Chat. If.

GRECIAN. 71
Fig. lOJ.
nlcs) on tlie temple to tlie goddess at Carya.
"
Tlie third turning to tlie right leads to Carya,
and tlie sanctuary of Diana ; for the neighhourhood of Carya is sacred to that goddess and
her nymphs, 'liie statue of Uiana Caryatis is in the open air; and in this place the Lace-
demoiiian virgins celehrate an anniversary festival with the old custom of the dance."
Kuhuius on the passage in question, after reference to Ilesychius, says,
"
Caryatides etiara
dicuntur Lactena; saltantes, sinistra ausata;, uti solebant Caryatides puelke in honorem
Diana.'."
1 69. From the circumstances above mentioned, we think it may be fairly concluded that
the statues called Caryatides were originally applied to or used about the temples of Diana
;
and that instead of representing captives or persons in a state of ignominy, they were in
fact rejiresentations of the virgins engaged in the worsliip of that goddess. It is probabls
that after their first introduction other figures, in buildings appropriated to other divinities,
were gradually employed ; as in the Pandroseum (attached to the temple of Minerva Polias),
for instance, where they may be representations of the virgins
called Canephoras, who assisted in the I'anathenaic^ procession.
Fig. 104. is a representation of one of those used in the Pan-
droseum (see also
/^r. 10'-'.); undfg. 105. is from the Townleycol-
lt\-'\\\ /H'-
*/M
lection, now in the British JMuseum. Piranesi conjectured that
/f h
^
4\\
/!'
"^^ll
''"^ '''*'' "''^'^ others, supported the entablature of an ancient
^llU-iilll SbriitfJ 'lll\
lloinan building restored by him from some fragments found near
the spot where they were discovered, which is rather more than a
mile beyond the Capo di Bove, near Rome. Four of the statues
were found ;
and on one of the three, purchased by Cardinal Albani,
,lie following inscription was found : KPITflN KAI NIK0AA02
EnOIOTN ;
showing that it was the work of Greek artists.
170. The republican spirit of Greece tended to repress all ap-
pearance of luxury in their private dwellings. The people seem to
have thrown all their power into the splendour and magnificence of
their temples ; and it was not till a late period that their houses received much attention.
Except in the open courts of them, it is difficult to conceive any application of the orders.
It is ceitain that they frequently consisted of more than one story
;
but beyond this all is
conjecture. In the time of Demosthenes
(
Orat. adv. Aiislocratem) the private houses had
begun to be increased in extent ; and the description of them by Vitruvius, who knew
Athens well, proves that they were then erected on an extent implying vast luxury.
171. Within the last few years discoveries have been made at Athens, which would lead
us to the belief that it was the jjractice of the Greeks to jiaint in party colours every portion
of their temples, and that in violently contrasted colours. This has received the name of
poll/chrome architecture. It is rather strange that no ancient writer has spoken of the prac-
tice, and the only way to account for the omission is by sujiposing it to have been so com-
n>on that no one thought of mentioning it. From late investigatioris (Inst, of Brit.
Architects, Trans, i., 1836.), it appears tliat many parts of tlie Parthenon were painted
or "-lit. Thus the coffers of the ceiling were paintid, and its frieze ornamented with
a fret in colours. The whole building, says iVI. Schauhert, as well as other temples,
was thickly painted, in tlie metopse, in the pediment, on t!ie drapery of the figures,
on the capitals, and on all the mouldings. So that, as he says, with great simplicity,
with its mouldings and carvings variously coloured, the simple Doric temple of
Theseus was in effect richer than the most gorgeous example of Corinthian ; and it would
be worth the trouble to restore with accuracy a polychrome temple. From M. Quast
(Miti/ieibmc/eii iiher Alt und Neu Athen, Berlin, 1834), we learn that the colour was not used
in a fluid state merely for the purpose of staining the marble, but in a thick coat, so that
the material was completely covered ; and that in the temple of Theseus this is more
traceable than in any other. Though the colours, that of blue smalt more especially,
have left but a grey crust, yet their original tone is still apparent. In this building deep
blues and reds are the [iredominant colours, so as to relieve one another. The corona was
deep blue, and the gutta; of a brown red
; the foliage of the cymatium was alternately
streaked with blue and red, the ground being green, which colour is applied to the sinall
leaves on some of the lesser mouldings. Some of the cofl'ers are coloured of a red inclining
to purple, on which the ornament is given ; others exhibit a blue ground, with red stars.
The architrave of the portico was a bright red ; the figures in the frieze were painted in
their proper natural colours : traces of the colour show that the walls were green. It
was not discovered that in the columns more than the arrises of the flutes were painted,
although the echinus wa*. We do not doubt the accuracy of IMM. Semper and Quast,
later writers on the same subject, but after all it is possible that ail this painting may have
been executed at a period much later tlian that of the buildings themselves.
172. The most ancient theatres of Greece \\ere constructed in a temporary manner; but
the little security from accident tliey afforded to a large concourse of persons soon made the
Greeks more cautious for their seciarity, and led to edifices of stone, which, in the end, ex-