ARCHITECTURE
21.3
suffice: and, as to the arches peculiar to each order, all that isnecessary, after what.has been remarked on the two precedingorders, is a careful inspection of the plates, where we have markedthe peculiar proportions, in so many whole diameters, or parts ofa diameter.
Or the Composite Order,
This order had its origin amongst the ancient 'Romans, andSerlio is said to have been its inventor. In its style of composi-tion, it partakes of the Ionic and Corinthian orders, but mostlyof the latter; particularly in the leaves of its capital. Some ar-chitects, however, do not incline to speak well of this order,merely on the principle of its being a composition from theothers. Hut this, in itself, is not a sufficient ground for objec-tion, since the same may be said of the Tuscan order, which isa composition from the rude state of the Doric . On the otherhand, we freely acknowledge, that the Composite order is socomplete an imitation of the Corinthian , that at iirst sight, thelittle difference between them will even deceive the eye of atolerable judge. This shews the composition at least defective,if not bad ; for why are two orders bf architecture scarcely to bediscriminated, but by the eye of a skilful architect. The follow-ing are the general proportions of this order: the height of theentire order is divided into five equal parts, one of which is ap-propriated for the height of the pedestal, anil the remaining fourfor the column and entablature. These four parts being again di-vided into six; one is for the entablature, and the remaining fivefor the height of the column, including its base and capital. Theheight of the column is divided into 10 equal parts, one of whichis given to the inferior diameter. The base is 30 minutes, thecapital 70 in height, adorned with acanthus leaves and volutes,drawn by the same method as those of the Ionic : and the plan ofthe capital is the same with that of the Corinthian order. Thesoffit of the corona is divided into square compartments, cut outof the solid, decorated with roses, whose relief must not projectmore than the borders which inclose them. In rich compositions,the soffits of the modillions are also ornamented; but their reliefis not to exceed the horizontal surface, which would greatly' in-jure the effect of the modillion, and render the appearance ot theprofile of the entablature less pleasing.
In the city of Corinth originated this finest of all architecturalCompositions; in which we see proportion, simplicity, elegance,and richness, combined (o a degree almost exceeding imagina-tion, and which we are persuaded will never be surpassed, whilstarchitecture has an existence. This order is, and will continue tobe, a perpetual memorial of the exquisite taste and genius of theancient Corinthians. Scumozzi calls it the virginal order, an epi-thet truly characteristic of the delicacy and tenderness of compo-sition apparent in the whole. Conformably to the whole of itscharacter, the ancients employed it in works of magnificence,grandeur, and delicacy. It obtained a place in palaces, publicsquares, banqueting rooms, theatres, and the apartments of youngladies. It was also generally used in temples dedicated to femaledeities, and sometimes in those of Jupiter, Mars , and Mercury.Tne most perfect model of the Corinthian order is generally al-lowed to he shewn in the three columns in the Campo Vaccino atRome , the remains, as it is supposed, of the temple of JupiterStator. The following are the general proportions of this order :the whole height of the entire order is divided into five equalparts, and one is given for the height of the pedestal. The re-maining four are divided into six equal parts; one is assigned forthe entablature, and the remaining five are assigned to the heightof the column, including its base and capital; which are again di-vided into equal parts, one ol which is for the inferior diameter.The base is 30 minutes, and the canital 70 in height. The cor-nice is 48 minutes, both in height and projection. The soffit of thecorona is worked in square compartments, as in the Composite; butthe soffit of the modillion is ornamented with an olive-leaf, thesame as in the capital. The breadth ol the modillion is ten mi-nutes and a half; and the space between each modillion twicetheir width. 'The abacus of the capital is sometimes plain, amisometimes tinted, as in this proiile. In some capitals the volutesrise higher than the under side of the abacus, hut the capital looksbest when they’ are bounded by its under surface,vox., i.— no. 14.
Op Pilasters in General.
Pilasters differ from columns only in their plan ; which is asquare, as that of columns is round. Their bases, capitals, andentablatures, have the same parts, with the same heights and pro-jections, as those of columns; they are also distinguished in thesame manner, by' the names of Tuscan, Doric, Ionic, Corinthian ,and Composite. The column is undoubtedly’ more perfect thanthe pilaster. However, they may be employed with great pro-priety on many occasions. Some authors declaim aga nst pilas-ters, because, according to them, they do not admit of diminu-tion. But this is a mistake ; there are many instances, in the re-mains of antiquity, of their being diminished. Scamozzi alw aysgave his pilasters the same diminution as his columns: Palladioand Inigo Jones have likewise diminished them in many of theirbuildings. Pilasters are employ ed in churches, galleries, halls,and other interior decorations, to save room ; for, as they seldomproject beyond the solid wall above one quarter of their diameter,they- do not occupy near so much space as columns. Theyare likewise used in exterior decorations; sometimes alone in-stead of columns, on account of their being less expensive ;and sometimes they' accompany columns, being placed be-tween them to support'the architraves, where they enter thebuilding, as in the Pantheon at Rome ; or, in the same line withthem, to fortify’ the angles, as in the Portico of Seplimius. Theshafts of pilasters are frequently adorned with Hillings in the samemanner as those of columns; the plan of which may be a triflemore than a semicircle: their number must be seven on each face,winch makes them nearly of the same size with those of columns.The intervals, or fillets, must either be one-third or one-fourth ofthe fluting in breadth. The capitals of pilasters are profilednearly in the same manner as those of columns.
Attics very properly follow the pilasters; being nothing morethan square pillars with their cornices. They had their origin inAthens, where it was for many ages a rule in building to concealtlie roof. For this purpose, nothing served so well as a kind oflow’ or little order ranged in a continued line, singly’, or with theinterruption of balusters; which, rising above-the rest of the workand before the roof, hid it perfectly’, and placed something agree-able in view. The place of Attics , therefore, is at the uppermostextremity of a building, to which they serve as a crown, or veryproperly make a finishing for the other orders when they havebeen used in the structure. They must never stand under anything except such ornaments as are placed at the very top. At-tics should never exceed in height one-third of the height of the.order on which they are placed, nor be less than one quarter ofit. The base, dye, and cornice, of which they are composed,may bear the same proportions to each other as those of pedestalsdo; and the base and cornice maybe composed of the samemouldings as those pedestals. Sometimes the Attic is continuedthroughout; at others, it projects, and forms a pilaster over eachcolumn of the order. The breadth of this pilaster is seldom madenarrower than the upper diameter of the column below it, andnever broader. Its projection may be equal to one quarter of itsbreadth.
Of Persians , Caryatides, and Termini.
Along with columns and pilasters, it is sometimes customary toemploy representations of the human figure, to support entabla-tures in buildings. The male figures are called Persians ; andthe females, Carians, or Caryatides. (See Plate X1U.) ThePersians are so called from a victory gained over the Persians byPausanias , who having brought home prisoners, spoils, and tro-phies to the Athenians, they fixed upon Persian figures for thosewhich should support entablatures, and thus kept in mind thatthere were once Persian slaves in Athens. To represent theseconquered people in the lowest state possible, they- loaded themwith the heaviest entablature, viz. that of the Doric Order , hiprocess of time, however, other figures besides those of Persians were introduced, and other entablatures put over them ; but thename was still retained. '1 he proper Caryatides are women dress-ed in long robes, after the Asiatic manner; and the origin of thedevice was as follows: Jhe Carians had been long at war with theAthenians ; but being at length totally vanquished, their wiveswere led away captives; and, to perpetuate the memory of thisevent, trophies were erected, in which figures of womeu dressed3 1 i»