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Vitruvius, but long doubted, and now proved by modern investigation, 

 the Greek architects adopted a system of rounding their lines, (on some 

 principle the foundation of which is still obscure,) to remedy the 

 appearance of hollowness assumed by straight lines when viewed in 

 perspective ; the reason for this being similar to that for making large 

 columns of a convexly curved outline, known as their entasis, and much 

 exaggerated in corrupt styles ; but a knowledge of the angle of vision, 

 under which the Greek lines were to be viewed, would afford a key to 

 their system yet wanting. I have prepared a diagram which explains 

 the optical necessity for this *' entasis, " which I believe is not generally 

 familiar. I have digressed somewhat from my immediate topic, but 

 hasten to resume my subject. 



In construction, that is always preferable which commends itself 

 at once to the eye, and, when based upon geometrical arrangement, 

 doubly so. The factitious architecture of the last two centuries (except- 

 ing always that of Wren, as exemplified by St. Pauls,) has led to 

 a neglect of this beautiful foundation for all architectural structures; 

 but half the charms of the best works are owing to its presence, even 

 when not clearly perceived ; and if symmetry be aimed at, as it ever 

 will be by a constructor of artist-like feeling, this is almost the only 

 means of ensuring it. In the best days of pointed architecture this 

 was well known, and a plan of the polygonal or circular nave of the 

 Temple church, which I have brought, exemplifies (though an early 

 specimen) the system much more fully developed in the succeeding 

 phases of the style. A ^vindow from Old St. Chad s Church, Shrewsbury, 

 exhibits the principle as applied to details, and investigation proves 

 its existence throughout most of the mediaeval structures. In the 

 vaulting of St. Paul's the same principle is carried out with still greater 

 precision, as the gothic architects were less careful of exactness in the 

 finish than in the skeleton of their work ; but throughout Wren's stone' 

 roofing the most exquisite precision of intersections, and perfect 

 geometrical truth of subdivision in the decorative panelling, makes it an 

 almost unparalleled example of constructive architecture. I say nothing 

 of the concealment of his flying buttresses, which a gothic designer 

 would have made sources of external beauty. Wren's faults were those 

 of his school — his beauties were all his own. 



Before leaving this part of my subject, I would institute a comparison, 

 in respect of form, between the three great cupolas of Europe — ^those 

 of St. Peter's at Rome, the Duomo of Florence, and our own St. Paul's, 

 of which I have supplied drawings ; such a comparison aflfords me occa- 

 sion to point out the pre-eminent value of form as a source of archi- 

 tectuml value. 

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