A Smaller History of Greece [49]
Peloponnesian wars reached the highest pitch of military, artistic, and literary glory. The latter portion of this period, or that comprised under the ascendency of Pericles, exhibits Athenian art in its highest state of perfection, and is therefore by way of excellence commonly designated as the age of Pericles. The great sculptor of this period--perhaps the greatest the world has ever seen-- was Phidias, to whom Pericles intrusted the superintendence of all the works executed in his administration.
The first public monuments that arose after the Persian wars were erected under the auspices of Cimon, who was, like Pericles, a lover and patron of the arts. The principal of these were the small Ionic temple of Nike Apteros (Wingless Victory), and the Theseum, or temple of Theseus. The temple of Nike Apteros was only 27 feet in length by 18 in breadth, and was erected on the Acropolis in commemoration of Cimon's victory at the Eurymedon. A view of it is given at the beginning of this chapter, and its position on the Acropolis, on one side of the Propylaea, is seen in the drawings on p. 91, as well as on the Frontispiece of the work.
The Theseum is situated on a height to the north of the Areopagus, and was built to receive the bones of Theseus, which Cimon brought from Scyros in B.C. 469. It was probably finished about 465, and is the best preserved of all the monuments of ancient Athens. It was at once a tomb and temple, and possessed the privileges of an asylum. It is of the Doric order, 164 feet in length by 45 feet broad, and surrounded with columns.
But it was the Acropolis which was the chief centre of the architectural splendour of Athens. After the Persian wars the Acropolis had ceased to be inhabited, and was appropriated to the worship of Athena and to the other guardian deities of the city. It was covered with the temples of gods and heroes; and thus its platform presented not only a sanctuary, but a museum, containing the finest productions of the architect and the sculptor, in which the whiteness of the marble was relieved by brilliant colours, and rendered still more dazzling by the transparent clearness of the Athenian atmosphere. It was surrounded with walls, and the surface seems to have been divided into terraces communicating with one another by steps. The only approach to it was from the Agora on its western side at the top of a magnificent flight of marble steps, 70 feet broad, stood the Propylaea, constructed under the auspices of Pericles, and which served as a suitable entrance to the exquisite works within. The Propylaea were themselves one of the masterpieces of Athenian art. They were entirely of Pentelic marble, and covered the whole of the western end of the Acropolis, having a breadth of 168 feet. The central portion of them consisted of two porticoes, of which the western one faced the city, and the eastern one the interior of the Acropolis, each consisting of a front of six fluted Doric columns. This central part of the building was 58 feet in breadth, but the remaining breadth of the rock at this point was covered by two wings, which projected 26 feet in front of the western portico. Each of these wings was in the form of a Doric temple. The northern one, or that on the left of a person ascending the Acropolis, was called the PINACOTHECA, from its walls being covered with paintings. The southern wing consisted only of a porch or open gallery. Immediately before its western front stood the little temple of Nike Apteros already mentioned.
On passing through the Propylaea all the glories of the Acropolis became visible. The chief building was the Parthenon (I.E. House of the Virgin), the most perfect production of Grecian architecture. It derived its name from its being the temple of Athena Parthenos, or Athena the Virgin, the invincible goddess of war. It was also called HECATOMPEDON, from its breadth of 100 feet. It was built under the administration of Pericles, and was completed in B.C. 438. The Parthenon stood on the highest part of the Acropolis near its
The first public monuments that arose after the Persian wars were erected under the auspices of Cimon, who was, like Pericles, a lover and patron of the arts. The principal of these were the small Ionic temple of Nike Apteros (Wingless Victory), and the Theseum, or temple of Theseus. The temple of Nike Apteros was only 27 feet in length by 18 in breadth, and was erected on the Acropolis in commemoration of Cimon's victory at the Eurymedon. A view of it is given at the beginning of this chapter, and its position on the Acropolis, on one side of the Propylaea, is seen in the drawings on p. 91, as well as on the Frontispiece of the work.
The Theseum is situated on a height to the north of the Areopagus, and was built to receive the bones of Theseus, which Cimon brought from Scyros in B.C. 469. It was probably finished about 465, and is the best preserved of all the monuments of ancient Athens. It was at once a tomb and temple, and possessed the privileges of an asylum. It is of the Doric order, 164 feet in length by 45 feet broad, and surrounded with columns.
But it was the Acropolis which was the chief centre of the architectural splendour of Athens. After the Persian wars the Acropolis had ceased to be inhabited, and was appropriated to the worship of Athena and to the other guardian deities of the city. It was covered with the temples of gods and heroes; and thus its platform presented not only a sanctuary, but a museum, containing the finest productions of the architect and the sculptor, in which the whiteness of the marble was relieved by brilliant colours, and rendered still more dazzling by the transparent clearness of the Athenian atmosphere. It was surrounded with walls, and the surface seems to have been divided into terraces communicating with one another by steps. The only approach to it was from the Agora on its western side at the top of a magnificent flight of marble steps, 70 feet broad, stood the Propylaea, constructed under the auspices of Pericles, and which served as a suitable entrance to the exquisite works within. The Propylaea were themselves one of the masterpieces of Athenian art. They were entirely of Pentelic marble, and covered the whole of the western end of the Acropolis, having a breadth of 168 feet. The central portion of them consisted of two porticoes, of which the western one faced the city, and the eastern one the interior of the Acropolis, each consisting of a front of six fluted Doric columns. This central part of the building was 58 feet in breadth, but the remaining breadth of the rock at this point was covered by two wings, which projected 26 feet in front of the western portico. Each of these wings was in the form of a Doric temple. The northern one, or that on the left of a person ascending the Acropolis, was called the PINACOTHECA, from its walls being covered with paintings. The southern wing consisted only of a porch or open gallery. Immediately before its western front stood the little temple of Nike Apteros already mentioned.
On passing through the Propylaea all the glories of the Acropolis became visible. The chief building was the Parthenon (I.E. House of the Virgin), the most perfect production of Grecian architecture. It derived its name from its being the temple of Athena Parthenos, or Athena the Virgin, the invincible goddess of war. It was also called HECATOMPEDON, from its breadth of 100 feet. It was built under the administration of Pericles, and was completed in B.C. 438. The Parthenon stood on the highest part of the Acropolis near its