These sculptures were evidently designed under the influence of the strongest architectural and decorative feeling, and were constructed upon a basis of ornamental lines. There is a certain rhythm and recurrence of mass, and line, and form in them throughout, and they have all been carefully considered in relation to the places they occupy.
METOPE OF THE PARTHENON,
SHOWING RELATION & PROPORTIONS OF THE MASSES IN RELIEF TO THE GROUND.
It is to be noted, too, that the sculptures are placed in the interstices of the construction; that is to say, not on the actual bearing parts. On this point it is interesting to compare with the earlier forms of pure stone construction at Mycenæ. The lions over the Mycenæ Gate are carved upon a slab of stone placed in the triangular hollow left above the lintel to prevent it breaking under the great pressure of the heavy stones used. The triangular hollow may be seen without the slab in the doorway of Clytemnestra's house at Mycenæ. Here we have an early instance of the interstice left by the necessities of the construction being utilized as a decorative feature, significant in its design, showing the protecting image of the Castle of Mycenæ, much in the same way as we see the family arms sculptured over the gateways of our English mediæval castles.
Returning to the Parthenon, we see that the same principle is observable in the pediment and metope sculptures, the frieze of the cella being really a mural decoration consisting of facing slabs of marble. The building would doubtless stand without any of them, as a timber-framed house would stand without its boarding, or filling of brick or plaster; but it would be like a skeleton, or a head without its eyes—much, indeed, as time, bombardment, ravage, and the British Museum have left it now.
Before we leave the Parthenon, let me call attention to one prevailing principle, characteristic of its design in every part; for though following throughout the principles or traditions of wooden construction, no doubt its proportions and lines were consciously and carefully considered by the architect with a view to æsthetic effect. It is the principle of recurring or re-echoing lines, a leading principle, indeed, throughout the whole province of Design, and one on the importance and value of which it is impossible to lay too much stress.
THE PARTHENON
[After MENGE].
PARTHENON EASTERN PEDIMENT—SKETCH TO SHOW RELATION OF LINES OF SCULPTURE TO ANGLE OF PEDIMENT.