A TREATISE O N Civil Architecture, IN WHICH The PRINCIPLES of that ART Are laid down, and Illuftrated by A great Number of PLATES, Accurately Designed, and Elegantly Enge.aved by the beft Hands. B Y WILLIAM CHAMBERS. Member of the Imperial Academy of Arts in Florence, and Archited to Their Royal Highneffes The Prince of WALES and Princefs Dowager of WALES. LONDON, Printed for the AUTHOR, by J. Haberkork. To be had at the Aothob’b Houfe in Pohnd-Stre^t, near Sroad-Street, Soho- likewife A. M.eeab, TNoorse Wilson and Durham, ail in the T. Osborne m Grcyo-Inn, J.and R Dons- J;, rSw. R. Saver in Piers and Weblev Chanurj-Lam, Holhorn, and J. Gretton, in Old-Bend-Street. M DCC LIX. SUBSCRIBERS. His Royal Highnefs the Prince of Wales. Her Royal Highnefs the Princefs Dowager of Wales. His Royal Highnefs the Duke. A. HARLES Amyand Efq; Auguft Ahiftromcr Efqj Clas Ahlftrocner Efq; Richard Adamfon Efq; Thomas Adderlay Efq; Mr. Robert Adams, Architeft. Mr. G. Adams Mathematical Inftrument Maker to] tl^e Prince. Mr. S. Alker, Carver. Mr. Robert Akenhcad. B. His Grace the Duke of Bedford. His Grace the Duke of Bridgewater. The Right Honourable the Earl of Buckinghamfiiire. The Right Honourable the Earl of Bute. The Right Honourable Lord Vifcount Bolingbroke. The Right Honourable Lord Bruce of Tottenham Park. The Right Honourable Lord George Beauclerk. The Honourable Mr. Bruce. The Honourable Richard Bateman. The Honourable William Bouverie. Thomas Brand of the Hoo Efq; 4 Books. Stephen Beckingham Efq ; Thomas Brand of the Hyde Efq; F. R. S. The Reverend Mr. Bofworth. Lyde Brown Efq; Thomas Bowlby Efq; Mr. John Barnard Architefl. Chrift. Hind. Braad Efq; George Bellenden Efq; George Drummond of Blair Efq; Sir Charles Bingham Bart. Captain Blaquier. Mr. Barreau de Chef de Vlile Architeft. Mr. Blondel Profeffbr of Architeaure at Paris. Mr. Solomon Brown Bricklayer. C. The Right Honourable the Marquis of Carnarvon. The Right Honourable the Earl of Cardigan. The Right Honourable the Countefs of Cardigan. The Right Honourable the Countefs of Carlifle. The Right Honourable the Earl of Cafvillis. The Right Honourable Lord Vifcount Charlemont. 6 Books. The Rigln Honourable Lord Carpenter. The Right Honourable the Earl of Clanbrafill. The Right Honourable Lord John Cavendilh. The Honourable Francis Charters. The Honourable General Conway. Mrs. Chaloner. Sir John Chichefter Bart. Richard Charlton Efq; George Cmikflianks Efq; Thomas Carter Efq; Mr. Thomas Churchill. Jacob Coopman Efq ; Mr. Nicholas Crifp. George Carnegie Efq; Mr. Clark Plaifterer. Mr. Samuel Cobb, Painter. Mr. Richard Cobbet, Glafier. John Chambers, Efq; Daniel Campbell of Shawfield, Efq; D. His Grace the Duke of Devonflilre. The Right Honourable the Lord Downe. The Right Honourable Lord Dunmore. The Honourable James Duff. Robert Delaval, Efq; Mr, John Duval. Mr. M. Darley, Engraver. Charles Dowdefwell, Efqj John Dealtry, Efq; Mr. John Deval Seijant, Plumber. Mr. Doyen, Painter. M. A. P. & S. at Paris. Meffrs. Dodlley, Bookfellers. 7 Books. E. The Right Honourable the Earl of Effex. The Right Honourable Lord Edgecumbe. The Right Honourable Lord Elibank. William Elliot, Efq; George Eidall, Efq; Mr. George Evans, Painter. Mr. Francis Engelhart, Plaifterer. Mr. E. J. Eyre, Architefl and Land Surveyer. F. The Right Honourable Henry Fox, Efq; The Reverend Mr. Robert Fowler. - - - Fenly, Efq; James Fortefcue, Efq; Mr. Thomas Filling, Architeft. Frederic Frankland, Efq; G. His Grace the Duke of Grafton. The Right Honourable Earl of Gower.' The Right Honourable Earl of Galloway. The Right Honourable Earl of Glencairn. Sir Harry Grey, Bart. Sir Richard Grofvenor, Bart. The Honourable Abraham Grill. James Garland, Efq; Colonel Grey, Nathanial Garland, Efq; Reverend Mr. Edmund Garforth.' Anders Gothen, Efq; Mr. Gordon, Upholder. Mr. Thomas Gaiulborougb, Painteri Henry Goddard, Efq; Mr. ’William Greneile. James Grant, Efq; Mr. Glafs, Confedlioner to His Royal Highnefs the Duke. Booth Grey, Efq; Mr. Thomas Grignion, Watch-maker, Mr. Charles Grignion, Engraver. Mr, John Gwynn, Archited:. H. The Right Honourable the Earl of Haddington. Sir Charles Hotham, Bart. 6 Books, Colonel Haliburton. Captain Matthew Henderfon. Thomas Hollis Efq; of Lincoln’s Inn. F. R. S. Mr. Richard Hayward, Sculptor. John Hudfon, Efq; John Hall Junior, Elq; John Howard, Efq; John Hamilton, Efq; Mr. Gorge HorCngton. Mr. Thomas Hogg. Mr. Harris. Patrick Home, of Billy, Efq; I. Charles Ingram, Efq; Charles Irvine, Efq; 2 Books. Mrs. Ingram. Arthur Nevel Jones, Efq; Mr. Thomas Jenkins, Painter.' Mr. Andrew Jelff. Mr. William Jelff. Charles Jennens, Efq; of Gopfol Leicefterfliire. K. The Right Honourable the Earl of Kelly. Sir Thomas Kennedy of Cullean, Bart. 2™S“’E'?J‘;D™gWma„ » Ws Roj.l Mgtnefi the Prince of Wales. . , j, Kraack, Profeflbr of the Modern Languages in the Univerfity of Lund. William Kent, Ef(i; ^ The Right Honourable Lord Ludlow. The Right Honourable Lord George Lenox. Sir James Lowther, Bart. ■Colonel Lambton. The Honourable James Lumley. John Lifter, Efqj William Lloyd, Efq} The Reverend Mr. Jonathan Lipyat. M. The Right Honourable the Earl of March. The Right Honourable Lord Milton. The Right Honourable Lord James Mannero. Thomas Miller, Efq; George Medley, Efq 5 Edward Murphey, Elq; Mr. George Mercer. Mr. A. Millar, Bookfeller, 14 Books. M. - Moflbp. * Robert Macfarland, Efq •, James More, Efq 3 Jonas Malm Erickfon. Efq} Mr. Mofs. ’ . . Mr. James Morris. .. .:J , Richard Michel, Efq; Mr. George Mofer, Chacer. - j: The Reverend Mr. Marlay. Mifs Barbara Marfden. Mr. Peter Mazel, Engraver Matthew Maty, M. D. F. R. S. George Paul Monk, Efq; Mr. Tobias Millar, Engraver. William Macdonald of Caftle Sampll, Efq •, N. The Right Honourable Lord Newham. - Nelthorp, Efq j O. The Right Honourable the Earl of Orford. The Right Honourable the Earl of Pembroke. The Right Honourable the Countefa of Pembroke. The Right Honourable Lord Vifcount Powerfcourt. 2 Books. Thomas Prowfe, Efq; 2 Books; John Pike, Efq; James Paine, Efq; Mr. William Privett, Junior. Jofeph Pratt, Efq; Mr. James Palmer. George Pitt, Efq 5 Mrs. Pitt. Meffrs. Piers, and Webley, Boi^ellers. 7 Books. The Reverend Mr. Pullein. Mr. Francis Patton, Engraver. Mr. Paiow, Sculptor. M. A. P. 6c S. at Paris, His Grace the Duke of Queenfbury. R. His Grace the Duke of Richmond. 2 Books. The Right Honourable the Marquis of Rockingham,' The Right Honourable the Earl of Rofeberry, Sir Thomas Robinfon, Bart. 12 Books. Thomas Ryves, of Ranfton Dorfet. Efq; Mr. Ride. Mr. William Renton, Andrew Reid, Efq; Mr. LeRoy, M. A. A. at Paris. Mr.Jofhua Reynolds, Mr. £. Rooker, Engraver. John Renton, Efq; Mr. Jofeph Rofe, Plaifterer.^ Sir John St.Aubyn, Bart. 2 Books. The Honourable Nicholas Shalgreen. The Honourable James Stopford. John Shelly, Efq; Edwin Francis Stanhope, Efq; Samuel Shore Efq 5 John HallStevenfon, Efq; Mr. Scarlet, Optician to the King. Mr. M. Hen. Spang, Sculptor. 2 Books. William Smith, Efq; Mr. Gervas Spencer, Painter. The Reverend Dr. Sterne. Alexander Scott, Efq; Robert Shafto, Efq; Charles Spens. Mr. R. Sayer, Bookfeller. 7 Books. Mr. Robert Strange, Engraver. Thomas Scrope, Efq ; John Shutz, Efq; toHls Ropl Highnefs th=D«kc. 3 Books. Mr. John Smyth, ArchiteS. David Sandberg, Efq; Q.arlr Stationer. The Right Honourable the Earl of Tylney. The Right Honourable Earl Temple. William Turner, Efq; Henry Tuckfield, Efq; Charles Turner, Efq; Alexander Thiftlethwayt, Efq; Mr. Benoni Thacker. Mr. Toms Painter. Thomas Thornhill, Efq; Mr. John Tinckler, Carpenter. Robert Tunftall, Efq; George Thompfon, Efq; The Honourable Jacob Van Utfall. Agmondifham Vefey, Efq; 3 Books. Mr. Thomas Vardic, Carver. Mr. Simon Verpyle, Sculptor. John Vardie, Efq; Thomas Veale, Elq; Francis Villion, Efq; W. The Honourable John Ward. The Honourable James Wimyes. Henry Willoughby, Efq ; 4 Books. William Williamfon, Efq; John Wilfon, Efq; - Willis, Efq; Robert Wood, Efq; Mr. Joleph Williams. William Ward of Staples Inn, Efq; Ifrael Wilks, Efq; Mr. Samuel Wale, Painter. Mr. Whatley. — — Waller, Efq; Meflrs. Whittle and Norman, Carvers and Gilders. Thomas Worfley, Efq ; Mr. Jofeph Wilton, Sculptor. Mr. William Wilton. Mr. R. Wilfon, Painter. F. A. S. 5 Books. Mr. George Warren, Carpenter. Y. William Young, Eliq; PREFACE. A mongst the various Arts cultivated by Men, fome are calculated for the ufes of life, and adapted to fupply our wants, or help our infirmi¬ ties ; fome again are merely the inftruments of luxury, being wholly . contrived to flatter the Vanity, or gratify the defires of mankind : whilft others are fitted to many purpofes, contributing at the fame time to the prefervation, the amufement, and the grandeur of the human fpecies. Architecture is of the latter kind; and, if confidered in its whole extent, may be faid to have a fhare in almoft every convenience of life. - The advantages arifing to Society from Houfes, are alone very confiderable; as they have an influence both on the body and mind: for in countries where Men live in woods in caves or in miferable huts, expofed to the inclemencies of feafons, and under continual apprehenfions of heat, cold, tempefts, rain, or fnow, they are indolent, ftupid, and abjeft ; their faculties are benumbed, and all their views limited to the fupplying their immediate wants: but in places where the inhabitants are provided with commodious dwellings, in which they may breathe a temperate air, amidft the fummer’s heat and winter’s cold ■ fleep, when nature calls, at eafe and in fecurity ; ftudy unmolelted, and tafte the fweets of every focial enjoyment, we find them aaive, ^ inventive, and enter- prifing with bodies fit for labour, and minds turned to contemplation ; Agricimure and Arts flourilh among them, and they are plentifully provided with all the neceffaries and conveniencies of life. , , • i Invention facilitates labour ; and what mere ftrength and perfeverance obtains with difficulty, ingenious contrivances produce with eafe, and jn abundance. Hence domemc wants are conftantly fupplied, and ftores provided for foreign majkets^ ^ ^ Then' Architetra/(A/iA'tfiA'MwtfPtfnb a^/Aaf An/tt .^“'-^ ■• ■AnjAn^/. yMt ff'/t/p/i Atr/A. ' yprAAr CAAd/f/A . /J AVy « Ji'Vtyipdfpr/ OF THE ORIGINof BUILDINGS. A NTIENTLY, fays Vitruvius, Men lived in woods, and inhabited caves; but in time, taking perhaps example from birds, who with great induftry build their nefts, they made themfelves huts. At firft they made thefe huts, very probably, of a Conic Figure; becaufe that is a form of the limpleft ftrufliure; and, like the birds, whom they imi¬ tated, compofed them of branches of trees, fpreading them wide at the bottom, and joining them in a point at the top ; covering the whole with reeds, leaves, and clay, to fcreen them from tempefts and rain. B.ut finding the Conic Figure inconvenient, on account of its inclined fides, they changed both the form and conftruiStion of their huts, giving them a Cubi¬ cal Figure, and building them in the following manner : Having marked out the Ipace to be occupied by the hut, they fixed in [the ground feveral upright trunks of trees to form the fides, filling the intervals between them with branches clofely interwoven and covered with clay. The fides being thus completed, four large beams were placed on the upright trunks, which being well joyned at the angles, kept the fides firm; and likewife ferved to lupport the covering or roof of the building, compofed of many joifts, on which were laid feveral beds of reeds, leaves, and clay. Insensibly mankind improved In the. Art of Building, and invented methods to make their huts lafting and handfome, as well as convenient. They took oflF the bark, and other unevennelfes, from the trunks of trees that formed the fides; raifed them probably above the dirt and humidity on ftones; and covered each of them with a flat ftone or Hate, to keep off the rain. The fpaces between the ends of the joifts were clofed with clay, wax, or fome other fubftance; and the ends of the joifts covered with thin boards cut in the manner of triglyphs. The pofition of the roof was likewife altered : for being, on account of its flatnefs, unfit to throw off the rains that fell in great abundance during the winter feafon,they raifed it in the middle; giving it the form of a gable roof, by placing rafters on the joifts, to fupport the earth and other materials that compofed the covering. From this Ample conftruHion the Orders of ArchiteHure took their rife. For when buildings of wood were fet afide, and Men began to ere£t folid and ftately edi¬ fices of ftone, they imitated the parts which neceflity had introduced into the primitive huts; in fo much that the upright trees, with the ftones at each end of them, were the origin of Columns, Bafes, and Capitals; and the beams, joifts, rafters, and ftrata of materials, that formed the covering, gave birth to Archi- B traves. Of the Origin of Buildings. traves, Frizes, Triglyphs, and Cornices, with the Corona, the Mutules, the Mo- dillions and the Dentils. The firft buildings were in all likelihood rough and uncouth; as the men of thofe times had neither experience nor tools: but when, by long experience and rea- foning upon it, the Artifts had eftablilhed certain rules, had invented many mftra- ments, and by great pradice had acquired a facility in executing their ideas, they made quick advances towards perfeaion, and at length difcovered certain manners of build¬ ing, which fucceeding ages have regarded with the higheft veneration. At what time the Orders of Architeaure, commonly called Grecian, were invent¬ ed, or by whom, is not certainly known'; but the account which "Vitruvius gives of them is as follows ; Dorus, the foil of Helenes and the Nymph Optica, king of Achaia and of all the Peloponnefus, having formerly built a temple to Juno in the ancient city of Argos, this temple happened to be in the manner which we call Doric ; which manner was afterwards imitated in many other temples built in the feveral cities of Achaia. About the fame time the Athenians, after having confulted the Oracle of Apollo at Delphos, by the common confent of all Greece, fent into Alia thirteen Colonies, each under the command of a feparate Captain, but all under the general direftion of Ion, fon of Xuthus and Creufa. Ion being arrived in Afia, conquered all Caria, and founded thirteen large cities: the inhabitants whereof having expelled the Carians and Leleges, called the country Ionia, in honour of Ion their leader, and ereiffed temples; of which the firft, dedicated to Apollo Panionius, was built after the manner of thofe they had feen in Achaia, which they called Doric, becaufe there had been temples of the fame fort built in the cities of the Dorians. Some time after they built a temple to Diana, in a manner different from the Doric ; the ftrucfhire being more delicate, and formed upon the proportions of a Female body, as the Doric had been on thofe of a robuft Man. They adorned the Capital with "Vo¬ lutes, to reprefent the curls of a woman’s hair, and cut flutings on the fhaft of the Column, to exprefs the folds of her garment; giving to this fecond manner of build¬ ing the name of Ionic, becaufe the lonians were the firft inventors of it. The third fort of Columns, which are called Corinthian, and reprefent the de¬ licate figure of a young Girl, owe their birth to the following accident ; A young Girl of Corinth being dead, her nurfe placed on her tomb a bafket, con¬ taining certain trinkets in which fhe delighted when alive, and covered it with a tyle to prevent the rain from fpoiling them. The bafket chanced to be placed on a root of Acanthus, which in the fpring, pufhing forth its leaves and fprigs, covered the fides of it; and fome of them, that were longer than the reft, being obftruaed by the corners of the tyle, were forced downwards, and curled in the manner of Volutes. Calli- , .7 , ; rw^ Ar/ ^^ruj m (y^rc- (□ J'enft.u. M,Vj//fir^Mi»/- { ^/y/t 7 //ii/ify ycr ( ^7iii>/u/i/~ uir/Ji/o‘fii Ormime/i&i^/iir ^,/,ty y/ i/i//f/T//f x.J/j^ tiii±v«iii.i\i (^H-^wtA.' {^‘i>/y.y/t^iit,'/yvun,/ K.y/it ;rfe./ C^tiiii0^^o/i‘>ri^^^ w Pr/ui/iu/t/3/i>//I,i^/n,-//i///'/u Onnimefi(,j^/yr///e (^e /or //n' l>j//yy Of the Origin of Buildings. 3 CALLiMACH0s,.the Sculptor, paffing near the tomb, faw the baikct, and in what manner the leaves had encompaffed it. This new form pleafihg him infinitely, he imi^ fated it on columns which he afterwards made at Corinth, eftabllfhing and regulating, by this model, the manner and proportions of the Corinthian Order. Villalpandus treats this ftory of Callimachus as a fable, and maintains that the Corinthian Capital took its origin from an Order in Solomon’s temple : ■ and indeed it may be gathered from the Scriptures, that there were, in that building, Capitals formed upon the fame principle with thofe of the Corinthian Order ; fo that though it may be indebted to the Greeks for many improvements, its origin is in all probability of more antient date than that alligned by Vitruvius. Besides the three Orders faid to be invented by the Grecians, there are two others of Italian origin; the firft of which is thought to have, been invented by the in¬ habitants of Tufcany, long before the Italians had any intercourfe with the Greeks, from whence it is called the Tufcan Order : the fecond, though of Roman produftion, is but of modern adoption ; the antients not having confidered it as a diftindt Order. It is compofed of the Ionic and the Corinthian, and diftinguilhed by the name of the Ro¬ man, or Compofite Order. Thefe are the five manner of Building invented by the An¬ tients, which havingbeen from time to time enriched with new improvements, were at laft brought to the higheft degree of perfedlion, and on account of the regularity and beau¬ ty of their forms called Orders. Of the Parts that Compofe an Order of Architedure, and of their Enrichments. * T he parts that compofe an Order may be diftributed into two different dalles; in the firft of which may be ranged all that have any analogy to the primitive huts, and reprefent fome part that was neceffary in their conftruftion: * Such are the Shaft of the Column, with the Plinth of its Bafe, and the Abacus of its Capital, reprefenting the upright trees, with the ftones on which they were placed, and thofe that covered them; likewife the Architrave and Triglyphs, reprefenting the beams and joifts; the Mutules, Modillions, or Dentils, which, all of them reprefent the Rafters; or fome other pieces of Timber ufed to fupport the covering; and the Corona repre¬ fenting the beds of materials that compofed the covering. All thefe may properly be diftinguilhed by the name of Effential Members. The fubfervient parts, contrived for the ufe or ornament of the former, and commonly called Mouldings, may conftitute the fecond clafs. + The effential parts were moft probably the only ones ufed, even in the firft ftone buildings ; for the Architeds of thofe early times had certainly very imperfeft Ideas of beauty in the produftions of Art, and therefore contented themfelves with barely imitating the rude model before them ; but coming in time to compare the works of their own hands with animal * See PI. of primitive buildings the third fort of huts. •J- Ibid Ae profile of the Temple of Thefeus. c and Of the Origin of Buik and vegetable produ£l:ions, each fpecies of which is compofed of a vafl: diverlitp of forms, affording an inexhauftible fund of amulement to the mind, they could not but conceive a difguft at the frequent repetitions of Iquare figures in their buildings j and therefore thought of introducing certain intermediate parts, which might leem to be of Ibme ule, and at the lame time be fo formed as to give a more variegated, and a more plealing appearance to the whole compofition : and this in all likelihood was tlie ori¬ gin of Mouldings. Of Regular Mouldings there are eight; which are the Ovolo, the Talon, the Cyma, the Cavetto, the Torus, the Aftragal, the Scotia, and the Fillet. The names of thefe are allufive to their forms; and their forms are adapted to the ufes which they are intended to ferve. The Ovolo and Talon, as they are ftrong at their extremities, are fit for lupports; the Cyma and Cavetto, though improper for that purpofe, being weak in their extreme parts, and terminating in a point, are well contrived for coverings to Ihelter other members : for the tendency of their contour is very oppofite to the diredfion of falling water; which for that reafon cannot glide along their furface, but muft necelfarily drop. The Torus and Aftragal, being lhaped like ropes, are intended to bind and fortify the parts on which they are employed ; but the ufe of the Fillet and Scotia, is only to feparate and diftinguilh other mouldings, to give a graceful turn to the profile, and to prevent that confiifion which would be occafioned by joyning feveral curved members together. That the inventors of thefe Mouldings meant to exprefs fomething by their dif¬ ferent figures will frarcely be denied s and that tliele were their deftinations may be deduced, not only from their figures, but from the pradfice of the Antients in their moft efteemed works: for if we examine the Panthteon, the Three Columns, the temple of Jupiter Tonans, the fragments of the Frontispiece of Nero, the Bafilica of Antoninus, the Forum of Nerva, the Arches of Titus and Septimius Severus, the Theatre of Marcellus, and indeed almoft every antient building, either at Rome, or in other parts of Italy, and France, it will be found that, in all their profiles,’the Cyma and the Cavetto are conftantly ufed as finilhings, and never applied where ftrength is required; that the Ovolo and Talon are always employed as fupporters to the effential members of the Compofition, fuch as the Modillions, Dentils, and Corona- that the chief ufe of the Torus and Aftragal is to fortify the tops and bottoms of Columns, and fometimes Pedeftals, where they are frequently cut in the form of ropes • as on the Trajan Column, in the Temple of Concord, and on feveral fragments which I have feen both at Rome and at Nifmes in Languedoc; and that the Scotia is em¬ ployed only to feparate the members of Safes, for which purpofe the Fillet is likewife ufed, not only in Bafes, but in all kinds of Profiles. Hence it may be inferred that there is fomething pofitive and natural in thefe pri¬ mary forms of Architeanre, and confequently in the parts they compofe; and that Palladio erred m employing the Cavetto under the Corona in three of his orders and in making fuch frequent ufe, through all his profiles, of the Cyma as a fupporting member. Of the Origin of Buildings. 5 member. Nor has Vignola been more judicious in finifhing his Tufcan Cornice with an Ovolo; a Moulding extremely improper for that purpofe, and productive of a very bad effeCh; for it gives a mutilated air to the whole Profile, which is the more ftriking, as it refembles exaCtly that part of the Ionic Cornice which is under the Corona, Other Architedts have been guilty of the like improprieties, and are therefore equally reprehenfible. There are various manners of defcribing the Contours of the Mouldings: but the fimpleft and beft is to form them of t quadrants of circles, as in the annexed De- figns; by which means the different depreflions and fwellings will be ftrongly marked, the tranfitions made without any angle, and the projedfions be agreeable to the dodtrine of Vitruvius, and the pradfice of the Antients; thofe of the Ovolo, Talon, Cyma, and Cavetto, being equal to their height, that of the Scotia to one third thereof, and thofe of the curved parts of the Torus and Aftragal to one half of it. On particular occafions, however, it may be neceffary fometimes to encreafe and at other times to diminifh thefe projedfions, according to the lituation or other circumftances attending the profile, as will hereafter appear. When it fo happens the Ovolo, Talon, C} ma, and Cavetto, may either be defcribed from the fummits of equilateral triangles, or compofed of quadrants of the Ell)'pfis; the latter of which is to be preferred, be- caufe it produces a ftronger oppofition of light and fhade, and by that means makes the figures more diftindt. The Scotia may likewife be formed of Ellyptical portions, or of quadrants of the circle, diflPering more or lefs from each other than in the annexed defigns; by which means its projedfion may either be encreafed or diminilhed; but the curved part of the Torus and Aftragal muft always be femiclrcular, and the en¬ creafe in their projedtion be by ftreight lines. In fome Antiques, and likewife in various modern buildings, where the parts are far removed from the eye, or where, from the extraordinary fize of the ftrudture, it hath not been pradticable to give every member its due projedfion, recourfe hath been had to artifice in order to produce the defired effedb. At St. Peter’s of the Vatican this prac¬ tice is very frequent, and I have given a fedbion of the * Cornice that finilhes the pendentives of the Dome, which may ferve as a guide in cafes where the like is neceffary. It will not, however, be improper to obferve, that a too frequent ufe of this expedient is to be avoided; as it never fucceeds, except where, by reafbn of the great diftance, the artifice is undifcoverable: for the incifions and contorfions made in the Mouldings entirely deftroy the natural beauty of their form. An Affemblage of Effential parts and Mouldings is termed a Profile; and on the choice, difpofition, and proportions of thefe depends the beauty or deformity of the Profile. The moft perfedb 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 ftreight -j- PI. Moaldings. • PI. Mouldings, Fig. I. D and and cun-ed ones fucceed each other alternately. In every Profile there fhould be a predominant Member, to which all the others ought to be fubfervient, and feem niade either to fupport, to fortify, or to Ihelter it from the injury of the weather: as m a Cornice, where the Corona is principal, the Cyma or Cavetto cover it, and the Mo- diUions, Dentils, Ovolo, and Talon fupport it. When Ornaments are employed to adorn the Mouldings, feme of them fhould be left plain in order to form a proper repofe: for, when all are enriched, the figure of the ProHe is' loft. In a Cornice, the Corona fhould not be ornamented, nor the Modillion Band; neither fhould the different Fafeias of Architraves, the Plinths of Columns, Fillets’, nor fcarce any fquare Members be carved; for they are, generally fpeaking,_ either'principal in the compofition, or ufed as boundaries to other parts; in either of which Wes their figures fhould be diftinfl: and unembaraffed. The Dentil Band fhould remain uncut, where the Ovolo and Talon immediately above and below it are enriched; as in the Panthaeon at Rome, and at St. Paul’s in London: for when the Dentils are marked, particularly if they be fmall, according to Palladio’s Corin¬ thian defign, the three members are confounded together, and, being covered with or¬ naments, are much too rich for the reft of the compofition (as may be feen in feveral Antiques, and at the ManfionHoufe in the City of London:) a fault carefully to be avoided, as the juft and equal difbribution of enrichments is, on all occafions, ftri£Hy to be attended to. ScAMoZZi obferves that Ornaments fhould neither be too frugally employed, nor diftributed with too much profufion: their value will encreafe in proportion to the judgement and diferetion fbewn in their application. For, in effecT, the Ornaments of Sculpture ufed in ArchiteiSfure, are like Diamonds in a Lady’s drefs, with which it would be abfurd to cover her face, and other parts that in themfelves are beautiful. Variety in Ornaments muft not be carried to an excefs. In Architefture they are only acceffories; and therefore they fhould not be too ftriking, nor capable of long detaining the attention from the main objedl. Thofe of the Mouldings in particular fhould be fimple and uniform, and never compofed of more than two different repre- fentations; which ought to be cut equally deep, formed of the fame number of parts, and nearly of the fame dimenfions, in order to produce one even uninterrupted tint through the whole, that fo the eye may not be too ftrongly attrafted by any par¬ ticular part. When Mouldings of the fame form and fize are employed in one profile, they should be enriched with the fame kind of ornaments; by which means the figure of the Profile will be better apprehended, and the artift will avoid the imputation of a puerile minutenefs, neither to his own honour nor of any advantage to his building. It muft be obferved that all the ornaments of Mouldings are to be regularly dif- pofed, and anfwering perpendicularly above each other, as at the Three Columns in Campo Vaccino. Where Middles of the Modillions, Dentils, Oves, and other Or¬ naments are all in a line; for nothing is more conflifed and unfeemly than to diftri- bute them without any kind of Order, as they are in moft of the Antiques, and in moll ■V Of the Origin of Buildings. *7 moll: of the buildings of this city; where the middle of an Ove anfwers in fome places to the edge of a Dentil, in fome to its middle, and in others to the interval; the reft of the Ornaments being likewife diftributed in the fame carelefs manner. The larger parts are to regulate the fmaller: all the Ornaments in the Entablature are to be go¬ verned by the Modillions, and thefe are to be dependant on the Intervals of the Co¬ lumns, and fo difpofed that one of them may correfpond with the Axis of each Column. It is farther to be obferved that the Ornaments muft partake of the character of the Order which they enrich, and thofe ufed in the Doric and Ionic Orders muft be of a fimpler kind, and grofler make, than thofe employed in the Compolite and Corinthian. When Frizes, or other large Members are to be enriched, the Ornaments may be fignificant, andferve to indicate the Ufe of the Building, or the Qualities and Aiftions of the Owner: but it is a foolifti cuftom to crowd every part with Arms, Crefts, Cy¬ phers, and Mottos: for the figures of thefe things are generally bad, and it betrays an unbecoming vanity in the Patron of the Stru£ture. In Sacred places all obfcene, grotefque, and heathenilh reprefentations ought to be avoided: for lewd fables, extravagant conceits, or inftruments and fymbols of Pa¬ gan worlhip, are very improper ornaments in houfes confecrated to Chriftian purpofes. WITH regard to the manner of executing Ornaments, it is to be remembered, that, as in Sculpture a drapery is not eftimable, unlefs its folds are contrived to indicate the parts and articulations of the body it covers, fo in Architedfure the mold exquifite Ornaments lofe all their value, if they alter or confound the form they enrich. All Ornaments of Mouldings muft therefore be cut into the folidj and never applied on their furface, as Davilere teaches; becaufe it alters both their figure and proportion. The Profile muft firft be finifhed plain, and afterwards adorned; the moft prominent parts of the Ornaments being equal with the furtace of the Mouldings they enrich: and great care muft be taken that the Angles, or Breaks, be kept perfca, and untouched with Sculpture; for which reafon it is cuftomary at the Angles of moft Mouldings to place Leaves, the middle filament of which forms the angle. The method of the Antient Sculptors in the execution of Architedfonic Ornaments, was to aim at a perfedf reprefentation of the objedt they chofe to imitate; fo that the Chefnuts, or Eggs, with which the Ovolo is commonly enriched in the Antiques, are cut round and almoft entirely detached ; as are likewife the Berries, or Beads, on the Aftragal, which are generally as much hollowed into the folid of the body as the Moul¬ ding projedfs beyond it: but the Leaves, Shells, and Flowers, that adorn the Cavetto, Cyma, Talon, and Torus, are kept flat like the things they reprefent. In the ap¬ plication of their Ornaments they obferved to ufe fuch as required a conliderable Relief on Mouldings that in themfelves are clumfy, as the Ovolo and Aftragal; which, by means of the deep incifions made in them to form thefe enrichments, acquired an extra¬ ordinary lightnefs: but on more elegant parts, as the Cavetto, and Cyma, they employed thin bodies, which could be reprefented without entering too far into the folid. The Ornaments of their Cornices were boldly marked, that they might be diftinsuifhed from afar; but thofe of the Bafes of Columns and Pedeftals were {lightly “ E exprefled; 8 Of the Orders of ArchiteBure. exprefled; both becaufe it would be improper to weaken thefe parts, and alfo with a view to keep them clean; which would not be pradiicable, if there were any deep ca4 vities in them, to harbour dull and filth. > When objedirs are near, and liable to a clofe infpeftion, every Part of the Or¬ nament Ihould be expreffed, and well finilhed; but when they are much exalted, the Detail may be flightly touched, or entirely negledted: for it is {ufficient if the General. Form be diftinift, and the principal maffes ftrongly marked. A few rough ftrokes, from the hand of a Ikilfull matter, are much more effedlual, than the moft elaborate finittiings of an artlefs imitator. Of the Orders of ArchiteBure in general. , A n Order confitts of two principal Members, the Column and the Entahlature; each of which is compofed of three principal Parts. Thofe of the Column are the Bafe, the Shaft, and the Capital; and thofe of the Entablature are the Architrave, the Prize, and the Cornice. All thefe are fubdivided into many letter parts, whofe number, form, and diraenfions charadlerize each order, and exprefs the degree of ttrength, delicacy, richnefs, or firaplicity peculiar to it. Of the Five Orders, three are called Grecian; to wit, the Doric, the Ionic, and the Corinthian; and two Latin, the Tufcan, and the Compofite. The fimplett and moft folid of all thefe is the * Tufcan. It is compofed of few Parts, .devoid of Ornaments, and of a Conttrudlion fo'maflive, that it feems capable of fupporting the'heavieft burden; whence it is, by Sir H. Wotton, compared to a fturdy labourer in homely apparel. The Doric 'f' is next in ttrength to the Tufcan ; and, being of a grave, robuft, and mafculine afpedi, is by Scamozzi called the Herculean. As it is the moft antient of all the Orders, it retains more of the ftruitture of the primitive huts than any of the reft; having Triglyphs in its Prize, to reprefent the ends of the Joyfts; andMutules in its Cornice, to reprefent the Rafters; its Colunm being likewife, in various Antiques, executed . without a Bafe, in imitation of the trees ufed in the firft buildings, with¬ out any Plinths to raife them above the ground. The Ionic § is of a more flender make than either of the abovementioned Orders. Its appearance is Ample, yet graceful and majeftic; its Ornaments are few, nor is there any thing exaggerated, or remarkably ftriking, in any of its Parts: fo’that it is not improperly compared to a Sedate Matron, in decent rather than magnificent attire. ° The Corinthian |j, fays Sir H. Wotton, is a Column wanton curtezan. Its proportions are extremely elegant. lafcivioufly deckt, like a It is divided into a great • PI. of Orders. y PI. of Orders. § pi, Orders. [j PI. of Orders. Of the Orders of ArchiteBure. p variety of Members, and enriched with a profufion of Ornaments. Scamozzi calls it the Virginal: and indeed it has all the delicacy in its make, with all the gayety, gaudi- nefs, and affe£fation in its drefs, peculiar to young Girls. ' ° The Compofite * is, properly fpeaking, only a fpecies of the Corinthian; and therefore retains, in a great meafure, the fame charafter. To give a ftrikmg idea of thefe different properties, and to render the comparifon between the Orders more eafy, I have reprefented them all of the fame height; by which means the gradual encreafe of delicacy and richnefs is eafily perceivable; as are likewife the relations between the intercolumniations of the different Orders, and the proportions which their Pedeftals, Impofts, Archivolts, and other Parts with which they are accompanied, bear to each other. The proportions of the Orders were, by the Ancients, formed on thofe of the Hu¬ man Body; and confequently it could not be their intention to make a Corinthian Co¬ lumn, (which, as Vitruvius obferves, is to reprefent the delicacy of a young Girl), as thick and much taller than a Doric one, which is defigned to reprefent the bulk and vigour of a full grown man. Vignola, Palladio, Scamozzi, Blondel, Perrault, and many others, havenever- thelefs confidered them in this light: that is, they have made the Diameters of all their Orders the fame, and confequently their Heights encreafing; which, befides giving a wrong idea of the charadfer of thefe different Compofitions, hath occafioned many of the errors and falfe reafonings, with which their works abound. Columns, m the opinion of Scamozzi, Ihould not be lefs than feven of their dia¬ meters in height, nor more than ten; the former being a good proportion in the Tuf- can, and the latter in the Corinthian Order. The pradtice of the Ancients, in their bell: works, is conformable to this precept: for which reafon I have, according to the do&ine of Vitruvius, made the Tufcan Column feven diameters in height, the Doric eight, and the Ionic nine, (as Palladio and Vignola have done,) and the Corin¬ thian and Compofite ten; which laft is a mean between the proportions obferved in the Pantheon, and in the three Columns, both which are accounted excellent models of the Corinthian Order. The height of the Entablature, in all the Orders, I have made one quarter of the height of the Column; which was the common pradlice of the Antients, who, in all forts of Entablatures, feldom exceeded or fell much Ihort of that meafure. Nevertheless Palladio, Scamozzi, Alberti, Barbaro, Cataneo, de L’Orme and others of the Modern Architedls, have made their Entablatures much lefs in the Ionic, Compofite, and Corinthian Orders, than in the Tufcan or Doric. This on fome occafions, may be not only excufable but highly commendable; particularly where the intercolumniations are large, (as in a fecond or third Order,) or in private houfes, or infide decorations, where lightnefs may be preferred to dignity, and where * PI. of Orders. f expence. JO Of the Orders of Architecture. expence, and every impediment to the conveniency of the fabrick, ^ avoided: but to fet entirely afide a proportion, which feems to have had general approbation of the Antient Artifts, is prefuming too far. m reafon alledged i favour of this praaice, is the weaknefs of the Columns in the Delicate Orders, which renders them unfit for fupporting heavy burdens. Where the Intervals are in a Second Order, or in other places where wide Intercolumniations are abfolut y neceffary, the reafon is good; but, if the Artift is at liberty to difpofe his Columns at oleafure, the fimpleft and moft natural way of conquering that difficulty, is to em- dIov more Columns by placing them nearer to each other, as was the cuftom ot the AnLnts And it muft be remembered, ‘that, though the height of the Entablature, in a Delicate Order, is made the fame as in a Maffive one, yet it will not, either in reality or in appearance, be fo heavy; for the quantity of matter in the Corinthian Cornice A is confiderably lefs than in the Tufcan Cornice B, and the number of Parts that compofe the former will make it appear far lighter than the latter. With regard to the Parts of the Entablature, I have followed the method of Serlio in his Ionic and Corinthian Orders, and of Perrault, who in all his Orders, ex- ceptinff the Doric, divides the whole height of the Entablature into ten equal parts; three Sf which he gives to the Architrave, three to the Prize, and four to the Cor¬ nice : and in the Doric Order he divides the height into eight parts; of which two are given to the Architrave, three to the Prize, and three to the Cormce. These meafures deviate very little from thofe obferved in the greateft number of Antiques now extant at Rome, where they have flood the teft of many Ages; and their limplicity renders them Angularly ufeful in Compolition, as they are eafily re¬ membered and eafily applied. Of two manners ufed by Architeifts to determine the Dimenfions of the Mould¬ ings, and the leffer Parts that compofe an Order, Ihavechofen the fimpleft, readieft,and poll accurate; which is by the Module, or femi-diameter of the Column, taken at the bottom of the Shaft, and divided into thirty Minutes. Yet there are many who prefer the method of meafuring by equal parts ; ima¬ gining that beauty depends on the fimplicity and accuracy of the relations, between the whole body and its members, and alledging that dimenfions, which have evident affinities, ate better remembered than thofe, whofe relations are too complicated to be immediately apprehended. With regard to the former of thefe fuppofitions, it is evidently falfe : for the real relations, fubfifling between diffimilar figures, have no connexion with the appa¬ rent ones : and with regard to the latter, it may or may not be the cafe, according to the degree of accuracy with which the partition is made. Por inftance, in dividing the Attic Bafe, (which may be numbered among the fimpleft Compofitions in Archi- tedfure) according to the different methods, it appears to me as eafy to recolledt the * Fig. 2. of Mouldings numbers II Of the Orders of Architecture. numbers lo, 7 i, 4;; i, 5 as to remember that the whole height is to be divi¬ ded into three equal parts, that two of thefe three are to be divided into four, that three of the four are to be divided into two, and that one of the two is to be divided into lix, which are to be divided into three. But admitting it were eafier to remember the one than the other, it doth not feem neceffary, nor even advifable, in a Science, where a tuii diverhty of knowledge is required, to burden the memory with a thoufand trifling diraenfions. If the general proportions be known, it is all that is requiCte in compo- ilng; and when a defign is to be executed, it is eafy to have recourfe to figured draw¬ ings or prints. The trouble and lofs of time in mcafuring by equal parts are very confiderable; feeing it is neceflary to form almoll as many fcales as there are different members to be divided; whereas the ufe of the Module is univerfal throughout the Order, and all its combinations; and being fulceptbile of the minuteft divilions, the dimenfions may be fpeedily determined, with the utmoft accuracy; which, by the method of equal parts, cannot be done without great labour and expence of time. Columns, in imitation of trees, from which they drew their origin, are tapered in their Shafts. In the Antiques the diminution is varioully performed; beginning^ fometimes from the foot of the Shaft, and at others from one quarter, or one third of its height; the lower part being perfeftly Cylindrical. The former of thefe was moft in ufe amongft the Antients, and being the moft natural and graceful ought to have the preference, though the latter hath been more univerfally pradfifed by Modern Artifts. The firft Architefts, fays Mr. Auzoult, probably made their Columns in ftreight lines, in imitation of trees; fo that their Shaft was a Frullum of a Cone; but find¬ ing this form abrupt and dilagreeable, they made ufe of fome curve, which, fpringing from the extremities of the fuperiour and inferiour diameters of the Column, fwellcd beyond the fides of the Gone, and by that means gave a more pleafing figure to the Contour. Vitruvius, in the fecond chapter of his third book, mentions this pradfice, but in fo obfcure and curfory a manner, that his meaning hath not been underftood; and fe- veral of the modern Architefts, intending to conform themfelves to his dodtrine, have made the diameters of their Columns greater in the middle than at the foot of the Shaft. Leon Baptifta, Alberti, and others of the Florentine and Roman Architedbs, • have carried this to a very great excefs; for which they have been juftly blamed, as it is neither natural, reafonable, nor beautiful. Monsieur Auzoult obferves that a Column, fuppofing its Shaft to be die Fruftum of a Cone, may have an additional thicknefs in the middle, without being fwelled there beyond the bulk of its inferiour parts, and fuppofes the addition mentioned by Vitru¬ vius to fignify nothing but the encreafe towards the middle of the Column, occafioned by changing the ftreight line, which at firft was in ufe, for a curve. This fuppofition is extremely juft, and founded on what is obferved in the works of Antiquity ■ where there is no inftance of Columns thicker in the middle than at the bottom, ^ ’ Q though 12 Of the. Orders of Architedure. all have the fwelling hinted at b}r Vitrnvius, all of them being terminated by curves; fome Granite Columns excepted, which are bounded by ftreight lines; a proof, perhaps, of their Antiquity, or of their having been wrought in the (parries of Egypt, by bungling and unlkilful workmen. Monsieur Blondel, in his book entitled Rejolutkn des quatre principaux Pnile- mes d’ydrchiteHure, teaches various manners of diminilhing Columns; the beft and fimpleft of which is by means of the inftrument which Nicomedes invented to defcribe the Firft Conchoid: for this, being applied at the Bottom of the Shaft, performs at one fweep both the fwelling and the diminution; giving fuch a graceful form to the Column, that it is univerfally allowed to be the moft perfedl: praftice hitherto dif- covered. The Columns in the Panthaon, accounted the moft beautiful among the Antiques, are made in this manner; as appears by the exaft meafures of one of them to be found in Desgodet’s Antiquities of Rome. To give an accurate idea of the operation, it will be neceflary firft to defcribe Vi¬ gnola’s method of diminution, on which it is grounded. As to this fecond method, fays Vignola, it is a difcovery of my own; and although it be left known than the former, it will be eafily comprehended by the figure. Having therefore determined the meafures of your Column, (that is to fay, the Height of the Shaft, and its inferiour and fuperiour Diameters),*drawaline indefinitely fromC through D, perpendicular to the Axis of the Column: this done, fet off the diftance C D, which is the inferiour Semi-Diameter, from A, the extreme point of the fuperiour Semi-Dia¬ meter, to B, a point in the Axis; then from A, through B, draw the line ABE, which will cut the indefinite line C D in E; and, from this point of interfeflion E, draw through the Axis of the Column any number of rays as E b a, on each of which from the Axis towards the Circumference, fetting off the interval G D, you may find any number of points, a, a, a, through which if a Curve be drawn, it will defcribe the fwell¬ ing and diminution of the Column. Though this method be fufficiently accurate for praftice, efpecially if a confide- rable number of points be found, yet, ftriftly fpeaking, it is defeiftive; as the curve muft either be drawn by hand, or by applying a flexible ruler to all the points; both of which are liable to variations. Blondel therefore, to obviate this objetftion, (after having proved the curve palling from A to C through the points a, a, to be of the fame nature with the Firft Conchoid of the Antients), employed the inftrument of Nicomedes to defcribe it; the conftruftion of which is as follows: Having determined, as above, the Length of the Shaft, with the inferiour and fu periour Diameters of the Column, and having likewife found the length of the line C D E, take three rulers, either of wood or metal, as F G, ID, and A H • of which let F G and I D be faftened together at right Angles in G. Cut a dove-tail’ groove in the middle of F G, from top to bottom; and at the point E on the ruler ID (whofe diftanc^^ from the middle of the groove in F G, is the fame as that of the point of mterfeftion from the Axis of the Column,) fix a pin; then on the ruler A H fet off the diftance A B, equal to C D the inferiour Semi-Diameter of the Column, and at the point B fix a button, whofe head mull be exaftly fitted to the Groove made in F G, in which * Fig. 3. PI. of Mouldings. it Of the Orders of Architecture. it is to Aide ; and, at the other extremity of the ruler A H, cut a flit or canal from H to K whofe length muft not be lefs than the difference of length between E B and E D and whofe breadth muft be fufficient to admit the pin fixed at E, which muft pafs through the flit, that the ruler may Aide thereon. The inftruraent being thus completed, if the middle of the groove, in the ruler F G be placed exafitly over the Axis of the Column, it is evident that the ruler A H in moving along the groove, will with the extremity A defcribe the curve A a a C; which curve is the fame as that produced by Vignola’s method of diminution, fuppofing it done with the utmoft accuracy: for the interval AB, ab is always the fame; and the point E is the origin of an infinity of lines, of which the parts B A, ba, ba, extending from the Axis to the circumference, are equal to each other and to D C. And if the rulers be of an indefinite fize, and the pins at E and B be made to move along their reipedfive ru¬ lers, fo that the intervals A B and D E may be augmented or diminilhed at pleafiire, it is likewife evident that the fame inftrument may be thus applied to Columns of any' fize. In the remains of Antiquity the quantity of the diminution is various; but feldom lefs than one eight of the inferiour Diameter of the Column, nor more than one fixth of it. The laft of thefe is by Vitruvius efteemed the moft perfedl. Vignola has employed it in four of his Orders, as I have done in all of them; there being no reafon for dimi- niftiing the Tufcan Column more, in proportion to its Diameter, than any of the reft, though it be the dodtrine of Vitruvius, and the pradlice of Palladio, Vignola, Scamozzi, and almoft all the modern Architedb. On the contrary, as Perrault obferves, its diminu¬ tion ought rather to be lefs; as it adfually is in the Trajan Column, in which it is only one ninth. For even when the fame proportion is kept through all the Orders, the abfolute quantity of the diminution in the Tufcan Order, fuppofing the Columns of the fame heighth, exceeds that in the Corinthian, in the ratio of ten to feven; and if, according to the common pradlice, the Tufcan Column be lefs, by one quarter, at the top than at its foot the difference between the diminution in the Tufcan and in the Corinthian Columns will be as fifteen to feven; and in the Tufcan and Doric nearly as fifteen to nine: fo that notwithftanding there is a very confiderable difference between the lower Diameters of a Tufcan and of a Doric Column, both being of the fame heighth, yet the Diameters at their top will be very nearly equal; and confequently the Tufcan Column will in reality be no ftronger than the Doric one, which is repugnant to the charadler of the Order. Vitruvius allots different degrees of diminution to Columns of different heights; giving to ihofe of fifteen foot one fixth of their Diameter; to fuch as are from twenty to thirty foot one feventh; and when they are from forty to fifty foot high one eighth only; obferving that as the ey'e is eafily deceived in confidering diftant objedts, which alway's feem lefs than they really are, it is neceflary to remedy the deception by an encreafe of their dimenfions, otherwife the work will appear ill conftrudled and difagreeable. Most of the modern Architedb have taught the fame dodtrine ;. but Perrault in his notes, both on this paffage and on the fecond chapter of the fixth book, endeavours to prove the abfurdity thereof. In fadi it is on moft occafions, if not on all, an evident errour, which Vitruvius and his followers have probably been led into through a negledl of combining circumftances. . For, if the validity of Perrault’s arguments be not affented to, and it is required to judge according to the rigour of Optical laws, it muft be remem- H bered. Of the Orders of ArchiteBure. bered that the proper point of view, for a Column of fifty foot high, is ^ f as for one of fifteen; Lt on the contrary more diftant, m the fame proportion as tfe Column is higher ; and that confequently the apparent relation between the lower and upper diametfrs of the Column will be the fame, whatever be its fize: for if we fupprfe * A to be a point of view, whofe refpeaive diftance from each of theCoIunins, f g, FG, isiual to He^peaive’heights oFeach, the triangles fAg, FAG will be fimilar, and Af or Ab, wbich is the fame, will be to Ag, as AF, or its equal AH, is to AG. Aerefore ifde’be in reality to be, as DE is to BC, it will bkewife be apparently fo, for the angle d A e will then be to the angle b Ac, as the angk.D AE is to the angle BAG; and if the real relations differ, the apparent ones will likewife differ. I HAVE fuppofed the eye of the fpe^ator to be in a line perpendicular to the foot of the Shaft; but if the Columns be proportionably raifed to any height above the oye, t argument will ftill remain in force; as the point of view muft of courfe be ably more diftant: and even when Columns are placed immediately on the ground, which feldom isthe cafe, the alterationoccafioned by that fituation is too trifling to deferve notice. When therefore a certain degree of diminution, which by experience is found plea- fins, hath been fixed upon, there will be no neceflity for changing it whatever be the height of the Column, provided the point of view is not limited ; but m clofe places, where the fpeaator is not at liberty to chufe a proper diftance for his point ot light, the Architea, if he inclines to be fcrupuloufly accurate, may vary : though it i^s in rea¬ lity a matter of no importance; as the nearnefs of the objea will render the image thereof indiftina, and confequently any fmall alteration inperceptible. ScAMoZZT, who efteems it an eftential property of the delicate Orders, to the masfive ones in height, has applied the above cited precept ot Vitruvius to the dir- ferent Orders ; having diminilhed the Tufean Column one quarter of its diameter, the Doric one fifth, the Ionic one fixth, the Roman one feventh, and the Corinthian one eight. In the foregoing part of this Chapter I have Ihewn the fallacy of his notion with regard to the heights of his Orders, and likewife endeavoured to prove the errour of diminilhing the Tufean Column more than any of the others ; fo that it will be need- lefs to fay any more in this place : for, as the cafe is fimilar, the fame arguments may be here employed. My intention being to give an exaift idea of the Orders of the Antients, I have re- prefented them under ftich figures and proportions as appear to have been moft in ufe in the efteemed works of the Romans; who, in the opinion of Leo. Bap. Alberti, and other eminent writers, carried ArchiteBure to its perfection. It muft not however be imagined that the fame general proportions will on all occafions fucceed. They are chiefly collected from the Temples and Publick Structures of Antiquity, and may by us be employed in Churches, Palaces, and other Buildings of Magnificence, where Majefty, and Grandeur of manner may be extended to their utmoft limits, and where, the whole body being generally large, the parts require an extraordinary degree of boldnefs, to make them diftinCtly perceptible from the proper point of view; but in lefs confiderable edifices, and under various circumftances of which I (hall hereafter give an accurate de¬ tail, more elegant proportions will be preferable. * Fig. 4. PI. of Mouldings. Of 15 Of the Tufcan Order. T here are no remains of a regular Tufcan Order among the Antiques: the doftrine of Vitruvius concerning it is obfcure; and the Profiles of Palla¬ dio, Scamozzi, Serlio, de I’Orme, and Vignola are all imperfeft. Of the two given us by Palladio, that taken from Vitruvius is too ruftic, the other too rich, and ill compofed; that of Scamozzi is yet richer, and too like the Doric; Ser- iio’s is too plain; and Vignola’s, though fuperiour to the other, is faulty in the Cornice, which is clumfy, with regard to the reft of the Order, ill proportioned in its parts, and ill profiled. In the Defign here annexed I have chiefly imitated Vignola’s, who in this Order hath been almoft univerfally followed; even Inigo Jones, who was fo clofe an adherer to Pal¬ ladio, having employed Vignola’s Profile in York Stairs, and others of his Buildings: but as the Cornice appears to me far inferiour to the reft of the Compofition, I have not fcrupled to rejedt it, and in its place fubftitute that of Scamozzi, with fuch alterations as were evidently neceflary to render it perfeft. The Height of the Column is fourteen Modules, or feven Diameters, and that of the whole Entablature three and a half Mo¬ dules : which being divided into ten equal parts, three of them 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 Cinfture of the Shaft, is alfo one Mo¬ dule. And the Shaft, with its upper Cinfture and Aftragal, twelve Modules. These are the general meafures of the Order. As to the particular Dimenfions of the minuter parts, they may be colledled from the Defign, where the Heights and Pro- jeftions are accurately marked; the latter being counted from perpendiculars raifed at the extremities of the inferiour and fuperiour Diameters of the Shaft: a method pre¬ ferable to that of de Chambray and Defgodetz, who count from the Axis of the Column; becaufe the relations between the eights and Projeftions are more perceptible, and whenever a Cornice or Entablature is to be executed without a Column, which very fre¬ quently happens, it requires no additional labour, as the trouble of dedufting from each Dimenfions the Semi-Diameter of the Column is faved. * Scamozzi, that his Bafes might be of the fame Height in all the Orders, has given the Tufcan one, exclufive of the Cindture, half a Diameter. I have rather chofen to imitate Vignola and Palladio, who in this have deviated from the general rule: for as the Bafe of the Tufcan Order is compofed of two Members only, Inftead of fix, which conftitute the other Bafes, it becomes much too clumfy when the fame general Propor¬ tion is obferved. The Tufcan Order admits of no Ornaments of any kind: on the contrary it is fometimes cuftomary to reprefent, on the Shaft of its Column, ruftic Cinftures; as at the Pitti of Flo¬ rence, the Luxembourg at Paris, York-Stairs in London, and many other Buildings of note. 1 his pradlice, however, though frequent, and to be found in the works of feveral celebrated Architedls, is feldom exculable, as it hides the natural figure of the Column, alters its I propor- i6 Of the Ttifcan Order. proportions, and deftroys the fimplicity of the whole compofition. There are few sam¬ ples of thefe Bandages in the remains of Antiquity; and, in general, it will be advilable to avoid them in all large compofitions; referving the ruftic work for the mtercolumnia- tions, where it may be employed with great propriety, to produce an oppofition, which will render the afpeft of the whole diftinfl: and ftriking. But in fmalier works, whofe parts are few, and therefore eafily comprehended, they may be fometimes tolerated. Le Clerc thinks they are proper for gates of Citadels and Prifons, whofe entrance Ihould be dreadful; and they are likewife fit for gates of Gardens or Parks, Grottos, Fountains, and Baths, where elegance of form, and neatnefs of workmanlhip, would be out of charafter. De I’Orme, who was exceeding fond of thefe Ciniftures, hath employed them in feveral parts of the Thuilleries, covered with Arms, Cyphers, and other en¬ richments. This is quite abfurd; for they can never be confidered in any other light, than as parts which, to avoid expence and trouble, were left unfinilhed. We likewife find, in different parts of the Louvre, vermiculated ruftics of which the tracks repre- fent flower de luces, and other regular figures: a pradbice more unnatural than the former; though Monfieur Daviler gravely tells us that it fhould always be done with propriety, and exprefs a relation to the owner of the Strudfure; that is, the figures Ihould reprefent his Arms, Creft, Mottos, Cyphers, &c. I have in the plate of Pediments given feveral Defigns of rufticated Columns, which are colledfed fi'om buildings of note in different parts: and for the manner of executing them, as it cannot well be deferibed, I refer to the Doric entrance of the King’s ftable at Charing-Crofs, the gate of Burlington-Houfe in Piccadilly, and that of Queensbury- Houfe in Burlington-garden: in all which places the different forts of ruftic work are managed with judgement, and command of the chizel. Monsieur de Chambray, in the Introdudfion to his Parallel, treats the Tufean Order with great contempt, and banilhes it to the Country, as unworthy of a place either in Temples or Palaces: but in the latter part of his work he is more indulgent, and takes the Column again into favour, comparing it to a Queen feated on her tlirone, and diftributing honours to her minions. I (hall not here difpute the juftnefs of Mr. de Chambray’s remarks; but I will ven¬ ture to affirm that not only the Tufean Column, but the whole Order, as reprefented in the annexed Defign, (which being in faft the produdfion of Vignola and Scamozzi, I may praife without the imputation of vanity), is extremely beautiful, and for its purpofes inferiour to none of the reft. The Tufean Order, carrying with it an idea of ftrength and ruftic fimplicity, is very proper for rural ufes, and may be employed in Farm houfes. Stables, Maneges, and Dog-Kennels, Green-houfes, Grottos, Fountains, gates of Parks and Gardens, and, in general, in all places where magnificence is not required, and expence is to be avoided. Serlio recommends the ufe of it in Prifons, Arfenals, Treafuries, Sea-ports, and gates of fortified places; and Le Glerc obferves, that though the Tufean Order, as treated by Vitruvius, Palladio, and fome others, ought to be entirely rejedbed, yet according to the compofition of Vignola, there is a beauty in its fimplicity, which recommends it to efteem, and entitles it to a place both in private and public buildings, even in Royal Palaces, to adorn the lower Apartments, Offices, Stables, and other places that require Of the Tufcan Order. 17 require ftrength and fimplieity, where richer and more delicate Orders would be improper. In conformity to the dofitrine of Vitruvius, and to the almoft general praftice of all the moderns, I have given to the Height of the Tufcan Column feven Diameters, or fourteen Modules; a proportion which is very proper for rural or military works, where an appearance of extraordinary folidity is required: but in Town buildings, intended for civil purpofes, or in interiour decorations, the Height of the Column may be four¬ teen and a half, or even fifteen Modules, as Scamozzi makes it; which augmentation may be made in the Shaft, without changing any meafures either in the Bafe or Capital: nor need the Entablature be altered; for, as it is compofed of few parts, it will be fufficiently bold, though its Height be a little lefs than one quarter of the Height of the Column. Of the Doric Order. D E Chambray, in his Parallel, gives three Profiles of the Doric Order; one taken from the Theatre of Marcellus, and the others copied by Pietro Ligo- rio from various fragments of Antiquity, in and near Rome. Vignola’s fecond Doric Profile bears a near refemblance to the moft beautiful of thefe, and was not im¬ probably collefitedfrom the fame Antique which Ligorio copied: though it muft be owned that Vignola hath, in his compofition, far exceeded the original; having omitted the many trivial and infignificant mouldings, with which that is overloaded, and in many refpedts, amended both its form and proportions. A s this Profile of Vignola’s is compofed in a greater ftyle, and in a manner more charadteriftic of the Order, than any other, I have made choice of it for my model; having, in the general form and proportions, adhered ftriftly to the original; though in particular members I have not fcrupled to vary, when obfervation taught me they might be improved. ViGNOLa, as appears by the preface to his Orders, imagined that the graceful and pleafing afpeft of Architedtonic objedts, was occafioned by the harmony and fimplicity of the relations between their parts; and, in compofing his Profiles, he conftantly ad- jufted his meafures by thefe Ample affinities, fuppofing the deviations from them, in his antique originals, to proceed rather from the inaccurate execution of the workmen, than from any premeditated defign in the contriver. To this notion may be afcribed many little defefts, in the proportions of his mouldings, and minuter members; which, though trifling in themfelves, yet, from the fmallnefs of the parts where they happen to be, are of con- fequence, and eafily perceivable by a judicious eye. Thefe 1 have therefore endeavoured to corredb, not only in this, but in others of his Orders; which, from their conformity to the beft Antiques, I have in the courfe of this work chofen to imitate. It has been already obferved, that the real relations, fubfifting between diffimilar figures, have no connedtion with the apparent ones; and it is a truth too evident to re¬ quire demonftration. No one will deny, for inftance, that the Oyolo, in the annexed Doric Cornice *, viewed in its proper elevation, will appear much larger than the Ca- * PI. Doric Order. K pital Of the Doric Order. fital of the Triglyph under it; though, in reality, they are nearly of the fame dimen- fions ; and, if the fame Ovolo were placed as much below the level of the fpeftator’s eye, as it is above it in the prefent cafe, it is likewife clear that it would appear con- fiderably lefs than any flat member of the fame fize. Thefe things being fo, a ftrift attachment to harmonic relations feems to me unreafonable; lince what is really in per- fe(9: harmony, may in appearance produce the moft jarring difcord. Perfect proportion in Architeifhire, if confidered only with regard to the relations between the different objedts in a compofition, and as far as it relates merely to the pleafure of the fight, feems to confift in this, that thofe parts, which are either princi¬ pal or elfential, Ihould be fo contrived as to catch the eye fucceffively, from the moft con- fiderable to the leaft, according to their degrees of importance in the compofition, and imprefs their images on the mind before it is affefted by any of the fubfer- vient members; yet that thefe Ihould be fo conditioned, as not to be intirely abforbed by the former, but capable of railing diftindl: ideas likewife, and fuch as may be adequate to the purpofes for which thefe parts are deligned. The different figures and fituations of the parts may, in fom'e degree, contribute to¬ ward this effeft ; for fimple forms will operate more fjjeedily than thofe that are com¬ plicated, and fuch as projedt: will be fooner perceived than thofe that are more retired. But dimenfion feems to be the predominant quality; or that which ails moft powerfully on the fenfe : and this, as far as I know, can only be difcovered by experience; at leaft to any degree of accuracy. When therefore any number of parts, arranged in a particular manner, and under particular proportions, excite, in the generality of judicious fpedlators, a plealing fenfation, it will be prudent on every occafion, where the fame circumftances fubfift, to obferve exadfly the fame proportions ; notwithftanding they may in themfelves appear irregular and unconnected. In compofing the Orders and other Decorations, which are now offered to the public, I have conftantly followed this method; having for that purpofe mea-‘ fured, with the utmoft accuracy, many antique and modern buildings, both at Rome, and in other parts; ftri£tly copying fuch things as appeared to be perfebl, and carefully correfting others, that leemed, in any degree, faulty: relyino-, not fo much on my own judgment, in doubtful points, as on the opinion of feve- ral learned and ingenious artifts, of different nations, with whom I had the advantaoe of being intimately connedfed when abroad. ° I AM fenfible that the extraordinary degree of accuracy, which hath been aimed at in thefe compofitions, is of little confequence to the generality of fpedfators. Never- thelefs, as in Poetry, Mufic, Painting, and indeed in all the Arts, there are many de- bcacies, which, though they efcape the vulgar, afford uncommon fatisfaftion to perfons of more enlightened conceptions; fo, in Architeaure, this kind of perfeaion*^is the fource of a fecondary pleafure, which may be compared to that excited by the graces of language in Poetry, by the fwell, infleftion, and other artifices of the voice in Mufic pel” and the Spirited, artful, touches of a mafterly It may perhaps be objeSed that the proportions here eftabliftied, thouoh oood on one occafron, may on others be faulty. But this objeftion will be groundlefs with regard to Capitals and Entablatures: their fituation, with refpea to the Order to which they Of the Doric Order. 19 they belong, is conftantly the fame; and the point of view being more or lefs diftant, ac¬ cording to the fize or elevation of the order, the apparent magnitudes of their parts will conftantly bear, nearly, the fame proportion to each other; even though they fliould be exalted to a fecond or third ftory. With regard to Bafes, indeed, their being placed on pedeftals, or immediately on the ground, will occafion fome difference in their appea¬ rance; and, when they are raifed to a fecond ftory, their figure and apparent proportions will be confiderably altered. Neverthelefs, it doth not feem neceflary to vary their di- menfions in either of thefe cafes: for in the former of the two the alteration would be tri¬ fling ; and, in the latter, the object is fo far removed from the eye, that the fpeftator is rather occupied in confidering the general mafs, than in examining it’s particular parts, which, on account of their diftance, are not diftincffly perceptible. The Height of the Doric Column, including it’s Capital and Bafe, is fixteen Modules, and the Height of the Entablature four Modules; the latter of which being divided into eight parts, two of them are for the Architrave, three for the Frize, and three for the Cornice. In moft of the Antiques, the Doric Column is executed without a Bafe ; Vitruvius likewife makes it without one; the Bafe, according to that Author, having been firft employed in the Ionic Order, to imitate the Sandal, or covering of a woman’s foot. Scamozzi blames this pradlice; and moft of the Moderns have been of his opinion; the greateft part of them having employed the Attic Bafe in this Order. MonfieurdeCham- bray, however, whofe blind attachment to the Antique is, on many occafions, too evident, argues vehemently againft this pra8:ice; which, as the Order is formed upon the model of a ftrong man, who is conftantly reprefented bare-footed, is, according to him, very improper; and though the cuftom of employing a Bafe, in contempt of all ancient au¬ thority, hath, by fome unaccountable and talle notion of beauty, prevailed, he doubts not but the purer eye^ when apprized of this errour, will eafily be undeceived; and as what is merely plaufibly will, when examined, appear to be falfe, fo apparent beauties, when not founded in reafon, will of courfe be deemed extravagant. Le Clerc’s remarks on this paffage are very judicious; and, as they will ferve to de- ftroy a notion, which is too prevalent among us, I (hall, for the benefit of thofe, who are unacquainted with the original, tranflate the whole paffage. “ In the moft ancient monuments of this Order, fays he, the Columns are without Bafes; for which “ it is difficult to aflign any fatisfacftory reafon. Monfieur de Ghambray, in “ his Parallel, is of the fame opinion with Vitruvius, and maintains that the “ Doric Column, being compofed upon the model of a naked, ftrong, and “ mufcular man, refembling a Hercules, Ihould have no Bafe; pretending that “ the Bafe to a Column is the fame as a ftioe to a man. But I muft own I cannot “ confider a Column without a Bafe, in comparing it to a man, but I am at the fame “ time ftruck with the idea of a perfon without feet rather than flioes: for which reafon “ I am inclinable to believe, either, that the Architedfs of Antiquity had not yet thought of employing Bafes to their Columns or that they omitted them, in order to “ leave the pavement clear; the Anglesand Projections of Bafes beingftumblingblocks to “ paffengers, and fo much the more troublefome, as the ArchiteCb' of thofe times frequently “ placed their Columns very near each other: fo that had they been made with Bafes, the “ paffages between them would have been extremely narrow and inconvenient; and it “ was doubtlefs for the fame reafon that Vitruvius made the Plinth of his Tufcan Co- tt lumn round; that Order, according to his conftruCl:ion, being particularly adapted to L fervile 20 Of the Doric Order. “ fervile and commercial purpofes, where conveniency is preferable to beauty. However “ this be, perfons of good tafte will grant, that a Bafe not only gives a graceful turn to the Column, but is likewile of real life; ferving to keep it firm on its planj and that if Columns without Bales are now fet afide, it is a mark of the wifdom of our “ Architeas, rather than an indication of their being governed by prejudice, as fome “ adorers of Antiquity would infinuate. ” In imitation of Palladio, and all the modern ArchiteHs except Vignola, I have made ufe of the Attic Bafe in this Order: and it is the moft beautiful of any, though for variety’s fake, when the Doric and Ionic Orders are employed together, the Bafe invented by Vignola, of which a Profile is annexed, may fometimes be ufed: Bernini has ufed it in the Colonnades of St. Peter’s, and it hath been fuccefsfully applied in many other buildings. The Antients fometimes made the Shaft of the Doric Column prifmatic, as appears by a paffage in the fourth book of Vitruvius; and at other times they adorned it with a particular kind of lhallow Flutings, defcribed from the center of a fquare, no interval or fillet being left between them; of which fort there are now fome Columns to be feen at the Temples of Pefto near Naples, and in the church of St. Peter in Catenis at Rome. The former of thefe manners hath not, I believe, been imitated by any of the moderns: nor is the fecond very frequent; Scamozzi blames it for its want of folidity, the projeft- ing angles between the Flutings being eafily broken, and very fubjedl to moulder. Vitruvius gives to the Height of the Doric Capital one Module, and all the moderns, except Alberti, have followed his example. Neverthelefs, as it is of the fame kind with the Tufcan, they fhould both bear nearly the fame proportion to the Heights of their refpeftive Columns; and confequently the Doric Capital ought to be more than one Module, and accordingly it is fo both at the Colifeum, and in the Theatre of Mar- cellus; being in the former of thefe buildings upwards of thirty-eight Minutes, and in the latter thirty-three Minutes. In the Delign here offered, I have made the Height of the whole Capital thirty- two Minutes, and, in the Form and Dimenfions of the particular members, have deviated but little from the Profile of the Theatre of Marcellus. TheFrize, orNeck, is enriched with Hulks and Rofes, as in Palladio’s Delign, and as it has been executed by Sangallo at the Farnefe, and by Cigoli in the Cortile of the Strozzi at Florence, as well as in feveral buildings of note in this city. The Projeftion of thefe Husks and Flow¬ ers mull not exceed that of the upper Cinfiture of the Column. The Architrave is one Module in Height, and compofed only of one Fafcia and a Fillet, as at the Theatre of Marcellus: the Drops are conical, as they are in all the An¬ tiques ; and not pyramidal, as they are very improperly made by moft of our Englilh workmen. The Frize and Cornice are each of them one Module and a half in Height: the Metope is enriched with a Bull’s skull, adorned with a Garland of Beads; in imitation of thofe on the Temple of Jupiter Tonans, at the foot of the Capitol. In fome Antique fragments, and in a great number of modern buildings, the Metopes are alternately en¬ riched with thefe Ox skulls, and Pateras; but they may be filled with any other orna- r ments //V’//Z7/. ^ mmi ■’ IT y' 1 1 ix j •' — 1 H '!: L ,1 s; «a i wr SSl5k HI-m m ^ 5h : Of the Doric Order. 21 ments of good forms, and frequently with greater propriety. Thus, in military ftru d^idrh/.r /wm/- C drMvdi-df /J/e c/ 'd-/'d(d^ AEJS^.tf 'ii’dd ddfiiftme^r ;H minu^,>.t//fuA’ f/-//i^^tireAf/'i/ dr^ldujiiir/rr,' AB.D^^.d^^forrM/ie iAadi. CAA'B in /iini/4,nni/fln de /ifir /. 4 C (>/>. A dr.ieede de !jniidenn2 A M.nnd enuhniii-ni/ du- .mnie iift/ieeaBeiny /rom ltd die hi'e/t'e (‘e/th'et’, die (onfpiien^ did / o/uP- n-d/ /-e f iitii^i/epd. - — ^ Yig.2. kdiednh-ey/d dcierdini/die fd/eP nee /dnid n, din uinnner. (hiinh-iiePn t'P-dnd- o/ ndid f-dde A F /.f ei/md Piide /ineP ,/Wie (ndu-Pm dnPidned /-ePi-eeii AF. nnd de niWe F V eijiiid Pn F f. im de Iddc A F /dnre >/didmce F S /roin T fim-aidnA, lynn/ fe- F ^1' die /-i-enddi du-/idep nnd diei'ii.' A S u< fp AF. /diuY di.i /ine on ene/t.nede tnP’ dtere ei^ua/pinefo, ernddienieid' dn ddrnpoitn/i C.2. C.'i.iind t/ott n’i> r dn d//utne hoe/i he tUinie tnoiitier ne .,,x V' die PenPre C Pit die^iirincPr i>/dte n/eAB.diiPde it 'irittiPii e/eniv iinre yineid/e/ P‘ dieddieinirtee'EF, d'/nf/i imdcnPdie •' (eitP/-e.',j'diii ip/ieiice de ih/v/Ppp /(leifpiirp/y fidp may /e i/emd/-'^, 'rctii dieyfxep (eiiPri-o. _ ■//ra 1 // t/