{"1": {"fulltext": "", "height": "2926", "width": "1923", "jp2-path": "someoldmastersof00doug_0001.jp2"}, "2": {"fulltext": "V* o .0 O rf s\\n^V\\n^0*\\n-J\\n\\\\V n*. A J M o y O\\nV V", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0002.jp2"}, "3": {"fulltext": "a\\\\ _ aV\\ne \u00e2\u0080\u00a2ft^^-,* A* fc J#\\\\\\no V\\n.0 v-\\no* Ta A 0,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0003.jp2"}, "4": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0004.jp2"}, "5": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0005.jp2"}, "6": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0006.jp2"}, "7": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0007.jp2"}, "8": {"fulltext": "TROPHONIUS SLAYING AGAMEDES AT THE TREASURY OF\\nIIYRIEUS.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0008.jp2"}, "9": {"fulltext": "SOME OLD MAS-\\nTERS OE GREEK\\nARCHITECTURE\\nBy HARRY DOUGLAS\\nCURATOR OP\\nKELLOGG TERRACE\\nPUBLISHED KT THE\\nQURRTCR-OAK\\nGREAT BARRINGTON,\\nMASS., 1599", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0011.jp2"}, "10": {"fulltext": "O COPIED\\nLibrary of Ca BgM\\nQfflco of the\\nH*gl*t9r of Copyright*\\n54865\\nCopyright, 1899,\\nBy HARRY DOUGLAS.\\nSECOND COPY.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0012.jp2"}, "11": {"fulltext": "O EDWARD\\nTRANCIS\\nSCARLES\\nWHOSE APPRECIATION OF THE HARMONIES OF ART, AND\\nWHOSE HIGH IDEALS OF ARCHITECTURE HAVE FOUND\\nEXPRESSION IN MANY ENDURING FORMS, THIS BOOK IS\\nRESPECTFULLY INSCRIBED.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0013.jp2"}, "12": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0014.jp2"}, "13": {"fulltext": "PBEERCE\\nTub temptation to wander, with all the recklessness\\nof an amateur, into the traditions of the best architec-\\nture, which necessarily could be found only in the his-\\ntory of early Hellenic art, awakened in the author a\\ndesire to ascertain who were the individual artists\\nprimarily responsible for those architectural standards,\\nwhich have been accepted without rival since their crea-\\ntion. The search led to some surprise when it was found\\nhow little was known or recorded of them, and how\\ngreat appeared to be the indifference in which they\\nwere held by nearly all the writers upon ancient art,\\nas well as by their contemporary historians and biog-\\nraphers. The author therefore has gone into the field\\nof history, tradition and fable, with a basket on his arm,\\nas it were, to cull some of the rare and obscure flowers\\nof this artistic family, dropping into the basket also\\nsuch facts directlv or indirectly associated with the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0015.jp2"}, "14": {"fulltext": "VI PEEFACE.\\narchitects of ancient Greece, or their art, as interested\\nhim personally. The basket is here set down, contain-\\ning, if nothing more, at least a brief allusion to no less\\nthan eighty-two architects of antiquity. The fact is\\nperfectly appreciated that many fine specimens may\\nhave been overlooked that scant justice has been done\\nthose gathered, and that the basket is far too small to\\ncontain all that so rich a field could offer.\\nThis book, therefore, aims at nothing more than a\\nsuperficial glance at the subject, and the author will be\\ncontent if he has accomplished anything toward bring-\\ning those great geniuses of a noble art into a little\\nmodern light, who have been left very much to them-\\nselves in one of the gloomiest chambers of a deep\\nobscurity.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0016.jp2"}, "15": {"fulltext": "CONTENTS\\nPAGE\\n1. Popular Appreciation of Architects, 1\\n2. Mythical and Archaic Architects and\\nBuilders, 24\\n3. Originators of the Three Orders, 49\\n4. Early Grecian Architects, 63\\n5. Architectural Epoch of Pericles, 90\\n6. Architects of the Age of Pericles, 103\\n7. Later Greek Architects, 136\\n8. Alexandrian Era, and Roman Spoliation, 148\\n9. Alexandrian Architects, 164\\nIndex of Architects and Architectural\\nSculptors, 185", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0017.jp2"}, "16": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0018.jp2"}, "17": {"fulltext": "CHAPTEE I.\\nThe Popular Appreciation of Architects.\\nIF all the fine arts none more completely answers\\n[for its raison d etre than architecture. In this\\n\u00e2\u0096\u00a0art alone do we find the harmonious mingling\\nof sesthetical fancy with utilitarian purpose. It is this\\nfeature of usefulness that completes its well-rounded\\nperfection, rather than detracts from it, and dignifies\\nits mission of existence. Architecture, in its capacity\\nto draw to its enrichment the other arts, may be com-\\npared to the polished orator, whose purpose is to sway\\nthe judgment of his audience by forensic effort, embel-\\nlishing his language with the flowers of rhetoric, adapt-\\ning his gestures to graceful emphasis, and controlling\\nhis voice to suit the light and shade of his thought. So\\nsculpture has been stimulated by architecture and has\\ncontributed to its ornamentation; painting has been\\ninvoked to the highest accomplishments, and music has\\nawakened within its walls voice and harmony. The\\nprogress of other arts depends on that of architecture,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0019.jp2"}, "18": {"fulltext": "A SOME OLD MASTERS\\nSir William Chambers very truly says. When build-\\ning is encouraged, painting, sculpture, gardening and\\nall other decorative arts flourish of course, and these\\nhave an influence on manufactures, even to the minutest\\nmechanic productions for design is of universal ad-\\nvantage, and stamps a value on the most trifling per-\\nformance.\\nIt is perhaps not a little odd that despite its pre-\\neminent inrportance, and the high rank which it has ever\\nassumed, from that early time when the first rays of\\ndawning civilization began to warm the latent germs of\\nculture and refinement in human nature, to the present\\nday, it is the only art that has not, with very rare and\\nisolated exceptions, stamped renown upon those who\\nhave practised it as a profession, and lifted the artist\\ninto the lasting remembrance and gratitude of the ad-\\nmirers of his works. How greatly the painter, the\\nsculptor, the musician, are identified with their arts, and\\nthe products of their brush, chisel or pen how great has\\nbeen their praise, how lasting and unstinted the esteem\\nin which they have been held but how reserved has\\nbeen the applause that has encouraged the architect who\\nhas given to the world the grand and noble results of his\\nskill and genius, and how soon he himself has been for-\\ngotten It happens only too often that it is the name of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0020.jp2"}, "19": {"fulltext": "OF GREEK ARCHITECTURE. 6\\nthe distinguished painter that stamps the value of his\\ncanvas rather than the merits of the picture itself. The\\ntitle of a beautiful piece of sculptured marble is not\\nasked with greater eagerness than that of the artist who\\ncreated it. Bach and Beethoven and Mozart are played\\nand sung to the popular audiences rather than their\\nfugues, their sonatas and their symphonies.\\nBut what is known of the artists who have reared the\\ngreatest monuments of enduring architecture Their\\npersonality, and even their names, appear to have faded\\nfrom popular recollection. This seems to have been\\nthe fact from the earliest days of the art in Greece and\\nBorne to the present time. The exceptions are so rare,\\nthroughout all the intervening ages, and the waving\\nprominence of the art, that they might almost be num-\\nbered upon the fingers of a single hand.\\nThe reader, if he is not a professional architect, or\\nan amateur who has read deeply in his favorite subject,\\ncan arrive at the truth of this seemingly exaggerated\\nstatement, if he will lay aside this book for a moment\\nand try to recall the names of the designers of some of\\nthe more conspicuous monuments of architecture he has\\nvisited at home or abroad.\\nI will erect such a building, but I will hang it up\\nin the air, exclaimed Michael Angelo when he saw the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0021.jp2"}, "20": {"fulltext": "4 SOME OLD MASTERS\\ndome of the Pantheon at Rome. The reader may re-\\nmember this boast of the great Renaissance genius, the\\nfulfilment of it in the colossal dome of St. Peter s, and\\nbe satisfied that his memory has captured one architect\\nof celebrity. If the beautiful Florentine campanile of\\nGiotto looms up in his recollection he will think at once\\nalso of that early artist, but perhaps not more so in con-\\nnection with that ornate tower than in association with\\nthe Pre-Raphaelites. Of course, he will not overlook\\nInigo Jones, whose very name is stamped upon the\\nmemory by reason of its peculiarity, or Sir Christopher\\nWren, the creator of St. Paul s, and the British idol. If\\nhe is an admirer of the picturesque architecture of\\nVenetian churches and palaces, the Italian Palladio\\nmay not escape him and if of French Renaissance, the\\nLouvre facade will possibly suggest Perrault, and the\\nParisian roofs Mansard. If he is a native of our\\nModern x\\\\thens, of course, the peril in which the\\nclassic front of the State House rested for a time, at\\nthe hands of a fin de siecle legislature, will not permit\\nhim to forget Bulfmch, and Trinity Church will bring\\nto memory the only Richardson. But aside from a few\\nnames such as have been mentioned, with possibly a\\nsprinkling of others fixed in the memory, by incident\\nor association, the average reader, however well ac-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0022.jp2"}, "21": {"fulltext": "OF GREEK ARCHITECTURE. 5\\nquainted he may be with the numerous luminaries of the\\nother arts, will be unable to say who was responsible for\\nthe beauty and nobility of many buildings that have in-\\ndividualized the cities and towns of their location to the\\nart-loving world. Who, for example, can tell of the\\nauthors of the cathedrals at Milan and Siena, Cologne\\nand Strassburg, Rheims and Amiens, Wells and Litch-\\nfield the Giralda at Seville the Church of the Invalides\\nat Paris the Strozzi Palace at Florence the Henry\\nVII. chapel at Westminster Abbey the much and justly\\nadmired south facade of the old City Hall in New York\\nGrace Church in that city the Capitol building in\\nWashington, or that model of colonial architecture in\\nAmerica, the Executive Mansion\\nIt is not, however, the purpose to here speculate too\\nextensively upon the apparent lack of justice on the\\npart of the general public which has been done the\\narchitects of all climes and times, but to gather together\\na few facts concerning the Old Masters of early Grecian\\narchitecture that are not popularly known, and recall\\nsome of the leading lights of that art so inimitably prac-\\ntised by the Hellenic people during their progress from\\narchaic darkness to the zenith of their aesthetic culture.\\nIt is but repeating a well-worn truth to say that the\\ninfluence of the early Grecian architects upon the fol-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0023.jp2"}, "22": {"fulltext": "O SOME OLD MASTERS\\nlowers of their art in all countries of recognized civilized\\nenlightenment, throughout the ages that have succeeded\\nthem, has been an almost dominant one. Robert Adam,\\nthe architectural authority in the time of George III.,\\nsays, in the introduction to his work on the ruins\\nof the palace of the Emperor Diocletian The build-\\nings of the ancients are in architecture what the works\\nof nature are with respect to the other arts they serve\\nas models which we should imitate and as standards by\\nwhich we ought to judge for this reason they who aim\\nat eminence, either in the knowledge or practice of\\narchitecture, find it necessary to view with their own\\neyes the works of the ancients which remain, that they\\nmay catch from them those ideas of grandeur and\\nbeauty which nothing, perhaps, but such an observation\\ncan suggest.\\nIt is equally true that no country that has experienced\\nan evolution in intelligence and culture, during the\\ntwenty-five hundred years that have fled since the time\\nof Pericles, has succeeded in introducing any new school\\nof architecture, that has not been compelled to draw\\nupon ancient Greece for many of the most important\\nand essential features of the art it could only modify,\\nbut never wholly re-create.\\nThe Gothic, or pointed-arch style, that sprung into", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0024.jp2"}, "23": {"fulltext": "OF GKEEK ARCHITECTURE. 7\\nsuch beautiful being in the thirteenth century, and\\nreigned a queen within the Christian countries of\\nEurope for several centuries thereafter, came more\\nnearly answering for an original scheme of architecture\\nthan perhaps any other of equal importance, and yet had\\nit been deprived of the Grecian props that helped to sus-\\ntain it, it must have fallen to the ground.\\nIn the Gothic the effort was made to incline the in-\\nherited principles of architecture more closely toward\\nthe spiritual progress of the people, but when at last it\\nhad run its course, and was dethroned, owing to a reali-\\nzation of the fact that even a closer allegiance to classic\\nmodels could be made to answer still better spiritual\\nrequirements, how completely did the artistic tempera-\\nment of the people revert to Greece and Rome, as the\\nlight of their returning inspiration and truth appeared\\nwith the dawn of the sixteenth century. Renaissance\\narchitecture and Renaissance art swept Eiirope like a\\nwave, and the people turned with reactionary enthusi-\\nasm to the ancient standards of art, as they did to the\\nstudy of classic authors, and to the writing of even\\nGreek and Latin verses.\\nThe debt of gratitude, therefore, which posterity has\\nowed the originators in ancient Greece of the three\\nnoble orders of architecture namely, the Doric, Ionic", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0025.jp2"}, "24": {"fulltext": "8 SOME OLD MASTERS\\nand Corinthian can scarcely be overestimated, for it\\nis to those three orders or styles that all subsequent\\narchitects have turned for the fundamental truths of\\ntheir art. They may not have followed each or all with\\nconventional strictness but they have not succeeded in\\nescaping from borrowing many of the features there\\neverlastingly fixed by the unerring geniuses of classic\\ntimes.\\nFamous Greece!\\nThat source of art, and cultivated thought,\\nWhich they to Rome, and Romans hither brought.\\nThe uses to which the Greek and Roman architectural\\nforms, principles and ornaments have been put since the\\nbirth of the Renaissance have broadened largely, and\\nwould seem to preclude any possibility of their ever\\nagain falling into even partial desuetude. It is not only\\nin the more pretentious buildings, monuments and orna-\\nmental structures that abound so plentifully in the pop-\\nulous and wealthy cities that classic models and fea-\\ntures are so liberally employed, but even the unpre-\\ntentious and simple rural homes cannot escape their use.\\nWhat is more common than the Doric mutule or\\nCorinthian modillion, so frequently seen in the cornices\\nof modern housed, or the Ionic dentils that show their\\nteeth below a piazza roof or over the door casing of a", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0026.jp2"}, "25": {"fulltext": "OF GREEK ARCHITECTURE.\\ncolonial dwelling? The various combinations of the\\nfret, the egg and dart, the bead and fillet, the honey-\\nsuckle, the acanthus and many other Grecian motifs of\\nornamentation, are met with constantly, not only in\\nbuildings of a public or private nature, but in furniture\\nand fresco, in interior decoration, and in enhancing the\\nattractiveness of almost any article of use or ornament.\\nEven the simple ogee moulding, which is employed, if\\nnowhere else, about the door panels of the humblest\\nabode, is classic in its origin, and had its archetype in\\nthe entablatures of those stately and beautiful temples\\ndedicated to the pagan gods of ancient Greece.\\nIt must not be inferred, however, that all the in-\\ndividual features employed in the Greek orders found\\ntheir birth in the brains of Hellenic architects. Sir\\nJeremy Bentham says\\nFrom Egypt arts their progress made to Greece,\\nWrapt in the fable of the Golden Fleece.\\nThis statement, however, though poetical, is much\\ntoo sweeping to be literally correct as to architecture.\\nThe Greeks borrowed a little a very little not only\\nfrom the Egyptians, but from the Assyrians, the Chal-\\ndeans, the Persians, and other western Asiatic races as\\nwell; but so altered what they had borrowed, so re-\\nfined it and entwined it with original conceptions of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0027.jp2"}, "26": {"fulltext": "10 SOME OLD MASTERS\\ntheir own, that the captive features could have returned\\nagain to their native lands without fear of detection.\\nIndeed as to the origin of some of the architectural fea-\\ntures which the Greeks are supposed to have taken from\\nthe countries of a more unrefined people to the south\\nand east of them, and especially as to the volute, so con-\\nspicuous in the Ionic capital, which is supposed to have\\nbeen a Persian conception, there is much dispute.\\nProfessor T. Roger Smith, of London, very truly ob-\\nserves We cannot put a finger upon any feature of\\nEgyptian, Assyrian or Persian architecture the influ-\\nence of which has survived to the present day, except\\nsuch as were adopted by the Greeks. On the other\\nhand, there is no feature, no ornament, nor even any\\nprinciple of design which the Greek architects em-\\nployed that can be said to have now become obsolete.\\nIn discussing the three primary orders of which men-\\ntion has been made, and to which he adds the Tuscan and\\nComposite, both of Italian or Roman origin, and closely\\ndependent upon the original three, Sir William Cham-\\nbers remarks: The ingenuity of man has hitherto not\\nbeen able to produce a sixth order, though large pre-\\nmiums have been offered, and numerous attempts been\\nmade by men of first-rate talents, to accomplish it. Such\\nis the fettered human imagination, such the scanty store", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0028.jp2"}, "27": {"fulltext": "OF GREEK ARCHITECTURE. 11\\nof its ideas, that Doric, Ionic and Corinthian have ever\\nfloated uppermost, and all that has been produced\\namounts to nothing more than different arrangements\\nand combinations of their parts, with some trifling\\ndeviations scarcely deserving notice the whole tend-\\ning generally more to diminish than to increase the\\nbeauty of the ancient orders. The suppres-\\nsion of parts of the ancient orders, with a view to pro-\\nduce novelty, has of late years been practised among us\\nwith full as little success and although it is not wished\\nto restrain sallies of imagination, nor to discourage\\ngenius from attempting to invent, yet it is apprehended\\nthat attempts to alter the primary forms invented by\\nthe ancients, and established by the concurring approba-\\ntion of many ages, must ever be attended with dangerous\\nconsequences, must always be difficult, and seldom, if\\never, successful. Thus is seen the marvellous discre-\\ntion and judgment exercised by the Grecian architects\\nin selecting from contemporary art that alone which\\nwas best to perpetuate, and thus is well expressed in the\\nstatement of indisputable fact, a tribute to their origi-\\nnality and creative genius.\\nAnd who were these Old Masters of classic architec-\\nture older in point of service to their art by thousands\\nof years than Giotto and Raphael and Michael Angelo", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0029.jp2"}, "28": {"fulltext": "12 SOME OLD MASTERS\\nand Inigo Jones and Sir Christopher Wren, and many\\nothers who might be mentioned, and who in campanile\\nand cathedral, in public building and private palace, in\\nmonument and mausoleum, have proved themselves\\njustly entitled to the laurels with which they have been\\ncrowned, but who nevertheless are but disciples of Hel-\\nlenic and Roman masters Where do we find the\\nbiographies of the original Old Masters of architecture\\nrecorded Where can we turn to read of their lives, of\\ntheir deeds and achievements, of their aspirations and\\nambitions, of their shortcomings and their foibles\\nWhere are written down those anecdotes and incidents\\nof personal interest, so entertaining in association with\\ntheir works or their art I What, in fact, were their\\nnames There is comparatively little recorded of the\\nlives of the Greek and Roman architects with which to\\nanswer these questions strange as it may appear, even\\ntheir names are unfamiliar, and in many important in-\\nstances are forgotten altogether. Among that large\\ngalaxy of brilliant men which Greece in her prime pro-\\nduced, who figured prominently in almost every walk\\nof life, who were great in war and in peace, in phi-\\nlosophy and poetry, in satire and history, in oratory and\\nvalor, and as great, if hot greater than in all, in statuary\\nand sculpture a galaxy clinging to the memory in all", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0030.jp2"}, "29": {"fulltext": "OF GREEK ARCHITECTURE. 13\\nages of human progress, because never excelled, the\\nname of a Grecian architect is a strange sound, and does\\nnot ring in tune, if it is ever heard at all, with the\\nnames enrolled upon the list of Greek immortals.\\nThe sculptors and statuaries of ancient Greece are\\nespecially well remembered in the popular mind, and\\nMyron and Phidias and Praxiteles and Polycletus call\\nfor no introduction to the ordinarily informed lover of\\nart not so the designer of the Parthenon or the Temple\\nof Theseus, or the Erechtheum, or the Choragic monu-\\nment of Lysicrates. It is strange that the artist who\\nmodelled or chiselled a bull or a cow or a Faun or a\\nnude Venus, or any pagan god or goddess, however\\nmuch we may praise the excellence of his skill, should\\nbe remembered by posterity, while the artist, his con-\\ntemporary, who designed the most beautiful and grace-\\nful buildings of all time, which in their glory were the\\npride of their people, and which in their decay and ruin\\nare still the loadstones that attract pilgrims from the\\nmost distant lands, is forgotten, and, it would appear,\\ndenied almost the humblest mention. Can it not be\\nsaid of the Grecian architects, as well as the Grecian\\nsculptors, that under the magic of their touch Stones\\nleap d to form, and rocks began to live Were not the\\ntemples they reared in all the pride of surpassing", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0031.jp2"}, "30": {"fulltext": "14 SOME OLD MASTEES\\nbeauty, which tempted the sculptor s caress on frieze\\nand pediment, and which gave shelter to those works of\\nthe statuary s art which Shakespeare recalls so vividly\\nwhen he draws the simile\\nThey spake not a word.\\nBut, like dumb statues, or unbreathing stones,\\nStared at each other, and look d deadly pale,\\nas much entitled to give immortality to their creators\\nas the works, however competitive, of other branches of\\nart to their authors And still so incidentally and in-\\ndifferently have the historians and biographers of their\\ntime alluded to the Grecian architects, that little or\\nnothing is to be found to quench that desire to know of\\nthem personally, which an interest in their grand\\nachievements may well awaken.\\nDid we not know it to be otherwise, we might think\\nthat they, too, were like the poor architect of whom\\nGoethe speaks He is employed in lavishing all the\\nluxury of his fancy upon halls from which he is to be\\never excluded, and display his ingenuity in bestowing\\nthe utmost convenience upon apartments he must not\\nenjoy. But it does not appear that any social discrim-\\nination was exercised against the Greek architects to\\ncast a shadow upon their present or future fame.\\nIt is popularly believed that the great buildings of the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0032.jp2"}, "31": {"fulltext": "OF GREEK ARCHITECTURE. 15\\nancient world were very long in the process of construc-\\ntion that they, in fact, took many decades and some-\\ntimes even hundreds of years to complete. If this were\\ntrue it might in a measure explain the obscurity in\\nwhich their architects have been left, inasmuch as the\\noriginal designer of the building might have been for-\\ngotten ere the last of his successors had finished the work\\nhe had undertaken. But this is not altogether the fact.\\nEven the pyramid of Cheops that colossal marvel of\\nthe creative genius of man we are informed by some\\nauthorities took but thirty years to construct, ten of\\nwhich were given to the building of a road leading to\\nthe site of the pyramid, for the greater facility in hand-\\nline the huge blocks of stone to be used. Neither were\\nthe temples and public edifices of Greece and Home, as\\na rule, long in building, being generally undertaken and\\nfinished during the influential period of a public man s\\ncareer, or the reign of a single emperor. There were, of\\ncourse, exceptions to this rule, as, for example, the tem-\\nple of Apollo at Delphi, that erected toDiana at Ephesus,\\nand that dedicated to Jupiter at Athens but in nearly\\nall such instances it will be found that the temples were\\ndestroyed and rebuilt during the long interval which is\\nsupposed to have passed from the time when their foun-\\ndations were first laid, to that which found them again", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0033.jp2"}, "32": {"fulltext": "16 SOME OLD MASTERS\\nin all respects completed structures or, if not destroyed\\nand the work undertaken anew, the delay was caused by\\nsome political influence which contributed to check the\\ncontinuous prosecution of the work, implying no pro-\\ncrastination on the part of the original builders. But\\neven in the most of such cases the names of the various\\narchitects who were from time to time associated with\\nthe work are at least known, if their biographies are\\nnot more fully recorded.\\nIt may be stated broadly that both the Greeks and the\\nRomans were rapid builders when the size of their edi-\\nfices is taken into account. Especially is this true of\\nthe time of Pericles, if we are to believe the testimony of\\nPlutarch Every architect strived to surpass the mag-\\nnificence of design with the elegance of execution, yet\\nstill the most wonderful circumstance was the expedition\\nwith which they [the buildings] were completed. Many\\nedifices, each of which seemed to require the labor of\\nsuccessive ages, were finished during the administration\\nof one prosperous man. And the great biographer also\\nadds Hence we have the more reason to\\nwonder that the structures raised by Pericles should be\\nbuilt in so short a time, and yet built for ages, for each\\nof them as soon as finished had the venerable air of an-\\ntiquity so now they are old they have the freshness of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0034.jp2"}, "33": {"fulltext": "OF GREEK ARCHITECTURE. 17\\na modern building. A bloom is diffused over them\\nwhich preserves their aspect untarnished by time, as if\\nthey were animated by a spirit of perpetual youth and\\nunfading elegance.\\nAnother mistaken idea is that the sculptors of ancient\\ntimes were also architects. Some instances occur where,\\nlike the Italian, Michael Angelo, a prominent sculptor\\nof Greece or Rome, made architecture one of his accom-\\nplishments, but they were not as numerous as they are\\nsupposed to have been, and the rule seems to be the re-\\nverse that the sculptors of antiquity had no technical\\nknowledge of architecture, and that the arts were quite\\nas distinctly practised as professions in early times as\\nthey are to-day.\\nThere remains to be presented only one other reason\\nfor the indifference shown the early architects by their\\ncontemporary writers and public, which is so well ex-\\npressed by an English historian in his discussion of the\\nColiseum at Rome, that it may well be quoted as a type\\nof the excuse offered by apologists of the same class:\\nThe name of the architect to whom the great work of\\nthe Coliseum was entrusted has not come down to us.*\\n*There is an old ecclesiastical tradition, which is much doubted,\\nthat the architect of the Coliseum was a Christian by the name of\\nGaudentius, who suffeted martyrdom in its arena, and tliat the ser-\\nvices of thousands of Jews contributed to its erection.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0035.jp2"}, "34": {"fulltext": "18 SOME OLD MASTERS\\nThe ancients seem themselves to have regarded this\\nname as a matter of little interest nor in fact do they\\ngenerally care to specify the authorship of their most\\nillustrious buildings. The reason is obvious. The forms\\nof ancient art in this department were almost wholly\\nconventional, and the limits of design within which they\\nwere executed gave little room for the display of orig-\\ninal taste and special character. It is only in\\nperiods of electicism and Renaissance, when the taste of\\nthe architect has wider scope and may lead the eye in-\\nstead of following it, that interest attaches to his per-\\nsonal merit. Thus it is that the Coliseum, the most con-\\nspicuous type of Roman civilization, the monument\\nwhich divides the admiration of strangers in modern\\nRome with St. Peter s itself, is nameless and parentless,\\nwhile every stage in the construction of the great Chris-\\ntian temple, the creation of a modern revival, is appro-\\npriated with jealous care to its special claimants. In\\nother words, the pupil is a fitter artist to awaken the\\npersonal interest of those who admire his works than his\\nmaster; and the revived imitation of more consequence\\nto the public than the original model. If this were true,\\nwhy should the Coliseum, the most conspicuous type\\nof Roman civilization, upon which the pilgrims of the\\nXorth, as we are informed by Gibbon, based the longev-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0036.jp2"}, "35": {"fulltext": "OF GREEK ARCHITECTURE. 19\\nity of Rome itself, when in their rude enthusiasm they\\ngave expression to the proverb, As long as the Coliseum\\nstands, Rome shall stand when the Coliseum falls,\\nRome will fall when Rome falls, the world will fall,\\ndivide the admiration of the stranger with St. Peter s?\\nShould it not, rather, be subordinate to the Christian\\ncathedral of Bramante, Raphael and Michael Angelo\\nIs there not a touch of the reductio ad absurdum in this\\nargument Such reasoning does not seem to be quite\\nobvious upon other grounds as well. If it is the fact\\nthat the ancients regarded the names of their architects\\nas of little interest, and their buildings as wholly con-\\nA entional, why does Vitruvius speak of four of the prin-\\ncipal temples of Greece as having raised their archi-\\ntects to the summit of renown Why is it that Rhoecus\\nand Theodoras, Ictinus, Mnesicles, Dinocrates, Detria-\\nnus, Apollodorus and many other architects to whom\\nmore particular mention will be made later are remem-\\nbered in ancient history with more or less circumstan-\\ntiality, not only in association with their works all\\nconventional, if we are to accept this writer s judg-\\nment but also on account of their individual merit,\\nwhile the architects of the buildings which departed\\nmost from that same conventionality, both in plan\\nand detail, as, for example, the Erechtheum, the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0037.jp2"}, "36": {"fulltext": "20 SOME OLD MASTERS\\noriginal Odeon of Pericles and even the Coliseum\\nitself, where\\nFirm Doric pillars formed the solid base,\\nThe fair Corinthian crown the higher space,\\nAnd all below is strength, and all above is grace,\\nare lost in the ocean of oblivion\\nDo not our modern authors overlook the fact that the\\narchitects of their own age share, as a rule, in the same\\npopular indifference, and that the period of revival is no\\nexception to the period of inception that the one has\\ninherited from the other not only the forms and prin-\\nciples of its art, but the same neglect of its artists\\nWhether this is true or not, the fact must remain and\\nbe accepted with patience or impatience, as we please,\\nthat there is little preserved for us by the ancient writers\\nin respect to their architects. Two rather conspicuous\\nexceptions, however, occur to this general rule in respect\\nto Pausanias, the Lydian, and Vitruvius Pollio, the\\nRoman.\\nPausanias lived toward the close of the second cen-\\ntury after Christ. He was a great traveller and a close\\nobserver, his observations having been confined princi-\\npally to works of art, such as public buildings, temples\\nand statues, which he mentions in direct and simple lan-\\nimaffe. He visited most of the states of Greece at a", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0038.jp2"}, "37": {"fulltext": "OF GREEK ARCHITECTURE. 21\\ntime when that country was still rich in her treasures of\\nart, and what he has to say of what he saw there would\\ntend to indicate that while he was by no means a critic\\nor a connoisseur, he was still a faithful and minute re-\\ncorder of what appealed to his taste or excited his curi-\\nosity.\\nVitruvius, however, was not only a writer on archi-\\ntecture, but a professional architect as well, who resided\\nin Rome about a century earlier than Pausanias, or in\\nthe time of Augustus. He is practically the only writer\\nof his time who has given us technical information con-\\ncerning the ancient buildings. Vitruvius wrote his\\ntreatises upon architecture at a very advanced age, and,\\nit would appear, much in defence of the pure Greek\\nmodels which were even in that time being corrupted.\\nThe frankness with which he hopes for fame by reason\\nof his book, and exposes his poverty as well as the unpro-\\nfessional practices of his brother architects, is not the\\nleast attractive feature of his discourse But I, Cresar,\\nhe exclaims, have not sought to amass wealth by the\\npractice of my art, having been contented with a small\\nfortune and reputation, than desirous of abundance ac-\\ncompanied by a want of reputation. It is true I have\\nacquired but little, yet I still hope, by this publication,\\nto become known to posterity. Neither is it wonderful", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0039.jp2"}, "38": {"fulltext": "22 SOME OLD MASTERS\\nthat I am known to but few. Other architects canvass\\nand go about soliciting employment, but my preceptors\\ninstilled into me a sense of the propriety of being re-\\nquested and not of requesting to be entrusted, inasmuch\\nthe ingenuous man will blush and feel shame in asking\\na favour for the givers of a favour, and not the receiv-\\ners, are courted. What must he suspect who is solicited\\nby another to be entrusted with the expenditure of his\\nmoney, but that it is done for the sake of gain and emol-\\nument Hence, the ancients entrusted their works to\\nthose architects only who were of good family, and well\\nbrought up, thinking it better to trust the modest than\\nthe bold and arrogant man. These artists only instructed\\ntheir own children or relations, having regard to their\\nintegrity, so that property might be safely committed to\\ntheir charge. When, therefore, I see this noble science\\nin the hands of the unlearned and unskilful of men, not\\nonly ignorant of architecture, but of everything relative\\nto buildings, I cannot blame proprietors who, relying\\non their own intelligence, are their own architects since,\\nif the business is to be conducted by the unskilful, there\\nis at least more satisfaction in laying out money at one s\\nown pleasure rather than at that of another person.\\nVitruvius also epitomized in his books on architec-\\nture much that had been written prior to his time by his", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0040.jp2"}, "39": {"fulltext": "OF GREEK ARCHITECTURE. 23\\nprofessional brethren of Greece and Rome, and so pre-\\nserved something of what otherwise might have been en-\\ntirely lost.\\nAllusion has been made to these two writers with\\nsome particularity, for the reason that they will be more\\nquoted than any others in the course of this volume, but\\nit must not be inferred that they are alone responsible\\nfor all the knowledge which has come down to us respect-\\ning the Greek and Roman architects, little and unsatis-\\nfactory as it is.\\nAlthough it has been shown that the historians and\\nbiographers of ancient Greece made no attempt to\\ntreat architects with especial favor, it would not be\\njust, however, to close this chapter without quoting\\nfrom Homer to prove that he, at least, could rank them\\nas among those who, by serving the people in the highest\\nsense, were entitled to unusual hospitality:\\nWhat man goes ever forth\\nTo bid a stranger to his house, unless\\nThe stranger be of those whose office is\\nTo serve the people, be he seer, or leech,\\nOr architect, or poet heaven-inspired,\\nWhose song is gladly heard", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0041.jp2"}, "40": {"fulltext": "24 SOME OLD MASTERS\\nCHAPTER II.\\nThe Mythical and Aechaic Architects and\\nBuilders.\\n|ISTO~RY does not probe so deeply into the\\nearliest annals of the races that inhabited the\\naa^jPeloponnesian peninsula, that it does not\\nshow them to have been pre-eminent as builders nor\\ndoes it follow the ancient Greek people throughout the\\nlong ages that spanned their evolution and decadence,\\nthat it does not find them in all the stages through which\\nthey passed, leaving at least some of their walls, temples\\nor monuments to resist the ravages of all time, and the\\ndecaying influences of the elements. They built, there-\\nfore, not only well, but perhaps better than they knew,\\nand have proved that if the creations of their intellects\\nwere immortal, as we know, the works of their hands\\nwere not altogether perishable.\\nThe Pelasgic tribes, who were the first of which\\nthere is any record to have inhabited Greece, were\\ngreat wall-builders, and past-masters of defensive", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0042.jp2"}, "41": {"fulltext": "OF GREEK ARCHITECTURE. 25\\narchitecture in those early ages. Although we may\\nnot have the names of the individual architects\\namong them, we have their racial works still before\\nus to evidence the fact that whoever the architects\\nwere, they knew their business eminently well. The\\nAcropolis at Athens possesses the finest example that re-\\nmains of Pelasgic mural work, in the fortified retaining\\nwall which surrounds it, and which is sometimes called\\nafter the race that built it, the Pelasgicum.\\nIt is claimed also by some authorities that the Pelasgi\\nwere the original architects and builders of the Long\\nWalls that connected Athens with her seaport gates,\\nand of such parts of the peribolus as were not the au-\\nthentic work of the builders under Themistocles and\\nCimon, and subsequent architects to be hereafter men-\\ntioned.\\nThe Cyclopses, who belonged to Pelasgic times, were\\nlikewise remarkable wall-builders, lending their name\\nto a kind of mural work in a manner original with them,\\nand having the attributes of great solidity and endur-\\nance. The ruins of houses and other structures erected\\nby them have been found also at Tiryus and Mycenae,\\non the plain of Argos.\\nSpeaking of the circuit wall at Tiryus, Pausanias\\ndescribes it as being composed of unwrought stones,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0043.jp2"}, "42": {"fulltext": "26 SOME OLD MASTERS\\neach of Avhich is so large that a team of mules cannot\\neven shake the smallest one and of Mycena?, the more\\nimportant city, a short distance from Tiryus, where the\\ncircular treasury of Atreus and other evidences of Cy-\\nclopean architecture have been excavated by Dr. Henry\\nSchliemann, Euripides asks the question Do you call\\nthe city of Perseus the handiwork of the Cyclopes\\nModern archaeologists are inclined to the opinion that\\nthe Cyclopean builders were not, as originally supposed,\\nthe one-eyed giants whom Ulysses encountered in his\\nvoyages, as related in the Homeric legends, but an en-\\ntirely distinct Thracian tribe, which derived its name\\nfrom king Cyclops. After being expelled from Thrace,\\nwhere were their early homes, they migrated to Crete\\nand Lycia thence following the fortunes of Proetus, and\\ngiving him protection with the gigantic walls which they\\nconstructed as against Acrisius, his twin brother, who\\nwas very quarrelsome, as twin brothers not often are.\\nThese Cyclopean walls, which are still to be found\\nthroughout Greece, as already stated, and also in some\\nparts of Italy, were made of huge, uncut polygonous\\nstones, sometimes twenty or thirty feet wide, piled upon\\neach other without cement, frequently irregularly, with\\nsmaller stones filling up the interstices, but occasion-\\nidly in regular horizontal rows. There were, in fact,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0044.jp2"}, "43": {"fulltext": "OF GREEK ARCHITECTURE. 27\\nnot only several kinds of these walls, bnt several eras\\nin which they were bnilt as well.\\nIt is not, however, the intention here to discuss the\\nnature and extent of the Pelasgic and Cyclopean con-\\nstructions, it being sufficient to recall the fact that so far\\nas the Pelasgians generally are concerned, they were not\\nonly the progenitors of most of the early architectural\\nmonuments of eastern Europe, but were skilled in the\\narts and learned in the fables of the gods as well, be-\\nqueathing both religious rites and many arts to their\\nchildren, the Greeks. It remains only to add, also, that\\nso closely were they identified with the art of building\\nthat it is believed their very name is derived from their\\nleading pursuit, for it is thought that the term Pelasgi\\nmay be interpreted to mean stone-builders or stone-\\nworkers.\\nIn this allusion to the Pelasgians as builders, it was\\nstated at the outset that the names of the individual\\narchitects among them are not known this was perhaps\\nunfair to ^Eacus, if he can be ranked as an architect, and\\nwho is classed as a Pelasgian, although of divine par-\\nentage.\\n^Eacus was a son of Jupiter by -Egina, daughter of\\nthe river god, Asopus, and, like the Cyclopeans, he was\\nparticularly expert in the matter of walls. He was as", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0045.jp2"}, "44": {"fulltext": "28 SOME OLD MASTERS\\nwell a very just and pious individual or myth, who was\\nfrequently called upon to hold the scales of justice, not\\nonly as between mortals, but also immortals. He was\\nborn on the Island of ^Egina, the temporary residence\\nof his mother, after whom it was named. At the time\\nof his birth the island was uninhabited. This very un-\\npleasant condition of isolation for the mother and son\\nwas quickly remedied by Jupiter, who changed the ants\\nthat abounded there into men, placing ^Eacus over them\\nas king.\\n^Eacus always kept on the very best of terms with tin-\\ngods, propitiating them in many ways, and at last be-\\ncoming a great favorite with them. Indeed, so strong\\nwas his influence in celestial circles that at one time\\nwhen Greece was afflicted with a drought, in consequence\\nof a murder that had been committed, the Delphic oracle\\ndeclared that the only person who could help the situa-\\ntion at all was ^Eacus. He was accordingly appealed\\nto and persuaded to petition the gods for relief. The\\nresult was that his petition was favorably answered.\\nuEacus thereupon erected a temple to Zeus Panhelle-\\nnius on Mount Panhellenion to show his gratitude, and\\npossibly to keep himself in that position where he might\\ntrespass upon the good-nature of his heavenly friends\\nagain at some future time, should there be necessity.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0046.jp2"}, "45": {"fulltext": "OF GKEEK ARCHITECTURE. 29\\niEacus surrounded his island with high walls to\\nprotect his people against pirates. It is probable that\\nthese walls attracted the admiration of Apollo and Nep-\\ntune, and prompted them to retain the professional\\nservices of their builder to assist them in erecting the\\nwalls of Troy. But here it was that ^Eacus failed, for\\nas one diamond can only bo accurately judged when\\nplaced in comparison with another diamond, so ^Eacus,\\nhowever successful he may have been as a wall-builder\\nby himself, was outclassed when he came into com-\\npetition with the occult knowledge of Apollo and Nep-\\ntune.\\nThe story is that when the Trojan walls were com-\\npleted, three dragons appeared and rushed upon them\\nto test their strength. The two dragons which attacked\\nthose parts of the walls built by the celestial associates\\nof ^Eacus had their heads broken for their pains, but the\\none which flew at the mortars share of the work made a\\nhole in the wall which let it into the city. Apollo at once\\nprophesied that Troy would eventually fall through the\\nhands of the ^Eacids, which prophecy, of course, proved\\ntrue. Whether this failure had anything to do with the\\nfuture of ^Eacus or not, it would be difficult to say, but\\nthe fact is that after his death he became one of the three\\njudges in Hades, with special jurisdiction over the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0047.jp2"}, "46": {"fulltext": "30 SOME OLD MASTERS\\nEuropeans, which necessarily insured his being over-\\nworked until the end of time.\\nWith a people possessed of so large and varied an\\nassortment of deities, suited to every possible human\\nneed and shade of mortal endeavor, it would be strange\\nindeed if there was not some mythical or legendary\\ncharacter among the Greek gods to preside over archi-\\ntecture, if not as a distinct art, at all events in\\nassociation with some of its kindred branches. That\\nthe Greeks did not ignore such a necessity is found to\\nhave been the case, and the great Daedalus rises most\\nadmirably to the occasion in personifying the early\\ninfancy of architecture as well as sculpture and wood-\\ncarving.\\nDaedalus, like most of his spiritual relations and asso-\\nciates, led a life of much romance and adventure, not un-\\nmixed with hardship and trial. He was either a native\\nAthenian or Cretan, a point upon which there is some\\ndispute, as well as upon another involving his parentage.\\nIt is perhaps sufficient to know that Daedalus flourished\\nin the age of Minos and Theseus, and was introduced\\nmore or less into the legends pertaining to those two\\nearly characters.\\nIt is upon Da?dalus that responsibility must rest for\\nthe first introduction of jealousy into the personality of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0048.jp2"}, "47": {"fulltext": "OF GREEK ARCHITECTURE. 31\\nartists, a vice, by the way, which they have never been\\nquite able to shake off from his time to the present.\\nDaxlalus was rather sorely afflicted with this unfortunate\\ntrait, and to its early exhibition is due much of his sub-\\nsequent misfortune. It was in connection with his de-\\nvotion to sculpture that his jealousy first involved him\\nin trouble. He became very expert as a carver generally,\\nand undertook to instruct his nephew Perdix in the art.\\nIn due time and under the careful tutorage of his\\nuncle, Perdix also became proficient, and in a moment\\nof inspiration is said to have invented that very useful\\ntool of the mechanic, the saw. This it was that excited\\nDaxlalus, who, in a fit of jealous rage, threw his nephew\\nover the Pelasgic walls of the Acropolis, killing him in-\\nstantly as he supposed.\\nDaxlalus was, of course, condemned to death for this\\nunseemly and cruel manifestation of envy, but managed\\nto escape and fly to Crete. There his professional rep-\\nutation had preceded him, and he obtained the friendship\\nof king Minos. In Crete he developed his latent archi-\\ntectural skill, and built a very elaborate and intricate\\ndwelling for the hideous monster Minotaur, since known\\nas the celebrated labyrinth at Cnossus. The story of\\nhow Theseus, with the connivance of Ariadne, the\\ncharming daughter of Minos, slew this monster, is one", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0049.jp2"}, "48": {"fulltext": "32 SOME OLD MASTERS\\nof the most thrilling of the mythological legends, and is\\nquite familiar.\\nJust how Dredalus incurred the displeasure of Minos\\ndoes not seem to he very clearly stated by the early au-\\nthorities. It appears that he was in some way entangled\\nwith the creation of a wooden cow, also with Pasiphae,\\nthe wife of Minos, and even with the birth of the hor-\\nrible Minotaur. Possibly it may have been Minos who\\nthis time became jealous. However that may be, the\\nfriendship which had existed between Da?dalus and the\\nking finally became strained, and the former was com-\\npelled to fly the country, which he did in a very literal\\nway, as king Minos had seized all the ships on the coast\\nof the island, cutting off, in consequence, the only means\\nof escape. The architect, however, possessed much in-\\ngenuity and inventive genius of his own, even to a more\\nmarked degree than that manifested by the nephew he\\nhad dropped over the Athenian precipice, and with the\\naid of some feathers, a little wax, and Pasiphae, who se-\\ncretly contributed her assistance, he manufactured a\\npair of wings for himself, and another pair for his son,\\nIcarus, who was with him at the time. Thus it will be\\nseen that the first flying machines were invented by an\\narchitect.\\nWhen the father and son started for Sicily, over the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0050.jp2"}, "49": {"fulltext": "THE FLIGHT OF DJEDALUS AXIJ ICARUS.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0051.jp2"}, "50": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0052.jp2"}, "51": {"fulltext": "OF GREEK ARCHITECTURE.\\n33\\nJSgean sea, like a pair of huge birds, Daedalus flew con-\\nservatively and cautiously, being careful not to rise too\\nnear the sun, where it was supposed by the ancients to\\nbe very hot but Icarus, with the spirit of youth and the\\nenjoyment of the exhilaration consequent upon the nov-\\nelty of his method of locomotion, gave a deaf ear to the\\nprotests of his father, and, in emulation of Apollo,\\nsoared so high that the sun melted the wax in his wings.\\nHis feathers flew off, and down he dropped into the\\nwaves below. He was drowned, and that part of the\\n.Egean sea into which he fell was afterward called the\\nIcarian sea, in commemoration of this unfortunate acci-\\ndent, which Darwin lias so well described in verse:\\nWith melting wax and loosened strings,\\nSunk hapless Icarus on unfaithful wings\\nHeadlong he rushed through the affrighted air,\\nWith limbs distorted and dishevelled hair;\\nHis scattered plumage danced upon the wave,\\nAnd sorrowing Nereids decked his watery grave.\\nO er his pale corse their pearly sea-flowers shed,\\nAnd strewed with crimson moss his marble bed\\nStruck in their coral towers the passing bell,\\nAnd wide in ocean tolled his echoing knell.\\nDaxlalus, who could not stop to rescue his son, con-\\ntinued steadily on his course, and, attempting no experi-\\nments with his frail wings, finally landed safely in\\nSicily, where he established himself again, profession-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0053.jp2"}, "52": {"fulltext": "34 SOME OLD MASTERS\\nally, under the royal patronage of Cocalus, king of the\\nSicani. Here he did most excellent work, until king\\nMinos, his old enemy, found him out, and began to make\\nit unpleasant for him again. Minos, hearing that\\nDaedalus was in Sicily, sailed with a great fleet to that\\nisland, but fortunately for the architect, his enemy was\\nmurdered as soon as he arrived there by Cocalus or his\\ndaughter. In the mean time Da?dalus, anticipating the\\ntrouble that was in store for him, again made an escape,\\nthis time to Sardinia, where he tarried a while, but\\nfinally visited other countries, notably Egypt.\\nThese are the substantial facts of Daedalus s career, as\\ncontained in the earlier legends, but later Greek writers\\ntell a much more fanciful and improbable story of his\\nlife, which there is no urgent necessity to believe, as the\\none mentioned is quite fanciful enough and probably\\nmore authentic. They say, among other things, that\\nDaxlalus was an astrologer, and that he taught his son\\nthat science, who, soaring above plain truths, lost his\\nwits and was drowned in an abyss of difficulties.\\nDa?dalus may have been an astrologer and may have\\nbeen other things as well, but that he was an architect\\ncannot be doubted from the fact that so many buildings\\nare ascribed to him. Among his works may be men-\\ntioned the Colymbethra, or reservoir in Sicily, from", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0054.jp2"}, "53": {"fulltext": "OF GREEK ARCHITECTURE. 35\\nwhich the river Alabon flowed into the sea; another\\nan impregnable city near Agrigentum, in which was the\\nroyal palace of Cocalns; still another a cave in the terri-\\ntory of Selinus, in which the vapor arising from a\\nsubterranean fire was received in such a way as to an-\\nswer for a vapor bath. He enlarged the summit of\\nMount Eryx for a foundation for the temple of Venus,\\nand he is said to have been the author of the temples of\\nApollo at Capua and Cumse, and the temple of Artemis\\nBritomartis in Crete. In Egypt he was the architect\\nof a very beautiful propylaeum, or vestibule to the tem-\\nple of Hephaestus at Memphis, for which he was re-\\nwarded by being permitted to erect in it. a statue of him-\\nself, the work of his own hands.\\nAs a sculptor he also executed many works of art\\nbut the architectural side of his career can only be con-\\nsidered here. It will not be out of place, however, to\\nmention some of the inventions ascribed to him to assist\\nthe mechanic. It is claimed for him that he was an\\nexpert carpenter, having been taught that trade by\\nMinerva, and that he originated the axe, the plumb-line,\\nthe auger and glue.\\nDsedalus, in fact, seems to have personified the earliest\\nGrecian art, and his name, which, when translated, sig-\\nnifies ingenious, or inventive, stands for that", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0055.jp2"}, "54": {"fulltext": "36\\nSOME OLD MASTERS\\nperiod in Greece when form and shape and expression\\nwere given inanimate substances by the use of tools\\nand mechanical appliances.\\nWhen Daedalus threw his nephew over the high walls\\nof the Acropolis, and naturally thought that he had killed\\nhim an opinion in which it is apparent the people of\\nAthens shared he was very much mistaken, for Mi-\\nnerva, the patron goddess of the city, realizing what a\\ngreat mistake it would be to allow so bright and promis-\\ning a young man to go to an early death, exercised her\\nmagic, and saved him by changing the falling artisan\\ninto a bird, which was given his name, Perdix, or, as\\ntranslated, Partridge.\\nTo Perdix, who was especially skilful as a worker in\\nwood, is attributed, in addition to the invention of the\\nsaw, suggested to him by the backbone of a fish or the\\nteeth of a serpent, it would be difficult to say which, the\\nchisel, the compasses and the potter s wheel. Whether\\nhe invented any of these things after he became a par-\\ntridge or not is another mythical uncertainty, but prob-\\nably not, as his changed condition and feathers would\\nhave made it very awkward for him to have done so, al-\\nthough most anything was possible in those days.\\nPerdix is also called Talos by some writers, and Pau-\\nsanias mentions him by still another name, Calos, and", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0056.jp2"}, "55": {"fulltext": "OF GREEK ARCHITECTURE. 37\\nstates that after his death he was buried somewhere on\\nthe road leading from the theatre in Athens to the\\nAcropolis.\\nIt might be interesting, but certainly a task beyond\\nthe scope of this book, to mention all the mythical per-\\nsonages of the archaic or early period of Grecian art,\\nwho were in a way more or less remote, responsible for\\nspecial features of artistic treatment that graced the\\nbuildings of that time, such, for instance, as Dibutades,\\nwho was the first to make masks on the edges of gutter\\ntiles. Dibutades was a sculptor, and the idea which he\\noriginated is said to have been suggested to him by\\nseeing his daughter trace the lines of her lover s profile\\naround the shadow which it cast upon a wall. He filled\\nin the lines with clay, and, moulding it to the face, gave\\nto the world the art of modelling.\\nAmong the artists belonging to the Dsedalien, or leg-\\nendary period of Greece, who may be classed more dis-\\ntinctively as architects, however, were Polycritus, who\\nhad to do with the building of the town of Tanagra by\\nPoemander, and Pteras, who was supposed to have been\\nthe architect of the second temple to Apollo at Delphi.\\nThe legend is that the first temple was made of branches\\nof the wild laurel from Tempe, and that Pteras con-\\nstructed the second of wax and bees wings rather an", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0057.jp2"}, "56": {"fulltext": "38 SOME OLD MASTERS\\nunsubstantial building material, it might be inferred.\\nEucheir, a painter, and Ohersiphron and Smilis, archi-\\ntects and statuaries, are also of this traditional period,\\nand were representative of skill in their arts.\\nAll these names, however, although supposed to have\\nbeen originally purely mythological, were probably later\\nassumed by or given to mortals who were specially ex-\\npert in the particular branch of art which the name\\ntaken suggested. These individuals, to complicate mat-\\nters, no doubt, became entangled with the early mytho-\\nlogical stories, and finally lost their identity completely,\\nor to such an extent as to make it quite impossible to\\nseparate the fact from the fiction in their respective\\ncases.\\nAn illustration of such a confusion is to be found in\\nrespect to the architects, Rhoocus and Theodoras, who\\nhad to do with the building of the temple of Hera at\\nSamos, for the worship of which goddess Samos was\\ncelebrated, and who, in association with Smilis, were the\\narchitects of the labyrinth at Lemnos.\\nThe writers who have mentioned these artists are\\nquite numerous, and have so differed in respect to their\\ndates, and confounded the accounts of their careers and\\nachievements, that it is difficult to sift anything like a\\nsatisfactory- storv from the confusion created. The", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0058.jp2"}, "57": {"fulltext": "OF GREEK ARCHITECTURE. 39\\nmost probable deduction that has been made, however,\\nis that Rhcecus flourished about 640 B.C., and was a son\\nof Phileas of Samos that Theodoras, the architect, was\\nhis son, and that another Theodoras, a statuary, some-\\ntimes mistaken for the architect, was a nephew of the\\narchitect Theodoras, the son of Telecles, also a gifted\\nsculptor, and a grandson of Rhcecus.\\nThe temple of Hera, alluded to as the work of the\\nfather and son, was three hundred and forty-four feet\\nlong by one hundred and sixty feet wide, and, according\\nto the Antiquities of Ionia, a decastyle, dipteral\\nstructure, or possessed of a double row of columns com-\\nposed of ten columns in each row. Pausanias thinks\\nthat the temple was of very great antiquity, a fact ap-\\nparent to him from the statue of Hera which it con-\\ntained, which was made by Smilis, of wood, as were the\\nearly statues of Greece.\\nThe Lemnian labyrinth, according to Pliny, con-\\ntained fifty columns and innumerable statues, and had\\nvery remarkable massive gates, so delicately poised that\\na child might open or shut them. Modern travellers\\nhave had difficulty in finding any trace of this laby-\\nrinth, although there is little doubt that it once existed.\\nIt is not to be classed with the more visionary labyrinth\\nin which the Minotaur was cased.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0059.jp2"}, "58": {"fulltext": "40 SOME OLD MASTERS\\nIt is claimed for both Rhoecus and Theodoras that\\nthey were the first to invent the art of casting statues in\\nbronze or iron, but as this art was known before their\\ntime by the Phoenicians, it is likely that they were re-\\nsponsible for nothing more than having introduced it\\ninto Greece. This is probably true also of other early\\nmythical characters of Greece, to whom is attributed\\ncertain inventions in the arts which have been found\\nsince to have existed much earlier than their time in\\nEgypt or elsewhere.\\nTheodoras is also credited with having been the archi-\\ntect of the old Scias at Sparta, and of having advised\\nthe use of charcoal beneath the foundation of the temple\\ndedicated to Artemis, atEphesus, as a remedy against the\\ndampness of the site. Theodoras was a great admirer of\\nhis father and of the temple to Hera, which they built\\ntogether. He attested his appreciation of the latter by\\nwriting a book descriptive of it.\\nAs for Smilis, who belongs to the mythical period,\\nand whose name when translated stands for a knife\\nfor carving wood, or a sculptor s chisel, he is also\\naccredited with having been the first to devise the art of\\nmodelling in clay. He is to be classed more as a sculp-\\ntor than an architect, but of an inferior standing to\\nDa?dalus. In fact, his only connection with architec-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0060.jp2"}, "59": {"fulltext": "OF GKEEK ARCHITECTURE. 41\\nture, according to Pliny, seems to have been his asso-\\nciation with Rhoecus and Theodoras in the buildine;\\nof the labyrinth at Lemnos. It is possible that even\\nhere lie was employed more in the line of a sculptor\\nthan in lending any professional assistance as an archi-\\ntect.\\nPausanias mentions a pupil of Theodoras of Samos,\\nwho, it would appear, achieved considerable distinction\\nboth as an architect and sculptor, but more especially in\\nthe latter capacity. His name is given as Gitiadas, and\\nhis birthplace as Laceda?mon, where he nourished about\\n724 b.c, as stated by some authorities, but much later\\naccording to others. The architectural work for which\\nhe receives credit was the temple of Athena Polionchos\\nat Sparta, which, it is said, was constructed entirely of\\nbronze. It also contained a bronze statue of the goddess\\nof Gitiadas s own workmanship, and many bas-reliefs\\nrepresenting the labors of Hercules, the exploits of the\\nTyndarids, Hephsestus releasing his mother from her\\nchains, the Nymphs arming Perseus for the expedition\\nagainst Medusa, and other mythological subjects, all\\nexecuted in the same metal. This extensive use of\\nbronze suggested the name Brazen House, which was\\ngiven the temple. It would seem that Gitiadas was pos-\\nsessed of other accomplishments, and served Minerva", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0061.jp2"}, "60": {"fulltext": "42 SOME OLD MASTERS\\nwith equal distinction as a poet, writing his poems all in\\nthe Doric dialect.\\nA still stranger compote of fact and fable, of\\nhypothesis and conjecture, of celestial and terrestrial\\nbiography, is to be found in the accounts of the Irothers\\nAgamedes and Trophonius, who were the architects of\\nthe great temple of Apollo at Delphi, and of the treas-\\nury of Hyrieus, king of Hyria in Boeotia.\\nThe temple to the beautiful and accomplished son of\\nJupiter and Latona, the god of music and prophecy, as\\nwell as other things of equal or less consequence, was the\\nfourth to be erected upon the same site on Mount\\nParnassus, in the ancient city of Delphi, known to the\\nolder poets as Pytho, a name derived from the serpent\\nPython which Apollo slew. In this temple, which was\\nthe first of the four to be built with stone, the others\\nhaving been constructed out of the branches of the bay\\ntree and other equally perishable materials, dwelt the\\nmuch respected and frequently consulted Delphic\\nOracle. The spot in the temple from which the\\nprophetic vapor issued to inspire the priestess with\\nsecond sight was said to be the central point of the\\nearth, and that where the two eagles despatched by\\nJupiter to ascertain that point met and fell.\\nPythia, the priestess of Apollo, who gave mouth to", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0062.jp2"}, "61": {"fulltext": "OF GREEK ARCHITECTURE. 43\\nthe oracles, sat on a sacred tripod placed over the open-\\ning from which the vapor issued, and gave forth her\\nwords of wisdom in prose or poetry as the occasion de-\\nmanded. If in prose, her prognostications would be im-\\nmediately verified, and if in verse some time must\\nelapse before they could be fulfilled. Pythia was not\\nalways on duty, but could be consulted only on certain\\ndays during the month of Busius in the spring.\\nThere is no doubt but that she made some very re-\\nmarkable prophecies, but, alas it is also recorded that,\\nlike some of the political oracles of these degenerate\\ntimes, her prophetic vision was not infrequently in-\\nfluenced by a previous interview. A notable case of\\nthis kind was that in which the Alcma^onida? were en-\\ntangled who for political reasons and effect rebuilt the\\nsame temple after it was destroyed by fire in the year\\n548 b.c, as we shall see later.\\nBut we have drifted from the subject. It is claimed\\nby some that Agamedes was the son of Stymphalus, who\\nwas murdered and had his body cut up in pieces, and a\\ngrandson of the old ancestor of the Arcadian Areas, who\\nin turn was a son of Zeus. Others say that the father\\nof Agamedes was Apollo, and his mother was Epicaste,\\nand still others are of the opinion that his parents were\\nnone other than Zeus himself and Iocaste, another name", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0063.jp2"}, "62": {"fulltext": "44 SOME OLD MASTERS\\nfor Epicaste, and that Trophonius was his son. All this\\ngenealogy is, however, disturbed if we accept the more\\nprobable one, that he was a son of Erginus, king of\\nOrchomenus, and that he was a brother of Trophonius.\\nBy the way, Trophonius is also said to have been a son\\nof Apollo. When these two young men attained to\\nmanhood they became very expert in the art of build-\\ning temples to the gods and palaces for kings. Thus\\nhaving established enviable reputations in their pro-\\nfession, they were retained to plan and supervise the\\nworks mentioned.\\nIt is in respect to these architects that the first au-\\nthentic account of a misunderstanding as to professional\\ncompensation is related. It must not be thought that\\nbecause some of the early architects were related to\\nthe nobility of Mount Olympus, they were any the less\\nmercenary than are architects in our own time, or were\\nany more inclined to work for nothing than are their\\nprofessional descendants of to-day.\\nPlutarch tells us that Agamedes and Trophonius,\\nafter working hard upon the Delphic temple, and not\\nreceiving any pay, began to lose faith in the mortals who\\nwere backing the undertaking. As they grew more and\\nmore dubious about their compensation, and possibly\\nhaving notes or bills to meet, they finally decided to", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0064.jp2"}, "63": {"fulltext": "OF GREEK ARCHITECTURE. 45\\nappeal directly to Apollo, in whose glorification the\\nshrine had been built.\\nApollo, who was consulted through the Delphic\\nOracle, informed them that he must have time to think\\nthe matter over. In other words, he could not be hurried\\nin his decision, but would give them an answer at the\\nend of seven days. It is not unlikely that the Oracle\\nsaw an occasion here where it might be a matter of\\nfinancial prudence to consult with the other side before\\nrendering a decision. However that may be, the two\\narchitects were told that Apollo wished that they should\\nspend the intervening time in festive indulgence.\\nThinking from this, quite naturally, that they were in\\nthe good graces of the god, and suspecting no ungodly\\nduplicity, Agamedes and Trophonius set about to enjoy\\nthemselves according to the most liberal interpretation\\nof their instructions. The result was that at the end\\nof the seventh day they were found dead in their beds,\\nwhether from too much festivity on their part or too\\nmuch duplicity on the part of the Oracle, no one knows,\\nbut the inference is conclusive that as they were dead it\\nwas not necessary to give them the professional com-\\npensation they had been so anxiously demanding.\\nCicero tells the story a little differently, and elimi-\\nnates the question of compensation from it. He says that", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0065.jp2"}, "64": {"fulltext": "46 SOME OLD MASTERS\\nthey consulted Apollo to know what in his opinion was\\nbest for man This being a much easier question to\\nhandle, Apollo took but three days to answer it, but the\\nconsequences of the consultation to poor Agamedes and\\nTrophonius were quite as disastrous. It may be that,\\ntaking everything into consideration, it is best for man\\nto be dead, but most architects don t think so, and had\\nAgamedes and Trophonius anticipated such an answer,\\nit is probable that they would have asked no questions.\\nPausanias relates an altogether different legend and\\nconnects it with the treasury of Hyrieus, which Agam-\\nedes and Trophonius built, instead of with the temple\\nof Apollo. The story by Pausanias would tend to show\\nthat these architects were even more mercenary than\\nPlutarch has siven us to understand thev were.\\nIt seems that in constructing the treasury they con-\\ntrived to have a stone so placed that it could be taken\\naway from the outside of the building at any time, and\\nthus offer an entrance to the vaults. Xo one of course\\nhad any knowledge of this secret entrance but. them-\\nselves. In consequence, after the building was finished,\\nand it was used for the purpose for which it was in-\\ntended, these two covetous brothers carried away from\\ntime to time goodly portions of the treasure as it was de-\\nposited. The king soon heard that there was a leak in", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0066.jp2"}, "65": {"fulltext": "OF GREEK ARCHITECTURE. 47\\nhis treasury, and that he was losing money rapidly. lie\\nwas naturally annoyed and much perplexed when he\\nfound that the locks and seals of his treasure house re-\\nmained intact and uninjured. He thereupon set a\\ntrap to catch the thief. Just what kind of a trap\\nit was is not explained, but after some little time\\nAgamedes was caught, and Trophonius, finding his\\nbrother ensnared, cut off his head, to save his own,\\ndoubtless, and prevent the discovery of his association\\nin the robbery. This very unfraternal act of Tropho-\\nnius was not allowed to go unpunished, however, and\\nApollo, or some other god, caused him to be swallowed\\nup in the grove of Lebadea.\\nPausanias further states that Erginus, the father of\\nAgamedes, was known as the Protector of Labor, that\\nTrophonius was called the Xourisher, and that Agam-\\nedes had the reputation of being the Very Prudent\\nOne. There can be no doubt about Agamedes s pru-\\ndence, such as it was.\\nTrophonius, it appears, had a still further career after\\nhis death, as an oracle, conducting his business from the\\nspot where he was swallowed up in Lebadea. lie was\\nespecially prophetic in matters relating to futurity.\\nThose desiring to consult him were conducted to a\\ncavern, and furnished with a ladder, by means of which", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0067.jp2"}, "66": {"fulltext": "48 SOME OLD MASTEES\\nthey could descend into it. They were then given the\\ninformation for which they were in quest, either by\\nmeans of their eyes, or their ears, or such of their senses\\nas the occasion seemed best to suggest. Some say that\\none of these visitors, after having gone into the cave,\\nand being treated in this way by the oracle, returned\\nnever to smile again but Pausanias contradicts the\\nstory.\\nThere is another belief in regard to these architects\\nwhich must be simply alluded to. It is that Agamedes\\nand Trophonius were deities of the Pelasgian times;\\nthat Trophonius was a giver of food from the bosom of\\nthe earth, and for that reason was worshipped in a\\ncavern, and that Agamedes was not the wretched thief of\\nPausanias, but, on the contrary, a very generous char-\\nacter, who gave liberally from underground granaries.\\nA parallel to the story of the robbery of the treasury\\nof Hyrieus by Agamedes and Trophonius is told by\\nHerodotus in respect to the two sons of the builder\\nof the treasury of the Egyptian king Rhampsinitus.\\nThese two young men, it seems, were also caught, while\\npilfering, in a trap, described with great circumstan-\\ntiality by the Father of History.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0068.jp2"}, "67": {"fulltext": "OF GREEK ARCHITECTURE. 49\\nCHAPTER III.\\nThe Originators of the Three Orders.\\nHO were the originators of the three great\\nand primary orders of Grecian architecture is\\nstill a question which the discussion of the\\nlegendary and mythical architects, which has been\\nbriefly entered into, has not answered. It may be as-\\nsumed inferentially that as the earliest of the Greek\\ntemples which have been referred to as the works of the\\nprogeny of the gods were in the Doric style, the pagan\\ndeities of Greece may claim some share of credit for\\nhaving introduced that noble design to the world. The\\nIonic and Corinthian styles, however, are still to be\\naccounted for, and as there is good ground to assume\\nthat they made their advent into architectural art at\\nmuch later dates no celestial origin can be claimed for\\nthem.\\nVitruvius, in relating his account of the origin of all\\nthree orders, alludes more directly to the birth of the\\nDoric, and tells a story so picturesque and entertaining", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0069.jp2"}, "68": {"fulltext": "50 SOME OLD MASTERS\\nof the other two that although recognizing how well it\\nmay be known to the professional architect, it is difficult\\nto resist the temptation to give it here entire\\nDorus, the son of Hellen, and the nymph Orseis,\\nreigned over the whole of Achaia and Peloponnesus, and\\nbuilt at Argos, an ancient city, on a spot sacred to Juno,\\na temple which happened to be of this order. After this\\nmany temples similar to it sprung up in the other parts\\nof Achaia, though the proportions which should be pre-\\nserved in it were not as yet settled.\\nBut afterward when the Athenians, by the advice\\nof the Delphic Oracle in a general assembly of the dif-\\nferent states of Greece, sent over into Asia thirteen colo-\\nnies at once, and appointed a governor or leader to each,\\nreserving the chief command for Ion, the son of Xuthus\\nand Creusa, whom the Delphic Apollo had acknowledged\\nas son, that person led them over into Asia, and occu-\\npied the borders of Caria, and there built the great\\ncities of Ephesus, Miletus, Myus (which was long since\\ndestroyed by inundation, and its sacred rites and suf-\\nfrages transferred by the Ionians to the inhabitants\\nof Miletus), Priene, Samos, Teos, Colophon, Chios,\\nErythra 3 Phoca?a, Clazomena\\\\ Lebedos and Melite.\\nThe last, as a punishment for the arrogance of its citi-\\nzens, was detached from the other states in a war- levied", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0070.jp2"}, "69": {"fulltext": "OF GREEK ARCHITECTURE. 51\\npursuant to the directions of a general council and in\\nits place, as a mark of favor toward King Attalus and\\nArsinoe, the city of Smyrna was admitted into the\\nnumber of Ionian states, which received the appellation\\nof Ionian from their leader Ion, after the Carians and\\nLelegse had been driven out.\\nu In this country, allotting different spots for sacred\\npurposes, they began to erect temples, the first of which\\nwas dedicated to Apollo Panionios, and resembled that\\nwhich they had seen in Achaia, and they gave it the\\nname of Doric, because they had first seen that species\\nin the cities of Doria. As they wished to erect this\\ntemple with columns, and had not a knowledge of the\\nproper proportions of them, nor knew the way in which\\nthey ought to be constructed, so as at the same time to\\nbe both fit to carry the superincumbent weight and to\\nproduce a beautiful effect, they measured a man s foot,\\nand, finding its length the sixth part of his height, they\\ngave the column a similar proportion that is, they\\nmade its height, including the capital, six times the\\nthickness of the shaft, measured at the base. Thus the\\nDoric order obtained its proportion, its strength, and\\nits beauty from the human figure.\\nUnder similar notions they afterward built the\\ntemple of Diana, but in that, seeking a new proportion,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0071.jp2"}, "70": {"fulltext": "52 SOME OLD MASTERS\\nthey used the female figure as the standard and for the\\npurpose of producing a more lofty effect they first made\\nit eight times its thickness in height. Under it they\\nplaced a base, after the manner of a shoe to the foot\\nthey also added volutes to its capital, like graceful, curl-\\ning hair, on each side, and the front they ornamented\\nwith cymatia and festoons in the place of hair. On\\nthe shafts they sunk channels, which bear a resemblance\\nto the folds of a matronal garment. Thus two orders\\nwere invented, one of a masculine character, without\\nornament, the other bearing a character which resem-\\nbled the delicacy, ornament and proportion of a female.\\nThe successors of these people, improving in taste,\\nand preferring a more slender proportion, assigned\\nseven diameters to the height of the Doric column and\\neight and a half to the Ionic. That species, of which\\nthe Ionians were the inventors, has received the appella-\\ntion of Ionic.\\nThe third species, which is called Corinthian, re-\\nsembles in its character the graceful and elegant appear-\\nance of a virgin, in whom, from her tender age, the\\nlimbs are of a more delicate form, and whose ornaments\\nshould be unobtrusive. The invention of the capital of\\nthis order is said to be founded on the following occur-\\nrence: A Corinthian virgin, of a marriageable age, fell", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0072.jp2"}, "71": {"fulltext": "THE ORIGIN OF THE CORINTHIAN CAPITAL.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0073.jp2"}, "72": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0074.jp2"}, "73": {"fulltext": "OF GEEEK ARCHITECTURE. 53\\na victim to a violent disorder. After her interment her\\nnurse, collecting in a basket those articles to which she\\nhad shown a partiality when alive, carried them to her\\ntomb, and placed a tile on the basket for the longer\\npreservation of its contents. The basket was accident-\\nally placed on the root of an acanthus plant, which,\\npressed by the weight, shot forth, toward spring, its\\nstems and large foliage, and in the course of its growth\\nreached the angles of the tile, and thus formed volutes\\nat the extremities. Callimachus, who for his great in-\\ngenuity and taste was called by the Athenians Cate-\\ntechnos, happening at this time to pass by the tomb,\\nobserved the basket and the delicacy of the foliage which\\nsurrounded it. Pleased with the form and novelty of\\nthe combination, he constructed from the hint thus\\nafforded columns of this species in the country about\\nCorinth.\\nThe comments of Sir Henry Wotton in his Elements\\nof Architecture, written in England during the latter\\npart of the sixteenth century, upon this legendary ac-\\ncount of the source of the three orders given by Vitru-\\nvius, are sufficiently attractive and quaint in language\\nand spelling to warrant their being quoted also\\nThe Dorique order is the gravest that hath been\\nreceived into civil use, preserving in comparison of those", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0075.jp2"}, "74": {"fulltext": "54 SOME OLD MASTERS\\nthat follow a more masculine aspect and little trimmer\\nthan the Tuscan that went before, save a sober garnish-\\nment now and then of lions heads in the cornice and of\\ntriglyph and metopes always in the frize. To\\ndiscern him will be a piece rather of good heraldry than\\nof architecture, for he is knowne by his place when he\\nis in company and by the peculiar ornament of his\\nfrize, before mentioned, when he is alone. The\\nlonique order doth represent a kind of feminine slender-\\nness yet, saith Vitruvius, not like a housewife, but in\\na decent dressing hath much of the matrone.\\nBest known by his trimmings for the bodie of this col-\\numne is perpetually chaneled, like a thick-pleighted\\ngowne. The jcap it all dressed on each side, not much\\nunlike women s wires, in a spiral wreathing, which they\\ncall the Ionian voluta. The Corinthian is a\\ncolumne lasciviously decked like a courtezan, and there-\\nfore in much participating (as all inventions do) of\\nthe place where they were first born, Corinth having\\nbeene, without controversie, one of the wantonest towns\\nin the world.\\nAs for the Composite order, which, as has been al-\\nready stated, is but a mixture of the Ionic and Corin-\\nthian, it would seem that Sir Henry has very little\\npatience. He says with a contempt which he makes", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0076.jp2"}, "75": {"fulltext": "OF GREEK ARCHITECTURE. 55\\nlittle effort to conceal: The last is the compounded\\norder, his name being a briefe of his nature: for his\\npillar is nothing in effect but a medlie, or an amasse of\\nall the preceding ornaments, making a new kinde of\\nstealth, and though the most richly tricked, yet the poor-\\nest in this, that he is a borrower of his beautie.\\nThere are those who in relentless search for truth\\nat the expense of sentiment and poetry would spoil the\\npretty story which Vitruvius tells of the invention of\\nthe Corinthian capital by claiming for Egypt the dis-\\ntinction of being the mother-country of the order, and\\nascribing to that form of the Egyptian capital that bells\\nout toward the abacus, and which is surrounded by open\\nlotus leaves, as the archetype of- the last of the three\\nGrecian orders. There is, however, more probability to\\nthe story of Callimachus than there is similarity be-\\ntween the Egyptian and Corinthian capitals, in our\\nopinion.\\nIf we accept Callimachus as the originator of the\\nCorinthian, although there does not appear any name\\nof an architect to receive the individual credit for the\\ninvention of the Doric order, we may as well accept the\\ndeduction which Vitruvius draws in respect to Her-\\nmogenes, an Ionian architect, who is said to have flour-\\nished about 600 B.C., and credit him at the same time", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0077.jp2"}, "76": {"fulltext": "56 SOME OLD MASTERS\\nwith being the first to introduce the feminine propor-\\ntions and attributes into his art, and with having per-\\nfected, if he did not originate, the queenly Ionic order.\\nWhen Hermogenes was employed to erect the temple\\nof Bacchus at Teos, says Vitruvius, the marbls was\\nprepared for one in the Doric style but the architect\\nchanged his mind, from the idea that other proportions,\\nafterward called Ionic, were more suitable for the pur-\\npose, almost inducing the inference that Hermogenes\\nwas the inventor of those delicate proportions he ap-\\npears unquestionably to have displayed great skill and\\ningenuity in all his designs, and to have entertained the\\nopinion that sacred buildings should not be constructed\\nwith Doric proportions, as they obliged the adoption of\\nfalse and incongruous arrangements.\\nAnother fact which Vitruvius does not touch upon\\nmight tend to point to Hermogenes as the originator of\\nthe Ionic order. He was a native of Alabanda in Caria,\\nand if it is true, as some authorities believe, the volute\\nwas an ornament in early use in Asia Minor, he was\\ndoubtless familiar with it and, appreciating its grace-\\nful possibilities, introduced it into the matronly Ionic.\\nHermogenes is conceded to have been one of the most\\ncelebrated architects of antiquity. In addition to the\\ntemple of Bacchus which he designed for Teos, one of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0078.jp2"}, "77": {"fulltext": "OF GREEK ARCHITECTURE. 57\\nthe eastern Ionian cities, and the birthplace of Anac-\\nreon, as well as other noted ancient characters, he\\nerected in the city of Magnesia, in Lydia, a temple to\\nDiana in the Doric order. About each of these temples\\nhe wrote a book, both of which were still in existence\\nin the time of Augustus. In one he described the temple,\\nto Diana as a pseudodipteral, or false dipteral temple, a\\nform which he invented. It is called false or imperfect\\nbecause of the economy of the inside row of columns on\\neach of the long sides of the cell, the outside row being\\nallowed to remain. The effect from a distance was the\\nsame as a double row, while considerable expense was\\nsaved. The temple to Bacchus he described as a mon-\\nopterus, or a round temple, having neither walls nor\\ncell, but merely a roof sustained by columns.\\nHermogenes s great ambition appears to have been\\na desire to foster and encourage the use of the Ionic\\norder in preference to the Doric for temple construction.\\nIn this opinion he was later sustained by Tarchesius,\\nanother writer on architecture, who may be dated as\\nsometime later than 470 b.c, and by Pytheus, whom\\nAve shall meet again as one of the architects of the tomb\\nof Mausolus.\\nAlthough Vitruvius mentions the origin of the Co-\\nrinthian order in close connection with that of the Doric", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0079.jp2"}, "78": {"fulltext": "58 SOME OLD MASTERS\\nand Ionic, it must be borne in mind that Callimachus,\\nwhom he credits with the Corinthian, was a much later\\nartist than Hermogenes. The use of the Corinthian\\ncolumn by the architect Scopas in the temple of Athene\\nat Tegea in 396 B.C., has led to the inference that Cal-\\nlimachus must have lived prior to that date, and the fact\\nthat he gave to that style of architecture the appellation\\nof Corinthian, that he was a native of Corinth. Liibke.\\nin his Outlines of the History of Art, however, does\\nnot give to Callimachus the full and undisputed credit\\nfor originating the Corinthian style, claiming that the\\norder existed before his time, although he does not men-\\ntion when or where. Liibke would interpret the story\\nof Callimachus and the basket as meaning that it was\\nhe who gave to the capital its final perfection. It is\\nsomewhat strange also that although Callimachus is\\nconceded to have been the first to develop this order, if\\nhe did not absolutely invent it, there is no mention of\\nany building having been designed bv him in the Co-\\nrinthian style.\\nThere seems to be little dispute over the fact that\\nCallimachus was neither as a sculptor nor an architect\\nto be placed in the van of the distinguished artists of\\nearly Greece. As a sculptor, in which capacity he is\\nbest known by his works, his style was stilted and arti-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0080.jp2"}, "79": {"fulltext": "OF GREEK ARCHITECTURE. 59\\nflcial, rendered so by the artist s disposition to be finicky\\nand fastidious in his execution. Indeed, he is said to\\nhave been unwearied in polishing and perfecting, and to\\nhave sacrificed the grand and sublime in the exercise\\nof too great refinement and purity. Callimachus was\\nnever satisfied with himself, and possibly on that ac-\\ncount others were not satisfied with him, as a certain\\ndegree of self-esteem is necessary to invite public ap-\\nproval. The Greeks gave him a name, based upon his\\npeculiarities, which Pliny has translated as Calumni-\\nator Sui. His faculty for invention was evidenced\\nin other respects also, as he is credited with having origi-\\nnated the art of boring marble, and Pausanius describes\\na golden lamp which he invented, and which he dedi-\\ncated to Athene, which when filled with oil burned\\nexactly a year without going out.\\nIt may be said broadly of the Grecian people in their\\nemployment of the three grand orders of architecture\\nthat the first two namely, the Doric and Ionic\\nmore closely harmonized with the dignity and nobility\\nof their national character. In fact, Greece arrived at\\nthe pinnacle of her civilization and brought her philos-\\nophy of human existence not only in theory, but in\\npractice, to its highest ideals before the Corinthian\\norder of architecture appeared to claim a share in her", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0081.jp2"}, "80": {"fulltext": "60 SOME OLD MASTERS\\nartistic reputation. The stately solidity of the Doric\\nand the graceful purity of the Ionic lent the perfection\\nof architectural framework to the mental strength and\\nloftiness of ideal of the Hellenic people. They seemed\\nto accord with the philosophy that was originally\\npreached from under the shadow of their pediments and\\nentablatures. We can almost see the doubting and\\nmystified Theon stepping from the Doric portico where\\nZeno held forth, to compare that philosopher s stoical\\ndogmas with the doctrines of Prudence preached in the\\nIonic-encompassed garden of Epicurus, by a philos-\\nopher ever destined to be misconstrued and wrongfully\\ninterpreted.\\nAll learning is useful, taught Epicurus all the\\nsciences are curious all the arts are beautiful but\\nmore useful, more curious and more beautiful is the\\nperfect knowledge and perfect government of ourselves.\\nThough a man should read the heavens, unravel their\\nlaws and their revolutions; though he should dive into\\nthe mysteries of matter, and expound the phenomena\\nof the earth and air; though he should be conversant\\nwith all the writings and sayings and actions of the\\ndead though he should hold the pencil of Parrhasius,\\nthe chisel of Polycletas or the lyre of Pindar though\\nhe should be one or all of these things, yet not know the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0082.jp2"}, "81": {"fulltext": "OF GREEK ARCHITECTURE. 61\\nsecret springs of his own mind, the foundation of his\\nopinions, the motives of his actions if he hold not the\\nrein over his passions if he have not cleared the\\nmist of all prejudice from his understanding; if he\\nhave not rubbed off all intolerance from his judgments\\nif he know not to weigh his own actions and the actions\\nof others in the balance of justice, that man hath not\\nknowledge, nor, though he be a man of science, a man\\nof learning or an artist, he is not a sage. He must sit\\ndown patient at the feet of Philosophy. With all his\\nlearning he hath yet to learn, and perhaps a harder task,\\nhe hath to unlearn.\\nThe Corinthian order, on the other hand, notwith-\\nstanding all its charm, beauty and variety, seemed to\\nlack that steadfastness of character which bound so\\nfirmly the other tv r o orders to the hearts of the Grecian\\npeople, and was never admitted into their fullest trust\\nand confidence. Indeed, it is generally conceded that\\nthe Corinthian model grew in favor as the architectural\\nart of Greece declined and only when Greece, losing\\nher autonomy, besan to lose her ambition and intellec-\\ntual greatness and independence. It reached its fullest\\nvogue with the later or Greco-Roman architects, who\\nsacrificed much of purity in art for lavish and sightly\\ndisplay. With the Greeks the Corinthian was sparingly", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0083.jp2"}, "82": {"fulltext": "62\\nSOME OLD MASTERS\\nemployed, and generally called upon for their smaller\\nand less important buildings; on the other hand, with\\nthe Romans, enriched by additional features and orna-\\nmentation of their own, it became the favorite order,\\nnot alone for portico and temple, but for public and\\nprivate buildings of every nature.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0084.jp2"}, "83": {"fulltext": "OF GREEK ARCHITECTURE.\\n63\\nCHAPTER IV.\\nEarly Grecian Architects.\\nX the year 548 b.c. the great temple to Apollo\\nat Delphi, the work of the legendary architects\\nAgamedes and Trophonius, was destroyed by\\n\u00e2\u0096\u00a0fire. Of the four temples to the same deity that had\\nbeen reared upon the same site, this was the first in\\nwhich marble was employed as a building material.\\nNaturally the question will present itself, how could\\na temple built of marble be destroyed by fire The\\nanswer is, that while the main walls of the cell and the\\ncolumns, entablatures, pediments and other exposed\\nparts of the early Greek temples were built of marble,-\\nstone or sun-dried bricks, the roofs were generally of\\nwood, and were heavily timbered, sometimes calling for\\ngreat strength to support marble tiles. Much of the\\ninterior building material was also of wood, as well as\\nthe statuary with which the earlier temples were lav-\\nished and enriched. Thus if fire was started within\\nthe building, either by accident or, as not infrequently", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0085.jp2"}, "84": {"fulltext": "64 SOME OLD MASTERS\\nhappened, by the hand of an incendiary, there was suffi-\\ncient combustible material for it to feed upon and to\\nheat the entire structure, reducing the otherwise endur-\\ning marble to crumbling lime.\\nThe temple of Apollo having been thus destroyed,\\nthe much revered and highly respected Oracle was left\\nwithout shelter and a place of business. This state of\\nthings of course could not long be allowed to continue,\\nand the Amphictyons, a legislative body, having under\\nits special care the Delphic temple, at once came to the\\nfront and ordered a new temple built at a cost of about\\n$300,000. One-fourth of this sum was to be paid by\\nthe Delphians and the remaining three-fourths were\\nto be contributed by the other cities of Greece and those\\nnations which were in the habit of consulting the Oracle\\na very proper distribution of the expense, considering\\nhow extensive and widespread was the renown and ap-\\npreciation of the priestess. Amasis, King of Egypt,\\nvolunteered a thousand talents of alumina, thus showing\\nwhat his feelings were in the matter, and the Alcnnv-\\nonida?, one of the oldest and most aristocratic families\\nof Athens, undertook the contract, it is hinted, mainly\\nfor political reasons. This may be true, as they were\\nmuch involved in local politics, especially with the ban-\\nishment of Pisistratus, the tyrant, and they may have", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0086.jp2"}, "85": {"fulltext": "OF GREEK ARCHITECTURE. 65\\nseen an opportunity in the rebuilding of this temple to\\nmake themselves very popular. They certainly went\\nabout it in the right way to achieve such a result, and\\ndid actually gain much influence by their generosity\\nand the broadminded manner in which they disregarded\\nthe strict terms of the contract to do handsomer and\\nbetter work than it called for. One particular illustra-\\ntion of their liberality has attracted the attention of the\\nhistorian: it was the building of the temple in Parian\\nmarble, instead of Porine stone. While the Alcmseoni-\\ndse were prosecuting the work in this generous spirit,\\nthey did not neglect their fallen enemies, the Pisistra-\\ntidse, and threw out occasional innuendoes to the effect\\nthat the Pisistratida* could tell more about the origin\\nof the fire that destroyed the late temple than they evi-\\ndently cared to, thereby intimating a crime as against\\ntheir rivals that it might have been difficult to have\\nproved. They even won the Oracle to their side by\\nsimilar simple and ingenuous methods, with the result\\nthat ever afterward the Oracle did not hesitate to speak\\na kind word for the Alcmaeonida 1 and favor their native\\ncity, Athens.\\nThe architect of this new temple was Spintharus, a\\nCorinthian. As nothing further seems to be known of\\nhim, we have been somewhat particular to mention the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0087.jp2"}, "86": {"fulltext": "66 SOME OLD MASTERS\\nimportance of this work, to show that Spintharus was\\nan artist who stood very high in his profession at the\\ntime. But as the temple was one of the longest in\\nprocess of construction, taking about seventy-two years\\nto complete, it is not likely that Spintharus lived to\\nenjoy the full fruition of his work.\\nIt may be of interest to add that no structure of its\\nkind throughout all Greece was made the depository of\\nricher or more extensive treasure than this temple to\\nApollo at Delphi, a fact not to be marvelled at if we\\ndo not lose sight of the Oracle. We have already seen\\nhow it excited the cupidity of the brothers Agamedes\\nand Trophonius. What they appropriated to themselves\\nfrom the rich vaults of its predecessor was, however,\\ncomparatively insignificant to the wholesale robberies\\nthat went on from time to time of the fifth temple de-\\nsigned by Spintharus. Herodotus says that the wealth\\nof Delphi was better known to the Persian Xerxes than\\nwere the contents of his own palace, and that after\\nforcing the pass of Thermopylae he detached a portion\\nof his army to capture Delphi. It failed to do so, only\\nthrough the interposition of the Oracle or some other\\ndeity. Many years afterward the Phocians plundered\\nthe temple of what might be represented by $10,600,000\\nof our money. Still later the Gauls also made a rich", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0088.jp2"}, "87": {"fulltext": "OF GREEK ARCHITECTURE. G7\\nhaul, which the Romans afterward found in their city of\\nTolosa unexpended, probably because there was so much\\nof it and J^ero is said to have taken from it five hundred\\nbronze statues at one time.\\nBut these robberies fade into insignificance when the\\ninsult heaped upon the Delphians and their Oracle by\\nConstantine the Great is recalled. This Roman vandal\\nnot only removed the sacred Tripod and Brazen Column\\nwhich supported it, but degenerated their use to the\\nadornment of the hippodrome of the new city he built\\non the Bosphorus. The Brazen Column may still be\\nseen in Constantinople, but the sacred Tripod has dis-\\nappeared forever. There is a little story connected with\\na first disappearance of the Tripod that may be worth\\nthe telling. It was lost at sea, but afterward recovered\\nby some fishermen. When Pythia was asked to decide\\nto whom it should be given, her answer was that it\\nshould be bestowed upon the wisest man in Greece.\\nAccordingly it was sent to Thales of Miletos. He, how-\\never, was too modest to retain it, and passed it over to\\nBias as a wiser man Bias was also embarrassed by the\\nselection, and presented it to another of the Grecian\\nsages he to still another, and so on, until it had made\\nthe circuit of pretty much every person in Greece with\\nany claim at all to superior wisdom. Finally, however,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0089.jp2"}, "88": {"fulltext": "68 SOME OLD MASTEKS\\nit came back once more to Thales, who successfully\\nended its itinerary by dedicating it to the Delphic\\nApollo.\\nOne of the earliest of the great temples to be erected\\nin the Ionic order was that begun in the Ionian city of\\nEphesus in Asiatic Greece by Ctesiphon, a Cretan\\narchitect born in Cnossus, and his son, Metagenes. This\\ntemple was erected to the glory of the many-breasted\\nand mummy-like appearing Artemis, a goddess peculiar\\nto the Ephesians, whom the Greek colonists there doubt-\\nless inherited from the Asiatic races that preceded them\\nin their Ionian settlement. There was nothing of the\\ngraceful, virgin-like characteristics of Apollo s sister,\\nthe Arcadian Artemis, in this Ephesian goddess, but the\\nIonian Greeks were quite partial to her, attended her\\nwith eunuch priests, and built in her honor this temple,\\nso grand and magnificent that it was regarded as one\\nof the seven wonders of the world.\\nBefore alluding to some of the interesting facts that\\nhave been preserved concerning the early history of this\\ngreat temple it may not be out of place to touch upon\\na custom which prevailed in Ephesus in respect to the\\nemployment of architects, which Vitruvius relates. He\\nsays In the magnificent and spacious Grecian city of\\nEphesus an ancient law was made by the ancestors of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0090.jp2"}, "89": {"fulltext": "OF GREEK ARCHITECTURE. 69\\nthe inhabitants, hard in its nature, but nevertheless\\nequitable. When an architect was entrusted with the\\nexecution of a public work, an estimate thereof being\\nlodged in the hands of a magistrate, his property was\\nheld as security until the work was finished. If, when\\nfinished, the expense did not exceed the estimate, he was\\ncomplimented with decrees and honors. So when the\\nexcess did not amount to more than a fourth part of the\\noriginal estimate, it was defrayed by the public, and no\\npunishment was inflicted. But when more than one-\\nfourth the estimate was exceeded, he was required to\\npay the excess out of his own pocket.\\nThe honest Vitruvius almost sighs as he adds Would\\nto God that such a law existed among the Roman people,\\nnot only in respect to their public, but also of their pri-\\nvate buildings, for then the unskilful could not commit\\ntheir depredations with impunity, and those who were\\nmost skilful in the intricacies of the art would follow the\\nprofession Proprietors would not be led into an ex-\\ntravagant expenditure, so as to cause ruin; architects\\nthemselves, from the dread of punishment, would be\\nmore careful in their calculations, and the proprietor\\nwould complete his building for that sum or a little\\nmore, which he could afford to expend. Those who can\\nconveniently expend a given sum on any work with the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0091.jp2"}, "90": {"fulltext": "TO SOME OLD MASTERS\\npleasing expectation of seeing it completed would cheer-\\nfully add one-fourth more; but when they find them-\\nselves burdened with the addition of half or even more\\nthan half of the expense originally contemplated, losing\\ntheir spirits and sacrificing what has already been laid\\nout, they incline to desist from its completion.\\nThere are, perhaps, some people even at the present\\ntime who can be found to echo these sentiments of Vitru-\\nvius, and exclaim Would to God that such a law existed\\namong the American people, especially in Xew York\\nand Chicago\\nTheodoras of Samos, it will be remembered, laid the\\nfoundation of the temple to Artemis of Ephesus in the\\nyear 600 b.c. To guard against the destruction of the\\ntemple by earthquakes, a marshy site was chosen, and\\nTheodoras insured a firm foundation, by using charcoal,\\nwhich was rammed down solidly, and then covered with\\nfleeces of wool. Ctesiphon and his son did not, how-\\never, begin the superstructure until about forty years\\nlater.\\nThe dimensions of the building were very extensive,\\nand although the architecture was full of grandeur,\\ngrace and beauty were not sacrificed. The length was\\nfour hundred and twenty-five feet the width two hun-\\ndred and twenty feet. One hundred and twenty-seven", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0092.jp2"}, "91": {"fulltext": "OF GREEK ARCHITECTURE. 71\\nParian marble columns, each sixty feet in height, sur-\\nrounded the cell in double rows, sixteen appearing in the\\nfront and rear fagades, and forty each on the sides. He-\\nrodotus states that most of these columns were presented\\nby the rich Croesus, and some by other kings. The cell,\\naccording to some authorities, was devoid of a roof, but\\nMr. Wood, in his Discoveries at Ephesus, indicates\\notherwise. The whole edifice, both exteriorly and in-\\nteriorly, presented great richness and elaboration of\\ncarving. The shafts of the columns in front of the\\nbuilding were carved in relief, in three broad bands, to\\nnearly half their height, and those in the rear, in one\\nband, to about one-quarter of their height. The frieze\\nand pediments were also worked out by the chisel of the\\nsculptor in designs of great and imposing beauty.\\nMany of the stones used in the building were very\\nmassive. An idea of how huge some of these blocks were\\nmay be gathered from the fact that the architrave\\nalone contained pieces of marble thirty feet long, and\\nthat Ctesiphon and Metagenes were forced to invent\\nspecial machinery and contrivances to convey the stones\\nfor the columns to the building from the quarry eight\\nmiles distant. Vitruvius explains these contrivances as\\nfollows He [Ctesiphon] made a frame of four pieces\\nof timber, two of which were equal in length to the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0093.jp2"}, "92": {"fulltext": "72\\nSOME OLD MASTEKS\\nshafts of the columns, and were held together by the two\\ntransverse pieces. In each end of the shaft he inserted\\niron pivots, whose ends were dovetailed thereinto, and\\nrun with lead. The pivots worked in gudgeons fastened\\nto the timber frame, whereto were attached oaken shafts.\\nThe pivots having a free revolution in the gudgeons,\\nwhen the oxen were attached and drew the frame, the\\nshafts rolled round, and might have been conveyed to\\nany distance. The shafts having been thus transported,\\nthe entablatures were to be removed, when Metagenes,\\nthe son of Ctesiphon, applied the principle upon which\\nthe shafts had been conveyed to the removal of those\\nalso. He constructed wheels about twelve feet in diam-\\neter, and fixed the ends of the blocks of stone whereof the\\nentablature was composed into them; pivots and gud-\\ngeons were then prepared to receive them in the manner\\njust described, so that when the oxen drew the machine\\nthe pivots, turning in the gudgeons, caused the wheels\\nto revolve, and thus the blocks, being enclosed like axles\\nin the wheels, were brought to the work without delay.\\nAn example of this species of machine may be seen in\\nthe rolling stone used for smoothing the walks in\\npalaestrae. But the method would not have been prac-\\nticable for any considerable distance. From the quar-\\nries to the temple is a length of not more than eight", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0094.jp2"}, "93": {"fulltext": "OF GREEK ARCHITECTURE. 73\\nthousand feet, and the interval is a plain without any\\ndeclivity. Within our own time, when the base of the\\ncolossal statue of Apollo in the temple of that god was\\ndecayed through age, to prevent the fall and destruction\\nof it, a contract for a base from the same quarry was\\nmade with Pseonius. It was twelve feet long, eight feet\\nwide, and six feet high. Pa?onius, driven to an expedi-\\nent, did not use the same as ]\\\\Ietagenes did, but con-\\nstructed a machine for the purpose by a different appli-\\ncation of the same principle. He made two wheels\\nabout fifteen feet in diameter, and fitted the ends of the\\nstone into these wheels. To connect the two wheels he\\nframed into them, round their circumference, small\\npieces of two inches square, not more than one foot\\napart, each extending from one wheel to the other, and\\nthus enclosing the stone. Round these bars a rope was\\ncoiled, to which the traces of the oxen were made fast,\\nand as it was drawn out the stone rolled by means of the\\nwheels but the machine, by its constant swerving from\\na direct, straightforward path, stood in need of constant\\nrectification, so that Pseonius was at last without money\\nfor the completion of his contract. The uninitiated\\nwho have speculated as to how the ancients succeeded in\\nmoving and transporting considerable distances such\\nhuge blocks of stone, without the assistance of our mod-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0095.jp2"}, "94": {"fulltext": "74 SOME OLD MASTERS\\nern machinery and contrivances, are given in this quo-\\ntation from Vitruvius some hint as to the ingenuity and\\ninventive ability of the early architects and builders.\\nThe temple, however, was slow in building, and Ctesi-\\nphon and Metagenes, after writing a book on their great\\narchitectural work, passed away in due course of time.\\nTheir places were filled by other architects, of whom\\nthere is no record, but Demetrius, a priest of Diana, to-\\ngether with Daphnis and Peonius, Ephenian architects,\\nfinally completed the work some two hundred and\\ntwenty years after it was begun by Ctesiphon and his\\nson. In the course of that long interval, Scopas, an\\narchitectural sculptor of Paros, of whom there will be\\nmore to relate as we go on, contributed one column,\\nwhich was regarded as so beautiful that it was accepted\\nas a model for those that followed.\\nTogether with its architectural glories, the interior\\nwas made a depository for many of the finest works of\\nthe great artists of antiquity, and Scopas is said to have\\nintroduced Caryatides here. This is doubted, but he\\ncertainly furnished a very grand statue of Hecate and\\nPraxiteles, with his almost equally gifted son, adorned\\nthe shrine.\\nTradition relates that upon the very night that the\\ngreat Alexander was born, the Ephesian temple was", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0096.jp2"}, "95": {"fulltext": "OF GREEK ARCHITECTURE. 75\\ndestroyed by fire, through the rapacious greed for\\nnotoriety of one Herostratus. This antique fire-bug,\\nwhen put to the torture for his crime, confessed that his\\nonly object was to gain immortality for his name, an\\nambition which he succeeded in accomplishing through\\nthe stupidity of the states-general of Asiatic Greece.\\nThey decreed that the name of Herostratus should never\\nbe mentioned, and of course it always was, as all the\\ncontemporary historians felt impelled to record the fact\\nthat a man by the name of Herostratus was not to be\\nmentioned, and to give the reasons therefor, and much\\nmore about Herostratus which, had there been no\\ndecree, might have been left unsaid. The result was and\\nhas been that a crank of antiquity has lived by name\\nfor twenty-five hundred years, and is quite, likely to live\\nfor as many more.\\nWhen Alexander the Great reached maturity, doubt-\\nless feeling the depression consequent upon having his\\nadvent into the world which he was destined to domi-\\nnate, associated with the destruction of so magnificent a\\ntemple to the Asiatic Diana, offered, it is said, to pay the\\ncost of its restoration, provided there is frequently a\\nproviso coupled with these liberal offers provided his\\nname should be inscribed on the new edifice. While the\\nEphesians were made glad by the offer, they did not", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0097.jp2"}, "96": {"fulltext": "76 SOME OLD MASTERS\\nreadily fall in with the proviso. The cleverness of their\\ndiplomatic reply, however, appealed to the susceptible\\nside of Alexander s human nature, and effected a com-\\npromise. They told the Macedonian that it was not\\nright for a god to make offerings to gods.\\nThe architect for the new temple was the great favor-\\nite of Alexander and his fellow-countryman, Dinocrates,\\nwho it is said rebuilt the edifice on even a more extrav-\\nagant scale than was the first. Much of the marble and\\nsculpturing of the old temple entered into the new, and\\nthe painters, statuaries and sculptors of the time again\\nlavished upon it their best art. The walls were embel-\\nlished from time to time by Parrhasius and Apelles and\\nTimarete, the first female artist of note of whom there\\nis any record, contributed a picture of the honored Arte-\\nmis. It is related that the folding doors or gates of this\\nnew temple were made of cypress that had been allowed\\nto season for four generations, and that when the pieces\\nof cypress wood were glued together the glue was allowed\\nto remain for four years to harden. Mutianus, a Roman\\narchitect, states that when he found them, which was\\nfour hundred years afterward, they were as fresh and\\nbeautiful as when new.\\nSome remains of the splendor of this pagan temple\\nare still doing architectural duty. The great dome of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0098.jp2"}, "97": {"fulltext": "OF GREEK ARCHITECTURE. 77\\nthe beautiful Byzantine church of Santa Sophia in Con-\\nstantinople, now a Turkish mosque, is supported by\\ncolumns of green jasper, brought from the Ephesian\\ntemple by the Roman Emperor Justinian, and two of\\nthe pillars in the cathedral at Pisa are also from the\\nsame source.\\nThere is some confusion as to the works of art and\\ndecorations associated respectively with the two temples\\njust described which it would be vain to attempt to\\nclear up, believing that it matters but little, inasmuch\\nas it is not likely that Ilerostratus could have destroyed\\ncompletely the first temple, and that the services of\\nDinocrates were engaged more in the line of making\\ngood the damage done than in erecting an entirely new\\nedifice. The upper colonnades of Corinthian columns,\\nhowever, which Mr. Wood shows as appearing in the\\ninterior of the temple, are clearly the work of Dinoc-\\nrates.\\nDemetrius, the priest of Diana, and his associates,\\nPeonius and Daphnis, the three architects who com-\\npleted the first Artemesian temple, having flourished\\nover two hundred years after the foundation of that\\nstructure was laid, are not, of course, to be classed among\\nthe earlier of the Grecian architects, and, properly,\\nshould not be treated under this heading but as they are", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0099.jp2"}, "98": {"fulltext": "78\\nSOME OLD MASTERS\\nall grouped together in the erection of another great\\nAsiatic-Greek temple, and are not further met with, it\\nmay be just as well to add what there is in respect to\\nthem at this time.\\nThe temple referred to was that dedicated to Apollo\\nin the Ionian city of Miletus, not far distant from the\\nscene of the joint labors of these architects at Ephesus.\\nIts order was also Ionic, and although not as large as\\nthat to Artemis, it could have been very little, if any,\\ninferior to it in columnar effect and general impressive\\nbeauty, if not grandeur. It was three hundred and two\\nfeet in length by one hundred and sixty-four feet in\\nwidth, and, like the temple at Ephesus, was surrounded\\nby double rows of columns, each column, however, being\\nsixty-three feet in height. Indeed, Strabo, the cele-\\nbrated Roman traveller and geographer, who visited the\\nruins of the temple during the first century before the\\nChristian era, testifies that it is the greatest of all\\ntemples, and adds that it remained without a roof in\\nconsequence of its bigness but this allusion to its roof-\\nless condition is probably due to the fact that the build-\\ning was never wholly completed. Pausanias also gives\\nit high praise, and speaks of it as one of the wonders of\\nIonia, and Vitruvius numbers it as one of the four\\ntemples which had raised their architects to the summit", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0100.jp2"}, "99": {"fulltext": "OF GREEK ARCHITECTURE. 70\\nof renown a renown, it would seem, that has been\\nvery much begrudged them, as the literature of their\\ntime furnishes practically no data in regard to them\\npersonally, and what estimate can be formed of them is\\nwholly based upon the importance of their works.\\nPeonius, we are told, was an Ephesian, but as to even\\nthe nativity of the other two architects we are in the\\ndark, although Daphnis is supposed to have been a Mile-\\ntian. There is also some little uncertainty as to the\\nexact date when they exercised their profession, but it\\nis probably safe to say that it was sometime within the\\nfirst half of the fourth century before Christ.\\nTwo columns of the great temple to Apollo have stood\\nproudly against the attacks of time, and although scarred\\nby their long battles, are yet evidencing the glories of a\\nstructure of which they were once but an insignificant\\npart.\\nIn the year 555 B.C. there lived four architects, to\\nwhose skill was entrusted the building of a temple that\\nshould be in all respects worthy to stand for the respect\\ndue the dignity, power and extreme longevity of the\\ngreat Olympian Zeus the king-god of the Greeks.\\n*The other three temples which VUruvius praised thus highly\\nwere those to Diana at Ephesus, Jupiter Olympus at Athens, and\\nCeres at Eleusis.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0101.jp2"}, "100": {"fulltext": "80 SOME OLD MASTERS\\nThe foundation for this shrine was laid in the time\\nof Pisistratus, a tyrant of Athens, who contributed sev-\\neral architectural works to that city, but whose several\\nbanishments greatly interrupted their building. This\\nwas particularly the case with the great temple to Zeus.\\nHowever, it was sufficiently advanced for Pisistratus to\\ndedicate it before he fell from power. It has been stated\\nthat it was due to the genuine dislike which the Athe-\\nnians felt for Pisistratus and his sons, who succeeded\\nhim, that four hundred years were allowed to flow by\\nbefore the temple was finished. This is hardly just to a\\nruler of great loyalty to his native city, and of unques-\\ntioned integrity in the discharge of his public duties.\\nIt is more probable that the delay was due to the ani-\\nmosity of the rival Athenian family of Alcma?onida\\\\\\nwho, piqued by jealousy, fanned a flame of opposition\\nto the works of Pisistratus that continued for several\\ncenturies.\\nAntistates, Antimachides, Calleschros and Porinus\\nwere the four architects engaged by Pisistratus, who.\\nlike their professional brothers employed on the temples\\nof Diana, Apollo and Ceres, were, according to Vitru-\\nvius, entitled to immortality for the grandeur of their\\nworks, but about whom there is no other information\\nto be o;iven.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0102.jp2"}, "101": {"fulltext": "OF GREEK ARCHITECTURE. 81\\nThis temple to Jupiter was not built upon the Acrop-\\nolis at Athens, like that to the patron goddess of the city,\\nMinerva, but upon a raised peribolos within the city\\nbelow, and on the site of an earlier temple to the same\\ngod, erected in the time of Deucalion, but which had\\nperished from the ravages of ages.\\nIt was like most of the early Doric temples, of perip-\\nteral construction, or surrounded by columns on all four\\nsides. Aristotle, who saw it before it was finished, was\\nso much impressed by its size that he compared it to the\\nPyramids and one of his scholars remarked that\\nthough unfinished, it called forth astonishment, and\\nwhen finished would be unexcelled.\\nPerseus, king of Macedonia, and Antiochus Epiph-\\nanes of Syria (176-164 b.c.) finally finished the cell\\nand placed the Corinthian columns of the portico, em-\\nploying for the purpose a Roman architect of great skill\\nby the name of Cossutius. It was then, probably, that\\nLivy made the remark that among so many temples this\\nis the only one worthy of a god.\\nSylla, however, when he laid siege to Athens, some\\nforty years later, robbed the temple most unmercifully,\\ncarrying away with him many of the columns to Rome.\\nBut his work of destruction was more than compensated\\nfor by his successor, Hadrian, two hundred years still", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0103.jp2"}, "102": {"fulltext": "82 SOME OLD MASTERS\\nlater, under the immediate direction of the celebrated\\nRoman architect, Luigi Cannia. Hadrian, in his love\\nof great architectural effects, was inspired to beautify\\nthe peribolos with a peristyle one hundred rods in\\nlength, and his architect contributed a new section to\\nthe temple itself, and added three grand vestibules.\\nThe sacred enclosure, after Hadrian had finished it,\\nwhich had a circumference of about twenty-three hun-\\ndred feet, was ornamented by statues, contributed in\\ngreat numbers by different cities. The length of the tem-\\nple at this time, according to Stuart, was, upon the upper\\nstep, three hundred and fifty-four feet, and its breadth\\none hundred and seventy-one feet. The columns, which\\nsurrounded the cell, now all Corinthian, numbered one\\nhundred and twenty-four, all of Pentelican marble, of\\nwhich there are sixteen still standing. In the pronaos,\\nor inner portico, Hadrian caused to be placed four\\nstatues of himself, two in Thracian and two in Egyptian\\nmarble, which were, perhaps, three more than a moder-\\nately modest man might have felt necessary.\\nAnother gorgeous temple to the great Jupiter was be-\\ngun about five years later than that at Athens by the\\narchitect Libon, an Eleian, in Olympia, which Lysias\\nspeaks of as the fairest spot in Greece. In Olympia\\nthe spiritual and physical natures of the Grecian people", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0104.jp2"}, "103": {"fulltext": "OF GREEK ARCHITECTURE. 83\\nmay be said to have combined in the perfection of de-\\nvelopment. Here the glories of the body, the capabili-\\nties of the finest muscular strength and athletic action,\\n\u00e2\u0096\u00a0were exhibited in gymnasium and stadion, and here the\\nreligious spirit of the people arose to the fullest inten-\\nsity, and as though doubly inspired by the action and\\nstrength of the perfect body, found expression in temple\\nand sanctuary.\\nSo great was the reward, so enthusiastic the reception\\naccorded the champions in the athletic games of Olym-\\npia, that they call forth a protest from the sensitive\\nVitruvius, who seems to feel that the honors conferred\\nupon them should have been reserved for the literary\\nlights of the time. The ancestors of the Greeks, he\\ncomplains, held the celebrated wrestlers who were vic-\\ntors in the Olympic, Pythian, Isthmian and Xemean\\ngames in such esteem that, decorated with the palm and\\ncrown, they were not only publicly thanked, but were\\nalso, in their triumphant return to their respective\\nhomes, borne to their cities and countries in four-horse\\nchariots, and were allowed pensions for life from the\\npublic revenue. When I consider these circumstances, I\\ncannot help thinking it strange that similar honors, or\\neven greater, are not decreed to those authors who are\\nof lasting service to mankind. Such certainlv ouc;ht to", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0105.jp2"}, "104": {"fulltext": "84 SOME OLD MASTERS\\nbe the case; for the wrestler, by training, merely\\nhardens his own body for the conflict a writer, how-\\never, not only cultivates his own mind, but affords every\\none else the same opportunity, by laying down precepts\\nfor acquiring knowledge and exciting the talents of his\\nreader.\\nSo attractive was this spot on the banks of the Alpheus\\nin Ellis, in natural charm, as well as in the purposes for\\nwhich it was visited, that it is here, as nowhere else in\\nGreece, with the possible exception of the Acropolis at\\nAthens, the Grecian architects lavished their best skill\\nand best illustrated their appreciation of the fact, that\\nthe effect of fine buildings is greatly augmented by\\ngrouping them gracefully together in one place, produc-\\ning, as it were, an architectural picture. Many ob-\\njects, says Pausanias, may a man see in Greece, and\\nmany things may he hear that are worthy of admira-\\ntion, but above them all the doings at Eleusis and the\\nsights at Olympia have somewhat in them of a soul\\ndivine.\\nThe worship of Zeus was an old worship in Olympia,\\nso that when Libon was entrusted with authority to erect\\na new temple to that deity, out of the spoils taken in\\nsubjugating the Pisans and other neighboring cities\\nwhich had revolted from the Eleans, he gave free reign", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0106.jp2"}, "105": {"fulltext": "OF GREEK ARCHITECTURE. 85\\nto his art, and produced a Doric temple which rivalled\\nthat in Athens, though not as large.\\nPausanias informs us that the Olympian temple was\\ntwo hundred and thirty feet long, ninety-five feet wide\\nand sixty-eight feet high that it was surrounded by\\nmarble columns and covered with marble cut in the form\\nof tiles. The front and rear pediments were adorned\\nwith sculpture, as well as the metopes of the frieze. The\\ninterior was of two orders of columns supporting lofty\\ngalleries, through which there was a passage to the\\nthrone of Jove glittering with gold and gems.\\nIt was this temple of Libon s that became, soon after\\nits completion, the casket which held the chef d ceuvrc\\nof Phidias, the colossal statue of Jupiter carved in ivory\\nand gold, of which Quintilian observes that it added a\\nnew religious feeling to Greece. The story is well\\nknown how Phidias, being asked by his nephew Panse-\\nnus, a painter, who assisted him in the decoration of the\\ntemple, how he could have conceived that air of divinity\\nwhich he had expressed in the face of this noble statue,\\nreplied that he had copied it from Homer s description\\nof the god. Jupiter was presented naked to his waist,\\nbut draped from his girdle down. The significance of\\nthis was that the great Jove, knowing himself to be of\\nheavenly origin, thought it best to conceal himself in", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0107.jp2"}, "106": {"fulltext": "86 SOME OLD MASTERS\\npart only from man. He was also given a beard for the\\nreason that the Greeks, clinging to the Oriental notion,\\nbelieved that beards carried with them an air of majesty\\nan idea, by the way, which was not shared in by the\\nRomans, who spoke with derision of their bearded fore-\\nfathers, and permitted the wearing of beards only to\\nthose who were in disgrace, and to poor philosophers,\\nwho probably, like our poor modern poets, found a visit\\nto the barber s an unnecessary and expensive luxury.\\nRome during these early times, and before she had\\nawakened to the cultivation of the arts at home, was\\nprone to borrow from Greece the talent of which she\\nwas in need. It was about this time that we find the\\nfirst record of such a call made by Rome upon her east-\\nern neighbor for architects. The demand was answered\\nby the two architectural sculptors Damophilus and\\nGorgasus, who were imported by the Dictator Posthu-\\nmius to erect two temples in Rome, one to Castor and\\nPollux or, as some authorities assert, to Liber and Libera\\n(Bacchus and Proserpine), which stood near the Forum\\nand Temple of Vesta, and the other to Ceres, on the\\nslope of the Aventine hill, near the Circus. These tem-\\nples were vowed by Posthumius, in his battle with the\\nLatins, 496 B.C., and were dedicated by Viscellinus some\\nyears later.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0108.jp2"}, "107": {"fulltext": "OF GREEK ARCHITECTURE. 87\\nBefore closing this chapter, in which the attempt is\\nmade to gather together some of the earlier architects of\\nGreece, it may be as well to include within it a number\\nof such artists who though not rising to the highest\\nfame, or who were not connected with the most elegant\\nbuildings of their time, nevertheless had the good for-\\ntune to have their names preserved in history.\\nPliny tells a rather amusing and interesting account\\nof such an architect by the name of Bupalus, who prob-\\nably flourished about the year 524 B.C. He is said to\\nhave come from a very old family of artists who exer-\\ncised the art of the statuary from the beginning of the\\nOlympiads but as Pliny simply speaks of him as an\\narchitect and artist, but does not mention any building\\nattributed to his skill, he becomes a subject for notice\\nonly in connection with the Iambic poet Hipponax,\\nwhom he used his art to torment. Pliny relates that\\nBupalus and his brother Athenis amused themselves by\\nmaking caricatures of the satirical poet. Hipponax was\\nundersized, thin and ugly, and probably, like the modern\\npoet Pope, suffered his physical defects to give him a\\ncynical view of life. The caricatures of the playful\\nBupalus and Athenis naturally affected unpleasantly his\\namour pro pre, and he employed the weapon at his com-\\nmand, his ironical pen, to strike back at his tormentors,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0109.jp2"}, "108": {"fulltext": "OO SOME OLD MASTERS\\nwith the result that he gave them a good pen lashing in\\na satirical poem, in which he also chastised his Ionian\\nbrethren for what he considered their effeminate luxury.\\nIn the same poem, also, he did not spare his own parents,\\nand it is said that he even had the temerity to ridicule\\nthe gods.\\nThere is, of course, always some one to start the story\\nthat a woman is at the source of all the infirmities that\\nany particularly conspicuous man suffers from, and\\nthere are those who claim that Bupalus did not originate\\nthe trouble, but that it started through the fact that the\\narchitect had a very beautiful daughter of whom Hip-\\nponax was greatly enamored. Like the earlier Iambic\\npoet Archilochus, who got into a similar scrape, the\\ngirl s father refused to permit his daughter to marry a\\npoor little withered poet, with the result that the poet s\\nlife was ever after embittered. How very bitter Hip-\\nponax became, especially against the ladies, is illustrated\\nby a remark which is attributed to him There are,\\nhe said, only two happy days in the life of a married\\nman that in which he receives his wife, and that in\\nwhich he carries out her corpse.\\nAfter his death Leonidas of Tarentum, in an elegant\\nepigram, warned travellers not to pass too near his tomb,\\nlest they rouse the sleeping wasp. The grave of Hip-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0110.jp2"}, "109": {"fulltext": "OF GREEK ARCHITECTURE. 89\\nponax, by the way, instead of being covered with ivy and\\nroses, like that of a mild poet, was planted with thorns\\nand thistles.\\nPausanias mentions several of these more obscure\\narchitects. Agnaptus was one, who built a porch in the\\nAltis, or wall at Olympia, called afterward by the Eleans\\nthe porch of Agnaptus, and Antiphilus, Potharus and\\n^legacies were three other waifs on our sea of oblivion.\\nThey were responsible for the Treasury of the Cartha-\\nginians also at Olympia. Pyrrhus, with his two sons,\\nLacrates and Ilermon, built the Olympian Treasury of\\nthe Epidamnians. There were ten of these Treasuries,\\nby the way, raised by different states, which were not\\nonly architecturally very beautiful, but which contained\\nstatues and other offerings of great value.\\nStrabo mentions an architect and sculptor by the\\nname of llermocreon, who designed a gigantic and beau-\\ntiful altar at Parium on the Propontis in Asia Minor;\\nand Eurycles, a Spartan architect, who built the baths\\nat Corinth, and adorned them with beautiful marbles,\\nmust not be overlooked, although he may have been of\\na much later date.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0111.jp2"}, "110": {"fulltext": "90 SOME OLD MASTEKS\\nCHAPTER V.\\nTHE ARCHITECTURAL EPOCH OF PERICLES.\\nHE age of Pericles was so distinctively an era\\nX I in the advancement of the arts, especially archi-\\ntecture, not alone in the city where Athene shed\\nher divine intelligence and tutelary influence with gen-\\nerous favor, but throughout all the Hellenic states, and\\nhas left so many models and criterions for the architects\\nof all time to follow, that a few words in reference to\\nPericles himself and the sculptor Phidias, into whose\\nhands he entrusted the direction of his public buildings\\nand the adornment of Athens, may be admissible, before\\nwe consider the architectural geniuses who sprung for-\\nward to meet the great requirements of the time.\\nPericles was a descendant of that noble and refined,\\nif sometimes unfortunate, house of Alcma?onida?, which\\ndid so much for the Delphic temple of Apollo, and a son\\nof Xanthippus, the victor of Mycale, and Agariste, niece\\nof Cleisthenes, founder of the later Athenian constitu-\\ntion. The date of his birth is not known, but that he", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0112.jp2"}, "111": {"fulltext": "OF GREEK ARCHITECTURE. 91\\nearly evinced a leaning toward the fine arts and philos-\\nophy is recorded. Under Pythocleides he studied music,\\nunder Damon political science, under Zeno philosophy\\nbut it remained for the erudite Anaxagoras to give the\\nfinal burnish to his character and thought. He was\\ntherefore, both by birth and disposition, as well as cul-\\ntivation, possessed of a mind singularly comprehensive\\nin its grasp of the advantages which the arts of peace\\ncould contribute to the progress of his people, and natu-\\nrally turned his attention to their exploitation and devel-\\nopment, when he became dominant in the year 444 b.c.\\nHis rule of peace lasted but thirteen years, or until the\\nbreaking out of the Poloponnesian war, but was crowded\\nwith numerous artistic and architectural triumphs.\\nThat he may have gone a step too far in the encour-\\nagement of pleasure and the peaceful virtues among a\\npeople of warlike antecedents and a future before them\\nof foreordained defence and conquest, if not final de-\\nfeat, may be a subject for speculation but that he gave\\nan impetus to literature and art, and by the fervent\\nwarmth of his patronage fostered the growth of genius\\nin a way that had not been equalled before his time, and\\nwhich has never been excelled since, is the principal rea-\\nson, doubtless, for his immortality.\\nHis head was abnormally long, a defect which the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0113.jp2"}, "112": {"fulltext": "92 SOME OLD MASTERS\\nartists of his time invariably corrected with a helmet\\nwhen painting or sculpturing his portrait, and the con-\\ntemporaneous comic poets and satirists as continually\\nridiculed in verse and jest. Speaking of his eloquence\\nand powers of persuasion, Thucydides relates a pleasant\\nstory in respect to his dexterity in this regard. When\\nArchidamus, king of the Lacedaemonians, asked Thu-\\ncydides whether he or Pericles was the better wrestler,\\nhe replied When I have thrown him and given him\\na fair fall, he, by persisting that he had no fall, gets the\\nbetter of me, and makes the bystanders, in spite of their\\nown eyes, believe him. But in other respects his\\nphysique was well proportioned and his bearing noble\\nand commanding. His manner was dignified and re-\\nserved, his eloquence strong, fearless and convincing,\\nand his general appearance such as to inspire the people\\nto compliment him with the name Olympian Zeus, a\\ncharacter in which his portrait was also painted by his\\nfavorite, Phidias.\\nAn English writer well says that the age of Pericles\\nwas the milky way of great men, for it was certainly\\nclouded to whiteness Avith intellectual stars. The names\\nassociated with this era are not only among the most\\ncelebrated in all Grecian history, but among the most\\nrenowned that have sprung forward in the history of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0114.jp2"}, "113": {"fulltext": "OF GREEK ARCHITECTURE. 93\\nall the world. Poets, philosophers, dramatists, musi-\\ncians, sculptors, painters, architects, not only arose\\nin great numbers under his fostering encouragement,\\nbut to the highest eminence in their respective avoca-\\ntions. In fact, it seems as though the human plant\\nthat had long been growing, strengthening and broaden-\\ning upon Hellenic soil had suddenly sprung into the\\nfullest flower and enveloped itself in intellectual\\nbeauty.\\nThe Athens which we so frequently see pictured in\\nall her restored architectural grace and grandeur, the\\nAthens which from her Acropolis of chiselled white so\\nproudly surveys the iEgean sea and surrounding plains,\\nis the Athens of Pericles, noblest of all cities in the pur-\\nsuits of virtue, of beauty and contentment, and in the\\npure realization of that happiness which the practice\\nof the arts alone can afford.\\nThe budding of Athenian architectural magnificence\\nmay be said to have begun under Themistocles and\\nCimon, the immediate predecessors of Pericles, but not\\nto have ripened and flowered in its perfection until his\\nadvent into power. Then it was that the task of build-\\ning a city in every way worthy of the people who had\\nproved their prowess before the Persian hosts in war,\\nand who in peace could delight in the musical poems of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0115.jp2"}, "114": {"fulltext": "I SOME OLD MASTERS\\nHomer, \\\\v;is pushed to a speed v realization with enthu-\\nsiasm.\\nNothing in all the biography of Pericles lias contrib-\\nuted SO greatly to the perpetuity of his fame as this\\nattention which he gave to the development of the archi-\\ntectural magnificence of Athens. That which gave\\nmost pleasure and ornament to the city of Athens, says\\nPlutarch, and the greatest admiration and oxen aston-\\nishment to all strangers, and that which now is Greece s\\nOnly evidence that the power she boasts of and her\\nancient wealth are mt romance of idle stow, was his\\nconstruction of the public and sacred buildings. The\\nmaterials were stone, brass, LVOry, gold, ebony and\\ncypress-wood; the artisans that wrought and fashioned\\nthem were smiths and carpenters, moulders, founders\\nand braziers, stone-cut ters, dyers, goldsmiths, ivory\\nworkers, painters, embroiderers, turners; those again\\nthat conveyed them to the town for use, merchants and\\nmariners arid ship-masters by sea and by land, cart-\\nwrights, cattle breeders, wagoners, rope-makers, tlax-\\nworkers, shoemakers and leather-dressers, road-makers,\\nminers. And every trade in the same nature, as a cap-\\ntain in an army has his particular company of soldiers\\nunder him, had its own hired company of journeymen\\nand laborers belonging to it banded together as in array,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0116.jp2"}, "115": {"fulltext": "OF GBEEK ARCHITECTUEE. 95\\nto be, as it were, the instrument and body for the per-\\nformance f the service Thus, to say all in a word,\\nthe occasions and services of these public works distrib-\\nuted plenty through every age and condition.\\nArchitecture, says Robert Adam, in a particular\\nmanner depends upon the patronage of the great, as they\\nalone are able to execute what the architect plans. This\\nbeing bo, the architects of his time had in Pericles a\\npatron in every way worthy their best efforts. Indeed,\\nso ambitious was he to grace the city of his nativity with\\nall the beauties of architecture that his enemies found\\nhere a pretext for censure, and complained that he spent\\ntoo much of the public treasure for such a purpose. lie\\nmet the criticism, however, with the argument that those\\nwho pursued the arts of war should not be the only ones\\nto receive support at the expense of the state, but that\\nthose who possessed the .-kill and industry of true artists\\nand artisans were quite as much entitled to public en-\\ncouragement and support as the soldier.\\nThis answer for a time appeased the clamor of the\\nopposition, which had been d up again si what they\\nwould lead the people to believe was extravagance and\\nwastefulness on the part of Pericles. Bu1 it soon broke\\nout again. When finally it became no longer bearable,\\nPericles addressed his accusers and said: If you think", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0117.jp2"}, "116": {"fulltext": "96 SOME OLD MASTERS\\nthat I have expended too Uracil let the money he charged\\nto my account, not yours, only let the new edifices be in-\\nscribed with my name and not tint! of the people of\\nAthens/ It is to the credit of the Athenians that their\\npride was touched hy the words of their ruler and their\\ncupidity restrained. They at once replied that Pericles\\nmight spend as much of their money as he pleased, and\\nthey even went further, and insisted that he should not\\nspare the public treasury in the least. Like all great\\nmen, Pericles was assailed in a variety of ways. When\\nhis enemies did not accomplish their purpose in bringing\\nhim to public disgrace by one method of assault, they\\ntried another. We have seen how they failed in one in-\\nstance another was similar in accusing him, in com-\\nplicity with Phidias, of appropriating to his own use the\\npublic treasure, donated to pay for the golden plate- on\\nthe chryselephantine statues of the latter s creation.\\nBut this charge also not proving successful, they at-\\ntacked his religious character, strange as it may appear,\\nwhen it is remembered how deeply he was interested in\\nerecting temples of pagan worship. But he survived the\\nslanders of his time and continued his aims and purposes\\nin life, content, doubtless, that posterity should judge\\nhim aright, as did the majority of the people of his own\\ntime. His last words arc perhaps the best epitome of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0118.jp2"}, "117": {"fulltext": "OF GREEK ARCHITECTURE. 97\\nhis life s work: No Athenian ever put on black\\nthrough me.\\nTeleclides has put into verse the great surrender\\nwhich the Athenian people appeared finally to make to\\nPericles of their rights in peaco and war\\nThe tribute of the cities, and, with them, the cities too,\\nTo do with them as he pleases, and undo\\nTo build up, if he likes, stone walls around a town\\nAnd, again, if so he likes, to pull them down\\nTheir treaties and alliances, power, empire, peace and\\nwar.\\nTheir wealth and their success forevermore.\\nAs already stated, in no branch of the arts did the age\\nof Pericles make a deeper and more lasting impression\\nthan in that of architecture. Although the Doric order\\nwas employed many hundred years before his time, and\\nthe Ionic scarcely less many, yet the finest types of each\\nand the examples of these orders which stand for their\\nmost perfect and artistic development are to be found\\nin the Acropolis at Athens in the time of Pericles, the\\nParthenon serving as the criterion of one and the Erech-\\ntheum as the model of the other. That these orders\\nshould have been brought to such perfection and en-\\ndowed with their crowning dignity and grace, must\\nalone prove without further argument, if need be, that", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0119.jp2"}, "118": {"fulltext": "98 SOME OLD MASTERS\\nthe architectural talent and artistic sense of the age was\\nincomparable.\\nThe part which the great sculptor Phidias played in\\nthe art drama of his time has been already alluded to,\\nbut not sufficiently, perhaps, to exclude a further ref-\\nerence to him.\\nThe comparison has often been made between Phidias\\nand the talented revivalist of the fifteenth century,\\nMichael Angelo, and a casual consideration of the two\\neminent artists would indicate that it was a proper one.\\nThey were both sculptors, both painters, both engravers\\n(Phidias of gems), but they were not both architects, as\\nis erroneously assumed. xVs to the respective degrees\\nof talent which each manifested toward the branches\\nof art which he professed, they also differed widely. In\\nsculpture the school of Michael Angelo will not outlive\\nthat of Phidias, but in painting, especially in its appli-\\ncation to mural decoration, the Greek must bow to the\\nItalian. In architecture also Phidias possessed none\\nof the technical knowledge and skill which in Michael\\nAngelo enabled him to suspend the great dome of St.\\nPeter s as if in the air, and which was so important a\\nfactor in his long artistic career, manifested in other\\nways as well, and gaining for him perpetual applause.\\nHowever, the two artists may be well compared, inas-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0120.jp2"}, "119": {"fulltext": "OF GREEK ARCHITECTURE. 99\\nmuch that they both created epochs of their own and\\nboth excelled in exhibiting a noble understanding as to\\nthe high and exalted possibilities of art that has never\\nbeen equalled.\\nPhidias s comprehensive grasp of broad artistic ef-\\nfects had as much to do, probably, with gaining for him\\nthe favor of Pericles as his technical skill. Quintilian\\ncalls him the Sculptor of the gods. He realized the\\ngreatness of large things and could calculate their power\\nm influencing the imagination and understanding. He\\nwas once invited, together with his contemporary artist,\\nAlcamenes, to design a statue of Minerva, destined to be\\nplaced upon a high column. When both statues were\\nfinished and exhibited, that made by Alcamenes was at\\nonce preferred on account of its elegance of finish, while\\nthat by Phidias was rejected as being rough and crude.\\nPhidias, however, insisted that each should be shown\\nfrom the high pinnacle upon which it might ultimately\\nbe placed. When this was done all the elegant graces\\nof the statue of Alcamenes were lost to sight, as well\\nalso the apparent roughness of that by Phidias, which\\nnow took on the perfect proportions he had foreseen.\\nThis story will serve to illustrate the breadth of his\\nartistic discernment.\\nOf all the artists of his time, Phidias was by far the\\nJ", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0121.jp2"}, "120": {"fulltext": "100 SOME OLD MASTERS\\nbest gifted to have placed in his hands, by Pericles, the\\nsupervision of the public buildings of Athens, and to\\nhave entrusted to his discretion and judgment the plan-\\nning, posing and arranging of the grand architectural\\nmise en scene,, which his patron had determined should be\\nset there. If Phidias did not draw the actual plans of a\\nbuilding or other structure, his judgment could indicate\\nits order, its location and such other characteristics it\\nshould possess to harmonize with the features with which\\nit was to be associated. He could group the majestic\\nmasonry of his time in grand display, could beautify it\\nwith his own chisel, and could form and mould the com-\\nplete architectural picture. If he was not the architect\\nof the Parthenon, he at least enhanced its effect with\\nthe magnificence of his sculpturings and designs in the\\nmetopes of the frieze and the timpanums of the pedi-\\nments, some of which are still to be seen among the\\nElgin marbles in the British Museum, of which\\nCanova remarked they would alone compensate for a\\nvisit to England. It is not improbable, also, that he may\\nhave suggested the Caryatides of the Erechtheum, and\\nproved to the Egyptians, from whom the architectural\\nidea was borrowed, how far more beautifully and grace-\\nfully such figures could be carved in Athens than on the\\nbanks of the ^Nlle.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0122.jp2"}, "121": {"fulltext": "OF GKEEK ARCHITECTURE. 101\\nThere can be no doubt as to the value of statuary,\\nwhich was the special province of Phidias, in enhancing\\nthe ensemble of Grecian architectural grouping, and\\nparticularly valuable was the colossal figure of Minerva\\nPromachus in contributing to the grandiose effect of\\nthe Athenian Acropolis. This noble work of Phidias\\nwas seventy feet high and made entirely of bronze, said\\nto have been taken from the Medes, who disembarked at\\nMarathon. The colossal goddess stood exposed, and in a\\nposition where, in looking far away over the ^Egean\\nsea, she might be an inspiration to the returning Athe-\\nnian mariner, and where, in glancing from her lofty em-\\ninence, she seemed, by her attitude and her accoutre-\\nments, to promise protection to the city beneath her, and\\nto bid defiance to her enemies.\\nAnother architectural statue, if it may be called such,\\nwas that of the same goddess, in gold and ivory, which\\ndominated the interior of the Parthenon. This work of\\nPhidias, second only in beauty and size to the chrysele-\\nphantine statue of Jupiter at Olympia, is said to have\\ncost $465,000. The figure of Minerva was forty feet\\nin height, and was presented standing in a tunic which\\nreached to her feet. A casque covered her head, her\\nright hand held a spear, and her left a figure of Victory.\\nThe exquisite workmanship of the carving on the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0123.jp2"}, "122": {"fulltext": "102 SOME OLD MASTERS\\nbuckler resting at the feet of the deity came near in-\\nvolving Pericles and Phidias in another web of trouble,\\nfor it was asserted that the sculptor had introduced his\\nown portrait and that of his patron among the comba-\\ntants of a battle between the Athenians and Amazons,\\nthere portrayed. The captious objection was set up that\\nsuch a liberty was insulting to Athene. Phidias, as re-\\nlated by some writers, was cast into prison for this act\\nof impiety, and died there. Others claim, however, that\\nthis was not so, but that Phidias, before sentence could\\nbe passed, fled to Elis, where he at once entered upon\\nthe work of modelling the great statue of the Olympian\\nJupiter.\\nIn respect to both statues, he was implicated with\\nPericles, as accused by his enemies, with pilfering the\\ngold donated for their construction. These various ac-\\ncusations have led to considerable confusion in respect\\nto much of his personal history and final end, and al-\\nthough it was proved by removing the gold plates and\\nweighing them, that he was not guilty of the alleged\\ncrime, it is very probable that his death was as much due\\nto disappointed hopes and mortification consequent upon\\nthe false charge as it was to any public executioner of\\nthe time.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0124.jp2"}, "123": {"fulltext": "OF GREEK ARCHITECTURE. 103\\nCHAPTER VI.\\nTHE ARCHITECTS OF THE AGE OF PERICLES.\\nT is not the intention, in recalling some of\\nthe more conspicuous architects who flour-\\nished in the time of Pericles, to confine them\\nto those only who were directly in his employ, but to\\ngroup together all who became prominent factors in\\nthe architectural development of that age, both for\\nsome years before and after Pericles s reign of power.\\nTo have carried forward the many important works\\nwhich the great leader instituted, and which were ad-\\nvanced with a precision and rapidity remarkable for\\nthat or any other time, considering their size and im-\\nportance, the skill and services of many architects were\\nbrought naturally into requisition. As a result we have\\nthe record of an unusually large number of such artists,\\nand in respect to a few some little specific data relating\\nto their lives. The architects, however, of many of the\\nmost important works are unknown.\\nIf we approach Athens, like the Attic mariner of old,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0125.jp2"}, "124": {"fulltext": "104 SOME OLD MASTERS\\nthrough the Piraeus, one of its sea gates, we are attracted\\nat once to the beautiful architectural display which this\\nseaport town, some five or six miles distant from the\\nGrecian metropolis, presents. The entrance to the har-\\nbor was ornamented with two lions, and the harbor-\\nbasin was fringed with magnificent colonnades and\\nporticos, which disguised the warehouses and bazaars.\\nWithin the town were numerous temples, two theatres\\nand other buildings of artistic effect and merit.\\nThe road to Athens lay between massive fortified\\nwalls having a width of fifteen feet at the top, and built\\nto a height of sixty feet. They were known as the Long\\nWalls, and they enclosed a space about the Piraeus, said\\nby Thucydides to have been not less than one hundred\\nand twenty-four stadia in circumference, or about fifteen\\nmile-.\\nIt is only just to state that the walls which led from\\nAthens to Piraeus, as well as those which connected it\\nwith the other sea gates of Munychia and Phalerus, were\\noriginally planned and partly executed under Themis-\\ntocles and Cimon. Themistocles intended to construct\\nthese walls to a height of one hundred and twenty feet\\nbut Pericles deemed this entirely unnecessary, and cut\\nthe height in two, as we have seen. He also added a third\\nwall between that running to the north of the Piraean", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0126.jp2"}, "125": {"fulltext": "OF GREEK ARCHITECTURE. 105\\nfortifications and that reaching to the Phaleram. Soc-\\nrates speaks of having heard Pericles mention this wall\\nto the people.\\nThe architects for much of this massive mural work\\nwere ITippodamus and Callicrates, and because Pericles\\ndid not hurry them to the same extent that he hurried\\nothers engaged in perhaps less important, if more dec-\\norative, undertakings, Cratinns, the satirist, ridiculed\\nthe slowness of the work, while aiming a sly shaft of\\nirony at Pericles s oratorical gifts\\nStones upon stones the orator has pil d\\nWith swelling words, but words will build no walls.\\nHippodamus was one of the genuises of his day, and\\nhas been called the Wren of his age. Perhaps it would\\nbe more fitting to speak of Sir Christopher Wren as the\\nHippodamus of his time, inasmuch as the architectural\\nachievements of the Greek were on a much more mag-\\nnificent scale than those of the Englishman. Among\\nsome of the conspicuous works credited to him was the\\ngrand Athenian Agora, or Forum, which was made up\\nof a rich assemblage of colonnades, temples, altars and\\nstatues, all taking his name as the ITippodam?ea. But\\nwhether he is to be credited with being more especially\\na civil engineer than an architect may be inferred from\\nhis work at the Piraeus and in laving out entire cities.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0127.jp2"}, "126": {"fulltext": "106 SOME OLD MASTERS\\nHe was called the Excentric Architect doubtless\\nbecause he mingled with the practice of his profession a\\ndesire to be considered as thoroughly versed in all the\\nphysical sciences, a personal affectation which caused\\nhim to be ranked among the sophists. It is claimed\\nthat it was against Hippodamus that Aristophanes\\naimed much of his wit.\\nHippodamus was the son of Euryphon of Miletus,\\none of the most famous of the Greek physicians and\\namong the first to have knowledge of the difference be-\\ntween the veins and arteries, and the uses of each. As\\nto his early education and advantages we are not in-\\nformed, he being referred to by early writers only in a\\nprofessional way.\\nBesides his employment upon the Long Walls, the\\nAgora and other edifices, Pericles engaged his talents,\\nas we have intimated, in laying out the port of Piraeus,\\nwhich he did, with broad streets and avenues intersect-\\ning each other at right angles across the city. This\\nplan of street construction he also introduced in other\\ncities of Greece and her colonies with which he had to\\ndo, especially at Thurii on the site of the ancient\\nSybaris, which he visited with the Athenian colonists,\\nand later at Rhodes. This last-mentioned city, which\\nin the age of Pericles was one of the most beautiful,", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0128.jp2"}, "127": {"fulltext": "OF GREEK ARCHITECTURE. 107\\nregular and prosperous of the times, was almost wholly\\nthe work of Hippodamus.\\nCallicrates, who assisted Hippodamus with the Long\\nWalls, was also an associate of Ictinus, perhaps the\\ngreatest architect of his time, in the building of the\\nParthenon on the Athenian Acropolis. The architect\\nCallicrates should not be mistaken for the Lacedse-\\nmonian sculptor of the same name who achieved great\\ncelebrity for his skill in carving the most minute ob-\\njects, and of whom it is related that he made ants and\\nother insects in ivory which were so very small that\\ntheir limbs could not be distinguished by the naked eye.\\nThis seems all the more remarkable when it is remem-\\nbered that the ancients had no magnifying glasses.\\nA walk of five or six miles under the shadows of the\\ntall walls of Hippodamus and Callicrates to view the\\ngreater architectural glories of the city of Athens in the\\ntime of Pericles will doubtless repay us. While this\\nqueen city of the ancient world is enrobed in many tri-\\numphs of the builder s art, we will probably pass them\\nall by for the time being to examine more carefully the\\ngems that stand forth from the Acropolis, glittering\\nunder the blue Grecian sky like white jewels in the\\nproud city s coronet.\\nThis magnificent citadel, protected by Pelasgian walls", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0129.jp2"}, "128": {"fulltext": "108 SOME OLD MASTERS\\nand dedicated to the pagan deity Minerva, could be\\nentered but upon one side, the western, where the mas-\\nsive gate or vestibule of the Propylaea occupied the cen-\\ntre. Fragments of this great gate still give evidence\\nto the modern traveller of its former stately splendor.\\nHere, says Bishop Wordsworth, above all places\\nat Athens, the mind of the traveller enjoys an exquisite\\npleasure. It seems as if this portal had been spared in\\norder that our imagination might send through it, as\\nthrough a triumphal arch, all the glories of Athenian\\nantiquity in visible parade. It was this particular point\\nin the localities of Athens which was most admired by\\nthe Athenians themselves; nor is this surprising; let us\\nconceive such a restitution of this fabric as its surviving\\nfragments will suggest let us imagine it restored to its\\npristine beauty let it rise once more in the full dignity\\nof its youthful nature let all its architectural decora-\\ntions be fresh and perfect let their mouldings be again\\nbrilliant with their glowing tints of red and blue let\\nthe coffers of its soffits be again spangled with stars,\\nand the marble antse be fringed over as they were once\\nwith delicate embroidery of ivy-leaf and then\\nlet the bronze valves of these five gates of the Propylaea\\nbe suddenly flung open and all the splendors of the in-\\nterior of the Acropolis burst upon the view.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0130.jp2"}, "129": {"fulltext": "OF GREEK ARCHITECTURE. 109\\nIf this imaginative restoration of the sublimities of\\nthe Propyhea is not sufficient to excite some interest in\\nthe building and the slave-born architect who was its\\ncreator, let the glowing words of Symonds be added,\\nwhich refer not only to the grand vestibule itself, but to\\nthe Panathenaic processions which were wont to pass its\\ngates.\\nMusing thus upon the staircase of the Propyhea we\\nmay say with truth that all our modern art is but as\\nchild s play to that of the Greeks. Very soul-subduing\\nis the gloom of a cathedral like the Milanese Duomo\\nwhen the incense rises in blue clouds athwart the bands\\nof sunlight falling from the dome, and the crying of\\nchoirs upborne on the wings of organ music fills the\\nwhole vast space with a mystery of melody. Yet such\\nceremonial pomps as this are but as dreams and shapes\\nof visions when compared with the clearly defined\\nsplendors of a Greek procession through marble peri-\\nstyles in open air beneath the sun and sky. That spec-\\ntacle combined the harmonies of perfect human forms\\nin movement with the divine shapes of statues, the radi-\\nance of carefully selected vestments with hues in-\\nwrought upon pure marble. The rhythms and melodies\\nof the Doric mood were sympathetic to the proportions\\nof the Doric colonnades. The grove of pillars through", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0131.jp2"}, "130": {"fulltext": "110 SOME OLD MASTEKS\\nwhich the pageant passed grew from the living rocks\\ninto shapes of beauty, fulfilling by the inbreathed spirit\\nof man nature s blind yearning after absolute comple-\\ntion. The sun itself, not thwarted by artificial gloom\\nor tricked with alien colors of stained glass, was\\nmade to minister in all his strength to a pomp the\\npride of which was a display of form in manifold mag-\\nnificence. The ritual of the Greeks was the ritual of\\na race at one with nature, glorying in its affiliation to\\nthe mighty mother of all life, and striving to add by\\nhuman art the coping stone and final touch to her\\nachievement.\\nThe Propylaea stretched in all about one hundred and\\nseventy feet across the western side of the citadel, and\\nwas entirely built of Pentelic marble. In the centre was\\na portico sixty feet broad of six fluted Doric columns,\\neach column thirty feet in height, and all supporting a\\nnoble pediment. From this portico projected on either\\nside a wing, entered through three Ionic columns. Six\\nIonic columns assisted in supporting the roof of the\\nvestibule. The marble beams of this roof were from\\nseventeen to twenty-two feet in length and correspond-\\ningly solid. The ceiling was richly carved and orna-\\nmented. Immediately in the rear of the Ionic columns\\nand at the end facing the Acropolis stood the terminal", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0132.jp2"}, "131": {"fulltext": "OF GREEK ARCHITECTURE. Ill\\nwall, with its five bronze gates, the centre one, which\\nwas the largest, being sufficiently broad to allow the\\npassage of a chariot or other such vehicle. Beyond this\\nwall and its gates was the posticuni, adding eighteen\\nfeet to the depth of forty-three feet which the build-\\ning otherwise possessed. The temple of the Wingless\\nVictory, and the Painted Chamber, containing the\\nfinest works of the painter Polygnotus, as they have\\nbeen named, formed the wings, which presented un-\\nbroken Avails to the front, relieved only by the four\\nIonic columns that supported the graceful entablature\\nand pediment of the temple of Xike Apteros on the\\nright.\\nAs the building was begun in the year 437 B.C., and\\nwas entirely completed within a period of five years, and\\nwas one of the most imposing structures of its day, Pau-\\nsanias is led to reflect that, in felicity of execution and\\nin boldness and originality of design, it rivalled the\\nParthenon. Lubke s comment on the structure is:\\nThus in this building the idea of fortress-like defence,\\nas well as festive welcome, was equally expressed. Espe-\\ncially admirable, however, was the rich ceiling of the\\ngreat three-naved court, both on account of the bold span\\nof its beams and the magnificent decoration of the spaces\\nbetween them (the coffers), which were brilliant with", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0133.jp2"}, "132": {"fulltext": "112 SOME OLD MASTERS\\ngold and colors.* The Ionic form of the columns in the\\ninterior also corresponded with this festive, cheerful\\ncharacter; while the two rows of columns on the out-\\nside, together with the rest of the exterior of the build-\\ning, exhibited the seriousness and dignity of the Doric\\nstyle.\\nThus has much been quoted in description and eulogy\\nof this noble piece of architecture would that as much\\nmight be quoted in respect to the talents and career of\\nits gifted designer, but of him there is only the shadow\\nof comment, from which it is possible to weave but the\\nfaintest fabric of certainty concerning his life.\\nHis name was Mnesicles, and we are told that he was\\na slave born in the household of Pericles. That he\\nshould have been chosen to create so important an\\narchitectural work speaks for the privilege which the\\nhumblest born might hope to attain in rising to posi-\\ntions of trust and prominence in the days of that great\\nleader. Mnesicles early manifested an aptitude for\\narchitecture, and was permitted by his illustrious patron\\nand owner to exercise his talent in the erection of build-\\nings of inferior consequence before being entrusted with\\nmore ambitious works. The Propyla?a was not the only\\nThe decoration referred to was the work of the distinguished\\npainter Protogenes.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0134.jp2"}, "133": {"fulltext": "THE FALL OF MNESICLES FROM THE PROPYL.EA.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0135.jp2"}, "134": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0136.jp2"}, "135": {"fulltext": "OF GREEK ARCHITECTURE. 113\\nwork of magnitude upon which he was engaged, nor was\\nit the most beautiful, in the judgment of some critics,\\nalthough the most important, for he was the architect as\\nwell of the graceful Doric temple of Theseus, which has\\nalways been regarded as one of the finest architectural\\nconceptions the ancient city of Athens possessed.\\nAn incident in his life which awakened the affec-\\ntionate interest of Pericles and the solicitude of the\\ngoddess Athene, whom he was serving so well, is told\\nby Plutarch and other early biographers. It is in effect\\nthat while inspecting the almost completed work of the\\nPropylaea he fell from the summit of the pediment and\\nwas most severely injured. He was taken at once to the\\nhouse of Pericles, where he received the personal atten-\\ntion of the great ruler. It was while he lay at death s\\ndoor that it is said Minerva appeared to Pericles in a\\ndream, and told him to administer to Mnesicles a medi-\\ncine distilled from the wall-plant pellitory. This was\\ndone, and the life of the architect was spared. The only\\nother fact associated with the life of Mnesicles which\\nhas been preserved to us is one mentioned by Pliny to\\nthe effect that the sculptor Stipax of Cyprus made a\\nstatue of the architect which became very celebrated in\\nits time, and which yas called Splanchnoptes. It was\\ngiven this name because it represented a person roasting", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0137.jp2"}, "136": {"fulltext": "114 SOME OLD MASTEKS\\nthe entrails of the victim at a sacrifice, at the same time\\nblowing the fire with his breath. There is nothing sug-\\ngestive of the architect in question or his profession, but\\nit is supposed to have been a statue of Mnesicles, from\\nthe fact that Pliny speaks of the subject as having been\\na slave of Pericles, who was cured of the wounds received\\nin a fall from the Propyhea by an herb which Minerva\\nhad suggested should be given as a medicine. It is un-\\nfortunate that the statue has not survived to give us\\nsome idea of the features of at least one of the great\\narchitects of antiquity. Some recent discoveries on the\\nAcropolis have, however, brought forth fragments which\\nare supposed to have been parts of the base.\\nIf there is any one of the Greek architects of the time\\nof Pericles who can be said to have secured for himself\\na degree of popular notoriety throughout subsequent\\nages it is the accomplished Ictinus, the chief architect\\nof the Parthenon and the designer of at least two other\\nconspicuously beautiful buildings of which we know\\nnamely, the temple of Apollo Epicurus, near Phigalia\\nin Arcadia, and the temple of Ceres and Proserpine at\\nEleusis. It is, no doubt, due, however, to his connec-\\ntion with the Parthenon that his fame has so long en-\\ndured.\\nAs already stated, Callicrates assisted in the building", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0138.jp2"}, "137": {"fulltext": "OF GREEK ARCHITECTURE. 115\\nof the Parthenon, and Phidias contributed the designs\\nfor the relief carvings in the pediments and metopes,\\nexecuting much of the work with his own hands. Al-\\nthough Vitruvius savs that both Ictinus and Callic-\\nrates exerted all their powers to make this temple\\nworthy of the goddess who presided over the arts, it is\\nnot likely that Callicrates s share in the work was equal\\nto that of Ictinus, but was confined more to the heavy\\nmasonry, and in offering to Ictinus such advice as he\\nmight seek in giving to the building the greatest sub-\\nstantiality and permanency.\\nThe Parthenon, which, among the several master-\\npieces of the Acropolis, must be acknowledged the great-\\nest, stood upon a rocky elevation in the citadel, which\\nso far elevated the structure as to bring the pavement\\nof the peristyle upon a level with the capitals of the\\ncolumns of the eastern portico of the Propylaea. This\\nwas the same site which had been occupied formerly by\\nan earlier temple to Minerva, known among the Athe-\\nnians as the Hecatompedon on account of its propor-\\ntions.\\nThe Parthenon of Ictinus is said to have cost one\\nthousand talents, or what would be equal to about\\n$1,100,000 of our money. It was begun the year 422\\nB.C., and completed at the expiration of sixteen years.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0139.jp2"}, "138": {"fulltext": "116 SOME OLD MASTERS\\nIt conformed to the usual shape of the Greek temples,\\nbeing rectangular and peripteral. The length from east\\nto west was two hundred and twenty-seven feet and\\nseven inches, the width a little over one hundred and one\\nfeet. The Doric order was employed for the exterior,\\nthe columns which surrounded the cell on all sides being\\nthirty-four feet in height, with a diameter of six feet at\\nthe base. There were forty-six of these columns, spring-\\ning directly from the stylobate or steps, all fluted with\\ntwenty channels, and each carrying its share of a very\\nbeautiful entablature. The gables or pediments at each\\nend of the temple were of flat pitch. The total height of\\nthe building from the steps to the top of the gables was\\nsixty-four feet. White marble from Mount Pentelicum,\\nwrought, as Mr. Kinnaird expresses it, with the ex-\\nquisite finish of a cameo, was the material employed for\\nthe entire structure, with the exception of the supporting\\ntimbers of the roof, which were wood covered with\\nmarble tiles.\\nThe interior, to quote Mr. Kinnaird again, en-\\nshrined the chryselephantine colossus with all its gor-\\ngeous adjuncts, and comprised sculptural decoration\\nalone for one edifice exceeding in quantity that of all\\nrecent national monuments consisting of a range of\\neleven hundred feet of sculpture and containing, on cal-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0140.jp2"}, "139": {"fulltext": "OF GREEK ARCHITECTURE. 117\\ndilation, upward of six hundred figures, a portion of\\nwhich were colossal, enriched by painting and probably\\ngolden ornaments. Here has been really verified the\\nprediction of Pericles that, when the edifices of rival\\nstates would be mouldering in oblivion, the splendor of\\nhis city would be still paramount and triumphant/ In\\nrespect to the richness of its interior treasures, very\\nmuch the same idea is expressed by Bishop Wordsworth,\\nwho says, in the course of his description of the build-\\ning It would, therefore, be a very erroneous idea to\\nregard this temple which we are describing merely as\\nthe best school of architecture in the world. It was also\\nthe noblest school of sculpture and the richest gallery of\\npainting.\\nThe cleverness of the architects in insuring to the\\nParthenon, after its completion, the appearance of abso-\\nlute harmony of proportion in all its outward lines, is\\none of their best claims to that celebrity which they have\\njustly earned. As it goes so far toward illustrating their\\ngreat professional skill, the reader may be interested in\\nreading the language used by Professor Roger Smith of\\nLondon in explaining the measures adopted by Ictinus\\nand possibly Callicrates also, to correct the optical de-\\nfects which the Parthenon might otherwise have pos-\\nsessed when completed.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0141.jp2"}, "140": {"fulltext": "118 SOME OLD MASTERS\\nThe delicacy and subtlety of these [optical illusions]\\nare extreme, but there can be no manner of doubt that\\nthey existed. The best known correction is the diminu-\\ntion in diameter or taper, and the entasis or convex curve\\nof the tapered outline of the shaft of the column. With-\\nout the taper, which is perceptible enough in the order\\nof this building, and much more marked in the order of\\nearlier buildings, the columns would look top-heavy\\nbut the entasis is an additional optical correction to pre-\\nvent their outline from appearing hollowed, which it\\nwould have done had there been no curve. The columns\\nof the Parthenon have shafts that are over thirty-four\\nfeet high, and diminish from a diameter of 6.15 feet at\\nthe bottom to 4.81 feet at the top.. The outline between\\nthese points is convex, but so slightly so that the curve\\ndeparts at the point of greatest curvature not more than\\nthree-quarters of an inch from the straight line joining\\nthe top and bottom. This is, however, just sufficient to\\ncorrect the tendency to look hollow in the middle.\\nA second correction is intended to overcome the ap-\\nparent tendency of a building to spread outward toward\\nthe top. This is met by inclining the columns slightly\\ninward. So slight, however, is the inclination, that\\nwere the axes of two columns on opposite sides of the\\nParthenon continued upward till they met, the meeting", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0142.jp2"}, "141": {"fulltext": "OF GREEK ARCHITECTURE.\\n119\\npoint would be 1952 yards, or, in other words, more\\nthan one mile from the ground.\\nAnother optical correction is applied to the hori-\\nzontal lines. In order to overcome a tendency which\\nexists in all long lines to seem as though they drop in\\nthe middle, the lines of the architrave of the top step\\nand of other horizontal features of the building are all\\nslightly curved. The difference between the outline of\\nthe top step of the Parthenon and a straight line joining\\nits two ends is at the greatest only just two inches.\\nStill another correction which Professor Smith al-\\nludes to, in respect to the vertical proportions of the\\nbuilding, he does not discuss more than to say: The\\nsmall additions, amounting in the entire length of the\\norder to less than five inches, were made to the heights\\nof the various members of the order, with a view to\\nsecure that from one definite point of view the effect of\\nforeshortening should be exactly compensated, and so\\nthe building should appear to the spectator to be per-\\nfectly proportioned.\\nThe Parthenon was not, as is popularly supposed, a\\ntemple for the worship of Minerva. The sanctuary for\\nthat particular purpose was in the Erechtheum, a triple\\ntemple, located upon the Acropolis not very far distant\\nfrom the Parthenon, and having wings dedicated re-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0143.jp2"}, "142": {"fulltext": "120 SOME OLD MASTERS\\nspectively to Minerva Polias, to Erechtheus or Neptune,\\nwherein was a well of salt water, and to the Xvmph\\nPandrosus, daughter of Cecrops. The Parthenon, how-\\never, served as a national treasury and repository for\\nthe valuable offerings to the goddess, as well as a cen-\\ntral point for the Panathenaic festival, where prizes\\nmight be distributed to the victorious competitors. In-\\ndeed, the decorations of Phidias would tend to corrob-\\norate this inference, as the sculptured low relief of the\\nfrieze represented the Panathenaic procession. The\\nrich relief carvings in the tympanums of the front and\\nrear pediments of the building, also by Phidias, the de-\\nsigns of which may be found described in almost any\\nwork on Grecian art, have been reproduced in some of\\nthe vignettes of this book.\\nIn alluding to the Erechtheum, which, like the Par-\\nthenon and the Propyhca, still presents shapely and\\nbeautiful ruins to grace the Acropolis, attract the tourist\\nand lend to the lover of art the best criterion of the\\nideal age of Grecian architecture, we must mourn the\\nfact that the architect who designed this magnificent\\nexample of the Ionic order is not known, and it is not\\nlikely that he ever will be. The building was not,\\nfinished at the time of the death of Pericles. Because\\nof an inscription found in the Acropolis, and now in the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0144.jp2"}, "143": {"fulltext": "OF GREEK ARCHITECTURE. 121\\nBritish Museum, containing the particulars of a minute\\nprofessional survey of the unfinished parts, made by an\\nAthenian architect named Philocles, in the year 336\\nB.C., this architect has been given by some the credit of\\nhaving been the author of the entire structure but that\\nhe could not. have been is clearly proven by the known\\nfact that much of the temple was constructed, as we have\\nstated, in the time of Pericles, or about one hundred\\nyears earlier. Nothing further, by the way, is known\\nof Philocles than is here given.\\nAbout two thousand years had passed without that\\ngreat leveller Time or the corroding influences of the\\nelements marring to any very serious extent the beauty\\nand completeness of the Parthenon, during which period\\nit had suffered two changes most antagonistic to its orig-\\ninal purpose, having been transformed at one time into\\na Christian church and at another into a Turkish\\nmosque. In respect to the first transformation, it is well\\nto note that the significance of its name was not\\nwholly lost in the change. Parthenon means Virgin,\\nand the Christians called the church into which they\\nturned it the Church of the Blessed Virgin. It was seen\\nentire by Spon and Wheeler in 1676. But when the\\nVenetians, in their war with the Turks, eleven years\\nlater, besieged the citadel, they threw a bomb upon the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0145.jp2"}, "144": {"fulltext": "122 SOME OLD MASTERS\\nroof of the noble structure, which, passing through it,\\nignited the powder which had been stored in the build-\\ning by the Turks. The result was an explosion which\\ndivided and reduced the temple to its present condition,\\nsave for further depredations which seem hardly credit-\\nable. The iconoclastic Turks found this pride of Peri-\\ncles most useful as a quarry upon which to draw for\\nmuch of the material used in their own buildings, and it\\nis to be regretted also that Lord Elgin should have found\\nit necessary to enrich a distant museum in London with\\nmany of its most beautiful carvings, adding further\\ndesecration to what Goth and Turk and Time had\\nspared. Vitruvius informs us that Ictinus, in collab-\\noration with another architect, not otherwise mentioned,\\nwrote a book upon the Parthenon, his greatest master-\\npiece.\\nAfter searching the world over for her dear, lost\\ndaughter, the beautiful Proserpine, who had been spir-\\nited away to the realm of Pluto, Ceres finally gave up\\nthe quest and mournfully settled down at Eleusis, a city\\nin fertile Boeotia, about fourteen miles from Athens.\\nHere was erected in her honor and in memory of Proser-\\npine an Ionic temple by the people for whom she became\\nsponsor. The Persians, during their invasion of Attica,\\nburned the temple, but Pericles caused it to be rebuilt.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0146.jp2"}, "145": {"fulltext": "OF GREEK ARCHITECTURE. 123\\nand selected Ictinus as the architect. He erected a hand-\\nsomer structure in the Doric style, which, it is said, was\\nwithout exposed columns.\\nWhether Ictinus lived long enough to complete the\\ntemple to Ceres and Proserpine or not, or was called\\naway for other purposes, is not known, but it appears\\nthat other architects were associated with its design and\\nerection, both before as well as after his connection with\\nit. Corcebus is mentioned also as an architect, in the\\nemploy of Pericles, who began the work on the mystic\\ncell, but that his sudden death resulted in the substitu-\\ntion of Ictinus. It is more probable, however, that\\nIctinus had previously furnished the design of the build-\\ning and that Coroebus had been merely acting under\\nhis supervision. Following Ictinus was another Athe-\\nnian architect appointed by Pericles, and the designer\\nof the demos of Cholargos. He is said to have built\\nthe pediment of the temple with the timpanum open,\\naccording to an ancient fashion, in order to light the\\ncell, which, if Strabo is to be believed, was capable of\\naccommodating thirty thousand persons.\\nIn the time of Demetrius Phalereus, the immediate\\nsuccessor of Alexander, Philo, or Philon, as his name is\\nsometimes written, a very eminent architect, also of\\nAthens, was engaged to add a portico of twelve Doric", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0147.jp2"}, "146": {"fulltext": "124 SOME OLD MASTEES\\ncolumns to this temple of Ceres. That Metagenes of\\nXypete, and son of Ctesiphon, who has already been\\ndiscussed in our allusion to the temple of Diana at\\nEphesus, should be mentioned as the architect who com-\\npleted the entablature and an upper row of columns to\\nthis Eleusian temple, is probably a mistake. The time\\nof Metagenes was, as we have seen, much earlier (about\\n560 b.c), and while he might have been engaged upon\\nthe first temple to Ceres at Eleusis, it is quite impossible\\nfor him to have been employed by Pericles in the build-\\ning of that with which Ictinus had to do.\\nWhen Alaric, the German, made his angry invasion\\ninto Greece in 396 b.c, because refused command of\\nthe armies of the Eastern empire, he destroyed very\\nmany works of Greek art, and this temple among them\\nwas one of the unfortunates that assisted to satiate his\\nwrath.\\nThe third important work with which Ictinus is re-\\nported to have been connected was the Doric temple to\\nApollo in the village of Bassae, near Cotylion, in Ar-\\ncadia, which was known as the temple to Apollo Epi-\\ncurus (the Preserver). Pausanias speaks of this as\\nbeing next to that at Tagea, the finest temple in the\\nPeloponnesus from the beauty of its stone and the\\nsymmetry of its proportions. This temple is still a", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0148.jp2"}, "147": {"fulltext": "OF GEEEK ARCHITECTURE. 125\\nbeautiful ruin, thirty-four of the original thirty-eight\\ncolumns of the peristyle standing. The structure, which\\nin the interior possessed two rows of columns in the\\nIonic order, was originally admirably planned for\\nsculptural decoration and statuary and held many fine\\nspecimens of the handiwork of Phidias and his school.\\nSome of the carvings of the frieze and other parts of\\nthe building, which are to be seen in the British\\nMuseum, are spoken of by Lubke as the boldest and\\nmost animated compositions among all that is preserved\\nto us of the productions of Greek art.\\nOn the southeast slope of the Acropolis Pericles\\ncaused to be erected a building which departed broadly\\nfrom the prevailing rectangular construction of the\\ntime. In was oval on plan, Doric in order, and its por-\\ntico was enclosed by thirty-two columns. The most\\noriginal feature of the building, however, was the roof,\\nwhich was constructed in the shape of a cone and was\\nsupported by rafters formed of the masts of the ships\\ncaptured in the Persian wars. From just above the\\ncornice of the drum there projected around the entire\\nroof a row of windows which may possibly be credited\\nwith being the archetypes of our modern dormer win-\\ndows. This building was called the Odeum, or, as it is\\nnow termed, the Odeon, and was devoted to music.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0149.jp2"}, "148": {"fulltext": "126 SOME OLD MASTERS\\nCratinus, the comic poet, who had levelled his satire\\nat Pericles when building the Long Walls/ found in\\nthe roof of the Odeon, the idea for the cone shape of\\nwhich, by the way, it is claimed the architects bor-\\nrowed from the pavilion of the King of Persia, another\\nmark for his shafts of ridicule. He sings\\nAs Jove, an onion on his head he wears\\nAs Pericles, a whole orchestra bears\\nAfraid of broils and banishments no more,\\nHe tunes the shell he trembled at before.\\nThe allusion to an onion by Cratinus is explained\\nwhen it is remembered that on account of the peculiar,\\nlong shape of his head the poets of Athens called Per-\\nicles Schinocephalos, or squill-head, from schinos, a\\nsquill, or sea-onion. Another version of Cratinus s\\nsatire is given thus\\nSo, we see here,\\nJupiter Long-pate Pericles appear,\\nSince ostracism time he s laid aside his head,\\nAnd wears the new Odeum in its stead.\\nMusic received a considerable share of attention in\\nthe education of the Greeks, and such was the influence\\nwhich it is said to have possessed over the physical as\\nwell as the mental nature of the people, that it was\\ncredited with being an antidote for many of the infirmi-\\nties of the bodv as well as the mind. The Odeon was", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0150.jp2"}, "149": {"fulltext": "OF GREEK ARCHITECTURE. 127\\ntherefore an institution of considerable importance in\\nAthens. Here Pericles conducted in person the musi-\\ncal contests between the Choruses which the wealthy\\ncitizens of Athens instituted, and awarded to the win-\\nners the tripod-trophies, which as marks of special\\nhonor they were permitted to place upon their monu-\\nments. A street in Athens was devoted almost entirely\\nto these choragic monuments, many of which were archi-\\ntecturally most beautiful.\\nThe architect of the Odeon of Pericles is not known,\\nbut after its destruction by Aristion in the Mithridatic\\nwar, it was rebuilt by Ariobarzanes II, Philopator,\\nking of Cappadocia, in the original form, who em-\\nployed for the purpose the brother Roman architects,\\nCaius and Marius Stallius, together with a third archi-\\ntect by the name of Menalippus, who recorded their\\nconnection with the building upon the base of a statue\\nwhich they erected in honor of their patron Ariobar-\\nzanes. It is said that on certain days this later Odeon\\nwas used as a grain market.\\nIf in the Parthenon on the Acropolis the acme of\\nDoric magnificence was reached by Ictinus and Callic-\\nrates, there was another temple located below the\\nAcropolis, which by many is ranked as the peer of the\\nParthenon, in its perfection of Doric symmetry and", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0151.jp2"}, "150": {"fulltext": "128\\nSOME OLD MASTERS\\ngrace. This was the building to which allusion has\\nalready been made as another example of the genius and\\nskill of Mnesicles, the slave-architect of the Propylsea.\\nIt was dedicated to the founder of Athens, the adven-\\nturous Theseus, and stood not only as a temple in his\\nhonor, but as a mausoleum for his ashes.\\nWordsworth, whose words of praise for the Propylsea\\nhave been quoted, is also enthusiastic in his admiration\\nof this second example of the skill of the talented\\nMnesicles Such is the integrity of its structure and\\nthe distinctness of its details that it requires no descrip-\\ntion beyond that which a few glances might supply. Its\\nbeauty defies all its solid yet graceful form is, indeed,\\nadmirable; and the loveliness of its coloring is such\\nthat from the rich, mellow hue which the marble has now\\nassumed it looks as if it had been quarried not from the\\nbed of a rocky mountain, but from the golden light of an\\nAthenian sunset.\\nAlthough the temple of Theseus was one of the more\\nmodest Athenian temples in point of size, it has always\\nranked as one of the most perfect of the Attic-Doric\\norder, and stands to-day as one of the least dilapidated\\namong all that have existed of the beautiful edifices of\\nancient Greece. Indeed, as it was supposed to have been\\nbegun before the Parthenon, or in the time of Cimon, it", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0152.jp2"}, "151": {"fulltext": "OF GREEK ARCHITECTURE.\\n129\\nis claimed by some writers that Ictimis took it for his\\nmodel, although the Parthenon was about twice as large.\\nThe Theseum was surrounded by columns, six at the\\nfront and rear and thirteen on either flank. It was forty-\\nfive feet wide by one hundred and four feet long. The\\nbuilding material was Pentelican marble, which in the\\ncourse of the centuries has taken on the soft yellowish\\ntinge which Bishop Wordsworth refers to. Ornamental\\nsculpturing was more sparingly employed than upon the\\nParthenon or some of the other structures of the time,\\nbut such as was used was so judiciously handled as to\\no-ive the very noblest results. The sculpturing in the\\nmetopes of the frieze and on the pronaos was the work\\nof Phidias.\\nIt was built after the battle of Marathon, and, it\\nwould seem, after an awakening on the part of the\\nAthenians to that high sense of obligation toward their\\nearly hero, Theseus, which had slumbered for centuries.\\nIt was due to the Delphic Oracle that his remains were\\nbrought back to Athens from their long banishment in\\nthe island of Scyros, and given honorable burial, the\\nson of Miltiades being selected to execute the Oracle s\\ndecree. The occasion was made one of festivity and re-\\njoicing, and the entombment in the beautiful new tem-\\nple one of sacrifice and solemnity.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0153.jp2"}, "152": {"fulltext": "130 SOME OLD MASTERS\\nIn closing this brief reference to the Theseum, the\\ngraceful lines from Haygarth s Greece, which so beauti-\\nfully applaud it, may well be quoted\\nHere let us pause, e en at the vestibule\\nOf Theseus s fane with what stern majesty\\nIt rears its pond rous and eternal strength,\\nStill perfect, still unchang d, as on the day\\nWhen the assembled throng of multitudes\\nWith shouts proclaim d tlr accomplish d work and\\nfell\\nProstrate upon their faces to adore\\nIts marble splendor. How the golden gleam\\nOf noonday floats upon its graceful forms,\\nTinging each grooved shaft, and storied frieze\\nAnd Doric triglyph How the rays amidst\\nThe op ning columns glanc d from point to point\\nStream down the gloom of the long portico\\nWhere, link d in moving mazes youths and maids\\nLead the light dance, as erst in joyous hour\\nOf festival How the broad pediment,\\nEmbrown d with shadow frowns above and spreads\\nSolemnity and reverential awe\\nProud monument of old magnificence\\nStill thou survivest, nor has envious time\\nImpair d thy beauty, save that it has spread\\nA deeper tint, and dimm d the polished glare\\nOf thy refulgent whiteness. Let mine eyes\\nFeast on thy form, and find at every glance\\nThemes for imagination, and for thought\\nEmpires have fallen, yet art thou unchang d\\nAnd destiny, whose tide engulphs proud man\\nHas rolPd his harmless billows at thv base.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0154.jp2"}, "153": {"fulltext": "OF GREEK ARCHITECTURE. 131\\nIn the brilliant galaxy of great architects and sculp-\\ntors of this age, none shines more deservedly conspicu-\\nous by reason of true merit and noble purpose than Poly-\\ncletus of Argos, who is remembered more as a statuary\\nthan by reason of his achievements in architecture. He\\nexercised his art between the years 452 and 412 b.c,\\nand, like his distinguished contemporaries, Myron and\\nPhidias, was a pupil of the Argive sculptor, Agelades.\\nHis celebrity has been compared to that of his most fa-\\nmous brother pupil, Phidias, for the reason that while\\nPhidias gave the ideal standard in the portrayal of\\ndeities, Polycletus created for all ages the perfect canon\\nof the human form in art. This he expressed in the\\nfigure of a youth holding in his hand a spear, which was\\ncalled the Doryphorus. In this figure the sculptor laid\\ndown the rules of universal application with regard to\\nthe proportions of the human body in its mean standard\\nof height, breadth of chest, length of limbs and so on.\\nSocrates, according to Xenophon, went so far as to\\nplace Polycletus on a level as a statuary, with Homer,\\nSophocles and Xeuxis in their respective arts.\\nA similar anecdote to that told of Phidias, when he\\nlistened to the criticisms of the public upon his colossal\\nstatue of the Olympian Zeus, is also related of Poly-\\ncletus. He is said to have made two statues, one of", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0155.jp2"}, "154": {"fulltext": "132 SOME OLD MASTERS\\nwhich he perfected according to his own ideals, and the\\nother he exhibited to the public and altered according to\\nthe suggestions volunteered. In due time he exhibited\\nboth publicly side by side. The one he had himself\\nmade was universally admired, while that which he had\\nchanged to suit the popular fancy was condemned.\\nYou yourself, he exclaimed, made the statue you\\nabuse, I, the one you admire.\\nOne of his most celebrated works was the chrysele-\\nphantine statue of Hera, executed in his old age to\\nrival the Athene and Zeus by Phidias. Strabo con-\\nsidered that this statue equalled in beauty those of\\nPhidias, though it was surpassed by them in costliness\\nand size. In the respect that Polycletus followed the\\nHomeric description of Hera, and presented the goddess\\nclothed from her waist down, he may be said to have\\nfollowed the precedent of Phidias; in other respects,\\nhowever, he drew upon his own fancy. Juno was seated\\nupon a golden throne her head was crowned with a\\ngarland on which were worked the Graces and the\\nHours in one hand she held the symbolical pomegranate\\nand in the other a sceptre surmounted by a cuckoo, a\\nbird sacred to Hera on account of having herself been\\nchanged into that form by Zeus.\\nAs an architect Polycletus will be found as the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0156.jp2"}, "155": {"fulltext": "OF GREEK ARCHITECTURE. 133\\ndesigner of the theatre at Epidaurus, where was also\\nlocated the beautiful temple dedicated to ^Esculapius,\\nand which Pausanias pronounced to be superior in sym-\\nmetry and elegance to every other in Greece and Rome.\\nIt was capable of accommodating twelve thousand spec-\\ntators, and its ruins, as well as those of the white marble\\ncircular Tholus, by the same artist, are still to be seen\\nin an unusual condition of preservation.\\nAmong the other architects who have been variously\\nmentioned as having pursued their profession toward\\nthe close of this century, but who can hardly take equal\\nrank with those already alluded to, may be mentioned\\nEupolinus, an Argive artist, who rebuilt the great\\nHerseum at Mycenae after its destruction by fire in the\\nyear 423 B.C., the entablature of which was ornamented\\nwith sculptures representing the wars of the gods and\\ngiants and the Trojan wars; Clecetas, who was one of\\nthe assistant architects under Phidias, and whose chief\\nclaim to distinction is based upon his construction of\\nthe starting place in the Olympian Stadium, and Democ-\\nopus Myrilla, who built the theatre at Syracuse. Vitru-\\nvius also speaks of an architect and author of about this\\ntime namely, Silenus who wrote on the Doric order.\\nIt is difficult to close this chapter, in which bi t very\\nsuperficial reference has been made to the architectural", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0157.jp2"}, "156": {"fulltext": "134 SOME OLD MASTEKS\\nlights of the golden age of art in Greece, without glanc-\\ning back at the magnificent city of Athens, the grand\\nproduct of much of their creative skill, with feelings of\\nregret that with all her numerous and noble monuments,\\ndedicated to gods and men, there is not one that bears\\nthe imprint of its creator. We see in this glance forest-\\nlike colonnades of glittering white columns we see the\\nHouse of the Five Hundred Senators, the Tholus, the\\nHall of Hermse, the Agora, the Pnyx, where the\\nAthenian orator spoke from a block of bare stone the\\nStoic Hall, in which philosophy was taught the Pryta-\\nneum, where the loved laws of Solon were preserved the\\nLyceum, with its hundred columns from Lydia the\\nTheatre of Bacchus and the Mausoleum of Tolus. We\\nsee temples innumerable, the grandest of all those to\\nJupiter and Theseus but others of fascinating merit,\\nthose of Ceres and of Cybele and of Mars, and of Vul-\\ncan, of Venus, of ^Eacus, of the Dioscuri, of Hercules,\\nof Diana Agrotera, of Bacchus Lunmeus, of ^Esculapius,\\nof Eumenides, and that to Glory, erected with the booty\\nfrom the glorious field of Marathon, wherein stood the\\nVenus of Phidias and we see the Acropolis towering\\nabove all, lending other magnificent architectural tri-\\numphs to the ensemble and although we see slabs\\namong them inscribed with the records of Athenian", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0158.jp2"}, "157": {"fulltext": "OF GREEK ARCHITECTURE.\\n135\\nhistory, with civil contracts and articles of peace, with\\nmemorials of honors awarded to patriotic citizens or\\nmunificent strangers, we find no monument, whether\\nin the time of Pericles or later, inscribed with the name\\nof Ictinus, or Hippodamus, or Callicrates, or the poor\\nslave, Mnesicles, who was saved by Minerva to be for-\\ngotten by man.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0159.jp2"}, "158": {"fulltext": "136 SOME OLD MASTERS\\nCHAPTER VII.\\nLATER GREEK ARCHITECTS.\\n|HE first architect as well as artist of decided\\nJ merit who arose to historic distinction at the\\nJbeginning of the later Attic school, or that\\n1 which followed immediately upon the school of Phidias,\\nand one of the first to treat the Corinthian idea, then\\nflowering into favor with originality and artistic skill,\\nwas the deserving and accomplished Scopas. Refer-\\nence has already been made to this artist in connection\\nwith the temple of Diana at Ephesus, for which, it is\\nsaid, he furnished the most beautiful of all the numer-\\nous columns with which that temple was enriched. This\\nstatement is made without prejudice to the great Praxi-\\nteles, who was contemporaneous with Scopas, and who\\nexcelled him as a statuary, if he did not compete with\\nhim as an architect.\\nA mistake of Pliny, which assigned Scopas to an\\nearlier age, has finally been corrected, and it has been\\nsettled that the period when he exercised his art was", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0160.jp2"}, "159": {"fulltext": "OF GEEEK ARCHITECTURE. 137\\nbetween the years 395 and 350 b.c. Scopas was a\\nnative of Paros, a subject island of Athens, and sprung\\nfrom a family which for several generations before his\\nadvent into the world had practised the plastic arts. His\\ndescendants- also walked in the same artistic paths of\\nlife for many generations. Like Polycletus, with whom\\nhe is most favorably compared, the architectural side\\nof his career was greatly eclipsed by that which dis-\\nplayed his genius as a sculptor.\\nHis statues were numerous, and fortunately many of\\nthem still exist scattered in various European museums\\nand galleries. Among such of his works considered the\\nmost interesting is the well-known series of figures\\nrepresenting the destruction of the sons and daughters\\nof Xiobe. In the time of Pliny these statues stood in\\nthe temple of Apollo Socianus at Rome, and it was then\\na question whether they were the works of Scopas or\\nPraxiteles. In fact, many of the former s finest efforts\\nhave been attributed to the latter artist. Of this group\\nSehlegel says: In the group of Xiobe there is the\\nmost perfect expression of terror and pity. The up-\\nturned looks of the mother, and mouth half open in\\nsupplication, seem to accuse the invisible wrath of\\nHeaven. The daughter clinging in the agonies of\\ndeath to the bosom of her mother, in her infantile inno-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0161.jp2"}, "160": {"fulltext": "138 SOME OLD MASTERS\\ncence can have no other fear than for herself the innate\\nimpulse of self-preservation was never represented in a\\nmanner more tender or affecting. Can there on the\\nother hand be exhibited to the senses a more beautiful\\nimage of self-devoting, heroic magnanimity than Xiobe,\\nas she bends her body forward that, if possible, she may\\nalone received the destructive bolt Pride and repug-\\nnance are melted down in the most ardent maternal love.\\nThe more than earthly dignity of the features is the\\nless disfigured by pain, as from the quick repetition of\\nthe shocks she appears, as in the fable, to have become\\ninsensible and motionless. Before this figure, twice\\ntransformed into stone, and yet so inimitably animated\\nbefore this line of demarcation of all human suffer-\\ning the most callous beholder is dissolved in tears.\\nAnother highly esteemed work of Scopas, which Pliny\\nsays stood in the shrine of Cneius Domitius in the Fla-\\nminian circus in Rome, represented Achilles conducted\\nto the island of Leuce by the divinities of the sea. It\\nconsisted of figures of Xeptune, Thetis and Achilles\\nsurrounded by Nereids sitting on dolphins and other\\nlarge fish, and attended by Tritons and sea monsters.\\nIn the opinion of Pliny, these figures alone would have\\nbeen sufficient to have immortalized the artist, even if\\nthey had cost the labor of his entire life.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0162.jp2"}, "161": {"fulltext": "OF GREEK ARCHITECTURE. 139\\nHis statues of Venus, are, after all, perhaps the most\\nremarkable of his works in sculpture. One of these\\nstatues, if not the original, is supposed to have been the\\nprototype of one of the most celebrated and beautiful\\nportrayals of that charming deity in the world to-day.\\nAnother to which Pliny gives particular prominence\\nwas that in which the goddess is presented nude and\\nwhich was found in the temple of Brutus Callaicus in\\nRome. This statue, he adds, would have conferred re-\\nnown upon any other city, but at Rome the immense\\nnumber of works of art and the bustle of daily life in a\\ngreat city distracted the attention of men. It is prob-\\nably this work of art, which is thought by some to have\\nbeen superior to that by Praxiteles, which, with some\\nmodifications, is credited with being the model after\\nwhich Cleomenes fashioned the celebrated Venus de\\nMedicis. Pausanias and Pliny mention also other por-\\ntrayals of Venus by Scopas, but it is left to Waagen and\\nsome other critics to ascribe the celebrated statue of\\nAphrodite, in the Louvre in Paris, and known as the\\nVenus de Milo, to this great sculptor and architect.\\nIt is foreign to the purpose, however, to devote too\\nmuch space to this side of the art life of Scopas, but in\\ntreating of his connection with the magnificent mauso-\\nleum which Artemesia erected at Halicarnassus, to her", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0163.jp2"}, "162": {"fulltext": "140 SOME OLD MASTERS\\nhusband, Mausolus, king of Caria, it will be argued\\ndoubtless that the work of this artist on that famous\\nmortuary monument, which ranked as one of the seven\\nwonders of the world, was more in the line of a deco-\\nrative sculptor than of an architect.\\nIn this undertaking Scopas was associated with three\\nother architectural sculptors namely, Bryaxis, Timo-\\ntheus and Leocarus all of whom were Athenians. Each\\ntook as his special work the decoration of one side of the\\nbuilding, Scopas choosing the east or principal facade.\\nThe north and south sides had a width of about sixty-\\nthree feet the east and west were not quite so vide.\\nBefore outlining further the principal characteristics\\nof the building, it is only fair to say that the professional\\narchitects to whom is due the credit for the plan of the\\nstructure were Phileus, an Ionian whose name Vitru-\\nvius spells in a variety of ways, and Satyrus, whose\\nnative city is not given, but who, according to the same\\nauthority, wrote a description of the mausoleum.\\nPhileus was also an author on architecture, having writ-\\nten a volume on the Ionic temple of Athene Polias at\\nPriene, of which he was the designer, and which was\\none of the most renowned buildings in Asia Minor, and\\na treatise on the mausoleum, which was also located in\\nthat part of the globe. As for Satyrus, whatever may", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0164.jp2"}, "163": {"fulltext": "OF GREEK ARCHITECTURE. 141\\nhave been the other public buildings of which he was the\\narchitect, there is no record.\\nThe mausoleum had a total height of one hundred\\nand forty feet, and in general appearance combined\\norientalism in tomb-structure with the perfections of\\nGrecian architectural grace and elegance. The tomb\\nwas contained within a rectangular substructure. Above\\nwas an Ionic peristyle temple with nine columns on each\\nside and eleven at the ends. The frieze was elaborately\\ncarved and decorated, and the roof, which was pyram-\\nidal in form, gave the oriental cast to the entire build-\\ning. At the apex of the roof was a colossal marble\\nquadriga, in which a statue of the deceased king\\nMausolus appeared. It is said that in the sculptures\\nand carvings of the different sides the respective\\nartists strove to rival each other, and that although\\nqueen Artemesia died before the tomb was finished\\nthe four artists were so interested and absorbed in their\\nwork that they determined to complete it at their own\\nrisk.\\nUp to the twelfth century after the Christian era\\nthis grand tomb stood in a fairly good state of preserva-\\ntion, but soon after fell to pieces, and was used from\\nthat time as a quarry by the Knights of St. John, from\\nwhich they took stone for the castles they built on the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0165.jp2"}, "164": {"fulltext": "142 SOME OLD MASTERS\\nsite of the old Greek Acropolis. Later still much of the\\nmarble was taken to repair their fortifications, and it is\\neven said to make lime, showing to what ignominious\\nuses the very greatest of architectural glories may finally\\ncome. However, some of the carvings have been re-\\ndeemed from the fortification walls and unearthed from\\nother places in Budrun, the modern Halicarnassus, to\\nfind a final resting place, let it be hoped, in the British\\nMuseum. These rescued pieces of marble, of which\\nthere are perhaps sufficient to reconstruct a quarter of\\nthe whole frieze, though they are not continuous, are\\npronounced by competent judges to be specimens of the\\nwork of the different artists, but there is no means of\\ndetermining which of them, if any, came from the chisel\\nof Scopas.\\nThe temple of Athene Alea at Tegea in Arcadia, often\\na sanctuary for fugitives from Sparta, was an archi-\\ntectural creation of Scopas, which it would appear be-\\nlonged to him exclusively. Of all the temples in the\\nPeloponnesus this is said by Pausanias to have been the\\nlargest as well as the most magnificent. That observant\\ntraveller, however, must have been carried away some-\\nwhat by his enthusiasm over its architectural attrac-\\ntions in ascribing to it such great size, as its dimensions\\nwere not more than one hundred and sixtv-four bv sev-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0166.jp2"}, "165": {"fulltext": "OF GREEK ARCHITECTURE. 143\\nenty feet, being very much smaller than other Grecian\\ntemples.\\nThe temple which Scopas built was not the first to\\nthe goddess to occupy the same site, but followed a very\\nmuch more ancient one, which was destroyed by fire in\\nthe year 394 b.c. The tendency to introduce the Corin-\\nthian order, which followed after the Peloponnesian\\nwars, and which continued to grow as Greece became\\nmore and more intermixed with Roman ideas, is here\\nearly displayed. The columnar arrangement of the\\ntemple was unusual for the outside the Ionic style was\\nused, there being six columns at each end and fourteen\\non the sides but on the inside the Doric order was em-\\nployed surmounted by the Corinthian. Both pediments\\nof the building were sculptured by Scopas or from his\\ndesigns under his immediate supervision. The pedi-\\nment over the front portico portrayed the chase of the\\nCalydonian boar, and that in the rear the battle of Tele-\\nphus with Achilles both being, according to Pausanias,\\nvery animated compositions. The statue of the goddess\\nAthene Alea, contained in the cell, was carried off by\\nthe Emperor Augustus and placed at the entrance of his\\nnew forum in Rome. Some fragments of the pedi-\\nmental sculptures have been discovered and placed in\\nthe British Museum.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0167.jp2"}, "166": {"fulltext": "144 SOME OLD MASTERS\\nTo Scopas, in co-operation with Praxiteles, is also\\nattributed the graceful and beautiful Choragic monu-\\nment of Lysicrates, at one time called the lantern of\\nDemosthenes/ from the mistaken supposition that the\\ngreat orator used it as a study a very strange use when\\nit is remembered that the little structure possessed\\nneither doors nor windows. In its day this monument\\nwas the pride of the street of Tripods, and it still stands\\none of the best preserved evidences of the taste and skill\\nof its designers.\\nIn this monument the Corinthian style of decoration\\nis displayed in its perfection of grace, better, perhaps,\\nthan in any other structure of that early time which is\\nknown to us. Stuart describes it as follows: The\\ncolonnade was constructed in the following manner:\\nsix equal panels of white [Pentelic] marble, placed\\ncontiguous to each other on a circular plan, formed\\na continued cylindrical wall, which of course was\\ndivided from top to bottom into six equal parts by the\\njunctures of the panels. These columns projected\\nsomewhat more than half their diameters from the\\nsurface of the cylindrical wall, and the wall entirely\\nclosed up the intercolumination. Over this was placed\\nthe entablature and the cupola, in neither of which\\nany aperture was made, so that there was no admis-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0168.jp2"}, "167": {"fulltext": "OF GKEEK AKCHITECTUKE. 145\\nsion to the inside of this monument, and it was quite\\ndark.\\nThe flower, or crowning ornament of the monu-\\nment, was a particularly graceful and beautiful ar-\\nrangement of acanthus leaves and volutes, and the roof\\nwas worked out with great delicacy and originality in\\nthe form of a thatch of laurel leaves and Vitruvian\\nscrolls. If there was any apportionment of the work\\non this monument between Scopas and Praxiteles, it\\nwould be interesting to know what it was.\\nOf the other architectural sculptors associated with\\nScopas in the adornment of the tomb of Mausolus none\\nis mentioned as having had any other connection with\\narchitecture in a similar way, but all were statuaries of\\ndistinction and high merit, who executed works in mar-\\nble or bronze, or both, that gave them prominence in\\ntheir art. Among other works by Bryaxis were five colos-\\nsal statues in the island of Rhodes, of which the celebrated\\ncolossus of Rhodes, however, was not one, and also a\\nstatue of Apollo, which was destined for the temple of\\nDaphnis near Antiochus. The story is related that\\nJulian the Apostate wished to render to this figure\\npeculiar worship and homage, but was prevented from\\nso doing by a miraculous destruction of the temple and\\nstatue bv fire. Clement of Alexandria asserts that", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0169.jp2"}, "168": {"fulltext": "146 SOME OLD MASTERS\\nBryaxis was the artist of many works ascribed to Phid-\\nias.\\nAs to the share which Timotheus took in the decora-\\ntion of the mausoleum there is dispute among the Greek\\nauthorities, some ascribing his work to Praxiteles but\\nthere does not seem to be any just foundation for the\\nsupposition that the sculpturing on the south side of the\\ntomb was by any other hand than that of Timotheus.\\nAs one of the great statuaries of the later Attic school\\nhe was also among the most prominent, his figure of\\nArtemis being deemed worthy to be placed by the side\\nof the Apollo of Scoj)as, and the Latona of Praxiteles\\nin the temple which Augustus erected to Apollo on the\\nPalatine. Other statues of conspicuous merit are aiso\\nascribed to him by Pausanias and Pliny.\\nLeochares, the last of the quartette, was also inferior\\nonly to Scopas and Praxiteles in his school of art. He\\nwas particularly skilful with portrait-statues, the most\\nsuccessful of which were those of Philip of Macedon,\\nAlexander his son, Amyntas, Olympias and Eurydice,\\nall of which were made of ivory and gold, and were\\nplaced in the Phillippeion, a circular building in the\\nAltis at Olympia, erected by Philip in celebration of\\nhis victory at Cha?roneia. But the chef d oeuvre of\\nLeochares was a bronze statue of the rape of Ganymede.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0170.jp2"}, "169": {"fulltext": "OF GREEK ARCHITECTURE.\\n147\\nPliny says of this work that the eagle seemed to be sensi-\\nble of what he was carrying and to whom he was bearing\\nthe treasure, taking care not to hurt the boy through his\\ndress with his talons. The original statue was fre-\\nquently copied both in marble and on gems, several of\\nwhich copies are still extant one in the ]\\\\Iuseo Pio-\\nClementino, another in the library of St. Mark in\\nVenice, and still another figures in Stuart s Athens, as\\nan alto-relievo found among the ruins of Thessalonica.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0171.jp2"}, "170": {"fulltext": "148 SOME OLD MASTERS\\nCHAPTEK VIII.\\nTHE ALEXANDRIAN ERA AND ROMAN SPOLIATION.\\nHAT epoch in the art life of the Hellenic people\\n_|_ associated with the influences arising out of the\\ncareer and conquests of Alexander the Great,\\nwhich we have now reached, was one scarcely inferior\\nin interest to that of the time of Pericles. Overflowing\\nas was the great Macedonian leader s love of art and\\ngreat as was his ambition to leave behind him lasting\\nmonuments that should fittingly stand for the artistic\\nculture of his time, still, for reasons arising partly out\\nof his own career and partly from the ever-changing im-\\npulses of human feeling and taste, the art culture of his\\ntime must bow to the- superiority of that of the time of\\nPericles, if, in respect to those other features of his\\nleadership and accomplishment, to which history gives\\na superior rank, his genius is eclipsed by none in the\\nchronicles of civilization.\\nAlexander s short life, so active in conquest and war,\\nand so much of it passed away from European associa-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0172.jp2"}, "171": {"fulltext": "OF GEEEK ARCHITECTURE. 149\\ntions or even the influences of colonial Greece, neces-\\nsarily gave him little time for indulgence in the arts at\\nhome, while it permitted him to manifest it to some\\nconsiderable extent in founding cities and rearing tem-\\nples in foreign lands. To this self-imposed banishment,\\naccompanied, as it was, by large armies brought from\\nGreece and her colonies, and the intermixing of her\\npeople with foreigners of new tastes and habits of mind,\\nmay be attributed that change of art feeling at home\\nwhich began to assert itself about this time. On the\\nother hand, however, its effect was beneficial to the con-\\nquered countries in introducing a more elevated art\\nstandard than had existed within them before.\\nPersonally, Alexander manifested a keen apprecia-\\ntion of the arts whether founded upon the same sin-\\ncerity as that which appeared more natural to the char-\\nacter of Pericles is a question but we find that Praxi-\\nteles, Lysippus and Apelles, the great artists of his\\ntime, were no less publicly honored or more highly flat-\\ntered thah were Phidias or Polycletus in the days of\\nPericles. It is related as an evidence of Alexander s en-\\nthusiasm for art, that he compensated Apelles for his\\ncelebrated portrait of him by ordering that the artist s\\nreward should be measured out in gold instead of being\\ncounted, an order which perhaps quite as much illus-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0173.jp2"}, "172": {"fulltext": "150 SOME OLD MASTERS\\ntrated the theatrical impulses of which he could be\\nguilty as the calm expression of a genuine appreciation.\\nEven had Alexander been spared, and had returned\\nto Greece to continue a long life of usefulness to his\\npeople, instead of having been cut off in his prime at\\nBabylon, although he might have done much more for\\nart than he did, still he could not have accomplished for\\nit what had been attained by Pericles. This may be\\nargued from his birth, schooling and the stronger trend\\nof his mind, which led in very different directions.\\nThe Macedonian had not certainly the traditions of art\\nculture in his veins, as was the case with the more pol-\\nished Athenian, and being fonder of the dazzlement of\\npomp and show, natural to a leader who from infancy\\nhad been almost continuously associated with the accou-\\ntrements and regalia of armies, it is not likely that what-\\never he might have accomplished for art more than that\\nwhich he actually did, would have manifested that\\npurity of ideal, as well as refinement of execution which\\nso marked and dignified the work of Pericles.\\nAs there is always some time which must elapse be-\\nfore the tide, having reached its flood, turns once more\\nto slowly ebb, so was there a time to be expressed in a\\nfew years when the plastic arts of Greece, reaching their\\nhighest development in the age of Pericles, remained", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0174.jp2"}, "173": {"fulltext": "OF GREEK ARCHITECTURE. 151\\nstationary, before ebbing away to so-called Roman de-\\ngeneracy, and the mixed influence of various compara-\\ntively uncultured nationalities.\\nThe Alexandrian epoch marks the beginning of this\\nturning-point. The decadence took almost as many suc-\\ncessive generations to the time when Corinth was sacked\\nby the Romans in 116 b.c.^ and the Italian soldiers\\ncast their dice upon the pictures of Aristides, as it had\\ntaken to advance in the earlier ages of Greece, to the time\\nwhen the chryselephantine statues of Zeus and Athene,\\nby Phidias, were the recognized perfect standards of\\ngodlike majesty and beauty, and the Doryphorus of\\nPolycletus was accepted as the criterion of human grace\\nand proportion.\\nOf course the standard by which the perfection of\\narchitectural dignity and purity can be measured is\\nlargely one of individual taste and preferment, as is\\nsometimes evidenced by the conflicting judgments of\\nthe best critical authorities, but if we accept the conclu-\\nsions of centuries of the highest criticism, we must be\\nprepared to concede that the arts to which we refer\\nreached their zenith as stated. However, the expression,\\nRoman degeneracy, is much too severe a one, if taken\\nin other than a comparative sense for, whatever Grecian\\narchitecture may have lost in ideal a?stheticism by", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0175.jp2"}, "174": {"fulltext": "152 SOME OLD MASTERS\\nreason of Roman interference, it must be granted the\\nRomans that their own evolution in the appreciation of\\nthe arts and the accomplishments of architecture re-\\nsulted in a magnificence which, when compared with our\\nown time, gives them rank second only to the Greeks,\\nfrom whom they borrowed so much, and whom they did\\nnot scruple to rob of nearly all their portable art treas-\\nures. Among the innumerable monuments of archi-\\ntecture constructed by the Romans, says Gibbon, how\\nmany have escaped the notice of history, how few have\\nresisted the ravages of time and barbarism And yet\\neven the majestic ruins that are still scattered over Italy\\nand the provinces would be sufficient to prove that those\\ncountries were once the seat of a polite and powerful\\nempire. Their greatness alone or their beauty might\\ndeserve our attention but they were rendered more in-\\nteresting by two important circumstances, which con-\\nnect the agreeable history of the arts with the more\\nuseful history of human manners. Many of these works\\nwere erected at private expense, and almost all were\\nintended for public benefit.\\nBut the burnishing of the Romans to the high polish\\nwhich they finally attained in the arts was a slow proc-\\ness, and one which met with many interruptions, ac-\\ncording as their rulers were individually affected bv a", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0176.jp2"}, "175": {"fulltext": "OF GREEK ARCHITECTURE. 153\\nlove of the artistic a fact which in itself would show\\nthat art was not an inherent quality in the Roman\\nnature to the like degree that it was in that of the Greek.\\nTo admire the Grecian aesthetic culture was at first con-\\nsidered an evidence of effeminacy, and even Cato ex-\\nclaimed against the arts not seventeen years after the\\ntaking of Syracuse. The Consul jMummius, in 14G\\nB.C., some hundred years later, after the battle which\\nresulted in the capture of Corinth, proved very conclu-\\nsively that he had very little appreciation of the merit of\\nthe treasures he found there, for he not only destroyed a\\ngreat many, but shipped to Rome many more, for the\\nsimple reason that, recognizing how much they were\\nprized by the Corinthians, he wisely saw that they might\\nbe useful in Rome. This sacking of Grecian cities was\\nquite popular, and the Roman generals, in their con-\\nquests, seemed to strive which should bring away to\\nRome the greatest number of statues and pictures. The\\nelder Scipio despoiled Spain and Africa, Flamius Sylla\\nand Mummius exported shiploads of the art of Greece,\\nJEmilius despoiled Macedonia, and Scipio the younger,\\nwhen he destroyed Carthage, transferred to Rome the\\nchief ornaments of that city.\\nIn fact, the Roman generals were remarkable as art\\npilferers, using the spoils not alone to adorn their public", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0177.jp2"}, "176": {"fulltext": "154 SOME OLD MASTERS\\nbuildings and institutions, but in some instances their\\nprivate houses and palaces as well. It is related of\\nScaurus that he embellished his temporary theatre,\\nerected for a few days use, with no less than three thou-\\nsand statues. He also returned to Rome with all the\\npictures of S icy on, one of the most eminent schools of\\npainting in Greece, on a pretence that they would com-\\npensate for a debt due the Roman people. From this\\nhabit of drawing on foreigners it finally came to pass\\nthat private citizens took the fever and entered upon the\\nluxury. None was earlier in the field than the Luculli,\\nparticularly Lucius Lucullus. Julius Ca?sar was per-\\nsonally a great collector, his. hobby being gems, while his\\nsuccessor, Augustus, displayed an acute interest in Co-\\nrinthian vases.\\nAugustus did much for the architectural adornment\\nof Rome, and his much-quoted remark to the effect that\\nhe found Rome a city of bricks and left it one of marble,\\nwas, to a great degree, true. In fact, Augustus mani-\\nfested an aesthetic nature in many respects. Spence\\nsays, speaking of the arts, that the flavor of Augustus,\\nlike a gentle dew, made them bud forth and blossom and\\nthe sour reign of Tiberius, like a sudden frost, checked\\ntheir growth, and killed all their beauties. Men of\\ngenius were flattered, courted and enriched under Au-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0178.jp2"}, "177": {"fulltext": "OF GREEK ARCHITECTURE. 155\\ngustus, as they were some four hundred years earlier in\\nAthens under Pericles, with the result that Vergil,\\nHorace, Ovid and other poets of the greatest merit\\nsprung forward. Rome became in this age the seat of\\nuniversal government also, its wealth was enormous, its\\narchitectural decorations numerous and splendid, and\\neven its common streets were decked with some of the\\nfinest statues in the world. Other great architectural\\nepochs of Rome were those of the time of Trojan and\\nHadrian. But as evidence of the intermittent character\\nof her art development, very little was realized, as very\\nlittle could be expected under the reigns of such mon-\\nsters as Tiberius, Caligula and Xero. To Xero, how-\\never, we must accord some little credit in having built a\\nvery remarkable architectural composition, although un-\\ndertaken for no public benefit, but to satisfy his own\\nprofligate vanity. His Golden Palace, built under\\nthe direction of the architects Celer and Severus, the\\nmost eminent of their time, was ranked as the most stu-\\npendous structure of its kind in all Ttaly. The palace\\nwas built after the conflagration during which Xero is\\nsupposed to have amused himself with a violin. Tacitus\\ntells us that it was ornamented in every part with\\npearls, gems and the most precious materials, espe-\\ncially gold, which was used in reckless profusion. In", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0179.jp2"}, "178": {"fulltext": "156 SOME OLD MASTEES\\nthe centre of a court adorned with a portico of three rows\\nof lofty columns, each row a mile long, stood a colossal\\nstatue of that colossal sensualist and wicked monarch,\\nwhich was one hundred and twenty feet in height. Ves-\\npasian tore down the whole of this piece of architectural\\nvanity, restored the land which it had occupied and by\\nwhich it was surrounded to the people from whom it\\nhad been stolen, and erected in its place the great public\\nColoseum and the magnificent Temple of Peace.\\nIn alluding to the public palaces of amusement, Curio,\\na Roman Pnetor, some few years before the Christian\\nera, is said to have built two wooden theatres close to-\\ngether, which turned on pivots. During the day they\\nwere turned away from each other, and different plays\\nwere performed in each then, with all the spectators,\\nthey were turned together, forming an amphitheatre in\\nwhich combats took place. The zeal of the Roman archi-\\ntects to win popular favor by something novel and strik-\\ning was often very great. In Pompey s theatre water\\nwas made to run down the aisles, between the seats, in\\norder to refresh spectators in the heat of summer.\\nBut that the Roman architects were not always as\\ncareful in the inspection of the buildings under their\\nsupervision as they should have been, and, like some of\\nour modern architects, permitted their works to be used", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0180.jp2"}, "179": {"fulltext": "OF GEEEK ARCHITECTURE. 157\\nwhen in an unsafe condition, is shown from the unfor-\\ntunate catastrophe which resulted in the unexpected\\ntumbling to pieces of the theatre of Fideme near Rome.\\nThis accident happened in the reign of Tiberius, and\\nthe name of the architect who suffered banishment for\\nhis neglect was Attilius. The theatre was built of\\nwood, and out of fifty thousand people who were in-\\njured in the collapse twenty thousand are said to have\\ndied.\\nOf all the Roman emperors none is more interesting\\nto the student of Grecian architecture than Hadrian,\\nwho was a great admirer of Greece, seeking to introduce\\nthe Hellenic institutions and modes of worship in Rome,\\nas well as the art, poetry and learning of Greece. He\\nalso undertook to restore Athens, which had suffered\\ngreatly during the four or five hundred years which had\\nelapsed between his time and that of Pericles, to some-\\nthing of her former architectural grandeur. Pope s\\ncouplet might have been Hadrian s inspiration\\nYou, too, proceed make falling arts your care,\\nErect new wonders and the old repair.\\nIndeed, he caused to be inscribed upon the Arch of\\nHonor, which he erected in Athens, after the restoration,\\ntwo inscriptions which, if not in the best of taste, were\\nin harmony with their author s self-love, of which he", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0181.jp2"}, "180": {"fulltext": "158 SOME OLD MASTERS\\npossessed no inconsiderable share. Upon that side of\\nthe arch which faced the ancient city he wrote This\\nis Athens, the old city of Theseus, and on that which\\nfronted upon the new city of his restoration and adorn-\\nment was inscribed This is the city of Hadrian, and\\nnot of Theseus. In other words, the visitor was ex-\\npected to make his own comparison and perhaps draw\\nthe conclusion intimated that Theseus was not, after all,\\nto be compared with the Roman Hadrian.\\nHadrian s particular penchant was architecture, and\\nhis predominant vices were vanity and jealousy, both of\\nwhich were manifested in his practice of that art. The\\nmagnificent villa which he erected at Tiber, where he\\nspent his declining years, and the ruins of which even\\nnow cover a space equal to a large town, would indicate\\nthis, as well as the grandiose mausoleum which towered\\nhigh above the banks of the Tiber at Rome, and which\\nis now depleted of much of its statuary and ornamenta-\\ntion, the Christian church of Saint Angelo. The treat-\\nment which he accorded Trajan s great architect, the\\naccomplished Apollodorus, is still another evidence of\\nhis vanity.\\nHadrian, like Louis I. of Bavaria, found delight in\\npractising personally the profession of architecture, and\\ndrew plans of buildings, which the people thought was", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0182.jp2"}, "181": {"fulltext": "OF GREEK ARCHITECTURE. 159\\nunbecoming a prince. Possibly this objection was raised\\nto discourage their ruler rather than the more truthful\\none that, his plans were not up to the high standard of\\nhis time. However that may be, he insisted upon their\\nbeing executed, and it is said was rather pleased if the\\narchitects found fault with them. But this was not the\\ncase with Apollodorus, whether because of what he had\\naccomplished for his predecessor Trajan, or because of\\nprofessional jealousy.\\nApollodorus was the architect of the Trajan column,\\ncomposed of only twenty-four stones, although one hun-\\ndred and twenty-eight Roman feet in height, and the\\nsquare which surrounded it, considered the most beau-\\ntiful assemblage of buildings then known. The relief\\ncarvings which were wound spirally around the Trajan\\ncolumn like a ribbon, represented the incidents of\\nthe expedition against the Darians. The column sup-\\nported a statue of Trajan, which Pope Sextus V. substi-\\ntuted for one of Saint Peter. A greater absurdity can\\nhardly be conceived than that of placing a peaceful\\napostle over the warlike representations of the Dacian\\nwar.\\nApollodorus was also the architect and engineer of the\\nsrreat bridge which stretched across the Danube in lower\\nHungary, which was formed of twelve piers and twenty-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0183.jp2"}, "182": {"fulltext": "160 SOME OLD MASTEKS\\ntwo arches, said to have been the grandest use of the\\narch in such works. Each arch was sixty feet wide and\\none hundred and fifty feet high. The total height of\\nthe bridge was three hundred feet and its length a mile\\nand a half. Hadrian destroyed this magnificent work,\\nsome say through fear of its use by barbarians, others\\nthrough jealousy. Perhaps the circumstances attending\\nthe death of Apollodorus would point to the second rea-\\nson as the true one.\\nHadrian had made the drawings of the double temple\\nof Venus at Rome, which he submitted to Apollodorus,\\ndoubtless for his commendation rather than his criti-\\ncism. The architect saw at a glance that the sitting\\nfigures of the two goddesses, Roma and Venus, which\\nthe Emperor had introduced in the little temple, were\\nout of proportion, and so large that if they stood up they\\nwould bump their heads against the roof, if they did not\\ntake it off entirely. He called the Emperor s attention\\nto this fact with the result that Hadrian became very\\nangry, or pretended to be so, and Apollodorus lost his\\nhead for his frankness.\\nThe favorite architect of Hadrian was Detrianus, to\\nwhom he entrusted many of his most important under-\\ntakings. We find that he restored the Pantheon of\\nAgrippa, the Basilica of Xeptune, the Forum of Au-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0184.jp2"}, "183": {"fulltext": "OF GREEK ARCHITECTURE. 161\\ngustus and the Baths of Agrippina. As original works\\nhe designed the Mausoleum of Hadrian, to which we\\nhave already alluded the bridge of ^Elius, ornamented\\nwith its covering of brass, and supported by its forty-two\\ncolumns, terminating at the top with as many statues,\\nand the villa at Tivoli. He also erected many structures\\nfor his royal patron in Gaul, among which was the\\nBasilica Plotina, the most superb building in that coun-\\ntry, and again other buildings in England. The Roman\\nwall from Eden in Cumberland to Tyne in Northumber-\\nland, a distance of eighty miles, which was built as a\\ndefence against the Caledonians, is attributed to Detria-\\nnus. In Greece he embellished the famous temple of\\nJupiter Olympus, and in Palestine he rebuilt Jerusalem,\\nerected a theatre and various pagan temples out of the\\nstone from the Jewish temples, and completed his sac-\\nrilege there by placing a statue of Jupiter on the spot\\nwhere Christ rose from the dead, and one of Venus on\\nMount Calvary. A feat, however, which has perpetu-\\nated his fame quite as much as any other of his profes-\\nsional acchievements was the removing of the colossal\\nbronze statue of jSTero, which stood in the court of the\\nGolden Palace. This difficult task he is said to have\\naccomplished without changing the erect posture of the\\nhuge figure, which, it will be remembered, was one hun-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0185.jp2"}, "184": {"fulltext": "162 SOME OLD MASTERS\\ndred and twenty-eight feet high, by the assistance of\\ntwenty-four elephants.\\nIn returning once more to the Greek architects who\\nhave been left, while a rather garrulous ramble has been\\nmade into the architectural personality of Rome, it may\\nbe well not to attempt to do so at once, but to pause for\\na moment, since we are so far from the chronology of\\nour subject, while the reader makes the acquaintance of\\ntwo Hellenic artists who, in the time of Quintius Metel-\\nlus, 147 B.C., found professional employment in Roman\\nterritory.\\nMetellus was one of the first Romans to favor magnifi-\\ncent architecture in his home capitol, and with the\\nbooty gathered in his Macedonian campaigns he erected\\ntwo temples in Rome, said to have been the first temples\\nbuilt of marble in that city, one of which was dedicated\\nto Jupiter Stator, and the other to the white-armed\\nJuno. The interiors were profusely ornamented with\\nthe works of the great Grecian masters, Praxiteles, Poly-\\ncletus and Dionysius figuring largely.\\nThe names of the architects which Metellus brought\\nor imported from Greece for this work were Saurus\\nand Batrachus, who may possibly have been Ionians,\\ninasmuch as they employed the Ionic order. These tem-\\nples were restored in the Corinthian style, under Augus-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0186.jp2"}, "185": {"fulltext": "OF GREEK ARCHITECTURE.\\n163\\ntus, two hundred years later, by Hermodorus of Sala-\\nmis, who was also the architect of the temple of Mars in\\nthe Flaminian Circus.\\nIt is told of Saurus and Batrachus that they were so\\nmuch pleased with their work that they asked for no\\nreward other than the privilege of having their names\\ninscribed on the temples. But as this honor was denied\\nthem, they resorted to expedient to effect the same end.\\nAs the name Saurus stood for lizard and Batrachus for\\nfrog, they carved lizards and frogs on the temples, and\\nwere comparatively satisfied. A rather absurd mistake\\noccurred in respect to these two temples after they were\\ncompleted. It seems that nothing remained to be done\\nbut to add the statues of Jupiter and Juno to each re-\\nspectively but by some strange oversight the figure of\\nJupiter was erected in the house of Juno, and that of\\nJuno before the shrine of Jupiter. However, as the\\ntwo deities were rather closely connected by marriage,\\nthe mistake was conveniently attributed to a whim of\\nthe gods and was not remedied.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0187.jp2"}, "186": {"fulltext": "164\\nSOME OLD MASTERS\\nCHAPTEK IX.\\nTHE ALEXANDRIAN ARCHITECTS.\\nHE boldest, most ingenious and original archi-\\ntect who found favor in the sight of Alexander\\nthe Great was undoubtedly Dinocrates, who,\\nlike his august patron, was also a Macedonian, and to\\nwhom an allusion has already been made in connection\\nwith the temple of Diana at Ephesus.\\nHis very introduction into the notice and attention\\nof his distinguished fellow-countryman would tend to\\nprove that Dinocrates was a person of expediency, if\\nnothing else. Let Vitruvius tell the story Dinoc-\\nrates, the architect, relying on the powers of his skill\\nand ingenuity, while Alexander was in the midst of his\\nconquests, set out from Macedonia to the army, desirous\\nof gaining the commendation of his sovereign. That his\\nintroduction to the royal presence might be facilitated,\\nhe obtained letters from his countrymen and relations\\nto men of the first rank and nobility about the king s per-\\nson, by whom, being kindly received, he besought them", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0188.jp2"}, "187": {"fulltext": "DINOCRATES BEFORE U.EXAMIKR THE CREAT.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0189.jp2"}, "188": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0190.jp2"}, "189": {"fulltext": "OF GREEK ARCHITECTURE. 165\\nto take the earliest opportunity of accomplishing his\\nwish. They promised fairly, but were slow in perform-\\ning, waiting, as they alleged, for a proper occasion.\\nThinking, however, that they deferred this without just\\ngrounds, he took his own course for the object he had in\\nview. He was, I should state, a man of tall stature,\\npleasing countenance and altogether of dignified appear-\\nance. Trusting to the gifts with which nature had en-\\ndowed him, he put off his ordinary clothing, and, having\\nannointed himself with oil, crowned his head with a\\nwreath of poplar, slung a lion s skin across his left shoul-\\nder, and, carrying a large club in his right hand, he\\nsallied forth to the royal tribunal, at a period when the\\nking was dispensing justice.\\nThe novelty of his appearance excited the attention\\nof the people, and Alexander, soon discovering with\\nastonishment the object of their curiosity, ordered the\\ncrowd to make way for him, and demanded to know\\nwho he was. A Macedonian architect, replied Dinoc-\\nrates, who suggests schemes and designs worthy your\\nroyal renown. I propose to form Mount Athos into the\\nstatue of a man holding a spacious city in his left hand\\nand in his right a huge vase, into which shall be collected\\nall the streams of the mountain, which shall thence be\\npoured into the sea.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0191.jp2"}, "190": {"fulltext": "166 SOME OLD PIASTERS\\nAlexander, delighted at the proposition, made im-\\nmediate inquiry if the soil of the neighborhood were of\\na quality capable of yielding sufficient produce for such\\na state. When, however, he found that all its supplies\\nmust be furnished by sea, he thus addressed Dinocrates\\nI admire the grand outline of your scheme, and am well\\npleased with it but I am of opinion he would be much to\\nblame who planted a colony on such a spot. For as an\\ninfant is nourished by the milk of its mother, depending\\nthereon for its progress to maturity, so a city depends\\non the fertility of the country surrounding it for its\\nriches, its strength in population, and not less for its\\ndefence against an enemy. Though your plan might be\\ncarried into execution, yet I think it impolitic. I never-\\ntheless request your attendance upon me, that I may\\notherwise avail myself of your ingenuity. From that\\ntime Dinocrates was in constant attendance on the king,\\nand followed him into Egypt.\\nVitruvius does not explain why it was that Dinoc-\\nrates singled out the curious costume, or rather lack of\\ncostume, which he did to attract the attention of Alex-\\nander. It was, in fact, the garb of an athlete. Among\\nthe early Greeks a professional athlete was regarded as\\na person of social distinction, and if a particularly suc-\\ncessful one, a personage to whom a statue might be", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0192.jp2"}, "191": {"fulltext": "OF GREEK ARCHITECTURE. 167\\nerected, or upon whom other honors might be conferred.\\nIn fact, the uniform of an athlete was, as a rule, a pass-\\nport to the best society. Dinocrates undoubtedly knew\\nthis, and as he was seeking an entre into the very high-\\nest court circles, he took not an extraordinary method\\nof gaining it.\\nMount Athos, which the architect proposed to take as\\na basis for what was really to be a gigantic statue of\\nAlexander himself, was a pyramidal mountain, at the\\nextreme end of the Acte peninsula, having an altitude\\nof 6780 feet, and crowned with a cap of white marble,\\nwhich Dinocrates undoubtedly had in mind to utilize\\nfor a helmet. The country surrounding the mountain\\nwas remarkable for its rural beauty, its woods and\\nravines, and its people for their longevity. Xo wonder\\nthat Alexander did not wish to disturb this peaceful\\nneighborhood.\\nAlexander Pope, who has given us an admirable\\nrhymed translation of the songs of Homer, seems to\\nhave been greatly impressed with the practicability\\nof this remarkable idea of Dinocrates. Spence, the\\nauthor of Polymetis, was once discussing the in-\\ncident which Vitruvius relates with Pope, remark-\\ning that he could not see how the Macedonian architect\\ncould ever have carried his proposal into execution, when", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0193.jp2"}, "192": {"fulltext": "168 SOME OLD MASTERS\\nPope at once replied For my part, I have long since\\nhad an idea how the thing might be done and if any-\\nbody would make me a present of a Welsh mountain\\nand pay the workmen, I would undertake to see it ex-\\necuted. T have quite formed it sometimes in mv imagi-\\nnation: the figure must be in a reclining posture, be-\\ncause of the hollowing that would be necessary, and for\\nthe city s being in one hand. It should be a rude, un-\\nequal hill, and might be helped with groves of trees for\\nthe eyebrows, and a wood for the hair. The natural green\\nturf should be left wherever it would be necessary to\\nrepresent the ground he reclines on. It should be con-\\ntrived so that the true point of view should be at a\\nconsiderable distance. When you are near it, it should\\nstill have the appearance of a rough mountain, but at a\\nproper distance such a rising should be the leg, and\\nsuch another an arm. It would be best if there were a\\nriver, or rather a lake, at the bottom of it, for the rivulet\\nthat came through his other hand to tumble down the\\nhill and discharge itself into the sea.\\nMrs. Baillie, in her Tour on the Continent, has also\\na comment to make on this proposition of Dinocrates\\nand recalls the fact that a somewhat similar idea was ad-\\nvanced to Xapoleon I. It is somewhat singular, she\\nsays, that Mr. Pope should have thought this mad", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0194.jp2"}, "193": {"fulltext": "OF GREEK ARCHITECTURE. 1 69\\nproject practicable, but it appears that there are still\\npersons who dream of such extravagant and fruitless\\nundertakings. Some modern Dinocrates had suggested\\nto Bonaparte to have cut from the mountain of the Sim-\\nplon an immense colossal figure, as a sort of Genius of\\nthe Alps. This was to have been of such enormous size\\nthat all the passengers should have passed between its\\nlegs and arms in a zigzag direction.\\nAnother ingenious conception is attributed to Dinoc-\\nrates in respect to the temple of Diana, which he erected\\nin the city of Alexandria for Ptolemy Philadelphus, in\\nmemory of the sister-wife of that potentate, Arsinoe.\\nThis relationship, by the way. i- said to have been the\\nfirst ever formed, although it became quite common later\\nin the time of the Ptolemies. Arsinoe was much beloved\\nby her husband, who not only called an entire district in\\nEgypt. Arsinoites, after her, but also gave her name to\\nseveral cities within his realm. Her features are still\\npreserved to us upon coins struck in her honor, and\\nwhich represent her crowned with a diadem.\\nWhen Dinocrates received the commission to erect a\\ntemple to so highly esteemed and devotedly remembered\\na queen, he apparently set his ingenuity to work to give\\nbirth to a novelty that should not only please the king,\\nbut astonish his subjects. It finally matured in a prop-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0195.jp2"}, "194": {"fulltext": "170 SOME OLD MASTERS\\nosition to roof the proposed temple with loadstones, in\\norder that they might attract into the air an iron statue\\nof Arsinoe. As the figure of the queen would thus\\nappear suspended in the air without any apparent mun-\\ndane reason, the inference could be drawn that it was by\\nthe divine will. Some authorities say that the entire\\ninner walls of the temple were to have been lined with\\nloadstones, so that the statue might appear suspended in\\nthe very centre of the cell, touching nothing. Fortu-\\nnately, both Dinocrates and Ptolemy died before the\\nproject could be executed, otherwise they might have\\nbeen witnesses to the miserable failure such a chimerical\\nfancy must have proved if attempted, as any modern\\nelectrician will attest.\\nWhen at Ectabana with Alexander, Dinocrates had\\nstill another opportunity to display his resourceless orig-\\ninality, in directing the obsequies of Hephiestion, which\\nwere of a most extraordinarily elaborate nature, costing,\\nit is recorded, 12,000 talents, or what would be equiva-\\nlent to over $1,300,000. Tlephsostion was a Macedonian\\nand a close and warm friend of Alexander, accompany-\\ning the young king in a military capacity throughout\\nmost of his early foreign campaigns. So attached was\\nAlexander to his friend that he not only showed him\\nmany marks of his personal esteem, but bestowed upon", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0196.jp2"}, "195": {"fulltext": "OF GREEK ARCHITECTURE. 171\\nhim in marriage Drypetis, the sister of his own bride,\\nStatira. At Ectabana Hepha?stion was attacked by a\\nfever which had a fatal termination after an illness of\\nseven days. Alexander s grief over the loss of his\\nbrother-in-law was violent and extreme, and is said to\\nhave found vent in the most extravagant demonstrations.\\nHe ordered general mourning throughout the entire em-\\npire, and Dinocrates to build a funeral pile and monu-\\nment to him in Babylon, where the body had been con-\\nveyed from Ectabana, at a cost of $1,000,000.\\nBut the richest occasion afforded Dinocrates to dis-\\nplay to the fullest his great talents and genius was the\\nlaying out of the city which Alexander determined to\\nfound in Egypt, and which, bearing the conqueror s\\nname, was destined to become the centre of the com-\\nmercial activity of the new empire. This great city,\\nwhich rapidly grew to be one of the most populous of\\nancient times, and which has maintained, if not its\\noriginal share of industrial supremacy, at least an im-\\nportant existence throughout the ages that have elapsed\\nfrom its nativity to the present time, we cannot resist\\nthinking was probably as much the inspiration of Alex-\\nander s favorite architect, realizing its professional pos-\\nsibilities, as it was that of Alexander himself. Pliny\\ninforms us that Dinocrates died before he could give", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0197.jp2"}, "196": {"fulltext": "172 SOME OLD MASTERS\\nthe city the full proportions which he had planned, but\\nnot certainly until its principal features were executed.\\nStrabo, the squint-eyed geographer, gives a more\\ncircumstantial account of the planning of the new city\\nby Dinocrates and his powerful and ambitious patron.\\nIt must have been indeed an interesting sight to see the\\ntwo Macedonians upon the plane which was selected for\\nthe site of the city, laying out the streets and avenues,\\nmarking the run of the walls that were to surround it,\\nlocating the different sites where were to stand the pub-\\nlic buildings, parks, palaces and temples, and perhaps\\ndisputing and arguing over the questions that arose, as\\ntwo such dominant intellects might very naturally be\\nsupposed to do.\\nThe basis of the plan were two main streets crossing\\neach other at right angles, each one hundred feet wide\\nand lined with colonnades. The other streets were to\\nrun parallel to these. ISTear the centre of the proposed\\ncity was to be clustered the public buildings, the Mu-\\nseum and the Serna, which subsequently contained an\\nalabaster coffin in which rested the remains of Alexan-\\nder. Alabaster, which the Greks obtained from Thebes,\\nwas much used for mortuary purposes, as well as for\\ncolumns and statues.\\nPlutarch also describes the planning of the city as", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0198.jp2"}, "197": {"fulltext": "OF GREEK ARCHITECTURE. 173\\nfollows As chalk-dust was lacking, they laid out their\\nlines on the black, loamy soil with flour, first swinging a\\ncircle to enclose a wide space, and then drawing lines as\\nchords of the arc to complete with harmonious propor-\\ntions, something like the oblong form of a soldier s cape.\\nWhile the king was congratulating himself on this plan,\\non a. sudden a countless number of birds of various sorts\\nflew over from the land and the lake in clouds, and, set-\\ntling upon the spot, devoured in a short time all the flour,\\nso that Alexander was much disturbed in mind at the\\nomen involved, till the augurs restored his confidence\\nagain, telling him the city he was planning was destined\\nto be rich in resources and a feeder of the nations of\\nmen, a prophecy which proved its truth in the fulfil-\\nment.\\nDinocrates was not, however, the only architect em-\\nployed in laying out so large a city, as might naturally\\nbe supposed, although he was, of course, the governing\\none. How many more there were it would be difficult\\nto say, but there is record at least of two others, both\\nprobably employed by the rapacious and unscrupulous\\nCleomenes, whom Alexander left in Egypt as hyparch\\nunder Ptolemy Philadelphia. Olynthius is the name\\ngiven of one of these architects and Parmenion of the\\nother. The latter was entrusted more particularly with", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0199.jp2"}, "198": {"fulltext": "174 SOME OLD MASTERS\\nthe superintendency of the works of sculpture, espe-\\ncially in the temple of Serapis, which, by the way, came\\nto be called by his name, Pharmenionis. Bryaxis is also\\ncredited with statuary work there.\\nUpon the island of Pharos, which was joined to the\\ncity of Alexander by a wide mole, about three-quarters\\nof a mile long, in which were two bridges over channels\\ncommunicating between the eastern and western har-\\nbors, was built by Ptolemy Soter and his son in the\\nyear 282 B.C., a most famous lighthouse and a very\\nglorious ancestor of such guardians of the coast as exist\\nto-day.\\nThis lighthouse was planned by Sostratus, another re-\\nmarkable character in the architectural roll of honor of\\nthose early times. He was a native of Cnidus, a town\\nin Caria in Asia Minor, to the south of Ionia and Lydia,\\ncelebrated also as the birthplace of several other men\\nwho rose to distinction in the early days of the Greek\\ncolonies as mathematicians and astronomers. Cnidus\\nwas almost equally remarkable in its possession of two\\nfamous works of the statuary s art one the figure of a\\nlion carved from a single block of Pentelic marble, ten\\nfeet long by six feet wide, which was executed to com-\\nmemorate the great victory of Caria the other a statue\\nof Venus by Praxiteles, which occupied one of the three", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0200.jp2"}, "199": {"fulltext": "OF GREEK ARCHITECTURE. 175\\ntemples to the goddess in that city. It is said that Nico-\\nmedes of Bithynia was so fascinated by the rare beauty\\nof this figure that he offered to liquidate the debt of\\nCnidus, which was by no means a small one, if the citi-\\nzens would cede the statue to him. They refused, how-\\never, to part with it at any price, esteeming it one of the\\nglories of their city. Cnidus contained many beautiful\\narchitectural monuments, the ruins of which are still\\nprominent.\\nSostratus, the architect, was the son of Dexiphanes,\\nand must not be mistaken for any one of several other\\nartists of the same name who are conspicuously men-\\ntioned by the early writers. His first fame was ac-\\nquired through his connection with the celebrated so-\\ncalled hanging gardens which he built in his native coun-\\ntry. They consisted of a series of porticos or colon\\nnades supporting terraces, surrounding an enclosure,\\npossibly the Agora of the city, and served as a prome-\\nnade for the inhabitants. Pliny says that Sostratus\\nwas the first to erect anything of the kind. This state-\\nment may be excused, either because the hanging gar-\\ndens of Sostratus differed widely from the well-known\\nones of Babylon, which antedated them by several hun-\\ndred years, or because Pliny forgot for a moment those\\nof Semiramis.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0201.jp2"}, "200": {"fulltext": "176 SOME OLD MASTEES\\nStrabo, who was probably right in his judgment,\\nthinks that the greatest of Sostratus s works was the\\ntowering light-house at Pharos, which he built at a cost\\nof about $900,000, although from its size it would seem\\nthat it should have cost more. This colossal tower at\\nonce took its place among the seven wonders of the\\nancient world. It pierced the sky at a height of four\\nhundred and fifty feet, or about one hundred and sev-\\nenty-five feet above the towers of the Brooklyn Bridge\\nand fifty feet above the torch with which the Goddess\\nof Liberty illuminates the harbor of New York. But\\nits height alone was not more marvellous than its other\\nproportions, which were upon a most extravagant scale.\\nThe ground story was hexagonal, the sides alternately\\nconvex and concave, and each was one-eighth of a mile\\nin length. The second and third stories were each of\\nthe same form, although decreasing in size the fourth\\nwas square, flanked by four round towers, and the fifth\\nor top story was circular. A grand staircase led through\\neach story to the roof of the building, where every night\\nmassive fires were lighted, revealing the sea for a hun-\\ndred miles.\\nWhen we consider that this colossal building was\\nmade entirely of wrought stone when we reflect upon\\nthe amount of labor involved in its construction, its", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0202.jp2"}, "201": {"fulltext": "OF GREEK ARCHITECTURE. l77\\nponderous size and dizzy altitude we cannot but marvel\\nat the extraordinary breadth of conception manifested\\nby its architect and builders and the tenacity with which\\nthey must have held to the completion of their huge\\nundertaking. It is not to be wondered at that when\\nSostratus stood off and contemplated this mighty prod-\\nuct of his imagination and genius, after its completion,\\nhe should have been actuated with the desire to have his\\nname associated with it for all time, and indelibly en-\\ngraved somewhere upon its imperishable stone. The\\nstory is that Sostratus engraved an inscription upon one\\nof the stones which he afterward covered with cement,\\nand on the cement he inscribed the name of Ptolemy,\\nknowing that in time the cement would decay and leave\\nexposed the hidden writing upon the stone beneath.\\nStrabo says that the concealed inscription read:\\nSostratus, the friend of kings, made me but\\nLucien gives it differently, thus: Sostratus of\\nCnidus, the son of Dexiphanes [that he might not\\nbe mistaken for any other Sostratus, doubtless], to the\\nGods the Saviors for the safety of Mariners.\\nPliny does not share the opinion that the inscription\\nwas a concealed one, but speaks of the incident as a\\nspecial instance of the magnanimity of Ptolemy, that he\\nshould not only have allowed the name of the architect", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0203.jp2"}, "202": {"fulltext": "ITS SOME OLD MASTERS\\nto be inscribed upon the building, but that he should\\nhave also left its nature and language to the discretion\\nof Sostratus. The words Gods the Saviors/ he be-\\nlieves, referred to the reigning king and queen, with\\ntheir successors, who were ambitious of the title\\nSoteros or Savior.\\nIt would be unfair, perhaps, to the great Grecian\\narchitects of the time of Alexander if Andronicus Cyr-\\nrhestes were to be classed among them, and Cyr-\\nrhestes also, having been a scientific character with a\\nleaning toward astronomy, might with some justice feel\\naggrieved were he to know that he was to be considered\\nin a category of professional men to which his calling\\nwas in no degree related. Still the little building which\\nhe designed and erected in Athens is such an interest-\\ning one, and has always held so prominent a place among\\nthe architectural treasures of the Attic city, that it\\nmight be regarded as an intentional oversight to leave\\nhim out in a book of this kind. Some authorities place\\nthis building as belonging to the time of Alexander the\\nGreat, others believe that it was erected at a later period,\\nand one writer gives Andronicus an existence as late as\\n100 B.C.\\nThis building, which Delambre speaks of as the most\\ncurious existing monument of the practical gnomonics", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0204.jp2"}, "203": {"fulltext": "OF GKEEK ARCHITECTURE. 179\\nof antiquity, has sometimes been called the Tower of\\nJEolus. Let us see what Vitruvius has to say regard-\\ning the winds and the building: Some have chosen\\nto reckon only four winds: the East, blowing from the\\nequinoctial sunrise the South, from the noonday sun\\nthe West, from the equinoctial sun-setting; and the\\nXorth, from the Polar Stars. But those who are more\\nexact have reckoned eight winds, particularly Androni-\\ncus Cyrrhestes, who on this system erected an octagon\\nmarble tower at Athens, and on every side of the octagon\\nhe has wrought a figure in relievo, representing the wind\\nwhich blew against that side the top of this tower he\\nfinished with a conical marble, on which he placed a\\nbrazen Triton, holding a wand in his hand this Triton\\nis so contrived that he turns with the wind, and always\\nstops when he directly faces it, pointing his wand over\\nthe figure of the wind at that time blowing.\\nIt is in connection with his allusion to the tower of\\nCyrrhestes, and his description of how to construct a\\nsun-dial, that Vitruvius gives some valuable hints as to\\nthe way the ancients laid out a city so that its streets\\nwere protected from the prevailing winds. He says Let\\na marble slab be fixed level in the centre of the space\\nenclosed by the walls, or let the ground be smoothed or\\nlevelled, so that the slab may not be necessary. In the", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0205.jp2"}, "204": {"fulltext": "180 SOME OLD MASTERS\\ncentre of this plane, for the purpose of marking the\\nshadow correctly, a brazen gnomon must be erected.\\nThe shadow cast by the gnomon is to be marked about\\nthe fifth ante-meridional hour, and the extreme point of\\nthe shadow accurately determined. From the central\\npoint of the space whereon the gnomon stands, as a\\ncentre, with a distance equal to the length of the shadow\\njust observed, describe a circle. After the sun has\\npassed the meridian watch the shadow which the\\ngnomon continues to cast till the moment when its ex-\\ntremity again touches the circle which has been de-\\nscribed. From the two points thus obtained in the cir-\\ncumference of the circle describe two arcs intersecting\\neach other, and through their intersection and the\\ncentre of the circle first described draw a line to its\\nextremity this line will indicate the north and south\\npoints. One-sixteenth part of the circumference of the\\nwhole circle is to be set out to the right and left of the\\nnorth and south points, and drawing lines from the\\npoints thus obtained to the centre of the circle, we hav?\\none-eighth part of the circumference for the region of\\nthe north, and another eighth part for the region of the\\nsouth. Divide the remainders of the circumference\\non each side into three equal parts, and the divisions or\\nregions of the eight winds will be obtained; then let", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0206.jp2"}, "205": {"fulltext": "OF GREEK ARCHITECTURE. 181\\nthe directions of the streets and lanes be determined\\nby the tendency of the lines which separate the different\\nregions of the winds. Thus will their force be broken\\nand turned away from the honses and public ways for\\nif the directions of the streets be parallel to those of\\nthe winds, the latter will rush through them with\\ngreater violence, since from occupying the whole space\\nof the surrounding country they will be forced up\\nthrough a narrow pass. Streets or public ways ought\\ntherefore to be so set out that when the winds blow hard\\ntheir violence may be broken against the angles of the\\ndifferent divisions of the city, and thus dissipated.\\nThis tower still stands a fairly well-preserved ruin,\\nand retains many of its original architectural features\\nand decorations. There are two entrances through\\ndistyle porticos, the capitals of the columns presenting\\nan original treatment of the Corinthian order. One of\\nthese entrances is on the northeast side and the other on\\nthe southwest. On the south side is a circular apsidical\\nprojection. This was probably originally used for a\\nreservoir to hold the water brought from the spring Clep-\\nsydra, on the northwest of the Acropolis, which was\\nemployed as the power to run a clepsydra, or water-\\nelock, taking its name, as may be inferred, from the\\nspring. The remains of this clock are still visible. The", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0207.jp2"}, "206": {"fulltext": "182 SOME OLD MASTERS\\nexterior of the building was also arranged as a sun-\\nclock, having lines engraved upon the different sides,\\nwith gnomons above them, forming a series of sun-dials\\nwhich indicated the time by shadows. Thus were the\\npeople of Athens kept publicly posted as to the time of\\nday by the sun when it shone, or by the water-clock\\nwhen it was obscured by clouds.\\nThe character of the architecture, the proportions of\\nthe building, as well as its secular uses, were all quite\\nout of harmony with Grecian art and methods, and are\\nessentially Roman. As a similar structure existed at\\none time in Rome, supposed to have been built by the\\nsame scientist, the thought is naturally suggested that\\nCyrrhestes may have been a Roman.\\nIn closing this reference to the prominent architects\\nof the disintegrating period of Grecian history, it would\\nseem that it only remains to recall Philo, or Philon, as\\nsome of the writers have preferred to call him, once\\nmore, who nourished about 318 b.c. As there were\\nseveral artists of his name who became conspicuous at\\nabout the same time, our Philo will be distinguished\\nfrom the others in being a native Athenian.\\nThe reader will probably remember that he has been\\nalready mentioned as the architect employed by Demet-\\nrius Phalerus, to build a portico of twelve Doric col-", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0208.jp2"}, "207": {"fulltext": "OF GREEK ARCHITECTURE. 183\\nimms to the great temple of Ceres and Proserpine at\\nEleusis, originally erected by Ictinus but his most am-\\nbitious work was probably the armory, so called, which\\nhe designed for Lycurgus in the Piraeus, and which it is\\nsaid was large enough to contain the arms for one thou-\\nsand ships. He was also engaged in enlarging the port\\nof Piraeus, and was the architect of the white marble\\ntheatre at Athens, which was finished by Ariobarzanes,\\nand many years afterward rebuilt by Hadrian. Vitru-\\nvius says that he also designed a number of Greek\\ntemples.\\nPhilo must have been a man of considerable versatil-\\nity, for it is related that in giving an account of his\\nwork at Piraeus he expressed himself with such pre-\\ncision, purity and eloquence that the Athenian people\\nexcellent judges of those matters pronounced him\\nequally a fluent orator and an admirable architect. He\\nwrote also several works on the architecture of temples\\nand one on the naval basin which he constructed in the\\nAthenian port.\\nTHE END.", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0209.jp2"}, "208": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0210.jp2"}, "209": {"fulltext": "INDEX.\\n1S5\\nINDEX OF ARCHITECTS AND ARCHITECTURAL\\nSCULPTORS.\\n,-Eacus,\\nAgamedes,\\nAgXAPTXS,\\nAntimachides,\\naxtiphilus,\\naxtistates,\\nApollodorus,\\nAthenis,\\nBatrachus,\\nBryaxis,\\nBUPALUS,\\nCalleschros,\\nCallicrates,\\nCaiximachus,\\nCalos (see Perdix;\\nCaxxia, Luigi,\\nCeler,\\nChersiphrox,\\nClecetas,\\ngorcebus,\\nCossrTius,\\nCtesiphox,\\npage\\n27\\n42, G3\\n89\\nSO\\n80\\n80\\n19, 158\\n87\\n162\\n140, 145, 174\\n87\\n80\\n105, 114\\n53, 58\\nS2\\n155\\n38\\n133\\n123\\n81\\n08", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0211.jp2"}, "210": {"fulltext": "186\\nINDEX.\\nCyrbhestes, Andronicus\\nD.EDALUS,\\nDamophilus,\\nDaphnis,\\nDemetrius,\\nDetrianus,\\nDlBUTADES,\\nDlNOCBATES,\\nEUPOLINUS,\\nEUEYCLES,\\nGaudentius Note\\nGlTIADAS,\\ngobgasus,\\nHermocbeon,\\nHebmodobus,\\nHebmogenes,\\nHebmon,\\nHlPPODAMUS,\\nICABUS,\\nICTINUS,\\nLacbates,\\nLeochabes,\\nLibon,\\nMegacles,\\nMenalippus,\\nMetagenes,\\nmxesicles,\\nmutianus,\\nMybilla, Democopus\\nOlynthitts,\\nPabmenion,\\n-1 ffft\\nPAGE\\nITS\\n30\\n80\\n74, 77\\n74, 77\\n19, 160\\n37\\n19, 76, 164\\n133\\n89\\n17\\n41\\n86\\n89\\n163\\n53\\n89\\n105\\n32\\n19, 107, 114, 123\\n89\\n140, 146\\n82, 84\\n80\\n127\\n68, 124\\nI, 112, 128\\n76\\n133\\n173\\n173\\n1!", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0212.jp2"}, "211": {"fulltext": "INDEX. 187\\nPAGE\\nPeonius, 74, 77\\nPerdix, 31, 30\\nPhileus, 140\\nPhidias, 13, 85, 90, 98, 115, 131\\nPhilo, 123,182\\nPhilocles, 121\\npolycletus, 13, 131\\npolycritus, 37\\nPORINUS, 80\\nPOTH^US, 89\\nPraxiteles, 13, 74, 130, 144\\nPteras, 3\\nPyrrhus, 8y\\nPytheus, 57\\nRhoecus, 19, 38\\nSatyrus, I 40\\nSaurus, 1\u00c2\u00b0 2\\nScopas, 58, 74, 130\\nSeverus, 155\\nSlLENUS, 1^3\\nSmilis, 3S\\nsostratus, i? 1\\nSpintharus, 65\\nStallius, Caius, 127\\nStallitjs, Marius, 127\\nTalos see Perdix\\nTarchesius, 57\\nTheodorus, 19, 38, 70\\nTimotheus, 140, 140\\nTrophonius, 42, 63\\nVitruvius, 20, 49, 68, 71, 79, 83, 104, 170", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0213.jp2"}, "212": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0214.jp2"}, "213": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0215.jp2"}, "214": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0216.jp2"}, "215": {"fulltext": "", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0217.jp2"}, "216": {"fulltext": "v v ..r\\naT o o o -0\\n\u00c2\u00bb\u00c2\u00b0*V\\nSI\\nV 6 0\u00c2\u00ab\u00c2\u00ab\\n,40\\nV o iP -T\\n-i A fc A 1\\no\\nvPV\\nvv\\nW", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0218.jp2"}, "217": {"fulltext": "a *v\\nW^ a- 7\\na\u00c2\u00b0 V 1 y a V", "height": "2805", "width": "1728", "jp2-path": "someoldmastersof00doug_0219.jp2"}, "218": {"fulltext": "", "height": "2944", "width": "1969", "jp2-path": "someoldmastersof00doug_0220.jp2"}}