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Updated: May 28, 2025
Now he must obtain certainty, and Daphne could help him to it; for, as a priestess of Demeter, she possessed the right to procure him access to the cella and get permission for him to climb the lofty pedestal and feel the statue with his fingers, whose sense of touch had become much keener.
Sans., jval, to burn, flame; Icel., kol; Eng., coal; Irish, gual. Sans., kana, grain. Sans., vãyu. Sans., megha; Icel., and Eng., mist. Sans., sãlã. Greek, kalia; Lat., cella. Sans., ka. Sans., aksha, eye; âsya, face. Sans., chuchuka. Sans., nayanâ. 42. choloa, to run or leap. Sans., char. Sans., kach, to sound. Sans., ksin, to hurt, kill. Sans., triks, to go; Greek, trecho. 46. patlani, to fly.
Let the columns be so placed as to leave a space, the width of an intercolumniation, all round between the walls and the rows of columns on the outside, thus forming a walk round the cella of the temple, as in the cases of the temple of Jupiter Stator by Hermodorus in the Portico of Metellus, and the Marian temple of Honour and Valour constructed by Mucius, which has no portico in the rear.
There are the same platforms diminishing in area as the top is approached, and on the topmost platform is a small cella or temple with a gabled stone roof, which probably originally contained the sarcophagus.
Some of the temples had double rows of columns on all sides, like that of Diana at Ephesus and of Quirinus at Rome. The distance between the columns varied from one diameter and a half to four diameters. About five eighths of a Doric temple were occupied by the cella, and three eighths by the portico.
Another is Gaius Mucius, who, having great knowledge on which to rely, completed the cella, columns, and entablature of the Marian temple of Honour and Valour, in symmetrical proportions according to the accepted rules of the art.
Hermon certainly now, if ever, lacked both time and inclination to examine again this modest work of an ordinary artist, yet he quickly stopped his weary horse; for in the little pronaos directly in front of the cella door stood a slender figure clad in a long floating dark robe, extending its hands through the cella door toward the statue in fervent prayer.
The grandest adornment of the temple was the colossal statue of Minerva in the eastern apartment of the cella, forty feet in height, composed of gold and ivory; the inner walls of the chamber were decorated with paintings, and the whole temple was a repository of countless treasure.
Others actually remove the temple walls, transferring them to the intercolumniations, and thus, by dispensing with the space needed for a pteroma, greatly increase the extent of the cella. So, while leaving all the rest in the same symmetrical proportions, they appear to have produced a new kind of plan with the new name "pseudoperipteral."
As his way led past the Temple of Demeter, he stopped near it and was guided to the sanctuary. It was filled with worshippers, and when, in his resolute manner, he told the curator and the officiating priest that he wished to enter the cella, and asked for a ladder to feel the goddess, he was most positively refused.
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