The capital of the Greek Corinthian order, as seen in the Choragic Monument of Lysicrates at Athens (Fig. [78])—a comparatively miniature example, but the most perfect we have—is a work of art of marvellous beauty (Fig. [77]). [!-- original location of Fig. 78 --] It retains a feature resembling the Ionic volute, but reduced to a very small size, set obliquely and appearing to spring from the sides of a kind of long bell-shaped termination to the column. This bell is clothed with foliage, symmetrically arranged and much of it studied, but in a conventional manner, from the graceful foliage of the acanthus; between the two small volutes appears an Assyrian honeysuckle, and tendrils of honeysuckle, conventionally treated, occupy part of the upper portion of the capital. The abacus is moulded, and is curved on plan, and the base of the capital is marked by a very unusual turning-down of the flutes of the columns. The entire structure to which this belonged is a model of elegance, and the large sculptured mass of leaves and tendrils with which it is crowned is especially noteworthy.
Fig. 79.—Capital of Antæ from Miletus. Side View.
A somewhat simpler Corinthian capital, and another of very rich design, are found in the Temple of Apollo Didymæus at Miletus, where also a very elegant capital for the antæ—or pilasters—is employed (Figs. [79], [81]). A more ornamental design for a capital could hardly be adopted than that of the Lysicrates example, but there was room for more elaboration in the entablature, and accordingly large [!-- original location of Fig. 80 --] richly-sculptured brackets seem to have been introduced, and a profusion of ornament was employed. The examples of this treatment which remain are, however, of Roman origin rather than Greek.
Fig. 80.—Restoration of the Greek Theatre of Segesta.
The Greek cities must have included structures of great beauty and adapted to many purposes, of which in most cases few traces, if any, have been preserved. We have no remains of a Greek palace, or of Greek dwelling-houses, although those at Pompeii were probably erected and decorated by Greek artificers, for Roman occupation. The agora of a Greek city, which was a place of public assembly something like the Roman Forum, is known to us only by descriptions in ancient writers, but we possess some remains of Greek theatres; and from these, aided by Roman examples and written descriptions, can understand what these buildings were. The auditory was curved in plan, occupying rather more than a semicircle; the seats rose in tiers one behind another; a circular space was reserved for the chorus in the centre of the seats, and behind it was a raised stage, bounded by a wall forming its back and sides: a rough notion of the arrangement can be obtained from the lecture theatre of many modern colleges, and our illustration (Fig. [80]) gives a general idea of what must have been the appearance of one of these structures. Much of the detail of these buildings is, however, a matter of pure speculation, and consequently does not enter into the scheme of this manual.