GREEK HORIZONTAL CURVES IN MATSON CARREE AT NIMES. 579 



may involve this positiou, but it would be a position so far not familiar 

 to experts, and I prefer not to debate it here. I will, however, most 

 positively assert that from the given i^oint of view one of two results 

 must follow, either a direct perspective increment, or else an optical 

 mystification owing- to the contradictory optical effects of two sets of 

 phenomena — one of which effects is artificial, while the other effect is 

 natural. 



For our present purpose it makes no difference whether optical 

 mystification or perspective increment, or both, are the results of the 

 Greek horizontal curves. My present argument is simply to the end 

 that in either case the effect is discounted by the eye. The cause is 

 therefore not perceived. 



We may therefore assign three causes for the long failure of the 

 modern eye to detect the Greek horizontal curves: First, inferior 

 sharpness of vision and inattention to art forms. It is admitted that 

 Greek art and Greek taste were superior to our own. This amounts to 

 admitting that the Greek eye was more acute and more highly trained. 

 Second, the effects of the curves, whether they be perspective effects 

 or simply mystifications, or both, tend to prevent the detection of the 

 underlying facts and causes. Third, the curves are so delicate as not 

 to be obtrusive to the eye under any circumstances. 



We are prepared therefore to understand why the curves of the 

 Maison Carree have not been noticed sooner. 



I have so far carefully avoided making any reference to the i)urpose 

 of the Greek curves. I have only asserted that they have certain 

 results, without debating- the question whether these results were 

 intended. It will now bring us nearer to our ultimate topic and aim 

 if I announce my own observations for horizontal curves in Egyptian 

 temples and connect them with those of Mr. Pennethorne, which I 

 have mentioned for the Theban temple of Mediuet Habou. 



III. 



It is, then, a fact to be once more noted that the discovery of curves 

 in Greek temple construction was preceded by a discovery of curves in 

 Egyptian temple construction and that the same person made both 

 discoveries. It is also a fact to be noted that the curves of the Greek 

 temples (as so far discussed) are curves in elevation, curves in the 

 direction of the altitude, while the curves at Mediuet Habou are curves 

 in plane, convex to the line of vision. They are curves lying in hori- 

 zontal planes as distinct from curves lying in vertical planes. It would 

 appear reasonable, considering the growing conviction of scholars that 

 Egyptian art and culture had in many important ways infiuenced the 

 Greeks, that any theory as to the purpose of the Greek curves should 

 be a theory which would also include Egyptian curves in its explana- 

 tion, but this has not been the case, strange to say. The reasons for 

 this are not only curious but they are also important to our argument. 



