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| Technique of sculpting a human figure in a pose that shows the weight of the body in balance. With weight on one leg, the shoulders and hips counterbalance each other in a natural way so that the figure does not fall over. Developed in the Late Greek period. |
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| Technique of sculpting a human figure in a pose that shows the weight of the body in balance. With weight on one leg, the shoulders and hips counterbalance each other in a natural way so that the figure does not fall over. Developed in the Late Greek period. |
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| The triangular area over the entablature in Classic Greek architecture, formed by the ends of a sloping roof and the cornice. |
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| The main horizontal beam at the bottom of an entablature, resting on the capitals of columns. Often made of several lintels to stretch the length of the building. |
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| Any projecting ornamental molding along the top of a building, wall, arch, etc., also, the topmost projecting part of an entablature in a Classical Greek building. |
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| The carved or plain areas between the triglyphs in the frieze of a Doric building. |
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| A group of three vertical ridges alternating with a plain metope in the frieze of a Doric Greek building. |
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| The subtle convex swelling of a Classic Greek column shaft. |
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| A support or column in the form of a human figure, usually female. |
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| A method of painting on a ground, with colors dissolved in hot was; also, a work of art produced by this technique. |
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| A storage jar having an egg-shaped body, a foot and two handles, each attached at the neck and shoulders of the jar. |
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| A large jug used to carry water. |
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