roof admits a moderate amount of light to the cella; but this ingenious device rests on no positive evidence (see Frontispiece). It seems on the whole most probable that the cella was lighted entirely by artificial illumination; but the controversy in its present state is and must be wholly speculative. [Footnote 9: Lib. III., Cap. I.] The wooden roof was covered with tiles of terra-cotta or marble. It was probably ceiled and panelled on the under side, and richly decorated with color and gold. The pteroma had under the exterior roof a ceiling of stone or marble, deeply panelled between transverse architraves. The naos and opisthodomus being in the larger temples too wide to be spanned by single beams, were furnished with interior columns to afford intermediate support. To avoid the extremes of too great massiveness and excessive slenderness in these columns, they were built in two stages, and advantage was taken of this arrangement, in some cases, at least, to introduce lateral galleries into the naos. [Illustration: FIG. 32.--CARVED ANTHEMION ORNAMENT. ATHENS.] +SCULPTURE AND CARVING.+ All the architectural membering was treated with the greatest refinement of design and execution, and the aid of sculpture, both in relief and in the round, was invoked to give splendor and significance to the monument. The statue of the deity was the focus of internal interest, while externally, groups of statues representing the Olympian deities or the mythical exploits of gods, demigods, and heroes, adorned the gables. Relief carvings in the friezes and metopes commemorated the favorite national myths. In these sculptures we have the finest known adaptations of pure sculpture--_i.e._, sculpture treated as such and complete in itself--to an architectural framework. The noblest examples of this decorative sculpture are those of the Parthenon, consisting of figures in the full round from the pediments, groups in high relief from the metopes, and the beautiful frieze of the Panathenaic procession from the cella-wall under the pteroma ceiling. The greater part of these splendid works are now in the British Museum, whither they were removed by Lord Elgin in 1801. From Olympia, Ægina, and Phigaleia, other master-works of the same kind have been transferred to the museums of Europe. In the Doric style there was little carving other than the sculpture, the ornament being mainly polychromatic. Greek Ionic and Corinthian monuments, however, as well as minor works such as steles, altars, etc., were richly adorned with carved mouldings and friezes, festoons, acroteria, and other embellishments executed with the chisel. The anthemion ornament, a form related to the Egyptian lotus and Assyrian palmette, most frequently figures in these. It was made into designs of wonderful vigor and beauty (Fig. 32).