[121] In these novels and in The Dynasts Mr. Hardy allows his personal views to depress one side of the scales: in his lesser novels he has often shown that he can hold the balance even. This distinction should be borne in mind in all the criticisms of his work, which I have ventured to make.

[122] Keats, Preface to Endymion.

[123] Hymn to Demeter, l. 2 ff. The translation is mainly from Pater, Greek Studies. ‘Whom, by the consent of far-seeing, deep-thundering Zeus, Aidoneus carried away, as she played with the deep-bosomed daughters of Ocean, gathering flowers in a meadow of soft grass and roses and crocus and fair violets and iris and hyacinths and the strange glory of the narcissus which the Earth, favouring the desire of Aidoneus, brought forth to snare the flower-like girl. A wonder it was to all, immortal gods and mortal men. A hundred blossoms grew up from the roots of it, and very sweet was its scent, and the broad sky above, and all the earth and the salt wave of the sea laughed to see it. She in wonder stretched out her two hands to take the lovely plaything: thereupon the wide-wayed earth opened in the Nysian plain and the king of the great nation of the dead sprang out with his immortal horses.’

[124] ll. 732 f. (tr. Murray).

[125] Vitruvius, De Architectura.

[126] Pliny the Elder, Historia Naturalis, xxxvi.

[127] Pausanias, Ἑλλαδος Περιηγησις.

[128] Sir Arthur Evans has drawn up an ingenious chronology of Early Minoan (2800-2200 B. C.), Middle Minoan (2200-1700 B. C.), and Late Minoan (1700-1200 B. C.). The evidence is almost entirely that of pottery discovered on the site. The whole question of the relations of Minoan to Mycenaean art, and of this archaic art to the earlier civilizations of Egypt and Chaldea, is very obscure and uncertain.

[129] The heraldic treatment of the lions is of Eastern origin. The Greeks had a tradition that the chieftains of Mycenae came from Lydia.

[130] Portions of these columns are now in the British Museum.

[131] The order, I may say for the uninitiated, means the complete ordonnance of the column, the architrave resting immediately on its capital, the frieze and the cornice. It is the final expression of the simple device of the post and lintel, of the beam resting on the heads of two or more posts; and there is little doubt that in its ultimate origin, the Order is the translation into stone of the details of a rudimentary wooden construction.

[132] Hellenistic Sculpture, by Guy Dickins, p. 85. The author, who wrote with something of the insight of the artist as well as the accurate knowledge of the scholar, died of wounds, on the Somme, in 1916.

[133] Vitruvius, iii. 1. The difficulty was, that if the triglyph was placed on the angle of the building (the practice of the Greeks) and the next triglyph was placed over the axis of the column, the metope (or panel) between these two triglyphs would be larger than the metopes between the triglyphs axial over the other columns. The Greeks solved it by reducing the width of the end intercolumniation, but later critics disliked this, and solved it by removing the end triglyph from the angle and placing it axial over the end column.

[134] Vitruvius gives this as the ‘aedes in antis’.

[135] Pro-style (colonnade in front).

[136] Amphipro-style (colonnade at both ends).

[137] Peripteral (single colonnade all round).

[138] Dipteral (double colonnade all round).

[139] Pseudo-dipteral (inner row of columns omitted).

[140] The Erechtheum was an exception.

[141] See Delphi, by Dr. Frederick Poulsen, p. 52. It is suggested that the Sacred Way was in existence before the shrines were built, and that its wanderings were necessitated by the gradients of the hillside. No sort of attempt, however, seems to have been made to correct this, or to treat it as an element of design.

[142] The Place Vendôme measures 450 ft. × 420 ft.; Grosvenor Square about 650 × 530; and Lincoln’s Inn Fields about 800 × 630, measured from wall to wall of buildings.

[143] Choisy, History of Architecture, vol. i, p. 298.