The temple is surmounted with a triangular pediment adorned with statues.
Greek temples were polychrome, that is to say, were painted in several colors, yellow, blue, and red. For a long time the moderns refused to believe this; it was thought that the Greeks possessed too sober taste to add color to an edifice. But traces of painting have been discovered on several temples, which cannot leave the matter in doubt. It has at last been concluded, on reflection, that these bright colors were to give a clearer setting to the lines.
Characteristics of Greek Architecture.—A Greek temple appears at first a simple, bare edifice; it is only a long box of stone set upon a rock; the façade is a square surmounted by a triangle. At first glance one sees only straight lines and cylinders. But on nearer inspection "it is discovered[89] that not a single one of these lines is truly straight." The columns swell at the middle, vertical lines are slightly inclined to the centre, and horizontal lines bulge a little at the middle. And all this is so fine that exact measurements are necessary to detect the artifice. Greek architects discovered that, to produce a harmonious whole, it is necessary to avoid geometrical lines which would appear stiff, and take account of illusions in perspective. "The aim of the architect," says a Greek writer, "is to invent processes for deluding the sight."
Greek artists wrought conscientiously for they worked for the gods. And so their monuments are elaborated in all their parts, even in those that are least in view, and are constructed so solidly that they exist to this day if they have not been violently destroyed. The Parthenon was still intact in the seventeenth century. An explosion of gunpowder wrecked it.
The architecture of the Greeks was at once solid and elegant, simple and scientific. Their temples have almost all disappeared; here and there are a very few,[90] wholly useless, in ruins, with roofs fallen in, often nothing left but rows of columns. And yet, even in this state, they enrapture those who behold them.
Sculpture.—Among the Egyptians and the Assyrians sculpture was hardly more than an accessory ornament of their edifices; the Greeks made it the principal art. Their most renowned artists, Phidias, Praxiteles, and Lysippus, were sculptors.
They executed bas-reliefs to adorn the walls of a temple, its façade or its pediment. Of this style of work is the famous frieze of the Panathenaic procession which was carved around the Parthenon, representing young Athenian women on the day of the great festival of the goddess.[91]
They sculptured statues for the most part, of which some represented gods and served as idols; others represented athletes victorious in the great games, and these were the recompense of his victory.
The most ancient statues of the Greeks are stiff and rude, quite similar to the Assyrian sculptures. They are often colored. Little by little they become graceful and elegant. The greatest works are those of Phidias in the fifth century and of Praxiteles in the fourth. The statues of the following centuries are more graceful, but less noble and less powerful.
There were thousands of statues in Greece,[92] for every city had its own, and the sculptors produced without cessation for five centuries. Of all this multitude there remain to us hardly fifteen complete statues. Not a single example of the masterpieces celebrated among the Greeks has come down to us. Our most famous Greek statues are either copies, like the Venus of Milo, or works of the period of the decadence, like the Apollo of the Belvidere.[93] Still there remains enough, uniting the fragments of statues and of bas-reliefs which are continually being discovered,[94] to give us a general conception of Greek sculpture.