The Bases of Design. Walter Crane
slab sculpture, or what may be considered as architectural ornament, for, as I have elsewhere said, we may fairly consider figure-sculpture to have been the ornament of the Greeks: just as one might say that picture writing and hieroglyphic were the mural decorations of the Egyptians.
ORNAMENTAL LINES IN THE FRIEZE OF THE PARTHENON.
WAVE MOVEMENT & SPIRAL CURVES IN THE FRIEZE.
These sculptures were evidently designed under the influence of the strongest architectural and decorative feeling, and were constructed upon a basis of ornamental lines. There is a certain rhythm and recurrence of mass, and line, and form in them throughout, and they have all been carefully considered in relation to the places they occupy.
METOPE OF THE PARTHENON,
SHOWING RELATION & PROPORTIONS OF THE MASSES IN RELIEF TO THE GROUND.
It is to be noted, too, that the sculptures are placed in the interstices of the construction; that is to say, not on the actual bearing parts. On this point it is interesting to compare with the earlier forms of pure stone construction at Mycenæ. The lions over the Mycenæ Gate are carved upon a slab of stone placed in the triangular hollow left above the lintel to prevent it breaking under the great pressure of the heavy stones used. The triangular hollow may be seen without the slab in the doorway of Clytemnestra's house at Mycenæ. Here we have an early instance of the interstice left by the necessities of the construction being utilized as a decorative feature, significant in its design, showing the protecting image of the Castle of Mycenæ, much in the same way as we see the family arms sculptured over the gateways of our English mediæval castles.
Returning to the Parthenon, we see that the same principle is observable in the pediment and metope sculptures, the frieze of the cella being really a mural decoration consisting of facing slabs of marble. The building would doubtless stand without any of them, as a timber-framed house would stand without its boarding, or filling of brick or plaster; but it would be like a skeleton, or a head without its eyes—much, indeed, as time, bombardment, ravage, and the British Museum have left it now.
Before we leave the Parthenon, let me call attention to one prevailing principle, characteristic of its design in every part; for though following throughout the principles or traditions of wooden construction, no doubt its proportions and lines were consciously and carefully considered by the architect with a view to æsthetic effect. It is the principle of recurring or re-echoing lines, a leading principle, indeed, throughout the whole province of Design, and one on the importance and value of which it is impossible to lay too much stress.
THE PARTHENON
[After MENGE].
PARTHENON EASTERN PEDIMENT—SKETCH TO SHOW RELATION OF LINES OF SCULPTURE TO ANGLE OF PEDIMENT.
PARTHENON EASTERN PEDIMENT—SKETCH TO SHOW RELATION OF LINES OF SCULPTURE TO ANGLE OF PEDIMENT.
To begin with the pediment. The main outline is delicately emphasized by the mouldings of the edge, which also serve as a dripstone—the practical origin, probably, of all mouldings. The groups of sculptured figures within the recess (which further serve to express the pitch of the roof) re-echo, informally, in the lines controlling their composition, as well as in the lines of limbs and draperies, variations of the angle of the pediment. Thus, the groups of figures, full of action and variety as they are, are united and harmonized with the whole building; while, to avoid undue appearance of heaviness on the crest of the pediment and on the angles were placed anthemion bronze ornaments.
PARTHENON ELEVATION SHOWING PORTION OF PEDIMENT FRIEZE AND COLUMNS.
The cornice, again, is emphasized by mouldings marking the important horizontal lines of the building, re-echoed by the lines of the frieze, and counteracted and braced by the emphatic vertical lines of the triglyphs, and enriched by the little dentils below.
Then we come to the cap of the Doric column. It is simplicity itself. A thin square block of marble forms the abacus. The capital is a flattened circular cushion of marble, rounded at the sides in a diminishing curve to the head of the column, which terminates in a horizontal reeding. The column itself is delicately channelled with a series of lines which follow its outline, and give vertical expression to the idea of the support of the horizontal mass above, the column gradually diminishing from base to cap, entasized or slightly swelled in the middle to avoid the visual effect of running out of the perpendicular. The Doric columns spring boldly from the steps without base mouldings, the steps repeating the horizontal lines of the building again, and giving it height and dignity. The other variants of the Greek style will illustrate much the same principles in different degrees, and we may trace the value of proportions, and recurring lines, and different degrees of enrichment through the other four orders.
MARBLE CHAIRS, THEATRE OF DIONYSUS, ATHENS.
As designers, then, we can at least learn some very important lessons from lintel architecture generally, and from the Parthenon in particular, and chiefest amongst these are:
1. The value of simplicity of line.
2. The value of recurring and re-echoing lines.
3. The value of ornamental design and treatment of figures in low or high relief as parts of architectural expression
GREEK CHAIR.
GREEK TABLE WITH VOTIVE OFFERINGS.
END OF GREEK COUCH.
GREEK LOW-BACKED THRONE.
4. The value of largeness of style in the design and treatment of the groups and figures themselves, both as sculpture pure and simple and as architectural ornament.
When we come to examine the accessories of Greek life, furniture, pottery, dress, we find them all characterized by the same qualities in design as we have just been noting in the architecture; the fundamental architectural feeling seems to pervade them. A simplicity of line, balance, and reserve of ornament distinguishes alike their seats and chairs and tables, caskets, vases and vessels, and the expressive lines of their dresses and draperies falling into the lines of the figure give life and variety, while they contrast with the severity of the architectural lines and planes.
Now, so far we have been considering the architecture of the lintel, and its bearing upon design, and the qualities and principles we may learn from it generally.
With the use of the round arch—invented, it is said, by the Greeks, but always associated with the Romans, who used it—quite different effects come in, with different motives and ideas in design. The Roman architecture, the round arch, fulfils the functions of both construction and ornament, on the same principle of recurrence, or repetition, we have noticed before; as, for instance, in the Colosseum, where the tiers of round arches which support the outer wall of the building serve both the constructive and decorative functions. With the use of the arch the arcade becomes a constructive feature of great decorative value, and takes the place in Roman and Romanesque buildings, with a lighter and more varied effect, of the columned Greek cella. Sunshine, no doubt, had much to do with its use, since