It is not the magnitude of the Grecian temples and other works of art which most impresses us. It is not for this that they are important models. It is not for this that they are copied and reproduced in all the modern nations of Europe. They were generally small compared with the temples of Egypt, or the vast dimensions of Roman amphitheatres. Only three or four would compare in size with a Gothic cathedral, like the Parthenon, the Temple of Zeus at Olympia, and the Temple of Diana at Ephesus. Even the Pantheon at Rome is small, compared with the later monuments of the Caesars. The traveler is always disappointed in contemplating their remains, so far as size is concerned. But it is their matchless proportions, their severe symmetry, the grandeur of effect, the undying beauty, the graceful form which impress us, and make us feel that they are perfect. By the side of the Colosseum they are insignificant in magnitude. They do not cover acres like the baths of Caracalla. Yet who has copied the Flavian amphitheatre? Who erects an edifice after the style of the Thermae? But all artists copy the Parthenon. That, and not the colossal monuments of the Caesars, reappears in the capitals of Europe, and stimulates the genius of a Michael Angelo or a Christopher Wren. The flourishing period of Greek architecture was during the period from Pericles to Alexander--one hundred and thirteen years. The Macedonian conquest introduced more magnificence and less simplicity. The Roman conquest accelerated the decline in severe taste, when different orders were used indiscriminately. [Sidenote: Beginning of Roman art.] [Sidenote: Romans copied the Greeks.]