Geison

The cornices (Greek τό γεῖσον, geison Geysa plural ), also known as Corona, is the most widely projecting cornice of Greek and Roman architecture, which is located on the eaves of ancient representational above the frieze or the dental section. The gable slope, called the verge accompanying geison is also called Schräggeison. Is crowned the cornices of the Sima, the Traufleiste ancient buildings.

The Geysa the different building codes are designed differently. A distinction is made between Doric cornices, cornices and ionic Konsolengeison, to name only the fundamental. The Konsolengeison is connected from the middle of the 1st century BC laid the Corinthian order.

While the ionic geison is a simple, pulled down hanging plate only and has no other ornamentation, the Doric cornices is firmly integrated into the overall concept of the Doric temple and takes its rhythm. At the bottom of the Doric cornices are plates Mutuli (singular: Mutulus ) attached, which are from the second half of the 6th century BC, with three rows of six drops, the guttae decorated. In the early 6th century, the training of Mutulusplatten varied greatly. In particular, there were solutions with alternating wide and narrow Mutuli, of which the latter also had a reduced number of guttae. There were plates with 3 x 3 guttae, or double row occurrences with for example, alternating 2 x 3 and 2 x 5 guttae, about the Porostempel of Aphaia on Aegina. The space between the Mutuli called via. The Mutuli resort to the rhythm of Triglyphenfrieses by one each Mutulus - plate is mounted on a metope and triglyphs. In alternating Mutulusbreite the narrow plate is always located above the metope.

In the 2nd century BC the Ionian cornices undergoes various changes which led to the development of Konsolengeisons. First, the undersides of the Geysa were decorated, for example, with diamonds or with Mäanderreliefs. Pergamon, Rhodes and Alexandria were in this case the centers, who took the step to full development plate decorated ionic Geysa. These plates, the Mutuli the Doric cornices quite comparable, were carriers of ornaments and profiles, and were further developed to consoles of telephony expression. From the early 1st century BC, this new Konsolengeison was mainly integrated into the Corinthian entablature structures whose canonical part of it should be from the time of Augustus. The extremely rich decorated with profiles and soffits to the most curved brackets, decorated in relief with panels or cassettes between the consoles, it was the culmination of Roman architecture of representation.