CAR

107

CAR

us t| RT ° UCHES ’ are ornaments representing a scroll of paper,al 7 in the form of a tablet, with wavings, whereon is

som e

Tb

'nscription or device.

‘'ey are sometimes drawn on paper, as in the titles of‘ PS, &c., and are sometimes made of stone, brick, plaster,' V y &o., for buildings. _ ,

orden uses this term to signify the winged globe, usuallyov er the middle aperture of Egyptian buildings.

8u> P ■RVED WORK, all those mouldings, planes, or otherrel' i f CeS "’h* c h are cu t into ornaments, representing, in1 or in recession, foliages, animals, utensils, historicale '® nf s, &c. °

jj A >idings are generally carved with leaves, honeysuckles,r *\ s heads, beads, egg and tongue, egg and dart, guilloches,flut S ' ^ Utes ’ & c - Tori are carved with guilloches, reeds, anda, es ' Astragals are carved with beads, of various forms,‘Utig together.

tJvolos, with egg and tongue, and at the corners with honey-

Soni ^ S> as ' n Grecian architecture ; or with egg and dart, andg.ttmes with leaves, as in Roman architecture.WH il - reCtas ’ w * t ' 1 honeysuckles, of various forms, con-(j . w ith scrolls and lions’ heads at certain intervals, as inR lan arc h’tecture; or with leaves of various kinds, aso °man architecture. Sima-inversas, with leaves, stalks,^ enclosed in borders.

itto- aci!ls and large surfaces, with foliage interwoven or wind-a nrl' ° r W * t * 1 historical subjects from the heathen mythology,^Sometimes with flutes, fillets, &c.by 1 all carved work, none is so beautiful as that lefthis fl 6 , ^ ot hio architects. Of the styles comprised,

till:

under

s Urn ■"V omin ation, carving is one principal feature, and it isPeri I 8 ' 11 .® to "’hat perfection the art arrived; during this(l Ua n the dark ages, as they are called, it advanced gra-fitll an ^ Passed through many stages ere it arrived at itsino- 3 niatur 'ty, from the simple and somewhat barbaric mould-ta te<] ^ ie ^ 01 ' m ans, to the luxuriant foliage of the Deco-ev etl ’^ 1 ’ *he elaborate richness of the Florid styles; and yetd 6s • a ® carving of the earlier periods is by no means to besty] i > the specimens belonging to the Early EnglishPhcit a “hough somewhat stiff and harsh, possessed a sim-Tl, e jj dl| h chasteness which was never afterwards surpassed,etiri , ecor ated style lays claim to the highest rank in carvedal Ql0s , ment ) it approaches nearest to nature; indeed, it isCon:

the

° St na ture herself, only changed in substance; everything

n «cted

w ith this period is full of grace and elegance. In

^ -*»» vino |tunuu jg iuu vyj. giuvv

Cedi no Xt ’ or Perpendicular style, the flowing lines of the pre-'vere® were deserted for the straight; or if curved lines

the ' n j ro< hiced, they were of a character purely geometrical;See bm (.°h- adopted was rather artificial than natural, and weVi 0us ‘ew examples of foliage, such as is found in the pre-there was, however, an elaborateness andinst an a * lce at this period never before attempted; in somethat so S ’ to suc h an extent was carved enrichment employed,This i a rCel 7 any portion of the plane surface was discernible.'vRich Ve . r P Cons picuous in the fan-work, as it is termed,ciully introduced into the vaulted roofs; we would espe-Chap e i w aS an exam pi e > the roof of Henry the Seventh’snot a ’ ''estininster, than which, we suppose, there exists°f suoij re elaborate specimen of carving, at least in a workc hap e ] Magnitude. The light and beautiful pendents of thisa tic] 0l 'd a magnificent specimen of the most enriched

ate p ate sculpture. Other examples of the same kind,p 0r S e s Chapel, Windsor, and the Chapel of King’s* 0l<) etim atu hridge. Equally beautiful specimens of carving,ltl ' v orks f Ven a more minute description, may be seen

h'ote esn° • a 8ma U er kind, such as fonts, altar-screens, &c.,Pectally in the latter, in some of which the elabo-

ration is carried to so great an extent, that nothing lessthan a close and diligent inspection will suffice to unfold itsbeauties.

CARVEL - BUILT, in ship - building, when the edgesof the planks join each other, the vessel is said to be carvel-built. This term is used in contradistinction to clinker-built ,which is when the edges of the planks are lapped upon eachother.

CARVER, an artist employed in the carving of wood.

CARVING, in general, is the art of cutting a body byrecession, in order to form upon it various fanciful represen-tations, as foliages, flowers, fruit, animals, landscapes, or his-torical events, either in relief, or recessed within a generalsurface. In this sense, carving comprehends both statuaryand engraving, the latter either upon wood, stone, metal, orany other material.

In a more particular sense, carving is the art of cuttingwood, as in the above definition. See Carved Work.

CARYATIC, whatever relates to the ancient country ofthe Carians.

Caryatic Order, an order of architecture, whose entabla-ture is supported by female figures instead of columns: thefigures themselves are called Caryatides, Caryates, or Carians.

The Caryatic order differs from the Persian in having theentablature supported by females, whereas in the latter it issupported by males. See Persian Order.

The history of these orders, as related by Vitruvius , is asfollows:

“ Caria, a city of Peloponnesus , having joined with thePersians against the Grecian states, and the Greeks havingput an end to the war by a glorious victory, with one consentdeclared war against the Caryatides. They took the city,destroyed it, slew the men, and led the matrons into capti-vity, not permitting them to wear the habits and ornamentsof their sex: they were not only led in triumph, but wereloaded with scorn, and kept in continual servitude, thus suffer-ing for the crimes of their city. The architects, therefore, ofthose days, introduced their effigies sustaining weights, in thepublic buildings, that the remembrance of the crime ofthe Caryatides might be transmitted to posterity. TheLacedaemonians, likewise, under the command of Pausanias ,the son of Cleombrotus, having, at the battle of Platea, witha small number, vanquished a numerous army of Persians ,solemnized the triumph, by erecting, with the spoils andplunder, the Persian portico, as a trophy, by which to trans-mit to posterity the remembrance of the valour and honourof the citizens; introducing therein the statues of the cap-tives, adorned with habits in the barbarian manner, support-ing the roof.”

Whether this account is correct, in any respect, seemsdoubtful; it is certainly incorrect as far as it relates to theorigin of the order, but whether its distinguishing appellationis rightly attributed to the above circumstances, remainsa matter for consideration; we think the evidence is decidedlyagainst Vitruvius . In the first place, be it remembered, thereis no allusion made to such circumstances by the Greek his-torians; and in an inscription brought from Athens by Dr.Chandler, containing a description of the temple of Pandrosus ,the figures are called copat, or damsels, and arfe thence natu-rally supposed to represent the maidens engaged in thecelebration of the Panatlienaic festival. Mr. Gwilt, who wasthe first to remark upon the incorrectness of the account ofVitruvius , is of opinion, that the figures were named afterthe goddess Diana, to whom the title Caryatis was given bythe Lacedaemonians , from the circumstance of her havingmade known to them the story of Carya, daughter of Dion,king of Laconia, who was turned into a nut-tree by Bacchus.