DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.9177#0063
Ill
THE GREEK TEMPLE
43
upon them. This architrave is quite unadorned; it is given
wholly to business; being in fact in its turn the basis of the
upper mass of the temple, over it is the line of alternating
triglyph and metope. The triglyphs continue the lines of the
columns; their vertical grooves correspond to the flutings of
the columns; they are the supports of cornice and roof. Be-
tween them were probably at an early time open spaces; but
later the spaces were filled by square slabs called the metopes,
on which there is no strain, and which were often sculptured.
At the front and back of the temple is a triangular gable or
pediment which again is a comparatively otiose member;
and a line of antefixes in terra-cotta along the sides gives a
finish to the whole.
We have hitherto spoken of the Doric temple, which is the
most characteristically Greek type. The Ionic temple does not
greatly differ in scheme; but it is more luxurious, more restful,
less rigid. In this style the columns have a moulded base, and
the capital, formed by volutes, is not a mere transitional mem-
ber, but a thing of beauty in itself. The part of the building
above the columns is less solid, the architrave less massive, and
divided by horizontal lines, while the most striking feature of
the Doric temple, the line of triglyphs and metopes, is wanting;
sometimes we find in its place a continuous sculptured frieze.
The decoration of the members of the temple is in inverse
proportion to their usefulness to the structure. The pillars
are very simple. The lines of the cornice are gently emphasized
by courses of simple decoration, such as egg and tongue mould-
ings. Only in the parts of the building which have, or appear to
have, no structural function, the pediments, the metopes, the
top line of the walls, do we find a free hand given to the sculptor
to compose groups in high or low relief. In the most otiose
part of the whole structure, the pediment, we sometimes find
figures in the round. But even where the hand of the sculptor is
freest, he never thinks of following the laws of his own art with-
THE GREEK TEMPLE
43
upon them. This architrave is quite unadorned; it is given
wholly to business; being in fact in its turn the basis of the
upper mass of the temple, over it is the line of alternating
triglyph and metope. The triglyphs continue the lines of the
columns; their vertical grooves correspond to the flutings of
the columns; they are the supports of cornice and roof. Be-
tween them were probably at an early time open spaces; but
later the spaces were filled by square slabs called the metopes,
on which there is no strain, and which were often sculptured.
At the front and back of the temple is a triangular gable or
pediment which again is a comparatively otiose member;
and a line of antefixes in terra-cotta along the sides gives a
finish to the whole.
We have hitherto spoken of the Doric temple, which is the
most characteristically Greek type. The Ionic temple does not
greatly differ in scheme; but it is more luxurious, more restful,
less rigid. In this style the columns have a moulded base, and
the capital, formed by volutes, is not a mere transitional mem-
ber, but a thing of beauty in itself. The part of the building
above the columns is less solid, the architrave less massive, and
divided by horizontal lines, while the most striking feature of
the Doric temple, the line of triglyphs and metopes, is wanting;
sometimes we find in its place a continuous sculptured frieze.
The decoration of the members of the temple is in inverse
proportion to their usefulness to the structure. The pillars
are very simple. The lines of the cornice are gently emphasized
by courses of simple decoration, such as egg and tongue mould-
ings. Only in the parts of the building which have, or appear to
have, no structural function, the pediments, the metopes, the
top line of the walls, do we find a free hand given to the sculptor
to compose groups in high or low relief. In the most otiose
part of the whole structure, the pediment, we sometimes find
figures in the round. But even where the hand of the sculptor is
freest, he never thinks of following the laws of his own art with-