THE 



351 



THE 



by the dotted lines, by which means the position of the 

 lever will be altered, the valve c will be turned on its 

 axis, and the damper will be raised. Fig. 2 shows another 



Fig. 1. 



Fig. 2. 



arrangement, in which two compound bars, <z, a, fixed at 

 b, are made to open and close a valve c, in a pipe through 

 which air, water, or any other fluid is passed. By in- 

 creasing the temperature of the apparatus, the upper or 

 moveable ends of the bars would recede from each other, 

 and, consequently, alter the position of the valve. A 

 similar contrivance may be placed in a chimney, to modify 

 the position of a damper-plate moving upon its axis, and 

 thereby to regulate the draft. The application of such an 

 arrangement of compound bars to the admission of water 

 to a water-bath is described in the article DISTILLATION, 

 vol. ix., p. 26. Fig. 3 shows the principal part of a ther- 

 mostatic apparatus in which three pairs of compound bars, 

 a. are used to give motion to a sliding-rod d, d, with 

 which any kind of valve may be connected by a rack and 

 pinion, a chain and pulley, or otherwise, b, b, in this 

 figure, is a straight guide-rod, which is fixed at one end 

 by a screw-nut c ; a milled head being added for the pur- 

 pose of adjusting the apparatus, so that it may act at any 

 required temperature. The thermostatic bars, in this as 

 well as the previous cases, are nearly or quite straight 

 when cold, and become more or less curved by the action 

 of heat ; but in some modifications of the thermostat the 



Fig. 3. 



Fig. 4. 



bars are always curved, and the action of the apparatus 

 depends upon the increase or decrease of the ordinary 

 flexure. Fig. 4, for example, represents a. thermoslati'c 

 hoop, a, a, winch may be immersed horizontally beneath 

 the surface of the water-bath of a still. The hoop is fixed 

 at 6, and to its free ends are attached short links c, c, which 

 impart longitudinal motion to the rod d. e is a lever- 

 handle moved by the sliding-rod, and turning a valve on 

 its axis/. The outer end of this lever carries an index, 

 which moves against a graduated scale, g is a screw-nut, 

 moveable upon the sliding-rod, to adjust the apparatus 

 before graduating the scale or arc traversed by the index. 

 Sonic other forms of the apparatus are given in Dr. Ure's 

 ' Dictionary of Arts,' &c., pp. 1237-1239 ; and on p. 643 

 of the same work is described a contrivance in which the 

 same natural principle is differently applied. 



THEROUENNE. [PAS DE CALAIS.] 



THE8EIUM (eij^iov), the temple of Theseus at Athens, 

 was situate in the north-west part of the city, at no great 

 distance from the gate which led to Eleusis, and imme- 

 diately above the gymnasium of Ptolemy. It was built in 

 honour of Theseus, soon after his bones had been brought 

 from Scyros to Athens by Cimon, B.C. 469. (Plutarch, 

 <i; dtium, 8; Diod. Sic., iv. 62.) It possessed 

 an inviolable asylum, where runaway slaves in particular 

 were accustomed to take refuge, and was equalled in sanc- 

 tity only by the Parthenon and Eleusinium. (Plutarch, 

 De Jr*iti'i, p. 607 A ; Hesychius, and Etymolog. Mug., 

 under Oijmiov.) Its sacred enclosure was so large as to 

 serve sometimes as a place of military assembly. (Thucyd., 

 vi. 61.) 



The temple of Theseus is in a state of greater preserva- 

 tion than almost any of the antient monuments of Athens, 

 and is used in the present day as a Christian church, dedi- 

 cated to St. George. It is built entirely of Pentelic marble, 

 and stands upon an artificial foundation formed of large 

 Quadrangular blocks of limestone. Its architecture is of 

 the Doric order. It is a peripteral hexastyle, or surrounded 

 by columns, having six in each front. There are thir- 

 teen columns on each side, including those at the angles, 

 which are also reckoned among the six belonging to each 

 front, so that the whole number surrounding the temple is 

 thirty-four. It consists of a cella forty feet long, having a 

 pronaos to the east and a posticum to the west. The pronaos 

 and the portico are together thirty-three feet in depth, and 

 the posticum with its portico twenty-seven feet. The breadth 

 of the temple is forty-five feet. The columns are three 

 feet four inches in diameter at the base, and rather more 

 than eighteen feet and a half high, with an intercolumnia- 

 tion of five feet four inches. The height of the temple 

 from the summit of the pediment to the base of the 

 columns is about thirty-one feet. The platform upon 

 which it is built, and which consists of only two steps, is 

 about two feet four inches in height. 



The eastern front of the temple was the principal one. 

 This is shown not only by the greater depth of the pronaos, 

 but still more decisively by the sculpture. In the eastern 

 pediment only are there any traces in the marble of me- 

 tallic fastenings for statues ; and the ten metopes of the 

 eastern front, with the four adjoining ones on each side, 

 are exclusively decorated with sculpture, all the others on 

 both sides and on the western front being plain. The only 

 other parts of the temple adorned with sculpture are the 

 friezes over the entrance of the prona.os and the posticum. 

 In the British Museum there are casts of the greater 

 portion of these friezes, and also of three of the metopes 

 from the northern side, being the first, second, and fourth, 

 commencing from the north-east angle. They were made 

 at Athens, by the direction of the earl of Elgin, from the 

 sculptures which then existed upon the temple, where they 

 still remain. The marbles have been greatly injured since 

 the time when Pars made the drawings for Stuart, but 

 enough remains to show that they belong to the highest 

 style of Grecian art : they are almost equal, and, by some, 

 considered even superior, to those of the Parthenon. The 

 relief is bold and salient, approaching to the proportions 

 of the entire statue, the figures in some instances appear 

 ing to be only slightly attached to the table of the marble. 

 It appears that all the sculptures were painted, as was the 

 case in many other Grecian temples. Col. Leake says 

 that vestiges of brazen and golden-coloured arms, of a blue 

 sky, and of blue, green, and red drapery, are still very 

 apparent. 



The subjects of the sculptures are the exploits of Theseus, 

 and those of his friend and companion Hercules. The 

 metopes in front of the temple relate to the labours of 

 Hercules, and those on the two sides to those of Theseus. 

 On the frieze of the posticum is represented the combat 

 of the Centaurs and the Lapithae, in which Theseus was 

 engaged ; but the subject of the frieze of the pronaos is 

 very doubtful, owing to the mutilated condition of the 

 sculptures. Stuart supposes that it represents part of the 

 battle of Marathon, and especially the phantom of Theseus 

 rushing upon the Persians. Col. Leake thinks it probable 

 that the pannel over the pronaos relates to the exploits of 

 Hercules, in the same way as the other frieze relates to 

 those of Theseus ; and he supposes it to represent the 

 battle of the giants, who are said to have been subdued 

 chiefly through the exploits of Hercules. Miiller (Deiik- 

 mdler der alien Kunst, p. 11) conceives it to represent 

 the contest of Theseus against the Pallantidae, who wished 

 to destroy him when he was acknowledged by ^Egeus as 

 his successor. Mr. Hawkins (Description of Axlient 

 Marbles in the British Museum, part ix.) however is of 

 opinion that not one action alone is intended to be repre- 

 sented, but three or four achievements are here recorded, 

 the subjects being separated from one another by groups 

 of seated divinities. 



The interior of the temple originally contained three 

 paintings on the walls by Micon, which Pausanias saw and 

 describes (i. 17, $ 2). One represented the battle of the 

 Athenians with the Amazons, the second that of the Cen- 

 taurs and the Lapithse, and the third an action of Theseus 

 in Crete. The stucco upon which these paintings were 



