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ARCHITECTURE.

and capital eight; and the whole entablature two. There are given30 minuted to the base, 30 to the capital, 30 to the architrave, 45to the metope, and 45 to the height of the cornice, including theupper lillet or capital of the triglyph. In this order, when themutules are introduced in the entablature, as in the example re-ferred to, one diameter is assigned for the projection of the cor-nice, which, in this respect, exceeds any of the other orders. Theprojection of the mutules is equal to their width, being 30 minutes:the width of the triglvphs is exactly the same, and their distancefrom each other equal to the height of the metope, which, by thisdivision, forms a perfect square. The sides of the channels of thetriglyphs are at right angles with each other. The soffit of themutule, and that of the corona, are frequently ornamented ; theformer with conical drops, similar to those under the triglyphs,and the latter with roses in square and lozenge compartments.The proportions of the smaller parts, and of the several mouldingswhich compose the whole, must in this, and in every other order,be learned from their respective profiles.

Of the Intercolumniation and Arches of the DoricOrder .

The intercolumniation of this order is often attended with pe-culiar difficulty, arising from the strict regard that is ever paid tothe due width of the triglyph, and the perfectly square form of themetopes, or their intervals. Besides, it is absolutely requisite,that a triglvph should be placed exactly over the centre of everycolumn, For these reasons, the mutules and triglyphs have beenomitted in capital works, both ancient and modern, as in the Coli-seum at Rome , and the Royal Hospital at Greenwich. Palladiohas, however, given one instance of an ancient temple, w ith an-gular triglyphs. This structure, which he terms the Temple ofPiety, is mentioned by Vitruvius , with an eye to the difficultyoccasioned by the triglyphs being thus placed ; which reducesthe intercolumniation of the two angular columns to one diameterand a quarter, which is less than the pycnostyle. The next inter-columniation is still greater, approaching near to the pierostyle,as is evidently necessary to bring the triglyph over the centre ofthe third column from the angle. The next, which is the centreintercolumniation, and faces the entrance of the temple, is rathermore than eustyle, or two diameters and a quarter; and has, inthe metopes, ditriglyph. But the intervals, between the triglyphare much too narrow for their height, so as to produce an unfa-vourable effect. The other spaces are monotriglyph, and arc per-fect. The regular intercolumniation of the Doric order is themonotriglvph, or pycnostyle, which admits of one between twocolumns. ’ The ditnglyph, or eustyle, admits two ; and the ara’e-style is tritriglyph, or consisting ot' three; but the most perfect ofthese is the ditriglyph. When the capitals and bases of coupledDoric columns have their proper projections, and are at any dis-tance from each other, the metope between them will be rathertoo wide; but that may be avoided, by confining the projections,or making the triglypK one minute more than it really should be,and placing or removing its centre a minute w ithin the axis of thecolumn, which trilling differences will not be perceived withoutthe nicest examination. In small buildings, such as temples, andother similar ornaments for gardens, the intercolumniations may-be determined, without paying a strict regard to the general rulesfor the distances of columns; always observing,however, that suchworks must have an interval that w ill admit of an easy passage be-tween them. Doric arches, without pedestals, (see Plate XIII.)are seven diameters and three-fourths high, and in width four-dia-meters and 15 minutes. The piers are two diameters in front,and one diameter, 22 minutes in thickness; or in proportion totheir distance from the wall. From centre to centre of each pier,is six diameters and 15 minutes. Arches of this order, with pedes-tals, have their apertures, in height nine diameters aud 30 minutes;and in their width live diameters 15 minutes. The piers are twodiameters 15 minutes w ide in front; and from centre to centre ofeach is seven diameters and 15 minutes.

Of the Ionic Order, with its Volutes .

The Ionic order owes its invention to the people of Ionia, whoinhabited a Grecian district, and is said to have been lirst em-ployed in the decorations of the Temple of Diana, at Ephesus .The Ionic column is more slender and graceful than the Doric .Its ornaments are truly elegant, being in a style of composition

between the richness of the Corinthian and plainness of the Tus-can orders. Its general appearance being simple, yet graceful andmajestic, in tigurative language, it has been com pared to a sedatematron, in decent, rather than in rich attire. In forming the pro-file, and in adjusting the proportions of this order, most of themodern architects have, in a great degree, imitated the columns,capitals, and entablatures, in the Temple of Manly Fortune andConcord, in the Theatre of Marcellus , and the Coliseum atRome. Amongst the ancients, the form of the Ionic prolile ap-pears to have been more positively determined, than that of anyother order: for in all the antiques at Rome, except in (he Tem-ple of Concord , it is exactly the same. The proportions of theprincipal parts of the Ionic column are as follow : the height of theentire order is divided into five equal parts. One of these parts isassigned to the height of the pedestal; and the remaining four aredivided into six, for the column and entablature. One of these isappropriated to the entablature, and the remaining four are forthe column, including its capital and base. These four beingdivided into equal parts, one is assigned for the inferior diameter.The cornice is 44 minutes in height, and its projection the same.The drip in the under side of the corona is channelled out oneminute deep, and two minutes from the front; and before thecyma reversa one minute. The shaft of the column is sometimestinted, and sometimes plain. Twenty or twenty-four are thenumber of ilules allotted, not only to this, but to every other or-der. In general, however, 24 are preferable. The plan of thetiutes may be rather more than a semicircle, as they will then ap-pear more distinct. The lillets, or intervals between them, mustnot be broader than one-third of the llutes, nor less than one-fourth: and it should farther be observed, that in the capital ofrich compositions over each flute, is placed an ove or egg. Forthe other particulars, recourse must be had to Plates XI1. and XIV.In exterior works, when the building is large, the entablaturemay be enlarged to one-fourth of the whole column without its pe-destal, as was sometimes practised by the ancients. Palladio, how-ever, makes no distinction of this nature ; but allow s only one-fifthpart of the height of the column in all cases. The volute, whichis a principal member of this column, is executed in various forms.The Grecian volute has a double lillet winding round to its eye,which, by the partings or spaces between, produces a variety oflight and shade, and affords to the whole convolution additionalgrace and beauty. The manner of drawing the volute, accordingto Goldman ’s method, is as follows: (see Plate XIII.) Drawthe perpendicular FA, termed the cathetus, and make its lengthequal to 15 minutes. On the centre describe a circle, whose, dia-meter is minutes. Draw next a geometrical square, having itssides equal to the radius of the circle, as 1, 2, 3, 4. From the an-gles 2, 3, draw diagonals to the centre at C. Divide the side ofthe square 1, 4, into six equal parts, as at 5, 9, 12, 8 ; and fromthese points draw parallel lines U) the diagonals, as shewn in (heeye ot the volute ; whence w ill be obtained 12 centres, by whichevery arch composing the volute may be accurately drawn, eachof them coinciding with the other. Thus, on the centre 1, fixone foot of the conqvss, aud extend the other to F; and withthis opening, describe the arch FG. On the centre 2, with theother foot extended to G, describe the arch Gil. On the centre3, extending it lo II, describe the arch Hi; and on the fourthcentre describe the arch IK, which completes one revolution.Proceed then in the same way, to the centres 5, (i, 7, 8, for thesecond revolution; and to 9, 10, 11, 12, for the (bird revolution.,'l'hus it appears, that the whole convolution consists of 12 qua-drants ot circles, of so many different diameters. Tp graduatethe lillet, conduct a triangle at O, of which the side FA is equallo that part of the cathetus, contained from A to F; and the sideVF, equal to half the side of the square in the eye of the volutea, C, 1. Draw then the line ST, at a distanre'from VF, equalto the breadth of the lillet at FS, which may be two minute , or1 and 7-8ths. Take the space ST, and place it eaeli wav frontthe centre of the volute, as from C to 3. Divide ST into’ threeequal parts, as at 1, 2, 3, in the eve of the volute, and front thesepoints draw parallel lines to the diagonals, which will tind twelvenew centres; and proceeding from one to the other, as was donein drawing the exterior contour, the regular diminution of thelillet may he accurately performed. With respect to (lie intet-colmnniation of this and the succeeding orders, what lias beenobserved oil the subject^ In the orders already mentioned may

suffice: