GREEK HORIZONTAL CURVES IN MAISON CARREE AT NIMES. 583 



I also made measurements on the line of the stylobate which show 

 slight corresponding- curves in the line of the temple wall, and of its 

 engaged columns along the plinth line. T have no hesitation in saying 

 that even on the line of bases of the engaged columns resting on the 

 stylobate there are slight convex curves in both temple walls on the long- 

 sides. It is also certain that the great increase of the curve above was 

 obtained by leaning out the walls and engaged columns at the center. 



It now remains to say what is the importance of this observation on 

 the Maison Carree: First, it overthrows the presumption of scholars 

 that the Greek curves were unknown to the time of the Eoman Empire, 

 whose taste has been so far considered too coarse for this refinement. 

 This observation, therefore, carries the history of the Greek curves from 

 the time of the fifth century before 

 Christ, down to the time of the 

 second century after Christ. It 

 extends the life of this Greek re- 

 finement seven centuries later than 

 as previously known. Second, it 

 reopens the question as to the pur- 

 pose of the Greek curves. The 

 explanations which have been x)re- 

 viously oifered must be revised or 

 supplemented to some extent, be- 

 cause the explanations previously 

 offered have referred to curves in 

 elevation and not to curves in 

 111 an. 



This brings us back to the ex- 

 planations so far offered for the 

 Greek curves. We have seen that 

 the German architect Hoffer was 

 the first to announce the Parthenon 

 curves in publication. This was in 

 1838. II offers explanation was that 

 the curves of the upper lines were 

 intended to accent and exaggerate the effects of curvilinear perspec- 

 tive and thus give increased dimensions to the building when seen from 

 a point of view facing the center of either side, but he also considered 

 them as giving life and beauty to the building, and as superior to the 

 more monotonous and colder effects of mathematically straight lines. 

 This latter view is the one which has mainly figured in the standard 

 compendiums of the Germans; for instance, in those of Kugler, of 

 Schnaase, and of Jacob Burckhardt. It has not been abandoned by 

 the publication of Thiersch,' whose essay is the only contribution to the 

 optical and mathematical questions involved, aside from those of Pen- 



DIAGRAMS ILLUSTRATING THE OPTICAL DEFLECTION 

 OF STRAIGHT LINES BELOW THE ANGLE OF A GABLE. 



The upper line appears to be curved downward 

 and IS really straight. The line next below ap- 

 pears to be straight, but is, in fact, curved upward. 

 In the two lowest diagrams the hues which appear 

 to curve away from one another are, in fact, straight 

 and parallel. 



(From Thiersch, Optische Tauschungun aiif <iem GebiPte der 

 Architectiir. ) 



i Optische TJiuscliungen auf dem Gebiete der Architectiir. 



