painting reached a perfection of form and beauty which had never been attained in any former age. To Pericles the Athenians were indebted for the temple of Pallas, on the Acropolis, and a gate called the Propyloa, which led to the Citadel. Much as had been done to reduce the Doric to perfection, it has been universally acknowledged that the Parthenon which, under Pericles, was erected by Ictinus and Callicrates, and adorned by the sculptures of Phidias, excels all former efforts of Greek art. It was about 228 feet long by 102 feet broad, and sixty-six feet high, having eight columns on the peristyle, and seventeen on each flank, the columns being six feet two inches at the base, and thirty-four feet high. Such was found only in the interior of the Parthenon, in a temple on the Ilyssus, and in the Erechtheium, a PERICLES. structure which is a union of three temples, in one of which caryatide figures were introduced instead of columns. From the time of Alexander the Great until the subjugation of Greece, the three styles of Greek art continued to prevail, but the Corinthian was usually adopted in small edifices. As to the styles, the proportions of the columns often varied. In the Doric the height of the shaft rose from four to six diameters at the base. In the Ionic, the entire column, including base, shaft, and capital, was usually about nine diameters in height, while the Corinthian column reached ten diameters, the base taking up a third of a diameter, the capital a diameter and a third, were the Thesion, the Parthenon, and the Propythus leaving the shaft to be rather more than eight loeum, in the Doric style; the Erechtheion, Panops, diameters in height. The volutes and the slender and Nike Apteros, in the Ionic order, and the columns of the Ionic with its graceful entablature temple of Jupiter Olympus, in the Corinthian style; made the style much lighter than the Doric, while at Eleusis, the Ceres and Propylaeum, both Doric, the leafy capital and lofty shaft of the Corinthian another temple in the same style at Thoricus, and produced a richness of effect that, in after ages, two, also dedicated to Nemesis, at Rhamnus. was much sought after on the structures of the Olympia, Bassæ, Tegea, and Nemea had each a THE PARTHENON AT ATHENS. Roman period. In Greece proper, the edifices in the Corinthian order were usually smaller than those in the Doric and Ionic forms, but in monumental structures and buildings where great delicacy of the parts was required, such as the monument of Lysicrates at Athens, the Corinthian was adopted. Our space forbids an attempt to enter on details in describing even the most important temples which adorned the lands affected by the spirit of Greece. An enumeration of the leading structures and an intimation of their localities and their styles must suffice. In Greece proper, and at Athens, splendid Doric structure. Doric prevailed in Italy and Sicily in the great edifices erected at Pæstum, Agrigentum, Segeste, Selinus, and Syracuse. In Asia Minor the Ionic was adopted in the temples of Diana at Ephesus, Apollo at Miletus, Diana at Magnesia, Minerva Polias at Priene, Bacchus at Teos, and Juno at Samos. Greek temples require an elevated site to bring out the peculiar effect of their style. Placed on an eminence, their peculiar beauty stands out as the spectator contemplates the columns having the obvious purpose of sustaining the architrave and the roof, while all the parts combine to make up a unit. Horizontalism, low pediments, columns near to each other, and a heavy entablature are Grecian characteristics which require elevation to bring out the effect of the edifice. In Greek temples the columns must be near each other because the size of stones to form the entablature can never be very long, and in this respect the Greek can never reach the width between columns that the arch enabled the Gothic architects to display. Simplicity of form and unity of the parts of Greek structures have always appealed to the cultivated mind as an ideal of beauty; while elevation, the upward range of the members, magnitude to any extent, solemnity and reverential awe, combined with great diversity, constitute the peculiar characteristics of the medieval style which yet remains to be described. It is not to be overlooked if the reader would form a correct idea of Greek art, that foreign conceptions and ideas derived from external sources were never permitted to influence their great architects. The relation and harmony of the parts, size, ornaments, all were essentially Greek, and thus there was a blending together of details which produced a unity that secured a perfect plan. In Greek buildings construction was of stone for all the parts. Great magnitude was not so much aimed at as beauty of form and harmony of proportion. Much of the effectiveness of the Greek temple was produced by carrying out a principle which was directly the reverse of that which gives character and power to the Pointed Architecture of the Christian ages. The Greek temple had no windows, and the spectators looked on a dead wall behind the range of the columns which bore up the architrave and the low sloping roof. Behind the capitals, and underneath the architrave, there was an incipient shade, caused by the distance between the columns and the cella or temple house; and thus there was an idea of seclusion and separation, and a feeling of sanctity produced touching the roof for acoustic purposes. Usually the slope of a hill was chosen for their site, the object being to save in the construction of the seats, and to secure a pleasing view in the distance beyond the stage. Even tombs had columnar adornments, while the basilicas or the halls of justice, the gymnasia for bodily training and mental exercises were all supplied with porticos under which the people might rest and enjoy the shade. THE ERECHTHEIUM (RESTORED) AT ATHENS. statue of the god or the goddess that might be enshrined within. The introduction of windows into the walls would have marred the effect of the structure, and, although there was a door under the pediment, yet the size of the opening when contrasted with the mass of the edifice attracted little regard. As the entrances of Egyptian buildings were conspicuous by their form, so in any Greek buildings when openings were introduced for light, the lintels of the windows were shorter than the sills, thus causing the side lines to lean inwards from the perpendicular, a principle which also prevailed in the forms of doors. Then, again, in consequence of the range of the low pediment, and the fact that even the most imposing temples were not lofty, the full effect of the Greek idea could only be realized when the edifice crowned a lofty summit, and the spectator beheld it from below. Much of the power of the Parthenon on the Acropolis, at Athens, and of the great temple at Corinth, placed on a similar elevation, was owing to their peculiar site. Placed in a hollow, and looked at from above, the Greek temple, though never presenting the appearance of meanness, would have failed to elevate the conceptions of the multitude. Columnar architecture affected all classes of Grecian building. Of course, such structures as the Stadium, the Theatre, the Odeum, and others required for public uses by the community, were affected in their forms by the objects for which they were designed. The Stadium for gymnastic exercises was oblong in form, and the Hippodrome for chariot races was similar, but on a more extended scale. The Theatre was usually semicircular, the seats of the audience rising behind each other and facing the stage on which the performers were placed. The Odeum was smaller than the Theatre, and, as it was intended for music, it was covered with a CORINTHIAN ORNAMENTATION. From the Monument to Lysicrates at Athens. BOB CHERIOT, ESQ.; OR, THE TRAGEDY AT CHELMSFORD. BY WARREN WALTERS. fellow in the world. The servants were incited to a proper reverence for Mr. Cheriot, the best horse. man, hunter, and swordsman in the United King dom; and down to Tom, the rascally little stable boy, the most unbounded expectations were aroused. Bob coming! how his mellow voice would troll forth the rattling college choruses. What exploits and mishaps would mingle with the smoke of pipes and the fragrance of wine. How we would laugh and quote doubtful Latin and ragged Greek. I INVITED Robert Cheriot, Esq., to Chelmsford | impressed with accounts of Bob Cheriot, the best to pass Christmastide. Chelmsford was my father's home in Lancashire. Emma and Angelica were the reigning deities of the place. My dear mother was sleeping in the quiet kirkyard, and my father was one of those quiet old gentlemen whose peculiarities are indigenous to the English nation. Mrs. Rulison, governess to Frank and Gertie, was the only other person beside myself who dined at the family table. It was two years since my mother's death, and my sire wished to celebrate the holidays after the old fashion, and had invited a great number of people to the manor-old friends and schoolmates with their full complement of wives and daughters. I, of course, had my friends and my sisters theirs. A goodly crowd there was, too. I was glad of this change, for at times I detected a little morbidness in the genial composition of my father. Bob Cheriot was the one of all others I desired to see, as I had not met him for four or five years, and he had just returned from a tour in America. Bob was quite the best style of a fellow one would wish to meet with. He and I were of the same class in college, inseparable "in the cups," on the race-course, at the battle, and over the precious little intellectual oil we consumed. It makes me glow when I think of those by-gone days, and it seems as if every character made upon this paper ought to dance at the mere recollection. Bob had saved me from "the Jews," carried me home when wine had caused my walk and conversation to be anything but correct. Bob had saved me from an almost certain death. God bless him! Bob had proved the best-hearted, loyal friend I ever had or expect to have among men. I do not think he was particularly brilliant in the way of studies, but his high spirits and bright manner gave him an entree into all men's confidence and regard, and made him a favorite with all of the opposite sex. I had, therefore, the liveliest anticipations of a thoroughly enjoyable time, and had unconsciously risen to a high pitch of excitement, and awaited his coming with feverish impatience. Bob Cheriot coming! What a thrill of emotion pervaded my thoughts. Father, Em, Angelica, Frank, and Gertie were thoroughly I drove to meet him at the Station with my best horses, and was about to turn away disappointed, as the passengers emerged from the coaches and he was not there, when a hand was placed on my shoulder, another extended to meet mine, and a subdued voice said: "Gus, my dear chum, I'm very, very glad to see your face again." I was amazed to hear that sentence, when I had arranged in my mind that I would be greeted with "Well, old fellow, I'm deucedly glad to lay fingers on you again," or "By Jove, Gus, its better than gold to see you." Bob Cheriot, that delicate, wasted, white-faced figure, robed in plain black clothing, without a single bit of jewelry, or one bit of color to relieve the pallid face! The blue veins were distinctly outlined on his small hands; his eyes were sunken and melancholy, while around them were sickly blue rings; the mouth once so expressive of all that was happy and cheery, was moulded in gentle, weary lines; his hair was brushed close to his head, where once it was wont to curl in profusion; the absence of a moustache, together with his attenuated frame, whose propor tions seemed to have been chiseled down one-half, took away all semblance of my schoolmate. A morbid expression masked a once smiling face, and about the mouth were nervous twitchings. Was it opium or liquor, I thought; but I was too much be wildered to ask the reason of it all. I drove rapidly up the road to the house. As I thought of the impression I had created at home, I was quite embarrassed when I gave a sidelong glance at the figure by my side, whose whole appearance betokened a country curate. The youngsters came |