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allies; when the yeμovía of Athens passed insensibly into a reparvís (Thucyd., ii. 63); when the contribution of ships and men was commuted in most cases for a money payment, and the funds of the confederation were transferred from the Apollonium at Delos to the Athenian Acropolis,—an enormous revenue became at the disposal of the Athenian Government. It is to their credit that so little of it found its way into private pockets. It was natural for the thoughts of a Greek, especially of an Athenian, to turn to the decoration of his city; it was politic that the central city of the Ionian confederacy should be adorned with a beauty equal to her prestige. The buildings connected with the name of Cimon had been chiefly for utility or defence; those of Pericles were mainly ornamental. The first edifice completed by him seems to have been the Odeium, on the E. of the Dionysiac theatre, to serve as a place for recitations by rhapsodists, and for musical performances. It was burnt by Aristion during Sulla's siege of Athens, but afterwards rebuilt. Mention has already been made of the building of the Long Walls and the laying out of the Piraeus by Pericles; but it was the Acropolis itself which witnessed the greatest splendours of his administration. Within its limited area arose buildings and statues, on which the genius of Phidias the sculptor, of Ictinus and Mnesicles the architects, were employed for years; while multitudes of artists and craftsmen of all kinds were busied in carrying out their grand designs.1 The spoils of the Persian War had already been consecrated under Cimon to the honour of the national goddess, in the erection of a colossal statue of Athena by Phidias between the entrance of the Acropolis and the Erechtheium; her warlike attitude gained her the title of Ipóμaxos, and the gleam of her helmet's plume and uplifted spear was hailed by the homeward seaman as he doubled Cape Sunium (Pausan., i 28). But the national deity was to receive yet greater honours at the hand of Pericles. That an old temple stood on the site afterwards occupied by the Parthenon is proved, less by the doubtful expressions of Herodotus (viii. 51, 55), and the testimony of later compilers like Hesychius, than by recent excavations, which reveal that a large temple must have been at least begun upon this spot when the Persian invaders destroyed the old buildings of the Acropolis by fire. Here, then, Pericles proceeded to rear what has ever since been known as the Farthenon. The designer of this masterpiece of architecture was Ictinus; the foundations of the old temple were at his suggestion extended in length and breadth, and thus arose upon the S. side of the Acropolis a magnificent temple of the virgin goddess. It was completed in the year 438 B.U. It stood upon the highest platform of the Acropolis, so that the pavement of the peristyle of the Parthenon was on a level with the capitals of the columns of the east portico of the Propylæa. The temple was built entirely of white marble from the quarries of Mount Pentelicus. Ascending a flight of three steps, you passed through the great east entrance into the Pronaos, wherein was stored a large collection of sacred objects, chiefly of silver. From the Pronaos a massive door led into the cella, called Hecatompedos (véws d 'Ekatóμñedos), because it measured in length 100 Attic feet. The treasure here bestowed consisted chiefly of chaplets and other objects of gold. The west portion of the cella was railed off (by kyxides), and formed the Parthenon proper, i.e., the adytum occupied by the chryselephantine statue by Phidias of Athena Parthenos, a work which yielded the pre-eminence only to one other statue by the same artist, viz., the Zeus at Olympia. In this adytum were stored a number of silver bowls and other articles employed at the Panathenaic festi

1 See the animated description in Plutarch, Pericles, 12, foll.

vals. The westernmost compartment at the rear of the cella was the Opisthodomus, which served as the national treasury; hither poured in the tribute of the Athenian allics. It is important to remember that the Parthenon was never intended as a temple of worship; for this purpose there already existed another temple, presently to be described as the Erechtheium,-standing upon the primeval site of that contest between Athena and Poseidon which established the claim of the goddess to the Attic citadel and soil. The Parthenon was simply designed to be the central point of the Panathenaic festival, and the storehouse for the sacred treasure. The entire temple should be regarded as one vast ávábnua to the national deity, not as a place for her worship. Thus directly in front of her statue in the cella there stood an erection, which has been mistaken for an altar, but which is more probably to be regarded as the platform which the victorious competitors in the Panathenaic contests ascended to receive, as it were from the hand of the goddess, the golden chaplets and vases of olive oil that formed the prizes (see Michaelis's Parthenon, p. 31). This consideration lends significance to the decorations of the building, which were the work of Phidias. Within the outer portico, along the outside of the top of the wall of the building, ran a frieze 3 feet 4 inches in height, and 520 feet in total length, on which were sculptured figures in low relief, representing the Panathenaic procession. Nearly all of these sculptures are in the British Museum, and the entire series has been recently made compléte by casts from the other fragments, and arranged in the order of the original design. The marvellous beauty of these reliefs, which was heightened originally by colour, has been long familiar to all the world from numerous illustrated descriptions. The procession of youths and maidens, of priests and magistrates, of oxen for sacrifice, of flute-players and singers, followed by the youthful chivalry of Athens on prancing steeds-is represented as wending its way from the west towards the eastern entrance. Outside of the building, on the N. and S. sides, the metopes between the Doric triglyphs were filled with sculptures representing scenes from the mythical history of Athens. But the glory of the Parthenon were the sculptures of the E. and W. pediments. Unhappily but a few figures remain, and none are wholly perfect, of the statues which formed these groups; and Pausanias appears to have thought it superfluous to give a minute description of objects so familiar to every connoisseur and traveller. The sculptures on the eastern pediment related to the birth of Athena; the central group was early destroyed by the Byzantine Christians in converting the Parthenon into a church, with the Pronaos for its apse. But nearly all the subordinate figures are preserved in a more or less injured condition in the British Museum. The noble head of the horse of the car of Night, the seated female figures of "The Fates," and the grand torso commonly known as the "Theseus," are familiar to us all. It would be out of place here even to enumerate the many attempts that have been made to reconstruct the groups of either pediment. The sculptures on the W. represented the contest between Athena and Poseidon for the possession of Attica; and although scarcely any portions of these figures are now existing, yet they are better known to us than the E. pediment by means of the faithful (if clumsy) sketches made by the Frenchman Carrey in 1674, when they were in a comparatively perfect state. Those who desire to know all that is to be known concerning the sculptures of the Parthenon should consult the beautiful work of Michaelis, Der Parthenon, while the

* See the remarks of Mr Ruskin, Aratro Pentelica, p. 174. He who desires to enjoy these sculptures, should come from a perusal of Michaelis's eloquent work Der Parthenon, and spend a day in the British Museum with the guide-book in his hand.

measurements and architectural details of the edifice have never been so splendidly given as by our countryman Penrose, in his Principles of Athenian Architecture.

We will turn now to the other buildings of the Acropolis, none of which, however, are so full of significance as the Parthenon itself. For, indeed, standing as it does on the highest point of Athenian soil, its erection marked the culininating point of Athenian history, literature, politics, and art. The" Birth of Athena," over the eastern entrance, may symbolise to us the sudden growth of Athenian greatness, while in the contest between the armed goddess of peaceful wisdom and the violent god of sea, which adorned the western front, we may see an allegory of the long struggle between the agricultural and the maritime interests which forms the central thread of Athenian history.

Opposite to the Parthenon, on the northern edge of the Acropolis, stands another remarkable temple, far smaller in size, and built in the most graceful forms of the Ionic order. The Erechtheium appears to be designed expressly to contrast with the severe sublimity of the Parthenon; and on the side which confronts those mighty Doric shafts, the columns of the smaller building are allowed to trans form themselves into Canephori. The temple of Athena Polias, which contained the ancient wooden image of the goddess, and formed the centre of her worship, suffered from fire in the Persian War (479 B.C.) A building so sacred would hardly have been allowed to remain for long in ruins; but it was reserved for Pericles to set about a complete restoration of it. However, the Peloponnesian War seems to have interrupted his designs, and in the year 409 BC. the edifice was still unfinished, and soon after this it was totally destroyed by fire. But soon afterwards it must have been rebuilt, without doubt retaining all its original features. The temple in its present state consists of an oblong cella extending fom E to W. From each side of the W. end of the cella projects a portico, forming a sort of transept. The eastern portico formed the temple of Athena Polias, upon the site of her ancient contest with Poseidon. The west portion was the Pandroseium, dedicated to Athena Pandrosus. The building thus formed two temples in one, and is styled by Pausanias a denλoûv oinua. It seems at a later time to have been commonly called the Erechtheium, because of a tradition that Erechtheus was buried on this site.

Among the many glories of the Acropolis, the Propylæa are described by Pausanias as being exceptionally magnificent (i 22). They rivalled even the Parthenon, and were the most splendid of all the buildings of Pericles. The western end of the Acropolis, which furnished, and still furnishes, the only access to the summit of the hill, was about 160 feet in breadth,—a frontage so narrow, that to the artists of Pericles it appeared practicable to fill up the space with a single building, which, in serving the main purpose of a gateway, should contribute to adorn as well as to guard the citadel. This work, which rivalled the Parthenon in felicity of execution, and surpassed it in boldness and originality of design, was begun in the archonship of Euthymenes, in the year 437 B.C., and completed in five years, under the directions of the architect Mnesicles. Of the space which formed the natural entrance to the Acropolis, 58 feet near the centre were left for the grand entrance, and the remainder on either side was occupied by wings projecting 32 feet in front of the central colonnade. The entire building received the name of Propylæa from its forming the vestibule to the five door

An important inscription in the British Museum gives a survey of

the works as they stood in that year, drawn up by a commission appointed for the purpose. See Greek Inscriptions in the British Mu seum, vol. i. No. 35.

ways, still in existence, by which the citadel was entered. The wall in which these doors were pierced was thrown back about 50 feet from the front of the artificial opening of the hill, and the whole may therefore be said to have resembled a modern fortification, although, in fact, the Propylæa was designed, not for defence, but for decoration. The whole building was of Pentelic marble. The Megaron or great vestibule in the centre consisted of a front of six fluted Doric columns, mounted upon four steps, which supported a pediment, and measured 5 feet in diameter and nearly 29 in height, with an intercolumniation of 7 feet, except between the two central columns, which were 13 feet apart, in order to furnish space for a carriage-way. Behind this Doric colonnade was a vestibule 43 feet in depth, the roof of which was sustained by six inner columns in a double row, so as to divide the vestibule into three aisles or compartments; and these columns, although only three feet and a half in diameter at the base, were, including the capitals, nearly 34 feet in height, their architraves being on the same level with the frieze of the Doric colonnade. The ceiling was laid upon marble beams, resting upon the lateral walls and the architraves of the two rows of Ionic columns,-those covering the side aisles being 22 feet in length, and those covering the central aisles 17 feet, with a proportional breadth and thickness. Enormous masses like these, raised to the roof of a building, standing upon a steep hill, and covered with a ceiling which all the resources of art had been employed to beautify, might well overcome the reserve of a matter-offact topographer like Pausanias, and at once account for and justify the unusual warmth of his language when he is speaking of the roof of the Propylæa (i. 22). Of the five doors at the extremity of the vestibule, the width of the central and largest was equal to the space between the two central columns of the Doric portico in front, and the same also as that between the two rows of Ionic columns in the vestibule; but the doors on either side of the principal one were of diminished height and breadth, and the two beyond these again were still smaller in both dimensions. These five gates or doors led from the vestibule into a back portico 18 feet in depth, which was fronted with a Doric colonnade and pediment of the same dimensions as those of the western or outer portico, but placed on a higher level, there being five steps of ascent from the western to the level of the eastern portico. From the latter or inner portico there was a descent of one step into the adjacent part of the platform of the Acropolis.

The wings of the Propylæa were nearly symmetrical in front, each presenting on this side a wall adorned only with a frieze of triglyphs, and with antæ at the extremities. The inner or southernmost column of each wing stood in a line with the great Doric columns of the Megaron; and as both these columns and those of the wings were upon the same level, the three porticoes were all connected together, and the four steps which ascended to the Megaron were continued also along the porticoes of the two wings. But here the symmetry of the building ended; for, in regard to interior size and distribution of parts, the wings were exceedingly dissimilar. In the northern or left wing, a porch of 12 feet in depth conducted by three doors into a chamber of 34 feet by 26, the porch and chamber thus occupying the entire space behind the western wall of that wing; whereas the southern or right wing consisted only of a porch or gallery of 26 feet by 16, which, on the S. and E. sides, was formed by a wall connected with and of the same thickness as the lateral wall of the

Megaron, and, on the W. side, had its roof supported by

a narrow pilaster, standing between the N.W. column of the wing and an anta, which terminated its southern wall. In front of the southern or right wing of the

Propylæa there stood, so late as the year 1676, the small | dedicate the prize tripods within the sacred precincts of Ionic temple dedicated to Athena Nike, and commonly the theatre; but when this space was filled, they gradually known by the ancients as the temple of the Wingless extended all along this street, and their erection was made Victory (Níky arrepos), which has already been mentioned more and more a matter of private display. One of these as probably one of the buildings of Cimon. Perhaps shrines still stands, and is well known as the monument of before the 18th century this building was pulled down by Lysicrates. It bears the following inscription upon its the Turks, and the only remains of it-parts of the frieze architrave :-"Lysicrates, son of Lysitheides, of the deme built into a wall-which were known in his day were carried Cicynna, was choragus; the tribe Acamantis gained the off by Lord Elgin, and are now in the British Museum. prize with a chorus of boys; Theon accompanied them In 1835 careful excavations were made under the directions upon the flute; Lysiades of Athens taught them; Euænetus of Professor Ross, when not only were the remains of the was archon." In other words, the date of this monument Propylæa opened up far more clearly than before, but also was 335 B.a. Fifteen years after that a somewhat similar nearly all the fragments of this little temple of Victory were shrine was reared at the topmost summit of the back of discovered; they had been used for building a Turkish the great theatre, where an ancient grotto was by Thrasyllus battery, and so preserved. Thus the temple was at once converted into a choragic monument. The Byzantine restored by a reconstruction of the original fragments. Christians transformed the building into a chapel of the Few quarters of ancient Athens have received more advan- Virgin, under the title of Panaghia Spiliotissa, or Our tage from judicious excavation in recent years than this Lady of the Grotto. Early travellers describe this little western end of the Acropolis. shrine as consisting of three pilasters engaged in a plain wall, surmounted by an inscribed architrave; above was supported a figure of Dionysus, now preserved, but in a much injured state, in the British Museum. On the top of the statue originally rested the tripod that formed the prize of Thrasyllus.

From the disastrous termination of the Peloponnesian war to the yet more fatal defeat at Charoneia, the architectural history of Athens is a blank, only interrupted by the restoration of the Long Walls and the rebuilding of the fortifications of Piraeus by Conon, both of which had been destroyed by Lysander. The financial genius of the orator Lycurgus, whose administration lasted from 338 to 325 B.C., replenished to some extent the exhausted resources of his country. He reorganised her finance, he catalogued and rearranged the sacred and national treasuries, and brought order and efficiency into every department of state. This new impulse made itself felt in building activity. The Dionysiac theatre was now first completed; and though, as we have already seen, many of the sculptures and other marbles recently uncovered on its site are the restorations of a very much later age, yet we may confidently assume that in all material points the theatre as we are now able to view it represents the condition of the building as it stood in the time of Lycurgus. Another remarkable work which signalised his administration was the Panathenaic Stadium. On the southern side of the Ilissus, at right angles to the stream, a hollow space was scooped out of the soil, some 680 feet in length and 130 in breadth. It is possible that the site had been used for gymnastic contests before the orator's time; it was he, however, who first undertook to level it properly and lay it out. But it was reserved for the munificence of Herodes Atticus finally to complete it. He furnished the place with magnificent seats of Pentelic marble, tier upon tier, capable of accommodat ing, at the very least, 40,000 spectators. An attempt was recently made to excavate the Stadium, but it was found that every trace of antiquity had been destroyed, the marble having been used as a quarry for building pur

poses

The administration of Lycurgus is an important era in Athenian architecture; for after his time we never seem to hear of any more buildings having been reared by the Athenian Government. The best-known extant edifices of the period immediately following were the work of wealthy private persons. Round the eastern end of the Acropolis, starting from the eastern entrance of the Dionysiac theatre, then leaving the Odeium of Pericles to the left, and thence sweeping westward to the Agora, there ran a street which formed a favourite promenade in ancient Athens, commonly known as the "Street of Tripods." It gained this name from the small votive shrines which adorned it, supporting upon their summit the bronze tripods which had been obtained as prizes in the choragic contests. The tripods thus mounted often themselves served as a frame to some masterpiece of sculpture, such, for example, as the famous satyr of Praxiteles. It had early become the custom to

The Macedonian period again marks a new epoch in the history of Athenian topography. Henceforward almost every embellishment Athens received was at the hands of the various foreign princes, whose tastes inclined them to patronise a city so rich in historical associations, and so ready to reward each new admirer with an equal tribute of servile adulation. But whatever decoration the city might owe to royal vanity or munificence, her connection with these foreign potentates brought her far more of injury than advantage. She became entangled in their wars, and usually found herself upon the losing side.

Upon the death of Alexander the Athenians claimed their liberty, but they at once had to submit to Antipater (322 B.C.), who placed a garrison in Munychia. It perhaps was he who defaced the ancient Pnyx; at all events, from this time forward the political oratory of Athens became silent for ever. In 318 B.C. Demetrius the Phalerean was made governor of Athens by Cassander, and received every kind of homage from his servile subjects. But as soon as the other Demetrius, surnamed Poliorcetes, appeared in the Piraeus, the Athenians welcomed him with open arms. For restoring to them the forms of democracy he was extolled with abject adulation, and had assigned to him a residence in the Opisthodomus of the Parthenon itself, where he profaned the sanctuary of the virgin goddess with unbridled sensuality. Upon the defeat of Antigonus at Ipsns (301 B.C.), Demetrius fled from Athens, and under Lachares, the leading demagogue of the time, the city enjoyed the shadow of independence. But the demagogue soon developed into a tyrant, and when Demetrius reappeared in 296 B.C. and besieged the city, Lachares had to fly from the indignation of the citizens, taking with him the golden shields that adorned the eastern front of the Acropolis, and having rifled the chryselephantine statue itself. Again, in 268 B.C., Athens endured a long siege from Antigonus Gonatas, who laid waste the surrounding country. Still more disastrous was the ineffectual siege by Philip V. in 200 B.C., who, pitching his camp at Cynosarges, destroyed everything that lay around→→ the temple of Heracles, the gymnasium there, and the Lyceium as well. At length, in 146 B.C., Greece became a Roman province, and Athens succumbed peacefully to the Roman yoke.

During the inglorious period of Athenian history which has just been sketched, several new buildings were reared by the munificence of foreign princes. Ptolemy Philadelphus

gave his name to a large gymnasium-the Ptolemæum built, by him near the Theseium. Attalus I., king of Pergamus, erected a stoa on the north-east of the Agora, and laid out a garden in the Academy. His successor, Eumenes IL (197-159 B.C.), built another stoa near the great theatre. Antiochus Epiphanes designed the completion of the Olympium, a work which was interrupted by his death.

Under the rule of the Romans Athens enjoyed the privileges of a libera civitas, i.e., no garrison was introduced into the town, no tribute was levied upon it, and the constitution was nominally left unaltered. The Areopagus, indeed, under Roman influence, recovered some of its ancient power, and was made to take precedence of the more democratic assemblies of the Boule and Ecclesia. The revision also of the laws by Hadrian would, of course, introduce some changes. Yet it may surely be maintained that Athens under the Roman dominion was in a far better position than in the days before the taking of Corinth by Mummius, when she had been at the mercy of each successive Macedonian pretender. The Romans appear to have shown a remarkable respect for the feelings of the Athenian people. It would be superfluous here to recall the warm expressions of admiration which fall from Cicero and Horace when speaking of Athens.. A visit to Athens was regarded by the educated Roman as a kind of pilgrimage. One great disaster Athens did indeed undergo at the hands of Rome; this was the siege and plunder of the city by Sulla in the Mithridatic Wan Yielding to the threats of the king and the representations of the villainous Aristion, the Athenians had joined the cause of the king of Pontus, and Sulla deliberately resolved to gratify his revenge (Athenæus, v. 47, foll.; Plut., Sulla, 12). After a protracted siege, in which the inhabitants suffered the extreme of famine, mocked at once by the insolence of Aristion within, and pressed by a remorseless foe without, Athens at length was taken on March 1, 86 B.C. Many of the public buildings (happily not the most important) were overthrown, much of the sacred treasure was rifled by the soldiers, and many works of art, together with the library of Apellicon, containing the collections of Aristotle and Theophrastus, were carried off by the cultivated Sulla. The loss of life was also great: large numbers were butchered by the soldiery, and the Agora of Cerameicus flowed with blood. We are told that Sulla was wont to take credit for having "spared Athens." He did not indeed destroy it, but his conduct on this occasion alone would suffice to fix an indelible stain upon his memory. With this disastrous exception, Athens prospered under the Roman rule, and students from all parts of the GræcoRoman world flocked thither to attend the lectures of the philosophers and rhetoricians, or to view the countless works of art that adorned the city. Athenian society grew more and more academic. The current tone of educated circles was antiquarian even to pedantry.2 The inscriptions relating to the Roman period clearly reveal to us the chief interests of contemporary Athenian life. Epitaphs in abundance testify to the delidaovia which delighted in proper names derived from deities and religious ceremonies, and the pride of genealogical pedantry. Honorary decrees abound to justify the charge of adulation which was the reproach of the later Athenians. But the commonest class of monuments are the gymnastic inscriptions, which give

1 The beautiful elegy of Propertius, beginning "Magnum iter ad doctas proficisci cogor Athenas" (iv. 21), is worth referring to.

See note in No. 81 of Greek Inscriptions in the British Museum, also No. 93.

3

Cf. ibid., No. 47; and Cumanudes, 'Errypapal 'ArtikĤs ¿æerbμ- | Bici, passim.

| us lists of the students from all quarters who, while pursuing their studies at Athens, enrolled themselves at a gymnasium, and there had the advantage of a social life and regular discipline, which reminds one somewhat of the college system in the English universities.

But enough has now been said of the condition of Athenian society under the Roman rule; it is time to enumerate the embellishments which the city received during this period. It is uncertain at what exact date the Horologium of Andronicus of Cyrrhus was erected, which is generally known as the Tower of the Winds. It is first mentioned by Varro (De Re Rust., iii. 5, 17), and is therefore older than 35 B.C., though certainly not earlier than the Roman conquest. This monument, so familiar to every scholar, is described by Virruvius (i. 6, 4) as an octagonal tower of marble. It stands at what anciently formed the eastern extremity of the Roman Agora, presently to be described. On each face, beneath the cornice, is sculptured the figure of the wind which blew from the corresponding quarter; on the top of the roof was a pedestal supporting a bronze triton (now destroyed), which was constructed to turn with the wind, and to point out the wind's quarter with a wand which he held in his hand. The sculptured figures of the winds are in good preservation, though of a declining period of art. They represent the four cardinal points and the intermediate quarters between these. Each has his emblems: Boreas, the north wind, blows his noisy conch; Notus, the rainy south wind, bears his water-jar; Zephyrus, the west wind, has his lap full of flowers, and so on. Under each figure are the remains of a sun-dial; and besides all these external features, the interior was constructed to form a water-clock, supplied with water from the spring at the Acropolis called Clepsydra. Thus in cloudy weather a substitute was provided for the dial and the sun.

The Agora in Cerameicus has already been described, and it was there noticed that the name Cerameicus often appears to be employed alone to denote the Agora. This may be easily accounted for. By the munificence of Julius Cæsar and of Augustus, a propylæum of four Doric columns, which still exist, was reared at the N.E. extremity of the Cerameicus Agora. The space between the central columns is about 12 feet, between the side columns not quite 5 feet. Over the pediment is a pedestal, with an inscription in honour of Lucius Cæsar, the grandson of Augustus, whose equestrian statue it appears to have supported. This propylæum has by some archeologists been regarded as a portico of a temple to Athena Archegetis, to whom we learn, from an inscription on the architrave, that the building was dedicated out of the moneys given by Julius and Augustus. But there can be no reasonable doubt that these columns formed the entrance into a new Agora, dedicated to Athens Archegetis, just as it was customary with the Romans to dedicate a forum to some deity, and intended chiefly, it would seem, for the sale of the olive oil which formed so large and characteristic an export from Athens. appears to be proved by the lengthy inscription (see Böckh, Corp. Inscr. Græc., No. 355) which exists immediately within the entrance, and contains an edict of the Emperor Hadrian regulating the sale of oil and, the duties payable upon it. It is easy to understand how, after the erection of the Roman Agora, the old market would be styled 1⁄2 åyopà èv Kepaμck or simply Cerameicus, while the new oil-market would be distinguished as the

This

See Greek Inscriptions in the British Museum, No. 39, and foll. The best account of the condition of Athens under the Romans may be found in a dissertation by H. L, Ahrens, De Athenarum statu politico, &c., and another by Professor Dittenberger, De Ephebia

Attica.

Agora The "Tower of the Winds," which had previously | cular immortalised his name. One was the Stadium, been erected, formed, with its useful timepieces, an appropriate embellishment at the north-eastern extremity. The market was enclosed by a wall, and it was reserved for Hadrian to complete its decoration by building a magnificent stoa on its northern side. Augustus himself received the honour of a small circular shrine upon the Acropolis, dedicated to Augustus and Roma. His son-in-law Agrippa was honoured by an equestrian statue in front of the Propylæa, the pedestal of which still exists. The Agrippeium was a theatre erected by Agrippa in the Cerameicus. It is possible, moreover, that the Diogeneium-the only gymnasium mentioned in the Ephebic inscriptions of the imperial period-was built about this time. Its site has recently been thought to have been discovered about 200 yards east of the Tower of the Winds. Whatever licentiousness and misgovernment might mark the reign of succeeding emperors, they at all events refrained from doing injury to Athens. It had been proposed to finish the great temple of Zeus Olympius in honour of Augustus, but the design fell through, and it was reserved for Hadrian to finally complete the building of this magnificent temple, some six centuries from the time when the first stone was laid.

He

The reign of Hadrian made literally a new era in the history of Athens.2 For Greece, and especially for Athens, this emperor entertained a passionate admiration. condescended to hold the office of archon eponymus; in his honour a thirteenth tribe, Hadrianis, was instituted; and the emperor shared with Zeus the title of Olympius, and the honours of the newly-finished temple. While, however, many portions of the city bore witness to his munificence, it was in the south-eastern quarter that most of his new buildings arose, in the neighbourhood of the Olympium. This suburb was accordingly styled Hadrianopolis, or New Athens, to distinguish it from the old city of Theseus and of Themistocles. The arch of Hadrian still stands in a fairly perfect state, and marks the boundary between the ancient town and the new suburb embellished by Hadrian. On the north-western front of the architrave is the inscription aid' cio' 'Alai Onσéws & πрiv módus; on the other front, αἶδ' εἰσ' Αδριανοῦ καὶ οὐχὶ Θησέως πόλις. At the same time many of the older buildings underwent restoration at his command. Nor was his bounty shown in works of building alone. He ceded to the Athenians the island of Cephallenia, and bestowed upon them large presents of money, and an annual largess of corn.

The immediate successors of Hadrian were guided by his example. Antoninus Pius completed an aqueduct which Hadrian had commenced for bringing water into the town from the Cephisus. Marcus Aurelius visited Athens for the purpose of initiation at the Eleusinian mysteries.

The list of distinguished persons who made themselves famous as benefactors of Athens may be said to close with the name of Herodes Atticus the rhetorician. Herodes had counted Marcus Aurelius amongst his pupils, and was sure of a distinguished career at Rome; but, like the friend of Cicero, he preferred the more peaceful atmosphere of Greece and took the surname of Atticus. His ambition was to excel as a sophist, but he owed his fame yet more to the enormous wealth he inherited from his father, which he spent in works of public munificence. Various towns of Greece and even of Italy were enriched by his bounty, but Athens most of all. In addition to his many other benefactions, two architectural works in parti

1 The name Cerameicus is never used by writers of pre-Roman times for the old market; they always speak of "the Agora." Pausanias uses both words in their more modern meanings respectively.

> Many inscribed documents are found, dated "from Hadrian's first visit. See Dittenberger in the Hermes, 1872. d. 213.

which he adorned with magnificent marble seats. The
other was the Odeium (see Pausan., vii. 20), the ruins of
which are still to be seen under the south-west of the
Acropolis. An odeium resembled a theatre in its general
plan and the purposes it served: it differed apparently in
being roofed in. The ancient theatres were open to the
sky; but the most remarkable feature of this odeium, built
by Herodes in honour of his deceased wife Regilla, was
its roof of cedar, fragments of which were actually dis-
covered in the excavations made upon this site in 1857.
It is a fortunate circumstance that the best and only
extant account of ancient Athens came from the pen of a
traveller who visited the city just at the time when the
munificence of Hadrian and of Herodes had left nothing
more to be added to its embellishment. The Odeium of
Regilla, indeed, had not been commenced when Pausanias
visited Athens, and he describes it later on in his seventh
book. We may place his tour through Athens about the year
170 A.D. His manner of description is as methodical as a
modern guide-book, and his very knowledge and appreciation
of the endless masterpieces of Grecian art prevent him
from covering his pages, like some modern tourists, with
rapturous word-painting and expressions of delight. He
begins his account of Athens (bk. i. ch. i.-ii. § 1) with a
description of the Piraeus and the harbours, and his first
tour is along the road from Phalerum to the city, where he
enters by the Itonian gate, within which he finds a
monument to the Amazon Antiope. In his next tour (ch.
ii. § 2-ch. v.) he supposes us to start again from Piraeus,
and approach the city along the remains of the Long Walls.
Thus entering the city by the Piraan gate, he conducts
us along the southern side of the old Agora (which he
styles the Cerameicus), describing all the buildings that
occur upon the way, from the Stoa Basileius and another
stoa near it, adorned with a statue of Zeus Eleutherius, in
an eastward direction past the temple of Apollo Patrous,
the Metroum, the Bouleuterium, and Tholus, and other
buildings, which lay at the northern and north-eastern foot
of the Areopagus. This walk ends with the mention of
the temple Eucleia and the Eleusinium. It is not easy to
see why Pausanias here introduces an account of the foun-
tain Enneacrunus and the temple of Demeter and Core,
which every archæologist hitherto has placed near the
Ilissus, in the south-eastern extremity of the city. In his
next walk (ch. xiv. § 5-xviii. § 3), having already described
the south side of the Cerameicus Agora, he starts again
from the Stoa Basileius, describes the buildings on the
west and north of the Agora, and then enters the new or
Roman Agora. In this tour he mentions the altar of
Mercy, the gymnasium of Ptolemy, the Theseium, the
temple of Aglaurus, and the Prytaneium. In his next
walk he starts from the Prytaneium, and proceeding east-
ward (ch. xviii. § 4, xix.), he mentions the temples of
Sarapis and of Ileithuia, until, leaving the eastern end of
the Acropolis at some distance on his right hand, he passes
through the arch of Hadrian, and describes the Olympium
and the other buildings of that emperor. This tour included
the temple of Aphrodite v Kois, the Cynosarges, the
Stadium, and other buildings on both sides of the Ilissus.
For his next walk he returns again to the Prytaneium (ch.
xx-xxviii. § 3), and enters the Street of Tripods, which
leads him to the temple and theatre of. Dionysus, which he
describes. Thus he at length reaches the western extremity

3 Curtius and others are probably mistaken in supposing the Dipy. lum to be the gate intended by Pausanias.

Dr Dyer, in his recent work on Athens, Appendix i., endeavours to explain this difficulty by assuming the existence of two fountains called Callirrhoe, one of which (Enneacrunus) he places on the northwest of the Acropolis.

UI. -2

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