ENTABLATURE, that part of a design in classic architecture which surmounts the columns (q.v.), and rests upon the capitals. It is usually about two diameters of the. column in height, and is divided in every style of classical architecture into three parts— architrave, frieze, and cornice. These parts vary in their relative proportions in differ ent styles. In Doric architecture, for example; if the E. be divided into eight equal parts, two of these form the height of the architrave, three that of this) frieze, and three that of the cornice. In the other styles, the relative proportions are as three, three, and four.
The term E. was not used till the 17th c., the members composing it being previously simply designated the cornice, frieze, and architrave.
1. The architrave is the horizontal portion which rests immediately upon the abacus of the column. It is usually ornamented with horizontal moldings, with flat spaces or facia between. The upper molding always projects further than the others, so as to throw off the rain. This molding varies in different styles. In Doric, it is a plain square projection, with small pendants or under the triglyphs. In the other styles, it is generally an ogee or talon molding. These moldings are frequently enriched with leaf ornaments, and in very florid designs the faciw are also enriched.
2. The frieze is the middle portion of the E., between the top of the architrave and the bed of the cornice. In the Doric style, it is ornamented with triglyphs or slight projections, divided by angular grooves into three parts. The spaces between the triglyphs (called metopes) are square, and are either plain or enriched, either with figure sculpture, as in the Parthenon, or with bulls' heads, pater, or other ornaments. In the other styles, the frieze is never cut into portions, but is either left quite plain or orna mented with figure-sculpture or scroll-work. The former is most usual in Greek art, the latter in Roman. In late Roman works, the frieze is sometimes swelled or made to pro ject with a curve.
3. The Cornice forms the upper portion of the entablature. It is divided into several parts. The lower molding or moldings resting on the frieze are called the bed-moldings —the upper projecting part is called the corona (q.v.), and between the two there are frequently introduced modillions and dentil bands. The bed-molding is generally of an oval or echinus form, and is frequently enriched with the egg and tongue or leaf orna ments. The upper molding of the corona is generally of a cymarecta form (see COLUMN,
fig. 1), and is often ornamented with lions' heads. These represent the openings through which the rain was at first led off from the roof-gutters, which were cut in the top of this molding, and were retained as ornaments after their original use was discontinued. The corona projects well Over the frieze and architrave, and protects them from rain, while at the same time, by its broad shadow, it gives repose and variety of effect to the building. The soffit, or under side of the corona, is frequently paneled and ornamented with paterm.
Origin.—The component parts of the E. are said, with some appearance of truth, to owe their origin to the forms of the construction of the oldest temples. These were of wood, and were put together in the manner most natural for that material. The square beams laid across from post to post are represented by the architrave; the triglyphs of the frieze are copied from the ends of the cross-beams; the cornice is taken from the boarding which covered the rafters and ties of the roof—projected so as to throw off the rain; and the dentils and modillions show the ends of the rafters left uncovered.
Whatever the origin of the E. may have been, it is a remarkable fact, as connected with Greek and Roman art, how persistent the E. was as a feature in the decoration of these classic styles. So long as buildings consisted of one story in height, this was quite natural; but after this simple system was abandoned, and when, as in Roman architec ture, series of columns and entablatures were piled one above the other—not used con structionally, but simply applied to the face of the building—the cornice, frieze, and architrave still retained their places and proportions. In the revived Roman art of the 16th c., the E. was used in a manner still further removed from its original purpose. The strict proportions of the various parts were entirely lost sight of. The frieze was increased in height, so as to admit of small windows to light the entresol or mezzanine (q.v.), and in the French and English forms of the renaissance, the various members become still more attenuated and altered from the original design (see RENAISSANCE). But in no modification of classic architecture, however debased, is the E. awanting. The architrave, frieze, and cornice are essential portions of every classic design.