"We seated ourselves on a fallen column," says Mr. Williams, "and could not but admire the scene before us: Attica, Peloponnesus, and the gulf of Ægina, with their many points of attraction, addressing both the eye and the mind! While we were enjoying the splendid view, two shepherds stepped from the ruins, and passing their crooks from their right hand to their left, pressed their hearts and foreheads, and kissed their hands in a manner than which nothing could be more graceful. Their eyes bespoke their curiosity to know what brought us there; and when we looked across the gulf, they both exclaimed, 'AthenÆ! AthenÆ!' as if we were desirous to know the name of the distant spot, that marked the site of Athens."

Servius Sulpitius mentions Ægina in a very agreeable manner to Cicero, who was then grieving for the loss of his daughter Tullia:—"Once," said he, "when I was in distress, I received a sensible alleviation of my sorrow from a circumstance, which, in the hope of its having the same influence upon you, I will take this opportunity of relating. I was returning from Asia; and as I was steering my course, I began to contemplate the surrounding country. Behind me was Ægina; Megara in the front; the PirÆus occupied my right hand, and Corinth my left. These cities, once flourishing, were now reduced to irretrievable ruin. 'Alas!' said I, somewhat indignantly, 'shall man presume to complain of the shortness and the ills of life, whose being in this world is necessarily short, when I see so many cities, at one view, totally destroyed?' This reflection, my friend, relieved my sorrow."

Mr. Dodwell, when he was in Ægina, lodged at the house of the principal Greek, who was acquainted with the leading particulars of its history; and when he talked of its former grandeur, and compared it with its present abject condition, the tears came into his eyes, and he exclaimed—"Alas! where is Ægina now?"

The island of Ægina lies between Attica and Argolis, eighteen miles distant from the coast of Athens and fourteen from Epidaurus. It does not exceed nine miles in its greatest length, nor six miles in its greatest breadth; its interior is rough and mountainous, and the valleys, though they are made to bear corn, cotton, olive, and fruit trees, are stony and narrow. Notwithstanding this, in ancient days, through the blessings of commerce, this spot in the seas of Greece was the residence of a numerous and most thriving population, who created upon it such works as are still the admiration of the civilised world, though they are now in ruins; the place, however, of those who built them, is scantily occupied by an impoverished and degraded race of men.

The people of Ægina were the first who coined money to be subservient to the uses of life, agreeably to the advice of Phidon, who considered that a maritime commerce would best be promoted, where exchange and accommodation became easy and familiar between the vendor and purchaser.

The place, too, had the advantage of security; an important point in the earlier ages of Greece, when piracy was a common and honourable profession. It lay deep within a gulf; nature had made access to its shores difficult, by nearly encircling them with rocks and sand-banks; and its industrious population added artificial defences. Its port also was commodious, and well protected against the attacks of man. Here, therefore, the goods procured, far and near, by the enterprising inhabitants, could be lodged without fear of pillage, and the Greeks would resort hither as to a general mart, where whatever they wanted might be purchased. Wealth would thus flow into the island, and its inhabitants, with their exquisite feeling for all that was beautiful, would employ their wealth in cultivating the fine arts, and in covering their barren rocks with grand and graceful edifices; and this was shown by the ancient inhabitants of Ægina having had the honour of introducing a style in sculpture superior to all that preceded, though inferior to the ultimate perfection of the Athenian school.

Ægina was, originally, subject to kings; but it afterwards adopted the republican form of government. It was at length reduced by the Athenians, and continued subject to them, till, at the end of the Macedonian war, it was declared free by the Romans. In the reign of Vespasian, however, it underwent the same fortune as the other states of Greece.

A.D. 1536, it was subdued by the Turks, after an obstinate resistance; the capital was plundered and burned; and, after a great slaughter of the inhabitants, the rest were carried into slavery—not an unworthy fate, had it occurred in ancient times, for a people, who were possessed of 420,000 slaves!

The site of Ægina, the capital of the island, has long been forsaken. Instead of the temples, mentioned by Pausanias, there are thirteen lonely churches, all very mean, and two Doric columns supporting their architrave. These stand by the sea-side toward the low cape; and, it has been supposed, are a remnant of a temple of Venus, which was situated by the port principally frequented. The theatre, which is recorded as greatly worth seeing, resembled that of the Epidaurians, both in size and workmanship. It was not far from the private port; the stadium, which like that at Priene, was constructed with only one side, being joined to it behind, and each structure mutually sustaining and propping the other.

The most celebrated of its edifices was the temple of Jupiter Panhellenius. "This temple," says Colonel Leake, "was erected upon a large paved platform, and must, when complete, have been one of the most remarkable examples in Greece of the majesty and beauty of its sacred edifices, as well as of the admirable taste with which the Greeks enhanced those qualities by an attention to local situation and surrounding scenery. It is not only in itself one of the finest specimens of Grecian architecture, but is the more curious as being, in all probability, the most ancient example of the Doric order in Greece, with the exception of the columns at Corinth." This temple is far from any habitation, and is surrounded with shrubs and small pine-trees. No ruin in Greece is more rich in the picturesque, as every point of view has some peculiar charm:—"When I was at Ægina," says Mr. Dodwell, "the interior of the temple was covered with large blocks of stone, and overgrown with bushes. This circumstance produced a sort of confusion, which, while it intermingled the trees and the architecture, made a great addition to the picturesque effect of the interesting scene. The place has since been cleared, the stones have been taken away, and the trees cut down to facilitate the removal of the statues which were found among the ruins. Though these changes may have made some deduction from the pleasure with which the painter would have viewed the spot, yet they have added greatly to the gratification of the classical traveller, by whom all the architectural details may now be readily examined and accurately discriminated."

This ruin Dr. Chandler considers as scarcely to be paralleled in its claim to remote antiquity. The situation on a lonely mountain at a distance from the sea has preserved it from total demolition, and all the changes and accidents of numerous centuries[4].

Lusieri classes the architecture of the temple of the Panhellenian Jupiter at Ægina with that of PÆstum in Lucania:—"In their buildings," says he, "the Doric order attained a pre-eminence which it never passed; not a stone has been there placed without some evident and important design; every part of the structure bespeaks its own essential utility. Of such a nature were works in architecture, when the whole aim of the architect was to unite grandeur with utility; the former being founded on the latter. All then was truth, strength, and sublimity."

In 1811, several statues of Parian marble were discovered by two English gentlemen and two Germans[5], the rivals in the style of which are said nowhere to be found. They were excavated from the two extremities of the temple below the tympana, from which they had fallen at some unknown period. Mr. Dodwell has given the following account of them:—"I shall not attempt," says he, "a minute description of these precious remains of the Æginetic school; the discovery of which, in its importance, has not been surpassed by any of the kind in modern times. They are supposed by some to represent the principal heroes of the Iliad contending with the Trojans for the body of Patroclus. Minerva, armed with her helmet, is the principal figure; and from its superior size, is conjectured to have stood in the centre of the tympanum, below which it was found. The other figures are combatants in various costumes and attitudes; their shields are circular, and their helmets crowned with the lophos. The bodies of some are naked, while others are covered with armour or leather; their attitudes are judiciously adapted to the four tympana, and the places which they occupied. They were evidently made prior to the introduction of the beautiful ideal in Grecian sculpture. The muscles and the veins, which are anatomically correct, exhibit the soft flexibility of life, and every motion of the body is in scientific harmony with that of nature. The limbs are strong, though not Herculean, and elegant without effeminacy; no preposterous muscular protuberance, no unnatural feminine delicacy offends the eye. They are noble without being harsh or rigid, and are composed with Doric severity mingled with the airy grace of youthful forms; the perfection of the finish is quite wonderful; every part being in a style worthy of the most beautiful cameo. The extremities of the hands and feet merit more particular admiration. Indeed, the ancients thought that elegant fingers and nails were essential ingredients in the composition of the beautiful. The most extraordinary circumstance, however, in these statues, is the want of expression, and the sameness of countenance, which is to be observed in all the heads. This approximation to identity is certainly not fortuitous; for the artists, who were able to throw so much varied beauty into the forms of the bodies, were, no doubt, fully able to infuse a similar diversity of expression into the features. Their talent was probably confined to one style of countenance by some religious prejudice. Perhaps some ancient and much venerated statue served as a model, from which it might not have been consistent with the feeling of reverence, or with the state of opinion, to deviate. The formation and posture of the bodies afforded a greater scope and a wider field for the talent of the sculptor; for while the Doric severity of the early Æginetic school is evidently diffused through the whole, yet a correctness of muscular knowledge; and a strict adherence to natural beauty, are conspicuously blended in every statue. An unmeaning and inanimate smile is prevalent in all the faces; every one of the heroes, who is mortally wounded, is supporting himself in the most beautiful attitude, and smiling upon death! In short, the conquerors and the conquered, the dying and dead, have all one expression, or rather none at all. The high finish of the hair is particularly worthy of notice. Some in curls, which hang down in short ringlets, are of lead, and still remain. The helmets were ornamented with metallic accessories, and the offensive weapons were probably of bronze; but they have not been found. All the figures have been painted; the colour is still visible, though nearly effaced. The colour on the Ægis of Minerva is very distinguishable; but the white marble, of which the statues are composed, has assumed a yellow dye from the soil in which they were buried."

Dr. Clarke tells us, that Lusieri found here both medals and vases in such numbers, that he was under the necessity of dismissing the peasants who amassed them, without purchasing more than half that were brought to him; although they were offered for a very trifling consideration, and were of very high antiquity[6].