PARTHENON EASTERN PEDIMENT—SKETCH TO SHOW RELATION OF LINES OF SCULPTURE TO ANGLE OF PEDIMENT.
To begin with the pediment. The main outline is delicately emphasized by the mouldings of the edge, which also serve as a dripstone—the practical origin, probably, of all mouldings. The groups of sculptured figures within the recess (which further serve to express the pitch of the roof) re-echo, informally, in the lines controlling their composition, as well as in the lines of limbs and draperies, variations of the angle of the pediment. Thus, the groups of figures, full of action and variety as they are, are united and harmonized with the whole building; while, to avoid undue appearance of heaviness on the crest of the pediment and on the angles were placed anthemion bronze ornaments.
PARTHENON ELEVATION SHOWING PORTION OF PEDIMENT FRIEZE AND COLUMNS.
The cornice, again, is emphasized by mouldings marking the important horizontal lines of the building, re-echoed by the lines of the frieze, and counteracted and braced by the emphatic vertical lines of the triglyphs, and enriched by the little dentils below.
Then we come to the cap of the Doric column. It is simplicity itself. A thin square block of marble forms the abacus. The capital is a flattened circular cushion of marble, rounded at the sides in a diminishing curve to the head of the column, which terminates in a horizontal reeding. The column itself is delicately channelled with a series of lines which follow its outline, and give vertical expression to the idea of the support of the horizontal mass above, the column gradually diminishing from base to cap, entasized or slightly swelled in the middle to avoid the visual effect of running out of the perpendicular. The Doric columns spring boldly from the steps without base mouldings, the steps repeating the horizontal lines of the building again, and giving it height and dignity. The other variants of the Greek style will illustrate much the same principles in different degrees, and we may trace the value of proportions, and recurring lines, and different degrees of enrichment through the other four orders.
MARBLE CHAIRS, THEATRE OF DIONYSUS, ATHENS.
As designers, then, we can at least learn some very important lessons from lintel architecture generally, and from the Parthenon in particular, and chiefest amongst these are: