FIG. 23.—POLYGONAL MASONRY. The very earliest are hardly more than random piles of rough stone. Those which may fairly claim notice for their artistic masonry are of a later date and of two kinds: the coursed, and the polygonal or Cyclopean, so called from the tradition that they were built by the Cyclopes. These Cyclopean walls were composed of large, irregular polygonal blocks carefully fitted together and dressed to a fairly smooth face (Fig. 23). Both kinds were used contemporaneously, though in the course of time the regular coursed masonry finally superseded the polygonal.
FIG. 24.—THOLOS OF ATREUS. PLAN AND SECTION.
THOLOS OF ATREUS. All these structures present, however, only the rudiments of architectural art. The so-called Tholos (or Treasury) of Atreus, at Mycenæ, on the other hand, shows the germs of truly artistic design (Fig. 24). It is in reality a tomb, and is one of a large class of prehistoric tombs found in almost every part of the globe, consisting of a circular stone-walled and stone-roofed chamber buried under a tumulus of earth. This one is a beehive-shaped construction of horizontal courses of masonry, with a stone-walled passage, the dromos, leading to the entrance door. Though internally of domical form, its construction with horizontal beds in the masonry proves that the idea of the true dome with the beds of each course pitched at an angle always normal to the curve of the vault, was not yet grasped. A small sepulchral chamber opens from the great one, by a door with the customary relieving triangle over it.
FIG. 25.—THOLOS OF ATREUS. DOORWAY.
Traces of a metal lining have been found on the inner surface of the dome and on the jambs of the entrance door. This entrance is the most artistic and elaborate part of the edifice (Fig. 25). The main opening is enclosed in a three-banded frame, and was once flanked by columns which, as shown by fragments still existing and by marks on either side the door, tapered downward as in the sculptured column over the Lion Gate. Shafts, bases, and capitals were covered with zig-zag bands or chevrons of fine spirals. This well-studied decoration, the banded jambs, and the curiously inverted columns (of which several other examples exist in or near Mycenæ), all point to a fairly developed art, derived partly from Egyptian and partly from Asiatic sources. That Egyptian influences had affected this early art is further proved by a fragment of carved and painted ornament on a ceiling in Orchomenos, imitating with remarkable closeness certain ceiling decorations in Egyptian tombs.
HISTORIC MONUMENTS; THE ORDERS. It was the Dorians and Ionians who developed the architecture of classic Greece. This fact is perpetuated in the traditional names, Doric and Ionic, given to the two systems of columnar design which formed the most striking feature of that architecture. While in Egypt the column was used almost exclusively as an internal support and decoration, in Greece it was chiefly employed to produce an imposing exterior effect. It was the most important element in the temple architecture of the Greeks, and an almost indispensable adornment of their gateways, public squares, and temple enclosures. To the column the two races named above gave each a special and radically distinct development, and it was not until the Periclean age that the two forms came to be used in conjunction, even by the mixed Doric-Ionic people of Attica. Each of the two types had its own special shaft, capital, entablature, mouldings, and ornaments, although considerable variation was allowed in the proportions and minor details. The general type, however, remained substantially unchanged from first to last. The earliest examples known to us of either order show it complete in all its parts, its later development being restricted to the refining and perfecting of its proportions and details. The probable origin of these orders will be separately considered later on.