



Produced by Chuck Greif (This file was produced from images
available at The Internet Archive)











IN THE

LAND OF TEMPLES

BY JOSEPH PENNELL

[Illustration: colophon]

LONDON: WILLIAM HEINEMANN




JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES




JOSEPH PENNELL'S

PICTURES OF
THE PANAMA CANAL.

_FIFTH EDITION._

Reproductions of a series of Lithographs made
by him on the Isthmus of Panama, together
with Impressions and Notes by the Artist.
Price 5s. net.

THE LIFE OF JAMES
MCNEILL WHISTLER

By E. R. and J. PENNELL.

Fifth and Revised Edition, with 96 pp.
of Illustrations. Pott 4to.
Price 12s. 6d. net.

LONDON: WILLIAM HEINEMANN.

Copies of the lithographs reproduced in this
volume, limited to fifty proofs each, size 16 by 22 in.,
may be obtained through the Publisher, at
L3 3 0 net each.




JOSEPH PENNELL'S PICTURES IN THE LAND OF TEMPLES

REPRODUCTIONS OF A SERIES OF LITHOGRAPHS MADE BY HIM IN THE LAND OF
TEMPLES, MARCH-JUNE 1913, TOGETHER WITH IMPRESSIONS AND NOTES BY THE
ARTIST

[Illustration: colophon]

LONDON: WILLIAM HEINEMANN PHILADELPHIA: J. B. LIPPINCOTT GO.

COPYRIGHT

LONDON: WILLIAM HEINEMANN. 1915.

TO
R. M. DAWKINS

LATE DIRECTOR
OF THE BRITISH
SCHOOL AT ATHENS
WHO SHOWED ME
WHERE I SHOULD
FIND THE TEMPLES

PRINTED IN GREAT BRITAIN BY B. CLAY AND SONS, LTD., BRUNSWICK STREET,
STAMFORD STREET, S.E., AND BUNGAY, SUFFOLK.




NOTES--ON MY LITHOGRAPHS IN THE LAND OF TEMPLES


I WENT to Greece for two reasons. First, because I wanted to see Greece
and what remained of her glory--to see if the greatest work of the past
impressed me as much as the greatest work of the present--and to try to
find out which was the greater--the more inspiring. And second, I went
because I was told by a Boston authority that I was nothing but a
ragtime sketcher, couldn't see Greek art and couldn't draw it if I did.

I have been there--and did what I saw in my own way. To me Greece was
wonderful and was beautiful, but anyone can see that--and can rave over
it with appropriate quotations from appropriate authors. I know no Greek
and have scarce read a translation. I say this regretfully--I wish I
had--I should have seen more. I know, however, if I had not before seen
the greatest art of the rest of Europe, I could not have been so moved
as I was by what I saw in the Land of Temples, the land whence we have
derived most of our ideas, ideals, and inspirations.

I drew the things that interested me--and it was, and is, a great
delight to me to be told by those who have, some of them, spent their
lives studying Greeks and Greece, that I have given the character of the
country. What impressed me most was the great feeling of the Greeks for
site in placing their temples and shrines in the landscape--so that they
not only became a part of it, but it leads up to them. And though the
same architectural forms were used, each temple was so placed that it
told from afar by sea or land, a goal for pilgrims--a shrine for
worshippers to draw near to--yet each had a character of its own--always
the same, yet ever differing. I know, I am sorry to say, little of
proportion, of scale, of heights, of lengths, but what I saw, with my
own eyes, was the way these monuments were part of the country--never
stuck about anyhow--always composed--always different--and they were
built with grand ideas of composition, impressiveness, and arrangement.
Has there been any change in the black forest before Aegina--the "wine
dark sea" at Sunium--the "shining rocks" at Delphi--the grim cliffs of
the Acropolis?--these prove in their various ways that the Greeks were
great artists.

These were the things I saw. Had I known more I might have seen
less--for it seems to me that most artists who have gone to Greece have
been so impressed with what they have been told to see, that--there are,
of course, great exceptions--they have looked at the land with a
foot-rule, a translation, and a dictionary, and they have often been
interfered with by these aids. I went ignorant of where to go--or what
to see. When