In this description it is impossible to recognize a funeral pyre, although Diodoros uses the word 7upd, for the preparation of the structure demanded considerable time. Diodoros describes also a thick, purple-dyed drapery, so that in this structure of a later date we have an imitation both of the tapestry covering and of the outward form of the Babylonian works.
A similar fantastic work was the great golden chariot which bore Alexander's remains from Babylon to Egypt. Alexander's universal empire did not outlast his death, but the love of display and the luxury which he introduced into Grecian life remained under his successors, who ruled the Greek kingdoms founded upon the ruins of the empire. Mag nificence and luxury became more and more rife in Greece itself and in the Greek colonies in Italy, and buildings everywhere arose.
Theatres, Stadia, may here mention the various theatres— great open, semicircular, unroofed edifices spread out in front of a roofed stage. Portions of these structures exist at lasos, Argos, Sparta, Man tinea, and Megalopolis, the last capable of containing forty thousand spectators, also at Delos, Sikyon, Melos, Telmissos, Assos, Aizanis, Pessi nous, Syracuse, and Segesta, as well as the famous recently-excavated Theatre of Dionysos at Athens. To the theatre was allied the Odeion, of which the one built by Perikles at Athens has already been mentioned (II 6S). Others are at Aperke, in Asia Minor, and at and Catania, in Sicily. Ruins of stadia also occur at lasos, Aphrodisias, Ephesos, and Sikvon, and remains of the stadium at Athens have very recently been discovered. Hippodromes are found at Pessinous, Aizanis, etc.
We have given here the greater number of existing remains of the clays of late Grecian art, although the plans of many reach back to au earlier date. Athens had, in fact, lost its political importance; art no
longer centred there, but was at home everywhere in the empire of Alex ander and the Alexanclrians. The princely courts drew to themselves rhetoricians and philosophers, yet the ancient fame of Athens ever remained, and what the Athenians themselves could not perform was done by stranger-princes who were inspired by her fame. Ptolemy Phil adelphos built a magnificent Attalos I. built in the Ker ameikos a hall for promenading and public assemblage, and Eumenes of Pergamum added a spacious portico to the Theatre of Dionysos.
The Torrer of the monument of this later period of Gre cian art is the so-called " Tower of the Winds" (p1. 6, fig. 9; pl. 8, fig. 6), or the Clock of Andronikos Kyrrhestes, an octagonal building with two small porticoes supported by columns, and a semicircular apse. The figures of the eight winds are carved under the cornice, upon a frieze, and under these, upon the walls, are the lines of a sundial, while a Triton upon the roof with a javelin in his hand serves as a vane. The capitals. of the columns of the porticoes show an elegant calyx-form, and consist of a row of grasslike leaves with a series of acanthus-leaves below (fig. 7). The little building contains a clepsydra, or hydraulic clock, the water for which flowed through an aqueduct borne upon a row of columns con nected by semicircular arches. Part of these still remain, and show how the Greeks in their later days not only adapted to profane purposes forms which they had taken from their temple-architecture, but also used them in connection with vaulted construction.