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Updated: May 5, 2025
The columns are either square or rounded, the rounded ones having capitals resembling those of the Doric order; and the entablature is also a rough imitation of the Doric triglyphs, and guttae.
At the bottom of each is a row of small pendants, known as guttæ, which closely resemble wooden pins, such as would be used to keep a timber beam in place. The panels between the triglyphs are usually as wide as they are high. They are termed metopes and sculpture commonly occupies them. The third division of the entablature, the cornice represents the overhanging eaves of the roof.
The guttae, extending as wide as the triglyphs and beneath the taenia, should hang down for one sixth of a module, including their regula. The depth of the architrave on its under side should answer to the necking at the top of the column. Above the architrave, the triglyphs and metopes are to be placed: the triglyphs one and one half modules high, and one module wide in front.
Hence it was in imitation of the arrangement of the tie-beams that men began to employ, in Doric buildings, the device of triglyphs and the metopes between the beams. Later, others in other buildings allowed the projecting principal rafters to run out till they were flush with the triglyphs, and then formed their projections into simae.
Do you suppose that any modern architect likes what he builds, or enjoys it? Not in the least. He builds it because he has been told that such and such things are fine, and that he should like them. He pretends to like them, and gives them a false relish of vanity. Do you seriously imagine, reader, that any living soul in London likes triglyphs? or gets any hearty enjoyment out of pediments?
The system of triglyphs and mutules was invented for the Doric order, and similarly the scheme of dentils belongs to the Ionic, in which there are proper grounds for its use in buildings. Just as mutules represent the projection of the principal rafters, so dentils in the Ionic are an imitation of the projections of the common rafters.
Set off on the under side of the corona, vertically over the triglyphs and over the middle of the metopes, are the viae in straight lines and the guttae arranged in rows, six guttae broad and three deep. Just at the edge of the corona a line should be cut in, called the scotia.
The chief alteration from the Greek Doric, in addition to a general degradation of all the mouldings and proportions, was the addition of a base, which sometimes consists of a square plinth and large torus, sometimes is a slightly modified Attic base; the capital has a small moulding round the top of the abacus, and under the ovolo are two or three small fillets with a necking below; the shaft was from 6 to 7 diameters in height, and was not fluted; the frieze was ornamented with triglyphs, and the metopes between these were frequently enriched with sculptured heads of bulls: the metopes were exact squares, and the triglyphs at the angles of buildings were placed precisely over the centre of the column.
Another change is that the complete entablature with triglyphs and metopes is only found above the columns, for the arches rise too high to leave room for more than the cornice.
At the centre, vertically under the gable, there should be room for three triglyphs and three metopes, in order that the centre intercolumniation, by its greater width, may give ample room for people to enter the temple, and may lend an imposing effect to the view of the statues of the gods. The columns should be fluted with twenty flutes.
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