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THE

GRECIAN-ORDERS-

O F

TECTVRE.

DELINEATED-AND-EXPLAINED-

F R O M � T H E-

ANTIQUITIES \OF � ATHENS-

ALSO.
THE -PARALLELS -OF -THE -ORDERS-

OF -PALLADIO -SCAMOZZI -AND � V I G N O L A-

TO-WHIGH-ARE � ADDE D � R E M A RKS � GO NCE R N I N G.

PVBLICK'ANDPRIVATE-EDIFICES-WITH-DESIGNS.

LONDON.

PRINTED ■�BY.-J.DIXWELL,FOR-THE«AVTHOR-MDCCLXVIII-

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		TO-JAMES-STVART' ESQ, F. R. S. PAINTER-AND-ARCHITECT* WHO-THREE-CENT VRIE S- AFTER-T HE'REVIVAL-OF-LETTERS' WAS-THE-FIRST- TO-E'XPLORE-AMONGST-THE>RVINS-OF/ATHENS- ANDTO-PVBLISH-TO-THE-WORLD* THE'GENVINE 'FORMS- OF -GRECIAN⁴ ARC HI TECTVR E* EXACTL Y-DELINEATED-BY-HIS-SKILL-AND-CARE- ILL VSTRATED-BY-HIS-ER VDITION- *TH VS- RE SCVING -FROM -THAT -OBLIVION -INTO- WHICH' THE-CEASELESS-INSVLTS-OF-BARBARIANS- , WOVLD-SOON-HAVE-PLVNGED-THEM- THE.MOS T-EXCELLENT-MODEL S-OF-THE-ART � WHICH-HE-HAS-TRANSMITTED- WITH-HIS-OWN-REPVTATION-TO-FVTVRE-AGES' TO-HIM- THIS-WQRK-IS-THEREFO RE-INSCRIBE D- BY-THE-AVTHOR-.STEPHEN-RIOV. WHO -VI SITING -AT H ENS- IN-THE-TIME-O F-THOSE-RESE ARCHES- WAS-AT-ONCE-AN-EYE-WITNESS- OF-THE-DILIGENCE-AND-ACCVRACYv OF-HIS-INVESTIGATIONS- AND-A-SPECTATOR- OF-THE-SVRPASSING-ELEGANCE-AND-BEAVTY- OF-THE-BVILDINGS- WHICH-ONCE-ADORNED-THAT-CELEBRATED-CITY-

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THE SUBSCRIBERS

TO THE GRECIAN ORDERS

OF ARCHITECTVRE.

His Royal Highnefs the Duke of Y O R K.

A
Sir Anthony Abdy, Bart.
Lady Abdy,
Thomas Anfon, Efq;
Thomas Aftle, Efq;
David Andre, Efq;
Anthony Andre, Efq;
Mr. William Adair
Mr. Jpfeph Anderfon
Mr. Robert Archer

Mr. William Allen
B

Duke of Buccleugh

Earl of Bute

Earl of Befborough

Hon. Mr. Beresford

M. General Ralph Burton

Richard Berenger, Efq;

Thomas Barrett, Efq_;

Rev. Mr. Benfon, Prebendary of Canterbury

Rev. Mr. Beauvoir, A. M.

Rev. Mr. Byrch, A. M.

Lyde Browne, Efq;

William Baker, Efq;

Mr. Richard Baker

Herman Berens, Efq;

Jofeph Berens, Efq;

John Berens, Efq;
Thomas Brand, Efq; of the Hoo
Mr. George Brown, Merchant
John Boyde, Efq;
Mr. Robert Baldwin
Mr. John Baldwin
Thomas B. Bayley of Hope, Efq;
Levet Blackborne, Efq;

Rev. Mr. R. Drake Brockman, B. D. of
Beachborough

His Grace the Arch-Bifhop of Canterbury
Right Hon. Lord Camden, Lord High Chan-
cellor of Great Britain
Lord Bifhop of Carlifle
Lord Clare
Hon. Mr. Cadogan
William Crowle, Efq; 2 fets
Charles Crowle, Efq; 2 fets
Capt. Crowle

C. N. Cole, Efq; Inner Temple
Richard Cumberland, Efq;
Daniel Crefpin, Efq;
Robert Clayton, Efq;
Thomas Croft, Efq;
Chriftopher Croft, Efq;

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		3UB5CR Mr. Chanhing, Effex Street John Cornwall, Efq; Robert Colebrooke, of Chilham Caftle, Lewis Chauvet, Efq; Duke of Devonshire Earl of Dartmouth Lord Le Defpenfer Lord Dacre Rev. Dr. Durell, Prebendary of Canterbury Vice Chancellor of the V. of Oxford* Dr. Ducarel Charles Dunbar, Efq; Charles Dering, Efq; Thomas Dummer, Efq) Jeremiah Dyfon, Efq; Mr. John Davenport Georp-e Dawfon, Efq; George Dalton, Efq; William Deedes, Efq; Ifaac Delamare, jun. Efq; E Lieut. General George A. Elliot Mr. Charles Evans F Hon. Admiral Forbes William Fitzherbert, Efq; Sir Robert Fletcher, Knt. Henry Fletcher, Efq; James Fofter, Efq; Coulfon Fellowes, Efq; Rev. Mr. John Fountain, of Marybone, A. M. Rev. Mr. Bryan Fauffett Rev. Mr. Frampton, Fellow of St. John's College, Cambridge Robert Freind, Efq; Inner Temple. G Marquis of Granby Lord Grofvenor, 2 fets Lord Gormanfton His Excellency Sir James Gray, Bart. Knt. of the Bath, His Majefty's Ambaffador Extra- ordinary and Plenipotentiary at Madrid. M. General Gray			H S NAMES, William Gardiner, Efq; of Richmond John Grimfton, Efq; Ignatius Geoghegan, Efq; Edward Greathed, Efq; David Garrick, Efq; Andrew Girardot, jun. Efq; Peter Gauffen, Efq; Henry Guinand, Efq; Mr. Gordon, Cabinet-maker * H Francis Earl of Huntingdon, 4 lets Earl of HoldernefTe Earl of Hiliborough Capt. HafHhgs Sir Edward Hales, Bart. Sir Robert Hildyard, Bart. Sir Edward Hulfe, Bart. Rev. Dr. Head, Arch-Deacon of Canterbury Rev. Mr. Heaton, Prebendary of Ely John Hemington, Efq; D'arcy Hildyard, Efq; .-$ Richard Hulfe, Efq; William Hervey, Efq; John Howe, Efq; Mr. Highmore, Canterbury Henry Hoghton, of Caftle Hedingham, Bfqj Mr. John Hardham Thomas Orby Hunter, Efq; Mr. Hope William Hanbury, Efq; Rev. Mr. William Hiril, A, M. F. R. S. 4 fets. Mrs. Mary Halpen I Rev. Mr. Edward Jackfon Soame Jenyns, Efq; Mr. J. Elias Jaquery, Merchant K Mathew Knapp, Efq; High Sheriff for the County of Bucks Thomas Knight, Efq; Charles Keightley, Efq; L Colonel St. Leger Luke Lillingflon, Efq; John Lidgbird, Efq, Richard Long, Efq; William Locke, Efq;

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			E R S NAMES. Francis Plumer, Efq; Mr. Charles Parker Mr. Pars, Drawing-mailer Mr. John Payee George Qjaarme, Efq; R Marquis of Rockingham His Excellency the Earl cf Rochford, his Majefty's AmbaiTador Extraordinary and Plenipotentiary at Paris, 2 fets Rev. Mr. A. Robinfon, Vicar of Hull M_rs. Katherine Read Hon. Thomas Robinfon George Rice, Efq; John Roberts, Efq; .-----,----------Ram, Efq; Mr. Jofeph Rofe, Plaifkrer Mr. Henry Ruffell S Earl Spencer Countefs Spencer Sir Charles Saunders, Knt. of the Bath M. General Skinner Philip Stephens, Efq; Tyringham Stephens, Efq; Rev. Dr. Sutton, Prebendary of Canterbury John Smith, Efq; of Sydling, Dorfet Rev. Mr. Hervey Spragg John Sargent, Efq; Henry Stevenfon, Efq; Mr. Robert Strange, Engraver James Stuart, Efq; F. R. S. F. S. A. Pain- ter and Architect John Simons, Efq; Bury St. Edm. Mr. Scott, Carpenter Mr. Daniel Sleeford Mr. John Smith Mr. George Stubbs, Painter T His Excellency Lord . Vifcount Townfhend, Lord Lieutenant of Ireland John Thornton, Efq; Charles Turner, Efq; Thomas Towers, Efq; V Agmondefham Vezey, Efq; John Vppleby, Efq; George Vppleby, Efq; Anthony Villion, Efq; Mr, Francis Villion.
		SUBSCRIB William Lynch, of Groves, Efq; Robert Lynch, M. D. Canterbury Rev. Dr. Lynch, L. L, D. Rev� Mr. George Lynch Mr. William Loftie, Canterbury Mr. William Loftie, jun. Mr. Lucas Mr. Thomas Lewis Mr. Lewis, Carpenter M Earl of Mexborough, 2 fets Earl of Moira, 2 fets Lord Robert Manners Lady R. Manners Lord James Manners Lord Montfort Sir Jofeph Mawbey, Bart. Major Ofbert Mordaunt Rev. Mr. W. Mafon, Prsecentor and Residen- tiary of York John Maferes, Efq; Mr. Moore, Statuary, Berneis St. Oxford Road Mr. Thomas Major, Engraver Mr. James Meaden, Builder Mr. John Millan Mr. Richard Morgan N Duke of Northumberland Richard Neville Neville, Efq; John Luke Nicolls, Efq; Peter Noailles, Efq; Mr.William Newton, Architect, Hatton-Garden Mr. Richard Norris, Builder Mr. Philip Norris O Robert Orme, Efq; Chaloner Ogle, Efq; Henry Oxenden, Efq; P Earl of Pembroke Lord Pigot Sir James Porter, Knt. F. R, S. John Pitt, Efq; The Rev. Dr. Potter, Dean of Canterbury John Pownall, Efq; Thomas Pownall, Efq; Robert Pratt, Efq; Thomas Pitt, of Boconnock, Cornwall, Efq; �-------- Porter, Efq; at Canterbury Charles Pool, Efq; Hull Charles Filh Palmer, Efq; 2 fets Thomas Plumer, Efq;

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R S NAMES,

Monf. Guillaumot, Archit. de Tlntend; &

InfpecL Gen. des cazernes
Monf. De Saint, Libraire, 4 ex.

ROME.

Monf. L Abbe Grant.

ANTWERP.'
Monf. Francois Mols. _% �

GENEVA. .. . .
La Bibliotheque Publique.

hague: , ,.....

Monf. De Lage, Col. du Corps des Mineurs &

Intendant des Batimens de S. A. S. le Prince

d'Orange, & de NafFau, 2 exemp.
Monf. De Swart, Architecte de S. A. S. le

Prince d'Orange & de NaiTau, 2 exemp.
Monf. Henri Fagel Secretaire, de L. H. H. P. P.

les Etats Generaux des Provinces Unies.
Monf. Nicolas Ten Hove, Ecuier
Rev. Mr. A. Maclaine, Miniiter of the Eng-

lifh Church
Monf. Vander Heim, Bourgue Maitre de la

Ville de Rotterdam, & Secret, de l'Amiraute
Monf. A. Schouman, Peintre, pour l'Ecole fon-

dee par Madame Renfwoude a la Haye.

MIDDELBURG.

Monf. Van Citters, Repres. le premier Noble

de la Zelande
Monf. Johan Adriaen Van de Perre Seign, de

Nieuwerve & de Wellingen
Monf. Johan Pieter Van den Brande, Chev,

Baronet Seign. de Gapinge
Monf. Johan Steengracht.
Monf. J. F. Laentfheer, F. R. S.
Monf. E. Phli. Van Vifvliet, M. D.
Monf. Wilhelm Schorer, Confeill. de L'Amiraute
Monf. A. Van de Putte Schorer
Monf. Dan. Radermacher
Monf. Paul Ribaut
Monf. Paul Hurgronje
Monf. Vanden Helm Boddaerd
Monf. Pieter Pyl

Monf. Chr. Bohemer, Libraire, 2 ex.
Monf. Leenderd Bomme.

CUYLEMBERG.
Monf. Perenot, Bourgue-Maitre.

Lady Charlotte Wentworth

Lord Walpole -_: .

Hon. Mr. Thomas Walpole

Sir Cecil Wray, Bart.

William Whitaker, Efq; H. M. Pr. Serjeant

Edward Willes, Efq₅ H,.M. Sollicitor General

Thomas Worfley, Efq.;..

John Walib, Efq;......

Rev. Dr. Walwyn, Prebendary of Canterbury

Mathew Wylebore, Efq; at Peterborough

WilliamWeddell* Efq,

Richard, Wynne, Efq;_;

John Vv^Tightwick, Efq;

William Wilberforce, Efq;

Robert Wilberforce, Efq;

William Wilfon, Efq;

George Wilfon, Efq;

Daniel Wilfon, EYqj

Thomas Wynne, Efq; GrofVenor Square

Mr. Wilimott, Plaifterer

Mr. William Winchefter.

William Young, Efq;

Mr. Zuccarelli.

PUBLICK LIBRARIES.
Corp. Chr. Coll. -)
Jefus Coll. j. Cambridge.

St. John's Coll. j
Library C. C. Canterbury.

FOREIGN SUBSCRIBERS.
LONDON.

S. E. Le Comte de Welderen, Envoy e de
L. H. H. P. P. les Etats Gen.
MADRID.
Le Comte Gazzolo, General d'Artillerie, &c.

PARIS.

Monf. Soufflot, Chevalier de St. Michel, Con-
trol, des Bat. du Roi. a Paris, M. de
L'A. R. d'Archit.

Monf. Le Roy, Hiftoriogr. de L'A. R. d'Archit.

Monf. Moreau, Archit. de la Ville, M. de
L'A. R. d'Archit.

ERRATA.
Preface, laftPage; dele comma after coepit. Page 40, for Me renidet, read Mea renidet. Page 51, laftLine, (or perfonibus,
lead perfenis: fourth line from the bottom, for urbanus, read urbana:.

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		P R E F AC E. ,: ALTHO' the ikill and diligence of fo many ingenious men, for above thefe two laft centuries, have been excited to retrieve the architecture of the antients, and reftore it in its original purity and beauty, neither they who had formed precepts for this purpofe from the writings of Vitruvius, nor others who endeavoured at the reftoration of the Greek orders, from the ruined edifices of Rome, have fucceeded completely in their laudable attempts; no original traces of the Doric and Ionic orders could fall under their raoft diligent refearches; they found no examples of thefe but fuch as were very defective : it was not then known that the Grecians had left fome vene- rable Doric monuments at Poeftum, near Salerno, in the kingdom of Naples ; this feems a very late difcovery : the abbe Winkelman, whofe penetration into the ftores of antiquity, nothing can efcape, fuppofes them the mo ft antient of any Grecian remains, and informs us that he is the firft who mentioned them to the publick. Athens all this time may be faid to have been forgotten: fuch few travellers who ventured to vifit Greece, whatever fuccefs they had in their purfuits after other objefts of antiquity* it feems were not furnifhed with the requifite fkill in architecture, to bring away with them, either by an exact technical description, or correct draw- ings, fuch accounts and reprefentations of Grecian buildings, as could prove Satisfactory to the difcernment and inquiry of the curious. This very deiirable tail: was referved for the united labours of M. M. STVART and REVETT ; to them we owe that excellent book, The Antiquities of Athens, a work executed with veracity, erudition and elegance^ and which with the very circumftantial and true delineations of Athenian remains, will transmit to pofterity the authentic records and perfect models of the Grecian orders. From thofe antiquities-, it is attempted in this treatife to eftablifh documents for the three orders, and to make a modulary divifion of all their component parts for practical ufes; what little differences may be obferved, were only admitted to avoid fractions in their progreffional al- titudes, which are fixed at fo many entire diameters ; the character of every member in each order is ftrictly preferved, becaufe otherwife the fpecific diftinctions in the three different modes, would be confounded and out of place. While we are modulating the orders from unqueftionable originals, it would be an unpardonable flight to the only writer of antiquity upon this Subject, whom time and accidents have not des- troyed, if we did not introduce him : Vitruvius is too refpectable an author not to be quoted in a work of this nature, and though a Roman, he has faid all that was poffible in favour of Grecian architecture; and has delivered, with the neceffary rules, its origin and progrefs: It muft be owned, that his expremons are fometimes low and bald, but it was unavoidable in the dry parts which regard only meafurements, and the mere mechanical directions ; for in his pre- faces and hiftorical narratives, and in many Scientific matters, difperfed throughout his works, th& ftyle is much more correct and florid. In his preface to his VII book he has named the Greek and Latin writers upon architecture, which may have Served him in the compilation of his treatife. Pliny quotes him in his XVI, XXXV and XXXVI books of his natural hiilory, and generally throughout thefe volumes are extracts from Vitruvius, even in his own words. Whatever want of a method

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			PREFACE.

		method and obfcurity may appear in fome of his writings are entirely to be attributed to the copyifts j for it cannot be fuppofed that the divifions of his writings were made by himfelf, in the irregular manner they have appeared unto us. All his editors have lamented the blots, miflak.es and errors* they have had to contend with: in the extracts we have cited, we¹ have made the tranfpofi-* tions fuitable to the regular courfe neceffary to be obferved in defcribing the orders. We have made ufe of De Laet's edition, cunt notis Pbilandri, Amjl. 1649, for the quotations wejiave given j and whenever We have met with any doubts about the numeral characters, we have taken the liberty to alter them as other commentators have done, for the extents of the tetraftyle,- hexafbyle, Doric fronts, the heights of the Doric and Ionic entire columns, the Ionic capital and bafe, &c. For our juflifieation we can fay, that we have only hazarded to rectify thefe modulary divifions from the edifices themfelves, which Vitruvius would have acknowledged of prior and more certain authority: and the effential and characteriftick members in each order, as we have traced them, will be found conformable to his written preferiptions. The words of Grecian origin, can never admit of being tranflated, fuch as peripteral, prof- tyle, pycnolfyle, &c. and muft be adopted as invariable proper names, like column, capital, cyma and others, heretofore ufed by modern authors. It may be acceptable to many of our readers, to lay before them the feveral M. S� S. copies and Latin editions of Vitruvius, and the tranflations from the fame author, into fome of the modern languages. There are feveral manufcripts in the Vatican; two of thefe are pfefered above all the others for their antiquity and correctnefs, one marked No. 1504, the other No. 2079, both of the Alex- andrine library. They were recommended to the Marquis GALIANI, by M. M. ASSEMANNI and BOTTARI, who were the keepers of that valuable collection : the Marquis only confronted the above two M. S. S. tho' he confefles it might have been better to have compared them all, had he not been ftraitened for time. In the-Catalog! Librorum, M. S. S. Anglic & Hibetnia in unum colleSii. Oxonia MDCXCVII, the following manufcripts of Vitruvius are fet down. I. Lib. M.S.S. Coll. S. Joannis. B. Oxonia, No. 94 Vitruvius de arcbiteSlura. II.--------------------Coll Eton. No. 125 Idem fol. III. Cod. Lat. Is. VofsiiCan. Windefor. No. 83 Idem & No. 95 idem. V. Lib. Lat. cum M.S.S. Collaii Ejufdem. No. 20 Vitruvius Philandri. VI. Bibliotb. Norjolc. in Coll. Qrejh. Londini. No. 121 Vitruviilibri arcbiteSlura, llbri it. VII. Lib. M. S. S. Ed. Langley Eq. Comit Salop. No. 49 Vitruvius de arcbiteSlura, fol. VIII.----------------�Edvardi Bemardi. No. 195 Vitruvii. IX. Bibliotb. Jacobace. ■ No. 896 Excerpta ex Vitruvio. X. Bibliotb. Cottoniance. Cleopatra. D. I. Vitruviide arcbiteSlura, Lib. X. &c. At the end. Julius folinus explicit feliciter Jludio & diligentia domini Tbeodoji inviStijJimi principis, Ibis M. S. S. is faid to be very correct, and written in a very antient hand; at prefent this book fhould be in the Britifh Mufeum. Ten feveral Latin impreffioas are reckoned, I. One of Sulpitius about the year i486. II. One at Florence, 1496. III. One at Venice, 1497. IV. One by Jocondus at Venice, 1511. V. One corrected by the fame in Florence, in 1513. Another edition by the fame, in 1522. And a third in 1523. VI. One at Strafburgh, in 1543. And a fecond in 1550. VII. One by Gul. Philander at Lions, in 1552. And again at Geneva, in 1586, VIII. One by Daniel Barbara at Venice, in 1567. IX. One by Johannes de Laet at Amflerdam, in 1649. X. One by the Marquis Galiani in oppofite pages to the Italian tranilation. at Naples, in 1758. The Tranflations of this author are, I. One French, by Jean Martin, Paris 1547. The fame again in 1572. And the fame at Cologne in 1618. II. One by Claude Perrault, in 1673. and with emendations, in 1684. III. One German by D. Walters and H. Rivius, Nurembergh in 1548, the fame at Bafil, in 1575. ^anc^ ^ag^a"V 1614. IV. One in Spanifh, not of the entire work, but a compendium, by Don Didaco Sagreda, en- titled, Medidas del Romano, 0 Vitruvio. in Madrid, 1542. and in Toledo, 1549. and again in 1564. V.

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		PREFACE. V". One in Italian hy Cefariani at Como, 1521. VI. One by Durantino at Venice, in 1524. again 1535. VII. One by Daniel Barbaro at Venice, in 1556. again 1567. and for the third time in 1629. VIII. One by Caporali, in Perugia in 1536. IX. One by the Marquis Galiani, in oppofite pages with the Latin, Naples, 1758. In the Acla Erudit. Lipjice 1731, an Englifh translation by Pvobert Cartel, was promifed, but it has not yet appeared. Many are fuppofed to be the M. S. translations in different parts of Italy, two are mentioned at Rome, one in the Ottobonian collection, No. 1653, the other in the Corfini library, fuppofed to be done by Sangallo. The French tranflation by Perrault, above all others, deferves Singular efteem, his notes are judicious, and the verfion is clear. The Marquis Poleni in his exercitationes Filruviana, has given the various readings of Several commentators: an edition of Vitruvius, from this noble author has long been expeded. To the Grecian orders, the parallels of the orders of PALLADIO, SCAMOZZI and VIG- NOLA, are fubjoined, being thofe of the reftorers, who on account of their fuperiority in their choice and in deSigning the profiles and members, were judged the moft proper to feled out of the ten noticed in par alkie de /'' ArchiteBure ancienne & de la moderne, &c. par M. DE CHAMBRAY. The orders of the three Italian authors are examined and compared one with the others : this addition will furnifh a Sufficient variety to the lovers of architedure, and may be of fervice to them m their companions of the pure Grecian, and the orders reftored from the ruins at Rome : and herein the following observation of M. de Chambray is worthy of particular notice; " That, it i& a vifible abufe in the architedure of the moderns, to have confounded the Grecian orders among the Latin, and the general inadvertency of fo many authors is really to be wondered at, who, writing of their Symmetries, and of the detail of their proportions, have difpofed them in '* fuch a manner, as plainly difcovers how ignorant they were of their proprieties and Specific dif- " ferences; without which it is very difficult to make ufe of them judieioufly; M. EVELYN " translated M. de Chambray's work, and it cannot be too Strongly recommended to thofe who dq " not understand the original." The late delineations for two of the orders, from original models, to which the above-named authors, and others Since, were entire Strangers, furnifh us with Superior advantages; too fervile an. imitation might be deemed inconSiftent with the licences allowable in art.; but this is the tefL Qui variare cupit rem prodigialiter unam, Delpbinum fylvis appingit, JlnSlibus aprum, PIor. Ars. p. It is well known that the Grecian antiquities are in the fame Slate as the Roman; the greateft part have been deftroyed, and of Some, in a few years not a wreck- will be left to inform us of the fpots where they once were Situated; there Still remain magnificent yeftiges of the three orders, and fome of thefe, of edifices raifed in the time of Pericles. M. LE ROY, very per-^ tinently propofes, as the moft eligible method in thefe matters, to look upon the antiquities of Greece, thofe in Afia Minor, and in Syria, as well as thofe at Rome, the precepts of Vitruvius, and fentiments of the bell modern architects, as altogether contributing the neceSfary data for the elements which may ferve to produce the beft poffible (a) orders; for by a multiplicity of com- parisons, but with few and Simple principles, a greater number of determinate ideas will arife in the mind, and there is all the reafon to believe, that the reftorers of architecture in Italy, would have left us their labours more perfected, if they could have beheld Rome in the reign of Hadrian, Athens in the days of Pericles, or even the remains of Greece, as they were in their times_? or as they are at prefent, opening a vaft field to the refledions of the curious. This method of colleding (continues the laft named author) and of reconciling the differences of examples, and of opinions, feems that which would moft effedually tend to eftabliSh the principles of architedure, hitherto but vaguely received in all civilized nations, yet are imme- diately (a) From what this author has alledged in a preceding paragraph of his Difaurs fur la nature des prmdbes de TAnbiteSiure civile-, we prefume he can only mean to make that choice from among the Grecian orders of different times and places, for he fays, toutes les difpojitions qui tiennent de cette origine font agreables, celles qui sen eloignent font bizarres. The problem might therefore ftand thus. " The neceffary relative folidity, and the fpecinc members, of any one of the Grecian orders being given, to defenbe the beft poffible form thereof.'' Upon the folution of this problem depend, as we fhall have occafion to obferve, the ftrength and beauty of buildings with or without columns, of one or of feveral ftories, ever fo plain or ornamented, and of whatever materials ; and we likewife fhall find that the true relations between the three different ftyles in building, the ftrong, the mean, and the deh_rcate, are eftabiifbed upon an exa�i knowledge of the orders.

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		PREFACE- diately and fiddly united with the other fyftems of Grecian art and fcience; calamo liganiur eodem. It is. only pardonable in thofe who are ignorant, of the manifold refearches architecture re- quires, to look upon the orders of Vignoia, or of others as perfeft, without giving themfelves the trouble to examine whence they were taken, or whether they have made a good choice of the different parts which compofe them? it would be perhaps, mofl ufeful for the advancement of architecture, that the fkilful architects in every country fhould renew their endeavours to feftore the orders : their effays would do honour to the times, and would be tranfmitted to poflerity with applaufe. Several able artificers have confidered the antiquities of Athens, as mere innovations; there is no doubt but that after fome inquiry and reflection, they will part with their prejudices j ef~ pecially if they have an opportunity of working after fome well chofen defigns ; for the great neatnefs and truth with which the workmen of Great Britain and Ireland, above all others, execute their feveral branches, can never fail of doing juftice to the moft elegant patterns; this praife is due to thefe worthy members of the community, for who are more fo than thofe men, who by their daily labour maintain themfelves and families, leading an induftrious, fober and quiet life ; yet that vanity deferves fome fort of cenfure, which fo frequently puffs ■ up a ftone- mafon, a bricklayer or a carpenter to write themfelves Architects; The beft hands in all thefe trades have a tolerable knack in drawing the parts and members of the orders, but are generally very unhappy in the whimfical application of them: fome have ventured to plan buildings; Now as often as this has happened, little has ever been faid in favour of their invention or tafte; moll commonly they are only the lefs guilty accomplices with the prudent perfons who employ them, and who, whatever may be their notions of beauty, have certainly an undoubted right over their builders and buildings, and therefore in juftice muft bear a fhare of the blame. Amphora coepit, Injlitui currente rota cur urceus exit f The arts which the profeffed architect mould have knowledge of, are in themfelves fcientific, and of great fcope ; how are thefe attainable, but by a very liberal education ? and then not with- out the requifite tafte to imbibe them, nee jiiidiumfine divite vend; things being fo, each mechanic (a rare genius excepted) fhould content himfelf with being the complete mafter of his own branch; therein he may acquire great fame, by any real improvement in his practice, that experience or chance may offer, without aiming at thofe defigns, which require in their whole and in each of their parts, a more general knowledge, than ever he had leifure, opportunity, or perhaps capaci- ty to comprehend. Is it not then reafonable to infer, that the fuccefs of every flructure muft al- ways depend upon the reciprocal affiftance of the artift, and of the artificers ? -��Alterius Jic Altera pofcit opem res & conjurat amice. Having finifhed what relates to the delineation and explanation of the orders, we pafs on to fome general remarks * and ciirfory practical confederations concerning pubiick and private edi- fices, and to give a defcription of ten plans with their elevations, which concludes the volume. And as in the introduction to the orders, we have given fome fhort notices of the moft celebrated reftorers of architecture in Italy, it was judged not altogether improper to collect fome brief accounts of eminent Britifh architects -, we have tranferibed what is fufEcient for our purpofes, partly from that valuable work Biographia Eritannica; to thefe volumes we refer our readers for many entertaining particulars, which we omit, relating to our architects and to the hiftory of their times : The tranferiber hopes not to have given offence by the addition he has taken the liberty to make of fome right honourable names : it is a double advantage for the arts to have their protectors of the higheft ranks, endued with equal degrees of knowledge and benevolence in promoting their advancement; what efforts then will they not make ? when, befides the patro- nage of our firft nobility, they are known to partake in the ROYAL AUSPICES OF A MOST GRACIOUS SOVEREIGN, THE FATHER OF HIS COUNTRY. Seven ornamental plates, for head and tail-pieces, are mterfperfed throughout thefe fheets: with refpect to the laft ten architectural plates, if the buildings had been traced from larger fcales, and finiflied in a higher manner, it would have coniiderably advanced the price, without an adequate advantage to the intelligent readers; wherever any thing may appear doubtful in the fmaller members, it can eafily be decided by referring to the parts at large in the preceding orders, CANTERBURY, XXX. NOVEMBER. MDCCLXVIL

			A N

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		AN EXPLANATION O F T H E SEVERAL ORNAMENTAL PLATES. OST of thefe explanations are trite, and commonly known, yet as they cannot be faid to be mifplaced, we have ventured to give them. Amphion buildeth the walls and towers of Thebes, by the found of his lyre, accompanied with his voice. DiSius & Amphion Thehance condltor drcis Saxa movere,fono Tejludinis & preceblandi Ducere quo vettet, HoR. Ars. Poet. It is feigned that Amphion being the firft who raifed an altar to Mercury, the god as a reward For his zeal, made him a prefent of a lyre, and taught him that wonderful manner of playing and finging, which produced fuch enchanting effects. Mercury having found tlie fhell of a tortoife, and fitting firings to it, is called the parent of the lyre Gurvceque lyrte farentem. And from the circumftance juft related, Teftudo fignified a lyre. But diverting this ftory of its poetical fidtiort, We are given to undefftarid> that Amphion was a prince, who by his foothing perfuafions, induced a barbarous and unpolifhed people, to build themfelves a city, and furround it with walls, to receive and obey laws. According to Paufanias, Amphion and Zethus, having conquered Lycus, whom they killed, and taken pofleffion of his kingdom, they joined the lower town.with the Cadmea, and called the whole Thebes. Am- phion acquired the reputation of a great tnuficianj for having leaf ned the Lydian meafure; he was the firft that brought it into Greece, and likewife added three more firings to the lyre, which till then had but four. Other traditions make Amphion and Orpheus Egyptian's, (tho' the latter is called a Thracian) and that both excelled in magic, the one having the power of moving the ftones from the very rocks, and the other that of enticing the moft fierce and favage animals. II. At the head of the Preface. A view of Athens, from a fketcli taken on the road in going from that city to the Pireus, at prefent called Porto Leone; this port is about fix miles from Athens. The antient ports of Muny- chia, and of Phalarus, (at prefent out of ufe) are upon the fame ihore, in bays very near each other, and to the Pireus. This view offers a profpect of one fide of the city, with the Acropolis, or citadel* wherein is the Temple of Minerva Parthenion.; the Temple of Thefeus is upon the lower ground, clofe by the road which the two horfemen are fuppofed to have paffed ; from amidft the houfes are fe- veral minarets or Turkiih fteeples. On the other fide of the city, the pointed rocky-hill, is mount Anchefmus, now called from a little chapel at the top, (Ton Hagisu Giorgio Vouni) St. George's mountain ; where probably in times pail was the ftatue of Jupiter Anchefmius. The diftant mountain to the left, is Pentelicus, noted for its quarries of marble : the continued moun- tain that rifes upon the right hand, is part of Hymettus, famous even at this day for its honey. III. The Table of Contents. The promontory of Suniumj eleven leagues from the Pireus: this view was taken at fea, in failing out of the Saronic Gulph, now called Golfo di Egina, and the promontory, Capo Colonne, on account of the feventeen columns of white marble upon its fummit, which is ken afar off at fea; they are the remains of a Doric temple dedicated to Minerva. a* The

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		A N EXPLANATION OF T H E -S E V E II A L "The bcft boats and boldeft failbrs in the Archipelago are thofe from the little ifland of Hydrea* xlofe to the coaft of Morea j they go with oars in a calm, and have very large latine fails. IV. 7be Introduction. A competition for a barto relievo, confifting of antique trophies, partly taken from fome of thfe compartments of Ovid's tomb, and partly from the pedeftal of the Trajan column, and from Polydore. The Cormi-copia and ferpents are emblems of plenty and health, while the fufpended arms remind us of that feeurity -and protedion which only can be infured to a (late, by not fuf* ferine its martial fpirit to be totally extinguished-, and its difcipline ruined : what an eafy prey would any country in fuch a fituatioh become, either to the furprizes, or the more formal attacks of treacherous and ambitious enemies ? The luxury and idlenefs of peaceable times, are apt to make men flight the heroic virtues of their anceftors. The motto to this ornament is taken from Cicero's oration for Murasna. Omnes urbane res, omnia htee nojirafrceclarafiudla, & bate forenfis laus & indiifiria, latent in tutcla, ac prafidio bellied virtuiis. V. At ibe "End of ^:the Grecian Orders. Peo-afus alighting upon Helicon, Strikes the rock with his hoof, and opens the Hippocrenean fprings, facred to Apollo and the Mufes. Mention is made by Paufanias of a temple dedicated to Minerva chalinitida ; becaufe ibe had been kind enough to fend this winged horfe, ready bridled and thoroughly bitted, to Bellerophon, who takes him while he is drinking at the fountain Pyrene by Corinth, for his intended expedition againft the Chimera. The Chimera, was a dreadful monfter, fuppofed to have the head of a Lionefs, the tail of a Dragon, and the body of a Goatv Mediis in partibus kircum Pectus & or a lea_y caudam Serpent is habebat. Heiiod gives her the three heads of thofe three animals, and makes her the dam of the Sphinx, and of the Nemean Lion. This defign is from a fine cornelian intaglio of the Abbate della Torre -, it bears the name of Socrates for the engraver. The fame fubjedt is reprefented nearly as large as the life, in a mar- ble baflb-relievo at the palace Spada in Rome. The fable of Bellerophon, like all others, has been varioufly explained -, fome fuppofing that by the winged horfe, was fignified his rapid conquefts over three nations -, the one having the courage of Lions, another inhabiting a mountainous country, like Goats, and the third pbfleffing all the wiles and cunning of Serpents. But others have imagined the Chimera to have been a �hip belonging to a famous pirate, whom Bellerophon defeated, and that Bellerophon's veffel was ornamented with a winged horfe, or was named Pegafus, from the fwiftnefs of its failing. To return to the fable* The prefumption of Bellerophon in attempting to fly up to heaveri upon his winged fteed, was punifhed by his being caft down on a plain in Cilicia, where he was left deftitute and blind to fpin out a long and miferable life: Jupiter prepared him this punifh- ment by fendino- a fly to fting Pegafus in his aerial flight. The moral is, that the moft uninter- rupted profperity, fnould never make one engage in a rafh enterprife, which generally ends in en- tire ruin. < VI. Remarks concerning publich and private Edifices. This compofition is for an ornament in alto relievo j it reprefents the two eagles as placed at the bafe of the Trajan column ; between them, upon a Doric tablet, is the face of the Apollo Belvedere; this ftatue will ever be efteemed one of the rare wonders of art; it is an intellectual image, and the'artift has taken no more of matter, than what was neceffary to render his idea vifi- ble �,

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ORNA M E N T A L PL A T E S,

ble; we are fpeaking of the original ftatue, and defcribing it after Winkelman ; let the mind
raife itfelf in contemplating this figure, up to the fphere of celeftial beauties, and make its ut-
moft efforts to gaze upon the tranfeendent charms of a heavenly body. The fon of Jupiter is here
reprefented worthy of his father j fuch was the forehead of the thunderer, when pregnant with the
goddefs of wifdom, and fuch were his brows arched over his radiant eyes, which by their motion cx-
prefs his will; the mouth is the voluptuous mouth of Bacchus ; his filken treffes perfumed with aro-
matic fcents are foftly blown by the breath of Zephirs, and float like the tendrils of the unpruned
Vine, but thofe locks above his front, are tied in majeftic pomp by the hands of the Graces.
Such was his countenance when he purfued the Python, whom he pierced with a thoufand arrows.
On this account the Pythian games were inftituted, and celebrated near Delphi; the place that for
the oracles challenged the pre-eminence, as well for its antiquity (wherein it contended even with
Dodona) as for the truth and perfpicuity of its anfwers, the magnificence of its {fractures, the
number and richnefs of the facred prefents. Apollo himfelf was the author of thefe games, ac-
cording to the moil common opinion.

Neve operis farnam pojj'et delere ve'tuft'as
Injlhuit facros celebri cert amine ludos,
Pytbia perdomita Jerpentis notnthe diSios.

Ovid. Metam. Lib. I.

The arrows of Apollo are figurative of the rays of the fun, which exhale and diffipate the noxious
and putnd vapours of the earth arifing from Stagnated waters in marfhy and fwampy lands; but
as this heathen deity is alfo deemed the god of phyfic, by the python may be understood that
legion of diftempers to which animal bodies are expofed, which find their cure in thofe plants
and herbs endued with falutiferous virtues from the genial warmth of the fun.

There were to be feen in the temple of Delphi, the figures of two eagles, in memory of the
eagles fent forth by Jupiter, one from the Eaft and the other from the Weft, to difcover the
middle fpot (the navel) of the earth, and they meeting in this place determined the queftion.

Eagles in their flight are fald to be able to look fteadfaftly upon the fun; certainly they are
the kings of the feathered tribe, and as fuch are reprefented to carry the thunderbolts of Jupiter j
when he feized upon Ganymede, he difdained the fhape of any other bird.

■Nulla tamen alite vtrti

Dignatur ; niji qua pojjit fua juhnina ferre.

Ovid. Metam. Lib. X.

The dignity of the eagle, even in his lleep, is finely expreffed in the following lines.

Perching on the fcepter'd hand,

Of Jove, thy magic lulls the feather'd king,

With ruffled plumes and flagging wing;

Quench'd in dark clouds of Slumber lie

The terror of his beak, and light'nings of his eye,

Gray's Ode,

VIL At the end of the look.

Mercury feated on a ram, with his caduceus and purfe j as in the primitive ftate of nations,
riches coniifted in flocks and herds, Mercury is rsprefented with a ram, being thought to take
them under his protection, and likewife to occafion their increafe j the firft money among the Ro-
mans was called pecunia, from pecu a flock, becaufe Servius TulUus had it Stamped with the

figure of a ram.

The caduceus, or wand, is taken for an emblem of eloquence, and of that power in oratory which

allures or drives the minds of men to the purpofes it has in view. This wand however is the

proper

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■A N E X F L A N A T I 'O N, &c.

'proper eniigh of the meffenger of the gods, he carries it with him in his attendance upon trie
�fouls of the deceafed, to the realms of Pluto. ■

Turn Virgam cdpit, hoc animas ilk evocat ores
'Palknteis, alias fub trijlia tartara mittit,
' Dat fo'mnos, adimitque, & lumina morte rejignat. Mn. IV.

Upon which account he was prayed to: Ajax in Sophocles, before he flabbed himfelf, thus
-addre-ffes him.

-��------Iriferftal Mercury I calf,

Safe to conduct me to the {hades below.

He alfo brefided over fleep and dreams. As to the purfe, it fieems a ftolen one ; this may give a
beneficial hint to the carelefs part of mankind, by teaching them, a proper vigilance in the care of

their

&^v

ods. ^H

CdlUdum quidquid placuit jocofo

condere furto. Hor. Lib. I. Od. 10.

In the markets, Mercury was called Hermes Agoraios -, and from the cheats and frauds fo
commonly practifed in dealings, became the- god of thieves ; in this office, having too much
bufmefs, he was affifted by a goddefs called Laverna, to whom prayers were addreffed for fuccefs

in thieving and cheating.

�Putchra Lavem/s^

�)a mihi jailere dajuflofanttoque viderl
Noctem peccatis, & frnudibus objice ' nubem.
Perhaps fome may frirewdly fufpecl, that fince the poet wrote, the goddefs has encouraged her
votaries to cheat in broad day, and with manifeft impudence.

In the Metamorphofes, we read of a ion of Mercury, whom fome of the commentators fup-
pofe to have rifen to very eminent bufmefs in a certain profeffion, from an ingenuity natural to him
in pleading., of making black white, and white black.

Naicitur Autolychus, furtum ingeniofus ad omne
Qyifacere afj'utrat, fatrice non degener artis
Candida de nigris & de chndentibus air a,

Ovid. Metam. Lib. XL

Mercury is fometimes taken for the fun, and then by the ram he is reprefented in that portion
of the ecliptick, called Aries. From Paufanias, we learn that the ram likewife alludes to the
myfteries of the Eleufinian games. When Mercury is fiiled Criophorus, or the ram-bearer, it is
relative to a folemnity obferved by the Tanagreans in Bceotia, in commemoration of their being
delivered from the plague, by the god carrying a ram upon his moulders, and walking with it
round the city ; upon this feftival, therefore it was cuftomary for one of the moil beautiful youths
to walk round the walls, with a lamb or ram upon his fhoulders.

The Cornelian from which this defign is taken, is mentioned by Leo Agoftini, gemme antiche.

They who are fond of expatiating upon thefe fancies of antient fables, will find an extenfive
field to range in, by turning over fome of the numerous works engraved from the belt cabinets
f Europe. We have offered thefe few, becaufe we think that with the architecture of the Gre-
cians, we mould always have in view the gracefulnefs and fignificancy of their compofitions in
work's of fculptufe; how the fludy of both may tend to the emolument of their fifter Art, the
works of the greater! painters from Raphael downwards, fufficiently declare. To fum up the
whole in the words of an original artift, " the art of compofmg,'is the art of varying well,
" taking heed, that variety be without confufion, fimplicity without nakednefs, richnefs without
" tawdrinefs, diftinctnefs without hardnefs, and quantity without excefs."

TO THE BOOKBINDER.

The plates may be placed in two different manners, either by ranging them all in their pro-
per order at the end of the book, or by placing each plate in its refpective part as near to the ex-
planation of it as poffible.

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		THE GRECIAN ORDERS OF ARCHITECTURE

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THE

Grecian Orders of ARCHITECTVRE.

TABLE of CON

THE PREFACE,

EXPLANATION OF THE SEVERAL ORNAMENTAL PLATES,

:«'

CHAP. I.

Page

'the Introduction.

CHAP. II.

Of the Orders, Definition', the Rife and gradual Improvement of their CharaSiers.
Of Modules. Tables of Altitudes and ProjeBures. Of the Principal Members
of Mouldings and Ornaments of Profile. - - 12

CHAP. III.

Davihrs Comparifon of Profiles. Inter columniations. Diminution of the Shaft.

Scroll Modilion. Balufiers* Pediment. Acroteria and Statues. Block Cornices.

Vafes. >* - -», 20

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C HA P. IV.

Of the "Doric Column with the Flutings. Of the Doric Entablature. Of the Doric

Portal. Of the Doric Colonade. Of the Doric Arcade.

C H A P,

Of Pedejlals. Of the Ionic Bafe and Column. Of the Capital. Of the Entabla-
ture. Of the Volute at large. Of the Flutings and Bafe at large. Of fluted
Pilaflers. Of the Ionic Portal. Of the Ionic Portico with Pedejlals. 3 2

C H A P. VI.

Of the Corinthian Order. Pedeflal, Bafe and Column.
Matures. Of the Portico. Triumphal Arch*. ""-'

CHAP. VII.

Capitals and Enta-

Of the Apertures of Doors and Windows. Of the Doric, Ionic and Corinthian

Dreffings. Of Venetian Windows. - *� - 43

CHAP. VIII.

Some parallel Remarks upon the three Grecian Orders^ as defcribed hy Vignola_i

Palladio and Scamozzi* -.-»�,** ^

C H A P. IX.

Of placing one Order upon another. Of Cornices for the Summits of Buildings*

And of Cornices and Cielings for Rooms. - - 4.7

ARKS

CONCERNING.

Public and Private EDIFICES.

C H A P. 1.

General Hints concerning the Modem Architeclure of Europe. Brief Accounts of
fome eminent Britifh Architecls. - - , - 53

CHAP. II.

Some general Reflections about the Embellishment of Towns and Cities. Of Publick
Edifices* - - - - 58

CHAP. III.

Practical Confederations. Dijlribution of Plans. Explanations of ten Deflgns, 61

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T H E

G R EG I A

ORDERS

O F

CHAP. I.

The I j

muft be an effedtial check to the vanity of man, when he confiders that by 'the de-
crees and difpofitions of fupreme wifdom, neither the corporeal nor the mental faculties
areeverallumtedinoneperfon; but that for the maintenance and good order of fociety,
t egits of nature, combined in a continually varied proportion, are with a marvellous
cecomony divided and attributed amongft the feveral individuals of our fpecies -, fo that, how
extenfive foever his capacity may be, how prompt his apprehenfion, how mighty his ftrength,
with the moft exalted ambition, man will neverthelefs ftand in need of man. From the powers
of the human being thus limited it is, that when we furvey the progrefs of genius either in the
practices of art or the fpeculations of fcience, we find they never received their perfection from
the fame man who gave them birth ■> new inventions however valuable have for the moft part

A- been

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2 'the Grecian Orders been produced in a rude and defective flate, and have in procefs of time* little by little received front the fkill and induftry of others, fuch additions and improvements as were neceifary to give them all the perfection of which they are capable. ■ ■■(' On the other hand it has not unfrequently happened that the arts inftead of making any due ad- vancement, even lofe the advantages which only a long feriesi of years, and the unremitted affiduity of true genius could obtain, for during an age of turbulence and diftrefs no attention is bellowed on them, abufes creep unnoticed into the practice, and with the decline and ruin of empire, the arts themfelves decay and perifh : neither is this the only misfortune to which they are expofed, for fuch is the weaknefs of human nature, that in lefs calamitous times than thofe we have fuppofed, the imagination may be vitiated, all found judgment perverted, and our purfuits led out of their proper track by the prefumption of the ignorant, the plaufive arguments of falfe reafoners, or that propenfity with which the inconfiderate are determined to follow the ungovernable and unreftrained career of a fancy animated with the rage of novelty, though fertile only in trifles and abfurdities. Such viciffitudes have happened to the art of which we are about to treat, as will appear from a view of what will be briefly offered on this fubject. The origin of Art is the fame in all nations that have cultivated it; and it is without foundation that the honour thereof be afcribed to one particular country preferably to all others -, in all places neceiTity has proved to be the mother of invention, and every (a) people had in themfelves the feeds of contrivance in their various wants. The inventions of art were only more or lefs ancient as the nations themfelves were fo, and as the adoration of the gods was introduced amongft them fooner or later: The Chaldeans and Egyptians, for example, had made much earlier than the Greeks, idols and other external forms of thefe imaginary beings, in order to worfhip them. It is the fame of this as of other arts and inventions : the purple dye, not to fpeak of others, was known and prac- tifed in the eaft, long before the Greeks were acquainted with that fecret. What is mentioned in holy writ, about carved or molten images, is likewife far more ancient than what we know of Greece. The carved images in wood of the flrft ages, and thofe of cafl metal of later times, have different names in the Hebrew tongue. : They, who to judge of the origin of a cuftom or of an art, and of it's paflage from one people to another, adhere to the mere contemplation of any detached fragments which may offer certain ap- pearances of likenefs; and thus from fome particular equivocal forms draw their conclusions about the generality of an art, are grofsly deceived. In this manner Dionyfius of HalicarnafTus was in the wrong to pretend, that the art of wreftling among the Romans was derived from the Greeks, becaufe the drapery or fcarf worn by the Roman wrefllers round their bodies, refembled that worn by the wreftlers of Greece. Art flourifhed in Egypt from the earlieft account of time; the grea- teft obelifks now at Rome are due to the Egyptians, and are dated as far back as the time of Sefoftris, who lived near CCCC years before the Trojan war ; they were the works of that king, and the city of Thebes was adorned with the moft magnificent buildings, while art was yet unborn in Greece.

	{a) Apud cameras quoque gentes & nonnulla loca, pari fimilique ratione, cafarum perficiuntur conftitutiones. Non minus etiam Maffilise animadvertere poffumus fine tegulis lubafta cum paleis terra teaa. Athenis Areopagi antiquitatis exemplar ad hoc tempus luto tedum. Item in Capitolio commonefacere poteft & fignificare mores vetuftatis Romuli cafa in arce facrorum, ftramentis teaa. Ita his fignis, de antiquis inventionibus aedificiorum, fie ea fuiffe ratiocinantes, poffumus judicare. Cum autem quotidie faciendo tritiores manus ad aedifkandum perfeciflent, & folertia ingenia exercendo per confuetudinem ad artes perveniffent, turn etiam induftria in animis eorum adjeaa perfecit, ut qui fuerunt in his ftudiofiores, fabros effe fe profiterentur. Cum ergo ita fuerint primo conftituta, & natura non folum fenfibus ornaviffet gentes, quemadmodum reliqua animalia : fed etiam cogita- tionibus & confiiiis armaviffet mentes, & fubjeciffet caetera animalia fub poteftate, tunc vero e fabricationibus ssdificiorutn gra- datim progreffi ad cameras artes & difciplinas, e fera agreftique vita ad manfuetam perduxerunt humanitatem. Turn autem & inftruentes animofe, & profpicientes, majoribus cogitationibus ex varietate artium natis, non cafas fed etiam domos fundatas ex lateritiis parietibus, aut e lapide ftruaas, materiaque & tegula teaas perficere caeperunt; deinde obfervationibus iludiorum evagantibus judiciis, ex incertis ad certas fymmetriarum rationes perduxerunt: poftea quam animadverterunt, profufos effe partus. ab natura materia?, & abundantem copiam ad sedificationes ab ea comparatam, tra&ando nutriverunt, & auaam per artes or- naverunt voluptatibus ad elegantjam vitse, Vitr. lib. II. c. I.

		The

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		of Architecture § The arts, though produced later in Greece than among the nations Of the eafi, he?erthelefs arofe from the moft fimple elements ; this fimplicity may fuggeft that the Grecians took nothing from others, but were truly original; they fcarcely had the opportunity of becoming plagiaries of the Egyptians, for before the reignbf Pfarnmitichus, the entrance into Egypt was denied to every ftranger, and the arts had then already been cultivated by the Grecians. The Voyages of their* philofophers and fages were chiefly undertaken to infpect into the literature, religion, arid govern- ment of that famous kingdom. The conjectures of thofe who derive the arts from the earl, feem better grounded* efpecially if they make them pafs from Phoenicia into Greece, the people of both thefe territories having had very ancient connections together; the latter having received the know- ledge and ufe of letters by Cadmus. Before the time of Cyrus, the Etrufcans, powerful by fea, were alfo allied for a confiderable time with the Phoenicians ; of this thdre needs rio other proof than the fleet which they equipped in common againfl the Phocceans. What Villalpandus has furmifed concerning the Temple of Solomon, that thence the Gre- cians borrowed their richer! defigns of the Corinthian order, though fupported with great parade of learning, and many fpecious fubtilties, only leads into a maze of uncertainties ; in rearing of this ftately building, heated by a luxuriant fancy, he rather acted the panegyrift than the hiftorian. Let us follow the furer traces of fact and unconf reverted hlffofy, as we can difcover them in the pages of a writer worthy of our attention, who after having judicioufly explained the feveral particulars relat- ing to the temple, thus concludes- " But though in points like this I have been upon, it be moll lawful to err, yet thofe are more excufable, who keep a eonftant regard to the facred original above all things, than thofe who manifeftly depart from it to follow their own fancies or the fabu- lous accounts of the Jews ; now as I have drawn the greater! part of my light from the former, I am fenfibfe that thofe who have been converfant with all the pompous defcriptions we have extant; will be furpnzed to find this of mine come fov&My fhort of the boafted magnificence of this facred building. But here I defire it may be remembered, that as this was defigned to contain no more than could be met with, or fairly deduced from the facred writings, �o the reader will at leaffc reap this benefit from it, that he will be better able to judge what is or is not authentic in other plans of this ftructure than he could have been without it. The following obfervations from others upon the fubject are in the fame ftrain. The vifion of Ezekiel, c. xl. and feq. is taken for a defcription of a prophetic or myftical. temple that never exifted but in the revelation that was made to him, and the reprefentation he has fet down in his prophecy. As for ancient au- thors, we have none to produce but Jofephus and other Jews rather of a later date than he,* Now all that we learn from them that has no foundation in Holy Writ, to us is no evidence at alL Much they knew or pretended to know from tradition, but that we prefume is not to be depended upon. We know no monuments they had befide thofe we have ourfelves: And the Hebrew tongue properly fo called, being a fort of dead language at the time thefe authors writ, it may well be doubted without finning againft modefly, whether they who had no other books to learn it by, than thofe now in ufe, could underftand it better than thofe who ftudy it at prefent. The Grecians, during the profperous times of their common-wealths, were a nation of all others at that time in the world the moft ingenious and the mofl: cultivated. They feem to have been endowed with the greateft propenfity to the arts, and to have felt the ftrongeft natural aver- fion to whatever favoured of inelegance and barbarifm % their country was ftyled the mother and nurfe of art and fcience. It is this nation which challengeth to itfelf the fyftem of thofe three modes of archite&ure afterwards named the Doric, the Ionic, and the Corinthian Orders, thus denominated from the places where they were either invented, or fir ft" received into ufe,' during the practice of fome ages, they acquired all the improvements the Grecian genius in its greateft vigour could beftow; the imitations of fuch examples, it may be prefumed, will ever excell all other inventions. When the Roman flate had attained to the higheft pitch of its glory, and the moft cultivated as well as the moft powerful nations were fabdued and were confidered only as provinces of that mighty empire, the inhabitants of Italy diftinguimed themfelves as well by their love and ftudy of the fine arts as by their fkill in arms, in both of which they muit be allowed to ftand

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			� The Grecian Orders next after the Grecians: it is then firft to Athens and afterwards to Rome that the modern world owes the method of culture for every refinement, but at the fame time it is proper to obferve, that the Romans, either through ignorance or pride, not content with the orders and difpofitions of Athenian architecture, ventured at feveral licentious alterations; they tacked two fpurious orders, the Tufcan and the Compofite, the laft called alfo Latin and Roman, to the three genuine ones, which alone are Sufficient to anfwer all the purpofes in building, and which can never fail of obtain- ing the preference whenever they are examined by an attentive and intelligent fpectator. It is matter of great regret to the inveftigators of this art, that among the writers of antiquity We find little an which to fix our ideas or form our tafte. The writings of Vitruvius Pollio have been tranfmitted down to us; this clafiic author flourished about the DCC year of Rome in the feigns of Julius Casfar and of his fucceffor Auguftus, to the latter he dedicated his ten books of archi- tecture, and to thefe next to the veil:iges of ancient edifices, pofterityremains indebted for many fuccefsful attempts to reftore architecture in its original fimplieity and beauty j nor befides Vitruvius were wanting other ingenious men, who in their writings had probably given many illuftra- tions and maxims of their art i feveral of their names have defcended down to us, but their writings have perifhedj yet what fort of artifts they were, if their books have not remained to inform us, their works in many noble edifices, ftill remaining, give faithful testimony to their merit, and chiefly in Greece and Italy, where this profeflion was better preferved, and maintained its repu- tation, that for the courfe of about two centuries from the days of Auguftus, the manner and ftyle of building remained unaltered, although the falfe tafte for internal decorations was prevailing even in the time of (b) Vitruvius. Tacitus informs us in general, that there were no perfons of o-reat genius after the battle of Actium, but in the decline of the Roman empire, fuch a decline and change feemed alfo to affect the intellects of individuals, whence learning and all the fine arts, which had flourished to admiration and for fo long a period, fell into difrepute, and were abforbed by the barbarifms" which overwhelmed the land. Architecture foon faw iffelf miferably transformed, every good mode thereof was overthrown and fpoiled, every true practice corrupted, its antique graces and majefty loft, and a manner altogether confufed and irregular introduced, wherein none ©f its former features were difcernible. The Goths prevailed! At laft came the fifteenth and Sixteenth centuries of the chriftian aera, fo glorious for the ref- toration of literature and of arts j then it was that many happy minds, fhaking off the ruft of ignorance and freei ng themfelves from the chains of indolency which had fettered the preceding ge- nerations, recalled again into life all the fine arts and all the fineft faculties and rules, fo that it feemed as if the tafte of old' Greece and Rome Was revived in its true fplendor and dignity j how- ever to keep within due limits, it fufficeth to fay, that architecture in Italy very foon appeared with the expected advantages, and the writings as well as the works of the feveral great mafters of that time remain the undeniable proofs of their abilities, of whom however fhort, yet honourable men- tion fhould be made whenever this fubject comes in queftion. The firft of note was Fii.ippo Diser Bruneleschi of Florence, who flourished in the begin- ing of the XV. century ; by his diligent obfervations, and Studies of the antique edifices, he caft a new light upon architecture at that time altogether barbarous; after him, Leo Battista Alberti, was the firft of the moderns who published a learned treatife of the art, it is faid pub- lished, becaufe Antonio Filarete and Francesco Sanese it has been afferted, had written alfo fome tracts upon the fame fubject, which were never printed -, but to fpeak again of Al- berti ; this man having contemplated with great attention the antiquities at Rome, returned into Tufcany, and by his defigns and precepts reformed the falfe and barbarous practices then pre- valent, and recalled his countrymen to their former estimation of art. From the Same fpot arofe the celebrated Michaelangelo Buonaroti, Statuary, Painter, Architect and Poet, nor

		(b) At hsc falfa videntes homines, non reprehendunt fed ciele&antur, neque animadvertunt, fi quid eorum fieri poteft necne. lib. VII. c. 5. " did

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		of ArchikSiure. j did other places in Tufcahy fail in the production of eminent artifts, among others, Baldassar Perucci diftinguifhed himfelf; Pietro Cataneo was of Sienna, whofe eight books have not been without great ufe, and are worthy of much efteem. Leon Leoni and Giorgio Vasari* both of Arezzo, were converfant in the arts : thefe two have written fome accounts of ftatuaries* painters and architects. It would have been matter of wonder, if in the fun-mine of fhofe days there had been want- ing excellent artifts at Rome, where fo many piles of ruined grandeur flood; thither repaired Bramante, and the great Raphael from Urbino, who uniting their talents with thofe of Giu- xiano and Antonio Sangallo, raifed the profeffion to its prifcine greatnefs and dignity j Giulio Romano, a difcipie worthy of Raphael, muft have tranfmitted his name with fame to pofterity, had he left nothing more than the villa near Ponte-molle, built after his defigns for Pope Clement VII. Antonio Labacco was of Rome ; he delineated in a fine manner the ruins of feveral antiquities, which may be feen in his book. In Lombardy, among the many who are celebrated, we ielecf. two, Sebastian Serl id of Bologna, and Giacomo Barozzi of Vignola : nor was the Veronefe territory in that age inferior to any other in Italy; for all at once appeared three very able men, for the re-eftablifhment of the art. One was Fra. Giocondo, a man of Furprifing genius and in- defatigable induftry, mafter of every fcience, and well verfed in the practice of every art; he was the firft who amended and illuftrated the writings of Vitruvius, till then, as he informs us, neither legible nor intelligible, through the great incorrecthefs and obfcurity of the copies. He was the firft that carried into France a tafte for ancient architecture in the reign of Lewis XII. He built two bridges at Paris, and ordered many great works before he left that kingdom ; he fignalized himfelf alfo at Rome, at Venice, and elfeWhefe : when this fame perfonage was far advanced in years and decrepi- � tude, arofe Giovanni Maria Falconetto, of whom Vafafi fpeaks with great commendation. Soon after appeared Michele San Micheli, who greatly improved on the difcoveries of the two laft mentioned; To thefe fucceeded other two great mafters, Andrea Palladio, excelled by none, and Vincenzo Scamozzi. The next to mention, is Jacopo Sansovino, who, though born in Tufcany, paiTed almoft all his days at Venice, and adorned that city with feveral magni- ficent buildings. Gio. Antonio Rusconi handled in a maftefly manner the precepts of Vitruvius. Nor muft we pafs over in filence Giuseppe Viola Zanini of Padua, who has left behind him a good treatife of architecture, partly from Vitruvius, and partly from bthers; but before him* Ottavio ReVesI of Vicenza, had alfo propofed a new method of rrieafurihg the five orders, which, has not been adopted, becaufe, for any confiderable works it would become too laborious, and wafte too much time. It would be to rib purpofe to mention other names of lefs note, which are preferved in more particular accounts of the artifts of thofe days, yet among the number, two Frenchmen, Jean Bullant and Philibert de L'orme, are worthy of particular remembrance. Thefe and others of the fame country, were, in all likelihood, fcholars of SeB Serlio* of Bologna, at the time when he was called into France by Francis I. It is remarkable that feveral of the famous men abovementioned were excellent painters, and it cannot be too ftrongly advanced how much the union of thefe arts in the fame perfon contributes to their mutual advantage. By the eftablifbed order of events, power and riches increafe or diminifh gradually j and as was faid before, the arts do not at firft receive the greateft improvement, nor are loft by any fudden neg- ligence ; yet by a ftrange and uncommon fatality, the fucceeding age to that of which we have fpoken, produced inftances which feem to overthrow thefe general obfervations. For the fine arts which but the preceding century₉ were brought very near to perfection in the next enfuing one., fell almoft into a total decay; and it would have been lefs fhameful for the Italians (it is an Italian C. A. Pompei that aflerts it) to have entirely loft the arts, than to have preferved them disfigured and cor- rupted, and thus to have expofed themfelves with unjuftifiable levity to the cenfure of other nations. One of the principal caufes of this depravity, was the defire of novelty, which is very commendable when cautioufly attempted with proper difcernment and found judgment j Otherwife, without thefe two rieceflary prudes, it muft ever be productive of great corruption and abufe. The wild fancies of BoprcminOj and the peculiar affecfednefs of Bernini, both as a ftatnary and an architect, have :? diftufed

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			I the Grecian Orders diffufed fo rank a poiibn, that its baneful influences are felt at this very day. Rossi and B. Pozzi, with feveral of their cotemporaries, abfurdly deviating from the antique models and the rules laid down by theft predeceffors, introduced fuch wretched {a) deformities by way of ornaments to their archite&ure, as may truly vie with the moil: whimfical inventions of Grotefc or Chinefe defigns. Cornices and architraves were no longer traced rectilinear, but in the fame front were, without any reafon, broken in a hundred placesj they were turned and twilled into fuch Terpentine lines* that the defcription of the ferpent in Virgil may with great propriety be applied. Sinttantque irnmenfa ^olumine iefga. Columns were almoft deemed lifelefs j in their Head corbels and foliages were fantafticaliy placed to fupport the heavieft weights, contrary to all appearances of folidity and the fage advice of Pal* ladio. Few pediments were defiglied, and when on any occafion they were introduced, they were fo broken and twilled, that one is at a lofs to compare them to any thing in art or nature: how few members were carved with true antique elegance ! how few reliefs in fculpture which fo de- light the beholder's eye! how few columns fluted ! what a deal might be faid of the modern form of arches, and of certain new curves and entablatures, for thefe were no longer defcribed from one center, but from feveral; and having a mixture of different lines and angles, are there- fore deprived of the ftrength requifite to fupport the incumbent weight, to which the circular arches or fegments of them are fo naturally adapted, The idea of the chafte antique tafte was thus totally banifhed from Italy j of this, reafon will convince any one who attentively views their later edifices; for reafon alone affifts our obfervations and companions, by which we can diilin^ guilh between good, bad, and indifferent; will our reafon ever perfuade us, that a prop placed on purpofe out of the perpendicular, and made twilled, can fuilain, better than one whofe fides are rec- tilinear, and which is. placed perpendicularly under its weight? what reafon can be given, why a large and weighty mafs mould Hand firmer on-a bafe, which, inllead of being fpread out at bottom, mould be drawn narrower ? with what propriety are felloons of fruits and flowers placed to fuilain cornices and other weighty parts 2 let it then be alked if thefe accufations are groundlefs ? or if thefe grofs defers are agreeable to the nature of things ? for art mould ever in its productions fludy to imitate the fimplicity obfervable in nature, and as occafion may require, to enrich and adorn the fubjedt, but never to load it with deformities; it will therefore be neceffary to take further notice, in order to avoid them, of the more notable abufes introduced or llill remaining from Gothic unlkilfulnefs, fince we have already touched upon fome. Among other bad culloms is that of making fquare archi-- volts to fpring from the tops of circular columns, which for convenience, on feveral occafions, and becaufe it does not offend the fight of thofe who do not penetrate to the bottom of art, has been often pradrifed without further confideration; but be it obferved, that the archivolt falls without the ihaft of the column underneath, and that by as much as the fquare of the plan of the archivolt exceeds the infcribed circular plan of the top of the column, fo much does it produce of falfe bearing ; for the corners of that fquare do not reft upon the lhaft of the column, but upon the pro^ jectrire of the abacus of the capital, which was never intended for a fupport, but for mere ornament; for which reafon this error fhould be rejected, no ancient example of it remains; and though \j. Alberti, M. Sn. Micheli, Scamozzi and others of the moderns have practifed it, perhaps only through the blunder of their workmen, their authority will not juflify fuch an abufe; to remove the defect, there feems no other remedy, than to couple two columns together, whereon place a fuit- able architrave or impoll, which having its fides fquare, is adapted to receive the angles of the archi- volt and thus it will have a folid bearing, which without difpofing the columns by couplets, it cannot have : it is in this manner that the peripteral arcades are fupported in the temple of Bacchus, (now St. Agnefe) near Rome, which has been imitated by feveral great mailers among the reftorers

		(a) Sed hjec qua: a veteribus ex veris rebus exempla fumebantur, nunc Iniquis moribus improbantur. Nam pinguntur teclio, riis monftra potius, quam ex rebus finitis imagines certa;. Procolumnis enim fiatuuntur calami, pro faftigiis harpaginetuH ftriati cum crifpis foliis U volutis. Item candelabra aedicularum, fuftinentia figuras, fupra faftigia earum furgenf.es, ex radici-bus com- volutis coiiculi teneri plures, habentes infe fedentia figilla, non minus etiam ex coliculis flores dimidiata habenles ex fe exeumia figilla, alia humanis, alia beftiarum capitibus fimilia. Hsc autem nee funt nee fieri poffunt, nee fuerunt. Ergo ita novi mores coegerunt, uti inertia mali judices conniveant artium virtutes. Quemadmodum enim potefi calamus verc fuftinere tectum, aut candelabrum aedicuias, & ornamenta faftigii, feu coliculus, tam tenuis & mollis, fuftinere fedens figillura, aut de radicibus & coliculis ex parte flores dimidiataque figilla procreari ? &c. Lib, VII. c. 5.

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		of ArchiteSiure* f of architecture, fey Sanfovino in the procuratie at Venice, by Palladio in the coftile of trie convent of S. Giorgio Maggiore in the fame city, and in the palazzo publico at Vicenza; lifcewife hy moft of the beft: Florentine architects, and by many others who, ftudious to avoid every efiential error, were de- firous that the edifices they defigned fhould not fail in eorreclnefs.' Vafari in his life of L. Albert!,; and in the preface to his architecture, reprehends the laft mentioned miftake; and Serlio,lib. iv. treating of buildings wherein arches may be required, argues thus, ⁱ⁽ if we would place infulated columns under arcades, it will be the greater!: of fallacies, becaufe the fqriafe corners of the arebivolt falling upon a circular column will have their bearing beyond the naked of the fhaft. Seamozzi, part 2, lib. vi." Cap. viii. thus cenfures and clears hjmfelf j" nor to fpeak of certain ffcupid workmen, who in their works have fometimes omitted the imports, and make the arches to reft upon the capitals. But enough hath been faid again ft this abfurdity; let it only be obferved, that all forts of arches or vaults, whether groined or otherwifej muft bear upon impofts^ and thefe fiipported by columns, pillars or piers of fufBcient refiftance; It fhould be well remembered, that no other figure than the circle C3lI1 DC 2. llowed to the plans of columns; the plans of pilafters are f^iiare* arid the fufface of either will always be disfigured with any other ornaments than the flutings, fimple or cabled, as feen in the remains of the beft authenticity. Some of the firft reftorefs have fallen into a mon- ftrous manner of loading the fhafts of columns with circular bands or fquare rufticks, the fight of which banifhes at once from the mind all appearance of graeefulnefs arid flfengthi this difguftful idea could only arife from feeing a column erecled with its rough blocks, which wanted: the further labour of the artificer to reduce it to its. proper naked fize, fince it was frequently cuftomary with the ancients to finifh the feveral parts of an order after they had fixed the materials in the places where they were id remain. As to entablatures it cannot be too often repeated, that if they want their due proportion to their refpe&ive columns, they will either turn out too light of too heavy; this will be more particularly noticed in fome following remarks. Several errors may be committed in the difpofitions of internal angular columns and pilafters, which deferve the efpeeial attention of artifts. Another abufe or modern licence, never to be approved, is cutting into the architrave to make apertures for doors or windows ; again, it is but a poof fhift to make an architraved entabla- ture, for fuch expedients it is often beft to omit both architrave and frize. It muft again be obferved, that pediments ill placed, or broken, or twifted or fcrolled* as likewife an unreafonable multipli- city of pediments are only fo many glaring deformities inftead of ornaments, and nothing is more fo than a triangular pediment within a femi-circular archivolt.' Arcades with only a part of a co- lumn projecting from the piers, is apractife that nothing can juftify but reafons of osconomy (and it is yet greater eeconomy to have the piers plain;) for no part of the beautiful forms of columns was ever intended to be mutilated, or apparently funk within a wall; they mould always project their entire diameters, and moreover fufficiently clear all the mouldings of their capitals and bafes, otherwife let pilafters be ufed to adorn or ftrengthen the piers, Panriels funic within the dies of pedeftals are to be caiitiouily ufed. Spiral columns with or with- out fpiral flutings or other ornaments, (fuch are thofe of the great altars of St. Peter's at Rome, of the Val de Grace, and of the Invalids at Paris) however artfully defigned and well executed, feeni invented chiefly to pleafe the vitiated fancies of thofe who delight in whimfical contrivances. It is pretended that the Emperor Titus, among the fpoils which he brought from Jerufalem, brought alfo fome fpiral marble columns, which he placed in the Temple of Peace j one of thefe had been removed to St, Peter's, and is now to be feen in the chapel of the crucifix, which is the firft on the right hand of the principal entrance ; but the tradition of this column may be ranked among others of their pious frauds; Raphael, in one of the Cartoons, in compliance with this ftory, has de^' figned the porch of the temple with fpiral columns. * Caryatic and Perfic (�) figures muft: always be fuppofed to have pilafters behind them, with capi- tals like bafkets of flowers placed upon the heads of the figures; according to Pliny, the Rotunda at Rome

			(h) Carya civitas Peloponnefi, cum Perfis hoftibus contra Greciatn confenfit, poftea Graeci per vi�toriam gloriofe beJIo liberati eommuni confilio Caryatibus bellum indixerunt. Itaque oppido capto, viris interfeflisj civitate deleta, matronas eorum in fervitu-

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§ '"The Grecian Orders Rome was decorated with this fort of ftatues. Agrippce Pant beam decor avit Diogenes Atbenienfis, & Caryaiiades in colwnnis templi ejus prcbantur, inter pauca operum, ficut in fajUgio pofita figna, fed propter altkudinem loci minus celebrata. c. 3. 1. xxxvi. and of their capitals of metal the fame author is fuppofed to fpeak in thefe words, Syracufana Junt in Pantbeo capita columnarum a M. Agrippa pofita* c -2 1. xxxiv. With whatever propriety thefe conceits might have been received among the Grecians from the events which gave them birth, the notion of indignity and fiavery they con- vey fhould be a motive to abolifh them; it was a cruel defign of the airtift to place the figures of four criminals, women half naked, in the chamber of juftice at the Stadt-houfe, at Amfterdam. It may be frequently neceffary to introduce certain modern competitions for medalions, coats of arms, Sec. Whenever it is fo, let them be placed properly, without interruption, to any of the principal members of architecture, and in. the delineations of all fuch things, fimplicity muft ever be preferred to any ill-placed and confufed decoration, remembering the cenfure of Apelles to an inferior painter, " not knowing how to make her beautiful, you have made her rich." Certain it is, that meet trifles laid on with an abfurd profufion, coft more than the moft elegant ornaments difpofed with judgment and tafte. If it be aficed why the architecture of Greece and Rome mould claim the preference to the modes derived to us from our immediate anceftors, who, enjoying the fame power of reafon, and having been civilized and polifhed in other matters, could not fail of a juft difce'fnment for their ufes and wants in building ? the anfwer is, that the Grecians and their fcholars the Romans, not only efta- bliihed true principles, but had fuch opportunities to cultivate and bring the art to perfection, as never any other nations had, and it was impoffible they fhould have, For in what country were there ever fuch edifices failed as in Greece and in the Roman empire ? the princes and governors of the people were continually attentive to every public emolument� all the works of art were employed to great and noble purpofes, fuch as were moft beneficial to the ftate and chiefly for facred and public ufes ; fimplicity and moderation were found among the citi- zens'; art was never debafed by a puerile tafte, never defcended to trifles, to the folly of trinkets and toys/but whatever was the work of artifts, was worthy of the exalted ideas of the nation. Miltia- des, Themiftocles, Ariftides, Cimon, and others, the chiefs and defenders of Greece, were not more fumotuoufly lodged than their fellow-citizens, but monuments were reverenced as facred edifices. What an emulation muft have been excited, when all the cities were eagerly vying with one another to poffefs the fineft ftatue, or by a generous contribution to furnifh the expences for one, either of a God or of a Conqueror, at the public games ? fome cities were recorded folely on account of their being in oolleffion of a fine ftatue. Aliphera was only known by a brazen ftatue of Pallas, the work of Hecatodorus and Softrates. Thus the ceconomy of private perfons enabled them to contri- bute largely towards public expences , their religious ceremonies were performed with folemnity and pomp, the multitude was called together on particular events to iplendid games; theatres, am- phitheatres, ftadias, circuffes, hippodromes, naumachias, baths, porticos, bafiiicas, triumphal arches and temples, all magnificently invented, and on many the richeft materials were often lavifhed, emulated only by the elegance of their defigns; thefe furnifhed glorious occafions to the archi- tects of thofe times to difplay their talents, to cultivate and bring their art every day nearer to per- fection, till they at length eftabliflied fuch modes and forms as became more and more afcertained

	K 1 _f. �p_C funt paffi ftolas neque ornatas matronales Jeponere : uti non uno triumpho ducerentur : fed seterno fervitu- tern nDuuxcrunc � *^ .. _T - � k* <�» � /� ***** ■% i * * j p � 1 � tnmplia Dreffse, paenas dare viderentur pro civitate. Ideo qui tunc architect fuerunt, aediftcus pubhcis dehg- tis exemplo eravi contumena p«" 1 v � . �■ r> 1 , t ^b . . �-.* ferundo collocatas, utetiara poftens nota psena peccati ^aryatium memorise traderetur. Ncii minua naveruntearum imagines oneu ici"« ■-■�«-'� r~ Lacones Paufania Cleombroti filio duce, plataseo praelio, pauca mapu infinitum numerum exercitus perfarum cum foperaviffent, aclo cum gloria triumpho, fpoliorum & praedse, porticum Periicam ex manubiis jaudis & virtuti, civium, indicem vidoris pofteris pro trophso conftituerunt, ibique captivorum fimulacra, barbarico veftis ornatu, fuperbia mentis contumeliis punita, fuftinen- tia teaum coilocaverunt; uti & hoftes horrefcerent timore eorum fortitudinis affe&i, & cives id exemplum virtutis afpicientes, gloria erecti, ad defendendam libertatem elTent parati. Itaque ex eo multi ftatuas perficas fufthentes epiftylia & Ornament* eorum coilocaverunt & iu ex eo argumentc varieties egregias auxerunt Paribus. Lib, I. c. 1.

		among-

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		of ArchkeElure. g among a polite and free people that could not be fatisfied but with excellence; while among other nations where fuch (hews, games, and exercifes were never introduced, architecture always appeared in its infant ftate, and was only ufed with many aukward contrivances, for the ftructure of private habitations, and of very few public edifices, jufl as the mere exigency of things reauired. Having already mentioned the Goths, it may not appear altogether improper to fay foniething of their architecture. The name of Gothic was given to all fuch buildings as were not defigned according to the rules of Grecian or Roman architecture. There are two forts of Gothic, the an- tient and the modern, (but improperly fo called;) in England and the northern parts of Europe, the antient Gothic includes the Saxon and Danifh, in which indeed we may obferve fome traces of elegance and flrength. It appears that their artifts were not entirely ignorant of proportions, though they did not confine themfelves ftrictly to fuch as were beautiful; folely attentive to render their works folid and durable, they were more ftudious to produce the marvellous by the enor- mous fize of their fabrics* than by any regularity of ftructure or propriety of ornaments. Thefe are the marks that characterife the Goths, a rough unpolifhed people, of huge ftature and of dreadful looks, that iffuing forth from the northern parts of our hemifpliere, where neceflity taught them to guard againft the violence of florins and the fury of torrents, increafed by the inundations of melted fnow, carried into milder climates their monftrous tafte of heavy architecture, and only in a fmall degree corrected their encumbered notions by the fight of Roman edifices; but the models they had to contemplate were not without their faults, for from the reign of Alexander Severus, architecture had greatly degenerated. Thus a want of natural genius, a want of models, and every thing contributed to hinder the Goths from acquiring any good mode of building. This is the fummary of the antient or heavy Gothic architecture; fome of the cathedrals and other public edifices, not only in this country, but in many others of the continent, frill remain as models of this fort. Modern Gothic, as it is called, is deduced from a different quarter; it is diftinguifh- ed by the lighthefs of its works, by the exceffive boldnefs of its elevations and of its fections, by the delicacy, profufion and extravagant fancy of its ornaments: the pillars of this kind are as {len- der as thofe of the antient Gothic are maffive. Such productions, fo airy, cannot admit the heavy Goths for their authors; how can be attributed to them a ftyle of architecture which was only in- troduced in the X century of our asra, feveral years after the deflruction of all thofe kin°-doms which the Goths had raifed upon the ruins of the Roman Empire, and at a time when the very name of Goth, was entirely forgotten ? From all the marks of this new architecture, it can only be attributed to the Moors, or what is the fame thing* to the Arabians or Saracens, who have ex- prefled in their architecture the fame tafte as in their poefy, both the one and the other fslfely de- licate, crowded with fuperfiuous ornaments, and often very unnatural. The imagination is highly- worked up in both, but it is an extravagant imagination, and this has rendered the edifices of the Arabians (we may include the other orientals) as extraordinary as their thoughts : if¹ any one doubts of this affertion, let us appeal to thofe who have feen the Mofcheas and the palaces of Fez, or fome of the cathedrals in Spain, built by the Moors; one model of this fort is the church at Bur- gos; and even in this ifland, there are not wanting feveral examples of the fame. Such build- ings have been vulgarly called modern Gothic, but their true appellation is Arabefc, Saracenic, or Morefc. This manner was introduced into Europe through Spain. Learning flouriflied among the Ara- bians all the time that their dominion was in full power; they ftudied philofophy, mathematics, phyfic, and poetry : the love of learning was at once excited in all places that were not at too great a diftance From Spain; thefe authors were read, and fuch of the Greek authors as they had tranflated into Arabic were from thence turned into Latin. The phyfic and philofophy of the Arabians fpread themfelves in Europe, and with thefe their architecture; many churches were built after the Saracenic mode, and others with a mixture of heavy and light proportions; the alteration that the difference of climate might require, was little if at all confidered. In the moll fouthern parts of Europe and in Africa, the windows (before the ufe of glafs) made with narrow apertures, C and

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			"the Grecian Orders
	iO		"the Grecian Orders
	iO

and placed very high in the walls of the buildings, occasioned a fhade and darknefs within fide_sand were well contrived to guard againft tlie fierceft rays of the fun, yet were ill fuited to thofe lati- tudes where that glorious luminary fheds its feebler influences and is rarely feen but through a watry cloud. The heavy Gothic by Sir C; Wren, is diftinguifhed as Anglo-Saxonic, the lighter as Saracenic, of this laft the following account may be added to what has juft now been delivered on the fame fabled; The holy war gave the cnriflians, who had been there, an idea of the Saracen's works, which vmre afterwards imitated by them in the weft; and they refined upon it every day as they proceeded in building churches. The Ita- lians (among which were yet fome Greek refugees) and with them the French, Germans and Flemings, joined into a fraternity, procuring papal bulls for their encouragement and particular privileges. They ftiled .themfelves Free-Mafons, arid ranged from nation to nation as they found churches to be built (for very many in thofe days were every where in building) through the piety of multitudes. Their Government was regular, and where they fixed near the building they made a camp of hills. A furveyor governed in chief, and every tenth man was called a war- den, and overlooked each nine. The gentlemen of the neighbourhood, either out of charity or commutation of penance, gave the materials and carriage, and hence were called accepted Mafons. It is admirable with what ceconomy and how foon they erected fucli confiderable ftructures. But as all modes, when once the old rational ways are defpifed, turn at laft into unbounded fancies, the tracery of thefe architects who affected towers and fteeples, though the Saracens affected cupolas, introduced too much mincing of the ftone into open battlements, fpindling pinnacles, and little carvings without proportion of di.fr.ance, fo that the effential rules of good perfpective and duration were forgot. Shall We, then, who by a confederate retrospection upon the works of former ages, are ena- bled to judge with equal difcernmqnt and impartiality between the various veftiges at this day remaining ? fhall we then hefitate to decide in favour of Grecian architecture? where not a Jingle ornament is placed, but-what gives beauty, where every part is fimple, meafured and restrained to a juft proportion, and fitted to the intended purpofes ; where convenkncy, folidity and dignity can always be united in every defign of public or private concern. Proportion, Eurythmy and Symrrietry, require their particular explanations, previously to the articles treated of in the next chapter. Proportion {a) in architecture coniifts in that reciprocal relation, which the feveral parts and total bulk of any fabric have among themfelves withrefpect' to quantity in length, breadth and depth; arising primarily from their joint relation to a certain o-iven quantity or common meafure, by which their magnitudes are regulated and determined. Thus the proportion oftheihaft of a column, which confiftsin the relation of it's length to it's diameter, being given, the terms of that proportion prefcribe meafures cofrefponding to themfelves, for all the other parts of the order; as for the bafe and capital, for the entablature, or any of it's principal divifions: and alternately, if the relation of the entablature and it's principal divisions to each- other be affigned, the magnitude of the column and that of it's members, with the abfolute quantity of the entire order, are from thence determined; and from this mutual dependence of the different parts, interchangeably affecting each other, remits that general harmony which gives both ftrength and beauty to a building. Now thofe proportions are adapted to produce beauty in the higheft degree, which prefent all the minuter divifions fairly and diftinctiy to the fpectator's eye, fo that he is enabled to judge of their relative meafures with tolerable exactnefsj but fuch only can do this as are formed from the moft fimple meafures or numbers irs their loweft terms, which are clearly the moft Striking, and therefore preferable to others more complex, which even the moft experienced in architecture will never pretend to difcern. For examples of what we mean by numbers in their loweft terms,

		(a) Proportio quae Grxce analogia elicit ur, eft rats partis inonjni Opere totiufque comrnodujatio, ex qua ratio efiicitur (ym- metriarum. Lib. III. c. i. Nulla architefto major cura effe debet, nifi uti proportionibus rate, partis habeant aedificia rationum cxaSicn^p5, Lib, VI. c. %. fnhc

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		of Architecture. i r take the following for furfaces to which, as the queftions may be ftated, the third proportional numbers may be annexed; I : i, 1:2, 1:3, 1 ; 4, 1 : 5, 1:6, &c. or 2 : 3, 3 : 4, 4 : 5,- 5 : 6, or 3 : 5, 5 : 7, 7 : 9, &c. to make choke of the beft proportions in different cafes, the real ufe and intention of what is to be determined muft be confidered, and then the queftion muft be aiked which dimenfion fhould prevail? height, breadth or depth, or whether they may all be equal, which is the cubic proportion j for a familiar example take a door way; the meaneft fhould be high enough for a man to pafs under without ftooping, therefore its height may be juftly fixed at fix feet; now as the height of a man walking with his arms at liberty, is nearly twice his own breadth, the breadth of the door way muft be to its height as 1:2, that is, three feet wide to fix feet high: in all other inftances it will conftantiy turn out that the moft beautiful proportions are like wife the moft ufeful, the moft convenient and the ftrongeft, Eurythmy (h) is the perfect confonance of all the relative meafures throughout all the propor- tioned parts. De Laet's explanation is very elegant; aptatur autjem hcecvox cuwis rei decenti, concinnas aptae, corpori, numero, greffni feu motiti, voci. Videtur autem ea diBione exprimi quod Itahce dicimusi garbato, Graziofii The word was not only ufed by the antient architects, but likewife by their poets and muficians; by the former to fignify the juft cadences of their verfes, and by the latter to exprefs the agreeable melody of their notes 1 hence proceeded that invincible power of pathetic: accents over the foul I Such was the bard whofe heavenly ftrains of old* Appeas'd the fiend of melancholy Saul; Such was, if old and heathen fame fay true, The man who bade the Theban "domes afcend, And tam'd the favage nations with his fang; And fuch the Thracian whofe harmonious lyre j ' Tun'd to foft woe, made all the mountains weepi Sooth'd even th' inexorable powers of Hell, And half redeem'd his loft Eurydicc Armstrong. Art of preferring health. By Symmetry (c) is underftood the parity and equality of the right and left parts of an edificej of the high and low ones in the fame front; in figure, in fize, in fituation, in every point that may render the correfpondent parts fimilar and equal. The human vifage is not more disfigured by a wen, than a building is by any irregular excrefcence that at once deftroys the beautiful effects of fymmetry. To conclude; although it is true that the proportions and forms of architecture are, in fome degree arbitrary, and not of the number of thofe things, which have a natural precife and pofitive beauty like the concords of mufical tones, &c. yet as they are eftablifhed upon principles long fince received, and likewife by what among the artifts is called cojlume, the eye once familiarifed with them is fhocked at anyeffential deviations, their beauties becoming very diftinct and forcible; add to this, that for above thefe two thoufand years, it has been beyond the power of human abili- ties, not only to introduce a new order, but even the leaft moulding or member whereof the pattern is not already given,

			(h) Eurythmia eft venufta fpecies, commodufque in compofitionibus membrorum afpedtus, Hsec efficicur cum membra operis convenientia funt, altitudinis ad latitudinem, latitudinis ad longitudinem, & ad fummam omnia refpondeant fuas fym- metriae. Lib. I.e. 2. tJti non fit confiderantibus afpeftus eurythmiae dubius. Lib. Vf. c. 2. (c) Symmetria eft ex ipfius opens, membris conveniens confenfus ex partsbusque feparatis ad univerfaa figurse fpeciem, fat³³pattis refponfus. Lib, I. c. 2. The

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				The Grecian Orders
		12		The Grecian Orders
		12

	The ftrong, the mean, and the delicate flyle of building cannot be fixed at any other terms, than nearly at thofe obfervable in the Grecian orders; fmce, if you were to begin the progreflion much above what they have eftablifhed� it would defbroy their very mechanical principles and dif- tinctions; for if -inftead of 8: 10: 12, which the author of this treatifehas ventured to affign, you take 12: u: 18, diameters for the entire altitudes; in thefe two laft terms, either the columns would run into an excefs of height, or the entablature into an unwarrantable heavinefs; both the appearance and mechanifm of fuch conftru�tions muft be rejected upon the {lighter! examination; but the nearer you approach the true terms affigned, as the beft moderns have done, the errors gradually become lefs fenfible : yet why fhould we feek after any other equivocal meafures when we can obtain the moft defirable characlers and quantities from indifputably authentic Attic models.

			CHAP. II.

Of the Orders, Definition, the Rife and gradual Improvements of their Characters, Of Modules. Tables of Altitudes and ProjeSlures. Of the Principal Members, Of Mouldings and Ornaments. Of Profile. IN every edifice, whether public or private, great or frriall, the conveniency, ftrength and beau- ty of its {a) architecture, can only arife from a proper intelligence of the orders : The word (b) order, in contradifanction to confufion, lignifies a regular affemblage and arrangement of the feveral proportions and ornaments of an entire column, with its entire entablature. The trunks of trees left {landing or fet up an end, and others laid acrois them to fuftain the covering, gave the firfl hint of an order, a fuppofition too natural and too obvious to be rejected. Thefe rough ma- terials were afterwards wrought into better form by the workman's fkill; the firfl flatues, as well as buildings, were of (c) wood, before ftone and marble came into ufe j for the arts which depend upon defign, had their beginnings, like all other inventions, in the neceffary ; then they proceeded gradually to the beautiful, and at laft they fell into the fuperfluous and extreme : thefe are the three principal degrees of art. Sculpture and Painting advanced fafter towards perfection than architec- ture, becaufe this laft has not any determined object in nature for imitation towards a complete defign; it is founded upon more general rules and the combination of feveral proportions. The three Grecian orders as afterwards eftablilhed, feem as if they were intended to reprefent three manners of building, the ftrong, the mean, and the delicate. Many ftructures have been and can be made without columns, perhaps only with a cornice, or fome part of an entablature: Edifices of fuch a conftruttion are called after the order, whereof they bear any of the fpecial marks; thus the front of the Farnefe palace at Rome is quite plain, but finifhes with a Corinthian Cornice j therefore fuch a front is called Corinthian, and fo of others.

(a) Architeaura autem conftat ex ordinatione, qux Grace, taxis dicitur, & ex difpofitione, harsc autem Grseci diathefirt vocant, Eurythmia & fymmetria & decore & diftributione, qua: Greece ceconomia dicitur. h Ordinatio eft modica raembrorum operis commcditas feparatim, univerfeque proportionis ad fymmetriam comparatio. Lib I. c. 2. (f) Ita una quseque res & Locum & Genus &Ordinem proprium tuetur, e quibus rebus & a materiatura fabrili, in lapideis. & marmoreis sedium facrarum adiftcationibus artifices difpofuiones eorum fcalpturis funt imitati, & eas inventiones perfequendas putaverunt: ideo quod antiqui fabri quodam in loco aedificantes, cam ita ab interioribus parietibus ad extremas partes tigna pro- minentia babuiffeot collocata, intertignia ftruxcrunt, fupraque coronas & faftigia venuftiore fpecie fabrilibus operibus ornaverunt. Lib. IV. c. 2. It

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		of Archite&ure. \% It has been imagined, that the firft architects conceived their ideas of the different characters of ihe columns by contemplating the {d) human figure j From a ftrong mufcular man of athletic form they adopted the folidity (e) of the Doric. The graceful Ionic was fuggefted by the elegant figure of a decent (/) matron, and the delicate Corinthian, by the gay perfon of a chearful (g) virgin. The different capitals and bafes have been thought, in fome meafure, to reprefent the dreiTes of their heads and feet, agreeably to their notion who firft {truck out thefe allufions; The three orders delineated under equal heights, but of unequal diameters; will at firft fight exhi- bit, by the different diameters of the columns, the different degrees of folidity that may be allowed to buildings of equal given heights; thefe do not readily occur, when, as hath been done by moft authors, the orders are traced out of unequal heights but of equal diarrietersi It may often happen that columns of unequal altitudes, without comparing their. characters; are employed in the fame front; for example, the greater order may be Corinthian^ or any other, and the dreflings for doors and windows, with columns of another mode; fome modern authors have objected to this life of different fized columns in the fame front/but it is juftifiable from the nature of things, (the comparifons ceafing) and from examples in the antique; trees of the larger growth may be ftrppofed to prop up the roof, and others of leffer fize may be interpofed to fuflain the diffe- rent floors or contignations of an edifice, while the fmalleft may be tifed about the windows and doors: when all thefe feveral diviiions are finely proportioned, the columns' affigned to each will like- wife bear a juft relation, in their feveral diftributions, to the whole. If the height of a column with its entablature, was to be confidered as the intended height of a wall, the diameter of the column would give the moft fuitable thicknefs according to the order chofen for this purpofe ; the thicknefs of the wall might be taken, as the nature of the cafe required, of the greater, the mean, or the lefs foli- dity. The height and thicknefs of a wall having been fixed by the altitude arid diameter of an order, the fame altitude may be taken to give one fide of a cube, wherein height, length and breadth, the three requifite dimenfions of an edifice, will be found : thus will an order a'ffi'ft us to determine the firft and moft fimple defign of a plan and its elevation. How thefe dimenfions may afterwards be diverfified, diminiffied or enlarged, ftill under the influence of the orders, will be readilj comprehended by thofe who have made thefe matters' the fubject of their careful difquifitions, P L A' T E h (h) Reprefents the plans, elevations and profiles of the three modes or orders of (z) columns A, B, C, of unequal diameters included under equal heights, for the coniiderations as abovemeri- tibnedj, to compare at one view, the ftrong, the mean and the delicate; but for this purpofe it is alfo farther neceffary to give a method of finding the refpeclive modulary divifions, by which ex ratione tnodulationis, the orders are traced and compared, of whatfoever magnitude may be required.

			(d) Et quserent.es quibus rationibus efficere poftent uti et ad onus ferendum effent idoneas, & in afpedu probatam haberent ve- nuftatem: dimenfi funt virilis pedis veftigium, & cum inveniffent pedem fextam partem effe altitudinis in homine ita in columnam tranflulerunt. {e) Itadorica columna virilis corporis proportionem & firmitatern et venuftatem in sedificiis praftare csepit. Lib. IV. c.l. (/) Ita duobus difcriminibus columnarum inventionem, unam fine ornatu nudam fpecie, alteram muliebri fubtilitate et ornatu fymmetriaque funt imitati. Id autem genus quod Iones, primo Ionicum eft nominatum. Lib. IV. c. i. {g) * ^ert»^!Um vero quod Corinthium dicitur, virginalis habet gracilitatis imitationem_: quod virgines propter setatis teneritatem gracilioribus memhris figurats; effectus recipiunt in ornatu venuftiores. Lib. IV. c. t. (h) Difpofoio autem eft rerum apta collocatio, eleganfque in compofitiombus effeflus operis cum qualitate. Species difpofitioms quae Graecedicuntur ideai, ha; funt, Ichnographia, Orthographia et Scenographia. Ichnographia eft circini regulaeque mo- dice continens ufus ex qua capiuntur formarum in folis arearum defcriptiones. Orthographia eft autem eredta frontis imago, mo- diceque pifta rationibus operis futuri figurse. Item Scenographia eft, frontis et laterum abfcedentium adumbratio, ad circinique centrum omnium linearum refponfus. Lib. I. c. 2. (J) E Columnarum enim fbrmationibus, trium generum facia: funt nominationes, Dorsca, Ionica, Connthia. Lib. IV. c« 1. D The

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		fhe Grecian Orders 14 . The architeftonic module, is never taken for a fixed meafure like the foot, the yard, the fathom, _&c. it evervarieth as the work is greater orlefs, and is divided differently for different orders. To find the (,) module for any defign, the given heights muft in the firft place be divided as follows. For the Doric order A, divide the given height into eight equal parts, one of which will anfwer to the diameter of the column. The height for the Ionic order B, is divided into ten equal parts, and one of them is taken for the diameter of the column. Divide the fame given height for the Corinthian order C into twelve equal parts, and take one of thefe in like manner for the diameter of the column. By moft authors the diameter of a column is taken for one module, and is divided into fixty equal mrts called minutes- but the divifions ufed by Vignola will be applied m the courfe of this work C^n^X they more diftinaly exprefs the relations which the feveral divmons and members have one with the other. A^ain bv this method of dividing, it may frequently happen that the modules and their divifions of the intended work may anfwer to feet, inches, and parts of inches, .as they are fet on the common rulers of the artificers. For the Doric order the femidiameter gives one module, and is divided into twelve equal parts, ach oart may be again fubdivided. For the Ionic order, the module or femidiameter is divided into eighteen equal parts, and each part may again be fubdivided. For the Corinthian order, the module or femidiameter is like the preceding, divided into eighteen equal parts, and each part may be again fubdivided. To delineate the orders, it is always previoufly neceffary to make a mo^ulary fcale. there are two methods of doing this, the one and the other is ufed indifferently. The firft is ca led a fcale fimply divided, the other a fcale diagonally divided, the laft is to be ufed preferably to the firft, becaufe the feveral meafures can be taken with more certainty. I For the fcale fimply divided: draw three indefinite parallel lines at unequal diftances, and fet off A 1 the femidiameter of the intended column for one module, which may be repeated unon the'fame lines as often as may feem neceffary > then divide A-1- into twelve equal parts for the Doric order, but for the Ionic or Corinthian order, divide the module into eighteen equal parts. See fig. i..B. II For a fcale diagonally divided. 1. Upon an indefinite right line fet off A. B. equal to the femidiameter of the column, and for the Doric order divide it into twelve equal parts. 2. At the point A. raife the perpendicular A. C. equal to A. B. and divide it in the fame manner into We equal parts. 3. From each point of divifion in A. C. draw parallels to A. B. which are ^Tta determined by another perpendicular raifed at the point B. 4. Draw the twelve diagonals &c parallel to each other, and mark the divifions upon A. B. from 2 to 12, and on f de fet the figures 4, 8 ; by this operation, the Doric module is divided into twelve equal ^s and each part is again divided into other twelve equal parts. Three of thefe parts of parts ^^ contained between O. O. and are equal to one fourth of one of the primary parts, or to one fbrt^ei hth part of the module. Between X. X. are contained fix parts of parts, equal to one hTl/oFone of the primary parts, or to the twenty-fourth part of the module. This is fufficient to explain the nature of the divifions upon a Doric diagonal fcale. _W Hxc (ordinatio) componitur ex quantise qu* Gnece Pofotes dicitur. <**» autem eft w*mm ex ipfius opens, fumptione, fingulifque membrorum paribus univerfi cperis conveniens effeaus. Lib. I. c. 2. _p^

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'of ArchiteSlure*

For the Ionic and Corinthian diagonal fcales, the module muil be divided into eighteen
equal parts, taking the line B. D. as the femidiameter of the column -, then fet down the numbers
6, i %, 18, underneath their refpective diagonal diviiions, and to the perpendicular raifed at the
point D. the numbers 6,12, agarnfl their proper parallels, and here obferve, that each primary
part is divided into eighteen parts of parts, and that confequently three hundred and twenty-four
parts of parts are equal to the module;

Befidj|ihefe fcales of modules ufed iri delineating any architectural defign, there is another
method for determining the divifions of the members, which is more convenient, becaufe it avoids
all fractions of parts, and the fums of the feveral quantities affigned are equal to the whole. It is
done by repeated equal divifions, without any regard to the minutes or parts bf a module. For
example : The Attic bafe may have its altitude divided into three equal parts, and one of thefe is
given to the plinth; then again divide the fame entire height into four, and one of thefe de-
termines the height of the great torus. Again, divide the entire height into fix equal parts, and
one of thefe is taken for the leiler torus. The remaining interval is equal to the great torus 1
this divide into fix equal parts, of which, one being affigned to each fillet, the four interme-
diate ones will remain for the fcotia. This method has been much pra&ifed by the modern
artifts, and it was likewife ufed by the ancients; it is very ingenious, and will afcertain very pre-
cifely and diflincf ly the relative meafures of all the parts thus fubdivided. Yet the greater con-
ftituent members of the orders fhould firft be determined and traced from their refpedive modulary
fcales.

The following table contains the greater divifions; the diftribution obfervable therein Is, that
the ftrongeft column is charged with the heavieft entablature, according to the true reafon of
things.


Altitudes.		Doric I Mod. p. 16 : 0 j	Ionic j Mod. p. 20 : 0	Corinth, j Mod. p. 24 : 0
Entire Order.		Doric I Mod. p. 16 : 0 j	Ionic j Mod. p. 20 : 0	Corinth, j Mod. p. 24 : 0
. j Bafe of the column - - \| j Shafts with fillets and aftrag .§ j Capital - - - � - -		0:0 J 11 : 10 0 : 8	1 : 0 13 ^: '-3 1 : 8	1 : 0 16 : 3 2:6
⁰ j Total heights		12 : 6	16 : 0	19 : 9
tablatures.	Architrave - - - Frize --�-_- Cornice - - - - -	I : 2 1 : 4 j 1:0	1 : 9 1 : 9 1 : 0	1 : 9 1 : 6 1 : 12
1 w	Total heights	1 3:6	4 : 0	4,:, 9 1

Add the total height of the members of the columns to the total height of the members of
the entablature, and the fums will give the altitudes of the entire orders.

°n fome occafions the Corinthian entablature may include only four modules, or two diame->
ters in height; and then to the architrave is given one module fix parts, to the frize one mo-
dule three parts, and to the cornice one module nine parts. The artift fhould always be able
to judge upon the fpot when thefe or any fuch chromatic differences may take place.

Having a given perpendicular line for the axis of the column, you may fet off from a fcale of
modules, the different altitudes as marked down for the intended ordef in the above table. In
the next table are given to be taken from the fame fcale, the diameters of the column at top and
bottom, the projedures of its bafe and capital, and of the principal members of its entablature.5
as to other particulars relating to the mouldings, &c. they will be fupphed in the courfe of our
remarks* ,

ProjectuRE⁸

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^The Grecian Orders


	Doric
	Mod	� P-
	2 :	o
	i :	8
	o :	o
	o :	o
	o ^:	3
	o :	o
	o :	I
	i :	6

Ionic i Corinth.
Mod. p. Mod. p.

Projectures.

Diameter of the fhaft at bottom - -
Diameter at the top - - - - -
Bafe of column on each fide
The apophyge at bottom -
Abacus of the capital beyond the col.
Front of each Ionic volute - ~ -
Mouldings of the architrave -
Frize as well as the arthitrave coincide
with the diminution of the Column
Cornice to project beyond the frize

2 : o

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The plans of columns are invariably circular j all others have been condemned as abfurd. Pi-
lafters have fquare plans equal to the diameter of columns; thefe are placed behind, or on the
fide of columns, and generally have the fame diminution ; for as columns ftand with more firm-
nefs and folidity when their lower parts are broader than their upper, and fuch a form is obferv-
able in the trunks of trees, they were on both thefe accounts allowed the figure of a truncated
cone: hence we may infer, that every building fhould have its bafis larger than its fuperior
parts.

A column, as noted in the table of Altitudes, is compofed of three principal members. 1. The
foot or bafe. 2. The full or fhaft. 3. The capital. The entablature alfo contains three diflincl;
members. 1. The epiftyle (a) or architrave, reprefenting the beam laid acrofs the tops of the co-
lumns, or the beam for the wall-plate. 2. The zophorus or frize, being the fpace left for the
joiits. 3. The corona or cornice, that reprefents the ends of the rafters and the eave-boards in a
roof. The cornice fhould always project fufHciently to preferve all the parts underneath from the
drippings of rain. Thefe three are the great conftituent members, and fhould never be mutilated
or omitted in any defign intended to difplay the beauties of the art.

P L A T E II. .

The mouldings are little jettings or projectures upon the naked of a wall, or of any other fur-
face, as of the feveral greater conftituent members of an order. This general name is given them,
becaufe they appear to have been caft in a mould, as indeed all of metal are; the others being

(a) Epiftyliorum ratio fie eft habenda uti ft columns fuerint a minimo XII pedum ad XV pedes, epiftylii fit altitudo dimidia
craffitudinis imse columns. Item ft a XV pedibus ad XX, columnae altitudo dimetiatur in partes XIII & unius partis altitudo
epiftylii fiat. Item fi a XX ad XXV pedes dividatur altitudo in partes XIIS & ejus una pars epiftylium in altitudine fiat. Item ft
a XXV pedibus ad XXX dividatur in partes duodecim & ejus una pars altitudo fiat. Item fecundum ratam partem ad eundem mo~
dum ex altitudine columnarum expediendae funt altitudines epiftyliorum. Quo enim altius oculi fcandit acies, non facile perfecat
aeris crebritatem : dilapia itaque altitudinis fpatio & viribus extrita, incertam modulorum renuntiat fenfibus quantitatem. Quare
temper adjiciendum eft rationis fupplementum in fymmetriarum membra, ut cum fuerint in altioribus locis opera, aut etiam ipfa
colofficotera, certam habeant magnitudinum rationem. Epiftylii latitudo in imo qua; fupra capitulum erit, quanta craffitudo fum-
IJI2E columns fub capitulo erit tanta fiat; fummum quantum imus fcapus. Cymatium epiftylii feptima parte fine altitudinis eft
faciendum & in proje&ura tamundem: reliqua pars prseter cymatium dividenda in partes XII & earum trium prima fafcia eft
facienda, fecunda quatuor, fumma quinque. Item zophorus fupra epiftylium, quarta parte minus quam epiftylium, ubi autorita-
tem habeant fcalpturae. Cymatium fuae altitudinis partis feptirroe, projedtura cymatii quanta ejus craffitudo. Supra zophorum
denticulus eft faciendus tarn alms quam epiftylii media fafcia, proje&ura ejus quantum altitudo. Interfe&io qua Graece Metoche
dicitur, fi_c eft dividenda: uti denticulus altitudinis fuae dimidiam partem habeat in fronte. Cavus autem inteneccionis hujus
frontis e tribus duas latitudtnis partes habeat: hujus cymatium, ejus altitudinis fextam partem. Corona cum fuo cymatio prater fi-
mam, quantum media fafcia epiftylii. Projectura coronse cum denticulo facienda eft quantum erit altitudo zophoro ad fummum
corona? cymatium : & omnino amnes ecphoras venuftiorem habent fpeciem quae quantum altitudinis tantundem habeant projec-
tuiaj. Lib, III. c. 3.

^ cut

-ocr page 35-

of ArchiuElure.

cut with duffels, &c. upon the raifed parts of the wood, ftone, or marble, left for that
purpofe.

Some mouldings are flat, either fquare or bevel -, others are curvilinear of mixt. The flat
mouldings take their names from their fize and fituation, The curve mouldings are either con-
vex or concave, or convex-concave. The convexity and concavity is traced for fome by greater or
leffer fegments of a circle; but elliptical figures are moftly ufed, according to the Grecian tafte j
and it is feldom that the projedures of any are equal to their heights, generally lefs, as 2 to 3, 3
to 4, 5 to 6.

Mouldings are either ornamented or plain 1 fome of the many ornaments adapted to each, are
here reprefented: Since mouldings do, as it were, compofe the alphabet of architedure, and
that without a perfed knowledge of their feveral diftributions and combinations, it is impoffible
to acquire any proficiency, their ufes and fhapes mould be well confidered : to avoid any miftakes
about their names, they are fet down both as they are found in authors, and as they are called
by workmen.,

The mouldings m this plate are all defigned fepafately, and without a fcale, becaufe their
magnitudes depend upon the proportions allotted to them in their refpedive places of an order.

Latin and Italian Names in Authors.
A. Tama, quadra, cimhia, orlo.

English Names by Artificers.

Fillet, firing, lift, ornamented with fcroils.
The bevel fillet often ufed Underneath the
former.

Plinth, platband, facia, with fret.

Aftragal, bead cut into beads.

a bead cut upon a fquare edge.

Upper or leffer torus, with reeds and rib-
bons.

Greater of lower torus, With leaves and
acorns.

A boultin or elliptical torus, with hufks
and {talks* This member placed with
its projeclure upwards, may fuit the
cornice or capital. With its projeclure
downwards, f. it fuits a bafe.

Eggs and anchors.

Scotia, or hollow, with ftalks and flowers.
Quarter round, hollow, with leaves and
flowers.

Ogee, with water leaves*

Ogee reverfed, with lace-work.

Drip with channels ; in Vitruvius corona
is the fpecial name of the drip, and the
general name for the whole cornice.

Congee, or little hollow, that ferves for
one member to rife from, or fall into
another, like the cincture fillets at top
and at bottom of the fhaft of a column.
The cincture fillets are in imitation of
the iron hoops that were placed round
the extremities of wooden columns, to
prevent their fplitting,

O. P,

B. Abacus, plinthus. fafcid.

C. Afiragalus. tondtno.

B.
C.
d.
D.

D. Torus minor, baftone.

E. Torus, toro.

f. <r

orus ovatus. toro ovale*.

G. Echinus, ovolo.

H. Trochylus. Scozia.

I. Cymatium. Jinus. cavetto,

&■ Cyma recta, fima lyfis. Jnus. gola drittd.

^L- Cymatkmlejbium. lifts Jinus. cyma rever fa.
gola rovefcia.

^M- Corona, gocciolatoio.

G.
H.
t.

rv.

N. Apophygis. _apofig^ _The

Phyp m the fhaft of a column is di-
reftly againft that part called the neck,
and by Vitruvius, the hypotrachelion of
the column.

(JS*

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			The Grecian Orders
		i8	The Grecian Orders
		i8

O. P. Qi. R. Four facias with different ornaments of braided and twirled ribbons, flowers, ftalks, fifties, {hells, &c. The inflection of the figures clearly fheweth how they are all deli- neated. All the members are adapted to the Cornice and to. the capital, excepting the torus and the fcotia; and they may. all fuit the bafe, excepting, the echinus or ovolo; the reafon of this is, that the projecture always enlarges upwards in cornices and, capitals. Such, members then are fuitable to thefe parts, whofe projectures increafe as, they rife, and. above .which may be added others ftill to project beyond them. Now all mouldings will have this effect except the torus and the fcotia, (fee their figures) for, fince any member placed upon the torus muft take its rife or procefs from the line which forms the chord of the circular fegment, and when added 'to the fcotia, muft iffue from the uppermoft point of its concavity, neither the one or the other will admit of a member that projects, therefore neither the torus or the fcotia are fit to be placed in fuch fituations. The projecture of the bafe of a column or a pilafter, and of a pedeftal, always enlarges down- wards \| confequently, any of the mouldings, whofe projectures likewife enlarge downwards may be applied to both thefe parts. The dma-refta and cima-reverfa, when topfy-turvy, may be here applied, and in thefe cafes a torus fhould be always ufed> inftead of the echinus or ovolo; fo that this one excepted, (unlefs turned upfide down) every other member will fuit the bafe of a column, of a pilafter, of a pedeftal. The ornaments of fculpture invented to enrich the different mouldings, are various and nume- rous : we have defigned feme few, but as the ftile of architecture ihould be decided by the de- ftination of the edifice, ornaments (a) ought to be placed fo judicioufly, that they may do ho- nour to the tafte of the architect, and indicate the ufe for which the building is raifed. Some ornaments, as ribbons, foliages, eggs, &c. are indifferent and equally applicable to all; others are fignificative, being the mere infigns of peculiar allufions; as inftruments of facrifice, ox-fkulls, &c. only proper for the decoration of an antique temple, are improperly placed elsewhere* being no chara&eriftic of the order; trophies, facred or prophane fymbols, hiftorical fubjects in baffo relievo, fhould be introduced with propriety and fimplicity, (for fimplicity is always the attendant of genuine grace,) in fuch a manner, as to declare at once the title of the edifice by fome of its parts. i The moft general rule is, that the mouldings be alternately carved or plain, that the plain- nefs of thofe which feparate the wrought ones, may afford a repofe and harmony grateful to the fpectator's eye. All the ornaments fhould rife in divifions perpendicular, one over the other, the greater, as the modilions, &c. fhould regulate the leffer; they fhould, above all, fuit the order whereto they may be applied; the richeft and moft delicate workmanfliip is never beftow-r ed but upon the Corinthian. All the parts in the fame front fhould be proportion ably adorned, not to leave fome quite naked, while others are enriched with profufion. If the corona or drip hath any carving upon it, the cyma recta is left plain, and fo. vice verfa: archivolts and arichtraves are left plain, excepting when the utmoft richnefs of workrrianfhip is requl- fite: as for altar-pieces, royal galleries, or chambers of the greateft magnificence, in thefe all the members may be carved, leaving here and there a plain fillet to avoid confufion. The frize may be adorned with hiftorical or emblematical fubjects, being careful not to mix together facred and prophane defigns. The profile of the members ufed for the infide, fhould have lefs projecture than thofe without, and the fculptures be kept in bas relief, for too much roundnefs would give-an appearance of heavinefs to the whole work.. > Three methods may be taken to enrich the orders. 1. By the defign and execution of the Sculpture. 2. By the richnefs of the materials. and, 3. By uniting the richnefs of materials

	(a) Quod multa ornamenta fepe in operibus archite&i defignant, de quibus arguments rationcm, cur fererint qiuerentibus reddeve debent, Lib. I. c. 1, and

				\

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		of Archite&ure, l§ and nicety of workmanfhip. The moil choice materials are the fine marbles, ivory, and metals gilt, tho' it is but very feldom that the eflimates will afford thefe expences. The churches and palaces of Rome furnifh many inftances of a profufion of fuch magnificence. The different colours of mar- bles muft be judicioufly forted to harmonize together, .and being heightened by the gildings of the parts made of bronze, fuch as the bafes, capitals, modilions, &c- produce the molt fink- ing effects. Tile expeiice of bronze metal is considerable, but it is preferable to all others for thefe ufes« Wood takes the gold very well, but is liable to rot from the moifture of the marble : lead is not expofed to the fame accident, but the gilding bellowed upon it is always very dull. The outline of any one moulding, or of feveral taken together, as the entire cornice of an order, is called the. profile j the femicircle is the profile of the torus; a perpendicular line is that of the plinth : a fedion or, fawing thorough; any number of mouldings, gives their true delineation. The art of delineating profiles is a moft neceflary talent for excelling in architecture; beeauie, the fame artift who may fucceed well in the diflribution of a plan, and in a fine cpmpofition for an elevation, may at laft obfeure the merit of his work by the bad efFed of his profiles. The antiquities of Rome furnifh examples of feveral, which are bolder than they are corred -, the fame may be faid of Michael Angela's * The moft elegant profiles are the leaft charged with mouldings, and have not an unmeaning repetition of the fame kind, but contain alternately a mix- ture of curvilinear and fquare ones ; and above all, the fmailer ones are introduced between-the greater, that by fuch a ftriking oppofition, the efFed may be more pleafing. The projedure of the profile muft alfo be proportioned to its height, regard being had to the body whereon it is immediately placed; and it is to be obferved, that fome great moulding fhould predominate in the profile of a principal member, as the drip or corona in the cornice, whereof it is a moft effential part. It is furprizing that the corona has been omitted in fome works of great repu- tation, as in. the Temple of Peace at Rome. (See Palladio, Lib. IV.-) The equality of heights of mouldings in the fame profile fhould be carefully avoided. When a leffer moulding is placed over another, it fhould not be more than half, or lefs than one fourth of the moulding under it. Thus, the fillet upon the cima reda, and the aftragal or bead under the ovolo, cannot be allowed lefs than one fourth, or more than one third of the cima reda or ovolo. The dentel is the high- eft of all the mouldings under the drip, and the drip a very little lower than the eima reda above it; the cima reda is too low, both in the external and internal orders of the Pantheon. See Palladio, Lib. IV. The cornices of the orders moft frequently finifh with a fquare moulding or fillet juft above the cima, but fometimes with an additional circular moulding above the fillet. The pannels or boxes in the foffit between the two modilions fhould always be fquare, as well as the intervals wherein they are placed, as will be further noticed in its proper chapter. To make a good choice of profiles, neither drawings nor books can give fuffieient intelligence i becaufe a profile that yields a fine efFed in one fituation, will not anfwer in another. A frequent comparifon of profiles in different edifices is the fureft means of acquiring a good manner. Pal- ladio, Scamozzi, and Vignola, of the moderns, have excelled in this branch, but the Athe- nian antiquities furnifh an elegant variety unknown to them. The artift who would furpafs m this point, fhould not always delineate profiles with a ruler and compaffes, he fhould often fketch them by hand upon a very large fcale, and this pradice will be found not altogether unneceffary and ufelefs, ^J W hatever care the Gothic architeds have taken to render the execution of their works perfed, the cifagreeable figures they combined for their mouldings, have ftamped upon them all the marks of barbanfm ■ thefe deformities become more fenfible, when compared with examples of the antique, which are amazingly beautiful, by the elegance, the variety, the choice and fimpii- city of the mouldings that compofe the Grecian profiles.

			CHAP.

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2o �je Grecian Orders

	\a Jri A Jr» 111. Davilers Comparifon of Profiles. Inter calumniations. Diminution of the Shaft, Scroll Modilion. Balufters. Pediment', Acroteria^ and Statues. Block Cor- nices. Vafes. DA VILER gives four examples of entablatures, in order to fhew the manner of com- paring profiles, and thence to make a good choice $ two of which are antique, and two modern.

		PLATE III. The profile A. is from the temple of Fortuna Virilis at Rome, very ancient indeed, as it is faid to have been built in the time of their kings. Now, without confidering to what order it belongs, which is not the queition at prefent, but examining it entirely by itfelf, we fhall find that the three parts which compofe this entablature, bear no true relative proportion one to the other; the frize is no more than two fifths of the height of the cornice, and only two thirds of the height of the architrave, and the cornice contains above one half of the height of the entire entablature : the drip or corona is not half of the cima redta, and the cima reverfa between thefe two members, is almoft as high as the corona; that each dentel is very near fquare, and ex- ceeds the height of the corona j that the three fafcias of the architrave are nearly equal : the fil- let upon the uppermoft, is almoft as deep as the cima reverfa under it. The olives and pearls carved on the naked of the middle fafcia, have a very bad effect, being quite out of place. The fecond entablature B. is taken from the baths of Diocletian j here we may obferve the architrave to be higher than the frize, which is without ornament and pulvinated, and the cor- nice higher than the architrave, as it mould be : the projecture of this cornice is equal to its height. Vignola has imitated this profile on account of its beautiful parts, for none of the faults of the former appear in this defign. The profile of the third C, is after Palladio, and is well ehofen. The modilions are intro- duced in imitation of thofe in the cornice of the temple of Concord, and of another ruin near St. Hadrian's church, mentioned by Serlio. The fourth example D. is after Serlio, who imagining to adhere to the prefcriptions of Vi- tr'uvius, for the Ionic entablature, has fallen into a littlenefs not allowable. The cornice is low and mean, being compofed altogether of diminutive, confufed mouldings, almoft imperceptible. The fillet upon the cima refta is by half too low, fo are all the other fillets; the dentels are poorly crowned, and but weakly fupported underneath.; and the nofe or beak in the drip or corona, is too weak. In this fame plate are traced out the five Grecian intercolumniations. By intercolumniation is underftood the fpace or diftance that is left between one column and another. Thefe are the names of the five, and the meafures prefcribed to the intervals. The Pycnoftyle- difpofeth columns very near each other, being only one diameter and a half be- tween fhaft and fhaft. The

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of 'ArchiteEiure'. c;, The (a) Syftyle placed the columns at two diameters diftant. The (J?) Diaftyle fixed columns at an interval of three diameters. The fourth was called {c) Araeoflyle, and the columns were difpofed with an interval of four dia- meters. In this intercolumniation they were obliged to make the architraves of wooden beams \| therefore, becaufe of the difficulty of executing it in ftone, and the ill appearance fo great a diftance between the columns produced, it was never approved. The (J) Euftyle furpafTeth all others, on which account it was thus named. The intercolumni- ation herein given is two diameters and one fourth, obferving however that the middle interco- lumniation in the fore and back fronts, Was allowed three diameters, to allow a freer accefs to the door way. But the height (<?) of columns, as well as their diameters, is to be confidered in intercolumnia- tions. To the (f) narrower!; intervals are placed the moft ilender columns, and to the wider open- ings, the thicker!: and ihorteft columns : yet thefe rules have always had their exceptions ,; the Ionic and Corinthian columns having been difpofed in moft works with as wide intervals as the Doric j and this again has been placed with the narrow intervals fuitable to both the former modes: when one order is placed above another, the uppermoft has its intercolumniation wider than the inferior one. The praclicej recommended by Vitruvius, is as follows. For the araeoflyle, let the height of the columns not exceed eight times its diameter; This is applicable to the Doric. For the diaftyle and euftyle, the height of the columns is allowed eight diameters and a half. This mav fuit the Ionic.

	(a) Hasc utraque genera (pycnoftylos & fyftylos) vitiofum habent ufutn, matres enim familiarum cum ad fupplicationem afcendunt, non poflurit per intercolumnia amplexae adire, nifi ordines fecerint. Item valvarum afpedus obftruitur columnarum crebritate, ipfa que figna obfcu'rantur. Item circa aedem propter anguftias, impediuntur ambulationes. Lib. III. c. 2. (5) Hsc difpofitio hanc habet difficukatem, quod epiftylia propter intervallorum magnitudinerri franguntur. Lib. III. c. 2. fc) Tn arsedftylis autem nee lapideis nee marmoris epiityliis .uti datur fed imponendx de materia trabes perpetuae; & ipfarum tedium fpecies funt barycae, barkephalas, humiles, latse. Lib. III. 02. (d) Euftyli ratio quae maxime probabilis & ad ufum & ad fpeciem & ad firmitatem ratsones habet explicatas:�fie enim haber bit & figurationis afpe&um venuftum & aditus ufum fine impeditionibus, & circa cellam ambulatio autoritatem. Lib. III. c. 2. (<?) Ita ex ea divifione intercolumnia, akitudinefque columnarum habebuntjuftam rationem. Lib. III. c. 2. (/") Quemadmodum enim crefcunt fpatia inter columnas, ita proportionibus adaugendas funt craffitudines fcaporum. Nam~ que fijn arseoftylo, nona aut decima pars craffitudinis fuerit, tenuis & exilis apparebit. Ideoquod per latitudinem intercolumnio- rum jeer confumk & imminuit afpe�tus fcaporum craffitudinem. Contra vero pyenoftylis fi o�tava pars craffitudinis fuerit, prop- ter cre_t,itatem & anguftias intercolumniorum, tymidam & invenuftam efficiet fpeciem. Itaque generis operis oportet perfeqm ^rr.einas. Etiamque angulares columnse crafficres faciends ex fuo diametro quinquagefima parte, quod ese ab aere circum- duntur & graciiiores videntur afpicientibus. Ergo quod oculos fallit, ratiocinatione eft exequendum. Contractures autem in fummis columnarum hypotracheliis ita facienda videntur, uti fi columna fit ab minimo ad pedes quirios denos ima craffitudo di- vidatur tn partes f_ex & earum partium quinque fumma conftituatur. Item qua; erit ab quindecim pedibus ad pedes viginti, fca- pus imus in partes fex & femiffem dividatur, ex earumque partium quinque & femiffe fuperior craffitudo columna; fiat. Item quae erit a pedibus viginti ad pedes triginta fcapus imus dividatur in partes feptem earumque fex fumma contrafiura perficiatur. Qug. autem ab trigmta ad quadraginta altae, ima craffitudo dividatur in partes feptem & dimidiam, ex his fex & dimidiam in fummo habeat DonVa&iirse ratione. Qi_lse _erunt a XL ad L item dividends funt in o�to partes & earum feptem in fummo (capi hypo- tracheiio contrahantur. Item fi q_U2S altiores,erunt his eadem ratione pro rata conftituantur contradurae. Ha; autem propter altitudinis intervallum fcandentis oculi fpeciem fallunt; quamobrem craffitudinibus temperature. Venuftatem enim perfequi- tur vifus ; cujus fi non blandimur voluptati pro ratione & moduiorum adje&ionibus, uti id in quo fallitur temperatione adaugea- tur, vafcus & rnvenuftus confpicientibus remittetur afpeclus. De adjedtione quae adjicitur in mediis columnis quae, apud Grse- cos entafis appellatur, in extremo libro erit formata ratio ejus, quemadmodum mollis & conveniens efficiatur. Lib. III. ^c- ²*

			The.
		F	The.
		F

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		ibe Grecian Orders
	2.2	ibe Grecian Orders
	2.2

The fyftyle may have the height of its columns nine diameters and a half. In the pycnoftyle the columns are prefcribed at ten diameters in height. Thefe two laft inters columniations are adapted to the Corinthian. The reafon of thefe different proportions is, becaufe the free pailage of air between the inter- vals of columns, doth as it were confume and diminiih the thicknefs of columns, and the more air and light do furround them, the more flender do columns appear; therefore the angular co- lumns have been allowed to have their diameters increafed one fiftieth part more than the inter- vening ones. The wider intercolumniations will admit of columns being difpofed by couplets; they are- then placed two by two with fufficient fpaces for the projedures of their capitals and bafes; and re- gard alfo muft be had to the triglyphs, mutules, dentels, and modilions of their refpe&ive cornices. By this difpofition of couplets, the angles of a building feem to be greatly ftrengthened -, but it gives a crowded and irregular afpect in the center of an edifice. Columns in the fore and back front are generally difpofed in an even number, otherwife the middle of the front would prefent a column inftead of a vacuity for a door-way, and then it would require two door-ways; befides, the architrave confidered as a beam with a weight fufpended in its middle, /. e. the center of gravity, demands the fame number of men (their ftrength fuppofed to be equal) on one fide as on the other to bear it up. The diminution of the ihafts of columns upwards, gives a gracefulnefs to their forms, which otherwife they would want. But the fwelling in the middle can convey no other idea than that of the columns being opprefled by the incumbent weight. The remains of antiquity cannot furnifh examples of the latter practice. Sir H. Wotton condemns it as a great abfurdity. Some authors with Vitruvius, as above quoted, have decided, that columns of different altitudes require different diminutions, but to judge from the remains of antiquity, this precept feems not to have been fcrupuloufly pradtifed, for neither the very lofty columns of the temple of Fauftina, nor thofe of the portico of Septimius, of the temple of Concord, and of the baths of Diocletian,, have more diminution than others of half their height, as thofe of the triumphal arches of Titus, of Septimius, and of Conftantine. ' The different characters of the orders, have been judged to require different diminutions of their ihafts; we find authority for this in the antiquities of Athens, which correfpond nearly with the rules eftablifhed by Scamozzi. For the Doric column, the top of the fhaft is four fifths of the diameter at bottom. For the Ionic column, the diminution is one feventh. For the Corinthian column, the fhaft at top is feven-eighths of the diameter at bottom. Vignola and others make the fhafts of every order to diminiih only one fixth, and this gene- ral diminution may in common cafes be received with great propriety. To begin the diminution from the bottom of the fhaft, is the molt natural and molt ap- proved, efpecially for the Doric, but for the Ionic and Corinthian orders, the diminution may begin at one-third of the length of the fhaft; it is thus traced for the column A. B. From the point E. defcribe the femi-circle E. D. C. &c. from A. the point of diminution at-top, let fail the perpendicular A. G. divide the arch G. E. into feveral equal parts at pleafure; e.g. into fix, and raife fo many perpendiculars, divide E. A. into the fame equal number of parts, and through the points of interferon, E. H. L. K. L. M. A. trace the line that will give the fur- face

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tf ArchiteBure* hi face of the diminillied column. The femicircle E, D, C. is defcribed either at the bottom of the fhaft, or at one-third of its height*

	PLATE IV, Fig. I. reprefents the figure of a fcroll modilion, with half of its front. * The fecond internal cornice of the Tower of the Winds at Athens. It is remarkable for an ovolo above the cima, and for the fituation of the dentels, and for the reverfed profile of the modilions. There are reverfed modilions in the cornice of La Maifon ^uarree, that beautiful antique temple at Nifmes in Languedoc. Palladio thinks the reverling of the modilions is very graceful. See the defign, Palladio Lib. IV. Fig. II. The delineation of two Hone balufters (columella); this variety is fufficient for the three orders. The ftrongeft being applicable to the Doric, and the other to the Ionic and Co- rinthian buildings. Several of thefe balufters, of equal and uniform fhapes placed near to each other, is called a baluftrade j they are included within the height allowed to the die of a pedeftal, whofe cornice ferves as their rail, and they have the fame bafe with the pedeftal. A baluftrade is ufed on the lides of a flight of Hairs, or for balconies to windows, in order to give greater liberty and conveniency of profpect. Theatres, Halls, Temples, Palaces, and other public, as well as private fabrics, have occalion for galleries or balconies in different parts of their ftrucfure. They are fuppdfed to anfwer to the podium, podia, & mceniana of the ancients, and to the poggiuolo of the Italians ; for whether a balcony is made with balufters, or with a parapet wall, the intention is the fame; they equally ferve to reft upon, or lean againft. The lowermoft feats next to the arena in amphitheatres being guarded by a parapet, as were alfo thofe next to the orcheftra in the theatres (which anfwer to the front rows of our boxes) were referved at all public fhews for perfons of the higheft quality and rank, as appears by a paffage in Juvenal, i�~li-'--------i- Generojior & Marcellis ki Catulis, Paulifque minoribuSi 6? Fahiis & Omnibus ad podium fpeStantibus. And the Emperor alfo was ufed to place himfelf at the podium, according to Suetonius, in the life of Nero. Toto podio ad aperto JpeSlare cotifueverat. Fig. III. reprefents half of a pediment. To defcribe the declivity of it, divide A. B. into four equal parts and a half, (or the whole into nine equal parts) take upon the indefinite perpen- dicular, the diftance between O. and P. equal to one of thefe, then draw a right line from P* to the lower corner of the drip, and the lines for the mouldings above this line parallel thereto from the feveral points in the profile: the triangular fpace left below them is called the (a) tympan,

		(*) Tympani autem, quod eft in faftigio, altitudo fie eft facienda ut frons coronae ab extremis cymatiis tota demetiatur in partes novem, & ^ex eis una pars in medio cacumine tympani conftituatur dum contra epiftylia, coJumnarumque hypotrachelia ad perpendiculum relpondeat. Coronas quae fupra tympanum fiunt, asqualiter imis praeter fimas funt collocanda?: infuper coronas fimae, quas Grjeci epitithides dicunt, faciendae altiores o&ava parte coronarum altitudinis. Acroteria angularia tam alta quasrt tympanum medium. Mediana altiora o�rava parte, quam angularia. Membra omnia, quae fupra capitula columnarum funt futura, id eft, epiftylia, zophori, coronas, tympana, faftigia, acroteria inclinanda funt in frontis fuse cujufque altitudinis parte XII. ideo quod, cum fteterimus contra frontes, ab oculo lirseae duae fi extenfae (fuerint, & una tetigerit imam opens par- tem,

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			8 4. The Grecian Orders tympan, which for greater magnificence is often adorned with fine reliefs of fculpture, the fubjedt thereof being always chofen fuitable to the edifice. The full extent of the pediment is fupported by two, four> fix, or a greater equal number of columns. Pediments are placed at the extremities, or at the center of an edifice, where they become very ornamental, efpecially if they coincide with the roof, otherwife the application of them becomes only a mockery. It mufl be noticed, that the cima recta for a pediment is occafionally defcribed as in this figure, from the oppofite angles of two fquares, that the raking cornice may miter with the level cornice that meets it* The Acroteria are fmall pedeftals for statues intended to be placed upon the Pediment; the middle acroterium is at the fumm.it, the two others are at the extremities, one to each. To trace the lower acroteria, continue the fhaft of the column upwards, as defcribed by the dotted parallel lines in the figure.; take s. u. for the determined height equal to s. t. the prefecture of the cornice; but for the center acroterium, fuppofe B. q. the profile of the pediment, make r. q. equal as before to the proje&ure of the cornice, and, according to Vitruvius, it fhould even exceed in height the lateral acroteria by one eighth part. Sometimes the upper parts of the acro- teria are moulded into little cornices, whofe haights may be one-fifth of their breadths. Statues are made lefs, or equal to the life, or larger. When they are made very fmall, they cannot be received (excepting on tablets) for external architectural decorations, and fhould be referved for chambers. If they exceed the life more than twice, they become eolofTal, and are beft placed upon pedeftals in an open area of fufiicient fpace. The queftion then is, to determine the fize of ftatues for the acroteria, or to adorn the intercolumniations or niches within a portico, &c. The fuperior diameter of the fhaft of the column, having prefcribed the breadth of the acro- terium over it, will determine alio the fize of a statue in an erect pofture, becaufe the ftatue re- quires neither more nor lefs fpace to ftand upon than a circle, whereof the length of its foot is nearly half of the faid diameter, as is fhewn by the traces of the feet marked out in the plot; the acro- terium therefore cannot admit of a ftatue taller than three times that diameter. This limitation for flames will always adjufl the true proportions they fhould have with their refpective columns. The ftatues upon the top of St. Paul's are too enormous for the columns, but this objection would difappear, if the fame height that is divided into the two orders, had been afhgned to one. We have only considered fingle pedestrian ftatues, and thefe of the human figure ; but it is eafy from them to make a fcale for the proportions of other animals, as well as to regulate the fize of a group of different figures whenever it may be intended. In order to view conveniently any objects placed on high, a certain diftance from the bafe of the building is requisite. The fpectator ftands very conveniently, when the vifual ray forms with the horizontal line an angle of 45 deg. but if the faid angle be increafed to 70 deg. the fpectator ftands rather inconveniently; and fhould this angle be increafed ftill more, the elevated situation of the obje&s is very inconvenient, and there is no looking up at them, without wringing one's neck. Supposing then 45 deg. is the mean, and 70 deg. the extreme elevation that fhould be allowed for the vifual rays in looking up at objects, 20 deg. will be the other extreme for the leaft elevated situations, becaufe there is the fame difference in defcending from 45 deg. to 20 de°\ as afcending

		tern, altera iuinmam, quas fummam tetigerit, longior fiet. Ita quo longior vifus Iinese in fuperiorem partem procedit, refupinatam facit ejus fpeciem. Cum autem (uti fupra fcriptum eft) in fronte inclinata fuerint, tunc in afpeftu videbuntur effe ad perpendiculum & normam. Lib, III. c. 3. from

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of ■jirchiteSiure.

from 45 deg. to 70 deg. it may then be concluded; that every part of architectural decoration
fufceptible of height will appear too low, if viewed under 20 deg. and too elevated if the vifual
ray exceeds 70 deg.

Having confidered the molt convenient fituation for viewing the high parts of a building, let
us offer the proper point to place the fpedlator, that he may fee to the beft advantage the whole
range of any confiderable front of what extent foever % this diftance is the fummit of an equila-
teral triangle, the bafe of which is the front in queftion.

When a building extends five or fix hundred feet, the depth is not-confidered as a necefTary
proportion. The extent of length muft' be divided into feveral diftinc~t breakings, as the fquare
of its height, fquare and half, &c. without which, no fuch defign can .ever appear beautiful;
each muft corrrefpond with the whole, and yet be independently agreeable: but to examine
the corre&nefs of the particular members, and the neatnefs and fpirit of the ornaments, we muffi
approach near enough to obferve the minuteft divifions.

Fig. IV. A block modilion cornice; the profile taken from the fecond external cornice of the
Rotonda at Rome.

* The profile of another cornice,, taken from the bridge at Rimini. Under it is the method
of tracing ftone quoins, the edges being left fharp and not chamfer'd; if either of thefe block
cornices are ufed, the height of the building muft be divided into eleven equal parts, one of
which is given to the cornice.

Fig. V. VI. VII. Three methods from Serlio to defcribe globular and oval vafes. The laft
may ferve to defcribe the eggs for mouldings -_} the pine buds may be traced in the fame manner*
obferving to place the narrow end upwards.

CHAP. IV.

Of the Doric Column, with the Flutings. Of the Dork Entablature. Of the Dork
Portal. Of the Dork Colonade. Of the Dork Arcade,

P L A T E V,

TH E Doric fhaft D< is without a bafe, as may already have been remarked in the firft
plate, but it fhould always be placed on a bafement, plinth, or (a) ground fill, whofe
height from the ground may admit of one, (6) three, or a greater unequal number of
fteps, each ftep being from fix to eight inches high. The Doric ruins of Greece, and thofe of
the temples at Poeftum, have all fuch bafements. The addition of a bafe to the Doric
fhaft is a downright innovation againft the moil deliberate intentions of the ancients; may it
not be reafonable to conjecture, that as the foot of this column is fufficiently broad in proportion
to its height, they who firft defigned it, as well as thofe fkilful mafters who immediately fuc-

(a) Supraque terram parietes extruuntur fub columnis dimidio craffiores quam columns funt futurae ; uti firmiora fint in-
feriora fuperioribus quae ftereobatas appellantur : nam excipiunt onera. Spirarumque prqjeclunc non procedant extra fblidum.
(h) Namque cum dextro pede primus gradus afcendatur, item in fummo templo primus ponendus eft. Lib. Ill, c. 3.

ceeded

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			The Grecian Orders
		s6	The Grecian Orders
		s6

	ceeded them, did not imagine that it would want any additional proje&ure for the fake of greater folidity ? that the fimplicity of its character could not admit of a bafe ? for as the ftatue of a Hercules, or of a wreftler would appear out of character if their feet were drefTed up in (c) fan- dais or fhoes, fo would the column to which they had annexed thefe ideas. The number of flutings [d) to the Doric column fhould never be more or lefs than twenty. Sometimes it was left with the fides flat and XX angles. The curvature of each fluting is de- fcribed from the center of a geometrical fquare, X whofe fides aire equal to one of the flat fides. Others have traced the curvature from the fummit of an equilateral triangle Z. whofe bafe is one of the flat fides. The entablature and capital may be traced by fcales of equal parts, e.g. For the capital divide its entire height into two equal parts ; take the upperrnoft for the abacus. Again divide c. d. into three equal parts -, two of thefe are for the ovolo, and the remaining one is divided into three for the fillets: for the fourth fillet belongs to the fhaft of the column; the projeclure of the abacus is three parts of its height; that of the ovolo is equal to its own height* and the fillets are profiled, as is feen by the figure. For the entablature, divide the height into feven equal parts, and each of thefe again into three % take feven of thefe fubdivifions for the height of the architrave, and eight of the fame for the height of the frize, the fix remaining will ftand for the height of the cornice, which being di- vided into twelve* will affign to each member its relative number of parts, as may be feen by the figure. The cornice projects once and a half of its height, then divide this proje&ure into nine equal parts, and the profiles are determined and defcribed, as the figure readily fheweth ; but the mo- dulary fcale is added, and the different meafures of the members may be taken by it. The capital C. confifls of a plain abacus, an ovolo under it, with (e) three annulets, for the fourth belongs to the fhaft or fuft of the column. With very little alteration, the text in Vi-i truvius agrees with this divifion. The entablature defcribed between C. and A. by beginning at bottom, confifls I. Of the Ar- chitrave of only one fafcia, with the Taenia, fillet, and fix drops. Thefe drops are different from thofe hitherto ufed: the fimplicity and height of the architrave gives it a fuperior degree of flrength to all others, commonly defcribed. II. The frize* confifling of the (/) triglyphs and (g) metopes ; the height of the triglyph is one module and four parts, and its breadth one module. The breadth of the metope between

(r) Bafi fpitam fuppofuerunt pro catceo. Lib. IV. c. i, (i) Columnas (Doncas) autem ftriari XX ftriis opcrtet qua: fi plane erunt angulos habeant XX defignatos: fin autetn ex- cavabuntur, fie eft forma facienda ; ita uti quam magnum eft intervallum ftrije, tam magnis ftriaturas paribus lateribus quadra- turn defcribatur : in medio autem quadrato circini centrum collocetur; & agatur linea rotundationis, angulos tangat, & quan- tum erit curvaturae inter rotundationem & quadratum defcriptionem, tantum ad formam excaventur. Lib. IV. c. 3. {e) Craftitudo capituii dividatur in tres partes, e quibus, una plinthus fiat.�Altera echinus, tertia cum annulis. Lib. lV. c. 3. (/) Tum proje&uras tignorum quantum eminebant, ad lineam et perpendiculum parietum pnefecuerunt: quae fpecies cum invenufta iis vifa eflet, tabellas ita formatas, uti nunc fiunt triglyphi, contra tignorum prascifiones in fronte fixerunt, & eas cera ccerulea depinxerunt, ut prsecifiones tignorum tedhe non offenderent vifum. Ita divifiones tignorum tedte triglyphorum difpoft- tione, intertignium & opam in Doricis operibus cseperunt. Lib. IV. c. 2. (i) *^ta T~^cd ^inter ^d«as opas eft intertignium, id metopa apud eos (Greecos) eft nominatum. Lib, IV. c. 2-

				two

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			of ArchiteBure. %j two triglyphs is one module and a half. The (i>) triglyph is divided in its breadth into twelve parts, the two furrows and channels having each two parts, and the three ihanks each two parts, and one part is given to each half furrow at the edges. The breadth of the triglyph regu- lates the fix drops anfwering thereto, in the architrave, as the figure plainly meweth; the breadth of each drop being one modulary part, but each interval is a fixth more. The depth of each furrow is half of its breadth. To recdncile the angular triglyph to modern ufe, it would be fufficient to fa^, that it is found in the belt remains of Grecian antiquity. The third chapter of the fourth book of Vitru- vius determines but very imperfectly for or againft this point; the emendations of the editors have availed little to reftore it to the true fenfe. Yet we can fix upon another (J) paffage favour- able to this diftribution of the triglyphs, for it does not follow that the metope next to the an- gular triglyph mull be irregular on this account. Befides the angular dentel in the Ionic, the angular modilion in the Corinthian cornice, were only fubftitutes in thofe two modes for the an- gular mutules in the Doric; now thefe mutules cannot have this difpofition of planks as in fig; Q^ which they are fuppofed to have, unlefs the triglyphs are angular, becaufe the mutules are placed of the fame breadth, and exactly over the triglyphs. There is fomething fo unmeaning in the femi-metope, that it fhould never more be received. III. Immediately above the frize is the cornice. The 1'dwefr. member herein is the cap of the triglyph, called by Vitruvius capitulum triglyphi. This fame platband is continued over the me- tope, but not quite fo deep : the next member is a cyma reverfa; above it is the fillet, agaiiili which is placed the (/�) mutules, one over each triglyph. The (/) drops in each mutule are fix In front and three deep, as may be feen in the plan B. of the foffit, then comes the corona ox- drip with its peculiar cyma and fillet. The fame members, only larger, finifh the cornice, and one would be apt to prefume, that this curved member or boultin is the true cymatium Doricum, iince we find it in neither of the other two modes. The (m) heads of lions in this cornice, as in others, were intended as water-fpouts to the iides of a building. The

		(h) Non enim, quern ad modum nonnulli errantes dixerunt, femftrarum imagines efle triglyphos^ itapotefteflej quod in angulis contraque tetrantes columnarum triglyphi conftituantur, quibus in locis non patiuntur res feneftras fieri. Lib. IV. c. 2. Triglyphorum latitudo dividatuf, ex quibus quinque partes in medio, duae dimidiae dextra ac finiftra defignentnr : reo-ula una deformetur femur, quod Greece meros dicitur; fecundum earn canaliculi ad norm* cacumen imprimantur. Ex ordine eorum, dextra ac finiftra, altera femora conftituantur, atque in extremis partibus femi canaliculi invertantur. Lib. IV. c. 3. (i) Namque neceffe eft triglyphos conftitui contra medios tetrantes columnarum, metopafque quae inter triglyphos fient seque longas effe quam altas: contraque in angulares columnas triglyphi in extremis partibus conftituuntur & non contra medios te- trantes. Lib. IV. c. 3. [k) Ex eo uti e tignorum difpofitionibus triglyphi: ita e canteriorum projeauris mutulorum fub coronis ratio eft inventa. Ita fere in operibus lapideis & marmoris mutuli inclinati fcalpturis deformantur, quod imitatio eft cantheriorum. Etenim neceffario propter ftillicidia proclinati collocantur. Ergo triglyphorum & mutulorum in Doricis operibus ratio ex ea jmitatione eft inventa. Lib. IV. c. 2. (/.) Et guttarum diftributiones, ita uti guttse fex in longitudinem, tres in latitudinem pateant. Lib. IV. c. 3. {m) In finus, quae fupra coronam in lateribus funt asdium capita leonina, funt fcalpenda ita pofita, ut contra columnas fingulas ea primum fint defignata : camera vero sequali modo difpofita uti fingula fingulis mediis regulis refpondeant. Ha?c autem'qua* erunt contra columnas perterebrata fint ad canalem qui excipit e tegulis aquam cceleftem. Medians autem lint folida uti qua: cadit

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			2$ The Grecian Orders The invariable regular diftribution of triglyphs and metopes for any given {n) front, muft al- ways regulate a Doric defign. It is obfervable in the Grecian remains, that the external edge of the angular triglyph in the frize is directly over the greater!: diameter of the column, but we have ventured to make it fall upon the diminution of the column, this does not in the leaf* afFed the diftribution of the triglyphs and metopes, for, excepting the angles, the centers of the columns are all fuppofed to pafs through the centers of the triglyphs. The height of the column with its capi- tal is XIV modules, according to Vitruvius, but in the defigns of the firft, as well as of the next plate, according to the Grecians example, it is allowed no more than XII. S. mod, as it has already been quoted in the table of altitudes* What a beautiful and proportional fimplicity appears throughout every part and member of this Doric ! the diftindion and character are fpecially preferved, with fuch authentic marks, as muft fet afide among the unprejudiced, thofe fpurious, uncertain and confufed traces of the or- der hitherto received; for the foundations of the art are principally to be fixed upon examples of the belt antiquity, and we mould build upon thofe to infure the fuceefs of any defigns. PLATE' VI. The Doric portal A. presents a front of four columns fupporting a pediment, with three in- tercolumniations j the middle one of two triglyphs, and the two lateral of one triglyph each j thefe, with the four triglyphs placed over the four columns, occafion this front to confift of eight triglyphs and feven metopes, which full extent is equal to XVIII. S. modules, a triglyph is placed at each extremity, fo that the half module falls out in the odd number of the metopes. When a front contained four columns it was called tetraftyle j if fix columns, hexaftyle i if eight columns, oftoftyle, &c. this appellation they joined to that of the intercolumniation, as tetraflyle-fyftyle, exaftyle-diaftyle, odtoftyle-pycnoftyle, &c. When we come to fpeak of the antique temples, we mall find that to thefe compound names, they added the names of the order, and methods whereby they difpofed the columns to the fore and back fronts, as well as to the fides of the building. In the elevation of this plate, the Doric portal of the Agora at Athens, is taken For an ex- ample. By the plan A. it may be obferved, that the columns are advanced one diameter and two-thirds beyond the ants or pilafters B. thefe pilafters (o) are placed with a fmall projedhire upon the ends of the fide-walls, behind the two extreme columns of the front j their breadth being equal to the diameter of the column, but at the fides, when there is no column before them, their breadth is only half that of their front. The pilafters have not the fame diminutions as the columns, and the capitals of thefe antse are different from thofe of the columns, being divided into a greater number of mouldings. See figure C \|H\|

		cadit vis aqua per tegulas in canalem, ne dejiciatur per intercolumnia neque tranfeuntes perfundat. Sed qua: funt contra co- lumnas, videantur emitters vomentia rudtus aquarum ex ore. Lib. III. c» 3. {n) Frons jedis Doricae in loco quo columnae conftituuntur dividatur fi tetraftylos erit in partes XXVI. fi hexaflylos in XLIT* ex his pars una erit modulus, qui Graece efnbates dicitur, cujus moduli conftitutione rationibus efHciuntur omnis operis diftribu- tiones. Craffitudo columnarum erit duOrum modulorum, altitudo cum capitulo XII. S.---------Haec ratio in operibus diaftylis erit conftituta. Si vero fyftylon & monotriglyphum opus erit faciendum, frons aedis, fi tertraftylos erit, dividatur in partes XVIII. S. ft hexaflylos erit, dividatur in partes XXVIII. S. ex his, pars una erit modulus, ad quern (uti fupra fcriptum eft) opera diftribuentur. Ita fupra fingula epiftylia & metopae duas, & triglyphi finguli erunt collocandi, in angularibus non amplius quam quantum fpatium triglyphi. Accedit in mediano contra faftigium tnum triglyphorum & quatuor metoparum fpatium, ut latius medium intercolumnium accedentibus ad jedem habeat laxamentum & adverfus fimulacra deorum afpe&us dignitatem. Lib. IV. c. 3. (0) Antss quod Graece paraftatae dicuntur------columnae habentes poft fe paraftatas. Lib. IV. c. 1. To

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		vf ArcDiteEiure. 29 To defcribe a door-way within this portal, divide the height contained between the floor and the underrnoft line of the architrave into fix equal parts. Take four for the height of the aper- ture, and make the breadth equal to half its height. The architrave and jambs have their pro- portions and mouldings given fuitable to the character of the order.; Sometimes the ancients ad- ded a. frize D. which they called kyperthyren, and above this a tablet E. for any infcription or work of fculpture, referring to certain particularities of the building;, Ix in the lateral intercoltimniations niches mould be required* the breadth of each is to be made equal to half of the breadth of the door's aperture, and the heights twice and one half of their breadths; obferving to defcribe their fummits femicircular, as well as their plans. Al- though fome modern authors have exclaimed againfl niches, yet they may be introduced with propriety to break the naked of a plain wall, or to range in the fame levels and perpendiculars with the windows of a front, whenever thefe apertures mould not take place. They are the proper receptacles of the ftatues ; nor can an architect's defigns be too much diveriifled, where a fupe- rior degree of magnificence requires fuch additional ornaments, if he is careful not to give into abfurdities. This leads us to fay a word more about the temples of the ancients. The deities of the Pagans were reprefented Under the human fhapej, fo that by attributing certain characters to the orders, the architects feem to have judged it neceffary, to have regard to what was fuitable to every diftindt deity, not only in the choice of the fituation of places, but alio in the choice of the form (a) and order of the temple. Thofe dedicated to the Sun, to the Moon, or to Vefta, were circular, like that at Tivoli. The temples in honour of Jupiter, as the thunderer* were Uncovered in the middle. They appropriated the Doric order to Mars, to Hercules, and to Minerva. The Corinthian Was affected to Venus, Flora, Proferpine, Apollo, the Mufes and the Nymphs. Juno, Diana, and Bacchus, were worfhipped in temples of the Ionic order. The plans and elevations of the walls, piiaiters and columns, were varied in feveral different manners, befides the diftinctions of the orders. They are defcribed in Vitruvius, as (i>) undermentioned, and Palladio explains them in his fourth book; we fhall juft mention them, beeaufe from the following verbal descriptions any of them can be defcribed. I, The temple without columns, when the breadth did not extend to twenty feet:" The length was twice its breadth, and the length being divided into eight equal parts, five of thefe were given to the cell, and the three remaining ones were affigned to the antitemple or pronaos, flanked with the fide-walls, on the extremities of which were placed the pilafrers called antse. II. The temple in antes, with two columns on the fame line with the pilaflers, and placed between them. III. The temple in -antes, with two columns within the pronaos behind thofe in front: The inner columns were of leffer diameter than thofe in front, though their heights were equal; but to make them appear of equal circumference, they had a greater number of flutings, either eight and twenty, or thirty-two. It was peculiar to this temple to fhut up the middle inter- columniation with a parapet or baluflrade, in the nature of a podium, the entrances being left at each fide between the antes and the columns. IV. The proftyle or a front of columns, from four to fix, &c. forming a portico advanced before the antes. V. The ^Xamphi-pmifad�, ^p- with the fame mode and number of columns in the back front as in the fore front. VI. The peripteral or winged, having fix columns in front, and fix in the rear of the temple, V. befides (V) eleven on {d) each fide, including the angular columns of the two fronts, their _Ldifiance from the walls being equal to the interval prefcribed to between two columns. In

			(a) Lib. I. c. 2. . (5) Lib. III. c. i. & Lib. IV. c. 4. & 7. {c) Ita enim erit duplex longitudo opens ad latitudinem. Namque qui coiumnarum duplicationes fecermit erraviffe videntur, quod unum intercolumnium in longkudine plus quam oporteat procurrere videatur. Lib, III, c. 3. (d) Pteromatos enim ratio & columnarum circum asdem difpofitio ideo eft inventa ut afpectus propter afperitatem intercolum- Eiorum haberet autoritatem, Prseterea fi & imbrium aquae vis occupaverit & intercluferit hominum mukitudinem ut habeat in H asde

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go ^he Grecian Orders In this place it is proper to remark, that the temple of Thefeus at Athens, for example, inflead of eleven columns of each fide, has thirteen ; thus it exceeds in length twice its breadth : but we may fuppofe, that this addition of two columns to the length of its fides, was the confequence of advancing two columns deep before the antes inftead of one, and this required alfo a proportional length of the cell, which it could not have with only eleven columns on the flank, if two of thefe at both ends were advanced before the antes. VII. The pfeudodiptera! or falfe double winged, that lias two ranks of eight columns to each front, and fifteen columns on each fide, including the angular ones of both fronts. The diftance of the columns from the fide walls is equal to two intercolumniations and one diameter. VIII. ' The dipteral or double 'winged, with two ranges of eight columns to the fore and back fronts, and two ranges cf fifteen columns to each fide. IX. The hypsthral, with two ranges often (e) columns to each front; their fides were either pfeudodipteral or dipteral, the interior part of the ceil was open to the iky; within the walls, at the diftance of one intercolumniation and the dia- meter of .a column, were raifed on all the fides internally, two lefi'er orders, one above the other, equal in height to the great external order. The roof only extended from the columns without to thofe within -, at each front, however, the pediment was carried over the entire breadth of the portico. X. The pfeudoperipteral' or falfe winged, having the fame number of columns in the fore front, and as many in the back front and an the fides as the peripteral, but the walls of the cell of the temple were extended at the fides and at the back front, to cut into the diameters of the columns. Such are the temple of Fortuna Virilis of the Ionic order tetra- ftylej and the temple of Concord, alfo Ionic, hexafiyle, both at Rome; and the antique remold at Nifmes, called La Mat/on guarree, of the Corinthian order and hexafiyle j the three are d&- figned and explained by Palladio, in his fourth book; Of circular temples or rotunds, there were two .forts. XL The monopteral* fupporting a hemifpherical cupola by a circle of infulated columns at pycnoflyle diftances. The internal diameter of the plan was equal to the height of a column, and the height of the bafement (ftereobates) was equal to one third of the diameter of the plan, and was afcended by a due num- ber of fteps of convenient altitude. The floor of the temple v/as on the fame level with the fuperior part of the bafement. Sometimes, inftead of a circle of infulated columns, the cupola was fupported upon a circular wall of the fame height as that prefcribed to the infulated columns, or the diameter of the plan was equal to its height the cupola included, like the Pantheon at Rome. XII. The circular peripteral temple had its columns at fyftyle intervals placed Upon pedeftals (ftylobatae) furrounding the temple. The diftances of the pedeftal, from the circular walls of the cell, was the fifth part of the entire diameter of the temple within the colonade. The dia- meter within the walls of the cell being equal to the height of a column upon its pedeftal. - Vi- truvius mentions the cupola being crowned with a flower. At Athens there is a moft beautiful one, which M. Stuart has deferibed in the fourth chapter of his book. In this plate we have given the plan in fmali> of a Doric, hexafiyle, fyftyle, peripteral temple, wherein the different parts may be feen at firft fight. The fide-walls, which are advanced be- yond the cells, are alfo called the wings, according to Strabo's defcription of a certain temple at Thebes in Egypt.. Parities qui utrimque pronaon circumcludebant Ptera vocata.

	ffide circaque cellam cum laxamento liberam moram. Hsec autem ita explicantur in pfeudodipteris sdium difpofitionibus: quare videtur acuta magnaque folertia efFedus opeium Hermogenes feciffe, reliquiffeque fontes, unde poileri pofTent haurire difcipli- narum miones. Lib. III. c. 2. (<0 Medium autem fub divo eft fine tedo, aditufque valvarum ex utraque parte in pronao,& poflieo. Hujue autem ex- emplar Romas ncn eft, fed Athenis, &C. Lib. III. c. t.

		PLATE

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	of ArchiteBure'. a j

PLATE VII. We have obferved before, that every Doric ftruclure muft be regulated by the triglyphs and metopes. The proper diftribution for a Doric colonade would be only that of two triglyphs, as deiigned for the middle of the portal in the laft plate; but the neceffity of a wider intercolum- niation, may, on fome occafions, require three triglyphs; in this cafe the columns may be dif- pofed by couplets, for a fufficient ftrength to fupport the entablature at fig. A. NearTrevi, between Fuligno and Spoleto, is a little temple, where the portals are fupported at the angles by columns and pilafters in couplets. But this is a corruption of the antique pu- rity, which confidered equi-diftant columns, with narrow intercolumniations, as producing the moft defireable effects, both on account of ftrength and beauty. The boafted colonade of tile Louvre by Perraiilt would Have merited much higher commendation, if the intercolumniatidns between the center and the ends, had been equidiftant, inftead of cou- plets ; thereby the jambs of the niches might have been forhewiiat obfcured, but the very elegant difpofition of the columns, would have fufhciently made amends: it is more effential to avoid errors in the greater lines of a defign, than to be over fcrupulous about the minutiae of little parts. The Grecians called a colonade or portico, Stoa, which gave the name of Stoics to the dif- ciples of Zeno, who were accuftomed to afiemble together in the porticos. When a portico furrounds internally any open oblong or fquare fpace, it is called a periftyle, to diftinguifh it from the periptere, where the columns are difpofed without-fide. The Doric Arcade B. is deiigned without columns -_} for this purpofe, the Height of the arch is to its breadth as feven to four; (and it lofes its proportional character} if made higher.) Di- vide the given height a. b. into eleven equal parts, take two for the height of the entablature* which by the proper modulation is divided into the requifite members. Let the extent of four triglyphs and three metopes fix the breadth of the aperture, then the breadth of the pier will confift of two metopes and one triglyph: The reft may be collected by inflection of the figure. If with the above breadth for the aperture of the arch, you make its height only once and a half its breadth, it would then admit of femicolumns againft the piers, raifed upon plinths, as fig. E; but the expences of columns againft the piers of arcades feem very ufelefs for common purpofes. For theatres and amphitKeatres, the addition of the femicolumns to the piers, gave an additional ftrength, by increafing the depths of the piers, and ferved to break the too great plainnefs or nakednefs which otherwife would have appeared upon fuch vaft extents* Pilafters projecting from the piers of arcades, from one eighth to one fourth of their diameters, have fometlmes taken place inftead of femicolumns. The archivolt C. and the impoft D. fhould have their members and mouldings characteriftically defcribed from the architraves in every order. K.ey-ftones, whether plain or fcrolled, with ornaments of mafks or foliage, interrupting the members of the archivolt, give it an apparent weaknefs, and deftroy the beautiful effect and limplicity of the femicircular fweep : perhaps it may not be judged fo by others, who will bring againft this opinion the authority of key-ftones from fome of the Roman antiquities, and from the practice of feveral of the beft moderns j but if an ornament is ill-placed, no authority fhould protect it.

		C H A P.

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		The Grecian Orders

CHAP. VI -'Of Pedejlais. Of the Ionic Bafe and Column. Of the Capital. Of the Entabla- ture. Of the Volute at large. Of the Flutings and Bafe at large. Of Fluted Pilafiers. Of the Ionic Portal. Of the Ionic Portico■, with Pedeflals, H E ufe of the bafement (ftereobates) was faid in the laft chapter to raife the floor of a building above the level of the ground, and to place thereon the fhafts of the columns; but the origin of a pedeftal ( (^)ftylobates) raifed above the floor, feems to be owing to the neeeffity of ufmg columns which turned out too fhort for the intended work, or that the intervals between two pedeflals (b) along the fides of the building might ferve as a podium, a parapet or baluftrade having the fame mouldings as the pedeflals, at top and bottom; but for - the portal in the front of the building, the pedeflals were infuiated, to admit of a free paffage between the intercolumniations. The height of the pedeftal confidered as a parapet can have no relative proportion to the column it bears, becaufe the height of a parapet is unalterably fixed from three feet to four at moft, and this may equally ferve a column of ten feet, or one of thirty feet in height. A pedeftal is no part of an order, neverthelefs, the members are to be characterized according to the column it bears. Some of the moderns have launched into a depravity of making the pedeflals excefflve high-, others have judged fo ill as to place one pedeftal upon another, that the columns feem to be hoifted upon ililts, againfl all the rules of folidity and beauty; The word Scamillus, fignifies properly a little feat, or a footfloo! * what can referable more to either of thefe, than that part of the continued pedeftal that breaks forward under every column ? and as the number of columns in the fides of the periptere was unequal, fo it was neceffary to hint that thefe ftools (fcamilli) upon which the columns were to be raifed, muff, be in odd numbers {impares) likewife. And if the projeclures of all thefe fcamilli were fet off in a right line (ad libellam), it made the whole fide of the ftylobates appear (alveolatus) channelled out or indented by regular intervals, P L A T E VIIL The figure marked H. reprefents the profile of an Ionic pedeftal; the upper moulding thereof is a plinth, becaufe the lower moulding of the bafe hereafter defcribed is a torus -, all the other mouldings of this pedeftal are adapted with a fuitable fimplicity. The Ionic order of Vitruvius, as delivered down to us by his editors, is indeed vsry fimple, but, at the fame time, very poor, from the littlenefs of all its parts: what is here offered, is from the ruined temple on the IlyfTus at Athens j it is as elegant as plain, from the fimplicity

	(a) Sin autem circa sedem extribus laterifaus podium faciendum erif, ad id confiituatur uti quadra, fpifte, trumi, coron_s, lyfis ad ipfum ftylobatam, qui erit fub columnar fpiris, conveniant.--------- (b) Siylobatam ita oportet exaequari uti habeat per medium adjeclionem per fcamillos impares. Si enim ad libellam dirigetur alveolatus oculo videbitur. Hoc autem uti fcamdli ad id convenienter fiant, item in extremo libro forma & demofiftratio, erit defcripta. His perfects in fuis locis fpjra: collo- centur, &c. Lib. III. c. 3. and

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		of ArchiteSiure, q% and greatnefs of Its parts, The divifions are made from a fcale of modules. The greateft dia-» meter of the column, juft above the apophyge, is divided into thirty-fix parts for two modules. The bafe G. is very peculiar* and beautiful; it begins from, the bottom with a torus j above this is a fcotia, or hollow, between two fillets; the remainder is divided into feveral very fmall mouldings, which convey the idea of feveral nice folds (a) of a female garment, that is iikewife indicated by the flutings of the �hafts. Thefe mouldings are too nice to be executed in com- mon flonej but by diminifhing their number, the general profile may ftill be preferved, as will be fhewn in plate IX. for the bafes to this order. The fhaft F. is occafionally ornamented with flutings -, the (b) number afllgned is twenty-* four �, to defcribe thefe flutings and fillets, divide the periphery, or circumference, into twenty- four equal parts, and one of thefe again into eight parts, fix of which are allowed for the breadth of one of the flutings, and one for the half of each fillet, as will be �cen at large in the next plate for the Ionic flutings. The capital here delineated has great elegance and fimplicity y if we look at the front of it C, we may obferve, that the curvature of the volutes by far furpaffeth that of all others hitherto defcribed in the works of the beft modern mailers, or of any defigns collected from the remains of Rome; the fweep or undulating lines of the hem that pafs over the middle ovolo, is very graceful -, the fituation of the eye of the volute is well chofen, being fixed fo much nearer to the lower than to the upper part of the volute, as it would naturally have that propenfity in a (c) buckle of hair, if a bead or flower was thus placed. The breadth of the fpiral fillets is divided by a channel into two, when the materials are hard enough to bear it. The femi-profile D. of the fide of a volute. The fulnefs of the (d) bolilers anfwers perfectly well to the front, and the little mouldings or binders are well chofen and properly placed. The plan E. reprefents the boliier of the volute with its binders, with the ovolo and the femi- plan of the upper part of the fhaft, the diameter thereof is fixed at one module and twelve parts* K. Sheweth the junction of the two femx-volutes, on the internal angle of the capital of each angular column. The entablature A. is nearly that from the antiquities of Athens. The principal members are thus meafured: M. p, To the architrave, with its mouldings, --_�-_ i -, g To the frize, including the little fillet, ------ _I: g To the cornice* -.-_.,.--,_., _,_�i » ₀Prefecture of the cornice, - » ? * « *. ■- - - -' i ; g The quantities of the feveral mouldings may be meafured from the fcale of modules, though we mould always recommend a fubdivifion by equal parts. It mufr, be remarked, that when there is a pediment, the level drip remains with only its boultin moulding at top j the fillet immediately next to it in profile being carried upwards in the fide of the pediment.

			(a) Truncoque toto firias uti ftolarum rugas, matronali more derniferiint. Vitr. Lib. IV. c. r. (b) Striges facienda: funt XXIV. Lib. III. c. 3. (c) Capitulo volutas, uti capillamento concrifpatos cincinnos prxpendentes dextra ac ilniflra colloeaverunr, & eymatiis & en-? carpis pro crinibus difpofitis, frontes ornaverunt. Vitr. Lib. IV. c. 3. (d) Pulvinorum baltea. lb. Lib. III. c. 3. ^l,/ ■ I The

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				The Grecian Orders
			rt j ,5 +	The Grecian Orders
			rt j ,5 +

The bale of the column, the elegant volutes of the capital, the juffc and grand divifion for ftrettgth and beauty of the entablature, the cornice being diftinguifhed for the greatnefs of its profile, the frize for a fpacious furfaee for any works of fculpture, and the architrave for its flrength, being not broken into two or more facias, are confiderations which mould recommend this entablature. The fide B. is like the former A. four modules in height, but it is divided as follows to ad- mit of (e) dentels in the cornice. ' , M. p. To the architrave, ■��. * .*■ .i- . r .. -" 1:6 To the frize, _«----------- i: 2 To the cornice, ------- -----i: 10 Projefture of the cornice. - - _ ^ - - � - - 1 � 12 The profile and the mouldings may be feen in the figure. It mufr. not be paffed over, that the internal and external angles, by the diftfibution of the dentels here marked out, may always be furnifhed with a dentel; the reafon of this derives from - the placing of the (jT) timbers, fig. M. Therefore, as the angular mutule and triglyph in the Doric, fo the angular dentel in the Ionic, and the angular modilioii in the Corinthian, will have their proper fituation prefcribed according to the primitive imitation. A fwelling frize has been given by Palladio and Scamozzi as characteriftic to this order, but as it is not abfolutely fo, it is bell omitted,, becaufe it gives a difagreeable heavy appearance.

	PLATE IX. A fpiral line is a curve of the circular kind, which in its progrefs approaches to, or recedes from its center to any defired number of revolutions* There are two forts of fpiral lines of ufe in architecture. I. The helix, which winds itfelf around a cylinder to any given height. II. The volute, that winds itfelf about a cone, fo as the points thereof continually approach the axis. Fig. A. the volute of the Ionic little temple mentioned in defcribing the laft plate. The manner of tracing it is thus : At two parts diftant from the fhaft of the column continued upwards, let fall from the lower ~ moft line of the abacus, an indefinite perpendicular for the cathetus of the volute, which inter- fered at fourteen modulary parts below the point whence it is dropped, gives the center of the eye of the volute, which is defcribed with a radius of two modulary parts; but the radius for the external circle that forms the rim, is two and a half modulary parts. The eye beino- de-

		(e) Si Doricis epiftyliis in coronis denticuli fculpentur, aut in pulvinatis capitulis & columnis lonicis epiftyliis exprimentur triglyphi, tranflatis ex alia ratione proprietatibus in aliud genus operis, offendetur afpectus, aiiis ante ordinis confuetudinibus inftitutis. Vit. Lib. II. c. 1. (/) Item in lonicis denticulorum conftitutio, propriam in operibus habeat rationem & quemad'modum mutuli cautheriorum proje&urae ferunt imaginem, fi_c in lonicis denticuli ex proje&uris afferura babent rationem. Lib. IV, c. 2. fori bed,

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		of u4rchiteEiure. _; � %% fcribedi (fee tht; -figure at large) the perpendicular radius, confiding of two modukry parts, is divided equally at a. draw the line a. i. at right angles, which falling agaiaft the tangent drawn for that purpofe, gives therein the point I. for the center of the firft quadrant; continue the line i. a. to 2. making a. 2. equal to half of the radius* and the point 2, is the fecond center, ob- ferving that the fegments defcribed from this and all the following centers be perfecl; quadrants. From 2. let fall the perpendicular 2. 3. upon the diameter at point 3. is the third center. Take from 3. to 4. equal to three-fourths of the radius, and the point 4, upon the diameter is the fourth center. Erecl the perpendicular 4* 5. equal to three-eighths of the radius, and the point 5. is the fifth center. Take from 5. to 6. equal to half the radius, and the point 6. is the fixtli center. Let fall the perpendicular 6. 7. and the point 7. upon the diameter is the feventh center. Take 7. 8. equal to three-eighths of the radius, and the point 8. is the eighth center. Eredl 8. 9. equal to one-fourth of the radius, and the point 9. is the ninth center. From 9. to 10. is equal to one-fourth of the radius, and the point 10. is the tenth center. Let fall the perpendicular from 10. to 11, and the point 11. upon the diameter is the laft center : and the fpiral of the volute is completed by a regular involution to the rim of the eye. In order to make the liftel or hem of the volute have a true and gradual diminution of its breadth when it meets the rim of the eye, the fecond ten centers are to be fet off at one-tenth of three quarters of a modulary part, within the ten firft centers fixed as above. Fig. B. is the Ionic bafe at large of the fame ruin. But as the number of fmall and iharp mouldings therein could only be executed in marble, or the hardeft fort of materials, another pro- file * is defcribed with larger divifions, wherein the character is fufficiently marked. The Ionic bafe J by Vignola, omitting the plinth, turned topfy-turvy to remove the reafonable obje&ion of the great torus being incumbent upon the fmalier members, gives likewife a very charafteriitic bafe for this order. The temple of the Sybil at Tivoli has bafes to its columns without plinths, and they are only -one-third of the diameter of the column in height. Fig. C. the manner of defcribing the elliptical cavities for the flutings of the Ionic columns, from the antiquities of Athens. D. The manner of tracing the ftaffs or cables for femicircular flutings appropriated to the Co» rinthian order. E. The manner of dividing a Corinthian pilafter (for none other is fluted) into thirty-feven equal parts, for nine flutings. One of the parts is allowed to each fillet, and three to each fluting. F. The breadth of a pilafter, with feven flutings, is divided into twenty-nine equal parts, giv- ing one to each fillet, and three to each cavity. The number of feven flutings in a pilafter, an- fvvers better to twenty-four flutings of the column, becaufe nine flutings in a pilafter make the channels too narrow j but the higher a fhaft of a column is, the greater number of flutings it may have, which may be increafed even to twenty-eight or thirty. The two extreme fillets of a pilafter have fometimes the addition of an aftragal or bead, an example of this is at the Pantheon in Rome. In fuch a cafe, for feven* flutings, divide the breadth into thirty equal parts, taking one and a half for each extreme fillet, with its bead, and the, remainder divided as before prefcribed. Pilafters are often not fluted, though the columns that accompany them are, and fometimes columns are not fluted, though the correfponding pilafters are. The projecture of a fluted pilafter from a wall can never be lefs than equal to one cavity and two fillets ; but the bell: projecfure for the advantage of the capitals, is one-fourth of the diameter. The extremities of the flutings towards the bafe, are either circular downwards, or circular upwards, and fometimes terminate fquare. The firft is the moft approved method. The flutings of

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<�,� The Grecian Orders of fomc columns have their lower extremities defcend into the apophygis, and their extremities at the capital terminate in the fhape of leaves. See the Choragic monument of Lyficrates, antiq, of Athens. tii.4~

	P L A T E. X, ReDrefents an Ionic portal from the abovementioned ruin at Athens.* It is the front of the little temple already mentioned. This edifice is raifed upon a ftereobates of three fteps. A. The plan of the ftereobates, with the plans of the columns to the pronaos or anti-temple; behind the angular columns, at the extremities of the fide-walls advanced forwards, are placed the antae or pilafters, with a fmall proje&ure. The plan of the cell is an exad: fquare, and the whole of it is defigned in fmall on this fame plate* The diameter of the columns is near one foot nine inches. B. The elevation of the fteps and of the columns, with the pediment. C. The capital of the pilafter, not at all fimilar to the capital of the column. This diftindion is worthy of particular notice. D. The plan of the capital of an angular column, to fhew how the external volute is curved inward; the fide of the capital has two volutes fimilar to thofe in the front. The back part and infide have the bolfters, which interfecl each other at the eye of their femi-volutes. To defcribe a door-way to this front; the height from the floor to the bottom of the archi- trave may be divided into feven equal parts. Six of thefe will give the height of the aperture, whofe breadth is half of its height. Whenever niches may be required in fuch a defign, let their upper parts range in a line with the height of the door-way; their breadths being equal to half the breadth of the door's aperture, and their heights twice and a half their own breadths. In the other corner of this plate is defcribed the half of that very rich and beautiful capital of the temple of Minerva Polias* For the Ionic arcade, whether it be traced with or without columns, the following meafures will fix the feveral proportions thereof, without referring to any figure for this purpofe. Di- vide the entire given height into XL equal parts, which take for XXII. modules, with the fol- lowing diftributions : For the height of a ground-fill or bafement above the furface M. p. of the ground, -__--.----__-_ i i - For the height of the arch above the bafement, -----16: * For the diftance between the arch and the architrave, i : For the height of the entablature, with its members as before defcribed, ------,__--_»___^_i The breadth of the Arch, -._..____-.._ 8:9 The breadth of the piers, -_____-_~__^_: The impoft, -------------- i:~ The archivolt, -..-.---- i *.-.- � _: _x6 If a femi-column is intended to be placed againft the pier, the axis thereof is fixed in the middle of the breadth of the pier, and its bafe is placed upon the bafement. The altitude of the column with its capital and bafe, on this occafion, is eight and a half diameters.

		PLATE

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of Architecture.

PLATE XL

There may be various occafions to defcribe an Ionic portico, with the pedeftals under the co-
lumns, and the podium or parapet between two pedeftals. The under-written dimensions may
determine the feveral proportions, from a modulary fcale.

For the plan M. p.

The middle intercolumniation is* *> * * m. ' 6 i *
All the others, each ~ ' ft * « u * -4:9

For the elevation M. p.

The height of the pedeftal, which determines the dia-
meter of the column nearly "at two feet, - - - 4 :
The height of the entire column* - - - ----16 i

- The height of the entablature * ---.--.--4;-

The niches are defcribed fo as to have their archivolts range with the undermoft line of the
architrave of the door-way, which is four parts out of five, from the ground line to the bottom
of the architrave, and the bottoms of the niches range with the fuperior part of the bafes of the
columns, from the given heights you may adjufl the breadths.

The door is made with foldings* or bivalved, and the pavement of the podium rifes up one
ilep.

The windows are imagined for filch a defign to be on the oppofite fide, or at each end.

The tablets over the niches and the door are intended for ornaments of fculpture in baflb
relievo.

G H A P. VI,

Of the Corinthian Order, Pedeftals Bafe and Column. Capitals and Entablatures.

Of the Portico. Triumphal Arch.

H E Corinthian order exhibits the higheft degree of delicacy* beauty, and richnefs,
to which any architectural defign can arrive. It took its rife in that happy foil of Attica,
for Callimachus the Athenian, a moft ingenious fculptor, was the inventor of its (a)
capital, which being firft executed at Corinth, received its name from thence. It appears that
the members and mouldings of the entablature had no other inftitution than what v/as already
eftablifhed in the nature of things for the Doric and Ionic modes \b); the Corinthian modilions,
though differently proportioned, ornamented, and difpofed, anfwer to the Doric mutules, and
when at times the modilions have been omitted, the Ionic dentels have taken place. Some in-
deed among the ancients, contrary to their bell and chafteft rules, have placed U) modilions and

(a) Columnae Corinthiae, praster capituh, omnes fymmetrias habent uti Ionics. Lib. IV. c. 1.

{h) Csstera membra quas fupra columnas imponantur, aut e Doricis fymmetriis aut e Ionicis moribus in Corinthiis collocao*
tur# Ita e »eneribus duobus, capitulo interpofito, tertium genus in operibus eft procreatum. Lib, IV. c, 1.

dentels

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	§ l%n 'Grecian Orders* dentels in the lame Corinthian cornice. As to the [d) invention of the capital, the tale of it is commonly known; it may not, however, be improper to give the tranfcript of it from the ori- ginal in his own words. Vitruvius informs us, (<?) that among the confiderable edifices of different orders, the moft remark- able were, the temple of Jupiter Olympius at Athens, the temple of Diana at Ephefus, the temple of Apollo at Miletus, and the temple of Ceres and Proferpine at Eleufis. Scamozzi mentions another temple in the ifland of Cypriis, dedicated to Venus. At Rome there are feve- ral ancient remains of tills order, well known to curious travellers, and may be fesn. faithfully meafured and delineated in the works of the accurate arid ingenious Defgodetz, All thefe edi- fices were certainly defigned and executed by Grecian artifts, as few extraordinary artifts were found among the Romans ; and it is paft doubt, that feveral materials of edifices pulled down in Greece were brought to Rome and elfewhere, and thefe rebuilt, fince the facility this people had in tranfporting fuch immehfe bodieSj muft readily be granted, when one confiders the Egyptian obelifks which they brought into their capital, and there ere&ed. It is very remarkable, that tlie entablature which Palladio and other moderns have given to their Roman or Compofite column, is no other than the true Corinthian entablature; as fuch it was found with its capital in that beautiful and ornamented fragment, called the frontifpiece of Neroi fuppofed to have made a part of the immenfe palace built by that emperor, and which he named his golden houfe, fo called from the incredible richnefs beftowed upon it. Suetonius de- fcribes it as having feveral parts within fide overlaid with gold j and every where adorned with the dazzling glitter of precious ftones and mother of pearl. Its extent was from the Palatine to the Efquiline Mount: it contained porticos fupported by fevefal rows of columns, a full mile in length : there was alfo a lake like a fea, furrounded with buildings, like fo many cities. Front" all this we may infer, that a relique of this pediment, muft be received as one of the moft authentic models, in all the members of its entablature �, and this is further confirmed by the Corinthian entablature of the Poikile or ftoaj in the antiquities of Athens, having exadly the fame members i but firft of the pedeftai and bafe.

		PLATE .XII, The pedeftai A. is taken from the Stoa at Athens ; by this we may obferve, that the ancients were not fond of high pedeftals, firice the total height is little more than three ferni-diameters* and the bafement plinth is higher than the die of the pedeftah Now, as we have faid before, the pedeftai was very rarely intended but as a parapet or baluftrade, (whofe height is little variable) therefore the columns of the gfeateft diameter will have the loweft pedeftals, and vice verfa, in proportion to their diameter. For example, a column of two feet diameter may have a pedeftai three feet and a half high, or a little more; and a column one foot and a half diameter muft

(d) Ejus autem capituii prima inventio fie memoratur effe fa�ta. Virgo, civis Corinthia jam matura nuptiis, implicita morbo deceffit. Poft fepulturam ejus, quibus ea viva poculis dele&abatur, nutrix collecla h compofita in Calatho pertulit ad monii- tiientum, & in fummo collocavit: & uti ea permanerent diutius fub divo, tegala texit: is Calathus fortuito fupra acanthi radices! fuerat Collocatus. Interim pondere preffa radix acanthi media, folia & cauliculds circa vernum tempus profudit* cuius cauii- culi fecundum calathi latera crefcentes, & ab angulis tegulse pondere neceffitate expreffi, flexuras in extremas partes volutarum facere funt coa&i. Turn CalHmachus, qui propter elegantiam & fubtilitatem artis marmoreg; ab AtherJenfibus, catatechnos fuerat nominatus, prseteriens hoc monumentum, animadvertit eum calathum & circa foiiorum nafcentern teneritatem, delecta- tufque genere & formce novitate ad id exemplar columnas apud Corinthios fecit, fymmetriafque conftituit, ex eoque in perfedtionibus Corinthii generis diftribuit rationes, Lib, IV. c. i, ,",■",■■ (e) Piaefat. Lib, VII, hs.ve

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of Architecture* 39 have the fame; in the fifft cafe only a diameter and a half, and little more, is allowed from the modulary fcale, and in the'lift the pedeftal B. admitted of two diameters and upwards. The die of the pedeftal and the members of its cornice and bafe, fhould be adorned with works of the fculptor's hand, when the fuperior parts of the order are intended to be greatly enriched. The bafe C. is the Attic {a) bafe $ it is given to this order in the abovementioned Athenian antiquity. What is particularly to be noticed is, that the plinth of this bafe projects beyond the die of the pedeftal, and this does not affect the folid bearing of the column, becaufe the fhaft is ftill narrower than the breadth of the die of the pedeftal, by the parts allowed to the fweep of the apophyges. The Scozia can only be defcribed as fhewn here at large, when the ma- terials are of a fine hard texture; if of others, the fharpnefs of the edges would foon be de- ftroyed. D. The femi-plan of a column -, on this are reprefented the cabled, or ftaffflutings j they reach. to one-third of the height of the fhaft. Thefe cabled-flutings, feem appropriated to fhafts for the Corinthian mode. E. A kind of Attic capital, which has been in frequent ufe, both at Athens and in other parts- of Greece -, the upper range of leaves referable thofe called by workmen water-leaves. The lower foliages are raffled and divided like thofe in the Corinthian capitals. This capital was made out from a mutilated one found in digging about the octogon tower of the winds; and Mr. Stuart has given it among other deiigns of that Ruin. But whatever variety of foliage, or of other ornaments, there may be to a capital, it cannot conftituis a new mode. As we have had occafion to mention the Temple of Jupiter Olympius, it is but right to in- form our readers, that the ruins of it are ftill to be feen at this day; Mr. Stuart has traced it from thofe remains on the fouth part of the city, which are vulgarly called the columns of Hadrian. Their dimenfions being fix feet diameter, by fixty feet in height; their inclofure or peribolus, was a circuit of near 'four ftadia* Wheler's account of the fame ruins, feems to favour Mr. Stuart's opinion. " From this end of ' the caftle fouth-eaftwards, are thofe tall and beautiful pillars, called Hadrian's pillars, and are ' commonly reputed to be the remains of his palace; and were probably the greateft ornaments " of it, if not of the city too, when the whole ftruCture thereof was entire. But my comrade and "I are not of their opinion that his palace was built on the top of them, for that would prove " too really a caftle built in the air ; they being about fifty-two feet high, comprehending the «* chapters and bafes. But feveriteen of thefe pillars remain upright,"

	P L, A T E XIIL The divilions of the entablature marked A. are taken from, the Poikile in the antiquities of Athens. Tt is defcribed at two diameters or four modules in height, fo that upon the whole it exceeds a little the original abovementioned ; and in the defigns plate I. the Corinthian entabla-

		(a) Uti craffitudo cum plintho fit columns ex dimidia craffitudine, proje&uram quam Graeci ecphcran vocitant habear.t quadrantem. Ita turn lata & longa erit columnar craflitudinis unius & dimidis. Akitudo ejus fi Atticurges erit, ita dividatur ut fuperior pars tertia parte fit craflitudinis columnae reliquum plintho relinquatur. Dempta plintho, reliquum dividatur in par- tes quatuor: fiatque fuperior torus quarts ; reliquae tres asqualiter dividantur, & una fit inferior torus altera pars cum fuis iquadns'fcotia, quam Grasci Trochilon dicunt. Lib. III. c. 3. fure

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			T^he Grecian Orders
		4Q	T^he Grecian Orders
		4Q

ture is defcribed at four modules and nine parts for the greateft altitude that ever mould be given, Vignola has made the entablature five femi-diameters or modules high, in which he is not to be followed, although there are examples of entablatures full as high in feveral of the ruins at Rome, viz. the temple of Jupiter Stator* of Mars the avenger* the Pantheon, and others ; but it will appear* upon examination* that the columns belonging to them are not high enough in proportion, fo that the entablatures appear too heavy and maffive for that levity which fhould prevail throughout every part of this order. The feveral members of this entablature A. are great and' diftinct; the mouldings, in fefpecl of fize and profile neat and light. B. reprefents the fofHt of the corner, with the under part of the modilions, and the coffers or pannels for the rofes or other flowers. The foffit fignifies the cieling of cornices. The pannels or coffers were the lacunaria vel laque- aria, and v/ere alfo defigned for the cielings of rooms� as we may infer from Horace : ' Non ebur nequ'e aUreuni Me renidet in domo lacunari Virgil alfo mentions thefe ornaments, iEneid Lib. I; Dependent lychni laquearibusaureis.* , And Cicero, 5. Tufc. de Dionyfio, fpeaking of a well known Anecdote. In hoc medio apparatti fulgentem gladium e Jacunari feta equina fufpmfiim jujjit. Thefe lacunarian pannels or compart- ments v/ere defcribed of various fhapes and fizes for the ceilings of rooms, and were oftentimes adorned with paintings, and gilded or inlaid with the richeft. materials. The Pantheon at Rome has a fine diftribution of lacunarian pannels for the infide of its he- mifpherical roof; each coffer was enriched with ornaments of Corinthian brafs, though Palladio fays, that probably they were filver. Whatever they were, fooner or later they did not efcape the pillage of the befiegers, C. is a Corinthian entablature of a different profile from the former: the modilioris are (a) fcrolled; under them is the ovolo, next is the dentel platband, with its fillet above, and the cima reverft underneath % the frize is of the fame altitude as the former � but the architrave has three facias : upon the whole, this is nearly the Corinthian entablature of Palladio, D. is the foffit of this cornice, with its pannels and rofes. The fame leaves are traced to the under part of the fcroll-modilions, as are ufed for the capitals of the columns. The whole may be ornamented in the moft luxuriant tafte, which could be difpenfed with but in very extraordinary circum- itances � fometimes a Corinthian cornice may be traced without modilions, and the dentels may be cut, and fometimes both the dentels and modilions are omitted; fuch are the cornices of the temples of Verba, of Antoninus, and Fauftina, and of the altars within the Pantheon. E. The Corinthian capital, according to feveral antique models extant* is only two modules or one diameter {�) in height .5 but in this plate we have given it two modules and fix parts. The

	0) Larine. Ancones five menfulse. (i>) Ejus autem capituii fymmetna fie eft facieiida, Uti quanta fuerit craffitudo im� column* tanta fit altitudo capituii cum abaco. Abaci latitudo ita habeant riatonem, ut quanta fuerit altitudo, bis tanta fit diagonios ab angulo ad angulum. Spatja enim ita juftas habebunt frontes quoque verfus. Latitudinis frontes finuentur sntrorfus : ab extremis angulis abaci, fuae fronds latitudinis nona : ad irrjum capituii tantam habeant craffitudinem, quantum habet mmma colonna, praeter apothefm & aftraga- lum. Abaci craflitudo feptima capituii Altitudinis. Dempta abaci craff.tudine, dividatur reliqua pars in partes tres, ex quibus una imo folio detur : fecundum folium mediam akitudinem teneat: caulicuii eandem habeant altitudinem, e quibus folia naf- cuntur projectura, uti abacum excipiant: quae ex cauliculorum foliis natae procurrant ad extremos angulos volutae, minores he- lices floribus (qui inter medium frontium abaci funt) fubjecli fcalpantur. Flores in quatuor partibus quanta erit abaci crafE-

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		of Architecture. '4-t The lower range of leaves are placed higher than ufual, and their projectiire is duly prefcribed; 'herein we mould chufe to follow Scamozzi, who has obferved a mean proje&ure between Palladio and Vignola, the one keeping thefs leaves too near to the vafe, and the other having them pro- jected too far out. In all the antique capitals, the difpofition of the leaves is aimoft always dif- ferent, both with refpedl to their heights and their prdjeftii-res; One fide of this capital is .left naked, in order to (hew the configuration of the vale, with its rim under the leaves; in fome models the corners of the abacus above the vafe are cut off j but the abacus of the capitals of the poikile, are drawn to a fharp point. They are the fame for the temple of Verba at Rome. The twilled (talks* called the helices or cauliculi, that arife from between the leaves, turn down in form of fcrolls, when they reach the rim of the vafe \| there are eight of thefe fmaller fcrolls, and eight larger ones ; the latter rife high enough to touch the bottom of the abacus defcribed above the vafe ; there are two of the fmall, and two greater to each front, fixteen volutes to the four fides. Over the two fmall ones is placed a .rofe* or fome other flower, of circular form, to every front of the abacus. The leaves ufed for covering the vafe of this capital are of different forts. The acanthus, the laurel, the olive, and the parfiey leaf. The moil common in ufe is the olive leaf; it is lefs con- fufed than the others, and is more frequently found in the antique capitals; Michael Angelo made choice of it for the great Corinthian capitals of St. Peter's church. Between the bottom of the vafe and the affcragal of the fhaft, is a little fillet that feparates the one from the other; this is an Attic peculiarity, perhaps hitherto unknown, but like every other hint from that Mother-fchool, is worthy out notice. The plan of the capital is traced by defcribing the circle for the plan of the upper part of the fhaff, then through the center, draw the two diagonals at right angles, interfering one "another, the full extent of each being four modules, that is, two modules on every fide from the above center 3 form the fquare, &c. taking one fide of the fquate as a bafe to defcribe an equilateral triangle, from the fummit thereof you trace the curvature of the abacus, and all the feveral lines of its mouldings. By mere infpeclion the pofition of the leaves and volutes, See. in this plan, may be eafily made out. Sometimes the vafes of Corinthian capitals were made of marble, but ornamented w^Tith foli- ages and volutes of metal, as appears by fome amidft the ruins at Palmyra. In the diminifhed part of the fhaft, with its flutings, the diminution is about one eighth part, fo that thirty-two modulary parts may be taken for the diameter of the ihaft underneath the capital. Vitruvius has (c) declared it againfl: the practices of the ancients, to place mutules, dentels, or modilions, on the declivities of their refpective pediments. We find the Doric example, plate VI. conformable in this point. But the Corinthian portal, as will be feen in the following plate, has modilions upon the declivities of its pediment; the authority is great, being taken from the pediment of the Pantheon, and from other Roman ruins, befides; that of the Mai/on Quarree at Nifmes.

			judo, tarn, magni formentur. Ita his fymmetriis Corinthia capitula fitas habebunt exa�tiones. Sunt autem, quae iiidem colum. nis imponuntur, capitulorum genera variis vocabulis nominata, quorum nee proprietates fymmetriarura, nee columnarum genus aliud nominare poffumus : fed ipforum vocabula traduch & commutata ex Corinth iis & pulvinatis & Doricis videmus, quorum fymmetriae funt in novarum fcalpturarum tranflatae fubtilitatem. Lib. IV. c. i. (f) Etiamque antiqui non probaverunt neque inftituerunt in faftigiis tnutulos aut denticulos fieri Ted puras coronas. Lib- IV.' t ' '■'-" "1%

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				The Grecian Orders
			4 -2	The Grecian Orders
			4 -2

		It is true, that the modilions upon thefe declivities cannot be faid to be the fame pieces in their original intention, as the modilions in the level cornice, where they reprefent the ends of the rafters j yet they may reprefent the ends of the purlins; fome have conceited that the fides of the modilions ihould be traced perpendicular to the declivity; this is fo much againft the co/iume, that it is really {hocking j but the fronts of the modilions having their fide drawn down perpendicular to the bafe of the pediment, may be (i>) accounted for, by fuppofing that the ends of the purlins were fhaped like a lozenge, inftead of a fquare, and this figure would be no impediment to their being properly adjufted in their true places.

	S? L A T E. XIV, The Corinthian portal here defigned, is after that of the Poikile in the antiquities of Athens * the niches are added to fliew how to defcribe them iri fuch a front, but the larger columns mull always have the fmaller niches when flatues are intended. The intercolumniations under the pe- diment, are all equal and narrower than thofe at the fides. The columns under the pediment are infulated* the angular ones have behind them fquare pilafters, with the fame capitals; the pila<- fters are not fluted, but all the columns are. The columns againft the walls project their full diameter, and as much more as is neceffary to clear their bafes and capitals from the wall: the entablature breaks (c) forward over every column; this gives a great richnefs to the defign, for columns were never intended to have any part of their circumference buried in a wall, and no- thing but reafons of ceconomy, which fo frequently in modern times have disfigured the grandeft defigns, can account for fuch management; yet it has been afTerted by fome late critics, that the entablatures which are thus advanced upon the columns, and retire again into the fpaces be- tween two columns, are all unnatural, becaufe the edges of a roof can never be imagined to have thefe breaks j now that this practice is not unnatural or falfe, can be thus proved. A co- lumn with its entire circumference placed againft a wall, had better have only its own incumbent entablature break forward, becaufe, did it advance thus over all the intervals, there would be a ufelefs load at the top of the wall againft all folidity : now the edges of the roof are certainly to be traced rectilinear throughout the whole extent, upon the cornice of the intervals, and the tops of the cornice over the columns left to be adorned with vafes, ftatues, &c. The columns with their entablature may be confidered as fo many ornamental buttreffes, which ftrengthen the wall at two principal points, its foundation and fummit. There are eight intercolumniations on each fide of the portal of the Poikile; we have given half the plan in fmall, the entire height of whofe columns, including four feet nine inches for the zoccolo, with its ftylobates, is nearly thirty-eight feet three inches, the diameter of the column near three feet. At each end of this front, which extends two hundred and fifty-two feet, is a projecting wall, called the pteroma, or wing. The interior length of the fides of this famous ruin, is above three hundred feventy-fix feet. The lateral walls feem to have been void of any architectural ornament, and to be crowned only with a plain coping. The whole length of the fide-walls is broken in the middle by a fquare recefs, and towards the ends by hemi-cycles ; the opening of each is about thirty-four feet. They are called the (d) Exhedra; they ferved for the retreat of the felect companies from the crowd, and were furnimed with feats.

(�) Et ea probaverunt quorum explications in difputationibus rationem polTunt habere veritatis. Lib. IV. c. 2. ' ic) Uti quae adjeaio in ftylobatis fafra fuerit in fuperioribus membris refpondeat fymmetria epiftyliorum. Lib. III. c. 3. (d) Conftituuntur in tribus particibus exhedraefpatiofehabentesfedes in quibus philofophi, rhetores, reliquique qui ftudiis de- le&antur fedentes difputare poffint. Lib. V. oil. Divide

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of Architecture, < 43 Divide the height from the bottom of the architrave to the floor, into feven equal parts, and take five of thefe for the height of the door-way, the breadth whereof is equal to half the height. The fummit of the niches, if required, is determined below the aftragal of the columns, their height is twice and a half of their breadth 1 they aire funk in parinels, and have the archivolts and imports in character with the order. Another proportion of niches for fuch a defign is that, when their fummits are ranged with the height of the door-way, and their bottom fixed at one third of the height of the entire column,; thefe niches would fuit where the diameter of the column was full three feet. In this fame plate is given in fmall, the plan of a Corinthian oftoftyle, pycnofbyle, peripte- ral temple; the ichnography of any other of the ancient temples may be traced, by what has been faid on that fubject.

			if kj A. I Ji 2\. V e

	To judge from the beft monuments of antiquity, the columns of any order (we have excepted thea- tres and amphitheatres) were feldom thrown away upon a range of arcades, becaufe theheavinefs of the piers deftroy the beautiful effect and intention of columns, which appear with all poffible advantage when difpofed infulated in a periftyle. A colonade in this rich and delicate order fhould always be preferred. However, there is another fort of edifice* where columns of this order have been applied to an arcade, the Triumphal Arches: befides thofe well known at Rome, there is one of an ear- lier date, and of a fuperior ftyle, we mean the triumphal arch at Orange; it is fuppofed to have been erefted for the victory of Marius over the Cimbri, one hundred and three years before the Chriftian aera. This edifice is greatly enriched with fculptufe, all the parts are in fine fymmetry, and the general effect is very grand and pleafing.

		CHAP, VII. 1 Of the Apertures of Doors and Windows. Of the Dork j Ionic and Corinthian DreJJings. Of Venetian Windows. N edifice with open intercolumniations, covered over head by the fofEts of its entabla- ture, united together as a cieling, neither wants doors rior windows ; fuch a building could ferve but for few purpofes, and not at all as an habitation; becaufe it would be expofed on all fides to the injuries of weather: on the contrary, an edifice inclofed with walls, wants, at certain intervals, apertures for doors and windows anfwerable to the intentions of the requifite conveniencies. The various dimenfions of thefe apertures are determined according to the fcale of the building. The following figures for windows may be defcribed. 1. A circular window. 2. A perfect fquare. 3. The diagonal of the fquare. 4. A fquare and two thirds. 5. A fquare and three fourths. 6. Two fquares. 7. Two fquares and one fixth, or one feventh, or one twelfth. Too great variety of apertures in the fame front is not to be recommended.

				PLATE

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44 71j� Grecian Orders

	PLATE XVI. The ornaments intended to decorate the apertures of doors and windows, are defigned <d) either according to the Doric, the Ionic, or the Corinthian mode of mouldings and profile. For the Doric doors or windows A, A. divide the breadth of the aperture into five equal parts; take one of thefe for the height of the architrave, and for the breadth of the jamb; divide this breadth into twelve equal parts for a modulary fcale; and if a frize and cornice, and columns are to be added, let the dimenfions of the members and mouldings be regulated by that fcale according to the rules already given, and the figures defcribed in this plate. For the Ionic window B. divide its breadth into fix equal parts; the breadth of the jamb is equal to one of thefe, which divided into eighteen modulary parts, will ferve as a fcale to determine all the members, according to the Ionic diftribution. The pediment is traced in the manner already prefcribed. The architrave and jambs have two facias, and the diagonal of the little fquare of the undermofl facia in the architrave, prolonged as feen in the figure, by the dotted lines, determines the knee of the jamb. For the Corinthian window C. divide the breadth of the aperture into feven equal parts, and take one for the breadth of the jamb and the height of the, architravej the feveral members of both, as well as the frize and cornice, are traced from a modulary fcale of one of the above feven parts fubdivided into eighteen parts; fuch particulars being obferved as are chara<aeriftie of the Corinthian order. The length of the trufs or fcroll {b) is continued below the aperture half of the height of the architrave; but the foliage at the bottom of the leffer fcroll defcends frill lower: the breadth of the trufs in front is three fifths of the jamb, and the profile or projedture of the larger volute is equal to one and one half of its front. Doors, and even windows, are frequently adorned with an order of columns; which become very rich decorations, as may be obferved in the front of the Palazzo Braeiani, near the S. S. Apo4- ftoli at Rome, and at the tabernacles within the Pantheon. When this fort of dreffing is intended, fet off from the fill of the window, upwards, the height of the propofed column, fee fig. D. divide this altitude agreeably to the intended order, and finifh the entablature accord- ingly, obferving, however, that it is, beft to omit mutules, dentels, and modilions in the cornices of the orders when ufed for thefe purpofes, becaufe they turn out in general too minute, and cannot take place in fuch fituations with propriety. To the windows already mentioned, we fhall add the Venetian Windows : thefe are adapted to fbair-cafes, or to fuch rooms as require a different diftribution of the apertures, or more light than can be obtained from the breadth of one, of two, or of three of the ufual apertures. The fymmetry to be regarded in one of thefe windows, is, that the breadth to each fide, be either one fourth, one or two thirds, or one half of the middle aperture, according as this may be furnifhed with three or four panes in breadth. Sometimes the architrave of a Venetian window is defcribed to range in a right line, as the fieure E And if the middle is required to be circular, by tracing the archivolt and entablature, ° -, ". ■ fee

		() Ofliorum autem&eorum antepagmeaiorum in Milbus* ha, fun! rationes;, uti primum coaftituantur, quo genere font future. Genera funt enim thyromatoon hc, Doricum, Ionicum, Atticurges. Ub.* IV. c. 6. (i) Anconesfiveprothyrides vocemur, exculpt* dextra ac finiftra prependeantad. inal fupercilii libnunentum prater folium. Lib. IV. c 6.

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ef Architecture. ^ fee fig. F. the corona, cyma, &c. as in the former, will range in the fame line with the entabla- tures of all the other windows upon the fame floor. By fig. G. is given the gfeatefr. breadth that can be allowed to a Venetian window, as it ftands in relation with the feveral figures defigned in this plate. Strange abufes of Venetian windows are feen in feveral great as well as fmall buildings: a principal error is, when the archivolt appears to cut into the floor above it; it is likewife a fault to caufe the archivolt to fpring from the cyma of the cornice, this makes the middle aperture too lofty, and the ornaments of a cornice are improper for the imports of an arch, and therefore the arch fhould always take it's rife from the architrave. A Venetian window defigned in a hemi-cycle, or in a lefier fegment of a circle, becomes what is commonly called a bow-window; it is alio often defcribed within the plan of a femi-exagon. The only inftrucfions to be drawn from the regulations of the antients concerning doors, are firft, not to place infulated pedeftals under columns; a practice they generally avoided, otherwife fome rules would occur relating to doors, under fuch circumftances ; Palladio, in his fourth book, mentions the temple of Scifi in Umbria, as the only one he ever knew with infulated pedeftals: and fecondly, to make ufe of the decorations of the different modes; which alfo are intended to characferife three forts of doors, and thus they may be defigned with much grace and beauty. The reafon why the antients prefcribed the upper part of the aperture, and of the door to be narrower (c) than at bottom, was evidently to make it ihut of iffelf; the door and windows of the temple at Tivoli are after this manner. It is difficult to hit upon any other conjecture in favour of this practice, which muft be cenfured as offending againft the very principles of folidity.

	CHAP. VIII. Some parallel remarks upon the three Grecian Orders as defcribed by Vignola^ Palladio and Scamozzi, E have felected thefe three authors, as the mafters whofe writings, defigns and edifices, are raoft commonly known, and are of the beft modern authority, PLATE XVII. I. The Doric by Vignola, This author has taken for his model the Doric, from the ruins of the theatre of Marcellus at Rome, but without an exacf adherence to the original. The cornice is made equal to the frize, which it fhould not be, and he has altered the meafures of feveral of the members and of the capital, not at all advantageoufly. The dentels, which he has alfo adopted from the faid ruins, exhibit an impropriety not to be imitated, becaufe they are the fpecific members of the Ionic; this author indeed has alfo defigned another Doric entablature with mutules, but they are too heavy, and have too many drops. In both, the cornices are too high, and project too far; and the architraves are too low. The height of the intire column is eight diameters, which exceeds greatly what it fhould be allowed even with a bafe. We have omitted the pedeftals for this and the following orders, but we cannot help obferving, that Vignola is remarkably faulty

		(r) Et in fusumo contrahatur-------� lleliqua quoaltiora erunt (XXX psdibus) ad perpendkulum videntur oportere coliocari, Lib. IV, c, 6. M in

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		The Grecian Orders
	^4»6	The Grecian Orders
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in the relation, the heights of his pedeftals have to the columns they fupport. The height of the fhaft is feven diameters. The meafures in this and the following plates, are by minutes 3 fixty being equal to the diameters of every column. II. PAL LAD IO is faid to have compofed his Doric order from fome fragments which are mentioned as having been found at the Baths of Diocletian at Rome; he has with reafon rejected the dentels : the cornice, whofe members are well proportioned and profiled, is made of leffer alti- tude than the frize, as it mould be, but the mutules are omitted; the architrave is too low, and mould confift but of one facia. Being obliged to fall into the modern vulgar error of giving a bafe to the column, he has yet out of refped: to the antients very difcreetly delineated an intercolumniation without bafes; but he has done wrong in chufing the attic bafe, by far too delicate for this column; and moreover, in al- lowing on fuch occafion a greater height to the fhaft of the column, which alters its very property₄He is alfo blameable for having defcribed twenty four flutings which turn out too fmall, inftead of twenty. The height of. the fhaft of the column is fix diameters and a half to feven diameters and one fixth. III. SCAMOZZI has defigned his Doric order different from the two already noticed < and upon the whole, it is much inferior in elegance of profile and choice of members, the entire column is allowed eight and a half diameters. The bafe is attic* whereof the two tori are improperly en- riched with foliages, &c. Under the quarter round of the capital, he makes a fmall fillet, and a cyma reverfa, inftead of the three annulets truly chara&eriftic, according to Grecian examples and the precepts of Vitruvius. The architrave is to be commended fof being made 'higher than in the former two examples, but it mould not have been divided into two facias. The frize is the fame as the two former, with the unmeaning femi-metope ornamented with hufks and flowers. The cornice is heavy and mofl wretchedly profiled, having alfo thofe ill chofen dentels, which become ftill more difagreeable by being more diminutive than thofe of Vig- nolaj for was this member to be received in a Doric cornice, it mould not be lefs than the fame when affigned to the Ionic. The column has twenty-four flutings, which inftead of being dif- tinguifhed by fingle obtufe edges, are traced with fillets only fuitable to the Ionic and Corinthian modes of fluting. The height of the fhaft is feven diameters and a half* IONIC ORDERS in the same Plate. t. The Ionic order by Vignola. The whole entablature is too heavy, efpecially the cornice^ though it is well profiled, in the true character, and has the dentels ; but inftead of the pine bud for the external or internal angle, it would be better to furnifh them with a dentel. The architrave mould be divided only into two facias, and the frize mould not be higher than the architrave. The Capital of the column is too little, arid the eye of the volute is ill placed: the bafe, perhaps very injudicioufly concluded to be the Vitruvian bafe, has been univerfally condemned; the attic bafe mould have been preferred : it ferves for this order in the temple of Fortuna Virilis, the theatre of Marcellus, and the Colifeum. The height of the fhaft is eight diameters and one fixth. II. PALLADIO makes the entire entablature of this order too low; the profile is well deli- neated, excepting the pulvinated or fwelling frize, fince it anfwers better with a flat furface. The architrave fhould only be divided for two facias. The capital has the eye of the volute placed lower than that of Vignola, whereby it appears more graceful; upon the whole, it is a beautiful compofition. The height of the fhaft is eight diameters and minutes 10!. III. SCAMOZZI has made the entablature of this order ftill lower than the preceding one, and has alfo chofen modilions inftead of dentels for the cornice; the profile of which is in a dry, little manner ; like the above two mailers, he gives three facias to the architrave, but the frize is left flat.

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bf ArchiuSiure. 4.7

The vdlute of this Author is particular; it feems to be partly taken from the temple of Con-
cord ; he has intended that all the fides of the capital fhould be the fame as the front; for this
purpofe they bend inwardly towards the middle on every fide ; thus the bolfters are omitted, which
are defcribed for the fides of the antique favourite volute : the hem or fillet of the volute, fprings
Very unnaturally out of the ovolo, and is more properly traced rectilinear under the abacus. The
volutes are more maffive than either of the former two, which is rather in their favour. The,
height of the fhaft is feven diameters, and minutes 565; like both the former it is too high.

PLATE XVIII.

I. VIGNOLA feems to delight in heavy entablatures; even for this moft light arid delicate or-
der, the Corinthian, he makes the entablature one fourth of the height of the entire column ;.
thus the cornice becomes exceeding weighty, and its projedure too confiderable : the modilions are
too long, which gives them an aukward profile, and they interfere with each other in the inter-
nal angles of an edifice : hence alfo it arifes, that the boxes or coffers in the forfit are not fquare.
It is deemed anabufe to have dentels and modilions in the fame cornice; and therefore, whenever a
taenia is to be traced in the fame cornicd with the modilionSi it ought not to be divided into
dentels; for fuch a practice is not rafhly to be imitated, though we have fome great examples both
ancient and modern to countenance it. The cornice of the Pantheon is a fufficient guide, where
it was left plain for this very caufe, that the reafon of the thing does hot in truth allow it.

The capital is well delineated with fuitable foliage; the bafe of the column is peculiar and
beautiful, and whenever the attic bafe is ufed for the Ionic, this may be ufed for the Corinthian
column, in order to avoid a dull repetition of the fame bafes, for two different orders in the
fame defign. The height of the fhaft is eight diameters and minutes 20s

II. If the former artiffc has run into an excefs fof the height of the entablature, Palladio
in the Corinthian, as well as in the laft, has given two little height to his entablatures; though the
columnSj as they become more flender, require more to be difcharged of the incumbent weight;
yet this fhould be fo managed as not to run into a littlenefs of parts. The profile and members
of this entablature are well defigned, only it is proper to exclude the dentels, as before obferved*
The architrave might be traced higher, which would rather prove advantageous. The height of
the fhaft is {even diameters, minutes 50s

III. SCAMOZZI has fucceeded better in the defigri of the Corinthian order than in the two
former; the profile Upon the whole is well defigned, he has omitted the tsenia or platband in
the cornice, left it might tempt the workmen to cut dentels thereon, which he highly difapproves
in the fame cornice with modilions. The column with its capital and bafe is nearly like the former*
the height of the fhaft excepted; this height being fixed at eight diameters and minutes 20.

C HA P. IX,

Of placing one Order upon another. Of Cornices for the fummit of Building

j�nd of Cornices and Cielings for Rooms,

HERE may be feveral pccafions wherein an architeci would be required to place one
order above another; the antients for their dwelling houfes, their bafilicas, their thea-
tres and other public buildings, contrived to difpofe columns in fuch a manner: the

1 columns

F*TS

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		, g 7lje Grecian Orders columns of die upper order mould always be lefs than the columns [a) they ftand upon, and at the fame time muft have a fufncient degree of folidity and ftrength. The neceffity of which is demonftrable, fince the inferior ones fupport the fuperior columns, and the weight they bear is greater than what is incumbent upon the fuperior columns: therefore they muft be ftronger and lefs delicate than the fuperior ones, but as thefe have alfo their incumbent weight, they alfo muft yield a folid bearing, And as the appearances of things are to be obferved in the abovefaid diftribution, it is ufual to place the Doric order undermoft, the Ionic next, and the Corinthian above the Ionic; fome- times a bafernent* with or without arcades, fuppiies the place of a lower order. Whatever may be colleded from "the writings of Vitruvius, or the remains of antiquity, or from the edifices of the beft moderns, we can gather but very uncertain rules about the relation which the lower and upper orders are to bear to each other. Palladio in his defigns, for the con- vent of la Carita at Venice, has obferved the following meafures in placing the three orders one above the other in the cloifters. The firft is Doric, the diameter of whofe column is two feet three inches ; the next is Ionic, to whofe column he gives one foot ten inches in diameter; the laft and uppermoft order is Corinthian, whofe column meafures one foot fix inches in diameter. * The bafes of the Ionic and Corinthian columns, ftand upon a plinth to raife them above the in- ferior cornices. The third order is without arcades* In this building, fays Palladio, I have en- deavoured to imitate the houfes of the antients, and have therefore made a Corinthian atrium, or veftibie to it; the order of this is equal in height to both the Doric and the Ionic of the cloifters ; and upon the entablature of this great order is a balcony to a terrace which goes round for a com- munication of the apartments of the third ftory. We have fel-e&ed this example on account of its fimple and well chofen difpofitions, inftead of the three orders in the court of the palace Farnefe, which abounds in many beautiful particularities, though crowded with miftakes* But fince Vitruvius informs us» that when columns,are. placed one upon another, their ap- parent diminution ought to referable that of the trunks of tall and beautiful trees, we may draw this conclufion, that the leffer diameter of the inferior columns may be equal to the greater diameter of the next fuperior column, and fo continued upwards; this, method is found to anfwer as well as any other that can be propofed* The orders, as defigned in plate I. might take place one over another, in a building whofe height was divided into three equal parts. The undermoft being divided again into eight would pro- duce the Doric. The next divifion being for the Ionic, muft confift of ten equal parts, and the laft or higheft divifion* being for the Corinthian, of twelve equal parts; the modulary fcale to each order will ferve to determine the feveral members, as already has been fhewn. By this me- thod, the diminution of each inferior order, is rather more than the greateft diameter of the next infiftent order as it fliould be. According to the wife practice of the antients, nothing but a Corinthian order mould take place, when a fourth order is required, which being of leffer diameter, would ftill become more delicate than the former. The placing of the orders one above the other, gave rife, about feventy years ago, in France, to a queftion as vain and ridiculous as it is ufelefs; whether it was not poffible to invent a fixth order to be added above the Compofite, and to furpafs it in richnefs and beauty, as much as this was thought to excell the others? this new prodigy was to be named the French order; it was pro- pofed

			(#) Columnse fuperiores quarta parte minores, quam inferiores funt conftituendae; propterea quod oncri ferendo, quse funt inferiora, firmiora debent effe quam fuperiora. Non minus quod etiam nafcentium oportet imitari naturam, ut in arboribus teretibus, abiete, cupreffo, pinu, e quibus nulla nan craffior eft abradicibus: deinde erefcendo progreditur in altitudinem, na- tural contra&ura peraequata nafcens ad cacumen. Ergo fi natura nafcentium, ita poftuiat, refle eft conftitutum, in a!fltu« dinibus & craffitudinibus inferiorum fieri cbntrattiora. Lib. V. c. I.

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'of ArchiieEiure* 49 pofed by command of the monarch to all the architects upon the globe, with a promife of a confiderable premium to any who mould be fo happy as to produce a defign of a new order worthy to be called by fo glorious a name. Immediately the fkilful artifts of every country, ex- erted all their talents to accomplifh the defired end, and gain the prize; but, ftrange it is to relate ! it happened, that out of a million of different defigns delivered in; not even a fingle one came to hand which deferved applaufe: according to M. Blonde!, moll of them were extravagant com- pofitions, filled with Gothic chimeras or fiat allufions. M. Belidor, however, has flattered his countrymen with the probability that fome future genius will fucceed in the attempt; one would imagine that fo fkilful an engineer was better acquainted with the doctrine of chances. A building that finifhes without aft entablature, or without a cornice^ has a poor and naked ap- pearance, notwithstanding the other parts of its front are tolerably drefFed. In mofl common cafes, cornices, with the leaft projeclure, are preferable, becaufe the waters from the roof are received into the gutters and carried downwards through pipes* To proportion cornices to any required height^ divide the faid height according to the directions prefcribed in each entire order, arid then from the modulary fcale fet off the component parts of the intended cornice, which are to be profiled, agreeably to the members prevalent in the character of the order. The cornices for chambers, and for the other internal parts of an edifice, with fuitable cielings, are two confiderations worthy of notice; in both thefe, two tafles have prevailed in Europe; Italian defigns, wherein the mouldings are well chofen but heavy, and the compartments truly defigried, but faulty through too much regularity and famenefs; the French, fond of lightnefs and novelty, have on the fame occafions hitherto dealt in crotchets and zig-zag; but it mult be owned, that herein the national tafle has prevailed againfl the judg- ment of fome of their ablefl artifts. The cornices for rooms ought tb have Very little projedture, and their mouldings may be def- "cribed and ornamented after the antique manner, which will admit of an infinite variety; we can trace in Ovid's tomb, the ruins of Herculanum, Stabia, Pompeia, &c. the tafte of the antients for the decorations of the compartments of cielings and walls; but it requires a difcern- ing, as well as an inventive genius, to make a proper choice in thefe matters ; to carry them into execution will demand the fkill of the ablefl artifts.; becaufe an indifferent performance would be attended with lofs of time, and money, befides difcrediting the judgment of the owner. We have flightly touched upon the laft mentioned fubjecls, rather to give a fuitable caution than to enter into any informations, which at prefent would be foreign to our intentions,

	The End of the Grecian Orders,

		N REMARKS

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	G O N G E R N I N . G Publick and Private EDIFICES,

		C H A P. i. ^General Hints concerning the Modern- Architecture of Europe. Brief Accounts of fame eminent Britifh Architects* TH E fchools of Italy, wherein the fiudy of* architecture has been confr.ant.ly encouraged and cultivated ever fince it's revival from the veiliges of antiquity, have propagated throughout the moil civilized parts of Europe, the methods of adapting the orders to the defigns of public and private edifices -, however, as the great and eflential beauties in this art, do not refult from the parts of a delign taken feparately, but from the effecl: and concurrence of them _all, it is not furprizing that there are fo few examples of handfome buildings. In moft coun- tries, the artifts and their employers feeni to have been ignorant of the general distribution, or perhaps entertaining a fond partiality for their own fanciful ornaments and licences, to do honour to the genius of their native foil, have raifed their flrudures upoh plans' and elevations which partly bear a national character, and by thefe means the orders of antiquity have been jumbled with their own uncouth modes: yet it muft be pleaded that the accidents of the climates might at firft render it fomewhat difficult to reconcile the elegancies of architecture with the methods they had adopted in their barbarous fabrics. The engraver's art has furnifhed num- berlefs prints of views of different places; and in thefe it may be remarked, as well as in the re- lations of travellers, that at this very day it is only in the principal cities of Europe, fome at- O tempts

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			CONCERNING

Publick and Private EDIFICES.

		C H A P, t General Hints concerning the modern Archite&ure of Europe. Brief Accounts of lome eminent Britijb Architects*

	TH E fchools of Italy, wherein the Study of* architecture has been constantly encouraged and cultivated ever fince it's revival from the veftiges of antiquity, have propagated throughout the moft civilized parts of Europe, the methods of adapting the orders to the defigns of public and private edifices; however, as the great and eSTential beauties in this art, do not refult from the parts of a defign taken feparately, but from the effect and concurrence of them all, it is not furprizing that there are Co few examples of handfome buildings, In moft coun- tries, the artifts and their employers feeni to have been ignorant of the general distribution, or perhaps entertaining a fond partiality for their own fanciful ornaments and licences, to do honour to the genius of their native foil, have raifed their Structures upon plans and elevations which partly bear a national character, and by thefe means the orders of antiquity have been jumbled with their own uncouth modes : yet it rnuSt be pleaded that the accidents of the climates might at firSt render it fomewhat difficult to reconcile the elegancies of architecture with the methods they had adopted in their barbarous fabrics. The engraver's art has furnished num- berlefs prints of views of different places; and in thefe it may be remarked, as well as in the re- lations of travellers, that at this very day it is only in the principal cities of Europe, Some at- Q tempts

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		^ 4. Remarks concerning tempts have been made in their edifices, which may tend to eflablifh fuch fyftems as are founded in the rales of the beft Italian fchools, which rules may undoubtedly be applied to the meaneft ftructures, often without any additional expence, or the leaft impediment jto their ufes. But who will deny that even in Italy, we cannot obferve a total negligence of the Idler and ufeful divifions of a plan for indifpenfable domeftick convenieiicies ? the principal intention of the mailers having been to flrike out greatnefs in their defigns; and this was no ways blameable, being confident with the former referved and pompous cuftoms of the inhabitants, much more addicted to parade than to hofpitality. The French, on the contrary, fludious of whatever contributes to luxurious eafe and gawdy appearances, have contrived to-mangle the mofl fimple plans and elevations to comply with the vanities of a capricious tafle, though it is very practica- ble to unite all their conveniencies with the chafteft manner of building. England, at different, periods, has adopted the improprieties of both thefe nations, which are eafily diftinguimed at firft fight. Immenfe porticos, like thofe of temples, with one great order of columns, cupolas and fuch like mifapplied parts to a dwelling, a fcarcity of windows in the fame front, a range of common great rooms which have no ingrefs or egret's, but through one another, are defigns from the other fide of the Alps : the other productions are as eafily pointed out, by long ill propor- tioned windows, narrow interfeneilrationSj, high pitched roofs, often equal to the height of the walls which fupport them, loaded ftill more with mifhapen turrets, monflrous pediments for pro- jecting windows in the roof, ftair-cafes, which for the fake of orientation, occupy too great a fpace, and encroach upon the plans in the moil efTential parts -, thefe and fuch-like French imitations carry us back to the reign of Charles II. for their reception into this ifland, and that foon after England had to boaft of her Inigo with as much reafon as Italy could of Palladio. It is not to our purpofe to fpeak of the Gothic architecture, which was in the flate of its per- fection in the reigns of Henry the fixth and the feventh, but declined afterwards in the days of Henry the VIII, when Holbein and John of Padua, aimed at a reformation in the ftiles of buildings, yet neither then nor in the fucceeding reign of Elizabeth, did architecture make any confiderable figure, although the names of the architects of thofe times, Lawrence Brad- shaw, Sir Richard Lea, John Shute, and Robert Adams are upon record as men defervedly employed on account of their abilities; but we muft pafs on to other perfons, of whom a more particular account may be expected* as their talents were employed with better fuccefs. The Jirfi we fiatt Jeledl is, Sir HENRY WOTTO Ny Of an ancient family, was born in MDLXVIlL at Bodton, or Boughton Hall, in the Mrifh of Boughton Malherbe, in the county of Kent. He ftudied at Oxford, and was a fine fcholar. On account of his abilities in politics, he was fent feveral times abroad, chiefly into Italy, where he undoubtedly acquired his fkill and tafle in architecture. Having palled an active life until the LV year of his age, he then was appointed to fucceed to the provoflfhip of Eton College 5 the next year he published his elements of architecture; though a fmall book, it was fo well thought of, that it was tranflated into Latin by De Laet, and placed at the beginning of his edition of Vitru- vius. Other writers have fince raifed their ftrudure upon fundamentals borrowed from this piece. The author was fully fenfible of its merit, as appears by feveral of his letters; nevertheless, the tribute of public applaufe will ever remain his due. He died in the LXXII year of his" age at Eton, and was buried in the college chapel. _: INIGO JONES, ' Was born about the year M DLXXII. in the neighbourhood of St. Paul's, London, of which city Mr. Ignatius Jones, his father, was a citizen and cloth-worker. Young Inigo diiTintruiihed liimfelf early by the extraordinary progrefs he made in the arts of drawing and defigning, and was par-

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		Publick and Private Edifices-, 5 5 particularly taken notice .of for his fkill in the practice of landfcape painting. His talents intro- duced hiin to the knowledge of William Earl of Pembroke, who took hirn into his patronage, and lent him abroad with a handfome allowance. Thus fupported, he fpent many years in compleat- ing his education, and preferring Venice for the chief place of refidence_s he fuffered nothing of real value or merit to efcape his induftry. His reputation for architecture was fpfead all over Europe , in confequence thereof, ChrifKan IV. King of Denmark* fent for him, and appointed him his architect general: after enjoying that poffc fome years, he obtained his difmiffion, and upon coming into England was appointed architect to the Queen. By the command of James I. in MDCXX, he took an accurate furvey of Stone Henge, and gave his opinion, with the account of that famous antiquity, which are publifhed : he concludes at lafl, that it mail have been originally a Roman temple, built probably between the time of Agricola's government, and the reign of Conflantine the great. But whoever, as Mr. Walpole juftly obferveSj has treated of this monu- ment, has beftowed on it whatever clafs of antiquitly he was peculiarly fond ef, and there is not a heap of {tones in thefe northern countries, from which nothing can be proved, but has been made to depofe in favour of thefe fantaftic hypothefes ; where Was fo much room for vifion, the Phoenicians could not avoid coming in for their fharei He made a fecond tour to Italy, and continued there fome years, improving himfelf ftill further in his favorite art,'till the place of furveyor general, of which the king had promifed him the reverfion, fell to him; upon which he returned home, and fat down to enrich his country with the fruits of his {Indies. To the interval between the two voyages into Italy, M. Walpole is inclined to affign thofe buildings of Inio-o, which are lefs pure, and border too much upon that baflard ftyle, which is called King James s Gothic. Inigo's defigns of that period are not Gothic, but have a littlenefs of parts, and a weight of ornaments, with which the revival of the Grecian taite was encumbered, and which he ihook off in his grander defigns. Many are the! edifices built by him, or after his defigns, which will for ever celebrate the fame of his extraordinary genius as an architect, and none more fo than that moil {lately and elegant pavilion the Banquetting Houfe at Whitehall* at iirft intended for the re- ception of foreign ambaffadors* and is only a part of the great plan of a royal palace. Inigo's other buildings are, Lindfey houfe, Lincoln's Inn Fields. Shaftefbury houfe, Alderfgate Street. Barbers Hall, Monkwell Street. Covent Garden Arcades and Church. Part of the front of Somerfet houfe to the gardens and the water gate. The water gate at York flairs. Pifhiobury in Hert- fordfhire. At Wooburn, a grotto chamber. Middle part of each end of the quadrangle at St. John's Oxford. Charlton houfe and Cobham Hall in Kent. The Queen's houfe at Greenwich. Ambrefbury, Wiltshire. Gunnerfbury near Brentford. Colefhill, Berkfhire.' The Grange, Hampihire. . He was well fkilled in the mathematics, and had forrie infight into the Greek and Latin languages, , efpecially the latter j and had a tafle for poetry. He was the moil eminent architect of his time, and with juflice is filled the Britifh Vitruvius. He wrote fome curious notes in a printed copy of Palladio's architecture,'{till preferved in the library of Worcefler college at Oxford. He died in the LXXX year of his age, and was buried in St. Bennet's church near St. Paul's Wharf. His days were clofed in forrow for the unfortunate end of Charles I. This prince knew the value of the fine arts to a flate, and had eflablifhed a royal academy* -and appointed profeiTors for every branch, but their exiflence finifhed with him; the French availed themfelves of fuch a fcheme* which has been maintained ever fince by an uninterrupted royal protection and bounty. RALPH BAT HURST, Born in MDCXX, in the parifh of Thedingworth, Northamptonihire* was preferred to the Deanry of Wells j though no architect, his name fhould be mentioned, becaufe by his endeavours and benefactions, he contributed to introduce Grecian architecture into Oxford. The firfl effort of thefe elegancies was exhibited in the chapel of Trinity College, and afterwards in the court of the fame College. It was referved for^ the tafle, the genius and the fpirit of. D. Bathurfl to work this reformation. He was a diflinguifhed wit* and a celebrated Latin poet, and died at the age of LXXXIV, Sir

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		g6 "Remarks concerning Sir CHRISTOPHER WREN, The only fon of Dr. Chriftoper Wren, was born in MDCXXXII. at Eaft Knoyle in Wiltfhire, of which place his father was then rector. In his earlier!, youth he attained great proficiency iri learning, and foon fhewed himfelf a moil eminent mathematician. He was educated at Oxford. Towards the XXXI year of his age, having declined ah offer from the King of going to Tangier in Africa, to direct the works of the harbour, arid of the mole and fortifications of the town and citadel, on account of his tender conftitutionj he turned his thoughts chiefly to civil architecture, and was called upon to prepare defigns for the general repair of St» Paul's Cathedral. In MDCLXV he took a journey to Paris to improve himfelf in the art, and unfortunately, (who will not judge with Mr. Walpole ?) he went no farther j the great number of drawings he made there from their buildings, had but too vifible influence On fome of his own : but it was fo far lucky, that Lewis XIV. had erected palaces only, no churches; St. Paul's efcaped, but the palaces at Win- chester, Hampton Court, Marlbrough houfe in St. James's Park, and fome others, were facrificed to the god of falfe tafte : this was the time that this idol was imported. For all this, the Monu- ment, St. Stephen's Walbrook, and the Cathedral of London, are fufficient proofs of this man's fu- perior abilities in works where fuch could not be difperifed withi So many great architects as were employed on St. Peter's at Ronie^ have not left it, upon the whole, a more perfect edifice than this work (St. Paul's) of a fingle mind, which was finimed in MDCCX; thirty-five years from its beginning, under one architect and one bimdp of London* To the buildings already mentioned, muft be added fifty parochial churches in London, the royal hofpitals of Chelfea and Greenwich, the obfervatory in Greenwich park, the Theatre at Oxford, and fome private houfes. Such a body of civil architecture as all thefe works compofe, will rather appear the productions of a whole century, than of the care and induftry of one man j of which no parallel inftance can be given. A large colledion of his drawings were purchafed by All Souls College in Oxford; they fill feveral folio volumes, depofited in the library of that college, adorned alfo with a curious bull of fo worthy a member. He died in MDCCXXII aged XCI years, and was buried in St. Paul's* London. Sir JAMES THORNHILL, Defigned architecture. Sir JOHN V AN B RUG Hi Was born in the middle of the reign of Charles II. and defeended from an ancient family iri Chefhire, which came originally from France, though he mould appear to be of Dutch extrac- tion : he had a moft ready wit, and was particularly turned for dramatic productions -, he cultivate ed alfo his inclination for civil architecture. Many of his plans unite conveniency and greatnefs ; his elevations are entirely abfurd, for by the exceffive thickneffes of the walls, they can only be compared to excavated quarries, and feem not raifed artificially for the pur- pofes of buildings; and as M. Walpole further adds, that a fingle man ihould have been capri- cious, mould have wanted tafte, is not extraordinary; that he mould have been felected to raife a palace, (Blenheim) built at the public expence for the Hero of his country, furprifes one. Yet if Vanbrugh had borrowed from Vitruvius as happily as from Dancour, Inigo Jones would not be (according to M. Walpole,) the firft architect of Britain. Sir John Vanbrugh died at White- hall in MDCCXXVI. The buildings from his defigns, are the duke of Newcastle's at Clare- mont. Caftle Howard, Yorkshire. M. Duncombe, Yorkshire. Eaftbury, Dorfetfhire. King's Wef- ton near Bristol. Eaton NeSton, Northamptonshire. One front of Grimfthorp, Lincolnshire. Two little carries, Greenwich. His own houfe, Whitehall. The Opera-houfe, Hay-market. WILLIAM

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		Pub lick and Private Edifices. r j WILLIAM TALMAN, . Was efteemed an ingenious architect; he built Chatfworth for the duke of Devonshire. He was very affiduous and laborious in deiigning every thing in his travels Worth his attention. His drawings were lately fold in London by public auction, and it is faid, are depofited in Eton College library. Further particulars of this gentleman are not come to public notice. Sir WILLIAM WILSON, Lived about the fame time as the former, but little or nothing is come to our knowledge, but that he was an architect, who gave fome defigns for repairs and buildings at Warwick. Mr. JAMES GIBBS, Had a better opportunity than moil artifts, to difplay his talents in the great ilyle of architecture, being employed in building and repairing feveral principal churches in London ; St. Martin's in the Fields. St. Giles. The new church in the Strand. St. Bartholomew's Hofpital, and feveral houfes for perfons of diftinction. But the tafle of this architect has thrown no new light upon the art. The EARL of BURLINGTON, Whofe exalted rank in life was no obilacle to his exerting the talents nature had .given him. This nobleman was born in MDCXCV. and was intimately acquainted with the liberal arts, and a great encourager of them. His fublime tafle and fkill in architecture, will ever be juilly admired j it is to them that Britain owes the extirpation of many abufes till then cur- rently received. He defigned feveral plans and elevations � among others that are executed, are the affembly rooms at York, his own villa at Chifwick, the weft front of Marfhal Wade's houfe in Burlington Gardens, the dormitory at Weftminfter fchool; he repaired the portico of St. Paul's in Covent Garden, to honour the memory of his admired Inigo Jones, whofe defigns he was at the charge and trouble of publiihing, in a manner that does credit to his nation, and worthy the elegance of his tafle; � WILLIAM KENT, Lived in the houfe with the above nobleman ; he was a painter, and defigned architecture. The front of the Treafury towards the parade, and the Horfe Guards at Whitehall, are from his de- figns�But what can be moil recorded to his fame, is the tafle he ihewed for laying out gardens. He was the firft that waged war againfl all that monftrous variety of clipped trees and borders, and by the overthrow of thefe hideous fpectres, made way for the beauties of nature. It mufl not be omitted to mention another nobleman, diflinguifhed likewife by his love and talents for this art. HENRY EARL of PEMBROKE, father to the prefent Earl, prefided at the board for building Weftminfter bridge; he laid the middle ftone of the foundation of the firft pier in the afternoon of the XXIX day of January, MDCC XXXIX. and by his conftant, prudent and refolute behaviour towards the committee, obliged them to proceed with all the attention and dili- gence requifite to fuch an undertaking. It is from M. Walpole we colled, that this faid Earl has fhewn by a bridge defigned by himfelf, that had Jones never lived, Wilton might yet have been a villa worthy of antient Rome. Nor fhould.be paffed over in filence, the recent fervices done to architecture by the great encouragement of many of the prefent nobility and gentlemen; moil of whofe travels into foreign parts have not been undertaken through a vague and idle curiofity, but from the laudable incitements of bringing home fome ufefui intelligence in arts or politics. It is to the fortitude and munificence of M. Dawkins and Bouverie, (the laft died in Alia Minor, univerfally re- gretted, and was buried in the chriftian ccemetry at Smyrna, where I vifited his tomb) that we owe the defcriptions of Palmyra and Balbec, fo elegantly publifhed by Mr, Wood, the com- P panion

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	g8 Remarks concerning panion of their dangerous excursions, from drawings taken upon the fpot by Sig. Borra. Many other names might be added, of Skilful architects in Britain, who have given to the public un- doubted proofs of the fruits of their Studies, whereby they not only have Secured their own reputations, but have alfo contributed to the improved State, architecture has lately attained in thefe illands.

		CHAP. II.

Some General Reflections about the Embellifljment of 'Towns and Cities, Of publick Edifices* TOWNS and cities, however unfkilfully built, nevertheless may be capable of being greatly improved and embelliShed; but we find that mofl places of the oldeft, as well as of later date in thefe kingdoms, remain in that abominable negligence, confuflon and diforder, wherein the ignorance and rufticity of our ancestors had at firSt planned them. New buildings are erected in different quarters, but no care is taken to alter the bad distribution of Streets, nor the miShapen projedture of the fronts of houfes, built at all hazard, and according to each one's capricious fancy : the antient edifices remain juft as they were at firft railed, and make a heap of ill-formed buildings, huddled together, without Syftem, without ceconomy, and without de- iign. Mr. Gwynn, in his ingenious tract, of London and WeStminSter improved, has with great talte and judgment Struck out many alterations for the advantage of the metropolis. Was it not feafonable to revive this topic ? when the very middle of London is the fame as it was centuries ago. They who rebuilt after the calamitous fire, did not confider of any improve- ments in the Streets and lanes j the fame crooked windings and narrownefs of Streets, have been preferved, and while the capital, in its interior and moft commodious quarters, has many ruinous places, the receptacles of filth and mifery, the Skirts thereof are extending beyond all due limits, to the detriment of its own fupport in many of the neceffaries of life. It may literally be compared to a whitened Sepulchre, fair without, but within full of rottennefs and dead mens bones; and although every alteration that might tend to remove entirely thefe nuifances, could not take place but very flowly, yet by a proper attempt, it might be begun: it is Said, that in the Town Hall at Paris, there is hung up a map of the city, with fuch improvements marked out upon it, as are judged neceSTary, which by degrees are brought about as opportunity offers. The beauty and magnificence of a city depend principally upon thefe points. I. The entrances. II. The Streets.- III. The buildings. I. All the approaches to a city Should be thorough large avenues of Some length, in direct right lines; it would be defirable to have fome avenues fall upon two or more principal Streets: the entrance of Rome by the Porta Del Popolo, is after this manner. For the fake of greater order and conveniency, the Several entrances Should be placed nearly at equal distances round the circuit of a city. And how advifeable it would be, to trace the line that Should Surround a capital, as its boundary, beyond which no buildings Should be Suffered within a limited distance ? is a queftion eafily anSwered. That private property Should Suffer a little for the public emolument, is Sometimes unavoidable, and though it Should not be difpofed of through wantonnefs, and without all requifite compensation, yet, when legally demanded or restrained, it Should be yielded; and tho' in all fuch cafes the Satisfaction given, amply indemnifies each individual, there always remain Some complaints which are equally Selfifh and abfurd. Ac- cording to M. Gwynn's plan, there is a great deal to pull down and rebuild; the moft practicable might be begun firft, and the reft carried on at different periods of time, by Succeeding gene- rations, who will thankfully acknowledge the establishment of fuch an jedile reformation. II. The

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		PuMick and Private Edifices. 59 II. The ftreets in a city require three confederations. I. That their number be fufficient to prevent too much going round about, from one fpot to another. II. That they be made wide enough to prevent all forts of ftoppages, not only thofe by carriages, but thofe by the fcaffoldings, &c. ufed in building or for repairs. III. That they be in a right line to fhorten the way from one end to the other. According to Sir C. Wren, the breadth of the ftreets in his improvement of London, were for Lanes -.-.-..-- XXX feet, LefTer ftreets - LX feet. Greater ftreets - XC feet. It is no trifling matter to defign the plan of a large town, in fuch a mariner that the mag- nificence of the whole be fubdivided into an infinity of beautiful particularities, all diverfified, fd that we may feldom ever meet with the fame objects. That there fhould be order, and yet fome apparent confufion ; that the buildings mould be in right lines, arid yet, by proper breaks; avoid a difgufting monotony: this leads on to confider, III. That the plans and elevations of all the buildings fhould fulfil every intention of their defigns. The heights of houfes fhould be determined by the breadth of the ftreet. In wide ftreets, nothing is fo contemptible as too low buildings, however otherwife they may be well defigned. The height of buildings is alfo pleaded for town houfes, becaufe ground is fo fcarce and dear. Since the fronts of houfes in a ftreet, when they are too fymmetrically difpofed, become very tinafFedting, the uniformity fhould only extend for the diftance that is included between two crofs ftreets, and for the oppofite fide. The art of varying defigns depends upon a diverfity of forms given to buildings, upon drefling them with more or lefs ornaments, and the feveral manners of combining ornaments ; with thefe three refources, each of which may be faid to be inexhauftible, one may in the greateft city never twice repeat the fame fronts. The palaces of princes, the town houfes of the nobility, of the gentry, and of the principal burgeffes, and the dwellings of the inferior inhabitants, may have their feveral dimenfions and diftribu- tionSj conveniently difpofed in the different quarters of a great and opulent city. It would be needlefs to fpecify every particular fort of edifices, erected for public ufe._;j it is fufficient to obferve, that they fhould bear all the marks of folidity, and not be void of that conveniency and beauty, fuitable to their deftined purpofes �� Some are only temporary, while others are intended to endure for ages. But among all the public edifices, they which hold the firft rank are thofe erected for public divine worfhip; built for duration ; they are alfo the mofl fufceptible of all others of the ornaments of painting, fculpture and architecture; we may fee their effects in the Cathedral of St. Paul',s. Public adoration and prayers performed with an awful folemnity, in places decently adorned for thefe duties, can never be deemed inconfiftent with the trueft piety, and the moft fpiritualized religion. Superftition and idolatry will never prevail where the mifts of ignorance are difpelled by the rays of facred truth, and the civil and religious liberties of the peo- ple are duly maintained. If the moderns are left in the dark about the private habitations of the antients, the fame cannot be faid of their temples : The ruins of thefe edifices, in different places, are more perfect than all others ; and fome of thefe might have given models for the ftructure of the Chriftian churches; indeed there were feveral that after the firm eftablifhment of our religion, were con- fecrated; the Pantheon, the Temple of Fortuna Virilis, the Temple of Vefta at Rome, and others in and out of Italy. But it happened that the firft Chriftians rather chofe the bafilicas for the models of their churches, (nor are 4hey improper for the fame purpofes) and the firft was built at Rome, by Conftantine the Great, in the Year CCCXXVL upon the fame fpot where St. Peter's

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		■6o Remarks concerning St. Peter's now ftands, and was dedicated to the fame faint. But this plan was not taken frorn the iimple Bafilicas, the breadth of the parallelogram was divided into three equal parts; the middle part was the nave, and each aiile was again divided into two by a row of columns, fo that there were four rows of columns, and thefe, with the fide walls, formed five feparate walks up the church, from well to eaft; the top of the parallelogram was croffed by the tranfcept like the upper part of a T, with an hemi-cycle fronting to the nave, and of the fame breadth ; fo that the plan of this church feems to have been the figure of an imperfect crofs. This figure was chofen by Conftantine, in honour of his Vict ory over Maxentius, and though imperfectly executed at firft, was afterwards more perfectly traced in the fucceeding ages : And here we may obferve, that the cuftom of placing churches eaft and weft, is a fuperftitious practice that does not deferve to be followed, whenever fuch a difpofition may occafion greater inconveniency, as it has often happened; nor is the figure of the crofs the only one that mould take place in the defign of a church. In the time of Juftinian, the church of St. Sophia, at prefent the Imperial Mofchea of Con- ftantinople, was built, it furprized the barbarous world by its greatnefs, the boldnefs of its cupola, and the effect of its whole bodyj yet, in the details of its architecture, it is exceeding faulty. The Venetians wanting to rebuild the church to their patron faint, were the firft who raifed in Italy a cupola, and defigned the plan in the more perfect form of a crofs, but neverthe- lefs, St. Mark's, built in the XI century, has many of the defects of St. Sophia. The church of St. Maria de Fiori, already begun at Florence, by Arnolphus Lapi, in the Gothic ftyle, was finifhed by Brunnelefchi, whom we have mentioned, as the firft reftorer of architecture from the antique j he contrived, in a new and folid manner, at little expence, the cupola* This was a great ornament at that time to the city of Florence, and was talked of as the wonder of Italy. Nicolas V. elected Pope in MCCCCXLVII. feeing the bafilic of St. Peter's begin to be threatened with ruin, meditated the project of rebuilding a new one, ftill more vaft than that of Conftantine. The death of this pope put a flop to the work, though one end of the build- ing was brought up five feet above the ground line. The perfection that appeared in the cupola of Florence, fupported upon the walls of the churchy made the people of Rome imagine, that it was practicable to fupport a cupola upon the arcades of the nave and of its tranfcept. The firft that was executed was not important from its dimenfions : it was for the church of the Auguftin Friars, near the Piazza-Navona at Rome. It was here that the bold fcheme firft took place of raifing a cylindrical tower at fome height j* upon this the cupola was made to rife, which before took its rife juft above the arches of the nave. This building was raifed in MCCCCLXXXIII, about LX years after the cupola of St. Maria de Fiori had been entrufted to Brunnelefchi. The building of St. Peter's at Rome was again refolved upon, and Julius II. laid the founda- tion of that magnificent pile the XVIII day of April, MDVI. Bramante having carried it for his plan againft a number of others in competition. But the foundations were placed with fuch little care, the confequence of too much precipitation, that having turned the arches intended to bear the walls of the cupola, they opened in many places foon after his death, which happened not long before the demife of the pope; this accident retarded greatly any advancement in the building. All immediate helps were ordered by Leo X. and the moft fkilful artifts, Giocondo, Raphael and j. San Gallo, employed to remedy this evil, which was done effectually. At laft Michael Angelo was called in, at the age of LXXII years, forty years after the building was begun, to prefide over the works; his difintereftednefs was equal to his reputation as an artift, for he conftantly refufed the falary allotted to the architects of St. Peter's. To this great man is due the beft decorations of this magnificent edifice ; the portal that he had defigned was far fuperior to that which was executed; and he may be looked upon as the architect that con- tributed moft to the perfection of St. Peter's in the feventeen years that he had the direction of the works. Fontana and De^la Porta fucceeded after him, and Maderno finifhed this ftupendous fabric.

			The

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		Publick and Private Edifices. 6i The rnoft confiderable cupolas after St. Peter's, are thofe of St. Paul's in London, and the church of the Invalids at Paris: but neither thefe nor many others, are fupported from the ground in the manner that is moil advantageous for the internal decoration. The arcades and piers ufed in the divifions of the aifles and naves, have a heavinefs which has .met with very reafonable objections; far lefs worthy of admiration, than thofe bold and lofty Gothic arcades with narrow piers, which may juftly claim the preference, by the more pleafing fenfations they produce upon the mind of the fpectator: but the day is not loft, the columns of the Grecians muft triumph in the end, if difpofed with the fame advantages as by the antients. Let us eon- fider their bafilicas and their temples, and we mail foon difcover the true fuperior ufes and beauties of infulated columns, either in placing them to divide the nave and aifles, or in fupport- ing cupolas; who has ever entered into the little church of St. Stephen, Walbrook, without being charmed with its fimple and beautiful periftyle, and with the ingenious method of placing the cupola upon eight of the columns ? On this occafion we cannot forbear mentioning to the honour of M. Le Roy, his very ingenious Hijlory of the difpofition and different forms of Chrijlian 'Temples from the time of Conjiantine; therein he has pleaded the caufe of periftyles fo effectually, and has expatiated fo forcibly upon their beauties, that they cannot fail of being preferred in all defigns which will admit of fuch ufeful and ornamental parts in their compofitlons.

			G H A P. HI. PraBical Confederations. Difributions of Plans. Explanation of ten Defigns. HOEVER intends to build, fhould previoufly be informed by the defigns of the artift of the plan, it's elevations and fections; and whenever the building is confiderable, it fhould be recommended to have the model of it in wood or pafte-board; at the fame time the eftimate of the expences fhould be confidered, that no impediment may happen on their account. The drawings intended for the ufe of workmen, muft be correctly made out, and for fear of mif- takes, the heights and breadths-, &c. are all to be fet down exactly in figures. The feveral materials ufed for a building, fhould be collected together in time, at the intended place, and in fuch quantities as to occafion no delays i for if the walls are not carried up equally in all their parts, there may be danger of fome of them fettling, notwithftanding all the care of the moft expert and diligent workmen. It is always neceffary to examine attentively, the qualities of materials, in order to infure both ftrength and beauty in the workmanfhip. An Edifice is compofed of three principal parts. I. The foundation, which bears up the whole mafs or pile. II. The walls that enclofe it, and thofe which divide it. III. The roof that covers it. Every part of the foundation mufl be folid, and in proportion to the mafs to be laid thereon. As different foils require different methods of fecuring the foundation, no particular rule <:an be prefcribed, but upon the fpot. However, in general, it may be faid, that there is no truftingto old foundations for anew ftructure, that where the quality of the earth is of different ftrata in the fpot intended for a building, as loam and fand, the ground mufl be dug by fteps, in order to find the fame bottom throughout the whole extent of the foundation, or it muft be planked.-------Some fwampy grounds require planks and piles : all thefe things the fagacity* of the architect is beft able to determine from the circumftances themfelves.��We fhall only obferve, that depth of foundations is lefs neceffary than Q^ breadth.

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		62 Remarks concerning breadth, for the feeurity of the incumbent walls, becaufe breadth gives them a fole or patteri* whereby they are preferred from falling by any inclination out of their centers of gravity. The thicknefs of walls is to be determined by their ufes and heights, and thefe, as we have fhewn occafionally, by the orders. The thicknefs of the walls of a houfe, muft be diminilhed at every ftory, becaufe the foundations mould not be loaded with an unneceffary weight. The beft method to diminifh walls, is, that the middle of the thinneft part be over the middle of the thickeft; but if one fide of a wall muft be perpendicular, let it be the inner, on account of floors and crofs walls, then the diminilhed part without is covered with a plinth or cornice ; this will be both ornament and ftrength. This leads us to fpeak a word of'falfe bearing, one of the greateft, real and apparent faults in a ftructure ; a falfe bearing may be faid of any part that is not fuftained directly from the ground; fo that folid may always rejt upon folid; any columns, pilafters or piers that bear upon the crown of an arch, or upon the projectures of platbands or trufTes in the air, are fo many falfe bearings. Gothic edifices abound with thefe abufes; the old houfes which project at every ftory into the ftreet, to gain in the air what would have not been allowed on the ground, are abfurdities againft the firft mechanical principles of building, which require that the bafe of every ftructure mould be broader than the fummit. Windows are apertures left in the walls of an edifice, to admit a neceffary quantity of light and air into the interior parts. For this reafon, windows in large apartments are made twice as high as they are broad; they admit of more light than fquare ones, and the proportion be- comes more beautiful, being as i : 2. The wall between two windows is called the pier, or in- terfeneftration : when windows require to be made very large, as for a flair-cafe, gallery, a cha- pel or church, &c. it is requifite to make their upper parts circular, becaufe an architrave drawn in a right line would not be ftrong enough to fupport the weight. Indeed over all windows, occult arches behind the external courfe of materials, Ihould be turned to difcharge the weight from above; without this caution there would be great rifk of the lintels and architraves breaking The upper windows in any edifice muft be placed directly over the under ones, this is not only indifpenfable by the laws of folidity, which require that folid fhould reft upon folid, but alfo by the rules of fymmetry, which require the fame diftribution in the upper and lower parts. The above confiderations for the height and breadth of windows, are hinted to avoid that dis- agreeable obfcurity which reigned in the apartments of moft of the antient barbarous buildings : the advantages they claim, which are not to be neglected, are, that they excluded cold in the win- ter, and heat in the fummer; but fuch lodgings have all the appearance of caves, and make it neceffary at noon day to bring in the light of lamps or candles, fince they were conftructed imper- vious to that of the fun. The contrary miftake to this extreme, are thofe lanthorn houfes, which among other modes of falfe tafte were introduced from a neighbouring nation ; in thefe there reigns fuch a glare of light as is prejudicial not only to the eyes, but to every object within the room. The inconveniencies of too large windows, or what is the fame, of too many windows in a certain fpace, are carefully to be avoided; the winter's cold, and fummer's heat, penetrate into the apartments, notwithftanding every contrivance to exclude them : now a dwelling is intended to fecure us againft the injuries of the weather, and to receive light; therefore the fize and number of the apertures for windows, muft be proportioned to the places they are intended to en- lighten ; all thefe feveral places bearing a certain analogy to the whole edifice, the windows in them fhould alfo have their apertures proportioned to the whole. The interior architraves of the windows fhould be Sufficiently below the cieling to allow for a cornice to the room. The

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		Publich and Private Edifices. 63 The lower part of the window fhould be about three feet from the floor, and there fhould be no internal thicknefs of the wall, to prevent any one from Handing up clofe to the fafh. If a chamber is twelve feet high in the clear, from floor to cieling, the cornice may be allowed twelve inches or more, and taking three feet from the bottom of the window to the floor, there remains then eight feet for the height of the window, half of which is given for its breadth. A range of windows fhould never have the intervening pier between two windows lefs in. breadth, than the breadth of the aperture of one window, nor more than twice that breadth ; the angular pier of a building fhould be allowed fomething more than the breadth of the pier be- tween two windows. All windows lefs in height than two fquares, or at leaftjjthan the diagonal of one of them, mould not appear in the front of a houfej where the fmaliefr. degree of magnificence is in- tended. A door is an aperture left in the wall for the conveniency of entering into the building, or from one apartment or divifion thereof into another, when there are two or more. A door mull not be lefs than fix feet high, and three feet broad � this is determined by the height and breadth of a man, for whofe conveniency it is made. But the height and breadth is iricreafed or diminifhed as other ufes arid proportions may require. The door of a principal front, fhould always be placed in the middle of that front, with an equal number of equidiftant windows on each fide. From this it follows, that the number of apertures in a grand front is always unequal; It often happens, that in houfes having from three to five windows, or an equal number in front, the door is not placed in the center, and this is inlifled on, to give up the fymmetry of the front for the conveniencies of the interior diflribution; whenever this is allowed, the dreflings of the door fhould not be richer nor different from that of the windows ; for it would be the highefl abfurdity to fignalize this irregularity by any particular marks; if one fide of fuch a building is to a ftreet, the door would be beft placed on that fide. When feveral doors are required in the fame front, (this fuppofes it of vafr. extent) the princi- pal door mufl be placed in the center, and fhould be more ornamented than the reft; the other doors fhould be at equal diflances from the middle. The mofr. eligible figure for chambers, is a rectangular quadrangle, becaufe the neceffary furniture, fuch as chairs, tables, looking-glaffes, fophas, beds, &c. can be better placed in fuch a figure than any other; fometimes an oval, or circular, or oftogon plan, &c. is allowed to fome particular room, as it introduces a variety. The proportion of the breadth to the length of rooms, is 1:1 or 2:3 or 1 : 2. Of naileries, 1 : 0. The height from floor to cieling of rooms, fhould neither be too great or too little, and fhould have a relative proportion with their breadth' and length. When chambers are too large, and their cielings very high, they cannot be warmed in cold weather but with much trouble and expence. If on the contrary they are too fmall, with low cielings, they are very prejudicial to the health of thofe who frequent them, becaufe the volume of air in fo confined a fpace is foon tainted; without thefe two confiderations let us obferve, that the beauty of a room requires, that its height fhould have the relative proportion with its breadth and length. This height is vari- oufly determined. Either divide the breadth into three, and take two ; or into feven equal parts, and take five; or into four, and take three for the feveral heights. If

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		6^. Remarks concerning If a room is to be vaulted, take the heights as follow; divide the breadth into fix equal parts, take five,; or into eight, and take feven; or into twelve, and take eleven* Chambers fhould communicate one with the other. Doors are the means of this communica- tion : we are not of the opinion of thofe who allow but one door to a room, the idea is confined, and doors may be made to fhut clofe. A bed room fhould communicate with a dreffing room, this with an anti-room j a draw- ing room with a dining room, &c. Sec* but the fecret paffages may be preferved. The ufe of one chamber fhould not obftrucl: or prejudice the ufe of another. Thus a kitchen next to a parlour or drawing room, would be intolerable : nor fhould a ftudy be placed near the childrens apartments, becaufe the noifes and cries of thefe lively little folks, would be very troublefome to any perfon retired to read and meditates The diftribution therefore of each chamber fhould be made in fuch a manner as to afford, by it's fituation, every fuitable conveniency, with as few obftrurclions as pofiible; for example, if the back front of the houfe is to the eaft, and the fore front in a publick ftreet or fquare, where there is a conftant noife and buftle, then it is better to have the ftudy and drawing room backwards, becaufe the noife of the ftreet is equally offenfive to the ftudious, as to the converfation of a felecl fociety. Groined arches ufed for cielings of bafement and under-ground rooms, are defcribed by the interferon of the fegments of a circle, or of an ellipfis. Sometimes a place is vaulted in with femi-circular arches, or leffer fegments* A fpherical vault is a hemifphere, or lefs* Every fort of arch fhould be fupported upon walls and piers, capable to bear its weight and thrufL In carrying up a building, the proper piers are made for the intended arches, but thefe are not turned, till the upper floor and the roof are laid, left the fall of any materials might happen to damage the arches. The flatter the arches are, the greater the thruft, therefore they require ftronger piers and thicker walls. The ftairs are a number of fteps one above another, and ferve for the afcent and defcent to and from one floor to another; the place fet apart for the ftairs, is called the flair-cafe j ftairs are either ftrait, or flyers, or winders, or mixt. All ftairs fhould have fuflicient light, and be as eafy of afcent as poffible. In fmall buildings one ftair-cafe is fuflicient, and goes quite from the bottom to the top, In greater buildings, two ftair-cafes, and fometimes three, and more, are neceflary, but then the principal ftairs only afcend to the principal floor. Stairs fhould be defcribed and accounted for exactly at the very time that the plan of a building is delineated; for want of which, oftentimes unpardonable errors have been committed, fuch as having a little blind ftair-cafe to a large houfe, and a large fpacious ftair-cafe to a fmall houfe, or not a fuflicient number of ftair-cafes to the extent of the building, or not room fuflicient to rife to the intended height.

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		Pub lick wid Private 'Edifices. 65 The narrower fteps require the higher rife, becaufe the breadth of a ftep added to double the rife, muft be equal to two feet, the common extent of a man's ftep upon plain ground. The rife of each ftep muft not be lefs than five inches, nor more than feven, that one may go up and down without fatigue; and the tread or breadth of each ftep muft not be lefs than ten inches, nor more than fourteen : the length of the ftep may be any thing above three feet, as the place will allow, though ten or twelve feet is fuflicient even for a palace. After every nine, eleven, or thirteen fteps, there mould be a quarter pace, for the greater eafe and conveniency in afcending and defcending. The number of fteps are made unequal, that you may finifh with the fame foot with which you began. Winding flairs are defcribed round, a circle, an oval, a fquare, or an equilateral triangle; for each of thefe, fome wind round a folid newel, and others round a hollow newel. It muft be obferved, that the middle of every oblique ftep has its tread equal to that of the other fquare fteps. A chimney is an opening in the wall of a room, its ufe is for the placing the fire intended to warm that chamber. It confifts of the hearth, the jambs, the mantle and the funnel. It is by the good conftruclion of all thefe parts of a chimney, that the heat of the fire is given to the greateft advantage, and without the leaft difpofition to fill the chamber with fmoak. The breadth and height of the fire-place, fhould be proportioned to the fize of the room; the funnels of the different floors all go up in the thicknefs of the wall and unite in one ftack; the flack fhould be carried a fufficient height above the ridge of the roof, that the fmoak may afcend freely in the air. The tops of the funnels fhould not be left with too wide apertures, that the fmoak be not driven back, neither with too fmall vents, becaufe they being foon choaked up, would produce the fame bad effects. A grate placed too low, the fituation of the doors in a room, and many other things, are often the caufe of the fmoak not afcending; but whatever may oc- cafioii it, if once difcovered, the evil may be remedied. The roof of a houfe is that part* which, after the perpendicular walls are carried up to their prefcribed height, covers in the whole fjperior plan, and fecures it againft the injuries of weather. The inner, as well as the outward walls, fhould bear their fhare of its preffure. It fhould neither be too light or too heavy. The moft common roofs are compofed of timber fcantlings, which are covered with different materials, as plain or pan-tiles, flat-ftones, flate, lead, copper, &c. each kind requires a dif- ferent pitch or flope for the rafters, fufficiently known to every fkilful carpenter. Sheet lead ufed for roofs is very weighty, liable to crack, and is expenfive in keeping in repair : pieces of copper ufed as flates, about two feet fquare, are to be preferred : flate is a light covering that does keep it- felf up without frequent repairs : tiles are of more general ufe; to be good, they fhould be well burnt, well moulded, and when ftricken fhould yield a clear found. The roof of a houfe, fhould neither be of too high or too low a pitch; for a high pitched roof is of an aukward appearance, is an ufelefs load upon the walls of any edifice, expofes it more, efpecially in great towns and cities, to the danger of taking fire, on account of the greater quantity of timber ufed. If a roof is flat or too low pitched, the fnow and rain lodges upon it and drains off but flowly, fo that it occafions the timber to rot, requires frequent repairs; all this ruins the cielings, floors, &c. it is intended to cover and preferve. The M. roof does honour to its inventor. The manfard or broken roof has in it's upper part the difadvantages of the flat roof, and it's fides have all the difagreeable appearance of a high pitched roof. Nothing is fo eafy as to make convenient apartments in a building; but nothing is more difficult than to make this diftribution of plans with fymmetry in the elevations. For fymmetry al- moft always occafions much trouble in determining the meafures and the Situations of each part, R agreeably

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		66 Remarks concerning agreeably to it's cbnveniency and ufe, oftentimes the fymmetry of one part is an unfurmountable obftacle to the fymmetry of another, e. g. when a partition wall falls upon the aperture of a door or a window. In this cafe, a mam door, or a {ham window, or a double cieling mull take place, rather than tranfgrefs the fymmetry of the correfpondent parts. it is impoffible to give any pofitive rules about the diftribution of plans, the fituation of the edifice, it's greater or leffer extent, the regularity or irregularity of the ground, the ufe it is intended for by the perfon for whom it is built, the expences affigned, are all fo many different caufes which will allow of great variety in the diftribution of plans, and the rules for thefe pur- pofes are almoft numberlefs. We mult then limit ourfelves within fome general obfervations upon the arrangement of the rooms, and remark any advantages they may have from certain con- venient pafTages to and from them j for Want of this requifite attention, irreparable faults are committed. The perfon who intends to build, moft commonly forms the firft idea of a plan for his own. ufe, and considers the particular conveniencies that he may require; and having fixed the fum in- tended to be dilburfed, he leaves to the {kill and experience of the architect, to delineate a plan for the execution of'thofe ideas, in fuch a manner that the irregularity of the fpot, nor any other difficulty that might arife therefrom* do not prevent him from compering a convenient and acceptable defign. The general difpofition of the plan, is the only thing that demands the very firft attention. A building to be well placed, muff have an advantageous entrance, muft prefent itfelf well, mull be in a good expofure, and diftant from all nuifance. Firfl; then, a houfe of any degree of magnificence in town, mould be fituated to have a court-yard before it, and garden behind j though if the fituation is in a grand fquare, or that it enfilades a fine ftreet, or fome fuch like confideration, then the principal part of the building may be upon the ftreet; and the inferior parts, in the wings or backwards* The fecond general obfervation is, to place the offices and {tables, fo as not to be ofFenfive to the apartments. There are three ways of doing this, according as the fpot of ground will permit. The firfl: is to place them in the wing, when the front of the ground is not too narrow. The windows of the kitchen fhould look towards the north, that it may be at all hours of the day cool and fhaded. On the contrary, the ftables fhould be opened to the fouth, to dry up the moifture ; the coach- houfes to the well, that the fun may not damage the varniih or paintings of the coaches. The beft fituation of the kitchen and ftables,^ is at the extremity of the wings, and to the ftreet, that the litter and fweepings may be carried off without entering into the principal court-yard, and that the forage and other articles may be delivered in from the ftreet. The fecond way to prevent any nuifance is, when the area of the ground will allow it to have one or more yards, befides the principal court; within thefe yards, which are never feen in the avenue to the houfe, are placed the kitchen, and other offices, the ftables, coach-houfes pumps or wells, and watering troughs, &c. in thefe yards alfo the coaches are wafhed, the horfes curried, carts are unloaded of the wood, coals, hay, corn, &c. and whatever is brought for the fervice of the houfe and ftables; fo that by thefe means, the principal court-yard or avenue, is never dirtied or embarafled on thefe occafions, and the main body of the dwelling is not troubled with the noife of all thefe tranfactions, by the proper diftance and feparation from them. Larlly, when there is place fufficient for two yards, befides the principal avenue, in the one is the fervants hall, with the kitchens, and other offices : In the other, are the ftables, coach-houfes, bog-houfes, granaries and lodgings for the fervants. This is at prefent the moft approved difpofition of thefe parts of a building, it being more elio-ible that the fervants fhould have further to brin* the things under covers, from the kitchen and offices.

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Pub lick and Private Edifices. 67 ofHces, than to have thefe places in vaults under the main body of the houfe, whence arife many inconveniences, viz. their being ill lighted, and not airy, but clofe and damp, is attended with many difagreeable and offensive circumftances, as the noife of fervants, the fmell of victuals, and the blacknefs of the fmoak, dirFufed into the beft apartments, to the great damage of the decorations and furniture. When the kitchens are at a great diftance, it is attended with difficulty in ferving up the 'dimes hot and in order; a greater number of fervants are then neceffary; there might be an outward room, or fome place to heat and place things again in their proper order, before they are ferved up at table, efpecially in cold and rainy weather.----�But a covered paffage will prevent this trouble^ and if it cannot be made above, it may be contrived to pafs under ground. Having fixed the Situation and general difpofition of a building, one mould examine if the ground is extenfive enough to admit upon one floor, all the rooms and neceffary conveniencies required; this without doubt would be the mod convenient, as well as the moft elegant choice; but not being adopted, we muft come to a distribution of the upper floors; but it mould be al- ledged, that not more than one ftory upon a bafement, mould be given to a houfe of the firft elegance ; the rooms will be loftier and more healthy. 1 It may be imagined, that when feveral floors are made one above another, it faves expence, as they are all covered with the fame extent of roof; however, it happens quite the contrary; for al- though the foundations and the roof are more extenfive, the lower the building is with the fame number of rooms, yet the height and thicknefs of walls, and depth of foundation are reduced ; then likwife, floors, cielings and flairs, are retrenched, which fave much expence, not to mention the flacks of chimnies, and many other articles that would be tedious to enumerate ; and it is matter of wonder that buildings of one ftory only, efpecially where the ground plot will allow it, are not more in vogue* To guard againft the dampnefs of ground floors, they fhould be raifed feveral fteps above the level of the ground, and vaulted underneath, or at lead, which is lefs expenfive, the joifts of the floors muft be laid upon ranges of dry brick; but this guards not fo effectually againft the moiflure that arifes from the ground, as the vaults. And here be it obferved for the health of the publick, that even the meaneft dwellings fhould never be fuffered to have their ground floors level with the earth, but raifed a foot or two higher, efpecially in the country where lives are fo much the more precious to the community, as their labour continually ferves to provide the food and raiment of thofe who live in eafe and plenty. It remains now to explain the order of the rooms, in one apartment, the ufe of each in par- ticular, and the paflages leading to and from them, that they may be found with every requifite convenience ; and we may attend to the inftrudtions which the French authors have delivered upon this fubje�t, becaufe they, above all others, have ftudied to contrive the moft commodious di- visions of plans. A grand apartment fhould confift at leaft, of a hall, or veftible, or lobby, of a firft and fecond anti-room, of a parlour, a faloon, a bed chamber, feveral light clofets, wardrobes, &c. all adapted to the rank of the owner and his vifitors. The veftible leads to the great ftairs, and communicates with the firft anti-rooms; thefe are the places for the fervants in waiting. The fecond anti-rooms, are defigned to receive perfons who deferve better notice ; they are ufed likewife for eating-rooms, and therefore fhould be chofert on that fide of the houfe neareft to the kitchen. The faloon, or room for company, opens generally into the fecond anti-rooms: on fome par- ticular occafions it is ufed as a ball or mufick room, or card room, being, after the ^allery, the moft diftinguifhed for fize.

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		■&8 Remarks concerning If on the.fame floor there is made a bed chamber, it is more for parade and ftate than for ufe. The principal cabinet or drawing room, is a place defigned to receive fuch perfons of rank, who come to treat about any affair. It muff, be fo difpofed as to,be entered through the anti-room, without patting through the whole range of flate rooms. Another clofet is defigned for writing and reading ; this mould communicate with a gallery, whenever the expense and the plan will allow of it: filch a place is very convenient to walk in for recreation and exercife, in the intervals of reading or writing. The gallery is the room that We mould moftly endeavour to render magnificent. The length of it is generally three times the breadth, it may be adorned with bronzes, marble butts and ttatues, pictures, and fuch other valuable curiofities. The wardrobes are contiguous to the bed chambers j they open into the fecret paffages that the fervants may not be obliged to pafs at all times through their matter's apartments. The waiting women, or valets de chambre* fleep in the wardrobes* to be near at hand when wanted* or if called up in the night. The dreffing rooms, with toilets, &c. are placed near the flate bed-room and wardrobe. An apartment for baths. Thefe baths mould have the conveniency of being made hot or cold, from different pipes and ttoves, as the feafon of the year or the eafe for bathing may require. The fecond rate apartment is compofed of fewer rooms, and the inferior apartments ftill of fewer in proportion ; in every one the rank of the perfon who is to inhabit them, is to be confidered, and the ufe that is to be made of each room. We fhall give two or three plans, to fhew, by way of ex- amples, the manner of difpofing the feveral conveniencies j and the fituations of what we have already mentioned, as anti-rooms, faloon, fludy, wardrobe, bed chambers, galleries, &c. The neceffary rooms for the fervice of the kitchen, are a fervant's common room, the fcullery, larder, pantry, cellars, &c. The right distribution of all thefe neceffary places, is very convenient; every thing is kept-in its place, and thus a moderate fized kitchen is fufhcient; whereas formerly it was made very fpacious, as it ferved for all the purpofes. There mould be in every kitchen, plenty of water, either by a pump or pipes from a refervoir. The offices fhould be compofed of four contiguous rooms ; the firft is for the common room of the fervants out of livery, and here is kept the table for them. Herein fhould be a ttove for making tea and coffee, &c. and a little cittern with water, as it is often wanted and ferved up. The fecond room is furrounded with tables and fhelves; here the deferts are arranged, and the table linen for prefent ufe is kept. The third room, is properly the houfe-keeper's ftore-room, the china ware, glaffes and plate, after being ufed, are here locked up; and the fourth room is the houfe-keeper's or butler's bed chamber, for the greater fafety of the things under their care. The ttairs that go down into the beer and wine cellars, fhould be contrived to be near the butler's office, for the greater readinefs in bringing up the liquors, and that they may always pafs under his eye. In very confiderable houfes three feparate ftables are neceffary, otherwife the building mutt be fufficiently fpacious to be divided into three. One for the fets of coach horfes, another for hunters and other riders, and the third for ftone horfes, or for fuch as are fick. But thefe things are reduced in letter buildings, according to the numbers required by the perfons for whom they are defigned. At

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		Publick and Private Edifices. 69 At one end of the .{tables, is a ipacious room with a fire place, where the belt faddles and richeft harnefTes are kept; over this room is the bed-chamber for the coachmen and grooms: befide this, there Ihould be a forge, with neceffary utenfils, efpecially for a very grand houfe, or a country feat at fome diftance from a village. Over the {tables are the hay-loft and granary; above the coach-houfes, of which nothing particular can be faid, are the bed-chambers for the footmen. The landry and brew-houfe, wafh-houfe, ilaughter-houfe, &c. in the country, are fituated as conveniency and their ufes may require, obferving, that all the buildings be fubordinate to the main body. P L A T E I. DESIGNS OF A T E M P L E* It may have been obferved, that the temples of the Grecians varied in their dimeniions and in their characters; this variety offers us a choice, wherein we need only confult propriety, and the intended expences. The temple in Antis, the Proftyle, and the Pfeudoperipteral, offer us plans and elevations that would come within the expences commonly allowed for the building of a church, and therefore might be introduced as the moft fimple and general defigns: but whatever fimplicity and plainnefs may be required, the edifice muff be characterized from one or other of the Gre- cian orders; the church of Covent Garden, would not have incurred the difgrace it has in the opinion of many people, if the portico, inftead of the Tufcan, had been adorned with Ionic co- lumns; the cornice of the entablature then would have been {till plainer, and without that ap- pearance of a barn's eves, from the monftrous prefecture of the joifts; the expences would not have run higher, excepting in the workmanihip of four Ionic capitals. We don't prefume to attack the reputation of the great architect, but the meannefs of thofe who tied up his hands. In great and opulent cities, fufficient fums are now and then found for the execution of more magnificent defigns, with the better fort of materials, viz. free-ffone : then the peripteral or pfeudodipteral temples might take place; but no incumbrance ihould be admitted that could de- ftroy the beauty of the portico and of the anti-temple: therefore the pediment or roof mould not be loaded with that Gothic part of our churches, a tower and its fpire; yet as thefe can feldom be difpenfed with, let them be placed at a fmall diftance, and detached from the back front, as we have difpofed it in the defign ; the tower and ffeeple of St. Martin's in the fields, and feveral others, feen from without, appear to ftand upon the roof, and to have no other fupport, for which reafon we have endeavoured to alter this difpofition. Fig, A. Half the plan of a Corinthian Octoftyle, pycnoftyle, peripteral temple. It is called peripteral, tho' there are columns only to the front and the two fides. The great external order forms the portico and wings on each fide.; the leffer columns within the plan, are for two orders, one above the other, to be contained in the height prefcribed to the great order. The plans of the leffer columns of the allies, or internal wings, are placed as much within the walls, as the external of the diameters of the great orders, is diftant from the walls without. The altar, is oppofite to the great door, or principal entrance, B. The elevation of half the portico. C. Half of the fection : herein are traced the elevations of the two internal orders, like thofe in the hypsthral temples of the antients. The inferior order fupports a gallery, the podium of which is placed immediately upon the architrave of the inferior order, omitting the frize and cornice. The nave is covered with a coved deling, fpringing from a plinth above the cornice of the fuperior internal order.

			S D, The

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		^o jReinarh concerning D. The elevation of one of the external fides, with the fifteen columns that form the wing* The walls of the back front, range with the extreme columns, to give more room to the cell of the temple; befides the door in the front, there are doors in the fides, one to each ; but whatever alterations are made, fuch as the fervice of our rites require, care mould be taken to preferve the beautiful difpofitions of the antients in the periptere and portico; E. The plan and elevation of the fteeple defigned for this temple * At Venice, and in the territory of that ftate, it is not unufual to fee the fleeples erected on one fide of the churches; but for the fake of fymmetry, they are bell placed to correfpond exactly with the middle of the back front. The common method of making high pews in churches, deftroys the beauty of the interior fpaces, and could only have been dictated by pride, lazinefs and avarice; another indecent abufe, is placing the feats in different and oppofite directions^ fo that the faces of the congregation are forcibly turned all manner of ways, gazing at one another; it would agree better with the folem- nity of publick prayer and praife, to have all the people faced by the difpofition of the feats to- wards the altar; this is not meant fuperftitioufly, but from a decency which might be extended to the feparation of the two fexes on different fides* in places and times, when all the circum- stances mould contribute to raife the mind above every object of fenfual defires* PLATE. II. THE PLAN OF A CHVRCH WITH A CVPOLA, The antients made the plans of their temples either fquare or oblong, circular or polygonal j but we know of no examples, wherein they infcribed the circular dome within a fquare or an oblong: this invention of fufpending a cupola in the air gives an additional variety for facred edi- fices, and if executed with due regard to the fimple principles of the antique, makes an agreeable contraft in a profpect, with the other buildings of a town; how happily have they been intro- duced in the finefr. pictures of Claude and Pouflin. In this plan we have defigned a monopteral colonade to fupport a cupola, whofe internal diameter is the exact breadth of the nave, which is fixty feet wide; the columns of the naves are in file with part of thofe which fupport the cupola; the general intercolumniation is dyaftile, excepting the four - aggregated columns ferving infiead of piers at each angle of the fquare (wherein the circle that defcribes the circumference of the cupola is infcribed,) and fome others at the ends. The altar is placed in a hemicycle, oppofite to the principal entrance j there are two other entrances to the tranfcept, and each has a tetfaftyle portal. i The portico is hexaflyle, and is flanked on each fide with a fieeple; thefe do not interrupt the pediment: the other columns placed externally to the fides and pofticus, are intended as but- treffes, and anfwer all the purpofes of thofe rude Gothic maffes; for they equally ftrengthen the foundation, by procuring it an additional breadth, and by the union of their entablatures with the fuperior part of the wall, they add to their folidity in the two points, the bafement and the fummit. Throughout the whole, the author has aimed to take all poffible advantages from the difpofi- tion of infulated columns, both externally and internally, as nothing contributes more to the majefty of a building; a beautiful example of the latter is feen in St. Stephen's, Walbrook, in London, already mentioned; and abating fome inconfiftencies in the ornamental parts thereof, it fhews the beauty of periftyles, far more pleafing than the heavy piers of arcades which have been fo generally and indifcriminately adopted. The

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		'■■'., Publick and Private Edifices. y r The two churches, St. Genevieve and the Magdalen, now building at Paris, though intended to revive the antique difpofition of infulated columns* if examined from the defigns publifhed, do ' not feem.to promife that purity which might have been introduced; however j they will deferve the attention and applaufe of the publick; for as it has been heretofore obferved by others, never will any edifice* in all likelihood, be undertaken with a view to exceed by its immenfity, or in rich materials, the bafilica of St. Peter's at Rome; but it may not be impoiiible to imagine one of fuperior difpofition, with charter decorations : thefe were the means which diitinguifhed the Gre- cians from other people, whofe knowledge of art was previous to theirs : the Egyptian buildings were of much greater extent; neverthelefs, the defigns of the Grecian temples were fo highly ap- proved, that the Romans adopted them folely: they are again revived in thefe times; while the Egyptian architecture has fallen into oblivion, being only known to a few of the curious, who contemplate its fingularities in their clofets, from the fketch.es and accounts of travellers. PLATE III. THE ELEVATION OF THE PRECEDING PLAN. Here we may obferve the towers and fteeples are raifed on each fide the hexaftyle portico, without interruption to the pediment; the cupola appears between the fteeples in its full breadth, it is def- cribed hemifpherical, and its interior height is equal to twice its diameter; there are windows in the circular walls which fupport the cupola : the columns of the portals to the lateral doors advance beyond the towers, and contribute to enrich the fcenery of the perspective. Many other forms for churches may be defigned, wherein any one of the Grecian orders, or part of their members might be applied with all due propriety. Every art has its erTential limitations, fuch is profody to poetry, and fo are the notes to mufick the fcience of conducting founds under certain meafures of tune and time ; and as thefe may be infinitely diverfified by men of true genius, the fame may be faid of the various compofitions in architecture. It is in more fenfes than one, a lamentable light to fee the walls of parochial churches croud- ed with monuments, infcribed to fo many infignificant names : the publick ufe of vaults under churches for the reception of the dead, fhould be entirely aboliihed, the offenfive effects arifing from them, have more than once been a juft caufe of complaint to the inhabitants of London. All burial places or cemeteries, are beft placed upon the fkirts of a large town; they fhould be furrounded with walls, and within thefe facred grounds might be erected here and there certain little maufoleums, which belonging to the publick, fhould not admit of the traces of private vanity, but at very expenfive cofti, which might be applied for fuch exigencies as the prudence and gene- rofity of the difinterefted might determine. We do not intend to fpeak in this place of thofe for great and noble families, who pafs their lives in a ftate of feparation from the community, and whofe allies are fecured from being mingled with thofe ,of the vulgar. To conclude ; parochial churches, mould be fituated nearly in the center of their parifhes, for the mutual conveniency of the parimioners, and every church fhould ftand in an open place, to fhew the building to advantage, and for the benefit of a free circulation of light and air. PLATE IT. CENOTAPH1VM HEROVM. This defign was intended to be offered for the machine of a grand fire-work, at the conclu- sion of the late fuccefsful war. The plan is underneath the elevation, and both upon the fame fcale. The

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		] 2 Remarks concerning* The principal fabric A in the center, reprefents it is the elevation we explain, a vail cenotaph, or empty tomb, facred to the memory of illuftrious naval and military heroes; it is a rotonda open at top like the fepulchre of Cascilius Metellus, but is adorned with a periptere of Corin- thian columns; the bafement of thefe are founded on rock work, and the fame rock is continued upon the right and left for the arcades, wherein lamps are fufpended. B. B. Two leffer pyra- midal cenotaphs, one on each fide the rotonda : thefe may bear fome fuitable infcription in praife of the fleets and armies. In the arcades underneath thefe pyramids are placed in one, the flatue of Europe, in the other that of America, and to the backs of thefe, Alia and Africa; above the lower center-arcades of the' fight and left wings, are two other arcades D. D. raifed with pe- diments ; under one is placed the flatue of fecurity, leaning upon part of a column* and under the other is the flatue of liberty, with the rudis or vindiSla; upon the fame plane at proper inter- vals, are four mural columns CCCC, and four roflral columns CCCC, interchangeably placed: at each extremity of the ftructure is erected a pedeftal for a female centaur. The one F to repre- fent Fame of Glory j fhe bears a trumpet and other warlike inflruments; her character mould be fierce and eager, her action mould appear rapids The other E; reprefenting Peace, or ViSloria pacl- fera, carries the caduceus and laurel branch ; there mould be expreffed on her face a placid firm- nefs, her motion mould be brilliant but yet eadeneed. Four of the principal and commercial rivers of the globe, the Thames, the Ganges, St. Law- fence and Gambia, all of coloflal fize, adorn the rock-work at certain distances. The bas-reliefs under the flight of fleps in the center, reprefent on the one fide, ViSloria Maritime, or the Impe- rium Maris; on the other, a winged Fame, fitting under a palm tree, and tranfiiiitting to poflerity the glorious annals of the times. When the antients erected durable edifices of this kind on the high ways, they intended them for the inftruction and pleafure of p'afTengers, and to eftablifti the courage of every individual ci- tizen, and of the ftate in general, in contemplating, not the dead earcafies of their anceftors, but their furviving virtues, and the immortality of the foul. In quo certe bonis viris confidendum efje, mails autem formidandum, qulppe cuni pojl mortem omnl auxillo careant.- Plato de Leg. C. xiL Thus the poets feconded the leflbns of the philofophers. Tu pias Icetis animas reponls Sedibus; Hor. Lib. I. Od. io. Sedibus ut fait em placidis in morte quiefcam. iENEID. VI. In what manner the different fort of fireworks and illuminations fhould be difplayed and dif- pofed on this machine to the befl advantage, will appear very plain to thofe practifed in fuch forts of exhibitions; and it would be out of place to attempt any pyrotechnical defcription. Martial mufick in thefe fhews, might be properly introduced with a grand vocal chorus, in honor of the event thus celebrated. In Plutarch's life of Pelopidas, there is cited a moil elegant epicedium, or funeral fong, in praife of the Lacedemonians: as it gives the true character of heroifm* we cannot forbear quoting it. " They died, but not as lavifti of their blood, " Or thinking Death itfelf was fimply good, " Or life; both thefe the ftricteft virtue try'd, ' And as they call'd they gladly liv'd or dy'd, P L A T E V.* DESIGN FOR AN OPEN PLACE AT WHITEHALL, WITH PORTICOS. It has often been a matter of furprife, not only to perfons of tafte of this nation, but even to foreigners, that for fo noble a river as the Thames, in its courfe along the extent of the metropo- lis?

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		Publick and Private Edifices-. 73 lis, there are no grand quays or elegant landing places ; filth, meannefs and obfcurity, almoft totally cover the inhabited banks of this ftreani, from whofe tides the gallant fleets of England fpread its fame and commerce around the globe, and return loaded with the choiceft commodi- ties, and the immenfe treafures of both hemifpheres. The above confederations, about eight years ago, fuggefted the fketches delineated in this plate, At that time there were feveral old buildings in front of the Horfe-Guards: thefe and fuch others as flood to the interruption of our plan, were fuppofed to be no unfurmountable obftacles, as it was imagined they could have been removed at a very moderate rate; White-Hall-Place, 270 feet broad, and its length fomething more than the diagonal of that fquare, would have opened a grand avenue from the Thames; in the center of this fquare, we had erected an Egyptian obelifk, with four coloffal flatues at the foot of it, reprefenting the four quarters of the globe; an idea confeffedly borrowed from an admirable work of Bernini, in the piazza Navonna at Rome. The portico on each fide, would have afforded a covered walk down to the river; the ftairs at the ends of the porticos were defigned grand and commodious for public ufe; but thofe in the middle fecured by rails of iron, or rather of bronze, were intended only to be opened upon extraordinary occafions; and among others* none would be attended with greater political pomp, than the entry of a foreign ambaffador; if inftead of the tedious and difmal proceffion of a number of paltry carriages through dirty ftreets, a fet of barges were provided to receive the ambaffador and his train, juffc above London-bridge, and to land them at White-Hall, whence they might proceed, in fuitable conveyances, and properly efcorted to the palace. Among the barges might, firfr. be reckoned thofe of their majefties, then thofe of the admiralty and of the city, with their feveral ftandards* and colours, and ftreamers, a number of the fubaltern officers and failors of the navy attending in their fhips boats. Pelagoque Volamus. .ZEneid. This would be a noble fight, worthy of the firfr. maritime power in the univerfe; and if conducted with fplendor and order, Venice would not then be fo diflinguifhed by the parade of her Bucentaur. . . P L A T E VI. THE DESIGN FOR A NEW STREET IN THE CITY. Among other improvements talked of by the citizens of London, the new ftreet leading from the front of the Manfion-houfe> in a right line to Moor-gate, ha's been often upon the carpet; on which account thefe (ketches were imagined. The fettled fbandard of buildings in London, fheweth too much of ceconomy; all the parts are lipon a fmall fcale, and there wants a requifite folidity for duration, which occafions great and con- tinual repairs; but in the latter cafe it cannot be otherwife, fo long as the leafes of the ground are granted for fhort terms, and fubject to fines. The author was once afked abroad, whether it was true, that the builders in England could calculate in fuch a manner, that they would con- ftruct or repair houfes for a certain number of years more or lefs, at the expiration of which their downfall might be expected ? the anfiwer was in the affirmative, and furprized the inquirer; but how would it have added to his furprize, to have been told, that by the ingenious contrivance of the workmen, houfes now and then fell down as foon as covered in. Had the proprietors and undertakers, who have built habitations for the Londoners, fince the time of Iriigo, thought proper to have caft their eyes upon the houfes after his defigns in Covent- Garden, they might have feen the fcale and models for their purpofes : fuch a city as London, at leafl in its principal quarters, fhould not have any habitations of inferior afpect. The arcades are out of the queftion, but the mezzanine might have turned out very ufeful to many trades- men; they might have ferved as warehoufes over the fhops, to others as their own dwelling T rooms,

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		74 Remarks concerning rooms, while the principal and chamber floors over them, might with great profit have been difpofed to lodgers, who for more than half the year make no inconfiderable part of the inhabitants in town. Such elegant and fpacious lodgings would certainly be preferable for whole families, to the little boxes which are built at the politer end of the town for the fame ufes. The differences that mould be between the houfes in the fame ftreet of a city, mould be in the extent of the front, feldom in their heights; one dwelling might have four or five windows in its front, another only half, or part of that number; yet as the heights of their floors might be the fame, the afpeft of the latter would not become defpicable. The habitable buildings of a capital, may be confldered under three different rates. I. Palaces of the princes and nobles, halls, colleges, Sec. II. The houfes of the gentry, and of other principal inhabitants, III. The houfes of the inferior people. And all thefe may be again fubdivided. The houfes in this plate are thofe of the fecond rate. The center houfe> and thofe at the extre- mities, are larger than all the intervening ones, which are upon the fame fcale % a difference In the fortunes and ranks of citizens, requires a difference in the fizes and rents of houfes. The following heights are given to the different itories of the elevation in this plate. The ground floor in the clear is - - - 13 feet high The firfr. floor - - - "� -12 The fecond floor - - - 1© The third floor - - - - 9 The garrets - - «- ■§ It is always more difficult to proportion the parts with the whole in the external of an edifice, than in the internal�~The entire height of this elevation, is fubdivided as follows. The lower order, as 2 parts Then to the top of the principal cornice * - - -y Thence to the top of the attic cornice - _r Total external height 6 The fubdivifions of the heights of Inigo's houfes are the following. The bafement, which includes the ground floor and the mezzanine -3 parts Principal and chamber floors including the cornice a Total external height ~~y~ The roofs are excluded in the above diviiions, not being confldered as relative to them, M. Walpole obferves, '* that in the arcades (of Covent-Garden) there Is nothing remarkable t *. prtafers are as errant and home,_y ftripes as any piaifterer wou,d _make:» f_urely \_he _quality of the materials of a ftructure, can never be deemed to depreciate the defigns of an architect, as the remarks jufl cited feem to. imply.

			A TOWN

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		■Pabltck and Private Edificis. 75 PLATE YIL A TOWN HOUSE WITH THE STABLES AND OFFICES. The houfes defigned in the laft plate, are fuppofed to have their offices under ground, and their ftables, &c. in fome mews not too diftant from their quarter; however, it is preferable both on account of grandeur and conveniency, to have enclofed within the precincts of the dwelling every re- quifite thereto ; a large plot of ground, will admit eafily of every diftribution, but it is often neceffary to do this in a confined fpace, therefore we have rather chofen to produce fuch an example than one of greater extent. The Situation of the ilreet is oblique, but this in no manner affects the regularity of the plan : we have placed the main body of the houfe within a court-yard; and its back front is fuppofed to have a garden which might defcend towards the river,- the Hotel dArgenfon at Paris, nearly of this extent, has its back front upon the garden of the Palais Royal. We mention this edifice as it may bs known to feveral travellers, and becaufe it is always right, in considering any plans and elevations, to compare them with fome buildings already executed, in order to be previously affured of their effects; for oftentimes, what appears great or fmail by the drawings to perfons not accuftomed to dimenfions, will turn out contrary to their expectations j and an architect in defigning mould propofe to himfelf fome Standard, and accuftom himfelf to judge very exactly of meafurements by his eye, which he fhould constantly retain in his mind. The front to the ilreet, is that of the offices and ftables> and over them are lodgings for men fervants, granaries and lofts. As you enter the gate, on one fide is the porter's lodge, and on the other a winding ftair-cafe; there is fhelter for two carriages, the one next the ftables, the other next the kitchen; on each fide the court-yard are buildings which communicate to the main body of the houfe, whofe principal door is in one of the fides. PLATE VIII. ' A DESIGN FOR A VILLA. Our intentidri for the plans of this work, is to keep within fuch limits as will prove of more general ufe. Buildings of twenty rooms on one floor, are as eafy to delineate as thofe of {even, or ten; it is ufual with architects, who want to difplay their talents, to think with Dinocrates, that they muft offer fchemes of the moil unbounded fancy; but thefe will anfwer no ufeful purpofes, neither can they tend to the progrefs of their art. The inspection of this plan, may recall the cattle of Caprarola to thofe who have feen it; we have indeed had in view its circular inner open court, but we have retrenched its galleries, and circumfcribed it in a different manner. The ground plan has at firft entrance by the fore front, an under gallery of fixty feet in length by above twenty feet broad. This ordinarily may ferve for a fervant's hall in waiting, and may be devoted, as is ufual, upon the annual receipts of rents for the tenants to dine in; at each end is an anti-room, twenty feet fquare, from that upon the right you enter into the billiard room, and proceeding forward, the next is the library; this opens upon the great ftair-cafe, which only af- cends to the principal floor : the room upon the ground floor, on the other fide of the great ftairs, may be called a breakfaft room ; beyond this is a little clofet that may be enclofed as an accompt- ing-office, and next to it is the gentlemen's gun room: the heights of all thefe rooms in the clear is eleven feet. The-difpofition of the two triangular ftair-cafes, and of the little circular wind- ing ftairs, give all the advantages of fecret paffages to the different rooms.

			The

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Remarks concerning

The arcades of communication with the wings, afford a covered paffage to and from the main
body of the manfion.

The plan of the principal floor is traced upon that of the bafement floor, allowing for the di-
minution of the walls : to the fore front is the gallery > above fixty feet in length and more than
twenty broad, the height in the clear is twenty four feet; but all the other rooms upon the fame
floor, are only fourteen in the clear, becaufe of the mezzanine above them, which is eight and a
half in the clear.

On each fide the gallery is an anti-room; from that on the right you enter into the eating room,
and on the other end is the drawing room; pafling through the great flair-cafe is another draw-
ing room, thence you may pafs on to a drefling-room, and then to the ftate bed-chamber.

The mezzanine and chamber floor over it, are divided for the neceffary ufes of the family and
of their vifitors. There are no garrets in the roof.

The court-yard for the kitchen and offices, is furrounded on three fides with buildings, where-
in it is fuppofed that every neceffary requifite is ranged in its proper place.

The court-yard for the {tables, coach houfes, &c< has its buildings in fymmetry with thofe on
the other fide ; the oblique pofition of the wings, and every other feeming irregularity of the
plan contributes to render the whole more commodious than it otherwife might be,, and is very
advantageous to the fcenery of the elevation; for by the divergency of the lines from the fore front,
there is opened a far more extenfive profpect than by the common method of advancing the wings
at right angles to the front, upon a level ground.

In the diftribution of this building, though of moderate fize, there is a great range of rooms*
and the fecret paffages are difpofed without encroaching upon any room ; the fpan of the roof
being fmall, renders it both light and flrong.

Thefe are the heights of the feveral floors in the clear;

10 feet

For all the rooms in the bafement

The gallery coved -

The other room upon the fame floor - * � ^a

To the mezzanine over thefe, one foot fix inches being given to

8
10

the height of the intermediate floor

To the chamber floor

p L A T E IX.

ANOTHER DESIGN FOR A VILLA.

A i_n the former defign we endeavoured at a difpofition that at firft appearance might have afi
* ^S laritv and be on that account flill more commodious; in this defign we have given an eleva-
r^eSlhich would produce an effeft as Angular as pleafing, by its pyramidal afpedt; we are
fuTpoTed to take the" advantage of a rifing ground for the center of the building and by its do-
dfvitv on each fide, all the parts upon the right and left are kept m a gradual fubordinatioiu
tn^- to the Lin body become very^decifiveobjeas^and ferve for the revive
roofs, the fpaces between thefe are flat terraces. The pavilions adjoining to the main body, one
at each fide, are finifhed by the continuation of the Doric cornice, above which is a parapet:
the arcades have at their extremities winding flairs, which defcend into the courts. The arcades
_in the bafement include two floors, for apartments of different ufes, and cellars underneath, with

groined arches.

⁶ The

111

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Puhlick and Private Edifices. yj The plan of the principal floor has the following diftributions ; entering by the veftihle, on the right hand you pafs into the firft anti-room, and then into a fecond, this opens into a gallery fifty four feet long by more than twenty broad; the fecond room opens likewife into an eating-room, twenty-four feet by eighteen, thence you pafs into a library; between this and the firft anti-room, is a private ftair-cafe ; the library communicates on the other fide with a drawing-room ; between the veftible and the drawing-room is the great ftair-cafe; from the drawing-room, you pafs into a ftate drefling-room, and then into the bed-chamber; from thence pairing through a fort of wardrobe, you enter into the other pavilion, which is partitioned for a chapel and the chaplain's chamber, and thefe have other communications from without* The chamber floor is traced Upon the walls of the principal floor, but there are no garrets over this j the belvedere is raifed on a fuppofition that it commands fome very defirable diitant profpect. The back front may be eafily defcribed from the plan. The buildings which ferve on one fide, for the.ftables, coach-houfes, &c. and on the other, for the kitchen, offices, &c. though brought forward beyond the main body and the pavilions, yet being placed upon much lower ground, are no obftruftion to the view from any part of the houfe. Thefe two defigns for villas are nearly of the fame rate, and while we enjoy all the pleafure that can arife from the imagination, in fuppofing them fituated amidft the rural varieties and beauties of nature, we cannot forbear lamenting the prefent prevailing cuftom of the great ones, in abandoning, for the greatefi part of the year, their delightful feats and retirements, which oftentimes feem raifed more for the pleafure of chance-led travellers, and of the neighbour- ing villagers, than for the real enjoyment of the owners. O Vinitores, Vilicique felices Dominis parantur ijia, ferviunt vobis. Mart. Lib. 10. Ep. 30. P L A T E X. AHVNTING PAVILION. It may fo fall out, that the principal feat of a nobleman fond of hunting, is at a great diftance from a favorite fporting country, and having a property therein, he might on both thefe accounts be tempted to make a building, for his own pleafure, and the reception of a few felecl friends, at different times during the hunting feafons. The plan and elevation here before us, it is imagined may anfwer the above intentions, being entirely accommodated for the ufe of the gentlemen, their fervants and horfes, who are all lodged under the fame roof. We have called it Padiglione di Caccia, or hunting pavilion, from its peculiar deftination. The plan confifts of three oclogons, one within the other. The largeft, or external one, con- tains the ftables, fervants hall and bed-rooms, kitchen, offices, and ftore-room; thefe are all funk below the furface of the ground, the foil being fuppofed to be exceeding dry: as we would pitch upon the fumrnit of a little hill, this would be favourable for the drains underneath ; the bafement does not rife more than four feet above the ground line, and receives its light from femicircular windows. The next elevation upon the fecond odogon, contains the bed-rooms, or cabbins for the gentlemen, and a drawing-room : level with thefe is the hunters common hall, raifed upon the internal oclogon ; it receives its light from windows placed above. The ornaments here rnuft be adapted to the building -, the fculptor and the painter might be aflifted in their compofitions, by the defcriptions of the poet.

		Vinculo.
	U	Vinculo.
	U

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				Remarks, &c.
₇8				Remarks, &c.
₇8

		Vincula pars adimunt canibus : pars frejfa fequuntur Signa pedum: Sternitur in curfu nemus & fropulfafragorem Silva dat: exclamant Juvenes.

					Ovid. Metam. Lib. VIII.

	Hunting is a noble diverfion, it gives ftrength and vigour, and inures the body to hardfhips ; to fenfible minds, inftruclion always attends on pleafure. The young warrior may in his chace,. ftudy the advantages and difadvantages of ground, at one time in vallies, and at others on eminences; here a narrow pafs will offer itfelf, and there an extended plain; in all thefe he may reflecT: upon the- advantages and difadvantages of ports and encampments. The fable of the unfortunate A&agon offers a very effential caution to thofe in high ftation, to guard them againft the danger to which they are unavoidably expofed, from their flatterers and parafites, TJndtque circumjlant merjifque in corpore roflris, Dilacerant falji dominum, fub imagine cervi. Ovid. Metam. Lib. III. The kennel is not inferted in our plan; its fituation is fuppofed near at hand, in the wood; and it would be convenient to have at no great diftance, three or four hovels of cottagers, which would form the only neighbourhood of this edifice facred to the fports of the fields and woods.

			THE END.