DOI Page / Citation link:
https://doi.org/10.11588/diglit.14144#0249
THE DECORATED PARTS OF THE GREEK TEMPLE. 213
Plastic Ornaments of the Greek Temple.1
We have already given a very brief description of the Greek temple,
in which our chief attention was directed to those parts of it which
were decorated by the sculptor or the painter. We proceed to say a
few words about the plastic ornaments themselves. The principal of
these are
THE TEMPLE-IMAGE.
Even this, as we have seen in the highest examples—the Pan-
hellcnic Zeus and the Athene Parthenos—was modified by architec-
tural laws, so as to form as it were the moral centre of the whole edifice.
THE PEDIMENT.
It is a striking proof of the living power of Greek art, that it
seems not merely to submit to the restrictions under which it has to
work, but to derive fresh advantages from them, and like the patriot
to transform its fetters into splendid ornaments. The noblest works
we possess were executed under many apparently unfavourable con-
ditions, resulting from the rigidly defined forms of architecture. The
genius of the artist was cast, as it were, like fused gold, in geometrical
moulds, and each mathematical form brought with it different laws
and requirements.
In the Pediment, the space between the apex of the triangle and
the base is the highest, and naturally forms the centre of action,
and is occupied by the principal member of the group. The other
figures must therefore decrease in height as they approach the angles
at the base; and it is natural that they should likewise gradually
decline in importance as well as size, and stand not only in strict
relation, but in subordination, to the central figures. The form of
the pediment also leads to unity of action, and this is for the most
part strictly observed ; although we read with astonishment in
I'ausanias, that the derbs of the Heracleion in Thebes contained the
1 Vide sitfra, pp. 43-46-
Plastic Ornaments of the Greek Temple.1
We have already given a very brief description of the Greek temple,
in which our chief attention was directed to those parts of it which
were decorated by the sculptor or the painter. We proceed to say a
few words about the plastic ornaments themselves. The principal of
these are
THE TEMPLE-IMAGE.
Even this, as we have seen in the highest examples—the Pan-
hellcnic Zeus and the Athene Parthenos—was modified by architec-
tural laws, so as to form as it were the moral centre of the whole edifice.
THE PEDIMENT.
It is a striking proof of the living power of Greek art, that it
seems not merely to submit to the restrictions under which it has to
work, but to derive fresh advantages from them, and like the patriot
to transform its fetters into splendid ornaments. The noblest works
we possess were executed under many apparently unfavourable con-
ditions, resulting from the rigidly defined forms of architecture. The
genius of the artist was cast, as it were, like fused gold, in geometrical
moulds, and each mathematical form brought with it different laws
and requirements.
In the Pediment, the space between the apex of the triangle and
the base is the highest, and naturally forms the centre of action,
and is occupied by the principal member of the group. The other
figures must therefore decrease in height as they approach the angles
at the base; and it is natural that they should likewise gradually
decline in importance as well as size, and stand not only in strict
relation, but in subordination, to the central figures. The form of
the pediment also leads to unity of action, and this is for the most
part strictly observed ; although we read with astonishment in
I'ausanias, that the derbs of the Heracleion in Thebes contained the
1 Vide sitfra, pp. 43-46-