SECT. III. Of the ORIGIN, CHARACTER, USE, tion, it will be neceffary firft to defcribe Vignola's is capable of contriving. In the remains of antimethod of diminution, on which it is grounded. quity the quantity of diminution is various; but Having determined the height of the fhaft, draw feldom lefs than one eighth of the inferior diamea line indefinitely from D (Pl. XXI.) through C, ter of the column, nor more than one fixth. The perpendicular to the axis O P of the column; laft of thefe is esteemed the most perfect by Vitrutake then I D, half the inferior or largest diameter vius; and is generally adopted by modern archiof the column, and place one foot of the compaf- tects. fes exactly on the extremity of the fuperior or smallest diameter, as at R, and deprefs the other, till it come into the axis or centre line of the fhaft, as at S under O; through thefe two points draw a line indefinitely and produced till it cut the line D C, as at A; from A, the centre, draw any number of lines through the axis O P, as S, r, S r, &c.; and on each of the fe place half the larger diameter of the fhaft fet off from the axis or perpendicular line OP, through which points, thus found, if a curve line be drawn, it will defcribe the fwelling and proper diminution of the column. (116.) Although this method be fufficiently accurate for practice, especially if a confiderable number of points be found, yet, ftrictly speaking, it is defective; as the curve muft either be drawn by hand, or by applying a flexible rule to all the points; both of which are liable to variations. Blondel, therefore, to obviate this objection, after having proved the curve pafling from Ota, R(19.) The Tufcan order, on account of its through the points r, r, to be of the fame nature with the firft conchoid of the ancients, employed the inftrument of Nicomedes to defcribe it: the conftruction of which is as follows. This inftrument is made of wooden lathes in the triangular form defcribed by PO, PC, and ABR, (Pl. XXI.) the bafe and perpendicular of which are joined together at P, and has a ftay: the upright OP has a groove cut in it, (fee the fig.) To the lath ABR at S is fixed a button, (fee the fig.) which paffes along the groove from P to O; in the moving lath ABR is a common groove, cut through from A to B; and at A, in the lath DC, is fixed a button at the centre A, as described in the firft method. The length of the groove AB muft exceed the difference of the length AS to AP; confequently, as the bottom S works in the groove OP, the groove A B permits it to move forward to P, by which the former fwelling and diminution will be most correctly performed when a pencil is fixed at R, at a distance from the button S equal to half the largest diameter of the column. (117.) It must be owned, that if the centre were moved confiderably towards P, that this method would not defcribe a perfect curve or an agreeable diminution; for in this case, the curve at the top of the fhaft will proportionally approach to a ftraight line, and at last almost become an inverted curve. This, however, is no reasonable objection to the ufe of the inftrument when applied to the diminution of columns; for the greatest quantity of diminution that can in any cafe be allowed, will not have the leaft perceptive effect on the curve; and therefore we may venture to affirm, that no other method yet difcovered, nor any other inftrument that can be invented by man, is likely to exceed it. It is farther to be obferved, that Nicomedes's inftrument may be made to an fwer shafts of any dimenfions, by making the refpective grooves capable of extenfion by the ufe of fliders and moveable centres, which any architect ftrong and maffy proportions, has obtained the name of the ruftic order; in conformity to which character, it is generally employed in farm houses, ftables, and the like edifices. It is however fometimes ufed in fuperior buildings, where ornaments are not required, but where ftrength is the prin cipal object. The proportion of the Tuscan column, with its pedestal and entablature, is as follows:-Divide the whole height of the entire column into five equal parts, one of which is for the height of the pedeftal; and the remaining 4 are affigned for the bafe, fhaft, capital, and entablature. The whole height being divided into 5 equal parts, one is given for the entablature, and the remaining 4 being divided into 7 equal parts, one is for the inferior diameter of the shaft, in maffy buildings, a more heavy entablature may be ufed, as was cuftomary amongst the ancients. They divided the whole height affigned to the bafe, fhaft, capital, and entablature, into 4 equal parts and gave one to the entablature. The profiles of Vignola and Palladio have this proportion, (120) Take half of the inferior diameter, for the height of the base, including the plinth; and the same for the height of the capital, exclufive of the aftragal. Take the inferior diameter, and dis vide it into 60 equal parts, which are called minutes, and by which the fmaller parts of the columns, are proportioned in their height and projections, as specified in the upright and horizon, tal fcales attached to the profile, from which the feveral proportions of each moulding must be learn cd. A module is confidered by fome to be only half a diameter; but others extend it to a whole one, which we have adopted as the most fimple and entire. Palladio ufes the whole diameter in every order except the Doric. Vitruvius alfo employs the large module, reckoning the pro portion of the column by the lower or inferior diameter of the fhaft; and we do not fee that ei ther the fem-diameter or the 20 minutes contrived by by fome will more nearly anfwer to the different parts of the column. SECT. IV. Of the INTERCOLUMNIATION of the ORDERS. (121.) Columns are either engaged or infulated; and when infulated or detached from the wall, they are either very near, or at a confiderable diftance from it. When they are placed at a confiderable distance from the wall, they are deftined to fupport the entablature; and their diftance from each other fhould be confiftent both with their real and apparent folidity. Engaged columns are attached to the wall, and are not limited in their intercolumniations, as they depend on the breadth of the arches, doors, windows, niches, or other decorations placed in them. (122.) The ancients ufed five different fpecies of intercolumniations, which, according to Vitruvius and Palladio, are as follows: I. The PYCNOSTYLE, of which the interval or space is one and a half of the inferior diameter of the column. 11. The SYSTYLE, whofe interval is two diameters. ter. III. The EUSTYLE, two diameters and a quar IV. The DIASTYLE, three diameters-and V. The AREOSTYLE, four diameters. (123.) The three firft of these were ufed by the Grecians, in the Doric, Jonic, and Corinthian orders; but the diftances of the triglyphs of the Doric determined the intercolumniations of that order, which we fhall defcribe in its place. (124.) The ancient Romans preferred the EusTYLE in most cafes, as the beft medium of the too little and too great intervals of column; but in their Tufcan works, they used a space equal to four and fometimes fix diameters, which intercolumniations was admitlible in this order, fince the architrave was ufually formed of fume kind of timber, when the other parts of the entablature were of ftone. Palladio fays, this intercolumnia tion of the Tuscan order was adapted to farm houses and other ruftic works, as it afforded a paffage for carts, and was attended with the leaft expence. In ftru&tures built entirely of ftone, how. ever, they ufed a thorter interval, more fuitable to the length of their marble blocks, and more agreeable to the ponderous fabric which they occafionally fupported; for which reafon the diaftyle and euftyle modes were fometimes applied to this order. (125.) The moderns have indeed adopted thefe two as their general rule, and apply them to every order except the Doric. The aræoftyle, however, is fometimes, by a modern contrivance, authorised by a few examples of the ancients, introduced in porticoes and periftyles. This mode of the aræoftyle is from Perrault, and is managed by placing 2 columns together at the angles, fo clofe as to admit the two capitals nearly into contact. This manner, which is termed grouping, takes off from the exceflive width of this kind of interval, whilft it adds to it both real and apparent ftrength, as is exemplified in St Paul's church in London, and in the palace of the Louvre at Paris. SECT. V. Of ARCHES and their ORNAMENTS. nades; but they are more folid and lefs expentive. (126.) Arches are not fo magnificent as colonThey are proper for triumphal entrances, gates of cities, of palaces, of gardens, and of parks, and, in general, for all openings that require an extraordinary breadth. There are various manners of adorning arches. Sometimes their piers are rufticated; fometimes they are adorned with pilafes, termini, or caryatides; and fometimes they a made fufficiently broad to admit niches or windows. (127. The circular part of the arches is either furrounded with ruftic key ftones, or with an archivoit enriched with mouldings; which, in the middle, is fometimes interrupted by a confole, or mafk, ferving at the fame time as a key to the arch, and as a fupport to the architrave of the order. The archivolt is fometimes fupported by an im poft, at the head of the pier; and at others by columns placed on each fide of it, with a regular entablature, or architrave and cornice. (128.) There are likewife inftances of arcades without piers, the arches being turned on Gingle columns, as in the temple of Faunus at Rome, &c. But this practice ought not to be imitated, as it is neither folid nor handfome. When adcades, however, are employed to ornament domeftic apartments, the breadth of the pier needs not exceed one quarter of the opening of the arch. (129.) When arches are clofed up, to receive doors, windows, or niches, the recefs fhould be fufficient to contain all the projections of what is placed therein, otherwise their appearance is clumfy, and will become too principal, which produ des a bad effect in the compofition. When arch es are large, the key ftone thould never be omitt ed, but cut in the form of a confole, and carried clofe under the foffit of the architrave, which, on account of its extraordinary length, requires a fupport in the middle. The imports of arches fhould never be omitted; at least, if they be, a platform ought to fupport their place. If columns are employed without pedestals in arcades, they fhould always be raised on a plinth. (13c.) In arches of great magnitude, the circu lar part ought not to fpring immediately from the impott, but take its rife at fuch a distance above it as is neceffary in order to have the whole curve feen at the proper point of view. The void or aperture of arches thould never be higher, nor much lower, than double their breadth; the breadth of the pier fhould feldom exceed two thirds, nor be lefs than one third of the breadth of the arch; and the angular pier ought to be broader than the others, by one half, one third, or one fourth: the impoft thould not be more than one feventh, nor lefs than one ninth of the aperture; and the archivolt muft not be more than one eighth, nor lefs than one tenth of it. The breadth of the confole muft, at the bottom, be equal to that of the archivolt; and its fides muf be drawn from the centre of the arch; the length of it must not be less than one and a half of its fmalleft breadth, nor more than double. The thickness of the pier depends on the breadth of the the portico; for it must be ftrong enough to refift the preffure of its vault. But with regard to the beauty of the building, it should not be lefs than one quarter of the breadth of the arch, nor more than one third. Thefe are the general dimenfions of arches. (131.) The proportions peculiar to the Tufcan arch, of which we have given an example, with out pedeftals, are as follows: In height, their aperture ↳ 7 diameters and a quarter, in width 4, and from centre to centre of the columns, 6 diameters. According to the preceding remarks, the archivolt and impofts are half a diameter, and from the top of the archivolt to the underfide of the architrave fhould not be less than 15 minutes The breadth of the key stone at the bottom is equal to its archivolt; and its spreading fides are determined by lines drawn from the centre of the arch, as is thewn in the plate. The plinth is one diameter in height, and the proportions of the column and entablature are the fame with the Tufcan profile, PLATE XVIII. For the proportions of the moulding of the archivolt and impofts, fee PLATE XIX. (132.) The Tufcan arch with pedestals is in width 41, and in height 8 diameters, and a quarter; and from centre to centre of each pier is 63. In every other particular they are fubject to the preceding rules. SECT. V. Of the ORIGIN, CHARACTER, USE, and PROPORTIONS of the DORIC ORDER. (133.) The DORIC order derived its name from the Dorians, a nation of ancient Achaia, from whom it doubtlefs received the proportions and derived most of the parts by which it has been diftinguished from orders of later date. The Doric, as to its character, is by architects confidered grave, robuft, and of masculine aspect: hence it is figuratively termed the Herculean order. The ancients accordingly used it in their temples dedicated to Juno, Minerva, Mars, and Hercules, whofe grave and heroic difpofitions fuited well the folemn character of this order. (234) This order may be properly ufed in colornades, porticoes, halls, gates of cities, and public buildings erected in memory of heroes, or famous perfonages. In most of the antiques, the Doric column is executed without a bafe. Vitruvius makes it without one; the bafe, according to him, having been first employed in the Ionic, order, in imitation of the fandals worn on women's feet. Scamozzi blames this practife, and most of the moderns are of his way of thinking. (135.) The remarks of LE CLERC, in oppofition to De Chambre, are worthy of notice. The latter afferts, that the Doric column is after the model of a strong man who is conftantly reprefented bare footed. He alfo obferves, that the bafe to a column is the fame as a fhoe to a man, and therefore cenfures the ufe of a base as improper and unchafte. Le Clerc admits, that the moft ancient Dorics were deftitute of bafes, though he confiders it difficult to affign any good reason for it. "But I must own, (fays he, I cannot confider a column without a bafe, in comparing it to a man but I am at the fame time ftruck with the idea of a perfon without feet rather than hoes; for which reafon I am inclinable to believe, either that the architects of antiquity had not yet thought of employing bafes to their columns, or that they omitted them in order to have the pavement clear; the angles and projection of bases being ftumbling blocks to pallengers, and fo much the more troublesome, as the architects of those times frequently placed their columns very near cach other; fo that had they been made with bafes, the paffages between them would have been extremely narrow and inconvenient; and it was doubtless for the fame reafon that Vitruvius made the plinths of his Tufcan column round: that order according to his conftruction, being particularly adapted to fervile and commercial purposes, where convenience is preferable to beauty. However this be, perfons of good tafte wil grant, that a bafe not only gives a graceful turn to the column, but is likewife of real ufe, ferving to keep it firm on its plan; and that columns if without bafes are now fet afide, it is a mark of the wisdom of our architects, rather than an indication of their being governed by prejudice, as fome adorers of antiquity would infinuate." (136.) In conformity to the arguments of this celebrated author, and agreeably to the practice of Palladio and of our modern architects, we have introduced an attic bafe to this order; yet, in ornamental temples, for gardens, &c. we are debe copied ftrictly and preferved chafte, according cidedly of opinion, that the Grecian style fhould to the remains of antiquity, as difcovered by both ancient and modern architects, who have with great diligence and expence explored their ruinous piles to obtain accurate meafurements of the feveral parts: particularly our countryman JAMES STUART, Efq. who in three folio volumes, has prefented to public view the antiquities of Athens, in which we have a clear display of pure Grecian architecture. In these we fee, as well as in other works, that the Doric column was without a base, but its fhaft decorated with a number of channelings or flutings peculiar to itself; for in the other orders, an interval or fillet is introduced between each fluting, but in this it is otherwife. Hence Scamozzi's cenfure of this manner of fluting is imperfect, in confequence of the projecting angles which feparate each flute, which renders the fhaft tender and more fubject to decay. The force of this objection however will be greatly abated, when it is confidered, that thefe flutings are fhallow, having their centre from the fummit of an enquilateral triangle, whofe fides are equal to the width of the flute; confequently, it is little more than one quarter of the depth of the other kinds of fluting which are perfect femicircles. It is alfo to be obferved, that the Grecian temples were compofed of hard tone or marble, not fubject to decay, and preferved from outward violence by a religious or rather a fuperftitious care: and without fome fort of care, even the angles of the Ionic or Corinthian fluting will become an eafy prey to the injuries of outward violence. (137.) The other members which mark the peculiar feature of this order are the triglyph and mutule. The utules are confidered as a memorial or imitation of the primitive huts (fee Plate XX. fig. 2 & 3,) whole beams are feen to project Out outwardly under the roof; but the triglyph is thought by fome to be emblematical of the use of the first temple, erected according to this order, which was dedicated to Apollo, to whofe harp the triglyph bears fome fort of refemblance. The metope, or spaces between the triglyphs, have been variously enriched. Palladio introduced ox's fculls, with lighted torches hanging from each horn, and placed alternately with pateras, expreffive of the facrificial offerings performed to the heathen deities. (138.) Various other ornaments may, however, be introduced with propriety, both in public and private buildings. In the latter, crefts, and badges of dignity, heads, vafes, or pateras, encircled with garlands of oak or laurel, are very fuitable; in military ftructures, heads of Mars, Medufa, or the Furies, may be admitted. But fome architects object to the introduction of fwords, fpears, or the like weapons, as being of too large dimenfions for such small compartments, and which, to represent in miniature, would be too trifling, and inconfiftent with the dignity of such works. When this order is employed in churches and other religious edifices, the metope may have cherubs, chalices, doves, garlands of palm and olive, and other devices, emblematical of moral virtues: but the most elevated parts of all these should project little more than the triglyph. This rule was frict ly obferved by the ancients, who feldom gave their ornaments more projection than that of the borders in which they were inclofed. Agreeably to this idea, the foffits of the corona (fee Plate XXI.) have their ornaments within the thickness of the borders which receive them. (139.) The following are the proportions of the principal parts of this order, as appear in its profile, in Plate XVIII. The whole height of the entire order is divided into five equal parts, one of which is the height of the pedeftal; and the remaining 4, which are affigned to the column and entablature, ars likewife to be divided into five. One of thefe belongs to the entablature, and the remaining 4 being divided into 8 equal parts, one of them will be the inferior diameter of the column. Or we may exprefs it thus: (140.) The whole height of the order, including its pedestal, is 12 modules and a half, reckon ing the module a whole diameter. The pedestal is two and a half; the bafe, fhaft, and capital 8; and the whole entablature two modules. Divid ing the large diameter into 60 equal parts, called minutes; 30 are given to the bafe, 30 to the capital, 30 to the architrave, 45 to the metope, and 45 to the height of the cornice, including the upper fillet or capital of the triglyph. In this order, when the mutules are introduced in the entablature, as in the example referred to, one mo dule is affigned or the projection of the cornice, which in this refpect, exceeds any of the other orders. The projection of the, mutules is equal to their width, being 30 minutes: the width of the triglyphs is exactly the fame, and their diftance from each other equal to the height of the metope, which, by this divifion, forms a perfect fquare. The fides of the channels of the triglyphs are at right angles with each other. The manner of dividing and drawing them, together with the conic drops may be learned from Plate XXI. The foffit of the mutule, and that of the corona, are frequently ornamented; the former with conical drops, fimilar to thofe under the triglyphs, and the latter with rofes in fquare and lozenge compartments. (See Plate XXI.) The propor. tions of the finaller parts, and of the feveral mouldings which compofe the whole, must in this, and in every other order, be learned from their refpective profile. (141.) NAMES of the DIFFERENT PARTS, referred to by Figures in the reprefentation of the Do RIC ORDER: Plate X. (142.) The BASE of the SHAFT. 20. The Upper Torus. 21. The Scotia. 22. The Lower Torus. 23. The Plinth. The CAPITAL of the PEDESTAL. 24. The Cyma inverted. 25. The Facia. 26. The Hollow. 27. The Dado. BASE of the PEDESTAL. 28. The Aftragal. 29. The Cyma. 30. The Plynth. SECT. VII. The Of the INTERCOLUMNIATION and ARCHES of the DORIC ORDER. (143.) THE intercolumniation of this order is often attended with peculiar difficulty, arifing from the ftrict regard that is ever paid to the due width of the triglyph, and the perfectly fquare form of the metopes, or their intervals. Beides, it is abfolutely requifite, that a triglyph fhould be placed exactly over the centre of every column. For thefe reafons, the mutules and triglyphs have been omitted in capital works, both ancient and modern, as in the Colifeum at Rome, and the Royal Hofpital at Greenwich. (144.) PALLADI) has, however, given one inftance of an ancient temple, with angular triglyphs. This ftructure, which he terms the Temple of piety, is mentioned by Vitruvius, with an eye to the difficulty ccafioned by the triglyphs being thus placed; which reduces the intercolumniation of the two angular columns to one diameter and a quarter, which is less than the pycnoftyle. The next intercolumniation is ftill greater, approaching near to the pierostyle, as is evidently neceffary to bring the triglyph over the centre of the third column from the angle. The next which is the centre intercolumniation, and faces the entrance of the temple, is rather more than euftyle, or two diameters and a quarter; and has, in the metopes, ditriglyph. But the intervals, between the triglyph are much too narrow for their height, fo as to produce an unfavourable effect. The other spaces are monotriglyph, and are perfect. The regular intercolumniation of te Doric order is the monotriglyph, or pycnollyže, which admits of one between two columns The The ditriglyph, or euftyle, admits two; and the (146.) In fimali buildings, fuch as temples, and other fimilar ornaments for gardens, the intercolumni tions may be determined, without paying a firict regard to the general rules for the diftances of columns; always obferving, however, that fuch works must have an interval that will admit of an eafy paffage between them. (147) Doric arches, without pedestals, (fee pl. XIX.) are feven diameters and three fourths high, and in width four diameters and 15 minutes. The piers are two modules in front, and in thicknefs one module, zzļ minutes; or in proportion to their diftance from the wall. From centre to centre of each pier, is 6 diameters and 15 minutes. Arches of this order, with pedeftals, have their apertures, in height, 9 drameters and 30 minutes; and in their width, 5 di-meters, 15 minutes. The piers are 2 diameters, 15 minutes wide in front; and from centre to centre of each, is 7 diameters, and 15 minutes. of the entire order is divided into equal parts. One of thefe parts is affigned to the height of the pedeftal; and the remaining 4 are divided into 6, for the colum.t and entablature. One of these is appropriated to the entablature, and the remain. ing 4 are for the column, including its capital and bale. Thefe 4 being divided into equal parts, I is afgned for the inferior diameter. The cornice is 44 minutes in height, and is projection the fame. The drip in the under fide of the corona is channelled out one minute deep, and two minutes from the front; and before the cyma reverfi, one minute. (151.) the shaft of the column is fometimes fluted, and fometimes plain. Twenty, or 44 are the number of flutes allotted, not only to this, but to every other order. In general, however, 24 are preferable. The pian of the flutes may be rather more than a femicircle, as they will then appear more diftin&t. The fillets, or intervals between them, must not be broader than one third of the flutes, nor lefs than one fourth: and it fhould farther be obferved, that in the capital of rich compofitions over each flute, is placed an ove or egg. For the other particulars, recourse must be had to plates X. and XVIII. In exterior works, when the building is large, the entablature may be enlarged to one fourth of the whole column without its pedeftal, as was fometimes practised by the ancients. Palladio, however, makes no diftinétion of this nature; but allows only one fifth part of the height of the column in all cafes. (152.) The VOLUTE, which is a principal member of this column, is executed in various forms. SECT. VIII. Of the IONIC ORDER, quith its Vo- The Grecian volute has a double fillet winding LUTES. (148.) THE Ionic order owes its invention to the people of Ionia, who inhabited a Grecian diftrict, and is faid to have been firft employed in the decorations of the Temple of Diana, at Ephefus. The Jonic colump is more flender and graceful than the Doric. Its ornaments are truly elegant, being in a ftyle of compolition between the richness of the Corinthian and plainnefs of the Fafcan orders. Its general appearance being fimple, yet graceful and majestic, in figurative language, it has been compared to a fedate matron, in decent, rather than in rich attire. round to its eye, which, by the partings or spaces between, produces a variety of light and fhade, and affords to the whole convolution additional grace and beauty. We are not of opinion, however, that the necking is any additional beauty to the capital, as is fuppofed by fome architects: for the aftragal certainly takes off from that pleafing fimplicity, and pure elegance of the Roman capital, which is uninterrupted by any projecting moulding, till we view the eafy turn of the volute itself. Upon thefe principles, we prefer the Roman capital. (See its profile. Plate XVIII.) Both the Grecian and Roman capitals are fquare on the front, but have quite a different appearance when viewed on their fides. See the plan in Plate XXI. (149) The ancients used the lonic order in the temples dedicated to Diana, Juno, Apollo, Fortune, Concord, and the like deities. It may be. It might therefore be eligible, when the decoration employed in palaces and private houfes, in halls is to be continued in ank, as well as in front, of juftice, colleges, or libraries; and, in fhort, to fubftitute the angular capital, ufed by Michael as Le Clerc obferves, in all places confecrated to Angelo, Scamozzi, and other modern architects, peace and tranquillity. In forming the profile, in imitation of thofe in the Temple of Concord. and in adjusting the proportions of this order, This capital is alike on all fides; and therefore, moft of the modern architects have, in a great occafions no difficulty in the management of andegree, imitated the columns, capitals, and enta-gular pilasters or columns: its abacus is drawn in blatures, in the Temple of Manly Fortune and the fame manner as that of the Corinthian order. Concord; in the Theatre of Marcellus, and the Colifeum at Rome. Amongst the ancients, the form of the Ionic profile appears to have been more pofitively determined, than that of any other order: for in all the antiques at Rome, except in the Temple of Concord, it is exactly the Line. (1.) The proportions of the principal parts of the Ionic column, are as follow: The height VOL. II. PART II. (153) The manner of DRAWING the VOLUTE, according to Geldman's methed, is as follows: (fee Plate XXI.) Draw the perpendicular F A, termed the cathetus, and make its length equal to 15 minutes. On the centre defcribe a circle, whofe diameter is 3 minutes. Draw next a geo metrical fquare, having its fides equal to the radi us of the circle, as 1, 2, 3, 4. From the angles 2, 3, draw diagonals to the centre at C. Divide Hhh the |