Part 73

“We proceeded toward the east, to ascend Mount Anchesmus, and to enjoy in one panoramic survey the glorious prospect presented from its summit, of all the antiquities and natural beauties in the Athenian plain. We ascended to the commanding eminence of the mount, once occupied by a temple of Anchesmian Jupiter. The pagan shrine has, as usual, been succeeded by a small Christian sanctuary: it is dedicated to St. George. Of the view from this rock, even Wheeler could not write without emotion. ‘Here,’ said he, ‘a Democritus might sit and laugh at the pomps and vanities of the world, whose glories so soon vanish; or a Heraclitus weep over its manifold misfortunes, telling sad stories of the various changes and events of fate.’ The prospect embraces every object, excepting only those upon the south-west side of the castle. The situation of the observer is north-east of the city; and the reader may suppose him to be looking, in a contrary direction, toward the Acropolis, which is in the center of this fine picture; thence regarding the whole circuit of the citadel, from its north-western side, toward the south and cast, the different parts of it occur in the following order, although to a spectator they all appear to be comprehended in one view. The lofty rocks of the Acropolis, crowned with its majestic temples, the Parthenon, Erectheum, &c., constitute the central object. In the foreground is displayed the whole of the modern city of Athens, with its gardens, ruins, mosques, and walls, spreading into the plain beneath the citadel. On the right, or north-west wing, is the temple of Theseus; and on the left, or south-west wing, the temple of Jupiter Olympius. Proceeding from the west to the south and east, the view beyond the citadel displays the Areopagus, the Pnyx, the Ilissus, the site of the temple of Ceres in Agræ, the fountain Callirhoe, the Stadium Panthenaium, the site of the Lyceum, &c. In a parallel circuit, with a more extended radius, are seen the hills and defile of Daphne, or the Via Sacra, the Piræeus, Munychia and Phalerum, Salmais, Ægina, the more distant isles, and Hymettus. A similar circuit, but still more extended, embraces Parnes, the mountains beyond Elusis and Megara, the Acropolis of Corinth, the Peloponnesian mountains, and the Ægean and distant islands. And lastly, immediately beneath the eye, lies the plain of Athens.”

[Illustration: TEMPLE OF JUPITER OLYMPIUS.]

Of the many ruins without the city of Athens, the tourist notices with peculiar interest those of the temple of Jupiter Olympius, as it was the first conceived and the last executed of all the sacred monuments of Athens. It was begun by Pisistratus, but was not finished till the time of the Roman emperor Adrian, which was some seven hundred years afterward. All that remains of this once magnificent building, is seen in the cut on the previous page. Originally there were one hundred and twenty columns supporting this noble temple; but of all these, only some sixteen remain; standing in their silent and solitary grandeur to testify of the triumphs of ancient art, and to the power of Time the destroyer.

TEMPLES OF ELEPHANTA.

The island of Elephanta, distant about two leagues from Bombay, has a circumference of about three miles, and consists of two rocky mountains, covered with trees and brushwood. Near the landing-place is the figure of an elephant, as large as life, shaped out of a rock, and supposed to have given its name to the island. Having ascended the mountain by a narrow path, the visitor reaches the excavation which has so long excited the attention of the curious, and afforded such ample scope for the discussion of antiquarians. With the strongest emotions of surprise and admiration, he beholds four rows of massive columns cut out of the solid rock, uniform in their order, and placed at regular distances, so as to form three magnificent avenues from the principal entrance to the grand idol which terminates the middle vista; the general effect being hightened by the blueness of the light, or rather gloom, peculiar to the situation. The central image is composed of three colossal heads, reaching nearly from the floor to the roof, a hight of fifteen feet. It represents the triad deity in the Hindoo mythology, Brama, Vishnu, and Siva, in the characters of the creator, preserver, and destroyer. The middle face displays regular features, and a mild and serene character; the towering head-dress is much ornamented, as are those on each side, which appear in profile, lofty, and richly adorned with jewels. The countenance of Vishnu has the same mild aspect as that of Brama; but the visage of Siva is very different: severity and revenge, characteristic of his destroying attribute, are strongly depicted; one of the hands embraces a large _cobra de capello_; while the others contain fruit, flowers, and blessings for mankind, among which the lotus and pomegranate are readily distinguishable. The former of these, the lotus, so often introduced into the Hindoo mythology, forms a principal object in the sculpture and paintings of their temples, is the ornament of their sacred lakes, and the most conspicuous beauty in their flowery sacrifices.

On either side of the Elephanta triad, is a gigantic figure leaning on a dwarf, an object frequently introduced in these excavations. The giants guard the triple deity, and separate it from a large recess filled with a variety of figures, male and female, in different attitudes: they are in tolerable proportion, but do not express any particular character of countenance: one conspicuous female, like the Amazons, is single-breasted; the rest, whether intended for goddesses or mortals, are generally adorned, like the modern Hindoo women, with bracelets and rings for the ankles; the men have bracelets only. The intervening space between these figures is occupied by small aerial beings, hovering about them in infinite variety. The larger images in these groups are in alto-relievo, and most of the smaller in basso-relievo, brought sufficiently forward from the rock to produce a good effect. The sides of the temple are adorned with similar compositions, placed at regular distances, and terminating the avenues formed by the colonnades, so that only one group is seen at a time, except on a near approach; and the regularity and proportion of the whole are remarkably striking. The figures are in general in graceful attitudes; but those of herculean stature do not indicate any extraordinary muscular strength. Among many thousands of them, few of the countenances express any particular passion, or mark a decided character: they have generally a sleepy aspect, and bear a greater resemblance to the tame sculpture of Egypt than to the animated works of the Grecian chisel. From the right and left avenues of the principal temple are passages to smaller excavations on each side: that on the right is much decayed, and very little of the sculpture remains entire. A pool of water penetrates from it into a dark cavern far under the rock; but whether natural or artificial, has not been decided. A small corresponding temple on the left side, contains two baths, one of them elegantly finished: the front is open, and the roof supported by pillars of a different order from those in the large temple; the sides are adorned with sculpture, and the roof and cornice painted in mosaic patterns; some of the colors are still bright. The opposite bath, of the same proportions, is less ornamented; and between them is a room detached from the rock, containing a colossal representation of the _lingam_, or symbol of Siva. Several small caves branch out from the grand excavations.

An anecdote is related by Mr. Forbes, in his “Oriental Memoirs,” relative to these sculptured monuments. He accompanied an eminent English artist on his first visit to the Elephanta. “After the glare of a tropical sun, during the walk from the landing-place, it was some time before the eye had accommodated itself to the gloom of these subterraneous chambers, sufficiently to discriminate objects in that somber light. We remained for several minutes without speaking, or looking particularly at each other: at length, when more familiarized to the cavern, my companion still remaining silent, I expressed some fear of having been too warm in my description, and that like most other objects, the reality fell short of the anticipated pleasure. He soon relieved my anxiety by declaring, that however highly I had raised his imagination, he was so absorbed in astonishment and delight, on entering this stupendous scene, as to forget where he was. He had seen the most striking objects of art in Italy and Greece; but never anything which filled his mind with such extraordinary sensations.” So enraptured was this artist with the spot, that after staying until a late hour, he quitted it most reluctantly. The caves of the isle of Elephanta can not be sufficiently admired, when the immensity of such an undertaking, the number of artificers employed, and the extraordinary genius of its projector, are considered, in a country until lately accounted rude and barbarous by the now enlightened nations of Europe. Had this work been raised from a foundation, like other structures, it would have excited the admiration of the curious; but when the reflection is made, that it is hewn inch by inch in the hard and solid rock, how great must the astonishment be at the conception and completion of the enterprise!

TEMPLES OF SALSETTE.

The excavations of the island of Salsette, also contiguous to Bombay, are hewn in the central mountains. The great temple is excavated at some distance from the summit of a steep mountain, in a commanding situation. This stupendous work is upward of ninety feet long, thirty-eight wide, and of a proportionate hight, hewn out of the solid rock, and forming an oblong square, with a fluted concave roof. The area is divided into three aisles by regular colonnades, similar to the ancient basilic, a pile of building twice as long as it was wide, and one of the extremities of which terminated in a hemicycle, two rows of columns forming a spacious area in the center, and leaving a narrow walk between the columns and the wall. In these _basilici_ the Roman emperors of the east frequently administered justice. This magnificent excavation at Salsette appears to be on the same plan, although, doubtless, intended for a place of worship. Toward the termination of the temple, fronting the entrance, is a circular pile of solid rock, nineteen feet high, and forty-eight in circumference, most probably a representation of the _lingam_, the symbol already alluded to in the description of the temples of Elephanta. In this temple there are not any images, nor any kind of sculpture, except on the capitals of the pillars, which are in general finished in a very masterly style, and are little impaired by time. Several have been left in an unfinished state; and on the summit of others is something like a bell, between elephants, horses, lions, and animals of different kinds.

The lofty pillars and concave roof of the principal temple at Salsette present a much grander appearance than the largest excavation at the Elephanta, although that is much richer in statues and bass-reliefs. The portico at Salsette, of the same hight and breadth as the temple, is richly decorated: on each side a large niche contains a colossal statue, well executed; and facing the entrance are small single figures, with groups in various attitudes, all of them in good preservation. The outer front of the portico, and the area before it, corresponding in grandeur with the interior, are now injured by time, and the moldering sculpture intermingled with a variety of rock-plants. On the square pillars at the entrance are long inscriptions, the characters of which are obsolete, and which modern ingenuity has not as yet succeeded in deciphering. Further up the mountain, a flight of steps, hewn in the rock, and continued to the summit, leads, by various intricate paths, to smaller excavations, most of which consist of two rooms, a portico and benches, cut in the rock. To each is annexed a cistern of about three cubic feet, also hewn in the rock, for the preservation of rain-water. Some of these excavations are larger and better finished than others; and a few, although inferior in size and decoration, in their general effect resemble the principal temple.

The whole appearance of this excavated mountain indicates it to have had a city hewn in its rocky sides, capable of containing many thousand inhabitants. The largest temple was, doubtless, their principal place of worship; and the smaller, on the same plan, inferior ones. The rest were appropriated as dwellings for the inhabitants, differing in size and accommodation according to their respective ranks in society; or, as it is still more probable, these habitations were the abode of religious Bramins, and of their pupils, when India was the nursery of art and science, and the nations of Europe were involved in ignorance and barbarism.

MAUSOLEUM OF HYDER ALI.

This splendid monument of oriental grandeur is situated at the western extremity of the great garden of Seringapatam, a city of Hindoostan, and capital of the Mysore territory. It is surrounded by a grove of beautiful cypress-trees, and was erected by Tippoo Saib in honor of the deceased sovereign, his father. Beneath tombs of black marble, elevated about eighteen inches from the ground, lie the bodies of Hyder Ali, his consort, and Tippoo Saib. They are covered with rich cloths, and have canopies over them. The whole of this sumptuous edifice is, together with its dome, supported by brilliantly polished black marble columns. It is surrounded by a magnificent area, within which the faquirs have cells allotted to them; and on an elevated platform are the tombs of several faithful servants. The mosque annexed to it is flanked by two towers. The moulahs stationed there still publicly read the Koran; and three pagodas are daily distributed in charity at the mausoleum.

THE TAJE MAHAL.

This grand mausoleum, which stands due north and south, on the southern bank of the river Jumna, was built by command of the emperor Shah Jehan for the interment of his favorite sultana Momtaz-mehl, or Montazal Zumani, the “preëminent in the seraglio,” or “paragon of the age,” and at his death his remains were also here deposited, by order of his son Aurungzebe. This building, in point of design and execution, is one of the most extensive, elegant, commodious, and perfect works ever undertaken and finished by one man. To this celebrated architect Shah Jehan gave the title of Zerreer-dust, or “jewel-handed,” to distinguish him from all other artists. It is built entirely of pure white marble, on an immense square platform of the same material, having a lofty minaret of equal beauty at every corner. On each side and behind the imperial mausoleum, is a suite of elegant apartments, also of white marble, highly decorated with colored stones. The tombs and other principal parts of this vast fabric are inlaid with wreaths of flowers and foliage in their natural colors, entirely composed of carnelians, onyxes, verd-antique, _lapis lazuli_, and a variety of agates, so admirably finished as to have the appearance of an ivory model set with jewels. It was commenced in the fifth year of the reign of the emperor Shah Jehan, and the whole completed in sixteen years, four months, and twenty-one days. It cost ninety-eight lacs, or nine million, eight hundred and fifteen thousand rupees, equal to more than six million dollars, although the price of labor then was, and still continues to be, very reasonable in India.

GREAT WALL OF CHINA.

This stupendous wall, a view of which is given in the cut below, extends across the northern boundary of the Chinese empire, and is deservedly ranked among the grandest labors of art. It is conducted over the summits of high mountains, several of which have an elevation of over five thousand feet, across deep valleys and over wide rivers, by means of arches: in many parts it is doubled or trebled, to command important passes; and at the distance of nearly every hundred yards is a tower or massive bastion. Its extent is computed at fifteen hundred miles; but in some parts, where less danger is apprehended, it is not equally strong or complete, and toward the north-west consists merely of a strong rampart of earth. Near Kookpekoo it is twenty-five feet in hight, and the top about fifteen feet thick: some of the towers, which are square, are forty-eight feet high, and about forty feet in width. In its strongest parts, and for hundreds of miles in extent, this wall is so thick as to allow six men on horseback to ride upon it. The structure consists of two parallel walls of solid masonry, filled in between with earth; the top is paved with stone. The stone employed in the foundations, angles, &c., is a strong gray granite; but the materials for the most part consist of bluish bricks, and the mortar is remarkably pure and white. The amount of materials used in constructing this wall, is immense. In a lecture on China, given a year or two since in England, Dr. Bowring said it had been calculated, that if all the bricks, stones and masonry of Great Britain were gathered together, they would not be able to furnish materials enough for the wall of China; and that all the buildings in London put together would not make the towers and turrets which adorn it.

[Illustration: GREAT WALL OF CHINA.]

The area of the construction of this great barrier, which has been and will continue to be the wonder and admiration of ages, is considered by Sir George Staunton as having been absolutely ascertained; and he asserts that it has existed for two thousand years. In this assertion he appears to have followed Du Halde, who informs us that “this prodigious work was constructed two hundred and fifteen years before the birth of Christ, by order of the first emperor of the family of Tsin, to protect three large provinces from the irruptions of the Tartars.” However, in the history of China, contained in his first volume, he ascribes this erection to the second emperor of the dynasty of Tsin, named Chi Hoang Ti; and the date immediately preceding the narrative of this construction is the year 137 before the birth of Christ. Hence suspicions may arise, not only concerning the epoch when this work was undertaken, but also as to the purity and precision of the Chinese annals in general. Mr. Bell, who resided some time in China, and whose travels are deservedly esteemed for the accuracy of their information, assures us that this wall was built somewhere about the year 1160, by one of the emperors, to prevent the frequent incursions of the Monguls, whose numerous cavalry used to ravage the provinces, and effect their escape before an army could be assembled to oppose them. Renaudot observes that this wall is not mentioned by any oriental geographer whose writings boast a higher antiquity than three hundred years; and it is surprising that it should have escaped Marco Paulo, who, admitting that he entered China by a different route, can hardly be supposed, during his long residence in the north of China, and in the country of the Monguls, to have remained ignorant of so stupendous a work. Amid these difficulties, it may be reasonably conjectured, that similar modes of defense had been adopted in different ages; and that the ancient rude barrier, having fallen into decay, was replaced by the present erection, which, even from its state of preservation, can scarcely aspire to a very remote antiquity.

[Illustration: PORCELAIN TOWER AT NANKIN.]

PORCELAIN TOWER AT NANKIN.

This elegant and commodious building, a very correct idea of which may be formed from the cut on the preceding page, may be regarded as a fine specimen of the oriental pagodas. The tower is about two hundred feet in hight, and derives its name from its having a porcelain coating. The Portuguese were the first to bestow on these superb edifices the title of pagodas, and to attribute them to devotional purposes. There can be little doubt, however, that in many instances they have been rather erected as public memorials or ornaments, like the columns of the Greeks and Romans. Mr. Ellis, in his “Journal of the Embassy to China,” relates that, in company with three gentlemen of the embassy, he succeeded in passing completely through the uninhabited part of the city of Nankin, and in reaching the gateway visible from the Lion hill. The object of the party was to have penetrated through the streets to the porcelain tower, apparently distant two miles. To this, however, the soldiers who accompanied them, and who from their willingness in allowing them to proceed thus far, were entitled to consideration, made so many objections, that they were forced to desist, and to content themselves with proceeding to a temple on a neighboring hill, from which they had a complete view of the city. From this station the porcelain tower presented itself as a most magnificent object.

THE SHOEMADOO AT PEGU.

The object in Pegu that most attracts and most merits notice, says Mr. Symes in his “Embassy to Ava,” is the noble edifice of Shoemadoo, or the Golden Supreme. This extraordinary pile of buildings is erected on a double terrace, one raised upon another. The lower and greater terrace is about ten feet above the natural level of the ground, forming an exact parallelogram: the upper and lesser terrace is similar in shape, rising about twenty feet above the lower terrace, or thirty above the level of the country. Mr. Symes judged a side of the lower terrace to be thirteen hundred and ninety-one feet; of the upper, six hundred and eighty-four. The walls that sustained the sides of the terrace, both upper and lower, are in a ruinous state; they were formerly covered with plaster, wrought into various figures; the area of the lower is strewed with the fragments of small decayed buildings, but the upper is kept free from filth, and is in tolerable good order. There is reason to conclude that this building and the fortress are coeval, as the earth of which the terraces are composed appears to have been taken from the ditch; there being no other excavation in the city, or in its neighborhood, that could have afforded a tenth part of the quantity.

The terraces are ascended by flights of stone steps, which are now broken and neglected. On each side are dwellings of the Rhahaans, raised on timbers four or five feet from the ground: these houses consist only of a large hall; the wooden pillars that support them are turned with neatness; the roofs are covered with tiles, and the sides are made of boards; and there are a number of bare benches in every house, on which the Rhahaans sleep; but we saw no other furniture.