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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. 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