MAKALAH

PENGANTAR ARSITEKTUR

Oleh:
Muh. Firmansyah (220211502059)
Rizandi Tahir (220211502073)
Nur Rahmadani Rahim (220211502060)
Raihan Muhammad Salomba (220211502080)
Andi Fadhilah Nurul Syafiqah (220211502086)

Dosen Pengampuh:
Dr. techn. Andi Abidah, S.T., M.T
Ulfaizah SN, S.T., M. Arch.

KELAS D (04)
PROGRAM STUDI ARSITEKTUR
JURUSAN PENDIDIKAN TEKNIK SIPIL DAN PERENCANAAN
FAKULTAS TEKNIK
UNIVERSITAS NEGERI MAKASSAR
2022
TABLE OF CONTENT

Cover ..................................................................................................................................................... i
Table of Content ............................................................................................................................... ii
Chapter 1 Introduction
A. The background ......................................................................................................................... 1
Chapter 2 Main Discussion
A. On Symmetry: In Temples and In The Human Body ....................................................... 1
B. Classification of Temples ......................................................................................................... 2
C. The Proportions of Intercolumniation and of Columns ................................................... 3
D. The Foundation and Substructures of Temples .................................................................. 5
E. Proportins of the Base, Capitals, and Entablature in the Ionic Order .............................. 5
Reference .............................................................................................................................................8

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CHAPTER 1 INTRODUCTION
A. The Background
Apollo at Delphi, through the words of his priest, declared Socrates to be the wisest of men. Of him
it is related that he said wisely and knowledgeably that the human breast should be provided with an open
window, so that men do not hide their feelings, but leave them open to view. Oh that nature, following his
idea, had constructed it in such a way as to be clear to view! For if it had been so, not only the virtues and
vices of the mind would have been easily seen, but also its knowledge of the branches of study, displayed in
the contemplation of the eye, would not have needed to be tested by untrustworthy powers of judgment,
but a singular and lasting influence would thus have been lent to the learned and wise. However, since they
are not constructed, but as nature wills, it is impossible for man, while the natural faculties are hidden in the
bosom, to form a judgment on the quality of the knowledge of an art that is thus deeply hidden. And if
artists themselves testify to their own skill, they will never, unless they are rich or famous from their studio
age, or unless they also have public favor and eloquence of speech, have an influence commensurate with
their devotion to their pursuit, so that people can believe that they have the knowledge they profess to have.
In particular we can learn this from the case of the sculptors and painters of old. Those among them
who were marked by high standing or recommended have come down to posterity with names that will last
forever; for example, Myron, Polycletus, Phidias, Lysippus, and others who have achieved fame with their
art. For they earned it through the performance of work for great states or for kings or for citizens of rank.
But those who, being men of no less enthusiasm, natural ability, and dexterity than those famous artists, and
who executed no less excellent works for citizens of low rank, are not remembered, not because they lacked
diligence or dexterity in their art, but because fortune failed them; for example, Teleas of Athens, Chion of
Corinth, Myager the Phocaean, Pharax of Ephesus, Boedas of Byzantium, and many more. Then there were
painters like Aristomenes of Thasos, Polycles and Andron of Ephesus, Theo of Magnesia, and others who
did not lack in diligence or enthusiasm for their art or dexterity, but whose narrow means or bad luck, or
the higher position of their rivals in the struggle for honor, stood in the way of achieving their distinction.
Of course, we need not wonder if artistic excellence is not recognized because it is unknown; but
there should be the greatest indignation when, as often, good judges flattered by the charms of social
amusements become approvers who are only pretenders. Now if, as Socrates desired, our feelings, opinions,
and knowledge acquired by study had been real and plain to see, popularity and flattery would have had no
influence, but men who had reached the summit of knowledge through a true and definite course of study,
would have been given commissions without any effort on their part. However, since such things are not
clear and apparent in view, as we think they should be, and since I observe that the uneducated rather than
the educated are favored.
CHAPTER 2 MAIN DISCUSSION
A. On Symmetry: In Temples and In The Human Body
1. Temple design relies on symmetry, the principles of which must be carefully observed by the architect.
They are due to proportion, in Greek ἀναλoγία. Proportion is the correspondence between the sizes of
the members of the whole work, and of the whole to certain parts chosen as standards. From this
results the principles of symmetry. Without symmetry and proportion there would be no principle in the
design of any temple; that is, if there were no proper relation between its members, as in the case of
well-shaped persons.
2. Since the human body is designed in such a way that the face, from the chin to the top of the forehead
and the root of the lowest hair, is one-tenth of the entire height; the open hand from the wrist to the tip
of the middle finger is the same; the head from the chin to the crown is one-eighth, and with the neck
and shoulders from the top of the breast to the root of the lowest hair is one-sixth; from the middle of
the chest to the top of the crown is the fourth. If we take the height of the face itself, the distance from
the bottom of the chin to the lower side of the nostrils is one-third; the nose from the lower side of the
nostrils to the line between the eyebrows is the same; from there to the root of the lowest hair is also
one-third, comprising the forehead. The length of the legs is one-sixth of the height; the forearms, one-
fourth; and the width of the chest is also one-fourth. The other members also have their own
symmetrical proportions, and by employing them, the famous ancient painters and sculptors achieved
great and endless fame.

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 3. Similarly, in the members of a temple there should be the greatest harmony in the symmetrical
relationship of the different parts to the general magnitude of the whole. Then again, in the human body
the center point is naturally the navel. For if a person is laid on his back, with his arms and legs
straightened, and a pair of compasses centered on his navel, the fingers and toes of both hands and feet
will touch the circumference of the circle drawn from it. And just as the human body produces circular
lines, so too a square figure can be found from it. For if we measure the distance from the sole of the
foot to the top of the head, and then apply that measurement to the outstretched arm, its width will be
found to be equal to its height, just as in the case of a plane surface that is a perfect square.
4. Therefore, as nature has designed the human body in such a way that its members are in proportion to
the frame as a whole, it would seem that the ancients had good reason for their rule, that in a perfect
building the different members should be in proper symmetrical relation to the whole general scheme.
Hence, while sending us exact arrangements for all kinds of buildings, they were very careful to do so in
the case of temples of the gods, buildings in which good and wrong usually endure forever.
5. Furthermore, it was from the members of the body that they derived the fundamental ideas of the steps
obviously required in all work, such as fingers, palms, feet, and cubits. These they divided to form the
"perfect number", called in Greek τέλειoν, and as the perfect number which the ancients fixed at ten.
For from the number of the fingers of the hand is found the palm, and the foot from the palm. Again,
while ten is naturally perfect, being made by the fingers of both palms, Plato also held that this number
is perfect because ten consists of individual units, called by the Greeks μoνάδες. But as soon as eleven
or twelve is reached, the number, being superfluous, cannot be perfect until it reaches ten a second
time; for the component parts of the number are individual units.
6. Mathematicians, however, maintain a different view, having said that the perfect number is six, since it
is composed of integral parts that correspond numerically to their method of calculation: thus, one is
one-sixth; two is one-third; three is one-half; four is two-thirds, or δίμoιρoς as they call it; five is five-
sixths, called πεντάµoιρoς; and six is the perfect number. As the number increases, the addition of a unit
above six is ἔφεκτoς; eight, formed by the addition of a third of six, is a whole number and a third, called
ἐπίτριτoς; the addition of one half makes nine, a whole number and a half, called ἡµιόλιoς; the addition
of two-thirds, making the number ten, is an integer and two-thirds, which they call ἐπιδίµoιρoς; at
number eleven, where five is added, we have five-sixths, which is called ἐπίπεµπτoς; lastly, twelve,
consisting of two simple integers, is called διπλάϭιoς.
7. And further, as the foot is one-sixth of the height of man, the height of the body as expressed in the
number of feet being limited to six, they hold that this is a perfect number, and observe that the cubit
consists of six palms or twenty-four fingers. This principle seems to have been followed by the Greek
states. As a cubit consisted of six palms, they made the drachma, which they used as its unit, in like
manner to consist of six bronze coins, like our donkeys, which they called obols; and, to correspond
with the fingers, divided the drachma into twenty-four quarter-obols, which some called dichalca others
trichalca.
8. But our contemporaries originally fixed the ancient number and made ten bronze pieces for the dinar,
and this is the origin of the name applied to the dinar to this day. And the fourth part of it, consisting of
two asses and half of a third, they called "sesterce." But then, observing that six and ten were both
perfect numbers, they combined them, and thus made the most perfect number, sixteen. They find their
authority for this in the feet. For if we take away two palms from a cubit, we are left with four feet; but
the palm contains four fingers. Therefore the foot contains sixteen fingers, and the denarius is equal to
the number of a bronze donkey.
9. Therefore, if it is agreed that numbers were invented from the fingers of man, and that there is a
symmetrical correspondence between the members separately and the whole form of the body,
according to the particular part chosen as the standard, we can have only respect for those who, in
building the temple of the immortal god, have arranged the members of the work in such a way that the
separate parts and the whole design can be harmonized in their proportions and symmetry.
B. Classification of Temples
1. There are certain basic forms on which the general aspect of a temple is based. First there is the temple
in antis, or ναὸς ἐν παραϭτάϭιν as it is called in Greek; then prostyle, amphiprostyle, peripteral,
pseudodipteral, dipteral, and hypaethral. These different forms can be explained as follows.

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 2. This would be a temple in antis when the antae were carried out in front of the wall surrounding the
cella, and in the center, between the ante, two columns, and above them a pediment built in symmetrical
proportions to be described later in this work. An example will be found at the Three Fortunes, in one
of the three closest to the Colline gate.
3. The prostyle is in all respects like the temple in the antis, except that at the corners, opposite the antae,
it has two columns, and it has an archive not only in front, as in the case of the temple in the antis, but
also one to the right and one to the left in the wings. An example is the temple of Jove and Faunus on
Tiber Island.
4. The amphiprostyle is in all other respects like the prostyle, but in addition, at the back, the same
arrangement of columns and pediments.
5. A temple would be a peripheral having six columns at the front and six at the back, with eleven on each
side including the corner columns. Let the columns be so placed as to leave a space, the width of the
intercolumniation, all circular between the wall and the colonnade outside, thus forming a path around
the basement of the temple, as in the case of the temple of Jupiter Stator by Hermodorus on the Porch
of Metellus, and the temple of the Honor and Valor of Mary built by Mucius, which has no porch at the
back.
6. The pseudodipteral is made so that in front and behind each box are eight columns, with fifteen on each
side, including the corner columns. The cella walls in front and behind should be directly opposite the
four center columns.
There would thus be a space, the width of two intercolumns plus the thickness of the bottom diameter
of the columns, all circumferential between the walls and the row of columns outside. There are no
examples of this in Rome, but in Magnesia there is the temple of Diana by Hermogenes, and the temple
of Apollo in Alabanda by Mnesthes.
7. The dipteral is also octastyle in both front and rear porticoes, but has two rows of columns around the
temple, like the temple of Quirinus, which is Doric, and the temple of Diana in Ephesus, planned by
Chersiphron, which is Ionic.
8. The hypaethral is a decastyle on both the front and rear porticoes. In all other respects it is the same as
the dipteral, but inside it has two levels of columns set up from the walls all around, like a peristyle
colonnade. The center was open to the sky, without a roof. Folding doors led to it at each end, in the
portico at the front and at the back. There are no examples of this kind in Rome, but in Athens there is
an octastyle in the Olympian quarter.
C. The Proportions of Intercolumniation and of Columns
1. There are five classes of temples, designated as follows: pycnostyle, with columns close together; systyle,
with intercolumniations slightly wider; diastyle, more open; araeostyle, farther apart than they should be;
eustyle, with intervals precisely distributed.
2. Pycnostyle is a temple in the intercolumniation of which a half column thickness can be included: for
example, the temples of the Divine Emperor, Venus in Caesar's forum, and others built like them.
Systyle is a temple in which the thickness of two columns can be placed in the intercolumniation, and in
which the base of the pedestal is equivalent to the distance between the two pedestals: for example, the
temple of Equestrian Fortune near the stone theater, and others built on the same principle.
3. Both types have practical drawbacks. When warders ascend the steps for public prayer or thanksgiving,
they cannot pass through the intercolumniations with their hands about each other, but must form a
single file; then again, the effect of the folding doors is removed from view by the crowd of columns,
and also the statues are thrown into shadow; the narrow space also interferes with walking around the
temple.
4. Construction will be diastyle when we can insert the thickness of three columns in the
intercolumniation, as in the case of the temples of Apollo and Diana. This arrangement involves the
danger that the archive may break due to the large width of the interval.
5. In araeostyles we cannot use stone or marble for the architraves, but must have a series of wooden
beams placed on top of the columns. Moreover, in appearance, these temples were clumsily roofed, low,
wide, and their pediments were decorated in the Tuscan style with terracotta or gilt bronze statues: for
example, near the Circus Maximus, the temple of Ceres and Pompey's temple of Hercules; also the
temple at the Capitol.
6. An account must now be given of the eustyle, which is the most approved class, and is organized on
principles developed with a view to convenience, beauty, and strength. The intervals should be made as
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 wide as the thickness of two columns and a quarter, but the central intercolumniation, one in front and
the other behind, should be three columns thick. Thus constructed, the design effect will be beautiful,
there will be no obstructions at the entrance, and the streets around the cella will be dignified.
7. This arrangement rule can be organized as follows. If a tetrastyle is to be built, let the width of the front
predetermined for the temple, be divided into eleven and a half parts, excluding the underbuilding

the protrusion of the pedestal; if it is to be six columns, into eighteen parts. If an octastyle is to be built,
let the front be divided into twenty-four half-sections. Then, whether the temple is to be a tetrastyle,
hexastyle, or octastyle, let one of these halves be taken, and it will be a module. The thickness of a
column will be equal to one module. Each column, except the center one, will measure two modules
and a quarter. The center intercolumniations at the front and at the back will each measure three
modules. The columns themselves will be nine modules and a half in height. As a result of this division,
the intercolumniation and height of the columns will be balanced.
8. We have no examples of this in Rome, but at Teos in Asia Minor there is one that is hexastyle,
dedicated to Father Bacchus. These rules of symmetry were established by Hermogenes, who was also
the first to devise the principle of the pseudodipteral octastyle. He did so by discarding the inner rows
of the thirty-eight columns that belong to the dipteral temple symmetry, and in this way he saved cost
and labor. He thus provided a much wider space for walking around the cell between it and the column,
and without detracting at all from the general effect, or making one feel deprived of what was really
superfluous, he preserved the dignity of the whole work by his new treatment of it.
9. For the idea of the pteroma and the arrangement of the columns around the temple were designed so
that the intercolumniations could give an impressive high-relief effect; and also, in case many people
were caught in the heavy rain and detained, so that they could have large empty spaces in the temple
and around the cells to wait. These ideas were developed, as I have explained, in the pseudodipteral
arrangement of a temple. It seems, therefore, that Hermogenes produced results that show much keen
ingenuity, and that he left sources from which those who came after him could derive instructive
principles.
10. In the temples of the araeo style, the columns should be made in such a way that their thickness is one-
eighth of their height. In the diastyle, the column height should be measured into eight and a half
sections, and the thickness of the column fixed at one of these sections. In systyle, let the height be
divided into nine and a half sections, and one of these is given for the thickness of the column. In
pycnostyle, the height should be divided into ten parts, and one of them is used for the thickness of the
column. In the eustyle temple, let the height of the column be divided, as in the systyle, into nine and a
half parts, and let one part be taken for the thickness at the bottom of the shaft. With this dimension we
will take into account the proportions between the columns.
11. For the thickness the shaft should be enlarged in proportion to the increase of the distance between the
columns. In the araeo style, for example, if only one-tenth or one-twentieth is given to the thickness, the
columns will look thin and flat, as the width of the intercolumniations is such that the air seems to gnaw
and reduce the thickness of the shaft. On the contrary, in pycnostyles, if an eighth part is given to the
thickness, it will make the shaft look swollen and ungraceful, because the intercolumns are very close to
each other and very narrow. We must therefore follow the rules of symmetry required by each type of
building. Then, the columns at the corners should be made thicker than the others by one-fiftieth of
their own diameter, because they are sharply outlined by the unobstructed air around them, and appear
to the beholder to be slimmer than they are. Therefore, we must counter the deception of the eye with
an adjustment of proportions.
12. Moreover, the shrinkage at the top of the column at the neck seems to be governed on the following
principles: if the column is fifteen feet or under, let the thickness at the bottom be divided into six parts,
and let five of those parts form the thickness at the top. If from fifteen feet to twenty feet, let the lower
part of the shaft be divided into six and a half sections, and let five and a half of those sections be the
thickness at the top of the column. In a column from twenty feet to thirty feet, let the bottom of the
shaft be divided into seven sections, and let the reduced top measure six of these sections. A column
from thirty to forty feet should be divided at the bottom into seven half-sections, and, on the principle
of diminution, have six of these half-sections at the top. A column from forty feet to fifty should be

4
 divided into eight sections, and reduced to seven at the top of the shaft below the capital. In the case of
taller columns, let the reduction be determined proportionally, on the same principle.
13. This proportional enlargement is made in the thickness of the columns on account of the different
heights which the eye has to climb. For the eye is always seeking beauty, and if we do not satisfy its
desire for pleasure by a proportional enlargement in this measure, and thus make compensation for the
deception of the eye, an awkward and clumsy appearance will be presented to the beholder. With regard
to the enlargement made in the center of the column, which among the Greeks are called, at the end of
the book a figure and calculation will be incorporated, showing how a pleasing and appropriate effect
can be produced by it.
D. The Foundation and Substructures of Temples
1. The foundations of this work should be dug from solid ground, if it can be found, and brought to solid
ground as far as may be required by the magnitude of the work, and the whole lower building should be
as solid as it can possibly be laid. On the ground, let the walls be laid under the columns, thicker by half
than the columns should be, so that the lower ones may be stronger than the higher ones. Hence they
are called "stereobates"; for they take the load. And the projection of the base should not go beyond
this solid foundation. The thickness of the walls should also be maintained above the ground, and the
intervals between these walls should be skipped, or filled with hard rammed earth, to keep the walls
apart.
2. If, however, solid ground cannot be found, but the place turns out to be merely a heap of loose earth
down to the bottom, or a swamp, then it should be dug up and cleared and backfilled with piles made of
charred alder or olive-wood or oak, and these should be driven down by machinery, very closely
together like bridge-posts, and the intervals between them filled up with charcoal, and finally the
foundation should be laid on it in the most solid form of construction. The foundation having been
raised to the level, the stylobates are next put in place.
3. The columns are then distributed over the stylobates in the manner described above: adjacent in
pycnostyle; in systyle, diastyle, or eustyle, as described and arranged above. In araeostyle temples, one is
free to arrange them as far apart as one wishes. In the peripteral, however, the columns should be
placed in such a way that there are twice as many intercolumniations at the sides than at the front; for
then the length of the work will be twice its width. Those who make the number of columns double,
seem to be mistaken, as the length seems to be one intercolumn longer than it should be.
4. The steps in front should be so arranged that they are always an odd number; for then the right foot,
which is used to climb the first step, will also be the first to reach the level of the temple itself. The rise
of such steps, I think, should be limited to not more than ten nor less than nine inches; for then the
ascent will not be difficult. The treads of the steps should be made not less than one and a half feet
deep, and not more than two feet deep. If there are steps surrounding the temple, they should be
constructed of the same size.
5. But if a podium is to be built on three sides around the temple, it should be constructed in such a way
that its base, pedestal, dies, corona, and cymatiumarenes correspond to the actual stylobate that is under
the base of the column.
E. Proportins of the Base, Capitals, and Entablature in the Ionic Order
1. This done, let the base of the column be set in place, and constructed in such proportions that its
height, including the base, may be half the thickness of the column, and its projection (called in Greek
ἐκφoρά) the same. So both the length and the width will be one-half the thickness of the column.
2. If the base is an attic style, let the height be divided in such a way that the top should be one-third of
the thickness of the column, and the rest left for the baseboard. Then, excluding the base, let the
remainder be divided into four parts, and of these let a quarter be the upper torus, and let the other
three be equally divided, one part composing the lower torus, and the other, with its fillet, the scotia,
which the Greeks call τρoχíλoς.
3. But if an ionic base is to be built, the proportions must be so determined that the base may be equal in
width to the thickness of the column plus three eighths of the thickness; its height from the base of the
attic, and also the base; excluding the base, let the remainder, which will be one third of the thickness of
the column, be divided into seven parts. Three of these parts constitute the torus at the top, and the
other four should be equally divided, one part constituting the upper trochilus with astragals and
overhangs, the others being left for the lower trochilus. But the lower part will appear larger, as it will

5
 protrude to the edge of the base. The astragals should be one-eighth of the trochilus. The projection of
the base will be three-sixteenths of the thickness of the column.
4. The bases having been finished and set in place, the columns should be put in place: the central
columns of the front and rear porticoes perpendicular to their own centers; the corner columns, and the
columns extending from them along the sides of the temple to the right and to the left, should be so
arranged that their inner sides, facing the walls of the cell, are perpendicular, but their outer sides the
sides in the manner I have described in speaking of their reduction. Thus, in the design of the temple
the lines will be adjusted with respect to diminution.
5. The shafts of the columns having been erected, the rule for capitals is as follows. If they are to be
cushion-shaped, they are to be proportioned so that the abacus of their length and width is equal to the
thickness of the shaft at their bottom plus one-twelfth, and the height of the capitals, including the
6. volutes, one-half of that amount. The faces of the volutes should shrink from the edge of the abacus
inward by one and a half eighteenth of the same amount. Then, the height of the capital should be
divided into nine and a half parts, and along the abacus on all four sides of the volutes, along the fillets
on the edge of the abacus, lines called "catheti" should be made. Let it fall. Then, out of the nine half-
sections let one half be reserved for the height of the abacus.
7. Then draw another line, starting from a point that lies at a distance of one-half part inward from the line
that previously fell along the edge of the abacus. Next, let these lines be so divided as to leave four and a
half sections under the abacus; then, at the point forming the division between the four and a half
sections and the remaining three and a half, set the center of the eye, and from that center draw a circle
with a diameter equal to one of the eight sections. This will be the size of the eye, and within it draw the
diameter on the line "cathetus." Then, in describing the quadrants, let the size of each be successively
smaller, half the diameter of the eye, than that which begins under the abacus, and proceed from the eye
until the same quadrant under the abacus is reached.
8. The height of the capital should be such that, of the nine half-parts, three parts are below the astragal
level at the top of the shaft, and the remainder, without the abacus and channel, belongs to its echinus.
The projection of the echinus beyond the abacus fillet should be equal to the size of the eye. The
projection of the bearing band must be obtained: place one leg of a pair of compasses in the center of
the capital and unfold the other to the edge of the echinus; turn this leg and it will touch the outer edge
of the band. The axis of the volute should not be thicker than the size of the eye, and the volute itself
should be channeled to a depth that is one-twelfth of its height. This will be the symmetrical proportion
for the capitals of columns twenty-five feet high and less. For higher columns the other proportions will
be the same, but the length and width of the abacus will be the thickness of the lower diameter of the
column plus one-ninth of its section; thus, just as the higher the column, the less it is reduced, so its
capital projection is proportionately increased and its width simultaneously enlarged.
9. With regard to the method of drawing the volutes, at the end of this book will be appended a drawing
and calculations showing how they may be drawn so that the spirals are in accordance with the
compass. The capital having been completed and fitted in proper proportion to the column (not exactly
parallel to the column, however, but with the same measured adjustment, so that at the top there may
be an increase corresponding to that made at the top of the stylobates), the rule for the archive is as
follows. If the columns are at least twelve feet and not more than fifteen feet high, let the height of the
architrave be equal to half the thickness of the columns at the bottom. If they are from fifteen feet to
twenty, let the height of the column be measured into thirteen parts, and let one of them be the height
of the architrave. If they are from twenty to twenty-five feet high, let this height be divided into twelve
half-sections, and let one of them form the height of the architrave. If they are from twenty-five feet to
thirty, let it be divided into twelve halves, and let one of them form the height. If they are higher, the
height of the architrave should be worked out in proportion in the same way from the height of the
column.
10. The higher the eye has to climb, the more difficult it is to penetrate the thicker air masses. So it fails
when the height is great, its power is sucked out of it, and it only conveys to the mind a confused
approximation of dimensions. There should therefore always be a corresponding increase in the
symmetrical proportions of the members, so that whether the building is on a very high site or is itself
rather colossal, the size of the parts may appear proportionate. The depth of the architrave on its lower
side just above the capital, should be equivalent to the thickness of the top of the column just below the
capital, and on the uppermost side equivalent to the foot of the shaft.
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11. The cymatium of the architrave should be one-seventh of the overall height of the architrave, and its
projection equal. With the cymatium removed, the rest of the architrave should be divided into twelve
parts, and three of these will form the lowest fascia, four, the next, and five, the highest fascia. The
frieze, above the architrave, is a quarter lower than the architrave, but if there is a relief above it, it is a
quarter higher than the architrave, so the sculpture may be more impressive. The cymatium is one-
seventh of the entire height of the frieze, and the projection of the cymatium is equal to its height.
12. Above the frieze there is a line of dentils, made with the same height as the central fascia of the
architrave and with protrusions equal to its height. The junctions (or in Greek óπη) are divided in such a
way that the face of each dentil is half its width and the cavity of each junction is two-thirds of this face
in width. The cymatium here is one-sixth of the entire height of this section. The corona with its
cymatium, but excluding the sima, has the height of the central fascia of the architrave, and the total
projection of the corona and dentils should be equal to the height from the frieze to the cymatium at
the top of the corona. And as a general rule, all projecting parts have greater beauty when their
projections are equal to their height.
13. The height of the tympanum, which is in the pediment, must be obtained as follows: let the front of the
corona, from both ends of its cymatium, be measured into nine parts, and let one of these parts be set
in the center at the top of the tympanum, taking care that it be perpendicular to the entablature and the
neck of the column. The corona above the tympanum should be made the same size as the corona
below it, excluding the simae. Above the corona is the simae (in Greek ἐπαιετíδες), which should be
made one-eighth higher than the height of the corona. Acroteria in the corners have the height of the
center of the tympanum, and those in the center are one-eighth higher than those in the corners.
14. All the members that are above the capitals of the columns, that is, the architraves, friezes, coronae,
tympana, gables, and acroteria, should be leaned forward one-twelfth of their own height, for the reason
that when we stand in front of them, if two lines are drawn from the eyes, one reaching the bottom of
the building and the other upward, the one reaching upward will be longer. Therefore, since the line of
sight to the upper part is longer, it makes that part look like it is leaning. But when the rods are tilted
forward, as described above, they will appear to the beholder to be perpendicular and upright.
15. Each column should have twenty-four flutes, channeled in such a way that if a carpenter's square is
placed in the flute hole and turned, the arms will touch the fillet corners on the right and left, and the
ends of the square may remain touching some point on the concave surface as it moves past. The width
of the flute should be equivalent to the enlargement at the center of the column, which will be found in
the drawing.
16. In the simae that are above the corona on the sides of the temple, the lion heads should be carved and
arranged with the following spacing: First, one head is marked directly above the axis of each column,
and then the others are arranged at the same distance, and there should be one in the center of each tile.
Those above the columns should have holes penetrating them into the gutter that receives rainwater
from the tiles, but those between them should be solid. Thus the mass of water that falls through the
tiles into the gutter will not be discharged into the gutter and not wet the people passing by, while the
lion heads on top of the columns will appear to vomit as they expel streams of water from their mouths.

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 REFERENCE

Polio, Marcus Vitruvius. (1960). The Ten Books On Architecture. New York: Dover Publications