As bright Apollo’s lute, strung with his hair;
And when Love speaks, the voice of all the gods
Makes heaven drowsy with the harmony.”
It was the most important of the festivals of Apollo, and was celebrated annually by a grand procession to the chief temple of the city; followed by sacrifices, priestly rites and ceremonies, oracular messages and [pg 48]predictions, sorcery and soothsaying, ending at night, with orgies which characterized the Oriental city of the period.
The main temple with its oracle, consecrated to the gods of Tarsus, was situated in the midst of a large garden in the extreme northwestern, or most elevated part of the city. It commanded a charming view of the beautiful Cydnus for nearly its whole length, as it wound its way, like a silver thread, through the plain in its course from the distant mountains to the sea. The ground about the temple was tastefully laid out with walks, vine-clad summer-houses, fountains, grottos, groups of sycamore and palm trees, and at short intervals adorned with statues, vases, and other creations of Greek art and handiwork.
The blossoms of the bending branches of spicy plants loaded the air with sweet odors, which held the visitor in the delicate bonds of a subtile enchantment. The oleander and jasmine, rose and lilac, tulip and lily, each lent its charm to the chorus of beauty and exhalation. Bounteous Nature was drawn upon to the utmost for rich contributions to consecrate Apollo’s great temple-garden, and enhance its mystical fascination.
In threading one’s way through this sensuous paradise, one would often find himself at the entrance of some graceful booth, where a priest or priestess of Apollo would dispense love-philtres, or be inquired of concerning the misty future, peradventure to its complete unveiling.
The temple itself was built of Parian marble, and surrounded by a porch, with a row of lofty Corinthian [pg 49]columns in front, and a corresponding peristyle, surmounted by an entablature, stretching out from either side. The pediments were richly covered with designs in alto-rilievo. Among them were representations of Apollo, Diana, the setting sun, Hercules slaying the Hydra, Dionysus and a Giant, Fauns, Bacchantes, and triumphal processions. In the pronaos, or vestibule, there was a series of broad panels, upon which were inscribed maxims from the Seven Sages of Greece.
Beyond the vestibule, on either side were two overflowing fountains, each surrounded with statues of Triton, Neptune, Amphitrite, Apollo slaying the great serpent Pytho, with other gods, goddesses, Nymphs, and Dryads. Invalids who drank of a certain fountain, or bathed in it, and were healed, threw pieces of money into it as a recompense. In the back part of the cella was the great hearth with the perpetual fire; and in the adytum, or inner shrine, were the sacred tripod and other mysteries of the sanctum. Below this was a subterranean chamber, from the sacred recesses of which ascended the vapor of prophecy.
The oracular messages were often conveyed by dreams, preceding which, fasting was customary, followed by sacrifices, and sleeping upon the skin of the animal which had been offered. Other auguries were received in writing, sometimes by means of the “descending pencil” which hung suspended, and wrote by invisible, though intelligent and fateful impulse. Sealed communications on parchment also received answers from occult and mysterious sources.