194. The Parthenon.—Let others analyze its sculptures and explain the technical reasons why Ictinus and Callicrates, the architects, and Phidias, the sculptor, created here the supreme masterpiece for the artistic world. We can state only the superficialities. It is a noble building by mere size; 228 feet measure its side, 101 feet its front. Forty-six majestic Doric columns surround it; they average thirty-four feet in height, and six feet three inches at the base. All these facts, however, do not give the soul of the Parthenon. Walk around it slowly, tenderly, lovingly. Study the elaborate stories told by the pediments,—on the east front the birth of Athena, on the west the strife of Athena and Poseidon for the possession of Athens. Trace down the innumerable lesser sculptures on the “metopes” under the cornice,—showing the battles of the Giants, Centaurs, Amazons, and of the Greeks before Troy; finally follow around, on the whole inner circuit of the body of the temple, the frieze,[*] showing in bas-relief the Panathenaic procession, with the beauty, nobility, and youth of Athens marching in glad festival; comprehend that these sculptures will never be surpassed in the twenty-four succeeding centuries; that here are supreme examples for the artists of all time,—and _then_, in the face of this final creation, we can realize that the Parthenon will justify its claim to immortality. [*] This, of course, is on the outside wall of the “cella,” but inside the surrounding colonnade. One thing more. There are hardly any straight lines in the Parthenon. To the eye, the members and the steps of the substructure may seem perfectly level; but the measuring rod betrays marvelously subtle curves. As nature abhors right angles in her creations of beauty, so have these Greeks. Rigidity, unnaturalness, have been banished. The Parthenon stands, not merely embellished with inimitable sculptures, but perfectly adjusted to the natural world surrounding.[*] [*] It was an inability to discover and execute these concealed curves which give certain of the modern imitations of the Parthenon their unpleasant impressions of harness and rigidity. We have seen only the exterior of the Parthenon. We must wait now ere visiting the interior, for Phormion is beginning his sacrifice.