Roman architecture is characterized by a strict axial symmetry that creates monumental and static spaces. They embody a sense of balance on the feeling of dynamic movement. This can be seen in the symmetrical relationships of the Roman Basilica, a type of secular building used as a court. The structure is rectangular in shape, with an apse at each end of the primary axis and doors at either end of the main axis. The architectural elements are positioned in such a way that similar elements always appear against each other – apse apse, column column and door-to-door. The sense of balance and balance of the architecture are even more noticeable by the remains of the sidewalks used by the Inbasilikal. They are often based on typical models of translational symmetry in two directions, not on a type of dynamic symmetry such as rotation. The same static layout of the architectural elements is reflected in the rotunda of the Pantheon. The plan here is a circle, eight levels of reflection and a quadruple axis of rotation. The symmetry is again found with apside-à-apse, Aediccle to Aediccle, niche niche and column to the column adjusting the rotunda. The strict axial symmetry in this scenario therefore consolidates the characteristics of Roman architecture as having a sense of balance. The use of symmetry with a harmonious or proportionate layout of the parts; appropriate parties or relationships.
This thesis found that there was an important link between pythagoreanism and parthenon. For the Pythagoreans, abstract ideas were symbolized by numbers. For example, the number 4 could be synonymous with reciprocity, justice, democracy and even victory in Athens, while the number 9 represented tyranny and power. The Olympic gods were also symbolized by numbers. For example, in the issue of Pythagorean symbolism, Poseidon, the ruler of the seas, was symbolized by the number 9. After analyzing many ancient Greek texts and works, I discovered that Athena was symbolized as the patron saint of democratic Athens and victorious by the number 4, while Athena, mother (of all Athenians) was designated by the number 6 and Athena the Virgin by the number 7. The layout of the twelve gods in the Parthenon Frieze (East) is analyzed for the first time in the light of this digital symbol of Pythagorean. It will turn out that in this Eastern Frieze, only the protagonist gods of the Parthenon are seated in their numerically important place. For example, Athena sits near the center, in sixth place in the right count and seventh in the left count.
Poseidon, meanwhile, sits from left in ninth place for counting the seated gods, while in the eastern metops, he is represented in the ninth metop when he counts from the right. The fourth Metope, read on the left as well as on the right, also highlights the victory. One can begin to understand the underlying message of the Oriental metopes and the sculptural painting with its 12 seated gods, by reading the meaning of its digital symbol from left to right and right to left.