"Acre, or St. Jean d'Acre, celebrated under this name in the history of the Crusades, and in antiquity known by the name of Ptolemais, had, by the middle of the 18th century, been almost entirely forsaken, when Sheik Daher, the Arab rebel, restored its commerce and navigation. This able prince, whose sway comprehended the whole of ancient Galilee, was succeeded by the infamous tyrant, Djezzar-Pasha, who fortified Acre, and adorned it with a mosque, enriched with columns of antique marble, collected from all the neighbouring cities." _M. Malte-Brun, System of Univ. Geog., book 28 (volume 1)._ ACRE: A. D. 1799.--Unsuccessful Siege by Bonaparte. See FRANCE: A. D. 1798-1799 (AUGUST-AUGUST). ACRE: A. D. 1831-1840. Siege and Capture by Mehemed Ali. Recovery for the Sultan by the Western Powers. See TURKS: A. D.1831-1840. ACROCERAUNIAN PROMONTORY. See KORKYRA. ACROPOLIS OF ATHENS, The. "A road which, by running zigzag up the slope was rendered practicable for chariots, led from the lower city to the Acropolis, on the edge of the platform of which stood the Propylæa, erected by the architect Mnesicles in five years, during the administration of Pericles. ... On entering through the gates of the Propylæa a scene of unparalleled grandeur and beauty burst upon the eye. No trace of human dwellings anywhere appeared, but on all sides temples of more or less elevation, of Pentelic marble, beautiful in design and exquisitely delicate in execution, sparkled like piles of alabaster in the sun. On the left stood the Erectheion, or fane of Athena Polias; to the right, that matchless edifice known as the Hecatompedon of old, but to later ages as the Parthenon. Other buildings, all holy to the eyes of an Athenian, lay grouped around these master structures, and, in the open spaces between, in whatever direction the spectator might look, appeared statues, some remarkable for their dimensions, others for their beauty, and all for the legendary sanctity which surrounded them. No city of the ancient or modern world ever rivalled Athens in the riches of art. Our best filled museums, though teeming with her spoils, are poor collections of fragments compared with that assemblage of gods and heroes which peopled the Acropolis, the genuine Olympos of the arts." _J. A. St. John, The Hellenes, book 1, chapter 4._