EOO
374
EOO
example is to be found in the Roman antiquities as publishedby Desgodetz, but what have Corinthian entablatures.
The Composite order, as is to be found in several of theworks of the principal Italian architects, has been compoundedfrom the remains of the frontispiece of Nero , which is entirelyCorinthian, and from the temple of Concord at Rome : thecornice is imitated from that of the frontispiece of Nero ,which is the boldest, and one of the most beautiful remainsof Roman grandeur. The upper part of the capital is takenfrom the temple of Concord, where the sides, or flanks, arethe same as on the fronts, and project at every angle, theface of the abacus being concave ; and the two lower rowsof leaves are what is usually found in any example of theCorinthian order ; but there is some little difference betweenthe caulicoles, or stalks, that spring up between the leaves,
which, though suitable to the composition, are not soas in the Corinthian order. xainP^j
It does not appear quite satisfactory to us why th® e eDt itl e “;ded under this description, should be especially^ ef j U al
up
bu l
claim ; they both owe their existence to the Roman 3 - ^indeed, any such marked distinction should .^ en tlybetween the two, is not quite clear, for they are evi tin 11 "'different modifications of the same idea; and eXaI npl e ®there can be discovered as much diversity 111 a 0 ®
included under the term Corinthian , as between ,
the Composite. ^
We subjoin a list, extracted from one of M * ^ a riworks, showing the proportions of the order 1examples.
Base.
Column.
Capital.
Archi-
trave.
Entabla-
ture.
Diam.
Mod.
Ht.
Diam.
Mod.
Ht.
Diam.
Mod.
Ht.
Diam.
Mod.
Ht.
Diam.
Mod.
Ht.
Diam.
Mod.
Ht.
Diam.
Mod.
1 Ht.
0 0 23
10 0 6
1 o 14A1 0 5f1 0 11
0 1 16
0 1 14
1 0 2
2 1 2
0 0 20
9 1 10
0 1 15
0 0 25A0 1 14
1 0 8j
2 0 19
0 0 20
10 0 29J10 0 0
0 1 14J0 1 10"
0 1 21
2 0 19£
0 1 1*
10 0
0 1 4
0 1 20
2 0 0
0 1 o‘
9 1 15
1 0 0
0 19
0 1 U
0 1 16J
1 1 27
0 10
10 0 0
1 0 0
0 1 15
0 1 15 T
10 0
2 1 0
Caryatides of the Temple of Pandrosus .
5 0 0
0 0 27
0 1 25J
0 1 0
1 0 0
1 1 254
Diam. ofColumn-
Ft.
Inch.
10ft
0*
The example of the Roman order which we have given, isfrom that exquisite remain of antiquity, the arch of Titus,at Rome .
ROMANESQUE ARCHITECTURE, a term applied todifferent purposes by various writers ; but the most usefuland consistent application seems to include all the variouskinds of building which originated from the Roman, and whichappeared after the decline of art in that country, but withthis limitation, that they still retain the semicircular arch.Under this general title, then, will be embraced the debasedRoman, the Byzantine, Lombardic , Saxon, Norman, andthe several varieties of the same class. For further informa-tion, see the above articles.
ROOD, a crucifix more especially applied to those whichwere placed in an elevated situation at the east end of churchesbetween the nave and chancel. They were of large dimen-sions, and usually of wood, with figures of the Virgin andSt. John placed on either side, and at the foot of the uprightarm of the cross.
Rood Beam, a beam carried over the entrance to thechancel, for the purpose of supporting the rood.
Rood Loft , an elevated loft or gallery occupying a similarposition to the rood-beam, but resting or appearing to reston a screen below. It was usually spread out from the topof the screen on both sides of it, so as to give a landing attop of sufficient space for the rood-screen, and for the passageof persons to and fro. It was from this place that a part of theRomish service was performed. The soffit of the loft oneither side of the screen, was either coved, or in the form ofa semi-vault, with groining and ribs. The loft was approachedby a staircase in the chancel-pier or main walls of the church,and these are frequently the only evidence of the existenceof the loft.
Rood-Screen, the screen of open work which in mostchurches separated the nave and chancel ; the lower portionbeing panelled, and the upper perforated with rich tracery-work in the head. In the centre was a door, or pair of gates
giving admission to the chancel. Such screen 3 j ie( j r als - ^of wood, but sometimes of stone, especially w ® a 9
larger churches; they are also sometimes u r jdg e3 *L' 0St. David’s Cathedral, and Gilden Morden, Da ^, er e 0 .. i.Rood-screens, as well as the loft, and rood ^ith S'
of most elaborate workmanship, highly decora ^
ing and colour. . 0 f n» ve
Rood Tower, the tower at the intersectstransepts. top of a k ul r
ROOF, (from the Saxon, hrof,) the cover, ® t j lClU gh ° cing, generally consisting of two sloping si > aS
sionally of other figures. . p pr9 j a ns, aS
The ancient Egyptians, Babylonians, i e q'he D rother Eastern nations, had their roofs quite a d eC r y
appear to have been the first who made roo s. w» 9 v0 t
tion each way from the middle to the edges » ^#1 y
gentle, the height from the ridge to the ^ e ^ e t j )6 g pan> a f t [ ]e raexceeding one-ninth or one-eighth part o j n no 1
be seen by many ancient temples now remain* th® jjclimates, subject to heavy rains and fall 9 0 . 0 ld b ulJ c0 n-
must be very considerably elevated. In ® j jaV e ^qjc® 9 ’in Britain , the equilateral triangle seems pU i>lic 6 \j gl js®sidered as the standard, both in private an . till the t j, e oand this pitch continued for several centur Djge w® . t [jeof what is called Gothic architecture. f i. re e-f oUr .i ■ l> ut ’made somewhat lower, the rafters being g piM'*’ ft a 3
breadth of the building. This was ca e ea c oi)S> {e gs^subsequently, the square seems to have ( ] ua lly “ jjjflt t0
the true pitch. The heights of roofs weie & fro" 1 . jli e /from the square to one-third of the wi V ir d; th 011 ® s o& ea fourth, which is now a very general stan ^ er0 ar .. fl iahave even been executed much lower, ^.^iiarg® gbo 1 '^advantages in high-pitched roofs, as they & m u . 0 pel ,with greater facility ; the snow continu t0 be stl '; j]t« 1 °'’ rtime on the surface, and they are less h® aP d t 1 h ell '°heavy winds. Low roofs require large s vaI) tag ecare in execution; but they have the
an®