Whilst the Greek temples of the Doric order replaced Early Archaic wooden temples with stone it emulated certain elements of the latter as a type of historical quotation. This is especially visible in the Entablature where the Triglyph, Dentil and Mutule referenced older architectural features in form but not function; representations of rafter-ends became surface, no longer forming a part of the beams that supported the temple roof. In addition to the imitation rafter-ends, the voids in between were filled in with scenes from mythology; grandiose moments of heroism and triumph embellishing the surface further.
On a superficial level it may seem that the stylised ends of the rafters have become mere decorative elements accompanied with ornamental scenes from mythology but a closer reading might suggest a more covert function. Could it be that the repetitive patterns and fantastical scenes around the external perimeter of the temple collude to form a narrative that ultimately seeks to legitimise and establish the empirical authority of the institution through a histo-mythological dualism? And do we not see this model used in the practice of Heraldry where the nobility advertise their rule through similar devices? What about our contemporaneity; do our politicians not legitimise themselves by combining their supposed historical prowess as a party (often offset against another party) with the repeated promise of a return to some kind of halcyon days?
The veneer of the temple facade establishes its dominion and claims its ground by means of association and invention; a citing of dimensions beyond the surface.