Use of Triglyph at Corner Angle. In all the early examples of the use of the Roman Doric Order employed in buildings square or rec tangular in plan, the triglyph is used on the corner of the angle after the Greek fashion, as is further shown in the drawings of fragments of the Roman remains at Cora, the modern Cori. (Figs. 107 and 109).
The Temple at Cora, as well as some remains of Roman Doric temples dating from about 200 B. C. and possibly restored at a later period, indicates, by the narrow intercolumniation at the corner, as shown on the old floor plan, that the triglyphs occurred on the angle after the Greek fashion. On the tomb of Scipio (Fig. 108) and the two tombs at Norchia, as well as on the pedestals shown in Fig. 109, the triglyphs always occur on the angles. In the three uses of this Order in Rome—the Tabularium, the Theater of Marcellus, and the Colosseum—the problem of the corner angle is not presented, on ac count of the circular plan of the building and the form and treatment of the Order in each case.
Fragments from Temple at Cora. The fragments of architectural design gathered together in Fig. 109—which reproduces another of the beautiful drawings by Emanuel Brune and is probably one of the most interesting architectural renderings in existence, both on account of the beauty of the details selected and also on account of the brilliant drafts manship shown in the execution of the drawing—were taken from the ancient Roman temples at Cora, Italy, and show, along with the sev eral interesting Doric details, a few of more elaborate character. At the bottom and left of the drawing is a fluted pedestal, such as might be employed to carry a figure or some other piece of sculpture. Then, in the foreground, is shown the base of a fluted column of the Attic type. Above this is a most beautiful drawing of a Corinthian capital, with interesting variations from the strictly Classical type in the arrange ment of some of the leaf forms, and especially in two horns or tendrils inserted in the position usually occupied by the smaller volutes. The acanthus leaves of the capital are notably crisp and strong in treat ment; they follow closely the outline of the column, and end at the top in a spiral, strongly supported and yet with a graceful outward bend.
(This capital will afterward be referred to in the description of the Corinthian Order.) A little further to the right are two examples of Doric capitals, showing portions of the neck and bases of the columns.
Beyond these is another portion of a column base, probably used with a Corinthian or Ionic column, here carrying a small fragment with mask decoration.
The two moulded bases described above show evident experi ments on the part of their designers in the use of this form of base. In the one last mentioned, two torus mouldings are separated only by a fillet; while in the one first mentioned, there is a very narrow and ap parently much crushed hollow member between the fillets separating the torus mouldings.
These fragments are all placed in front of a cornice with beauti fully carved egg-and-dart and bead-and-reel mouldings, supporting rather awkwardly-proportioned brackets carrying the crowning mem bers of the cornice. Above this cornice, in the center of the drawing, is a base supporting a capital of rather unusual design. In the center of each side, occupying the space between the volutes, is a severely classic head of Minerva. The corners are supported by simple but strong and heavy volutes. The abacus is similar to that on the early Corinthian capitals. At the right and left of this capital are pedestals carrying Doric cornices not unlike in treatment to the cornice of the Tomb of Scipio. In the background are of architec tural fragments. Another round pedestal is here placed at the left of the plate; while the tall square pedestal carries a small anteffx dec orated with a Greek anthemion motif. At the right is a panel of letter ing, and above this an ornamental cresting of a honeysuckle motif, which shows in the reproduction almost as dark as the Classic land scape in the distance.
The beautiful lettering in this panel, and also on the face of the square pedestal immediately in front of it, should be noticed. All the details shown on this plate are thoroughly Greek in both treatment and feeling, and were undoubtedly executed by Greek workmen and archi tects, at an early period in the development of Roman architecture.