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Encyclopedia Britannica - Main :: POL-PRE |
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PRECINCT OF APOLLO . Scale of Metres to 2U 3P 4? 1 Scale of Yards 10 20 3O If By permission from plan in Ilonrolle. Archives de rintendance Sacede Delos 972 which it dominates by the height of its steps as well as of the terrace already mentioned; its position must have been more commanding in ancient times than it is now that heaps of earth and debris cover so much of the level. The temple was of Doric style, with six columns at the front and back and thirteen at the sides; it was built early in the 4th century B.C.; little if any traces have been found of the earlier building which it superseded. Its sculptural decoration appears to have been but scanty; the metopes were plain. The groups which ornamented, as acroteria, the two gables of the temple have been in part recovered, and may now be seen in the national museum at Athens; at the one end was Boreas carrying off Oreithyia, at the other Eos and Cephalus, the centre in each case being occupied by the winged figure that stood out against the skya variation on the winged Victories that often occupy the same position on temples. To the east of the space in front of the temple was an oblong building of two chambers, with a colonnade on each side but not in front; this may have been the Prytaneum or some other official building; beyond it is the most interesting and characteristic of all the monuments of Delphi. This is a long narrow hall
wall
At the north of the precinct was a broad road, flanked with votive offerings and exedrae, and along the boundary were porticoes and chambers intended for the reception of the Bewpiat or sacred embassies; there are two entrances on this side, each of them through extensive propylaea. At the north-west corner of the precinct is a building of lime-stone, the 'rwpwos oiKOS often mentioned in the inventories of the treasures of the Delian shrine. South of it is the precinct of Artemis, containing within it the old temple of the goddess; her more recent
Within the precinct there were found many statues and other works of art, and a very large number of inscriptions , some of them giving inventories of the votive offerings and accounts of the administration of the temple and its property. The latter are of considerable interest
Outside the precinct of Apollo, on the south, was an open place; between this and the precinct was a house for the priests, and within it, in a kind of court, a set of small structures that may perhaps be identified as the tombs of the Hyperborean maidens. Just to the east was the temple of Dionysus, which is of peculiar plan, and faces the open place; on the other side of it is a large rectangular court, surrounded by colonnades and chambers which served as offices, the whole forming a sort of commercial exchange; in the middle of it was a temple dedicated to Aphrodite and Hermes. To the .north of the precinct of Apollo, between it and the sacred lake, there are very extensive ruins of the commercial town of Delos; these have been only partially cleared, but haveyielded a good many inscriptions and other antiquities. The most extensive building is a very large court surrounded by chambers, a sort of club or exchange. Beyond this, on the way to the east coast, are the remains of the new and the old palaestra, also partially excavated.The shore of the channel facing Rheneia is lined with docks and warehouses, and behind them, as well as elsewhere in the island, there have been found several private houses of the and or 3rd century B.C. Each of these consists of a single:. court surrounded by columns and often paved with mosaic; various chambers open out of the court, including usually one of large proportions, the avSpwv or dining-room for guests. The theatre, which is set in the lower slope of Mount
On the summit of Mount
II. History.Many alternative names for Delos are given by tradition; one of these, Ortygia, is elsewhere also assigned to an island sacred to Artemis. Of the various traditions that were current among the ancient Greeks regarding the origin of Delos, the most popular describes it as drifting through the Aegean till moored by Zeus as a refuge
worship to Athens, but granted to the island various commercial privileges which brought it great prosperity. In 87 B.C. Menophanes, the general of Mithradates VI. of Pontus, sacked the island, which had remained faithful to Rome. From this blow it never recovered; the Athenian control was resumed in 42 B.C., but Pausanias (viii. 33. 2) mentions Delos as deserted but for afew Athenian officials; and several epigrams of the 1st or end century A.D. attest the same fact, though the temple and worship were probably kept up until the official extinction of the ancient religion. A museum has now been built to contain the antiquities found in the excavations; otherwise Delos is now uninhabited, though during the summer months a few shepherds cross over with their flocks from Myconus or Rheneia. As a religious centre it is replaced by Tenos and as a commercial centre by the flourishing port of Syra.See Lebegue, Recherches sur Delos (Paris, 1876). Numerous articles in the Bulletin de correspondance hellenique record the various discoveries at Delos as they were made. See also Th. Homolle, Les Archives de l'intendance sacree d Delos (with plan). The best consecutive account is given in the Guide Joanne, Grece, ii. 443-464. For history, see Sir R. C. Jebb, Journal of Hellenic Studies, 1. (1889), pp. 7-62. For works of art found at Delos see GREEK ART. (E. GR.) DE LOUTHERBOURG, PHILIP JAMES (1740-1812), English artist, was born at Strassburg on the 31st of October 1740, where his father, the representative of a Polish family, practised miniature painting; but he spent the greater part of his life in London, where he was naturalized, and exerted a considerable influence on the scenery of the English stage, as well as on the artists of the following generation. De Loutherbourg was intended for the Lutheran ministry, and was educated at the university of Strassburg. ,As the calling, however, was foreign to his nature, he insisted on being a painter, and placed him-self under Vanloo in Paris. The result was an immediate and precocious development of his powers, and he became a figure in the fashionable society of that day. In 1767 he was elected into the French Academy below the age required by the law of the institution, and painted landscapes, sea storms, battles, all of which had a celebrity above those of the specialists then working in Paris. His debut was made by the exhibition of twelve pictures, including " Storm at Sunset," " Night,'' " Morning after Rain." He is next found travelling in Switzerland, Germany and Italy, distinguishing himself as much by mechanical inventions as by painting. One of these, showing quite new effects produced in a model theatre, was the wonder of the day. The exhibition of lights behind canvas representing the moon and stars, the illusory appearance of running water produced by clear blue sheets of metal and gauze, with loose threads of silver, and so on, were his devices. In ?771 he came to London, and was employed by Garrick, who offered him soo a year to apply his inventions to Drury Lane, and to superintend the scene-painting, which he did with complete success, making a new era in the adjuncts of the stage. Garrick's own piece, the Christmas Tale, and the pantomime, 1781-1782, introduced the novelties to the public, and the delight not only of the masses, but of Reynolds and the artists, was unbounded. The green trees gradually became russet, the moon rose and lit the edges of passing clouds; and all the world was captivated by effects we now take little notice of. A still greater triumph awaited him on his opening an entertainment called the " Eidophusicon," which showed the rise, progress and result of a storm at seathat which destroyed the great Indiaman, the " Halsewell,"and the Fallen Angels raising the Palace of Pandemonium. De Loutherbourg has been called the inventor of the panorama, but this honour does not belong to him, although it first appeared about the same time as the eidophusicon. The first panorama was painted and exhibited by Robert Barker. All this mechanism did not prevent De Loutherbourg from painting. " Lord Howe's Victory off Ushant " (1794), and other large naval pictures were commissioned for Greenwich Hospital Gallery, where they still remain. His finest work was the " Destruction of the Armada." He painted also the Great Fire of London, and several historical works, one of these being the " Attack of the Combined Armies on Valenciennes " (1793). He was made R.A., in addition to other distinctions, in 1781, shortly after which date we find an entirely new mental impulse taking possession of him. He joined Balsamo, comte de Cagliostro, and travelled about with this extraordinary personleaving him, however, before his condemnation to death. We do not hearthat Mesmer had attracted De Loutherbourg, nor do we find an exact record of his connexion with Cagliostro. A pamphlet published in 1789, A List
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