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sea from the classical and splendid brow of Athens.

Now was finished the ERECHTHEUM, the great Ionic shrine of the gods of the people. On the

site of the ancient temple of Athene the architect Ictinus erected the magical PARTHENON,

the ideal of Doric grandeur, which the genius of Phidias adorned with a wealth of art

never equaled before or afterwards. The PROPYLJEA were built by Mnesicles--beautiful

colonnades surmounting broad flights of marble steps by which the Acropolis was ascended.

The AGE or PERICLES was the climax of Grecian architecture. The Peloponnesian war and the

wild career of the democracy in Athens were unfavorable to further development, even if

further development had been possible. The same great age witnessed also the highest

achievements of the chisel and the brush. The art of the painter followed that of the

builder. Unfortunately for the world the work of the former was less substantial than that

of the latter. Not a single piece of Greek painting belonging to the period of development

and greatest excellence has been preserved, unless indeed the traditions and reproductions

of the Roman artists should be honored with the name of preservation. The masterpieces of

Plynotus, of Zeuxis, of Apelles have sunk into oblivion; only their imperishable fame,

transmitted by the foreign robbers who despoiled Greece of her treasures, has remained of

what were doubtless the greatest achievements of the human genius displaying its powers on

canvas. All that we can ever hope for is to see faintly reflected in the painting of

Herculaneum and Pompeii the borrowed glories of the pencils of the Greeks.

We are not, however, left wholly in the dark as to the actual power of the Grecian

painters in the adaptation of color and design. Though every canvas of the great masters

has perished, there yet remain the decorated vases of Athens and Corinth. From these we

are able to determine with some degree of satisfaction and within the narrow limits of

decorative art the skill in color and design displayed by the artists, or more properly

the handicraftsmen, of Greece. In these works, we see, as in other branches of the

industry of genius, a gradual development from the mere linear decoration of the primitive

pottery to the highly artistic designs of the classical period, when the figures of