Page:The New International Encyclopædia 1st ed. v. 09.djvu/247

* GREEK ART. 215 GREEK ART. teuipio and the special tliaracteristics of the great orders. The simplest form of the temple is that al- ready described, where the side walls of the main room (celta or naos) are prolonfred to form a vestibule {proiiaos) . The walls end in pilasters {anlir}. between which are columns, usually two. iSometimes a similar vestibule is constructed in the rear, forming a double Irinple hi anlis. If a row of columns is placed in front of the rdla or protittos, the temple is prostyle; if this row is repeated at the rear, amphiprosti/le. A temple surrcnindcd by a row of columns i<= peripteral; by a double row, dipteral: and the refinements of the later systematizing architects introduced further elaborations of nomenclature. The simpler forms were confined to very small buildings; all Greek temples of any size are peripteral. A further classification depends upon the number of columns across the front. Those with four cohuiins are called ietraslyle; with six, hexastyle; with eight, oetostyle: with ten, deeii- style : and with twelve, dodecastyle. It should be observed that with rare exceptions the number of columns is always even, so that no column may block the approach to the door. The plan of the temple does not depend upon the order except in one point: In an Ionic temple two of the columns of the periptcros at each end are in the prolongation of the side walls, while in the Doric temple no such regularity is oliserved. Owing to its lighter forms, the Ionic order was a favorite in small buildings. Passing to the details of the building, we have first the stereobate or foundation, preferably of native rock, but often formed by building walls under those parts of the temple which required the most support, and filling the spaces between with earth and clay. On or around these fmuida- tions was erected the erepidoma. a series of steps, usually three in the later temples. The upper step is the stylohate. and on this the colunuis of the peripteros rest. In some eases, as in the Parthenon, another step leads to a higher platfonn on which the cella is built. It is in the column and the entablature which the column sustains that the distinctive character of the orders is manifested. (See Column; Ex- TABL.TrRE.) They are distinguished as Doric, Ionic, and Corinthian orders. (See these titles.) Of their history little can be said. The first two were coexistent in the earliest period, and there was an increasing tendency to use the Ionic order, though not to the exclusion of the Doric. Though Greek architecture reached its highest development in the temple, it also manifested it- self in other monuments. ( See Propyl.e.v ; Sto..) In all of these excepting the theatre (q.v. ) the column was the principal architectural feature. ScrtPTrRE: Technique. Though wood and clay were sometimes used in sculpture, the com- mon materials were stone and metal. In the early days of sculpture in stone the softer varie- ties of limestone, especially the so-called prirtts. were frequently employed because of the com- parative ease of working. Later the harder marbles were employed, especially the fine white marble of Paros. and Mount Pentelicon. in .ttica. The sculptor seems in general to have worked without mechanical copying of a model. For blocking out the statue a pointed instrument, either a punch or hammer, was employed, and the finer details were worked out with chisels of various shapes. Jn some of the earlier statues the diH'p folds of drapery seem to have been cut out by the saw ; but later the borer was used, especially after the time of Callimachus (q.v.), who is credited with its invention by Pausanias, though it was almost certainly in use at an ear- lier date. Frc(piently the bead and other p;irts of the body were carved se|)aratcly, and of bet- ter material, in bronz<' the earliest works are in hanunered metal, with engraved details; but at an early date casting was introduced, and thus the production of larger ])ieces became pos- sible. Heretofore such statiu's had been produced by plating on wood, or riveting together metal [dates. Solid casting was obviously too waste- ful, and we early find examples of hollow cast- ing, though the exact method of preparing the mold and core is uncertain. In later times the tireek artists used the cire perdue process, and it is possible this was in use before the end of the fifth century. Bronze was always the fa- vorite material for honorary statues, and the artists in bronze seem to have enjoyed a higher esteem than their brethren who worked in stone. Use of Color. The plain white of the marble was too dazzling and monotonous for Greek taste; moreover, when ])oorer materials were used the stone often required color or stucco to conceal its imperfections. (")ur knowledge as to the details of the coloring of the temple is not very complete, though it has been nnich enlarged by the careful attention paid to the subject in recent excavations. In the Doric building the triglyphs seem to have been regularly blue: the metojies vary — at Olympia they were either blue or brown, with the reliefs in contrasting colors, while elsewhere red was also used. The smaller arcliitectural members, such as mutulcs, reguh-e, and guttae, were also colored; but the walls, architrave, and columns, except possibly the neck, and sometimes the echinus, were plain. In the lonie order color seems to have been used on the capital, but there is little knowledge of de- tails. In sculpture the question has been much dis- cussed. It is clearly impossible to lay down general rules, for the practice varied with the time, place, material, and technique. What holds of the relief will not hold of the statue. Color was extensively used on all terra-cotta produc- tions, and we have seen that it was also em- ployed on sculptures forming part of a building. In general, the more valuable the material the more sparing the use of color. In the earlier works in coarse stone a very elaborate and bril- liant system is used: later only the details are thus indicated. Except in archit<>ctural reliefs, there is very little evidence of the use of color on the nude parts of marble. In statues such surfaces seem to have been treated with wax and oil. thus toning down the surface of the marble and giving it a slight polish. The hair. lips, and eyes were regularly painted. In the garments a distinction seems possible. On the Acropolis statues (see Plate) the under garment, which only shows on the slioulder and about the feet, often receives a solid color. On the other gar- ments only the borders or embroidery is indicated. It seems as if the artist desired to avoid large masses of color, unless the conditions were such that such a mass would form an efTective contrast to the marble. In reliefs color is freely employed