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Title:IntheLandofTemples

Author:JosephPennell

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Language:English

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INTHELANDOFTEMPLESBYJOSEPHPENNELL



LONDON:WILLIAMHEINEMANN

JOSEPHPENNELLSPICTURESINTHELANDOFTEMPLES

JOSEPHPENNELLSPICTURESOF

THEPANAMACANAL.

FIFTHEDITION.

ReproductionsofaseriesofLithographsmadebyhimontheIsthmusofPanama,togetherwithImpressionsandNotesbytheArtist.

Price5s.net.

THELIFEOFJAMESMCNEILLWHISTLER

ByE.R.andJ.PENNELL.

FifthandRevisedEdition,with96pp.ofIllustrations.Pott4to.

Price12s.6d.net.

LONDON:WILLIAMHEINEMANN.

Copiesofthelithographsreproducedinthisvolume,limitedtofiftyproofseach,size16by22in.,

maybeobtainedthroughthePublisher,at330neteach.

JOSEPHPENNELLSPICTURESINTHELANDOFTEMPLES

REPRODUCTIONSOFASERIESOFLITHOGRAPHSMADEBYHIMINTHELANDOFTEMPLES,MARCHJUNE1913,TOGETHERWITHIMPRESSIONSANDNOTESBYTHEARTIST



I

LONDON:WILLIAMHEINEMANNPHILADELPHIA:J.B.LIPPINCOTTGO.

COPYRIGHT

LONDON:WILLIAMHEINEMANN.1915.

TO

R.M.DAWKINS

LATEDIRECTOROFTHEBRITISH

SCHOOLATATHENSWHOSHOWEDMEWHEREISHOULDFINDTHETEMPLES

PRINTEDINGREATBRITAINBYB.CLAYANDSONS,LTD.,

BRUNSWICKSTREET,STAMFORDSTREET,S.E.,ANDBUNGAY,SUFFOLK.

NOTESONMYLITHOGRAPHSINTHELANDOFTEMPLES

WENTtoGreecefortworeasons.First,becauseIwantedtoseeGreeceandwhatremainedofhergloryto see if the greatest work of the past impressedme asmuch as the greatest work of thepresentand to try to find out which was the greaterthe more inspiring. And second, I went

becauseIwastoldbyaBostonauthoritythatIwasnothingbutaragtimesketcher,couldntseeGreekartandcouldntdrawitifIdid.

I havebeen thereanddidwhat I saw inmyownway.TomeGreecewaswonderful andwasbeautiful,butanyonecanseethatandcanraveoveritwithappropriatequotationsfromappropriateauthors. I knownoGreekandhave scarce reada translation. I say this regretfullyIwish IhadIshouldhaveseenmore.Iknow,however,ifIhadnotbeforeseenthegreatestartoftherestofEurope,IcouldnothavebeensomovedasIwasbywhatIsawintheLandofTemples,thelandwhencewehavederivedmostofourideas,ideals,andinspirations.

Idrewthethingsthatinterestedmeanditwas,andis,agreatdelighttometobetoldbythosewhohave,someofthem,spenttheirlivesstudyingGreeksandGreece,thatIhavegiventhecharacterof thecountry.What impressedmemostwas thegreat feelingof theGreeksforsite inplacing theirtemplesandshrinesinthelandscapesothattheynotonlybecameapartofit,butitleadsuptothem.Andthoughthesamearchitecturalformswereused,eachtemplewassoplacedthatittoldfromafarbyseaorland,agoalforpilgrimsashrineforworshipperstodrawneartoyeteachhadacharacterofitsownalwaysthesame,yeteverdiffering.Iknow,Iamsorrytosay,littleofproportion,ofscale,ofheights,oflengths,butwhatIsaw,withmyowneyes,wasthewaythesemonumentswerepartofthecountryneverstuckaboutanyhowalwayscomposedalwaysdifferentandtheywerebuiltwithgrandideasofcomposition,impressiveness,andarrangement.HastherebeenanychangeintheblackforestbeforeAeginathewinedarkseaatSuniumtheshiningrocksatDelphithegrimcliffs



oftheAcropolis?theseproveintheirvariouswaysthattheGreeksweregreatartists.ThesewerethethingsIsaw.HadIknownmoreImighthaveseenlessfor itseemstomethat

mostartistswhohavegonetoGreecehavebeensoimpressedwithwhattheyhavebeentoldtosee,thatthereare,ofcourse,greatexceptionstheyhave lookedat the landwitha footrule,a translation,andadictionary,andtheyhaveoftenbeeninterferedwithbytheseaids.Iwentignorantofwheretogoorwhattosee.WhenIgottoAthensIfellamongfriends,whoansweredmyonlyquestionthatIwantedtoseetemplesthatstoodup.Theytoldmewheretheywereandtheretheywere.Andforthisinformation,which resulted inmy seeing these sites andmaking these lithographs, Iwant to thankmanypeople,butaboveallMr.R.M.Dawkins,lateDirectoroftheBritishSchoolatAthens,who,nowthathehasseenthework,agreeswithothersthatithassomethingofthecharacterandromanceofthecountry.Ifithasthosequalities,theyarewhatIwentouttoseeandhavingseenthemandIhavetriedtoexpressthemIknowIcanseemore,ifIhavethechanceinthefutureintheWonderofWorkofmytime,forinourgreatworkstodayweareonlycarryingonthetraditionofthegreatworksofthepast.Ihaveseenboth,anditisso.

JOSEPHPENNELL.

LISTOFILLUSTRATIONS

THEILLUSTRATIONSSTARTATTAORMINA,PROCEEDAROUNDSICILYTHENCETOITALY,ANDARECONTINUEDINGREECE.

AETNAOVERTAORMINA ITHETHEATRE,SEGESTA IITHETEMPLEOVERTHECAON,SEGESTA IIIFROMTEMPLETOTEMPLE,GIRGENTI IVTHECOLUMNSOFCASTORANDPOLLUX,GIRGENTI VSUNRISEBEHINDTHETEMPLEOFCONCORD,GIRGENTI VITHETEMPLEBYTHESEATEMPLEOFCONCORD,GIRGENTI VIITHETEMPLEOFCONCORDONTHEWALLFROMWITHIN,GIRGENTI VIIITHETEMPLEOFCONCORDONTHEWALLFROMWITHOUT,GIRGENTI IXCOLUMNSOFTHETEMPLEOFJUNO,GIRGENTI XTHETEMPLESONTHEWALL,GIRGENTI XITHETEMPLEOFJUNOFROMBELOW,GIRGENTI XIIPAESTUM.MORNINGMIST XIIIPAESTUM.EVENING XIVCORINTHTOWARDSTHEGULF XVACROCORINTHFROMCORINTH XVIOLYMPIAFROMTHEHILLSIDE XVIITHETEMPLEOFJUPITER.EVENING XVIIITHEACROPOLISFROMTHETEMPLEOFJUPITER,ATHENS XIXTHEWAYUPTHEACROPOLIS XXDOWNFROMTHEACROPOLIS XXISUNRISEOVERTHEACROPOLIS XXIISTORMBEHINDTHEACROPOLIS XXIII



I

THEPROPYLAEA,ATHENS XXIVTHEPORTICOOFTHEPARTHENON XXVTHEPARTHENONFROMTHEGATEWAY XVITHEFAADEOFTHEPARTHENON.SUNSET XXVIITHEFALLENCOLUMN,ATHENS XXVIIITHELITTLEFTE,ATHENS XXIXTHEGREATFTE,ATHENS XXXTHETEMPLEOFNIKE,ATHENS XXXITHETEMPLEOFNIKEFROMMARSHILL,ATHENS XXXIITHEODEON,ATHENS XXXIIITHESTREETOFTHETOMBS,ATHENS XXXIVELEUSIS.THEPAVEMENTOFTHETEMPLE XXXVAEGINA XXXVIAEGINAONITSMOUNTAINTOP XXXVIITHESHININGROCKS,DELPHI XXXVIIITHETREASURYOFATHENS,DELPHI XXXIXTHEWINEDARKSEA.SUNIUM XL

INTRODUCTION.

TisahappythingthattheGreekracecameintobeing,becausetheyshowedtheworldonceatleastwhatismeantbyaman.TheidealGreekvirtuemeans,thatallpartsandfacultiesofthemanareinproportion,eachtrainedtoperfectionandallundercontrolofthewill:body,mind,and

spirit, eachhas itsdueplace.Elsewherewe seeoneof these in excess.Thus the Indianphilosophersoarsinthehighestregionsofspeculation,andseesgreattruths,buttheyintoxicatehim:hedoesnotbring them to the test of daily life, nordoeshe check themby reason.TheHebrewprophet hashisvisionofoneGod,andinraptdevotionprostrateshimselfbelowthedignityofmanhood.TheRomandealswithpracticalpoliticsandmaterialcivilisationhehasageniusfororganizing,andforcombiningtheruleofthebestwiththefreedomanddirectinfluenceofall:he,however,despisesthespiritandtheimagination.Inourownday,whatiscalledsciencearrogatesalmostdivinehonourstothefacultyformeasuringandobserving,andneglectsboththereligiousinstinctandthephilosopherstheoricnoristhisideallessdeadlythantheRomanstoimaginationandthesenseofbeauty.Inmoderntimesalso,eachpersonstrivestoexcelinsomeonespecialty,mentalorbodilyandifthereisanyfeelingatallforproportionitistheproportionofagroup,whilethemembersofthegroupare,excessiveinonewayanddefectiveintheothers.ButtheGreekaimedatperfectproportionforthemanandhisidealwas,thatthemanswillshoulduseallthefacultiestosomeworthyend.Hisbodyistobetrainedbymusicandgymnastic:theaimofthefirstbeinggraceandbeautyofthesecond,strengthofthewhole,healthandjoyinallbodilyuses.Hismindistobetrainedbypoetry,oratory,andphilosophyhisspiritbytheworshipofthegods,inwhichallthatwasbestinhislifeisconcentratedintoanobleritual.Suchwould be the life of the ordinary Greek the greater intellects would look beyond the ritual to theessence andwe have ample evidence to show that their idealswere as high as any that have beenknown to other peoples.Aeschylus dealtwith the same problems that baffled theHebrewprophets,divine justice and mercy, and the immutable moral law Platos speculation took him into regionswhere logic and formal philosophyhad to be cast asidePheidias byhis art added a newdignity togodhead.[1]

Nowhere is theGreek , their sense of restraint and proportion, shown better than intheirarchitecture:andthisboth in themethodofgrowthandin thefinalresults.TheDoricstylehas



grown out of a wooden building.When and how the first steps were taken, we do not know, norwhethertheDoricbedirectlydescendedfromtheMycenanstyle,asPerrotandChipiezwillhaveit.Thereisthisgreatdifference:thattheMycenanandCretancolumnsarelikeaDoriccolumnreversed,thethickendupmost,andtheyshownoneoftheGreekrefinementstowhichweshallcomelater.Asimplerorigin ispossible: for today the travellermaysee, in theverandahofsomewaysidecottage(Homers)aprimitiveDoriccolumn,somebare treetrunkwithachunkof itselffor capital, supporting a primitive architrave of the same sort. In the Doric order, other traces ofwoodworkare left in thestone,suchas the triglyphs,orbeamends,withroundpegsbeneath,or thegouged flutings of the column itself. And we have direct evidence in the history of the OlympianHerumwherewearetoldthatthecolumnswereonceofwood,andthatstonecolumnswereputinplaceof theseas theydecayed,oneof theancientoakcolumnsbeingpreserveddownto the timeofPausanias.Theearlyarchitectswouldseemtohavebeennervousastohowmuchweightstonewouldbear,sothattheircolumnsareverythickandsetclosetogetherinfact,lessthanonediameterapart.Bydegreestheylearntfromexperience,butthechangeswereslowandcareful.Theplanofthetemplealwaysremainedthesame,andthereislittlevariationinthenumberofpillarsateachend,orinanyofthegeneralfeatures.Asinstatuary,herealsotheykepttotheirtraditionasmuchastheycould,andgottheireffectswiththeleastpossiblechange.Butwhateffects!ComparetheheavymassesofCorinthorPstumwiththeairygraceoftheParthenon,andmeasuretheinfinitedelicacyofthechangeswhichproducethiseffect.Thebuildersfoundoutthatstraightlinesdonotlookstraight,andthatifthelinesofabuildingdonot lookstraight, thebuilding looksas if it isgoing to toppleoverandfall.Acolumnwhich decreases upwards in straight lines looks to the eye concave and this illusion they tried tocorrectbymakingthecolumnsbulgefromthetopaboutonethirddown,andthendecreasedthiscurvetowards the bottom.The first attempts gave toomuch convex curving, but this againwas correcteduntil the architect found perfection: yet the differences measured in inches are small. Again, eachcolumnwas inclined slightly inwards,becauseacolumn that standsquite straight looksas though itwere inclinedoutwards and the stylobate, uponwhich the columns stand, is curved fromeach endupwards to the centre. Other adjustments were necessary in the abacus and capital, to make allharmonious and we may say that there was hardly a straight line in the building. Sculpture andornamentwere adjusted to the eye in the sameway and itwould seem that the effect of thewholebuildingalsowasjudgednotalone,butinconnectionwiththelinesofthelandscapethatbackgroundofhills,alwaysnoblebutneveroverpowering,whichisfoundallovertheGreekworld.Forinstance,intheParthenoncertainminutecorrectionsweremadebecauseofthewayinwhichthesunsraysfellonit.Theseadjustmentshavebeenmeasuredandtabulatedoratleastagreatmanyofthem,fortherearedoubtlessmanywedonotnotice, and thebuilding is a ruinbut they showadelicacyof sensewhichisnothingshortofmiraculous.Thesebuilders,however,werenotonlyartistswithmiraculouskeennessofsense,butmembersofatruetradeguild,withitsaccumulatedwisdomhandeddownfromgenerationtogeneration,andthemselvesweremenwhoworkedwiththeirownhands.Neithercouldthey have built the Parthenon with books of logarithms in an office nor can we ever have noblebuildingsagainsolongasthearchitectandthebuilderarenotone.Everycommonworkmanmusthavehadhisshareofthistraditionalskill.Indeed,inscriptionslatelydiscoveredshowthatthebuildingoftheParthenonwent on after Pheidiaswas banished so that the sculptureswhich are thewonder of theworldmusthavebeendoneinpartatleastwithouttheirdesigner.Butevenwithoutsuchevidence,theperfectionofeverydetailofbuilding, thefittingof the joints, thestrengthandfinishofeachpart, isenoughtoshowwhattheAthenianworkmanwaslike.

Butwemustrememberalsothatthestonesthatremainareonlyruins.Eveninthesewemaytracemanyoftheperfectionsoftheancientartistbutifwecouldseethemastheywere,weshouldsee,notstones bleached and weathered, but buildings resplendent with colour and gold. Columns, capitals,architraves,allwereablazeofcolour,decoratedwithgracefulpatternsandpaintedtomatchtheblue

Quintilian, Inst. Orat. xii., 10, 9. Olympium in Elide Jovem ... cuius pulchritudo adiecisse aliquidetiamreceptrelligionividetur:adeomaiestasoperisdeumquavit.

[1]



seaand thegoldensunlight.AndnowforusSuniumisawhiteghost like the lightof themoon, theParthenonaroseindecay.

Wemaynotnowfeelthewantofwhatislost.Thehillsoncecoveredwithforesttreesarebare,thecountrysideisuntilledandempty,andtheseruinsareinvestedwithasentimentalcharminthethoughtofwhathasbeenlost.ThetravellerisinthemoodofSulpiciusasheconsolesCiceroforhisdaughtersdeath.ReturningfromAsia,asmyvoyagetookmefromAeginatowardsMegara,Ibegantosurveythe regions roundabout:behindmewasAegina,beforemeMegara, to the rightPeiraeus, to the leftCorinth,allcitiesatonetimeprosperousandflourishing,butnowtheylayproneandruinedbeforemyeyes.AndIbeganthustoponderwithinmyself:Ah!shallwefrailcreaturesresentthedeathofoneofourselves,seeingthatourlifemustneedsbefullshort,wheninoneplacesomanydeadcitiesliebeforeus? Indeed the Greek cities are most aptly compared to humanity. There never was anythinggrandioseaboutthem,nothingmonstrousliketheempireofChina,nodesiretothrustGreekmannersorreligionsupontherestoftheworld,noattempttomonopolizetradeevenbyhonestmethods.Theywished to liveand let live, lovedandhated fiercely,but likemenand if theymustdie theydidnotwhineaboutitindeed,fortheircountryssaketheyhelditglorioustodie.Andnowtheyaregone,andtheirplaceknowsthemnomore,noonecanfeel that touchoftriumphthatShelleyfeltoverhisOzymandias.Theyhave leftbehind themeverywhereapoignant regret, suchasone feels foraverydearfriendgoneforever.Moststrongisthisfeelingwhenourstepswanderoversomedesolatespot,onceapopulouscity,suchasPstumorMyndos.ImentionMyndosbecausetherethecontrastismostvividlybroughtoutbythesecondidyllofTheocritus.Thereistheoldharbour,thereistheringofthecitywalls amile across, and thewhole space between is brushwood and stones.Yet from this citysailedtoCosopposite thehotbloodedyouthwhomSimaithaloved,whosestoryis toldinthepoetswordsofpassion.Andthesecities,oncesofulloflifeandhappiness,areadesertnow.EventhenewGreece,whichrosefromtheashesoftheoldnotahundredyearsago,whichhassprungintonewlifeand honour within the last few months, cannot console us for the Greece that is gone. The quickintelligenceisstillhere,thecourage,theidealismbutGreececanhardlyescapethecorruptionofthemodern world, with its grasping after wealth and the sincerity of the ancient spirit exists chieflyamongstpeasantsand fishermen.A falseandpedanticwayof thought is spreading from theschoolsandthenewspapers,whichmustspoilthepeopleunlesstheeffortsofafewwiseandlongsightedmenshallprevail.

ThepicturesinthisvolumefollowroughlythehistoryoftheDoricstyle.InOlympialiestheflooroftheHerum,mostancientofallexistingGreektemples,builtbefore1000B.C.Unhappilythisviewtellsusnothingofwhatitlookedlike:earthquakeandflood,andthehandofman,havedonealltheycould todestroy.Thetemples inSicilyandMagnaGrcia,withCorinth,belongto theearlieststageknowntous.Corinthwasbuiltabout650thetemplesofAthenaatSyracuse,nowthecathedral,andofZeusatSelinus(whicharenotrepresentedhere)areasoldorolder.Segestacomesnext,intheearlysixth century and in the same century temples atGirgenti (Agrigentum),Aegina, andPstum.ThetempleofZeusatOlympiawasbuiltbetween469and457,theParthenon454438,SuniumandEleusisabout the same time, and two buildings at Pstum. The theatres belong to a later date, and theCorinthiantempleofZeusOlympianatAthens,begunbyPeisistratus,wasnotfinisheduntilthetimeofHadrian.

OlympiaistheepitomeoftheGreekrace,astheforumisoftheRomandominion:theRomanidealbeinglaw,order,andgovernmenttheGreek,allthepowersofmanattheirbest,usedandenjoyedintheholyprecinctof theirgreatGod.Thedifferenceisshownatonce, inthat theOlympianassemblywasenforcedbynolawgiver,butthevoluntarygatheringofmenofoneblood,whoforasettimelaidasidealltheirquarrels,andrememberedthattheyweremarkedoffbyagreatgulffromallothermen.Theycamefornomaterialgain:theirprizewasnotdominionandpower,norwealthandtrade,butthecrown ofwild olive and glory incorruptible. Elis, a state small and insignificant politically, had thehonourofpresidingoverthesegamesnomanmightcompetesavethoseofpureHellenicblood,andno womanmight approach them. And here, every four years, from a time before the beginning of



history,themenofGreecemet,kingsandpotentatescompetingwithprivatemen,highandlow,richandpoor,allacknowledgingtheonetiegreaterthanallothers.ThecelebrationslastedallthroughthegloriousdaysofGreece,anduntilthegloryofGreecehadlongdeparted,andtheywereabolishedforeverin394A.D.byTheodosius.Artandliteratureformednopartofthecontests,whichwerenearlyallathleticbutpaintersandotherartistsexhibitedtheirworksthere,anditwascommonfororatorsandphilosopherstorecite:Herodotusissaidtohavereadhishistoryatthefestival.

Thepictureis takenfromthesmallhillofKronos:welookoverthesiteofHerastempletothegreattempleofZeus.Totheleft,outofsight,istheentrancetotheracecourse.Justbeneathus,underthe hill, is a rowof small shrines calledTreasuries,whichmighty states andmonarchs had built tocontain theirownchiefofferings. In thedistance is the riverAlpheius.Wecannot imaginehow thisplainlookedwhenitwastheencampmentofthousands,coveredwithbooths,andfullofgoodlymenandhorsesthecrowds,theprocessions,thefeastings,litanyandsacrificebuteverymanmustfeelthesame thrill as when he stands inWestminster Hall, or St. Sophia at Constantinople: for here havepassedallthegreatmenoftheGreekrace.

If the games show the physical side of theGreeks, the theatre above all shows the intellectual.Whiletheyinvented,andperfected,nearlyallkindsofliteraryart,itisthetheatrethattouchedtheirlifemostclosely,andmostfullygavescopefortheirgenius.Thisalsogrewoutofreligion,andwasalwaysapartoftheirreligion.ButtheGreekgodswerenopuritans.Theyexactedaweandworship,andtheypunishedtheimpiousbuttheyweregenialgoodfellows,whomightbethought,withoutblasphemy,toshare in the happiness of their peopleindeed, took it in good part when theywere the subject ofrollickingjests.Inthetheatre,Aeschylusfoundroomforhisprofoundreligiousfeeling,Euripidesforhis scepticism,Sophocles for amirror of themindofman,Aristophanes for his political and socialsatireandhismerryfun.Everytownandevenhamletmusthaveitstheatre.Asuitableplacecouldbefoundalmostanywhere in thehillcountrythat is, inalmostallpartsofGreeceproperbeforeanybuildingsneededtobeputup.Thenthehillsideswerecutintoseats,asatArgosandSegesta,orseatsranged around in a semicircle, and carried on when it was necessary by means of retaining walls.Belowthemwasaroundspacefordancing,andbeyondthisthestage.ThereisacontroversywhethertheGreekseverusedaraisedstagebeforetheRomanconquestprobablytheydid,butatanyrateallexistingtheatreshadthem.Vitruvius(whowroteabout20A.D.)says that theGreekstagewashigherandnarrowerthantheRomanandthestageatTaorminahasbeenbuilt,orrebuilt,intheRomanway.

Itispropertosaythis,buttheonlookerwillthinklittlenowofthestage,orindeedoftheactorsandtheplay,inviewofoneofthosesceneswhichcanneverbeforgotten.ThesightofEtnaoverthestage,with his rolling steam, absorbs the whole force of imagination. Etna is tremendous. Beneath EtnaHephaistoshadoneofhisforges,asatLipara,Imbros,andLemnosandthatsmokeyouseeshowsthathisworkmenareforgingthethunderboltsofZeus.TheverynameofVolcanoisHephaistoshimself.OrisitthegiantTyphoeus,defeatedbyZeusinthebattleofgodsandgiants,andburiedbeneaththemountain,whobyhisstrugglescausestheearththustoheave,andthesefierystreamstopourforth?Whatwonderthatthepiousmadeofferingsofincenseatthetop!WasitreallytruethatEmpedocles,thatgreatphilospherandhealer,whose intellectualprideseemsalmost toclaimdivinehonours,casthimselfintothecrater,thathemightseemtohavebeensweptawaybythegods?Probablyitwasnottrue:butthestoryshowshowthemountainworkedonmensimaginations.

IfthetheatreofSegestahasnoEtnabehindit,thesurroundingstotheeyeareinotherwaysgrand.Itisseatedupontheacropolishill,whenceaviewcanbetakenatonceofthatcornerofSicilywhichwasheldbythemysteriousElymians,withtheircitadelandsanctuaryofEryx.Segestawasfoundedbyapeoplewhowantedprotection,andfearedthesea.But, like therestofSicily, itcameunderGreekinfluenceanditsbuildings,thetwotemplesandthetheatre,areGreek.Thissmalltownhasplayedapartinhistory:itwastheboneofcontentionwhichledAthenstointerferewithSyracuse,andsoontoherruin.Thecolumnsofthetempleareunfinished,theflutinghasneverbeendone.Thereissomethingthat moves the sympathy in these unfinished places. No doubt the city was overwhelmed in somecatastrophe,whichperhapsleftitquitedesolateintheoldcruelway.SotheblocksofthePinacotheca



ontheAthenianacropolisstillkeeptheknobswhichwereusedinmountingthemtheywerenevercutoff,forAthensfell.So,moststrikingofall,thereliesinthequarrynearBaalbekanenormousblockofstone,seventysevenfeet longbyfifteenandfourteen,squaredandready,oneendtiltedformovingbutitwasnevermoved:thereithaslainperhapsforthreethousandyears,andthereitwilllietilltheworldends.

Girgenti,Agrigentum,Akragas,calledbyPindar,fairestofmortalcitiesloftyAkragas,inVirgilswords,spreadingherwallssowide,motherofhighspiritedhorses

ArduusindeAcragasostentatmaximalongeMoenia,magnanimumquondamgeneratorequorum

althoughlatefoundedinGreekhistory(B.C.582),issetonahilltoplikesomeprimaevalacropolis.Tworockyhills,withaspaceoflevellandbetween,wereenclosedwithinawallsixmilesroundbelowthisthe land slopes gently to the sea thewhole lies between two rivers. The existing remains, and themoderntown,lieononeofthetwohills.Akragascallsuponlyonenamefromthememory.Phalaristhe Tyrant and his brazen bull. But Empedocles was born here. The great temple of Zeus Polieus,whichPhalariswassaidtohavebuilt,hasperished,andthosethatremaincannotbecertainlyidentified.OneiscalledafterConcord,buttheLatinnamecannothaveproperlybelongedtoit.Thepictureshereshowsomeofthewonderfuleffects,whichvaryfromhourtohourinthislandofcolourandsunlight.ButthegloryofGirgentiisthegroupingofitsremains:wall,temples,androcks.Ifwecouldseethecity as it was, it may well have been . But in 406, the Carthaginiansdescended upon it, and starved out the people. All who could go migrated to Gela the rest weremassacred, and the city sacked. From this blow it never recovered, although it was afterwardsinhabited.

Pstum,theGreekPoseidonia,isoneofthosecitiesthathavenohistoryatleast,thiscityplayednogreatpartinancienthistoryandgavetheworldnogreatmen.ButPstumwasnothappy.Ithaditsday,fromthefoundationintheseventhcenturyforsometwohundredyearsbutitfellearlyintothehandsofthebarbaricLucanians.Afterthisitexisted,butitneverbecamegreat.WeknowPstumforitsroses,biferirosariaPsti,whichflowertwiceayearinMayandNovemberanduntillately,foritslonelinessanddesolation.Notalivingsoulwasthereinthecircuitofthecitywalls,nothingbutabareplainwithhundredsoffloweringgrasses,andthegreattemplesintheirgrandeur.Allitscharmisgonenow:afactorystainstheskywithitssmoke,andthemodernworld,whosegodisitsbelly,hasputitsfoul mark upon the quietude of Pstum. Those who saw Pstum when it was one of the mostimpressivesightsintheworld,willbecarefulnottogothitheragain.

Corinth,ontheotherhand,takesusbacktotheheartoftheancientworld.FromtimeimmemorialCorinthwasagreatplace.It layonthehighroadof theseas, in the timewhenvoyagershuggedthecoasts.TradersfromAsiaandPhniciawouldnotplytoItalyandSpainalongtheopenseawhentheycouldgofromislandtoislandandalongtheshelteredwatersofthetwogulfs:allthesemustshiptheirgoodsacrosstheIsthmus,andtheIsthmuswasdominatedbytheimpregnablerockofCorinth.ThusthemastersofCorinthcouldlevytollsonallcommerce:theygrewrich,asinolderdaysTroydid,andlaterConstantinople,becausetheylayacrossatraderoute.HerewasbuiltthefirstGreeknavyofwarships:here were the rich and powerful tyrants here was worshipped Poseidon, with his famous Isthmiangames,andPhoenicianAphrodite.Afewyearsago, theprecinctofPoseidonwasdugout,and thereappearedamassofvotivetablets,onwhichwemayseethedailylifeofCorinthintheseventhcenturybeforeChrist. Preeminent amongst all the scenes are thoseof thepotters trade: thepottery is seenbeing made on the wheel, baked in the furnace, and loaded into the ships for export to Italy andelsewhere.CorinthremindsusofsomeofthebeststoriesofHerodotus:Cypselusandhischest,Arionandthedolphins,andthatattractivescatterbrainHippocleides,whoatSicyonhardbydancedawayhismarriage,anddidnotcareonejot.NogreatmanoflettersevercameoutofCorinth,nopoetandnoorator but Corinthian bronze was famous, and the city was full of works of art.WhenMummius



sackedCorinthandleftitdesolate,hemadehisfamousbargainwiththecontractorswhoremovedthespoil:iftheydamagedanyoftheworksofart,theyweretoreplacethemwithothersasgood.CorinthwasafterwardsrebuiltallwillrememberSt.Paulsconnectionwiththecity,andtheriotwhenGallicwasgovernorofAchaia.

TheAcrocorinthusisoneofthemostmagnificentsightsintheworld:ithasthecommonqualityoftheGreekmountains,grandeurwithoutexcessivesizebutstandingasitdoesisolatedfromotherhills,andvisibleeverywhere,fromAthenstoParnassus,itseffectontheimaginationisnevertobeforgotten.Its height is not far short of 2000 feet, and it is crownedwith a fortress as it has been all throughhistory.FromthesummitweseethewholecentreofGreeceeventheParthenonitself, thecentreofGreekartisticachievement.HeretooisthesacredspringPeirene,struckoutbythehoofofPegasus.

TheviewheregiventowardsthegulfshowsParnassusinthedistance,likeaghost.Athens is the heart of Greece, and Greece is the soul of mankind. Nomanwho loves what is

beautiful,orwhoadmireswhatisnoble,canfailtofeelathomeinAthens.Hereinthislittleplain,girtwithpurplemountains, lived thosemenwhodiscoveredhuman reason,whoshowedhow toexpressmansgreatest ideas,whopittedcourageand intellectagainstbrute force,who fora fewshortyearslivedthefullestlifepossibleformankind:wehavelivedontheirthoughtseversince.

Thebeautiesoftheplacehavebeenoftensung:theyaresummedupinoneimmortalphrase,cityof theviolet crown.The continuedchangesof colour, especially towards evening, in that clear air,withseaandcloudandmountain,makethesceneacontinualdelight.InthemidstofthisfertileplainrisesthesharppeakofLycabettus,andbesideitthebuttressedAcropolis,fromwhichthetemplesgrowlike flowers.And from every side this is a landmark:whether fromAegina opposite, or from somefrontier fortress likePhyle, or even fromAcrocorinth, this rock, not high in itself, stands out to theview,andmakesus rememberAthens.Here,moreeasily thananywhere,canweseehow theGreekarchitect saw each building as part of a whole. I have already spoken of the refinements of theParthenon,andhowit issetwithregard to thesunlight:but theParthenon isonlyoneofagroupoftemples.ThereyetremainagreatpartoftheErechtheum,theoldestshrineontheAcropolis,andsiteoftheKingshousebeforehistorybegan:andalittleshrineofVictory,builtonabastionoftherock.ButtherewereothersandthewholeprecinctwasenteredbythePropylaea,whichalsoremainsinpart,towhichledaflightofsteps.Theideaofthisgatewaywasastrokeofgenius.Thevisitorenteringbyitsaw the wholemass of buildings as it were framed by themarble pillars and architrave and if heturned,helookedoutthroughthesameframeupontheplainandthesea,thestraitofSalamis,withtheislandbeyondit.Therockfallssteepunderthegate,sothereisnothingtobarthisview,whichmusthaveremindedtheAthenianofthegreatpasteverytimehelookedforthfromit.Totheright,asonelooksoutofthisgateway,liesthespuroftheAreopagus,seatofthatmostancientcourtandcouncil,uponwhichplaceSt.PaultoldtheAtheniansoftheUnknownGod.Totheleft,butnotvisible,istheprecinctofDionysus,withthetheatre.Straightahead, theancientAthenianwouldseethelongwallsjoining his city to Peiraeus and the sea,where in fortified harbours lay hismighty fleets. Over themarketplacewestward he could see theDipylonGatewith its place of tombs, and the sacredwayleading to Eleusis and the Mysteries. Eastward lies Hymettus with its honeybees northwardsLycabettus,wherethePersianhostwasfirstsightedpouringoverthehillside,andbeyonditPentelicon,thatlooksdownonMarathonplainnorthwestwardsarethehillsofAcharnae,wherethefiresoftheinvadingSpartanswerefirstseeninthatwarwhichendedthegreatnessofAthens.Andallroundaboutarecavesandcleftsandshrinesthatbelongedtotheimmemorialreligionoftheplace,eachlinkedwithmemories,manywith immortalworksof literature.Wecanno longerknowthemagnificenceof thepastbutwecannamemanyofthethingsthatwereseenthere,fromthedescriptionofPausaniaswhichhascomedowntous.

Up this slope, once in every four years, after the games, came the great procession of thePanathens, which is portrayed for us on the frieze of the Parthenon itself.Was there ever such apictureofbeautyandstrengthandlife?Therewentthevictors,crownedandrejoicingthefloweroftheAtheniancavalry,suchmenandsuchhorsesastheworldcanshownofiner(seethemontheParthenon



frieze!),all thechiefsoldiersandstatesmen,eldersbearingbranchesofolive, thefairestofAthenianwomen with baskets upon their heads, and the sacred robe to be offered to the most ancient andreverendimageofPallas,borneasthesailofthePanathenaicship.ThewholesceneisportrayeduponthesculpturedfriezeoftheParthenon.Oneoftheplatesinthisbookrepresentsthemodernideaofareligiousfestival,andthehundredsofdottedfiguresgiveafarawaynotionwhatthisgreatdaymusthavelookedlike.Buthowfaint!Thesedarkcladformshavenotahintofthegorgeouscolouroftheancient world. On the Acropolis, too, was held the feast of Brauronian Artemis, when the littleAthenian maidens dressed up in bearskins for some mysterious ceremony. Here was the mark ofPoseidonstrident,undertheErechtheumherewasAthenassacredolivetree,andhersnakes.Andthewholeplacecrowdedwithstatuesandofferings,andinscriptionscarvedonstone,treatiesofpeace,andrecordsofhonourthehistoryofAthensopenforalltoread.

ThestoryoftheAthenianAcropolisisuniqueamongstitsfellows,whileatthesametimeitsumsupthehistoryof theGreekstates.It isunique,becauseherealone, itseems,astateexistedfromthebeginning to the endwithout violent interference.ManyGreek siteswere occupied in thePelasgianage,whenCretewasmistressof theAegean,andlaterwhenitsplacewastakenbyMycenandthecitiesofthemainland:butthecountrywassweptlaterbytheAchaeans,andafterthembytheDorians,whonaturallychosethemorefertileandwealthyplacestostayin.SotheAcropoliswasthesiteofaroyalpalace and aPelasgian settlement but the ancientpopulationwashereneverdisplaced, itwasonlyaddedtoandchangedgradually.Atticadidnottempttheinvaderasotherplainsdidnordidherrulersgrow too richanddestroyeachother forgreedbuther landwas the refugeof strangers.Herancientcivilisationandart remaineduntouchedby theravagesofwar,andherpeoplealwayspridedthemselvesonbeingbornof theverysoil.Perhaps thisunbroken traditionexplains theprominence of Athens in the arts. Here too, the worship of Athena joined the older worship ofPoseidon,withoutrootingitup,andbothflourishedsidebyside.Thencamethegreatdynastyofthetyrants, Peisistratus and his family, whomade the city magnificent with buildings and engineeringworks, and attracted to their court the finest intellects of their day.The huge underground aqueductwhich has lately been dug out belongs to this time, the sixth century before Christ. Peisistratus isfollowedbySolonandthereignoflaw:andwhenthebarbariancame,itwasAthenswhobarredhispath anddrove himback atMarathon and at Salamis.Xerxes burnt the city, but he did not destroyAthens,forthepeoplehadleftitforthetimeandwhentheyreturned,theybuiltuptheirfortificationswith the ruinsof their temples andmonuments, as theymay still be seenpiled slabondrumby thevisitoroftoday.Xerxesburntallhefound,butheonlyclearedthegroundforafinerart,whichatoncefilledtheemptyspaceswithbuildingsandmonumentsofanoblerkind,theremainsofwhichwenowsee.Greatnamesnowstandoutinplenty,Miltiades,ThemistoclesandAristeides,PericlesandPheidiasandIctinusPlatooveryonderintheolivegrovesofAcademeia,AeschylusandSophocles,EuripidesandAristophanesinthetheatreorthewinepressSocrateswalkingthestreets,orconversinginagoraorgymnasiumDemosthenesmovingmensmindsinthePnyx.WhenAthensfell,herconquerorsparedherwithagenerositynotusual in thosedayssoitcameabout thatherbuildingsremainedformanyhundreds of years, and the Parthenon even lasted through the devastating ruin of the Turks, until aVenetian shell dropped upon it and blew it up (1687). There is no use in trying to recordwhat theAcropolisofAthenscallstomind:itisthebestofwhateducatedmenknow.

Fairandgoodlyinlife,theAthenianswerealsofairindeath.Withoutthegate,onthesacredroadtoEleusis,liestheplaceoftombs.Notbareslabsarethese,norbrokencolumnsherearenowreathsofartificial flowers, no ugliness and gloom, for the tombs aremonuments of grace.Many, indeed, arequitesimple,inshapeofvasesorthelikebutothersshowdelicatereliefs,withthedeadintheirhabitastheylivedthewomanathertoilet,thewarrioronhishorse,oroneseatedinachairandclaspinghandswithhis friendsas they say,Fareyouwell!The inscriptionsareas simpleas theycanbe:nosentimentandnopreaching,butamanlyacceptanceoffate,anhonestregretforlife,orthebarename.ThereaderwhowishestolearnhowtheGreeklookedondeath,woulddowelltoreadtheepitaphsinthe Greek anthology. Here in the place of tombs we cannot fail to remember that scene which



Thucydidesdescribes:howineachyearof thewar thebodiesof thoseslainwereburiedwithpublichonour,andPericlesorsomenotablemanpronouncedtheireulogyandinthatspeechofPericleswemayreadinbrieftheidealoftheAthenian.

From this place led forth the SacredWay, over the hills to Eleusis, where perhaps more thananywhere else in the Greek world those higher emotions were aroused which we associate withreligion. In the ritual thesewere lacking and philosophywas sceptical rather than religious, exceptwithararesoulnowandthen,aSocratesoraPlato,withwhomfeelingandintellectseemtobefusedintooneforce.ButtheEleusinianmysteriesgavewhatbothphilosophyandritual lacked.Theyweremysteries in so far that no onemight reveal them unlawfully but not in the sense of a riddle or aconcealment, for all Greeks might qualify for admission. The ancient mysteries recall more theFreemasonsthananythingelseweknow.Theiroriginislostindarkness,andtheylastedlongafterallelseinGreecewasdead,whenAlarictheGothin396didwhatGothsdoinallagesdestroyed,butbuiltnotup.Therewereritesofpurification,andtwostagesofinitiationfirst,usuallyasachild,andlaterintothehighergradesasamanorwoman.ThereweretwoMysteries:theLesser,celebratedbytheIlissosbankandcloseunder theAcropolis,beingusuallyapreliminary to theGreateratEleusis.Whatthemysterieswere,weknownot:thesecrethasbeenkept,althoughClementofAlexandriawasinitiated before he became a Christian, and he tells us whatever he thinks will discredit them.Undoubtedly, they included dramatic representations, which struck awe and admiration into theobserversbuttheinnermeaningofthesewasknownonlytotheHierophant,whorevealedittothosewhomhe thought fit to receive it.Andnow thegorgeousceremony isover,priestsandworshippershave for ever gone, and nothing remains but the pavement of the temple,with a tiny church of theVirginperchedonabluffaboveit.

Aegina,likeallelseinGreece,issmall,onlyaboutfortysquaremilesyetAeginahaslefthermarkon history. Here, according to the tradition, Pheidon, tyrant of Argos, first struck coins in Greece.Whether it was so or not, Aegina was a centre of trade very early, and founded a famous city,Naucratis, in North Africa, Cydonia in Crete, and another in Umbria: the Aeginetan tortoise, theAthenianowl,andtheCorinthianhorsewerethethreetypesofcoinsbestknowntotheGreekworld,passing everywhere as good. Aegina was also famous for the arts, especially sculpture. Before thePersianwars Aegina came into conflict withAthens: Pericles called it the eyesore of the Peiraeus,beforeitwasconqueredandcolonisedbyAtheniansettlers.Thetemplewhichstillremains,wasnotinthechieftown,butinalonelyspotamidstthewildwoods.ItwassacredtoAphaia,nottoZeussoFurtwnglerinfersfrominscriptionsfoundtherebutweknownothingofitsbuilding.Thepediments,whichappeartorepresentscenesfromtheTrojanwars,areremarkableinthehistoryofsculpturetheyarenowatMunich.Closeby thebeachatwhichwe land is a small rocky islet, uponwhich lives alonelyhermit inahutmadewithhisownhands. IfatEleusiswe thinkofexaltedreligiousemotion,Delphiputseveryman inawe.Wellwas the spotchosen for themost famousoracleofantiquity: itneedsnohelpofmantoshowthepowrerofGod.Buthere,aseverywhereinGreece,theaweisnottoogreatforhumanitytobear:it isnotthecrushingsenseofimpotenceinthefaceofnaturalforcesthatonefeelsintheAlpsortheHimalayas,itistheawethatmaybefeltforabeingbothmightyandkindly.Humanbeingsmaylivehereandbehappytheymaymountabovethecleftandtheshiningrocks,andstillliveandbehappyindeed,thoseuplandswerethesceneofmanyamerryrevelwhentheGreeksworshipped their gods. But the great black rocks above Delphi, themselves only the foot of theapproachtoParnassus,areawfulenoughtomakethemafithabitationforagod.Ishallneverforgetmyfirstvisit toDelphi. Itwaswinter: I rodefromLebadeia toArachovaover therockyandprecipitouspaths,andpasttheClovenWaywheredipusslewLaius,throughablindingstormofrainandsnow.Nextmorningtheskywasclearasinspringtime,andabrightsunshining,andashortridebroughtustothetopofthevalley,whencecouldbeseenaplaincoveredwitholivetreeswhichseemedfromthatheightlikeafloodrollingupthevalleyfromtheplain.ButDelphisrockwasgrimandgloomyaseveroverthisbrightscene.InDelphiwasanoraclefromtimeimmemorialthelegendstoldofitshowthattheGreeksfoundonealreadyonthespot.AccordingtotheHomericHymn,whichwemayrationalise



F

ifwelike,Apollofoundtheplacepossessedbyahugeserpent,whichheslew,andasthebodyrotted()theplacegotthenameofPytho.HerewastheOmphalos,ornavelstone,markingthecentreoftheearthandthesacredspringCastalianrosebetweenthecleftrocks.ThePythia,orpriestess,wouldseatherselfonatripodoverachasmwithinthetemple,andherravingscontainedthegodsanswerbutitmustbeinterpretedbytheprophet,whostoodbyherside.Sincetheoraclewasconsultedbygreatand small, the priests were able to exercise a strong influence on politics and their influence wasgenerally forgood,until themind,ofGreeceoutgreworacles.Recordedanswersdonot explain thereputeoftheoracle,oritsinfluenceandthetabletsthathaveactuallybeenfoundhereandatDodonaare mostly questions on personal or trivial subjects. Perhaps that was the most farreaching of itsbehests when Sparta was commanded to free Athens from her tyrants and its most noteworthyrevelation, that Socrates was the wisest of men. One of Herodotuss best stories tells how Crsusconsulted theoracle, andwhat cameof it.TwiceDelphiwasmiraculously saved frompillage: oncewhenthearmyofXerxeswasdrivenbackbyfallingrocks,andoncewhenastormbeatofftheGauls.PhilipmadeitapretextforinterferingintheaffairsofGreecebutthenhewouldhavefoundapretextsomewhereinanycase.ThePythianGameswerecelebratedhereeverytwoyears.Sullaplunderedthetreasures, and sodidNeroConstantinecarriedoffwhathecould find toConstantinople,whereonestillstands:thebaseofthegoldentripoddedicatedafterthedefeatofthePersians,threebronzesnakesintertwining, and engraved with the names of Greek tribes who took part. The oracle lost its highstandingaboutthetimeofthePeloponnesianWar,butitcontinuedtobeconsulted,untilitwassilencedbyTheodosius.

Pausanias gives a description of the chief things to be seen in this holy place. Before theexcavations, aGreek village covered the site but now this has been removed,we can tread on theancientpavement,andseetheplaceswheremanyoftheobjectsoncestood.Here,asatOlympia,thegreatstateshadtheirtreasuries,oneofwhichhasbeenbuiltupoutofitsfragments.

High above Delphi, on a mountain that rises out of the uplands, not far from the peaks ofParnassus,istheCoryciancave,famousinlegend,sacredtoPanandtheNymphshereandhereaboutswerecelebratedtherevelsofDionysus,whichreadersoftheIonwillremember.

The temple ofOlympianZeus atAthenswas begun by Peisistratus, and partly built, but itwasnever finished in its original Doric style. Antiochus Epiphanes planned it afresh, and a Romanarchitect,Cossutius,partlybuilt it intheCorinthianstyle.Probablythecolumnsthatnowstandwereputupbyhim someof the remainsof thisearlierbuildingareusedas foundations for these.WhenAntiochusdied (B.C. 164), itwas left again unfinished, untilHadrian finished it. These columns areregardedasthefinestspecimensoftheCorinthianstyle.Richastheeffectofthisstyleis,itdoesnotsatisfyeyeandmindastheDoricdoes,orindeedtheIonic:ofallthings,leavesareleastsuitabletothenatureofstone.

Sunium,foundedinthePeloponnesianWartoprotectthecornships,wasnearthesilverminesitwas an important fortress, but its prosperity did not last long.The templewas dedicated toAthena.Herethesaltseawindshavemadethecolumnswhite,incontrasttotherosepinkoftheParthenon.

I

AETNAOVERTAORMINA

OR years I wanted tomake this drawingand for days after I reached Taormina I had towaitbefore Icouldmake it: foracurtainofmisthungover theseaand land.Thensuddenly inall itsglory the great white, snowy cone, borne on clouds, came forth above the sea and shore. And

HiroshigeandClaudeandTurnerneverimaginedordreamtofanythingsogloriousandIhaditalltomyself,foritwasteatime.



N

II

THETHEATRE,SEGESTA

OTHING,notevenTaormina,ismoremagnificentthanthesetsceneoftheTheatrehowpoorandmeanmust have been the forgottenmummers! The scenewill exist till the end of timeeventhoughscarceanyoneclimbsthemountainsideand,faggedout,dropsinoneofthethousandsof

emptyseatshewninthelivingrock,whichwillneveragainbefilled.



E

III

THETEMPLEOVERTHECAON,SEGESTA

VERYONEadvisedmetogotoSegesta,andIamgladIwentbutIshouldneverhaveknownhowwonderfullytheGreeksmadearchitecturalcompositionsifIhadnotseentheGrandCaon.ThereIsawNaturescompositions:herewasonemadebymanfiner,thoughnotsobigforbignesshas

nothingtodowithart.



N

IV

FROMTEMPLETOTEMPLE,GIRGENTI

OTonlyarethelinesofthehills,lookingtowardthesea,perfect,butthebuildersofthese,asofallthetemples,tookadvantageofthelinesinthelandscape,makingthetemplethefocusofagreatcompositionanartnolongerpractisedbutthetemplesofthegodsofGreeceweremoreimportant

thanthenotionsoflocalpoliticiansandlandownersandarchitects.



T

V

THECOLUMNSOFCASTORANDPOLLUX,GIRGENTI

HISisnotarestoration,butarebuilding.Therebuildersworkedbetterthantheyknew,andmadeadelightfulandpopularsubjectforeveryartistwhogoestoGirgenti.



T

VI

SUNRISEBEHINDTHETEMPLEOFCONCORD,GIRGENTI

HELandofTemplesisthelandofeffectsandtheymustbeseizedwhentheyareseen.IhadnoideaofmakingthisdrawingbutasIreachedthetemple,thesunrosebehindit,andIneversawitsohuge,somighty,asthatmorning.SoIdrewitortriedtowhiletheeffectlasted.



I

VII

THETEMPLEBYTHESEATEMPLEOFCONCORD,GIRGENTI

HAVE never seen long, level lines of temple, land, and sea so harmonise and work into a greatcompositionasatGirgenti.



H

VIII

THETEMPLEOFCONCORDONTHEWALLFROMWITHIN,GIRGENTI

OWitpilesup!Whataperfectgoal for thepilgrim sonoble is the sight,hemust inawehavemountedtoitonhisknees.



T

IX

THETEMPLEOFCONCORDONTHEWALLFROMWITHOUT,GIRGENTI

HETEMPLEOFCONCORDONTHEWALLFROMWITHOUT,GIRGENTIWHENtheglowofthesunsetfallsonit,andwhentheshadowsblockoutthegreatriftsinthe

wallswallswhicharelikecliffsandwhenthetouristsandarchaeologistshavegonetodressfordinnerandleftonealone,onelearnsinthesilencethattheGreeksweredivineartists.



A

X

COLUMNSOFTHETEMPLEOFJUNO,GIRGENTI

Sthesunsinksintothesilentsea,thesebattered,beatencolumnstakeonadignitywhichproveshowimpressivethistemplewaswhentheirartwasalivingthing.Onlyfromwithincomesavoice,inEnglishorAmerican,whichprovesthatartisdeadGreekart.



T

XI

THETEMPLESONTHEWALL,GIRGENTI

HEREtheystandontheouterwalls,thelonglineofthemandtherearemorethanIhavedrawnbuthowmagnificentlytheystandtheseeverlastingmonumentstogreatart.



O

XII

THETEMPLEOFJUNOFROMBELOW,GIRGENTI

UTofthedarkriverbedandthehugeboulders:somereal,someblocksthathavefallenfromthewallabove,sliddownthehighscarredhillandcometorestinconfusionatthebottom.Abovetheshatteredwallsilentlystandinthepalemorninglightthelonglineofpillarsofthetemple.Andall

thewhile I drew, theSicilianglared atme frombehind thegreat rocks, and Iwasgladwhen I hadfinishedandcouldcomeaway.



W

XIII

PAESTUM.MORNINGMIST

HEN,afteranightofhorrorsattheinnofPstum,Irosebeforeday,thetempleswereveiledinmist the fenceswere lost the factory chimneyhadvanishedtheguardianswere asleeptheplaceseemedfarawaybutsoonamotorhootedandanenginewhistled,themistsvanished,the

guardians cameout, the tourists flocked in the sadness, the lonelinessofPstumaregonewith themalariaandthebuffaloesonlythemosquitoesremain.



O

XIV

PAESTUM.EVENING

NLYinthemistsofthemorningandtheglowoftheeveningisPstumimpressiveanymore.Itisdignified,butthemysteryandmelancholyhavegone.



H

XV

CORINTHTOWARDSTHEGULF

EREthebuildershadtriedforawonderfulscheme,andworkeditoutwonderfully, lightagainstlighttheglitteringtempleagainstthegleamingseatherigid,solidlinesofthebuildingtellingagainst the faint, faraway, halfrevealed, halfconcealed silhouettes in form and colour of the

mountainsoverwhosesidesthecloudshadowsslowlymoved.Ononesidemycountrymenhavebuiltashantywheretheylivedwhileexcavatingontheotherisabarebarrack,inwhichtheyhavestoredthe stuff they have found. From the village Square, this museum completely hides the temple butGreecewassomuchfinerbeforeitwasdiscoveredbyarchaeologistsorbymostofthemformostofthemhavenofeelingatallforthearttheyhavedugup.



T

XVI

ACROCORINTHFROMCORINTH

HEwaythegreatmountainspileupbehindthegreattempleismostimpressive.



T

XVII

OLYMPIAFROMTHEHILLSIDE

HEOlympiangrovesareafraudtheyaremerebushesandonlyhidethetemplesamidwhichtheysproutbutbydodgingaroundthehillsideonecanseehowfinelythetempleswereplacedandhowlovely were the lines of the meandering river backed by the beautiful, everchanging coloured

mountains.



N

XVIII

THETEMPLEOFJUPITER.EVENING

IGHTwas fallingas Iwascomingback fromdrawingby the river Ilissos.The subjectwas themostimpressiveIsawintheLandofTemples,andinthegatheringdarknessIdrewitaswellasIcould.



T

XIX

THEACROPOLISFROMTHETEMPLEOFJUPITER,ATHENS

HEREisasmuchcharmintheclearnessofthedayasinthemysteryofthenight,intheLandofTemples.And though Ionlymoved fromonesideof thecolumns to theother,when Idrew theTempleofJupiter,Evening,thecompositionisasdifferentastheeffect.



T

XX

THEWAYUPTOTHEACROPOLIS

HEfragmentofthestepsthatisleftshowshowimposingthewholemusthavebeen.InmakingthislithographIcouldnothelpnotingthoughIdidnotputthemintheendlessracesthatmountedandalthoughthecostumeofeachgroupchanged,andoftenthenationalityandlanguage,therewas

almostalwayssomeoneamongst themwhocould read theancientGreekof the tabletsbuilt into thewall andalways thewholeparty seemed tounderstand it.But themodernGreek is, I imagine, thegreatestreaderintheworldatanyrateofnewspapers.



B

XXI

DOWNFROMTHEACROPOLIS

ETWEENAthens, thepavementof theTempleofNike,and the roofof theTempleofTheseus,there is a great gulf fixed, and this gives an amazing idea of height and depth and beyond,stretchingtothemountains,withthefeelingoftheseabeyondthat,isthesacredway.Itistheway

to Eleusis and the Sea. From the road, as it mounts the distant hills, the way leads straight to theAcropolis,whichgrowsmoreandmoreimpressiveandimposingasyouapproach,tillmodernAthenshidesit.



E

XXII

SUNRISEOVERTHEACROPOLIS

VERYmorningthesun,cominginatmybedroomwindow,wokemewhenittouchedthetopmostpartoftheParthenonandthenthelightspreaddowntothebattlements,thentothecliffs,showingthehorridcavesandstrongribsoveranduponwhichthefortresstemplesstandandbythetimethe

sunhadreachedtheforum,theforumwokeupandallthebeautyfledtillanotherday.



A

XXIII

STORMBEHINDTHEACROPOLIS

NDwhenthecloudsofaspringafternoongatherbehindtheAcropolis,yourealisewhyitwasbuiltonthatbarrenrock:becausethebuilderssawitwouldbethemostimpressiveshrineonthisearth.



T

XXIV

THEPROPYLAEA,ATHENS

HISispurearchitectureitinterestedme.Itriedtodrawit,asitlookedtomebutnodraughtsmannopainter,eitherwillevergetthatwondrouswarmglowwhichseemstocomefromwithinthewallsandsuffusethemwithlightandcolour.



T

XXV

THEPORTICOOFTHEPARTHENON

HISisthegreatestarchitecturalartintheworld.



D

XXVI

THEPARTHENONFROMTHEGATEWAY

ID these temples always growout of the bare rock as now, orwas the rock, too, overlaidwithmarblepavements?Itmusthavebeen,foritisincrediblethatpeoplewithsuchasenseofbeautyshouldhavebuiltsuchbeautifulthingsonastonepile.



J

XXVII

THEFAADEOFTHEPARTHENON.SUNSET

USTasthebellringsatsunset,frombetweenariftinthecloudsofthespringeveningthelastrayofthe setting sun strikes the pediment of the Parthenon. And against the black clouds over themountains,itistransfigured,andthenslowlyoneleavesturningfromthewonderofmansworkto

thewonderofGodssunset,andthewonderoftheafterglowoverEleusis.



O

XXVIII

THEFALLENCOLUMN,ATHENS

NeithersideoftheParthenonthecolumnsthrowndownbytheexplosionofapowdermagazinewithin, are lying, not as they fell, but each section carefully rolled into its proper place. Thedisorder at Olympia, when earthquakes destroyed the temples, is far more convincing and

impressive,fortherethecolumnslieinconfusion,hereinarchaeologicalorder.



A

XXIX

THELITTLEFTE,ATHENS

LITTLEfteofsomesortwasbeingheldatthelittlechurchbythelittleriver,andthewaytoitwaslinedwiththemthatsoldthingsbeyondwastherockyriverbedthentheTempleofJupiterandawayaboveall,theAcropolisframedinbytheblacktrees,themostromanticsubjectIever

saw.



O

XXX

THEGREATFTE,ATHENS

NtheafternoonofSt.GeorgesDayIwanderedoutofthecityuptotheAcropolis,andfoundthewholeplainandtheapproachescrowdedwhilethestairswereblackwithpeople,andsowerethelofty platforms. The fte that afternoon, as I saw it from Mars Hill, was more real than any

restorationorimaginations.



O

XXXI

THETEMPLEOFNIKE,ATHENS

NEhasbut tocross to theothersideof thePropylaeafromthe topof thestepsfromthegreatplatform and altar before thewall, to find an equally inspiringor inspiredarrangement. Forthereisnoaccidentinthesecompositions.Thewaythelineoftheseacutsblueagainstthewhite

templewallsandshowsthroughthecolumnsateitherend,andthewaythenearerhillofLycabettuspilesupdarkagainsttheshiningbaseonwhichthetemplestandsandthatisaccented,too,bytheonedarknoteofthetheatrethoughitislaterthatoneseesthesearrangementswerenotaccidents.ThesethingswereallthoughtoutbythebuildersofTemples.



T

XXXII

THETEMPLEOFNIKEFROMMARSHILL,ATHENS

HIS is the grandest grouping of the Acropolis. The way in which the whole, in solemn squaremasses,pilesupthetempledominatingallismarvellous.Itisfiner,Iamsure,inruin,thaneveritwasinperfection.



L

XXXIII

THEODEON,ATHENS

OOKING down from the Acropolis, one sees the theatreeven the Greeks mostly placed thetheatrebeforethetemple.ButwhatIsawthatafternoonwasaschoolofsmallGreekboysstudyingandrecitingintheOdeon,becausetheschoolhadbeentakenforbarracks.Butasasoldiersaidto

me,MarswasmorerealtohimthantheTurkshehadbeenfighting.



T

XXXIV

THESTREETOFTHETOMBS,ATHENS

Obeburiedundertheshadow,orinsightoftheAcropolismusthavebeenglorious.Nowhereelseistheresuchadecorativearrangementofdeath.



S

XXXV

ELEUSIS:THEPAVEMENTOFTHETEMPLE

WEPTawayiseverything,mysteriesandallallthatremainsisthegreatpavementonwhichstandthestumpsofcolumnsyetIdoubtifitwasfinerever.Andthelongdriveoutoverthesacredway,thelong,quietdayandthelongdriveback,withtheAcropolisgrowingmoreandmoremajesticin

thetwilight,wereperfect.



O

XXXVI

AEGINA

NLYatAegina,sofarasIhaveseen,istherearealyetitissobeautifulitseemsunrealforestinGreece.Nowhere in theworlddo the trees indense,deepshadesocover theslopes that leaddown,almostblack,tothedeepblueseaandwherehaveIeverseensuchacontrastbetweenthe

boskywoodsandthebarrencliffsthattowerabovethem?Andallthisisbutabackgroundforoneofthemostbeautifultemplesinthisbeautifulland,placedperfectly,bythegreatestartistsofthepast,inthemostexquisitelandscape.YettheguardiantoldmeIwasthethirdpersonwhohadvisitedAeginabetweenJanuaryandAprillastyear.



A

XXXVII

AEGINAONITSMOUNTAINTOP

S,afterthelongrideacrosstheisland,everclimbing,onecomesfromthedensewood,suddenlyinfrontisthesplendidpile,oneithersidetheforest,beyondtheseaandintheairydistance,AthensandtheAcropolis.



A

XXXVIII

THESHININGROCKS,DELPHI

FTERIhadmadethisdrawing,afterIhadhadittransferredtostoneandprinted,IshowedittotheDirectoroftheGreekSchool,andhesaid:Why,youhavedrawntheShiningRocks.AllItriedtodowastodrawDelphiandtherocksbehindtheruins.Thatinthelighttherocksdidshinewas

nothingtome,savethattheyshowedthewaythecliffswerebuiltup.Ihavesincelearned,however,thatIhaveshownonethegreatthingsofGreece.



T

XXXIX

THETREASURYOEATHENS,DELPHI

HETreasuryisarestorationbut,evenso,itischarming,standingbytheroughpavedway,whichisborderedbythesemicircularseats,placedalwayswiththemostwonderfulviewsbeforethem,andbackedbytheblackmountains,upwhosesideswindtrailsleading,inthespring,totheclouds.

Thelonelinessoftheland,andthehugenessofthetemplesandtheatresbuilttoholdthepeoplewhoarenolongerthere,wasintensifiedlastyearwhenalltheablebodiedmenhadgonetothewar,andthelandwasdesolate,



F

XL

THEWINEDARKSEA,SUNIUM

ROMwithoutandfromwithin,eitherbrightagainstthedarkwaters,ordarkagainstthebrightsea,the Temple of Poseidon piles up. One could stay on that mudswept, sunbeaten headland formonthsbutwithoutacamp,onecanonlystayaday.



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