The interior of a Greek temple was simply a rectangular _cella_ or cell where the statue of the god or goddess was set up, and sometimes a smaller chamber behind called the treasury. The smaller temples consisted of the cella only. A row of lighter columns sometimes supported the roof of the cella, as in the case of the Parthenon. It was only in the case of the larger temples that we find more than one cell, while the Egyptian temple was often a maze of large and small chambers, the multitude adding to the mystery sought for in all Egyptian architecture. The Greek temples were usually placed on a basement of steps, and built on elevated positions. The Greeks sought all publicity in the honouring of their deities, and in pleasing the passer-by with the sight of their beautiful buildings, on which their best decoration was shown on the outside. Greek architecture dates from the end of the Archaic age down to the death of Alexander the Great, from about B.C. 600 to B.C. 333. It is usually divided into three Styles or, as they are called, “Orders,” namely, the Doric, the Ionic, and the Corinthian. The Doric represents the European phase of the Greek style, the Ionic and Corinthian having more of the Asiatic features. The three orders were in use in Greece at the same time, that is to say, a more severe and correct phase of the Doric—the older order—was used after buildings in the newer orders had appeared. Thomson, in his “Ode to Liberty,” has alluded to the orders in the lines— “First, unadorn’d And nobly plain, the manly Doric rose; The Ionic then, with decent matron grace, Her airy pillar heaved; luxuriant last, The rich Corinthian spread her wanton wealth.” The Greeks made use of the vertical and horizontal line in their architecture; the curved line was not used, except, of course, in decoration. The half-diameter of the column was the module or unit by which the whole building was measured, and the column was limited in height according to the diameter of its base. This did not preclude freedom in design; on the contrary, freedom was allowed and practised to such an extent that hardly two Grecian buildings of any one order were alike in proportion or design. Even the mouldings were varied in curve and proportion; these members that were with the Romans merely segments of circles, were in section with the Greeks either parts of the curve of the ellipse or parabola, and in many cases were designed by freehand. Some very subtle devices to overcome natural optical effects when viewing the buildings have been discovered by Mr. Pennethorne and Mr. Penrose, more especially in the Parthenon.