elegant zotheca (closet or small room) re- 
cedes, to which a cubiculum is either added 
or separated, by means of glazed windows 
and curtains. Adjoining is a cubicolum for 
night and sleep, protected from noise by an 
andron, an open court or space, which is be- 
tween the wall of the cubiculum, and that of 
the garden. 
“ Close to the cubiculum is a small hvpo- 
caustum (stove), the heat from which, by a 
small window, may be regulated at pleasure. 
Thence a procceton and cubiculum extend 
into the sun.” These latter .apartments were 
the retiring places of the philosophic owner 
of the villa, where he pursued his studies 
without interrupting the diversions of his ser- 
vants, or being disturbed by them. There 
are no remains of this villa nor of others, the 
descriptions of which have come down to us. 
REFERENCES TO THE PLATES. 
Plate I. Architecture, — represents the Tus- 
can and Doric orders, the latter with the 
triglyphs and guttas on the frize and arch- 
itrave, and an outline expressing the names 
of the parts of the orders. 
Plate II. represents the antient Ionic order, 
with parallel volutes. The disposition of 
the volutes of the modern Tonic is seen in 
those of the composite order. 
The Corinthian order. 
The composite order. 
The proportions of these columns are 
treated of, under the proper heads, in the 
preceding pages. 
Of the architecture commonly called, Gothic. 
It is not necessary to seek abroad for the 
origin of the pointed arch, the gradations of 
winch we can distinctly trace at home in the 
twelfth century, that age of improvement and 
magnificence, and among a people great in 
arts and arms. About that time many illus- 
trious Norman prelates, chietiy in our own 
country, exhausted their talents and their 
wealth in carrying tire magnificence of their 
churches, and other buildings, to the highest 
degree. But above all, our Henry of Win- 
chester probably contributed most to the im- 
provements which gradually changed the 
early Norman into the architecture com- 
monly distinguished by the name of Gothic. 
The Normans admired height no less 
than length in the construction of their 
churches, and were accustomed to pile arches 
and pillars on each other. By way of orna- 
ment and variety they often imitated these 
arches and pillars on their walls, and they 
sometimes caused these plain round arches 
to intersect each other, as on the upper part 
of thesouth transept of Winchester cathedral, 
which is probably the naost antient instance 
of this intersecting ornament to be met with 
in this kingdom. They were probably not 
then aware of the happy effect of this inter- 
section in forming the pointed or lancet arch, 
until de Blois, having resolved to ornament 
the whole sanctuary of this cathedral with 
these intersecting semicircles, after richly 
embellishing them with mouldings and pellet 
ornaments, conceived the idea of opening 
them as windows, to the number of four above 
the altar, and of eight on each side of the 
choir, which at once produced a series of 
highly-pointed arches. Pleased with this 
first essay at the east end, we may suppose he 
tried the effect of tiiat form in various other ! 
ARCHITECTURE. 
windows and arches, which we find amongst 
many that are circular in various parts of the 
church or tower. However that may be, 
'and wherever the pointed arch was ’first 
produced, its gradual ascent naturally led to 
a long and narrow form of window and arch, 
instead ot the broad circular ones which had 
hitherto obtained. It was necessary that 
the pillars belonging to them should be pro- 
portionally tall and slender. Hence the 
adoption of Purbeck marble for this pur- 
pose, and the multiplication of these slender 
columns, which was found necessary for sup- 
porting the incumbent weight, produced the 
cluster column. The windows being made 
very narrow at the first adoption of the 
pointed arch.it became necessary sometimes 
to place two of them close to each other. 
I Ins disposition of the two lights occasioning 
a dead space between their heads, a trefoil, 
or quatrefoil, one of the simplest and most 
antient kinds of ornaments, was introduced 
between them, as in the west door of the 
present church of St. Cross, near Winchester. 
The happy effect of this simple ornament 
caused the upper part of it to be introduced 
into the heads of the arches themselves, so 
that there is hardly a small arch, or resem- 
blance ot an arch of any kind, from the days 
of Edward the Second, down to those of 
Henry the Eighth, which is not ornamented 
in this manner. The trefoil by an easy ad- 
dition became a cinquefoil, and being made 
use of in circles and squares, produced fans 
and Catherine-wheels. In. like manner, large 
east and west windows beginning to obtain, 
about the reign of Edward the First, it was 
necessary they should have numerous divi- 
sions, or mullionsf, which, as well as the ribs 
and transoms of the vaulting, began to ramify 
into a great variety of tracery, according to 
the architect’s taste; all of them uniformly 
ornamented with the trefoil or cinquefoil 
head, That most magnificent object, a 
grove of tall trees^ was very j naturally and 
beautifully imitated in the aisles of the 
cathedrals of this light architecture : the 
ribs ot the vaulting, springing from the tops 
of the tall pillars, and meeting in the pointed 
arch in the roof, produced a happy effect; 
and pursuing this idea, the lightness of all 
the parts, and the rich variety of tracery, 
contributed to make the resemblance more 
perfect. The painted windows, the gloom 
and perspective of these edifices, concur in 
affecting the imagination with pleasure and 
delight, in filling it with awe and devotion. 
The aspiring form of the pointed arches, the 
lofty pediments, and the tapering pinnacles, 
which adorn our cathedrals, contribute to 
produce an effect of height beyond their real 
elevation. In like maimer the perspective 
of uniform columns, ribs, and arches, re- 
peated at equal distances, as they are seen in 
the aisles of tliese fabrics, produces an artifi- 
cial infinite in the mind of the spectator, 
when the same extent of plaid surface would 
perhaps hardly affect it. 
For a similar reason, the effect of antient 
cathedrals is greatly helped by the variety of. 
their constituent parts and ornaments, though 
all finished in one uniform style : for the eye 
is quickly satiated by any object, however 
great and magnificent, which it can take in 
at once, as the mind is with what it can com- 
pletely comprehend ; but when the former, 
; having wandered through the intricate and 
1 S 2 
I3J 
interminable length of a pointed vault in an 
antient cathedral, discovers two parallel lines 
of equal length and richness ; thence pro- 
ceeding discovers the transepts, the side cha- 
pels, the choir, the sanctuary, and the Lady 
chapel, all equally interesting for their design 
and execution : the eye is certainly much 
more entertained, the mind more dilated and 
gratified, than it could possibly be by any 
single view. 
Durham cathedral, supported by massive 
columns and circular arches, is the grandest 
specimen of the Saxon or early Norman 
manner, before the invention of the pointed 
arch introduced that exquisite lightness to be 
seen in the west end of the cathedral church 
of W estminster. The sumptuous vaulting of 
the chapel of Henry the Seventh at the east 
end of the latter cathedral, enriched with 
clusters of pendant ornaments, like the na- 
tural roof of a beautiful grotto, exceeds any 
other specimen of the kind. t 
The pointed arch, which may be described 
from two centres, taken at two angles of 
an equilateral triangle, was well adapted for 
the raising up of spires to a great height, and 
generally for lofty buildings, as it required 
little centring, lighter key-stones, and less 
buttament. indeed, in many instances, no 
stones larger than a man could carry were 
used ; and the same elevation was attained 
with much less labour and expence than it 
could have been in the Grecian and Roman 
manner. 
Of domes or cupolas. 
The towers which the early architects of 
Christian churches were in the habit of rais- 
ing over the intersection of the cross aisles of 
cathedrals, no doubt, suggested the sublime 
idea of raising a vault or dome in the same 
place, on churches built after the Grecian or 
Roman manner, in order to preserve an uni- 
form character or style in the building. This 
is an effort of architectural skill which we 
have no reason to believe the antients ever 
attempted ; for all the domes raised by them 
were directly sustained by numerous arches 
and pillars, or placed on circular walls. Of 
domes raised in the modern manner, those of 
St. Peter’s at Rome, and St. Paul’s London, 
are the most celebrated. 
Of modern or practical architecture. 
In considering architecture or building in 
its most practical and useful point of view, 
the situation of the edifice presents itself 
first to our attention. A neighbourhood 
where cattle thrive, and where the inhabit- 
ants look rtuldy and cheerful, should be 
chosen. For the precise spot, that which is 
moderately elevated, if it be contiguous to 
some river, will be best adapted for health, 
pleasure, and convenience. It is injudicious 
to build a country-house too near a fen or 
standing water, or close to a great stream, 
because unwholesome fogs and mists rise 
from large rivers, early in a morning, before 
day-light. It is most. important to choose a 
good air and soil ; and always useful to look 
towards the south. The conveniences of 
W'ater, fuel, and w r ays to arrive at the man- 
sion, of easy access, are indispensable. A 
prospect not too extensive, of land and water 
diversified, will most agreeably entertain the 
sight. A fair entrance, with an easy ascent, 
gives grace to a building ; and the hall should 
