A History Of Greek Art seen in Fig. 56. Within the cella, when columns were used to help support the wooden ceiling, there seem to have been regularly two ranges, one above the other. This is the only case, so far as we know, in which Greek architecture of the best period put one range of columns above another. There were probably no windows of any kind, so that the cella received no daylight, except such as entered by the great front doorway, when the doors were open. [Footnote: This whole matter, however, is in dispute. Some authorities believe that large temples were HYPOETHRAL, i. e., open, or partly open, to the sky, or in some way lighted from above. In Fig. 56 an open grating has been inserted above the doors, but for such an arrangement in a Greek temple there is no evidence, so far as I am aware.] The roof−beams were of wood. The roof was covered with terra−cotta or marble tiles. Such are the main features of a Doric temple (those last mentioned not being peculiar to the Doric style). Little has been said thus far of variation in these features. Yet variation there was. Not to dwell on local differences, as between Greece proper and the Greek colonies in Sicily, there was a development constantly going on, changing the forms of details and the relative proportions of parts and even introducing new features originally foreign to the style. Thus the column grows slenderer from century to century. In early examples it is from four to five lower diameters in height in the best period (fifth and fourth centuries) about five and one half, in the post classical period, six to seven. The difference in this respect between early and late examples may be seen by comparing the sixth century Temple of Posidon (?) at Paestum in southern Italy (Fig. 57) with the third (?) century Temple of Zeus at Nemea (Fig. 58). Again, the echinus of the capital is in the early period widely flaring, making in some very early examples an angle at the start of not more than fifteen or twenty degrees with the horizontal (Fig. 59); in the best period it rises more steeply, starting at an angle of about fifty degrees with the horizontal and having a profile which closely approaches a straight line, until it curves inward under the abacus (Fig. 51); in the post−classical period it is low and sometimes quite conical (Fig. 60). In general, the degeneracy of post−classical Greek architecture is in nothing more marked than in the loss of those subtle curves which characterize the best Greek work. Other differences must be learned from more extended treatises. The Ionic order was of a much more luxuriant character than the Doric. Our typical example (Fig. 61) is taken from the Temple of Priene in Asia Minora temple erected about 340−30 B. C. The column has a base consisting of a plain square PLINTH, two TROCHILI with moldings, and a TORUS fluted horizontally. The Ionic shaft is much slenderer than the Doric, the height of the column (including base and capital) being in different examples from eight to ten times the lower diameter of the shaft. The diminution of the shaft is naturally less than in the Doric, and the entasis, where any has been detected, is exceedingly slight. The flutes, twenty−four in number, are deeper than in the Doric shaft, being in fact nearly or quite semicircular, and they are separated from one another by flat bands or fillets. For the form of the capital it will be better to refer to Fig. 62, taken from an Attic building of the latter half of the fifth century. The principal parts are an OVOLO and a SPIRAL ROLL (the latter name not in general use). The ovolo has a convex profile, and is sometimes called a quarter−round; it is enriched with an EGG−AND−DART ornament The spiral roll may be conceived as a long cushion, whose ends are rolled under to form the VOLUTES. The part connecting the volutes is slightly hollowed, and the channel thus formed is continued into the volutes. As seen from the side (Fig. 63), the end of the spiral roll is called a BOLSTER; it has the appearance of being drawn together by a number of encircling bands. On the front, the angles formed by the spiral roll are filled by a conventionalized floral ornament (the so−called PALMETTE). Above the spiral roll is a low abacus, oblong or square in plan. In Fig. 62 the profile of the abacus is an ovolo on which the egg−and−dart ornament was painted (cf. Fig. 66, where the ornament is sculptured). In Fig. 61, as in Fig. 71, the profile is a complex curve called a CYMA REVERSA, convex above and concave below, enriched with a sculptured LEAF−AND−DART ornament. [Footnote: The egg−and−dart is found only on the ovolo, the leaf−and−dart only on the cyma reversa or the cyma recta (concave above and convex below) Both ornaments are in origin leaf−patterns one row of leaves showing their points behind another row.] Finally, attention may be called to the ASTRAGAL or PEARL−BEADING just under the ovolo in Figs. 61, 71. This might be described as a string of beads and buttons, two buttons alternating with a single bead. CHAPTER III. GREEK ARCHITECTURE.
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