of the Buddhist is of sacred shrines, tombs lifted into the air, so that the worshippers might look up at the pagoda, in which were contained the holy relics. The Greek temples were for a worship of display visible pageants, not dark interiors for hidden mysteries as in Egypt; but lovely façades, where the spirit of intellectual beauty is made manifest, where every apparently straight line is tenderly curved to satisfy the fastidious Hellenic eye; where proportion, measure, restraint, unity, show to us art at the highest point ever reached on earth, the glory of Greece, and the despair of the rest of mankind. But the Greek temples took their form from the nature of the religion, which was one of festivals and out-door ceremonies. The exterior was everything, the interior a mere cell to contain the priestly apparatus, or at most a chamber for an image. The colonnades around the Parthenon were for the purpose of an ambulatory, where on festivals the processions marched round and round between the columns, appearing and disappearing to the eyes of the people gazing up from below. Such was the Parthenon and the Temple of Jupiter at Athens, the latter having two rows of columns and two aisles along its sides, three rows of columns on the back and four rows in front.

§ 9. Jewish and Christian Architecture.

The object of the Jewish temple was entirely different, and consequently its magnificent architecture was wholly opposed in style to that of Greece. The Hellenic worship was visible worship, to be seen by all; so its decorations were on the outside of the temple.

The Jewish worship was exclusive; therefore, thick and high walls of stone surrounded the temple, with gates so massive that it took twenty men to open and close them every morning and evening. The beautiful colonnades and gates were all inclosed within this wall, so that the building was in fact a fortress, and so defensible that it resisted the assaults of the Roman engines long after the rest of the city was taken. Even the outer court of the Gentiles, further than which they might not penetrate under pain of death, was thus shut in; and the courts of the Jews, of the women, of the priests, and the holy place itself, were surrounded by other walls. An exclusive holiness was the type of this style of architecture.

The pointed or Gothic architecture of the middle ages sprang up in like manner out of the character of Christian worship. The Greek temples were beautiful without, to be seen by all men. The Jewish were glorious within, for the exclusive worship of a chosen people. Those of Egypt were

significant of mysteries, and to their dark interiors only the initiated were admitted. But Christianity, whose nature it was to fulfill in itself all forms of righteousness, built its cathedrals beautiful both without and within. The exterior, in which the perpendicular line predominates, indicated the aspiration of all human souls to heaven. The interior, whose lofty aisles and domes sheltered with protecting roof the worshippers, spoke of the divine love which bends around every trusting heart to comfort and bless. The stained glass admitted the common light of day, but made it speak, as it passed in through saintly forms, of a Christian holiness, given to lighten every man who comes into the world. Thus Christian ideas created a new style of art, before unknown, and which no one could have predicted before it arrived. In one or two centuries it covered Europe with the marvelous beauty of its cathedrals, as in Antwerp, Cologne, Strasburg, Friburg in Belgium and Germany; at Pisa and Milan in Italy; Salisbury, Canterbury, and York in England; and in many other like examples.

§ 10. Mohammedan Art.

Perhaps, however, there is no more striking example of the power of a new faith to create a wholly new style of art than in the case of Mohammedanism. The sudden rise and rapid spread

of Islam is one of the most startling events in the history of mankind. In one or two centuries this great wave swept from Arabia westward across Africa to the Atlantic, rolling on in a flood of conquest into Spain, and to the east pushing over Syria and Persia into India and Turkistan. And out of this movement came a new form of civilization, new inventions and discoveries, a new literature, and finally new forms of art. Especially the Saracenic architecture extended itself from India on the east to western Spain, carrying all its peculiarities, its delicate forms, exquisite tracery, lofty minarets, egg-shaped or bulb-shaped domes, and long arcades. Being as exclusive a religion as that of the Jews, it usually confined its ornaments to the interior, and had vast courts within for its worshippers. The numerous domes of this style seem to symbolize the protecting dome of sky, type of the unity of God in its vast, undivided expanse, its infinite depth and all-surrounding presThe minarets express the perpetual declaration of faith in one God and his prophet, and its call on all people to receive his teaching. The whole architecture shows the combined activity, poetic tendency, and quick, light movements of the Saracenic races.

ence.

Thus is art the child of religion, every form of religion producing its own form of art, for

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"Out of thought's interior sphere

These wonders rose to upper air."

So sculpture, appearing first on the walls of Egyptian temples, passed into Greece, and in that human religion, where all the gods were men and women, created its marvelous statues. At Athens rose the colossal form of the divine virgin PallasAthené, carved of gold and ivory. Tranquil serenity, serious purpose, self-conscious power and clear-sighted intellect were the characteristics of this goddess, and it is to the credit of the Athenians that they chose such a pure being for the guardian of their city. Still more wonderful was Olympia, whose majesty

the Phidian Jupiter at

was such that it was an event in life to have seen it, and not to have seen it before death one of the greatest of calamities.

§ 11. Greek Art.

It has hardly been noticed that the elevated character of the Greek religion is due, not to the poets, but to the sculptors and philosophers. Homer and Hesiod were severely blamed by the more serious Greeks, for presenting the deities as often frivolous and sometimes immoral. Such gods as they described, were hardly objects of reverence. The Greeks had no sacred books and no prophets; instead of sacred books they had their wonderful statues; instead of prophets, such teachers as Soc