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''THE
ANTIQUITIES OF ATHENS
AND OTHER
MONUMENTS OF GREECE
AS MEASURED AND DELINEATED BY
4
J. aves! STUART, E.R.S. F.S.A., anp NICHOLAS REVETT, :
ae
PAINTERS AND ARCHITECTS, &
SEVENTY-ONE PLATES.
THIRD EDITION, WITH ADDITIONS.
LONDON:
HENRY G. BOHN, YORK STREET, COVENT GARDEN.
MDCCOLVIII.
''Add to Libs
GIFT
LONDON:
Printed by G. BarcLay, Castle St. Leicester Sq.
''NA 280
67
[ide
PREFACE TO THE SECOND EDITION.
BA “/ ye E have not been disappointed in our
AAV? expectation that this little work would
\ make its way. Independently of all
other considerations, it appeared that some such
manual was really wanted, not only for popular
information, but for ready and convenient refer-
ence, in circumstances and situations where the
voluminous or costly publications which relate to
the general subject must be altogether unattainable.
A steadily increasing sale has justified our anticipa-
tions, and at the same time enabled us in a new
edition to improve on the execution of the former.
The anxiety to compress had led to the exclusion
of matter not merely interesting but instructive, and
a somewhat extended reference to original authorities
- 806
''lv PREFACE.
has supplied materials which were before, either not.
easily accessible, or passed over in the uncertainties
of a first experiment. Few corrections have been
found necessary, but considerable additions have been
made throughout: greater scope has been given to
description and explanation: where deficiencies have
been detected, the requisite details are supplied :—it
has, in brief, been our endeavour to render the body
of information ample and complete for all usual pur-
poses, whether practical or popular.
''a
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=
On Oe a eee
LIST OF PLATES.
Tue Acropouis (Restored,) Eastern Aspect.
—-— Northern Aspect.
Gate OF THE Agora, or Doric Portico.
———— Capital and Entablature.
Ionic TEMPLE ON THE Ixissus, Portico.
———— Capital, Base, and Entablature
—— One of the Antz.
TowWER OF THE WINDS, Plan.
Elevation.
———— One of the Porticos.
——_—— Exterior Cornice.
CxHoragic Monument or Lysicratss, Elevation.
————- Plan.
Entablature and exterior of Capital.
Flower or crowning Ornament.
Sections of Roof, Cupola, Helix or Scroll, and
examples of the Vitruvian Scroll.
———— Plan of the Capital.
''vi
LIST OF PLATES.
18. THe PantHEon oF Hapriay, Plan.
19. — Half the elevation of.
20. ———— Capital and Entablature of the Columns.
21. ———— Base and Pediment of the Columns.
22, Plan and angular View of the Capital.
23. THE PARTHENON, Plan.
24, Elevation.
25. Side-view.
26. Capital and Entablature of the Columns of the
Portico.
27. Capital, &c. of the Pronaos and Posticum.
28. Pediments of East and West Front.
29. THe ErEecuTHevm, Perspective View.
30. Plan of the Temple.
31. ——-—— Entablature, &c. of Portico.
32. Doorway to the Tetrastyle Portico.
32 bis. Part of the Doorway.
33. ——-—— Elevation, showing Hexastyle Portico.
34. ——-—— Base, Capital, and Entablature of the same.
35. Plan of the same in reverse.
36. Capital and Base of Western Columns.
37. Section of the Interior of Western Wall.
38. Details of the Entablature, &c. of the Portico
of the Caryatides.
39. Capital of Ante of Portico, and Section of
Ceiling. ;
40. OpEvUM or Reema, or Theatre of Herodes Atticus.
41.
42.
CHoracic MonumMENT of THRASYLLUS, Plan and Eleva-
tion.
—— Details of Entablature and Capital.
''
43.
44,
45.
46.
47.
48.
49.
50.
51.
52.
53.
54,
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
LIST OF PLATES. Vil
Tur Propyima, Plan.
—— Elevation.
——— Capital, &c. of the Central Portico.
——— Entablature and Capital of one of the Antz of
the Temple of Victory.
— Profile of the Capital of Central Portico and
section of Annulets and Capital of Antz.
Tuer TEMPLE oF THESEUS, Plan.
——-— Elevation of Eastern Front.
Sections of Temple and Eastern Portico. '
Section of Entablature of Portico, &e.
——— Entablature and Capital of the Columns of the
Fagade.
—— Details of the Capital, Annulets, and Flutings.
TEMPLE OF JUPITER OLympus, Plan.
Tue ArcH or HapriAn, Ground Plan.
Elevation of South-Eastern Front.
— —— Entablature, Capital, and Base of Lower Ante.
Entablature of Upper Columns.
—— Capital and Base of Pilasters of the Upper
Range, Section of Capital, &c.
Aquepbuct or Haprian ; Plan, &c.
Base, Capital, and Entablature.
MonvuMEnt oF Putiopappus, Plans and Section.
Elevation of the Front.
—— Capital and Entablature of one of the Pi-
lasters.
TEMPLE AT CoRINTH, Plan and Flank Elevation.
Tue IncantapA, Plan, Elevation, and Section.
— Entablature, and Capital of the Colonnade.
''Vill LIST OF PLATES.
68. Tur Istanp or DEtos; Doric Columns, and Portico of
Philip.
69. —-——— Entablature, Capital, and Shaft of the Temple
of Apollo.
70. ——-—— same of the Portico of Philip.
WRvan.
''THE
ANTIQUITIES OF ATHENS.
INTRODUCTION.
ception, Athens is peer-
less among the existing
monuments of the ancient
civilised world. The ruins
of Rome may be more gor-
geous; of Babylon, more
ey mysterious ; of Persepolis, more romantic ;
gS of the Egyptian Thebes, more vast; but in
a all that is mteresting to thought and feel-
ing,—in memories and associations, deep,
affecting, sublime, Athens transcends them all. The
beauty of her landscape—the brightness of her sky
—her olive-groves—her mountains,—
“ The gulf, the rock of Salamis ;”—
''2 INTRODUCTION.
these still adorn that famous plain of which the
Athenian Acropolis is the centre and the crown. Yet
these are not the attractions which bring the scholar
and the artist to these fair regions: lovely as the
face of Nature is, there are still more impressive
objects of admiration, in the glorious wreck of those
master-works which have made the City of Minerva
the wonder of all ages.
It is most unfortunate that the annals of Art
should so rarely commemorate its encouragement and
conservation, and so commonly tell the story of neglect
and destruction. The history of Athens, where Art
was carried forward by men such as the world has
not since owned, from the simple and severe forms of
its earlier efforts to the perfect combination of highest
and purest elements, shows no exception to the uni-
versal rule. The two great devastators, time and
the conqueror, have done their work upon the noblest
monuments of human genius; yet those unrivalled
constructions which, in their finished beauty and
grandeur, were the pride and marvel of antiquity,
might have remained nearly entire, but for the per-
severing encroachment of domestic and dilettante de-
predation. The accidents of war, the conflagration,
and the explosion, may have, once in a century,
shattered a temple; but the dilapidator has never
''INTRODUCTION. 3
ceased. From Sylla who exported an entire colonnade,
and Mummius who sent off by ship-loads the trea-
sures of Grecian Art, to the Voivode who worked
friezes and inscriptions into the walls of the citadel
or of his own house, the mason who breaks down
some exquisitely-carved marble into cement, and the
amateur who purchases or purloins whatever may be
of convenient portage,—from the wholesale to the
retail plunderer, all have made the curious and the
precious things of Greece their prey. Nor, so far
as the virtuosi are concerned, can we regret or con-
demn the theft, for they have removed their spoil
from situations where it was exposed to neglect or
mutilation ; they have brought within our reach models
of an excellence until then unknown ; they have con-
tributed essentially to the increase of knowledge, and
to the refinement of the public taste.
The course of spoliation would furnish the subject
of an interesting dissertation: the limits of this Intro-
duction allow of but a passing reference. The Persian
invader consigned to indiscriminate destruction all that
was not given up to him with the most abject sub-
mission. Cities and temples, villages and olive-groves,
were burnt or demolished. But these ravages were
repaired: few and obscure are the indications that
can now be traced of these remoter visitations. The
''A INTRODUCTION.
domestic wars of Greece, wretched and suicidal as they
were, left the sanctuaries of the gods and the con-
secrated works of Art untouched. The Roman con-
quest swept from both European and Asiatic Greece
many of the finest productions of the sculptor and
the painter, yet, with few exceptions, there was little
wanton damage inflicted; and, in later times, the
Cesars seem to have taken a pride in extending their
patronage to their Helladic dependencies. Caligula
and Nero were exceptions to this humane and en-
lightened character ; the first from insane vanity, the
latter from something like taste, made large demands
on the remaining treasures of Art. The iconoclastic
propensities of some of the Christian emperors made
fearful havoc among temples and idols; nor can the
formidable imroads of Alaric the Goth and Genseric
the Vandal be omitted, even in this hasty recapitula-
tion of the disasters by which Greece was irretrievably
despoiled of her best possessions. The Crusades were
another source of evil; and the Turkish conquest
completed what the long train of previous inflictions
had left undone.
After this brief exhibition of the disastrous fate
which has befallen the productions of the great artists
of Greece, instead of marvelling that so few have
been preserved to the present time, it may well excite
''INTRODUCTION. a
our. special wonder that so many have survived the
casualties to which they have been exposed. It is
hardly less a subject of astonishment, that it should
have been reserved for the inquiries of so late a
period to obtain anything approaching to an accurate
knowledge of the state of Greece, with respect to its
remaining antiquities. From time to time there had
been partial efforts in this way made by individuals,
but they seem to have terminated in nothing that was
satisfactory, until the latter part of the seventeenth
century, when several travellers, mostly invested with
a diplomatic character, visited Athens; and the nearly
contemporary travels of Dr. Spon and Su George
Wheler first gave authentic, though incomplete, in-
formation on the actual condition of Athens and its
ancient structures.
It was not, however, until the middle of the
succeeding century, that a clear, comprehensive, and
scientific survey of these glorious remains of classical
antiquity, was made by observers thoroughly qualified
by study and practice for an enterprise so bold and
arduous. It is to James Stuart that the world is
indebted for the first survey, conducted upon scientific
principles, of the architectural antiquities of Greece.
It occurred to that eminent man, while engaged at
Rome in the pursuit of his professional studies, that
''6 INTRODUCTION.
he might prosecute them to greater advantage, on
ground more purely and primarily classic, thus seeking
knowledge at the very fountain-head of Art. Having
associated in his enterprise—which was in part a
commercial speculation, including a scheme of exten-
sive publication—his fellow-student, Nicholas Revett,
they proceeded to Athens in 1751; and their residence
there included a term of nearly three years, during
which they were indefatigably employed in exploring,
measuring, and drawing, the magnificent ruins by
which they were surrounded. In 1761 the first volume
of their labours was given to the world, and a new
impulse was communicated to the study of ancient
Art. The Dilettanti Society soon formed itself, and
commenced a series of spirited and skilfully-conducted
researches, which have completed and extended the
investigations of Stuart. Further down than this it
is unnecessary to continue these details: the important
additions which have since been made by travellers,
both amateurs and professional men, have not indeed
exhausted inquiry, but have materially enlarged the
circle of its enlightened and successful prosecution.
It would be foreign to the intent and scope of the
present manual, were this deduction of facts extended
to the wide range of architectural history; but as an
introduction to the following pages, it may be expe-
''INTRODUCTION. v
dient to give a brief exposition of their object, in order
to a perfect comprehension of the plan. The plates
are of French workmanship, from the graver of artists
long practised in this sort of ‘yeduction; and the
selection has been carefully made from the great work
of Stuart, so as to include the largest possible amount
of instruction and exemplification. Elevations, plans,
sections, details, are given profusely in a clear and
expressive style of execution. This small volume in-
cludes no less than seventy-one plates, exhibiting an
extensive illustration of the Greek Orders in the majes-
tic simplicity of their earlier design, the pure and
pervading beauty which distinguished their progress
and maturity, and the richness which marked even
their degradation by the Roman school. Examples
are given of the Doric order, from the heavy masses
of the Temple at Corinth, to the perfect proportions
of the Parthenon; of the Ionic, from the simple but
admirable forms of the Temple on the Ilissus, to the
exquisite enrichments of the Erechtheum ; of the Co-
rinthian, from the graceful luxuriance of the Monu-
ment of Lysicrates, to the denser but more common-
place foliage of the Incantada. Much scientific detail
and correct measurement will also be found in the
plans and sections.
In the explanatory part of the volume, it has been
''8 INTRODUCTION.
the anxious endeavour of the Editor to communicate
as much information as might be compressible within
the limits of a hand-book. Is it too presuming to
hope, that in its present form this small but com-
prehensive manual may be found to supply a real
deficiency ; that it may furnish the student with a
clear and intelligible introduction,—the man of letters
with a well-arranged and fully-exemplified system,
easy of recollection and reference,—and even the pro-
fessor with a pleasant and convenient vade-mecum ?
''
''
''
''
''
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Py
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''THE ACROPOLIS.
PLATES I. II.
@32N the greater number of instances the site
of the ancient cities of Greece appears to
have been determined rather by the position
of some insulated rock, of which the plat-
form might be surrounded with a strong
and uninterrupted wall, than by the usual
circumstances of domestic or commercial
accommodation. Even when, as in Athens,
I) the neighbourhood of a commodious haven
may have formed one strong inducement to the choice
of a particular locality, the settlers rejected the obvious
expediency of occupying the shore, for the greater
security of some rugged elevation, though at an in-
convenient distance. Nothing can illustrate more
expressively than this simple fact, the unsettled and
insecure condition of Greece in the earlier times. Nor,
in truth, did the necessity for similar precautions ever —
wholly cease: that miserable struggle for supremacy,
which kept the independent states in constant agitation,
multiplied fortresses in every direction; and the effect
of this has been so far fortunate, that many relics of
''10 THE ACROPOLIS.
antiquity were preserved from the destruction which
marked the course of invading armies or marauding
bands.
The Athenian Acropolis was fortified at a very early
_ period; and historical tradition ascribes the construction
of its defences to the Pelasgi, that mysterious race, who
seem to have been the great masters of military archi-
tecture.in those ancient and uncertain ages. Thus
secured against assault, it became a consecrated pre-
cinct, filled with temples, and absolutely crowded with
the noblest productions of art. The account given by
Pausanias of its sacred buildings and commemorative
statues, is “a thimg to wonder at!” and the reader is
tempted to ask if it were possible that so much of
beauty and magnificence could be accumulated within
so limited a space. The temples of Diana, Venus, and
Minerva Polias, are, with the Parthenon and the
“Temple of the Genius of Pious Men,’’* mentioned
by Pausanias; and it is highly probable, from other
authorities, that his enumeration does not include the
whole. Of all this glorious show, nothimg now re-
mains but the Parthenon, the Erechtheum, and the
Propylea,—shattered, indeed, and deplorably muti-
lated, but retaming enough of their original form
* This is Colonel Leake’s rendering of Srovdaimy Aaiewy: it can,
however, hardly be taken as a very satisfactory interpretation.
Taylor gives it, “the Demon of Worthy Men ;” and Clavier evades
the difficulty by keeping close to the original, “le Genie Spoudeon.”
Schubart and Walz, in the most recent critical edition of Pausanias,
adopt the average interpretation, “ bonorum virorum genio.”
''THE ACROPOLIS. ll
to prove how much of the beautiful and sublime they
must have exhibited in their perfect state.
Yet there is one circumstance, of comparatively
recent discovery, and still more recently ascertained
to its full extent, which gives a strange contradiction
to our cherished notions concerning the purity of
Grecian taste, and its antipathy to all coarseness and
exaggeration. It should seem that the Greeks painted
their temples, not merely in chiaroscuro, or in subdued
tints, for the purpose of giving relief to projections or
expressiveness to ornamental details, but with glaring
colours,—reds, and blues, and yellows; with violent
contrasts, the columns one hue and the entablature
another. Nay, there is shrewd suspicion that the
sculptures were painted, like the figure-head of a man-
of-war, and that the pillars were striped !—the flutings
being left of the unstamed marble, while the rest was
daubed with villanous ochre. And, unluckily, the
evidence for these incredibilities is most exasperatingly
clear; the statements of the German architects em-
ployed by King Otho, and the very interesting details .
given by Mr. Bracebridge, leave no doubt whatever
of the facts. Still, we have our doubts; not, indeed,
as to the correctness of the testimony, but respecting
the date of the practice. We cannot believe that the
architects of the best days of Greece would so carefully
select the purest materials in the prospect of their
concealment by a mask of tawdry colour,—that they
would give such an anxious finish to their carvings,
''1 THE ACROPOLIS.
knowing that thew sharpness and delicacy would be
impaired by the brush of the “ ornamental painter.”
Neither is it probable that, if this vile practice had
existed in the olden time, no hint of it should occur
in Pausanias or Vitruvius. That the Greeks used
colour on the exterior of their temples—at least, that
there are now to be found upon them traces of colour,
cannot be questioned; but that Ictinus and Calli-
machus, to say nothing of Phidias and Praxiteles,
practised these atrocities, while Pericles approved and
patronised, can only be believed—agquia impossibile est.
In the first edition, nothing more than this was
said in illustration of the Acropolis, considered as a
repository, surpassingly rich, of the noblest produc-
tions of Art. It seems, however, to offer but a slight
and insufficient notice of objects which would require
volumes to describe fairly ; and it may tend, in some
degree, to supply this obvious deficiency, if we extract
from the “ Attica” of Pausanias, a few additional
indications of that glorious scene as it existed in his
day. Deeply as we are indebted to this active and
observant traveller for the information which he has
left us on almost all subjects connected with Greek
antiquity, it is impossible not to regret that he should
have given it in so incomplete and disjoimted a form.
We have in the “ Periegesis” hints of the greatest
importance, but of the most provoking brevity ; scraps
and shreds without coherence or sequence ; facts with-
out the necessary comment, and comments with im-
''THE ACROPOLIS. 13
perfect facts. In one place, he withholds invaluable
explanations because he has been warned to silence
by a dream; in another, he contents himself with a
simple assurance that he is perfectly well informed
on the subject, but that he will not communicate.
Even where no scruple, no prohibition can possibly
intervene, he contents himself with a mere repetition
of his travelling memoranda, and thus leaves many
an interesting point in hopeless uncertainty. Yet we
may well hold his memory in grateful admiration for
that which he has preserved; and, perhaps, the very
form and quality of his communications may have
aided in their conservation. A larger work would
have been less frequently copied, and with more diffi-
culty kept from injury ; nor ought it to be overlooked,
in our regret that such ample materials have not been
transmitted to us in a more comprehensive and com-
pact form, that after all it must have been impossible °
to give anything beyond the mere outline of a subject
so vast. The History, the Mythology, the Topo-
graphy of Greece, with all that was incident to these
in fact and fiction, and all that might illustrate them
im existing institutions, public monuments, or living
manners, lay before him to observe and to describe :
few men would have been equal to such a task,—
Pausanias most assuredly was not.
Such, however, is our best, indeed our only direct
authority for the details of the Acropolis; and the
accuracy, as well as the incompleteness of his descrip-
''14 THE ACROPOLIS.
tion, is sufficiently attested by the actual remains. He
commences with the triple port of Athens, and after
very summarily noticing the more striking objects that
presented themselves on the two roads leading to the
city from Pireeus and Phalerum, he makes an irregular
circuit before he enters the sacred enclosure of the
citadel. Like every other part of this marvellous con-
struction, the wall itself might serve as the text of a
lengthened, yet interesting disquisition. It was built
or restored at different periods: the earliest portion
was on the northern line, and tradition assigned its
execution to the Pelasgi, though it would seem that
some of the peculiar forms of those mysterious archi-
tects are not now to be observed among the remains.
Cimon, the son of Miltiades, was the reputed builder
of the southern wall: this, however, is questioned by
Dodwell, who supposes that the Kiwavioy remyog was
an interior fortification, and that the entire peribolus
was constructed by the Pelasgi. Among his authori-
ties for this most gratuitous supposition, he refers to
Pausanias, erroneously as it should seem, since, if we
may trust our own examjnation, that writer distinctly
excepts the part built under the superintendence of
Cimon.
In the Arts, as in all else that related to intel-
lectual enjoyment, the Greeks turned everything to
account. The rock on which the Athenian Fortress
stood in all its pride of ornament and strength, was
itself made either the material or the mould of many
''THE ACROPOLIS. 15
a graceful structure. Its recesses were consecrated
either by historical or religious associations, and deco-
rated with skilful adaptation to their especial charac-
ter: the irregularities of its cireuit were shaped into
theatres for music and pantomime: columns, statues,
and tripods, occupied its minor projections. The wall
itself of the superior platform was, in various ways,
charged with adornment,—in some instances, not alto-
gether in harmony with the normal principle which
inseparably connects utility with beauty. To the face
of the southern wall was attached an Aigis, bearing on
its centre the head of Medusa, gilt. On the eastern
end of the same line stood several groups of statuary :
the war of the Giants, the battle of the Amazons and
the Athenians, the fight of Marathon, and the exter-
mination of the Gauls in Mysia. Of these, the dedi-
cation is ascribed to Attalus. The height of the figures
(if, indeed, the words relate exclusively to height)
appears not to have exceeded three feet. Nothing is
said of the execution of these statues, nor of their effect
when contemplated from below: it seems, however,
difficult to imagine that it can have been good in any
position. Viewed from without, they must have looked
like puppets,—exciting no small wonder how and why
they were thus ranged, in a situation so awkwardly
exposed to every casualty of weather, accident, and
mischief, It is, deed, recorded, that the statue of
Bacchus, connected with the Gigantomachia, was blown
from its “ pride of place,” during a violent tempest.
''16 THE ACROPOLIS.
To the ¢erre-plein of the rampart there is but one
approach, and that in the days of old was adequately
fortified against the modes of assault then in practice.
Of the system adopted in constructing the immediate
entrance to the Acropolis, the details will be found
under the proper head; and nothing further will be
said in this place of the Propylea, than to suggest,
that, when the architecture of Greece is censured for
restricted range, this most impressive group of build-
ings may be referred to, in evidence that the Greeks
themselves found no difficulty in adapting its elements
to every purpose of useful and ornamental structure.
Passing onward through this unrivalled avenue,
and standing beneath its eastern portico, the eye of
the traveller would command the entire perspective of
the Acropolis, and in the distance the great mountain-
ranges of Attica. On the right stood the Parthenon,
majestic in its height, and beautiful in its exact pro-
portions. To the left and in front were the Erech-
theum, the Cecropium, and other structures of sacred
character ; while the intervals and vacant spaces of the
enclosure were filled up by statues, altars, and other
memorials of Gods, Heroes, Patriots, and Bards. Of
all these nothing but the wreck remains,—the relics of
an age and people such as the world has not since
possessed.
Plates 1 and 2 are representations of the Athenian
Acropolis in a restored state. The first exhibits the
eastern aspect, where was the only approach to the
''THE ACROPOLIS. 7
platform ; and in this view the letters A, B, C, indicate
in succession the Propylea, one of the flanking temples,
and the Parthenon. The second shows the northern
side, and the same letters refer to the same structures ;
D points out the Erechtheum. Of all these structures,
ample illustrations are given in the following pages,
which contain, in addition to an extensive collation
of authorities, extracts, analytical and descriptive, from
architects and travellers, wherever it was thought that
the language of actual observation might give distinct-
ness to complicated details, or interest to an impressive
object.
''DORIC PORTICO,
OR,
GATE OF THE AGORA.
PLATES Til. Iv.
sj HE ruin of which the third ana
fourth plates give the authentic
restoration and the geometrical
proportions, had long been con-
sidered as the only remaining
fragment of a temple dedicated
to Rome and Augustus. Stuart,
however, on grounds far more.
satisfactory than those which had given currency to
this belief, suggested that these columns might once
have flanked the entrance to a public market; and
all subsequent research has tended to confirm his
opinion. In addition to peculiarities of construction
which have not been found in the remains of sacred
''
''
Ta
eZ o.ene| Zoe kd gles
2 ye
Bho eee
''DORIC PORTICO. 19
edifices, the testimony of inscriptions is decisive. Of
these there are several connected with the building ;
and one of them records the names of two “ Prefects
of the Market,” while another preserves an edict of
the Emperor Hadrian, regulating the sale of oils, and
the duties payable on that common article of traffic.
There were in Athens, two of these structures; one
of them, probably that to which this portico belonged,
was distinguished as the New Agora; it was founded
by the Cesars, Julius and Augustus, and among
its decorations were statues of the Cesarean family.
PLATE III.
Fig. 1. Plan of the Portico,—on the jamb, to
the left of the spectator, marked A, is the inscription
containing Hadrian’s decree. The prolongation of
the wall connected with these jambs, beyond the side
walls B, is contrary to all usage in the construction
of temples, and evidently indicates a structure intended
for other purposes.
Fig. 2. Geometrical elevation of the front of the
Portico.—The Acroterium on the summit of the
pediment probably supported an equestrian statue of
Lucius Cesar.
''20 DORIC PORTICO.
PLATE IV.
Fig. 1. Details of the capital and entablature.
There is a slight but marked distinction between
the proportions of these columns, and of those which
the Greeks attached to sacred edifices, in conformity
with the principle affirmed by Vitruvius in the re-
commendation that in buildings of secular character,
the proportions should be less massive and imposing
than those which were employed in the construction
of temples. It is suggested by the editor of Stuart,
that ‘this example of the Doric order, authenticated
to be the latest of a purely Grecian character, affords
a greater facility of adaptation to the modern practice
of domestic architecture, than any antique model ex-
tant.”
The Greeks appear, indeed, to have been far from
solicitous for the strict maintenance of mere symmetry,
when important objects required its sacrifice. Where-
ever it was practicable to combine uniformity with use
and ornament, the Grecian artists adhered to it as one
of the surest elements of architectural effect ; but when
circumstances demanded a relaxation of the rule, they
seem to have felt neither scruple nor difficulty in
availmg themselves of the ample resources supplied
by thew genius and skill. Of this there is clear
illustration in the Erechtheum and the Propylea. It
would, probably, have been easy in both instances to
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''DORIC PORTICO. 21
maintain, if not perfect regularity, something much
more nearly approximating to it than we find to have
been the case. The obstacles interposed by the ir-
regularity and abruptness of the rocky surface might
have been overcome by levelling or substruction; and
with respect to merely technical difficulties, the re-
sources of art were fully equal to their removal.
Local superstitions, however, were a more unmanage-
able matter, and to their influence must be mainly
ascribed the departures from symmetrical arrangement
which occasionally present themselves in the works
of the Greek architect.
‘Fig. 2. Profile of the capital on a larger scale.
''IONIC TEMPLE ON THE ILISSUS. -
PLATES VY. VI. VII.
EAR the fountain of Callirrhoe,
on the southern bank of the
¢ Ilissus, stands a small temple,
», of the Ionic order, but differing
considerably in its details from
all ordinary example. The forms
are simple but elegant, and the
hin “execution is in all respects so
SN. A perfect that this building may be considered
a as one of the most remarkable productions of
-© Grecian architecture.
<¢ § i :
* At a period now uncertain, this temple
was repaired after a barbarous fashion, and
converted into a church, sacred to “Our Lady of the
Rock,’’ a name which it retained in the time of Stuart,
although deserted and miserably shattered. Since
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''IONIC TEMPLE ON THE ILISSUS. 23.
then it has been entirely destroyed. Much doubt
exists respecting the original dedication. Spon as-
signed it to Ceres; Stuart, to the hero Panops; but
Colonel Leake and Sir William Gell, with greater
probability, suppose that it was the Temple of Tri-
ptolemus.
PLATE V.
Fig. 1. Plan of the Temple, amphiprostyle.—A, the
portico ; B, the pronaos; C, the naos, or cella of the
temple; D, the posticum; EH, one of the ante. The
two middle columns of the portico no longer exist;
but, on the place where they ought to stand, there are
traces of circles, exactly equal in diameter to the re-
maining columns ; and these indications sufficiently
prove the intention of the architect.
At the time of Stuart’s visit, the capitals of the
ante of the posticum were in excellent preservation ;
in width they were of the same dimensions with those
of the portico, but they had only half the thickness ;
while in those of the pronaos, the faces EH, F, were
equal.
Fig. 2. Elevation of the Portico in its perfect state.
—TIt is conjectured that the frieze was ornamented with
bas-reliefs.
''24, IONIC TEMPLE ON THE ILISSUS,
PLATE VI.
Details of the Base, Capital, and Entablature, as
restored by Stuart—The figures on the frieze are
copied from a fragment found at Athens, and which
so exactly agreed in dimensions with the place as-
signed to it, that there is no improbability in supposing
them to have been originally in combination.
The columns of this temple exhibit peculiarities
which haye led to the suggestion that it may have
been one of the earliest specimens of the Ionic. The
shafts are “shorter” and “less diminished ;” the
capitals are larger in proportion to the entablature,
than occurs in later works: the bases, too, are without
plinths. It has, moreover, been observed, that in the
details of the base, there are marked resemblances
between these columns and those of the colossal temple
of Juno, at Samos, probably the most ancient Ionic
structure of which the remains have been explored in
modern times.
. PLATE VII.
Capital and Base of one of the Ante; with repre-
sentations of the different architraves which belonged
to thé several parts of the temple—The mouldings
of the capital and the base are carried round the ex-
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''''IONIC TEMPLE ON THE ILISSUS. 25
terior of the building; but in the interior of the pro-
naos, the base only is continued.
Fig. 1. Architrave of the portico.
Fig. 2. Architrave of the pronaos.—The upper
fascia was enriched by a painted ornament.
Fig. 3. Architrave of the posticum.
It is deeply to be regretted that of this mteresting
structure, so few particulars should have been pre-
served. Its simplicity and marvellous beauty made
it a sort of test of excellence in Art; and were it only
for what he has done in regard to this fine memorial
of Grecian taste, Stuart’s name would deserve grate-
ful remembrance: having done so much, it were
unreasonable to require what he was probably pre-
vented by circumstances from effecting. The hope
of further illustration has, however, been altogether
destroyed by a series of disastrous events. Having
been converted to the uses of the Greek Church, this
would have insured its preservation ; but in 1674, a
French ambassador took it into his head to celebrate
mass within its precincts, and this desecration caused
it to be abandoned by the Greeks. Thus neglected
it became ruinous, and in 1780 was demolished by
order of the Turkish Voivode, and the materials used
im building.
''OCTAGONAL TOWER
OF
ANDRONICUS CYRRHESTES.
PLATES VIIt, TX. X. XE.
=>) HIS singular building, usually
i=|| called “The Tower of the Winds,”
|| is constructed of marble, and bears
3) on each of its eight faces an alle-
gorical figure in relief ; the entire
series representing the different
winds, according to the arrange-
\\ ment and nomenclature of the
Greeks. In order, however, that the reader may
thoroughly understand the character and object of
this curious and complicated edifice, it may be ex-
pedient to cite the clear description of Vitruvius, as
''OCTAGONAL TOWER. Ra
ranslated by Stuart: “Some have chosen to reckon
only four winds: the Hast, blowing from the equi-
noctial sun-rise ; the South, from the noon-day sun ;
the West, from the equinoctial sun-setting ; and
the North, from the Polar stars. But those who are
more exact, have reckoned eight winds, particularly
Andronicus Cyrrhestes, who on this system erected
an octagon marble tower at Athens, and on every
side of the octagon he wrought a figure in relievo,
representing the wind which blows against that side:
the top of this tower he finished with a conical marble,
on which he placed a brazen Triton, holding a wand
in his right hand; this Triton is so contrived that
‘he turns round with the wind, and always stops when
- he directly faces it ; poimting with his wand over the
figure of the wind at that time blowing.”
This description applies, with the utmost exact-
ness, to “The Tower of the Winds.” Four of its
faces front the cardinal points: the part immediately
below the cornice bears on each of its eight divisions
a figure, skilfully designed and wrought, representing
the supposed characteristics of the wind to which it
was inscribed. Beneath these figures are traced solar
dials, to the correctness of which the celebrated
Delambre bears testimony, and describes the series
as “the most curious existing monument of the
practical gnomonics of antiquity.” The roof is of
marble blocks, wrought into the form of tiles. There
are two entrances, facing respectively to the north-east
''28 OCTAGONAL TOWER OF
and north-west : each of these openings has a portico,
supported by two columns. When Stuart explored
this building, the lower part of the interior was covered
to a considerable depth by rubbish; and the Der-
vishes, who had taken possession of the building,
performed their religious rites on a wooden platform
which had been thrown over the fragments. All
this, however, he was permitted to remove, and he
found manifest traces of a clepsydra, or water-clock,
carefully channelled in the original floor; thus com-
pletely illustrating the term Horologium, applied to
the tower by Varro, and exhibiting both the simple
and the scientific mechanism employed by the ancients
for the measurement of time. Further details will
occur in the explanation of the plates.
PLATE VIII.
Fig. 1. Plan of the Tower of the Winds.—The
attached circular portion, of which the general exterior
appearance. may be observed in the plate immediately
succeeding, probably contained the reservoir which
supplied the water to the clepsydra; and the channels
marked on the floor were, no doubt, connected with
the machinery, though in what way cannot now be
ascertained with precision.
Much is wanting to the history of this celebrated
Tower. Varro and Vitruvius both describe it, and the
probable period of its construction may be referred
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''ANDRONICUS CYRRHESTES. 29
to the second century before Christ, when Scipio
Nasica set up a similar building at Rome, of which .
the architectural character does not appear to be now
ascertainable. The stream which gave motion to the
machinery of the Athenian time-piece had its spring
in the cave of Pan on the flank of the Acropolis, and
portions of the artificial channel by which it was con-
veyed, are still to be traced in the intermediate space.
An inspection of the plan and section will show
that the building is interiorly ornamented by cor-
nices at different heights, and that their projections
are indicated by simple lines, while the substance of
the wall is exhibited by a broad and shaded band.
The wall varies somewhat in thickness, and the vari-
ations are distinctly expressed in the figure, which
is a careful reduction from the original engraving.
That every advantage may be afforded for the com-
prehension of these details, we shall here give the
references and explanations from Stuart’s own text:
“* Hach external face of this octagon tower, considered
without its ornaments, is one perpendicular plane from
top to bottom; but on the inside it is otherwise ; for
that part of each face which is above the second
cornice, projects two inches over the part which is
between the said cornice and the pavement. The
lowest of the interior cornices is interrupted by the
two doors, and breaks off on each side of them in
a very obtuse angle; and the upper cornice or enta-
blature, supported by eight columns, as likewise the
''30 OCTAGONAL TOWER OF
fascia on which those columns stand, are circular.
So far, therefore, as the plan regards these particulars
which are on the inside of the tower, it is necessary
to divide it into four parts. The first part, from a to
b, is one-fourth of the interior surface of the wall
immediately above the pavement; the second, from
6 to ec, is one-fourth of the interior surface immedi-
ately above the lower cornice; here the greatest pro-
jection of this cornice is marked by a single line, and
the manner of its breaking on each side of the door-
ways is also shown: the third part, from c to d, is
the interior surface of the wall above the second cor-
nice; the projection of this cornice is also marked
with a single line: the last part, from d to a, is the
remaining fourth of the interior surface; on this is
marked the circular band, or fascia, on which the
eight columns are placed, with the plans of two of
those columns.”
Fig. 2 exhibits the entire section of the tower ;
and an examination of this plate will make still clearer
the full explanation given above. The first and second
cornices,— the circular fascia, or plinth, supporting
the columns, which find room by occupying the angles
of the wall,—the entablature, or upper cornice,—and
the roof,—are distinctly marked.
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PLATE IX,
Elevation of the Tower, of the Winds. — This
restoration has been made on the authority of the
existing remains, and of fragments found on the spot.
The Triton is from the description of Vitruvius, and
has always appeared to us a singularly awkward con-
trivance. It would, no doubt, be exceedingly difficult
to adapt a graceful form to the purposes and con-
ditions required in the present instance, but the Greek
architects were in the habit of overcoming greater
embarrassments than these; and it is hard to believe
that this strange merman, with his tail in one hand
and a stick in the other, can present a single line or
feature of the original design.
PLATE X. *
Capital and Entablature of one of the Porticoes.—
It should be stated that the columns are much de-
faced, and that these members are delineated from
fragments which, although found on the spot, can
only be assigned to their respective places on highly
probable grounds.
There can, however, be little ground for hesitation
in this matter, since the character of the crowning
member, on which the “ Triton” rested, and of which,
though not actually found in its proper position, the
authenticity cannot be for a moment questioned, is so
''32 OCTAGONAL TOWER OF
completely in harmony with other remaining frag-
ments, as to set the question entirely at rest. The
Capital is commonly assigned to the Corinthian order,
though deficient in several of its leading features.
The Corinthian acanthus leaves rising tier over tier,
with their scrolls and other ornamental adjuncts, are
represented by a single wreath of enriched foliage, and
above it a course of flat and nearly plain water-leaves,
Egyptian rather than European in their expression,
while the abacus is altogether unadorned. Still, taken
without reference to systematic arrangement, this
capital is pleasing in form and effect, and from its
simplicity readily applicable to domestic architecture.
With the Choragic Monument, it has absolutely
‘nothing in common, and when they are placed in
connexion as the earliest and latest examples of the
Greek Corinthian, the arrangement is wholly at variance
both with fact and sound principle.
PLATE XI.
Fig. 1. Profile of the exterior cornice. — The
lion’s head, which ornaments the cymatium, is per-
forated, and serves as a gutter to carry off the rain-
water.
Fig. 2. A fourth part of the roof,—the cavity in
the centre, marked A, was probably the socket of
the capital, or ornamental base, which supported the
Triton.
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''ANDRONICUS CYRRHESTES. 33
Fig. 3. Section of half the roof,—the dotted pro-
longation of the line of the roof is intended to show
how deeply the capital was engaged before this part
of the buildmg was damaged.
The circumstances connected with this extraor-
dinary structure have not received sufficient investiga-
tion. It might serve as the text to many an important
mquiry ; and its position, both local and chronological,
suggests a series of questions much less easy to answer
than to propose. The whole aspect and proportions
of the building have no alliance, it would seem, with
Greek taste and feeling. The execution of the em-
blematic figure is, indeed, highly praised by Stuart,
but it appears to be: essentially Roman, and reminds us
far more of the Trajan Column than of the pediment
and metopes of the Parthenon. The roof is skilfully
constructed; and it has been already stated, on the
high authority of Delambre, that the dialling of the
different faces displays admirable science. It is much
to be desired, that some one of thorough qualification,
both as architect and archaiologist, would give his
leisure to the investigation of this instructive monu-
ment.
''THE CHORAGIC MONUMENT
OF LYSICRATES.
PLATES XII. XIII. XIV. XV. XVI. XVII.
| SERIES of temples forming a street
| is one of the features of Athens.
“These temples were surmounted by
finials which supported the tripods
+ gained by victorious Choragi in the
* neighbouring theatre of Bacchus, and
-________! here dedicated by them to that deity,
the patron of dramatic representation. Hence the line
formed by these temples was called the Street of
Tripods. From the inscriptions engraved on the
architraves of these temples, recording the names of
the victorious parties, and the year in which the victory
was gained, the dramatic chronicles, or Didascaliz,
were mainly compiled. Thus these small fabrics
served the purposes at the same time of fasti, trophies,
and temples.”
Of these structures this monument must have been
one, and surely the most beautiful. Exquisitely
''CHORAGIC MONUMENT OF LYSICRATES. 35
wrought, graceful in its proportions, rich in decoration,
it only required for its perfection that the material
should not disgrace the design and execution. For-
tunately this was close at hand: the fine-grained
marble of the Pentelic quarries enabled the Athenian
architects, not only to produce the happiest effects, but
to maintain throughout that faultless elaboration which
distinguishes the purest examples of Grecian art. In
this edifice, the roof, the base of the colonnade, and the
shafts of the columns, are each of one block. The
frieze and architrave are also, unitedly, of one piece,
and the masses of stone, which form the steps of the
stylobate, are entire. The whole building consists of a
quadrangular basement, supporting a urcular temple
crowned with a tholus, or cupola, terminating with an
ornament, on which stood the tripod, of which an
inscription recorded the dedication. As there are
peculiarities of construction in this edifice which deserve
distinct specification, we shall give in explanation the
description of Stuart himself, since, in all cases of diffi-
culty or complication, the definitions of an actual
observer have the best chance of being intelligible:
“The colonnade was constructed in the following
manner; six equal panels of white marble, placed
contiguous to each other on a circular plan, formed
a continued cylindrical wall, which of course was
divided from top to bottom into six equal parts, by
the junctures of the panels. On the whole length of
each juncture was cut a semi-circular groove, in which
''36 CHORAGIC MONUMENT OF LYSICRATES.
a Corinthian column was fitted with great exactness,
and effectually concealed the junctures of the panels.
These columns projected somewhat more than half their
diameters from the surface of the cylindrical wall, and
the wall entirely closed up the imtercolumniation.
Over this was placed the entablature and the cupola,
in neither of which any aperture was made, so that
there was no admission to the inside of this monument,
and it was quite dark.”
Yet have the ingenious men of Athens been pleased,
in modern times at least, to call this dark inclosure the
“Lantern of Demosthenes,’”’—Jlucus a non lucendo—
and to suppose that this lantern without light, this
six-feet-wide closet without window or entrance, was
‘actually the study of that great statesman.
PLATE XII.
Elevation of the Choragic Monument.— Neither
here, nor in the following illustrations, has anything
been restored without authority.
The comparatively high state of preservation in
which this admirable production of an unrivalled
school was found by Stuart, appears to have been
the result of circumstances which could not easily
have happened elsewhere. There were in Athens,
while it yet remained the city of Minerva, a great
number of these edifices; so many, in fact, as to
form an entire street. Every Choragus, when he
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''CHORAGIC MONUMENT OF LYSICRATES. 37
retired from office, placed the consecrated tripod, which
was given as an honorary reward for his heavy ex-
penditure, in a temple, of small dimensions but costly
decoration, inscribed with the name of the founder and
the particulars of the contest. Structures like these,
beautiful as they might be, and even in proportion
to their beauty, were ill-suited to the fierce and vin-
dictive spirit which too often prevailed among the
polities of Greece. The lofty and strongly-built con-
structions which sheltered the worshippers of Zeus and
Athene, might withstand the casualties of civil broil, or
the more deliberate injuries of an invading enemy, but
the slender and fragile members of these gems of
architecture could offer but weak resistance, and have
yielded altogether to the various forms of spoliation
or destruction by which they were assailed. Two
only remain, and these owe their preservation to the
peculiar circumstances of their position. The memorial
of Thrasyllus is attached to a cave in the solid rock,
and its partial security is due to the occupation of
the recess by a shrine of the Panaghia. The monu-
ment of Lysicrates has escaped destruction from a
different cause: it is built up in the wall of a Capuchin
convent or hospice, where it seems to have served the
various purposes of closet, oratory, and library. For
this, as for other services to the cause of art and
learning, gratitude is due to the monastic brotherhoods,
and while arrested in admiration before this faultless
relic of Attic genius, let it not be forgotten that we
''38 CHORAGIC MONUMENT OF LYSICRATES.
owe its conservation to the good taste and right feeling
of a Franciscan recluse.
PLATE XIII.
Fig. 1. Plan of the Monument.—The parts more
darkly shaded show the existing portions of the edifice,
including three panels and the whole of the columns.
The columns are fluted only on the exterior half-circle ;
the inner semi-diameters are less in radius by half an
inch.
Fig. 2. Section of the Monument.—In the interior,
the capitals are only blocked out.
Fig. 3. Profiles of the base of the columns, and the
cornice of the basement.
PLATE XIV.
The Entablature ; the exterior face of the capital ;
and the half of one of the tripods, which are wrought
in relief on the upper part of the intercolumniations,
immediately below the architrave-—Although none of
the capitals were complete, a careful collation enabled
Stuart to give the whole with minute accuracy: so
scrupulous was he in this respect that, as may be seen
in the following plate, he abstaimed from the restor-
ation of a fragment of foliage, not having been able to
trace with entire exactness the origimal form. The
annular channel between the shaft and the capital is
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''CHORAGIC MONUMENT OF LYSICRATES. 389
supposed to have contained an astragal, or collarino,
of bronze. The small figure on the left represents the
profile of the fascia and moulding, below the tripods.
PLATE XV.
Fig. 1. The “flower,” or crowning ornament, on
the top of the tholus.—The letter A, at the side, refers
to an arrangement of foliage so much injured as to
baffle all attempts at restoration.
Fig. 2. Plan of the upper surface of the “ flower.”
—A, A, A, cavities formed to retain the feet of the
tripod. B, socket of the central support of the tripod.
Fig. 3. L, perpendicular section of so much of the
upper part of the flower, as may serve to show the
depth of the cavities at A and B, in the preceding
figure.
PLATE XVI.
Fig. 1. A fourth part of the upper surface of the
roof.—This beautiful exterior is worked with great
delicacy in the form of a sort of thatch of laurel
leaves, surrounded by an ornamental edge, usually
termed a Vitruvian scroll. A, one of the three helices,
eaulicoli, or scrolls, which form the triple division of
the roof. B, a cavity which probably held some
bronze ornament.
Fig. 2. Section on the line C D, of fig. 1.
''40° CHORAGIC MONUMENT OF LYSICRATES.
Fig. 3. Partial section of the copula on the line
E F, showing the arrangement of the leaves.
Fig. 4. Section of the helix, or scroll, marked A,
in fig. 1. This section is on the line a 3, fig. 2.
Fig. 5. Examples of the Vitruvian scroll, which
surrounds the tholus; and of the antefixe, which
ornament the cornice.
PLATE XVII.
Fig. 1. Plan of the Capital—The segments C D,
represent the interior half. The letters E, F, G, H,
refer to the other division. C is an horizontal section
at the line indicated by the same letter, fig. 2. D,a
similar section at D of the same figure. E, F, G,
exhibit different plans, expressing sections marked by
corresponding letters attached to fig. 4.
Fig. 2. Elevation of half the internal unfinished
face of the capital.
Fig. 3. Vertical section through the axis of the
unfinished inner half.
Fig. 4. Vertical section through the centre of the
finished exterior half.
The frieze is ornamented by figures, of which a
specimen is given in Plate XIV. representing the
punishment of the Tyrrhenian pirates by command of
Bacehus. Nothing can be more spirited than the
execution of these groups, nor more expressive than
the way in which the story is told.
''XVIL.
''
''CHORAGIC MONUMENT OF LYSICRATES. 41
The beautiful modification of the Corinthian capital,
which distinguishes this monument, has been supposed
to be the earliest known example of that order. This,
however, is in some degree doubtful; though there
can be no question of its great antiquity.
The profusion with which embellishment was
lavished on this beautiful structure, is nowhere more
remarkable than in the highly ornamented junction
of the shaft with the capital. Instead of the com-
mon termination of the fluting, it is finished off
into a sort of leaf; while the interval between the
annular channel and the proper commencement of the
capital is filled up with a circlet of simple but graceful
foliage.
''PANTHEON OF HADRIAN.
PLATES XVIII. XIX. XX. XXI. XXII.
55\ HIS wreck of the magnificent
/ structure passed among the
modern Athenians as the palace
either of Pericles or of Themis- __
tocles, a guess only resorted |
to in the utter ignorance of
genuine tradition and archi-
fly tectural appropriation. Wheler and Spon sup-
G posed these ruins to have belonged to the temple
of Jupiter Olympius ; an obvious error, since
the ascertained remains of that gorgeous edifice occupy
a different locality. Stuart, by an exceedingly inge-
nious deduction, made it appear highly probable that
the Poikile Stoa, or painted portico, occupied this site ;
and he accounted for certain incongruities in the
architecture by the supposition that extensive repairs
had interfered with the original design. Dodwell
adopted the same opinion. Dr. E. D. Clarke thought
that these remains might have belonged to the Old
f
&
''PANTHEON OF HADRIAN. 43
Forum of the Inner Cerameicus. Mr. Wilkins ap-
pears to have been the first to suggest that on this
extensive platform stood the Hieron, or ‘ Sanctuary
common to all the Gods,’ built by the orders of
Hadrian ; and this opinion has the sanction of the
late Sir William Gell. The most complete exposition,
however, of the facts connected with this difficult
inquiry, is to be found in the notes appended by Mr.
Kinnaird to the second edition of Stuart and Revett’s
great work ; and it seems to be there fairly shown,
from the language—though not quite free from obscu-
rity —of Pausanias, and from the results of recent
examination, that these shattered walls and broken
columns formed part, as maintained by Wilkins and
Gell, of the splendid Pantheon of Hadrian.
These ruins were, to cite the description of Mr.
Wilkins (Atheniensia), “the peribolus of a sacred
building. The walls next the street are adorned with
Corinthian columns advanced before them: in the
centre is a portico of four columns, through which the
area within is approached. The line of the walls is
interrupted by several projections forming cellx, or
chapels, some circular, and some rectangular. Around
the walls within was a cloister, or portico, formed by a
continued row of columns twenty-three feet distant
from them.”
All this sufficiently agrees with the description of
Pausanias, who speaks of it as “ most admirable,” with
its hundred and twenty columns of Phrygian marble ;
''44, PANTHEON OF HADRIAN.
its splendid halls with ceilings and ornaments of gold
and alabaster; its pictures and statues; and, better |
even than these, its library. A singularly fortunate
verification of its identity was obtained, long subse-
quent to the visit of Stuart, through the interference
of the Earl of Guildford. That enlightened and mu-
nificent nobleman obtained permission to excavate
within the enclosure, although it had been appro-
priated to the domestic uses of a Turkish officer ; and
this decisive experiment at once ascertained the local
identity by a discovery of the very “ Phrygian stone” —
described by the ancient traveller. Before these in- |
teresting ruins could be reached, it was necessary to i
remove an accumulation of soil and rubbish covering
the original level to a depth of thirty feet.
This structure, however, with all its richness, is
characterised by the degraded taste of the Roman
architecture. The proportions depart from those of
the pure Greek models: the columns are raised on —
pedestals: the details of the Corinthian architrave —
are altered for the worse; and that unerring sign of |
degraded taste, the broken entablature, everywhere |
i
prevails. 74
i
PLATE XVIII. |
Fig. 1. Plan of the Pantheon. — The parts still |
remaining are shaded; the restorations are merely ;
traced. The walls indicated in the centre mark }
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''PANTHEON OF HADRIAN. 45
ancient foundations, on which has been built a church
dedicated to the Panaghia.
Figs. 2 and 3. Parts of the front, drawn to a larger
scale, to show more accurately the construction of the
side walls.
PLATE XIx.
Fig. 1. Half of the general elevation, exhibiting
the portal and one division of the front.—At the
termination on the left hand may be seen one of the
circular projections, exhedre, celle, or chapels, by
each of which names they have been designated, as
one or other theory prevailed. Nearly the whole of
this restoration is sanctioned by existing masses, or
fragments. It deserves notice that the abacus of
the capital is continued throughout beneath the archi-
trave.
Fig. 2. Section of the front wall, showing the pro-
file of the portal, and of the southern pteroma, with
one of the columns which stand between the portal
and the northern pteroma.
Fig. 3. Section of the portal, and of the entrance
before which it stands.—The interior varies from the
exterior architrave.
Fig. 4. Part of the external face of a lateral wall.
''46 PANTHEON OF HADRIAN.
PLATE XX.
Capital and entablature of the columns of the
front.—The angle of the abacus is acute, like that of
the Temple of Vesta, at Rome.
PLATE XXI.
Profiles of the base and pediment of the columns.
PLATE XXII.
Fig. 1. Plan of the capital.
Fig. 2. Angular view of the capital.
These details are altogether insufficient for practical
purposes, and leave much to be desired even for gene-
ral illustration. It does not, indeed, appear that,
surrounded as it is by structures of purer taste and
more easy access, this splendid monument of Roman
magnificence has attracted in a due degree the atten-
tion of architectural travellers. Stuart’s description is
exceedingly meagre, and, under the circumstances, it
was hardly possible for him to make it more complete ;
it may, however, be hoped that more assiduous exam-
ination under better auspices will enable modern ex-
plorers to supply satisfactory information respecting
an edifice of which the character.and arrangements are
still so imperfectly understood.
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THE PARTHENON.
PLATES XXIII. XXIV. XXV. XXVI. XXVII. XXVIII.
,) # this glorious edifice, built under
4, the auspices of Pericles, Phidias
was the designer; Callicrates
and Ictinus were the archi-
tects. Sir Wilham Gell says:
“It is, without exception, the
most magnificent ruin in the world, both
: for execution and design. Though an
entire museum has been transported to
England from the spoils of this temple,
it still remains without. a rival.”
Respecting the arrangement of this marvellous
temple, in its original state, there exists, even among
those best qualified to judge, considerable difference
of opimion. It seems to be agreed that Stuart relied
too much upon the authority of Wheler and Spon,
who, indeed, saw it when in a condition of much
greater completeness than it exhibited at the date of
''48 THE PARTHENON.
his visit, but with many inferior advantages in point
of architectural science. Subsequently to the investiga-
tions of Stuart and Revett, these majestic ruins have
been subjected to strict examination by individuals
from whose decision there can be no appeal, and
among these Mr. Cockerell stands eminently dis-
tinguished. Colonel Leake, in his “Topography of
Athens,” expressly refers to this gentleman as an
ultimate authority in cases of doubt; and since the
statements of the Colonel have thus the double
sanction of his personal observation, and the results
of Mr. C.’s more recent and minute exploration, thcy
shall be given in his own words :—
“The Parthenon, or great Temple of Minerva,
stood upon the highest platform of the Acropolis,
which was so far elevated above its western entrance,
that the pavement of the peristyle of the Parthenon
was upon the same level as the capitals of the columns
of the eastern portico of the Propylea. The Parthenon
was constructed entirely of white marble from Mount
Pentelicum. It consisted of a cell, surrounded with
a peristyle, which had eight Doric columns in the
fronts, and seventeen in the sides. These forty-six
columns were six feet two inches in diameter at the
base, and thirty-four feet in height, standmg upon a
pavement, to which there was an ascent of three steps.
The total height of the temple above its platform was
about sixty-five feet. Within the peristyle, at either
end, there was an interior range of six columns, of
''THE PARTHENON. 49
five feet and a half in diameter, standing before the
end of the cell, and forming a vestibule to its door;
there was an ascent of two steps into these vestibules
from the peristyle. The cell, which was sixty-two
feet and a half broad within, was divided into two
unequal chambers, of which the western was forty-
three feet ten inches long, and the eastern ninety-eight
feet seven inches. The ceiling of the former was
supported by four columns, of about four feet in
diameter, and that of the latter by sixteen columns,
of about three feet. It is not known of what order
were the interior columns of either chamber. Those
of the western having been thirty-six feet in height,
their proportion must have been nearly the same as
that of the Ionic columns of the vestibule of the Pro-
pylea; whence it seems highly probable that the same
order was used in the interior of both these contem-
porary buildings. In the eastern chamber of the Par-
thenon the smallness of the diameter of the columns
leaves little doubt that there was an upper range, as in
the temples of Pestum and Augina.’’ *
* Jn addition to these valuable details, we shall take the liberty of
inserting a highly interesting extract from Mr. Kinnaird’s elaborate
comment: ‘‘ Commenced about the eighty-third Olympiad, or about
448 B.c., the rapidity of the execution of this fabric is recorded by the
historian ; and by the comparison of historic dates and events, sixteen
years is the utmost extent of time that can be possibly supposed to
have been occupied in the performance of the entire works of this
edifice, 101 feet in front, 227 in length, and 65 in height, wrought in
the most durable marble, and with the exquisite finish of a cameo;
enshrining the chryselephantine colossus with all its gorgeous adjuncts,
E
''50 THE PARTHENON.
It is a most unfortunate circumstance that Pau-
sanias, the main authority for all that relates to the
great monuments of Grecian art, completely deserts the
inquirer at this important point. | He despatches the
Parthenon in brief and insignificant phrase, so far as
the building and its peculiarities are concerned, while
he describes, in considerable detail, the parts which are
merely ornamental, and without necessary connexion
with the architectural forms.) Hence the yet unsettled
questions respecting the Naos and its covermg. Stuart
inferred, from various circumstances, that the temple
was hypethral, “that is, with two interior ranges of
columns dividing the cella into three aisles ; of these,
the two next the walls alone were roofed, and that in
the centre exposed to the heavens.” On the contrary,
Mr. Wilkins, whose words we have adopted in the
brief explanation just given, contends that there are
no adequate grounds for Stuart’s inference. Colonel
Leake again, apparently supported by the investigations
of Mr. Cockerell, inclines to the former opinion, which
is also supported by the recent editor of “The Anti-
quities of Athens.” The plates in the present work
and comprising sculptural decoration alone for one edifice, exceeding
in quantity that of all our recent national monuments; consisting of a
range of eleven hundred feet of sculpture, and containing on calcula-
tion upwards of six hundred figures, a portion of which were colossal,
_ enriched by painting and probably golden ornaments. Here has been
really verified the prediction of Pericles that, when the edifices of rival
states would be mouldering in oblivion, the splendour of his city would
be still paramount and triumphant.”’
''THE PARTHENON. 51
are in accordance with the hypothesis which classes the
Parthenon among hypethral temples.*
The decorations of this sumptuous edifice were of
the richest and most perfect design and execution.
Both pediments were charged with sculpture of un-
rivalled excellence: the metopes of the exterior en-
tablature exhibited a succession of ninety-two groupes
in high relief: and the frieze, which surrounded the
cella and vestibules, was adorned in its entire length
of more than five hundred feet, by a representation
in low relief of the Panathenaic procession. But the
great ornament of the temple was the chryselephantine
statue of the goddess, which stood in the cella: framed
of the most costly materials, and wrought by the very
hand of Phidias, this wondrous work had but one rival,
and that was by the same master, and of the same
materials.
This structure is sometimes called the Hecatom-
pedon, either from its actual dimensions, or from the
* Mr. Wilkins, in his latest publication, the Prolusiones Archi-
tectonice, has done us the honour of commenting on this paragraph.
After speaking in complimentary terms of our ‘‘ Epitome,’’ he goes on
to reassert his opinion, though without repeating or reinforcing his
previous reasoning on the subject. His intention seems to have been,
by showing that Colonel Leake and Mr. Cockerell had, in other cases,
given up positions maintained by them conjointly, to intimate that
they were, therefore, likely to be wrong in this. We cannot think
that the inference is quite legitimate, but as we have not, by any
means, a tenacious feeling in the matter, we are content to leave it
without controversy.
''ay THE PARTHENON,
distinctive name of an ancient temple which formerly
occupied the same site.
PLATE XXIII.
Fig. 1. Plan of the Parthenon.—In the western
front, marked A, A, was the principal entrance. B is
the pronaos; and it may be well, in this place, to point
out a peculiarity in its arrangement. In the common
construction it was usual to prolong the pteromata, or
lateral walls, until the ante were on the same align-
ment as the intervening columns: in this instance,
however, the colonnade is complete, covering the antz
by the exterior column on either flank; the general
proportions being preserved by reducing the pteroma
from its usual extent, to something of little larger
dimensions than a buttress. C, the cell, cella, or naos,
where stood the statue of Pallas. As this plan is
strictly a reduction of that of Stuart, it is necessary to
remark that the columns indicated as supporting the
central portion of the cella are of uncertain origin. It
will be observed that they are of a diameter much less
than that of the colonnade of the pronaos, although
this has a slenderer shaft than that which belongs to
the pillars of the portico. Stuart supposed that the
interior parallelogram was composed of a double range,
the lower supporting an entablature, as a sort of stylo-
bate to an upper and shorter tier, on which rested the
''
''
''THE PARTHENON. 53
roof of the aisles, the centre being hypethral. It does
not, however, appear that the columns thus indicated
belonged to the original building ; Fauvel believed that
they were of the Lower Empire, and the entire question
may be considered as yet open. D, opisthodomus,
represented in Stuart’s plan as having been supported
by six columns: a more recent and minute examination
by Mr. Cockerell gives but four. It will not appear
surprising that all these uncertainties should present
themselves, when it is recollected that a new mosque
was built by the Turks within the walls and with the
very materials of the temple itself; and that further
dilapidations have been committed to a great extent.
The ravages of war have combined their devastation
with these larcenies of peace: in 1687, when the
Acropolis was besieged by the Venetians under Moro-
sini, a shell fired a powder-magazine which occupied
the interior of the temple, and the principal mischief
done to the ornamental parts seems to have been the
effect of this explosion.
Fig. 2. Transverse section of the portico, of which
the columns are removed, for the purpose of showing
those of the pronaos, which stand on a platform raised
two steps above that of the portico.— They support an
architrave, surmounted by the Panathenaic frieze, which
is continued round the temple.
''54 THE PARTHENON.
PLATE XXIV.
Elevation of the Parthenon, with the sculpture of
the frieze and pediment restored.
The architrave is ornamented with shields, of which
one is suspended over each column ; in the intermediate
spaces are inscriptions. It should be observed that this
arrangement is, in a great degree, arbitrary.
PLATE XXV.
Side view, combining the advantages of an eleva-
tion and a section.— The wall is broken away from the
central portion, so as to exhibit the opisthodomus, and
the hypethral cella, with its double range of columns
and the Phidian statue of Minerva Parthenos.
PLATE XXVI.
Fig. 1. Capital and entablature of the columns of
the portico.
Fig. 2. Mouldings of the capital, on a larger scale.
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THE PARTHENON.
PLATE XXVII.
Fig. 1. Capital and entablature of the pronaos and
posticum.
Fig. 2. Capital of the ante of the as bi and
section of the entablature.
Fig. 3. Mouldings of the capital of the ante, on a
larger scale.
PLATE XXVIII.
Pediments of the eastern and western fronts,
restored.
The workmanship of this noble edifice exhibits the
_ exquisite finish which distinguishes the best period of
Greek art. | No cement was used in the construction,
but the masonry is fitted with the utmost accuracy,
and held together by iron cramps run with lead, The
cylindric blocks which form the columns, have their
upper and lower surfaces adjusted and secured by
wooden pins and plugs. Certain vacuities and ap-
parent negligences in different parts of the building,
though they may be accounted for without violence
to sound principles, suggested to the artist Lusieri,
the singular and somewhat whimsical notion that the
Greek masons were knaves, and that Pericles had been
cheated by his workmen.
''56 THE PARTHENON.
The subject of colour in its application to architec-
tural effect, has already been slightly touched, and it
would involve too great an extent both of detail and
discussion to follow it out in this place. It has, how-
ever, evidently been so much employed by the Greek
architects as a legitimate resource, that it would be
inexpedient to pass it by altogether. The marks of
paint are still clearly visible on many of the orna-
mental parts of the Parthenon. The capitals of the
ante ; the members of the architrave and frieze; the
mouldings of the pediments; were severally adorned
with the designs usually distinguished as the Fret —
the Palmette—the Egg-and-dart. One portion of the
frieze was marked with zig-zag stripes; and the lacu-
naria were doubtless enriched with colours and gilding.
The sculpture was probably, perhaps advantageously,
relieved by a light-blue ground, and the figures, ©
draped or nude, might possibly be distinguished by
appropriate tints.
''THE ERECHTHEUM.
PLATES XXIX. XXX. XXXI. XXXII. XXXII. bis, XXXIII.
XXXIV. XXXV. XXXVI. XXXVII. XXXVIII. XXXIX.
towards the east was called the Erech-
theum; to the westward of this, but under the same
roof, was the Temple of Minerva, with the title Polias,
as protectress of the city ; adjoining to which, on the
south side, is the Pandrosium, so named because it was
dedicated to the nymph Pandrosus, one of the daughters
of Cecrops.— Stuart.
The passage in Pausanias on which Stuart founded
his opinion that this beautiful but. irregular structure
had.a three-fold dedication, scarcely sanctions the con-
jecture ; in fact, the rambling and discursive manner
of the Greek traveller requires, here as elsewhere, the
aid of exact local investigation, before it can be made
to support anything in the shape of definite result.
Subsequent examination has brought to light important
circumstances, which were not accessible in the time
''58 THE ERECHTHEUM.
of Stuart. Mr. Inwood devoted much skilful labour
to a personal inspection, and Mr. Wilkins has made
proof of admirable scholarship in his examination of
one of the most singular and instructive among the
remaining inscriptions of antiquity. It is not the
least of the many peculiarities of this temple, that it
never received the last finish, and the inscription in
question contains the particulars of a minute pro-
fessional survey of the unfinished parts, conducted
under the direction of a regular architect (Philocles),
employed by the local authorities.
From all these sources of information it appears,
in the judgment of the ablest palologists, that the
entire buildmg was a double temple, of which the
eastern division was consecrated to the worship of
Minerva; and the western, including the northern
and southern porticoes, was sacred to the deified
daughter of Cecrops. On the same site had formerly
stood the Temple of Erechtheus; and from this cir-
cumstance, as well as from the fact that his altar still
remained, the entire building retamed the name of the
Erechtheum. Within the sacred enclosure were pre-
served the holiest objects of Athenian veneration,
among which the most precious were the olive of
Minerva and the fountain of Neptune, both which
sprung up at the bidding of those divinities, when
there was contention among the Gods, concerning the
guardianship of Athens.
Here, too, was the oldest and most deeply vene-
''THE ERECHTHEUM. 59
rated of the three famous statues of the Athenian
Goddess. The “ Great Minerva,’’—the Minerva Pro-
machus, so called from jts martial bearing —was of
bronze, the work of Phidias. This colossal figure was
in part visible to the navigator who neared the port
of Athens; and it was the first object that met the
eye on entering the Acropolis. The second of these
celebrated statues was the Minerva of the Parthenon,
also by Phidias, wrought in ivory and gold, the noblest
example of the ¢oreutic art. But the admiration
awakened by these sublime productions of human
genius and skill, was a mixed and imperfect feeling,
compared with the religious awe which impressed the
worshipper who bowed before the Minerva of the
Erechtheum, a figure carved in olive-wood, probably
of inferior workmanship, but of which the legend
affirmed that it fell from heaven. “ This,” in the
eloquent language of Mr. Wordsworth, “was the
Minerva Polias: the original Minerva of Athens; the
Minerva who had contested the soil of Attica with
Neptune, and had triumphed in the contest: the
Minerva of the Acropolis, and of the temple now
before us. Inferior to the other two in value of
material and beauty of execution, she was regarded
with greater reverence. Hers was emphatically the
ancient statue: to the Minerva Polias it was, and not
to the Minerva of the Parthenon, that the Panathenaic
peplus—the embroidered fasti of Athenian glory—
was periodically dedicated.”
''60 THE ERECHTHEUM.
It may serve to simplify the somewhat complicated
form of this temple, if the porticoes on the flanks be
for the moment discarded. | In that case, it is well
observed by Mr. Wilkins that “ the plan would be
simply that of the kind of temple termed by Vitruvius
prostyle ; that is, with a portico in the principal front
only, and no peristyle. If to a temple of this descrip-
tion two porticoes be added at the western extremities
of the flanks, a general idea of the plan of the building
may be formed.” It will, however, be better to leave
all further ichnographical detail to the explanation of
the plates, where the description and the exemplifi-
cation may stand side by side.
Nothing can go beyond the workmanship of this
temple. The ornaments, throughout, are of the most
finished execution, and the sculptors seem to have
derived all possible advantage that was afforded them
by a material which admitted of being wrought with
* the delicacy of an ivory cabinet.” “ In this beau-
? observes Colonel
tiful specimen of the Ionic order,’
Leake, “the Athenians seem to have been ambitious
of excelling their Asiatic brethren in their own peculiar
order of architecture, by the addition of new and
elaborate ornaments, imagined with the utmost in-
genuity and elegance of taste, and executed with a
sharpness and perfection, which it could hardly have
been supposed that marble was capable of receiving.”
The sculptured necking of the columns is said by Mr,
Wilkins to have been “ observed in no other known
''THE ERECHTHEUM, 61
instance of the Ionic order: the volutes are beautiful
in design, and most exquisitely wrought.” It has
been said of the volutes, that they were not struck
from centres. This temple supplies an additional
example of the rule which obtained among the ar-
chitects of Greece, that there should be no similarity
between the capital of the column and that of the
ante; contrary to the practice of the Roman builders,
whose system it was to harmonise the respective
features as far as possible. In the present instance
the ante present no trace of the volute. It deserves
notice, too, as a peculiarity in the construction of
this edifice, that the frieze and part of the pediment
is faced with thin slabs of a grey limestone, which is,
in the inscription already referred to, called “ Eleu-
sinian stone.’’*
* Mr. Woods, in the ‘Letters of an Architect,’’ describes this
‘* Hleusinian stone’’ as a black marble, and its present grey tint as the
effect of weathering. He suggests that it was probably enriched by
ornaments of gilt bronze.
''62 THE ERECHTHEUM.
SX) HUS far the former publication, and
this abstract, brief as it is, was the
result of somewhat more research
than would be anticipated by readers
ae inexperienced in the difficulties which
beset the architectural student in his efforts to combine
and interpret the “rich relics” of antiquity. He has
to correct the careless and inadequate draughts of the
mere describer ; to search out the casual references of
the historian and the poet ; to repair the errors with
which time and negligent transcription have marred
the record; and to extract from these imperfect and
sometimes conflicting elements, a clear and harmonising
explanation of mutilated and scattered fragments. A
task, this, never easy, sometimes impracticable, and, if
not positively hopeless in the present instance, requiring,
it should seem, yet further investigation before it can
be considered as satisfactorily completed. A careful
review of the facts and authorities has appeared to
justify a repetition of the statements and citations as
given in the first edition. With the view, however,
of rendering the details more complete, the passages
in Pausanias which relate to this splendid but singular
structure, may be advantageously laid before the reader,
in free but fair translation; and in addition to this,
''THE ERECHTHEUM. 63
it is due to the learned and laborious investigations
of Mr. Wilkins, that their latest results should be
recorded. here.
“Before the vestibule of the Erechtheum, stands
an altar to Jupiter Hypatus (Highest), on which they
sacrifice nothing that has life, but placing cakes, they
do not sanction even the use of wine. In the very
entrance are altars; one to Neptune, on which also
offermgs are, by command of an oracle, made to
Erechtheus: another is consecrated to the hero Butes:
the third to Vulcan. On the walls are paintings re-
ferring to the descendants of Butes. The edifice is
double, and there is in it sea-water in a well (or
reservoir) .... when the south wind blows, a sound
is heard as of waves. On the rock is impressed the
form of a trident. These things, it is said, are testi-
monials of Neptune’s contest concerning Attica with
Minerva.
‘Sacred to Minerva, indeed, are the city and the
entire region ; for even in those communities where
other deities are held in special honour, none the less
is Minerva reserved.”
Pausanias then goes on to speak of the wooden
image to which we have already referred as of peculiar
sanctity, and which was consecrated and placed in
the Acropolis by the common consent of the Attic
Demi; an act that appears to have been the solemn
and religious recognition of their national union under
the supremacy of Athens. He next mentions the
''64 THE ERECHTHEUM.
Golden Lamp, the master-work of Callimachus, burn-
img night and day, yet requiring to be replenished
with oil only once in the year, the unconsumable
wick made of Carpasian flax, and the brazen Palm-
tree rising to the roof and carrying off the smoke of — i
the Lamp. There, too, was the ancient Hermes, the
gift of Cecrops, hidden in myrtle-leaves,—a folding
seat,* the work of Dedalus—the cuirass of Masistius,
and the scymitar of Mardonius. Concerning the
identity of these barbarian trophies, however, Pau-
sanias intimates some doubt. The armour of Masis-
tius, he thinks, may be taken as genuine, since that
gallant officer was cut down in the act of charging ~
the Athenian horsemen; but he is puzzled to know a
how the sabre of the commander-in-chief, who was q
slain in fight with the Lacedemonian division, could —
find its way to the Acropolis of Athens. The difficulty i
does not seem formidable: though the Spartans were
_ victorious in the field, they failed before the fortified
camp of the Persians; and the Athenians, who carried |
it gallantly by assault, would probably find the weapon |
in the richly-furnished tent of Mardonius. a
In this temple, moreover, is preserved the sacred |
Olive, the memorial of Minerva’s victory over Neptune
when contending for Attica. Concerning it they hold
the tradition that when the Persians fired the city,
this tree was consumed ; but that in the course of the |
same day, it threw out a fresh shoot to the height of 7
* Perhaps a kind of chariot.
''THE ERECHTHEUM. 65
two cubits. Near the temple stands a statue of an
aged female, a priestess of Minerva, well executed:
and at a short distance are two large bronze figures of
men in combat: one of Erechtheus, the other of
Immaradus, who was slain in the fight. There are
in the citadel several ancient statues of Minerva, still
unmutilated, but so black and burnt as to be mcapable
of resisting the slightest violence. In their present
state they are most impressive memorials of the con-
flagration in which all that was in Athens perished
when the Persians took possession of the city.
Mr. Wilkins, to whom this work has been already
much indebted, and whose close and critical observa-
tion is quite otherwise instructive than the vague and
discursive manner of Pausanias, made this temple the
object of long and successful examination. His com-
mentary on the curious inscription to which reference
has been already made, gave a new direction to the
study of architectural antiquity; and a dextrous appli-
cation of conjectural criticism gave, in one important
instance at least, consistency to the shattered text of
Vitruvius. In 1837 he published his “ Prolusiones
Architectonice :”” here he resumed his favourite sub-
ject, and the larger portion of a thin quarto is taken
up by elucidations of the Erechtheum and its inscribed
marble, With this last we have nothing to do, since
it is quite foreign from our subject to discuss the
technicalities of art ; but the earlier part, as expressing
the ultimate opinion of an eminent man, claims from
F
''66 THE ERECHTHEUM.
us a brief notice. After an ingenious manipulation of
a stubborn passage in Xenophon, followed by a brief
description of the Acropolis, he goes on to detail the
ichnography of the building. With Stuart and others,
he divides the edifice into three parts, of which that
which was entered from the eastern or hexastyle
portico was the cella of the temple of Minerva Polias.
This was separated by a massive wall from the Pan-
droseum and its pronaos, to which the tetrastyle por-
tico on the flank, or rather shoulder, of the structure,
afforded the only access. To the opposite humerus
was attached the famous Caryatid “ prostasis,’”’ con-
structed, as generally supposed, for the purpose of
affording light and air to the sacred Olive which grew
within it. This theory is disputed by Mr. Wilkins,
who supposes the Neptunian spring to have occupied
this part of the buildmg, and the tree of Pallas to
have flourished in perpetual verdure within the pronaos
itself, access of light and circulation of air being ob-
tained from the windows in the intervals of the engaged
columns in the western front.
PLATE XXIxX.
Perspective view of the Erechtheum, reduced from
the large and elaborate restoration by Mr. Inwood.*
In this draught there is much detail for which no
* We are indebted to the liberal courtesy of this gentleman for
‘permission to copy his plate.
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''THE ERECHTHEUM. 67
direct authority can be given, though there is pro-
bably none for which plausible reasons might not be
assigned.
PLATE XXX.
Fig. 1. Plan.—A, “Temple of Erechtheus, or of
Neptune, in which was the well of salt water, and
the altars of Neptune, of Vulcan, and of the hero
Butes; before it stood the altar of Jupiter the Su-
preme. B, The temple of Minerva Polias, perhaps
the Cecropium of the Dilettanti inscription. C, The
temple of Pandrosus, in which was the olive produced
by Minerva, and the altar of Jupiter Herceus. D, The
portico, common to the temple of Minerva, and to that
of Pandrosus.” :
As already intimated, this arrangement, which is
given in Stuart’s own words, has been considerably
modified by the results of subsequent research. It
appears nearly certain that the eastern division, marked
A, is to be taken as the cella of the temple of Minerva
Polias, while the remainder, including the tetrastyle
portico and that of the Caryatides, was known as the
Pandroseum. The Cecropium is, with the highest
probability, supposed to have been a building near,
but separated from, the stylagalmatic entrance.
Among the singularities of this structure is to be
noted the difference of level, both within and without.
The chamber, marked A, has for its floor a platform
''68 THE ERECHTHEUM.
higher by ten feet than that of the other division ; and,
if the suggestion of Mr. Wilkins be correct, this
arrangement was made for the purpose of constructing
a sepulchral chamber beneath, containing, probably,
the tomb of Erechtheus.
Fig. 2. Elevation of the tetrastyle, or northern
portico.
It is remarkable that in each of the three ranges
of Ionic columns which are connected with this temple,
the intercolumniations differ. The engaged columns of
the western front are nearly eustyle, standing apart
something less than two diameters and a fourth; this,
according to Vitruvius, is, as the term imports, the
most perfect of all the columnar systems for beauty
and strength. The columns of the eastern or hexastyle
portico may be considered as systyle, having an interval
of little more than two diameters. The northern
portico is diastyle, with an intercolumniation of nearly
three diameters.
The wall separating the western chamber from the
tetrastyle and caryatid porticoes, was ascertained by
Mr. Inwood to be of later construction than the rest of
the building.
PLATE XXXI.
Entablature, capital, and base, of the tetrastyle
portico. These columns are in several respects more
highly ornamented than those of the other fronts.
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PLATE XXXII.
Doorway to the tetrastyle portico.— The details of
this magnificent entrance appear to have been chiefly
taken from Inwood (Erechtheion). It still exists in a
state “ nearly perfect,” though in Stuart’s time it was
not accessible; the portico having been walled up by
the Turks, and made to serve the purpose of a powder-
magazine. Mr. Wilkins was not more fortunate than
Stuart, but Mr. Inwood’s visit was under better
auspices. Mr. Donaldson, in his elaborate and useful
work on “ Ancient Doorways,” has bestowed great and
apparently successful pains on this “ beautiful gate.”
His draught does not exhibit the rich crowning orna-
ment, of the Hyperthyrum.
''70 THE ERECHTHEUM.
PLATE XXXII. (bis.)_
Front, side-view, and section of the consoles sup-
porting the hyperthyrum of the preceding doorway.
PLATE XXXIII.
Elevation of the Erechtheum, showing the eastern
or hexastyle portico, with its pediment; the side eleva-
tion of the northern or tetrastyle portico; and the
stylagalmatic * portico of the Caryatides. By the mis-
management of the engraver, the relative positions of
these porticoes are reversed.
* This rather formidable compound was first applied to the
Figure-column by Mr. Wilkins, and was adopted in this work as
having at least the merit of being accurately descriptive. The
German critics, however, object to it as ‘‘ barbarous.’’? Mr. Wilkins
sarcastically alludes to this as a ‘‘ kind of Chinese refinement’’ on
the part of Teutonic philologers, but expresses his perfect willingness
to accept, ‘‘ for the sake of euphony,’’ the term Coreatic, from Kogas
—virgins or young females—a word specifically applied, in the
Erechthean Inscription, to the statue-pillars (Bild-saiilen) of the
Caryatid Prostasis.
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''THE ERECHTHEUM. 71
PLATE XXXIV.
Fig. 1. Base, capital, and entablature of the
eastern portico.
Fig. 2. Capital of the ante to the western front.
Fig. 3. Base of the same.
The reader for scientific or practical purposes is
referred to the plates of Mr. Inwood’s great work.
They are boldly sketched, drawn to scale, and of
large proportions. Many particulars, too, of con-
siderable value, are inserted. We do not recollect
whether he was the first to observe the insertion of
coloured stones or glass in the platband of the base,
but they do not appear to have been noticed by Stuart,
and we are not aware of any previous authority for the
fact.
PLATE XXXV.
Plan of the above, in reverse, with sections of the
capital, and contour of the volute.
PLATE XXXVI.
Capital and base of the columns of the western
front: outline of the volute.
''72 THE ERECHTHEUM.
PLATE XXXVII.
Fig. 1. Section, showing the interior of the western
wall, connecting the tetrastyle and caryatid porticoes.
In the windows are indications which lead to the
supposition that they were closed with somewhat of
transparent material.
Fig. 2. Section of the wall of the western front.
Fig. 3. Elevation of the caryatid portico.
PLATE XXXVIII.
Details of the entablature, capital, and stylobate,
of the portico of the Caryatides, with portions of the
figure.
PLATE XXXIX.
Fig. 1. Capital of the ante of the same portico,
with section of the ceiling or soffit.
Fig. 2. Plan of the soffit.
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''ODEUM OF REGILLA,
OR,
THEATRE OF HERODES ATTICUS...
PLATE XL.
By TUART, Wheler, Pococke, and
7 more recently Mr. Haygarth, have
assigned these ruins to the Theatre’
of Bacchus. Nothing, however,
can be more complete than the
chain of evidence and argument,
by which Leake, Wilkins, and
Kinnaird, have established their
Ong claim to be considered as the remains of the
Odeum, or Music Theatre, erected by the
: wealthy and munificent Herodes Atticus, in
memory of his wife Regilla.* It is probable that
the removal of the rubbish which has fallen from
* This generous patron of the Arts appears to have been one of
the fairest characters of ancient times. So far as public records may
be trusted in attestation of private and patriotic excellence, his life
was of unimpeached integrity. Asa friend and citizen, his kind and
''74, ODEUM OF REGILLA.
the higher ranges of the circle, and accumulated in
front of the proscenium, would bring to light many
an interesting and illustrative fragment; but Stuart
was hindered in his examination by the jealousy of the
Turks, and the researches of succeeding visitants have
not penetrated below the surface.
This theatre, which is said by Pausanias to have
excelled all similar structures in Greece, was hollowed
out of the rock on which stood the Acropolis; the
seats were also part of the solid mass, but the whole
was cased with marble, as were also the walls and
ornamental portions of the proscenium. Hence it was
not practicable to form those numerous corridors and
vomitoria which gave such free access to all parts of a
Roman theatre. ‘ There appears,” says Mr. Wilkins,
“to have been only two ranges of seats; the pre-
cinction, or passage separating them, may be still
distinguished. The only approaches to the theatre —
were at the horns of the auditory, where the staircases
communicating with the precinctions are remaining.’’
The general dimensions are given on the same
authority, as follows: “The cavea is the greater |
liberal disposition has the testimony of an inscribed marble which *
remains to our own day; that his domestic affections were strong and
lasting, may be inferred from the splendid memorial of conjugal ©
tenderness which he consecrated to the name of his deceased wife.
The inscription is in the usual terse and expressive style of classic
eulogy, ‘‘To the High Priest of the Cesars—Tiberius Claudius ,
Herodes, the Marathonian—on account of his goodwill and benefi-
cence toward his country.’
''ODEUM OF REGILLA. 75
segment of a circle, whose radius is one hundred and
twenty-four feet ..... the front of the scene recedes
twenty-five feet from the chord line..... the extent
of the scene, exclusive of the two returns, is one
hundred and seventeen feet.”
A reference to the diagram (Plate xl.) will, how-
ever, make the forms and arrangement much clearer
than pages of vague description, and the plan will
be found to show with perfect distinctness, both the
particulars of the Odeum of Regilla, and the general
disposition of a Greek theatre; the proscenium, with
its connected apartments; the orchestra, immediately
in its front; and the cavea, or coilon, with its pre-
cinction and staircase.
The principles which regulated the construction of
the Greek Theatres, have obtained much and skilful
elucidation from the antiquarian and the architect ;
and it is a matter of no small regret that the intention
of furnishing the reader of this volume with a general
view of the subject, has been unavoidably laid aside.
The truth is, however, that mere summary has been
found so vague, partial explanation so unsatisfactory,
and the necessity for multiplying diagrams so in-
evitable, that the design has been abandoned. The
student, whether amateur or professional, is referred
to the Vitruvius of Mr. Wilkins for an able digest of
whatever has been ascertained or suggested on this
important section of architectural science, illustrated
by plans and sections.
''76 ODEUM OF REGILLA.
Mr. W.’s restoration of the Theatre of Herodes
Atticus differs considerably from the more partial
exhibition of Stuart; and the insertion here of his
analysis will add materially to the value and interest
of this sketch. ‘‘ There are no traces,” he states, “ of
staircases between the cunei to be discovered in the
ruins of this theatre; but in the wall which surrounds
the upper precinction there are remains of niches, or re-
cesses, which, like the real doorways in other theatres,
were probably opposite to the ascents. Upon this
supposition, their disposition would correspond very
nearly with that which we are desired by Vitruvius
to adopt ; for the ascents would begin from the angles
of the squares inscribed in the circle of the orchestra. . .
The cunei on the right and left of the scene were of
greater extent than the others; a similar imequality
is likewise apparent in the plan of the theatre at
Tauromenium ; and seems to have been dictated by
the propriety of giving the same facility of access to
all the cunei. The staircases at the extremities of the
cavea afford access to the seats of the two cunei only
contiguous to them; whereas each of the others com-
municates with those of the two cunei which it
separates: so that were the cunei of equal extent,
the facility of approaching the seats of those next the
extremities would be greater than what was afforded
to the others.”
“‘ The theatre having been excavated in the side of
the rock of the Acropolis, there were no other ap-
''ODEUM OF REGILLA. ce
proaches to the precinctions than those at the back of
the scene.”
“ The orchestra is the segment of a circle greater
than a semicircle. It is probable that Vitruvius had
a theatre similar to this in view when he represented
the orchestra of the Greek theatres as formed by arcs
described from three several centres. The form of
the orchestra in the theatres at Stratonicea, Miletus,
Laodicea, and Iassus, was a considerable portion of a
circle.””
''THE CHORAGIC MONUMENT OF
THRASYLLUS.
PLATES XLI. XLII.
SINGULAR building, which
dates a century lower than the
Periclean age, and _ exhibits
much that is impressive and
well adapted to the purposes of
the architect and sculptor. The
lower portion of the edifice has
evidently been considered as
strictly subordinate to the entablature and
attic; and these have been disposed with spe-
cific regard to the great feature of the entire
arrangement, the noble statue which occupied
the centre of the crowning platform. This
statue, now in the British Museum, has lost the
head and arms; but enough remains to leave it little
doubtful that it represented Bacchus in some of his
various aspects. Stuart supposed it to represent a
female, Dr. Chandler guessed that it might be a
Niobe, and Mr. Wilkins describes it as “a colossal
¢
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Ag
te
See
CHORAGIC MONUMENT OF THRASYLLUS. 79
figure of the female Bacchus in a sitting posture.”
Dr. Clarke imagined that he could trace sufficient
indications to justify him in assigning the statue to
the “bearded” or Indian Bacchus. Amid all these
variations, the balance of evidence is decidedly in
favour of the son of Semele, though in which of his
manifold disguises may admit a question.
The whole structure forms an architectural front
to a cave of small extent, now dedicated as a chapel
to Our Lady of the Grotto, Panaghia Speliotissa.*
This cavern stood immediately above the Dionysiac
Theatre, and now serves as an important indication
of the site of that celebrated scene of Choragic com-
petition. The plan and restored elevation (Plate xli.)
show distinctly the general aspect of the building,
and the way in which it is connected with the recess.
The design consists of an attic, broken in the centre
by steps leading to the platform; the two wings, or
flanking members, thus formed, present the appear-
ance of a pedestal, or stylobate, with cornice, die, and
plinth. This superstructure rests upon an entabla-
ture supported by two ante and a central pillar or
pier, quadrangular like the ante, but differing from
_them in its proportions, and in the profile of its
* As an open cave was ill adapted to the ritual of the Virgin, the
front has been walled up, and a view of the interior may be seen in
the first volume of Dodwell’s ‘‘ Classical and Topographical Tour in
Greece.’”’ The effect is picturesque enough, but the contrast between
the mean furniture of the Chapel, and the noble character of the
| Monument, is singularly impressive.
s
''80 CHORAGIC MONUMENT OF THRASYLLUS.
mouldings. The first view of all this suggests the
idea of irregularity, and makes it probable that there
has been some alteration of the original design: this
probability is strengthened by the fact that the attic
is made up of a different marble from the pure Pen-
telic of the entablature and its supports. It might,
too, be supposed from the unusual and rather awkward
appearance of the middle prop that it had been an
after-introduction, for the purpose of meeting the
additional pressure of the statue: this inference, how-
ever, is disproved by the fact that the architrave is
not of one continuous stone, but is jomted immediately
over the pier. .
Some light may be thrown on these difficulties by
a reference to the history of the monument, as pre-
served in the three inscriptions still clearly legible on
the architrave and attic. Of these, the most ancient
is that on the centre of the architrave, recording the
choragic victory of Thrasyllus of Deceleia, in the
archonship of Nezchmus. The second shall be given
entire, as a specimen of the style of these memorials,
and as an illustration of the manner in which the per-
formances themselves were got up :—
The people gave the games: Pytharatus was Archon :
Thrasycles, son of Thrasyllus, a Decelian, was Agonothetes :
The Youths of the tribe of Hippothoon gained the victory :
Theon, the Theban, played the flute:
Pronomus, the Theban, composed the piece.
The other inscription records a contemporaneous —
''CHORAGIC MONUMENT OF THRASYLLUS. 81
triumph achieved by the same individual. Mr. Wil-
kins, in his valuable but somewhat paradoxical “ Athe-
niensia,” has read these documents strangely. He
affirms the double victory to have been gained in the
earlier archonship of Neszchmus; whereas the inscrip-
tions assign the first only —that of Thrasyllus — to
his magistracy, dnd the two subsequent victories of.
Thrasycles to the much later archonship of Pytharatus.
In addition to this error, Mr. W. gives 828 as the
date of the presidency of Nezchmus, whereas the table
of Olympiads, as published by Playfair, places it in
820, and this is followed by Leake and Gell. Pytha-
ratus presided 271 B.c. Independently, however, of
all discussion respecting dates, the mere fact that these
inscriptions relate to more than one victorious Choragus,
may assist in explaining some of the irregularities in
the construction of the monument, and make it pro-
bable that the upper portion, with the statue, was an
addition to the primary design.
The execution, although not to be compared with
the exquisite workmanship of the monument of Lysi-
crates, is good, and the statue is “the work of an
excellent sculptor.”
The cave is described by Dodwell, in the work to
which reference has been made in a foregoing page,
as having been “ originally formed by Nature,” and
subsequently “enlarged by Art.” “It penetrates about
thirty-four feet under the rock, and its general breadth
is twenty feet. The only antiquities that it contains
G
''82 CHORAGIC MONUMENT OF THRASYLLUS.
are a few blocks of marble, a small columnar pedestal,
perhaps for a tripod, and a fluted columnar altar....
Here is also an Ionic capital of small proportions and
coarse workmanship, with some appropriate paintings
of the Virgin of the Cave. It receives a dim and
mysterious light, through two small apertures in the
modern wall, by which a singular and picturesque
effect is produced.”
PLATE XLIi.
Plan and elevation of the Choragic monument of
Thrasyllus.
PLATE XLII.
Fig. 1. Details of the entablature and capital.
Fig. 2. Vertical section of the entablature.
Fig. 3. Profile of the attic.
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''THE PROPYLAA.
PLATES XLIII. XLIV. XLV. XLVI, XLVII.
F all the examples that yet exist
of Athenian magnificence this
splendid structure may be con-
sidered as the most thoroughly
characteristic. It was, when
in its perfect state, the admira-
tion of Greece; and Epami-
nondas—whether in menace or
in metaphor may be doubtful — proposed
its forcible removal to the Cadmean cita-
del of Thebes. ‘ This work,” says Colonel
‘| Leake, “ the greatest production of civil archi-
tecture in Athens, which equalled the Parthe-
non in felicity of execution, and surpassed it in boldness
and originality of design, was begun in the archonship
of Euthymes, in the year before Christ 487.... It
was built under the directions of the architect Mnesicles,
who completed it in a few years.” Certain writers of
''84 THE PROPYLZA.
antiquity have rated its cost at the enormous sum of
two thousand and twelve talents, an amount hardly
credible in itself, and quite at variance with the cal-
culations of other and more trustworthy authorities.
Stuart was prevented from completing his survey
of the Propylea, by circumstances which compelled
him to hasten his departure from Athens. Happily
the deficiencies thus occasioned were to a considerable
extent supplied by the subsequent visit of Revett, in
whose drawings, admirably accurate in general, there
are, however, a few errors, which will be corrected
in the following details. Many particulars, which
could not be ascertained from the existing remains,
have been, since the publication of Stuart’s great
work, obtained from a very singular and unexpected
source. It seems that there was a nearly exact
duplicate of the Athenian Propylea. The entrance
to the sacred inclosure of the Temple of Ceres, at
Eleusis, was modelled, in after times, upon the struc-
ture of Mnesicles, and by marvellous good fortune,
that which is wanting in the one has been found still
extant in the other.
By referring to the plan in Plate xliii. it will be
seen that the system of buildings which usually passes
under the general designation of “ The Propylea,”
consists of a centre and two projecting wings, the
fronts facing inward, and the whole forming three
sides of a quadrangle. Of these three divisions the
first only is the Propylea, or ornamental approach to
''THE PROPYLEA. 85
the five gates by which the Acropolis was entered: the
colonnade on the right adorned the temple of the
Wingless Victory: the opposite division contained, in
an interior chamber, the celebrated paintings of
Polygnotus. Concerning the entire structure a rather
whimsical hypothesis has been started by Colonel
Leake. He has argued, in his valuable work on the
Topography of Athens, very ingeniously in favour of
the supposition that this was altogether a military
arrangement, an important post strongly fortified with
a special view to the system of attack and defence
prevalent among the Greeks. It were a mere waste
of time and topography to deal argumentatively with
suppositions so utterly untenable: and it may perhaps
be equally idle to offer another suggestion, which shall,
however, be hazarded, though without laymg undue
stress on either its nature or its probability. The
western face of the Athenian citadel was its only ac-
cessible side; and of this face the Propylea occupied
the centre. There can be no question of the fact that,
as on all weak points of a fortification, barricades were
multiplied in advance of this post, nor that when
these were either stormed or beaten down, the assail-
ants stood before the last and weakest defence of the
garrison, and had only to force the doors of a simple
wall, in order to become masters of the interior. In
effecting this, they would derive great advantage from
the shelter afforded them by the strong stone-roof
''86 THE PROPYLAA.
of the Propylea, and find themselves protected from
injury, just at the very moment when the last and
most desperate efforts were to be made for their ex-
clusion. Such a defensive system is in opposition to
all sound principles of military construction, and it
seems necessary to seek its explanation in some more
plausible theory. Now is it an improbable conjecture
in this case, that religious feeling may have had some-
thing to do with the matter, and that these temple-
like structures might be intended as an appeal to
the divine Protectors of Athens? Failing all other
defences, there was yet a hope that the hitherto suc-
cessful enemy would be arrested at the consecrated
barrier.
Considerable uncertainty prevailed in the time of
Stuart respecting the existence of a carriage-way
through the Propylea; and the two circumstances
which seemed to prove the affirmative were, first, the
width (ditriglyph) of the central intercolumniation ;
secondly, the introduction of chariots in the Pana-
thenaic procession, as represented on the frieze of the
Parthenon. Subsequent examination, under more
favourable auspices, has confirmed this inference, by
the discovery of evident traces of the skilfully-con-
structed inclined plane, along which carriages passed
on to the interior of the Acropolis.
Colour and gilding appear to have been extensively
employed in the decoration of this splendid structure.
''THE PROPYLAA. 87
Among the Elgin marbles in the British Museum may
be seen a block still retaining traces of the interior
painted cornice.
“ Here,” in the glowing language of Mr. Words-
worth, “ above all places at Athens, the mind of the
traveller enjoys an exquisite pleasure. It seems as
if this portal had been spared in order that our ima-
gination might send through it, as through a tri-
umphal arch, all the glories of Athenian antiquity in
visible parade..... It was this particular point in the
localities of Athens which was most admired by the
Athenians themselves: nor is this surprising: let us
conceive such a restitution of this fabric as its sur-
viving fragments will suggest,—let us imagine it re-
stored 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 stars, and the marble ante be
frmged over as they were once with their delicate
embroidery of ivy-leaf..... and then let the bronze
valves of these five gates of the Propylea be suddenly
flung open, and all the splendours of the interior of
the Acropolis burst upon the view.” 7
f
Rees
''88 THE PROPYLZA.
PLATE XLIII.
Fig. 1. Plan of the Propylea.—A, the Propylea,
properly so termed. B, chamber, ornamented by the
paintings of Polygnotus. C, temple of Wingless
Victory. It will be seen by the inspection of this
diagram, aided by a reference to the longitudinal
section which is given, fig. 2, on the same plate, that
the Propylea (or rather, in strict application to the
central structure, the Propyleum) consisted of a
portico, a vestibule, and a posticum, or back portico,
facing the platform of the Acropolis. These porticoes
were Doric and hexastyle; the vestibule, or interior
portion of the building, had its roof supported by six
Ionic columns; but the pedestals, as represented in
the plate, never existed: Revett’s error was occasioned
by misconception respecting the proportions of the
shaft, and he had no opportunity of ascertaining the
real circumstances by excavation. The marble beams
which supported the ceiling and roof were from seven-
teen to twenty-two feet in length, and of proportionate
solidity. The ceiling was richly carved and painted.
Immediately behind the ranges of Ionic columns stood
the terminal wall with five gates, diminishing in width
and height as they receded from the centre opening,
which was of sufficient dimensions to allow the passage
of carriages ; the relative proportions are indicated in
the plan. The depth of the building, from the front
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''THE PROPYLAA. 89
to the wall, was forty-three feet, and beyond the wall
was the posticum, adding eighteen feet to the above
extent. The Temple of Victory, and the Painted
Chamber, formed wings, nearly symmetrical externally,
to the central Propyleum, although they were of
different arrangement interiorly, as will be evident on
reference to the plan. Each of them presented the
exterior aspect of a pedimented portico with three
Doric columns in antis. The entire of these con-
structions was of Pentelic marble.
Fig. 2 exhibits, im section, the longitudinal range
of these buildings, with the different levels on which
they stand. On the left are one anta and two columns
of the right wing (B in the plan): next follow the
Doric portico, and the Ionic vestibule, with the ter-
minating wall; succeeding this, on the right, is the
posticum, with pteroma, anta, and Doric column.
PLATE XLIV.
Elevation of the Propylea.
PLATE XLV.
Fig. 1. Capital, architrave, and frieze of the central
portico.
Fig. 2. Upper part of the shaft of the Ionic
columns of the vestibule.
Fig. 3. Section of the external cornice.
''90 THE PROPYLMA.
PLATE XLVI.
View and section of the entablature and capital of
one of the ante of the Temple of Victory.
PLATE XLVII.
Fig. 1. Profile of the capital of the central portico.
Fig. 2. Section, on a larger scale, of the four
annulets.
Fig. 3. Capital of one of the ante.
This description of one of the most impressive
productions of Athenian genius and liberality, cannot
be more usefully terminated than by a paragraph of
severe but judicious criticism from an article supple-
mentary to Stuart, by Mr. Kinnaird :—
“ Whether the design of the Propylea, if viewed
in concurrence with our modern opinions, founded on
the experience of a greater variety of architectural
composition, were conducted upon the principles of
a correct taste, may be questionable, particularly as
regards the juxtaposition of columns of different
orders and altitude. It is, however, very evident
that at the entrance to the sacred peribolus of the
Acropolis, the ancient pictorial effect of this fabric,
from its perspective combination as a foreground with
the first distinct view of the surpassing Parthenon,
must have excited equal admiration with the daring —
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''THE PROPYLAA. 91
magnificence of its construction. Of the force of
this impression on the imagination, the full influence
is made known to us by the recorded envy which
threatened the removal of the edifice to the Cadmean
citadel, during the Theban ascendancy, as well as by
the existing proof of the imitation of its principal
mass, both in form and dimensions, at the conse-
crated precinct of the mystic temple of Eleusinian
Ceres.”
''92 THE PROPYLAA.
CURSORY reference to the dimen-
sions of the materials used in this
structure will be found in a former
ac) Ae page. As this, in all mquiries con-
nected with architectural practice, is
a matter of considerable interest, the following supple-
mental particulars, collected with characteristic diligence
by Dodwell, though only in part relating to Greek con-
struction, may be advantageously inserted here.
“The lintel over the middle gate is one of the
largest masses of marble I have seen, being twenty-two
feet and a half in length, four feet in thickness, and
three feet three inches in breadth. It must accord-
ingly weigh twenty-two tons. That of the second gate
is sixteen feet ten inches in length, and three feet in
thickness. That of the smaller gate is nine feet and a
half in length, and three feet in thickness. The largest
masses which remain in Greece are the beams of the
Propylean portico, the architraves of the Parthenon,
the beams of the Erechtheion, of the Olympeion, and a
block at the Pnyx at Athens, the lintels of the treasuies
of Atreus at Mycenz, and of Minyas at Orchomenos,
and some stones in the walls of Tiryns and Messene. ©
* Some blocks of white marble are found in Italy, ©
which vie with those of Greece; particularly two in
the Colonna garden at Rome, which are supposed to —
have belonged to the Temple of the Sun. The largest —
''THE PROPYLEA. 93
is sixteen feet three inches in length, and nine feet
and a half in thickness. Nor must I omit the archi-
traves of the Pantheon, and of the temple of Antoine.
The granite columns of the baths of Dioclesian, and
of the forum of Trajan, as well as the Egyptian obe-
lisks at Rome, are also examples of these stupendous
masses. The architraves of the Temple at Selinus
in Sicily are twenty-two feet in length. Tavernier
mentions some blocks of an amazing size in a Pagoda
at Golconda or Bagnagar.
“ Chardin asserts that most of the stones of one of
the temples at Persepolis are between thirty and fifty
feet in length, and from four to six in height; and
some of them are stated to be fifty-two feet in length.
“The columns of the famous temple at Cyzicum in
Mysia, of one piece, were fifty cubits in height; but
the largest mass that was ever moved by human means
was the monolithal temple of Latona, at Butos in
Egypt, which was a solid cube of sixty feet! There
was another monolithe at Sais, of thirty-one: feet and
a half in length, twenty-one in breadth, and twelve
in height. Wood informs us that in a wall at Balbec
three continuous stones measure one hundred and
ninety feet in length; the longest being sixty-four feet.
“ The architectural remains of Egypt, which supply
numerous examples of this colossal style, are too well
_ known to require particular enumeration. . . . Among
these gigantic masses our own Stonehenge must not be
forgotten.”
''96 THE TEMPLE OF THESEUS.
of Marathon the enemies of his ungrateful country. +
The Delphic oracle directed the recovery of his remains |
and their honourable burial. This pious duty was per- —
formed by the son of Miltiades, who found the hero’s
bones and armour in the island of Scyros, and brought
them back to Athens, where they were welcomed with
sacrifices and festivals: games were instituted and
temples built, in honour of him dead, who, living, had
been persecuted and driven forth to die by violence
in a foreign land. His temple was not less revered |
than those of Pallas and Demeter: as a sanctuary it
protected those who fled from the pursuit of law ; and ©
its peribolus was large enough to hold the military
assemblies. Its erection dates thirty years earlier than
the Parthenon. ;
~ Unlike the lavish decoration of the temple of |
Minerva, the Thesetum was ornamented with a sparing —
hand, though the arrangement of the sculpture was so
judiciously managed as to produce the greatest possible
effect. Only the eastern or principal front of the
temple appears to have been charged with figures: the
posticum, indeed, had on the inner frieze a lively
representation of the Feast of the Lapithe, in which
Theseus bore a distinguished part; but the entablature
and pediment of the western portico exhibit no indi-
cations of similar adornment. The grand front, on the |
contrary, was filled with admirable sculpture; that of
the tympanum has disappeared, but the frieze of the
pronaos is covered with groupes, part of which are
''THE TEMPLE OF THESEUS. o7
engaged in fierce conflict, while others seem to repre-
sent deities. The eastern portico exhibits the labours
of Hercules on the ten metopes of the front, while four
others immediately consecutive on either flank, appa-
rently refer to Theseus, whose friendly alliance with
the son of Alcmena is thus commemorated. It is by
no means unlikely that these subjects were designed,
if not executed, by the celebrated Micon. The re-
maining metopes of the sides have never been adorned
with sculpture.
As the singular beauty of this temple is, in a great
degree, the expression of its exact proportions, a de-
ficiency in the foregoing illustrations may be advan-
tageously supplied by the insertion of more ample
details respecting the measurement of the principal
parts. For this purpose a surer authority than that
of Colonel Leake can hardly be found; and from him
we learn that “the depth of the pronaos is greater
than that of the posticum, and the depth of the portico
of the pronaos is greater than that of the portico at the
back of the temple; the two former measure together
thirty-three feet, the two latter twenty-seven feet. The
side porticoes of the temple are only six feet in breadth.
The thirty-four columns of the peristyle, as well as the
four in the two vestibules, are near three feet four
inches in diameter at the base, and near nineteen feet
high, with an intercolumniation of five feet four inches,
except at the angles, where, 4s usual in the Doric order,
H
''98 THE TEMPLE OF THESEUS.
the interval is made ‘smaller, in order to bring the
triglyphs to the angle, and at the same time not to
offend the eye by the inequality of the metopes. The
stylobate is formed of only two steps. The height
of the temple, from the bottom of the stylobate to
the summit of the pediment, is thirty-three feet and
a half? .
PLATE XLVIII.
Fig. 1. Plan of the temple. It presents an_ exact
illustration of the Vitruvian arrangement of a peri-
pteral temple. A, A, the two fronts. B, the pronaos.
C, the cella, or nave. D, the posticum. E, E, the
pteromata, or wings.
Fig. 2. Transverse section of the eastern portico,
the front columns being removed to exhibit the
columns, ante, and lacunaria, of the pronaos, with
the bas-relief which adorns the frieze.
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PLATE XLIX,
Elevation of the eastern front.
PLATE L.
Fig. 1. Longitudinal section of the eastern portico
and pronaos.
Fig. 2. Half the flank and half the longitudinal
section of the temple, exhibiting the masonry, and the
arrangement of the lacunaria.
PLATE LI.
Fig. 1. Section of the entablature over the golumns
of the portico, with details of the mouldings and lacu-
naria, ;
Fig. 2. Plan of the soffit of the architrave, and of
the lacunaria.
''100 THE TEMPLE OF THESEUS.
*PLATE LII.
Entablature and capital of the columns of the
facade.
PLATE LIII.
Fig. 1. Details of the capital, on a larger scale.
Fig. 2. Plan of the flutings.
Fig. 3. Details of the four annulets of the capital.
*
The figures at the lower part of the plate are
representations of ornaments painted in the soffit of
the lacunaria.
This system, of which so much has been recently
written but to which it is yet hardly possible to recon-
cile our habits of taste and feeling, seems to have been
applied extensively in the decorations of this temple.
Not only have simple ornaments been painted in, but
cornices, capitals, ceilings, and back-grounds, were thus
distinguished. The carved metopes and friezes were, to
all appearance, almost as completely subjected to the
processes of colouring, as if they had been regularly
elaborated by the painter on a plam surface: nothing
seems to have been trusted to the relief, but the effects
of light and shadow. The armour was touched with
bronze and gold; the draperies were of various hues,
among which blue, green, and red, may yet be dis-
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tinguished; the sky still bears the traces of its
proper tint, and everything appears to indicate that
the Greeks either did not know—or, knowing, de-
liberately rejected—what would now be considered as
an essential distinction between painting and sculpture.
Without, however, attempting to decide, or even to
discuss, this vexed and vexatious question, we may be
assured that all this was executed, not by mere work-
men but by artists; that it was carefully studied and
judiciously applied ; and it would, at least, follow that
very striking effects must have been produced by the
varying shadows of the day, and by the accidents of
the atmosphere: the play of light and shade shifting
from hour to hour would almost suggest the idea of
life and motion ; giving a character of reality to the
groupes, not attainable by any other process. It will,
however, still remain to determine whether this be
art or artifice ; and whether, in our estimate of these
matters, we do not often suffer conventionalities and
preoccupation to interfere with our reasonings con-
cerning the legitimate objects and limits of Art.
A reference to Egyptian example, while it leaves
the principle untouched, tends but little to relieve
the historical difficulties, or even to illustrate the mere
facts of the inquiry. If it be granted that the elements
of Greek construction were derived immediately from
_ Egypt—sgn hypothesis liable to many objections’ both
circumstantial and theoretic—there still remains to be
explained how the Greeks, rejecting so extensively and
''102 THE TEMPLE OF THESEUS.
selecting with such fine discrimination, came to retain,
one of the most barbarous features of Egyptian archi-
tecture. If the transmission were indirect ; if, in
quitting Africa, the system took the Asiatic coasts and
islands im its way, then the question derives no illus-
tration from the mere reference to Memphis or Thebes,
but requires for its solution a wider range of collocation
than can be admitted here.
''TEMPLE OF JUPITER OLYMPIUS.
PLATE LIV.
aS N “a south-eastern direction from the
ee
ck: Acropolis, at the distance of about
Bk doi of the Corinthian order of
architecture. They are the remains of a temple which
formerly boasted of an hundred and twenty (1242);
so disposed as to present a triple row of ten in each
front, and a double row of twenty in the flanks. The
length of the temple, measured upon the upper step,
was three hundred and fifty-four feet ; its breadth, one
hundred and seventy-one. The columns of this stu-
pendous edifice were six feet and a half in diameter,
and more than sixty feet high. The entire building
was constructed with the marble from the quarries of
Pentelicus.””— Wilkins, Atheniensia.
“The cluster of magnificent columns of Pentelic
marble, at the south-east end of the city, near the
Tlissus, belonged to the temple of Jupiter Olympius.
''104 TEMPLE OF JUPITER OLYMPIUS.
They are of the Corinthian order, sixteen in number,
six feet and a half in diameter, and above sixty feet
high, standing upon an artificial platform, supported
by a wall, the remains of which show that the entire
circuit of the platform was two thousand three hun-
dred feet. It appears from the existing remains that
the temple consisted of a cell, surrounded by a peri-
style, which had ten columns in front, and twenty on
the sides; that the peristyle, bemg double on the
sides, and quadruple at the posticum and pronaos,
consisted altogether of one hundred and twenty (?)
columns, and that the whole length of the building
was three hundred and fifty-four feet, and its breadth
one hundred and seventy-one. Such vast dimensions
would alone be sufficient to prove these columns to
have belonged to that temple, which was the largest
ever built in honour of the supreme pagan deity, and
one of the four most magnificent ever erected by the
ancients.”’**—(Leake, Topography of Athens.)
* We cite from Vitruvius, as translated by Gwilt, that portion of
the Proem to his seventh book, where he touches incidentally on this
subject.
‘¢ This work ’’— the temple of Jupiter Olympius—‘ is not only
universally esteemed, but is accounted one of the rarest specimens of
magnificence. For in four places only are the temples embellished
with work in marble, and from that circumstance the places are very
celebrated, and their excellence and admirable contrivance is pleasing
to the gods themselves. The first is the temple of Diana at Ephesus,
ofthe Ionic order, built by Ctesiphon of Gnosus, and his son Meta-
genes, afterwards completed by Demetrius, a priest of Diana, and
Peonius, the Ephesian. The second is the temple of Apollo, at
''TEMPLE OF JUPITER OLYMPIUS. 105
Su Wilham Gell gives fifty-eight feet as the height
of the columns, including the architrave; and de-
scribes the exterior columns as having plinths under
their bases, but the mner range as standing upon a
continuous “step,” one foot eight inches in height.
The walls of the peribolus are built of materials taken
from more ancient edifices, and exhibit many an in-
teresting fragment of antique inscriptions.
The history of this gorgeous structure is too
curious to be passed over. That the original Olym-
pieum was one of the most ancient of the Athenian
temples, may be inferred from the accredited legend
which referred its foundation to Deucalion. Pisis-
tratus, about 530 B.c., projected a new and more
magnificent erection, but the names of his architects
have been better preserved than the works which.
they superintended. Vitruvius informs us that “ the
foundations of the temple of Jupiter Olympius at
Athens were prepared by Antistates, Calleeschrus,
Antimachides, and Porinus, architects employed by
Miletus, also of the Ionic order, built by the above-named Peonius,
and Daphnis, the Milesian. The third is the Doric temple of Ceres
and Proserpine, at Eleusis, the cell of which was built by Ictinus, of
extraordinary dimensions, for the greater convenience of the sacrifices,
and without an exterior colonnade. This structure, when Demetrius
Phalereus governed Athens, was turned by Philus into a prostyle
temple, with columns in front, and by thus enlarging the vestibule,
he not only provided accommodation for the novitiates, but gave great
dignity to its appearance. Lastly, in Athens it is said that Cossutius
was the architect of the temple of Jupiter Olympius, which was of
large dimensions, and of the Corinthian order and proportions.’’
''106 TEMPLE OF JUPITER OLYMPIUS.
Pisistratus, after whose death, on account of the
troubles which affected the republic, the work was
abandoned. About two hundred (350?) years after-
wards, King Antiochus (Epiphanes) having agreed to
supply the money for the work, a Roman citizen,
named Cossutius, designed with great skill and taste
the cell, the dipteral arrangement of the columns, the
cornices, and other ornaments. This work is not
only universally esteemed, but is accounted one of
the rarest specimens of magnificence.’? — (Gwilt’s
translation.) Notwithstanding this promising com-
mencement, the work was again interrupted by the
death of the Syrian monarch; and after the lapse of
nearly a century Sylla laid unceremonious hands
upon the columns of the unfinished building, and
carried them off to Rome, for the purpose of orna-
menting the temple of Capitoline Jove. In the time
of Augustus, a sort of joint-stock company of kings,
states, and wealthy individuals, undertook the com-
pletion of the building; but the spell was not yet
broken, and the work remained unfinished until the
munificence of Hadrian, under happier auspices,
finished and dedicated the temple, and set up in it
the statue of the god, nearly seven centuries after its
foundation by Pisistratus.
It is to be regretted that these interesting ruins
have not yet been thoroughly examined. The height
of the columns prevented Stuart from ascertaining the
details of the capital and entablature ; and it was not
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''TEMPLE OF JUPITER OLYMPIUS. 107
until 1820 that Mr. Vulliamy succeeded in ascertain-
ing, by means of a projected line and a rope-ladder,
the details and dimensions of those members.
“Tt is hardly possibly to conceive where and how
the enormous masses have disappeared of which this
temple was built. Its remains are now reduced to a
few columns which stand together at the south-east
angle of the great platform which was once planted,
as it were, by the long files of its pillars. To com-
pare great things with small, they there look like the
few remaining chess-men, which are drawn into the
corner of a nearly vacant chess-board, at the conclu-
sion of a game.”—(Wordsworth, Athens and Attica.)
PLATE LIV.
Plan of the temple and peribolus. The darker
portions show the still existing fragments.
It must be admitted that:these are but meagre
particulars of an edifice admired in, its own time, not
only for its singular magnificence, but as one of the
most successful attempts of a later and inferior school,
in emulation of the illustrious men who flourished in
the palmy days of Greece. The original article in
Stuart’s great work is brief and unsatisfactory, while
his diagrams are few and incomplete. It appears, in
fact, that his investigations were so far interrupted, as
to leave undetermined the precise length of the temple
and the number of columns on its flank. The re-
''Oe ee TE a aoe
108 TEMPLE OF JUPITER OLYMPIUS.
searches of Mr. Vulliamy have not, that we recollect,
been published. In the absence, therefore, of more
distinct and technical details, the following fragmen-
tary excerpts from Dodwell may be found to add
something to the amount of our information:
“Not ‘a tenth part of the original edifice remains.
tga It stands upon a foundation of the soft Pireean
stone, like the Parthenon ...... The capitals are not
all exactly similar in their ornaments ; and are so large
that they are composed of two blocks... .. The shafts
of the columns consist of several frusta..... Part
of the peribolus of the Olympieion remains on the south
side, facing the Ilissus, and on the eastern end, op-
posite Hymettus ; and a small part of it is visible near
the arch of Hadrian ; it is composed, in the most per-
fect part, of eleven layers of stone regularly constructed,
and fortified by projecting buttresses, similar to the
peribolus of a temple at Delphi.”
This instructive, but somewhat indefinite describer,
goes on to cite the authority of Pausanias in justifica-
tion of the statement that the temple was “ dipteral
and hypethral.” Now Pausanias does not precisely
say this, nor is it particularly easy to ascertain what he
really does say. It seems never to have occurred to
that pleasant but whimsical traveller, that the time
might come, and that his sketches en route might last
until that time, when information such as he could
give would be invaluable. He was evidently capable
of something better than might be inferred from what
''TEMPLE OF JUPITER OL\MPIUS. 109
he has actually done; and the subjoined extracts, freely
rendered from his “ Attica,” if they do not show what
the Olympieum itself was, will, at least, give some idea
of its magnificent accompaniments.
“ The Emperor Hadrian not only raised the temple
of the Olympian Jupiter, but placed in it the colossal
and chryselephantine statue of the god, admirable, not
only for its magnitude, but for its excellent workman-
ship. Before you enter the temple, you observe four
statues of the Emperor Hadrian,—two in Thasian, and
two in Egyptian marble. Before the columns are
statues of brass, erected by the colonial cities. The
entire peribolus is filled with votive statues, in honour
of the Emperor Hadrian. Within the same space are
ancient monuments worthy of note; a bronze Jupiter,
the temple of Saturn and Rhea, and an enclosed
space (rewevos) dedicated to the Olympian region.
There, too, is an opening in the ground; of about a
cubit’s width, where they say the waters of Deuca-
lion’s deluge drained off. Into this chasm are annu-
ally thrown cakes of wheaten flour kneaded with honey.
There are, moreover, a column on which stands the
statue of Isocrates, and a tripod of bronze supported by
statues in Phrygian marble.”
To these discursive illustrations the critical com-
ment of Lord Aberdeen may supply an appropriate
close. ‘The Roman conquest,” he observes, “ spread
the Corinthian style throughout Greece, almost to the
exclusion of the other orders. Although the buildings
''110 TEMPLE OF JUPITER OLYMPIUS.
of this period are often more splendid and costly than —
those of preceding times, yet the pure taste and cor-—
rect design of the latter ages of the art are generally
wanting. From this remark, however, must be ex- —
empted some of the works of Hadrian, the liberal
benefactor of Greece; especially if the columns at |
Athens, which are called by his name, and which are
in reality the ruins of the temple of Jupiter Olympius, —
owe their origin to this emperor. These display the
utmost beauty and propriety, with perhaps the greatest —
degree of magnificence and grandeur, ever attained to —
by the architectural exertions of the emperors of the |
Roman world..... .. Whenever, or by whomsoever,
finished, these columns bear the indications of a pure |
age of Grecian art ; and indeed the remains of such a |
temple with columns composed of the purest marble, |
more than six feet and a half im diameter, and sixty ©
feet in height, cannot be described in any terms com- |
mensurate with the sensations excited by the view of
the original.”
''THE ARCH OF FADE TAN,
PLATES LV. LVI. LVII. LVIII. LIX.
= a Mei aoN af
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NE ‘Ao this structure have furnished
Ms
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materials for a controversy,
chiefly remarkable for the readi-
ness with which hypotheses are
framed, and the ease with which
they are demolished. The first difficulty that presents
itself to the archaiologist, when endeavouring to ascer-
tain the object of this insulated monument, is sug-
gested by its very singular position, awkwardly close
to the precinct of the Olympieum, and forming an
angle with it of very considerable obliquity. Sir Wil-
liam Gell, indeed, states that this arch is actually
included within the line of the peribolus; but that
this is not the fact is put in the clearest evidence by
other authorities, and may be illustrated by a reference
to the preceding plate (liv.), where the situation of
the two buildings is satisfactorily shown, by the intro-
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''112 THE ARCH OF HADRIAN.
duction of the monument in its relative position. It)
stands “within a few yards of the north-east angle)
and the complete finish of all its)
parts makes it evident that it was never attached to}
any other construction, while the absence of every;
2
of the peribolus ;’
mark that might indicate the former existence of aj
door or gate, proves that it was simply an ornamental}
erection, probably standing athwart the street leading}:
from the new Agora to the temple of Jupiter, and
having its obliquity to the latter determined by the)
direction of the road. It is further suggested by
Colonel Leake, that such a position was in strict
accordance with the practice of the Greeks, who usually}
managed the line of access to their temples, so as tc
throw them into angular perspective, exhibiting at
once the front and flank to the eye of the approaching
observer.
A second difficulty has been raised by a suffi-}
ciently strange accommodation of certain inscriptions
on the entablature, and has afforded opportunity for
sundry untenable speculations touching the topography
of Athens. Into these, however, it is not expedient
to enter here; the discussion would answer no purpose
of illustration, to say nothing of its interference with!
the proper object of a work which professes to deal
only with facts and their explanations.
It seems not improbable that the arch of Hadrian;
was built on the site of a more ancient building)
known as the gate of Egeus, though altogether on ‘
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''THE ARCH OF HADRIAN. 113
different plan. The order is Corinthian, and the
material is the Pentelic marble: no cement was used
in the construction, but the blocks were held together
by metal cramps. Both fronts are precisely similar.
PLATE LV.
Fig. 1. Ground-plan of the arch of Hadrian. The
pedestals traced in outline are not now im existence,
and the columns have been removed from their places
both in front and rear.
Fig. 2. Plan of the upper range: the portions still
existing are in shade.
Fig. 3. Section of the building, through the centre
of the arch.
''Lik: THE ARCH OF HADRIAN.
PLATE LVI.
Elevation, restored, of the south-eastern front.
re
PLATE LVII. .
Entablature, capital, and base of the ante of the
lower range.
PLATE LVIII.
Entablature, capital, and base of the upper columns.
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''THE ARCH OF HADRIAN. 115
PLATE LIX.
Fig. 1. Capital and base of the pilasters of the
upper range.
Fig. 2. Section of the above capital.
Fig. 8. Section of the soffit and lacunaria under the
pediment. It will be observed by an inspection of the
plan (Plate lv. fig. 2), that this central compartment
is divided by a thin slab of marble into two recesses, or
niches.
Fig. 4. Fragment of the ornament which crowns
the apex of the pediment.
In the editorial notes to the new edition of Stuart,
there occurs a brief and instructive criticism on these
details, which shall be given in Mr. Kinnaird’s own
words, and which could not be inserted anywhere so
appropriately as in this place. “ It will be observed,”
he says, “that the ante at this building have a very
sensible diminution, while in structures of the -age
of Pericles they were never perceptibly diminished.
The abaci of all the capitals are painted at the angles,
as are those of the Olympieum, of the Pantheon of
Hadrian, and of the Incantada at Salonica. No in-
ference as to style, however, can be drawn from this
circumstance, as the abaci of the Corinthian capitals at
the ancient temples of Phigalia and Apollo Didymeus
appear to have been also painted. The introduction of
''116 THE ARCH OF HADRIAN.
the Ionic echini beneath the foliage of the capitals of
the ante, savours of the declension of pure Grecian
ane
It is hardly within the range of this matter-of-fact
manual to venture on general criticism. It may,
however, be permitted us to hazard the opinion, that
this ornamental structure does but add one to the
already numerous instances that might be produced,
to illustrate the impracticability of harmonising the
arch and impost with the column and epistylia. The
attempt to combine them with good effect has failed
im every instance—in the colossal magnificence of the
Flavian Amphitheatre—in the crowded decorations of
the triumphal arch—zin the whimsical assemblage of
discordant features which distinguishes the ‘ Arch of
Hadrian.” We admit, however, that in the present
instance, the principle is not fairly brought to the
test: the archivolt breaking in upon the entablature,
and the insignificant pediment perched on the centre
of the upper story, are inexcusable faults, at variance
with all sound theory, and destructive of all legitimate
effect.
''THE AQUEDUCT OF HADRIAN.
PLATES LX. LXI.
"a ee = 2 ROM the examples of Greece and
A 5 Rome, it might be proved clearly
enough that magnificence in pub-
lic structures does not necessarily
imply convenience in common domes-
tic architecture. It is equally remark-
able that one of the least dispensable
sources of health and comfort, a free
Sia ' command of good water, appears to have
ile been deficient in many of the cities of
Greece. Even in the fortresses, the wells or
| Springs seem to have been generally without
the walls ; nor does it appear that tanks were
constructed within the circuit of the fortifications.
The ornamental edifice now under consideration is a
proof both of a scanty supply of potable water, and of
the liberality exercised by the munificent Hadrian
''118 THE AQUEDUCT OF HADRIAN.
towards his good city of Athens. Commencing an
aqueduct at Cephissia, a “ delightful village,” even
now abounding in springs, he brought a copious
stream of wholesome water from a distance of nearly
seven miles, to a capacious receptacle at the foot of
Mount Anchesmus, and of this reservoir the Ionic
building exhibited at Plate lx. in a state of partial
restoration, was probably the most conspicuous de-
coration. A brief inscription on the frieze and
architrave recorded the commencement of the under-
taking by Hadrian, and its completion by Antoninus
Pius.
This building no longer exists, even as a ruin, nor
is its site to be traced without difficulty.
PLATE LX.
Plan, elevation, and section, of the “ frontispiece.”
The arch, instead of supporting the entablature,
divides it; and the archivolt, instead of springing
from a regular impost, or from the cymatium of the
frieze, rests immediately on the architrave.
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|e 1838
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by Lowry (pub. at 6/. 6s.), half morocco, 2/. 8s. 1795
NAPOLEON GALLERY; or, Illustrations of the Life and Times of the Emperor, with
99 Etchings on Steel hy Ruvexn, and’ other eminent Artists, in one thick volume, post 8vo.
(pub. at 1/. 1s.), gilt ci--th, gilt edges, 10s. 6d.
NICOLAS'S (SiR HA: 2!S) HISTORY OF THE ORDERS OF KNIGHTHOOD
OF THE BRITISH b APIRE; with an Account of the Medals, Crosses, and Clasps whieh.
have heen conferred for Naval and Military Services; together with a History of the Order of
the Guelphs of Hanover, 4 vols. imperial 4to, splendidly printed and illustrated by numerous
fine Woodcuts of Badges, Crosses, Collars, Stars, Medals, Ribbands, Clasps, &c., and many
large Plates, illuminated in gold and colours, including fuwll-lencth Portraits of Queen Victoria,
Prince Albert, the King of Hanover, and the Dukes of Cambridge and Sussex. ub, at
14j. 14s.), cloth, with morocco backs, 52. 15s. Gd. a %y* Coniplete to 1817
—_——— the same, with the Plates richly coloured, but not illuminated, and without the
extra portraits, 4 vols. royal 4to, cloth, 3/. 13s. 6d.
“ Sir Ilarris Nicolas has produced the first coraprghensve Wistory of the British Orders of
Knighthood ; and it is one of ie most elaborately prepared end splendidly printed works thal ever
issued from the press. The Author appears to us to have neglected no sources of information,
and to have exhausted them, as far as regards the general scope and purpose of the inguiry.
The Graphical Mlustrations are such as become a work of this character upon such a subject ;
at, of course, a lavish cost. Tle resources of the recently revived art of wood-engraving have
been combined with the new art of printing in colours, so.as to produce a rich eifect, alanost
rivalling that of the monastic illuminations, Sucha book is sure of a place in every great library.
It contains matter caleulated to interest extensive classes of readers, and we hope by our
specimen to excite their curiosity.”—Quarteriy Review.
NICHOLSON'S ARCHITECTURE; ITS PRINCIPLES AND PRACTICE. 218
Plaies by Lowky, new edition, revised by Jos. Gwitr, Esq., one volume, royal Sos
1. Ls. 6d, 184;
For classical Architecture, the text book of the Profession, the most useful Guide to the
Student, and the best Compendium for the Amateur. An eminent Architect has declared it to
rg * not only the most useful book of the kind ever published, but absolutely indispensable to
the Student.
PICTORIAL HISTORY OF GERMANY DURING THE REIGN OF FREDERICK
THE GREAT; including a complete History of the Seven Years’ War. By FRANCIS
Kuerer. Lilustrated by ADoLPH MENZEL. Royal 8vo, with above 500 Woodcuts (pub. at
Il. 8s.), cloth gilt, 12s. 1845
PICTORIAL GALLERY OF RACE-HORSES. Containing Portraits of all the Winning
Horses of the Derby, Oaks, and St. Leger Stakes, during the last Thirteen Years, and a
History of the principal Operations of the Turf. By WiLpRAKE (George ‘Vattersall, Esq.).
Royal 8vo, containing 95 beautiful Engravings of Horses, after Pictures by Coovrr, HerRrnG,
TLancock, ALKEN, &c. Also full-length clraracteristic Portraits of celebrated living Sports~
men (‘ Cracks of the Day’’), by Seymour (pub. at 2d. 2s), scarlet cloth, gilt, 1d. 1s.
PICTORIAL HISTORY OF FRANCE AND ITS REVOLUTIONS, (comprising the
period 1789 to 1818), by Grorce Lone, with fine Portraits, and numerous large woodcuts,
after Designs by Hanvry. Large imperial 8vo, cloth (pub. at 1/,) 12s.
PICTURESQUE TOUR OF THE RIVER THAMES, in its Western Course, mcluding
articular Descriptions of Riehmond, Windsor, and Hampton Court. By Jon Fismen
URRAY. Illustrated by upwards of 100 very highly-finished Wood Engravings by Orrin
Smiru, Branston, LanpeLus, Linton, and other eminent Artists. Royal evo. (pub.
at 14. 5s.), gilt cloth, 5s. 6d. 1845
The most beautiful volume of Topographical Lignographs ever produced.
e
''8 CATALOGUE OF NEW BOOKS,
PINELLI'S ETCHINGS OF ITALIAN MANNERS AND COSTUME, including his
Carnival, Banditti, &c., 27 Plates, imperial 4to, half-bound morocco, 1és. Rome, 1846
PUGIN’S GLOSSARY OF ECCLESIASTICAL ORNAMENT AND COSTUME;
setting forth the Origin, History, and Signification of the various Emblems, Devices, ani
Symbolical Colours, peculiar to Christian Designs of the Middle Ages. Illustrated by nearly
80 Plates, splendidly printed in gold and colours. Royal 4to, half morocco extra, top edges
gilt, 62. 6s.
PUGIN’S ORNAMENTAL TIMBER _ GABLES, § Soe from Ancient a in
England and Normandy. Royal 4to, 30 Plates, cloth, 1 1830
PUGIN’S EXAMPLES OF GOTHIC See ae selected from Ancient
Edifices in England; consisting of Plans, Elevations, Sections, and Parts at large, with
Historical and Descriptive letter- -press, illustrated by 225 Engravings by LE KeEvx, 3 vols. 4to,
(pub. at 12/. 12s.) cloth, 6/. 6s. 1839
PUGIN’S GOTHIC ORNAMENTS. 90 fine Plates, drawn on Stone by J.D. Hanpine
and others. Royal 4to, half morocco, 3/. 3s. 1844
PUGIN'S NEW WORK ON FLORIATED ORNAMENT, with 30 Plates, splendidly
printedin Gold and Colours, royal 4to, elegantly bound in cloth, with rich gold ornaments,
(pub. at 31. 3s.), 2/. 58.
RADCLIFFE’S NOBLE SCIENCE OF FOX-HUNTING, for the use of Sportsmen, royal
8vo, nearly 40 beautiful Wood Cuts of Hunting, Hounds, &c. (pub. at li. 8s.), cloth gilt,
10s. 6d. 1839
RICAUTI'S SKETCHES FOR RUSTIC WORK, including Bridges, Park and Garden
Buildings, Seats and Furniture, with Descriptions "and Estimates of the Buildings. New
Edition, royal 4to, 18 Plates, cloth lettered (pub. at 16s.), 12s.
RETZSCH'S OUTLINES TO SCHILLER’S “FIGHT wedged [3 HE DRAGON.”
Royal 4to, containing 16 Plates, engraved by MosEs, stiff covers, 7s.
BEZS CH’S ILLUSTRATIONS TO SCHILLER > “FRIDOLIN,” ee 4to, contain-
ing 8 Plates, engraved by MosEs, stiff covers, 4s.
REYNOLDS’ (SIR JOSHUA) GRAPHIC WORKS, 300 beautiful Engravings (compris-
ing nearly 400 subjects,) after this delightful painter, engraved on Steel by” Ss. W. “REYNOLDS.
3 yols, folio (pub. at 36/.), half bound morocco, gilt edges, 12/. 12s.
ORBINSON’S RURAL ARCHITECTURE; being a Series of Designs for Ornamental
Cottages, in 96 Plates, with Estimates. Fourth, greatly improved, “Edition. Royal 4to
(pub. at is 4s.), half morocco, 2i. 5s.
ROBINSON'S NEW SERIES OF ORNAMENTAL COT IAGES AND VILLAS.
56 Plates hy HaRpING and ALLOM. Royal 4to, half morocco, 2/.
ROBINSON’S ORNAMENTAL VILLAS. 96 Plates (pub. at 4/. e half morocco, 2U. 5s.
ROBINSON'S FARM BUILDINGS, 56 Plates (pub. at 2/. 2s.) half morocco, 1/. 11s. 6d
ea Cee AND PARK ENTRANCES. 48 Plates (pub at 2/. 2s.), half
morocco,
houceson : sib eage ARCHITECTURE. Fourth Editiou, with additional Plate.
41 Plates (pub. at i/. 16s), half bound uniform, 1. 4s.
ROBINSON'S NEW VITRUVIUS BRITANNICUS; or, Views, Plans and Elevations
of English Mansions, viz., Woburn Abbey, Hatfield House, and Hardwicke Hall; also
Cassiobury House, by JoHN Britton, imperial folio, 50 fine Engravings, by LE Krux
(pub. at 167. 16s.), half morocco, gilt edges, 31, 13s. 6d. 1847
ROYAL | VICTORIA, GALLERY, comprising 33 beautiful Engravings, after Pictures at
Ck, particularly REMBRANDT, the OsTapEs, TENIERS, GERARD
ae oe nie: ee NOLDS, TITIAN, and RuBENs ; engraved by GREATBACH, S. W.
ReyNowps, PRESBURY, BuRNsT, &c.; with letter- press by LINNELL, royal 4to. (pub. at
4l. 4s.), half morocco, ll. 11s. 6d.
RUDING’S ANNALS OF THE COINAGE OF GREAT ee AND At.
DEPENDENCIES, Three vols, 4to, 159 Plates (pub. at 6/. 6s.), cloth, 42.
SCHOLAITALICA ARTIS PICTORIA, or Engravings of the finest eishads in the ig
leries at Rome, imperial folio, consisting of 40 beautiful Engravings after MICHAEL ANGELO,
RAPHAEL, Tirta, Caracci, GuipDo, PARMIGIANO, etc. by VoLPato and others, fine im-
pressions, half- bound morocco (pub. at 10/. 10s.), 27. 12s. Gd. Romae, 1806
SHAW’S SPECIMENS OF ANCIENT FURNITURE. 75 Plates, drawn from existing
authorities, with i deeoaD HONS, by Sin Samvue R. Meyrick, K.H., medium 4to, plain (pub,
at 2/. 2s.), 1/. 11s.
———- the same, co 3 portion of the plates coloured, medium 4to. (pub. at 4J. 4s.), 2/. 12s. 6d.).
Tre the same, imperial 4to, large paper, with all the Plates finely coloured, (pub. at 8/s. 8.),
the same, on a large paper, ith the whole of the Plates extra finished ia colours
(pub, at 10d. 10s.), 64.
''PUBLISHED OR SOLD BY H.G. BOHN.
SHAW’S ILLUMINATED ORNAMENTS OF THE MIDDLE AGES, from the 6th tothe
17th Century, selected from manuscripts and early printed hooks, 59 Plates, carefully coloured
from the originals, with descriptions by Sir FREDERICK MADDEN, K.H., in one vol. 4to (pub.
at 51. 5s.), 4/.
the paras ae paper, biewly, Sauhed with opaque colours, and heightened with gold,
imperial 4to (pub. at 10/. 10s.), 81. 8s.
SHAW’'S ALPHABETS, NUMERALS, AND DEVICES OF THE MIDDLE AGEs,
selected from the finest HEHE Specimens, 48 Plates (26 of them coloured) imperial 80.
(pub. at 2/. 2s.), 11. 11s.
the same, large esd imperial 4to, with the coloured plates highly-finished, and
heightened with gold (pub. at 4/. 4s.), 32. 10s.
SHAW’S HAND-BOOK OF MEDIAVAL ALPHABETS AND DEVICES, being a
selection of 20 Plates of Alphabets, and 17 Plates of original specimens of Labels, Monograms,
Heraldic Devices, &c. not heretofore figured, in all 37 Plates, printed in colours, imperial svo.
in cloth boards (pub. at 1/. 16s.), 15s.
SHAW’S SPECIMENS OF THE DETAILS OF ELIZABETHAN ne Cae
with descriptions by T. MouLE, Es@., 60 Plates, 4to, boards {pub. at 3/. 3s.), 12. 11s.
here a same, large paper, imperial 4to, proof plates on India paper, some coloured ae. at
61. 6.), 3, 3s
SHAW’S ENCYCLOPADIA OF ORNAMENT, select examples from the purest and best
specimens of all kinds and of all ages, 59 Plates, 4to, boards (pub. at 1/. 10s.), 1¢ is.
the same, large paper, imperial 4to, all the Plates coloured, boards (pub. at 3/.), 20. 12s. 6d.
SHAW'S a ee OF ORNAMENTAL METAL WORK, with 50 plates, 4to, boards
(pub. at 2/. 2s.), 1d.
SHAW’S DECORATIVE ARTS OF THE MIDDLE AGES, exhibiting on 41 Plates, with
numerous Woodcuts, beautiful specimens of the various kinds of Ancient Enamel, Metal
Work, Wood Carvings, Paintings on Stained Glass, Initial Illuminations, Embroidery, Book=
binding, and other Ornamental Textures, also fine and elegant Initial letters to the various
descriptions, imperial 8vo, boards (pub. at 2/, 2s.), 1/. 16s.
the same, large paper, imperial 4to, 41 Plates, some coloured, hoards (pub. at 41. 43.)
31. 10s.
the same, large paper, imperial 4to, with the whole of the plates coloured 8 ne highest
style, forming a very beautiful and interesting volume, boards (pub. at 8/. 88.), 6/
SHAW’S DRESSES AND DECORATIONS OF THE MIDDLE AGES, from in 7th to
the 17th centuries, with an Historical Introduction and Descriptive Text to every Illustration,
consisting of 85 Copper Plates of elaborate Woodcuts, a profusion of beautiful Initial Letters,
and examples of curious and singular ornament enriching nearly every page of this highly.
decorated work, 2 vols., imperial 8vo, the plates carefully coloured, boards (pub. at 7l. 7s.),
51. 15s. 6d.
the same, 2 vols. large pppes sneer 4to, the plates highly coloured and picked-in with
gold, boards (pub. at 18/.), 140.
the same, large paper, fame 4to, with the plates highly coloured and the whole of the
Initial Letters and Illustrations picked in with gold (only 12 copies got up in this manner)
(pub. at 30/.), 241.
SHAW’S GLAZIER’S BOOK, or Draughts serving rn Glaziers, but not impertinent for
Plasterers, Gardeners, aud others, consisting of elaborate designs for Casement Windows,
Plasterer’s work, garden walks, etc-, 117 Plates, mostly taken from a work published in 1615,
by Ae LTER a GIDDE, with others from existing authorities added, demy 8vo, boards (pub. at
16s.), 10s. 6
SHAW AND BRIDGEN’S DESIGNS FOR FURNITURE, with Candelabra and interior
Decoration, 60 Plates, royal 4to (pub. at 3/. 3s.), half-bound, uncut, 1/. 11s. 6d.
the same, large paper, impl. 4to, the Plates coloured (pub. at 6/. 6s.), half-bd., uncut, - pai
SHAW’S LUTON CHAPEL, its Architecture and Ornaments, illustrated in a series of 26°
highly-finished Line Engravings, imperial folio (pub. at 3/. 3s.), half-morocco, uncut, 1l. sf
83
SILVESTRE'S UNIVERSAL PALEOGRAPHY, or Fac-similes of the writings of every
age, taken from the most authentic Missals and other interesting Manuscripts existing in the
Libraries of France, Italy, Germany, and England. By M. Silvestre, containing upwards of
300 large and most beautifully executed fac-similes, on Copper and Stone, most richly llumi-
nated in the finest style of art, 2 vols. atlas folio, half-morocco extra, gilt edges, 31. 10s.
the Historical and Descriptive Letter-press by Champollion, Figeac, and Cham-
pollion, jun. With additions and corrections by Sir Frederick Madden. 2 vols. royal 8vo,/
cloth, 1/. 16s. 1850
the same, 2 vols, royal 8yo., hf. mor. gilt edges (uniform with the folio work), 2/. 8s.
SMITH'S (C. J.) HISTORICAL AND LITERARY CURIOSITIES. Consisting of;
Fac-similes of interesting Autographs, Scenes of remarkable Historical Events and interestin «
Localities, Engravings of Old Houses, Illuminated and Missal Ornaments, Antiquities, &
- &c., containing 100 Plates, some illuminated, with occasional Letter-press. In 1 volume 4 te
half morocco, ‘uncut, reduced to 2/. 12s. 6d.
''10 CATALOGUE OF NEW BOOKS,
SMITH’S ANCIENT COSTUME OF GREAT BRITAIN AND IRELAND. From
the 7th to the 16th Century, with Historica! Illustrations, folio. with 62 coloured plates illu-
minated with Gold and Silver, and highly finished (pub. at 102. Ivs.), half bound morocco
extra, gilt edges, 3/. 13s. 6d.
SPORTSMAN’S REPOSITORY: comprising a series of highly-finished Line Ergravings,
representing the Horse and the Dog, in all their varieties, by the celebrated engraver JouN
Scott, from original paintings by Keinagle, Gilpin, Stubbs, Cooper, and Landseer, accom-
panied bya ee Description by the Author of the “British Field Sports,” 4to, with
37 large Copper Plates, and numerous Woodcuts by Burnett and others (pub. at 2/. 12s, 6d.),
cloth gilt, 1. Js.
STORER’S CATHEDRAL ANTIQUITIES OF ee AND WALES. 4 vols.
8vo, with 256 engravings (pub. at 7/. 1Us.), half morocco, 2d. 12s.
STOTHARD'S MONUMENTAL EFFIGIES OF GREAT BRITAIN. 147 beautifully
finished Etchings, all of which are more or less tinted, and some of them highly illuminated in
gold and colours, with Historical Descriptions and Introduction, by Kempe. Folio (pub. at
192.), half morocco, 8/. 8s.
or on large paper, Plates illuminated (pub. at 28/.}, 12d. 12s,
STRUTT’S SYLVA BRITANNICA ET SCOTICA; or Portraits of Forest Trees, distin-
guished for their Antiquity, Magnitude, or Beauty, coniprising 50 very large and highly finished
painters’ Etchings, imperial folio (pub. at 9/. 9s.), half morocco extra, gilt edges, 4/. 10s.
1826
STRUTT’S DRESSES AND HABITS OF THE PEOPLE OF ENGLAND, from
tbe Establishment of the Saxons in Britain to the present time; with an historical and
Critical Inquiry into every branch of Costume. New and greatly improved Edition, with Cri-
tical and Explanatory Notes, by J. R. PLANCHE’, Esq., F.S.A. 2 vols. royal 4to, 153 Plates,
eleth, 4. 4s. The Plates coloured, 7/. ss eee Plates splendidly illuminated in gold, silvery
and opaque colours, in the Missal style, 2!
STRUTT'S REGAL AND bee meade ANTIQUITIES OF aaa.
Containing the most authentic Representations of all the English Monarchs from Edward the
Confessor to Henry the Eighth: together with many of the Great Personages that were emi-
nent under their several Reigns. ‘New and greatly improved Edition, by J. R. PLANCHE’,
Esq., F.S.A. Royal 4to, 72 Plates, cloth, 2/. 2s. The Plates coloured, 4. 4s. Splendid}
illuminated, uniform with the Dresses, 12/. 12s.
STUBBS’ ANATOMY OF THE HORSE. 24 a large Copper-plate Engravings, Impe-
Tial folio (pub. at 4/. 4s.), boards, leather back, 11. 11s. 6d.
The original edition of this fine old work, which is Saiseeatitile toartists. It has long been
considered rare.
TATTERSALL'S SRR TNS ARCHELECTURE, comprising the Stud Farm, the Stall,
the Stabie, the Kennel, Race Studs, &c., with 43 beautiful Steel and Wood illustrations, several
after Hancock, cloth gilt cae at 1. lls, 6d.), UW. 1s. 185)
THE S DESIGNS EOR ROOFS OF IRON, STONE, AND WOOD, oo
Measurements, &c., for the use of Carpenters and Builders (an exceljent practical work), 4to,
limp cloth (pub. at 15s.), 7s. “Gd.
TURNER AND GIRTIN’S RIVER SCENERY ; folio, 20 beautiful Engravings on Steel
after the drawings of J. M. W. TURNER, brilliant impressions, in a portfolio, with morocco
back (pub. at 5/. 5s.), reduced to 1/. lls. 6d.
———_—_—— the same, with thick o— paper between the plates, half-bound morocco, gilt
edges (pub. at 6/. 6s.), reduced to 2/. 2s.
TURNER’ S LIBER FLUVIORUM, or River Scenery of France, 62 highly-finished Line
Engravings on Steel by WrLuMoRE. GOoDALL, MILLER, Cousens, and meee oeneneued
Artists, with descriptive Letter-press by Lerrcu RitcHie, and a Memoir of J. W. M. TURNER,
R.A, by ALAanic A, Warrs, imperial $vo, gilt cloth, 1/. 11s. 6¢d., or India Proofs, “Bi. 38.
WALKER'S ANALYSIS OF BEAUTY IN WOMAN. Preceded by a critical View of the
sere Hypothesis respecting Beauty, by LEoNaRDO Da VINCI, Menes, WIXCKELMANN,
£, HOGARTH, BURKE, Kwicur, Axisoy, and others. New edition, royal 8yo, illustrated
By 22 ‘beautiful Plates, after drawings from life, by H. Howarb, by Gauci and Lane (pub. at
2l, 2s.), gilt cloth, 1/. is.
WALPOLE'S (HORACE) tee oe eS IN ENGLAND. with some
Account of the Principal Artis Engravers, who have heen born or resided
in England, with Notes by eae = Opaition, Revised and Enlarged, by Raney
Wornum, Esq., complete in 3 vols. 8vo, with numerous beautiful portraits or plates, 2d. 28.
WARRINGTON’S HISTORY OF STAINED GLASS, from the earliest period of the Art
e 5 eae Snel illustrated by Coloured examples of Entire Windows, in the various oes
imperia very large and beautifully coloured Plates (one of them nearly four feet
fe oth half oad: morocco, gilt edges (pub at 81. 8s.), 5/. 15s. 6d.
WATTS'S PSALMS AND HYMNS, IcLustRaTeED Epirtion, complete, with indexes of
“*Subjects,”” “ First Lines,” and a Table oS aes 8vo, printed in a very large and beauti-
ee S weliened with 24 beautiful Wood Cuts by Marri, WesTALL, and others (pub. at
4. Is.), gilt cloth, 7s. 6d.
''t
PUBLISHED OR SOLD BY H.G. BOHN. 11
WESTWOODS PALEOGRAPHIA SACRA PICTORIA; being aserics of Illustrations of
the Ancient Versions of the Bible, copied from Illuminated Maanscripts, executed between
the fourth and sixteenth centuries, royal 4to, 50 Plates beautifully illuminated in gold aud
colours, half-bound, uncut (pub. at 4/. 10s.), 3d. 108.
WHISTON’S JOSEPHUS, ILLUSTRATED EDITION, complete; containing both the
Antiquities and the Wars of the Jews. 2 vols. 8vo, handsomely printed’ embellished with 52
beautiful Wood Engravings, by various Artists (pub. at 1/. 4s.), cloth boards, elegantly gilt, 14s.
WHITTOCK’S DECORATIVE PAINTER'S AND GLAZIER’S GUIDE, containing the
most approved methods ofimitating every kind of Fancy Woodand Marble, in ‘Oil or Di stemper
Colour, Designs for Decorating Apartments, and the Art of Staining and Painting on Glass,
&c., with Examples from Ancient Windows, with the Supplement, 4to, illustrated with 104
plates, of which 44 are coloured (pub. at 2/. 148.), cloth, 12. 10s.
WHITTOCK’S MINIATURE PAINTER’S MANUAL. Foolscap 8vo, 7 coloured plates,
and numerous woodcuts (pub. at 5s.), cloth, 3
WIGHTWICK'S PALACE OF ARCHITECTURE, a Romance of Art and History. Impe-
rial 8vo, with 211 Illustrations, Steel Plates and Woodcuts (pub. at 21, 12s. 6d.), cloth, 1/, 1s.
1840
WILD’S ARCHITECTURAL GRANDEUR of Belgium, Germany, ans France, 24 fine
Plates by Le Krux, &c.. Imperial 4to (pub, at 1. 185. Ne half- -morocco, 1/, 4: 837
WILD'S ENGLISH CATHEDRALS. Twelve select examples from ue buviatii ‘of
England, of the Ecclesiastic Architecture of the Middle Ages, beautifully coloured, after
the original drawings, by CHARLES WILD, imperial folio, mounted on tinted cardboard like
drawings, i in a handsome portfolio (pub. at 12/, 128.), 5/. 5s.
WILD'S FOREIGN CATHEDRALS, 12 Plates, coloured and mounted like Drawings, in a
handsome portfolio (pub, at 127. 12s. i imperial folio, 5L. 58.
WILLIAMS’ VIEWS IN GREECE, 64 beautiful Line Engravings by MILLER, Hons-
eu teHs and others, 2 vols. imperial 8vo (pub. at 62. Gs.), half-bound mor. extra, gilt Peres
a 1829
WINDSOR CASTLE AND ITs ENVIRONS, INCLUDING ETON, by Leircn
REITCHIE, new edition, edited by E. Jessr, Tesa., illustrated with upwards ‘of 50 beautiful
Engravings on Steel and Wood, royal 8yo, gilt cloth, 155.
wood's ARCHITEC TURAL ANTIQUITIES a RUINS OF PALMYRA AND
BAALBE vols. in 1, imperial folio, containing 110 fine Copper-plate Engrayings, some
very large oad folding (pub, at 7/. 7s.), half-morocco, uncut, 3/. 13s. 6d. 1827
WPatural Wistorp, Agriculture, Ke.
ANDREW'S FIGURES OF HEATHS. with Scientific Descriptions, 6 vols, royal oo
with 300 Leautifully coloured Plates (pub. at 15/.), cloth gilt, 7/. 10s.
BAUER AND HOOKER'S ILLUSTRATIONS OF THE GENERA OF FERNS,
in which the characters of each Genus are displayed in the most elaborate manner ina series
of magnified Dissections and Figures, highly-finished in Colours, imp. 8vo, Plates, 6/. 1838—42
BEECHEY.—BOTANY OF CAPTAIN BEECHEY'S VOYAGE, comprising an
Account of the Plants collected by Messrs. Lay and Coxurg, and other pacers of the
Expedition, during the voyage to the Pacific and Behring’s ‘Strait s. By Sirk Wititam
Jackson Hooker, and G. A. W. Annorr, Esa., illustrated by 100 Plates, Oa
engraved, complete in 10 parts, 4to (pub. at 7/. 10s.), 51. 1831—41
BEECHEY.— ZOOLOGY OF CAPTAIN BEECHEYS VOYAGE, compiled from the
Collections and Notes of Captain BrEcHzyY, and the Scientific Gentlemen who accompanied
the Expedition, The Mammalia by Dr. Ricuwarpson; Ornithology, by N. A. Vicors, Esq.;
Fishes, by G. T. Lay, Esq., and E. T. Bennerr, isq.; Crustacea, by Richanp Owen,
Esy.;,Reptiles, by Jonn E>warpv GRAY, aes ae by W. Sowrrby, Esq. ; and Geology,
by the Rey, Dr. Buck.ianp. 4to, illnstrated 7 Piates, containing many hundred Figures,
beautifully ‘coloured by SoweRBY (pub. at 51. a x cloth, 32. 13s. 6d. 1830
BOLTON’S NATURAL HISTORY OF BRITISH SONG BIRDS. Illustrated with
Figures the size of Life, of the Birds, both Male and Female, in their most Natural Attitudes ;
their Nests and Eggs, Food, Favourite Plants, Shrubs, ‘Trees, &e. &c. New Edition, revised
and very considerably augmented, 2 vols. in 1, medinm ‘sto, containing 80 beautifully coloured
plates (pub, at 8/. 8s.), haif-bound morocco, gilt backs, gilt edges, 3/. 33. 5
BROWN’S ILLUSTRATIONS OF THE LAND AND FRESH WATER SHELLS
OF GREAT BRITAIN AND IRELAND; with Figures, Descriptions, and Localities of all
the Species. Royal 8vo, containing on 27 large Plates, 330 Figures of all the known ee
Species, in their full size, accurately drawn from Nature (pub. at 15s.), cloth, 10s. 6d.
CARPENTER’S ANIMAL PHYSIOLOGY; including a Comprehensive Sketch of net
Toecan Forms of Animal Structure. New edition, carefully revised, with 287 capital Wood
llustrations, post 8vo, cloth, 5s.
''12 CATALOGUE OF NEW BOOKS,
CARPENTER’S ZOOLOGY AND INSTINCT IN ANIMALS; a Systematic View of
the structure, habits, instincts, and uses of the principal families of the Animal Kingdom, and
the chief Forms of Fossil Remains, 2 vols, post 8yo, with 630 capital illustrations on wood, cloth,
reprintiug.
CARPENTER’S VEGETABLE PHYSIOLOGY AND BOTANY, including the
structures and organs of Plants, their characters, uses, geographical distribution, and classifi--
cation, according to the Natural System of Botany. New and enlarged edition, with 225 capital
illustrations on wood, post 8vo, cloth, reprinting.
CURTIS'S FLORA LONDINENSIS; Revised and Improved by GroncE GRAVES, ex-
tended and continued by Sir W. JACKSON HooKkeR; comprising the History of Plants indi-
genous to Great Britain, with Indexes; the Drawings fiaae by SypENHAM, Epwarps, an
Lixpiey. 5 vols. royal folio (or 109 parts), containing 647 Plates, exhibiting the full natural
size of each Plant, with magnified Dissections of the Parts of Fructification, &c., all beauti-
fully coloured (pub. at 87/. 4s. in parts), half-bound morocco, top edges gilt, 30/. 1835
DENNY—MONOGRAPHIA ANOPLURORUM_ BRITANNIA, OR_ BRITISH
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tenes, cloth, 1d. 11s. 6d. 1842
DE JUSSIEU’S ELEMENTS OF BOTANY, translated by J. H. Witson, F.LS., &e.,
thick post 8vo, with 750 capital Woodcuts, cloth (pub. at 12s. 6d.),8s. 6d. Van Voorst, 1849
DON’S GENERAL SYSTEM OF Prone es AND BOTANY, # vols. se 4to,
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DON’ = HORTUS CANTABRIGIENSIS ; asec Edition, 8yo (pub. at 10. 48),
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DONOVANS NATURAL DBTORy OF THE INSECTS OF INDIA, Enlarged me
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DONOVAN'S NATURAL HISTORY OF THE INSECTS OF CHINA. Enlarged by
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i ea figures (pub. at 61. 63. A cloth gilt, 27. 52.
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DRURY'S ILLUSTRATIONS OF FOREIGN ENTOMOLOGY; wherein are exhibited
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GOULO’S HUMMING BIRDS. A General History of the Trochilide, or aca!
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HARRIS'S AURELIAN; OR ENGLISH MOTHS AND BUTTERFLIES. Their
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HMOOKER’S JOURNAL OF BOTANY, containing Figures and Descriptions of such
Plants as recommend themselves by their hovelty, rarity, or r history, or by the uses to which they
are applied in the Arts, in Medicine, and in Domestic Economy; together with occasional
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4 vols. 8yo, numerous Plates, some coloured (pub. at 3/.), cloth, 1/. 1834—42
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guished Scientific Travellers. Complete in3 thick vols. royal 8vo, with 153 plates, many finely
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HOOKER’S FLORA BOREALI-AMERICANA; OR THE BOTANY OF BRITISH
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HUISH ON BEES; THEIR NATURAL HISTORY AND GENERAL MANAGEMENT.
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JOHNSON'S FARMER'S ENCYCLOPADIA and Dictionary of Rural Affairs ; em-
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LEWIN’S NATURAL HISTORY OF THE BIRDS OF NEW SOUTH WALES.
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LINDL EY'S BRITISH FRUITS; OR FIGURES AND DESCRIPTIONS OF THE MOS?
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LOUDON'S (MRS.) ENTERTAINING NATURALIST, being Popular, Descriptions,
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Second edition, edited by Mrs. Loudon, | 8vo, cloth extra, with upwards of 377 diagrams, &e,
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LOW'S DOMESTIC ANIMALS OF GREAT BRITAIN, exemplified ‘in fifty-six large
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MANTELL’S (DR.) NEW GEOLOGICAL WORK. THE MEDALS OF CREATION
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MANTELL'’S (DR.) PICTORIAL ATLAS OF FOSSIL REMAINS, consisting of
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MANTELL’S WONDERS OF GEOLOGY, or a Familiar Exposition of Geological Phe-
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MANTELL'S GEOLOGICAL EXCURSION ROUND THE ISLE OF WIGHT,
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and steel, cloth (pub. at 1d. 1s.), 10s. 6d.
SELBY’S COMPLETE BRITISH ORNITHOLOGY. A most magnificent work of the
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the spirit of life.”’"—Ornithologist’s Text Book.
“ What a treasure, during a rainy forenoon in the country, is such a gloriously illuminated
work as this of Mr Selby! It is, without doubt, the most splendid of the kind ever published
in Britain, and will stand a comparison, without any eclipse of its lustre, with the most magni-
ficent ornithological] illustrations of the French school. Mr. Selby has long and deservedly
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SIBTHORPE’S FLORA GRACA, The most costly and magnificent Botanical work
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SOWERBY'S MANUAL OF CONCHOLOGY. Containing a complete Introduction to
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the most characteristic examples are given of all the Genera established up to the present
time, arranged in Lamarckian Or rder, accompanied by copious Explanations ; Observations
respecting the Geographical or Geological distribution of each ; Tabular ees of the Sys-
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''16 CATALOGUE OF NEW BOOKS,
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BOSWELL'S LIFE OF DR. JOHNSON; BY THE RIGHT HON. J. C. CROKER.
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ceding Editors. with numerous Additional Notes and Illustrative Anecdotes ; to which are
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BRITISH POETS, CABINET EDITION, containing the complete Works of the prin-
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