A dictionary of architecture and building : biographical, historical, and descriptive . O Centre OF Priene Temple of n COLU-MNS Ionic ft. The All- Athena figiiiflen Polias. •f Julilu, Teos Temple ofDionvsos. n ft. Vi)l. IV. Corinthian Athens Temple ofthe Olym-pian Zeus. u% ft. Penroses PHiici- pleit. Rome Temple of Marcus Aurelius. n m. Tem-ple deMfirc-Aurile. 488 INTBRCUPOLA In none of the above, nor in the many aikli-tional Doric examples given by Dr. Durm, dothe Vitruviau , H, 2, 2^-, or 3 statement that the architrave frequentlyfails in a
A dictionary of architecture and building : biographical, historical, and descriptive . O Centre OF Priene Temple of n COLU-MNS Ionic ft. The All- Athena figiiiflen Polias. •f Julilu, Teos Temple ofDionvsos. n ft. Vi)l. IV. Corinthian Athens Temple ofthe Olym-pian Zeus. u% ft. Penroses PHiici- pleit. Rome Temple of Marcus Aurelius. n m. Tem-ple deMfirc-Aurile. 488 INTBRCUPOLA In none of the above, nor in the many aikli-tional Doric examples given by Dr. Durm, dothe Vitruviau , H, 2, 2^-, or 3 statement that the architrave frequentlyfails in a cliastyle (3 diameter) intercolumni-ation is seen to be thoroughly illogical whenwe realize that if the diameter of the column issmall the architrave might actually be shorter INTERLACING ARCH INTERDUCES. Same as Intertie. INTERFENESTRATION. .1. The spacebetween two wimlows. B. The art of disposing windows and, byextension, doors anil other openings. (Com-pare FenestnitidU ; Intercolunniiation.) INTERriLLINGp. Filling, as with masonryor plastering on latli, spaces between timbers. Interlace: Interlaced Patterns from the Alhambra, Granada, Spain. than in a picnostyle arrangement when thediameter is very great. The niles for equal spacing of columns ignorethe fact that in Grecian Doric the positions of thecolumns depend usually upon the divisions ofthe frieze. In this order the axis of the columnfells in line with the middle of the triglypii, butat the angles this coiTespondence cannot exist,and the spacing of metope and triglyph beingconstant, it follows that the comer intercolumni-ation is less than the others. The rules alsoignore the beautiful optical refinement of agradually widening space from angle to centre,as seen in the Parthenon and other buildings. It is hardly to be conceived that, at a timewhen art was free from the taint of arclneol-ogy, artists would have attempted to perfecttheir designs by an artificial system of modulesand minutes, or would have permitted th
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