As the Doric art progressed, the early massive forms gave place to more elegant and slender proportions. In the temple at Corinth the column is only 4.47 diameters in height; in the Parthenon, which is universally recognized as the finest example of the style, the column is 6.025 in height; and in later examples it becomes still taller and thinner, t\ntil it runs into the opposite extreme from which it started, and becomes so meager and attenuated as to lose entirely the boldness and vigor of design which are the chief characteristics of the style.
One thing to be particularly admired in the Doric style is the beauty of the sculpture with which it is adorned, and the appropriate manner in which the sculpture is placed in the building, and the building suited for the sculpture. It has been shown by Mr. Penrose that every line was the subject of the deepest study on the part of the architect, for the purpose of correcting and allowing for all optical aberrations. The result is, that there is hardly a single straight line in the building; all the lines, which appear to be perfectly straight, are drawn with accurate curves, so as to produce the smoothest and most pleasing effect to the eye. Every harsh angle is softened, and every disagree able combination of lines avoided. For example, the columns have an Entasis (q.v.) or slight swelling formed by a hyperbolic curve; the architrave of the front is curved up wards, so as to correct the optical illusion caused by the sloping lines of the pediment, and the columns are sloped slightly inwards, so as to give greater appearance of solidity.
The Parthenon is built, entirely of white marble, and the whole of the masonry in this, as in other Doric works of importance, is put together with the most perfect work manship.
There seems to be no doubt that this and other Greek temples were adorned exter nally with color. To what extent this decoration was carried, is ubt clearly ascer tained; but it is probable that the exterior walls were covered with historical pictures, which were sheltered from the effects of the weather by the portico surrounding the temple. The sculpture was probably also relieved by a tint color on the background, and the moldings decorated with painted or gilded ornaments.
Ionic.—This style took its rise about 500 n.c., and as we have seen that the earlier Doric was imported from Egypt, so the Ionic seems to have originated from the influence, of Assyrian art. The recent discoveries of Layard and others have shown
that many of the characteristic ornaments of the style were in common use in Assyrian architecture. The volutes of the capitals are particularly indicative of an eastern origin, the scroll being an ornament of very common use in all eastern art.
'The finest examples of the Ionic style remaining in Greece are the temples of the Wingless Victory (like apteros) and the erechtheum at Athens, built about 450-420 B.C. In the Ionian and other colonies of Asia Minor, also, many fine examples of this style were erected. The celebrated temple of Diana at Ephesus was of the Ionic order. It was the largest temple we know of up to its time, being 425 ft. long by 220 ft. wide. Nd trace of it now remains.
The Ionic is a graceful and elegant style, but not so pure and severe as the Doric. The latter is distinguished by simple and beautiful outline, enriched with the most per feet sculpture; the former trusts rather to ornamental carving for its effect. This love of elaborate ornament is an indication of the eastern influence under which the style originated, and the moldings and many of the ornaments are found to be identical with those of Assyrian architecture, only refined and simplified by the Greeks. The honeysuckle ornament, so commonly used both in Assyrian and Ionic architecture, is a good example of the improvement effected by the Greeks on the original type. In the Ionic as well as in the Doric, we find the most perfect execution and workmanship, the spirals, entasis, etc., being all drawn and cut with the greatest possible exactness.
Corinthian.—This style was the latest introduced, and combines, to sonic extent, the characteristics of both the preceding. It unites and blends together the Egyptian and Assyrian elements, the cap being probably derived from the bell-shaped capitals of the former country, ornamented with the carved leaves and spirals of the east. This order was first used about the time of Alexander the Great, the earliest example extant being the Choragic monument (q.v.) of Lysicrates (335 B.c.). There are also the temple of the winds and that of Jupiter Olympius at Athens, the latter being one of the largest and finest examples of the style.