
HELLENISTIC BUILDINGS 375
Hellenistic architectural writers constantly sought to provide a sound
theoretical and technical basis
for
their practical activities, and
to
apply
to inherited architectural forms
new and
coherent systems
of
exterior
and interior proportions and ornament. Unfortunately most Hellenistic
scientific
and
engineering treatises have perished, along with
all
their
illustrative drawings. These works, however, were eagerly studied
by
Roman architects such
as the
Augustan writer Vitruvius, whose work
On
Architecture
is
easily
our
most important source
for the
history
of
Hellenistic architectural theory.
121
Yet few
Hellenistic engineering
specialists were also practising architects,
or
vice
versa,
whereas
the
Romans regarded mechanical
and
civil engineering
as
essential aspects
of
the
architect's profession. Thus between
the
reigns
of
Nero
and
Hadrian Roman engineers produced a genuine architectural revolution,
leaving little place
for
traditional Hellenistic forms except as decorative
elements.
If
Vitruvius' book
had not
been written before
the
death
of
Nero,
it
might never have been written
at all in its
present form.
(c) Hellenistic buildings
Alongside conventional, though impressive, peripteral
and
dipteral
temples, Hellenistic theorists also produced more original designs, with
pseudo-dipteral, 'unfacial' prostyle
or
in
antis,
and
circular plans.
122
While none of these plans was completely new, Hellenistic designers laid
greater emphasis
on the
front,
or
entrance,
of
the temple,
and
blended
temple, altar
and
court (increasingly often colonnaded) into
a
single
coherent scheme.
123
Moreover, Hermogenes' pseudo-dipteral design
at
Magnesia, and the 'modified pseudo-dipteros'
at
Sardis, both represent
unprecedentedly intricate arrangements
of
exterior
and
interior
spaces.
124
Classical architecture
had
concentrated primarily
on
exterior
(and later
on
interior) forms
and
their inter-relationships;
the
finest
classical creations are
'
really abstract sculpture '.
125
Hellenistic buildings
were based
on
visual
and
spatial, rather than purely 'formal', relation-
ships:
roomy colonnades
and
porches; systematic ratios
for
base-diameter, taper, height
and
spacing
of
columns; emphatic widen-
ing of the central intercolumniation of the facades; contrasting plain and
121
M. Vitruvius Pollio, Ten
Books
on
Architecture,
ed.
F.
Granger (Loeb edition), London and
New York, 1934. About four-fifths of the architects, engineers and technical writers mentioned by
Vitruvius, and about two-thirds
of
his Greek buildings, were probably later than c. 360.
122
See
Plates
vol.,
pis.
38,
51,
74-5,
87.
123
E.g. as
at
Magnesia: Humann 1904, pi. 2:
(j
214); essential unity maintained over 150-200
years at Cos and Lindus, cf. Lawrence 1957 pi. 109A:
(j
224), and Dyggve i960,43, pi. 2A: (J 203).
121
Despite their size
and
fame,
the
great Ionic dipteroi
at
Ephesus
and
Didyma,
and the
Corinthian dipteros of Zeus at Athens, all followed an Archaic pattern, with none of the originality
of Magnesia and Sardis.
125
Lawrence 1957, 293:
(j
224).
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