A History of Greek Art eBook

This eBook from the Gutenberg Project consists of approximately 181 pages of information about A History of Greek Art.

A History of Greek Art eBook

This eBook from the Gutenberg Project consists of approximately 181 pages of information about A History of Greek Art.
abacus whose profile is made up of a trochilus and an ovolo.  This capital, though extremely elegant, is open to the charge of appearing weak at its middle.  There is a much less ornate variety, also reckoned as Corinthian, which has no scroll-work, but only a row of acanthus leaves with a row of reed leaves above them around a bell-shaped core, the whole surmounted by a square abacus.  In the Choragic Monument of Lysicrates the cornice has dentels, and this was always the case, so far as we know, where the Corinthian capital was used.  In Corinthian buildings the anta, where met with, has a capital like that of the column.  But there is very little material to generalize from until we descend to Roman times.

Some allusion has been made in the foregoing to other types of columnar buildings besides the temple.  The principal ones of which remains exist are Propylaea and stoas.  Propylaea is the Greek name for a form of gateway, consisting essentially of a cross wall between side walls, with a portico on each front.  Such gateways occur in many places as entrances to sacred precincts.  The finest example, and one of the noblest monuments of Greek architecture, is that at the west end of the Athenian Acropolis.  The stoa may be defined as a building having an open range of columns on at least one side.  Usually its length was much greater than its depth.  Stoas were often built in sacred precincts, as at Olympia, and also for secular purposes along public streets, as in Athens.  These and other buildings into which the column entered as an integral feature involved no new architectural elements or principles.

One highly important fact about Greek architecture has thus far been only touched upon; that is, the liberal use it made of color.  The ruins of Greek temples are to-day monochromatic, either glittering white, as is the temple at Sunium, or of a golden brown, as are the Parthenon and other buildings of Pentelic marble, or of a still warmer brown, as are the limestone temples of Paestum and Girgenti (Acragas).  But this uniformity of tint is due only to time.  A “White City,” such as made the pride of Chicago in 1893, would have been unimaginable to an ancient Greek.  Even to-day the attentive observer may sometimes see upon old Greek buildings, as, for example, upon ceiling-beams of the Parthenon, traces left by patterns from which the color has vanished.  In other instances remains of actual color exist.  So specks of blue paint may still be seen, or might a few years ago, on blocks belonging to the Athenian Propylaea.  But our most abundant evidence for the original use of color comes from architectural fragments recently unearthed.  During the excavation of Olympia (1875-81) this matter of the coloring of architecture was constantly in mind and a large body of facts relating to it was accumulated.  Every new and important excavation adds to the store.  At present our information is much fuller in regard to the polychromy of Doric than of Ionic buildings. 

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A History of Greek Art from Project Gutenberg. Public domain.