E C II
326
E C II
occurrence was more especially improbable at the periodalluded to, when art was tailing to decay, and its influencewas not strong enough even to retain previous acquirements,much less to originate new. The main features in thechurches erected immediately after the establishment ofChristianity, with the exception of Constantine ’s circularbuildings, were those of the civil basilica : there were somefew alterations and additions, it is true, to adapt the form tothe requirements of the church ; but these were at first notvery considerable, although extended farther in after times.Of these were the atrium and out-buildings ; and, in latertimes, transepts. With regard to the latter, it has beenargued by some, that they are to be found in the civil struc-tures ; at least, in the internal arrangement; but this wethink almost too nice a similarity. There was, indeed, across-passage at the end of the nave, so to speak, but we canscarcely set it down as the prototype of the transept. Thecross-form originated in Christian symbolism ; nor does itappear even in churches of the earliest date. The ApostolicalConstitutions allude to churches as being in the form of aship, and such seems to have been the actual shape of thefirst buildings. The cross-plan was a gradual development.At first, we find the cross a prominent feature in the inter-nal decoration, as at St. Clement’s, where the paving of thenave is arranged in that form ; and afterwards forming anessential office in the construction, as in the Byzantine churches, and the later basilicas. We are of opinion, then,that, at the onset, civil basilicas were employed for Christian worship, though rather as a matter of necessity than choice;that the division and disposition of parts observable in theearly churches was not derived from the basilica; but thattheir form and construction was so derived; and that hencewas developed the form of churches in after ages.
As regards the styles of architecture employed, the earliestconstructions can scarcely be said to belong to any style;they were composed of the ruins of heathen structures, pro-miscuously heaped together ; columns from one building,entablature from another ; or even one column from onebuilding, and the next from a second ; and not unfrequently; the shaft or base of one column with the capital of another :
| columns of different heights and proportions were huddledj into the same row, and the difference of level made up either| by stilting or cutting short. The Byzantine churches, with: their square plans and spherical roofs, are the first buildings| which can be said to possess any style, and these were chiefly1 confined to Asia Minor, having little influence in Italy untilj the sixth century. (See, Byzantine Architecture.)Shortly after this, the Lombards established themselves inItaly ; and although they brought with them no architectureof their own, they gave a somewhat novel character to thebuildings erected by them, the difference being principally indetail. This style prevailed in the north of Italy up to theend of the twelfth century, at the commencement of whichsome marked alterations were introduced. (See, LombardicArchitecture.) To this succeeded that most perfect formof Ecclesiastical Architecture, pre-eminently termed theChristian style, which has prevailed, with some interruptions,ever since ; we need scarcely add, we allude to the Gothic,or pointed, which for its solemn grandeur, as well as forits perfect .construction, is, of all, the most appropriate fora Christian temple.
We have- now arrived at the conclusion of this inte-resting subject, and for any further information must referto such articles as Church , Cathedral, Gothic, andSaxon Architecture, &c.
ECHINUS (from tx‘>'oe, a word denoting the pricklycover of a chesnut) a convex moulding in the form of a conic
• ff tr 1 ** 1 *
section, generally carved into ornaments represent 10 ^ t |jecated spheroids, or eggs, with the upper endsupper part ot the axis projecting, and the lowei p aI 0 f fl"Each truncated spheroid is surrounded with a boi tb aI1elliptic figure, in close contact, showing somethinga semi-ellipsis, the shorter axis being horizontal. tl 1 "
The projecting edge of the border is in the sU , vll tui' e 0moulding, previously wrought, as is also the cui or j e rS
the upper part of the spheroid. Every two
adjacent u t tl)6
border
at'
contain a space equal to the thickness of the — j n „„-top, and gradually receding towards the bottom. ^<re °.recess, or space, is an anchor, or tongue ; the n° orig' 11 ^which comes in contact with the surface of 4 of ^moulding, and is in a vertical line cutting the sui '
^ al9°
(d6?fliethe
moulding at right angles. .
In Grecian architecture, the front of each boide :
an a
an <*£
the front of each tongue, or anchor, is wrought ^the section of which inclines equally to the sll ^ ug onbottom of the spaces on each side of the ton 0 ’ e( , e s3 0under side, is nearly in the same surface as tu
the sides of the eggs.
ill
• 10 S&d . jv
In Roman architecture, the general contour is r tIl gor quarter of a circle, and the fronts of the surrou f of 1 j eders are not brought to an angle, but remain ^^yev" 1 *moulding, either plain or with a hollow sunkedges, leaving a fillet next to each edge. or cflP lt!W
Its situation in an order, is in the entablatui'
but never in the base. . cr off nS me
In the original Doric order, the ovolo, whic i Jn
carved- j ot
cornice, and that of the capital, are never cai ^ C fli' .JoIonic and Corinthian entablatures, it may eithei 0 v ,
rved. *
cm'
. v ea
not, but in the antiques it is generally car. -in the capitals of these orders, is, however, a ' ‘ ^ ci'H o!into the ornaments we are describing. The X 1 jts
oviWh
aim
tli®
being usuahj carved'with the’figures of eggs >
Silme reason > sometimes call it ««/ ,ECHO (from the Greek, W c, sound, of thei thS lever *- )ei ' :| tio„ of sound, occasi onedW 0 {
particular construction of a vault or wall, the. 6 *jv uch is most commonly of an elliptical or parabola* 1 t |i«I he method of making artificial echoes, is taugl' V lvJesuit Blancani, in his Echometria, at the end ofOn the Sphere. ft3 o‘
We are informed by Vitruvius , that in vario« 9 P^ u gl/Gieece and Italy , thbre were brazen vessels, ,n '| s oU"arranged under the seats of the theatres, to render'» -
of the actors’ voices more clear, and make a pi'"'
iy which means the prodigious multitude of P e se u"sent at their spectacles were enabled to hear with
,„t V‘ e
pleasure.
The distribution of sound in public - {0
echoes maybe most advantageously broug 1 j ese rv>"» Mthe original sound, is a subiect practically goiH ,l, 9 oi.. . • " t O,’ -r t t , TVpntise ° n ,„e.ri-o l
edifices^ ®°trengjji
i
attention. In Sir J. Herschel’s Treatise tbe ei ,a t®
reader will find some sensible observations ^ t be*" - O o^1architects in this respect. The inattention was ml <the effect of the reverberation of s0 . , v jjcre q ,, a""
luo CUCUi U1
exemplified i n th 1C \ C4U « —. -
Sessional was ph ce /f hedr * 1 of Girgenti , wim- M .Ui jeaclosed part ln 3 focus conjugate to & noi tii efl 10 insH-um2 ? CllUrc1 *’ 'T -Inch unlucky^-delity 0 f j j ol m informing a husband of ‘..opgs,
professed}^ 80 ' In $ our public
distribution of for Purposes where the E fll)
Ulj eoium 0 n occunv, ls P ara niount importance,
°ccurrenee, that one part of the audit**