R. Blomfield: Ancient Greek Architecture

Page 6

Now, the order, its character, dimensions and disposition, with the wall of the Cella (or enclosed shrine) within the colonnade, summed up the elements, the vocabulary, if one may so put it, of Greek architecture; and we come here at the outset on a curious quality of the Greek genius, and one that differentiates it from the Roman. The properties of wood and stone as materials are clearly different, things can be done with the one which are impossible with the other; but the Greeks either did not realize this or did not trouble their heads about it. They found that the post and lintel was a simple means of building, and they adopted it as their permanent method of construction. If the span became too wide, they thickened the posts (the columns of Paestum are 7 ft. in diameter) and increased the strength of the beam (the architrave). Hence the vast solidity of the Doric order of the temples of Sicily and Magna Graecia. The Greek was incurious about construction qua construction. He found, in the column and the lintel, means perfectly adequate to realize his ideal of high unalterable beauty, and he was content. The Romans, who for a time were satisfied with these simple methods, became impatient of the constructive limitation of the post and lintel. They wanted to cover in great spaces, and to leave the floor unencumbered; and concentrating on this they arrived at the arch, the vault, and the dome, and so became the greatest builders of the world. To them, the orders were a mere appanage of decoration, which they never properly appreciated, of which they mistook the intention, adopted the worst elements, and often enough made a gross misuse. The Greeks took another line. They adopted the column and lintel once for all as the only possible method of construction, and devoted all their labours to the incessant refinement of this type, eliminating the unessential, arriving by constant selection at the most perfect expression of their purpose, and their purpose was not that of the Roman and the modern architect, mainly utilitarian, it was directed entirely to the aesthetic appeal, the appeal to the emotions through beauty of line, of form, and in a less degree of colour. 'The whole fabric of Greek art goes to pieces when it is brought into contact with a purely utilitarian nation like Rome.'[132]

[132] Hellenistic Sculpture, by Guy Dickins, p. 85. The author, who wrote with something of the insight of the artist as well as the accurate knowledge of the scholar, died of wounds, on the Somme, in 1916.

Of the two orders, the Doric and the Ionic, the Doric seems to me the purest embodiment of the true Greek spirit, in its faultless form, and its austere restraint and rejection of the unessential. It was, moreover, the order par excellence of the Greek temple of the mainland. The Erechtheum was the only Ionic temple of first-rate importance in Greece, and the employment of the Ionic order in Greece was confined to interiors and minor buildings. As for the Corinthian order, the favourite order of the Romans, it was scarcely recognized by the Greeks. In all their great temples, in Greece, in Sicily, and Magna Graecia, they used the Doric order.

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R. Blomfield
Ancient Greek Architecture

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R. Blomfield Ancient Greek Architecture

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R. Blomfield
Ancient Greek Architecture