A History of Greek Art: With an Introductory Chapter on Art in Egypt and MesopotamiaTarbell, F. B. (Frank Bigelow)
History
A History of Greek Art: With an Introductory Chapter on Art in Egypt and Mesopotamia
Tarbell, F. B. (Frank Bigelow)
Art, Greek -- History
Other specimens of these two types of column vary widely from
those of Karnak, for Egyptian architects did not feel obliged,
like Greek architects, to conform, with but slight liberty of
deviation, to established canons of form and proportion. Nor are
these two by any means the only forms of support used in the
temple architecture of the New Empire. The "proto-Doric" column
continued in favor under the New Empire, though apparently not
later; we find it, for example, in some of the outlying buildings
at Karnak. Then there was the column whose capital was adorned
with four heads in relief of the goddess Hathor, not to speak of
other varieties. Whatever the precise form of the support, it was
always used to carry a horizontal beam. Although the Egyptians
were familiar from very early times with the principle of the
arch, and although examples of its use occur often enough under
the New Empire, we do not find columns or piers used, as in Gothic
architecture, to carry a vaulting. In fact, the genuine vault is
absent from Egyptian temple architecture, although in the Temple
of Abydos false or corbelled vaults (cf. page 49) do occur.
Egyptian architects were not gifted with a fine feeling for
structural propriety or unity. A few of their small temples are
simple and coherent in plan and fairly tasteful in details. But it
is significant that a temple could always be enlarged by the
addition of parts not contemplated in the original design. The
result in such a case was a vast, rambling edifice, whose merits
consisted in the imposing character of individual parts, rather
than in an organic and symmetrical relation of parts to whole.
Public-domain text, read in full here on John Shaqi.
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