the snowy ridges of Kyllene: Gerania, | beams, some of which exist at the the mountain of the isthmus: Kerata western end. Within was the cella, above Megara: and the summit of Kitharon, to the left of Phyle. Dr. Wordsworth has sketched the northern portion of this view: "The site of the Parthenon is the highest point in Athens. It is also the centre of the Acropolis, as the Acropolis was of Athens. Looking northward from it, the city, and beyond it the plain of Athens, formed into a great peninsula by mountains, lay before the view of the ancient Athenians. The eye having been thus sated with the splendour of the objects in the city below it, might raise itself gradually, and, passing northward over corn-fields and vineyards, farms and villages, such as Colonus or Acharnæ, might at last repose upon some sequestered object on the distant hills, upon the deep pass of Phyle, or the solitary towers of Deceleia. Then, too, there were appropriate living objects to enliven such a scene. There would be rural sights, such as Aristophanes describes of husbandmen issuing out into the fields, with their iron implements of agriculture shining in the sun, at the conclusion of a long war: perhaps a festal procession might just be losing itself in a distant grove. All this has now disappeared, and there is nothing of the kind in its place. Now, from this point, here and there a solitary Albanian peasant is seen following his mule, laden with wood along the road into the town; and the most cheerful sight in the plain before us, is that of the thick wood of olives still growing on the site of the Academy toward the left, which looks now like a silver sea rippling in the autumnal breeze." Within the peristyles is an ambulatory about 9 ft. wide on the flanks and 11 at the fronts, which passes entirely round the building. The ceiling of this part was formed of a double row of panels, about 4 ft. square, along the flanks. At the ends, where the ambulatory was broader, the ceiling was supported by the intervention of marble or onkós. It was divided into two unequal parts by a transverse wall, The eastern part was the Naos, or temple in the peculiar and restricted sense, where was the statue of the goddess. It was approached by a porch, called the Pronaos, between the antæ which terminate the lateral walls of the cella, and had a row of six columns in front, of which the diameter was 5 ft. 5 in. The height of these was 33 ft., and they stood on a stylobate of two steps, the upper of which coincided with the floor of the cella. The Pronaos formed a vestibule, about 12 ft. by 60, in front of the gate. The walls were covered with paintings, and it was separated from the peristyle by a railing of bronze or other metal. We may be satisfied that the gate was also of bronze, and that the jambs or margins were of the same material. This gate having been removed to make way for the apse of the church into which the Parthenon was converted, was dedicated to Sta. Sophia. Of the columns, only one is standing at its full height; the rest were no doubt thrown down by the explosion in 1687. The Naos is 98 ft. in length, and 63 wide, within the walls. In inscriptions found at Athens it is sometimes called the Hecatompedon, and with the addition of the thickness of the wall which divided it from the Opisthodomus it was exactly 100 Greek feet in length. Its disposition can now be traced, the mosque which formerly stood there having been removed. Within the Naos, against the eastern wall, and on either side of the door, are antæ; and it appears from indications on the pavement, as well as other authorities, that ranging with these two antæ stood rows of 10 Doric columns on either side, 3 ft. 8 in. in diameter, with 16 flutes (the more usual number is 20); and 14 ft. from the western wall of the Naos these columns were connected by 3 others; thus forming 3 sides of a quadrangle. The pavement in the space surrounded by these columns is a little lower than the rest of the naos, and forms a sort of im pluvium. These columns, together | equal to that of about 10,000l.-so with the whole of the central building and the adjoining columns of the peristyle, were thrown down by the explosion of a magazine of gunpowder, ignited by the Venetian bombardment in 1687. Batteries were then placed on the top of Lycabettus and other commanding situations, but the shot which did that ruthless and irreparable injury was fired, according to Fanelli, from a battery placed near the monument of Lysicrates. Wheler and Spon had thus described the interior of the building before that event; but we should observe that a new entrance door for the use of the church, which had been built in the Naos, had been pierced through the wall of separation between it and the Opisthodomus. "On both sides and towards the door, is a kind of gallery made with two ranks of pillars, 22 below and 23 above-the odd column was over the arch of entrance which was left for the passage." This description agrecs perfectly with the plan derived from the traces on the pavement. On each side were ten columns, and three on the western return. The central column in the lower rank at the end had been removed, and the "arch of entrance substituted for it. Wheler's words moreover, "a kind of gallery," show that, like the temple at Pæstum, there was merely an architrave supporting the upper range of columns, and not a real gallery. Near the extremity of what we have called the impluvium, and about 14 ft. from the western columns, is a space covered with Piräic stone, and not marble, like the rest of the pavement. It has been usually supposed that this was the foundation on which the statue of Minerva rested. There is a hole in the centre into which probably a mast was inserted. This colossal statue was, with the exception of that of Jupiter at Olympia (also by Phidias) the most celebrated of antiquity. It was called the Chryselephantine, because ivory was employed for all the parts which were undraped. The dress and other ornaments were of solid gold, of a weight contrived by Phidias, that the whole could be removed, if ever required by the exigencies of the State. It is said that an accusation was brought against the sculptor of having embezzled part of the gold intrusted to him, which he refuted by having it taken off and weighed in the presence of his accusers. The gold was finally plundered, as has been said, by Lachares, who made himself tyrant of Athens about B.C. 300. On the pedestal was sculptured the birth of Pandora, and 20 of the gods in their infancy. The height of the statue was 26 cubits—394 English feet. It was clothed with the ægis, and a robe reaching to the feet, with a Medusa's head in ivory on the breast. At the feet lay a shield, bearing on the convex side the battle of the Athenians and Amazons, and on the concave the strife of the gods and giants; on the sandals was carved that of the Centaurs and Lapitha. The goddess bore a helmet surmounted by a sphinx, with griffins in relief on each side. A spear was in her left hand, and a serpent near the butt end of the spear sought refuge under the shield. Pliny, in his description of the statue, says, "Periti mirantur et serpentem ac sub ipsâ cuspide æreum sphingem." What was most remarkable in this statue was an image of Victory four cubits high, which stood on the outstretched right hand of the goddess. A metal railing, of which some traces remain on the pavement, surrounded the statue. At Olympia, Pausanias mentions a receptacle of oil, formed of black stone surmounted by a raised rim of Parian marble. The oil was used to prevent the ivory being impaired by the moisture of the place, and he tells us that in the Acropolis at Athens, owing to the dryness of this situation, water and its exhalation was used instead. It has been suggested that the depression which we find in the central part of the Naos was intended to retain the water so required, but this could not have been the case, as owing to the convexity of the pavement of the temple, in which the Naos partakes, the water would Supposing an hypethrum to have existed in the Parthenon, there is but one situation in which it can be placed. In the Olympian temple, which we may presume to have resembled the Parthenon in its interior arrangement, having been contemporary, similar in its general construction, and enclosing a chryselephantine statue made by the same great artist, the statue was under cover. It is inconceivable, indeed, that such exquisite works, as these of Phidias, should have been left open to the sky, or defended only by a horizontal awning.”—Leake, p. 563. no windows in the walls; and consequently the light was admitted either through some opening in the roof, or through the door alone. The latter appears to have been the case in smaller temples, which could obtain sufficient light from the open door; but larger temples must necessarily have been in comparative darkness, if they received light from no other quarter. And although the temple was the abode of the deity, and not a place of meeting, yet it is impossible to believe that the Greeks left in comparative darkness the beautiful paintings and statues with which they decorated the interior of their temples. We have, moreover, express evidence that light was admitted into temples through the roof. This appears to have been done in two ways, either by windows or openings in the tiles of the roof, or by leaving a large part of the latter open to the sky. The former was the case in the temple of Eleusis. There can be little doubt that the naos or eastern chamber of the Parthenon must have obtained its light in one or other of these ways. If the Parthenon was really hypothral, we must place the opening to the sky between the statue and the eastern door, since we cannot suppose that such an exquisite work as the chryselephantine statue of Athena was not protected by a covered roof."-Smith's Dict. "The tiles of the Parthenon (and I believe of the Greek temples generally) were formed of Parian marble. As this material does not seem to stand the weather so well as the Pentelic, the question occurs why it should have "There has been a great contro- been used for this purpose at Athens. versy among modern scholars as to... May we suppose that the remarkwhether any part of the roof of the ably transparent quality of the Parian eastern chamber of the Parthenon was marble led to its adoption? For we hypæthral, or pierced with an opening may readily believe that sufficient to the sky. Most English writers, light would be refracted through these following Stuart, had arrived at a con- tiles to light the void space between clusion in the affirmative; but the dis- the external roof and the ceiling, or cussion has been recently reopened in even to aid in some degree in lighting Germany, and it seems impossible to the naos of a temple which had no arrive at any definite conclusion upon hypæethral apertures, or where these the subject. We know that, as a were small."-Princip. Athen. Archit., general rule, the Grecian temples had | p. 46. Mr. Fergusson, in his 'Principles of Beauty in Art' (p. 387), has given a new and very plausible theory respecting the hypethral openings, to which, as to the work in general, the reader may be referred with great advantage. The inner walls of the cella were decorated with paintings; those of the Pronaos were partly painted by Protogenes of Caunus; in the Naos, according to Pausanias, was a portrait of Themistocles, and another of Heliodorus. The names of the separate divisions of the temple have been chiefly made out from various official records of the treasurers of the Parthenon inscribed upon marble, containing accounts of the various valuables preserved in the temple. (Böckh, Corpus Inscript. 137-142, &c.). From these it is quite clear that the Pronaos was the eastern porch, and the Hecatompedon the naos or great eastern chamber. Respecting the Parthenon in its restricted sense, and the Opisthodomus, there has been considerable doubt. Leake (p. 560) supposes the Parthenon to have been the western part of the eastern chamber, containing the statue of the goddess, and separated from the rest by a barrier. And certainly we should naturally expect that the part which contained the "Athena Parthenos should be the Parthenon:" but the portion of the temple thus called (see Smith's Dict.) was used in the time of the Peloponnesian war as the public treasury, containing bullion and miscellaneous articles, whilst the Hecatompedon only contained such treasures as would serve the purpose of ornament: and this seems to connect the name Parthenon with the smaller or western chamber, generally called the Opisthodomus. (See the woodcut representing the plan of the temple.) The Posticum was the porch at the western end of the cella, similar to the Pronaos in almost all respects. The columns, however, were for some reason rather greater in diameter (these being 5.632 ft., whilst those of the Pronaos were only 5402). There are evident traces both on the columns and antæ of the grillage which separated the posticum from the ambulatory. This grating reached to the ceiling, and entirely protected the many valuable objects within the porch. The chief treasury, however, was the Opisthodomus or western chamber into which this porch leads. The head of the doorway is formed of marble lintels, nearly 27 ft. long, much calcined by a fire which was produced by the explosion in 1687. On the pavement are circular channels provided for the doors to traverse in. The height of this doorway was 33 ft., and the width about 16. In the centre of the chamber are four large slabs in the pavement, upon which the columns rested that carried the ceiling and roof. The ceiling was no doubt supported, as in the Propylæa, by huge marble beams resting on these columns. The latter appear to have been about 4 ft. in diameter, and were probably of the Ionic order. There was no opening between this chamber and the Naos. Upon the walls are remains of paintings, of a medieval character, which have led some travellers to assign a late origin to the more delicate traces of ancient colouring found upon some of the architectural fragments. At the S.W. corner of this chamber is a staircase, which was made by the Turks to lead to a minaret built over that part. At present it gives access to the top of the walls. The Opisthodomus is 63 ft. broad, and 44 from E. to W. The exact measurements of the Parthenon are: Front, on the upper step. Flank English feet. 101 341 228 141 Length of the cella on the upper step. 193-733 Breadth of the cella on the upper step, 71.330 measured in the Opisthodomus Length of the Naos within the walls 98.095 Breadth of the Naos within the walls. Length of the Opisthodomus within the walls. 63.01 43.767 Diameter of the columns of the Peristyle. Their height For further particulars the reader is referred to the Investigation of the Principles of Athenian Architecture.' After the Chryselephantine statue the principal sculptures were those of the aerol, or pediments; consisting of statues finished all round, of various sizes, the largest being about 11 ft. high. There was sufficient space behind the figures to pass between them and the tympanum wall. In his description Pausanias merely says, "As one enters the temple that they call the Parthenon (i.e. on the E.) the sculpture in the aetos all has reference to the birth of Athênê; that at the back (the W. front) is the quarrel of Poseidon with Athênê about the country." The authorities from which the details of these compositions may be collected are the Elgin marbles in the British Museum, a few fragments since discovered, and drawings made in 1674 by Jacques Carrey, who accompanied the Marquis of Nointel, ambassador of France to Constantinople. Of the eastern pediment, of which the actual remains are most nearly complete, we know the least; for the whole of the centre, about 35 ft., had been destroyed before Carrey's time. Those which remain represent Hyperion, or Day, rising in the S. corner. Next came the figure of ten called Theseus, otherwise Hercules, but named Cephalus by Bröndsted, whose account of the sculptures of the eastern pediment we shall follow. Then the Seasons; after these the gap which can only be filled up conjecturally. ." Dans le fronton oriental, Jupiter était assis sur son trône, au centre de l'univers, entre le Jour et la Nuit, entouré des divinités généthliques du sort, c'est à dire des trois Heures (Saisons) et des trois Parques avec la Fortune Bienveillante ('Ayah Túxn) et des divinités qui président aux accouchemens-Aphrodite-Uranie, et Ilithye, Hephaestus et Prométhée, Arés et Hermes. Le père tout-puissant des dieux venait d'enfanter de sa tête la fille divine, qui s'élançait dans les airs, brillante de ses armes d'or: miracle suprême de la création, elle planait au dessus de son père assis, s'élevant vers le sommet du fronton After the gap came the draped torso called in the above quotation Fortune; then the Fates; and in the extremity of the pediment to the N. the car of Night going down. Three horses' heads, two belonging to the chariot of the Day, and one to that of Night, remain in their places. We have better means of judging of the western sculptures. Very little remains, but Carrey has preserved nearly the whole composition. Much has been written respecting the identification of particular figures. In the names now attributed, Leake and Mr. W. Walkiss Lloyd (Classical Mus. XVIII.) have been chiefly followed. There can be no question as to the main action. This represents the rival deities in the middle of the pediment, Poseidon on the S., and Athênê on the N.; true to the relative positions of sea and land-the former with his weight thrown a little back towards the S., as though commencing to yield a little ground; the latter leaning a little forwards towards the N., and about to advance across his path; and thus, while the expression of actual collision is avoided, that of an advantage obtained is clearly rendered. The figure of Poseidon is nude, and more than 11 ft. high; that of Athênê is draped, and not much less in height. In their action they cross each other, and contrast with astonishing vigour with the regular lines of the architecture. On the extreme 1. was the recumbent figure of the river-god Kephissus. (This figure used to be called Ilissus: Leake calls it Cranaus; but Mr. Lloyd, with more probability, gives it the name of Kephissus.) Then are Cecrops and Aglauros, the two mutilated figures still in situ. Next are a group, consisting of attendants on Athênê, Pandrosos, Herse, and others, and a female figure driving a chariot. Behind the chariot was Erechtheus. The horses' heads were close to the raised right hand of Minerva. On Poseidon's left, i. e. southwards, was Amphitrite seated in a chariot drawn by sea-horses, with a dolphin at her feet: Thetis stood behind the chariot. Then came a group of four goddesses attendant on Neptune, the first having a child on |