In large temples the cella is divided into a nave and two side-aisles by rows of columns, which latter bear a gallery. The nave is in this case lighted by an opening in the roof; such a structure is a hypwthral tem ple (pi. 7, 4). But, though in its interior the temple contained different halls of varying size and for diverse purposes, this arrangement was not evident on the exterior. The established form of the temple had become to a certain extent holy, and the Greek language of forms recognized only the accustomed simple shape as that of the temple; so that the exterior in no way expresses the interior arrangement.
Doric we describe the superstructure of the Doric temple, we must first of all notice the careful proportioning of the somewhat tapering columns, which were set upon the substructure without a base. The shafts were fluted, and the blocks which composed them so interlocked that the joints were entirely invisible. A strongly projecting roll-moulding (echinus) formed a simple capital, which supported a square slab (abacus). The simple lintels (architrave, episl)'le) stretched from column to column without any detail. Over them, separated by a small moulding, stood the frieze, which was composed of a number of larger projecting blocks called triglyphs, the spaces between which were filled with thinner slabs, called metopes, usually adorned with carving. Above the triglyphs was placed the crowning cornice (geison), formed of thick projecting slabs, which supported the margins of the roof and was adorned upon its inclined lower surface, above each triglyph and metope, with slightly-projecting ornaments (muth/i), to which, three or six in a roNV, cylindrical drops were appended. Above this was the gutter (cyma), behind which the rain-water collected and was conducted to the four angles of the structure, whence it flowed through spouts in the form of lions' heads. The inclined lines of the pediments expressed the shape of the roof; along them extended the cornice and the cyma in a somewhat modified form. The triangle thus enclosed (1vmpanum) was adorned with sculptures, and sculptured acrottria stood upon the summit and both extremities of the pediment. The roof was of stone slabs, the imbricated junctions of which were covered with curved tiles corresponding with the palm-like ridge and end tiles upon the ridge of the building and over the cornices. It is believed that the whole was richly adorned with bright but harmonious coloring.
The ancient wood structure is yet perceptible in the monumental stone edifice—of course not in the sense that each single form was existent in the rude wooden structure in the place in which we find it, with all the refinement imparted to it by the language of form, but in the sense that the outward form is in the main similar to that of the wooden temple, and that the constructive ideas were derived from the latter. From the temple of wood came the sacred traditions which passed over to the tem ple of stone. Even the form of the temple continued through all the ages as a sacred tradition—a form not necessarily linked to a compli cated group of buildings, existing even where there is but a simple cella and portico, but which in a complicated group of buildings necessitates the omission of a part of the roof. Notwithstanding- the delicacy of the lines, we can yet see the tree-trunk in the column, so plainly is the wooden origin evident in single forms. For the triglyphs we can find no other parentage than the fastenings of the ends of the beams, which in the wooden building projected upon the long sides of the rectangle, and were also represented on the ends of the building by short pieces.
Although in the monumental building the stone-linteled roof of the portico lies higher and is differently constructed in front, it is still a reminiscence of the wooden building. The mutules are survivors of the formerly-visible ends of the rafters, although in the monumental building they occur upon the ends of the structure as well as upon the. sides, where alone real rafter-ends could occur. Plates 6 and 7 give a number of Doric temples, while Figures 6-9 of the latter Plate give the details of columns and entablature.
Ionic Order.--The Ionic temple is more elegant than the Doric. The columns have more slender proportions; the architrave is lighter. The Ionic column has a base in which various mouldings find application. One of these forms—that called the Attic—was adopted by all the later schools of architecture. The delicate shaft has narrow deep flutings, alternating with fillets; the neck of the column is enriched with an ornamental frieze; between the echinus and the abacus lies a cushion rolled into volutes upon both sides; the abacus is enriched, as is also the architrave, which is divided into three faces; the frieze, of less height than the Doric, may be plain or• adorned with carving, and the cornice is set with dentils.