heaven and earth, dwelleth not in temples made with hands. Forasmuch, then, as we are the offspring of God, we ought not to think that the Godhead is like unto gold, or silver, or stone, graven by art and man's device."

The statue of the Goddess Minerva, executed by Phidias, occupied one apartment of the Parthenon. This statue was thirty-nine feet high, of ivory, covered with gold, and for richness and exquisite beauty of workmanship, was unsurpassed by any statue of antiquity. Another apartment was used for the public treasury.

There are splendid remains of temples of the Doric order in Italy and Sicily. The Greeks founded colonies in both these countries, and the monuments of their genius remain as a testimony to the power and opulence of those colonies. History contains no record of the architects who constructed these mighty temples; even the time when their majestic columns arose, or when they were prostrated in the dust, has been whelmed in oblivion.

There was a temple of Minerva at Syracuse; six temples at Selinus, one of which must have been so magnificent in size, as nearly to rival the massive monuments of Egypt. The porticoes of this temple were supported by Doric columns sixty feet high, and thirty in circumference; the length of the temple was three hundred and thirty-one feet; the immense piles of ruins attest the prodigious size of these temples.

At Agrigentum, are the remains of several temples, the largest of which was the Temple of Jupiter Olympus, one of the most imposing fabrics that was ever reared by man. The capitals of the Doric columns of this stupendous structure measure eight feet and two inches in height. The traveller wanders over these buried ruins with mournful solemnity, meditating upon the might and majesty of the genius of man, and the insufficiency of material structures to render his name immortal.

In Southern Italy are the ruins of Pæstum. Three temples may still be seen, two of which are very perfect. The columns are only a little more than four diameters in height; the entablature very heavy. The whole appearance of the temples, in consequence of these proportions, is less pleasing than that of the Parthenon.

No order can exceed the Doric in chaste simplicity and solemn grandeur. It is well adapted to public edifices, where strength and durability are sought, and where the expression intended is grave and majestic. The straight outlines and large square forms of Egyptian edifices are expressive of power, of strength, and durability, and fill the mind with wonder and awe; the perfect proportions of the Doric temples, with their simple ornaments, excite a different emotion. There is a harmonious distribution of the members, producing perfect unity in the whole building, and the emotion.

of beauty which fills the spectator, though less overpowering, is, perhaps, more pleasurable.

The details too, excite unqualified admiration. Every capital is perfect in its symmetry. The graceful ovolo, swells out into its beautiful form, as polished and smooth as the most delicate shell from "the dark unfathomed caves of ocean." Every stone in the majestic pile was so exquisitely prepared for its neighbour, that not the slightest crevice appears upon the exterior; the whole vast column seems hewn from a single block; the line is perfect to the lifted eye of the wondering artist, as again and again he follows the shaft from its firm rest upon the pavement, to the annulets of its capital.

This chaste and elegant style was the favourite order throughout Greece and its European colonies, until after the Macedonian conquest.

THE IONIC ORDER.

The colonies which were planted by the Greeks in Asia Minor, were called Ionia. Populous and rich, the sciences and arts were cultivated by the Ionians with great success. They have given their name to one of the three orders of Grecian Architecture, but whether they invented it, or only improved upon the Doric, is still a disputed point, not easy, and not important to decide.

The Ionic order is more light and delicate than the

FIG. 13.

Doric; the height of its co

lumn is greater in propor

peculiar ornament is conjectural. The curls in female head-dress; the beautiful spiral forms of seashells, particularly the cornu

ammonis; the graceful unfolding fern; the horns of rams offered in sacrifice, and originally suspended about the temples: these all have been suggested as guiding the artist in designing the volutes of the Ionic capital. Encircling this capital is the eschinus, formed

FIG. 14.

of the egg and dart; and the astragal having a beading formed of one large and two small beads, alternately. These are the mouldings usually found upon the Ionic capital.

The shaft is cut into about twenty-four deep flutes, which are sometimes filled in with reeding, for some distance from the base. The edges of the flutings do not meet like the Doric, but are separated by a flat surface or fillet. In some instances, Ionic shafts were plain, without fluting or reeding. The shafts were usually eight diameters in height.

The Ionic column has a base, and the entablature is

differently ornamented from the Doric. The cornice has dentils or teeth, and the egg and dart moulding; the frieze is generally plain: in some remains of this order it is wanting, the entablature consisting only of cornice and architrave. The triglyphs and sculptured metopes destroyed the unity of the Doric frieze; in the Ionic entablature the horizontal line was unbroken.

The Temple of Erectheus at Athens (Plate VI.) is a beautiful relic of the Ionic order. Its light and graceful proportions, and its beautiful capitals, Fig. 15, have been studied with pleasure and advantage by modern archi

tects.

FIG. 15.

The celebrated Temple of Diana, at Ephesus, was of the Ionic order. It was four hundred and twenty-five feet in length, two hundred and twenty in breadth, and seventy feet in height. This splendid edifice, to which all the Grecian colonies contributed, was wantonly burnt, the same night on which Alexander the Great was born. The object of the villain, who perpetrated the deed, was to render himself famous throughout all time; the Ephesians forbade by a law, with severe penalties, that his name should be uttered. Nevertheless, Erostratus is a name too infamous to be forgotten. It was rebuilt by the artist Dinocrates, and