The lowest course of the cella wall was, following the general tradition, built of great blocks.

The mouldings are few and simple although of slight and

subtle curvature. The only carvings other than the sculpture were simple egg and tongue, and bead and reel mouldings at the antæ; the latter is repeated above the metopes. (Fig. 65.)

In the roofing there are several curious adjustments. The

lowest course from which the marble tiling starts has its upper surface slanting in the same plane, the lower surface being levelbedded on the cornice beneath. On the upper slanting face are worked stops for the cover-pieces of the tiling, keeping them from slipping. Along its edge antifixæ are attached, one over each metope and triglyph. The marble tiles space up three to every two antifixa, which are thus purely "ornamental." The tiles against the edge of the gables curve upwards forming a cymatium to the pediment. At the bottom of the gable the cymatium returns a little way on the flanks, forming blocks from which project fine lions' heads, like spouts, but these also are ornamental. (Fig. 66.) At the bottom of the row of marble tiles which turns up to form the cymatium is affixed on the slant a stone which for about 8 feet up the roof rises flush with the top of the cymatium, and on it, towards the bottom, is worked a

Fig. 63.-Lacunaria.

level seating for the base of an acroterion. This stone is partly caught at the bottom by the block on which is carved the lion's head. All this is best understood from Penrose's minute analysis, but I give a plan from the Stuart papers at the British Museum. (See Fig. 67; A, B, C, D, is the slab bedded on the tiles.)

REFINEMENTS AND IRREGULARITIES.

The lines and planes of the Parthenon are adjusted and modified in many ways from what we are apt to think should be the normal procedure in building. The stylobate on which the columns rest rises in a curve about four inches at the centre of the flanks while at the fronts it rises about three inches. The architrave follows a similar curve. All the columns have a delicate entasis, that is, in diminishing from the base to the capital they follow a curved profile instead of a straight one. The outer columns of the peristyle lean inwards about three inches, being an angle of about 1 in 50. "Vertical" parts of the entablature lean still more; the abaci of the capitals and the faces of the cornice, and other small parts, incline outwards. Perpendicular faces are the exception and not the rule. The

"vertical" axes of the capitals are not in the same line as those of the shafts, they are said to lean forward in a contrary direction.*

The angle columns are larger than the rest, and the inter-columniations next to the angle are considerably less than the others. The inner external order of columns

Fig. 64.-Iron Cramps.

is of more slender proportions than the outer order.

All these adjustments are, we may suppose, entirely intentional, but, notwithstanding the exquisite precision of the work

manship, there are many other irregularities which appear to be accidental or made necessary by circumstances. The columnia

* A level seating is worked on the stylobate for each column to stand on. The beds of the several drums are level except the top ones, which are worked to the general curve the architrave is to follow, the capitals being of equal depth.

tions along the flanks vary among themselves, following no apparent law; the probable reason being that their exact dimensions were taken from the stones intended for the epistyle, which were quarried of slightly varied lengths. The metopes of the fronts vary by two or three inches. At one of the angles the architrave projects more than four inches further on the abacus on one side than the other. The abaci of the columns are largest at the east, and smaller at the south and west. At the north and south they diminish from east to west, but not regularly. To whatever motive, says Penrose, we may attribute these irregularities, we learn that the Greek architects "did depart

somewhat from that strict regularity of proportion of which abundant examples may be found in the plan and elevation of the temple." The idea of proportion here referred to was that of making adjacent parts bear some simple ratio to each other; thus, for example, the sides of the rectangle formed by the upper step of the stylobate were exactly as 9 to 4, and the heights and diameters of the columns, the widths of the abaci, and other parts, seem to have been designed so as to have dimensional relations each with the other.

In regard to the adjustments by inclination and curvature first spoken of, it has been usual to consider them as being intended to correct certain optical defects which it is supposed

the truly horizontal and vertical lines would have presented to the eye, and that by these adjustments they were made to appear perfectly level and perpendicular. This is too much of a "front elevation" idea, for from other points of view the curvature of the stylobate is perfectly visible. The real reason would seem rather to be a desire to sweeten the transitions, and to

Fig. 67.-Plan of Angle of Roof: A, B, C, D, Stone fixed on Tiles ;
L, Lion's Head; x, Antefix; R, Cymatium of Pediment.

create a unity out of the many similar parts. Also, as Penrose has seen, delicate effects of light and shade must have resulted from slight changes in the direction of the surfaces.

ARCHITECTS.

The rebuilding of the Parthenon was only part of Pericles' great scheme for the architectural adornment of the Acropolis. after the close of the Persian wars in 449 B.C. The Nike temple by the Propylæa may have been the first actually begun. An