. Architecture, classic and early Christian . Fig. 84.—The Leaf ; Stalk. The beauty of the carving was, liowever, eclipsed bythat highest of all ornaments—sculpture. In the Dorictemples, as, for example, in the Parthenon, the architectcontented himself with providing suitable spaces for thesculptor to occupy; and thus the great pediments, themetopes (Fig. 86) or square panels, and the frieze of theParthenon were occupied by sculpture, in which thereV. as no necessity for more conventionalism than theamount of artificial arrangement needed in order fitly GREEK, 129 to occupy sp
. Architecture, classic and early Christian . Fig. 84.—The Leaf ; Stalk. The beauty of the carving was, liowever, eclipsed bythat highest of all ornaments—sculpture. In the Dorictemples, as, for example, in the Parthenon, the architectcontented himself with providing suitable spaces for thesculptor to occupy; and thus the great pediments, themetopes (Fig. 86) or square panels, and the frieze of theParthenon were occupied by sculpture, in which thereV. as no necessity for more conventionalism than theamount of artificial arrangement needed in order fitly GREEK, 129 to occupy spices tliat were respectively triangular, square,or continuous. In the later and more voluptuous styleof the Ionic temples we find sculpture made into anarchitectural feature, as in the famous statues, known astlie Caryatides, which support the smallest portico ofthe Erechthoium, and in the enriched columns of theTemple of Diana at Ephesus. Sculpture had alreadyLeen so employed in Egypt, and was often so used in latertimes; but tlic best
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Keywords: ., bookcentury1800, bookdecade1880, bookidarchitecture, bookyear1888
