In addition to the Ionic and Doric orders, a third order, the Corinthian, was developed in Greece. It was, however, but little nsed until after the time of Alexander, when true religious feeling and patriotic sentiment had given way, throughout Greece and its colonies, to Oriental sensuous enjoyment and luxurj'.
The greatest variety and artistic freedom pervaded the Grecian architecture, both in the development of the individual members and in the general planning of tlie temples. All of the mouldings and the orna- mentation were drawn with a free hand, and not by mathematical instruments, as was the case in Eoman and Gothic architecture. With all of this variety and freedom, the typical character of the Grecian architec- ture was well i)resei*ved. The Doric order was the favorite, as the best adapted to the spirit of temple ar- chitecture. Jlore than one order was frequently in- troduced, however, into the same edifice. From the erection of the earliest Doric temple, that of Neptune at Corinth, there was a gradual progress in the devel- opment of elegance of form in the single members of the edifice, and in the development of sj-mmetry and harmony in the entire structure. During the earlier liistory of Grecian architecture, polychromy was used to a great extent. Later, the'ornamentation liecame more sculpturesque. But color was used to develop
Fig. 4. Ionic Order; from the Erechtheum in Alliens (Liilke).
the relief of the architectural forms of the capitals, the cornices, and the panels of the ceilings, until the pe- riod of decadence of the Grecian architecture.
Great care was taken to select the best sites for these temples. Oracles were consulted for their location. The temples of tutelary deities were usuallj' placed on the highest ground in the city. They thus command- ed, in many cases, most magnificent prosjiects. They were also thus seen at a great distance. The temples were sometimes surrounded by sacred groves, or by groves of olive and orange trees. The temples were often surrounded also by sacred inclosures, within which were frequently erected altars, and even tem- ples to other deities. The temples of Mercury were usually placed on lower grounds ; those of Mars, Ve- nus, Vulcan, and Esculapius outside of and near the gates of the citj'. The front was always adorned with an equal number of columns — of four, six, eight, or ten. On the sides tlie number of columns was usually unequal. As the length of the temple was usually double the breadth, the number of columns at the side was thirteen for six on the front; seventeen for eight on the front. The proportion between the diameter and the height of the columns and of the space be-
GRECIAN ARCHITECTURE 977 GRECIAN ARCHITECTURE
of the deity. This cella opened to the east, that the first light of the morning might fall upon the image of the deity. Sometimes there \i'as another room in the rear of the cella (as the treasury' in the Parthenoa
Fig. 5. Ionic Order ; fi-oni the monument of Lyticrates in Alliens (Liibkc).
tween the columns varied in different temples and in different periods. Some temi)les had a portico on the front only ; others on the front and rear, and others still on all four sides. Some had two rows of columns on the front and rear, and one on the side ; and others luul four rows on the front and rear, and two rows on the side. In some temples the cella required no pil- lars for the support of the roof; in others the cella was so lari^e as to require a row, and sometimes two rows of pillar.?. Sometimes a gallerj' ran aroun.l the cella. The entire cella of some temples was covered with a roof, the central part being open to the sky. By this means onlj' could the paintings of the cele- brated artists which adorned the walls of the cella be distinctly seen.
Windows were occasionally introduced, as in the Erachtheuni at Athens. It is supposed that these Avere closed by very thin slabs of alabaster or gypsum, thus giving a tranquil and mysterious light to the in- terior.
The base of the temple was raised several steps aSove the ground upon which it rested. The interior usually consisted of a room (cella) to contain the statue
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at Athens). The gables contained groups of sculpture illustrative of some event connected with the mj'thol- ogy of the deity to whom the temple was dedicated. The metopes of the friezes frequently contained also smaller groups of sculpture. Upon the walls of the portico were frequently long series of sculptures.
The entire temple was erected primarily as a resi- dence for the deity. It could contain but few per- sons at a time. Sacrifices, ceremonies, and processions were performed without the temple. Beside the statue of the deity, to whose service the temple was erected, were often placed smaller statues of friendly deities. Statues of priests were sometimes placed in the vesti- bule of the cella. Thank-offerings, sometimes of great value, were often placed upon the walls both of the cella and of the portico. An altar upon which offer- ings were placed often stood before the deity. But sacrifices were performed upon an altar placed before the entrance, but within the view of the image of the deity.