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Updated: May 5, 2025
Or, if dentils be carved in the cornice of the Doric entablature or triglyphs represented in the Ionic entablature over the cushion-shaped capitals of the columns, the effect will be spoilt by the transfer of the peculiarities of the one order of building to the other, the usage in each class having been fixed long ago.
Of the entablature, only the frieze and architrave is broken round the pilasters; for the cornice with its great mutules runs straight round the whole church, supported over the chapels by carving out the triglyphs of which there is one over each pilaster, and two in the space between each pair of pilasters so as to form corbels.
Under each triglyph there is worked upon the face of the architrave, directly below the taenia, a REGULA, shaped like a small cleat, and to the under surface of this regula is attached a row of six cylindrical or conical GUTTAE. Between every two triglyphs, and standing a little farther back, there is a square or nearly square slab or block called a METOPE. This has a flat band across the top; for the rest, its face may be either plain or sculptured in relief.
For these necessarily have a slanting and projecting position to let the water drip down. The scheme of triglyphs and mutules in Doric buildings was, therefore, the imitative device that I have described.
Above that forest gleamed colored triglyphs; from tympans stood forth the sculptured forms of gods; from the summits winged golden quadrigæ seemed ready to fly away through space into the blue dome, fixed serenely above that crowded place of temples.
I had scarcely begun to extend a third cutting into the hill when I found a block of triglyphs of Parian marble, containing a sculpture in high relief which represents Phoebus Apollo, who, in a long woman's robe with a girdle, is riding on the four immortal horses which pursue their career through the universe. Nothing is to be seen of a chariot.
The upward force, on the other hand, is continued right through the solid mass of the entablature, in the vertical lines of the triglyphs, in the antefixes, and even to the very apex of the building, where the ascending lines of the triangular pediment meet. The resulting total effect is that of a perfect, yet swaying balance.
One of these parts will form the module in accordance with which the adjustments are to be made as above described. Thus, over each portion of the architrave two metopes and two triglyphs will be placed; and, in addition, at the corners half a triglyph and besides a space large enough for a half triglyph.
Here most of the upward energy of the Ionic form is concentrated; for although the dentils of the frieze perform the function of the triglyphs, they are too small to do it effectively; the style lacks, therefore, the gentle harmonizing of forces all over, characteristic of the Doric, and evinces instead a clean-cut elastic tension at a given point.
The capitals of each triglyph are to measure one sixth of a module. Over the capitals of the triglyphs the corona is to be placed, with a projection of two thirds of a module, and having a Doric cymatium at the bottom and another at the top. So the corona with its cymatia is half a module in height.
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