This monument was probably crowned with the emblematic tripod of the Choragus, executed in metal (the tripod-is repeated in the wall frieze), and with one or two human figures, while the entablature frieze was ornamented in the fashion shown in the restoration (Fig. 77). The column in the Monument of Lysicrates has twenty-four flutes; its height is about eleven and one-half feet, and it is a little more than ten times its diameter, the capital being one and two-tenths diameters in height. The entablature is a little less than one-fifth the total height of this Order, while the base in this particular example is evidently so much influenced by its connection with the blank wall behind, that it can hardly be considered as typical, although it varies but little from that shown in the Corinthian Order Plate. The column is set upon a continuous base or step with a moulded, retreating face which is evidently intended to offset the projection of the belt course beneath. The shaft of this column is tapered more nearly after the Roman fashion, inasmuch as, before the entasis begins, it is straight for some distance above the base moulding.
The Tholos at Epidauros. In Plate L both the exterior and interior treatment of the Tholos at Fpidauros are shown in detail. We again find that this instance of the use of the Corinthian Orders must be taken as a most beautiful and individual example. The treatment of the entire entablature is evidently strongly influenced by its location on the interior of the building. While the architrave has not been varied much from the usual type, the frieze is shown as a delicate ogee moulding, and the crowning member or cornice partakes more of the nature of the dado or pedestal cap which we afterwards find used by the Romans, than the usual entablature-cornice. This column, as well as that of Lysicrates, has twenty-four flutes separated from each other by the now customary fillet, and is eight and one-half diameters in height; the capital being exactly one diameter high, above the top of the astragal moulding.
Not the least interesting part .of this building is the form of the Greek Doric Order which we find here used. Belonging to this late period, it may perhaps be considered as a refinement upon this Order, even as used in the Parthenon. It is certainly quite as refined an instance, while the ornamented and less severe character which it is here given is commendable, considering the use of the columns on a building of circular plan (Fig. 78). The crowning cheneau (Plate L), with the lion's head for the waterspout, is unusually beautiful; while the Greek fret, used both here and on the interior entablature of the building, is the form to which the Greeks themselves are most partial and which they evidently considered as the most interesting develop ment of this purely geometrical ornament to which they had attained.
The carving of the separate members, from the interior entablature, shown in detail on this same plate, is exceptionally beautiful and pure in its type; while the running dog, taken from the panel in the soffit of the ambulatory between the Corinthian columns and the wall of the building, is especially interesting in its sectional treatment.
The column here employed is higher than in the earlier examples, being ten diameters in height; but it will be observed that most of this additional height is taken up by the capital itself, while the height of the shaft remains practically the same.
The height of the Corinthian entablature is two diameters and one-half, the diameter being, as always, taken at the bottom of the shaft. These proportions, although generally admitted, are not invariable; but they may be considered as a mean, founded on the examples of which we know, although they are admittedly very few in number.
The entablature differs but slightly from the one we have already seen on the Ionic Order in the Temple of Minerva Polias at Priene, shown in Plate XLVI; and a comparison of this example with Plate XLVII will show what slight change has been made from this cornice in its general proportions.
The architrave is divided into three bands or fascias, and the frieze is plain, or is ornamented with detached figures sculptured after a naturalistic fashion.
The proportions of the cornice to the entire entablature are somewhat changed from the typical Ionic form, as it is heavier and more in the relation to the whole that it afterwards bore in Roman work. The dentil, which first appeared in the Ionic cornice, has by now attained a more definite denticular expression, aad we find this member used in the Corinthian cornice on both the Temple of the Winds and the Monument of Lysicrates. The Greeks evidently first used the regular Ionic entablature with this new capital; but the necessity for a heavier and more elaborate cornice to go with it was at once generally apparent, so the denticular cornice, which had been tried a few times with the regular Ionic column, was evidently adopted as more appropriate for use with this richer Order. And hereafter we find that the denticular cornice is rarely used with the Greek Ionic order within Greece itself.