Ogee (6-je'). A cyma recta or cyma reverse; a moulding consisting of two members, the one concave, the other convex, or a round and a hollow. (See Fig. 5.) Opisthodomos (op-is-thod'S-mos). An open vestibule within the portico of a temple at the end behind the cella; in most ancient temples corresponding to the promos at the principal end.
Order (or'der). A column entire (including base, shaft, and capital), with a superincumbent entablature, viewed as forming an architectural whole or the characteristic element of a style. (See Figs. 3 and 50.) Orientation (6-ri-en-ta'shon). The location of a structure in regard to the direction it faces, especially in fronting toward the east.
Outline (out'lin). A line which marks or bounds the outside of a figure; a sketch of any scheme.
Ovolo (5've-l8). An egg-shaped moulding in Roman work, sometimes a quarter of a circle in section, but—in Greek work—generally part of an ellipse or hyperbola. (See Fig. 5.) Pzestum (pes'tum). A city in Lucania famous for the ruins of two or more Doric temples.
Palatine (pal'a-tin). One of the seven hills of Rome.
Palladio (pal-lad'i-8). An Italian writer and architect, best known for his palaces at Vicenza and churches at Venice. The last great architect of the Italian Renaissance.
Palmette (pal-met'). A conventional floral ornament or leaf, more or less resembling a palm leaf. (See P and Q, Plate XL.) Palmyra (pal-mi'ra). A town in Syria, long since deserted, where yet remain extensive and superb Roman ruins.
Pandrosos (pan-drd'sos). Daughter of Cecrops. In her honor a temple sanctuary was built at Athens.
Panel (pan'el). A compartment with raised margins, moulded or otherwise, as in ceilings, wainscots, and the like. (See Fig. 9.) Pantheon (pan'the-on). A large, circular temple with a Corinthian portico, in Rome, originally dedicated in reign of Augustus B. C. 27—A. D. 14. The columns, entablatures, etc., of the portico of the present building, which dates mostly from 120-124 A. D., were parts of the original structure. (See Figs. 102 and 103.) Parapet (par'a-pet). A low wall protect`_ng the edge of a terrace, bridge, declivity, etc. (See Plates XXXII and XXXIV.) Part (part). (a) The unit into which the module, or one-half diameter, of columns is divided in laying out the Roman rders; of the module for the Tuscan and Doric, and is of the module fr ,he Ionic, Corinthian, and Composite Orders. (b) A separate_division, fraction, or fragment of a
whole. • Parthenon (par'the-non). The Temple of Athene Parthenos at Athens. It crowned the Acropolis, and is regarded as the most nearly perfect build ing in the world. Begun about 450 B. C. after designs by Ictinus and Callicrates, under the political direction of Pericles, and the artistic superintendence of the great sculptor Phidias. Dedicated 438 B. C. (See Frontispiece illustration; also Fig. 45.) Pedestal (ped'es-tal). The base or foot of a column, statue, or the like; the part on which an upright work stands; it consists of three parts, the base, die, and the cap or cornice. (See Figs. 3 and 25.) Pediment (ped'i-ment). The gable or trianguar end of the roof of a building. (See Fig. 20.) Pelasgians (pel-as'ji-ans). Name given to the earliest inhabitants of Greece.
Pendentives (pen-den'tivz). The vaulted portions supporting the angles of a domed cupola. (See Fig. 28.) Pentelic (pen-tel'ik). A Classic variety of pure, fine-grained marble, obtained from Mount Pentelicus in Attica.
Pericles (per'i-klez). A celebrated Athenian statesman and orator. Born about 495 B. C; died at Athens 429 B. C. The Age of Pericles was the Golden Age of Greece, the period of its highest political, artistic, and literary development.
Peripteral (pe-rip'te-ral). Having a row of columns all around. (See Figs. 33 and 34.) Peristyle (per'i-stil). A range or ranges of columns surrounding any part of a temple or house. (See Figs. 33 and 34.) Perspective (per-spek'tiv). (a) A drawing or rendering of an object so as to show it as it would actually appear to the eye of a spectator. The pro jection—geometrically—on a picture plane so that the object drawn will appear as when seen from some particular point. (b) The apparent vanishing of parallel lines as their distance from the eye is increased.
Phidias (fid'i-as). A celebrated Greek sculptor born about 500 B. C.; died about 430 B. C. He was associated with Pericles in the artistic beauti fying of Athens. His greatest work was the colossal gold and ivory statue of Athene (Minerva) which adorned the cella of the Parthenon.