DOI Page / Citation link:
https://doi.org/10.11588/diglit.4593#0114
THE SHRINES OF ATTICA 97
nificent gateway of marble, the Propylaea, the noblest
and most elaborate portal ever erected by the wor-
shippers of a Greek deity. He turns to the old
Pelasgic wall, and thinks of the ruder days before
this later splendor. He treads with veneration the
stones which mark the ancient temple of Athene,
and stands where her lofty statue doubtless rose.
The Ercchtheum — that exquisite romance in marble
— and the charming temple of Athene Nike are still
here. The Parthenon rises grandly over all. But
on its cella walls is the faded image of the Virgin
Mary which marks the advent of Christianity, and
here and there the architect may trace the vestiges
of the Byzantine church or the Turkish mosque.
Neither Christianity nor Mohammedanism could add
anything to its material glory; and the Parthenon in
strength and dignity rises calmly superior to the
parasites which assailed its beauty. Elsewhere Chris-
tianity built its own temples with a magnificence sur-
passing that of the Parthenon; but here on this grand
old rock Athene still is victor, and the glory of her
temple reveals to us the inspiration toward the beau-
tiful and the sublime which lay in the heart of the
Greek religion.
One of the first impressions which the Parthenon
makes, and which it was intended to make, is that
of simplicity,—-a simplicity combined with strength
and elegance. Here is none of the complexity of
Gothic architecture, no such multiplication of points,
angles, and mere ornament as gives over-elaboration
and richness to the cathedral at Milan. Putting aside
considerations of size and weight, it seems to the
7
nificent gateway of marble, the Propylaea, the noblest
and most elaborate portal ever erected by the wor-
shippers of a Greek deity. He turns to the old
Pelasgic wall, and thinks of the ruder days before
this later splendor. He treads with veneration the
stones which mark the ancient temple of Athene,
and stands where her lofty statue doubtless rose.
The Ercchtheum — that exquisite romance in marble
— and the charming temple of Athene Nike are still
here. The Parthenon rises grandly over all. But
on its cella walls is the faded image of the Virgin
Mary which marks the advent of Christianity, and
here and there the architect may trace the vestiges
of the Byzantine church or the Turkish mosque.
Neither Christianity nor Mohammedanism could add
anything to its material glory; and the Parthenon in
strength and dignity rises calmly superior to the
parasites which assailed its beauty. Elsewhere Chris-
tianity built its own temples with a magnificence sur-
passing that of the Parthenon; but here on this grand
old rock Athene still is victor, and the glory of her
temple reveals to us the inspiration toward the beau-
tiful and the sublime which lay in the heart of the
Greek religion.
One of the first impressions which the Parthenon
makes, and which it was intended to make, is that
of simplicity,—-a simplicity combined with strength
and elegance. Here is none of the complexity of
Gothic architecture, no such multiplication of points,
angles, and mere ornament as gives over-elaboration
and richness to the cathedral at Milan. Putting aside
considerations of size and weight, it seems to the
7