Fig. 87.—Mosaic from the Temple of Zeus, Olympia.
Most carefully studied proportions prevailed, and were wrought out to a pitch of completeness and refinement which is truly astounding. Symmetry was the all but invariable law of composition. Yet in certain respects—as, for example, the spacing and position of the columns—a degree of freedom was enjoyed which Roman [!-- original location of Figs. 88-89 --] architecture did not possess. Repetition ruled to the almost entire suppression of variety. Disclosure of the arrangement and construction of the building was almost complete, and hardly a trace of concealment can be detected. Simplicity reigns in the earliest examples; the elaboration of even the most ornamental is very chaste and graceful; and the whole effect of Greek architecture is one of harmony, unity, and refined power.
Fig. 88.—Section of the Portico of the Erechtheium.
Fig. 89.—Plan of the Portico—Looking up.
EXAMPLES OF GREEK ORNAMENT
In the Northern Portico of the Erechtheium—showing the Ornamentation of the Ceiling.
A general principle seldom pointed out which governs the application of enrichments to mouldings in Greek architecture may be cited as a good instance of the subtle yet admirable concord which existed between the different features: it is as follows. The outline of each enrichment in relief was ordinarily described by the same line as the profile of the moulding to which it was applied. The egg enrichment (Fig. [91]) on the ovolo, the water-leaf on the cyma reversa (Figs. [92] and [97]), the honeysuckle on the cyma recta (Fig. [94]), and the guilloche (Fig. [100]) on the torus, are examples of the application of this rule,—one which obviously tends to produce harmony.