THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES AN ATTEMPT TO DISCRIMINATE STYLES OF ARCHITECTURE IN ENGLAND, FEOM THE CONQUEST TO THE EEEOEMATION : WITH A SKETCH OF THE (Brccian anb IRonian ®r^cr0♦ BY THE LATE THOMAS RICKMAN, F.S.A. SEVENTH EDITION, "mitb consiOerable XlDDltions, cblefls Ibistorical, By JOHN HENEY PAEKER, E.S.A. PARKER AND CO. OXFORD, AND 6 SOUTHAMPTON-STREET, STRAND, LONDON. M DCCC LXXXI. Art JUbrary m %3 t?. ADVERTISEMENT TO THE SEVENTH EDITION. A NEW Edition being called for, Rickman's work has again been thoroughly revised; still, however, retaining uhat he himself wrote entire, and the additional matter shewn by a varied type, or by being placed between brackets. The sheets of this new Edition have had the benefit of supervision by the late Sir George Gilbert Scott. Partly in consequence of the extension of the work, and for other reasons, the short Appendix originally written by Mr. Rickman as a paper in the Arc/ueologia, but added to some of the earlier editions, has been omitted. In the last edition of Rickman this had been transposed from its original place, and after being considerably extended, was made to serve as an Introduction to the medieval styles. Although the additions brought to bear upon the subject, included the material which wider research and a closer attention to his- torical data had provided from Hickman's days up to that time, the further researches since then, and the grouping of examples which the activity of local Architectural Societies has rendered possible, would, if fairly treated, have involved so large an extension, that it would have unduly increased the bulk of the volume. It was therefore thought, in the end, expedient to transfer this matter to another work. It was hoped that this second work might have been pre- pared so as to be issued simultaneously with the Hickman volume, and the latter was accordingly kept back for the purpose; but the publishers, finding on the one hand that Hickman's volume is much wanted, and on the other that the difficulties of preparing the supplementary volume have a2 .5 CSC £9 iv ADVERTISEMENT TO THE SEVENTH EDITION. been greater than expected, have determined to issue Rick- man's volume alone, without waiting for the new edition of the Appendix. In this Appendix, it is proposed to treat the style to which Rickman, for want of a better name, affixed that of the 'Anglo-Saxon,' as a whole. First, in connection with the history of this country from the Roman times to the accession of Henry I. ; and, secondlj'', in connection with the general history of the growth of the Romanesque style, for which examples must be sought on the Continent. This scarcely comes within the range of Rickman's plan, and therefore it is no detriment to his work that it should be treated separately. The foreign examples of the medieval period introduced by the Editor, have also been omitted from the seventh edi- tion ; because, if inserted at all, they would require to have considerable additions made to them, and then would be sufficient to make a separate work. The task, however, of comparing the French and other foreign architectural ex- amples with those to which we can assign the dates in this country, is one which the present Editor feels that he cannot look forward to accomplishing in a manner in which he would ■wish the work to be done. The eminent French Antiquaries, M. De Cauraont and M. Viollet-le-Duc, always recognised that the system generally which Rickman applied to the English styles, was applicable to French Gothic ; but while this is the case, it is obvious there are many questions of detail requiring very close atten- tion and minute investigation, before it is possible to arrive at correct conclusions as to the relative progress of the styles in the two countries. This work the Editor is afraid he must leave to others younger than himself to take in hand. The Tuel, Oxford, Jan. 1881. ADVERTISEMENT TO THE SIXTH EDITION. TN the present edition the text of Mr. Rickman is preserved entire, all additional matter being inserted between brackets, or else distinguished by smaller type ; the former where the actual text required amplifying in consequence of the progress of the study since Mr. Rickman's time, the latter where histo- rical examples are introduced to illustrate and explain the text. A beginner therefore wishing only to study the grammar of the subject, may pass over the more close printing until he has made some progress and wishes to investigate the history. The additions now comprise a chronological series of English examples of each style, with a selection of foreign examples of the same period for comparison. A considerable part of this chronological table of medieval architecture appeared in the *' Companion to the Glossary" in 1841 and 1846, but has been out of print for many years, because the compiler was not satisfied with it : he has now added largely to it from the results of subsequent investigations, and although quite con- scious that it is still very incomplete, he trusts that it will be found useful ; and if he had deferred it much longer, his life might perhaps not be spared to publish it at all, and no one else could have made much use of his notes. Mr. Rickman was so accurate and careful an observer, and was so ably assisted by Mr. W. Twopeny and others, and their combined observations extended over so wide a field, that this work can never in fact be superseded by any other. All subse- quent writers on the subject have been largely indebted, to it, and many of their attempts are mere plagiaries from it, with or without acknowledgment. His divisions of the styles and Yl ADVERTISEMENT TO THE SIXTH EDITION. his definitions and descriptions of their characteristic feature s are so true, that those who have differed from him have only departed from the facts. Others have quarrelled with his no- menclature, and have endeavoured to change it, while retain- ing his divisions and descriptions; but the great merit of Mr. Rickman's nomenclature is its simplicity, and that it in- volves no theory, consequently does not mislead the beginner, which all others do. No one can deny that each country has an Early Gothic style of its own, distinct from that of any other country : in England this is the Early English style. The term Decorated has been much cavilled at, but it is extremely clear and con- venient : window tracery, which is the characteristic feature of this style, is obviously a great decoration, and forms an essential part of the structure, which cannot be removed without leaving a blank ; this is not usually the case with other ornamentation, and therefore this decoration is an excellent characteristic of the style. There is less variation in this style in different countries , and Dr. Whewell has called it the perfect Gothic, assuming it to be the same in all countries, which perhaps to a certain extent it is, but still there are decided national and provincial characteristics in this style as in all others, though they are less marked. The name of the Perpendicular style is so called from the vertical lines of the tracery and the panelling, which form the distinguishing features of this style ; and this name is so obviously true that no one ever forgets it, which is a great advantage. An attempt was made some years since to introduce the terms First Pointed, Middle Pointed, and Third Pointed, for Mr. Rickman's three styles of Gothic, and from the in- fluential persons who took it up this change was partially and temporarily introduced, but has almost died out again, as it was found to mislead people rather than guide or assist ADVERTISEMENT TO THE SIXTH EDITION. vil them to a knowledge of the subject. No one can say what was the First Pointed style, but the Early English Q-othic certainly was not ; and as no one can say which will be the last Pointed style, it is equally impossible to say which is the Middle. The greatest objection to this proposed nomenclature is, however, the manner in which it misleads beginners in the study. Every round-headed doorway is set down for Roman- esque or Norman, and every square-headed window for "Third Pointed," or Perpendicular, or Debased ; and this is quite natural for those who are taught to consider the form of the arch as a guide to the age of a building. It is no guide what- ever, the form of the arch was at all times dictated by conve- nience quite as much as by fashion: round-headed doorways and square-headed windows are of all periods, and may be found in all the styles, common in some districts, rare in others; this is more especially the case in houses and castles, but it is very frequent in church towers also, and not uncommon in other parts of churches where convenience obviously required it. A remarkable instance of this inattention to the form of the arch may be mentioned ; the castle of the celebrated captain of the English army under Edward III., John Chandos, in the Cotentin in Normandy, of which the walls are nearly perfect, has scarcely a pointed arch throughout the whole structure. But it is not necessary to go abroad for examples, almost every medieval house or castle in England shews the same thing, though not to the same extent. The term Gothic has so long been established, and is so thoroughly well understood throughout Europe, that it is in vain to attempt to change it; and whatever its origin may have been, it is a very convenient term, which now misleads no one but those who are grossly and wilfully ignorant. Mr. Hickman's concise and clear description of Grecian and Roman architecture has been retained in the present edition, viii ADVERTISEMENT TO THE SIXTH EDITION. and carefully revised by Professor Donaldson, to whom the Editor begs thus publicly to express his cordial thanks; he has greatly increased the value of this useful summary of a subject which is in danger of being forgotten altogether, but of which some knowledge is essential for the proper understanding of the Medieval styles, which were gradually developed from the Roman. The chapter on Anglo-Saxon architecture, which was thrown into an Appendix in the previous editions, has now been intro- duced in its proper place, between the Homan and the Norman styles, with large additions. Mr. Rickman's "Tour in Nor- mandy and Picardy in 1832," first published in the twenty- fifth volume of the Archceologia, and appended to some editions of this work, has now been omitted as not necessary, the sub- stance of his observations and large extracts being given in the list of Foreign Examples. The Tukl, Oxfoeb, July 1, 1862. ADVERTISEMENT TO THE FIFTH EDITION. T'HE practical value of this work has now been so long ■^ established, and is so well known, that it is only neces- sary to mention the alterations which have been made in the present edition. The text of Mr. Rickman's last edition has been scrupulously preserved, the additional matter being inserted between brackets or as foot notes. Several years having elapsed since the last edition was published, and those years having been remarkable for a very great and rapid extension of the study of Gothic Architecture, it might be expected that great changes would have been required in this work, which was the first systematic treatise on the subject in any language, and formed the original basis and ground of the study. But notwithstanding the numer- ous works which have appeared within the last five or six years, it is surprising to observe how very little real information has been added to that which Mr. Rickman collected and digested. The general accuracy of his observations, and the acuteness with which he made use of the facts he had collected, are really quite wonderful, considering that he was the first to examine the ground, and may be said to have invented a new science. It would have been easy to have enlarged every chapter of his work, but this would have added more to the bulk than to the value, the real difiiculty was to compress and digest the multitude of instances, to take a general and comprehensive view, without being deterred by a few exceptions. The Editor of the present edition felt that what the work really required to make it more intelligible to the public, was a better set of engravings of the objects described ; an accurate drawing of the object is worth more than a whole chapter of description. He has accordingly turned his attention chiefly to this point. In the present edition the illustrations are entirely taken from old examples, while in the previous editions they were chiefly from Mr. Hickman's own designs. By far the X ADVERTISEMENT TO THE FIFTH EDITION. greater part are from original drawings made expressly for the work by Mr. Mackenzie and Mr. Orlando Jewitt, whose ac- curacy cannot be too highly praised. A portion of them have been borrowed from other works when any could be found, that exactly suited the purpose. To have attempted to give the whole from original sources, where so large a number was required, would have greatly increased the price of the book, without any equivalent advantage. The Appendix to the former editions contained short notes of a number of churches in different counties ; this part of the work was found to require a thorough revision, in some cases from imperfect information originally, in others from subse- quent changes. The manuscript notes of Mr. Rickman himself and those of many others who have kindly assisted in the work, are in the hands of the Editor and preparing for publication. They are altogether so numerous and important that he has considered it best to make them into a separate work on " The Ecclesiastical and Architectural Topography of England," which he purposes to publish in separate counties, of which Bedford- shire is ready for the press, and many others are in a state of forwardness ". The plan which he has adopted is that of arrang- ing the churches in Deaneries, by which those in each neigh- bourhood can be most conveniently classed together. Some notice will be given of every church, distinguishing those most worthy of attention; the remains of the Monasteries, Castles, and Houses of the Middle Ages will, as far as possible, be no- ticed under the head of the parishes in which they are situated, or to which they are proximate. Such a work must obviously be one of great labour and difficulty, and requiring the assist- ance of many hands, he will therefore be obliged by receiving communications from any parties who have been in the habit of taking architectural notes. The Turl, Oxford, March 18, 1848. • Of this work seven counties were prising the following counties, — Ox- published, completing the dioceses of ford, Berks., and Bucks. ; Cambridge, Oxford and Ely, for the use of students Beds. , Huntingdon, and Suffolk, at the two great Universities, and com- PREFACE TO THE FIRST EDITIOj^. A N outline of the present essay was written by the Author for Smith's "Panorama of Science and Art/' and published in that work many years ago, but having been frequently requested to enlarge and republish it, he has performed that task, and has subjoined a copious list of buildings for the student's instruction. The object of the present publication has been to furnish, at a price which shall not present an obstacle to extensive circulation, such a view of the principles of architecture, more particularly that of the British Isles, as may not only be placed with advantage in the hands of the rising generation, but also afford the guardians of ecclesiastical edifices such clear discriminative remarks on the buildings now existing, as may enable them to judge with considerable accuracy of the restorations necessary to be made in those venerable edifices that are under their peculiar care ; and also, by leading them to the study of such as still remain in a perfect state, to render them more capable of deciding on the various designs for churches in imitation of the English styles which may be presented to their choice. As a text-book for the architectural student little need be said of this publication. The want of such a work, particu- larly as it respects the English styles, is generally acknow- ledged ; and it has been the aim of the Author, by a constant reference to buildings, to instil the principles of practice rather than mere theoretical knowledge. This essay is by no means intended to supersede that more xii PREFACE TO THE FIRST EDITION. detailed view of English architecture which the subject merits and requires : an undertaking of this nature must necessarily be expensive, from the requisite number of plates, without which it is impossible to give a full view of this interesting subject ; but if his life be preserved, and time and opportunity be afforded him, the author may perhaps again intrude himself on the public, with a more comprehensive view of Gothic architecture in Europe. If he be not so permitted, it is a satis- faction to him to know that he will now leave behind those fully capable of investigating a subject which will richly re- ward the philosophic investigator. CONTENTS. INTRODUCTORY REMARKS GRECIAN ARCHITECTURE TUSCAN ORDER DORIC IONIC CORINTHIAN COMPOSITE . ENGLISH ARCHITECTURE THE FIE ST, OR NORMAN STYLE [examples OF THE TIME OF EDWARD THE CONFESSOR, A.D. 1065 ,, ,, ,, WILLIAM I., A.D. 1066 1087 „ ,, ,, WILLIAM II., A.D, 1087 1100 „ „ ,, HENRY I., A.D. 1100 1135 ,, ,, ,, STEPHEN, A.D. 1135 1154 TRANSITION FROM NORMAN TO EARLY ENGLISH, A.D. 1154 1190 EXAMPLES OF THE TIME OF HENRY II., A.D. 1154 1189] THE SECOND, OR EARLY ENGLISH STYLE [transition prom early ENGLISH TO DECORATED . EXAMPLES OF THE TIME OF RICHARD I., A.D. 1189 1199 „ ,, „ JOHN, A.D. 1199 1216 ,, ,, ,, HENRY III., A.D. 1216 1272] THE THIRD, OR DECORATED STYLE [transition from decorated TO PERPENDICULAR, A.D. 1377 —1400 ..... EXAMPLES OF THE TIME OF EDWARD I., A.D. 1272 1307 ,, „ „ EDWARD II., A.D. 1307 — 1326 ,, „ ,, EDWARD in., A.D. 1327 — 1377] PAOB 1 6 13 16 22 27 31 35 46 79 82 85 89 97 100 103 112 156 158 161 164 176 227 230 236 239 XIV CONTENTS. THE FOURTH, OE PEEPENDICULAR STYLE [EXA:yiPLES OF THE TIME OF EICHAED II., A.D. 1377 — 1399 UNDER THE HOUSE OF LANCASTEE, A.D. 1399 — 1460 UNDER THE HOUSE OF YOKE, A.D. 1461 1483 UNDER THE TUDORS, 1485 1547] COUNTY INDEX .... GLOSSARIAL INDEX TOPOGRAPHICAL INDEX PAGE 250 289 295 307 311 319 325 331 LIST OY PLATES. Plan of Wells Cathedral .... To face 37 "Waltham Abbey Church . . . . ,,50 {Norma7i Arches.) North Porch of Southwell Minster . . . „ 72 {Norman Porch.) East Front of St. Cross Church, Hampshire . . ,,74 {Norman Front.) West Entrance of Xetton Church, Rutlandshire . ,, 100 {Tra7isition.) Canterbury Cathedral, Crypts . , . . ,,106 Plan of Crypts . . . ,,107 {Norman and Transition.) Durham Cathedral, Ground-plan . . . ,,110 West Window of Raunds Church, Northamptonshire . ,, 118 {Early English.) Polebrook Church, Northamptonshire . . . ,,142 (Early English Steeple. ) St. Mary's Church, Stamford . . . . ,,143 {Early English Toiuer, with Decorated Spire.) North Transept, Beverley Minster . . . ,,147 {Early English Front.) Western Doorway, Higham Ferrers, Northamptonshire . ,, 150 {Early English Porch.) Staircase in Beverley Minster . . . . ,,151 {Early English Staircase.) Salisbury Cathedral, Elevation of Two Bays . . ,, 153 {Early English, a.d. 1220.) Queen Eleanor's Cross, Northampton . . . ,,154 {Early Decorated Niches, d-c.) St. Mary's, Beverley, Arch and Screen, North Side of Choir ,, 194 {Decorated.) Fined on Church, Northamptonshire . . . ,,214 {Decorated English Steeple.) XVI LIST OF PLATES. Bloxham Church, Oxfordshire .... To face 215 (Decorated English Steeple.) Howden Church, Yorkshire . . . . ,, 220 (Decorated English Front.) Houghton-le-Dale Church, Norfolk . . . „ 22J (Decorated English Front.) South Porch of St. Mary's Church, Bererley . . „ 224 (Decorated English Porch.) Hull Church, Yorkshire, Interior of Choir . . ,, 226 (Decorated English Style.) Thornton Abbey, Lincolnshire, East Side of Gatehouse ,, 229 (Transition from Decorated to Perpendicular.) Merton College Chapel, Oxford, North Side of Choir . ,, 231 (Early Decorated, a.d. 1274—1277.) Exeter Cathedral, Elevation of Two Bays of Nave . ,. 240 (Decorated, a.d. 1331— 1350.) Ruined Chapel on the North Side of the Church of St. Lawrence, Evesham . . . . ,,258 (Perpendicular Panelled Arch.) Bocher's Arch, Bushden Church, Northamptonshire . ,, 266 (Perpendicular Arch and Screens.) Kingsthorpe Church, Northamptonshire . . ,,272 (Perpendicular English Steeple.) Perpendicular Roof of Wymondham Church, Norfolk . Roof of St. Peter's Mancroft, Norwich ■ Gallery and Font in Worstead Church, Norfolk ..... Entrance to the Chapter-house, Howden, Yorkshire (Early Perpendicular, a.d. 1380—1407.) Thornton Abbey, Lincolnshire, West Side of Gatehouse (Transition from Decorated to Perpendicular , a.d. 1382 — 1386 The Divinity School, Oxford .... (Perpendicular, rich Fan-Tracery Vaulting, a.d. 1445—1454.) 277 280 284 290 292 304 Kutr0iJiut0r2 Unnatks. THE science of Architecture may be considered, in its most extended application, to comprehend building of every kind : but at present we must consider it in one much more restricted ; according to which, Architecture may be said to treat of the planning and erection of edifices, which are com- posed and embellished after two principal modes, 1st, the Antique, or Grecian and Roman, [or Classic] ; / 2nd, the English or Gothic, [or Medioeval]. We shall treat of these modes in distinct dissertations, be- cause their principles are completely distinct, and indeed mostly form direct conti'usts. But before we proceed to treat of them, it will be proper to make a few remarks on the distinction between mere house-building, and that high character of com- position in the Grecian and Roman orders which is properly styled Architecture ; for though we have now many nobly architectural houses, we are much in danger of having our public edifices debased^ by a consideration of what is con- venient as a house, rather than what is correct as an archi- tectural design. In order properly to examine this subject, we must consider a little, what are the buildings regarded as our models for working the orders, and in what climate, for what purposes, and under what circumstances they were erected. This may, perhaps, lead to some conclusions, which may serve to distin- guish that description of work which, however rich or costly, is still mere house-building, in point of its composition. It is acknowledged on all hands that our best models, in the three ancient unmixed orders, the Doric, Ionic, and Corin- thian, are the remains of Grecian temples. Most of them were erected in a climate in which a covering from rain was by no means necessary, and we shall find this circumstance very influential ; for as the space within the walls was always par- tially, and often wholly open, apertures in those walls for light were not required ; and we find also, in Grecian struc- tures, very few, sometimes only one door. The purpose for which these buildings were erected was the occasional reception of a large body of people, and not the settled residence of any. But, perhaps, the circumstances under which they were erected have had more influence on the rules which have been handed 2 INTRODUCIORY REMARKS. down to US as necessary to be observed in composing architec- tural designs, than either the climate or their use. It is now- pretty generally agreed, that the Greeks did not use the arch, at least in the exterior of their public buildings, till it was introduced by the Romans. Here then we see at once a limit- ation of the intercolumniation, •which must be restrained by the necessity of finding stones of sufficient length to form the architrave. Hence the smaller comparative intercolumniations of the Grecian buildings, and the constant use of columns ; and hence the propriety of avoiding arches in compositions of the purer Grecian orders. The Romans introduced the arch very extensively into build- ings of almost every description, and made several alterations in the mode of working the orders they found in Greece, to ■which they added one order by mixing the Corinthian and Ionic, and another by stripping the Doric of its ornaments. Their climate, also, was so far different as to require more gen- eral roofing ; but still, from the greater necessity of providing a screen from the heat of the sun than apertures to admit the light, it does not appear that large windows were in general use, and hence an important difference in modern work. Al- though, by roofs and arches, much more approximated to modern necessities than the Grecian models, still those of Rome, which can be regarded as models of composition, are temples or other public edifices, and not domestic buildings; which, whenever they have been found, appear unadapted to modern wants, and therefore unfit for imitation. In a few words we may sum up the grand distinctions between mere building and architectural design : the former looks for convenience, and though it will doubtless often use architectural ornaments, and preserve their proportions, when used as smaller parts, yet the general proportion may vary very widely from the orders, and yet be pleasing, and perhaps not incorrect. But all this is modern building, and not architecture in its restricted sense : in this the columns are essential parts, and to them and their proportions all other arrangements must be made subservient. And here we may seek for models with care and minuteness amongst the many remains yet left in various parts, (and of which the best are familiar to most architectural students, from valuable delineations by those who have accurately examined them) ; and in selecting and adopting these, the taste and abilities of the architect have ample scope. As an introduction to the dissertations, it may not be amiss to take a hasty sketch of the progress of Architecture in England. Of the British architecture, before the arrival of the Romans INTRODUCTORY REMARKS. 3 in the island, we have no clear account ; but it is not likely- it diflPered much from the ordinary modes of uncivilized na- tions. The hut of wood with a variety of coverings, and some- times the cavities of the rock, were doubtless the domestic ha- bitations of the aboriginal Britons ; and their stupendous public edifices, such as Stonehenge and others, still remain to us. The arrival of the Romans was a new era. They introduced, at least in some degree, their own architecture, of which a va- riety of specimens have been found ; some few still remain, of which, perhaps, the gate of Lincoln is the only one re- taining its original use. Although some fine specimens of workmanship have been dug up in parts, yet by far the greatest part of the Roman work was rude, and by no means comparable with the antiquities of Greece and Italy, though executed by the Romans. The age of purity in the Roman architecture reaches down to several of the first emperors; but very early, with a degree of purity of composition, there was such a profusion of ornament made use of, as soon led the way to something like debasement of comjDosition. The palace of Dioclesian, at Spalatro, has descended to us suffi- ciently perfect to enable us to judge of the style of both com- position and ornamental details ; and the date of this may be considered from a.d. 290 to 300 ; and Constantino, who died in A.D. 337, erected the church of St. Paul, without the walls of Rome% which in fact, in its composition, resembles a Norman building. And it is curious to observe that the ornament afterwards used so profusely in Norman work is used in the buildings of Dioclesian, whose Corinthian modillions are capped with a moulding cut in zigzag, and which only wants the en- largement of the moulding to become a real Norman ornament. When the Romans left the island, it was most likely that the attempts of the Britons were still more rude; and en- deavouring to imitate, but not executing on principle, the Roman work, their architecture became debased into the Saxon, and early Norman, intermixed with ornaments perhaps brought in by the Danes **. After the Conquest, the rich Norman barons erecting very m.agnificent castles and churches, the execution manifestly improved, though still with much similarity to the Roman " The late Mr. Gaily Knight gives, and finished by his sons Ai'cadius and in his work on The Ecclesiastical Honorius. " The rescript, addressed Architecture of Italy, a view of the to the Praefect of Eome in the year interior of this building as it existed 386, which conveys the imperial corn- previous to the fire in 1822. In the mands on this subject, has been pre- present building there is no resem- served by Baronius," [vol. v. p. 607] . blance to the Norman Style, it is a '• [Mr. Eickman gives no example fine Classical temple. He says it was of this, and no evidence has been begun by the Emperor Theodosius, adduced by others for the statement.] b2 4 INTRODUCTORY REMARKS. mode debased ; but the introduction of shafts, instead of the massive pier, first began to approach that lighter mode of building which, by the introduction of the pointed arch, and by an increased delicacy of execution and boldness of com- position, ripened at the close of the twelfth^entury, into the simple yet beautiful Early English style. " At tlie close of another century this style, from the alteration of its windows by throwing them into large ones divided by muUions, introducing tracery in the heads of windows, and the general use of flowered ornaments, together with an im- portant alteration in the piers, became the Decorated English style, which may be considered as the perfection of the English mode. This was very difiicult to execute, from its requiring flowing lines where straight ones were more easily combined ; and at the close of the fourteenth century we find these flow- ing lines giving way to perpendicular and horizontal ones, the use of which continued to increase, till the arches were almost lost in a continued series of panels, which at length in one building — the chapel of Henry VII. — covered com- pletely both the outside and inside ; and the eye, fatigued by the constant repetition of small parts, sought in vain for the bold grandeur of design which had been so nobly conspicuous in the preceding style. The Eeformation, occasioning the destruction of many of the most celebrated buildings and the mutilation of others, or the abstraction of funds necessary for their repair, seems to have put an end to the working of the English styles on principle. The square panelled and mullioned windows, with the wooden panelled roofs and halls, of the great houses of the time of Queen Elizabeth, seem rather a debased English than anything else ; but during the reign of her successor, the Italian architecture [then prevalent on the Continent] began to be introduced, first only in columns of doors and other small parts, and afterwards in larger portions, though still the gen- eral style was this debased English ^ Of this introduction, the most memorable is the celebrated tower of the Schools at Oxford, where, into a building adorned with pinnacles and having mullioned windows, the architect has crowded all the five orders over each other. Some of the works of Inigo Jones are little removed beyond this barbarism. Longleat, in Wilt- shire, is rather more advanced, and the banqueting-house, AVhitehall, seems to mark the complete introduction of Eoman [or Italian] workmanship. The close of the seventeenth century ' [Italian featm-es certainly began Hem-y VIII., and more frequently in to be introduced before the reign of buildings erected during the reigns James I. They ai-e occasionaUy to of Edward VI. and Elizabeth.] be met with in work of the time of INTRODUCTORY REMARKS. O produced Sir Cliristoplier Wren, a man whose powers, con- fessedly great, lead us to regret that he had not studied the architectui'e of his English ancestors with the success he did that of Rome; for while he has raised the most magnificent modern building we possess, he seems to have been pleased to disfigure the English edifices he had to complete. His works at St. Mary Aldermary and St. Dunstan-in-the-East prove how well he coulA execute imitated English buildings when he chose, though even in them he has departed, in several respects, from the true English principles. By the end of the seven- teenth century the Koman architecture appears to have been well established, and the works of Vitruvius and Palladio suc- cessfully studied; but Sir John Vanbrugh and Mcholas Hawks- moor seem to have endeavoured to introduce a massiveness of style which happily is peculiar to themselves. The works of Palladio, as illustrated by some carpenters, appear to have been the model for working the orders during the greatest part, of the eighteenth century ; but in the early and middle part of it, a style of ornament borrowed from the French was much introduced in interiors, the principal distinctions of which were the absence of all straight lines, and almost of all regular lines. The examples of this are now nearly extinct, and seem to have been driven out b}^ the natural operation of the advance of good workmanship [and greater simplicity of treatment] in the lower class of buildings. All ornamental carvings were with difiiculty executed in wood, and were very expensive; but towards the latter end of the eighteenth century the Adams' introduced . a style of ornament directly contrary to the heavy carving of their pre- decessors. This was so flat as to be easily worked in plaster and other compositions, and [putty-] ornament was sold, very cheap, and proiusely used in carpenters' work. This flatness was more or less visible in many considerable buildings ; but near the close of the century the magnificent works of Stuart and Eevett, and the Ionian antiquities of the DUletanti Society, began to excite the public attention, and in a few years a great alteration was visible : the massive Doric and the beautiful plain Grecian Ionic began to be worked, and our ordinary door-cases, &c. soon began to take a better character. The use of the simple yet bold mouldings and ornaments of the Grecian models is gradually spreading, and perhaps we may hope, Irom the present general investigation of the principles of science, that this will continue without danger of future debasement, and that a day may come when we shall have Grecian, Roman and English edifices erected on the princi- ples of each. GEECIAN AKCHITECTUEE. THE many valuable treatises and excellent delineations of the Grecian and Roman buildings, and the details of their parts, will render unnecessary in this dissertation that minute- ness which, from the total absence of a previous system, it will be proper to adopt in the description of the English styles. But in this sketch a similar plan will be followed, of first jjiving the name and grand distinctions of the orders ; then describing the terms and names of parts necessary for those who have not paid attention to the subject to understand ; and a concise description of each order will follow. With respect to the examples in England, it will be most proper to leave the reader to select his own ; because in this country we have not, as in the English architecture, the originals to study, but a variety of copies, adapted to the climate, and to the conveni- ence of modern times. In dividing the Grecian and Roman architecture, the word order is used, and much more properly than style ; the English styles regard not a few parts, but the composition of the whole building ^ : but a Grecian building: is denominated Doric or » [But the question natm-ally arises, What is au order? In ai-chitectiu'e the term ' order' signifies properly not merely the column and its superin- cumbent entablatui'e, but rather a re- cognised principle of decoration, a systematic arrangement, a certain characteristic proportion, which per- vade not only the column and entabla- ture, but also all the other accompani- ments in a building, and all the minute details of the several parts, as the doors, windows, &c. Now it is well known that there are three distinct general divisions, under which all objects in nature may be classed : namely, 1st, the strong and weak; 2nd, the taU and short; and 3rdly, the mean between these two : by some compared with the robust- ness of the man, the gi-ace of the virgin, and the maturer develojiment of the matron. Each of these moral modifications is reaUsed in the orders, and received its physical and tyincal realization in the three great divisions of Greek architecture, known as the _poric, Ionic, and Corinthian : where / S/-'-, , T-i-JBtrength and robustness are retained in the Doric, refined and modified in the Ionic, and attenuated to gi'eater gi-ace and elegance in the Corinthian. These distinct quaUties exist not only in the column of the order, but per- vade aU the parts of an edifice ; so that a Greek -Doric monument is known at once by its simple, massive, I ponderous proportions ; the Ionic by ■ its calm but Ughter subdivisions ; the Corinthian by the more intricate and i slender modifications of aU the parts. ' So that even without the prominent characteristic of the column with its capital and base, we may at one glance decide to which order of architectiu'e the edifice may belong. Thus the physical proportions of the building decide its moral influence on the mind, so that, if these two do not harmonize, there must be some impropriety or contradiction. Let us then bear in mind these three great physical distinctions embodied in the Doric, Ionic, and Corinthian orders : in the Doric, the idea of soUd supports, subdued ornament, and short proportions ; in its opposite, the Corin- thian, elegance of form, Ughtness of GRECIAN ARCHITECTURE. / Ionic, merely from its ornaments ; and the number of columns, windows, &c., may be the same in any order, only xaried in their proportions. The orders are generally considered to be five, and are usually enumerated as follows : — Tuscan, — Doric, — Ionic, — Corinthian, — Composite''. The Tuscan is without any ornament whatever. Their origin will be treated of hereafter. Their prominent distinctions are as follows : The Doric is distinguished by the channels and projecting intervals in the frieze, called triglyphs, [and the Greek-Doric column is usually without a base] . The Ionic by the ornaments of its capital, which are spiral, and are called volutes. The Corinthian by the superior height of its capital, and by its being ornamented with leaves, which support very small volutes [at the angles and in the centre, the latter being named caulicoli'\. The Composite has also a tall capital with leaves, but is dis- tinguished from the Corinthian by having the large [angular] volutes and enriched ovolo of the Ionic capital. In a complete order there are three grand divisions, which are occasionally executed separately, viz. 1. The column, including its base and capital; 2. The pedestal'^, which supports the column ; 3. The entablature, or part above and ^ ^ "; — :i:^ii J , - , , ' '■ Surbase. ^ ' supported by the column. These are again subdivided into three parts : — The pedestal into 1. base, or lower mouldings ; 2. dado or die, the plain central space ; 3. surbase, or upper mouldings. £„se. \ 1 The column into base, or lower mould- ings ; shaft, or central space ; and capital, or upper mouldings. The entablature, into architrave, or part immediately above the column ; frieze, or central flat space ; and cornice, or upper projecting mouldings. These parts may be again divided thus : the lower por- tions, viz. the base of the pedestal, base of the column, and the propoiiions, richness of decoration ; ciation of the orders, divided them into in the Ionic, the mean between these five, as did also the Itahan masters.] two extremes, moderate strength, sub- '' [The first and the last of these dued embelhshment, proportions inter- being unknown in Greek art.] mediate between the stiu'diness of the "= [A pedestal can scarcely be con- Doric and the lofty grace of the Corin- sidered necessary for the completeness thian. The Eomaus, however, who were of an order. It is not found in the less exact in their metaphysical appre- majority of ancient examples.] 8 GRECIAN ARCHITECTURE. architrave, diyide each into two parts ; the first and second into plinth and mouldings, the third into face or faces, and upper mouldings or ta3nia '^. Each centred portion, as dado of the pedestal, shaft of the column, and frieze, is undivided. Each ti'jypcr portion, as surbase of the pedestal, capital of the column, cornice of the entablature, divides into three parts : the first into hed-mould, or the part under the corona; corona, or plain face ; and ci/matium, or upper moulding. The capital into necl;, or part below the ovolo ; omlo, or pro- jecting round moulding ; and abacus or tile, the flat upper moulding, mostly nearly square. These divisions of the capital, however, are less distinct than those of the other parts ^. The cornice into bed-mould, or part below the corona ; corona, or flat pro- jecting face ; cymatiuni, or moulding above the corona. Besides these general divisions, it ^'■^''*^''^'- s will be proper to notice a few terms often made use of. The ornamental moulding running round an arch [is called an archivolt (b.)], or round doors and windows, is called an architrave. A horizontal moulding for an arch to spring from is called an impost, (a.) The [central] stone at the top of an arch, which often projects, is called a hoj-stone. The small brackets under the corona in the cornice are called mu- tules or modillions. If they are square, or lon- ger in front than in depth, they are called mutules, and are used in the Doric order; if they are less in front than their depth, they are called modillions. Impost. ArcMvolt and Impost. Mutule. Modillion. Truss. " [The term taenia is usuaUy con- fined to the Doric order.] ^ [In the Corinthian order, and in many examples of the Ionic, these diTisions do not exist. In the Com- posite order the part below the ovolo IS called the vase, bell, or body of the capital. In fact, the vase is 'the cap proper, round which the canlicoli and leayes are grouped merely as a deco- ration. In the vase-shaped Egyptian capitals this is very evident.] GRECIAN ARCHITECTURE. 9 r m and in the Corinthian order have carved leaves spread under them. A truss is a modillion enlarged, and placed flat^ against a wall, often used to support the cornice of doors and windows. A console is an ornament like a truss carved on a key-stone. Trusses, when used under raodillions in the frieze, are called canfalivers. The space under the corona of the cornice is called a sqfif, as is also the under side of an arch s. Dentils are ornaments used in the bed- mould of cornices ; they are parts of a small flat face, which is cut perpendicularly, and Dentils. small intervals left between each, [and represent the ends of ceiling joists]. ...^^^ A flat column is called a pilaster '^ ; and those which are used with columns and have a different capital, are called antce. (a.) A small height of panelling above the cornice, is called an attic ; and in their panels, and some- times in other parts, are introduced small pillars, swelling towards the bottom, called balustrcs, and a series of them a balustrade. The triangular portion over a series of columns is called a pediment, and the plain [central] space bounded by the horizontal and sloping cornices, the tympanum ; this is often ornamented with other work in relief. Pedestals and attics are far from settled as to their propor- tions, or the mode of their execution, depending almost entirely on circumstances connected with the particular desio-n, rather than the order, with which they are used. However, for pedestals, about one-fifth of the whole height, (includino- pedestal and entabla- ture,) is a good pro- portion, though it may be often necessary to alter it from local cir- cumstances. In gene- ral, an order looks much better executed without pedestals. Columns are sometimes ornamented by channels, which are called flutes. Aiitoe. fiffures \ jp* or Grecian Doric, Partlienon. Grecian Ionic, Erectlieum. ' [It would be more correct to say, placed upright against a wall.] s [Soffit is a very general term for horizontal under-sm-faces ; it is appUed to the under side of the architrave of an entablature.] ^ [Pilasters are usually attached to the flat surface of the wall, and pro- jecting very slightly from it.] » As a rule, the figures are in groups. The typical example is on the Pai'- thenon at Athens. 10 GRECIAN ARCHITECTURE. These channels are sometimes partly filled by a moulding ; this is called cabling the flutes ^ If the joints of the masonry are channelled, the work is called rmtk ; this is often used on the basement of an order. For the better understanding the description to be given of the orders, it will be proper first to notice the mouldings which, by difierent com- binations, form their parts \ The most simple mouldings are : — 1st. The ovolo, or quarter round. 2nd. The cavetto, or hollow. 3rd. The torus, or round. lesser round -work. Tlie fioman OtoIo. llie Crieuk UVO^U. The Cavetto. ' '""''il 'Ihe Torus. From the composition of these are formed divers others, and from the arrangement of them, « with plain flat spaces between, M^ are formed cornices and other l" ornaments. A large flat space ^iiet. is called a corona, if in the cornice ; a face or fascia in the ^ •' [In the Doric order twenty flutes are lased on the column, and they are worked without fillets bctw< . them. In til I onic, Corin- thian, and Com- posite orders twenty-four flutes are used with small fiUets between. The Tuscan is the only order in which the columns are never fluted.] ' [They are the alphabet of archi- tecture, as Mous. Eamee observes: they are the elements, the members which serve to determine and give expression to the different parts of a monument. It is to be observed, that the purer moniunents of Classic art are charac- terized by the moderate use of mould- ings, which are generaUy small in size and few in number, as compared with the plain faces. In the later periods, however, the mouldings gradually in- creased, and finally among the Komaus predominated, so as to leave hardly any plain faces at aU. A moulding may be considered to be, in the terms of Quatremere de Quincy, " a small body projecting more or less fi-om the waU, and having a rounded surface." It may be remarked, that the angle of inclination of the Greek mouldings is never very gi-eat, but in the Eoman mo- numents they overhang much more.] GRECIAN ARCHITECTURE. 11 architrave ; and the frieze itself is only a flat space™. A small flat face is called o, fillet, and is interposed between mouldings to divide them. (See p. 15.) A fillet is, in the bases of columns and some other parts, joined to a face, or to the column itself, by a small hollow, then called apophyges. The torus, when very small, becomes an astragal (which projects), or a head, which does not project. Astragal. Compound mouldings are, The cyma recta, which has the hollow uppermost and projecting. The cyma reversa, which has the round uppermost and pro- jecting. Cj 11, 1 Uyma reversa. The ogee^, [which has the round uppermost and over- hanging]. The scotia, which is formed of two hollows", one over the other, and of difierent centres. Scotia. [The most complex of all mouldings is the Bird's-beak, which "" The frieze is not invariably o The upper and ^^P n'-D- i„„ 1 ii 1 lower hollows con- ^ " Kickman employs the word ogee ^m as synonymous with cyma reversa. trasted. ^^^ 12 GRECIAN ARCHITECTURE. exists almost exclusively, if not quite so, in the Greek Doric order. It was never em- ployed, strange to say, by the Romans. It disappears, even in the Greek buildings them- selves, after the classic period of Athenian art. It may be defined in its elementary form as a cyma surmounted by Bird's-iDeak. a projecting or overhanging ovolo, the uppermost moulding, the ovolo, casting a deep shade on the whole of the cyma recta. It is never carved, but was usually painted with a succession of leaves placed vertically.] In the Eoman works, the mouldings are generally worked of equal projection to the height, and not bolder thiin the above regular forms ; but the Grecian mouldings are often bolder, and worked with a small return, technically called a quirh, and these are of various proportions. The ogee and ovolo are most general!}^ used with quirks. Several beads placed together, or sunk in a flat face, are called reedings. ftuirked Ogee. Reedings. All these mouldings, except the fillet, may be occasionally carved, and they are then called enriched mouldings. From these few simple forms (by adding astragals and fillets, and combining differently ornamented mouldings, faces, and soffits) are all the cornices, pimels, and other parts formed ; and the modern compositions in joiners^ plasterers', and masons' work, are very numerous, and too well known to need de- scribing. There are several terms applied to large buildings, which it is proper also to explain. A series of columns of considerable length is called a colonnade. A series of columns at the end of a building, or projecting from the side of a building, is called a portico. A portico is called tetra-style, if of four columns ; hexa-style, if of six ; octo-style, if of eight ; deca-sfij/e, if of ten. TUSCAN ORDER. 13 TUSCAN OKDEE. Though this is not, perhaps, the most ancient of the orders p, yet, from its plainness and simplicity, it is usually first noticed. Its origin is evidently Italian, for the Grecian work, however plain, has still some of the distinctive marks of massive Doric, whilst the Tuscan al\va3^s bears clear marks of its analogy to the Homan Doric i. The pedestal, when used, is very plain, but the column is more often set on a plain square block plinth, which suits the character of the order better than the higher pedestal. This block projects about half the height of the plinth of the bass beyond its face. The [Tuscan] column, including the base and capital, is, [according to the rules of the Italian masters,] about seven diameters high. The column, in the Roman orders, is some- times only diminished the upper two-thirds of its height. This diminution is bounded by a curved line, which is variously determined, but does not differ much from what an even spring would assume, if one part of it were bound, in the direction of the axis of the shaft, to the cylindrical third, and then, by pressure at the top only, brought to the diminishing point. The Grecian columns are mostly diminished from the bottom, and conically. The quantity of diminution varies from one- sixth to one-fourth of the diameter just above the base. The Tuscan base is half a diameter in height^ and consists of a plain torus with a fillet and apophyges. This last is part of the shaft, and not of the base, as indeed all apophygse are considered to be, and also all the astragals underneath the capitals, as well as the upper fillet of the base »• [It is the most ancient of the diameter of the column equal to thi-ee- Boman orders.] fomths of the lower one. He divides 1 [Some examjales of simple orders the cajjital into three parts, one for in the lower stories of ancient theatres the hypotrachehum or neck, one for and amphitheatres have induced the the echinus, and one for the abacus, writers on architectm-e to consider which equals in width the lower cU- them as Tuscan. But if we ai-e to ameter of the column. He describes rely upon Yitru\T.us, the great master the architrave as being formed of in the art, we shaU find the featm-es coupled beams of wood, two inches of the Tuscan entablatm'e, as described apart ; over the beams are mutules, by him, totaUy different from the ex- equaUing in projection one-fom'th of amples above referred to, or those the height of tiie column ; over the given by the Itahan writers on aichi- mutules come the corona and mould- tectm-e. The best iUustration of which ings. The columns of Trajan and [in England] exists in the ijortico Antonine, with the exception of the of Covent-garden Church, London. pedestals, may be considered, omit- Vitruvius gives seven diameters to ting the sculptures, as the Vitruvian the height of the column, the base type of the Tuscan column.] half a diameter high, and the upper 14 TUSCAir ORDER ACCORDmO TO THE ITALIAIT MASTERS. The following eugi'aving represents the Tuscan Order without a pedestal, having aU its parts and their members drawn, with the names. in all the richer orders, and in masonry it should be executed on the shaft stones. The capital of the Tuscan order is (ex- clusive of the astra- gal) half a diameter in height, and consists of a neck on which is an ovolo and fillet, joined to the neck by an apophyges, and over the ovolo a square tile [or abacus] , which may or may not be ornamented by a pro- jecting fillet. The shaft is never fluted, but many ar- chitects have given to this order, and some have even added to the richer orders, large square blocks, as parts of the shaft, which are called rustications, and are sometimes roughened. The Tuscan enta- blature [according to the Italian masters] should be quite plain, having neither mu- tules nor modillions. The architrave has one or sometimes two faces, and a fillet ; the frieze quite plain, and the cornice consisting of a cyma recta for cy- matium, and the co- rona with a fillet, and a small channel for drip in the sofiit. The bed-mould should con- sist of an ovolo, fillet, and cavetto. TUSCAN ORDER AS DESCRIBED BY VITRUVniS, B. iv. c. 7. 15 u the kualitofCoLumn — >\ (^unlcdJ3 earns Aiacus ^ jriutiolracIicUum ^. The Tuscan [given on p, 14] is that of Palladio ; some other Italian architects have varied in parts, and some have given a sort of block modillions like those used in Covent-garden Church, but these are of wood, and ought not to be imitated in stone. This order is little used, and will most likely in future be still less so, as the massive Grecian Doric is an order equally manageable, and far more elegant ^. Having explained the parts of one order, it will be neces- sary to make a few remarks which could not so well be previously introduced. If pilasters and columns are used together, and they are of the same character, and not antse, the pilasters should be diminished like the co- ' [It is sometimes adopted with the bed-moulding or slightly projecting mutules, where rustic orders are in- troduced, as at the Vhla Papa Julia at Rome by Vignola; at the Lux- embourg palace by De Brosse at Paris, and iu the orangery at Ver- sailles, by Mansard.] T.L.OONflLDSON.iU,. O.JCWITT.SC IQ nOlllC ORDER. lumns; but where pilasters are used alone, they may be un- diminished. . 1 . 1 • The fillet and moulding under the cymatmm, which in rich orders is often an ogee, is part of the corona, and as such is continued over the corona in the horizontal line of pediments, where the cyraatium is omitted ; and is also continued with the corona in interior work, where the cymatium is often with propriety omitted. In pediments, whose cornices contain mutules, modillions, or dentils, those in the raking cornice must be placed perpen- dicularly over those in the horizontal cornice, and their sides need not be perpendicular, though their under parts follow the rake of the cornice. DORIC ORDER. The ancient Grecian Doric appears to have been an order of peculiar grandeur ; simple and bold, its ornaments were the remains of parts of real utility : and perhaps originally it was worked with no moulding but the cymatium, to cover the ends of the tiles, its triglyphs being the ends of the beams, and its mutules those of the rafters. In after times, its proportions were made rather less massive, and its mouldings and orna- ments, though not numerous, were very beautiful. The Romans considerably altered this order, and by the regulations they introduced rendered it peculiarly difficult to execute on large buildings. As the examples of the two countries are very dif- ferent, we shall treat of them separately, and therefore de- scribe first the Grecian Doric. The columns of this order were, in Greece, generallj^ placed on the fioor, without pedestal and without base; the capital, which occupied a height of about half a diameter, had no astra- gal, but a few plain fillets, with channels between them, under the ovolo, and a small channel below the fillets. The ovolo is generally flat, and of great projection, with a quirk or return. On this Mas laid the abacus, which was only a plain tile, with- out fillet or ornament ^ In the division of the entablature, the architrave and frieze have each more than a third in height, and the cornice less. The architrave has only a plain broad fillet*, under which ' The abacus is -worked on the same stone with the rest of the capital, and is not separate from it. ' [The taiuia, along the top.] GRECIM DORIC. 17 iilllliillllllillillllliiiil!illillllilllll!lllilllllilllil iig^^^ Temple of Theseus, Athens. ROMAIC DORIC. ^'■- iT-rri --■-J i Temple of Apollo at Delos. MODERN DORIC. Theatre of Marcellus, Rome. T, Hickman. 6/ 18 DORIC ORDER. are placed the drops or guttae, which appear to hang from the tri glyphs". A triglyph, ia Greece, appears to have been generally phiced at the angle % thus bringing the interior edge of the triglyph nearly over the centre of the angular column, [and consequently rendering the outer intercolumniations closer, giving an appearance of greater strength to the angles]. The metope, or space between the triglyphs, was nearly the square of the heijjht of the frieze, [and frequently, as in the Par- thenon and Theseion at Athens, filled with sculptured groups] ; and a mutule was placed not only over each triglyph, but also over each metope. The cornice of this order, in Greece, con- sisted of a plain face, under the mutule, which was measured as part of the frieze, and then the mutule, which projected sloping forward under the corona, so that the bottom of the mutule in front was considerably lower than at the back. Over the corona was commonly a small ovolo and fillet, and then a larger ovolo and fillet for the cymatium ; and below the corona a fillet about equal in height to the mutule. The ornaments of this order, in Greece, were, — 1st, the flutings of the column, which are peculiar to the order, and are twenty in number, shallow, and not with fillets between them, but [arrises or] sharp edges. These flutes are much less than a semicircle, and should be elliptic. 2nd, At the corner y, in the space formed in the sofiit of the corona, by the interval between the two angular mutules, was sometimes placed a flower ; and the cymatium of the cornice had often lions' heads % which appear to have been real spouts. 3rd, In addition to the drops under the triglyph, the mutules also had three rows of drops of the same shape and size ^. This order appears in general to have been worked veiy massively; in the best examples the columns are from five to six diameters high, which is lower than the Italians usually worked the Tuscan; but this gave peculiar grandeur to the temples in which it is thus employed. Our present authorities for the Grecian orders are scattered through a variety of very expensive works, and in them are presented in very irregular succession, whether we regard their supposed dates, their purity, or their orders ; and it would be a valuable present to the architectural student, if the good authorities of each^ order were collected, figured, and some ac- count given of their variations. With respect to the Doric » [They are not attached to the ^ [Projecting fi-om it at intervals.] tffinia, but to a small intervening fillet » [The tvmpaniun of the pediment on the imderside of it.] and the metopes of the fi-ieze were » [When a building forms an angle.] often ornamented with sculpture in '' [Of a builduag.] reUef.] DORIC ORDER. 19 order, this has been ably done in a treatise by Edmund Aikin ^, from which we shall take the liberty of extracting a few re- marks. " On viewing and comparing the examples of the Doric order, the first emotion will probably be surprise at beholding the different proportions, — a diversity so great, that scarcely any two instances appear which do not materially differ in the relative size of their parts, both in general and in detail : they present differences which cannot be reconciled upon any sj^stem of calculation, whether the diameter, or the height of the column, or the general height of the order be taken as the element of proportion. At the same time, they all resemble one another in certain characteristic marks, which denote the order; the differences are not generic but specific, and leave unimpaired those plain and obvious marks, which enable us to circumscribe the genuine Doric order within a simple and easy definition. " Interesting would be the investigation, could we trace the history of the Doric order in its monuments, and mark what progressive improvements it may have received in the course of time ; but of the monuments of antiquity few, com- paratively, have survived the injuries of time, and the more speedy and effectual destruction of violence ; and of these still fewer retain either inscriptions, or, in the records of history, the dates of their erection." The examples of Grecian Doric, of which we have accounts and figures that may be depended on, are : — ■ f The temple of Minerva at Athens, called the Parthenon. The temple of Theseus, at Athens. The Propylsea, at Athens. The temple of Minerva, at Sunium, [and one at Thoricum]. The temple of Apollo, at Delos. The portico of Philip, at Delos. The portico of the Agora, at Athens, [Roman period] . The temple of Jupiter Nemaeus, between Argos and Corinth, [Roman period, probably]. A temple at Corinth. C The Temple of Jupiter Panhellenius, in ^gina. r-p The temple of Minerva, at Syracuse. ^ The temple of Juno Lucina, at Agrigentum. r^- The temple of Concord, at Agrigentum. j-j