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almost entirely out of the soffit of the corona, or recessed upwards, and consequently its elevation is almost concealed. The height of the cornice from the top of the sima to the lower edge of the dentils is equal, or very nearly so, to that of the architrave. The altitude of the frize without its cymatium, or upper mouldings, may be supposed to be about a fourth part of the whole entablature; for if higher than this, the entablature would be too great a portion of the columns for any analogy we are acquainted with. In point of beautiful proportions and elegant decorations, the entablatures of these two last examples exceed every other remain; and though their proportions are very different from those remaining at Athens, yet they are still pleasing. In all the Grecian Ionics there seems to be a constant ratio between the upper part of the cornice, from the lower edge of the corona upwards, and the height of the entablature: this is nearly as two to nine. If these members were regulated in any other, manner, their breadths would be so variable as sometimes to be so diminutive that their forms could not be perceived, and at other times so enlarged, as to overload the whole when viewed from a proper station. Indeed the great recess of the mouldings under the corona makes this a very distinct division, aud on this account we never think the cornice too clumsy, though the whole denticulated band and cymatium of the frize are introduced below the cornice, which seems to be the reason of so great an apparent difference between the Asiatic and Attic Ionics. This order, as found in the Ionian territory, is complete; but those at Athens are deficient, from their want of the dentil band, though beautiful in many other respects.

Moderns have added a diameter to the height of the Ionic column, making it nine instead of eight. The shaft is generally striated into twenty-four flutes, and as many fillets. The height of the entablature in general may be two diameters; but where grandeur as well as elegance is required it should not be less than a fourth. The base employed in the Athenian Ionics consists of two tori, and a scotia or trochilus between them, and two fillets, each separating the Scotia from the torus above and below: the fillet above the torus generally projects as far as the extremity of the upper torus, and the lower fillet beyond the upper torus: the scotia is very flat, and its section an

elliptic curve joining the fillet on each side: the tori and scotia are nearly of equal heights: in the Ionic temple on the Ilyssus a bead and fillet are employed above the upper torus, joining the fillet to the scape of the column: the upper torus of the basis of the same temple, and that of the basis of the temple of Erechteus, are both fluted, preserving the lower part that joins the upper surface of the fillet above the scotia entire. The upper scotia of the temple of Minerva Polias is enriched with a beautiful guilloche. The lower torus of the base of the antæ of the temple of Erectheus is receded, and that of the base of the antæ of the temple of Minerva Polias is channelled with flutes, separated from each other by two small cylindric mouldings of a quadrantal section, having their convexities joining each other. This form of a base is by Vitruvius very properly called the Attic base, being invented and employed by the Athenians in all their Ionics. It was also adopted by the Romans, and seems to have been their most favourite base; for it is not only employed in all the examples of this order at Rome, but most frequently in the Corinthian and Composite orders also. However, the proportions of the Attic base as employed by the Romans are different from that employed by the Greeks, the upper torus of the former being always of a less height than the lower one, both tori plain, and the scotia containing a much deeper cavity. The proportion of the bases of the Ionic and Corinthian orders on the Coliseum, the Ionic on the theatre of Marcellus, and that on the temple of Fortuna Virilis at Rome, have nearly that assigned by Vitruvins. The Ionic bases, as employed in the temple of Minerva Polias at Priene, and in that of Apollo Dedymæus near Miletus, consist of a large torus, three pair of astragals, and two scotia, inverted in respect of each other. The upper pair of astragals is disposed below the torus, and the scotia separate each pair of astragals from each other. In the temple of Minerva Polias an astragal is employed above the torus, separating it from the shaft; the torus itself is formed elliptically, and the under part of it is fluted: it has also a flute cut in the upper part near to the bead. In the temple of Apollo Dedymæus the upper torus is of a semicircular section and plain, and each bead of every pair is separated by a narrow fillet. The base of the Asiatic Ionics differs little from that which Vitruvius appropriates to this

order. In the former the scotia are inverted, which gives a greater variety in the profile than when both stand in the same position as in the Vitruvian base. The Ionians, besides the base which they appropriated to this order, sometimes used the Attic base also, as in the temple of Bacchus at Teos. This base seems not only to have been the most favourite one among the ancients, but is likewise so among the moderns. It is not so heavy in the upper part as that denominated Ionic; its contour is pleasing, and its general appearance elegant. In the capitals of the Athenian Ionics, and in that of Minerva Polias at Priene, the lower edge of the canal between the volutes is formed into a graceful curve, bending downward in the middle, and revolving round the spirals which form the volute upon each side. In the temple of Erectheus and Minerva Polias at Athens each volute has two channels, formed by two spiral borders, and a spiral division between them. The border which forms the exterior of the volute, and that which forms the under side of the lower canal, leaves between them a deep recess, or spiral groove, which continually diminishes in its breadth till it is entirely lost on the side of the eye. In the example of the temple of Erectheus, the column is terminated with a fillet and astragal a little below the lower edges of the volutes, and that of Minerva Polias in the same manner with a single fillet; and the colorino or neck of each is charged with beautiful honeysuckles, formed alike in alternate succession, but differing from each other in any two adjacent ones. The upper annular moulding of the column is of a semicircular section, and embellished with a guilloche. The echinus, astragal, and fillet, are common to both Grecian and Roman Ionic capitals, and the echinus is uniformly cut into eggs, surrounded with borders of angular sections, and into tongues between every two borders. The astragal is formed into a row of beads, with two small ones between every two large ones. These mouldings are cut in a similar manner in all the Roman buildings, except the Coliseum, and what relates to the taste of the foliage. In the temple of Bacchus at Teos, the great theatre at Laodicea, and in all the Roman Ionics, the channel connecting the two volutes is not formed with a border on the lower edge, but is terminated with a horizontal line, which falls a tangent to the second revolution of each volute at the commencement of this revolution. The

reader will find the description of the volute among the descriptions of the plates. When columns are introduced in the flanks of a building as well as in the front, one of the capitals of each angular column is made to face both the contiguous sides of the building, with two volutes upon each side, projecting the two adjacent volutes by bending them in a concave curve towards the angle; as in the temple of Bacchus at Teos, of Minerva Polias at Priene, of Erectheus, and that on the Ilyssus at Athens, as also that of the Manly Fortune at Rome. The capitals of all the columns are sometimes made to face the four sides of the abacus alike on each side, as in the temple of Concord at Rome, from which example the Scammozzian capital was formed. The ancients employed this order in temples dedicated to Juno, Bacchus, Diana, and other deities, whose character held a medium between the severe and the effeminate; and the moderns employ it in churches consecrated to female saints in a matronal state; also in courts of justice, seminaries, libraries, and other structures which have a relation to the arts.

Corinthian Order. The invention of this order was attributed to the one Callimachus, an Athenian sculptor, who passing by the tomb of a young lady observed an acanthus growing up by the sides of a basket, which was covered with a tile and placed upon the tomb; and that the tops ot the leaves were bent downwards by the resistance of the tyle; took the hint and executed some columns with foliated capitals, near Corinth, which were made still of a more slender proportion than the Ionic, imitating the figure and delicacy of virgins. Vitruvius mentions that the shafts of Corinthian columns have the same symmetry as the Ionic, and that the difference of the symmetry between the entire columns arises only from the difference of the heights of their capitals; the Ionic being one third, and the Corinthian the whole diameter of the shaft, which, therefore, makes the height of the Corinthian two thirds of a diameter more than that of the Ionic; hence, as he has allowed the Ionic to be eight diameters, the Corinthian will be eight and two thirds,

The sides of the abacus of the Corinthian capital are concave, and moulded on the fronts.

The lower part of the capital consists of two rows of leaves, and each row of eight plants; one of the upper leaves fronting each side of the abacus, and the stalk of

each leaf springing between each two lower leaves. The height of the abacus is one seventh, the upper and lower tier of leaves each two sevenths, and the branches and volutes which spring from the stalks between every two leaves in the upper row, the remaining two sevenths of the diameter, The breadth of the capital at the bottom is one, and each diagonal of the abacus two diameters of the column. Vitruvius makes no mention of obtunding the corners of the abacus, as is generally practised by the ancients as well as the moderns; we are, therefore, led to suppose that each pair of the four faces of the abacus were continued till they met in an acute angle, at each corner, as in the temple of Vesta at Rome, and the Stoa or portico at Athens; the division of the capital is the same as is frequently used by the moderns, but the entire height thereof is generally made one sixth more than the diameter of the column, and that of the entire column ten diameters. The best ancient specimens of the Corinthian order are to be collected from the Stoa, the arch of Adrian, and that most exquisite and singular specimen the monument of Lysicratus at Athens; also in the Pantheon of Agrippa, and in the three columns of the Campo Vaccino at Rome; these two, and particularly the last, are allowed to be the most complete existing examples that are to be found in all the remains of antiquity. The taste of the foliage of the Attic Corinthian differs considerably from that of the Roman: the small divisions of the leaves are more pointed, approaching nearer to the acanthus than those at Rome, which are for the most part olive; however, in other respects, the capitals themselves are very similar, except in the monument of Lysicrates.

The Corinthian capital exhibits the utmost degree of elegance, beauty, richness, and delicacy, that has ever been attained in architectural composition, though many attempts have been made to exceed it. The columns of this order do not appear to have had any appropriate entablature in the time of Vitruvius; for, in B. IV. chap. i. he informs us that both Doric and Ionic entablatures were supported by Corinthian columns, and that it was the columns alone which constituted this order, and not the entablatures; however, in the remains of Grecian and Roman antiquity, we find almost constantly Corinthian columns supporting an entablature with a peculiar species of cornice: a composition which

seems to be borrowed from those of the Doric and Ionic orders. In this entablature the figure of the mutules supporting the corona is changed into the form of a console, and highly decorated; and the denticulated Ionic band with its cymatium, and also that of the frize, are introduced below the consoles; which in this application are called modillions. This disposition is inverting the order of the origina! but, and also the description given by Vitruvius. The only example where dentils are placed above modillions, is in the second cornice of the tower of the Winds at Athens. As to the architrave and base of this order, they may be the same as those used in the Ionic; indeed the Ionic entablature itself would, on many occasions, be a very appropriate one for the Corinthian. When the columns are fluted, the number of the flutes and fillets is generally 24, as in the Ionic order.

If the entablature be enriched the shaft should be fluted, unless composed of variegated marble; for a diversity of colours confuses even a smooth surface, and if decorated, the ornament increases the confusion to a much greater degree. When the columns are within reach, so as to be liable to be damaged, the lower part of the flutes, to about one third of their height, is sometimes filled with cables, as that of the interior order of the Pantheon, with a view to strengthen the edges.

In rich work of some modern buildings, the cables are composed of reeds, husks, spiral twisted ribbands, flowers, and various other ornaments; but these niceties should only be employed in the decorations of the interior, and even then very sparingly, as their cost would be much better employed in giving majesty and grandeur to other parts of the fabric. As the cornice which has obtained the name of Corinthian consists of so many members, it will be necessary on this account to increase the whole height of the entablature more than two diameters, so as to make the members distinct, and at the same time to preserve a just proportion between the cornice, frize, and architrave; making the height of the entablature two-ninths of that of the column; but if the Ionic cornice is to be employed, or the dentils and their cymatium omitted, two diameters or a fifth of the height of the column will be sufficient. From hence the absurdity of giving too many members to the cornice will appear; as these slight columns are incapable of bearing an entablature of the same part of their height as

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The Corinthian order is appropriate for all buildings in which magnificience, elegance, and gaiety, are requisite; it was employed by the ancients in temples dedicated to Venus, Flora, Proserpine, and also to the nymphs of the fountains; being the most splendid of all the orders, and bearing the most affinity to foliages, flowers, and volutes, which suited the delicacy and elegance of these deities,

Its splendor also recommends it in the decorations of palaces, squares, galleries, theatres, banqueting-rooms, and other places consecrated to festive mirth or convivial recreation; it is likewise employed in churches dedicated to saint Mary, and other virgin saints.

Tuscan Order. There are no ancient remains of any entire order of this kind; the columns of Trajan and Antonine, and one at Constantinople, being defective from the want of their entablatures. We have the description of Vitruvius to the following purpose: the column is seven diameters in height, and is diminished at the top a fourth part of a diameter; their bases have a circular plinth, and are in height half a diameter, which is divided into two parts, giving one to the altitude of the plinth, and one to the torus. The capital has also half a diameter in height, and one in the breadth of its abacus. The height of the capital is divided into three parts, one of which is given to the plinth or abacus, one to the echinus, and the third to the hypotrachelian with the apophygis: the architrave is made with its vertrical faces over the edge of the column, at the neck of the capital, in two thicknesses, in its horizontal dimension, with a space of two digits or 14 inch between, for the admission of air to prevent the beams from rotting, and joined together with mortise and tenon. Over the beams and over the walls the mutules are projected a fourth part of the height of the columns, and antepagments are fixed to their fronts. A correct specimen of Tuscan architecture may be seen in St. Paul's, Covent Garden; the work of the most distinguished Inigo Jones. This order is proper for all rustic

structures.

Roman Order. The character of this as an order is indicated by its capital; the upper part of which being an entire Ionic capital of that species, which fronts the four

sides of the column alike, and the lower part consisting of two rows of leaves as in the Corinthian capital. Vitruvius speaks of various capitals derived from that of the Corinthian; but does not distinguish columns with such capitals supporting an entablature by the name of an order; indeed, he expressly says that they do not belong to any species of columns. Serlio was the first who added a fifth order by compounding columns similar to that of the Arch of Titus, with the entablature of the uppermost order of the Coloseum. More recent authors have, for the greater part, either adopted the entablature of the frontispiece of Nero, which was supported by Corinthian columns, or have brought in adventitious parts of other orders, by introducing the denticulated band of the Ionic with its cymatium between the modillions and the cymatium of the frize. It is something remarkable that the columns of Roman buildings, with compounded capitals, support for the greater part, Corinthian entablatures: the columns of the arches of Septimius Severus, and of the Goldsmiths, support Ionic entablatures; and those of the temple of Bacchus even support an entablature with what we now call a Tuscan cornice. In short Rome affords no example of a Composite order, with a similar cornice to any one found in the works of any distinguished modern author, except Vignola who crowns his entablature with a bold Ionic cornice. The capital of this order is more bold and massive in its parts than that of the Corinthian, the proportion of the other members should be corresponding thereto, and therefore more appropriate cornice than that of the frontispiece of Nero can hardly be applied: the modillions are very characteristic, but the denticulated band, shewn in a modern work, should be omitted, and for this reason also the shaft of the columns should be a medium between those of the Ionic and Corinthian, though the very reverse has been assigned to it.

The medallions employed in this order differ from the Corinthian: they are more massy, being composed of two faces, and a cymatium like an architrave. The Romans decorated their Composite capitals with acanthus leaves, and the same practice is followed by the moderns. The proportions will be fully understood in those of the Ionic and Corinthian orders. It is probable that the Romans employed the Composite order in their triumphal arches, and other buildings, to commemorate their vic

tories, and to shew their dominion over those whom they conquered; and for this purpose also it may be employed in modern structures to celebrate the achievements of conquerors and virtues of legislators.

PRINCIPLES OF BUILDING

Are those parts of geometry, mechanics, mensuration, and chemistry, which shew how to design and construct the parts of a building so as to be the most durable, the destina ́tion, situation, and other fixed data of the intended structure being known. These parts of the sciences are the foundation of the art of construction.

Construction may in general be divided into two parts, the science of masonry, and that of carpentry; though there are other branches, as slatery, plumbry, &c. sometimes also employed as constituent parts; but these may be considered as rather adventitious.

The science of masonry shews how to construct walls and vaults. A wall should be built so as to resist a given force, either acting uniformly over the whole, or partially upon the surface: such as to resist the pressure of vaults or roofs unrestrained from the want of tie beams, acting along one continued buttment, as in plain vaulting; or to resist different forces, acting at intermitted points, as in groin vaulting; or to resist the force of the wind acting uniformly over the whole surface. An arch should be so constructed as to balance itself equally on all parts of the intrados, whether it be of uniform thickness, or to support a given load.

The science of carpentry comprehends the sizing, cutting, disposition, and joining of timbers. By chemistry we are enabled to judge of the quality of materials, such as stone, mortar, wood, iron, slate, lead, &c.

Taste. Taste consists in introducing such forms in the construction and embel. lishments, as appear agreeable to the eye of the beholder. The arrangement of the plan, figure of rooms, and contour of the whole building, and character, as to its destined purpose, depend much on taste.

Invention. Invention is the art of combining or arranging the various apartments in the most convenient order.

Basements. A basement is the lower story of a building on which an order is placed; its height will therefore be variable, according as it is the cellar story or the ground story; or, when it is the ground story, according as there are principal rooms in both stories or only in one of them.

It is proper, however, to make the basement no higher than the order of the next story; for this would be making the base more principal in the composition, than the body to be supported. If the cellar story is the basement, and if the height does not exceed five or six feet at the most, it may be plain, or with rustics, or formed into a continued pedestal; but if the basement is on the ground story, the usual manner of decorating it is with rustics supported on a base, and surmounted with a crowning string-course: the base may either be a plinth alone, or with mouldings over it: in like manner the string-course may either be a plat-band or with mouldings under it; or it may form a cornice. The rustics are either made of a rectangular, or triangular section, by imagining one of the sides of these sections to be a line extending across the front of the joint. The joints of the rustics may be from an eighth to a tenth part of their height. The depth of the joint of the triangular rustic may be half of its breadth, that is, making the two planes by which it is formed a right angle, and the depth of the rectangular-sectioned rustics from one-fourth to one-third of their breadth. The ancients always marked both directions of the joints of the rustics; whereas the moderns not only employ the ancient manner, but they sometimes make them with horizontal joints alone. Those with horizontal joints represent rather a boarded surface than that of a stone wall, which must have two directions of joints. The height of the string-course should not exceed the height of a rustic with its joint: the plinth, or zocholo, ought not to be less than the height of the string-course. When the basement is perforated with arcades, the imposts of the arches may be a platband, which may be equal to the height of a rustic, exclusive of the joint. When the string-course is a cornice, the base may be moulded, and the projection of the cornice may be two-thirds of its height; so as to be less prominent than that which finishes the building. The height of the cornice may be about one-eighteenth part of the height of the basement, and that of the base about twice as much, divided into six parts, of which, the lower five-sixths form the plinth, and the upper sixth the mouldings.

Pedestals. A pedestal is a part of some buildings, with a base, surmounted with a rectangular prismatic solid, called the die, and this die again crowned with a cornice, for supporting a colonade, or pilastrade, or sometimes for supporting the upper part of

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