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BEAUTIES 
 
 0 F 
 
 MODERN ARCHITECTURE 
 
 ILLUSTRATED BY 
 
 FORTY-EIGHT ORIGINAL PLATES, 
 
 DESIGNED EXPRESSLY FOR THIS WORK. 
 
 BY MIN ARD LAFEVER, ARCHITECT. 
 
 THIRD EDITION. 
 
 NEW-YORK: 
 
 D. APPLETON &. CO., 200, BROADWAY. 
 
Entered, according to the Act of Congress, by 
 D. APPLETON & CO. 
 
 In the Cle.k's Office of the L istrict Court of the Southern District of New-York. 
 
 n. Lcmvio, PRINT Elt,| 
 72, Vesey-st., N Y. J 
 
 ccf.tLn LioiiARi 
 
P 11 E F A C E . 
 
 Notwithstanding the many works which have heretofore been pub- 
 lished on the subject of Architecture, there has none yet appeared, intended 
 exclusively for the operative workman. It is therefore thought proper, to 
 present to the industrious and ingenious, a book of original designs, with 
 plans, elevations, sections, and technical terms associated therewith, which 
 will enable him to become a complete master of his business, more systema- 
 tically than by any other plan yet adopted, and more particularly so, when 
 studied in connection with his practical pursuits. 
 
 It has, on all occasions, been admitted that experience enables the genius 
 of man to advance and improve the subjects of his pursuits. And if such 
 favour these efforts, the patrons of former late works may, with propriety, 
 expect to be perfected by the perusal of this, which is the result of experience 
 and study, in the various departments of the science, the practice of building, 
 and Architecture in general. 
 
 At this era it would be an insurmountable task to enter into all the parti- 
 culars necessary to gratify many who may have occasion to peruse this work. 
 Yet it is due to the labour bestowed in designing a work which requires all 
 the intellectual powers possible, not to prejudice the public mind previous to 
 examining the whole matter u fairly and justly.” 
 
 Believing those into whose hands this work may fall, to be that part of 
 the community that will discreetly examine, and give credit where it is due, I 
 with satisfaction submit to them the result of my labour, for their prudent 
 and careful examination. And after which, if their approval be the result, 
 it will follow that their patronage will be enlisted in behalf of The Beauties 
 of Modern Architecture. 
 
 MTNARD LAFEVER. 
 

 
 
 A. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - ' 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
ARCHITECTURAL HISTORY. 
 
 EXTRACTS FROM ELME’s DICTIONARY. 
 
 At the commencement of this publication, historical matter was deemed 
 unimportant ; but, after a more mature consideration, it is estimated as being 
 of utility to the practical workman, in giving him more magnified and 
 pleasing ideas of bis profession, as well as to discover that architecture is 
 more than a mere mechanical art or profession, and to prove to him that tire 
 art of design requires an exclusive and thorough study. And for the use 
 and benefit of the patrons, the following admirable historical account and de- 
 scription is selected : 
 
 11 Architecture, Greek ; architecture Latin.] The art 
 
 or science of devising or d; awing designs for buildings. The name of this 
 branch of the fine arts is derived from chief, and tsktouci, and is 
 
 the art of building according to rules and proportions. Among all the arts, 
 the progeny of pleasure and necessity, which men have invented to alle- 
 viate the pains of life, and to transmit their names to posterity, a very high 
 and distinguished situation must be assigned to architecture, whether for 
 its antiquity, utility, or beauty. It is both a fine art and a science, and will 
 be considered as such in this dictionary; referring to distinct treatises for 
 details of its mechanical and scientific parts of building and construction. 
 The distinguishing char act, eristics of a good style are, order, convenience 
 of interior distribution , beauty of form, regularity, and a good taste 
 in the intention, selection, or application of ornaments. Architecture is 
 again divisible into three branches, civil, military , and naval ; the former 
 of which only will be treated of in this work. The style of civil archi- 
 tecture differs among different people, and among t he same people of a dif- 
 ferent era. Among the people who have given names to styles in archi- 
 tecture, are the Egyptian, Babylonian, Persian, Indian , Phoenician , 
 Hebraic or Jewish, Greek, Roman, Etruscan, Moorish, Arabian, Saxon , 
 English , Gothic , Chinese, Saracenic , Turkish. And among the ckarao- 
 
6 
 
 ARCHITECTURAL HISTORY. 
 
 teristics resulting from different eras are the best ages of the antique, of the 
 lower empire, and modern architecture. 
 
 “ Architecture is both a science and an art, and has been cultivated in 
 either way with great but doubtful success ; the aimer at mere science often 
 degenerating into a skilful artizan, and the boaster of picturesque skill into 
 a pictorial theorist. 
 
 “Without science, architecture is an effeminate and useless pastime; 
 and without the higher feelings of art, a mere constructor of huts and 
 cabins. 
 
 “ The scientific part of the art embraces and requires geometry, arithmetic, 
 and every branch of the mathematics, mechanics, chemistry, mineralogy, 
 practical philosophy in general ; which are to be applied with judgment to 
 composition, construction, design, and execution. 
 
 “ The artist-like part of architecture soars to the sublimest heaven of 
 human invention. To the skill of the practical mathematician, mechanic, 
 chymist, philosopher, must be added the genius and feelings of the artist, to 
 go towards the composition of a Palladio or a Wren. 
 
 “ Architecture, as an art, stands entirely alone and distinctive from every 
 other art, and is essentially the most original of them all. It is not imitative 
 of originality, like painting and sculpture, nor imitative of imitations, like 
 engraving ; but if it resembles either in its mechanical part, it is in its theo- 
 retical resemblance to music. Architecture is fundamentally original, and 
 shows the power of man’s invention more than any art, and equally with 
 any science. It calls in the aid of all the other arts, uses and rejects them 
 by turns, and has been in every age the fosterer, protector, and promulgator 
 of them all. 
 
 “ Architecture will, therefore, be considered both as an art and as a science 
 in this work, which is addressed more immediately to the amateur and 
 student than to the professor, and also to the inquiring cognoscenti and per- 
 sons of taste, whose prospects or situations in life may render them patrons 
 of the arts. 
 
 “ Architecture, being the first and earliest of the arts, embraces of necessity 
 in itself a general knowledge of the critical or philosophical part of fine art 
 in general, which, thus forming the taste on the purest models, is best fitted to 
 enlarge the mind and prepare it for the reception of the laws and governing 
 principles of the whole circle of the fine arts. It is an art which has ‘ un- 
 doubtedly a dignity that no other art possesses, whether we consider it in 
 its rudest state, occupied in raising a hut, or as practised in a cultivated 
 nation, in the erection of a magnificent and ornamented temple.’ 
 
ARCHITECTURAL HISTORY. 
 
 7 
 
 u A recent critic* beautifully says, that 1 nothing, certainly, can be more 
 destructive to the hopes of an enlightened age of fame among remote pos- 
 terity, than the decay of an art whose monuments are so lasting, and whose 
 triumphs are so sure of continuance. Its venerable relics convey to us all 
 we know of the mighty nations long sunk into oblivion. Among piles which 
 seem only to have partaken of the decay and shared in the revolutions of 
 nature, we feel transported through long vistas of the short-lived generations 
 of man, into the glories of the earliest nations of the world ; we catch the 
 mysterious spirit of patriarchal times, and image to ourselves among these 
 romantic solitudes shepherd-kings propounding their pure ordinances, simple 
 tribes adoring the God of heaven, and untutored bards catching inspiration 
 in all its wildness from the skies. We must leave such memorials of our 
 glory behind us, as can be shaken only with the pyramids of Egypt and the 
 pillars of the universe.’ But what a contrast do the frail memorials of 
 our times present to those immortal structures ! and how is the art patronized 
 now in comparison with those of our Charleses and Annes, which produced a 
 Jones and a Wien, a Whitehall, a St. Paul’s, and the solid churches of Lon- 
 don after the fire ! 
 
 “ 1 All who feel interested by the substantial progress of the fine arts, all 
 who have feelings to admire the sacred solemnity and the awful grandeur of 
 those venerable piles which the genius of Egypt, of Greece, of Rome, and 
 of the middle ages, have left us, must be deeply interested by a discussion of 
 the means by which tliat spirit maybe revived, which raised these works of 
 unfading enchantment, and which now seems slumbering beneath them.’ 
 The season is most apt for a proper awakening ; and we may indulge the 
 hope that both our patrons and our architects may exert themselves 
 with effect to give dignity and stability to our national structures. 
 
 “ Architecture, considered as the art of building or construction, has three 
 principal characters or primary divisions, namely: civil, military, and naval. 
 The former, civil architecture, is the subject of the present article, and may be 
 subdivided into three principal classes or orders, as monumental , sacred , 
 and domestic. 
 
 “I. Monumental Architecture may be almost called the primitive 
 branch of the art, for the rude stone erected in the simplest manner is a primi- 
 tive monument. 
 
 “ In making a sketch of the history of architecture among the most ancient 
 nations of the world, we find them almost invariably alike. The primitive 
 
 In Valpy’s new Review. 
 
8 
 
 ARCHITECTURAL HISTORY. 
 
 town, or incipient city, was a number of low straggling huts, scattered about 
 irregularly according to the caprice of each proprietor, built with turf and 
 rude stones, and thatched with straw or reeds, without any light but what 
 they received by a door so low that it could not be entered upright. The 
 suburban architecture of the best towns in our unhappy sister country, Ire- 
 land, is a type of the origin of the art in the most ancient times. 
 
 “ Monumental architecture, in its most ancient practice, is scarcely sepa- 
 rated from sacred ; the monumental stone became an altar, and it is easy to 
 conceive the rapid progress from this rude and simple place of adoration to 
 the deity to the more solemn temple. First we find the single monumental 
 stone, reared on end, commemorative of some event, or testimonial of a treat}'’ 
 or boundary of property, used also as an altar of sacrifice or offering to the 
 deity. This becomes surrounded by a pavement, to prevent the earth from 
 being sodden by the blood of the animals and the moisture from the wet offer- 
 ings trodden about by the feet of the primeval priests. The next step is to 
 surround the sacred precinct with a row of rude upright stones, such as are 
 seen at the present day in various parts of Ireland, which, being covered 
 over to protect the sacrifices, priests, and offerings, from the sun and rain, 
 becomes a primeval temple with its roof, its cell, and its altar. 
 
 “ Such examples of monumental architecture have been found in all coun- 
 tries, have been consecrated to every religious creed, and are used to com- 
 memorate all sorts of actions ; and to this day, in Ireland, the memory of a 
 murder is always preserved by a rude heap of stones, every passer-by con- 
 tributing one. These monuments, such as altar-stones, cromlechs, druidical 
 circles, cairns, &c., bear the genuine characters of simplicity which infant 
 societies and primitive religion impress at their origin on every thing connect- 
 ed with them. An able French antiquary, M. Mazois, says, ‘ a few stones, 
 either naturally rising above the soil, or placed without art in solitary spots in 
 the depth of forests or on the summits of hills, were the first altars.’ Such 
 are common in every part of our island, except where the demon innovation 
 has swept them away. These primitive monuments soon became sanctified 
 by the veneration of the people, and were received as emblems of the divinity. 
 Such rustic monuments are found in every country in the world. The 
 Arabs and other nations of the East represented their gods by rough un- 
 hewn stones. It was even considered as sacrilegious by the Persians to give 
 them the human form. 
 
 “ The Greeks themselves who were so well acquainted with the art of 
 embellishing every tiling, originally represented their divinities under the 
 form of simple stones. In the time of Pausanias, there were still to be seen, 
 
ARCHITECTURAL HISTORY. 
 
 9 
 
 near Pheree, thirty blocks of stone consecrated to the thirty gods who were 
 the earliest objects of Grecian adoration. Even Love and the Graces had at 
 first no other images. In the time of Titus, Venus was still at Paphos but a 
 simple pyramidal stone. 
 
 “ Thus Greece, the country of the fine arts, presents us, even in the 
 epoch of her splendour, with a number of these primitive monuments. 
 We find that they were equally venerated by almost every other peo- 
 ple. The Romans, in the time of Numa, entertained the same notions 
 as the Persians with regard to the manner of representing the deity. 
 It was by them also deemed an impiety to impart to their gods a mortal 
 shape ; simple boundary stones were their images, and the name of 
 Jupiter Terminus is a proof of the existence of that ancient usage. 
 Egypt was formerly covered with those sacred stones, the original type 
 of which is still manifest in the pyramids ; those haughty and too silent 
 depositories of Egyptian mythology are only — so to speak — the ennobled 
 descendants of primitive monuments. In short, those symbolical stones are 
 to be seen in the heart of Asia, as shall be hereafter shown. Kempfer 
 declares that at Japan, they are even yet the objects of the veneration of 
 the multitude. 
 
 “Among the most ancient people whose history has reached our times, 
 are those inhabitants of the globe who lived before the flood, and whose 
 deeds and occupations are recorded in the books of Moses. The history 
 of architecture, considered philosophically and as connected with the other 
 arts of design, with science, and with legislature, is a history of the human 
 mind. It bears so strong an impression of the character of the people by 
 whom it has been cultivated, that an attentive examination of its origin 
 and progress is the most effectual way to discover the genius, and manners, 
 and the mental characteristics of the various nations of the world. ‘Art,’ 
 says Wieland, £ is the half of our nature ; and without art man is the 
 most miserable of animals.’ 
 
 “Among the antediluvians, architecture could not have made much 
 progress as a fine art. The principal objects of these ancient heroes were 
 the chase and other modes of providing food and clothing without the 
 labour of cultivating the soil. Sanconiatho says, (apud Euseb. Pracp. 
 Evang. 1. i., c. 9., p. 35.) that ‘fishing was one of the earliest inventions 
 which the ancients attributed to their heroes.’ The Bible and Homer 
 are full of the manners of our earliest ancestors. Fishing, hunting, the 
 care of their flocks, and, in later times, agriculture, were the employments 
 of their monarchs and heroes, their shepherd-kings. Cookery, washing. 
 
 2 
 
10 
 
 ARCHITECTURAL HISTORY. 
 
 making garments, and other domestic business, were those of their women 
 of rank, their princesses, and their queens. 
 
 “ The history of architecture before the flood, although it forms a 
 large portion in the history of the art by a French author, (Milan,) fur- 
 nishes but few authentic facts. The great historian and legislator of the 
 Jews, Moses, has only related those leading events which were neces- 
 sary to his history, and omitted those details which are only requisite for the 
 gratification of curiosity. 
 
 “ Our great philosopher, Sir William Jones, in discoursing of this great 
 event, the deluge^ says, ‘ the sketch of antediluvian history, as given by 
 most ancient historians of the race of Adam, in which we find many dark 
 passages, is followed by the narrative of a deluge which destroyed the whole 
 race of man except four pairs ; an historical fact, admitted as true by every 
 nation to whose literature we have access, and particularly by the ancient 
 Hindus, who have allotted a whole purana to the detail of that event, 
 which they relate as usual in symbols or allegories. I concur most hearti- 
 ly, says this learned philosopher, 1 with those who insist that in proportion 
 as any fact mentioned in history seems repugnant to the course of nature, 
 or, in one word, miraculous , the stronger evidence is required to induce a 
 rational belief of it ; but we hear that cities have been overwhelmed 
 by eruptions from burning mountains, territories laid waste by hurri- 
 canes, and whole islands depopulated by earthquakes : if then we look 
 at the firmament sprinkled with innumerable stars, w T e conclude by a fair 
 analogy that every star is a sun, attracting like ours a system of inhabited 
 planets ; and if our ardent fancy, soaring hand in hand with sound rea- 
 son, waft us beyond our visible diurnal sphere into regions of immensity, 
 disclosing other celestial expanses, and other systems of suns and worlds on 
 all sides without number or end, we cannot but consider the submersion of 
 our little spheroid as an infinitely less event in respect of the immeasura- 
 ble universe, than the destruction of a city or an isle, in respect of this 
 habitable globe. Let a general flood, however, be supposed improbable, 
 in proportion to the magnitude of so ruinous an event, yet the concur- 
 rent evidences of it are completely adequate to the supposed improba- 
 bility.’ 
 
 “ The state of mankind immediately after this general deluge, is shown 
 in the Mosaic history. The families of Noah which emerged from the ark, 
 after paying their grateful adoration to the Deity who had preserved them, 
 in order to perpetuate their race, erected an altar of unhewn stones, and 
 offered sacrifice thereon. This is one of the most ancient examples of post- 
 diluvian monumental architecture on record. 
 
ARCHITECTURAL HISTORY. 
 
 11 
 
 “ The descendants of Noah remained no longer united in one society 
 than was necessary for their increase and security. As soon as they 
 were sufficiently numerous, they dispersed themselves into the different re- 
 gions of the earth, about a century and a half after the flood. It does 
 not, however, appear that it was their intention at first to separate perma- 
 nently, though they were often obliged to separate in search of subsistence. 
 
 ‘ With this view they formed the design of building a city, and of raising 
 a tower of a great height in the centre of it, as a signal and as a point of 
 union.’ It was for this purpose that the French antiquary, De Goguet, 
 in his Origine cles Loix, attributes the erection of that vast structure, 
 called the tower of Babel ; while the best translators of the Hebrew Bible 
 render the fourth verse of the eleventh chapter of Genesis, ‘let us build 
 us a city and a tower whose top may reach unto heaven ; and let us make 
 us a name , lest we be scattered abroad giving the desire of perpetuat- 
 ing their fame by an indestructible monument, as their motive for this 
 undertaking. 
 
 “ We learn the simple manners and customs of the ancient Israelites 
 and the nations in their immediate vicinity, from their ancient writers. 
 And Homer, in describing the manners of the Cyclops, gives a cor- 
 roborating idea of the uncultivated state of many of the ancient nations. 
 
 ‘ The Cyclops,’ says the poet,* ‘ know no laws ; each governs his family, 
 and rules over his wife and children. They trouble not themselves 
 with the affairs of their neighbours, and think not themselves inter- 
 ested in them. Accordingly, they have no assemblies to deliberate on 
 public affairs. They are governed by no general laws to regulate 
 
 their manners and their actions. They neither plant nor sow. They 
 are fed by the fruit which the earth produces spontaneously. Their 
 abode is on the summits of mountains, and caverns serve them for 
 retreats. 
 
 “ This unsocial, uncultivated mode of living could not be of long con- 
 tinuance with regard to a great part of mankind. So many motives 
 must have concurred to induce families to associate and mingle with each 
 other, that several must have united early. 
 
 “ The connexion of architecture and the rest of the arts and sciences, 
 with the laws, government, and manners of a people, are curious and use- 
 ful subjects of inquiry. Their relation with the history of the human 
 mind is clear and indisputable. 
 
 “ Architecture takes its style, its varieties, its colouring, if it may be so 
 
 Odyssey, 1. ix., v. 106. et seq. 
 
12 
 
 ARCHITECTURAL HISTORY. 
 
 called, from the people who successively invented or introduced it ; and 
 their moral characters as a people may be deduced from their national styles 
 of architecture, as will be hereafter shown. 
 
 “ Among the earliest specimens of monumental architecture of which 
 we read, Josephus acquaints us that the children of Seth erected two pil- 
 lars, one of brick and the other stone, on which they engraved the princi- 
 ples of astronomy. The making of bricks, the building with hewn 
 stone, and the art of sculpture here shown, are proofs of a high degree of 
 civilization and a knowledge of the arts and sciences by no means con- 
 temptible. 
 
 t; In the second age of the world, which is calculated from the building 
 of the tower of Babel by the posterity of Noah to the foundation of Athens 
 by Cecrops in the year before Christ 1556, many large cities were founded. 
 Early in this period, Nimrod laid the foundation of the Assyrian empire, 
 and built Ninevah, the celebrated metropolis of Assyria. Nearly at the 
 same time Troy was founded by Scamander ; Mizraim, the son of Ham, led a 
 colony into Egypt, and laid the foundation of a kingdom ; and Cadmus, 
 the reputed inventor of letters, with Moses, the Jewish legislator, and Aaron, 
 his brother, flourished. 
 
 “ In this early period of history, the Assyrians cultivated the arts, and 
 excelled in that of architecture. This second epoch, or age, is distinguish- 
 ed by the building of the tower of Babel, and by the design formed by the 
 posterity of Noah, and in part executed, of building a city in the plains of 
 Shinai.* According to some historians, Belus, known in the Scriptures by 
 the name of Nimrod, the first king of Assyria, was the reputed projector 
 of this structure. He built, afterwards, in the same place, the celebrated 
 city of Babylon, where he arrogated to himself the honours of divinity. Ni- 
 nus, his son, erected to him the first known temple, consecrated a statue to his 
 memory, and ordered it to be worshipped, which is the first recorded instance 
 of idolatry. 
 
 “ Babylon was a large and beautiful city. Pliny relates (lib. vi., c. 26.) 
 that it was sixty miles in circumference, that its walls were two hundred 
 feet high and fifty thick, and that the magnificent temple of Jupiter Belus 
 was standing there in his time. Herodotus says it was four hundred 
 and eighty furlongs in circumference ; that it was full of magnificent 
 structures, and celebrated for the temple of Belus ; that it had a hun- 
 dred gates of brass, which proves that the fusion and mixture of metals 
 were known ; and that other arts dependent on design were then prac- 
 tised. 
 
 * Genesis, xi. 4 . 
 
ARCHITECTURAL HISTORY. 
 
 13 
 
 “ In less than two centuries after the flood, architecture was cultivated 
 in Chaldea, China, Egypt, and Phoenicia. Moses* has preserved the names 
 of several cities which Nimrod built in Chaldea. The Chinese, say the 
 Fohi, enclosed cities and towns with walls, (Martini, 1. i., p. 28 ;) and 
 Semiramis, the wife of Ninus, finished the stupendous walls of Babylon, 
 which were reckoned among the seven wonders of the world, and her 
 palace, which is celebrated by historians for the historical and emblema- 
 tical sculptures with which the walls were covered, and for the colossal 
 statues of bronze and gold of Jupiter Belus, Ninus, Semiramis, and of her 
 principal warriors and officers of state, 
 
 “ Architecture, having thus been successfully practised among the Assy- 
 rians, was carried by them into Egypt, the most ancient country of which 
 we have any authentic monuments existing, and also into other countries, 
 the people of which they subjugated. The Egyptian style of architecture 
 is characterized by a solidity of construction, by an originality of conception, 
 and by a boldness of form. The civilization of this people and the conse- 
 quent cultivation of the arts, commenced in Upper Egypt. The architectu- 
 ral monuments of this portion of Egypt are more numerous, more character- 
 istic, and more ancient, than those of Lower Egypt, whose inhabitants for a 
 long period after the knowledge of architecture in Upper Egypt lived in 
 natural caves and excavations in the mountains. The excavations now 
 remaining and mentioned by travellers, are possibly of this period ; but the 
 hieroglyphics and other figures with which they are sculptured am of a 
 later period than that of their first reputed inhabitants. 
 
 “Before entering on the details of the Egyptian monuments, I will first 
 briefly analyze and describe the character of their architecture. The char- 
 acteristics or elementary principles of Egyptian architecture are, walls of 
 great thickness, roofs generally of a single block of stone which reached 
 from wall to wall, a multitude of columns of various forms, proportions, and 
 ornaments, seldom with bases, and when with that addition they are mostly 
 simple plinths. The capitals vary considerably, as may be seen in the 
 works of Denon, Dr. Pococke, Belzoni, and other travellers. In some in- 
 stances they are ornamented with foliage, in others they resemble a vase, 
 and again in others a bell reversed. In Egyptian architecture there is no 
 frieze, nor, correctly speaking, any cornice or architrave, and their substitutes 
 may be called by either name; for something resembling them may be 
 traced in the epistylia, or beams of stone, which reach from column to 
 column. 
 
 * Genesis, x. 10. 
 
14 
 
 ARCHITECTURAL HISTORY. 
 
 “ Another characteristic of Egyptian architecture is a peculiar narrowness 
 of intercolumniation, being often not more than three feet and a half in 
 width. The absence of arches, which are supplied by epistylia, or stone 
 beams, or lintels, is also another and peculiar characteristic of this original 
 and singular style. 
 
 “Dr. Pococke thinks that the ancient Egyptians were not ignorant of the 
 construction of the arch, but does not give satisfactory proofs of the cause 
 of his conviction. And the president De Goguet, in his learned disserta- 
 tion on the origin of laws, arts, and sciences, assumes from their not using 
 it, that they did not understand it. The proofs which he gives of this igno- 
 rance might with as great propriety be adduced of their contempt of this 
 mechanical means of covering apertures. The nearest approach to the 
 principle is to be seen in the entrance of the great pyramid at Memphis, of 
 which an engraving is given in that work. 
 
 “ Belzoni agrees in opinion of their knowledge of the arch, and found 
 specimens at Thebes and at Gournon, under the rocks which separate that 
 place from the valley Babel el Malook. 
 
 “ However conjectural the origin of the Egyptian style may be, thus far 
 at least is certain, that it is the fountain whence all succeeding people 
 have drawn their most copious draughts, and is deserving of minute investi- 
 gation. This style bears all the marks of freshness of invention drawn 
 from native materials and national symbols. It is in the country of its 
 origin that those colossal wonders, those architectural monsters, the pyramids, 
 are situated. It is needless to dwell upon a long description of these struc- 
 tures. They have been the theme of literati and travellers for centuries, and 
 bear authentic testimony to the truth of history. 
 
 “ The largest of the three pyramids said to have been built by Cheops, 
 or Chemnis, forms a square whose base is six hundred feet and its height 
 nearly five hundred feet, or an area the size of Lincoln’s Inn Fields, which 
 have been said to have been constructed of this specific size by Inigo Jones 
 for the purpose of illustration, and its apex nearly a third higher than the 
 summit of the cross of St. Paul’s. 
 
 “ This mountain of masonry is constructed with stones of an extraordinary 
 size, many of them being thirty feet long, four in height, and three in 
 thickness. Herodotus, Diodorus Siculus, and Pliny, say, that the stones 
 employed in building the pyramids were brought from Ethiopia and Arabia. 
 This fact De Goguet affects to doubt, for he says it is not likely that the 
 kings of Egypt, having excellent materials at hand, would have unnecessa- 
 rily expended immense sums to have fetched them from afar. And that 
 the stones of the pyramids bear too great a resemblance to those which are 
 
ARCHITECTURAL HISTORY, 
 
 15 
 
 found in the neighbourhood, for him to imagine (hat they were not taken 
 thence. Yet it is no less probable that the stones referred to by these 
 ancient historians, may have been the marble with which they were coated, 
 and may have been fetched from the neighbourhood of the Red Sea and 
 from Upper Egypt. 
 
 “The origin of the pyramids, the causes of their erection, and by whom, 
 are differently related ; but Belzoni has in some measure set the question at 
 rest by his recent discoveries, and proved that they were the tombs of their 
 founders. 
 
 “Herodotus, tire father of pagan history, records with an interesting accu- 
 racy the methods used in constructing the greater pyramid, that leaves 
 nothing to doubt. He relates that a hundred thousand workmen were em- 
 ployed at the same time in the construction of this pyramid. They were 
 relieved by an equal number every three months. Teir years, he reports, 
 on the authority of the Egyptian priests, were employed in hewing and 
 conveying the stones, and twenty more in finishing this enormous structure, 
 which contained galleries, chambers, and a well. 
 
 “An eminent writer in the Asiatic Researches (Captain Wilford,) in a 
 very curious dissertation on this subject, translated from the ancient books 
 of the Hindus, says, the pyramids are there called three stupendous moun- 
 tains, of gold, silver, and of precious stones. They might be so named in 
 the hyperbolical style of the eastern nations, but he conjectured they were 
 so used from the coating with which they were covered, and that the first 
 was said to be of gold, because it was covered with yellow marble ; the 
 second of silver, being coated with white marble; and the third of jewels 
 and precious stones, because it excelled the others in magnificence, being- 
 coated with beautiful variegated marbles of a fine grain and exquisite 
 lustre. 
 
 “ If these pyramids were entirely faced with marble and ornamented by 
 sculpture, if these tremendous masses of eternal masonry were but cores 
 to ornamental structures, such as have been described, they may, nay, they 
 must have been, particularly, if their summits were surmounted by the sky- 
 piercing obelisk, the grandest architectural monuments ever produced by the 
 little builder, man. 
 
 “Near to these pyramids is the colossal head called the Sphinx of 
 Ghiza, the face of which resembles a woman, and the body that of a lion. 
 This extraordinary figure is said to have been the sepulchre of the Egyp- 
 tian king Amasis, and is one entire stone, being sculptured out of a solid 
 rock. 
 
 “ Count Cabillia, who investigated this spot a short time previous to the 
 
1G 
 
 ARCHITECTURAL HISTORY. 
 
 enterprizing Belzoni, succeeded, after much labour and difficulty, in uncov- 
 ering the front of this colossus, and found a small temple between its front 
 paws, and a large tablet of granite on its breast inscribed with figures and 
 hieroglyphics. 
 
 “Among other celebrated examples of monumental architecture among the 
 Egyptians, are their obelisks, which have been considered not only purely 
 Egyptian in use, but also in origin. But if what Herodotus says be true, 
 it must have been in Asia, and not in Egypt, that they had their origin. 
 
 “ This ancient author speaks of a pyramidal spire erected by command 
 of Semiramis on the road to Babylon, which was a single stone, one hun- 
 dred and thirty feet in height, and twenty-five broad at its base. Pliny, 
 however, insists on their Egyptian origin, and that a king of Heliopolis, 
 called Mestres, was the first who caused one to be raised. Be this as it may, 
 the monarchs and people of Egypt appear always to have had a great taste 
 for obelisks, and the names of those who erected such may be found in the 
 works of the elder Pliny. 
 
 “ Two of the principal of these grand monuments of art were erected by 
 Sesostris, with the design of informing posterity of the extent of his power and 
 the number of the nations which he had conquered. They are each of a 
 single piece of granite one hundred and eighty feet high. 
 
 “Augustus, according to Pliny, transported one of these obelisks to Rome, 
 and raised it in the Campus Martius. Of the three now in Rome, doubts 
 have been raised whether either of them are of those raised by Sesostris. on 
 account of their want of height. That now by the fountain of the Piazzo 
 del Popolo, is seventy-four feet without its modern pedestal; that of the 
 Vatican, in front of St. Peter’s, seventy-eight feet ; and that on Trinita de 
 Monte, forty-five feet without their pedestals ; while those of Sesostris were 
 of the enormous height of one hundred and eighty feet. 
 
 “ The obelisk of the Piazza del Popolo is that which was brought to 
 Rome by Augustus, after being spared from the ravages of Cambyses, from 
 respect to its origin, when that furious conqueror put all to fire and sword in 
 Egypt, sparing neither palaces nor temples, nor those superb monuments 
 which, ruined as they are, are still the admiration of travellers. 
 
 “ From the place where it was originally elevated by Augustus, it was 
 removed to its present situation by Pope Sextus V., in 1589, under the direc- 
 tion of the Cavalier Fontana, who also designed its pedestal and the conti- 
 guous fountain. The one now so great an ornament in the front of St. 
 Peter’s, is also said to have been one of those erected by Sesostris at Heliopo- 
 lis, the city of the sun, and was brought to Rome, by Caligula, in a vessel 
 then the largest that had ever been seen at sea, and was afterwards sunk 
 
ARCHITECTURAL HISTORY. 
 
 17 
 
 to form the port of Ostia. Caligula erected it in his circus at the Vatican, 
 which was destroyed by Constantine the Great, to build the first basilica of 
 St. Peter; but he left the obelisk standing on the spot now occupied by the 
 sacristy. It was removed at an expense of nearly £10,000 sterling, in 1586, 
 by Sextus V. to its present situation, nearly a century before the construction 
 of the fine colonnade which now surrounds it. 
 
 “Of the great and beautiful temple of Dendera, or Tentyra, it is difficult 
 to say whether it be monumental or sacred, but it may class with the former. 
 The inhabitants of this place were great worshippers of Isis and Venus. 
 From the ruins, it appears that the temples of this city were more beautiful 
 and splendid and in a better style of art and workmanship than any other 
 now remaining in Figypt. Dr. Pococke, Captain Norden, Paul Lucas, 
 Granger, Maillett, Cassas, and Denon, have been diffuse and enthusiastic 
 in their descriptions of Tentyra. Denon was so enraptured when he stood 
 beneath the portico of the great temple at Tentyra, that he exclaimed, ‘I 
 thought myself, nay, I really was, in the sanctuary of the arts and sciences. 
 I was agitated by the multiplicity of objects, amazed by their novelty, and 
 tormented by the fear that I should never behold them again.’ The extent 
 of this temple was such, that the Arabs had formerly a village on its roof, 
 the ruins of which are still to be seen. 
 
 “ Belzoni, in his travels in Egypt, speaking of this temple, says, ( on the 
 19th, early in the morning, my curiosity was at a high pitch, the noted 
 temple of Tentyra being the only thought I had in my head. On arriving 
 before it, I was for some time at a loss where I should begin my examina- 
 tion. The numerous objects before me, all equally attractive, left me for a 
 while in a state of suspense and astonishment.’ The enormous masses of 
 stone employed in the edifice are so well disposed, that the eye discovers the 
 most just proportion everywhere. The majestic appear ince of its construc- 
 tion, the variety of its ornaments, and, above all, the singularity of its pre- 
 servation, had such an effect on Belzoni, that he seated himself on the 
 ground, and was for a considerable time lost in admiration. It is the first 
 Egyptian temple the traveller sees on ascending the Nile, and is certainly 
 the most magnificent. It has an advantage over most others, from the good 
 state of preservation it is in. It is the cabinet of Egyptian art, the product 
 of study for many centuries, and deserves all the praise that has been given 
 to it. It was in this grand monument of the art that the celebrated Zodiac 
 of Tentyra was found, which MM. Saulnier and Leloraine have recently 
 carried away to Paris. 
 
 “ There are few subjects on which men of learning and taste have differed 
 more than upon the art of the Egyptians. Some raising it to the skies, 
 
 3 
 
18 
 
 ARCHITECTURAL HISTORY. 
 
 olhers scouting it as the barbarous of barbarism. De Goguet and his follow- 
 ers treated it with the utmost contempt. Denon and Belzoni overflow with 
 praises of its beauties, and find no defects. Sonnini describes his sensations 
 at the sight of their temples as difficult to define, so grand, so majestic did 
 he find them. It was not a simple admiration merely, but an ecstasy which 
 suspended the use of all his faculties. He remained for some time immovable 
 with rapture, and felt himself more than once inclined to prostrate himself 
 in token of veneration before monuments, the rearing which appeared to 
 transcend the strength and genius of man. 
 
 “Yet after all, the Egyptian style is monotonous, sombre, heavy, and 
 unfit for our use; and, if studied exclusively, till regard for antiquity engen- 
 ders love for ugliness, is destructive of a pure taste. What made probably a 
 delightful parlour in Egypt, would make an excellent coal cellar in England. 
 Yet, from its antiquity and excellence of construction, there are few styles 
 more interesting to the antiquary, more delightful to the traveller, or bearing 
 greater testimony to the truth of ancient history. 
 
 “Although the lively Frenchman, Sonnini, says, that before it the so 
 much boasted fabrics of Greece and Rome must come and bow down ; yet, 
 when it is calmly investigated and brought to the standard of judgment, it 
 will not bear a momentary comparison with either for chasteness, real beauty, 
 and true sublimity. 
 
 “ Architecture among the ancient Jews, is a much darker and more inex- 
 plicable subject. The Hebrews, Israelites, or Jews, by a residence in Egypt 
 of nearly four hundred years, had attained a considerable degree of civiliza- 
 tion. After their deliverance from captivity in that country, they led a wan- 
 dering life for forty years. The temples which they had seen in Egypt 
 dedicated to Egyptian idols, led them to consecrate a temple where they 
 might assemble in public worship of the true God. As it was necessary, 
 from their mode of life during their sojournment in the wilderness, that it 
 should be portable, they constructed it in the form of a spacious tent. In the 
 plan and arrangement of this temporary erection, known by the name of the 
 tabernacle, they took the form, it has been conjectured, of the Egyptian tem- 
 ples for their guide ; they adopted in the details and ornaments a peculiar 
 and national style. Conjecture and written description is all that is left us 
 of the architecture of the Hebrews. 
 
 “ The architectural ruins of the monuments of the old inhabitants of that 
 great, empire improperly called by Europeans Persia — the name of a single 
 province being applied to the whole empire of Iran, as it is correctly deno- 
 minated by the natives and by the learned Mussulmans who resided in 
 British India — are conclusive proofs of the grandeur of this ancient people. 
 
ARCHITECTURAL HISTORY. 
 
 19 
 
 They differ in style both from the Egyptian and the Hindu, yet possess 
 a general affinity. Sir William Jones, after due investigation, — and who 
 was ever a more ardent and laborious investigator than he?— concludes, 
 from the most unexceptionable evidence, that the Iranian or Persian mon- 
 archy must have been the most ancient in the world ; but he was doubtful 
 to which of the three stocks, Hindu, Arabian, or Tartarian, the first kings 
 of Iran belonged. He also, after a most learned and interesting disquisition, 
 holds this proposition firmly established : that Iran, or Persia, was the true 
 centre of population, of knowledge, of languages, and of arts. Of such a 
 people, an account of their architecture cannot but be of consequence ; and 
 it. is therefore lamentable that so few faithful delineations of their monuments 
 have been taken. 
 
 “ The ruins of Persepolis are the principal existing remains of Persian 
 architecture. This city was taken by Alexander, misnamed the Great, who 
 was persuaded by Thais, a shameless courtesan, during a drunken revel, to 
 set it on fire, at the place now called by the natives Kilmanac or Ischilma- 
 nar, the forty columns, from the circumstance of there having been that 
 number standing when the Mahometans invaded that part of Iran ; but at 
 present there are not above nineteen left. The splendid edifice of which 
 these ruins are the remains, is supposed to have been erected by their king 
 Huished, or Schemscheddin. 
 
 “ The style of the architecture and sculpture proves their antiquity. From 
 the fact of every column being surmounted by a figure of some animal, and 
 the well known circumstance of the ancient Persians performing their reli- 
 gious duties in the open air, proves, in opposition to Millin, — for the building 
 could never have had architraves or a roof, — that it was a temple. These 
 singular columnar ruins are formed of a beautiful white marble, which is 
 found in the mountain Rachmed near the spot. 
 
 £ - Count Caylus thought he perceived, and endeavoured to draw, an ana- 
 logy between the Persepolitan and the Egyptian styles ; but we have not 
 sufficient authority of the former to examine these claims. 
 
 “ The Hindu style of architecture, as exemplified in their monuments, 
 appears to have been drawn from their original dwellings, caves and exca- 
 vations. Man is by nature a burrowing animal, and mostly carries his 
 original propensities into states of refinement. 
 
 “The period of authentic history in India, as in other countries, is com- 
 paratively of recent date. It is scarcely more than three thousand years 
 since the most ancient and only genuine historical records of the ancient 
 world, ascribed to Musah, or, as we call him after the Greeks and Romans, 
 Moses, were composed. Herodotus, the most ancient heathen historian whose 
 
20 
 
 ARCHITECTURAL HISTORY. 
 
 works have reached our times, flourished a thousand years later ; and Homer, 
 the third ancient author who speaks of our art, is of too doubtful a period 
 to establish dates. 
 
 “ The remains of architectural monuments in India, from style and con- 
 struction, seem to prove an early connexion between that country and 
 Egypt. The pyramids, the colossal statues, the obelisks, the sphinx, the 
 mummy pits and subterranean temples with colossal figures, and the lion- 
 headed sphinxes, recently discovered by Belzoni in Egypt, indicate the style 
 and system of mythology to be akin to those of the indefatigable workmen 
 who formed the vast excavations of Canarah, Elephanta, and Ellora, as 
 well as the various immense pagodas, pillars, and colossal images of Buddha 
 and other Indian idols. These subjects will be farther discussed in the 
 article Sacred Architecture. 
 
 “ Another proof of a similarity of style between the ancient Egyptians 
 and Hindus, is their mutually using lofty spires, or obelisks, like the pillar 
 of Allahabad ; a striking resemblance to which is seen in the ancient round 
 towers of Ireland ; and also between the pyramids of Egypt and the colossal 
 brick building in the Hadjipore district, near the Gunduc river. This im- 
 mense pile of brick is about two days journey up the Gunduc, one of the 
 tributary streams of the Ganges near Kessereah. 
 
 “ Mr. Burrows, who visited it about the year 1785, and took its dimen- 
 sions, conceives it to be evidently intended for the well known image of the 
 god Maha Deo ; having originally been a cylinder placed upon the frustrum 
 of a cone, for the purpose of being seen at a distance. It is at present very 
 much decayed, and it is not very easy to tell whether the upper part of the 
 cylinder has been circular or conical. A considerable quantity of the outside 
 has fallen down, but it is still seen at a great distance up and down the 
 river. 
 
 “ The dimensions of this colossal edifice, as given by Mr. Burrows, in the 
 Asiatic Researches, are the diameter of the column at the base, three hun- 
 dred and sixty-three feet; height of the conic frustrum on which the cylin- 
 der is placed, ninety-three feet; diameter of the cylinder, sixty-four feet, 
 which is nearly two-thirds of the size of the diameter of the base of the 
 cupola of St. Paul’s cathedral ; height of the present remains of the cylinder 
 or round tower, sixty-five feet ; entire height, one hundred and fifty-eight 
 feet, or nearly the height of the monument near London Bridge without its 
 pedestal. Both the cylinder and the cone are constructed of well burnt 
 bricks, many of them two spans long and one broad, and others of the com- 
 mon size but thinner. 
 
 11 The pillar of Allahabad, as described by the late Captain Hoare, is a 
 
ARCHITECTURAL HISTORY. 
 
 21 
 
 lofty conical structure, covered with inscriptions, which are given in the 
 second volume of the Transactions of the Asiatic Society, with an engraving 
 of its elevation ; but neither Captain Hoare, Mr. Colebrooke, nor Moonshee 
 Mohammed Morad, who accompanied the Captain to Allahabad, could 
 obtain any information respecting it. 
 
 “Architecture is of too much importance in the affairs of nations to be 
 neglected or despised by the political economist ; being the art by which we 
 can best distinguish man in a civilized state from that of simple barbarity, 
 and forms a scale of comparative cultivation and of the progress of intellect 
 between nation and nation. 
 
 “ Plato acknowledges that the science of politics and legislation began 
 with the building of cities, (Plat, de Leg., 1. 3. et 6.) : thus has architecture 
 its political use, public buildings being the most distinguished and most 
 durable ornaments of a country. It establishes a nation, draws people, 
 creates commerce, makes the people love and respect their native country, 
 which passion is the origin of all great actions in a commonwealth. ‘The 
 emulation of the cities of Greece.’ says Wren, ‘was the true cause of their 
 greatness ; the obstinate valour of the Jews, occasioned by the love of their 
 magnificent temple, was a cement that held together that people for many 
 ages, through infinite changes.’ 
 
 “ The care of public decency and convenience, was a great cause of the 
 establishment of the Low Countries, and of many cities in the world. Modern 
 Rome subsists still by tire ruins and imitation of its glorious ancestor ; as 
 does Jerusalem by the temple of the sepulchre and other remains of Helena’s 
 zeal. 
 
 “ Architecture aims at eternity ; and is, therefore, the only art incapable 
 of modes and fashions in its principles, the orders. It is also the most faith- 
 ful recorder of the great and noble deeds of nations long since past away ; 
 and its works are speaking witnesses of the truth of history. 
 
 “By the gigantic pyramids, by the lofty obelisks, by the stupendous tem- 
 ples, and other architectural monuments of Egypt, we have authentic docu- 
 ments and ocular demonstration of the veracity of the historic pen which re- 
 cords the numbers and the power of the mighty people that once inhabited 
 the extensive shores of the prolific Nile. 
 
 “ The Parthenon, the Erectheum, and the other brilliant gems of Attic 
 taste which embellish the solitary wastes of ancient Athens, bear similar 
 testimony to that refined taste which the ancient historians and critics of an- 
 tiquity attribute to the people of Greece. The Acropolis and its lovely struc- 
 tures vouch for Pausanias; the Pyramids and obelisks of Egypt, for the 
 
22 
 
 ARCHITECTURAL HISTORY. 
 
 venerable father of pagan history, Herodotus ; and Rome, the eternal city, 
 owes its most lasting celebrity to architecture. 
 
 “ By architecture, too, we are informed how painting and how sculpture 
 flourished among the ancients. For it has not only preserved upon its walls, 
 as in the temple of Tentyra, in the magnificent baths of the Roman emperors, 
 and on the walls of Herculaneum and Pompeii, positive vestiges of their 
 pencils ; but by ratifying, as it were, the truth of the historians’ account of 
 their architecture, gives us a point whereon we may fix our belief in their de- 
 scriptions of the powers of their ancient painters. Thus the existing works of 
 Phidias, Ictinus, Callicrates, and Mnesicles, prove the reality and the power 
 of the highly and justly lauded productions of Zeuxis, Parrhasius, and 
 Apelles, of which we have only written, testimony. 
 
 “ Much may be said of the political utility and moral advantages of a cul- 
 tivation of architecture ; but a few words on an enlightened patronage of it 
 may not be deemed extraneous from the subject. 
 
 “ This proper and judicious mode of administering patronage, or in other 
 words, justice, to a national art, of necessity includes a patronage of all the 
 arts, and embellishes the names of monarchsand princes with unfading lustre, 
 equal to any and superior to most. A great and good prince is rendered yet 
 more illustrious by such encouragement ; and the infamy of a bad one is 
 even gilded over to his contemporaries, and overpowered to posterity, by the 
 brilliancy of its lustre. The bloody and drunken insanities of Alexander, 
 by some called the Great, are shaded by his patronage and love of art ; and 
 the nameless atrocities of Hadrian are softened by his deeds in art almost to 
 a name of repute ; while the mild lustre of a Titus receives a brilliant ac- 
 cession from the same causes. So is the tyranny of Pericles adorned and 
 neutralized by his enlightened patronage of Phidias. The Parthenon has 
 remitted his sins ; and Hadrianopolis, with its tasteful structures, sheds rays 
 of glory round the head of the otherwise contemptible and infamous patron 
 and associate of Antinous. 
 
 “ This art was held in such esteem by the Greeks that none but the well 
 born were allowed to study it, and princes gloried in its practice. If, as Sir 
 Joshua Reynolds asserts, the value and rank of every art be in proportion to 
 the mental labour employed in it, then should architecture rank very high. 
 As this principle is observed or neglected, architecture becomes either a libe- 
 ral art or a mechanical trade. In the hands of one man it makes the high- 
 est pretensions, as it is addressed to the noblest faculties, and becomes a mat- 
 ter of philosophy ; while in those of another it is reduced to a mere matter 
 of ornament, and the architect has but the humble province of building ele- 
 gant trifles. 
 
ARCHITECTURAL HISTORY. 
 
 23 
 
 “ la a preceding section an assertion was made that architecture was a 
 less imitative art than either painting, sculpture or engraving; that its ele- 
 ments are more purely original than those of the other arts ; yet it is in a 
 certain degree imitative of its own original types or prefigurations, which are 
 first the cavern , as exemplified in the Egyptian and the Indian styles, 
 which has been imitated also in our ancient British architecture, as may be 
 seen in many examples, such as the ancient crypt of St. Peter’s, Oxford, at 
 Lastingham Priory, &c., where the resemblance is abundantly striking ; the 
 tent, as in the Chinese, and its species ; and the cabin , or wooden hut, as 
 displayed in the Greek and its imitators: that is to say, that the Egyptians, 
 the Indians, and their like, imitated in their buildings their ancient excava- 
 tions, their primeval dwellings ; that the Chinese, in their pagodas and other 
 public buildings, imitated their tent ; that the Greeks imitated and refined 
 carpentry in their marble temples; that the Romans followed the Greeks; 
 that the early architects of Britain followed the Romans ; that many archi- 
 tects of the present day follow the Greeks to a servile pedantry ; and that the 
 architects erroneously called Gothic imitated their primitive places of worship, 
 their sacred groves. 
 
 “ Our great architect, Sir Christopher Wren, whose merits as a writer are 
 scarcely sufficiently acknowledged, carries this hypothesis still farther, and in a 
 most beautiful manner. He says, ‘ Vitruvius hath led us the true way to find 
 out the originals of the orders. When men first cohabited in civil commerce, 
 there was a necessity of forums and public places of meeting. In cold coun- 
 tries, people were obliged to shut out the air, the cold, and the rain ; but in 
 the hot countries, where civility first began, they desired to exclude the sun 
 only, and admit all possible air for coolness and health. This brought in 
 naturally the use of porticoes, or roofs for shade, set upon columns. A walk 
 of trees is more beautiful than the most artificial portico ; but these not being 
 easily preserved in market-places, they made the more durable shades of por- 
 ticoes, in which we see they imitated nature. Most trees that are in their 
 prime, that are not saplings or dotards, observe near the proportion of Doric 
 columns in the length of their boll before they part into branches. This I 
 think a more natural comparison than that to the body of a man, in which 
 there is little resemblance of a cylindrical body. The first columns were the 
 very bolls of trees turned or cut in prisms of many sides. A little curiosity 
 would induce to lay the torus at the top : and the conjecture is not amiss, to 
 say it was first a band of iron to keep the clefts occasioned by the sun from 
 opening with the weight above ; and to keep the weather from piercing these 
 clefts, it was necessary to cover it with the plinth, or square board ; and the 
 
24 
 
 ARCHITECTURAL HISTORY. 
 
 architrave conjoined all the columns in length,’ as may be seen in the draw- 
 ing of the flank of the Grecian temple. 
 
 “ Of these primitive styles, that of the Egyptian, or cavern style, is dark, 
 heavy and monotonous; the Chinese, or tent style, light, feeble, and fragile; 
 and the Greek, or cabin style, is at once solid and light, is susceptible of be- 
 ing made more or less solid or light, according to necessity or required 
 character, is the highest in its combinations, and that which unites in itself 
 in the highest degree the advantages of solidity and an infinite agreeableness 
 of variety. Of the elements of the cabin, or Greek style, the elegant critic 
 Algarotti says, in his Sargis sopra V Architettura, that it is the material 
 the most capable of furnishing the art with the greatest number of profiles, 
 modifications, and varied ornaments, which said profiles, modifications, and 
 varied ornaments, so highly prized by the Italian critic, the Greeks have in- 
 durated, sublimed, and immortalized ; while the Romans have debased 
 them, and, in many instances, lowered them below even their original 
 types. 
 
 “ While upon the subject of that imitation which is essential to a pure 
 style in architecture, an imitation by no means destructive of legitimate in- 
 vention, a few words may be allowed by way of elucidation. 
 
 “ By imitation is not meant that servile counterfeiting of an original 
 which is so much the practice of some of our modern Greeks, who copy the 
 very fractions, of lines and profiles, instead of composing in the same spirit, 
 but that bold pursuit of a sublime original by parallel images and examples, 
 sometimes more refined, but never below their type, which distinguishes true 
 genius, cultivated and improved by practice and study, from the common 
 herd of lineal copyists’ modules of minutes and of lines. Such a free imita- 
 tion as the rEneid is of the Iliad ; such a bold and original imitation as Mil- 
 ton is of Homer and of Virgil ; such imitations in short as bear the marks of 
 real genius — ‘ that quality without which judgment is cold, and knowledge is 
 inert — that energy which collects, combines, amplifies, and animates.’ 
 
 “ There are two ways by which a people can imitate the style of architec- 
 ture of another country ; the one true, and the other false. The true mode 
 is less an imitation than an adoption, and consists in receiving as an alpha- 
 bet in their entire shape the system, the rules, and the taste of a style of archi- 
 tecture. It was thus that the Romans adopted the architecture of the Greeks, 
 or perhaps I should say of the Etrusians, which was incontestably the same. 
 It was thus also with the nations of modern Europe, who, abandoning the 
 Gothic and the incongruities of the middle ages, have appropriated the Greek 
 and Roman styles by legitimate adoption. 
 
 “It was after this true mode that Palladio, in his imitations and inventive 
 
ARCHITECTURAL HISTORY. 
 
 25 
 
 restorations of Roman magnificence, has founded a legitimate school. It was 
 thus that Michel Angiolo fairly imitated the Pantheon of Agrippa in his tre- 
 mendous cupola of the Vatican. And it was thus that our illustrious coun- 
 tryman Wren, whose transcendent talents I have recently endeavoured to dis- 
 play to the public, rivalled in design, and surpassed in purity of taste and 
 scientific construction, the Basilica of St. Peter’s at Rome, the work of more 
 than twenty architects, supported by the treasure of the Christian world, and 
 by the protection and under the reigns of twenty successive popes ; in his un- 
 rivalled and splendid work of St. Paul’s, London, that glorious, though un- 
 finished monument of the piety and magnificence of our ancestors. 
 
 “ Such imitations are far from plagiarisms, being, on the contrary, skilful 
 adoptions or adaptations, bearing proofs of legitimate and inventive talents. 
 
 ‘ Genius,’ says Reynolds, ‘ at least what is generally so called, is the child of 
 imitation ; it is in vain to endeavour to invent without materials on which 
 the mind may work, and from which invention must originate. Nothing 
 can come of nothing.’ (Disc, i.) 
 
 “ The other or false mode of imitation is plain plagiarism, and nothing 
 better than downright theft, without even that ingenuity to conceal the 
 theft, which, among the Lacedaemonians, always procured pardon for the 
 thief. This mode consists, as it were, in importing by wholesale such por- 
 tions of a foreign or ancient style as appears suited to the purposes of its 
 importers, and converting them to their own use, not as their original inven- 
 tors would have done in their time and place, but forcibly torturing ancient 
 art to modern uses ; like as the gipsies are said to do when they steal children, 
 to disfigure them that they may not be known. These are mean copiers 
 and importers of architecture, common borrowers; the others, liberal adopt- 
 ers of the great works of the great masters of our art, from whom ‘ the 
 modern arts were revived, and by wdiose means they must be restored a 
 second time.’ ‘However it may mortify our vanity,’ said Reynolds, ‘ we 
 must be forced to allow them to be our masters ; and we may venture to 
 prophesy, that when they cease to be studied, arts will no longer flourish, 
 and we shall again relapse into barbarism.’ (Disc, vi.) 
 
 “ It w r as not in this way that the Greeks borrowed the idea of the Corin- 
 thian capital from the Egyptians. They boldly adapted and naturalized it, 
 as well as other types of their orders, which may be seen by comparing 
 them ; and concealed it with Spartan skill, gratifying their national vanity in 
 giving currency to the poetical hypothesis of Callimachus and the votive 
 vase. The primitive types of the two capitals are the same, as may be seen 
 by comparison ; the original of each is a vase surrounded by foliage and 
 covered by an abacus, and a verbal description of the turn would very nearly 
 
 4 
 
26 
 
 ARCHITECTURAL HISTORY. 
 
 assimilate. The other orders, namely, the Doric and the Ionic, are as evi- 
 dently drawn from the same sources : yet in the essentials of a national 
 style they widely differ. The Egyptians properly used the plants and 
 flowers of Egypt, and the Greeks those of Greece. 
 
 “If, however, the architecture of Greece be, as is often and perhaps truly 
 asserted, borrowed, adopted, or stolen from that of the Egyptians, the Greeks 
 have certainly most gorgeously embellished their robbery ; and if from their 
 own primeval huts and cabins, the metamorphosis of the cabin into the 
 temple is as rapid and complete as that of the cottage of Baucis and Phile- 
 mon, in the Metamorphoses of Ovid : 
 
 1 Ilia vetus, dominis etiam casa parva duo'ous, 
 
 Vertitur intemplum: furcas subiere columns.’ — O vid. lib. viii. 
 
 “ The principal remains of the most ancient examples of the Indian or 
 Hindu style which have been recently discovered, are of a singular and 
 extraordinary kind, being mostly excavations in the solid rock. They are 
 supposed by some antiquaries to have been subterranean temples ; but many 
 portions of them are undoubtedly monumental or commemorative. Im- 
 mense sculptured caverns of this description have been discovered in various 
 parts of the Indies, which are wonderful monuments of the skill and industry 
 of the people who achieved them. These subterraneous caverns are appa- 
 rently as ancient as the oldest Egyptian temples ; and M. D’Ancarville, in his 
 Recherches sur FOrigine, l’Esprit, et les Progres des Arts de la Grece, thinks 
 them anterior to the time of about two thousand years before Christ. 
 
 “ Some arcbaiologists have supposed these wonderful sculptured caverns to 
 be no older than the first ages of Christianity, after the natives of India had 
 received the knowledge of the liberal arts and sciences from the Greeks. The 
 improbability of this hypothesis is apparent at the first glance ; for, in the 
 first place, the Greeks did not practise excavations ; and secondly, the style, 
 character, and execution, are as different as light and darkness from the 
 style, character, and execution of the architecture of the Greeks. 
 
 “ Dr. Robertson, on the contrary, thinks them monuments of very remote 
 antiquity, as the natives cannot, either from history or tradition, give any in- 
 formation concerning the time in which they were excavated, but universally 
 ascribe them to the power of a superior race of beings. Thus Stonehenge 
 has been attributed to the magical power of Merlin the enchanter; and the 
 devil is often celebrated as an architect of first-rate skill, and has given his 
 name to many a monument of human power. 
 
 “ The columns found in these caverns are rudely formed ; and alt.hr ugh 
 much inferior to Grecian beauty, are, in many instances, more agreeable to 
 the eye of taste than those of Egypt. Their capitals represent round cush- 
 
ARCHITECTURAL HISTORY. 
 
 27 
 
 ions pressed down by the superincumbent weight. The elegance of some 
 of these columns is confirmed by Col. Call, formerly chief-engineer at Ma- 
 dras, who urges this circumstance as a proof of the early and high civiliza- 
 tion of the Hindus. 1 It may safely be remarked,’ says he, 1 that no part of 
 the world has more marks of antiquity for arts, sciences, and civilization, than 
 the peninsula of India, from the Ganges to Cape Comorin. I think the carv- 
 ings on some of the Pagodas and choultries, as well as the grandeur of the 
 work, exceed any thing of the present day, not only for the delicacy of the 
 chisel, but the expense of construction ; considering, in many instances, 
 to what distances the component parts were carried, and to what heights 
 raised.’ 
 
 “The column from a building near Muddumpore, as engraved in Daniels’ 
 Yiews, although of great antiquity, has the elements of a beautiful style. 
 The gradation from the octangular base to the multangular shaft, setting off 
 to the circular upper shaft, is at once elegant, and possessed of the greatest 
 constructive strength. The masculine style of the recking, under the quadri- 
 frontal capital, is bold and characteristic. 
 
 “Another fine example of a monumental column worthy of notice is from 
 an ancient Indian temple near to Benares, a splendid, rich, and populous 
 city, on the north side of the Ganges, which is here very broad and the 
 banks very high. The appearance of Benares from the water is represented 
 by travellers as being very beautiful. Several Hindu temples embellish the 
 banks of the river, and many oilier buildings, public and private, ancient 
 and modern, of a style and execution truly magnificent. 
 
 “ This singular and most beautiful column, which to the variety of India 
 adds many of the ornamental graces of the Grecian style, is thought by Mr. 
 Hodges, who made the drawing whence the plate in his work was engraven, 
 to have been of the age of Alexander. This eminent artist and indefatiga- 
 ble traveller conceived, from the striking resemblance which many of its parts 
 bear to the Greek style, that it must have been executed by Grecian artists 
 shortly after Alexander’s expedition into India ; which, according to Dr. Ro- 
 bertson, was about one hundred and sixty years after the reign of Darius 
 Hystaspes. The biographer of Apollonius Tyraneus [ibid.) relates, that 
 when he visited India, three hundred and seventy-three years after Alexan- 
 der’s expedition, twelve stupendous altars or monumental stones, which he 
 erected in commemoration of his exploits, were still remaining with legible 
 inscriptions. Be this as it may, the elements and style of this beautiful 
 monument of antiquity completely bear out the hypothesis of Mr. Hodges. 
 Its elements, perhaps from compliment to the country, are in every respect 
 Indian ; its ornaments are purely Greek ; its base, its shaft, its capital, are all, 
 
28 
 
 ARCHITECTURAL HISTORY. 
 
 in shape, situation, and distribution, completely Hindu ; with its multangular 
 and mixed circular shaft, its quadri frontal capital, and tress-shaped abacus. 
 Its decorative sculptures, are essentially and finely Greek. In its pedestal is 
 found the Grecian honeysuckle in its greatest purity ; the angles of the shaft 
 are embellished with the sacred water-leaves of the Hindu mythology; above 
 these are Doric flutes ; and in the capital are found the leaves of the Greek 
 acanthus. 
 
 “ For beauty of outline, graceful selling off from a square to an octagon, 
 and thence to a circle, for richness and purity of style, the column of Benares 
 stands unrivalled in Eastern art. 
 
 “ A few more specimens of Indian monumental art are the series of exam- 
 ples from the early periods of the Mogul empire, which exhibit their modes 
 of construction both square and circular, and prove their early knowledge of 
 the arch, the cupola, and other difficult and scientific modes of construction ; 
 and to which the preceding observations are equally applicable. 
 
 “ Another proof of a similarity of style between the architecture of the 
 ancient Egyptians and Hindus, is their mutually using lofty spires like the 
 obelisks of the former, and the monumental towers of the latter, as in the 
 tower of Allahabad, and the lofiy conical obelisk on the Shikargah, or hunt- 
 ing-place of Feeroz Shah, the Pyramids of Egypt, and the conical brick 
 monument in the Hadjepore district, referred to and described in the last 
 section. 
 
 “ The monumental style of architecture among the Greeks comes into 
 a smaller compass than most other nations. The observations on their pure 
 and fine style will, therefore, be reserved to another section, when descanting 
 on their sacred buildings. Their principal monuments are the tower of the 
 winds, which was also a clepsydra, or water clock, and the beautiful little 
 choragic monument of Lysicrates, so celebrated for its elegant variation upon 
 the theme of the Doric order. Another no less beautiful is the choragic 
 monument of Thrasyllus, sometimes called the Lantern of Demosthenes, 
 so well known to every student of Athenian antiquities. 
 
 “ The triumphal arches of the Romans are among the grandest architec- 
 tural monuments or luxuries of this magnificent people. Nothing which 
 could tend to perpetuate the fame of the conquerors was omitted in the 
 design. Some were constructed with two and others with three openings, 
 and the most magnificent were erected on the public road called the Trium- 
 phal way. 
 
 “ On a triumph being decreed, the Roman senate received the conqueror 
 at the Porta Capena, near the Tiber, which was the entrance to the city 
 
ARCHITECTURAL HISTORY. 
 
 29 
 
 from the Appian way. A brief description of them, for they very nearly 
 resemble each other, is all that the limits of this work will allow. 
 
 “ The arch of Augustus at Rimini has but a single opening, about thirty 
 feet in width, crowned with a pediment, contrary to the usual practice, which 
 was to leave them flat for a triumphal car. It is a beautiful specimen of 
 construction, but much mutilated. 
 
 “ The arches of Titus at Rome and of Trajan at Beneventi, bear a great 
 resemblance to each other. The former is composed of that beautiful com- 
 posite order, which is said to have been the earliest use of this order. 
 
 “The arch called the Arch of the Goldsmiths at Rome is a curious ex- 
 ample. It is small in size, has but a single opening, is covered by a flat 
 lintel, and is much embellished by sculpture. 
 
 “The arches of Septimus Severus and of Constantine, are of three open- 
 ings. The latter is embellished with ornaments shamelessly stripped from 
 the arch of Trajan ; and from their absurd application, we are the more 
 disgusted with the barbarism of the despoilers. The arch of Severus, the 
 ruins of which are represented in Piranesi, is in fine preservation, and serves 
 as a portico to the church of St. George, in Yellario. 
 
 “ The Roman style of architecture possesses more variety of style and 
 buildings than that of Greece. The Roman people had also a more ex- 
 tended dominion, more personal and natural pride, and were more partial to 
 show and magnificence, than the graver and more philosophical Greeks. 
 Hence arose the greater number and more splendid embellishments of their 
 architectural achievements. 
 
 “ They also erected edifices to commemorate every great event; and much 
 of their architecture may be classed under the monumental style. ‘When 
 the Romans wished to commemorate and perpetuate,’ says Tacitus, ‘the 
 remembrance of any remarkable event, they raised an altar-stone, and en- 
 graved thereon the particulars of the transaction.’ 
 
 “This great historian relates, in his account of the public discussions 
 which ensued in Rome on the death of Augustus, that the objectors to the 
 honours paid to that emperor complained that the honours due to the gods 
 were no longer sacred. Temples were built and edifices erected to him. A 
 mortal man was adored, and priests and pontiffs were appointed to pay him 
 impious homage. This species of homage Augustus was wise enough to 
 decline when alive; and Suetonius says, ‘although Augustus knew that 
 temples were often raised in the provinces in honour of the proconsuls, he 
 allowed none to be raised to himself, unless they were at the same time 
 dedicated to the Roman people. In the city he absolutely refused all hon- 
 
30 
 
 ARCHITECTURAL HISTORY. 
 
 ours of the kind.’ These facts prove that the raising and dedicating a tem- 
 ple was a common, nay, almost an every-day, transaction. 
 
 “ Tacitus is perpetually adverting to the numerous architectural monu- 
 ments of his public-spirited countrymen. But unfortunately their character 
 in taste was inferior both to their wealth and their vanity. They cultivated 
 few things supremely but eloquence and the art of war ; and oratory and 
 the sword were the only steps to power and greatness in Rome. Greece 
 was fallen into a state of degeneracy. Point, antithesis, and conceit, were 
 the delight of vain preceptors who filled the streets of Rome, and held 
 schools of declamation, — which Cicero properly called Indus impudentice ; 
 —and novelty, ornament, and bad taste, crowded 'their public monuments. 
 
 “With such a people architecture could not but flourish;- and had they, 
 like the Greeks, ennobled the profession of architecture as they did that of 
 the orator, as fine a taste would doubtlessly have prevailed in the one country 
 as in the other. Their very wars encouraged the arts. Statues and trium- 
 phal arches followed victory like a shadow ; and the spoils of the conquered, 
 prisoners of war, with various pictures of battles, mountains, and rivers, 
 were displayed with great pomp. 
 
 “ Another instance of the architectural grandeur of the Romans, on the 
 authority of Suetonius, is worth reciting. Augustus, to perpetuate the 
 memory of his glorious victory at Actium, built the city of Nicopolis, near 
 the bay where he obtained his victory, establishing quinquennial games; 
 and, having enlarged an ancient temple of Apollo, adorned it with naval 
 spoils, and dedicated it to Neptune and to Mars. 
 
 “On the death of Germanicus, triumphal arches were ordered to be 
 erected at Rome, on the Rhine, and Mount Amanus in Syria, with inscrip- 
 tions setting forth the splendour of his actions, and in direct terms declaring 
 that he died in the service of his country. At Antioch, where his remains 
 were burned, a mausoleum was erected ; and at Epidaphne, where he died, 
 a cenotaph was constructed to his memory. Of the several statues and the 
 places where they were to be worshipped, ‘it would be difficult,’ says Tacitus, 
 
 1 to give a regular catalogue. It was farther proposed that a shield of pure 
 gold, exceeding the ordinary size, should be dedicated to him in the place 
 allotted to orators of distinguished eloquence.’ 
 
 “ These marks of respect are of less value to the dead than to the living ; 
 and those who witness such grateful remembrances acquire thereby an 
 additional stimulus towards rivalling them. 
 
 “ ‘ Victory and Westminster Abbey,’ was a sentiment uppermost in the 
 mind of Nelson ; and they who are benefited by the services of statesmen 
 and by the victories of warriors, should not be sparing of durable monuments 
 
ARCHITECTURAL HISTORY. 
 
 31 
 
 of gratitude, even if it be only with the view of exciting the aspiration of 
 contemporaries. 
 
 “Of Roman architecture, the concealed author of Guy Mannering says, 
 ‘their fortifications, their aqueducts, their theatres, their fountains, all their 
 public works, bear the grave, solid, and majestic character of their language; 
 and our modern labours, like our modern tongues, seem but constructed out 
 of their fragments.’ Yet. with all this grandeur of conception and solidity 
 of execution, their works surprise more from their immensity of size than 
 the beauty of their detail. This produced an unnatural exaggeration of 
 style in all their arts. Their architecture has given us the swollen compo- 
 site order ; their sculpture, the exaggerated style of the gladiator ; and their 
 latter poetry, the hyperboles of Lucan and of Statius. The Colosseum 
 alone consumed more materials, and cost more money, than perhaps all the 
 temples of Athens put together ; and the Roman forum would possibly have 
 contained them all. Imperial Rome vied with the republic in architectural 
 splendour, and Julius Csesar commenced a career of magnificence in the 
 provinces, and his nephew Augustus led the way among the emperors, 
 justly boasting that he found Rome of birch and left it of marble. It would 
 be well if a British Minerva could arise in imitation of the Athenian goddess, 
 and by her magic lance convert the half burnt bricks and compo and mastic 
 of modern London into even decent stone ! 
 
 “ One more species of monumental structures used by the ancient Romans 
 alone remains to be mentioned, their commemorative columns. 
 
 “They have several still remaining; one, dedicated to the Emperor 
 Phocas, stands near the temple of Concord. It is of Greek marble, fluted, 
 and of the Corinthian order, four feet diameter, and fifty-four high including 
 the pedestal. Another worthy of notice is that of Marcus Aurelius, erected 
 by the Roman senate and people in honour of that emperor for his victories 
 over the Marcomanni. Aurelius afterwards dedicated it to his father-in-law, 
 Antoninus Pius, as is expressed on the pedestal ; hence it is mostly called the 
 column of Antoninus. It is of the Doric order, eleven feet six inches in 
 diameter, and one hundred and forty-eight feet high. 
 
 “Tae loftiest, however, in Rome, is 
 
 ‘Trajan’s column tall, 
 
 From whose low base the sculptures wind aloft, 
 
 And lead, through various toils, up the rough steep, 
 
 Its hero to the skies.’ 
 
 Dyer. 
 
 “This column is one of the most celebrated monuments of antiquity, and 
 has endured the stormy waste of time upwards of seventeen hundred years. 
 
32 
 
 ARCHITECTURAL HISTORY. 
 
 The column of Alexandria, commonly called Pompey’s pillar, is about 
 ninety-five feet in height ; Trajan’s, including the pedestal and statue, one 
 hundred and thirty-two feet; and Wren’s fine monumental column near 
 London Bridge, commemorative of the destruction and rebuilding of the 
 British metropolis, including the pedestal and vase of flames, two hundred 
 and two feet. The latter is quoted to show its superiority in point of height 
 and size over those of ancient Rome. 
 
 “ British monumental architecture. The next section of my subject 
 leads us to the obscure days of the ancient British monumental style; and 
 I confess the more I search, the more I am bewildered in fiction, fable, and 
 hypothesis. 
 
 “ The commencement of the art in England was similar to its commence- 
 ment in every other country. The caverns and huts of the aborigines of 
 these islands were gradually improved from mere necessaries of life to com- 
 forts and luxuries. 
 
 “ There exist in this country the most indisputable proofs of a primitive or 
 aboriginal style of architecture and successive introductions of foreign styles 
 at various periods of our history ; and here again, it may be observed, does 
 architecture prove the truth of history. 
 
 “Egypt may boast of its pyramids, India of its excavated temples, Italy 
 of its Psestum, and Greece of its Cyclopean works, alike defying history and 
 conjecture : yet England and Ireland possess antiquities as primitive, as 
 aboriginal, and as remote from accurate date, in the Avebury, the cromlechs, 
 the Stonehenge of England ; the round towers, the excavations, the ruins 
 of the seven churches, and the bed of St. Kieven in Ireland. 
 
 “ The origin of the architecture of a nation is so intimately connected 
 with that of the nation itself, that an inquiry into the one necessarily involves 
 the other; therefore, rejecting the fables of our earlier chroniclers, we must 
 search for the truth in the monuments themselves. 
 
 “Sir William Jones, in his luminous discourse on the origin and families 
 of nations, says, with our great Newton, ‘ We must not admit more causes 
 of natural things than those which are true, and sufficiently account for 
 natural phenomena;’ and that one pair at least of every living species must 
 at first have been created, and that one human pair was sufficient for the 
 population of our globe, in a period of no considerable length — on the very 
 moderate supposition of lawyers and political arithmeticians, that one pair 
 of individuals left on an average two children, and each of them two more 
 — is evident from the rapid increase of numbers in geometrical progression, 
 so well known to those who have ever taken the trouble to sum a series of 
 as many terms as they suppose generations of men in two or three thousand 
 years. 
 
ARCHITECTURAL HISTORY. 
 
 33 
 
 ft This profound philosopher then proceeds, with all the learning and scep- 
 ticism of a genuine searcher after truth, to compare the Mosaic account of 
 the peopling of our globe with probability and with history ; and comes, 
 after a series of incontrovertible arguments, to the supposition that the children 
 of Japhet seem from the traces of Sclavonian names, and the mention of 
 their having been enlarged-, to have spread themselves far and wide, and to 
 have produced the race which for want of a correct appellation we call 
 Tartarian : the colonies formed by the sons of Ham and Shem appear 
 to have been nearly simultaneous ; and among those of the latter branch he 
 found so many names preserved to this day in Arabia, that he hesitated 
 not to pronounce them to be the same people, whom hitherto we have de- 
 nominated Arabs ; while the former branch, the most powerful and ad- 
 venturous, of whom were the progeny of Cush, Misr, and Rama, names 
 remaining unchanged to this hour in Sanscrit, and highly revered by the 
 Hindus, were in all probability, the race denominated Indian. 
 
 “ From several tours recently made in the most interesting parts of 
 Ireland for architectural antiquities, and from considerable investigation 
 into its history, the author is of opinion that that country was originally 
 peopled from the East. The ancient architecture, the ancient religion, 
 the ancient language of Ireland and those of the inhabitants of Hindostan 
 and other oriental countries, coinciding in a wonderful manner. 
 
 “ Equal coincidences in their architecture occasionally recur ; the pyra- 
 mids of Egypt have narrow passages leading to dark chambers or temples 
 under ground. At Benares, the most ancient seat of Braminical learning; 
 there are also pyramids on a small scale with subterraneous passages, 
 which are said to extend many miles. These narrow passages leading 
 to the cell or adytum of the temple appear to render the only apartment 
 less accessible, and to inspire the votaries with more awe. There we find 
 a perfect resemblance between the worship of the ancient Egyptians and 
 the ancient inhabitants of Hindustan. The caves of the oracle at Del- 
 phos, of Trophonius, and of New Grange in Ireland, had narrow passages 
 answering the purposes of those in Egypt and India; ‘ nor is it unrea- 
 sonable to suppose,’ says Captain Wilford in his learned dissertations on 
 Egypt from the ancient books of the Hindus, £ that the fabulous relations 
 of the Grot in Italy, and of the purgatory of St. Patrick in Ireland, were 
 derived from a similar practice and motive which seem to have prevailed 
 over the whole pagan world, and are often alluded to in Scripture.’ 
 
 “ New Grange is one among many caverns in Ireland, which the au- 
 thor of this work has visited. It is a large mound or pyramid, surrounded 
 by a circle of stones, near the county town of Drogheda, about twenty-five 
 5 
 
34 
 
 ARCHITECTURAL HISTORY. 
 
 miles north of Dublin. The gallery is sixty-two feet long, and the arms 
 of the cross or transepts twenty feet each. The cupola over the centre 
 of the temple at the intersection of the cross is formed of long flat stones 
 projecting one over the other, till they meet in the centre like one of the 
 openings in the great Egyptian pyramid. 
 
 “ The cavern is, he doubts not, of as great antiquity as any in Europe, 
 and was a burying-place of the ancient Irish, although its cross-like form 
 has induced some to think of the time of Christianity ; on its first opening, 
 a gold coin of the Emperor Yalentinian was found in it, which Dr. 
 Llhwyd observes might bespeak it Roman, but that a rude carving at 
 the entry of the cave seems to denote it to be of a barbarous origin. 
 
 “ Nothing is here said of the similarity between the names of Erin 
 (Ireland,) and Iran, (Persia,) conjectural etymologies being too vague for his- 
 torical research. 
 
 “ The round towers of Ireland, (of which he has a list of nearly seven- 
 ty now remaining in various parts of the island, from Cork to the Cause- 
 way, and from Wexford to Limerick, the greater part of which he visited 
 and investigated,) their large and singular cromlechs, and innumerable 
 other antiquities, deserve a course of investigation to themselves. 
 
 “II. Sacred Architecture. To trace fully the origin and progress 
 of sacred architecture among the antediluvians, after what has been said 
 of the monumental architecture of that ancient period, would be to go over 
 almost the same ground, which was reviewed in the early part of the 
 first section ; therefore a brief survey of these ancient and problematical 
 times, with an account of the principal works in this class of architecture 
 and an analysis of principles, will be all that is necessary for this portion 
 of our work. 
 
 “ Among uncultivated nations, such as modern refinement is pleased to 
 term savage, architecture as a fine art is scarcely known, and their paint- 
 ing and sculpture are as rude as their manners. We find those arts, with 
 music, dancing, eloquence, and poetry, in every country and among every 
 people which have arrived at the first degree of civilization ; and mankind 
 was certainly in this state in the earliest antediluvian times, after the fa- 
 milies of Adam’s immediate progeny settled themselves. 
 
 “ The connexion between architecture, and the rest of the arts and 
 sciences, with the laws, government, and manners of the people, are cu- 
 rious and useful subjects of inquiry. Their relations with the history of 
 the human mind are clear and indisputable ; although some shallow rea- 
 soned have affected to think them beneath the notice of statesmen and 
 
ARCHITECTURAL HISTORY. 
 
 35 
 
 philosophers, and that the fine arts are to be considered only as mere 
 amusements and relaxations to superior minds. 
 
 « Sacred architecture commenced with the first adoration of man to his 
 Creator. The first altar of a single stone surrounded by our grateful fore- 
 fathers offering the first fruits of their flock, and corn, and fruit, was the 
 first temple. Such were the cromlechs of Ireland and Britain, which soon 
 increased from the circle of stones to the beauty of the rotunda, and from 
 the wood-covered temple of ancient Attica to the full blown perfection and 
 splendor of the Parthenon. 
 
 “ Idolatry added to the splendor of ancient temples ; and Ninus, the 
 first recorded idolater, the son of Belus or Nimrod, erected the earliest tem- 
 ple to the human gods of antiquity, in commemoration of his father, whom 
 he ordered to be worshipped, and dedicated a temple to him as Jupiter 
 Belus. This temple, which Herodotus describes as of splendid dimensions 
 and design, contained the celebrated brazen statue of Jupiter] Belus, which 
 was cast about two hundred years after the Hood, and is the same idol 
 mentioned in the Scriptures, under the name of Baal and Baal Phegor. 
 
 “ In less than two hundred years after the flood, architecture was cultivated 
 in Chaldea, China, Egypt, and Phoenicia. Sacred edifices were among the 
 most splendid and costly of their productions. Among the sovereigns re- 
 corded in these ancient days is Semiramis, the wife of Ninus, who finished 
 in this age the stupendous walls of Babylon, which were reckoned among 
 the seven wonders of the world. This illustrious princess, to whom the ad- 
 ministration of the government was left by her husband, ascended the throne 
 about one thousand seven hundred years before the Christian era, and is one 
 of the earliest examples in history of a throne being filled by a female. 
 
 “ Diodorus and other ancient writers relate, that among the splendid 
 works of this princess were the statues of Jupiter Belus, Ninus herself, her 
 son Nimas, and the chief men of her kingdom, both warriors and statesmen. 
 She also erected a magnificent temple to Jupiter Belus, on the summit of 
 which she erected three statues of gold, representing Jupiter, Juno, and 
 Rhea. 
 
 <: Many other similar works of grandeur and idolatry are mentioned in 
 history as having been erected by this princess, of which the necessary limits 
 of this work will not find room even for enumeration. But it is well known 
 that there were several queens of Assyria of this name ; and these authors 
 may have attributed to the great Semiramis, the spouse of Ninus, the works 
 that were probably of another age. and by another princess of the same 
 name. 
 
 “ From these ancient examples, founded on the authority of the most an- 
 
36 
 
 ARCHITECTURAL HISTORY. 
 
 cient historians, we find that sacred architecture flourished in a splendid 
 manner even in these remote ages. None of these relations, magnificent and 
 splendid as they now are, (not even the walls of Babylon, the tower of 
 Babel, nor the extent of ancient Ninevah, which is said to have included a 
 circuit of nearly sixty miles,) should surprise us into an unbelief of their au- 
 thority from their stupendous dimensions alone ; for if we reflect upon the 
 existing pyramids of Egypt, and know that the great wall of China, 
 also a work of high antiquity, is fifteen hundred miles in length, forty-five 
 feet in height, and eighteen feet in thickness, with towers of corresponding 
 proportions and reasonable distances, we need not doubt on these grounds. 
 Here again we find architecture bearing testimony-to the truth of history. 
 
 “ Architecture, having been thus successfully cultivated among the Assy- 
 rians, was carried by them into Egypt and other countries which they con- 
 quered. 
 
 “ ‘ The first temples,’ says Wren, ‘were, in all probability, in the ruder 
 times, only little cellas (cells) to inclose the idol within, with no other light 
 than a large door to discover it to the people when the priest saw proper ; 
 and when he went in alone to offer incense, the people paying adoration 
 without doors ; for all sacrifices were performed in the open air, before the 
 front of the temple : but in the southern climates a grove was necessary, not 
 only to shade the devout, but, from the darkness of the place, to strike some 
 terror and recollection in their approaches ; therefore, trees being always an 
 adjunct to the cellee, the Israelites were commanded to destroy not only the 
 idols, but also to cut down the groves which surrounded them : but — trees de- 
 caying with time, or not equally growing, though planted at first in good 
 order, or possibly not having room — when the temples were brought 
 into cities, the like walks were represented with stone columns, support- 
 ing the more durable shade of a roof instead of the arbor of spreading 
 boughs ; and still in the ornaments of stone work was imitated, as well 
 as the materials would admit, both in the capitals, friezes, and mould- 
 ings, a foliage, or sort of work composed of leaves, which remains to 
 this age.’ 
 
 “This was, in our ingenious countryman Sir Christopher Wren’s 
 opinion, the true origin of colonnades environing the temples in double and 
 single aisles ; and there is no doubt but it was equally the origin of the orders, 
 instead of being derived from the proportions of the human body, as have 
 been assigned to them by imaginations more fanciful than correct, and to 
 which they bear no reasonable analogy. What resemblance is there be- 
 tween a Doric column and a man of Herculean proportions, an Ionic column 
 and a matron, or a Corinthian column and a beauteous virgin? who, by the 
 
ARCHITECTURAL HISTORY. 
 
 37 
 
 way, is more overloaded with entablature and has more to sustain than 
 either of the other orders. 
 
 “ In looking at a Grecian Doric column, it is asked, referring at the same 
 time to the historical origin of the order, does it more resemble a trunk of a 
 tree cut off immediately above the root and at the beginning of the spread- 
 ing of the branches, or the proportion of a man ? or at the Ionic, which the 
 Yitruvians called a decent matron with her locks parted over the forehead, 
 does it not more resemble a slimmer trunk oramented with an abacus, and 
 the spirals formed of the ornamented back? The Corinthian certainly 
 more resembles, in sober practice, the foliage of a tree than the braided locks 
 of a youthful female. 
 
 “ Few nations of antiquity cultivated sacred architecture with greater de- 
 votion or with more splendour than did the ancient Egyptians, particularly in 
 that part of their country called Thebais, or Upper Egypt. The chief 
 pride of this country was its principal city, Thebes. The Thebais is the 
 most southerly part of Egypt, nearest to Ethiopia, and was nearly as large as 
 the other two parts of Egypt together, including in its boundaries all the 
 country on both sides of the Nile down to Heptanomis. 
 
 “ At the time of the Trojan war, Thebes was reckoned the most opulent 
 and the best peopled city in the world. Among the principal edifices of the 
 Thebais was the magnificent palace and temple of Memnon, which, accord- 
 ing to Strabo, stood in the city of Abydus, the second city to Thebes, about 
 seven miles and a half to the west of the Nile ; that a celebrated temple of 
 Osiris was near to it, that it was also famed for a deep well or pool of water, 
 with winding steps all round it ; that the stones used in it were of an aston- 
 ishing magnitude, and the sculpture on them excellent. 
 
 “ Among other principal structures which embellished this portion of 
 Egypt was the palace of Ptolemy, at Ptolemais, a city which he decorated 
 with many costly sacred buildings. Under the Ptolemies the style of archi- 
 tecture in Egypt sustained a complete revolution, and their buildings ap- 
 proached the style which was afterwards so beautifully refined by the Greeks, 
 who brought it to complete perfection ; yet they never reached that pure and 
 noble style which distinguished the tasteful inhabitants of Attica. 
 
 “ These works were probably executed by Greek architects, called into 
 Egypt by the Ptolemies and their successors. This conjecture appears the 
 better founded since a modern traveller, Granger, describes a temple which 
 he had seen of the Corinthian order ; and farther observes, in speaking of 
 a palace which he believes made part of ancient Thebes, that the capitals of 
 the columns were of the composite order, highly finished. 
 
 “ The Thebes just alluded to was distinguished from Thebes in Boeotia 
 
38 
 
 ARCHITECTURAL HISTORY. 
 
 by the epithet Hecatonpylos, the hundred-gated Thebes. It was not only 
 the most beautiful city in all Egypt, but is supposed by Diodorus and other 
 ancient writers to have surpassed all others of its time in the known world, 
 as well for the splendor of its buildings as for extent and the number of its 
 inhabitants. 
 
 “ Homer says that Thebes was able to furnish twenty thousand chariots 
 of war. By this we may judge of the number of inhabitants which it con- 
 tained. Tacitus relates, that when Germanicus visited its magnificent 
 ruins, there were still to be seen, on ancient obelisks, a pompous description, 
 in Egyptian characters, of the wealth and grandeur of the place. From 
 the account of an elderly priest, who interpreted -to him the meaning of the 
 hieroglyphics, it appeared that Thebes at one time contained within her 
 walls no less than seven hundred thousand men capable of bearing arms. 
 The objects, however, which most concern the present work, are its sacred 
 edifices. Its four principal temples were of an immense size and of a singu- 
 lar beauty of workmanship. The gold, ivory, precious stones, and other 
 costly and valuable ornaments with which they were decorated, were stripped 
 off and carried away by the Persians when Cambyses conquered and ra- 
 vaged Egypt. 
 
 “ At Cnuphis, a city of the Thebais, so called from the god of that name, 
 was a magnificent temple dedicated to that idol. At Carnack, another large 
 city near Thebes, there are still the remains of a superb temple of Jupiter, 
 now the most perfect in that part of Egypt. The magnificent temple of 
 Apollo, at Apollonopolis, was one hundred and seventy feet long, one hun- 
 dred and eighty feet broad, and seventy feet high, as appears by the ruins 
 which still remain. The characters of all these buildings bear a close re- 
 semblance to each other, and are standard characteristics of Egyptian archi- 
 tecture. The inhabitants of Tentyra, or Dandera, were great worshippers 
 of Iris and of Venus. From the splendid ruins of this city it appears that 
 their temples were more beautiful and splendid, and in a better style of art, 
 than any others in Egypt. 
 
 “ The resemblance between many ancient and distant nations, in their 
 language, manners, customs, architecture, and sculpture, are very great, but, 
 when first causes are investigated, by no means surprising. Sir William 
 Jones, in his invaluable discourses which are the concrete of many volumes, 
 observing on the language, manners, and antiquities of the ancient inhabit- 
 ants of India, comes to the indisputable result that they had an immemorial 
 affinity with the ancient Persians, Ethiopians, and Egyptians ; the Phoe- 
 nicians, Greeks, and Tuscans; the Scythians, or Goths, and Celts; the 
 Chinese. Japanese, and Peruvians : and it will be our endeavor to show 
 
ARCHITECTURAL HISTORY. 
 
 39 
 
 m the. course of this article, in which the architecture of these various coun- 
 tries are respectively discussed, that their ancient buildings all corroborate 
 and prove this important fact in the history of mankind. 
 
 £ ‘ The singular and extraordinary subterraneous temples at Elephante, 
 Ellora, and other parts of India, are curious objects of investigation, and are 
 alluded to in the first section of this article. Mr. Goldingham, one of the 
 honorable the East India Company’s astronomers at Fort St. George, who 
 had applied himself with great assiduity to the study of the antiquities 
 of Hindustan, visited the Elephanta Cave in 1795, and published an inter- 
 esting- and faithful account of this wonderful effort of human skill in the 
 fourth volume of the Asiatic Researches. This gentleman argues with 
 great ability in favour of its having been a Hindu temple ; but General Carnac 
 of Calcutta, who introduced and prefaced Mr. Goldingham’s paper, and un- 
 derstood the antiquities of India in no common way, does not assent to this 
 opinion. These immense excavations, cut out of the solid rock, appeared 
 to the general to be operations of too great labor to have been executed by 
 the hands of so feeble and effeminate a race of beings as the aborigines of 
 India have generally been held, and still continue to this day ; and that the 
 few figures which remain entire, represent persons totally distinct in exterior 
 from the present Hindus, being of a gigantic size, having large prominent 
 faces, and bearing much resemblance to the Abyssinians, who inhabit the 
 country on the west side of the Red Sea opposite to Arabia. 
 
 11 There is no tradition, says the general, of these caverns having ever 
 been frequented by the Hindus as places of worship ; and at this period, he 
 adds, on his own authority, that no poojah, or sacred adoration, is ever per- 
 formed in any of them, and that they are scarcely ever visited by the natives. 
 He says that he recollects particularly the Ragonath Row, a Bramin versed 
 in the archaiology of the East, when at Bombay, did not hold them in any 
 degree of veneration ; and yet an intelligent writer in the Archaiologia (vol. 
 vii. p. 286, &c.,) who visited the Cave of Elephanta in 1782, states that he 
 was accompanied by a sagacious Bramin, a native of Benares, who, though 
 he had never been in it before that time, recognized at once all the figures, 
 was well acquainted with the parentage, education, and life of every deity or 
 human personage there represented, and explained with fluency the mean- 
 ing of the various symbols by which the images were distinguished. This 
 is undoubtedly a clear proof that their mythology of the present day is not 
 materially different from that delineated on the walls of these excavations ; 
 the most remarkable of which is at Elephanta, a small island in the harbor 
 of Bombay. An elephant of black stone, large as the life, is seen near the 
 landing place, and probably gave its name to the island. The cavern is 
 
40 
 
 ARCHITECTURAL HISTORY. 
 
 about three quarters of a mile from the beach ; the path leading to it passes 
 through a valley ; the hills on either side are beautifully clothed, and, except 
 when interrupted by the tuneful notes of the birds which dwell upon the 
 island, a solemn stillness prevails, which admirably prepares the mind for 
 contemplating the approaching scene. 
 
 “ The cave is formed in a hill of stone, is about one hundred and thirty- 
 five feet square, and nearly fifteen feet high. Its massy roof is supported by 
 rows of columns, which are disposed with great regularity. Gigantic figures, 
 in relief, are sculptured on the walls ; which, as well as the columns, are 
 shaped out of the solid rock by artists of some ability, and of unquestionable 
 and astonishing perseverance. 
 
 The excavations of Salsette, which is about ten miles north of Bombay, 
 are other astonishing specimens of the sacred architecture of ancient India. 
 The artist employed by Governor Boon to make drawings of them, as- 
 serted that it would require the labor of forty thousand men for forty years 
 to excavate and carve them. They are situate near to Ambola, a village 
 about seven English miles distant from Tanna. 
 
 “ This excavation resembles that of Elephanta both in style, design, and 
 execution ; but being wrought in a softer rock, the sculptures are not so per- 
 fect as that, nor of another at Canara, which is situate about ten English 
 leagues from Tanna on the north of the excavations at Ambola, a similar 
 example of subterraneous sacred architecture. There are others in the 
 country, but none equal in beauty to those just mentioned. Some of them 
 are very lofty, and appear from apertures in the sides, as if for floors, that 
 they have been used for dwellings, which surmise is strengthened by the en- 
 tire absence of sculpture in them. 
 
 “ The excavated pagoda of Indur Subha, or Sabha, is also a fine speci- 
 men of the sacred architecture of this ancient people. It is situated near 
 Dowlatabad ; in which neighborhood is also another, called the pagoda of 
 Raraswa Rama Saba. Dowlatabad is a fortified town in the Deccan of Hin- 
 dustan, fifteen miles from Aurungabad, the capital of Dowlatabad or Arned- 
 nagure. They are also cut out of the natural rock, and for the space of nearly 
 two leagues there is little else to be seen than a succession of those subter- 
 raneous pagodas, in which there are thousands of figures, appearing from 
 the style of their sculpture to have been of ancient Hindu origin. 
 
 it The height of the excavated pagoda of Indur Subha is forty feet, its 
 depth fifty-four feet, and its breadth forty-four. The height of the obelisk 
 by the side of the pagoda is twenty-nine feet, including its pedestal and a 
 group of human figures which is on the top. The obelisk is fluted and orna- 
 mented with some taste, and has a light appearance. On the other side is 
 
ARCHITECTURAL HISTORY. 
 
 41 
 
 the representation of an elephant, whose back just rises above the front 
 wall, but is without rider or howda. The plans of these excavated temples 
 are as regular as if they were built ; and the piers, pilasters, or square co- 
 lumns, are equidistant and sculptured in a bold and original style. Compare 
 the excavated temples of India with the constructed ones of Egypt, and 
 their resemblance will be found most striking. Both these styles are evidently 
 derived from excavations, and in both are found close intercolumniations, 
 low and short architraves, and columns of short stature rudely sculptured. 
 Nor is there any very apparent difference to show whether the construction 
 be not an excavation, or the excavation a construction. 
 
 “ Before leaving the sacred architecture of Hindustan, the beautiful and 
 picturesque ruins of the ancient mosque of Dacca should not be omitted. 
 This metropolis is a city of Bengal lying on the banks of the Ganges, 
 is the third city in the province for extent and population, and has large 
 manufactories of the finest muslins and silks. This interesting part of 
 India was not visited by the Messrs. Daniells, nor till recently by any 
 European artist. The striking peculiarities of this fine specimen of sa- 
 cred architecture, to which my attention was first called by the beautiful 
 engravings of the antiquities of Dacca, by Mr. Landseer, are their light- 
 ness and elegance, their square rectangular panellings, which are pecu- 
 liar to these structures, their arched perforations somewhat resembling the 
 Gothic, their lofty light octangular minarets, the beautiful play of light 
 and shade over the elevation, and the elegantly proportioned cupola which 
 crowns and finishes the whole, renders it a valuable study for the young 
 architect, and equally interesting to the amateur and antiquary. 
 
 “ During the early period of the chronology of this section, that is, 
 about one thousand five hundred and eighty-two years before the Christian 
 era, Cecrops left Egypt, to colonize ancient Greece, where some authors 
 assert that he built twelve cities. He taught the Greeks the art of build- 
 ing, and founded a city, which he named after himself, Cecropia ; and to 
 put his new colony into a state of perfect security, erected a fortress on 
 rising ground, where they afterwards built the temple ; and to about the 
 same period is attributed the founding of Troy by Scamander. 
 
 “ Athens, Sparta, Cranaus, and Grecian Thebes, also owe their origin 
 to this period. Egypt was overcome by the ^Ethiopians, but its indestructi- 
 ble edifices bade defiance to the flames. 
 
 “ Tyre was built about the year 1060 before Christ, and a curious exam- 
 ple of their sacred architecture is in the temple of Dagon, which the Bible 
 represents to have been destroyed by Samson, who pulled it down, and 
 destroyed himself and all the people who were assembled to worship the 
 6 
 
42 
 
 ARCHITECTURAL HISTORY.' 
 
 idol and to make sport with their captive. The temple is described to have 
 had two main pillars or columns on which it stood, and that Samson 
 standing between the two pulled them down, and hurled the temple into 
 inevitable destruction. 
 
 “ The structure of such a building has puzzled many a commentator 
 and critic, but Sir Christopher Wren, whose learning and reading were 
 equal to his skill in architecture and mathematics, has given so clear an 
 elucidation as to render its mode of construction perfectly intelligible. In 
 considering what this fabric must be, that could at one pull be demolished, 
 he conceived it to be an oval amphitheatre, the scene in the middle, 
 where a vast roof of cedar beams resting round upon the walls, centered 
 all upon one shoit architrave, that united two cedar pillars in the middle; 
 one pillar would not be sufficient to unite the ends of at least one hundred 
 beams that tended to the centre ; therefore he says there must be a short 
 architrave resting upon two pillars, upon which all the beams tending to 
 the centre of the amphitheatre might be supported. Now if Samson, by 
 his miraculous strength pressing upon one of these pillars, moved it from 
 its basis, the whole roof must of necessity fall. 
 
 £< Before leaving this portion of the work a few lines must be devoted 
 to the mausoleum or temple of Teshoo Lama at Thibit and the temple 
 or pagoda of Shoomadoo at Pegu, both sacred buildings of high antiquity. 
 
 “ The mausoleum requires no particular description : its characteristics 
 are the most ancient and simplest Chinese, its proportions in good taste, 
 and its mode of execution excellent. 
 
 “ The other, which is a large and splendid conical structure, is the 
 great temple or pagoda, called Shoomadoo Praw, situated between India 
 and China, but partaking more of the style of the latter people than of 
 the Hindus. Its pyramidal shape is graceful, its apex approaches even 
 to the elegant, and, except a tendency to the florid style, its accessories 
 are rich and beautiful. 
 
 £t This singular building is called the temple of Shoomadoo, or the 
 Golden Supreme ; compounded of the Birman word shoo, golden, and 
 madoo, a corruption of the Hindu word, maha deo. Its addition Praw 
 signifies in the Birman language Lord, and is always annexed to the 
 name of every sacred edifice. As a farther proof of this hypothesis of 
 the Indian derivation from Egypt may be added, that phra is the proper 
 name under which the Egyptians first adored the sun, before it received 
 the allegorical appellation of Osiris, or author of time. 
 
 “ This extraordinary sacred edifice, according to Col. Symes, who de- 
 lineated and described it a few years since, is bulit upon a double terrace, 
 
ARCHITECTURAL HISTORY. 
 
 43 
 
 one raised above the other. The lower and greater terrace is quadran- 
 gular, and raised about ten feet above the natural level of the ground. 
 The upper terrace is smaller, of a like shape, and raised about twenty 
 feet above the lower. 
 
 “ The length of one side of the lower terrace is about one thousand 
 three hundred and ninety feet, and of the upper six hundred and eighty- 
 four. These terraces are ascended by flights of stone steps, and on each 
 side are dwellings of the Rahans, or priests. The temple itself is an octan- 
 gular pyramid, built of brick and fine shell-mortar, without any excavation or 
 cavity of any sort. Each side of the octagon, at the base, measures one 
 hundred and sixty-two feet. This immense breadth diminishes abruptly 
 to a spiral top, and may not be inaptly compared in shape to a speaking 
 trumpet. 
 
 In defining the styles which prevailed at this period of history, we 
 should consider that the orders are not only Greek and Roman, but 
 Phoenician, Hebrew, Egyptian, and Assyrian ; therefore are founded upon 
 the experience of all ages, promoted by the vast treasures of all the great 
 monarchs, and skill of the greatest artists and geomometricians, every one 
 emulating each other : experiments in this kind being very expensive and 
 errors incorrigible, is the reason that the principles of architecture should 
 be founded more on the study of antiquity than a dependence on fancy. 
 Beauty, firmness, and convenience, are the principles ; the first two de- 
 pend upon geometrical reasons of optics and statics, the third only makes 
 variety. 
 
 <£ Wren well observes, that there are natural causes of beauty. Beau- 
 ty is a harmony of objects begetting pleasure by the eye. There are two 
 causes of beauty, natural and customary. Natural beauty arises from 
 geometry, consisting in uniformity (that is equality) and proportion; cus- 
 tomary beauty is begotten by the use of our senses, to those objects which 
 are usually pleasing to us for other causes, as familiarity or particular in- 
 clination breeds a love to things not in themselves lovely. Here lies the 
 great occasion of errors ; here is tried the architect’s judgment ; but al- 
 ways the true test is natural or geometrical beauty. 
 
 l£ £ Geometrical figures,’ he continues, £ are naturally more beautiful than 
 other irregulars ; in this all consent as to a law of nature. Of geometri- 
 cal figures, the square and the circle are most beautiful ; next the paralle- 
 logram and the oval. Straight lines are more beautiful than curved ; next 
 to straight lines equal and geometrical flexures ; an object elevated in the 
 middle is mote beautiful than if depressed.’ (See Parentalia, p. 352, and 
 Elme’s Life of Wren.) 
 
44 
 
 ARCHITECTURAL HISTORY. 
 
 “ The Egyptian, Hindu, Chinese, and other styles, having no immediate 
 relation to the present section, the next step will be to the wisdom of the 
 orders as practised by the Greeks. The Greek style of architecture is 
 divided into three modes or orders ; namely, the j Doric, the Ionic, and 
 the Corinthian ; named from the countries which gave them birth, or are 
 said to have been the first to use them. The sacred edifices of the Greeks 
 are the most ancient as well as the most beautiful of all the buildings of 
 that tasteful people that have reached our times. The great superiority 
 of the Greeks in architecture, is to be traced to causes similar to those 
 which occasioned their pre-eminence in every thing else ; namely, a deep 
 investigation into first principles, and an accurate perception of the 
 elements of all that they attempted to execute. 
 
 “ A similar investigation, and a similar perception or knowledge, and 
 nothing else, will produce the like effects in our country and in our times. 
 In Greece, no painter proceeded without acquiring a knowledge of anato- 
 my and drawing. Their sculptors carved their own marble, and their 
 architects understood design, construction, perspective, and composition, and 
 had a clear preconception of effect. 
 
 “ It has been said that the Greeks did not understand anatomy, and did 
 not dissect ; that we are uncertain as to their knowledge of geometry, be- 
 cause Euclid, the earliest author in that science with whom we are at 
 present acquainted, lived considerably after the construction of their best 
 edifices ; and that our certainty as to their knowledge of perspective is 
 still less. It has also been asserted in corroboration that the Greeks had 
 laws prohibiting dissection ; therefore they did not dissect. ‘ The exception,’ 
 says the great Lord Coke, £ proves the rule,’ therefore even did not those 
 sculptural wonders which now grace our national museum, and the ana- 
 tomical details which are so abundant in the poems of Homer, prove the 
 depth of their anatomical knowledge, this very exception proves that they 
 did dissect, and that it was necessary to enact laws against the practice. 
 Among the most remarkable proofs of the deep knowledge of the Greeks 
 in anatomy, the Theseus and the Ilyssus of the Elgin collection, exhibit 
 the perfection of art, and show the most scientific research into anatomy and 
 the natural history of man. 
 
 « The divisions and subdivisions of the orders will come more appropriate- 
 ly in another section : therefore we proceed to the history of sacred architec- 
 ture among the Greeks. 
 
 “ The religion and laws of the Greeks are acknowledged to have been de- 
 rived from the creeds and institutions of Egypt, and their styles of architec- 
 ture, in spite of the hypotheses and splendid fables of Vitruvius, were no less 
 
ARCHITECTURAL HISTORY. 
 
 45 
 
 adopted and improved from the same source. Herodotus assures us that the 
 worship of the greatest part of the first gods that were adored in Greece, came 
 from Egypt, and that all antiquity regarded the Egyptians as the first who 
 paid a solemn and public worship to the Deity, and therefore were the first in- 
 ventors of sacred architecture. In this derivation he excepts only Neptune, 
 and says farther, that the worship of this deity was derived from Libya. Sa- 
 turn, Jupiter, Ceres, &c. were the first gods of Greece ; hence it is probable 
 that the Titans introduced these deities, and consequently, that those princes 
 came from Egypt: for the worship of Saturn, Jupiter, and Ceres was esta- 
 blished, according to Diodorus, from time immemorial. The Titans also 
 taught the Greeks the first elements of the arts and sciences, and their earliest 
 sacred edifices were first borrowed from them. 
 
 “ Cadmus, who lived about 1500 years before the Christian era, and was 
 the grandson of Agenor, king of Tyre, brought the arts and sciences into 
 Greece, five hundred and sixty-two years after the building of the walls of 
 Babylon. In the part of Greece where he settled, he built a city, which he 
 named after the celebrated Thebes in Egypt, and doubtlessly imitated the 
 Egyptian style of architecture in his earliest structures. In corroboration of 
 this, Pliny expressly states that Dtedalus, the architect of the Grecian laby- 
 rinth, imitated that of Egypt in every respect. This same Thebes after- 
 wards became so celebrated, that Germanicus made a journey purposely to 
 survey its magnificent ruins. 
 
 “ Ogyges, Inachus the first king of Argos, Cecrops, Cadmus, Lelex, and 
 Danaus, founded successively the kingdoms of Athens, Argos, Sparta, and 
 Thebes ; but it was in the colonies of Asia Minor that sacred architecture 
 began to exhibit its greatest splendor. The invention of the first two Grecian 
 orders is attributed solely to the inhabitants of these countries, as their names 
 Doric and Ionic evidently import. The Corinthian did not appear in its 
 full perfection till long after these two orders. 
 
 “ It seems to have been invented in Greece, properly so called, and is the 
 richest, the most magnificent, and the most elegant of all the Grecian orders, 
 and perhaps of any that architecture has ever invented. 
 
 “ The first materials used by the Greeks in their sacred buildings was 
 timber; next brick, which they learned the art of making from the Egyp- 
 tians. Stone next succeeded, as in the temple of Apollo at Delphon, built 
 by Amphyction ; and afterwards, when they had accomplished the complete 
 glories of their style, they immortalized it in marble. 
 
 “ The character of the genuine architecture of the Greeks, in their bright- 
 est days, the days of Pericles, Alexander, Plato, Aristotle, Apelles, Phidias, 
 Sophocles, and Euripides, is that of an imposing grandeur united to pleasing 
 
46 
 
 ARCHITECTURAL HISTORY. 
 
 simplicity, elegance of ornament, and harmony of proportion in an eminent 
 degree, together with a certain relation or coincidence of parts, as necessary 
 in works of art as in those of literature. 
 
 “ Sacred architecture was carried to the highest perfection by the Greeks. 
 Indeed, the greater part of their fine and pure style which has reached our 
 times may be arranged under this class or department of civil architecture. 
 
 “ Besides the beautiful simplicity and elegance of style which distinguished 
 the Greeks above all other nations, their able and sufficient style of construc- 
 tion is worthy of study for its simplicity and for effecting its purposes by legiti- 
 mate means, although they did not aim at the arch, or vault, by which their 
 successors, the Romans, so signalized themselves. And as their works sur- 
 passed all others, so did the beauty and excellence of their materials. 
 
 “ In the time of Pericles the Athenians used Pentelican marble, and a 
 species from Mount Hymettus, in their buildings. The sort called Parian 
 was the most admired, but it was almost exclusively appropriated to sculp- 
 ture. Bronze was also occasionally used for building in some of their early 
 structures ; and Pausanius mentions several buildings of this costly material, 
 particularly a small temple of Minerva, called on this account Chalcoecus, 
 which was standing in his days at Lacedsemon. Stones of an almost in- 
 credible size, after the manner of the Egyptians, were also amongst their 
 earliest modes of construction, whence originated the tradition that they 
 were the works of the Cyclops. In later periods they used stones of a smaller 
 size, of irregular polygon figures of four, five, and six sides, joined with the 
 utmost care and nicety. 
 
 “ The walls of the ancient city of Peestum, are thus built of huge poly- 
 haedric masses. Chandeler, the Grecian traveller, discovered walls of this 
 method of construction near to Troezene, Epidaurus, and Ephesus; and 
 Dr. Pococke also in the island of Mytelene. 
 
 “ As architecture and mechanical skill advanced, they used cubical and 
 oblong stones, with which they constructed their walls after two methods : one 
 called Isodomon, which, as the word implies, was with courses of equal thick- 
 nesses and of equal lengths; and the other Pseudisodomon, where the 
 heights, or thicknesses, and lengths of the courses differed. The first, or 
 true manner, was always used in their grandest buildings, as being the most 
 beautiful ; and the latter, or false method, where beauty of appearance was 
 of less consequence. 
 
 “ Another and still inferior mode was also used by them for works of less 
 consequence, and was called Emplecton. The front stones only, in this man- 
 ner of construction, were wrought ; and the interior was left rough, and 
 filled in with stones of various sizes or with rubble. It was principally used 
 
ARCHITECTURAL HISTORY. 
 
 47 
 
 in walls of great thicknesses, such as those wherewith they surrounded their 
 cities. In some instances they built their walls of brick or common stone, 
 and faced them with marble. Cement was seldom used by the Greeks in 
 their best works ; as the size and ponderosity of the blocks, and the great 
 exactness with which they were squared, were sufficient for solidity, and 
 made more perfect and complete joints. 
 
 “ The ancient Greek architects, were, moreover, very careful that every or- 
 nament or decoration which they used should always accord in character and 
 situation with the order and the building to which they applied it ; and both 
 the order and the ornament were characteristic of the destination of the edi- 
 fice : never building a prison of the Corinthian order, nor a theatre of the 
 Doric. The external ornaments were bold, simple, and distributed with a 
 judiciously sparing hand. The pediment of the temple and the metopes of 
 the frieze, as in the temples of Minerva, and of Theseus at Athens, and of 
 Jupiter Panhellenius at Egina, were decorated with bassi relievi, and the an- 
 gles of the walls with pilasters or antee. The porticoes which surrounded 
 their public squares in which they often exhibited pictures, statues, and other 
 works of art, appear to have been more elaborately decorated than their tem- 
 ples, their theatres of declamation, and gymnasia ; and, with regard to interior 
 ornaments, little can be known, from the general destruction of those parts. 
 
 “ The Greek style of architecture may be classed under five different epochs, 
 according to the historical periods which gave rise to five corresponding styles 
 or modes. The first embraces the works of Trophonius, who built the tern 
 pie at Delphos, and those of Agamedes, and Daedalus. 
 
 “ This early period of Grecian history, which may be termed the heroic 
 age, does not furnish any remains of architecture of positive certainty. Yet 
 those lights which are wanting from the deficiency of existing ancient ruins, 
 are supplied in some degree by ancient writers, who, however, are not suffi- 
 ciently explicit or circumstantial in those details which alone could give us the 
 information we require. 
 
 “ Homer, for instance, in speaking of the palace of Priam, says that it had 
 at the entrance fifty apartments, well built, in which the princes, his sons, 
 lodged with their wives, and that it was surrounded by porticoes, wrought 
 with the greatest care. At the bottom of the court there were twelve other 
 apartments for the sons-in-law of that monarch, and a magnificent dwelling 
 for Paris, who is reported to have been a skilful architect. These all tend to 
 prove that the architecture was cultivated as an art in Asia Minor, although 
 it affords us no information as to style or taste. 
 
 “ The second epoch includes from the time of Rheecus of Samos, and 
 Theodorus, who lived about seven hundred years before the Christian era, 
 
48 
 
 ARCHITECTURAL HISTORY. 
 
 down to the time of Pericles ; in which period flourished Ctesiphon, Metagenes, 
 Andronicus, Eupolemus, Callimachus, Libon, and other eminent and cele- 
 brated architects. 
 
 “ The third epoch is the period from Pericles to that of Alexander the 
 Great ; under the former, architecture reached the summit of its perfection — 
 a perfection of which Sir William Jones, with his accustomed truth and per- 
 spicuity, says, ‘ in those elegant arts, which are called fine and liberal, it is 
 really wonderful how much a single nation, has excelled the whole world : 
 I mean the ancient Greeks, whose sculpture, of which we have excellent re- 
 mains both on gems and in marble, no modern tool can equal ; whose archi- 
 tecture we can only imitate at a servile distance, but are unable to make one 
 addition to it without destroying its graceful simplicity ; whose poetry still de- 
 lights us in youth, and amuses us at a maturer age ; and of whose painting 
 and music we have the concurrent relations of so many grave authors, that 
 it would be strange incredulity to doubt their excellence.’ In this brilliant pe- 
 riod flourished Hippodamus of Miletus, Phidias, Ictinus, and Callicrates, who 
 were conjointly employed in the building of the great temple of Minerva at 
 Athens called the Parthenon. 
 
 “ The fourth great epoch is that which extends from the decease of Alex- 
 ander the Great to that of Augustus. Alexandria, under the dominion of 
 the Grecian monarchs, was the principal school of the great architects of this 
 period, among whom Dinocrates — whose proposal of forming Mount Athos 
 into a statue of Alexander the Great, and subsequent founding of Alexandria, 
 is celebrated by Vitruvius — and Sostrates were the most eminent. 
 
 “ ‘ I cannot conceive,’ says Spence, in his entertaining anecdotes of the 
 great men of his time, £ how Dinocrates could ever have carried his proposal 
 of forming Mount Athos into a statue of Alexander the Great into execution. 
 
 1 For my part,’ replied Pope, ‘ I have long since had an idea how that 
 might be done ; and if any body would make me a present of a Welsh moun- 
 tain, and pay the workmen, I would undertake to see it executed. I have 
 quite formed it,’ he continued, ‘in my imagination. The figure must be in 
 a reclining posture, because of the hollowing that would otherwise be neces- 
 sary, and for the city’s being in one hand. It should be a rude unequal hill, 
 and might be helped with groves of trees for the eye-brows, and a wood for 
 the hair. The natural green turf should be left wherever it would be neces- 
 sary to represent the ground he reclines on. It should be so contrived that 
 the true point of view should be at a considerable distance. When you were 
 near it, it should still have the appearance of a rough mountain ; but, at the 
 proper distance, such a rising should be the legs, and such another an arm. 
 It would be best if a river, or rather a lake, were at the bottom of it, for a rivu- 
 
ARCHITECTURAL HISTORY. 
 
 49 
 
 let that came through his other hand to tumble down the hill and discharge 
 itself into it.’ 
 
 “ It is somewhat singular that Mr. Pope should have thought this mad 
 project practicable ; but it appears that there are still persons who dream 
 of such extravagant and fruitless undertakings. Some modern Dinocrates 
 had suggested to Buonaparte to have cut from the mountain called the 
 Simplon an immense colossal figure, as a sort of genius of the Alps. This 
 was to have been of such an enormous size that all the passengers should 
 have passed between its legs in a zigzag direction. 
 
 “ During this fourth epoch are found the names of Saurus and Batrachus, 
 who executed several works in Rome ; not being allowed to inscribe on 
 them their names, used the expedient of carving a lizard and a frog upon 
 the pedestals, as anagrams of their names, c-dvpoi signifying m Greek a 
 lizard and /3 a frog. 
 
 “ The fifth and last great epoch of Grecian architecture comprehends 
 from the time of Augustus, in whose days Vitruvius is supposed to have 
 flourished, until the removal of the seat of empire to Constantinople. 
 
 “ The pure architecture of Greece is superior to all that preceded it, and 
 all that has been designed and executed since. Its architects and sculp- 
 tors never violated the inherent properties of any object for an artificial 
 effect ; while those of Rome perpetually committed such violations, dete- 
 riorating all that they laid their hands upon. The irregular and fantastic 
 variety of their orders proves the truth of this accusation, and powerfully 
 opposes itself to the beautiful simpicity of the Greeks. The Romans exe- 
 cuted works containing gross infringements of the sounder laws of archi- 
 tectural taste, which have, however, obtained a general and lasting reputa- 
 tion. 
 
 “ Such is the Colosseum, such is the theatre of Marcellus, such are their 
 amphitheatres, such is the Pantheon ; structures that excite wonder, and 
 seize upon our admiration, certainly not for the faults with which they 
 abound, but in spite of them. 
 
 “ The architecture of the Romans undoubtedly possesses splendor, vast- 
 ness of conception, a noble carelessness of expense, and a profuse redun- 
 dancy of decoration in all their public buildings ; which, as Quintilian ob- 
 serves, is more easily cured than barrenness : and if they are to be praised 
 for their great knowledge of scientific construction, and bold command of 
 the arch, the vault, and the cupola, they most amply deserve it ; but cer- 
 tainly they were never eminent for that purity of taste, elegance, and sim- 
 plicity of invention and construction, which characterize the Greeks above 
 all others. Hence are to be found so many more models of a fine style 
 7 
 
50 
 
 ARCHITECTURAL HISTORY. 
 
 among the Greeks than among the Romans. Give me simplicity and good 
 design, and keep your ornaments for children 
 
 “ The Romans are indebted for all the excellencies of their style of 
 architecture to the Greeks, and its deficiencies and redundancies are all 
 their own. Their earliest architects were all Greeks, and it was not till 
 late in their history that they made any figure in the arts of design. Thus 
 all the Roman architects, with Vitruvius at their head, follow the plans that 
 were laid down for them by the great master-spirits of Greece. They 
 every where imitate the Greeks, and every where misrepresent them, as 
 may be seen in comparing the Doric of the temple of Minerva Parthenon 
 with that of the theatre of Marce’lus, the very best of the Roman specimens, 
 and the Ionic capitals selected from Greek and Roman specimens. Com- 
 pare them together, and they will be found comments upon each other ; 
 the one showing the commanding excellence of purity of style, the other the 
 glitter and frivolity of false decoration. 
 
 “ That which Cicero says so truly of the qualities requisite to a fine oration 
 may as correctly be applied to the qualities necessary to a fine piece of archi- 
 tecture : ‘ Let ornament,’ he says, ‘ be manly and chaste, without effeminate 
 gaiety or artificial coloring let it shine with the glow of health and strength.’ 
 “ Had the taste of Vitruvius been as refined and as unsophisticated as that 
 of Cicero, the Roman purity in architecture would have been upon an 
 equality with that of their fine and majestic language. But on the contrary 
 we find very many of their buildings frivolously and effeminately rich in 
 ornament, and miserably deficient in invention and good taste. For with 
 fillets upon fillets, — with bands over beads, and beads over bands, cavettos 
 and cimas both right and reversed, — with ornamented plain faces (excuse the 
 bull) carvings dentals and denticals, drop flowers and festoons, and other 
 tawdry misplaced and misapplied ornaments, — they disfigured their spolia- 
 tions from the Greeks. As examples, look at any Roman specimens, par- 
 ticularly that of the temple of Concord at Rome, and compare it with any 
 of its lovely originals from Greece. Of these expensive barbarisms may be 
 truly said, that they are 
 
 ‘ Of such a frightful mien, 
 
 As to be hated need but to be seen.’ — Pope. 
 
 Yet such things find their admirers even in our days, and we need not 
 travel out of the metropolis to witness them. Little however, was it to have 
 been expected, after the many introductions to this country of the pure forms 
 and fine proportions of Greece, by Stuart, Wilkins, Cockerell, and other 
 eminent architectural travellers, that Batty, Langley, and Barromini, would 
 
ARCHITECTURAL HISTORY. 
 
 51 
 
 in our days have driven the Athenian antiquities from our shelves, and the 
 purity of Grecian art from our streets, and substituted imitations of the alto- 
 gether inferior productions of Rome and modern Italy. 
 
 “ To the sacred architecture of Greece, as exhibited in their various 
 temples, we are indebted for the purest and best canons of architecture that 
 the world has ever seen. 
 
 “ The elements of this pure style are three classes or modes called orders, 
 while those of the Roman style, its despoiling imitator, are five. 
 
 “ Nature dictates but three essential modes of building, which are clearly 
 and distinctly visible in every style of their art ; namely, the robust , the 
 chaste , and the elegant. Those three essentials in the art the Greeks have 
 embodied in their Doric, their Ionic, and their Corinthian. But the Romans, 
 restless after innovation, sighing for more worlds of art to conquer, and 
 pining after more than all, would have one more robust than the robust, and 
 one more elegant than the elegant. Hence their Tuscan, which is but, as a 
 musician would say, a variation upon the theme of the Doric ; and the Com- 
 posite, which is any thing but an improvement upon the Corinthian. 
 
 “ Architecture, that is to say, classical architecture, is generally divided into 
 certain modes or systems called orders, which are named from the country 
 whence they are supposed to have been derived or invented ; as the Tuscan 
 from Tuscany, the Doric from Doria, the Ionic from Ionia, the Corinthian 
 from Corinth, and the Composite or Roman from Rome. Now, although 
 the preceding orders form five in number, yet three only are to be received as 
 such, in the pure or Grecian style of architecture. The Tuscan, as I have 
 already said, and will hereafter prove when I arrive at the Roman system, is 
 merely a variation of the Doric ; and the Composite a corruption of the 
 Corinthian, and too much like it, both in essence and in character, to be dis- 
 tinguished by an untutored eye, or to be acknowledged a distinct genus or 
 order by the critic. 
 
 “ Thomson, who may be called the poet of the fine arts, and whose taste 
 was formed by a long residence at the seats of ancient arts, with the son of 
 the Lord Chancellor Talbot, beautifully and characteristically depicts the 
 three orders in his ‘ Liberty.’ In the second part of that poem he personifies 
 public virtue in Greece as a goddess, and the sister arts of painting, sculpture, 
 and architecture, as 
 
 ‘ The Graces they 
 To dress this sacred Venus.’ 
 
 And farther on he states that architecture was 
 
 ‘ By Greece refined, 
 
 And smiling high to bright perfection brought; 
 
52 
 
 ARCHITECTURAL HISTORY. 
 
 Such thy sure rules, that Goths of every age, 
 
 Who scorned their aid, have only loaded earth 
 With labored heavy monuments of shame, 
 
 Not these gay domes that o’er thy splendid shore 
 Shot, all proportion, up. 
 
 First, unadorned 
 
 And nobly plain, the manly Doric rose ; 
 
 Th’ Ionic then, with decent matron grace, 
 
 Her airy pillar heaved ; luxuriant last, 
 
 The rich Corinthian spread her wanton wreath. 
 
 The whole so measured true, so lessened off 
 By fine proportion, that the marble pile,. 
 
 Formed to repel the still or stormy waste 
 Of rolling ages, light as fabrics looked 
 That from the magic wand aerial rise. 
 
 These were the wonders that illumined Greece 
 From end to end.’ 
 
 “ These orders undoubtedly derived their origin from the chance-built 
 huts and cabins of the first inhabitants of the world, and which as doubtlessly 
 contained in themselves the constituent elements of architecture, till drawn 
 forth by the hand and eye of taste, as the marble block contained the statue 
 whence Canova drew forth his shining Hebe ever young. As we cannot 
 derive our knowledge of the origin of these elements of style from a better 
 source than from Vitruvius, he must be our guide through this obscure 
 path. In my description of the orders I must confine myself briefly and 
 generally to the three classical orders of antiquity. 
 
 “ Vitruvius our best authority, indifferent as he is for historical truth, 
 informs us that when Dorus, the son of Helenus and the nymph Optice, 
 reigned over Achaia and all Peloponnesus, he built in the ancient city of 
 Argos a temple to Juno, which was formed by chance of the order since 
 called Doric. Afterwards the Athenians, according to the responses of the 
 Delphian Apollo, by the common consent of all Greece, sent out thirteen 
 colonies at one time into Asia, and appointed a leader to each colony, they 
 gave the command to Ion the son of Xanthus and Creusa, whom Apollo of 
 Delphos also acknowledged to be his son. These colonies were led into Asia 
 by Ion, who seized upon the country of Caira, where he built the large 
 cities of Ephesus, Miletus, Myunta, Priene, Samos, Teos, Ac. 
 
 “ These states were called from their leader Ionia ; and here they began to 
 erect and dedicate temples to their deities : and first they built one to Apollo 
 Panionios in this manner in Achaia, and which they named Doric, because 
 they had first observed it in the Dorian states. In this temple they intended 
 to use columns, but not knowing their symmetries, and while considering 
 
ARCHITECTURAL HISTORY. 
 
 53 
 
 how they should proportion them so that they might support the weight, and 
 at the same time have a graceful appearance, they measured the length of 
 the human foot, which as they found to be nearly the sixth part of the height 
 of a man, they used this proportion for their columns, making the thickness 
 of the shaft at the bottom one-sixth part of the height including the capital. 
 Thus the Doric column, having the proportions of the human body, began 
 to be used in building with solidity and beauty. 
 
 “ Afterwards being desirous of building a temple to Diana, they invented 
 a new order on similar principles, using tire proportions of a female. They 
 made the bottom diameter the eighth part of its height ; and that it might 
 appear the more graceful, they added mouldings round its base to represent 
 the shoe, and volutes to the capitals to imitate the twisted braids of hair 
 falling on each side, and the cymatium and encarpee, the locks of hair 
 braided and arranged on each side over the forehead. They also fluted the 
 shaft from bottom to top like the folds in the garments. Thus were the two 
 species or orders of columns invented ; one representing the strength and 
 simplicity of man, the other the elegance and fine proportions of woman. 
 This latter order was called lo?iic, says Vitruvius, because it was invented 
 by the Ionians. But subsequent architects, who wished for lighter propor- 
 tions, have often made the heights of the Doric column seven diameters, 
 and that of the Ionic eight and a half, destroying the character and beauty 
 of each. 
 
 “ The third Grecian order, which is called the Corinthian , is imitative 
 of the delicacy of shape and slenderness of proportion of a young virgin. 
 ‘ For the limbs,’ says Vitruvius, £ at that early age, are formed more slightly, 
 and admit of more graceful decoration.’ The invention of its capital is thus 
 related by Vitruvius : 
 
 “ A Corinthian virgin just marriageable, being attacked by a fatal disorder, 
 died. After her interment, her nurse collected some vases and toys, which 
 pleased her when living, put them in a basket, and placed it on the top of her 
 tomb, covering it, that it might endure the longer in the open air, with a tile. 
 The basket being placed on a root of acanthus, depressed it in the middle, 
 occasioning the leaves and stalks which grew up in the spring to encircle 
 and twine round the basket ; but being resisted by the angles of the tile, they 
 convolved at the extremities in the form of volutes. This was seen by Calli- 
 machus, called on account of his taste and skill in sculpture Catatechnos, 
 who, delighted with the novelty of its figure and its delicate and appropriate 
 form, encircled by the beautiful foliage, formed from its model a new capital 
 to some columns he had sculptured for Corinth, thus composing this most 
 elegant and beautiful of the orders. 
 
54 
 
 ARCHITECTURAL HISTORY. 
 
 “ The above hypothesis is nothing but a splendid fable: notwithstanding 
 Mr. Wilkins says, that of all the opinions entertained by Vitruvius on the 
 origin of the orders of architecture, that relating to the invention of the Co- 
 rinthian capital seems alone entitled to any attention ; both because the 
 reputed age of Callimachus, its supposed inventor, approaches within certain 
 limits to the first recorded instances of the introduction of the order into 
 Greece ; and because the recital is less open to the charge of absurdity and 
 fiction. Notwithstanding this, the account just quoted of the origin of the 
 Doric and the Ionic is not only less open to the charge of absurdity and 
 fiction, but may be considered as nearly historically true ; while the Vitru- 
 vian hypothesis of the vase of toys, the projecting tile, and the accommodating 
 acanthus, appears more worthy the reveries of a poet T and a fine poetical 
 episode it certainly is, than of the historian of such an art as architecture. 
 
 “The Corinthian order is clearly derived from the architecture of Egypt 
 adapted, refined, and naturalized. First, Cecrops, the founder of Athens, 
 was an Egyptian ; next Daedalus, the earliest Athenian artist, visited Egypt 
 to investigate and study the principles of the fine arts. Added to these facts, 
 it is also well known that the Greeks borrowed their laws, their manners, 
 and their customs from the Egyptians, purifying them in the alembics of their 
 own brighter genius. 
 
 “ A colony at first always imitates its mother country ; and afterwards as 
 surely does all in its power to render its origin forgotten. When we refer to 
 examples of both styles, surely the Egyptian origin of the Corinthian capital 
 cannot be denied. Their elements are incontestably the same, namely, a 
 vase surrounded by flowers and covered with an abacus. The story of the 
 Corinthian girl was probably invented by a Grecian poet, and related as 
 authentic by Vitruvius. 
 
 “ Mons. Quatremere de Quincy, secretary to the French academy of arts, 
 corroborates this opinion, and supposes even the Ionic capital also to have 
 been borrowed from Egypt. He metamorphoses the ears of the head of Isis, 
 in an Egyptian capital, into the Ionic volutes ; the braids of hair on the 
 forehead into the helices, or threads of the capital ; the throat into the alarino, 
 or necking ; and so on. 
 
 “ Following this ingenious hypothesis, the Doric may also be said to have 
 been drawn from the rude types or prefigurations of the Egyptians, which 
 contain all the primitive elements of the beautiful examples of the Greeks. 
 Belzoni farther corroborates it by saying, that the Isis of the Egyptians is 
 the same personage with the lo of the Greeks ; therefore capitals designed 
 after the head of this goddess are Isislike, Iolike, or Ionic. 
 
 “ Referring to any of the ancient Grecian temples, it will be seen that the 
 
ARCHITECTURAL HISTORY. 
 
 55 
 
 metopes, or spaces between the trylyphs in the entablature, are filled, and 
 sometimes with sculpture, as in the Parthenon, which were occupied by those 
 wonderful efforts of the chisel, now in the British Museum, representing 
 battles of the Centaurs and Lapithse. These metopes in the earliest Greek 
 buildings were open, and the trylyphs justly represented the ends of the 
 beams of which they are the types ; as the following quotations from the 
 Iphigenia in Tauris proves. Pylades is counselling Orestes to scale the 
 Doric temple of Diana, and says to his friend, 
 
 ‘ But when the eye 
 
 Of night comes darkening on, then must we dare, 
 
 And take the polished image from the shrine, 
 
 Attempting all things ; and the vacant space 
 Between the trylyphs, mark it well, enough 
 Is open to admit us ; by that way 
 Attempt we to descend.’ 
 
 Iph. in Tau. Potter’s Vers. 
 
 “The first general division of architecture being its orders, the next 
 division in sacred architecture is the several orders of temples or sacred 
 edifices. The orders of sacred buildings or temples of the Greeks are seven : 
 first, the Antis ; second, the Prostyle ; third, the Am phiprostyle ; fourth, the 
 Periptoral ; fifth, the Dipteral; sixth, Pseudo Dipteral; and seventh, the 
 Hypaethral. 
 
 “ The first order of sacred buildings, called antis, is that wherein the ends 
 of the flank walls finish in pilasters or ant®. Of this order is Inigo Jones’s 
 fine Tuscan portico of St. Paul’s Church, Covent Garden. 
 
 “ The second or prostyle differs from the antes by having columns in 
 front of the pilasters or antee; both these orders of temples have only a por- 
 tico at one end. 
 
 “The third or amphiprostyle order of temples is nearly the same as prostyle; 
 but, as its name imports, has a posticum or portico at the rear the same as 
 the principal front. 
 
 “ The fourth order, the periptoral, has also porticoes at both ends of six 
 columns each, and eleven, counting the angle columns at each side. It has, 
 as its name imports, columns all round about the cell, as in the temple of 
 Theseus, which by the way has two columns in flank more than the rules 
 of Vitruvius prescribe. 
 
 “ The fifth or dipteral order, which Vitruvius places after the pseudo dip 
 teral, is octastyle, or eight columned, like the portico of the Parthenon, but 
 has a double row of columns all round the cell. 
 
 “In the sixth, that is, the pseudo dipteral, or false dipteral, the porticoes 
 are octastyle, or eight columned, in front, and on each side fifteen columns, 
 
56 
 
 ARCHITECTURAL HISTORY. 
 
 including those of the angles. The Parthenon is of this order of sacred 
 buildings, but has seventeen columns on the sides ; for the ancient architects 
 of Greece did not servilely follow every dogmatical rule of the critics, yet in 
 their variations they never lost the true spirit of the original. 
 
 “ The hypaethral is the seventh order of sacred buildings, and is decastyle, 
 or ten columned, both in front and rear ; the other parts are distributed the 
 same as in the dipteral, but it has a double row of columns in its interior, one 
 higher than the other, continued on all sides, and resembling an interior 
 portico. The middle part has no roof. A fine specimen of this order of tem- 
 ples is to be found in that of Jupiter Olympus at Athens, and in one of the 
 three at Paestum. In Rome there is not a single example of the hypaethral 
 order. 
 
 “ Before leaving the pure sacred architecture of Greece, a short space must 
 be devoted to that of its colonies and other distant parts. 
 
 “The ancient temple at Corinth is an architectural structure of unknown 
 antiquity ; it is of the Doric order, and the proportion of its columns, from 
 actual measurement, is shown in Aikin’s Essay on the Doric Order. Its 
 character is simple, pure, and bold, inferior to the three principal examples 
 found at Athen=, but still partaking of the purest characteristics of the 
 order. 
 
 “Among other curious and interesting ruins are the three ancient temples 
 of Paestum. One of them differs from every other temple in the world, 
 having nine columns in the front, with a central range down the middle of 
 the cell, the use of which appears to have been to support the roof. 
 
 “ The central or hypaethral temple is generally supposed to have been 
 dedicated to Neptune, the tutelar divinity of Paestum or Possidonia. Mr. 
 Wilkins thinks it to have been a temple of Jupiter, from its being of the 
 hypaethral order, which is a class of building generally confined to the temples 
 of Jupiter. Its columns possess, in common with all its other parts, the 
 Greek character in the highest degree ; and there is no doubt of its being 
 coeval with the earliest migration of the Greeks to the south of Italy. These 
 examples, with that of Corinth, possess the characteristic energy of the early 
 style of the Greeks, which may be distinguished from their later and more 
 finished style by the following definitions ; namely, a shaft diminishing 
 rapidly and of low stature, a large and massy capital with a very bold pro- 
 jection of the abacus, a necking composed of three grooves, and an extremely 
 massive entablature of nearly one-half the height of the column. 
 
 “ The author of the Pleasures of Memory, in some lines of characteristic 
 energy, written at Paestum. in March, 1815, says of these temples: 
 
A R C II I T E C T U R A L HISTORY.. 
 
 57 
 
 “ ‘ They stand between the mountains and the sea, 
 
 Awful memorials ! but of whom we know not. 
 
 Time was they stood along the crowded street, 
 
 Temples of gods ! and, on their ample steps, 
 
 What various habits, various tongues beset 
 The brazen gates for prayer and sacrifice ! 
 
 Time was, perhaps, the third was set for justice, 
 
 And here the accuser stood, and there the accused ; 
 
 „ And here the judges sat, and heard and judged ; 
 
 All silent now ! as in the ages past, 
 
 Trodden under foot, and mingled dust with dust.’ 
 
 They are indeed silent yet speaking memorials of time and eternity. Of 
 Paestum and its twice-blowing roses, what lover of poetry has not heard of 
 those lovely flowers which 
 
 “ ‘ Now a Virgil now an Ovid sang, 
 
 Poestum’s twice-blowing roses ?’ 
 
 “ The next division of this section is the analysis of the Etruscan school 
 of architecture, which is, however, so lost in the lapse of ages, that it 
 leaves but little room for architectural research. 
 
 “ The Etruscans are generally reported to have been equally distinguished 
 in architecture as in the other arts of design. The Romans employed Etrus- 
 can architects in the building of the capiiol, the temple of Jupiter, and many 
 other large and splendid edifices. The walls of Etruscan cities were lofty 
 and constructed of huge polyhaedric masses of masonry ; remains of which 
 have been discovered at Volaterra, Cortona, Feesula, and other parts of an- 
 cient Etruria. 
 
 “ The earliest temples of Etruria were small in size, being, in many in- 
 stances, not able to contain more than a statue of the divinity to whom it 
 was dedicated, and sometimes an altar. 
 
 “ The sacred architecture of the ancient Romans, under their kings, is 
 undoubtedly derived from the Etruscans. This people, a colony from Greece, 
 were antecedent to all the rest of the Italian peninsula in cultivating the 
 arts, which they had practised even before the reputed time of Cadmus. 
 
 “ The natural tendency of the ancient Romans was to the grand and 
 wonderful, the colossal, the showy, and even the prodigality of expense ; 
 hence their amphitheatres, their circuses, their temples. Of all the antique 
 temples now remaining in Rome, the Pantheon is at once the most celebrated 
 and the most beautiful ; and may be considered the master-piece of Roman 
 architecture, whether we estimate it as when entire, or, as at present, stripped 
 of all its statues and other ornaments. It is supposed to have been built by 
 8 
 
58 
 
 ARC PIITECTURAL HISTORY. 
 
 Marcus Agrippa, son-in-law of Octavius Augustus, in his third consulship, 
 before the Christian era, and was dedicated to Mars and Jupiter the Avenger, 
 in memory of the victory obtained by Augustus over Marc Anthony and 
 Cleopatra ; but it is more probable, as Palladio thinks, that the body of the 
 temple was built in the time of the Republic, and that Agrippa added the 
 portico, and perhaps some other decorations, as the double pediments seem to 
 prove. It was repaired by Septimius Severus and Caracalla. The interior 
 was decorated with bronze ornaments in the panelling of the cupola, and 
 contained, in niches, statues of all the gods. The interior is no less fine and 
 striking than the outside ; and from its circular form is called by the Italians 
 Rotondo; as from its containing statues of all the gods, it was named by the 
 ancients Pantheon, from 5r«v andflfe?. The diameter, exclusive of the large 
 niches is one hundred and thirty-two feet, being nearly thirty feet more than 
 the cupola of St. Paul’s, and the height from the pavement to the summit 
 the same as the diameter ; the thickness of the walls is nineteen feet, which 
 is relieved by the beautiful Corinthian niches now used as chapels and altars. 
 
 “ Among other specimens of the sacred architecture of the Romans is the 
 temple of Concord, whose ugly capital has been before discussed, the temple 
 of Janus and of Romulus, of the Sun and Moon, of Fortuna Yirilis, Yesta, 
 Minerva Medica, Neptune, Antoninus and Faustina, Jupiter Stator, — whose 
 beautiful entablature is so well copied in the portico of Carlton House, — and 
 the temple of Peace. The three magnificent arches now standing of this 
 latter edifice have been finely adopted by Sir Christopher Wren in the choir 
 of St. Paul’s Cathedral. 
 
 “ The declension of style from the days of Roman splendour may be wit- 
 nessed in the modern Italian churches, particularly in the churches of St. 
 John the Lateran, and St. Paul without the walls the most of their build- 
 ings were executed from the ruins of the antique temples which they bar- 
 barously despoiled for this purpose ; and when they had no longer skill to 
 place the connecting architrave, they substituted ugly and uncharacteristic 
 arches, as may be seen in the fine plates of it by Piranesi. 
 
 “ The fine, original, and striking style of sacred architecture, called Gothic, 
 is of too much importance for a portion of so small a share of a brief work 
 like the present ; but a short view will serve better than a total omission. 
 
 “ The earliest British style is called Saxon ; and its elements are heavy 
 round columns and semicircular arches, bad resemblances of the worst Tus- 
 can covered with the round arch of the middle ages. 
 
 “ As a proof that the decline of the Roman style produced the Saxon, 
 which was called by the monks Opus Romanum, we have only to conceive a 
 country mason, ignorant of art, but skilful with his chisel, to have observed a 
 
ARCHITECTURAL HISTORY. 
 
 59 
 
 Composite capital of the depraved style of those of the temple of Bacchus 
 on the Mount'Viminalis at Rome, or the Ionic capitals of the temple of Con- 
 cord, or even a respectable Corinthian, and to be desired, at some considerable 
 interval of time, to carve some capitals as nearly resembling them as possible 
 from memory. Imagine this, and it may be asked whether it be not more 
 than probable that they would resemble the Saxon capitals of St. Bartholomew 
 the Great in Sinithfield, or those of the crypt of Lastingham Priory. Hence 
 we may fairly conclude that the origin of the Saxon style may be traced to 
 the decadence of the Roman ; and that the introduction of the Saracenic, 
 Arabesque, and Grotesque styles ; aided by the practical and scientific im- 
 provement of the workmen, and by the knowledge of the society of travel- 
 ling architects, the early freemasons, produced that singularly romantic and 
 beautiful style called the Gothic. 
 
 “ ‘ A Doric temple differs from a Gothic cathedral, says Mr. Hazlitt, 1 as 
 Sophocles does from Shakspeare. The principle of the one is simplicity 
 and harmony, that of the other richness and power. The one relies on 
 form and proportion, the other on quantity, and variety, and prominence 
 of parts. The one owes its charm to a certain union and regularity of 
 feeling, the other adds to it effects from complexity and the combination 
 of the greatest extremes. The classical appeals to sense and habit, the 
 Gothic or romantic strikes, from novelty, strangeness, and contrast. Both 
 are founded in essential and indestructible principles of human nature. 
 
 “ The style now before us has been sweepingly designated, as being 
 any thing that is not Grecian ; but whether this affected antithesis proceed 
 from humor or contempt is not certain. 
 
 “ Our illustrious countryman, Wren, whose mechanical and mathemati- 
 cal skill elevates him above all modern architects, called this fine style a 
 gross concameration of heavy, melancholy, and monkish piles. Now, it cer- 
 tainly is the very reverse of this definition, and is not quite so much opposed 
 to Grecian art as was thought by the professor before quoted ; but on the 
 contrary, is a style of architecture pure, grand, impressive, and character- 
 istic. The elements of it are spires, pinnacles, lofty pointed or lancet-shaped 
 windows, and elevation as opposed to the horizontal line of the Greeks. 
 Its character somewhat resembles that of the old German school of painting ; 
 and a fine Gothic building, with its elaborate and carefully marked de- 
 tails, its gaudy colors, its Vermillion, and its leaf gold, reminds one of Al- 
 bert Durer and his hard but correct school. 
 
 £: England is the classic soil for this style of architecture, as ancient 
 Greece is for that of the orders ; and here the student must come to 
 measure and to study it. York Minster is the Parthenon of Gothic 
 
60 
 
 ARCHITECTURAL HISTORY. 
 
 architecture, Westminster Abbey the Theseum, and the Chapel or Mauso- 
 leum of Henry VII. the choragic monument of Lysicrates. Among the 
 finest specimens is the venerable Abbey Church at St. Alban, in Hert- 
 fordshire, which is also one of the most valuable documents in the 
 archaiologieal history of the country. 
 
 ££ Gothic architecture disdains the trammels and the systems of the 
 schools ; nevertheless, it has its own laws, its genera, and its species, al- 
 though they have not yet been arranged in a grammatical form. Batty 
 Langley endeavoured, it is true, to reduce it to a system, and to engraft on 
 it the five orders of the Palladian school, instead of a more natural and 
 philosophical arrangement ; but his efforts were altogether vain and nuga- 
 tory. 
 
 “III. Domestic Architecture, perhaps the most interesting depart- 
 ment of the art, indigenous to every country where human reason has 
 in any degree manifested or developed itself. Like all the productions of 
 nature, architecture assumes different forms, according to the properties of 
 the climate, the wants it may superinduce, the quality of the soil, the build- 
 ing materials, and the personal character of the human beings composing 
 the various nations who practice it. 
 
 “ The first dwellings of the most ancient inhabitants of the earth were 
 doubtless moveable huts or tents, in the manner of the modern Arabs and 
 Tartars. Uninstructed nature first demands personal clothing ; next, a 
 shelter from the perturbed elements ; then, a store for housed provisions, 
 clothing, and other necessaries against winter and inclement seasons. The 
 first demand will introduce mere drapery ; the second, a hut or cabin, at 
 first moveable, next stationary, then secure, and afterwards improved and 
 embellished as security increased. 
 
 “ Domestic architecture is a portion of the art which comes home to 
 every man’s business and bosom. £ Every man’s proper mansion-house 
 and home,’ says Sir Henry Wotton, £ being the theatre of his hospitality, 
 the seat of self-fruition, the comfortablest part of his own life, the noblest 
 of his son’s inheritance, a kind of private princedom, — nay, to the posses- 
 sors thereof, an epitome of the whole world, — may well deserve by these 
 attributes, according to the degree of the master, to be decently and de- 
 lightfully adorned.’ It is, therefore, no mean part of the art, although it has 
 been seldom so much studied and cultivated as it deserves. 
 
 “ The first buildings recorded both in the Bible and in the earliest historians 
 are of the simplest forms, materials, and design, and only fitted to keep the 
 humble-minded inhabitants from the severity of the weather. The primeval 
 
ARCHITECTURAL HISTORY. 01 
 
 dwelling was either a natural cavern, or the simplest contrivance against the 
 asperity of the weather. 
 
 “ The Egyptians are among the first who built solidly and well ; and 
 their domestic architecture, as displayed in the palatial style, is described by 
 ancient writers as being magnificent, costly, and splendid. 
 
 “ The earliest dwellings were originally simple huts or cabins to protect 
 the inhabitants from the weather ; who then began to coalesce into cities, 
 hamlets, and other congregations, for safety and association. The wall and 
 gates next succeeded ; and security giving birth to luxury, added to the 
 single living or sleeping-room a second and a third, as the wants and the 
 refinements of the inhabitants required. The separation of the elder from 
 the younger, the males from the females, the married from the single, and 
 other necessary consequences of an increase of civilization and refinement, 
 all added to the increase in size and improved convenience of the primeval 
 dwelling. These are the origins of the parlour, the eating-room, the kitchen, 
 the chamber, and the hall. 
 
 “ More solid materials, more elegance, more convenience, were soon added 
 to the original cabin, as men advanced in refinement and civilization, and 
 became more convinced of security, and felt the desire of possessing their 
 own, their private home. 
 
 “ Egypt is undoubtedly the first country where stone was used in domestic 
 architecture, unless, perhaps, Babylon may be considered its rival, either 
 chronologically or in splendour. Egypt abounded more in stone than in 
 timber, and its inhabitants have proved themselves to be among the ablest 
 workers in that material which the world has ever produced. 
 
 “ Of the early and private domestic architecture of the Egyptians, we have 
 not many or sure grounds; but their immense palaces or congeries of palaces, 
 called the Labyrinth, which the Greeks imitated in their no less celebrated 
 Labyrinth at Crete, by Daedalus, proves them to have advanced in the pala- 
 tial style of domestic architecture to as great a perfection of splendour as 
 they had in the sacred styles. 
 
 “ It has been doubted whether any ruins of this wonderful structure have 
 ever been discovered ; but Captain Wilford, an enterprising searcher into 
 antiquities, asserts, in a very able paper in the Asiatic Researches, that its 
 ruins are still to be seen near the Lake Mceris, at a place which the Arabs 
 have named the Kasi, or Palace of Karan, whom they suppose to have been 
 the richest of mortals. We must, however, rely upon the credit of ancient 
 authors for an account of it ; and the authority of Herodotus is undoubtedly 
 the best we can refer to on this head. There is great diversity of opinion 
 upon the exact period to which this much boasted edifice should be assigned. 
 
62 ARCHITECTURAL HISTORY. 
 
 Herodotus (lib. ii., n. 148) attributes its construction to the twelve kings who 
 reigned in Egypt at the same time, about six hundred and eighty years 
 before the Christian era. Pomponius Mela agrees in most points with Hero- 
 dotus ; and from these two authors we may gather a tolerably clear idea of 
 this great example of the palatial domestic architecture of Egypt. 
 
 “ Herodotus, who had visited and examined this edifice with great atten- 
 tion, affirms that it surpassed every thing that he had conceived of it. 
 Within one and the same circuit of walls, it contained twelve magnificent 
 palaces, regularly disposed, and communicating with each other. Each of 
 these palaces contained three thousand halls, twelve of which were of a 
 particular form and beauty. Half of these halls or chambers were inter- 
 spersed with terraces, and were arranged round the twelve principal halls, 
 communicating with each other, but by so many turns and windings, that, 
 without an experienced guide, it was impossible to escape wandering ; the 
 other half were underground, cut out of the rock, and were said to have been 
 used for the sepulchre of their kings Herodotus assures us, that he visited 
 all the apartments above ground ; but those which were subterraneous, they 
 would not, from motives of superstition, permit him to enter. Captain Wil- 
 ford thinks that the various apartments under ground had been used for 
 depositing the chests or coffins of the sacred crocodiles, called Sukhus or 
 Sukkis in old Egyptian, and Soukh to this day in the Coptic or vernacular 
 language of Egypt. The halls had an equal number of doors, six opening 
 to the norih, and six to the south ; and at each angle of the external walls 
 of this labyrinth was erected an immense pyramid for the sepulchres of its 
 founders. The whole of the labyrinth, walls, floors, and ceilings, were of 
 white marble, and exhibited a profusion of sculpture. Each of the before 
 mentioned twelve halls, or galleries, were supported on columns of the same 
 sort of marble. This splendid palace, or rather city of palaces, is also men- 
 tioned by Diodorus Siculus, who thinks it was a magnificent cemetry for 
 the Egyptian monarchs and their families ; and it is also described by Strabo 
 and Pliny, who confirm the accounts and descriptions of Herodotus. 
 
 t£ Among other splendid examples of the palatial style of domestic archi- 
 tecture of this wonder-working people, are the magnificent palace of Memnon, 
 in the Thebais, or Upper Egypt, which, according to Strabo, stood in the 
 splendid city of Abydus, the second in Egypt after Thebes ; and the cele- 
 brated palace of the Ptolemies, under whom the national style of architecture 
 experienced a complete change, and aimed at the superior graces of the 
 Greek style. 
 
 “ The vast and splendid city of Thebes is celebrated by ancient writers 
 for the beauty and splendour of its domestic architecture, as well as for its 
 
ARCHITECTURAL HISTORY. 
 
 G3 
 
 great perfection in sacred, monumental, and defensive architecture. This 
 style, domestic art, must have arrived to a high degree of perfection among 
 the Thebans ; for Diodorus says, that the houses of the private citizens in 
 Thebes were of four and five stories in height ; which proves their know- 
 ledge of floors, stairs, and the other necessary mechanism of storied buildings. 
 Of an antiquity nearly as remote as these splendid examples of the Egyptian 
 kings is the celebrated palace of Solomon, who proposed to construct the 
 most magnificent temple and the most splendid palace that had yet been seen. 
 Although a very able contemporary, (Mr. Wilkins) has endeavoured to con- 
 vert the temple of Solomon to a Grecian temple of the pure Doric order, 
 there can be no question that the style of architecture, both of the temple 
 and of the palace of Solomon, was strictly Egyptian in every particular but 
 in its materials. The ancient historian who records the chronicles of the 
 Jewish kings assures us, that Phoenicia produced the most skilful artizans 
 in wood, or as our translation renders it, hewers of wood ; and were probably 
 skilful carpenters, joiners, carvers, and such like. A supply of these able 
 workmen and materials of all descriptions were sent from Tyre to Jerusalem 
 to build this palace, which was also designed by Phoenician or Tyrian archi- 
 tects. In corroboration of the opinion that the style of the architecture of this 
 palace was the same as the Egyptian, it should be remembered that Solomon 
 married the king of Egypt’s daughter, and built it for her accommodation, 
 and in her honour. The artists of Phoenicia were then the most skilful of 
 their day ; and much of the work was executed in their oavii country, and 
 sent over to Judea for constructing these edifices. The palace was thirteen 
 years (1 Kings, vii.) in building, and is described to have been built of hewn 
 stones, of beams, and of columns of cedar wood, with spacious windows, 
 porticoes, and porches. In one of which he constructed a lofty throne, 
 whereon he sat to administer justice to the people. The description of this 
 magnificent palace, and of the columns of wrought and cast brass, executed 
 by Hiram, the architect, in the first book of Kings, is woith referring to, in 
 corroboration of the perfection to which domestic architecture, and, in fact, 
 all the other arts, had reached in this period of ancient history. 
 
 “In these early ages, as well as those so beautifully described in Homer, 
 the patriarchal form of government was so prevalent, that the palaces of 
 princes were used for every ordinary public use, and they seem to have been 
 the only buildings dedicated to public purposes. The royal palace of Troy 
 is described by Homer as very spacious; the material, stone, artfully wrought; 
 the apartments numerous. But we have no accounts of the detail. 
 
 “The walls of Troy are celebrated as having been the works of gods; 
 which fable proves nothing but that neither the Greeks nor the Trojans of 
 
G4 
 
 ARCHITECTURAL HISTORY. 
 
 those days excelled in such works, which had been raised, like the temple 
 and palace of Solomon, by foreign artists. The Israelites before Solomon, 
 and the Greeks in Homer’s time, seem to have made about equal progress 
 in domestic architecture. 
 
 “ Among various ancient specimens of domestic architecture of Eastern 
 nations, is the ruins of the beautiful stone building at Delhi, called the Shi- 
 kargah, or hunting palace, of Feeroz Shah. The lofty pillar of a single 
 stone upon its summit, is called the lat, or walking staff, of the same mon- 
 arch. From a translation made by Colonel Follien of ils inscriptions, it would 
 appear as old as the year 97 of the Christian era but from another version, 
 made by Mr. Henry Colebrooke, — who is celebrated as a Sanscrit scholar for 
 his translation of the digest of the Hindu law, compiled under the superin- 
 tendence of Sir William Jones, — it is made much later (1164.) One date 
 may. however, refer to the pillar, and the other to the building. 
 
 “ The Feeroz Shah, whose name is attached to the building, which is ac- 
 knowledged to be a very ancient Hindu monument, appears from Ferishtuh’s 
 history to have reigned at Delhi between the years 13.51 and 13S8, in the 
 last of which he died, at the age of ninety ; and this historian, according to 
 his translator Colonel Dow, gives him the following character : that ‘ though 
 no great warrior in the field, he was by his excellent qualities well calculated 
 for a reign of peace.’ He reigned thirty-eight years and nine months, and 
 left many memorials of his magnificence in the land. He built fifty great 
 sluices, forty mosques, thirty schools, twenty caravanseras, a hundred palaces, 
 five hospitals, a hundred tombs, ten baths, ten spires, one hundred and fifty 
 wells or public fountains, a hundred bridges, and the pleasure gardens he 
 made were without number. 
 
 “ Mohammed Ameen Rasee, a native historian, who wrote a history of 
 the world in the reign of Akbar, affirms that this palace was a hunting-place 
 of Feeroz Shah. It is a building of three stories, in the centre of which is a 
 column of red stone of a single piece, round which are engraved several 
 inscriptions of a character which has hitherto remained undeciphered. The 
 historian says only one-third of this column is visible, and that the remaining 
 two-thirds are concealed by the ruins. Its length, or rather height, above 
 the roof is thirty-seven feet, and its circumference, as measured by Captain 
 Hoare’s moonshee, Mohammed Morad, ten feet four inches ; some authors 
 say that the column is a monument of renown to the rajahs or princes of 
 Hindustan, and that Feeroz Shah erected the building on which it stands 
 for a menagerie and aviary, as an atonement for the severities which he 
 practised on the inhabitants of Cumassa. It is a beautiful remain of an- 
 cient Hindu domestic architecture, and is agreeably varied in its several stories 
 
ARCHITECTURAL HISTORY. 
 
 65 
 
 for effect of light and shade. When perfect, with its verandas and porticoes, 
 it must have presented a very graceful and elegant appearance. Other 
 specimens of the domestic architecture of this people are the palace of 
 Gazipoor, Oude, &c., &c. 
 
 “ The Phoenician artists who executed the palace and temple of Solomon 
 are generally supposed to be those descendants of Noah who settled on the 
 coast of Palestine, and are the same people who are spoken of in the Old 
 Testament as Canaanites, a word signifying merchants, and were after- 
 wards called by the Greeks Phoenician. Sidon, their capital, so often spoken 
 of by Homer, which was afterwards eclipsed by its own colony Tyre, was 
 founded by Sidon the eldest son of Canaan. Inhabiting a barren coun- 
 try, they applied themselves to commerce and the arts, and were distin- 
 guished for their excellence in manufactures and works of taste. Their 
 first settlements were in the isles of Cyprus and Rhodes, and they passed 
 successively into Greece, Sicily, and Sardinia, afterwards into Gaul ; and, 
 always advancing, discovered the southern and western coasts of Spain, 
 and lastly Britain. It is even thought that the isles of Cassiterides, 
 whence they obtained their tin, were the Solingues and part of Cornwall. 
 Of their beautiful city Tyre the twenty-seventh and twenty-eighth chap- 
 ters of Ezekiel give a grand and poetical description ; describing it as of per- 
 fect beauty, situate in the midst of the sea. Its public and private build- 
 ings and fortifications were of great extent : ‘ the men of Arvad with 
 thine army,’ says the writer, c were upon thy walls, and the Gammadims 
 were in thy towers ; they hanged their shields upon thy walls round about.’ 
 The whole of the two chapters are worthy of reference for their striking 
 descriptions. 
 
 “ The Phoenicians built several cities distinguished for the magnificence 
 of their domestic architecture, their wealth, manufactures, and extended 
 commerce. Among the principal were Joppa, Damascus, and Baalbec. 
 Herodotus mentions among other celebrated Phoenician structures a splen- 
 did temple dedicated to Hercules, at Tyre ; and Hiram, king of Tyre, 
 the friend and ally of Solomon and the patron of Hiram the great archi- 
 tect, is mentioned as the founder of many palaces and cities. 
 
 “ It is probable that the style of Phoenician architecture differed from 
 that of other contemporary nations, as Strabo, in speaking of Tyrus and 
 Aradus, two islands in the Persian Gulf, says they had temples and other 
 structures resembling those of the Phoenicians. 
 
 “ It has been conjectured, and with much probability, that the Phoenician 
 * architects constructed the principal part of their edifices with timber, as 
 Mount Lebanus supplied them with great quantities, and its cedar is much 
 9 
 
66 
 
 ARCHITECTURAL HISTORY. 
 
 celebrated ; and, from what we can learn of the construction of the pa- 
 laces, and other buildings of Solomon by Phoenician architects and work- 
 men, much timber was used in its erection. 
 
 “ Of the domestic architecture of the Chinese both ancient and modern, 
 for they scarcely differ, little need be said. Tents and pavilions were the 
 original types of its style, and appear to have served as models of design 
 to this extraordinary people. From this origin arises its essential charac- 
 ter, lightness ; and its essential defects, weakness and bad taste. The ma- 
 terials principally used by the Chinese, are wood of different sorts, bricks 
 and tiles burned in the sun. Marble and stone are not often used, which 
 may perhaps be attributed to their climate. The heat and humidity of 
 the southren provinces render it extremely unhealthy to reside in houses 
 built of stone ; and, according to the missionaries who were at Pekin, 
 they would, in the northern provinces, be uninhabitable for more than 
 half the year. The general style of Chinese architecture cannot but be 
 familiar to any one who has ever drunk from a China tea-cup, or who 
 has seen many of the signs of our grocers’ shops, Sir William Chamber’s 
 pagoda in Kew Gardens, or the Pavilion at Brighton. 
 
 “ The Chinese are governed more by the laws of their police than by 
 either theory or good taste in their domestic architecture. These laws 
 prescribe with the greatest accuracy how the lou, or palace, should be 
 built of a prince of the first, second, or third order of the imperial family, 
 of a grandee of the empire, or of a mandarine ; and they regulate, like 
 our building act of parliament, the public edifices of the capital, and of 
 provincial edifices, cities, and towns, according to their several ranks or 
 grades in the empire. According to these laws, which are said to be 
 very ancient, the number of courts, the dimensions of the terraces, the 
 length of the buildings, and the height of the roofs, are ordered, by pro- 
 gressive degrees of increase, from the simple citizen to the man of letters, 
 from the man of letters to the mandarine, from the mandarine to the 
 prince, and from the prince to the emperor himself. 
 
 “ All these measurements are fixed to within a few inches, and these 
 laws have of course produced a uniformity in the houses of individuals; 
 and, after the gradation prescribed among all buildings, it is not astonish- 
 ing that the common houses are but merely huts of a single floor ; but 
 the climate may also prevent them from building many stories. Their 
 plan is also as uniform as their elevation ; more than half the ground- 
 floor is occupied by courts and passages. The fronts of Chinese dwelling- 
 houses next the street have no windows, except when the building is* 
 used for a shop. There is but one opening, namely, the door, before 
 
ARCHITECTURAL HISTORY. 
 
 67 
 
 which they hang a mat or place a screen, to prevent the passers-by from 
 looking in. The form of the Chinese roof is characteristic of their style, 
 always producing the idea of the tent, or pavilion as the primeval type of 
 their architecture. 
 
 “ In the domestic architecture of the Chinese are often found doors of a 
 circular form at the top, approaching somewhat to the idea of the arch, 
 but resembling more the door of a bird cage than that of the entrance of 
 a dwelling-house. The palaces of China, especially those of the emperor, 
 are distinguished by their vast extent, by the number of large courts, 
 turnings, galleries, porticoes, halls, &c., of which they are composed. 
 
 “ Some of their public buildings are of a more substantial and durable 
 nature than their domestic architecture ; but there is nothing in their style — 
 even after attentively perusing the best European Chinese critic and archi- 
 tect, Sir William Chambers, and inspecting the best designs both executed 
 and on paper — to commend either on the score of propriety, beauty, or good 
 taste. 
 
 “ The domestic architecture of the Greeks cannot be accurately ascertain- 
 ed ; but that of the Romans can be well gathered from some of their ruins, 
 and the relations of their authors. The palaces and dwelling-houses of the 
 ancient Romans were in a profuse style of grandeur and superb decoration. 
 Their villas, baths, and town-houses were of vast extent, and embraced 
 every luxury that domestic architecture could demand, aided by painting, 
 sculpture, and all the arts of design and decoration. 
 
 “ Among their most splendid and costly examples of domestic architecture 
 were their baths, their theatres, and their amphitheatres. In the latter de- 
 scription of building they aimed so much at prodigality that the relations of 
 their most authentic writers almost appear fabulous ; as the account of the 
 temporary theatre of Marcus Scaurus, erected while he was edile, which he 
 embellished with three hundred and sixty marble columns and three thou- 
 sand bronze statues. It was capable of holding eighty thousand persons. 
 The shafts of the lower range of columns were thirty-eight feet long, and 
 their weight so great that Scaurus was obliged to give security for the repara- 
 tion of the great sewers over which they were to pass, if they should be 
 damaged by their conveyance ; and this, we should remember, was only for 
 an occasional temporary amusement. 
 
 “ Such also in character was the timber edifice erected by Curio for the 
 celebration of the funeral games in honor of his father ; which was so con- 
 trived as to form, according to the nature of the exhibition, either a theatre or 
 an amphitheatre. When to be used in the former manner, the circular backs 
 were placed against each other, thus becoming two separate theatres ; so 
 
68 
 
 ARCHITECTURAL HISTORY. 
 
 that the declamations, music, and applauding acclamations of the one were 
 not heard in the other. After the theatrical performances were concluded, 
 the two edifices, turning on pivots, were rolled round by machinery, with all 
 the audience within them, and the circle or amphitheatre was completed : 
 the pit, cleared of the populace, forming the arena. 
 
 4 The splendour of the baths of the Romans was equal to their other 
 structures. Ammianus Marcellinus describes them of immense size. Some 
 idea of their splendour may be gathered from the ruins of the baths of Titus, 
 and from the Pantheon ; which Cameron, in his dissertation on the baths of 
 the ancients, says was only a vestibule to the vast and magnificent baths of 
 Agrippa, who is the reputed founder of its fine portico. 
 
 4 Before the introduction of pure taste and the importation of Grecian arts 
 and artists into Rome, we have the authority of all historians to prove that 
 its architecture was as rude as that of any people of antiquity. Their Etrus- 
 can neighbours led them to copy Greek originals; and one of their earliest 
 kings, Tarquinius Prisons, was a native of Greece : hence the origin of the 
 Roman style. Nor was it the architecture of Greece alone that the Romans 
 imitated ; but also their literature, their eloquence, their manners and cus- 
 toms, were all borrowed from their illustrious predecessors. Vitruvius found- 
 ed his code of architectural laws upon those of the Greeks ; Virgil imitated 
 Homer ; Cicero, Demosthenes ; the early Roman plays were translations 
 from the Greek, and their later ones imitations. 
 
 4 The elements, or constituent parts of Roman architecture, like those of 
 the Grecian, are the orders ; which consist in the style now before us of five, 
 as the Grecian does of three ; and are named the Tuscan, the Doric , the 
 fonic, the Corinthian, and the Composite .' 1 ' 1 
 
GLOSSARY 
 
 OP 
 
 NAMES AND TERMS USED IN ARCHITECTURE.* 
 
 [FROM THE ENCYCLOPEDIA BIUTANNICA SEVENTH EDITION.] 
 
 Abaciscus (diminutive of Abacus, q. in). 
 This term is applied to the chequers or 
 squares of a tessellated pavement. 
 
 Abacus (Gr. a/2a|, a square tile or table). The 
 rectangular and equilateral tablet covering 
 the ovalo of the capital of the Doric column, 
 and on which the superimposed entablature 
 rests, is called the abacus ; and from it 
 the similar part (though differently shaped) 
 of all capitals is distinguished by the same 
 term. Abacus means tbe same thing, but 
 is opposed in application to Plintii. 
 
 Acroterium (Gr. angarngtou, the summit or 
 vertex), a statue or ornament of any kind 
 placed on the apex of a pediment. The 
 term is often incorrectly restricted to the 
 plinth, which forms the podium merely 
 for the acroterium. The statue of the saint 
 on the apex of the pediment of the west- 
 ern front of St. Paul’s is an acroterium ; 
 the other statues may be called acroteral 
 figures. 
 
 Amphiprosttle (Gr. *u<pi, around or about, 
 and prostyle, q. v.) A temple with a porti- 
 co at each end is said to be an amphi- 
 prostyle. This term would be more correctly 
 applied to a structure having projecting 
 porticoes on all its sides, especially if it be 
 equilateral like the Bourse or Exchange at 
 Paris, allowing no distinction of flanks or 
 wings to make it peripteral. 
 
 Annulet (Lat. annulus, a ring). This term 
 is applied to the small fillets or bands 
 
 which encircle the lower part of the Doric 
 capital immediately above the neck or tra- 
 chelium. 
 
 Ant.® (probably from the Gr. uvtio;, or some 
 other compound of the preposition «vt/, for, 
 or opposite to; it has no singular), the pier- 
 formed ends of the walls of a building, as 
 in the portico of a Greek temple. A por- 
 tico is said to be in antis when columns 
 stand between antce, as in the temple of 
 Theseus, supposing the peristyle or sur- 
 rounding columns removed. 
 
 Antefix.® (Lat. ante, before, and fxus, fixed), 
 upright blocks with an ornamented face 
 placed at regular intervals on a cornice. 
 Antefixffi were originally adapted to close 
 and hide the lower ends of the joints of the 
 covering tiles on the roof of a temple. 
 
 Apopiiyge (Gr. ctmquyi i, a flying off), the low- 
 er part of the shaft of an Ionic or Corinthian 
 column, or the highest member of its base if 
 the column be considered as a whole. The 
 apophyge is the inverted cavetto or concave 
 sweep, on the upper edge of which the cylin- 
 drical shaft rests. 
 
 Apteral (Gr. a priv. and rrregov, a wing), a 
 temple without columns on the flanks or 
 sides. 
 
 Ar^ostyle (Gr. ugaio;, rare or weak, and 
 o-TvAoc, a column), a wide intercolumniation. 
 The space assigned to this term is four dia- 
 meters. 
 
 Ar^eosystyle (compounded of araostyle and 
 
 Those marked thup t are either entirely, or almost entirely, peculiar to Pointed Architecture. 
 
70 
 
 ARCHITECTURAL TERMS. 
 
 sy style, q. v.). This term is used to express 
 the arrangement attendant on coupled co- 
 lums, as in the western front of St. Paul’s 
 Cathedral. 
 
 Arcade, a series of arches. 
 
 Arch (Lat. arcus, a bow), a construction of 
 separate or distinct blocks or masses of any 
 hard material, cut wedge-wise, and arranged 
 in a bowed form, so as to bear from end to 
 end horizontally, or across an opening, 
 though abutting or being supported only at 
 the ends. 
 
 Architrave (Gr. chief, and Lat. trabs, a 
 beam), the chief beam, — that part of the 
 entablature which rests immediately on the 
 heads of the columns, and is surmounted by 
 the frieze ; it is also called the epist.ylium or 
 epistyle. The moulded enrichment on the 
 sides and head of a door or window is called 
 an architrave. 
 
 Arciiivolt. This term is a contraction of the 
 Italian architrave voltato. It is applied to 
 the architrave moulding on the face of an 
 arch, and following its contour. 
 
 Arris, the sharp edge or angle in which two 
 sides or surfaces meet. 
 
 Astragal (Gr. sott a vertebral joint), a 
 convex moulding. This term is generally 
 applied to small mouldings, and (torus to 
 large ones of the same form. (See torus.) 
 
 Attic, a low story above an entablature, or 
 above a cornice which limits the height of 
 the main part of an elevation. The etymo- 
 logy of this term is unsettled : probably the 
 upper range of columns in a Greek hypas- 
 thral temple was called aa-ii^ov, from hav- 
 ing no coherent wall ; whence the Latin 
 atticum, audits application to a story super- 
 imposing the general ordinance. Other- 
 wise such a thing is unknown in Greek 
 architecture ; but it is very common in both 
 Roman and Italian practice. What is here 
 termed the tholobate in St. Peter’s and St. 
 Paul’s cathedrals are generally termed 
 attics. 
 
 Baluster, a small column or pier supporting 
 the coping in a pierced parapet : the para- 
 pet itself, when pierced, is hence called a 
 balustrade. 
 
 Band or T.enia, nearly synonymous with Fil- 
 let, q. v. This term is, however, most ge- 
 nerally applied to that listel in the Doric 
 entablature which separates the frieze from 
 the architrave, and connects the lower parts 
 of the triglyphs. 
 
 Base (Gr. fian;, from the verb to bear). The 
 congeries of mouldings generally placed 
 under the shaft of an Ionic or Corinthian 
 column is called its base. The term is ap- 
 plied also to the lowest part of a pedestal 
 or stylobate ; to the vertical moulded fit- 
 tings which go round walls on the floor ; 
 and generally to every thing that is put 
 lowest, for any thing to rest on, 
 
 Batter (Fr. battre, to beat). Building over 
 in projecting courses, like inverted steps, 
 is termed battering, beating, or corbelling 
 over. 
 
 t Battlement, a pierced or machicolated 
 parapet. 
 
 t Bay. The space between the mullions of a 
 window, between piers, and between the 
 principal beams of a roof, floor, or ceiling, 
 is a bay. 
 
 Bead, a small cylindrical moulding of fre- 
 quent use. 
 
 Bed-mould, the congeries of mouldings which 
 is under the projecting part of almost every 
 cornice, and of which indeed it is a part. 
 
 Blocking-course, a deep but slightly project- 
 ing course in an elevation, to act as cornice 
 to an arcade, or to separate a basement 
 from a superior story. (See String-course.) 
 
 + Boss, a sculptured knob which is placed on 
 the intersections of ribs in groined ceilings. 
 
 t Buttress, the projected piers against the 
 angles of towers, and against the ordinary 
 piers of walls, to strengthen them, and re- 
 ceive the outward thrust of the inner trans- 
 verse arches. 
 
 Cabling. The flutes of columns are said to 
 be cabled v hen they are partly occupied by 
 solid convex masses, or appear to be refilled 
 with cylinders after they had been formed. 
 
 t Canopy, a covering or hood, the enriched 
 projecting head to a niche or tabernacle. 
 The tablet cr drip-stone, whether straight or 
 circular, over the heads of doors or windows, 
 if enriched, is called a canopy. 
 
 Capital, Cap (Gr. xs<f>«A», the head), the spread- 
 ing, moulded, voluted, foliate, or otherwise 
 enriched head of a column. The term cap 
 is applied, in contradistinction, to the con- 
 geries of mouldings which forms the head 
 of a pier or pilaster. 
 
 Caryatides. Human female figures used 
 as pier3, columns, or supports, are called 
 Caryatides ; and, adjectively, Caryatic is 
 applied to the human figure generally, when 
 used in the manner of Caryatides. 
 
 
ARCHITECTURAL TERMS. 
 
 71 
 
 Cassoon, (Ital.), a deep panel or coffer in a 
 soffit or ceiling, this term is often written 
 afler the French caisson, whereas we derive 
 it directly from the Italian cassone, the aug- 
 mentative of cassa, a chest or coffer. 
 Cathetus (Gr. xiSmc, a perpendicular line). 
 The eye of the volute is so termed because 
 its position is determined, in an Ionic or 
 voluted capital, by a line let down from the 
 point in which the volute generates. 
 Cauliculus (Lat. a stalk or stem), the inner 
 scrolls or tendrils of the Corinthian capital 
 are called Cauliculi. It is not uncommon, 
 however, to apply this term to the larger 
 scrolls or volutes of the same also. 
 
 Cavetto (Ital. cavare, to dig out), a moulding 
 whose form is a simple concave, and im- 
 pending. 
 
 Cella (Lat.), the cell or interior of a Cleithral 
 temple. The Greek term is Naos. 
 
 Chamfer. An edge or arris taken off equally 
 on the two sides which form it, leaves what 
 is called a chamfer, or a chamfered edge. If 
 the arris be taken off more on the one side 
 than the other, it is said to be splayed or 
 bevelled. 
 
 + Cinquefoil, tracery in five foliations or 
 featherings. 
 
 Cleithral (vide Cleithros.) This is used of 
 a covered Greek temple, in contradistinction 
 to Hypcethral, which designates one that is 
 uncovered. 
 
 Cleithros (Gr. u n go(, an inclosed or shut up 
 place). A temple whose roof completely 
 covers it is a Cleithros. 
 
 Coffer, a deep panel in a ceiling. 
 
 Column (Lat. columna :), a tapering cylindrical 
 mass, placed vertically on a level stylobate, 
 in some cases with a spreading congeries of 
 mouldings called a base, and having always 
 at its upper and smaller end a dilating mass 
 called a capital. Columns are either insu- 
 lated or attached. They are said to be 
 attached or engaged when they form part of 
 a wall, projecting one half or more, but not 
 the whole of their substance. 
 
 Consol or Console, a bracket or truss, gene- 
 rally with scrolls, or volutes, at the two ends, 
 of unequal size and contrasted, but connected 
 by a flovVing line from the back of the upper 
 one to the inner convolving face of the 
 lower. 
 
 Coping, the covering course or cornice of a 
 wall or parapet. The term coping is gene- 
 rally applied to a plain, slightly projected, 
 covering course, and cornice to a larger 
 moulded coping 
 
 t Corbel, a knob, boss, or consol, projecting 
 from a vertical face, to act as a prop or sup- 
 port. Its jutting or overhanging has in- 
 duced the application of the term to describe 
 the projection of one thing over another. 
 
 Cornice (Gr. jt-igw/r, the highest part, that 
 which is placed last on a building), the high, 
 est part of an entablature — that which rests 
 on the frieze. The term cornice is very ge- 
 nerally applied to any bold congeries of 
 moulding occupying the highest place in a 
 composition, whether external or internal. 
 A plain covering to a wall or parapet is 
 called a coping q. v. 
 
 Corona (vide Cornice). This term is applied 
 to the deep verticle face of the projected part 
 of the cornice between the bed-mould and the 
 covering mouldings. 
 
 t Crocket (probably from the old English 
 word crok, a curl), an ornament of foliage 
 or animals running up the back of a pedi- 
 ment, arch, pinnacle, or spire, from the cor- 
 bels below to the finial above, in which 
 latter the crockets on both sides appear to 
 merge. In the earlier examples the crocket 
 is a mere curl, or bent tendril, with an en- 
 riched end. 
 
 Cupola (Ital. cupo, concave, profound), a 
 spherical or spheroidal covering to a build- 
 ing, or to any part of it. 
 t Cusp (Lat. cuspis, a spear), the points in 
 which the foliations of tracery finish. These 
 arc sometimes themselves enriched, and are 
 sometimes plain. 
 
 Cyclostylar (Gr. kokkoc, a circle, and, o-rutoc, 
 a column). A structure composed of a 
 circular range of columns without a core 
 is cyclostylar ; for with a core, the range 
 would be a peristyle. This is the species of 
 edifice falsely called by Vitruvius Monopte- 
 ral. (See Monopteros.) 
 
 Cyma (Gr. x.vfj.dL a wave), the name of a mould- 
 ing of very frequent use. It is a simple, 
 waved line, concave at one end and convex 
 at the other, like an Italic/. In that man- 
 ner it is called a cyma-recta ; but if the con- 
 vexity appear above, and the concavity below 
 on the right hand, it is then a cyma-re- 
 versa. 
 
 Cyrtostyle (Gr. xt/gTo?, convex, and erruhoc, 
 a column), a circular projecting portico. 
 
 Dado or Die, the vertical face of an insulated 
 pedestal, between the base and cornice or 
 surbase. It is extended also to the similar 
 part of all st.ereobates which are arranged like 
 pedestals in Roman and Italian architecture. 
 
72 
 
 ARCHITECTURAL TERMS. 
 
 Decastyle (Gr. finz, ten, and s-n-uxo;, a col- 
 umn), a portico of ten columns in front. (See 
 note to the term Hexastyle.) The portico 
 to the London University is of this descrip- 
 tion ; more particularly described, it is deca- 
 prostyle and recessed. 
 
 Dentil (Lat. dens, a tooth). The cogged or 
 toothed member, so common in the bed- 
 mould of a Corinthian entablature, is said 
 to be Dentilled ; and each cog or tooth is 
 called a dentil. 
 
 Design. Architects apply this term to what is 
 vulgarly called a plan, intending by it the 
 scheme or design of a building in all its 
 parts, the term plan having a distinct appli- 
 cation to a technical portion of the design. 
 (See Plan.) The plans, elevations, sec- 
 tions, and whatever other drawings may be 
 necessary for an edifice, exhibit the design. 
 
 Detail. As used by architects, detail means 
 the smaller parts into which a composition 
 may be divided. It is applied generally to 
 mouldings and other enrichments, and again 
 to their minutiae. 
 
 Diameter (superior and inferior). The greater 
 diameter of the shaft of a column is tech- 
 nically termed its inferior, because it is that 
 of the lower end ; and the lesser, that of the 
 upper end, its superior diameter. 
 
 Diastyle (Gr. fix, through, and o-tum;, a co- 
 lumn), a spacious intercolumniation, to 
 which three diameters are assigned. ( Vide 
 Eustyle.) 
 
 Dipteral. (See Dipteros.) 
 
 Dipteros (Gr. Si;, twice and tr-regor, a wing), 
 a double winged temple. The Greeks are said 
 to have constructed temples with two ranges 
 of columns all round, which were called 
 Dipteroi. A portico projecting two co- 
 lumns and their interspaces is of dipteral or 
 pseudo-dipteral arrangement. 
 
 Distyle (Gr. Si;, twice, and trru\o;, a column), 
 a portico of two columns. This term is not 
 generally applied to the mere porch with two 
 columns, but to describe a portico with two 
 columns in antis. The elevation of the 
 pronaos of the hexastyle peripteral temple 
 exhibits an example of distyle in antis. 
 
 Ditriglyph (Gr. Si;, twice, and triglyph, q. ».), 
 an intercolumniation in the Doric order, of 
 two triglyphs. (See Mcnotriglyph.) 
 
 Dodecastyle (Gr. Sufixx, twelve, and <rrv\o;, 
 a column), a portico of twelve columns in 
 front. 
 
 Dome (Gr. Sa/j.x, a structure of any kind ; 
 whence the Latin domus, a house or temple), 
 
 a cupola or inverted cup on a building. The 
 application of this term to its generally re- 
 ceived purpose is from the Italian custom of 
 calling an archiepiscopal church, by way of 
 eminence, II duomo, the temple ; for to one 
 of that rank, the cathedral of Florence, the 
 cupola was first applied in modern practice. 
 The Italians themselves never call a cupola 
 a dome : it is on this side the Alps the mis- 
 take has arisen, from the circumstance, it 
 would appear, that the Italians use the term 
 with reference to those structures whose 
 most distinguishing feature is the cupola, 
 tholus, (or as we now call it) dome. (See 
 Cupola. ) 
 
 t Dripstone, the moulding or cornice which 
 acts as a canopy to doors and windows. 
 Horizontal running mouldings arc some- 
 times called tablets and sometimes drip- 
 stones. 
 
 Drops. (See Guttze). 
 
 Echinus (Gr. an egg), a moulding of 
 
 eccentric curve, which (when it is carved) 
 being generally cut into the forms of eggs 
 and anchors alternating, the moulding is 
 called by the name of the more conspicuous. 
 It is the same as Ovalo, q. v. 
 
 Elevation, the front, or facade as the French 
 term it, of a structure. A geometrical draw- 
 ing of the external upright parts of a build- 
 ing. Architects speak of front, back-front, 
 and side or end elevations. 
 
 Entablature or Entablature (Lat. in, upon, 
 and tabula a tablet). The superimposed 
 horizontal mass in a columnar ordinance, 
 which rests upon the tablet or abacus of a 
 column, is sc called. It is conventionally 
 composed of three parts, architrave, frieze, 
 and cornice. 
 
 Entasis Gr. ivTxtri;, a stretching or swelling). 
 Columns arc said to have entasis when they 
 do not diminish regularly, but in a curved 
 line. 
 
 EpistyltuM or Epistyle (Gr. s m, upon, and 
 vtvxos, a column). This term may with 
 propriety be applied to the whole entablature, 
 with which it is synonymous ; but it is re- 
 stricted in use to the architrave or low’est 
 member of the entablature. 
 
 Escape, a term sometimes used for the apo- 
 phyge of a column. (See Apophyge.) 
 
 Euystyle (Gr. n, well, and o-tuko;, a column), 
 a species of intercolumniation, to which a 
 proportion of two diameters and a quarter is 
 assigned. This term, together with the 
 
ARCHITECTURAL TERMS. 
 
 73 
 
 others of similar import, — pycnostyle, sy- 
 style, diastyle, and arasostyle, referring to 
 the distances of columns from one another 
 in composition, is from Vitruvius, who as- 
 signs to each the space it is to express. It 
 will be seen, however, by reference to them 
 individually, that the words themselves, 
 though perhaps sufficiently applicable, con- 
 vey no idea of an exactly defined space, 
 and by reference to the columnar structures 
 of the ancients, that no attention was paid 
 by them to such limitations. "It follows, 
 then, that the proportions assigned to each . 
 are purely conventional, and may or may 
 not be attended to without vitiating the pow- 
 er of applying the terms. Eustyle means 
 the best or most beautiful arrangement ; but 
 as the effect of a columnar composition de- 
 pends on many things besides the diameter of 
 the columns, the same proportioned interco- 
 lumniation would look well or ill, accord- 
 ing to those other circumstances ; so that 
 the limitation of eustyle to two diameters 
 and a quarter is absurd, and so it is in the 
 case of the other similar terms. With 
 Doric intercolumniation it is different, as 
 may be seen by reference to the word 
 Monotriglyph. 
 
 Facade. (See Elevation.) 
 
 Fascia (Lat. a band). The narrow vertical 
 bands or broad fillets into which the archi- 
 traves of Corinthian and Ionic entablatures 
 are divided, are called fascise or fascias ; 
 and the term is generally applied to any 
 similar member in architecture, 
 t Featherings. (See Foliations.) 
 
 Fillet, a narrow vertical band or listel, of 
 frequent use in congeries of mouldings, to 
 separate and combine them, and also to give 
 breadth and firmness to the upper edge of a 
 crowning cyma or cavetto, as in an external 
 cornice. The narrow slips or breadths be- 
 tween the flutes of Corinthian and Ionic 
 columns are also called fillets, 
 t Finial (Lat. finis, the end.) This term is 
 equivalent to the Greek Acroterium. It is 
 applied to the carved apex of pediments, 
 piers, pinnacles, and canopies. 
 
 Flute, a concave channel. Columns whose 
 shafts are channelled are said to be fluted, 
 and the flutes are collectively called flutings. 
 t Foliations or Featherings, small arches 
 meeting in points or cusps, which are plain 
 or enriched. They are used as an enrich- 
 ment in tracery, and are distinguished as 
 10 
 
 trefoils, quatrefoils, and cinquefoils, as the 
 case may be. 
 
 Frieze ( Ital. fregio, from the Lat, phrygio- 
 nius, enriched or embroidered), that portion 
 of an entablature between the cornice above 
 and the architrave below. It derives its 
 name from being the recipient of the sculp- 
 tured enrichments either of foliage or figures 
 which may be relevant to the object of the 
 structure. The frieze is also called the 
 zoophorus. 
 
 Frontispiece, the front or principal elevation 
 of a structure. This term, however, is ge- 
 nerally restricted in application to a deco- 
 rated entrance. 
 
 Gable. When a roof is not hipped or returned 
 on itself at the ends, its ends are stopped by 
 carrying up the walls under them in the tri- 
 angular form of the roof itself. This is 
 called the gable, or indeed, the pediment. 
 The latter term, however, is restricted to 
 the ornamental and ornamented gable ; and 
 gable itself is applied to a plain triangular 
 end. 
 
 Gradino (Ital. dim. of gtadus, a step). Ar- 
 chitects frequently used the plural of this 
 term, gradini, and to gradinate, instead of 
 the English, steps, and to graduate, perhaps 
 without sufficient reason, though they find 
 them useful to distinguish what they intend 
 from the meaning of the latter words in 
 their ordinary acceptation. 
 
 Groining. In vaulting or arching over from 
 insulated piers, the cross vaults meet in 
 angles, and lead to a common centre or apex. 
 This is called groining. 
 
 Guiloche or Guilochos (Gr. ymov, a member, 
 xo%oc, a snare). An interlaced ornament 
 like network, used most frequently to enrich 
 the torus. 
 
 Gutt« (Lat. drops). The small cylindrical 
 drops used to enrich the mutules and regular 
 of the Doric entablature are so called. 
 
 Helix (Gr. a wreath or ringlet), used 
 
 synonymously with Cauliculus, q. v. It 
 forms in the plural Helices. 
 
 Hkmiglyph (Gr. hfj.it}- u;, half, and yxucpii, an in- 
 cision or channel). The half-channels, or 
 rather chamfered edges, of a triglyph tablet, 
 may be so called. The two hcmiglj'phs are 
 included to make the third channel, and com- 
 plete the triglyph. (See Triglyph.) 
 
 Hexastyle (Gr. ii*, six, and vtuxo?, a column). 
 A portico of six columns in front is of this 
 
74 
 
 ARCHITECTURAL TERMS. 
 
 description. Most of the churches in Lon- 
 don which have porticoes have hexa-pro- 
 styles. (See Prostyle.) 
 
 Hypasthral. (See Hypasthkos.) 
 
 Hypasthiios. (Gr. thro, under, and aiS^z, the 
 air), a temple open to the air, or uncovered. 
 The Greeks frequently made the temples of 
 the supreme divinities hypsethral. For in- 
 stance, those of Jupiter Olympius at Agri- 
 gentum in Sicily, of Neptune at Prestum, 
 and of Minerva Parthenon at Athens, are 
 all of this description. The term may be 
 the more easily understood by supposing 
 the roof removed from over the nave of a 
 church in which columns or piers go up from 
 the floor to the ceiling, leaving the aisles still 
 covered. In that case it would be hypaethral, 
 after the manner of the Greek hypasthros. 
 The Pantheon in Rome having an opening 
 in the centre of the dome, is thereby rendered 
 hyprethral. 
 
 Hypogea (Gr. Cm, under, and yr, the earth). 
 Constructions under the surface of the earth, 
 or into the sides of a hill or mountain, are 
 hypogea. 
 
 Hypotrachelium (Gr. Cm, upon, and 
 
 the neck,) the part forming the junction of 
 the shaft with the capital of a column ; the 
 neck of the capital itself. In some styles it 
 is a projecting fillet or moulding, and in 
 others, as the Doric, it is composed of a 
 channel or groove, and sometimes of more 
 than one. 
 
 Jamb, the side-post or lining of a door-way or 
 other aperture. The jambs of a window 
 outside the frame are called reveals. 
 
 Ichnography (Gr. i%v os, a footstep or track, 
 and a description or representation). 
 
 A plan or the representation of the site of 
 an object on a horizontal plane, is its ichno- 
 graphy. The term plan (q. v.) is, however, 
 much more frequently used than this. 
 
 Impost (Lat. impositus, laid upon). The ho- 
 rizontal congeries of mouldings forming the 
 capital of a pier, or edge pilaster, which has 
 to support one leg of an arch, is called the 
 impost ; sometimes, and more conveniently, 
 this term is used for the pilaster itself, when 
 its capital is called the impost cap or impost 
 mouldings. 
 
 Intercolumniation (Lat. inter, between, and 
 column, q. «.). The distance from column 
 to column, the clear space between columns, 
 is called the intercolumniation. 
 
 f Label, the level moulding or dripstone over 
 
 a door or window, common in the later 
 Pointed works. It is generally turned down 
 at the ends at right angles, and slightly re- 
 turned again horizontally and outwards. 
 
 Lacunar (Lat.), a panelled or coffered ceiling 
 or soffit. The panels or cassoons of a ceil- 
 ing are more classically called lacunaria. 
 
 t Lantern (Lat. lanterna), a turret raised 
 above a roof or tower, and very much 
 pierced, the better to transmit light. In 
 modern practice this term is generally ap- 
 plied to any raised part in a roof or ceiling, 
 containing vertical windows, but covered in 
 horizontally. 
 
 Metope (Gr. /utrom, a middle space), the 
 square recess between the triglyphs in a 
 Doric frieze. It is sometimes occupied by 
 sculptures. 
 
 Mezzanine (Ital. mezzanino, dim. of mezzo, 
 the middle), a low story between two lofty 
 ones. It is called by the French entresol, 
 or inter-story. 
 
 Modillion (Lat. modulus, a measure of pro- 
 portion), so called because of its arrange- 
 ment in regulated distances ; the enriched 
 block or horizontal bracket generally found 
 under the cornice of the Corinthian enta- 
 blature. Less ornamented, it is sometimes 
 used in the Ionic. See also Mutule. 
 
 Module (Lat. modulus, a modus, a measure 
 or rule). This is a term which has been 
 generally used by architects in determining 
 the relative proportions of the various parts 
 of a columnar ordinance. The semidia- 
 meter of the column is the module, which 
 being divided into thirty parts called mi- 
 nutes, any part of the composition is said 
 to be of so many modules and minutes, or 
 minutes alone, in height, breadth, or projec- 
 tion. The whole diameter is now gene- 
 rally preferred as a modus, it being a better 
 rule of proportion than its half. 
 
 Monopteral. (See Monopteros.) 
 
 Monopteros (Gr. /xovoc, one, or single, and 
 57-Tsgo?, a wing). This term is incorrectly 
 used by Vitruvius to describe a tempi# com- 
 posed of a circular range of columns sup- 
 porting a tholus, cupola, or dome, but without 
 walls. (See Peripteral.) Such an edifice 
 would be more correctly designated as 
 Cyclostylar, q. v. 
 
 Monotriglyph (Gr. /uovo c one, or single, and 
 triglyph, q. v.) The intercolumniations of 
 the Doric order are determined by the num- 
 ber of triglyphs which intervene, instead of 
 the number of diameters of the column, as 
 
ARCHITECTURAL TERMS. 
 
 75 
 
 in other cases ; and this term designates the 
 ordinary intercolumniation of one triglyph. 
 
 Mouldings, eccentric curves of various kinds, 
 intended to enrich and ornament, by pro. 
 ducing light and shade, and obviating the 
 monotony attendant on many flat and angu- 
 lar surfaces. They may be variously carved 
 to increase their efficiency. The most usual 
 forms of mouldings are called the cyma- 
 recta and reversa, cavetto, scotia, torus, 
 astragal or bead, and the echinus or ovalo. 
 In Pointed architecture, mouldings arc not 
 limited either to those names or to the forms 
 they are intended to designate, nor indeed is 
 any other style, except by absurd custom and 
 authority. 
 
 t Mullion, the columnar vertical bar used to 
 divide a window into breadths ; the trunk 
 out of which tracery flows. 
 
 Mutule, (Lat. mutulus, a stay or bracket,) the 
 rectangular impending blocks under the 
 corona of the Doric cornice, from which 
 guttse or drops depend. Mutule is equiva- 
 lent to modillion, but the latter term s ap- 
 plied more particularly to enriched blocks 
 or brackets, such as those of Ionic and 
 Corinthian entablatures. 
 
 N aos, (Gr. v«.oc, a temple.) This term is some- 
 times used instead of the Latin Colla, as 
 applied to the interior; strictly, however, it 
 means the body of the edifice itself, and not 
 merely its interior or cell. 
 
 Newel, the solid or hollow column or cylinder 
 which bears up the handrail of a staircase 
 at the foot and in the most material parts. 
 It means also the core or hollow, as the case 
 may be, about which a circular staircase 
 winds. 
 
 Niche, a concave recess in a wall, with a 
 straight or single head. Niches are gene- 
 rally made to receive statues, vases, &c. 
 
 Octastyle (Gr. okt w, eight, and oruxoc, a co- 
 lumn.) A portico of eight columns in front. 
 (See note to Hexastyle.) It may indeed be 
 called a pseudo-octa-prostyle. (See Pseudo- 
 prostyle.) 
 
 Ogee, the vulgar name for the Cyma, q. v. 
 
 Opisthodomus (Gr. o tns-flsv behind, and 
 
 a house or other edifice,) the part behind a 
 Greek temple corresponding with the Pro- 
 naos before it. (See Pronaos.) 
 
 Order. A column with its entablature and 
 stylobate is so called. The term is the re- 
 sult of the dogmatic laws deduced from the 
 
 writings of Vitruvius, and has been exclu- 
 sively applied to those arrangements which 
 they were thought to warrant. 
 
 Ordinance, a composition of some particular 
 order or style. It need not, however, be 
 restricted to a columnar composition, for it 
 will apply to any species which is subjected 
 to conventional rules for its arrangement. 
 
 Orthography, (Gr. ogOoc, straight or true, and 
 a description or representation.) A 
 geometrical elevation of a building or other 
 object, in which it is represented as it ac- 
 tually exists, or may exist, and not perspec- 
 tively, or as it would appear, is called its 
 orthography. 
 
 Orthostyle, (Gr. ogflo?, straight or true, and 
 OTuy-oj, a column,) any straight range of co- 
 lumns. This is a term suggested to desig- 
 nate what is generally but improperly called 
 a peristyle, q. v . ; that is, columns in a straight 
 row or range, but not forming a portico. 
 
 Ovalo, (Ital.), egg-formed (See Echinus.) This 
 is the name most commonly applied to tile 
 moulding which appears to have originated 
 in the moulded head of the Doric column, 
 and, with an abacus, forming its capital. 
 
 Panel, a compartment with raised margins, 
 moulded or otherwise. Deep panels in a 
 ceiling are called Cassoons, and Lacunaria, 
 q. v. 
 
 Parapet (Ital.) parapetto , against the breast, or 
 breast-high,) the low breast-high wall which 
 is used to front terraces and balconies, to 
 flank bridges, &c. The most common ap- 
 plication of the term in this country is to so 
 much of the external walls of a house as 
 stands above the level gutters of the roof 
 behind. 
 
 Pakastas (Gr. iragas-Tst c, standing before,) an 
 antae or end pilaster. This is the Greek 
 term for which the latin antie is generally 
 used, and it has the same meaning. (See 
 Ant^e.) 
 
 Pedestal (Gr. mu;, a foot, and otuasc, a co- 
 lumn.) An insulated stylobate is for the 
 most part so called. The term is, more- 
 over, generally applied to any parallelogra- 
 mic or cylindrical mass used as the base- 
 ment of any single object, as a statue or 
 vase. 
 
 Pfdiment, that part of a portico which rises 
 above its entablature to cover the end of 
 the roof, whose triangular form it takes. 
 The cornice of the entablature, or its corona 
 and part of the bed-mould only, with the 
 
70 
 
 ARCHITECTURAL TERMS. 
 
 addition of a cymalium, bounds its inclined 
 sides, and joins in an obtuse angle at the 
 apex. In Pointed Architecture, however, 
 the angle of a pediment is for the most part 
 acute. 
 
 + Pendent (Lat. pendens, hanging.) In some 
 of the later works of the Pointed style, 
 large masses depend from enriched ceilings, 
 and appear to be formed by the other legs 
 of intersecting arches : these are called 
 pendents. They also occur in canopies. 
 
 Peribolus (Gr. mep, around or about, and 
 f&tZKktt, to gird or throw around,) an inclo- 
 sure. Any inclosed space is a peribolus ; 
 but the term is applied more particularly to 
 the sacred inclosurc about a temple. The 
 wall forming the inclosure is also called 
 the peribolus. 
 
 Peripteral. (See Peripteros.) 
 
 Peripteros (Gr. 7figt, around or about, and 
 5TTegov, a wing.) A temple or other struc- 
 ture with the columns of its end, prostyles 
 or porticoes, returned on its sides or wings, 
 and one intercolumniation distant from the 
 walls. Almost all the Doric temples of the 
 Greeks were peripteral. The term is, how- 
 ever, incorrectly applied by Vitruvius to 
 peristylar structures, though it is clear that 
 a perfectly round building, such as he de- 
 scribes to be peripteral, cannot be said to be 
 winged or to have wings. 
 
 Peristyler, having a Peristyle. (See Peri- 
 style. 
 
 Peristyle (Gr. around or about, and 
 
 o-Tuto;, a column,) a range of columns en- 
 circling an edifice, such as that which sur- 
 rounds the cylindrical drum under the cu- 
 pola of St. Paul’s. The columns of a Greek 
 peripteral temple form a 'peristyle also, the 
 former being a circular and the latter a 
 quadrilateral peristyle. The same term is 
 generally but incorrectly applied to a range 
 of columns, in almost any situation, when 
 they do not form a portico. (See Ortho- 
 style.) 
 
 Pier. The solid parts of a wall between 
 windows, and between openings generally, 
 are called piers. The term is also applied 
 to masses of brick-work or masonry, which 
 are insulated to form supports to gates or to 
 carry arches. 
 
 Pilaster (Lat. pila, a pillar, and the Ital. aug- 
 mentative astro, which indicates an inferior 
 quality,) an inferior sort of column or pil- 
 lar ; a projection from or against a pier, 
 having the form and decorations of antee, 
 
 when used correctly ; but too frequently 
 they have capitals, like those of columns, 
 assigned them. 
 
 Pillar (Lat. pila, and Ital. piliere,) a columnar 
 mass of no particular form. Columns are 
 vulgarly called pillars ; but architects make 
 a distinction, restricting this term to such 
 pillars as do not come within the descrip- 
 tion of a column. (See Column.) 
 
 Pillowed. A swollen or rounded frieze is 
 said to be pillowed or pulvinated. 
 
 t Pinnacle, the slender tapering head of a tur- 
 ret or buttress. A small spire, or the head 
 of a spire or steeple. 
 
 Plan, a horizontal geometrical section of the 
 walls of a building ; or indications, on a 
 horizontal plane, of the relative positions 
 of the walls and partitions, with the various 
 openings, such as windows and doors, — re- 
 cesses and projections, as chimneys and 
 chimney breasts, — columns, pilasters, &c. 
 This term is often incorrectly used in the 
 sense of Design. 
 
 Planceer is sometimes used in the same sense 
 as soffit, but incorrectly, as it is from the 
 French plancker, to board or floor. It is 
 more particularly applied to the soffit of the 
 corona in a cornice. 
 
 Plinth (Gr. 7r\ivSot, a square tile.) In the 
 Roman orders the lowest member of the 
 base of a column is square and vertically 
 faced; this is called a plinth. 
 
 Polytriglyph (Gr. iwAtir, many, and triglyph, 
 q. v .) An intercolumniation in the Doric 
 order of more than two triglyphs. (See 
 Monqtriglyph and Ditriglyph.) 
 
 Portico (an Italicism of the Lat. Porticus ,) an 
 open space before the door or other entrance 
 to any building, fronted with columns. A 
 portico is distinguished as prostyle, or in 
 antis, as it may project from or recede with- 
 in the building, and is designated with either 
 of these terms by the number of columns its 
 front may consist of. (See Distyle, Tetra- 
 STYLE, HeXASTYLE, OcTASTYLE, &C. 
 
 Porticus, (Lat. See Portico.) In an amphi- 
 prostylar or peripteral temple, this term is 
 used to distinguish the portico at the en- 
 trance from that behind, which is called the 
 posticum. 
 
 Posticum (Lat.) A portico behind a temple. 
 (See Porticus and Portico.) 
 
 Pronaos, (Gr. Ttep, before, and vm;, a temple.) 
 The inner portico of a temple, or the space 
 between the porticus, or outer portico, and 
 the door opening into the cclla, This is a 
 
ARCHITECTURAL TERMS. 
 
 77 
 
 conventional use of the term ; for, strictly, 
 the pronaos is the portico itself. 
 
 Propyl.eum (Gr. wgo, before, and wu\n, a portal), 
 any structure or structures forming the en- 
 trance to the peribolus of a temple ; also the 
 space lying between the entrance and the 
 temple. In common usage this term, in the 
 plural (propylasa), is almost restricted to the 
 entrance to the Acropolis of Athens, which 
 is known by it as a name. 
 
 Prostyle (Gr. irgo before, and ervuxos, a co- 
 lumn). A portico in which the columns 
 project from the building to which it is 
 attached is called a prostyle. It is tautolo- 
 gous to say a prostyle portico, — a prostyle is 
 a portico. Custom, however, seems to war- 
 rant the impropriety, for the word portico is 
 always superadded. In determining the 
 number of columns of which a portico con- 
 sists, the Greek numerals are prefixed to the 
 term Style, q. v., and prostyle is repeated. 
 It would be more concise, and, at the least, 
 equally correct, to put the numeral before 
 prostyle, and say tetra-prostyle, hexa-pro- 
 style, &c. instead of tetrastyle-prost.yle, &c. 
 as the custom is ; that mode is adapted in 
 this article throughout. 
 
 Pseudo-dipteral (Gr. 4 a/Ac, false and dip- 
 teral, q. v. false double-winged. When the 
 inner row of columns of a dipteral arrange- 
 ment is omitted, and the space from the wall 
 of the building to the columns is preserved 
 of the consequent double projection, it is 
 pseudo-dipteral. The portico of the Lon- 
 don University is pseudo-dipterally ar- 
 ranged, the returning columns on the ends 
 or sides not being carried through behind 
 those in front. 
 
 Pseudo-peripteral (Gr. ■J.wS'us, false, and_ pe- 
 ripteral, q. v.), false-winged. A temple hav- 
 ing the columns on its flanks attached to the 
 walls, instead of being arranged as in a pe- 
 ripteros, is said to be pseudo-peripteral. 
 Pseudo-prostyle (Gr. 4 £u <h>c> false, and pro- 
 style, q. v.). This is a term not in general 
 used, but is suggested to designate a portico 
 projecting less than the space from one co- 
 lumn to another, as the western porticoes to 
 St. Paul’s cathedral, and the portico to the 
 East India House, in London ; but that they 
 are recessed also, and therefore may be de- 
 scribed as pseudo-prostyle and recessed. 
 The front of Trinity Church in the new 
 road, near the Regent’s Park, in London 
 also, presents a mere pseudo-prostyle. 
 Pulvinated (Lat. pulvinus, a cushion or bol- 
 
 ster), a term used to express the swelling or 
 bolstering of the frieze which is found in 
 some of the inferior works of the Roman 
 school, and is common in Italian practice. 
 It is used indifferently with pillowed. 
 
 Pycnostyle (Gr. ttouvo;, dense, and o-ti/aoc a 
 column), columns thickly set. The space 
 or intercolumniation assigned to this term 
 is one diameter and a half. (See Eustyle.) 
 
 Quatre-foil, tracery in four foliations or fea- 
 therings ; but applicable only to circular or 
 square panels, and not to arches. 
 
 Quoin (Lat. ancon, an elbow or corner, whence 
 the Fr. coin), a corner-stone. The stones 
 which are made to project from the regular 
 surface of the walls at the angles of a build- 
 ing arc technically called quoins. The 
 front of the Farnese Palace exemplifies 
 them. 
 
 Regula (Lat.), a rule or square. The short 
 fillet or rectangular block, under the tienia, 
 on the architrave of the Doric entablature, 
 is so called. 
 
 t Rose or Catiierine-wiieel Window, the 
 large circular window filled with various 
 tracery, which is common in the upper part 
 of transept fronts in churches and cathe- 
 drals. 
 
 Scotia (Gr. cncoTix., shadow or darkness), a 
 concave moulding, most commonly used in 
 bases, which projects a deeper shadow on 
 itself than any other form would possess in 
 an underview position. It is like a reversed 
 ovalo, or rather what the mould of an ovalo 
 would present. 
 
 Scroll, synonymous with volute. The term 
 scroll is commonly applied to the more or- 
 dinary purposes, while volute is generally 
 restricted to the scrolls of the Ionic capital. 
 
 Section, a drawing showing the internal 
 heights of the various parts of a building. 
 It supposes it to be cut through entirely, so 
 as to exhibit the walls, the heights of the 
 internal doors, and other apertures ; the 
 heights of the stories, thicknesses of the 
 floors, &c. It is one of the species of draw- 
 ings necessary to the exhibition of a De- 
 sign, q. v. 
 
 Shaft. The body or tapering cylindrical mass 
 of a column, from the base below to the capi- 
 tal above, is so called. 
 
 Sill or Sole (Lat. Solum, a threshold, whence 
 the Fr. seuil). The horizontal base of a 
 
78 
 
 ARCHITECTURAL TERMS. 
 
 door or window-frame is called its sill, 
 though in practice a technical distinction is 
 made between the inner or wooden base of 
 the window-frame and the stone base on 
 which it rests, the latter being called the sill 
 of the window, and the former that of its 
 frame. This term is not restricted to the 
 bases of apertures ; the lower horizontal 
 part of a framed partition is called its sill. 
 It is often incorrectly written cill. 
 
 Soffit (Ital. soffitta, a ceiling), the inverted 
 horizontal face of anything. The horizon- 
 tal face of an entablature resting on, and 
 lying open between, the columns, is its soffit. 
 The underface of an arch, where its thick- 
 ness is seen, is its soffit. 
 
 Spandrel. The unoccupied angles, or rather 
 the excluded triangles of a square, described 
 about a circle, are called spandrels ; whence 
 almost any triangular space is designated 
 by the same term. 
 
 + Spire, the tapering mass which forms the 
 summit of a steeple. 
 
 Steeple. This term is used in contradistinc- 
 tion to tower, the latter being upright, or 
 nearly so, and terminating almost abruptly, 
 or with pinnacles, and the steeple running 
 to a point with sides converging from the 
 base upwards, or from a certain height 
 only. 
 
 Stele (Gr. trr»xn, a cippus or small monu- 
 ment). The ornaments on the ridge of a 
 Greek temple, answering to the antefixae on 
 the summit of the flank entablatures, are 
 thus designated. 
 
 Stereobate (Gr. <r Tsges?, firm, or solid, and 
 a base or fulciment), a basement. It is 
 sought to make a distinction between this 
 term and Stylobate, q. v., by restricting the 
 latter to its real import, and applying stereo- 
 bate to a basement in the absence of columns. 
 
 Stoa (Gr. cttou., a portico.) This is the Greek 
 equivalent for the Latin porticus and the 
 Italo-English portico, q. v. 
 
 String or String-course, a narrow, vertical- 
 faced, and slightly projecting course in an 
 elevation. If window-sills are made con- 
 tinuous, they form a string-course ; but if 
 this course is made thicker or deeper than 
 ordinary window-sills, it becomes a block- 
 ing-course. 
 
 Style (Gr. erruxos, a column). The term style 
 is of very constant use in the composition of 
 architectural names and distinctions, and in 
 those compositions it is not to be understood 
 in its ordinary and almost unlimited appli- 
 
 cation, but in its simple and original mean- 
 ing, — a column. It is, however, not used in 
 that sense unless in composition ; but in its 
 ordinary acceptation it is applied to the va- 
 rieties of architecture, as the Greek and 
 Roman styles, &c. 
 
 Stylobate (Gr. a-roxo;, a column, and /Zz<ns, a 
 base or fulciment), a basement to columns. 
 (See Stereobate.) Stylobate is synonymous 
 with pedestal, but is applied to a continued 
 and unbroken substructure or basement to 
 columns, while the latter term is confined to 
 insulated supports. 
 
 Surbase (Lat. super, whence the Fr. sur, above 
 or upon, and base, q. v.), an upper base. This 
 term is applied to what, in the fittings of a 
 room, is familiarly called the chair-rail. It 
 is also used to designate the cornice of a 
 pedestal or stereobate, and is separated from 
 the base by the dado or die. 
 
 Sistyle (Gr. eruv, together with, and erruxos, a 
 column), columns rather thickly set. An 
 intercolumniation to which two diameters 
 are assigned. See Eustyle. 
 
 t Tabernacle, a canopied recess or niche. 
 The rich ornamental tracery forming the 
 canopy, &c. to a tabernacle, is called taber- 
 nacle-work : it is common in the stalls and 
 screens of cathedrals, and in them is gene- 
 rally open or pierced through. 
 
 t Tablet. Projecting mouldings, or moulded 
 strings in the Pointed style, are better de- 
 scribed as tablets than as cornices. 
 
 T.'Enia (Lat.) a band. (See Band.) 
 
 Terminal. Figures of which the upper 
 parts only, or perhaps the head and shoul- 
 ders alone, are carved, the rest running into 
 a diminishing pedestal, with feet indicated 
 below, or even without them, are called ter- 
 minal figures. 
 
 Tetrastoon (Gr. rergz, four, and trrox., a porti- 
 co). An atrium or rectangular court-yard, 
 having a colonnade or projected orthostyle 
 on every side, is called a tetrastoon. 
 
 Tetrastyle (Gr. TSTg-x, four and irruxoc, a co- 
 lumn), a portico of four columns in front. 
 
 Tiiolobate (Gr. 6oaos, a dome or cupola, and 
 /2-j.ris, a basis or substructure), that on which 
 a dome or cupola rests. This is a term not 
 in general use, but not the less of useful 
 application. What is generally termed the 
 attic above the peristyle and under the cu- 
 pola of St. Paul’s, would be correctly desig- 
 nated the tiiolobate. A tholobate of a dif. 
 
ARCHITECTURAL TERMS. 
 
 79 
 
 ferent description, and one to which no 
 other name can well be applied, is the cir- 
 cular substructure to the cupola of the Lon- 
 don University. 
 
 Tiiolus or Tiiolos (Gr.) a dome or cupola, 
 or any round edifice. This is the only term 
 used by Greek writers that can be supposed 
 to apply to the conical chambers which ap- 
 proach, in internal form, to that of the mo- 
 dern cupola or dome, and is therefore made 
 the Greek equivalent for those terms. 
 
 Torus (Lat.), a protuberance or swelling, a 
 moulding whose form is convex, and gene- ' 
 rally nearly approaches a semicircle. It 
 is most frequently used in bases, and is for 
 the most part the lowest moulding in a base. 
 
 Tower, a circular, square, or polygonal struc- 
 ture, with upright or slightly converging 
 sides, running to a height equal to or greater 
 than its diameter or base, and terminating 
 abruptly or in horizontal lines. A tower 
 may be flanked by buttresses whose pinna- 
 cles surmount it, and be superimposed by a 
 turret, lantern, or spire. 
 
 t Tracery. The transoms, mullions, and in- 
 terlaced or flowing continuations of the lat- 
 ter, with their foliations in windows, on 
 doors, panels, and in tabernacle-work, are 
 so called. The ribs on groined ceilings, 
 and almost all eccentric moulded enrich- 
 ments, come under the same denomination. 
 
 Trachelium (Gr. rfu^tiKoi, the neck). In Do- 
 ric and Ionic columns there is generally a 
 short space intervening the hypotrachelium 
 and the mass of the capital, which may be 
 called the trachelium or neck. 
 
 Transom, the horizontal bar used to divide a 
 mullioned window into heights ; the straight 
 and horizontal parts of tracery. 
 
 t Trefoil, tracery in three foliations or 
 featherings. 
 
 Triglyph (Gr. Tge/t, three, and ybucfn, an inci- 
 
 sion or channel). The vertically chanellcd 
 tablets of the Doric frieze are called tri- 
 glyphs, because of the three angular chan- 
 nels in them, two perfect and one divided ; 
 the two chamfered angles or hemiglyphs 
 being reckoned as one. The square sunk 
 spaces between the triglyphs on a frieze are 
 called metopes. 
 
 t Turret, a small tower, or a tower of small 
 base in proportion to its height. Turrets 
 are sometimes placed on the angles of 
 towers ; but in the later works of the style 
 they are attached to the angles of structures 
 instead of buttresses, and they run up above 
 their height in lieu of pinnacles. 
 
 Tympanum, the triangular recessed space in- 
 closed by the cornice which bounds a pedi- 
 ment. The Greeks sometimes placed sculp- 
 tures representing subjects in connection 
 with the purposes of the edifice, in the tym- 
 pana of temples. 
 
 Vault, an arched ceiling or roof. A vault is, 
 indeed, a laterally conjoined series of arches. 
 The arch of a bridge is, strictly speaking, a 
 vault. Intersecting vaults are said to be 
 groined. (See Groining.) 
 
 Volute (Lat. volutmn, tivolvo, rolling up or 
 over, convolving.) The convolved or spiral 
 ornament which forms the characteristic of 
 the Ionic capital is so called. The common 
 English term is scroll, q.v. Volute, scroll, 
 helix, and cauliculus, are used indifferently 
 for the angular horns of the Corinthian 
 capital. 
 
 Zoophorus (Gr. an animal, and<j>e£oto 
 bear.) This term is used in the same sense 
 as frieze, and is so called because that part 
 of the entablature is made the receptacle of 
 sculptures which are frequently composed of 
 various annuals. 
 

 
 
 
 
 

 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
A MODERN FRONT DOOR. 
 
 Plate 1. 
 
 This design is new, and in many instances may advan- 
 tageously be applied. It being original, and differing 
 materially from any at present executed, it may by many 
 be thought not practical, and (as is often the case) pre- 
 ference given to worn-out designs, instead of new. But 
 prejudices of this kind are fast passing away, and proprie- 
 tors of buildings are becoming more- liberal in sentiment, 
 submitting matters of design and details to those more 
 scienced in the art of design and architecture generally. 
 Such being the case, a belief is entertained that the design 
 before you will find its admirers. 
 
 Fig. 1. The plan representing all parts of the elevation 
 standing thereon : a plinth of architrave, see a on elevation, 
 Fig. 2; b return of plinth to doorsill c, (see corresponding 
 letters on elevation;) c doorsill ; d brick wall ; e plan of archi- 
 trave, (the architrave may be executed of stone or wood, 
 as may be seen in the enlarged drawing, Plate 3 ;) f recess 
 jamb-piece which passes the same overhead, and forms the 
 soffit of said recess ; g connected with f is a sort of back- 
 ing to the architrave g ; k enriched bead ; h door-jamb ; i 
 inside architrave ; j door. If the doorsill is of stone, it 
 should not extend from c to j, but stop within half an inch 
 of the door, in order to admit a good securing through the 
 front of the iron saddle to the floor, as well as to avoid the 
 necessity of a broad saddle. 
 
 Fig. 2. Elevation : a plinth to architrave as in plan ; 
 c stone sill ; d brick wall ; e architrave ; f enriched bead. 
 The upper pannels are designed to be finished with maho- 
 gany sash and plate glass. 
 
 82 
 
PL. J. 
 

 
 
 
 
 
 
 
 
 
 
 
AN ANT JE FRONT DOOR. 
 
 Plate 2. 
 
 In this is claimed the construction of the inner ant®, and 
 the finish of the door, side-lights, transom-light, and transom 
 mouldings, with said ant®, as original. The whole construc- 
 tion and relative connection of all the parts will be seen by 
 referring- to the sectional drawings to a large scale, Plates 
 3 and 4. 
 
 Fig. 1. The plan representing all parts associated with 
 the elevation referred to, and lettered thus : a plinth ; b re- 
 turn of plinth to doorsill ;'c doorsill, (see corresponding let- 
 ters on elevation,) d brick wall ; f recess jamb ; g a narrow 
 architrave or facia, which is formed of the same width over- 
 head ; h a jamb extending from g to n — this jamb is con- 
 nected with a soffit or head-piece of the same width ; i i 
 pannels under side-lights ; j front of inner ant® ; k door- 
 jamb and return, or flank of ant® ; l inside ant® ; m return 
 or flank of ant®, which likewise forms a jamb to side-light ; 
 n inside architrave ; o outside line of the door ; p inside of 
 door ; q line of wall finish ; s plan of architrave. 
 
 Fig. 2. Elevation : a plinth to anta, (see corresponding 
 letters on plan ;) c doorsill ; g front of inner anta ; i pannel 
 or back under side-light ; j elevation of the outside ant®. 
 
 84 
 
PL. B. 
 
 J*=f| 
 
 [CT 
 
 
 1 
 
 ^ l 
 
 a ' 
 
 L 
 
 L, 
 
 — f 1 
 
 / 
 
 .L 
 
 /’/’</. 1 . 
 
 
 

 
 
 
 
 

 
 f . 
 
 
 
 
 
 
 
 
Plate 3. 
 
 This is a section to an enlarged scale, showing the form 
 and connection of the parts under the side-lights of design, 
 Plate 2 : a is the return plinth from the plinth s, under the 
 side-light inside ; b (dotted line) plinth of anta between the 
 door and side-light. The antse between the door and side- 
 lights, stand in advance of the door, (as may be seen at h in 
 Plate 4.) This projection is to accommodate the projection 
 of the transom and its mouldings, as represented by the let- 
 ters y'andpy), Plate 4; c (dotted line) represents the plinth 
 of outside anta between the door and side light ; d face of 
 inside anta ; e face of outside anta between door and side- 
 light ; f front of architrave, or facia, which passes up both 
 sides and overhead, as c and s, Plate 4 ; g inner extremity 
 of the architrave, which forms the finish of the door, (refer 
 to i and g , Plate 4, for farther particulars ;) h h pannel 
 under side-light ; i i bottom rail to back or pannel ; j j top 
 rail to pannel under side-light ; k k facia to capital ; 1 1 ovolo 
 of capital ; m bottom rail and style of side-light sash ; n re- 
 presents the inside shutter. It will be observed that the 
 shutter projects over the pannel, or back under the side- 
 light, which is only done to reduce the whole width of the 
 work ; o represents the return jamb of the architrave from 
 g to h ; p return jamb of outside architrave ; r return plinth 
 from under side-light to front anta ; s plinth under pannel ; 
 t plinth under outside pannel or back ; u part of the recess 
 jamb that finishes between the architrave and stone anta, 
 (see a and b, Plate 4.) 
 
PL 5 
 

 
 
 
 
 / 
 
 
 
 
 
 
 
 

 
 
 
 
 
DETAILS. 
 
 Plate 4. 
 
 Is a section of the stone, brick, and wood work through 
 the head of design, Plate 2 : a size of the stone or outside 
 anta ; b jamb that finishes between the anta and architrave 
 c and s ; c return or jamb of architrave ; cl return side of 
 anta ; e front of transom. The dotted line e is that part of 
 the transom which projects over the side-light further than it 
 does over the door ; f transom over the door. Here it may be 
 well to say that the transom is the width of e wider over the 
 side-light than over the door ; g represents a portion of the 
 door ; h that part of the anta which stands in front of the 
 door sufficient to receive the transom. The transom pro- 
 jects over the door on the inside about § of an inch ; i the 
 return or jamb of the architrave g ; j j represents the top 
 and bottom rails of the transom sash over the side-light ; k k 
 top and bottom rails of transom over the door ; l head-piece 
 (equal to the abacus and ovolo or echinus of the capital) in 
 which to fix the transom sash ; m m (dotted line) shows the 
 same piece over the transom of the side-light; n style of the 
 side transom sash; o side style of transom sash over the 
 door; ppp ovolos on transom over door and side-light; q 
 architrave that forms the finish on the side wall, as shown 
 on the plan, Plate 2 ; r head-piece, or soffit, which passes 
 over all the parts directly connected with the side-lights 
 and door. This soffit is tongued, grooved, and glued to s 
 and q, and should be finished and fitted to the jamb on the 
 back in order to make a first rate job ; s outside architrave 
 or facia, which finishes on both sides and above ; t soffit or 
 
 head-piece ; u furring joist ; w lath and plaster ; x x part of 
 
 88 
 
89 
 
 two beams; y wooden lintel to support the brick over the 
 aperture ; z brick- work ; 1 stone blocking over the cornice 
 of the door-way ; 2 cornice ; 3 bed mould; 4 frieze ; 5 tenia, 
 or upper fdlet to the architrave moulding ; 6 fillet, or regula ; 
 7 drops, or guttse ; 8 face of architrave ; 9 capital of anta ; 
 10 front line of brick. 
 
DETAILS. 
 
 Plate 5. 
 
 This plate represents one half of the head and architrave 
 of design Plate 1, on an enlarged scale, which will enable 
 the student to comprehend the subject without the least 
 difficulty. 
 
 Fig. 1, is the half head, and lettered as follows : A and B the 
 head and side architrave as at g in Fig. 1, Plate 1; d e 
 face of architrave as at e in Fig. 1, Plate 1 ; f relieved 
 ovolo ; g corona. Fig. 2 is a plan of the architrave d e 
 in Fig. 1 : a facia as at d in Fig. 1 ; d return or flank of 
 architrave ; b the outer margin of architrave. See e in 
 Fig. 1 ; g backing-piece ; c c c plinth to architrave. See a 
 b in Fig. I, Plate 1. 
 
 The two different scales are for the two different figures, 
 and will give their correct dimensions when taken by a 
 divider. 
 
 CO 
 
zz 5 
 

 / 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
PARLOR WINDOW. 
 Plate 6. 
 
 Presents an original design for a parlor-window finish ; 
 in which it will he seen that a bead is executed on the archi- 
 trave, receding about § of an inch, which appears well ; but 
 I am, at the present time, executing the design without the 
 bead, and give it a decided preference. It appears more 
 chaste, and is attended with less labour in its execution. 
 
 Fig. 1. Elevation. Fig. 2, scale to Fig. 1. Fig. 3, plan 
 of architrave, plinth, and shutters : a jamb flap ; b back flap ; 
 c back lining ; cl d cl plinth, this plinth is continued under 
 the elbows and back. Fig. 4, scale of feet to Fig. 3. 
 
 The jamb shutter is in one entire pannel when executed 
 with ornaments at bottom, top, and middle of pannel, which 
 is the case in those I am now executing. 
 
 92 
 
rL.6 
 

 
 
 
SLIDING DOORS. 
 
 Plate 7. 
 
 This plate presents an original design for sliding doors, 
 and, if executed in every particular suggested, would eclipse 
 every thing of the kind yet introduced. 
 
 The two middle doors are designed to slide into the two 
 wall doors, which are hung to the wall ; and when slid in 
 the wall door, they are together turned around to the wall. 
 In order that the wall door shall not sag, a way is let into 
 the floor, as shown 'in Plate 8. To the outer and lower ex- 
 tremity of the wall doors is fixed a sheave crosswise of the 
 door, which will act upon the circular way-piece. And in 
 order that the middle door may slide into the wall or hung 
 door, the floor is § of an inch lower under that than any 
 other part of the floor, which will admit of a way being 
 secured at the bottom for the convenience of the middle 
 sliding doors. The circular ways as shown on the plan in 
 Plate 8. 
 
 The doors are designed to be executed with plate glass 
 in the upper pannels, which would present a very striking 
 effect. 
 
 The details of this plate and design follow in Plates 8, 9, 
 10, and 1 1. Plate 9 is an entablature on an enlarged scale. 
 Plate 10 is a plan and section of the ceiling over the plan 
 Plate 8. Plate 11 is the base column and capital on an en- 
 larged scale, adapted to practical purposes. The above, if 
 executed in a manner due to the design, will in effect rarely 
 be excelled. 
 
 94 
 
I 
 
 f 
 
 PL.!. 
 


 
 
 
 
 
 
 
Plate 8. 
 
 This plate represents a plan of the design in Plate 7, and 
 explained in the explanation of that plate. Nothing can 
 surpass the beauty and effect of this design when correctly 
 executed in conformity to it. If at first the execution may 
 be thought impracticable, it will, on a correct and careful 
 examination, be found quite otherwise. 
 
' J If, P<K[\<C °1 
 
 r/:.;;. 
 
 CC./’rrf JJny> 
 

 
 / 
 
 
 
 
 
 
 

 
 
DESIGN FOR AN ENTABLATURE. 
 
 Plate 9. 
 
 This plate is a design for the entablature of Plate 7, on 
 an enlarged scale, for practical purposes. 
 
 98 
 
PI. 9. 
 
 r ! 
 
 F- 1= 
 
 — Co 
 
 — * 
 

 
 
 
 

 
 
 
 
DESIGN FOR A CEILING. 
 
 Plate 10. 
 
 Is a plan and section of ceiling- over the sliding door ; 
 plan in Plate 8. Fig. 1, plan of the ceiling over sliding door : 
 a is a way fixed to the beam, (see b in Fig. 2.) Fig. 2, sec- 
 tion of Fig. 1 : c is the upper end of sliding doors. 
 
 100 
 
FL.HK 
 
 nril t AAA JUUUA ia 
 
 ifwr n *rrnit turf tt i fit furry " 
 
 Ah n) HTjji£urrriTii jmrn i~- 
 
 yTO'rmffW 'nM n'TTfmy»ff »T TTTT l 
 
 
 Sa J LoixmjMMJiJLUJJiimuniM I 
 
 m. i 
 
 uiijiixMinnii 
 
 Fif ll 
 

 
 
 
 
 
 
 
 

 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
o 
 
 DESIGN FOR A CAPITAL. 
 Plate 11. 
 
 This is a design composed of antique specimens, and re- 
 duced to accurate proportions ; with a view to render it 
 acceptable in many places, instead of the standard orders. 
 For the entablature see Plate 12. In many situations this 
 design will be preferable to those generally in use. 
 
 m 
 
p/. // 
 
 JO 20 .10 40 SO SO 
 
 
 T/ic Ji/zUre- 7u0a7u 7777 17? rr/<:7udn/JEti?<r7>7a.7iau . 
 

 
 
 
 i 
 
 
 
 
 
 
 

 
 
 
 
 
 y 
 
 
 
 
 
 
 
 
 
 
 
 
ENTABLATURE. 
 
 Plate 12. 
 
 Entablature to Plate 11. When this entablature is 
 executed with a pediment, the effect would be improved on 
 the sides or flanks by discontinuing the cymatium at a the 
 centre of the first tile ornament. It is not intended that the 
 tile ornaments should be executed, if the cymatium be re- 
 turned or continued on the sides or flanks : b is the front of 
 the water gutter, which stands behind the tile ornaments 
 when executed. 
 
 m 
 
7J////Hr‘fr J /\r srr/tf •?/-* 7/t. /ft <//t ■ 
 
 r? 12 
 
 </ 
 

 
 
 
 * 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 / 
 
 
 
Plate 13. 
 
 This plate represents the entire elevation of the partition 
 separating the front and back parlours. In this elevation 
 are designs of sliding or folding doors, pannels in the side- 
 piers, cornice and frieze in the angle, formed by the ceiling 
 and side walls. The whole elevation is new in design, and 
 in many instances may be preferred to the antse or column 
 finish. In designing for interior finishings, and particularly 
 parlours, the architect has much to perform if he wishes to 
 excel, or even compare with, those of his profession. In this 
 elevation, the sliding door design presents original fixtures, 
 and by unprejudiced minds they will be favourably received, 
 and in appropriate instances supersede the use of those 
 which have been in use so long, and consequently become 
 common and not so desirable as when first introduced. 
 
A/i *^s wz/jr *? f**r 
 
 PI. 13 . 
 

PARLOUR ELEVATION. 
 
 Plate 14. 
 
 In this is represented an entire elevation of the side of 
 the parlonrs next the hall or entrance from the front door. 
 This elevation is connected with Plate 13. The doors are 
 trimmed in the architrave style, and executed next the door 
 without a bead. The door recedes from the face of the ar- 
 chitraves, in order to relieve them from the face of the door. 
 
 108 
 

 PL 14. 
 

 
 

 
 
 
 
 
WINDOW DESIGN. 
 
 Plate 15. 
 
 In designing for parlour finishing, the most difficult task is 
 to produce a desired effect, with due proportions of enrich- 
 ments. In this, although considerably ornamental, yet in 
 no respect has it an appearance of over-rated or superfluous 
 labour. The capitals of the antse are of an original charac- 
 ter, and will equal any thing of a similar application yet in 
 use. The capitals, or caps, are continued across the head 
 of the window, under which the shutters will stand, when 
 closed before the window ; and the cap will project over 
 them the same as it does over the face of the antse and shut- 
 ters when they are shut into the box, and at the same time 
 forms the return sides or jambs of the antse, as will be seen 
 in the section. By this design it will be easy for the stu- 
 dent to discover the important effect produced by the depth 
 on the return of the antse, which, prior to the present time, 
 did not exceed one and a half inches in thickness, which 
 certainly presented a very indifferent effect. The follow- 
 ing are the lettered references to all the various parts: Fig. 1 
 is an entire elevation of a window with a part of the en- 
 tablature directly over it. Fig. 2 is a section of Fig. 1, 
 showing all the parts employed in the finish and execution 
 of the design : a in Fig. 1 is a portion of the entablature ; 
 a in Fig. 2 is the piazza floor; b stone sill, this sill forms a 
 common step from the floor c of window sill ; d bottom 
 rail of sash ; e base to antse and room, this base is six inches 
 high ; f the thickness of antse to the shutter-box ; g shutter, 
 
 this shutter is in one entire piece, the back flap is executed 
 
 110 
 
Ill 
 
 in two parts as usual ; h return of brick-work to the hang- 
 ing style ; i meeting rail of sash ; j marble or stone lintel ; 
 k section of that part of the antse cap that passes over the 
 window ; l return of antse cap ; m section of the architrave 
 of the entablature ; n frieze of entablature ; o bed mould- 
 ings and dentals ; p soffit of cornice ; q corona ; r crown 
 moulding of a relieved ovolo ; s lath and plaster of the ceil- 
 ing ; t floor of second story ; u lath and plaster of the second 
 side wall ; v v sections of two beams ; w cross bridgings ; 
 x deafening boards ; y strips nailed on the sides of the beams, 
 to support the deafening board ; x z is a section of a 4 x 1£ 
 piece of hard wood running the wdrole extent of the Avail or 
 partition; 1 pocket-piece that raises up with the lowermost 
 sash into the groove ; 2 the second story stud ; 3 the first story 
 stud, this stud or post disappears behind the window finish ; 
 4 cross furring to form the window soffit ; 5 wooden lintel, 
 over which a brick arch is turned to take the wall from the mar- 
 ble or stone lintel, j ; 6 wooden lintel, over which is a brick 
 arch to take the weight of the wall, and to form a recess 
 for the pocket or groove to receive the sash when raised to 
 admit a passage from the parlour to the piazza ; 7 brick 
 wall ; 8 blank space ; 9 pocket on the head of the window- 
 frame to receive the lower sash. In the soffit or head-piece 
 of the window there will be executed a pocket-piece the 
 thickness of the sash, which will have a short tenon on each 
 end, and which are to slide up in grooves prepared for the 
 purpose ; when the sash comes in contact with it, or is 
 lowered down, it will follow it until it descends to its proper 
 place; 10 bracket for lathing to; 11 top rail to sash; 12 
 section of head-piece to hanging style ; 13 hanging style. 
 
ANTAE BASE AND CAPITAL. 
 
 Plate 16 . 
 
 The antge base and capital here represented, are designed 
 at a half-size scale, intended as a working drawing for Plate 
 15 . The base in this design is much lower than the usual 
 height of parlour bases, which may by some be condemned ; 
 but after wisely examining the matter, it will be acknow- 
 ledged that no architectural reasons can be assigned for its 
 being any higher, but both utility and effect must be con- 
 ceded, in an architectural point of view, in favour of the pro- 
 portions here represented ; a in the anta3 capital represents 
 a section of the moulding. 
 
 Yl 
 
FL 16 
 
 
 

 
 n 
 
 
DETAILS. 
 
 Plate 17. 
 
 In this plate are illustrated all the particulars necessary 
 to render the execution of the window design, Plate 15, 
 intelligible to the understanding of every workman. 
 
 The parts that are most difficult to comprehend in 
 Architecture, can no way be attained to, as readily as 
 by plans and sectional drawings, which in this plate are 
 fully set forth and explained. It contains a plan of the 
 brick wall, window frame, inside shutters, shutter box, and 
 a part of the inside architrave, and also a section of the 
 stone sill, wooden sill, the different parts in the window 
 frame, and an elevation and section of the base and anta. 
 The following; are the references to the different figures and 
 letters : Fig. 1 represents a plan of the brick wall, window 
 frame, shutters, box, and architrave: a a brick wall; b 
 hanging style ; c outside lining, and outside stop bead ; d 
 pulley style ; e back lining to window frame ; g inside lining ; 
 v inside stop bead ; x inside and bottom sash ; f parting 
 bead; w groove for uppermost and outside sash; cfi box for 
 sash weights. The following are the letters for the parts 
 employed in the shutters, shutter box, &c. : y bed for the 
 shutter when closed on the window ; z z z projection of the 
 fillet of the base, (see u u in Fig. 2 ;) /’style of jamb shutter ; 
 t sunk pannel of shutter; k bead and butt pannel ; m style 
 of jamb shutter ; n style of llap shutter ; o bead and butt 
 pannel of flap shutter ; p outside style of flap shutter ; r sunk 
 pannel; s s style of back lining ; j pannel of back lining ; 
 v inside architrave. The piece on the back of the archi- 
 
 114 
 

 
 
 
115 
 
 trave, near the No. 22, is glued or otherwise fitted to the 
 architrave, to give it a sufficient projection from the w r all, 
 against which this piece lies ; and is represented by the 
 short line extending on to Fig. 2. 
 
 Fig. 2 : a brick jamb, (see a in Fig. 1 ;) b hanging style ; 
 (see b Fig. 1 ;) c outside stop bead, (see c Fig. 1 ;) d groove 
 for outside sash, (see w Fig. 1 ;) e parting bead, (see f Fig. 
 1 ;) f inside sash, (see x Fig. 1 ;) g inside stop bead, (see v 
 in Fig. 1 ;) o thickness of jamb shutter when closed on the 
 window, (see y Fig. 1 ;) p p inside shutter, and likewise 
 serves as a side or flank to the anta. The p on the extre- 
 mity of the return of the anta represents the side of the 
 anta when the shutters are folded over the window ; r repre- 
 sents the elevation of the base ; w the section of the base ; 
 u u the projection of the fillet of the base past the anta 
 and shutter, both when in the anta, and when closed over 
 the window ; s represents the plinth under the base mould- 
 ings ; w floor line ; m the height of stone sill and thickness 
 of piazza floor, j under the sill is the thickness of the piazza 
 floor, and in front represents the front thickness of sill ; 
 k is the difference between the height of the parlour and 
 piazza floors ; l underside of piazza floor ; i section of stone 
 silL 
 
DETAILS. 
 
 Plate 18. 
 
 The details described, are drawn to an enlarged scale for 
 the pannels in Plate 15, but will be applicable in various 
 situations. The designs are original, and designed and 
 drawn by C. L. Bell, Architect. 
 
 110 
 
PL.18. 
 

 

 
 
 
 
PARLOR DOOR. 
 
 Plate 19.' 
 
 This design is original and appropriate for parlours of the 
 first class. The composition is novel and judiciously 
 arranged, and in no instance where elegance is required 
 would it fail to produce a chaste and elegant effect. 
 
 Tire workmen in making preparations, and through the 
 whole execution of this design, must pay particular atten- 
 tion to the neatness and perfection of all the parts engaged, 
 in order to render it more perfect. 
 
 The plan of the door jamb is moulded with a neat ogee 
 moulding, which will present it more chaste and acceptable 
 to classic observers. In order to make it useful in practice, 
 it is thought necessary to accompany it with the details in 
 working drawings, which are illustrated at large and explain- 
 ed in Plate 20. 
 
 Note. — The present and former custom of executing high skirtings and bases in 
 parlours being fixed in the minds of almost every workman as unavoidably necessary, 
 it may be well to remark, (notwithstanding the treatises in favour of such proportions, 
 that no one branch of finishing more requires a reform from the old school system. 
 The writer is aware of the prejudices against new designs in the architectural de- 
 partment ; he nevertheless resolves to carry into effect, as far as his abilities will 
 permit, a change in designs and proportions of interior finishings for private resi- 
 dences. He would therefore recommend to those concerned, to duly consider all 
 subjects of the above importance, prior to the execution thereof. 
 
 118 
 
PI. J'V 
 
 L 
 
 SCALE 
 

 
 
 
WORKING DETAILS TO PLATE 19. 
 
 Plate 20. 
 
 Fig. 1 represents the plans of the studs, lath and plaster, 
 architrave, door jamb, plinth, and door, which are thus 
 described, viz. : a a a plinths ; b architrave ; c c mouldings 
 to door jamb; d door jamb; e door; ff thickness of lath 
 and plaster ; g g studs or joists ; li space between studs ; i 
 backing of architrave ; j j front line of plaster. 
 
 Fig. 2, profile of architrave and cornice ; a crown mould- 
 ing ; b corona ; c soffit, or plancer of cornice ; d bed mould ; 
 e outer facia of architrave ; f inside facia. 
 
 Fig. 3, ornament across the door head, (see Plate 19.) 
 
 130 
 
PI. 20 
 
 Pu// . 3 . 
 
 £ J 4 S O' 7 S C JO 
 
 SC JUJU ON INCHES 
 


 
 
 
 
DESIGN FOR A CENTRE FLOWER. 
 
 Plate 21. 
 
 The design presented is original, and appropriate to par- 
 lours of the first class. It may be varied in size to accom- 
 modate many situations. 
 
 122 
 
/V IV. 
 


ANTA AND ENTABLATURE. 
 
 Plate 22. 
 
 Is a miniature drawing of an anta and entablature, given 
 to show the comparative heights and proportions, and to 
 reduce it to a scale of minutes for operative purposes. The 
 numbers are figured the same as in the details of Plates 23 
 and 24. Fig. 1 is the anta and entablature. Fig. 2, an 
 enriched egg-moulding to an enlarged scale, but does not 
 belong with the above anta. 
 
 

 
 
 * 
 
 

ANTA DETAILS. 
 
 Plate 23 . 
 
 The details of this plate are half full size, and reduced to 
 a scale of minutes, in order to render it intelligible to the 
 student, for practice. This anta bears resemblance to the 
 anta employed in the Choragic Monument at Athens, yet it 
 materially differs therefrom in the contours and proportions 
 of the details. The projections are figured from the centre. 
 The letter H at the top of the columns represents height, 
 and P projection. 
 
 The base mouldings are well adapted in form and propor- 
 tion for parlours. 
 
 N. B. — The termination of the base, which is a bevel, is 
 figured one and a half minutes high, but should have been 
 one half only. 
 
 126 
 
TL 23 
 
 h r 
 
 v //te it// e/e dtsintt/ei- ?///{( tt/Maf 
 


 
 
 
 
 V 
 
ANTA ENTABLATURE DETAILS. 
 
 Plate 24. 
 
 The architrave guttse, or drops, are formed in two lengths 
 and projections. The longest guttse, or drops, may be either 
 round or square ; but the shortest row will be square, and 
 project to the centre of the round guttse. The projections 
 are figured from the centre, as in Plate 23. 
 
 198 
 
nineties . > fi reel . 
 

 

 
 
 
 % 
 
SLIDING DOOR DESIGN. 
 
 Plate 25. 
 
 This design is original in its features, and may be classed 
 with the richest compositions of the present style of finishing. 
 It may be remarked, with propriety, that many attempts 
 have been made to introduce appropriate and elegant finish- 
 ing, that might be executed without connecting it with the 
 cornice of the room, which in this case is effected, and may 
 in various situations be preferable to column or anta when 
 the architrave and frieze are terminated between the walls. 
 The plan and elevation are shown entire at Figs. I and 2. 
 Fig. 1, elevation; Fig. 2, the plan. 
 
 I3fl 
 
PL. id. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 € 
 
 
 
 
 
DETAILS OF SLIDING DOORS. PL. 25. 
 
 Plate 26. 
 
 These details are drawn to an enlarged scale, bj which 
 the proportions and forms are distinctly shown, and by 
 which the workman may be instructed to execute with 
 a degree of correctness necessary to produce the required 
 effect. The drawing, as shown, represents the semi-eleva- 
 tion of the door-head, connected with a portion of the side 
 elevation : a represents the centre of the column ; b eleva- 
 tion of the architrave, (see b b in the design, PI. 25 ;) e, the 
 dotted line, represents the extremity of the column. 
 
 132 
 
7 1’M./J. Swift. 
 


 
 .* 
 
 
 
 
DETAILS OF SLIDING DOORS. 
 
 Plate 27. 
 
 In order that the student may be furnished with neces- 
 sary instructions, which will enable him systematically to 
 carry these designs into execution, the details are, in this 
 and the two following plates, given on an enlarged scale, 
 with all the parts figured and referred to in the following 
 explanations. 
 
 Fig. 1 represents the plan with the studdings, base, boxing 
 for the door, the door in the box, and the columns ; a a Fig. 1, 
 plan of columns ; b facia back of column, (see a in Fig. 1, 
 Plate 25 ;) c return or flank of g in Fig. 2 ; d face of 
 architrave, (see g in elevation, Fig. 2 \)f margin or band, 
 (see f in elevation, Fig. 2 ;) g lath and plaster, and likewise 
 grounds; h regulating bead to the door; i doorjamb; j j j 
 studs ; k k k spaces between the studs which requires pieces 
 worked in at about two feet apart for nailing to ; l plan of 
 door when slid on the box ; m represents the partitions, 
 door, &c., as broken off within the full extent. Fig. 2, a 
 broken elevation of the base, architrave, facia between the 
 architrave and columns, and the column ; a the base, and a 
 small portion of the column ; b plinth under the architrave ; 
 c d e base mouldings of the room ; f band or margin of the 
 architrave ; g facia of the architrave ; o represents the way- 
 piece. 
 
 134 
 

 
 
 
 
 

 
 
 % 
 
 
 
 
 
 
SECTION O.VER SLIDING DOORS. 
 
 Plate 28. 
 
 This section represents all parts employed in cornicing, 
 furring, and finishing over the doors, and are designated by 
 the terms, viz. : a a facia of the architrave on which the or- 
 naments are applied over the door ; b b soffit over the door ; 
 c c regulating beads for the doors, (see h in Plate 27 ;) d be- 
 tween the regulating beads, represents the groove formed for 
 the door to slide in ; d d on the two extremes represent the 
 border or margin of the architrave ; e e bed mould ; f f 
 corona upon which the ornament is executed ; g the centre 
 ornament ; h h facia or frieze of the cornice around the 
 room, which is of plaster ; i i bed mould ; j dental, (see 
 Plates 30 and 31 ;) h anta, or intermediate dentals, (see 
 Plates 30 and 31 ;) l ornamental bead, (see Plates 30 and 
 31 ;) m m corona of stucco cornice in the angle of the ceil- 
 ing and side wall ; n n crown moulding ; o o ceiling of the 
 
 room ; p y p p section of furring ; q q q q studding, or joists. 
 
 6 
 

 
 
 
 
 
 
 
 
 
 

 
 
DETAILS. 
 
 Plate 29. 
 
 Fig. 1 represents a section of parts of the styles and pan- 
 nels of the sliding doors on an enlarged scale ; a a a portion 
 of the two styles ; b b thickest part of the pannels, or that 
 part which forms the outer margin ; c c the inner recess or 
 pannel, the entire elevation of which may he seen in the de- 
 sign, PL 25. Fig. 2, a parlour base on an enlarged scale : 
 b represents a furring piece behind the plinth; a represents 
 the wall line. 
 
 J33 
 
/V. 22 . 
 
 
 S CA 7 , E 
 

 
 
t 
 
 EXTERIOR EAVE CORNICE. 
 
 Plate 30 . 
 
 This design consists of bold and prominent members, dis- 
 posed of in a manner that will not fail to produce an imposing 
 effect in any situation. It has proportions adapted to a three- 
 story house ; consequently, if required higher or lower, a 
 variation accordingly will be required : a represents the 
 frieze ; b a piece put on the back of the frieze, to make the 
 projection about two inches from the face of the brick wall ; 
 c should have set back of b, and represented the brick wall. 
 By the projections over the head of the plate, it will be seen 
 that the whole projects eighteen inches from the face of the 
 brick wall, and sixteen inches from the face of the frieze. 
 
 140 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate 31. 
 
 This example has neither the proportions nor general fea- 
 tures of the antique Ionic order, nor is it pretended that it is 
 in general equal to it ; but it is hoped that it may not be 
 wholly inferior. The general proportions are as below 
 described, viz. : 
 
 The whole height of the column, base, and capital, is eight 
 diameters ; and the whole height of the entablature is three 
 diameters and five minutes ; and the whole entire height of 
 the order, including base, shaft, capital, frieze, and cornice, is 
 eleven diameters and five and a half minutes. For the pro- 
 portions of the capital, see Plate 32, which is designed for a 
 working drawing. 
 


 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
DETAILS OF IONIC CAPITAL. 
 
 Plate 32. 
 
 This capital is not of any particular specimen of antique 
 productions, but partakes of several, as well as of fancy. 
 The composition is a departure from the strict, perfect, and 
 arbitrary rules of design. Notwithstanding, it will be admit- 
 ted that it, as a modern combination of parts, jmesents rather 
 a pleasing effect. 
 
 Fig. 1 presents the abacus, volute, echinus, bead, the suc- 
 cle and lotus, necking ornament, and the heads of flutes 
 which are banded, or headed with an astragle, as at b. Fig. 2, 
 section of capital, Fig. 1. The quarter circle on the left 
 of the plate, and represented by the small letter a, is a rule 
 by which the spiral beads that revolve round the eye are pro- 
 portioned, and is performed thus : Take the whole dimen- 
 sions of the beads that are horizontal, under the abacus, and 
 describe a quarter circle ; which circle divide into sixteen 
 parts, and each part on the right line will give a correct dimi- 
 nish for each quarter, as it revolves around the eye. The 
 revolutions of the spirals are produced as follows : Divide the 
 eye, which is seven minutes from out to out of the hem, and 
 six and a half minutes within the hem of said eye, into the 
 number of parts shown in the eye ; then take the distances 
 figured on the right lines, which are the number of minutes 
 required, and revolve the dividers ; the quarters, as described 
 by the dotted lines. 
 
 The method of describing this volute, was invented and 
 reduced to practice by Mr. James H. Daken, whose talents, 
 taste, and ideas, are of the first order, and by the writer held 
 in very high estimation. 
 
 H4 
 
 
PL 32 . 
 
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 m 
 
IONIC DETAILS. 
 
 Plate 33. 
 
 These details are introduced in order to give the operative 
 workman a general view of the construction of this simple 
 and beautiful capital. The details here given are precisely 
 the same as they were in the original temple. The elevation 
 of the volute, as represented by Fig. 2, is figured in feet and 
 inches, as taken on the spot at the temple by Messrs. Stuart 
 and Revett. Fig. 1 represents a general plan of the angular 
 capital, and is figured by the scale of minutes, as at Plate 32. 
 Fig. 5 represents a section of the flank. Fig. 4, a section 
 through the volute, the same as Fig. 2 in Plate 32, and is not 
 figured. Fig. 3 represents an elevation of the flank, the pro- 
 jections of which are figured on the under side of Fig. 5. 
 
 m 
 
 9 
 
 
 9 
 
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 p P 
 
 '3'J . 
 
 
 1. 334 1. 312 1 312 #34 1 91i? 
 

 i 
 
 
 
 
 
 
 
 
 « 
 
 

 
 
 
 
 
 
 
 
 
FROM THE ERECTHEION TEMPLE. 
 
 Plate 34. 
 
 Fig. 1 , plan of the angular capital. Fig. 2, side elevation, 
 or profile of the capital. Fig. 3, section of capital. Fig. 4 , 
 elevation of antse capital. 
 
 148 
 
/ 1, J / 
 
4 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
FROM THE ERECT H ETON TEMPLE. 
 
 Plate 35. 
 
 This plate represents the front and side elevation of a 
 eargatides. Fig. 1, side or profile view. Fig. 2, front eleva- 
 tion. For the peculiar character, refer to the historical 
 description. 
 
 151 
 
DETAILS OF CARYATIDAE PANDROSEION. 
 
 TI. 
 
 FROM THE ERECHT H E I ONI, 
 

 
 
 
 
 
 
THE PARTHENON AT ATHENS. 
 
 Plate 36. 
 
 The elevation exhibited in this example is simple, beauti- 
 ful, rich, and unquestionably the most perfect of any building 
 of antiquity. The reader, for an historical view, will refer 
 as in the preceding plate. 
 
 152 
 
ELEVATION OF THE TEMPLE OF MINERVA PARTHENON. 
 
 /*/, Jh 
 
 \ 
 
 GRECIAN ARCHITECTURE 
 

 
 
 
 
 
 
 
GREEK TEMPLES. 
 
 Plate 37. 
 
 The plans here introduced are, for the purpose of stimu- 
 lating the rising generation to a correct taste, of severe and 
 perfect elegance of architecture. The different plans are to 
 distinguish the different names originating out of the differ- 
 ent number of columns employed. For particulars refer to 
 definitions of terms. 
 
 154 
 
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 1 
 
 
 
 
 
THE PARTHENON AT ATHENS. 
 
 Plate 38. 
 
 Fig. 1 , a perspective view. Fig. 2, a 
 view. Fig. 3, a longitudinal or side view. 
 
 }56 
 
 front geometrical 
 
.-JO. 
 
 rig. i. 
 
 Fig. a. 
 
 Fig. 3 . 
 

 
 
 
 
 
 
 
 
 
 
 < 
 
 e 
 
 
IONIC DETAILS. 
 Plate 39. 
 
 'The details here presented are from the temple of Minerva 
 Polias, which constitute one of the porticoes of the Erectheion 
 temple at Athens. 
 
 158 
 
/'// I.') 
 

 
 
 

 
 
 
 
 
 
 
 » 
 
 
 
 
 
IONIC DETAILS. 
 
 Plate 40. 
 
 Fig. 1, entablature to the preceding- Plate 39. Fig. 2, base, 
 as in Plate 39. Fig. 3, antee base to Fig. 4 in Plate 34. 
 Fig. 4, architrave moulding to an enlarged scale. Fig. 5, 
 bed moulding to an enlarged scale. 
 
 100 
 
/V. 40 . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
GRECIAN 
 
 ARCHITECTURE. 
 
 Plate 41. 
 
 This Plate presents a detail drawing of the Doric order, 
 from the Temple of Minerva, at Athens ; for a description of 
 which, refer to the History of the Temples. The parts in 
 height and projections are tigured by a scale of minutes. 
 
 162 
 

 DORIC ORDER FROM THE TEMPLE OF MINERVA AT ATHENS. 
 
 
 i !i 7 S/4- 
 

 
 
 
 
 

 
 
 
DETAILS OF THE DORIC CAPITAL. 
 
 Plate 42. 
 
 Fig. 1, plan of column at the neck. Fig. 2, semi-elevation 
 of the capital. Fig. 3, section of fillets, flute, and groove ; 
 a depth of the flute. It may be useful to the operative work- 
 man to remark that the flutes require to be worked up to the 
 lowermost fillet entire. 
 
PL .42. 
 
 
 

 
 
 
 
 
 

 
 
 
 
CORINTHIAN COLUMN AND CAPITAL. 
 
 Plate 43. 
 
 From the monument of Lysicrates. Fig. 1, column, base, 
 and capital. Fig. 2, section of capital ; for historical descrip- 
 tion, refer to the preceding historical extracts. 
 
 106 
 

 
 
 
 4 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
ENTABLATURE. 
 
 Plate 44. 
 
 Entablature to Plate 43. This entablature is drawn to the 
 same scale as 43, and the dimensions are figured from the 
 centre of the column. 
 
 168 
 
PL. 4 4. 
 

 

 
DETAILS. 
 
 Plate 45. 
 
 In this Plate is exhibited a cornice, which is designed to 
 explain the method of working the inclined cymatium to mitre 
 with the level cymatium. Fig. 1 represents the level mould- 
 ing, and Fig. 2 the inclined moulding. To form Fig. 2, first 
 draw ordinate lines, as at 1 1, 2 2, and 3 3, in Fig. 1, from 
 which on the contour of the moulding transfer the distances 
 1 1, 2 2, 3 3, and so on to 1 1, 2 2, 3 3, in Fig. 2 ; which will, 
 when traced, produce the cymatium required to mitre with 
 the level cymatium, Fig. 1. 
 
 170 
 
TL. . 4 r > . 
 
 - 
 
/ 
 
 
 
Plate 46. 
 
 Fig. 1 , a truss chimney-piece, for either wood or marble. 
 Fig. 2, profile, showing the projections of the different parts. 
 Fig. 3, plan of the pilaster, jamb, &c. Fig. 4, elevation of an 
 architrave piece. Fig. 5, profile of Fig. 4. Fig. 6, plan of 
 Fig. 4. 
 
PL. 46 . 
 
 Fi£.£>. Fi&.4. 
 
 I 
 
 K i 
 
 
 1 
 
 J 
 

 
 
 
 
 
 
 
 
 
 
 
PULPIT. 
 
 Plate 47. 
 
 Fig. 1 , plan of Pulpit; Fig. 2, elevation; Fig. 3, caping, 
 half full size ; Fig. 4, base, half full size. 
 
 ]74 
 
PL. -17. 
 
 If 7 ? 
 
 

 
 
 

 
 
 
 
 
 
 \ 
 
 
GALLERY 
 
 FRONT. 
 
 Plate 48. 
 
 Fig. 1 elevation of gallery front, showing all the parts of 
 the gallery, and one capital of a column. Fig. 2, section of 
 Fig. 1. Fig. 3, elevation of two pews. 
 
 176 
 

 
 
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 GETTY CENTER LIBRARY 
 
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