II. ARCHITECTURE.
In Architecture, too, thy rank supreme!
That art where most magnificent appears
The little builder, man; by thee refined,
And smiling high, to full perfection brought.
—THOMSON.
We have already referred, in general terms, to the monuments of art for which the era of Athenian greatness was distinguished, and have stated that it was more particularly in the "Age of Pericles" that Athenian genius and enthusiasm found their full development, in the erection or adornment of those miracles of architecture that crowned the Athenian Acropolis or surrounded its base. The following eloquent description, from the pen of BULWER, will convey a vivid idea of the magnitude and the brilliancy of the labors performed for
The Adornment of Athens.
"Then rapidly progressed those glorious fabrics which seemed, as Plutarch gracefully express it, endowed with the bloom of a perennial youth. Still the houses of private citizens remained simple and unadorned; still were the streets narrow and irregular; and, even centuries afterward, a stranger entering Athens would not at first have recognized the claims of the mistress of Grecian art. But to the homeliness of her common thoroughfares and private mansions the magnificence of her public edifices now made a dazzling contrast. The Acropolis, that towered above the homes and thoroughfares of men—a spot too sacred for human habitation— became, to use a proverbial phrase, 'a city of the gods.' The citizen was everywhere to be reminded of the majesty of the state —his patriotism was to be increased by the pride in her beauty— his taste to be elevated by the spectacle of her splendor.
"Thus flocked to Athens all who throughout Greece were eminent in art. Sculptors and architects vied with one another in adorning the young empress of the seas: then rose the masterpieces of Phidias, of Callic'rates, of Mnesicles, which, either in their broken remains, or in the feeble copies of imitators less inspired, still command so intense a wonder, and furnish models so immortal. And if, so to speak, their bones and relics excite our awe and envy, as testifying of a lovelier and grander race, which the deluge of time has swept away, what, in that day, must have been their brilliant effect, unmutilated in their fair proportions— fresh in all their lineaments and hues? For their beauty was not limited to the symmetry of arch and column, nor their materials confined to the marbles of Pentel'icus and Pa'ros. Even the exterior of the temples glowed with the richest harmony of colors, and was decorated with the purest gold: an atmosphere peculiarly favorable to the display and the preservation of art, permitted to external pediments and friezes all the minuteness of ornament —the brilliancy of colors, such as in the interior of Italian churches may yet be seen—vitiated, in the last, by a gaudy and barbarous taste. Nor did the Athenians spare any cost upon the works that were, like the tombs and tripods of their heroes, to be the monuments of a nation to distant ages, and to transmit the most irrefragable proof 'that the power of ancient Greece was not an idle legend.'" [Footnote: "Athens: Its Rise and Fall," pp. 256, 257.]
1. THE ACROPOLIS AND ITS SPLENDORS.
The Acropolis, the fortress of Athens, was the center of its architectural splendor. It is a rocky height rising abruptly out of the Attic plain, and was accessible only on the western side, where stood the Propylæ'a, a magnificent structure of the Doric order, constructed under the direction of Pericles by the architect Mnesicles, and which served as the gate as well as the defence of the Acropolis. But the latter's chief glory was the Parthenon, or Temple of Minerva, built in the time of Pericles by Icti'nus and Callic'rates, and which stood on the highest point, near the center. It was constructed entirely of the most beautiful white marble from Mount Pentelicus, and its dimensions were two hundred and twenty-eight feet by one hundred and two —having eight Doric columns in each of the two fronts, and seventeen in each of the sides, and also an interior range of six columns in each end. The ceiling of the western part of the main building was supported by four interior columns, and of the eastern end by sixteen. The entire height of the building above its platform was sixty-five feet. The whole was enriched within and without with matchless works of art by various artists under the direction of Phidias—its chief wonder, however, being the gold and ivory statue of the Virgin Goddess, the work of Phidias himself, elsewhere described.
This magnificent structure remained entire until the year 1687, when, during a siege of Athens by the Venetians, a bomb fell on the devoted Parthenon, and, setting fire to the powder that the Turks had stored there, entirely destroyed the roof and reduced the whole building almost to ruins. The eight columns of the eastern front, however, and several of the lateral colonnades, are still standing; and the whole, dilapidated as it is, retains an air of inexpressible grandeur and sublimity.
The Parthenon.
Fair Parthenon! yet still must fancy weep
For thee, thou work of nobler spirits flown.
Bright as of old the sunbeams o'er thee sleep
In all their beauty still—and thine is gone!
Empires have sunk since thou wast first revered,
And varying rites have sanctified thy shrine.
The dust is round thee of the race that reared
Thy walls, and thou—their fate must still be thine!
But when shall earth again exult to see
Visions divine like theirs renewed in aught like thee?
Lone are thy pillars now—each passing gale
Sighs o'er them as a spirit's voice, which moaned
That loneliness, and told the plaintive tale
Of the bright synod once above them throned.
Mourn, graceful ruin! on thy sacred hill
Thy gods, thy rites, a kindred fate have shared:
Yet art thou honored in each fragment still
That wasting years and barbarous hands have spared;
Each hallowed stone, from rapine's fury borne,
Shall wake bright dreams of thee in ages yet unborn.
Yes; in those fragments, though by time defaced,
And rude, insensate conquerors, yet remains
All that may charm th' enlightened eye of taste,
On shores where still inspiring freedom reigns.
As vital fragrance breathes from every part
Of the crushed myrtle, or the bruised rose,
E'en thus th' essential energy of art
There in each wreck imperishably glows!
The soul of Athens lives in every line,
Pervading brightly still the ruins of her shrine.
—MRS. HEMANS.
North of the Parthenon stood the Erechthe'um, an irregular but beautiful structure of the Ionic order, dedicated to the worship of Neptune and Minerva. Considerable remains of it are still standing. In addition to the great edifices of the Acropolis referred to, which were adorned with the most finished paintings and sculptures, the entire platform of the hill appears to have been covered with a vast composition of architecture and sculpture, consisting of temples, monuments, and statues of gods and heroes. The whole Acropolis was at once the fortress, the sacred enclosure, and the treasury of the Athenian people—forming the noblest museum of sculpture, the richest gallery of painting, and the best school of architecture in the world.
2. OTHER ARCHITECTURAL MONUMENTS OF ATHENS.
Beneath the southern wall of the Acropolis was the Theatre of Bacchus, capable of seating thirty thousand persons, and the seats of which, rising one above another, were cut out of the sloping rock. Adjoining this on the east was the Ode'um, a smaller covered theatre, built by Pericles, and so constructed as to imitate the form of Xerxes's tent. On the north-east side was the Prytane'um, where were many statues, and where citizens who had rendered service to the state were maintained at the public expense. A short distance to the north-west of the Acropolis, and separated from it only by some hollow ground, was the small eminence called Areop'agus, or Hill of Mars, at the eastern extremity of which was situated the celebrated court of Areopagus. About a quarter of a mile south-west stood the Pnyx, the place where the public assemblies of Athens were held in its palmy days, and a spot that will ever be associated with the renown of Demosthenes and other famed orators. The steps by which the speaker mounted the rostrum, and a tier of three seats for the audience, hewn in the solid rock, are still visible.
The only other monument of art to which we shall refer in this connection is the celebrated Temple of Theseus, built of marble by Cimon as a resting-place for the bones of the distinguished hero. [Footnote: Cimon conquered the island of Scy'ros, the haunt of pirates, and brought thence to Athens what were supposed to be the bones of Theseus.] It is of the Doric order, one hundred and four feet by forty-five, and surrounded by columns, of which there are six at each front and thirteen at the sides. The roof, friezes, and cornices of this temple have been but little impaired by time, and the whole is one of the most noble remains of the ancient magnificence of Athens, and the most nearly perfect, if not the most beautiful, existing specimen of Grecian architecture.
The Temple of Theseus.
Here let us pause, e'en at the vestibule
Of Theseus' fame. With what stern majesty
It rears its ponderous and eternal strength,
Still perfect, still unchanged, as on the day
When the assembled throng of multitudes
With shouts proclaimed the accomplished work, and fell
Prostrate upon their faces to adore
Its marble splendor!
How the golden gleam
Of noonday floats upon its graceful form,
Tinging each grooved shaft, and storied frieze,
And Doric triglyph! How the rays amid
The opening columns, glanced from point to point,
Stream down the gloom of the long portico!
How the long pediment,
Embrowned with shadows, frowns above, and spreads
Solemnity and reverential awe!
Proud monument of old magnificence!
Still thou survivest; nor has envious Time
Impaired thy beauty, save that it has spread
A deeper tint, and dimmed the polished glare
Of thy refulgent whiteness.
—HAYGARTH.
So much for some of the architectural wonders of Athens. As BULWER says, "It was the great characteristic of these works that they were entirely the creation of the people. Without the people Pericles could not have built a temple nor engaged a sculptor. The miracles of that day resulted from the enthusiasm of a population yet young—full of the first ardor for the beautiful— dedicating to the state, as to a mistress, the trophies honorably won, or the treasures injuriously extorted, and uniting the resources of a nation with the energy of an individual, because the toil, the cost, were borne by those who succeeded to the enjoyment and arrogated the glory." TALFOURD, in his Athenian Captive, calls all that went to make up Athens in the days of her glory
An opening world,
Diviner than the soul of man hath yet
Been gifted to imagine—truths serene
Made visible in beauty, that shall glow
In everlasting freshness, unapproached
By mortal passion, pure amid the blood
And dust of conquests, never waxing old,
But on the stream of time, from age to age,
Casting bright images of heavenly youth
To make the world less mournful.
CHAPTER XIII.
THE SPARTAN AND THEBAN SUPREMACIES.