diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 21:37:52 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 21:37:52 -0800 |
| commit | 765605b662ffcae433d9ec93270edd5f6cbb5b6d (patch) | |
| tree | bb3885bfbbb9abd6b98bd59c702e3731641367cb | |
| parent | 24cc5e4e4e1e1613c11faa8315137b50b6233c10 (diff) | |
98 files changed, 2 insertions, 12300 deletions
diff --git a/40578-0.txt b/40578-0.txt index e16ccf2..24eef65 100644 --- a/40578-0.txt +++ b/40578-0.txt @@ -1,25 +1,4 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40578 *** Produced by Chuck Greif (This file was produced from images available at The Internet Archive) @@ -1580,364 +1559,4 @@ camp, one can only stay a day. End of Project Gutenberg's In the Land of Temples, by Joseph Pennell -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578-0.txt or 40578-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 40578 *** diff --git a/40578-0.zip b/40578-0.zip Binary files differdeleted file mode 100644 index f5a4ee9..0000000 --- a/40578-0.zip +++ /dev/null diff --git a/40578-8.txt b/40578-8.txt deleted file mode 100644 index d7da66d..0000000 --- a/40578-8.txt +++ /dev/null @@ -1,1944 +0,0 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - -IN THE - -LAND OF TEMPLES - -BY JOSEPH PENNELL - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - - - - -JOSEPH PENNELL'S - -PICTURES OF -THE PANAMA CANAL. - -_FIFTH EDITION._ - -Reproductions of a series of Lithographs made -by him on the Isthmus of Panama, together -with Impressions and Notes by the Artist. -Price 5s. net. - -THE LIFE OF JAMES -MCNEILL WHISTLER - -By E. R. and J. PENNELL. - -Fifth and Revised Edition, with 96 pp. -of Illustrations. Pott 4to. -Price 12s. 6d. net. - -LONDON: WILLIAM HEINEMANN. - -Copies of the lithographs reproduced in this -volume, limited to fifty proofs each, size 16 by 22 in., -may be obtained through the Publisher, at -3 3 0 net each. - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - -REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE -ARTIST - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO. - -COPYRIGHT - -LONDON: WILLIAM HEINEMANN. 1915. - -TO -R. M. DAWKINS - -LATE DIRECTOR -OF THE BRITISH -SCHOOL AT ATHENS -WHO SHOWED ME -WHERE I SHOULD -FIND THE TEMPLES - -PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK. - - - - -NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES - - -I WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory--to see if the greatest work of the past -impressed me as much as the greatest work of the present--and to try to -find out which was the greater--the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn't see Greek art and couldn't draw it if I did. - -I have been there--and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that--and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully--I wish I -had--I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations. - -I drew the things that interested me--and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape--so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims--a shrine for -worshippers to draw near to--yet each had a character of its own--always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country--never -stuck about anyhow--always composed--always different--and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina--the "wine -dark sea" at Sunium--the "shining rocks" at Delphi--the grim cliffs of -the Acropolis?--these prove in their various ways that the Greeks were -great artists. - -These were the things I saw. Had I known more I might have seen -less--for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that--there are, -of course, great exceptions--they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go--or what -to see. When I got to Athens I fell among friends, who answered my only -question that "I wanted to see temples that stood up." They told me -where they were--and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see--and -having seen them--and I have tried to express them--I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so. - -JOSEPH PENNELL. - - - - -LIST OF ILLUSTRATIONS - -THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY--THENCE TO -ITALY, AND ARE CONTINUED IN GREECE. - -AETNA OVER TAORMINA I - -THE THEATRE, SEGESTA II - -THE TEMPLE OVER THE CAON, SEGESTA III - -FROM TEMPLE TO TEMPLE, GIRGENTI IV - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI V - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI VI - -THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI VII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI IX - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI X - -THE TEMPLES ON THE WALL, GIRGENTI XI - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI XII - -PAESTUM. MORNING MIST XIII - -PAESTUM. EVENING XIV - -CORINTH TOWARDS THE GULF XV - -ACRO-CORINTH FROM CORINTH XVI - -OLYMPIA FROM THE HILLSIDE XVII - -THE TEMPLE OF JUPITER. EVENING XVIII - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS XIX - -THE WAY UP THE ACROPOLIS XX - -DOWN FROM THE ACROPOLIS XXI - -SUNRISE OVER THE ACROPOLIS XXII - -STORM BEHIND THE ACROPOLIS XXIII - -THE PROPYLAEA, ATHENS XXIV - -THE PORTICO OF THE PARTHENON XXV - -THE PARTHENON FROM THE GATEWAY XXVI - -THE FAADE OF THE PARTHENON. SUNSET XXVII - -THE FALLEN COLUMN, ATHENS XXVIII - -THE LITTLE FTE, ATHENS XXIX - -THE GREAT FTE, ATHENS XXX - -THE TEMPLE OF NIKE, ATHENS XXXI - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS XXXII - -THE ODEON, ATHENS XXXIII - -THE STREET OF THE TOMBS, ATHENS XXXIV - -ELEUSIS. THE PAVEMENT OF THE TEMPLE XXXV - -AEGINA XXXVI - -AEGINA ON ITS MOUNTAIN TOP XXXVII - -THE SHINING ROCKS, DELPHI XXXVIII - -THE TREASURY OF ATHENS, DELPHI XXXIX - -THE WINE DARK SEA. SUNIUM XL - - - - -INTRODUCTION. - - -IT is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue [Greek: sphrosun] means, that all parts and faculties of the -man are in proportion, each trained to perfection and all under control -of the will: body, mind, and spirit, each has its due place. Elsewhere -we see one of these in excess. Thus the Indian philosopher soars in the -highest regions of speculation, and sees great truths, but they -intoxicate him: he does not bring them to the test of daily life, nor -does he check them by reason. The Hebrew prophet has his vision of one -God, and in rapt devotion prostrates himself below the dignity of -manhood. The Roman deals with practical politics and material -civilisation; he has a genius for organizing, and for combining the rule -of the best with the freedom and direct influence of all: he, however, -despises the spirit and the imagination. In our own day, what is called -science arrogates almost divine honours to the faculty for measuring and -observing, and neglects both the religious instinct and the -philosopher's theoric; nor is this ideal less deadly than the Roman's to -imagination and the sense of beauty. In modern times also, each person -strives to excel in some one specialty, mental or bodily; and if there -is any feeling at all for proportion it is the proportion of a group, -while the members of the group are [Greek: perittohi], excessive in one -way and defective in the others. But the Greek aimed at perfect -proportion for the man; and his ideal was, that the man's will should -use all the faculties to some worthy end. His body is to be trained by -music and gymnastic: the aim of the first being grace and beauty; of the -second, strength; of the whole, health and joy in all bodily uses. His -mind is to be trained by poetry, oratory, and philosophy; his spirit by -the worship of the gods, in which all that was best in his life is -concentrated into a noble ritual. Such would be the life of the ordinary -Greek; the greater intellects would look beyond the ritual to the -essence; and we have ample evidence to show that their ideals were as -high as any that have been known to other peoples. Aeschylus dealt with -the same problems that baffled the Hebrew prophets, divine justice and -mercy, and the immutable moral law; Plato's speculation took him into -regions where logic and formal philosophy had to be cast aside; Pheidias -by his art added a new dignity to godhead.[1] - -Nowhere is the Greek [Greek: sphrosun], their sense of restraint and -proportion, shown better than in their architecture: and this both in -the method of growth and in the final results. The Doric style has grown -out of a wooden building. When and how the first steps were taken, we do -not know, nor whether the Doric be directly descended from the Mycenan -style, as Perrot and Chipiez will have it. There is this great -difference: that the Mycenan and Cretan columns are like a Doric column -reversed, the thick end upmost, and they show none of the Greek -refinements to which we shall come later. A simpler origin is possible: -for to-day the traveller may see, in the verandah of some wayside -cottage (Homer's [Greek: a'hithousa herhidoupos]) a primitive Doric -column, some bare tree-trunk with a chunk of itself for capital, -supporting a primitive architrave of the same sort. In the Doric order, -other traces of woodwork are left in the stone, such as the triglyphs, -or beam-ends, with round pegs beneath, or the gouged flutings of the -column itself. And we have direct evidence in the history of the -Olympian Herum; where we are told that the columns were once of wood, -and that stone columns were put in place of these as they decayed, one -of the ancient oak columns being preserved down to the time of -Pausanias. The early architects would seem to have been nervous as to -how much weight stone would bear, so that their columns are very thick -and set close together; in fact, less than one diameter apart. By -degrees they learnt from experience, but the changes were slow and -careful. The plan of the temple always remained the same, and there is -little variation in the number of pillars at each end, or in any of the -general features. As in statuary, here also they kept to their tradition -as much as they could, and got their effects with the least possible -change. But what effects! Compare the heavy masses of Corinth or Pstum -with the airy grace of the Parthenon, and measure the infinite delicacy -of the changes which produce this effect. The builders found out that -straight lines do not look straight, and that if the lines of a building -do not look straight, the building looks as if it is going to topple -over and fall. A column which decreases upwards in straight lines looks -to the eye concave; and this illusion they tried to correct by making -the columns bulge from the top about one third down, and then decreased -this curve towards the bottom. The first attempts gave too much convex -curving, but this again was corrected until the architect found -perfection: yet the differences measured in inches are small. Again, -each column was inclined slightly inwards, because a column that stands -quite straight looks as though it were inclined out-wards; and the -stylobate, upon which the columns stand, is curved from each end upwards -to the centre. Other adjustments were necessary in the abacus and -capital, to make all harmonious; and we may say that there was hardly a -straight line in the building. Sculpture and ornament were adjusted to -the eye in the same way; and it would seem that the effect of the whole -building also was judged not alone, but in connection with the lines of -the landscape--that background of hills, always noble but never -over-powering, which is found all over the Greek world. For instance, in -the Parthenon certain minute corrections were made because of the way in -which the sun's rays fell on it. These adjustments have been measured -and tabulated--or at least a great many of them, for there are doubtless -many we do not notice, and the building is a ruin--but they show a -delicacy of sense which is nothing short of miraculous. These builders, -however, were not only artists with miraculous keenness of sense, but -members of a true trade-guild, with its accumulated wisdom handed down -from generation to generation, and themselves were men who worked with -their own hands. Neither could they have built the Parthenon with books -of logarithms in an office; nor can we ever have noble buildings again -so long as the architect and the builder are not one. Every common -workman must have had his share of this traditional skill. Indeed, -inscriptions lately discovered show that the building of the Parthenon -went on after Pheidias was banished; so that the sculptures which are -the wonder of the world must have been done in part at least without -their designer. But even without such evidence, the perfection of every -detail of building, the fitting of the joints, the strength and finish -of each part, is enough to show what the Athenian workman was like. - - [1] Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide - Jovem ... cuius pulchritudo adiecisse aliquid etiam recept relligioni - videtur: adeo maiestas operis deum quavit. - -But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay. - -We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter's death. "Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: 'Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?'" Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it--indeed, for their country's sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Pstum or Myndos. I mention Myndos because there -the contrast is most vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet's words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail. - -The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Herum, most ancient of all -existing Greek temples, built before 1000 B.C. Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Grcia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Pstum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Pstum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian. - -Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 A.D. by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival. - -The picture is taken from the small hill of Kronos: we look over the -site of Hera's temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race. - -If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans. They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people--indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country--that is, in almost all -parts of Greece proper--before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -A.D.) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way. - -It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men's imaginations. - -If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends. - -Girgenti, Agrigentum, Akragas, called by Pindar [Greek: kallhista -brotehan polhin], fairest of mortal cities; lofty Akragas, in Virgil's -words, spreading her walls so wide, mother of high-spirited horses-- - - "Arduus inde Acragas ostentat maxima longe - Moenia, magnanimum quondam generator equorum"-- - -although late founded in Greek history (B.C. 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been [Greek: kallhista brotehan polhin]. -But in 406, the Carthaginians descended upon it, and starved out the -people. All who could go migrated to Gela; the rest were massacred, and -the city sacked. From this blow it never recovered, although it was -afterwards inhabited. - -Pstum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Pstum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Pstum for its roses, -_biferi rosaria Psti_, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Pstum. Those who saw Pstum when it was one -of the most impressive sights in the world, will be careful not to go -thither again. - -Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phoenicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century before Christ. -Pre-eminent amongst all the scenes are those of the potter's trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul's -connection with the city, and the riot when Gallic was governor of -Achaia. - -The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus. - -The view here given towards the gulf shows Parnassus in the distance, -like a ghost. - -Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man's greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since. - -The beauties of the place have been often sung: they are summed up in -one immortal phrase, "city of the violet crown." The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King's house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us. - -Up this slope, once in every four years, after the games, came the great -procession of the Panathens, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon's trident, under the Erechtheum; here was Athena's sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour--the history of Athens open for all to read. - -The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycen and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being [Greek: ahythochthones]--born -of the very soil. Perhaps this unbroken tradition explains the -prominence of Athens in the arts. Here too, the worship of Athena joined -the older worship of Poseidon, without rooting it up, and both -flourished side by side. Then came the great dynasty of the tyrants, -Peisistratus and his family, who made the city magnificent with -buildings and engineering works, and attracted to their court the finest -intellects of their day. The huge underground aqueduct which has lately -been dug out belongs to this time, the sixth century before Christ. - -Peisistratus is followed by Solon and the reign of law: and when the -barbarian came, it was Athens who barred his path and drove him back at -Marathon and at Salamis. Xerxes burnt the city, but he did not destroy -Athens, for the people had left it for the time; and when they returned, -they built up their fortifications with the ruins of their temples and -monuments, as they may still be seen piled slab on drum by the visitor -of to-day. Xerxes burnt all he found, but he only cleared the ground for -a finer art, which at once filled the empty spaces with buildings and -monuments of a nobler kind, the remains of which we now see. Great names -now stand out in plenty, Miltiades, Themistocles and Aristeides, -Pericles and Pheidias and Ictinus; Plato over yonder in the olive groves -of Academeia, Aeschylus and Sophocles, Euripides and Aristophanes in the -theatre or the winepress; Socrates walking the streets, or conversing in -agora or gymnasium; Demosthenes moving men's minds in the Pnyx. When -Athens fell, her conqueror spared her with a generosity not usual in -those days; so it came about that her buildings remained for many -hundreds of years, and the Parthenon even lasted through the devastating -ruin of the Turks, until a Venetian shell dropped upon it and blew it up -(1687). There is no use in trying to record what the Acropolis of Athens -calls to mind: it is the best of what educated men know. - -Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived--the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian. - -From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages--destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it. - -Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus--so Furtwngler infers from -inscriptions found there--but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy--indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -OEdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi's rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted ([Greek: phythein]) the -place got the name of Pytho. Here was the Omphalos, or navel-stone, -marking the centre of the earth; and the sacred spring Castalian rose -between the cleft rocks. The Pythia, or priestess, would seat herself on -a tripod over a chasm within the temple, and her ravings contained the -god's answer; but it must be interpreted by the prophet, who stood by -her side. Since the oracle was consulted by great and small, the priests -were able to exercise a strong influence on politics; and their -influence was generally for good, until the mind, of Greece outgrew -oracles. Recorded answers do not explain the repute of the oracle, or -its influence; and the tablets that have actually been found here and at -Dodona are mostly questions on personal or trivial subjects. Perhaps -that was the most far-reaching of its behests when Sparta was commanded -to free Athens from her tyrants; and its most noteworthy revelation, -that Socrates was the wisest of men. One of Herodotus's best stories -tells how Croesus consulted the oracle, and what came of it. Twice -Delphi was miraculously saved from pillage: once when the army of Xerxes -was driven back by falling rocks, and once when a storm beat off the -Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius. - -Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments. - -High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember. - -The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (B.C. 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone. - -Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon. - - - - -I - -AETNA OVER TAORMINA - -I AETNA OVER TAORMINA - -FOR years I wanted to make this drawing--and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious--and I had it all to myself, for it was tea-time. - -[Illustration] - - - - -II - -THE THEATRE, SEGESTA - -II THE THEATRE, SEGESTA - -NOTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time--even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled. - -[Illustration] - - - - -III - -THE TEMPLE OVER THE CAON, SEGESTA - -III THE TEMPLE OVER THE CAON, SEGESTA - -EVERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Caon. There I saw Nature's -compositions: here was one made by man--finer, though not so big--for -bigness has nothing to do with art. - -[Illustration] - - - - -IV - -FROM TEMPLE TO TEMPLE, GIRGENTI - -IV FROM TEMPLE TO TEMPLE, GIRGENTI - -NOT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects. - -[Illustration] - - - - -V - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -V THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -THIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful--and popular--subject for -every artist who goes to Girgenti. - -[Illustration] - - - - -VI - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -VI SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -THE Land of Temples is the land of effects--and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it--or tried to--while the effect -lasted. - -[Illustration] - - - - -VII - -THE TEMPLE BY THE SEA--TEMPLE OF CONCORD, GIRGENTI - -VII THE TEMPLE BY, THE SEA--TEMPLE OF CONCORD, GIRGENTI - -I HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti. - -[Illustration] - - - - -VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -VIII THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -HOW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees. - -[Illustration] - - - - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls--walls which are like cliffs--and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists. - -[Illustration] - - - - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -AS the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead--Greek art. - -[Illustration:] - - - - -XI - -THE TEMPLES ON THE WALL, GIRGENTI - -XI THE TEMPLES ON THE WALL, GIRGENTI - -THERE they stand on the outer walls, the long line of them--and there -are more than I have drawn; but how magnificently they stand--these -everlasting monuments to great art. - -[Illustration] - - - - -XII - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -XII THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -OUT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away. - -[Illustration] - - - - -XIII - -PAESTUM. MORNING MIST - -XIII PAESTUM. MORNING MIST - -WHEN, after a night of horrors at the inn of Pstum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished--the guardians were asleep--the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Pstum are gone with the malaria and the -buffaloes--only the mosquitoes remain. - -[Illustration] - - - - -XIV - -PAESTUM. EVENING - -XIV PAESTUM. EVENING - -ONLY in the mists of the morning and the glow of the evening is Pstum -impressive any more. It is dignified, but the mystery and melancholy -have gone. - -[Illustration] - - - - -XV - -CORINTH TOWARDS THE GULF - -XV CORINTH TOWARDS THE GULF - -HERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light--the glittering temple against the -gleaming sea--the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists--or by most of them--for most of them have -no feeling at all for the art they have dug up. - -[Illustration] - - - - -XVI - -ACRO-CORINTH FROM CORINTH - -XVI ACRO-CORINTH FROM CORINTH - -THE way the great mountains pile up behind the great temple is most -impressive. - -[Illustration] - - - - -XVII - -OLYMPIA FROM THE HILLSIDE - -XVII OLYMPIA FROM THE HILLSIDE - -THE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains. - -[Illustration] - - - - -XVIII - -THE TEMPLE OF JUPITER. EVENING - -XVIII THE TEMPLE OF JUPITER. EVENING - -NIGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could. - -[Illustration] - - - - -XIX - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -XIX THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -THERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect. - -[Illustration] - - - - -XX - -THE WAY UP TO THE ACROPOLIS - -XX THE WAY UP TO THE ACROPOLIS - -THE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting--though I -did not put them in--the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world--at any rate of newspapers. - -[Illustration] - - - - -XXI - -DOWN FROM THE ACROPOLIS - -XXI DOWN FROM THE ACROPOLIS - -BETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it. - -[Illustration] - - - - -XXII - -SUNRISE OVER THE ACROPOLIS - -XXII SUNRISE OVER THE ACROPOLIS - -EVERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled--till another day. - -[Illustration] - - - - -XXIII - -STORM BEHIND THE ACROPOLIS - -XXIII STORM BEHIND THE ACROPOLIS - -AND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth. - -[Illustration] - - - - -XXIV - -THE PROPYLAEA, ATHENS - -XXIV THE PROPYLAEA; ATHENS - -THIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman--no painter, either--will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour. - -[Illustration] - - - - -XXV - -THE PORTICO OF THE PARTHENON - -XXV THE PORTICO OF THE PARTHENON - -THIS is the greatest architectural art in the world. - -[Illustration] - - - - -XXVI - -THE PARTHENON FROM THE GATEWAY - -XXVI THE PARTHENON FROM THE GATEWAY - -DID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile. - -[Illustration] - - - - -XXVII - -THE FAADE OF THE PARTHENON. SUNSET - -XXVII THE FAADE OF THE PARTHENON. SUNSET - -JUST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves--turning from the wonder of -man's work to the wonder of God's sunset, and the wonder of the -afterglow over Eleusis. - -[Illustration] - - - - -XXVIII - -THE FALLEN COLUMN, ATHENS - -XXVIII THE FALLEN COLUMN, ATHENS - -ON either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order. - -[Illustration] - - - - -XXIX - -THE LITTLE FTE, ATHENS - -XXIX THE LITTLE FTE, ATHENS - -A LITTLE fte of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis--framed in by the black trees, the most -romantic subject I ever saw. - -[Illustration] - - - - -XXX - -THE GREAT FTE, ATHENS - -XXX THE GREAT FTE, ATHENS - -ON the afternoon of St. George's Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fte that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations. - - - - -XXXI - -THE TEMPLE OF NIKE, ATHENS - -XXXI THE TEMPLE OF NIKE, ATHENS - -ONE has but to cross to the other side of the Propylaea from the top of -the steps--from the great platform and altar before the wall, to find an -equally inspiring--or inspired--arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre--though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples. - -[Illustration] - - - - -XXXII - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -XXXII THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -THIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up--the temple dominating all--is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection. - -[Illustration] - - - - -XXXIII - -THE ODEON, ATHENS - -XXXIII THE ODEON, ATHENS - -LOOKING down from the Acropolis, one sees the theatre--even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting. - -[Illustration] - - - - -XXXIV - -THE STREET OF THE TOMBS, ATHENS - -XXXIV THE STREET OF THE TOMBS, ATHENS - -TO be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death. - -[Illustration] - - - - -XXXV - -ELEUSIS: THE PAVEMENT OF THE TEMPLE - -XXXV ELEUSIS: THE PAVEMENT OF THE TEMPLE - -SWEPT away is everything, mysteries and all--all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect. - -[Illustration] - - - - -XXXVI - -AEGINA - -XXXVI AEGINA - -ONLY at Aegina, so far as I have seen, is there a real--yet it is so -beautiful it seems unreal--forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year. - -[Illustration] - - - - -XXXVII - -AEGINA ON ITS MOUNTAIN TOP - -XXXVII AEGINA ON ITS MOUNTAIN TOP - -AS, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis. - -[Illustration] - - - - -XXXVIII - -THE SHINING ROCKS, DELPHI - -XXXVIII THE SHINING ROCKS, DELPHI - -AFTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: "Why, you have drawn the Shining Rocks." All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece. - -[Illustration] - - - - -XXXIX - -THE TREASURY OE ATHENS, DELPHI - -XXXIX THE TREASURY OF ATHENS, DELPHI - -THE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate, - -[Illustration] - - - - -XL - -THE WINE-DARK SEA, SUNIUM - -XL THE WINE-DARK SEA, SUNIUM - -FROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day. - -[Illustration] - - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578-8.txt or 40578-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40578-8.zip b/40578-8.zip Binary files differdeleted file mode 100644 index bfe7918..0000000 --- a/40578-8.zip +++ /dev/null diff --git a/40578-h.zip b/40578-h.zip Binary files differdeleted file mode 100644 index 96b837b..0000000 --- a/40578-h.zip +++ /dev/null diff --git a/40578.txt b/40578.txt deleted file mode 100644 index f52fcf1..0000000 --- a/40578.txt +++ /dev/null @@ -1,1944 +0,0 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - -IN THE - -LAND OF TEMPLES - -BY JOSEPH PENNELL - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - - - - -JOSEPH PENNELL'S - -PICTURES OF -THE PANAMA CANAL. - -_FIFTH EDITION._ - -Reproductions of a series of Lithographs made -by him on the Isthmus of Panama, together -with Impressions and Notes by the Artist. -Price 5s. net. - -THE LIFE OF JAMES -MCNEILL WHISTLER - -By E. R. and J. PENNELL. - -Fifth and Revised Edition, with 96 pp. -of Illustrations. Pott 4to. -Price 12s. 6d. net. - -LONDON: WILLIAM HEINEMANN. - -Copies of the lithographs reproduced in this -volume, limited to fifty proofs each, size 16 by 22 in., -may be obtained through the Publisher, at -L3 3 0 net each. - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - -REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE -ARTIST - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO. - -COPYRIGHT - -LONDON: WILLIAM HEINEMANN. 1915. - -TO -R. M. DAWKINS - -LATE DIRECTOR -OF THE BRITISH -SCHOOL AT ATHENS -WHO SHOWED ME -WHERE I SHOULD -FIND THE TEMPLES - -PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK. - - - - -NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES - - -I WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory--to see if the greatest work of the past -impressed me as much as the greatest work of the present--and to try to -find out which was the greater--the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn't see Greek art and couldn't draw it if I did. - -I have been there--and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that--and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully--I wish I -had--I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations. - -I drew the things that interested me--and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape--so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims--a shrine for -worshippers to draw near to--yet each had a character of its own--always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country--never -stuck about anyhow--always composed--always different--and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina--the "wine -dark sea" at Sunium--the "shining rocks" at Delphi--the grim cliffs of -the Acropolis?--these prove in their various ways that the Greeks were -great artists. - -These were the things I saw. Had I known more I might have seen -less--for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that--there are, -of course, great exceptions--they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go--or what -to see. When I got to Athens I fell among friends, who answered my only -question that "I wanted to see temples that stood up." They told me -where they were--and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see--and -having seen them--and I have tried to express them--I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so. - -JOSEPH PENNELL. - - - - -LIST OF ILLUSTRATIONS - -THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY--THENCE TO -ITALY, AND ARE CONTINUED IN GREECE. - -AETNA OVER TAORMINA I - -THE THEATRE, SEGESTA II - -THE TEMPLE OVER THE CANYON, SEGESTA III - -FROM TEMPLE TO TEMPLE, GIRGENTI IV - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI V - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI VI - -THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI VII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI IX - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI X - -THE TEMPLES ON THE WALL, GIRGENTI XI - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI XII - -PAESTUM. MORNING MIST XIII - -PAESTUM. EVENING XIV - -CORINTH TOWARDS THE GULF XV - -ACRO-CORINTH FROM CORINTH XVI - -OLYMPIA FROM THE HILLSIDE XVII - -THE TEMPLE OF JUPITER. EVENING XVIII - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS XIX - -THE WAY UP THE ACROPOLIS XX - -DOWN FROM THE ACROPOLIS XXI - -SUNRISE OVER THE ACROPOLIS XXII - -STORM BEHIND THE ACROPOLIS XXIII - -THE PROPYLAEA, ATHENS XXIV - -THE PORTICO OF THE PARTHENON XXV - -THE PARTHENON FROM THE GATEWAY XXVI - -THE FACADE OF THE PARTHENON. SUNSET XXVII - -THE FALLEN COLUMN, ATHENS XXVIII - -THE LITTLE FETE, ATHENS XXIX - -THE GREAT FETE, ATHENS XXX - -THE TEMPLE OF NIKE, ATHENS XXXI - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS XXXII - -THE ODEON, ATHENS XXXIII - -THE STREET OF THE TOMBS, ATHENS XXXIV - -ELEUSIS. THE PAVEMENT OF THE TEMPLE XXXV - -AEGINA XXXVI - -AEGINA ON ITS MOUNTAIN TOP XXXVII - -THE SHINING ROCKS, DELPHI XXXVIII - -THE TREASURY OF ATHENS, DELPHI XXXIX - -THE WINE DARK SEA. SUNIUM XL - - - - -INTRODUCTION. - - -IT is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue [Greek: sophrosune] means, that all parts and faculties of the -man are in proportion, each trained to perfection and all under control -of the will: body, mind, and spirit, each has its due place. Elsewhere -we see one of these in excess. Thus the Indian philosopher soars in the -highest regions of speculation, and sees great truths, but they -intoxicate him: he does not bring them to the test of daily life, nor -does he check them by reason. The Hebrew prophet has his vision of one -God, and in rapt devotion prostrates himself below the dignity of -manhood. The Roman deals with practical politics and material -civilisation; he has a genius for organizing, and for combining the rule -of the best with the freedom and direct influence of all: he, however, -despises the spirit and the imagination. In our own day, what is called -science arrogates almost divine honours to the faculty for measuring and -observing, and neglects both the religious instinct and the -philosopher's theoric; nor is this ideal less deadly than the Roman's to -imagination and the sense of beauty. In modern times also, each person -strives to excel in some one specialty, mental or bodily; and if there -is any feeling at all for proportion it is the proportion of a group, -while the members of the group are [Greek: perittohi], excessive in one -way and defective in the others. But the Greek aimed at perfect -proportion for the man; and his ideal was, that the man's will should -use all the faculties to some worthy end. His body is to be trained by -music and gymnastic: the aim of the first being grace and beauty; of the -second, strength; of the whole, health and joy in all bodily uses. His -mind is to be trained by poetry, oratory, and philosophy; his spirit by -the worship of the gods, in which all that was best in his life is -concentrated into a noble ritual. Such would be the life of the ordinary -Greek; the greater intellects would look beyond the ritual to the -essence; and we have ample evidence to show that their ideals were as -high as any that have been known to other peoples. Aeschylus dealt with -the same problems that baffled the Hebrew prophets, divine justice and -mercy, and the immutable moral law; Plato's speculation took him into -regions where logic and formal philosophy had to be cast aside; Pheidias -by his art added a new dignity to godhead.[1] - -Nowhere is the Greek [Greek: sophrosune], their sense of restraint and -proportion, shown better than in their architecture: and this both in -the method of growth and in the final results. The Doric style has grown -out of a wooden building. When and how the first steps were taken, we do -not know, nor whether the Doric be directly descended from the Mycenaean -style, as Perrot and Chipiez will have it. There is this great -difference: that the Mycenaean and Cretan columns are like a Doric column -reversed, the thick end upmost, and they show none of the Greek -refinements to which we shall come later. A simpler origin is possible: -for to-day the traveller may see, in the verandah of some wayside -cottage (Homer's [Greek: a'hithousa herhidoupos]) a primitive Doric -column, some bare tree-trunk with a chunk of itself for capital, -supporting a primitive architrave of the same sort. In the Doric order, -other traces of woodwork are left in the stone, such as the triglyphs, -or beam-ends, with round pegs beneath, or the gouged flutings of the -column itself. And we have direct evidence in the history of the -Olympian Heraeum; where we are told that the columns were once of wood, -and that stone columns were put in place of these as they decayed, one -of the ancient oak columns being preserved down to the time of -Pausanias. The early architects would seem to have been nervous as to -how much weight stone would bear, so that their columns are very thick -and set close together; in fact, less than one diameter apart. By -degrees they learnt from experience, but the changes were slow and -careful. The plan of the temple always remained the same, and there is -little variation in the number of pillars at each end, or in any of the -general features. As in statuary, here also they kept to their tradition -as much as they could, and got their effects with the least possible -change. But what effects! Compare the heavy masses of Corinth or Paestum -with the airy grace of the Parthenon, and measure the infinite delicacy -of the changes which produce this effect. The builders found out that -straight lines do not look straight, and that if the lines of a building -do not look straight, the building looks as if it is going to topple -over and fall. A column which decreases upwards in straight lines looks -to the eye concave; and this illusion they tried to correct by making -the columns bulge from the top about one third down, and then decreased -this curve towards the bottom. The first attempts gave too much convex -curving, but this again was corrected until the architect found -perfection: yet the differences measured in inches are small. Again, -each column was inclined slightly inwards, because a column that stands -quite straight looks as though it were inclined out-wards; and the -stylobate, upon which the columns stand, is curved from each end upwards -to the centre. Other adjustments were necessary in the abacus and -capital, to make all harmonious; and we may say that there was hardly a -straight line in the building. Sculpture and ornament were adjusted to -the eye in the same way; and it would seem that the effect of the whole -building also was judged not alone, but in connection with the lines of -the landscape--that background of hills, always noble but never -over-powering, which is found all over the Greek world. For instance, in -the Parthenon certain minute corrections were made because of the way in -which the sun's rays fell on it. These adjustments have been measured -and tabulated--or at least a great many of them, for there are doubtless -many we do not notice, and the building is a ruin--but they show a -delicacy of sense which is nothing short of miraculous. These builders, -however, were not only artists with miraculous keenness of sense, but -members of a true trade-guild, with its accumulated wisdom handed down -from generation to generation, and themselves were men who worked with -their own hands. Neither could they have built the Parthenon with books -of logarithms in an office; nor can we ever have noble buildings again -so long as the architect and the builder are not one. Every common -workman must have had his share of this traditional skill. Indeed, -inscriptions lately discovered show that the building of the Parthenon -went on after Pheidias was banished; so that the sculptures which are -the wonder of the world must have been done in part at least without -their designer. But even without such evidence, the perfection of every -detail of building, the fitting of the joints, the strength and finish -of each part, is enough to show what the Athenian workman was like. - - [1] Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide - Jovem ... cuius pulchritudo adiecisse aliquid etiam receptae relligioni - videtur: adeo maiestas operis deum aequavit. - -But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay. - -We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter's death. "Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: 'Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?'" Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it--indeed, for their country's sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Paestum or Myndos. I mention Myndos because there -the contrast is most vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet's words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail. - -The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Heraeum, most ancient of all -existing Greek temples, built before 1000 B.C. Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Graecia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Paestum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Paestum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian. - -Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 A.D. by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival. - -The picture is taken from the small hill of Kronos: we look over the -site of Hera's temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race. - -If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans. They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people--indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country--that is, in almost all -parts of Greece proper--before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -A.D.) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way. - -It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men's imaginations. - -If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends. - -Girgenti, Agrigentum, Akragas, called by Pindar [Greek: kallhista -brotehan polhion], fairest of mortal cities; lofty Akragas, in Virgil's -words, spreading her walls so wide, mother of high-spirited horses-- - - "Arduus inde Acragas ostentat maxima longe - Moenia, magnanimum quondam generator equorum"-- - -although late founded in Greek history (B.C. 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been [Greek: kallhista brotehan polhion]. -But in 406, the Carthaginians descended upon it, and starved out the -people. All who could go migrated to Gela; the rest were massacred, and -the city sacked. From this blow it never recovered, although it was -afterwards inhabited. - -Paestum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Paestum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Paestum for its roses, -_biferi rosaria Paesti_, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Paestum. Those who saw Paestum when it was one -of the most impressive sights in the world, will be careful not to go -thither again. - -Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phoenicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century before Christ. -Pre-eminent amongst all the scenes are those of the potter's trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul's -connection with the city, and the riot when Gallic was governor of -Achaia. - -The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus. - -The view here given towards the gulf shows Parnassus in the distance, -like a ghost. - -Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man's greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since. - -The beauties of the place have been often sung: they are summed up in -one immortal phrase, "city of the violet crown." The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King's house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us. - -Up this slope, once in every four years, after the games, came the great -procession of the Panathensae, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon's trident, under the Erechtheum; here was Athena's sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour--the history of Athens open for all to read. - -The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycenae and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being [Greek: ahythochthones]--born -of the very soil. Perhaps this unbroken tradition explains the -prominence of Athens in the arts. Here too, the worship of Athena joined -the older worship of Poseidon, without rooting it up, and both -flourished side by side. Then came the great dynasty of the tyrants, -Peisistratus and his family, who made the city magnificent with -buildings and engineering works, and attracted to their court the finest -intellects of their day. The huge underground aqueduct which has lately -been dug out belongs to this time, the sixth century before Christ. - -Peisistratus is followed by Solon and the reign of law: and when the -barbarian came, it was Athens who barred his path and drove him back at -Marathon and at Salamis. Xerxes burnt the city, but he did not destroy -Athens, for the people had left it for the time; and when they returned, -they built up their fortifications with the ruins of their temples and -monuments, as they may still be seen piled slab on drum by the visitor -of to-day. Xerxes burnt all he found, but he only cleared the ground for -a finer art, which at once filled the empty spaces with buildings and -monuments of a nobler kind, the remains of which we now see. Great names -now stand out in plenty, Miltiades, Themistocles and Aristeides, -Pericles and Pheidias and Ictinus; Plato over yonder in the olive groves -of Academeia, Aeschylus and Sophocles, Euripides and Aristophanes in the -theatre or the winepress; Socrates walking the streets, or conversing in -agora or gymnasium; Demosthenes moving men's minds in the Pnyx. When -Athens fell, her conqueror spared her with a generosity not usual in -those days; so it came about that her buildings remained for many -hundreds of years, and the Parthenon even lasted through the devastating -ruin of the Turks, until a Venetian shell dropped upon it and blew it up -(1687). There is no use in trying to record what the Acropolis of Athens -calls to mind: it is the best of what educated men know. - -Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived--the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian. - -From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages--destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it. - -Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus--so Furtwaengler infers from -inscriptions found there--but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy--indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -OEdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi's rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted ([Greek: phythein]) the -place got the name of Pytho. Here was the Omphalos, or navel-stone, -marking the centre of the earth; and the sacred spring Castalian rose -between the cleft rocks. The Pythia, or priestess, would seat herself on -a tripod over a chasm within the temple, and her ravings contained the -god's answer; but it must be interpreted by the prophet, who stood by -her side. Since the oracle was consulted by great and small, the priests -were able to exercise a strong influence on politics; and their -influence was generally for good, until the mind, of Greece outgrew -oracles. Recorded answers do not explain the repute of the oracle, or -its influence; and the tablets that have actually been found here and at -Dodona are mostly questions on personal or trivial subjects. Perhaps -that was the most far-reaching of its behests when Sparta was commanded -to free Athens from her tyrants; and its most noteworthy revelation, -that Socrates was the wisest of men. One of Herodotus's best stories -tells how Croesus consulted the oracle, and what came of it. Twice -Delphi was miraculously saved from pillage: once when the army of Xerxes -was driven back by falling rocks, and once when a storm beat off the -Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius. - -Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments. - -High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember. - -The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (B.C. 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone. - -Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon. - - - - -I - -AETNA OVER TAORMINA - -I AETNA OVER TAORMINA - -FOR years I wanted to make this drawing--and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious--and I had it all to myself, for it was tea-time. - -[Illustration] - - - - -II - -THE THEATRE, SEGESTA - -II THE THEATRE, SEGESTA - -NOTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time--even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled. - -[Illustration] - - - - -III - -THE TEMPLE OVER THE CANYON, SEGESTA - -III THE TEMPLE OVER THE CANYON, SEGESTA - -EVERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Canyon. There I saw Nature's -compositions: here was one made by man--finer, though not so big--for -bigness has nothing to do with art. - -[Illustration] - - - - -IV - -FROM TEMPLE TO TEMPLE, GIRGENTI - -IV FROM TEMPLE TO TEMPLE, GIRGENTI - -NOT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects. - -[Illustration] - - - - -V - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -V THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -THIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful--and popular--subject for -every artist who goes to Girgenti. - -[Illustration] - - - - -VI - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -VI SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -THE Land of Temples is the land of effects--and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it--or tried to--while the effect -lasted. - -[Illustration] - - - - -VII - -THE TEMPLE BY THE SEA--TEMPLE OF CONCORD, GIRGENTI - -VII THE TEMPLE BY, THE SEA--TEMPLE OF CONCORD, GIRGENTI - -I HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti. - -[Illustration] - - - - -VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -VIII THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -HOW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees. - -[Illustration] - - - - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls--walls which are like cliffs--and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists. - -[Illustration] - - - - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -AS the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead--Greek art. - -[Illustration:] - - - - -XI - -THE TEMPLES ON THE WALL, GIRGENTI - -XI THE TEMPLES ON THE WALL, GIRGENTI - -THERE they stand on the outer walls, the long line of them--and there -are more than I have drawn; but how magnificently they stand--these -everlasting monuments to great art. - -[Illustration] - - - - -XII - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -XII THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -OUT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away. - -[Illustration] - - - - -XIII - -PAESTUM. MORNING MIST - -XIII PAESTUM. MORNING MIST - -WHEN, after a night of horrors at the inn of Paestum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished--the guardians were asleep--the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Paestum are gone with the malaria and the -buffaloes--only the mosquitoes remain. - -[Illustration] - - - - -XIV - -PAESTUM. EVENING - -XIV PAESTUM. EVENING - -ONLY in the mists of the morning and the glow of the evening is Paestum -impressive any more. It is dignified, but the mystery and melancholy -have gone. - -[Illustration] - - - - -XV - -CORINTH TOWARDS THE GULF - -XV CORINTH TOWARDS THE GULF - -HERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light--the glittering temple against the -gleaming sea--the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists--or by most of them--for most of them have -no feeling at all for the art they have dug up. - -[Illustration] - - - - -XVI - -ACRO-CORINTH FROM CORINTH - -XVI ACRO-CORINTH FROM CORINTH - -THE way the great mountains pile up behind the great temple is most -impressive. - -[Illustration] - - - - -XVII - -OLYMPIA FROM THE HILLSIDE - -XVII OLYMPIA FROM THE HILLSIDE - -THE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains. - -[Illustration] - - - - -XVIII - -THE TEMPLE OF JUPITER. EVENING - -XVIII THE TEMPLE OF JUPITER. EVENING - -NIGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could. - -[Illustration] - - - - -XIX - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -XIX THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -THERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect. - -[Illustration] - - - - -XX - -THE WAY UP TO THE ACROPOLIS - -XX THE WAY UP TO THE ACROPOLIS - -THE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting--though I -did not put them in--the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world--at any rate of newspapers. - -[Illustration] - - - - -XXI - -DOWN FROM THE ACROPOLIS - -XXI DOWN FROM THE ACROPOLIS - -BETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it. - -[Illustration] - - - - -XXII - -SUNRISE OVER THE ACROPOLIS - -XXII SUNRISE OVER THE ACROPOLIS - -EVERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled--till another day. - -[Illustration] - - - - -XXIII - -STORM BEHIND THE ACROPOLIS - -XXIII STORM BEHIND THE ACROPOLIS - -AND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth. - -[Illustration] - - - - -XXIV - -THE PROPYLAEA, ATHENS - -XXIV THE PROPYLAEA; ATHENS - -THIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman--no painter, either--will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour. - -[Illustration] - - - - -XXV - -THE PORTICO OF THE PARTHENON - -XXV THE PORTICO OF THE PARTHENON - -THIS is the greatest architectural art in the world. - -[Illustration] - - - - -XXVI - -THE PARTHENON FROM THE GATEWAY - -XXVI THE PARTHENON FROM THE GATEWAY - -DID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile. - -[Illustration] - - - - -XXVII - -THE FACADE OF THE PARTHENON. SUNSET - -XXVII THE FACADE OF THE PARTHENON. SUNSET - -JUST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves--turning from the wonder of -man's work to the wonder of God's sunset, and the wonder of the -afterglow over Eleusis. - -[Illustration] - - - - -XXVIII - -THE FALLEN COLUMN, ATHENS - -XXVIII THE FALLEN COLUMN, ATHENS - -ON either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order. - -[Illustration] - - - - -XXIX - -THE LITTLE FETE, ATHENS - -XXIX THE LITTLE FETE, ATHENS - -A LITTLE fete of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis--framed in by the black trees, the most -romantic subject I ever saw. - -[Illustration] - - - - -XXX - -THE GREAT FETE, ATHENS - -XXX THE GREAT FETE, ATHENS - -ON the afternoon of St. George's Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fete that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations. - - - - -XXXI - -THE TEMPLE OF NIKE, ATHENS - -XXXI THE TEMPLE OF NIKE, ATHENS - -ONE has but to cross to the other side of the Propylaea from the top of -the steps--from the great platform and altar before the wall, to find an -equally inspiring--or inspired--arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre--though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples. - -[Illustration] - - - - -XXXII - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -XXXII THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -THIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up--the temple dominating all--is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection. - -[Illustration] - - - - -XXXIII - -THE ODEON, ATHENS - -XXXIII THE ODEON, ATHENS - -LOOKING down from the Acropolis, one sees the theatre--even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting. - -[Illustration] - - - - -XXXIV - -THE STREET OF THE TOMBS, ATHENS - -XXXIV THE STREET OF THE TOMBS, ATHENS - -TO be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death. - -[Illustration] - - - - -XXXV - -ELEUSIS: THE PAVEMENT OF THE TEMPLE - -XXXV ELEUSIS: THE PAVEMENT OF THE TEMPLE - -SWEPT away is everything, mysteries and all--all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect. - -[Illustration] - - - - -XXXVI - -AEGINA - -XXXVI AEGINA - -ONLY at Aegina, so far as I have seen, is there a real--yet it is so -beautiful it seems unreal--forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year. - -[Illustration] - - - - -XXXVII - -AEGINA ON ITS MOUNTAIN TOP - -XXXVII AEGINA ON ITS MOUNTAIN TOP - -AS, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis. - -[Illustration] - - - - -XXXVIII - -THE SHINING ROCKS, DELPHI - -XXXVIII THE SHINING ROCKS, DELPHI - -AFTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: "Why, you have drawn the Shining Rocks." All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece. - -[Illustration] - - - - -XXXIX - -THE TREASURY OE ATHENS, DELPHI - -XXXIX THE TREASURY OF ATHENS, DELPHI - -THE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate, - -[Illustration] - - - - -XL - -THE WINE-DARK SEA, SUNIUM - -XL THE WINE-DARK SEA, SUNIUM - -FROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day. - -[Illustration] - - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578.txt or 40578.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40578.zip b/40578.zip Binary files differdeleted file mode 100644 index fbe0790..0000000 --- a/40578.zip +++ /dev/null diff --git a/old/40578-0.txt b/old/40578-0.txt deleted file mode 100644 index e16ccf2..0000000 --- a/old/40578-0.txt +++ /dev/null @@ -1,1943 +0,0 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - -IN THE - -LAND OF TEMPLES - -BY JOSEPH PENNELL - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN - - - - -JOSEPH PENNELL’S PICTURES IN THE LAND OF TEMPLES - - - - -JOSEPH PENNELL’S - -PICTURES OF -THE PANAMA CANAL. - -_FIFTH EDITION._ - -Reproductions of a series of Lithographs made -by him on the Isthmus of Panama, together -with Impressions and Notes by the Artist. -Price 5s. net. - -THE LIFE OF JAMES -MCNEILL WHISTLER - -By E. R. and J. PENNELL. - -Fifth and Revised Edition, with 96 pp. -of Illustrations. Pott 4to. -Price 12s. 6d. net. - -LONDON: WILLIAM HEINEMANN. - -Copies of the lithographs reproduced in this -volume, limited to fifty proofs each, size 16 by 22 in., -may be obtained through the Publisher, at -£3 3 0 net each. - - - - -JOSEPH PENNELL’S PICTURES IN THE LAND OF TEMPLES - -REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE -ARTIST - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO. - -COPYRIGHT - -LONDON: WILLIAM HEINEMANN. 1915. - -TO -R. M. DAWKINS - -LATE DIRECTOR -OF THE BRITISH -SCHOOL AT ATHENS -WHO SHOWED ME -WHERE I SHOULD -FIND THE TEMPLES - -PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK. - - - - -NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES - - -I WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory--to see if the greatest work of the past -impressed me as much as the greatest work of the present--and to try to -find out which was the greater--the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn’t see Greek art and couldn’t draw it if I did. - -I have been there--and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that--and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully--I wish I -had--I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations. - -I drew the things that interested me--and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape--so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims--a shrine for -worshippers to draw near to--yet each had a character of its own--always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country--never -stuck about anyhow--always composed--always different--and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina--the “wine -dark sea” at Sunium--the “shining rocks” at Delphi--the grim cliffs of -the Acropolis?--these prove in their various ways that the Greeks were -great artists. - -These were the things I saw. Had I known more I might have seen -less--for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that--there are, -of course, great exceptions--they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go--or what -to see. When I got to Athens I fell among friends, who answered my only -question that “I wanted to see temples that stood up.” They told me -where they were--and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see--and -having seen them--and I have tried to express them--I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so. - -JOSEPH PENNELL. - - - - -LIST OF ILLUSTRATIONS - -THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY--THENCE TO -ITALY, AND ARE CONTINUED IN GREECE. - -AETNA OVER TAORMINA I - -THE THEATRE, SEGESTA II - -THE TEMPLE OVER THE CAÑON, SEGESTA III - -FROM TEMPLE TO TEMPLE, GIRGENTI IV - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI V - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI VI - -THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI VII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI IX - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI X - -THE TEMPLES ON THE WALL, GIRGENTI XI - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI XII - -PAESTUM. MORNING MIST XIII - -PAESTUM. EVENING XIV - -CORINTH TOWARDS THE GULF XV - -ACRO-CORINTH FROM CORINTH XVI - -OLYMPIA FROM THE HILLSIDE XVII - -THE TEMPLE OF JUPITER. EVENING XVIII - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS XIX - -THE WAY UP THE ACROPOLIS XX - -DOWN FROM THE ACROPOLIS XXI - -SUNRISE OVER THE ACROPOLIS XXII - -STORM BEHIND THE ACROPOLIS XXIII - -THE PROPYLAEA, ATHENS XXIV - -THE PORTICO OF THE PARTHENON XXV - -THE PARTHENON FROM THE GATEWAY XXVI - -THE FAÇADE OF THE PARTHENON. SUNSET XXVII - -THE FALLEN COLUMN, ATHENS XXVIII - -THE LITTLE FÊTE, ATHENS XXIX - -THE GREAT FÊTE, ATHENS XXX - -THE TEMPLE OF NIKE, ATHENS XXXI - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS XXXII - -THE ODEON, ATHENS XXXIII - -THE STREET OF THE TOMBS, ATHENS XXXIV - -ELEUSIS. THE PAVEMENT OF THE TEMPLE XXXV - -AEGINA XXXVI - -AEGINA ON ITS MOUNTAIN TOP XXXVII - -THE SHINING ROCKS, DELPHI XXXVIII - -THE TREASURY OF ATHENS, DELPHI XXXIX - -THE WINE DARK SEA. SUNIUM XL - - - - -INTRODUCTION. - - -IT is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue σωφροσὑνη means, that all parts and faculties of the man are in -proportion, each trained to perfection and all under control of the -will: body, mind, and spirit, each has its due place. Elsewhere we see -one of these in excess. Thus the Indian philosopher soars in the highest -regions of speculation, and sees great truths, but they intoxicate him: -he does not bring them to the test of daily life, nor does he check them -by reason. The Hebrew prophet has his vision of one God, and in rapt -devotion prostrates himself below the dignity of manhood. The Roman -deals with practical politics and material civilisation; he has a genius -for organizing, and for combining the rule of the best with the freedom -and direct influence of all: he, however, despises the spirit and the -imagination. In our own day, what is called science arrogates almost -divine honours to the faculty for measuring and observing, and neglects -both the religious instinct and the philosopher’s theoric; nor is this -ideal less deadly than the Roman’s to imagination and the sense of -beauty. In modern times also, each person strives to excel in some one -specialty, mental or bodily; and if there is any feeling at all for -proportion it is the proportion of a group, while the members of the -group are περιττοἱ, excessive in one way and defective in the others. -But the Greek aimed at perfect proportion for the man; and his ideal -was, that the man’s will should use all the faculties to some worthy -end. His body is to be trained by music and gymnastic: the aim of the -first being grace and beauty; of the second, strength; of the whole, -health and joy in all bodily uses. His mind is to be trained by poetry, -oratory, and philosophy; his spirit by the worship of the gods, in which -all that was best in his life is concentrated into a noble ritual. Such -would be the life of the ordinary Greek; the greater intellects would -look beyond the ritual to the essence; and we have ample evidence to -show that their ideals were as high as any that have been known to other -peoples. Aeschylus dealt with the same problems that baffled the Hebrew -prophets, divine justice and mercy, and the immutable moral law; -Plato’s speculation took him into regions where logic and formal -philosophy had to be cast aside; Pheidias by his art added a new dignity -to godhead.[1] - -Nowhere is the Greek σωφροσὑνη, their sense of restraint and proportion, -shown better than in their architecture: and this both in the method of -growth and in the final results. The Doric style has grown out of a -wooden building. When and how the first steps were taken, we do not -know, nor whether the Doric be directly descended from the Mycenæan -style, as Perrot and Chipiez will have it. There is this great -difference: that the Mycenæan and Cretan columns are like a Doric column -reversed, the thick end upmost, and they show none of the Greek -refinements to which we shall come later. A simpler origin is possible: -for to-day the traveller may see, in the verandah of some wayside -cottage (Homer’s α’ἱθουσα ἑρἱδουπος) a primitive Doric column, some bare -tree-trunk with a chunk of itself for capital, supporting a primitive -architrave of the same sort. In the Doric order, other traces of -woodwork are left in the stone, such as the triglyphs, or beam-ends, -with round pegs beneath, or the gouged flutings of the column itself. -And we have direct evidence in the history of the Olympian Heræum; where -we are told that the columns were once of wood, and that stone columns -were put in place of these as they decayed, one of the ancient oak -columns being preserved down to the time of Pausanias. The early -architects would seem to have been nervous as to how much weight stone -would bear, so that their columns are very thick and set close together; -in fact, less than one diameter apart. By degrees they learnt from -experience, but the changes were slow and careful. The plan of the -temple always remained the same, and there is little variation in the -number of pillars at each end, or in any of the general features. As in -statuary, here also they kept to their tradition as much as they could, -and got their effects with the least possible change. But what effects! -Compare the heavy masses of Corinth or Pæstum with the airy grace of the -Parthenon, and measure the infinite delicacy of the changes which -produce this effect. The builders found out that straight lines do not -look straight, and that if the lines of a building do not look straight, -the building looks as if it is going to topple over and fall. A column -which decreases upwards in straight lines looks to the eye concave; and -this illusion they tried to correct by making the columns bulge from the -top about one third down, and then decreased this curve towards the -bottom. The first attempts gave too much convex curving, but this again -was corrected until the architect found perfection: yet the differences -measured in inches are small. Again, each column was inclined slightly -inwards, because a column that stands quite straight looks as though it -were inclined out-wards; and the stylobate, upon which the columns -stand, is curved from each end upwards to the centre. Other adjustments -were necessary in the abacus and capital, to make all harmonious; and we -may say that there was hardly a straight line in the building. Sculpture -and ornament were adjusted to the eye in the same way; and it would seem -that the effect of the whole building also was judged not alone, but in -connection with the lines of the landscape--that background of hills, -always noble but never over-powering, which is found all over the Greek -world. For instance, in the Parthenon certain minute corrections were -made because of the way in which the sun’s rays fell on it. These -adjustments have been measured and tabulated--or at least a great many -of them, for there are doubtless many we do not notice, and the building -is a ruin--but they show a delicacy of sense which is nothing short of -miraculous. These builders, however, were not only artists with -miraculous keenness of sense, but members of a true trade-guild, with -its accumulated wisdom handed down from generation to generation, and -themselves were men who worked with their own hands. Neither could they -have built the Parthenon with books of logarithms in an office; nor can -we ever have noble buildings again so long as the architect and the -builder are not one. Every common workman must have had his share of -this traditional skill. Indeed, inscriptions lately discovered show that -the building of the Parthenon went on after Pheidias was banished; so -that the sculptures which are the wonder of the world must have been -done in part at least without their designer. But even without such -evidence, the perfection of every detail of building, the fitting of -the joints, the strength and finish of each part, is enough to show what -the Athenian workman was like. - - [1] Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide - Jovem ... cuius pulchritudo adiecisse aliquid etiam receptæ relligioni - videtur: adeo maiestas operis deum æquavit. - -But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay. - -We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter’s death. “Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: ‘Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?’” Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it--indeed, for their country’s sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Pæstum or Myndos. I mention Myndos because there -the contrast is most vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet’s words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail. - -The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Heræum, most ancient of all -existing Greek temples, built before 1000 B.C. Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Græcia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Pæstum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Pæstum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian. - -Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 A.D. by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival. - -The picture is taken from the small hill of Kronos: we look over the -site of Hera’s temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race. - -If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans. They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people--indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country--that is, in almost all -parts of Greece proper--before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -A.D.) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way. - -It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men’s imaginations. - -If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends. - -Girgenti, Agrigentum, Akragas, called by Pindar καλλἱστα βροτεἁν πολἱων, -fairest of mortal cities; lofty Akragas, in Virgil’s words, spreading -her walls so wide, mother of high-spirited horses-- - - “Arduus inde Acragas ostentat maxima longe - Moenia, magnanimum quondam generator equorum”-- - -although late founded in Greek history (B.C. 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been καλλἱστα βροτεἁν πολἱων. But in -406, the Carthaginians descended upon it, and starved out the people. -All who could go migrated to Gela; the rest were massacred, and the city -sacked. From this blow it never recovered, although it was afterwards -inhabited. - -Pæstum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Pæstum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Pæstum for its roses, -_biferi rosaria Pæsti_, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Pæstum. Those who saw Pæstum when it was one -of the most impressive sights in the world, will be careful not to go -thither again. - -Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phœnicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century before Christ. -Pre-eminent amongst all the scenes are those of the potter’s trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul’s -connection with the city, and the riot when Gallic was governor of -Achaia. - -The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus. - -The view here given towards the gulf shows Parnassus in the distance, -like a ghost. - -Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man’s greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since. - -The beauties of the place have been often sung: they are summed up in -one immortal phrase, “city of the violet crown.” The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King’s house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us. - -Up this slope, once in every four years, after the games, came the great -procession of the Panathensæ, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon’s trident, under the Erechtheum; here was Athena’s sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour--the history of Athens open for all to read. - -The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycenæ and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being αὑτὁχθονες--born of the very soil. -Perhaps this unbroken tradition explains the prominence of Athens in the -arts. Here too, the worship of Athena joined the older worship of -Poseidon, without rooting it up, and both flourished side by side. Then -came the great dynasty of the tyrants, Peisistratus and his family, who -made the city magnificent with buildings and engineering works, and -attracted to their court the finest intellects of their day. The huge -underground aqueduct which has lately been dug out belongs to this time, -the sixth century before Christ. Peisistratus is followed by Solon and -the reign of law: and when the barbarian came, it was Athens who barred -his path and drove him back at Marathon and at Salamis. Xerxes burnt the -city, but he did not destroy Athens, for the people had left it for the -time; and when they returned, they built up their fortifications with -the ruins of their temples and monuments, as they may still be seen -piled slab on drum by the visitor of to-day. Xerxes burnt all he found, -but he only cleared the ground for a finer art, which at once filled the -empty spaces with buildings and monuments of a nobler kind, the remains -of which we now see. Great names now stand out in plenty, Miltiades, -Themistocles and Aristeides, Pericles and Pheidias and Ictinus; Plato -over yonder in the olive groves of Academeia, Aeschylus and Sophocles, -Euripides and Aristophanes in the theatre or the winepress; Socrates -walking the streets, or conversing in agora or gymnasium; Demosthenes -moving men’s minds in the Pnyx. When Athens fell, her conqueror spared -her with a generosity not usual in those days; so it came about that her -buildings remained for many hundreds of years, and the Parthenon even -lasted through the devastating ruin of the Turks, until a Venetian shell -dropped upon it and blew it up (1687). There is no use in trying to -record what the Acropolis of Athens calls to mind: it is the best of -what educated men know. - -Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived--the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian. - -From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages--destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it. - -Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus--so Furtwängler infers from -inscriptions found there--but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy--indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -Œdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi’s rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted (πὑθειν) the place got -the name of Pytho. Here was the Omphalos, or navel-stone, marking the -centre of the earth; and the sacred spring Castalian rose between the -cleft rocks. The Pythia, or priestess, would seat herself on a tripod -over a chasm within the temple, and her ravings contained the god’s -answer; but it must be interpreted by the prophet, who stood by her -side. Since the oracle was consulted by great and small, the priests -were able to exercise a strong influence on politics; and their -influence was generally for good, until the mind, of Greece outgrew -oracles. Recorded answers do not explain the repute of the oracle, or -its influence; and the tablets that have actually been found here and at -Dodona are mostly questions on personal or trivial subjects. Perhaps -that was the most far-reaching of its behests when Sparta was commanded -to free Athens from her tyrants; and its most noteworthy revelation, -that Socrates was the wisest of men. One of Herodotus’s best stories -tells how Crœsus consulted the oracle, and what came of it. Twice -Delphi was miraculously saved from pillage: once when the army of Xerxes -was driven back by falling rocks, and once when a storm beat off the -Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius. - -Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments. - -High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember. - -The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (B.C. 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone. - -Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon. - - - - -I - -AETNA OVER TAORMINA - -I AETNA OVER TAORMINA - -FOR years I wanted to make this drawing--and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious--and I had it all to myself, for it was tea-time. - -[Illustration] - - - - -II - -THE THEATRE, SEGESTA - -II THE THEATRE, SEGESTA - -NOTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time--even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled. - -[Illustration] - - - - -III - -THE TEMPLE OVER THE CAÑON, SEGESTA - -III THE TEMPLE OVER THE CAÑON, SEGESTA - -EVERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Cañon. There I saw Nature’s -compositions: here was one made by man--finer, though not so big--for -bigness has nothing to do with art. - -[Illustration] - - - - -IV - -FROM TEMPLE TO TEMPLE, GIRGENTI - -IV FROM TEMPLE TO TEMPLE, GIRGENTI - -NOT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects. - -[Illustration] - - - - -V - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -V THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -THIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful--and popular--subject for -every artist who goes to Girgenti. - -[Illustration] - - - - -VI - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -VI SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -THE Land of Temples is the land of effects--and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it--or tried to--while the effect -lasted. - -[Illustration] - - - - -VII - -THE TEMPLE BY THE SEA--TEMPLE OF CONCORD, GIRGENTI - -VII THE TEMPLE BY, THE SEA--TEMPLE OF CONCORD, GIRGENTI - -I HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti. - -[Illustration] - - - - -VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -VIII THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -HOW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees. - -[Illustration] - - - - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls--walls which are like cliffs--and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists. - -[Illustration] - - - - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -AS the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead--Greek art. - -[Illustration:] - - - - -XI - -THE TEMPLES ON THE WALL, GIRGENTI - -XI THE TEMPLES ON THE WALL, GIRGENTI - -THERE they stand on the outer walls, the long line of them--and there -are more than I have drawn; but how magnificently they stand--these -everlasting monuments to great art. - -[Illustration] - - - - -XII - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -XII THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -OUT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away. - -[Illustration] - - - - -XIII - -PAESTUM. MORNING MIST - -XIII PAESTUM. MORNING MIST - -WHEN, after a night of horrors at the inn of Pæstum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished--the guardians were asleep--the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Pæstum are gone with the malaria and the -buffaloes--only the mosquitoes remain. - -[Illustration] - - - - -XIV - -PAESTUM. EVENING - -XIV PAESTUM. EVENING - -ONLY in the mists of the morning and the glow of the evening is Pæstum -impressive any more. It is dignified, but the mystery and melancholy -have gone. - -[Illustration] - - - - -XV - -CORINTH TOWARDS THE GULF - -XV CORINTH TOWARDS THE GULF - -HERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light--the glittering temple against the -gleaming sea--the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists--or by most of them--for most of them have -no feeling at all for the art they have dug up. - -[Illustration] - - - - -XVI - -ACRO-CORINTH FROM CORINTH - -XVI ACRO-CORINTH FROM CORINTH - -THE way the great mountains pile up behind the great temple is most -impressive. - -[Illustration] - - - - -XVII - -OLYMPIA FROM THE HILLSIDE - -XVII OLYMPIA FROM THE HILLSIDE - -THE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains. - -[Illustration] - - - - -XVIII - -THE TEMPLE OF JUPITER. EVENING - -XVIII THE TEMPLE OF JUPITER. EVENING - -NIGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could. - -[Illustration] - - - - -XIX - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -XIX THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -THERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect. - -[Illustration] - - - - -XX - -THE WAY UP TO THE ACROPOLIS - -XX THE WAY UP TO THE ACROPOLIS - -THE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting--though I -did not put them in--the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world--at any rate of newspapers. - -[Illustration] - - - - -XXI - -DOWN FROM THE ACROPOLIS - -XXI DOWN FROM THE ACROPOLIS - -BETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it. - -[Illustration] - - - - -XXII - -SUNRISE OVER THE ACROPOLIS - -XXII SUNRISE OVER THE ACROPOLIS - -EVERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled--till another day. - -[Illustration] - - - - -XXIII - -STORM BEHIND THE ACROPOLIS - -XXIII STORM BEHIND THE ACROPOLIS - -AND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth. - -[Illustration] - - - - -XXIV - -THE PROPYLAEA, ATHENS - -XXIV THE PROPYLAEA; ATHENS - -THIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman--no painter, either--will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour. - -[Illustration] - - - - -XXV - -THE PORTICO OF THE PARTHENON - -XXV THE PORTICO OF THE PARTHENON - -THIS is the greatest architectural art in the world. - -[Illustration] - - - - -XXVI - -THE PARTHENON FROM THE GATEWAY - -XXVI THE PARTHENON FROM THE GATEWAY - -DID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile. - -[Illustration] - - - - -XXVII - -THE FAÇADE OF THE PARTHENON. SUNSET - -XXVII THE FAÇADE OF THE PARTHENON. SUNSET - -JUST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves--turning from the wonder of -man’s work to the wonder of God’s sunset, and the wonder of the -afterglow over Eleusis. - -[Illustration] - - - - -XXVIII - -THE FALLEN COLUMN, ATHENS - -XXVIII THE FALLEN COLUMN, ATHENS - -ON either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order. - -[Illustration] - - - - -XXIX - -THE LITTLE FÊTE, ATHENS - -XXIX THE LITTLE FÊTE, ATHENS - -A LITTLE fête of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis--framed in by the black trees, the most -romantic subject I ever saw. - -[Illustration] - - - - -XXX - -THE GREAT FÊTE, ATHENS - -XXX THE GREAT FÊTE, ATHENS - -ON the afternoon of St. George’s Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fête that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations. - - - - -XXXI - -THE TEMPLE OF NIKE, ATHENS - -XXXI THE TEMPLE OF NIKE, ATHENS - -ONE has but to cross to the other side of the Propylaea from the top of -the steps--from the great platform and altar before the wall, to find an -equally inspiring--or inspired--arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre--though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples. - -[Illustration] - - - - -XXXII - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -XXXII THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -THIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up--the temple dominating all--is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection. - -[Illustration] - - - - -XXXIII - -THE ODEON, ATHENS - -XXXIII THE ODEON, ATHENS - -LOOKING down from the Acropolis, one sees the theatre--even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting. - -[Illustration] - - - - -XXXIV - -THE STREET OF THE TOMBS, ATHENS - -XXXIV THE STREET OF THE TOMBS, ATHENS - -TO be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death. - -[Illustration] - - - - -XXXV - -ELEUSIS: THE PAVEMENT OF THE TEMPLE - -XXXV ELEUSIS: THE PAVEMENT OF THE TEMPLE - -SWEPT away is everything, mysteries and all--all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect. - -[Illustration] - - - - -XXXVI - -AEGINA - -XXXVI AEGINA - -ONLY at Aegina, so far as I have seen, is there a real--yet it is so -beautiful it seems unreal--forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year. - -[Illustration] - - - - -XXXVII - -AEGINA ON ITS MOUNTAIN TOP - -XXXVII AEGINA ON ITS MOUNTAIN TOP - -AS, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis. - -[Illustration] - - - - -XXXVIII - -THE SHINING ROCKS, DELPHI - -XXXVIII THE SHINING ROCKS, DELPHI - -AFTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: “Why, you have drawn the Shining Rocks.” All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece. - -[Illustration] - - - - -XXXIX - -THE TREASURY OE ATHENS, DELPHI - -XXXIX THE TREASURY OF ATHENS, DELPHI - -THE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate, - -[Illustration] - - - - -XL - -THE WINE-DARK SEA, SUNIUM - -XL THE WINE-DARK SEA, SUNIUM - -FROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day. - -[Illustration] - - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578-0.txt or 40578-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/40578-0.zip b/old/40578-0.zip Binary files differdeleted file mode 100644 index f5a4ee9..0000000 --- a/old/40578-0.zip +++ /dev/null diff --git a/old/40578-8.txt b/old/40578-8.txt deleted file mode 100644 index d7da66d..0000000 --- a/old/40578-8.txt +++ /dev/null @@ -1,1944 +0,0 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - -IN THE - -LAND OF TEMPLES - -BY JOSEPH PENNELL - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - - - - -JOSEPH PENNELL'S - -PICTURES OF -THE PANAMA CANAL. - -_FIFTH EDITION._ - -Reproductions of a series of Lithographs made -by him on the Isthmus of Panama, together -with Impressions and Notes by the Artist. -Price 5s. net. - -THE LIFE OF JAMES -MCNEILL WHISTLER - -By E. R. and J. PENNELL. - -Fifth and Revised Edition, with 96 pp. -of Illustrations. Pott 4to. -Price 12s. 6d. net. - -LONDON: WILLIAM HEINEMANN. - -Copies of the lithographs reproduced in this -volume, limited to fifty proofs each, size 16 by 22 in., -may be obtained through the Publisher, at -3 3 0 net each. - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - -REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE -ARTIST - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO. - -COPYRIGHT - -LONDON: WILLIAM HEINEMANN. 1915. - -TO -R. M. DAWKINS - -LATE DIRECTOR -OF THE BRITISH -SCHOOL AT ATHENS -WHO SHOWED ME -WHERE I SHOULD -FIND THE TEMPLES - -PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK. - - - - -NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES - - -I WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory--to see if the greatest work of the past -impressed me as much as the greatest work of the present--and to try to -find out which was the greater--the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn't see Greek art and couldn't draw it if I did. - -I have been there--and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that--and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully--I wish I -had--I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations. - -I drew the things that interested me--and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape--so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims--a shrine for -worshippers to draw near to--yet each had a character of its own--always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country--never -stuck about anyhow--always composed--always different--and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina--the "wine -dark sea" at Sunium--the "shining rocks" at Delphi--the grim cliffs of -the Acropolis?--these prove in their various ways that the Greeks were -great artists. - -These were the things I saw. Had I known more I might have seen -less--for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that--there are, -of course, great exceptions--they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go--or what -to see. When I got to Athens I fell among friends, who answered my only -question that "I wanted to see temples that stood up." They told me -where they were--and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see--and -having seen them--and I have tried to express them--I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so. - -JOSEPH PENNELL. - - - - -LIST OF ILLUSTRATIONS - -THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY--THENCE TO -ITALY, AND ARE CONTINUED IN GREECE. - -AETNA OVER TAORMINA I - -THE THEATRE, SEGESTA II - -THE TEMPLE OVER THE CAON, SEGESTA III - -FROM TEMPLE TO TEMPLE, GIRGENTI IV - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI V - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI VI - -THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI VII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI IX - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI X - -THE TEMPLES ON THE WALL, GIRGENTI XI - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI XII - -PAESTUM. MORNING MIST XIII - -PAESTUM. EVENING XIV - -CORINTH TOWARDS THE GULF XV - -ACRO-CORINTH FROM CORINTH XVI - -OLYMPIA FROM THE HILLSIDE XVII - -THE TEMPLE OF JUPITER. EVENING XVIII - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS XIX - -THE WAY UP THE ACROPOLIS XX - -DOWN FROM THE ACROPOLIS XXI - -SUNRISE OVER THE ACROPOLIS XXII - -STORM BEHIND THE ACROPOLIS XXIII - -THE PROPYLAEA, ATHENS XXIV - -THE PORTICO OF THE PARTHENON XXV - -THE PARTHENON FROM THE GATEWAY XXVI - -THE FAADE OF THE PARTHENON. SUNSET XXVII - -THE FALLEN COLUMN, ATHENS XXVIII - -THE LITTLE FTE, ATHENS XXIX - -THE GREAT FTE, ATHENS XXX - -THE TEMPLE OF NIKE, ATHENS XXXI - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS XXXII - -THE ODEON, ATHENS XXXIII - -THE STREET OF THE TOMBS, ATHENS XXXIV - -ELEUSIS. THE PAVEMENT OF THE TEMPLE XXXV - -AEGINA XXXVI - -AEGINA ON ITS MOUNTAIN TOP XXXVII - -THE SHINING ROCKS, DELPHI XXXVIII - -THE TREASURY OF ATHENS, DELPHI XXXIX - -THE WINE DARK SEA. SUNIUM XL - - - - -INTRODUCTION. - - -IT is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue [Greek: sphrosun] means, that all parts and faculties of the -man are in proportion, each trained to perfection and all under control -of the will: body, mind, and spirit, each has its due place. Elsewhere -we see one of these in excess. Thus the Indian philosopher soars in the -highest regions of speculation, and sees great truths, but they -intoxicate him: he does not bring them to the test of daily life, nor -does he check them by reason. The Hebrew prophet has his vision of one -God, and in rapt devotion prostrates himself below the dignity of -manhood. The Roman deals with practical politics and material -civilisation; he has a genius for organizing, and for combining the rule -of the best with the freedom and direct influence of all: he, however, -despises the spirit and the imagination. In our own day, what is called -science arrogates almost divine honours to the faculty for measuring and -observing, and neglects both the religious instinct and the -philosopher's theoric; nor is this ideal less deadly than the Roman's to -imagination and the sense of beauty. In modern times also, each person -strives to excel in some one specialty, mental or bodily; and if there -is any feeling at all for proportion it is the proportion of a group, -while the members of the group are [Greek: perittohi], excessive in one -way and defective in the others. But the Greek aimed at perfect -proportion for the man; and his ideal was, that the man's will should -use all the faculties to some worthy end. His body is to be trained by -music and gymnastic: the aim of the first being grace and beauty; of the -second, strength; of the whole, health and joy in all bodily uses. His -mind is to be trained by poetry, oratory, and philosophy; his spirit by -the worship of the gods, in which all that was best in his life is -concentrated into a noble ritual. Such would be the life of the ordinary -Greek; the greater intellects would look beyond the ritual to the -essence; and we have ample evidence to show that their ideals were as -high as any that have been known to other peoples. Aeschylus dealt with -the same problems that baffled the Hebrew prophets, divine justice and -mercy, and the immutable moral law; Plato's speculation took him into -regions where logic and formal philosophy had to be cast aside; Pheidias -by his art added a new dignity to godhead.[1] - -Nowhere is the Greek [Greek: sphrosun], their sense of restraint and -proportion, shown better than in their architecture: and this both in -the method of growth and in the final results. The Doric style has grown -out of a wooden building. When and how the first steps were taken, we do -not know, nor whether the Doric be directly descended from the Mycenan -style, as Perrot and Chipiez will have it. There is this great -difference: that the Mycenan and Cretan columns are like a Doric column -reversed, the thick end upmost, and they show none of the Greek -refinements to which we shall come later. A simpler origin is possible: -for to-day the traveller may see, in the verandah of some wayside -cottage (Homer's [Greek: a'hithousa herhidoupos]) a primitive Doric -column, some bare tree-trunk with a chunk of itself for capital, -supporting a primitive architrave of the same sort. In the Doric order, -other traces of woodwork are left in the stone, such as the triglyphs, -or beam-ends, with round pegs beneath, or the gouged flutings of the -column itself. And we have direct evidence in the history of the -Olympian Herum; where we are told that the columns were once of wood, -and that stone columns were put in place of these as they decayed, one -of the ancient oak columns being preserved down to the time of -Pausanias. The early architects would seem to have been nervous as to -how much weight stone would bear, so that their columns are very thick -and set close together; in fact, less than one diameter apart. By -degrees they learnt from experience, but the changes were slow and -careful. The plan of the temple always remained the same, and there is -little variation in the number of pillars at each end, or in any of the -general features. As in statuary, here also they kept to their tradition -as much as they could, and got their effects with the least possible -change. But what effects! Compare the heavy masses of Corinth or Pstum -with the airy grace of the Parthenon, and measure the infinite delicacy -of the changes which produce this effect. The builders found out that -straight lines do not look straight, and that if the lines of a building -do not look straight, the building looks as if it is going to topple -over and fall. A column which decreases upwards in straight lines looks -to the eye concave; and this illusion they tried to correct by making -the columns bulge from the top about one third down, and then decreased -this curve towards the bottom. The first attempts gave too much convex -curving, but this again was corrected until the architect found -perfection: yet the differences measured in inches are small. Again, -each column was inclined slightly inwards, because a column that stands -quite straight looks as though it were inclined out-wards; and the -stylobate, upon which the columns stand, is curved from each end upwards -to the centre. Other adjustments were necessary in the abacus and -capital, to make all harmonious; and we may say that there was hardly a -straight line in the building. Sculpture and ornament were adjusted to -the eye in the same way; and it would seem that the effect of the whole -building also was judged not alone, but in connection with the lines of -the landscape--that background of hills, always noble but never -over-powering, which is found all over the Greek world. For instance, in -the Parthenon certain minute corrections were made because of the way in -which the sun's rays fell on it. These adjustments have been measured -and tabulated--or at least a great many of them, for there are doubtless -many we do not notice, and the building is a ruin--but they show a -delicacy of sense which is nothing short of miraculous. These builders, -however, were not only artists with miraculous keenness of sense, but -members of a true trade-guild, with its accumulated wisdom handed down -from generation to generation, and themselves were men who worked with -their own hands. Neither could they have built the Parthenon with books -of logarithms in an office; nor can we ever have noble buildings again -so long as the architect and the builder are not one. Every common -workman must have had his share of this traditional skill. Indeed, -inscriptions lately discovered show that the building of the Parthenon -went on after Pheidias was banished; so that the sculptures which are -the wonder of the world must have been done in part at least without -their designer. But even without such evidence, the perfection of every -detail of building, the fitting of the joints, the strength and finish -of each part, is enough to show what the Athenian workman was like. - - [1] Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide - Jovem ... cuius pulchritudo adiecisse aliquid etiam recept relligioni - videtur: adeo maiestas operis deum quavit. - -But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay. - -We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter's death. "Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: 'Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?'" Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it--indeed, for their country's sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Pstum or Myndos. I mention Myndos because there -the contrast is most vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet's words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail. - -The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Herum, most ancient of all -existing Greek temples, built before 1000 B.C. Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Grcia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Pstum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Pstum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian. - -Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 A.D. by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival. - -The picture is taken from the small hill of Kronos: we look over the -site of Hera's temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race. - -If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans. They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people--indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country--that is, in almost all -parts of Greece proper--before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -A.D.) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way. - -It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men's imaginations. - -If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends. - -Girgenti, Agrigentum, Akragas, called by Pindar [Greek: kallhista -brotehan polhin], fairest of mortal cities; lofty Akragas, in Virgil's -words, spreading her walls so wide, mother of high-spirited horses-- - - "Arduus inde Acragas ostentat maxima longe - Moenia, magnanimum quondam generator equorum"-- - -although late founded in Greek history (B.C. 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been [Greek: kallhista brotehan polhin]. -But in 406, the Carthaginians descended upon it, and starved out the -people. All who could go migrated to Gela; the rest were massacred, and -the city sacked. From this blow it never recovered, although it was -afterwards inhabited. - -Pstum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Pstum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Pstum for its roses, -_biferi rosaria Psti_, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Pstum. Those who saw Pstum when it was one -of the most impressive sights in the world, will be careful not to go -thither again. - -Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phoenicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century before Christ. -Pre-eminent amongst all the scenes are those of the potter's trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul's -connection with the city, and the riot when Gallic was governor of -Achaia. - -The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus. - -The view here given towards the gulf shows Parnassus in the distance, -like a ghost. - -Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man's greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since. - -The beauties of the place have been often sung: they are summed up in -one immortal phrase, "city of the violet crown." The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King's house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us. - -Up this slope, once in every four years, after the games, came the great -procession of the Panathens, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon's trident, under the Erechtheum; here was Athena's sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour--the history of Athens open for all to read. - -The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycen and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being [Greek: ahythochthones]--born -of the very soil. Perhaps this unbroken tradition explains the -prominence of Athens in the arts. Here too, the worship of Athena joined -the older worship of Poseidon, without rooting it up, and both -flourished side by side. Then came the great dynasty of the tyrants, -Peisistratus and his family, who made the city magnificent with -buildings and engineering works, and attracted to their court the finest -intellects of their day. The huge underground aqueduct which has lately -been dug out belongs to this time, the sixth century before Christ. - -Peisistratus is followed by Solon and the reign of law: and when the -barbarian came, it was Athens who barred his path and drove him back at -Marathon and at Salamis. Xerxes burnt the city, but he did not destroy -Athens, for the people had left it for the time; and when they returned, -they built up their fortifications with the ruins of their temples and -monuments, as they may still be seen piled slab on drum by the visitor -of to-day. Xerxes burnt all he found, but he only cleared the ground for -a finer art, which at once filled the empty spaces with buildings and -monuments of a nobler kind, the remains of which we now see. Great names -now stand out in plenty, Miltiades, Themistocles and Aristeides, -Pericles and Pheidias and Ictinus; Plato over yonder in the olive groves -of Academeia, Aeschylus and Sophocles, Euripides and Aristophanes in the -theatre or the winepress; Socrates walking the streets, or conversing in -agora or gymnasium; Demosthenes moving men's minds in the Pnyx. When -Athens fell, her conqueror spared her with a generosity not usual in -those days; so it came about that her buildings remained for many -hundreds of years, and the Parthenon even lasted through the devastating -ruin of the Turks, until a Venetian shell dropped upon it and blew it up -(1687). There is no use in trying to record what the Acropolis of Athens -calls to mind: it is the best of what educated men know. - -Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived--the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian. - -From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages--destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it. - -Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus--so Furtwngler infers from -inscriptions found there--but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy--indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -OEdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi's rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted ([Greek: phythein]) the -place got the name of Pytho. Here was the Omphalos, or navel-stone, -marking the centre of the earth; and the sacred spring Castalian rose -between the cleft rocks. The Pythia, or priestess, would seat herself on -a tripod over a chasm within the temple, and her ravings contained the -god's answer; but it must be interpreted by the prophet, who stood by -her side. Since the oracle was consulted by great and small, the priests -were able to exercise a strong influence on politics; and their -influence was generally for good, until the mind, of Greece outgrew -oracles. Recorded answers do not explain the repute of the oracle, or -its influence; and the tablets that have actually been found here and at -Dodona are mostly questions on personal or trivial subjects. Perhaps -that was the most far-reaching of its behests when Sparta was commanded -to free Athens from her tyrants; and its most noteworthy revelation, -that Socrates was the wisest of men. One of Herodotus's best stories -tells how Croesus consulted the oracle, and what came of it. Twice -Delphi was miraculously saved from pillage: once when the army of Xerxes -was driven back by falling rocks, and once when a storm beat off the -Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius. - -Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments. - -High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember. - -The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (B.C. 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone. - -Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon. - - - - -I - -AETNA OVER TAORMINA - -I AETNA OVER TAORMINA - -FOR years I wanted to make this drawing--and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious--and I had it all to myself, for it was tea-time. - -[Illustration] - - - - -II - -THE THEATRE, SEGESTA - -II THE THEATRE, SEGESTA - -NOTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time--even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled. - -[Illustration] - - - - -III - -THE TEMPLE OVER THE CAON, SEGESTA - -III THE TEMPLE OVER THE CAON, SEGESTA - -EVERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Caon. There I saw Nature's -compositions: here was one made by man--finer, though not so big--for -bigness has nothing to do with art. - -[Illustration] - - - - -IV - -FROM TEMPLE TO TEMPLE, GIRGENTI - -IV FROM TEMPLE TO TEMPLE, GIRGENTI - -NOT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects. - -[Illustration] - - - - -V - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -V THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -THIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful--and popular--subject for -every artist who goes to Girgenti. - -[Illustration] - - - - -VI - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -VI SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -THE Land of Temples is the land of effects--and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it--or tried to--while the effect -lasted. - -[Illustration] - - - - -VII - -THE TEMPLE BY THE SEA--TEMPLE OF CONCORD, GIRGENTI - -VII THE TEMPLE BY, THE SEA--TEMPLE OF CONCORD, GIRGENTI - -I HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti. - -[Illustration] - - - - -VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -VIII THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -HOW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees. - -[Illustration] - - - - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls--walls which are like cliffs--and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists. - -[Illustration] - - - - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -AS the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead--Greek art. - -[Illustration:] - - - - -XI - -THE TEMPLES ON THE WALL, GIRGENTI - -XI THE TEMPLES ON THE WALL, GIRGENTI - -THERE they stand on the outer walls, the long line of them--and there -are more than I have drawn; but how magnificently they stand--these -everlasting monuments to great art. - -[Illustration] - - - - -XII - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -XII THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -OUT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away. - -[Illustration] - - - - -XIII - -PAESTUM. MORNING MIST - -XIII PAESTUM. MORNING MIST - -WHEN, after a night of horrors at the inn of Pstum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished--the guardians were asleep--the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Pstum are gone with the malaria and the -buffaloes--only the mosquitoes remain. - -[Illustration] - - - - -XIV - -PAESTUM. EVENING - -XIV PAESTUM. EVENING - -ONLY in the mists of the morning and the glow of the evening is Pstum -impressive any more. It is dignified, but the mystery and melancholy -have gone. - -[Illustration] - - - - -XV - -CORINTH TOWARDS THE GULF - -XV CORINTH TOWARDS THE GULF - -HERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light--the glittering temple against the -gleaming sea--the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists--or by most of them--for most of them have -no feeling at all for the art they have dug up. - -[Illustration] - - - - -XVI - -ACRO-CORINTH FROM CORINTH - -XVI ACRO-CORINTH FROM CORINTH - -THE way the great mountains pile up behind the great temple is most -impressive. - -[Illustration] - - - - -XVII - -OLYMPIA FROM THE HILLSIDE - -XVII OLYMPIA FROM THE HILLSIDE - -THE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains. - -[Illustration] - - - - -XVIII - -THE TEMPLE OF JUPITER. EVENING - -XVIII THE TEMPLE OF JUPITER. EVENING - -NIGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could. - -[Illustration] - - - - -XIX - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -XIX THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -THERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect. - -[Illustration] - - - - -XX - -THE WAY UP TO THE ACROPOLIS - -XX THE WAY UP TO THE ACROPOLIS - -THE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting--though I -did not put them in--the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world--at any rate of newspapers. - -[Illustration] - - - - -XXI - -DOWN FROM THE ACROPOLIS - -XXI DOWN FROM THE ACROPOLIS - -BETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it. - -[Illustration] - - - - -XXII - -SUNRISE OVER THE ACROPOLIS - -XXII SUNRISE OVER THE ACROPOLIS - -EVERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled--till another day. - -[Illustration] - - - - -XXIII - -STORM BEHIND THE ACROPOLIS - -XXIII STORM BEHIND THE ACROPOLIS - -AND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth. - -[Illustration] - - - - -XXIV - -THE PROPYLAEA, ATHENS - -XXIV THE PROPYLAEA; ATHENS - -THIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman--no painter, either--will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour. - -[Illustration] - - - - -XXV - -THE PORTICO OF THE PARTHENON - -XXV THE PORTICO OF THE PARTHENON - -THIS is the greatest architectural art in the world. - -[Illustration] - - - - -XXVI - -THE PARTHENON FROM THE GATEWAY - -XXVI THE PARTHENON FROM THE GATEWAY - -DID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile. - -[Illustration] - - - - -XXVII - -THE FAADE OF THE PARTHENON. SUNSET - -XXVII THE FAADE OF THE PARTHENON. SUNSET - -JUST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves--turning from the wonder of -man's work to the wonder of God's sunset, and the wonder of the -afterglow over Eleusis. - -[Illustration] - - - - -XXVIII - -THE FALLEN COLUMN, ATHENS - -XXVIII THE FALLEN COLUMN, ATHENS - -ON either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order. - -[Illustration] - - - - -XXIX - -THE LITTLE FTE, ATHENS - -XXIX THE LITTLE FTE, ATHENS - -A LITTLE fte of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis--framed in by the black trees, the most -romantic subject I ever saw. - -[Illustration] - - - - -XXX - -THE GREAT FTE, ATHENS - -XXX THE GREAT FTE, ATHENS - -ON the afternoon of St. George's Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fte that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations. - - - - -XXXI - -THE TEMPLE OF NIKE, ATHENS - -XXXI THE TEMPLE OF NIKE, ATHENS - -ONE has but to cross to the other side of the Propylaea from the top of -the steps--from the great platform and altar before the wall, to find an -equally inspiring--or inspired--arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre--though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples. - -[Illustration] - - - - -XXXII - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -XXXII THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -THIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up--the temple dominating all--is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection. - -[Illustration] - - - - -XXXIII - -THE ODEON, ATHENS - -XXXIII THE ODEON, ATHENS - -LOOKING down from the Acropolis, one sees the theatre--even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting. - -[Illustration] - - - - -XXXIV - -THE STREET OF THE TOMBS, ATHENS - -XXXIV THE STREET OF THE TOMBS, ATHENS - -TO be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death. - -[Illustration] - - - - -XXXV - -ELEUSIS: THE PAVEMENT OF THE TEMPLE - -XXXV ELEUSIS: THE PAVEMENT OF THE TEMPLE - -SWEPT away is everything, mysteries and all--all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect. - -[Illustration] - - - - -XXXVI - -AEGINA - -XXXVI AEGINA - -ONLY at Aegina, so far as I have seen, is there a real--yet it is so -beautiful it seems unreal--forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year. - -[Illustration] - - - - -XXXVII - -AEGINA ON ITS MOUNTAIN TOP - -XXXVII AEGINA ON ITS MOUNTAIN TOP - -AS, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis. - -[Illustration] - - - - -XXXVIII - -THE SHINING ROCKS, DELPHI - -XXXVIII THE SHINING ROCKS, DELPHI - -AFTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: "Why, you have drawn the Shining Rocks." All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece. - -[Illustration] - - - - -XXXIX - -THE TREASURY OE ATHENS, DELPHI - -XXXIX THE TREASURY OF ATHENS, DELPHI - -THE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate, - -[Illustration] - - - - -XL - -THE WINE-DARK SEA, SUNIUM - -XL THE WINE-DARK SEA, SUNIUM - -FROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day. - -[Illustration] - - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578-8.txt or 40578-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/40578-8.zip b/old/40578-8.zip Binary files differdeleted file mode 100644 index bfe7918..0000000 --- a/old/40578-8.zip +++ /dev/null diff --git a/old/40578-h.zip b/old/40578-h.zip Binary files differdeleted file mode 100644 index 96b837b..0000000 --- a/old/40578-h.zip +++ /dev/null diff --git a/old/40578-h/40578-h.htm b/old/40578-h/40578-h.htm deleted file mode 100644 index ca898ec..0000000 --- a/old/40578-h/40578-h.htm +++ /dev/null @@ -1,2185 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" -"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> - -<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> - <head> <link rel="coverpage" href="images/cover.jpg" /> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<title> - The Project Gutenberg eBook of In The Land Of Temples, by Joseph Pennell. -</title> -<style type="text/css"> - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.c {text-align:center;text-indent:0%;} - -.cb {text-align:center;text-indent:0%;font-weight:bold;} - -.letra {font-size:250%;float:left;margin-top:-.75%;} - -.nind {text-indent:0%;} - -.r {text-align:right;margin-right: 5%;} - -small {font-size: 70%;} - - h1 {margin-top:5%;text-align:center;clear:both;} - - h2 {margin-top:5%;margin-bottom:2%;text-align:center;clear:both; - font-size:120%;font-weight:normal;} - - hr.full {width: 50%;margin:5% auto 5% auto;border:4px double gray;} - - table {margin-top:5%;margin-bottom:5%;margin-left:auto;margin-right:auto;border:none;text-align:left; -font-size:90%;} - - body{margin-left:2%;margin-right:2%;background:#fdfdfd;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -a:link {background-color:#ffffff;color:blue;text-decoration:underline;} - - link {background-color:#ffffff;color:blue;text-decoration:underline;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - - img {border:none;} - -.boxx {border:3px double black; -margin-right:auto;margin-left:auto; -max-width:25em;} - -.figcenter {margin-top:3%;margin-bottom:3%; -margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;} - -.footnote {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;} - -.label {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;} - -.fnanchor {vertical-align:30%;font-size:.8em;} - -.poem {margin-left:25%;text-indent:0%;} -.poem .stanza {margin-top: 1em;margin-bottom:1em;} -.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} -.poem span.i1 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} -</style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<div class="figcenter"> -<img src="images/cover.jpg" width="394" height="560" alt="image of the book's cover" title="" /> -</div> - -<h1>IN THE<br /> -LAND OF TEMPLES<br /> -<small><small>BY</small> J O S E P H P E N N E L L</small></h1> - -<p> </p> -<p> </p> -<p> </p> -<p> </p> - -<p class="figcenter"> -<img src="images/colophon.jpg" width="75" height="71" alt="colophon" title="" /> -</p> - -<p class="cb">LONDON: WILLIAM HEINEMANN</p> - -<p><a name="page_002" id="page_002"></a></p> - -<p><a name="page_003" id="page_003"></a></p> - -<p><a name="page_004" id="page_004"></a></p> - -<p><a name="page_005" id="page_005"></a></p> - -<p> </p> -<p> </p> - -<p class="c">JOSEPH PENNELL’S PICTURES<br /> -IN THE LAND OF TEMPLES</p> - -<p> </p> -<p> </p> - -<p><a name="page_006" id="page_006"></a></p> - -<div class="boxx"> -<p class="cb"> -JOSEPH PENNELL’S<br /> -PICTURES OF<br /> -THE PANAMA CANAL.<br /> -<br /> -<i>FIFTH EDITION.</i><br /> -<br /> -Reproductions of a series of Lithographs made<br /> -by him on the Isthmus of Panama, together<br /> -with Impressions and Notes by the Artist.<br /> -Price 5s. net.<br /> -————<br /> -THE LIFE OF JAMES<br /> -M<small>C</small>NEILL WHISTLER<br /> -<br /> -By E. R. and J. PENNELL.<br /> -<br /> -Fifth and Revised Edition, with 96 pp.<br /> -of Illustrations. Pott 4to.<br /> -Price 12s. 6d. net.<br /> -<br /> -LONDON: WILLIAM HEINEMANN.<br /> -————<br /> -Copies of the lithographs reproduced in this<br /> -volume, limited to fifty proofs each, size 16 by 22 in.,<br /> -may be obtained through the Publisher, at<br /> -£3 3 0 net each.</p> -</div> - -<p><a name="page_007" id="page_007"></a></p> - -<h1>JOSEPH PENNELL’S PICTURES<br /> -IN THE LAND OF TEMPLES</h1> - -<p class="c">REPRODUCTIONS OF A SERIES OF<br /> -LITHOGRAPHS MADE BY HIM IN THE LAND OF<br /> -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH<br /> -IMPRESSIONS AND NOTES BY THE ARTIST</p> - -<p> </p> -<p> </p> -<p> </p> -<p> </p> - -<p class="figcenter"> -<img src="images/colophon.jpg" width="75" height="71" alt="colophon" title="" /> -</p> - -<p class="cb">LONDON: WILLIAM HEINEMANN<br /> -PHILADELPHIA: J. B. LIPPINCOTT GO.</p> - -<p> <a name="page_008" id="page_008"></a></p> - -<p class="c">COPYRIGHT</p> - -<p class="nind"><small>LONDON: WILLIAM HEINEMANN. 1915.</small></p> - -<p> <a name="page_009" id="page_009"></a> </p> - -<p class="c"> -TO<br /> -<big>R. M. DAWKINS</big><br /> -<br /> -LATE DIRECTOR<br /> -OF THE BRITISH<br /> -SCHOOL AT ATHENS<br /> -WHO SHOWED ME<br /> -WHERE I SHOULD<br /> -FIND THE TEMPLES<br /> -</p> - -<p> <a name="page_010" id="page_010"></a> </p> - -<p class="c"><small>PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD.,<br /> -BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK.</small><a name="page_011" id="page_011"></a></p> - -<h2>NOTES—ON MY LITHOGRAPHS IN THE LAND OF TEMPLES</h2> - -<p class="nind"><span class="letra">I</span> WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory—to see if the greatest work of the past -impressed me as much as the greatest work of the present—and to try to -find out which was the greater—the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn’t see Greek art and couldn’t draw it if I did.</p> - -<p>I have been there—and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that—and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully—I wish I -had—I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations.</p> - -<p>I drew the things that interested me—and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape—so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims—a shrine for -worshippers to draw near to—yet each had a character of its own—always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country—never -stuck about anyhow—always composed—always different—and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina—the “wine -dark sea” at Sunium—the “shining rocks” at<a name="page_012" id="page_012"></a> Delphi—the grim cliffs of -the Acropolis?—these prove in their various ways that the Greeks were -great artists.</p> - -<p>These were the things I saw. Had I known more I might have seen -less—for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that—there are, -of course, great exceptions—they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go—or what -to see. When I got to Athens I fell among friends, who answered my only -question that “I wanted to see temples that stood up.” They told me -where they were—and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see—and -having seen them—and I have tried to express them—I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so.</p> - -<p class="r">JOSEPH PENNELL.</p> - -<p><a name="page_013" id="page_013"></a></p> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> - -<p class="c">THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY—THENCE TO -ITALY, AND ARE CONTINUED IN GREECE.</p> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> -<tr><td>AETNA OVER TAORMINA</td><td align="right"><a href="#I">I</a></td></tr> - -<tr><td>THE THEATRE, SEGESTA</td><td align="right"><a href="#II">II</a></td></tr> - -<tr><td>THE TEMPLE OVER THE CAÑON, SEGESTA</td><td align="right"><a href="#III">III</a></td></tr> - -<tr><td>FROM TEMPLE TO TEMPLE, GIRGENTI</td><td align="right"><a href="#IV">IV</a></td></tr> - -<tr><td>THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI</td><td align="right"><a href="#V">V</a></td></tr> - -<tr><td>SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI</td><td align="right"><a href="#VI">VI</a></td></tr> - -<tr><td>THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI</td><td align="right"><a href="#VII">VII</a></td></tr> - -<tr><td>THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI</td><td align="right"><a href="#VIII">VIII</a></td></tr> - -<tr><td>THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI</td><td align="right"><a href="#IX">IX</a></td></tr> - -<tr><td>COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI</td><td align="right"><a href="#X">X</a></td></tr> - -<tr><td>THE TEMPLES ON THE WALL, GIRGENTI</td><td align="right"><a href="#XI">XI</a></td></tr> - -<tr><td>THE TEMPLE OF JUNO FROM BELOW, GIRGENTI</td><td align="right"><a href="#XII">XII</a></td></tr> - -<tr><td>PAESTUM. MORNING MIST</td><td align="right"><a href="#XIII">XIII</a></td></tr> - -<tr><td>PAESTUM. EVENING</td><td align="right"><a href="#XIV">XIV</a></td></tr> - -<tr><td>CORINTH TOWARDS THE GULF</td><td align="right"><a href="#XV">XV</a></td></tr> - -<tr><td>ACRO-CORINTH FROM CORINTH</td><td align="right"><a href="#XVI">XVI</a></td></tr> - -<tr><td>OLYMPIA FROM THE HILLSIDE</td><td align="right"><a href="#XVII">XVII</a></td></tr> - -<tr><td>THE TEMPLE OF JUPITER. EVENING</td><td align="right"><a href="#XVIII">XVIII</a></td></tr> - -<tr><td>THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS</td><td align="right"><a href="#XIX">XIX</a></td></tr> - -<tr><td>THE WAY UP THE ACROPOLIS</td><td align="right"><a href="#XX">XX</a></td></tr> - -<tr><td>DOWN FROM THE ACROPOLIS</td><td align="right"><a href="#XXI">XXI</a></td></tr> - -<tr><td>SUNRISE OVER THE ACROPOLIS</td><td align="right"><a href="#XXII">XXII</a></td></tr> - -<tr><td>STORM BEHIND THE ACROPOLIS</td><td align="right"><a href="#XXIII">XXIII</a></td></tr> - -<tr><td>THE PROPYLAEA, ATHENS</td><td align="right"><a href="#XXIV">XXIV</a></td></tr> - -<tr><td>THE PORTICO OF THE PARTHENON</td><td align="right"><a href="#XXV">XXV</a></td></tr> - -<tr><td>THE PARTHENON FROM THE GATEWAY</td><td align="right"><a href="#XXVI">XVI</a></td></tr> - -<tr><td>THE FAÇADE OF THE PARTHENON. SUNSET</td><td align="right"><a href="#XXVII">XXVII</a></td></tr> - -<tr><td>THE FALLEN COLUMN, ATHENS</td><td align="right"><a href="#XXVIII">XXVIII</a></td></tr> - -<tr><td>THE LITTLE FÊTE, ATHENS</td><td align="right"><a href="#XXIX">XXIX</a></td></tr> - -<tr><td>THE GREAT FÊTE, ATHENS</td><td align="right"><a href="#XXX">XXX</a></td></tr> - -<tr><td>THE TEMPLE OF NIKE, ATHENS</td><td align="right"><a href="#XXXI">XXXI</a></td></tr> - -<tr><td>THE TEMPLE OF NIKE FROM MARS HILL, ATHENS</td><td align="right"><a href="#XXXII">XXXII</a></td></tr> - -<tr><td>THE ODEON, ATHENS</td><td align="right"><a href="#XXXIII">XXXIII</a></td></tr> - -<tr><td>THE STREET OF THE TOMBS, ATHENS</td><td align="right"><a href="#XXXIV">XXXIV</a></td></tr> - -<tr><td>ELEUSIS. THE PAVEMENT OF THE TEMPLE</td><td align="right"><a href="#XXXV">XXXV</a></td></tr> - -<tr><td>AEGINA</td><td align="right"><a href="#XXXVI">XXXVI</a></td></tr> - -<tr><td>AEGINA ON ITS MOUNTAIN TOP</td><td align="right"><a href="#XXXVII">XXXVII</a></td></tr> - -<tr><td>THE SHINING ROCKS, DELPHI</td><td align="right"><a href="#XXXVIII">XXXVIII</a></td></tr> - -<tr><td>THE TREASURY OF ATHENS, DELPHI</td><td align="right"><a href="#XXXIX">XXXIX</a></td></tr> - -<tr><td>THE WINE DARK SEA. SUNIUM</td><td align="right"><a href="#XL">XL</a></td></tr> -</table> - -<p><a name="page_014" id="page_014"></a></p> - -<p><a name="page_015" id="page_015"></a></p> - -<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2> - -<p class="nind"><span class="letra">I</span>T is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue <span title="sôphrosunê">σωφροσὑνη</span> means, that all parts and faculties -of the man are in proportion, each trained to perfection and all under -control of the will: body, mind, and spirit, each has its due place. -Elsewhere we see one of these in excess. Thus the Indian philosopher -soars in the highest regions of speculation, and sees great truths, but -they intoxicate him: he does not bring them to the test of daily life, -nor does he check them by reason. The Hebrew prophet has his vision of -one God, and in rapt devotion prostrates himself below the dignity of -manhood. The Roman deals with practical politics and material -civilisation; he has a genius for organizing, and for combining the rule -of the best with the freedom and direct influence of all: he, however, -despises the spirit and the imagination. In our own day, what is called -science arrogates almost divine honours to the faculty for measuring and -observing, and neglects both the religious instinct and the -philosopher’s theoric; nor is this ideal less deadly than the Roman’s to -imagination and the sense of beauty. In modern times also, each person -strives to excel in some one specialty, mental or bodily; and if there -is any feeling at all for proportion it is the proportion of a group, -while the members of the group are <span title="perittohi">περιττοἱ</span>, -excessive in one way and defective in the others. But the Greek aimed at -perfect proportion for the man; and his ideal was, that the man’s will -should use all the faculties to some worthy end. His body is to be -trained by music and gymnastic: the aim of the first being grace and -beauty; of the second, strength; of the whole, health and joy in all -bodily uses. His mind is to be trained by poetry, oratory, and -philosophy; his spirit by the worship of the gods, in which all that was -best in his life is concentrated into a noble ritual. Such would be the -life of the ordinary Greek; the greater intellects would look beyond the -ritual to the essence; and we have ample evidence to show that their -ideals were as high as any that have been known to other peoples. -Aeschylus dealt with the same problems that baffled the Hebrew prophets, -divine justice<a name="page_016" id="page_016"></a> and mercy, and the immutable moral law; Plato’s -speculation took him into regions where logic and formal philosophy had -to be cast aside; Pheidias by his art added a new dignity to godhead.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p>Nowhere is the Greek <span title="sôphrosunê">σωφροσὑνη</span>, their sense of -restraint and proportion, shown better than in their architecture: and -this both in the method of growth and in the final results. The Doric -style has grown out of a wooden building. When and how the first steps -were taken, we do not know, nor whether the Doric be directly descended -from the Mycenæan style, as Perrot and Chipiez will have it. There is -this great difference: that the Mycenæan and Cretan columns are like a -Doric column reversed, the thick end upmost, and they show none of the -Greek refinements to which we shall come later. A simpler origin is -possible: for to-day the traveller may see, in the verandah of some -wayside cottage (Homer’s <span title="a’hithousa herhidoupos ">α’ἱθουσα -ἑρἱδουπος</span>) a primitive Doric column, some bare tree-trunk with a chunk -of itself for capital, supporting a primitive architrave of the same -sort. In the Doric order, other traces of woodwork are left in the -stone, such as the triglyphs, or beam-ends, with round pegs beneath, or -the gouged flutings of the column itself. And we have direct evidence in -the history of the Olympian Heræum; where we are told that the columns -were once of wood, and that stone columns were put in place of these as -they decayed, one of the ancient oak columns being preserved down to the -time of Pausanias. The early architects would seem to have been nervous -as to how much weight stone would bear, so that their columns are very -thick and set close together; in fact, less than one diameter apart. By -degrees they learnt from experience, but the changes were slow and -careful. The plan of the temple always remained the same, and there is -little variation in the number of pillars at each end, or in any of the -general features. As in statuary, here also they kept to their tradition -as much as they could, and got their effects with the least possible -change. But what effects! Compare the heavy masses of Corinth or Pæstum -with the airy grace of the Parthenon, and measure the infinite delicacy -of the changes which produce this effect. The builders found out<a name="page_017" id="page_017"></a> that -straight lines do not look straight, and that if the lines of a building -do not look straight, the building looks as if it is going to topple -over and fall. A column which decreases upwards in straight lines looks -to the eye concave; and this illusion they tried to correct by making -the columns bulge from the top about one third down, and then decreased -this curve towards the bottom. The first attempts gave too much convex -curving, but this again was corrected until the architect found -perfection: yet the differences measured in inches are small. Again, -each column was inclined slightly inwards, because a column that stands -quite straight looks as though it were inclined out-wards; and the -stylobate, upon which the columns stand, is curved from each end upwards -to the centre. Other adjustments were necessary in the abacus and -capital, to make all harmonious; and we may say that there was hardly a -straight line in the building. Sculpture and ornament were adjusted to -the eye in the same way; and it would seem that the effect of the whole -building also was judged not alone, but in connection with the lines of -the landscape—that background of hills, always noble but never -over-powering, which is found all over the Greek world. For instance, in -the Parthenon certain minute corrections were made because of the way in -which the sun’s rays fell on it. These adjustments have been measured -and tabulated—or at least a great many of them, for there are doubtless -many we do not notice, and the building is a ruin—but they show a -delicacy of sense which is nothing short of miraculous. These builders, -however, were not only artists with miraculous keenness of sense, but -members of a true trade-guild, with its accumulated wisdom handed down -from generation to generation, and themselves were men who worked with -their own hands. Neither could they have built the Parthenon with books -of logarithms in an office; nor can we ever have noble buildings again -so long as the architect and the builder are not one. Every common -workman must have had his share of this traditional skill. Indeed, -inscriptions lately discovered show that the building of the Parthenon -went on after Pheidias was banished; so that the sculptures which are -the wonder of the world must have been done in part at least without -their designer. But even without such evidence, the perfection of every -detail of building, the fitting<a name="page_018" id="page_018"></a> of the joints, the strength and finish -of each part, is enough to show what the Athenian workman was like.</p> - -<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide -Jovem ... cuius pulchritudo adiecisse aliquid etiam receptæ relligioni -videtur: adeo maiestas operis deum æquavit.</p></div> - -<p>But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay.</p> - -<p>We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter’s death. “Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: ‘Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?’” Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it—indeed, for their country’s sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Pæstum or Myndos. I mention Myndos because there -the contrast is most<a name="page_019" id="page_019"></a> vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet’s words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail.</p> - -<p>The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Heræum, most ancient of all -existing Greek temples, built before 1000 <small>B.C.</small> Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Græcia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Pæstum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Pæstum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian.</p> - -<p>Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was<a name="page_020" id="page_020"></a> enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 <small>A.D.</small> by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival.</p> - -<p>The picture is taken from the small hill of Kronos: we look over the -site of Hera’s temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race.</p> - -<p>If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans.<a name="page_021" id="page_021"></a> They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people—indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country—that is, in almost all -parts of Greece proper—before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -<small>A.D.</small>) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way.</p> - -<p>It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men’s imaginations.<a name="page_022" id="page_022"></a></p> - -<p>If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends.</p> - -<p>Girgenti, Agrigentum, Akragas, called by Pindar <span title="kallhista -brotehan polhiôn">καλλἱστα βροτεἁν πολἱων</span>, fairest of mortal cities; -lofty Akragas, in Virgil’s words, spreading her walls so wide, mother of -high-spirited horses—</p> - -<div class="poem"><div class="stanza"> -<span class="i0">“Arduus inde Acragas ostentat maxima longe<br /></span> -<span class="i1">Moenia, magnanimum quondam generator equorum”—<br /></span> -</div></div> - -<p class="nind">although late founded in Greek history (<small>B.C.</small> 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary<a name="page_023" id="page_023"></a> from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been <span title="kallhista brotehan polhiôn">καλλἱστα βροτεἁν πολἱων</span>. But in 406, the Carthaginians descended upon -it, and starved out the people. All who could go migrated to Gela; the -rest were massacred, and the city sacked. From this blow it never -recovered, although it was afterwards inhabited.</p> - -<p>Pæstum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Pæstum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Pæstum for its roses, -<i>biferi rosaria Pæsti</i>, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Pæstum. Those who saw Pæstum when it was one -of the most impressive sights in the world, will be careful not to go -thither again.</p> - -<p>Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phœnicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century<a name="page_024" id="page_024"></a> before Christ. -Pre-eminent amongst all the scenes are those of the potter’s trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul’s -connection with the city, and the riot when Gallic was governor of -Achaia.</p> - -<p>The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus.</p> - -<p>The view here given towards the gulf shows Parnassus in the distance, -like a ghost.</p> - -<p>Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man’s greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since.</p> - -<p>The beauties of the place have been often sung: they are summed up in -one immortal phrase, “city of the violet crown.” The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the<a name="page_025" id="page_025"></a> scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King’s house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of<a name="page_026" id="page_026"></a> Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us.</p> - -<p>Up this slope, once in every four years, after the games, came the great -procession of the Panathensæ, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon’s trident, under the Erechtheum; here was Athena’s sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour—the history of Athens open for all to read.</p> - -<p>The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycenæ and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was<a name="page_027" id="page_027"></a> the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being <span title="ahythochthones">αὑτὁχθονες</span>—born of the very soil. Perhaps this unbroken tradition -explains the prominence of Athens in the arts. Here too, the worship of -Athena joined the older worship of Poseidon, without rooting it up, and -both flourished side by side. Then came the great dynasty of the -tyrants, Peisistratus and his family, who made the city magnificent with -buildings and engineering works, and attracted to their court the finest -intellects of their day. The huge underground aqueduct which has lately -been dug out belongs to this time, the sixth century before Christ. -Peisistratus is followed by Solon and the reign of law: and when the -barbarian came, it was Athens who barred his path and drove him back at -Marathon and at Salamis. Xerxes burnt the city, but he did not destroy -Athens, for the people had left it for the time; and when they returned, -they built up their fortifications with the ruins of their temples and -monuments, as they may still be seen piled slab on drum by the visitor -of to-day. Xerxes burnt all he found, but he only cleared the ground for -a finer art, which at once filled the empty spaces with buildings and -monuments of a nobler kind, the remains of which we now see. Great names -now stand out in plenty, Miltiades, Themistocles and Aristeides, -Pericles and Pheidias and Ictinus; Plato over yonder in the olive groves -of Academeia, Aeschylus and Sophocles, Euripides and Aristophanes in the -theatre or the winepress; Socrates walking the streets, or conversing in -agora or gymnasium; Demosthenes moving men’s minds in the Pnyx. When -Athens fell, her conqueror spared her with a generosity not usual in -those days; so it came about that her buildings remained for many -hundreds of years, and the Parthenon even lasted through the devastating -ruin of the Turks, until a Venetian shell dropped upon it and blew it up -(1687). There is no use in trying to record what the Acropolis of Athens -calls to mind: it is the best of what educated men know.</p> - -<p>Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of<a name="page_028" id="page_028"></a> tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived—the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian.</p> - -<p>From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages—destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic<a name="page_029" id="page_029"></a> representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it.</p> - -<p>Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus—so Furtwängler infers from -inscriptions found there—but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy—indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit<a name="page_030" id="page_030"></a> habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -Œdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi’s rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted (<span title="phythein">πὑθειν</span>) the place got the name of Pytho. Here was the Omphalos, or -navel-stone, marking the centre of the earth; and the sacred spring -Castalian rose between the cleft rocks. The Pythia, or priestess, would -seat herself on a tripod over a chasm within the temple, and her ravings -contained the god’s answer; but it must be interpreted by the prophet, -who stood by her side. Since the oracle was consulted by great and -small, the priests were able to exercise a strong influence on politics; -and their influence was generally for good, until the mind, of Greece -outgrew oracles. Recorded answers do not explain the repute of the -oracle, or its influence; and the tablets that have actually been found -here and at Dodona are mostly questions on personal or trivial subjects. -Perhaps that was the most far-reaching of its behests when Sparta was -commanded to free Athens from her tyrants; and its most noteworthy -revelation, that Socrates was the wisest of men. One of Herodotus’s best -stories tells how Crœsus consulted the oracle, and what came of it. -Twice Delphi was miraculously saved from pillage: once when the army of -Xerxes was driven back by falling rocks, and once when a storm beat off -the Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated<a name="page_031" id="page_031"></a> after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius.</p> - -<p>Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments.</p> - -<p>High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember.</p> - -<p>The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (<small>B.C.</small> 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone.</p> - -<p>Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon.</p> - -<p><a name="page_032" id="page_032"></a></p> - -<p><a name="page_033" id="page_033"></a></p> - -<h2><a name="I" id="I"></a>I<br /><br /> -AETNA OVER TAORMINA<a name="page_034" id="page_034"></a></h2> - -<p class="nind"><span class="letra">F</span>OR years I wanted to make this drawing—and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious—and I had it all to myself, for it was tea-time.<a name="page_035" id="page_035"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_035.jpg"> -<img src="images/ill_pg_sml_035.jpg" -width="425" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_036" id="page_036"></a></p> - -<p><a name="page_037" id="page_037"></a></p> - -<h2><a name="II" id="II"></a>II<br /><br /> -THE THEATRE, SEGESTA<a name="page_038" id="page_038"></a></h2> - -<p class="nind"><span class="letra">N</span>OTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time—even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled.<a name="page_039" id="page_039"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_039.jpg"> -<img src="images/ill_pg_sml_039.jpg" -width="550" -height="412" alt="image not available" /></a> -</p> - -<p><a name="page_040" id="page_040"></a></p> - -<p><a name="page_041" id="page_041"></a></p> - -<h2><a name="III" id="III"></a>III<br /><br /> -THE TEMPLE OVER THE CAÑON, SEGESTA<a name="page_042" id="page_042"></a></h2> - -<p class="nind"><span class="letra">E</span>VERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Cañon. There I saw Nature’s -compositions: here was one made by man—finer, though not so big—for -bigness has nothing to do with art.<a name="page_043" id="page_043"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_043.jpg"> -<img src="images/ill_pg_sml_043.jpg" -width="427" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_044" id="page_044"></a></p> - -<p><a name="page_045" id="page_045"></a></p> - -<h2><a name="IV" id="IV"></a>IV<br /><br /> -FROM TEMPLE TO TEMPLE, GIRGENTI<a name="page_046" id="page_046"></a></h2> - -<p class="nind"><span class="letra">N</span>OT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects.<a name="page_047" id="page_047"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_047.jpg"> -<img src="images/ill_pg_sml_047.jpg" -width="550" -height="427" alt="image not available" /></a> -</p> - -<p><a name="page_048" id="page_048"></a></p> - -<p><a name="page_049" id="page_049"></a></p> - -<h2><a name="V" id="V"></a>V<br /><br /> -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI<a name="page_050" id="page_050"></a></h2> - -<p class="nind"><span class="letra">T</span>HIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful—and popular—subject for -every artist who goes to Girgenti.<a name="page_051" id="page_051"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_051.jpg"> -<img src="images/ill_pg_sml_051.jpg" -width="424" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_052" id="page_052"></a></p> - -<p><a name="page_053" id="page_053"></a></p> - -<h2><a name="VI" id="VI"></a>VI<br /><br /> -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI<a name="page_054" id="page_054"></a></h2> - -<p class="nind"><span class="letra">T</span>HE Land of Temples is the land of effects—and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it—or tried to—while the effect -lasted.<a name="page_055" id="page_055"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_055.jpg"> -<img src="images/ill_pg_sml_055.jpg" -width="422" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_056" id="page_056"></a></p> - -<p><a name="page_057" id="page_057"></a></p> - -<h2><a name="VII" id="VII"></a>VII<br /><br /> -THE TEMPLE BY THE SEA—TEMPLE OF CONCORD, GIRGENTI<a name="page_058" id="page_058"></a></h2> - -<p class="nind"><span class="letra">I</span> HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti.<a name="page_059" id="page_059"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_059.jpg"> -<img src="images/ill_pg_sml_059.jpg" -width="550" -height="412" alt="image not available" /></a> -</p> - -<p><a name="page_060" id="page_060"></a></p> - -<p><a name="page_061" id="page_061"></a></p> - -<h2><a name="VIII" id="VIII"></a>VIII<br /><br /> -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI<a name="page_062" id="page_062"></a></h2> - -<p class="nind"><span class="letra">H</span>OW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees.<a name="page_063" id="page_063"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_063.jpg"> -<img src="images/ill_pg_sml_063.jpg" -width="550" -height="427" alt="image not available" /></a> -</p> - -<p><a name="page_064" id="page_064"></a></p> - -<p><a name="page_065" id="page_065"></a></p> - -<h2><a name="IX" id="IX"></a>IX<br /><br /> -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI<a name="page_066" id="page_066"></a></h2> - -<p class="nind"><span class="letra">T</span>HE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI</p> - -<p>WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls—walls which are like cliffs—and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists.<a name="page_067" id="page_067"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_067.jpg"> -<img src="images/ill_pg_sml_067.jpg" -width="550" -height="443" alt="image not available" /></a> -</p> - -<p><a name="page_068" id="page_068"></a></p> - -<p><a name="page_069" id="page_069"></a></p> - -<h2><a name="X" id="X"></a>X<br /><br /> -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI<a name="page_070" id="page_070"></a></h2> - -<p class="nind"><span class="letra">A</span>S the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead—Greek art.<a name="page_071" id="page_071"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_071.jpg"> -<img src="images/ill_pg_sml_071.jpg" -width="550" -height="428" alt="image not available" /></a> -</p> - -<p><a name="page_072" id="page_072"></a></p> - -<p><a name="page_073" id="page_073"></a></p> - -<h2><a name="XI" id="XI"></a>XI<br /><br /> -THE TEMPLES ON THE WALL, GIRGENTI<a name="page_074" id="page_074"></a></h2> - -<p class="nind"><span class="letra">T</span>HERE they stand on the outer walls, the long line of them—and there -are more than I have drawn; but how magnificently they stand—these -everlasting monuments to great art.<a name="page_075" id="page_075"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_075.jpg"> -<img src="images/ill_pg_sml_075.jpg" -width="550" -height="443" alt="image not available" /></a> -</p> - -<p><a name="page_076" id="page_076"></a></p> - -<p><a name="page_077" id="page_077"></a></p> - -<h2><a name="XII" id="XII"></a>XII<br /><br /> -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI<a name="page_078" id="page_078"></a></h2> - -<p class="nind"><span class="letra">O</span>UT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away.<a name="page_079" id="page_079"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_079.jpg"> -<img src="images/ill_pg_sml_079.jpg" -width="432" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_080" id="page_080"></a></p> - -<p><a name="page_081" id="page_081"></a></p> - -<h2><a name="XIII" id="XIII"></a>XIII<br /><br /> -PAESTUM. MORNING MIST<a name="page_082" id="page_082"></a></h2> - -<p class="nind"><span class="letra">W</span>HEN, after a night of horrors at the inn of Pæstum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished—the guardians were asleep—the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Pæstum are gone with the malaria and the -buffaloes—only the mosquitoes remain.<a name="page_083" id="page_083"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_083.jpg"> -<img src="images/ill_pg_sml_083.jpg" -width="550" -height="404" alt="image not available" /></a> -</p> - -<p><a name="page_084" id="page_084"></a></p> - -<p><a name="page_085" id="page_085"></a></p> - -<h2><a name="XIV" id="XIV"></a>XIV<br /><br /> -PAESTUM. EVENING<a name="page_086" id="page_086"></a></h2> - -<p class="nind"><span class="letra">O</span>NLY in the mists of the morning and the glow of the evening is Pæstum -impressive any more. It is dignified, but the mystery and melancholy -have gone.<a name="page_087" id="page_087"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_087.jpg"> -<img src="images/ill_pg_sml_087.jpg" -width="550" -height="429" alt="image not available" /></a> -</p> - -<p><a name="page_088" id="page_088"></a></p> - -<p><a name="page_089" id="page_089"></a></p> - -<h2><a name="XV" id="XV"></a>XV<br /><br /> -CORINTH TOWARDS THE GULF<a name="page_090" id="page_090"></a></h2> - -<p class="nind"><span class="letra">H</span>ERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light—the glittering temple against the -gleaming sea—the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists—or by most of them—for most of them have -no feeling at all for the art they have dug up.<a name="page_091" id="page_091"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_091.jpg"> -<img src="images/ill_pg_sml_091.jpg" -width="550" -height="456" alt="image not available" /></a> -</p> - -<p><a name="page_092" id="page_092"></a></p> - -<p><a name="page_093" id="page_093"></a></p> - -<h2><a name="XVI" id="XVI"></a>XVI<br /><br /> -ACRO-CORINTH FROM CORINTH<a name="page_094" id="page_094"></a></h2> - -<p class="nind"><span class="letra">T</span>HE way the great mountains pile up behind the great temple is most -impressive.<a name="page_095" id="page_095"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_095.jpg"> -<img src="images/ill_pg_sml_095.jpg" -width="550" -height="427" alt="image not available" /></a> -</p> - -<p><a name="page_096" id="page_096"></a></p> - -<p><a name="page_097" id="page_097"></a></p> - -<h2><a name="XVII" id="XVII"></a>XVII<br /><br /> -OLYMPIA FROM THE HILLSIDE<a name="page_098" id="page_098"></a></h2> - -<p class="nind"><span class="letra">T</span>HE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains.<a name="page_099" id="page_099"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_099.jpg"> -<img src="images/ill_pg_sml_099.jpg" -width="550" -height="427" alt="image not available" /></a> -</p> - -<p><a name="page_100" id="page_100"></a></p> - -<p><a name="page_101" id="page_101"></a></p> - -<h2><a name="XVIII" id="XVIII"></a>XVIII<br /><br /> -THE TEMPLE OF JUPITER. EVENING<a name="page_102" id="page_102"></a></h2> - -<p class="nind"><span class="letra">N</span>IGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could.<a name="page_103" id="page_103"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_103.jpg"> -<img src="images/ill_pg_sml_103.jpg" -width="422" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_104" id="page_104"></a></p> - -<p><a name="page_105" id="page_105"></a></p> - -<h2><a name="XIX" id="XIX"></a>XIX<br /><br /> -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS<a name="page_106" id="page_106"></a></h2> - -<p class="nind"><span class="letra">T</span>HERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect.<a name="page_107" id="page_107"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_107.jpg"> -<img src="images/ill_pg_sml_107.jpg" -width="550" -height="426" alt="image not available" /></a> -</p> - -<p><a name="page_108" id="page_108"></a></p> - -<p><a name="page_109" id="page_109"></a></p> - -<h2><a name="XX" id="XX"></a>XX<br /><br /> -THE WAY UP TO THE ACROPOLIS<a name="page_110" id="page_110"></a></h2> - -<p class="nind"><span class="letra">T</span>HE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting—though I -did not put them in—the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world—at any rate of newspapers.<a name="page_111" id="page_111"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_111.jpg"> -<img src="images/ill_pg_sml_111.jpg" -width="433" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_112" id="page_112"></a></p> - -<p><a name="page_113" id="page_113"></a></p> - -<h2><a name="XXI" id="XXI"></a>XXI<br /><br /> -DOWN FROM THE ACROPOLIS<a name="page_114" id="page_114"></a></h2> - -<p class="nind"><span class="letra">B</span>ETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it.<a name="page_115" id="page_115"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_115.jpg"> -<img src="images/ill_pg_sml_115.jpg" -width="429" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_116" id="page_116"></a></p> - -<p><a name="page_117" id="page_117"></a></p> - -<h2><a name="XXII" id="XXII"></a>XXII<br /><br /> -SUNRISE OVER THE ACROPOLIS<a name="page_118" id="page_118"></a></h2> - -<p class="nind"><span class="letra">E</span>VERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled—till another day.<a name="page_119" id="page_119"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_119.jpg"> -<img src="images/ill_pg_sml_119.jpg" -width="550" -height="409" alt="image not available" /></a> -</p> - -<p><a name="page_120" id="page_120"></a></p> - -<p><a name="page_121" id="page_121"></a></p> - -<h2><a name="XXIII" id="XXIII"></a>XXIII<br /><br /> -STORM BEHIND THE ACROPOLIS<a name="page_122" id="page_122"></a></h2> - -<p class="nind"><span class="letra">A</span>ND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth.<a name="page_123" id="page_123"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_123.jpg"> -<img src="images/ill_pg_sml_123.jpg" -width="550" -height="428" alt="image not available" /></a> -</p> - -<p><a name="page_124" id="page_124"></a></p> - -<p><a name="page_125" id="page_125"></a></p> - -<h2><a name="XXIV" id="XXIV"></a>XXIV<br /><br /> -THE PROPYLAEA, ATHENS<a name="page_126" id="page_126"></a></h2> - -<p class="nind"><span class="letra">T</span>HIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman—no painter, either—will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour.<a name="page_127" id="page_127"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_127.jpg"> -<img src="images/ill_pg_sml_127.jpg" -width="550" -height="420" alt="image not available" /></a> -</p> - -<p><a name="page_128" id="page_128"></a></p> - -<p><a name="page_129" id="page_129"></a></p> - -<h2><a name="XXV" id="XXV"></a>XXV<br /><br /> -THE PORTICO OF THE PARTHENON<a name="page_130" id="page_130"></a></h2> - -<p class="nind"><span class="letra">T</span>HIS is the greatest architectural art in the world.<a name="page_131" id="page_131"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_131.jpg"> -<img src="images/ill_pg_sml_131.jpg" -width="425" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_132" id="page_132"></a></p> - -<p><a name="page_133" id="page_133"></a></p> - -<h2><a name="XXVI" id="XXVI"></a>XXVI<br /><br /> -THE PARTHENON FROM THE GATEWAY<a name="page_134" id="page_134"></a></h2> - -<p class="nind"><span class="letra">D</span>ID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile.<a name="page_135" id="page_135"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_135.jpg"> -<img src="images/ill_pg_sml_135.jpg" -width="550" -height="424" alt="image not available" /></a> -</p> - -<p><a name="page_136" id="page_136"></a></p> - -<p><a name="page_137" id="page_137"></a></p> - -<h2><a name="XXVII" id="XXVII"></a>XXVII<br /><br /> -THE FAÇADE OF THE PARTHENON. SUNSET<a name="page_138" id="page_138"></a></h2> - -<p class="nind"><span class="letra">J</span>UST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves—turning from the wonder of -man’s work to the wonder of God’s sunset, and the wonder of the -afterglow over Eleusis.<a name="page_139" id="page_139"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_139.jpg"> -<img src="images/ill_pg_sml_139.jpg" -width="550" -height="422" alt="image not available" /></a> -</p> - -<p><a name="page_140" id="page_140"></a></p> - -<p><a name="page_141" id="page_141"></a></p> - -<h2><a name="XXVIII" id="XXVIII"></a>XXVIII<br /><br /> -THE FALLEN COLUMN, ATHENS<a name="page_142" id="page_142"></a></h2> - -<p class="nind"><span class="letra">O</span>N either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order.<a name="page_143" id="page_143"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_143.jpg"> -<img src="images/ill_pg_sml_143.jpg" -width="428" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_144" id="page_144"></a></p> - -<p><a name="page_145" id="page_145"></a></p> - -<h2><a name="XXIX" id="XXIX"></a>XXIX<br /><br /> -THE LITTLE FÊTE, ATHENS<a name="page_146" id="page_146"></a></h2> - -<p class="nind"><span class="letra">A</span> LITTLE fête of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis—framed in by the black trees, the most -romantic subject I ever saw.<a name="page_147" id="page_147"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_147.jpg"> -<img src="images/ill_pg_sml_147.jpg" -width="550" -height="423" alt="image not available" /></a> -</p> - -<p><a name="page_148" id="page_148"></a></p> - -<p><a name="page_149" id="page_149"></a></p> - -<h2><a name="XXX" id="XXX"></a>XXX<br /><br /> -THE GREAT FÊTE, ATHENS<a name="page_150" id="page_150"></a></h2> - -<p class="nind"><span class="letra">O</span>N the afternoon of St. George’s Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fête that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations.</p> - -<p><a name="page_151" id="page_151"></a> -<a name="page_152" id="page_152"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_151.jpg"> -<img src="images/ill_pg_sml_151.jpg" -width="550" -height="400" alt="image not available" /></a> -</p> - -<p><a name="page_153" id="page_153"></a></p> - -<h2><a name="XXXI" id="XXXI"></a>XXXI<br /><br /> -THE TEMPLE OF NIKE, ATHENS<a name="page_154" id="page_154"></a></h2> - -<p class="nind"><span class="letra">O</span>NE has but to cross to the other side of the Propylaea from the top of -the steps—from the great platform and altar before the wall, to find an -equally inspiring—or inspired—arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre—though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples.<a name="page_155" id="page_155"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_155.jpg"> -<img src="images/ill_pg_sml_155.jpg" -width="432" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_156" id="page_156"></a></p> - -<p><a name="page_157" id="page_157"></a></p> - -<h2><a name="XXXII" id="XXXII"></a>XXXII<br /><br /> -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS<a name="page_158" id="page_158"></a></h2> - -<p class="nind"><span class="letra">T</span>HIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up—the temple dominating all—is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection.<a name="page_159" id="page_159"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_159.jpg"> -<img src="images/ill_pg_sml_159.jpg" -width="550" -height="455" alt="image not available" /></a> -</p> - -<p><a name="page_160" id="page_160"></a></p> - -<p><a name="page_161" id="page_161"></a></p> - -<h2><a name="XXXIII" id="XXXIII"></a>XXXIII<br /><br /> -THE ODEON, ATHENS<a name="page_162" id="page_162"></a></h2> - -<p class="nind"><span class="letra">L</span>OOKING down from the Acropolis, one sees the theatre—even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting.<a name="page_163" id="page_163"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_163.jpg"> -<img src="images/ill_pg_sml_163.jpg" -width="429" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_164" id="page_164"></a></p> - -<p><a name="page_165" id="page_165"></a></p> - -<h2><a name="XXXIV" id="XXXIV"></a>XXXIV<br /><br /> -THE STREET OF THE TOMBS, ATHENS<a name="page_166" id="page_166"></a></h2> - -<p class="nind"><span class="letra">T</span>O be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death.<a name="page_167" id="page_167"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_167.jpg"> -<img src="images/ill_pg_sml_167.jpg" -width="550" -height="412" alt="image not available" /></a> -</p> - -<p><a name="page_168" id="page_168"></a></p> - -<p><a name="page_169" id="page_169"></a></p> - -<h2><a name="XXXV" id="XXXV"></a>XXXV<br /><br /> -ELEUSIS: THE PAVEMENT OF THE TEMPLE<a name="page_170" id="page_170"></a></h2> - -<p class="nind"><span class="letra">S</span>WEPT away is everything, mysteries and all—all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect.<a name="page_171" id="page_171"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_171.jpg"> -<img src="images/ill_pg_sml_171.jpg" -width="550" -height="429" alt="image not available" /></a> -</p> - -<p><a name="page_172" id="page_172"></a></p> - -<p><a name="page_173" id="page_173"></a></p> - -<h2><a name="XXXVI" id="XXXVI"></a>XXXVI<br /><br /> -AEGINA<a name="page_174" id="page_174"></a></h2> - -<p class="nind"><span class="letra">O</span>NLY at Aegina, so far as I have seen, is there a real—yet it is so -beautiful it seems unreal—forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year.<a name="page_175" id="page_175"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_175.jpg"> -<img src="images/ill_pg_sml_175.jpg" -width="550" -height="426" alt="image not available" /></a> -</p> - -<p><a name="page_176" id="page_176"></a></p> - -<p><a name="page_177" id="page_177"></a></p> - -<h2><a name="XXXVII" id="XXXVII"></a>XXXVII<br /><br /> -AEGINA ON ITS MOUNTAIN TOP<a name="page_178" id="page_178"></a></h2> - -<p class="nind"><span class="letra">A</span>S, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis.<a name="page_179" id="page_179"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_179.jpg"> -<img src="images/ill_pg_sml_179.jpg" -width="550" -height="426" alt="image not available" /></a> -</p> - -<p><a name="page_180" id="page_180"></a></p> - -<p><a name="page_181" id="page_181"></a></p> - -<h2><a name="XXXVIII" id="XXXVIII"></a>XXXVIII<br /><br /> -THE SHINING ROCKS, DELPHI<a name="page_182" id="page_182"></a></h2> - -<p class="nind"><span class="letra">A</span>FTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: “Why, you have drawn the Shining Rocks.” All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece.<a name="page_183" id="page_183"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_183.jpg"> -<img src="images/ill_pg_sml_183.jpg" -width="550" -height="425" alt="image not available" /></a> -</p> - -<p><a name="page_184" id="page_184"></a></p> - -<p><a name="page_185" id="page_185"></a></p> - -<h2><a name="XXXIX" id="XXXIX"></a>XXXIX<br /><br /> -THE TREASURY OE ATHENS, DELPHI<a name="page_186" id="page_186"></a></h2> - -<p class="nind"><span class="letra">T</span>HE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate,<a name="page_187" id="page_187"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_187.jpg"> -<img src="images/ill_pg_sml_187.jpg" -width="426" -height="550" alt="image not available" /></a> -</p> - -<p><a name="page_188" id="page_188"></a></p> - -<p><a name="page_189" id="page_189"></a></p> - -<h2><a name="XL" id="XL"></a>XL<br /><br /> -THE WINE-DARK SEA, SUNIUM<a name="page_190" id="page_190"></a></h2> - -<p class="nind"><span class="letra">F</span>ROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day.<a name="page_191" id="page_191"></a></p> - -<p class="figcenter"> -<a href="images/ill_pg_med_191.jpg"> -<img src="images/ill_pg_sml_191.jpg" -width="550" -height="431" alt="image not available" /></a> -</p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578-h.htm or 40578-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - -</body> -</html> diff --git a/old/40578-h/images/colophon.jpg b/old/40578-h/images/colophon.jpg Binary files differdeleted file mode 100644 index 4e8c69b..0000000 --- a/old/40578-h/images/colophon.jpg +++ /dev/null diff --git a/old/40578-h/images/cover.jpg b/old/40578-h/images/cover.jpg Binary files differdeleted file mode 100644 index a91e4de..0000000 --- a/old/40578-h/images/cover.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_035.jpg b/old/40578-h/images/ill_pg_med_035.jpg Binary files differdeleted file mode 100644 index 055c0a8..0000000 --- a/old/40578-h/images/ill_pg_med_035.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_039.jpg b/old/40578-h/images/ill_pg_med_039.jpg Binary files differdeleted file mode 100644 index bf144f1..0000000 --- a/old/40578-h/images/ill_pg_med_039.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_043.jpg b/old/40578-h/images/ill_pg_med_043.jpg Binary files differdeleted file mode 100644 index 31f3947..0000000 --- a/old/40578-h/images/ill_pg_med_043.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_047.jpg b/old/40578-h/images/ill_pg_med_047.jpg Binary files differdeleted file mode 100644 index 0b34ea9..0000000 --- a/old/40578-h/images/ill_pg_med_047.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_051.jpg b/old/40578-h/images/ill_pg_med_051.jpg Binary files differdeleted file mode 100644 index 48eb5a1..0000000 --- a/old/40578-h/images/ill_pg_med_051.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_055.jpg b/old/40578-h/images/ill_pg_med_055.jpg Binary files differdeleted file mode 100644 index aea4871..0000000 --- a/old/40578-h/images/ill_pg_med_055.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_059.jpg b/old/40578-h/images/ill_pg_med_059.jpg Binary files differdeleted file mode 100644 index 6dd9947..0000000 --- a/old/40578-h/images/ill_pg_med_059.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_063.jpg b/old/40578-h/images/ill_pg_med_063.jpg Binary files differdeleted file mode 100644 index 1238744..0000000 --- a/old/40578-h/images/ill_pg_med_063.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_067.jpg b/old/40578-h/images/ill_pg_med_067.jpg Binary files differdeleted file mode 100644 index 9c83d05..0000000 --- a/old/40578-h/images/ill_pg_med_067.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_071.jpg b/old/40578-h/images/ill_pg_med_071.jpg Binary files differdeleted file mode 100644 index 31a1cc2..0000000 --- a/old/40578-h/images/ill_pg_med_071.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_075.jpg b/old/40578-h/images/ill_pg_med_075.jpg Binary files differdeleted file mode 100644 index d1ce0a4..0000000 --- a/old/40578-h/images/ill_pg_med_075.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_079.jpg b/old/40578-h/images/ill_pg_med_079.jpg Binary files differdeleted file mode 100644 index 2ffcc06..0000000 --- a/old/40578-h/images/ill_pg_med_079.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_083.jpg b/old/40578-h/images/ill_pg_med_083.jpg Binary files differdeleted file mode 100644 index 373f8c8..0000000 --- a/old/40578-h/images/ill_pg_med_083.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_087.jpg b/old/40578-h/images/ill_pg_med_087.jpg Binary files differdeleted file mode 100644 index 7a1c137..0000000 --- a/old/40578-h/images/ill_pg_med_087.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_091.jpg b/old/40578-h/images/ill_pg_med_091.jpg Binary files differdeleted file mode 100644 index 12e1d9a..0000000 --- a/old/40578-h/images/ill_pg_med_091.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_095.jpg b/old/40578-h/images/ill_pg_med_095.jpg Binary files differdeleted file mode 100644 index fa3f16e..0000000 --- a/old/40578-h/images/ill_pg_med_095.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_099.jpg b/old/40578-h/images/ill_pg_med_099.jpg Binary files differdeleted file mode 100644 index a48a401..0000000 --- a/old/40578-h/images/ill_pg_med_099.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_103.jpg b/old/40578-h/images/ill_pg_med_103.jpg Binary files differdeleted file mode 100644 index d28f4dd..0000000 --- a/old/40578-h/images/ill_pg_med_103.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_107.jpg b/old/40578-h/images/ill_pg_med_107.jpg Binary files differdeleted file mode 100644 index 78d38bf..0000000 --- a/old/40578-h/images/ill_pg_med_107.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_111.jpg b/old/40578-h/images/ill_pg_med_111.jpg Binary files differdeleted file mode 100644 index 319511b..0000000 --- a/old/40578-h/images/ill_pg_med_111.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_115.jpg b/old/40578-h/images/ill_pg_med_115.jpg Binary files differdeleted file mode 100644 index 30a8a75..0000000 --- a/old/40578-h/images/ill_pg_med_115.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_119.jpg b/old/40578-h/images/ill_pg_med_119.jpg Binary files differdeleted file mode 100644 index cf08d77..0000000 --- a/old/40578-h/images/ill_pg_med_119.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_123.jpg b/old/40578-h/images/ill_pg_med_123.jpg Binary files differdeleted file mode 100644 index 17e1c9d..0000000 --- a/old/40578-h/images/ill_pg_med_123.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_127.jpg b/old/40578-h/images/ill_pg_med_127.jpg Binary files differdeleted file mode 100644 index 0a61fa2..0000000 --- a/old/40578-h/images/ill_pg_med_127.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_131.jpg b/old/40578-h/images/ill_pg_med_131.jpg Binary files differdeleted file mode 100644 index 4a0d9c3..0000000 --- a/old/40578-h/images/ill_pg_med_131.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_135.jpg b/old/40578-h/images/ill_pg_med_135.jpg Binary files differdeleted file mode 100644 index cc22eab..0000000 --- a/old/40578-h/images/ill_pg_med_135.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_139.jpg b/old/40578-h/images/ill_pg_med_139.jpg Binary files differdeleted file mode 100644 index 1027805..0000000 --- a/old/40578-h/images/ill_pg_med_139.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_143.jpg b/old/40578-h/images/ill_pg_med_143.jpg Binary files differdeleted file mode 100644 index 8afee8e..0000000 --- a/old/40578-h/images/ill_pg_med_143.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_147.jpg b/old/40578-h/images/ill_pg_med_147.jpg Binary files differdeleted file mode 100644 index 22b5456..0000000 --- a/old/40578-h/images/ill_pg_med_147.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_151.jpg b/old/40578-h/images/ill_pg_med_151.jpg Binary files differdeleted file mode 100644 index 42c9eb3..0000000 --- a/old/40578-h/images/ill_pg_med_151.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_155.jpg b/old/40578-h/images/ill_pg_med_155.jpg Binary files differdeleted file mode 100644 index 843858e..0000000 --- a/old/40578-h/images/ill_pg_med_155.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_159.jpg b/old/40578-h/images/ill_pg_med_159.jpg Binary files differdeleted file mode 100644 index f9fb1f6..0000000 --- a/old/40578-h/images/ill_pg_med_159.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_163.jpg b/old/40578-h/images/ill_pg_med_163.jpg Binary files differdeleted file mode 100644 index 1f3cf52..0000000 --- a/old/40578-h/images/ill_pg_med_163.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_167.jpg b/old/40578-h/images/ill_pg_med_167.jpg Binary files differdeleted file mode 100644 index 1d99240..0000000 --- a/old/40578-h/images/ill_pg_med_167.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_171.jpg b/old/40578-h/images/ill_pg_med_171.jpg Binary files differdeleted file mode 100644 index 5fd2c57..0000000 --- a/old/40578-h/images/ill_pg_med_171.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_175.jpg b/old/40578-h/images/ill_pg_med_175.jpg Binary files differdeleted file mode 100644 index 7fc38b7..0000000 --- a/old/40578-h/images/ill_pg_med_175.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_179.jpg b/old/40578-h/images/ill_pg_med_179.jpg Binary files differdeleted file mode 100644 index f58ed15..0000000 --- a/old/40578-h/images/ill_pg_med_179.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_183.jpg b/old/40578-h/images/ill_pg_med_183.jpg Binary files differdeleted file mode 100644 index 01f3497..0000000 --- a/old/40578-h/images/ill_pg_med_183.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_187.jpg b/old/40578-h/images/ill_pg_med_187.jpg Binary files differdeleted file mode 100644 index 7c5af74..0000000 --- a/old/40578-h/images/ill_pg_med_187.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_med_191.jpg b/old/40578-h/images/ill_pg_med_191.jpg Binary files differdeleted file mode 100644 index 88d2400..0000000 --- a/old/40578-h/images/ill_pg_med_191.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_035.jpg b/old/40578-h/images/ill_pg_sml_035.jpg Binary files differdeleted file mode 100644 index 4306f0c..0000000 --- a/old/40578-h/images/ill_pg_sml_035.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_039.jpg b/old/40578-h/images/ill_pg_sml_039.jpg Binary files differdeleted file mode 100644 index 715b61e..0000000 --- a/old/40578-h/images/ill_pg_sml_039.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_043.jpg b/old/40578-h/images/ill_pg_sml_043.jpg Binary files differdeleted file mode 100644 index ccc8ecd..0000000 --- a/old/40578-h/images/ill_pg_sml_043.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_047.jpg b/old/40578-h/images/ill_pg_sml_047.jpg Binary files differdeleted file mode 100644 index 537a747..0000000 --- a/old/40578-h/images/ill_pg_sml_047.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_051.jpg b/old/40578-h/images/ill_pg_sml_051.jpg Binary files differdeleted file mode 100644 index d781bcc..0000000 --- a/old/40578-h/images/ill_pg_sml_051.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_055.jpg b/old/40578-h/images/ill_pg_sml_055.jpg Binary files differdeleted file mode 100644 index a64de36..0000000 --- a/old/40578-h/images/ill_pg_sml_055.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_059.jpg b/old/40578-h/images/ill_pg_sml_059.jpg Binary files differdeleted file mode 100644 index c14fa2f..0000000 --- a/old/40578-h/images/ill_pg_sml_059.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_063.jpg b/old/40578-h/images/ill_pg_sml_063.jpg Binary files differdeleted file mode 100644 index 0324cb8..0000000 --- a/old/40578-h/images/ill_pg_sml_063.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_067.jpg b/old/40578-h/images/ill_pg_sml_067.jpg Binary files differdeleted file mode 100644 index d15c593..0000000 --- a/old/40578-h/images/ill_pg_sml_067.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_071.jpg b/old/40578-h/images/ill_pg_sml_071.jpg Binary files differdeleted file mode 100644 index 469e403..0000000 --- a/old/40578-h/images/ill_pg_sml_071.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_075.jpg b/old/40578-h/images/ill_pg_sml_075.jpg Binary files differdeleted file mode 100644 index 4d3acfd..0000000 --- a/old/40578-h/images/ill_pg_sml_075.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_079.jpg b/old/40578-h/images/ill_pg_sml_079.jpg Binary files differdeleted file mode 100644 index 224a4ac..0000000 --- a/old/40578-h/images/ill_pg_sml_079.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_083.jpg b/old/40578-h/images/ill_pg_sml_083.jpg Binary files differdeleted file mode 100644 index aa18f32..0000000 --- a/old/40578-h/images/ill_pg_sml_083.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_087.jpg b/old/40578-h/images/ill_pg_sml_087.jpg Binary files differdeleted file mode 100644 index 8278219..0000000 --- a/old/40578-h/images/ill_pg_sml_087.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_091.jpg b/old/40578-h/images/ill_pg_sml_091.jpg Binary files differdeleted file mode 100644 index 25d42b1..0000000 --- a/old/40578-h/images/ill_pg_sml_091.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_095.jpg b/old/40578-h/images/ill_pg_sml_095.jpg Binary files differdeleted file mode 100644 index ccf33ce..0000000 --- a/old/40578-h/images/ill_pg_sml_095.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_099.jpg b/old/40578-h/images/ill_pg_sml_099.jpg Binary files differdeleted file mode 100644 index 8522dda..0000000 --- a/old/40578-h/images/ill_pg_sml_099.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_103.jpg b/old/40578-h/images/ill_pg_sml_103.jpg Binary files differdeleted file mode 100644 index 115a268..0000000 --- a/old/40578-h/images/ill_pg_sml_103.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_107.jpg b/old/40578-h/images/ill_pg_sml_107.jpg Binary files differdeleted file mode 100644 index 7da5077..0000000 --- a/old/40578-h/images/ill_pg_sml_107.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_111.jpg b/old/40578-h/images/ill_pg_sml_111.jpg Binary files differdeleted file mode 100644 index 29ca469..0000000 --- a/old/40578-h/images/ill_pg_sml_111.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_115.jpg b/old/40578-h/images/ill_pg_sml_115.jpg Binary files differdeleted file mode 100644 index f5055f1..0000000 --- a/old/40578-h/images/ill_pg_sml_115.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_119.jpg b/old/40578-h/images/ill_pg_sml_119.jpg Binary files differdeleted file mode 100644 index 4879423..0000000 --- a/old/40578-h/images/ill_pg_sml_119.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_123.jpg b/old/40578-h/images/ill_pg_sml_123.jpg Binary files differdeleted file mode 100644 index 9a8a170..0000000 --- a/old/40578-h/images/ill_pg_sml_123.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_127.jpg b/old/40578-h/images/ill_pg_sml_127.jpg Binary files differdeleted file mode 100644 index df9cffe..0000000 --- a/old/40578-h/images/ill_pg_sml_127.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_131.jpg b/old/40578-h/images/ill_pg_sml_131.jpg Binary files differdeleted file mode 100644 index bbc597e..0000000 --- a/old/40578-h/images/ill_pg_sml_131.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_135.jpg b/old/40578-h/images/ill_pg_sml_135.jpg Binary files differdeleted file mode 100644 index 7b3a42f..0000000 --- a/old/40578-h/images/ill_pg_sml_135.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_139.jpg b/old/40578-h/images/ill_pg_sml_139.jpg Binary files differdeleted file mode 100644 index b700e39..0000000 --- a/old/40578-h/images/ill_pg_sml_139.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_143.jpg b/old/40578-h/images/ill_pg_sml_143.jpg Binary files differdeleted file mode 100644 index e88305c..0000000 --- a/old/40578-h/images/ill_pg_sml_143.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_147.jpg b/old/40578-h/images/ill_pg_sml_147.jpg Binary files differdeleted file mode 100644 index 3af36c3..0000000 --- a/old/40578-h/images/ill_pg_sml_147.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_151.jpg b/old/40578-h/images/ill_pg_sml_151.jpg Binary files differdeleted file mode 100644 index 53d9bf6..0000000 --- a/old/40578-h/images/ill_pg_sml_151.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_155.jpg b/old/40578-h/images/ill_pg_sml_155.jpg Binary files differdeleted file mode 100644 index def74ea..0000000 --- a/old/40578-h/images/ill_pg_sml_155.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_159.jpg b/old/40578-h/images/ill_pg_sml_159.jpg Binary files differdeleted file mode 100644 index d888927..0000000 --- a/old/40578-h/images/ill_pg_sml_159.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_163.jpg b/old/40578-h/images/ill_pg_sml_163.jpg Binary files differdeleted file mode 100644 index 7427314..0000000 --- a/old/40578-h/images/ill_pg_sml_163.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_167.jpg b/old/40578-h/images/ill_pg_sml_167.jpg Binary files differdeleted file mode 100644 index 2874685..0000000 --- a/old/40578-h/images/ill_pg_sml_167.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_171.jpg b/old/40578-h/images/ill_pg_sml_171.jpg Binary files differdeleted file mode 100644 index 854500d..0000000 --- a/old/40578-h/images/ill_pg_sml_171.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_175.jpg b/old/40578-h/images/ill_pg_sml_175.jpg Binary files differdeleted file mode 100644 index edbacda..0000000 --- a/old/40578-h/images/ill_pg_sml_175.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_179.jpg b/old/40578-h/images/ill_pg_sml_179.jpg Binary files differdeleted file mode 100644 index 5c885b5..0000000 --- a/old/40578-h/images/ill_pg_sml_179.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_183.jpg b/old/40578-h/images/ill_pg_sml_183.jpg Binary files differdeleted file mode 100644 index a25fad3..0000000 --- a/old/40578-h/images/ill_pg_sml_183.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_187.jpg b/old/40578-h/images/ill_pg_sml_187.jpg Binary files differdeleted file mode 100644 index c9a2294..0000000 --- a/old/40578-h/images/ill_pg_sml_187.jpg +++ /dev/null diff --git a/old/40578-h/images/ill_pg_sml_191.jpg b/old/40578-h/images/ill_pg_sml_191.jpg Binary files differdeleted file mode 100644 index 31c0b35..0000000 --- a/old/40578-h/images/ill_pg_sml_191.jpg +++ /dev/null diff --git a/old/40578.txt b/old/40578.txt deleted file mode 100644 index f52fcf1..0000000 --- a/old/40578.txt +++ /dev/null @@ -1,1944 +0,0 @@ -The Project Gutenberg EBook of In the Land of Temples, by Joseph Pennell - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: In the Land of Temples - -Author: Joseph Pennell - -Release Date: August 25, 2012 [EBook #40578] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - - - - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - - - - - - - - - - -IN THE - -LAND OF TEMPLES - -BY JOSEPH PENNELL - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - - - - -JOSEPH PENNELL'S - -PICTURES OF -THE PANAMA CANAL. - -_FIFTH EDITION._ - -Reproductions of a series of Lithographs made -by him on the Isthmus of Panama, together -with Impressions and Notes by the Artist. -Price 5s. net. - -THE LIFE OF JAMES -MCNEILL WHISTLER - -By E. R. and J. PENNELL. - -Fifth and Revised Edition, with 96 pp. -of Illustrations. Pott 4to. -Price 12s. 6d. net. - -LONDON: WILLIAM HEINEMANN. - -Copies of the lithographs reproduced in this -volume, limited to fifty proofs each, size 16 by 22 in., -may be obtained through the Publisher, at -L3 3 0 net each. - - - - -JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES - -REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF -TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE -ARTIST - -[Illustration: colophon] - -LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO. - -COPYRIGHT - -LONDON: WILLIAM HEINEMANN. 1915. - -TO -R. M. DAWKINS - -LATE DIRECTOR -OF THE BRITISH -SCHOOL AT ATHENS -WHO SHOWED ME -WHERE I SHOULD -FIND THE TEMPLES - -PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET, -STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK. - - - - -NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES - - -I WENT to Greece for two reasons. First, because I wanted to see Greece -and what remained of her glory--to see if the greatest work of the past -impressed me as much as the greatest work of the present--and to try to -find out which was the greater--the more inspiring. And second, I went -because I was told by a Boston authority that I was nothing but a -ragtime sketcher, couldn't see Greek art and couldn't draw it if I did. - -I have been there--and did what I saw in my own way. To me Greece was -wonderful and was beautiful, but anyone can see that--and can rave over -it with appropriate quotations from appropriate authors. I know no Greek -and have scarce read a translation. I say this regretfully--I wish I -had--I should have seen more. I know, however, if I had not before seen -the greatest art of the rest of Europe, I could not have been so moved -as I was by what I saw in the Land of Temples, the land whence we have -derived most of our ideas, ideals, and inspirations. - -I drew the things that interested me--and it was, and is, a great -delight to me to be told by those who have, some of them, spent their -lives studying Greeks and Greece, that I have given the character of the -country. What impressed me most was the great feeling of the Greeks for -site in placing their temples and shrines in the landscape--so that they -not only became a part of it, but it leads up to them. And though the -same architectural forms were used, each temple was so placed that it -told from afar by sea or land, a goal for pilgrims--a shrine for -worshippers to draw near to--yet each had a character of its own--always -the same, yet ever differing. I know, I am sorry to say, little of -proportion, of scale, of heights, of lengths, but what I saw, with my -own eyes, was the way these monuments were part of the country--never -stuck about anyhow--always composed--always different--and they were -built with grand ideas of composition, impressiveness, and arrangement. -Has there been any change in the black forest before Aegina--the "wine -dark sea" at Sunium--the "shining rocks" at Delphi--the grim cliffs of -the Acropolis?--these prove in their various ways that the Greeks were -great artists. - -These were the things I saw. Had I known more I might have seen -less--for it seems to me that most artists who have gone to Greece have -been so impressed with what they have been told to see, that--there are, -of course, great exceptions--they have looked at the land with a -foot-rule, a translation, and a dictionary, and they have often been -interfered with by these aids. I went ignorant of where to go--or what -to see. When I got to Athens I fell among friends, who answered my only -question that "I wanted to see temples that stood up." They told me -where they were--and there they were. And for this information, which -resulted in my seeing these sites and making these lithographs, I want -to thank many people, but above all Mr. R. M. Dawkins, late Director of -the British School at Athens, who, now that he has seen the work, agrees -with others that it has something of the character and romance of the -country. If it has those qualities, they are what I went out to see--and -having seen them--and I have tried to express them--I know I can see -more, if I have the chance in the future in the Wonder of Work of my -time, for in our great works to-day we are only carrying on the -tradition of the great works of the past. I have seen both, and it is -so. - -JOSEPH PENNELL. - - - - -LIST OF ILLUSTRATIONS - -THE ILLUSTRATIONS START AT TAORMINA, PROCEED AROUND SICILY--THENCE TO -ITALY, AND ARE CONTINUED IN GREECE. - -AETNA OVER TAORMINA I - -THE THEATRE, SEGESTA II - -THE TEMPLE OVER THE CANYON, SEGESTA III - -FROM TEMPLE TO TEMPLE, GIRGENTI IV - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI V - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI VI - -THE TEMPLE BY THE SEA; TEMPLE OF CONCORD, GIRGENTI VII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI IX - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI X - -THE TEMPLES ON THE WALL, GIRGENTI XI - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI XII - -PAESTUM. MORNING MIST XIII - -PAESTUM. EVENING XIV - -CORINTH TOWARDS THE GULF XV - -ACRO-CORINTH FROM CORINTH XVI - -OLYMPIA FROM THE HILLSIDE XVII - -THE TEMPLE OF JUPITER. EVENING XVIII - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS XIX - -THE WAY UP THE ACROPOLIS XX - -DOWN FROM THE ACROPOLIS XXI - -SUNRISE OVER THE ACROPOLIS XXII - -STORM BEHIND THE ACROPOLIS XXIII - -THE PROPYLAEA, ATHENS XXIV - -THE PORTICO OF THE PARTHENON XXV - -THE PARTHENON FROM THE GATEWAY XXVI - -THE FACADE OF THE PARTHENON. SUNSET XXVII - -THE FALLEN COLUMN, ATHENS XXVIII - -THE LITTLE FETE, ATHENS XXIX - -THE GREAT FETE, ATHENS XXX - -THE TEMPLE OF NIKE, ATHENS XXXI - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS XXXII - -THE ODEON, ATHENS XXXIII - -THE STREET OF THE TOMBS, ATHENS XXXIV - -ELEUSIS. THE PAVEMENT OF THE TEMPLE XXXV - -AEGINA XXXVI - -AEGINA ON ITS MOUNTAIN TOP XXXVII - -THE SHINING ROCKS, DELPHI XXXVIII - -THE TREASURY OF ATHENS, DELPHI XXXIX - -THE WINE DARK SEA. SUNIUM XL - - - - -INTRODUCTION. - - -IT is a happy thing that the Greek race came into being, because they -showed the world once at least what is meant by a man. The ideal Greek -virtue [Greek: sophrosune] means, that all parts and faculties of the -man are in proportion, each trained to perfection and all under control -of the will: body, mind, and spirit, each has its due place. Elsewhere -we see one of these in excess. Thus the Indian philosopher soars in the -highest regions of speculation, and sees great truths, but they -intoxicate him: he does not bring them to the test of daily life, nor -does he check them by reason. The Hebrew prophet has his vision of one -God, and in rapt devotion prostrates himself below the dignity of -manhood. The Roman deals with practical politics and material -civilisation; he has a genius for organizing, and for combining the rule -of the best with the freedom and direct influence of all: he, however, -despises the spirit and the imagination. In our own day, what is called -science arrogates almost divine honours to the faculty for measuring and -observing, and neglects both the religious instinct and the -philosopher's theoric; nor is this ideal less deadly than the Roman's to -imagination and the sense of beauty. In modern times also, each person -strives to excel in some one specialty, mental or bodily; and if there -is any feeling at all for proportion it is the proportion of a group, -while the members of the group are [Greek: perittohi], excessive in one -way and defective in the others. But the Greek aimed at perfect -proportion for the man; and his ideal was, that the man's will should -use all the faculties to some worthy end. His body is to be trained by -music and gymnastic: the aim of the first being grace and beauty; of the -second, strength; of the whole, health and joy in all bodily uses. His -mind is to be trained by poetry, oratory, and philosophy; his spirit by -the worship of the gods, in which all that was best in his life is -concentrated into a noble ritual. Such would be the life of the ordinary -Greek; the greater intellects would look beyond the ritual to the -essence; and we have ample evidence to show that their ideals were as -high as any that have been known to other peoples. Aeschylus dealt with -the same problems that baffled the Hebrew prophets, divine justice and -mercy, and the immutable moral law; Plato's speculation took him into -regions where logic and formal philosophy had to be cast aside; Pheidias -by his art added a new dignity to godhead.[1] - -Nowhere is the Greek [Greek: sophrosune], their sense of restraint and -proportion, shown better than in their architecture: and this both in -the method of growth and in the final results. The Doric style has grown -out of a wooden building. When and how the first steps were taken, we do -not know, nor whether the Doric be directly descended from the Mycenaean -style, as Perrot and Chipiez will have it. There is this great -difference: that the Mycenaean and Cretan columns are like a Doric column -reversed, the thick end upmost, and they show none of the Greek -refinements to which we shall come later. A simpler origin is possible: -for to-day the traveller may see, in the verandah of some wayside -cottage (Homer's [Greek: a'hithousa herhidoupos]) a primitive Doric -column, some bare tree-trunk with a chunk of itself for capital, -supporting a primitive architrave of the same sort. In the Doric order, -other traces of woodwork are left in the stone, such as the triglyphs, -or beam-ends, with round pegs beneath, or the gouged flutings of the -column itself. And we have direct evidence in the history of the -Olympian Heraeum; where we are told that the columns were once of wood, -and that stone columns were put in place of these as they decayed, one -of the ancient oak columns being preserved down to the time of -Pausanias. The early architects would seem to have been nervous as to -how much weight stone would bear, so that their columns are very thick -and set close together; in fact, less than one diameter apart. By -degrees they learnt from experience, but the changes were slow and -careful. The plan of the temple always remained the same, and there is -little variation in the number of pillars at each end, or in any of the -general features. As in statuary, here also they kept to their tradition -as much as they could, and got their effects with the least possible -change. But what effects! Compare the heavy masses of Corinth or Paestum -with the airy grace of the Parthenon, and measure the infinite delicacy -of the changes which produce this effect. The builders found out that -straight lines do not look straight, and that if the lines of a building -do not look straight, the building looks as if it is going to topple -over and fall. A column which decreases upwards in straight lines looks -to the eye concave; and this illusion they tried to correct by making -the columns bulge from the top about one third down, and then decreased -this curve towards the bottom. The first attempts gave too much convex -curving, but this again was corrected until the architect found -perfection: yet the differences measured in inches are small. Again, -each column was inclined slightly inwards, because a column that stands -quite straight looks as though it were inclined out-wards; and the -stylobate, upon which the columns stand, is curved from each end upwards -to the centre. Other adjustments were necessary in the abacus and -capital, to make all harmonious; and we may say that there was hardly a -straight line in the building. Sculpture and ornament were adjusted to -the eye in the same way; and it would seem that the effect of the whole -building also was judged not alone, but in connection with the lines of -the landscape--that background of hills, always noble but never -over-powering, which is found all over the Greek world. For instance, in -the Parthenon certain minute corrections were made because of the way in -which the sun's rays fell on it. These adjustments have been measured -and tabulated--or at least a great many of them, for there are doubtless -many we do not notice, and the building is a ruin--but they show a -delicacy of sense which is nothing short of miraculous. These builders, -however, were not only artists with miraculous keenness of sense, but -members of a true trade-guild, with its accumulated wisdom handed down -from generation to generation, and themselves were men who worked with -their own hands. Neither could they have built the Parthenon with books -of logarithms in an office; nor can we ever have noble buildings again -so long as the architect and the builder are not one. Every common -workman must have had his share of this traditional skill. Indeed, -inscriptions lately discovered show that the building of the Parthenon -went on after Pheidias was banished; so that the sculptures which are -the wonder of the world must have been done in part at least without -their designer. But even without such evidence, the perfection of every -detail of building, the fitting of the joints, the strength and finish -of each part, is enough to show what the Athenian workman was like. - - [1] Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide - Jovem ... cuius pulchritudo adiecisse aliquid etiam receptae relligioni - videtur: adeo maiestas operis deum aequavit. - -But we must remember also that the stones that remain are only ruins. -Even in these we may trace many of the perfections of the ancient -artist; but if we could see them as they were, we should see, not stones -bleached and weathered, but buildings resplendent with colour and gold. -Columns, capitals, architraves, all were a blaze of colour, decorated -with graceful patterns and painted to match the blue sea and the golden -sunlight. And now for us Sunium is a white ghost like the light of the -moon, the Parthenon a rose in decay. - -We may not now feel the want of what is lost. The hills once covered -with forest trees are bare, the countryside is untilled and empty, and -these ruins are invested with a sentimental charm in the thought of what -has been lost. The traveller is in the mood of Sulpicius as he consoles -Cicero for his daughter's death. "Returning from Asia, as my voyage took -me from Aegina towards Megara, I began to survey the regions round -about: behind me was Aegina, before me Megara, to the right Peiraeus, to -the left Corinth, all cities at one time prosperous and flourishing, but -now they lay prone and ruined before my eyes. And I began thus to ponder -within myself: 'Ah! shall we frail creatures resent the death of one of -ourselves, seeing that our life must needs be full short, when in one -place so many dead cities lie before us?'" Indeed the Greek cities are -most aptly compared to humanity. There never was anything grandiose -about them, nothing monstrous like the empire of China, no desire to -thrust Greek manners or religions upon the rest of the world, no attempt -to monopolize trade even by honest methods. They wished to live and let -live, loved and hated fiercely, but like men; and if they must die they -did not whine about it--indeed, for their country's sake they held it -glorious to die. And now they are gone, and their place knows them no -more, no one can feel that touch of triumph that Shelley felt over his -Ozymandias. They have left behind them everywhere a poignant regret, -such as one feels for a very dear friend gone for ever. Most strong is -this feeling when our steps wander over some desolate spot, once a -populous city, such as Paestum or Myndos. I mention Myndos because there -the contrast is most vividly brought out by the second idyll of -Theocritus. There is the old harbour, there is the ring of the city -walls a mile across, and the whole space between is brushwood and -stones. Yet from this city sailed to Cos opposite the hot-blooded youth -whom Simaitha loved, whose story is told in the poet's words of passion. -And these cities, once so full of life and happiness, are a desert now. -Even the new Greece, which rose from the ashes of the old not a hundred -years ago, which has sprung into new life and honour within the last few -months, cannot console us for the Greece that is gone. The quick -intelligence is still here, the courage, the idealism; but Greece can -hardly escape the corruption of the modern world, with its grasping -after wealth; and the sincerity of the ancient spirit exists chiefly -amongst peasants and fishermen. A false and pedantic way of thought is -spreading from the schools and the newspapers, which must spoil the -people unless the efforts of a few wise and longsighted men shall -prevail. - -The pictures in this volume follow roughly the history of the Doric -style. In Olympia lies the floor of the Heraeum, most ancient of all -existing Greek temples, built before 1000 B.C. Unhappily this view tells -us nothing of what it looked like: earthquake and flood, and the hand of -man, have done all they could to destroy. The temples in Sicily and -Magna Graecia, with Corinth, belong to the earliest stage known to us. -Corinth was built about 650; the temples of Athena at Syracuse, now the -cathedral, and of Zeus at Selinus (which are not represented here) are -as old or older. Segesta comes next, in the early sixth century; and in -the same century temples at Girgenti (Agrigentum), Aegina, and Paestum. -The temple of Zeus at Olympia was built between 469 and 457, the -Parthenon 454-438, Sunium and Eleusis about the same time, and two -buildings at Paestum. The theatres belong to a later date, and the -Corinthian temple of Zeus Olympian at Athens, begun by Peisistratus, was -not finished until the time of Hadrian. - -Olympia is the epitome of the Greek race, as the forum is of the Roman -dominion: the Roman ideal being law, order, and government; the Greek, -all the powers of man at their best, used and enjoyed in the holy -precinct of their great God. The difference is shown at once, in that -the Olympian assembly was enforced by no lawgiver, but the voluntary -gathering of men of one blood, who for a set time laid aside all their -quarrels, and remembered that they were marked off by a great gulf from -all other men. They came for no material gain: their prize was not -dominion and power, nor wealth and trade, but the crown of wild olive -and glory incorruptible. Elis, a state small and insignificant -politically, had the honour of presiding over these games; no man might -compete save those of pure Hellenic blood, and no woman might approach -them. And here, every four years, from a time before the beginning of -history, the men of Greece met, kings and potentates competing with -private men, high and low, rich and poor, all acknowledging the one tie -greater than all others. The celebrations lasted all through the -glorious days of Greece, and until the glory of Greece had long -departed, and they were abolished for ever in 394 A.D. by Theodosius. -Art and literature formed no part of the contests, which were nearly all -athletic; but painters and other artists exhibited their works there, -and it was common for orators and philosophers to recite: Herodotus is -said to have read his history at the festival. - -The picture is taken from the small hill of Kronos: we look over the -site of Hera's temple to the great temple of Zeus. To the left, out of -sight, is the entrance to the racecourse. Just beneath us, under the -hill, is a row of small shrines called Treasuries, which mighty states -and monarchs had built to contain their own chief offerings. In the -distance is the river Alpheius. We cannot imagine how this plain looked -when it was the encampment of thousands, covered with booths, and full -of goodly men and horses; the crowds, the processions, the feastings, -litany and sacrifice; but every man must feel the same thrill as when he -stands in Westminster Hall, or St. Sophia at Constantinople: for here -have passed all the great men of the Greek race. - -If the games show the physical side of the Greeks, the theatre above all -shows the intellectual. While they invented, and perfected, nearly all -kinds of literary art, it is the theatre that touched their life most -closely, and most fully gave scope for their genius. This also grew out -of religion, and was always a part of their religion. But the Greek gods -were no puritans. They exacted awe and worship, and they punished the -impious; but they were genial good fellows, who might be thought, -without blasphemy, to share in the happiness of their people--indeed, -took it in good part when they were the subject of rollicking jests. In -the theatre, Aeschylus found room for his profound religious feeling, -Euripides for his scepticism, Sophocles for a mirror of the mind of man, -Aristophanes for his political and social satire and his merry fun. -Every town and even hamlet must have its theatre. A suitable place could -be found almost anywhere in the hill country--that is, in almost all -parts of Greece proper--before any buildings needed to be put up. Then -the hillsides were cut into seats, as at Argos and Segesta, or seats -ranged around in a semicircle, and carried on when it was necessary by -means of retaining walls. Below them was a round space for dancing, and -beyond this the stage. There is a controversy whether the Greeks ever -used a raised stage before the Roman conquest; probably they did, but at -any rate all existing theatres had them. Vitruvius (who wrote about 20 -A.D.) says that the Greek stage was higher and narrower than the Roman; -and the stage at Taormina has been built, or rebuilt, in the Roman way. - -It is proper to say this, but the onlooker will think little now of the -stage, or indeed of the actors and the play, in view of one of those -scenes which can never be forgotten. The sight of Etna over the stage, -with his rolling steam, absorbs the whole force of imagination. Etna is -tremendous. Beneath Etna Hephaistos had one of his forges, as at Lipara, -Imbros, and Lemnos; and that smoke you see shows that his workmen are -forging the thunder-bolts of Zeus. The very name of Volcano is -Hephaistos himself. Or is it the giant Typhoeus, defeated by Zeus in the -battle of gods and giants, and buried beneath the mountain, who by his -struggles causes the earth thus to heave, and these fiery streams to -pour forth? What wonder that the pious made offerings of incense at the -top! Was it really true that Empedocles, that great philospher and -healer, whose intellectual pride seems almost to claim divine honours, -cast himself into the crater, that he might seem to have been swept away -by the gods? Probably it was not true: but the story shows how the -mountain worked on men's imaginations. - -If the theatre of Segesta has no Etna behind it, the surroundings to the -eye are in other ways grand. It is seated upon the acropolis hill, -whence a view can be taken at once of that corner of Sicily which was -held by the mysterious Elymians, with their citadel and sanctuary of -Eryx. Segesta was founded by a people who wanted protection, and feared -the sea. But, like the rest of Sicily, it came under Greek influence; -and its buildings, the two temples and the theatre, are Greek. This -small town has played a part in history: it was the bone of contention -which led Athens to interfere with Syracuse, and so on to her ruin. The -columns of the temple are unfinished, the fluting has never been done. -There is something that moves the sympathy in these unfinished places. -No doubt the city was overwhelmed in some catastrophe, which perhaps -left it quite desolate in the old cruel way. So the blocks of the -Pinacotheca on the Athenian acropolis still keep the knobs which were -used in mounting them; they were never cut off, for Athens fell. So, -most striking of all, there lies in the quarry near Baalbek an enormous -block of stone, seventy-seven feet long by fifteen and fourteen, squared -and ready, one end tilted for moving; but it was never moved: there it -has lain perhaps for three thousand years, and there it will lie till -the world ends. - -Girgenti, Agrigentum, Akragas, called by Pindar [Greek: kallhista -brotehan polhion], fairest of mortal cities; lofty Akragas, in Virgil's -words, spreading her walls so wide, mother of high-spirited horses-- - - "Arduus inde Acragas ostentat maxima longe - Moenia, magnanimum quondam generator equorum"-- - -although late founded in Greek history (B.C. 582), is set on a hilltop -like some primaeval acropolis. Two rocky hills, with a space of level -land between, were enclosed within a wall six miles round; below this -the land slopes gently to the sea; the whole lies between two rivers. -The existing remains, and the modern town, lie on one of the two hills. -Akragas calls up only one name from the memory. Phalaris the Tyrant and -his brazen bull. But Empedocles was born here. The great temple of Zeus -Polieus, which Phalaris was said to have built, has perished, and those -that remain cannot be certainly identified. One is called after Concord, -but the Latin name cannot have properly belonged to it. The pictures -here show some of the wonderful effects, which vary from hour to hour -in this land of colour and sunlight. But the glory of Girgenti is the -grouping of its remains: wall, temples, and rocks. If we could see the -city as it was, it may well have been [Greek: kallhista brotehan polhion]. -But in 406, the Carthaginians descended upon it, and starved out the -people. All who could go migrated to Gela; the rest were massacred, and -the city sacked. From this blow it never recovered, although it was -afterwards inhabited. - -Paestum, the Greek Poseidonia, is one of those cities that have no -history; at least, this city played no great part in ancient history and -gave the world no great men. But Paestum was not happy. It had its day, -from the foundation in the seventh century for some two hundred years; -but it fell early into the hands of the barbaric Lucanians. After this -it existed, but it never became great. We know Paestum for its roses, -_biferi rosaria Paesti_, which flower twice a year in May and November; -and until lately, for its loneliness and desolation. Not a living soul -was there in the circuit of the city walls, nothing but a bare plain -with hundreds of flowering grasses, and the great temples in their -grandeur. All its charm is gone now: a factory stains the sky with its -smoke, and the modern world, whose god is its belly, has put its foul -mark upon the quietude of Paestum. Those who saw Paestum when it was one -of the most impressive sights in the world, will be careful not to go -thither again. - -Corinth, on the other hand, takes us back to the heart of the ancient -world. From time immemorial Corinth was a great place. It lay on the -high-road of the seas, in the time when voyagers hugged the coasts. -Traders from Asia and Phoenicia would not ply to Italy and Spain along -the open sea when they could go from island to island and along the -sheltered waters of the two gulfs: all these must ship their goods -across the Isthmus, and the Isthmus was dominated by the impregnable -rock of Corinth. Thus the masters of Corinth could levy tolls on all -commerce: they grew rich, as in older days Troy did, and later -Constantinople, because they lay across a trade route. Here was built -the first Greek navy of war-ships: here were the rich and powerful -tyrants; here was worshipped Poseidon, with his famous Isthmian games, -and Phoenician Aphrodite. A few years ago, the precinct of Poseidon was -dug out, and there appeared a mass of votive tablets, on which we may -see the daily life of Corinth in the seventh century before Christ. -Pre-eminent amongst all the scenes are those of the potter's trade: the -pottery is seen being made on the wheel, baked in the furnace, and -loaded into the ships for export to Italy and elsewhere. Corinth reminds -us of some of the best stories of Herodotus: Cypselus and his chest, -Arion and the dolphins, and that attractive scatterbrain Hippocleides, -who at Sicyon hard by danced away his marriage, and did not care one -jot. No great man of letters ever came out of Corinth, no poet and no -orator; but Corinthian bronze was famous, and the city was full of works -of art. When Mummius sacked Corinth and left it desolate, he made his -famous bargain with the contractors who removed the spoil: if they -damaged any of the works of art, they were to replace them with others -as good. Corinth was afterwards rebuilt; all will remember St. Paul's -connection with the city, and the riot when Gallic was governor of -Achaia. - -The Acrocorinthus is one of the most magnificent sights in the world: it -has the common quality of the Greek mountains, grandeur without -excessive size; but standing as it does isolated from other hills, and -visible everywhere, from Athens to Parnassus, its effect on the -imagination is never to be forgotten. Its height is not far short of -2000 feet, and it is crowned with a fortress as it has been all through -history. From the summit we see the whole centre of Greece; even the -Parthenon itself, the centre of Greek artistic achievement. Here too is -the sacred spring Peirene, struck out by the hoof of Pegasus. - -The view here given towards the gulf shows Parnassus in the distance, -like a ghost. - -Athens is the heart of Greece, and Greece is the soul of mankind. No man -who loves what is beautiful, or who admires what is noble, can fail to -feel at home in Athens. Here in this little plain, girt with purple -mountains, lived those men who discovered human reason, who showed how -to express man's greatest ideas, who pitted courage and intellect -against brute force, who for a few short years lived the fullest life -possible for mankind: we have lived on their thoughts ever since. - -The beauties of the place have been often sung: they are summed up in -one immortal phrase, "city of the violet crown." The continued changes -of colour, especially towards evening, in that clear air, with sea and -cloud and mountain, make the scene a continual delight. In the midst of -this fertile plain rises the sharp peak of Lycabettus, and beside it the -buttressed Acropolis, from which the temples grow like flowers. And from -every side this is a landmark: whether from Aegina opposite, or from -some frontier fortress like Phyle, or even from Acrocorinth, this rock, -not high in itself, stands out to the view, and makes us remember -Athens. Here, more easily than anywhere, can we see how the Greek -architect saw each building as part of a whole. I have already spoken of -the refinements of the Parthenon, and how it is set with regard to the -sunlight: but the Parthenon is only one of a group of temples. There yet -remain a great part of the Erechtheum, the oldest shrine on the -Acropolis, and site of the King's house before history began: and a -little shrine of Victory, built on a bastion of the rock. But there were -others; and the whole precinct was entered by the Propylaea, which also -remains in part, to which led a flight of steps. The idea of this -gateway was a stroke of genius. The visitor entering by it saw the whole -mass of buildings as it were framed by the marble pillars and -architrave; and if he turned, he looked out through the same frame upon -the plain and the sea, the strait of Salamis, with the island beyond it. -The rock falls steep under the gate, so there is nothing to bar this -view, which must have reminded the Athenian of the great past every time -he looked forth from it. To the right, as one looks out of this gateway, -lies the spur of the Areopagus, seat of that most ancient court and -council, upon which place St. Paul told the Athenians of the Unknown -God. To the left, but not visible, is the precinct of Dionysus, with the -theatre. Straight ahead, the ancient Athenian would see the long walls -joining his city to Peiraeus and the sea, where in fortified harbours -lay his mighty fleets. Over the market-place westward he could see the -Dipylon Gate with its place of tombs, and the sacred way leading to -Eleusis and the Mysteries. Eastward lies Hymettus with its honey-bees; -northwards Lycabettus, where the Persian host was first sighted pouring -over the hillside, and beyond it Pentelicon, that looks down on Marathon -plain; north-westwards are the hills of Acharnae, where the fires of the -invading Spartans were first seen in that war which ended the greatness -of Athens. And all round about are caves and clefts and shrines that -belonged to the immemorial religion of the place, each linked with -memories, many with immortal works of literature. We can no longer know -the magnificence of the past; but we can name many of the things that -were seen there, from the description of Pausanias which has come down -to us. - -Up this slope, once in every four years, after the games, came the great -procession of the Panathensae, which is portrayed for us on the frieze of -the Parthenon itself. Was there ever such a picture of beauty and -strength and life? There went the victors, crowned and rejoicing; the -flower of the Athenian cavalry, such men and such horses as the world -can show no finer (see them on the Parthenon frieze!), all the chief -soldiers and statesmen, elders bearing branches of olive, the fairest of -Athenian women with baskets upon their heads, and the sacred robe to be -offered to the most ancient and reverend image of Pallas, borne as the -sail of the Panathenaic ship. The whole scene is portrayed upon the -sculptured frieze of the Parthenon. One of the plates in this book -represents the modern idea of a religious festival, and the hundreds of -dotted figures give a far-away notion what this great day must have -looked like. But how faint! These dark-clad forms have not a hint of the -gorgeous colour of the ancient world. On the Acropolis, too, was held -the feast of Brauronian Artemis, when the little Athenian maidens -dressed up in bearskins for some mysterious ceremony. Here was the mark -of Poseidon's trident, under the Erechtheum; here was Athena's sacred -olive-tree, and her snakes. And the whole place crowded with statues and -offerings, and inscriptions carved on stone, treaties of peace, and -records of honour--the history of Athens open for all to read. - -The story of the Athenian Acropolis is unique amongst its fellows, while -at the same time it sums up the history of the Greek states. It is -unique, because here alone, it seems, a state existed from the beginning -to the end without violent interference. Many Greek sites were occupied -in the Pelasgian age, when Crete was mistress of the Aegean, and later -when its place was taken by Mycenae and the cities of the mainland: but -the country was swept later by the Achaeans, and after them by the -Dorians, who naturally chose the more fertile and wealthy places to stay -in. So the Acropolis was the site of a royal palace and a Pelasgian -settlement; but the ancient population was here never displaced, it was -only added to and changed gradually. Attica did not tempt the invader as -other plains did; nor did her rulers grow too rich and destroy each -other for greed; but her land was the refuge of strangers. Her ancient -civilisation and art remained untouched by the ravages of war, and her -people always prided themselves on being [Greek: ahythochthones]--born -of the very soil. Perhaps this unbroken tradition explains the -prominence of Athens in the arts. Here too, the worship of Athena joined -the older worship of Poseidon, without rooting it up, and both -flourished side by side. Then came the great dynasty of the tyrants, -Peisistratus and his family, who made the city magnificent with -buildings and engineering works, and attracted to their court the finest -intellects of their day. The huge underground aqueduct which has lately -been dug out belongs to this time, the sixth century before Christ. - -Peisistratus is followed by Solon and the reign of law: and when the -barbarian came, it was Athens who barred his path and drove him back at -Marathon and at Salamis. Xerxes burnt the city, but he did not destroy -Athens, for the people had left it for the time; and when they returned, -they built up their fortifications with the ruins of their temples and -monuments, as they may still be seen piled slab on drum by the visitor -of to-day. Xerxes burnt all he found, but he only cleared the ground for -a finer art, which at once filled the empty spaces with buildings and -monuments of a nobler kind, the remains of which we now see. Great names -now stand out in plenty, Miltiades, Themistocles and Aristeides, -Pericles and Pheidias and Ictinus; Plato over yonder in the olive groves -of Academeia, Aeschylus and Sophocles, Euripides and Aristophanes in the -theatre or the winepress; Socrates walking the streets, or conversing in -agora or gymnasium; Demosthenes moving men's minds in the Pnyx. When -Athens fell, her conqueror spared her with a generosity not usual in -those days; so it came about that her buildings remained for many -hundreds of years, and the Parthenon even lasted through the devastating -ruin of the Turks, until a Venetian shell dropped upon it and blew it up -(1687). There is no use in trying to record what the Acropolis of Athens -calls to mind: it is the best of what educated men know. - -Fair and goodly in life, the Athenians were also fair in death. Without -the gate, on the sacred road to Eleusis, lies the place of tombs. Not -bare slabs are these, nor broken columns; here are no wreaths of -artificial flowers, no ugliness and gloom, for the tombs are monuments -of grace. Many, indeed, are quite simple, in shape of vases or the like; -but others show delicate reliefs, with the dead in their habit as they -lived--the woman at her toilet, the warrior on his horse, or one seated -in a chair and clasping hands with his friends as they say, Fare you -well! The inscriptions are as simple as they can be: no sentiment and no -preaching, but a manly acceptance of fate, an honest regret for life, or -the bare name. The reader who wishes to learn how the Greek looked on -death, would do well to read the epitaphs in the Greek anthology. Here -in the place of tombs we cannot fail to remember that scene which -Thucydides describes: how in each year of the war the bodies of those -slain were buried with public honour, and Pericles or some notable man -pronounced their eulogy; and in that speech of Pericles we may read in -brief the ideal of the Athenian. - -From this place led forth the Sacred Way, over the hills to Eleusis, -where perhaps more than anywhere else in the Greek world those higher -emotions were aroused which we associate with religion. In the ritual -these were lacking; and philosophy was sceptical rather than religious, -except with a rare soul now and then, a Socrates or a Plato, with whom -feeling and intellect seem to be fused into one force. But the -Eleusinian mysteries gave what both philosophy and ritual lacked. They -were mysteries in so far that no one might reveal them unlawfully; but -not in the sense of a riddle or a concealment, for all Greeks might -qualify for admission. The ancient mysteries recall more the Freemasons -than anything else we know. Their origin is lost in darkness, and they -lasted long after all else in Greece was dead, when Alaric the Goth in -396 did what Goths do in all ages--destroyed, but built not up. There -were rites of purification, and two stages of initiation; first, usually -as a child, and later into the higher grades as a man or woman. There -were two Mysteries: the Lesser, celebrated by the Ilissos bank and close -under the Acropolis, being usually a preliminary to the Greater at -Eleusis. What the mysteries were, we know not: the secret has been kept, -although Clement of Alexandria was initiated before he became a -Christian, and he tells us whatever he thinks will discredit them. -Undoubtedly, they included dramatic representations, which struck awe -and admiration into the observers; but the inner meaning of these was -known only to the Hierophant, who revealed it to those whom he thought -fit to receive it. And now the gorgeous ceremony is over, priests and -worshippers have for ever gone, and nothing remains but the pavement of -the temple, with a tiny church of the Virgin perched on a bluff above -it. - -Aegina, like all else in Greece, is small, only about forty square -miles; yet Aegina has left her mark on history. Here, according to the -tradition, Pheidon, tyrant of Argos, first struck coins in Greece. -Whether it was so or not, Aegina was a centre of trade very early, and -founded a famous city, Naucratis, in North Africa, Cydonia in Crete, and -another in Umbria: the Aeginetan tortoise, the Athenian owl, and the -Corinthian horse were the three types of coins best known to the Greek -world, passing everywhere as good. Aegina was also famous for the arts, -especially sculpture. Before the Persian wars Aegina came into conflict -with Athens: Pericles called it the eyesore of the Peiraeus, before it -was conquered and colonised by Athenian settlers. The temple which still -remains, was not in the chief town, but in a lonely spot amidst the wild -woods. It was sacred to Aphaia, not to Zeus--so Furtwaengler infers from -inscriptions found there--but we know nothing of its building. The -pediments, which appear to represent scenes from the Trojan wars, are -remarkable in the history of sculpture; they are now at Munich. Close by -the beach at which we land is a small rocky islet, upon which lives a -lonely hermit in a hut made with his own hands. If at Eleusis we think -of exalted religious emotion, Delphi puts every man in awe. Well was the -spot chosen for the most famous oracle of antiquity: it needs no help of -man to show the powrer of God. But here, as everywhere in Greece, the -awe is not too great for humanity to bear: it is not the crushing sense -of impotence in the face of natural forces that one feels in the Alps or -the Himalayas, it is the awe that may be felt for a being both mighty -and kindly. Human beings may live here and be happy; they may mount -above the cleft and the shining rocks, and still live and be -happy--indeed, those uplands were the scene of many a merry revel when -the Greeks worshipped their gods. But the great black rocks above -Delphi, themselves only the foot of the approach to Parnassus, are awful -enough to make them a fit habitation for a god. I shall never forget my -first visit to Delphi. It was winter: I rode from Lebadeia to Arachova -over the rocky and precipitous paths, and past the Cloven Way where -OEdipus slew Laius, through a blinding storm of rain and snow. Next -morning the sky was clear as in springtime, and a bright sun shining, -and a short ride brought us to the top of the valley, whence could be -seen a plain covered with olive trees which seemed from that height like -a flood rolling up the valley from the plain. But Delphi's rock was grim -and gloomy as ever over this bright scene. In Delphi was an oracle from -time immemorial; the legends told of it show that the Greeks found one -already on the spot. According to the Homeric Hymn, which we may -rationalise if we like, Apollo found the place possessed by a huge -serpent, which he slew, and as the body rotted ([Greek: phythein]) the -place got the name of Pytho. Here was the Omphalos, or navel-stone, -marking the centre of the earth; and the sacred spring Castalian rose -between the cleft rocks. The Pythia, or priestess, would seat herself on -a tripod over a chasm within the temple, and her ravings contained the -god's answer; but it must be interpreted by the prophet, who stood by -her side. Since the oracle was consulted by great and small, the priests -were able to exercise a strong influence on politics; and their -influence was generally for good, until the mind, of Greece outgrew -oracles. Recorded answers do not explain the repute of the oracle, or -its influence; and the tablets that have actually been found here and at -Dodona are mostly questions on personal or trivial subjects. Perhaps -that was the most far-reaching of its behests when Sparta was commanded -to free Athens from her tyrants; and its most noteworthy revelation, -that Socrates was the wisest of men. One of Herodotus's best stories -tells how Croesus consulted the oracle, and what came of it. Twice -Delphi was miraculously saved from pillage: once when the army of Xerxes -was driven back by falling rocks, and once when a storm beat off the -Gauls. Philip made it a pretext for interfering in the affairs of -Greece; but then he would have found a pretext somewhere in any case. -The Pythian Games were celebrated here every two years. Sulla plundered -the treasures, and so did Nero; Constantine carried off what he could -find to Constantinople, where one still stands: the base of the golden -tripod dedicated after the defeat of the Persians, three bronze snakes -intertwining, and engraved with the names of Greek tribes who took part. -The oracle lost its high standing about the time of the Peloponnesian -War, but it continued to be consulted, until it was silenced by -Theodosius. - -Pausanias gives a description of the chief things to be seen in this -holy place. Before the excavations, a Greek village covered the site; -but now this has been removed, we can tread on the ancient pavement, and -see the places where many of the objects once stood. Here, as at -Olympia, the great states had their treasuries, one of which has been -built up out of its fragments. - -High above Delphi, on a mountain that rises out of the uplands, not far -from the peaks of Parnassus, is the Corycian cave, famous in legend, -sacred to Pan and the Nymphs; here and hereabouts were celebrated the -revels of Dionysus, which readers of the Ion will remember. - -The temple of Olympian Zeus at Athens was begun by Peisistratus, and -partly built, but it was never finished in its original Doric style. -Antiochus Epiphanes planned it afresh, and a Roman architect, Cossutius, -partly built it in the Corinthian style. Probably the columns that now -stand were put up by him; some of the remains of this earlier building -are used as foundations for these. When Antiochus died (B.C. 164), it -was left again unfinished, until Hadrian finished it. These columns are -regarded as the finest specimens of the Corinthian style. Rich as the -effect of this style is, it does not satisfy eye and mind as the Doric -does, or indeed the Ionic: of all things, leaves are least suitable to -the nature of stone. - -Sunium, founded in the Peloponnesian War to protect the corn-ships, was -near the silver-mines; it was an important fortress, but its prosperity -did not last long. The temple was dedicated to Athena. Here the salt sea -winds have made the columns white, in contrast to the rose-pink of the -Parthenon. - - - - -I - -AETNA OVER TAORMINA - -I AETNA OVER TAORMINA - -FOR years I wanted to make this drawing--and for days after I reached -Taormina I had to wait before I could make it: for a curtain of mist -hung over the sea and land. Then suddenly in all its glory the great -white, snowy cone, borne on clouds, came forth above the sea and shore. -And Hiroshige and Claude and Turner never imagined or dreamt of anything -so glorious--and I had it all to myself, for it was tea-time. - -[Illustration] - - - - -II - -THE THEATRE, SEGESTA - -II THE THEATRE, SEGESTA - -NOTHING, not even Taormina, is more magnificent than the set scene of -the Theatre; how poor and mean must have been the forgotten mummers! The -scene will exist till the end of time--even though scarce anyone climbs -the mountain-side and, fagged out, drops in one of the thousands of -empty seats hewn in the living rock, which will never again be filled. - -[Illustration] - - - - -III - -THE TEMPLE OVER THE CANYON, SEGESTA - -III THE TEMPLE OVER THE CANYON, SEGESTA - -EVERYONE advised me to go to Segesta, and I am glad I went; but I should -never have known how wonderfully the Greeks made architectural -compositions if I had not seen the Grand Canyon. There I saw Nature's -compositions: here was one made by man--finer, though not so big--for -bigness has nothing to do with art. - -[Illustration] - - - - -IV - -FROM TEMPLE TO TEMPLE, GIRGENTI - -IV FROM TEMPLE TO TEMPLE, GIRGENTI - -NOT only are the lines of the hills, looking toward the sea, perfect, -but the builders of these, as of all the temples, took advantage of the -lines in the landscape, making the temple the focus of a great -composition; an art no longer practised; but the temples of the gods of -Greece were more important than the notions of local politicians and -land-owners and architects. - -[Illustration] - - - - -V - -THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -V THE COLUMNS OF CASTOR AND POLLUX, GIRGENTI - -THIS is not a restoration, but a re-building. The rebuilders worked -better than they knew, and made a delightful--and popular--subject for -every artist who goes to Girgenti. - -[Illustration] - - - - -VI - -SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -VI SUNRISE BEHIND THE TEMPLE OF CONCORD, GIRGENTI - -THE Land of Temples is the land of effects--and they must be seized when -they are seen. I had no idea of making this drawing; but as I reached -the temple, the sun rose behind it, and I never saw it so huge, so -mighty, as that morning. So I drew it--or tried to--while the effect -lasted. - -[Illustration] - - - - -VII - -THE TEMPLE BY THE SEA--TEMPLE OF CONCORD, GIRGENTI - -VII THE TEMPLE BY, THE SEA--TEMPLE OF CONCORD, GIRGENTI - -I HAVE never seen long, level lines of temple, land, and sea so -harmonise and work into a great composition as at Girgenti. - -[Illustration] - - - - -VIII - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -VIII THE TEMPLE OF CONCORD ON THE WALL FROM WITHIN, GIRGENTI - -HOW it piles up! What a perfect goal for the pilgrim; so noble is the -sight, he must in awe have mounted to it on his knees. - -[Illustration] - - - - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -IX - -THE TEMPLE OF CONCORD ON THE WALL FROM WITHOUT, GIRGENTI - -WHEN the glow of the sunset falls on it, and when the shadows block out -the great rifts in the walls--walls which are like cliffs--and when the -tourists and archaeologists have gone to dress for dinner and left one -alone, one learns in the silence that the Greeks were divine artists. - -[Illustration] - - - - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -X - -COLUMNS OF THE TEMPLE OF JUNO, GIRGENTI - -AS the sun sinks into the silent sea, these battered, beaten columns -take on a dignity which proves how impressive this temple was when their -art was a living thing. Only from within comes a voice, in English or -American, which proves that art is dead--Greek art. - -[Illustration:] - - - - -XI - -THE TEMPLES ON THE WALL, GIRGENTI - -XI THE TEMPLES ON THE WALL, GIRGENTI - -THERE they stand on the outer walls, the long line of them--and there -are more than I have drawn; but how magnificently they stand--these -everlasting monuments to great art. - -[Illustration] - - - - -XII - -THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -XII THE TEMPLE OF JUNO FROM BELOW, GIRGENTI - -OUT of the dark river-bed and the huge boulders: some real, some blocks -that have fallen from the wall above, slid down the high scarred hill -and come to rest in confusion at the bottom. Above the shattered wall -silently stand in the pale morning light the long line of pillars of the -temple. And all the while I drew, the Sicilian glared at me from behind -the great rocks, and I was glad when I had finished and could come -away. - -[Illustration] - - - - -XIII - -PAESTUM. MORNING MIST - -XIII PAESTUM. MORNING MIST - -WHEN, after a night of horrors at the inn of Paestum, I rose before day, -the temples were veiled in mist; the fences were lost; the factory -chimney had vanished--the guardians were asleep--the place seemed far -away; but soon a motor hooted and an engine whistled, the mists -vanished, the guardians came out, the tourists flocked in; the sadness, -the loneliness of Paestum are gone with the malaria and the -buffaloes--only the mosquitoes remain. - -[Illustration] - - - - -XIV - -PAESTUM. EVENING - -XIV PAESTUM. EVENING - -ONLY in the mists of the morning and the glow of the evening is Paestum -impressive any more. It is dignified, but the mystery and melancholy -have gone. - -[Illustration] - - - - -XV - -CORINTH TOWARDS THE GULF - -XV CORINTH TOWARDS THE GULF - -HERE the builders had tried for a wonderful scheme, and worked it out -wonderfully, light against light--the glittering temple against the -gleaming sea--the rigid, solid lines of the building telling against the -faint, far-away, half-revealed, half-concealed silhouettes in form and -colour of the mountains; over whose sides the cloud-shadows slowly -moved. On one side my countrymen have built a shanty where they lived -while excavating; on the other is a bare barrack, in which they have -stored the stuff they have found. From the village Square, this museum -completely hides the temple; but Greece was so much finer before it was -discovered by archaeologists--or by most of them--for most of them have -no feeling at all for the art they have dug up. - -[Illustration] - - - - -XVI - -ACRO-CORINTH FROM CORINTH - -XVI ACRO-CORINTH FROM CORINTH - -THE way the great mountains pile up behind the great temple is most -impressive. - -[Illustration] - - - - -XVII - -OLYMPIA FROM THE HILLSIDE - -XVII OLYMPIA FROM THE HILLSIDE - -THE Olympian groves are a fraud; they are mere bushes and only hide the -temples amid which they sprout; but by dodging around the hillside one -can see how finely the temples were placed and how lovely were the lines -of the meandering river backed by the beautiful, ever-changing coloured -mountains. - -[Illustration] - - - - -XVIII - -THE TEMPLE OF JUPITER. EVENING - -XVIII THE TEMPLE OF JUPITER. EVENING - -NIGHT was falling as I was coming back from drawing by the river -Ilissos. The subject was the most impressive I saw in the Land of -Temples, and in the gathering darkness I drew it as well as I could. - -[Illustration] - - - - -XIX - -THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -XIX THE ACROPOLIS FROM THE TEMPLE OF JUPITER, ATHENS - -THERE is as much charm in the clearness of the day as in the mystery of -the night, in the Land of Temples. And though I only moved from one side -of the columns to the other, when I drew the Temple of Jupiter, Evening, -the composition is as different as the effect. - -[Illustration] - - - - -XX - -THE WAY UP TO THE ACROPOLIS - -XX THE WAY UP TO THE ACROPOLIS - -THE fragment of the steps that is left shows how imposing the whole must -have been. In making this lithograph I could not help noting--though I -did not put them in--the endless races that mounted; and although the -costume of each group changed, and often the nationality and language, -there was almost always someone amongst them who could read the ancient -Greek of the tablets built into the wall; and always the whole party -seemed to under-stand it. But the modern Greek is, I imagine, the -greatest reader in the world--at any rate of newspapers. - -[Illustration] - - - - -XXI - -DOWN FROM THE ACROPOLIS - -XXI DOWN FROM THE ACROPOLIS - -BETWEEN Athens, the pavement of the Temple of Nike, and the roof of the -Temple of Theseus, there is a great gulf fixed, and this gives an -amazing idea of height and depth; and beyond, stretching to the -mountains, with the feeling of the sea beyond that, is the sacred way. -It is the way to Eleusis and the Sea. From the road, as it mounts the -distant hills, the way leads straight to the Acropolis, which grows more -and more impressive and imposing as you approach, till modern Athens -hides it. - -[Illustration] - - - - -XXII - -SUNRISE OVER THE ACROPOLIS - -XXII SUNRISE OVER THE ACROPOLIS - -EVERY morning the sun, coming in at my bedroom window, woke me when it -touched the topmost part of the Parthenon; and then the light spread -down to the battlements, then to the cliffs, showing the horrid caves -and strong ribs over and upon which the fortress temples stand; and by -the time the sun had reached the forum, the forum woke up and all the -beauty fled--till another day. - -[Illustration] - - - - -XXIII - -STORM BEHIND THE ACROPOLIS - -XXIII STORM BEHIND THE ACROPOLIS - -AND when the clouds of a spring afternoon gather behind the Acropolis, -you realise why it was built on that barren rock: because the builders -saw it would be the most impressive shrine on this earth. - -[Illustration] - - - - -XXIV - -THE PROPYLAEA, ATHENS - -XXIV THE PROPYLAEA; ATHENS - -THIS is pure architecture; it interested me. I tried to draw it, as it -looked to me; but no draughtsman--no painter, either--will ever get that -wondrous warm glow which seems to come from within the walls and suffuse -them with light and colour. - -[Illustration] - - - - -XXV - -THE PORTICO OF THE PARTHENON - -XXV THE PORTICO OF THE PARTHENON - -THIS is the greatest architectural art in the world. - -[Illustration] - - - - -XXVI - -THE PARTHENON FROM THE GATEWAY - -XXVI THE PARTHENON FROM THE GATEWAY - -DID these temples always grow out of the bare rock as now, or was the -rock, too, overlaid with marble pavements? It must have been, for it is -incredible that people with such a sense of beauty should have built -such beautiful things on a stone pile. - -[Illustration] - - - - -XXVII - -THE FACADE OF THE PARTHENON. SUNSET - -XXVII THE FACADE OF THE PARTHENON. SUNSET - -JUST as the bell rings at sunset, from between a rift in the clouds of -the spring evening the last ray of the setting sun strikes the pediment -of the Parthenon. And against the black clouds over the mountains, it is -transfigured, and then slowly one leaves--turning from the wonder of -man's work to the wonder of God's sunset, and the wonder of the -afterglow over Eleusis. - -[Illustration] - - - - -XXVIII - -THE FALLEN COLUMN, ATHENS - -XXVIII THE FALLEN COLUMN, ATHENS - -ON either side of the Parthenon the columns thrown down by the explosion -of a powder magazine within, are lying, not as they fell, but each -section carefully rolled into its proper place. The disorder at Olympia, -when earthquakes destroyed the temples, is far more convincing and -impressive, for there the columns lie in confusion, here in -archaeological order. - -[Illustration] - - - - -XXIX - -THE LITTLE FETE, ATHENS - -XXIX THE LITTLE FETE, ATHENS - -A LITTLE fete of some sort was being held at the little church by the -little river, and the way to it was lined with them that sold things; -beyond was the rocky river-bed; then the Temple of Jupiter; and away -above all, the Acropolis--framed in by the black trees, the most -romantic subject I ever saw. - -[Illustration] - - - - -XXX - -THE GREAT FETE, ATHENS - -XXX THE GREAT FETE, ATHENS - -ON the afternoon of St. George's Day I wandered out of the city up to -the Acropolis, and found the whole plain and the approaches crowded; -while the stairs were black with people, and so were the lofty -platforms. The fete that afternoon, as I saw it from Mars Hill, was more -real than any restoration or imaginations. - - - - -XXXI - -THE TEMPLE OF NIKE, ATHENS - -XXXI THE TEMPLE OF NIKE, ATHENS - -ONE has but to cross to the other side of the Propylaea from the top of -the steps--from the great platform and altar before the wall, to find an -equally inspiring--or inspired--arrangement. For there is no accident in -these compositions. The way the line of the sea cuts blue against the -white temple walls and shows through the columns at either end, and the -way the nearer hill of Lycabettus piles up dark against the shining base -on which the temple stands and that is accented, too, by the one dark -note of the theatre--though it is later that one sees these arrangements -were not accidents. These things were all thought out by the builders of -Temples. - -[Illustration] - - - - -XXXII - -THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -XXXII THE TEMPLE OF NIKE FROM MARS HILL, ATHENS - -THIS is the grandest grouping of the Acropolis. The way in which the -whole, in solemn square masses, piles up--the temple dominating all--is -marvellous. It is finer, I am sure, in ruin, than ever it was in -perfection. - -[Illustration] - - - - -XXXIII - -THE ODEON, ATHENS - -XXXIII THE ODEON, ATHENS - -LOOKING down from the Acropolis, one sees the theatre--even the Greeks -mostly placed the theatre before the temple. But what I saw that -afternoon was a school of small Greek boys studying and reciting in the -Odeon, because the school had been taken for barracks. But as a soldier -said to me, Mars was more real to him than the Turks he had been -fighting. - -[Illustration] - - - - -XXXIV - -THE STREET OF THE TOMBS, ATHENS - -XXXIV THE STREET OF THE TOMBS, ATHENS - -TO be buried under the shadow, or in sight of the Acropolis must have -been glorious. Nowhere else is there such a decorative arrangement of -death. - -[Illustration] - - - - -XXXV - -ELEUSIS: THE PAVEMENT OF THE TEMPLE - -XXXV ELEUSIS: THE PAVEMENT OF THE TEMPLE - -SWEPT away is everything, mysteries and all--all that remains is the -great pavement on which stand the stumps of columns; yet I doubt if it -was finer ever. And the long drive out over the sacred way, the long, -quiet day; and the long drive back, with the Acropolis growing more and -more majestic in the twilight, were perfect. - -[Illustration] - - - - -XXXVI - -AEGINA - -XXXVI AEGINA - -ONLY at Aegina, so far as I have seen, is there a real--yet it is so -beautiful it seems unreal--forest in Greece. Nowhere in the world do the -trees in dense, deep shade so cover the slopes that lead down, almost -black, to the deep blue sea; and where have I ever seen such a contrast -between the bosky woods and the barren cliffs that tower above them? And -all this is but a background for one of the most beautiful temples in -this beautiful land, placed perfectly, by the greatest artists of the -past, in the most exquisite landscape. Yet the guardian told me I was -the third person who had visited Aegina between January and April last -year. - -[Illustration] - - - - -XXXVII - -AEGINA ON ITS MOUNTAIN TOP - -XXXVII AEGINA ON ITS MOUNTAIN TOP - -AS, after the long ride across the island, ever climbing, one comes from -the dense wood, suddenly in front is the splendid pile, on either side -the forest, beyond the sea; and in the airy distance, Athens and the -Acropolis. - -[Illustration] - - - - -XXXVIII - -THE SHINING ROCKS, DELPHI - -XXXVIII THE SHINING ROCKS, DELPHI - -AFTER I had made this drawing, after I had had it transferred to stone -and printed, I showed it to the Director of the Greek School, and he -said: "Why, you have drawn the Shining Rocks." All I tried to do was to -draw Delphi and the rocks behind the ruins. That in the light the rocks -did shine was nothing to me, save that they showed the way the cliffs -were built up. I have since learned, however, that I have shown one the -great things of Greece. - -[Illustration] - - - - -XXXIX - -THE TREASURY OE ATHENS, DELPHI - -XXXIX THE TREASURY OF ATHENS, DELPHI - -THE Treasury is a restoration; but, even so, it is charming, standing by -the rough paved way, which is bordered by the semi-circular seats, -placed always with the most wonderful views before them, and backed by -the black mountains, up whose sides wind trails leading, in the spring, -to the clouds. The loneliness of the land, and the hugeness of the -temples and theatres built to hold the people who are no longer there, -was intensified last year when all the able-bodied men had gone to the -war, and the land was desolate, - -[Illustration] - - - - -XL - -THE WINE-DARK SEA, SUNIUM - -XL THE WINE-DARK SEA, SUNIUM - -FROM without and from within, either bright against the dark waters, or -dark against the bright sea, the Temple of Poseidon piles up. One could -stay on that mud-swept, sun-beaten headland for months; but without a -camp, one can only stay a day. - -[Illustration] - - - - - - -End of Project Gutenberg's In the Land of Temples, by Joseph Pennell - -*** END OF THIS PROJECT GUTENBERG EBOOK IN THE LAND OF TEMPLES *** - -***** This file should be named 40578.txt or 40578.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/5/7/40578/ - -Produced by Chuck Greif (This file was produced from images -available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/40578.zip b/old/40578.zip Binary files differdeleted file mode 100644 index fbe0790..0000000 --- a/old/40578.zip +++ /dev/null diff --git a/old/readme.htm b/old/readme.htm deleted file mode 100644 index 6eb8ff3..0000000 --- a/old/readme.htm +++ /dev/null @@ -1,13 +0,0 @@ -<!DOCTYPE html> -<html lang="en"> -<head> - <meta charset="utf-8"> -</head> -<body> -<div> -Versions of this book's files up to October 2024 are here.<br> -More recent changes, if any, are reflected in the GitHub repository: -<a href="https://github.com/gutenbergbooks/40578">https://github.com/gutenbergbooks/40578</a> -</div> -</body> -</html> |
