FRIEZE, in architecture, the middle of the three divisions of a classic entablature above the architrave and below the cor nice (see ORDER) ; also any long, narrow, horizontal panel or band used for decorative purposes. The frieze probably developed from the necessity of carrying the cross beams of a ceiling upon the tops of the architrave beams, but below the cornice eaves; the stone triglyphs (q.v.) of the Doric frieze are reminiscent of the beam ends of a primitive wood construction. In the Ionic, Corinthian and Composite orders the frieze has no architectural membering, but is frequently richly ornamented. In Greek work this ornamentation consists of figures, as in the treasury of the Cnidians at Delphi (early 5th century B.e.) or the monument of Lysicrates at Athens (310 B.c.) ; in Roman and Renaissance work of anthemions, acanthus foliage or garlands, as in the tem ple of Vesta at Tivoli (c. 8o B.c.) and the Maison Carree at Nimes (early 1st century A.D.) . In late Roman work and many Renaissance examples the profile of the frieze is a convex curve, and is known as a pulvinated frieze.
The most famous of all decorative friezes is undoubtedly that carved on the top of the outer wall of the cella of the Parthenon, just under the ceiling of the portico. This frieze, 4o in. high and 525 f t. long, bearing a representation of the ritual procession of the Pan-athenaic festival, is characterized by superb rhythmic design and faultless execution ; sculptured probably from the de signs and under the supervision of Pheidias it is a perfect ex pression of Greek sculpture of the middle of the 5th century B.C. and one of the most praise-worthy examples of architectural sculpture of all time.