ancients had no  
magnifying  glasses4    ,a walk of five 
or six miles under the shadows of the   
tall walls of  ,hippodamus and          
,callicrates to view the greater        
architectural glories  of the city of   
,athens in the time of ,pericles will   
doubtless repay us4  ,while this queen  
city of the ancient world is enrobed in 
many triumphs  of the builder's art1 we 
will probably pass them all by for the  
time  being to examine more carefully   
the gems that stand forth from the      
,acropolis1 glittering under the blue   
,grecian sky like white jewels in  the  
proud city's coronet4    ,this          
magnificent citadel1 protected by       
,pelasgian walls and dedicated  to the  
pagan deity ,minerva1 could be entered  
but upon one side1 the  western1 where  
the massive gate or vestibule of the    
,propyla occupied  the centre4          
,fragments of this great gate still give
 evidence to the  modern traveller of   

its former stately splendor4    8,here10
 says ,bishop ,wordsworth1 8above all   
places at ,athens1 the mind  of the     
traveller enjoys an exquisite pleasure4 
,it seems as if this  portal had been   
spared in order that our imagination    
might send through  it1 as through a    
triumphal arch1 all the glories of      
,athenian antiquity  in visible parade4 
,it was this particular point in the    
localities of  ,athens which was most   
admired by the ,athenians themselves2   
nor is  this surprising2 let us conceive
 such a restitution of this fabric  as  
its surviving fragments will            
suggest--let us imagine it restored  to 
its pristine beauty--let it rise once   
more in the full dignity of  its        
youthful nature--let all its            
architectural decorations be fresh  and 
perfect--let their mouldings be again   
brilliant with their glowing  tints of  
red and blue--let the coffers of its    
soffits be again spangled  with stars1  
and the marble ant be fringed over as   

they were once with  delicate embroidery
 of ivy-leaf 444 and then let the bronze
 valves of  these five gates of the     
,propyla be suddenly flung open and all 
the  splendors of the interior of the   
,acropolis burst upon the view40    ,if 
this imaginative restoration of the     
sublimities of the ,propyla  is not     
sufficient to excite some interest in   
the building and the  slave-born        
architect who was its creator1 let the  
glowing words of  ,symonds be added1    
which refer not only to the grand       
vestibule itself1  but to the           
,panathenaic processions which were wont
 to pass its gates4    8,musing thus    
upon the staircase of the ,propyla we   
may say with truth  that all our modern 
art is but as child's play to that of   
the ,greeks4  ,very soul-subduing is the
 gloom of a cathedral like the ,milanese
 ,duomo  when the incense rises in blue 
clouds athwart the bands of sunlight    
falling from the dome1 and the crying of
 choirs upborne on the wings  of organ  

music fills the whole vast space with a 
mystery of melody4  ,yet such ceremonial
 pomps as this are but as dreams and    
shapes of  visions when compared with   
the clearly defined splendors of a      
,greek  procession through marble       
peristyles in open air beneath the sun  
and  sky4 ,that spectacle combined the  
harmonies of perfect human forms in     
movement with the divine shapes of      
statues1 the radiance of carefully      
selected vestments with hues inwrought  
upon pure marble4 ,the rhythms  and     
melodies of the ,doric mood were        
sympathetic to the proportions of  the  
,doric colonnades4 ,the grove of pillars
 through which the pageant  passed grew 
from the living rocks into shapes of    
beauty1 fulfilling by  the inbreathed   
spirit of man nature's blind yearning   
after absolute  completion4 ,the sun    
itself1 not thwarted by artificial gloom
 or tricked  with alien colors of       
stained glass1 was made to minister in  
all his  strength to a pomp the pride of

 which was a display of form in manifold
  magnificence4 ,the ritual of the      
,greeks was the ritual of a race at one 
with nature1 glorying in its affiliation
 to the mighty mother of all  life1 and 
striving to add by human art the coping 
stone and final touch  to her           
achievement40    ,the ,propyla stretched
 in all about one hundred and seventy   
feet across  the western side of the    
citadel1 and was entirely built of      
,pentelic  marble4 ,in the centre was a 
portico sixty feet broad of six fluted  
,doric columns1 each column thirty feet 
in height1 and all supporting  a noble  
pediment4 ,from this portico projected  
on either side a wing1  entered through 
three ,ionic columns4 ,six ,ionic       
columns assisted in  supporting the roof
 of the vestibule4 ,the marble beams of 
this roof  were from seventeen to       
twenty-two feet in length and           
correspondingly  solid4 ,the ceiling was
 richly carved and ornamented4          
,immediately in the  rear of the ,ionic 

columns and at the end facing the       
,acropolis stood  the terminal wall1    
with its five bronze gates1 the centre  
one1 which  was the largest1 being      
sufficiently broad to allow the passage 
of a  chariot or other such vehicle4    
,beyond this wall and its gates was the 
posticum1 adding eighteen feet to the   
depth of forty-three feet which  the    
building otherwise possessed4 ,the      
temple of the 8,wingless ,victory10  and
 the 8,painted ,chamber10 containing the
 finest works of the painter            
,polygnotus1 as they have been named1   
formed the wings1 which presented       
unbroken walls to the front1 relieved   
only by the four ,ionic columns  that   
supported the graceful entablature and  
pediment of the temple of  ,nik ,apteros
 on the right4    ,as the building was  
begun in the year #dcg ,b4,c41 and was  
entirely  completed within a period of  
five years1 and was one of the most     
imposing structures of its day1         
,pausanias is led to reflect that1 8in  

felicity of execution and in boldness   
and originality of design1 it  rivalled 
the ,parthenon40 ,lbke's comment on the 
structure is3 8,thus in  this building  
the idea of fortress-like defence1 as   
well as festive  welcome1 was equally   
expressed4 ,especially admirable1       
however1 was  the rich ceiling of the   
great three-naved court1 both on account
 of  the bold span of its beams and the 
magnificent decoration of the  spaces   
between them 7the coffers71 which were  
brilliant with gold  and colors4#c ,the 
,ionic form of the columns in the       
interior also  corresponded with this   
festive1 cheerful character2 while the  
two rows  of columns on the outside1    
together with the rest of the exterior  
of  the building1 exhibited the         
seriousness and dignity of the ,doric   
style40    ,thus has much been quoted in
 description and eulogy of this noble   
piece  of architecture2 would that as   
much might be quoted in respect to the  
talents and career of its gifted        

designer1 but of him there is only the  
shadow of comment1 from which it is     
possible to weave but the faintest      
fabric of certainty concerning his life4
    ,his name was ,mnesicles1 and we are
 told that he was a slave born in  the  
household of ,pericles4 ,that he should 
have been chosen to create  so important
 an architectural work speaks for the   
privilege which the  humblest born might
 hope to attain in rising to positions  
of trust and  prominence in the days of 
that great leader4 ,mnesicles early     
manifested  an aptitude for             
architecture1 and was permitted by his  
illustrious  patron and owner to        
exercise his talent in the erection of  
buildings  of inferior consequence      
before being entrusted with more        
ambitious  works4 ,the ,propyla was not 
the only work of magnitude upon which   
he was engaged1 nor was it the most     
beautiful1 in the judgment of some      
critics1 although the most important1   
for he was the architect as well  of the

 graceful ,doric temple of ,theseus1    
which has always been regarded  as one  
of the finest architectural conceptions 
the ancient city of  ,athens possessed4 
,illustration3 ,,the ,,fall ,,of        
,,mnesicles ,,from ,,the ,,propyl,a4    
,an incident in his life which awakened 
the affectionate interest of  ,pericles 
and the solicitude of the goddess       
,athene1 whom he was serving  so well1  
is told by ,plutarch and other early    
biographers4 ,it is in  effect that     
while inspecting the almost completed   
work of the ,propyla  he fell from the  
summit of the pediment and was most     
severely injured4  ,he was taken at once
 to the house of ,pericles1 where he    
received the  personal attention of the 
great ruler4 ,it was while he lay at    
death's  door that it is said ,minerva  
appeared to ,pericles in a dream1 and   
told  him to administer to ,mnesicles a 
medicine distilled from the wall-plant  
pellitory4 ,this was done1 and the life 
of the architect was spared4  ,the only 

other fact associated with the life of  
,mnesicles which has  been preserved to 
us is one mentioned by ,pliny to the    
effect that the  sculptor ,stipax of    
,cyprus made a statue of the architect  
which became  very celebrated in its    
time1 and which was called              
,splanchnoptes4  ,it was given this name
 because it represented a person        
roasting the  entrails of the victim at 
a sacrifice1 at the same time blowing   
the  fire with his breath4 ,there is    
nothing suggestive of the architect in  
question or his profession1 but it is   
supposed to have been a statue  of      
,mnesicles1 from the fact that ,pliny   
speaks of the subject as having  been a 
slave of ,pericles1 who was cured of the
 wounds received in a  fall from the    
,propyla by an herb which ,minerva had  
suggested should be  given as a         
medicine4 ,it is unfortunate that the   
statue has not survived  to give us some
 idea of the features of at least one of
 the great  architects of antiquity4    

,some recent discoveries on the         
,acropolis have1  however1 brought forth
 fragments which are supposed to have   
been parts  of the base4    ,if there is
 any one of the ,greek architects of the
 time of ,pericles  who can be said to  
have secured for himself a degree of    
popular  notoriety throughout subsequent
 ages it is the accomplished ,ictinus1  
the chief architect of the ,parthenon   
and the designer of at least two  other 
conspicuously beautiful buildings of    
which we know--namely1 the  temple of   
,apollo ,epicurus1 near ,phigalia in    
,arcadia1 and the temple of  ,ceres and 
,proserpine at ,eleusis4 ,it is1 no     
doubt1 due1 however1 to his  connection 
with the ,parthenon that his fame has so
 long endured4    ,as already stated1   
,callicrates assisted in the building of
 the  ,parthenon1 and ,phidias          
contributed the designs for the relief  
carvings  in the pediments and metopes1 
executing much of the work with his own 
hands4 ,although ,vitruvius says that   

8both ,ictinus and ,callicrates  exerted
 all their powers to make this temple   
worthy of the goddess who  presided over
 the arts10 it is not likely that       
,callicrates's share in  the work was   
equal to that of ,ictinus1 but was      
confined more to the  heavy masonry1 and
 in offering to ,ictinus such advice as 
he might seek  in giving to the building
 the greatest substantiality and        
permanency4    ,the ,parthenon1 which1  
among the several masterpieces of the   
,acropolis1  must be acknowledged the   
greatest1 stood upon a rocky elevation  
in the  citadel1 which so far elevated  
the structure as to bring the pavement  
of the peristyle upon a level with the  
capitals of the columns of the  eastern 
portico of the ,propyla4 ,this was the  
same site which had been  occupied      
formerly by an earlier temple to        
,minerva1 known among the  ,athenians as
 the ,hecatompedon on account of its    
proportions4    ,the ,parthenon of      
,ictinus is said to have cost one       

thousand talents1 or  what would be     
equal to about #a1ajj1jjj of our money4 
,it was begun the  year #dbb ,b4,c41 and
 completed at the expiration of sixteen 
years4 ,it  conformed to the usual shape
 of the ,greek temples1 being           
rectangular  and peripteral4 ,the length
 from east to west was two hundred and  
twenty-seven feet and seven inches1 the 
width a little over one  hundred and one
 feet4 ,the ,doric order was employed   
for the exterior1  the columns which    
surrounded the cell on all sides being  
thirty-four  feet in height1 with a     
diameter of six feet at the base4 ,there
 were  forty-six of these columns1      
springing directly from the stylobate or
  steps1 all fluted with twenty         
channels1 and each carrying its share of
  a very beautiful entablature4 ,the    
gables or pediments at each end of  the 
temple were of flat pitch4 ,the total   
height of the building from  the steps  
to the top of the gables was sixty-four 
feet4 ,white marble  from ,mount        

,pentelicum1 8wrought10 as ,mr4         
,kinnaird expresses it1 8with  the      
exquisite finish of a cameo10 was the   
material employed for the  entire       
structure1 with the exception of the    
supporting timbers of the  roof1 which  
were wood covered with marble tiles4    
,the interior1 to quote ,mr4 ,kinnaird  
again1 8enshrined the  chryselephantine 
colossus with all its gorgeous adjuncts1
 and comprised  sculptural decoration   
alone for one edifice exceeding in      
quantity that  of all recent national   
monuments2 consisting of a range of     
eleven  hundred feet of sculpture and   
containing1 on calculation1 upward of   
six hundred figures1 a portion of which 
were colossal1 enriched by  painting and
 probably golden ornaments4 ,here has   
been really verified  the prediction of 
,pericles that1 when the edifices of    
rival states  would be mouldering in    
oblivion1 the splendor of his city would
 be  still paramount and triumphant40   
,in respect to the richness of its      

interior treasures1 very much the same  
idea is expressed by ,bishop            
,wordsworth1 who says1 in the course of 
his description of the building3  8,it  
would1 therefore1 be a very erroneous   
idea to regard this temple  which we are
 describing merely as the best school of
 architecture in  the world4 ,it was    
also the noblest school of sculpture and
 the richest  gallery of painting40     
,the cleverness of the architects in    
insuring to the ,parthenon1 after  its  
completion1 the appearance of absolute  
harmony of proportion in  all its       
outward lines1 is one of their best     
claims to that celebrity  which they    
have justly earned4 ,as it goes so far  
toward illustrating  their great        
professional skill1 the reader may be   
interested in reading  the language used
 by ,professor ,roger ,smith of ,london 
in explaining the  measures adopted by  
,ictinus and possibly ,callicrates also1
 to correct  the optical defects which  
the ,parthenon might otherwise have     

possessed  when completed4    8,the     
delicacy and subtlety of these optical  
illusions are extreme1  but there can be
 no manner of doubt that they existed4  
,the best known  correction is the      
diminution in diameter or taper1 and the
 entasis  or convex curve of the tapered
 outline of the shaft of the column4    
,without the taper1 which is perceptible
 enough in the order of this  building1 
and much more marked in the order of    
earlier buildings1  the columns would   
look top-heavy2 but the entasis is an   
additional  optical correction to       
prevent their outline from appearing    
hollowed1  which it would have done had 
there been no curve4 ,the columns of the
  ,parthenon have shafts that are over  
thirty-four feet high1 and diminish     
from a diameter of #f4ae feet at the    
bottom to #d4ha feet at the top4  ,the  
outline between these points is convex1 
but so slightly so that  the curve      
departs at the point of greatest        
curvature not more than  three-quarters 

of an inch from the straight line       
joining the top and  bottom4 ,this is1  
however1 just sufficient to correct the 
tendency to  look hollow in the middle4 
8,a second correction is intended to    
overcome the apparent tendency of  a    
building to spread outward toward the   
top4 ,this is met by inclining  the     
columns slightly inward4 ,so slight1    
however1 is the inclination1  that were 
the axes of two columns on opposite     
sides of the ,parthenon  continued      
upward till they met1 the meeting point 
would be #aieb yards1  or1 in other     
words1 more than one mile from the      
ground4    8,another optical correction 
is applied to the horizontal lines4 ,in 
order to overcome a tendency which      
exists in all long lines to seem as     
though they drop in the middle1 the     
lines of the architrave of the top  step
 and of other horizontal features of the
 building are all slightly  curved4 ,the
 difference between the outline of the  
top step of the  ,parthenon and a       

straight line joining its two ends is at
 the greatest  only just two inches40   
,still another correction which         
,professor ,smith alludes to1 in respect
  to the vertical proportions of the    
building1 he does not discuss more  than
 to say3 8,the small additions1         
amounting in the entire length of  the  
order to less than five inches1 were    
made to the heights of the  various     
members of the order1 with a view to    
secure that from one  definite point of 
view the effect of foreshortening should
 be exactly  compensated1 and so the    
building should appear to the spectator 
to be  perfectly proportioned40    ,the 
,parthenon was not1 as is popularly     
supposed1 a temple for the  worship of  
,minerva4 ,the sanctuary for that       
particular purpose was  in the          
,erechtheum1 a triple temple1 located   
upon the ,acropolis not  very far       
distant from the ,parthenon1 and having 
wings dedicated  respectively to        
,minerva ,polias1 to ,erechtheus or     

,neptune1 wherein was  a well of salt   
water1 and to the ,nymph ,pandrosus1    
daughter of ,cecrops4  ,the ,parthenon1 
however1 served as a national treasury  
and repository  for the valuable        
offerings to the goddess1 as well as 8a 
central point  for the ,panathenaic     
festival10 where prizes might be        
distributed to  the victorious          
competitors4 ,indeed1 the decorations of
 ,phidias would  tend to corroborate    
this inference1 as the sculptured low   
relief of the  frieze represented the   
,panathenaic procession4 ,the rich      
relief carvings  in the tympanums of the
 front and rear pediments of the        
building1 also  by ,phidias1 the designs
 of which may be found described in     
almost any  work on ,grecian art1 have  
been reproduced in some of the vignettes
 of  this book4    ,in alluding to the  
,erechtheum1 which1 like the ,parthenon 
and the  ,propyla1 still presents       
shapely and beautiful ruins to grace the
  ,acropolis1 attract the tourist and   

lend to the lover of art the best       
criterion of the ideal age of ,grecian  
architecture1 we must mourn the  fact   
that the architect who designed this    
magnificent example of the  ,ionic order
 is not known1 and it is not likely that
 he ever will be4  ,the building was not
 finished at the time of the death of   
,pericles4  ,because of an inscription  
found in the ,acropolis1 and now in the 
,british ,museum1 containing the        
particulars of a minute professional    
survey of the unfinished parts1 made by 
an ,athenian architect named            
,philocles1 in the year #ccf ,b4,c41    
this architect has been given by some   
the credit of having been the author of 
the entire structure2 but that  he could
 not have been is clearly proven by the 
known fact that much of  the temple was 
constructed1 as we have stated1 in the  
time of ,pericles1  or about one hundred
 years earlier4 ,nothing further1 by the
 way1 is  known of ,philocles than is   
here given4    ,about two thousand years

 had passed without that great leveller 
,time  or the corroding influences of   
the elements marring to any very        
serious extent the beauty and           
completeness of the ,parthenon1 during  
which period it had suffered two changes
 most antagonistic to its  original     
purpose1 having been transformed at one 
time into a ,christian  church and at   
another into a ,turkish mosque4 ,in     
respect to the first  transformation1 it
 is well to note that the significance  
of its name  was not wholly lost in the 
change4 ,parthenon means ,virgin1 and   
the  ,christians called the church into 
which they turned it the ,church of  the
 ,blessed ,virgin4 ,it was seen entire  
by ,spon and ,wheeler in #afgf4 ,but    
when the ,venetians1 in their war with  
the ,turks1 eleven years later1         
besieged the citadel1 they threw a bomb 
upon the roof of the noble  structure1  
which1 passing through it1 ignited the  
powder which had  been stored in the    
building by the ,turks4 ,the result was 

an explosion  which divided and reduced 
the temple to its present condition1    
save for  further depredations which    
seem hardly creditable4 ,the            
iconoclastic  ,turks found this pride of
 ,pericles most useful as a quarry upon 
which  to draw for much of the material 
used in their own buildings1 and it  is 
to be regretted also that ,lord ,elgin  
should have found it necessary  to      
enrich a distant museum in ,london with 
many of its most beautiful  carvings1   
adding further desecration to 8what     
,goth and ,turk and ,time  had spared40 
,vitruvius informs us that ,ictinus1 in 
collaboration with  another architect1  
not otherwise mentioned1 wrote a book   
upon the  ,parthenon1 his greatest      
masterpiece4    ,after searching the    
world over for her dear1 lost daughter1 
the  beautiful ,proserpine1 who had been
 spirited away to the realm of ,pluto1  
,ceres finally gave up the quest and    
mournfully settled down at ,eleusis1  a 
city in fertile ,botia1 about fourteen  

miles from ,athens4 ,here was  erected  
in her honor and in memory of           
,proserpine an ,ionic temple by the     
people for whom she became sponsor4 ,the
 ,persians1 during their invasion  of   
,attica1 burned the temple1 but         
,pericles caused it to be rebuilt1  and 
selected ,ictinus as the architect4 ,he 
erected a handsomer structure  in the   
,doric style1 which1 it is said1 was    
without exposed columns4    ,whether    
,ictinus lived long enough to complete  
the temple to ,ceres and  ,proserpine or
 not1 or was called away for other      
purposes1 is not known1  but it appears 
that other architects were associated   
with its design  and erection1 both     
before as well as after his connection  
with it4  ,corbus is mentioned also as  
an architect1 in the employ of          
,pericles1  who began the work on the   
mystic cell1 but that his sudden death  
resulted in the substitution of         
,ictinus4 ,it is more probable1 however1
  that ,ictinus had previously furnished

 the design of the building and  that   
,corbus had been merely acting under his
 supervision4 ,following  ,ictinus was  
another ,athenian architect appointed by
 ,pericles1 and  the designer of the    
demos of ,cholargos4 ,he is said to have
 built  the pediment of the temple with 
the timpanum open1 according to an      
ancient fashion1 in order to light the  
cell1 which1 if ,strabo is to be        
believed1 was capable of accommodating  
thirty thousand persons4    ,in the time
 of ,demetrius ,phalereus1 the immediate
 successor of  ,alexander1 ,philo1 or   
,philon1 as his name is sometimes       
written1 a  very eminent architect1 also
 of ,athens1 was engaged to add a       
portico  of twelve ,doric columns to    
this temple of ,ceres4 ,that ,metagenes 
of  ,xypete1 and son of ,ctesiphon1 who 
has already been discussed in our       
allusion to the temple of ,diana at     
,ephesus1 should be mentioned as the    
architect who completed the entablature 
and an upper row of columns to  this    

,eleusian temple1 is probably a mistake4
 ,the time of ,metagenes was1  as we    
have seen1 much earlier 7about #efj     
,b4,c471 and while he might have  been  
engaged upon the first temple to ,ceres 
at ,eleusis1 it is quite  impossible for
 him to have been employed by ,pericles 
in the building of  that with which     
,ictinus had to do4    ,when ,alaric1   
the ,german1 made his angry invasion    
into ,greece in #cif  ,b4,c41 because   
refused command of the armies of the    
,eastern empire1 he  destroyed very many
 works of ,greek art1 and this temple   
among them was  one of the unfortunates 
that assisted to satiate his wrath4     
,the third important work with which    
,ictinus is reported to have been       
connected was the ,doric temple to      
,apollo in the village of ,bass1 near   
,cotylion1 in ,arcadia1 which was known 
as the temple to ,apollo ,epicurus  7the
 ,preserver74 ,pausanias speaks of this 
as being next to that at  ,tagea1 the   
finest temple in the ,peloponnesus 8from

 the beauty of its  stone and the       
symmetry of its proportions40 ,this     
temple is still a  beautiful ruin1      
thirty-four of the original thirty-eight
 columns of the  peristyle standing4    
,the structure1 which in the interior   
possessed two  rows of columns in the   
,ionic order1 was originally admirably  
planned  for sculptural decoration and  
statuary and held many fine specimens of
  the handiwork of ,phidias and his     
school4 ,some of the carvings of the    
frieze and other parts of the building1 
which are to be seen in the  ,british   
,museum1 are spoken of by ,lbke as the  
boldest and most animated  compositions 
among all that is preserved to us of the
 productions of  ,greek art4    ,on the 
southeast slope of the ,acropolis       
,pericles caused to be erected  a       
building which departed broadly from the
 prevailing rectangular  construction of
 the time4 ,in was oval on plan1 ,doric 
in order1 and its  portico was enclosed 
by thirty-two columns4 ,the most        

original feature  of the building1      
however1 was the roof1 which was        
constructed in the  shape of a cone and 
was supported by rafters formed of the  
masts of the  ships captured in the     
,persian wars4 ,from just above the     
cornice of the  drum there projected    
around the entire roof a row of windows 
which may  possibly be credited with    
being the archetypes of our modern      
dormer  windows4 ,this building was     
called the ,odeum1 or1 as it is now     
termed1  the ,odeon1 and was devoted to 
music4    ,cratinus1 the comic poet1 who
 had levelled his satire at ,pericles   
when  building the 8,long ,walls10 found
 in the roof of the ,odeon1 the idea    
for the cone shape of which1 by the way1
 it is claimed the architects  borrowed 
from the pavilion of the ,king of       
,persia1 another mark for his  shafts of
 ridicule4 ,he sings3        8,as ,jove1
 an onion on his head he wears2         
,as ,pericles1 a whole orchestra bears2 
,afraid of broils and banishments no    

more1       ,he tunes the shell he      
trembled at before40    ,the allusion to
 an onion by ,cratinus is explained when
 it is remembered  that on account of   
the peculiar1 long shape of his head the
 poets  of ,athens called ,pericles     
,schinocephalos1 or squill-head1 from   
schinos1 a squill1 or sea-onion4        
,another version of ,cratinus's satire  
is given thus3        8,so1 we see here1
       ,jupiter ,long-pate ,pericles    
appear1       ,since ostracism time he's
 laid aside his head1       ,and wears  
the new ,odeum in its stead40    ,music 
received a considerable share of        
attention in the education  of the      
,greeks1 and such was the influence     
which it is said to have  possessed over
 the physical as well as the mental     
nature of the  people1 that it was      
credited with being an antidote for many
 of the  infirmities of the body as well
 as the mind4 ,the ,odeon was therefore 
an institution of considerable          
importance in ,athens4 ,here ,pericles  

conducted in person the musical contests
 between the ,choruses which  the       
wealthy citizens of ,athens instituted1 
and awarded to the  winners the         
tripod-trophies1 which as marks of      
special honor they  were permitted to   
place upon their monuments4 ,a street in
 ,athens was  devoted almost entirely to
 these choragic monuments1 many of which
 were  architecturally most beautiful4  
,the architect of the ,odeon of         
,pericles is not known1 but after its   
destruction by ,aristion in the         
,mithridatic war1 it was rebuilt by     
,ariobarzanes ,,ii1 ,philopator1 king of
 ,cappadocia1 in the original  form1 who
 employed for the purpose the brother   
,roman architects1  ,caius and ,marius  
,stallius1 together with a third        
architect by the  name of ,menalippus1  
who recorded their connection with the  
building  upon the base of a statue     
which they erected in honor of their    
patron  ,ariobarzanes4 ,it is said that 
on certain days this later ,odeon was   

used  as a grain market4    ,if in the  
,parthenon on the ,acropolis the acme of
 ,doric magnificence  was reached by    
,ictinus and ,callicrates1 there was    
another temple  located below the       
,acropolis1 which by many is ranked as  
the peer of the  ,parthenon1 in its     
perfection of ,doric symmetry and grace4
 ,this was the  building to which       
allusion has already been made as       
another example of  the genius and skill
 of ,mnesicles1 the slave-architect of  
the ,propyla4  ,it was dedicated to the 
founder of ,athens1 the adventurous     
,theseus1 and  stood not only as a      
temple in his honor1 but as a mausoleum 
for his  ashes4    ,wordsworth1 whose   
words of praise for the ,propyla have   
been quoted1 is  also enthusiastic in   
his admiration of this second example of
 the skill  of the talented ,mnesicles3 
8,such is the integrity of its structure
 and  the distinctness of its details   
that it requires no description beyond  
that which a few glances might supply4  

,its beauty defies all2 its solid  yet  
graceful form is1 indeed1 admirable2 and
 the loveliness of its  coloring is such
 that from the rich1 mellow hue which   
the marble has  now assumed it looks as 
if it had been quarried not from the bed
 of a  rocky mountain1 but from the     
golden light of an ,athenian sunset40   
,although the temple of ,theseus was one
 of the more modest ,athenian  temples  
in point of size1 it has always ranked  
as one of the most  perfect of the      
,attic-,doric order1 and stands to-day  
as one of the least  dilapidated among  
all that have existed of the beautiful  
edifices of  ancient ,greece4 ,indeed1  
as it was supposed to have been begun   
before  the ,parthenon1 or in the time  
of ,cimon1 it is claimed by some writers
  that ,ictinus took it for his model1  
although the ,parthenon was about  twice
 as large4    ,the ,theseum was         
surrounded by columns1 six at the front 
and rear and  thirteen on either flank4 
,it was forty-five feet wide by one     

hundred  and four feet long4 ,the       
building material was ,pentelican       
marble1  which in the course of the     
centuries has taken on the soft         
yellowish  tinge which ,bishop          
,wordsworth refers to4 ,ornamental      
sculpturing was  more sparingly employed
 than upon the ,parthenon or some of the
 other  structures of the time1 but such
 as was used was so judiciously handled 
as to give the very noblest results4    
,the sculpturing in the metopes of  the 
frieze and on the pronaos was the work  
of ,phidias4    ,it was built after the 
battle of ,marathon1 and1 it would seem1
 after an  awakening on the part of the 
,athenians to that high sense of        
obligation  toward their early hero1    
,theseus1 which had slumbered for       
centuries4  ,it was due to the ,delphic 
,oracle that his remains were brought   
back to  ,athens from their long        
banishment in the island of ,scyros1 and
 given  honorable burial1 the son of    
,miltiades being selected to execute the

  ,oracle's decree4 ,the occasion was   
made one of festivity and rejoicing1    
and the entombment in the beautiful new 
temple one of sacrifice and  solemnity4 
,in closing this brief reference to the 
,theseum1 the graceful lines from       
,haygarth's ,greece1 which so           
beautifully applaud it1 may well be     
quoted3        8,here let us pause1 e'en
 at the vestibule       ,of ,theseus's  
fane--with what stern majesty       ,it 
rears its pond'rous and eternal         
strength1       ,still perfect1 still   
unchang'd1 as on the day       ,when the
 assembled throng of multitudes         
,with shouts proclaim'd th' accomplish'd
 work and fell       ,prostrate upon    
their faces to adore       ,its marble  
splendor4 ,how the golden gleam         
,of noonday floats upon its graceful    
forms1       ,tinging each grooved      
shaft1 and storied frieze       ,and    
,doric triglyph6 ,how the rays amidst   
,the op'ning columns glanc'd from point 
to point       ,stream down the gloom of

 the long portico2       ,where1 link'd 
in moving mazes youths and maids        
,lead the light dance1 as erst in joyous
 hour       ,of festival6 ,how the broad
 pediment1       ,embrown'd with shadow 
frowns above and spreads                
,solemnity and reverential awe6         
,proud monument of old magnificence6    
,still thou survivest1 nor has envious  
time       ,impair'd thy beauty1 save   
that it has spread       ,a deeper tint1
 and dimm'd the polished glare       ,of
 thy refulgent whiteness4 ,let mine eyes
       ,feast on thy form1 and find at  
every glance       ,themes for          
imagination1 and for thought2           
,empires have fallen1 yet art thou      
unchang'd2       ,and destiny1 whose    
tide engulphs proud man       ,has      
roll'd his harmless billows at thy      
base40    ,in the brilliant galaxy of   
great architects and sculptors of this  
age1 none shines more deservedly        
conspicuous by reason of true merit  and
 noble purpose than ,polycletus of      

,argos1 who is remembered more  as a    
statuary than by reason of his          
achievements in architecture4 ,he       
exercised his art between the years #deb
 and #dab ,b4,c41 and1 like his         
distinguished contemporaries1 ,myron and
 ,phidias1 was a pupil of the  ,argive  
sculptor1 ,agelades4 ,his celebrity has 
been compared to that  of his most      
famous brother pupil1 ,phidias1 for the 
reason that while  ,phidias gave the    
ideal standard in the portrayal of      
deities1 ,polycletus  created for all   
ages the perfect canon of the human form
 in art4 ,this  he expressed in the     
figure of a youth holding in his hand a 
spear1  which was called the            
,doryphorus4 ,in this figure the        
sculptor laid down  the rules of        
universal application with regard to the
 proportions of  the human body in its  
mean standard of height1 breadth of     
chest1 length  of limbs and so on4      
,socrates1 according to ,xenophon1 went 
so far as to  place ,polycletus on a    

level as a statuary1 with ,homer1       
,sophocles and  ,xeuxis in their        
respective arts4    ,a similar anecdote 
to that told of ,phidias1 when he       
listened to the  criticisms of the      
public upon his colossal statue of the  
,olympian ,zeus1  is also related of    
,polycletus4 ,he is said to have made   
two statues1  one of which he perfected 
according to his own ideals1 and the    
other  he exhibited to the public and   
altered according to the suggestions    
volunteered4 ,in due time he exhibited  
both publicly side by side4 ,the  one he
 had himself made was universally       
admired1 while that which he  had       
changed to suit the popular fancy was   
condemned4 8,you yourself10 he          
exclaimed1 8made the statue you abuse1  
,i1 the one you admire40    ,one of his 
most celebrated works was the           
chryselephantine statue  of ,hera1      
executed in his old age to rival the    
,athene and ,zeus by  ,phidias4 ,strabo 
considered that this statue equalled in 

beauty those  of ,phidias1 though it was
 surpassed by them in costliness and    
size4 ,in  the respect that ,polycletus 
followed the ,homeric description of    
,hera1  and presented the goddess       
clothed from her waist down1 he may be  
said  to have followed the precedent of 
,phidias2 in other respects1 however1   
he drew upon his own fancy4 ,juno was   
seated upon a golden throne2 her  head  
was crowned with a garland on which were
 worked the ,graces and the  ,hours2 in 
one hand she held the symbolical        
pomegranate and in the other  a sceptre 
surmounted by a cuckoo1 a bird sacred to
 ,hera on account of  having herself    
been changed into that form by ,zeus4   
,as an architect ,polycletus will be    
found as the designer of the  theatre at
 ,epidaurus1 where was also located the 
beautiful temple  dedicated to          
sculapius1 and which ,pausanias         
pronounced to be superior  in symmetry  
and elegance to every other in ,greece  
and ,rome4 ,it was  capable of          

accommodating twelve thousand           
spectators1 and its ruins1 as  well as  
those of the white marble circular      
,tholus1 by the same artist1  are still 
to be seen in an unusual condition of   
preservation4    ,among the other       
architects who have been variously      
mentioned as having  pursued their      
profession toward the close of this     
century1 but who can  hardly take equal 
rank with those already alluded to1 may 
be mentioned  ,eupolinus1 an ,argive    
artist1 who rebuilt the great ,herum at 
,mycen  after its destruction by fire in
 the year #dbc ,b4,c41 the entablature  
of  which was ornamented with sculptures
 representing the wars of the gods  and 
giants and the ,trojan wars2 ,cletas1   
who was one of the assistant  architects
 under ,phidias1 and whose chief claim  
to distinction is based  upon his       
construction of the starting place in   
the ,olympian ,stadium1  and ,democopus 
,myrilla1 who built the theatre at      
,syracuse4 ,vitruvius  also speaks of an

 architect and author of about this     
time--namely1  ,silenus--who wrote on   
the ,doric order4    ,it is difficult to
 close this chapter1 in which but very  
superficial  reference has been made to 
the architectural lights of the golden  
age of art in ,greece1 without glancing 
back at the magnificent city  of        
,athens1 the grand product of much of   
their creative skill1 with  feelings of 
regret that with all her numerous and   
noble monuments1  dedicated to gods and 
men1 there is not one that bears the    
imprint of  its creator4 ,we see in this
 glance forest-like colonnades of       
glittering  white columns2 we see the   
,house of the ,five ,hundred ,senators1 
the  ,tholus1 the ,hall of ,herm1 the   
,agora1 the ,pnyx1 8where the ,athenian 
orator spoke from a block of bare       
stone20 the ,stoic ,hall1 in which      
philosophy was taught2 the ,prytaneum1  
where the loved laws of ,solon  were    
preserved2 the ,lyceum1 with its hundred
 columns from ,lydia2  the ,theatre of  

,bacchus and the ,mausoleum of ,tolus4  
,we see temples  innumerable1 the       
grandest of all those to ,jupiter and   
,theseus2 but  others of fascinating    
merit1 those of ,ceres and of ,cybele   
and of ,mars1  and of ,vulcan1 of       
,venus1 of acus1 of the ,dioscuri1 of   
,hercules1 of  ,diana ,agrotera1 of     
,bacchus ,lunnus1 of sculapius1 of      
,eumenides1 and  that to ,glory1 erected
 with the booty from the glorious field 
of  ,marathon1 wherein stood the ,venus 
of ,phidias2 and we see the ,acropolis  
towering above all1 lending other       
magnificent architectural triumphs  to  
the ensemble2 and although we see slabs 
among them 8inscribed with  the records 
of ,athenian history1 with civil        
contracts and articles  of peace1 with  
memorials of honors awarded to patriotic
 citizens or  munificent strangers10 we 
find no monument1 whether in the time of
  ,pericles or later1 inscribed with the
 name of ,ictinus1 or ,hippodamus1  or  
,callicrates1 or the poor slave1        

,mnesicles1 who was saved by ,minerva   
to be forgotten by man4                 
,illustration3 ,decoration              
,,footnotes3    #c ,the decoration      
referred to was the work of the         
distinguished  painter ,protogenes4     
,,chapter ,,vii4    ,,later ,,greek     
,,architects4      ,the first architect 
as well as artist of decided merit who  
arose to  historic distinction at the   
beginning of the later ,attic school1 or
  that which followed immediately upon  
the school of ,phidias1 and one  of the 
first to treat the ,corinthian idea1    
then flowering into favor  with         
originality and artistic skill1 was the 
deserving and accomplished  ,scopas4    
,reference has already been made to this
 artist in connection  with the temple  
of ,diana at ,ephesus1 for which1 it is 
said1 he  furnished the most beautiful  
of all the numerous columns with which  
that temple was enriched4 ,this         
statement is made without prejudice  to 
the great ,praxiteles1 who was          

contemporaneous with ,scopas1 and  who  
excelled him as a statuary1 if he did   
not compete with him as an  architect4  
,a mistake of ,pliny1 which assigned    
,scopas to an earlier age1 has  finally 
been corrected1 and it has been settled 
that the period when  he exercised his  
art was between the years #cie and #cej 
,b4,c4 ,scopas  was a native of ,paros1 
a subject island of ,athens1 and sprung 
from a  family which for several        
generations before his advent into the  
world  had practised the plastic arts4  
,his descendants also walked in the same
  artistic paths of life for many       
generations4 ,like ,polycletus1 with    
whom  he is most favorably compared1 the
 architectural side of his career was   
greatly eclipsed by that which displayed
 his genius as a sculptor4    ,his      
statues were numerous1 and fortunately  
many of them still exist  scattered in  
various ,european museums and galleries4
 ,among such of  his works considered   
the most interesting is the well-known  

series  of figures representing the     
destruction of the sons and daughters   
of ,niobe4 ,in the time of ,pliny these 
statues stood in the temple of  ,apollo 
,socianus at ,rome1 and it was then a   
question whether they were  the works of
 ,scopas or ,praxiteles4 ,in fact1 many 
of the former's  finest efforts have    
been attributed to the latter artist4   
,of this  group ,schlegel says3 8,in the
 group of ,niobe there is the most      
perfect  expression of terror and pity4 
,the upturned looks of the mother1 and  
mouth half open in supplication1 seem to
 accuse the invisible wrath of  ,heaven4
 ,the daughter clinging in the agonies  
of death to the bosom of  her mother1 in
 her infantile innocence can have no    
other fear than for  herself2 the innate
 impulse of self-preservation was never 
represented  in a manner more tender or 
affecting4 ,can there on the other hand 
be exhibited to the senses a more       
beautiful image of self-devoting1       
heroic magnanimity than ,niobe1 as she  

bends her body forward that1  if        
possible1 she may alone received the    
destructive bolt8 ,pride and  repugnance
 are melted down in the most ardent     
maternal love4 ,the more  than earthly  
dignity of the features is the less     
disfigured by pain1 as  from the quick  
repetition of the shocks she appears1 as
 in the fable1  to have become          
insensible and motionless4 ,before this 
figure1 twice  transformed into stone1  
and yet so inimitably animated--before  
this line  of demarcation of all human  
suffering the most callous beholder is  
dissolved in tears40    ,another highly 
esteemed work of ,scopas1 which ,pliny  
says stood in the  shrine of ,cneius    
,domitius in the ,flaminian circus in   
,rome1 represented  ,achilles conducted 
to the island of ,leuce by the          
divinities of the sea4  ,it consisted of
 figures of ,neptune1 ,thetis and       
,achilles surrounded  by ,nereids       
sitting on dolphins and other large     
fish1 and attended by  ,tritons and sea 

monsters4 ,in the opinion of ,pliny1    
these figures alone  would have been    
sufficient to have immortalized the     
artist1 even if  they had cost the labor
 of his entire life4    ,his statues of 
,venus1 are1 after all1 perhaps the most
 remarkable of  his works in sculpture4 
,one of these statues1 if not the       
original1  is supposed to have been the 
prototype of one of the most celebrated 
and beautiful portrayals of that        
charming deity in the world to-day4     
,another to which ,pliny gives          
particular prominence was that in which 
the goddess is presented nude and which 
was found in the temple of  ,brutus     
,callaicus in ,rome4 ,this statue1 he   
adds1 8would have conferred  renown upon
 any other city1 but at ,rome the       
immense number of works  of art and the 
bustle of daily life in a great city    
distracted the  attention of men40 ,it  
is probably this work of art1 which is  
thought  by some to have been superior  
to that by ,praxiteles1 which1 with some

  modifications1 is credited with being 
the model after which ,cleomenes        
fashioned the celebrated ,venus de      
,medicis4 ,pausanias and ,pliny mention 
also other portrayals of ,venus by      
,scopas1 but it is left to ,waagen  and 
some other critics to ascribe the       
celebrated statue of ,aphrodite1  in the
 ,louvre in ,paris1 and known as the    
,venus de ,milo1 to this great  sculptor
 and architect4    ,it is foreign to the
 purpose1 however1 to devote too much   
space to this  side of the art life of  
,scopas1 but in treating of his         
connection with  the magnificent        
mausoleum which ,artemesia erected at   
,halicarnassus1 to  her husband1        
,mausolus1 king of ,caria1 it will be   
argued doubtless that  the work of this 
artist on that famous mortuary monument1
 which ranked  as one of the seven      
winders of the world1 was more in the   
line of a  decorative sculptor than of  
an architect4    ,in this undertaking   
,scopas was associated with three other 

architectural sculptors--namely1        
,bryaxis1 ,timotheus and ,leocarus--all 
of  whom were ,athenians4 ,each took as 
his special work the decoration of  one 
side of the building1 ,scopas choosing  
the east or principal faade4  ,the north
 and south sides had a width of about   
sixty-three feet2 the  east and west    
were not quite so wide4    ,before      
outlining further the principal         
characteristics of the building1  it is 
only fair to say that the professional  
architects to whom is  due the credit   
for the plan of the structure were      
,phileus1 an ,ionian  whose name        
,vitruvius spells in a variety of ways1 
and ,satyrus1 whose  native city is not 
given1 but who1 according to the same   
authority1  wrote a description of the  
mausoleum4 ,phileus was also an author  
on  architecture1 having written a      
volume on the ,ionic temple of ,athene  
,polias at ,priene1 of which he was the 
designer1 and which was one  of the most
 renowned buildings in ,asia ,minor1 and

 a treatise on the  mausoleum1 which was
 also located in that part of the globe4
 ,as for  ,satyrus1 whatever may have   
been the other public buildings of which
 he  was the architect1 there is no     
record4    ,the mausoleum had a total   
height of one hundred and forty feet1   
and  in general appearance combined     
orientalism in tomb-structure with the  
perfections of ,grecian architectural   
grace and elegance4 ,the tomb  was      
contained within a rectangular          
substructure4 ,above was an ,ionic      
peristyle temple with nine columns on   
each side and eleven at the ends4  ,the 
frieze was elaborately carved and       
decorated1 and the roof1 which  was     
pyramidal in form1 gave the oriental    
cast to the entire building4  ,at the   
apex of the roof was a colossal marble  
quadriga1 in which a  statue of the     
deceased king ,mausolus appeared4 ,it is
 said that in the  sculptures and       
carvings of the different sides the     
respective artists  strove to rival each

 other1 and that although queen         
,artemesia died  before the tomb was    
finished the four artists were so       
interested and  absorbed in their work  
that they determined to complete it at  
their own  risk4    ,up to the twelfth  
century after the ,christian era this   
grand tomb stood  in a fairly good state
 of preservation1 but soon after fell to
 pieces1  and was used from that time as
 a quarry by the ,knights of ,st4 ,john1
  from which they took stone for the    
castles they built on the site of  the  
old ,greek ,acropolis4 ,later still much
 of the marble was taken to  repair     
their fortifications1 and it is even    
said to make lime1 showing  to what     
ignominious uses the very greatest of   
architectural glories may  finally come4
 ,however1 some of the carvings have    
been redeemed from  the fortification   
walls and unearthed from other places in
 ,budrun1 the  modern ,halicarnassus1 to
 find a final resting place1 let it be  
hoped1  in the ,british ,museum4 ,these 

rescued pieces of marble1 of which there
  are perhaps sufficient to reconstruct 
a quarter of the whole frieze1  though  
they are not continuous1 are pronounced 
by competent judges to  be specimens of 
the work of the different artists1 but  
there is no  means of determining which 
of them1 if any1 came from the chisel of
  ,scopas4    ,the temple of ,athene    
,alea at ,tegea in ,arcadia1 often a    
sanctuary for  fugitives from ,sparta1  
was an architectural creation of        
,scopas1 which  it would appear belonged
 to him exclusively4 ,of all the temples
 in the  ,peloponnesus this is said by  
,pausanias to have been the largest as  
well  as the most magnificent4 ,that    
observant traveller1 however1 must have 
been carried away somewhat by his       
enthusiasm over its architectural       
attractions in ascribing to it such     
great size1 as its dimensions were  not 
more than one hundred and sixty-four by 
seventy feet1 being very  much smaller  
than other ,grecian temples4    ,the    

temple which ,scopas built was not the  
first to the goddess to  occupy the same
 site1 but followed a very much more    
ancient one1 which  was destroyed by    
fire in the year #cid ,b4,c4 ,the       
tendency to introduce  the ,corinthian  
order1 which followed after the         
,peloponnesian wars1 and  which         
continued to grow as ,greece became more
 and more intermixed with  ,roman ideas1
 is here early displayed4 ,the columnar 
arrangement of the  temple was unusual2 
for the outside the ,ionic style was    
used1 there  being six columns at each  
end and fourteen on the sides2 but on   
the  inside the ,doric order was        
employed surmounted by the ,corinthian4 
,both  pediments of the building were   
sculptured by ,scopas or from his       
designs  under his immediate            
supervision4 ,the pediment over the     
front portico  portrayed the chase of   
the ,calydonian boar1 and that in the   
rear the  battle of ,telephus with      
,achilles2 both being1 according to     

,pausanias1  very animated compositions4
 ,the statue of the goddess ,athene     
,alea1  contained in the cell1 was      
carried off by the ,emperor ,augustus   
and  placed at the entrance of his new  
forum in ,rome4 ,some fragments of the  
pedimental sculptures have been         
discovered and placed in the ,british   
,museum4    ,to ,scopas1 in co-operation
 with ,praxiteles1 is also attributed   
the  graceful and beautiful ,choragic   
monument of ,lysicrates1 at one time    
called 8the lantern of ,demosthenes10   
from the mistaken supposition  that the 
great orator used it as a study--a very 
strange use when it  is remembered that 
the little structure possessed neither  
doors nor  windows4 ,in its day this    
monument was the pride of the street of 
,tripods1 and it still stands one of the
 best preserved evidences of the  taste 
and skill of its designers4    ,in this 
monument the ,corinthian style of       
decoration is displayed in its          
perfection of grace1 better1 perhaps1   

than in any other structure of  that    
early time which is known to us4 ,stuart
 describes it as follows3  8,the        
colonnade was constructed in the        
following manner3 six equal  panels of  
white ,pentelic marble1 placed          
contiguous to each other on a  circular 
plan1 formed a continued cylindrical    
wall1 which of course was  divided from 
top to bottom into six equal parts by   
the junctures of the  panels4 ,these    
columns projected somewhat more than    
half their diameters  from the surface  
of the cylindrical wall1 and the wall   
entirely closed  up the                 
intercolumination4 ,over this was placed
 the entablature and the  cupola1 in    
neither of which any aperture was made1 
so that there was no  admission to the  
inside of this monument1 and it was     
quite dark40    ,the 8flower10 or       
crowning ornament of the monument1 was a
 particularly  graceful and beautiful   
arrangement of acanthus leaves and      
volutes1  and the roof was worked out   

with great delicacy and originality in  
the form of a thatch of laurel leaves   
and ,vitruvian scrolls4 ,if there  was  
any apportionment of the work on this   
monument between ,scopas and            
,praxiteles1 it would be interesting to 
know what it was4    ,of the other      
architectural sculptors associated with 
,scopas in the  adornment of the tomb of
 ,mausolus none is mentioned as having  
had any  other connection with          
architecture in a similar way1 but all  
were  statuaries of distinction and high
 merit1 who executed works in marble  or
 bronze1 or both1 that gave them        
prominence in their art4 ,among other   
works by ,bryaxis were five colossal    
statues in the island of ,rhodes1 of    
which the celebrated 8colossus of       
,rhodes10 however1 was not one1 and     
also a statue of ,apollo1 which was     
destined for the temple of ,daphnis     
near ,antiochus4 ,the story is related  
that ,julian the ,apostate wished to    
render to this figure peculiar worship  

and homage1 but was prevented  from so  
doing by a miraculous destruction of the
 temple and statue by  fire4 ,clement of
 ,alexandria asserts that ,bryaxis was  
the artist of  many works ascribed to   
,phidias4    ,as to the share which     
,timotheus took in the decoration of the
 mausoleum  there is dispute among the  
,greek authorities1 some ascribing his  
work  to ,praxiteles2 but there does not
 seem to be any just foundation for  the
 supposition that the sculpturing on the
 south side of the tomb  was by any     
other hand than that of ,timotheus4 ,as 
one of the great  statuaries of the     
later ,attic school he was also among   
the most  prominent1 his figure of      
,artemis being deemed worthy to be      
placed by  the side of the ,apollo of   
,scopas1 and the ,latona of ,praxiteles 
in the  temple which ,augustus erected  
to ,apollo on the ,palatine4 ,other     
statues  of conspicuous merit are also  
ascribed to him by ,pausanias and       
,pliny4    ,leochares1 the last of the  

quartette1 was also inferior only to    
,scopas  and ,praxiteles in his school  
of art4 ,he was particularly skilful    
with  portrait-statues1 the most        
successful of which were those of       
,philip  of ,macedon1 ,alexander his    
son1 ,amyntas1 ,olympias and ,eurydice1 
all of  which were made of ivory and    
gold1 and were placed in the            
,phillippeion1  a circular building in  
the ,altis at ,olympia1 erected by      
,philip in  celebration of his victory  
at ,chroneia4 ,but the chef d'uvre of   
,leochares was a bronze statue of the   
rape of ,ganymede4 ,pliny says of  this 
work that the eagle seemed to be        
sensible of what he was carrying  and to
 whom he was bearing the treasure1      
taking care not to hurt  the boy through
 his dress with his talons4 ,the        
original statue was  frequently copied  
both in marble and on gems1 several of  
which copies  are still extant3 one in  
the ,museo ,pio-,clementino1 another in 
the  library of ,st4 ,mark in ,venice1  

and still another figures in ,stuart's  
,athens1 as an alto-relievo found among 
the ruins of ,thessalonica4             
,illustration3 ,decoration              
,,chapter ,,viii4    ,,the ,,alexandrian
 ,,era ,,and ,,roman ,,spoliation4      
,that epoch in the art life of the      
,hellenic people associated with  the   
influences arising out of the career and
 conquests of ,alexander  the ,great1   
which we have now reached1 was one      
scarcely inferior in  interest to that  
of the time of ,pericles4 ,overflowing  
as was the  great ,macedonian leader's  
love of art and great as was his        
ambition  to leave behind him lasting   
monuments that should fittingly stand   
for  the artistic culture of his time1  
still1 for reasons arising partly  out  
of his own career and partly from the   
ever-changing impulses of  human feeling
 and taste1 the art culture of his time 
must bow to the  superiority of that of 
the time of ,pericles1 if1 in respect to
 those  other features of his leadership

 and accomplishment1 to which history   
gives a superior rank1 his genius is    
eclipsed by none in the chronicles  of  
civilization4    ,alexander's short     
life1 so active in conquest and war1 and
 so much  of it passed away from        
,european associations or even the      
influences  of colonial ,greece1        
necessarily gave him little time for    
indulgence  in the arts at home1 while  
it permitted him to manifest it to some 
considerable extent in founding cities  
and rearing temples in foreign  lands4  
,to this self-imposed banishment1       
accompanied1 as it was1 by  large armies
 brought from ,greece and her colonies1 
and the intermixing  of her people with 
foreigners of new tastes and habits of  
mind1 may be  attributed that change of 
art feeling at home which began to      
assert  itself about this time4 ,on the 
other hand1 however1 its effect was     
beneficial to the conquered countries in
 introducing a more elevated  art       
standard than had existed within them   

before4    ,personally1 ,alexander      
manifested a keen appreciation of the   
arts2  whether founded upon the same    
sincerity as that which appeared more   
natural to the character of ,pericles is
 a question2 but we find that           
,praxiteles1 ,lysippus and ,apelles1 the
 great artists of his time1 were  no    
less publicly honored or more highly    
flattered than were ,phidias or         
,polycletus in the days of ,pericles4   
,it is related as an evidence of        
,alexander's enthusiasm for art1 that he
 compensated ,apelles for his           
celebrated portrait of him by ordering  
that the artist's reward should  be     
measured out in gold instead of being   
counted1 an order which  perhaps quite  
as much illustrated the theatrical      
impulses of which he  could be guilty as
 the calm expression of a genuine       
appreciation4    ,even had ,alexander   
been spared1 and had returned to ,greece
 to continue  a long life of usefulness 
to his people1 instead of having been   

cut off  in his prime at ,babylon1      
although he might have done much more   
for art  than he did1 still he could not
 have accomplished for it what had been 
attained by ,pericles4 ,this may be     
argued from his birth1 schooling and    
the stronger trend of his mind1 which   
led in very different directions4  ,the 
,macedonian had not certainly the       
traditions of art culture in his  veins1
 as was the case with the more polished 
,athenian1 and being  fonder of the     
dazzlement of pomp and show1 natural to 
a leader who from  infancy had been     
almost continuously associated with the 
accoutrements  and regalia of armies1 it
 is not likely that whatever he might   
have  accomplished for art more than    
that which he actually did1 would have  
manifested that purity of ideal1 as well
 as refinement of execution  which so   
marked and dignified the work of        
,pericles4    ,as there is always some  
time which must elapse before the tide1 
having  reached its flood1 turns once   

more to slowly ebb1 so was there a  time
 to be expressed in a few years when the
 plastic arts of ,greece1  reaching     
their highest development in the age of 
,pericles1 remained  stationary1 before 
ebbing away to so-called ,roman         
degeneracy1 and the  mixed influence of 
various comparatively uncultured        
nationalities4    ,the ,alexandrian     
epoch marks the beginning of this       
turning-point4 ,the  decadence took     
almost as many successive generations to
 the time  when ,corinth was sacked by  
the ,romans in #adf ,b4,c41 and the     
,italian  soldiers cast their dice upon 
the pictures of ,aristides1 as it had   
taken to advance in the earlier ages of 
,greece1 to the time when the           
chryselephantine statues of ,zeus and   
,athene1 by ,phidias1 were the          
recognized perfect standards of godlike 
majesty and beauty1 and the  ,doryphorus
 of ,polycletus was accepted as the     
criterion of human grace  and           
proportion4    ,of course the standard  

by which the perfection of architectural
 dignity  and purity can be measured is 
largely one of individual taste and     
preferment1 as is sometimes evidenced by
 the conflicting judgments of  the best 
critical authorities1 but if we accept  
the conclusions of  centuries of the    
highest criticism1 we must be prepared  
to concede that  the arts to which we   
refer reached their zenith as stated4   
,however1  the expression1 ,roman       
degeneracy1 is much too severe a one1 if
 taken  in other than a comparative     
sense2 for1 whatever ,grecian           
architecture  may have lost in ideal    
stheticism by reason of ,roman          
interference1 it  must be granted the   
,romans that their own evolution in the 
appreciation  of the arts and the       
accomplishments of architecture resulted
 in a  magnificence which1 when compared
 with our own time1 gives them rank     
second only to the ,greeks1 from whom   
they borrowed so much1 and whom  they   
did not scruple to rob of nearly all    

their portable art treasures4  8,among  
the innumerable monuments of            
architecture constructed by the         
,romans10 says ,gibbon1 8how many have  
escaped the notice of history1 how  few 
have resisted the ravages of time and   
barbarism6 ,and yet even the  majestic  
ruins that are still scattered over     
,italy and the provinces  would be      
sufficient to prove that those countries
 were once the seat  of a polite and    
powerful empire4 ,their greatness alone 
or their beauty  might deserve our      
attention2 but they were rendered more  
interesting  by two important           
circumstances1 which connect the        
agreeable history of  the arts with the 
more useful history of human manners4   
,many of these  works were erected at   
private expense1 and almost all were    
intended for  public benefit40    ,but  
the burnishing of the ,romans to the    
high polish which they finally  attained
 in the arts was a slow process1 and one
 which met with many  interruptions1    

according as their rulers were          
individually affected by  a love of the 
artistic--a fact which in itself would  
show that art was  not an inherent      
quality in the ,roman nature to the like
 degree that it  was in that of the     
,greek4 ,to admire the ,grecian sthetic 
culture was  at first considered an     
evidence of effeminacy1 and even ,cato  
exclaimed  against the arts not         
seventeen years after the taking of     
,syracuse4 ,the  ,consul ,mummius1 in   
#adf ,b4,c41 some hundred years later1  
after the battle  which resulted in the 
capture of ,corinth1 proved very        
conclusively that  he had very little   
appreciation of the merit of the        
treasures he found  there1 for he not   
only destroyed a great many1 but shipped
 to ,rome  many more1 for the simple    
reason that1 recognizing how much they  
were  prized by the ,corinthians1 he    
wisely saw that they might be useful in 
,rome4 ,this sacking of ,grecian cities 
was quite popular1 and the ,roman       

generals1 in their conquests1 seemed to 
strive which should bring  away to ,rome
 the greatest number of statues and     
pictures4 ,the elder  ,scipio despoiled 
,spain and ,africa1 ,flamius ,sylla and 
,mummius exported  shiploads of the art 
of ,greece1 milius despoiled ,macedonia1
 and ,scipio  the younger1 when he      
destroyed ,carthage1 transferred to     
,rome the chief  ornaments of that city4
    ,in fact1 the ,roman generals were  
remarkable as art pilferers1 using the  
spoils not alone to adorn their public  
buildings and institutions1  but in some
 instances their private houses and     
palaces as well4 ,it is  related of     
,scaurus that he embellished his        
temporary theatre1 erected  for a few   
days' use1 with no less than three      
thousand statues4 ,he also  returned to 
,rome with all the pictures of ,sicyon1 
one of the most  eminent schools of     
painting in ,greece1 on a pretence that 
they would  compensate for a debt due   
the ,roman people4 ,from this habit of  

drawing  on foreigners it finally came  
to pass that private citizens took the  
fever and entered upon the luxury4 ,none
 was earlier in the field than  the     
,luculli1 particularly ,lucius          
,lucullus4 ,julius ,csar was personally 
a great collector1 his hobby being gems1
 while his successor1 ,augustus1        
displayed an acute interest in          
,corinthian vases4    ,augustus did much
 for the architectural adornment of     
,rome1 and his  much-quoted remark to   
the effect that he found ,rome a city of
 bricks  and left it one of marble1 was1
 to a great degree1 true4 ,in fact1     
,augustus manifested an sthetic nature  
in many respects4 ,spence says1         
speaking of the arts1 that 8the flavor  
of ,augustus1 like a gentle dew1  made  
them bud forth and blossom2 and the sour
 reign of ,tiberius1 like a  sudden     
frost1 checked their growth1 and killed 
all their beauties40 ,men  of genius    
were flattered1 courted and enriched    
under ,augustus1 as they  were some four

 hundred years' earlier in ,athens under
 ,pericles1 with  the result that       
,vergil1 ,horace1 ,ovid and other poets 
of the greatest  merit sprung forward4  
,rome became in this age the seat of    
universal  government also1 its wealth  
was enormous1 its architectural         
decorations  numerous and splendid1 and 
even its common streets were decked with
  some of the finest statues in the     
world4 ,other great architectural       
epochs of ,rome were those of the time  
of ,trojan and ,hadrian4 ,but as        
evidence of the intermittent character  
of her art development1 very  little was
 realized1 as very little could be      
expected under the reigns  of such      
monsters as ,tiberius1 ,caligula and    
,nero4 ,to ,nero1 however1  we must     
accord some little credit in having     
built a very remarkable  architectural  
composition1 although undertaken for no 
public benefit1  but to satisfy his own 
profligate vanity4 ,his 8,golden        
,palace10 built  under the direction of 

the architects ,celer and ,severus1 the 
most  eminent of their time1 was ranked 
as the most 8stupendous0 structure  of  
its kind in all ,italy4 ,the palace was 
built after the conflagration  during   
which ,nero is supposed to have amused  
himself with a violin4  ,tacitus tells  
us that it was ornamented in every part 
with 8pearls1  gems and the most        
precious materials10 especially gold1   
which was used  in reckless profusion4  
,in the centre of a court adorned with a
 portico  of three rows of lofty        
columns1 each row a mile long1 stood a  
colossal  statue of that colossal       
sensualist and wicked monarch1 which was
 one  hundred and twenty feet in height4
 ,vespasian tore down the whole of  this
 piece of architectural vanity1 restored
 the land which it had  occupied and by 
which it was surrounded to the people   
from whom it had  been stolen1 and      
erected in its place the great public   
,coliseum and the  magnificent ,temple  
of ,peace4    ,in alluding to the public

 palaces of amusement1 ,curio1 a ,roman 
,prtor1  some few years before the      
,christian era1 is said to have built   
two  wooden theatres close together1    
which turned on pivots4 ,during the  day
 they were turned away from each other1 
and different plays were  performed in  
each2 then1 with all the spectators1    
they were turned  together1 forming an  
amphitheatre in which combats took      
place4 ,the zeal  of the ,roman         
architects to win popular favor by      
something novel and  striking was often 
very great4 ,in ,pompey's theatre water 
was made to  run down the aisles1       
between the seats1 in order to refresh  
spectators  in the heat of summer4      
,but that the ,roman architects were not
 always as careful in the  inspection of
 the buildings under their supervision  
as they should have  been1 and1 like    
some of our modern architects1 permitted
 their works  to be used when in an     
unsafe condition1 is shown from the     
unfortunate  catastrophe which resulted 

in the unexpected tumbling to pieces of 
the  theatre of ,fiden near ,rome4 ,this
 accident happened in the reign of      
,tiberius1 and the name of the architect
 who suffered banishment for his        
neglect was ,attilius4 ,the theatre was 
built of wood1 and out of fifty         
thousand people who were injured in the 
collapse twenty thousand are  said to   
have died4    ,of all the ,roman        
emperors none is more interesting to the
 student of  ,grecian architecture than 
,hadrian1 who was a great admirer of    
,greece1  seeking to introduce the      
,hellenic institutions and modes of     
worship  in ,rome1 as well as the art1  
poetry and learning of ,greece4 ,he also
  undertook to restore ,athens1 which   
had suffered greatly during the four  or
 five hundred years which had elapsed   
between his time and that of  ,pericles1
 to something of her former             
architectural grandeur4 ,pope's  couplet
 might have been ,hadrian's inspiration3
        8,you1 too1 proceed6 make       

falling arts your care1       ,erect new
 wonders and the old repair40           
,indeed1 he caused to be inscribed upon 
the ,arch of ,honor1 which he  erected  
in ,athens1 after the restoration1 two  
inscriptions which1  if not in the best 
of taste1 were in harmony with their    
author's  self-love1 of which he        
possessed no inconsiderable share4 ,upon
 that  side of the arch which faced the 
ancient city he wrote3 8,this is        
,athens1 the old city of ,theseus10 and 
on that which fronted upon the  new city
 of his restoration and adornment was   
inscribed3 8,this is the  city of       
,hadrian1 and not of ,theseus40 ,in     
other words1 the visitor was  expected  
to make his own comparison and perhaps  
draw the conclusion  intimated that     
,theseus was not1 after all1 to be      
compared with the  ,roman ,hadrian4     
,hadrian's particular penchant was      
architecture1 and his predominant  vices
 were vanity and jealousy1 both of which
 were manifested in  his practice of    

that art4 ,the magnificent villa which  
he erected at  ,tiber1 where he spent   
his declining years1 and the ruins of   
which  even now cover a space equal to a
 large town1 would indicate this1  as   
well as the grandiose mausoleum which   
towered high above the  banks of the    
,tiber at ,rome1 and which is now       
depleted of much of its  statuary and   
ornamentation1 the ,christian church of 
,saint ,angelo4 ,the  treatment which he
 accorded ,trajan's great architect1 the
 accomplished  ,apollodorus1 is still   
another evidence of his vanity4         
,hadrian1 like ,louis ,i4 of ,bavaria1  
found delight in practising  personally 
the profession of architecture1 and drew
 plans of buildings1  which the people  
thought was unbecoming a prince4        
,possibly this  objection was raised to 
discourage their ruler rather than the  
more  truthful one that his plans were  
not up to the high standard of his      
time4 ,however that may be1 he insisted 
upon their being executed1 and  it is   

said was rather pleased if the          
architects found fault with them4  ,but 
this was not the case with ,apollodorus1
 whether because of what he  had        
accomplished for his predecessor        
,trajan1 or because of professional     
jealousy4    ,apollodorus was the       
architect of the ,trajan column1        
composed of only  twenty-four stones1   
although one hundred and twenty-eight   
,roman feet  in height1 and the square  
which surrounded it1 considered the most
  beautiful assemblage of buildings then
 known4 ,the relief carvings which  were
 wound spirally around the ,trajan      
column like a ribbon1 represented  the  
incidents of the expedition against the 
,darians4 ,the column  supported a      
statue of ,trajan1 which ,pope ,sextus  
,v4 substituted for one  of ,saint      
,peter4 ,a greater absurdity can hardly 
be conceived than that  of placing a    
peaceful apostle over the warlike       
representations of the  ,dacian war4    
,apollodorus was also the architect and 

engineer of the great bridge  which     
stretched across the ,danube in lower   
,hungary1 which was formed  of twelve   
piers and twenty-two arches1 said to    
have been the grandest  use of the arch 
in such works4 ,each arch was sixty feet
 wide and one  hundred and fifty feet   
high4 ,the total height of the bridge   
was three  hundred feet and its length a
 mile and a half4 ,hadrian destroyed    
this  magnificent work1 some say through
 fear of its use by barbarians1  others 
through jealousy4 ,perhaps the          
circumstances attending the death  of   
,apollodorus would point to the second  
reason as the true one4    ,hadrian had 
made the drawings of the double temple  
of ,venus at ,rome1  which he submitted 
to ,apollodorus1 doubtless for his      
commendation  rather than his criticism4
 ,the architect saw at a glance that the
  sitting figures of the two goddesses1 
,roma and ,venus1 which the ,emperor    
had introduced in the little temple1    
were out of proportion1 and so  large   

that if they stood up they would bump   
their heads against the  roof1 if they  
did not take it off entirely4 ,he called
 the ,emperor's  attention to this fact 
with the result that ,hadrian became    
very angry1  or pretended to be so1 and 
,apollodorus lost his head for his      
frankness4    ,the favorite architect of
 ,hadrian was ,detrianus1 to whom he    
entrusted  many of his most important   
undertakings4 ,we find that he restored 
the  ,pantheon of ,agrippa1 the         
,basilica of ,neptune1 the ,forum of    
,augustus  and the ,baths of ,agrippina4
 ,as original works he designed the     
,mausoleum  of ,hadrian1 to which we    
have already alluded2 the bridge of     
lius1  ornamented with its covering of  
brass1 and supported by its forty-two   
columns1 terminating at the top with as 
many statues1 and the villa at  ,tivoli4
 ,he also erected many structures for   
his royal patron in ,gaul1  among which 
was the ,basilica ,plotina1 the most    
superb building in that  country1 and   

again other buildings in ,england4 ,the 
,roman wall from ,eden  in ,cumberland  
to ,tyne in ,northumberland1 a distance 
of eighty miles1  which was built as a  
defence against the ,caledonians1 is    
attributed  to ,detrianus4 ,in ,greece  
he embellished the famous temple of     
,jupiter  ,olympus1 and in ,palestine he
 rebuilt ,jerusalem1 erected a theatre  
and various pagan temples out of the    
stone from the ,jewish temples1  and    
completed his sacrilege there by placing
 a statue of ,jupiter on  the spot where
 ,christ rose from the dead1 and one of 
,venus on ,mount  ,calvary4 ,a feat1    
however1 which has perpetuated his fame 
quite as much  as any other of his      
professional achievements was the       
removing of  the colossal bronze statue 
of ,nero1 which stood in the court of   
the  8,golden ,palace40 ,this difficult 
task he is said to have accomplished    
without changing the erect posture of   
the huge figure1 which1 it will  be     
remembered1 was one hundred and         

twenty-eight feet high1 by the          
assistance of twenty-four elephants4    
,in returning once more to the ,greek   
architects who have been left1  while a 
rather garrulous ramble has been made   
into the architectural  personality of  
,rome1 it may be well not to attempt to 
do so at once1  but to pause for a      
moment1 since we are so far from the    
chronology of  our subject1 while the   
reader makes the acquaintance of two    
,hellenic  artists who1 in the time of  
,quintius ,metellus1 #adg ,b4,c41 found 
professional employment in ,roman       
territory4    ,metellus was one of the  
first ,romans to favor magnificent      
architecture  in his home capitol1 and  
with the booty gathered in his          
,macedonian  campaigns he erected two   
temples in ,rome1 said to have been the 
first  temples built of marble in that  
city1 one of which was dedicated to     
,jupiter ,stator1 and the other to the  
white-armed ,juno4 ,the interiors  were 
profusely ornamented with the works of  

the great ,grecian masters1             
,praxiteles1 ,polycletus and ,dionysius 
figuring largely4    ,the names of the  
architects which ,metellus brought or   
imported from  ,greece for this work    
were ,saurus and ,batrachus1 who may    
possibly have  been ,ionians1 inasmuch  
as they employed the ,ionic order4      
,these temples  were restored in the    
,corinthian style1 under ,augustus1 two 
hundred  years later1 by ,hermodorus of 
,salamis1 who was also the architect of 
the temple of ,mars in the ,flaminian   
,circus4    ,it is told of ,saurus and  
,batrachus that they were so much       
pleased with  their work that they asked
 for no reward other than the privilege 
of  having their names inscribed on the 
temples4 ,but as this honor was  denied 
them1 they resorted to expedient to     
effect the same end4 ,as  the name      
,saurus stood for lizard and ,batrachus 
for frog1 they carved  lizards and frogs
 on the temples1 and were comparatively 
satisfied4 ,a  rather absurd mistake    

occurred in respect to these two temples
 after  they were completed4 ,it seems  
that nothing remained to be done but to 
add the statues of ,jupiter and ,juno to
 each respectively2 but by some  strange
 oversight the figure of ,jupiter was   
erected in the house of  ,juno1 and that
 of ,juno before the shrine of ,jupiter4
 ,however1 as the  two deities were     
rather closely connected by marriage1   
the mistake was  conveniently attributed
 to a whim of the gods and was not      
remedied4    ,illustration3 ,decoration 
,,chapter ,,ix4    ,,the ,,alexandrian  
,,architects4      ,the boldest1 most   
ingenious and original architect who    
found favor in  the sight of ,alexander 
the ,great was undoubtedly ,dinocrates1 
who1 like  his august patron1 was also a
 ,macedonian1 and to whom an allusion   
has  already been made in connection    
with the temple of ,diana at ,ephesus4  
,illustration3 ,,dinocrates ,,before    
,,alexander ,,the ,,great4    ,his very 
introduction into the notice and        

attention of his  distinguished         
fellow-countryman would tend to prove   
that ,dinocrates  was a person of       
expediency1 if nothing else4 ,let       
,vitruvius tell the  story3             
8,dinocrates1 the architect1 relying on 
the powers of his skill  and ingenuity1 
while ,alexander was in the midst of his
 conquests1 set  out from ,macedonia to 
the army1 desirous of gaining the       
commendation  of his sovereign4 ,that   
his introduction to the royal presence  
might  be facilitated1 he obtained      
letters from his countrymen and         
relations  to men of the first rank and 
nobility about the king's person1 by    
whom1 being kindly received1 he besought
 them to take the earliest  opportunity 
of accomplishing his wish4 ,they        
promised fairly1 but were  slow in      
performing1 waiting1 as they alleged1   
for a proper occasion4  ,thinking1      
however1 that they deferred this without
 just grounds1 he  took his own course  
for the object he had in view4 ,he was1 

,i should  state1 a man of tall stature1
 pleasing countenance and altogether of 
dignified appearance4 ,trusting to the  
gifts with which nature had  endowed    
him1 he put off his ordinary clothing1  
and1 having annointed  himself with oil1
 crowned his head with a wreath of      
poplar1 slung a  lion's skin across his 
left shoulder1 and1 carrying a large    
club in his  right hand1 he sallied     
forth to the royal tribunal1 at a period
 when  the king was dispensing justice4 
8,the novelty of his appearance excited 
the attention of the people1  and       
,alexander1 soon discovering with       
astonishment the object of their        
curiosity1 ordered the crowd to make way
 for him1 and demanded to know  who he  
was4 #8,a ,macedonian architect1'       
replied ,dinocrates1 #8who suggests     
schemes and designs worthy your royal   
renown4 ,i propose to form ,mount       
,athos into the statue of a man holding 
a spacious city in his left hand  and in
 his right a huge vase1 into which shall

 be collected all the  streams of the   
mountain1 which shall thence be poured  
into the sea4'    8,alexander1 delighted
 at the proposition1 made immediate     
inquiry if  the soil of the neighborhood
 were of a quality capable of yielding  
sufficient produce for such a state4    
,when1 however1 he found that all  its  
supplies must be furnished by sea1 he   
thus addressed ,dinocrates3  #8,i admire
 the grand outline of your scheme1 and  
am well pleased with  it2 but ,i am of  
opinion he would be much to blame who   
planted a  colony on such a spot4 ,for  
as an infant is nourished by the milk of
  its mother1 depending thereon for its 
progress to maturity1 so a city  depends
 on the fertility of the country        
surrounding it for its riches1  its     
strength in population1 and not less for
 its defence against an  enemy4 ,though 
your plan might be carried into         
execution1 yet ,i think it  impolitic4  
,i nevertheless request your attendance 
upon me1 that ,i may  otherwise avail   

myself of your ingenuity4' ,from that   
time ,dinocrates  was in constant       
attendance on the king1 and followed him
 into ,egypt40    ,vitruvius does not   
explain why it was that ,dinocrates     
singled out the  curious costume1 or    
rather lack of costume1 which he did to 
attract the  attention of ,alexander4   
,it was1 in fact1 the garb of an        
athlete4 ,among  the early ,greeks a    
professional athlete was regarded as a  
person of  social distinction1 and if a 
particularly successful one1 a personage
  to whom a statue might be erected1 or 
upon whom other honors might  be        
conferred4 ,in fact1 the uniform of an  
athlete was1 as a rule1 a  passport to  
the best society4 ,dinocrates           
undoubtedly knew this1 and as  he was   
seeking an entr into the very highest   
court circles1 he took  not an          
extraordinary method of gaining it4     
,mount ,athos1 which the architect      
proposed to take as a basis for  what   
was really to be a gigantic statue of   

,alexander himself1 was a  pyramidal    
mountain1 at the extreme end of the     
,acte peninsula1 having an  altitude of 
#fghj feet1 and crowned with a cap of   
white marble1 which  ,dinocrates        
undoubtedly had in mind to utilize for a
 helmet4 ,the country  surrounding the  
mountain was remarkable for its rural   
beauty1 its  woods and ravines1 and its 
people for their longevity4 ,no wonder  
that  ,alexander did not wish to disturb
 this peaceful neighborhood4            
,alexander ,pope1 who has given us an   
admirable rhymed translation of  the    
songs of ,homer1 seems to have been     
greatly impressed with the              
practicability of this remarkable idea  
of ,dinocrates4 ,spence1 the  author of 
8,polymetis10 was once discussing the   
incident which ,vitruvius  relates with 
,pope1 remarking that he could not see  
how the ,macedonian  architect could    
ever have carried his proposal into     
execution1 when  ,pope at once replied3 
8,for my part1 ,i have long since had an

 idea  how the thing might be done2 and 
if anybody would make me a present  of a
 ,welsh mountain and pay the workmen1 ,i
 would undertake to see it  executed4 ,i
 have quite formed it sometimes in my   
imagination3 the  figure must be in a   
reclining posture1 because of the       
hollowing that  would be necessary1 and 
for the city's being in one hand4 ,it   
should be  a rude1 unequal hill1 and    
might be helped with groves of trees for
 the  eyebrows1 and a wood for the hair4
 ,the natural green turf should be  left
 wherever it would be necessary to      
represent the ground he reclines  on4   
,it should be contrived so that the true
 point of view should be at  a          
considerable distance4 ,when you are    
near it1 it should still have the       
appearance of a rough mountain1 but at a
 proper distance such a rising  should  
be the leg1 and such another an arm4 ,it
 would be best if there  were a river1  
or rather a lake1 at the bottom of it1  
for the rivulet  that came through his  

other hand to tumble down the hill and  
discharge  itself into the sea40        
,mrs4 ,baillie1 in her 8,tour on the    
,continent10 has also a comment to  make
 on this proposition of ,dinocrates and 
recalls the fact that a  somewhat       
similar idea was advanced to ,napoleon  
,i4 8,it is somewhat  singular10 she    
says1 8that ,mr4 ,pope should have      
thought this mad  project practicable1  
but it appears that there are still     
persons who  dream of such extravagant  
and fruitless undertakings4 ,some modern
  ,dinocrates had suggested to          
,bonaparte to have cut from the mountain
  of the ,simplon an immense colossal   
figure1 as a sort of ,genius of  the    
,alps4 ,this was to have been of such   
enormous size that all the  passengers  
should have passed between its legs and 
arms in a zigzag  direction40           
,another ingenious conception is        
attributed to ,dinocrates in respect to 
the temple of ,diana1 which he erected  
in the city of ,alexandria for  ,ptolemy

 ,philadelphus1 in memory of the        
sister-wife of that potentate1  ,arsino4
 ,this relationship1 by the way1 is said
 to have been the first  ever formed1   
although it became quite common later in
 the time of the  ,ptolemies4 ,arsino   
was much beloved by her husband1 who not
 only called  an entire district in     
,egypt1 ,arsinoites1 after her1 but also
 gave  her name to several cities within
 his realm4 ,her features are still     
preserved to us upon coins struck in her
 honor1 and which represent her  crowned
 with a diadem4    ,when ,dinocrates    
received the commission to erect a      
temple to so  highly esteemed and       
devotedly remembered a queen1 he        
apparently set  his ingenuity to work to
 give birth to a novelty that should not
 only  please the king1 but astonish his
 subjects4 ,it finally matured in a     
proposition to roof the proposed temple 
with loadstones1 in order  that they    
might attract into the air an iron      
statue of ,arsino4 ,as the  figure of   

the queen would thus appear suspended in
 the air without  any apparent mundane  
reason1 the inference could be drawn    
that it was  by the divine will4 ,some  
authorities say that the entire inner   
walls  of the temple were to have been  
lined with loadstones1 so that the      
statue might appear suspended in the    
very centre of the cell1 touching       
nothing4 ,fortunately1 both ,dinocrates 
and ,ptolemy died before the  project   
could be executed1 otherwise they might 
have been witnesses  to the miserable   
failure such a chimerical fancy must    
have proved if  attempted1 as any modern
 electrician will attest4    ,when at   
,ectabana with ,alexander1 ,dinocrates  
had still another  opportunity to       
display his resourceless originality1 in
 directing the  obsequies of ,hephstion1
 which were of a most extraordinarily   
elaborate  nature1 costing1 it is       
recorded1 #ab1jjj talents1 or what would
 be  equivalent to over #a1cjj1jjj4     
,hephstion was a ,macedonian and a close

  and warm friend of ,alexander1        
accompanying the young king in a        
military  capacity throughout most of   
his early foreign campaigns4 ,so        
attached  was ,alexander to his friend  
that he not only showed him many marks  
of  his personal esteem1 but bestowed   
upon him in marriage ,drypetis1 the     
sister of his own bride1 ,statira4 ,at  
,ectabana ,hephstion was attacked  by a 
fever which had a fatal termination     
after an illness of seven  days4        
,alexander's grief over the loss of his 
brother-in-law was violent  and extreme1
 and is said to have found vent in the  
most extravagant  demonstrations4 ,he   
ordered general mourning throughout the 
entire  empire1 and ,dinocrates to build
 a funeral pile and monument to him in  
,babylon1 where the body had been       
conveyed from ,ectabana1 at a cost of   
#a1jjj1jjj4    ,but the richest occasion
 afforded ,dinocrates to display to the 
fullest his great talents and genius was
 the laying out of the city  which      

,alexander determined to found in       
,egypt1 and which1 bearing the          
conqueror's name1 was destined to become
 the centre of the commercial  activity 
of the new empire4 ,this great city1    
which rapidly grew to be  one of the    
most populous of ancient times1 and     
which has maintained1 if  not its       
original share of industrial supremacy1 
at least an important  existence        
throughout the ages that have elapsed   
from its nativity  to the present time1 
we cannot resist thinking was probably  
as much  the inspiration of ,alexander's
 favorite architect1 realizing its      
professional possibilities1 as it was   
that of ,alexander himself4 ,pliny      
informs us that ,dinocrates died before 
he could give the city the full         
proportions which he had planned1 but   
not certainly until its principal       
features were executed4    ,strabo1 the 
8squint-eyed0 geographer1 gives a more  
circumstantial  account of the planning 
of the new city by ,dinocrates and his  

powerful  and ambitious patron4 ,it must
 have been indeed an interesting sight  
to see the two ,macedonians upon the    
plane which was selected for the  site  
of the city1 laying out the streets and 
avenues1 marking the run  of the walls  
that were to surround it1 locating the  
different sites  where were to stand the
 public buildings1 parks1 palaces and   
temples1  and perhaps disputing and     
arguing over the questions that arose1  
as two  such dominant intellects might  
very naturally be supposed to do4       
,the basis of the plan were two main    
streets crossing each other at  right   
angles1 each one hundred feet wide and  
lined with colonnades4 ,the  other      
streets were to run parallel to these4  
,near the centre of the  proposed city  
was to be clustered the public          
buildings1 the ,museum and  the ,serna1 
which subsequently contained an         
alabaster coffin in which  rested the   
remains of ,alexander4 ,alabaster1 which
 the ,greeks obtained  from ,thebes1 was

 much used for mortuary purposes1 as    
well as for  columns and statues4       
,plutarch also describes the planning of
 the city as follows3 8,as  chalk-dust  
was lacking1 they laid out their lines  
on the black1 loamy  soil with flour1   
first swinging a circle to enclose a    
wide space1 and  then drawing lines as  
chords of the arc to complete with      
harmonious  proportions1 something like 
the oblong form of a soldier's cape4    
,while the king was congratulating      
himself on this plan1 on a sudden a     
countless number of birds of various    
sorts flew over from the land and  the  
lake in clouds1 and1 settling upon the  
spot1 devoured in a short  time all the 
flour1 so that ,alexander was much      
disturbed in mind at the  omen involved1
 till the augurs restored his confidence
 again1 telling  him the city he was    
planning was destined to be rich in     
resources and a  feeder of the nations  
of men10 a prophecy which proved its    
truth in the  fulfilment4    ,dinocrates

 was not1 however1 the only architect   
employed in laying  out so large a city1
 as might naturally be supposed1        
although he  was1 of course1 the        
governing one4 ,how many more there were
 it would  be difficult to say1 but     
there is record at least of two others1 
both probably employed by the rapacious 
and unscrupulous ,cleomenes1  whom      
,alexander left in ,egypt as hyparch    
under ,ptolemy ,philadelphus4           
,olynthius is the name given of one of  
these architects and ,parmenion  of the 
other4 ,the latter was entrusted more   
particularly with  the superintendency  
of the works of sculpture1 especially in
 the  temple of ,serapis1 which1 by the 
way1 came to be called by his name1     
,pharmenionis4 ,bryaxis is also credited
 with statuary work there4    ,upon the 
island of ,pharos1 which was joined to  
the city of ,alexander  by a wide mole1 
about three-quarters of a mile long1 in 
which were two  bridges over channels   
communicating between the eastern and   

western  harbors1 was built by ,ptolemy 
,soter and his son in the year #bhb     
,b4,c41 a  most famous lighthouse and a 
very glorious ancestor of such guardians
  of the coast as exist to-day4    ,this
 lighthouse was planned by ,sostratus1  
another remarkable character  in the    
architectural roll of honor of those    
early times4 ,he was a  native of       
,cnidus1 a town in ,caria in ,asia      
,minor1 to the south of ,ionia  and     
,lydia1 celebrated also as the          
birthplace of several other men  who    
rose to distinction in the early days of
 the ,greek colonies as  mathematicians 
and astronomers4 ,cnidus was almost     
equally remarkable  in its possession of
 two famous works of the statuary's art3
 one the  figure of a lion carved from a
 single block of ,pentelic marble1 ten  
feet long by six feet wide1 which was   
executed to commemorate the great       
victory of ,caria2 the other a statue of
 ,venus by ,praxiteles1 which  occupied 
one of the three temples to the goddess 

in that city4 ,it is  said that         
,nicomedes of ,bithynia was so          
fascinated by the rare beauty  of this  
figure that he offered to liquidate the 
debt of ,cnidus1 which  was by no means 
a small one1 if the citizens would cede 
the statue to  him4 ,they refused1      
however1 to part with it at any price1  
esteeming  it one of the glories of     
their city4 ,cnidus contained many      
beautiful  architectural monuments1 the 
ruins of which are still prominent4     
,sostratus1 the architect1 was the son  
of ,dexiphanes1 and must not be         
mistaken for any one of several other   
artists of the same name who  are       
conspicuously mentioned by the early    
writers4 ,his first fame was  acquired  
through his connection with the         
celebrated so-called hanging  gardens   
which he built in his native country4   
,they consisted of a  series of porticos
 or colonnades supporting terraces1     
surrounding an  enclosure1 possibly the 
,agora of the city1 and served as a     

promenade  for the inhabitants4 ,pliny  
says that ,sostratus was the first to   
erect  anything of the kind4 ,this      
statement may be excused1 either because
 the  hanging gardens of ,sostratus     
differed widely from the well-known ones
  of ,babylon1 which antedated them by  
several hundred years1 or because       
,pliny forgot for a moment those of     
,semiramis4    ,strabo1 who was probably
 right in his judgment1 thinks that the 
greatest of ,sostratus's works was the  
towering lighthouse at ,pharos1  which  
he built at a cost of about #ijj1jjj1   
although from its size  it would seem   
that it should have cost more4 ,this    
colossal tower at  once took its place  
among the seven wonders of the ancient  
world4 ,it  pierced the sky at a height 
of four hundred and fifty feet1 or about
  one hundred and seventy-five feet     
above the towers of the ,brooklyn       
,bridge and fifty feet above the torch  
with which the ,goddess of  ,liberty    
illuminates the harbor of ,new ,york4   

,but its height alone was  not more     
marvellous than its other proportions1  
which were upon a  most extravagant     
scale4 ,the ground story was hexagonal1 
the sides  alternately convex and       
concave1 and each was one-eighth of a   
mile  in length4 ,the second and third  
stories were each of the same form1     
although decreasing in size2 the fourth 
was square1 flanked by four  round      
towers1 and the fifth or top story was  
circular4 ,a grand  staircase led       
through each story to the roof of the   
building1 where  every night massive    
fires were lighted1 revealing the sea   
for a hundred  miles4    ,when we       
consider that this colossal building was
 made entirely of  wrought stone--when  
we reflect upon the amount of labor     
involved in its  construction1 its      
ponderous size and dizzy altitude--we   
cannot but  marvel at the extraordinary 
breadth of conception manifested by its 
architect and builders and the tenacity 
with which they must have held  to the  

completion of their huge undertaking4   
,it is not to be wondered  at that when 
,sostratus stood off and contemplated   
this mighty product  of his imagination 
and genius1 after its completion1 he    
should have  been actuated with the     
desire to have his name associated with 
it for  all time1 and indelibly engraved
 somewhere upon its imperishable stone4 
,the story is that ,sostratus engraved  
an inscription upon one of the  stones  
which he afterward covered with cement1 
and on the cement he  inscribed the name
 of ,ptolemy1 knowing that in time the  
cement would  decay and leave exposed   
the hidden writing upon the stone       
beneath4  ,strabo says that the         
concealed inscription read3             
8,,sostratus1 ,,the ,,friend  ,,of      
,,kings1 ,,made ,,me20 but ,lucien gives
 it differently1 thus3 8,,sostratus     
,,of ,,cnidus1 ,,the ,,son ,,of         
,,dexiphanes that he might not be       
mistaken for any  other ,sostratus1     
doubtless1 ,,to ,,the ,,gods ,,the      

,,saviors ,,for ,,the ,,safety ,,of     
,,mariners40    ,pliny does not share   
the opinion that the inscription was a  
concealed  one1 but speaks of the       
incident as a special instance of the   
magnanimity of ,ptolemy1 that he should 
not only have allowed the name  of the  
architect to be inscribed upon the      
building1 but that he should  have also 
left its nature and language to the     
discretion of ,sostratus4  ,the words   
8,gods the ,saviors10 he believes1      
referred to the reigning  king and      
queen1 with their successors1 who were  
ambitious of the title  8,soteros0 or   
,savior4    ,it would be unfair1        
perhaps1 to the great ,grecian          
architects of the  time of ,alexander if
 ,andronicus ,cyrrhestes were to be     
classed among  them1 and ,cyrrhestes    
also1 having been a scientific character
 with  a leaning toward astronomy1 might
 with some justice feel aggrieved  were 
he to know that he was to be considered 
in a category of  professional men to   

which his calling was in no degree      
related4 ,still  the little building    
which he designed and erected in ,athens
 is such an  interesting one1 and has   
always held so prominent a place among  
the  architectural treasures of the     
,attic city1 that it might be regarded  
as  an intentional oversight to leave   
him out in a book of this kind4 ,some   
authorities place this building as      
belonging to the time of ,alexander  the
 ,great1 others believe that it was     
erected at a later period1 and  one     
writer gives ,andronicus an existence as
 late as #ajj ,b4,c4    ,this building1 
which ,delambre speaks of as 8the most  
curious existing  monument of the       
practical gnomonics of antiquity10 has  
sometimes been  called the 8,tower of   
olus40 ,let us see what ,vitruvius has  
to say  regarding the winds and the     
building3 8,some have chosen to reckon  
only  four winds3 the ,east1 blowing    
from the equinoctial sunrise2 the       
,south1  from the noonday sun2 the      

,west1 from the equinoctial sun-setting2
 and  the ,north1 from the ,polar       
,stars4 ,but those who are more exact   
have  reckoned eight winds1 particularly
 ,andronicus ,cyrrhestes1 who on this   
system erected an octagon marble tower  
at ,athens1 and on every side of  the   
octagon he has wrought a figure in      
relievo1 representing the wind  which   
blew against that side2 the top of this 
tower he finished with  a conical       
marble1 on which he placed a brazen     
,triton1 holding a wand  in his hand2   
this ,triton is so contrived that he    
turns with the wind1  and always stops  
when he directly faces it1 pointing his 
wand over the  figure of the wind at    
that time blowing40    ,it is in        
connection with his allusion to the     
tower of ,cyrrhestes1  and his          
description of how to construct a       
sun-dial1 that ,vitruvius  gives some   
valuable hints as to the way the        
ancients laid out a city  so that its   
streets were protected from the         

prevailing winds4 ,he  says3 8,let a    
marble slab be fixed level in the centre
 of the space  enclosed by the walls1 or
 let the ground be smoothed or levelled1
 so  that the slab may not be necessary4
 ,in the centre of this plane1  for the 
purpose of marking the shadow correctly1
 a brazen gnomon  must be erected4 ,the 
shadow cast by the gnomon is to be      
marked about  the fifth ante-meridional 
hour1 and the extreme point of the      
shadow  accurately determined4 ,from the
 central point of the space whereon the 
gnomon stands1 as a centre1 with a      
distance equal to the length of  the    
shadow just observed1 describe a circle4
 ,after the sun has passed  the meridian
 watch the shadow which the gnomon      
continues to cast till  the moment when 
its extremity again touches the circle  
which has been  described4 ,from the two
 points thus obtained in the            
circumference of  the circle describe   
two arcs intersecting each other1 and   
through  their intersection and the     

centre of the circle first described    
draw  a line to its extremity3 this line
 will indicate the north and south      
points4 ,one-sixteenth part of the      
circumference of the whole circle  is to
 be set out to the right and left of the
 north and south points1  and drawing   
lines from the points thus obtained to  
the centre of the  circle1 we have      
one-eighth part of the circumference for
 the region  of the north1 and another  
eighth part for the region of the south4
  ,divide the remainders of the         
circumference on each side into three   
equal parts1 and the divisions or       
regions of the eight winds will  be     
obtained2 then let the directions of the
 streets and lanes be  determined by the
 tendency of the lines which separate   
the different  regions of the winds4    
,thus will their force be broken and    
turned away  from the houses and public 
ways2 for if the directions of the      
streets  be parallel to those of the    
winds1 the latter will rush through them

  with greater violence1 since from     
occupying the whole space of the        
surrounding country they will be forced 
up through a narrow pass4  ,streets or  
public ways ought therefore to be so set
 out that when the  winds blow hard     
their violence may be broken against the
 angles of the  different divisions of  
the city1 and thus dissipated40    ,this
 tower still stands a fairly            
well-preserved ruin1 and retains many   
of its original architectural features  
and decorations4 ,there are  two        
entrances through distyle porticos1 the 
capitals of the columns  presenting an  
original treatment of the ,corinthian   
order4 ,one of these  entrances is on   
the northeast side and the other on the 
southwest4 ,on  the south side is a     
circular apsidical projection4 ,this was
 probably  originally used for a        
reservoir to hold the water brought from
 the  spring ,clepsydra1 on the         
northwest of the ,acropolis1 which was  
employed  as the power to run a         

clepsydra1 or water-clock1 taking its   
name1  as may be inferred1 from the     
spring4 ,the remains of this clock are  
still visible4 ,the exterior of the     
building was also arranged as a         
sun-clock1 having lines engraved upon   
the different sides1 with gnomons  above
 them1 forming a series of sun-dials    
which indicated the time by  shadows4   
,thus were the people of ,athens kept   
publicly posted as to the  time of      
day--by the sun when it shone1 or by the
 water-clock when it was  obscured by   
clouds4    ,the character of the        
architecture1 the proportions of the    
building1 as  well as its secular uses1 
were all quite out of harmony with      
,grecian  art and methods1 and are      
essentially ,roman4 ,as a similar       
structure  existed at one time in ,rome1
 supposed to have been built by the same
  scientist1 the thought is naturally   
suggested that ,cyrrhestes may have     
been a ,roman4    ,in closing this      
reference to the prominent architects of

 the  disintegrating period of ,grecian 
history1 it would seem that it only     
remains to recall ,philo1 or ,philon1 as
 some of the writers have  preferred to 
call him1 once more1 who flourished     
about #cah ,b4,c4 ,as  there were       
several artists of his name who became  
conspicuous at about  the same time1 our
 ,philo will be distinguished from the  
others in being  a native ,athenian4    
,the reader will probably remember that 
he has been already mentioned  as the   
architect employed by ,demetrius        
,phalerus1 to build a portico of  twelve
 ,doric columns to the great temple of  
,ceres and ,proserpine at  ,eleusis1    
originally erected by ,ictinus2 but his 
most ambitious work  was probably the   
armory1 so called1 which he designed for
 ,lycurgus in  the ,pirus1 and which it 
is said was large enough to contain the 
arms  for one thousand ships4 ,he was   
also engaged in enlarging the port of   
,pirus1 and was the architect of the    
white marble theatre at ,athens1  which 

was finished by ,ariobarzanes1 and many 
years afterward rebuilt by  ,hadrian4   
,vitruvius says that he also designed a 
number of ,greek temples4    ,philo must
 have been a man of considerable        
versatility1 for it is  related that in 
giving an account of his work at ,pirus 
8he expressed  himself with such        
precision1 purity and eloquence that the
 ,athenian  people--excellent judges of 
those matters--pronounced him equally a 
fluent orator and an admirable          
architect40 ,he wrote also several works
  on the architecture of temples and one
 on the naval basin which he            
constructed in the ,athenian port4      
,,the ,,end4          ,,index ,,of      
,,architects ,,and ,,architectural      
,,sculptors4        acus1 #bg           
,agamedes1 #db1 #fc      ,agnaptus1 #hi 
,antimachides1 #hj      ,antiphilus1 #hi
      ,antistates1 #hj                  
,apollodorus1 #ai1 #aeh      ,athenis1  
#hg        ,batrachus1 #afb             
,bryaxis1 #adj1 #ade1 #agd              

,bupalus1 #hg        ,calleschros1 #hj  
,callicrates1 #aje1 #aad                
,callimachus1 #ec1 #eh      ,calos 7see 
,perdix74      ,cannia1 ,luigi1 #hb     
,celer1 #aee      ,chersiphron1 #ch     
,cletas1 #acc      ,corbus1 #abc        
,cossutius1 #ha      ,ctesiphon1 #fh    
,cyrrhestes1 ,andronicus1 #agh          
,ddalus1 #cj      ,damophilus1 #hf      
,daphnis1 #gd1 #gg      ,demetrius1 #gd1
 #gg      ,detrianus1 #ai1 #afj         
,dibutades1 #cg      ,dinocrates1 #ai1  
#gf1 #afd        ,eupolinus1 #acc       
,eurycles1 #hi        ,gaudentius       
7,note71 #ag      ,gitiadas1 #da        
,gorgasus1 #hf        ,hermocreon1 #hi  
,hermodorus1 #afc      ,hermogenes1 #ee 
,hermon1 #hi      ,hippodamus1 #aje     
,icarus1 #cb      ,ictinus1 #ai1 #ajg1  
#aad1 #abc        ,lacrates1 #hi        
,leochares1 #adj1 #adf      ,libon1 #hb1
 #hd        ,megacles1 #hi              
,menalippus1 #abg      ,metagenes1 #fh1 
#abd      ,mnesicles1 #ai1 #aab1 #abh   
,mutianus1 #gf      ,myrilla1           

,democopus1 #acc        ,olynthius1 #agc
        ,parmenion1 #agc      ,peonius1 
#gd1 #gg      ,perdix1 #ca1 #cf         
,phileus1 #adj      ,phidias1 #ac1 #he1 
#ij1 #ih1 #aae1 #aca      ,philo1 #abc1 
#ahb      ,philocles1 #aba              
,polycletus1 #ac1 #aca      ,polycritus1
 #cg      ,porinus1 #hj      ,pothus1   
#hi      ,praxiteles1 #ac1 #gd1 #acf1   
#add      ,pteras1 #cg      ,pyrrhus1   
#hi      ,pytheus1 #eg        ,rhcus1   
#ai1 #ch        ,satyrus1 #adj          
,saurus1 #afb      ,scopas1 #eh1 #gd1   
#acf      ,severus1 #aee      ,silenus1 
#acc      ,smilis1 #ch      ,sostratus1 
#agd      ,spintharus1 #fe              
,stallius1 ,caius1 #abg      ,stallius1 
,marius1 #abg        ,talos 7see        
,perdix74      ,tarchesius1 #eg         
,theodorus1 #ai1 #ch1 #gj               
,timotheus1 #adj1 #adf      ,trophonius1
 #db1 #fc        ,vitruvius1 #bj1 #di1  
#fh1 #ga1 #gi1 #hc1 #afd1 #agj          
,transcriber's ,notes      pg #be       
,changed3 ,the ,cyclopses1 who belonged 

to ,pelasgic times               to3    
,the ,cyclopes1 who belonged to         
,pelasgic times      pg #ia ,changed3   
breaking out of the ,poloponnesian war  
to3 breaking out of the ,peloponnesian  
war      pg #aje ,changed3 ,hippodamus  
was one of the genuises of his day      
to3 ,hippodamus was one of the geniuses 
of his day      pg #aac ,changed3 and   
which yas called ,splanchnoptes         
to3 and which was called ,splanchnoptes 
pg #afa ,changed3 his professional      
acchievements was the removing          
to3 his professional achievements was   
the removing      pg #agb ,changed3     
which the ,greks obtained from ,thebes  
to3 which the ,greeks obtained from     
,thebes