[141]. It was called Zoophorus (life or figure bearer).
[142]. [The reasons which induced the late Mr. Fergusson to suggest an “opaion,” or clerestory, were fully set forth in the ‘True Principles of Beauty in Art,’ in 1849. A paper on the same subject was communicated by him to the Royal Institute of British Architects in 1861, and published in their “Transactions” for that year. Since his death, however, Mr. Penrose’s discovery that the Temple of Jupiter Olympius at Athens was really octastyle has thrown a new light on the question of hypæthral temples; and, as Dr. Dorpfield remarks in his essay on the “Hypæthral Temple” (communicated to the R. I. B. A. on Dec. 19): “The words of Vitruvius have now received quite another interpretation, through the excavation of the Olympieion at Athens, to that which they have had up to the present. The most important proof of the hypæthral lighting of the temples of antiquity has now turned into a proof against the same;” and he concludes his arguments by stating: “After it has been shown by the excavations that the Olympieion at Athens is the sole example of a great hypæthral temple mentioned by Vitruvius, we can answer this much-vexed question of the lighting of the temples of antiquity in this way—that a few great dipteral hypæthral temples existed, but that the Greek and Roman temples had as a rule no light from above, and were only lighted from the door.”—Ed.]
[143]. See Woodcuts Nos. [22], [24], [27].
[144]. Vitruvius, lib. i. ch. 1.
[145]. Boeckh, Corpus Inscript. Græc. No. 109.
[146]. Attica, xxvi.
[147]. Historia, viii, 41.
[148]. Among the many attempts made to restore the interior of this temple, the last and most elaborate is that by the late E. Beulé, ‘Acropole d’Athènes,’ 1854, vol. ii. pl. ii.; but it is also one of the worst. Indeed it is quite painful to see how the author twists his authorities to meet a preconceived theory. Without going into it, there is one objection which seems fatal to the whole.
Like most antiquaries when in difficulties for lighting Greek temples, he takes off the roof and makes the Temple of Pandrosus an open courtyard, in which he plants the olive. This is so opposed to the whole spirit of Greek art as to be inadmissible on general grounds, but in this instance it introduces the further absurdity that the Greeks opened three windows in the west wall of the temple to light this courtyard which was already open to the sky! The mode of lighting a temple by vertical windows is so exceptional that it would not have been introduced here had any other means existed of lighting the interior, and consequently the combination shown by M. Beulé seems simply impossible.
[149]. “Universo Templo longitudo est ccccxxv. pedum, latitudo ccxx. Columnæ centum viginti septem a singulis regibus factæ, lx. pedum altitudine: ex iis xxxvi. cælatæ, una a Scopa.”—H. N. xxxvi. 14.