13(3 
is in height one module. The base, includ- t 
ing (as is peculiar to the measurement of this 
order) the lower cincture of tiie shaft, is one 
module ; and the shaft with its upper cincture 
and astragal is twelve modules. For interior 
use the height ot the column may be fourteen 
modules and a half, or fifteen modules, and 
the increase may be in the column only. It 
is customary to diminish this order one quar- 
ter, but the diminution of one eighth or sixth 
would better accord with its character of 
strength. 
The Doric Order. 
Of the Doric order, the very ancient re- 
mains exhibit proportions so dissimilar to 
the practice of latter times, that they must 
have been produced before experience had 
matured the rules of art. In several parts of 
the ruins of Athens, these columns are seen of 
a height not exceeding four diameters, and 
four and a half. ■ Strength was more regarded 
than elegance of design in these low propor- 
tions. Columns of near six diameters may be 
found in the temples, of Minerva and Theseus, 
at the same place ; and the columns of the 
more ancient temple of Apollo, at Delos, have 
five diameters, and are fluted in the neck, and 
on tire foot. There are columns of upwards of 
six diameters in height found in other buildings 
at Athens; and the temple of Hercules at 
Cora, has columns of eight diameters and 
three quarters, and they are on bases, which 
the others are not. 
Vitruvius, allowing it to he the most an- 
cient order, ascribes its origin to Dorus, who 
built a temple to Juno, in the ancient city of 
Argos. But afterwards. Ion, who built a tem- 
ple to Apollo in Asia, fixed the proportions of 
this order; and being guided by the example 
of nature ' in the structure of man, gave six 
times the length of the foot, or diameter of its 
base, for the height. 
The practice of the moderns allows eight 
diameters, with a base ; an addition to the 
ancient plan of this column, no less useful than 
elegant. Some of the most ancient columns 
of this order are fluted, and some squared off, 
or wrought with pans instead of hollows. The 
cracks, or divisions, in the bark of the trees 
originally employed for pillars, very naturally 
suggested fluting when any ornament was de- 
sired. 
The place and form of the triglyph, an or- 
nament peculiar to this order, are both evi- 
dently derived from the ends of projecting 
joints, laid from the inner to the outer walls of 
buildings. When as much of the timber as 
appeared unhandsome was cut off, tablets 
like the triglyphs now in use were fastened on 
the sawed ends, and produced a pleasing effect. 
The triglyphs, interjoists, and metope, in Do- 
ric work, had their origin from the disposition 
of the timbers in the roof; afterwards, in other 
works, some made the rafters that were per- 
pendicular over the triglyphs to project 
outward, and carved theiFprojecture ; hence 
as the triglyphs arose from the disposition of 
the joists, so the mutules under the corona, 
were derived from the projectureof the rafters; 
wherefore in stone or marble structures, the 
mutules are represented declining in imitation 
of the rafters; and also on account of the drop- 
pings from the eaves, it is proper they should 
have such declination. This also explains the 
situation and form of the. gutta: or drops. The 
ornaments on the metope, or space between 
the triglyphs, may have been originally tro- 
phies of (lie deity, or implements of sacrifice 
ARCHITECTURE. 
placed there ; the bull's skull is peculiar to 
the Doric order. 
According to the modern proportions of 
this order, let the height of the column, in- 
cluding its capital and base, be sixteen mo- 
dules, the height of the entablature four mo- 
dules, which being divided into eight parts, 
two are for the architrave, three for the frize, 
and three for the cornice : the base will be one 
module in height, the capital thirty-two mi- 
nutes, or a little more. 
The Ionic Order. 
To the before-mentioned Ion, is ascribed 
by Vitruvius, the origin of this more delicate 
or feminine order ; of which the volutes of the 
capital, ornamented with festoons, are like 
locks of hair decorated with flowers. Suc- 
ceeding architects much approving the taste 
and ingenuity of this design, allowed eight 
diameters and a half to the order. The cele- 
brated Hermogenes, when building the temple 
of Bacchus at Teos, rejected the Doric after 
all the marbles were cut, and adopted the 
Ionic instead. And indeed the difficulties of 
adjusting the mutules, meffipe, and triglyphs, 
with propriety in Doric structures, and the 
massive appearance of the order, caused a 
frequent preference of the Ionic. Denteles 
belong to the Ionic cornice : thev represent 
the assers, or smaller rafters, supporting the 
tiles. 
On the antique Ionics, the volutes are ge- 
nerally placed parallel, and to Michael Angelo 
is attributed, as a new invention, the executing 
them on an angular plan, though some ancient 
examples of this manner may be seen. It has 
been attempted to prove, that the accidental 
pleasing forms of convolution in shells, gave 
the first idea of the Ionic volute. 
Eighteen modules are given, as a modern 
proportion for the height of the column of 
this order ; and for the entablature, four mo- 
dules, or four and a half, which is less than the 
antique Ionics. The capital is twenty-one 
minutes, and the base thirty minutes in height; 
the shaft may be plain, or fluted with twenty 
or twenty-four flutings, whose plan should be 
a trifle more than a semicircle, and the breadth 
of the fillet between them should not be more 
than one third of the flute. The ornaments 
of the capital are to correspond with the flut- 
ings of the shaft, and there must be an ove 
above the middle of each fluting. The en- 
tablature being divided into ten equal parts, 
three are for the architrave, three for the frize, 
and four for the cornice. In interior work, 
where delicacy is required, the height of the 
entablature may be reduced to one fifth of the 
height of the column. 
The Corinthian Qrder. 
The Corinthian order lias arisen out of the 
two former, and has nothing. but the capital 
peculiar to itself; of which the origin, from 
the leaves of a root of acanthus springing round 
a basket, and curling in the manner of a volute 
againsta tile which covered it (which answers 
to the abacus) is recorded by Vitruvius. This 
pleasing accidental combination, was copied 
by Callimachus ; who saw it, and was struck 
with the elegance and novelty of the effect. 
The other members placed on the Corinthian 
pillar, are common to the Doric and Ionic 
orders. 
The many examples existing amongst the 
fragments of antiquity, evince the great preva- 
lence of the Corinthian order, amongst the 
ancients : but the Romans anniliilated every 
vestige of it in Corinth, where it had Its origin, 
in their barbarous destruction of that rival city. 
The moderns have adopted these proper*! 
tions : the columns are twenty modules in 
height ; the entablature, live modules ; the 
base one module, and may be either attic or 
Corinthian. The capital has seventy minutes 
in height ; the proportion of the members in 
the entablature, is the same as in the Tuscan 
and Ionic orders. If the entablature is en* : 
riched, the shaft of the column may be fluted, 
and the flutings may be fitted to one third 
part of their height with cabling ; and in very 
rich decorations, the cabling may be com* .! 
posed of reeds, husks, ribbons, flowers, See. 
The capital is enriched with olive-leaves, as 
are almost all the antiques of this order at 
Rome ; the acanthus being seldom employed, 
but in the composite. The entablature may 
be reduced to two ninths or one fifth of the 
height of the column : in which case it is best 
to use the Ionic entablature, or reduce the 
denteles of the cornice. 
The Composite Order. 
In a successful attempt at pleasing variety ! 
and novelty, the Romans produced the com* 
posite order, by combining the proportions 
and enrichments of the Corinthian, with the , 
angular volute of the Ionic. 
The omission of the upper row of leaves in 
the capital, and the ^addition of the Ionic 
volute, give it a bolder aspect than the Co - ] 
rinthian: uniting elegance and a very pleas*! 
ing projection. In the triumphal arches of 
Rome, erected at the very height of its] 
splendour, it was used with a happy effect, as , 
well as in many other examples in that city. . \ 
The height of the column is twenty mo-, 
dules, according to modern proportions; that 
of the entablature five modules ; the capitaH 
has seventy minutes in height. The base: 
measures the same as in the Doric and Ionic 
orders; and as the module is less all its 
parts will be more delicate. The shaft may 
be enriched with twenty or twenty-four flut- 
ings, and the principal members of the en- 
tablature may have the same proportions as 
in the two former orders. 
If we class the orders of architecture ac- 
cording to their destination, we shall limit 
them to three: the first class, including the 
Tuscan and Doric, for supporting plain and 
massy buildings; one for buildings of a more 
elegant and light form, and one between these 
two. The Ionic, and the Corinthian, with, 
their varieties, will compose the last classes. 1 
The cyma and cavetto are constantly 
used as finishings by the antients, and never 
applied where strength is required. The 
ovolo and talon are always employed as sup- 
porters to the essential members of the com-] 
position, such as the modillions, denteles, andl 
corona. The chief use of the torus and of the] 
astragal, is to strengthen the tops and bottoms 
of columns, and sometimes of pedestals, 
where they are frequently cut in the form of 
ropes. The scotia is employed only to sepa- 
rate the members of bases. The fillet is also] 
used for this purpose in all kind of profiles,] 
as well as in bases. 
An assemblage of essential parts and mould- ] 
ings is called a profile: the best are composed i 
of few mouldings, varied in form and size, I 
fitly applied ; the straight and curved ones] 
placed alternately. Every profile should 
have a predominant member, which the others j 
should seem marie to support, fortify, or 
shelter from the injuries of the weather : as in 1 
