CIVIL ARCHITECTURE. 



Frieze*, air to preserve the beams ; the lower face is vertical up- 



V ~ - "V * on the edge of the top of the column ; the frieze is 



phm and flat ; the mutules of the cornice project over 



the beams and walls, equal to one fourth of the height of 



the column. 



The columns of Trajan and Antonine are specimens 

 of the Tuscan, though being eight diameters high, they 

 exceed, by one diameter, what is generally assigned to 

 this order. St Paul's church, Coveni Garden, in Lon- 

 don, is the best modern example. 



Composite. In the Composite order the upper part of the capital 

 is that sort of lenic which presents a similar face on each 

 of the four sides. The lower part consists of two rows 

 of acanthus leaves, as in the Attic Corinthian. The co- 

 lumn of the Roman edifices, with composite capitals, 

 have, in general, Corinthian entablatures ; the arches of 

 Septimius Severus, and the Goldsmiths at Rome, have 

 Ionic entablatures. 



Modern architects have generally adopted the entabla- 

 ture of the frontispiece of Nero, or introduced adventi- 

 tious members of other orders, as the denticulated band 

 of the Ionic with its cymatium, between the modillions 

 nd cymatium of the frieze of the Corinthian. The 

 modillions employed in the composite order differ from 

 thoe of the Corinthian in being more massive, composed 

 of two faces, and having a cymatium like an architrave. 

 Indeed the capital being much bolder than the Corinthi- 

 an, all the other members should be made of suitable mag- 

 nit ude. 



The Romans employed this order chiefly in triumphal 

 arches. The modems have introduced it in various sort 

 of works of the greatest magnificence. 



O/ Persians, Cariatidet, and Termini. 



CamtiJw. Besides c"Iumn, the Greeks sometimes supported 

 their entablatures by human figures; when these repre- 

 sented males., they were named Persians, out >f contempt 

 for their nation ; whiri the form was of females, they 

 were called Cariatide, as a mark of disgrace to the in- 

 habit ints of Caria for having aided the Persians in one of 

 'heir wars with the Greeks. Whether the Greeks in- 

 veme<1 th ' 8 mode, or copied it from the edifices ot Up- 

 P" Egypt, or the temples or tombs of India or Persia, 

 it is not necessary here to inquire. In Stuart's At/tent 

 there is a fine specimen of Cariaiic fipurrs supporting an 

 entablature consisting of an architrave cornice. Various 

 fragments of male figures are also met with amongst Ro- 

 man antiquities, whose attitudes and acompaniments are 

 evidence of their having been employed for similar pur- 

 poses. Although, in the bitterness of contest, there may 

 have been a satisfaction in thus employing the figures of 

 th. irenemies, yet these associations being local and tempo- 

 rary, it is improper to degrade the human form into last- 

 ing . xpressions of slavery, or merely to perform the of- 

 fices of blocks of wood or stone. 



The termini derive their origin from stones employed 

 to mark the boundaries of property. To render these 

 inviolable, Numa Pompilius consecrated them, and built 

 a temple to Terminus on the Tarpeian rock. This dei- 

 ty was at first represented only by a large stone, but in 

 process of time the top of it was cut into the form of a 

 Iiuman head and shoulders, and the lower part into the 

 shape of a sheath or inverted frustrum of a square py- 

 ramid, which has continued to be the general form, 

 except that S"metimes feet are added. 



They have been employed as ornaments in gardens, 

 and alto at the side of chimney pieces. They appear 

 lubject to sinvlar objections as the Persians and Can. 

 atic figures. To squeeze a man into a jheath, to be 



! VI. PAKT It. 



609 



Interco- 

 lunui. 



PliTE 



CLXXXVf. 



constantly exposed to the inclemencies of the weather Practice 

 in gardens, or wasted by a fire while supporting the en- - v~- 

 tablature of a chimney, is, to say the least of it, a 

 blameable conceit. 



Colonnade, a range of attached or insulated columns, Colonnade 

 supporting an entablature, is named according to the 

 number of columns which support the entablature or 

 fastigium ; teirastyle, when there are four ; hexastyle, 

 when six ; octo'style, when eight ; and decastyle, when 

 ten. 



The intervals between the columns, measured by their 

 inferior diameter, is called the inter calumniation, whence 

 the area between every two columns is termed an inter- 

 column. 



The intercolumniation is of five denominations, viz. 

 the arceostyle, or thinly set, when the columns are at the 

 distance of four diameters ; the diastyle, when they are 

 at three diameters ; the eustyle, when at two and a quar- 

 ter ; the systyle, when at two ; and the jiyctioslyle, or 

 thickly set, when at the distance of one diameter and a 

 half. Of these the eustyle was in most general request 

 among the ancients ; and though, in modern buildings, 

 both the eustyle and diastyle are employed, the former 

 has obtained a marked preference. The pycnostyle is 

 frequently rejected from want of room ; and the arzo- 

 style is not considered to yield sufficient support to the 

 entablature, and is only applied to rustic structures of 

 Tuscan intercolumniation, where the columns are lintel- 

 led with wooden architraves. See Plate CLXXXVI. 



The intercolumniations of the Doric order are regu- 

 lated by the number of triglyphs, one of which is pla- 

 ced over every intermediate column. When there is one 

 triglyph over the interval, it is called mnnotriglyph; 

 when there are two, it is called ditriglyak, and soon, ac- 

 cording to the progression of the Greek numerals. The 

 intercolumniation of the Grecian Doric is rarely anv 

 other than the monotriglyph, there being but two devia- 

 tions from it at Athens, in the Done portico, and in the 

 prophylrea ; and even in these instances, the exception 

 applies only to the middle intcrcolummations, which are 

 ditriglyph, and were necessary frum their situation, be- 

 ing opposite to the principal entrances. Indeed, from 

 the massive and bold character of the Grecian Doric, 

 the monotriglyphic succeeded best ; but in the Roman 

 Doric it would not be convenient, because the passage 

 between the columns would be too narrow, especially in 

 small buildings ; and therefore the ditriglyphic is to be 

 preferred. 



When the solid parts of the masonry of a rani^e of 

 arcades are decorated with the orders, the intercolumns 

 necessarily become wide, and the intercolumniation is re- 

 gulated by the breadth of the arcades and of the piers. 

 Vignola uses the same intercolumniation in all his or- 

 ders ; and though thin practice is condemned by some, 

 is founded upon a right principle, as it preserves a 

 constant ratio between the columns and the intervals. 

 Coupled, grouped, or clustered columns, seem not to 

 e been used by the ancients. In the temple of Bac- 

 chus, at Rome, indeed, we find columns standing in 

 some sort in pairs ; but it must be observed, that each 

 pains only placed in the thickness of the wall, and not 

 the front ; wherefore, they may be called two rows of 

 distinct columns, one almost immediately behind the 

 other, rather than a coupled row. In the baths of Di- 

 oclesian, and in the temple of Peace at Rome, we find 

 groined ceilings sustained by single Corinthian columns, 

 which at once present a meagre appearance, and furnish 

 but an inadequate support. 

 The modern* seldom employ more than one row of 



Coupled 



columii"i 



