In the horizontal, at right angles to the direction that the architectural arrangement has impressed on you from where you stand, it is the rectangular impression which tells. This is architecture of a high order: the Acropolis extends its effect right to the horizon. The Propylea in the other direction, the colossal statue of Athena on the axis, and Pentelicus in the distance. That is what tells. And because they are outside this forceful axis, the Parthenon to the right and the Erechtheum to the left, you are enabled to get a three-quarter view of them, in their full aspects. Architectural buildings should not all be placed upon axes, for this would be like so many people all talking at once.
The Forum of Pompeii: Arrangement is the grading of aims, the classification of intentions. The plan of the Forum contains a number of axes, but it would never obtain even a bronze medal at the Beaux Arts; it would be refused, it doesn't make a star! It is a joy to the mind to consider such a plan and to walk in the Forum.
And here in the house of the tragic poet we have the subtleties of a consummate art. Everything is on an axis, but it would be difficult to apply a true line anywhere. The axis is in the intention, and the display afforded by the axis extends to the humbler things which it treats most skilfully (the corridors, the main passage, etc.) by optical illusions. The axis here is not an arid thing of theory; it links together the main volumes which are clearly stated and differentiated one from another. When you visit the House of the Tragic Poet, it is clear that everything is ordered. But the feeling it gives is a rich one. You then note clever distortions of the axis which give inten-
