(γ) With regard to the disposition and articulation of the several parts of a temple we find, on the one hand, a very marked graduation of elaboration, and on the other much that is purely traditional. The main distinctions that have an interest for us in this inquiry are limited to the temple precinct (ναὸς), enclosed by walls containing the image of the god, also the dwelling in front (πρόναος), that in the rear (ὀπισθόδομος), and the colonnades that encircle the entire structure. A dwelling in front and behind with a series of columns before it had originally the typical form, which Vitruvius calls ἀμφιπρόστυλος; to this was afterwards added a row on either side of the building, that is the περίπτερος; finally we have the completest form of elaboration in the δίπτερος, where this row of columns is doubled throughout the circuit, and in the ὔπαιθρος colonnades detached from the walls, and which it is possible to pass round, as in the case of the colonnades above, are added in double rows with the interior of the ναὸς itself. For such a type of temple Vitruvius instances as an example the eight-columned temple of Minerva at Athens, and the ten-columned one of Olympian Jupiter[91].
We will pass over in this place the more detailed consideration of the number of columns no less than the nature of the intervening spaces between themselves and the walls, and merely draw attention to the unique significance which such colonnades and forecourts, or halls possessed in general for the Greek temple. In these prostyles and amphiprostyles, that is, these single and double colonnades, which brought you direct into the open sunshine, we observe that men can move about openly and free and can group themselves as they choose, or according to the chance of the moment. Columns are, in short, not an enclosure, but a limitation through which you can always pass, so that you can be partially within and without them at once, and at any rate can everywhere step from them into the open day. In the same way the long walls at the back of the columns do not permit of any pressure to one central point, whither our sight may instinctively turn when the passages are crowded. On the contrary the eye is rather diverted from such a point of unity in every direction; and instead of the conception of a congregation brought together for One purpose we observe a tendency outwards, and merely receive the impression of a means of spending the time devoid of seriousness, light-hearted, idle, and provocative of chatter. Within the enclosure no doubt we have suggested a profounder aim, but even here we find surrounding features[92], which more or less indicate that we are not to take such a purpose too seriously. Consequently the impression of such a temple, though no doubt simple and imposing, is at the same time gay, open, and pleasing to the sense; the entire building, in short, is rather arranged as a place for standing about in, strolling round, for ingress and egress than in order to enable an assembly of persons to concentrate their numbers in one spot shut off from the rest of the world.
3. THE DIFFERENT CONSTRUCTIVE TYPES OF CLASSICAL ARCHITECTURE
Casting our glance now on the different forms of construction which offer us the predominant examples of distinctive type in classical architecture we may emphasize the following as most important.
(a) What first arrests our attention in this field are those kinds of building whose lines of distinction are most noticeable in their columns; for this reason I shall myself, too, limit myself to a statement of the pre-eminently characteristic traits of the various types of column.
The most famous among the orders of columns are the Doric, Ionic, and Corinthian, over whose architectural beauty and adaptation to definite purpose, neither the research of earlier times nor our own has been able to add anything. For we may assume that the Tuscan, or, according to Hirt[93], the ancient Greek type of building belongs in its undecorative crudeness to the original and simple type of wood structure, not to the architecture of beauty, and the so-called Roman order of columns is of no real moment, being merely an increase in the decorative character of the Corinthian. The important points in this inquiry are the relation of the height of columns to their thickness, the type of base and capital to be distinguished in each case, and, finally, the greater or less intervening spaces between the columns. With regard to the first, if the column is not of a height four times as large as its diameter it appears too bulky and depressed; if its height, however, exceeds such a proportion by being ten times as large, the column will appear too slender to the eye, and too slim as a means of support. The respective intervals between the columns must, however, be considered in close relation to the above facts; if the columns appear more stout they should be placed nearer to one another, if on the contrary the impression they produce is one of slightness and lankness the intervals have to be larger. It is a matter of equal importance, and this is so whether the columns have a pedestal or not, whether the capital is of higher or less ample size, is without or with decoration, for it is by this means that the entire character of the column is altered. With regard to the column's shaft, however, the rule obtains that it should be smooth and devoid of decoration, although it does not rise throughout of the same thickness, but is appreciably more slender at the top than it is midway and at the base, and the change is such that there is a swelling which, though barely perceptible, is none the less present. In more recent times no doubt, notably in the Middle Ages, when the antique types of columns were converted to the use of Christian architecture, the smoothness of shaft was found to be too cold, and for this reason wreaths of flowers were entwined round them, or columns of spiral form were permitted no doubt on similar grounds; this, however, is inadmissible and opposed to the best taste, because the true function of the column is simply that of support, and to carry this out they ought to rise in a secure and straight line and be self-subsistent[94]. The only divergency from the rule in columnar structure which the ancients admitted was that of the groove, a variation which, as Vitruvius points out, made such appear broader than when their surface is wholly smooth. Such grooving we find carried out very extensively.
I will now indicate more closely the main distinguishing features of the Doric, Ionian, and Corinthian order of columns respectively.
(α) In primitive buildings security of structure is the fundamental characteristic beyond which architecture fails to go; consequently it does not as yet dare to risk relations of a slender kind with the bolder lightness which belongs to them, but rests satisfied with forms of greater bulk. This is the case in the Doric type of building. We find here that the material aspect with its onerous weight still is that which is most influential, and is particularly apparent in the relations of breadth and height. When a building is erected in lightness and freedom the burden of heavy masses is overcome; if on the contrary its disposition is one which suggests mainly breadth and a low elevation the prevailing impression, as in the Doric style, is that of stability and solidity, subservient to the dominant force of gravity.
Consistently with this character Doric columns, if contrasted with the other two orders, are the broadest and lowest. The more ancient examples do not rise above a height which is six times their diameter, and not unfrequently they are merely four times that breadth; for this reason they give, by virtue of their unwieldiness, the impression of an earnest, simple, and unadorned manliness, such as we have exemplified in the temples at Paestum and Corinth. The later examples of the Doric order, however, extend their columns to a height of seven times this unit of measure, and, for buildings other than temples, Vitruvius adds yet another half diameter. More generally, however, the distinctive character of the Doric type consists in this that it approximates most nearly to the primitive simplicity of the wood building, although it is more receptive than the Tuscan to decorative work and embellishments. The columns, however, have almost without exception no distinctive base; they stand up directly on their foundation[95], and their capitals are arranged in the simplest way out of ovolo ornament and plinth. The shaft is sometimes left smooth, sometimes grooved with twenty drills, which frequently were flat for one third of the way from the base, and hollowed out in circular form the rest of the way[96]. As regards the interval between the columns, according to the older monuments, the breadth is twice the diameter of a column, and only a few exceed this by a width between two and two and a half diameters. Another peculiarity of the Doric type of building in which it approaches the type of wood construction consists in triglyphs and metopes. In other words triglyphs indicate in the frieze the tops of the beams of the entablature with which the architrave culminates inserted there by means of prismatical incisions[97], while the metopes fill up the spaces between one beam and another, and in the Doric construction still retain the form of the square[98]. As a decoration they are frequently covered with reliefs, while beneath the triglyphs, which rest on the architrave, and as a culmination to the surfaces of the cornice on their lower side, we have for embellishment six small conical bodies, technically known as drops.
(β) In the Doric style we are already made aware of an advance in the characteristics of a solidity which affects us with pleasure. In Ionic architecture this upward progress is further emphasized in a type notable for its slenderness, charm, and grace, if still expressed in a simple way. The height of the columns varies between that of seven and ten times the width of the diameter at the base, and is determined, according to the conclusions of Vitruvius, pre-eminently by the breadth of the intervening spaces of the columns, that is to say, where they are wider the columns appear thinner, and consequently more slender, where they are more narrow, however, they appear stouter and of less height. For this reason the architect is forced, in order to avoid an excess of thinness or bulk, in the first case to reduce the height, and in the second to increase it. In the case, then, where the intervals exceed three diameters the height of the columns will merely carry eight of such, where there is an interval of two and a quarter rising to three, the height will rise to eight and a half diameters. If the columns, however, are separated only by the width of two diameters, the height must be extended to nine and a half times the unit, and in the extreme case of an interval of but one and a half times, such height will even rise to ten times the breadth of diameter. However, cases such as these latter ones appear very seldom, and, in so far as we may judge from such monuments of the Ionic type of building that have come down to us, the ancients made very scanty use of those relations which necessitated the more lofty columns.