Dictionary
OLYMPIEUM	100.00%
ODEION	45.67%
The Greek term for a building constrneted for musical performances on the plan of a theatre, but with far slighter proportions and provided with a roof for acoustical purposes. Hence also the stage was not so deep, and ended in three walls which abutted with one another at obtuse angles. [The oldest Odeion in Athens was that in the neighbourbood of the fountain of Enneacrunus (Pausan., i 4, 1), on the Ilissus, south of the Olympieum. This Odeion was probably built in the time of the Pisistratidae.] The building which served as a pattern for all later ones of this kind was the Odeion built by Pericles about 445 B.C., intended at first for the musical contests at the Panathenaic games, but afterwards used by poets and musicians for rehearsals, by philosophers for discussions, and sometimes even for judicial business. This building was restored after its destruction by fire (87 B.C.) by king Ariobarzanes II, Philopator. The first at Rome was built by Domitian (about 86 A.D.); a second by Trajan. That of Herodes Atticus (q.v.) was considered the largest and most magnificent in ancient times: it was built soon after 160 A.D. at Athens, below the south western cliff of the Acropolis, in honour of his deceased wife Annia Regilla, and a considerable part of it is still standing. It held about 8000 persons and had a roof composed of beams of cedar wood.
ARCHITECTURE:	15.62%
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Gradually they begin to show an approximation to buildings with rectangular blocks. The gates let into these walls are closed at the top either by the courses of stone jutting over from each side till they touch, or by a long straight block laid over the two leaning side-posts. Of the latter kind is the famous Lion-gate at Mycenae, so-called from the group of two lions standing with their forefeet on the broad pedestal of a pillar that tapers rapidly downwards, and remarkable as the oldest specimen of Greek sculpture. The sculpture is carved on a large triangular slab that fills an opening left in the wall to lighten the weight on the lintel (fig. 2). Among the most striking relies of this primitive age are the so-called Thesauroi, or treasuries (now regarded as tombs) of ancient dynasties the most considerable being the Treasure-house of Atreus at Mycenae. Theusual form of these buildings is that of a circular chamber vaulted over by the horizontal courses approaching from all sides till they meet. Thus the vault is not a true arch (fig. 3). The interior seems originally to have been covered with metal plates, thus agreeing with Homer's descriptions of metal as a favourite ornament of princely houses. An open-air building preserved from that age is the supposed Temple of Hera on Mount Ocha (now Hagios Elias) in Euboea, a rectangle built of regular square blocks, with walls more than a yard thick, two small windows, and a door with leaning posts and a huge lintel in the southern side-wall. The sloping roof is of hewn flagstones resting on the thickness of the wall and overlapping each other; but the centre is left open as in the hypaethral temples of a later time. From the simple shape of a rectangular house shut in by blank walls we gradually advance to finer and richer forms, formed especially by the introduction of columns detached from the wall and serving to support the roof and ceiling. Even in Homer we find columns in the palaces to support the halls that surround the courtyard, and the ceiling of the banqueting-room. The construction of columns (see ARCHITECTURE, ORDERS OF) received its artistic development first from the Dorians after their migration into the Peloponnesus about 1000 B.C., next from the Ionians, and from each in a form suitable to their several characters. If the simple serious character of the Dorians speaks in the Doric Order, no less does the lighter, nimbler, and more showy genius of the Ionian race come out in the Order named after them. By about 650 B.C. the Ionic style was flourishing aide by side with the Doric. As it was in the construction of Temples (q.v.) that architecture had developed her favourite forms, all other public buildings borrowed their artistic character from the temple. The structure and furniture of private houses (see HOUSE), were, during the best days of Greece, kept down to the simplest forms. About 600 B.C., in the Greek islands and on the coast of Asia Minor, we come across the first architects known to us by name. It was then that Rhaecus and Theodorus of Samos, celebrated likewise as inventors of casting in bronze, built the great temple of Hera in that island, while Chersiphron of Cnosus in Crete, with his son Metagenes, began the temple of Artemis (Diana) at Ephesus, one of the seven wonders of the world, which was not finished till 120 years after. In Greece Proper a vast temple to Zeus was begun at Athens in the 6th century B.C. (see OLYMPIEUM), and two more at Delphi and Olympia, one by the Corinthian Spintharus, the other by the Elean Libon. Here, and in the Western colonies the Doric style still predominated everywhere. Among the chief remains of this period, in addition to many ruined temples in Sicily (especially at Selinus and Agrigentum), should be mentioned the Temple of Poseidon. at Paestum (Poseidonia) in South Italy, one of the best preserved and most beautiful relies of antiquity (figs. 4, 5). The patriotic fervour of the Persian Wars created a general expansion of Greek life, in which Architecture and the sister art of Sculpture were not slow to take a part. In these departments, as in the whole onward movement, a central position was taken by Athens, whose leading statesmen, Cimon and Pericles, lavished the great resources of the State at once in strengthening and beautifying the city. During this period arose a group of masterpieces that still astonish us in their ruins, some in the forms of a softened Doric, others in the Ionic style, which had now found its way into Attica, and was here fostered into nobler shapes. The Doric order is represented by the Temple of Theseus (fig. 6), the Propylaea built by Mnesicles, the Parthenon, a joint production of Ictinus and Callicrates; while the Erechtheum is the most brilliant creation of the Ionic order in Attica. Of the influence of Attic Architecture on the rest of Greece we have proof, especially in the Temple of Apollo at Bassae in South-Western Arcadia, built from the design of the above-mentioned Ictinus. The progress of the Drama to its perfection in this period led to a corresponding improvement in the building of Theatres (q.v.). A stone theatre was begun at Athens even before the Persian Wars; and the Odeum of Pericles served similar purposes. How soon the highest results were achieved in this department, when once the fundamental forms had thus been laid down in outline at Athens, is shown by the theatre at Epidaurus, a work of Polyclitus, unsurpassed, as the ancients testify, by any later theatres in harmony and beauty. Another was built at Syracuse, before B.C. 420. Nor is it only in the erection of single buildings that the great advance then made by architecture shows itself. In laying out new towns, or parts of towns, men began to proceed on artistic principles, an innovation due to the sophist Hippodamus of Miletus. In the 4th century B.C., owing to the change wrought in the Greek mind by the Peloponnesian War, in place of the pure and even tone of the preceding period, a desire for effect became more and more general, both in architecture and sculpture. The sober Doric style fell into abeyance and gave way to the Ionic, by the side of which a new Order, the Corinthian, said to have been invented by the sculptor Callimachus, with its more gorgeous decorations, became increasingly fashionable. In the first half of the 4th century arose what the ancients considered the largest and grandest temple in the Peloponnesus, that of Athena at Tegea, a work of the sculptor and architect Scopas. During the middle of the century, another of the "seven wonders," the splendid tomb of Mausolus at Halicarnassus was constructed (see MAUSOLEUM). Many magnificent temples arose in that time. In Asia Minor, the temple at Ephesus, burnt down by Herostratus, was rebuilt by Alexander's bold architect Deinocrates. In the islands the ruins of the temple of Athena at Priene, of Apollo at Miletus, of Dionysus at Teos, and others, even to this day offer a brilliant testimony to their former magnificence. Among Athenian buildings of that age the Monument of Lysicrates (q.v.) is conspicuous for its graceful elegance and elaborate development of the Corinthian style. In the succeeding age Greek architecture shows its finest achievements in the building of theatres, especially those of Asiatic towns, in the gorgeous palaces of newly-built royal capitals, and in general in the luxurious completeness of private buildings. As an important specimen of the last age of Attic architecture may also be mentioned the Tower of the Winds (q.v.) at Athens.
TEMPLES	13.14%
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All of these were almost as large as the first-mentioned. Only temples like that at Eleusis, in which the celebration of mysteries took place, were intended to accommodate a larger number of people. The great sacrifices and banquets shared by all the people were celebrated in the court of the temple (Gr. peribolos), which included the altars for sacrifice, and was itself surrounded by a wall with only one place of entrance. It was a feature common to all temples that they were not built directly on the surface of the ground, but were raised on a sub-structure which was mounted by means of an uneven number of steps, so that people were able as a good omen to put their right foot on the first and last step. The usual shape of Greek temples was an oblong about twice as long as wide, at the front and back of which was a pediment or gable-roof (Gr.aetos or aetoma; Lat. fastigium). Round temples with dome-shaped roofs were quite the exception. The principal part of the temple was the chamber containing the image of the god. This stood on a pedestal, which was often placed in a small niche, and usually stood facing the east, opposite folding-doors which always opened outwards. Before the image stood an altar used for unbloody sacrifices. This chamber, called in Greek naos, and in Latin cella, generally received its light through the door alone, but sometimes there was also an opening in the roof. There were also temples designated hypoethral (from hypaithros, "in the open air");1 in these there was no roof to the middle chamber of the cella, which was separated from the lateral portions by one or more rows of pillars on each side. Generally each temple belonged to only one god; but sometimes a temple was regarded as the dwelling-place of several deities, either those who were worshipped in groups, as the Muses, or those who were supposed to stand in close alliance or other relationship to each other, such as the twins Apollo and Artemis; and Apollo, as leader of the Muses, together with the Muses themselves. Frequently only one god had an image and altar in the chief cella, while others were worshipped in adjoining chapels. Lastly, there were double temples, with two celloe built in opposite directions. (See ARCHITECTURE, fig. 13.) Many temples had, besides the cella, a kind of "holy of holies" (adyton or megaron) which was only entered by the priests, and only by them at certain times, and which was sometimes under the ground. Usually an open porch or vestibule (pronaos), with pillars in front, stood before the cella, and in it were exposed the dedicatory offerings. There was often also an inner chamber behind the image (opisthodomos) which served for various purposes, the valuables and money belonging to the temple being often kept there. It was surrounded by a wall, and the door was well secured by locks. The various kinds of temples are usually distinguished according to the number and arrangement of the pillars. Thus: (1) A temple in antis (fig. 1) is one in which the pronaos (sometimes also the opisthodomos) was formed by the prolongation of the side walls of the temple (Lat. antoe; Gr. parastades) and by two columns placed between the terminal pilasters of the antoe. (2) Prostylos, with the columns in front (fig. 2), is an epithet descriptive of a temple, the front of whose pronaos was formed in all its breadth by a row of columns quite separate from the walls, and with the columns at the extremities standing in front of the antoe. (3) Amphiprostylos (fig. 3) describes a temple with the columns arranged as in (2) at the back as well as in the front. (4) Peripteros (fig. 4) describes a temple surrounded on all sides by a colonnade supporting the architrave. This is the type most frequently employed by the Greeks. (See PARTHENON, cuts 1 and 2.) (5) Pseudoperipteros ("false peripteros") is an epithet of a temple in which the architrave appears to be carried by pilasters or by "engaged" columns in the walls of the cella. This form is seldom used by the Greeks, but often by the Romans. (6) Dipteros (fig. 5) describes a temple surrounded by two ranges of columns. (7) Pseudodipteros ("false dipteros," fig. 6). A temple surrounded with only a single range of columns, but at such a distance that they correspond in position to the exterior range of the dipteral temple. According to the number of columns in front, which must always be an even number, since the entrance was in the middle, it is usual to distinguish temples as tetra-, hexa-, octa-, deca-, or dodeca-stylos (with 4, 6, 8, 10, or 12 columns). The number of columns along each side was usually one more than twice the number along the front, but this was not the invariable rule. For the architrave and for the columns of the different orders, see pp. 57, 58. The frieze resting on the architrave, and (in the Doric order) the metopes in particular (q.v.), as well as the two pediments (Gr. tympana), were decorated with sculptures, and these sculptures, as well as the walls of the temple often had a more life-like and more varied appearance given to them by appropriate colouring. The coping of the roof, as well as the angles of the pediment, were ornamented by acroteria, which consisted of statues, vases, or anthemia (groups of flowers and leaves; cp. cut to AeGINETAN SCULPTURES). In the plan of their temples the ROMANS originally followed the Etruscans (cp.TEMPLUM, below). The ground-plan of the Etruscan temple was nearly a square, the ratio of the depth to frontage being 6:5. Half of the space was taken up by the cella, and the rest by the columns. The architrave was of wood, and without any special frieze. The great temple with three celloe on the Roman Capitol was built in the Etruscan style, the middle and largest cella being sacred to Jupiter, and the smaller ones on either side to Minerva and Juno. (Cp. JUPITER.) Under Greek influence the different forms of the Greek temple began to be imitated at Rome, the most prevalent type being that described as prostylos, which lent itself most easily to the requirements of a templum in the strict sense of the term. An important alteration in the Greek form of temple was brought about by the introduction of vaulted arches or groined ceilings, which were seldom used by the Greeks, and never on a large scale, but were brought to great perfection by the Romans. They took the form of a cylindrical vaulting in the case of a quadrangular cella, and a dome in the case of the round temples, which were frequent with the Romans. The two principal forms of the latter are (1) the monopteros, which consisted of a single circle of columns standing on a platform mounted by steps and supporting the columns which bore a dome on a circular architrave. (2) The peripteros, with the same arrangement of columns, but with a circular cella in the middle which was covered by a dome rising from the surrounding colonnade. In a third variety, of which we have an example in the Pantheon (q.v.), the circular body of the building is not surrounded by columns externally, but only provided on one side with an advanced portico.