writers, that such temples as the Parthenon and the temple of Jupiter at Elis, were lighted from an opening in the roof, I would suggest the mode as given in the woodcut.

This plan will apply to the great temple at Agrigentum, and to the great hexastyle at Pæstum, as, in the first, the cornice of the telamones, and in the latter, the architrave over the columns of the second range, evidently touched the roof.

It has been objected to this view, that the Greeks would have done nothing so inartistic as to break the ridge of the roof of their temples. But there must have been a break in the ridge of the temple of Jupiter Olympius at Athens, as it was hypethral, that is, with an inner court (sine tecto) open to the sky, in the centre of the temple.*

*The authority of a fresco at Pompeii, and of a coin of Juba I., affords a well-grounded supposition that there was in the centre of some of the

A peculiar feature in Greek temples of the best period, and of which the most remarkable instance is to be found in the Parthenon, must not be omitted here, which is the systematic deviation from ordinary rectilinear construction, which has for its object the correction of certain optical illusions arising from the influence produced upon one another by lines which have different directions, and by contrasting masses of light and shade. Almost all lines which are straight and level in ordinary architecture are here delicate curves; and those lines which are usually perpendicular have here a slight inclination backwards or forwards, as the case may be. This peculiarity may be very palpably remarked in the steps of the Parthenon, which rise very perceptibly in the middle, and give to the whole pavement a convex character. The rise is about 3 inches in 100 feet at the fronts, and 4 inches in the flanks. This refinement in the construction of Greek temples was first noticed by Mr. Pennethorne, and afterwards more fully elucidated and developed by Mr. Penrose. Mr. Fergusson's impression, however, with regard to these curves appears to be a just one: that they were nothing more than drainage curves, for the purpose of carrying off the rain.

We must also notice here the practice adopted by the Greek architects of colouring the architectural decorations of the temples. It cannot admit of a doubt, however repugnant to our cherished notions of the purity of Greek taste, that the Greeks adopted the practice of colouring the architectural decorations of their temples. The mouldings of the cornice and ceiling were brought into prominence by the aid of lively colouring. The capitals of the antæ, the mouldings of the pediments, were severally adorned with the designs usually distinguished as the fret, mæander, egg and dart. The triglyphs were also painted blue. Some even believe they have discovered traces of paint on the marble columns; but it has been proved that these traces are not results of painting, but natural oxidation. The Greeks, however, made a careful distinction with regard to the material on which they painted. The old tufa temples were coloured, because the material required colour: the marble temples were white,

larger temples a kind of skylight. This would be an excellent mode of lighting a large temple, but as is evident from the fresco and coin, one without a pediment. This skylight could not have been introduced by the Pompeian painter or on the coin without some authority.

because marble needs no colour. Colouring in marble temples was confined to the mouldings, triglyphs, and other ornaments alone. The marble columns were never coloured. In later times among the Romans, the practice of colouring buildings seems to have degenerated into a mere taste for gaudy colours. Pliny and Vitruvius both repeatedly deplore the corrupt taste of their own times. In Pompeii we have several examples of painted temples. The material, however, painted is always stucco or plaster.

SECTION.IV.-BASILICE.

A BASILICA was a public hall, either of justice, of exchange, or other business, among the Romans. It was generally placed in the forum or most frequented and central part of the city. The plan was usually a rectangle, divided into aisles by rows of columns, that in the middle being the widest, with a semicircular apse at one end, in which the tribunal was placed.

At Rome there were several basilicæ, but the two most splendid buildings of this class were those of Trajan, or the Ulpian, and of Maxentius. We take the following descriptions of them from Mr. Fergusson:

“The rectangular part of Trajan's basilica was 180 feet in width, and a little more than twice that in length, but neither end having yet been excavated, its exact longitudinal measurement has not been ascertained. It was divided into five aisles by four rows of columns, each about 35 feet in height, the centre being 87 feet wide, and the side aisles 23 feet 4 inches each. The centre was covered by a wooden roof of semicircular form, covered apparently with bronze plates richly ornamented and gilt. Above the side-aisles was a gallery, the roof of which was supported by an upper row of columns. From the same columns also sprang the arches of the great central aisle. The total internal height was thus probably about 120 feet. At one end was a great semicircular apse, the back part of which was raised, being approached by a semicircular range of steps. In the centre of this platform was the raised seat of the quæstor or other magistrate who presided. On each side, upon the steps, were places for the assessors or others engaged in the business being transacted. In the front of the apse was placed an altar, where sacrifice was performed before commencing any important public business.

The basilica of Maxentius, which was probably not entirely finished till the reign of Constantine, was rather broader than that of Trajan, being 195 feet between the walls, but it was 100 feet less in length. The central aisle was very nearly of the same width, being 83 feet between the columns, and 120 feet in height. The side aisles were roofed by three great arches, each 72 feet in span, and the centre by an immense intersecting vault, in three compartments. In this building no pillars were used, with the exception of eight great columns in front of the piers, employed merely as ornaments to support in appearance, though not in construction, the springing of the vaults.

The Basilica Julia in the Forum was founded by Julius Cæsar, and inaugurated in B.C. 46. Augustus extended it, but did not witness its completion, as it was destroyed by fire. It was restored several times, the last being in A.D. 377. It has been lately (1871) completely excavated. The plan was a rectangle, about 330 feet long, 159 feet wide. Along the four sides were double aisles, separated by rows of columns, sixteen at each side, and ten at each end, which enclosed a central space 270 feet by 51 feet.

Other basilicæ in the Forum were the Porcia, Æmilia, and Sempronia. An example of a provincial basilica occurs at Treves; it consists of a great hall 85 feet in width internally, and rather more than twice that dimension in length. The walls are about 100 feet in height, and pierced with two rows of windows. At one end was the apse, rather more than a semicircle of 60 feet in diameter. A building of this description has been found at Pompeii, which may be considered a fair example of a provincial basilica of the second class. It is of an oblong form, 220 feet in length by 80. The roof was supported by a peristyle of twentyeight large Ionic columns, constructed of brick. Thus the space between the exterior walls and the peristyle was converted into a covered gallery, where the suitors were sheltered from the weather, while the light was admitted hypæthrally from the centre of the peristyle. The tribunal was placed at the furthest end of the building, and on each side of it were two square chalcidicæ. It has a square termination instead of a semicircular apse.

SECTION V.-ALTARS.

THEIR shape is greatly diversified and depends on their destination, either for the purpose of making libations, or for the sacrifices of living animals, or, in fine, for placing vases, or offerings on them. Votive altars are often remarkable for their simplicity, being made of a single stone, more or less ornamented, and bearing an inscription indicating the reasons and period of their consecration, with the name of the divinity and that of the devotee who had erected it. Many have been discovered belonging to the Greeks and Romans; they must not, however, be confounded with the pedestals of statues dedicated in the same way by the zeal and piety of private individuals. The votive inscriptions bear great resemblance to one another in these two kinds of monuments; but the remains of the soldering of the statues which they bore, or the holes which served to fix them, can be observed on the pedestals.

Egyptian.-Egyptian altars are generally in green basalt and in granite, and made of a single stone. One in the British Museum shows the trench for carrying off the libation. An altar was usually erected before a tomb for presenting the offerings.

Grecian.-Grecian altars, at first of wood, afterwards of stone, and sometimes of metal, are in general remarkable for the taste exhibited in their execution. These altars were of three kinds: those dedicated to the heavenly gods (Boμot) were often structures of considerable height; those of demigods and heroes were low and near the ground (éσxápai); and those of the infernal deities (if such may be called altars) were trenches sunk in the ground (Bólpos, λákкos). They may again be divided into three classes: those for burnt offerings (μπupoɩ); those on which no fire was used, which were meant for offerings of fruit, cakes, &c. (aupoi); and those on which fire might be used to consume vegetable productions, but upon which no blood was to be spilt (avaiμakтo); when dedicated to either of the latter classes it was often nothing more than a raised hearth or step. Each temple usually had two altars; one in the open air before it, for burnt offerings, another before the statue of the god to whom the