Another change is that the complete entablature with triglyphsand metopes is only found above the columns, for the arches rise too high to leave room for more than the cornice.
The triglyphs disappeared from the cella wall, and sculpture of a higher order enhanced the architectural effect.
The triglyphs still appear around the cella wall under the pteroma ceiling, an illogical detail destined to disappear in later buildings.
The system of triglyphs and mutules was invented for the Doric order, and similarly the scheme of dentils belongs to the Ionic, in which there are proper grounds for its use in buildings.
Again, if we are to suppose that there were open windows where the triglyphs now stand, it will follow, on the same principle, that the dentils of the Ionic order have likewise taken the places of windows.
For the triglyphs ought to be placed so as to correspond to the centres of the columns, and the metopes between the triglyphs ought to be as broad as they are high.
The triglyphs having been thus arranged, let the metopes between the triglyphs be as high as they are wide, while at the outer corners there should be semimetopes inserted, with the width of half a module.
Above the architrave, the triglyphs and metopes are to be placed: the triglyphs one and one half modules high, and one module wide in front.
Over the capitals of the triglyphs the corona is to be placed, with a projection of two thirds of a module, and having a Doric cymatium at the bottom and another at the top.
But in violation of this rule, at the corner columns triglyphs are placed at the outside edges and not corresponding to the centre of the columns.
From that practice, like the triglyphs from the arrangement of the tie-beams, the system of mutules under the coronae was devised from the projections of the principal rafters.
The scheme of triglyphs and mutules in Doric buildings was, therefore, the imitative device that I have described.
Hence it was in imitation of the arrangement of the tie-beams that men began to employ, in Doric buildings, the device of triglyphs and the metopes between the beams.
Set off on the under side of the corona, vertically over the triglyphs and over the middle of the metopes, are the viae in straight lines and the guttae arranged in rows, six guttae broad and three deep.
Above the cornice, the grooves of the triglyphs carry on the lines of fluting from the columns towards the roof.
But at the corners of the buildings the intercolumniations are diminished, with the result that the corner triglyphs do not stand over the centers of the corner columns, but farther out (cf.
The beams and slat-work, like the triglyphs with their regulas and the mutules, were designated by blue; the trunnels were red or gilded.
The mutules above the triglyphs have the same great breadth; in one instance there remains above the metope only space for half a mutule.
A comparison of a fragment of the earlier building with the entablature of the present Parthenon shows how disproportionately high were the triglyphs and how heavy and broad the taenia and regulas of the archaic period.
The disproportionately high and weak triglyphs are especially characteristic of this stage of development; with the exception of these, the entablature still remained low and heavy.
The outer surface of the epistyle block was carved upon its upper edge with the tainia and trunnels, described as securing the triglyphs of the original timbered entablature.
The whole composition was thus the more richly divided the higher the building ascended; upon one column rested two triglyphs and four mutules.
The continuous strip affixed to the lower edges of the triglyphs was securely and visibly fastened.
The triglyphs have not as yet disappeared from the walls of the cella, but otherwise the construction shows no primitive traits, being fully fitted for its execution in stone.
The triglyphs themselves were so distributed that one was placed over each column and one over the centre of each intercolumniation.
The triglyphs are too high, the smaller members, notably the regulas and trunnels, too heavy.
Red and blue appear originally to have been the chief colors; the former, in a dark shade, being used for the sheathing of the tympanon, the latter for the triglyphs and other members.
It is built of blocks of tufa, with a frieze of triglyphs and panels like those found on walls in the first style of decoration.
Though the new colonnade followed closely the proportions of the old, effective details, such as the fluting of the columns, and the triglyphs with the guttae underneath, were omitted.
It presents an odd mixture of styles, of which other examples also are found at Pompeii; a Doric entablature with triglyphs was placed upon Ionic columns having the four-sided capital known as Roman Ionic.
The panels between the triglyphs are usually as wide as they are high.
On this rests a second member called the frieze, the prominent feature of which is a series of slightly projecting features, known as triglyphs (three channels) (Fig.
In front of the side recesses ran a low wall or podium, ornamented with triglyphs like a Doric frieze.
The position of the triglyphs and the proportions of the cornice were also much changed, and the whole effect became less massive and bold than that of the Tuscan temples.
Cornices began to be fluted; triglyphs and indentations were used alternately in endless rows; even the central volutes of the Corinthian capitals (the caulicoli) were over-decorated.
The space between thetriglyphs in the frieze of the Doric Order.
The spaces between the triglyphs are called metopes, and sometimes left plain, and sometimes ornamented with sculptures, as is the case in the frieze of the Parthenon.
Under the triglyphs six little blocks, or drops, are placed so that they lay over the architrave.
As compared with the east entrance of Mount Pleasant, the Cliveden detail is richer in the paneled soffits of the corona and the paneled metopes in alternation with the triglyphs of the frieze.
The same remarks may be applied to those objects, or rather appearances, to which thetriglyphs of the Doric order have been referred.
The channeled triglyphs of a Greek Doric frieze echo the fluted columns below (Illustration 24).
I have also previously expressed the opinion, that the block of triglyphs which I saved had been thrown down by fanatical Turks because it represented living creatures, which is strictly prohibited in the Koran.
Above the line of the triglyphs a fine cornice begins, formed of elegant mouldings, unfortunately much damaged, and rising up to the top of the rock, that is to say, nearly to the level of the surrounding country.
It was possible to protect wooden columns, architraves and triglyphs from the weather by means of a wide cornice.
Persians left the walls of the temple and the outer portico standing; that this is evident from the present condition of the architraves, triglyphs and cornices, which are built into the Acropolis wall.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "triglyphs" in a variety of sentences. We hope that you will now be able to make sentences using this word.
