Having arrived thus far, we cannot do better than give descriptions of some of the more noted edifices belonging to this order, amongst which are the Parthenon, Thescum, the ancient temple at Corinth, the Propyhea at Athens, and the Poscidonium at Ptestum. The following accounts are selected from Mr. Godwin's lectures on Architectural Antiquities." "The Parthenon, or the temple dedicated to the virgin goddess Minerva (the Greek word napOgvog, signifying a virgin), was designed by Ictinus and Callicrates, about the year 43S n. c., whilst Phidias wrought the marble figures into life by his magic touch. This temple, erected upon the site of the old Ilecatompcdon destroyed by the Persians, is justly looked upon as the finest example of the Grecian Doric, and has excited for 22 centuries the admiration and delight of all who have seen it. With the words of the noble author before quoted, all will probably agree. In the majestic simplicity of its general design, the grandeur of its proportions and the exquisite taste and skill displayed in the execution of its ornamental parts, it is undoubtedly the most perfect, as well as deservedly the most celebrated, production of Grecian art.' (Lord Aberdeen's Inquiry, p. 142.) " When Sir George Wheeler and Dr. Spon visited this edifice, A. D. 1676, the temple was entire. In the year 1657 Athens was besieged by the Venetians, when a shell falling on the structure, the Parthenon was reduced to the state in which it was seen by Stuart and Revett. This celebrated temple had at each end a portico of S columns in front, and on the sides were 30 more, making 46 to the colonnade which surrounded the cell of the building. The breadth of the front of the building is 101 feet, the length 22i feet, on the upper step, and the height 65 feet. The columns arc 6 feet 1 inch in diameter, those at the angles are 2_ inches more, and the distance from column to column is 7 feet 11 inches. The sculptures of the Parthenon extended to a range of 1,100 feet, consisting of upwards of 600 figures. Behind the great porticos, there are two of smaller dimensions, which are called the pronaos and posticus ; these inner porticos have in each 6 columns. The portion of the building en closed by the columns was divided by a cross wall into two parts, whereof the larger, called the cella or naos (ship) answered to our nave ; the smaller part, in which was the public treasury, was called the opisthodomus. In this part, according to Wheeler, were six columns, but no vestige re mains of them. The cell, where was placed the famous statue of Minerva by Phidias, was open to the sky in the centre (whence such a temple was called hypethral from the Greek InTO, under, and alqp, crther, air), having a colonnade round it, supporting a gallery above, in which was a second row of columns. These have all likewise disappeared, but the circles were traced by Stuart on the pavement whereon the lower range of columns had stood. The sculptures in the pediment of the eastern front represented the introduction of 1\-Iincrva among the assembled gods, giving us an admirable idea of the mythology of the ancients, each of the deities being distinguished by his or her peculiar symbols. The metopes or spaces between the triglyphs, recorded the bat tles between the Centaurs and the Lapitha, a fruitful subject of illustration among poets as well as sculptors, and a favour ite theme with the Greeks, from their famous heroes Her cules and Theseus bearing a prominent part in the contest ; fifteen of these metopes are in the British Museum. The western pediment contained a representation of the contest between Minerva and Neptune (in the opinions of Colonel Le*ke and Mr. Cockerell, this contest was in the eastern ped iment) ; but the most celebrated sculpture which re presents the Panathenaie procession : this composition is 3 feet 4 inches high, and was continued in the frieze quite round on the outside wall of the cell of the temple. The figures of these groups, which occupy a length of 520 feet, are generally allowed to be of finer execution than those in the metopes.
"' With respect to the beauty of the basso-relievos,' says the great Flaxman, they are as perfect nature as it is pos sible to put into the compass of the marble in which they are executed, and that of the most elegant kind.' Another
sculptor, Rossi, calls them `jewels.' "The Panathenaic procession, which, with fifteen of the metopes, formerly likewise belonging to the Parthenon, now adorns the British Museum, under the name of the Elgin Marbles, consists, as before observed, of many hundred figures. Among them are several equestrian figures, which are designed in the most admirable manner, and are remark able for the varied attitudes of the horses, and for the ease and grace of the riders. Other figures in the procession are charioteers in their cars, one of whom is supposed to be the victor in it chariot-race, as a nian is about to crown Then follow men carrying trays ; then the sacrificers and the oxen, each Athenian colony sending an ox to this great festival. Females are also present ; some carrying dishes or pateras, others bearing pitchers of water. Two of the young fonales had situations of great importance, their office being to carry the sacred baskets. Several gods and goddesses are likewise introduced : they are seated to denote their dignity. These figures arc all in high relief, so that they are visible at sonic distance ; and although it is impossible now to decide how much was the actual work of Phidias himselt; it is probable that they, as well us the other sculptured decorations of the temple, were all designed by the great master. (It is known, he practised the art of painting previously to that of sculpture.) It has been ascertained, that they are as carefully finished behind as before, and in places which could not be visible when once they had reached their destination; hence, it is justly inferred. that all these sculptures had to undergo the riled tPf a searching criticism of the public eye, before they left the artist's studio.
" lu addition to the embellishments already described, which adorned the temple, Phidias made the celebrated statue of Minerva which stood in the cell, or open part of the build ing. This figure, of ivory and gold, was thirty-seven feet high. Pausanias says that it stood erect ; the goddess was represented with her garments reaching to her feet, hel meted, and w ith a Medusa's head on her breast ; in one hand she held a spear, and on the other stood a Victory of about four eiddts high. Monsieur Quartreinere de Quincy, who bestowed great paius 111 investigating the subject of ancient sculpture, has calculated, that t he Val no of the gold employed on this !humus statne was equal to £130,000 sterling.
" A fac-simile of the Parthenon, as tar as the architecture is concerned, has been erected at Edinburgh, on the Calton hill, in a situation resembling the Athenian Acropolis. Mr. Bankes proposed it as the model tor the Fitzwilliam :Museum, at Cambridge. The proportions of its Doric order are imi tated in the portico of Coveet Garden Theatre.
The Temple Theseus which is generally reckoned to belong to the age of Pericles, and earlier in date than the Parthenon, is one of the noblest monuments of Athenian manifieenee, and, in the the time of Stuart, was one of the most perfect. The sanctuary of Theseus was raised by the Athenians after the Modes were at Marathon, when Cirnon, the son of Miltiades, expelled the people of Scyros, a retri bution for the death of Theseus, and carried his bones to Athens.' (Pausanias.) " Plutarch places this event at a date which is generally considered equivalent to the year 467 B. c. The Parthenon is. by some writers, believed to have been commenced about -118 a. c. (the year in which Cimon died), and to have occu pied sixteen years in erection. In the opinion of Lord Aber deen, ' The temple of Theseus may be considered as nearly coeval with the buildings of the Acropolis, or perhaps of an origin somewhat earlier.' (Inquiry, p. 143.) The Thcseum is built of Pentelie marble, and is raised upon two steps, being peculiar in this respect. The portico at each end con sists of six columns in front; at each side are eleven columns, not counting the angle-columns of the portico ; so that the building is surrounded by thirty-four columns. Behind the porticos are others, consisting of only two columns between arum ; there are three deep recesses, which lead to the cell.