Fuj(' £<Lht 
 
 
THE 
 
 UDIMENTS 
 
 o F 
 
 ANCIENT ARCHITECTURE. 
 
Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/rudimentsofancieOObasi 
 
Frontispiece. 
 
 Zondon -Printed fbr I tcJ.Taykr. at the Architectural Library, Hettorn . 
 
THE 
 
 RUDIMENTS 
 
 O F 
 
 ANCIENT ARCHITECTURE, 
 
 IN TWO PARTS. 
 
 CONTAINING 
 
 An Hiftorical Account of the five Orders, with their Proportions and 
 Examples of each from the Antiques ; 
 
 ALSO 
 
 Vitruvius on the Temples and Intercolumniations, &c. of the Ancients. 
 
 Calculated for the Ufe of thofe who wifh to attain a fummary Knowledge of the 
 Science of Architecture. 
 
 WITH 
 
 A DICTIONARY OF TERMS. 
 ILLUSTRATED WITH TEN PLATES. 
 
 LONDON: 
 
 Pr,i*TED for I. & J. Taylor, at the Architectural Library, HolborsJ 
 
 MDCCLXXXIX. 
 
P R E F A C E. 
 
 USTOM has eflablifiied the ne- 
 ceffity of a preface, which may 
 alfo be confidered as a privilege, au- 
 thors enjoying therein liberty to ex- 
 plain, and plead for their labours. 
 Much pleading I am not qualified for, 
 nor perhaps entitled to ; I therefore 
 fubmit to the candor of thofe, who, 
 by the purchafe and perufal of this 
 work, have fome claim to pafs judg- 
 ment upon it : the great difference 
 between a perfect work and a good 
 intent, encourages me to explain. 
 
 Arc h iTECTURE,asa liberal fcience, 
 
 and confidered as connected with the 
 
 iiudy of antiquities, is a fubject. on 
 
 which every perfonof tafieand reading, 
 
 A at 
 
11 
 
 C E. 
 
 at fome time or other, has occafion for 
 information ; yet that precifion in rules 
 neceffary to a profeffional man, is not 
 the kind of knowledge wanted; but 
 fomething more general which will not 
 fatigue the mind to underRand, or bur- 
 then the memory to recoiled. Under 
 this impreflion, I make public what 
 was originally defigned for mere 
 amufement. 
 
 The guide I followed in felecting 
 and illuilrating, was, a recollection of 
 the wants I formerly felt, when defir- 
 ous of a general knowledge of Ar- 
 chitecture. Many treatifes there are 
 on the fubject ; but as I chiefly fought 
 amufement, the light of large and in- 
 tricate works damped the ardour of 
 enquiry, and more than once re- 
 pelled the third of knowledge. To 
 underftand the productions of fcien- 
 tific writers, required an exertion of 
 
 attention 
 
PREFACE. Hi 
 
 attention mere amufement ftartled at ; 
 however, at laft activity was roufed 
 by the inconvenience of ignorance, 
 and fortunately meeting with Sir W, 
 Chambers's excellent treatife, the 
 path was confiderably fmoothened, 
 and trod with greater pleafure than 
 at firft. I expected: from this and 
 other books I was afterwards induced 
 to examine, the following flieets may 
 be confidered as notes or minutes, 
 of what is neceffary to be known by 
 one, whofe defire, as mine was is rather 
 general information, than of the mi- 
 nutiae of the fcjence. — In this view, 
 I hope there will be found fufficient 
 to give a tolerably precife idea of the 
 five orders, and their feveral parts ; the 
 engravings exhibit their general effect, 
 and are felected from antiques which 
 have ever been refpecled for their 
 proportion and elegance : thefe, with 
 the deviations of modern times, and 
 the hiftorical account of each order, 
 A 2 will, 
 
iv PREFACE. 
 
 will, I flatter myfelf, render the ac- 
 quiring a knowledge of the fubject 
 both eafy and entertaining ; yet fuf- 
 ficiently accurate to enable a gentle- 
 man to fketch any drawing of Archi- 
 tecture, fancy or neceffity may prompt 
 him to have executed, without erring 
 much from the general rules of defign, 
 and from which a workman will rea- 
 dily reduce the fmaller parts to the 
 exacrnefs requifite to be worked from. 
 
 The frontifpiece fhews each order 
 drawn to the fame height ; that their 
 relative proportion and ftrength may 
 be feen at one view. 
 
 That information might not flop 
 at the beginning of the fcience, I have 
 tranflated from Vitruvius, what his 
 excellent pen has recorded, as the rules 
 of the ancients in building their edi- 
 fices, or temples, the diftribution of 
 columns, and their diminutions. Thefe 
 
 wiH d 
 
PREFACE. v 
 
 will, I hope, alfo be found ufeful to 
 travellers whovifitthe remains of an- 
 cient architectural fplendor and mag- 
 nificence ; as in a pocket volume they 
 will have examples of the five orders, 
 with the laws obferved by the an- 
 cients in the great outline of their 
 public flructures, by what name and 
 character each order of building is 
 diftinguifhed, with rules for adjufting 
 the columns ; from which, an edifice, 
 though in ruins, may, with confider- 
 able certainty, be reftored to its ori- 
 ginal form. 
 
 I have alfo added a Dictionary, 
 or explanation of terms ufed by ar- 
 tifts, to exprefs the feveral parts of 
 buildings ; this will, I hope, aflift, as 
 well travellers, as thofe who read the 
 accounts of profeflional men ; it will 
 facilitate underftanding their labours, 
 and, of courfe, render them more 
 pleafant. 
 
 I HOPE, 
 
vi PREFACE. 
 
 I hope, in its general acceptance, the 
 title of Ancient Architeclure will be 
 allowed to the following fheets, though 
 noticing only the Greek and Roman 
 ftiles ; omitting to mention thofe very 
 ancient efforts in the fcience, traces 
 of which remain in Upper Egypt, 
 and in many parts of India, the sera 
 of whofe foundation is fo remote, that 
 no certainty can be formed of their 
 age ; they evidence much labour and 
 magnificence. Alfo Gothic Archi- 
 tecture I have avoided mentioning, 
 not becaufe I think flight of, or dif- 
 approve that light though firm, and 
 grave though pleafant kind of Ar- 
 chitecture, of which this country boafls 
 the befl and mofl complete fpecimens. 
 The effecl of awe and reverence this 
 kind of building always produces in 
 the mind, is one of the ftrongefl proofs 
 which can be given of its propriety 
 and fitnefs, for large facred buildings. 
 
 Thefe 
 
PREFACE. vii 
 
 Thefe I have avoided, confining my- 
 felf to the Greek and Roman flilcs, 
 which may truly be called claffical, 
 and which are in mod general requefl 
 and ufe. 
 
 Upon the whole, my endeavour is 
 intended more for the gentleman than 
 the artift. — How far I have fuc- 
 ceeded in the feveral particulars, I 
 leave to others to determine, affuring 
 them I have fpared no pains to be both 
 accurate and ufeful. 
 
 The portrait in the title page, is of 
 the celebrated James Stuart, Efq. 
 generally known by the appellation of 
 Athenian Stuart : this is copied from an 
 impreflion of a plate intended for his 
 promifed volume. From a perfonal 
 knowledge of Mr. Stuart, I can fay, 
 this is an extraordinary good likenefs, 
 which from my refpect. to the man, as 
 well as to a great artift, I beg leave to 
 multiply. 
 
tou*mw* K1 XW»Wr***'*- i ' : ' ii "+ w-^va m *^*-."- WWW "W 
 
 RUDIMENTS 
 
 F 
 
 ANCIENT ARCHITECTURE. 
 
 PART the FIRST. 
 
 r I ^ H E (ludy of Architecture has, in 
 JL every enlightened age, and by 
 every civilized nation, been held in 
 very honourable efteem ; as a neceflary 
 and pleafing fcience, and of evident 
 utility. 
 
 When we confider it as improved by 
 the Greeks about the time of Pericles, 
 its perfection and beauty, how confpicu- 
 oufly it exhibited the liberality, fplen- 
 dour, and magnificence of thofe concerned 
 in erecting ftructures, the remains of 
 B which 
 
2 RUDIMENTS OF 
 
 which aftonifh us ; and how highly flat- 
 tering it was to the mind of man in an 
 age of fplendour, to raife edifices which 
 fhould ftrike beholders with admiration ; 
 it excites little furprife that every attention 
 fhould have been given to the ftudy of 
 architecture, and that its profeflbrs mould 
 have received the moft liberal encourage- 
 ment from men of tafte, anxious for re- 
 nown. 
 
 Persons of the moft exalted ftations 
 have honoured it as ftudents, and thought 
 it not beneath them to attend to its rules. 
 
 In prefent times, among ourfelves, we 
 have inftances of dignified perfons flu- 
 dying the rules of architecture, which, 
 united to true tafte, have produced defigns 
 that would honour the genius of the 
 higheft profeflbrs. 
 
 Animated by fuch examples, it is 
 not furprifing the fcience fhould now 
 be regarded with confiderable attention ; 
 the frequent tours to Italy, and other 
 parts celebrated for elegant edifices, 
 though now in ruins, have with the love 
 
 of, 
 
ANCIENT ARCHITECTURE. 3 
 
 of, fpread a vaft knowledge and juftnefs 
 of tafle among our nobility and gentry, 
 whofe leifure has afforded opportunity for 
 exploring thofe remains of ancient gran- 
 deur ; add to this, the great induftry and 
 attention of fome of our moft celebrated 
 architects in examining and delineating 
 thefe ftandards of art. The liberal encou- 
 ragement thefe have experienced, has 
 enabled them to publiih their labours, 
 which now furnifh ourfelves at home, 
 with moft' advantages acquirable from 
 vifits to Rome, Athens, &c. 
 
 The important ufe of this fcience, and 
 the elegant accompliihment connected 
 with its ftudy, have almoft rendered a 
 knowledge of it requifite to the education 
 of men of fafhion and tafte. My inten- 
 tion is not to enter into a detail of enco- 
 miums on the art ; but merely to remark 
 its great utility, and by what high cha- 
 racters its ftudy has been, and is ho- 
 noured. 
 
 I Proceed, therefore, to my more im- 
 B 2 mediate 
 
4 RUDIMENTS OF 
 
 mediate defign, which is, to give a moit 
 hiilorical account of the five orders of 
 Architecture of the ancients ; which 
 muft be confidered as the bafis of true 
 proportion. 
 
 The great antiquity of building is felf- 
 evident : " When men firft felt the incle- 
 mencies of the feafons, it had its begin- 
 ning, and has fpread wherever the feveri- 
 ties of climate demand melter or fhade : it 
 is to be traced in the Indian's hut, and the 
 Greenlander's cave ; and fhews in thofe 
 barbarous parts of the globe, from what 
 mean original it rofe to its prefent glory." 
 And perhaps the neighbourly affiftance 
 required in erecting the meaneft fence 
 againft the inclemency of the weather, was 
 the firft introduction of civil fociety : thus 
 a number of habitations were formed to- 
 gether, and men, in confequence, had 
 mutual converfation and intimacy. It is 
 eafy to conceive, that, in this early ftate of 
 fociety, genius had expanded but little; the 
 firft efforts were fmall* and the ftructure 
 
 iimple ; 
 
ANCIENT ARCHITECTURE. 5 
 
 ilmple ; perhaps no more than a number 
 of trees leaning together at the top (in 
 the form of a cone), interwoven with 
 twigs, and plaiftered with mud, to ex- 
 clude air, and complete the work. In 
 this early period, we may iuppofe each 
 defirous to render his own habitation 
 more convenient than his neighbours, by 
 improving on what had been already 
 done : thus in time, obfervation, affiiting 
 that natural fagacity inherent even in un- 
 cultivated minds, led them to confider the 
 inconveniences of the round fort of habi- 
 tation, and feek others more fpacious and 
 convenient in the fquare form. 
 
 This improvement introduced the ne- 
 cefhty of fupports for the crofs beams, 
 which were to fuflain the roof : the trunks 
 of trees were fo ready an application, we 
 cannot fuppofe they hefitated long in their 
 choice. Thus from the nature of things 
 arofe the idea of what we now call co- 
 lumns, w r hich have from time to time 
 B 3 under- 
 
6 RUDIMENTS OF 
 
 undergone many changes, and at laft have 
 produced thofe elegant pillars which we 
 term the orders of architecture. 
 
 To attempt producing an authority or 
 origin for every fpecies of ornament at- 
 tending the orders, would be wandering 
 in a maze of uncertainty, attended with 
 much labour, and little recompenfe : the 
 general parts may, with more certainty, 
 have their origin pointed out. 
 
 The Plinth, it is very reafonable to ima- 
 gine, was, at firft, fimply a fquare tile or 
 ftone, placed under the trunk of the tree 
 or primitive column, to prevent rotting, to 
 which it was expofed from the conftant 
 moifture of the earth ; it alfo ferved as a 
 more firm and folid footing to the co- 
 lumn. 
 
 The Torus, or fwell above the plinth, 
 may have originated from the root or 
 lower part of the tree being thicker than 
 the part above, which alfo fixed it more 
 firmly on the plinth ; or, as by fome it is 
 
 conjee- 
 
ANCIENT ARCHITECTURE. 7 
 
 conjectured to have been only a rope or 
 bandage round the trunk, to prevent its 
 fplitting. 
 
 The Shaft of the column has been al- 
 ready noticed. 
 
 The idea of the Capital, I think, may 
 have originally been fuggefted by fome 
 tree, whofe arms fpreading juft above 
 where it was neceflary the upper parts 
 mould be cut off (to be of a proper length), 
 the fwell of the arms very likely gave the 
 firft idea of the fwell of the capital, which 
 was alfo attended with this advantage, by 
 being broader on the top, it was better 
 formed for receiving the works above. 
 
 The Abacus was certainly no more 
 than a tile or Hone, placed with intent to 
 throw off the water, and prevent its fink- 
 ing into the column, which would have 
 endangered the duration of the building. 
 
 The AJiragals and Fillets were ban- 
 dages to bind the column. 
 
 The Architrave we may conceive to 
 B 4 be 
 
8 RUDIMENTS OF 
 
 be the beams neceflary to hold or unite 
 the columns together. 
 
 The Frize was a necefiary addition 
 to give height within. 
 
 The Cornice , and its ornaments, were 
 the ends or outer edge of the roof and 
 rafters. 
 
 The Denteles, Triglyphs, Modillions, 
 &c. moft likely were accidental hints im- 
 proved, when to ufefulnefs was wifhed to 
 be added ornament. 
 
 The orders as now executed, are 
 five, and range as follow : the c Tnfcan > 
 the Doric, the Ionic ^ the Corinthian, and 
 the Compojite ; which arc diftinguimed 
 from each other by the column with its 
 bafe and capital, and by the entablature. 
 
 The Tufcan order is characterized by 
 its plain and robult appearance, and is 
 therefore ufed only in works, where 
 ftrength and plainnefs are wanted ; it 
 has been ufed with great effect and ele- 
 gance in that durable monument of an- 
 cient 
 
ANCIENT ARCHITECTURE. 9 
 
 cient grandeur, the Trajan column at 
 Rome ; indeed, general confent has efta- 
 blifhed its proportions for fuch purpofes, 
 beyond all others. 
 
 The Doric porTefTes nearly the lame 
 character for ftrength as the Tufcan, but 
 is enlivened by its peculiar ornaments; the 
 triglyph, mutule, and guttse or drops, un- 
 der the triglyph ; thefe decorations cha- 
 racterize the Doric order, and in part are 
 infeparable from it. Its proportions re- 
 commend it where united ftrength and 
 grandeur are wanted. 
 
 The Ionic partakes of more delicacy 
 than either of the former, and therefore, 
 as well as on account of its origin, is called 
 Feminine, and not improperly compared 
 to a matronic appearance ; it is a medium 
 between the mafculine Tufcan and Do- 
 ric, and the virginal flendernefs of the 
 Corinthian : — the boldnefs of the capital, 
 with the beauty of the fhaft, makes it eli- 
 gible for porticos, frontifpieces, entrances 
 
 to 
 
IO RUDIMENTS OF 
 
 to houfes, &c. Denteles were firft added 
 to the cornice of this order. 
 
 The Corinthian pofTefles more delicacy 
 and ornament than any other order ; the 
 beauty and richnefs of the capital, with 
 the delicacy of the pillar, render it very 
 properly adapted, when magnificent ele- 
 gance is required : it is frequently ufed 
 for internal decoration to large or ftate 
 rooms ; the appearance is of virginal de- 
 licacy, and gay attire. 
 
 The Compofde order is the fame as the 
 Corinthian in its proportions, and nearly 
 alike in its effects : the addition of the 
 modern Ionic volute to the capital, gives 
 a bolder projection. It is applicable in the 
 fame manner as the Corinthian. 
 
 The examples chofen to exhibit the 
 effects, and give a general idea of the pro- 
 portions of the feveral parts at one view, 
 are felected from antiques ; thefe compofi- 
 tions having flood the teft of ages, for their 
 fymmetry and effect : the modern pro- 
 portions 
 
ANCIENT ARCHITECTURE. II 
 
 portions in the defcriptive account, I have 
 taken from Sir William Chambers's 
 ufeful Treatife on Civil Architecture. To 
 the examples fhewn in the plates, the 
 meafurements are figured to each particu- 
 lar member ; thus, by comparing them, 
 the variations of the moderns from the 
 ancients may be eafily known. 
 
 The meafurements are in minutes, that 
 is, one-half of the lower diameter divided 
 into thirty parts or minutes, which me- 
 thod, having fewer calculations than any 
 other, is preferable : the projections are 
 meafured from the perpendicular of the 
 fuperior and inferior parts of the column. 
 
 OF 
 
12 RUDIMENTS OF 
 
 OF THE 
 
 FIVE ORDERS. 
 
 t F theTuscAN order little hiftoric can 
 be faid ; its plainnefs of ornament 
 gives it the firft place in moll treadles : 
 there is no regular example of this among 
 the remnants of antiquity. Vitruvius in an 
 indi(lin& manner has mentioned the ge- 
 neral proportions, but through his whole 
 book does not refer to one ftruchire of 
 this order. The Trajan column at Rome 
 is reckoned of the Tufcan order, though 
 it has eight diameters for the height ; and 
 the capital is certainly more ornamented 
 than is confident with Tufcan plain- 
 nefs. It is fomewhat lingular there 
 mould be no remains of this order ; and 
 were it not for what little Vitruvius has 
 written of it, it certainly might have been 
 loft to the moderns^ The plainnefs of its 
 
 appearance, 
 
ANCIENT ARCHITECTURE. 13 
 
 appearance, no doubt, caufed it to be 
 neglected at Rome; but in no other place 
 has been difcovered any truly ancient 
 example. 
 
 Of the Doric we have many remains 
 of very ancient date, which leads me to 
 think the Tufcan is no other than the 
 Doric more fimplified, or deprived of its 
 ornaments to fuit certain purpofes, where 
 ftrength and cheapnefs were wanted ; 
 neverthelefs it is applied with propriety 
 and effect, to the entrance of cities, large 
 gateways, and in military architecture, 
 where a maffive ftrength only is required. 
 
 I have {'elected the profile given by 
 Palladio, he having feen fome remains in 
 Italy, which might lead him to more juft 
 ideas of what the ancients practifed in this 
 order. It certainly derived its name from 
 the people of Tufcany, in Italy, they hav- 
 ing firft ufed it. 
 
 Sir William Chambers gives it the 
 following proportions : 
 
 " The height of the column is fourteen 
 
 modules, 
 
14 RUDIMENTS OF 
 
 modules, or feven diameters ; that of the 
 whole entablature three modules and a half, 
 which being divided into ten equal parts, 
 three are for the height of the architrave ; 
 three for the frize ; and the remaining 
 four for the cornice : the capital is in 
 height one module : the bafe, including 
 the lower cincture (which is peculiar to 
 the measurement of this order) of the 
 lhaft, is alfo one module ; and the fhaft, 
 with its upper cincture and aftragal, is 
 twelve modules : in interior decorations, 
 the height of the column may be four- 
 teen modules and a half, or even fifteen 
 modules ; which increafe may be in the 
 column only." 
 
 Of the Doric order there are many 
 examples ftill remaining ; fome of very 
 high antiquity, and of proportions fo dif- 
 fnnilar to the pra&ice of later times, that 
 one cannot help concluding, they were 
 produced before experience had formed 
 the rules of art. In feveral buildings 
 exhibited to us in the ruins of Pceftum, 
 6 Ionia, 
 
ANCIENT ARCHITECTURE. 1$ 
 
 Ionia, and even of Athens, the height of the 
 columns does not exceed four diameters, or 
 at moftfour and a half: the low appearance 
 of thefe in large buildings, muft furely 
 convince us ufefulnefs was regarded more 
 than the laws of defign. Indeed the va- 
 rious examples of the Doric order of 
 thefe uncouth and inelegant proportions, 
 nearly prove this to be the order of co- 
 lumns firft ufed. 
 
 Though the Tufcan pillar is more 
 plain in the ornaments, and as now prac- 
 tifed of fewer diameters ; yet, as we have 
 neither example, or authority, on which 
 to fuppofe it ever much varied from the 
 rules at prefent acknowledged, I think we 
 may conclude it is no other than the Do- 
 ric order, by being executed plainer (as 
 before obferved), adapted to more menial 
 fervices by the inhabitants of Tufcany. 
 
 The Doric order, which is no fmall 
 mark of its antiquity, has experienced 
 many great changes in its proportions and 
 parts, at one time very low, as before re- 
 marked ; 
 
1 6 RUDIMENTS OF 
 
 marked ; afterwards it was allowed fix 
 diameters, and in fucceeding times eight, 
 
 Vitruvius allows this to be the mofl 
 ancient order, and gives the following 
 account of its origin : " Dorus, the fon of 
 Helenis, and the nymph Optyce, built a 
 temple in the ancient city of Argos, to the 
 goddefs Juno, which happened to be of 
 this order, but which then had no regular 
 proportions ; it derived its name from 
 the patron of the building. This ex- 
 ample, or order, was followed by all the 
 cities of Achaia.'* 
 
 " Ion, the fon of Xuthus, afterwards 
 built a temple in Afia, to Apollo Panino- 
 nius, of this order ; and, to render it more 
 agreeable to the eye, he gave fix diameters 
 to the column, being guided therein by 
 the example of nature, which has given to 
 the height of man hx times the length of 
 his foot." 
 
 Modern practice allows eight diame- 
 ters, and a baie, which was never given 
 to the Doric order by the ancients : this 
 
 is 
 
ANCIENT ARCHITECTURE. 1J 
 
 is another mark of its antiquity ; for cer- 
 tainly the bafe is no lefs proper than 
 elegant. 
 
 Concerning the flutings, whether 
 they were at firft practifed or not, is im- 
 poffible to determine: the remains of this 
 order of the oldeft date are fluted. I am 
 inclined to think, when any thing like or- 
 nament was wifhed to be added, the fluting 
 of columns early prefented itfelf. The 
 original columns having been trees, it was 
 the natural effect of a hot climate on their 
 bark to make it crack or divide, which I 
 think would readily give the hint of flut- 
 ings. 
 
 The Triglyph, a character iftic mark of 
 this order, has more the appearance of 
 art ; yet I think, the ends of project- 
 ing rafters might produce this effect, or 
 near enough, to be improved into what 
 we at prefent fee them ; the places af- 
 figned them alfo corroborate this idea. 
 The ornaments on the metope, or the 
 fpace between the triglyphs, may have 
 been originally trophies of the Deity, or 
 C implements 
 
l8 RUDIMENTS OF 
 
 implements of facrifice placed there : the 
 bull's fkull is peculiar to the Doric order. 
 The profile here given is from the 
 theatre of Marcellus, which has ever been 
 confidered as of juft proportion for this 
 mafculine order : the meafurements are 
 according to Monsieur Desgodetz. 
 The denteles in the cornice belong not fo 
 properly to this order as to the Ionic : I 
 have taken the liberty to alter the flope 
 of the corona, which in the original is de- 
 clining, as it is not generally fo pra&ifed, 
 having a very heavy effecT:. It was certainly 
 executed there, on account of fome optical 
 reafon unknown to us. The column has 
 eight diameters, which is now the general 
 practice : is without a bafe, but the attic 
 bafe, or its peculiar one may be ufed. 
 This example is not fluted ; but the bafe 
 to this order (Plate VII.) fhews the 
 manner of a Doric fluted column, which 
 differs from every other, being very 
 (hallow, and without any fpace or fillet 
 between the flutings, which are generally 
 twenty, fometimes twenty-four. There 
 
 are 
 
ANCIENT ARCHITECTURE. 19 
 are examples among the antiques of the 
 column being fquared off, or wrought 
 with pans, as they are called, inftead of 
 hollows. Of this kind is the temple of 
 Minerva at Syracufe, of very ancient 
 Doric : the pillars are cut in pans or 
 angles, and are without bafes. The 
 temple of Diana at the fame place is alfo 
 in the fame ftyle of Doric. 
 
 The modern proportions from the be- 
 fore cited author, are as follow : 
 
 " The height of the column, including 
 its capital and bafe, is fixteen modules : 
 the height of the entablature, four mo- 
 dules; which being divided into eip-ht 
 parts, two are for the architrave, three for 
 the frize, and three for the cornice : the 
 bafe is one module in height ; the capital 
 thirty-two minutes or a little more." 
 
 The Ionic order has the following 
 account of its origin by Vitruvius. 
 
 " Ion (the fame as before mentioned) 
 
 building a temple to Diana, and feeking 
 
 fome new manner, to render it more ele- 
 
 C 2 gant, 
 
20 RUDIMENTS OF 
 
 gant, had recourfe, as before in the Doric 
 order, to the human figure ; and gave to 
 this new order a feminine delicacy : thus 
 he was the firft who gave eight diameters 
 to a column, that the afpect might be more 
 pleafing ; and that its appearance might 
 be more lofty, he added a bafe, in imita- 
 tion of a fhoe : the volutes, like locks or 
 plaits of hair, hanging on each fide, he 
 gave to the capital, ornamented with 
 fruits, or flowers in feftoons, and fur- 
 rows, or flutings down the column were 
 wrought, refembling the folds or plaits of 
 a matron's garment." — "Thus he invented 
 two kinds of columns, in the Doric imi- 
 tating a manly robuft appearance, without 
 ornament ; in the Ionic, regarding a fe- 
 male delicacy, accompanied with orna- 
 ments pleafing and elegant." — " Suc- 
 ceeding architects much approving the 
 tafte and ingenuity of this defign, allowed 
 eight diameters and a half to this order." 
 This account of Vitruvius points 
 out in what manner another column or 
 
 order 
 
ANCIENT ARCHITECTURE. 21 
 
 order of architecture was introduced, an 
 invention which has juftly been cele- 
 brated and followed, on account of the 
 beauty and elegance of its parts. Many 
 temples, and other ftrudtures, have been 
 built of this order in various parts of 
 Greece and Italy. 
 
 Vitruvius records an anecdote much 
 in praife of the Ionic order, in the follow- 
 ing words : c< The difficulty attending the 
 proper adjustment of the mutules,metopes, 
 and triglyphs in Doric ftruc"t.ures,was fuch, 
 as frequently to be a caufe of much in- 
 convenience and trouble to architects in 
 large buildings, and alfo rendered their 
 afpect confufed and embarraffing ; on 
 which account, and the mafly appear- 
 ance of the Doric column, it was thought 
 improper for facred buildings : of this 
 opinion were Tarchenius and Pytheus, 
 with many ancient architects ; alfo the 
 celebrated Hermogenes, who, when he 
 was building the temple of Bacchus at 
 Teos, rejected the Doric, though all the 
 G 3 marbles 
 
22 RUDIMENTS OF 
 
 marbles were ready cut, and in its ftead 
 erected a temple of the Ionic order." 
 
 From the remains of this very cele- 
 brated building the example of this order 
 here fhewn is taken : the grandeur of its 
 appearance will, I flatter myfelf, juftify 
 the choice : it is here given as reftored in 
 that elegant work the " Ionian Antiqui- 
 
 ties. 
 
 The volute of the capital is now often 
 executed on an angular plan, the fame as 
 in the Compofite order ; fo that, viewed 
 every way, it has the fame appearance : 
 this differs from the regular antiques ; and, 
 poflefling feveral advantages, is fometimes 
 to be preferred. 
 
 The ftandard of the modern propor- 
 tions is as follows : 
 
 " The height of the column is eighteen 
 modules ; and that of the entablature four 
 modules and a half, or one quarter the 
 height of the column, as in the other or- 
 ders, which is a trifle lefs than in the re- 
 gular antique Ionics : the capital is twenty- 
 one 
 
ANCIENT ARCHITECTURE. 23 
 
 one minutes ; and the bafe thirty minutes 
 in height : the fhaft of the column may 
 be plain, or fluted, with twenty, or 
 twenty-four flutings, whofe plan may be 
 a trifle more than a femicircle, becaufe 
 they then appear more diftind ; and the 
 fillet or interval between them muft not 
 be broader than one third of the breadth 
 of the fluting, nor narrower than one 
 quarter thereof; the ornaments of the 
 capital are to correfpond with the flutings 
 of the fhaft ; and there muft be an ove 
 above the middle of each fluting. The 
 entablature being divided into ten equal 
 parts, three are for the architrave ; three 
 for the frize ; and four for the cornice. 
 In interior decorations, where much deli- 
 cacy is required, the height of the entabla- 
 ture may be reduced to one fifth of the 
 height of the column. 
 
 THECoRiNTHiANorder,in the opinion 
 
 of Vitruvius, " differs from the Ionic 
 
 only in its capital j the Ionic capital having 
 
 no more than one third of the diameter of 
 
 C 4 the 
 
24 RUDIMENTS C"F 
 
 the column for its height ; but the Corin- 
 thian capital is allowed one entire diameter, 
 which gives to the column a noble, but 
 delicate grandeur. The other members 
 placed on the Corinthian pillar, are com- 
 mon to the Doric and Ionic orders ; for 
 it has no particular fpecies of ornament 
 peculiar to its cornice : fometimes it has 
 the Doric mutules and triglyphs in the 
 architrave ; fometimes an Ionic frize, 
 with denteles in the cornice ; in a manner, 
 it is no more than a third order, rifen out 
 of the former two, which has nothing 
 peculiar to itfelf, but the capital." The 
 origin of which he thus records : 
 
 " A marriageable young lady of 
 Corinth fell ill, and died ; after the inter- 
 ment, her nurfe collectedtogether fundry 
 ornaments with which fhe ufed to be 
 pleafed ; and putting them into a bafket, 
 placed it near her tomb ; and, left they 
 fhould be injured by the weather, fhe co- 
 vered the bafket with a tile. It happened 
 the brfket was placed on a root of acanthus, 
 
 which 
 
ANCIENT ARCHITECTURE. 25 
 
 which in fpring fhot forth its leaves; thefe 
 running up the fide of the bafket, naturally- 
 formed a kind of volute, in the turn given 
 by the tile to the leaves." — " Happily 
 Callimachus, a moft ingenious fculptor, 
 parting that way, was ftruck with the 
 beauty, elegance, and novelty of the 
 baiket furrounded by the acanthus leaves ; 
 and, according to this idea or example, he 
 afterwards made columns for the Corin- 
 thians, ordaining the proportions fuch, 
 as conftitute the Corinthian order." 
 
 Vitruvius, in the foregoing account, 
 forgot the peculiarities of the Corinthian 
 cornice, or, the entablature to that order 
 was not then practifed in the manner 
 we find remaining among ancient build- 
 ings ; for to this cornice, the modillion is 
 ever an attendant. 
 
 The beauty and elegance of this order 
 have rendered it famous, and the many- 
 examples exifling among the fragments 
 of antiquity, fufficiently evince the great 
 efteem with which it was regarded. 
 
 The 
 
26 RUDIMENTS OF 
 
 The ravages of cruel and defolating 
 war have not left us one remain of this 
 order, of the many celebrated examples 
 which the city of Corinth poflefTed, 
 where arts of every kind, and particularly 
 architecture, eminently flourifhed and 
 were carried to their perfection. In later 
 times, the conduct; of Lucius Mummius, 
 in the deftruction of that polifhed people 
 and city, would have juftly been confi- 
 dered as the groffeft barbarifm : the 
 temples, the facred buildings were de- 
 ftroyed, and levelled with the ground ; 
 fo that by one ftroke the works of ages 
 were defolated, the labours and ingenuity 
 of thoufands deftroyed, and pofterity de- 
 prived of every trace of this order, in the 
 place of its nativity and nurture. — 
 Although Rome would not fuffer Corinth 
 as a rival city, there is little doubt fhe 
 deigned to follow the rules and laws of 
 art eftablifhed by her vanquifhed ene- 
 my, efpecially in architecture. The ele- 
 gance and purity of ftyle in many of her 
 4 buildings 
 
ANCIENT ARCHITECTURE. 27 
 
 buildings clearly evince Grecian inge- 
 nuity and art. 
 
 The profile here given, is according 
 to Palladio's meafurements of the Co- 
 rinthian pillars to the portico of the 
 Rotunda at Rome : the univerfal cele- 
 brity of this ftructure, pointed it out as a 
 proper example. 
 
 The moderns have adapted the fol- 
 lowing proportions : " The column is 
 twenty modules in height ; the entabla- 
 ture five modules ; the bafe one module, 
 and may be either Attic or Corinthian : 
 the capital has feventy minutes in height ; 
 the proportion of the members of the 
 entablature, is the fame as in the Tufcan 
 and Ionic orders. If the entablature is 
 enriched, the fhaft of the column may be 
 fluted, and the flutings may be filled to 
 one third part of their height with cabling, 
 which will ftrengthen the lower part of 
 the column, and make it lefs liable to in- 
 jury. In very rich interior decorations, 
 the cabling may be compofed of reeds, 
 
 ribbands. 
 
28 RUDIMENTS OF 
 
 ribbands, hufks, flowers, &c. The ca- 
 pital is enriched with olive leaves, as 
 almoft all the antiques at Rome of this 
 order are ; the acanthus is ieldom em- 
 ployed but in the Compofite order : the 
 entablature to this order may be reduced 
 to two ninths, or one fifth of the height 
 of the column ; in which cafe it is belt, to 
 ufe the Ionic entablature, or reduce the 
 denteles of the cornice." 
 
 The Composite or Roman order cer- 
 tainly owes its origin to that confiant fo- 
 licitude after novelty, which ever renders 
 the mind of man reftlefs in enlightened 
 and highly cultivated ages. The defire 
 of variety and novelty, either of new in- 
 vention, or combination, certainly en- 
 gaged the Roman architects to unite with 
 the proportions of the Corinthian order, 
 the ornaments of the Ionic, and by this 
 union to compofe a new order. This 
 order has been handled very feverely by 
 fome critics, whofe palates are pleafed 
 with nothing, which does not relifh 
 
 ftrong 
 
ANCIENT ARCHITECTURE. 20, 
 
 itrong of the ruft of high antiquity : thefe 
 have endeavoured to draw on it a ftigma 
 and difcredit, it by no means deferves. — 
 
 The introduction of the modern 
 Ionic volute, and the omiflion of the 
 upper row of leaves in the capital, cer- 
 tainly give it a more bold and animat- 
 ing afpect, than that of the Corinthian 
 capital, yet different from any of the 
 other orders, poffefTmg an elegance and 
 projection very pleafmg, and may be 
 ufed with very agreeable and happy 
 effects. — There are many examples re- 
 maining at Rome, which mew the 
 general eilimation of this order there, 
 in the height of its fplendour and prof- 
 perity. In their triumphal arches, it was 
 ufed with good effect, where it produced 
 an agreeable boldnefs, joined to elegance 
 and ornament. 
 
 The example here given is, as it is 
 executed in the triumphal arch, erected 
 to the honour of Vefpafian and Titus at 
 Rome ; the juftnefs of the proportions, 
 
 with 
 
30 RUDIMENTS OF 
 
 with the elegance of the ornaments, mark 
 it as a proper ftandard for the Compofite 
 order. 
 
 The proportions of the moderns are 
 as follow : " The height of the column 
 is * twenty modules ; and that of the 
 entablature five modules ; the capital has 
 feventy minutes in height ; the bafe mea- 
 sures the fame as in the Doric and Ionic 
 orders ; and as the module is lefs, all its 
 parts will of courfe be more delicate : 
 the fhaft may be enriched with flutings, 
 to the number of twenty or twenty-four, 
 as in the Ionic order ; there is no reafon 
 why they mould be augmented. The 
 principal members of the entablature may 
 have the fame proportions as the two 
 former orders, viz. being divided into 
 ten equal parts, three are for the height 
 of the architrave, three for the frize, 
 and four for the cornice." 
 
 Having thus given the particulars re- 
 lative to each order, I fhall conclude this 
 part with fome general obfervations, 
 
 neceffary 
 
ANCIENT ARCHITECTURE. 31 
 
 neceflary to be known and obferved, in 
 delineating or making defigns in archi- 
 tecture ; thefe I have extracted from the 
 work before quoted, and have given 
 them in the author's own words, as alter- 
 ation is needlefs, and liable to miflead. 
 
 An order may be divided into two 
 parts, the column, including the plinth 
 of its bafe, with the abacus of the capital ; 
 and the entablature, which includes all 
 above the capital, and may be divided in 
 the large, into the architrave, the frize, 
 and the cornice. 
 
 " By examining the antiques, it will 
 be found, that, in all their profiles, the 
 cyma and the cavetto are conftantly 
 ufed as finifhings, and never applied 
 where ftrength is required; that the ovolo 
 and talon are always employed as fup- 
 porters to the effential members of the 
 compofition, fuch as the modillions, 
 denteles, and corona ; that the chief 
 ufe of the torus and aftragal, is to for- 
 tify the tops and bottoms of columns, 
 
 and 
 
32 RUDIMENTS OF 
 
 and fometimes pedeftals, where they are? 
 frequently cut in the form of ropes ; 
 and that the fcotia is employed only to 
 feparate the members of bafes, for which 
 purpofe the fillet is alfo ufed, notonly 
 in bafes, but in all kinds of profiles. 
 
 " An affemblage of effential parts 
 and mouldings, is termed a profile ; on 
 the choice, difpofition, and proportion of 
 thefe, depends the beauty or deformity 
 of the profile. The mod perfecl: are, 
 fuch as are compofed of few mouldings, 
 varied both in form and fize, fitly applied 
 with regard to their ufes, and fo difpofed, 
 that the ftraight and curved ones fucceed 
 each other alternately. In every profile 
 there fhould be a predominant member, 
 to which all the others ought to be fub- 
 fervient, and feem made either to fup- 
 port, to fortify, or to fhelter it from the 
 injury of the weather, as in a cornice 
 where the corona is principal, the cyma 
 or cavetto cover it, and the modillions, 
 denteles, ovolo, and talon fupport it. 
 
 " When 
 
ANCIENT ARCHITECTURE. 3* 
 u When ornaments are employed to 
 adorn the mouldings, fome of them 
 ihould be left plain, in order to form a 
 proper repofe ; for, when all are enriched, 
 the figure of the profile is loft. In a cor- 
 nice the corona fhould not be orna- 
 mented, nor the modillion band ; neither 
 ihould the different facias of architraves, 
 the plinths cf columns, fillets, nor fcarce 
 any fquare member be carved ; for they 
 are, generally fpeaking, either principal 
 in the compofition, or ufed as boundaries 
 to other parts ; in either of which cafes, 
 their figures Ihould be diftinct and un- 
 embarraffed. The dentele band fhould 
 remain uncut, where the ovolo and talon 
 immediately above and below it are en- 
 riched; for, when the denteles are marked, 
 particularly if they be fmall, the three 
 members are confounded together, and, 
 being covered with ornament, are much 
 Igo rich for the reft of the compofition ; 
 a fault carefully to be avoided, as the juft 
 and equal diftrrbution of enrichments is 
 D on 
 
34 RUDIMENTS OF 
 
 on all occafions to be attended to. — For* 
 in effecl, the ornaments of fculpture in 
 architecture, are like diamonds in a lady's 
 drefs, with which it would be abfurd to 
 cover her face, and other parts that are in 
 themfelves beautiful." 
 
 '* When mouldings of the fame form 
 and iize are employed in one profile, 
 they mould be enriched with the fame 
 kind of ornaments. — It muft be obferved, 
 that all the ornaments of mouldings are 
 to be regularly difpofed, and anfwering 
 perpendicularly above each other; the 
 middles of the modillions, denteles, oves, 
 and other ornaments, all in a line ; for 
 nothing is more confufed and unfeemly, 
 than to diftributc them without any kind 
 of order. The larger parts are to regulate 
 the fmaller ; all the ornaments in the 
 entablature are to be governed by the 
 modillions ; and thefe are to be depend- 
 ent upon the intervals of the columns, 
 and fo difpofed, that one of them may 
 correfpond with the axis of each column, 
 4 It 
 
Ancient architecture. 35 
 It is farther to be obferved, that the or- 
 naments muft partake of the character 
 of the order which they enrich ; and thofe 
 ufed in the Doric and Ionic orders mull 
 be of a fimpler kind, and grofler make, 
 than thofe employed in the Compofite and 
 Corinthian." 
 
 " In the exteriour, whatever does not 
 contribute to the general effect of the 
 whole building, is in a great meafure 
 ufelefs, and an expence that might more 
 judicioufly be employed in places where 
 it could be more attended to. — The 
 parts that are in themfelves large, and fo 
 formed and difpofed as to receive broad 
 maffes and ftrong impreffions of light 
 and Ihade, will of courfe excite great 
 ideas; but if they are broken into a 
 number of fmall divifions, and their fur- 
 face fo varied as to catch a thoufand im- 
 preffions of light, demi-tint, and dark- 
 nefs, the whole will be confufed, trifling, 
 and incapable of caufing any great emo- 
 tions*" 
 
 D 2 Thus 
 
$6 RUDIMENTS Or 
 
 Thus far Sir W. Chambers. An ob-< 
 fervation or two more, and I finifh the 
 fubject. 
 
 First, The appearance of columns is 
 often varied by adding rufticated cinctures 
 at equal (or other) diftances to a column : 
 this is a modern invention, gives a very 
 unnatural appearance, and difguifes the 
 true figure cf the pillar. Ruftic work 
 is with greater propriety, and better 
 efFe£t, introduced into large entrances, 
 parks and gardens; alfo into grotto?, 
 baths, or fountains, where an irregular 
 and rough appearance better fuits the 
 place and purpofe. 
 
 The rule for the diminution of columns 
 has ever varied : the ancients frequently 
 diminifhed the column from the very 
 foot, or from one quarter or one third 
 of its height : the latter method is 
 now generally praclifed : the diminution 
 mould be feldom lefs than one eighth 
 part of the lower diameter of the fhaft, 
 nor more than one fixth : this latter is 
 
 the 
 
ANCIENT ARCHITECTURE. 37 
 
 the more graceful : fome, by way of 
 giving a better contour or appearance, 
 allow a fmall fwell, or bellying, in the 
 lower part of the middle diviiion of the 
 pillar. 
 
 It may not be altogether ufelefs to 
 give the general rules to be obferved in 
 pedeflah^ where it is neceffary to introduce 
 them. A determinate rule cannot be 
 given, as they muft vary in height 
 according to the circumltances which 
 render them tifeful : they have ever been 
 confidered as mere auxiliaries., to give 
 height, and elevate the column above 
 furrounding objects which impede its 
 view. When they are ufed by choice, 
 it is common to give them one third, 
 or one quarter part of the height of the 
 column and entablature, which is thus di- 
 vided : of nine equal parts, two are for the 
 bafe, one for the cornice, the remaining 
 fix for the die of the pedeftal, which is 
 tqual in fize to the plinth of the column : 
 D 3 the 
 
38 RUDIMENTS, ETC. 
 
 the enrichments fhould be regulated by 
 thofe of the entablature, &c. 
 
 Each column has its particular bafe. 
 The Tufcan bafe is the moft fimple, 
 having only a torus and plinth. The 
 Doric bafe has an aftragal more than the 
 Tufcan. To the Ionic bafe the torus 
 is larger on a double fcotia, with two 
 aftragals between. The Corinthian bafe 
 has two torus's, two fcotias, and two 
 aftragals. The Compofite bafe has one 
 aftragal lefs than the Corinthian. The 
 Attic bafe confifts of two torus's and a 
 fcotia, and is applicable to every order 
 except the Tufcan, which has its parti- 
 cular bafe. Plate 7. 
 
 RUDIMENTS 
 
RUDIMENTS 
 
 O F 
 
 ANCIENT ARCHITECTURE. 
 
 PART the SECOND, 
 
 OF THE TEMPLES OR SACRED BUILDINGS 
 OF THE ANCIENTS. 
 
 I HOPE to be pardoned in requefting 
 the reader's attention to an obfervation 
 or two, before we enter on the rules of 
 Vitruvius concerning facred buildings. 
 Of all the buildings of the ancients, 
 thofe facred to their Deities remain moil 
 perfect, and in the greater!: number. In- 
 deed, confidering the polytheifm of their 
 religion, and how much men and nations 
 D 4 vied 
 
4-0 RUDIMENTS F 
 
 vied in endeavouring to mew the greater!: 
 liberality in ere&ing buildings to the 
 honour of their tutelar deities, or when 
 they had vowed worfhip and homage 
 to any particular one ; I fay, when we 
 confider what variety of opportunities 
 offered to fhew honour, to exhibit fplen- 
 dour, and to difplay liberality, we need 
 not wonder at the great number of fa- 
 cred edifices fiill remaining: indeed they 
 are fo many, and of fuch magnificence, 
 as chiefly to abforb the traveller's atten- 
 tion, the remains of other public ftru£tures 
 being but few. I have therefore given 
 no more on public edifices, than what 
 Vitruvius has written of facred ones, 
 and the rules given by him for the dif- 
 pofition of columns. 
 
 OF TEMPLES. 
 
 THE following account of their origin 
 and progrefs will, I think, be confidered 
 as rational ; for doubtlefs they had 
 
 their 
 
ANCIENT ARCHITECTURE. 41 
 
 their ftates of progreflion, as well as 
 every other human invention. 
 
 Nature has implanted in the mind of 
 man fo ftrong an idea of a fuperiour power, 
 that every nation has fome worfhip or 
 ceremonies, by which they fhew their 
 dependance on, and reverence of, a Deity, 
 whofe purity of nature requires diftinct 
 places for religious fervices, attended by 
 every mark of awe and refpect, beftfuited 
 to exprefs their ideas of reverence and 
 fubmifiion to Omnipotent Power. 
 
 As mankind in the rudeft ftate ever 
 acknowledged Powers Divine, the places 
 beft calculated to infpire religious ideas 
 were groves, or thick woody places, 
 where gloomy dulnefs and fhade natu- 
 rally imprefs the mind with awe, and 
 lead it to contemplation. Such, we may 
 therefore fuppofe, were the places firft fet 
 apart for religious worfhip ; but when 
 the weather, or inclination, rendered an 
 enclofed place defirable, they laboured, 
 in this early ftate of arts, to produce a 
 
 building 
 
42 RUDIMENTS OF 
 
 building merely fuited to the necefTary 
 purpofes. But when fociety was more 
 enlarged and refined, and the profits of 
 commerce accumulated to wealth, then 
 the mind of man, which naturally runs 
 toward excellence, was not content with 
 the plain and fimple ftructures already 
 built : and, it is likely no finall fpur was 
 alfo ufed by the influence of thofe con- 
 cerned in the worfhip and facrifices of the 
 times ; for additional wealth naturally 
 excited an increafe of fplendour and more 
 coftly ceremonies : thefe required more 
 room, and a correfponding increafe of 
 ftate and magnificence, that the feveral 
 rites, &c. might be fuitably performed : 
 thus, an edifice of more elegance, a build- 
 ing of greater extent and richer embel- 
 lifhments was required, which would 
 {hew fuperiour honour and refpecl; to the 
 Deity worfhipped. 
 
 Thus, from the fimpleft ftructure 9 
 rofe the Antis, Proftyle, ckc. till invention 
 and ingenuity, aided by unbounded li- 
 berality, 
 
ANCIENT ARCHITECTURE. 43 
 berality, crowned the whole with the hy- 
 psethral edifice. Excited by ambition, 
 and enabled by vaft riches, whofe fources 
 were far extended territory and numerous 
 fertile provinces, emperors, and even 
 private perfons, were enabled to erect the 
 mod coftly temples, the extent and mag- 
 nificence of which are truly aftonifh- 
 ing. 
 
 It is a remark Worthy notice, that the 
 ancient architects did not follow in a 
 fervile manner the rules delivered by 
 Vitruvius : yet certainly what he wrote, 
 were the rules by which they planned their 
 great outline, or defign ; however they 
 might vary the fmaller or inferior parts of 
 an edifice. To enumerate a few inftances 
 of variation : 
 
 The Temple of Minerva at Athens has 
 eight columns in front ; and Vitruvius 
 allows but fix to a peripteral, of which 
 order this building is. 
 
 The Temple of Minerva Pollias has 
 fix columns in front, yet is proftyle; 
 
 although 
 
44 RUDIMENTS OF 
 
 although Vitruvius allows but four tt* 
 this order. 
 
 The Temple of Jupiter Olympus at 
 Athens lias no more than eight column b 
 in front, yet is hypaethral, to which Vi- 
 truvius gives ten columns in front. This 
 is a variation recorded by himfelf, and 
 without any particular notice of the vio- 
 lation of the rule ; from which it fhould 
 appear as not confidejed of much confe- 
 quence. 
 
 The walls of the cell were always 
 placed oppofite the columns of the pro- 
 naos, and pofticum, according to the rule; 
 at leaft I recollect but one example to the 
 contrary, which is in the Temple of 
 Thefeus at Athens. — I thought it necef- 
 fary to notice thefe inftances of the varia- 
 tion of the ancient architects, that the re- 
 fearches and genius of modern times 
 might not be led into error, or fettered by 
 obferving as law, that which was not ad- 
 hered to by thofe we wilh to imitate. 
 
 VITRUVIUS 
 
ANCIENT ARCHITECTURE. 45 
 
 V I T R U V I U S 
 
 O N 
 
 SACRED BUILDINGS. 
 
 " QACRED Buildings, or Temples, 
 k_? differ in their various figures and 
 afpects. Of the firft order is the Antis, 
 idly, The Projlyle. $dly, The Amphipro- 
 Jlyle. tfbly, The Peripteral. $thly, The 
 Pfeudo dipteral. 6thly, The Dipteral. jthly y 
 The Hypcetbral, which are diftinguifhed 
 in this manner. 
 
 The edifice or temple is called Antice> 
 when it has in the front antse, or pilafters, 
 at the corners of the wall which forms 
 the cell ; and between the pilafters in the 
 middle, two columns, which fupport the 
 pediment or porch ; of which examples are 
 
 at 
 
4& Rudiments op 
 
 at the three Temples of Fortune, the one 4 
 
 neareft the Colline Gate. 
 
 idly. The Proftyle is the fame as the 
 Antis, only columns are placed oppofite 
 the pilafters of each corner, which fup- 
 port a chapiter or architrave, the fame as 
 in the Antis : an example of this manner 
 is the Temple of Jupiter and Faunus, in 
 the Ifle of Tyber. 
 
 %dly y The Amphiprojiyle is the fame as 
 the preceding, only a poftern or back 
 front (Pqfttcum) is added, with columns 
 and pediment, the fame as to the Proftyle* 
 
 Acidly ', The Peripteral has in the front 
 and hinder porch (Pojlicum) fix columns* 
 and eleven, counting the corner ones, on 
 each fide. And thefe columns are fo 
 placed, that the fpace of an intercolumni- 
 ation fhall be left between the wall and 
 the outer range of columns, leavingan am- 
 bulatory round the cell of the edifice : as 
 in the Gate of Metellus, the Temple of 
 Jupiter Stator defigned by Hermodius; 
 and that founded by Mariana to Honour 
 
 and 
 
ANCIENT ARCHITECTURE. 47 
 
 and Virtue, built by Mutius, and wants 
 the hinder porch. 
 
 5thly> To the Pfeudodipteral^ the co- 
 lumns are fo placed, that in the front and 
 behind there are eight columns, and on 
 each fide, counting the corner ones, fif- 
 teen ; and the walls of the cell mult corre- 
 fpcnd, or run parallel with the four centre 
 columns, both before and behind : there 
 muft be the fpace of two intercolumnia- 
 tions, and the thicknefs of one column 
 between the walls and the outer columns. 
 Of this order Rome affords no example ; 
 but at Magnefia, the Temple of Diana, 
 by Hermogines Alabandin ; and that of 
 Apollo, built by Amnefta, are examples. 
 
 6thly^ The Dipteral is octoftyle or 
 eight-columned, both before and be- 
 hind ; but it has a double row of columns 
 round the cell, as in the Temple of Ju- 
 piter Quirinus of the Doric order, and 
 the Ionic Temple of Diana at Ephefus, 
 built by Ctefiphon. 
 
 Jthly, The Uypathral is decaftyle or 
 
 ten- 
 
4-8 RUDIMENTS OF 
 
 ten-columned, both before and behind ; 
 the other parts are the fame as the Dip- 
 teral, but within it has a double row of 
 columns, one above the other all round, 
 refembling a porch, which is called a 
 Periftyle : the middle has no roof; it 
 has folding-doors both before and be- 
 hind. We have no example of this at 
 Rome ; but Athens has one, the Temple 
 of Jupiter Olympus, which is o&oftyle 
 or eight-columned. 
 
 There are alfo round temples, of 
 which fome are Monopteral^ without cells, 
 and built on columns : the other is called 
 Peripteral. Thofe without cells have a tri- 
 bunal or throne, and are afcended by 
 fteps of one third of the diameter of the 
 temple: the columns, placed onpedeftals, 
 are as high as the diameter of the temple, 
 taken at the outer fide of the pedeftals ; 
 their thicknefs is one tenth part of the 
 height of the fhaft and capital : the height 
 of the architrave is half the diameter of 
 the column : the frize, and other orna- 
 ments 
 
ANCIENT ARCHITECTURE. 49 
 
 ments above, may be accoiding to the ge- 
 neral rule. 
 
 The Peripteral 'is built with an afcent of 
 two fteps, on which the pedeftals of the 
 columns are placed : the wall of the cell is 
 diftant one fifth part of the diameter of 
 the temple from the pedeftals of the co- 
 lumns : in the middle is left a fpace for 
 folding doors : the diameter of the inner 
 part of the cell muft be equal to the 
 height of a column without the pedeftal ; 
 the columns round the cell are placed with 
 fuitable proportion and fymmetry. The 
 enclofure in the middle is thus propor- 
 tioned: one diameter of the whole build- 
 ing for its height ; half is for the cupola, 
 exclufive of a flower on the top of the 
 pyramid : the fize of the flower fhall 
 be the fame as a capital of the co- 
 lumns ; the other parts may be according 
 to the proportions already written. 
 
 By the fame general proportions other 
 kind of temples are built, but have differ- 
 ent difpofitions of their parts; as the tem- 
 E. pie 
 
50 RUDIMENTS OF 
 
 pie of Caftor in the Circus of Flaminius: 
 and the temple of Vejovius between the 
 two groves ; alfo the temple of Diana 
 of the Groves ; where the columns are 
 added on both fides the walls of the 
 porch. This kind of building, as in the 
 temple of Caftor in the Circus, was firft 
 ufed in the temple of Minerva within the 
 citadel at Athens, and in the temple 
 of Pallas at Simium in Attica. They 
 have the fame proportions as the others ; 
 for the cell is in length double its breadth ; 
 and the fame rule is followed for the fides 
 as for the fronts. 
 
 Some there are who ufe the Tufcan 
 difpofition of the columns, although they 
 are of the Corinthian or Ionic orders. 
 
 To temples, whole walls with the 
 antse project to form a porch, two co- 
 lumns are placed oppofite the walls which 
 form the cell ; thus blending the Tufcan 
 and Greek manners. 
 
 Again, others "fry removing the walls 
 of the cell, and placing them between 
 
 the 
 
ANCIENT ARCHITECTURE. 51 
 
 the intercolumniation, leave a very large 
 fpace within the cell; the other parts pre- 
 ferve the fame proportion and fymmetry. 
 Thus has arifen a new order, which is 
 called Pfeudodlpteral ; and this kind is par- 
 ticularly ufeful for facrificec. The fame 
 kind of temple cannot be made to every 
 god, becaufe of the diverfity of the cere- 
 monies to be performed. 
 
 Thus I have explained, as far as I was 
 able, every kind of facred building — 
 their order — the fymmetry of their parts — 
 the difference of their figure ; and what 
 variety is to be obferved in them, I have 
 been careful in writing." 
 
 The elegance and magnificence of a 
 flrudture depending very much on the 
 proper placing of the columns ; and 
 as it appears connected with the fub- 
 je& here treated of, I add the rules laid 
 down by Vitruvius, obferved by the 
 ancients, and allowed by the moderns, in 
 the difpofition of columns, called by that 
 writer 
 
 E 2 the 
 
52 RUDIMENTS OF 
 
 THE FIVE SPECIES OF BUILDING. 
 
 " OF buildings there are five forts orfpe- 
 cies ; which are called, i ft, The Pycnojyk, 
 that is, thick of columns. 2d, The Syftyle y 
 that are a little wider. 3d, The Diqftyle, 
 (till wider. 4th, The Arceojlyle^ more dis- 
 tant than is proper. 5 th, The Eujlyle, 
 which is the proper diftance. 
 
 To the Pycnojlyk, the diftance of the 
 intercolumniation is one diameter and a 
 half of the column ; as in the temple of 
 the divine Julius ; the temple of Venus 
 in Csefar's Forum; and many others after 
 the fame manner. 
 
 The Syjlyle has two diameters of the 
 column between the intercolumniation, 
 and the plinths of the bafe are equal to 
 the fpace which is between two plinths ; 
 as in the temple of Fortuna Equeftris, 
 near the Stone Theatre, and others made 
 
 after 
 
ANCIENT ARCHITECTURE, 53 
 
 after the fame proportions. Both thefe 
 forts are inconvenient ; for the ladies, 
 when entering the temple to worfhip, 
 cannot pafs the columns arm in arm im- 
 lefs they go fide-ways : alfo, by the fre- 
 quency of the columns, the view of the 
 door, and the figns or trophies of the 
 deity, are hid, and the narrownefs of the 
 porch is inconvenient for walking. 
 
 The Dyajiyle has this diftribution, viz. 
 three diameters of the columns between 
 the intercolumniations, as in the temple 
 of Apollo and Diana. This has its incon- 
 veniencies; becaufe the architrave, on ac- 
 count of the diftance between the column, 
 is liable to break. 
 
 In the Araojiyle they ufe neither ftone 
 nor marble, but make the beams of dur- 
 able timber. This kind of building is 
 ftraggling and heavy, low and broad. The 
 pinacles are generally ornamented with 
 fictile or earthen ware, or brafs gilt after 
 the Tufcan manner, as is to be feen in 
 the Circus Maximus at the Temple of 
 E 3 Ceres, 
 
54 RUDIMENTS OF 
 
 Ceres, and in Pompey's Temple of Her- 
 cules, and alfo in the Capitol. 
 
 The Eu/iy/e manner is now to be treated 
 of; which, with great juftice, for its ufe- 
 fulnefs,beauty, and durability, merits every 
 commendation. It is formed by allow- 
 ing to the diftance of the intercolumnia- 
 tions two diameters and a quarter, and to 
 the middle intercolumniation only, both 
 before and behind, three diameters. Thus 
 the figure has a beautiful afpect, is ac- 
 ceffible without impediment; and round 
 the cell is a ftately ambulatory. 
 The rule is this: 
 
 The front of the building of it is Tetra- 
 Jlyle (four columns), is divided into eleven 
 parts and a half, without reckoning the 
 projection of the bafe of the column. If 
 it is Hexq/Iyle (fix columns), it is divided 
 into eighteen parts. If it is Odtqftyle (eight 
 columns), it is divided into twenty-four 
 parts and a half. Of thefe parts one, whe- 
 ther the building be tetraftyle, hexaftyle, 
 or o&aftylc, fhall be a module, which is 
 
 to 
 
ANCIENT ARCHITECTURE. 55 
 
 to be the thicknefs of a column. Each inter- 
 columniation, except the middle one,muft 
 be two modules and a quarter ; the middle 
 one mail have three modules both before 
 and behind : the height of the columns 
 mall be eight modules and a half : by this 
 divifion of the intercolumniation, the 
 columns have a juft proportion. Rome 
 affords no example of this kind ; but at 
 Teos in Afia is one, the temple of 
 Bacchus, which is octaftyle. 
 
 Hermogenes was the firft inventor of 
 thefe proportions ; he alfo firft ufed the 
 octaftyle pfeudodipteral : he firft contrived 
 to take away, without injuring the 
 beauty, the interior range of columns 
 in the dipteral (which are thirty-four), 
 thereby very much decreafing both the 
 labour and expence : this alfo gave a 
 very large ambulatory round the cell, 
 and, without miffing the fuperfluity, pre- 
 ferred the majefty of the whole ; for the 
 walls and the columns were firft thus 
 difpofed, that the view, on account of 
 E 4 the 
 
$6 RUDIMENTS OF 
 
 the afperity (afpentas) of the interco- 
 lumniation, fhould have more majefty : 
 befides, it has this convenience, of fhel- 
 tering a great many perfons from rain, 
 as well round as within the cell, which 
 includes a great fpace. This difpofition 
 of pfeudodipteral buildings, was firft dif- 
 covered by the labour of the great and 
 difcerning fpirit of Hermogenes ; which, 
 like a fountain, will ferve pofterity from 
 whence to draw rules for the Science of 
 Architecture. 
 
 The columns to the Araofyle Ihould 
 have for their thicknefs one eighth part 
 of their height. For the Diaftyle, the 
 height of the column is to be divided into 
 eight parts and a half; one part for the 
 thicknefs of the column. For the Syjiyle, 
 the height mail be divided into nine 
 parts and a half • one part for the thick- 
 nefs of the column. Alfo for the Pyc- 
 nojlyle, the height mail be divided into 
 ten parts ; one part for the thicknefs of 
 the column. The Eujlyle alfo is divided 
 
 into 
 
ANCIENT ARCHITECTURE. 57 
 
 into eight parts and a half, the fame as 
 the Diaftyle : one part is given for the 
 thicknefs of the column ; and for the 
 folidity of its parts it mall have its proper 
 intercolumniation. As the fpace between 
 the columns increafes, fo ought alfo the 
 thicknefs of the columns. If it is arseo- 
 ftyle, and they mould have only a ninth or 
 tenth part for their thicknefs, they will 
 then appear tall and flender, on account 
 of the length of the intervals ; for the 
 air will in appearance diminifh the thick- 
 nefs of the columns. On the contrary, 
 if it is pycnoftyle, and the columns have 
 an eighth part for their thicknefs, they 
 have a clumfy and ungraceful appear- 
 ance, on account of the frequency of the 
 columns, and the narrownefs of the in- 
 tervals : for this reafon, the fymmetry and 
 proportion of each order mould be at- 
 tended to, Alfo the thicknefs of the 
 corner columns muft be increafed one 
 fiftieth part; for, by the great furrounding 
 fpace, they will appear fmaller to the 
 
 view. 
 
58 RUDIMENTS OF 
 
 view, and it is neceiTary art fhould rec- 
 tify this defect of vifion. 
 
 For the diminution of the fhaft of 
 a column, the following rule may be 
 obferved : if the fhaft of a column is 
 fifteen feet high, the diameter of the 
 lower part is divided into fix parts ; 
 five of which are for the top diame- 
 ter. If columns are from fifteen to 
 twenty feet high, the lower diameter is 
 divided into fix parts and a half; five and 
 a half of which are for the top diameter. 
 If columns are from twenty to thirty 
 feet high, the lower diameter is divided 
 into feven parts ; fix of which are for 
 the top diameter. If columns are from 
 thirty to forty feet high, the lower dia- 
 meter is divided into feven parts and a 
 half; fix and a half of which are for 
 the top diameter. If columns are from 
 forty to fifty feet high, the lower dia- 
 meter is divided into eight parts ; feven 
 of which are for the top diameter. If 
 any are higher than thofe mentioned, 
 4 they 
 
ANCIENT ARCHITECTURE. 59 
 
 they fhall have the fame proportions for 
 their diminution. — An additional thick- 
 nefs is properly given, on account of the 
 increafed height ; for, as the eye is at- 
 tracted by beauty, it is necefTary it Ihould 
 be flattered by the pleafure it receives 
 from proportionate and juft diftribution 
 of parts, as it is when deceived by judi- 
 cious additions ; elfe the whole will 
 have a bulky and inelegant effect." 
 
 A DIC- 
 
DICTIONARY of TERMS 
 
 USED IN 
 
 ARCHITECTURE, 
 
- 
 
DICTIONARY. 
 
 A, 
 
 A. 
 
 .BACUS, the upper member of a co- 
 lumn, which ferves as a covering to the 
 capital ; to the Tufcan, Doric and Ionic, is 
 fquare ; to the modern Ionic, Corinthian 
 and Compofite, each fide is arched or cut 
 inwards, and is decorated in the centre 
 with a flower or other ornament. See 
 plates 9, 10. 
 
 Ac au thus, a plant, whole leaves form 
 an ornament in the Corinthian and Com- 
 pofite capitals, and are faid to have ori- 
 ginally given rife to the former order. 
 
 Acroteria, a kind of bafe, placed on the 
 angles of pediments, ufually for the fupport 
 of flames, &c. 
 
 Amphiprostyle, i. e. double proftyle, ox 
 having pillars on both fronts ; according to 
 Vitruvius, the third order of temples. 
 See page 46. 
 
 Amphi- 
 
64 A R JE 
 
 Amphitheatre, a place for exhibiting 
 fhows, very fpacious, of a round or oval 
 figure, with many feats rifing on every fide. 
 
 Annulet, a fmall fquare moulding, which 
 ferves to crown or accompany a larger, 
 and to feparate the flutings in columns. 
 See plate 8. 
 
 Ant^e, a fpecies of pilafters on the extre- 
 mity of a wall, ufually have no diminution, 
 nor do the mouldings of their capitals or 
 bafes always refemble thofe of the co- 
 lumns. 
 
 Antje or Otitis, i. e. pilafteral ; according to 
 Vitruvius, the firft order of temples. See 
 page 45. 
 
 Apophyge, that part of a column where it 
 begins to rife upwards out of its bafe. 
 
 Aqujeduct, an artificial canal, built for 
 the conveyance of water from one place 
 to another, either running under ground, 
 or rifing above it. 
 
 Arch, part of a circle or ellipfis. 
 
 Arjeostyle, according to Vitruvius, the 
 fourth method or fpecies of intercolum- 
 
 niation, 
 
ARC BAS 6^ 
 
 illation, to which four diameters are al- 
 lowed between each column. See page 53. 
 
 Architrave, the lowed principal member 
 of an entablature, lying immediately upon 
 the abacus of the capital. See plates 9, 10. 
 
 Astragal, a fmall round member refem- 
 bling a ring, which terminates the extre- 
 mities of the column ; is fometimes ufed 
 to divide the facia of the architrave, when 
 it is frequently cut into beads, &c. See 
 plate 8. 
 
 Attic Base. See Bafe. See plate 7. 
 B. 
 
 Baluster, fmall columns, or pillars of wood, 
 ftone, &c. ufed on terraces or tops of build- 
 ings for ornament, and to fupport railing, 
 and when continued form a baluftrade. 
 
 Band, a general term for a low, flat, or 
 iquare member. 
 
 Base, the lower and projecting part of a 
 column and pedeftal. See page 38. See 
 plates 7, 10. 
 
 Basilic, a royal palace; among the an- 
 cients was a great hall, with a portico, 
 ides, tribunal, &c. where the king in per- 
 ion diftributed juftice ; it is alfo applied to 
 
 modern 
 
66 BOS CAP 
 
 modern churches when fpacious and ele- 
 gant. 
 
 Bossage, a term ufed for any ftone laid with 
 a projection beyond the upright of a 
 building, to be afterwards cut into mould- 
 ings or other ornaments ; it is alfo ufed for 
 ruftic work, becaufe the ruftics project 
 over the perpendicular of the building. 
 'Butment, fupporters or props, on or 
 againil which the feet of arches reft. 
 
 Buttress, a kind of butment, built fome- 
 times archwife, as to Gothic buildings ; a 
 mafs of ftone or brick work, ferving to prop 
 orfupport buildings, walls, &c. on the out- 
 fide, where their great height or weight 
 require additional itrength. 
 
 C. 
 
 Caliducts, pipes or canals, difpofed in or 
 along the walls of houfes, for conveying 
 hot air to diftant apartments, from a com- 
 mon or centrical furnace, as practifed by 
 the ancients. — This method has been 
 adapted in modern buildings with good 
 fuccefs and ceconomy. 
 
 Capital, the upper moft member of a 
 column, which is as a crown or head 
 
 thereto, 
 
CAR 67 
 
 thereto, placed immediately over the 
 Jhaftj and under the architrave ; no co- 
 lumn is complete without a capital, which 
 is a diftinguiming mark of each order.— 
 Tufcan and Doric capitals confift of 
 mouldings ; Ionic, Corinthian, and Com- 
 pofite capitals, of leaves and other orna- 
 ments. 
 
 Cartouche, an ornament in fculpture re- 
 prefenting a fcroll of paper, &c. 
 
 Caryatides, a kind of order in Architec- 
 ture, in which a female figure is applied 
 inftead of a pillar ; the origin of which is 
 thus handed down by Vitruvius. The in- 
 habitants of Caria, a city of Peloponnefus, 
 made a league with the Perfians againft 
 their own nation ; but the Perfians being 
 worfted, they were afterwards befieged by 
 the victorious party, their city taken and 
 reduced to afhes, the men put to the fword, 
 and the women earned away captives. To 
 perpetuate the memory of this victory, the 
 conquerors caufed public edifices to be 
 erected, in which, as a mark of degrada- 
 tion and fervility, the figures of the captives 
 were ufed inftead of columns, thus handing 
 F 2 t© 
 
68 CAT COL 
 
 to poflerity their merited fervility and pu- 
 nifhment. When figures of the male fex 
 are ufed, they are called Perfians or Perfes. 
 
 Catadrome, an engine of the ancients, 
 like a crane, ufed to raife great weights. 
 
 Cavetto, a concave moulding of one quar- 
 ter of a circle. See plate 8. 
 
 Caulicoli, the little twills or volutes 
 under the flower on the abacus in the Co- 
 rinthian capital, reprefent the twirled tops 
 of the acanthus (talks ; are called alfo 
 Helices. 
 
 Cell, in an ancient temple, is the inclofed 
 fpace within the walls. 
 
 Cincture, a ring, lift, or fillet, at the 
 top and bottom of the (haft of the column ; 
 that at the bottom is called Jpophyge ; the 
 top one is called Annulet, or AJlragal. 
 
 Collar in, or Collarino, the neck or frize 
 of a Tufcan or Doric capital. 
 
 Colonnade, a feries or continuation of co- 
 lumns. 
 
 Column, a round pillar ufed in Architec- 
 ture, to adorn or fupport. Columns are of 
 five kinds ; the 'Tufcan, Doric, Ionic, 
 Corinthian, and Compofite t each of which 
 
 has- 
 
COM COR 69 
 
 has its particular proportion. The term in- 
 cludes the bafe and the capital. 
 
 Composite order, one of the five orders of 
 Architecture. 
 
 Conge, a fmall moulding, which ferves to 
 feparate larger ones, called alfo Lift or 
 Annulet. 
 
 Console, an ornament cut on the key-ftone 
 of arches, with a projection, capable of fup- 
 porting b ufts, vafes, &c. 
 
 Contour, the outline of a figure, or piece 
 of Architecture. 
 
 Coping of a wall, the top or covering made 
 Hoping to throw off water. 
 
 Cor beille, carved work, reprefenting a baf- 
 ket with fruits or flowers, fervingas afinifh 
 to fome other ornament. It fometimes is 
 applied to the vafe of the Corinthian ca- 
 pital, the word originally meaning a 
 bafket. 
 
 Corinthian order, one of the five orders 
 of Architecture. 
 
 Cornice, the upper afTemblage of mem- 
 bers in an entablature, commencing at the 
 frize ; each order has its particular cor- 
 nice, with fuitable enrichments. To the 
 F 3 I'ufcan 
 
7 o COR CYM 
 
 Tujcan it is quite plain ; to the Doric arc 
 added guita, or bells in the Joffit : the 
 Ionic has plain modillions ; the Corinthian 
 is much enriched, and has modillions ; the 
 Compofite is not quite Co much enriched 
 as the Corinthian. See plates 9, 10. 
 Corona, a large flat and flrong member 
 in a cornice, called alfo the Drip, or Lar- 
 mier ; its ufe is to fcreen the under parts 
 of the work, and, from its fhape, to prevent 
 the water running down the column ; it 
 has always a large projection to anfwer its 
 propofed ufe. The under, or horizontal 
 part of the corona, is called the Soffit, and 
 admits of various degrees of ornament, 
 according to the richnefs of the order. 
 
 Corridor, a gallery or paffage in large 
 buildings, which leads to diftant apart- 
 ments. 
 
 Crypto-porticus, a vaulted, fubterra- 
 neous, or o'oicure place ; alfo the decora- 
 tions at the entrance of a grotto. 
 
 Cupola, a round roof or dome, in the form 
 of an inverted cup. 
 
 Cyma, Cima, or Cymatium, a fpecies of mould- 
 ing* 
 
DEC DRO 71 
 
 ing, which is generally the upper one to 
 an entablature. There are two forts of 
 this moulding, the cyma refla, and cyma 
 reverfa. See plate 8. 
 
 D. 
 
 Decastyle, in ancient Architecture, a build- 
 ing, with ten columns in front. 
 
 Dentele, an ornament refembling teeth, 
 ufed in Ionic and Corinthian cornices. 
 
 Diastyle, according to Vitruvius, the 
 third fpecies of intercolumniation, having 
 three diameters between the columns. 
 
 Die, the fquare or naked piece in a pedeftal, 
 that part which is between the bafe and the 
 capital. See plate 10. 
 
 Dipteros, i. e. having a double range of 
 columns; according to the arrangement of 
 Vitruvius, is the fixth order of temples. 
 
 Dome, a fpherical roof. — See Cupola. 
 
 Doric order, one of the five orders of Archi- 
 tecture. 
 
 Drip. See Corona. 
 
 Drops or Gutt<c } in the Doric entablature, 
 are fmall pyramids or cones, immediately 
 under the triglyph. 
 
 F 4 Echinus, 
 
72 ECH EXH 
 
 E. 
 
 Echinus, is properly the egg and anchor 
 ornament peculiar to the Ionic capital ; it is 
 fometimes ufed for the whole member in- 
 flead of ovolo. 
 Escarp us, ufed to exprefs feftoons of 
 fruits or flowers on frizes, &c. Literally 
 means fruit only. 
 Entablature, an ornament or aflfemblage 
 of parts, fupported by a column or pilafter 
 over the capital : each order of columns has 
 a peculiar entablature divided into three 
 principal parts ; the architrave, which is 
 divided into two or more facias, and refts 
 upon the capital. The frize is next, 
 and may be plain or ornamented. The 
 cornice is the top or crowning part. See 
 plates 9, 10. 
 Epistyle, the fame as architrave. 
 Eustyle, according to Vitruvius, the fifth 
 and moft eligible method of intercolum- 
 niation, having two diameters and a quarter 
 between the columns. 
 Exhedra, in ancient Architecture, a large 
 recefs, where company ufed to retire for 
 converfation, &c. in fome buildings was a 
 
 diftinct apartment. 
 
 Facade, 
 
FAC FUS 73 
 
 F. 
 
 Facade, the front view or elevation of a 
 building. 
 
 Facia, a flat member in the entablature of 
 an order, reprefenting a band or broad 
 fillet in an architrave; if divided, thefe di- 
 vifions are called the firft facia, the fecond 
 facia, &c. See plate 9. 
 
 Fastigium, the name ufed by Vitruvius 
 for what we call a Pediment, 
 
 Fillet. See Annulet. 
 
 Flutings, the hollows or channels, which 
 are cut perpendicularly in columns by way 
 of ornament. 
 
 Foliage, an affemblage of leaves. 
 
 Frize, the middle member of an entabla- 
 ture, having the architrave below, and the 
 cornice above. 
 
 Frontispiece, fometimes fignifies the 
 whole face or afpect of a building, but is 
 more properly applied to the decorated en- 
 trance of a houfe. 
 
 Fust, the fhaft of a column, or that part 
 which is between the bafe and the capital. 
 
 Glyphs, 
 
74 GLY H O U 
 
 G. 
 
 Glyphs, the perpendicular channels cut in 
 the triglyphs of the Doric frize. 
 
 Go la, or Gula, a moulding, more ufually 
 called cyma reverfa, or ogee. 
 
 Gorge, a hollow moulding, a cavetto. 
 
 Gothic, a peculiar ftyle of Architecture, 
 diftinft from the Grecian or Pvoman, de- 
 rived from the Goths, or rather from the 
 Saracens. 
 
 Gu la. See Gola. 
 
 GuTTyE. See Drops. 
 
 H. 
 
 Helix, or Helices. See Cauliculf. 
 
 Hexast yle, a place having fix columns 
 in front. 
 
 Hippodrome, a place where the ancients 
 exercifed their horfes, alfo the courfe for 
 the horferace. 
 
 House, the houfes of the ancients had great 
 and magnificent veftibules or entries, 
 which were fometimes two hundred and 
 twenty feet long, and one hundred and 
 fixty broad, fupported with two ranges of 
 pillars, which formed a wing on each fide. 
 
 The 
 
HOU 75 
 
 The Greeks and the Romans differed in 
 the diflributing and ordering their apart- 
 ments. The Romans had magnificent 
 courts and entries, but the Greeks only a 
 narrow entry through which they paffed 
 into a periftyle; this entry or paflage had 
 on one fide the porter's lodge, and on the 
 other the (tables. Among the Greeks, the 
 apartments of the women were feparate 
 from thofe of the men, and the latter dined 
 by themfelves. 
 The ancients had three forts of halls or 
 veJlibuleS) viz. the Corinthian, which had 
 pillars round againft the wall ; thefe fup- 
 ported the ceiling which was vaulted : the 
 fecond was the Egyptian hall ; in this the 
 pillars were detached from the wall in the 
 manner of a periftyle. The fpace between 
 the columns and the wall was covered 
 with a pavement, and formed a walk or 
 balcony round. The range of pillars fup- 
 ported an architrave, on which was another 
 range of columns, between which were the 
 windows. The third was the Cyzican hall, 
 which was ufed chiefly by the Greeks, 
 and had this in particular, that they faced 
 
 the 
 
y6 HYP LIS 
 
 the North, and had a profpect of the 
 
 ga rden. 
 Hypjethral, i. *. uncovered, or open to the 
 
 fky ; according to Vitmvius, the feventh 
 
 order of temples, and without a roof. 
 
 Hypotrachelion, the neck or frize of a 
 
 capital. 
 
 I. 
 
 Impost, a facia or fmall cornice which crowns 
 a pier or pilafter, and from which an arch 
 fprings. 
 
 Insulated, {landing alone, or detached 
 from any contiguous buildings, &c. 
 
 Intercolumniation, the fpace between 
 two columns, for the particulars of which, 
 fee page 52. 
 
 Ionic order, one of the five orders of Archi- 
 tecture. 
 
 K. 
 
 Key-stone, the higheft ftone of an arch, to 
 which a projection is ufually given, and 
 fometimes cut in ornaments. 
 
 L. 
 
 Larmier. See Corona. 
 List, or Lift el. See Annulet. 
 
 Metope, 
 
MET MOU 77 
 
 M. 
 
 Metope, the interval or fquare fpace between 
 the triglyphs in the Doric frize. 
 
 Mezzanine, or Mezzetti, fmall or low 
 dories between principal ones, ufed as 
 fervants apartments. 
 
 Minute, an architetlonic meafure, the lower 
 diameter of a column divided into fixty 
 parts, each part is a minute. 
 
 Modillion, an ornament refembling a 
 bracket, in the Ionic, Corinthian, and 
 Compofite cornices. See plate 9. 
 
 Module, an architetlcnic meafure, the lower 
 diameter of a column divided into two parts, 
 one is a module, each module is divided 
 into thirty minutes ; thus either is not a 
 determinate, but a proportionate meafure. 
 
 MoNOPTERAL,a round temple without a cell. 
 See page 48. 
 
 Mouldings, thofe parts which projeel be- 
 yond the bafe or perpendicular face of a 
 wall, column, &c. intended only for or- 
 nament, whether round, flat, or curved : 
 the regular mouldings are, ift, the lift 
 or annulet ; 2d, the aftragal or head ; 
 3d, the cyma reverfa, or ogee; 4th, the 
 
 c\ma 
 
78 MUT OVO 
 
 cyma refta ; 5th, the cavetto, or hollow ; 
 6th, the ovolo or quarter round ; 7th, the 
 Jcotia ; 8th, the torus. See plate 8. 
 For general obfervations on mouldings, 
 their difpofition, &c. fee page 3Z. 
 Mutule, an ornament in the Doric cornice, 
 anfwering to a modillion in the Ionic and 
 Corinthian entablatures. 
 
 N. 
 Niche, a cavity or hollow in a wall for fta- 
 tues, &c. 
 
 O. 
 
 Octastyle, an edifice having eight columns 
 in front. 
 
 Ogee, a cyma reverfa. 
 
 Order, in Architecture, a column entire, 
 confifting of bafe,Jhaft t and capital, with 
 an entablature. For a particular account of 
 each order, fee the beginning of this work. 
 
 Ova, or ovum. See Echinus. 
 
 Ovolo, a moulding which projects one 
 quarter of a circle, called alfo a quarter 
 round. See plate 8. 
 
 Pedestal, 
 
PED PI A 79 
 
 P. 
 
 Pedestal, a fquare body on which columns, 
 &c. are placed. See plate 10. 
 
 Pediment, a low triangular ornament in the 
 front of buildings, and over doors, win- 
 dows, &c. 
 
 Pier, a kind of pilafter or buttrefs, to fup- 
 port, ftrengthen, or ornament ; the pier of 
 a bridge, is the foot or fupport of the arch ; 
 the wall between windows or doors. Alfo 
 fquare pillars of ftone or brick, to which 
 gates to an entrance are hung. 
 
 Pentastyle, an edifice having five co- 
 lumns in front. 
 
 PERiDROME,the fpace in a Peripteral temple, 
 which is between the column and the cell. 
 
 Peripteral,/.*, having columns all around; 
 according to Vitruvius, the fourth order of 
 temple ; alfo around temples. 
 
 Peristyle, a range of columns or colon- 
 nade, with a court or building like a 
 cloifter : the internal colonnade to the 
 Hyptethral temple, is zperiftyle. 
 
 Piazza, a continued arched way or vaulting, 
 under which to walk, &c. 
 
 4 Pilaster, 
 
80 HL POR 
 
 Pilaster, a fquare pillar or column, ufually 
 placed againft a wall ; has the fame 
 proportions and ornaments as a column. 
 
 Pillar, this word is generally ufed in Ar- 
 chitecture, in common with column, though 
 ftri&Iy fpeaking they are different; thus 
 the fupporters in Gothic Architecture are 
 pillars, but can never be properly termed 
 columns, Varying in Khape and every par- 
 ticular from the latter. 
 
 Plat-band, any flat fquare moulding with 
 little projection ; the different facias of an 
 architrave are called plat-bands ; the fame 
 is applied to the lift between flirtings, &c. 
 
 Plinth, the lower member of a bafe. See 
 plates 9, 10. 
 
 Porch, an arched way, or covering at the 
 entrance of a great building, particularly to 
 churches. 
 
 Portico, a continued range of columns 
 covered at top, to fhelter from the weather ; 
 among the ancients thefe were highly or- 
 namented, and of great extent. The 
 remains of the portico at Palmyra fhow 
 it to have been full four thoufand feet long. 
 
 Posticum, 
 
POS REL 81 
 
 Posticum, the porch in the back front of an 
 
 ancient temple. 
 Profile, the outline or contour of any 
 
 building, &c. 
 Prostyle, i, e. having pillars in front only ; 
 
 according to Vitruvius, the fecond order 
 
 of temples. 
 Pronaos, the front porch of an ancient 
 
 temple. 
 Pseudo-dipteral, /. e. falfe or imperfecl: 
 
 dipteral, the inner range of columns 
 
 being omitted ; according to Vitruvius, 
 
 the fifth order of temples. 
 Pycnostyle, according to Vitruvius, the nrft 
 
 method of intercolumniation, having one 
 
 diameter and a half between each column. 
 Pyramid, a ilructure, which, from a fquare, 
 
 triangular or other bafe, rifes gradually to 
 
 a point. 
 
 Quarter Round, a moulding. SeeOvolo, 
 Quoins, ftones or other materials put in the 
 angles of buildings to ftrengthen them. 
 
 R. 
 
 Relievo, fignines the projection of any 
 
 carved ornament. 
 
 G Roman 
 
82 ROM SOF 
 
 Roman order, the fame as the Compoftte. 
 Rotunda, a building which is round both 
 
 within and without. 
 Rustic, the term is applied to thofe flones 
 
 in a building which are hatched or picked 
 
 in holes, refembling a natural rough ap~ 
 
 pearance. 
 
 S. 
 
 Saloon, a lofty, vaulted, fpacious hall or 
 apartment. 
 
 Scapus, thefhaft of a column. 
 
 Scima. See cyma. 
 
 Scotia, a hollow moulding ufed in bafes to 
 capitals. See plate 8. 
 
 Section of a building, reprefents it as if cut 
 perpendicularly from the roof downwards, 
 and fervesto (hew the internal decorations 
 and diftribution. 
 
 Shaft, the trunk or body of a column be- 
 tween the bafe and the capitah 
 
 Soffit, the under part or ceiling of a cor- 
 nice, which is ufually ornamented ; the 
 under part of the corona is called the Soffit ; 
 the word is alfo applied to the ceiling of 
 an arch, the under fide of an architrave, 
 &c. 
 
 Stoa, 
 
STO TUS 83 
 
 Stoa, a portico. 
 
 Stylobatum, thepedeftal of a column. 
 
 Sy style, according to Vitruvius, the fecond 
 method of intercolumniation, having two 
 diameters between the columns. 
 
 T. 
 
 Tail loir, the abacus. 
 
 Talon, a cyma rev erf a. 
 
 Temple, among the ancients, according to 
 Vitruvius, there were feven different kinds 
 or orders, fee page 45. The word is applied 
 to buildings ufed to decorate modern gar- 
 dens, &c. 
 
 Tenia, the upper member of the Doric ar- 
 chitrave, a kind of lift el. 
 
 Tetrastyle, a building with four columns 
 in front. 
 
 Tondino, an aftragal. 
 
 Torus, or "Tore, a large femicircular mould- 
 ing, ufed in the bafe of columns. See 
 plate 8. 
 
 Trabeation, the entablature. 
 
 Triglyph, an ornament peculiar to the 
 Doric frize. See plate 10. 
 
 Trochilus, xhefcotia. 
 
 Tuscan order, one of the five orders of Ar- 
 chitecture. 
 
 3 Tympan, 
 
8 4 T Y M Z O C 
 
 Tympan, the flat furface or fpace within a 
 pediment. 
 
 V. 
 
 Vase, the body of a Corinthian capital, alfo 
 an ornament ufed in Architecture, &c. 
 
 Vault, an arched roof, the {tones or mate- 
 rials of which are fo placed as to fupport 
 each other. 
 
 Vestibule, the hall or entrance within large 
 houfes. 
 
 Volute, the fcroll or fpiral horn, ufed in 
 Ionic and Cornpofite capitals. 
 
 X. 
 
 Xyst, a large court with a portico on three 
 fides, planted with rows of trees, where 
 the ancients performed athletic exercifes — 
 running, wreftling, &c. 
 
 Z. 
 
 Zocle, or Zoccolo, a low fquare member, 
 which ferves to elevate a ftatue, vafe, &c. 
 alfo when a range of columns is erected 
 on one continued high plinthy it is called 
 a Zocle ; it differs from a pedeftal, being 
 without bafe or cornice. 
 
 FINIS. 
 
TIT S CAR 
 
 Plat, 2 
 
 Zondon PriiitsU fir I i- J. Taylor, at the Architectural Zibrar)'. Holborn . 
 
BORIC 
 
 Plate 3 
 
 ZondonJPrmfeii ' jov T.&J.Titylor, at ihe .irchiteetural Zilirarv. Molbom ■ 
 
Hhttf 4 
 
 IOTTIC 
 
 ITeuthe-Iktifert 
 
 
 Londm FrvaedfirljcJTiQrbr. at the JrohOcctural Library, So0> 
 
 wy . llvWirrn . 
 
Plate 5 
 
 CORINTHIAN". 
 
 EnghtJ 
 
 Fr>aiiiiiiiiiiiiiiiiiiiiiiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiii 
 
 Zandim PrvUeeLfhr I.tcJ.Ttylor m the-AnikiUcairal library .EoUhftti 
 
COMPOSITE 
 
 Plate 6 
 
 Loruhm. .Printed, prr rScJ.Tayler. .itt/u Architectural 1 ib wry .JhUxrrn. . 
 
A SES. 
 
 Plate. 
 
 CamposiU 
 
 Itmu 
 
 ~Doru 
 
 Cm ntl i /'an 
 
 Zondon.B-in&d ' jhrl.&J.Tayfor. at tfte ArefuUetural librae, Jfolborn . 
 
MOULDINGS 
 
 Vlctfe 8 
 
 Annulet. List or Square 
 
 Astragal or Brad 
 
 tima rex'ersa or Ogee 
 
 (una recto 
 
 Cavetto or hoilcnr. 
 
 Owlo or Quarfrr round 
 
 Scotia. 
 
 Torus 
 
 London T"i'>,'r,l jbr Z\'./C Taylop at th>' Architectural Library Hclbom- 
 
MadbUiai 
 
 Cornice 
 
 Frize 
 
 Architrave 
 
 a i '<iuhi\>lt\v 
 
 Capital 
 
 ShufT ofthe 
 
 Column 
 
 2 Titus' (~_ 
 
 Scotia, 
 Torus- ( 
 
 Base 
 
 Plinth 
 
 London, Printed fori icJ.Tqylar. attke-Aroki/zotaml Iih-ary . Molbarn . 
 
Plate. 10 
 
 Cornice 
 
 Frize 
 
 Architrave 
 
 Neck or Fruit of the ( 'apifal 
 
 Pedestal 
 
 \, 
 
 Body 
 
 or 
 Die 
 
 V 
 
 1 
 
 Cornice 
 
 Base 
 
 Plinth 
 
 landm i'^u.J /hr L^./T.iv/vr at tlu Jrddtadwal Library Hottcrn 
 
A CATALOGUE OF 
 
 Modern Books on Archite&ure, &c. 
 
 THEORETICAL, PRACTICAL, and ORNAMENTAL; 
 Which, witli the beft Ancient Authors, are conftantly on Sale 
 
 A T 
 
 I. and J. TAYLOR'S Architectural Library, 
 No. 56, High Hoi born, London. 
 
 I. C THE Rudiments of Ancient ArchitcElure ; in two Parts : 
 containing an Kiftorical Account of the Fjve Orders, 
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 Antiques: Alfo, Vitruvius on the Temples and Intercolum- 
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 ten Plates, and a Portrait of the celebrated Jama Stuart, Efq. 
 Pjice, in boards, cs. 
 
 2. Plans, Elevations, and Sections, of Buildings, executed 
 in the counties of Norfolk, Suffdk, Trkjhire, JFiltlhire, 
 IVar^'nkJhir^ Suffirdjhire, Somerfet/hire, &.C. By y hi Sianc, 
 Archite:t, Member of the Royal Academies of P rana and 
 Florence. Dedicated, with permiifion, to the King, On 
 Forty-feven folio Plates. Price, on Royal Paper, 2I. 2s. 
 on Imperial Paper, 2I. 12s. 6d. 
 
 3. Plans, Elevaiions, and Sections, of the Hcu/e rf Correc- 
 tion for the County of Middle/ex, to be eredftd in Co'd Bath 
 Fields, London ; together with the Particular of the federal 
 Materials to be contracted for, and manner of ufing :he fame 
 in building. 
 
 N. B. This Work is engraved from the original defigns, 
 and publifhed with the authority of the magistrates, bv 
 Charles MiddUton, Architect, engraved on 53 plates, imperial 
 folio, price :1. 12s. 6d. half bound. 
 
 4. The Cabinet Maker and Uphc/Jterer's Guide ; or Repofitory 
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C * ] 
 
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 rear three hundred different defigns, engraved on one hun- 
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 C. The Builder i Price Book ; containing a correct lift of the 
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 artificers concerned in building ; including the journeymen's prices. 
 A new edition, corrected, witk great additions, by an expe- 
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 6. Familiar Architecture ; confifting of original Defigns of 
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 7. Crundeiis Convenient and Ornamental Architecture ; confid- 
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 beginning with the farm-houfe, and regularly afcending to the 
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 pound. 
 
 8. the Country Gentleman's Architect, in a great variety of 
 new detigns for cott ges farm-houfes, countiy-houfes, villas, 
 lodges for park or garden entiances, and ornamental wooden 
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 diftributed with a ftrift attention to convenience, elegance, 
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 defigns drawn by J. Miller, Architect, 10s. 6d. fewed. 
 
 9. Garret's Defigns and Efiimates for Farm-houfes, for the 
 counties of York, Northumberland, Cumberland, Weftmore- 
 land, and the Bilhopiick of Durham. Folio, 5s. fewed. 
 
 4 
 
 10. Z)> 
 
C 3 J 
 
 10. Dr. Brook Taylor's Method ef Pcrfpe&ive made eafy, hoik 
 in Theory and Practice ; in two Books ; being an attempt to 
 make the Art of Perfpeftive eafy and familiar, to adapt it 
 entirely to the Arts of Defign, and to make an entertaining 
 Study to any Gentleman who fhall choofe fo polite an Amufe- 
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 11. The fame work in two Volumes quarto, il. is. 
 
 12. The Perfpeflive of drchite&ure, a work entirely new : 
 deduced from the principles of Dr. Brook Taylor, and per- 
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 feventy-three plates. Begun by command of his prefent ma- 
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 PerfpeCtive to his Majefty, and Fellow of the Royal and 
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 il. lbs. half bound. 
 
 13. The Defer iption and Ufe of a mw Inftrument called tks 
 ArchitcBonic Senior, by which any part of architecture may 
 be drawn with facility and exadnefs. By Jofhua Kirby, De- 
 figner in Peifpeciive to his Majefty, and Fellow of the Royal 
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 Elegantly printed on imperial paper, il. is. half bound. 
 
 14. The two Frontifpieces, by Hogarth, to Kirby's Per- 
 fpe&ive, may be had fcparate, at 5s. each. 
 
 i). The Carpenter s and Joiner s Repcjitory ; or, a new Syftem 
 of Lines and Proportions for Doors, Windows, Chimnies, 
 Cornices and Mouldings, for finiftring of rooms, &c. &c. A 
 great variety of ltair- cafes, on a plan entirely new, and eafy 
 to be underftood. Circular Circular Soffit?, flewing and wind- 
 ing in ftraight and circular Walls, Groins, Angle Brackets, 
 circular and elliptical Sky-Lights, and the method offquaring 
 and preparing their circular Bars, Shop Fronts, &c. By JV. 
 Pain, Joiner. Engraved on. fixty-nine folio copper- plates, 
 16s. bound. 
 
 16. Pain's Britifh Palladio, or the Builder s General Afjiflant ; 
 demonftrating, in the moft eafy and practical method, all the 
 principal rules of architecture, from the ground plan to the 
 ornamental finifh. lllulirated with feveral new and ufeful de- 
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 Alfo clear and ample inftruttions annexed to each fubject, in 
 letter-prefs ; with a lift of prices for materials and labour, 
 
 A 2 and 
 
[ 4 1 
 
 and labour only. This work will be univer folly ufeful t? all 
 carpenter s, bricklayers, niaf.ns, joiners, plaijiertrs, and ethers, 
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 t!ie following fubjects, v'z. Plans, elevations and Actions of 
 gentlemen's houfes. Befigns for doors, chimnevs, and ceilings, 
 with their proper embellifhments, in the moil modern talte. 
 A great variety of mouldings, for bifeard furbafe architraves, 
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 flty-'ltghts, &c. ail made plain and eafy to the meaneft capa- 
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 ing the length and backing of hips, either fquare or bevel. 
 Scantlings of the timbers, figured in proportion to their bear- 
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 forty-two folio copper-plates, from the original defigns of 
 William and James Pain. Price 1 6s. bound. 
 
 N. B. This is PAIN'slaft work. 
 
 17. The Practical Builder, or Workman's General Afllftant ; 
 fhewing the moil approved and eafy methods for drawing and 
 working the whole or fepirate part of any building ; as, the 
 Ufe of the Tramel for Groins, Angle Brackets, Niches, &c. 
 femi-circular arches on Hewing Jambs, the preparing and 
 making tl'-eir forfits ; rules of carpentry, to find the length 
 and backing of ihaig'nt or curved hips, trufles for roofj, 
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 in the neweft tafte ; with plans and elevations of gentlemen's 
 and farm-houfes, barns, &c. By IV. Pain, Architect and 
 Joiner. Engraved on eighty-three" quarto plates, 12s. bound. 
 A new edition, with improvements by the author. 
 
 *8. The Carpenter's Pocket Directory; containing the befl 
 methods of framing timbers of all figures and dimenfions, with 
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 girders 
 
[ s 1 
 
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 19. Dcjigns in Architecture ; confining of plans, elevations, 
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 20. Grctefqtie Architecture, or Rural Amufement ; confiding 
 of plans, elevations and fections, for huts, fummer and winter 
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 21. 1"he Temple Builders moft ufeful Companion: containing 
 original defigns in the Greek, Roman, and Gothic taite. By 
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 fewed. 
 
 22. The Carpenter's Treafure ; a collection of defigns for 
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 Chinefe tafte, forming a complete fyftem for rural decorations. 
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 23. The Modern Joiner ; or, a Collection of Original De- 
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 24. Ornaments in the Valtnyrehe fytfie ; engraved on twelve 
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 z j. Currus Ci-vi/it, or Genteel Defigns for coaches, cha- 
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 26. A ftjrtu Book of Ornaments ; containing a variety of 
 
 elegant 
 
C 6 ] 
 
 elegant defigns for modern paosels, commonly executed in 
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 fewed. 
 
 2~], A Variety of Capitals, Frizes and Cornices ; how to in- 
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 drawn an inch and a half to afoot. On twelve plates, drawn 
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 28. An EJfay on the ConftrttEiion and Building of Chimnies, in- 
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 By Robert Clover ing, Builder, 2S. 6d. fewed. 
 
 29. The Manner of Securing all Sorts of Buildings from Fire ; 
 a treatife upon the confuuetion of arches made with bricks and 
 plailter, called flat arches, and of a roof without timber, 
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 on this fubjeft. Octavo, 2s. fewed. 
 
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 3 1 . Every Man a Complete Builder ; or eafy Rules and 
 Proportions for drawing and working the feveral parts of ar- 
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 fewed. 
 
 32. The Joiner and Cabinet Maker's Darling ; containing 
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 33. The Carpenters Companion; containing thirty-three de- 
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 34. The Carpenters Complete Guide to the whole Syftem of 
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 35. 1 he Carpenter and Joiner's Vade Mecum> by Robert Cla- 
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 36. A Geonietrical View cf the Five Orders of Columns in 
 Architecture, adjuited by aliquot parts ; whereby the meaneft 
 
 capacity, 
 
[ 7 ] 
 capacity, by infpection, may delineate and work an entire order, 
 or any part, of any magnitude required. On a large fheet, is. 
 
 37. Elevation of the Nevj Bridge at Black-Friars, with plan of 
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 38. Plans, Elevations, and Sections of the Machines and Cen- 
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 39. Elevation of the Stone Bridge built over the Severn, at 
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 elegantly engraved by Rooker. Price is. od. 
 
 40. Plans, Elevations, and Seftion of the Gael, Bride-well, 
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 To which is prefixed, a difcourfe on public magnificence; 
 with obferVations on the ftate of arts and artifts in this king- 
 dom, wherein the ftudy of the polite arts is recommended as 
 necefTary to a liberal education : concluded by fome propofals 
 relative to places not laid down in the plans. By John Guynn, 
 Architect. Price 5s. in boards. 
 
 42. Plans, Elevations, and Sections, prefented to the cor- 
 poration of Bath, for the improvement of the baths in that city ; 
 intending to make the whole one gravd, uniform, elegant and 
 convenient ilructure of the Ionic order. By the Lite R.. Dzngley, 
 Eja. Engraved on nine folio plates, by Rooker, &c. Price 
 6s. fewed. 
 
 43. En.aujlic, or Count Caylus's Method of painting in the 
 manner of the Ancients By J. H. Mint/. Octavo, 5s. bound. 
 
 44. The Young Draftfn.an , s Guide to t lie true Outlines of the 
 Human Figure ; or a great variety of eafy examples of the 
 Human Body ; calculated to encoun-ge young beginners, and 
 thereby lead to the habit of drawing with accuracy and faci- 
 lity, on true principl s. By an eminent art-f, deceafed. 
 Engraved on eighteen copper- pi .te. Folio. Price 5s. fewed. 
 
 The following book 1 ;, in the prefent tafte of ornament, are 
 ufeful to all carvers, ltucco- workers, &c. 
 
 45. The Principles cf Drawing Ornaments made eafy, by 
 proper examples ot leaves for mouldings, capitals, fcrolls, 
 hulks, foliage, &c. engraved in imitation of drawings, on 
 fixreen plates. With inltructions for learning without a mailer. 
 Particularly ufeful to carvers, cabinet-makers, ftucco-woikers, 
 
 painters, 
 
[ 8 1 
 
 painters, fmiths and every one concerned in ornamental de- 
 coration-. By an artift. Quarto, 4s. 6d. fewed. 
 
 46. Ornamental Ircn /Fork ; or defigns in the prcfent rafte, 
 for fan light?, itair-cafe railing, window gu ard irons, lamp 
 irons, palifades and gates. With a fcheme for adjufting de- 
 figns with facility and accuracy to any flope. Engraved on 
 2 1 plates. Quarto, 6s. fewed. 
 
 47. A new Book of Ornaments : by S. Alien, On fix plates. 
 2S. 6d. fewed. 
 
 48. Twelve new defigns of frames for Looking- Glaffes, 
 Pictures, &c. by S. H. carver, 2s. fewed. 
 
 49. A Booh of Tablets, done to the full frze commonly ufed 
 for chimney-pieces. Deligned and etched by J. Pctker, on lix 
 
 plates, 3s. 6d. fewed. 
 
 50. La<zv^ new book of Ornaments, 2s. fewed. 
 
 51. A book of Vafes, by T. Lazv, 2s. fewed. 
 
 52. A book of Vafes, by P. Columbani, 2s. fewed. 
 
 53. A book of Vafes from the antique, on twelve plates, 
 2-s. fewed. 
 
 54. Gerard's new book of Foliage, zt. fewed. 
 
 55. A fmall book of Ornaments, on fix leaves, by G. Ed- 
 ivards, is. fewed. 
 
 56. A new book of Defigns for Girandoles and Glafs Frames. 
 Drawn and engraved by B. Pujferini, on ten plates, 4s. fewed. 
 
 57. An Interior View of Durham Cathedral, and a View of 
 the elegant Gallic Shrine in faid Cathedral. Elegantly en- 
 graved on two large Sheets, lize 19 and a half by 22 and a hair. 
 Price 12s. the pair. 
 
 58. A Plan and Elevation of the King o£ Portugal's palace 
 at Mafra, on two large ffcugte, 6-. 
 
 59. A north-well View of Greenwich Church, is. 
 
 60. An elegant engraved View of Shoreditch Church, 
 2 feet 4 inches by 1 foot 8 inche-, y. 
 
 61. The Art of Practical Meafuring by the Sliding Rule; 
 fhewing how to meafure timber, Hone, board, glafs, painting, 
 &c. alio gauging. &c by H. Coggefha.ll. A new edition, by 
 J. Ham, is. bound. 
 
 62. The Building Aft of the \\th Geo. Ill With plates, 
 fhewing the proper thicknefs of party walls external walls, 
 and chimneys. A complete index, lift of furveyors and their 
 refidence, Sec. in a fmall pocket iize, 2s. 6d. fewed. 
 
 N. B. The notice and certificate required by the above aft, 
 may be had printed with blank fpaces for filling up, price 2d. 
 each, or 13 for 2s. 
 
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